With a Vengeance

Riley Sager

64 pages 2-hour read

Riley Sager

With a Vengeance

Fiction | Novel | Adult | Published in 2025

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Parts 3-5Chapter Summaries & Analyses

Content Warning: This section of the guide features discussions and depictions of graphic violence, death, death by suicide, and substance use.

Part 3: “9 p.m.: Eleven Hours to Chicago” - Part 5: “11 p.m.: “Nine Hours to Chicago”

Part 3, Chapter 10 Summary

The train doesn’t stop. Judd explains how the emergency brake works: Pulling it doesn’t suddenly stop the train but instead alerts the conductors in the cab to decide whether to stop the train. The only conductor on the train is Seamus, who introduces himself as Seamus Callahan, the older brother of Sean Callahan, one of the men killed in the train explosion.


Jack decides to confront the engineer who is running the train. The group, including Judd, follows him under Seamus’s stern supervision. Judd remembers when Kenneth first approached Judd with his scheme. Judd was bitter at Arthur for taking all the credit for the design of the Phoenix and for his subsequent wealth. Judd’s bitterness made him agree to Kenneth’s scheme, which he now regrets. When they reach the locomotive, Jack and Judd pound desperately on the door.

Part 3, Chapter 11 Summary

Anna remains in the lounge with Dante. Dante recognized Anna’s handwriting on her invitation to his father. Anna remembers the letters she and Dante once exchanged. She and Dante met when Dante and his father snuck into one of Arthur’s company Christmas parties. Dante flirted with Anna until Anna’s mother angrily interrupted them and kicked Dante and Kenneth out of the party. Anna was charmed by Dante and even forgot her lines in her role as Juliet when Dante attended her prep school’s production of Romeo and Juliet. He gave her roses after the show, and Anna was enchanted.


Now, Anna has no romantic feelings for Dante. He plays the piano as they discuss Anna’s plan. Anna confirms that Kenneth sent money to five Swiss accounts belonging to Judd, Herb, Jack, Sal, and Edith after the plot against her father finished. Dante works for his father, so Anna assumes that he knew about the plot. He didn’t. Dante correctly guesses that Anna paid off the other employees of the Phoenix and prevented other passengers from boarding to keep the train empty and prevent anyone escaping. He knows the train won’t stop until Chicago, and Anna chose Chicago to watch the group squirm.


Anna goes toward the locomotive to check on the rest of the group, and Dante follows her. The group continues pounding on the door and attempting to bribe the engineer, but to no avail. Dante decides he is the only one who can stop the train, as the son of the train’s owner, and he commands the engineer to keep the train going. Anna breathes a sigh of relief.

Part 3, Chapter 12 Summary

The group turns on Dante. Dante says that they and his father likely deserve what is coming to them. Jack threatens to kill Anna and get off the train. Seamus pulls out a revolver and threatens the group if they try to harm him or Anna. Herb threatens to jump off the train, but Anna tells him that he’ll be either killed or too badly injured to escape. She tells the group to return to the first-class lounge, and they do.


Dante makes martinis for everyone except Edith, who doesn’t drink. Jack displays symptoms of a heart attack, and Anna realizes that he’s faking in a bid to stop the train. Judd begins acting strange before collapsing with foam coming out of his mouth. Anna kneels beside him, but he groans and goes still. Judd is dead, which is not part of Anna’s plan.

Part 4, Chapter 13 Summary

Judd’s death shakes the group. Anna panics and tries not to cry, remembering Aunt Retta’s demands that she keep her emotions hidden. Anna can’t stop the train to call the police, so she must identify the killer herself. She inspects the martini glass Judd drank from and finds a gritty powder, indicating Judd was poisoned. She accuses the rest of the group of conspirators of murdering Judd. The group denies it, and Anna focuses on Dante, who made the drinks. Dante states that he made all the drinks from the same shaker and let everyone choose their own glass. Anna assesses the order in which people took the drinks to deduce who could’ve poisoned Judd’s glass. Jack chose last, and he didn’t choose Judd’s drink because he saw a finger smudge on the glass. Anna believes someone poisoned the glass, but Judd was the first one to arrive in the first-class lounge.


Seamus and Anna search everyone for poison, with Seamus searching the men and Anna searching Sal and Edith. They find nothing, and Anna nearly strangles Edith when Edith tells Anna that her parents would “weep” at who Anna has become. The group sits in tense silence for 20 minutes until they hear a voice. A man in a flannel suit appears: There’s a ninth person on the train.

Part 5, Chapter 14 Summary

The mystery man is happy to see the group until he notices Judd’s corpse covered by a sheet on the floor. He claims to be Reginald, or Reggie, Davis, an insurance salesman who boarded the wrong train. He was supposed to go to Baltimore, but when he realized he was on the wrong train, it was already moving. He claims to have been in the bathroom with a nervous stomach. Anna asks him for identification, but his things are in his cabin in coach. Reggie wants to go back to his cabin, but Anna refuses to let him. She tells him about her family’s destruction and the roles the conspirators played in it. Reggie suggests that Judd died by suicide to avoid being arrested in Chicago. Seamus searches Judd’s body but finds no poison.


The group insists that Anna and Seamus be searched. Anna doesn’t want anyone who hurt her family to touch her, so she asks Reggie to pat her down. He does, and when he gets to her thigh sheath with her knife, he lies and tells the group he found nothing. He searches Seamus, who gives the revolver to Anna. Reggie is nervous about there being a gun onboard, but Anna promises that she and Seamus will protect him. They offer him an empty first-class cabin to lock himself in. He seems nervous. Anna wants to ask him why he didn’t mention the knife, but she doesn’t.

Part 5, Chapter 15 Summary

Reggie recognized Anna’s knife, but his decision to keep it a secret stems from his own understanding of violence. A gun is easy to use, but a knife requires getting close enough to use it. He also understands Anna’s desire to protect herself. As he follows Seamus toward his cabin, he wonders how well Seamus knows how to use a gun and if he fought in World War II. Reggie asks Seamus what would happen to Anna if someone killed Seamus, but Seamus doesn’t reply.


Reggie enters his first-class cabin. It’s nicer than the bathroom in coach that he hid inside while he listened to the others. He wants to nap on the bed, but his boss demands he stay awake. Reggie takes out his wallet, which he had all along, as well as a list of the people Anna invited. Anna knocks on his door and thanks him for not telling the others about the knife. She promises to keep him safe, and he thanks her. Reggie crosses Judd’s name off the list in red pen and looks at his gun in his bag.

Part 5, Chapter 16 Summary

Dante and Seamus transport Judd’s body to an empty cabin. Back in her room, Anna tries to relax by lying in bed. Seamus arrives and lies next to her. They both note that they failed in their plan. The familiarity is not unusual. Anna first met Seamus at her Aunt Retta’s funeral. Retta used to write to the families of the other crash victims, hoping to convince them of Arthur’s innocence. Seamus brought Anna the evidence of the plot against her father. Seamus initially wanted to kill the people behind the explosion that killed his brother, but he and Anna decided on the plan to bring them to justice. Judd’s death makes that plan impossible.


Anna and Seamus once slept together, but they decided it was too sad to do again. Still, Anna wonders if Seamus is jealous of Dante, as Seamus blames Dante for Judd’s death. Anna thinks Jack is the most likely suspect, but there’s no proof. Anna and Seamus theorize that whoever killed Judd wouldn’t have known who would be on the train, so they wouldn’t have thought to pack poison. The source of the poison must be somewhere on the train, and they decide to search for it.

Part 5, Chapter 17 Summary

Seamus takes first watch while Anna sleeps. With shaking hands, he takes out the photo of his brother, Sean, that he keeps with him. Seamus had a difficult childhood, as his father had a substance use disorder and his mother was emotionally distant. After Sean’s death, he forged a connection with Anna, but they haven’t discussed what happens after they reach Chicago. He takes a small pillbox out of his breast pocket and opens it. There are five white pills inside, but earlier in the night, there were six.

Parts 3-5 Analysis

In this section, the faked death of Judd and Reggie’s true identity shift the novel from Anna’s orderly design into unpredictable tension. Once Anna reveals that the train cannot be stopped until Chicago, the narrative tension rises dramatically. The novel becomes claustrophobic, as the group is forcibly confined. Judd notes that Jack’s attempts to stop the train are futile, thinking, “Even if Lapsford does manage to stop the train, there’s nowhere for them to run” (103). The confined setting adds a sense of urgency to the novel, as the setting inevitably moves closer to justice, with no way of stopping it. The Phoenix becomes more than just a backdrop; it is a mobile prison, its forward momentum echoing the inevitability of consequence. The windows and corridors offer visibility but no true freedom, creating a tension between openness and confinement that mirrors Anna’s struggle to reconcile justice and revenge.


In this section, Guilt, Redemption, and the Weight of the Past surfaces most vividly in Judd, whose panic at the incriminating plans shows how the past clings like a physical mark. As Anna reveals the plans of the explosive locomotive designed by Judd, guilt reemerges, especially within Judd, who notes that the paper “sticks to his clammy palm. A mark of his guilt. Even if Anna’s lying and doesn’t have a single other piece of proof, […] this bit of paper is enough to send him to prison for the rest of his life” (104). This moment underscores how guilt is not merely internal but tactile, embodied in the physical document that clings to his palm. The paper becomes a metaphor for the inescapability of the past. Faced with the proof of his past misdeeds, Judd panics, understanding that he cannot outrun his role in the destructive plot that killed dozens. Judd’s realization also demonstrates foreshadowing: Judd realizes that he cannot escape justice once the train reaches Chicago, so he fakes his death, though most people aboard the train fall for his hoax. Judd fakes his death not simply to avoid capture but to free himself for further scheming with Reggie, revealing that his instinct is toward deeper betrayal. This choice marks him as both cowardly and complicit, willing to harm others rather than face his past.


Anna’s past relationships continue to shape her interactions with the conspirators. Anna refuses to touch Sal when searching for poison because her feelings of betrayal run too deeply. She compares the betrayals of Dante and Sal, thinking, “Dante did indeed break her heart, but not nearly as much as Sal had. Anna would rather touch the cooling corpse of Judd Dodge than lay hands on Sally Lawrence” (150). The imagery of touching corpses versus touching the living emphasizes how betrayal corrodes intimacy: Anna finds the cold body of an enemy less unbearable than the warm body of a former surrogate sister. Sager uses physical revulsion to dramatize emotional rupture. Anna once viewed Sal as a sister, so Sal’s role in the destruction of her family hits harder than Dante’s callous termination of their romantic relationship. Anna’s feelings about Judd, Jack, and Herb are less convoluted than her feelings about Edith and Sal because of their past closeness. Edith helped raise Anna, and she notes that “she hates who Edith is and what she’s done. Yet Anna also still loves her. At least the memory of loving her, which is made more complicated by knowing that she once thought Edith had loved her in return” (152). The previous love Anna felt for Edith complicates her current feelings of hatred, illustrating how Edith and Sal’s past kindnesses to Anna challenge her desires for justice and revenge.


The arrival of Reggie Davis in this section complicates the dynamic of guilt and justice further. His sudden appearance destabilizes Anna’s carefully controlled environment and raises the question of whether truth can ever be managed in isolation. Reggie’s insistence that Judd might have died by suicide introduces an alternative narrative that threatens to dilute Anna’s moral clarity. At the same time, his private choice to conceal Anna’s knife suggests that he recognizes, and even protects, her right to self-defense, blurring the boundary between ally and threat. His hidden list of names and secret gun foreshadow his deeper involvement, but in these early moments he embodies the secrecy central to the plot and the stories people tell publicly versus the secrets they harbor privately.


The Difference Between Revenge and Justice emerges again after Judd’s death. Anna views Judd’s death as an impediment to her plan, frustrating her to the point of tears: “That’s why Anna feels the tears burning at the corners of her eyes. Judd’s death denies her the chance to see all of them brought to justice” (139). Without Judd, Anna isn’t certain how she can make her case to the FBI, and she worries that the killer aboard the train will derail her attempts at bringing about peaceful justice. Here, Anna’s tears complicate the image of her as a cold avenger. What moves her is not the loss of Judd’s life, as she has her own violent urges, but the loss of her moral framework. Judd’s premature death deprives her of the trial she has envisioned, where the conspirators would be publicly condemned. Justice, for Anna, requires both truth and performance, a ritualized reckoning that Judd’s murder interrupts. At the same time, Anna’s grief surfaces beneath her anger. Even as she seeks justice, she still feels a lingering love for Edith and Sally, a reminder that what she mourns is not only her family’s destruction but the closeness they once shared. This tension underscores that the novel’s mystery is powered by Anna’s unresolved grief and longing.


The chapters also expand on Seamus’s character, showing his vulnerability through the photograph of his brother and the missing pill from his pillbox. This detail layers foreshadowing onto his role in the unfolding mystery while reinforcing the theme of grief as a corrosive force. His reliance on both medication and memory reveals the toll of living in the shadow of the past. By juxtaposing Seamus’s grief with Anna’s, Sager creates a parallel portrait of two survivors whose pursuit of justice risks tipping into self-destruction.

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