ARCHBISHOP OF YORK: Well, as usual, our enemies have been busy. You know there was no truth to the rumour of the chaplains’ cowardice?
VIOLET: To the English, all prelates must be concealing their sin.
They are interrupted by a loud banging on the front door. The company chatter subsides. There is more banging.
ARCHBISHOP OF YORK: Behold, I stand at the door, and knock.
MATTHEW: Someone sounds very angry.
CORA: Or very wet.
MARY: Or both.
Robert looks at Carson, who nods at Alfred.25
26 INT./EXT. FRONT DOOR. DOWNTON. NIGHT.
Alfred opens the door to find Branson standing there, in the rain, dripping. Alfred looks beyond him.
ALFRED: Do you have any luggage, sir?
BRANSON: I barely have the clothes I stand in. Where are they?26
Mary comes into the hall. She is immediately troubled.
ALFRED: They’re in the —
MARY: Tom. What’s happened? Where’s Sybil?
BRANSON: She’s fine. I had to get away, and leave her to follow, but I’d made all the arrangements, in case. She’ll be on her way by now.
MARY: But why are you here? And why must she follow you alone?
BRANSON: I can explain.
MARY: There’s a dinner going on, but I’ll go and tell them that you’re here.
BRANSON: No, don’t. No one must know. I’ll tell you it all when they’ve gone.
Now Matthew has come out of the dining room.
MATTHEW: What’s the matter? Tom?
MARY: Go upstairs and find some dry clothes of Matthew’s. I’ll come for you when the coast is clear.
Branson nods and goes up the stairs. Mary turns to Alfred.
MARY (CONT’D): Would you please ask Mrs Hughes to sort some food out for him?
ALFRED: Yes, m’lady.
27 INT. DINING ROOM. DOWNTON. NIGHT.
Mary and Matthew come in. The whole table is looking at them.
MARY: An idiotic man delivering a village pamphlet. Can you imagine? In this weather and at this time of night?
She laughs pleasantly and they laugh with her. She whispers quickly to her father.
MARY (CONT’D): It’s Branson. He wouldn’t come in.
ROBERT: Why not? Is Sybil with him? What’s going on?
MARY: She’s not here, but apparently she’s coming soon. He’ll explain what’s happened when our guest has gone.
Violet has overheard.
VIOLET: Something to look forward to.
ROBERT: Other men have normal families, with sons-in-law who farm or preach or serve their country in the Army.
VIOLET: Maybe they do, but no family is ever what it seems from the outside.
ARCHBISHOP OF YORK: And does not every family conspire to conceal its own truths?
He has heard more than they realised.
28 INT. SERVANTS’ HALL. NIGHT.
Alfred is regaling the others. Daisy holds a laden tray.
DAISY: Do you think he’s on the run from the police?
ANNA: Don’t be so daft.
THOMAS: Well, he hadn’t got the money for a taxicab from the station.
MRS HUGHES: Maybe he fancied the walk.
O’BRIEN: Yes, that’s it. I should think he loves a night walk in the pouring rain without a coat.
DAISY: What room is he in?
Carson enters, speaking as he does so.
CARSON: I’ll take that, thank you, Daisy.
He removes the tray from her and leaves.
THOMAS: So there’ll be no more gossip on that subject tonight.
He picks up a paper. The others return to their activities.
29 INT. LIBRARY. DOWNTON. NIGHT.
They have all gathered round Branson, who is bathed and wearing some of Matthew’s clothes.
BRANSON: They turned everyone out of the castle, Lord and Lady Drumgoole, their sons and all the servants, and then they set fire to it.27
EDITH: What a tragedy.
VIOLET: Well… Yes and no. That house was hideous. But of course that is no excuse.
ROBERT: No. It is not.
MATTHEW: But what was your involvement?
BRANSON: Who says I was involved?
MARY: Well, you seem to know a lot about it if you weren’t.
CORA: And why are you running away? And what was Sybil’s part in all this?
BRANSON: She’s not involved, not at all, but they think I was part of it. They think I was one of the instigators.
MARY: So the police are looking for you?
BRANSON: That’s why I couldn’t go home. I knew if they took me I wouldn’t get a fair hearing.
CORA: You mean you gave them Sybil while you saved yourself?
BRANSON: I don’t think they’ll hold her, but if they do, then I’m prepared to go back and face the consequences.
ROBERT: You’d damn well better be!
Cora turns to Robert.
CORA: You must see the Home Secretary.
ROBERT: And tell him what? The police say he was there. He says he wasn’t —
BRANSON: I didn’t say I wasn’t there.
Naturally, this causes something of a sensation.
ROBERT: Why were you? For the fun of seeing private property destroyed?
BRANSON: Those places are different for me. I don’t look at them and see charm and gracious living. I see something horrible.
VIOLET: With Drumgoole Castle I rather agree.
ROBERT: Mama, you are not helping.
BRANSON: But when I saw them turned out, standing there with their children, all of them in tears watching their home burn… I was sorry. I admit it. I don’t want their type to govern Ireland; I want a free state. But I was sorry.
EDITH: Never mind that. What’s happened to Sybil?
BRANSON: We agreed that I should leave at once and that she’d close the flat and follow, but I got the last boat so she won’t be here before tomorrow.
ROBERT: Good God Almighty! You abandon a pregnant woman, in a land that’s not her own! You leave her to shift for herself while you run for it!28
CORA: You have to go to London, Robert. For Sybil’s sake if not for his, you have to see Mr Shortt!29
ROBERT: I don’t ‘have’ to do anything!
BRANSON: I never meant —
ROBERT: Go to bed! I’ll give you my answer in the morning.
29A INT. BRANSON’S BEDROOM. DOWNTON. NIGHT
Branson breaks down in tears as he starts to undress, and he sits on the bed, inconsolable.
30 INT. SERVANTS’ HALL/MRS HUGHES’S ROOM. DOWNTON. NIGHT.
There is gossip in the servants’ hall.
O’BRIEN: The chauffeur-terrorist. It sounds like an oxymoron.
THOMAS: Sounds like a moron, you mean.
ANNA: I suppose people have to fight for what they believe in.
MOLESLEY: Of course, she married beneath her.
MRS PATMORE: And who are you then, a Hapsburg archduke?
O’BRIEN: You can laugh. What if he has to go to prison? What then?
CARSON: That’s quite enough of that, thank you, Miss O’Brien. Bedtime, I think.
He says this as an order, rather than an observation, and walks off down the passage to Mrs Hughes’s room.
CARSON (CONT’D): I’m going up.
MRS HUGHES: Goodnight.
CARSON: I’ll try to keep them quiet, but, to be honest, I knew it would happen. I knew he would bring shame on this house. It sounds as if he’s on the run from the police and, for all we know, Lady Sybil is languishing in a dungeon somewhere in Dublin.
MRS HUGHES: I don’t think they have dungeons any more, Mr Carson. Let’s wait and see what the morning brings.
She lifts a gleaming machine out of the box. He starts.
CARSON: What in God’s name is it?
MRS HUGHES: An electric toaster. I’ve given it to myself as a treat. If it’s any good, I’m going to suggest getting one for the upstairs
breakfasts.30
CARSON: Is it not enough that we’re sheltering a dangerous revolutionary, Mrs Hughes? Could you not have spared me that?
He gives her a reproachful look and goes.
END OF ACT TWO
ACT THREE
31 INT. SERVANTS’ HALL. DOWNTON. DAY.
We follow a young man down the passage and into the hall where Daisy and the maids are clearing breakfast away. When he walks in, they turn to find themselves looking at the most gorgeous young man any of them have ever seen. They just stare.
JIMMY: Hello?
They continue to stare, until…
ANNA: Can we help you?
JIMMY: I’m here to see Mr Carson?
ANNA: What’s your name?
Before he can answer, Thomas comes in.
THOMAS: Who’s this?
JIMMY: Jimmy Kent, at your service.
THOMAS: I’m Mr Barrow. His lordship’s valet.
JIMMY: And I’m hoping to be his lordship’s footman. Which is why I’m looking for Mr Carson.
MRS HUGHES: What’s the matter? Have you all been turned into pillars of salt?
She has spoken as she approached. Now she sees the newcomer.
MRS HUGHES (CONT’D): May I help?
JIMMY: I’ve come for the interview.
MRS HUGHES: I see. Well, if you’ll wait there.
She can’t help giving a look to the staring girls.31
32 INT. MARY’S BEDROOM. DOWNTON. DAY.
Mary and Matthew are in bed together.
MATTHEW: What will your father do?
MARY: He’ll shout a lot, and then he’ll do his best to save Tom.
MATTHEW: Even though he doesn’t agree with anything Tom says?
MARY: Tom’s family.
MATTHEW: You know Robert wants to introduce me to all the secrets of Downton?
MARY: Yes.
MATTHEW: What if I find things I don’t agree with?
MARY: You won’t. You know Papa. He’s as straight as ruled line.32
33 INT. LIBRARY. DOWNTON. DAY.
The family watches as Robert blazes away at Branson.
ROBERT: I want to make it quite clear that whatever I do, I am doing it for Sybil, and not for you! I find your actions despicable, whatever your beliefs. You speak of Ireland’s suffering and I do not contradict you. But Ireland cannot prosper until this savagery is put away.
MARY: That’s all very well, Papa, but you must keep Tom out of prison!
ROBERT: I’ll go to London today. I’ll telephone Murray and ask him to arrange an interview. I won’t come home until I’ve seen Shortt.
CORA: Thank you. I know it’s right.
ROBERT: It’s right for him.
He nods dismissively at Branson.
CORA: And for Sybil, and for this family.
ROBERT: I suppose so… By the way, Matthew, I’ve had the books brought in for you to see. You can look at them while I’m gone.
MATTHEW: I’ve said before: I really don’t —
ROBERT: No, you should, you should… Let me know if Sybil gets in touch.
BRANSON: She won’t. She won’t want to give them anything to trace her by.
ROBERT: What a harsh world you live in.
BRANSON: We all live in a harsh world. But at least I know I do.33
34 INT. CARSON’S PANTRY. DOWNTON. DAY.
A young man is just leaving as Mrs Hughes enters.
MRS HUGHES: Any good?
CARSON: Not a lot of fire in his belly.
MRS HUGHES: The next one may start a good too many fires in everyone else’s belly.
She goes into the corridor.
MRS HUGHES (CONT’D): Would you like to come this way?
Jimmy enters. Mrs Hughes goes. Carson nods him to a seat.
CARSON: Now, Mr…
JIMMY: Kent.
CARSON: Kent. Exactly. I have your letter here. I see you’ve been working for the Dowager Lady Anstruther…?
JIMMY: Yes. But she’s closed up the house and gone to live in France. She begged me to go with her, but I didn’t fancy it. I didn’t think I’d like the food.
CARSON: I see. She ‘begged’ you, did she?
JIMMY: You know what women can be like.
CARSON: Not, I suspect, as well as you do.34
34A EXT. CRAWLEY HOUSE. DAY
Ethel approaches the house with her son.
ETHEL: Come here, Charlie. Let’s put your hat on. Make you look nice and smart. Be a good boy for Mummy, yeah?
She licks her finger and wipes his face with it, and then gives him a kiss.
ETHEL (CONT’D): Come on.
35 INT. HALL. CRAWLEY HOUSE. DAY.
Ethel walks in with Charlie. Mrs Bird has opened the door.
ISOBEL: There you are, my dear. Come into the drawing room. Mrs Hughes is already here.
Ethel takes the child past her and into the room.
ISOBEL (CONT’D): When Mr and Mrs Bryant arrive, please show them straight in.
MRS BIRD: Very good, ma’am.
ISOBEL: Mrs Bird?
MRS BIRD: How often is she going to be here?
She speaks softly, nodding towards the drawing room.
ISOBEL: Where is your charity, Mrs Bird? Remember, we must hate the sin but love the sinner.
MRS BIRD: I can forgive sinners, Mrs Crawley, but I don’t see why we have to have ’em in the drawing room.
36 EXT. MASON’S FARM. DAY.
Mason and Daisy are in the farmyard. He is feeding the pigs.
MASON: People say they’ll eat anything, but it’s not true. You must be careful what you give ’em if you want good bacon.
Daisy winces slightly.
MASON (CONT’D): Nay, don’t shy away, Daisy. We raise our animals to eat, or for their milk or for their leather.
DAISY: I could never be a farmer.
MASON: Don’t say that. I’d like to think you value what I do.
DAISY: So I do. I value and admire it…
MASON: Well, then. That’s all I ask.
DAISY: Can I ask you something?
MASON: Of course you can.
DAISY: This will be hard for you, but what would you say if I’d met a man I liked? Because the last thing I’d ever do would be to hurt you.
MASON: What? Did you think I’d want you to be left alone your whole life long?
DAISY: No, but…
MASON: William wouldn’t want it, neither. So, tell me. Has he spoken up?
DAISY: Not exactly, but he’s very nice. Would it be wrong, d’you think, if I were to show I’d like it if he did?
MASON: This is too modern for me, Daisy. I’d only say this: you have a pure heart, and if he’s a proper man, he’ll know that. But take your time, prepare what you’ll say, make sure your words cannot be misconstrued.35
37 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
The Bryants are there, and Mrs Hughes, Isobel and Ethel.
MRS BRYANT: Thank you for letting us come.
BRYANT: And why have we come? To hear more guff about a mother’s love?
ISOBEL: Mr Bryant, that’s not fair!
BRYANT: Isn’t it? We know what you are now, Ethel. We know how far you’ve fallen. I didn’t want to let Mrs Bryant in the same room as you, but she insisted.
MRS BRYANT: What Mr Bryant means is —
ETHEL: How could you know about me?
BRYANT: Do you think it’s so difficult to find out about a woman like you? Hah. I could give you a list of your clients.
ETHEL: You mean you’ve had me followed?
BRYANT: What? Didn’t you think we’d keep a check on our grandson?
MRS BRYANT: We’re not judging you —
BRYANT: I’m judging her! I judge her and I find her wanting!
MRS BRYANT: Ethel, we’ve decided to offer you some money. To make things easier, so that you won’t have to…
BRYANT: Unless you don’t want to give it up!
Isobel decides to ignore this last sally.
ISOBEL: Well. That is very generous, isn’t it, Ethel? It throws a different light on things.
There is a noise in the hall. Isobel looks at Ethel.
ISOBEL (CONT’D): Oh, there’s Mrs Bird with the tea. Would you like to help me, Ethel?
She opens the door and, after a second, Ethel follows. Mr Bryant has brought a teddy bear out of his coat.
BRYANT: Here, Charlie, look what I’ve got for you.
CHARLIE: A teddy.
He offers it to Charlie, who takes it eagerly.
BRYANT: That’s right.
Bryant hugs the boy.
38 INT. HALL. CRAWLEY HOUSE. DAY.
Isobel shuts the door. Mrs Bird is there with a full tray.
MRS BIRD: Should I not take it in then?
ETHEL: I can do that.
MRS BIRD: I’m sure I don’t need your help.
ISOBEL: Thank you, Mrs Bird.
The disgruntled woman puts down the tray and goes back to the kitchen.
ISOBEL (CONT’D): Ethel, you don’t have to do this. You have a choice.
ETHEL: You mean I should take money from that man? It won’t be much. Enough to keep us from starving, but not much more.
ISOBEL: But even if Charlie doesn’t go to a famous school or university, what does it matter, if you’re there to give him love?
ETHEL: Yet I suppose Mr Crawley went to a famous school and university?
ISOBEL: But Matthew was destined for a different kind of life. He needed a different training, don’t you see?36
ETHEL: I see. Thank you, Mrs Crawley.
39 INT. YORK PRISON. CANTEEN. DAY.
The prisoners are eating. Bates whispers to Dent. Then…
DENT: When do you want it to happen?
BATES: Tomorrow night.
DENT: But not Mr Durrant?
He glances at the corrupt officer supervising them.
BATES: No. Any other warder but him. Tell Turner about it. He’s straight. But don’t tell him till the afternoon.
He hesitates.
BATES (CONT’D): Why are you doing this? Why are you helping me?
DENT: I can’t stand Craig.
40 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
Ethel comes in, carrying the tray. She puts it down. As Isobel follows, Ethel starts to pour tea into the cups.
MRS BRYANT: You do that very neatly, my dear.
ETHEL: I was trained by Mrs Hughes.
MRS HUGHES: She was a good worker. Even though things haven’t gone so well lately.
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