48 pages 1-hour read

Famous Last Words

Fiction | Novel | YA | Published in 2007

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Chapters 31-39Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of graphic violence, illness, and death.

Chapter 31 Summary

Willa emerges from her vision to find herself on the floor and Reed standing over her. He helps her to the kitchen for water, and Willa internally concludes that Jonathan is the Hollywood Killer. Her conviction intensifies when she has a sudden vision of the backyard pool filled with blood, which vanishes when she blinks.


Reed, who has retrieved Jonathan’s laptop, questions Willa about the files she discovered. When she mentions the name of the Hollywood Killer’s first victim, Brianna Logan, Reed becomes flustered and points out that Jonathan was in Connecticut when the most recent victim was killed, though he admits that Jonathan returned home briefly. Dismissing her concerns, Reed leaves. Alone and now doubting her conclusion, Willa hears a sound from downstairs.

Chapter 32 Summary

Hearing footsteps, Willa follows a supernatural stream of water to Jonathan’s office, where “GET OUT” is scrawled everywhere and rose petals lead to an open window. She finds the phone line cut and escapes via a trellis. Trapped on the property, she follows more petals to the guest cottage. Inside a closet, she discovers a hidden door leading to a secret basement studio belonging to Diana Del Mar.


An editing machine turns on by itself, playing a scene from Diana’s film The Final Honeymoon. Playing the role of Charice, Diana speaks the line, “This is the kind of dream you don’t wake up from, Henry” (255). Willa recognizes the line from her visions and realizes that the film’s working title, The Dinner Party, is one that Reed has listed among his favorites, even though the film was never produced. She understands that Reed could only have seen the film if he had been in this secret room, meaning that Reed, not Jonathan, is the killer.

Chapter 33 Summary

Willa remembers that her father’s old laptop is in her bedroom and sneaks back into the main house. After grabbing it, she locks herself in the bathroom to email for help, but Reed cuts the power, killing the Wi-Fi. He threatens to break down the door. As he enters, Willa hits him with a metal towel bar and flees. She finds the front door locked and the key missing. She runs for the backyard, but Reed intercepts her in the garden. He overpowers her, pressing a chemical-soaked rag to her face until she loses consciousness.

Chapter 34 Summary

Willa awakens taped to a chair, her appearance transformed with a wig and makeup. Reed, dressed in a tuxedo, calls her his “leading lady” and complains that the previous victim, Paige Pollan, “messed things up” (267). He forces Willa to change into a red dress belonging to Marnie and then zip-ties her wrists. He drags her and the chair into the dining room, which he has meticulously set up to replicate the romantic dinner scene from Diana Del Mar’s film.

Chapter 35 Summary

Reed removes the tape from Willa’s mouth and hands her a script, instructing her to play the role of “Charice” opposite his “Henry.” As they rehearse, Willa spots knives in a sideboard and formulates a plan. She questions Reed about Paige, and he confesses to drowning her in the pool for being uncooperative. He reveals that Marnie is alive but captive. Terrified by his detailed threats, Willa promises to cooperate.

Chapter 36 Summary

Reed forces Willa to swallow two sedative pills. He places a rose necklace on her, calling it a souvenir, just as Jonathan returns home unexpectedly. Reed attacks Jonathan with a figurine and drags him to a bathroom to be drowned in the tub. A rose petal appears, a sign from Paige, spurring Willa to action. She frees herself, grabs a knife from the sideboard, and loosely re-tapes her hands and feet, preparing to ambush Reed.


When Reed returns, she stabs him. Her legs fail from the drugs as she tries to flee. He drags her upstairs, where Paige’s ghost appears. The ghost distracts Reed, who slips on a wet footprint and falls down the stairs.

Chapter 37 Summary

As Paige’s ghost vanishes, Willa finds Jonathan submerged in the bathtub and revives him. Together, they bind the unconscious Reed with tape. They find Marnie locked in the chauffeur’s quarters, and Jonathan goes to free her. Willa stumbles outside and flags down a passing car for help before collapsing.


She awakens in Jonathan’s arms as police and ambulance sirens wail. He reassures her that she saved them.

Chapter 38 Summary

Joanna arrives at the hospital, where Willa is treated for a concussion. She learns that Reed is alive, paralyzed, and in custody. Wyatt visits, expressing his concern. After her discharge, the family stays in a hotel while the police process the house, which Jonathan plans to sell. Willa gives the police a statement, omitting the supernatural events, while her mother handles the media attention. Willa reflects on Reed’s dual nature and braces herself for the future trial.

Chapter 39 Summary

Two weeks later, Willa returns to school, where a traumatized Marnie is distant. Before movers clear the house, Willa has Wyatt drive her there one last time. She retrieves a pink shoe box containing Diana Del Mar’s mementos. In the backyard, she and Wyatt bury the box, giving her a sense of closure, as if finally putting Paige to rest.


By the pool, Wyatt confesses that he loves her, and Willa reciprocates his feelings. She reflects on her newfound confidence and embraces her new reality.

Chapters 31-39 Analysis

The resolution of Willa’s psychological torment demonstrates how The Haunting Power of Unresolved Guilt is both destructive and ultimately redemptive. Willa’s supernatural abilities, which have intensified since her father’s death, reach their peak during her confrontation with Reed, suggesting that her guilt has been the catalyst for her paranormal sensitivity. Willa’s daily ritual of attempting to contact her deceased father stems from her belief that she caused his death. However, the climactic revelation that her father died from a genetic heart condition rather than any action of hers provides the key to her psychological liberation. This resolution occurs not through supernatural intervention alone but through Willa’s willingness to confront the truth about her past, healing by actively engaging with the painful reality she has been trying to avoid.


Willa’s visions of the murder victims prove to be accurate sources of information rather than stress-induced hallucinations, demonstrating The Value of Intuition in allowing her to understand events that rational investigation could not uncover. The narrative structure reinforces this theme, as Willa only now realizes that Paige’s ghost has been attempting to communicate crucial information about her own murder. When Willa discovers Diana Del Mar’s hidden film studio and recognizes the working title The Dinner Party as Reed’s favorite movie, Paige’s supernatural guidance leads directly to factual evidence of Reed’s guilt. The climactic appearance of Paige’s ghost, which causes Reed to slip and fall down the stairs, represents the ultimate intrusion of the supernatural into the material world, making clear that Willa’s visions are as real as anything else in her world.


Reed’s elaborate staging of Willa’s intended murder exemplifies The Tension Between the Self and the Persona. His meticulous recreation of scenes from classic Hollywood films transforms murder into a grotesque form of artistic expression, revealing how performance can become a vehicle for the most extreme forms of manipulation and cruelty. Reed insists on proper dialogue delivery, accurate blocking, and authentic emotional commitment from his victims, using the language and structure of theatrical performance to maintain psychological dominance. By transforming Willa, through makeup and costume, into his vision of the leading lady, he objectifies her and reduces her to a prop in his self-glorifying vision. Reed’s devotion to performance stems from his desire to control others. His persona as an auteur masks his authoritarian and misogynistic violence. With its focus on Hollywood’s so-called “golden age,” his murderous performances allegorize the exploitive relationships that actually existed in this period between powerful, male filmmakers and the often-vulnerable young women who starred in their films.


The water motif reaches its symbolic culmination in these chapters, representing both the site of traumatic memory and the potential for cleansing resolution. Reed’s attempt to drown Jonathan in the bathtub directly parallels his earlier drowning of Paige in the pool, establishing water as the killer’s preferred method of execution and linking these deaths to Willa’s original trauma—the death of her father, which occurred in a swimming pool. However, water also serves as Paige’s primary means of supernatural communication, as mysterious streams of water guide Willa toward crucial discoveries, and wet footprints ultimately cause Reed’s downfall. The narrative transforms water from a symbol of death into an instrument of justice when Paige’s ghostly presence creates the puddle that causes Reed to slip and fall. Willa’s rescue of Jonathan from the blood-tinged bathwater represents a reversal of the drowning motif, positioning her as a savior rather than a victim. Her final act of burying Diana’s belongings symbolizes her ability to honor the past while moving forward, suggesting that true healing involves acknowledgment rather than avoidance of painful realities.

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