Often the most meaningful and revealing statement in a text tends to be its final statement, either concluding the entire story or simply closing the narrative. The same can be said of a film’s final image, which can leave the audience suspicious of the film’s ending, questioning whether the story has come to a complete conclusion or if the narrative has paused for a while, leaving room for a sequel. I plan to examine the parting sentence of two texts, Emily Bronte’s Wuthering Heights and Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, in comparison with the final image of two films, Francis Ford Coppala’s Apocalypse Now and Orson Welles&