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Content Warning: This section of the guide includes discussion of death, death by suicide, graphic violence, sexual violence and harassment, child abuse, gender discrimination, and mental illness.
In an entry from Ruth Hume Semple’s 1926 journal, it’s revealed that New Avalon is actually a private retreat where Ruth can treat women with psychological disorders.
Ruth recounts being contacted by a prison warden and agreeing to take in a young woman who had killed her abusive father. Upon the woman’s arrival, Ruth observes her conversing with three invisible people she calls Katrina, Jonquil, and Mrs. Minafer. The entry concludes with Ruth stating that the young woman’s name is Azra. Nevertheless, the young woman introduces herself as Daisy Rue, suggesting that Daisy is one of Azra’s alters.
In the present, as Marin and Violet prepare the parlor for a second séance, Violet details their plan: They will first pretend to contact Marin’s deceased sister, Molly, to convince Ronan of the process’s legitimacy before they try to contact Elise Haines.
Violet reveals the full extent of the ruse, explaining that Brad rigged the candles to extinguish simultaneously and hid a sachet of Elise’s perfume inside Ronan’s mattress. She also confirms that a camcorder is hidden in a mahogany box to record Ronan’s expected confession. However, Violet claims that previous strange occurrences, such as a picture frame falling and the noises in Marin’s cottage, weren’t part of their plan.
Later, while alone in her cottage, Marin hears more scratching and a loud thumping sound. Unsettled and now believing that the island may genuinely be haunted, she returns to the parlor and uses an ice pick to carve a protective daisy wheel into the sideboard.
The séance begins with Marin, Violet, and Ronan at the parlor table while the hidden camcorder records them. As planned, Marin and Violet manually slide an overturned glass to the “YES” square, which startles Ronan and reinforces his belief in the event. They then attempt to move the glass toward the letter “M” so that the spirit can identify itself as Molly. The glass, however, begins to move seemingly on its own, resisting their control. To their alarm, it spells out the name “DAISY” four times. Violet complains of feeling a sudden chill and becomes ill, vomiting on the floor. Her body then goes rigid, and her head jerks up as if being pulled by invisible strings, suggesting that she has been possessed.
Speaking in a new, girlish voice, Violet introduces herself as Daisy Rue and claims to have no memory of who Violet is or how she arrived in the parlor. Attempting to expose the act, Marin reveals the entire revenge plot to Ronan, explaining that everything from Brad’s fabricated illness to the faked disappearances was designed to coerce his confession about Elise. Under pressure, Ronan admits to secretly recording sexual encounters with seven or eight women, including Elise, and sharing the tapes, but he denies any responsibility for Elise’s subsequent death by suicide. Immediately after, the possessed Violet grabs the ice pick from the sideboard and holds it to Ronan’s neck. Speaking as Daisy, she confesses that she knowingly murdered Katrina, Jonquil, Mrs. Minafer, and her own father.
Under the threat of the ice pick, Ronan gives a more detailed confession, admitting that he shared the video of Elise but still blames her for her later actions. Immediately after he finishes, Violet, still acting as Daisy, stabs him repeatedly in the stomach, killing him. Ronan collapses, and Violet snaps out of her trance, reacting with genuine shock and horror, claiming to have no memory of the murder.
Marin and Violet then cover up the crime. They carry Ronan’s body outside and throw it off a cliff to stage an accident, meticulously clean the blood from the parlor, burn their stained dresses, and toss the camcorder (from which Marin has already removed the SD card) into the lake. Back in her cottage, Marin hears the distinct thumping sound again. She follows the vibrations to a loose floorboard in the center of the room, uncovering a hidden space beneath it.
Marin pries up the loose floorboards and discovers a human skeleton lying in the space beneath. From the long white hair still attached to the skull, she identifies the remains as those of Ruth Hume Semple. The skeleton is clutching a book. When Marin carefully takes it from the skeleton’s fingers, a folded piece of paper falls out, revealing a sketch of a young woman she recognizes as Daisy. Marin opens the book and, seeing the unfamiliar handwriting, realizes that she has found Ruth’s long-lost journal.
After reading Ruth’s journal, Marin learns the full truth about the 1926 tragedy. A young immigrant named Azra Kovacic, in response to severe abuse from her father, developed paranoid schizophrenia and multiple personality disorder. “Daisy” was a dominant alternate personality, while Katrina, Jonquil, and Mrs. Minafer were her hallucinations.
Ruth’s “séances” were actually therapy sessions designed to help Azra integrate her personalities, which Daisy perceived as her friends being murdered. Because Ruth never chronicled their final encounter, Marin can only infer from Daisy’s own diary pages that Daisy killed Ruth to prevent her own psychological “erasure.” Marin now understands that only two women truly vanished: Ruth, whose body she found, and Azra, whose fate remains unknown. This leads Marin to the inescapable conclusion that since Daisy was never a real, independent person, she couldn’t have been a ghost who possessed Violet.
On the dock, Marin confronts Violet, who drops her act and admits that she faked the possession to create an opportunity to murder Ronan. Violet then reveals her motive: Elise Haines was her secret biological daughter, whom she had given up for adoption years earlier and had only recently reconnected with.
To eliminate the evidence that proves that her story is a lie, Violet takes Ruth’s journal from Marin and throws it into the lake. However, Marin reveals that she secretly removed the SD card from the camcorder before it was destroyed. She points out that the video of Ronan’s murder clearly shows Violet. Marin herself is just out of the frame, exonerating her. When Violet asks what she wants, Marin says only, “I want […] to be known” (343).
Four years later, Marin is a successful actress and an Oscar nominee. The public believes that Ronan Peters’s death was an accidental fall from a cliff. The film Darkness was never produced; instead, Violet used her influence to secure Marin a breakout role alongside her in a tearjerker about a dying painter and her estranged daughter, which launched Marin’s career and earned Violet her third Oscar.
Marin has continued researching New Avalon’s history and discovered a 1931 photograph of a woman named Zara McCutcheon who’s the spitting image of Daisy’s sketch. Because the woman in the photo wears a daisy pin, Marin believes that the dominant “Daisy” personality ultimately survived and escaped the island to build a new life.
As the winner for Best Actress is about to be announced, Marin waits confidently, reflecting that she, like Daisy, forged a new identity and life for herself after the events on New Avalon.
Violet’s faked possession during the final séance is the novel’s ultimate performance, an act that blurs the line between a scripted ruse and lethal improvisation. Her sudden shift into the girlish, violent persona of “Daisy” is so convincing that it initially fools both Ronan and Marin, demonstrating The Malleability of Truth by creating a temporary reality in which a vengeful spirit is acting through her. This performance is a microcosm of the entire week’s deception, but it pushes the ruse from psychological manipulation to premeditated murder. When Violet later admits to Marin that she faked the possession, the act is revealed as a calculated strategy to create a plausible deniability for killing her daughter’s abuser. Though Marin was onboard with Violet’s plan when she realized the truth behind Ronan’s character, this last-minute revelation causes Marin to realize that she has once again been used as a pawn to fulfill Violet’s personal agenda. Violet weaponized Marin’s vulnerability to convince Ronan of the “truth” that Violet wanted him to believe. This is precisely what motivates Marin’s own counter-performance as she reclaims her agency from Violet. By securing the camcorder’s SD card, she transforms herself from a “patsy” into the director of her own story. Her final confrontation with Violet on the dock is less about morality and seeking justice than it is about securing power, a negotiation where Marin trades her silence for a career. Marin’s quiet ambition, simmering throughout the novel, culminates in her declaration, “I want […] to be known” (343), a line that recasts her as an actress who has finally seized control of her life’s narrative.
The discovery of Ruth’s journal is the final key that unlocks the novel’s central mystery, clarifying the gaps in Daisy’s unreliable narrative and allowing Marin to realize the truth about Violet’s murderous séance. The deployment of the diary in this instance dismantles the supernatural horror story that has been constructed, cementing its replacement with a tragedy of psychological trauma. Ruth’s clinical, detached entries reframe the story of New Avalon, giving it the credibility that was missing from Daisy’s journal entries. Violet’s act of throwing the journal into the lake is a desperate attempt to destroy this objective record and preserve her own fabricated narrative of possession. By destroying the one piece of verifiable evidence, she seeks to ensure that her version of the truth, specifically the one that absolves her of murder, is the only one that can be told.
The parallel timelines of 1926 and the present converge thematically around the concept of The Persistence of Trauma, creating fractured identities and cycles of violence. Azra Kovacic’s survival of her horrific abuse at the hands of her father led to the creation of Daisy as a protective, and ultimately murderous, personality. This historical trauma finds its echo in the modern storyline through Violet, whose unresolved trauma of giving up her daughter, Elise, and then losing her again to death drives her to adopt the persona of another killer. In a sense, Violet doesn’t need to be possessed by Daisy; her own grief and rage are powerful enough to make her inhabit a similar role. Yet the adoption of Daisy’s personality helps to absolve her of the criminal aspect of her actions while allowing her to embody the rage she feels against Ronan and the system that enabled his abuse. Both Daisy and Violet are women who resort to violence when faced with patriarchal abuse that they feel powerless to overcome through conventional means. The Epilogue extends this pattern to Marin, who, having survived her own traumatic week on the island, reflects on how she, like the woman she believes to be Daisy, “managed to escape New Avalon with a new life” (349). The island, in this sense, becomes a crucible where trauma forces women to construct new, more resilient, and sometimes more ruthless identities in order to survive.
The climactic confrontation and its aftermath shift the focus from collective justice to individual ambition and the perpetuation of Hollywood power structures. Violet’s reveal that Elise was her secret daughter transforms the plot from a story of female solidarity against a predator into a deeply personal act of maternal revenge. This twist complicates the theme of Gendered Power Disparities and the Exploitation of Women in Hollywood by suggesting that even acts of supposed justice are fraught with personal motives and ethical ambiguity. The motif of cameras and recordings, initially positioned as a tool for exposing truth and holding a powerful man accountable, is ultimately subverted. The camcorder, which was initially intended to capture a confession, captures a murder, and Marin repurposes the footage for private blackmail. Her leverage of the SD card allows her to demand a career from Violet, effectively using the cover-up of one man’s exploitation to launch her own ascent within the same exploitative system. The Epilogue, with Marin on the cusp of Oscar glory, suggests that while one predator was eliminated, the fundamental power dynamics of Hollywood remain unchanged, with secrets and transactional relationships continuing to fuel the industry’s star-making machinery.



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