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Content Warning: This section of the guide includes descriptions of agism and illness.
On December 25, Inspector Patel interviews Maggie Chase and Ethan Wyatt. Ethan jokes around while Maggie seems annoyed. When the inspector asks them to start at the beginning, Maggie says that the whole issue started in the elevator.
The narrative shifts back in time one week. On this day, Maggie goes to the Killhaven Books Christmas party, which she has been dreading. Deborah Klein, her boss, who is known as the “most feared” woman in publishing, greets her. Maggie hates crowds and begins to shake. Before Deborah can pull Maggie into her office, a man gets off the elevator and greets her loudly as “Marcie.” Maggie wants to kill him.
Maggie didn’t always hate Christmas. She grew up in Texas with no snow and is the only child of parents who were also only children. After years of Christmas tragedies, including a fire and a dead dog, Maggie’s parents died, leaving her all alone in the world. Now, Deborah hands her an expensive envelope and tells her it’s akin to a golden ticket to Willy Wonka’s chocolate factory. She says that Maggie’s “biggest fan” has invited her for Christmas in England. Deborah wants Maggie to get on the plane, but she won’t say why. She asks Maggie if she would rather stay home and think about her former husband, Colin, and her former best friend, Emily, spending the holiday together.
Twelve years ago, Maggie moved into a dorm in upstate New York, and her parents sold their house in Texas to buy a condo in Florida. She spent Thanksgiving alone and then got the call informing her that her parents had just died in an accident. She flew to Florida to pack their things and put a few boxes in storage, then pleaded with the dorm’s resident advisor to let her stay there over Christmas because she had nowhere else to go. Just then, a girl invited Maggie to go home with her. The girl’s name was Emily, and she became Maggie’s best friend.
The narrative shifts back to Maggie’s account of the days before Eleanor’s Christmas party. This will the first Christmas after Maggie’s divorce. Leaving Deborah’s office, Maggie escapes down a dark hallway. She overhears a conversation between Ethan Wyatt and one of his hangers-on, Lance. Ethan is the “golden boy” of their profession, and Maggie can’t stand him. Lance tells Ethan that he can’t believe Maggie came to the Killhaven party. He then crows about her divorce and derides her new reclusive habits. When Lance says that Maggie’s husband, Colin, left her, Ethan laughs darkly and says he isn’t surprised. Maggie steps out into the hallway and catches her reflection in a display case. She looks afraid, and she doesn’t like it. She wants to be as strong as Eleanor Ashley, her favorite writer, whose works are also published by Killhaven. Maggie decides to accept the invitation.
Three days later, she boards a private jet, feeling hopeful. However, when Ethan steps out of the lavatory and greets her as “Marcie,” it’s too late. The jet’s door is already closed.
Maggie does not return Ethan’s smile. She watches him stow his suitcase, noting his chiseled abs when his shirt lifts a little. Maggie asks why he is there, and he says that as a mystery writer, he also received a mysterious invitation from Eleanor. Maggie retorts that he is not a mystery writer but a “leather jacket book” writer (20). (Leather jacket books feature gun fights and car chases and feature a smug male author wearing a leather jacket.) Ethan asks pointedly if she has him all figured out, and Maggie thinks again about what she overheard him say. She tells him that they should set aside their “issues” for the trip, and a confused Ethan asks for clarification. Maggie doesn’t elaborate, but she privately thinks of Ethan as a carefully curated social media personality, not a real person.
When Ethan calls her Marcie again, Maggie angrily corrects him, and he seems shocked by her response. She references several past encounters between them that did not go well for her, including an encounter that resulted in her having to cut her hair short. She also mentions something else that happened in Tucson. His voice gets soft when he says he thought they weren’t supposed to talk about Tucson. Ethan is astounded by her request for a truce, but he agrees, adding that he likes her short hair. Colin didn’t like it, and Maggie remembers his grumbling taunts. When the lights go out in the cabin, Ethan asks if Maggie wants to “make out.” She does not.
Ethan wakes Maggie up and retrieves his bag. When he changes shirts, Maggie sees a long, jagged scar running down his back. She can’t recall hearing anything definitive about his past. She reflects that Ethan’s persona may be fake, but the scar isn’t. The jet lands, and they get into a chauffeured Rolls Royce. Maggie cannot stop thinking about how handsome Ethan is and how good he smells.
Twelve years ago, Maggie first met Colin Livingston on the drive to Emily’s home for Christmas. He insisted on riding in the tiny backseat, which struck Maggie as chivalrous. Colin and Emily were old friends, and their families spent the holiday together. It didn’t take long for Emily to become Maggie’s best friend, and within the week, Maggie fell in love with Colin.
The primary narrative resumes. It is now three days before Christmas, and Maggie and Ethan sit in the backseat of the Rolls Royce. Ethan receives text after text from various women now that his phone has service again. The driver, James, takes them to the grandest home that Maggie has ever seen: Mistletoe Manor. She references an Eleanor Ashley book, but Ethan says he has only heard of the author. Maggie is astonished by his admission and launches into a diatribe about the author’s 99 “novels of perfection” (34). She also calls Eleanor the greatest living author and greatest crime writer. She then rattles off information about Eleanor Ashley’s life, such as the fact that she “came from nothing” (34) and only went to school through sixth grade, then worked as a cleaning lady. Suddenly, a voice adds that she—Eleanor Ashley—is standing right behind Maggie.
Eleanor has white hair and sharp blue eyes, and Maggie can see why people call her the Duchess of Death. Eleanor welcomes them and says she could have given them more notice with her invitation, but she likes “a twist.” Maggie is about to pass out from sheer shock, but Ethan puts an arm around her waist. As an octogenarian, Eleanor is alert and discerning, although she leans on a cane and moves slowly. She explains that she slipped on the stairs a few weeks ago, but she gets a mischievous look on her face when she reveals the dagger hidden inside her cane.
Maggie is in awe of the manor. Eleanor introduces Maggie and Ethan to Cece Honeychurch, her niece and companion. Maggie gets the sense that Eleanor is up to something. James brings the mail, and although Cece reaches for it, Eleanor grabs it first. There are several envelopes, including a bright blue one with a staff and snake on it. Maggie thinks it might be a medical bill. When Eleanor excuses herself, Ethan guides Maggie toward the stairs behind Cece.
Cece reports that Eleanor’s fall was more frightening than damaging. She then accidentally mentions that Eleanor is writing her 100th book. The house feels labyrinthine to Maggie as she and Ethan follow Cece up staircases and down hallways. Cece points out their rooms, then suddenly looks out the window and realizes that the rest of the guests have arrived early. A snowstorm is expected to hit soon. Cece tells the guests to be in the library at six. Ethan asks if Maggie wants to make out to pass the time, but Maggie ducks into her bedroom. This Christmas, she thinks, might not be too bad.
Maggie wakes up to find Ethan in her bed. She had fallen asleep, and now it’s nearly time for cocktails. She clamors to get ready, and when she steps from the bathroom in her little black dress, Ethan goes silent. For a second, Ethan’s controlled façade slips, and it takes her breath away. Just as quickly, however, it returns. He goes downstairs.
On her way down, Maggie runs into Eleanor, who asks if Maggie knew that the house she was born in had a dirt floor and that her mother was just 16. James tells Eleanor that Inspector Dobson is on the telephone; he may not be able to get to the manor before morning. Eleanor says she’ll speak with him. She tells Maggie to head into the library, then says, “We might as well get started” (49). With what, Maggie isn’t sure.
In the interrogation on December 25, Inspector Patel asks Maggie and Ethan who else was present on that night at Mistletoe Manor. They list Rupert, Eleanor’s nephew; his wife, Kitty; and their kids; Dr. Charles; Duke and Duchess of Stratford; Cece, Eleanor’s niece; a lawyer; and Sir Jasper.
The narrative returns to the night of Eleanor’s party. To Maggie, the library looks like heaven. The walls are covered with paintings, photos, masks, and weaponry, and the large Christmas tree is perfect. Eleanor enters, introducing Maggie and Ethan to Rupert Price, her nephew, and his wife Kitty, who is a nurse. Rupert doesn’t bother to hide his contempt. Next, Ethan and Maggie meet Dr. Charles, who once worked with Kitty. Then comes the snobbish Duke and Duchess of Stratford, David and Victoria Claymore. Freddy Banes, a lawyer from the firm that represents Eleanor, is also present. When he reaches for a shrimp puff on a tray that Cece is carrying, she yanks it away, and he looks chastened. Next is Sir Jasper Rhodes, another crime writer; he is a six-foot-five-inch giant of a man with lovely manners.
Maggie spots at least a dozen of her own books on Eleanor’s library shelves. When Eleanor explains that Maggie is one of her favorite authors, Maggie thinks she might die on the spot. Eleanor asks how Maggie feels about Ethan, and Maggie says she barely knows him. Eleanor thinks that Ethan likes Maggie, and says so. Just then, James announces dinner.
Carter uses vivid allusions to illustrate the dreariness of Maggie’s life and to contrast her post-divorce status quo with the excitement of her new adventure in England. When Deborah gives her the invitation to Eleanor Ashley’s Christmas party, she says, “Oh, that’s no invitation, sweet Charlie. That is your ticket to the chocolate factory” (8). By referencing Roald Dahl’s tale (in which a poverty-stricken but deserving boy finds a golden ticket and gains entry into his reclusive hero’s chocolate factory), the author indicates that untold surprises and bizarre mysteries await Maggie. Given how Dahl’s story ends, this allusion also serves as foreshadowing that Maggie will eventually receive a prize beyond her imagination. However, this bright image contrasts sharply with Maggie’s observation upon arriving at Eleanor’s estate, for she says that the property’s “arching stone bridge” “looked like something straight out of a fairy tale—the kind that was incredibly dark before Walt Disney got ahold of it” (32-33). Because the Grimm brothers’ version of classic fairy tales often contains graphically bloody elements, Maggie’s comment strikes a much more ominous mood even as she highlights the mythical, magical quality of her current adventure.
In addition to inserting pointed allusions, the author also employs figurative language to create vivid characterizations of both Maggie and Ethan. For example, when Maggie overhears Ethan talking about her at the Killhaven party, her anger is so intense that she feels as if a “like she [is] flying—faster and faster, hurtling out into a vast and endless void. A black hole [is] swallowing her whole” (16). The simile compares her rush of rage to the physical act of flying, as though she’s being sucked out of the atmosphere and cannot breathe as she enters a place devoid of happiness or goodness. This hyperbolic language suggests that Maggie is overreacting to a relatively small incident that has triggered a deeper form of trauma. This is no ordinary resentment, for her reaction surpasses even fury, affecting her so intensely that she is barely in control of her actions. In this way, the author inserts key references to the characters’ psychological quirks without derailing the narrative with superfluous exposition.
The author also carefully modulates her descriptions of Maggie to emphasize that the character is not entirely wrapped in the gloom of her past misfortunes, for on the way to her unexpected holiday trip to England, she feels that she is at “the start of a new chapter” (18), and despite the presence of her professional “nemesis,” she reflects in the Rolls that she is “in a movie. Or a time machine. Or someone else’s life” (33). By metaphorically comparing this sudden shift in her life to a new chapter of a book, she reveals her bookish outlook on the entire world, making it clear that she sees even the events of daily life as part of a broader narrative. Furthermore, the comparison of this moment of her life to a scene in a movie suggests the sense of unreality that has taken hold of her has she is chauffeured to the door of her favorite author. Her amazement also hints that she is completely unused to experiencing kindness and adventure, and these aspects of her astonishment suggest that her failed marriage to Colin was a sad, desolate “chapter” of her life. Now, her newfound hopefulness and imagination presage positive developments for her.
So far, the third-person omniscient narrator has followed Maggie’s thoughts, and her ambiguous feelings about Ethan are vividly portrayed in the figurative language used to describe him. She thinks, “Ethan Wyatt wasn’t a person—he was a persona. A social media feed brought to life. A human sound bite comprised of charming quips and clever banter, carefully constructed to make people fall in love before they got bored enough to swipe” (23). This tech-based metaphor emphasizes Maggie’s derisive perspective on what she sees as Ethan’s fake façade. In her mind, his entire identity seems contrived and inauthentic because she does not trust his charming, cocky manner and attractive appearance. Likewise, even as she finds herself admiring his physique, she tells herself that he works hard to cultivate the body that will best reflect his curated public image. However, she is most disturbed by the fact that he is so much more appreciated by others than she has ever been, even though his writing is nowhere near as “literary” as hers is. These bitter reflections suggest that Maggie is languishing in the dual throes of envy and insecurity, as evidenced by her inner admission that she “had spent the last year feeling like an open wound. She was an open wound and [Ethan] was full of salt” (24). While everyone loves Ethan, Maggie compares herself to something small and painful, admitting that contact with Ethan is painful to her because it forces her to focus on the private emotional matters that continue to bring her pain. Fortunately for Maggie, however, the events to come will show her that even Ethan is subject to The Misleading Nature of Appearances—in the best possible way.



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