ACT 4
ANOTHER LONDON STREET. DAY.:
Anna is smoothing her dress and her hair as she and Bates walk.
ANNA
You got it, then.
He reveals a valise hidden under his coat. It's full of film; rolls, cartridges and prints.
ANNA (CONT'D)
You took all of it!
BATES
Only he knows which ones are of Lady Edith. And who knows how many innocent people are in all these pictures?
Anna smiles.
ANNA
Of course you would think of that.
She is beaming at him.
BATES
What is it?
ANNA
I like my husband. He's a very, very good man.
BATES
Then why don't you listen to him?
ANNA
I do.
BATES
I told you to stay at home.
ANNA
Yes, you did.
Bates is glaring at her. She gives him a naughty, comical smile. Bates loses the battle and begins to laugh.
CARSON'S OFFICE. DAY.
Hughes enters.
Carson is writing furiously. He stops.
CARSON
Once I've started it's like opening the tap.
Hughes smiles at him.
CARSON (CONT'D)
I don't know how I will write it all down.
HUGHES
Great knowledge is a burden best shared. His Lordship is right. There's no one better suited to this project than you, Mr. Carson.
Carson stands and walks past her to shut his office door. He returns to her. He takes her hand.
CARSON
I haven't known what to expect, with all the new changes in staff and estate.
HUGHES
I know.
CARSON
But now, with this new project-
HUGHES
Yes.
CARSON
I mean to say, it might be time for a real change, and a real understanding.
He pulls her close, his voice going soft.
CARSON (CONT'D)
To avoid any awkward - assumptions.
DOWNSTAIRS HALLWAY. EVENING.
BAXTER
You helped out with dinner again.
MOSELY
Just the preparations. We've a guest tonight and the staff is so much smaller now. We've all got to muck in.
BAXTER
You must be tired.
MOSELY
I'm not done yet. His Lordship is still at dinner.
Baxter opens the boot room door.
BAXTER
Could we? I want to talk to you. Just for a moment.
Mosely follows her slowly in. Baxter hesitates.
MOSELY
I knew it.
BAXTER
You knew what?
MOSELY
That it was too good to be true. You've changed your mind, haven't you?
BAXTER
About-?
MOSELY
About marrying me.
Baxter laughs gently.
BAXTER
No, Joe.
She takes his hands.
BAXTER (CONT'D)
Silly man. I need to talk to you about the wedding, though, and about-family.
A FLAT IN LONDON. EVENING.
A posh room is dark and hazy with smoke. Several well-dressed men are in various locations sitting and standing around a room, looking at Thomas, who is in shirtsleeves in the center seat.
THOMAS
I'll have better information than that, and on better marks as well. Trust me.
MONAGHAN
(To the room) He's a liar! (Wheeling on Thomas) You set me up today. Months of work-
THOMAS
Why would I do that? For them who fired me?
A tall, beautifully dressed man in his 40s emerges from a shadow. His voice is deep and distinctive. He is, without any doubt, the boss.
TALL MAN
Boys will get into mischief. The Birmingham Boys are all about mischief. We break every rule of society and invent new rules. We live our own way.
Thomas begins to sit up and the tall man puts out the fingertips of a manicured hand, shoving him back into the chair.
TALL MAN (CONT'D)
But rules within the brotherhood keep us honest with one another.
THOMAS
Might do. Don't like the brother I got at birth. I could use some others (he drags on his cigarette) who are more like me.
TALL MAN
It's not about what's useful to you. It's what's useful to us.
The tall man's hand closes on Thomas's collar and twists, tightening it.
TALL MAN (CONT'D)
And by all appearances you've used us already.
THOMAS
(Stays calm) You don't know me, so I'll explain.
The tall man bends down, his hands on the arms of Thomas' chair.
THOMAS (CONT'D)
That family's got a paid staff of toughs. Real ones they keep on retainer. Ex-convicts, jailed for murder and the like. Even the staff in the house have got criminal records.
MONAGHAN
We'll see about that. They ain't tougher than us.
THOMAS
Devoted. Ruthless. With military training and the family money behind them to do what's needed. You shouldn't have had at them to begin with.
TALL MAN
Is that so?
Thomas nods, one eyebrow up.
MONAGHAN
So why'd you bother me, then?
THOMAS
Well, I fancied you.
There is a silence around the room as the men look at each other.
THOMAS (CONT'D)
I DID, that is.
Thomas looks at the tall man standing over him, eying him up and down.
THOMAS (CONT'D)
I'm a fickle sort.
TALL MAN
You want to be careful.
THOMAS
(Looking around the room) And you all, what do you want?
The tall men stands upright, frowning.
THOMAS (CONT'D)
Tell you what. If you want to meet someone, say, from the King Oliver Jazz Band on Saturday night after the show, I can fix it. Or other illustrious members of our regular clientele at the Savoy. I can get you tables up front. And other-perks.
Silence, as they absorb this. The tall man is listening.
THOMAS (CONT'D)
But you'll have to bring me in. And no spankings for today.
His eyes are steady through the smoke from his cigarette. The tall man standing over Thomas begins to smile.
UPSTAIRS DINING ROOM. EVENING.
SARAH
It's rather like a museum, this house.
ROBERT
So I've heard.
SARAH
But a lovely family home, as well. The family sigils are of particular interest. I convinced Tom to show them to me one night.
VIOLET
One-night?
SARAH
Yes.
Violet's eyebrows are up as she looks at Robert.
SARAH (CONT'D)
Lady Grantham, I assure you that education is my only profession.
There is a shocked silence.
SARAH (CONT'D)
I'm certain that no indecency was implied. But being the only other person at this table with personal experience as a member of the moral and God-fearing working class, I thought it was upon me to clear it up.
Violet laughs.
SARAH (CONT'D)
I've been blunt, Lord Grantham. But clarity is best. Tom is a decent man. I believe there may have been some doubt in your mind?
ROBERT
Not on Tom's part, no.
SARAH
Good. I'm glad you know him for the man he is. For myself, I don't fear evaluation. Just prejudice.
ROBERT
What sort of prejudice are we accused of?
SARAH
Prejudice comes naturally to every human mind. We must observe constant vigilance against it.
ROBERT
I haven't heard those words used in conjunction since the war.
SARAH
The Great War? Or the second Boer war?
Robert looks up in surprise, then nods.
ROBERT
Of course. Tom told you.
SARAH
No. I guessed by your age. And by that (she nods at a framed medal among other framed medals on the wall). The Queen's South Africa Medal with the Rhodesia clasp. That's a battle clasp.
ROBERT
How do you know-
SARAH
I am a primary school teacher, My Lord, but my preferred subject was English history. That was a very unpopular war. What was it like talking to people when you returned?
ROBERT
Sometimes-difficult.
SARAH
Especially as a member of the upper class. Many blamed you.
ROBERT
That's to some extent true but-
SARAH
But you put yourself in danger. Most won't do that for gold. You were defending our country.
ROBERT
You might have found, in your studies, that the upper classes have always gone into battle to defend our country.
SARAH
As you say. Though they tend to return more physically intact than the lower classes.
Long silence as Robert and Sarah hold a gaze over the table, each with fork and knife in hand, very still.
ROBERT
Though not always.
SARAH
No. Not always.
There is another pause as Tom and Carson look back and forth between Robert and Sarah.
VIOLET
Is that an ending on the first skirmish? Are we safe to retreat?
Robert and Sarah both relax. Tom takes a long drink from his wine glass. Carson breathes.
SARAH
I apologize, Lady Grantham.
VIOLET
Not at all. You came onto the field with a flourish of banners and weaponry. But now, perhaps we could pass the olive branch before the pudding.
SARAH
Of course.
ROBERT
Might I ask how you became so interested in history?
SARAH
My father compiled research on The Anglo-Cherokee War and the Pontiac's Rebellion, and wrote several volumes on the American War of Independence and its effect on British culture.
ROBERT
He sounds nearly American.
SARAH
Not at all, My Lord. He's as British as they come. And he's not an historian. My father is in publishing.
Robert and Carson are exchanging a look.
ROBERT
I don't suppose you ever assisted your father on these compilations?
SARAH
Oh, yes, My Lord. I've been trained in research. Thought I spend much more time on politics in the present, (looks at Tom) I do believe history is essential.
TOM
Without which we are doomed to repeat.
SARAH
Exactly.
Robert and Sarah give each other another long look, but now they have both softened. Sarah smiles at Tom.
Violet raises her glass.
VIOLET
Peace, at last.
KITCHEN. EVENING AFTER DINNER.
PATMORE
You set out the curry spices for the kedgeree for breakfast? Millicent is still struggling with the new pantry system.
DAISY
Yes. She won't have any trouble.
Pause. Patmore lifts her cup.
PATMORE
Hard to find, isn't it?
DAISY
What? The turmeric? We've plenty.
PATMORE
No. A lad who can repair machines and horses both.
DAISY
What were you two talking about today?
Patmore shrugs.
PATMORE
Many things.
DAISY
How did you make him laugh?
PATMORE
There are some who appreciate my singular wit.
DAISY
He's a good man.
PATMORE
I'm glad.
DAISY
I didn't mean for me. Just-a good man.
PATMORE
Why not for you?
DAISY
I just like having a friend, right now.
PATMORE
Daisy, as you learn farming and become caught up in the work, remember to mind your own life. You won't be young forever. It seems you will, but endeavors and interests can take hold of you and swing you about like a carnival ride. And when you land, so many of the years have gone. And your chances with them.
EXT. ISBOEL'S HOUSE, LATE EVENING.
Isobel's butler loads several suitcases onto the back of Merton's car. Isobel gets into the car next to Lord Merton. She is fidgeting.
MERTON
What's the matter?
ISOBEL
I feel I shouldn't be so happy. And it's ridiculous, sneaking off to elope at my age.
MERTON
Much as Lady Merton and I were at odds, we were friends to a point, and I think she would want me to be happy. What do you think Matthew would want?
ISOBEL
I know what he would want. But it may take me some time.
MERTON
Time you'll have. I won't rush you. And you needn't worry about being happy all the time.
She looks at him.
He grins, rakishly.
MERTON (CONT'D)
I snore.
INT. TRAIN, NIGHT.
Bates and Anna are seated next to each other. The train interior is softly lit.
ANNA
Another baby in the house.
BATES
It was safest to bring them back for now. I'm glad Lady Edith could see that.
ANNA
We can't be sure that's all of his film.
BATES
Only everything I could find in the flat, including the film in his cameras. But we'll destroy all of this.
ANNA
I'm looking forward to a quiet evening at home now.
BATES
Oh. Sorry, it won't be tonight.
ANNA
Why not?
Bates unfolds his letter from the morning and hands it to her. She reads it, open-mouthed. She throws her arms around him. He laughs.
THE END