MARTHA: Why not? He’s the one who’ll lose his job if the wedding’s cancelled.
66 INT. KITCHENS. DOWNTON. NIGHT.
Mrs Patmore is washing some pots, watched by Daisy.
DAISY: I see what you’re doing, you know.
MRS PATMORE: What’s that, then?
DAISY: Not responding to my protest.
MRS PATMORE: ‘Not responding to my protest.’ Very elegant, I must say. Who’ve you been talking to? Thomas?
DAISY: Well… Oh, just gimme the cloth and I’ll dry.
Mrs Patmore has successfully put down this rebellion.
67 INT. MARY’S BEDROOM. DOWNTON. NIGHT.
Mary is in her nightclothes with Anna brushing her hair.
ANNA: But s’pose he never gets the money?
MARY: It’s not about money. It’s that he won’t save Papa when he could.
ANNA: But he has to be true to himself.
MARY: That’s the point. He puts himself above the rest of us, don’t you see?
ANNA: What I see is a good man, m’lady. And they’re not like buses. There won’t be another one along in ten minutes’ time.
68 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
The table is laid for the servants’ dinner. They’re gossiping.
MRS HUGHES: Her ladyship is right. It’s nerves.
THOMAS: I’m not so sure. They both have very definite opinions.
O’BRIEN: Oh, I see. So now you’re going to give advice on marriage, are you?
Carson comes in. Mrs Hughes goes up to him.
MRS HUGHES: Is it true that Mr Branson’s gone down to the village?
CARSON: I cannot think of anyone less appropriate, but yes it is.
Anna comes in.
MRS HUGHES: How is Lady Mary?
ANNA: She wants to be left alone for the moment, but I’ll go up in a while.
CARSON: It’s not her fault if something has gone wrong.
MRS HUGHES: We all know who you think is in the wrong when Lady Mary’s involved. The other person.
CARSON: Well. As if a husband should have any say in where a couple lives!
69 INT. DRAWING ROOM. CRAWLEY HOUSE. NIGHT.
Matthew and Branson are together.
BRANSON: It seems big, but it’s not big.
MATTHEW: And if it happens and I get the money? I can’t do what she wants.
BRANSON: It’s strange for me to be arguing about inherited money and saving estates when the old me would like to put a bomb under the lot of you.
MATTHEW: But?
BRANSON: But you’re meant to be together. I’ve known that as long as I’ve been at the house. And at first this kept you apart and then that kept you apart, but please don’t risk it a third time. Because I tell you this: You won’t be happy with anyone else while Lady Mary walks the earth.
MATTHEW: Call her Mary, please.
BRANSON: Never mind what I call her. I know what I’ll call you if you let this chance slip through your fingers.76
70 INT. MARY’S BEDROOM. DOWNTON. NIGHT.
There is a knock on the door. Anna goes to it. Outside, Branson is standing with Matthew.
MATTHEW: I just need a word.
Anna looks round. Mary has risen.
MARY: No. Go away. I’m undressed. You can’t come in.
MATTHEW: One word. Come to the door.
BRANSON: Please, just give him this chance.
MATTHEW: I won’t look at you.
ANNA: It’d be unlucky if you did.
MARY: Only if we were getting married.
MATTHEW: Which we are.
At a nod from Branson, Anna slips out and away. So does he, leaving the lovers on either side of the slightly open door.
MATTHEW (CONT’D): My darling, I refuse to quarrel about something that hasn’t happened and probably never will.
MARY: That’s what Anna says.
MATTHEW: Then she’s right. My darling, I’m sure we will fight about money, and about Downton, and about how to rear our children, and about any number of other things.
MARY: Then shouldn’t we accept it? Matthew, I’ve been thinking, and I’m not angry now, truly I’m not. But if we can disagree over something as fundamental as this, then shouldn’t we be brave and back away now?
MATTHEW: No.
MARY: It’s not because you’re afraid of calling it off? Because I’m not.
MATTHEW: No. It’s because of something Tom said. That I would never be happy with anyone else as long as you walked the earth, which is true. And I think you feel the same about me.
MARY: Even if I do, I couldn’t bear it if you won’t support the family. I have to know we’d pull together.
MATTHEW: I promise I’ll do everything in my power to keep this family together as long as it is not against my conscience. My darling, if it comes to it, I’ll die for you. Do you really ask more than that?
He is very passionate, and despite herself Mary is persuaded.
MARY: I suppose not.
MATTHEW: Can I kiss you? Because I need to. Very much.
MARY: No. It’s bad luck to look at me. That’s if we are getting married.
MATTHEW: What about if I close my eyes and you do, too?
She hesitates for a moment, but then…
MARY: All right. But you mustn’t cheat.
She feels for his face and kisses him, eyes tightly clenched.
MATTHEW: Goodnight.77
END OF ACT FIVE
ACT SIX
71 INT. HALL. DOWNTON. DAY.
Robert is in the hall. Branson comes downstairs.
BRANSON: Right. I’m off to collect Matthew.
ROBERT: You look very smart.
BRANSON: I hope so. Because I’m extremely uncomfortable.
He smiles as he heads for the door, when…
ROBERT: Branson… that is, Tom, I want to thank you for what you did last night. I’m grateful. I mean it.
BRANSON: They’re both strong characters. I’d say we have plenty of slamming doors and shouting matches to come.
Robert flinches slightly, but he recovers.
ROBERT: Forgive me. I was about to be indignant, but of course you have a perfect right to speak as you do.
BRANSON: I hope you mean that, too.
ROBERT: I do. Now hurry up.
Branson leaves.
72 INT. MARY’S BEDROOM. DOWNTON. DAY.
Mary, in a dressing gown to protect her dress, is at the looking glass as Anna adjusts the family tiara. Cora, Sybil and Edith are with her.78
CORA: You’d ask, wouldn’t you? If there was anything you wanted me to tell you. I mean, I’m sure you know —
MARY: More than you did. And relax. There isn’t anything I need to hear now.
CORA: Because when two people love each other, you understand, everything is the most terrific fun.
The sisters laugh indulgently at their mother’s innocence.
MARY: Careful, Mama. Or you’ll shock Anna.
ANNA: I’m a married woman, now, m’lady.
Which makes them all laugh. Edith stands.
EDITH: I think we should go.
SYBIL: What about Anna? How are you going to get to the church?
ANNA: They’re waiting for me in the wagonette. I’ll see you there.
Sybil kneels briefly by Mary’s chair.
SYBIL: I know mine was a wild, runaway marriage, darling, and yours is the one everyone wanted, but what’s so thrilling is that this is every bit as romantic.
MARY: Thank you. For always being so sweet.
EDITH: Love and position, in one handsome package. Who could ask for more?
She and Sybil slip out through the door. Cora stands.
CORA: Never mind Edith. Well. Very, very good luck, my beautiful daughter.
She holds Mary’s hands and then she, too, slips away. Anna comes forward and Mary stands to remove the covering gown.
73 EXT. DOWNTON. DAY.
Mrs Hughes and O’Brien usher the bridesmaids into a
car. A decorated carriage is waiting.
MRS HUGHES: Now, you’ve a great big motor car all to yourselves. Just think of that. So we expect you to behave as if you were quite grown up. You can do that, can’t you?
O’BRIEN: Have you got everything you need?
BRIDESMAID: Yes.
O’BRIEN: Come on then. Be careful of your dress. Settle down.
ALFRED: Don’t do anything I wouldn’t do.79
74 INT. KITCHENS. DOWNTON. DAY.
Mrs Patmore is working with Daisy when Mrs Hughes looks in.
MRS HUGHES: Have you got everything you need?
MRS PATMORE: We do. Now, be off with you and enjoy yourself.
The housekeeper leaves. Daisy sighs.
DAISY: I wish we were going.
MRS PATMORE: And who’d get the food ready for when they come back? Still… fetch your coat, and we’ll see her off.
They both hurry out to catch their glimpse.80
75 INT. HALL. DOWNTON. DAY.
Sybil, Edith and Cora, all in hats now, are leaving.
ROBERT: Right. See you in a minute.
They leave. Carson comes in.
CARSON: We’re just leaving now, m’lord. As soon as we’ve got Anna.
Robert has turned to him, but now they hear:
ANNA: Here comes the bride!
Anna ducks away as Mary descends the staircase, looking like a dream. Both Carson’s and Robert’s eyes shine as the father takes her arm. She glances at her other father.
MARY: Will I do, Carson?
CARSON: Very nicely, m’lady.
He hurries away.
ROBERT: Thank heavens you got everything settled. You had me worried.
MARY: It’s not quite settled, I’m afraid. He won’t get off that easily.
ROBERT: But you’re happy?
MARY: I am. What about you?
ROBERT: I’m so happy, so very happy, I feel my chest will explode.81
76 INT/EXT. CHURCH. DOWNTON VILLAGE. DAY.82
The Archbishop waits by the altar. The bride’s family and friends are on the left, the groom’s on the right. Edith sees Strallan enter. She hurries up to him.
EDITH: It’s so lovely that you’re here. Come behind us.
STRALLAN: But I can’t. I’m not family.
EDITH: Well, you almost are.
Matthew is walking in with Branson. They stop.
MATTHEW: Molesley. I’m very grateful to you for keeping Mr Branson up to the mark. We both are, aren’t we?
BRANSON: We certainly are.
MOLESLEY: Thank you, sir.
Molesley glows with pride in this public recognition. He catches O’Brien’s eye across the aisle and smiles. O’Brien smiles carefully back. Carson is next to Mrs Hughes.
CARSON: This is a proud day, Mrs Hughes.
MRS HUGHES: I don’t know if I’m proud, but I’m very glad you’re happy, Mr Carson.
Edith has taken her place by Cora, who whispers.
CORA: You’re next, darling. You’ll see.
EDITH: Will I?
Violet is with Martha on the left side of the aisle.
VIOLET: So encouraging to see the future unfurl.
MARTHA: As long as you remember it will bear no resemblance to the past.83
A guest leans in to Isobel.
GUEST: And the girl is nice?
Isobel thinks. She will not quite concede ‘nice’ but…
ISOBEL: I think she’s right for Matthew.
Outside, Mary climbs down from the carriage and takes her place by her father. Anna finishes arranging Mary’s train and slips in at the back. The organ strikes up and the congregation stands. Mary and Robert start down the aisle. Branson addresses Matthew.
BRANSON: Good luck.
Matthew watches Mary in wonder, and then steps out to take his place by her side. He whispers to her.
MATTHEW: You came. To be honest, I wasn’t completely sure you would.
MARY: I’m glad to hear it. I should hate to be predictable.
But the truth is, they are very, very happy.
END OF EPISODE ONE
1 I felt quite strongly we should start with the wedding – at least with all the drama attendant on a wedding. The previous series had ended on Matthew’s proposal being accepted, so the next natural milestone in that story would be the marriage itself, and I didn’t see much point in delay. That said, I thought we’d get some mileage out of it. These first two lines, which didn’t survive into the edit, were said at Emma’s and my wedding, because we had this rather lively page called William Portal, who was the son of a lifelong friend of Emma’s. My niece was one of the bridesmaids and she said, at the rehearsal in St Margaret’s, Westminster, ‘Are you going to be as naughty as this on the day?’ ‘I’m going to be a great deal naughtier,’ said William, although I’m happy to relate that his nerve failed him slightly at the sight of a full church, so he wasn’t very naughty. But Emma in fact controlled all of the maids and pages by eschewing bouquets and designing a thick, flower-decked rope that they were all more or less fastened to, so they came in as a single body and were dragged up the aisle and then dragged down again.
2 In the interim, Sybil has married Downton’s former chauffeur, Tom Branson, and they are living in Dublin. I always feel it’s very important that if you make your characters do something big, then for heaven’s sake let it be big. It’s like when Mary goes to bed with the Turk in the first series; it’s fine as long as it’s an incredibly big thing that she’s done. What you mustn’t do is make it a modern and therefore casual thing, because then (a) you take all the juice out of it dramatically, and (b) it becomes unbelievable, because then you think, well, she wouldn’t do that. But if it’s an enormous thing, and she’s aware of it, then you’re less confident that she wouldn’t do it. So we didn’t want to play down Sybil.
3 When we actually fixed the dates for when we were going to shoot the wedding, which for a variety of reasons you can’t change (we had all the extras, etc.), we discovered that Michael Cochrane, who plays Travis, was, alas, working on the day of the wedding itself. So the whole plot here of Robert insisting on the Archbishop marrying them (‘Papa was the one who wanted a Prince of the Church’) was concocted in order to explain why the vicar was absent.
4 Sybil’s romance is based on an earl’s daughter running off with a groom at this time, the great-aunt of a friend of mine who shall be nameless. In that family the father set off in pursuit, seized the girl before they made it to Gretna Green and brought her back protesting. But, of course, these things did happen, as they have always happened. I don’t think the way the Crawleys deal with it, which is to attempt to normalise it, would be terribly unusual under the circumstances. In some families the young couple would be shown the door, but it is a characteristic of the English upper classes not to wish to provide a story. The younger son of a well-known Scottish earl fell in love with a club housemaid in the 1890s and, in the end, his parents reluctantly accepted it on condition they could send the girl to the family of a friend for two years to learn how to be a lady, so she would not attract attention. Nearer home, I remember when I was young there was a local chap of our age, whom my father absolutely detested. He pronounced that the boy was ‘not to be invited to this house unless his absence will cause scandal’. That is the instinct at work here: the Crawleys, and Robert, are anxious not to be a story. He likes the fact that the Bransons aren’t coming because they can’t afford it. This means he won’t have to forbid them, so there’s no story.
5 I’d seen this done at certain rehearsals and I’ve always thought it rather sensible. There is something almost romantic about a pretend wedding dress. And we have The Arrival of the Queen of Sheba because that was what Emma and I chose when she came down the aisle in St Margaret’s, Westminster.
6 O’Brien, of course, has to manipulate the footman into the house because a simple request has not worked. To be fair to her, she tries to play it straight when she says, ‘I’ve had a letter fr
om my sister asking after a job for her son.’ If at that moment Carson had said, ‘Well, I’d be glad to give him an interview,’ she might have left it at that, but of course when he says, ‘I have no time for training young hobbledehoys,’ she then has to make use of the back stairs and start plotting.
7 As Mrs Patmore says later on, ‘Much more of this and she’ll be able to run a house with one servant living in and a woman from the village.’ As we know, in the vast majority of these houses that stayed in private hands this is more or less exactly what happened. I always like to show that things and situations we would find very ordinary were once thought as weird as – well, I was going to say iPads, but I suppose they’re quite ordinary now.
I was rather sad we lost the vacuum cleaner plot from this episode, but Downton is very tight in its storytelling and this means some moments each week must be sacrificed. It is part of the process.
8 Carson is right to point out that the proper forms have not been observed, and it’s true that the collapse of this life was demonstrated by the rules starting to break down. Mrs Hughes, who is much more left-wing than Carson and much less convinced by the old system, still registers that his rights are being eroded, and that Carson has failed to stick up for himself. For a traditionalist like Carson, it must have been very difficult. ‘Why have you taken so long to find a footman?’ ‘I’ve seen a few but these postwar boys just don’t have the heart for it.’ The truth is, a lot of the changes had to do with conditioning, and after the First World War fewer and fewer young people were being conditioned for a life in service.
Of course, sometimes this works in reverse. I go sometimes to a school near us in Dorset, distributing prizes and things, and on one occasion I gave a speech about not erecting a glass wall. If you’re looking at the Oscars ceremony, those people’s backgrounds are no different to yours, etc. Afterwards I said to the headmaster, ‘I hope that was all right.’ He replied that although it wasn’t terribly realistic to invite them to dream of being film stars, he didn’t mind because he wanted them to dream of something. ‘My problem is that they’re being conditioned to work in Tesco, and I want them to resist it.’
The opposite change happened after 1918. The previous generation had accepted they would be in service – in the case of the girls until marriage; in the case of the men, they would be a domestic servant, or in the stables, or they would work in a shop, or whatever was natural to their own social network – for the rest of their lives. But the children of the 1920s, for the first time, started thinking outside that box. New jobs were appearing and there were more and more things a man – and more particularly, a respectable woman – could do. As Carson says, they wanted jobs with better hours. They wanted to go out at night, they wanted money to spend. It must have been difficult for the older generation, who had worked so hard for so little. Mrs Hughes is given the response of many of her contemporaries. A lot of them just didn’t understand why their children were all going to have a much easier time of it.
Downton Abbey, Series 3 Scripts (Official) Page 6