71 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of graphic violence, physical abuse, emotional abuse, sexual situations, and substance use.
Driving back from their unauthorized shopping trip, Caitlin worries about her parents’ reaction. In heavy traffic, she spots a man dressed in black whom she believes was following Olivia in Bath. When their mother calls Caitlin, Olivia turns off Caitlin’s phone. Near the house, Caitlin pulls over to speak privately and asks if Olivia is married. Olivia admits to a nonlegal ceremony with the man who abducted her at 16, saying that he insisted on it before having sex with her. Caitlin’s head spins as she wonders if Olivia staged the abduction with a secret boyfriend (possibly the boy on the bus, who gave her the gold-bee journal). Olivia swears Caitlin to secrecy, explaining that she told the police everything but doesn’t want family pity. When Olivia has a panic attack, Caitlin uses a breathing technique she learned from her own therapist to calm her.
Reporters continue to swarm Blossom Hill House until a police officer intervenes. Inside, Clara embraces Olivia while Myles furiously confronts Caitlin about the trip. Taking responsibility to protect Olivia, Caitlin claims that it was her idea. Myles shows her online articles with photos of them shopping and dismisses her stalker sighting as attention-seeking. He reveals that Clara has complained about Caitlin acting up. Betrayed and recalling how her father blamed her when she was 10 for not calling the police the night Olivia vanished, Caitlin leaves. No one follows.
Six days later, Caitlin hasn’t returned to Blossom Hill House but sends Olivia a mobile phone; they speak nightly. Missing Oscar and feeling the sting of her father’s accusation, Caitlin works on Wanderlust Illustrations, her online art business. Oscar surprises her with a trip to St. Ives, where they discuss getting a dog and setting a wedding date. Citing their engagement of nearly three years, Oscar pushes for an autumn wedding, but Caitlin, feeling that marriage would prevent travel, negotiates for next year instead.
As they walk along the seafront, Oscar reveals that he once loved creative writing but abandoned it for computing to please his father, mirroring Caitlin’s artistic sacrifices. He encourages her to pursue illustration full-time, promising financial support. On a clifftop, he surprises her with an easel and art supplies. Caitlin is moved and feels deeply loved.
The next morning at breakfast, Oscar shows her an article that features photos from the sisters’ trip to the bridal boutique. The article suggests that Olivia wasn’t abducted but ran away with a boyfriend. Relieved that the wedding-dress comment wasn’t overheard, Caitlin confides in Oscar about Olivia’s marriage secret. He accidentally reveals that the abductor’s name is Simon, claiming that he learned details from his cousin Rachel’s husband, who he says is a police officer. He explains that Simon held Olivia in a rural Forest of Dean house. Though upset that Oscar kept these secrets, Caitlin promises silence and fantasizes about killing Simon.
The following Tuesday, Caitlin drives to Bath to collect Olivia from therapy. Outside a coffee shop, she finds her sister looking confident and chic. Dr. Gideon Temple, Olivia’s therapist, arrives with her handbag (which she deliberately left as a ploy for him to meet Caitlin). The handsome Irish therapist and Caitlin share immediate chemistry.
Olivia leaves them alone, and Gideon asks how Caitlin thinks Olivia is coping. He reveals that Olivia experiences night terrors and struggles with their parents’ behavior, particularly their mother’s suffocating presence. Most significantly, Olivia feels lonely and wants Caitlin to move back into Blossom Hill House temporarily. Reluctantly, Caitlin says that she must discuss it with her fiancé. As they talk, Caitlin observes that Gideon isn’t wearing a wedding ring and has noticed her engagement ring. He offers his support if she ever needs to talk. Olivia returns, and as they leave, Caitlin glances back to find Gideon still watching her.
More than a week after Uncle Robert’s work party, he hasn’t returned to Ledbury Hall and has cut off the siblings’ income. Heath brings home money and food but remains absent most days, returning with Sofia’s perfume on his clothes. When Flynn appears at the gate to retrieve his jacket, Elinor accepts his invitation to go ice skating, desperate to escape her lonely existence.
At the Rawcliffe rink, Elinor’s exceptional skating ability impresses Flynn. They go for hot chocolate, and Elinor teases him about a purple stone he claims to have left for her. Flynn reveals that he’s studying medicine, plans to practice psychiatry, and has a placement in South Africa starting in September. When he mentions his stable, loving family, Elinor feels the gap between her isolated upbringing and “normal” life. She confesses that she accidentally set fire to the curtains at her uncle’s party. Riding on a wave of excitement, she kisses him. Flynn lets her keep his jacket and asks to see her again on Monday. After he leaves, Elinor finds the purple stone he mentioned.
Approaching Ledbury Hall, she sees Uncle Robert’s car speeding away; he gives her a malevolent look. Fearing for Heath after their uncle’s earlier threat, she races inside and discovers her brother unconscious on the kitchen floor in a pool of blood and a lead pipe nearby.
Caitlin picks up Florence from the train station. Her best friend, dressed beautifully, reveals that she has landed a major audiobook narration deal and worries that Olivia’s return will diminish their friendship. Caitlin firmly reassures her that she’ll always be like a sister, likening the maturity of their 19-year friendship to that of a person old enough to vote and drink.
At Blossom Hill House, Caitlin finds Olivia wearing their grandmother’s emerald necklace (a piece that their mother had promised to Caitlin) and feels a pang of jealousy. Olivia asks to spend time with Florence alone. Clara stops Caitlin to ask anxiously if she stole Myles’s credit card, which Caitlin denies.
Watching from the kitchen, Caitlin witnesses Olivia and Florence’s seamless, emotional reunion in the garden. Feeling like an unwelcome little sister, she eventually brings drinks outside but is clearly intruding. Florence mentions that someone named Daniel is collecting her, so Caitlin doesn’t need to drive her home. Later, Caitlin sees Florence kiss Olivia goodbye and leave. Heartbroken, she watches Olivia pass her on the stairs without a word and slam her bedroom door.
For four days after their reunion, Olivia and Florence have ignored Caitlin. Lonely, she calls Gemma for lunch but learns that Gemma is shopping for their mutual friend Sarah Newbury’s hen weekend (an event to which Caitlin wasn’t invited). Gemma confronts her about never mentioning having a sister, suggesting that Caitlin didn’t consider her a close friend.
Olivia calls. She’s lost in Bradford-on-Avon after a difficult police interview and is having a panic attack. Caitlin finds her by the canal and uses a grounding technique, having her name objects and colors. Their shared laughter over the unusual color name “aureolin” breaks the tension. Olivia explains that she fled the house through the woods, using the old shed as a landmark, because their mother’s suffocating attention was overwhelming.
Seeking drinks at a café, Caitlin leaves Olivia outside and spots Oscar having an intimate lunch with a blonde woman, sharing dessert. According to his calendar, he should be in London meeting a client named Sam. When she texts him, Oscar lies, claiming that he’s still in London meeting with a man. Caitlin realizes that he’s hiding something significant, possibly an affair.
Oscar arranges to meet Caitlin at his parents’ home for a make-up dinner after claiming that his train is delayed. Before leaving, Caitlin drinks wine and searches his study, finding a tin containing blonde hair.
At dinner with Oscar and his mother, Helen, Caitlin grows increasingly combative and drunk. When Helen pressures her about the wedding plans and comments that children should have their father’s surname, Caitlin challenges her. Oscar deflects by announcing that they’ve set a date for next summer. Drunk and angry, Caitlin reveals to Helen that Oscar knows secret police details about Olivia’s case. Helen questions this, mentioning that Rachel’s husband, Tim, works for an estate agent, not for the police, exposing another of Oscar’s lies.
As Caitlin and Oscar walk home, she confronts him about the café meeting. He furiously denies an affair, claiming that the client, Samantha (Sam), is from Adaline Fray Interiors. When Caitlin asks about the blonde hair, he says it’s from his own first haircut and suggests that she needs therapy. He walks off toward the train station, leaving Caitlin alone on the street. She sees the man in the Venetian mask watching her, but again he vanishes.
Elinor calls an ambulance for Heath, lying to authorities about his attacker to protect their uncle’s secret and prevent social services’ involvement. At the hospital, after hours of anxious waiting, she learns that Heath will recover despite having a head wound, bruised ribs, and numerous other injuries.
She calls Flynn, who arrives within an hour. In the children’s waiting area, he finds a picture book of Rapunzel and compares Elinor to the imprisoned princess, calling Ledbury Hall her tower. When he mentions Disney films she’s never seen, Elinor feels self-conscious about the gaps in her sheltered upbringing. Overwhelmed by guilt (believing that Heath’s attack is her fault), she confesses her feelings. Flynn comforts her, insisting that she couldn’t have stopped the intruder and that calling the ambulance saved Heath’s life. Overcome with emotion and his kindness, Elinor kisses him, and he kisses her back.
The police remain skeptical of Caitlin’s masked-man sighting. After fighting with Oscar, she has moved back into Blossom Hill House, as Olivia wanted. The media presence has dwindled, diverted by another major crime, though a police officer remains posted outside. Olivia goes out with Florence again without inviting Caitlin.
While sorting old photographs for Olivia, Caitlin finds one of Hathaway Cottage, the family’s former Easter holiday home. When Olivia asks where it is, showing no recognition of the place where they spent weeks every year, Caitlin is shocked. To test her, Caitlin deliberately refers to their cousin Edward as “Edmund.” Olivia fails, sympathetically calling him “poor Edmund” without correcting the error.
Olivia’s failure to remember Hathaway Cottage and their cousin’s real name (details likely omitted from the diaries she has been reading) confirms Caitlin’s growing suspicion: The woman is an impostor. As Olivia leaves to meet Florence, Caitlin sits reeling, now certain that the woman claiming to be her sister is a fraud.
Caitlin creates a list documenting evidence that the woman isn’t Olivia: She didn’t remember the gold-bee journal or the boy on the bus; she arrived well-groomed, with manicured nails; she never reminisces about their childhood; and she doesn’t remember Hathaway Cottage or their cousin Edward. Caitlin theorizes that Olivia might be fleeing an abusive husband.
At her first therapy session with Gideon Temple, Caitlin admits that her father blames her for Olivia’s abduction and that she has always resented her parents’ expectations. She confesses that her happiness feels like an echo because she has suppressed her true desire to travel and live without roots. Gideon encourages her to be braver and live the life she wants. Their connection intensifies.
When Caitlin shares her suspicion that the woman who has returned as Olivia isn’t Olivia and reads her evidence list, Gideon offers a rational explanation (a head injury causing memory loss) but validates her instinct to investigate. He advises her to be the main character in her own life and stop letting things simply happen to her.
Returning home, Caitlin overhears Olivia on an urgent phone call, expressing panic that someone knows something. Olivia discovers her eavesdropping and slams the door. Downstairs, Caitlin finds Olivia’s old mobile phone, realizing that she must secretly have a second phone. When she confronts her sister, Olivia denies everything. When Caitlin presses her about a second phone, Olivia picks up a large knife and tauntingly tells her to rest. Caitlin confronts her about calling their cousin Edmund instead of Edward. Olivia dares her to voice her accusation, but Caitlin hesitates.
That night, Caitlin wakes to see Olivia standing silently over her bed before leaving. Checking Olivia’s room, Caitlin finds her seemingly asleep and questions her own sanity. Making tea downstairs, she hears scratching at the kitchen window. The man in the Venetian mask is pressed against the glass. She screams and drops the mug, scalding herself. Her family rushes down as she reports the intruder. Her father and a police officer search but find nothing. Her father looks at her as if she’s a liar.
Three weeks after Uncle Robert’s attack, he hasn’t returned to Ledbury Hall. After two weeks of Elinor’s care, Heath has resumed his mysterious daily absences. Elinor has spent the last week growing closer to Flynn, who asks her to go to South Africa with him.
When Heath unexpectedly returns and discovers them in bed together, he violently attacks Flynn. To drive him away, Heath lies that Elinor is only 15 years old. Horrified and disgusted, Flynn leaves. Elinor confronts Heath, who reveals that he’s with Sofia only because she got him a job at a music shop. He explains that he has been secretly working to save money for them to escape Ledbury Hall, believing that Uncle Robert tried to kill him and will do so again to secure the entire inheritance for himself. Heath worries that he won’t be welcome back at the shop after what happened with Flynn. He comforts his guilty sister, telling her that he needs her to do better, and he promises to kill Robert if he ever touches her.
The evening after Caitlin’s masked-man sighting, police find no evidence of an intruder. Myles accuses Caitlin of lying for attention. During a heated argument, she confronts him about years of emotional neglect. When Caitlin asks if the police checked the shed in the woods, Clara reveals that it was built only 10 years ago—six years after Olivia’s disappearance. This timeline discrepancy intensifies Caitlin’s certainty that the woman is an impostor, as the real Olivia couldn’t have known about a nonexistent shed.
When Caitlin confronts “Olivia” about the shed and visiting her room at night, the woman denies everything, and when Caitlin slaps the woman’s hand away, her parents watch, horrified. Caitlin packs and leaves.
Letting herself in at home, Caitlin hears Oscar in his study. When he calls her phone, however, she realizes that he’s elsewhere. Someone else is inside. The masked intruder bursts from the study and violently attacks her, pinning her against the wall. He destroys her phone and throws her into the study, locking the door. Caitlin escapes through the ground-floor window.
The police arrive after Oscar (hearing the attack over the phone) calls for help. They find no evidence of forced entry and discover the study door unlocked, contradicting Caitlin’s account. Oscar expresses doubt about her story and claims that he was out for drinks with friends, though one of those friends is supposedly on holiday.
For several days, Caitlin stays in bed while Oscar sleeps in the spare room. Her parents visit, treating her with cautious pity. Determined to pull herself together, she finally showers and dresses.
Hearing laughter from the spare bedroom, she finds Olivia and Oscar sitting close together on the bed. They spring apart guiltily. After Oscar leaves for the deli, Olivia taunts Caitlin, noting that he has been attentive and asking if sisters should share. When Caitlin tests her by referring to her childhood nickname for Caitlin, Kitty-Cate, the woman doesn’t recognize it. Caitlin accuses her of knowing only facts she learned from reading diaries. The woman again dares her to voice her suspicion. Finally, Caitlin tells her she isn’t her little sister. The woman seems pleased and impressed, treating the confrontation like an eagerly awaited game.
After another argument, Oscar has gone to Birmingham. Feeling trapped and lonely, Caitlin walks in a park in Frome, theorizing that the impostor, the masked man, and possibly Oscar are conspiring to drive her mad.
She encounters Gideon Temple out running. Noticing that Caitlin looks lonely, he asks about her week. She describes the break-in and how no one believes her. Gideon offers unwavering support. She asks about his personal life; he reveals that he’s separated from his wife, who wanted more than he could give.
When Caitlin mentions the impostor’s second phone, Gideon helps by telling her that Olivia has a 90-minute therapy appointment with him next Tuesday morning (implying that Caitlin might use that time to search for it). As they talk, Caitlin spots the masked man leaving the park. Gideon sprints to catch him, but the man vanishes. Furious on her behalf, Gideon insists that stalking isn’t acceptable. Caitlin asks if his concern is professional or personal. Looking at her intensely, he says it’s personal. Tempted to kiss him, Caitlin instead remembers Oscar and walks away.
These chapters thematically scrutinize The Malleability of Identity in the Face of Trauma by contrasting Caitlin’s destabilized self-concept with the impostor’s calculated performance of a stolen identity. For 16 years, Caitlin’s identity has been inextricably linked to her sister’s absence; she reflects, “I’ve spent the last sixteen years trying not to only be the sister of that missing Arden girl” (101). This foundational trauma has dictated her life choices, shaping her into a compliant daughter to compensate for her parents’ sense of loss. The return of a woman claiming to be Olivia doesn’t resolve this crisis but intensifies it, forcing Caitlin into a psychological battle in which her sanity and memories are weaponized against her. Her therapy sessions with Gideon provide a space for deconstruction, where she articulates a suppressed, authentic self who desires a life without roots (an identity diametrically opposing the one she has carefully constructed). The novel externalizes this internal conflict through the impostor, whose identity is a hollow performance pieced together from diaries. The impostor’s convincing facade highlights the fragility of identity itself, suggesting that it can be shed, adopted, and manipulated, especially when an authentic self is fractured by trauma.
The narrative structure, alternating between Caitlin’s and Elinor’s perspectives, builds suspense and foreshadows the collision of their worlds. While Caitlin struggles to convince her family of a conspiracy, readers are privy to the grim reality of Ledbury Hall and Heath’s escalating paranoia. This dual perspective creates a growing sense of dread, as readers understand the nature of the danger long before Caitlin does. Elinor’s fate is a premonition of Caitlin’s. Both young women are isolated within homes that psychologically imprison them, and both are manipulated by a sibling. Elinor muses, “And so…is Ledbury Hall my prison tower?” (158), directly foreshadowing the literal imprisonment awaiting Caitlin. Heath’s violent possessiveness over Elinor, culminating in his attack on Flynn, establishes the lethal stakes of his pathology and provides a blueprint for the danger he later poses. This structural choice shifts the genre focus from a simple mystery to a psychological thriller, as suspense lies not just in the unknown but in readers’ awareness of the impending convergence of the two narrative threads.
The Corrosive Nature of Secrets and Deception thematically dismantles every significant relationship in Caitlin’s life, demonstrating how falsehoods create psychological isolation. Oscar’s series of lies (about his knowledge of Olivia’s case, his whereabouts, and his professional engagements) erodes the foundation of their relationship, transforming him from a trusted partner into a potential conspirator. This erosion of trust is mirrored in Caitlin’s alienation from her parents, who choose to believe the impostor’s performance over Caitlin’s assertions rather than face emotional devastation again. The impostor’s deception is all-encompassing, turning the family home, Blossom Hill House, into a stage for a sinister play in which Caitlin is cast as the unstable, attention-seeking antagonist. Caitlin is forced into secrecy, concealing her suspicions and investigating alone, which only deepens the chasm between her and her loved ones. The novel suggests that deception isn’t merely a tool for achieving a goal but a destructive force that contorts reality and severs the bonds of intimacy, leaving the truth-teller utterly alone.
The text continues to explore the theme of Sibling Relationships as Both Sanctuaries and Battlegrounds through the subversion of the sororal bond. Initially, the reunion offers the promise of a sanctuary, a healing of the childhood wound that has defined Caitlin’s life. However, this illusion quickly shatters as the impostor weaponizes the conventions of sisterhood to manipulate and dominate. Shared history, intimacy, and loyalty become tools for psychological warfare. The impostor methodically usurps Caitlin’s place within the family and her social circle, claiming the heirloom emerald necklace and co-opting Caitlin’s friendship with Florence. The house becomes a battleground where the two women vie for control of the family narrative. The impostor’s challenge, “If you have something to say, little sister, just come out and say it” (173), isn’t a request for honesty but a taunt, casting their relationship as an adversarial game. This dynamic contrasts with the Ledbury siblings’ claustrophobic sanctuary against the world, which is ultimately just as destructive, built on a foundation of shared trauma and mutual dependence that tolerates no outsiders.
The recurring symbol of the Venetian mask operates both literally and metaphorically to explore hidden identity and malevolent intent. The physical mask symbolizes the terror that haunts Caitlin, representing the anonymous threat that has entered her life. Its appearances are calculated to destabilize Caitlin, making her appear delusional and undermining her credibility with the police and her family. Beyond the literal mask, nearly every character wears a metaphorical mask. The impostor’s entire existence is a performance, as her mask of trauma survivor and sisterly affection conceals a manipulative agenda. Oscar hides his secrets behind the mask of a devoted fiancé, while Caitlin’s parents wear masks of denial, unable to confront truths that threaten their fragile peace. Even Caitlin has spent her life masked as the dutiful, content daughter while feeling like a consolation prize for her parents. These masks suggest that the danger lies not in the facade itself but in the deception it conceals.



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