Downton Abbey, Series 3 Scripts (Official)

by Julian Fellowes

  O’Brien finishes sewing on a loose hook. She cuts the thread.

  O’BRIEN: Will there be anything more, m’lady?

  CORA: No. Unless you have something you want to tell me.

  O’BRIEN: What might that be, m’lady?

  CORA: I won’t prompt you, O’Brien, if you’re not ready to say.

  Robert enters. O’Brien leaves, completely bewildered.

  ROBERT: Did she tell you why?

  CORA: No. Maybe she doesn’t want to until she’s settled where she’s going, but she has let me down.

  ROBERT: We should go. Strallan won’t be late. He never is, worse luck.

  CORA: I know you’re not happy, but Edith will be in the same county. Loxley’s a nice house, and the estate will give her plenty to do.

  ROBERT: She’ll be a nurse, Cora. And by the time she’s fifty she’ll be wheeling round a one-armed old man.

  CORA: Edith won’t be fifty until 1943. Quite a lot may happen before then.8

  11 INT. KITCHENS/PASSAGE. DOWNTON. NIGHT.

  Daisy is loading a tray held by Alfred.

  DAISY: Alfred, do you ever think about that Miss Reed? What was maid to her ladyship’s mother?

  ALFRED: I don’t know. Maybe. Sometimes.

  DAISY: I couldn’t get over how outspoken she was. But you liked that, didn’t you?

  ALFRED: I s’pose I did. It felt… modern. She said what she felt, even though she was a woman. I did like it.

  DAISY: Maybe I should be more outspoken and say what I really think —9

  MRS PATMORE: Er, are you waiting down here ’til they come in search of their pudding?

  ALFRED: No, Mrs Patmore.

  Alfred leaves. Mrs Patmore turns away, only to find Carson seemingly waiting for her in the passage.

  MRS PATMORE: Can I do something for you?

  CARSON: Well, I’d better get back upstairs, but while you’re here… I saw Doctor Clarkson today.

  MRS PATMORE: Oh?

  CARSON: I’m worried about Mrs Hughes.

  MRS PATMORE: We’re all worried, but I don’t think he should have told you.

  CARSON: He said it would help if we lessened her workload.

  MRS PATMORE: I’m sure it would, but she won’t be pleased he’s been talking about her. Before it’s been confirmed.

  CARSON: So, it is cancer.

  MRS PATMORE: Not until it’s confirmed. Don’t say anything. She’d hate to think the doctor had told you.

  Carson is overcome by conscience.

  CARSON: He didn’t tell me, Mrs Patmore… You told me.

  END OF ACT ONE

  ACT TWO

  12 INT. DINING ROOM. DOWNTON. NIGHT.

  Robert is with Matthew, Branson and Strallan, all sitting round one end of the table.

  ROBERT: It’s a relief to have some men in this family at last.

  Strallan eyes Branson slightly nervously.

  STRALLAN: Lady Edith — I mean, Edith tells me you’re very interested in politics.

  ROBERT: Tom is our tame revolutionary.

  STRALLAN: Every family should have one.

  MATTHEW: As long as you are tame…?

  BRANSON: Tame enough for a game of billiards. What about it?

  MATTHEW: Can you tell them where we’ve gone?10

  They leave together. Robert passes the port to Strallan, who pours out a glass for himself, summoning his nerve.

  ROBERT: We’re getting used to Tom, and I hope you will, too.

  STRALLAN: We haven’t spoken really, since it was all settled… I want you to know that I quite understand why you were against it.

  ROBERT: Yes. Well.

  STRALLAN: I just hope you believe that I mean to do my level best to make her happy.

  ROBERT: I do believe that. It was never at all personal, you know.

  STRALLAN: No, of course not. No. It’s just… because of all this, and I’m far too old.

  ROBERT: Anthony, the thing is done. There is no point in raking it over.

  STRALLAN: But are you happy about it?

  ROBERT: I’m happy Edith is happy. I’m happy you mean to keep her happy. That is quite enough happiness to be going on with.

  13 INT. HALL. DOWNTON. NIGHT.

  Robert and Strallan come into the hall and start towards the drawing room. Then Edith appears from the shadows.

  EDITH: You will let us have five minutes on our own, Papa. Please.

  ROBERT: Very well. But don’t tell your grandmother.11

  He walks on into the drawing room and they are alone.

  EDITH: I couldn’t bear it if we spent the whole evening discussing hunting and whether or not the Marlboroughs are finally getting a divorce.12

  STRALLAN: The first time I saw the Duchess of Marlborough was at a ball of Lady Londonderry’s. It was ’96, not long after she’d come over from America. She was the loveliest woman I’d ever set eyes on… Of course, you weren’t even born, my darling.

  EDITH: I was. Just not walking very well.13

  STRALLAN: And now you’re going to wheel me around when I can’t walk any more.

  EDITH: Oh, please understand! I don’t love you in spite of your needing to be looked after. I love you because of it! I want you to be my life’s work.

  She takes his arm and squeezes it, but he is silent.

  14 INT. PASSAGE. DOWNTON. DAY.

  Mrs Hughes is cross-referencing lists as she walks with Carson. There is the sound of the vacuum cleaner. He winces.

  CARSON: Have we got to hear that ungodly machine down here?

  She chuckles, then indicates her paperwork.

  MRS HUGHES: There’s been a last-minute change of mind about the wedding menus.

  CARSON: Couldn’t Mrs Patmore do it?

  MRS HUGHES: Mrs Patmore’s given me her new order list. She’s done her job; it’s time for me to do mine.

  CARSON: I just don’t want you to get tired.

  MRS HUGHES: Who have you been speaking to?

  CARSON: No one. What do you mean?

  MRS HUGHES: Nothing. I don’t mean a thing. Now, let me get on.

  15 INT. A HALL IN YORK. DAY.

  Isobel is organising her fallen women in a sewing class.

  ISOBEL: This is a simple stitch, but strong and very useful in a drama.

  WOMAN: When do we get summat to eat?

  ISOBEL: As I was saying, you should start it about, well, I would say about half an inch away from the centre line —

  She looks up as Ethel Parks enters. She goes to her.

  ISOBEL (CONT’D): Oh, I’m glad you’ve come back. I do hope you’ve come for our help. You’d be so welcome if you have.

  ETHEL: You wouldn’t say that if you knew what I am, ma’am. I’m past help.

  ISOBEL: Nobody’s past help. And if you mean by that that you are a prostitute —

  She says the word boldly, without apology.

  ISOBEL (CONT’D): Well, then you should know that it is true of every woman who has come here to rebuild their lives. And I’m helping them, and I very much hope that I can help you, too.

  WOMAN: That’s right! Why not come in and help us ‘rebuild out lives’?

  Several of them start laughing. Isobel’s is not an easy task.

  ETHEL: That’s not why I’m here, Mrs Crawley. That is, I am a… what you’ve said, but I don’t want help. Not for myself, but… The trouble is, every time I make up my mind, I change it.

  Which is what has happened now.

  ETHEL (CONT’D): I’m sorry. This has been a mistake.

  ISOBEL: Oh, please, please, don’t go. Not again.

  Ethel hurries away as the other women start laughing.

  16 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Some of them are seated. O’Brien is mending as Thomas enters.

  THOMAS: Everything all right?

  O’BRIEN: Why shouldn’t it be?

  THOMAS: No reason.

  Mrs Patmore is reading Mrs Beeton. She turns to Daisy.

  MRS PATMORE: Is Baked Ala
ska a bit ambitious for the dinner after the reception?14

  DAISY: How many will there be?

  MRS PATMORE: About forty, I’d say. The rest will have gone home. Now, what is it?

  DAISY: Mr Mason’s asked me to the farm.

  MRS PATMORE: Say there’s a wedding on. You can go when things have settled down. Now, come and sort out this benighted picnic.

  She stands, and leads Daisy back to the kitchen.

  MOLESLEY: Who’s Mr Mason?

  O’BRIEN: Her father-in-law.

  MOLESLEY: She wasn’t married very long.

  O’BRIEN: Even so. He’s fond of her. She’s all he’s got left.

  Molesley digests this interesting observation.

  17 INT. LIBRARY. DOWNTON. DAY.

  The lawyer, Mr Charkham, is with Matthew, who holds a letter.

  CHARKHAM: It must be strange to receive a letter from a dead man.

  MATTHEW: It’s very strange.

  The door opens and he puts the letter away as Mary comes in.15

  MARY: We’re leaving. I’m sorry, Mr Charkham, to snatch him away.

  CHARKHAM: That’s quite all right, Lady Mary. There will be papers to sign.

  MATTHEW: Yes. I expect there will.

  They shake hands and the lawyer goes. Mary stares at Matthew.

  MARY: Papa’s asked Anthony to meet us there, so we can all face the future together. He’s bringing Isobel and Granny.

  MATTHEW: It’s hard for your grandmother.

  MARY: Matthew, it’s torture for all of us. And if I ever look as if I’m finding it easy to lose my home, then I am putting on an act.

  18 INT. CORA’S BEDROOM. DOWNTON. DAY.

  Cora is finalising her tweeds, with the help of O’Brien.

  CORA: Are you unhappy here, O’Brien?

  O’BRIEN: No, I’m not unhappy, m’lady. Well, no more than anyone else.

  CORA: Because, if you are, I wish you’d felt you could have told me.

  O’BRIEN: I would tell you. If there was anything you could do to help.

  CORA: Or is it just time for a change? Because I understand that. I do.

  Robert looks in.

  ROBERT: We ought to get going. They’re loading the car.

  Cora nods and stands, turning to her maid.

  CORA: We’ll talk of this some more.

  19 EXT. DOWNTON. DAY.

  Two cars are waiting, and Matthew’s sports car. Carson is supervising with Alfred.

  CARSON: You’re sure you can manage this?

  ALFRED: Quite sure, Mr Carson.

  CARSON: There’s nothing hot. It’s not a shooting lunch. Give them some champagne first, and that’ll allow you the time to set it out properly.

  ALFRED: I’ll manage, Mr Carson. What’s this place we’re visiting?

  CARSON: It’s one of his lordship’s houses, though I’m curious as to why they’re going there today. I’d come with you, but I’ve got the last of the wine for the wedding being delivered this afternoon. I can’t not be here for that. Off you go.

  ALFRED: Maybe he likes to keep a check on things.

  CARSON: Maybe. Off you go.

  He has spoken as the family are emerging. His command sends Alfred scurrying to open one car door. The chauffeur opens the other. Carson walks towards the front door.

  CARSON (CONT’D): Might I have a word, m’lady?

  CORA: Yes, of course. What is it?

  CARSON: This is a slightly awkward request, what with the wedding tomorrow…

  CORA: Tell me.

  CARSON: Mrs Hughes is very tired. I wonder if it might be possible for you to divert some of her work my way?

  CORA: I don’t understand. What do you mean ‘tired’?

  Carson hesitates.

  ROBERT (V.O.): Cora!

  CORA: Carson? If you know something, then please tell me.

  Everyone else has climbed into the vehicles.

  CORA: Carson?

  CARSON: The fact is, Mrs Hughes is ill, m’lady. She may be very ill… I’m extremely sorry to trouble you with this at such a moment, but I don’t want the wedding to sink her.

  CORA: Of course not. But, my heavens, how will we manage, without O’Brien and now Mrs Hughes…?

  CARSON: Miss O’Brien?

  CORA: She told Molesley —

  ROBERT (V.O.): Cora, please!

  CORA: I’m coming!16

  And she hurries over to the car, leaving a puzzled butler.

  20 EXT. A STREET IN SOUTH LONDON. DAY.

  Anna is walking along a dingy street. She stops, checks the address and knocks on the door. No response. She walks round to the back of the house, where a narrow alley has doors in a high wall, corresponding to each house. She turns down the alley where she sees a hard-faced woman pegging out clothes. She looks over.

  ANNA: I knocked.

  MRS BARTLETT: I heard you.

  ANNA: I’ve come as I said I would, Mrs Bartlett… I’ve… I’ve brought the money.

  She brings an envelope out of her bag. After a moment, the woman walks over and takes it, opening it to check.

  MRS BARTLETT: Well, it’s your loss, ’cos I’ve got nothing to say.

  ANNA: All I want to know is if Vera ever —

  MRS BARTLETT: Oh? So you were on Christian-name terms, were you? You do surprise me.

  ANNA: If Mrs Bates ever suggested she was depressed or unhappy —

  MRS BARTLETT: Of course she was unhappy. Her husband had left her and gone off with a trollop.

  She stares at Anna, who tries to keep a lid on her feelings.

  MRS BARTLETT (CONT’D): He changed, you know. She was scared of him by the end, and now we know she had good reason.

  ANNA: When did you last see her?

  MRS BARTLETT: What’s it to you?

  ANNA: I just want to find out the truth.

  MRS BARTLETT: It won’t change anything, you know. You give me money because you think I can get him off… I wouldn’t if I could, but I can’t.

  ANNA: Then it won’t make any difference if you tell me the truth.

  Mrs Bartlett thinks about this. Then she sighs.

  MRS BARTLETT: Well, I don’t suppose it matters now. I saw her the night she died.

  Anna is astonished. Mrs Bartlett glances up. Two women are watching them from a neighbouring house.

  MRS BARTLETT: You’d better come inside.17

  21 EXT. YORK PRISON. EXERCISE YARD. DAY.

  The prisoners are walking in a circle. Bates is next to a convict called Dent. They walk under the eyes of the guards.

  DENT: Bates. Psst. Watch out.

  BATES: What do you mean?

  DENT: Search your room. Search your bed. They’ve set you up somehow. Your cell-mate, Craig, and his mates.

  TURNER: Stop talking!

  Bates is silent but he looks enquiringly at Dent.

  DENT: Just do it.

  But when the warder looks round, he is silent, too.18

  22 INT. SITTING ROOM. MRS BARTLETT’S HOUSE. LONDON. DAY.

  Anna and Mrs Bartlett are talking.

  ANNA: Why have you never told anyone?19

  MRS BARTLETT: Why should I? I’ve already told you it wouldn’t change anything… She was annoyed at first but she calmed down. Their door was open, so I looked in. She was cooking. For him as well, I s’pose. But she had to post a letter, so she walked me down the street. She said Bates was coming back later for his tea. She was terrified.

  ANNA: You didn’t think to stay with her? To keep her company.

  MRS BARTLETT: She wouldn’t have it. She was in a strange mood, jumpy and fearful… but determined. I remember she’d made pastry and she was scrubbing it out of her nails, like she didn’t care if she took the skin off.

  ANNA: So after she posted the letter, she went home on her own?

  MRS BARTLETT: She did, poor soul. And I never saw her after. I can remember her now, walking away down the street. It was raining — no, not raining, more like drizzle, and the gaslight seemed to catch in the dro
ps and make a sort of halo round her —

  ANNA: A halo? Really?

  MRS BARTLETT: You can laugh. But I must have felt uneasy, because I didn’t go home. Though I’d no umbrella.

  ANNA: Where did you go?

  MRS BARTLETT: I just wandered about for a bit. I’d had a suet pudding for my tea, and it was sitting rather heavy. I told myself I was walking to loosen it. But it wasn’t that. Not really.

  ANNA: When did you hear she was dead?

  MRS BARTLETT: Next day. So I knew it was Bates. I nearly told them.

  ANNA: Why didn’t you?

  MRS BARTLETT: She asked me not to mention how she’d been to anybody. Said she felt cowardly fretting about his visit. That’s what came out when the letter was read at the trial. When I heard the verdict I thought he’d swing, and he should have, if the country hadn’t gone soft.

  There doesn’t seem to be anything here to help Bates.

  23 INT. STRALLAN’S MOTOR CAR. DAY.

  Strallan and Violet are in the back. Isobel is in front, next to the chauffeur.20

  VIOLET: This is very good of you.

  STRALLAN: Ah, nonsense. You were on the way. I do wish you’d let me sit in the front. I feel most uncomfortable back here.

  ISOBEL: No, no, I prefer it. I’ve ridden in the front seat many times.

  VIOLET: Aren’t you a wild thing?

  STRALLAN: Oh, it’s quite safe. There’s never been a safer method of travel.

  VIOLET: Or a faster one.

  STRALLAN: Edith’s the speed fiend. She likes to go at a terrific lick.

  VIOLET: Do you think you’ll be able to keep up with her?

  STRALLAN: I’ll try.

  ISOBEL: What’s this place like? Eryholme, is it? Do you know it?

  VIOLET: Well, a little. My late husband kept the shooting there, and we’d sometimes have luncheon in the house.

  ISOBEL: Is it nice?

  VIOLET: Nice enough, as a retreat from the world. I wouldn’t have thought it suited to much else.21

  STRALLAN: What happened to the shoot?

  VIOLET: Robert gave it back to the tenant. He didn’t want the expense of it.

  STRALLAN: We’re all having to rein in.

  VIOLET: That’s right. We must be practical. It’s no good taking something on, however attractive it may seem, if it’s not realistic in the long run.

  Strallan glances at her, unsettled by her observations.

  24 EXT. ERYHOLME. DAY.

  The picnic has been laid out above the manor house. It is a pretty Elizabethan building, large but nothing like Downton. Folding chairs have been set up around two circular tables and the ten members of the family sit and stroll about, holding drinks. Alfred waits on them.22