INT. UPSTAIRS HALL. DAY.
Anna is walking along the upstairs hall as the camera follows
over her shoulder. She passes Lady Mary, then His Lordship
and heads down the stairs, putting on her hat and coat. We
follow her
OUT THE SERVANTS DOOR AND DOWN THE PATH TO THE VILLAGE.
It is a lovely day. Anna smiles as she walks with her basket
over her arm, containing cloth items.
Anna knocks on a door. Tiny, elderly Mrs. Wright answers.
She is full of energy and humor, and is very happy to see
Anna.
ANNA
Hello, Mrs. Wright.
Mrs. Wright takes Anna's arm and scoops her inside. She
pulls Anna down to kiss her firmly on the cheek. She takes
the basket.
MRS. WRIGHT
Oh, may I see them? How lovely. I
can wear my gloves again! And my
shawl! Thank you, my dear. With my
eyes, I can't seem to mend as well
anymore. I don't know if I ever
mended this well! (Laughs)
ANNA
I'm happy to. You know that. It's
the very least I can-
MRS. WRIGHT
Now, no more of that. We're
friends, you and I are. The kettle
is on. Let's sit.
They sit at the modest table, set for tea, in the tidy room.
MRS WRIGHT
Let's talk about the future now.
But first, how are you feeling?
Have you had anymore dreams?
ANNA
Still not. It's been months now.
MRS. WRIGHT
Are you still getting the fits of
fear, seeing it all happen again?
ANNA
No-
MRS. WRIGHT
Not for some time now.
ANNA
It's true. In fact rather than
afraid or sad or even angry
anymore, I feel-restless.
MRS WRIGHT
Oh?
ANNA
Yes, And while John loves me-
MRS WRIGHT
Yes-
ANNA
He's so-well he coddles me a bit
much. It's become too much now.
MRS WRIGHT
What do you sense from him?
ANNA
He hasn't been angry in a long
time. But he's so anxious over
every little thing...
MRS. WRIGHT
Anger is not the only thing this
does to a man. He's afraid, too.
He doesn't want anything else to
happen to you.
ANNA
It's because he loves me-
MRS WRIGHT
Of course.
(BEAT)
MRS WRIGHT (CONT'D)
And because he loves you, he will
follow your lead.
ANNA
You mean-
MRS WRIGHT
If you put yourself first, and tell
him what you need, he will catch up
with you. It's what men do.
Anna begins to tear up.
MRS WRIGHT (CONT'D)
What is it?
ANNA
You make me miss my mother. But
I'm so grateful.
MRS. WRIGHT
I'm the grateful one, my darling.
There aren't many in the world like
you.
ANNA
(Sighs) I don't know what I would
have done-
MRS WRIGHT
Nor me, without you! We're not
meant to bear our burdens alone.
Secrets are poison, my dear.
You'll never need to have another.
Certainly not of that caliber, at
any rate! Let me get biscuits,
now.
EXT. DAY. FARMHOUSE.
Edith stands at the door of the farmhouse with a small
basket, full of jars of various foods. She looks back down
the drive, then down the pathways to the right and left. She
knocks.
Mr. Drew appears at the door, stepping aside to let her in.
HIS LORDSHIP'S DRESSING ROOM. DAY.
Mosely enters as Bates is brushing coats.
MOSELY
Mr. Bates. May I have a word?
BATES
Of course, Mr. Mosely.
MOSELY
You're a married man.
BATES
I have been blessed beyond
deserving.
MOSELY
Closes the door, then struggles to begin.
(BEAT)
BATES
Are you ready to declare yourself?
To Miss Baxter?
MOSELY
I am. I think I am.
BATES
No doubts?
MOSELY
About her? No. Only-any advice on
a cracking proposal?
BATES
Sorry, no.
(BEAT)
MOSELY
No, you won't tell me?
BATES
No, I can't tell you.
MOSELY
Why not?
BATES
Because I've never proposed.
(BEAT)
MOSELY
That's not much help.
Bates is hanging coats.
BATES
Miss Baxter - seems a bit different
now, does she not?
MOSELY
(Can't hide his pride) I believe
so, yes.
BATES
Stronger. More confident. More -
direct.
MOSELY
Yes, I agree.
BATES
Well, you might wait it out.
MOSELY
What?
BATES
When she's sure she wants you for a
husband, she will let you know.
Then you have only to agree as
graciously as possible.
MOSELY
But how does one make that happen?
BATES
You don't. All you have to do is
pay attention. And then you will
know without any doubt that the
time is right.
MOSELY
Thinks this over.
BATES
Women are often a mystery.
MOSELY
Yes-
BATES
But Miss Baxter's regard for you is
hardly shrouded in doubt. Be a
good friend to her, listen to her,
care for her. Let her see what
kind of a husband you'll be.
I don't pretend to know her heart,
but I doubt you'll wait long before
she makes her feelings clear-one
way or the other.
INT. DAY. CARSON'S OFFICE. CARSON, HUGHES AND PATMORE.
CARSON
I fail to see how this supports our
standard of consistently.
PATMORE
It's one lunch, one dinner and one
breakfast. There won't be a party.
No guests.
HUGHES
Anna will be ready. And Baxter will
help her.
PATMORE
It'll be good for Daisy.
CARSON
(too loudly for the room)
Why am I suddenly the custodian of
what's good for Daisy?
HUGHES
Do you really fear that Anna and
Daisy can't do the jobs? They can
run the house and kitchen. They
are ready.
CARSON
What if I'm not ready? I mean, the
house? This is very sudden.
HUGHES
It's two weeks away. We're
preparing now.
CARSON
Suffragettes. All the way to
London for a meeting of the
suffragettes. Next you'll be
wearing trousers.
PATMORE
Oh! I wonder what they
feel like to have on?
(To Hughes) Can you
imagine?
HUGHES
(To Carson) What is it?
CARSON
Must I explain further? You both
disappoint me.
HUGHES
Well, you must survive your
disappointment.
Carson begins to speak.
HUGHES (CONT'D)
We've plenty of time to prepare.
And no blustering on Anna and
Daisy. Take a step back and let
them prove themselves. They
deserve a chance just like we all
had.
CARSON
We were different.
INT. FARMHOUSE
EDITH
When will Mrs. Drew be back?
DREW
Should be over an hour.
EDITH
Where is she?
DREW
Nursery. She's just woken up from
her nap. The other children are
playing with my eldest in her room.
Edith sets the basket on the table and walks softly through
the rooms of the clean but modest farmhouse. She pauses in a
doorway. A shaft of sunlight falls across a crib. Edith
creeps on her toes to the crib, peering down.
The baby's face lights up. She stretches her arms up to
Edith. Edith's expression is the softest and happiest we've
ever seen as she reaches for her daughter.
EXT. DAY. TOM AND MARY DRIVING TOWARD THE FARMHOUSE
MARY
I seem to be spending more time in
boots than in heels. If I'm not
careful my ankles will grow thick
and I'll never find a husband.
Tom (driving) looks over at her.
Mary smiles.
TOM
Is a champion emerging from the
ranks yet?
MARY
It's a numbers game. Much like
agriculture. Quite a bit like
pigs, in fact. Somewhat less mud.
Mr. Drew comes out to greet them as they pull in the drive.
DREW
Good morning, My Lady. I wasn't
expecting you this morning.
MARY
Unannounced visits, though rude in
society are the hallmark of good
management.
TOM
(To Drew) Don't worry. She doesn't
own a rapier.
DREW
Says nothing.
Tom helps Mary out of the car.
MARY
Tom, don't undermine your sister in
law. I have the power to make you
visit Granny. (To Drew) Where are
all your lovely children?
DREW
Well-they are all down for a nap,
my lady.
A child's happy shriek sounds from the house.
(BEAT)
MARY
Nap times at the estate sound much
the same. Tom? Shall we?
INTERIOR FARM HOUSE.
Edith, holding her daughter, has been listening at the
window.
OUTDOORS, DAY. A BENCHED PLAY AREA UNDER THE TREES. TOYS ARE
STREWN ABOUT.
Robert and Cora are on a bench, watching the nannies play
with George and Sybil.
George is walking, though unsteadily. He hands a wheeled
wooden horse solemnly to Robert, who laughs.
ROBERT
He's a serious little chap. Always
keeping tabs. He reminds me of
Mary already.
CORA
It's time to get Rose settled.
ROBERT
Well, It's quite a different world
now, isn't it? Isn't she a bit
young?
CORA
Our minister of fun will be a bit
young in her sixties. It's time.
ROBERT
I'm sure you're right.
CORA
A whole new set of dinners and
introductions to suitables. Your
mother must have the list ready.
ROBERT
Will you see Mama today?
CORA
No, she's off on some charity
errand with cousin Isobel.
But we'll start this week. The
sooner the better.
EXT. ISOBEL'S HOUSE. DAY.
Isobel is stepping into the car with Violet.
VIOLET
Where are they?
ISOBEL
What?
VIOLET
Your bevy of suitors.
ISOBEL
How very amusing.
VIOLET
Perhaps those - coven meetings or
whatever they are you've been
hosting have frightened all the men
off.
ISOBEL
I'm sure you mean the women's teas
I host every fortnight. And no man
should be frightened by the idea of
women empowered.
VIOLET
Heavens, to hear those words next
to each other has chilled MY blood.
ISOBEL
I'm not surprised.
VIOLET
Why haven't you invited me?
(BEAT)
ISOBEL
I'm afraid you'll use the wrong
spoon and embarrass me.
VIOLET
No, I mean why haven't you invited
me for cards?
ISOBEL
Are you serious?
VIOLET
Well why should it always be when
one is sick that one gets to play
cards? It's not as if we're
wagering. Your reputation could
hardly handle one more black mark.
Isobel stares at Violet in astonishment as the car drives
off.
INT. DRAWING ROOM.
Cora is at her desk. Rose enters and hesitates.
ROSE
Cousin Edith is going to London
tomorrow. I thought I'd go with
her.
CORA
I think you'll be too busy.
ROSE
I will?
CORA
Yes. I've spoken to your great
aunt, and she is lining up
suitables.
(BEAT)
ROSE
Already?
CORA
I think it's best.
ROSE
But-
CORA
Now, this will be a very exciting
time for you. We'll have new
frocks and dinners and meet some
lovely, decently suitable men.
ROSE
It's just that, well-
CORA
It's time, Rose. Now, we're having
lunch at Lady Grantham's house
tomorrow to discuss this further,
and we'll need to visit the
dressmaker. I hope you're ready
for some fun?
ROSE
Fun?
INT DAY. KITCHEN. ANNA, BAXTER, DAISY.
Anna scrubbing a shawl.
BAXTER
I like just a little water with
child sick. Seems to be enough on
silk.
ANNA
I agree. I'll need to trim this as
well, it's growing fur, I think.
BAXTER
I've got some freshly sharpened
scissors. Make the job faster but
you'll have to be careful.
ANNA
Thank you.
DAISY
Anna, I've written down the recipe
for that gooseberry jam-but I can
throw a few more jars together this
weekend. I'm taking some out to the
farm anyway.
ANNA
Are you sure?
DAISY
It's no trouble. I would hate to
do any canning in a cottage.
I can put up three more jars of jam
while I'm canning anyway. You can
teach me that blanket stitch next
weekend instead.
ANNA
Yes, alright. Thank you Daisy.
Anna takes the scissors from Baxter.
ANNA (CONT'D)
Thank you, Miss Baxter.
Baxter leans back against the counter next to Anna. It's
clear a friendship has been growing between them.
BAXTER
Do you know, I had a mystery stain
once. Most awful thing I'd ever
seen. After one of their parties.
And the lady did not want to
discuss its origins.
Anna smiles, glancing around. Daisy is listening in. Baxter
begins to laugh. Anna is trimming the shawl and looking up
at Baxter. They are gathered tightly, listening to Baxter.
BAXTER (CONT'D)
The blouse was of course a
favorite. I had to try to save it.
But the lady wouldn't talk about
it. I was forced to make a guess.
Anna looking slightly scandalized. Over Baxter's shoulder we
see Thomas at the back of the kitchen, just behind a corner,
eavesdropping.
BAXTER (CONT'D)
Well , one of the gentlemen at the
party had brought some exotic
beast. Some kind of cat on a
leash. He kept it under the table
through dinner.
General giggling ensues.
Bates enters the kitchen behind Anna as she slips with the
scissors, dropping the shawl on the counter so as not to
bloody it.
ANNA
Oh!
Bates sucks air through his teeth, rushes to her.
BATES
What have you done?
ANNA
It's a scratch.
BATES
You're bleeding!
ANNA
It's nothing.
BATES
Miss Baxter, the first aid kit,
please.
Baxter hands it to him, shooting a look at Anna. Anna takes
a breath.
ANNA
John-
He is busily bandaging her hand. Baxter looks back to see
Thomas, then turns back to Anna. Mrs. Patmore peers over
Anna's shoulder to see what the fuss is.
PATMORE
Have the heavens come crashing down? Do you need help?
BATES
No, I've got it. (To Anna) You
should be more careful.
PATMORE
That big bandage-for that?
BATES
She's bleeding.
PATMORE
We bleed our lives away here in the
kitchen. And burn them away, too.
Don't we, Daisy?
BATES
Thank you, Miss Baxter.
Bates and Anna's eyes meet.
Baxter puts away the first aid kit and walks toward the back
of the kitchen. She rounds the corner. Thomas steps into
her path between doorways. They are in shadow.
THOMAS
What happened?
Baxter is no longer afraid of him.
BAXTER
Meaning what?
THOMAS
Between Bates and Anna. What
happened to them?
Baxter digs in her heels and makes direct eye contact with
Thomas.
BAXTER
I don't know.
THOMAS
You're a bad liar.
BAXTER
I am much better at other things.
I'm much better at the truth.
THOMAS
Well, you need to be better at
keeping the deal-
BAXTER
I've told you. I don't care -
THOMAS
Then you will force me to divulge
what I know.
Baxter leans forward.
BAXTER
I'm not entirely without ammunition
myself.
Thomas takes a breath.
THOMAS
What is that supposed to mean?
She holds his eyes for a long moment.
BAXTER
It means, do your worst.
Thomas' expression changes.
Baxter walks away from him, through the kitchen, down the
hallway. She passes Anna and John in the boot room, speaking
in low voices.
INT. BOOT ROOM.
ANNA
You can't wrap me in silk and keep
me in a drawer.
BATES
I don't want to-
ANNA
You worry too much. Over nothing.
BATES
Not over nothing.
They are silent for a moment, sharing the thought.
ANNA
That's not what I meant.
BATES
It's only that-
ANNA
Look at me. What do you see?
He smiles gently at her.
ANNA (CONT'D)
You know what I mean.
He's not sure.
ANNA (CONT'D)
I'm-moving along now. Some things
will never be over but-
BATES
As in war. Some injuries of the
heart and the mind never entirely
go away.
ANNA
And you understand that. You've
always understood so much about me,
about what it was like. You've
taken such loving care of me, John.
But...
BATES
But?
ANNA
Are YOU still having nightmares?
He does not like admitting this.
BATES
Sometimes.
ANNA
I hardly ever have them now.
His hand on her cheek.
BATES
You're so strong.
ANNA
It's not that. It's-it's time.
It's time for me to move along.
I'm ready to let some things go. I
think I am. No, I know I am. I'm
ready but you're not.
He's confused and silent. She sighs and pulls him close.
ANNA (CONT'D)
I love you.
He holds her.
BATES
I adore you.
ANNA
I know.
She draws back and looks up at
him.
ANNA
So, when you look at me-SEE me.
Not what should have happened in a
perfect world. Not the injuries.
Not the uphill climb. See-ME.
Now.
EXT. DAY. FARMHOUSE.
Edith looks around the corner of the farmhouse seeing Mary,
Tom and Drew walking toward the house.
MARY
I agree that a poultry concern is a
fairly easy way to increase
revenue, particularly if we
specialize-
Edith runs around the front of the farmhouse. Tom rounds the
corner first, glimpsing her.
Edith looks at him wide-eyed, shaking her head. Tom stops,
silent. Mary bumps into him from behind.
MARY (CONT'D)
What is it?
TOM
Huh? Nothing.
Edith has gone behind the house now, out of sight.
MARY
Tom?
TOM
Well, it's a question of
separation, isn't it? Which farm
on the estate would have the most
room for it, and who will manage
it?
MARY
Yes. (To Drew) Would you be
interested in a promotion to
overseer?
INT. MRS HUGHES OFFICE. CARSON ENTERS.
(BEAT) They look at each other.
CARSON
Were you, then - are you-thinking
of leaving?
HUGHES
Oh, no. It's just an overnight in
London. Did I worry you?
CARSON
Of course not.
It's only-I can't imagine running
this house without you.
HUGHES
Well, don't imagine it.
She is leaving the office.
HUGHES (CONT'D)
In the worst case I'm sure Anna
could-
He takes her hand and stops her.
CARSON
That's not what I meant.
They pause, her hand in his, looking at each other.
Hughes rescues them both.
HUGHES
I'm not leaving. Or I'm never
coming back, not unless let me get
on. And it's time for you to ring
the dressing gong.
She is laughing at him. Close-up on their hands. Hughes
squeezes Carson's hand before she drops it and leaves the
office.
INT. HALLWAY. EDITH SEES TOM.
They are both dressed for dinner. Edith pulls Tom aside,
looking up and down the hallway.
EDITH
When you were leaving the farm
house-Mary didn't see me, did she?
TOM
I don't think so.
EDITH
Tom-
TOM
It's none of my business. But you
know I won't say anything.
EDITH
I know-but-I think I need a
confidant. Someone on my side in
this house.
Tom hesitates.
EDITH (CONT'D)
Do you think you could be that? Be
my friend.
TOM
We are friends.
EDITH
I know. But-I may need an ally.
TOM
We're allies, too. The way I see
it.
EDITH
Yes.
He waits.
EDITH (CONT'D)
Tom, I may want to tell you
something...
SERVANT'S HALL, JUST OUTSIDE THE DOORWAY.
Only Thomas and Mosely are within, adjusting their gloves and
waistcoats as they prepare to serve dinner.
THOMAS
It's important to know your
friends, isn't it? Because
everyone has got secrets.
MOSELY
What are you getting at, Mr.
Barrow?
THOMAS
Only that before one gets too
close, one should have all the
information.
MOSELY
I'm not interested in your brand of
information.
Anna stops in the hall outside the doorway, not wanting to
interrupt.
THOMAS
You might be.
MOSELY
Count on one thing. I am not
interested. Further I must insist
once more that you leave Miss
Baxter alone. I'm tired of
watching you bully her. Everyone
is tired of your bullying.
Anna turns back, smiling a little to herself. She sees
Baxter walking toward her. Anna moves toward Baxter.
ANNA
Why don't we go this way?
Pulls her back down the hall.
BAXTER
Why?
ANNA
We don't want to interrupt the
joust. Your champion is winning.
Baxter looks past Anna's shoulder and sees Mosely step into
the hall, straightening his waistcoat, head high. She smiles
briefly, but then suddenly pulls Anna into the boot room.
BAXTER
May I have a word?
ANNA
Of course.
BAXTER
Have you-have you ever had a
secret? Something you couldn't
tell anyone?
ANNA
Go on.
BAXTER
Have you ever been afraid of
someone discovering the truth and
how they might-respond to that
information?
ANNA
I'll tell you my experience, though
it's only mine. That the
information is almost always worse
when it's a secret. That same
information when brought to light...
well, I've been very lucky.
Baxter is looking at her hands, worrying. Anna puts a hand
on Baxter's wrist.
ANNA (CONT'D)
You are valued here. Especially in
contrast to your predecessors,
you're very well liked. And you're
a top-notch ladies maid. Her
Ladyship would be lost without you.
BAXTER
Quite a compliment, from you.
ANNA
Whatever it is, it's most likely
going to be better in the long run
if you bring it into the open. I
don't know of course, some secrets
can destroy a person. But
sometimes the keeping of the secret
is what can destroy you.
BAXTER
I know.
INT. HALLWAY.
Lady Mary is passing Bates.
MARY
Oh, Bates.
BATES
My Lady?
MARY
Is my father leaving for London
again next week? I can't seem to
find him.
BATES
Yes, My Lady.
MARY
You'll go with him, of course.
BATES
Yes.
MARY
I wanted to say-I value the way you
look after my father.
BATES
It is the job, My Lady.
MARY
I mean beyond the job. And I think
you know what I mean. I wanted to
say-that I appreciate that. Your
loyalty. Anna's loyalty. It means
a very great deal. It always will.
A pause. They understand each other.
BATES
Thank you, My Lady.
MARY
When you see my father would you
please ask him to meet me in the
library before dinner?
BATES
Very good, my lady.
They exchange a smile.
INT. LIBRARY. ROBERT AND MARY.
ROBERT
Poultry now? Whatever next,
zebras? Are we to have a full
menagerie?
MARY
Shall I show you the numbers again?
There's yet more to be done, Papa,
to reach a sustainable income.
ROBERT
What does Tom say?
MARY
Why do you need to hear from Tom on
this? Do you suppose I've made up
the figures?
ROBERT
He's the one with the most real
farming experience.
MARY
I've been gaining quite a lot of
experience, thank you. And I have
far more at stake than Tom.
ROBERT
I don't want to talk business any
more tonight. It will ruin dinner.
Let's forget it for now.
MARY
We need to act soon, Papa. The
markets are changing. There are
more estates doing the same thing
we are and we can't afford to get
behind in the market trends.
ROBERT
Good God, I barely recognize you
anymore. The way you talk. You
sound like your American uncle.
MARY
Fine. We'll talk about it
tomorrow. But I will have some
errands in London regarding
business, perhaps you'd be kind
enough to help me with them.
ROBERT
Run business errands. For you. In
London?
MARY
If for no other reason, for a
better future for George.
Robert sighs. He is relieved to see Cora in the doorway.
CORA
Let's go through. That's enough
business for tonight.
ROBERT
We've already had enough business for a
lifetime.
Mary and Cora's eyes meet. They go on to dinner.
INT. COTTAGE. NIGHT.
A lamp burns softly in the bedroom. Bates is in bed. Anna,
in her nightgown, sits on the bed with her back to him.
BATES
I've been thinking about what you
said.
ANNA
Yes?
BATES
I've been holding you back.
She turns to look at him.
ANNA
Stop that. That's an exaggeration.
She turns her back to him again with a slight toss of her
head. He reaches up and takes the pins from her hair, which
cascades in the lamp light as John watches. It's clearly one
of the best moments of his day.
BATES
But if I'm not keeping up with you-
Anna turns to him.
ANNA
What can I do to make the
nightmares better? You made mine
better.
(BEAT)
Anna moves closer. Caresses his face.
His hands are in her hair.
ANNA (CONT'D)
Maybe I need to show you - more
often - just how much better I am
now.
Close-up as they gaze at each other. Anna goes in for a
kiss. He pulls her up, throwing the covers over her. She's
above him now, kisses him again, longer this time. The heat
is building between them.
BATES
I want to be where you are, and
with you every step. I want that-
forever.
ANNA
I know. So let's get caught up.
Now.
His arms close around her.
Long shot outside the cottage. The lamp light fades out.
THE END
Credits.