Monique asks if the breakup with Celia was final, and Evelyn confirms it was. They turn to the outcome of Three A.M.: the movie is a commercial and critical sensation, but Don Adler wins the Oscar and Evelyn is not even nominated. Evelyn explains she was scapegoated for the film’s explicit depiction of a woman’s desire, saddled with an X rating and public condemnation, even as studios still hired her because she made money.

Evelyn remains angry that her work was punished for showing a woman who “wanted to get fucked,” arguing audiences loved the film privately and shamed her publicly. She notes she later won an Oscar, but insists the success did not compensate for losing Celia. She accepts responsibility for filming the explicit scene with her ex-husband without discussing it with Celia, acknowledging that choice upended her life.

When Monique asks whether bisexuality strained the relationship, Evelyn disagrees. She distinguishes sex from sexuality, saying she used sex as a tool but reserved genuine desire and intimacy for Celia. Evelyn asserts she never “cheated” in the sense of desiring and making love to someone else; the problem was her willingness to leverage her body for other goals.

Evelyn then catalogs the pattern: she slept with Mick Riva to protect both her and Celia’s careers; slept with Harry Cameron to have a baby without arousing suspicion; and agreed to Max Girard’s explicit scene because it served her artistic ambition. She calls the harm to Celia “a death by a thousand cuts,” admitting she gave Celia only as much good as needed to endure the bad, realizing too late what truly mattered.

Finally, Evelyn asks Monique to portray her accurately as not a good person—someone who hurt others and would do it again if needed. She warns that Monique will soon change her opinion of Evelyn, leaving Monique rattled and wondering what Evelyn has done.