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[ Indistinct conversations ]

BEA:

Thank you.

Well, it's always been our aim

to raise women's consciousness

to the effect that clothes have,

not just on those

with whom they live and work,

but on themselves.

Your latest designs have

an everyday quality

which appeals to a wider range

of women

than merely those who can afford

haute couture, Miss Eliott.

Is this a deliberate policy

and one we may expect you

to continue?

It is, and yes, you may.

In conjunction, of course,

with our exclusive range

on which we continue

to concentrate.

Do you plan to promote

your more accessible ranges

through any of the major

London emporiums?

Not yet.

The success

of Elmer Jeffard-Hendry's film

has attracted a lot of interest

in your work.

Did you enjoy designing

for the cinema?

EVIE:

Yes, we did.

[ Camera shutters clicking ]

Excuse me.

Miriam Sargisson --

Sears, Roebuck.

Good afternoon.

Would you give my card

to the Miss Eliotts?

Certainly.

Miriam Sargisson.

Thank you.

Thank you, ladies.

You may go and change now.

Thank you, gentlemen.

I hope you have everything

you need.

So designing for the theater

was an experience

- you would like to repeat?

- Yes.

We enjoyed our association with

Dame Caroline Troy very much.

Has the House of Eliott

any plans to open a branch

in, say, Paris or Roma?

No. No.

Our interests are firmly based

in London for the moment.

Well done, girls.

Thank you.

I'm sure you'd like to know

the Miss Eliotts are proposing

to extend your contracts

by a further three months

if you're willing to remain

with us.

Thank you, Mrs. Burgoyne.

That would suit me very well.

What about you, Liddy?

Do you wish to stay?

- Oh, very much. Thank you.

- Good.

Bring me that dress

when you take it off, would you?

- Yes. Of course.

- That's good news, then.

I'm really pleased.

We make a good team.

You've taught me a lot, Kitty.

I really appreciate your help,

you know.

Will you let me take you out

to celebrate our new contracts?

Oh, I can't.

Sorry.

I'm meeting Gerald,

and I'm late.

Thanks anyway.

Another time, perhaps.

Yes.

- Bye.

Uh, could Miss Evangeline

tell us

about the state of her...

friendship with Lord Montford?

The subject of this interview

is the House of Eliott

and the showing

of our latest collection.

Uh, does Miss Evangeline expect

to see Lord Montford

- in the foreseeable future?

- Excuse me, please.

Evie?

[ Murmuring ]

Your last questions, please,

ladies and gentlemen.

No, no.

That's fine.

Sorry.

I'm just going.

It's all right, Liddy.

I'm just tired.

Here.

Come on.

Have a good cry.

They say it's good for you.

But it does make a mess

of one's makeup, doesn't it?

Kitty and I are really pleased

about our new contracts.

So you've decided to stay.

That's good.

I'm glad.

I wanted to go out

and celebrate.

It seems a pity, doesn't it,

not to mark the occasion

with something.

I don't suppose

you'd like to come home

and have supper with me

and my husband.

Liddy, that's very kind of you,

but --

It'll only be potluck

with the food.

Of course.

I'd love to.

Oh, good.

[ Indistinct conversations ]

Alice, thank you

for your hard work today.

It was my pleasure.

I think it went very well.

Are you pleased?

Yes, I am.

PETER:

Here's to your new contract.

LIDDY: Three more months

at the House of Eliott.

EVIE: And may they be

very happy ones, Liddy.

I'm sure they will be.

Welcome to our home.

Yes.

Welcome.

This is a charming room.

Thank you.

PETER:

I was on embarkation leave.

Married on Monday

and at Ypres by Friday.

Are these your friends?

LIDDY: They went through

most of the war together.

Peter was decorated for saving

the life of one of them.

It was nothing, really.

Which one did you save?

He isn't in that picture.

He took it.

Actually, he planned to become

a professional photographer.

I wonder if Jack ever did.

Jack?

What was his surname?

Maddox.

Yes. Jack Maddox.

That was it.

I don't believe this.

Jack Maddox is

my brother-in-law.

The same chap?

EVIE: Yes.

So, you all lost contact.

We got split up.

And then, well, a lot of it

was best forgotten, you know.

Now, this fellow, George,

he was studying archaeology

before the war.

I believe he was taken prisoner.

I don't know what became

of the other chap.

Jack Maddox, eh?

Astonishing coincidence.

Jack actually did become

a photographer.

In fact, now he's a director

of moving pictures.

You really should meet him,

Peter.

I don't know.

A lot of water has gone under

the old bridge since those days.

Nevertheless, I think this calls

for another bottle.

Is Jack Beatrice's husband,

then?

Yes.

I don't recall

seeing him around.

No.

No.

Jack's been busy lately.

Liddy, we should arrange

a surprise reunion for them all.

Yes, but how will we trace

the others?

EVIE:

The War Office?

I don't know.

We could try.

[ Telephone rings ]

Jack Maddox speaking.

Alexander?

Are you in London?

I see.

Look, it's very late

this evening.

Can't it wait until --

Right. I'll see you

in half an hour's time.

Goodbye.

I'm sorry for walking out

like that.

No.

You had every right to be angry.

I know, but I shouldn't have let

it upset me like it did.

Did you have a nice evening?

Yes.

Oh, you'll never guess what.

Liddy's husband, Peter,

was in the war with Jack.

- Really?

- Mm-hmm.

We were thinking of arranging

a surprise reunion.

There was four of them --

Jack, Peter,

George Morton,

and another one, Hugh Paley.

Oh, Evie.

What?

Hugh died of his wounds

long after the war.

I remember Jack used to go

and visit him

in some awful nursing home.

It made him so angry

the way people like Hugh

were just forgotten about.

Well, a reunion isn't

such a good idea, then?

No, it's a lovely idea.

But... well, perhaps

just confine it to --

to Jack and Liddy's husband.

[ Clears throat ]

I know.

We could invite Jack out

on some pretext

and then surprise him

with Peter.

Well, it's your birthday

next week.

Yes.

Well, that would do.

Another meeting here

between you and Evie?

I must talk to her, Jack,

and I'm certain her sister

will try to prevent it.

Can't you, for once,

think of her?

She's trying to accept the fact

that she's lost you,

that you did

the one decent thing

and withdrew, on her account,

from an impossible situation.

What are you proposing,

Alexander?

To set her up as your mistress?

Visit her

whenever your official duties,

your personal obligations allow?

Do you think

that would make her happy?

She loves me, Jack.

That gives you the right

to wreck her life?

I've wrecked my own.

Status, self-respect,

marriage -- all gone.

There's nothing left

between Elizabeth and myself

except reproach on her part

and resentment on mine.

As for my career,

my obsession with Evie

so impaired my judgment...

They demanded your resignation,

didn't they?

That's what happened.

But you let Evie --

I've lost everything

on her account.

Everything.

Except perhaps her affection.

Help me to see her, Jack.

Please.

[ Children shouting ]

JACK:

[ Groaning ]

You got me.

[ Laughing ] Jack.

What is it?

What did you want to see me

about?

I need your advice.

Alexander's back in the country.

Oh, no, Jack.

He wants to see Evie.

He's asked me to arrange

a meeting.

I-I, naturally, refused,

but I wonder, how far do we go?

It's her life.

Jack, he is unprincipled

and selfish.

I have no scruples whatsoever

in keeping them apart.

You know the truth

about why he resigned?

Yes, I do.

But Evie doesn't.

I want to save her

from that pain.

I'm convinced we're doing

the right thing, Jack,

by keeping them apart.

You don't think

you're prolonging a role

which you no longer have?

- After all, she is --

- What? My sister, not my child.

Is that

what you're going to say?

Well, I still feel responsible

for her.

I suppose.

We've been so busy putting

this collection together,

but now that's been showed.

There's even more time to brood.

Yes.

Jack, would you join us

for supper one day next week?

If we can celebrate

your birthday.

And the success of your film

in Germany.

With pleasure.

Good.

I'll tell Evie.

BEA: Evie?

Hmm?

One of the reporters at the show

raised an interesting point

about marketing

a range of our day wear

through one of the major stores.

What do you think?

Well, it's certainly worth

investigating.

Perhaps Alice could develop

that area of our business.

Her organizing ability

is underused.

MRS. HILL:

Oh. How flattering.

ALICE:

Rather than the other?

As well as the other, I think.

Certainly, Mrs. Hill.

Miss Eliott.

Alice, whenever you're free,

I'd like to have a word

in my office.

Of course.

BEA: We feel that our day-wear

range could be developed,

possibly through one

of the larger London retailers.

Your experience makes you

the perfect candidate

for the management

of such a project.

Surely you don't mean

ready-made clothes?

There's nothing wrong with

ready-to-wear clothes, Alice,

providing they're well made.

We would ensure that any garment

bearing our label

meets our own

stringent standards.

[ Sighs ]

Forgive me, Alice.

You seem less than enthusiastic.

I suspect Alice disapproves

of the whole idea.

Don't you, Alice?

I would prefer to say

that I remain unconvinced

that becoming less exclusive

will prove in the long run

to be beneficial.

You have every right

to your view, of course.

And my position here

as premiere vendeuse

keeps me fully occupied,

especially with the engagement

of the mannequins,

which is attracting

so much new business.

Really, my hands are full.

[ Down-tempo jazz playing ]

Hello.

- Happy birthday.

- Oh, thank you.

Shall we?

Of course.

[ Music continues ]

This is our table?

But we are three.

No.

We're five.

It can't be.

PETER:

Good to see you, Jack.

Dear old chap.

Peter is Liddy's husband.

Liddy is one of our mannequins.

And you're Mrs. Hansen.

- How do you do?

- Hello.

- This...

- [ Laughs ]

This is incredible.

Liddy.

You look just the same.

And you look very well.

I've heard from

the Geographical Society.

Apparently Lieutenant

George Morton is in Crete

on an archaeological excavation,

but I've got his address.

- I'm going to write him.

- Good.

I have to tell you all --

I owe my life to this man.

He braved a bombardment

to get me to a field hospital.

It was nothing, Jack.

Please.

Nonsense.

You saved my life.

God, we were close,

the four of us, weren't we?

We were.

JACK:

But one gets separated.

You know that Hugh died from the

wounds he received that night.

I'm sorry to hear it.

JACK:

And what about George?

Great fellow, George.

Well, he was.

Do you think he got through?

He deserved to.

I hope so, but, um...

I rather doubt it.

Poor George.

Well, that's the past.

Tonight is Beatrice's birthday,

so let's drink to her

and to the future.

EVIE:

To Bea and to the future.

[ Laughs ]

EVIE: How do you take

your coffee, Miss Sargisson?

Black, please.

No cream.

No sugar.

- Thank you.

- You're welcome.

It was the costumes you designed

for Elmer Jeffard-Hendry's film

that first brought your work

to my attention.

Though they, naturally,

would not be suitable

for the Sears, Roebuck catalog.

Hardly.

My job is to scour

the fashion houses of Europe

for lines which we might wish

to include in our range.

Your collection the other week

prompted me to look closer

at you.

And, well, I like what I see.

EVIE:

Well, thank you.

In my opinion,

your clothes have

exactly the sharp,

practical appeal

the American woman wants

right now.

Now, I wish to establish

whether, in principle,

you ladies would be interested

in marketing under license

to Sears, Roebuck

a range of your designs.

In America?

In America.

Obviously, we're very flattered

by your interest,

Miss Sargisson.

And subject to the details

of any contract

proving satisfactory to us,

I think we can say

that we're interested.

Very interested.

I'm delighted to hear it.

Now, I must go.

Good day, Miss Eliott.

Good day.

Thank you.

Mm-hmm.

And Miss Eliott.

[ Chuckles ]

Good day.

I will be in touch with you

when I've made my decisions.

Just hooking over these days.

This larger workshop

is virtually unused.

Take a look

before we have that drink?

Before my father-in-law's death,

both of these workshops

were fully employed.

We managed to get by comfortably

enough on what we produced,

but it's hardly what I had

in mind for myself

when we used to plan

our futures.

You were always going to be

a photographer.

And George --

Well, George couldn't wait

to get back to some damn dig

or other.

And poor old Hugh had no future

at all, as it turned out.

What about you?

What would you be doing

if you had the choice?

Oh, I don't know.

You see,

I just jog along these days.

And you?

Are you busy with another film?

I'm working on an idea.

Oddly enough,

it's about the war --

some things that I would like

to put behind me

but which refuse

to be laid to rest.

Can't get a studio to accept it

at the moment.

It's not commercially attractive

enough for the backers.

Can't you finance it yourself?

Go into production on my own?

Well, not impossible,

but, uh, it's a huge step,

one that I'm not sure

I'm ready for yet.

Well, what would you need?

A studio, for a start --

somewhere with...

well, about this amount

of space.

[ Engine idling ]

[ Indistinct conversation ]

I apologize

for intruding like this.

What are you doing here?

I've come to see Evangeline.

Well, she's not in the building.

She won't be back for hours.

Then I shall wait.

This is unpardonable.

I've come to see your sister.

If she doesn't wish to see me, I

shall, of course, leave at once.

I have already told you she will

be some considerable time,

and she will not wish

to see you.

On what authority

do you speak for her?

You take too much upon yourself,

Beatrice.

How dare you say that?!

You're angry because you know

that what I say is true.

If I am angry, it's because

your self-indulgence

is threatening

Evangeline's happiness.

If I'm overprotective,

it's because you force me to be.

Go away, Alexander,

before you do any more harm!

Oh, I'm so sorry.

I have Lady Bambridge

in the fitting room.

She wants a word.

Shall I say you're engaged?

No.

I shall see her.

Excuse me.

Is Miss Evangeline here today?

No, my lord.

She isn't expected back

for some time.

See that she receives this,

will you?

And tell Miss Beatrice that I

could not, after all, wait.

Yes.

[ Telephone ringing ]

And this could be

our production office.

We're going to be

a thundering success, Jack.

Peter, I think it's best

to begin in a small way,

keep things informal --

till we know how we get on

as a team, I mean.

We're a good team, Jack.

We proved that long ago.

We did, didn't we?

Well, the set will be

modest enough --

a suggestion of trenches,

a skyline of shattered trees.

Your carpenters can make those

for me?

Of course they can.

Just tell me what you want

and leave the rest to me.

Oh. Here.

Let me help you with that.

Thank you.

You look happy.

I am, because of Peter.

I never thought

he'd be like this again.

You'd never know it, would you?

But, well, he was injured, too,

you see --

not physically, but in himself.

When he came back from

the trenches, he was different.

Working with Jack is going to

do him so much good.

Good.

Oh, I've heard

from George Morton.

Oh, what did he say?

He said he'd look Jack and Peter

up next time he's in London.

Oh, good.

We're ready for you now, Liddy.

JACK: I don't want it there.

Neither do I want it there.

I want it where I asked for it.

There.

Now get them

to pull their socks up, John.

PETER: My God, Jack.

This brings things back.

I'm trying to forget about it.

And you?

I want to face it, Peter.

That's what this film's about.

All right.

That's good.

So, on behalf of Sears, Roebuck,

it is my pleasure to tell you

that we have decided

to offer you the contract.

Doubtless you'll wish to discuss

it in detail with your lawyer,

but we seem to be agreed

in principle, do we not?

Yes, we do.

You'll be aware, I'm sure,

that my company operates

primarily through

our mail-order catalog.

- Here is the current edition.

- Thank you.

We do, however, boast one of

the finest stores in the States.

In this as well as in several

prestigious commercial venues,

we mount our annual

promotional tour.

Now, we would appreciate it

if you and your representatives

would participate

in this event --

at our expense, of course.

Oh. You would like us to go

to America?

You and whomever of your staff

you require

to assist you on the tour.

Would that be acceptable to you?

Quite acceptable,

Miss Sargisson.

[ Indistinct conversations ]

Well, we're happy

with you two Germans.

Uh, if you won't mind,

please go.

Can we have you two

up by the gun?

You own this studio,

don't you, Mr. Hanson?

Peter.

Fay.

Fay Leslie.

That's with an I-E, not a Y.

Stand by for a take.

Camera rolling.

Film running.

And action!

[ Gunshots, men shouting ]

[ Explosion ]

BEA: Now, as you know,

we're going to be taking

a collection of our designs

to America,

which Kitty and Liddy

are going to model.

Well, the word has got 'round,

Miss Bea.

In addition, we will need

the services of a seamstress

during the tour.

But only the one seamstress.

But only the one.

Now, the question is...

Which one.

BEA: You are both

equally qualified for the job.

So, well, we wondered what you

felt about it yourselves.

I think Madge should go.

No.

Tilly should.

Well, you two are no help

at all.

Shall we toss for it?

Madge?

- BEA: Well...

- EVIE: Yes.

Well, you call.

Mm.

Heads.

Oh, Madge, it's tails.

Sorry.

Well, well done, Tilly.

TILLY:

Oh, thanks.

BEA:

Next time, Madge.

Yes, Miss Beatrice.

Sorry, Madge.

Thank you ever so much.

Oh, I'd love to be a fly on

the wall when you tell Norman.

Will he let you go?

Oh, let him try stopping me.

But it's ever so far away,

America, isn't it?

I wouldn't go and leave Perce.

Oh, that's only 'cause

you're scared he'd do a bunk

whilst your back was turned.

Betty!

Well, Gerry will be

disappointed.

I reckon he could have done with

a few weeks without my nagging.

Come on, you.

Good night.

- Good night.

- Bye.

During our absence,

Mrs. Burgoyne will be in charge

of the day-to-day running

of the house,

and you will be working closely

with her.

Your areas of responsibility

are clearly defined.

You're both familiar with them,

so I don't see

any problems there.

Do you?

No, Miss Eliott.

Well, think about it, Joseph,

and if you feel --

I can tell you now.

I'd like to very much.

I'm so glad.

I can't tell you

what a relief it is

to know I shall be leaving

things in such safe hands.

Thank you.

This certainly sets you up

financially.

Well, we'd have an independence

and a security

that we've never had.

Gives you real status, you know,

in the commercial sense.

But as regards our name,

our reputation,

are we wise to get involved

in this market?

You're diversifying.

That's all.

The exclusive range remains

unaffected yet.

It's a great opportunity.

My advice, for what it's worth,

is to seize it.

We hoped you'd say that.

It's an exciting itinerary --

Chicago, Boston, New York.

Wish I was going with you,

but I have a film to finish.

How's it going?

It's good to be my own master.

- But?

- I don't know.

I'm not sure I should be making

this film.

It's very subjective,

possibly even morbid.

- Jack.

- And I hate to admit it,

but Peter isn't proving to be

the ideal partner.

Anyway, I must get back

to the studio,

check that everything's ready

for tomorrow -- and it won't be.

- Good night, Evie.

- I'll see you out.

Good night, Jack.

And thank you for everything.

I gather Alexander has returned

to Italy.

[ Sighs ]

Oh, thank goodness.

Does Evie know he was here,

asking after her?

Does that bother you?

A little.

Well, that's why this American

trip will be wonderful --

a complete change of scene.

Oh, Jack, I'm certain I'm doing

the right thing by her.

Yes, I know you are.

Certain, do you mean, or right?

Goodbye, Bea.

Goodbye.

Alice, you're perfectly happy

with all these arrangements

while we're away?

- Yes indeed.

- And --

When did this arrive?

Um, it must have been a week ago

his lordship called.

Wasn't it, Miss Eliott?

I left it in your tray.

I thought you'd be sure

to find it.

Alice, we'll continue

our conversation later.

- Thank you.

- ALICE: Yes.

- [ Sighs ]

- [ Door closes ]

Evie, he arrived unannounced

while you were out.

I had no idea

he'd left you a letter.

And it didn't occur to you

at the time

to tell me

that he was in London,

that he'd called on me, hmm?

I talked to Jack about it.

We thought

you were getting over it.

But I wasn't getting over it.

You and Jack had no right

to interfere!

How can I decide

what is best for me

if you keep things from me?

It's your right, of course.

[ Sighs ]

But the truth about Alexander

will only hurt you more.

If there's anything

I don't know --

whatever it is, Bea --

tell me.

I have a right to know.

Please.

[ Sighs ]

You think he resigned on a point

of honor because of you.

Well, it's not true.

If he hadn't resigned,

he would have been sacked

because he mishandled

the Saroyan affair.

He took the post in Italy

in order to salvage his career

and on condition that he took

Elizabeth with him

to put pay to any talk

of any divorce.

I don't believe you.

Evie, it's the truth.

Elizabeth told me.

When I confronted Alexander

with it, he didn't deny it.

I'm so sorry.

I really didn't want you

to know this.

This is a lie.

This is a lie to justify

your interference with my life!

- Why would we do that?

- I don't know why!

Maybe Jack would tell me.

[ Explosions, men shouting ]

Cut!

Excellent.

Thank you all.

Don't get so steamed up.

The set should have been ready

for me.

This is not the first time

this has happened.

Well, have some coffee

and relax, will you?

I want a word with you, anyway,

about young Fay.

Young Fay?

Very talented little actress,

wouldn't you say?

You know, I'd like to see her

given a bigger role, Jack.

Or perhaps her existing part

could be made more important.

Listen to me.

If her part was

any more important,

I would have to replace her.

Evie. How nice.

What's the matter?

Jack, I need to speak to you.

[ Sighs ]

Excuse me, Peter.

Oh.

Excuse me.

I was looking for Mr. Hansen.

Hello.

Fay.

Peter.

I thought I'd surprise you.

Darling, this is Fay Leslie,

a member of the cast.

Pleased to meet you.

How do you do?

My wife's shortly leaving

for America, Fay,

with the House of Eliott.

I'm a mannequin, you see.

Really?

Well, you'd better take me home,

darling.

Good night, Miss Leslie.

Good night, Mrs. Hansen.

It's perfectly true.

He told me himself

the reason he resigned.

And it wasn't because of me?

No.

Elizabeth used her influence

to get him the Rome appointment,

and he accepted her conditions.

Bea telephoned you this

afternoon, Jack, didn't she?

She told you to say this.

Of course she didn't.

No.

Of course she didn't.

Evie.

Did you see Jack?

Yes.

I'm sorry for not believing you.

You look so cold.

Come on.

Come and sit by the fire.

[ Exhales deeply ]

You were going to get me

a better part.

You said I'd be made

more important.

I've tried.

But Jack's the director, Fay.

You don't carry much weight

around here, do you, Peter?

- Now, Fay, that's --

- Tell you what, though.

Get me on that trip to America

as a mannequin,

and you can be sure our

understanding remains a secret.

But I don't want you in America.

I want you here.

I'll be back.

But if you let me down,

I shall have to have a little

word in your wife's ear.

- Good morning, Mr. Maddox.

- Good morning.

Peter, have those spare reels

arrived yet?

I am really stuck

if they're not here by midday.

All present and correct, sir.

Good.

Jack.

Mr. Maddox, do you know

which one of these you want yet?

Uh, later, John.

Thanks.

We're doing well, aren't we?

Sorry, Peter.

What are you saying?

You're happy

with what we've filmed?

- Yes, yes.

- Good.

Look, Jack, old pal,

how would you feel

about doing me a bit of a favor?

A favor?

What sort of favor?

Could you...

Well, could you get Fay

on that tour of the States

with the House of Eliott?

No.

No, I could not.

Of course you could.

Use your influence.

Do it, Jack.

For an old pal who's calling in

a debt of honor?

Fay drives a hard bargain, Jack.

She's put me

in an awkward situation.

What do you say?

For old times' sake?

No.

No. I don't interfere with my

wife's business in that way.

I see.

[ Lighter clicks ]

It's all very well

to make pretty speeches

about owing your life

to good old Peter,

but when it comes down to it,

there's nothing doing, is there?

Look, if she doesn't get

her own way,

Fay's gonna tell Liddy

that she and I are...

Well?

You are overstepping the mark,

Peter.

Jack, please!

All right.

I will speak to her.

Why on earth would we do that?

We can only take two mannequins.

Kitty and Liddy are going.

If you want to ingratiate

yourself with some actress,

please don't involve me.

[ Sighs ]

It has nothing to do with me

except that I owe Peter

this favor.

Help me out.

I've completely misjudged

the man.

Our partnership

is turning into a disaster.

See, Fay is threatening

to tell his wife

about their relationship.

- Oh.

- He saved my life, Bea.

It's not so much to ask

in return.

Well, all right,

if it'll help you out.

We'll have to drop Liddy

from the tour.

Kitty has to go.

She's the most experienced.

Liddy will be disappointed.

Well, it does get Fay

out of the country.

It gives Peter some sort of

chance of coming to his senses.

I suppose that's true.

We'll just have to tell Liddy

we need her here.

What's the matter?

Miss Beatrice says

they need me here in London.

They're taking another girl

to America.

But she's never worked

as a mannequin, Kitty.

She's an actress

in Mr. Maddox's film.

Could you take that to Alice,

please?

- Yes, Miss Eliott.

- Thank you.

Liddy, I knew you'd be upset.

Forgive me,

but I've seen the way Fay Leslie

hangs around the film studio.

I think all this needing me here

is just a ruse, isn't it?

To do a favor for Mr. Maddox.

No. Liddy, I promise you

that's not true.

Really, you mustn't think that.

I can't help thinking that.

What other explanation is there?

Well, simply that...

Well, as my sister explained

to you, we do need you here.

I'm sorry.

It must be very disappointing,

but, well, there it is.

[ Door slams ]

Yes, Miss Eliott.

Goodbye, sir.

I'll be off, then, Jack.

Sure you don't fancy a drink?

Quite sure, thanks.

Thanks a lot

for what you did for Fay.

She's...

Well, she's thrilled.

Look...just leave it, Peter,

will you?

I'll see you tomorrow, then.

Good night.

Oh, they've finished

for the day, sir.

Nobody there --

except for Mr. Maddox, that is.

He's the man I've come to see.

W-We're old friends.

Reckon you best go in, then.

Straight through, sir.

Mind how you go.

It's a bit dark in there.

Many thanks.

[ Debris falling ]

Jack?

George.

George Morton.

I'm sorry, old man.

I've startled you.

Are you all right?

I thought you were dead!

N-No, no.

Far from it.

[ Both laugh ]

What the blazes is going on

here?

Do you know I've been sat there,

trying to work out

exactly the same thing.

Come on.

Let's get out of here.

[ Laughs ]

Thank you, Jack.

That was wonderful.

Good.

Anyway, I had to deliver

some particularly fine artifacts

to the British Museum,

which meant spending a night

in London,

so it seemed a good opportunity

to look you up.

Well, I'm very glad you did.

So, Evie wrote to you.

Yes.

The letter was forwarded to me

in Crete, together with this.

- You remember?

- Good God.

[ Laughs ]

It seems that she had recently

reunited you with Peter Hansen.

And, not content with that...

well, here I am.

[ Chuckles ]

Is this Evie?

No. No.

That's her sister, Beatrice,

my wife.

Well, forgive me, but if this

lovely lady is your wife,

then why isn't she here?

Crazy, isn't it?

Hugh died, you know.

Yes. Yes.

I-I heard.

That's very sad.

So, you and Peter Hansen

have formed a partnership.

How is that going?

Well, to tell you

the absolute truth, George,

I'm a little bit disappointed

in him.

- I'm beginning to think he's --

- Oh, good grief, Jack.

[ Chuckles ]

You don't mean to tell me

it's taken you this long

to find that out.

The man's an absolute cad.

Hang on a minute.

Whatever one may think of him,

he did save my life.

Jack...is that what he told you?

[ Laughing ]

Good God.

Why are you laughing?

He left you for dead

and he b-bolted like a rabbit.

What?

It was quite a dangerous thing

to do, actually.

There was a lot of stray stuff

flying about that night.

I don't understand.

When I came to,

there he was at my bedside.

He'd been injured.

Jack...it seems a pity

to destroy your illusions.

The fact is that when you were

hit, you were out for the count.

It was Hugh and I who carted you

off to find a stretcher crew.

Then, once you were

in safe hands,

we headed back

to the command post.

But H-Hugh...

Hugh...

He got hit.

And we both ended up

being captured by a Jerry.

Hugh was in such bad shape,

they repatriated him.

So...Peter lied to me.

To you.

Probably to himself as well.

He's a casualty of war, Jack,

but he's not a hero.

So...people treat him

with contempt

rather than the sympathy

he deserves.

Poor devil.

I'm here to be measured.

Know how to turn, do you?

Pardon?

You can stand properly, can you?

And walk correctly.

There's a lot more

to showing off a dress

than just slipping it on,

you know.

And batting your eyelashes.

I'm an actress, dear,

not just a clotheshorse.

Once I get to New York,

you won't see me for dust.

I'm just surprised

at Mr. Maddox,

letting you make such a fool

of him.

We're ready for you now,

Miss Leslie.

You've got it wrong, dear.

It isn't Mr. Maddox

I made a fool of.

[ Door closes ]

I'm deeply embarrassed.

The man's a cheat and a fraud to

whom I owe absolutely nothing.

He put me in

an impossible situation.

I am so sorry for being

such a gullible idiot.

You weren't to know.

If Evie hadn't got in touch

with George,

I never would have known.

So some good came

of the reunion.

Oh, yes.

I'm delighted to have made

contact with George again.

What if Fay tells Liddy

about all of this?

Well, we can't prevent it.

It's Peter's problem. Not ours.

Well, it means Liddy can come

to America now.

If she still wants to.

Shall I go and ask her?

Yes.

And if she does,

will you tell Alice --

and tell Fay?

I shall enjoy that.

[ Door closes ]

Poor old Jack.

Where does this leave

your partnership with Peter?

I shall dissolve it.

But what about your film?

It's finished, but...

I should never have made it

in the first place.

The whole thing was a mistake,

a fool's way of trying to

come to terms with the past,

draw a line under that war.

- Are you sure?

- Quite sure.

I haven't lost too much.

I'll close the studio.

I've accepted an offer

from a German producer.

I leave England

on the Tuesday after next.

But that's the day

after we leave for New York.

[ Sighs ]

Shall I see you before we go?

Of course.

Agnes, now, there's plenty

of tissue paper.

WOMAN:

Here, Madge.

- [ Knock on door ]

- Tilly. Come in.

What is it?

Um, the thing is,

Miss Bea and Miss Evie,

I can't go to America.

I feel really bad

about letting you down.

Tilly, you were so keen.

It's not that I'm not keen,

Miss Bea.

I'm ever so keen.

It's just that I've fallen.

Fallen?

Tilly, you're pregnant!

Oh!

Tilly, that's wonderful news.

Yes, Miss.

Me and Norman are that pleased,

but it's early days now,

and he doesn't want me going all

that way and taking the risk.

No.

Of course you mustn't.

Congratulations, Tilly.

Thank you.

So you're simply gonna walk out

on me?

Believe me.

It's for the best, Peter.

I've settled

the outstanding debts.

Let's just say

that it didn't work out

and part with no hard feelings,

yes?

It's this business with Fay,

isn't it?

Look, I'm sorry, Jack.

I just wasn't thinking clearly.

Won't you accept an apology?

I'm afraid it's not as simple

as that.

You're saying I'm not cut out

for film production.

Is that it?

No, I'm not saying that,

but not with me.

Perhaps I'm not ready to run

my own studio yet.

I don't know.

Anyway, I've accepted an offer.

Oh?

From a German film company.

I'm going to work in Berlin.

How can you do that?

The Germans are our enemies,

Jack.

They killed and maimed

our friends.

Where is your sense of honor?

Goodbye, Peter.

If it's a boy,

you have to call him Charles.

What about Agnes?

[ Laughter ]

MADGE:

Well?

Oh, I can tell by your face

it's all right.

America, here I come!

Oh, Tilly.

We're gonna miss you, Madge.

- Oh, thank you.

- I'm so excited for you.

Oh, thank you, Agnes.

We can tell that, Agnes,

by your stitching.

[ Laughter ]

[ Sighs ]

We seem to move further

and further apart.

JACK: It was happening

before we separated.

One of us being in America

and the other in Germany

is not gonna make any difference

to us, is it?

So many areas of our lives

which just don't fit together.

Like me not wanting to have

children.

It's your life.

I have to accept that.

But it was going to be our life.

Well, don't be sad.

You've achieved so much.

You're an established

and respected designer.

The House of Eliott

is a success.

Oh, yes. The House of Eliott

must always come first.

You need it to be a success.

Do I?

I mean, do I really want to go

to America?

Of course you do.

I'm not sure that I do.

Does the idea of working

in Germany really appeal to you?

[ Sighs ]

Oh.

They take filmmaking seriously

there.

But do you want to go?

There's nothing for me here

at the moment, is there?

Come with us to America.

To do what?

Well, there's wonderful

opportunities for film.

[ Sighs ]

It's not too late.

It could still be arranged.

Bea.

Well, think about it.

I'm losing you, Jack,

and I don't want to.

Don't you?

No.

[ Birds chirping ]

EVIE:

[ Sighs ]

Did you read it?

No.

I realized it wouldn't make any

difference, whatever it said.

So is it over, then?

No, it isn't over.

I just shan't ever see him

again.

[ Indistinct conversations ]

Miss Eliott, uh,

before you leave...

Is this all you're taking,

Madge?

Mm-hmm.

[ Indistinct conversations ]

Have a pleasant trip, ladies.

Thank you, Mr. Wint.

Betty, Agnes,

what are you doing in here?

Oh, please, can't we just say

goodbye to the girls?

All right. Just this once.

Come along. Do hurry.

[ Indistinct conversations,

laughter ]

[ Engines idling ]

- Bye, Madge!

- Bye!

BETTY:

Have a lovely time!

MADGE:

Take care of yourselves.

Bye.

Have a nice time.

- Bye.

- ALL: Bye!

You take care, Tilly.

TILLY: Bye!

[ Horn honks ]

Oh, no.

I don't believe it.

I completely forgot to ask Madge

to send me a picture postcard

of the Statue of Liberty.

[ Chuckles ]

[ Horn blows ]

Goodbye, England,

just for a little while.

And hello, America.

- Hello, New York!

- Oh!

All ashore that's going ashore.

Attention, passengers.

Please board at once.

Do you think he'll come?

[ Sighs ]

I simply don't know.

Come on.

[ Up-tempo music playing ]

EVIE: You're still

half expecting him, aren't you?

Yes, I suppose I am.

Isn't it stupid?

Bea, don't look back.

Come on.

[ Crowd cheering ]

[ Sighs ]

Bea.

Don't look back.

[ Crowd cheering ]

[ Horn blows ]

[ Cheering continues ]

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