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Content Warning: This section of the guide includes discussion of illness, death by suicide, and sexual content.
Ro and Jacob return to her house. They find Damien and Griff at the kitchen table, again trying to find a match for the key. Griff had already told Damien about Sylvie’s claim that Warren intended to sell the house before Ro arrived, and Damien is still dazed with the knowledge when she returns. An awkward silence falls when Damien notices Jacob, whose features strongly resemble his own, and they all share a silent recognition that Damien is Jacob’s father. Ro announces that Jacob has something to tell them.
Jacob confesses that as bored teenagers, he, Sam, and Darcy played a series of escalating pranks on residents. He admits that they hid equipment, drove Bernie’s truck into town one night (causing the old man to worry about his mental state, resulting in the doctor’s visit that ultimately revealed his cancer), and dragged his own mother’s bed into a paddock so that she would blame her ex-husband for it.
After seeing how distraught his mother became and later learning that Bernie was seriously ill, they decided to stop targeting them. By default, Warren became the main focus of their pranks, which included hiding his tools. Darcy also stole Warren’s father’s sports medals one at a time to see when Warren would notice. Jacob insists that they never would have continued if they had any idea that Warren was considering dying by suicide.
To comfort Jacob, Damien reveals that he, Griff, and Warren also played pranks when they were young. He mentions that Warren used to carve small faces with a “W” for a mouth as a signature. This detail causes Griff to have a sudden realization, and he urgently asks Damien if he told Sam about the carvings during his final interview. When Damien says yes, Griff tells Ro and Della that he must show them something.
Griff drives Ro and Della out to Bernie’s bungalow. There, he points out one of Warren’s small, carved faces on a wooden post. Della recognizes the carvings from the Hillary house but never knew that Warren made them. They follow a trail of the carvings around the bungalow, through the ivy cottage, and into the Hillary house. Ro and Griff realize that the path they’re taking to find the carvings perfectly matches the trail that Sam’s dusty footprints left on the day he disappeared.
Griff theorizes that after Damien mentioned the carvings during the interview, Sam came to the houses to see them. Finding evidence that Warren had also been a teenage troublemaker would have relieved Sam’s long-held guilt over their pranks.
Later, on the back verandah of the Hillary house, Griff and Ro finally discuss their grief. Griff admits that he felt ashamed that Ro appeared to be coping so much better when he could barely function, while Ro confesses that she coped by filling her days with busy, pointless activity. They apologize to each other, acknowledging that they grieved differently. Their reconciliation is interrupted when a tearful Della asks to go home.
At midnight, the anniversary of Sam’s disappearance and what would have been his 26th birthday begins. Ro decides to plant a packet of old sunflower seeds that Sam had saved as a child. She goes to her former vegetable patch behind the sheds, expecting to find it completely overgrown and neglected.
Instead, she discovers that Griff has secretly revitalized the entire garden. The old, barren plots have been filled with hardy native plants, and their wrought-iron wedding arch, which she thought was long gone, has been restored and covered in jasmine. Deeply moved by this quiet act of care and preservation, Ro goes to Griff’s bedroom. They have sex, physically and emotionally mending the rift that had separated them for years. Ro feels like she has reclaimed a part of herself that was lost in her grief.
The next morning, Ro and Griff wake up together. The family spends the afternoon following their annual ritual of baking the same chocolate cake that they have made on this day every year since Sam died. They place old, half-melted birthday candles on top and stand together watching the flames. As Ro stares at the flickering lights, a vague, unformed thought or memory comes to her, but it disappears before she can grasp it. Della proposes blowing out the candles, Griff counts, and together they lean forward and extinguish the flames. Ro makes the same silent wish she always makes. Having completed their private memorial, they wordlessly agree that it’s time to head to the public one.
The remaining residents of Carralon Ridge gather at the site where Sam was last seen for his memorial. Griff, Ro, and Della each speak, sharing memories and thanking the community for their support. As Griff concludes, Darcy unexpectedly asks to say something.
He begins by acknowledging his friendship with Sam but quickly shifts to criticizing the town’s fixation on its past, declaring that “[t]here’s no prize for being the last one out” (268). He credits Sam with inspiring him to see that a better life was possible outside of Carralon. Darcy then announces that he and Jacob are leaving the following month to move to Blenheim. Noel’s face is heavy as he stares at the ground, while Bernie fixes his gaze on his old house in the distance. Ro sees Heather give a small, subtle smile.
Della talks with Darcy and Jacob, who are eager to ask her about university courses. Bernie says, “Maybe Darcy has a point” (271), and questions whether Darcy and his brothers should have to live out the results of the older generation’s decisions. Sylvie announces that she’s opening the pub, and everyone except Ro and Griff eventually head into town.
Ro and Griff remain alone at the spot where Sam’s car was found five years earlier. As Ro kneels and sweeps her hands across the dusty ground, the fleeting thought from earlier returns, this time solidifying into a clear image. She immediately connects the image to the key they found on Warren’s porch. With sudden certainty, Ro stands up, knowing exactly which door the key will open.
In a flashback to eight years ago, Warren is on the phone with Sylvie, who is angry and crying. He tells her that he has finally decided to sell the family home, promising to call Lentzer the next day to accept the offer. He explains that he’s doing it for her and for their future together.
Before calling her, Warren had tried unsuccessfully to reach his brother Damien and his cousin Griff. During the tense call, he hears a strange noise nearby. After he hangs up, Warren is startled to see a figure standing on his verandah. The visitor informs him that the front door was “wide open.”
Now, Ro and Griff drive away from the memorial site. They see the lights of the pub and decide to leave Della there with her friends. They continue in silence until they arrive at their destination. While sitting in the dark, Ro feels a wave of doubt and says, “Maybe I’m wrong.” (282) Griff offers quiet encouragement, and they get out of the car to test her theory.
Five years ago, Sam is standing by his rental car at the track near the three abandoned houses. He has just finished exploring them, looking for the small, carved faces that Damien told him Warren used to make as a teenager. Seeing them has eased Sam’s guilt over the pranks that he and his friends once played. He spots Darcy’s drone high in the sky and thinks it must be close to the mine boundary—probably too close, knowing Darcy. As he’s about to leave, Sam sees a car he recognizes approaching. The vehicle slows and stops for him, and the driver calls out to him.
In the present, Ro and Griff stand before a door. With her hands shaking, Ro takes out the key they found at Warren’s house. Griff places his hand over hers to steady it, and together they insert the key into the lock. It fits perfectly and turns, unlocking the door. At that exact moment, the relentless grinding from the mine momentarily ceases, plunging the area into a pocket of deep silence. In that quiet, both Ro and Griff hear the distinct crunch of footsteps approaching them from behind.
Griff and Ro’s conversation on the Hillary house’s back verandah is an important turning point in their character arcs and their changing relationship, addressing the emotional chasm that has separated them for years. Griff’s admission of shame over his inability to function and Ro’s confession that she coped by flitting “maniacally from one pointless task to the next” reveal how their individual responses to loss created a deep marital rift (249), fueled by an inability to understand each other’s grief. This dynamic illustrates The Differing Ways of Dealing With Grief, as each partner misinterpreted the other’s grief as a personal failing or a lack of love for their son. The emotional distance is finally bridged by the revelation of Griff’s physical act of care; his secret restoration of Ro’s garden and their wedding arch is a private act of preservation that bridges the gap between them. The revitalized garden, filled with “tough and resilient” native plants (256), becomes an emblem of their renewed connection, a space of new growth in a landscape defined by decay.
At Sam’s memorial, Darcy’s unexpected speech directly confronts the town’s collective stasis, exposing The Destructive Nature of Nostalgia. His declaration that “there’s no prize for being the last one out” is a powerful rebuke of the older generation’s self-destructive commitment to a dying community (268). This moment reframes the residents’ fight to save Carralon from a noble struggle to a toxic inheritance that stifles the future of its youth. Darcy, inspired by Sam’s departure for a better life, presents leaving as an act of liberation rather than betrayal. The varied reactions of the older men—Noel’s heavy silence and Bernie’s weary agreement that “[m]aybe Darcy has a point” (271)—expose the cracks in their unified front, while Heather’s subtle smile of relief signals a mother’s hope for her sons’ futures. Darcy’s speech breaks a long-held taboo, suggesting that the true tribute to the past isn’t to remain trapped by it but to build a future elsewhere.
The dual confessions from Jacob about his teenage pranks and from Damien about Warren’s own youthful mischief create a parallel history that reframes the central mystery. This mirroring of behavior across generations relieves Jacob and Darcy’s guilt over Warren’s death, suggesting that it was driven by larger pressures rather than teenage antics. More importantly, it provides a startlingly mundane explanation for Sam’s final actions, stripping them of the grand significance his parents had imagined. The realization that Sam likely came to the abandoned houses simply to see Warren’s carvings and assuage his own guilt leaves Ro feeling cheated, as “[t]he knowledge she had expected to be moving and heavy with consequence fe[els] almost unbearable cheap and flimsy” (248). This narrative move subverts a key trope of the crime genre, where the final clue unlocks a dark conspiracy. Instead, the answer is rooted in ordinary human emotion—boredom, guilt, and a search for relief—that reinforces the novel’s focus on realistic human portrayals over narrative convention.
The juxtaposition of the family’s private ritual of baking Sam’s birthday cake and the town memorial highlights the contrast between personal and public forms of remembrance. This quiet act, performed annually by Ro, Griff, and Della, is where their true emotional processing occurs, distinct from the public memorial, where they feel pressure to perform. In addition, it’s not in the public speeches but in the sensory experience of staring at the flickering birthday candles that her subconscious makes a critical connection that leads to the mystery’s final resolution. This moment demonstrates how memory can work through associative triggers embedded in personal rituals. The elusive thought that surfaces and then disappears is a product of this private, meditative state, reinforcing the novel’s message that the path to truth lies within the human connection. The fragile hope for Sam’s return, symbolized by the annual wish made over the candles, finally gives way to a concrete, actionable memory that drives the plot toward its conclusion.
This section accelerates the pace of the narrative structure, interweaving present-day discoveries with critical flashbacks, while deepening its emotional complexity. The timeline shifts—to Warren’s last night and Sam’s final hours—employ dramatic irony, granting the reader insights that Ro and Griff are still seeking. This technique transitions the story from a classic mystery structure to a more complex exploration of motive, miscommunication, and consequence, as the reader watches Sam approach an unseen danger. The climax of this structural tension occurs when Ro and Griff unlock the mysterious door. At that exact moment, the mine’s rumbling, a constant auditory reminder of the town’s slow destruction, abruptly ceases, marking this climax with a sudden silence, as “the distant wailing abruptly flare[s] and then drop[s] clean away, leaving a sharp pocket of nothing” (289). This sudden quiet breaks the five-year stasis of both the mystery and the town itself, signaling that the oppressive weight of the past is about to be lifted and that the truth is finally imminent.



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