Act 1
BONDGATE HOTEL OFFICE, DAY.
Anna is adjusting Bates' coat and brushing his collar.
BATES
Please remind me why I'm leaving.
ANNA
He needs our help. That's always been reason enough.
BATES
Isn't it time we cut the cord, then, on our dark changeling?
ANNA
Now? If he misses work-
Bates makes a frustrated sound. Anna has finished brushing his collar and steps in.
ANNA (CONT'D)
That man I met years ago would help a fellow creature in need-
BATES
Creature. I like that word for him.
ANNA
-and you were going to go the day after tomorrow anyway. You can drop in and check on the orders for the fasteners and the drapery pulls. That's the final bit for the rooms. And weren't you going to pick up more books for Mr. Carson as well?
BATES
Yes. His order should be ready. (Sighs) I hate leaving you now, with all this.
ANNA
What part will I not be able to manage?
BATES
(Laughs) If there is such a thing I can't think of it.
She kisses him.
BATES (CONT'D)
This is proof, absolute.
ANNA
Of what?
BATES
That I can deny you nothing.
He pulls her in. The phone rings. They both sigh and Anna detaches herself to answer it. Bates catches her around the waist, pulling her back. He kisses her again.
BATES (CONT'D)
I will be home directly.
Anna laughs and runs into the office to answer the phone.
Bates picks up his valise and crosses the bustling lobby. He stops to tip his hat and say hello to Lady Edith as she enters; he then continues out.
Anna hangs up the phone and meets Lady Edith in the middle of the lobby.
ANNA
My Lady! I apologize for- (She gestures to the general mayhem around them.)
EDITH
Don't be silly. You're renovating.
Edith turns, looking around and up.
EDITH (CONT'D)
For a small hotel it has a grand feel.
ANNA
Yes, we're very fortunate.
EDITH
When are you opening?
ANNA
On the 7th. (Anna drops her voice) We hope. The artist is a bit-moody.
EDITH
You do need to keep to an opening date.
ANNA
We know. And the 7th would put us nearly a month ahead of the British Empire Exhibition and a week ahead of the fair.
EDITH
Good planning. But you have doubts about the artist?
ANNA
Not so much doubt-as anxiety.
EDITH
I'll have a reporter here to write a piece on the event. We'll feature the Bondgate in an article a week ahead. And I'll drop in some promotional advertisements building up to the date.
Anna stands for a beat, open-mouthed.
ANNA
That would be–marvelous.
EDITH
It's the very least I can do. And this-she looks up at the painting- Why, this IS grand.
ANNA
Water gardens, to reference-
EDITH
Fountains Abbey and Studley Royal Water Garden! Of course! I recognized it at once! The statues and the swans, the water lilies. The style reminds me of Maxfield Parrish.
Robertson has overheard and glares down. Anna steps back and motions delicately to Edith.
ANNA
He doesn't like to be compared. But Robertson studied with Parrish in America. Yet, he was born here in Ripon. His landscapes have been called, "dreamy".
EDITH
Quite. Is that to be a white and-a black swan?
ANNA
By request. It's unusual, but-
EDITH
And will you have other Deco?
ANNA
In the details; Egyptian motif chandeliers and wall sconces, that sort of thing. To reflect-
EDITH
The water lilies. It will be a local landmark. Congratulations to you both!
ANNA
You've heard nothing more from Mr. Monaghan, then?
EDITH
No. He seems to have disappeared. At least for now. But nothing ever surfaced regarding his-activities.
ANNA
I'm very glad to hear it.
EDITH
I was certainly grateful for it. Well, The Sketch will cover your opening as if it were the Savoy. Is this the dining room through here, then?
Anna shows Edith through to the next rooms.
ANNA
Yes. (Their voices fade as they walk away) And how is little Corinne?
Workmen plastering the walls have overheard the conversation.
PLASTERER 1
Like to get her in a water garden. Little midnight swim.
PLASTERER 2
Stop now, Sydney. Stupid git.
PLASTERER 1
Why?
PLASTERER 2
She's the lady wife!
PLASTERER 1
She's ain't no lady, workin' in a hotel.
PLASTERER 2
She's Bates' wife. I told you. They own the hotel. You'd best look to yourself.
A third plasterer joins the conversation. He's wiping his hands and taking a breath.
PLASTERER 3
Right, then-when is it they open?
The phone in the office rings.
ESTATE LIBRARY. DAY.
Carson is arranging books and papers at a great table in the library. Robert and Sarah enter.
CARSON
My Lord. Miss Bunting.
SARAH
Hello, Mr. Carson. I hope I can be Sarah. And how are you today?
CARSON
Very well, thank you-Sarah.
SARAH
I've brought my father's guidelines.
They both look over her shoulder as she opens a large book on the table.
SARAH (CONT'D)
For an ambitious volume that must contain copies of documents and many photographs, you'll want to go with this sort of binding. It's a bit more expensive than the-
Cora enters.
CORA
I don't wish to disturb you while you're working. But Mary is on the phone.
ROBERT
I hope to say they are coming home at last. Will you excuse me?
CARSON
Of course, my Lord.
Robert leaves with Cora.
SARAH
If you don't mind me saying, Mr. Carson, it suits you. Being the family historian.
CARSON
I-a family historian?
SARAH
Don't you think?
CARSON
I am not qualified.
SARAH
Ah. I see.
Sarah picks up a piece of paper, looking at it.
SARAH (CONT'D)
I forget now, Mr. Carson. When was this estate built?
CARSON
It's believed that Anglo-Saxon ancestors of the family have occupied the site for approximately 1300 years. The foundation of the present structure was built in 1787, before the conversions in the 19th century.
He is looking at the paper in her hand, not understanding.
CARSON (CONT'D)
Why?
Sarah smiles at Carson.
Hughes enters the library.
HUGHES
Mr. Carson, I'm sorry to disturb you. But it seems Lady Mary and Mr. Blake are now on their way from Harrogate.
CARSON
From Harrogate?
DOWNSTAIRS HALLWAY. DAY.
HUGHES
Mr. Blake and Lady Mary have returned. Go and tell the nanny to bring Master George downstairs at once.
MAID
But isn't she a Baroness now?
Hughes
She is, and as such we continue to address her as "My Lady". Mrs. Patmore?
PATMORE
Tea is ready to go up. Millicent, aren't those sandwiches cut?
Millicent hurries.
PATMORE (CONT'D)
Tap the cut edges very lightly in the minced parsley before they go on the platters. (To Hughes) Have you seen them?
HUGHES
Not yet. But Mr. Blake's quick decisions keep Lady Mary on her toes as well as all of us. He does make life stimulating.
PATMORE
I'm ready to have Lady Mary back home. She's become a stabilizing influence.
HUGHES
I never would have foreseen it myself, but it's true that she is the rock of the family now.
James picks up the tray and nearly is knocked over by Sprat.
SPRAT
Ought to be careful. They'll be hungry.
JAMES
Ought you not to stay out of the way in the kitchen?
PATMORE
What can I do for you now, Mr. Sprat?
SPRAT
Her Ladyship will have tea with the family.
PATMORE
Yes, of course. We anticipated that.
SPRAT
Did you?
PATMORE
Yes. As we discussed-
SPRAT
I am to make sure you've included Her Ladyship in the tea plans.
PATMORE
Are you? To make sure?
SPRAT
Yes.
PATMORE
Her Ladyship asked you to do this?
SPRAT
I-
PATMORE
Or are you kicking up a bit of dust around the farmyard to amuse yourself?
SPRAT
How dare-
PATMORE
I'm the cook. It's best you not dare me, Mr. Sprat. I can go around you. And above you.
Mosely steps into the doorway between the kitchen and the dining hall.
MOSELY
That she can.
SPRAT
Remarks from the valet are hardly relevant.
MOSELY
His Lordship's valet. My "remarks" concern the workings of the house. It's best you left charge of meals to Mrs. Patmore.
SPRAT
You can leave off. How would that be?
PATMORE
Mr. Mosely, please help me to eject unnecessary staff from my work area!
MOSELY
Yes, Mrs. Patmore. (To Sprat) You-out.
Sprat fumes as he leaves. Mosely goes back into the servant's dining hall. Baxter, sewing at the table, is trying to hide a grin.
BAXTER
Don't pick at him too much. He'll turn on you like a snake.
MOSELY
What can he do? He's below me.
He looks at Baxter's work, which is elaborate beading on an elegant, bright red dress.
MOSELY (CONT'D)
Is that for Her Ladyship? (Leans close to her and speaks softly) It looks a bit-young.
BAXTER
No! It's for Anna, for their opening. I'm adding to the beading. Her Ladyship doesn't mind.
Baxter sets the dress in her lap. Her volume now matches his.
BAXTER (CONT'D)
But Sprat is ruthless. He can devise plots that would not occur to either of us. Best to make sure he owes you in some way. That will keep him more docile.
MOSELY
Why didn't I just ask you about it, anyway?
Mosely moves in close to her. She smiles up at him. They gaze at each other.
MOSELY (CONT'D)
You're so much smarter than I am. I married up.
Baxter laughs.
FRONT DRIVE. DAY.
Servants are lined up and the family are greeting each other as footmen carry the bags from the car into the house. The nanny hands George to Mary. Blake is kissing Cora on the cheek.
A second car pulls up behind the first and Edith exits.
EDITH
You're back! I seem to be just in time.
MARY
That wasn't necess-(She stops, then continues, a bit stiffly). Thank you for being here with the rest of the family. It's good to see you.
Mary kisses Edith on both cheeks.
Robert and Cora approach Mary and Edith, speaking in low tones.
ROBERT
A gargantuan effort.
CORA
I think they are both doing very well.
Robert raises his voice.
ROBERT
How was Ulster? You had a good visit?
BLAKE
I've never known it to be so cold. But yes.
Mary interrupts to hand George to Blake.
BLAKE (CONT'D)
There he is!
Blake begins swinging George in circles. George laughs wildly.
EDITH
Our new relations are a bit-informal, as expected?
Mary
They are. It's both endearing and annoying.
She watches Blake playing with George.
Mary (CONT'D)
Mostly endearing.
Tom comes out of the house walking Sybil and carrying Corinne. Edith takes Corinne. Tom kisses Mary on both cheeks.
TOM
I hope you said hello to Ireland for me?
MARY
Yes. From under as many animal hides as I could pile upon myself.
CORA
We must warn them about the latest developments.
TOM
George has taken Corinne under his protection. If she cries he puts his arms around her-
EDITH
-and won't let anyone else near until she stops.
Mary takes Corinne in her arms.
CORA
She reaches for him in every crisis. And Sybil has become the presiding authority on all things that involve both toys and fairness.
TOM
With mixed results.
Mary is gazing at Corinne and smiling at her. Edith reaches for Corinne and Mary startles. She hands Corinne back to Edith. The sisters stand looking at each other, awkwardly.
EDITH
I've just come from the Bondgate.
MARY
How are they getting on? I must call Anna...
The family slowly enter the house.
BONDGATE LOBBY. DAY.
Anna is crossing the lobby. She stops to talk to a workman who is polishing the floors.
ANNA
Mr. Caswell, these are lovely aren't they?
CASWELL
They are, ma'am. Good suspended timber, and none of the vents are broken. There's no rot whatever.
ANNA
Yes. The cast iron is elegant but we will have to be careful.
CASWELL
When do the rugs arrive?
ANNA
Not for three more days. We'll be ready?
Above and behind them Robertson is swaying on a low rung of the ladder, head drooping, one side of his body limp. He hangs on precariously.
CASWELL
We will, ma'am. You're having them done up special, I heard?
ANNA
Yes. The lobby rug is a Deco water lily design and will reflect the colors of the painting and accents, and the rugs for the rooms will be in the same theme.
CASWELL
You'll have the stand-out place in tow-
There is a cry from a workman near them as the ladder tips and falls directly at them. Caswell grabs Anna and pulls her out of the way. The ladder crashes behind them, throwing up dust.
Robertson is on the floor, blood running from his nose.
Caswell releases Anna.
CASWELL (CONT'D)
Begging your pardon, Mrs. Bates!
ANNA
(Quickly) I won't find fault with your saving my life, Mr. Caswell.
She kneels by Robertson.
ANNA (CONT'D)
Help me with him!
They turn Robertson face-up. He is ashen and very still.
Davies runs up, covered in plaster dust.
ANNA (CONT'D)
We must get him to hospital.
DAVIES
Our truck is just out front. I can take him.
ANNA
I'm going with you. Mr. Caswell, would you help us carry him?