And finally, by failing to finish Walter off when she had the chance, Phyllis’s revelation that she might be human, after all – and the look in her eyes when she realizes that it’s too little, too late. Phyllis’s casual but decisive toss of her cigarette, just before she shoots Walter – and Walter’s reaction when the bullet hits its mark: “You can do better than that, can’t you, baby?” The way Phyllis stands there, motionless, head slightly tilted, holding the gun and looking for all the world like a statue as she watches Walter approach. The mutual contempt that accompanies every word Phyllis and Walter speak to each other. The way we see Walter’s shadow before he walks through the door. The languid manner in which she settles into her chair to wait for Walter’s arrival. There’s the view from up above Phyllis as she unlocks the front door. This scene is packed with breathtaking moments, starting with Walter’s phone call to Phyllis and the resolute finality in the way he says, “Goodbye, baby.” You can’t tear your eyes away from all that goes on. What a difference a couple of months makes – one day you’re drooling over a dame’s anklet, and the next thing you know, you’re jamming a rod in her ribs. The showdown between Walter and Phyllis.This scene crackles with tension, from start to finish.
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