S5 E5 According to Harpy

by Harpy101

Ramping up from the season midpoint. Downton is caught in the crossfire of changing times and the family are all fighting their own corners. A near-blessing, a near-panic and both mayhem and excitement on the horizon. A revelation - and reclamation - of honor and righteousness. A departure. A clock. A kiss. A row.

INT. COTTAGE. MORNING.

Anna is standing by the window, one hand holding the curtain open and one hand on her belly. She looks down at her hand on her belly. She is deep in thought. Bates emerges from the bedroom, buttoning his waistcoat.

ANNA
I need to talk to you.

John takes a breath. Anna walks toward him and stops at his desk. He stops in front of the desk, looking at her.

BATES
Yes, alright.

Silence.

Anna swallows and seems to change her mind. She begins toying with papers on his desk.

ANNA
We need to talk about when we're giving notice.

Bates looks a bit relieved.

BATES
I know.

ANNA
They want to prepare me as the next head housekeeper. It's becoming-

BATES
Yes.

Anna holds up a piece of paper and looks at it. Her expression changes.

ANNA
And when you were you going to tell me about this?

(BEAT)

BATES
I didn't want you to be disappointed if it fell through.

ANNA
The BONDGATE Hotel? It's in Ripon!

BATES
(laughs) I know.

ANNA
It's a beautiful old place.

BATES
I know.

ANNA
Fixed up, it would be-

BATES
Yes. If hopes were dashed I wanted it to be only me.

Anna looks at the paper.

ANNA
You haven't heard back?

BATES
No.

Anna sighs.

ANNA
Well, now we can be excited together. And if we can't get it-

BATES
Be disappointed together.

ANNA
It would just be perfect.

John nods. Anna sighs again.

ANNA (CONT'D)
Well.

BATES
So, I was waiting. Once we have a property and we can start renovations-

ANNA
The renovations could take months.

BATES
Especially for that place.

Anna throws her arms around him.

ANNA
Oh! John!

BATES
I know.

BREAKFAST TABLE. MORNING.

CARSON
A telegram for Lady Rose.

Rose opens the telegram and lets out a piercing shriek.

ROBERT
Good God! What is it?

ROSE
Papa says I can go to Oxford!

ROBERT
Let me see that, please.

TOM
I had a chance to talk to Charles the other night. He has - new concerns.

ROBERT
(To Tom) I'm sure Mary has been brought up to speed. (To Rose) I will write to Shrimpy myself to straighten this out.

ROSE
But, Papa says-

ROBERT
I happen to know that Cora knows nothing about this. We will discuss it later. Meanwhile you will tell cousin Cora that you have gone behind her back. (To Tom) Have you spoken to Mary?

Tom
Not yet.

ROSE
But I-

ROBERT
We will discuss it later, Rose.

Rose rises from the table and leaves, on the verge of tears.

Robert (CONT'D)
Cherish the early years, Tom. Before it all becomes so complicated.

There is a silence. Tom gives Robert a significant look.

TOM
We may all be thinking that same thing, soon.

AN UPSCALE FLAT IN LONDON. MORNING.

ROSAMUND
It's not what I'd hoped for you.

EDITH
I'm a (the phrase feels awkward to her) newspaper-woman. I'll make my own way.

ROSAMUND
Good God, Edith. Think of the child!

EDITH
I think of no one and nothing else, Aunt Rosamund. The nanny comes in a few days, after I've thrown in some basic furnishings. I will bring Corinne here myself after that, and we will start our lives together.

ROSAMUND
But a woman alone? What if-

EDITH
If I need help, I can rely on them to a point, I won't deny it. But no one will make Corinne feel unwanted. She and I will do very well on our own.

ROSAMUND
If you need to come back to my house, it is always an option. I want you to know that. This is family. But I wish-I wish you knew the risks you are taking.

EDITH
I know them. I'd rather have this set of risks than the other.

INT. WATER CLOSET DOWNSTAIRS.

Anna is rubbing her teeth with a small cloth and tooth powder. She rinses and dries her mouth, putting things away before exiting the water closet.

Bates waits in the hallway.

BATES
Are you alright?

ANNA
Yes, bit of a dodgy stomach.

BATES
You were fine this morning.

ANNA
And I'm fine now.

She smiles at him and continues into the boot room. He follows, unconvinced.

BATES
You don't often have stomach trouble.

ANNA
John. I'm fine.

BATES
Should you go home?

ANNA
Goodness, no!

BATES
Is it-

He looks out into the hallway and lowers his voice.

BATES (CONT'D)
Is it nerves? The next phase of our lives looming before us?

ANNA
If you recall, that next phase looming is one of my big dreams coming true.

BATES
Mosely would jump at the chance, I don't have to go to London-

ANNA
John!

Now she looks back at the door and lowers her voice.

ANNA (CONT'D)
You're doing it again.

BATES
What? I wasn't-

ANNA
You were. You did.

He looks down at her and smiles.

ANNA (CONT'D)
Now stop coddling me and kiss me like I'm your wife.

He looks back into the hallway, takes her face in gently his hands and kicks the door shut.

LIBRARY. MORNING.

MARY
Well, have you arrived at a decision?

ROBERT
You saw it happen. I hand the reigns to you.

MARY
It's not what I expected.

ROBERT
It is what I would like.

MARY
All right, Papa.

ROBERT
Carson, show Barrow in, would you?

CARSON
My Lord, My Lady. Mr. Barrow.

THOMAS enters. He stands in the doorway.

ROBERT
Come in, Thomas.

THOMAS
My Lord. My Lady.

MARY
We'll get right to it, Barrow. Our terms are these. If you wish to stay in our employ you will accept immediate demotion to footman. When you have proven your intentions to make reparations, then we will consider promoting you again. But it may take some time. My trust in you-our trust in you collectively-has been destroyed, by your actions and your actions alone.

Silence.

We will have your answer now, Mr. Barrow.

THOMAS
May I have my reference within the hour?

Mary and Robert stare.

THOMAS (CONT'D)
After over ten years in your employ, managing the military hospital at the estate, training new footmen, after all that. May I have my reference?

Robert, outraged, starts to speak. Mary interrupts him.

MARY
Yes.

Robert looks at Mary.

MARY (CONT'D)
Within the hour. I want you packed and out of our sight. You will have your reference, since I don't wish to see any man deprived of employment. But a warning, Barrow. Watch your actions from now on, wherever you are employed. If I hear any tales of you I will not hesitate to make information available. Do you understand me?

Thomas is on the verge of expressing himself, but he pulls it in and puffs his chest, raising his chin.

THOMAS
Yes, My Lady. My Lord.

He bows to them and walks out.

CARSON is red-faced, following Thomas.

Robert looks at Mary again, then turns and leaves the library.

DOWNSTAIRS HALLWAY. MORNING. VARIOUS STAFF ARE IN THE HALLWAY, KITCHEN AND DINING HALL WATCHING FOR THOMAS.

Thomas begins his last walk down the hallway with his bag and valise over his shoulder. The other staff watch him from spots in the hallway, doorways, various locations.

THOMAS
Been nice knowing you all.

JIMMY
Not so nice.

THOMAS
Not so terrible in your case, either. You never got beat up.

DAISY
I didn't thank you for the book. So-thank you. For the book.

PATMORE
Where will you go?

THOMAS
Don't worry about me.

PATMORE
Never said I was worried.

HUGHES
Well, I wish you luck. And maybe you've learned something.

THOMAS
Something more about people? I know what I need to know.

CARSON
Goodbye, Mr. Barrow.

Thomas walks past Anna, giving her a very subtle tip of his hat. He goes out the back door and stops in front of Bates. The door closes.

THOMAS
I never liked you. Never will. But we're not strangers. And you helped me once.

BATES
Meaning I will probably have the opportunity to help you again.

THOMAS
We never know what's in the cards, Mr. Bates. It could be the other way around, one day.

BATES
Perish the thought.

Thomas heads off.

VILLAGE, DAY.

Isobel is walking down the street and sees Sprat. He tips his hat.

SPRAT
Good morning, Mrs. Crawley.

ISOBEL
Good morning, Sprat.

She smiles and starts to walk past him. He stops. She senses this and stops, turning to him.

SPRAT
I wonder, Mrs. Crawley, if I might have a word?

WALKWAY OUTSIDE THE ESTATE. LATE MORNING.

Mary pushes a pram and Tom is carrying Sybie. They stop at a bench under a tree.

TOM
You've seen the pictures. How Trentham estate came down. The auctions. Americans buying up the pieces. The thing even I couldn't bear to see would be the house demolished. Or worse, donated.

MARY
Or transferred to private trust. Or made into a hospital. Tom, how can we be so close to such a condition?

TOM
The world moves faster and faster. We've been-a bit removed from it.

MARY
How can I have failed so miserably after all-

TOM
Now, wait a minute. No one could have done more than you have. You can't blame yourself, Mary.

Mary looks past Tom at the grand estate of Downton Abbey.

MARY
If I can't save it, there is no one else to blame.

LIBRARY. DAY.

ROBERT
Have you heard from Susan?

CORA
I don't expect to. I might remind you we're not on the best of terms.

ROBERT
After the Royal presentation? After the Prince himself opened her ball? After all-

CORA
I think we should let her go.

ROBERT
What on earth-

CORA
It won't last, Robert. She's not cut out for that life. This is just an exercise in defiance.

ROBERT
You know how to raise daughters. But it isn't fitting-

CORA
University is very hard work. She will find that out.

Robert paces, unhappy.

CORA (CONT'D)
If we don't allow this, it will be something else. Something possibly even worse. At least there will be supervision at Oxford, and I might add, more than she is used to here.

ROBERT
You think she'll come running back?

CORA
None of ours would. Sybil would stay the course if only to prove a point. Mary would get top grades out of pride. Edith because she had so few distractions. But Rose is not one of ours, Robert. She's made for an easier life.

ROBERT
I'm sure you're right. I'm beginning to wonder if I'm right about anything anymore.

CORA
Where do things stand with Mary?

ROBERT
I left the decision to her about Thomas. I took your point. And she insists we still may need to lock horns over the estate particulars. (Sighs) One does wonder if there is a place for men in this changing world at all.

PARK BENCH IN THE VILLAGE. DAY.

ISOBEL
She's had sleep disturbances. She seems tired of late. Anything else?

SPRAT
She becomes breathless more easily than she used to. I think her strength never quite returned after that last illness she had, when you looked after her. And it might seem impudent-

ISOBEL
You can be blunt with me, Sprat.

SPRAT
I don't think it's her mind fading. I think she may be-lonely.

ISOBEL
But she's so independent.

SPRAT
Mrs. Crawley, the very last thing I want is to put myself out of a job.

ISOBEL
Your honesty is very much appreciated, Sprat.

CARSON'S OFFICE. EVENING.

HUGHES
Well, it's nice to see Mr. Mosely so happy to be promoted. I wasn't sure you were going to.

CARSON
Why not?

HUGHES
For a time I believe you had concerns about his-gratitude.

CARSON
That is all under the bridge.

HUGHES
Good.

CARSON
And I'm glad to have this Thomas business done with.

HUGHES
But we know that difficulty will always find its way to us, no matter the guise it wears.

CARSON
Of course. But at least it will be of a different sort.

The smile together. He pours her a sherry. They sit.

There is along silence.

CARSON (CONT'D)
What I said to you- before you went to London-

HUGHES
It's alright.

CARSON
You know you mean more to me than just a respected professional.

HUGHES
Although that is a good place to start.

CARSON
I agree. But-

HUGHES
Mr. Carson, nothing has to change in the way we live our lives. I don't want more from you. But I believe if we have moments of fondness, observed carefully within the bounds of-

CARSON
Of course-

HUGHES
Then it will not cause upheaval. If we turn to each other for comfort now and again, if we express affection when the time is right-the world needn't be upended.

CARSON
But-how does such a thing work?

HUGHES
This is as new a situation to me as it is to you. We'll have to manage it the way we do the rest of life-as we find it.

CARSON
(Humorously) I prefer an orderly plan.

HUGHES slips her hand into his, smiling at him. CARSON overcomes his hesitation and closes his fingers around hers.

CARSON (CONT'D)
Do you know what I miss most about you, when you aren't here? You make me calm. Calm and-

A long silence. They sit comfortably together. He lays his other hand on her forearm.

CARSON (CONT'D)
Calm and-content.

NEXT MORNING.

EXT. COTTAGE. PRE-DAWN.

From outside we hear the harsh jangle of a windup alarm clock. A (BEAT) later a lamp flickers and flares.

INT COTTAGE BEDROOM.

Anna and Bates are in bed, blinking awake.

ANNA
Goodness.

BATES
We knew it would be loud.

ANNA
Where did you get that thing?

BATES
Me?

ANNA crawls on top of BATES.

ANNA
It was your idea.

BATES
(Sighs) Ah. Yes.

Anna kisses his nose.

ANNA
Are you awake?

BATES
(Groans) Ahhh. No.

Anna laughs.

ANNA
Are you packed?

BATES
Yes.

ANNA
Will you miss me?

BATES
I won't do much else.

ANNA
I thought you had some errands.

BATES
Well, a few, actually. In addition to seeing to His Lordship at the club. I should have time to get it all done.

ANNA
There are many lovely women in London, you know.

BATES
Are there? I'll make sure to look for them.

ANNA
Married men and the wandering eye.

BATES
I'll look for those, too. Bring back a full report.

ANNA
You're not tired of me?

BATES
I'm as tired of you as I am tired of breathing.

Pulls her up on his chest, his arms around her.

ANNA
You have to go.

BATES
Not yet.

ANNA
And why not?

BATES
Because you have doubts this morning and as a husband it's my job to erase them before I go.

ANNA
How are you planning to achieve that?

He is stroking her hair.

BATES
Any way you want me to.

BOARD ROOM OF THE SKETCH. MORNING.

The entire staff is crammed into the board room. Edith stands at the head of the table.

EDITH
As you know I am not as experienced as many supervising editors. What I do have is a knowledge of Mr. Gregson's wishes, and his dreams for this paper. I will be a participating head of staff, but I will not be disrupting the running of the Sketch. You all know how to do your jobs. And I do have other responsibilities.

PARRY
(Whispered to another journalist) To the dressmaker.

EDITH
Mr. Parry, please say that again, and loud enough for the rest of the staff to hear.

Silence.

EDITH (CONT'D)
Do you not recall your remark? I recall it well.

PARRY
I said you have a responsibility to your dressmaker.

EDITH (Nods and lets them laugh)
You cannot possibly have any idea what my responsibilities are. And here I will make the point - I know more about you than you do about me. I have a profound respect for the abilities and experience in this room. But if I meet with disrespect of myself or Mr. Gregson in any way I am not afraid to sack any of you for it. I am experienced with dressmakers, it's true. I've also fired staff in my life, several. Test me, and you will find out.

Edith walks out from behind the table, facing them all.

The Sketch makes money because the combination of entertainment and solid journalism is well-balanced. And for one reason. This is the best newspaper staff in the city. You know how to keep that balance better than any other. Michael was proud of you, as I am. I want what's best for this paper.

Edith pauses, scanning the room.

And Mr. Parry has witnessed the very last time I will tolerate disrespect or derision without an immediate dismissal.

Edith nods to a staff member at the back of the room, who opens the board room door.

EDITH (CONT'D)
I did not provide tea or coffee at this meeting because you will find it on the front table when you leave the board room. I know you like to take refreshment at your desks. Before we finish, are there any questions?

MONAHAN
Then, My Lady, you have no intentions of changing the direction of the Sketch?

EDITH
Mr. Monahan, am I right? When did you join us? You are quite new.

MONAHAN
I-

EDITH
You were with the Times as a junior reporter for years, were you not?

MONAHAN
Yes, My Lady.

EDITH
Mr. Monahan, top editors alone are privy to that information but for now, if in fact you still talk to your friends at the Times, I would tell them we are fairly certain this will not become a fashion periodical tomorrow-but to buy themselves a copy of the Sketch anyway, just to be sure.

Edith smiles.

Laughter circles the room and Monahan is jostled by others who are exiting to get their coffee. He is elbowed by Brown.

BROWN
She got your number alright, mate!

SERVANT'S HALL, BREAKFAST.

ANNA
It just feels strange. Like we've lost a member of the family. Despite everything.

Anna stops talking suddenly, turning pale. She takes a few breaths. The rest prattle on, not noticing - except Baxter.

JIMMY
Well, I can't say that. Feel a bit unburdened just now.

DAISY (From the doorway)
I know what you mean, though. Why would we miss him? But I feel it-him not being here.

CARSON
He was an able footman and under butler. He received a good reference. I have no regrets.

Carson addresses a hall boy at the foot of the table.

Redmond, your opportunity is now at hand to continue training with Mr. Mosely. I trust you will make your best showing-

Anna rises from the table with a jerk and bolts from the room. Everyone looks, then goes back to their breakfasts.

JIMMY
(Laughs) Imagine getting that choked up over him? Never saw that coming.

Baxter gives Jimmy a pained look and follows Anna. She goes down the hall and waits outside the water closet door. Anna emerges carefully, swallowing.

BAXTER
Chamomile, with a bit of mint?

ANNA
(Gratefully) Yes.

EXT ESTATE.

Tom walks Isis and Cora walks beside them.

TOM
I'm sorry this comes from me.

CORA
Why on earth would you be?

TOM
It's a family matter-

Cora turns to admonish him. He anticipates this and corrects himself.

TOM (CONT'D)
An-estate matter.

CORA
You're an estate manager and a member of this family. I want to hear it. And you know how I feel about it. I wouldn't mind a smaller house. But I know what it would do to them.

TOM
Your flexibility might be needed here. And your support.

CORA
Of course.

TOM
I did want to ask you-and I can't tell you why, as I'm keeping a confidence. But-there are certain things you would not excuse, even of a family member. Would that be right?

CORA
(Laughs dryly) Nothing comes to mind that I wouldn't excuse or even forgive. Not anymore. I used to have different ideas. But life will change you. Is this a confidence for a friend?

Silence.

CORA (CONT'D)
Tom?

KITCHEN. TEATIME FOR THE STAFF HAS JUST ENDED.

Other staff begin to bustle about as Patmore and Daisy finish their tea at the small kitchen table.

PATMORE
I'm happy to hear it. And we'll train more kitchen maids. But if I have special need of you on a Saturday or Sunday-

DAISY
Of course I'll come and help. It's not that I'm leaving yet. Just weekends at the farm.

PATMORE
It's the right thing. As you say, he's kind. And he is your family.

DAISY
I just don't think I'm cut out to be a cook. I like it well enough, but-

PATMORE
You don't love it.

DAISY
No. I found out that I didn't love it.

A kitchen maid, Millicent, reaches down for the dishes. There is dirt under her fingernails. Daisy snatches her hand.

DAISY (CONT'D)
Here, have you washed up? You can't come into a kitchen to work looking like that!

MILLICENT
I just got done helpin' me brothers with the weed killin'. Thought I'd wash after I picked up dirty dishes.

Patmore opens her mouth but Daisy is ahead of her.

DAISY
What have we told you about working in the kitchen? You don't come in here less than scrubbed to the nines. And what some farmers use to kill weeds! You could poison all of us if that gets around!

PATMORE
(Softly) Are you being a bit hard-

DAISY
How many days have you been spreading that evil concoction they've been using?

MILLICENT
I int'-just this week-

DAISY
What's wrong with your eyes?

The girl blinks repeatedly, looking down; her eyes are swollen and very bloodshot.

DAISY (CONT'D)
I know what does that. And you might be poisoning us all. (To Patmore) We can't have it.

MOULTON, TABLE AT A POSH RESTAURANT. DAY.

LORD MERTON
Have you ever been to Amalfi?

ISOBEL
Heavens, no.

LORD MERTON
Fancy going?

ISOBEL
Why would I go to Amalfi?

LORD MERTON
Because I asked you to. Although there are other things I plan to ask you first.

ISOBEL
But why ask me to go?

LORD MERTON
You see, I was ready to travel. And then I saw you at Lady Grantham's. Had a chance to talk to you. You've been-a distraction.

ISOBEL
But I-

LORD MERTON
I don't want to rush you, but I must be honest. I've felt lately that-that life is to be lived. And when there is less of it left, one tends to want to make better use of the remaining time.

ISOBEL
There are many unattached women who feel the same.

LORD MERTON
But not you?

Isobel sips her tea.

LORD MERTON (CONT'D)
You seem quite distracted today.

ISOBEL
I'm worried about-a friend.

LORD MERTON
I'm sorry. Is there anything I can do?

ISOBEL
I thank you, no. The things is-I don't want to be a disappointment to you.

LORD MERTON
How could you possibly be?

ISOBEL
This-need to make the most of the remaining time. I don't feel that same way. I may never be as happy as I once was. And that isn't what you're looking for right now.

LORD MERTON
Do you see me going off the rails with one tart after another?

This is very honest talk even for Isobel. She blushes deeply.

LORD MERTON (CONT'D)
Forgive me. But I do not want you to misunderstand. I was not looking for someone. I didn't know I was looking for you. There you were. And that was it. I don't dream of frolicking the rest of my life away. I thought I would remain a bachelor and a happy one. But I'm not happy alone. And the only reason for that-is you.

LIBRARY, EVENING.

Mary is on the phone.

MARY
If you will be so close by, then yes. That would be perfect.

Pause

I sent Papa to London with a list. I asked him to cover all the ground we discussed.

Pause

No question it will be difficult for him, but it's wrong to protect him anymore. I need him to see it first hand. I think we'll have better informed conversations when he's back.

Pause

Thank you, Charles. I-can't thank you enough, really. For everything. Good. We will see you then.

NEXT MORNING.

HIS LORDSHIP'S ROOMS AT THE CLUB IN LONDON.

ROBERT
Mary gave me a list. I have a list of errands from my daughter.

BATES
(Laughs) I'm sure they are to good purpose, My Lord.

ROBERT
Quite. I miss Matthew of course, but Mary has taken on his-well, his role-with a gusto I could never have anticipated. I doubt he could do better.

BATES
What time is your meeting this afternoon?

ROBERT
Oh, the banker again. After 3:00. I won't want to change for that. Take the whole afternoon, if you like.

LONDON, DAY.

Bates strides down the street, disappearing quickly into an alley. He stops by a uniformed police officer. The officer is professional, upright, very alert, the type that doesn't suffer fools gladly. He is glad to see Bates. They stand side by side, looking out of the alley.

BATES
Back on the force. How's it feel?

OFFICER
Thank you for that letter.

BATES
It was nothing.

OFFICER
It was something to me. And better for the missus as well. And my little ones.

BATES
You didn't deserve what happened. We just made it right.

OFFICER
Life isn't always fair.

BATES
No.

OFFICER
And-how is Mrs. Bates?

BATES
She's well.

OFFICER
Is she?

BATES
Yes.

OFFICER
How marvelous.

BATES
Yes, it is. She is.

(BEAT)

BATES (CONT'D)
So-no trouble, then?

OFFICER
No one questioned the report. No reason for them to. Like I told you, there had been complaints.

BATES
And you found more on him?

OFFICER
More than you want to know. It wasn't always grown women.

Bates looks away, his face going dark with revulsion.

OFFICER (CONT'D)
Stayed a step ahead for good while, too, our little green monster. But it would have been a matter of time, anyway.

Silence

OFFICER (CONT'D)
Well, it's all past now. I look to the future, me.

BATES
We're going into business. A hotel in Yorkshire. Looking at properties now.

OFFICER
That's a good solid business. Congratulations.

Silence

OFFICER (CONT'D)
Well, I'm on duty. Good to see you, John.

BATES
And you.

They shake hands and walk out of the alley, Bates behind the officer.

A woman stumbles. They each catch one arm, working together in smooth coordination.

WOMAN
(Laughing) Oh, please, pardon me!

She looks from one to the other.

WOMAN (CONT'D)
You two are quite the rescuers.

BATES
Not at all.

WOMAN
These streets. Sometimes-

OFFICER
World ought to be a safe place for a woman.

The men's eyes meet.

They tip their hats to her and walk in separate directions.

FINANCIAL OFFICES. LONDON. AFTERNOON.

ROBERT
Of course I find it offensive! How does it become a matter of public record-

BANKER
It's not public. But the stories of the other estates are, and one only has to do some very superficial projections to arrive at the motivation. In general terms when it comes to the demise of the old English country houses, one could say-the race is on.

ROBERT
It's obscene.

BANKER
I do agree with the spirit of that statement. However, when one looks at the figures, one can see the draw.

ROBERT
Like a battlefield to the vultures. How many of these "offers" have we received now?

BANKER
Dozens. Of every conceivable nature.

ROBERT
I must see them. I trust you have them all? I will need to take them with me.

BANKER
You-wish to-

ROBERT
I must. I have been invited to a meeting with some of these types tomorrow. It may help us to make some decisions.

BANKER
None of this can be easy for you. I confess I never suspected you'd put up quite such a fight. But from what I've seen I can tell you, I'm glad to see it. So often it's not the estates themselves that are the biggest loss-but the way losing them can divide the families.

ROBERT
And I can tell you that will never happen.

HUGHES' OFFICE. MORNING.

HUGHES
Are you sure you're well enough to work?

ANNA
Yes. It's-well, it was only two mornings. I'm fine today. But-

They gaze at each other. Hughes' smile grows. Anna smiles and blushes.

HUGHES
Do you think?

ANNA
I don't know. It's early yet.

HUGHES
Well, these things can come and go. Life is mysterious. For your sake I'm very happy. But if you need time to let your stomach get back on course of a morning, just let me know.

BUSY KITCHEN IN A GRAND LONDON RESTAURANT. DAY.

Thomas, in an apron, is stacking dishes next to the big sink. The dish washer, a 40ish man in a dirty apron, watches Thomas dourly.

DISH WASHER
You want to get a move on, Nancy.

THOMAS
How's that?

DISH WASHER
This isn't some grand estate for you to stretch out on some fancy couch with a feather fan. We stay ahead of the action here, not behind it. The way you Nancys like.

THOMAS
For someone who hates Nancys you talk a lot about them. On your mind, are we?

DISH WASHER
Don't push me, boy. You're going to have to step it up if you want to serve at tables. And you're a bit old.

THOMAS
I'm experienced.

DISH WASHER
I'll bet you are, at that.

THOMAS
Going to ask me for dinner? Afraid I'm busy.

DISH WASHER
Tough, then, are we?

Thomas smiles and leaves the kitchen with his tray.

THE CLUB IN LONDON. INT.

Bates is dressing His Lordship for dinner.

BATES
Anything I can do, My Lord?

ROBERT
Is it that obvious?

BATES
If there's anything-

Robert heaves a sigh.

ROBERT
The world seems to turn faster and faster. To keep up with the changes-

BATES
It does seem to do that.

ROBERT
I suppose you've never had a feeling of utter uselessness.

BATES
When they thought I would lose the leg. And-when I was previously married.

ROBERT
Yes. Of course. But you and Anna seem strong as ever.

BATES
We are, My Lord.

ROBERT
Good, good. But I must warn you, Bates.

BATES
My Lord?

ROBERT
If you end up with a house full of daughters, don't be surprised if you find that women are ruling the world.

BATES
I wonder if that might not be for the best, My Lord.

Robert turns to see if Bates is serious. Though smiling, Bates is indeed serious.

Robert laughs.

STREET IN LONDON. EARLY EVENING.

THOMAS walks along the street, then stops. He quickly steps behind a building and peers out onto the sidewalk, seeing EDITH walking alone. He waits until she walks past, waits a beat longer. Then he follows her.

INT. LADY GRANTHAM'S HOUSE. EVENING.

Sprat is cleaning off a tray. He hears a thump and a faint moan.

Sprat quickly goes to the drawing room where he sees Violet on the floor.

SPRAT
Your Ladyship!

He falls to his knees to assist her.

NEXT MORNING.

SERVANT'S DINING HALL.

The staff are at breakfast. Mrs. Patmore addresses Mr. Carson.

PATMORE
It was Millicent. She made the scones on Sunday.

JIMMY
The gooseberry ones? The ones only Anna liked?

MOSELY
You had one yesterday.

JIMMY
Not a whole one. Awful, they were. Thought I was sick just from the taste.

PATMORE
Daisy discovered it. Though I would have. We'd just gotten back from London a few days-

CARSON
But what on earth was it?

PATMORE
Some kind of thing they use on the farms to kill weeds-

Daisy shows up in the doorway.

DAISY
Copper sulphate, most likely. Makes you vomit. But it's best to. If it stays in your stomach-

JIMMY
Not much danger of that.

CARSON
Yes, thank you for the scientific information, Daisy. Have we found the solution to the problem?

PATMORE
Millicent has been suspended until the end of the season when there's no more of it about on the farm.

Anna is pensive. Baxter looks sympathetically across the table.

BAXTER
(Quietly, to Anna) What time are they supposed to be back?

ANNA
Late. They decided to leave in the afternoon. Some kind of extra last-minute meeting for His Lordship.

CARSON
Seems a bit drastic to suspend her.

Daisy
It's a powerful poison. Even the tiniest bit in any food. We couldn't risk it.

Anna leaves the table. Baxter follows her. Hughes follows them both.

HALLWAY

ANNA
It's not as if-well, I found out this morning that-

She shakes her head.

BAXTER
Oh, I'm sorry.

ANNA
No, it's alright. I think-I think I knew, deep down.

Hughes pulls them into her office, closing the door.

HUGHES
There will be no child, then?

Anna shakes her head, on the edge of tears.

HUGHES (CONT'D)
What happened?

BAXTER
You're young, yet.

ANNA
Not that young.

BAXTER
Young enough.

ANNA
I just hope that-(looks at Hughes) what if I miscarried?

BAXTER
That wouldn't be your fault.

ANNA
Would it not?

HUGHES
We can never know what causes these things. Perhaps you were working too hard.

ANNA
The thing is-I wasn't feeling sure. The timing-now would be very poor time. And I think I-what if I-

BAXTER
It was much too early on to say that. You will never know, Anna. It's best to let this go.

HUGHES
And there's always next time.

This line from Hughes makes Anna feel even worse.

LADY MARY'S BEDROOM. EARLY EVENING.

Mary is at her dresser. Anna is buckling Mary's shoes.

MARY
Oh. What have I done? I wouldn't wear these shoes with this-

ANNA
Oh. My Lady. It's my fault. I'm so sorry.

MARY
Please don't be, Anna. When you look at the that shade with these stockings it's rather amusing. Something Rose might wear.

Anna goes to the closet for another pair of shoes. She holds them up.

ANNA
These will work better I think.

They exchange a smile.

MARY
Rather. But now what is amiss with both you and I? We're both in a fog. Have you a lot on your mind today?

ANNA
Compared to some days I've had, today is nothing.

MARY
And I-have rather a lot.

ANNA
Is it to do with the estate?

Anna bends down and is taking off Mary's shoes.

MARY
The future of Downton - as it has been for years. Changes may be upon us soon. But I want you to know, Anna-

Mary takes Anna's hand. Anna stops and looks at her.

MARY (CONT'D)
I want you to know that if anything were to affect your future I would let you know immediately. I can't imagine going on without you no matter our circumstance. I hope you will never worry about that. There will always be a place for you here.

Anna swallows and pales.

MARY (CONT'D)
Were you worried, then?

ANNA
I-I-

There is a knock on the door.

Cora peeks in.

CORA
Mary, Charles is dressed. He says he would like a word before dinner.

EXT. ESTATE GROUNDS. EARLY EVENING.

BLAKE
You want to keep the house, of course?

MARY
Yes. That's all I want.

BLAKE
Not all.

MARY
No. There are many things I want, and I won't have all of them. I know that. But the house-at least the surrounding grounds, what farms we can-it's one thing I must do. It's nearly as important as raising my son.

BLAKE
I want to you to know that I will help you all I can. As a friend, if we are to be nothing but that. I will help you keep what I can.

MARY
Oh, Charles.

They hold a long look.

Blake sweeps her into his arms and gives her a long, deep kiss. He releases her. Mary is breathless, staring at him.

BLAKE
Thank God. That's the look I was hoping for. And I hope it means what I think it does.

MARY
Are you so sure of yourself?

BLAKE
Absolutely not. But I couldn't wait any longer to find out.

Mary is staring at him. She reaches for his hand. He pulls her in again, but more gently this time. She steps in. The kiss goes even longer.

BLAKE (CONT'D)
Well?

Mary is in a rare moment of disorientation. She takes a step away, looking at him.

MARY
Well, what?

BLAKE
Did the sky explode and the ground fall away for me only?

MARY
No.

He waits, not breathing.

MARY(CONT'D)
Not-not for you, only.

He nods.

BLAKE
Good. Let's get back before this appears improprietous.

MARY
But-I-

BLAKE
We both needed to know. You have enough information now to make your decision. Do you not?

He smiles and holds out his hand.

ESTATE GROUNDS. NIGHT.

Anna wanders the estate. She finds herself on a hill overlooking the grounds and farms and sits, watching the moon rise. She begins to weep softly.

The moon fades and rises, fades and rises.

ESTATE GROUNDS. LATER.

Anna wakes from a reverie. She starts up, alarmed. The moon is high in the sky now. She walks quickly back to the cottage. As she approaches she sees a flood of light from the open cottage door and a group of men with lanterns. Two have dogs.

Anna takes in the scene. She sighs heavily and walks toward the pool of light.

Bates is standing in the middle of the light. He looks up at her. Their eyes meet for a long moment.

Anna walks forward.

ANNA
I do hope this isn't for me.

DREWE
Mrs. Bates! Are you alright?

ANNA
Yes. I-I-yes, I am.

BATES
Thank you, lads. I can't thank you enough for your concern and for your help.

Anna and Bates are still eyeing each other.

ANNA
Gentlemen, I hope you will forgive me. I am so sorry for the false alarm. I lost track of time, and-

FARMER
As long as you're safe and well, Mrs. Bates.

ANNA
I am. Aside from the embarrassment. Again, I'm so sorry for your trouble.

DREWE
That's alright, then. Don't worry, Mrs. Bates. These things happen. Glad to see you home safe. Very glad indeed. Good night.

The men disperse. Bates turns and walks into the cottage. Anna slowly follows him.

INT COTTAGE. NIGHT.

Bates stands with his back to her. Anna closes the door.

BATES
Do you have any idea-do you know what that's like?

ANNA
Yes. (BEAT) I do, don't I? I know what it's like.

BATES
Then how could you-

ANNA
I've-you don't know-

BATES
That's the very point isn't it Anna? I didn't know!

He half turns.

I still don't know! Where were you? Did you fall somewhere, break an ankle? The way you wander the meadows sometimes, you could be shivering and calling out alone somewhere, no one to hear you. Or did someone come along and-

ANNA
No.

(BEAT)

ANNA (CONT'D)
I-

BATES
What?

ANNA
I-thought. I'm late, and I thought...

He turns to her now.

BATES
Yes. It's after midnight. Did you know that?

ANNA
Not that kind of late.

BATES
What does that mean?

ANNA
(With an edge) You will calm down, please, so I can speak to you.

(BEAT)

BATES
The things that went through my mind, Anna-

ANNA
I thought we had a child and we don't. We don't!

Silence

BATES
Are you alright?

ANNA
Yes. I just-I-walked and walked and-

He recovers for a long moment. Then, quietly,

BATES
I'm sorry, my darling.

ANNA
I've-I've let you down. And us. And the child-

BATES
That's not fair! Nature will do what nature does.

ANNA
But we both want-

BATES
I want you! You're the only thing I want. And our children if we have them. But you come first and you always will. I can't spare you. You are my happiness. You are everything.

ANNA
I just-I felt-

BATES
You are not alone with this! We do these things together. I can't help, I can't be a husband if-

ANNA
I wasn't hiding it. I needed some time alone with it.

BATES
I would never interfere with that.

ANNA
No, you wouldn't.

BATES
But don't pull away from me again and try to take on everything yourself. Don't hide your pain from me. Don't cut me out.

ANNA
I wasn't-

BATES
You were. You did.

(BEAT)

ANNA
Alright, I did.

(BEAT)

I'm sorry, John.

Long pause.

ANNA (CONT'D)
I didn't mean to scare you.

Anna crosses the room to wrap her arms around him. He sighs.

ANNA (CONT'D)
This thing will never go away.

BATES
That's not important.

ANNA
How can it not be?

He begins to relax, wrapping his arms around her.

BATES
It doesn't matter that some injuries never go away because some things are like that. Life can be like that. What does matter is we get through it together.

She is wiping his tears away.

ANNA
Are you still upset with me?

BATES
Yes.

But he smiles. He softens.

BATES (CONT'D)
I'm sorry you were disappointed.

She smiles at him.

BATES (CONT'D)
How I've missed you.

He pulls her in, tightly.

And London moves so much faster. There are people in the world with no conscience, no humanity at all. And you've never been so late coming home before-

ANNA
Let's go to bed. I'll read to you.

BATES
Alright. (BEAT) But if you ever do that again I'm calling the constable and having you arrested for spousal abuse.

EXT. COTTAGE

Through the windows we see them holding each other as the shot pans out. They kiss. Fade to black.

The End.