Act 3.
EXT. DOWNTON SERVANT'S ENTRANCE. MORNING.
Detective Smalls knocks on the door, waits, then knocks again. James answers.
JAMES
Yes?
SMALLS
I'd like to speak to anyone working here who used to work with John and Anna Bates.
JAMES
Well, I did. Most of us did.
Smalls takes out a pad of paper and a pencil.
SMALLS
Did they seem to be happily married?
James shrugs.
JAMES
Yeah.
SMALLS
No difficulties?
JAMES
They had their bumps, like anybody. I'd seen jealousy. And they did live apart for a time. But just the once.
SMALLS
Ah. And when was that?
JAMES
There was a visiting valet here, turned Anna's head a bit. I'd heard Bates snipe at them both a few times. But they were just messing about. No harm. He was a cheeky bloke.
SMALLS
I see. And that valet's name?
JAMES
(Hesitates) Now that I think of it-
Hughes comes quickly out of the door.
HUGHES
James. What is going on? (Looks at Smalls.) Can I help?
JAMES
This chap was just asking after Bates and Anna.
HUGHES
I see. I am the head housekeeper, Mrs. Hughes. And who might you be?
SMALLS
I am Detective Smalls, Mrs. Hughes. I've come to ask some questions regarding John and Anna Bates.
HUGHES
They own a hotel in Ripon now. You'd best go to them with any questions. James, you are needed in the kitchen immediately.
James goes back inside.
SMALLS
As part of the investigation I will be questioning all who worked with them.
HUGHES
That would take a year and a day. We all worked with them. And I cannot spare busy staff without seeing a warrant.
Smalls smiles.
SMALLS
I take it you are close with them?
HUGHES
We had very high professional regard for them, is all. Any questions you have you can ask of me. But I'm very busy.
Smalls stares at her in silence, waiting to be invited in.
Hughes crosses her arms.
HUGHES (CONT'D)
The sooner the better.
TEA HOUSE IN RIPON, MID MORNING.
Mary and Anna are seated at a table. The waiter has set tea and leaves.
MARY
Will there be an inquest?
ANNA
They've contacted his sister in Northallerton. The constable said the decision may come down to her request for one.
MARY
Is there anything we can do, Anna?
ANNA
Thank you, My Lady, but I think not. We shall have to take it as it comes.
MARY
I do hope we're invited to the opening gala?
ANNA
Of course, My Lady, but it won't be-that is-
MARY
I know what it will be. I can certainly mix.
ANNA
Of course-
MARY
I warn you, the whole family wants to come. Not Grandmother, of course. She is still in the wheelchair. But everyone else insists on sharing your hour of success. And we won't bear any special treatment.
ANNA
It's wonderful of you.
MARY
It's not for you, to be clear. It's only that we're certain your success is a direct reflection upon us. We're only coming to gloat.
ANNA
I'd be very glad to have you there.
MARY
(Smiles) I was hoping you'd say something like that. All this progress already, in only two months? How efficient you are.
ANNA
Has it already been-(Anna sinks into thought. She is counting. A flicker of excitement crosses her features, then is subdued.)
MARY
Anna, what is it?
ANNA
It's nothing, my Lady.
MARY
I know you better than that.
ANNA
That is-it's too early to say...
Mary reaches across the table and touches Anna's hand. They exchange a look.
MARY
And you will let me know if there is anything we can do.
Anna reaches for the pot to fill Mary's cup but Mary puts her hand on Anna's, stopping her. Mary begins to pour, but the pot is more full than she anticipates and it spills. Anna reaches for a napkin, beginning to stand up. Mary freezes her with a look.
MARY (CONT'D)
Don't. You. Dare.
The waiter runs to the table and begins cleaning up. Mary smiles at Anna, but Anna is preoccupied.
TOWN OFFICE, RIPON. DAY.
Elizabeth Robertson enters the office. She is well-dressed and willowy, with a deep caramel complexion. She forbears racist attitudes without consenting to them and carries herself with a natural dignity. Her accent is Yorkshire, but refined.
ELIZABETH
Good morning.
CLERK
(Shaken by her appearance) And what do you want?
ELIZABETH
I am Elizabeth Robertson. I wish to speak to Constable Smith about the death of my brother.
CLERK
Your-brother?
ELIZABETH
Yes.
Elizabeth produces a paper, hands it to the clerk and calmly waits for the next questions as the clerk pieces together the situation, staring Elizabeth up and down.
CLERK
Oh. I see. Well, you'll have to wait.
The clerk jabs her finger in the direction of seats against the wall.
Elizabeth takes a seat in the row of chairs. The clerk seems to want to object, but can't think of anything to object to, so she goes to the constable's office and knocks. Constable Smith emerges.
CLERK (CONT'D)
The sister is here.
She gives him a significant look. Constable Smith looks at Elizabeth, who rises to greet him.
CONSTABLE
You-are the sister?
ELIZABETH
Yes. (Patiently) Adopted.
CONSTABLE
I see.
He stares at her a beat too long. She wakes him from his thoughts.
ELIZABETH
What do you know about my brother's death?
CONSTABLE
We are compiling evidence.
ELIZABETH
Evidence? What happened?
CONSTABLE
We are not entirely sure.
ELIZABETH
Then, kindly tell me what you do know.
CONSTABLE
Your brother was killed, possibly from a fall off a ladder.
ELIZABETH
I heard he was working on a great painting. At the Bondgate Hotel.
CONSTABLE
Yes.
ELIZABETH
He was killed at work, then?
CONSTABLE
He was dead on arrival at the hospital. Urm-deceased.
ELIZABETH
Did a doctor see him?
CONSTABLE
Yes.
ELIZABETH
I will speak to the doctor.
CONSTABLE
But-I believe the doctor does not see elements in the situation that may point to foul play.
ELIZABETH
Foul play? For what possible reason? We have no fortune.
CONSTABLE
Possibly, a jealous husband.
ELIZABETH
Who's husband?
CONSTABLE
It's possible that the owner of the Bondgate, John Bates, who was convicted of murder, is a jealous man.
Elizabeth eyes him closely.
ELIZABETH
You are building a case on the idea that my brother had a fondness for a Mrs. Bates and that her husband, Mr. Bates, killed him out of jealousy?
CONSTABLE
Yes.
Elizabeth continues to hold him in an inscrutable gaze.
CONSTABLE (CONT'D)
It's not uncommon.
Elizabeth is still gauging him.
CONSTABLE (CONT'D)
Time is of the essence, here. The sooner the coroner is called, the better.
ELIZABETH
The coroner? My brother didn't want any such thing. He was very clear about that to me.
CONSTABLE
But in cases of foul play-
ELIZABETH
You don't yet have a case. You are trying to build one. Why?
CONSTABLE
Justice! (He lowers his voice. He struggles with addressing her formally) M-miss. Justice and the safety of our citizens.
ELIZABETH
And how did you come by this jealous husband theory?
CONSTABLE
I've seen Mrs. Bates. And as it so happens our theory was substantiated by a witness.
ELIZABETH
At the hotel?
CONSTABLE
No. At a previous place of employment. There is precedent-
ELIZABETH
-a precedent due to-questionable character?
CONSTABLE
Yes.
ELIZABETH
I see. Well, then I must see all the documentation. I'll give you time to compile it for me.
Elizabeth exits his office. He follows her past the clerk's desk and to hallway door.
CONSTABLE
The law of the land is not subject to your whim. This is a police investigation. If you-
ELIZABETH
(Speaks softly, but she is as sharp as a razor's edge.) It is upon me to honor my brother's last wishes and as his only family and the only beneficiary you are beholden to me before you proceed. I will see all documents connected with the details of your case and I will see them now.
There is a silence as the constable chokes this down.
ELIZABETH (CONT'D)
If, that is, you wish to proceed with your "case" in a timely manner.
Elizabeth goes out the door and into the hallway. She pauses to take a deep breath and spots Bates on a bench, repressing a smile.
ELIZABETH (CONT'D)
You overheard?
BATES
The last sentence or two. Forgive me, I did.
ELIZABETH
I must have sounded quite strident.
BATES
No. In fact, you are right. May I say, I am sorry for your loss.
ELIZABETH
Thank you. (Sighs) It's never been my wish to create complications for anyone. I want only to pursue my art in peace. But I seem always to be in the middle of controversy.
BATES
Your art?
ELIZABETH
Like my brother, I too am an artist. My adopted father was also an artist. And a free thinker.
BATES
If artists were not free thinkers-at least to a point-there would be no art at all.
ELIZABETH
Yes.
Elizabeth looks at Bates and then looks again, doing a very subtle double-take.
BATES
And I hope you will pardon my saying, it only appears as if you do not easily tolerate nonsense.
ELIZABETH
It's been said. And this...(She seems to almost be talking to herself.) This is nonsense. Will wouldn't-
BATES
Miss Robertson. Forgive me for interrupting, but I should tell you. I am John Bates.
ELIZABETH
Oh. You are?
BATES
Yes.
She looks him over, her calm never shifting.
ELIZABETH
I'm told you are a murderer. If you are a murderer, why are you not in prison?
BATES
I was acquitted due to insufficient evidence.
Elizabeth nods.
BATES (CONT'D)
I'll leave you to your thoughts-
Bates has stood and is starting to go.
ELIZABETH
No-I. I beg your pardon, but would you stay for a moment? May I ask you some questions?
BATES
Of course.
Bates resumes his seat. Elizabeth is looking at the cane and watching him move.
ELIZABETH
Were you injured in the war, then?
BATES
Not the Great War. The second Boer War.
ELIZABETH
And did you kill men in the Boer war?
BATES
Yes.
ELIZABETH
Do you ever regret it?
BATES
Every day of my life.
Elizabeth holds his gaze for a long moment.
ELIZABETH
I have my own regrets, Mr. Bates. Nothing like yours, of course. I was estranged from my brother for years previous to this. I'm certain he was still having headaches. I wonder if they had worsened.
BATES
He did have quite bad headaches. Though I think my wife knows more about that.
ELIZABETH
And he fell from the ladder?
BATES
I was in London. But I'm told-
ELIZABETH
You were in London? At the time he fell?
BATES
Yes.
ELIZABETH
Then how did you kill him? Did you rig the ladder somehow?
She has asked this with some humor but they both remain serious. Bates shakes his head.
ELIZABETH (CONT'D)
Are you a jealous man, Mr. Bates?
BATES
I can be.
Elizabeth looks at him a long moment once again, then turns to go. She stops.
ELIZABETH
Just one more question, if you would. Did you get the feeling that my brother fancied your wife?
BATES
No.
Elizabeth frowns.
ELIZABETH
Thank you, Mr. Bates.
Bates tips his hat and holds the door as Elizabeth goes back into the office; he then follows her. Elizabeth walks past the clerk and into the constable's office. Bates stops at the clerk's desk.
BATES
I am John Bates to see Constable Smith.
From the within the constable's office we hear Elizabeth's voice.
ELIZABETH
Do you have documents for me?
DOWNTON LIBRARY. MORNING.
Edith hangs up the telephone. She is staring into space when Mary appears.
MARY
What is it?
EDITH
Do you think-does Anna think they will open the hotel on time?
MARY
As far as I know it's all up in the air now. Why?
EDITH
I've just had a very strange phone call.
CONSTABLE'S OFFICE. MORNING.
Bates sits before the constable's desk. Constable Smith looks at him for a long moment.
CONSTABLE
A remarkable reprieve. From your death sentence and then from prison. From a second prison term, even. You're either a brilliant manipulator or brilliantly lucky.
BATES
(Calmly) My history, of which you know only the recorded version, has no bearing on the present.
CONSTABLE
Yes. Luckily-again-for you.
BATES
When will you be executing the duties of your office and processing the case?
CONSTABLE
It doesn't look good, does it? New ownership, so much invested, only to have it all brought down by scandal.
BATES
You have a goal. I'm surprised. I thought the death of an artist was merely a means for a small town constable to throw himself into the spotlight.
CONSTABLE
You live dangerously, Mr. Bates.
BATES
This isn't danger.
CONSTABLE
My colleague, Detective Smalls, is even now at the Bondgate questioning your wife.
Bates smiles.
CONSTABLE (CONT'D)
That amuses you?
BATES
You believe that being separated from me will make her more vulnerable. You're hoping for a bit of intimidation. Otherwise, why employ such a tactic?
CONSTABLE
I gather information for a case using every method-
BATES
Your method of intimidation speaks of your respect for the law and for the citizens of Ripon, and from where I sit it does not speak well.
CONSTABLE
Perhaps I should remind you-
BATES
Not only is the tactic indecent, but it will backfire on your detective.
CONSTABLE
I will remind you-
BATES
Fight in any wars, Constable?
CONSTABLE
I-no.
BATES
Then you won't know that in every battalion there is a quiet soldier. Nearly invisible. Keeps to himself. No one knows what to expect of him. He hides his gold.
CONSTABLE
I fail to see-
BATES
And by gold, I mean bravery. Nerve. Resourcefulness. In heavy fire he's the one who carries another man off the field. He's the one who thinks of the strategy no one else thought of. A mere private in rank, but a lion within.
CONSTABLE
How fascinating.
BATES
I've known a handful of such men. And combined, they could not hold a candle to my Anna. She's the noblest, the most lion-hearted and the most intelligent person I've ever met.
Bates stands.
BATES (CONT'D)
If you want to succeed in dealings with my wife, use honesty, decent intentions and lawfulness. She will see through anything else.
CONSTABLE
How remarkable you make her sound.
BATES
Anna has many gifts. For my part, I have only the traits that come to an aging man.
The constable sighs.
CONSTABLE
And those would be?
Bates' eyes have gone nearly black. He speaks softly.
BATES
Patience. And a long memory.
The constable swallows. Bates leaves.
BONDGATE. MORNING.
Detective Smalls enters the lobby, looking about. He crosses slowly to the office. Workmen watch him, but continue their activities. Smalls knocks on the office door frame and peeks in.
SMALLS
Good afternoon. Are you Mrs. Anna Bates?
ANNA
Yes.
SMALLS
Detective Smalls. Is your husband about?
ANNA
I take it then you are working with Constable Smith?
SMALLS
I am. You are alone, then?
ANNA
Mr. Bates is at the county office.
Smalls enters, taking in the hotel office and Anna.
SMALLS
Of course. The-mysterious death.
ANNA
The tragic death of a great artist.
SMALLS
As you say. May I?
Anna does not invite him to sit. She sits behind the desk. She waits.
SMALLS (CONT'D)
You are, with all respect, Mrs. Bates, a lovely woman. No doubt you attract attention now and then.
ANNA
I assume you will arrive at a point to this, sir.
SMALLS
I am a detective, Mrs. Bates. You may address me as such.
Smalls picks up a picture of Anna on the desk; it is the picture Bates took to prison with him.
SMALLS (CONT'D)
It's not always easy for a husband with a younger, lovely wife. Such a husband might be-as any man would be-jealous at times.
He is wandering the office, picking up objects and reading the labels on stacks of boxes.
ANNA
Is insinuation your only method of investigation? You might read better novels.
SMALLS
I came because the name Bates and the words "mysterious death" have appeared in the same document. Again.
Anna waits.
SMALLS (CONT'D)
You of course know of your husband's record.
ANNA
Yes.
SMALLS
And I have a source that claims your husband has a jealous streak.
Anna does not take the bait. She stays silent, her eyes boring into his.
SMALLS (CONT'D)
It does give one pause. When a man convicted of murder is suddenly released-
ANNA
What is your name again?
SMALLS
(He emphasizes the title) Detective Smalls.
ANNA
(Distinctly) Mr. Small, in my experience every man retains some of his boyhood, some part of him that never grows up.
Smalls, uninvited, now sits in the chair across from the desk.
ANNA (CONT'D)
For some it's greed or a predatory compulsion for success at the expense of others. But the very rarest of men, deep in his heart, keeps the original pure compassion of a child.
Smalls smirks.
ANNA (CONT'D)
That is my husband's weakness. His kindness renders him unable to take action that would in any way injure an innocent, or even reprehensible human being. I doubt you yourself know such a man.
Smalls opens his mouth to speak, but Anna keeps on.
ANNA (CONT'D)
Men like my husband are vulnerable in certain company. They are exploitable. Compassion binds them to a code of honor which exceeds that of the society we live in.
SMALLS
How protective you are of him. Some might say, fiercely so.
Anna bends behind the desk briefly out of sight and then sits, holding something in her lap we cannot see.
SMALLS (CONT'D)
You've missed your calling, Mrs. Bates. You must know of the Sex Discrimination Removal Act. You might consider training as a solicitor, since-
ANNA
I love my husband. I know he is innocent of any wrongdoing. Now, you are welcome to use our phone to call the crown office to request issue of a warrant-if you have enough grounds for reasonable suspicion.
SMALLS
Arsenic, Mrs. Bates.
Smalls has been waiting to drop this bombshell. Anna does not react.
SMALLS (CONT'D)
In an establishment like a hotel arsenic is a necessity.
He leans forward, lowering his voice for effect.
SMALLS (CONT'D)
In a world such as ours, vermin are a fact of life.
Anna looks him up and down deliberately.
ANNA
Indeed they are.
Anna lifts a kitten from her lap and sets it on the desk between them. The detective stares at the kitten and then begins to smile. He rises and pulls out a card.
SMALLS
No matter the intelligence of a person, or the ferocious quality of their love, no one thinks of everything, Mrs. Bates. Call me if you suddenly-remember-anything I should know.
ANNA
You can keep your card and your implication. But do take ours.
Anna nods at the stack of business cards on the desk.
ANNA (CONT'D)
Call any time.
He takes a card and looks at it, then at Anna. Anna picks up the kitten.
ANNA (CONT'D)
Though there is one thing you should know.
SMALLS
What's that?
ANNA
The door is just behind you.
Smalls laughs. Anna cradles the kitten in one arm against her chest, her eyes steely.
Smalls leaves.
COUNTY OFFICE RIPON. AFTERNOON.
Elizabeth enters the county office and smiles at the clerk, who sighs and puts on a polite face with some effort. Constable Smith has been waiting for her and comes out of his office, motioning her in.
CONSTABLE
Miss Robertson. Are we at last ready to proceed with the case?
Elizabeth puts a handful of papers on his desk.
ELIZABETH
No. I have met with the doctor and we are ready to convey my brother's body to the funeral home and proceed with scheduling services.
CONSTABLE
Miss Robertson-
ELIZABETH
That seems to be coming a bit easier now.
CONSTABLE
What?
ELIZABETH
The way you address me. Miss.
There is a silence while the constable struggles to find the right thing to say. He fails.
ELIZABETH (CONT'D)
My brother detested the idea of dissection and wanted to be buried next to our father. I am proceeding with his wishes.
CONSTABLE
But you must-
ELIZABETH
As the feme solo, I have the power to honor my brother's last wishes unless the evidence of your case is compelling enough to elicit a warrant. Shall I call and inquire-
CONSTABLE
No. We have been advised to proceed with your brother's interment. We have not had time to compile proper evidence to build a case.
ELIZABETH
Thank you. I am glad I asked, since you did not volunteer that information.
CONSTABLE
We were hoping you would see-I wish you could see the importance of this, Miss Robertson.
ELIZABETH
Constable, I see many things. We are finished here. I bid you a good day.
ELIZABETH ROBERTSON'S COTTAGE. NEXT MORNING.
Anna, carrying a large package, knocks on the door. Elizabeth, in a paint-smeared apron and with sleeve covers and holding a brush, answers.
ANNA
Good morning, Miss Robertson. I'm Anna Bates. I hope you don't mind-
ELIZABETH
Mrs. Bates. Good morning. I'm afraid I'm not prepared for a visitor, but you are welcome to come in.
ANNA
I should have written. I was going to leave your brother's paints and other things here-
ELIZABETH
Oh, yes. Thank you. Please do come in.
ANNA
I am sorry for your loss. And I didn't mean to interrup-
Anna's voice fades as she enters, looking at the landscape paintings scattered about the cottage, which are glorious. Anna is silent while Elizabeth wipes her hands and puts down her brush.
ELIZABETH
It was kind of you to bring them.
Anna is looking at the painting Elizabeth was working on, then around the cottage again.
ANNA
I've never seen your work mentioned in the journals!
ELIZABETH
Well, no, I shouldn't think so.
ANNA
But these are breathtaking!
ELIZABETH
Thank you, Mrs. Bates.
ANNA
But-why on earth-
ELIZABETH
Why do you think?
They exchange a long look.
ANNA
The world changes slowly.
ELIZABETH
Yes.
ANNA
Well, I had best leave you-
Anna walks slowly toward the door. She has the door handle in her hand when Elizabeth speaks.
ELIZABETH
I wonder-Mrs. Bates, it might be presumptuous of me, but have you found anyone to finish the painting yet?
Anna has been forming the thought but fears it would be unkind or distasteful to even mention the possibility. She holds her breath.
ANNA
No, we have not.
ELIZABETH
Because I was always good at correcting Will's work, and I finished many pieces for him.
ANNA
Oh, would you? Would you consider it?
ELIZABETH
It would be an honor to do it. It would be my tribute to Will.
ANNA
We open in two weeks. It's not much time-
ELIZABETH
I can do it. It will mean long days, but I can do it.
ANNA
I will pay you double.
ELIZABETH
As someone who's just inherited an estate from a family of artists-(Elizabeth smiles)-I'll take it.
BONDGATE LOBBY. AFTERNOON.
Bates and Anna are waiting in the office when they hear the workmen go silent. They give each other a look. Anna walks across the lobby to welcome Elizabeth, who has just entered, carrying cases of supplies.
ANNA
Gentlemen, if you would give me your attention please!
The lobby goes quiet. They all turn to look at Anna and Elizabeth, mostly staring at Elizabeth.
ANNA (CONT'D)
This is Miss Elizabeth Robertson, sister of our deceased artist. She is a brilliant artist herself and has agreed to finish the painting, and on time for our opening. We are very fortunate to have her.
The stunned silence goes for a few beats. Anna leads Elizabeth to the painting.
SYDNEY
Here, is this some kind of joke?
Bates has crossed the lobby and is standing in the center.
BATES
This is not a joke, Mr. Sydney. We are lucky to have Miss Robertson and we welcome her to the work, as I'm sure you do.
SYDNEY
You expect us to welcome a-a-
PAINTER 2 jabs him in the ribs.
SYDNEY (CONT'D)
Well, whatever next? Will they be teaching sheep to paint?
BATES
(Quietly, but with an intensity that stops all activity in the room.)
Mr. Sydney, you are dismissed. Effective immediately. And I will tolerate no other disrespect of Miss Robertson. I hope I am making myself clear.
Bates is looking around at the workmen, making eye contact with each of them.
CASWELL
You might have asked us.
BATES
You expect me to ask your permission to hire my workers?
CASWELL
Well, it is a bit of a shock, Mr. Bates.
ANOTHER WORKMAN
I won't work in these kind of conditions.
BATES
Anyone who wishes to leave may have his final pay immediately. I will await you in the office. But I will brook no further disparagement of Miss Robertson. Make your decision now. We open in two weeks.
Bates turns and walks toward the office.
A handful of men line up at the office door behind him. The two dozen or so others go back to their work distractedly. Allen walks across the lobby to Anna and Elizabeth.
They turn. He takes off his hat and clears his throat.
ALLEN
Miss Robertson, I am pleased to make your acquaintance. I'm Theodore Allen.
ELIZABETH
I'm pleased to meet you, Mr. Allen.
Allen stands awkwardly for a beat.
ALLEN
Well, two weeks to finish. And with a reduced staff. Well, good to toss the chaff at any rate. We'd best get on.
Elizabeth turns to the painting as she sets her cases on the floor.
ELIZABETH
He got the light wrong. He was very good at juxtaposition but he was also overly sensitive to light, so he never quite got it right.
She walks in front of the painting, motioning at it.
ELIZABETH (CONT'D)
And the mist would be rising here, and here in the foreground.
ANNA
Yes! He said it would be one of the final touches. But how did you know?
ELIZABETH
That's how mist rises in the water gardens. This is morning light, with the sun just breaking through...