CARSON: She’s only persuaded her ladyship to hire her blooming nephew as a footman, and I don’t have a word to say about it.
MRS HUGHES: But you have to interview him.
CARSON: O’Brien sent a telegram first thing to tell him he’s got the job.
MRS HUGHES: Well, he hasn’t.
CARSON: I know, but…
MRS HUGHES: You’re too soft, Mr Carson. Insist on your rights. What does his lordship say?
CARSON: He’d left for London before I could speak to him about it.
MRS HUGHES: I’m curious. Why have you taken so long to find a footman?
CARSON: I’ve seen a few, but these postwar boys just don’t have the heart for it. They want jobs that let them take their girls out when they get home at night, and money to spend on them when they do.
MRS HUGHES: And free tickets at the funfair, and a free bus ride home.
CARSON: That’s about it.
MRS HUGHES: Well, we’ve got this boy now, so let’s see what you can make of him. And there is one good thing —
Carson looks at her, wondering what’s coming.
MRS HUGHES (CONT’D): Whatever he does wrong, we can always blame Miss O’Brien.8
9 INT. VISITING CELL. YORK PRISON. DAY.
Visiting Time. Bates holds some papers. Anna is with him.
ANNA: It’s all there. Every entry.
BATES: Where did you find the book?
ANNA: Behind the bureau. We moved it out to clean and there it was. Vera must have dropped it or something.9
BATES: So, what do you want me to do?
ANNA: Make notes on all the names. Close friend, relation, workmate, tradesman and so on. Then I’ll copy those and I’ll send them with the book to Mr Murray.
BATES: Haven’t you anything better to do?
ANNA: I have not. Because I’d rather work to get you free than dine with the King at Buckingham Palace… So what news have you got?
BATES: What news could I have in here? Oh, I’ve acquired a new cellmate. To be honest, I’m not sure about him.
He nods at a man a few seats down. The man looks back.
ANNA: Well, just remember what my mother used to say: never make an enemy by accident. Now, do you think you can get the notes done before my next visit?
BATES: I don’t see what can come of it.
ANNA: Probably nothing. And my next idea will probably lead to nothing, and the next and the next. But one day, something will occur to us and we’ll follow it up, and the case against you will crumble.
BATES: Do you never doubt? For just one minute? I wouldn’t blame you.
ANNA: No. I don’t doubt that the sun will rise in the east, either.
10 INT. SERVANTS’ HALL. DOWNTON. DAY.
An awkward, tall young man in his early twenties stands at one end of the table. Carson stands in judgement beside him.
CARSON: You’re too tall to be a footman. No footman should be over six foot one.
O’BRIEN: That can’t be, can it? Since he’s already been taken on.
CARSON: But what have you done?
ALFRED: I was a hotel waiter after I was discharged from the Army, but they’ve cut back…
O’BRIEN: I think to get a job as a waiter shows real initiative.
MRS HUGHES: I suppose he can speak for himself.
O’BRIEN: Why? Is he on trial? This isn’t an interview, is it? Not when he’s already got the job.
CARSON: No, it is not an interview, Miss O’Brien, but he is on trial. And if he cannot match our standards he will be found guilty.
ALFRED: I mean to try, Mr Carson.
DAISY: Course you do.
THOMAS: Who asked you?
CARSON: As long as you do. Now go upstairs and get settled in. Your aunt will hopefully find you a livery that fits.
He says this deliberately to embarrass them.
11 EXT. GARDENS. DOWNTON. DAY.
Matthew is with Mary.
MARY: Just at the start. So we’ve a place to sleep after the honeymoon. You can’t object to that?10
MATTHEW: No, it’s nice of them. Though I doubt I’ll get used to taking you to bed with your father watching.
MARY: He’s so relieved we’re getting married, he wouldn’t mind if you carried me up naked.
MATTHEW: Careful, I might try it.
MARY: Then, when we’re back and settled, we can look at all the options.
MATTHEW: I don’t want to move to London or anything. I’m not kicking against the traces…
MARY: Just testing their strength.
MATTHEW: I want us to get to know each other, to learn about who we both are without everybody being there.
MARY: It is quite a big house.
MATTHEW: It’s a lovely house. It’s your home and I want it to be my home, too. Just not quite yet.
11A EXT. TRAIN STATION. LONDON. DAY.
Robert walks out of the station and approaches a taxi.
ROBERT: Chancery Lane.
DRIVER: Yes, sir.
12 INT. MURRAY’S CHAMBERS. LONDON. DAY.
Robert is with Murray.
MURRAY: I’ve spoken to Frobisher and Curran, and since I am a trustee, should the estate ever need one, we felt that I ought to be the one to tell you.
ROBERT: You make it sound very serious.
MURRAY: I’m expressing myself badly if you think it is not serious.
His tone effectively quashes Robert’s attempt at levity.
ROBERT: Why did we invest so much?
MURRAY: Lord Grantham, it was you who insisted we should. If you remember, we advised against it.
ROBERT: But war would mean a huge expansion of railways everywhere. Every forecast was certain. Rail shares were bound to make a fortune.
MURRAY: Many did, but your principal holding, which was very large indeed, was in the Canadian Grand Trunk line.
ROBERT: It was the main railway in British North America, for God’s sake. It wasn’t just me. Everyone said we couldn’t lose. We knew hard times were coming for estates like Downton, and this investment would make it safe for the rest of time.
MURRAY: Charles Hays was the presiding genius, and since he died the management has not… The fact is, the company is about to be declared bankrupt, and the line will be absorbed into the Canadian National Railway scheme.11
ROBERT: Are you really telling me that all the money is gone?
MURRAY: I’m afraid so.
ROBERT: The lion’s share of Cora’s fortune.
Murray is silent. Robert starts to realise this is ruin.
ROBERT (CONT’D): I won’t give in, Murray. I’ve sacrificed too much to Downton to give in now. I refuse to be the failure, the Earl who dropped the torch and let the flame go out.
MURRAY: I hate to state the obvious but if there’s not enough money to run it, Downton must go. Unless you break it up and sell it off piecemeal.
ROBERT: I couldn’t do that. I have a duty beyond saving my own skin. The estate must be a major employer and support the house or there’s no point to it. To any of it.
END OF ACT ONE
ACT TWO
13 EXT. DOWNTON VILLAGE. DAY.
Edith’s walking along when she hears a voice. Anthony Strallan shouts a greeting from a car. She bends to look in.
EDITH: Hello.
STRALLAN: Hello.
EDITH: What are you doing here?
STRALLAN: Meeting a train. But I’m too early.
She opens the door and climbs in, uninvited.
STRALLAN (CONT’D): I mustn’t hold you up.
EDITH: I’m not doing anything. I thought I’d get away from wedding panic.
STRALLAN: Don’t you like weddings?
EDITH: Don’t be silly. Of course I do. Only I’ve talked of clothes and flowers and food and guests until I’m blue in the face.
STRALLAN: Weddings can be reminders of one’s loneliness, can’t they? I’m sorry. I don’t know why I said that.
She doesn’t mind him saying it one
bit.
STRALLAN (CONT’D): So, how’s it going? Is the family gathered? Is your grandmother coming over from New York for it?
EDITH: She is.
STRALLAN: And Sybil? Is she here yet?
EDITH: As a matter of fact, she wasn’t coming but I think she is now. Mary had a letter this morning. Papa doesn’t know yet. He’s in London today.
STRALLAN: He will be pleased.
EDITH: I do hope so.12
14 INT. MATTHEW’S BEDROOM. CRAWLEY HOUSE. NIGHT.
Matthew is dressing in white tie, helped by Molesley.
MOLESLEY: So you’ll live at the big house when you’re back from honeymoon.
MATTHEW: Not live. Stay. We’ll stay there until we decide where to go. It’ll be on the estate, I would think. Or in the village.
MOLESLEY: Not here?
MATTHEW: No, but I shall expect you and Mrs Bird to look after Mrs Crawley.
MOLESLEY: You’ll not be taking me with you, sir? Only I thought you’d be needing a proper valet, once you’re married.
MATTHEW: But I’ve always thought of you as more of a butler who helps out as a valet, not the other way round.
MOLESLEY: I’d be happy to be a valet, sir. Especially in the big house.
MATTHEW: But we won’t be in the big house for long. To be honest, Molesley, I want to live more simply after the wedding. And besides, Mother absolutely relies on you.
MOLESLEY: That’s very nice to hear, sir. Thank you.13
15 INT. ROBERT’S DRESSING ROOM. DOWNTON. NIGHT.
Robert is being dressed by Thomas.
THOMAS: You must be exhausted, m’lord. You can’t have spent more than two hours in London.
ROBERT: It was sufficient.
THOMAS: The new footman arrived while you were gone.
ROBERT : What?
THOMAS: Yes. He got the cable this morning and came straight over. Very eager. And very tall.
ROBERT: But when did…? Never mind.14
16 INT. STAIRCASE AND HALL. DOWNTON. NIGHT.
Robert catches up with Cora on the stairs.
ROBERT: Did you know about the new footman?
CORA: Of course. He’s already here.
ROBERT: Why did no one tell me?
CORA: What do you mean? We talked all about it last night. In my room.
ROBERT: Well… Nobody else must be taken on. Absolutely no one. Until things are settled.
CORA: What things?
But he does not choose to answer her.
ROBERT: How’s the wedding going? I suppose it’s costing the earth.
CORA: Mary was never going to marry on the cheap.
ROBERT: Oh, no. Nothing must be done on the cheap.
With this rather bitter observation, he walks off.15
17 INT. KITCHEN PASSAGE. DOWNTON. NIGHT.
O’Brien is removing fluff from Alfred’s shoulder.
ALFRED: I feel quite nervous.
O’BRIEN: Don’t be. You’ve got the skill and you’ve got the willingness.
THOMAS: But he hasn’t got the experience.
He walks past them and into the servants’ hall.
ALFRED: He’s right.
O’BRIEN: Pay no attention. You’ve a nice manner, Alfred. You’re not vain like Thomas. They’ll like that.
Thomas has heard this. Now he sees Daisy, scowling.16
18 INT. KITCHENS. DOWNTON. NIGHT.
Thomas sees Daisy preparing food, angrily.
THOMAS: What’s the matter with you?
DAISY: I’m fed up… They promised me promotion. She said they’d get a new kitchen maid and I’d be Mrs Patmore’s assistant.
THOMAS: Well, if they really promised, you should withdraw your services.
DAISY: What do you mean? Like go on strike?
THOMAS: But don’t say I put you up to it.17
19 INT. DINING ROOM. DOWNTON. NIGHT.
The family is at dinner. Carson is serving Robert. Alfred waits with some potatoes.
VIOLET: But what was in the letter?
MARY: Just that Sybil’s coming after all. She says she’ll be here on Wednesday in time for dinner.
EDITH: Does she mean dinner on Wednesday or the big dinner on Thursday?
MARY: Obviously she’ll be here for both.
ISOBEL: Will she be coming alone?
MATTHEW: Don’t make trouble, Mother.18
Alfred is on Violet’s left. He demonstrates his hotel silver service technique, scooping up potatoes for her plate.
VIOLET: Ugh… can I do it?
ALFRED: If you wish, m’lady. Of course.
He gives her the spoon and fork. But they have spoken softly and Carson only faintly notices that something is going on.
VIOLET: Are you really that tall?
ALFRED: Yes, m’lady.
VIOLET: I thought you might have been walking on stilts.
EDITH: Who’s coming to stay?
CORA: Not too many. And only for the night of the wedding. I have been deaf to hints for the night before. And the big dinner is all local.
MARY: When does Grandmama arrive?
CORA: She gets into Liverpool on the fifteenth, so she’ll be here the day before the wedding.
VIOLET: I’m so looking forward to seeing your mother again. When I’m with her, I’m reminded of the virtues of the English.
MATTHEW: But isn’t she American?
VIOLET: Exactly.
EDITH: What about Aunt Rosamund?
CORA: She’s driving straight to the church and her maid will bring her luggage on here.19
During this Alfred tries to put potatoes on Robert’s plate.
ROBERT: Can I help myself?
ALFRED: Oh, you want to as well, m’lord?
ROBERT: To be honest, I think you’ll find we all want to do it ‘as well’.
This time, Carson has seen everything.
CARSON: What do you think you’re doing? You are not in a hotel now.
ISOBEL: Did you train in a hotel?
ALFRED: I did, ma’am.
ISOBEL: That will be useful, won’t it, Carson?
Carson gives a cold smile.
ISOBEL (CONT’D): Are you all set for the wedding?
MARY: Of course he is. Carson’s motto is: ‘Be prepared.’
VIOLET: I’m afraid Baden-Powell has stolen it.20
CORA: But you have all the help you need?
CARSON: Well, I wouldn’t fight the idea of a second footman, m’lady…
MATTHEW: I don’t know about the rest of you, but I sometimes think it’s time we lived in a simpler way.21
ISOBEL: I agree. Much cattle, much care.22
ROBERT: Always supposing we have the choice.
VIOLET: Oh, don’t say that. It’s our job to provide employment. An aristocrat with no servants is as much use to the county as a glass hammer.
20 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
Dinner is laid. Molesley enters after Thomas.
THOMAS: I knew this would happen. Typical.
O’BRIEN: What’s typical?
THOMAS: That I’d wind up looking after Mr Matthew. That’s all I need.
MOLESLEY: He hasn’t thought it through. I’m sorry to say it, but he hasn’t.
ANNA: Are you worried for your job, Mr Molesley?
MOLESLEY: Me? Oh, heavens, no. I’m essential to Mrs Crawley. She relies on me. That’s what he said. Essential.
O’BRIEN: Oh, yes. We’re all essential. Until we get sacked.23
She looks up as Carson and Alfred arrive.
O’BRIEN (CONT’D): How was it?
CARSON: Alfred was confused. He thought he’d been transported to the Hotel Metropole.
Some of them laugh.
ANNA: Cheer up. You’ll get the hang of it.
ALFRED: Will I?
Alfred sits as Mrs Hughes comes in.
MRS HUGHES: Oh, you’re still here, Mr Molesley?
MOLESLEY: I know. I only walked over for a cup of tea and a chat, and I’ve outstayed
my welcome.
MRS HUGHES: Nonsense. Why not have a bite with us? They won’t be leaving for a half hour or more.
MOLESLEY: No. I’d better get back. I wouldn’t want them to get home and me not be there to let them in.
O’BRIEN: No, you wouldn’t. Not when you’re essential.
21 INT. HALL. DOWNTON. NIGHT.
Mary is with Matthew as they cross the hall together. The furniture has been cleared in preparation for the wedding.
MARY: Why’s he coming all the way here? Why not say it on the telephone?
MATTHEW: I have no idea.
MARY: If Mr Swire’s lawyer wants to see you, and it’s urgent, it means he’s left you something.24
MATTHEW: I doubt it. I would have heard long before this. Anyway, I hope not.
MARY: Why?
MATTHEW: You know why.
She doesn’t answer this. Because she does know why.
ISOBEL: Matthew, do come on. The chauffeur is freezing to death and so am I.
She is waiting by the front door with Robert.
MATTHEW: Talking of chauffeurs, do you think Branson’s coming on Wednesday?25
MARY: Papa won’t like it much if he does.
MATTHEW: I hope Sybil brings him, whatever your father says. Are you looking forward to the wedding?
MARY: What do you think?
MATTHEW: I’m looking forward to all sorts of things.26
MARY: Don’t make me blush.
MATTHEW: My life’s ambition is to make you blush.
ISOBEL: Matthew!
Matthew kisses Mary lightly and joins his mother.
22 INT. MRS HUGHES’S SITTING ROOM. NIGHT.
Mrs Hughes looks up as Anna passes outside.
MRS HUGHES: Are you off to bed?
ANNA: I am. Goodnight, Mrs Hughes.
MRS HUGHES: How was the vacuum cleaner?
ANNA: All right. Once you’ve shown it who’s master.
They laugh. But something is troubling Mrs Hughes.
MRS HUGHES: Anna, you do know how very much I pray for Mr Bates’s release? Only we’ve never spoken about the trial.
ANNA: Don’t think of that now. Mr Bates knows every word you said was true.
MRS HUGHES: Has he forgiven me?
ANNA: Oh, yes. He forgave you long before I did.
And with that cryptic remark, they part for the night.27
23 EXT. DOWNTON. DAY.
A car draws up. The family is waiting. Sybil climbs out. With Branson. Sybil walks over to her father and kisses him.
Downton Abbey, Series 3 Scripts (Official) Page 2