In the last 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 this. Because readers are aware of the murder, dramatic irony does not generate suspense as it usually does. Instead, dramatic irony creates ambiguity when the girl tells the boy that “he was saved” (55). With the knowledge of previous scenes, such as that of the boy escaping punishment for the murder, it can be assumed that the boy is saved since he can continue his life without suffering the consequences. However, being allowed to return to his life seems as if 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 boys, like most teenage murders, "come from homes characterized by abuse, domestic violence, poor or absent parenting and a general instability” (Heckel & Shumaker, 156). Any child who has to live in these heartbreaking conditions will have psychological problems in his own life, which is why the boy is actually not saved. The boy may be saved from the consequences of murder, but he is not protected with his life. He will continue his destructive search for love, which will not only put him in danger, but could also hurt someone else.