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Content Warning: This section of the guide includes discussion of cursing, bullying, animal cruelty and death, illness, mental illness, death by suicide, and graphic violence.
Before dawn on Saturday, Sondra wakes in a restless state and searches Landry’s room. She confirms that Landry’s diary is missing, a sign of her deliberate planning. After breakfast, the absence of Landry’s best boots and winter coat reassures Sondra that her daughter left prepared rather than panicked.
At 7:33 a.m., police and rangers bar the mothers from entering the flooded, hazardous canyon. At the entrance they speak to news crews and three Timpview High student journalists who will later document the case’s shifting narratives. Sondra denies Landry was kidnapped; Allison defends Kalin’s character. Despite a brief media wobble, the dominant story reframes itself: Landry chose to accompany a killer.
At the Isatch University recreation center, Allison reconnects with employers and her recently estranged former boss, Clyde Hill. Her lawyer, Holly Feltzman, urges continued public pressure and flags Trent Riddle as a missing witness. The mothers then canvass Fir Avenue, finding police have not yet done the same. A neighbor, Dorothy Bray, confirms she saw Russel ride toward the canyon Wednesday night.
Sondra spots Egan, Hatch, Kelly, and a ranch hand loading ATVs at Egan’s house. She stops and confronts them, arguing that Russel’s injury made the ride home physically impossible. When Egan raises an ax handle against her, Hatch stops him. Three young women arrive; one calls Allison a “whore,” and Allison’s pointed reply silences the group. As they exit, Sondra bluffs they are on their way to meet Trent Riddle, which elicits a surprised reaction from Kelly.
Back at the stable, Allison discovers a concealed photograph of Tom and Kalin together at a fence. The back of the photograph features a heart engraved with Landry’s and Kalin’s initials. By 12:17 p.m. the mothers resolve to confront Old Porch.
Old Porch arrives at the airport by helicopter. The mothers challenge Old Porch on the tarmac, and though he has seen the children himself, he lies that he saw only rubble. Sondra bluffs that neighbors witnessed Russel ride home safely. Old Porch dismisses both women and walks away, but at 1:22 p.m. calls Egan to confirm the children are alive in Kirk’s Cirque, then at 1:49 p.m. orders Egan to pursue and kill them.
Returning to Porch Meats, overwhelmed by a sense of unreality, Old Porch confides his thoughts to his aged mule Effy, the one creature he has felt any affection for over the past 40 years. At 4:04 p.m. he leads Effy into the abattoir, kills her, and incinerates the remains.
Hatch argues with his brothers over the best route up to Kirk’s Cirque, but concedes to Egan’s choice of the south side of Kaieneewa. Egan, Kelly, Hatch, and Billings unload their ATVs near Indian Hills and begin climbing. At a trail junction they encounter a law enforcement party of rangers and deputies. Deputy Sheriff Cannon, an old acquaintance of Egan’s, allows the Porches to join the search, even if it goes against protocol. Impatient, Hatch guns his ATV alone across the dangerous Seventh Scree, then glimpses an ambiguous figure, possibly his estranged mother or a burst of kestrels, and drives on. The combined group approaches the Eighth Scree by 4:13 p.m.
The narrative returns to Kirk’s Cirque at 1:41 p.m., where Kalin remains ill from food poisoning. For two hours, Landry tends the fire and supplies at a careful distance. Once he stabilizes, Kalin immerses himself in the ice-cold Altar Lake, which clears his mind. Returning to camp, he finds Landry has produced a forgotten slice of her mother’s orange cake from her coat pocket. They share it, and by 3:47 p.m. Kalin has recovered enough to plan.
A white mule mysteriously appears and joins their horses. At 4:26 p.m. Landry spots the Porch and law enforcement convoy surging across the Ninth Scree. With pursuers closing fast, Kalin explains the next part of Tom’s route: a series of narrow interconnected ledges up the sheer Upecksay Headwall that no horse has ever climbed. They saddle up immediately and begin the ascent, reaching the first rocky rest stop at 4:54 p.m.
Around 3 p.m., Allison attempts to hike toward the landslide but turns back when her hip and knee give out. A park ranger drives her to Bridge Six, where she sees the rockfall’s full immensity and briefly climbs its surface before accepting she cannot safely advance. Returning to the canyon entrance, the mothers confront Undersheriff Jewell, who shows them torn tarp, a ripped sleeping bag bearing Tom’s name, and Landry’s lacerated pink raincoat, all recovered from the debris. The evidence convinces Sondra that Landry is dead.
At Porch Meats, Detective Peters visits Old Porch to report that Trent Riddle has died in a drunk-driving crash. Old Porch is quietly relieved, having considered Riddle his gravest liability.
On the Upecksay Headwall, Kalin leads each horse up the cliff individually, then returns on foot to guide Landry through each switchback. At the narrowest, most exposed passage, Landry experiences a mental health crisis. Tom’s ghost appears and walks alongside her. They cross together, but at the final turn the rock crumbles underfoot. Tom’s ghost seizes her wrist, Pia Isan steadies Tom, and Landry hauls herself to solid ground before running to the summit ridge where the horses and the mule are waiting.
Below, Egan shoots Ranger Bren Kelson through the back of the head, then radios that the children fired on them. Kelson survives briefly before Billings Gale smothers him. Kelly carries the body down while Egan feigns anguish. Just as Landry reaches the summit, Hatch fires his rifle at Kalin on the headwall. It is 6:37 p.m.
Just after midnight Sunday, October 31, Allison follows Sondra’s speeding truck up Orvop Canyon, her car running out of gas near Deer Creek Reservoir. She finds Sondra by the river filling her pockets with heavy stones, preparing to die by suicide. Allison persuades her to pause by noting that Old Porch’s description of Kalin’s slight build was too specific for someone who had never seen him, suggesting Porch spotted Kalin alive from the helicopter. The detail reignites Sondra’s hope.
At the command tents, Hatch carries Kelson’s body inside while Kelly performs CPR and Egan enacts grief. Egan falsely claims Kalin shot both Kelson and Landry; Hatch, who watched Landry summit through his rifle scope, says nothing. Park Ranger Emily Brickey tentatively relays Kelson’s earlier radio sighting of horses on the headwall, but Egan’s hostility and Jewell’s skepticism silence her. Jewell announces that they will conduct a manhunt later that day.
At the Porch house, Egan openly admits to Old Porch that he fabricated Landry’s death. Old Porch praises him. Hatch confesses he saw Landry reach the summit, then retreats upstairs, prays, and vows to rescue her, recognizing that by abetting his siblings, he has effectively condemned Kalin to die on the wall. Billings hides a bloody ziplock bag in the kitchen trash, intending to use it against Kelly if necessary. Old Porch studies his survey maps and resolves to intercept the children on the back side of Katanogos by snowmobile at first light.
On the headwall, a second rifle shot misses Kalin. Kalin and Mouse execute the final turn, with Mouse choosing his own lead change to land cleanly; Kalin then returns for Navidad. The platform crumbles behind them, destroying the route. At the summit, they find Landry has already built a tarp shelter and a roaring fire, having burned her diary to start it. The two huddle against Navidad through the blizzard, surviving the night.
At dawn Kalin follows Tom’s ghost to the summit ridge, where Tom, briefly transfigured, delivers a prophecy about the valley’s moral future. He warns Kalin he will face an important choice involving a saddlebag before he reaches the Crossing. After sharing cached provisions, the group begin descending through snow-covered forest, accompanied by a growing procession of animals. A police plane circles the cirque; Kalin and Landry shelter the horses under a tarp until it leaves. Continuing their descent, Landry climbs an exposed outcropping to survey the path ahead. The sun glints off the lenses of her binoculars, betraying their position. A rifle shot rings out, and the air around Landry turns red.
The increasing recurrence of timestamps throughout this section of chapters ramps up the tension and pace of the narrative by filling each hour with simultaneous action and hinting at an inevitable outcome in the imminent future, specifically the climax. These timestamps help suggest the need for increasingly objective detail, treating the events of the story with forensic focus as if there can no longer be any room for doubt or ambiguity in the events that occur. Even then, the Porches continue to distort events to favor their position, underscoring Storytelling as a Tool for Vengeance and Justice as a major theme. Egan Porch stages Ranger Kelson’s death to worsen Kalin’s image in the public eye. The escalation of the narrative the Porches are feeding the public illustrates how public perception is weaponized by those in power to establish a dominant, exculpatory reality. Even when Allison and Sondra speak the truth to power to the media, the media realigns itself to the prevailing narrative to frame Landry as an accessory to murder. This ties back to the novel’s assertion that narrative is a powerful tool for shaping the world and the way memory lives on, particularly for the dead. Sondra warns volunteers regarding the prevailing assumptions of guilt: “It matters because if the dead are mistreated in their remembrance, they come back to mistreat us” (646).
The treacherous terrain of the Upecksay Headwall externalizes The Impact of History on Identity. To escape their pursuers, Kalin and Landry must scale a sheer, thousand-foot cliff using precarious switchbacks, while the Porch brothers exploit police leniency to accelerate up the mountain on ATVs. The vertical labyrinth physically embodies the generational animosity between the two families, transforming an abstract grievance into an immediate, life-threatening ascent. The mountain functions as an antagonist that tests the children’s physical endurance, forcing Kalin to carefully guide Navidad and Mouse upward one step at a time. By replacing the traditional flat Western frontier with a claustrophobic ascent up the imposing Isatch Range, the text subverts genre conventions. The landscape ceases to be a realm of rugged expansion or violent conquest, becoming instead an arduous vertical trial where historical burdens threaten to pull the characters back into the abyss. The tension between survival and historical preservation peaks when Landry sacrifices her diary covers to ignite a fire in the cirque. This sacrifice physically consumes a tool of memory to ensure immediate survival. While Landry voices a desire to one day write a memoir that rearranges facts to capture a deeper truth, the immediate reality demands the destruction of the book that would have helped her to achieve this ambition. The resulting fire staves off the fatal cold, allowing the children to continue their resistance against the Porch family’s encroaching violence.
The contrast between Allison and Sondra’s coping mechanisms reframes maternal agency in the wake of loss. When Undersheriff Jewell presents Landry’s torn pink raincoat and Tom’s sleeping bag as evidence of their deaths, Sondra nearly dies by suicide, believing she is all that is left of her family. Allison, however, halts Sondra’s death after deducing that Old Porch’s description belied the truth of the children’s survival. Allison’s analytical breakthrough shifts the dynamic from mourning back into active investigation. The emphasis on the women’s agency challenges the passivity traditionally assigned to women in frontier narratives, turning their investigation into a form of resistance that pushes back against a violent male domain characterized by deception and brute force.
Tom’s ghostly transfiguration at the Katanogos summit marks a turning point in his characterization. The ghost’s sudden evolution from a casual, wisecracking companion to a prophetic entity signals that the children are leaving behind the immediate burdens of their physical flight to face a more universal, existential threshold that will define the history of the region. This surreal intrusion into the harsh realism of the pursuit cements the idea of the journey as a sacred quest. The mission to free the horses is elevated into an allegorical reckoning, demanding that Kalin navigate the important choice he must make within the larger, complex moral and historical legacies embedded within the Utah landscape.
The concluding sequence employs competing perspectives to destabilize the climax through a lethal interplay of ocular devices. As Landry and Kalin descend, Landry uses her binoculars to survey the path ahead, but the sun glinting off the lenses betrays their position. This allows Egan to spot her through his own rifle scope and fire a devastating shot. The binoculars, initially intended to offer clarity and foresight, ironically invite destruction by exposing the observer. The opposed lenses physically manifest the competing perspectives of the Gatestones and the Porches, narrowing the vast, indifferent landscape down to a single lethal intersection. This violent action that neutralizes Landry emphasizes the deadly consequences of narrative control within the novel’s framework, turning the act of seeing into an act of violence.



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