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67 pages 2 hours read

Riley Sager

Home Before Dark

Fiction | Novel | Adult | Published in 2020

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Chapters 13-16Chapter Summaries & Analyses

Chapter 13 Summary

Maggie gives Dane the afternoon off and goes to Bartleby, which reminds her of a town that time has forgotten. She goes into a bakery for coffee and sees Marta Carver working. Thinking Marta will hate her more than anyone in Bartleby, Maggie leaves a large tip, and they don’t talk. She wants to apologize but knows that it’s her father’s apology to give. Maggie believes that she’s a coward, and she never wants to see Marta again.

When she gets home from grocery shopping, a car is in the driveway. It belongs to the reporter, Brian Prince. She knows that he shares no blame in what happened to her and her family, but she doesn’t want to be interviewed. Prince surprises her by saying that he kept in contact with her father and that Ewan had suggested a final interview before he died, wanting to reaffirm his story one final time. Prince had accepted because he wanted to ask Ewan what really happened to Petra Ditmer. Prince began to suspect a connection between Ewan and Petra’s disappearance long after the Book. The family left July 15—and that was the last night Petra was seen alive. Alcott was with them in their hotel that night. He mentions how often Ewan wrote about Petra and suggests that their relationship might have been inappropriate. He promises to find the truth, even if she won’t help. When she goes inside, the chandelier is on. She knows that it was off when she went to Bartleby.

Chapter 14 Summary: “June 30—Day 5”

A sound wakes Ewan, who immediately finds that the chandelier is on. Over breakfast, he asks Jessica to remember to turn off the record player. She’s confused and denies knowing about the music, let alone leaving it on at night.

He wonders if the study could have an animal living in it that might have bumped into the record player. He examines and unplugs it before going to ask Maggie if it was her. In her room, he finds Maggie talking to an imaginary figure, saying that she has to find her own toys. Maggie says it’s a girl who can’t talk. She denies being in Ewan’s study, and he believes her. She says the girl spent the night in a wooden box, meaning the armoire. Ewan remembers the thuds of doors and drawers opening the night before. Then, Maggie says the girl isn’t allowed to leave. Before they leave the room, Maggie tells the girl to remind the others that they aren’t welcome in her room. Ewan tells Jessica about the incident that night and then proposes a sleepover with the Ditmer girls so that Maggie can have some positive reinforcement with other kids.

Chapter 15 Summary

Maggie checks in with Allie and ponders her situation. After speaking with Prince, she looks at the Book and the Polaroids in the kitchen. She remembers going to Paris with her father after Jessica married Carl. Maggie was 14 then. Her father told her he’d never remarry and that he still loved Jessica. He said they experienced something so horrible that repairs were impossible.

In the kitchen, Maggie focuses on the pictures that have Petra in them. In most, she looks aloof, unaware that she’s being photographed. In the photo where she acknowledges the photographer, she’s flirtatious. A bell rings, startling Maggie, and she grabs a knife just as she hears music from upstairs. It’s the song “Sixteen Going on Seventeen,” just as in the Book. The chandelier is swaying and tinkling in the great room. The study is empty, and she turns off the record player. Maggie thinks it must have been a ghoul that started the music. She then notices that the teddy bear—which was on the desk, like the letter opener—is gone.

Chapter 16 Summary: “July 1—Day 6”

Maggie tells Ewan that Mister Shadow says they’ll die there. Jessica tells her that Mister Shadow is imaginary. Maggie insists that three people visit her at night: the girl who can’t speak, Mister Shadow, and Miss Pennyface, who has pennies over her eyes. Maggie says she’s watching them now from the corner. Tapping noises come down the hall before heading to the third floor. The music begins to play from the study, and Ewan goes upstairs to check. The room is empty. He puts the record in its sleeve and then stores the player and the LPs in the closet before calling the police. Alcott responds, and Ewan tells her about a possible intruder and the music upstairs. However, Jessica didn’t hear the record player either time. Ewan realizes that Alcott is treating them like they treated Maggie when she talked about her imaginary friends.

That night, with thread, chalk, and index cards, Ewan makes a crude security system. He draws lines on the floor and strings threads across the front doorway and every window.

Chapters 13-16 Analysis

These chapters begin to propel the story into the middle act traditional in haunted house stories. The chandelier, the music, and the bells give frequent reminders that something is wrong. Maggie reveals the names of her unwanted, increasingly hostile visitors, who are apparently telling her more about themselves, underscoring the theme of House of Horrors and Maggie’s Search for an Identity. The music of the record player is frightening, but the lyrics of the song take on an air of menace when combined with the fact that Baneberry Hall often proves lethal to teenage girls. Prince’s suggestion that the relationship between Ewan and Petra—who disappeared—might have been inappropriate, while unsavory, is a chilling proposition when combined with the lyrics of the song, which seem to describe the plights of both Petra and Indigo as predators close in on them.

Beyond the increase of uncanny activity, the most significant thematic development in these chapters is Ewan’s remark in Paris: “Sometimes, Mags, a couple can go through something so terrible that not even love can fix it” (152). At the conclusion of the novel, the narrative provides a better sense of Ewan’s heartbreak. He lost his wife not only because of the Book but because he and Jessica decided to protect Maggie. The terrible, family-shattering thing he refers to wasn’t a crime, or a duplicitous memoir, but a parent’s sacrifice for a child, highlighting the theme of The Value and Burden of Family.

Prince’s introduction places a new tension and deadline on Maggie. She wants to solve the mystery of Baneberry Hall to understand and forgive her father, addressing the issues underlying the theme of The Corrosive Effects of Secrets and Guilt, but she won’t be able to do so if Prince finishes the story first. His commitment to the truth rivals her own, but their motivations differ. Maggie wants to find the truth on her own terms, not to let yet another writer frame her story for personal and professional gain. Even though Prince annoys Maggie, she’ll later admit to herself that she knows he’s only doing his job.

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