Act 2
MOSELEY COTTAGE. DAY.
Baxter arrives at the door with a small basket on her arm.
She knocks.
Mosely Sr. answers the door.
MOSELY SR
Miss Baxter. Good morning.
BAXTER
How are you this morning?
MOSELY SR
Fine, I-
BAXTER
Millicent made some of those mince
tarts you like. I'm afraid Joe
will be working through today, but
I thought it might be nice for you
and I to have a cup.
MOSELY SR
Yes. Please come in.
Baxter sets the basket on the table and is taking off her
hat.
BAXTER
How is your rheumatism this
morning? Better, I hope? Or
should we-
MOSELY SR.
Phyllis.
She stops and smiles at his use of her name. Then she sees
his expression.
BAXTER
What is it?
MOSELY SR
I hope-I hope I have not betrayed
you.
BAXTER
Good heavens!
She is still smiling, but Mosely Sr. continues, gravely.
MOSELY SR
There is someone waiting for you in
the garden. The-the young lord
spoke so persuasively about the
need to see you that I invited him
to wait. I hadn't the heart to
turn him away.
Baxter turns and looks toward the back door.
MOSELY SR (CONT'D)
I hope I did you no wrong. If you
want, I will tell him to go. You
can-
Baxter puts a hand on his shoulder.
BAXTER
No, you didn't do wrong. I must-I
will see him.
Baxter walks by Mosely Sr. and toward the back door. He
turns to watch her, worried.
VIOLET'S ROOMS, THE ESTATE:
Mary, in traveling outfit, is seated in Violet's parlour.
Violet sits close to her in the wheelchair.
VIOLET
The most eloquent apology is a
change of one's behavior.
MARY
Yes. But I must convince her now-
VIOLET
No. You must not try to convince
her.
MARY
What shall I do?
VIOLET
Be honest with her.
Mary thinks.
MARY
But how-
VIOLET
Keeping the child in London now
would be foolish at any rate. Even,
it seems, possibly dangerous?
MARY
Yes.
VIOLET
And you wanted to bring the family
closer.
MARY
Yes.
VIOLET
How do you feel about the child?
MARY
I want to know her. I want her
here. She's my niece. She is a
Crawley. Unless there was a secret
marriage.
VIOLET
You will leave that part out.
Mary shakes her head.
MARY
Of course. I-
VIOLET
Why is Edith not returning letters?
Why are you and she so distant?
MARY
It's my fault. I've always been-
VIOLET
It's hers, as well. But this is
not the time for that revelation.
MARY
(Sighs.) No.
VIOLET
Mary, tell her the truth. But you
must allow her to set the terms.
If you want what you say you want,
you will give her the choice.
MARY
I don't remember how this all
began. Or when it took this turn.
It was all so long ago.
VIOLET
Sometimes bad feelings can start as
a game but then gain momentum over
time, like some beastly machine,
and it seems impossible to stop it.
It's not a complicated action to
stop it. But it takes some
abandonment of pride.
Mary gazes at Violet with some wonderment.
MARY
How do you come by it all,
Grandmother?
Violet gestures vaguely.
VIOLET
Live long enough, my dear. It all
comes by you eventually.
Cora enters, also in traveling clothes.
CORA
Mary, the car is ready.
VIOLET
I miss Edith. Do you?
Cora and Mary look at her in solemn agreement.
VIOLET (CONT'D)
Then, tell her.
HUGHES' OFFICE. DAY.
Hughes enters her office and stops in mid-stride. She goes
to her desk, where a bouquet of white roses sits.
She opens the card, which reads, "Would you please join me
for dinner on Saturday night?"
Hughes laughs.
BACK COURTYARD. DAY.
Ian knocks at the servant's entrance; he has brought
Daisy's bicycle.
Patmore opens the door. She sees Ian and strolls outside,
hands on hips, as Ian tips his hat.
FRONT DRIVE. DAY.
A car pulls up.
Blake helps Cora and Mary into the back. Bates takes his
seat in front.
Blake stands next to the car.
BLAKE
I don't like this.
MARY
We can't show up with the whole
tribe in tow. We'd look like
racketeers.
BLAKE
Still-
CORA
And we won't be in any danger. We
just want to talk to Edith.
BLAKE
If you can't persuade her-
MARY
I don't know. I'll think of
something.
Blake moves to the front of the car.
BLAKE
Bates. You'll be careful, won't
you?
BATES
I will, Mr. Blake.
MARY
Charles, that's enough now.
BLAKE
I could come after. Just behind
you. In case I'm needed.
MARY
You're needed here tonight. We've
abandoned Papa to dinner with Miss
Bunting.
The car begins to pull away.
And Miss Bunting to Papa.
BLAKE
I'll be waiting. Call, if you need
me to come.
Blake goes back into the house.
As soon as Blake is back inside another car rounds the drive
and nearly screeches to a stop.
THE MOSELEY ROSE GARDEN. DAY.
Baxter enters the garden. The young lord turns. They gaze
at each other for a moment.
YOUNG LORD
These roses rival any I've seen in
England. Or France. They are
quite remarkable.
BAXTER
Yes. Mr.- my Father in law to be
has the gift.
She faces him.
BAXTER (CONT'D)
I would know you. If I passed you
on the street or-
Her voice breaks.
BAXTER (CONT'D)
I would know you.
YOUNG LORD
I have his eyes.
BAXTER
You're mine. You couldn't belong
to anyone else. It's like a
mirror.
YOUNG LORD
(He laughs.) It is.
Baxter pulls out a handkerchief and turns her back.
YOUNG LORD (CONT'D)
After I first met you I spent more
time looking in the mirror than was
advisable-it was a way to see you.
Silence. He approaches her with gentle steps.
YOUNG LORD (CONT'D)
Is it all right that I came to see
you like this? You know he has
died. You received my letter.
BAXTER
Yes.
He puts his hand on her wrist, shyly. She turns.
YOUNG LORD
You can't know how glad I am that I
favor you.
DOWNSTAIRS HALLWAY. DAY.
Daisy is looking for Patmore when she sees the back door open
and hears voices.
Daisy walks slowly outside. Ian and Patmore are talking.
They don't see her.
Ian bursts into a broad laugh, which Daisy has never yet
heard. She stares, then goes back inside, frowning.
MOSELEY ROSE GARDEN:
YOUNG LORD
I've inherited. My parents are
dead.
BAXTER
Yes.
YOUNG LORD
Can't I know you, now? I always
knew you would be kind. I knew it.
Baxter touches his cheek.
YOUNG LORD
You know that my father sired-others. Sisters. I've found
three. Two who grew up together,
partly in the workhouse.
Baxter makes a face.
YOUNG LORD (CONT'D)
Yes. He allowed that to happen.
And I've another sister who grew up
not far from the estate. I want to
move them all closer now, have them
near me. Take care of them. If I
can't have you quite so nearby,
can't we-
BAXTER
Yes. I never meant-I didn't want
to hold back from you. But-
YOUNG LORD
You were protecting me. I know.
But now there's no need. I can
look after you.
BAXTER
Joe already does that. But I do
want to know you. I want to-see
you. Often.
He holds her hands, his face full of joy.
HUGHES' OFFICE. DAY.
Carson knocks on the open door. Hughes smiles at him.
HUGHES
They are lovely. Thank you.
CARSON
May I have your answer?
He enters and waits.
HUGHES
Yes. Saturday will be fine. But
do I have to wait until then to
find out the cause of the
celebration?
CARSON
I-I can't seem to talk about it
yet.
HUGHES
Well. All right.
CARSON
You are very gentle, you know.
HUGHES
I?
CARSON
I wouldn't recommend it to anyone
to lock horns with you. But you
are a very gentle friend. Not all
intelligent people are.
HUGHES
These are lovely words.
CARSON
And, do you know? (He hesitates) I
don't know if I can wait to tell
you about-the cause-either. I-I'm
not sure I'm up to the task
presented me.
Hughes crosses the room, closes the door and rejoins him.
HUGHES
We will still enjoy dinner on
Saturday if you tell me about it
now.
FRONT DRIVE. DAY.
The car carrying Bates, Cora and Mary is gone, but a faint
cloud of dust still lingers. The car that has just pulled
around the drive is idling.
Anna runs from the servant's entrance and jumps in the front
passenger side.
Tom drives, catching up with the other car but keeping just
out of sight.
CAR INT.
Anna has a newspaper on her lap and is tying a scarf over her
hair.
TOM
You'll be careful, won't you?
Anna gives him a look.
TOM (CONT'D)
I shouldn't be doing this.
Anna is checking her pockets and fixing her hair around the
scarf.
TOM (CONT'D)
I know how I'd feel if my woman was
sneaking behind my back to help me.
Don't expect him to like it.
Anna smiles at him.
Tom laughs.
ANNA
What?
TOM
You just reminded me of someone,
that's all.