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Content Warning: This section of the guide includes discussion of gender discrimination, graphic violence, and death.
On Saturday night, Lottie goes to the Harmony Hotel and texts Kenneth Burke, who confirms the hidden camera in her house is working. She extends Norma’s hotel stay and texts her coworker to cover her shifts. To maintain the missing-daughter narrative, she posts a photo of a doll on Norma’s social media.
On Sunday after church, Lottie discusses the wedding with Sheila and Bonnie. When Sheila asks about her visitor, Lottie says it was an old coworker. After a tense exchange with Glenda, Lottie imagines hurting her. Back home, Lottie performs frailty for the camera before falling asleep on the couch.
Late Sunday evening, Lottie discovers Norma’s credit cards are declined. She checks out of the Harmony Hotel and creates a new paper trail for Norma at the cheaper Dew Drop Inn, paying cash and texting Burke with the new location. Burke tries to get Norma to visit Lottie again, making her wonder if he is suspicious of what’s going on.
Back home, Lottie stages a stumble for the camera to reinforce her image of decline. She listens to voicemails from her grandson Noah and her son Archie.
Lottie returns Archie’s call. He confronts her about using a cane, a detail he learned from Morgan. He says her house is too much for her and mentions retirement communities he researched.
When Lottie realizes Archie knows about her recent movements, he admits he installed a tracking app on her phone.
Archie admits that he has been tracking her movements since Christmas. Lottie feels extremely “betrayed” by his actions, though he insists he only did it out of concern for her safety. When he asks her why she went to the Harmony Hotel, Lottie realizes that she accidentally took her phone there before bingo. Feeling betrayed, Lottie refuses to answer and ends the call.
Furious, Lottie tapes her phone to the kitchen counter to neutralize the tracking. She realizes that she is most upset that Archie discussed retirement homes without ever suggesting that she move to California to be closer to him.
Lottie goes to the Dew Drop. She checks Norma’s phone and finds a text from her boss placing Norma on administrative leave. On Thursday, Lottie attends church bingo to keep her routine.
Afterward, she drives back to the Dew Drop Inn. She studies an unidentified woman with cropped hair who appears to manage illicit activity, quietly directing those involved with the club across the street.
Lottie’s real estate agent brings a potential cash buyer to tour her house. The buyer notices the broken study door. Using Norma’s phone, Lottie confirms another dinner with herself. Burke tells her to bring up the names Marilyn and Walter.
Lottie returns to the Dew Drop Inn and watches the woman with cropped hair subtly direct a police officer, confirming a link to law enforcement. Lottie decides to use this woman as a witness.
That evening, Lottie sets her dining table and marks the camera’s sightline. She fakes Norma’s arrival, then reactivates the camera and stages an attack, screaming and collapsing out of view. She exits through the garage and drives to the Dew Drop Inn.
On Norma’s phone, she finds urgent messages from Burke. She responds in a distressed tone that she is safe. Burke replies that he is coming to Baycliff.
In a flashback, Lottie recalls murdering a woman named Monica at a cabin by cutting her throat, then burning the cabin to destroy evidence. In the present, she goes and buys a new hammer and a utility knife. She considers her distaste for the mess knives create after she used one on Monica but is adamant that she needs to be prepared. When she gets home, she has an apologetic voicemail from Archie.
Around midnight at the Dew Drop Inn, Lottie assumes Burke will arrive early and moves to establish a witness. Wearing a wig and Norma’s coat, she heads to the vending machines to cross paths with the woman with cropped hair.
When the woman approaches, Lottie recognizes her as Danielle, the daughter of her friend, Bonnie. Lottie retreats, realizing her witness plan has collapsed.
Needing an alternate witness, Lottie repeatedly calls the motel office from Room 219. She identifies herself as Norma Dixon and badgers the night clerk with questions, ensuring the clerk remembers the name.
Later, an intruder bursts in and injures her arm. She drops her knife but fires her stun gun and incapacitates him. She ties him to a chair and sees he is not Burke.
The intruder wakes, calls her Lorena, and reveals he is Burke’s son, whom Lottie calls Junior. Lottie seizes his phone and finds only texts between him and his father.
She assumes Burke sent him to kill Norma, but his confusion shows he does not fully understand the plan. Lottie places her new knife and hammer where he can see them.
To force answers, Lottie slices Junior’s Achilles tendon. He reveals Burke found her using facial recognition on a photo Morgan posted online. Burke then contacted Plum Dixon to set up the docuseries, hoping to make Lottie slip.
Junior says Burke believes Lottie killed Plum. Once Lottie learns the full scope of the plan, she kills Junior with a hammer.
Before dawn, Lottie sets fire to the room to destroy Junior’s body, pulls the fire alarm, and escapes in his SUV. A nurse treats her injured arm at an urgent care clinic. Using Norma’s and Junior’s phones, she texts Burke conflicting alibis.
She drives to Spokane, parks near Burke’s house, and slips into his backyard. She finds an unlocked door and enters, recognizing a trap as Burke cocks a gun.
In his office, the elderly, wheelchair-bound Burke holds Lottie at gunpoint. His computer wallpaper is her photo. He says his son’s phone location gave her away and demands to know if she killed Junior and Norma. Lottie denies killing Junior and claims Norma attacked her first.
Lottie notices files from her old case and taunts Burke about his obsession. She deduces Burke faked a key piece of evidence—the strand of hair—40 years ago. Burke erupts at the exposure and fires his gun, destroying the screen displaying her image.
Lottie and Burke argue about his 40-year obsession. He admits he sent Plum to interview her. Lottie realizes that he was hoping he would get famous from the docuseries, either by getting Lottie to confess or catching her in a lie and finally arresting her. When Lottie jokes about the two of them, old and frail, on TV talking about something from decades ago, they both laugh.
Lottie begins telling Burke a story. She talks about a police officer who wanted to make a name for himself, so he investigated a serial killer. After a year, he caught the killer, putting them in jail. However, a few days later, another person dies, then another. When she tells Burke that there will always be another killer, he protests. She uses his momentary distraction to grab the gun.
Lottie knocks Burke unconscious. She finds texts confirming he orchestrated everything with Plum and Cole Fletcher. To frame Norma, she plants Norma’s teeth in the house and leaves Norma’s and Junior’s phones behind.
She sets Burke’s office on fire and positions his body near his oxygen tank to trigger an explosion. After the house explodes, she flees and takes a bus back to Oregon.
On Sunday, Lottie returns home, peels the tape off her phone, and calls Archie to reconcile. At church, she learns raffle money is missing and Glenda is the prime suspect. Bonnie acts normal, which tells Lottie that Danielle did not recognize her.
Lottie calls Stephanie to arrange for her grandchildren to stay with her during the wedding. She calls her real estate agent, telling her that she can’t show the house during the week of the wedding. Her agent is convinced that she can create a bidding war among a few interested buyers. Lottie decides to use the same tactics in her own negotiations.
In the days before the wedding, Lottie tours Oak Manor. She tells Tom Wallace, the sales executive, that she wants a ground-floor unit with a garden patio.
In his office, she creates a reverse bidding war by mentioning offers from other communities. Tom recognizes the tactic and asks her to name her price.
At the wedding, Lottie spends time with her grandchildren, Olive and Noah. She notices Morgan carefully conceals her pregnancy and shares a slow dance with Archie.
Detective Rey Tula approaches, and they speak as friends, reinforcing the narrative of Norma’s guilt. Lottie leaves, confident that her secrets are safe.
The week after the wedding, Cole Fletcher arrives unannounced. He plans to finish Plum’s docuseries and asks to interview Lottie. She considers killing him with an umbrella but chooses a different path.
She proposes they co-produce a new series about other wrongfully accused elderly people. Cole agrees, giving Lottie a new, “murder-adjacent” purpose.
In the novel’s concluding arc, Lottie’s performance of identity elevates from a tool for misdirection to a complex, multi-layered act of narrative control. The theme of The Performance of Identity as a Tool for Survival is no longer just about feigning frailty with a cane; it becomes a full-scale production designed to manipulate her primary antagonist, Kenneth Burke. The hidden camera he plants in her home, intended to be an instrument of exposure, is ironically converted into her personal stage. Upon this stage, Lottie performs the role of a deteriorating invalid, a character crafted to exhaust Burke’s patience and drain his camera’s battery. This performance is layered with another, as she simultaneously inhabits the persona of Norma Dixon at the Dew Drop Inn. The climax of this deception is the staged murder in Chapter 60, a rehearsed scene complete with faked dialogue, shielded falls, and realistic screams. This act transforms Lottie from a person hiding her identity into an author creating a false reality. Her final proposal to Cole Fletcher represents the ultimate evolution of this theme. She transitions from performing a false identity for self-preservation to professionally producing public narratives, seeking to control not just her own story but the stories of others.
This sustained mental performance occurs against the backdrop of a keenly felt physical decline, bringing the theme of The Frailty of the Body Versus the Resilience of the Will to its most acute point. Lottie’s internal monologue is a constant accounting of her body’s betrayals: the genuine pain in her knees as she crumples for Burke’s camera, the sharp crack in her arm when Junior attacks her, and the persistent need for ibuprofen. Her fury upon discovering Archie’s tracking app stems not just from the violation of privacy but from its implication—that her own son sees her as incompetent. His justification that “you aren’t exactly young anymore” (303) validates her deepest anxieties about being defined by her age-related weaknesses. Yet, as her body falters, her strategic will becomes only more formidable. The intricate plotting required to frame Norma, eliminate Junior, and orchestrate Burke’s demise is executed even as she requires urgent care for an injury. Her decision to move to Oak Manor is a pragmatic concession to her physical limitations, a strategic retreat that allows her to preserve her autonomy. The novel resolves this central conflict not by having Lottie overcome aging, but by depicting her adaptation to it, demonstrating that true power lies in managing physical realities without surrendering intellectual control.
The motif of technology and surveillance functions as the primary engine of the plot’s climax, creating a digital battleground where narrative control is contested. Characters are both entrapped and empowered by a web of tracking apps, hidden cameras, and facial recognition software. Burke’s undoing is precipitated by the very tools he employs; the camera meant to catch Lottie provides the footage for her fabricated murder, and his son’s location app, intended to facilitate communication, instead reveals Lottie’s true position and seals his fate. For Lottie, technology represents a constant threat. The discovery that Archie has been tracking her phone is a profound betrayal precisely because it extends surveillance from her enemies to her own family, collapsing the distinction between care and control. Her response—taping the phone to the counter—is a primitive but effective act of resistance. In this world, evidence and identity are fluid, shaped by who controls the data. Lottie’s ultimate triumph depends on her ability to manipulate this technological ecosystem, planting phones and fabricating digital trails to construct a completely false but forensically plausible narrative of Norma’s guilt.
The final confrontation with Burke serves as the thematic culmination of The Perils of Ageism and Gender Discrimination while simultaneously subverting traditional crime genre conventions. Burke’s 40-year obsession is rooted in his initial, gendered assessment of Lottie as a “single mother,” an archetype he could never reconcile with the killer he sought. His ultimate motivation is not an abstract pursuit of justice but a deeply personal desire to “be remembered” (354) for finally capturing the woman who eluded him. This ego-driven obsession makes him vulnerable to Lottie’s final gambit. She disarms him not with superior physical strength but with a carefully constructed story, a parable about a detective that plays directly to his vanity and distracts him at the critical moment. His defeat is a direct consequence of his lifelong failure to see Lottie as a complex individual rather than a symbol of his professional failure. In this final showdown, Lottie emerges as a dark subversion of the “final girl” trope. She is the lone survivor, but she is also the architect of the entire conflict. Her victory is a stark commentary on the power dynamics inherent in societal judgment; by refusing to be confined by the narrative imposed upon her, she seizes the power to write its ending.
Ultimately, the novel’s resolution employs specific structural choices to achieve a deliberately unsettling form of narrative closure that defies generic expectations of moral reckoning. The flashback in Chapter 61 to the brutal murder of Monica is a crucial structural anchor, strategically placed to remind the reader of Lottie’s unrepentant cruelty just as she is being hunted by Burke. This prevents the audience from fully sympathizing with her as a victim and reinforces the cold logic that governs her actions. The subsequent chapters proceed with clinical precision, as Lottie systematically eliminates every antagonist and tidies every loose end, culminating in a flawless frame-up. The first-person narration is instrumental in this process, forcing the reader into a position of complicity by granting direct access to her chillingly rational thought processes. Lottie’s retirement, brought without punishment, rejects the conventional demand for justice in the crime genre. Instead, the ending presents a disquieting portrait of successful amorality. The final, chilling thought Lottie has about Cole, that she would “have to break his legs to get him in the freezer” (381), serves as a final reminder that her essential nature remains unchanged, merely redirected toward a new purpose.



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