The Collection

LINNEY

This is "Masterpiece." Vive la France! Previously, on "The Collection."

ROSSI

You've bought into your own lie, Monsieur Sabine. Let him look. He's not gonna find anything.

MARIANNE

Billy, I know you love her, but be patient.

CHARLOTTE

How long are you willing to live in his shadow? You must want something more. I wonder if you could spare me a few minutes tomorrow. What's this regarding?

BOMPARD

It'll be easier to explain once I'm there, Monsieur.

LINNEY

"The Collection," 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. (sewing machine running loudly, knock at door)

YVETTE

Claude? (pounding at door, record playing) (doorknob rattles) Claude, please. Claude, won't you please let me in? Claude? (knocking at door, machine running loudly) (cries

out)

Ow! (meows, hisses) Claude? (shouts) What just happened? Claude, have you hurt yourself? Are you bleeding? Ugh. Do you need my help? Please, let me come in. Please, I won't disturb you. I won't even breathe on you. Open this damn door, Claude! Say something! Go away. Why? So you can suffer alone? 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. Well, you might be when some of your loyal clients start opening their checkbooks. 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. Okay. 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 cohosting 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. (sips)

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. (lighter clicks) 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. 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 color 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 Deleuze here tomorrow. She's promised her three outfits. Why are you doing this? Why? Well, because we need this editor to get us out of the gate. This is 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, uncharted waters where I'm aiming 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. (knock on door) Yeah? Am I disturbing you? No, no, not at all. I was finally getting a chance to print some from the lost rolls.

PAUL

I have a job for you, but it's not for the house, Billy. It's... it's for me. It's a favor. Yeah. I'm being investigated by the police. Has this got something to do with Rossi? No, I don't believe so. Uh, 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. What is it you, um, 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. (sighs) Thank you. (door closes) (bicycle bell rings)

WOMAN

Maybe we'll see some friends at the park? Hmm? Come on, darling. Enjoy the park. Be good for nanny. Bye, see you later. 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 horde 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 fetid room?!

Why is no one available on a Friday afternoon at 3

00? Because no one wants to cross your brother. (bells chiming) (bells continue) (children laughing and yelling) (speaks French) Please try to avoid the puddles, Batrice. 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. (music playing in background) (music continues)

PAUL

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 chteau. 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 for 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. (door closes) Where'd you go? It's been hours. (sighs): It took longer... Well, I need your help. Can you make that toile, uh, smaller? By how much? Uh, pattern pieces are here. Measurements are there. (scribbling) 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. Oh, I'm sorry to hear that. Uh, 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. But does my brother know? No. Billy? No. Well, 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. (brush rubbing cloth) (footsteps approaching) 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? Marianne's asked me to help Monsieur with the ballet sketches. (footsteps approaching) Sorry to interrupt. Victor, can I steal you for a minute? (exhales) (switch clicks) 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. (footsteps approaching) 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. We all live with our mistakes. So, please, don't develop a fragile conscience now. (thunder rumbling)

BILLY

Hey! What happened? Why can't this wait till morning? Because it's not safe to talk at the maison anymore. Nina, that place has too many secrets. And I'm not talking about the war. I'm talking about now. 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 how else to say it. I came here to, to lose myself, but 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... 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 anymore. So I'm going back to New York. And I want you to come with me. Wha... Before you answer,

here are the reasons this makes sense

All right? You're French. Billy... Fashion houses are going to 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, all right? I love you, and we can stay with my family and... 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... 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 honks) Bonjour, bonjour les hirondelles Y a de la joie Dans le ciel par dessus le toit Y a de la joie Et du soleil dans les ruelles y a de la joie Partout y a de la joie Tout le jour mon c ur bat... What is that underneath? Embossed silk. Feels so smooth against the skin. Claude calls this his "Layers of Samurai." It's lovely, isn't it? Is there another one or is this it?

CLAUDE

There's one more. Um, I mean, I've done some other sketches.

CHARLOTTE

Let me change, hmm? You can tell Regine the philosophy behind this new collection. Be right back.

CLAUDE

Um... well, it's... it's not.. it's not a philosophy, really, it's, uh... it's... it's an attempt to provide freedom. And letting women... breathe. Breathe? I mean, 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, that doesn't mean you shouldn't be able to break a little wind when you need to. (chuckles): Right? I mean, that's freedom, right? (papers rustling) 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 cabochon 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... Um, I helped him because he was overwhelmed. He needed me. 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. (crying) (voice

breaking)

Monsieur, please. I owe you my life. And yet, you still chose my brother. (sniffs)

CHARLOTTE

Just five more minutes. Take the sketches with you. (knock on door)

REGINE

Ah, look who's here.

PAUL

Regine, how lovely to see you. Even if you're wearing something that's not mine.

REGINE (laughs)

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?

REGINE

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.

WOMAN

So, our next appointment... (knocking) 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 caf next door. It was left there in the night, hanging on the 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 Deleuze 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? Uh, I mean, no, only through a door. Actually, I might keep it like that for a little 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. Oh, you left out a father, too. Because, apparently, we share that, as well. I mean, until Maman tells us differently, the same bastard fell on her twice... We've protected each other....with a hard-on that only visited him two times in five years. Where I'm weak, you're strong, where I'm strong... What the heck are you going on about? Is this all because some pampered, silly little bird spat on my work? Because I can handle that, Paul! I don't give a damn what Regine Deleuze says. Yeah, exactly-- you never have. But I do. And that's why we're better together. I'm not going backwards. I can't. Would you feel that way if both of our names were on the label? Oh... No, because Helen's put you up to this, hasn't she? No. Did she threaten you? Stop it. No, just turn around. Shut up, Claude! 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! (panting) 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. (footsteps receding) La musique tombe Comme la nuit Aprs le jour C'est un exemple (footsteps approaching) 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? 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? (traffic humming) Why is it so easy for you to be cruel? (traffic humming) Maybe I am. Cruel. (door creaks) Billy. Oh, Jesus! You scared me. Everything okay? What... What's in the envelope? It's, uh... 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 offense, 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. (door opens, shuts) 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 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. It's my fault. I should have never left Claude alone with him. With who? His brother. He'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. (clatters) Uh... 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. (sighs) You can trust Claude. No. I can trust myself. (people laughing, tango playing) Merci, Monsieur. (car door closes) Oh, Georgia, look at you. It's so good to see you. Won't you come in and have a drink? Just go straight through, and Sebastian will take your coats. (people talking quietly, music playing in distance) (chuckles) Lovely to see you. (people talking softly) (tango continues) (people greeting each other)

BILLY

Keep hold of the belt... Rollerskates... (laughing) (panting) (knocking at door) (thunder rolling) (louder knocking) (knocking) (footsteps approaching) (gasps)

BOMPARD

Good evening. I'm 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. (laughs softly) And they didn't even see me come in. I don't doubt it. You have a gift for disappearing. (party music playing in distance) (sighs) 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. (exhales)

MARIANNE

Juliette. 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... 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. (party music playing in distance) What if he hates my drawings? Why reach, just to get slapped down? Because that's going to happen whether you reach or not. (laughs softly) (people talking indistinctly) (people talking and laughing) (talking and laughing) 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? (party music playing in distance) Claude? Did I leave anything out? Look, I am trying to broker peace between you and this family, but honey, this is not the right time for a reunion. Are they upstairs in his office? If you stomp in here like an angry Apache, you are not helping your cause. This is not a cause, this is a business. Then why are you using your dirty laundry as window dressing? (party music playing) (laughing and talking) (people talking and laughing) (music continues) (guests talking and laughing) (music ends) (guests applauding) (removing pen cap) (pen scratching) (new song playing at party) (laughs softly) (door opens) 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? (tango playing) 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?

YVETTE

I used my time well. Claude will be fine.

PAUL

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 his sailor?

YVETTE

Paul! What the heck 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's swirling with hawks. 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? 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?

CHARLOTTE

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. His identity tags. I swear I've never heard of this person.

BOMPARD

We needn't discuss this here. Please just let me... Please get in the car. (car door closes) You're safe. (breathing heavily) You left out a lot. (shredding paper) (telephone and papers landing on floor) No, Claude. (door slams) (car approaching) (motor humming) (footsteps approaching) Nina. Sorry. (exhales) (motor revving) (footsteps tapping) (doorbell rings) (sighs) (footsteps approaching inside) (baby murmuring) Can I help you? (footsteps approach, keys rattle) Did you find your brother? I wouldn't know where to look. 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. (flames licking at paper)

LINNEY

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