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.
Summaries & Analyses
Plot Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Book Club Questions
Reading Tools
Content Warning: This section of the guide includes discussion of graphic violence, physical abuse, emotional abuse, and illness or death.
Aimee panics while searching Jack’s house and finds a child’s bedroom that triggers disturbing memories. Jack returns with groceries, explaining that the room belongs to his daughter, Lilly, from his first marriage, and that his ex-wife died of cancer. He admits that journalist Jennifer Jones has been extorting him over a past affair.
After her terminal diagnosis, Maggie returns to her flat, resolving to complete her plan. She burns personal documents and confirms that she has been tracking Aimee’s phone and emails. She acknowledges tipping off Jennifer Jones about Aimee’s location with Jack and plans to revert to her true identity once she reunites with Aimee.
Aimee meets her agent, Tony, who reassures her that her notoriety has generated new script offers. He then reveals that her meeting with the director Fincher is happening now, at their table. Feeling physically and mentally unprepared, Aimee panics, but Tony reassures her, and she forces herself to perform.
As Aimee meets with Fincher, Maggie flips through her scrapbook, feeling that time is running out. Ignoring the lump in her chest, she confirms Aimee’s location via tracking. She puts on Aimee’s old trench coat and red lipstick and then leaves her flat, determined to reclaim the love that she believes Aimee owes her.
That evening, Aimee and Jack celebrate her successful meeting at a restaurant bar, sharing a passionate kiss. A tapping on the window draws their attention to a woman outside, who is wearing Aimee’s missing trench coat and waving at them. Aimee races outside, but the street is empty.
Fleeing after seeing Aimee and Jack, Maggie returns to her flat, distressed. She strips off her disguise, cries at her reflection, and finds strange comfort in a splinter still in her finger. She scrubs off her makeup, feeling her true self reemerge.
Detective Croft interviews Aimee and Jack about the stalker and reports that paparazzi captured their kiss. Croft reveals that the identity of the impostor “Ben” is unknown and that Aimee’s birth father, John Sinclair, is alive. Croft adds that John’s last known contact after prison was with a brother-in-law, Michael O’Neil. Aimee says nothing.
Alone, Maggie reviews her plan. Her thoughts reveal that she cast an impostor to play “Ben,” exhumed the real Ben Bailey’s body to plant different remains at the house, and dressed as Aimee to create false evidence. She believes that the plan will soon force Aimee to remember everything and call her.
Tony calls Aimee to say that Alicia White intercepted the director and got the Fincher role. Aimee blames Jack, but he denies it and consoles her. They have sex, after which Aimee remembers where she hid her gun.
While Aimee is with Jack, Maggie waits for a call that doesn’t come. She removes the splinter from her finger and places it on the mantelpiece. She reflects that both she and Aimee use names borrowed from the dead, writes her real name in the dust, and prepares for her final act.
Aimee goes home to retrieve her gun. While jogging on Portobello Road, she spots a childhood photo of “Ben” in a shop window. The shopkeeper gives her a business card for the supplier, a house-clearance company run by Maggie O’Neil. Aimee buys the photo and finds writing on the back identifying the boy as John Sinclair at age five.
Maggie ignores her ringing phone, certain that it’s Aimee. When the call goes to voicemail, she listens to Aimee’s fearful message 13 times. Convinced that her plan has worked, Maggie decides not to call back, forcing Aimee to seek her out in person.
Aimee returns to Jack’s and tries to process the link between Maggie, John Sinclair, and the man who posed as her husband. After they’re intimate again, Aimee tells Jack that she needs to go out. She takes her gun and leaves to confront Maggie.
The address on Maggie’s card leads Aimee to the old betting shop in Essex. In the flat upstairs, she finds a photo album of her career clippings. On the last page is a letter she wrote 20 years ago to her brother, Eamonn, revealing that her name is Ciara and that Maggie and John kidnapped her. A figure appears and calls her Ciara.
The figure removes a wig, revealing “Ben” as her brother, Eamonn. He confesses that he posed as Ben and then had surgery to resemble Jack, stalked her as “Maggie,” and murdered John Sinclair. Blaming Ciara for destroying their family, he attacks her, takes her gun, and uses a stun gun to incapacitate her.
Aimee drifts in and out of consciousness, realizing that she’s rolled in a carpet liner in a moving van. Later, she awakens bound and gagged inside a small box. Eamonn opens it and drugs her into unconsciousness.
Aimee wakes tied to a bed in her childhood home in Ireland. Eamonn, undisguised, says he posed as Maggie to confuse her and plans to keep her there forever. He falls asleep on top of her. Recalling Maggie’s advice that acting could save her, Aimee resolves to perform whatever role she must to survive.
Aimee wakes Eamonn and feigns affection. After he has sex with her, frees one of her hands, and falls asleep, she grabs a heavy statue and strikes his head repeatedly. Then, she runs outside into the storm, and he pursues her. In the shed, she finds the axe, and when he enters, she swings it into his neck and then strikes again, decapitating him.
Six months later, a pregnant Aimee is married to Jack. She attends a press junket for the Fincher film she stars in, having won the role after Alicia White vanished. During an interview for a film titled Sometimes I Kill, Aimee introduces herself and misspeaks, delivering the title as a confession. She smiles, blames the slip on pregnancy, agrees to a retake, and adds that she does not repeat mistakes.
The novel’s final section thematically brings The Fragility of a Constructed Identity to its climax, demonstrating that identity isn’t only a performance but a weapon. The elaborate personas built throughout the narrative (the actress Aimee Sinclair, the husband Ben Bailey, the stalker Maggie O’Neil) implode to reveal a core of familial trauma. Eamonn’s assumption of multiple identities is the theme’s most extreme manifestation. He not only adopts the name of a dead man but also performs the persona of Maggie, their childhood captor. His subsequent plastic surgery to mimic Jack Anderson is a final attempt to literally embody the object of Aimee’s affection, suggesting his belief that one can physically sculpt one’s identity to manipulate love. His confession that his new nose looks “Just. Like. Jack” (272) casts identity as a superficial mask. Aimee, whose life has been a series of roles, ultimately weaponizes this same concept. Trapped by Eamonn, she recalls Maggie’s advice that “acting will save you” (280) and performs the role of a submissive lover to orchestrate her escape. Her final act isn’t a reclamation of an authentic self but the successful performance of a new role: the survivor who has mastered deception.
The narrative structure of these concluding chapters is instrumental in exploring both The Unreliability of Memory as a Consequence of Trauma and The Destructive Nature of Deception in Relationships. The novel reveals that its dual-perspective narrative, which alternates between Aimee and a character it presents as Maggie, contains the central deception: The “Maggie” chapters are really from Eamonn’s perspective, a structural gaslighting that mirrors the psychological manipulation Aimee endures. This technique conveys Aimee’s perception, in which accepted reality is shattered and prior events must be reevaluated. Aimee’s own narration reflects this instability through her commentary on storytelling, which observes that “[t]he stories we tell each other about our lives are like snow globes” in which “the pieces settle into fiction” (243). This statement provides a key to the novel’s architecture, suggesting that memory and narrative are inherently reconstructive. The revelation hinges on a physical piece of text (Aimee’s letter to Eamonn), which is the catalyst that collapses the two deceptive narrative streams into one truth, proving that the deepest deceptions are those rooted in family.
The climax brings key symbols and motifs to their full fruition. Eamonn physically presents the red shoes, previously a symbol of Aimee’s lost innocence, to her. This act recontextualizes the symbol, transforming it from an emblem of Aimee’s trauma into the source of Eamonn’s vengeful obsession. The shoes are no longer about what was stolen from her, but what he believes that she cost him. Similarly, the gun signifies a completed cycle of violence. Introduced as an object of survival in Aimee’s childhood, hidden out of fear, and then used by Eamonn to assault her, it ultimately fails to be the instrument of final justice. Instead, Aimee’s use of the childhood axe to kill Eamonn signifies a more primal return to the origin of their shared trauma. By wielding the tool that her father used to terrorize Eamonn, she fully internalizes the violence of her past to secure her future. The text resolves the recurring motif, “I know who you are” (272), not as a generic threat, but as Eamonn’s literal, possessive claim over his sister’s original identity as Ciara.
Ultimately, these chapters chart Aimee’s final transformation from a fractured target into a morally ambiguous survivor who has learned to wield deception and violence as tools for self-preservation. She escapes not by uncovering a hidden strength, but by consciously adopting her abuser’s manipulative tactics. She performs a desire for Eamonn to gain his trust before bludgeoning him, a calculated act of violence that mirrors the planning he perpetrated against her. This arc culminates in the Epilogue, when she builds her new life (marriage, a successful career, and a pregnancy) upon undisclosed violence. The unresolved disappearance of her rival, Alicia White, coupled with her on-camera statement that she “never make[s] the same mistake twice” (288), solidifies her evolution. The line, delivered after a Freudian slip in which she confesses to killing, confirms that she has moved beyond being a pawn and has become a player who controls the narrative. She hasn’t healed from her trauma; she has weaponized it, ensuring her survival by embracing the darkness that once sought to consume her.



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