Editing Film (film) (section)

====Investment proper====
<small>(See the opening two paragraphs of [https://web.archive.org/web/20070726060333/http://www.english.fsu.edu/jobs/num07/Num7Cave.htm Richard Cave's review of the 1979 version of the film] for a discussion of the possible definition of 'investment' here).</small>

As O begins to doze off, E begins to move round to his left. Suddenly, O realises he is being watched and turns his head violently to the right. E moves behind him again. He resumes rocking and dozes off. This time E whirls round to the right, passing the window, the mirror, the birdcage and fishbowl and finally stops in front of the space on the wall where the picture was.

E turns around and, for the first time, we are face-to-face with O, asleep in his rocking chair. All of a sudden he wakes and stares straight into the camera lens. He looks very much like the man in the seventh photograph only much older. He still has the eye patch.

He half starts from the chair, then stiffens. Gradually, the horrified look we have seen before on the couple and the old woman's faces appears on his. He is looking at himself, but not the scruffy, wearish man we have been watching. The man before him, standing with a big nail beside his head, has a look of "acute ''intentness''"<ref>Beckett, S., ''Collected Shorter Plays of Samuel Beckett'' (London: Faber and Faber, 1984), p 169</ref> on his face. O slumps back into the chair and starts rocking. He closes his eye and the expression fades. He covers his face with his hands briefly and then looks again. This time we see the face of E in close-up, just the eyes.

O covers his eyes again, bows his head. The rocking dies down and then stops. The screen goes black. We then see the opening image of the eye, which is frozen, and the credits are presented over it. Once finished, the eye closes and the film is over.