Act 4.
BONDGATE HOTEL LOBBY. EARLY EVENING.
The lobby has been transformed by new paint, draperies on the tall windows, a massive, lush rug in Art Deco design and furnishings to match. The great painting is covered by a drapery as well, and beneath it a four-piece chamber orchestra is warming up on cellos and violins. The long, wide front desk has been polished and gleams. Draped tables hold flower arrangements, punch bowls and ice buckets. A small staff in service attire and aprons are scurrying.
BONDGATE KITCHEN. EARLY EVENING.
Patmore, Daisy and Ian carry stacks of covered trays full of canapes and look for space in the small kitchen. They are surrounded by staff going in and out.
Anna presides. Her fitted red beaded dress and waved hairstyle with a simple gold coronet are sexy but very elegant. Her red lipstick is the perfect shade. We have never seen Anna enhanced by such a show-stopping, yet chic fashion and it suits her.
PATMORE
The French call it déjà vu. Fancy seeing so many of my former junior kitchen staff running about!
ANNA
Our luck, so many trained staff available right now. But Daisy-this is more canapes than we ordered, surely?
Hughes enters, followed by Ian; he directs a delivery man into the kitchen, who holds a square wooden crate.
IAN
Mrs. Bates, there's another delivery.
ANNA
But we haven't- What's this?
DELIVERY MAN
By special order from Lady Grantham, ma'am.
DAISY
(Looks closely at the crate) Anna! This is Dom Pérignon!
ANNA
Please set it there. We'll have a finer toast! Thank you.
PATMORE
Old Violet! Who would have thought-
DELIVERY MAN
And where will you be wanting the rest, ma'am?
ANNA
The-
DELIVERY MAN
There are forty-nine more cases.
Anna is slack-jawed.
PATMORE
(Laughs) I hope your water closets are in good working order!
HUGHES
We have one more delivery. But to be truthful, it's a loan. You'll need them for tonight.
ANNA
I don't underst-
DAISY
Champagne glasses, Anna!
IAN
I've got it.
Ian goes to retrieve the boxes of glasses.
HUGHES
Where is Mr. Bates?
ANNA
He's been handling staff. We've both been so busy. I haven't seen him since this afternoon.
HUGHES
Anna.
ANNA
Yes?
HUGHES
You look astonishing tonight.
Anna grins. Hughes cups Anna's cheek tenderly. Hughes' eyes begin to well with tears. She shakes off the mood.
HUGHES (CONT'D)
Now, let's unpack these glasses and give them a quick polish.
BONDGATE LOBBY.
A small crowd is exploring the lobby. Robert, Cora and Edith survey the room as the chamber orchestra plays Vivaldi. A server carries their coats away.
ROBERT
Isn't that the North Yorkshire Chamber?
CORA
Yes. My! Anna has the most wonderful taste, in everything. Bates says she did all the decorating herself.
ROBERT
Well, it's certainly nouveau. But yes, I must say. She did very well. When will they unveil this painting?
EDITH
At eight o'clock. When the music is finished. There will be a toast.
ROBERT
Then they will finish at a civilized hour? I must congratulate them on that.
EDITH
I wouldn't be too quick to do that, Papa.
Cora and Edith are laughing. Carson enters; they all turn as he makes his way across the lobby.
CARSON
My Lord, My Lady. I knew it would be impressive. Mr. Bates tells us this is Anna's vision entirely.
He hands his coat to the server, greeting him.
CARSON (CONT'D)
Hello, Mr. Jones. Thank you.
Robert startles, watching the server walk away. He leans in to Carson.
ROBERT
But-Carson, wasn't that one of our-
CARSON
Yes, My Lord. One of the hall boys we were forced to let go.
HUGHES
There are several helping out tonight. And two of them were hired on as bellboys.
Mary and Blake have entered and move to join them.
ROBERT
It's more familiar every minute. But it is a very good thing to create incomes, is it not?
Mary arrives as another server stops by with a tray. She takes a glass of punch.
MARY
Just admit it, Papa. We're not here to shore them up so much as to brag about knowing them.
Mary looks up at the door in surprise.
Isobel and Lord Merton enter.
CORA
Hello! We didn't know you were coming back early.
MERTON
Isobel got homesick. And heard about this opening from Edith.
ROBERT
How was Amalfi?
ISOBEL
Hot.
MARY
We must bring George round.
MERTON
The sooner the better.
ISOBEL
He's been excited about the prospect of an another grandson the whole trip home.
ROBERT
It's good of you to come out for this.
ISOBEL
After the horrors those lovely people endured, it's a joy to see them thriving.
MARY
It is. Indeed, it is.
Blake joins them, carrying a tray with glasses of punch.
BLAKE
Everyone in the county seems to know about it. It's getting quite crowded.
MARY
Charles-
BLAKE
(Looks at the tray) Well, this isn't a formal affair, is it?
Anna arrives with another tray.
ANNA
I'm sorry I wasn't quicker to greet you. Thank you all so much for coming!
There is a silence as they take in Anna.
CORA
Anna, you are a vision.
MARY
You'll outshine everyone tonight, Anna.
BLAKE
Without a doubt.
He hesitates. Mary looks at him and laughs.
MARY
And well you should. It's your night.
EDITH
(Motioning to the room) It's marvelous, Anna. It's truly marvelous.
ANNA
Thank you, My Lady.
CARSON
Your creation, we hear?
ANNA
No. It was Mr. Bates' idea long ago. I've just been vividly imagining for a long time.
BLAKE
You'll be mobbed. It's a veritable landmark now.
Mary pulls Anna aside and lowers her voice.
MARY
Promise me we will still meet regularly.
ANNA
And call me any time. No matter what it is.
MARY
Will you do the same?
ANNA
I promise, My Lady.
BLAKE
(Nods to the tray of punch glasses in his hand) Anna, you don't mind that I-?
Anna laughs.
ANNA
Not at all, Mr. Blake. We'll need to prepare for the toast now and pour the champagne. I should have hired more servers, it seems. We had no idea our little opening would be this kind of a draw. I hope you will excuse me?
EDITH
You had no idea? But-
Anna spots Jane entering and does not hear Edith.
ANNA
It's wonderful to have you all here. I will return shortly.
Anna goes to meet Jane. They embrace.
ANNA (CONT'D)
Jane! You look so well! Thank you for coming! And how are things at Beaufort?
JANE
Easy enough in smaller house like that. But as I thought might happen, it's been sold.
ANNA
You said it might in your last letter. That's so sad.
JANE
I think I'm quite a good manager, now. And even though I haven't seen you advertise for one-
They exchange a look.
ANNA
(Leans close and lowers her voice) As a matter of fact, I will need another manager very soon, since-
JANE
How about I start now? You should be hosting, not serving, not in that marvelous dress. The champagne needs to come out for the toast, yes? Is the kitchen back there?
ANNA
Yes. (Laughing) I'd be ever so grateful!
Jane smiles and heads for the kitchen as she takes off her gloves. Bates is emerging from the kitchen and sees Jane; they greet and speak briefly and he continues into the lobby as Mosely and Baxter enter.
BATES
Hello. So good of you to come.
MOSELY
We've been looking forward to it.
BAXTER
It's very good to see you, Mr. Bates, but I am going to leave you now to look for Anna.
BATES
Of course.
Bates directs a server toward the kitchen.
BATES (CONT'D)
Please take more champagne out of the crates and uncork, Liam. We seem to be filling up.
Carson and Hughes have been drifting and stop by Bates and Mosley. They are joined by Daisy, Ian and Patmore.
CARSON
A public opening is a magnanimous idea, but this crowd is becoming somewhat oppressive.
BATES
Thank goodness for all the champagne. We'll have a proper toast for the entire crowd.
Anna and Baxter have been laughing together as they rejoin the group; Anna stops by Bates, putting her hand on his arm.
ANNA
And the glasses.
BATES
And the glasses. (To Daisy and Patmore) And the canapes.
Bates turns to look at Anna. He sees her in the dress for the first time.
Silence.
Anna waits for him to speak, then:
ANNA
Is it all right? No threads showing?
Bates' expression is beyond admiration. He adores her.
MOSELY
(Blurts with full enthusiasm) Well, that's where that dress belongs! You look-
Mosely regains himself and looks at anxiously at Baxter, but she is beaming at Anna.
BATES
Perfect.
BAXTER
Yes.
Cora leans over Anna's shoulder.
ANNA
Oh, My Lady! Your champagne is on the way-
CORA
Anna, did you not read The Sketch this morning?
ANNA
No-we've been quite busy-
Cora looks up and freezes. Rose and Gillingham enter, Rose with a sheepish smile.
CORA
Please excuse me, Anna.
Robert and Mary go with Cora to greet them.
CORA (CONT'D)
Well.
ROSE
I did write.
MARY
I told Mama about your letters.(Shoots Gillingham a smile.) And Tony's, as well.
ROBERT
So, you're back, then? (To Cora) What did Shrimpy say?
ROSE
University is a wonderful thing. Papa says perhaps I could try again another time.
GILLINGHAM
I thought she shouldn't miss the Exhibition. Besides, Rose speaks so fondly of Anna. She wanted to be here for this.
ROSE
Excuse me. I must say hello to Anna.
Rose runs to Anna.
ROSE (CONT'D)
I read the article on your opening gala. All about Elma Banks making a special appearance. And the Dixieland Originals.
Anna's eyes pop.
ROSE (CONT'D)
You didn't know?
Bates is joining them as Rose turns to look toward the door. She lets out a gasp.
ROSE (CONT'D)
They're here!
All now look stage right. Thomas is sweeping in with the famous actress on his arm. She is sheathed in an elaborately beaded dress and wielding a foot-long cigarette holder. They are followed by members of the band carrying cases and instruments.
Thomas surveys the room.
THOMAS
(To Elma) This can only be Anna's doing. (Broadly, to the room.) Thought you might like to have a real band for a real party.
Thomas bows, bringing Elma in front of him.
THOMAS (CONT'D)
The new owners of the Bondgate hotel, Mr. and Mrs. Bates, may I present Elma Banks.
Bates and Anna are stunned, but recover.
BATES
Hello.
ANNA
How do you do? How-how very good of you to come.
ELMA
A journey to the wilds of Yorkshire. Very Brontë of us, isn't it, Tommy?
THOMAS
We'll stay off the moors. Not much to drink out there.
ELMA
Now present me to my betters. I want to meet the lords and ladies of Yorkshire before I'm too drunk to curtsey.
Thomas brings Elma before Robert and Cora and steps back slightly.
THOMAS
Lord and Lady Grantham, may I present Miss Elma Banks.
ROBERT
How do you do?
CORA
We saw you in the London production of Merchant of Venice. You were wonderful! I read that you are making another film-
Robert rolls his eyes and looks for escape. He sees Jane in the crowd, pales, and looks in another direction, spotting Tom and Sarah. He makes his way slowly through the crowd toward them.
Tom and Sarah are standing off to the side of the painting, quite close together, watching the jazz band set up as the chamber group packs up to go. Tom motions at the painting.
TOM
Nice touch, an unveiling. Builds anticipation.
SARAH
There's nothing better than a good dose of anticipation, is there? I heard a rumor that the first artist died of unrequited love for the owner.
TOM
You know they used to say this place was haunted.
SARAH
Nothing like a good romantic ghost story. To die for love...
Anna, who is collecting punch glasses on a tray, has overheard and has been struggling to break through the crowd, eager to correct them.
ANNA
Oh, people aren't saying that, are they? Because the truth is-
Elma appears and hooks her arm around Anna, steering her away just as Robert arrives.
ELMA
Mrs. Bates. Such a jalopy name for a sweet little doll like you.
ANNA
Everyone calls me Anna.
ELMA
That I can swallow. Now...
Elma is walking Anna across the room, gesturing at the lobby.
ELMA (CONT'D)
Dear heart, I heard you did all this yourself.
ANNA
No, I-
Bates is passing by and dips his head quickly between them.
BATES
Yes, she did.
He moves on.
ELMA
Well, it's the jewel in the sheik's turban, my darling. This is real taste. Too bad it's so small.
ANNA
We didn't want a big-
ELMA
No, no, of course. Not out here on the blasted heath.
Elma takes Anna by the arm and walks her to a quieter corner.
ELMA (CONT'D)
Just make sure you have a local event once a month; a tea or something. Give the farmers a decent but affordable cup. But now and then host something bigger so more in the county can see it, and hitch up the class. Yes?
Elma turns, looking around.
ELMA (CONT'D)
This place is like a beautiful young girl just starting on the stage. Beauty is a gift, but to be taken seriously, you've got to be a part of real life.
Elma drags on her cigarette and blows a plume of smoke over Anna's head, then closes in for a serious moment.
ELMA (CONT'D)
Be famous for what you do, my darling, not just for what you are.
ANNA
That is very good advice.
ELMA
I'm brimming with good advice. I just never take it. Tommy!
Elma holds her empty glass high, waving it.
ELMA (CONT'D)
I'm dying of thirst!
Elizabeth Robertson has entered and is handing her coat to a server. She navigates the crowd serenely, ignoring the occasional stare. Anna greets her.
ANNA
Miss Robertson, I'm so excited. This will be a moment when Yorkshire finally meets its own extraordinary artist.
ELIZABETH
Mrs. Bates, that would indeed be a remarkable thing.
ANNA
Not remarkable. Only right and proper.
ELIZABETH
Do you know? I will join you in that sentiment, if it won't seem too proud. Mrs. Bates, if you don't mind my saying, that bold, true red is your best color.
Elma bangs on an empty ice bucket with a spoon. Talking ebbs as all turn toward her.
ELMA
Everyone! A moment, please!
There is a polite round of applause as people in the crowd jostle each other, all trying to see her.
ELMA (CONT'D)
Where there is no stage I'll make one out of a milk crate. Tommy!
Thomas puts his arms around Elma and lifts her, seating her on the front desk. He moves flowers out of the way. The crowd is laughing. Elma kicks off her shoes and stands on top of the front desk. As she stands up the crowd begins clapping again.
ELMA (CONT'D)
That's enough, then. This night is not about me. This night is about this gorgeous hotel and the gorgeous new owners. And, of course, the grand painting. It's unveiling time, cats and kittens! Where is the artist?
Elizabeth comes forward. She takes off her shoes and using a chair begins to step up onto the desk with Elma. Thomas lends her a hand.
ELMA BANKS
Is it you, hotsy totsy? A girl painter! That's the bee's knees. I like this place better every minute.
Elma pulls Elizabeth in tight. Elizabeth whispers to Elma.
ELMA
(Announcing) This painting was done by special commission for the Bondgate Hotel by William and Elizabeth Robertson, and is a tribute to the late William Robertson. (To Elizabeth) Did I get that right, dear?
Elizabeth nods.
Elma motions with her cigarette to the staff waiting on either side of the painting.
ELMA (CONT'D)
Drop that drape!
The cloth falls. There is a silence, and then awed whispers.
Anna is standing with a tray in one hand and a champagne bottle in the other. The applause rises around her as she stares at the painting. Tears begin to flow. For a moment she is lost, yet completely found. She is home.
Jane swoops by and takes the tray and bottle from Anna. Bates comes from behind and takes her hand. He leads her to the front desk, leans against the desk and hoists her onto it. Elma reaches down and gives Anna a hand up. Elma and Elizabeth stand back and begin to applaud Anna.
The entire lobby follows suit. The crowd is full of familiar faces, soft with admiration for her.
Anna takes it in, humbly, her eyes sparkling. She soon looks for Bates, who is applauding her, beaming at her. She bends down, slides off the desk and throws her arms around him. The applause swells.
Elma calls out over the applause.
ELMA (CONT'D)
I declare the Bondgate Hotel open! Bottoms up, sheiks and shebas!
There is laughter and glasses are tipped.
ELMA (CONT'D)
Hit it, boys!
The band launches into a boisterous rendition of "Everybody Loves My Baby".
BONDGATE HOTEL OFFICE. VERY EARLY MORNING.
Anna sits on the desk in her nightgown. Bates sits in the chair at the desk, his arms around her hips, looking up at her. The light from the lamp is soft.
BATES
Years ago I came up on the milk train, with nothing. I must have believed in a miracle. I wanted to be early as a show of good faith, but also I knew there was something else, some reason I needed to come. I couldn't have known I would find you. But in my heart, a little voice told me something miraculous was going to happen. And after all we've come through, still I have you in my arms. I have my arms around a miracle.
Anna is caressing his face. She leans forward and speaks softly.
ANNA
You have your arms around more than one miracle.
It takes a moment, but then he knows. He slides her off the desk and into his lap.
Anna laughs.
EXT. BONDGATE
The light in the window goes out. The only sound for several beats is the sound of crickets in the black of night.
Then...
The phone rings.
THE END