EVENING. INT. MRS. WRIGHT'S HOUSE. BEDROOM.

Anna is tucking her in.

ANNA
How are you feeling now?

MRS. WRIGHT
Please sit, Anna.

ANNA
I could read to you.

MRS. WRIGHT
No. I'll be falling asleep again
soon and I must speak with you.

ANNA
Alright.

Sits at her bedside.

MRS. WRIGHT
You don't know what you've meant to
me.

ANNA
And you don't-

MRS. WRIGHT
No – please, let me go on for a
bit. (Laughs weakly). A few years
ago, I made a decision to live
according to my beliefs. I
embraced simplification. Because
of that I lost every friend I had.
Billy had moved to America. I knew
the choices I had made might lead
to being more alone. But I didn't
know how alone I would feel.
And then I met you.

ANNA
But-you-

MRS. WRIGHT
I knew right away that this lovely
young girl I had seen at church-
that something had happened to you
that never should have happened.
We heal ourselves even more deeply for
retracing the journey, when we
can help others to come
back through the darkness. You've
reminded me of everything that's
most precious.

ANNA
I don't know what I would have done
without you.

MRS. WRIGHT
Anna. What I came to see through
you again is the beauty of the
SPIRIT.
You've made it all worth it.

Mrs. Wright reaches for Anna.
Anna holds Mrs. Wright's hands tenderly.

MRS. WRIGHT (CONT'D)
Now go home to that handsome
husband of yours, and get some good
sleep. And tomorrow enjoy your
adventure running a great house!

ANNA
I'm sorry I won't see you tomorrow.
And I've asked Dr. Clarkson to
check in on you. We've weather on
the way, I've heard. They've had
storms up north that seem to be
moving our way.

MRS. WRIGHT
(Dreamily) My dear Anna. (Drifting
off) Under the wing of a storm...

BREAKFAST TABLE, DAY. ROSE, ROBERT, TOM AT TABLE.

Rose opens an envelope. Tom spies the address from across
the table.

TOM
Oxford?

ROSE
Yes! It's my friend Lady Clara
Findlay who studies there. She's
coming today!

ROBERT
A visitor? Does Cora know?

ROSE
I believe I mentioned it.

Robert and Tom stare at her.

ROSE (CONT'D)
I believe.

Carson enters.

ROBERT
Oh, Carson. We will be five for
dinner, as it turns out. And one
guest to stay-

ROSE
Just overnight-

CARSON
Very good, My Lord. One more guest
will not break us. Even on junior
staff as we are.

TOM
Uh, no. I'll be having dinner in
the village.

ROBERT

Will you?

TOM
I hope that's alright.

ROBERT
Of course. You may dine with
whomever you wish. That makes us
four, then.

ROBERT (CONT'D)
(To Carson)
I am certain nothing will prevent
you from upholding your usual
standard, no matter the staffing.

LONDON. DAY. OFFICES OF THE SKETCH. MICHAEL GREGSON'S
FORMER OFFICE.

Edith is unpacking 2 small boxes. She sets a picture of
Michael Gregson on the empty desk.

BROWN
It being Saturday we're on weekend
staff My Lady. But I can help with
your-arrangements...

EDITH
That won't be necessary.

BROWN
I can - if you'd like my-

EDITH
Thank you, Mr. Brown. I only need
your help to call a meeting next
week. I intend to address the
staff. I will need everyone there.
Let's schedule the meeting for
first thing Wednesday morning.

BROWN
This coming Wednesday, My Lady?

EDITH
It will be a very short address,
Mr. Blake.

BROWN
But-Wednesday-

EDITH
It's not the Monday starting shot
and it's not the Friday race to
finish. My friendship with Mr.
Gregson was informative enough that
I know how to respect the schedule.
I will address the staff Wednesday
morning first thing. Thank you for
organizing that.

BROWN

Realizes he's been dismissed and leaves the office.

Edith looks at the picture of Michael on the desk, squares
her shoulders and sighs.

THE TRAIN TO LONDON. DAY.

PATMORE
Want to see my pictures?

HUGHES
You haven't got-

PATMORE
Just a few!

She opens her bag and pulls out photos and
folded magazines.

HUGHES
My goodness! How long have you
been collecting?

PATMORE
Oh, years now.

HUGHES
You're not a fan of Valentino.
You've got a crush!

PATMORE
Of course I have! Just look at
him, will you?

HUGHES
He could be my son. Seems a bit
strange. I admire him, of course.

PATMORE
In imagination, all things are
possible.

HUGHES
(laughs)

PATMORE
Oh! We mustn't forget to stop by
that retched suffragettes meeting
and get some literature. Just to
cover our tracks.

HUGHES
You're treating this like a
clandestine meeting. Aren't you
the least bit curious to hear the
adventures of our brave sisters in
arms?

PATMORE
What? Imprisonment, beatings, a
diet of maggots? I admire them, of
course. But I've read about the
reality. Do YOU need more of the
real world?

Hughes says nothing. She's thinking it over.

PATMORE (CONT'D)
Perhaps-the real world still holds
a prospect or two?

HUGHES

Looks out the window.

Patmore smiles to herself.

FRONT DRIVE. DAY.

A CAR PULLS UP AND Lady Clara Findlay steps out. She's in
very modern, upper-class dress with hair cut short in the
Parisian style, very long beads, a drawn-on mole.

CLARA
Am I Houdini?

CORA
Uh. Hello.

ROSE
Cousin Cora, this is Clara Findlay.

CLARA
I'm not a crasher, am I? There was
no need to send the car to the
train, I could have dimboxed it.

Thunder cracks the sky, startling them. Cora recovers first.

CORA
Miss Findlay. You'd better come
in.

CLARA (bowing her head politely)
Countess, you are so kind to
have me. We've never been properly
introduced, so I must be a bit of a
surprise? I'm a ding-dangler but
Roz - urm - Rose - wouldn't hear
of it.

CORA
It's kind of you to come.

Jimmy carries her luggage and Anna follows. Sarah drops back
to speak to Anna.

CLARA
You're the bean picker, huh? Oh so
kind of you, but I dud up on my own
for dinner, munitions and all. My
dressmaker, elle est Francais. But
thank you all the same.

CORA
Let's have tea.

CLARA
I'm no crumb-cobbler, Lady Crawley.
But I'd murder for noodle juice.

UPSTAIRS HALLWAY.

BATES

(Smiles fondly at his wife.)
I haven't seen you all morning.

ANNA
Lady Rose's friend has arrived from
Oxford. She talks like a lady half
the time and like a flapper the
other half. I just barely
understand her.

BATES
How is Mrs. Wright?

ANNA
Not well.

BATES
I'm sorry.

ANNA
I'll go down first thing in the
morning.

BATES
And the job of head housekeeper?

ANNA
I've seen it done for years. Doing
it is a bit of a different thing.
But no disasters yet.

BATES
And there won't be any.
You'll be a smashing.

ANNA
(Laughs.)

BATES
One thing for certain. You're the
prettiest housekeeper I've ever
seen.

ANNA
And you're a flirt!

BATES
Should I not flirt with my
beautiful wife?

ANNA
You should. I insist on it.

He looks around the hall, so does she.

ANNA (CONT'D)
But it's very improper, Mr. Bates.

She looks around again and tilts her chin up, beckoning him.

He cups her chin in his hand, stroking his thumb from her
lower lip down and under her chin, slowly. Anna likes this,
and he knows it.

BATES
(Softly)
Whatever pleases you is proper.

Anna smiles, gives him an admonishing look and walks away.
He goes in the opposite direction.

FRONT DRIVE. MID-DAY. RAIN.

A car pulls up and Edith emerges; she runs in the door and
pauses to shake off her umbrella.

CORA
Edith! What are you doing home?

EDITH
I wanted to come back for the
weekend. I missed-being home.

CORA
A friend of Rose is visiting from
Oxford.

EDITH
From Oxford? How interesting.

CORA
Interesting. And nearly
unintelligible.

AFTERNOON. GUEST ROOM.

Sarah is hanging up her new dinner dress and showing it to
Rose.

CLARA
I don't want to be a wind sucker
but here's my urban set.

ROSE
It's the cat's-

CLARA
-pajamas. The cat's pajamas, Rozzy.

Rose laughs.

CLARA (CONT'D)
Where's your wang-doodle, Roz? I
love apple-knockers and all but
it's so quiet out here!

ROSE
Jazz? My room!

SERVANT'S HALL.

Mosely enters, breathless, and just a bit damp.

CARSON
Mr. Mosely. We've only the family
tonight, and one guest. There was
no need for you to come out in
this.

MOSELY
I know. I thought with Daisy and
Anna running things I would show up
to-cheer them on. Oh, and I saw a
car pull up front with Lady Edith
as I was coming around.

Baxter smiles at Mosely across the table.

CARSON
Thank you, Mr. Mosely. That's two
more then for dinner tonight, Lady
Edith and our guest.

MOSELY
Who's the guest?

ANNA
Lady Clara Findlay. A friend of
Lady Rose from Oxford.

CARSON
The Findlay estate. That was a sad
tale. They didn't last the war.

Carson goes into the kitchen.

CARSON (CONT'D)
Daisy, we will have five for
dinner.

DAISY
The chickens won't do, then.
(Thinks) We'll do the Sunday roast
early.

CARSON
For only five?

DAISY
This won't make much sense, Mr.
Carson, but-I have a feeling we're
going to need it.

Carson stares at Daisy. Daisy stares back, very sure of
herself.

CARSON
Are you quite sure?

DAISY
Mrs. Patmore always says double
what you need when bad weather is
coming in.

(BEAT)

CARSON
It's irregular. But I'm not
against playing it safe tonight.
I'll change the wines.

LATE AFTERNOON. LADY GRANTHAM'S HOUSE

Isobel enters, shaking off rain. She looks at Violet, who is
sipping a sherry comfortably.

ISOBEL
Are you-have you been drinking?

VIOLET
(Shrugs)
A sherry before dinner.

ISOBEL
You never have a sherry before
dinner. And it's very early to
start-

VIOLET
I thought we were going to stay in
and play cards. And, sometimes
things that never happen, happen.

Violet looks up at Isobel, a bit too happily.

Happen.

ISOBEL
Dear God.

VIOLET
Well go, then, if you're so
offended.

ISOBEL
I'm not offended.

Isobel looks about uncertainly for a moment, then shrugs.

ISOBEL (CONT'D)
I just need to - catch up.

Violet motions to the maid to pour sherrys.

VIOLET
Good. Make it quick. I want
another.

ISOBEL
Is that wise?

VIOLET
Why not? Our starters seem to be
taking forever.

SPRAT

Enters.

My Lady-It seems the stove is
broken. We'll need to call for
service tomorrow.

VIOLET
What is it that happens to stoves?

SPRAT
I'm so sorry my lady. Cooking is
impossible tonight.

VIOLET
Alright. Thank you, Sprat.

ISOBEL
And my cook is out for the evening.

She takes a big sip of sherry.

VIOLET
Shall we starve ourselves and
become mystics?

ISOBEL
I've bread, at the house, and ham.
I could make us-

VIOLET
A crust and a cup of water?

ISOBEL
Well, after all the sherry.

VIOLET
I see. We've fallen so far now,
have we?

ISOBEL
I can make a simple dinner-

VIOLET
Nonsense, if you can't impose upon
your family who can you impose
upon?

ISOBEL
You want to go to the Abbey?

VIOLET
Of course. (To Sprat) Let the
driver know we're leaving now.

ISOBEL
We should call first.

VIOLET
Why? For all the previous
centuries guests couldn't call
before showing up to beg a meal.
You had to-go WITH it.

ISOBEL
It's quite a storm. Should we-

VIOLET
You worry so about everything. Now
get your coat and we'll impose
ourselves upon the children. We'll
be early enough for them to adjust.
(Nods to Isobel's glass of sherry)
Finish that first. (To the maid)
And pour two for the road.

GRANTHAM ARMS PUB. VILLAGE. LATE AFTERNOON. RAINING.

Sarah enters the pub, seeing Tom seated at a table with a
spread of periodicals and books. She shakes off her coat and
sits at the table.

SARAH
You look studious.

TOM
Mrs. Crawley is right. I've let
some of my interests slip.
And a lot has happened - I've got
some catching up to do.

SARAH
I commend a motivated student. But
what's the goal?

TOM
Well, knowledge is its own reward.
How was your day at school?

SARAH
I wish more of my students were
like you. I think it's the
unsettled weather today. The
static in the air. The only thing
that caught their interest was a
reading from Wuthering Heights.

TOM
A great story.

SARAH
Yes. People caught between worlds,
the natural and the cultured.
Sounds a bit like you.

TOM
Is it wise dining here tonight?
I'd hate you to get caught out in
the rain, or worse. This is
supposed to be a big storm.

SARAH
Since we're both early - why don't
we make it an early night and eat
now?

FRONT DRIVE. LATE AFTERNOON. POURING RAIN.

Violet's car pulls up. The chauffeur runs to the door with
umbrella out, escorting first Violet, then Isobel to the
door.

Cora meets them, staring.

CORA
What-I-hello-

VIOLET
A visitation of the naiads.

ISOBEL
Yes. Very old naiads.

VIOLET
Very old. The naiads of the
Ancient Mariner.

Isobel finds this funny. Violet is proud of her wit.

CORA
But-why are you out in this?

VIOLET
Stoves break. And cooks have the
night off. Who can say why
anything happens?

Carson enters, surprised, but able to rally in an instant.

CORA
Oh. Of course. Carson, please tell Anna
we need a nice fire in the PARLOUR.
(Cora punches this last word with
emphasis) And please, some coffee.
You'll stay for dinner, of course.

ISOBEL
I do hope we're dressed well
enough. We were planning to stay
in and play cards, you see.

VIOLET
Oh! Gin! And sherry. Gin and
sherry. And gin.

Cora pales.

CORA
Let's get you to the fire in the
library until the parlour is ready.

VIOLET
She is hiding us.

ISOBEL
Can't blame her, really.

VIOLET
We never intended to make any sort
of disruption. But we decided not to be
mystics after all.

Isobel finds this funny, too. Violet is enjoying herself.
Cora rolls her eyes and herds them into the library.

KITCHEN. LATE AFTERNOON.

Carson enters.

CARSON
Daisy, it seems Mrs. Patmore's
philosophy is quite a helpful one.
We've two more for dinner.

DAISY
Won't be a problem.

CARSON
Good, good.

Carson continues down the hallway and into the servant's
hall. Staff at the table stand.

CARSON (CONT'D)
Mr. Mosely, since you are here,
would you help serve tonight?
We've two more for dinner.

MOSELY
(With a quick glance at
Baxter.)
Of course, Mr. Carson. Glad to
help.

CARSON
Lady Grantham and Mrs. Crawley have
arrived.

MOSELY
Were they expected?

CARSON
(With a frown)
No. But we will deign to feed
them.

MOSELY
Oh. Of-of course. I'll get into
livery.

GRANTHAM ARMS PUB. EARLY EVENING.

Tom is helping Sarah on with her coat.

TOM
I should drive you home.

SARAH
That would makes no sense. Then my
car would be here.

TOM
But-

SARAH
Are you really worried about me?

TOM
It's a big storm.

There is a commotion at the front door of the pub. They look
to see Evelyn Napier and Charles Blake, soaked to the bone
and streaming rain.

TOM (CONT'D)
What happened to you?

NAPIER
Optimism. And mud. We're stuck
until this downpour is over, I'm
afraid.

TOM
Where?

BLAKE
Just a mile and a half up the road.

NAPIER
We look like something the cat
dragged in.

TOM
I'd sack the cat that dragged you
in. And your luggage?

BLAKE
It was too far to carry it all.

TOM
We'll have to go and fetch it.

BLAKE
Impossible. We'll set up here for
the night and hire a car in the
morning.

TOM
Sorry. I'd be murdered for
allowing it. You know how the
Crawley's would take it if I
didn't bring you home.

NAPIER
We couldn't show up like this.

TOM
Come on, we'll go get your luggage
and get to the house before the
whole sky comes down. (To Sarah)
And we'll drop you home. (Sarah
begins to protest.) I'll come and
get you in the morning so you're
not late for school. Come on.

CARSON'S OFFICE, EVENING BEFORE DINNER.

Mary knocks. Carson looks up.

CARSON
Can I help, My Lady?

MARY
I was just coming down to apologize
for all the extra guests. I know
you've everything well in hand, but
I thought I'd look in on the
assistant cook to say so, it being
her debut.

CARSON
Of course, My Lady.

MARY
Urm-Carson?

CARSON
Daisy, My Lady.

Mary smiles at Carson gratefully.

MARY ENTERS THE KITCHEN DOORWAY JUST IN TIME TO SEE WHAT NO
ONE ELSE SEES.

In the midst of the bustling kitchen activity Thomas tosses
melted fat from the grease pot onto the top of the stove
so it catches the open
flames. Fire shoots up.

Mary looks directly into Thomas's eyes for a split second, in
shock, as mayhem ensues in the kitchen.

Thomas turns to Jimmy, handing him the grease pot. Jimmy
holds it, confused and startled by the fire.

HUGHES' OFFICE

Anna, hearing the noise, runs out of the office and into the
hall. She grabs the heavy brass fire extinguisher on the wall
and pulls it down, but it is too heavy for her. She begins
dragging it into the kitchen - all the while leaving the
household keys on the desk in the office.

HALLWAY.

Thomas peers out of the servant's dining hall, sees Anna
dragging the fire extinguisher into the kitchen and slips
across the hall into Hughes' office. He sees the
housekeeper's keys on the desk and goes for them. This is
what he was hoping for. He detaches one key and turns to
leave.

Carson runs out of his office at the sound of the commotion
and into the kitchen. He takes the fire extinguisher from
Anna. He tells everyone to stand back.

KITCHEN

Daisy grabs pots to take them off the stove and save the food
and burns herself, crying out.

MRS. HUGHES OFFICE

Thomas is about to run out but stops, rifling through drawers
and the bookshelf, shaking the books, finally pulling a book
off the shelf and opening it. It's a hiding place for the
spare set. He pockets the spare set of keys and glides back
out of the office and into the dining hall, through and back
toward the store room.

KITCHEN

Baxter grabs the grease pot from Jimmy's hand, giving him a
significant look, and sets it on the counter as Carson douses
the flames. There is a pause. Anna is looking at Daisy's
arm and exclaiming. Daisy pulls away from Anna and looks to
the pots of food she had to take from the stove.

Mary's eyes dart around the kitchen. She spies a teapot on a
tray, grabs the first aid kit off the shelf and throws a
bandage into the cold tea. She scoops the tea leaves from
the bottom, making a quick poultice, and runs to Daisy,
tugging on her elbow.

DAISY:

Not looking, shakes off Lady Mary.
I can't stop now!

MARY
You will stop now, Just for a
moment.

Daisy looks, sees Lady Mary and freezes.

DAISY:
My Lady! Oh, I beg your par-

MARY
It's alright. I'm just bandaging
this.

Mary wraps the tea leaf poultice onto Daisy's arm, tying a
neat bandage.

You need to keep it wet with very
strong, cold tea. You WILL make
time for that or we'll be paying
the doctor for a more profound
injury. Am I clear?

DAISY:
Yes, my Lady.

MARY
Good. Now go, go!

Daisy springs into action, as behind her we see Thomas
creeping through the back of the kitchen toward the store
room. Kitchen maids are cleaning up the mess, getting food
back onto the stove.

FRONT DOOR, EVENING. POURING RAIN.

Tom, Napier and Blake at the front door.

CORA
Goodness!

TOM
I've brought us a treat.

NAPIER
We broke down outside of town. We
were going to stay at the Arms-

CORA
Oh, no! You weren't. Were you?

BLAKE
But Tom kidnapped us.

CORA
Of course he did. I can't think
where Carson is. I'm sorry for
your wait.

BLAKE
(Laughing) No, please-

CORA
We'll have you dressed for dinner
shortly. I hope you haven't eaten?

Violet and Isobel peek
out of the parlour, looking down the hallway at them.

KITCHEN DOORWAY.

OFF CAMERA V/O

CORA
My God! What happened?

Mary turns.

MARY
We've had a fire.

Now Mary is looking for Thomas.

CARSON
It is out, My Lady. Appears to
have been a grease fire.

MARY
Urm-the cook-Daisy - was quite
badly burned.

KITCHEN MAID
(Runs up to Daisy.)
There's not enough apricot mousse
and madelines for four more people.

CORA
Seven more.

MARY & CARSON
(together)
SEVEN?

CORA
You won't believe who showed up,
soaked to the bone. I need your
help at the front door, Carson.

CARSON
Of course. Daisy, are you alright?

DAISY
Yes.

Carson pauses, looking at her.

CARSON
You should not have reached into
the flames like that.

DAISY
Then dinner would have been late.

ANNA
We'll look after her, Mr. Carson.
And I'm coming right up to
see to the rooms.

CARSON
Thank you, Anna.

Carson looks Daisy over again, then heads upstairs.

CORA
I'm sorry, Daisy. I can't turn
them away at the door.

DAISY
No, it's fine. The roast will do
for twelve.

CORA
It's alright if there's no dessert.

DAISY
I've got a pudding ready - or the
better part of one. It won't take
any time to put together.

CORA
If you're sure-

DAISY
(Turns and yells)
Milicent, get that roast covered
while it rests and two more pans of
Yorkshire puddings in the oven!
Ruth, triple that gravy. And whip
twice the cream up stiff before
it's tomorrow!

Mary and Cora exchange a look and leave the kitchen. Mary is
still glancing around for Thomas.

MRS. HUGHES' OFFICE

Anna snatches up the keys from the desk.

ANNA
I'll get the rooms seen to.

CORA
Apparently they broke down out in
the rain. All of their cases are
wet through.

ANNA
(Thinking)
Mr. Crawley still had some things
in the attics.

Anna looks apprehensively at Mary, who shrugs and gives a
little shake of her head to indicate she's fine. Mary is
still looking behind them, preoccupied.

ANNA (CONT'D)
We'll put together what we can.

BAXTER:
My Lady, as I'm dressing both you
and Lady Mary, perhaps we had
better-

CORA
Yes, thank you, Baxter.

(To Mary) Let's go up.

BOOT ROOM

ANNA

Enters. Bates is carrying in muddy shoes and wet coats.

You've already seen them, then?

BATES
(Laughing) Quite a sight.

ANNA
And all they have is soaked
through?

BATES
Not everything, as it turns out,
but I will be raiding the attics to
fill it all out for dinner. Do you
think if Lady Mary saw any of Mr.
Crawley's clothing-

MOSELY
Enters, adjusting his valet's waistcoat.

I'm out of dinner livery. I can't
believe what happened! Are you
alright, Anna?

ANNA
Yes. It's Daisy I'm worried about.
Thank goodness for Lady Mary.

BATES
What happened?

ANNA
We had a fire in the kitchen.
Daisy was burned saving dinner.

BATES
You're alright?

ANNA
Yes, no one else was hurt.

BATES
Mr. Mosely, if you could sort these
out to dry I'll get up to the
attics.
We should be able to lay out
everything for Mr. Blake and Mr.
Napier within the quarter hour.
You will dress Mr. Napier.

ANNA
I think Lady Mary will be alright
if she sees Mr. Crawley's clothing
on one of the other gentlemen.

BATES AND MOSELY

Look at her inquiringly.

ANNA
I can't say precisely why, but I
have a feeling it will be fine
tonight.
I've got to get on. Do you need
anything else?

BATES
If you see Thomas. He'll need to
dress Mr. Blake.

Bates takes a moment to smile sweetly at Anna as he rises to
go up. She smiles back. Mosely bustles around them, sorting
wet coats and shoes. While this is happening Thomas slinks
past the boot room doorway, unseen.

Thomas climbs the servant's stairs two at a time, silently.

Bates and Anna head up the stairs just behind Thomas, not
seeing him.

LADY MARY'S BEDROOM

BAXTER
It's proving to be quite an
evening.

MARY
Yes. Baxter-I saw something in the
kitchen that quite disturbed me.
And I believe you saw it, too. Or
part of it.

BAXTER
(Sobers)

MARY
Thomas. Mr. Barrow. I believe he
started that fire deliberately.
Did you see it?

BAXTER
I did not see that, My Lady. I saw
him hand the grease pot to James
right after the fire started and go
quickly into the dining hall.

MARY
I saw that, too. After he had
tossed grease onto the cooking
flames. It was so outrageous a
thing to do - I have a hard time
believing my own eyes. But if he
had the grease pot in his hand-
would you believe such a thing of
Barrow?

BAXTER
I am-used to surprises, My Lady,
The good and the bad.

MARY
It is a very serious accusation to
make. But I know what I saw.

HALLWAY UPSTAIRS.

Anna is closing hallway closets. She touches the shoulder of
a passing maid and gives her a quick smile.

ANNA
Those rooms were well done,
Charlotte. And quickly, too.
Please give them some extra candles
before you go down.

A kitchen maid appears at the top of the stairs.

KITCHEN MAID
Mrs. Bates! Come quick!

ANNA
What is it?

KITCHEN MAID
The store room is locked! We can't
get food out of the larder to make
the pudding!

ANNA
I'm coming.

Anna flips through the keys, her head down. She stops,
nearly bumping into her husband.

BATES
What is it?

ANNA
The store room key.

Anna goes through the keys again.

ANNA (CONT'D)
It's gone.

BATES
Did you lose it?

ANNA
I don't know. But there's a spare
set in the office. Are our guests
dried off?

BATES
Yes. I'll see you down there.

LIBRARY. EVENING BEFORE DINNER.

Mary enters, seeing only Robert.

ROBERT
Since we have some time before
dinner I have something I want to
say.

MARY
Yes?

(This is difficult for Robert.)

ROBERT
I want to say that - I know what
you want to do, and I will-try get
behind it every way I can.

MARY
Papa-

ROBERT
This is not easy, so let me get
through it. You have always been
the bravest of us.

MARY
I don't know about that. Sybil-

ROBERT
Sybil was the baby. The baby of
the family is always more protected
and more free. But the eldest is
always out front and bears the most
responsibility. And you have
always borne it as you were born to
it. You have an iron will. I-
didn't trust that will. And I was
wrong.

MARY
Papa, when you made that loan to
Mr. Drewe you acted against what I
would have advised. But you were
right to do it. It was the best
thing you could have done for all our efforts.
I'm afraid both of us are needed now
and we won't always have the luxury
of agreeing. We must lock horns
occasionally to make this work. I
think there is no other way.

CORA ENTERS.

ROBERT
Is everyone cleaned up?

CORA
Very nearly.

ROBERT
What a night. I should have
expected some hitches, I suppose.

CORA
It's not any of the servants'
fault. And by the way, your mother
arrived drunk.

ROBERT
What?

CORA
And we've had a fire.

ROBERT
WHAT?

CORA
(Sighs) Everything is fine now.
Let's go through.

HUGHES' OFFICE

Anna is rifling through the office.

BATES
The spare set?

ANNA
It's missing.

BATES
Are you sure?

ANNA
There's only one place she keeps
them.

She stops and stares at him.

ANNA (CONT'D)
I've got to get the store room
open. Now.

BATES
Come with me.

OUTSIDE THE STORE ROOM DOOR.

BATES
I need your hair pins.

Anna begins to take them out.

BATES (CONT'D)
I'm faster.

She gives him a look but turns around. He slides the pins
out of her hair with one motion and watches just for a second
as her hair falls.

He pries the lock with the pins. After a few jigs the latch
clicks and the door sings open.

Anna gives him a grateful look. Bates is looking at his
wife.

ANNA
What?

BATES
I never see you with your hair
down, except-

ANNA
But where are the keys?

Then he has a thought.

(BEAT)

BATES
I think I know.

Bates and Anna look at each other, sharing the realization.

ANNA
I'll find Miss Baxter.

They go in opposite directions, then come back to each other.
Bates hands her the hair pins. They are off again.

UPSTAIRS HALLWAY. BAXTER AND ANNA.

Anna, still pinning her hair back up, begins to speak to
Baxter, who interrupts her.

ANNA
Miss Baxter, a word, please-

BAXTER
Did you see what happened in the
kitchen?

ANNA
I heard the noise when the fire
started and ran in then. Is that
what you mean?

BAXTER
Lady Mary says she saw Thomas start
the fire. I saw him hand the grease
pot to James right after it started
and go into the dining hall. Lady
Mary is calling a meeting of
everyone who was there after
dinner. I didn't see him do it but-
(Pauses) He ran away from the fire.

Anna stares at Baxter, then nods to herself.

ANNA
And then the keys went missing.

BAXTER
The household keys?

ANNA
Miss Baxter, please search your
room immediately. Look everywhere.
The storeroom key is missing, and
also the spare set of household
keys.

BAXTER
Search my own-?

Their eyes meet, and Baxter understands. Baxter moves
quickly down the hallway toward her room.

DOWNSTAIRS HALLWAY, DINNER TIME.

CARSON

Is looking for Thomas, spots him.

Where the devil have you been?

THOMAS
Keeping a lid on things while
you've been - distracted. Mr.
Blake is dressed for dinner. And
I'm ready to serve, as you can see.

CARSON
Mr. Mosely dressed Mr. Napier and
Ah! There you are, Mr. Mosely-
also managed to get out of serving
livery, into valet's dress, then
back into livery for serving
tonight. So you must share the
credit for "keeping the lid on
things."

MOSELY

Allows himself a small smile and goes into the kitchen.

DINNER TABLE. UPSTAIRS.

NAPIER
Sunday dinner on Saturday night.
Unusual, but it hit the spot after
the night we've had.

BLAKE
Yes. On a cold, wet night that
roast was most appreciated.
Tell Mrs. Patmore she's exceeded
herself.

MARY
Well, as a matter of fact it was
not Mrs. Patmore at the helm
tonight. It was our assistant
cook, Daisy.

BLAKE
You know the assistant cook's name?

MARY
You remembered Mrs. Patmore.

BLAKE
I have a head for names.

NAPIER
In our own defense, we were
kidnapped after meeting with
disaster. We did not plan to show
up at your door like stray sheep in
the storm.

MARY
Sheep? I wouldn't say sheep.
Perhaps some wilier animal.

BLAKE
It's true. Yes, we got stuck, and
we were kidnapped by Tom. But
you're right, Mary. If you think
I'm above opportunism when it comes
to certain potential advantages,
you'd be overestimating my
character.

NAPIER
We'd hate for you to do that.

Napier adjusts his waistcoat slightly.

Mary looks at the waistcoat and catching
Napier's eye, smiles. She is calm, and not
saddened.

BLAKE
But you wouldn't, would you, Mary? You
know us all well enough to judge.

VIOLET
Was this supposed to be dinner? I
thought we might be attending a
jousting. I'm dressed entirely
wrong for both.

ROBERT
Yes, gentlemen, please-

CLARA
But this is the duck's quack!
It's like the knights of old! I
could watch it all night.

ROSE
Clara is used to more informal
discourse, I would imagine, at
Oxford.

CLARA
Formal discourse, actually.

EDITH
What are you studying at Oxford?

CLARA
Logic and rhetoric.

A stunned silence settles over the table. Violet breaks it.

VIOLET
What's so difficult to believe?

(Gives Sarah a glance.)

Everything about Miss Findlay seems
very rhetorical.

ISOBEL
My son studied rhetoric as part of
his education in law. I believe he
enjoyed it.

CLARA
Law, yes, to a purpose. But it's
not the pure study of argument.
Law merely exploits any and all
fallacies to exact a goal. The
study of logic is quite pure.

TOM
Pure?

CLARA
Yes. Aristotle believed that all
arguments should be won or lost on
logos, on reason alone. The world
would be a better place if they
were. Roz, you remember I'm a
smoke-eater, right? Can we blouse
after dinner? I'm dying for a fag.

UPSTAIRS HALL.

BATES
An interesting night. How are you
doing?

ANNA
Lady Mary says it was Thomas who
started the fire. She says she saw
him do it. She's called a meeting
of the staff after dinner to
witness what they saw.

BATES
How is Daisy's burn?

ANNA
Lady Mary did some quick thinking.

BATES
So Daisy had to make dinner for
eleven when she was expecting four,
her first night running the kitchen-
and she's got a burn as well?

ANNA
From the fire Thomas set.

They see Baxter coming down the hall toward them. She pauses,
shyly.

ANNA (CONT'D)
You have them?

BAXTER
Yes. I just-I didn't want you to
think-

Anna and Bates both laugh, a little bitterly.

BATES
Miss Baxter, we know you're
innocent. All the same, let's keep
this part of the story to
ourselves. If he's been
manipulating you he won't come out
with that now that his plan has failed.

BAXTER

Passes the single key and ring of spare keys to Anna.

Thank you. Truly.

BATES
We know him. We know how he works.

ANNA
(Looks at her husband) I think
you're right. (To Baxter) We'll
keep your story out of it.

BAXTER
I'm very grateful.

BATES
Not at all.

ANNA
Don't worry any more about it.

KITCHEN.

THOMAS
It's rather strange isn't it? The
Sunday roast on Saturday night?
Seems a bit desperate. Who knows
what Mrs. Patmore will have to say
about that.

MOSELY
They're loving it upstairs, Daisy,
I can tell you that. A roast on a
stormy night with a nice gravy.
There are no complaints at the
table.

Daisy sets the pudding on the tray, garnished.

THOMAS
And what is this?

DAISY
Tell them it's a spring trifle.

THOMAS
A trifle is a Christmas pudding,
Daisy. How can it be a spring
trifle?

JIMMY
Why don't you leave her alone?

THOMAS
Why are you her champion all of a
sudden?

JIMMY
Friendships can take sudden turns,
can't they?

Pushes Thomas out of the way.

JIMMY (CONT'D)
A spring trifle then, is it Daisy?
I'll let them know.

Jimmy takes the tray, passing Bates in the hallway; Bates
stops just past the kitchen doorway in time to hear Thomas.

THOMAS
You know me, Daisy, I'm just trying
to be helpful. Wouldn't do to
botch your first night. Food off
schedule, strange puddings and all.

DAISY
(Sarcastically) Thanks ever so.

THOMAS
Always here to save the day.

Thomas sails out of the kitchen; as he rounds the corner
Bates trips him neatly with his cane. Thomas goes sprawling
on his face.

BATES
(Very softly to Thomas on the
floor.)

You should watch your step.

Bates slips into the dining hall.

Carson, hearing the noise, emerges from his office and sees
Thomas on the floor.

(Beat)

CARSON
Well, get up, Mr. Barrow! We've no
time for dramatics, or whatever
you were up to!

CROWDED STREET CORNER IN LONDON OUTSIDE A GRAND THEATER.
EVENING.

Hughes and Patmore move away from a dispersing crowd, all
dressed for the evening.

HUGHES
I believe the costumes were the
best part of that show.

PATMORE
Valentino is always the best part.

HUGHES
He's getting a bit-feminine, isn't
he?

PATMORE
That's his wife doing that, they
say.

HUGHES
Why on earth?

PATMORE
Jealousy. Can you blame her?

Mrs. Patmore stumbles and nearly falls into the street. She
is pulled onto the sidewalk by a large gentleman.

PATMORE (CONT'D)
OH! Thank you!

GENTLEMAN
(In heavy Scottish brogue)
Got to look sharp, ginger cake.
These streets can be killers.

He winks at Patmore. Hughes and Patmore are stunned.

PATMORE
Ginger cake! I don't know if I've
been insulted or not.

HUGHES
Your life was saved, at least.

PATMORE
I can't fault that. But I think
the wink did me just as much good!

HUGHES
I'm sure many people aren't as
lucky. I'm sure-it's a common
occurrence.

Hughes watches the crowds on the streets, pensive.

DINNER TABLE UPSTAIRS

EDITH
The - spring trifle - was it? Was
delicious. I've never had anything
quite like it.

CORA
With all that's happened
tonight I've asked Carson to fetch
Daisy up here. I hope you all don't
mind.

CARSON
May I present assistant cook Daisy,
who-

Blake interrupts by applauding, loudly. Isobel joins, then
Edith and Mary. Soon everyone is giving Daisy a polite
round.

Daisy curtsies, then looks at Mary.

DAISY
Thank you, My Lady.

MARY
And your injury?

DAISY
It hardly hurts at all now, My
Lady.

MARY
Keep cold tea poultices on it until
we can get the doctor to look at it
tomorrow.

DAISY
Yes, My Lady.

CORA
That pudding was lovely, Daisy,
light as a cloud after the roast.

Daisy curtseys again and nearly runs out of the room.

BLAKE
You rescued the cook?

MARY
No, She had a burn. Second degree
at least.

BLAKE
You bandaged a burn. In the
kitchen?

MARY
The war did teach me a few basic
things. I never learned as much as
Sybil, of course.

BLAKE
It seems no matter the situation,
you are indispensable.

Mary is pleased, and tries to hide it.

CAR INTERIOR, RAINY NIGHT. THE JOURNEY HOME.

ISOBEL
That Mr. Blake seems to be leading
the race.

VIOLET
Yes. (Pause) Did you love your
husband?

ISOBEL
Yes, I did. And you?

VIOLET
Love can be complicated.

ISOBEL
Complicated? Not for a lady,
surely.

VIOLET
Not in the open.

Isobel stares at Violet.

VIOLET (CONT'D)
Storms always remind me-this time
of year-do you ever feel it again,
just for a moment, what it was to
be in love?

ISOBEL
Yes.

VIOLET
Why put him off, then?

ISOBEL
Who?

VIOLET
You know who.

ISOBEL
I'm not-

VIOLET
Why stay a prisoner of grief?

ISOBEL
I'm not-

VIOLET
You are. You're almost acting like
one of my people, pretending you
don't want more. It's a waste.

Close up Isobel looking out into the rainy night.

Isobel feels a movement and looks down to see Violet asleep
on her shoulder.

CARSON'S OFFICE.

Lady Mary and servants. Carson, Thomas, Jimmy, Baxter, Anna,
kitchen maids.

MARY
Thank you, all. We will dispense
with this as quickly as possible.
Anna, as head housekeeper tonight
has agreed to be a witness here and
observe. Mr. Carson will handle
this as he always does.

CARSON
Thomas, you had something to do
with the grease fire tonight. What
have you to say?

THOMAS
A kitchen can be a hazardous place
to work.

MARY
You must carefully consider now
what you say, Barrow. I looked into
your eyes as you threw the grease
on the flames and I saw you run
after you had handed the grease to
Jimmy.

THOMAS
I may have slipped moving
the grease pot.

CARSON
James?

JIMMY
That's true. The fire had just
started. And suddenly you handed
the grease to me. (pause) Hoping I'd get
blamed.

CARSON
And Miss Baxter?

BAXTER
I admit, My Lady, that I took the
grease from Jimmy's hand and put
it on the counter. I didn't see Mr.
Barrow throw grease on the stove.
But I did see him hand it to Jimmy
and run into the dining hall just
as the fire had started. I-thought
something seemed wrong.

MARY
I saw you do it, Barrow. I can't
think why you would do such a thing
but on a night when we are on
junior staff who are doing their
best to prove themselves it seems a
cold, calculating thing to do. A
heinous thing to do in any case,
resulting in injury of one of your
coworkers, and it could have been more.

(Silence)

MARY (CONT'D)
For bald-faced lying I would
automatically dismiss a servant,
and for causing injury and danger
to the entire staff and the house I
would send you out immediately.
But you've been a long time in our
employ. And I must speak to Papa
for his decision on this. We won't
throw you into the night. But for
now you are on suspension. I don't
want you doing any work in this
house.

CARSON
You are suspended, Thomas. You are
dismissed from this meeting.

Thomas does his best to exit with dignity. The rest of the
staff seem to let out a collective sigh. They are all quite
tired by now.

MARY
It's been a long night. I do want
to say that Anna and Daisy were
exemplary this evening, under
trying circumstances, and I could
not be more impressed with them
both. As for Mr. Barrow, if it were
only me I would dismiss him
immediately. But he will be under
strict watch until a decision is
made. Good night, everyone.

EARLY MORNING. MRS. WRIGHT'S HOUSE.

Anna knocks. There is no answer. She enters.

ANNA
Mrs. Wright? It's Anna. Good
morning.

She enters the bedroom softly.

ANNA (CONT'D)
I've brought-

Anna sees no movement in the bed and puts her hand on Mrs.
Wright's shoulder.

ANNA (CONT'D)
Mrs. Wright?

Close up on Anna looking down at the bed, realizing her
friend is dead.

THE END

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