54 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.
The narrative shifts to Emily’s perspective. Aidan resumes his patronage of Amandine with a new formality to his interactions with Emily. Emily persuades the judge that they should host an outdoor Christmas party on Aidan’s lawn.
The narrative shifts to “Rachel’s” perspective. Cecilia hates the idea of a party at their house, complaining that it is an unfair intrusion. Aidan seems resigned, and “Rachel” senses that Aidan is planning something. “Rachel” believes it is time to act and that Emily’s safety depends upon it, but she has decided that she cannot kill Aidan. “Rachel” knows that her actions could destroy Cecilia’s life, but she cannot allow another homicide. The night of the party, “Rachel” is instructed to remain inside.
The novel shifts to the final interlude describing the last moments of Number Nine. This woman fights for her life, lashing out violently against Aidan. He is shocked and flustered to encounter such vehement resistance and absence of fear. He claims that he has a daughter and tenant (“Rachel”) relying upon him, and Number Nine begrudges him the assumption that her own life and loved ones are somehow irrelevant by comparison. She holds on to every last moment of her life as Aidan wrenches it from her. (Number Nine is the woman whose shoe is found on the hiking trail and whose disappearance is noted by the local community.)
Back in the present moment, the narrative describes Emily’s perspective. She decides to wear Aidan’s scarf, hoping others will recognize it and assume that the two are romantically involved. She watches Aidan at the party, noticing how many times he steps into the house, which has been declared off-limits to guests. Emily waits until he is distracted and lets herself into his home again.
The narrative shifts to “Rachel’s” perspective. She unlocks the handcuffs with the safety pin and descends into the basement, pocketing the gun and the Polaroids. When “Rachel” opens the basement door, Emily is there in the house, “snooping.” Cecilia comes through the front door, and Emily is caught, claiming that she just wants to use the bathroom. “Rachel” manages to retreat behind the basement door without being seen, but when she emerges again, Emily is still there, giving the same excuse about the bathroom and pleading with “Rachel” not to tell Aidan that she saw her. There is a polite but emotionally strained exchange between them, and Emily excuses herself to finally “use the bathroom.” “Rachel” goes upstairs to Cecilia’s room with the gun in her hand, telling Cecilia they are going for a ride. She tries to remain reassuring as she and the terrified Cecilia sneak out.
The narrative shifts to Emily’s perspective. She is curious about what “Rachel” might have been doing in the basement, so she lets herself in again through the unlocked door. While she is creeping around, Aidan appears behind her. She attempts to be flirtatious and make light of her intrusion, but he suddenly grabs her wrist and squeezes. He releases her and apologizes profusely, then invites her deeper into the basement. However, when the door to his truck slams and the engine roars to life, he races up the stairs.
The narrative shifts to Emily’s perspective, “Rachel” tears away from the house behind the wheel of Aidan’s truck, watching for the landmarks she committed to memory during her ride downtown. Emily offers Aidan the keys to her car, and they pursue the truck. Aidan is furious, and his rage increases when Emily’s car stalls and dies on the side of the road. He gets out and begins to run. Ignoring Aidan’s declaration that he should have killed “that bitch” a long time ago, Emily runs after him, making the deliberate choice to believe that he is going after his daughter, not “Rachel.”
Meanwhile, “Rachel” veers off the road and into a ditch. She forces Cecilia out of the truck, and hand in hand they run toward town. She can hear Aidan shouting as he gains ground.
Emily’s perspective takes over the narrative. She manages to start her car and catch up to the action, watching as Aidan wrenches Cecilia away from “Rachel.” Emily expects him to prioritize his daughter’s safety, but instead he continues to run after “Rachel.” Emily tries to call him back but cannot keep up with the chase.
A subsequent scene depicts Aidan and “Rachel” at the police station. Aidan is angrily playing the victim, accusing “Rachel” of kidnapping Cecilia. “Rachel” and Aidan are taken to separate interrogation rooms. “‘Officer,’ she begins, ‘My name is May Mitchell’” (288).
Later Emily arrives at the police station for a formal interview. The police take her phone, May’s/“Rachel’s” necklace, and Aidan’s scarf as evidence. The FBI is present, and an agent observes that everyone in town is astonished to learn that a beloved citizen is actually a serial killer. It becomes public knowledge that Emily and Aidan were sexually involved, and Emily decides to accept an offer to buy Amandine. She secures a job and an apartment in New York City and tracks down May’s/“Rachel’s” address, showing up unannounced.
The narrative shifts to May’s/“Rachel’s” perspective. Her mother attempts to turn Emily away, but May/“Rachel” patiently listens as Emily tells her that she had no idea what kind of person Aidan was. Emily asks May/“Rachel” for a hug, and May/“Rachel” consents, realizing that Emily has been emotionally shattered. May/“Rachel” recognizes that there is no one else, not even Cecilia, who can appreciate what it feels like to become collateral damage of Aidan Thomas’s whims. She embraces Emily, hoping it will help them both heal. It is also revealed that Cecilia has gone to live with her grandparents.
Even in the 21st century, when GPS tracking, ubiquitous security footage, and advanced DNA technology aid significantly in detection techniques, serial killers often manage to evade capture because they choose victims with whom they have no connection, tangential or otherwise. Much of today’s common vernacular articulating the behavior of serial killers originated with the FBI’s Behavioral Analysis Unit. In his memoir, Mindhunter, Co-Founder Supervisory Special Agent and Unit Chief John E. Douglas states the following:
Modus operandi—MO—is learned behavior. It’s what the perpetrator does to commit the crime. It is dynamic—that is, it can change. Signature, a term I coined to distinguish it from MO, is what the perpetrator has to do to fulfill himself. It is static; it does not change (Douglas, John E., and Mark Olshaker. Mindhunter. Gallery Books, 2017).
Because Michallon herself is well-versed in these concepts and uses them to construct her characters, Douglas’s conceptual framework is especially useful in illuminating the nuances of Aidan’s behavior over time. Part of Aidan’s signature requires that he stalk his victims before he kills them; additionally, he is compelled to take belongings from his victims so that he can reminisce about his kills as time goes on. For serial killers, as Douglas emphasizes, such compulsions are essential to achieving fulfillment in the act of murder, so they cannot be omitted from the process, no matter how objectively risky they may be. And therein lies Aidan’s downfall. For if Emily were to go missing, her public connection to Aidan would make it far more likely that the police would consider him a suspect, and an eventual search of his home would soon reveal the belongings of all the other murdered women. Thus, Aidan finds himself in a bind. To allow Emily to live is to risk her discovering his secret, but killing her outright is just as risky. His increasingly erratic behavior amidst this conundrum causes his entire scheme to fall apart as “Rachel” escapes to freedom. Michallon does not reveal the details of Emily’s realizations after the crisis has passed, so it is never clear whether Emily realizes just how narrowly she escaped being murdered. However, her decision to visit May/“Rachel” after the fact is designed to imply her deep distress over the entire incident, while still emphasizing her essentially selfish nature. By seeking May/“Rachel” out, she ultimately wishes to gain some measure of reassurance for herself; she stresses her ignorance of Aidan’s true nature in order to assuage her guilt over her failure to help the captive woman, and she then seeks emotional reassurance from someone who has far greater need of comfort and support. Despite this dynamic, May/“Rachel” does choose to receive Emily’s sentiments, understanding the other woman’s need to heal and demonstrating the Shared Empathy Between Women when faced with diabolically difficult situations.
It is also important to note that even when there is no chance of evading justice, Aidan still maintains an illusion of respectability and aggrieved innocence, repeatedly shouting “She took my kid!” (288). The audacity of this stance illustrates the true depths of his arrogance, his hypocrisy, and his inability to empathize with others, for he spent two decades hunting, torturing, raping, and murdered numerous women—who, from a different perspective, were also the grown “kids” of their devastated parents. He terrorized them for the purposes of his own personal gratification, disposing of them like objects when he was finished. Despite these heinous acts, he is indignant when “Rachel” takes Cecilia and expects an immediate police response; yet, his anger ultimately stems from his captive’s decision to disobey him, not from any concern for his daughter’s safety. Thus, Aidan’s inability to understand the irony of his complaint to the police speaks to the extreme degree that he is able to compartmentalize his darker behaviors and continue Hiding Key Personality Traits. Fortunately for “Rachel,” his vocal tantrum works in her favor, serving to demonstrate Aidan’s true volatility.



Unlock all 54 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.