Upstairs, Downstairs (1971–1975): Season 4, Episode 6 - Home Fires - full transcript

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Daisy, have you not finished
brushing the master's hat?

Mrs. Ganton obviously needs you
in the kitchen.

I'm not a blinkin' valet,

and I'm not Mrs. Ganton's
blinkin' kitchen maid, neither.

Oh, evening, Mrs. Ganton.

Evening, Rose.

- Hello, Daisy.
- Hello.

Phew, hard day.

Stifling on that bus, even
upstairs in the fresh air.

Still, it's a lark.



The people
on that East End run, Daisy.

You should hear
their language.

Bring us a bowl of water
for my feet, will you?

Oh, they're dropping off.

No, I will not.

Sorry, I'm not
your ladies' maid, Rose.

I beg your pardon.

DAISY: Ever since you've become
an omnibus conductorette,

you've carried on
as if you own this place.

Every night, asking me favours.

You're not like
a servant anymore.

ROSE:
Not like a servant anymore?

I'll have you know I serve my
country and this house equal.

I do a full day's work,



then I come back and do
a full day's work

clearing up after you,
all in one day --

- DAISY: Aw, you poor thing.
- So don't you be so cheeky.

I do four people's work --
Ruby's work,

Eddie's work,
my work, and your work.

And that Mrs. Ganton
don't know where nothings kept.

[Bell ringing]
Nobody helps me.

My legs is dropping off

and my hands have gone
all wrinkled and old, look.

Daisy, did you not
hear me calling you?

It's the front door, girl.

It's not my place
to answer the bell, Mr. Hudson.

It's not your --
It's if I tell you, my girl.

Off you go now, look sharp.

Take this up with you.

Quickly now, quickly.

She's having a brainstorm.

Yes, I rather fear it's
her marriage affecting her.

She simply isn't mature enough

to handle the strain
of an absent husband.

Or a present one neither.

Well, that remains
to be seen, Rose.

But she's certainly
no use to anyone

if she's continuing to behave --

Oh, Rose, please.

PRUDENCE:
Hazel, my dear.

RICHARD: Prudence has called
to see both of us.

PRUDENCE: On a mission
of some urgency.

- Oh, Prudence.
- You'll have a glass of sherry?

Uh, no, thank you, Richard,

I'm trying to give it up,
as an example.

RICHARD: To whom?

Well, to everyone.

I mean, the nation.

Well, there's nobody here
except us.

Then I'll have
a glass of sherry.

Oh, Richard,
you do look elegant.

Hard work suits you.

Are you going out
on Admiralty business?

Yes, and dining afterwards
at the Savoy

with three civil servants
and their wives.

Hazel.

Oh, what fun
to dine at the Savoy.

I never go anywhere these days.

One isn't even asked to
one's friends' houses anymore.

Oh, the dinner parties
darling Marjorie used to give.

Do you remember them?

Yes, I do remember them.

Poor, wonderful Mrs. Bridges.

She must be feeling
dreadfully underemployed.

Mrs. Bridges is at Yarmouth
at the moment

with her sister
and brother-in-law.

Their house was
very badly shelled,

so I think she's fully employed
dealing with that.

I've just come from a meeting
at Lady Birkhampstead's house

to discuss her idea of giving
a series of tea parties

in all our homes
for wounded officers.

Now, isn't that a good idea?

Do you know
there are wounded officers

wandering about London
like dazed sheep?

Now, our idea is to herd them
all together,

cheer them up with tea and buns
and the company of nice ladies

and let them talk
about their troubles.

And you want to borrow
this house.

Ah, how quick you are, Hazel.

That's just what I want.

Mine really isn't suitable,

and your drawing room lies idle
and inviting.

Yes, well, I'm sorry, Prudence,

but it's quite out
of the question,

I'm afraid.

PRUDENCE: Oh.

Any particular reason?

Several.

To begin with, I cannot agree
with your idea

that there are wounded officers

wandering around London
like dazed sheep.

They have their clubs.

And most of them, if not all,
have good homes to go to.

If anyone needs help and advice,
it's the poor wounded privates.

PRUDENCE: Dear Hazel, the poor
wounded privates

are well catered for by the YMCA
canteens and places.

It's the wounded officers
who are being neglected.

Anyway, what would privates make
of a house like this?

Awkward, clumsy soldiers

spilling tea and crumbs
all over the furniture.

The drawing room is shut up
for the duration.

And Richard's study.

The servants
have far too much to do.

So, on a purely practical level,
Prudence,

there is no point
in even discussing

having a tea party here.

Richard --

HAZEL: NO!

I must be allowed
to decide this matter.

Marjorie wouldn't have
hesitated.

Lady Marjorie would have refused
for exactly

the same reasons I am --
to consider her servants.

Oh, for Heaven's sakes,
stop it, the pair of you.

Do you not realize there are far
more important issues at stake

than endless, stupid arguments
of this nature?

- But, Richard --
- It's quite immaterial to me

whether you have a tea party
in this house or not.

I am going out.

I do suggest
you consult Hudson first.

What a good idea.

Excuse me for being
improperly dressed, sir.

I am just getting ready
to go out on duty.

Oh, that's quite all right.

Shall I fetch you a cab, sir?

No, thank you, Hudson.
I shall enjoy the fresh air.

Oh, that hat's been
very well brushed.

Very good, sir.

Oh, Hudson?

My lady.

I was just asking Mrs. Bellamy
whether we might use

the drawing room for a tea party
for wounded officers,

and she was a little bit
worried, weren't you, Hazel?

She was afraid that it
might be too much work,

too much of a challenge.

Oh, no, my lady.

You can be sure it's exactly
the kind of challenge

we'd be happy to rise to.

Are you certain, Hudson?

Do think carefully.

Lady Prudence will quite
understand.

No, no, madam,
have no worries on our behalf

with such a worthwhile cause.

What sort of numbers did you
have in mind, my lady?

Well, what sort of numbers
could you manage, Hudson?

Oh, well, as many
as could comfortably

fill the drawing room, my lady.

Oh, splendid, Hudson,
I knew I could rely on you.

Well, that all seems
to be arranged.

Thank you, Hazel,
it's very noble of you

to put yourself out.

I'll let you know
the details later.

Ooh!

Who are you?
What do you want?

[Australian accent]
Uh, I'm sorry.

Nobody heard me knocking
at the back door.

DAISY: You give me
ever such a fright.

MAN: I'm sorry.

I used to know a Miss Rose Buck
who worked here.

DAISY:
Oh, well, she still does.

MAN: Oh, she does?

Well, I'm in London
on a bit of leave,

and I thought I'd come round
and look here up,

you know, and the rest
of the staff.

Rose wouldn't be here now?

Is she in the house,
upstairs or something?

DAISY: I know you --
I've seen your photograph.

Yeah?
Must be quite a while back.

DAISY: You're Gregory.

GREGORY:
That's right, Gregory Wilmot.

Is Rose here?

No, no, she works as an omnibus
conductorette in the daytime.

She gets back about 6:00.

GREGORY: Bus conductor?

Well, that's where we first met,
on a bus.

DAISY: Oh, she said it was
a tram and you sat on her cake.

Yeah, that's right.
It was a tram.

What's your name?

Daisy.

GREGORY:
Pleased to meet you, Daisy.

DAISY: Yeah, I was in hospital
last time you come,

and they all talked about you.

GREGORY: Oh, yeah?

Well, I remember Edward,
the footman.

DAISY: I'm Eddie's wife.

GREGORY: You are?
Well, that's very good.

I liked Edward.
Is he here now?

DAISY: No, no, he's with
the Middlesex Regiment,

up at the front.

Oh, well.
Mustn't worry too much.

Mrs. Bridges still here?

- Mm-hmm.
- Famous cakes.

Mr. Hudson still the butler?

Yeah.

Yeah, I remember I had a bit

of a barney with him
about politics.

Oh, all in good spirit, mind.

At least I think it was.

Daisy, I don't know what you
heard about me and Rose.

Oh, well,
I think she thought

you was married already
or something.

Yeah, that's right.

Ah, it was all
a misunderstanding.

We wrote to each other
and cleared it up in the end.

And I'm over it now.

Well, she kept your photograph.

It's in a drawer in our room.

GREGORY: Oh, is it?

Do you know if she ever
brings it out?

Do you remember me?

Gregory Wilmot.

Rose's old friend.

Gregory Wilmot.

Well, goodness.

What are you doing here,
Sergeant Wilmot?

Well --

He's just come to look Rose up,

Mr. Hudson,
for old times' sake.

Yeah, that's right, I was
in London on a bit of leave

and I thought I'd come round and
see how you were all getting on.

Yes, well, I'm afraid she's
not here at the moment.

I must say, frankly,
I'm surprised

you should wish to see her
again, after what happened.

Oh, well, I don't bear
any grudge, Mr. Hudson.

I understand it now,
it was asking too much of her

to uproot herself
and go to an unknown country

and leave all of you.

I know that she looks upon you
as her family.

Well, that's very magnanimous
of you.

He never was married,
Mr. Hudson.

He's got nothing
to blame himself for.

Yes, I know that.
Thank you, Daisy.

Rose did later confide in me
that she'd made a mistake.

She certainly had.

Still, water
under the bridge now.

As you say,
water under the bridge.

Oh, I see that's

an ANZAC badge you're wearing.

Yes.
That's right.

HUDSON:
I've read about the exploits

of our Dominion forces
in the newspapers.

You appear to have done well
in difficult conditions.

GREGORY:
Well, it wasn't too pleasant.

Daisy was just telling me

Rose usually gets home
about 6:00,

so perhaps I --

Yes, she does, but I'm afraid

it's not very convenient
to see her then.

She has her household duties
to catch up on.

Does she ever get any time off?

Well, she has a half day
on Saturdays.

Ah, Saturday.

Unfortunately, time is something

we are all rather
short of these days,

and I must get back to my work.

Right.

Nice to see you again,
Mr. Hudson.

And you too, Daisy.

Give my regards to Rose

and tell her I'll look in
on my next leave, if I may?

Yes, of course.

We'll tell her that,
Sergeant Wilmot.

Goodbye.

Goodbye, Mr. Hudson.

Daisy.

Goodbye.

If you want to see Rose now,

she's on a number 25 omnibus,

Victoria to Ilford route,
all right?

BOY: Paper!

BOY: Paper!

Paper -- read all about it!

Paper!

Paper, read all about it.

Paper!

Paper!

Read all about it!

Paper!

[Baby crying]

Any more fares, please.

Fares.

Fares, please.

Fares.

All the way, please.

Rose.

I'll, uh,

I'll see you
at the terminal, shall I?

Excuse me,
I have to talk to you.

Your uniform --
were you in Palestine?

Yeah, yeah, that's right,

but only for a short while.

WOMAN: Yes, I knew it.

My husband, you see,

fought alongside the Australians
in Palestine.

You were all heroes to him --

such marvellous valour
and discipline.

He used to tell me
in his letters.

He was so angry.

He was convinced that
the British people

weren't being told how much
the Dominions were doing.

I have his last letter here,

before he was killed in Jericho.

Please, read
what he says about you.

Thank you.

Yeah, that's very nice.

It's very kind of your husband.

I'm having tea
with my sister in Ilford.

If you're not doing
anything else,

we'd be very happy
if you'd join us.

My husband
would be very gratified

to know that I'd met you

and that I'd been able to offer
you some hospitality.

Well, I'd like to very much,

but unfortunately I do have
another appointment.

Otherwise --

How ridiculous.
Yes.

I've offended you.

No, no.
You haven't offended me at all.

I'm not in the habit of talking
to complete strangers.

No.
I really appreciate the --

Stupid.
Embarrassing.

Absurd.

Can I take you somewhere else?

A proper tea shop?

ROSE:
I haven't got enough time.

GREGORY:
Yeah, but I don't work here.

They're going to chuck me out.

ROSE: They won't notice.

Same hats.

[Laughing]
That's right!

That's very funny.

It's good to see you, Rose.

You haven't changed
one little bit.

ROSE: Go on, I must have done,
two years.

Nearly aged ten years,
seeing you on the bus.

Why didn't you warn me?
Could have had heart attack.

GREGORY: Well, I had to wait
quite a while at that bus stop.

Passed me going the other way.

What's this I'm eating?

Could have broken
me flamin' teeth.

ROSE: Should have gone with your
lady friend on the bus then.

- Yeah.
- What a nerve.

Yeah, well, I think she was just
worked up about things.

ROSE: It didn't look
like that to me.

GREGORY: Yeah, well, I'm here
with you, aren't I?

[Laughs]
Yes.

How long leave you got?

GREGORY: Friday.

Then I go off on a reinforcement
holding unit in Gloucestershire.

- Not fighting?
- No.

I'll go to France eventually.

Do you know, I spent a whole
week wondering

if I should come and see you.

ROSE: You wasted a whole week?

GREGORY: I didn't know what kind
of a welcome I'd get, did I?

After you left me
at the docks, I --

ROSE:
Well, don't go on about that.

You're here now.

GREGORY: That's all very well
for you, Rose,

but I felt pretty hard done by.

ROSE: I did write
and try to explain.

GREGORY: Yeah.
Yeah, you did.

It was a good letter.

And I accepted your decision.

Ah, it's all over now.

We can be friends.

Did you have a bad time?

GREGORY:
No, not as bad as some.

I suppose I've been
one of the lucky ones.

All in one piece, anyway.

Still got your farm?

GREGORY:
Yeah, yeah, it's doing fine.

I've got some people
looking after it.

It seems to be holding up
quite well.

ROSE: I suppose women
have to look after it,

with the men away fighting.

I'm not married, Rose,
if that's what you mean.

How did you know
what bus I was on?

Uh, Daisy told me.

Oh, you been to Eaton Place?

Yeah.
Seen Mr. Hudson again.

Seemed quite friendly.

Praised our Dominion forces
in Gallipoli.

ROSE: Like your lady friend
on the bus.

GREGORY: Yeah.

Do you want the truth?

Do you want to know
what really happened?

Oh, I was at the landing,
all right, one of the first.

All I can remember was I jumped
out of a boat in the dark,

Walked five yards,
got a bullet in my shoulder

and fainted clean out.

Next thing I knew, I was back
in bloody Alexander office

before I knew I'd left it.

I went back later,
when it was quieter.

Poor arm.

Nah, it's nothing.

Just got me here --
odd twinge now and again.

Otherwise.

Do you want to have a look?

Not here!

I suppose if I'd gone with you
to your farm,

I'd be stuck in it right now,

Waiting for you
to get yourself killed.

GREGORY: It wasn't my fault
there was a bloody war, Rose.

ROSE: Watch your language.
And don't be so touchy.

Go on, eat your bun up.

Where you staying?

GREGORY: Dorothy and Hamish,
Potters Bar.

Oh, you met them, remember?

ROSE: How could I forget?

GREGORY: Well, they're putting
me up in their front parlour.

ROSE: Dorothy looking after you
all right, is she?

GREGORY: Yeah, quite well.

It's certainly nice
to see you again, Rose.

I expect you're
very busy these days.

Oh, not that busy.

So we can meet again, then,
before I go back?

Oh, I don't see anything
stopping us.

Mr. Hudson, he --

Him? Don't want to take
any notice of him.

Oh, that's good, then.

I could take you
to meet

Dorothy and Hamish --
They'd like to see you again.

We were only talking about you
the other day.

ROSE: All right,
I don't mind going,

if that's what you want.

I don't mind, Rose.
It's up to you.

All right.

MAN: Off we go then, Rosie.

Back to work, love.

Oh, um,
This is Charlie, my driver.

Gregory Wilmot, friend of mine
from Australia.

Whatcha, Gregory.

Mr. Wilmot's been fighting
in Gallipoli.

Got himself wounded.

Oh, yeah?
Where's Gallipoli?

GREGORY: Dardanelles.

Ah, fighting Fritz,
was you?

- Ahmed.
- Eh?

Ahmed.
Johnny Turk.

Oh, the bashee bazooks.
Yeah, I've heard of them.

Well, come on, there,
sweetheart.

Don't she look lovely
in a uniform, eh?

Don't you, darling?

Get off.

Look, I finish
at Victoria, 6:00.

Meet me then?

GREGORY: Yeah, yeah.
Yeah, fine.

ROSE:
Here, let me in a minute.

I'll probably get
all me fares muddled.

CHARLIE: Come on, Rosie.

ROSE: Don't keep me waiting.

Where the heck am I?

Rose!

Rose!

Rose!

Rose!

Oh! Hold up, quick.

You're in trouble, Rose.

ROSE: Why?

'Cause you're late.
And Mr. Hudson wants to see you.

I've been working 50 minutes

longer than what
I should have been.

You found her all right, then,
Sergeant Wilmot.

Yeah, all thanks to you, Daisy.

Why don't you go
and put the kettle on?

Come into the servants' hall,
Gregory.

Sit down.

Thank you.

[Sighs]

Oh, do you want a hand?

Oh, thanks.

Your poor arm.

No, no, it's fine, fine.

There we are.

Oh, that's better.

Cooler.

Rose, you had a visitor --

Oh, good evening,
Sergeant Wilmot.

Good evening, Mr. Hudson.

You'll never guess, Mr. Hudson.

I was on top of my omnibus,
taking tickets,

and who should be sitting there
but Mr. Wilmot.

Sergeant Wilmot, I should say.

What a strange coincidence.

ROSE: I know, isn't it?

He's just come back
for a cup of tea.

Don't mind, do you?

HUDSON: No, no.

ROSE: He's promised not to talk
about politics, haven't you?

Well, I hardly think
political discussions

are "revelant" at the moment.

I'm sure we're all united
in the common cause.

GREGORY:
That's right, Mr. Hudson.

Smash the enemy.

Mr. Hudson follows the war
on maps, don't you, Mr. Hudson?

But when you can't
get hold of any,

he draws them himself
and sticks flags in 'em.

I'm sure Gregory'd be interested
in seeing them, wouldn't you?

Oh, yeah, yeah,
I'd be most interested.

Well, as a matter of fact, I --
I did take quite an interest

in the Gallipoli campaign,
and I have got a map.

ROSE: Why don't you fetch it?

HUDSON: Shall I?

GREGORY: Yeah, yeah.
I'd like to see it.

Well, we have got a wee bit
of time to spare.

Miracle.

Must be your uniform.

GREGORY: Nah, nonsense, Rose.
My personal charm.

Charm the birds off the trees
if I want to.

Now, now, didn't mean that.

Oh.

Has there been anybody else
in your affections?

GREGORY: Well, Rose, two years,
I'm only human.

ROSE: Don't want to hear
about it, then.

[Laughs]
No. Come on.

One year getting over you,

next year I was
fighting Johnny Turk.

What about you?
All that bus conducting.

Don't get enough time.

GREGORY: Yeah -- handsome young
drivers, though, eh?

Now, this map here,
Sergeant Wilmot,

rather a rough approximation
of the peninsula, I'm afraid.

Sit down, Sergeant,
sit down, please.

Now, Asia Minor here, you see.

Gaba Tepe,
Achi Baba mountains --

You seem to know more about it
than I do, Mr. Hudson.

Oh, hardly.

Now you would have beached
about --

about here, would you not,
at Suvla Bay, on the 25th

or the 26th
of April last year, right?

GREGORY:
Here, that's right.

Spot on.

It was the way
he went about finding me

It was the way
he went about finding me

that I thinks so marvellous.

He waited almost all day
at the bus stop

for me to come along,
then he went all the way

to Ilford with me
and we had tea together,

then he come all the way back.

And he's met me
twice after work since.

HAZEL:
Then he must be serious.

ROSE:
Oh, I think he is, madam.

When I think of the awful way

I treated him last time --
oh, Lord.

Still, he seems
to have forgiven me,

and it's better
than it ever was before.

Older and wiser, I suppose.

But I know if he was to ask me
to marry him this time,

I wouldn't think twice about it.

Oh, that is, if you advised it,
madam, in wartime.

HAZEL: Oh, Rose,
you mustn't think of the war.

That's going to end sometime.

But do you think you could face
living in Australia?

ROSE: Oh, yes, madam, it's
the land of opportunities now.

Even more than this country.

And I don't want to be
in service all me life.

I don't want to discourage you,
Rose, in any way.

But what has happened
to make you change your mind?

ROSE: Oh, don't know, madam.

Maybe absence made the heart
grow fonder.

Well, if you really feel
confident, and he asks you,

you must be ready this time

and not let the chance
slip away.

Thank you, madam.

That's what I hoped you'd say.

Oh, ho, ho.

There.

That's it.

Put it down there.

Down there, love.

DOTTY:
There, that's it, I think.

Specially for the little
housemaid.

Now none of that talk, Dotty.

She's Gregory's guest,

and we want to give them
a nice evening.

'Course we will.

Just hope the little lady
doesn't get

any ideas above her station
like last time, that's all.

It was Gregory
who got all the ideas.

You can't blame her for them.

Pour me a drink,
will you, dear?

You've had a couple already,
Dotty.

Pour me a drink, please, Hamish.

Here she is, here's the girl,
captured off a 25 omnibus.

- Ah.
- Hello, dear.

Come in, don't be shy.

Come in, Rose.

Nice to see you again
after all this time.

A bus conductorette,
so Gregory tells us.

Not a very pleasant job,
I should imagine.

But then, you're used to
unpleasant jobs, aren't you?

What unpleasant jobs,
what are you talking about?

Come on, Rose,
have a drink.

Now, what'll it be?
A spot of whiskey?

Yeah, yeah.
Go on.

Well, just a small drop,
then, Hamish.

What terrible times
we're living through.

Don't you agree, dear?

'Course, it must be different
for you down in Belgravia.

You obviously get
a lot of things

that we don't get up here.

I mean, we're out in the wilds
up here.

It's a real struggle
to keep alive.

Don't look like it.

Oh, well, we're putting on
a little show for you, dear.

Little buffet supper
for Gregory and his guest.

Yes.

You've started a bit early,
haven't you, Dotty?

She just had one for her
neuritis, that's all, Gregory.

Here you are, you better have
one too, catch us up.

Cheers.

- Cheers.
- Cheers.

Of course, Hamish would have
been fighting, like Gregory,

but he's got
this awful gammy leg.

Haven't you, dear?

He suffers
terrible pain with it.

Don't think Rose wants to hear
about Hamish's leg, Dotty.

No, of course she doesn't.
Come on, Rose, sit down.

Sit down, tell us all about life
on the omnibuses.

I hear there's this man
who keeps getting on,

making faces at you.

Some loony who's been making

a nuisance of himself,
I've heard.

Yeah, that's right.

Hey, Rose, tell 'em
about her ladyship.

Now, she'd never been
on a bus before.

Always had her chauffeur,
I suppose.

Yes, that's right.

She didn't have any money
with her.

Oh, I trust you booted her off.

Oh, I couldn't, she was a lady.

Would you believe it, eh,
even in wartime --

one rule for the rich,
one for the poor,

good old England.

If you don't like the country,
why did you come back?

Oh, we are patriotic, aren't we?

Yes, I am.
Aren't you?

I love this country, Rose.

Well, I'm risking my neck
for it, aren't I?

Well, what does anyone say
to a spot of dancing, eh?

Here, look at this.

Dotty brought this back with her
this afternoon.

Don't ask me where she got it.

Shut up.

I do some collecting,

things people don't want,
charity work.

[Music starts]
HAMISH: There we are.

Not quite the Café de Paris,
but a passable imitation.

Come along, Gregory.

HAMISH: Oh, that seems to leave
just you and me, Rosie.

DOTTY: Last time we danced,

we were with our neighbours,
Bob and Patty walters,

Weren't we, Hamish?

Oh, yes.
There was an air raid whistle.

And we all ended up
in a cupboard under the stairs.

Getting tipsy on whiskey.

Might happen again tonight.

Oh, what about your gammy leg?

Oh, that's --

Oh, yeah, Hamish, Rose is right,

you ought to go easy on it.

Look, I'll take your partner
and you can, uh --

refill the glasses.

Come and have a look
at that potted plant,

it's the only bit of real live
jungle in Potters Bar.

[Gregory sighs]

Oh, Gregory.

DAISY: Did you have
a nice time, Rose?

All right for some.

Oh, Daisy,
I thought you was asleep.

Oh, I can't sleep.

Where have you been?

See some friends of Gregory's
at Potters Bar.

What's that?

That ring, did he
just give it to you?

No, matter of fact, he gave it
to me a long time ago.

Oh, when you was engaged before.

Yes.

Didn't you never give it back?

Didn't ask for it back.

Are you going to start
wearing it again?

Well, I was thinking
of wearing it at work, 'cause --

well, you get so many rough
types taking liberties,

and I thought if I wore it,
it would put them off.

What does Gregory
think about that?

He don't know.
And it's Sergeant Wilmot to you.

All right, Rose,
don't bite my head off.

I mean, a man's got to know,
don't he,

if you're wearing his ring?

Yeah, I suppose you're right.

You could wear it in here
though, at nights.

I shan't tell a soul.

Oh, hello, Sergeant Wilmot,

Oh, hello, Sergeant Wilmot,

I'm afraid Rose won't be back
for some time.

She's working.
Yes, I know.

It was you I wanted to talk to,
Mr. Hudson,

if you can
just spare a minute.

Of course, of course,
come away there, my boy.

Sit you down, sit you down.

Now, what can I do for you?

I've just heard this morning

I'm on 48-hour standby
to go to France.

Oh, I see.

Well, I wish you godspeed.

Thanks, Mr. Hudson.

But it's not that that I'm
worrying about at the moment.

It's Rose.

You see, when I came back here,
it was just meant

in the true spirit of
friendship, to you all,

you know, looking up
old friends.

I really, seriously, didn't mean
to start up anything with Rose.

I'd got over
my disappointment,

and I naturally thought
she'd done the same.

But I certainly didn't mean
to -- well, spark her off.

And that's what
I think I've done.

It isn't that I don't have
great affection

and respect for her,
and if things were different --

but they aren't.

I just don't feel I can offer
her the kind of life

that I had worked out for us.

Your sheep farm in Australia,
it's in financial trouble?

No.

Perhaps the trouble's in me.

You see, I like things
neat and tidy, no loose ends.

What really worries me is going
to the front in 48 hours.

Now, I know she's
going to expect me to --

well, to say something, to make
some kind of a proposal.

And I really don't feel
I can do that.

What you're saying, in effect,
is, you don't love her anymore.

Ah, strong word, Mr. Hudson.

One I've always tried to avoid.

Maybe that's been the trouble,
I don't know.

All I do know is,
I made

a terrible mistake,
coming back here.

You see, I've led her on
into expectations.

I don't want
to hurt her feelings.

I'm sorry about it.

I'm in a jam.

I'm glad you've come to me,
Gregory.

No one knows Rose
better than I do.

I should like to help you.

Now my advice,

for what it's worth --

It's worth a great deal,
Mr. Hudson.

Is that you should
write a letter,

here and now, before you leave.

But saying what?

I can't tell her
what I've just told you.

I'd feel a fool.

You're saying, in kindly terms,

that you're not
going to see her again.

Not even to say goodbye?

Not while your feelings
are such as they are.

Now, it may seem
a wee thing harsh --

Oh, I can't tell her

a thing like that, Mr. Hudson.

It's going to kill her.

With respect

to your undoubted qualities,
Gregory,

there are other pebbles
on the beach.

Rose is out a great deal,
meeting people on the omnibuses.

She's open to the possibility of
romance as she never was before.

Now, I'll go and get a pen and
some writing paper in my pantry,

and we'll compose this letter
together, shall we?

Just you wait here a wee minute.

I know you don't want to talk
about this beastly tea party

any more than I do, Richard,
but it is becoming

increasingly clear to me
that Prudence is waging

a subtle campaign to take over
this house and everything in it.

And rather than face up
to the unequal struggle,

I am prepared to abdicate
here and now, if you wish,

and hand the whole thing
over to her.

You're not listening.

Yes, I am.

Hazel, you must realize

that Prudence was Marjorie's
oldest friend.

She knows more about this family
than we know ourselves.

Oh, she has a number of tiresome
qualities, I admit,

but over the years,
they become quite endearing.

They might be endearing to you.
They get on my nerves.

Well, they only get on my nerves

when I hear them in constant
opposition to you.

Now, Hazel, I've got
a lot of work to do,

and I cannot concentrate
on anything

when I hear the endless clack
of domestic trivia.

I'm sorry, Richard, but --

[Door slams]

Ah.
Phew.

Oh, uh, Rose, this letter was
handed in for you earlier today.

Oh.

Come along, Daisy, Mrs. Ganton
needs you in the scullery.

Quickly, girl, quickly.

HUDSON:
ls everything all right, Rose?

Did he come here, Mr. Hudson?

Deliver this in person?

Yes, I believe he did, Rose.

Did you see him?

Yes, I saw him.

Rose --

Did he speak to you about me,
Mr. Hudson?

Well, briefly.

You know about this, don't you?

You know what's in it.

You put him up to it.

HUDSON: No, Rose.

ROSE:
You don't want my happiness.

You don't want me
to leave this place.

Oh, don't be absurd, girl.

You don't, or you wouldn't
have made him write it.

You can't deny it, Mr. Hudson,
them's your phrases.

I can hear your voice
saying them.

He had already decided, Rose,
before he came here.

I merely helped him.

Helped.
Oh, yes, you helped, all right.

You've always had it in for me.

Didn't want me to go
with him last time.

It was listening to you
made me not want to go.

You'll always stop me,
won't you?

I'll have to stay in this house
and grow old till I rot.

Rose.

Why can't you let me
have a life of my own?

HUDSON: I believe the letter

was a good letter, madam,

an honest and responsible
letter.

You saw it?

HUDSON: I helped
Sergeant Wilmot compose it.

HAZEL: what?

At his own request, madam.

I see.

Well, Hudson, l wish
you'd consulted me first.

I know Rose probably better
than most people,

and I should have liked to have
talked to Sergeant Wilmot

before any letters were written.

Letters, they're so final.

Sergeant Wilmot is going out
to France, madam,

and he felt it would be
dishonest

to continue the relationship.

It would be unfair and possibly
damaging to Rose.

Is she not damaged now?

She is a little subdued, madam.

But she went off to her work
on the omnibus

this morning as usual.

Bring her straight up to see me
when she returns.

Oh, madam, I feel --

Thank you, Hudson.

Now, come on, dear.

You did the right thing,
you know you did.

So have a drinkie

and put the little parlour maid
right out of your mind.

Oh, dear, oh, dear, oh, dear.

What a terrible storm.

It was lovely five minutes ago.

What's this?
What's she doing here?

Where is he?

Oh, there he is, my dear,
he's in the conservatory.

Come along now.

Come on.
That's the way.

We'll just leave them alone,
Dotty, shall we,

to have a nice,
quiet little chat together.

There.

Come away, Dotty.

You'll kindly let me do what I
like in me own home, Hamish.

What did you come for, Rose?

Hamish brought me.

Phhh, smell of these plants,
can't stand 'em.

GREGORY: I didn't think
you wanted to see me.

ROSE: I don't, much.

GREGORY: I mean, I thought
I'd said everything.

ROSE: Oh, yes, you've said
everything, but what about me?

Am I not allowed
to say anything?

GREGORY: Well, I thought
you'd probably write.

ROSE: An insulting letter
like your'n?

GREGORY:
It wasn't insulting.

ROSE: Wasn't it?

And the whole staff
knew about it.

You were there all afternoon,

composing your literary
masterpiece,

and then waiting for me
to open it, see if I'd cry.

- Now, Rose --
- Only I didn't cry.

Wouldn't give them
the satisfaction.

I've got too much pride.

I went straight upstairs
and I tore your photograph

into tiny little pieces, the one
what I've had for two years.

What do you think of that?

- I think -- very natural.
- Natural.

Very understandable
under the circumstances.

Couldn't even write it yourself.

Had to get Mr. Hudson
to help you.

Didn't they teach you to write
at school, Mr. Big Sheep Farmer?

- Now Rose, steady on.
- Oh.

Did Mr. Hudson tell you?

Didn't have to.
Written all over his face.

Rose, I didn't mean --

Didn't mean?

Why did you get on my bus, then?

Why did you come looking for me
so special?

Well, it wasn't so special,
was it?

No?

Well, I mean, I couldn't
call on them at Eaton Place

and not see you, now, could I?

You never loved me.

Not this time.

I meant more friendship.

What's that?
What are you doing?

That's our engagement ring,
in case you don't remember.

I could sue you
for breach of promise.

GREGORY: Oh, no, Rose,
I don't think you can do that.

ROSE: Oh, yes, I could --
you proposed to me

in front of the entire staff
of 165 Eaton Place.

GREGORY: Did I?

ROSE: April 12, 1914.

GREGORY: Oh, yeah, but --

ROSE: Don't worry,
I'm not going to.

I got too much pride.

You take somebody else
back to your hot, dusty farm.

I just hope you don't treat her
as bad as you've treated me.

HAMISH: Rosie --

DOTTY: The little madam.

Don't you worry, dear,
you let her go.

You're well rid of her.

Now, I want
to talk to you, alone.

Do you mind leaving us, please?

- Now, hold on.
- Now, shove off!

No, that's fine.

ROSE: What you doing here?

How'd you get here, anyhow?

- On the bus.
- Not mine.

No, not yours.
The one before.

What does it flamin' matter?

ROSE: What do you want?

GREGORY: I'll tell you
what I want, Rose.

I want you to see
my point of view.

ROSE: Oh, not again.

GREGORY: Now listen --

ROSE: Everyone's staring.

GREGORY: I don't give a damn!

ROSE: You're spilling my tea.

GREGORY:
Can we go somewhere else?

ROSE:
I've got nothing to say.

GREGORY: Now Rose, will you
just listen to me?

Rose.

I admit that letter was probably
a mistake,

but I meant it sincerely
for the best for both of us.

- On.
- I did.

Can't a man make a mistake?

And it wasn't very nice,
you saying those things

in front of my friends,
either.

ROSE: What things?

GREGORY: You know
what I'm talking about.

ROSE: Brought you down in front
of your friend Dorothy, did I?

GREGORY: Oh, now,
don't be so ridiculous.

I've got nothing going
for Dorothy.

I don't even like her much.

ROSE:
You try telling her that.

GREGORY: What are we even
talking about that for?

It's us we've got to sort out.

Now, I'm going to France
in the morning, and I don't --

I don't know
what you want from me.

ROSE: I wanted some honesty

about our feelings
for each other.

GREGORY: I've given you that
in the letter.

ROSE: Pardon me, but what you
said in the letter was,

you was going to France,
wasn't good enough,

and you had nothing
to offer me.

Do you think
that's being honest?

What do you think I want?
Buckingham Palace?

Never thought you would
so lower yourself.

I mean, I'm no great catch,

no one's snapped me up
in the past two years.

GREGORY:
Nobody's snapped me up, either.

ROSE: No, right.

Must mean something, then.

GREGORY: Now, Rosie, we've had
a good time together

these past few days,

but you know
as well as I do that --

well, it wasn't like
what it was before, now, was it?

Now, come on.

Now, you be honest.

All right.

No, it wasn't.

- Be honest --
- But shall I tell you why?

It's you what's changed,
Gregory.

You used to have
such marvellous ideas,

about life in Australia
and things.

You used to be so positive.

It's what I loved about you,
hearing you talk.

And I've waited to hear it
this time.

But it's gone.

And I don't know where.

GREGORY: Yeah, well.

It's right,
it's true, what you say.

But you've got to understand
what it's like,

being out in a place like
Gallipoli, what it does to you.

I don't mean getting hurt,
I just mean --

these people don't
have the first bloody idea.

ROSE: I know they don't.

GREGORY: The stink of death in
your nostrils month after month.

Flies swarming over dead flesh.

I -- I trod on something once.

It squelched under my boot,

green and black,
like a rotten mango.

It was a human face.

I'm sorry, Rose, I didn't mean
to talk about that side of it.

But when you think,
"He used to be a real person

like you and me,"

well, you see something
like that,

and you start thinking
about the whole human race.

Ah, I don't mean
big, new thoughts

that are going to
change anything.

I just mean private thoughts.

You find all the things
you used to be sure about --

your work, your future,

the woman you love --

you just find that suddenly --

it's so meaningless,

utterly godforsaken,
and bloody pointless.

Yes, but you've got to get
that feeling back, Gregory,

that you once had.

Otherwise, you've got nothing
to stay alive for.

That's what they all say.

But it's buried, it's gone out,

and anyway,
it's better there's nobody.

ROSE: But it isn't going to
happen, necessarily.

It hasn't happened so far,
you've been --

You've been one
of the lucky ones.

You've got to have faith.

GREGORY:
Yeah, you are right.

Going to give me religion?

ROSE: No.

Well, then what, then?

You tell me.

ROSE: We...

well, I don't know.

Have a sort of understanding,
I suppose.

Wait and see.

An understanding?

Mm, yes.

GREGORY: No.

It's all I want.

Nah, it's no good, Rose,

just some vague sort of promise.

It's not fair to you, and it's
not my way of doing things.

There's only one way,

and that's to make you
a proper offer of marriage,

which I do here and now.

But just a minute ago --

Yeah, and I --
never mind about that.

You've helped me make up my mind
and you can't go back on it now.

Oh, do you think I want to?

We'll get married
when the war's over.

First day?
Very first day?

Yeah, right, the first day.

What, what happened to the ring?

I threw it at you.

Yeah, that's right, you did.

Well, we've
got to get it back.

Now, I'll get Hamish
to bring it round to you.

I'll get him to deliver it
to you at Eaton Place.

And you just make sure
that you wear it.

Of course I will.

And you show it
to all these bus drivers.

I will, I will.

Oh, Gregory.

Right.
Well, that's settled then.

What do we do now?

Can't set it back.

My train leaves
very early in the morning.

You'll see me off?

ROSE: Of course I will.

Ah, first we'll
have to see Mr. Hudson.

GREGORY: Oh, no.

Well, we'll have to, otherwise
he won't believe me.

He'll think
I'm making it all up.

GREGORY: Yeah, well,
probably are, but I don't care.

ROSE: You might be.

GREGORY: Right.

We give him five minutes then.

Our time's precious.

Mind if I break this up?

Her and me have got
a bus to catch.

I don't quite understand,
Sergeant Wilmot.

I don't quite understand,
Sergeant Wilmot.

It's simple, Mr. Hudson.

He's changed his mind,
that's all.

Now, we've only got
a few minutes,

just time for some tea,
and then we're going out, right?

Mm.

Come on, Daisy,
you help me make the tea.

All right.

Are you sure
you really want this?

Not two days ago, you --

I know, I know.

I'm sorry I bothered you,
Mr. Hudson.

Rose is very determined.

That's what I'm worried about.

Well, she just caught me
at a low ebb

and helped pull me out of it,
that's what happened.

So you're engaged to be married,
again.

That's right, I hope
to take her back to Australia

when the war's over, just like
I'd originally planned it.

Well, she couldn't stay
in domestic service.

You weren't expecting that,
were you?

Why not?

Well, the war's changed
people like Rose, Mr. Hudson.

It's given them
a taste for freedom.

Meeting people.

I mean, you said it
to me yourself.

It's the same for Daisy
with Edward here.

I'll have no staff left,
is what you're saying.

GREGORY: Well, not young people
like Rose and Daisy.

But they owe everything
to this way of life.

They should be grateful.

Yeah, for food and clothing,

but there's more to life
than that.

You can't hold them back now.

- Are you two talking politics?
- That's right.

Politics?
Oh, is that what it is?

Yes, real politics,

not old men standing up
in Parliament,

talking out of
the top of their heads,

but things that really matter,

like improving
the human condition.

Oh, but that's just
philosophizing, Sergeant Wilmot.

What you accuse
the old men of doing.

Yeah, well, we'll make sure
they listen to us.

You just watch us.

I thought being an ANZAC

would have put an end
to your fanciful ideas.

Aren't we all fighting
for the survival

of the British way of life,
which has been an example

to the rest of the world
for centuries?

Isn't that what our young men,

with admirable support from our
Dominions, are dying for?

Now, Mr. Hudson,
we are fighting

a vile form of imperialism,
that's true.

German imperialism.

But we're also fighting for --

well, a change
in our own lives, too.

If you fight a war just to hang
onto some old belief,

well, that's a negative aim.

You've got to be going
for something better

at the same time.

Well, I hope you can manage
this kind of talk, Rose.

I can't make head or tail of it.

I'm learning, Mr. Hudson.

Well, he couldn't do better
than Rose, could he, Hazel?

HAZEL:
He certainly couldn't.

GREGORY:
Well, if you'll excuse us,

Mrs. Bellamy, Mr. Bellamy,
I thought I'd take Rose out

for a quiet dinner
before my train leaves.

Of course -- We won't keep you
a moment longer. Goodbye.

- Goodbye, Mr. Bellamy.
- Goodbye, Sergeant Wilmot.

It was very nice
meeting you again.

And you, Mrs. Bellamy.

Mr. Bellamy.
Thank you.

Charming fellow.

Yes.

And to think, he wouldn't
have been invited

to Prudence's tea party.

[Laughs]

Oh, I can't go out that way.

You're with me now, Rose.

All right?

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