72 pages 2 hours read

The Good Samaritan

Fiction | Novel | Adult | Published in 2017

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Part 1, “Laura,” Chapters 11-20Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of child abuse, child sexual abuse, illness, death by suicide, substance use, addiction, mental illness, emotional abuse, child death, and graphic violence.

Part 1

Part 1, “Laura,” Chapter 11 Summary

Laura arrives at Northampton General Hospital after visiting hours to see Nate. She checks his usual ward but cannot find him. She recalls their teenage years with their abusive foster mother, Sylvia Hughes, who was addicted to heroin and kept a separate, clean apartment to deceive social services. Once, Sylvia brought a dazed and injured Nate back to their squalid apartment. Laura brought him pizza and tended to his bruises, comforting him; it is implied that he had been sexually abused.


Returning to the present, a doctor named Dr. Khatri confirms that Nate is not currently registered as a patient. Laura, who is Nate’s emergency contact, asks the doctor to speak with Nate about his deteriorating health if he should see him again.

Part 1, “Laura,” Chapter 12 Summary: “Five Months, One Week After David”

Laura and Mary give a presentation about the End of the Line helpline to the Northants Women’s Circle, an assignment from their supervisor, Janine. Laura internally expresses contempt for Mary’s earnestness. She reflects on her own history with the helpline, recalling how she deliberately manipulated the psychometric tests during her application process to secure the position.


Laura thinks about her desire for a new candidate to guide, as her current one, Steven, is pending his final qualifying call. She reminisces about two past candidates whose suicides she successfully facilitated: a man named Brendan and a woman named Helena, for whom she placed an obituary intended to goad the married man with whom she was having an affair. During the Q&A session, a woman in the audience asks a question, and Laura recognizes her voice from a past call. Her thoughts then drift to David, noting that he and the woman he died alongside are the only candidates whose funerals she did not attend.

Part 1, “Laura,” Chapter 13 Summary

Laura waits for her family in her sterile, modern house. The house is empty, and the cat, Bieber, waits for Tony. A group text that she sent to her husband and daughters goes unanswered. Laura feels deep resentment toward Tony, whom she believes sidelined her as a mother. Their relationship deteriorated further after her cancer diagnosis. Tony moved into the spare room, and when Laura attempted to initiate intimacy, he coldly rebuffed her. When she expressed confusion, Tony explained that he had found and read her hidden social services file from her childhood. He confronted her, accusing her of lying about her past, specifically about her relationship with Nate. In the present, Laura serves herself the casserole she cooked. She eats alone, expecting her family to ignore the meal when they return.

Part 1, “Laura,” Chapter 14 Summary: “Five Months, Two Weeks After David”

Laura is at the End of the Line office for her third call with Steven. During the call, Steven confirms he has chosen his method of suicide: hanging. Laura feels a morbid thrill, as this will be a new method for her private count of facilitated deaths. Her colleague, Zoe, enters the office, forcing Laura to lower her voice to a whisper.


Laura listens to Steven’s plan and corrects his naive assumptions about hanging, warning him about the potential for extreme pain and botched attempts. As the call continues, Steven makes an unprecedented request: He asks Laura to be physically present in the house with him when he dies. Caught off guard, Laura is momentarily stunned into silence.

Part 1, “Laura,” Chapter 15 Summary

Thirty-six hours after Steven’s request, Laura wakes, feeling a mixture of profound anxiety and illicit excitement. She recalls being at work the previous day; she declined Steven’s proposal, citing both the illegality and the ethical rules of the helpline, but her colleague, Sanjay, noticed her distraction after the call. To cover her turmoil, she made an excuse and hid in the office bathroom. There, she debated the idea, reminding herself of the extreme danger and her responsibilities as a mother. Back in the present, the beeping of a washing machine grounds her. She reinforces her decision, concluding that refusing was the only correct and safe choice.

Part 1, “Laura,” Chapter 16 Summary

Laura returns to the hospital, determined to find Nate. She learns there is no record of him being admitted and realizes he must have discharged himself. Frustrated, she sits in her car, overcome by a memory of her and Nate’s final weekend at Sylvia’s apartment: Sylvia drugged Nate’s drink shortly before she allowed an unknown man to take him away. Later that weekend, Sylvia brought three other men to the flat and tried to force Laura into a bedroom with one of them. Nate, having returned, intervened. An enraged Sylvia struck Nate, who retaliated by hitting her over the head with a heavy ashtray, killing her. The men fled. Nate and Laura quickly packed and ran but were soon caught. Nate took full responsibility to protect Laura and was sent to prison. Now, Laura drives away, searching unsuccessfully for Nate in his usual haunts.

Part 1, “Laura,” Chapter 17 Summary

Laura is assigned to debrief Mary, who is distraught after a caller died from an overdose while on the phone with her. Laura feigns sympathy but is privately consumed with jealousy that Mary experienced the caller’s final moments.


Later the same week, Steven calls to apologize for his request. He begins asking Laura personal questions, and his tone makes her feel he is genuine and can be trusted. Laura privately compares Steven to David but resolves not to get as emotionally attached. However, catching a glimpse of Mary, who is elderly and alone, makes her envision a similar future for herself, and she has a sudden change of heart. Leaning close to the phone, Laura whispers to Steven, reversing her earlier decision and agreeing to be present for his suicide.

Part 1, “Laura,” Chapter 18 Summary: “Six Months After David”

Laura is on the phone with Steven, who describes his long history with depression. He asks what she gets out of helping people like him, but she deflects. He then asks about the “David” she previously mentioned, and Laura confirms that David was another candidate she helped.


Shifting to logistics, Laura provides Steven with specific, technical instructions on how to position a noose to ensure a quick death, which he carefully notes. She mentally plans her strategy, focusing on removing all evidence of her presence from his house, including instructing him to use a disposable phone. As the call ends, Steven makes one last request: He asks if Laura will hug him before he dies. Feeling an unexpected flicker of emotion, she agrees.

Part 1, “Laura,” Chapter 19 Summary: “Seven Months After David

Laura wakes from a nightmare to find that her husband, Tony, never came home. Overcome with anxiety, she drives to the rooftop of the Hartley Hotel, the site where a past candidate died. Periodically, Laura stands on the ledge, leaning precariously over the edge, to “check if [she] [is] still needed in the world” (99).


As Laura climbs the stairs, she recalls her childhood, when she hid in the room while her mother died from cancer. This sparked an obsession with sharing others’ final moments, as she felt uniquely close to her mother while listening to her final breath. Her father never recovered from the loss and eventually enlisted her help crushing pills that he then mixed into a milkshake and gave to her two younger sisters, Sara and Karen, deliberately excluding Laura from the murder-suicide. Laura did not initially understand what was happening, but as she listened from behind their locked bedroom door, she heard the final breaths of her father and sisters and felt that her father had entrusted her, the “strongest” of them, to carry on their legacy.


Laura, standing on the rooftop, feels newly “empowered.” She resolves to see Steven’s plan through, convinced her work is not yet finished.

Part 1, “Laura,” Chapter 20 Summary: “Seven Months, One Week After David”

Laura drives to Steven’s house, prepared with a knife, gloves, and a flashlight. She lets herself in and proceeds to the bedroom. She finds the room is empty except for a lamp and a rope hanging from the ceiling. To her shock, the walls are covered with hundreds of photographs of her and her family.


Steven appears in the doorway, his demeanor now confident and threatening. He reveals that the entire persona was a lie and tells her that the rope is for her. He corners Laura and tries to force the noose over her head. A violent struggle ensues, during which Laura stabs Steven in the stomach with her knife. She flees the room, falling down the stairs and injuring herself, but escapes in her car, leaving the wounded Steven on the floor.

Part 1, “Laura,” Chapters 11-20 Analysis

These chapters delve into the psychological origins of Laura’s pathology, establishing how she has reframed past traumas into a coherent personal mythology and thus developing the theme of Rewriting Reality to Reconcile Trauma. The memory of her father’s murder-suicide is foundational. Rather than processing the event as a crime, Laura recasts it as a moment of validation. Her father spares her from the poisoned milkshake, telling her, “You’re stronger than us” (102), a statement that she internalizes as a mandate. She thus interprets the final breaths of her family not as sounds of death but as a “gift” that brings them closer together than ever: “No matter where I was or what I did with the rest of my life, his act had allowed me to hold them all inside me where they would never have to suffer loss or pain” (103). This reframing transforms a traumatic abandonment into a heroic purpose, positioning her as a chosen vessel for “lost souls.” Her account of her relationship with Nate under Sylvia’s care further illustrates this worldview, solidifying a narrative where she is a predestined survivor and savior.


The narrative structure, which maintains Laura’s first-person perspective, thus explores The Blurred Line Between Victim and Perpetrator. While her flashbacks detail horrific abuse, this history complicates rather than exonerates her actions, even before the revelation that much of that history is a fabrication on Laura’s part. This technique prevents simplistic judgment of Laura. Her actions are inexcusable, yet they are rooted in a logic born of trauma.


The narrative uses symbolism to externalize Laura’s fractured internal state. Laura’s pristine home is described as “so beautiful, so box-fresh, but so hollow” (72), a stage set for a family that no longer exists in a meaningful way. It echoes Sylvia’s two apartments: the pleasant one for social services and the squalid one where Laura and Nate lived. This parallel appears to underscore how deeply Sylvia’s lesson in hiding reality has informed Laura’s adult life, though in reality, the causation goes the other way; Laura is so invested in maintaining a specific image of herself that she has rewritten the entire episode with Sylvia, projecting her own divided self onto her former foster mother.


The anchor motif further deepens the novel’s exploration of Laura’s psyche. Laura’s father tells her, “Once you find your anchor, never let go of it” (102). For Laura, it becomes a mandate to possess and control. She identifies Nate and Henry as anchors, but her attachment is predicated on their brokenness. Indeed, her marriage to Tony, whom she identifies as a past “anchor,” crumbles when Tony discovers her history and refuses to participate in her fabricated reality, stating, “I know what you are and what you’ve done” (76). His awareness shatters her illusion of control.


That illusion is so deeply ingrained that the narrative portrays it as an addiction, developing the theme of The Compulsive Nature of Manipulation and Control. Laura’s internal monologue reveals a ritualistic approach to her work at End of the Line. Her excitement at the prospect of a hanging is procedural; she considers the technical challenges, revealing an obsession with the mechanics of death. The roots of the compulsion become clearer in her revulsion toward her colleague, Mary, whom Laura sees as a symbol of powerlessness. Laura’s thought, “I’d rather be dead than become Mary” (69), is a declaration of her core fear of irrelevance and a justification for her predatory actions. By “helping” others die, she asserts her own vitality and significance. Her interactions with “Steven” (Ryan) become a test of this compulsion, as the promise of witnessing a death in person—the ultimate act of control—is too potent for her to resist, even when her instincts signal danger.


The juxtaposition of Laura’s internal thoughts and her external performance demonstrates the immense effort required to maintain her façade, and her confrontation with Ryan marks the catastrophic failure of this performance. When Laura enters the house and sees hundreds of photographs of herself and her family, her carefully constructed world implodes: The hunter becomes the hunted, and the observer becomes the observed. Her descent from a confident manipulator into a terrified victim is swift and visceral. The narration, capturing her panicked thoughts and physical reactions, is a culmination of the preceding psychological tension, demonstrating that the ultimate consequence of her compulsion to control reality is its complete disintegration.

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