Plot Summary
Prologue
A woman sits in a call centre booth, a telephone receiver pressed to her ear. She is connected simultaneously to two strangers she has brought together: a man9 and a pregnant woman.7 They meet in a coastal car park and walk hand in hand toward the cliff's edge at Birling Gap.
She listens to the crunch of gravel, the wind, the seagulls. She offers gentle encouragement, reminding them why they chose this path. When they step off the 530-foot drop into the sea, she hears their final breaths through the open phone lines, bites her lip until she tastes blood, and feels a wave of euphoria.
Her colleague Mary11 asks if it was a difficult call. The woman lies, pretending to be shaken by a suicide she could not prevent. Her name is Laura,1 and she volunteers at a suicide prevention helpline called End of the Line.
The prologue immediately inverts the reader's expectations of what a helpline volunteer should be. Laura is not a compassionate listener talking people down from crisis; she is a conductor orchestrating death. The juxtaposition of her clinical calm with her private euphoria establishes her as a high-functioning predator. Her performative grief for Mary reveals someone who has perfected the art of appearing normal while operating with an entirely different moral code. The cliff becomes a kind of altar, and Laura treats each death as a sacrament she alone can administer.
The Helpline Predator
Laura1 presents as the ideal End of the Line volunteer: baking cakes for colleagues, mending clothes, charming donors. She keeps two notebooks. One contains innocuous notes on callers; the other tracks promising candidates she can steer toward death. When a young man calling himself Steven2 contacts the helpline, Laura1 recognizes a genuine suicidal intent.
He has no friends, no family, and has already scouted a railway bridge. Laura1 deploys her fear-then-relief technique, telling him his pain will only worsen unless he finds the courage to act decisively. Steven2 admits he wants to die and asks if she would support him. Laura1 deflects carefully, but she has already underlined his name in her hidden notebook. She wants to hear him die.
Laura operates on a predator's logic, distinguishing between time-wasting callers and genuine candidates with the precision of a diagnostician. The fear-then-relief technique creates a trauma bond where she positions herself as the only person who truly understands their despair. Her dual notebook system literalizes her double consciousness: she has learned to partition her psychopathy into a secret self that coexists alongside her performative maternal persona.
Charlotte's Fatal Leap
Ryan Smith,2 a secondary school teacher, is eagerly awaiting the birth of his first child with his wife Charlotte.7 He has secretly purchased a rundown cottage she admired, planning to surprise her on their wedding anniversary.
Instead, police officers arrive with devastating news: Charlotte7's body was found at the base of Birling Gap cliffs. She jumped with an unidentified man,9 walking hand in hand, both holding mobile phones to their ears. Ryan2 refuses to believe his wife would abandon him and their unborn son.
But dashcam footage from the car park shows Charlotte7 voluntarily embracing the stranger and walking toward the cliff edge. Police also reveal Charlotte7 called a suicide helpline, End of the Line, nearly one hundred times in her final weeks. The charity guarantees absolute caller anonymity, leaving Ryan2 with no explanation, only rage.
Ryan's world fractures at the collision of two irreconcilable truths: the Charlotte he loved and the Charlotte who chose death with a stranger. His refusal to accept the suicide narrative is not denial but the seed of an investigative obsession. The dashcam footage transforms the abstract into the concrete; he cannot unsee his wife's final walk. The detail of the mobile phones pressed to both their ears becomes the novel's central mystery: who was on the other end of the line?
The Spreadsheet Vigilante
Months after Charlotte7's death, Ryan2 discovers her hidden iPad files behind a decoy calculator app. She had bookmarked suicide methods, message boards, and dark web forums where strangers encourage one another to die.
He finds repeated mentions of the Helpline Heroine,1 a woman who works at End of the Line and expertly guides callers toward completing suicide. Adopting the middle name Steven, Ryan2 begins calling the helpline relentlessly, maintaining a detailed spreadsheet of every volunteer he reaches. He logs their names, voices, and responses to his fake suicidal narrative.
After speaking to eighty-two different people, he finally reaches Laura.1 Her approach is immediately different: she tells him his suffering is permanent and only decisive action will end it. Ryan2 records the call on a Dictaphone. He knows he has found the woman who killed his wife.
Ryan's transformation from grieving widower to methodical hunter is captured in the chilling detail of his spreadsheet: eighty-two entries, each representing a person he has lied to and manipulated. He has become, in his own way, as calculating as the woman he hunts. The irony is that his grief-driven mission gives him the same sense of purpose that Laura derives from her secret calling. Both are filling voids with obsession.
Laura's Dark Genesis
Laura1's past unspools through memory and flashback. At eleven, she hid under her dying mother's bed and heard her final exhalation, finding the sound beautiful. A year later, her grieving father used her to crush sleeping pills into powder.
He mixed the powder into strawberry milkshakes for Laura1's two younger sisters before drinking his own, then locked Laura1 out of the bedroom. She heard all three of them die through the door. Her father told her she was stronger and must find an anchor. Laura1 later entered foster care, where she bonded with a boy named Olly.9
Their foster mother Sylvia sold the children to men. When Sylvia tried to sell Laura,1 Olly9 killed her. Olly9 went to prison. Laura1 eventually married Tony3 and had children, but she never stopped craving the sound of a last breath. It became her purpose.
Laura's origin story reframes her pathology as trauma transmuted into identity. Her father's act of exclusion was interpreted not as abandonment but as selection: she was chosen to carry on. This interpretation is likely a self-protective revision, which aligns with her broader pattern of rewriting reality. The 'anchor' concept becomes central: Henry is her current anchor, but Olly was once her protector, and her father was her original guide into the world of curated death.
The Cottage Ambush
Laura1 agrees to witness Steven2's hanging in person. She arrives at the address he provided, removes her gloves so she leaves no prints, and climbs the stairs to a dim bedroom. The noose hangs from the beam as arranged, but the room is otherwise empty except for the walls.
They are covered floor to ceiling with surveillance photographs: Laura1 at work, driving, at the gym, visiting her disabled son Henry.8 Steven2 emerges from the darkness. He is Ryan,2 Charlotte7's husband. He demands to know why she destroys vulnerable people. Laura1 pulls a kitchen knife from her coat.
When Ryan2 grabs her wrist, she plunges the blade into his stomach, yanks it free, and flees. She falls down the staircase, injuring her face, then drives to a darkened park. After timing exactly five minutes to establish an alibi, she runs to the police station and reports a stranger attacked her.
The cottage confrontation is the novel's first physical collision between its two predators, and both are wounded by it. Ryan's mistake is underestimating Laura's capacity for spontaneous violence. Laura's quick alibi construction demonstrates how effortlessly her self-preservation instinct converts disaster into advantage. The five-minute wait in the park is a masterstroke of cold calculation: she understands that CCTV timestamps and witness testimony are the scaffolding of credible lies.
Effie's Engineered Downfall
Ryan2 returns to his teaching position and discovers Effie Morris,4 Laura1's fourteen-year-old daughter, is a student. He becomes her form tutor and English teacher, then systematically undermines her. He marks her essays progressively lower, from A grades to Cs, eroding her academic identity.
He holds private meetings twice weekly, pretending to counsel her, while planting lies about other girls mocking her weight and intelligence. Effie4's friendships collapse, her grades plummet across all subjects, and she becomes emotionally dependent on Ryan.2
When she develops a crush and touches his leg in his car, he brutally rebuffs her, calling her stupid and unattractive. She flees in tears. Ryan2 has now used an innocent teenager as a weapon to draw out her mother,1 mirroring Laura1's own methods of emotional predation.
Ryan's cruelty toward Effie marks his definitive moral descent. He rationalizes it as necessary payback, but he has become structurally identical to Laura: someone who identifies vulnerability and exploits it for personal satisfaction. The car scene is particularly devastating because Effie, for all her bullying past, is still a child seeking adult validation. Ryan recognizes his corruption in the moment but cannot stop himself.
Face to Face at School
Laura,1 tipped off by school emails Ryan2 secretly added her to, arrives for a parent-teacher meeting about Effie.4 She walks into the head teacher's office to find Ryan2 sitting beside her husband Tony.3
Laura1 masks her shock while Ryan2 taunts her with phrases from their phone calls, warning her obliquely to check on Effie.4 After the meeting, Laura1 insists Tony3 take her to see their daughters. At his rented house, Effie4 is asleep with headphones on. But Laura1 notices something on Tony3's bed: an orange handbag with a Chinese dragon design.
It belongs to Janine Thomson,5 Laura1's manager at End of the Line. Janine5 has been sleeping with Tony.3 Laura1's fury now crystallizes around two targets: the woman who destroyed her marriage and the man who killed her stability.
This turning point crystallizes Laura's understanding that betrayal surrounds her on all sides. Ryan has invaded through her daughter; Janine has invaded through her husband. Laura's response is not grief but tactical rage. The orange handbag is a masterful detail: a garish, unmistakable object that makes denial impossible. Laura must now fight a war on two fronts.
Mother Turns Daughter
Laura1 meets Effie4 at a coffee shop and listens as her daughter confesses her crush on Ryan2 and his brutal rejection. Laura1 reframes the narrative: Ryan2 was grooming Effie4 from the start, lowering her grades to isolate her, demanding secrecy about their meetings.
Effie,4 desperate for maternal approval, agrees to help bring him down. She records a conversation where Ryan2 apologizes for giving her a lift and saying cruel things; out of context, it sounds like admission of sexual misconduct.
Laura1 then has Effie4 transfer a folder of teenage schoolgirl pornography onto Ryan2's work computer. Separately, Laura1 visits Ryan2's flat through an estate agent, steals his hammer, pours fake blood on Charlotte7's wedding dress, and leaves a dead piglet in the wardrobe, mocking his dead baby.
Laura's corruption of Effie is perhaps her darkest act: she turns her own child into a co-conspirator without Effie fully understanding the stakes. Effie agrees because she craves her mother's approval after years of emotional neglect. The dead piglet is a deliberately sadistic touch, designed to provoke Ryan into self-destructive rage. Laura is not merely defending herself; she is conducting psychological warfare with theatrical cruelty.
The Hammer and the Cliff
Laura1 lures Janine5 to a private meeting with gluten-free muffins laced with sedatives. As Janine5 weakens, Laura1 reveals she knows about the affair and the Dictaphone recordings Janine5 possesses. She produces Ryan2's stolen hammer and strikes Janine5 four times: throat, eye socket, skull.
She lingers to hear Janine5's last breath. Laura1 stages the scene meticulously, leaving the hammer with Ryan2's fingerprints and a crumpled surveillance photo of herself. Meanwhile, Ryan,2 now suspended from work and publicly branded a paedophile, drives drunk to Birling Gap.
He replays an imagined conversation with Charlotte,7 then walks to the cliff's edge. He pictures holding his wife and unborn son's hands. When Johnny6 calls, Ryan2 says goodbye and steps into the void. The police later find his car and assume he followed Charlotte7 into the sea.
Laura's murder of Janine is both elimination and ecstasy: she removes the woman who threatened her freedom and her marriage in a single act, while savoring Janine's last breath confirms that death itself remains Laura's deepest addiction. Ryan's suicide is the tragic culmination of his journey. He began seeking justice and ended up a wanted man, his name permanently stained. The cliff that took Charlotte now takes him.
Johnny's Fatal Mistake
Johnny Smith6 shaves his beard, removes his glasses, and wears his dead brother's2 Nirvana T-shirt. He lures Laura1 to Henry8's care home by impersonating Tony.3 When Laura1 arrives, she finds Johnny6 with Henry8's wheelchair poised near a lake.
Johnny6 reveals what Effie4 told him: Henry8 was born perfectly healthy but suffered catastrophic brain damage when Laura1 set their house on fire during a marital argument. Laura1 rewrites history to cast herself as the victim. Johnny6 demands she confess to everything. Laura1 weeps and denies all of it.
Tony3 arrives, having received Laura1's earlier email claiming Henry8 was ill. Seeing a man he believes to be Ryan2 threatening his wife and disabled son, Tony3 attacks with boxer's fury. Laura1 watches, aroused, as Tony3 beats Johnny6 to death on the gravel path.
This scene is the novel's moral nadir. Johnny, the one truly innocent character in the entire narrative, dies because Tony cannot distinguish between identical brothers and Laura exploits his protective instinct. Laura's erotic response to the violence reveals her deepest truth: she experiences power over death as the ultimate intimacy. Tony becomes her unwitting executioner, and she now has video evidence to own him completely.
The Gilded Prison
Laura1 retrieves Johnny6's dropped phone, which continued recording after he fell. The footage shows Tony3 beating an unarmed man to death. She uses this video to blackmail Tony:3 if he tries to leave or take the girls, she will send the recording to the police, guaranteeing a murder conviction.
The family moves back into the renovated house. Laura1 becomes branch manager at End of the Line. Effie4 is home-schooled after the Facebook exposure made her a pariah. Tony3 is a hollowed-out man who stares at the garden fence for hours.
Alice10 seems content. Two months later, Laura1 receives an email from JanineThomas@gmail.com5 containing an audio attachment: her own voice encouraging Ryan2 to kill himself. The message reads 'More to follow.' Laura1 screams until her throat is raw. Someone knows everything.
Laura has achieved her stated goals: family reunited, career advanced, enemies destroyed. Yet her victory is ash. Tony is a ghost, Effie radiates hatred, and Laura must now understand that her carefully constructed world has a fatal crack. The email from a dead woman's account is a perfect inversion: Laura, who has always been the hidden puppet-master, now finds herself being manipulated by an unseen hand.
Epilogue
Effie4 reveals she has been the one emailing Laura1 from Janine5's account. Months earlier, her little sister Alice10 stole the Dictaphone from Janine5's bag at Laura1's request. Effie4 intercepted it, copied the recordings of Laura1 coaching Ryan2 toward suicide, then handed the blank device over. She has been waiting, learning from her mother1 how to manipulate and destroy.
She blames Laura1 for the deaths of Ryan,2 Janine,5 and Johnny,6 and for turning her father3 into a broken man. She plans to send audio clips gradually, making Laura1 unravel piece by piece, before finally exposing her publicly. Effie4 ends with the words Laura1 once spoke to her: 'You are your mother's1 daughter. There is so much you can learn from me.' She has learned well.
The epilogue completes the novel's central tragedy: Laura has unknowingly replicated herself in her daughter. Effie's righteous anger is indistinguishable from Laura's vengeful cruelty in method, differing only in motive. The cycle of manipulation and destruction continues, but Effie occupies the moral high ground Laura never claimed. The novel ends not with resolution but with the promise of a new predator rising, one who may prove even more dangerous because she believes she is serving justice. Laura's greatest creation has become her greatest threat.
Analysis
The Good Samaritan is a study in moral contagion. Laura Morris1 is not born evil; she is forged by trauma, then chooses to replicate that trauma outward. Her childhood taught her that death is intimate, that the strong survive while the weak are sacrificed, and that identity is malleable. These lessons become her operating system. The novel poses an uncomfortable question: if evil is taught, can it be untaught, or does it merely spread? Ryan2 arrives seeking justice but becomes structurally identical to his enemy. Effie4 begins as a victim and ends as a predator-in-training. The tragedy is not that Laura1 is unique but that she is contagious. The helpline setting is the novel's masterstroke. An organization designed to prevent suicide becomes the vector for it, not because the institution is corrupt but because one person within it has weaponized its ethos of non-judgment. Laura1's manipulation works precisely because she offers what genuine volunteers offer: a listening ear, a refusal to condemn. She simply aims it in the opposite direction. The novel also interrogates the psychology of maternal failure. Laura1 loves Henry8 with a desperate, authentic devotion that makes her other relationships appear hollow by comparison. Yet she destroyed the healthy son she had through negligence, and she systematically damages her daughters through manipulation and neglect. She cannot love without consuming. Ultimately, The Good Samaritan suggests that the most dangerous people are those who have convinced themselves of their own virtue. Laura1 genuinely believes she is saving lost souls, and this self-deception makes her far more terrifying than any mustache-twirling villain. The scariest monster is the one who thinks she is an angel.
Review Summary
The Good Samaritan receives mostly positive reviews, praised for its dark, twisted plot and well-developed characters. Readers find the story gripping and unpredictable, with many unexpected twists. The main character, Laura, is described as a brilliantly written villain who elicits strong emotions from readers. Some criticize the book's ending and occasional unrealistic elements. Overall, it's considered a unique and compelling psychological thriller that explores themes of suicide, manipulation, and revenge. The book's disturbing content may not be suitable for all readers.
People Also Read
Characters
Laura Morris
Sociopathic helpline volunteerA woman in her late thirties who volunteers at a suicide prevention charity while secretly encouraging vulnerable callers to end their lives. She is a master of disguise, presenting to the world as a devoted mother, talented baker, and indispensable colleague. Privately, she collects funeral programs as trophies and craves the sound of a person's last breath, an obsession rooted in childhood trauma: she heard her mother die, then was excluded by her father from a family murder-suicide. She is an unreliable narrator who rewrites inconvenient realities, recasting herself as victim in every scenario. Her sociopathic traits include shallow affect, pathological lying, and instrumental use of other people. She genuinely believes she is a savior of lost souls.
Ryan Smith
Grieving widower turned avengerA secondary school English teacher whose pregnant wife Charlotte7 died in a suicide pact arranged by Laura1. His grief transforms into an obsessive investigation that gradually consumes his moral compass. He is methodical and intelligent, creating elaborate false identities and detailed spreadsheets to track his targets, but his emotional wounds make him impulsive at critical moments. He genuinely loved Charlotte7 and their unborn son, and his inability to understand her hidden depression drives him to extremes. As the novel progresses, he becomes increasingly similar to Laura1 in his willingness to manipulate innocent people, particularly Laura1's daughter Effie4. His arc moves from seeking justice to seeking revenge to seeking only an end to his suffering.
Tony Morris
Laura's estranged husbandAn insurance broker and amateur boxer who separated from Laura1 after discovering her psychiatric history and the truth about the house fire that disabled their son Henry8. He moved out with their daughters Effie4 and Alice10 to protect them, but Laura1 held evidence of financial fraud over his head, forcing continued contact. He began a relationship with Janine Thomson5 while still technically married. He is a fundamentally decent man who has been systematically broken by Laura1's manipulation. His boxing becomes an outlet for suppressed rage that ultimately proves catastrophic when he kills Johnny Smith6 under mistaken identity.
Effie Morris
Manipulated teenage daughterLaura1's fourteen-year-old daughter, a former popular girl whose confidence was systematically destroyed first by Ryan2, then by her own mother1. She transferred to a new school after the family fractured and built a persona as a bully to protect herself. She developed a crush on her teacher Ryan2, which he exploited, and then was coerced by Laura1 into making false accusations of grooming. Her moral trajectory is complex: she is both victim and perpetrator, genuinely hurt by adult manipulation but also capable of her own cruelty. By the novel's end, she has learned her mother's1 tactics and become Laura1's most dangerous adversary.
Janine Thomson
End of the Line managerThe branch manager at End of the Line who senses something wrong about Laura1 from the start. She is frumpy, unpopular with colleagues, and makes poor fashion choices, but she is perceptive and principled. She began dating Tony3 after he left Laura1, which intensified Laura1's hatred of her. She discovered that Laura1's branch had abnormally high suicide rates and, after Ryan2 provided the Dictaphone recordings, she was preparing to expose Laura1. Her relationship with Tony3 made her a threat to Laura1 on both professional and personal fronts.
Johnny Smith
Ryan's moral compassRyan2's younger brother, a pragmatic banker who tries repeatedly to pull Ryan2 back from the brink. He is the voice of conscience Ryan2 ignores: he confronts Ryan2 about the cruel manipulation of Effie4, urges him to go to the police rather than pursue vigilante justice, and cleans up Ryan2's messes. He is the only character in the novel motivated purely by love and loyalty rather than self-interest or revenge. His eventual decision to impersonate his dead brother and confront Laura1 directly is a tragic miscalculation born of desperation.
Charlotte Smith
Ryan's deceased wifeRyan2's wife, a graphic designer who suffered severe prenatal depression during her pregnancy. Her mental health deteriorated to the point where she believed she would be a terrible mother and that her husband was having an affair. Laura1 found her through suicide message boards, encouraged her to stop taking antidepressants, and matched her with David9 as a suicide partner. She walked off the Birling Gap cliffs with him while seven months pregnant with a boy she and Ryan2 had named Daniel. Her death is the catalyst for the entire narrative, and her hidden iPad files become Ryan2's roadmap to the truth.
Henry Morris
Laura's disabled sonLaura1 and Tony3's seven-year-old son who lives in residential care. He was born perfectly healthy but suffered catastrophic brain damage at age four when Laura1 set fire to their house during a marital argument, not knowing he was upstairs. The smoke inhalation starved his brain of oxygen, leaving him with the mental capacity of a one-year-old. Laura1 visits him four times weekly and considers him her 'anchor': the person whose existence keeps her tethered to life. Her maternal devotion to him is the one genuine emotional connection she maintains, making their relationship both touching and deeply unsettling.
Olly (David Oliver)
Laura's foster brother turned suicideA homeless alcoholic who grew up with Laura1 in foster care. He killed their abusive foster mother Sylvia to protect Laura1 from being sold to men, then spent years in prison. Upon release, he lived rough in Northampton, his health destroyed by alcoholism, HIV, and other diseases. Laura1 tried to help him but he refused detox. Eventually, he asked Laura1 to help him die. She matched him with Charlotte7 because he didn't want to die alone. Laura1's memories of him are fragmented and unreliable; she sometimes confused him with a caller she called David, suggesting psychological dissociation from the trauma they shared.
Alice Morris
Laura's innocent younger daughterLaura1 and Tony3's nine-year-old daughter who seems genuinely happy to have her mother back in her life. Unlike Effie4, she is too young to fully understand the darkness surrounding her family. She loves her cat Bieber and was easily persuaded to retrieve the Dictaphone from Janine5's bag at her mother's request, unwittingly becoming a pawn in Laura1's schemes.
Mary
Elderly End of the Line volunteerThe oldest volunteer at End of the Line, who mentored Laura1 during her training. She is kind-hearted, naive, and represents everything Laura1 pretends to be. She found Janine5's body and was so traumatized she never returned to the office.
Plot Devices
End of the Line
Suicide helpline guaranteeing anonymityA registered charity with branches across the UK where volunteers answer calls from people experiencing emotional distress. The organization's policy is to listen without judgment and never to talk callers out of suicide, instead allowing them to explore their feelings. Calls are routed anonymously to the nearest branch, making it impossible to trace which volunteer spoke to which caller. This anonymity protects both the vulnerable callers and, paradoxically, Laura1, who exploits the system to identify, groom, and encourage suicidal people without leaving a traceable connection.
Dictaphone Recordings
Recorded evidence of Laura's crimesRyan2 records every phone conversation with Laura1 using a Dictaphone connected to his mobile phone. These recordings capture Laura1 coaching him on hanging methods, agreeing to witness his death, and revealing that she has helped others die. The device passes through multiple hands: Ryan2 gives it to Janine5 as evidence, Laura1's daughter Alice10 steals it from Janine5's bag at Laura1's request, Laura1 erases the files, and Effie4 secretly copies the audio before handing over the blank device. The recordings become the final weapon in Effie4's campaign to destroy her mother1.
The Harpole Cottage
Dream home turned confrontation siteA rundown cottage in the village of Harpole that Ryan2 secretly purchased as a surprise for Charlotte7. She had admired it during walks but died the day Ryan2 got the keys. The cottage sat empty for months until Ryan2 used it as the location for his trap: he covered the bedroom walls with surveillance photos of Laura1 and her family and hung a noose from the beams exactly as Laura1 had instructed. The confrontation there ended with Laura1 stabbing Ryan2 and fleeing. The location's history (the previous owner's husband also returned from the dead) adds an eerie parallel to the story's themes of resurrection and revenge.
The Hammer
Murder weapon used to frame RyanA hammer Laura1 stole from Ryan2's flat while viewing it with an estate agent. She used her jacket sleeve to handle it, preserving Ryan2's fingerprints. Weeks later, she used it to bludgeon Janine5 to death in the End of the Line drop-in room, then left it with the body. Police found Ryan2's DNA on the weapon and his threatening voicemail on Janine5's phone, building a compelling case that Ryan2 murdered the charity manager. The hammer is the physical link that completes Laura1's frame-up.
Social Media and Facebook
Platform for public shaming campaignsBoth Laura1 and Effie4 use social media as weapons of destruction. Laura1 creates a fake account under Charlotte Smith7's name to post the recording of Effie4 and Ryan2's conversation across school parent groups, along with video of Ryan2 trying to break into her house. This public exposure brands Ryan2 as a paedophile and ruins his reputation beyond recovery. Effie4 herself had previously been targeted by Laura1, who posted naked photos of Effie4's boyfriend Thom online. Social media in the novel consistently amplifies private vendettas into public executions.
About the Author
Other books by John Marrs
Download PDF
Download EPUB
.epub digital book format is ideal for reading ebooks on phones, tablets, and e-readers.
