PRE-DAWN. SERVANT'S ENTRANCE FROM COURTYARD.
Thomas exits in coat and cap. He hunches up his collar
against the misty cold, lights a cigarette and walks off
toward the village.
DOWNSTAIRS HALLWAY. MORNING.
Mrs. Hughes stops in Carson's office doorway.
HUGHES
Well, then. How did you get on?
His face lights up seeing her before he can control his
expression. Then he suddenly lets down his guard, resuming
the ease that they've shared for years.
CARSON
Come in. I've much to tell you.
Carson's office door shuts.
CAR INTERIOR. MORNING.
Tom is driving Sarah from home to back to school.
TOM
Barely any damage to crops and
buildings. Good to see.
SARAH
Is staring at Tom.
TOM
What?
SARAH
Are you a romantic?
Tom
No.
Sarah still stares. Now she is amused.
Sarah
Yes, you are.
Tom
I'm a communist.
SARAH
It's nearly the same thing.
TOM
It is not.
SARAH
Look at Russia. Is there a more
romantic country on earth?
TOM
Tom isn't sure how to answer now.
SARAH
Have you seen the local school?
TOM
No, I haven't.
SARAH
When will your daughter be ready to
attend school? Two years, three?
As a father aren't you curious
about what the local school system
has to offer? Or will she be sent
away to school?
TOM
She will go away to school when
she's old enough to present more
than one persuasive argument in
favor of it. (Pause) More than
three persuasive arguments.
SARAH
(Laughs)
Well, then, why don't you come in
and see it? It's Sunday-I'm just
doing some preparations for the
week.
Long silence.
SARAH (CONT'D)
You should put down roots or run.
One or the other.
TOM
What-
SARAH
I mean that you have family in
Liverpool and Ireland and America,
but you stay because she loved
them.
He knows what she means and doesn't answer.
SARAH (CONT'D)
You stay for her love for them.
But still you can barely stand to
stay. Why not make a plan? Look
at your options and make some
decisions.
TOM
Looks sideways at her.
Why are you-
SARAH
Well, you're quite nice. But I
wonder how long you'll stay here.
TOM
I want to help make the estate
work.
SARAH
Suppose it doesn't after all?
You've put it all in to help her
family. Even though they aren't
your sort of people.
TOM
I suppose, yes.
SARAH
(Nods) Romantic.
They stop in front of the school and Sarah begins to get out
of the car.
SARAH (CONT'D)
Thank you for the ride.
They look at each other.
SARAH (CONT'D)
Please come in and see the school.
CARSON'S OFFICE. MORNING.
HUGHES
Has Lady Mary told His Lordship?
CARSON
It's early yet.
HUGHES
He's not my favorite. He's not a
favorite of anyone. But he does
know the job. Will you give him a
reference?
CARSON
I will. I'm not enthusiastic about
it.
HUGHES
Why would he-
CARSON
To undermine Daisy and Anna. Why
else?
HUGHES
It's seems a lot of trouble to go
to for that. And risky.
CARSON
Who knows why that sort - do what
they do?
Knock on the door. Anna peeks in.
ANNA
Shall I come back?
HUGHES
No, Anna, come in.
Hughes takes the keys from Anna.
HUGHES (CONT'D)
Well, I've heard excellent reports
about you. Not that I'm surprised.
Congratulations.
ANNA
One night was easy enough.
CARSON
It was not an easy night for any of
us. You held the house together at
top standard on a very challenging
evening. I could not have asked
more of anyone. (Looks pointedly at
Hughes) Even you.
HUGHES
Oh! Am I replaceable then?
CARSON
(a bit too vehemently) Of course
not!
HUGHES
(To Anna)
You'll do very well as head
housekeeper if you ever decide you
want it. You should be my next in
line.
Anna is a bit uncomfortable now. There is an awkward
silence.
HUGHES (CONT'D)
Or-you could continue as a lady's
maid. You don't have to decide
now, of course. I imagine Lady Mary
will be glad to have you back.
NURSERY. MORNING.
Blake is teaching George "Pat a Cake". They are both
laughing. Mary stops outside the door in the hallway to
listen.
Blake picks up George and holds him comfortably, with
George's head on his shoulder; they look out the window
together.
BLAKE
What do you think then, eh, George?
Quite a nice morning for a ride
out. We'll talk to the farmers
this morning. Perhaps we'll visit
the sheep, or the cows. What does
the sheep say? Bah-bah-bah! And
what does the cow say?
Mary steps into the nursery.
MARY
I believe it's "moo".
BLAKE
Look, George! Why there's Mummy!
Isn't Mummy pretty this morning?
MARY
You might want to go easier.
BLAKE
And what would that accomplish?
MARY
I might lose some of the sensation
of bombardment.
BLAKE
I like this young man. He has a
calm about him. Must get it from
his father.
MARY
Please don't joke about Matthew.
BLAKE
You misunderstand me. That was a
joke about you.
Mary's jaw drops a bit.
If I were to raise George I would
raise him as my first born but I
will see to it that he never
forgets his father. That he
respects his father's memory in
every way. And George can choose
his own destiny.
Blake bounces George. George grabs one of Blake's fingers
and Blake grins at him.
He can be a professional if he
would like or he can run the
estates. With two fathers to look
to, his choices are broader. He'll
be ready for the world ahead.
MARY
Still stares at him.
BLAKE
Bombardment, is it?
HIS LORDSHIP'S DRESSING ROOM
Bates is holding a jacket for His Lordship, who slides his arms into the sleeves.
BATES
As I said, I witnessed nothing
myself.
ROBERT
He's been here for so long! Why
risk such a thing? If he was
truly that sort wouldn't we have
seen some indication before?
BATES
Well, if you recall-
ROBERT
It's not about which way he goes.
You've known a few of them, as I
have. It's not a-personality.
BATES
I do agree. But Thomas's
personality-
Robert turns. Bates begins fixing the various fasteners on the jacket.
ROBERT
Did Mary seem especially upset last
night? I didn't see it in her, but
perhaps she-well, you know how at
times a woman's sensitive nature-
BATES
I've never known Lady Mary's
emotions to get the better of the
facts in her mind, if I may be so
bold, My Lord.
ROBERT
(laughs)
Not even as a small child. The
facts were always important to
Mary.
It just seems a bolt from the blue.
BATES
Do you recall the incident of
theft? And I'm sure Mr. Carson
will have his insights to add.
Bates begins brushing down the jacket.
ROBERT
It almost seems you'd like to see
him go.
BATES
I'm fond of Daisy. But he also
endangered my wife, if indirectly.
ROBERT
Of course, yes. I know how I would
feel.
BATES
Point of fact, he could have
endangered everyone in the house,
My Lord.
Bates has finished brushing.
Robert is pensive. He glances back at Bates and leaves.
FARMHOUSE INT.
Edith holds Corinne in her lap.
Mr. Drewe enters the nursery.
MR. DREWE
That's the danger.
Edith looks up and Mr. Drewe smiles at her.
MR. DREWE (CONT'D)
Once a child gets under your skin,
there's no going back.
Edith smiles back. They both watch the baby for a moment.
MR. DREWE (CONT'D)
You must have been very fond of her
mother.
EDITH
Yes. But I admit, I'm more fond of
her child than I expected to be.
MR. DREWE
Would you like to take her out?
It's a very fine morning. They
won't be back from church for
another hour.
EDITH
I'd love nothing more but I must
go. I'm off for London first thing
tomorrow. Mr. Drewe-I know you're
right. We do grow attached to
children. So I'll be very sorry if-
MR. DREWE
If what, My Lady?
EDITH
I hope-that I will not have to move
Corinne from here. But that might
be in her future. Other-friends of
the mother are involved. I hope you
and Mrs. Drewe would not be too
hurt by that.
MR. DREWE
I wouldn't be concerned with us, My
Lady, so much as the child.
Children need stability to grow
strong and secure. Too much change
too early can make them nervous and
vulnerable as adults.
EDITH
Well, as I say, I hope that will
not be the case. But I do
understand what you are saying.
Edith stares at Corinne. Drewe takes Corinne from Edith.
Edith is loathe to release her, but reassured by the way he
holds her.
OUTSIDE THE ESTATE. BLAKE AND MARY WALK TOGETHER.
MARY
I know Matthew made me a better
person. He was the only one who
did. George is a bit of Matthew for
me to answer to.
BLAKE
And what am I?
MARY
I don't know yet. You're strong.
You've got the brains for the job.
And as it turns out we're on the
same side of the fight. But I must
be honest about my feelings, and
they are not entirely clear to me
yet.
BLAKE
And your heart I will not do
without.
MARY
And I-I'm not sure. And I can't-
BLAKE
I would never ask you to take an
action without your heart fully in
it. You don't do anything half
way.
MARY
It sounds very strange but-I don't
know who I am.
BLAKE
And the minute you do know, you
won't know anymore.
MARY
What do you mean?
BLAKE
We change all the time. The minute
you know someone, even yourself,
you're different. That's why I
like children. They're honest
about it. One day they like
something, the next day they don't.
They don't try to stay the same.
Blake sighs and stops, facing her.
Mary, we need to look at the
numbers. I've new information from
the board, so we need to reassess
our developments for Downton and
make projections. You've done a
tremendous amount, but it may not
be enough. And if it's not-it's
better to know now. We should meet
next week, and I'll have more
figures for you. For now, Evelyn
and I must be off.
KITCHEN. TEA TIME.
CARSON
Since the Sunday roast was made
last night-
PATMORE
Good thinking. With eleven for
dinner! It's what I would have
done. We'll have a family favorite
tonight, chicken pie.
CARSON
It's quite a good philosophy, to
make twice what you need when bad
weather comes in. It saved us last
night.
PATMORE
What philosophy was that?
CARSON
Daisy said that you said-that you
always make twice what you need
when-
PATMORE
Daisy said that? (Laughs) I don't
know where she got that. I've
never said such a thing.
Carson pauses a moment in the hallway to sigh and shake his
head. He enters the dining hall to see Hughes making up a
tray.
DINING HALL
Staff at the table stand. They then sit.
CARSON
Is that-
HUGHES
He hasn't been down.
CARSON
I'm sure he can come down on his
own.
HUGHES
If it's alright with you-
CARSON
Of course if you must-and of course
you weren't here when-
ANNA
Mrs. Hughes, if you're busy I'll
take it up.
Bates stares at Anna. They lock eyes.
HUGHES
No, I've got it. And I admit I'd
like to hear what he has to say for
himself.
CARSON
Well, don't miss your own lunch.
Hughes gives Carson a look and leaves the kitchen with the
tray.
ANNA
(Under her breath) What is it?
Bates is trying not to smile and keeping his voice very low.
BATES
I suppose I want to be the only boy
in the world who's had you bring a
tray.
Anna is giggling. Bates is laughing as quietly as possible.
Anna reaches under the table and sides her hand into his.
Anna looks across the table at Baxter who is reading a
letter, and has gone pale. Baxter rises and leaves the dining
hall. Anna follows her to the boot room.
BOOT ROOM
Baxter stands in a corner behind the door.
Anna peeks in.
ANNA
Miss Baxter. Are you alright?
BAXTER
Yes, Mrs. Bates, quite.
(BEAT)
ANNA
If you tire of keeping it to
yourself, you know where I am.
Baxter looks at her gratefully. Baxter and Anna hold a long,
silent look.
ANNA (CONT'D)
If it's to do with Thomas-
BAXTER
It might have been. But the time is
past for worrying about that now.
Anna goes to Baxter and takes her hands. Baxter and Anna
stand silhouetted in the boot room, Baxter's head bowed.
WAGON DRIVING OUT OF THE VILLAGE. DAY.
DAISY
Thank you for taking me to the
doctor.
MASON
So all you'll need is that ointment
now, eh?
DAISY
It's not that bad. Lady Mary knew
what to do.
MASON
I expect you're experienced with
burns in the kitchen.
DAISY
We are, but I wouldn't have had
time to do anything, and most of
the kitchen maids are too new to
think on their feet. You have to
tell them everything. I'm grateful
to Lady Mary.
MASON
How was it, being head cook?
DAISY
I had this feeling about the night
ahead-and I listened to it. I made
the roast a day early. Most didn't
complain. If I hadn't done that-
MASON
Trusting your instincts is
important. You can't farm without
that.
DAISY
I think I'd like to start learning
the farm. I love cooking. But I
don't think I want to do only that
for too much longer.
Especially after last night. I
love it-but only because of the
result. Does that make sense?
MASON
It does to me. It's alright doing
a thing for the rest of your life
if you take pleasure in the detail,
in the doing. But if you only feel
satisfied when you get a result,
it's not a real love of the craft
of it.
DAISY
That's it. That's what I mean. I
do love cooking, but-not like a
real cook loves it. I'd like to
start coming out and learning the
farm.
MASON
Why don't we start now?
DAISY
Now?
MASON
I'll show you the chickens. Just
that for today. What do you think?
DAISY
I don't have to be back until after
tea.
MASON
Let's to it, then.
CARSON'S OFFICE
MARY
He's-gone?
HUGHES
Some of his personal effects are
still there. So he'll most likely
be back. Maybe he went off to
think.
CARSON
A generous assumption.
MARY
But probably correct. I haven't
talked to Papa about it yet.
CARSON
Whatever you would like to do, My
Lady-
MARY
Well, it is Sunday. We don't have
guests tonight. Let's give it a day
or two. Perhaps that's best. And
I'll talk to Papa.
HUGHES
Very good, My Lady.
Mary exits Carson's office and walks up the back stairs,
meeting Anna.
MARY
How did you find the blue silk?
Will it be ready for next week?
ANNA
Yes, My Lady. It's ready now.
MARY
Thank you, Anna.
ANNA
Urm-My Lady, may I go to my
friend's funeral tomorrow in the
late morning? We'll miss tea. I
wanted to make sure there was
nothing else pressing.
MARY
Oh, of course! I am sorry about
Mrs. Wright. She was a very good
friend to you. It will be quite a
loss.
ANNA
I'm so fortunate to have known her
at all.
LIBRARY. AFTERNOON.
Rose is on the phone, looking around as she speaks in a
low voice.
ROSE
Yes, I've done it. I've sent the
telegram. (BEAT) No, of course I
want to see some of London society.
But Mummy would love it so much,
you know? She would act as though
it were HER behind it, and that I
was- (BEAT) But I will. It's just
that, the very minute someone
suitable is dug up and I even half
like him they'll have me married
off, and Mummy would love that, too-
HUGHES' OFFICE. EVENING. THE TABLE IS SET FOR TEA.
BATES
How was London, and your meeting of
the suffragettes?
HUGHES
London was very enjoyable, thank
you.
BATES
Have you heard any more about
Thomas?
HUGHES
I have not.
BATES
His Lordship is reluctant to
believe it.
HUGHES
That won't sit well with Lady Mary.
BATES
No, it won't.
HUGHES
I wonder when he's coming back?
BATES
It takes time to weigh your
options, when you're backed into a
corner.
HUGHES
It's a corner of his own making.
BATES
Probably just makes it worse.
HUGHES
Yes. I-in London-
Hughes does not know how to get into what she wants to say.
She plunges in.
HUGHES (CONT'D)
-I was on one of those busy street
corners with the lorries going by
and all the people crowding at the
edge of the street. And Mrs.
Patmore nearly fell.
Bates is looking sharply at her.
And I was thinking about Anna. The
way she looked right after it
happened. I don't think I will
ever erase that from my mind.
Bates is listening carefully.
HUGHES (CONT'D)
I spoke to Green one night, after.
And he was smug and satisfied. He
denied it at first, but then just
showed-satisfaction. Happy. Happy
with himself. That he'd gotten away
with it. And he thought I was
protecting HIM. But I thought I
was protecting Anna. Because the
worst thing in the world to her is
for you to go away again. All she
could think about was you being
hanged.
Hughes picks up her tea cup. Her hand is shaking; the cup is
rattling in the saucer. Bates reaches to take it from her and
put it back on the table.
HUGHES (CONT'D)
I was against lying to you about
it. But to see her hurt again-to
see her destroyed-I couldn't bear
it-
She grabs his hand.
HUGHES (CONT'D)
Though we say there's a lid for
every pot, it's not always true, is
it? The truth is that love is
rare. What you and Anna have is
rare.
BATES
Yes. I agree with that.
HUGHES
And honor. It's so hard-won. To
sacrifice yourself, or risk
yourself for another. It can come
at such a cost. It can cost
everything.
BATES
Yes.
HUGHES
Love and honor, Mr. Bates.
She squeezes his hand and releases him.
HUGHES (CONT'D)
What in life matters more?
BATES
Nothing I can think of.
Hughes and Bates gaze at each other for a long moment.
HUGHES
Nor I.
NEXT MORNING, 11:30.
THE KING'S ARMS PUB IN RIPON. THOMAS IS ALONE AT THE BAR.
The bartender, Mick, is watching Thomas. He's young, lean
and blonde with a boyish face and a rakishly confident
attitude.
THOMAS
I'm your first customer of the day,
am I?
MICK
That you are.
THOMAS
Is it always this slow of a
morning?
MICK
I don't know. And I don't mind it
just now. Change of pace.
THOMAS
You're new here.
MICK
Started last week. I'm from
London. I'll go back after a bit.
But here is good for now.
THOMAS
You're not hiding from anyone, are
you?
Thomas has surprised himself. He begins to apologize. But
Mick laughs.
MICK
I won't need to for long.
(He lowers his voice)
Jealous hearts are soon mended.
THOMAS
Laughs and takes a long drink of his pint.
MICK
So, what about you? Been out
wandering the moors all night? Wife
kick you out?
THOMAS
No, at least I'll never have that
worry.
Thomas realizes what he has just said and looks
apprehensively at Mick. Mick smiles, lays his elbows on the
bar and leans down, meeting Thomas's eyes.
MICK
Nor I.
BEAT
MICK (CONT'D)
Let's have a whiskey, shall we?
FUNERAL PARLOUR, DAY. ANNA, BATES AND SEVERAL PEOPLE, ALL OF
WHOM LOOK VERY UPPER CLASS, IN BLACK.
WILLIAM WRIGHT
Approaches Anna. He is tall, handsome, dressed upper class
and looking haggard.
WRIGHT
Are you-Mrs. Anna Bates?
ANNA
Yes.
WRIGHT
William Wright.
ANNA
Hello, yes. I knew your mother-
WRIGHT
I am well aware. Is this Mr.
Bates?
BATES
Yes. John Bates.
WRIGHT
William Wright, sir. I was about
to tell An-pardon me, my mother
spoke of you so often in her
letters that I keep almost calling
you Anna - the letters from my
mother were full of you. "Anna
takes me to church, Anna arranged
my medication," Do you have any
idea what you were to my mother, to
me? An angel from above.
This phrase, also used by Green, gives Anna a chill - but she
recovers quickly.
BATES
You've just arrived, then?
WRIGHT
Yes. My wife died last week.
ANNA
I'm so sorry.
WRIGHT
I got on the boat as soon as I had
buried Jennifer. I had hoped to
reach my mother to see her one last
time. When they've finally figured
out the transatlantic flight, that
will be a fortunate thing for
people in my position. It wasn't
soon enough for me. But enough of
my sob story. Mrs. Bates, you and
I have some business.
ANNA
Business?
WRIGHT
Yes, you are remembered in my
mother's will. It won't be
necessary for you to attend the
reading, unless you want to. But
it might not be very pleasant.
Bates and Anna are stunned.
WRIGHT (CONT'D)
My mother was deeply Christian, as
you know. She believed that to
embrace a life of simplicity was
the best way to follow the
teachings of Christ. She moved to
this village, took a small house.
For a time she worked with the
poor.
There will be some surprises at the
reading of the will and if you were
there it might be awkward for you.
But you have every right to be and
you'd be welcome.
ANNA
Mr. Wright. I-I am not family. If
you choose to amend the terms, I
will not contest anything. I don't
want-
WRIGHT
I won't hear of such a thing.
Wright is gazing around at the mourners.
Imagine how deeply it must have
hurt, to have all her friends
desert her because of her spiritual
beliefs. And she insisted I stay
with Jennifer until the end, so I
couldn't be here for her. She
wouldn't let me hire anyone. But
then you, without knowledge of any
of this, helped her simply out of
the good in your heart. She died
happier because she had known you.
She remembered you and I want that
honored in full. May I bring the
check round tomorrow night? I'm
afraid it might be a bit late, I've
other business in town as well.
ANNA
If you're sure. As I've said, I'm
not family-
WRIGHT
I'll hear no more of it. I'll see
you then tomorrow evening.
KING'S ARMS PUB. TEA TIME. A BIT BUSIER.
Thomas now sits at the corner end of the bar, away from the
other patrons.
MICK
There's a group. Ever read any
Elsa Gidlow?
THOMAS
No.
MICK
Pulls a book from his back pocket, slides the book onto the
bar.
She wrote "On a Grey Thread".
MICK (CONT'D)
Ever heard of Henry Gerber, Society
for Human Rights in Chicago?
THOMAS
No.
MICK
You need to catch up, young man.
Times are changing.
THOMAS
Are they? Not in my hedgerow.
MICK
Perhaps you need to get out more.
THOMAS
And go to prison? No thank you.
MICK
No one wants that. But there are
people who understand. Who go that
way. Who meet.
THOMAS
Sounds dangerous.
MICK
It is, a bit. But what sort of
life is it if you're never able to
be yourself?
VILLAGE BACK STREET. DAY.
Baxter steps out of a plain car onto the street. Another
car, much more posh, stops directly behind it. The car door
opens. Baxter steps inside, sitting on a seat across from a
young lord. He is in his early twenties, slender, dark and
grave with piercing grey eyes.
BAXTER
Hello.
YOUNG LORD
Hello.
They stare at each other for long moment, drinking each other
in as the car begins to drive on.
YOUNG LORD (CONT'D)
Thank you for agreeing to meet me.
BAXTER
You made it sound urgent. But we
should not be doing this.
YOUNG LORD
I needed to see you.
Silence.
BAXTER
How did you find out?
YOUNG LORD
Death bed confession of Nanny Snow.
You do remember her?
BAXTER
Of course I do.
YOUNG LORD
Well, here we are.
BAXTER
But what is this about?
YOUNG LORD
I have a right to know. I have a
right to-see you.
BAXTER
What makes you think that? I made
a promise.
YOUNG LORD
Under duress. I know what he did
to you. You don't know how
troublesome his habits have been.
BAXTER
And you?
YOUNG LORD
I'm not like him.
BAXTER
You have his eyes.
YOUNG LORD
I do. Yes. But now I see what
Nanny said about you.
BAXTER
This is-wrong.
YOUNG LORD
How can it be? I want to...
BAXTER
You can't know me. We can't-I made
a promise.
YOUNG LORD
Why did you make that promise?
Silence.
YOUNG LORD (CONT'D)
It was to protect me, the way I
heard it.
BAXTER
Yes. And it still is.
YOUNG LORD
Nonsense. I'm about to be Lord.
BAXTER
Then even more so, it's not
possible-
YOUNG LORD
He fathered three other bastards,
all women, all scattered across the
county. I am the heir. As such I
have a say in my own life.
BAXTER
This was arrogant and foolish and
you misled me.
YOUNG LORD
Please.
BAXTER
This was cruel, you know.
YOUNG LORD
I didn't mean it to be. I needed
to see you. Please. I want to
help you or-
BAXTER
Let me out.
YOUNG LORD
No.
BAXTER
Twenty-two years ago I was a young
woman and quite different than I am
now. You will stop this car and
you will do it immediately.
YOUNG LORD
Calls to the driver.
Stop!
The car stops. He leans forward and grasps her hands.
YOUNG LORD (CONT'D)
I know we're made the same. I know
it because I'm nothing like him.
She pulls away.
BAXTER
Oh, you are.
YOUNG LORD
No! I'm not. I'm just-desperate.
I've always felt apart, lost. And
now I know why.
BAXTER
I must go-
Baxter steps out of the car, slamming the door, and runs away
down the road. The young lord watches her out the window.
ROAD TO THE ESTATE. DAY.
ANNA
I don't know how I feel about
taking it.
BATES
You don't have to. If you want to
donate to a charity in her memory,
you could do that.
(Beat)
They look at each other, thinking the same thing.
ANNA
But it might help us set up for
business, perhaps even with some
put by for emergencies.
BATES
Why not do both? You know which
charities she favored. It could be
in her name.
Anna stops walking, puts her hand on her husband's chest. She
glances around and seeing no one, tilts her head up for a
kiss.
ANNA
If I had just met you I would fall
in love with you right now.
PUB. EARLY EVENING.
MICK
A sad tale. Of a naughty boy.
He is smiling at Thomas. Thomas is beginning to feel very
comfortable with Mick.
MICK (CONT'D)
So, tell me, naughty boy. You
didn't get your vengeance. What is
it that you want now?
THOMAS
I want to not be dismissed.
MICK
You want to keep working there?
THOMAS
Yes, I do. And preferably without
a demotion.
MICK
When you apologize, you're going to
have to act as if the apology is
more important than the job.
You'll need a gift for the little
cook. And a short but very good
speech of contrition. And you'll
have to MEAN it.
EXT. FADE UP ON THE ESTATE.
CARSON'S OFFICE. MORNING.
Thomas stands in Carson's office in front of Carson, Hughes,
Anna, Daisy, Lady Mary and His Lordship. Thomas rotates his
cap in his hands. He is in genuine distress, but holding
himself on the edge of his fragile dignity.
THOMAS
I would like to say something. I
have been at times a real cad. We
all know it. I've manipulated and
lied. I've stolen. I've made many
mistakes. But I intend to make any
reparations I'm able to.
I've come to think of everyone here
as family. Might seem strange.
Only, my family don't treat each
other much better than I've treated
everyone here. That's not meant to
be an excuse. I want to make it up
to everyone, if you will give me a
chance.
Hands a wrapped book to Daisy.
This isn't adequate for the injury
I caused you. But I wanted you to
have it.
I'll be back tomorrow morning for
your decision.
He stands for a moment making eye contact with them, shifting
his feet. He turns and leaves.
COURTYARD, DAY. JUST AFTER THE MEETING.
Thomas stops behind a stone partition, taking out a cigarette
with trembling hands. Anna walks up behind him, sees his
tears.
ANNA
There are a lot of people who would
be happy to see this. I don't know
why I'm not.
THOMAS
You're moral. That's your
limitation.
Anna has nothing to say on this point.
THOMAS
Mr. Bates, too, I suppose. But
he's not as smart.
Anna is not pleased, but Thomas continues.
THOMAS (CONT'D)
And you stand up to people. You
and Lady Sybil.
ANNA
Are you missing her?
THOMAS
I always miss her.
(BEAT)
THOMAS (CONT'D)
I can't be like you.
ANNA
I know. I'm not asking you to.
Thomas turns and looks at Anna.
THOMAS
I know you're not. You don't make
judgements. You take people how you
find them. That's not always good,
you know. But you're not stupid.
Anna has a dark thought of her own. Thomas sees her thinking
and although he's not sure what about, he picks up on her
feeling.
THOMAS (CONT'D)
I'll tell you what though. I
wouldn't-hurt you. That is, I never
meant-
Silence.
ANNA
What?
THOMAS
I'll do things other people won't
do. It's how I'm made, you see.
He takes a long drag on his cigarette and stomps it out.
But when it came to Lady Sybil-and
when it comes to you-Daisy even, I
suppose... There are things-
Thomas glances quickly behind Anna to see Bates exit the
servants' door and enter the courtyard. Anna has not seen
Bates yet.
THOMAS (CONT'D)
There are things I wouldn't do.
Even if I wanted to.
ANNA
Well, that's something.
THOMAS
It's more than you know.
Anna looks at Thomas for a long moment.
Bates calls Anna from across the courtyard.
Anna nods at Thomas and goes to Bates. Thomas walks away.
ISOBEL'S HOUSE. DAY.
Isobel in gardening apron and gloves is carrying baskets of
flowers into the house.
Lord Merton, escorted by the maid, appears in the doorway.
LORD MERTON
How lovely.
ISOBEL
Yes! These are my favorites and
they've just opened. Tea?
LORD MERTON
They are lovely flowers, as well.
I'm afraid I have an errand after
all. I must away.
ISOBEL
I see.
Now Isobel is confused. His first remark embarrasses her.
But he saves her.
LORD MERTON
I was going to ask, though. I
wonder-
ISOBEL
Of course, yes.
LORD MERTON
I'm sorry?
Isobel is mortified, hearing herself jump the gun.
ISOBEL
Yes. Urm. No-I-what were you going
to say?
LORD MERTON
Ah. Well, there's a new
establishment in Moulton, not far
from the gardens there. I thought
we might have lunch and a walk
tomorrow.
ISOBEL
Yes, that would be fine.
LORD MERTON
Very good. I'll pick you up at
say, 11:00?
ISOBEL
Yes.
He turns to go, then turns back and smiles at her.
LORD MERTON
Thank you.
ISOBEL
For what?
LORD MERTON
Thank you for deciding to give me a
chance.
He nods at one of the baskets.
May I have one?
Isobel cuts him a flower. He holds it to his upper lip and
smiles at her before he turns to go. He departs.
Isobel sighs.
SERVANTS' DINING HALL. LATE AFTERNOON.
Baxter is sewing on the machine. Mosely enters. She looks
up, glad so see him, but distracted and a bit pale.
MOSELY
Miss Baxter. How are you today?
BAXTER
Very well, thank you Mr. Mosely.
MOSELY
If there is anything I can do, I
hope you would tell me.
BAXTER
No, I-no, thank you.
MOSELY
I do have a question, if you might
have a moment.
BAXTER
Gives him her full attention now.
Yes?
MOSELY
Well, we, urm. That is, my father
and I. We were wondering. If you
might come for tea next week?
Don't know if roses bore you, but I
hope not. Dad will want to tell you
all about his roses. There will be
a tour.
BAXTER
Does he grow any Yorkshire
varieties?
MOSELY
He's cross-bred several of his own.
BAXTER
Oh, yes? Any rugosas?
MOSELY
He's-well, he's won awards.
BAXTER
Really?
MOSELY
Yes.
BAXTER
Urm...
Mosely waits with a bit of anxiety.
BAXTER (CONT'D)
I suppose you can come, too, then.
(BEAT)
Mosely gets the joke and laughs. Baxter is smiling
up at him.
MICK'S ROOM ABOVE THE PUB. EARLY EVENING. A LAMP BURNS.
Thomas is lying on the bed shirtless, smoking. Mick is
before the mirror in a dressing gown that hangs open,
brushing his hair.
THOMAS
You'll break my heart. Won't you?
I'll just start to let down my
guard-
MICK
Do you think I'm false? That I
would ever betray you?
THOMAS
No. Not false. Just-popular.
MICK
And so will you be!
THOMAS
(Snorts) No, I'll never be popular.
MICK
Well, I'm good at it. Let me help
you.
Mick runs to the bed and flops down beside Thomas, stretching
out next to him.
Just don't fall in love with me.
THOMAS
Is it that easy?
MICK
Are you so delicate?
THOMAS
Yeah. I think I am.
MICK
Will you let that get in the way?
THOMAS
Of what? Love, or a nice illusion
of it? A chance of getting my job
back? No. It's just a high price
to pay.
Mick strokes a finger down Thomas's chest.
MICK
Not so high.
THOMAS
Sometimes I feel like a train. If
I jump the track I've been on for
so long-I'll have nothing to run
on. I can't run on the same road
everyone else does.
Mick crawls over Thomas, looking down at him.
MICK
Pretend to not be a train, then.
THOMAS
I already do that.
MICK
Do it better.
Mick kisses Thomas. Thomas slides his arms around Mick.
KITCHEN. LATE EVENING.
ANNA is alone in the kitchen, washing her hands.
She hears a noise at the back door.
V/O from hallway.
WRIGHT
Anna? Urm-Mrs. Bates?
ANNA
Yes, in here. Hello, Mr. Wright.
Wright is drunk, stumbling slightly with a flask in his hand.
WRIGHT
Forgive me, Ann - Mrs. Bates. But
here. Here is the check.
He holds it out to her unsteadily.
WRIGHT (CONT'D)
You meant so much to my mother. I
suppose I've already said all that.
ANNA
Won't you sit?
WRIGHT
No. I -
He braces his hand on the table, wobbling. He gazes at Anna
for a BEAT.
- you are quite lovely, you know.
Mother said so. My Jennifer was so
beautiful. Most beautiful girl I'd
ever seen. Until the cancer.
ANNA
I'm so sor-
WRIGHT
Holds out the bottle.
Try for a little fun? No? There
isn't really that much fun in the
world, is there? You've got to
seize it in the moment. The moments
do fly. They do fly. Gone before
you know it.
His head is lowered and he is gazing at her, slurring.
WRIGHT (CONT'D)
Do you know how successful I am?
I'm a captain of industry. Worked
my guts out. But in the end, did
it matter? I've done well, Anna.
Very, very well. And now what do I
have? No one to spend it on. No
one at all.
Stumbles too close to Anna.
WRIGHT (CONT'D)
No one.
Anna is backed up against the counter, in nearly same
location she was in when Green hit her. She is trembling.
She gropes the counter behind her. Her fingers curl around
the handle of a cast iron pan.
Bates enters the kitchen doorway.
BATES
Anna?
In two steps Bates has Wright by the elbow and pulls him
back.
BATES (CONT'D)
Mr. Wright.
WRIGHT
(Surprised) Oh! Mr. Bates. Good
evening. I was about to give Mrs.
Bates-
He begins patting his pockets.
ANNA
Mr. Wright, you already gave me the
check.
WRIGHT
Did I?
BATES
Mr. Wright, perhaps you had better-
WRIGHT
Good God, what have I been doing?
He stares at Anna.
You're frightened. I've frightened
you.
Anna takes a breath.
WRIGHT (CONT'D)
My wife would be mortified.
He turns to look at Bates.
WRIGHT (CONT'D)
My mother would be ashamed.
BATES
Mr. Wright-
WRIGHT
I've clearly not only outstayed my
welcome, but I've caused harm.
Dear Mrs. Bates. Please-I-I will
send a letter begging your
forgiveness. I'm incapable of doing
so properly at the moment. Mr.
Bates, if I may ask-
BATES
I'll help you to your car, sir.
Wright is hanging onto Bates. He looks at Anna, even through
his drunken haze, with deep regret.
WRIGHT
I am so sorry.
ROBERT AND CORA'S BEDROOM. LATE EVENING.
Cora is in bed with Robert. She holds a book on her lap.
CORA
Well, of course I believe my own
daughter. I thought he was
exceptional. But I put what Mary
tells me first.
ROBERT
I don't want to let him go. And I
can't explain it, even to myself.
CORA
Well, you'd better be able to
explain it to Mary. She convinced.
But who knows now? He may not even
come back tomorrow and we may not
even need to make a decision.
ROBERT
Now I almost find that worse.
Running off. Anyone with a war
wound I would expect more of.
CORA
Oh. Of course.
ROBERT
Of course what?
CORA
Military. That's the soft spot
you've got. That and the cricket.
ROBERT
It's nothing to do with any of
that. It's simply doing what's
right. And I am not sure what's
right.
CORA
Be careful.
ROBERT
Of what?
CORA
Saying all this in front of Mary.
It's one thing to not trust your
daughter with the future of an
estate. It's another to put her
word second to that of a servant.
ROBERT
I have never said that.
CORA
You just did.
KITCHEN. EVENING. WRIGHT HAS LEFT.
Anna picks up the small cast iron pan she's been holding.
She looks at it, then sets it down on the counter with a
slight bang.
Bates strides quickly back through the servant's door and
into the kitchen, scooping Anna into his arms. They hold
each other for a BEAT.
ANNA
All those feelings came back. Just
like when it first happened! After
all this time I thought I was
better. But for a minute it was
all exactly like that night-
BATES
I know.
ANNA
But I really think he was just
drunk and bereft and trying to be
kind.
BATES
So do I.
ANNA
But-
BATES
Do you know I'm very glad that I am
not expected to be a loader for the
shooting lunches?
Anna looks up at him.
BATES (CONT'D)
I'm not particularly fond of the
sound of gunfire.
Anna nods. They have talked about it before. She knows.
BATES (CONT'D)
It all comes back, as though I'm
right back there again on the
battlefield. Less and less over
time, but it never goes completely
away.
Cups her face tenderly in his hands.
BATES (CONT'D)
This is not a set back. All the
way you've come, all the progress
you have made is still yours and it
can't be taken from you. You earned
it, it belongs to you. These things
come back when they choose to. But
you've already defeated the past.
You've already won, my darling.
They hold each other. Anna looks up. She sighs.
ANNA
John. Take me home.
NIGHT. THE GARDEN OUTSIDE LADY GRANTHAM'S HOUSE. MOONLIGHT.
Violet is in her robe, sitting on a marble bench. She is
looking at the moon and shivering, and talking softly to
someone who is not there.
VIOLET
But you must see. It's not his
fault. He would never hurt me.
Never. You can't judge-
WITHIN THE HOUSE
Sprat appears in his robe, blinking in the moonlight as he
looks out the window. His expression changes to one of
alarm.
Sprat enters garden.
SPRAT
My Lady?
Violet looks up, mortified. There is an electric pause.
SPRAT (CONT'D)
It seems you might have been
sleepwalking, my lady. Might I
escort you back to your room?
Violet is grateful. She is very cold. Sprat takes off his
robe, being only in his pajamas, and wraps it around her to
escort her in.
VIOLET
Yes. I-I must have. Thank you,
Sprat.
MICK'S ROOMS ABOVE THE PUB. LATE NIGHT.
Thomas and Mick are in bed, lit only by moonlight from the
window. Mick is stroking Thomas's hair.
MICK
Something else to think about,
naughty boy. A good-looking boy
with your experience might get on
at the Savoy. Have you thought of
that? And the Savoy is not the
only establishment in London. You
know the old ways and you'll pick
up the new.
Why stay at a country estate that
will end up rotting and full of
bats? Get your reference. Get on as
an omnibus boy at a good club, work
your way up. There are many, many
men in London, Naughty. Hotsy-totsy
and they go that way. I'll bring
you out. Think about it. You
don't have to stay here.
COTTAGE. NIGHT.
Bates lights the lamp at the desk, which fills the front room
with a soft light. Anna stands next to him.
ANNA
And now, there's this. I haven't
even looked at it yet.
She opens the check.
They stare at it.
She drops it on the desk. She wraps her arms tightly around
him and lays her cheek on his chest.
ANNA (CONT'D)
Do you want a bigger hotel?
BATES
No. Let's stick with something easy
to manage, but profitable enough.
And as you said, have a bit put by.
ANNA
That won't be as much of a worry.
BATES
No, it won't.
ANNA
I can't think about this now.
BATES
Let's not. Let's just go to bed.
ANNA
What a perfect idea.
Still with her cheek on his chest, she looks down at the
desk, touching a stack of letters.
ANNA (CONT'D)
You have such a correspondence
these days. Properties?
Bates kisses her, long and deep.
CLOSE UP AS HE LOOKS DOWN AT HER FOR A
(BEAT).
BATES
Come on. Bed.