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Content Warning: This section of the guide includes discussion of child endangerment and child death.
Brian is surprised when Marissa bangs on his door looking for Milo. Milo runs over. Brian tells Marissa that Milo came to him for comfort because he had “bad dreams about the bad man” (341). Brian confesses he has been acting oddly because he is having an affair with a woman who is engaged, and he did not want his family to know. Marissa is surprised, but grateful it is not something more serious.
That evening, while she is tucking Milo into bed, he tells her that the “bad man” who took him from Carrie’s house had called him “Milo-Mouse.”
Marissa is stunned. She asks Milo to repeat what he said. He insists the man called him “Milo-Mouse.”
Marissa goes downstairs to talk to Peter. She confronts him with what she has learned. She knows that “Milo-Mouse” is Peter’s pet name for Milo. Milo comes downstairs, and Peter tells him to watch PAW Patrol with his headphones on while he talks with Marissa.
Peter tells Marissa that one day, while he was at the playground, Milo was talking about the colors of numbers and the days of the week, a symptom of his synesthesia. A girl came up to talk to Milo about her own synesthesia. She then asked Peter if he was Peter Irvine. Peter then recognized the girl from the car crash: It was Carrie.
Shortly after Milo was born, Marissa was in a serious car crash. Carrie was the other driver and was badly injured as well. Carrie was in a “medically induced coma” for weeks (349).
At the playground, Peter put Milo in the car and told Carrie that if she approached them again, he would have her arrested. Carrie then got a job as Jenny’s nanny to get close to the Irvines “because of what she lost in the accident” (350).
Four years before Milo’s kidnapping, Carrie visits Kyle Byrde in prison. She tells Kyle she is going to London to visit her father, Rob Murphy. She finds it hard to see Kyle because he reminds her of her baby, who died in a car accident four days after its birth.
Peter continues to confess to Marissa. He tells Marissa Carrie wanted to kidnap Milo “to make up for the son she lost” (353). Carrie targeted Colin to get close to the Irvines, but he was uninvolved in the kidnapping plot. When Peter went to the office with Marissa, he found the address for the house in Sandyhurst where Carrie was holding Milo. She must have printed it off when she was there with Colin. That evening, when Marissa took a sleeping pill, he went to the house, killed Carrie, and put Milo in the car to be found by the police. He did not take Milo home himself to avoid police suspicions. Marissa is horrified by these revelations.
Four years before Milo’s kidnapping, Carrie goes to London and reunites with her father. Carrie tells Rob that Peter paid her off to leave town after the car accident, which Peter had insinuated was her fault. However, Rob learns that the authorities ruled no one was at fault in the car accident. He is angry that Peter let Carrie believe she had killed her own child. Carrie grows angry, too.
Peter continues to confess to Marissa. He tells Marissa he felt he had no choice but to kill Carrie to prevent her from continuing to cause problems for them. Carrie and her father had planned to raise Milo as their own. After Milo was found and Rob discovered Carrie was dead, Rob contacted Peter and blackmailed him. He told Peter he would tell the police that Peter murdered Carrie unless Peter paid him. On Sunday night, when he said he was out getting tequila and burritos, Peter went to Colin and convinced him to be the courier by telling Colin he would reveal Colin’s theft from Marissa’s clients. On Wednesday night, Colin went to meet with Rob with the money. Peter followed. Rob ambushed and killed Colin. Then, Peter killed Rob with the gun from Carrie’s house. He put the gun in Colin’s hand. Peter claims he did all this to protect the family.
Marissa is shocked that Peter did not tell her or the police what he knew. She is shocked that he killed Carrie. Marissa begins to cry. Then, she realizes that both Carrie and Milo have synesthesia. She asks Peter, “whose baby died in the crash?” (366).
Seven months earlier, Carrie sees Milo and Peter at the playground. Milo is trying to tell his father that “Tuesday is green” (368), but Peter is too preoccupied with his emails to listen. Carrie approaches and tells Milo that, for her, “Monday was blue” (368). She tells them they both have synesthesia. Milo tells Carrie that his mother does not have the same condition. Carrie confronts Peter. She says, “I know what you did” (370). Peter slams her against the car park ticket machine and threatens her to stay away.
Marissa knows synesthesia is often a heritable trait. Peter does not challenge her interpretation. Marissa sits next to Milo and tells Peter to leave. Peter tells Marissa that, on the day of the accident, he had regained consciousness before either of the women. He saw their infant had died. Before the paramedics arrived, he switched their baby for Carrie’s infant. Marissa realizes that Carrie never challenged the situation through “legal channels” because she did not have the money, privilege, or support system like Marissa has.
Peter refuses to leave. He tells her that if she reports him to the authorities, they will take Milo away. Nevertheless, Marissa calls Detective McConville.
Seven months before the kidnapping, Carrie shows her father, Rob, pictures of Milo. He cannot deny the family resemblance. He believes Milo is Carrie’s son.
After Kyle is released from prison, he also agrees to contribute to their plot to kidnap Milo, although he is less enthusiastic about it than Carrie. Kyle tells Carrie to use the address 14 Tudor Grove for the “fake playdate” because his old cellmate’s foster mother, Esther, lives there, and she is very friendly. Kyle feels that “Marissa Irvine should end up somewhere kind when her world falls apart” (377).
When Detective McConville answers the phone, Marissa decides not to report her husband after all. She pretends to be calling to ask for updates on the case.
The next day, McConville goes to the Irvine house. She tells Marissa and Peter that they suspect Rob Murphy killed Kyle Byrde after an altercation. They suspect Kyle had threatened to report Rob for some reason. Marissa wonders if Kyle was trying to return Milo to the Irvine house. She feels dizzy. Peter says they will never again let anyone take Milo from them.
A week later, Marissa and Jenny meet for coffee at the East Pier. They hug. Jenny asks how the family is doing. Marissa says they are fine. She does not reveal that Milo has been fearful of Peter since the kidnapping. She wonders if Milo “subconsciously” is aware that Peter is the “bad man” who took him from Carrie’s house.
Irene’s husband, Frank, has threatened to leave her if she continues to talk to the press. He wants them to move to Bristol to get away from the media attention. She is eager to continue garnering attention, but she thinks that Bristol “might not be so bad” (383).
Adeline Furlong-Kennedy writes another anonymous note to her son, Richie, about her suspicions about his wife, Jenny, having an affair.
A newspaper story reports that Peter Irvine died of anaphylactic shock in Marbella, Spain, after eating a “stock cube containing traces of shellfish,” to which he was allergic (385). The news reports that Marissa was unable to find his EpiPen in time to save him. At the time, Milo was at home in Dublin with his nanny, Ana.
In the final chapters of All Her Fault, the major plot twist is revealed. Peter confesses to the murders of Carrie and Rob. He also confesses to taking Carrie’s infant child and exchanging it for his own years before. This plot twist is an example of melodrama, a sensational, dramatic mode of storytelling. Melodrama often relies on unrealistic coincidences that require the suspension of disbelief, such as the coincidence that both Carrie and Marissa had a days-old infant in their car at the time of the car crash. The purpose of these scenes is not their realism, but rather their emotional appeal and their attempt at creating a surprising plot twist. While in a more realistic scenario, Marissa might have eventually realized Milo was not her biological son since he did not resemble either her or her husband, a melodramatic scenario relies on creating just such an extreme, unusual twist for effect. Carrie and Marissa’s shared outrage at their realization of this tragedy is also a narrative attempt at creating pathos and sympathy for these characters, revealing an unexpected link between the two women who, until now, were positioned as clear antagonists.
The melodrama is further heightened in the final chapter when Peter dies from his shellfish allergy. Although it is not explicitly stated, it can be inferred from the text that Marissa intentionally poisoned her husband to death. Marissa feels she cannot go to the authorities with what she knew as they may intervene and take Milo away from her. Thus, she deals with the problem herself, much as Peter took it upon himself to “rescue” Milo. As the newspaper article states, Marissa prepared Peter’s final meal herself with a “stock cube containing traces of shellfish” (385). It is left ambiguous as to whether Marissa did so intentionally. However, leaving Milo in Dublin for their trip to Spain so he did not have to witness the death of his father strongly implies she planned Peter’s murder.
Carrie’s bold and dangerous plot to kidnap her son can be understood through the lens of The Impacts of Class on Relationships. As wealthy Marissa quickly identifies, working-class Carrie did not have the same resources she had to confront the problem “through legal channels” (373). She tells Peter, “I’m a well-off, well-educated solicitor in a nice part of town. It would be easy for me,” but Carrie was “an outsider who was brought up to believe the system lets you down” (373). This shows how class differences can lead to dramatically different ways of seeing the world and dramatically different life choices.
Marissa’s reflections also draw attention once again to the power dynamics inherent in the strict class hierarchies of Marissa’s wealthy neighborhood. Just as Marissa admitted to knowing very little about her own working-class nanny, which reveals how invisible working-class people often become in the eyes of the privileged, so too does Peter’s more extreme behavior rely on the idea that money and social position make some people more invulnerable and worthy of respect than others. Peter tries to bribe Carrie into literally disappearing from town after the crash while also denying her access to her son, but is outraged at the thought that anyone could take Milo away from him now that he considers himself Milo’s father. Peter’s attitude thus reflects the deep classism that can lead to the disenfranchisement and exploitation of those with fewer resources and less wealth, creating a system in which victims of the powerful struggle to assert their own rights.



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