Original subtitles

Subtitling made possible by

RLJ Entertainment

[ Up-tempo classical music

playing ]

[ Whispering ] I didn't realize

that Jessie was that good.

JACK: [ Whispering ]

And who is she?

Isabel Novacks.

[ Music slows, ends ]

[ Applause ]

[ Indistinct conversations ]

Oh, Jessie, that was wonderful!

You must be

absolutely exhausted.

Oh, I am.

Um, look.

Um, why don't you come

to my dressing room?

It's so much quieter than this,

but it's a bit better.

It's just through here.

[ Indistinct conversations ]

But you're thinking too much

about technique,

and I want real emotion.

You didn't make me care,

and you certainly didn't make

the audience care.

David, I'm tired!

I'm here helping you to improve.

It's a bit late now, isn't it?

No, Isabel.

It's never too late.

And we have the other ballet

to work on.

Are you sure you still want me

in it?

Why don't you go and find

somebody else?

Um, come on in.

David, this is Beatrice

and Evie Eliott.

I told you I modeled the gowns

for them.

Oh, yes.

- Nice to meet you.

- How do you do?

Beatrice's husband, Jack Maddox.

David Devereaux,

manager and choreographer.

And Isabel Novacks,

our principal dancer.

Hello.

We enjoyed it very much indeed.

Thank you.

I really hope

we're not intruding.

No, not at all.

Would you like a glass of wine?

- Yes, please.

- Thank you.

Thank you.

Well, I really

must congratulate you.

I thought the show

was quite beautiful.

Thank you.

I'm glad you thought

it was beautiful.

I did what I could.

But did you fully understand it?

Can a dancer really communicate

with you as an audience

through a set of tired

classical gestures?

Well, what I understood

I enjoyed nevertheless.

And judging

by the audience reaction,

I don't think we were alone.

Forgive me.

As a company, we need to perform

the popular classics

because it pays the bills.

So, given a free hand,

Mr. Devereaux,

what sort of ballet

would you perform?

Well, I do think that

to define it is to confine it.

You create your own work,

like Diaghilev?

In a way.

My ballets are more abstract.

They're about shape and space,

power and fear.

In fact, the piece

I'm working on at the moment

is about relationships.

Oh.

Really?

Yes.

Really.

Why not?

It's -- It's actually going to

be terribly good.

Well, I shall look forward

to seeing it.

Yes.

Yes, you should.

I must see that man again.

That was fascinating.

Isn't it good to meet someone

who's so committed

to what they're doing?

I find that sort of passion

terribly infectious.

- What did you think of him?

- Not much.

He was very thoroughly

unpleasant to Isabel.

No amount of passion

and commitment

give you the right to be rude

to people like that.

Evie, is Mrs. Fairbrother

not here yet?

Oh, no. She telephoned to say

she'd be a little late.

Well, I hope she isn't too late.

I really want to get away early

today.

Well, I can manage things here.

Are you spending

your anniversary at the cottage?

Yes.

Well, you go off

and get yourself ready,

and I'll deal

with Mrs. Fairbrother.

All right.

And, Bea, have a wonderful time.

[ Birds chirping ]

Right.

Sorry, Jack.

Can I carry something?

You can take these

if you'd like.

Mm!

And start

as you mean to continue.

Oh, Jack.

[ Chuckles ]

[ Telephone rings ]

Hello?

Hello, James.

I-I'm fine.

How are you?

How's Frances?

I'm sorry, James.

Because...

Because nothing's changed.

Why are you making things

so difficult for me?

No.

James, I really think it's best

if we don't see each other

again.

Yes, I am sure.

Goodbye, James.

Hello.

[ Chuckles ]

Happy anniversary.

Happy anniversary.

Oh.

What's this?

Oh, that is beautiful.

It's an eternity ring.

Thank you.

Shall we go out

and celebrate tonight?

- No.

- No?

No.

Tonight I'm in charge.

[ Telephone rings ]

Hello?

Oh, Jessie, I'm sorry.

I-I thought it was someone else.

No.

I'm -- I'm all right, honestly.

What can I do for you?

I'd love to come to a party.

I...I don't have an escort,

though.

Well, if you're sure.

[ Laughs ]

No, I won't find

your ballet friends boring.

I'll look forward

to meeting them.

[ Bird calls in distance ]

This is so bohemian.

You don't mind?

It's delightful.

Oh.

You look very happy.

I am. I'm happy.

I'm relaxed.

I'm very well fed.

[ Both laugh ]

Oh, Jack,

we spend too much time apart.

I know.

It's good just to be together

like this, isn't it?

Mm.

Pen and I used to love

this place when we were little.

I can imagine.

We used to fill the house

with all kinds of nonsense --

dead fish, skeletons of things,

buckets full of frog spawn.

What did your parents say

about that?

Oh, they encouraged us.

You were so lucky.

I remember I brought a frog in

from the garden once,

and Father told the maid to take

it out and kill it immediately

before we all caught diphtheria.

- What?

- It's true.

[ Both laugh ]

Oh.

We won't be like that

when we have children.

We won't be stern and stuffy.

We'll bring them down here

every weekend.

My father will love that.

He can take them exploring

by the lake

with his endless jam jars

like he used to with me.

And we can --

What's the matter?

Nothing.

God.

[ Indistinct conversations ]

This -- This is what we should

be working on --

the music that's being written

now.

Do you have any strong opinions

about this, Isabel?

DAVID:

If your opinions are weak,

they're obviously not worth

having in the first place.

I hope you're taking notes,

Evie.

No, I actually quite agree

with him.

I think it's a sad state

of affairs

when there's no passion

in what you do.

DAVID:

Thank you, Evie.

I'm surrounded by philistines.

Oh, absolute stuff, David.

You're surrounded

with dedicated people

working themselves into

a standstill for next to nothing

just to make "Hermitage"

a success.

"Hermitage"?

The new ballet.

I took the title from a line

in a poem by John Donne.

"The Canonization."

Do you know it?

No.

"Thus invoke us,

'You, whom reverend love made

one another's hermitage --

you, to whom love was peace,

that now is rage.'"

What I said was I didn't want to

have children yet.

Please try and understand that,

Jack.

I understand perfectly well.

You don't want children at all.

That is not true!

I want a family!

Of course I do!

But...children are

an enormous commitment, Jack.

You can't just have them

and ignore them

while you get on

with the rest of your life.

I know that.

It's the rest of your life

that worries me.

It's always there.

The House of Eliott

is very important to me, Jack.

God, you don't have to

tell me that.

I've lived in its blasted shadow

over the last year!

I didn't realize you resented it

that much.

I do not resent it.

What I object to

is always, always coming

a very poor second!

I'm sorry, darling.

I...I just so want us

to have children.

And we're both...

Well...

Yes?

I'm 35, and very soon

it'll be too late.

Don't be silly.

No. It's all right.

You're not far wrong there.

Jack, I'm going in.

Are you coming?

In a minute.

All right.

We've all seen it.

Two people fall in love.

They feel personally fulfilled

and expanded and godlike.

Anything is possible.

And then comes a time

when they realize

their god's feet are made

of clay.

But rather than admit

disappointment or disillusion,

they reach

a kind of tacit truce.

And then the clay starts

to crumble,

and they start clawing

for survival,

and their own needs cripple

the other person,

and the whole relationship

destroys them.

Now, can you tell me

there's not a ballet in that?

Mm.

I wouldn't dare.

Seriously, Evie,

what do you think?

I think it's a stunning idea.

It's very modern.

And yet I suppose

after something like that,

"Swan Lake" does seem

terribly --

Dull and stale.

What about the look

of the ballet?

Would that be contemporary

as well?

Yes.

And very simple, of course.

Apart from everything else,

it's much cheaper that way.

I think the dancers

ought to be dressed

in ordinary, everyday clothes.

Why?

Well, because from what you're

saying, I gathered

the idea is to show ordinary,

everyday relationships.

Don't be absurd.

You shouldn't be so dismissive,

David.

It could be

to your own advantage.

Excuse me.

I'm going to speak

to Charlie Milton.

Well, I obviously have a lot to

learn about contemporary ballet.

ISABEL:

Nonsense.

I think it's

a very interesting idea.

David does, too, I suspect.

JESSIE:

He's probably just put out

because he didn't think of it

himself.

[ Birds chirping ]

Good morning.

How long have you been out here?

An hour or so.

[ Sighs ]

I woke in the middle of the

night, and you weren't there.

I fell asleep on the chair.

I'm sorry.

What for?

For spoiling

a beautiful evening.

For spoiling our anniversary.

It doesn't matter.

It does.

There will be

other anniversaries.

Friends?

Friends.

Jack, I can't change my mind

about having children overnight.

I know, I know, I know.

I don't expect you to.

[ Door closes ]

[ Indistinct conversations ]

[ Door closes ]

[ Sighs ]

Good morning, Joseph.

Good morning, Miss Eliott.

A pleasant weekend, I trust?

Quite pleasant, yes.

Thank you.

And you?

Took the family on a picnic.

Joseph, what is this?

JOSEPH:

I'm afraid I have no idea.

[ Sighs ]

It is the earring that went

missing at the collection.

Well, how on earth

did it get there?

Because someone

must have put it there.

A more interesting question

is who.

Good morning, Agnes.

Just putting out the braids

for Mrs. Fairbrother to see.

- That's all.

- Good.

Agnes...

I don't suppose you know

anything about this.

No.

I mean what is it?

Well, it's the earring that went

missing at the collection.

Someone's just returned it,

and I was just wondering who.

Oh.

Well, it wasn't me.

I haven't been near the office

this morning.

Well, I did find it

in the office,

but I didn't tell you that,

Agnes.

Did you put it there?

I'm not a thief, Miss Eliott.

I never done nothing like that

before in me life.

Agnes, why?

Don't know.

There was just all this jewelry,

and...

Well, I ain't never worn gold

before -- not real gold.

Well, it was just one little

earring, and I tried it on,

and...I didn't think

it'd be missed, see?

I didn't realize

you'd end up paying for it.

And you thought

you'd just return it

and nothing more would be said?

[ Sighs ]

Oh, Agnes.

What are you gonna do now,

Miss Eliott?

I don't know, Agnes.

I really don't know.

[ Sobs ]

Oh, Agnes, what are you doing

with that braid?

- Look at it!

- I'm sorry.

Oh, it is not that bad.

There's no need

to start sobbing.

Oh, no.

What's the matter?

The proper course of action is

to tell the police, of course.

- Yes, I know.

- No. We can't.

That would ruin her entire life.

Evie, Agnes very nearly ruined

our entire business reputation.

We've barely recovered

from the embarrassment.

Yes, but we will, and it was

only an embarrassment.

Agnes won't recover

if she's branded as a thief.

Oh.

Well, should we

just dismiss her, then?

People will be bound ask

for references.

Without lying through our teeth,

what will we say?

Oh, there have been enough lies.

I don't know.

[ Knock on door ]

For the moment, Joseph,

this doesn't go beyond

these four walls.

Of course not.

Come in.

Tilly, what can I do for you?

Can I have a word,

Miss Beatrice?

In private.

Thank you, Joseph.

What is it, Tilly?

It's about Agnes.

She's told me what she's done.

Yes?

It's all right, Tilly.

I know all about it.

It's just that...she's not

a bad girl, Miss Bea.

I mean, normally you'd trust her

with anything.

She really isn't a thief.

But she did steal.

Oh, she's scared stiff

and breaking her heart down

there over one flipping earring.

It wouldn't even be worth

all that much

down the pop shop on its own,

so what good is that to anyone?

Oh, I'm sorry.

What do you think, Bea?

I think Agnes is lucky to have

a friend as loyal as Tilly.

I will speak to her myself

later.

But for the moment,

tell her to get on with her work

and there will be no police.

Right.

Well, go on, then.

Yes, Miss Evie.

[ Door closes ]

You made the right decision,

Bea.

- Did I?

- Mm-hmm.

Are you still busy, Miss Eliott,

or may I have a word?

- Is it important?

- Yes, I think it is.

What's this?

Invoices, Miss Eliott.

Or, to be accurate,

invoices that have been sent out

but are as yet unsettled.

My first concern

is that these particular debts

have been outstanding

for some time.

Joseph, I had no idea there was

this amount of money involved.

My point exactly.

You see, we ourselves owe

considerable sums

- to various suppliers.

- Who?

Well, Heller & Sons, Cameron's,

and I had a letter this morning

from the India Silk

Trading Company

saying that unless their account

is settled within seven days,

they'll be forced to suspend

all further dealings with us.

Oh, no.

Can we do it, Joseph?

Just about, but it leaves us

precious little in reserve.

All right.

Settle the most pressing bills.

Then try and give some of

the others something on account.

Very well, Miss Eliott.

Thank you.

How serious is the situation,

Bea?

Well, we have very few options,

Evie.

I think the best thing

for us to do

is to convert some

of our investments into cash.

Now we have to convince Saroyan

that that's a good idea.

Miss Eliott,

by withdrawing your investments,

you will receive a 20% return.

That means for every £100

you've invested,

you will receive £20 in cash.

Well, I'm sure Sir Desmond would

have found a way to avoid that.

His advice to us was that --

Was obviously not as sound

as you imagined.

And unless the circumstances are

extremely urgent,

I have to advise most strongly

against a withdrawal.

And if the circumstances are

that urgent?

Then I would have to assume that

there is something very amiss

with the way that you handle

your affairs, Miss Eliott.

This is purely a temporary

measure, Mr. Saroyan.

If we can't pay our suppliers,

we can't make clothes

and we can't sell them.

Once our clients have settled

their debts,

there will be no problem.

But until then,

we have no choice.

[ Scoffs ]

There are always choices.

Such as?

You already have

a loan agreement in place

arranged by Sir Desmond.

It means paying interest,

of course.

How much interest?

A little above the current

lending rates, I'm afraid,

but the money has always been

instantly available.

What other choices are there?

I can get my chief accountant

to draw up the agreement now.

Shall I?

Very well.

Thank you.

My pleasure.

Well, I'm sorry you feel

that way, Lady Halgate,

but it is our company's policy.

We must insist that the accounts

for one commission are settled

before we can arrange fittings

for the next.

And good day to you, too,

Lady Halgate.

[ Door opens ]

Yes, Joseph.

What is it?

I was just wondering

if you had the other part

of this loan agreement.

What other part?

It's just that the actual terms

of the agreement

aren't specified here.

I assumed they'd be set out

in more detail elsewhere.

Well, they probably are.

Most likely they're in

Mr. Saroyan's office.

I'm sorry. Perhaps you could

follow that up for us.

Yes.

Uh, of course, Miss Eliott.

Thank you, Joseph.

Right, Evie.

Who's next?

Mrs. Fairbrother.

She has two commissions

still outstanding.

ALICE:

Excuse me.

It's appears

that David Devereaux

took your suggestion quite

seriously, Miss Evangeline,

and if you're still interested,

he'd like the House of Eliott

to make costumes for his ballet.

An entire ballet?

Bea, this could be

really interesting.

Evie, I'm just remembering

something you once said.

What was that?

When we were asked to do that

baby party, you were so adamant

that we shouldn't get

a reputation as a costumier.

Bea, that was just

a silly baby party.

This is an entire ballet.

And not just any ballet, either.

The London Ballet Ensemble

is acquiring a very impressive

reputation.

To be associated

with one of their productions

would do the House of Eliott

no harm at all.

You think so?

It's my professional opinion

that the London Ballet Ensemble

and those that patronize it

are exactly the right sort of

clients for the House of Eliott.

Oh, what are you gonna wear

to Tilly's wedding, Agnes?

BETTY:

I've got this smashing hat.

I mean, it's just a simple

cloche, you know,

but I've been making

these organza roses.

I would like

a little less chatter, please,

and for you to get on

with your work.

We are getting on with our work,

Mrs. Ranby,

just as quick as ever we can.

It would be nice if you put

the same enthusiasm

into all our commissions.

Oh, I think we do.

Besides, this is

a special commission.

In fact, Tilly's wedding dress

is Miss Evie's own commission.

FLORENCE: Personally, Tilly, I'd

have thought something simpler

would have been more suitable.

Miss Evie's never been wrong yet

about what's suitable.

I can't see her making a mistake

about somebody she's fond of.

Mrs. Ranby?

The wedding's on the 21st

at St. Cecilia's.

Well, everyone else is going.

Be nice if you could go, too.

That's very kind of you, Tilly.

But I'm afraid I'm visiting

my niece that weekend.

You're a saint, Tilly Watkins.

I wouldn't invite that woman

to her own funeral.

Well, I didn't really think

she'd say yes.

[ Both laugh ]

[ Organ playing ]

[ Indistinct conversations ]

You behave yourselves.

[ Door closes ]

[ Wagner's "Bridal Chorus"

plays ]

[ Bells tolling ]

[ Up-tempo music playing ]

[ Indistinct conversations ]

What do you think?

It's extraordinary.

Did you compose the music?

Yes.

Of course, I must admit

I've been influenced

by Stravinsky's work

with the Ballets Russes.

I find it all very moving.

You see, whatever happens

through the second act,

you must always know

there was love in the first act.

They regret it,

and they resent it.

It's always there,

even right at the end when

they've torn themselves apart

through unfounded jealousy,

and they become separate people

again.

You must always know

there was love.

It's a very bleak view

of a relationship.

Is it unrealistic?

No, just bleak.

See, what Evie said made sense.

Everyday clothes

for everyday situations.

I want you to make me

some clothes

that appear ordinary

at first sight.

EVIE:

Could we use color?

The -- The same dresses,

but getting progressively darker

in every act.

Two people in the same tones

to start off with,

and each color and shape

becoming progressively

different.

Yes.

Do us some sketches.

Yes, I --

Well, we will.

EVIE: So this is the effect

of dye painted onto the toile

with a brush.

What do you think?

I think it could work

quite well, Evie.

What do you think?

I think it looks like a tatty

bit of toile with paint on it.

Evie, let's be

a bit more positive.

Toile is cheap, it's easy to

make, and it takes color well.

I know it would be wonderful

to use silks and chiffons,

but their budget simply does not

allow for that.

Apart from

the creative challenge,

I'm tempted to ask why we took

this commission at all.

It's not gonna make us

any money.

Evie, you were as keen

on the project as I was.

I know, but when David said

he had limited resources,

I didn't realize he meant

they were nonexistent.

And considering the state of

our resources at the moment...

Look, Evie, I've had an idea.

Why don't we use

some of the original fabric

from the Impressionist

collection?

Now do it faster.

- How does that feel, Isabel?

- Feels good.

More importantly,

how does it look?

- It looks extremely good.

- [ Knock on door ]

The second design, Miss Eliott.

Thank you, Florence.

Now, you see,

we keep the dress the same,

but as the woman's jealousy

deepens,

we start to see the flashes

of color.

And then, in the second act,

this particular dress darkens

to a deep red.

Yes.

That's good.

Now, what about the man?

We thought he should take

his clothes off.

What?

Not completely.

But if the point you're

trying to make is that jealousy

and passion strip away

conventional behavior, we --

Why don't we let Isabel change?

We can talk further

in my office.

- I'll help you out of that.

- Thanks.

[ Indistinct conversations ]

A lot of artists and theater

people tend to come in here.

Really?

Cheap but cheerful, and they

don't stint on the portions.

And I thought

that was the last thing

you'd be concerned about --

large portions.

I always thought dancers

had to worry about their shapes.

Yes.

Well, I might not have to worry

about it for too much longer.

Sorry.

I don't understand.

Well, Evie, I am in my 30s,

and I've done jolly well

to last this long.

But my engagement

with David's company does finish

at the end of this ballet,

and he's made it very clear

that I won't be needed again.

That's horrible.

No, not really.

How will bright and new

young dancers ever get a chance

if greedy old things like me

keep hogging the limelight?

Would you become a choreographer

like David did?

No, I don't think that's for me.

Isabel, that sounds so callous

to be just discarded like that.

Do you know what you'll do next?

Try and find another job.

Dancing, I suppose, if I can.

Bea?

[ Sighs ]

For heaven's sake!

Excuse the chaos.

I'm really not here often enough

to make it nice.

Tea or coffee?

Um, coffee, please.

That's good, because I think

I'm just about out of tea.

Look, are you sure

this is no trouble?

No.

What you really mean is

"Are you sure you can afford

to give me a cup of coffee?"

It is a bit of a dump, isn't it?

But it is all I can afford.

[ Train passing ]

I had no idea

that dancers were so...

Well, I just thought

it was all rather glamorous.

Only on the stage, Evie.

Only on the stage.

You see, David?

Yes.

I like the overtones of holiness

in the color.

And it's still keeping it

simple.

Oh, yes.

The complexity

is in the movement.

BEA: Hello.

What are you doing here?

I thought I'd see

if you had any intentions

of coming home tonight.

- Good evening, David.

- Hi, Jack.

Jack, I'm so sorry.

I didn't realize it was so late.

Will you be much longer?

Well...

I'd quite like to finish Simon's

costume before we call it a day.

I'll go upstairs and see Evie.

- Give me a call when --

- Jack, you can't.

She's gone to have supper

with Isabel Novacks.

Right.

Well, then I'll...wait here.

BEA: Right.

DAVID: You see,

if the movement's like this...

Jack, I really don't know

how long we're going to be.

Why don't you go on home?

And I'll get a taxi

when we finish.

As you wish.

I'll see you at home later.

Yes.

Good night, David.

Good night, Jack.

Good night.

Well, thank you

for a lovely evening, Isabel.

- I really enjoyed it.

- Oh, me too.

Oh, next time you let me pay,

all right?

I will.

Will you be at the raffle

tomorrow?

Oh, yes. I want to see

how the new dress looks.

All right.

I'll see you then.

- All right.

- Bye-bye.

Good night.

[ Baby crying ]

- Bye.

[ Vehicle approaching ]

Jack, I'm sorry I'm home

so late.

Quite all right.

I've grown used to it.

I know how very important

your work is to you.

Jack, don't be like that.

Like what?

I'm only trying to be helpful.

I've grown used to our not

spending our days together.

I just have to get used to not

spending our evenings together.

Oh, yes.

And how many evenings

have I sat here on my own

while you've had to work?

Jack, I'm trying to design

for a ballet

that may be very important

to us.

The last thing I need when I get

home is your childish sarcasm.

The last thing you need?

What about what I need, Bea?

Where does that come into it?

At every damned opportunity,

Jack.

It's all you ever talk about.

Maybe that should tell you

how important it's become to me.

I'm sorry.

I still have to think about some

suggestions that David's made.

I'll say good night, then.

[ Door closes ]

[ Sighs ]

Good morning.

Good morning.

Can I help you?

Oh. Yes.

Good morning.

I'd like to see the Mss. Eliott

if I may.

I'm afraid they're both out

this morning.

Ah.

I'm so sorry.

You are Miss...

Alice Burgoyne.

Mrs.

Enchanted.

May I help you?

Uh, regrettably, no.

But if the Mss. Eliott are out,

I could always see Wint,

the bookkeeper.

And who shall I say is here?

Ralph Saroyan.

Very good.

Excuse me.

[ Door opens ]

[ Down-tempo music playing ]

Enough.

[ Music stops ]

I understand you told

Miss Beatrice that there was

some kind of financial problem

with the business.

I am her bookkeeper.

Yes.

Well, she seemed very confused

when she came to see me.

Perhaps you didn't explain

the situation fully.

I think I did.

Then it's perhaps I

who was confused

by her explanation

of the situation.

It really doesn't matter.

I'm sure if I look at the books,

it will become quite clear.

The accounts for this quarter

and the last, if you please.

I'm afraid I can't do that,

Mr. Saroyan.

I beg your pardon.

I can't release

any ledgers to you

without Miss Eliott's

permission.

You're aware that I am

a director of this company

and I have the right of access

to them.

I'm sure you do, Mr. Saroyan.

It's just that I'm afraid the

king himself wouldn't get a look

at those books

without Miss Eliott's say-so.

I couldn't take

the responsibility.

Well, if you're so frightened

of taking the responsibility,

I shall take it upon myself.

I d--

What are you hiding, Wint?

Nothing.

You may trust me or not

as you please.

Thankfully, I am no longer

in your employ.

The House of Eliott is now

directly under my control,

so you are still in my employ --

for the moment.

You may tell Miss Eliott

that I shall return.

And we shall go through

the books together.

Good day.

[ Door closes ]

JACK:

[ Sighs ]

I hardly dare ask

if you're ready.

I'm ready.

- EVIE: Hello, Jack.

- JACK: Hello, Evie.

Oh, um, before you go,

Miss Eliott,

- could I have a word, please?

- Is it important?

Mr. Ralph Saroyan called

to see you today.

Oh, I'm sorry, Joseph.

It really will have to wait.

- I want to get away.

- Yes. Of course.

- Thank you, darling.

- House of Eliott.

Yes, she is.

One moment.

Bea, it's David, for you.

Hello?

What sort of changes?

[ Sighs ]

Does that involve the costume?

No, it's all right.

I shall be there straightaway.

Sorry. What did you say, David?

I missed that.

Yeah.

[ Door slams ]

Evie.

[ Door opens, closes ]

Yes.

EVIE: Jack!

Jack, don't rush off.

She can't help it.

JACK:

I can see that.

EVIE: This work

is terribly important to Bea.

And how important

is David Devereaux to her?

What?

What's going on, Evie?

[ Sighs ]

J-Jack, there's nothing

going on.

Tell her not to bother

about supper.

I'm dining out.

Tell her I'll see her

at home later.

Oh.

I thought you would be asleep.

Thought or hoped?

Why on earth would I hope

for you to be asleep, Jack?

Save you the trouble

of explanations, I suppose.

Jack, there's nothing

to explain.

You know what happened

as well as I.

There are things

to apologize for.

And yes, I am sorry we didn't

spend the evening together,

but there's nothing to explain.

So, a good evening had by all?

[ Sighs ]

David had made some changes

to the ending of the ballet.

I worked out how to change

the costumes to fit.

So yes, in one way...

we had a good evening.

Is there anything else

you want to tell me, Bea?

I beg your pardon.

I wondered if there was anything

else you wanted to tell me

about you and David.

- What?

- [ Laughs ]

I don't suppose

that you want to tell me.

Jack, I don't want to tell you

because there's nothing to tell.

Listen, what am I

supposed to think?

You can think what you like!

Nothing I can say will make

the slightest difference,

so I shan't bother saying

anything!

[ Door slams ]

[ Indistinct conversations ]

[ Instruments tuning ]

[ Applause ]

[ Up-tempo introduction plays ]

[ Music slows ]

[ Up-tempo music plays ]

[ Music slows ]

[ Music continues ]

[ Tempo increases ]

Barman, a large whiskey,

if you please.

MAN:

Certainly, sir.

[ Up-tempo music continues ]

[ Music swells, ends ]

[ Applause ]

It's marvelous.

They hate it.

Well, they have only seen

the first act.

The second act won't be so...

surprising.

What do you think, Jack?

I think it's very interesting.

Well, excuse me.

I must speak to Isabel.

What do you really think, Jack?

I'll get some drinks.

[ Sighs ]

I thought he'd at least make

some effort to understand.

Well, Bea, you must admit

it is rather different.

I think I'd be confused

if I wasn't involved

from the beginning.

Would you?

I thought it was all very direct

and expressive.

Well, the costumes do look good.

Yes, but if people don't like

the ballet...

Bea, anything that's different

takes a while to sink in.

Or sink altogether.

BEA:

[ Sighs ]

Well?

It's horrible.

"A confusing jumble

of ill-expressed, trivial ideas

masquerading as a piece

of modern art.

Only the imaginative and

aesthetically pleasing costumes

by the the House of Eliott

redeems this ballet

from its pretentious tedium."

That's all right.

Your reputation remains

untarnished.

Jack, that's not important.

Poor David will be devastated.

It's obvious the critics

didn't understand a thing

that was going on.

Very few of us do.

I must go and talk to him.

Would you drop me off

at the rehearsal rooms?

If that's what you want.

- Hello, Jack.

- Hello, Evie.

Come in.

I'm glad I caught you before

you went out to the office.

I wanted to have a word.

What? About Bea?

No.

No.

About Isabel Novacks, actually.

Oh, yes.

It's what you were saying

yesterday

about her needing something to

do when she leaves the company.

That's right. She does.

What about her?

Well, I'm about to start

on a film

that has some rather unusual

sequences in it -- dreams.

That sort of thing.

I've been thinking of filming

them as some sort of dance.

It was all rather vague.

But, um, having seen Isabel --

You know her better than I do.

Do you think

she'd be interested?

Interested.

Jack, she'd love to.

- Really?

- Of course.

Here.

Let me give you her address.

Good.

You, uh, you had

a very wary look on your face

when you asked

if I wanted to talk about Bea.

Did I?

Do you know what's going on,

Evie?

Between her and David.

Only what I see

when we're working,

and that's just work, isn't it?

The whole thing was wonderful,

but the adagio was too slow.

The dances were waiting...

Oh.

Beatrice, thank you so much

for coming.

Whether it was worth it or not,

I really couldn't have done it

without you.

You're welcome.

I'm just so glad to see

you're so philosophical

about those ghastly reviews.

[ Chuckles ]

Well, I'd have been very upset

if they hadn't reacted enough

to be critical.

There will be other ballets and

other fools to miss the point.

I hope you'll involve me

next time as well.

[ Laughing ]

Of course.

Thank you.

Thank you so much for coming.

I really appreciate it.

I must talk to Peter.

I don't know what to say.

The scenes I'd want you for

would be mainly dance --

or dance-orientated, anyway.

I'm sorely tempted.

Then give in to it.

And, of course,

you'd be paid in real money.

Doing something I enjoy

and being paid for it.

Oh, goodness.

What ever next?

Oh, yes.

- Yes, I'd love to.

- Good.

Who have you got

to do the choreography?

- Shall I ask David?

- No, no.

I-I think you and I can manage

on our own.

You don't like David very much,

do you?

I hardly know the man.

I suppose I do object

to the very obvious closeness

between him and Beatrice.

As long as you don't worry

there's anything else

between them.

Is that what's concerning you?

Jack, David's not like that.

Like what?

Well, you know.

He's not interested in women.

Are you sure?

Mm.

I was very embarrassed.

[ Sighs ]

Well, I suppose that makes

two of us, then.

This is important, Miss Eliott.

Joseph, I have a million and one

things to do.

All right.

What is it?

Bea, I just though you might

want to see these designs.

I -- Sorry.

- Am I interrupting something?

- No.

It's about this loan

you've taken out

with Gillispie Saroyan.

Sit down, Joseph.

I told you I wasn't happy

with the written agreement

that was given to you.

So I telephoned them

and asked for copies of all

other papers relating to it.

And after Mr. Saroyan came in

the other day --

I'm sorry.

What do you mean,

"After Mr. Saroyan came here

the other day"?

I tried to tell you at the time,

but --

Good morning.

I'm so glad

to find you both here.

We, uh, have

some urgent business to discuss.

Thank you, Joseph.

That will be all.

Mr. Saroyan, how dare you just

come marching into my office?

There are times when business

must take priority

over courtesy.

- Not in the House of Eliott.

- Yes.

Perhaps if courtesy and --

and affection hadn't played

quite such a large part in

the way you run your business.

And what do you mean by that?

Until I've made a proper

examination of your accounts,

I don't know the full extent

of the position.

But judging from the advice

given to you

by your late godfather

and now finding his protégé

in charge of your books...

Well, quite frankly,

nothing's going to surprise me.

Protégé?

You mean Joseph?

You are aware that it was I

who terminated his employment

with Gillispie and Saroyan

for dishonestly

and improper practice.

- No.

- No?

No.

I daresay Sir Desmond

wouldn't have mentioned that.

Well, no matter.

The Joseph Wints of this world

are easily replaced.

I shall have a real bookkeeper

here within the month.

I'm sorry, Mr. Saroyan,

but you cannot do that.

You cannot just walk in

and dictate how we should run

our business!

Miss Eliott...at the moment,

your business exists

only because my business

allows it to.

Now, my bank is invested heavily

in the House of Eliott,

and it's my duty to protect

the investment as I see fit.

Do we understand each other?

Subtitling made possible by

RLJ Entertainment