Evelyn immediately adores her newborn daughter, Connor, who is needy, affectionate, and especially enamored with Harry. As Celia departs to film two back-to-back projects—one she loves (The Buyer) and a mob movie she dislikes—John accompanies Celia on location in Los Angeles and Sicily.

With Celia and John away, Evelyn and Harry slip into a traditional domestic routine while caring for Connor. Harry cooks, comforts, reads scripts for Evelyn’s comeback, and reassures her through new-mother doubts. Their closeness deepens into a declared soulmate bond, with a shared refrain that the only exception to any priority is Connor.

When Celia and John return, the households revert to their usual arrangement, but Celia signals new boundaries by cooking breakfast in Evelyn’s kitchen, subtly establishing that Harry is a visitor. Afterward, Celia recommends Evelyn take Max Girard’s art-house film Three A.M., arguing that motherhood should not desexualize her and urging Evelyn to remain bold and desirable. Evelyn recognizes Celia’s mixed motives—both supportive and self-serving—and refuses to be controlled, choosing on her own terms whether to proceed.

Evelyn consults Harry, decides she wants the role to prove she is still her own woman, and calls Max to express interest. When she asks about nudity, Max dismisses it as a concern and instead warns her about the real issue: she would be acting opposite Don Adler, a revelation that reframes the opportunity and heightens the stakes.