Teaser:
SERVANT'S DINING HALL, MORNING.
Maids are bustling with breakfast as staff wanders in.
Sprat is looking over a breakfast tray and talking to the
maid who is about to deliver it.
SPRAT
If Her Ladyship has changed her
breakfast preferences, I don't know
about it.
MAID
You told me yesterday to be sure
that she had marmalade.
SPRAT
For tea. On occasion. Not for
breakfast. She takes no sweet at
breakfast. Just the egg and the
toast. You've overdone the toast;
it's too dark. And now the egg
will be overdone. Start over.
MAID
Then she'll be waiting overlong!
SPRAT
I will explain your incompetence to
Her Ladyship.
BAXTER
Isn't that a bit harsh?
SPRAT
It's a bit out of your sphere, I
should say. You are not in Her
Ladyship's employ.
MOSELEY
It's more than a bit out of line to
speak to my fiance in that manner.
I expect an apology.
SPRAT
Your expectations are not my
concern.
CARSON
(Booming) On more than one occasion
I have been forced to play
ringmaster before I've had my
morning tea and this will be an end
on it. Am I clear?
There is silence. The maid goes into the kitchen with the
tray. Sprat and Moseley exchange a filthy look. Carson
sighs, shaking it off, and hands out the mail.
CARSON (CONT'D)
A letter for Mr. Bates. And a
package for Anna.
BAXTER
A package? Is it from the
milliner's supply?
Bates, sitting next to Anna, is looking at the address. He
and Anna exchange a significant look. Anna opens the
package, pulling out the items as she reads the note.
ANNA
Paper dolls for baby Sybil. A toy
top for Master George...
MOSELEY
Who's it from?
Anna goes silent, reading the rest of the letter. Bates
reads it as well. They both finish, grave and serious.
HUGHES
(Laughing) Well, don't keep us in
suspense.
ANNA
It's from Thomas Barrow.
ACT 1:
BREAKFAST TABLE UPSTAIRS.
ROBERT
Mary and Cora are looking forward
to meeting Miss Bunting at dinner
tonight.
TOM
Yes. Sarah is looking forward to
it as well.
ROBERT
She - works, then?
TOM
She's a teacher. At the local
school.
ROBERT
A-respectable enough profession.
Robert, though uncomfortable with this, is clearly trying.
Tom and Blake exchange a look.
BLAKE
As connections in the village go,
she could hardly be in a better
position to help us. Someone so
respected by the communities, by
parents and children, she has great
potential as a family ambassador.
Blake is looking at Tom.
BLAKE (CONT'D)
As well as the distinction of being
a friend of yours, of course.
ROBERT
I am perfectly happy to stand by
Tom. But why do we need an
ambassador?
BLAKE
Times are changing, My Lord.
ROBERT
You'll soon be using familiarity
with me, Charles.
BLAKE
(Laughs) But until then...(he
starts again) The upper classes
must keep good relations in the
community. We must make alliances,
and we must-
TOM
Enlist commoners to speak for (he
struggles)-us?
ROBERT
Tom, I only meant-
BLAKE
Yes.
Silence.
TOM
I agree. And Sarah agrees-to a point.
Blake grins at that.
BLAKE
But we must do even more. I've an
idea.
ROBERT
What now? Sell tickets for tours of
the house?
BLAKE
Possibly. Eventually.
Robert is shocked and half thinks Blake is kidding, but Blake
ignores him and continues on.
BLAKE (CONT'D)
We must contribute something on a
cultural level. Something lasting.
Something honest.
Robert and Tom are staring at him.
ROBERT
I tremble to ask.
BLAKE
The greatest divide is
understanding. Clearly an open
house is taking it too far.
ROBERT
I am relieved to hear that.
BLAKE
But perhaps a glimpse of life the
way we live it - and the way our
families honor our history.
Tom and Robert wait.
BLAKE (CONT'D)
What about a book?
TOM
What sort of book?
BLAKE
A great book with pictures,
photographs. Not just of the
estate, but of the details of daily
life. The silver, the linens-
ROBERT
Doesn't sound wise.
BLAKE
And the records. The history of
maids in employ here. The recent
cuts to the estate. The donations,
the support of the farms, the
bizarres, all of it. The facts.
ROBERT
But what would be the point?
TOM
Honesty.
BLAKE
Yes. But also, English history is
intimately woven with the lives of
the great families. This could be
a contribution to our cultural
heritage. For future generations.
ROBERT
You want me to write a book.
TOM
(Understanding) Not just you.
Blake smiles. Robert is puzzling.
TOM (CONT'D)
What member of house staff has a
passion for the history of great
families, in particular the
Crawleys, and has more time on his
hands lately?
UPSTAIRS HALL. MORNING.
Bates and Anna talk in hushed voices.
BATES
I'll go to London this afternoon.
ANNA
And do what?
BATES
I'll-call him at the Savoy. He
said he's serving lunches. I'll
find out where this photographer is
and get the film.
ANNA
How simple you make it sound. But
this is Thomas.
Tom Branson opens the nursery door behind them, unseen, and
pauses when he hears the lowered voices.
BATES
I thought of that, too. It could
be some sort of prank. But Lady
Edith was all those months abroad.
And then moving to London. It
makes sense.
At the sound of Edith's name Tom backs against the wall,
listening harder.
ANNA
It does make sense. But-
BATES
This stinks of organized crime.
Extortion is big business, Anna.
Lady Edith could be in danger, and
her child, if in fact there is one.
You don't know what those people
are like.
ANNA
You can't be planning to take them on, then.
BATES
I won't take on anyone. I'll-find
out where he keeps his film.
ANNA
And steal it?
BATES
I'll find out more from Thomas
first. But we can't let this go any
further. We've got to stop it now.
Lady Edith and the whole family
could be in jeopardy.
ANNA
Yes. WE.
BATES
Don't even think of it. You are
not coming with me.
ANNA
I am.
BATES
It's impossible. I won't allow it.
Anna gives him a look.
BATES (CONT'D)
I couldn't bear for anything to
happen to you.
They stare at each other, facing off.
BATES (CONT'D)
I couldn't bear it, Anna.
He is off down the hall. Anna stares as her husband walks
away, looking at his cane and his limp. She is worried.
Anna moves down the hall after Bates, slowly. Tom follows
her.
KITCHEN. MORNING.
Daisy and Patmore are sitting down to a cup of tea as maids clean up from breakfast.
PATMORE
Seemed like a well-behaved
gentleman.
DAISY
Who would that be?
PATMORE
That fine steed you rode to work.
DAISY
Oh. Shadow. Yes.
PATMORE
You didn't mention it.
DAISY
I'm just learning to ride. It
still frightens me. I didn't want
anyone watching me.
PATMORE
Seems risky to practice riding on
the way to work.
DAISY
My bicycle broke yesterday on the
way to the farm. Ian's fixing it
this morning and then he'll ride it
over and take Shadow back to the
farm.
PATMORE
Ian, that's the farm hand?
DAISY
Well, more an overseer now. He
helps out Mr. Mason. He knows a lot
about farming.
PATMORE
A young man, is he?
DAISY
Not so young. His wife passed away
over two years ago now.
Childbirth.
PATMORE
That's very sad.
DAISY
Yes.
PATMORE
But better an experienced mount
than an experienced rider.
DAISY
(Looks at Patmore in shock) What do
you mean?
PATMORE
Is he coming 'round this morning,
this Ian?
DAISY
Afternoon, but-
PATMORE
I'll look for him, then.
DAISY
But why-
Patmore sighs.
PATMORE
A young lass can never see the
stars in her own eyes.
Patmore stands, finishing her tea.
PATMORE (CONT'D)
And he's got to pass Patmore
inspection, after all.
UPSTAIRS HALLWAY. MORNING.
Tom is following Anna down the hallway. He calls out in a
whisper.
TOM
Anna!
Anna stops in her tracks, turning.
ANNA
Mr. Branson?
TOM
A moment, please.
Tom pulls Anna into a doorway. He looks up and down the
hall, and hesitates.
ANNA
How can I help?
TOM
(After a moment)
Lady Edith does have a child. A
baby girl, Corinne. She moved the
baby to London with her a few weeks
ago.
Anna's eyes widen.
TOM (CONT'D)
The family doesn't know.
ANNA
Then - Thomas was telling the
truth.
TOM
This could bring terrible scandal
on her. And the family.
ANNA
Or worse.
TOM
She must be told if one of her own
staff are spying on her and taking
pictures. But if it's organized
crime-
ANNA
We must warn her. Even urge her to
leave London at once with the
child.
TOM
She trusted me with a confidence.
But if she's in danger-
ANNA
And as you say, this involves the
entire family. Keeping this secret
from the rest of them now could be
the worst thing we do.
TOM
I made a promise.
ANNA
I understand. But if she's already
been photographed, then the
reputation of the whole family has
already been compromised. And what
about her safety? And the baby?
TOM
I don't want to betray her-
ANNA
If it were me -I would want my
family fighting by my side. Even if
my secret came to light.
TOM
But this is not something for
either of us to decide.
ANNA
We don't have the luxury of
standing by and doing nothing. And
we don't have the time.
Silence.
TOM
Knowledge is a burden.
ANNA
Mr. Branson, the burden of
knowledge is nothing compared with
the burden of a secret.
LIBRARY. LATE MORNING.
CARSON
I'll be seeing to the wedding
silver later this morning. As to
the staff for the reception, I
thought-
ROBERT
I've no questions as to that,
Carson. I leave it entirely in
your charge as always.
CARSON
Thank you, My Lord.
ROBERT
I do have another matter to discuss
with you.
CARSON
My Lord?
ROBERT
I wonder how you would feel about -
a collaboration?
LADY MARY'S BEDROOM. LATE MORNING.
Anna knocks and enters. Mary turns from her
dressing table, standing.
MARY
Anna. I've several things to
discuss with you this morning. As
the Blake family will be here next
week, I must find a way to convince
Edith to be my maid of honor as
soon as possible. We don't want us to
be divided just as we're joining a
new family. I sent a second letter to
Edith about it and I've had no reply.
ANNA
My Lady-
MARY
And I want to make some changes to
my gown in the next few days. I
think there are too many pearls on
it, and since it's my second
wedding, I don't-
ANNA
My Lady.
MARY
What is it?
ANNA
I-if you were anyone else I'd ask
you to sit down.
MARY
You know me better. I take my bad
news standing up. What is it,
Anna?
NURSERY, MORNING.
Cora is seated on a low chair, playing with George. Tom
enters and gives the toy top to George.
TOM
Gifts from strange quarters.
CORA
It's perfect, Tom. He loves to
spin tops. Who is it from?
TOM
Cora.
She looks up.
TOM (CONT'D)
I must speak with you.
CORA
You've gone quite serious suddenly.
Whatever can it be?
TOM
I-I have been keeping a secret from
you. A confidence.
CORA
You know I'm aware of that.
Silence.
CORA (CONT'D)
Are you going to tell me now,
finally?
TOM
Yes.
CORA
I'm glad.
TOM
You might not be.
THE ATTICS. DAY.
Bates enters, his unopened letter from breakfast visible in
his pocket. Mosely looks out from a closet.
MOSELEY
His tweeds will need a going over.
And I'll need to see about his
formals as well, with the wedding
coming up.
BATES
I couldn't have thought of more
myself. You've got it well in
hand, Mr. Mosely.
MOSELEY
I'd given up on the idea that I'd
be taking this position.
But now-it's in the best circumstances
possible. Phyllis-Miss Baxter and I
are very happy for you. We wish
you all the best in your endeavor.
BATES
We know you do. And thank you.
Carson enters. He's energized-even a bit excited.
CARSON
Ah, Mr. Bates, Mr. Mosely. A
moment, if you will.
BATES
Of course.
CARSON
Would you both be inclined to share
your - experience in service?
MOSELEY
Experience?
CARSON
Yes. Purely for historical
purposes. And Mr. Bates, would you
be willing to contribute your
impressions of the families in
great houses before and after the
Boer Wars?
BATES
I would, Mr. Carson.
Pause.
BATES (CONT'D)
Why? Are you writing a book?
CARSON
It appears that I am co-writing one,
yes.
Carson swells just a bit with pride.
CARSON (CONT'D)
Now, I must see to the wedding
silver.
Carson disappears around a corner. Mosely
and Bates stare after him for a moment.
MOSELEY
(In a low voice) Be a good of you
to get your hotel set up before our wedding. Then
we'd have a honeymoon spot.
(Mosely laughs.)
BATES
We'll do our best. Speaking of
which. I've an errand to run in
London, this afternoon. Would that
be convenient for you?
MOSELEY
Oh, yes. Fine. I'm nearly ready
to take over, I should think.
BATES
I believe you are right.
Carson steps back around the corner.
CARSON
Oh, Mr. Bates-if you are in London
this afternoon, I have a list of
resource volumes we'll be needing.
Would you be able to-
BATES
Yes, Mr. Carson, it's no trouble.
I'll get the list from you before I leave.
Bates turns to go.
CARSON
And, Mr. Bates.
Bates turns back to Carson.
CARSON (CONT'D)
(Nodding at Bates' coat pocket.)
You still have yet to open your
letter from this morning.
BATES
Ah. Yes.
Bates opens his letter.
ISOBEL'S HOUSE, BEDROOM. DAY.
Isobel is looking through her dresses and hats which are set
out all around the room. She stands back to survey them.
ISOBEL
(Nearly to herself.) A trousseau.
At my age.
The maid enters with an armful of coats.
MAID
Would you like these out on the
bed, ma'am?
ISOBEL
Please. I expect I'll only need
the lightest weight fabrics. Oh,
and I will need to send out letters
this afternoon.
MAID
Very good, ma'am.
The maid is nearly out of the room and stops.
MAID (CONT'D)
Ma'am, when will the next women's
tea be held, then? On my last
errand in the village there were
inquiries.
ISOBEL
There won't be another at this
address. Hence the correspondence.
Oh, and I'll write your reference,
just as a matter of course. But I
think you will like Lady Driscol.
She's modern, but also a kind
person.
MAID
Thank you, Mrs. Crawley. Will
there be anything else now?
ISOBEL
Yes. My luggage, please.
The maid leaves the room. Isobel sits on the bed next to the
coats. She is quiet for a moment, then begins to laugh.
HUGHES' OFFICE. LATE MORNING.
Carson enters. Hughes is at her desk, writing.
CARSON
I wonder-that is-
He realizes that Hughes is on the phone.
HUGHES
Yes, and we will need to see those
samples of the Irish lace trim. Do
you have anything more - recently made?
Hughes looks at Carson, taking in his posture.
HUGHES (CONT'D)
Very good, yes. Monday it is.
Hughes hangs up her phone, makes a note and looks at Carson
again.
HUGHES (CONT'D)
My! You're in a state.
CARSON
I've made dinner reservations for
Friday night.
HUGHES
Have you? Well, do enjoy yourself.
CARSON
I mean, why don't we go to dine out
on Friday night?
HUGHES
You were going to ask me, then?
CARSON
Whom else would I ask?
HUGHES
How very flattering.
CARSON
I-what is it?
HUGHES
Do go ahead. Clearly there's more.
CARSON
I've-I've something to celebrate.
And I want to celebrate it with
you.
HUGHES
I'd love to go.
CARSON
Good.
HUGHES
But I'm afraid I'm otherwise
engaged.
CARSON
You-what?
HUGHES
I have other plans. You might have
asked me sooner.
CARSON
But I've only just found out-
HUGHES
And you assumed that I'd assume
that I would be spending time with
you this weekend.
CARSON
As we have been spending more time
together and as we had
discussed that we both want to
spend more time together-
HUGHES
-you assumed.
CARSON
Well, of course I did!
HUGHES
Mr. Carson, the safest assumptions
are built on understandings, and we
have yet to agree upon one.
Carson is flummoxed. Hughes is waiting.
HALL OUTSIDE VIOLET'S ROOMS AT THE ESTATE. LATE MORNING.
Mary rounds a corner and runs directly into Cora, who has
arrived from the opposite direction. They stand outside the
door to Violet's rooms, equally distressed.
MARY
Mama, I must speak to Grandmother.
And then-
CORA
Mary, just now I have a more urgent
matter.
MARY
I assure you, you don't. And I do
have something to tell you but I
must speak to Grandmother first.
The door to Violet's quarters is opened by Sprat. Violet, in
a wheelchair, is looking at them.
VIOLET
Before this mystery becomes a horror-was there a fly in the
pudding?
They both stare at her and begin speaking at the same time.
In unison: MARY Grandmother, I must- CORA You don't understand, Mary-
Violet holds up her hand, stopping them.
VIOLET
Come in out of the hallway, please.
They enter and wait. Sprat shuts the door behind
them and leaves the room.
Violet motions to Mary.
MARY
Edith needs our help.
Cora is staring at her. Mary looks at Cora.
MARY (CONT'D)
What?
CORA
What do you know about Edith?
MARY
I-what do you mean? I know
everything. But what do you-
CORA
But how could you? Tom said-
MARY
Tom?! Tom said what?
CORA
He told me. That Edith needs help,
that-
MARY
TOM told you?
CORA
Yes. If you knew then why didn't
you tell me?
MARY
I didn't know.
CORA
Who told you?
MARY
Anna.
CORA
What?
Violet puts up her hand again, stopping them.
VIOLET
Is Edith's child ill? Or in
danger?
Mary and Cora turn to Violet, shocked.