54 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
Isobel and Violet are together. The sofa has men’s clothes draped over it.
VIOLET: Are you going up to the house to welcome the Queen of Sheba?62
ISOBEL: Oh, I think so. Are you?
VIOLET: No. I’ll pay homage at dinner.
ISOBEL: I’ve always admired the way Mrs Levinson is never overawed by the whole set-up at Downton.
VIOLET: Was Napoleon overawed by the Bourbons?
ISOBEL: No, I mean she must have worried when Cora married into such a traditional family. They might so easily have been prejudiced…
VIOLET: Against what?
She stares at Isobel, who is feeling awkward.
VIOLET (CONT’D): She isn’t Jewish, if that’s what you’re on about.
ISOBEL: But her name? I’ve always assumed —
VIOLET: Oh, no. Her husband was Jewish but she wasn’t, and the children were brought up as Episcopalians.63
55 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
Isobel and Violet are continuing their discussion.
ISOBEL: I suspect the late Mr Levinson’s allowing his children to be Protestant is a clue as to the prejudice he faced on Wall Street.
VIOLET: Probably.
ISOBEL: Well, I’m glad if you raised no objections when Robert brought Cora to meet you. Bravo.
VIOLET: She was American. That was quite enough to be going on with.
The door opens and Molesley ushers in Branson.
ISOBEL: Come in, Tom. May I call you Tom?
BRANSON: Of course. Good afternoon, m’lady — that is, Lady Grantham… I’m glad to find you here because… I want to apologise for last night.
ISOBEL: Oh, there’s no need. We know it was not your fault.
VIOLET: You weren’t the first drunk in that dining room, I can assure you.
BRANSON: Only the first republican.
VIOLET: Well, you’ve got me there.
Molesley has slipped in behind Branson.
BRANSON: Why was it you wanted to see me?
ISOBEL: We’ve asked Molesley to look out Matthew’s old morning coat. He’s confident he can make it fit.
BRANSON: That’s very kind, ladies. But you see, I don’t really approve of these costumes. I see them as the uniform of oppression, and I should be uncomfortable wearing them.
VIOLET: Are you quite finished?
BRANSON: I have.
VIOLET: Good. Please take off your coat. Molesley, do help him.
MOLESLEY: If you’ll just slip it off, sir.
VIOLET: Shouldn’t he put on the waistcoat first?
Matthew walks in.
MATTHEW: What’s going on?
BRANSON: They’re forcing me into a morning coat.
MATTHEW: He has no say in it?
VIOLET: No, he doesn’t. And nor do you. Well, what do you think, Molesley?
MOLESLEY: Well, it’ll need lifting a little here, m’lady. I’ll move the buttons so.
He continues to pin the silent, doll-like Branson.
VIOLET: I think the shoulders look odd.64
56 EXT. DOWNTON. DAY.
A huge, shining, modern automobile is coming down the drive. The servants, minus Anna, are on parade. The family emerges from the front door. The car stops. A flashily uniformed chauffeur holds the door. Mrs Levinson, that is Martha, steps out. She is magnificent.
MARTHA: Come war and peace, Downton still stands and the Crawleys are still in it.
Robert and Cora register this.
MARTHA (CONT’D): Cora…
CORA: Mother. How lovely to see you.
MARTHA: As long as it is. Robert? Aren’t you going to kiss me?
ROBERT: With the greatest enthusiasm. Tell me, where does this come from?
He gestures at the shimmering limousine.
MARTHA: I hired it in Liverpool. Why?
ROBERT: I thought it might be a gift from the US Government. To help Britain get back on its feet.
This sends a ripple through the servants. Martha turns.
MARTHA: Carson and Mrs Hughes. The world has moved on since we last met.
CARSON: And we’ve moved on with it, madam.
MARTHA: Really? It seems so strange to think of the English embracing change… Mrs Hughes, this is my maid, Reed.
Reed is young. As Mrs Hughes takes her in charge, Martha smiles at her granddaughters.
MARTHA (CONT’D): Sybil, tell me all about the arrangements for the birth. These things are managed so much better in the States. Edith, still no one special? Oh well, never mind. You must take a tip from the modern American girl. Ah, Mary. Dearest Mary. Now, you tell me all your wedding plans and I’ll see what I can do to improve them.
Cora and Robert are united as they go in.65
57 INT. SERVANTS’ HALL. DOWNTON. DAY.
Mrs Patmore reads a recipe book as Daisy sits by, doing nothing. O’Brien, Thomas, Anna and Alfred are there.
O’BRIEN: Mrs Levinson always hires them young and pays them nothing. Then she gets three years out of them at least, before they realise they’re working for slave wages.
REED: Mrs Levinson likes to train her maids herself, and not be stuck with someone else’s bad habits.
She is standing in the open doorway, listening to them.
DAISY: Just don’t let her take advantage.
O’BRIEN: What’s the matter with you?
DAISY: Mrs Patmore knows.
She looks at Thomas, who winks.
REED: Should I tell you Mrs Levinson’s requirements during her stay?
DAISY: No. Tell her.
MRS PATMORE: Yes, Miss Reed. How can I help?
REED: Well, to start with, I will need goat’s milk in the mornings —
MRS PATMORE: Goat’s milk. Fancy that.
REED: She drinks only boiled water —
MRS PATMORE: Really?
REED: In England, that is.66
ANNA: Shouldn’t Daisy be doing this?
ALFRED: I ought to take the tea up.
He stands and so does Mrs Patmore.
MRS PATMORE: I’ll have it ready in a moment.
ANNA: Daisy? Won’t you help Mrs Patmore?
MRS PATMORE: She is helping me, aren’t you, Daisy?
As she walks out, Reed follows her. The others are flummoxed.
REED: No fats, no citrus, no crab, ever, and nothing from the marrow family.
Mrs Patmore is dealing with Daisy’s strike by ignoring it.
58 INT. LIBRARY. DOWNTON. DAY.
Carson and Alfred are serving the company from a tea table.
MARTHA: Do explain again how exactly you are related to all of us, Mr Crawley.
MATTHEW: Rather distantly, I’m afraid. My great-great-grandfather was a younger son of the third Earl.
He knows what’s coming, but he tries to be good natured.
MARTHA: My, I’m going to have to write that down so I can study it.
ROBERT: Look at our page in Burke’s. You’ll find Matthew there.67
MARTHA: Good. Because I would so like to understand why he gets to inherit my late husband’s money.
Cora catches Robert’s eye, while Matthew struggles on.
MATTHEW: I know. It’s funny, isn’t it?
MARTHA: Not everyone shares your sense of humour.
ISOBEL: But surely it doesn’t matter now they’re getting married.
MARY: In fact, we’d better turn him out or it’ll be bad luck for tomorrow.
CORA: Quite right.
MARTHA: You must be the chauffeur I’ve heard so much about.
BRANSON: I am, ma’am.
SYBIL: Tom’s a journalist now, Grandmama.
MARTHA: Oh, well, well. I’ve heard of those journeys on my side of the water; it’s very pleasant to hear of them happening here.
Cora, Mary and Matthew have reached the library door.
59 INT. HALL. DOWNTON. DAY.
Mary, Matthew and Cora come into the decorated hall.
/> MARY: It’s all right, Mama. You can leave us unchaperoned. After tomorrow, all things are permitted.
CORA: Don’t embarrass me. ’Bye, Matthew, and get a good night’s sleep.
She goes. They look round the chamber. Mary is pensive.
MARY: How many moments of Crawley history has this room seen?
MATTHEW: With many more to come.
MARY: I hope so. In fact… what happened in the search for Mr Pumpkin? Swire’s heir? Have you heard anything?
MATTHEW: Yes. Charkham sent a telegram. I’ve got it here, actually.
He pulls a telegram out of his pocket and hands it to her.
MARY: ‘Convincing proof of Pulbrook’s death, stop. Investigating date.’ What does that mean?
MATTHEW: Well, if Pulbrook died after Reggie then his heirs get money. But if he died first then I do.
MARY: But that’s absurd! What right have his heirs to inherit anything?
MATTHEW: Darling! What right have I? And, frankly, what difference does it make? I shan’t keep it if I get it.
MARY: Well, actually, you will. Because something rather terrible has happened… You see, apparently Papa has lost a great deal of money. Enough to ruin him. Enough for us to lose Downton.
MATTHEW: God, I am sorry. I’m so sorry.
MARY: Yes, but surely, if Mr Prufrock did die before Swire then we’re saved.
MATTHEW: My darling, I don’t think you understand. Reggie Swire will have put me into his will because he believed I was his daughter’s one true love.
MARY: So you were.
MATTHEW: Yes, but I broke Lavinia’s heart and she died. He never knew that. How could I possibly allow myself to profit from her death? To dine in splendour because I took away a woman’s will to live?
MARY: So you’re prepared to destroy us, in payment for your destroying her?
MATTHEW: Darling, please! You know I would do anything for this family!
MARY: Anything except help us! Except save Papa from living out the rest of his days in humiliation and grief! And what about us? What about our children? Oh God, Matthew, how can you be so disappointing?
She backs away from him and wards him off with her hand.
MATTHEW: Mary, please —
MARY: No. Don’t you see what this means? Don’t you see what a difference this makes? It means you’re not on our side, Matthew. It means that, deep down, you’re not on our side!
In tears, she turns and runs upstairs, past a bewildered Edith who looks down at a defeated Matthew.68
END OF ACT FOUR
ACT FIVE
60 INT. VISITING CELL. YORK PRISON. DAY.
Anna is with Bates, alongside the other prisoners.
BATES: I don’t envy him. It’s a nice gesture from Mr Matthew, but it won’t make the neighbours kind.
ANNA: That stuff is so illogical.
BATES: There is no logic when it comes to class.69
Anna notices Craig looking at them.
ANNA: How are you getting on with your new companion?
BATES: I don’t like him, but so far I’ve kept it to myself… So, who are the bridesmaids?
ANNA: You don’t care about all that.
BATES: You’re wrong. It’s the stuff of my dreams. The panic that a dinner won’t be ready, or a frock isn’t ironed or a gun wasn’t cleaned. The crises of an uneventful life.
She looks at him. She does understand.
ANNA: The bridesmaids are Miss Drax and Miss Townshend and the Lane-Fox twins.70 And her ladyship’s mother arrives today from New York.
BATES: She’ll keep Mr Carson on his toes… Do you know where you’re going for the honeymoon?
ANNA: I want to talk about that. They’ll stay in London with Lady Rosamund for a couple of days, just to get used to each other…
She blushes slightly, which makes him smile.
ANNA (CONT’D): And then they go to the South of France. I’ll hire a replacement in London and then I’ll come home instead. Lady Mary won’t mind. I’ll pay.
BATES: Why would you do that?
ANNA: Well, to be near you, of course.
BATES: Don’t you understand? While I’m in here you have to live my life as well as your own. Go to France, see some sights, get us some memories.
ANNA: But I wouldn’t be home for a month.
BATES: And won’t we have something to talk about? Go. I insist. For my sake.
61 INT. SERVANTS’ HALL. DOWNTON. DAY.
O’Brien and Thomas are both working. Carson looks in.
CARSON: You’ve found your livery again?
THOMAS: I have.
Reed looks up, enquiringly.
THOMAS (CONT’D): I used to be a footman, so I’m getting back into uniform for the wedding tomorrow.
REED: Mrs Levinson says everything like that is changing over here.
CARSON: Not everything, I hope.71
He goes.
O’BRIEN: Mind you don’t push Alfred to the edge of it all. He’s First Footman. Let him have his chance to shine.
THOMAS: Alfred, Alfred. I remember when my welfare was all you cared about.
O’BRIEN: But you can look after yourself these days, can’t you? And I like to give help where it’s needed.
THOMAS: You like to control where you can.
But before she can answer, the dressing gong sounds.
62 INT. HALL. DOWNTON. NIGHT.
Martha is walking downstairs as Violet comes in with Carson.
VIOLET: I was afraid I was going to be late —
Carson slinks away in the background when they start to talk.
MARTHA: Violet. There you are. Oh, dear, I’m afraid the war has made old women of us both.
VIOLET: Oh, I wouldn’t say that. But then I always keep out of the sun. How do you find Downton on your return?
MARTHA: Much the same, really. Probably too much the same, but then I don’t want to cast a pall over all the happiness.
VIOLET: How could you ever do that?
MARTHA: Tell me, what do you think of young Lochinvar who has so ably carried off our granddaughter and our money? Do you approve of him?
VIOLET: Not as much as you will, when you get to know him.
MARTHA: Has he gone home to change?
VIOLET: Oh, no. We won’t see him again tonight. The groom mustn’t see the bride the night before the wedding.
MARTHA: Nothing ever alters for you people, does it? Revolutions erupt and monarchies crash to the ground, and the groom still cannot see the bride before the wedding.
VIOLET: You Americans never understand the importance of tradition —
MARTHA: Yes, we do. We just don’t give it power over us. History and tradition took Europe into a world war. Maybe you should think about letting go of its hand.
She walks on into the drawing room as Edith comes downstairs.
EDITH: There you are. I see you’ve said hello to Grandmama.
VIOLET: She’s like a homing pigeon. She finds our underbelly every time. Dreadful woman…72
63 INT. DINING ROOM. DOWNTON. NIGHT.
Dinner has just started. They are without Matthew or Isobel.
ROBERT: No, it wasn’t me.
Robert catches Martha’s curious look.
ROBERT (CONT’D): Someone sent Sybil and Tom the price of the tickets to come over.
SYBIL: What does it matter who it was? It meant we could be at the wedding. Of course, I wish it had been you, Papa, but I don’t mind. I thank them, whoever they are.
CORA: Well, I’m very glad you’re here, but it wasn’t me either, I’m sad to say.
MARTHA: Well, I love a mystery. Who could it be?
ROBERT: My guess is Cousin Isobel. She always likes to stick her oar in.
SYBIL: I’m going to ask her.
VIOLET: Oh, for heaven’s sake, it was me.73
This surprises everyone, but Branson most of all.
SYBIL: You? But it wasn’t your writing.
VIOLET: No. Smithers did it. Like
all ladies’ maids, she lives for intrigue.
BRANSON: You wanted me to come here?
He is genuinely amazed. It is, of course, not the whole truth.
VIOLET: I wanted Sybil and her husband to be here for Mary’s wedding, yes.
SYBIL: But why keep that secret?
Violet catches Robert’s eye and decides not to expose him.
VIOLET: It was silly, wasn’t it?
BRANSON: I’m very touched. I’ll admit it.
MARTHA: How democratic. Makes me think maybe I’ve been mistaken in you.
VIOLET: I am a woman of many parts.
ROBERT: It was very kind. Thank you, Mama.
VIOLET: After all, Branson is a… I mean Tom, you’re a member of the family now. You’ll find we Crawleys stick together.
MARY: Not always.
Her tone is so harsh that it silences the others.
CORA: Mary, what is it?
MARY: Oh, nothing. It’s just…
She can’t finish. Pushing away her chair, she stands, tears coursing down her cheeks, and runs out of the stunned room.
VIOLET: Oh, Mary, dear…
64 INT. KITCHENS. DOWNTON. NIGHT.
Mrs Patmore is putting a sauce boat onto Alfred’s tray. Daisy still sits, unmoving, on her stool at the far end.
MRS PATMORE: There you are. That’s all for this course, don’t you think, Daisy?
ALFRED: Is Daisy all right, Mrs Patmore?
MRS PATMORE: Oh, yes. She’s being such a big help. Now, I think we should check the pudding, Daisy. Don’t you agree?
As she talks, she looks busily into the ovens. Alfred looks across at the increasingly frustrated Daisy. He goes.74
65 INT. DINING ROOM. DOWNTON. NIGHT.
Alfred arrives to follow Carson, who carries a plate of fish.
CORA: It’s nerves. Everyone cries at some point before their wedding.75
MARTHA: But what was the quarrel about?
EDITH: I’m not sure. I know she accused him of not being ‘on our side’.
VIOLET: Well, I hope she’s wrong or that could be rather serious.
ROBERT: Of course he’s on our side. It’s ridiculous. I’ll go and see him.
BRANSON: No. I’ll go. I’m his Best Man. I should be the one to go.
ROBERT: What?
BRANSON: I know what it is to marry into this family. I’m not comparing myself to Mr Crawley, but he is another kind of outsider.
ROBERT: Well, I hardly —
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