Lunch has been cooked and sent up in the dumbwaiter by Clive, the family's private chef and, along with Martin the private houseman (who does everything from waiting at table to babysitting, cleaning to walking the dogs), the nearest thing the hall has to a servant in the Gosford Park sense of the word. Apart from Graham, the houseman in charge of security, nobody lives in, and today the attics, with their endless under-the-eaves bedrooms, are occupied only by bric-a-brac and the ghosts of servants past. The corridors offer an eerie perspective, both literally and figuratively, on days of old. It is here that I would have been put up for the night back in the 1930s, the period that Robert Altman portrays. And here, who knows, where a previous Lord Hertford's servants would come for a smoke after a gruelling day, or exchange gossip, or engage in a promising flirtation. Or, perhaps, walking along these passages, with their heavily varnished tongue-and-groove panelling and evocative aroma of old wood and encroaching damp, you might have heard the muffled sobs of an overworked scullery maid, alone in a cold bedroom, with another day looming of scouring pots and pans and cleaning grates. Now, though, all is silent, except for the gale-force wind, which whistles and rages through the attic and the basement but, as though itself conscious of social distinctions, leaves the state floors alone.