Lady of the House
Lady of the House - Pilot
Genre: Dark Comedy / Erotic / Thriller
Director: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Plot:
Based on a True Story
In 1913, Frank Reisinger (Alfred Molina) is among the wealthiest men in Milwaukee, Wisconsin, overseeing one of the largest textile factories in the country. He met his Austrian wife Polly (Linda Cardellini) 10 years earlier on a trip abroad to Europe. Despite being in the upper class of the community, Polly feels increasingly isolated as an immigrant housewife. They attend an affluent party where Frank is the life of the party while Polly drinks by herself. She makes an offhand comment about the host’s wife and they are asked to leave, to Frank’s dismay.
After the party, chronic alcoholic Frank comes home and drinks even more. He and his wife have a rather nothing argument about what they will have for dinner the next day, but this escalates to a point where Frank becomes violently angry about Polly’s actions tonight. With Polly in bed, he drops his pants to rape her but he falls flat on his face, passed out drunk. She rolls her eyes and laughs in relief, as if she has already seen this cycle before, before going to sleep.
Despite having no memory of the details, Frank worries about Polly’s well-being after their argument last night and sends his young secretary Mary (Maia Mitchell) to check on Polly and talk to her woman-to-woman. Despite it being midday, Polly is struggling to masturbate to a Victorian novel when Mary knocks on the door. This startles her. Polly is suspicious of her husband’s intentions at first but feels like she may be able to play this to her advantage and so invites Mary in.
While their conversation starts simple enough, Polly grows aggressive and Mary is worried that she suspects her and Frank are having an affair (they aren’t). Instead, Polly starts pouring her heart out. She talks about what a terrible man Frank is - his alcoholism, his subpar cultural tastes, his disappointing performance in bed. She feels that their marriage is trapped within his boring control. Mary asks why Polly doesn’t just divorce him - something Mary would never consider herself but is available to Polly given her class status. Polly laughs it off, saying there is only one way to get rid of Frank and it is not divorce.
Having felt they’ve built a good rapport, Polly suddenly gets a bright idea and tells Mary she wants her to show her the factory - a place Polly has never stepped foot in. Polly even offers Mary a ride back to the factory with her personal carriage driver. Mary is extremely hesitant, knowing that Frank would be furious if Polly showed up to his work and that her job might be at risk. However, Polly’s strong will is undeniable and Mary says she’ll do it.
At the factory, Mary gives Polly a brief tour - trying the whole time to avoid being noticed by Frank. Polly asks if Frank has any favorites and Mary points out a young man named Otto Struber (Ezra Miller). From afar, Polly sizes up Otto with her eyes and has a brief debate within her head before shrugging her shoulders in a “why not?” manner. She thanks Mary and tells her that she will now be leaving. Mary is very puzzled.
At home, Polly searches through Frank’s tools and finds a hammer. She waltzes over to her sewing machine and damages it with the hammer as happy classical music plays. When Frank arrives home, he finds Polly seated on the floor crying. He asks what is wrong and she tells him that her sewing machine broke. He is too inept to fix it himself so he doesn’t even check it and instead says he will send one of his trusted workers from the factory to fix it. When he leaves to get a drink, Polly is mad at herself for actually damaging the machine and over-estimating her husband’s intelligence. She could just have easily lied about the machine being broken and he wouldn’t know any difference!
The next day, Polly anxiously awaits for someone to show up. Her non-stop window-peeking is finally rewarded when she sees that it is indeed Otto who Frank sent. She offers him tea but he politely declines. He then goes over to the sewing machine as Polly makes small talk. The conversation reveals that Otto himself is a recent immigrant from Poland and hopes to work his way from the factory floors to the offices. When he finally finishes fixing it, he comments on how extensive the damage was and wonders how that happens. When he turns around, he finds Polly lounged back in a chair with her dress hiked up and leg exposed. He raises his eyebrows in shocked curiosity while she raises hers in a checkmate move, as if to dare him. Otto shrugs his shoulders in a “why not?” manner. Polly smiles.
Genre: Dark Comedy / Erotic / Thriller
Director: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Plot:
Based on a True Story
In 1913, Frank Reisinger (Alfred Molina) is among the wealthiest men in Milwaukee, Wisconsin, overseeing one of the largest textile factories in the country. He met his Austrian wife Polly (Linda Cardellini) 10 years earlier on a trip abroad to Europe. Despite being in the upper class of the community, Polly feels increasingly isolated as an immigrant housewife. They attend an affluent party where Frank is the life of the party while Polly drinks by herself. She makes an offhand comment about the host’s wife and they are asked to leave, to Frank’s dismay.
After the party, chronic alcoholic Frank comes home and drinks even more. He and his wife have a rather nothing argument about what they will have for dinner the next day, but this escalates to a point where Frank becomes violently angry about Polly’s actions tonight. With Polly in bed, he drops his pants to rape her but he falls flat on his face, passed out drunk. She rolls her eyes and laughs in relief, as if she has already seen this cycle before, before going to sleep.
Despite having no memory of the details, Frank worries about Polly’s well-being after their argument last night and sends his young secretary Mary (Maia Mitchell) to check on Polly and talk to her woman-to-woman. Despite it being midday, Polly is struggling to masturbate to a Victorian novel when Mary knocks on the door. This startles her. Polly is suspicious of her husband’s intentions at first but feels like she may be able to play this to her advantage and so invites Mary in.
While their conversation starts simple enough, Polly grows aggressive and Mary is worried that she suspects her and Frank are having an affair (they aren’t). Instead, Polly starts pouring her heart out. She talks about what a terrible man Frank is - his alcoholism, his subpar cultural tastes, his disappointing performance in bed. She feels that their marriage is trapped within his boring control. Mary asks why Polly doesn’t just divorce him - something Mary would never consider herself but is available to Polly given her class status. Polly laughs it off, saying there is only one way to get rid of Frank and it is not divorce.
Having felt they’ve built a good rapport, Polly suddenly gets a bright idea and tells Mary she wants her to show her the factory - a place Polly has never stepped foot in. Polly even offers Mary a ride back to the factory with her personal carriage driver. Mary is extremely hesitant, knowing that Frank would be furious if Polly showed up to his work and that her job might be at risk. However, Polly’s strong will is undeniable and Mary says she’ll do it.
At the factory, Mary gives Polly a brief tour - trying the whole time to avoid being noticed by Frank. Polly asks if Frank has any favorites and Mary points out a young man named Otto Struber (Ezra Miller). From afar, Polly sizes up Otto with her eyes and has a brief debate within her head before shrugging her shoulders in a “why not?” manner. She thanks Mary and tells her that she will now be leaving. Mary is very puzzled.
At home, Polly searches through Frank’s tools and finds a hammer. She waltzes over to her sewing machine and damages it with the hammer as happy classical music plays. When Frank arrives home, he finds Polly seated on the floor crying. He asks what is wrong and she tells him that her sewing machine broke. He is too inept to fix it himself so he doesn’t even check it and instead says he will send one of his trusted workers from the factory to fix it. When he leaves to get a drink, Polly is mad at herself for actually damaging the machine and over-estimating her husband’s intelligence. She could just have easily lied about the machine being broken and he wouldn’t know any difference!
The next day, Polly anxiously awaits for someone to show up. Her non-stop window-peeking is finally rewarded when she sees that it is indeed Otto who Frank sent. She offers him tea but he politely declines. He then goes over to the sewing machine as Polly makes small talk. The conversation reveals that Otto himself is a recent immigrant from Poland and hopes to work his way from the factory floors to the offices. When he finally finishes fixing it, he comments on how extensive the damage was and wonders how that happens. When he turns around, he finds Polly lounged back in a chair with her dress hiked up and leg exposed. He raises his eyebrows in shocked curiosity while she raises hers in a checkmate move, as if to dare him. Otto shrugs his shoulders in a “why not?” manner. Polly smiles.
Lady of the House - The Attic
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Plot: On the factory floor, Otto (Ezra Miller) goes about his daily routine. After his hard work, he is once again told by Mary (Maia Mitchell) that Frank (Alfred Molina) has his sights set on him and a promotion is not out of the question in the future. Mary is attracted to Otto but he maintains a sense of aloofness. After work, he goes to his small apartment, overcrowded apartment that he shares with a 6 other immigrants. He writes a letter to his sister in Europe, checking the clock constantly. Finally, when it hits 6pm, he darts out of the house.
After he is done working, Frank visits the local pub in a joyous mood - his true home away from home. Meanwhile, Otto arrives at a ritzy hotel and sticks out immediately. There, he goes to Room 432, where Polly (Linda Cardellini) is waiting for him, nude. So begins a montage of the couple having sex at several different hotel rooms over the course of months, inter-cut with shots of Frank joyously drinking at the local pub.
As they lay in bed, Otto tells Polly about what Mary had told him about his position at the factory. However, Polly challenges him and says he can’t be happy working at that factory. Is that really what he came to America for? Feeling a sense of trust with her, he says she is right and says that he actually dreams of being a pulp novelist but he is not a skilled enough writer. Polly tells him she has an idea.
Days later, Otto approaches Mary at the factory and strikes up a conversation. He eventually asks if she could help him with his English writing skills, as she is a secretary, after all. Given her crush on him, she is flustered at first and says she’s not sure. How will he come up with the extra money to pay for her services and what would her boss think about his secretary training his best worker to leave the factory. Otto assures her that money is not an issue and that Frank will never have to know. Mary reluctantly agrees.
We see a split screen montage of Mary helping Otto while Polly and Frank continuously argue. Otto pays Mary with money given to him by Polly. Over the course of this time, Mary and Otto grow closer but she tells him that they can’t be together as he is Jewish and she is Catholic. Otto holds her hand and tells her he’s sure she will find a good Catholic boy. Man. Catholic man. He thanks her for all of her help and says he is ready to turn his notice to Frank and pursue greener pastures. Mary’s palms start to sweat, worried that she’ll held responsible. Again, Otto takes her hands and cleans the sweat off, assuring her that Frank will understand.
Frank is irate in his office, chewing out Otto to shreds. He convinces himself that this is a plot from a rival factory to steal Otto. He tells Otto what he already knows - he sees big things in Otto and is willing to do whatever to keep him. Otto is able to negotiate both a higher pay and more lenient hours that allow him to leave earlier than others. Afterwards, Mary checks on Frank, who has her retrieve a drink to cool his anger.
That night in bed, Frank vents to his wife about his troubles today at work. Polly, turned to her side, smiles at the amount of stress this has caused him. He turns her over and kindly proposes sex, for once. As they do, the camera zooming on her stoic face, as she clearly is thinking deeply about something.
At work the next day, Otto receives a letter that tells him to skip the hotel and come straight to Polly’s home after work. Meanwhile, Mary is ready to date Otto despite her parents’ wishes and is planning to ask him out formally once he gets off. However, as soon as his shift ends, he darts out of the building, to her disappointment. At Polly's home, Polly asks him why he didn’t quit yesterday. He says that he believes in the American Dream and that he is ready to work his way up the ladder. Polly silently ruminates over this and then tells him that there is something she is ready for: them to fuck in her husband’s bed. Otto takes a nervous gulp.
After the sex, even Otto is hesitant to try it again. He is admittedly worried about the repercussions if Frank ever caught them. Would he kill him? He'd definitely kill him. Polly eases his nerves and says she has an idea: Otto should move into their attic. He has no friends and family in the states so who would look for him? He can read and write up there and Polly can cook him meals. And they can fuck whenever they want as long as Frank is not home. Otto is now very hesitant, especially given his new raise. She tells him he won’t ever have to show up to that job again. Instead of worrying about that hard laborious work, he can now focus on becoming a famous novelist. There is a prolonged silence before Polly gets out of bed and takes him by the hand. She leads him to the attic entrance and takes him up there as suspenseful music plays.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Plot: On the factory floor, Otto (Ezra Miller) goes about his daily routine. After his hard work, he is once again told by Mary (Maia Mitchell) that Frank (Alfred Molina) has his sights set on him and a promotion is not out of the question in the future. Mary is attracted to Otto but he maintains a sense of aloofness. After work, he goes to his small apartment, overcrowded apartment that he shares with a 6 other immigrants. He writes a letter to his sister in Europe, checking the clock constantly. Finally, when it hits 6pm, he darts out of the house.
After he is done working, Frank visits the local pub in a joyous mood - his true home away from home. Meanwhile, Otto arrives at a ritzy hotel and sticks out immediately. There, he goes to Room 432, where Polly (Linda Cardellini) is waiting for him, nude. So begins a montage of the couple having sex at several different hotel rooms over the course of months, inter-cut with shots of Frank joyously drinking at the local pub.
As they lay in bed, Otto tells Polly about what Mary had told him about his position at the factory. However, Polly challenges him and says he can’t be happy working at that factory. Is that really what he came to America for? Feeling a sense of trust with her, he says she is right and says that he actually dreams of being a pulp novelist but he is not a skilled enough writer. Polly tells him she has an idea.
Days later, Otto approaches Mary at the factory and strikes up a conversation. He eventually asks if she could help him with his English writing skills, as she is a secretary, after all. Given her crush on him, she is flustered at first and says she’s not sure. How will he come up with the extra money to pay for her services and what would her boss think about his secretary training his best worker to leave the factory. Otto assures her that money is not an issue and that Frank will never have to know. Mary reluctantly agrees.
We see a split screen montage of Mary helping Otto while Polly and Frank continuously argue. Otto pays Mary with money given to him by Polly. Over the course of this time, Mary and Otto grow closer but she tells him that they can’t be together as he is Jewish and she is Catholic. Otto holds her hand and tells her he’s sure she will find a good Catholic boy. Man. Catholic man. He thanks her for all of her help and says he is ready to turn his notice to Frank and pursue greener pastures. Mary’s palms start to sweat, worried that she’ll held responsible. Again, Otto takes her hands and cleans the sweat off, assuring her that Frank will understand.
Frank is irate in his office, chewing out Otto to shreds. He convinces himself that this is a plot from a rival factory to steal Otto. He tells Otto what he already knows - he sees big things in Otto and is willing to do whatever to keep him. Otto is able to negotiate both a higher pay and more lenient hours that allow him to leave earlier than others. Afterwards, Mary checks on Frank, who has her retrieve a drink to cool his anger.
That night in bed, Frank vents to his wife about his troubles today at work. Polly, turned to her side, smiles at the amount of stress this has caused him. He turns her over and kindly proposes sex, for once. As they do, the camera zooming on her stoic face, as she clearly is thinking deeply about something.
At work the next day, Otto receives a letter that tells him to skip the hotel and come straight to Polly’s home after work. Meanwhile, Mary is ready to date Otto despite her parents’ wishes and is planning to ask him out formally once he gets off. However, as soon as his shift ends, he darts out of the building, to her disappointment. At Polly's home, Polly asks him why he didn’t quit yesterday. He says that he believes in the American Dream and that he is ready to work his way up the ladder. Polly silently ruminates over this and then tells him that there is something she is ready for: them to fuck in her husband’s bed. Otto takes a nervous gulp.
After the sex, even Otto is hesitant to try it again. He is admittedly worried about the repercussions if Frank ever caught them. Would he kill him? He'd definitely kill him. Polly eases his nerves and says she has an idea: Otto should move into their attic. He has no friends and family in the states so who would look for him? He can read and write up there and Polly can cook him meals. And they can fuck whenever they want as long as Frank is not home. Otto is now very hesitant, especially given his new raise. She tells him he won’t ever have to show up to that job again. Instead of worrying about that hard laborious work, he can now focus on becoming a famous novelist. There is a prolonged silence before Polly gets out of bed and takes him by the hand. She leads him to the attic entrance and takes him up there as suspenseful music plays.
Lady of the House - Where's Otto?
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Christopher McDonald .... Horace Anthony
At a ritzy party, Frank (Alfred Molina) and Polly Reisinger (Linda Cardellini) wine and dine with their rich acquaintances. As she does, Polly makes small talk but disapproves of most of these people. Frank, meanwhile, is all over the place, talking with everyone. Seeing that the bathroom is occupied, he goes outside to relieve himself. Out there, he finds Horace Anthony (Christopher McDonald) already doing the same thing. Drunk Frank saddles up mere feet away from Horace and they both take a piss in the yard. Frank raves about Horace’s recent returns at his steel mill and tells him he is a bit jealous of his numbers, to which Horace says that Frank will get there eventually. They make small talk about each other’s lives and whatnot before finishing up, zipping their trousers, shaking hands and going their separate ways. At home that night, Frank falls sound asleep in his bed as subtle footsteps are heard from up above.
Days Later
Horace sits patiently in his office, going over paperwork. As he does this, he hums a catchy tune and bobs his head to his own beat. Suddenly, he is jolted by an office chair come flying through his window. In storms Frank Reisinger, with near steam coming out of his ears. Horace calmly says that Frank will have to pay for that, which Frank blows off. He tears Horace a new one, accusing him of stealing one of his best workers. Horace laughs this off, commenting on how inessential each factory worker is as a person so is there really such thing as a “best worker”. Frank takes Horace by the neck and says that he won’t forget this.
Back in his own office, Frank’s seething anger causes him to nearly fall over in exhaustion. Mary (Maia Mitchell) comes in to check on him and reminds him to take his heart medicine. He asks if there are any updates on Otto (Ezra Miller), who has not be at work for four days now. Mary tells him there is not. He says that he does not need this stress right now and will be leaving work early to rest. Meanwhile, at home, Polly eats breakfast in bed as Otto is between her legs, under the covers. She takes a big bite out of her peach, smiling, while laying her back comfortably in the pillow.
As she walks around the house in her silk robe, Polly asks Otto how his writing is coming along. He says that he has come up with a golden idea but now he has got to get around to writing it - thankfully Mary’s assistance will help him in that area. They suddenly hear a key turning in the door and scramble into panic mode. They then begin a waltz around the house, trying to avoid Otto from being seen by Frank. Despite some tense close calls, they successfully pull it off. This appears to invigorate Polly even more, feeling like she has pulled something off right under her husband’s nose.
Weeks pass and Otto makes a home in the attic. At first, it is a difficult adjustment to make but he soon finds his comfort zone - including creating fake backstories for the all of the neighbors that he is peering down upon. Frank does hear noises from the attic but tells Polly that he assumes it is a bat. At work, Frank has moved on to other problems and puts Otto’s exit from the factory in the back of his mind. However, Mary is growing anxious and is not ready to put the case to bed. She tells Frank she is not feeling well and he just so happens to be feeling lenient that day, so he lets her go home early.
After leaving, she first goes to the local synagogue to ask if Otto has been regularly attending - they say he has never attended at all. She then visits his apartment building, where the landlord says he paid his last bit of rent and moved out. Defeated, she decides to bike home. On her ride, she passes the Reisinger house and sees a glimpse of Otto in the window. She keeps on riding not thinking anything of it but then realizes what she saw.
She turns back and nervously knocks on the door. Polly answers and is delighted to see Mary again so she invites her in. Polly puts on some music and they sit down for a cup of tea. Mary makes small talk - seemingly avoiding the topic really on her mind. She then finally asks Polly if she has seen Otto Struber around - the worker from the factory who has seemingly disappeared from Milwaukee.
After a momentary silence, Polly continues the conversation as if she is not bothered by the question at all. She maintains a polite smile and happy demeanor as she talks: “I not only do not know where that man but I do not even know who you are speaking of. But I do know a lot about you, my sweet Mary. I know the angelic figure that you embody in the eyes of your family and of your church. I know they are proud of you for landing the coveted job of doing...whatever it is my husband makes you do. And, what I also know, is that if you ever cross me again, my sweet Mary, that I will systematically dismantle that precious façade that you have spent so much of your time on this Earth cultivating. Now. You will get back on your bicycle. You will ride back to your home. You will mourn the love you will never have. And you won’t so much as to think the name Otto Struber, ever again. You may leave now.” Still smiling.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Christopher McDonald .... Horace Anthony
At a ritzy party, Frank (Alfred Molina) and Polly Reisinger (Linda Cardellini) wine and dine with their rich acquaintances. As she does, Polly makes small talk but disapproves of most of these people. Frank, meanwhile, is all over the place, talking with everyone. Seeing that the bathroom is occupied, he goes outside to relieve himself. Out there, he finds Horace Anthony (Christopher McDonald) already doing the same thing. Drunk Frank saddles up mere feet away from Horace and they both take a piss in the yard. Frank raves about Horace’s recent returns at his steel mill and tells him he is a bit jealous of his numbers, to which Horace says that Frank will get there eventually. They make small talk about each other’s lives and whatnot before finishing up, zipping their trousers, shaking hands and going their separate ways. At home that night, Frank falls sound asleep in his bed as subtle footsteps are heard from up above.
Days Later
Horace sits patiently in his office, going over paperwork. As he does this, he hums a catchy tune and bobs his head to his own beat. Suddenly, he is jolted by an office chair come flying through his window. In storms Frank Reisinger, with near steam coming out of his ears. Horace calmly says that Frank will have to pay for that, which Frank blows off. He tears Horace a new one, accusing him of stealing one of his best workers. Horace laughs this off, commenting on how inessential each factory worker is as a person so is there really such thing as a “best worker”. Frank takes Horace by the neck and says that he won’t forget this.
Back in his own office, Frank’s seething anger causes him to nearly fall over in exhaustion. Mary (Maia Mitchell) comes in to check on him and reminds him to take his heart medicine. He asks if there are any updates on Otto (Ezra Miller), who has not be at work for four days now. Mary tells him there is not. He says that he does not need this stress right now and will be leaving work early to rest. Meanwhile, at home, Polly eats breakfast in bed as Otto is between her legs, under the covers. She takes a big bite out of her peach, smiling, while laying her back comfortably in the pillow.
As she walks around the house in her silk robe, Polly asks Otto how his writing is coming along. He says that he has come up with a golden idea but now he has got to get around to writing it - thankfully Mary’s assistance will help him in that area. They suddenly hear a key turning in the door and scramble into panic mode. They then begin a waltz around the house, trying to avoid Otto from being seen by Frank. Despite some tense close calls, they successfully pull it off. This appears to invigorate Polly even more, feeling like she has pulled something off right under her husband’s nose.
Weeks pass and Otto makes a home in the attic. At first, it is a difficult adjustment to make but he soon finds his comfort zone - including creating fake backstories for the all of the neighbors that he is peering down upon. Frank does hear noises from the attic but tells Polly that he assumes it is a bat. At work, Frank has moved on to other problems and puts Otto’s exit from the factory in the back of his mind. However, Mary is growing anxious and is not ready to put the case to bed. She tells Frank she is not feeling well and he just so happens to be feeling lenient that day, so he lets her go home early.
After leaving, she first goes to the local synagogue to ask if Otto has been regularly attending - they say he has never attended at all. She then visits his apartment building, where the landlord says he paid his last bit of rent and moved out. Defeated, she decides to bike home. On her ride, she passes the Reisinger house and sees a glimpse of Otto in the window. She keeps on riding not thinking anything of it but then realizes what she saw.
She turns back and nervously knocks on the door. Polly answers and is delighted to see Mary again so she invites her in. Polly puts on some music and they sit down for a cup of tea. Mary makes small talk - seemingly avoiding the topic really on her mind. She then finally asks Polly if she has seen Otto Struber around - the worker from the factory who has seemingly disappeared from Milwaukee.
After a momentary silence, Polly continues the conversation as if she is not bothered by the question at all. She maintains a polite smile and happy demeanor as she talks: “I not only do not know where that man but I do not even know who you are speaking of. But I do know a lot about you, my sweet Mary. I know the angelic figure that you embody in the eyes of your family and of your church. I know they are proud of you for landing the coveted job of doing...whatever it is my husband makes you do. And, what I also know, is that if you ever cross me again, my sweet Mary, that I will systematically dismantle that precious façade that you have spent so much of your time on this Earth cultivating. Now. You will get back on your bicycle. You will ride back to your home. You will mourn the love you will never have. And you won’t so much as to think the name Otto Struber, ever again. You may leave now.” Still smiling.
Lady of the House - The Offer
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Ray Wise .... George Crowe
Anne Archer .... Martha Crowe
At the factory, Frank (Alfred Molina) is his usual self while Mary (Maia Mitchell) has a ghost-white stoicism resulting from her encounter with Polly (Linda Cardellini) She receives news through the office mail that George Crowe, the national president of the textile company, is coming to Milwaukee to visit his factory. They assume this if for a general audit and this sends Frank into a nervous panic as production has not been up to his standards as of late. He takes his heart medicine out of precaution.
At home, Otto (Ezra Miller) and Polly argue about Mary’s visit. Otto stands up for Mary, someone who clearly cared about him. She defends herself, saying that they couldn’t risk being caught. And she successfully defused the situation and prevented just that. She then reminds him that it was her idea for Mary to tutor him, anyways.
When Frank arrives home, he informs Polly of his boss’s trip to town while pouring himself a drink. While he worries about it, Polly recommends that they invite the president and his wife over for dinner. Frank says that is actually a great idea but she better behave. Otto listens through the floor and is bumfuzzled at Polly’s nerve. To show Frank's being serious, he slaps her multiple times and tells her to cover it up before their visitors arrive.
Otto starts to deal with the effects of his long periods of solitude and his paranoia grows. Apart from his fiction writing, he starts writing a personal memoir that details his truly unique immigrant experience. He records his concern that Polly is going to use Crowe’s visit as an opportunity to reveal their relationship - thus humiliating her husband and all of his integrity. While he enjoys Polly’s company and the way she takes care of him, he is starting to worry that he is just a pawn and she doesn’t actually care about him.
George Crowe (Ray Wise) and his wife Martha (Anne Archer) arrives in Milwaukee by train and Frank greets him warmly. He travels with them to the factory and they give him a tour. Crowe comments on the rather unfriendly nature of his secretary, which Frank says seems to be a recent thing. Crowe suggests he fire her and get someone more friendly and they both let out a belly laugh, although Frank is unsure if Crowe is being serious.
At dinner, Polly puts on a fake delightful demeanor, which Frank finds obvious and this angers him. He whispers in her ear that he warned her. During a lull in the conversation, Polly inquires about The Crowes’s sex life, making Martha immediately flustered. Frank starts heating up, tugging on his collar. Surprisingly, George answers and says that they are still managing to try new stuff into their golden years. Polly looks to Frank with a smile, impressed with what she has gotten away with. Otto, listening in, chuckles at George’s answer, which was slightly be heard from underneath. Frank rolls his eyes and tells Crowe he thinks there is a bat up there but he is too lazy to head up there. Crowe offers to help him with that but Frank declines - there is no way he’d let another man accomplish something he can’t in his own house.
Polly, eager to change the subject, asks if George is planning on retiring any time soon. George asks why - does Frank have an eye on his role as president? Polly says “maybe”. Frank finally talks over all of them, definitely taking control of the conversation. Upstairs, Otto is sweating nervously - feeling that Polly is testing her limits and is about to reveal their secret. He starts considering ways for him to escape the house, if he is danger.
Crowe excuses himself from dinner and asks if he can talk with Frank in his parlor. Meanwhile, Polly leaves Martha to look through her library collection while she heads up to the attic. Otto is freaked out - asking what Polly’s plans are. She shimmers out of her dress and starts stripping down, telling him she needs him right now. Otto stills finds her irresistible but he tries to hold back his desires. Suddenly, they hear something from the parlor area and realize they can hear Frank’s conversation. They both crouch down on the floor to listen.
Frank attempts to impress Crowe by showing off his valuable collection including vintage revolver and an expensive golden watch. Crowe, even richer than Frank is, seems rather unimpressed. Crowe reveals to Frank the true reason he came to Milwaukee. The company has approved the construction of a new plant in Los Angeles and they want Frank to move there and head it. He is blindsided by this - pointing out that his age is not an ideal time to just move across the country. Crowe retorts by saying that Frank built their Milwaukee factory from scratch into one of the strongest in the country. Frank lingers on the offer before shaking Crowe’s hand and accepting.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Ray Wise .... George Crowe
Anne Archer .... Martha Crowe
At the factory, Frank (Alfred Molina) is his usual self while Mary (Maia Mitchell) has a ghost-white stoicism resulting from her encounter with Polly (Linda Cardellini) She receives news through the office mail that George Crowe, the national president of the textile company, is coming to Milwaukee to visit his factory. They assume this if for a general audit and this sends Frank into a nervous panic as production has not been up to his standards as of late. He takes his heart medicine out of precaution.
At home, Otto (Ezra Miller) and Polly argue about Mary’s visit. Otto stands up for Mary, someone who clearly cared about him. She defends herself, saying that they couldn’t risk being caught. And she successfully defused the situation and prevented just that. She then reminds him that it was her idea for Mary to tutor him, anyways.
When Frank arrives home, he informs Polly of his boss’s trip to town while pouring himself a drink. While he worries about it, Polly recommends that they invite the president and his wife over for dinner. Frank says that is actually a great idea but she better behave. Otto listens through the floor and is bumfuzzled at Polly’s nerve. To show Frank's being serious, he slaps her multiple times and tells her to cover it up before their visitors arrive.
Otto starts to deal with the effects of his long periods of solitude and his paranoia grows. Apart from his fiction writing, he starts writing a personal memoir that details his truly unique immigrant experience. He records his concern that Polly is going to use Crowe’s visit as an opportunity to reveal their relationship - thus humiliating her husband and all of his integrity. While he enjoys Polly’s company and the way she takes care of him, he is starting to worry that he is just a pawn and she doesn’t actually care about him.
George Crowe (Ray Wise) and his wife Martha (Anne Archer) arrives in Milwaukee by train and Frank greets him warmly. He travels with them to the factory and they give him a tour. Crowe comments on the rather unfriendly nature of his secretary, which Frank says seems to be a recent thing. Crowe suggests he fire her and get someone more friendly and they both let out a belly laugh, although Frank is unsure if Crowe is being serious.
At dinner, Polly puts on a fake delightful demeanor, which Frank finds obvious and this angers him. He whispers in her ear that he warned her. During a lull in the conversation, Polly inquires about The Crowes’s sex life, making Martha immediately flustered. Frank starts heating up, tugging on his collar. Surprisingly, George answers and says that they are still managing to try new stuff into their golden years. Polly looks to Frank with a smile, impressed with what she has gotten away with. Otto, listening in, chuckles at George’s answer, which was slightly be heard from underneath. Frank rolls his eyes and tells Crowe he thinks there is a bat up there but he is too lazy to head up there. Crowe offers to help him with that but Frank declines - there is no way he’d let another man accomplish something he can’t in his own house.
Polly, eager to change the subject, asks if George is planning on retiring any time soon. George asks why - does Frank have an eye on his role as president? Polly says “maybe”. Frank finally talks over all of them, definitely taking control of the conversation. Upstairs, Otto is sweating nervously - feeling that Polly is testing her limits and is about to reveal their secret. He starts considering ways for him to escape the house, if he is danger.
Crowe excuses himself from dinner and asks if he can talk with Frank in his parlor. Meanwhile, Polly leaves Martha to look through her library collection while she heads up to the attic. Otto is freaked out - asking what Polly’s plans are. She shimmers out of her dress and starts stripping down, telling him she needs him right now. Otto stills finds her irresistible but he tries to hold back his desires. Suddenly, they hear something from the parlor area and realize they can hear Frank’s conversation. They both crouch down on the floor to listen.
Frank attempts to impress Crowe by showing off his valuable collection including vintage revolver and an expensive golden watch. Crowe, even richer than Frank is, seems rather unimpressed. Crowe reveals to Frank the true reason he came to Milwaukee. The company has approved the construction of a new plant in Los Angeles and they want Frank to move there and head it. He is blindsided by this - pointing out that his age is not an ideal time to just move across the country. Crowe retorts by saying that Frank built their Milwaukee factory from scratch into one of the strongest in the country. Frank lingers on the offer before shaking Crowe’s hand and accepting.
Lady of the House - HOLLYWOOD
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Vincent Kartheiser .... Roy
Cristin Milioti .... Victoria
Polly and Otto frantically pace in the attic, wondering what they are going to do now that Polly and Frank are moving to Los Angeles. Otto holds her hands and says that despite wanting Polly every second of every day, this might be a time when the world is pushing them apart. She reminds him of his alternative: crowded housing, miserable work, etc. She tells him that she will figure something out.
Cut to Polly and Frank shopping for houses in L.A., with Polly asking specifically for a house with an attic. The real estate man Peter (Zach Woods) says that those are a rarity in southern California and Frank says that it is not one of their top priorities. Polly talks over him and says that it actually is a top priority. Frank snaps a look at her of angered confusion. They eventually happen upon a house that fits every descriptor they are looking for. And yes, it has an attic. They both agree that this seems to be it. A man (Vincent Kartheiser) approaches them and introduces himself as Roy, the man who lives next door. He says that this is a great neighborhood to live in and that he can tell right away that they would fit in here. Polly notices immediately that Roy is attracted her and smiles the whole time he talks.
Back in Milwaukee, Mary takes Frank’s out-of-town trip as an opportunity to try and visit Otto. Otto is taken by surprise when he hears someone aggressively knocking. When he sees that it is Mary, he debates with himself whether or not he should go down but eventually decides that he shouldn’t. Frustrated, Mary starts yelling at Otto from outside, saying she knows up there and that Polly does not care about him. She just hates Frank more than she loves Otto. She ends her rant by saying he should have least told her goodbye.
Otto is freaked out, scared that the neighbors will be alerted to his secret residence. Cut to some neighbors watching Mary yell at an empty house from their window, with the wife commenting “What a strange, strange lady.”
When they get back in Milwaukee, Polly tells Otto that she has a place for him in Los Angeles so that they can make this work. Otto, young and confused, finally becomes defiant to Polly. Echoing what Mary said, he asks if she truly cares about him because it seems that she only seems to enjoy screwing over Frank. Mary falls to her knees in tears. She admits that she first picked him because she knew how much he meant to Frank at the office, not that he was bad to look at or anything. And as the weeks and months went on, she found a thrill in knowing that her own personal lover - and Frank’s most trusted worker - was living right above her husband’s head.
But she now realizes that she cares about Otto more than he will ever know. She loves the feeling of being wanted and a reason to get out of bed each morning. Well, technically “stay” in bed but he gets her point. Whereas she was once exceedingly lonely - both in this country and in her own house - Otto has never made her feel more at home.
Otto runs his hand through her hair, lifts her from the ground and into his arms, and gives her a kiss. He tells her that he is ready to move to Los Angeles. Afterwards, he writes another letter to his sister updating her on his move to L.A. He does conveniently leave out the bit about living in his lover's attic.
There is a montage of them moving to L.A., with Otto on the same train but a few cars down. When the train arrives, Otto breaks down crying in the train station - overwhelmed by the sense of life that surrounds him (something he was lacking in the attic). He picks himself up and tells surrounding strangers that he is alright.
Frank and Polly move into their new home, the one with the attic. Polly books a hotel for Otto initially, waiting for the right time to move him in. Meanwhile, they have sex in the hotel just like the old days. On Frank’s first day at the factory, Polly decides it is the perfect time to move him in. She sneaks him in and he makes home in their new attic. They have a long kiss before being interrupted by a loud knock on the door.
She waltzes downstairs and answers the door to find her new neighbor Roy and his wife Victoria (Cristin Milioti), who is holding a cake. They officially welcome her to the neighborhood and she thanks him. She tells Roy she didn't know he had a wife. Before they leave, Victoria says that he didn’t know Frank and Polly had a son - he must’ve not came with them on their previous trip. Is he at university age or still in grade school? Polly looks immediately confused. Roy apologizes for his wife’s forwardness and says that they just saw Polly bring a young man into the house and had assumed. Cut to black.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Maia Mitchell …. Mary
Vincent Kartheiser .... Roy
Cristin Milioti .... Victoria
Polly and Otto frantically pace in the attic, wondering what they are going to do now that Polly and Frank are moving to Los Angeles. Otto holds her hands and says that despite wanting Polly every second of every day, this might be a time when the world is pushing them apart. She reminds him of his alternative: crowded housing, miserable work, etc. She tells him that she will figure something out.
Cut to Polly and Frank shopping for houses in L.A., with Polly asking specifically for a house with an attic. The real estate man Peter (Zach Woods) says that those are a rarity in southern California and Frank says that it is not one of their top priorities. Polly talks over him and says that it actually is a top priority. Frank snaps a look at her of angered confusion. They eventually happen upon a house that fits every descriptor they are looking for. And yes, it has an attic. They both agree that this seems to be it. A man (Vincent Kartheiser) approaches them and introduces himself as Roy, the man who lives next door. He says that this is a great neighborhood to live in and that he can tell right away that they would fit in here. Polly notices immediately that Roy is attracted her and smiles the whole time he talks.
Back in Milwaukee, Mary takes Frank’s out-of-town trip as an opportunity to try and visit Otto. Otto is taken by surprise when he hears someone aggressively knocking. When he sees that it is Mary, he debates with himself whether or not he should go down but eventually decides that he shouldn’t. Frustrated, Mary starts yelling at Otto from outside, saying she knows up there and that Polly does not care about him. She just hates Frank more than she loves Otto. She ends her rant by saying he should have least told her goodbye.
Otto is freaked out, scared that the neighbors will be alerted to his secret residence. Cut to some neighbors watching Mary yell at an empty house from their window, with the wife commenting “What a strange, strange lady.”
When they get back in Milwaukee, Polly tells Otto that she has a place for him in Los Angeles so that they can make this work. Otto, young and confused, finally becomes defiant to Polly. Echoing what Mary said, he asks if she truly cares about him because it seems that she only seems to enjoy screwing over Frank. Mary falls to her knees in tears. She admits that she first picked him because she knew how much he meant to Frank at the office, not that he was bad to look at or anything. And as the weeks and months went on, she found a thrill in knowing that her own personal lover - and Frank’s most trusted worker - was living right above her husband’s head.
But she now realizes that she cares about Otto more than he will ever know. She loves the feeling of being wanted and a reason to get out of bed each morning. Well, technically “stay” in bed but he gets her point. Whereas she was once exceedingly lonely - both in this country and in her own house - Otto has never made her feel more at home.
Otto runs his hand through her hair, lifts her from the ground and into his arms, and gives her a kiss. He tells her that he is ready to move to Los Angeles. Afterwards, he writes another letter to his sister updating her on his move to L.A. He does conveniently leave out the bit about living in his lover's attic.
There is a montage of them moving to L.A., with Otto on the same train but a few cars down. When the train arrives, Otto breaks down crying in the train station - overwhelmed by the sense of life that surrounds him (something he was lacking in the attic). He picks himself up and tells surrounding strangers that he is alright.
Frank and Polly move into their new home, the one with the attic. Polly books a hotel for Otto initially, waiting for the right time to move him in. Meanwhile, they have sex in the hotel just like the old days. On Frank’s first day at the factory, Polly decides it is the perfect time to move him in. She sneaks him in and he makes home in their new attic. They have a long kiss before being interrupted by a loud knock on the door.
She waltzes downstairs and answers the door to find her new neighbor Roy and his wife Victoria (Cristin Milioti), who is holding a cake. They officially welcome her to the neighborhood and she thanks him. She tells Roy she didn't know he had a wife. Before they leave, Victoria says that he didn’t know Frank and Polly had a son - he must’ve not came with them on their previous trip. Is he at university age or still in grade school? Polly looks immediately confused. Roy apologizes for his wife’s forwardness and says that they just saw Polly bring a young man into the house and had assumed. Cut to black.
Lady of the House - Meet the Josephs
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
Clint Howard .... Floyd
The episode opens on Polly in her parlor chair crying, with Victoria comforting her and Roy looking concern. She is mid-sentence, explaining the tragic miscarriage that she and Frank had experienced years earlier and they are nearing the anniversary of it. So, no, that man they saw was not her son and instead just some man helping with the move. At this point, Roy and Victoria don’t seem concerned about that man at all and are touched by Polly’s heartbreaking story. Victoria offers her and Frank over for a brunch, to cheer things up.
Polly and Frank visit their neighbors’ home for a weekend brunch. Polly and Victoria click, if partially artificially. Frank and Roy not so much, as Roy projects himself to be a bigger “man” than he is and this throws Frank off. He can sense Roy’s insecurities from a mile away and notices him eyeing Polly from afar. And thus, Frank begins to play mind games with Joseph in conversation - letting his neighbor boost about accomplishments he has never achieved. Polly senses Frank’s power grab and brings up an idea: Roy and Victoria should give them a tour of the city. Victoria, who has taken a liking to Polly, is very receptive to this idea.
Back at home, Polly and Frank muse about their odd neighbors. She points out how Victoria’s prudish nature must infuriate Roy - to the point of wondering if they even ever have sex. Frank agrees but holds back from saying that he saw Roy checking her out. Frank ponders that Roy might even be homosexual. Later, when Polly is feeding Otto his dinner, she tells him about the close encounter with the neighbors earlier. She then tells him she bought him tickets to go see a boxing match the next day to let Otto get out and live a little. She ensures that the coast will be clear as both Frank and the neighbors will be gone at that time. He thanks her and gives her a kiss.
The tour the town with their neighbors the next day. Los Angeles is just booming at this point so a lot of things are currently in construction, including the Hollywood Bowl and L.A. Coliseum. Roy raves about the moving picture business, of which he is a part of, and says that it is going to be a big deal. They go to see the La Brea tar pits, which has become a tourist attraction to the recent discovery of prehistoric fossils there. As they get back near their home, Polly spots a publishing house for dime novels and makes note of it in her head.
As the tour nears an end, Victoria suggests they see the Los Angeles Philharmonic together in a couple of days. She sees that Polly is a very cultured person and is trying to impress her. Polly has a better idea: they go to see a boxing match. Victoria and Roy, and even Frank to a degree, are shocked and somewhat disgusted at her suggestion. She talks about how she saw Corbett-Fitzsimmons in a theater and was thrilled by it - especially since women couldn’t actually attend boxing events. And now that they can, she wants to go to one. Given her dominating presence, everyone finds it hard to say no and so the plan is on.
At home, Polly asks Otto if he has any manuscripts ready. When he says that he does, she tells him that she has found a place to bring them to and get him published. He is elated at this news and gives her what he has got. She takes them to the classy publisher and is rejected immediately - presumably because of her gender. At the middle-brow publisher, she insists that these were written by her husband under a pen name but is again rejected. Finally, a low-brow sleazy publisher named Floyd (Clint Howard) seems intrigued by what Polly he has. He says that he can get these released but he will need a little something in return. After a prolonged silence, she starts to lift up her dress to expose her leg but he asks what she’s doing. He wants a little extra dough, is all. She laughs in relief and says that can be arranged.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
Clint Howard .... Floyd
The episode opens on Polly in her parlor chair crying, with Victoria comforting her and Roy looking concern. She is mid-sentence, explaining the tragic miscarriage that she and Frank had experienced years earlier and they are nearing the anniversary of it. So, no, that man they saw was not her son and instead just some man helping with the move. At this point, Roy and Victoria don’t seem concerned about that man at all and are touched by Polly’s heartbreaking story. Victoria offers her and Frank over for a brunch, to cheer things up.
Polly and Frank visit their neighbors’ home for a weekend brunch. Polly and Victoria click, if partially artificially. Frank and Roy not so much, as Roy projects himself to be a bigger “man” than he is and this throws Frank off. He can sense Roy’s insecurities from a mile away and notices him eyeing Polly from afar. And thus, Frank begins to play mind games with Joseph in conversation - letting his neighbor boost about accomplishments he has never achieved. Polly senses Frank’s power grab and brings up an idea: Roy and Victoria should give them a tour of the city. Victoria, who has taken a liking to Polly, is very receptive to this idea.
Back at home, Polly and Frank muse about their odd neighbors. She points out how Victoria’s prudish nature must infuriate Roy - to the point of wondering if they even ever have sex. Frank agrees but holds back from saying that he saw Roy checking her out. Frank ponders that Roy might even be homosexual. Later, when Polly is feeding Otto his dinner, she tells him about the close encounter with the neighbors earlier. She then tells him she bought him tickets to go see a boxing match the next day to let Otto get out and live a little. She ensures that the coast will be clear as both Frank and the neighbors will be gone at that time. He thanks her and gives her a kiss.
The tour the town with their neighbors the next day. Los Angeles is just booming at this point so a lot of things are currently in construction, including the Hollywood Bowl and L.A. Coliseum. Roy raves about the moving picture business, of which he is a part of, and says that it is going to be a big deal. They go to see the La Brea tar pits, which has become a tourist attraction to the recent discovery of prehistoric fossils there. As they get back near their home, Polly spots a publishing house for dime novels and makes note of it in her head.
As the tour nears an end, Victoria suggests they see the Los Angeles Philharmonic together in a couple of days. She sees that Polly is a very cultured person and is trying to impress her. Polly has a better idea: they go to see a boxing match. Victoria and Roy, and even Frank to a degree, are shocked and somewhat disgusted at her suggestion. She talks about how she saw Corbett-Fitzsimmons in a theater and was thrilled by it - especially since women couldn’t actually attend boxing events. And now that they can, she wants to go to one. Given her dominating presence, everyone finds it hard to say no and so the plan is on.
At home, Polly asks Otto if he has any manuscripts ready. When he says that he does, she tells him that she has found a place to bring them to and get him published. He is elated at this news and gives her what he has got. She takes them to the classy publisher and is rejected immediately - presumably because of her gender. At the middle-brow publisher, she insists that these were written by her husband under a pen name but is again rejected. Finally, a low-brow sleazy publisher named Floyd (Clint Howard) seems intrigued by what Polly he has. He says that he can get these released but he will need a little something in return. After a prolonged silence, she starts to lift up her dress to expose her leg but he asks what she’s doing. He wants a little extra dough, is all. She laughs in relief and says that can be arranged.
Lady of the House - A Night at the Fights
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
The episode starts as we see the process of how a book is printed. We follow it along until Otto’s first pulp novel, “Eyes in the Middle of the Night” is published and put on a store shelf and someone buys it. In his attic, Otto writes to his sister about this joyous occasion and he finally feels like he has made it in America - even if it is written under a pseudonym. He then tells her about how boxing is all the rage in America these days and he is going to see a fight later that night.
At the fights, Polly, Frank, Roy, and Victoria appear to be having a splendid time. Polly searches the crowd with her eyes before finding Otto. She excuses herself for a moment and they meet secretly in the women’s restroom (which is hardly used as they are the only women there). He is infuriated that she misled him and brought company with her. Not just Frank but the neighbors - who already saw him - too?! She tells him that she figured they should spice things up and sex in a public place might fulfill that. He smiles. Cut to Frank sitting in awkward silence with Roy and Victoria as the crowd surrounding them loudly cheer on the fight. Roy excuses himself to go to the restroom as Frank keeps a trained eye on him as he walks away.
Roy ends up walking in the wrong room - instead finding Polly getting dressed in a ladies room (but Otto has already left). Roy is frozen still, unable to say any words. He does find himself peaking at Polly’s unclothed body but quickly looks away. She tells him it is the next door on the left. He accepts her directions and nervously leaves the room while still avoiding any eye contact.
When Roy returns, Victoria then excuses herself. During this time, Frank asks Roy about their sex life but Roy is very coy - which only raises Frank’s suspicions. Frank, meanwhile, boasts about the great chemistry that he and Polly share in bed upon which Roy says “I bet”, commenting on how Polly looks a bit like Victoria, just more mature and confident. This prompts Frank to look at him sternly and Roy changing the subject. Meanwhile, Victoria crosses paths with Polly as she heads for the ladies room and they share a polite smile. When she returns to her seat, Polly asks what she missed before subtly flirting with Roy. Frank bites his tongue for now. Polly again looks into the crowd and matches eyes with Otto and they share a wink.
At home, Frank starts drinking and grows angry at Polly for flirting with Roy in front of him, making him look like a fool. Otto, back in his attic, listens through the floor and is frozen in place. Polly says she was just having some fun and he should calm down but Frank is having none of it. He throws her to the ground and is ready to rape her. Otto is in a panic and peaks over to the attic door. After ripping off her dress, Frank stops in his tracks and starts to laugh. He says he just figured out that Polly had sex with Roy at the boxing fight.
Polly, scared and crying, doesn’t say anything but shakes her head no. Frank says he saw them run off together and that he can just tell from the smell of her. She still denies his claims but he keeps laughing in disbelief Instead of raping her, he instead starts to violently punch her, telling her he has enough of her humiliating him. He goes the bedroom and grabs his revolver. When he gets back to Polly, a door is heard being opened in the background and loud thud - but Frank’s fit of rage prevents him from hearing. Slowly, Otto walks into the frame and yells Frank’s name, prompting him to turn around.
Frank, still in his rage-filled stupor, stares at Otto in pure amazement. “Otto Struber? From Milwaukee? What in the bloody hell are you doing here?” Otto doesn’t say anything, instead pointing Frank’s gun at him. Frank turns to a bloodied Polly and asks if she is seeing this or if he is only dreaming. Otto tells Frank to back away from Polly or else. Frank begins to creep towards Otto while monologuing about how he was his favorite worker in Milwaukee and the pain it caused him to lose him. From the ground, blood in her teeth, Polly says that he was here - with them - the entire time. It wasn’t Roy he had to worry about. It was Otto has been fucking her every day - in Milwaukee and L.A. All the while living in their attic. Frank momentarily breaks the tension by figuring out that there wasn’t a bat up there after all but he then snaps back into his anger and charges at Otto.
Frank, breathing heavily, momentarily falters and drops to one knee, holding his chest. In a panic, he asks where his heart medicine is but Polly does not answer - instead telling Otto to hold his ground. It turns out to be a momentary reprieve as he gets back up and takes a deep breath. This time, Otto charges at him as they wrestle for the gun. Frank fights him on the ground until Otto eventually reaches the gun and shoots Frank in the chest. He lays flat on his back, bleeding to death.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
The episode starts as we see the process of how a book is printed. We follow it along until Otto’s first pulp novel, “Eyes in the Middle of the Night” is published and put on a store shelf and someone buys it. In his attic, Otto writes to his sister about this joyous occasion and he finally feels like he has made it in America - even if it is written under a pseudonym. He then tells her about how boxing is all the rage in America these days and he is going to see a fight later that night.
At the fights, Polly, Frank, Roy, and Victoria appear to be having a splendid time. Polly searches the crowd with her eyes before finding Otto. She excuses herself for a moment and they meet secretly in the women’s restroom (which is hardly used as they are the only women there). He is infuriated that she misled him and brought company with her. Not just Frank but the neighbors - who already saw him - too?! She tells him that she figured they should spice things up and sex in a public place might fulfill that. He smiles. Cut to Frank sitting in awkward silence with Roy and Victoria as the crowd surrounding them loudly cheer on the fight. Roy excuses himself to go to the restroom as Frank keeps a trained eye on him as he walks away.
Roy ends up walking in the wrong room - instead finding Polly getting dressed in a ladies room (but Otto has already left). Roy is frozen still, unable to say any words. He does find himself peaking at Polly’s unclothed body but quickly looks away. She tells him it is the next door on the left. He accepts her directions and nervously leaves the room while still avoiding any eye contact.
When Roy returns, Victoria then excuses herself. During this time, Frank asks Roy about their sex life but Roy is very coy - which only raises Frank’s suspicions. Frank, meanwhile, boasts about the great chemistry that he and Polly share in bed upon which Roy says “I bet”, commenting on how Polly looks a bit like Victoria, just more mature and confident. This prompts Frank to look at him sternly and Roy changing the subject. Meanwhile, Victoria crosses paths with Polly as she heads for the ladies room and they share a polite smile. When she returns to her seat, Polly asks what she missed before subtly flirting with Roy. Frank bites his tongue for now. Polly again looks into the crowd and matches eyes with Otto and they share a wink.
At home, Frank starts drinking and grows angry at Polly for flirting with Roy in front of him, making him look like a fool. Otto, back in his attic, listens through the floor and is frozen in place. Polly says she was just having some fun and he should calm down but Frank is having none of it. He throws her to the ground and is ready to rape her. Otto is in a panic and peaks over to the attic door. After ripping off her dress, Frank stops in his tracks and starts to laugh. He says he just figured out that Polly had sex with Roy at the boxing fight.
Polly, scared and crying, doesn’t say anything but shakes her head no. Frank says he saw them run off together and that he can just tell from the smell of her. She still denies his claims but he keeps laughing in disbelief Instead of raping her, he instead starts to violently punch her, telling her he has enough of her humiliating him. He goes the bedroom and grabs his revolver. When he gets back to Polly, a door is heard being opened in the background and loud thud - but Frank’s fit of rage prevents him from hearing. Slowly, Otto walks into the frame and yells Frank’s name, prompting him to turn around.
Frank, still in his rage-filled stupor, stares at Otto in pure amazement. “Otto Struber? From Milwaukee? What in the bloody hell are you doing here?” Otto doesn’t say anything, instead pointing Frank’s gun at him. Frank turns to a bloodied Polly and asks if she is seeing this or if he is only dreaming. Otto tells Frank to back away from Polly or else. Frank begins to creep towards Otto while monologuing about how he was his favorite worker in Milwaukee and the pain it caused him to lose him. From the ground, blood in her teeth, Polly says that he was here - with them - the entire time. It wasn’t Roy he had to worry about. It was Otto has been fucking her every day - in Milwaukee and L.A. All the while living in their attic. Frank momentarily breaks the tension by figuring out that there wasn’t a bat up there after all but he then snaps back into his anger and charges at Otto.
Frank, breathing heavily, momentarily falters and drops to one knee, holding his chest. In a panic, he asks where his heart medicine is but Polly does not answer - instead telling Otto to hold his ground. It turns out to be a momentary reprieve as he gets back up and takes a deep breath. This time, Otto charges at him as they wrestle for the gun. Frank fights him on the ground until Otto eventually reaches the gun and shoots Frank in the chest. He lays flat on his back, bleeding to death.
Lady of the House - Eyes in the Middle of the Night
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
Luke Wilson ... Det. Don Vaughn
Polly (Linda Cardellini) and Otto (Ezra Miller) stare at each other with a dead Frank (Alfred Molina) on the ground between them. Otto helps her up from the ground and begins to cry, telling her he is sorry. She is the one that re-assures him and tells him that everything will be alright. He asks her to hold him and she does. She then tells him that they must hurry in figuring out what to do next.
Thinking on his feet, Otto tells her that they should frame it as a robbery. She scans the room and sets her eyes on Frank’s safe in the bedroom closet and says she has an idea. She gets into the safe and takes out the most valuable thing in their home other than a house itself: Frank’s beloved golden watch. She hands it to Otto before closing the closet door. She tells Otto to lock it with the key and then throw the key out. After he does this, she tells him she loves him and instructs him to go back up to the attic. She then wails at the top of her lungs, loud enough for the neighbors to hear.
Victoria (Cristin Milioti) quickly arrives and is shocked to find Frank dead on the ground. Polly pleads for help and Victoria tells her that they heard the shots and have informed authorities. Victoria has to leave because she can’t look at Frank’s body much longer. The police arrive and help break Polly out of the closet to find her crying inside.
The police interview Polly and she tells them what happened. A burglary gone wrong. A black man broke in, demanded their valuable belongings from his safe and locked Polly in the closet. Frank woke up and fought back, with the burglar killing him in the process. When asked about their marriage, Polly tells them it was perfect and they never fought. They were so excited to be living in this new city. The police believe tell her they believe her and grieve with her for her loss. He tells her they will be back at her house the next day for a sweep of the home for any additional clues that may help catch the culprit.
Back at home, Polly and Otto talk about what their next step should be. She tells him that she needs to get rid of Frank’s revolver but she doesn’t want to do it herself and he shouldn’t leave the home, as it will immediately make him a suspect. They think it over before Polly tells him she has figured it out.
Cut to Polly crying in the company of Roy (Vincent Kartheiser) and Victoria at their home. She talks about how lonely and traumatized she is. As they comfort her, Victoria says she will go make some tea. When she does, Polly takes Roy’s hand and tells her that she is really, really lonely. She guides his hand to her bosom and he straightens up. He starts to pull his hand away but can’t find himself able to resist. She tells him to sneak over tonight so she won’t be lonely. He tells her husband just died but that is why she says she needs him now more than ever. She liked him as soon as they met and she could tell that she could give her something Victoria couldn’t. In a hushed tone, Roy says that they haven’t had sex since they were married. Polly tells him what time to come over and he agrees.
Exasperated in bed, Polly and Roy lay in bed smiling. He asks if he’ll be able to get more of that and she says of course. However, she has a favor to ask of him. We see this conversation from Roy’s point-of-view, where he zones out as he checks out Polly’s body. After he is finished talking, he shrugs his shoulders and says “sure, why not?”.
A final montage begins with multiple overlapping scenes. Otto writes in the attic while the police search the home and Polly ensures that they don’t know about the attic. Roy shows up at the La Brea tar pits and dumps Frank’s revolver there. While out, he buys a pulp novel which just so happens to be Otto’s. Victoria knits alone at home, humming to herself. Meanwhile, at police headquarters, a new detective is assigned to Polly’s case, Det. Don Vaughn (Luke Wilson). Vaughn looks over the files and potential suspects. He ends up going back to a picture of Polly with Frank. He tells his assistant that something doesn’t feel right about all of this.
At home, Polly and Otto stay cuddled in bed - keeping each other company, knowing things will never be the same.
Genre: Dark Comedy / Erotic / Thriller
Executive Producer: Francois Ozon
Writer: Chad Taylor
Cast:
Linda Cardellini …. Polly Reisinger
Ezra Miller …. Otto Struber
Alfred Molina …. Frank Reisinger
Vincent Kartheiser .... Roy Joseph
Cristin Milioti .... Victoria Joseph
Luke Wilson ... Det. Don Vaughn
Polly (Linda Cardellini) and Otto (Ezra Miller) stare at each other with a dead Frank (Alfred Molina) on the ground between them. Otto helps her up from the ground and begins to cry, telling her he is sorry. She is the one that re-assures him and tells him that everything will be alright. He asks her to hold him and she does. She then tells him that they must hurry in figuring out what to do next.
Thinking on his feet, Otto tells her that they should frame it as a robbery. She scans the room and sets her eyes on Frank’s safe in the bedroom closet and says she has an idea. She gets into the safe and takes out the most valuable thing in their home other than a house itself: Frank’s beloved golden watch. She hands it to Otto before closing the closet door. She tells Otto to lock it with the key and then throw the key out. After he does this, she tells him she loves him and instructs him to go back up to the attic. She then wails at the top of her lungs, loud enough for the neighbors to hear.
Victoria (Cristin Milioti) quickly arrives and is shocked to find Frank dead on the ground. Polly pleads for help and Victoria tells her that they heard the shots and have informed authorities. Victoria has to leave because she can’t look at Frank’s body much longer. The police arrive and help break Polly out of the closet to find her crying inside.
The police interview Polly and she tells them what happened. A burglary gone wrong. A black man broke in, demanded their valuable belongings from his safe and locked Polly in the closet. Frank woke up and fought back, with the burglar killing him in the process. When asked about their marriage, Polly tells them it was perfect and they never fought. They were so excited to be living in this new city. The police believe tell her they believe her and grieve with her for her loss. He tells her they will be back at her house the next day for a sweep of the home for any additional clues that may help catch the culprit.
Back at home, Polly and Otto talk about what their next step should be. She tells him that she needs to get rid of Frank’s revolver but she doesn’t want to do it herself and he shouldn’t leave the home, as it will immediately make him a suspect. They think it over before Polly tells him she has figured it out.
Cut to Polly crying in the company of Roy (Vincent Kartheiser) and Victoria at their home. She talks about how lonely and traumatized she is. As they comfort her, Victoria says she will go make some tea. When she does, Polly takes Roy’s hand and tells her that she is really, really lonely. She guides his hand to her bosom and he straightens up. He starts to pull his hand away but can’t find himself able to resist. She tells him to sneak over tonight so she won’t be lonely. He tells her husband just died but that is why she says she needs him now more than ever. She liked him as soon as they met and she could tell that she could give her something Victoria couldn’t. In a hushed tone, Roy says that they haven’t had sex since they were married. Polly tells him what time to come over and he agrees.
Exasperated in bed, Polly and Roy lay in bed smiling. He asks if he’ll be able to get more of that and she says of course. However, she has a favor to ask of him. We see this conversation from Roy’s point-of-view, where he zones out as he checks out Polly’s body. After he is finished talking, he shrugs his shoulders and says “sure, why not?”.
A final montage begins with multiple overlapping scenes. Otto writes in the attic while the police search the home and Polly ensures that they don’t know about the attic. Roy shows up at the La Brea tar pits and dumps Frank’s revolver there. While out, he buys a pulp novel which just so happens to be Otto’s. Victoria knits alone at home, humming to herself. Meanwhile, at police headquarters, a new detective is assigned to Polly’s case, Det. Don Vaughn (Luke Wilson). Vaughn looks over the files and potential suspects. He ends up going back to a picture of Polly with Frank. He tells his assistant that something doesn’t feel right about all of this.
At home, Polly and Otto stay cuddled in bed - keeping each other company, knowing things will never be the same.
Lady of the House - The Movie
Genre : Dark Comedy / Erotic / Thriller
Director : François Ozon
Writer : Chad Taylor
Cast: Linda Cardellini, Ezra Miller, Luke Wilson, Paul Reubens, Vincent Kartheiser, Cristin Milioti, Molly Ephraim and Maia Mitchell
Still Based on a True Story
At her idyllic wood cabin home in Oregon, Anette (Molly Ephraim) goes about the daily household chores. After completing it, she goes out onto her porch and stretches, taking in the midday sunshine. As her arms are stretched out, a second pair of arms is wrapped around her waist from behind. It is Walter (Ezra Miller). He asks how her day has been and she tells him she’s kept busy. She asks how the writing is coming along and he says wonderful - especially with her as his inspiration. He gives her a nice long kiss.
In Los Angeles, Polly Reisinger (Linda Cardellini) has conversations with Frank’s estate lawyer, Cecil Shapiro (Paul Reuebens). She can sense that Shapiro is suspicious of Frank’s death. Still on a power trip from Frank’s death and her seduction of her neighbor, Polly tries to seduce Shapiro (who is a little older than her) and it works. This ensures that she receives Frank’s massive inheritance. She uses this inheritance to move into a larger house. Just as she had before, she helps Otto (Ezra Miller) sneak out and move into the new mansion which - you guessed it - has an attic that he will live in.
A few months have passed and as Polly is in the process of moving, her neighbor Roy (Vincent Kartheiser) freaks out on her for leaving him behind. She promises to continue visiting him but that is not good enough. She points out that he is still married so why doesn’t he ask Victoria (Cristin Milioti) to bed if he wants action so bad, knowing full well the prude that she is. This angers Roy even more, who is now suspicious that she is cheating on him (again, lost on the notion that he is one already cheating on his wife). Polly is offended and rescinds the offer to continue sleeping with him.
Det. Don Vaughn (Luke Wilson) looks over the case of Frank’s death and is still struggling to find any leads on any suspects. In his mind, he keeps going back to Polly but he can’t seem to find a motive and definitely no evidence. Frank was rich, so maybe she was in it for the inheritance? He jokes with his colleagues about she said her and Frank never fought - were they really even married, then?
At her new house, Polly starts to get into her idea of a “normal” life. In order to keep all parties involved happy, Polly regularly hosts Shapiro for sex, which makes Otto feel weird as he has to listen to it. Her and Otto don’t sleep together as much since she is busier but they remain cordial as he goes about writing his books and she sells them.
At their home, Roy and Victoria have a fight over something minuscule so he storms out. He is able to obtain Polly’s new address so he heads that way. Upon arriving there drunk, he tries to let himself in but it is locked. This freaks Otto out so he springs into action in case he has to fight off an intruder. Roy resorts to peeking through the side windows until he finally finds Polly’s bedroom, where she is in bed with Shapiro. A drunk Roy starts having an existential crisis. “She was cheating on me with THAT GUY?!”
He storms home and, when there, pulls out his telephone. He says has some vital information regarding a murder investigation.
A montage begins of Don Vaughn at the police station receiving the call, bringing in Roy for questioning, heading out to the La Brea tarpits and retrieving the gun that Roy buried there. The police arrive at Polly’s house where they arrest her on suspicion of murder.
While at jail, Polly is granted a visit with her lawyer, who just so happens to be her lover. He promises to get her out of this mess and she thanks him, for this and for everything he has brought into her life. She has one little favor to ask. He’s listening. In her home, there might be a man living in her attic? Shapiro sits in confused silence. She reiterates that there is definitely a man living in her attic. Can he go check on the man and see if he is ok? If he needs food or anything? Shapiro is still flabbergasted by Polly asks him “Please?” with her seductive eyes and he gives in.
Shapiro arrives at the home and lets himself in. He is unsure of what to do so he starts knocking on the walls. He starts to calling out to someone in the attic but gets no response. Finally, he finds a ladder and starts climbing up to the attic door. When he tries to open it, he finds resistance from the other side and this begins a tussle. It eventually causes Shapiro to fall from the ladder. The door opens up and Otto hesitatingly looks out. Shaprio, holding his head, says that he comes here in peace. Polly sent him. She has been arrested for murder, as probably head. Literally heard.
Otto emerges from the attic and even Shapiro is blinded by his paleness. When Otto begins to talk, he says he hasn’t spoken to another human other than Polly in years. He and Shapiro begin a conversation, which makes Otto happy. He tells him the whole backstory. The factory in Milwaukee. Moving here. The murder. Moving HERE. Shapiro realizes that this means he has heard everytime he had sex with Polly and Otto confirms.
Shapiro tells Otto that he has got to get out of dodge. If police discover him, he could see life in prison. He offers to drive Otto out of town and help him start a new life. They go outside together, the first time Otto has seen the sun in a while. He takes in how much as things have changed, especially technology like cars. They load up in Shapiro’s car and he takes him to The Valley. There, he drops Otto off at a bus station, where he decides that he will go to Portland. As he walks into the station, he notices one of his dime novels on a book stand. He decides that he is going to use his pen name - Walter Klein - going forward.
Polly is released on bail but is still under investigation by the police. She is grilled by Don Vaughn but she maintains her innocence. Even with the gun, Vaughn finds it difficult to explain the missing link. How did she get locked in the closet without the key if she’s the one that murdered Frank? He knows Roy didn’t help her with that part. Vaughn hears back from forensics and learns that the gun is so dilapidated from the tar pit that they are unable to obtain any DNA from it. This is Vaughn’s last hope so with this roadblock, the charges are dropped.
Dolly gets off free and lives out the rest of her days with her lawyer/lover Cecil Shapiro. Otto lives under the name Walter and, after five years there, marries a nice young woman named Anette. He is still a successful writer and is in contact with his sister in Europe and planning to visit one day.
The End.
Or is it?
We pick up seven years after the charges were dropped. Polly and Shapiro are still together but she has driven him insane. He admits to himself that he should have read the tea leaves a long time ago. They get into a big fight and he announces that he is leaving her. He tells her that she needs to pay him the legal fees he was owed years ago. She says that that was what the sex was for! He says that not admissible in court and he reiterates his demand. She is stubborn and unwilling to give in to a man’s request. She tells him that he can leave now.
Shapiro sits into the office of an older, more distinguished Don Vaughn, who is now District Attorney. Shapiro says that he is ready to tell Vaughn everything he wants to know about Polly Reisinger. And not the directionless stories that her neighbor told the police. No, this one will get the job done. He explains everything: Otto’s existence and everything that Otto told him. Now Shapiro is scared that Dolly will kill him for revealing this so he needs to be promised protection. Don Vaughn is in a stunned silence. He tells Shapiro that he will be protected.
At her idyllic wood cabin home in Oregon, Anette goes about the daily household chores. After completing it, she goes out onto her porch and stretches, taking in the midday sunshine. As her arms are stretched out, a second pair of arms is wrapped around her waist from behind. Walter asks how her day has been and she tells him she’s kept busy. She asks how the writing is coming along and he says wonderful - especially with her as his inspiration. He gives her a nice long kiss before police cars start to pull up in the driveway.
The policeman exit the vehicle and tell him that he is under arrest for the murder of Frank Reisinger. Anette doesn’t know what to say as Walter promises to her that everything will be ok.
Amid questioning, Otto confesses to the murder. He says that it was done in self-defense as he believed that Polly’s life was in danger. He admits that he is glad that this grief is now off of his shoulders. He says the biggest thing he is worried about is how will he explain this to his wife.
At Otto’s trial, the prosecution brings in Roy as a witness as he disposed of the gun. Otto’s lawyer argues that Roy was Polly’s ‘basement lover’ and was jealous that he was not her highest priority. The only reason he turned in the information in is because he was not higher on her pecking order. Roy flips out on the stand, causing a shaken Victoria - who has stuck with him - to leave the courtroom.
The jury find Otto guilty of manslaughter but the statute of limitations means that he is able to walk free. He collapses into his wife’s arms and says that he has a lot of explaining to do.
Don Vaughn views this as a miscarriage of justice and is not ready for someone to go unpunished for this murder. He works overtime trying to find evidence to convict Polly. After gathering his information, he announces that he is ready to charge Polly with conspiracy to commit murder.
At this point, Polly’s trial is the subject of much media attention. The state brings forth their witnesses but Polly remains convinced that there is nothing that indicates her intent to kill Frank. Vaughn says that he is ready to bring out one of his last witnesses. Out walks Mary (Maia Mitchell), now 30 and married. She takes a seat on the stand while Polly sits surprised.
Vaughn says that he took this case so seriously that he went to Milwaukee to cover every last step of Polly’s past. In her testimony, Mary details the tumultuous relationship between Frank and Polly that she witnessed firsthand. She also says she practically saw the gradual seduction of Otto, someone she knew well. And finally, the kicker: Polly once told her “There is only way to get rid of Frank and it is not divorce.” Polly sits still silent, knowing that she did indeed say that.
Vaughn then brings out his final witness: Otto Struber. Otto and Mary pass each other on the way to the stand. The mix of feelings - guilt, remorse, sorrow, longing - in their eyes is hard to explain but they don’t say anything to one another. When Otto gets on the stand, things fall apart for Vaughn as Otto talks wistfully about his days as Polly’s lover. He says that he had never felt more at home in that attic and in her company. Vaughn is red in the face and tries to get Otto to say that the murder was upon Polly’s insistence. Instead, he says that he shot him on his and his alone choice, Polly was just there as an innocent bystander. He never heard her talk about murdering Frank, she just wanted to explore love outside of him. When Otto heard the commotion, he just wanted to make sure she was safe. They were both vagabonds and they’d found what they were looking for in each other. Otto and Polly share a sad smile.
After a long jury deliberation, the judge announces that jury are deadlocked and so this trial has resulted in a hung jury. Vaughn, unable to come up with new evidence, declines pursuing a second trial. He laments to the judge that this was his Moby Dick.
30 Years Later
Otto, going by his real name, is back to Oregon with Anette. While home alone, he gets a letter in the mail informing him that Polly Reisinger has died. He stops reading momentarily and goes up to the attic that he built into his cabin. While up there, he finishes the letter, which says that Polly has left him a small amount of her inheritance to one Otto Struber. Otto closes the letter, smiling.