In the final paragraph, the readers already know about the boy's murderous act, but due to the non-chronological structure of the story the characters do not know. Because readers are aware of the murder, dramatic irony does not generate suspense as it usually does. Dramatic irony instead creates ambiguity when the girl tells the boy that "he was saved" (55). Knowing the previous scenes, such as the boy's escape from punishment for the murder, it can be assumed that the boy is saved as he can continue his life without facing the consequences. However, him being allowed to return to his life feels like the boy is being punished and not saved. According to the novel Children Who Murder: A Psychological Perspective by Robert V Heckel and David M Shumaker, the boy, like most teenage murderers, “comes from families characterized by abuse, domestic violence, little or no parenting, and general instability” ( Heckel & Shumaker, 156). Any child who has to live in these harrowing conditions will have psychological problems with their life, which is why the child is not actually saved. The boy can be saved from the consequences of the murder, but he is not protected by his life. He will continue his destructive search for love, which will not only put him in danger, but could also hurt someone else