SERVANT'S HALLWAY, EARLY MORNING
Jimmy & Thomas step out of their rooms and into the hallway
at the same time, both in undershirts and with towels.
JIMMY
You go first.
THOMAS
I was going to slip these under
your door.
Hands Jimmy a packet of cigarettes.
JIMMY
What for?
THOMAS
I was in the village yesterday and
I got you a packet of cigarettes when
I got mine.
JIMMY
Wait. I'll get your money.
THOMAS
I don't need your money. We're
friends, aren't we? I just got you
a packet of cigarettes.
(BEAT)
JIMMY
What do you want?
THOMAS
I can't do a favor for a friend
without-
JIMMY
(Interrupts him) No.
THOMAS
(Shrugs) Well, I did.
Thomas gives Jimmy a look and continues down the hallway. He
stops and looks back, keeping his voice very low.
THOMAS (CONT'D)
I'm not courting you, if that's
what you're afraid of.
He turns and walks away.
(BEAT)
JIMMY
No. I'm not afraid of that.
COTTAGE. MORNING.
A small basket full of medicine bottles, a book and other
items is set on the edge of a desk, next to sheets of figures
and several newspapers and other periodicals.
BATES
Smiles up at his wife.
ANNA
You're up early. Doing more
figures?
BATES
If we keep saving as we are, we'll
be ready to buy in three or four
years.
She is putting on her coat.
ANNA
That will go by quickly.
BATES
I want to be able to move when a
good property opens locally. It
may take months to renovate,
depending. When we're ready we can
give several months notice, train
our replacements and - go into
business.
They take a moment to smile at each other. They are both
excited, but also not quite ready.
BATES (CONT'D)
We'll need our own decent-sized
quarters as well, for when-
(Silence)
ANNA
(Is sober, perhaps even a
bit sad.)
For IF-
BATES
If. When. It doesn't matter.
Pulls her onto his lap.
BATES (CONT'D)
Are you off to the village now?
ANNA
(LAUGHS)
Stop that! I'll wrinkle!
He releases her. She begins to pin on her hat.
ANNA (CONT'D)
You're lovely about my friendship
with Mrs. Wright. She's not well
lately. I'm meeting Dr. Clarkson at
her house this morning.
BATES
I've seen what the visits do for
you. I'd move her into the cottage
next door if you wanted.
He puts down his pen, thoughtfully.
She's charming, but there's a sense
of the grand lady about her at
times, as well. The family must
have had a title or been of means
at one time.
ANNA
I've wondered that, too. But of
course it doesn't matter. She's
the kindest of friends. I'll see
you at breakfast.
Kisses him. She pulls back, he pulls her in again for
another. She pulls back, but then she goes in for one more
kiss. She smiles and is off with her basket.
MORNING. BREAKFAST TABLE UPSTAIRS. ONLY EDITH AND TOM ARE
PRESENT.
They speak softly. Tom is keeping an eye on the door.
TOM
We'll be on a different side of the
estate all next week, so it may be
a good week for your-visits.
EDITH
Thank you.
TOM
But if you want my opinion-
EDITH
I suppose it comes with the
alliance, yes.
TOM
She belongs at the estate with her
cousins. She should be a part of
this family, not an outsider.
EDITH
Tom, am I treated like a member of
this family?
TOM
Just looks at her.
EDITH
How could I allow a child to be
treated the way I'm treated here?
Can you imagine, growing up with
George always lording over her?
TOM
He won't-we won't allow him to act-
EDITH
Mary will. She'll insist on it.
TOM
Sybil is the daughter of a
chauffeur, and she is given every-
EDITH
But my little sister is dead. Her
daughter is the only way we have to
love her. So she'll always be
loved. But MY child? My-bastard
daughter by a man my father scoffed
at? She'll be lucky if they don't
have her scrubbing the floors, or
feeling as if she should BE
scrubbing the floors. I won't,
Tom. And I'm still counting on
your discretion.
TOM
I don't break promises. I won't
ever say. But I wish there was a
way they could all grow up
together. They might all need each
other.
EDITH
What my daughter needs is to grow
up among loving people who accept
her and respect her.
TOM
I won't argue with that. But I
hope there may be some
reconciliation at some point, is
all.
EDITH
Keep hoping, Tom. I've hoped for
that my whole life.
COURTYARD, AFTER BREAKFAST. BAXTER and MOSELY ARE SMOKING
BEHIND A WALL AND SPEAKING QUIETLY.
BAXTER
I wanted to talk to you.
MOSELY
Of course.
(babbling)
When you want to talk, I'm always
here to listen. You know, as a good
husband would. (He blushes.) I
mean, and I would. Of course I
mean as a good MAN would. As I
would.
BAXTER
I want to say first that, if this
changes your feelings about me,
then I won't blame you at all. And
I will understand if our-friendship
changes for you. I won't hold it
against you or resent it. I will
respect it.
She pauses nervously. She looks around them, then continues.
BAXTER (CONT'D)
I had a child out of wedlock, when
I was young. The father-
MOSELY
Yes?
BAXTER
He-was a Lord.
MOSELY
And he broke your heart?
BAXTER
No. I didn't love him. It nearly
broke my spirit, though. I-I was
not willing.
MOSELY.
Oh-I-Oh.
BAXTER
He was taken-adopted by a member of
that family. So, if you-I will
understand if-
He shyly takes her hand, just for a moment. She smiles.
MOSELY
And you were married, for a time,
after that?
BAXTER
Yes. My husband was killed in the
war. We had no children.
MOSELY
I see.
(Tries to be casual.)
And what-what is your view on
marriage now?
BAXTER
I think it is a good thing. As
long as there is honesty. And
respect.
MOSELY
I couldn't agree more.
WALKING THE FARMS ON THE ESTATE. DAY. TOM AND ROBERT.
ROBERT
You seem convinced we are on the
correct path. I sometimes worry
about the force of Mary's
personality in all of this.
Tom
It might end up being the force
that saves the estate. I'd bank on
that.
ROBERT
She can be very persuasive when
she's set her sights on something.
Tom
I'll bet she was a strong-willed
child.
ROBERT
The strongest. The most stubborn.
A certain doll, a certain frock,
nothing else would-
Tom
Don't mistake all this for girlish
whimsy. Mary knows what she wants
and she will get it done. I just
want to do right by her.
ROBERT
Do right by Mary?
TOM
Don't you trust her?
ROBERT
I've more reason perhaps than you.
Why did you believe in her so
absolutely from the start?
TOM
I hope you'll take no offense at
this, but in a certain way she
reminds me of Irish women.
ROBERT
(Has no idea how to reply to this)
TOM
You don't get between an Irish
woman and her home and brood.
You're better off throwing rocks at
a bear.
THE DOWAGER'S HOUSE. DAY. AT TABLE FOR LUNCH.
ROSE
I've decided I want to attend
University.
Violet and Cora put down their cups and stare.
VIOLET
University?
ROSE
Many girls are doing it now. They
have classes specifically for women
at Oxford. My friend Erma attends,
and she's invited me to visit. I
could observe a class to two.
They've been allowing that for
years and years now-
VIOLET
Intellect creates frown lines and
premature cataracts. It's the
furthest thing from feminine.
ROSE
But-
VIOLET
It's out of the question. A lady's
education should be firmly in place
before anyone tries to fill her
head with intellectual ideas. You
don't want to be an academic, my
dear. They're a duller species
even than the professions.
ROSE
Might I simply-observe some
classes, then? Go for a short
visit? Before it all begins?
Please?
VIOLET
Why would you want to waste your
youth in such a world? Marry
someone suitable-
ROSE
Once I'm married my youth is gone!
CORA
Oh, nonsense! That's when your
life really begins.
You'll have distractions. Parties.
A household to set up. You might
travel-
ROSE
I'm not ready to be a married woman
yet!
CORA
No one thinks she's ready. But
trust me, you are. It's best.
COURTYARD. DAY. MOSELY & BAXTER ARE WALKING SLOWLY TOWARD
THE SERVANT'S DOOR, THEIR VOICES LOW.
MOSELY
So I hope I'm not wrong to ask-
BAXTER
Please do. I want you to.
MOSELY
Is that all? I mean, a child out
of wedlock, especially when you
were so young-
BAXTER
I can't ever reveal who the child
is. Even to you. I hope you
understand that.
MOSELY
I do-but did you never, for
example, steal from an employer or
try to force yourself on another
servant?
They exchange a knowing look. Baxter laughs.
BAXTER
No.
MOSELY
It's not as if he can hurt you,
then.
BAXTER
That depends on Her Ladyship. She
does favor him. I told him to do
his worst. I suppose-I got tired
of it. Of keeping the secret. Of
him using it on me, trying to get
me to spy on people.
I have broken the deal. He'll tell
her now. But I don't know when
he'll pick his moment.
MOSELY
Well, he won't be the only one
talking. I hope you will excuse
me. I'll see you soon.
They enter the servant's hall and go their separate ways.
Mosely sees Bates in the hallway and hails him with a look.
OFFICES OF THE SKETCH, LONDON. DAY.
EDITH
Who has set up in Mr. Gregson's
office?
BLAKE
That's Reginald Anderson, My Lady.
He's taken over the job of managing
editor, as I said in my letters.
EDITH
Yes, but I didn't realize-
ANDERSON
Lady Crawley, how lovely to see
you.
EDITH
Yes. Thank you.
ANDERSON
Won't you come have a seat in the
board room?
EDITH
Where are the staff?
BLAKE
Why, working My Lady! (Blake and
Anderson chuckle indulgently)
They move into the board room. A tea tray waits on the long
table.
ANDERSON
I wanted to say, Lady Crawley, that
we are happy to accommodate a
regular visit.
Edith pauses to eye him.
EDITH
Oh, really?
ANDERSON
Of course, we'll have the proper
scones delivered and give you a
regular presentation. We are
prepared to do so. But remember
this is a newspaper, and we don't
stop down often.
EDITH
I'm not asking you to stop down.
Far from it.
ANDERSON
Good, good. As a - friend - of Mr.
Gregson you understand the pace we
work at. But we're happy to
welcome you and give you regular
reports.
EDITH
You're welcoming me? As I
explained in my correspondence I've
been given power of attorney. The
Sketch is now mine.
ANDERSON
Of course, My Lady, of course. And
we will do all we can to
accommodate you.
EDITH
I'm glad to hear it, Mr. Anderson.
You will move out of Mr. Gregson's
office at once into your old
office, or whatever is most
convenient.
ANDERSON
I beg your pardon?
EDITH
At once. I intend to-supervise the
Sketch. I will be-supervising
editor.
BLAKE
Supervise? But - You only wrote
features for a time before-
EDITH
Yes, I'm aware of my history with
the paper and you are all aware of
my friendship with Mr. Gregson. But
I will not be a visiting dignitary.
I'm moving to London and I will be
a full-time supervisor of this
staff and this newspaper.
ANDERSON
What can you possibly know about-
EDITH
Mr. Anderson, if you wish to retain
your position please move your
office immediately. I will be in
first thing tomorrow morning and I
want it done. Are there any
questions?
Stunned silence.
EDITH (CONT'D)
Good.
KITCHEN. DAY. DAISY, JIMMY.
Daisy is packing two crates with jars.
DAISY
Do you miss Ivy?
JIMMY
Why would I miss Ivy?
DAISY
Have you no heart for anyone?
JIMMY
It's hard enough looking after
myself.
Thomas walks into the kitchen, stopping.
THOMAS
What are we talking about?
DAISY
Ivy. Gone to America.
THOMAS
Ah, yes. I barely noticed.
DAISY
Men. You're all about yourselves.
It's a wonder you even see other
people at all.
JIMMY
Sounds as if you might be the one
missing Ivy, Daisy.
DAISY
Don't be daft. She was a decent
cook, is all.
Patmore enters.
PATMORE
Now, Daisy, you've checked the
stores and the lists again?
DAISY
Yes, Mrs. Patmore. We're ready.
It will be fine.
Thomas is listening openly.
PATMORE
What's all this to you?
THOMAS
I am under butler, Mrs. Patmore.
Everything that goes on in this
house concerns me.
PATMORE
Concern, is it? I've got other
names for it.
JIMMY
And we'd almost forgotten your job
title. Thanks for the reminder.
THOMAS
The right friends can make all the
difference.
HALLWAY. BATES AND ANNA OUTSIDE THE BOOT ROOM.
BATES
He will try to ruin her reputation.
It's what he does.
ANNA
What are you thinking of?
(Beat)
ANNA (CONT'D)
Nothing foolish. You have that
look.
BATES
What loo-
ANNA
The one you get before something
happens. Sometimes good and
sometimes not.
BATES
I'll just have a talk with him.
ANNA
And what happened the last time you
had a talk with Thomas?
BATES
It isn't right. She may have a
past of some sort but she can't
deserve the kind of destruction
he's likely planning.
ANNA
Sir Galahad. You don't have to
right every injustice in the world.
BATES
(Smiles)
That's rich. You can't bear them
any better than I.
ANNA
I don't-I don't want you to get
into any more trouble. Ever.
Again.
BATES
I promise.
AFTERNOON, MASON FARMHOUSE KITCHEN.
Daisy is unloading jams and jellies from crates onto the
table. Mr. Mason is looking at them.
DAISY
Sorry to just drop these off and
run back. But I've got dinner to
make.
MASON
These are nice to look at, Daisy.
Looks at market is as important as
the flavor. They'll buy for the
color and come back for the taste.
I'll bring your money to the house
next week.
DAISY
Anna's going to teach me more
stitches so I can make covers for
them, or just add a ribbon.
Something to make them stand out.
MASON
I don't mind saying now, I'm glad
you didn't go to America. Would
have been a nice adventure, but-
DAISY
No, I didn't want to go. I thought
about you, and the farm.
MASON
In just a few years, Daisy, I'll be
getting on-
DAISY
I know. And-I think I do want to
be here. I want to take care of
you then.
MASON
That's nothing for a young lady to
do! You ought to be allowing the
young lads to bring you posies and
handing them back heartbreaks.
DAISY
I don't know about young men just
now. But I would like to look
after you, and learn to run the
farm. I would. But I don't know
as I'm ready yet.
MASON
I've got a few strong years left.
DAISY
You have. But it would be nice to
know you have someone. And I want
to be that someone.
EVENING. ROSEMUND'S HOUSE IN LONDON. ROSEMUND AND EDITH IN
THE PARLOUR.
ROSEMUND
How did it go?
EDITH
It is the strangest thing to hear
another person's voice coming out
of your own mouth. The very person
you like the least in the world.
But oddly exhilarating at the same
time. I told them I mean to be
supervising editor. I'm setting up
my office tomorrow.
ROSAMUND
Was that wise, my dear? To push in
like that?
EDITH
I'm not pushing. Michael trusted
me to do it. I've decided to move
to London. I'll find a small house
and then I can have Corinne with
me.
ROSAMUND
The baby here? But how will you-
EDITH
No one will visit me. And if they
do-I'll have a nanny, of course. I
can't sneak around on the estate
anymore like a criminal and I won't
be kept from her. I'm her mother.
ROSAMUND
Well, you can stay here while you
set up. But raise a child alone in
London? And run a newspaper? I
wonder at your sanity, my dear.
EDITH
I'm going to do it. For once in my
life I will HAVE a life. One
that's entirely mine.
SERVANT'S QUARTERS HALLWAY. EARLY EVENING. BATES APPROACHES
THOMAS, WHO IS READYING TO GO DOWN TO SERVE DINNER.
BATES
Mr. Barrow. A word.
THOMAS
What is it, Mr. Bates?
BATES
Her Ladyship has been protected
from certain information about you,
and that can change.
THOMAS
I'm sure I don't know what you
mean, but I don't appreciate the
insinuation.
BATES
Closes in on him.
Leave Miss Baxter alone.
THOMAS
You going to beat me up again, Mr.
Bates?
BATES
You're finished with Miss Baxter.
As of now.
THOMAS
She's nothing to me.
BATES
Because you've got more up your
sleeve?
THOMAS
Doesn't a rat always?
BATES
A rat always has schemes. But a
rat can only run on the floor.
THOMAS
Some of them climb, Mr. Bates.
Some rats are brilliant climbers.
EARLY EVENING. CARSON'S OFFICE.
HUGHES
Is laying papers on his desk.
We're leaving day after tomorrow
and all is set. Here are the lists
for-
CARSON
I must speak with you.
Mrs. Hughes stops to look at him.
CARSON (CONT'D)
I feel that our-friendship has
happened upon some-uncertain ground
and I feel that we should keep our
relationship strictly professional.
HUGHES
Alright. Now, I will pass the house
keys on to Anna Saturday afternoon
before we leave, and she will be in
charge until we're back after
breakfast Sunday morning-
CARSON
(This was far too easy for
his taste.)
I hold you in very high regard.
It's nothing to do with that.
Nothing at all to do with-
HUGHES
Yes, I understand. Now here is the
list of what we ordered this month
in case you'll want to check the
store room, but it won't be
necessary, since-
CARSON
It's professionalism! Surely you
can see that.
HUGHES
I surely can and I agree. Now,
we've all prepared as much as
possible. I'll leave you to get
ready for the gong.
Carson watches her walk out of his office.
MARY'S BEDROOM. MARY SITS AT HER DRESSER. ANNA IS BUSY WITH
SHOES, ETC.
MARY
How is your friend in the village?
ANNA
Mrs. Wright is ailing, I'm afraid.
MARY
You're kind to care for her. Does
she have no family?
ANNA
Only her son, and he is in America.
His wife is not well, and Mrs.
Wright wants him to stay there and
care for her. I feel for the son.
He's caught between the devil and
the deep blue sea.
Anna is putting a necklace on Lady Mary.
ANNA (CONT'D)
And speaking of being caught
between-
MARY
It's not that I want to languish
among my champions. But I have to
be sure. We're at such a critical
stage right now developing the rest
of the estate and Papa thinks I'm
unqualified. My champion must be on
my side, yet be able to convince
Papa of the best course.
ANNA
These are interesting times to be a
woman. And to be running an estate.
MARY
A bit too interesting for most
men.
Watches Anna in the mirror for a moment.
MARY (CONT'D)
I've every confidence in you. I
wanted to say. When you run the
house on Saturday. I know you'll
be a great success.
ANNA
It will be just a normal day and a
normal night. Just the family.
I'm excited, really.
MRS. HUGHES' OFFICE. SHORTLY BEFORE DINNER.
PATMORE
Have you got a moment?
HUGHES
I have. Just.
PATMORE
I've decided to wear the new skirt
for the show.
HUGHES
But not the new shoes? It's quite
a way from the hotel to the
theater.
PATMORE
No, just my good ones. You?
HUGHES
Same.
Looks toward the door.
And I may even wear my mother's pearl
earrings. When do I get to do
that?
PATMORE
That's what this is all about.
HUGHES
He's not in London for this one, is
he?
PATMORE
No, he's so American these days. I
don't think he's been back here in
years.
HUGHES
Well, after "Blood and Sand", he's
really being taken seriously now.
Around the world.
PATMORE
Oh! I love the title of this one.
"The Sainted Devil"! Isn't he
just!
HUGHES
I wonder if there will be a song
and dance first. I don't mind a
play, but I like it when the short
features are different from the
film.
PATMORE
And I hope it's a really good
pianist. I hate it when you get
the feeling that pianist would
rather be elsewhere. You can tell.
It's in the feeling when they play.
DAISY
(Pokes her head in) Forgive me
Mrs. Hughes. Mrs. Patmore, did you
want the plain Hollandaise with the
fish tonight? Or the tarragon?
PATMORE
Oh! You're right. No tarragon!
It's in the chicken pie.
(To Hughes) Are you packed?
HUGHES
Just begun.
PATMORE
Leaving the office.
We need to be ready-for him!
HUGHES
Shushes her, smiling as she makes down the hall.
ROBERT AND CORA'S BEDROOM SHORTLY BEFORE DINNER.
ROBERT
I'm going to need your help.
CORA
Of course.
ROBERT
I'm not sure how to-work with Mary.
I believe Tom is right. When I
look at her I see the little girl
who demanded she touch nothing but
silk and eat nothing but sweets.
CORA
A very long three days.
ROBERT
When she looks at me and makes her
demands-
CORA
Does she make demands? Of you?
ROBERT
It somehow feels as if they ARE
demands. She's constantly at me to
change my mind, it seems. And when
she's doing that, all I can see is
my regal and demanding child.
CORA
Perhaps-you haven't yet met the
woman you are talking to.
ROBERT
What can you mean?
CORA
Mary has changed far more than just
growing from a girl into a woman.
She's a woman who has had
experiences you and I haven't.
She's in a position that you and I
have never been in. I've never had
to run an estate and you are not
woman in that position. We still
have each other. She is alone in a
way you and I have never been. She
has become a person that we don't
entirely know anymore. Perhaps you
could spend more time with her.
Ask her what she's thinking.
She has always been a challenge.
But she is someone we love.
ROBERT
Well, of course.
CORA
Perhaps now you might find out that
she's someone you like in a new
way. Or at least respect.
UPSTAIRS HALLWAY. EVENING.
BATES
I've spoken to Thomas. But he is
plotting something else.
ANNA
Well, we'll keep an eye on him. He
won't get one over.
BATES
Not if you and I put our heads
together on it.
ANNA
That usually works best.
BATES
You're the brains. I'm the muscle.
ANNA
You've got your own brains.
She turns to walk away then stops and looks back at him.
ANNA (CONT'D)
But I won't deny the other point.
They exchange a smile, and something more. Anna continues
down the hall, with Bates smiling after her.
END
CREDITS.