53 pages • 1-hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains discussion of graphic violence, sexual content, cursing, illness or death, and mental illness.
Anson struggles to focus at work, worried about the Hangman. Shep suggests they check on Rhodes and Fallon. They arrive at Rhodes’s property to find a shaken Fallon, who points them to a parked police cruiser.
Anson and Shep discover Deputy Rolston dead inside with his throat slit. Realizing Rhodes is gone, Anson searches her guesthouse and finds her dog, Biscuit. On a bookshelf, he finds a taunting note from the Hangman claiming Rhodes and challenging Anson to a game.
Rhodes wakes on the floor of a burned-out cabin with a head injury. In a flashback, she recalls seeing the deputy’s body before being attacked from behind. The cabin walls are plastered with photos of her from childhood to adulthood. The scope of the collection convinces her that Felix is not her stalker.
A man speaks, and she turns to recognize her captor as Silas Arnett, one of the construction crew members.
At the sheriff’s station, Anson concludes that Rhodes’s stalker and the Hangman are the same person—a local hidden in plain sight. With Trace and FBI Special Agent Helena, he builds a profile suggesting an offender close to Rhodes’s age who likely started with arson. They learn that the security cameras at Rhodes’s property were disabled.
Trace reports that Owen Mead has a solid alibi. The case pivots when Shep calls to report that Silas Arnett left work sick and has vanished. Anson reassesses past interactions and identifies Silas as their prime suspect.
Silas tells Rhodes that the burned cabin is his childhood home. His fixation began in middle school when he misread her kindness as a private bond. He details how he manipulated Felix, set the fire that killed her family, and orchestrated her car crash.
He admits he is the Hangman and that he murdered women who resembled Rhodes, as well as Anson’s sister. Rhodes fights, but he overpowers and chokes her, calling her his “Little Phoenix.” He says his plan is to kill her with a knife while Anson watches.
The task force finds no properties tied to Silas beyond his apartment. Fallon shares that Silas grew up locally and that his mother and sister supposedly moved away six years ago. Anson theorizes that Silas likely murdered them then.
Trace discovers that the family’s former property is still in the mother’s name with unpaid taxes, suggesting that this is where Silas has taken Rhodes. A convoy speeds to the remote site. They approach on foot and reach a burned-out structure where Silas holds Rhodes at knifepoint.
Silas presses a knife to Rhodes’s throat as law enforcement surrounds the ruin. A negotiator attempts to talk Silas down, but he demands to speak to Anson. Anson steps forward and tries to undercut Silas’s ego. Silas taunts him about his sister and refuses Anson’s offer to trade himself for Rhodes.
As Silas drags Rhodes backward, she declares her love to Anson. In that instant, the fire-damaged floor collapses, and Rhodes and Silas plunge into the basement.
Trace holds Anson back long enough for the search-and-rescue team to rig ropes. Anson rappels into the basement.
He finds Silas dead with a broken neck. Nearby, he locates Rhodes unconscious and bleeding from a neck wound, but alive. She rouses briefly as he checks her pulse. He tells her he loves her and urges her to hold on as she is secured in a harness for extraction.
Days later, Rhodes wakes in a hospital room to Anson’s voice. He explains her injuries: a broken arm, a concussion, and a neck wound. He confirms that Silas died in the fall.
Anson blames himself for not identifying Silas sooner, but Rhodes rejects his guilt. He admits he has feared loving her because love brings the risk of loss. He finally says he loves her, and she says it back. They commit to a future together.
Two days later, Rhodes prepares to leave the hospital. Her foster brother Cope drives her home, explaining that Silas manipulated Felix by convincing him that Anson was abusive. Police recovered trophies from dozens of victims in Silas’s apartment.
At the guesthouse, Anson greets her with Biscuit. Lolli, Nora, and Keely welcome her. Rhodes confirms that she will adopt Biscuit and rebuild the Victorian. Anson asks to move in during the restoration, and she agrees.
Six months later, Rhodes arrives at her fully restored Victorian. A playful note from Anson leads her inside, where the entryway has the same fairy wallpaper her mother once chose. Anson explains that he contacted hundreds of stores to find it.
In the restored library, now a gallery of family photos, Anson gives her a copy of Madeleine L’Engle’s classic middle grade novel A Wrinkle in Time. A bookmark hides a pink diamond ring. He proposes, and Rhodes accepts, embracing their new beginning in the home they have reclaimed.
The novel’s climax brings the central theme of The Deceptive Nature of Appearances to its conclusion. Silas Arnett’s unveiling as both Rhodes’s stalker and The Hangman confirms that the greatest threats often originate from within a community, subverting the trope of the small town as a place of safety. Until his confession, Silas existed as a peripheral figure—a coworker and childhood acquaintance. His ability to blend in is a testament to the ability of evil to hide behind a charming facade. The initial misdirection towards antagonists like Davis or Felix serves to heighten the shock of Silas’s reveal and reinforces the theme’s cautionary message. Silas’s confession that he watched Rhodes after the first fire, that he “[got] to see you suffer” (331), solidifies his identity as a predator who weaponizes familiarity.
These final chapters resolve the parallel character arcs of Rhodes and Anson, as each character heals by Confronting the Traumas of the Past. Both protagonists are forced into a confrontation with the sources of their deepest traumas. For Rhodes, learning that the fire was a targeted act reframes her 14 years of survivor’s guilt. Silas’s capture allows her to process the loss of her family without the burden of misplaced self-blame. For Anson, the revelation that The Hangman is Silas brings the monster who killed his sister into his immediate reality. The standoff offers him a chance to redeem what he has seen as his life’s defining failure. The physical collapse of the burned-out cabin floor beneath Rhodes and Silas symbolizes the destruction of the rotten foundations upon which both characters’ traumas were built. Their subsequent reunion in the hospital marks a turning point. Anson’s confession of love for Rhodes, coupled with his admission that he was “too scared to give you those words until now” (352) signifies his abandonment of isolation as a coping mechanism, allowing him to embrace vulnerability.
The symbolic arc of the Victorian house finds its resolution in these concluding sections, representing trauma, healing, and reclamation. Rhodes’s captivity in a different burned-out structure—Silas’s own family home—creates a parallel that underscores the cyclical nature of trauma. This setting externalizes the internal ruin both she and Anson have carried. However, the Epilogue shifts this symbolism from ruin to restoration. The house’s transformation is a deliberate act of reclaiming memory and creating new meaning, embodying the theme of Finding Sanctuary in Chosen Family. Anson’s painstaking effort to find the original fairy wallpaper chosen by Rhodes’s mother is a significant gesture; it does not erase the past but integrates it into a hopeful future. The library, once a site of loss, becomes a gallery of photos celebrating both Rhodes’s biological family and her found family, including the Colsons and Anson, visually merging her past and present. The house is no longer a monument to grief but a living sanctuary, proving that a space becomes a home when imbued with the love of a chosen family.
The resolution uses the motif of color and its absence to articulate the novel’s final statements on healing. Anson, who spent years living in a self-imposed emotional “gray,” fully steps into Rhodes’s world of vibrancy. This transformation is crystallized in the Epilogue through two details: his wearing of a flannel shirt containing pink threads and his choice of a pink diamond for the engagement ring. His explanation that it had to be “a pink diamond for my colorful, reckless girl. A flower for the queen of life” (366) explicitly links Rhodes’s life-affirming nature—associated with the flower motif—to the color that represents the emotional warmth he previously denied himself. The successful restoration of the Victorian, complete with flowerbeds promising a “riot of color come spring” (362), signifies the triumph of life and beauty over the destructive force of fire that had long defined the property. This narrative choice provides a conclusion not just to the plot but to the intricate symbolic patterns established throughout the novel, affirming that resilience can cultivate new life from the ashes.



Unlock all 53 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.