EDNA: We said we would attend the races today.
THE COLONEL: Looking forward to it, my dear.
The image changes to a shot of Edna and the Colonel as they start down the staircase. The Colonel is in the rear.
THE COLONEL: What will I tell Janet?
EDNA: Another wedding! I don't really care to see one.
THE COLONEL: Indeed! What a thing for a married woman to say!
Having heard the noise on the stairway, the boys run up to join their mother and grandfather. Edna continues downstairs, but the Colonel stops where he is. The boys are at his side. Etienne sits on a step and peers down as Edna descends. When she reaches the bottom the camera reverses. Now the Colonel turns and goes back upstairs, with the boys in close attendance.
A new shot: the Colonel and the boys are in the atelier. The Colonel stands off to admire the painting. The boys examine the paint jars. Then the camera turns so that just the sketch is in the field of the image.
THE COLONEL: (Offscreen) Well, I dare say, boys, your mother is a very talented woman.
The camera turns to the worktable. We hear the footsteps of the three as they leave the room. Out in the hall the Colonel says:
THE COLONEL: (Offscreen) I'd better see to my gray coat.
Now there is a sequence of two settings that alternate in a steady, even pace. The first is the bedroom of the Pontellier cottage, and the second is the Lebrun dining hall. We begin with Edna alone in the bedroom. The room is lit for evening but conveys a dreamlike aura. Edna reaches into the closet and takes out a peignoir. Immediately loud voices are heard offscreen and the scene changes.
The animated conversation emanates from the dining hall where dinner is being served. Around the long table are Mme Lebrun,