The black-and-white sketches are always the most important. MY PEN. MY PEN. MY PEN. MY PEN.

Look, I know I’ve been hard on Kevin in previous installments, and I’d like to take a second to praise his eyework in this scene. That dead expression on his face — you just know this is a motherfucker who’s never going to return your pen. That’s the face of a man who’s beyond caring about the rules of society.

Remember that scene from Marathon Man where the old woman recognizes Laurence Olivier from the concentration camp all those years later on the streets of New York and very slowly staggers after him for what feels like hours? This has exactly the same level of tension, which is pretty tricky to pull off.