Chapter 35 (Brady): Commitment and a New Mission
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
It has been nearly a week since Dex and Joanie filed for divorce, freezing their assets and preventing Ed Sullivan from finalizing a property sale. Brady is working on kitchen chairs when Collins asks if he believes in fate—whether every decision led her to him. Brady agrees, noting that even his discovery in the cellar felt destined. Collins then reveals her next idea: after her photography feature on Sweetwater Peak, she photographed rural towns with education gaps and discovered that Ed Sullivan bought property in three of those towns. She proposes a photography project documenting the before-and-after impact, paired with a writer to expose Sullivan’s practices. Brady supports her plan and asks if she’d leave Sweetwater. Collins says the move would be temporary—Sweetwater is her home—and invites him to come. Brady declares he’ll go anywhere with her, even though he’s proud of his shop. They affirm that home is each other, and Brady kisses the inside of her wrist, sealing their partnership.
Key Events
- Collins asks Brady if he believes in fate linking them together.
- Brady confirms his belief, citing the cellar discovery as evidence.
- Collins reveals her research: Ed Sullivan owns property in three small towns she photographed earlier.
- She proposes a photography project to expose Sullivan’s impact, needing a writer to accompany it.
- Brady agrees with her idea and offers to join her on the road.
- Brady and Collins exchange “I love you” and commit to a shared future.
- Brady says his shop can manage without them temporarily; Collins says Sweetwater is their home.
- The chapter ends with Brady kissing her wrist and saying “You and me.”
Character Development
- Brady: Grows from a man anchored to his woodworking shop into someone willing to leave it behind for Collins. He explicitly connects his past decisions to her, showing increased emotional openness and trust.
- Collins: Transforms from a photographer who simply captures beauty into an activist using her art to fight injustice. She takes initiative, conducts research, and plans a project that leverages her skills for a larger purpose.
- Ed Sullivan: Remains an off-page antagonist whose property acquisitions in multiple towns solidify the series’ critique of corporate greed.
Themes, Symbols, or Motifs
- Fate vs. Choice: Collins and Brady debate whether their meeting was predestined. Their conversation reinforces the idea that conscious choices (like Collins’s research project) can feel fated when aligned with personal values.
- Home as People, Not Place: Both characters redefine home as their relationship. Brady says “you’re my home, too,” and Collins agrees that Sweetwater is their home because they are together.
- Art as Activism: Collins’s photography project is framed as a tool to “bring light” to systemic harm. The chapter suggests that creative work can serve justice by informing the public.
- Trust and Partnership: Brady’s immediate support for Collins’s plan and his willingness to travel demonstrate trust. Their reciprocal “I’m in this with you” language establishes a partnership built on mutual respect.
Why This Chapter Matters
This chapter marks a turning point where Collins decides her professional purpose beyond documenting beauty—she will expose corruption. It also solidifies Brady and Collins’s romantic commitment, moving them from a developing relationship to a declared partnership. The decision to leave Sweetwater temporarily shows their growth from isolated individuals to a couple ready for shared adventure. Additionally, the chapter advances the anti-Sullivan plot by revealing the scope of his predatory development across multiple towns, raising stakes for the Cartwright family.
Study Questions and Answers
1. How does Collins’s proposed project reflect her character arc in this chapter?
Collins moves from a passive observer of Sullivan Industries’ harm to an active investigator. Her photography project is a direct response to discovering that Ed Sullivan owns property in towns she previously photographed. By planning to document before-and-after effects and pair the images with a writer’s testimony, she uses her art to fight for justice—a clear shift from earlier chapters where her work was more aesthetic.
2. Why does Brady initially hesitate when Collins mentions leaving Sweetwater, and how does he resolve that hesitation?
Brady asks, “So you’d leave Sweetwater Peak again?” revealing his fear that Collins’s project might separate them. He resolves it by accepting her invitation to come along, recognizing that the shop can survive without him temporarily. This shows his growth in prioritizing their relationship over his rootedness to a physical place.
3. What role does the idea of “fate” play in Collins and Brady’s conversation?
The fate discussion serves as a foundation for their commitment. Collins asks if every decision led her to Brady; he affirms it, linking their meeting to the cellar discovery. The belief in fate gives their partnership a sense of inevitability and depth, justifying their willingness to rearrange their lives for each other.