An emotional Sylvie reacts by picking up another man only to be discovered by Michael having sex with him. Michael is distraught and packs his bags to leave only to calm down and eventually forgive Sylvie. Sylvie is clearly troubled and we discover that she has suffered a miscarriage, the father being someone she had known sometime before Michael. Whilst travelling across Germany in a car Sylvie and Michael start playfighting, Sylvie then takes the wheel and unexpectedly wrenches the wheel causing them to deliberately crash. Michael awakes in a German hospital to find Sylvie is dead and that he is to be arrested for fraud for his theft in New Zealand. He is also under suspicion for having caused the death of Sylvie. Michael is grief-stricken at Sylvie’s death and later awakes to find David next to him who has flown from New Zealand to take him home. A sympathetic German doctor refuses to let the police arrest Michael and hints that he has to the morning to escape. A seriously ill Michael and David flee the hospital and agree to one final session of partying before returning to New Zealand. Michael and David travel to Monaco and dress up formally to gamble in a casino. Michael persuades David to risk all their money on the roulette table and they end up winning hundreds of thousands of Euros. They return to their hotel with the intention of returning to New Zealand the next day. A critically ill Michael instead sneaks out of the hotel, leaving behind a note for the sleeping David and his father and travels to Venice. In Venice Michael stares lovingly at a photo of his mother - taken in the same spot in Venice, and takes an overdose of his cancer drugs, washed down with copious amounts of wine. Michael dies looking out on a stunning Venice, leaving this world on his own terms. Lydia Jenkin in the New Zealand Herald wrote that ".."this is one of the most memorable local films to emerge in a long time, with beautiful icy cold cinematography and characters of gravity and realism, but it's not one for the faint-hearted"". Helen Martin wrote that the film was "..."really striking, a great looking film, nicely edited, with beautifully composed and lit visuals (Europe in winter looks magical) and excellent production design"". Graeme Tuckett wrote that ".."the film is a road trip, of sorts, a fantasy of youth and waste, and at times a thoughtful and quite incisive existential sketch of what it's like to hate yourself, when everyone around you thinks you're actually just fine"".