51 pages • 1 hour read
Harper L. WoodsA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Willow is attacked and beaten unconscious by a group of students who blame her for the recent deaths. When she regains consciousness, she crawls up the remaining steps to Gray’s rooms. He offers her his blood again, strips her, and puts her in the shower. Gray wants to punish those who hurt her, but she insists that not all battles are worth fighting. When she suggests that only Ash would care if she died, Gray insists that he would care and kisses her tenderly.
Willow knows that Gray brings out the worst in her, but she also turns to him when she is hurt. She gets up from his bed to leave, finding him fresh from the shower. She asks why the Covenant ended pair bonds between witches and Vessels, and he says that these bonds created addictions and clandestine relationships; a Vessel who feeds on only one witch will acquire some of her powers. He admits that he was the Vessel who fed on her during the Reaping, and he says that he can now feel her magic within him. He claims that he has “known exactly what [she is] for quite some time” (229).
This claim knocks the air from Willow’s lungs. He insists that she would be dead already if that’s what he wanted, and the “affection of the moment while he [holds her] pinned to the door [is] too much” (230), overwhelming her sense of doom. He pushes her onto the bed, asking what she planned to do once she obtained Loralei’s bones. She admits that she was going to unmake all Vessels. He looks devastated and insists that she loves him. By the time he removes their clothing, Willow is deeply aroused, and Gray knows it. When he penetrates her, he realizes that this is her first sexual encounter and immediately pulls out. He stares between her thighs with “reverence on his face” (233) and explains the magic of blood and sex, stating that the blood of a woman’s first time creates obsession for the Vessel. Gray moves slowly inside her and bites her neck, creating waves of pleasure. Afterward, she falls into a blissful sleep.
Gray looks out his window to the courtyard, where Willow is dripping blood onto the dying plants. They had sex multiple times after she awoke. Now that Willow knows that he fed on her at the Reaping, he wants everyone to know that she is his. He knows that she doesn’t understand the consequences of giving him her virginity.
Willow sees Gray step away from the window and grateful for the solitude. She thinks of the school, and how it houses corruption (in the form of the Covenant) as well as goodness (in the young witches). Susannah approaches her, having realized how much Willow resembles Loralei. Because Willow is the last of Loralei’s bloodline, Susannah implores Willow to run and save herself. She says that Gray has Loralei’s bones and is shocked to learn that Gray already knows what Willow is. However, she says that Willow doesn’t know who Gray is, and those who do are sworn to secrecy. Susannah allows the plants to drag her into the earth. Just before she goes under, she warns Willow, and Willow realizes that whatever is coming is so dire that even Susannah doesn’t want to face it.
Willow runs into the forest. The trees help her, but she cannot outrun the beasts. One of the monsters slashes her face, and another knocks her down. Suddenly, Gray appears, tearing the animals apart.
Gray fights off the wolves, but he is appalled when Willow acts as though he is the monster. He explains that Charlotte Hecate created the creatures by mistake after making her deal with the devil. He demands to know why Willow fled the school.
Gray catches Willow trying to sneak out of his room, and “the guarded mask of humanity that he so carefully wore [flees], revealing the brutal monster waiting beneath his skin” (256). He asks her what Susannah said, and Willow says that Susannah told her to run. Kairos tells Gray that no one can find Susannah, and Gray orders him to search the garden.
When Kairos leaves, Gray removes Loralei’s bones from a safe behind Lucifer’s portrait, but Willow doesn’t want the bones. Though he pities her, Gray says that he has waited a long time for Willow, and she now has no choice. The bones move on their own, forming a necklace around Willow’s neck. He tells Willow that she will be the last of the Hecate line, and the magic of the bones will die with her.
Willow’s earth magic feels like spring and life, but the bones feel like nature’s death and decay. When Kairos reenters the room, he is paralyzed by Willow’s touch. Gray tells her to release him, but instead, she allows her magic to spread, and Kairos dissolves into mud. She reaches for Gray, who explains that he has had so much of her blood that Loralei’s bones now regard him as part of Willow. He tells another Vessel to bring Susannah to the Tribunal room. Willow thinks that she has ruined Gray’s plans, and he expresses regret for the hate that she will soon bear him. George is shocked to see her wearing the bones, and the Vessel brings Susannah’s broken skeleton. The Vessel puts a heart, liver, and the bone mirror on the floor.
Gray places the organs atop the mirror. He slits the throat of another young witch and tells Juliet to retrieve the brain. He murders another, smiling “cruelly” at Willow as he kills the witches. Juliet harvests their organs. Gray says that he cut Loralei’s throat to prevent her from unmaking him and to prevent the Covenant from learning of Samuel’s existence; this way, Samuel could survive to father Willow. Now, Gray commands Willow to destroy the Covenant, and when she refuses, he calls out; Samuel enters, holding a knife to Ash’s throat. When Willow vows to kill Samuel, Gray tells her that if she complies with his commands, he will let her kill Samuel. Gray covers her hand with his own, gesturing to the Covenant. Their bodies fill out, then fade, and finally burst into dust. When Willow turns, Gray pushes a blade into her stomach, then reaches inside her, pulling a single rib bone from her body. Then he shoves his wrist against her mouth, forcing her to drink his blood. Her wound heals. When a vortex forms above the bone mirror, he tosses the rib in. A beautiful woman appears, standing on the mirror’s surface, and greets Willow by name.
Willow realizes that the woman is Charlotte, and that Charlotte is furious with Samuel. Samuel releases Ash, who runs to Willow, and Charlotte opens a hole in the floor, throwing Samuel in and burying him alive. Charlotte tells Willow that it is not safe for Ash here until Willow fulfills her destiny. Juliet leads him gently away. Charlotte calls herself a gift from Willow’s husband, gesturing to the devil’s eye mark on Willow’s back. Gray says that he put the mark there on the night Willow was born. Charlotte says that Willow, not the Vessels, was the price of her bargain with the devil. The devil gave Charlotte his magic, and she promised him a witch of two bloodlines, who would then open the seal. Charlotte created the Vessels to limit the demons’ destructiveness. Now, she presses Willow’s hand to the mirror, and the glass shatters. One by one, archdemons emerge from the pits of Hell through a cavern in the floor, and two carry a cot bearing Lucifer’s lifeless body. When Willow asks Charlotte why Lucifer doesn’t move, Charlotte explains that his soul is already here.
Gray brushes his hand against the devil’s eye on Willow’s back. He asks if she is ready to learn his true name and calls her his “wife.” Charlotte tells Willow that it is time to let go of the magic now. Charlotte begins to fade, and Gray helps Willow to pull her hands from the seal. She vows never to forgive him, and he tells her that she will realize how small human life is when she ceases to be human. He tells her to put him back where he belongs, saying that he cannot love her in “this form” as he can in his own. She places one hand on Gray and the other on Lucifer; Gray crumples to the floor, and Lucifer opens his eyes.
These climactic scenes reveal many hidden agendas—chief among them being the fact that Gray has always known the truth of Willow’s dual bloodlines; he is fully aware that she is the witch foretold by prophecy, and he has meticulously planned for her arrival. However, the elements of the gothic romance subgenre come into play when he fails to foresee his own growing attraction for this woman whom he once regarded only as a tool to further his own ends. Notably, he calls her “love” now more often than he refers to her as a “witchling,” and Willow sees “affection” in his face even after he reveals that he knows what she is. Similarly, when Willow says that no one but Ash would care if she dies, Gray emphatically refutes this, saying, “I. Would. Care” (224), and her visceral reaction to these words indicates that the attraction between them is mutual. Once he reveals that he knows about her bloodlines and admits that he drank from her at the Reaping, their intimacy grows, and when they finally engage in sexual intercourse (a requisite trope for the romance genre), Woods adds a tinge of darkness to this encounter that once again aligns with the conventions of gothic romance. Though their sex begins in anger, when Gray realizes that this is Willow’s first sexual experience, he looks at her with “reverence” and “tak[es] his time, taking [her] more slowly than he’d intended” (235). All these moments imply that Gray, in his own twisted way, might be capable of loving Willow—or at least of feeling something akin to love—but the narrative also suggests that he has merely become obsessed.
Gray explains that obsession can result when a Vessel becomes a witch’s first sexual partner; therefore, he could simply be addicted to her blood, and she to his. As he states, “the Covenant decided [Vessels] could no longer pair bond with witches […] because of the addiction it created and the secret relationships it encouraged” (227). By claiming dominium over Willow, Gray essentially created the conditions of a pair bond, encouraging the development of a mutual addiction. When Willow neglects to tell Gray that their sexual encounter is also her first sexual experience, he says, “You made a mistake, Willow […] . I will never stop wanting to be inside you now” (235). This ominous statement suggests that his feelings are based on obsession rather than love or real affection.
The darker aspects of his nature give the lie to his claims of affection, and his true motivations are further emphasized in the novel’s climactic scene, when Gray apologizes and stabs Willow, manipulates Ash and Samuel, calls Willow a “naïve little girl” (273), and “smil[es] cruelly” at her as he murders her peers. Because Willow herself remains uncertain about Gray’s ambiguous feelings, Woods’s broader intentions for Gray remain unclear at the novel’s conclusion, and it has yet to be determined whether he will be cast as a potent villain or a complex antihero within the remainder of the series. In addition, Gray’s nickname suggests his moral ambiguity, indicating that he is neither good nor evil but morally “gray.” This element of uncertainty raises questions about the implications of his true name, Lucifer, which means bearer of light or morning star. These linguistic origins imply that he could become less evil, but his cruelty to Willow contradicts this supposition.
Gray’s disregard for Willow’s consent, and Woods’s pretextual trigger warning that Gray is an “actual villain” rather than merely morally ambiguous, suggests that their union is not meant to be a positive development. When Willow says that she no longer wants Loralei’s bones, Gray tells her, “What you want does not matter” (260). Likewise, when Gray tries to use his power of compulsion on Willow even after the bones encircle her neck, this action indicates his disregard for her feelings and wishes. Just as problematic is the fact that Gray/Lucifer is now—and perhaps has always been—Willow’s husband, a union to which she never consented. When Willow claims to be unmarried, Charlotte points to the devil’s eye and asserts, “This mark would say otherwise” (279). Gray admits to putting the mark on her on the night she was born, as if he were branding an animal. These events foreshadow a future filled with hostility and resentment, as Woods ends the text with the words, “The End … For Now” (285).