The film opens in 1929 in New York City where Maxwell Perkins holds the position of a prominent editor at the publishing house Scribner's. Perkins conducts business from an office in Manhattan and maintains a home he calls a "cottage"--in truth a large suburban mansion--where his wife and their five daughters live. One morning Perkins sits at his desk and turns the pages of a vast, uncut manuscript titled O Lost, written by a young man named Thomas Wolfe. He reads through dense, fevered prose in the stack of typescripts, pausing over sentences that astonish him with their scope and emotional force. Moved by what he finds, Perkins decides that Scribner's must publish the work. He telephones Wolfe and invites him to New York to discuss preparing the manuscript for publication.

Wolfe arrives in the city from his home in Asheville, North Carolina; he presents himself as a tall, voluble young author who writes in a torrent and whose personality matches the sprawling energy of his pages. In Perkins's office they begin the intimate and arduous work of shaping O Lost into a book the public can read. Perkins reads aloud, marks sections, and suggests cuts; Wolfe alternately resists and relents as Perkins trims repetition and tightens narrative focus. The editing process stretches over weeks and months as Perkins supervises heavy revisions, cutting large swathes of manuscript while preserving the novel's voice. When the book is released by Scribner's under a new title, Look Homeward, Angel, printers ship copies to bookstores and reviewers. Within a month the novel sells fifteen thousand copies, bringing sudden success to Wolfe and a professional triumph to Perkins.

As publication delivers commercial recognition, Perkins and Wolfe develop a close friendship rooted in long editing sessions, late-night conversations, and mutual devotion to literature. Perkins acts as mentor and champion; Wolfe views Perkins as the editor who understands and believes in his prose. At the same time, Wolfe maintains a romantic relationship with Aline Bernstein, a woman who is married and twenty years his senior. Her presence in Wolfe's life intensifies after the first novel appears, and the attention the book receives places strain on their liaison. Critics, readers, and Wolfe's own fame create tensions in the relationship; arguments and emotional strain test Bernstein and Wolfe, leaving their connection frayed in the public glare.

Perkins continues to shepherd Wolfe's career. Over the course of several years, Perkins works with Wolfe on a second novel, Of Time and the River. The project demands exhaustive revision; Perkins and Wolfe spend long hours rearranging chapters, excising repetitions, and honing the novel's structure. Perkins insists on discipline and reduction, and Wolfe submits himself to the labor despite his impulsive temperament. After intensive editorial effort, Scribner's publishes Of Time and the River. The book wins attention that extends Wolfe's reputation beyond the first success.

While Wolfe's books move through the world, he travels to Europe and lives for a time in Paris. From across the ocean he follows developments in New York by way of letters and news Perkins sends him. Perkins keeps Wolfe informed about reviews, manuscript changes, and business affairs, and the two correspond about the next work. When Wolfe returns to New York from Paris he arrives intent on writing another book immediately. He throws himself into composition with renewed energy, producing long passages and envisioning yet another sweeping novel. Perkins reads the new drafts and tries to guide Wolfe's raw output into a publishable shape. Their interactions become increasingly strained as Wolfe's temperament--prone to excess and volatile pride--clashes with Perkins's insistence on control and shaping.

A quarrel breaks out between the two men over editorial authority and artistic freedom. Wolfe reacts bitterly to what he perceives as Perkins's interference; he accuses Perkins of diminishing his voice, and Perkins insists that the work cannot reach readers without rigorous editing. The argument escalates until the relationship between editor and author ruptures. Wolfe retracts his loyalty to Perkins and elects to place his new work with a different publishing house and a new editor. He severs the professional bond he had with Perkins, and professional respect gives way to personal estrangement.

In the wake of that rupture, Aline Bernstein assesses her relationship with Wolfe and decides to leave him. Bernstein tells Wolfe that she can no longer maintain their affair because he needs to experience solitude; she articulates that separation will allow him to confront himself without the shelter of her devotion. She departs, and Wolfe finds himself isolated: he is no longer working closely with Perkins, and he is without Bernstein's companionship. Perkins absorbs Wolfe's absence with a mixture of professional regret and personal sorrow, though he gradually reconciles himself to the fact that Wolfe has moved on.

Time passes and Perkins resumes his editorial duties at Scribner's. He continues to correspond with other writers and support the careers of literary figures he has discovered. Then Perkins receives a telephone call from Wolfe's mother conveying grave news: Thomas Wolfe has fallen ill. The call reports that Wolfe has contracted miliary tuberculosis, a severe form of the disease that spreads through the lungs. Perkins reacts with alarm and immediately begins to arrange to visit. He receives further details by letter and message: Wolfe's condition worsens, and doctors in New York and elsewhere recommend surgery as an intervention to remove diseased tissue.

Wolfe undergoes an operation intended to treat his miliary tuberculosis. Surgeons operate to excise infected parts of his lungs in the hope of arresting the infection's progression. Medical staff monitor him in a hospital bed, administering care and watching his vital signs after the procedure. Despite the surgery and the efforts of physicians, Wolfe's health does not improve. His energy ebbs; he lies confined and feverish, respiration shallow. Nurses and doctors note that his condition fails to respond to treatment. Letters and visits from friends arrive; Perkins travels to see Wolfe at the bedside. In their conversations, Wolfe writes and speaks with a diminished but unbowed voice, expressing the affection he feels for Perkins and others who have supported him. He composes a letter to Maxwell Perkins from his hospital room. The letter contains declarations of gratitude and deep feeling; Wolfe signs his name and entrusts the missive to a nurse or family member to send.

After several weeks confined to the hospital and under medical care, Thomas Wolfe dies from complications related to miliary tuberculosis. He passes away not by the hand of another person but as a result of the disease progressing despite surgical intervention and the physicians' attempts at treatment. The film shows his death as the cessation of breath and heartbeat in the hospital room and the delivery of the news to his family and acquaintances. Perkins receives word of Wolfe's death and reads the letter Wolfe wrote him; the letter conveys Wolfe's intense affection and final acknowledgment of the bond between them. The film follows the immediate aftermath: funeral arrangements, notifications to friends in the literary community, and Perkins's private responses to the loss.

In the final sequences Perkins sits in his office at Scribner's and at home in his "cottage." He reviews correspondence, press clippings, and the manuscripts he had once shaped with Wolfe. Perkins reflects in action--he folds Wolfe's letter, places books back on a shelf, and arranges photographs. The film ends with Perkins carrying on with his editorial duties while preserving the memory of his relationship with Thomas Wolfe. The last image shows Perkins holding Wolfe's letter, reading the lines once more, then placing it among other papers on his desk as he turns to attend to the next day's work, the events of Wolfe's life and death recorded in the manuscripts and the correspondence he keeps.

The ending of the 2025 movie MONOCHROME concludes with the detective Gabriel Lenard finally confronting Emma Rose, the young woman turned serial killer, in a tense showdown that resolves the pursuit of justice and the mystery of the stolen pension funds.

Expanding on the ending scene by scene:

The final act opens with Gabriel Lenard, the socially awkward but brilliant detective with synesthesia, closing in on Emma Rose after tracing her violent path through the homes of wealthy landowners. Emma, having eliminated several oppressive employers who exploited her, is cornered in a remote countryside estate. Gabriel approaches cautiously, aware of her dangerous nature but determined to bring her in alive.

Emma, aware that escape is no longer possible, confronts Gabriel with a mixture of defiance and desperation. She reveals fragments of the truth behind the stolen pension funds and her boyfriend Brendan Kelly's involvement, hinting at deeper corruption. Gabriel listens intently, his synesthetic perception allowing him to piece together hidden clues from her words and surroundings.

As the tension escalates, Emma attempts a final act of violence, but Gabriel anticipates her move and subdues her without lethal force. The scene is charged with emotional complexity, showing Gabriel's commitment to justice tempered by empathy for Emma's plight.

The film closes with Emma in custody, her fate sealed but her story exposing the greed and corruption at the heart of the scandal. Gabriel, having proven his worth and resolved the case, reflects quietly on the cost of justice and the human stories behind the headlines.

In terms of character fates:

• Emma Rose is captured alive, ending her spree but leaving open the consequences of her actions and the systemic issues she fought against.

• Gabriel Lenard emerges as a capable detective who overcomes personal and professional challenges, solidifying his role in the British Crime Agency.

• Brendan Kelly, Emma's boyfriend and the fraud suspect, remains implicated in the pension fund theft, his arrest earlier in the story setting the stage for Emma's flight and subsequent violence.

This ending ties together the narrative threads of crime, pursuit, and moral ambiguity, concluding the story with a resolution that is both definitive and thought-provoking.

The movie titled MONOCHROME (2025) does not have any information available in the search results regarding a post-credit scene. None of the provided sources mention MONOCHROME or describe any post-credits content related to it. The search results focus on other 2025 movies like Together, How to Train Your Dragon, Companion, 28 Years Later, and Fantastic Four, but MONOCHROME is not referenced.

Therefore, based on the current available data, there is no confirmed post-credit scene for MONOCHROME (2025), or at least no publicly known description of such a scene at this time.

Emma is the much-younger girlfriend of a corrupt financial hotshot involved in a pension fund scandal. After fleeing to the countryside to avoid questioning, she becomes employed by a cantankerous celebrity artist who blackmails her into servitude. Unwilling to endure this, she kills him and subsequently targets other wealthy employers who mistreat her, evolving from a victim into a calculating executioner of affluent individuals.

The film shifts back and forth between Gabe, a rookie recruit of the British Crime Agency, and Emma, the serial killer. This dual narrative builds up to their climactic confrontation but results in pacing issues, with Emma's repetitive pattern of infiltrating wealthy households and killing their members becoming familiar early on.

Gabe is a rookie recruit of the newly formed British Crime Agency tasked with investigating a serial killer targeting England's wealthy elite. His storyline runs parallel to Emma's, leading to an inevitable confrontation between the two as he pursues the murderer.

The wealthy elite are the primary victims in the film, representing greed and moral corruption. Emma targets them as part of her transformation from victim to executioner, killing those who employ her and treat her poorly, highlighting their loathsome nature.

Emma evolves from a mostly innocent victim fleeing scandal to a calculating executioner. Initially escaping her troubled past, she is forced into servitude and responds by killing her oppressors. Her killings become a pattern as she moves from one wealthy household to another, each time reacting to their disregard and mistreatment.

The movie titled MONOCHROME produced in 2025 does not appear in the provided search results, and there is no direct information about its family-friendliness or content warnings. The search results mainly cover other 2025 family and kids movies, black-and-white film lists, and unrelated titles.

Since no specific content or rating details for MONOCHROME (2025) are available, it is not possible to definitively state whether it is family-friendly or list potentially objectionable or upsetting scenes without revealing plot spoilers.

If MONOCHROME is a black-and-white film or an adult-themed movie (as suggested by the general context of black-and-white films listed), it may not be targeted at children, but this is only an inference, not confirmed by the search results.

Therefore, no explicit content warnings or family suitability information can be provided for MONOCHROME (2025) based on the current data.