Lewis brings out his newest work, a symphonic poem called Tomorrow, which he has composed for the Sanger girls to play.

However, shortly afterwards, the elderly, hard-drinking Sanger dies while orchestrating Lewis's "little tune", a task which Dodd now vows to complete himself.

While remaining with the Sangers to help the family cope with their loss, Lewis renews an acquaintance with the beautiful, sophisticated Florence Creighton.

But the elusive Tessa and Paula arrive at the townhouse, just in time to witness Lewis's private performance of Tomorrow.

So Tessa remains in the townhouse's study, where she listens to a radio broadcast of the new version of Tomorrow as it is performed before an audience.

The film's score climaxes as a log in the fireplace seems to spark, then flame, and then dissolve into a brilliant sky.

[2] The will of Margaret Kennedy stated that the film could be shown only at universities and museums after its original theatrical run ended.

[5][6] Edmund Goulding's biographer Matthew Kennedy wrote that Joan Fontaine spoke "rapturously" of The Constant Nymph: "She was nominated for a best actress Oscar for it, and it remains a personal favorite of hers.