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Content Warning: This section of the guide includes discussion of racism, death, physical abuse, graphic violence, and child death.
Winifred awakens on the stable floor with no memory of how she got there. The word “EVIL” is written in blood on a horse’s flank, and nearby she finds a pair of sugar nips and a dislodged molar, which she buries outside.
In the kitchen, the cook confronts Winifred with a bloody nightdress she found. To avoid explaining, Winifred claims the stains are from a “woman’s ailment” and then feigns a fainting spell.
Later, at the breakfast table, Winifred is relieved to see all the family and guests are accounted for and alive. The men discuss phrenology in relation to a recent crime spree referred to as the Cutlery Murderers. The conversation prompts Winifred to recall a story about an innately vicious chicken, and she silently ponders the nature of evil.
As Christmas Eve approaches, Drusilla’s excitement over her new gown highlights the fact that Winifred only owns a plain black dress. Mrs. Pounds summons Winifred to her chambers and offers her a vivid, apple-green dress. While waiting for the dress to be fetched, Winifred notices framed daguerreotypes of Mrs. Pounds’ deceased children. Mrs. Pounds speaks of them and of the first Mrs. Pounds, who allegedly developed dark bruises on her neck before her death.
Winifred humbly accepts the dress but, leaving the room, overhears the lady’s maid Amelia ask whether the dress was colored with the same arsenic-based dye that recently killed a local woman. Winifred hides the dress in her wardrobe, where its folds make it look like a woman trying to claw her way out. That night, she enters the bedroom of the guest Marigold and her husband; they wake and sense a presence, scanning the room with suspicion, but never quite manage to meet her eyes.
At the Christmas Eve celebration, Winifred wears the green dress. She pins her mother’s pearl brooch above her heart before leaving her room, then swallows it upon seeing the footmen’s solemn faces in the hallway.
During the gluttonous feast, she observes the guests’ crude behavior and watches as the footmen spit into the food before serving it. Afterward, while the guests dance, Winifred steals Marigold’s smelling salts and wanders the empty upstairs halls, at one point entering a hidden attic garret filled with corpses. She then finds the servants telling ghost stories; she tells the William Batt ghost story before confessing she fears she is herself a ghost, to which the butler replies that they do not like her very much.
Returning to the party, Winifred joins a game of blind man’s buff. She catches Drusilla and discovers a painting knife hidden up her sleeve. Winifred then has a vivid, violent hallucination of stabbing Drusilla repeatedly, though the narrative immediately confirms this was only a fantasy and Drusilla is unharmed.
On Christmas morning, Winifred follows Mr. Pounds to the library and reveals that she is his illegitimate daughter, presenting the eyes she cut from the family portraits as proof of their shared ancestry. Mr. Pounds furiously rejects her and terminates her employment.
Immediately after, Winifred retrieves a cleaver and begins a massacre. She starts by cutting off Miss Manners’ hand at the piano, then kills Mrs. Manners with a brooch pin and Mr. Fancey first by striking him with a poker he had seized himself, then strangling him with a bootlace pulled from his own shoe. After murdering the Dowager, Art Fishal, and Marigold’s husband, she moves to the kitchen and kills several servants, force-feeding some with salt of sorrel. Taking a crossbow from the armory, she goes to the nursery, where Mr. Pounds shoves his wife and son toward her before fleeing. Winifred shoots mother and son with bolts. The nurse, after Winifred shouts after her to go free, glances back as she runs, trips, and falls over the banister to her death.
After killing Mrs. Fancey and Mrs. Able, Winifred finds Mr. Pounds in the dining room, his ankle caught in the leghold trap she had set earlier. In an attempt to placate Winifred and get her to spare his life, Mr. Pounds disowns Drusilla as his daughter. After he insults her, she fires a bolt she intends for his heart, but approaching the collapsed body discovers the shaft protruding from his shoulder instead. Mr. Pounds lunges at her with a carving knife, but Drusilla appears with a rapier and fatally stabs him through the heart.
With Drusilla now working as Winifred’s accomplice, the final killings conclude: Winifred shoots the butler from his perch on the chandelier, kills a fleeing red-haired servant, and shoots the gardener in the gardens, while Drusilla slashes the gamekeeper’s neck and stabs Marigold in the neck in the Great Hall.
For the next 11 days, the two sisters live in the house among the dead, arranging the corpses at the dining room table and letting the horses roam inside. During this time, a scullery maid who had been hiding in the secret garret among the corpses escapes, and a woman from a neighboring farm peers through a window, sees the carnage, and flees in horror.
On the 12th day, the police arrive to find bodies hanging from the trees. Drusilla stages a scene, tying her own wrists and claiming to be a survivor of the massacre. She tells the authorities that Winifred alone was responsible for all the killings. Believing her story, the police arrest Winifred and take her away.
Winifred is led to the gallows for a public execution, laughing as she faces a cheering crowd of 30,000 people. She spots Drusilla among the spectators. When the chaplain asks if she has anything to say regarding her guilt, Winifred replies, “It was grand” (190). She refuses to wear the traditional hood, wanting to see the crowd as she dies. The executioner, who favors the short-drop method of slow strangulation, removes the bolt and the drop falls, and as she is hanged, Winifred’s mind fills with memories of her past acts of cruelty.
Winifred notes that her sensational story will be sold in penny dreadfuls and that a cast of her head will be made for phrenological study.
The novel’s violent climax presents a takedown of the Victorian upper class structure. The absurdity of the murders, beginning with Miss Manners’ hand getting chopped off as she plays the piano, is emblematic of the novel’s camp approach to violence. Rather than slow down and focus on the suffering of Winifred’s victims, the rapid pace of death is meant to defuse the tension that has been building up over the course of the Pounds family’s Christmas celebration and turn it into something entertaining, if not darkly humorous. Winifred’s murders her victims using objects emblematic of their status, turning their deaths into amusing moments of irony: Mrs. Manners is killed with her own mourning brooch, and Mr. Fancey is first struck with a brass poker he seizes to defend himself and then strangled with a bootlace from his own shoe. By having Winifred kill with such gruesome specificity and at such a fast pace, the narrative illustrates The Normalization of Systemic Violence, suggesting her actions are the grotesque but logical outcome of a society built on repression and cruelty.
Before the massacre, Mrs. Pounds’s gift of a vivid apple-green dress in Chapter 26 establishes a key symbol of the toxicity lurking beneath the surface of Victorian elegance. The scene is thick with menace: Mrs. Pounds casually recounts the deaths of her children and the mysterious bruises on the first Mrs. Pounds’s neck, creating an atmosphere of domestic horror. The maid’s subsequent remark that the dress’s color comes from an arsenic-based dye confirms that this “gift” is potentially fatal, a physical manifestation of the symbol of arsenic green. This act of false generosity exemplifies The Commodification of Human Bodies, revealing how the lives of women, including the first Mrs. Pounds, the local woman killed by the dye, and now Winifred, are disposable in the pursuit of aesthetic perfection and social performance. Mrs. Pounds would never have considered giving the dress to her if it had been completely safe to wear. When Winifred later dons this poisonous garment for the Christmas Eve feast and subsequent slaughter, her attire becomes deeply ironic. She is literally cloaked in the venom of the upper class as she enacts her revenge, turning their own destructive vanity into her uniform.
The novel’s satirical tone is sharpened through its engagement with Victorian pseudoscience, which highlights The Absurdity of Class Superiority. In Chapter 25, the male guests’ self-assured discussion of phrenology as a tool for identifying criminals by their skull shape is presented as a pinnacle of arrogant ignorance. This conversation underscores the symbolic function of phrenology and the craniometer in the narrative, which represents the era’s flawed attempts to use “science” to justify unjust social hierarchies and biased moral judgments. The ultimate ironic payoff arrives in the final chapter, when Winifred notes that a cast will be taken of her own head for phrenological study, showing how this bankrupt academic system will be used to analyze the very monster it helped create.
Drusilla’s sudden transformation into Winifred’s willing accomplice complicates the narrative’s exploration of evil. Her shocking intervention in Chapter 28, where she saves Winifred by running Mr. Pounds through with a rapier, shatters the expectation that Winifred is the sole source of violence in the house. This act, followed by her enthusiastic participation in the remaining murders, suggests that the oppressive environment of Ensor House fostered a latent brutality in both girls. Winifred’s earlier musings on the innate evil of a “wicked” chicken are thus reframed; the violence at Ensor House is a contagion born of shared circumstances. Drusilla’s final betrayal, which sees her turning against Winifred to ensure her own survival and cement her power over Ensor house, is a masterful act of self-preservation. She ultimately triumphs by internalizing and perfecting the manipulative cunning of the patriarchal system, demonstrating a cynical understanding that survival depends on ruthless adaptation rather than virtue.
The final chapters chronicle the complete breakdown of social order, culminating in a grotesque public spectacle that reinforces the novel’s bleakest critiques. The surreal “Twelve Days of Christmas” sequence in Chapter 29, during which Winifred and Drusilla live among the corpses and allow horses to roam the house, transforms the manor into a macabre tableau, a final, absurd mockery of aristocratic decorum. This period of anarchic freedom ends with Winifred’s capture and public execution, which is treated as mass entertainment. The cheering crowd and the commercialization of her story through “penny dreadfuls” represent the final stage in The Commodification of Human Bodies, as her life and death are processed into a consumable product. Winifred’s laughing defiance and her final declaration that her rampage “was grand” (190) is an embrace of her public role as a monstrous spectacle. By refusing the executioner’s hood, she asserts ownership over her narrative, ensuring that the society that created and condemned her is forced to look upon its own creation.



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