How to Kill a Guy in Ten Dates

Shailee Thompson

How to Kill a Guy in Ten Dates

Shailee Thompson
55 pages1-hour read
Fiction
Novel
Adult
Published in 2026

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Chapter 31-EpilogueChapter Summaries & Analyses

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

Chapter 31 Summary

Jamie and Wes find a lighter in a storage box, and prepare to set off the smoke alarms. Jamie supplies paper towels as kindling and hand sanitizer as an accelerant. Wes breaks a broom handle into a makeshift stake for Jamie, and after a brief flirtatious exchange, they exit.


Turning into an unexplored back corridor, they find the walls and floor heavily coated in blood and redirect toward the lit corridor leading to the VIP room. They find Stu alone, blood-spattered, knife raised. He announces that Dani is dead, then recounts how he, Dani, and Jennifer failed to access the control panel, were ambushed by the killer, and fled in separate directions after Dani was stabbed in the neck. Neither Jamie nor Wes believes him, and Stu erupts, blocks the VIP room doorway, blames Jamie for the night’s violence, and threatens Wes. Before he can finish, a figure steps out of the dark behind him and drives an ax into his skull.

Chapter 32 Summary

Stu collapses and dies. Heart Eyes retrieves the ax and locks eyes with Jamie and Wes. Jamie lets Wes pull slightly ahead as they run into the debris-filled back corridor. Jamie cuts her foot on broken glass, and Wes crashes hard into a barricade of stacked furniture, injuring his ribs. They find a speed-dater named Campbell pinned to the wall by multiple knives, hands bound around a bouquet of roses—the staged offering meant for Jamie that Stu described earlier. Wes pulls her away, and they locate a smoke detector near the mezzanine.


As Wes ignites the lighter, they hear approaching footsteps, and Jennifer appears with Billie behind her. Jennifer announces that Billie has found an exit. When Jennifer suggests they still trigger the alarm, Billie stops her, saying the night isn’t over. She draws a switchblade and slashes Jennifer’s throat. Jennifer dies almost instantly. Billie produces the pink knitted Heart Eyes mask from her pocket and taunts Jamie that the night is going just as expected.

Chapter 33 Summary

Jamie absorbs the revelation that Billie is Heart Eyes. Armed with a switchblade and a kitchen knife, Billie confirms her role, mocks Wes for concealing that he is a police officer, and explains she cannot kill Jamie yet because the night must fully play out first. When Wes lunges at her, she slashes him across the chest and drops him to his knees. Jamie swings the wooden stake and breaks Billie’s nose. The force sends Billie stumbling into a guardrail set too low to break her fall, and she plummets to the dance floor below, dying on impact.


Jamie bandages Wes’s chest wound using Jennifer’s first aid kit. As she works, a critical inconsistency surfaces: The first time Heart Eyes appeared, Billie was with Wes in the basement and could not have committed that kill. Jamie realizes they are dealing with two killers.

Chapter 34 Summary

Jamie’s suspicion shifts to Wes. Reviewing his absences and the timing of each attack, she backs away from him and refuses his reassurances. Convinced that trusting a love interest is exactly the kind of fatal mistake the women in slasher films make, she runs. Alone near a staircase, she forces herself to breathe, thinks of Laurie, and reviews the match cards she has kept in her bra, mentally accounting for the night’s victims and those still missing. Her panic gradually clears: Wes was standing beside her when Heart Eyes buried the ax in Stu’s skull, and the figure was physically larger than Billie. Her instincts insist Wes is innocent, though she cannot yet identify the second killer. As she reaches this conclusion, John—whom they’d found dead in the bathroom—appears at the bottom of the nearby staircase, very much alive.

Chapter 35 Summary

John ascends the staircase toward Jamie, and she realizes that he had faked his earlier wounds. He cups her face and kisses her, and Jamie realizes that he’s killed all these people to get to her. John delivers a calm, methodical confession: He spotted her the moment she entered the club, decided she was his destined partner, and engineered the entire night as a test of their compatibility. He admits to killing five previous women who failed to meet his expectations and explains that Billie—a woman he met at a cooking class who later followed him home—agreed to help him in exchange for his company. He invites Jamie to have a drink. She stalls, feigning overwhelm, and bolts the moment he leans in for a second kiss.

Chapter 36 Summary

Jamie runs through the corridor and spots a flashlight ahead, leading her to Wes. She tells him John is the second killer. Wes reveals he’s found six other previous unaccounted-for survivors, including Lee and Nia, hidden in a locked room with a tampered control panel and one working security camera trained on the dance floor. Remembering the club’s rooftop smoking area and fire escape from a prior visit, Jamie realizes the furniture barricade must be hiding that door. They head back toward the survivors with a plan.

Chapter 37 Summary

Jamie proposes that she alone lure John to the dance floor while Wes and the survivors dismantle the furniture barricade to access the rooftop exit. Wes objects on both professional and personal grounds but concedes when Jamie points out that he is the only one capable of leading the others out safely. They say a brief, tense goodbye, and Jamie slips out alone. She collects the rose bouquet from Campbell’s body, takes one of the knives pinning him to the wall, hides it among the stems, and descends to the dance floor, calling John’s name.

Chapter 38 Summary

John’s playlist activates Taylor Swift’s “Love Story,” and the disco ball begins spinning as Jamie waits on the dance floor holding the roses. John appears on the mezzanine, descends, and approaches. Jamie keeps his focus on her, deliberately provoking his jealousy by disclosing her encounters with Wes. As John moves toward her, the sprinkler system activates—triggered by the survivors who have cleared the rooftop exit—and the fire alarm sounds. John delivers a grand declaration of love, demanding Jamie agree to his version of their love story. Unwilling to speak the words he wants, Jamie drives the knife hidden in the roses up beneath his ribs, killing him.

Chapter 39 Summary

Police and paramedics breach the club’s entrance. Jamie locates Laurie wrapped in an emergency blanket, behind a police barricade. Officers briefly restrain Jamie before a senior officer orders them to release her, and she and Laurie embrace. Medics treat Jamie’s injuries while Captain Strode takes her statement. Before the interview concludes, Wes arrives, having led the six survivors to safety via the roof. After he and Jamie reunite, she gives the captain a full account—confirming she killed John, that he admitted to prior murders, and that Billie was his accomplice.

Epilogue Summary

Eight months later, Jamie, Laurie, and Wes share a larger, more secure New York apartment. Jamie attends regular therapy, finishes her dissertation, and begins teaching an Introduction to Film Studies course. Laurie is developing a documentary about the events at the club. Wes is back on active duty under Captain Strode. All three continue working through residual trauma by supporting one another. Jamie and Wes are in a committed relationship, and Jamie closes by reflecting that their survival is due to the choices each of them made, rather than fate or formula.

Chapter 31-Epilogue Analysis

The novel’s climax demonstrates how rigid adherence to genre conventions becomes a dangerous vulnerability when adversaries actively subvert these expectations, highlighting the challenges of Applying the Rules of Fiction to a Real-Life Crisis. John and Billie intentionally utilize slasher film norms by constructing a haphazard barricade of furniture to hide the rooftop exit. Because the obstructed hallway mirrors the aesthetic of a classic slasher dead-end, Jamie and Wes initially avoid the area entirely. Jamie’s character arc requires her to recognize this manipulation, realizing that the killers have “used the rules against [her]” (309). This realization marks a critical shift in the narrative’s metafictional commentary, illustrating that theoretical knowledge of slasher film formulas is insufficient for real-world survival. Actual threats demand adaptable, synthesis-based problem-solving rather than rote reliance on predetermined fictional scripts.


Billie’s unmasking shatters the illusion of a solitary, male-driven narrative, exposing how jealousy and complicity operate within the killer’s constructed fantasy. When Billie casually slashes Jennifer’s throat and produces the killer’s pink heart-eyed mask from her pocket, she disproves Jamie’s assumption that the violence stems exclusively from a single obsessed suitor. Billie’s reveal that she’s complicit in John’s agenda to position herself as a rival for John’s affection deconstructs the conventional slasher villain archetype. As Billie tells Jamie, “I just can’t kill you yet. Like I said, it’s not over. Not until we see if you can make it to the end. But I’m sure you’ll be a disappointment, just like the others, and then I’ll be the one” (279). Billie’s participation proves that the drive to secure the role of the primary romantic lead can motivate extreme violence, further blurring the boundary between the aggressive competition often normalized in romantic comedies and the lethal hostility of a horror narrative.


John’s ruthless pursuit of Jamie hinges on corrupting traditional courtship imagery, Using Romantic Tropes to Justify Violence. When Jamie and Wes discover Campbell’s body pinned to a wall with multiple knives, they find his hands bound around a bouquet. This staging forcefully integrates the motif of roses—an established emblem of romance—into an act of bodily mutilation. John’s final confrontation with Jamie in the novel’s climax integrates the rom-com trope of the grand romantic gesture. As the disco ball spins and Taylor Swift’s “Love Story” plays, John insists he and Jamie are romantically destined for each other. By fusing a pop love song and rose petal décor with a massacre, John forces Jamie into the role of an unwilling romantic lead, stripping these gestures of mutual consent. The novel critiques cultural narratives that conflate relentless, unilateral pursuit with genuine love, exposing how the archetype of the determined leading man can normalize predatory behavior.


To defeat her ultimate adversary, Jamie actively merges the vulnerabilities of a romantic heroine with the lethal pragmatism of a horror survivor, Synthesizing the Final Girl and Leading Lady Archetypes. Recognizing that John views their encounter as a romantic comedy climax, Jamie intentionally performs the role of the devoted romantic heroine. She waits on the dance floor holding a bouquet of roses and provokes John with details of her physical intimacy with Wes. This calculated performance leans into the aesthetic of a romantic resolution, lowering John’s defenses and drawing him into close physical proximity. As he steps forward to demand that she accept his advances, Jamie drives a concealed knife up under his ribs, observing that “a good Leading Lady always goes after her man, and a good Final Girl knows that one hit, one shot, one cut, is never enough” (328). Acting out a version of the romantic climax John craves, Jamie uses the posture of surrender to create a tactical opening for a fatal strike. This ending argues that modern female agency necessitates the integration of emotional intelligence and brutal resilience to overcome systemic threats.


The epilogue frames survival as an ongoing, collective process of reclaiming narrative and personal agency. Eight months after the massacre, Jamie shares a secure apartment with Wes and Laurie, attends therapy, and teaches an introductory film studies course, while Laurie develops a documentary about the events at the club. The characters do not revert to their pre-trauma identities, but rather integrate their experiences into their daily lives and professional pursuits. Laurie asserts control over the tragedy by documenting it, and Jamie reclaims her academic authority by teaching the very genre structures that once dictated her survival. Jamie’s reflection that “Final Girls and Leading Ladies aren't born. They're made. They're a culmination of their choices. And in the end I chose to be both” resists prescribed definitions of female identity and embraces a more complex identity (351).

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