Billy Summers
Page 50
She wipes her eyes, she wipes her nose, she watches the white clouds of vapor from her exhalations drift away.
“I could pretend that Marge—fucking Marge—only creased you, after all.” She shakes her head as if to clear it. “Only that’s not right. You were only creased. You did write me that note and put it under my door when I was sleeping. You walked to the truck stop up the road even though the truck stop was back in New York and you went on from there. Are going on. Did you know that could happen? Did you know that you could sit in front of a screen or a pad of paper and change the world? It doesn’t last, the world always comes back, but before it does, it’s awesome. It’s everything. Because you can have things the way you want and I want you to still be alive and in the story you are and always will be.”
She stands and goes over to the square of earth she and Bucky dug together. In the real world he’s under there. She takes a knee and puts the book on the grave. Maybe the snow will cover it. Maybe the wind will blow it away. It doesn’t matter. In her mind it will stay here. The book is Thérèse Raquin, by Émile Zola.
“Now I know who you were talking about,” she says.
10
Alice walks up to where the path ends at the knife-cut valley and looks across to the flat ground where the old hotel used to stand—the reputedly haunted hotel, according to Bucky. Once she thought she actually saw it, no doubt a hallucination caused by being unused to the thin air up here. Today she sees nothing.
But I could make it be there, she thinks. I could make it be there just as I was able to make the Bide-A-Wee be there, complete with all the details I didn’t put in, like the bagged glass in the bathroom or the stain, sort of like the shape of Texas, on the rug. I could make it be there. I could even fill it with ghosts, if I wanted to.
She stands looking across the gulf of cold air between this side and that, hands in her pockets, thinking she could create worlds. Billy gave her that chance. She is here. She is found.
June 12, 2019–July 3, 2020
ACKNOWLEDGMENTS
Robin Furth and Myke Cole helped me with research, found continuity errors, and made valuable editorial suggestions. My thanks to both of them. It comes with the usual caveat: If there’s something wrong here, that’s on me, not them. I also want to thank Bing West for No True Glory, his extraordinary account of the two battles of Fallujah. It was a great help.
Billy Summers
Stephen King
This reading group guide for BILLY SUMMERS includes an introduction, discussion questions, and ideas for enhancing your book club. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.
Introduction
Billy Summers is a top-tier assassin with a heart of gold. When the job turns out to be a setup, Billy must switch gears and rewrite his plans entirely. While he’s laying low, he suddenly gains a completely unexpected and unlikely companion who opens his heart and who becomes his future partner in vengeance. The two forge ahead together, trying to put their darkest chapters behind them and ultimately find some sort of redemption.
Topics & Questions for Discussion
1. When interacting with others, Billy takes the precaution of projecting his “dumb self,” comparing it to a seatbelt. What do you think of this method of protecting oneself? Have you, or anyone you know, done anything similar?
2. In Chapter 5, Billy plays Monopoly with his David Lockridge neighbors, the Ackermans. During the game, he explains Hobson’s Choice, which means having to “decide between taking a chance or standing pat.” In what ways does this choice manifest throughout the book?
3. As Billy continues to write the story of Benjy Compson, in reality his story, he suddenly realizes that “he wants to be read” and that “any writer who goes public with his work is courting danger. It’s part of the allure. Look at me. I’m showing you what I am. My clothes are off. I’m exposing myself.” Despite being adept at hiding his true identity, it seems he wants to be known. Discuss why Billy specifically feels this way and why writers in general may crave this type of acknowledgment.
4. As an assassin, Billy maintains several undercover identities and social lives to hide in plain sight. How might these skills translate to writing skills? What else about Billy’s background makes him a surprisingly good writer, despite his lack of experience?
5. In Chapter 6, Billy has a conversation with Colin White where Colin shows how he changes to his aggressive lawyer persona, which confuses Billy as to whether he is “a good person or a bad one.” What do you make of Billy’s tendency to think in black and white? How might he be different if he allowed for gray areas? How might the story be different?
6. As Dalton Smith, Billy gets to know Beverly and Don Jensen, the couple who lives in the apartment upstairs. After Beverly’s mother passes away and leaves them two hundred thousand dollars, they exit the active story, going on vacation long-term, which helps out Billy but also makes him think about what his pay is really worth. What did this subplot add to the story overall? How does it impact Billy?
7. Chapter 10 is when the assassination of Joel Allen takes place. Discuss your experience reading through this chapter. How did you feel while reading? Was there anything that alerted you that something might be off? Discuss how King handles the suspenseful moments and deeply engages you.
8. Billy is known among his colleagues for asking if his targets are “bad men.” Later on, he has the following exchange with Alice:
“If [Tripp] was hurt that would make me happy. I suppose that makes me a bad person.”
“It makes you human,” Billy says. “Bad people need to pay a price. And the price should be high.”
What is your opinion on Billy’s moral code? How do you feel about the way he took revenge on Alice’s rapists? Was he justified, or do his actions also make him a bad man?
9. We learn about Billy’s military background by reading sections of the story he writes. What do these sections add to your understanding of Billy overall and how does that inform your understanding of his actions in the present?
10. Clay Briggs, Billy’s military buddy, teaches Billy two methods of calming panic attacks during their time in Fallujah, which Billy passes on to Alice: placing a wet washcloth over your face and singing “The Teddy Bears’ Picnic” lyrics. Would you try these methods yourself? What do you think of the way mental health and psychological healing are dealt with in this story?
11. Bucky Hanson is mostly in the background throughout the story until Billy and Alice drive out to meet him toward the end of the novel. Billy calls him the only person he trusts completely. What is your impression of Bucky? How does King effectively make him come across as a trustworthy person. Did you ever distrust him?
12. When Billy and Alice go to confront Roger Klerke, the big bad guy of the story, Alice shoots and kills him instead of Billy. What does it mean to you that Alice is the one to take vengeance? What does this mean for the story overall?
13. Think about Billy’s final words to Alice and how he sets her up mentally and financially to begin a new life. What was your reaction to his speech? What do you think about Billy and Alice’s relationship? What kind of love did they share?
14. In the final pages of the book, Alice says, “Did you know that you could sit in front of a screen or a pad of paper and change the world? It doesn’t last, the world always comes back, but before it does, it’s awesome. It’s everything.” What do you think of this concept? Of the power of writing and storytelling? What is it worth?
Enhance Your Book Club
1. Try to write your own story. Consider writing about yourself, or rewriting something in your life you wished had gone differently. Then, be brave and share with someone what you’ve written. How did this process feel for you? Does it help you better understa
nd Billy, or writers in general?
2. Figure out a way to practically visualize the distance of Billy’s first shot as a sniper. A football field is about a hundred yards. The first shot that Billy ever made was over thirteen times that length. Consider getting a rangefinder, or just a pair of binoculars, and find a point in the distance that might approximate that distance. Alternatively, try walking a hundred yards thirteen times. (You do not need to complete this walk if you become tired)!
3. Listen to the full “The Teddy Bears’ Picnic” song and sing along. Why do you think King chose these as the soothing lyrics Billy learns from Clay Briggs?
More from the Author
If It Bleeds
The Outsider
Rita Hayworth and Shawshank Redemption
The Langoliers
The Institute
Cycle of the Werewolf
ABOUT THE AUTHOR
© SHANE LEONARD
STEPHEN KING is the author of more than sixty books, all of them worldwide bestsellers. His recent work includes If It Bleeds, The Institute, Elevation, The Outsider, Sleeping Beauties (cowritten with his son Owen King), and the Bill Hodges trilogy: End of Watch, Finders Keepers, and Mr. Mercedes (an Edgar Award winner for Best Novel and now a television series streaming on Peacock). His novel 11/22/63 was named a top ten book of 2011 by the New York Times Book Review and won the Los Angeles Times Book Prize for Mystery/Thriller. His epic works The Dark Tower, It, Pet Sematary, and Doctor Sleep are the basis for major motion pictures, with It now the highest-grossing horror film of all time. He is the recipient of the 2020 Audio Publishers Association Lifetime Achievement Award, the 2018 PEN America Literary Service Award, the 2014 National Medal of Arts, and the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Bangor, Maine, with his wife, novelist Tabitha King.
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Copyright © 2021 by Stephen King
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Library of Congress Cataloging-in-Publication Data
Names: King, Stephen, 1947– author. Title: Billy Summers : a novel / Stephen King. Description: First Scribner hardcover edition. | New York : Scribner, 2021. Identifiers: LCCN 2021002597 (print) | LCCN 2021002598 (ebook) | ISBN 9781982173616 (hardback) | ISBN 9781982173623 (paperback) | ISBN 9781982173630 (ebook) Subjects: GSAFD: Suspense fiction. Classification: LCC PS3561.I483 B55 2021 (print) | LCC PS3561.I483 (ebook) | DDC 813/.54—dc23 LC record available at https://lccn.loc.gov/2021002597 LC ebook record available at https://lccn.loc.gov/2021002598
ISBN 978-1-9821-7361-6
ISBN 978-1-9821-7363-0 (ebook)