Downton Abbey, Series 3 Scripts (Official)

by Julian Fellowes

  Mrs Hughes is working when she looks up. Isobel Crawley has come downstairs. Mrs Hughes stands.7

  MRS HUGHES: Mrs Crawley, how may I help?

  ISOBEL: I’m sorry to push in on you again, but I didn’t have time to come down before dinner… and now we’re on our way home…

  Isobel shuts the door.

  ISOBEL (CONT’D): Mrs Hughes, you know I went to see Ethel Parks?

  MRS HUGHES: I do, ma’am.

  ISOBEL: Well, she wouldn’t speak to me then, but she has since sought me out and asked me to deliver this letter into your hands.

  She hands over the envelope. Mrs Hughes takes it.

  MRS HUGHES: When we last spoke of her, you seemed to think she’d fallen into bad ways…

  ISOBEL: I’m afraid that’s the case. She has been working as a prostitute.

  MRS HUGHES: My, my. That’s not a word you hear in this house every day.

  ISOBEL: It’s not a pretty word, no, but I think it also serves to show the measure of her misery. Ethel has been driven into this, of that I have no doubt. If only she would allow me to help her, but she won’t. If this letter can give you any clue as to how I might be helpful, please let me know.

  MRS HUGHES: I will, ma’am. Your sentiments do you credit, but I suspect she will be too ashamed to face how far she’s fallen.

  ISOBEL: Goodnight.

  MRS HUGHES: Goodnight, Mrs Crawley.

  7 INT. DINING ROOM. DOWNTON. NIGHT.

  Carson is with Matthew and Robert, who are in black tie.

  CARSON: So, am I to answer to you both?

  MATTHEW: Of course not. What Lord Grantham means is that I have made an investment in the estate. That is all. Otherwise nothing has changed.8

  CARSON: Very good. And can we bring the staff back up to snuff?

  ROBERT: I believe we can.

  CARSON: Mrs Hughes is short of a housemaid, Mrs Patmore wants a kitchen maid and I need a new footman.

  MATTHEW: Do you, really? I sometimes feel the world is rather different than it was before the war.

  CARSON: I see. I would like to return to my duties as a butler, sir. But if you prefer that I continue to do the work of a second footman in addition —

  ROBERT: Mr Crawley doesn’t mean that at all. Do you?

  MATTHEW: Certainly not.

  CARSON: Well, that is good news.

  ROBERT: I suppose it’s too late to get into shape before the dinner for the Archbishop of York, but it’ll be the last time you have to fudge it.9

  CARSON: I will do my best for the Archbishop, with an added spring in my step.

  He leaves.

  ROBERT: Shall we join the others?

  MATTHEW: You don’t disagree with me, do you? Oughtn’t we to tone things down a bit, eventually?

  ROBERT: We’re employers, Matthew. Providers of jobs. That is the point of us. For Downton to play its proper role in the area, we must provide jobs.

  8 INT. DINING ROOM. DOWNTON. DAY.

  Robert, Matthew and Edith are eating breakfast.

  MATTHEW: Why don’t you have breakfast in bed?

  EDITH: Because I’m not married.10

  MATTHEW: Yes, but now that —

  EDITH: Now that both the others are, what difference would it make?

  MATTHEW: You know what I mean.

  EDITH: I prefer to be up and about.

  Robert is reading a newspaper.

  ROBERT: Tennessee is going to ratify the nineteenth amendment.

  MATTHEW: Meaning?

  ROBERT: All American women will have the vote.

  EDITH: Which is more than they do here.

  ROBERT: Well, they almost do.

  EDITH: I don’t have the vote. I’m not over thirty and I’m not a householder. It’s ridiculous.11

  ROBERT: You sound like Sybil.

  MATTHEW: I don’t think it’ll be long now.

  EDITH: It’s already been much too long.

  MATTHEW: You should write to The Times.

  EDITH: Maybe I will.

  ROBERT: Ask your mother if she needs any help with tonight’s dinner. Perhaps you could do the placement. There’s nothing so toffee-nosed as a Prince of the Church, so make sure you put him next to your grandmother. She’ll know how to handle him.

  She stands and leaves.

  ROBERT (CONT’D): I’ve been thinking, Matthew. You should look through the books and meet our accountant, all that sort of thing.

  MATTHEW: Robert, I know you don’t want to feel you have somehow absconded with Swire’s money, but this is your house and your estate, and you must run it as you always have.

  ROBERT: But I think you ought to be put in the picture. Who knows? You might have some good ideas.

  9 INT. HALL. DOWNTON. DAY.

  Cora is in the hall as Edith arrives, dressed to go out.

  EDITH: I’m going into Ripon. Do you want anything?

  CORA: Could you bear to find a present for the Derbys’ new baby?12

  Mary appears, also in a coat and hat.

  CORA (CONT’D): Are you going too?

  MARY: No, I’m just off to see Doctor Clarkson. You couldn’t give me a lift into the village, could you?

  EDITH: Of course.

  They go. Cora’s curiosity is piqued.

  10 INT. SERVANTS’ HALL. DAY.

  The servants are having lunch. A worried-looking Anna waits a moment in the passage before entering.

  CARSON: Oh, Anna, you’ll be happy to hear that, as soon as we take on a new housemaid, you will be a lady’s maid to Lady Mary, at last. I’m not sure about your new name. It might be confusing to call you Bates.

  ANNA: Shouldn’t we stay with Anna?

  CARSON: I disapprove, but you may be right.

  ANNA: That’s nice, Mr Carson. Thank you.

  MRS HUGHES: Thought you’d be more pleased.

  ANNA: No, I am pleased. Really, I’m… I’ve just got a lot on my mind. Sorry.13

  CARSON: I have also advertised for a new footman.

  O’BRIEN: He’ll be Second Footman, won’t he?

  CARSON: As to that, I will make no pronouncements at this stage.

  THOMAS: Try to find a man with something about him, Mr Carson. I don’t like to feel the house isn’t being properly represented.

  ALFRED: Is that aimed at me?

  THOMAS: If the cap fits, wear it.14

  Molesley is next to Anna.

  MOLESLEY: What’s happening with Mr Bates?

  ANNA: I don’t know, exactly. I’ve not seen him for quite a time now.

  MOLESLEY: Still working to get him out?

  ANNA: Don’t worry. When he does get out, he won’t be after your job.

  This last is heard by Thomas. At the other end, Carson turns to Mrs Hughes, who is silent. He speaks softly.

  CARSON: You’re very quiet.

  MRS HUGHES: You’ll never guess what. I’ve had a letter from Ethel. She wants to meet me, but she won’t come here.

  CARSON: What for? And why not?

  MRS HUGHES: I think she’d be uncomfortable.

  CARSON: Why, particularly?

  MRS HUGHES: Never you mind. I think I’ll ask Mrs Crawley if we can meet there. Heaven knows what Ethel wants of us this time.15

  11 INT. THE OLD DAY NURSERY. DOWNTON. DAY.

  Mary is in the room, which has been cleared, and the remaining articles are under dust sheets. Matthew looks in.

  MATTHEW: Cora said you were looking for me.

  MARY: Yes. I’ve stolen the nursery as a sitting room for us, and this is the paper… Unless you hate it.

  MATTHEW: Oh. Was that all?

  MARY: Why? What did you think it was?

  MATTHEW: Cora said you’d been to the doctor earlier… I wondered why.

  MARY: To get something for my hay fever.

  Matthew nods and looks around at the room.

  MATTHEW: And what will we use for a day nursery, should the need arise?

  MARY: I think we can worry about that a little further down the line.16r />
  12 INT. DRAWING ROOM. DOWER HOUSE. DAY.

  Violet is with Edith, who has brought her some scent.

  VIOLET: Oh. Thank you, my dear. That’s very kind. How much do I owe you?

  EDITH: A guinea.

  VIOLET: A guinea? For a bottle of scent? Did he have a mask and a gun? How are you?

  EDITH: All right, I suppose.

  VIOLET: Yes, I worry about you. That sort of thing is so horrid.

  EDITH: Being jilted at the altar? Yes, it is horrid. Multiplied by about ten thousand million.

  VIOLET: You must keep busy.

  EDITH: What with? There’s nothing to do at the house, except when we entertain.

  VIOLET: There must be something you can put your mind to.

  EDITH: Like what? Gardening?

  VIOLET: Well, no. You can’t be as desperate as that.17

  EDITH: Then what?

  VIOLET: Edith, dear. You are a woman with a brain and reasonable ability. Stop whining and find something to do.

  13 INT. KITCHEN PASSAGE. DOWNTON. DAY.

  Mrs Hughes comes out of her room and runs into Anna, who is tearful.

  MRS HUGHES: I’m going out, Anna. I’ve told Mrs Patmore, and I think everything’s under control for tonight, but… What’s the matter?

  ANNA: Nothing. Except… I haven’t had a letter from Mr Bates in weeks… I worry… I worry that he’s being gallant and trying to set me free… He wants me to make a new life without him.

  MRS HUGHES: I doubt it very much.

  ANNA: Then why would he be silent like this? And stop me visiting?

  MRS HUGHES: Obviously I don’t know why, but I do know there’ll be a good reason.

  ANNA: Do you really think so?

  MRS HUGHES: I’d swear to it.

  She goes, leaving Anna slightly comforted. As she walks away, she passes Thomas just as Alfred catches up with him.

  ALFRED: Thomas, with this new footman coming, I wonder if I could ask —

  THOMAS: Sorry, Alfred. I’ve too much on my own plate to chew your helping.

  He walks on, leaving Alfred, but Carson has been listening.

  CARSON: Don’t worry. If you’ve anything to ask, then ask me.

  ALFRED: I will, Mr Carson. Thank you.

  END OF ACT ONE

  ACT TWO

  14 INT. YORK PRISON. WORKROOM. DAY.

  Bates is sewing mail sacks with the others. Turner oversees them. The prisoner, Dent, is nearby. He whispers.18

  DENT: They know you tricked them.

  BATES: Who knows what?

  DENT: Mr Durrant’s a dealer on the outside.

  BATES: What’s that to do with me?

  DENT: He’s working for your cellmate. All I know is that you punched Craig so they set you up, but you hid the stuff they’d planted and turned the tables on them. Now they’re angry.

  BATES: And what can they do?

  DENT: I’ll tell you what they can start by doing. Durrant’s reported you to the Governor for violence. You’re officially a dangerous prisoner.

  BATES: The Governor won’t fall for that.

  DENT: No? So when was the last time your wife came to visit, eh? How many letters have you received lately?

  Bates stares at him. To Dent’s surprise, he smiles.

  BATES: Thank God. What a relief. I thought she’d given up on me.

  DENT: Don’t thank God until you know what else they’ve got in store for you.

  TURNER: Stop talking!

  Bates, full of thought, returns to his sewing.

  15 INT. CARSON’S PANTRY. DOWNTON. DAY.

  Carson and Alfred stare at six small spoons.

  CARSON: Go on, then.

  ALFRED: Teaspoon. Egg spoon. Melon spoon. Grapefruit spoon. Jam spoon…

  CARSON: Shall I tell you?

  ALFRED: All right.

  CARSON: A bouillon spoon.

  ALFRED: But I thought soup spoons were the same as tablespoons.

  CARSON: Ah, so they are. But not for bouillon, which is drunk from a smaller dish… Off you go, now. I must get on.19

  Alfred walks out past Thomas, who’s been watching.

  THOMAS: You’re taking a lot of trouble with young Alfred, Mr Carson. I feel quite jealous.

  CARSON: I don’t know why. He asked for help. You never did.

  16 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.

  Isobel is with Mrs Hughes and Ethel.

  ETHEL: It’s very hard to begin…

  MRS HUGHES: Well, find a way, Ethel. We all have lives to lead.

  ETHEL: Could you write to the Bryants? To say I want them to have Charlie.

  MRS HUGHES: We’ve already been down this path. To no avail.

  ETHEL: I know. And I know I said a mother’s love was worth more than all they had to give. But I said it for me, not for him.

  ISOBEL: My dear, you mustn’t do anything until you’re absolutely sure.

  ETHEL: Mrs Hughes said we all have lives to lead, but that isn’t true. I’ve got no life. I exist, but barely.

  ISOBEL: Ethel, we all know the route you’ve taken —

  ETHEL: It’s good of you to have me here.

  ISOBEL: All I mean is that I work with others like you, to rebuild their lives. Can’t we work together to find a way for you to keep your son?

  ETHEL: With his grandparents, Charlie can build a life that is whatever he wishes it to be. With all respect, ma’am, you and I working together could never offer him that.

  MRS HUGHES: You want me to write to them again.

  ISOBEL: But leave it vague. Say that Ethel would like them to keep in contact with their grandson.

  ETHEL: I won’t change my mind.

  MRS HUGHES: Nevertheless, that’s what I’ll do. Then there’ll be no disappointment, whatever comes. Now, if you’ll forgive me, we’ve a big dinner tonight. Good day, ma’am. Ethel.

  She has gathered up her things and she leaves.20

  17 INT. HALL. CRAWLEY HOUSE. DAY.

  Mrs Hughes is being seen out by Mrs Bird.

  MRS BIRD: She was a housemaid at Downton, before she went to Mrs Crawley’s shelter? You do surprise me.

  MRS HUGHES: Ethel has had a very hard time of it since she left us, Mrs Bird. She’s had great difficulty making ends meet.

  MRS BIRD: And we know how she solved that problem.

  She is silenced as Isobel and Ethel come into the hall.

  MRS BIRD (CONT’D): Give my regards to Mr Molesley.

  Mrs Hughes slips away as the others walk towards the door.

  ISOBEL: Till we meet again, my dear.

  ETHEL: I had a coat.

  MRS BIRD: It’s there.

  ISOBEL: You will help Miss Parks, please, Mrs Bird.

  Without a word, Mrs Bird ambles over, snatches down the coat and holds it out, like she might catch something from it, for Ethel. Ethel takes it and then nods and slips out.

  ISOBEL (CONT’D): Some manners wouldn’t go amiss.

  MRS BIRD: I do not believe it is part of my duties to wait on the likes of her. I’m sorry, but that’s what I feel.

  She retreats down to the kitchen.21

  18 INT. DRAWING ROOM. DOWNTON. NIGHT.

  There is quite a grand gathering here, the men in white tie, the women in tiaras. Robert is with a prelate in purple.

  ARCHBISHOP OF YORK: I don’t want to sound anti-Catholic.

  ROBERT: Why not? I am.

  ARCHBISHOP OF YORK: Not in a real way, I’m sure.

  ROBERT: I don’t want thumbscrews or the rack, but there always seems something of Johnnie Foreigner about the Catholics.22

  19 EXT. DOWNTON VILLAGE. NIGHT.

  A village bobby in a cape bicycles past in the rain. A man in hat but no coat emerges from the side of the road and skulks onwards.

  20 INT. TELEPHONE BOOTH. IRELAND. NIGHT.

  Sybil is speaking urgently into the mouthpiece.

  SYBIL: I’ve no time to talk, but tell them I’m all right. I’m out of the flat. They haven’t stopped me —
r />   She breaks off as she sees a man in the street.

  20A INT. HALL. DOWNTON. NIGHT

  Edith speaks into the receiver.

  EDITH: Who hasn’t stopped you? Sybil, hello?

  21 INT. TELEPHONE BOOTH. IRELAND. NIGHT.

  Sybil replaces the receiver and slips out into the night.

  22 INT. HALL. DOWNTON. NIGHT.

  Edith replaces the receiver.

  23 EXT. DOWNTON. NIGHT.

  The man we saw earlier is running through the grounds, in the rain.

  23A INT. DRAWING ROOM. DOWNTON. NIGHT

  Edith comes in, looking flustered. Mary walks over.

  MARY: What’s the matter?

  EDITH: I’ve just had the most peculiar conversation with Sybil.

  Cora has joined them.

  CORA: Oh, Lord. Is the baby coming? It’s not due for weeks.

  EDITH: No, it wasn’t like that. She kept on about being ‘out of the flat’ and nobody had ‘stopped her’ and — and would we tell someone something.

  CORA: What do you mean, ‘no one had stopped her’? Stopped her from doing what?

  EDITH: That’s just it. I don’t know. She suddenly put down the telephone.

  Carson has entered.

  CARSON: Dinner is served, m’lady.

  24 INT. KITCHENS. DOWNTON. NIGHT.

  Mrs Patmore is working with Daisy on a tray of savouries.

  MRS PATMORE: What time are you going Wednesday?

  DAISY: I’ll get away early, if you can manage.

  MRS PATMORE: We’ll have to.

  DAISY: How is it Mr Carson can have a new footman and Mrs Hughes a new maid, but we can’t have a kitchen maid?

  MRS PATMORE: Don’t worry. I’m working on it. I’ve put a card up in the shop and asked the schoolmaster.

  She bustles away. Alfred is in the doorway.

  ALFRED: Glad to see you speak up for your rights.

  DAISY: Are you, Alfred? Because, if you are, I’d really like to say —

  MRS PATMORE: Alfred, aren’t they ever going to get their savoury? Is this some form of rebellion by starvation?23

  Alfred takes the tray and leaves. Daisy watches him go.

  25 INT. DINING ROOM. DOWNTON. NIGHT.

  The family and the Archbishop are at dinner. Carson starts to take round the savoury. Alfred follows with the sauce.

  VIOLET: Tell me, Doctor Lang, do you find that the war has driven the people back into the churches or further away than ever?24