Joar reflects with Louisa on how powerful disappointment can be, admitting that Kimkim’s relief upon learning there was no real competition convinced Joar he had to get Kimkim out of their town. Louisa tries to ease Joar’s guilt, but Joar accepts responsibility for his friends and transitions into telling the story of their last major act together.

That night, Joar stole his father’s car again, gathered Ted, Ali, and Kimkim, and stopped at Ted’s basement to retrieve a package. He drove them to the museum in darkness, broke a window, and led them inside amid clumsy tumbles and hushed bickering. The vast white galleries left Kimkim awestruck.

Joar unwrapped the package: Kimkim’s painting in its driftwood frame. With Ali and Ted’s help, he took down a museum painting and hung Kimkim’s in its place. The four stood elated as Joar told Kimkim that his art belonged there and that he belonged there too. Kimkim cried; Ali called it Joar’s best idea.

The alarm sounded when Ali searched for a light switch. A security guard arrived—older to the teens, though not truly old—and the group tried to flee with the painting, but stumbled and slid on the floor, separating from it. The guard reached the painting as Ted and Kimkim collided and Joar and Ali struggled to carry it together.

A chaotic exchange followed. Ted apologized and asked to take the painting, which made the guard assume they were thieves. Joar claimed the painting was theirs; Kimkim self-deprecatingly told the guard it was not as good as the others. The guard admitted he did not know art, and when Ali pointed out that the painting depicted them, he initially only saw the sea. Once shown, he was moved, but insisted the figures could be any kids. Ali replied, “We aren’t kids anymore,” deflating the group.

The guard offered not to call the police if they left, but they refused to abandon the painting, creating an odd standoff. The guard then asked them to call an adult who could confirm the painting’s ownership. The teens realized they had no reachable, reliable adults—until Kimkim recited a phone number from memory and said he had one adult to call.

Back on the roof in the present, Joar watches a slowly approaching car and, when Louisa asks who they called, says, “Here she comes now,” signaling the arrival of the adult Kimkim had contacted.