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Content Warning: This section of the guide includes discussion of death, sexual violence and harassment, physical abuse, emotional abuse, gender discrimination, and illness.
In the present day, Julia investigates Pemberton’s dusty attic. Though she feels a strange presence, she sees no ghost. She tries the ghost-hunter app on her phone but dismisses it as useless when it produces random numbers and words like “DRY” and “CARROT” before playing an ad. In the floor’s thick dust, Julia discovers a set of footprints that appear to start in the middle of the room. The tracks lead her to a cardboard box containing an old peacock-blue dress, which she speculates belonged to Caroline Eldridge. Underneath the box, she finds two old letters addressed to her great-grandmother Gertrude from Ethel; both are stamped but unsent. Upon hearing Ethel and Mick downstairs, Julia hides the envelopes and leaves the attic just as Ethel heads upstairs. Alone in her room, Julia considers opening the private letters.
Julia opens the first letter, which has come unsealed with age. In it, Ethel reveals to her mother that Howard, a soldier whom she was planning to marry after his tour, was killed in Vietnam and that she’s pregnant with his child. Ethel says that Pemberton’s housekeeper, Celia, who is engaged to Mick, the groundskeeper, has been a great support. However, she hasn’t yet told her sister due to Letty’s struggles with infertility.
The letter’s contents make Julia sympathize with Ethel, changing her perception of her. Later, when Ethel calls Julia for lunch, Letty mistakes Julia for Celia. Ethel then notices that Letty’s keys are missing. Julia confesses to taking them but lies about her reasons. A visibly frightened Ethel warns Julia to stay out of the attic, insisting that it isn’t safe.
That night, Julia is awakened by a howling wind. While looking out her bedroom window, she’s horrified to see a noose hanging from a large oak tree in the backyard. As she steps back from the window, she notices a clear handprint on the inside of the glass. The fingers of the print are elongated, as if the person’s hand was dragged downward. Terrified, Julia decides she can no longer stay in the room.
The story shifts to 1692, where Caroline is being held in a small, squalid jail cell. From his nearby cell, Jonas tells Caroline that he knows her name because Hitty spoke of her before her death. He warns Caroline that she will be found guilty at her trial because the magistrate accepts “spectral evidence”—testimony about spiritual visions. He predicts that she’ll be hanged within a week. Caroline remains confident that Archie will ensure her innocence is proven.
Returning to the present day, Julia wakes up in her old childhood bedroom, having been too afraid to stay in Caroline’s room. From her window, she sees that the noose on the oak tree is gone. She goes outside and asks Mick if he saw a rope on the tree. He confirms that he sometimes sees the noose, as well as other strange phenomena. He believes that it’s the ghost of Caroline, whose presence he claims has recently become angrier and more active.
In 1692, Deputy Strickland and Sheriff Bixby enter Caroline’s cell to search her for a “witch’s teat,” a supposed mark of the devil. Strickland rips her clothing off and inspects her naked body. He declares the burn on her forearm to be suspicious evidence of witchcraft. The men deny Caroline’s requests to see her husband or “a man of the law” to help with her trial (160). They inform her that her trial will be on Monday and that, if found guilty, she will be hanged the following day.
In the present day, Julia waits in a coffee shop in Woodhaven. Henry runs into her and awkwardly asks her for another date. Their conversation is interrupted by the arrival of Julia’s appointment, Alistair Dixon, a professional ghost hunter. Henry is immediately skeptical of Dixon, who claims to have a “digital accreditation” in ghost hunting. After Julia describes the events at Pemberton, Dixon proposes a formal evaluation of the house for a fee. He and Henry argue about the existence of ghosts, and Dixon shares the story of his own paranormal encounter. After Dixon leaves, Henry warns Julia that Dixon is “a con artist” (168), but Julia feels that she needs his help. Henry gives her his phone number, and she leaves with Dixon’s business card.
In 1692, Deputy Strickland brings Caroline her dinner of two slices of rye bread, stopping at Jonas’s cell first and making him reach through the bars for his plate—a moment that reveals Strickland’s fear of Jonas. He taunts Caroline about her torn clothes and cold cell. Before giving her the food, he looks at her lustfully and forces her to promise that she’ll cooperate with him in the future. As he leaves, Strickland remarks that it will be “a shame to see [her] hang” (172).
Later that night, Caroline is awakened by a strange noise and discovers Jonas trying to break through the floor of his cell with his boot buckle. When she threatens to alert Deputy Strickland, Jonas warns her that if she does, he will kill her as soon as he escapes. He stares at her with such intensity that she feels as if she’s being choked from across the room. Terrified into submission, Caroline promises to keep his escape attempt a secret, privately dismissing his chances of success.
In the present, Julia decides to ask Ethel for permission before inviting the ghost hunter to Pemberton. While they’re in the kitchen, Julia explains that she wants an expert opinion on the strange occurrences in the house. To her surprise, Ethel is very receptive to the idea and readily agrees. Ethel’s only concern is that the ghost hunter might harm Caroline’s spirit, but Julia reassures her that his goal is to help.
Dixon arrives at Pemberton and immediately claims to sense a strong supernatural presence. His first device, an REM (radiating electromagnetic) pod, overloads and begins screeching loudly, which he attributes to an unusually powerful energy field. He then uses a K2 meter, which registers activity near the grandfather clock and the portrait of Archibald and Molly Eldridge. As he approaches the painting, the K2 meter’s lights flash uncontrollably before the device breaks. Visibly unnerved, Dixon concludes that the investigation activity is making Caroline angry. He leaves an EVP (electronic voice phenomena) recorder on the mantelpiece below the portrait of Archie and Molly to capture spirit voices and promises to return in a week to analyze the recordings.
In 1692, Deputy Strickland brings Caroline a new dress but insists on watching her change. When he reaches out to touch her breast, Jonas throws a bowl from his cell that hits Strickland in the head. Enraged and distracted, Strickland drops the dress, and Caroline seizes the moment to snatch it and dress herself. Strickland then locks her cell and enters Jonas’s, beating him brutally with a baton until he’s left unconscious and bleeding on the floor. Before leaving, Strickland informs Caroline that Jonas will be transported to Boston for his trial on Tuesday, the day after her own.
Hours later, Jonas regains consciousness in his cell. He’s severely bruised but tells Caroline that he believes no bones are broken. The shared trauma of the assault leads to a brief moment of dark humor and laughter between them. Soon after, however, Caroline becomes emotional, sobbing that she does not want to die. Jonas quietly agrees that her fate is unfair.
In the present, Julia realizes that her grandmother is missing from the kitchen and frantically searches the house. Unable to find her, Julia fears that Letty has wandered off and is about to call 911 when she spots her in the backyard. Letty is on her knees, crying and apologizing to Ethel, who isn’t present. She holds a human bone in her hands.
Julia rushes outside to Letty and takes the bone, which appears to be a human pelvic bone. She follows her grandmother’s footprints to a freshly dug hole near the large oak tree, next to an abandoned shovel. Julia realizes that Letty has unearthed remains from what must be Caroline Eldridge’s unmarked grave. Wondering how Letty knew where to dig, Julia speculates that Caroline’s ghost guided her. To avoid involving the police, she decides that she must find someone who can help her determine the age of the bone.
On the morning of her trial in 1692, Caroline prepares in her cell. She asks Jonas if he’s afraid of his own trial, but he remains calm. He tells her that Hitty said something to him about Caroline that he hasn’t forgotten. Before he can explain further, Sheriff Bixby arrives to take Caroline to the courthouse. As she’s led away in manacles, Jonas calls out and wishes her good luck.
Deputy Strickland’s physical search of Caroline for a “witch’s teat” is a raw display of institutionalized male power. As he and Sheriff Bixby forcibly strip her, they transform her body into an object for state-sanctioned scrutiny, where any blemish can be weaponized as evidence. His declaration that a simple burn is “a burn from the devil” demonstrates how the legal process is designed to manufacture guilt, not ascertain truth (159). This scene vividly illustrates The Endurance of Patriarchal Oppression Across History, showing a system where a woman’s physical autonomy is subordinate to the absolute authority of men. Strickland’s later sexual aggression, where he withholds food and a new dress to coerce Caroline and then attempts to sexually assault her, reinforces this dynamic. His power is not just legal but predatory, rooted in his ability to control her body and basic needs. This subjugation in the historical timeline finds a more modern echo in Ethel’s unmailed letter. Her secret pregnancy as a young woman and the social shame associated with conceiving a child out of wedlock reveal an insidious form of patriarchal control that continued to dictate women’s sexual and reproductive lives for centuries.
Julia’s discovery of Ethel’s letters under a box containing the peacock-blue dress physically links two eras of buried female suffering. The unearthing of Ethel’s secret—that she was pregnant with the child of a soldier killed in Vietnam—completely reframes Julia’s understanding of her stern great-aunt, revealing a past defined by love, loss, and immense social pressure. This revelation gives weight to The Cyclical Nature of Family Trauma and Secrets, showing how unspoken tragedies shape personalities and relationships across generations. The motif of the peacock-blue dress connects Ethel’s hidden sorrow directly to Caroline’s story, as both women’s lives were irrevocably altered by circumstances beyond their control. The theme becomes literal when Letty is compelled to dig in the backyard, unearthing a human bone from what Julia presumes is Caroline’s unmarked grave. This act of disinterment suggests that the family’s oldest trauma is actively seeking resolution, channeling its energy through the family’s most vulnerable member.
The Pemberton estate continues to function as an active participant in the narrative, as its architecture and grounds embody the family’s repressed history. Julia’s investigation of the attic, a space that Ethel claims has been sealed for years, initiates this process of uncovering. The discovery of fresh footprints that “appear suddenly and out of nowhere from the center of the attic floor” literalizes the idea of secrets materializing from the past and exposes Ethel as an unreliable gatekeeper of family history (139). The noose that Julia sees hanging on the oak tree evokes Caroline’s violent death, while the handprint on the window is a terrifying intrusion into Julia’s private space. Dixon’s paranormal investigation appears to confirm the house’s supernatural role, as his equipment registers disturbances near two key objects: the grandfather clock, a symbol of arrested time, and the portrait of Archibald and Molly Eldridge, the source of the original betrayal.
The arrival of Dixon intensifies the narrative’s central conflict between rational explanation and supernatural belief. Henry continues to display a rigid skepticism, representing a purely scientific worldview. Meanwhile, Julia’s initial attempt to use a ghost-hunter app positions her as a modern individual seeking technological validation for an intuitive feeling. However, the random words it generates, such as “DRY” and “CARROT,” undermine its credibility, highlighting the gap between technology’s promise of certainty and Julia’s unresolved sense of a supernatural presence. Dixon himself occupies a middle ground, using seemingly scientific tools like REM pods and K2 meters while interpreting the results through a spiritualist lens. His equipment’s responses—the REM pod overloading and the K2 meter cracking as it nears the portrait of Molly and Archibald—discredit a purely rational dismissal of the events at Pemberton and reinforces Julia’s trust in her own disturbing experiences.
In the squalor of the 1692 jail, an unexpected alliance forms between Caroline and Jonas, subverting their initial roles as accused witch and condemned murderer. At first, Caroline views Jonas with fear and revulsion. Her conviction that she sees “evil” in his eyes reflects her acceptance that he’s guilty of the horrific crimes he’s accused of. Yet their interactions gradually reposition him as a character who opposes the use of Respectability as a Shield for Corruption. His warning that the court accepts “spectral evidence” exposes how institutional authority lends legitimacy to unverifiable accusations. Caroline’s shifting perception of him from a source of danger to a potential ally against those who wield power unjustly is reinforced when Jonas defends her from Deputy Strickland’s assault, absorbing a brutal beating in her place. This act of sacrifice forges a bond between them rooted in shared victimhood under a corrupt and violent authority. Their subsequent shared moment of dark humor, which dissolves into Caroline’s tears, solidifies their connection, revealing a shared humanity that their captors seek to deny. This relationship complicates the narrative’s moral landscape. Jonas, a man accused of murdering women, becomes the protector of a woman from a male predator, challenging official narratives of decency and depravity.



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By Freida McFadden