During the puppet theater sequence, sharp-eyed players might notice that this is the cane Irene uses to beat Giulia, resulting in her dissociation. The camera lingers in particular on a cane with the head of a dog as its handle.

While the player doesn't find out what happened until the second puppet theater sequence when Giulia's repressed memories come back, she gets a feeling of sadness at the dog bed and a sense of unease near Erich's cane collection. Near the foyer, two of these objects directly reference the childhood abuse Giulia suffered. Photos, letters, and household objects give some startling insight into the dynamics between the central characters. On the evening of Martha's wake, players can explore the parlor to learn more about the family. Games with twist endings often have innocuous foreshadowing hidden in plain sight. It's common knowledge to the family and their circle that Giulia is deeply mentally ill - since the family would have kept Irene's treatment of Giulia as a child secret from the priest, he sees her condition as a result of trafficking in devil-worship, and the nanny is to blame. With this in mind, pay attention to Don Attilio's accusation he claims that the nanny and her tarot cards 'hurt' Giulia, not 'killed' Giulia. If you've finished the game, you know that it's very likely Martha never existed at all and Giulia is an only child (though nothing is certain as Giulia proves unable to determine what is real and what isn't).

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He cites her use of tarot cards - which he views as witchcraft - as the reason for his suspicion. Don Attilio says he thinks the nanny had something to do with the incident at the lake, even though she is watching the family's main house and is nowhere near the villa. We are first introduced to him when Giulia listens in on a phone call between him and Irene. Although he never appears onscreen, the family's priest in San Casciano plays an important role in the story.

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