Act 2.
STREET IN LONDON, DAY.
Thomas steps out of a cab, spinning back to nod at Bates who is sitting in the back.
THOMAS
Thank you, Mr. Bates.
BATES
When will you repay us for the bail?
THOMAS
In good time.
BATES
Next week will be a good time.
THOMAS
Possibly. Tell Anna thank you, and I owe her a favor. You open on the 7th? With a gala?
BATES
Given that the artist comes through. And we're still working out the entertainment.
THOMAS
There's a tangle. Let me see what I can do.
BATES
(With sarcasm) Why? You know musicians personally?
THOMAS
And they know me. I'm the cat's particulars. Didn't you know?
BATES
I know I came up from Yorkshire to bail you out. Why was that, if you are the "cat's parts"?
THOMAS
That's "particulars".
BATES
With all your-particular connections, you have no other friends?
THOMAS
I can't be imposing upon them. But I'll return the favor. For Anna, of course.
BATES
This is the final favor. Anna has a soft spot for you. I don't.
THOMAS
Oh, don't you?
Bates smiles coldly. Thomas grins and disappears into the crowd on the street.
INT. RIPON HOSPITAL. DAY.
Anna waits outside the morgue in the hospital hallway. Through the doorway we can see the artist's body on a table, a doctor and the local constable in uniform.
DOCTOR
There's no crepitus present in the skull bones, no reason to suspect a skull fracture. His shoulder is dislocated, so that may have broken much of the force of the fall. There are no defensive injuries on his hands. He seems to have fallen like a rag doll.
CONSTABLE
Then how did the fall kill him?
DOCTOR
I don't see how it could have. But we'll have to see what the coroner's report says, depending on the family's wishes. And it is the final decision of the crown office, of course.
Anna knocks on the door frame.
ANNA
I have the name and address of his next of kin. To whom should I give it?
CONSTABLE
To me. I'm-
ANNA
Constable Smith. We've spoken on occasion.
CONSTABLE
Of course, Mrs. Bates. Just keeping all in order. Did you see what happened?
ANNA
I did not. Only the landing, but not the reason for the fall.
DOCTOR
Did he reach out to break his fall?
Anna: No
Davies: No
Anna looks at Davies, who has joined them.
DAVIES (CONT'D)
He had a queer posture on the ladder for a few minutes, I noticed.
CONSTABLE
Posture?
DOCTOR
Can you describe it, or show us?
DAVIES
Looked as if one of his hands curled up, shaking. And his leg on that same side started swinging about.
DOCTOR
As if he had lost strength on one side of his body?
DAVIES
Yes. It were just like that.
DOCTOR
I can almost guarantee the inquest will show a cerebral bleed. I believe this man had a stroke which caused him to lose consciousness and fall from the ladder. I believe he may have been dead before he hit the floor.
CONSTABLE
You'll forgive me, doctor, it is much too early in the investigation to make guarantees.
DOCTOR
There are certain signs that-
CONSTABLE
In good time I will speak to you again. We will now contact next of kin and move our investigation to the scene. Mrs. Bates, will you cooperate with this investigation?
ANNA
Of course, Constable Smith. We will do all that we can.
CONSTABLE
(To the doctor) I will need to use the phone.
EXT. RIPON HOSPITAL.
Constable Smith nods at Anna, Davies and Caswell.
CONSTABLE SMITH
I will follow you directly. Please disturb nothing at the scene.
Anna, Davies and Caswell leave.
Constable Smith waits until they have gone out of sight. He steps around the corner of the building and nods to Detective Smalls, a tightly-drawn man in a grey suit who has been waiting.
CONSTABLE
Detective.
SMALLS
You have something, then?
CONSTABLE
Yes. A mysterious death at the Bondgate Hotel.
SMALLS
A workman accident? I've seen the renovations in progress. We will need to double check for building violations.
CONSTABLE
Oh, no, it's better than that. (He lowers his voice.) Doesn't the name Bates ring a bell?
Smalls thinks it over for a minute, then smiles.
SMALLS
I'll get started on the files.
DOWNTON ESTATE, HUGHES' OFFICE. MORNING.
Sprat knocks.
SPRAT
Her Ladyship asks your assistance with an order, to be delivered.
He hands her the sheet of paper. Hughes' eyes widen.
HUGHES
This is very generous. I didn't know that she knew them so well.
SPRAT
She doesn't. But that has never stopped Her Ladyship from extending generosity and goodwill. No matter what people think.
HUGHES
I am happy to help, of course. I will see to it.
Sprat turns to leave.
HUGHES (CONT'D)
Mr. Sprat.
SPRAT
Yes?
HUGHES
It's not been an easy transition. For any of us. But we seem to all be adjusting to one another now.
He waits.
HUGHES (CONT'D)
I appreciate that you are truly devoted in service to Her Ladyship. It's admirable.
SPRAT
But?
HUGHES
No. That is all I wanted to say.
Sprat turns slowly now. This wasn't what he was expecting. Carson enters.
CARSON
Forgive me. You are busy.
HUGHES
No, we've-
SPRAT
(Blurts) Mrs. Hughes.
They both look at Sprat.
SPRAT (CONT'D)
(Awkwardly) Thank you, Mrs. Hughes.
Carson watches him leave, then turns to Hughes.
CARSON
He was nearly in danger of smiling. What have you been up to?
HUGHES
(Innocently) I? Nothing.
Carson is advancing on her, a smile of his own creeping up.
CARSON
Nothing, is it?
Hughes shows Carson the sheet of paper. He gapes.
MASON FARMHOUSE KITCHEN, DAY.
Daisy is writing with a pencil and thinking. Mason looks over her shoulder.
MASON
That be enough pastry flour?
DAISY
Yes. They'll be very light savory canapes. No desserts.
IAN
They paid you decent, at least.
DAISY
I would have done them as a favor. But they wouldn't allow it.
IAN
You've no head for business.
DAISY
And you've no feeling for friendship.
MASON
I'll leave you two. But keep the quarrel short today. I need you, Ian.
Mason looks pointedly at Ian and then Daisy. He leaves.
IAN
You'll be running this farm one day and you can't run it like a charity.
DAISY
I look after my friends. And my friends look after me. That's reciprocation, not charity.
IAN
Friendship is no guarantee of reciprocation.
DAISY
Well, you'd know about that!
Here is a silence as her words fade. She shakes her head.
DAISY (CONT'D)
Why don't you go now. I need to think.
IAN
It's only I don't want to see you taken advantage of.
DAISY
There's no danger of that, is there?
Ian glances around the empty kitchen. He walks slowly to Daisy and takes her hand. Daisy takes his other hand and they stand close together.
BONDGATE HOTEL, AFTERNOON.
Constable Smith walks slowly into the busy lobby, looking about. He talks briefly to a workman and then goes toward the office. Workmen turn their heads, or turn completely to watch him. The room goes quiet.
Constable Smith peeks into the office, where Anna is writing. She looks up.
ANNA
Constable Smith. Please come in.
CONSTABLE SMITH
I will need to view the scene, and it looks as though witness reports should be easy enough to gather-given you will cooperate.
She sets a stack of documents on the edge of the desk.
ANNA
I've prepared all of our paperwork, permits, list of staff and workers' contracts. Feel free to speak to anyone you like at any time. If there is anything else we can do please let me know.
CONSTABLE
Right now you can accompany me to the scene and describe exactly what you saw.
When they exit the office Caswell, Davies and others are waiting. They all gather around the roped-off area and the fallen ladder.
DAVIES
He was always rubbin' his head. Complained about headaches.
CONSTABLE
Was he?
SYDNEY
All day, every day. Snappish, too, he was, like a man in pain.
CASWELL
That's true, that. We saw it every day when we were working.
PAINTER 3
Gripin' and rubbin' his forehead.
DAVIES
Always the same complaint.
PAINTER 2
Surprised he took so long to fall.
DAVIES
We'll all tell you. And Mrs. Bates, always telling him to come down for a bit, take an aspirin.
CASWELL
And then he'd snap at her.
PAINTER 3
Only man alive who'd get away with that.
The workmen all suppress a laugh. Anna gives them a reproachful look.
CONSTABLE
Gentlemen, that's plenty of witness reports, thank you. Though you may be subpoenaed for testimony at a later date.
CARSON'S OFFICE. EVENING.
James enters with a stack of heavy, wrapped bundles.
JAMES
Where would you like me to put these, Mr. Carson?
CARSON
Ah. On that table there. Very good. Thank you, James.
Bates enters behind James.
BATES
Yes, thank you, James.
James nods at Bates and leaves.
CARSON
I appreciate your trouble, Mr. Bates.
BATES
It was no trouble. And I'm sorry to come so late. But I confess my curiosity got the better of me.
CARSON
You are welcome to look at them, of course.
BATES
I wondered, were you planning to attend the Exhibition?
CARSON
I hadn't thought to, no.
BATES
As a curator of the family history, it might be a fine place to gather deeper information, even to connect with others doing similar work.
CARSON
In an-official capacity-for the family?
BATES
No one else can approach your qualification there.
CARSON
That seems to be the general feeling. But I admit-
BATES
It's daunting, a new title, yes?
CARSON
A bit, yes.
BATES
And to attend such a momentous event.
CARSON
Yes. I have yet to-that is, I do not know exactly how I would represent myself.
BATES
Great families are often represented by agents of one sort or another. No doubt His Lordship will have thoughts on it. You might have cards printed up.
CARSON
Ah, yes. I hadn't thought of that yet.
BATES
Then when you meet historians, family representatives of all kinds, authors and others, they will know what you might be looking for, and what source you could be for them in their own work.
CARSON
That is fine advice, Mr. Bates.
BATES
I'm glad if it's useful to you.
CARSON
And how is the Bondgate? There is more than a bit of anticipation about the opening.
BATES
It's going very well.
Hughes enters and takes Bates by the hand.
HUGHES
Mr. Bates! And how is our Anna? It seems a year since I've seen her. We miss you both dearly.
BATES
And we miss you. Anna has known what she wanted to do for a long time. She knew exactly what elements, what colors, all of it. Well as I know her, I continue to be impressed by her.
HUGHES
You speak for us all. We can't wait to see it finished.
BATES
We hope you will come to the opening.
HUGHES
We'd never miss that.
BATES
Well, it's late. I'll leave you to close up.
Bates is gone.
HUGHES
Do you suppose they'll have enough glasses?
CARSON
I can't imagine they would.
He smiles.
BONDGATE LOBBY. NIGHT.
The dim lobby is draped in work cloths and buckets of plaster, paint and other building materials are stacked around, but all is quiet. The ladder is lengthways on the floor, neatly against the wall under the unfinished painting. A single lamp burns in the office.
Bates is nearly to the front desk when Anna emerges from the office.
BATES
Why are you still up?
Anna wraps her arms around him.