Tituba accuse others in her confession, but she talked about black dogs, hogs, a yellow bird, red and black rats, cats, a fox, and a wolf. Tituba talked about riding sticks to different places. She confessed that Sarah Osborne possessed a creature with the head of a woman, two legs, and wings. Since it mixed various perspectives on witchcraft, Tituba's confession confused listeners, and its similarities to certain stock tropes of demonology caused some Salem Village residents to believe that Satan was among them. After the trials, Tituba remained in Boston Gaol, which had very poor living conditions for thirteen months, because Samuel Parris refused to pay her gaol fees. In April 1693, Tituba was sold to an unknown person for the price of her gaol fees. In an interview with Robert Calef for his collection of papers on the trials, titled More Wonders of the Invisible World: Being an Account of the Trials of Several Witches, Lately Executed in New-England, Tituba confirmed that Parris had beaten a confession out of her and then coached her on what to say and how to say it when she was first questioned. In popular culture The majority of fictional pieces that artistically or historically depict Tituba's life portray her as a Black woman or an "outgroup" by Puritan society, due to her racial and socioeconomic status as a South American Indigenous and an indentured servant woman or slave. Although it is not explicitly discussed in all of the movies, plays and books, that account for Tituba's conviction, it is quite possible that the "fear of strangers" in combination with the Western European traditional belief and understanding of witchcraft, made Tituba a prime target for witchcraft conviction. With reference to the historical understanding of Tituba and why she was convicted, it has been argued that the pre-existing ideas about "out groups" and stereotypical ideas of foreign cultures combined with fictional portrayals of witchcraft and sorcery works, has created a case where history and fiction shape each other. Essentially, the fictional works have assisted in the idea of what the Salem Witch Trials were like and what events lead to the convictions, trials and confessions, but without factoring in racial, political, religious and economic influences of the time, the portrayals of Tituba in media remain, for the most part, fictional. In John Neal's 1828 novel Rachel Dyer, a socially isolated Matthew Paris (based on