64 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of graphic violence, death, child death, and child abuse.
Driving up to the spot where the man on the phone directed him, Dan repeats the mantra that has kept him calm throughout his adult life: “You are detached […] You are calm” (333). Dan gets a call from Fleming saying that Johnson has been found butchered to death in his flat. Dan reflects that just as he had suspected, the killer has changed the rules of the game.
As Dan pulls into the service station where the man has directed him, he gets a text directing him to throw away his phone. Dan gets rid of his phone and notices a camper van eerily similar to that used by the Pied Piper in the parking lot. As Dan pulls up to the van, he can see a man in a white mask in the driving seat. The van begins to move, signaling that Dan should follow. He complies, following the van into a forest near the service station.
The narrative switches to John’s perspective. Aspinall has brought John to a farm-like space and chained him to a post in a pen. John now knows that Aspinall is James Palmer’s father, intent on punishing everyone who failed his son. John has trouble reconciling the mild-mannered Aspinall with the ruthless killer who butchered Rose and the others, but the mild-mannered man was the mask. John has been in the pen for so many days that he lost count of time. Aspinall doesn’t give him food, just water in a dog bowl. Today, Aspinall brought in Sarah and chained her in another pen. The sight of Sarah jolted John out of his stupor. He struggles against the post, noticing its slight give in the mud. He whispers to Sarah after Aspinall leaves, and her answering whisper assures him that she’s still alive. Calling himself an old man in his head, John forces himself to gather his energy and uproot the post.
Back in the present, Dan follows the camper deep into the forest and feels like he has entered an alternate world. There are only thick trees for miles until they reach a path leading to a clearing. The camper stops. Dan, a little distance away, gets out of the car, carrying the knife he took from John’s house, and walks toward the clearing. He can see fairy lights strung up on the trees, just like Johnson had described. The trees give way to a compound, with a broken-down building in the front and a series of cages and pens on the left. Dan’s stomach lurches as he sees a human shape in one of the pens. He recognizes Sarah. Dan fights his impulse to go to her, as that is exactly what the killer would expect him to do. Dan hears someone call his name and turns around. He expects the man in the mask, but it’s only Craig Aspinall. Before Dan can wonder what Aspinall is doing there, something hits his head hard.
John hears Aspinall say his son’s name and wakes up from his exhausted stupor after having managed to uproot the post. He watches as Aspinall hits Dan on the head with a blackjack (a weighted lead tool). Dan collapses. John wants to scream, but has no strength left. He watches as Aspinall turns Dan over, confiscates his knife, and drags Dan toward the pens. John realizes that the only reason Aspinall wants Dan alive is to make Dan watch as he kills John and Sarah. When Aspinall is close to John’s pen, John knows that he has a split second to act. Aspinall notices the hole in the ground, from where John has uprooted his post, and grows confused. In this moment, John forces himself to his feet and charges at Aspinall.
Dan wakes up disoriented and sees two men grappling with each other a few meters from him. It takes him a few moments to realize that the men are Aspinall and his father. Aspinall, on top of John, hits him with a knife. Before Aspinall can strike John again, Dan lunges at the men. He manages to wrest Aspinall off his father, but Aspinall flips Dan over and raises his knife. John swings the post against Aspinall’s head. Aspinall stumbles and rolls off Dan. John brings the post down again on Aspinall’s face, incapacitating him. Dan can hear the sounds of Aspinall trying to breathe through his broken face. The sounds are eerily close to whistling.
As the man walks toward James, James knows with clarity that he’s going to die. However, he’s no longer afraid of the man, whom he can now see is just an ordinary person with nondescript features. James might be losing the battle, but this doesn’t mean the man will win. James can see what the man yet cannot; the smoke from the fire that James set in the cellar before taking the keys. When the man reaches James and the other boy, James can see his mother smiling at him. He asks her if she’s proud of him. His mother replies affirmatively and asks James to come home to her.
The narrative switches to a present-day news report about Craig Aspinall pleading guilty to the murders of Oliver Hunter, Graham Lloyd, Rose Saunders, Darren Field, and Michael Johnson. The report quotes Detective Chief Inspector Frank Smith acknowledging ex-officer John Garvie’s contribution in catching Aspinall. However, Smith declines to comment on the reported discovery of more human remains in connection with the case.
On Aspinall’s request, Dan visits him in the prison where the older man is being held. Despite the awful things Aspinall did, Dan still regrets the injuries to the man’s face. His lower jaw has been surgically reattached but is misaligned with the rest of his face; scar tissue covers the lower half of his face. As he sits across a wide table from the handcuffed Aspinall, Dan reflects on his recent research on him. Aspinall grew up with an abusive father on Dan’s island. After he moved to the mainland, he had brushes with the law for drug use and escalating crimes. Much is unknown about his relationship with Abigail Palmer, but Dan can guess that Aspinall would have been volatile with her. They never married, and Aspinall was incarcerated on charges of robbery when James was five years old. Aspinall only learned that Abigail and James were gone after his release from prison. By this time, his father had died, leaving him his house on the island. Aspinall moved back, tending to the trails.
Now, Dan asks Aspinall about how he connected James’s disappearance with the Pied Piper case. Aspinall tells him that he became suspicious when he saw John visit Abigail’s grave; the suspicion was confirmed after John left Dan’s copy of The Man Made of Smoke in the graveyard. Aspinall read the book, saw a photo of the sketch based on Dan’s description, and made the connection. As Aspinall recounts the events, he grows angry at Dan, screaming that James is dead because of Dan. A guard steps in, but Dan waves him away. He tells Aspinall that he’s sorry for what happened to James, but it was never his fault. He was just a child who felt tremendous compassion for James but got spooked. Dan hands Aspinall’s copy of the book back to him. There is another item that Aspinall has requested, but Dan will return it after his final question.
Dan asks Aspinall how he found the compound, which the police had been unable to find all these years. Aspinall tells him that he roamed the countryside around where the Pied Piper was found for three years, looking for possible sites. One day, he was parked in the woods, where he felt James call out to him. He followed the voice, drove into the clearing, and knew instantly that this was the place where his son was killed. Dan thinks that Aspinall’s hunch was right since forensic investigation found the remains of four buried children, including James, in the compound. The ownership of the farmhouse was traced to William MacGuire, who inherited it from his father. No photos or documents were found of MacGuire, but Dan is sure that he was the Pied Piper killer. Dan now passes Aspinall his other requested item: a photocopy of the letter that James had written him the Christmas before he was taken. The letter has a sketch of two adults, a child, and a Christmas tree dotted with fairy lights.
Dan heads off to the cemetery where Abigail is buried to meet his father. John’s arm is still in a sling from Aspinall’s attack, and doctors have told him that he may never gain full mobility in the limb. Despite this fact, John looks happier, as if a burden has been lifted. The burial ceremony for James has just finished. Dan looks at the grave next to Abigail’s, the headstone bearing the inscription “We see. We care” (374). Dan places a stuffed lion, the closest thing he could find to Barnaby, on James’s grave.
Back at the island, John makes Dan dinner, after which Dan heads out to the pub to meet Sarah. Sarah has just finished a song. When she walks over to Dan’s table, Dan decides to let his vulnerabilities show and accepts Sarah’s earlier offer to sing a duet together.
The final set of chapters is packed with action and reveals. Craig Aspinall’s motive for the murders is revealed, and several plot details, such as the fairy lights in Aspinall’s lair, are explained. These resolved details and the book’s relatively hopeful ending make these last chapters narratively satisfying. The discovery of James’s remains, his burial, and his epitaph signify resilience in the face of incredible bleakness. Though the world is an unfair and unjust place, the narrative seems to suggest, choosing the right thing is the one hope that alleviates its injustice. The visible presence of the grave, marked with the meaningful inscription, also ensures that James is finally seen, defeating the Pied Piper’s campaign to convince his victims of their invisibility.
All the key themes of the book come together in this section, starting with The Complex Silence Between Fathers and Sons. United in confronting evil, John and Dan finally overcome the silence separating them and work together to defeat Aspinall. As the novel ends, their relationship has come far from the impasse of the opening sections, as John cooks Dan a meal and teases him about his blossoming romance with Sarah, cheekily asking Dan to “say hello from [him]” (376). The easy banter between the two men is a giant leap forward from the silence that characterized their relationship throughout Dan’s youth. The thaw in their bond indicates that empathy and a shared purpose can mitigate the effects of trauma. While Dan and Jon are at the center of the father-son dynamics in the book, the Aspinall-James connection is a more complicated version of the bond. Despite Aspinall’s absence, James still longed for his father, which is why he sent him the Christmas card. The three stick figures on the card with a Christmas tree in the background represent a child’s fantasy of the nuclear family. Feeling that he had failed his son’s simple request for his presence, Aspinall decided to make it up to James by avenging him in his own way. Thus, a web of love, disappointments, failed expectations, and redressal characterizes the father-son bond even in this case.
The theme of Survivor’s Guilt and the Search for Redemption is fully realized through Dan and John honoring the memories of Abigail and James and the police finding the remains of the lost boys. The greatest example of redemption, however, is Dan forgiving himself for the death of James. As he tells Aspinall in prison, “[I]t’s not my fault. I said that I was sorry, and that’s not the same thing” (369). Dan’s words emphasize the important point that redemption involves not just the righting of wrongs but also letting go of guilt. Throughout the novel, Dan’s guilt and shame around the events at the service station have haunted him in the form of dreams, visions, and voices of lost children. He has flagellated himself over failing the lost boys, forgetting in the process that when he encountered the Pied Piper, he was a child, too. Finally, Dan feels compassion for the boy that he was and grants himself redemption.
The reveal that the Pied Piper was a man with the ordinary name of William MacGuire illustrates the theme of The Ordinary Face of Evil. Through the ordinariness of the Pied Piper, the text shows that the worst violence isn’t committed by aliens, monsters, or beasts but by everyday people. James realizes the ordinariness of the killer when the man heads toward him and Robbie: “[T]he features that James can see there are unremarkable. While he’s still whistling his tune, it sounds small and silly now” (359). James’s ability to see the Pied Piper for who he is constitutes acceptance, the final stage of dealing with grief. Accepting that he’s going to die anyway, James decides to make whichever choices he can in the situation. In an ultimate act of bravery and resourcefulness, he has already started a fire in the Pied Piper’s cellar. It can be inferred that the Pied Piper kills James and Robbie, doesn’t notice the fire until it’s too late, gets burned, and flees with Robbie’s body in the camper van, dying of his wounds soon after. By starting the fire, James ensures that the chain of the Pied Piper’s evil ends.
As James’s vision of Abigail shows, this section reinforces the novel’s supernatural and Gothic elements. In one example of a supernatural element, Aspinall reveals that he found the farm because he felt James calling out to him. The supernatural recurs in the scene where Dan sees John at James’s grave, noting that John seems to raise his hand at something in the branches of the trees in the graveyard. This is a reference to the crow seen by John in Part 1; John believed that the crow was a messenger between the living and the dead. Here, the novel infers that the crow carries a message to Abigail that James has been laid to rest.



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