BATES: We know she left no note. I wish to God she had. But why are you sure it was suicide? And not murder?
ANNA: Well, I know you didn’t kill her. And what’s the alternative? A thief broke in, cooked an arsenic pie and forced her to eat it? It’s not a very likely scenario.
BATES: You can see why they convicted me.
ANNA: I’m going to write to everyone in the book in case she said or, please God, wrote anything that could suggest a desire to die.
BATES: But how long will that take?
ANNA: Why? Are you going somewhere?
39 INT. CARSON’S PANTRY. DOWNTON. DAY.
Carson looks up and stands. Mary comes in and shuts the door.
MARY: You don’t mind my sneaking in here?
CARSON: I’m very flattered, m’lady.
MARY: I need your help with his lordship. I want Anna to be my maid, and for that, we must hire someone to dress Edith and to do the finer cleaning. The junior maids aren’t up to it.
CARSON: And I want a second footman. Then Mrs Patmore needs a kitchen maid. It’s time to bring Downton back up to scratch. Will Mr Molesley move in after your wedding journey?
MARY: Mr Crawley says not… The truth is, I’m having a bit of trouble persuading him to live at Downton.
CARSON: I’m sorry to hear that.
MARY: I shouldn’t have told you, really.
CARSON: I won’t give you away, m’lady. Your secrets are always safe with me.
MARY: I love Mr Crawley more than anything. You do know that?
CARSON: Certainly. He’s a very lucky man.
MARY: And I don’t want to bully him. It’s just I know he’ll be happier here.45
40 INT. SERVANTS’ HALL. DOWNTON. DAY.
Tea is nearing the end. O’Brien is with Alfred and Daisy.
ALFRED: I should have gone into cooking. I used to watch them in the kitchens and I could pick it up in a trice.
DAISY: Why didn’t you, then?
O’BRIEN: Oh, it’s a hard ladder for a man. For every Escoffier or Monsieur Carême, there’s a thousand dogsbodies taking orders from a cross and red-faced old woman.
MRS PATMORE: Who’s this you’re discussing?
O’BRIEN: Hello, Mrs Patmore. I didn’t see you standing there.
MRS PATMORE: Obviously not.
ALFRED: My mum and Aunt Sarah thought I’d be better off as a butler, and so that’s what I’m trying for.46
DAISY: I think you’re right. I know I’d rather be giving the orders.
MRS PATMORE: To a cross and red-faced old woman. Yes, we know.
41 INT. LIBRARY. DOWNTON. EVE.
Edith is fiddling with a flower arrangement, while Mary watches. Robert works at his desk. The clock chimes.
EDITH: Can I have Anna first? I need her to sew on a button.
MARY: Of course.
Edith goes. But Mary has agreed because she has a plan.
MARY (CONT’D): Papa, can I ask you something? Well, two things, really. Matthew ran into Tom this morning. He wanted to take a room at the pub.
ROBERT: Did Matthew stop him?
MARY: He did. But can you imagine the story that would have gone round the village? Darling, you must be nicer to him. For Sybil’s sake.
ROBERT: And will he come down tonight, dressed as a travelling salesman, and insult the King of England?
MARY: Sybil’s trying to control him. But do please give her some help.
ROBERT: What’s the second request?
MARY: Can I have Anna as my own maid? It means taking on someone new, but we’ve never replaced Jane.
ROBERT: No. We’ve never replaced Jane.47
MARY: And if I do persuade Matthew to move in when we’re married —
ROBERT: Isn’t that settled?
Clearly, he is surprised, but there is the sound of the gong.
MARY: We’ll do this later. We can’t be late down tonight.
42 INT. EDITH’S BEDROOM. DOWNTON. NIGHT.
Anna has almost finished Edith’s hair.
ANNA: There. Is that what you meant?
EDITH: Yes. Perfect. Slightly new, but not too different. We’ll see if Sir Anthony notices.
She smiles at Anna through the looking glass.
EDITH (CONT’D): I know they all think he’s too old for me, but he’s not… Bates is older than you and you’re as happy as lovebirds.
ANNA: Well, our situation is hardly ideal, but yes, we’re very happy together.
EDITH: Which is all that matters. As I keep telling them.48
43 INT. BEDROOM PASSAGE. DOWNTON. NIGHT.
O’Brien is waiting for Thomas by the dressing-room door.
THOMAS: I’ve no time to talk.
O’BRIEN: His lordship’s not come up yet.
THOMAS: Well? What is it?
O’BRIEN: I was hoping you could help young Alfred to find his way about.
THOMAS: As a footman, you mean?
O’BRIEN: As a valet. He’s looking after Mr Branson now. Though I dare say a chauffeur can dress himself. But you can tell him what he needs to know. Give him an advantage.
THOMAS: Why? What’s the rush?
O’BRIEN: You’ve heard Mr Matthew has turned down Mr Molesley?
THOMAS: Blimey. You don’t want much, do you? Can you remember what I had to go through to be a valet?
O’BRIEN: Of course. I watched it, didn’t I?
THOMAS: But young Alfred is to make the great leap in one bound? Well, I’m sorry, Miss O’Brien, but I’m not convinced… If you’ll excuse me.49
END OF ACT THREE
ACT FOUR
44 INT. DRAWING ROOM. DOWNTON. NIGHT.
The party, including all the family, numbers eighteen. Anthony Strallan is among the guests.
MATTHEW: It’s infuriating, but there’s nothing he can do.
MARY: I don’t agree. I think it’s feeble. He should will himself not to be ill and then collapse the next day. Whom will you ask instead?
MATTHEW: I’m not sure.
Branson, in his suit, is talking to a smart, handsome man.
LARRY GREY: I’ve known Sybil all my life. So you can imagine how curious I was when I found out you’d be here tonight. I never thought we’d meet in person.
BRANSON: As opposed to what? In spirit?
LARRY GREY: Well, you see, to us, in marrying you it seemed like Sybil had left Downton Abbey for ever. If you know what I mean.
BRANSON: I know exactly what you mean.50
LARRY GREY: Did they lose your suitcase on the way over? How maddening for you.
BRANSON: No. My suitcase arrived safely, thank you. Along with my manners.51
He walks off. Across the room, Violet has arrived.
VIOLET: He’s still dressed as the Man from the Prudential, I see.52
ISOBEL: Yes. It’s nice to have someone from the real world, isn’t it?
ROBERT: Hello, Mama. Can I tempt you to one of these new cocktails?
VIOLET: I don’t think so. They look too exciting for so early in the evening, don’t you think so, Carson?
CARSON: Better avoided, m’lady.53
Isobel is talking to Strallan as Edith approaches.
ISOBEL: What a pleasure it is to see you out and about, Sir Anthony. I want to say, ‘Can I be of any help?’ but you don’t seem to need any.
EDITH: He doesn’t need help at all, do you? He won’t let me do anything.
STRALLAN: Mustn’t be a nuisance, you know.
ISOBEL: Are you coming to the wedding?
EDITH: Of course!
STRALLAN: Well, if you really want me.
EDITH: I do. I really do.
STRALLAN: You look very nice. Have you done something jolly with your hair?
He smiles at her affectionately, in spite of his more sensible self. Just then he is distracted by something.
STRALLAN (CONT’D): I say. What the devil?
EDITH: What is it?
CARSON: Dinner is served, your ladyship.
; The company moves towards the door.
45 INT. KITCHENS. DOWNTON. NIGHT.
We glimpse a group of visiting chauffeurs drinking tea as Alfred collects the next course. Daisy is working.
DAISY: How’s it going?
ALFRED: Awkward. Mr Branson’s well away and Lady Sybil doesn’t like it much. I don’t understand it. He only had one cocktail.
DAISY: Maybe he was drinking before he came down, to calm his nerves.
46 INT. DINING ROOM. DOWNTON. NIGHT.
As Alfred comes in, Carson meets his gaze. Things are bad.
BRANSON: No! I don’t agree! And I don’t care who knows it! Well, the Black and Tans are there to restore order, are they? Why don’t they just murder the entire population, and then you wouldn’t hear a squeak out of any of them!54
The rest of the company is stilled by this.
VIOLET: Is there any way to shut him up?
ROBERT: If I knew how to control him, he wouldn’t be here in the first place.
Cora turns to the man Branson was attacking.
CORA: Are you interested in Irish politics, Lord Merton?
MERTON: Well, I was only saying that I —
BRANSON: He’s interested in Irish repression! Like all of you!
MATTHEW: Look, old chap. Of course this stuff matters a great deal to you —
BRANSON: Yes, it does matter, this stuff! It matters a very great deal!
Across the table, next to Mary, Larry Grey is smirking.
MARY: What’s so funny?
LARRY GREY: Nothing. I’m just enjoying this vivid display of Irish character.
SYBIL: Please, Tom, we don’t have to wear everyone out…
BRANSON: Why? What’s the matter? Am I not being polite enough?
But they are suddenly interrupted by a shout from Strallan.
STRALLAN: Wait a minute! This was down to you, wasn’t it?
He addresses Larry with his left hand. The room is silent.
LARRY GREY: I don’t know what you mean.
STRALLAN: Yes, you do. I saw you. You put something in his drink, didn’t you? Just before we came in.
SYBIL: That’s not true, is it? Larry?
EDITH: What a beastly thing to do.
LARRY GREY: Oh, come on, Edith. That’s not like you. You could always take a joke.
MARY: The bully’s defence. Listen, everyone! Mr Grey has given my brother-in-law something to make him appear drunk.
VIOLET: Could it be… drink?
MARY: No, not drink. Some horrible pill. Sybil, take him upstairs.
ROBERT: Il ne manque que ça.55
He rolls his eyes at Violet.
CORA: But why would you do that, Mr Grey?
LARRY GREY: Well, I’m sorry, Lady Grantham, but the last time I was here you had a sense of humour.
CORA: Tom has been the victim of a cruel prank, which I know you will all be kind enough to forget.
VIOLET: Forgive, perhaps. Forget, never.
MERTON: Is this true, Larry?
LARRY GREY: I don’t know why you’re all getting so hot under the collar. He’s only a grubby little chauffeur chappie, in case you’ve forgotten.
MERTON: Be silent this instant, sir! I apologise for my son, Mr Branson. Unreservedly. I only hope you recover before the wedding.56
MATTHEW: I hope so, too. Since I want him to be my best man.
ISOBEL: Bravo! Well said.
But the words have stopped Sybil and Branson in their tracks.
SYBIL: Do you really mean that?
BRANSON: Honestly?
MATTHEW: I’ve told you before, if we’re mad enough to take on the Crawley girls, we have to stick together.
Which earns him a round of applause from Mary.
MARY: Thank you, Matthew. Thank you so much.57
47 EXT. DOWNTON. NIGHT.
Cars are driving away. Edith is with Strallan by his vehicle.
EDITH: That was rather marvellous of you. To expose Larry Grey like that. You saved the day, really.
STRALLAN: I wouldn’t say that. Matthew saved the day.
EDITH: No. It was you. I do hope we’ll be seeing a bit more of you, once the wedding is over.
STRALLAN: Well…
EDITH: Wouldn’t you like that?
STRALLAN: I should like that very much. Much more than I probably ought to.
There is a voice from the main doorway.
ROBERT: Edith! Let Sir Anthony go!
Strallan takes this as his cue and starts to climb in, but Edith leans over and gives him a quick kiss. Startled, he almost blushes. Edith steps back and goes inside, passing her father as she does so.
EDITH: Goodnight, Papa.
48 INT. LIBRARY. DOWNTON. NIGHT.
Robert comes in. Cora is alone.
ROBERT: Well, that’s the last of them. Where are the others?
CORA: They’ve gone to bed.
ROBERT: So’s Edith. And so should we.
He sighs as he pours himself a drink.
ROBERT (CONT’D): Golly. What a night for the county to feed off.
CORA: But it was good of Matthew to show solidarity.
ROBERT: I suppose so. We’re going to need all the solidarity we can muster.
CORA: When will you tell the girls?
ROBERT: I think I should tell Mary now.
CORA: Not before the wedding, surely?
ROBERT: I must. They’re disagreeing about where they should live, so it’d be wrong for me to keep it from them. Then they can discuss it on the honeymoon and decide more sensibly. Do you think we say something to your mother when she gets here?58
CORA: No. She’d go into State Mourning and cast a pall over the whole proceedings.
ROBERT: Thank God she missed tonight’s drama or we’d never hear the end of it.
CORA: Don’t worry. She’ll bring enough drama of her own.
49 INT. BATES’S CELL. YORK PRISON. NIGHT.
Bates is checking Anna’s notes. His cellmate, Craig, watches.
CRAIG: Won’t work, you know. And if you don’t admit your guilt, they won’t let you go when the time comes.
BATES: How can I admit what isn’t true?
CRAIG: Why do you have to be so pious?
Bates ignores him and continues to write.
CRAIG (CONT’D): You’re a touchy fellow, aren’t you?
BATES: Don’t push me, Craig.
CRAIG: Is that a warning?
BATES: Yes. Yes it is. It is a warning, Craig. I’m warning you.
He puts down his pen and stands over the other man. And somehow, suddenly, he seems very dangerous indeed.59
50 INT. HALL/DRAWING ROOM. DOWNTON. DAY.
The hall carpet has gone. Men are fixing foliage around the walls. Tables for drinks and a cake are in place. Carson walks through, checking the process. He hears the horrible noise of the vacuum cleaner and looks into the drawing room where Anna is vacuuming. She smiles. He winces.60
51 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. DAY.
Mrs Hughes is working when Carson looks in.
CARSON: The carpet’s up in the hall. Mr Bassett’s men are doing the foliage now. It’s too soon for the flowers but we should check it before Mrs Levinson gets here. Is everything ready for her?
MRS HUGHES: I don’t think everything is ever ready where she’s concerned.
CARSON: Anna was using that infernal machine in the drawing room.
MRS HUGHES: I suppose you’re nostalgic for the good old dustpan and brush.
CARSON: I think they had more dignity.
MRS HUGHES: Not if you were the woman on her knees wielding them.
CARSON: What do you make of this business of promoting Branson to best man?
MRS HUGHES: So he’s not even ‘Mr Branson’ now? You gave him that much when he was a driver.
CARSON: If you’d been in that dining room —
MRS HUGHES: Mr Carson, that wasn’t his fault. It was just a nasty trick.
CARSON: If he were a gentleman
he’d have left the moment he felt dizzy.
MRS HUGHES: Really? I can think of quite a few ‘gentlemen’ who didn’t.
CARSON: All the same, I know Mr Matthew said it to be kind, but I wish he hadn’t.
MRS HUGHES: I don’t agree. It’s good for him to feel part of it all, if you ask me.
CARSON: I haven’t asked you.
52 INT. MARY’S BEDROOM. DOWNTON. DAY.
Mary is admiring herself in a smart day suit. Sybil and Edith are with her. Anna puts the final touches to her handiwork.
EDITH: I’m not sure about the hat. Is it supposed to look crooked?
SYBIL: Don’t listen to her! I love it! You’re not to change a thing!
MARY: Anna?
ANNA: I think you look lovely, m’lady.
There is a knock and the door starts to open.
SYBIL: Stop! Wait! Who is it?
ROBERT (V.O.): Your long-suffering Papa.
MARY: I suppose he can come in.
Robert opens the door and enters.
ROBERT: What’s this for?
MARY: Going away. How does it look?
ROBERT: Expensive.
MARY: Twice the National Debt, I’m afraid, but I know you don’t mind.
Robert looks around at the others.
ROBERT: Can I have one moment alone to give Mary my blessing?
SYBIL: That’s lovely. Shoo, everyone.
MARY: Send our best wishes to Bates.
Anna nods and she and the sisters hurry out.
MARY (CONT’D): She’s seeing Bates this afternoon.
ROBERT: She’ll miss the Great Arrival.
MARY: Go on. Bless me.
ROBERT: Of course. But there’s something I feel I ought to tell you first. I wanted to wait until you got back, but I don’t believe I can…
MARY: That sounds rather ominous.
ROBERT: Last night you seemed to say that Matthew doesn’t want to live here.
MARY: He wants us to start married life on our own, to get used to each other, but I’d rather stay at Downton. Now I don’t have to leave until I’m carried out in a box…
His expression makes her tail off.
ROBERT: You see, I’ve had bad news, and if that’s how Matthew feels, it would not be right to keep it from you.61
53 INT. HALL. CRAWLEY HOUSE. DAY.
Molesley has opened the front door to Branson.
BRANSON: Hello, Mr Molesley. I had a message to call on Mrs Crawley.
MOLESLEY: Very good, sir. If you’d like to give me your hat and coat, sir.
Downton Abbey, Series 3 Scripts (Official) Page 4