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The problem is that I am without any ideas about what happens next.)
Have a man with a gun in his hand come through the door.
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Put your characters in their strongest positions (that is, where they have the greatest freedom of action and support each other best) rather than in their most comfortable positions or safest positions or where they want to be, and see what develops. At the end of the book they'll have moved to where they want to be or where they should be, and be fairly comfortable. That's how you know you're at the end.
Or, if you like, us a piece of Celtic knotwork as your outline. (I do this.) That's the answer for the subplot question, too: Every time some particular thread comes to the top in the knotwork, talk about a plot that isn't your main plot (but still has a beginning, a middle, and an end).
Your subplots take up less space than your main plot, but they are still complete stories on their own. They either a) involve all or some of the main characters (Janet Evanovich does this really well), or b) use the same theme as the main plot, either to complement it or contrast with it (Shakespeare does this really well).