Later, however, he forgives her and buys her a house. In a climactic scene, soon after moving into the house, Conchita refuses to let Mathieu in at the gate, tells him that she hates him, and that kissing and touching him make her sick. Then, to prove her independence, she appears to initiate sexual intercourse with a young man in plain view of Mathieu, although he walks away without witnessing the act. Later that night he is held up at gunpoint as his car is hijacked. After this, Conchita attempts to reconcile with Mathieu, insisting that the sex was fake and that her "lover" is in reality a homosexual friend. However, during her explanation, Mathieu beats her (she then says "Now I'm sure you love me"), causing her bandaged and bruised state seen earlier in the film. Just as the fellow train passengers seem satisfied with this story, Conchita reappears from hiding and dumps a bucket of water on Mathieu. However, the couple apparently reconcile yet again when the train reaches its destination. After leaving the train, they walk arm in arm, enjoying the streets of Madrid. Later in a mall in Paris, loudspeakers announce that a strange alliance of extremist groups intends to sow chaos and confusion in society through terrorist attacks. The announcement adds that several right-wing groups plan to counter-attack. As the couple continues their walk, they pass a seamstress in a shop window mending a bloody nightgown. They begin arguing just as a bomb explodes, apparently killing them. Casting That Obscure Object of Desire is most notable for its use of two actresses, Carole Bouquet and Ángela Molina, in the single role of Conchita; the actresses switch roles in alternate scenes and sometimes even in the middle of scenes. In his autobiography, My Last Sigh (1983), Buñuel explains (pp. 46–47) the decision to use two actresses to play Conchita: The book does not identify the actress who had caused the "tempestuous argument," though Buñuel makes it clear (p. 250) that she was neither Carole Bouquet nor Angela Molina. In Luis Buñuel: The Complete Films (2005), editors Bill Krohn and Paul Duncan identify the actress as Maria Schneider, writing (pp. 177–78) the following in regard to the idea of using two actresses to play Conchita: Specifically regarding Buñuel's employment of two actresses to play a single character, most critics were charmed, as exemplified by New York Times