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Content Warning: This section of the guide includes discussion of racism, gender discrimination, sexual violence, rape, graphic violence, illness, death, physical abuse, emotional abuse, and cursing.
Using his professional identity, Casanova gets into Kate’s hospital room. She makes him feel comfortable. He hears a noise and smiles at Cross. He tells Cross that Kate’s condition hasn’t changed, and then he leaves.
Early in the morning, Cross plays blues songs on the piano in the Washington Duke Inn bar. He thinks about Sachs: His behavior is problematic, but he’s not a killer. He then considers the “disappearing house.” According to newspaper reports he read, Roe’s body was found near an abandoned farm where enslaved people once hid in underground cellars that were like houses.
Sampson and Cross hike through the woods to where Kate’s body was found in the Wykagil River. Sampson doesn’t like the woods—they remind him of morbid fairy tales like “Hansel and Gretel.” Cross jokes that Sampson isn’t afraid of the DC “projects,” but he is scared of a “nice walk” through the woods. He then tells Sampson about the Underground Railroad and the spaces below ground. Louis Freed drew Cross a map to help him locate the historical places.
Cross feels the blood and bones of the enslaved people. He thinks about how no authorities came to rescue them or arrest the “human monsters” who kidnapped Black people. Frustrated, Cross fires his gun at a tree trunk. Sampson leans against a tree. He wants to leave, but then the men hear the women’s voices. Sampson shoots his gun, and the women scream louder.
Sampson and Cross dig until they find a door. They rush down a flight of stairs and find a woman’s body decomposing on a couch. The surviving women warn the police that Casanova is around. They go through the living room and into a hallway with doors on either side. Cross opens the first door. He hopes Naomi is alive inside.
Rudolph and Casanova have been watching Cross and Sampson. Rudolph thinks the detectives are fools, but Casanova believes Cross is smarter than the other police and FBI agents. However, Sampson is impulsive. If they could “break” Sampson, then they’d defeat Cross.
Casanova tells the Gentleman Caller that they shouldn’t have separated and competed. If they’d stayed together, Cross wouldn’t have uncovered the Gentleman Caller, and they wouldn’t have to kill the abducted women and destroy the underground house.
In the first room, Cross finds Maria Jane Capaldi in ripped tights and a Nirvana T-shirt. He assures Maria that she’s safe now before continuing to look for Naomi. He finds her. They cry and hug before Sampson’s scream jolts them apart.
Sampson is in the hallway, and there’s a sharp object in his back. Cross fires his weapon and hits one of the killers in the shoulder. The lights go out, and “Welcome to the Jungle” (1987) by Guns N’ Roses plays. Cross checks on Sampson, who tells Cross to pursue them. He bursts out of the underground cellar and fires his weapon, but Casanova and Rudolph are gone.
Cross runs in the direction of a trail of blood, and he thinks of Marcus Daniels. In the distance, he sees one of the men holding his shoulder. Cross also hears screams. Gunfire stops Cross’s progress, and he loses sight of the murderers again.
Cross locates the two criminals again. They get into a blue truck, so Cross commandeers a man’s Plymouth Duster. In the Duster, Cross gets close to the blue truck. Near Varsity Theatre, both cars are stuck at red lights.
Cross leaves the Duster and fires three shots. The murderers leave the truck, and Cross notices that only one of them, Casanova, has a gun. Cross and Casanova continue to trade gunshots in the traffic.
Casanova sees another police officer and kills him. Cross shoots Rudolph. Before he dies, Cross asks him to identify Casanova, but Rudolph refuses. Rudolph claims Cross will never uncover Casanova’s identity.
The abducted women reunite with their families at Duke Medical Center. Sampson is alive and receiving care at the hospital. Kate remains at the hospital, too. She’s still in a coma, but Cross tells her he loves her anyway. Cross then visits Sampson and Naomi. Nana, Cilla, Damon, and Jannie fly in from Washington, DC. Jannie hugs Cross and thanks him for finding Naomi.
Cross returns to the woods and notices the police are quiet and somber since they’ve seen some of what occurred in the underground space, uncovering over 20 bodies. Cross tells Kyle he’s “monstered out,” but Kyle informs Cross about other monsters currently in Chicago, Nebraska, and Massachusetts.
Cross wonders if Casanova misses Rudolph. Cross believes they met around 1981, bonding over their interest in kidnapping, sexually assaulting, and killing women. They competed, pushing Rudolph to go to Los Angeles, where he could operate on his own. Rudolph liked the attention he got from the Los Angeles Times, but Casanova wasn’t seeking notoriety. However, during the shootout, Casanova made a “mistake.” As an “outsider,” Cross can’t tell anyone about the mistake he witnessed.
A name in the Durham Herald Sun helped Cross realize who Casanova was. Now, he’s outside Casanova’s house in Durham. He’s alone, and he feels like he’s the hunter.
Cross believes Detective Davey Sikes is Casanova. He thinks Sikes arranged foolproof alibis and changed the date of one kidnapping to align with him being out of town. Cross contends Sikes first met Rudolph during the Roe Tierney investigation. At some point, Sikes started sharing his own ghastly desires with Rudolph. As Cross follows Sikes on the highway, he vows to kill Sikes. The vengeance is “personal.”
Sikes parks his car in the crowded lot of a sports bar. He then walks through a neighborhood and into a house. Cross hears Kate telling him to drive a stake through Sikes’s heart. Cross feels like his heart will burst if he doesn’t kill Sikes.
Cross notices a Girl Scout cookie sticker on the porch door before he and Sikes begin fighting. Cross dominates him, hitting him for Sampson and Kate. However, a blonde woman in a Farm Aid shirt—Sikes’s girlfriend—hits Cross, who realizes Sikes came here to see his girlfriend. Soon, Kyle arrives. He tells Cross that the FBI knew Sikes was having an affair. Sikes isn’t Casanova.
Kate leaves the hospital using a walker, with a dent on her forehead. The latter makes Cross think of Reginald Denny, the truck driver who was physically assaulted during the 1992 Los Angeles riots.
Cross spends July in Washington, DC, with his family. He worries Casanova might try to find him. Authorities investigated numerous police officers, including Ruskin and Hatfield, and all of them had solid alibis. Kyle calls Cross and tells him Soneji escaped from jail. He left a note promising to find Cross.
Near the end of August, Kate and Cross stay in the North Carolina resort town of Nags Head. Kate is better, and they race to a nearby beach. Kate doesn’t want their relationship to end, but Cross believes they’re too similar. As they sleep under the stars, Kate wonders if Casanova will attack them again.
Casanova misses Rudolph and remains preoccupied with Kate. Casanova admits that Cross came close to catching him. Two FBI agents watch Kate and Cross, and Casanova flicks his flashlight so the agents know it’s him. Casanova restates his ability to fit in anywhere.
In the morning, Cross gets breakfast and notices the dead FBI agents. He returns to the house, and Kate pulls him into the closet. They go to call the police, and Casanova shoots Cross with a stun gun. Not wearing a mask, Cross sees that Casanova is Detective Nick Ruskin. Ruskin tells Kate that he missed her, and Kate attacks him. She kicks him and punches his face. Ruskin manages to retrieve a Smith and Wesson, but Cross, still alert, shoots and kills Ruskin.
Back in Washington, DC, Cross’s kids watch Beauty and the Beast for the umpteenth time. Cross and Sampson discuss their experiences and Kate. In Nags Head, Kate says she visited her father at a bar when she was 20. Revolted by what she saw, she left without identifying herself. Later, Sampson informs Cross about another murder—he refers to it as a “honey.”
The final section builds mystery and suspense by continually delaying the identity of Casanova. Cross comes close to capturing him—or he thinks he’s identified him—but Casanova’s true identity isn’t clear until the penultimate chapter. This prolonged mystery keeps the reader on edge, mirroring Cross’s own frustration and sense of urgency. The misdirection surrounding Casanova’s identity also mirrors the larger discussion of deception—not just in crime, but in society, where dangerous individuals often hide in plain sight. Casanova increases the tension by inserting himself into Kate and Cross’s life. Under his true identity, he visits Kate’s hospital room and says hi to Cross in Chapter 102. The scene divides the reader and the characters. The reader knows the man is Casanova, but they don’t know his other identity. Conversely, Cross knows the man’s professional identity, but he doesn’t know that he’s Casanova. By keeping close to Cross, Casanova is twinning. He’s bonding and competing with Cross, proving that he can outwit him. The motif of twinning adds to the drama and suggests that predators and heroes are not entirely different—both are obsessive, both driven, both capable of extraordinary feats. The distinction lies in their morality and intentions.
Cross continues to highlight his flaws. His stubbornness leads to myopic thinking. In Part 4, he was certain that Sachs was Casanova, causing Cross to act harmfully. Now, Cross believes Sikes is Casanova and pursues Sikes with the same single-mindedness that he tracked Sachs. Cross hears Kate’s voice, “Drive a stake through his heart” (741). The phrase appears three times in Chapter 117, and the repetition suggests Cross is possessed with anger and not thinking clearly. Cross concedes that his self-control is greatly diminished, “My heart was going to explode if I didn’t blow him up first” (742). This moment underscores how the hunt for Casanova has transformed Cross, pushing him dangerously close to becoming a man ruled by vengeance rather than justice. The novel subtly raises the question of whether righteousness is sustainable in a world filled with evil, or if one must one become monstrous to defeat monsters. In this section, Cross shows signs of toxic masculinity, yielding to violent impulses. Unlike Casanova and Rudolph, however, Cross still has the capacity for introspection and restraint. The distinction between him and the killers isn’t just their actions but their ability to self-correct.
Kate and the girlfriend of Sikes continue the theme of The Resilience of Women. Sike’s girlfriend doesn’t passively watch Cross attack her boyfriend. She helps Sikes, warning Cross, “Get away from him or I’ll hit you again. You get away from my Davey” (748). The unnamed woman saves Sike’s life and prevents Cross from killing a police officer—an action that wouldn’t benefit Cross. This moment reinforces that women in the novel are not passive figures; they act with agency, even when their choices are morally ambiguous or complicated by their relationships to the men around them. A parallel scene occurs in Chapter 122. With Cross incapacitated, Kate fights off Casanova/Ruskin. Kate’s strength saves her life and Cross’s life. As Cross kills Ruskin, the story suggests Cross has more power than Kate. Yet Cross wouldn’t be in a position to shoot Ruskin if Kate didn’t have the physical ability to beat him up. By the end, Kate has survived horrific abuse and multiple near-death experiences. She is the paragon of resilience. Her survival isn’t just a testament to her physical strength but also her psychological endurance. While the novel features multiple male “hunters” who exert control through violence, Kate emerges as a different kind of hunter—one who fights back, adapts, and ultimately refuses to be consumed by the men who seek to own her.
The women in captivity, led by Naomi, also embody resilience through their shared determination to survive. Patterson emphasizes their collective strength by depicting how they communicate through the walls, whispering strategies and offering each other comfort. Casanova relies on isolation to control his victims, but the women’s ability to support one another weakens his hold. Naomi’s belief that “they must work together and escape” highlights that survival isn’t just about individual fortitude but about solidarity (492). Even in their most vulnerable state, the women reclaim a form of power by refusing to be fully broken. Their whispered plans, though small acts of resistance, challenge Casanova’s dominance, making his eventual downfall inevitable.
The incorporation of the Underground Railroad brings in the motif of race, which supports The Lurid Culture of Trauma in the US. While looking for the underground space in the woods, Cross can “feel the blood and bones of the slaves” (667). The brutal system of enslavement haunts Cross, and it suggests that the traumatic culture in the US goes back centuries. Before mass media, the US was an exploitative entity, profiting and flourishing off other people’s pain and death. Cross connects enslavement to the present, “No one ever came to rescue them. No one cared. No detectives back then went looking for human monsters who stole entire black families from their homes” (668). The comparison suggests that the abducted women come from privilege or were lucky enough to benefit from improved systems of justice. If they were like the “black families” of the past, then no one would bother to “rescue” them or bring their captors to justice. As Naomi is one of the women, the comparison falters. Naomi’s presence suggests that race isn’t the sole factor when determining who’s worthy of “rescue”; rather, there are several applicable components, including the looks of the young women and their connections to esteemed universities and colleges. Patterson doesn’t resolve this tension, leaving readers to consider how systemic violence operates differently depending on race, class, and gender. The fact that Casanova is a police officer further complicates this—institutions designed to protect can also harbor the most dangerous predators.
Part 5 delivers a fast-paced, high-stakes conclusion that ties together the novel’s central themes while reinforcing its moral ambiguities. Cross’s pursuit of Casanova is both a triumph and a cautionary tale—his near descent into obsession demonstrates how hunting monsters can warp even the most steadfast individuals. Kate’s resilience cements her as a survivor rather than a victim, showing that strength is not just about physical endurance but also about reclaiming one’s own agency. The reveal of Casanova as Nick Ruskin plays into the novel’s broader critique of institutions, exposing how those in positions of power can mask their depravity behind societal trust and authority. In the end, the story suggests that evil doesn’t always lurk in the shadows—it thrives in broad daylight, hidden behind the most respectable facades. The motif of twinning lingers—just as Rudolph and Casanova enabled each other’s worst impulses, there will always be more predators, more hidden threats. The novel’s final message is unsettling: Defeating one villain does not mean the system that creates them has been dismantled.
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