Original subtitles

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- Good morning.

We have an appointment

to view your building at 10:30.

MAN: Yes. Come in.

BEATRICE: Thank you.

Well, it's very fine.

EVANGELINE:

It's a bit gloomy.

Hmm.

Looks very expensive.

It is only a place

where we can show off

our clothes, after all.

When we're properly established,

we can show our collection

on our own premises,

like everyone else does.

If that day ever comes.

It will.

[Laughs]

I'm glad you and Jack

are friends again.

Yes.

Professionally,

we're not off to

a very good start, are we?

Yes, we are.

We have the best designs

in London.

And we are not going to resign

ourselves to second-best,

because of that stupid article.

This place is dowdy, dark,

old-fashioned and boring.

We, on the other hand,

are not.

200 guineas the Empress Eugenie

paid for that dress.

TILLY: Never.

And, I mean, far be it for me

to criticize,

but in the picture, it weren't

a patch on one of these.

200 guineas is so much.

Girls, I don't mind

you chatting,

but will you make sure

the work gets done as well,

please?

[Laughs]

You're disgraceful,

gossiping like that.

Don't worry.

It's not about one of ours.

It's about one

of Yolande Hermane's.

Madge, where do you find

these things out?

MADGE: Gerry told me.

- What?

BETTY: Well, who's Gerry

to know a thing like that?

He's her new young man.

ALL: Ahh!

[Laughter]

He's a bookkeeper.

He works there.

EVANGELINE: Really?

Ah, is that the new fabric

from the printer?

He works for Yolande Hermane,

the designer?

- That's right.

- BEATRICE: Who does?

Madge's new chap.

Does he?

It's a pity we don't know

precisely when her show is.

I can't!

Can't what, Madge?

I can't go asking questions

about a rival house!

Oh, we wouldn't dream

of asking you, would we, Bea?

Of course not.

That would be most unethical.

I want copies of that statement

to Vogue typed up before lunch

so I can check it through.

- Yes, Miss Hermane.

And I want a call

put to Paris at 4:00.

[Door closes]

No.

No, no, no, no, no, no, no!

I told you I wanted more height,

more lines.

I've cut it in as you suggested,

Miss Hermane.

I've made it leaner.

You've starved it to death,

Mr. Wickham.

You've murdered it.

Lean is not empty!

Think of it as suggesting

a potential fullness --

a secret flowering

of hidden extravagance.

It needs lift, it needs power,

it needs mystery.

Look.

Oh, Madge, I thought

you'd gone home.

Come on in.

Oh, no, I can't stop.

Gerry's waiting.

But I thought you ought to know,

seeing as you're so keen

to see the Hermane Collection...

Madge, you are a trouper.

So, when is it?

14th of next month.

Are you sure?

MADGE: Yes.

Anything else?

Miss Evie!

I'll see you in the morning.

EVANGELINE: Night, Madge.

- Night. Bye!

- Goodbye.

- What was Madge doing here?

- Guess.

Do we know when

the Hermane Collection is?

- The 14th.

- No!

Exactly, which is just as well

we found out now, isn't it?

JACK: I don't believe this.

You made me bring up these

dresses to be locked away

in case anyone spies on them,

and here you are,

merrily spying on someone else.

Jack, we are not spying.

It's merely a question

of practicalities.

I'm sure Yolande Hermane

doesn't want our shows to clash

any more than we do.

Well, actually, I'm quite sure

she doesn't give a fig.

JACK: Seriously, though,

what will you do?

- Can you bring the show forward?

- I don't know.

If we work 7 days a week,

24 hours a day?

Well, if the show's a success,

the publicity might just repair

the damage done by

Victor Stride's article.

Jack, don't mention

that man's name.

Actually, we're not doing

at all badly

with the collection.

We could possibly bring it

forward a week or two.

Evie, it is not just

a question of the clothes.

We still haven't found

a suitable place

to have the show.

We haven't even begun to think

about mannequins.

JACK: I think I may be able

to help you there.

Remember, I have some very

lovely Honourables in my files.

Honourables?

You're selling

to the aristocracy --

use the aristocracy

to sell the goods.

Hmm.

[Sighs]

If we make our show

two weeks before the 14th,

how does that sound to you?

Well, it sounds

very frightening to me,

but I don't think we have

that much choice.

Hmm.

I'll tell the others.

Morning, ladies.

ALL: Morning, Miss Bea.

May I have your attention,

please?

I have a small announcement

to make.

Evie and I have decided

to bring the show forward

by two weeks,

to the 30th of this month.

Now, I know this means

we work all hours,

but I think we can do it.

And we will be paying a bonus

for the extra effort involved.

So, I shan't hold you up

any longer.

MADGE: Tilly.

I don't believe it.

What's that?

It's Couture magazine.

Listen.

"And despite the malicious

and ill-founded rumors

of recent weeks, we feel certain

that the House of Eliott

will prove to be a welcome

and worthy addition

to fashionable London."

Who wrote that?

That's just it.

Victor Stride wrote it.

No?

Let me see.

I don't know why

and I don't care,

but he has gone back

on virtually everything

he said in Soignée.

- Shh!

Well, couldn't have come

at a better time.

Why has he changed

his tune like this?

- What does it matter?

- BEATRICE: Well, I'm not sure.

Victor Stride has an impressive

reputation to maintain.

He does himself no favors

by contradicting himself

publicly like this.

Hmm.

Maybe he realized we were just

too important to write off

because of some

imaginary scandal.

Well, I'm not sure about that.

But whatever.

We have to be ready on time.

Stop being so sensitive.

I didn't say you were

obviously losing interest

in the poor and needy.

I said your disenchantment

with the Mission

was beginning to show.

All right.

I'm sorry.

Always get bad-tempered

when I'm feeling guilty.

Yes, I know.

I just wish there was

something I could say

to make you feel less so.

PENELOPE: Hmm.

You're not a saint, Penelope.

You're allowed to become

miserable and frustrated

and disillusioned.

What you need is a change.

Oh, and what would you suggest?

Can't go gallivanting

off to Africa, you know,

at the drop of a hat.

Why not?

I beg your pardon?

I said, why not?

What's stopping you

from doing exactly that?

I -- I couldn't.

Well, of course, you could.

You could come and teach

at the school

attached to

the Tanganyika Mission.

Now, that would be a change.

Give me one good reason

why you shouldn't?

So, when I was looking

through my portfolio,

naturally, the first face

I turned to was yours.

You're the most

frightful liar, Jack.

But I do appreciate

the flattery.

How would you feel about

modeling one or two

of the Eliott Collection,

Miss Crawford?

I don't know; it's not something

I've ever considered before.

You would look quite splendid

in some of the dresses.

Yes, I'm sure I would.

Who else have you embroiled

in your scheme?

So far, there's

Althea Fitzgiven,

Jessica Hollingborn --

Oh! I'll do it if Jess will.

She's terribly jolly.

JACK: You'll do it?

Now, Jack, I said I'd do it

if Jess Hollingborn did.

Let me talk to her first.

And to mother.

I'll let you know

in the next day or so.

BEATRICE: Thank you very much.

It's so nice to have met you.

- Bye.

- I'll see you out.

Oh, don't worry.

I'll find my own way.

- Bye.

- Bye-bye.

BEATRICE: Thank you.

[Door closes]

- What do you think?

- BEATRICE: Very lovely.

There you are.

You see, that's four already.

I told you there wouldn't

be a problem.

Thank you, Jack.

Now, I must go.

Evie and I have to look

at another hall.

Later then?

Well...I'll have to see

how it goes.

[Telephone rings]

House of Eliott?

Speaking.

Oh. Hello.

Yes, I did read it

as a matter of fact, Mr. Stride.

Well, it was certainly

less offensive

than your previous article.

May I ask why?

Yes, all right.

No, I think it would be better

if you came here.

Yes, that would suit us.

All right.

Goodbye.

Who was that?

That was Victor Stride.

He's coming to see us.

He's what?!

Come along.

Or we'll be late.

BEATRICE: It's ideal.

It's light, spacious...

The perfect venue

for the magnificent

Eliott Collection.

EVANGELINE: [Laughs]

Everyone will come.

Oh, Jack will love this place.

I must bring him to see it.

Well, why didn't you?

Why didn't you ask him

to come with us?

Because I am trying to keep

Jack and work

separate at the moment.

Well, it's a bit late

for that, isn't it?

Jack's just as involved

as we are.

Evie, you know what I mean.

No, I don't.

If you ask my opinion --

Which I'm not.

The sooner you and Jack

get married, the better.

Why?

Well, because then you can

stop worrying about it

and concentrate

on more important things.

[Knock on door]

It's you.

Don't sound so disappointed.

Who were you expecting?

JACK: No one.

You going to let me in?

Have I arrived at some

inopportune moment?

No, not really.

Just a bit hush-hush,

that's all.

You could've been anyone.

Are you feeling all right?

I'm photographing the dresses

for Bea and Evie's collection.

It's terribly important

that no one sees them

before the big day.

Why?

Because they'd copy them,

of course.

Oh, for heaven's sake.

I thought when you said

important, you meant important!

Not frocks.

It is important to them, Pen.

[Sighs] I suppose.

Oh, it just makes me so mad!

All this...care and attention

lavished on so much nonsense.

I've said it before and I --

You certainly have.

I don't apologize, you know?

I don't regret one single word

I said at that charity circus.

Well, come on.

I'm not asking you to.

I am on your side,

you know, Pen?

Are you?

JACK: Of course, I am.

I mean, are you really?

Is there something I ought

to know about?

PENELOPE: I don't know.

Come on, Pen.

Tell me what's happened.

I'm just sick of it, Jack.

I am just sick to death

of the whole ghastly charity

charade in this country.

And I'm terrified

that if I stay,

I am just going

to stop caring altogether.

What do you mean,

if you stay?

I'm thinking of leaving

the country.

Robert Adams has offered me

a teaching post

at his new Mission.

Yes?

Where's this?

- Africa.

JACK: Africa?!

Oh, come on, Pen.

You know you'd hate it there.

Everything that moves growls

at you, including the spiders.

You're not serious,

are you?

I don't know.

[Sighs]

The more I look around me,

the fewer reasons

I can find to stay.

What about your Mission?

It's not my Mission anymore.

It's all up and running.

They don't need me.

When would you go,

if you did decide to leave?

I don't know.

Why?

Well...it's just that,

um, some things

might be happening here you

might like to stay and see.

You mean, between

you and Beatrice?

JACK: Perhaps.

Trying to blackmail

me into staying?

Of course.

I think the whole idea

is absurd.

But I would ask you to think

a little more seriously

before you go dashing

off to the Dark Continent.

Now, will you do that

for me, please?

[Knock on door]

The second post

has just arrived, milady.

Ah. How funny.

I was just writing to Arthur.

I'll take my lunch

in here today...

in about half an hour.

Yes, milady.

Thank you, Chalmers.

I know the article

in Soignée had my name on it,

but I honestly did not write it.

I don't think anyone honestly

wrote it at all, Mr. Stride.

It was the most scurrilous

piece of scandalmongering

I've ever read.

I can only apologize.

I think we would prefer it if

Soignée apologized

as publicly as it denounced us.

That, I'm afraid,

is out of my hands.

Why?

I don't write

for them anymore.

Well, I could hardly

stay after that, could I?

After all, it's not just

your reputation at stake,

it's mine as well.

And I have no wish

to be associated

with that kind of journalism.

Neither do we.

Which is why I went

to Couture magazine

and persuaded them to let me

set the record straight.

I hope it didn't take

too much effort.

Bea.

We did appreciate

the article, Victor.

Are you writing

exclusively for them now?

Yes.

And... Couture magazine

would like the exclusive rights

to feature the first collection

of the House of Eliott.

Would they, indeed?

Bea!

That is wonderful.

Well, I don't know

about wonderful,

but it's certainly a good way

to become a household name.

And you promised them

they could have those rights?

You're not objecting

to the feature, surely?

What I'm objecting to is being

presented with this.

The publicizing

of our first collection

is something

my sister and I would have

to consider very carefully.

And now, if you'll excuse me,

I have some work I must finish.

Evie will see you out.

Good evening, Mr. Stride.

Thank you so much for calling.

Hmm. I had thought

after that second article --

Victor,

I think you'd better leave.

Look.

Why don't you leave it to me?

Bea's still very upset

about the whole thing.

But I'll talk

to her about Couture.

Of course, I don't object

to Arthur marrying.

No, I'm delighted he's finally

got round to it.

Then, what is it?

Uh, champagne.

'Tis merely that...

when I think

of all the eminently

suitable young ladies

I introduced him to,

he chooses to marry an American.

[Laughs]

So, will you go over

for the wedding then?

Yes, of course.

I hear Boston is delightful

in the spring,

and relatively civilized.

But...

But what?

Arthur has suggested

that I consider staying there.

DESMOND: What, for good?

Whatever that may mean, yes.

But does the idea

appeal to you?

LYDIA: Oh, Desmond,

I don't know.

My first reaction was to say no.

I couldn't possibly leave

England and all my friends.

My whole life, I suppose.

Then I thought, "What life?"

What friends, for that matter?

Come, come, Lydia.

Self-pity is most unbecoming.

Is that what I am,

self-pitying?

Sometimes.

And you do have friends.

You?

Of course.

Well, as a friend, tell me

what you think I should do?

I think you must make up

your own mind, my dear.

I would be no friend at all

if I tried to do it for you.

TILLY: Ooh.

Have you got the scissors?

[Clears throat]

Miss Eliott?

Miss Eliott?

The collection

is now complete!

[Cheers]

Ladies and Jack!

[Laughter]

First things first.

All of you, thank you.

You've all worked like Trojans

against a very short deadline.

And Evie and I are delighted

with the results.

You'll see just how much

when you open your paycheck.

[Cheers]

What the rest of the world

thinks of the House of Eliott

remains to be seen on the 30th.

But for now, a toast.

The House of Eliott.

ALL: The House of Eliott.

Now, you know better

than to ask for details

at this stage.

[Laughs]

Suffice it to say,

that Yolande Hermane

will continue to surprise,

delight, and guide

the discriminating woman

in her search

for fashionable elegance.

Yes, of course,

you may quote me.

That's why I said it!

I'm so sorry.

Do forgive me.

We've all been under

the most tremendous pressure.

Last-minute nerves, you know?

Thank you.

And I look forward

to seeing you, too.

Goodbye.

[Laughs]

Beatrice, are we going

to allow Victor

to write that feature

for Couture?

I don't know.

Are we?

EVANGELINE:

Well, I think we should.

Why?

Well, because, as he said,

can you think of a better way

for becoming a household name?

I just wished I liked the man

better, that's all.

Oh, Bea, you don't have

to like him.

You just have to appreciate

the value of his work.

BEATRICE: As you do?

Of course.

We do need the publicity.

Shall I go and see him then?

All right.

No, on second thought,

perhaps I should.

As the elder Eliott,

you understand?

Beatrice, that --

[Laughs]

VICTOR: It's one of Lucile's

early models.

I covered her first London show,

you know?

- EVANGELINE: Really?

- VICTOR: Hmm.

Actually, Lucile more or less

invented the fashion show

in this country.

Did you know

she was on the Titanic?

EVANGELINE: No?

One of the few survivors.

And who's this?

Valance?

VICTOR: Yolande Hermane.

You really have worked

with them all, haven't you?

And now, the House of Eliott.

EVANGELINE: Hmm.

I must say that I'm delighted

you've agreed to the feature.

And not a little relieved.

Well, we're just grateful

for your interest.

Come then.

Tell me all about it.

What may we expect from

the first Eliott Collection?

Dresses. [Laughs]

And...do we have

an overall theme?

Are we expanding a new line?

- A color, perhaps?

- Well --

Ah, don't tell me you've

joined the throng

delving into the tomb

of Tutankhamun for inspiration?

No.

Perhaps then, you're siding

with the avant-garde?

Moderniste even?

Perhaps.

Oh, Evie!

How do you expect me

to write a feature on you

when you won't tell me anything?

You're not supposed to write the

feature until after the show.

VICTOR: It won't be published

until after the show.

Promise?

But I do need

to start writing it very soon.

Pinks?

Riots of fuchsia?

And rose?

Victor.

Blue, then?

The cool hues

of an English summer evening.

I'm not saying a thing.

Very well.

Keep your secrets.

I shall contact the illustrator

and tell him...

merely to stand by.

Oh, I was actually --

VICTOR: Ah, yes.

Evie, it's one thing

keeping me in the dark,

but we do have to illustrate

your designs at some point.

No, but I'd rather assumed

that we'd use

Jack Maddox's photographs

to illustrate the collection

rather than sketches.

- Oh, yes, Jack.

- Yes.

He's been doing them as we

go along; he's terribly good.

I don't doubt it.

Well, I suppose I'd better go.

I only came to tell you

of our decision.

VICTOR: I'm thrilled

that you did.

Um, actually, it's

nearly lunchtime.

Um, I was just wondering

if perhaps...

Oh...dear, Evie, I...

I'd love to.

But, as you can see,

no rest for the wicked.

Of course.

All right.

Um, goodbye.

Goodbye.

[Piano plays]

Did you get a chance

to pass on my script

to Benedict Elsom?

Yes, I did.

And? Is he going to put more

money in my company?

Well, that depends on you.

But he's very impressed

with what he's seen so far.

That much I can tell you.

JACK:

I do so want to meet him.

When did you say he's back

in the country?

Towards the end of January,

I think.

That gives you time

to polish up the script.

Hmm. Be a lot easier

when the show's over.

DESMOND: Ah, that reminds me.

I saw your Aunt Lydia

the other day.

I think she'd appreciate

an invitation.

Of course.

It's already been sent.

Good. She's a little bit low

at the moment.

I think this will cheer her up.

BEATRICE: [Laughs]

And Aunt Lydia

will be sitting there

like the Queen of Hearts,

telling everyone how she,

in fact,

designed all the gowns herself,

and threatening to chop off

everybody's head

if they dare to argue with her.

Still, it won't hurt us,

will it?

No, it won't.

Good night.

I wish it didn't have to be.

I know.

But it does.

Now, go home.

[Orchestra plays]

Thanks for being here.

Evie will be delighted.

It's so exciting.

There's your table there.

Thanks so much.

[Gasps]

Just one more thing.

Beatrice.

Desmond.

Oh, I'm so glad you're here.

It looks absolutely wonderful,

Beatrice.

Congratulations.

Oh, congratulate us afterwards,

if it goes all right.

Aunt Lydia, I reserved

a seat for you in the front,

next to

the Duchess of Hartley.

How kind!

Oh, look!

There's Mrs. White.

And Lady Day.

How are you feeling?

Wonderful.

JACK:

Do you see who's over there?

The great and the good

in the flesh.

Time to get started.

BEATRICE: Wish me luck.

Good luck.

Hello.

Penelope!

But I thought that you --

I know.

Tell Evie that I'm here,

would you,

and tell her...

well, you know?

I will.

Well, I suppose we'd better

get you a seat.

PENELOPE: Mm-hmm.

One word

out of place with you...

Nearly there.

Ready?

Hmm?

As we'll ever be.

Here goes.

Good luck.

Good luck, Miss Bea!

BEATRICE: My lords, ladies,

and gentlemen...

[Piano plays]

Simply fetching!

WOMAN: Beautiful!

Charming!

Simply charming!

Moonlight cascades.

This tunic in

pale blue shot taffeta,

wonderfully colored

with a mesh of silver lace

and embroideries

in silk and pearls.

Nightfall on the silver sea.

[Applause]

Bodice of silver bullion,

Indian embroidery

highlights this blue gown,

while a waterfall of satin

cascades down the back

into a water silk taffeta.

Nocturne in blue and gold.

[Applause]

This gold-pleated tunic

is clouded by wings

of blue-green on grey chiffon,

embellished by a border

of gold stencil lace.

[Applause]

What is going on?

WOMAN: Stop her.

Leaving already, Miss Hermane?

This show holds

no interest for me.

Why should it?

I'm familiar

with the gowns already.

Adorned by the grace

of tulle and palettes.

I don't understand.

Then let me explain.

Everything that

you have seen today --

every fold, every neckline --

every single idea has been

borrowed from my collection.

The fabrics, the colors,

the shapes.

That's a terrible accusation.

It's a terrible thing to do.

You may come to my office

and see the designs

for yourselves, if you like.

When?

Oh, tomorrow.

In the morning.

Stay and see the rest

of this charade first.

Good day.

Well, there we are.

CRAWFORD: Mother and her friends

clapped tremendously hard.

Everybody loved the show.

Honestly.

Well...I suppose we'd

better go out there

and say our thank yous

to people.

All right.

[Knock on door]

JACK: May we come in?

This is Mr. Stevenson

from the Daily Sketch.

Could you please wait

'til we've finished?

STEVENSON: Yes, of course.

Um, I just wanted

your reaction

to Yolande Hermane's

accusations.

What accusations?

She says the House of Eliott

has plagiarized

her own collection

lock, stock, and barrel.

What?!

And good day to you, too.

[Sighs]

EVANGELINE:

Did you speak to Yolande?

No, I got some horrid woman

saying that all communication

between the Houses of Eliott

and Hermane

must be held through their

respective solicitors, Evie.

Oh, Jack, not more articles,

surely?

Afraid so.

She seems to have sold

her story

to every newspaper in London.

Pictures, too.

I don't believe it.

It's our Midnight Nocturne,

only she's called it

her Dark Angel.

The waist

is slightly different.

By about two stitches, yes.

Jack, this is a nightmare.

How can this have happened?

I don't know, Bea.

I really don't know.

It is possible for two people

to come up with similar ideas

at the same time.

Similar, perhaps,

but not identical.

There are terrible thoughts

going through my mind.

It's all so very disappointing.

Well, you sound

as though you think

there may be some truth in these

ridiculous allegations.

I'm hardly in a position

to judge, am I?

After all, I know very little

of their professional circle.

And it's a considerable time

since I was in any way close

to Beatrice and Evangeline.

Those dreadful articles...

Hurt them a great deal

more than they hurt you, Lydia.

Yes, I know.

I'm sorry.

I truly wish for their sakes

none of this had happened.

But all the same...

I've made up my mind

about Arthur's invitation,

by the way.

Oh, yes?

I shall go over for the wedding

and stay for three months.

If I like it, I shall

consider staying on.

If not...

I shall have lost nothing,

shall I?

Hedging your bets as usual,

Lydia?

Do you expect

any less of me?

[Laughing]

No. Not really.

Did I tell you that

Mason and Jared called today?

They would like the settlement

of their account immediately.

They obviously don't think

we're going to be in business

for very much longer.

EVANGELINE:

Doesn't it make you sick?

Tck!

Who?

Who would betray us

to Hermane?

Well, I put your friend

Victor Stride

at the top of my list.

He has used us unmercifully.

Well, he's used you,

I should say.

Oh, so, it's my fault now,

is it?

I didn't say that.

Besides, it couldn't be Victor.

I said nothing, nothing

about our designs.

And I'm not saying he didn't

ask, but I didn't say a thing.

Those sketches in the newspapers

were spot-on.

It had to be someone who'd

actually seen the collection.

Who'd hate us that much?

Lydia.

Hermane has some

very influential friends.

Your friend Penelope's

never made a secret

about her contempt for our work.

Perhaps she's making some

fatuous political point.

Why does it always come back

to me and my friends?!

What about your precious Jack?

He's desperate to raise money

for his film!

He could've shown Hermane

his photographs.

Oh, don't be absurd, Evie.

If anyone needs money, it would

be someone like Tilly or Agnes,

or Madge,

who's about to get married.

To her boyfriend, who works

as a bookkeeper...

For Yolande Hermane.

I don't know how you could

even think such a thing.

We're not suggesting you did it

deliberately, Madge.

MADGE: I should hope not!

After all the time

I've been with you,

after all the work

I put in with you,

how dare you suggest I'd go

behind your backs like that?!

You went behind our backs

to Andrea Ratigan.

That was different

and you know it!

I didn't lie, I didn't steal,

I didn't cheat!

The only time I did anything

the least bit cheating

was for you, if you remember,

finding out that date,

and I said then

I didn't like doing it!

All we're trying to find out

is if you might have

said something that Gerry

could've passed on.

Did he ever come up

to the workroom

when he picked you up?

- No!

Someone said something,

whether they meant to or not.

Well, it wasn't me!

BEATRICE: All right.

All right, let's just

leave it there, shall we?

This isn't getting us anywhere.

What am I supposed to do now?

Just finish up the Harpers'

bridesmaids dresses,

before they think better of it

and cancel their commission.

Hello.

How are you?

Are you feeling any better?

Please.

Sorry, I can't.

Well, let me take you out to

dinner and we'll talk about it.

BEATRICE: Jack.

Did you let anyone see

the dresses when they were here?

Any of the models,

Celia or Jessica -- anyone?

No, of course not.

Only the ones

they were wearing.

Besides, they wouldn't

have said anything

even if they had seen

the collection.

They're not like that.

Bea --

What about you -- did you show

the photographs to anyone?

Or even leave them lying around?

There are people in and out

of this studio all the time!

Bea, stop this.

You're becoming obsessed.

I have a right to be!

This is months and months

of work down the drain!

It's everything Evie and I have

worked so hard for, Jack!

We all worked hard for it!

Me, Madge, Tilly,

the other girls.

There's not one of us who

wouldn't have walked barefoot

over burning coals

for you and Evie.

And you stand there accusing

me of treachery?

I'll just go now,

if that's all right with you.

Madge, please.

You've got me address.

You can send me money on.

Give you time to check it, don't

want to do you out of anything.

Madge, please,

don't go like this.

Don't go where?

Madge has resigned.

She wants to leave now.

What?

I think it's best.

Not like this, it isn't, Madge.

I had no right to speak

to you the way I did.

We made

some terrible accusations,

and we're very sorry.

Madge...you've been a good

and faithful employee.

I don't know where we'd have

been without you.

Obviously, if you want to go,

we can't stop you, but...

Madge, don't go like this.

I've been thinking of going

for quite a while now.

You know that.

Gerry and me --

his Mum's got a front room

she doesn't use.

And I was going to set it up

as a bit of a dressmaker,

like you did.

Well then, stay with us

'til Christmas.

See us through

the Christmas rush,

get your bonus, then start

afresh with Gerry

in the new year.

And no hard feelings.

I've made up my mind.

I'm sorry.

It's best if I go now.

Madge, are you quite sure?

There's no use

prolonging the agony.

I've told the others.

I can't go back now.

Miss Beatrice.

Miss Evie.

- Madge.

- Bye.

We shan't be needing

that anymore.

BEATRICE: Evie,

please don't do that.

There's been enough destruction

round here for one day.

What are you looking at?

EVANGELINE: Nothing.

I'm thinking.

BEATRICE: What?

There's something at the back

of my mind.

It'll come to me

in a minute.

So, this is

the finished script?

Yep.

Splendid. Splendid.

Come along, son.

Sit down, Jack.

Sit down.

JACK: Thank you.

How is Beatrice?

Still reeling?

I don't know.

DESMOND: Really?

I was under the impression

that you two were...

Were what?

DESMOND: Close.

Yes, I was under that impression

myself for a while,

but I was obviously mistaken.

I'm so sorry.

Is it something you want

to talk about?

JACK: No, not really.

Because you're involved,

I shall tell you

that I'm resigning as a director

of the House of Eliott.

That is bad news.

You've been of great value

and assistance to the girls.

They have great faith in you.

No, I don't think they do.

At least, Beatrice

doesn't seem to anymore.

Are you sure about that?

What do you mean?

Maybe you'll find that Beatrice

has more faith than you know.

I am not normally

a man to betray

the confidence of others.

No, neither am I.

DESMOND: But in this case,

it does seem to be justified.

Jack, there is no such person

as Benedict Elsom.

However, there is a very real

person called Beatrice Eliott.

What?

Beatrice put up the money

for your company.

She didn't think you'd

accept it directly,

so she came to me instead.

You mean, Beatrice

holds the deeds to my studio?

Evie.

Couture, Soignée,

Gazette du Bon Ton.

Vogue, Harper's.

Read them, Bea.

Read, mark, learn,

inwardly digest.

And then be sick.

BEATRICE: Evie, please

explain yourself.

I don't want to say anything

until I'm certain.

- Where are you going?

- To beard a beast in its den.

God.

Ugh!

How many of the plates

are actually missing?

A good dozen or so.

I haven't been through them

that thoroughly yet.

Thank you for telling me, Jack.

I'm sorry I mistrusted you.

Well, as it turns out, you had

every reason to, didn't you?

No.

I was angry and upset.

I should've realized

that in your studio that --

[Scoffs]

My studio.

I beg your pardon?

JACK: Beatrice, let's stop

playing games.

You hold the deeds.

It's your studio.

How long have you known?

Since this morning.

Desmond told me.

He thought he was

doing me a favor.

Well, yes, I thought

I was doing you a favor.

I thought you were really

serious about your film.

As serious about your venture

as I am about mine.

I am serious, Beatrice!

And, yes...all right.

I'm grateful for the money.

Well, why are you angry with me?

I'm not angry.

I'm...

Damn it, I'm hurt!

Because you don't seem

to trust me at all.

Oh, Jack, that's absurd.

Is it?

Why didn't you come to me

in the first place?

Just what do you think of me?

[Door closes]

PENELOPE: Hello, old thing!

Are you all right?

Yeah.

No.

Pen, is this important?

Only, I...

No, it's all right.

I can come back another time.

I just wanted to invite you out

to dinner.

Have a chat about things,

that's all.

Sorry, dinner's out

of the question, I'm afraid.

All right, doesn't matter.

I'll send you a postcard

when I get there.

[Clears throat]

Get where?

I'm not telling you now.

Pen...

All right.

Tanganyika.

I've taken up Robert's offer

of a teaching post there.

Nothing fancy.

Just the three R's, and how not

to die of drinking bad water.

Pen, is this what

you really want to do?

It's children, Jack.

No charity balls,

no hypocrisy -- just children.

JACK: And mosquitos.

I'll take a net.

Would it make any difference if

I said I didn't want you to go?

No.

JACK: Then I won't say it.

- When do you sail?

- End of next week.

Going down to spend a few days

with mummy and daddy first.

Say goodbye, have a sob,

that sort of thing.

So, I came round here --

thought you might like

to come out for a jolly dinner

with me first.

[Sighs]

Is it tonight or never again?

No.

I have made enough dramatic

gestures for one day.

I'm not going to start

issuing ultimatums now.

Good.

Let's make it tomorrow,

shall we?

I haven't the faintest idea

what you're talking about, Evie.

I think you know perfectly well

what I'm talking about.

We didn't copy Hermane's

collection -- she copied ours.

That is a fact.

Now, what I want to know

are the whys and the wherefores.

You're the line between us,

Victor.

Oh, don't be ridiculous.

I hardly know the woman.

EVANGELINE: Oh?

Oh, I thought

you discovered her.

Gazette du Bon Ton, 1909.

What was it you called

her when she was with Poiret --

"The brightest new star

in the firmament"?

Well, that doesn't mean

that I have --

EVANGELINE: 1912,

American Vogue

gets an exclusive feature

written by Victor Stride.

Who went with her to Paris

to cover her first collection

after the war?

Victor Stride.

VICTOR: My relationship

with Yolande Hermane

is entirely professional.

So, you do have a relationship?

Well, yes, all right,

I've known her a long time.

It's more than that,

isn't it, Victor?

I don't know what you mean!

Allow me some credit, Victor.

You and Yolande

know each other very well.

Is that why you

sacrificed us to her?

You don't understand.

EVANGELINE: Why?

Why did you do it?

Because I love her.

EVANGELINE: [Scoffs]

Because of that,

you were prepared --

No, no, no, no, no.

Your ideas were so fresh.

So exciting.

Just like Yolande's

used to be, and...

And will be again.

Her collection

wasn't going very well.

She was...too stale.

She was tired.

When I told her the ideas

that you'd come up with,

she wanted to know more.

She...

She wanted to see things.

How could she do that?

Jack Maddox's photographs.

No.

She paid someone to break in

and borrow a few negatives.

So she was going to reproduce

our gowns in her collection?

There is no collection.

Never was.

The merest hint of plagiarism

and she could cancel

her show without losing face.

That is despicable.

Yes.

Yes.

But you come back, hmm?

In 20 years, when your

inspiration has deserted you

and tell me what

"despicable" means.

[Sighs]

So...

What are you going to do?

Nothing.

You're going to do it for me.

"Miss Hermane has made it clear

to your correspondent

that she regrets her accusations

of plagiarism

against the House of Eliott,

and any embarrassment caused.

She wishes them every success

with their first collection.

In the interest of good will,

Miss Hermane has canceled

her spring collection,

and will not show again

until the new season."

Well done, Evie.

You did it!

Aren't you pleased?

Yes.

I was just thinking.

BEATRICE: What?

EVANGELINE: Poor Yolande.

That archbishop

had the right idea!

The one who wrote his confession

and then thrust his right hand

into the flames to burn first!

Your whole body

wouldn't be enough!

I had no choice.

YOLANDE: What?

I had no choice.

You had a choice!

You chose her!

Yolande, she knew.

It was the only way

to save your reputation.

She would've ruined you.

Ruined me?!

A chit of a girl like that?

Never!

You've ruined me!

With that!

Yolande, look, you're tired.

You need a rest.

Why don't we go away

for a week or two,

'til all the fuss has died down?

Spend Christmas

in St. Moritz.

You're weak,

and you're spineless!

I despise you!

Go to St. Moritz

for Christmas!

Stay there for all I care!

I don't need you!

What's more, I don't

even want you anymore!

Oh, get out!

Get out!

Get out of my life!

Get out!

Get out.

ALL: Cheers!

Oh, it's like having

a terrible weight

lifted from your shoulders.

Well, I hope it hasn't left

too sour a taste in your mouth.

[Laughs] Nothing that

this won't get rid of.

And have you had any reaction

yet, Beatrice,

from the world, in general?

I should say so.

Our appointment book

is solid 'til the new year.

We've had interest

from more than one magazine

to publish Jack's photographs.

Our lines of credit

have been renewed.

It's absolutely marvelous.

Hmm.

And how about you two?

Have you resolved

your little misunderstanding,

or is it best not to ask?

I think we've

sorted everything out.

Eh, Benedict?

Yes, but we shan't have

if you call me that again.

Uh, you know that your aunt

is leaving for America

on Monday?

Hmm, we've heard about

nothing else from her.

It's the Americans

I feel sorry for.

What?

Aunt Lydia's packing

her beads and mirrors.

I think she's trying

to buy back Staten Island.

[Laughter]

The labels go on the top!

MAN: Labels up top.

That's why they're there.

Oh, do be careful.

They're nearly new.

MAN: Sorry, milady.

I'll take these

in the carriage with me.

This way.

This one, milady.

Ah.

I'll wait here for a moment,

thank you.

Thank you.

EVANGELINE: Aunt Lydia!

Sorry we're late.

There were the most damnable

traffic jams in Hyde Park.

Goodness,

how delightful to see you.

I wasn't expecting this at all.

Oh, you didn't really think

we'd let you go

without saying goodbye?

Here's some chocolates

for your journey.

Oh.

Thank you.

Well, hurry up.

The train will go without you.

Goodbye, my dear.

And thank you,

for everything.

I'm so glad everything

has turned out well.

You deserve it.

BEATRICE: Thank you.

Hmm.

EVANGELINE:

Have a marvelous time,

Aunt Lydia.

I do hope you like

your new daughter-in-law.

And take care.

[Train whistle blows]

Bye!

Well...there we are.

It's going to be a funny

sort of Christmas, isn't it?

Aunt Lydia in America.

Penny off in the jungle.

Madge leaving.

Everything seems to be changing.

Well, it's not necessarily

a bad thing.

No, I know.

Just requires some thinking

about, that's all.

BEATRICE: Hmm.

What about you and Jack?

Are things changing there, too?

Evie, things have done nothing

but change between Jack and I.

Are you going to marry him?

I don't know.

Possibly.

We'll see.

How's that for an answer?

Terrible.

I don't know, Bea.

You're obviously wildly

in love with each other.

Why don't you just go ahead

and do it?

I'd be more impressed

by your concern

if I wasn't sure you just want

to design a wedding dress.

I've been thinking about that.

Wild silk, almost unbleached,

under Flemish lace.

Evie, you are unstoppable!

I think we both are.

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