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Content Warning: This section of the guide includes discussion of animal death, child death, illness, and racism.
On Friday afternoon, Egan, Kelly, and Billings Gale claw through dense brush up Agoneeya’s north face to gain a sightline into Isatch Canyon. Through his rifle scope, Egan spots his dead horse Cavalry and is briefly overwhelmed by shame over the lies he has told regarding Cavalry’s death. He then aims at Law Enforcement Ranger Bren Kelson on a crag across the canyon, clicks off his safety, but does not fire.
From a higher vantage, Kelly spots Landry struggling on the collapsing Ninth Scree. He thinks he watches her die, then finds Kalin nearby and fires twice, missing by a wide margin. Egan fires once at Kalin on Navidad and also misses. Later commentators attribute their failures to various factors, including geographical and psychological conditions. Billings, positioned above the others, decides not to fire, believing that the Porches would turn him into a scapegoat if he succeeded. All three watch as Kalin and Navidad navigate the cascading rockfall with striking calm before they vanish.
Kalin and Landry reunite in a stand of spruces. Kalin then returns to the scree for Tom’s ghost, as he is psychically frozen at the boundary of territory he and Kalin explored together in life. The living horses’ collective neighing draws Tom’s horse Ash across the scree, and Tom follows.
The distant Porches glimpse something inexplicable on the empty scree and shudder. The weakened overhang at the scree’s base then collapses in a massive rockfall. Egan reports to Undersheriff Conrad Jewell that both teenagers were killed, and the news spreads through Orvop.
That evening, Old Porch silences all talk of the rockfall and spreads a topographic map on the dining room table. Late that night, Hatch, the eldest Porch son who now serves as a Texas SWAT officer, arrives from Austin. Kelly fills Hatch in on the fabricated story, but turns ill immediately after finishing the story. Billings predicts that Kalin and Landry are now headed toward Kirk’s Cirque. Debate erupts over the family’s heirloom Colt Peacemaker. Kelly boasts he fired twice at Kalin; Egan, mindful of Hatch’s oath as a law officer, denies shooting at Kalin, claiming his rounds only ricocheted and spooked the horse into the slide. Billings delivers a reverent account of Kalin’s and Navidad’s ride through the rockfall and suggests he glimpsed something else on the scree just before it fell, implying Kalin and Landry were not alone.
At the canyon entrance, Kelly and Egan tell Sondra and Allison that their children were buried; Allison suspects Kelly wanted to believe what he was saying rather than actually knowing it to be true. The two mothers wait at Sondra’s home after law enforcement confirms that Kalin and Landry disappeared into the rockfall.
In the study, Sondra tells Allison more about the Porch-Gatestone feud, which traces back roughly 150 years to an alleged theft of two horses and a mule. Her late husband, Dallin, was researching the 1849-1850 Battle Creek Massacre, in which Church militiamen, including ancestors Alfred Gatestone and Garrison Porch, hunted Timpanogos people through Isatch Canyon; Chief Pareyarts’s wife was reportedly driven off the peak now called “Squaw Peak.” Sondra reveals that Dallin died from a horse kick, likely from Ash, Tom’s horse. Sondra also shows Allison the manuscript Dallin was working on before he died, centering on the moment in Homer’s Iliad where the immortal horse Xanthos speaks to Achilles to prophesy his death. The manuscript ends on the word Grace.
The stake president of Sondra’s church, Havril Enos, calls and implies in careful language that Sondra’s association with Allison may be inappropriate; Sondra is troubled but undeterred. She invites Allison to church Sunday, and Allison accepts. Sondra then contacts pilot Tucker Wyatt to arrange a helicopter at dawn and, studying the topographic map, concludes that Tom’s knowledge of the mountains would have led Kalin toward Kirk’s Cirque and Altar Lake.
Meanwhile, Tom’s ghost leads Kalin and Landry through a hidden gap in the canyon’s cliffs, eventually reaching Kirk’s Cirque, where they set up camp. Kalin fails to start a fire; while he forages for wood, Landry uses flint, steel, and her diary’s covers as tinder and lights it herself. Over a small meal, they care for the horses’ injuries, and Kalin treats Navidad’s wounded pastern. Landry talks of wanting one day to write a memoir. Kalin admits his talent for guns, but reveals he swore off them after their use frightened even the horses away from him. Tom, growing increasingly distant and otherworldly, warns that he is becoming something other than himself and that time is running out.
Early Saturday, Old Porch wakes before dawn to find Egan already gone. He receives devastating news from Senator Hays: The bill will not come to a vote, ruining Old Porch’s Four Summits mountain resort plan. Standing in the rain afterward, he fights back nausea from both financial ruin and the surfacing memory of Russel’s death.
Egan, Kelly, and Billings return: The canyon is flooded and closed. Egan proposes an alternate approach via “Indian Hills” and “Squaw Peak” on ATVs. Hatch, who had scouted the route before dawn, confirms it is viable but recommends a midday departure.
Meanwhile, Billings visits Trent Riddle’s apartment to kill him and unexpectedly encounters Detective Peters, who is separately searching for Riddle. Billings agrees to give a statement at the police station and carefully manages his answers to avoid confirming that Riddle was sober, a discrepancy that arouses Peters’s suspicion.
Francis suggests the family visit Russel at the Erville Family Mortuary before the canyon reopens. At the mortuary, the Porches view Russel’s body in a ruby casket. Old Porch, consumed by calculations of financial catastrophe, touches Russel’s collar and briefly realizes his own culpability. He delivers a speech demanding Russel be avenged. The family affirms him, though Francis alone grieves without anger.
Kalin wakes at dawn to find the fire dead. After he revives it, he scouts and confirms the rockfall has made descent nearly impossible. He discovers a large rattlesnake coiled against Landry’s head. He grabs it barehanded and removes it, saving her life. She then confesses she ate all the remaining beans while Kalin was scouting, leaving him nothing.
Tom confirms Kalin’s fears: They are trapped, and the cirque’s only exit will bring them directly into the Porches’ path. Kalin refuses to retreat. He and Landry break camp and prepare the horses. The rain continues, however, making the planned route too slick to attempt.
They walk the horses to Altar Lake to graze. Tom narrates the history of Jojo’s bond with Landry: When Landry was adopted by the Gatestones as a six-year-old, she slipped into the paddock and embraced a famously dangerous stallion; the stallion went still for her and has been inseparable from her ever since.
When the rain pauses, a helicopter carrying Old Porch appears over the cirque. Kalin stands on a rock ledge and faces it alone. Old Porch makes a mocking gun gesture at Kalin; Kalin holds his gaze without moving. Both Old Porch and the pilot feel an inexplicable chill near the boy, forcing the helicopter to exit the cirque. Landry has the Colt ready when Kalin runs back; he tells her to put it away. Shortly after, Kalin experiences food poisoning from some jerky he ate. He burns the remainder of their supply, leaving them completely without food.
The narrative structure emphasizes the unreliability of perception during the collapse of the Ninth Scree, as the event is filtered through the disparate perspectives of Egan, Kelly, and Billings Gale. Kelly’s desperate desire to fulfill his father’s violent mandate results in wildly inaccurate rifle fire, Egan’s hesitation reveals a fracture in his manufactured stoicism, while Billings realizes how a successful kill would lead him to personal downfall. The text actively interrogates these failures, compiling theories from future commentators regarding atmospheric conditions and psychological blockages to lighten the blame of the Porches’ respective failures. This polyphonic approach emphasizes the constructed nature of the text and undermines its objective qualities. This subjectivity is echoed at the mortuary when Old Porch weaponizes Russel’s death to legitimize his vendetta, which is simply an outlet for his frustration over lost profits.
The motivations that guide Old Porch’s actions, and the subterfuge he puts up to validate them, echo the motivations that drive the historical backdrop of Orvop. Sondra’s backstory on the 1849 Battle Creek Massacre roots the immediate action of the narrative in the region’s foundational violence, deepening the theme of The Impact of History on Identity. She explains to Allison March that Gatestone and Porch ancestors participated in the slaughter of Indigenous Timpanogos people, moving the feud into a broader legacy of violent conquest before turning against each other. The history of the massacre and the previous alliance between the two feuding families was effectively erased after they achieved their objective of displacing the original communities they found on the land that became Orvop. This informs the antagonistic nature of the landscape, which actively opposes both protagonists and antagonists at every step of the journey. Isatch Canyon, historically a site of dispossession, functions as a traditional, unforgiving Western frontier. Rather than positioning the landscape merely as a space for rugged conquest or inherited vengeance, the canyon becomes a refuge and crucible for survival. By explicitly tying the present-day pursuit to historical atrocity, the text insists that the present generation are navigating a geographical and moral terrain already scarred by their ancestors’ actions, forcing them to either reenact these historical hostilities or forge a new paradigm of coexistence.
The contrasting models of behavior within these chapters highlight differing approaches to crisis. Old Porch’s reaction to his collapsing financial empire manifests as violent, patriarchal control. He manages his financial ruin and surfacing guilt over Russel’s death by demanding vengeance and lashing out at his sons. This performative, dominance-based masculinity stands in sharp contrast to Kalin’s approach to survival. Kalin’s strength lies in his attunement to his environment and his gentle stewardship of the horses. Instead of dominating the animals, he meticulously tends to Navidad’s wounded pastern and outfits Jojo and Mouse with traction studs and boots, demonstrating a quiet, nurturing competence. The horses, representing an untamed authenticity outside Orvop’s corrupting influences, navigate the scree collapse unified, instinctual harmony with Kalin’s leadership.
Tom’s ghostly presence undergoes a gradual shift as the group ascends toward Kirk’s Cirque, marking a transition from familiar companion to an increasingly distant entity. At the Ninth Scree, Tom finds himself psychically unable to cross the boundary of the territory he explored in life, driving a gap between Tom as Kalin remembers him and Kalin in his life without Tom. As they climb higher into Katanogos, Tom’s physical manifestation alters; he becomes wreathed in white fire and speaks with an older, prophetic voice, warning Kalin that his time is running out. This dissolution of his individual memory signals that Tom is merging with the ancient forces of the landscape, which only drives the urgency of Kalin’s journey to the Crossing. These chapters see a prominent allusion to Kalin’s and Tom’s literary forebears, namely in the form of Achilles during his grief for his fallen companion, Patroclus. Dallin’s manuscript on this moment in the Iliad resonates strongly with the narrative elements Danielewski has set up, driving overlaps with Achilles’s and Kalin’s otherworldly fighting abilities and near-miraculous escapes from death, their empathic relationships with horses, and the grief that drives both Achilles and Kalin to act toward their foreordained ends. When Allison and Sondra agree that the end of a book should give people an impression of what the book was about, they skip forward to the end of Dallin’s manuscript and find the word “Grace,” suggesting that Kalin’s own journey, much like Achilles’s, is headed in this direction as well.



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