S5 E6 According to Harpy

by Harpy101

Home becomes more than a place, friendships and more are declared. Destruction is prevented. There are divisions and pairings, rings and moonlight. Everybody is in this one, as the old chapter is ending and the new one beginning.

INT COTTAGE. NIGHT.

Bates sits at his desk, which is piled high now. Anna is on his lap in her nightgown, her head on his shoulder. He holds her hand, caressing and playing with her fingers. The lamp burns low.

ANNA
You need a bigger desk. Is all of this correspondence for the hotel?

BATES
Not all of it.

ANNA
You stay in touch with people from prison, don't you?

BATES
I befriended two wardens. One of them is back on the police force now in London. And one inmate who was released before I was. I still have some associates from the army and a friend or two of my mother's.

Pause.

BATES (CONT'D)
Everything I do, I do for us. For our future.

Anna sits up in his lap and looks at him.

ANNA
I know that. But I do require the truth from you.

BATES
I haven't-

ANNA
You never have, John? You've never omitted the truth or hidden it from me?

BATES
To protect you-

ANNA
The best protection you can give me is information.

BATES
I am in touch with some people I wouldn't have you in the same room with. But they can be helpful-allies, at times.

ANNA
And I must know what sort I'm dealing with. If you deal with them, so must I.

Silence.

ANNA (CONT'D)
You can't still be thinking I'm weak.

BATES
I have never thought that. Never. You are the strongest person I know.

ANNA
Then I need the truth from you. I deserve it.

She stares him down.

BATES
I promise. I won't keep things from you. There were times I thought it was right. But I promise you, from now on.

(BEAT)

ANNA
Thank you.

BATES
But-

ANNA
But?

BATES
Above all else I will protect you. You can't ask me not to do that.

(BEAT)

ANNA
I trust you.

They gaze at each other for a long moment. He kisses her.

Anna sighs. She lays back down on his chest.

ANNA (CONT'D)
I'm silly to dread tomorrow.

BATES
I'll be hiring staff, setting up the files and the accounts. You'll be picking out fabrics and ordering furnishings. I hadn't thought it out properly until I talked to the hotel owners in London. But there simply won't be time for anything else.

ANNA
And the money won't last forever. Once there's a property-we'll have to start up as soon as we can.

BATES
With all the bids we've made, it could happen any time.

ANNA
I have such sadness about it. I didn't expect to feel quite like this.

BATES
Of course you do. As I do. It's not going to be easy.

LADY GRANTHAM'S HOUSE. BEDROOM INT. MORNING.

Violet is ensconced in bed. Dr. Clarkson is closing up his medical bag. Isobel enters.

ISOBEL
It's me-though I won't say only me.

VIOLET
You could, you know.

DR. CLARKSON
Mrs. Crawley, good morning.

ISOBEL
How is the pain?

VIOLET
There's enough, I assure you.

DR. CLARKSON
The hip is not broken. We must be thankful for that.

VIOLET
I've often been told I lack gratitude. It's never been more true.

ISOBEL
How can I help?

VIOLET
I've nurses for that.

Cora peeks her head in.

CORA
Good morning.

VIOLET
And my want for gratitude is yet compounded.

DR. CLARKSON
Lady Grantham, good morning. It's not a break, but merely some deep bruising. It will take time to heal.

ISOBEL
We must keep you from getting bored.

CORA
I've an idea.

Cora steals a look at Isobel. Isobel nods very slightly. We can see that this is a plot.

CORA (CONT'D)
We could have a set of rooms on the east side of the estate converted for you. And while you're recovering, you could live with us. It would be nice to have you with us. But your rooms would be separate on that side of the house, so you'd have your privacy, and your own staff can come with you.

VIOLET
I have all that here.

DR. CLARKSON
You will need a full-time nursing staff for several weeks. But I do think it would be most beneficial-

VIOLET
Are you about to offer medical advice or an unsolicited personal opinion?

DR. CLARKSON
Begging your pardon, My Lady, but in my case the two are indistinguishable from each other.

VIOLET
No one should have such power.

LIBRARY. DAY. A GREAT TABLE IS PILED WITH DOCUMENTS.

BLAKE
I urge you to reconsider your stance on the National Trust.

ROBERT
I thought we were not in a position to give anything away.

BLAKE
This is about alliances with the powers that be. The National Trust favors woodlands. If we donate the deer park we can be assured it won't be built up, and that we're known to them as a benefactor. It's a show of good will. In fact, the more we are able to show good will the better off we will be in the long run.

Blake looks at Tom.

It will also help to reinforce our connections with the people on the farms and in the village. And those connections we have will strengthen our position and may help us garner support whenever we might need it.

MARY
You keep saying "we".

BLAKE
I'm on your side.

MARY
I know.

ROBERT
As I told you, it's crucial to me that we keep the family together. If anything is more important than Downton itself, it is the cohesion of the family.

BLAKE
I do understand that, and I believe that this is the most practical course of action to ensure that outcome.

Robert nods.

BLAKE (CONT'D)
Now, we must go with the highest bidder on some of the properties.

ROBERT
I am prepared for that. These are from meetings in London.

As he lays out a number of documents Robert looks up at Mary, who looks proudly back at her father. Blake nods.

BLAKE
Excellent, Lord Grantham. This gives us an overview of the market. Do you see the premium on rental properties? Look at the numbers here and here.

Blake points to two documents.

I also suggest cutting about one third of the staff. And a sale of non-profiting farms at the rate proposed by-

ROBERT
Cut staff? Do you mean house staff?

BLAKE
It will save us as much as twenty percent of our quarterly budget.

Robert and Mary were not ready for this. They stare at Blake.

BLAKE (CONT'D)
When was the last time you threw a grand party here? Or welcomed a Duke?

Silence.

Also, the other properties must net a suitable margin above their own worth in income. How many properties have you in town?

ROBERT
Two. But family members live in them.

BLAKE
Wouldn't there be room for them here?

Robert sighs and walks away from the table. Mary and Blake look at each other. Mary approaches Robert.

MARY
It would be better to have Grandmama living here at any rate, especially now. Mama discussed it with Cousin Isobel, and-

ROBERT
Yes, I know. But are we now to oust Isobel from her house? The screws are turning too tightly this morning.

TOM
(To Blake) I think you are a gifted strategist. And you know your business. I just hope it will all be worth it.

BLAKE
When you look at the books and see no red ink on the ledgers, when you can see at a glance that the estate is making money rather than losing it, you will know it is worth it. We will be keeping Downton alive.

COURTYARD. DAY.
Mr. Mason and Ian Dunham load boxes of jars onto a wagon. Ian is a tall, handsome, somber farm hand.

MASON
You'll have quite a savings by now, unless you spend all your canning money on ribbons.

DAISY
I don't spend it. Don't even know what I'll do with it. I just put it away and forget about it.

IAN
You should start a side venture and make more with it.

DAISY
I wouldn't have time for that.

MASON
Forgive me, Daisy. This is Ian Dunham. He's my right hand on the farm these days.

DAISY
(Hands Ian a crate) How do you do?

IAN
You've more inside?

DAISY
Yes. There's two crates of pickle just inside the door.

Ian leaves to fetch the crates.

MASON
I hope you'll forgive him, Daisy. He was never the cheery sort but since his wife died in childbirth last year-

DAISY
Oh! How terrible.

MASON
Well. You'll see more of him about when you're at the farm on weekends. I just want to say, he's a good lad even if dour.

DAISY
Thank you for taking all this to market for me. I wish you'd let me pay you for the trouble.

Ian exits the door with the crates, stacks them on the wagon and steps up into the driver's seat.

MASON
That would be nonsense. But I like what you've done. You've proven yourself in advance.

DAISY
How do you mean?

MASON
You won't be coming on to the farm as some fool girl who's my daughter. You're my daughter who makes the best selling jams and pickles in the county. You'll have respect when you walk in the door. That's a good way to come into any situation.

IAN
Are you ready, Mr. Mason?

MASON
We've the ferrier coming 'round in a bit. Must get back. We'll see you on Saturday morning, Daisy. Don't forget to bring a case. I'll make sure Mrs. Clay has your room ready.

Mason climbs into the passenger seat. Daisy waves.

DAISY
Nice to meet you.

Ian clucks at the horses and the wagon starts off. Daisy looks after the wagon for a moment before wiping her hands on her apron and going back inside.

LADY GRANTHAM'S HOUSE IN THE VILLAGE. BEDROOM INTERIOR.

ISOBEL
I can help you make plans for the new rooms and get moved. We could have a bit of fun with it.

VIOLET
Plans seem to be going ahead at lightning speed without my involvement. Fun is an unthinkable dimension at the moment.

ISOBEL
I promise you, no one wants to impose. They love you. They want you-home.

Silence.

ISOBEL (CONT'D)
Are you very angry? Or sad?

VIOLET
Wouldn't you be?

ISOBEL
Perhaps.

VIOLET
My children are all yet living, so I won't expound upon sadness. But, yes, it's a bit like being abducted.

ISOBEL
Then we must make sure your requirements are met. Then it will feel less like-

VIOLET
The problem, you see, is the relief.

Isobel stops and looks at Violet.

There were nights when the emptiness got the better of me. To have the family closer, just to keep some of the memories at bay, will be a relief. I think. But I can't go too willingly.

ISOBEL
No. (Thinks about it.) No, I wouldn't either.

Isobel sits by Violet's bedside.

VIOLET
I had asked after a friend or two of mine who have been long associates of Lord Merton. I thought I would share some of his-less apparent activities with you.

ISOBEL
What? What do you mean-

VIOLET
I thought you should know more about the man. And since I had the means-

Violet gestures at a stack of papers on the table.

ISOBEL
I don't know how I feel about snooping on him.

VIOLET
You didn't snoop. I did. All you need do is read.

ISOBEL
But if I-

VIOLET
Nothing robs the bloom from a maiden's cheek so quickly as being a sanctimonious bore.

ISOBEL
You just wanted to make fun of me.

VIOLET
Well, of course. But take a look.

Isobel hesitates.

VIOLET (CONT'D)
Take off your halo and look.

Isobel goes to the table, picks up the papers and peruses them.

ISOBEL
Orphanages.

VIOLET
Seven orphanages. Four in France.

LIBRARY. DAY.
Robert and Mary stand near the fire, having tea.

MARY
What a morning. This should be a cheerier bit of business.

ROBERT
Yes. I've been looking forward to surprising them.

Bates and Anna walk to the entrance of the library and wait.

ROBERT (CONT'D)
There's no need to be announced, you two. Come in.

Bates and Anna enter and stand awkwardly before Robert and Mary. Bates opens his mouth to speak and is interrupted by Mary.

MARY
Not to steal your thunder, but we have anticipated this.

(BEAT)

BATES
Have you?

MARY
If indeed you were both thinking you ought to have raises, we are prepared to accommodate you. Please keep this next bit between us for now-we will be making changes in the staff. But despite the cutbacks we're facing we will be able to afford you an increase - enough, I think. We agree that it's time for both of you.

There is a silence, with Anna and Bates looking a bit sick. Anna breaks it.

ANNA
We are giving notice, My Lady.

The bomb has dropped. Robert and Mary are struck breathless.

MARY
You're-what?

ANNA
We-(Stops and looks at Bates)

BATES
We've been planning for a long time.

ANNA
You recall that Mrs. Wright remembered me in her will?

(BEAT)

MARY
A better remembrance than you let on, apparently.

BATES
We've been saving for years. Altogether - we found ourselves ready about three years ahead of schedule.

ROBERT
How much notice are you giving us?

BATES
We thought three months, My Lord, if that is enough.

ROBERT
(Takes a moment to adjust and think.) That's ample. I admit I'm shocked, but I am happy for you both. No one deserves it more.

Robert moves to shake Bates' hand.

MARY
I'm sure it's deserved. But I won't lie. I'm not happy.

Mary leaves the library.

Anna gives Robert a small curtsey before following Mary.

ROBERT
Women have more delicate sensibilities, of course. I'm sure Mary will come around.

BATES
We are grateful, my Lord, for all you've done for us. Neither of us will leave until you are perfectly happy with our replacements.

LADY MARY'S BEDROOM.

Mary stands looking out the window. There is a knock.

MARY
Come in, Anna.

ANNA
My Lady.

Mary keeps her back to Anna.

MARY
Three months?

ANNA
If that is enough to train my replacement to your liking. I won't leave your service until you are happy-

MARY
I will say it again, Anna. I won't be happy. It's one thing no one can require of me today.

Silence.

MARY (CONT'D)
Have you bought a property yet?

ANNA
No. We have made some bids. We have no idea when we might hear back from any of them. But once we do-

MARY
And if you find the right property before the three months is up?

ANNA
I will not leave until you are - satisfied - with my replacement. If it takes longer than the three months.

MARY
Even if it means you miss out on the right property?

ANNA
There are many old hotels in Yorkshire.

MARY
At least you're not moving abroad. Or to America.

Anna smiles at the thought as Mary turns to her. Mary is not smiling.

MARY (CONT'D)
Please leave me just now, Anna.

INT. HUGHES'S OFFICE. THE DOOR IS CLOSED.

PATMORE
When will they announce it?

HUGHES
Just after tea.

Patmore gives a deep sigh.

HUGHES
It's not for us to worry. Senior staff are the lucky ones.

PATMORE
I am glad they had Mr. Carson tell us first. I'm afraid I'd fall down in a faint if they dropped that on us out of the blue.

HUGHES
And we must remember to be gracious to the younger staff and to help them any way we can to find other employment.

PATMORE
But how will we manage if we have large parties?

HUGHES
Hardly anyone is still entertaining in the grand style these days. You've noticed that. Of course, before it's all said and done there will be an engagement party and a wedding...

PATMORE
Do you think it will be that Mr. Blake?

HUGHES
There was never a question in my mind.

Pause.

I suppose we'll have more - free time.

PATMORE
I hope not! When she marries that will add to the family, at least. Enough people to cook for that they'll still need a cook.

HUGHES
Mrs. Patmore, try to receive the message that they want to keep you on. Just as they want Mr. Carson and myself. The world has not quite stopped spinning. We still run a great house.

Hughes leans in closer.

HUGHES
And one other thing to keep under your hat until they announce it-another family member will be moving in. They'll be converting rooms on the east side.

PATMORE
Oh, no.

HUGHES
You'll soon be cooking for The Dowager every day.

ROBERT AND CORA'S BEDROOM.

Cora sits in a lounge chair. Robert paces.

CORA
Are you alright?

ROBERT
It's like disemboweling my ancestors and my children simultaneously.

CORA
We're able to keep the estate because of all you have accomplished. You have worked with Mary and Tom so well.

ROBERT
It's the saddest thing I've ever done. I can't seem to shake the feeling that I've failed.

CORA
You will have to. Because we will soon be making plans for celebrations. And we are bringing the family closer, Robert. The most important thing. You've done it, you've kept us all together.

Robert sits in a chair next to Cora. He stretches out his hand. She takes it.

CORA (CONT'D)
We're all home and we will have our home. And each other.

ROBERT
(Thinks.) What celebrations?

CORA
(Smiles) Then Mary hasn't told you? You have been too busy with business.

ROBERT
And I'm not done yet, even today. (Thinks) Told me what?

LONDON STREET, OUTSIDE EDITH'S FLAT. MORNING.

Thomas waits in an alley, smoking. He sees movement at the front door and creeps to the edge of the alley to press himself against the bricks of the building, watching.

Edith emerges, straightening her scarf which is tugged at by the breeze. She switches a stuffed rabbit toy from one hand to the next, juggling it with her gloves, and is called to by someone. She turns and the nanny reaches for the rabbit. Edith laughs and hands the toy to her, pulling on her gloves. She sets off.

MOSELY COTTAGE. DAY.

Baxter knocks. Mosely Senior answers the door.

MOSELY SR.
Well, good morning. Joe is at the Abbey, I thought.

BAXTER
Oh, I know. He's in a private meeting with His Lordship. A rather good meeting, I should think. But I'll let him tell you about that.

MOSELY SR.
So you came to torture me with suspense?

BAXTER
No, with scissors.

MOSELY SR.
What?

BAXTER
I noticed the other day when you had us for tea that your fine scissors have been sharpened down to the quick. As a lady's maid I have access to some good manicure scissors, which I thought would be prefect for rose breeding. May I show you?

MOSELY SR.
Oh, yes. Please come in.

Baxter takes the tiny scissors from a case and hands them to Mosely SR.

MOSELY SR. (CONT'D)
My. These are just the thing!

BAXTER
We most likely won't make it over for tea this week, so I thought I would drop them off and you could start using them now.

MOSELY SR.
That is very thoughtful, Miss Baxter.

BAXTER
Not at all.

She smiles and makes to leave. He stops her.

MOSELY SR.
Miss Baxter.

BAXTER
Yes?

MOSELY SR.
If your sexes were reversed I would ask about your intentions toward my son. He's grown very fond. Very fond indeed.

BAXTER
As have I.

MOSELY SR.
Have you?

BAXTER
You doubt?

MOSELY SR.
I know you have a past. And secrets. He told me. I won't press you. But if the nature of them-

BAXTER
There is nothing to keep me from moving on with my life.

MOSELY SR.
And do you want to?

BAXTER
I do want to, yes.

MOSELY SR.
Well, I think you're a good sort. But my son isn't the robust type. He's always been-

BAXTER
Sensitive.

MOSELY SR.
Yes, I'm afraid so.

BAXTER
Well, I'm not afraid of that. It's quite rare, you know.

Baxter has the door knob in her hand, but she turns back again.

BAXTER (CONT'D)
And he's more robust than you might think.

UPSTAIRS HALLWAY. DAY.

Mary sees Bates.

MARY
Oh, Bates-if you have a moment. About this morning. Of course I'm happy for both of you, and I wish you the best, truly.

BATES
Thank you, My Lady.

MARY
When you've a moment, would you please send Anna?

BATES
I will. And-

MARY
Yes?

BATES
It would be outside the bounds of-

MARY
Please speak freely, Bates.

BATES
You mean a great deal to Anna.

Silence.

BATES (CONT'D)
It was not proper of me to say.

MARY
No, I'm very glad you did. Thank you, Bates. Please send her when you see her.

BATES
I will.

CARSON'S OFFICE. DAY.

Carson is bustling without purpose, fretting.

HUGHES
Please sit down for one moment.

CARSON
We must see that all the events are carried out flawlessly, if it's to be one of our last celebrations.

HUGHES
The way you talk! There will be many celebrations ahead. We're simply scaling back-

CARSON
That is no excuse for allowing standards to slip! We cannot-

HUGHES
Mr. Carson. Sit down.

CARSON
It's not just us. It's not just about what's happening today. I hate to see it. It's a world ending.

HUGHES
Rome didn't fall in a day.

CARSON
You mean wasn't built-

HUGHES
It didn't fall in a day either! And if you've noticed, Rome is still standing. These things are never the catastrophes we imagine. And it's up to us, Mr. Carson, to set an example.

(BEAT)

CARSON
You're a better example than I.

HUGHES
That's not true.

CARSON
It's embarrassing but-

HUGHES
But?

CARSON
I don't know who I would be anymore. I'm not sure who I am if not-

HUGHES
Well, you're my friend.

Carson sits next to her. They gaze at each other.

LADY MARY'S BEDROOM. DAY.

Mary is back at the window, deep in thought. There is a knock. Anna enters with an armful of dresses and closes the door.

ANNA
My Lady, may I-

MARY
Anna, please, yes. I want to-

Anna waits.

MARY (CONT'D)
I'm very sorry for the way I acted.

Anna starts to speak.

MARY (CONT'D)
Would you please put those down for a moment?

Anna drapes the dresses carefully across the bed.

Mary paces, twisting her hands together.

MARY (CONT'D)
You see, I don't know if it's all happening at the wrong time or at the right time. We've divided up parts of the estate and it feels as if I'm being cut up. It feels like butchery. I have no choice. I know it's right. But it hurts, Anna. And it feels rather like the end of the world.

Mary turns to Anna.

I'm going to accept Charles. But not because he can help save Downton, although that would be reason enough. I think we are the best match. And he's-he's a MAN, Anna. You know what I mean.

ANNA
I do know, yes, My Lady.

MARY
So you see-there are many changes coming. And I never thought of you not being with me while I went through all this. I can't imagine it.

Tears stand out in Mary's eyes.

MARY (CONT'D)
Who will I talk to?

Anna goes to Lady Mary and takes her hands.

ANNA
You'll talk to me.

MARY
Would you want-to be-

ANNA
We are friends, My Lady. We will always be.

MARY
You'll be very busy, with your new life.

ANNA
Never too busy for my friend.

STREET IN THE VILLAGE. DAY. ISOBEL WALKS WITH LORD MERTON.

ISOBEL
What made you so interested in the plight of war orphans?

LORD MERTON
You've seen them.

ISOBEL
Have you?

LORD MERTON
In the war. I didn't tell you?

ISOBEL
You've yet to mention it. And I didn't know you served in the war.

LORD MERTON
We were marching through a village in France. In a barn we found about a dozen children, living off leaves and berries and milk from the cow. They were hopeless little skeletons. You never forget a scene like that.

ISOBEL
No. No, you don't.

LORD MERTON
But you also remember the way they look when they have started to rosy up again. When they're fed and sleep in proper beds and start to run and play again.

STREET IN THE VILLAGE. DAY.

SARAH
How did the meeting go? You look a bit shell-shocked.

TOM
At least I know that will never happen.

SARAH
Shell shock?

Tom and Sarah approach a street corner. Coming toward them from around the corner are Lord Merton and Isobel.

TOM
Heart murmur. I wasn't accepted into service.

SARAH
That's a terrible fate for a pacifist.

Tom laughs.

Sarah and Tom are just feet away from Isobel and Lord Merton.

LORD MERTON
I'm sent photographs of waifs turned into jam-smeared hooligans.

Isobel laughs.

All four stop, nearly running each other down. Isobel and Tom are still in mid-laugh when they make eye contact.

LORD MERTON/ISOBEL/SARAH/TOM

Hello.

HIS LORDSHIP'S DRESSING ROOM. DAY.

BATES
You'll find he likes to vary studs and links even for dinners through the week. There are sets for particular seasons in the attics. We'll go up tomorrow and I'll show you all of that.

Mosely is silent and preoccupied. Bates looks at him, waiting.

BATES (CONT'D)
Will tomorrow be acceptable for you?

Mosely seems to wake.

MOSELY
Uh-yes. I'm sorry, Mr. Bates. Please excuse me. (Laughs)
I'm still pinching myself.

BATES
You and His Lordship will get on very well. You've nothing to worry about.

MOSELY
It's a good deal to absorb just now.

BATES
Well, we've some time yet. And the uniform protocols will take a bit of-

MOSELY
I don't mean to seem ungrateful, Mr. Bates. But it's not just the training for the position that has me-

He stops. Bates smiles.

BATES
Are you ready to ask her?

MOSELY
She and Dad get on so well. And she's come clean with me. She's given me every indication-

BATES
Have you got a ring?

MOSELY
(Sighs) No.

BATES
It's time you went, then.

MOSELY
It won't be much.

BATES
Do you think she's hoping for posh?

Mosely thinks for a moment and laughs.

MOSELY
Well, she can't be, if she's accepting me.

THE GRANTHAM ARMS. DAY.

Tom, Sarah, Lord Merton and Isobel are having pints at a table.

LORD MERTON
Do you find it a challenge to meet requirements and keep children's attention at the same time?

SARAH
You've neatly defined the central problem in teaching.

LORD MERTON
Please pardon my ignorance on the subject.

SARAH
Not at all. You're very insightful. But I am still having some difficulty-

ISOBEL
Educating parents as well?

SARAH
No, with the fact that I'm having a pint at a table with a Lord.

TOM
You surprise me.

SARAH
Do I?

LORD MERTON
(To Isobel) Am I horrid?

ISOBEL
Yes. But not in a Lordly sort of way.

There is a silence at the table. Sarah laughs first. Lord Merton joins her, then the others.

TOM
You stood up for me once. When I badly needed an ally from-

LORD MERTON
From across the divide?

TOM
And it was family. You could well have defended your son.

LORD MERTON
He was in the wrong.

TOM
It's not something you forget.

(BEAT)

LORD MERTON
(Nods at Tom.) Well.

He drains the remains of his pint.

LORD MERTON (CONT'D)
(To Isobel) May I walk you home?

ISOBEL
I'm headed to the Abbey for a bit, actually.

TOM
I'm going back. Ride with me.

They finish their pints and stand.

SARAH
Shall we all do this again?

(BEAT)

SARAH (CONT'D)
I hope that wasn't improp-

LORD MERTON
Next Wednesday?

OUTSIDE THE ESTATE. AFTERNOON.

Blake and Mary walk, followed by the nanny. Blake holds George. They sit on a bench. Blake hands George to the nanny.

BLAKE
He'll be down for his nap now.

NANNY
Yes, Mr. Blake.

The nanny puts George in the pram and is off for the house. They watch together for a moment. Then Blake turns to Mary.

BLAKE
It's not just that I want you, Mary. It's right. We challenge each other enough, and a woman like you does need a challenge to stay happy. I won't always agree with you. But in the end you'll win, and I'll cherish you for it. Does that not sound like an entertaining way to -

MARY
Stop.

BLAKE
What is it?

MARY
I am practical. I'm even business-like these days. But I am still a woman. I do require-

BLAKE
Of course.

Blake stands.

Thank you for stopping me. I'm not properly prepared.

MARY
No, you're not.

BLAKE
Then, My Lady, when I return on Saturday I will have something very important to ask you.

MARY
And it had better not be about ledgers or cutbacks or livestock.

Blake grins and holds out his hand. Mary stands and takes it, heaving a sigh.

UPSTAIRS HALLWAY. EARLY EVENING.

Anna and Bates approach each other, keeping their voices low.

BATES
How are things with Lady Mary?

ANNA
Better. In fact, good.

BATES
I'm glad to hear it.

They take a moment to look at each other, the events of the morning still buzzing between them. They sigh simultaneously, then laugh quietly together.

BATES (CONT'D)
There's been so much to think on lately. Let's have a treat. I'll take you out to hear some music.

ANNA
Oh!

BATES
There's a jazz orchestra in the village on Saturday. You like American music. I've already asked and we can have the half day.

ANNA
That would be lovely.

BATES
Why not go buy a dress?

ANNA
John-

BATES
We've been so careful. Now and again you need to buy yourself a new dress and some new shoes and be ready to have fun. What do you say?

NURSERY, EVENING.

Isobel holds baby George. Tom holds Sibby, who is snoozing on his chest.

MARY
Do you see? He knows you. He held out his arms to you. You are his dear Grandmama.

ISOBEL
Yes. I didn't know when he might recognize me, but it is wonderful to see his smile. He has Matthew's grin, doesn't he?

MARY
He does. Tom, do you think?

TOM
I see more than a bit of Matthew in George. More and more as he grows.

ISOBEL
He seems to have taken to Mr. Blake as well, if you don't mind my saying it.

MARY
I don't mind, in fact. And I can't talk more about it just now. But I don't mind at all.

ISOBEL
We've just been to the pub in the village. Interesting company.

MARY
Who was that?

ISOBEL
Well, Lord Merton. And Tom's friend Sarah, who teaches at the school.

MARY
Oh, really? Where did you meet her?

TOM
We met over political interests.

MARY
So you haven't lost your politics. I'm glad to hear it.

Mary thinks for a moment.

MARY (CONT'D)
But why on earth was Lord Merton in the village pub?

ISOBEL
He had taken me to lunch. As we were walking back we met Tom and Sarah.

MARY
Well.

(BEAT)

MARY (CONT'D)
Time seems to be marching on, and taking all of us with it.

DOWNSTAIRS HALLWAY, AFTER DINNER.

Isobel enters the kitchen doorway, watching the kitchen staff cleaning up. Mrs. Patmore looks up from her desk in the kitchen and stands.

PATMORE
Mrs. Crawley. What-I mean, how can I help?

ISOBEL
I'm sorry to disturb you. I wanted to say, after the last woman's tea at my house we had such compliments on the Battenburg.

PATMORE
You can always disturb me with a compliment.

ISOBEL
And I've something else.

Isobel looks around the kitchen.

ISOBEL (CONT'D)
How many kitchen maids would you say you've trained over the years?

PATMORE
Oh, dozens.

ISOBEL
So you've taught over twenty people to cook?

PATMORE
A kitchen maid is not a cook. I've taught a few cooks as well, though.

ISOBEL
If you'd think it over, I wonder if you'd be open to teaching a class of women to cook one dish. One day per month. There would be five or six women in the classes. And you could teach them to make just one thing.

PATMORE
Oh, I'm afraid I'd never have time for that. Very busy here you know.

ISOBEL
You did such magic with Ethel. But I understand completely, of course.

PATMORE
Here, who told you I was the one who helped Ethyl?

ISOBEL
(Smiles.) It didn't take a genius to put that together. Well, of course I understand. Until next week, then.

PATMORE
Oh! Who will the speaker be?

ISOBEL
We've no guest speaker this month. Just your marvelous Battenburg and each other.

HIS LORDSHIP'S DRESSING ROOM. EVENING.

Bates, hanging up clothes, stops and turns to look directly at Robert.

BATES
I wanted to say, My Lord, that even after our departure if I can ever be of service I hope you will contact me. I will always be at your disposal, whatever you might need.

Robert and Bates exchange a long look of understanding.

ROBERT
Thank you, Bates. You have always been a friend to me and to my family. We've never had a truer friend than we have in you. That will never be forgotten.

BATES
It is the same with us, My Lord.

ROBERT
Tell me, were you looking at properties near this area?

BATES
We did make a bid on the Bondgate Hotel in Ripon. We had hopes. But we've not heard back. I assume it's been sold.

ROBERT
The Bondgate? I remember that place. Would you have enough to properly renovate?

BATES
Yes, we believe so.

ROBERT
I could look into it for you, find out what the situation is.

BATES
I wouldn't ask that, My Lord.

Robert gives him a smile.

ROBERT
And you didn't ask.

SATURDAY MORNING.

ROSE'S BEDROOM.

Lillian, a maid, is folding clothing items in tissue paper. Rose is wandering around the room distractedly.

LILLIAN
I should think we will need another trunk, My Lady.

ROSE
No. I'll need the other trunk for my portable phonograph.

CORA
You can't take that with you!

ROSE
I must take it with me! I'll die without it!

MARY
Ridiculous. You won't have time for such things.

Lillian takes an armful of dresses from the closet and drapes them on the bed.

MARY (CONT'D)
And you aren't taking all of these. You won't have occasion to wear them.

ROSE
How do you know? I don't need to be so studious that I never dress up.

Cora and Mary look at each other.

ROSE (CONT'D)
University isn't all about studying!

CORA
University is, Rose. The point is to study and learn. Besides, curfews being what they are I'd be surprised if you wore a party frock in Oxford once.

MARY
Yes, Rose. Zuleika Dobson is only a novel, you know.

Mary glances at Cora.

MARY
Oh, did you hear? Tony Gillingham will be in London for the season early.

Rose stops and looks at them.

CORA
I'd not heard. Early?

MARY
Yes. I'm sure he'll be at all the right gatherings.

CORA
I suppose the Prince will make an appearance this season.

MARY
I should think so.

Mary takes a frock from Rose's hand.

MARY (CONT'D)
Oh, no, Rose. You don't want to put on the appearance of having too much fun. Your nose will be in books.

COTTAGE. MORNING.

ANNA
(From the bedroom)

Do you want to see the dress I bought?

Bates is at his desk, writing. He finishes writing a sentence before replying.

(BEAT)

BATES
(Absently) Yes, of course.

Anna waltzes into the room and spins in the dress. Bates looks up at her, his mouth falling open.

BATES (Softly) You look marvelous. Like the queen of the fairies.

Anna blushes and scoffs. He rises.

BATES (CONT'D)
Look in the mirror, Anna.

He walks her to the mirror to look at her own reflection.

BATES (CONT'D)
In those colors. You look like Titania herself.

She turns back to him and cups his cheek. He grows serious, looking into her eyes. He seems to be preparing to tell her some important news.

BATES
(Deadpans) I'll be Bottom.

Anna busts into laughter.

ANNA
You are silly!

She is off to the bedroom to change. He follows her.

BATES
Will you pet my ears?

Anna is laughing. They disappear into the bedroom.

V/O from the bedroom.

BATES (CONT'D)
My hideous, hairy ears?

Anna's laugh deepens. Bates says something else, inaudible, and Anna seems unable to stop laughing. It is a boisterous, happy sound.

HALLWAY OUTSIDE THE SERVANT'S DINING HALL.

Carson has been waiting for a sign of Baxter. As she starts up the hallway he meets her.

CARSON
Miss Baxter, may I have a word?

Baxter follows Carson into his office.

CARSON (CONT'D)
Please close the door.

BAXTER
I hope nothing is wrong.

CARSON
I am sorry to be the one to give you this, but I did not want you to have to open it among prying eyes. Things of this nature-

He hands her a black bordered letter.

CARSON (CONT'D)
I hope it is not someone dear. Would you like some privacy? You are welcome to stay in my office to read it.

BAXTER
Yes. Thank you, Mr. Carson.

Carson exits into the hallway, closing the door behind him. He enters the servant's dining hall. The staff, at breakfast, stand and then sit again.

CARSON
Anna, may I have your assistance for a moment?

Anna follows Carson into the hallway.

COURTYARD.

Anna exits and looks around, sighting Baxter. She approaches her.

BAXTER
Mr. Carson told you?

ANNA
I think he knew I'd want to make myself available. In case I could be useful.

Baxter holds the black bordered letter loosely in her hand, as if she would like to throw it away. She gazes into the distance, then looks at Anna.

BAXTER
It happened to me, too.

ANNA
What?

BAXTER
What Green did to you. I hope I don't offend. But I know the look. I've felt that same way. That very same way.

There is a long silence.

BAXTER (CONT'D)
I'm sorry. I shouldn't have said-

ANNA
No, it's alright.

BAXTER
Do you still have nightmares?

ANNA
Hardly at all. Do you?

BAXTER
Sometimes, though it was long ago. I was young. I thought it was my fault.

ANNA
Yes, so did I. I'm not overcome very much anymore. But I had never known what it was to be so angry that you could kill. I never knew what it was to wish for your own death. I never knew how alone a person could feel.

BAXTER
Yes.

ANNA
But then I had Mrs. Wright. And my husband. I'm very fortunate.

BAXTER
Mr. Bates was kind?

ANNA
And so loving. And so patient. He understood, more than I would ever have thought a man could understand. He talked about the war, and I could see what he meant. How he and I-we have similar wounds, in a way. Some things never completely heal, but you keep going. I don't know what I would have done without him. Mrs. Wright was important, too. But I couldn't have found my way back without John.

BAXTER
You heal each other.

ANNA
We do. Absolutely we do. I'm so grateful for that.

BAXTER
When I was-it was a Lord. He attacked me at every opportunity. It was like being hunted. I lived in terror. And then after the baby was born and it was a son, he was taken from me. I was sent away. I had no one. I nearly killed myself. More than once.

Anna takes Baxter's hand.

BAXTER (CONT'D)
I felt broken in half. My one love, my darling, my little boy. My son. Taken away.

There is another long silence. Baxter looks around carefully, lowering her voice.

And then he wrote to me a few weeks ago. Said it was urgent we meet. He'll be lord, now. That monster of a father of his-forgive me to speak of his death that way, but-

ANNA
Don't apologize to me for that. There's no need.

Anna thinks it over now, astonished. She also scans the courtyard before asking.

ANNA (CONT'D)
Then-your son-is a lord?

BAXTER
The lady went into retirement at the same time I was sent to a cottage. I was well fed and looked after. And when the baby turned out to be a son, I was given money in exchange for a promise and was sent off. No one had missed me. So I suppose the secret was well-kept enough.

ANNA
And Thomas knew?

BAXTER
He didn't know the name of the house. My history there was of course erased. But he knew the story. I'm not sure who from. I suppose someone wasn't paid enough.

ANNA
There's always someone like that.

BAXTER
I never thought I would speak of it to a living soul. (Sighs) Thank you.

LADY EDITH'S FLAT, LONDON. DAY.

Edith and Corinne are stretched on Edith's bed. Edith is making a toy rabbit hop and nuzzle Corinne. Corinne laughs delightedly at the game. Edith is soft, content, happy. There is a knock on the door.

NANNY
My Lady, Lady Rosamund is here.

Rosamund enters. She takes in the scene with a bit of discomfort.

ROSAMUND
Well. You seem to be alright.

EDITH
(Stands) Yes. We are.

Edith picks up Corinne, kisses her.

EDITH (CONT'D)
Mummy will see you again after your nap, my dear.

Edith hands Corinne to the nanny, who takes the baby into another room. Edith goes past Rosamund into the parlor. Rosamund follows.

ROSAMUND
And-how are things at the newspaper?

They sit.

EDITH
Going quite well. But it's strange.

ROSAMUND
Why? Do they not understand your position?

EDITH
As a matter of fact, they afford me every respect. I fairly stormed in and demanded it. So they give it to me. I think I frightened them a bit.

ROSAMUND
Well done, then.

EDITH
And I would think so, if it had been ME.

ROSAMUND
(Laughing) Who else would it have been?

EDITH
I find that whenever I assume authority, to require their respect-well-I watched Mary do that, as far back as I can remember. She always knew how to take command of every situation, it came so naturally to her. I think the whole time I've been resentful of her gift for it. But now-

ROSEMUND
Now you are the one taking charge.

EDITH
But is it me? What if it's not me running the paper at all? What if it's Mary wearing my skin? I have a life free of her at last. Free of all that-rancor, at last-and I find she's a force within me. Worse yet, I'd be lost without her. How can that be?

ROSAMUND
Do you miss Mary? Do you miss being home?

EDITH
It's impossible.

INT. BARN ON THE MASON FARM.

Ian is brushing the heavy horses. Daisy sets a basket down.

DAISY
I brought you some extra jars of the bread and butter pickles you like.

IAN
I'll not have pity.

DAISY
It's not pity.

IAN
What is it then?

DAISY
Never mind.

Daisy turns to go.

IAN
I'm sorry. It's not you. You're kind, and I can tell you care for Mr. Mason. There's no better employer, I'll have you know that.

DAISY
I know.

IAN
Right, then.

DAISY
I'm sorry your wife died.

IAN
Well.

DAISY
And your child.

IAN
You lost your husband, too.

DAISY
But not a child.

IAN
No.

Ian pats the enormous horse on the rump and takes a cloth, wiping his hands. He looks down at the basket.

IAN (CONT'D)
This is very good pickle. I remember when we started having your preserves around. Step up, it was.

He and Daisy lock eyes for a moment. Daisy turns to go.

IAN (CONT'D)
Mrs. Mason.

DAISY
Daisy.

IAN
Mrs. Mason. You're a nice sort. Don't remarry.

DAISY
What?

IAN
I say -

DAISY
My father in law won't mind, if I ever do. He wants me to-

IAN
It's not that. Only it's not healthy. For some women, it's just not healthy.

LONDON STREET, OUTSIDE EDITH'S FLAT. AFTERNOON.

We recognize Monahan, the new reporter from the Sketch. He is holding a small camera (for the time) and looking down at it, poised to photograph Edith as she exits her building. We see the front steps through the camera's view. Then the view goes black. Monahan looks up.

THOMAS
Why-is that a camera?

MONAHAN
Urm-yes.

THOMAS
How clever. I've never seen one so small.

Thomas grins.

You don't mind my saying.

MONAHAN
(Absently) Urm, no. Not at all.

THOMAS
What are you photographing? That building there?

MONAHAN
Yes. Now, look, this is newspaper business. So please do move along.

THOMAS
Newspapers? How intriguing. Is the building itself of interest? Or something more?

MONAHAN
As I said, this is newspaper business.

THOMAS
Oh, but I buy newspapers, you see, so this is rather my business, too.

Thomas looks back as Edith comes out of the building with Corinne, who is wrapped well in blankets. Edith looks carefully around as a car pulls up. Thomas is dodging in front of Monahan, preventing him from taking a picture that he so desperately wants.

MONAHAN
Will you leave off?

THOMAS
Why? Is there something...?

The car pulls away. Monahan groans in disappointment.

THOMAS (CONT'D)
Well, sorry to bother you. I'll be off, then.

Thomas fixes Monahan with a stare.

THOMAS (CONT'D)
Until next time?

STREET IN THE VILLAGE OUTSIDE THE MUSIC HALL. EVENING.

Bates and Anna walk down the street as the crowd disperses.

ANNA
I like jazz so much! There's nothing else like it!

BATES
I think it will be a part of everything we hear from now on.

They nearly pass by a pub. Bates stops.

BATES (CONT'D)
Would you like a cider, before we go home?

ANNA
I would.

INT. PUB
Bates and Anna walk past a knot of slightly scruffy drunks on their way through. They all look at Anna. One yells.

DRUNK
Look at tha' little piece!

Bates turns and shoots him the deadly look of an assassin, which the drunk does not see. Anna sees it. The drunk's friends have also seen the look, and they shush him.

DRUNK (CONT'D)
Wha? I'll show her some moves.

Anna looks back at the drunk and then at her husband. They continue into the pub. A barman bustles up them through the thick crowd.

BARMAN
Mr. Bates. Mrs. Bates. The usual?

ANNA
Yes. Cider and a water, please. Did all these people go to the concert?

BARMAN
Some. Some are day laborers. About to toss them out. Bit of a tough bunch, though.

There is loud drunken laughter as Anna and Bates take a table. Their drinks are set before them.

DRUNK
Oi! Look a tha' little blonde with the old cripple!

There is more laughter. Anna looks from the drunks to her husband who smiles sweetly at her, completely unaffected.

ANNA
Perhaps we should go.

BATES
If you want.

DRUNK
Here, here! Little piece! Dance wi' me!

Anna looks at Bates.

ANNA and BATES (simultanously)
Nothing foolish.

The drunk makes for their table. Bates stands, blocking him.

DRUNK (CONT'D)
You wanna move, mate.

BATES
I'm not your mate. And it's time you respected my wife.

DRUNK
His wife!

The drunk turns back to his friends, pointing at Anna.

DRUNK (CONT'D)
I'll respect her alright.

He looks down at Anna.

DRUNK (CONT'D)
Dance wi' me, little bird. I'll show you what respect is.

He looks back at his friends, making a lewd gesture. They laugh. Keeping his back to her and shielding her, Bates slides his cane across the table to Anna. Anna tugs on his sleeve. He glances back at her.

ANNA
John.

BATES
What?

ANNA
Do something foolish.

For an instant he is surprised. But Anna has had enough. Bates gives his wife a slow grin.

Bates turns and is shoved by the drunk. He drops to the floor. The drunk stumbles closer to the table. Anna takes the cane in her hands, sliding back in her chair.

A hand lands on the drunk's shoulder. He turns. Bates' fist knocks the drunk's face out of frame.

The drunk spins on his toes, out cold even before he plunges into a table. Patrons and pints are scattered; there is confusion and yelling. A woman behind Anna taps her shoulder.

WOMAN
I didn't see that coming!

ANNA
I did.

The drunk's friends are lifting him and carrying him out, steering clear of Bates. The barman rushes up.

BARMAN
That's a deadly right hook, that. Knocked him out! Didn't know you for a boxer, Mr. Bates.

BATES
Just in the army.

Anna's eyes widen. It's the first she's heard of this. Bates remembers this and looks at her. She is staring at him.

BARMAN
Well, the cad had it coming. I hope you'll forgive us, Mrs. Bates. You'll not pay for a cider in here again. Will you have another now?

Bates looks to Anna for the answer. Anna is still staring at her husband.

ANNA
No, thank you. It's time we went home.

BATES
Are you sure? You didn't have-

Anna pulls Bates down and whispers in his ear. Bates straightens quickly.

BATES (CONT'D)
Thank you, lad, not tonight. Must be off!

He holds out his arm, Anna takes it. They give each other a look of pure desire before starting home.

LIBRARY. LATE.

MARY
What do you think Edith would say, about the way we are dividing the estate? I think she would be on the side of donating to the National Trust.

TOM
I'm never good at predicting what Edith will say. She's always got some insight I didn't think of.

Silence.

TOM (CONT'D)
Are you missing her?

MARY
Not exactly. She's just been gone so much. I suppose-I don't know, Tom. I suppose I miss hearing her opinions, yes. Strange as it may seem.

TOM
I wonder if she misses being home.

(BEAT)

MARY
Why would she?

Mary rises, pacing.

TOM
What is it?

MARY
If I were her, I certainly wouldn't miss being here. And there's one reason. Just one.

TOM
What is that?

MARY
Me. I've been doing my best to make her life hell for as long as I can remember.

TOM
(Smiles) And do you miss that?

MARY
No. The battles I don't miss. But what if I never really knew my sister, just because I was so busy hating her?

TOM
That would be a sad story, if you were asking me.

MARY
I was asking. I truly was, Tom. What Papa said about families being driven apart. I went cold inside. That's the worst thought of all. It would be unforgivable. And I've already been doing it. I already drove away my sister.

Blake enters the library.

BLAKE
Forgive me. Am I interrupting?

MARY
No. Tom, will you excuse me?

TOM
Of course.

MARY
Urm-Tom?

TOM
Yes?

MARY
I wonder if perhaps you would like to invite Sarah to dinner?

TOM
What?

MARY
I hope I'm not presuming. But-

TOM
But we needed to keep connections with the village? A school teacher would certainly help us there.

MARY
No-I wasn't thinking of any of that. If she's a friend to you or-I wondered if we could meet her.

Tom's expression changes. He and Mary look at each other.

TOM
Thank you for saying that. I hope no one else will mind.

MARY
No one else will mind. You can be sure of that.

(BEAT)

TOM
Then I will invite her.

Tom looks at Mary and Blake.

TOM (CONT'D)
Well, I'll say goodnight.

BLAKE
Mary, would you walk outside with me?

COURTYARD. EVENING.

HUGHES
What are you doing out here?

CARSON
Trying to think, I suppose. I can't seem to clear my head.

HUGHES
But you and I are very fortunate to have fewer changes upon us than many of the others. The dust will settle.

CARSON
In time. Just now-

He holds out his hand.

CARSON (CONT'D)
I need steadying.

Hughes takes his hand and leads him to a bench.

HUGHES
Let's sit. I'll steady you.

CARSON
It's improper. Out after dark.

They sit on the bench. She budges closer to him. He looks at her.

CARSON (CONT'D)
In this light, I can see you as a girl. What is it about moonlight?

HUGHES
There is supposed to be magic in it. I don't see any fairies. But I'm glad you see a girl.

CARSON
I see a woman. A fine woman.

HUGHES slides her arm around his shoulders. He is unsettled for a quick moment, but recovers. After a careful look around he pulls her in for a kiss.

MOONLIGHT. OUTSIDE THE ESTATE UNDER A GREAT TREE.

MARY
I suppose you'd like to get on with it.

BLAKE
Am I rushing you?

MARY
I know you've made your decision, and you do like to get things done.

BLAKE
I decided what I wanted long ago, just so you know.

MARY
Oh yes? And when was that?

Blake goes down on one knee. He pulls a small box out of his pocket and flips open the top.

BLAKE
You were covered in mud and made me eggs. So the diamond is egg-shaped. I will never forget the moment.

Mary makes a small sound.

BLAKE (CONT'D)
If it's not enough-

MARY
Charles-

BLAKE
Lady Mary Crawley, will you be my wife? Will you let me make your happiness the most important thing in my life for the rest of my life?

The large diamond flashes in the moonlight.

MARY
Good heavens.

Blake is still on bended knee.

MARY (CONT'D)
Get up and kiss me.

A HIDDEN COPSE IN A MEADOW. MOONLIGHT.

Anna and Bates recline on her shawl. She rests in his arms. Her hair is down, his coat and waistcoat are on the grass. They are both flushed, mussed and ever so slightly out of breath.

BATES
I'm sorry I didn't tell you about the boxing.

ANNA
To be fair, it was quite impressive.

BATES
Are you wondering what else I haven't told you?

ANNA
I wasn't wondering anything at the moment. At this moment I'm-I'm just happy.

BATES
Are you, my darling?

ANNA
Yes. You are the one who's thinking right now.

BATES
There were no children with Vera. As you know.

ANNA
Yes.

BATES
It could be my fault.

ANNA
There's no fault.

BATES
You were quick enough to call it a fault when-

ANNA
I know. I think sometimes I get too caught up in things.

BATES
But will it be enough?

ANNA
Do you mean will YOU be enough?

He nearly speaks, but stops.

ANNA (CONT'D)
Can you be serious? Do you know how much I love you, how much I need you?

BATES
But if-

ANNA
Would you consider adoption?

BATES
I would.

ANNA
As would I.

BATES
There will always be war orphans. There will always be women of unfortunate circumstances. Families too big for incomes.

She is caressing his face.

ANNA
We've love enough. More than enough.

BATES
Yes.

He rolls her over and kisses her.

FADE TO BLACK.
THE END.