The Collection (2016) s01e08 Episode Script

1 ALL: Vive la France! You've bought into your own lie, Monsieur Sabine, and that's what's so chilling.
Let him look.
He's not gonna find anything, is he? Rossi was right.
What was he doing during the war? Why did he stay in Paris? If this guy was playing you, why have you stuck around? Monsieur Sabine kept us from going to a place where nobody came back.
My mother makes this herself.
Heals your hands.
Those months I went away, I was having a baby.
Your baby is in Paris, Nina.
The couple who adopted him live in the 8th Arrondissement.
How do you know my husband? - He knows all about us.
- What did you tell him? I just wanted to let you know it was taken care of.
I don't need to know any more about it, Victor.
Neither does Paul.
I'd like to offer you a financial stake in the business.
I have my own plan.
How long are you willing to live in his shadow? You must want something more.
- What did she offer you? - A label that needs resuscitating.
I wonder if you could spare me a few minutes tomorrow.
What's this regarding? It'll be easier to explain once I'm there, Monsieur.
I love Paris In the springtime I love Paris in the fall I love Paris in the winter when it drizzles Say, I love Paris in the summer when it sizzles I love Paris Why, oh, why do I love Paris? Because my love is near (POUNDING ON DOOR) - (KNOCK) - YVETTE: Claude.
(POUNDING ON DOOR) Claude, please.
Claude, won't you please let me in? - Claude? - (POUNDING) - Fuck! Ow! - (SCREECHES) - Claude? - Argh! - What just happened? - Fuck! Claude, have you hurt yourself? Are you bleeding? - Argh! - Do you need my help? Please, let me come in.
Please, I won't disturb you.
I won't even breathe on you.
Oh, open this goddamn door, Claude! - Say something! - Go away! Why? So you can suffer alone? (HE GROANS) That woman will drag you straight into the river.
You mark my words.
It's in the cards, Claude.
She's doomed.
I'm well aware of Charlotte's intentions.
Did you know she asked me to invest in her new business? - I'm not surprised.
- You might be when some of your loyal clients start opening their chequebooks.
I tried to talk some sense into her.
She can't just walk away from this house.
Marjorie let someone zip you up before you catch a cold.
OK.
I love your wife, and she would carve out my voice box for saying this, but you need this girl.
I have ballet sketches to finish.
And a party, here, tomorrow night, which you're co-hosting, in a luminous gown that will make every man here want to undress you, even more than this.
It's business as usual, my dear.
Sorry to keep you waiting, Inspector.
Were you able to locate your original sketches for the dress? I wasn't.
So many of them are done on scraps, stuffed into my pockets.
They rarely survive their trip to the cleaners.
But this is an interesting coincidence.
How long do you expect to be in Paris? Oh, as long as I have to be.
I'm in no rush.
INSPECTOR BOMPARD: From the research I've done, this particular design, it's a common choice for men in the military.
Navy, to be exact.
So, now you think the victim was French? Last time you were here, you were sure he was a German.
Never sure.
Only an educated guess.
But you know how it is.
You follow one horse, until a faster one sneaks around the bend.
Tell me, Monsieur Sabine, are any of your workers married or related to sailors? If you're intent on questioning my staff Oh, no, not there yet.
Just trying to connect the dots.
I'm curious if someone with this tattoo passed through your shop and possibly inspired the design? Unconsciously, of course.
Well, I can't account for what fires my imagination, Inspector, but I can assure you it's not men in the military.
(CHUCKLES) Naturally.
Who wants to see Rita Hayworth in a sailor suit besides me? It's a bit odd, though, isn't it? This particular image surfacing on your dress and on the victim on your property.
(EXHALES) It's a it's a coincidence.
But then so is the fact that you and I are both wearing chocolate brown socks.
Stranger things have happened.
Has anyone asked about why Charlotte left? There's so much work, most of the girls are just trying to stay above water.
And has the mood changed? Do they view Paul differently? They probably feel sorry for him.
It's a betrayal, isn't it? To walk out after he's invested so much time training you.
Has anyone asked about Claude? No.
Have you spoken to him? No.
We've been so busy.
Paul bouncing from interviews to the hospital to see Dominique.
He's barely had a minute to work on the ballet sketches.
I was hoping he might come to you.
- Me? - To ask for help.
But I'm not a designer.
But you two have worked together for so long, you know his tastes and the fabrics he loves.
But it's not the same, is it? You wouldn't ask a violinist to compose a concerto.
No.
No, you wouldn't, would you? There is somebody who could be useful.
Maybe I could mention it to her.
Yes, please.
It'll only be to colour in the lines.
Here.
Sit.
- I don't want to sit.
- All right, stand.
Pace, use my bed if you want, I haven't seen it since Monday.
What's this for? Charlotte is bringing Regine Deleurs here tomorrow.
She's promised her three outfits.
You can't do three outfits.
You can if you skip sleep and meals.
- Why are you doing this? - Why? Well, cos we need this editor to get us out the gate.
It's our one chance before she leaves for New York.
I finally tell you the reason I went away, you tell me you want to help, - but then you're gone.
- Nina Your office is cleaned out, empty.
No note.
No goodbye.
Why would I say goodbye? Is this so you wouldn't have to see me again? So you could pretend I didn't tell you the truth? Nina, I'm not jumping ship.
This is me getting on board.
This is me sailing into strange, fucking uncharted waters where I need to take care of more than just my cat.
And it's a little new for me.
So just spare me the rod.
At least until I find Found it.
Open it.
I mean, you don't have to you don't have to slip it on just yet.
At least not until we're ready to tell the world.
- (KNOCKING ON DOOR) - Yep? - Am I disturbing you? - No.
No, not at all.
I'm finally getting a chance to print some from the lost rolls.
That was a wonderful moment.
Holding her hand while she was wearing that dress.
I felt like a proud father, giving her away.
Oh, there's one of both of you I could just Later.
Later, perhaps.
I er I have a job for you but it's not for the house.
But it's for me.
It's a favour.
Yeah.
I'm being investigated by the police.
Has this got something to do with Rossi? No, I don't believe so.
Er well, I don't want to get into specifics, but I do believe I'm being framed.
Possibly by the same saboteur who passed that note to your colleague.
He's not a colleague.
He was an operator who was pulling my strings, too.
What is it you want me to do? Victor took these, last winter at my cottage, the first day we looked at it.
I'd like you to move us to this area by the barn, and then take these rocks and put them here.
Can that be done? I well, I I'd have to print one negative on top of the other, dodge and burn to prevent double exposure.
It might take a few tries, but yeah, sure, it can be done.
Thank you.
(DOOR CLOSES) Maybe we'll see some friends at the park, hm? Come on, darling.
Enjoy the park.
We'll only be an hour.
- Bye.
See you later.
- (CAR ENGINE STARTS) Paul, if that detective starts asking Claude This is not the black I ordered.
Black is black.
No, not when you're being dragged into hell by a hoard of demons! I need a Spanish black! This is Don Juan, damn it! I don't even know what that means.
It's Dance of the Furies.
I need something so dark it hits you across the face.
What don't you understand? Focusing on a tutu when this office still smells like a detective.
- We need a plan.
- I have a plan.
I'm telling Claude the truth.
- Paul, you can't.
- We have to.
That sailor keeps popping out of the ground.
Should he learn the truth from us or a stranger in a police office? Dragging in Victor wasn't enough, now I've pulled in Billy as well.
Will you let me tell him? Please.
He needs to hear this from me.
I can't really tell how it moves until it's moving.
I'll adjust the hips once Flor has it on.
Flor won't be here.
She has to be here, these are her measurements.
She's not available.
It is a solo show for the editor of a magazine that she'd extract her molars to be in, so she'll be here.
No, she won't.
(SIGHS) Well, then ask Lisette.
I did.
Also not available.
Why? Has there been a sudden outbreak of the Spanish flu? How long have I been trapped in this fucking room? Why is no one available on a Friday afternoon at three o'clock? Because no one wants to cross your brother.
(BELLS CHIME) (SPEAKS FRENCH) Please try to avoid the puddles, Beatrice.
Your daughter is so well behaved.
Thank you.
But I'm not her mother, I'm her governess.
Really? I'd like to find a position like that for myself.
What do you think he did? I don't know.
I don't want to know.
Well, the guy's had a stink on him since he walked in the door.
Rossi smelled it on him right away.
So if you're looking for my permission to say no to the man, you got it.
I think I'm looking for your permission to say yes.
You know, this man has offered me more opportunities than anyone I've ever met.
Back home, I'd have to pay my dues for ten years - before someone would let me do - Billy.
- the kind of things - Billy! How many times do you have to look inside a lion's mouth before you admit he's got teeth? (SCOFFS) (LOW CONVERSATION) - He took it with him.
- Paul.
He came in here and helped himself to whatever he wanted.
Claude wouldn't do that.
He knew I had concept boards to finish.
You will finish them.
We'll send someone out to get whatever it is that you need.
There are people in this building who are capable and want to help you.
If you'll let them.
Or I can go to Claude and ask for whatever's missing.
You're not going there.
My mother's already trying to rip his door down.
Apparently pleading and crying and kissing the keyhole hasn't worked.
Well, of course.
He's allowed to wipe his feet on her.
You so much as look at your mother the wrong way and you're being fitted for a hair shirt.
I'm used to it.
I won't be forgiven for seeing too much.
- Too much of what? - Her.
Being treated like rubbish.
I'm the one who had to pick her up off the floor.
She thinks my brother was too young to remember.
His sailor was every man who's ever made her feel worthless.
My father was just the first of many.
Claude and I were raised by different mothers.
Charlotte.
Have you time for another coffee? I don't.
I have an appointment.
I made a terrible mistake at Monsieur Trouvier's château.
I was only hoping to protect Paul's marriage, but apparently saving one son cost me the other.
I really must go.
I'm no stranger to wounded pride, Charlotte, or the desire to punish.
But experience has taught me when to unclench my fists and walk away.
Coming between two brothers is a mistake.
You will always be on the outside looking in.
I don't think Claude sees this as a mistake.
Perhaps not at the moment, but he will, when you can't deliver what you promised.
If I couldn't deliver, you wouldn't be standing here, would you? This won't end well, Charlotte.
If you're thinking of using my past against me, you're wasting your time.
The woman you tracked down from my previous work experience is now married to a banker.
He's leased a lovely shop for Claude and me, just around the corner from Maison Sabine.
I'm not the one with my face pressed to the glass.
Take me home.
Then you'll be making another stop.
(EXHALES AND WINCES) (DOOR CLOSES) Where did you go? - It's been hours.
- (SIGHS) It took longer.
I need your help.
Can you make that toile smaller? By how much? Er the pattern pieces are here.
All the measurements are there.
I went back to the house.
I saw them the couple who adopted him.
Oh, Nina.
- You didn't talk to them, did you? - No.
- Really? - No.
Good.
I spoke to a woman who works for them.
They had a son who died.
I'm sorry to hear that.
Er look, I'm not sure my blind stitching is blind enough.
- Can you see that? - I'll do that.
Thank you.
(SIGHS) I don't want them to suffer.
Why should that mother have to feel loss all over again? That's that's not our responsibility.
Maybe not, but it's our decision.
(HE SIGHS DEEPLY) Why didn't you tell me? When you first knew.
What were you scared that I'd say? It was more what you wouldn't say.
- Does my brother know? - No.
- Billy? - No.
Well, what about your mother? - Stop.
- Nina, we have to talk about this.
You're going against the grain.
Oh.
Thanks.
We'll make a good life together, Nina.
Promise.
- Has everyone left? - What? Yes.
Marianne told us to so we could come in early tomorrow.
Monsieur wants everyone cleared out before the party starts.
What's this? It's a card for my sister.
I'm a terrible liar, aren't I? Don't make that face.
You're not much better at it.
Marianne's asked me to help Monsieur with the ballet sketches.
This is Dona Elvire.
- Is that her father? - No! God, no.
That's Don Juan.
Does he look like her father? He looks solid.
Well, Don Juan has to be graceful and quietly heroic and solid.
Sorry to interrupt.
Victor, can I steal you for a minute? (SIGHS) Bompard hinted that he may stay in Paris.
We need to give him a reason to go home.
We're gonna deliver a photo.
Let him see that those rocks were covering that sailor's grave - before we ever set eyes on the place.
- But Paul Billy's sorting that out.
You'll deliver the picture when it's ready.
Isn't it simpler if I just turn myself in? I did this.
Not you, not your mother.
- This was my mistake.
- We're past that.
I'll leave the family out of it.
Bompard's not looking to mount your head on his wall, Victor.
That's not the prize.
(SIGHS) We all live with our mistakes.
So please, don't develop a fucking conscience now.
(RUMBLE OF THUNDER) (RUMBLE OF THUNDER) Shit.
Hey! What's happened? Why couldn't this wait till morning? Cos it's not safe to talk in the Maison any more.
Nina, that place has too many secrets, and I'm not talking about the war, I'm talking about now.
Whose secrets? - It doesn't matter.
- Billy? Look, I just want to work in a place where people say what they mean and everybody's not speaking in code.
I don't know how else to say it.
I came here to lose myself and now I feel like I'm losing too much of myself.
What does that mean? I've been looking at this place and this man in soft focus for too long, Nina.
All right? I didn't want to have to admit how much of myself I was willing to give up to be seen.
But I can't.
I can't do it any more.
So I'm going back to New York.
And I want you to come with me.
Before you answer, here are the reasons this makes sense.
- All right? You're French.
- Billy Fashion houses are gonna be falling all over themselves to work with the real thing, and I have a portfolio now.
I can approach any magazine.
I can do strictly high-end studio work - Billy, please.
- All right, so it won't be high-end.
I will shoot passport photos, Nina, I'm not proud.
I love you.
We can stay with my family.
What? What did I just say? I want to be where people say what they mean, and I mean it.
I love you.
I I I can't do this right now.
Nina, no, wait! You don't have to.
You don't have to.
Just promise me you'll think about it.
All right? And you'll meet me back here tomorrow night.
There's a party for the ballet.
I have to be at the Maison.
No, no, you don't.
You don't.
Let's go somewhere where we don't have to answer to anyone but ourselves.
We'll talk more, or not talk more, tomorrow night.
All right? (CAR HORN HONKS) [CHARLES TRENET: "Y'a D'la Joie".]
Dans le ciel par-dessus le toit y'a d'la joie Et du soleil dans les ruelles y'a d'la joie Partout, y'a d'la joie - What is that underneath? - Embossed silk.
It feels so smooth against the skin.
Claude calls this his "Layers of Samurai.
" It's lovely, isn't it? He has a gift for such surprising combinations moire with quilted silk, chiffon with wool Is there another one, or is this it? There's one more.
I mean, I've done some other sketches.
Let me change.
Hm? You can tell Regine the philosophy behind this new collection.
Be right back.
(FOOTSTEPS) Um, well it's not it's not a philosophy really.
It's a it's It's an attempt to provide freedom.
And letting women breathe.
Breathe? Because everything that's celebrated currently is about restraint.
That's a bit of a cage, isn't it? I mean, it's more It's more the idea that the dress should adapt to the body rather than the body always having to adapt to the dress.
I mean, just because you're wearing couture, it doesn't mean you shouldn't be able to break a little wind when you need to.
Right? (CHUCKLES) I mean, that's freedom.
Right? Monsieur? Why are you in that? It's for the party tonight.
I told your mother I wanted you in the teal cocotte.
Dominique wore it in the show.
Um we don't have time to alter it.
Why not? You were supposed to come in for a fitting yesterday.
I wasn't able to make it.
Were you with Claude? Yes.
Tell your mother to pair it with the cabochons set.
She'll know what I'm talking about.
Monsieur If I were no longer here as a model would I still be welcome? Ah.
So Charlotte's taught Claude the art of poaching.
He's asked you to model for him.
No.
That's not what I meant.
I was there to Er I helped him because he was overwhelmed.
- He needed - Nina, stop cowering.
You're not a naughty child who stole a lollipop so don't act like one.
You know how fond I am of you, but you have some nerve to betray me and then ask me to make it easier for you.
(SNIFFS) Monsieur, please.
I owe you my life.
Yet you still chose my brother.
Just five more minutes.
Take the sketches with you.
(KNOCKING ON DOOR) - Ah, look who's here.
- PAUL: Regine.
How lovely to see you.
Even if you're wearing something that's not mine.
REGINE: (CHUCKLES) I must go.
Thank you so much.
You have a charming home.
It's all very exciting.
Regine, when do you return from New York? I've seen enough, my dear.
You are definitely on your way.
It certainly has a point of view.
But let's be honest, he is not his brother.
Paul has a gift for making anyone from anywhere look like a lady.
This one? I'm not so sure.
So our next appointment is at (KNOCKS) - Inspector Bompard? - Yes.
The detective downstairs, he sent me to you.
- He said you could help.
- Did he? My husband's been gone for three months.
He's in the navy, based in Cherbourg.
His shipmates said he might have run off with someone else.
Today, I um Go on.
His wallet was left in a sack in the café next door.
It was left there in the night, hanging on a knob.
Do you know this person? - Have you called this number? - Yes, but there was no answer.
Is there anything else you can share? There was a stranger who came by a while ago looking for Marc.
He wasn't a shipmate.
If you and Charlotte need time to talk, I can come back.
No, she left.
Said what she needed to say, and I don't need to be stroked.
I've got a cat for that.
Regine Deleurs can't sell these dresses, Claude, but I can.
No one asked you to.
You are two collections ahead of everybody else in this town.
And they'll never catch up with you, none of us can.
This is brilliant! Did did Maman send you? No.
Have you spoken to her? Er no, only through a door.
Actually, I might keep it like that for a while.
Maman's clueless.
She thinks we're bonded together because we shared a bed and stolen cigarettes.
The same fear of never having enough.
But that's not what holds us together.
No, you left out a father too.
Cos apparently we share that as well.
And until Maman tells us differently, the same bastard fell on her twice - We've protected each other.
- two times in five years.
Where I'm weak, you're strong.
Where I'm strong What the fuck are you going on about? Is this all because some pampered silly little bird shat on my work? Cos I can handle that, Paul.
I don't give a damn what Regine Deleurs said! Exactly.
You never have.
But I do! And that's why we're better together.
I'm not going backwards.
I can't.
Will it feel that way if both of our names are on the label? No.
No, cos Helen's put you up to this, hasn't she? - No.
- Did she threaten you? Stop it.
Just turn around, prove you don't have a bloody key Fuck off, Claude.
Cos it seems to me like your wife might have Helen has nothing to do with this! What else do you want me to say? I can't do what you can! (BREATHES HEAVILY) I'll have a document drafted today that officially changes the name of the house.
It'll be on my desk this evening.
If you doubt me, come by tonight.
If you agree to the terms, sign it.
We can make an announcement at the party.
It's your call, Claude.
La musique tombait Comme la nuit Here you are.
Have you eaten? I showed my sketches to Monsieur's wife.
She loved them.
Said she's going to share them with him later tonight.
I thought we could celebrate.
Don't you think it's a little early to celebrate? That wasn't a very nice thing to say.
I just don't want you to get your hopes up, and have them dashed.
So you thought you'd dash them yourself? Why is it so easy for you to be cruel? Maybe I am cruel.
It's a relief, really, to have you finally see it.
It's been tiresome trying to be something I'm not.
- Billy.
- Oh, Jesus! You scared me.
Everything OK? What's in the envelope? It's, er it's for your husband.
It's my letter of resignation.
You're leaving us, too? Just out of curiosity, what exactly is Charlotte offering? I'm not staying here.
I'm going back to the Bronx.
Why? I just have too many questions.
And no offence, but your husband, he doesn't really like to give answers.
Maybe I can give answers.
If I'm right about you then I don't think you can.
Is Claude here? - Where is he? - I don't know.
But if you came all the way here to lure him back to the Maison, you've probably wasted a metro fare.
Why would I do that? I've been helping him.
I spent the morning sewing that dress you're folding up.
Well, then he's made a fool of both of us.
My fault.
I should have never left Claude alone with him.
- With who? - His brother, who'll convince you that you can't walk even as you're running away from him.
Claude knows that.
He's ready to be on his own.
Well, so am I.
I'll get you some tape.
It's a myth, you know that we're ruled by our emotions.
It's not true.
Men are.
They react without thinking, then call it instinct.
You can trust Claude.
No.
I can trust myself.
(MUSIC AND LAUGHTER) Merci, Monsieur.
Oh, Georgia, look at you.
- It's so good to see you.
- How lovely to see you.
Won't you come in and have a drink? Just go straight through Lovely to see you.
I'll keep hold of the belt roller skates.
(KNOCKING ON DOOR) (KNOCKING) Good evening.
I am looking for Claude Sabine.
Is he here? Claude.
Hello.
Um I'm not here to cause a scene or or rip dresses off your guests or anything, I swear.
They didn't even see me come in.
I don't doubt it.
You have a gift for disappearing.
I'm sorry, Helen.
She threw me a life jacket.
So why are you here? Um my brother asked me to come back on different terms.
I need him.
I thought that would make you smile.
A mistake.
No, it's not a mistake.
Paul is downstairs, I'll tell him you're here.
It was brave, though.
What you did.
Don't think it wasn't.
(BUZZ OF CHATTER) (DOOR CLOSES) It's not first class, but it beats swimming home.
Thanks.
It's not exactly how I expected to be leaving Paris.
I just hope I'm not leaving alone.
Then don't start off with a lie.
Tell her everything you know about this guy.
Good luck.
(LIGHT SWITCH CLICKS) Juliette.
What are you still doing here? I saw some things that needed to be put away.
We can do that tomorrow.
What did Monsieur say about the sketches? He hasn't seen them.
And he won't.
I'm going to ask Madame not to share them with him.
But why? This is your chance to be noticed.
- For him to see what you - I don't want him to see.
But you want to be a designer.
And when I was little, I wanted to be a mermaid.
Should I hold out for that, too? How can I design clothes for balls and resorts when I've never been to either? And never will.
I don't understand.
I'm about as likely to rub shoulders with a debutante as a girl with a fishtail.
So I might as well hold on to what God did give me.
Some dignity.
He also gave you spirit.
And imagination.
And talent.
It's your job to show it.
What if he hates my drawings? Why reach just to get slapped down? Because that's going to happen whether you reach or not.
(MUSIC SWELLS) Do you know this story? Sorry.
Excuse me.
Charlotte, honey, what a pleasant surprise.
I'm not here for your party.
Where's Claude? Get rid of her.
I don't care how you do it, just don't let her make a scene.
CHARLOTTE: I want to see Claude.
Where is he? Would you come with me where we can talk? Please just come with me.
PAUL: Is there anything you want to change? Claude? Did I leave anything out? Look, I am trying to broker peace between you and his family, but, honey, this is not the right time for - Are they in his office? - If you stomp in here like an angry Apache, you're not helping your cause.
This is not a cause.
This is a business.
Then why are you using your dirty laundry as window dressing? (PEN WRITING) We have some unexpected guests.
You may want to stay up here for a bit.
Who are the unexpected guests? Inspector Bompard, with a gendarme.
Bompard? (SCOFFS) Why is he back in our lives? - Can I help you? - Forgive our intrusion, but I'm looking for Monsieur Sabine.
Is he here? I'm his wife.
What is this regarding? We're here to make an arrest, Madame.
I gave you time.
I gave you time to tell him.
- Tell me what? - I used my time well.
Claude will be fine.
That detective left here wanting answers from all of us.
- Answers about what? - Keep your voices down.
I've taken care of this.
Like you took care of a sailor? Paul! What the fuck are you talking about? I told you I took care of this.
She had him killed.
- What are you doing? - That's who's buried at the cottage.
Paul, what are you trying to prove? She killed him because she thought he was a threat.
- Stop talking! - He knew our secrets.
- Paul! - She still sees us as mice, and the sky swirling with hawks.
YVETTE: There's just you, me and your brother.
This family will not be hurt.
Keep telling yourself that.
We weren't defending ourselves! - We threw the first punch! - Stop talking! We paid him to be a monster and then punished him for it.
You you paid Marc to attack me? YVETTE: Claude, darling.
You both did this? There's nothing for you to worry about.
That detective is not here to see us.
Well, then who? I don't understand.
I've never even heard of this person.
The telephone number of your former madam was in his wallet.
You may not remember your old clients, but this one went to great lengths to find you.
I don't know what you're talking about.
I don't know this man.
Then perhaps you can explain to us why we found this in your apartment.
BOMPARD: His identity tag.
CHARLOTTE: I swear I've never heard of this person.
BOMPARD: We needn't discuss this here.
- CHARLOTTE: Please, just let me - BOMPARD: Please get in the car.
You're safe.
You left out a lot.
Oh, Claude.
(DOOR SLAMS) (CLOCK TICKING) Nina.
Sorry.
(BELL RINGS) Can I help you? Did you find your brother? I wouldn't know where to look.
(SNIFFLES) Try that detective's office.
If that's what he wants to do let him.
And what is that supposed to mean? I'm finished cleaning up after my mother.
Was pinning it on Charlotte your idea or hers? We'll take up Marjorie's offer, go to New York.
Scout a location for another atelier.
This was left on the doorstep last night, waiting for us.
(SIGHS) I'll be staying with my uncle.
Helen, please.
Let's go to New York.
I'm not sure who I'd be going with.