BRANSON: Please breathe, love.
CORA: Oh, please…
MARY: She can’t breathe.
BRANSON: Please, love. Please wake up. Please don’t leave me. Don’t leave me. Please wake up, love. Please don’t leave me. Please, love.38
But Sybil does not wake up. The fight and the struggle is over and she is at peace. Clarkson checks for her pulse. Robert is in a complete daze.
ROBERT: But this can’t be. She’s twenty-four years old. This cannot be.
Cora holds her daughter, tears pouring down her cheeks. Matthew, Mary and Edith stand, struck dumb. A nurse opens the door and the room is filled with the sound of a baby crying. Branson covers his face with Sybil’s hand and continues to cry.39
47 INT. SERVANTS’ HALL/KITCHEN PASSAGE. DOWNTON. NIGHT.
A group of stunned faces, all the servants in dressing gowns, old and young, stare at Carson, who has finished speaking.
DAISY: Is there anything we should do, Mr Carson?
CARSON: Carry on, Daisy. As we all must.
He walks out, leaving them to their thoughts. Daisy walks towards Mrs Hughes and breaks down in her arms. Anna notices Thomas slip out into the passage. Silently, she rises and follows. She finds him in tears.
ANNA: Thomas?
THOMAS: I don’t know why I’m crying, really. She wouldn’t have noticed if I’d died.
ANNA: You don’t mean that.
THOMAS: No. No, I don’t. In my life, I can tell you, not many have been kind to me. She was one of the few.
She hugs him. Mrs Hughes walks by and they straighten up.40
MRS HUGHES: Oh. Don’t mind me. The sweetest spirit under this roof is gone, and I’m weeping myself.
She walks on, past Carson’s room. He stands there.
MRS HUGHES (CONT’D): Are you all right, Mr Carson?
He looks up and there are tears in his eyes, too.
CARSON: I knew her all her life, you see. I’ve known her since she was born.
48 INT. SYBIL’S BEDROOM. DOWNTON. NIGHT.
Cora is alone by the bed. Everything is tidy and neat, and a candle burns on the table. She strokes Sybil’s hand.
CORA: We’ll look after them. We’ll look after them both. Don’t you worry about that.
The door opens and Mary appears.
MARY: It’s time to go to bed, Mama. You’ll need some rest to face tomorrow.
CORA: Not just yet. This is my chance to say goodbye to my baby. You go. I’ll be all right. I promise.
MARY: I could stay… Or would you prefer to be alone?
CORA: Alone, I think. But thank you.
Mary retreats to the door.
CORA (CONT’D): And Mary, could you ask your father to sleep in the dressing room tonight?
Mary hesitates, then she nods and goes out, closing the door.
CORA (CONT’D): Because you are my baby, you know. And you always will be. Always. My beauty and my baby.
And she kisses the dead hand that she holds.
49 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
It is morning. Isobel is with Ethel.
ISOBEL: No. I can’t believe it, either. But I’m afraid we must… I’ll go up there later and see if there’s something I can do.
ETHEL: But what can anyone do?
ISOBEL: We can pray, I suppose. But that’s about all. We just have to pray.
50 EXT. DOWNTON. DAY.
A taxi arrives at the house and Murray gets out.
51 INT. LIBRARY. DOWNTON. DAY.
Matthew is with Murray.
MATTHEW: I’ve asked Carson to bring Anna here, Mr Murray, but I don’t think it’ll be possible for you to see Lord Grantham. Not today. I’m sure you understand.
MURRAY: Of course. I should have guessed there was something wrong when there was no car at the station. What a dreadful, dreadful thing.
MATTHEW: It seems unbelievable in this day and age. Quite unbelievable.
The door opens and Carson ushers in Anna. Matthew stands.
MATTHEW: I’ll leave you to it… Mr Murray, I wonder if I might have a word with you before you go. It’s not the best day for it, but there’s no knowing when you might be up here again.
MURRAY: Of course, Mr Crawley.
Matthew leaves with Carson. Murray nods to Anna.
MURRAY (CONT’D): I am very sorry to trouble you on a day like this, Mrs Bates.
ANNA: You weren’t to know. None of us could have known.
MURRAY: Please, sit down, and tell me what it is you think you’ve discovered.
ANNA: It doesn’t seem right. Not today.
MURRAY: Please try.
Slightly hesitantly, Anna does sit down.
ANNA: I’m not quite sure where to start.
52 INT. SYBIL’S BEDROOM. DOWNTON. DAY.
Branson is sitting by the bed. He holds Sybil’s hand. Across the room, Mary also sits, keeping vigil. Edith comes in.
EDITH: The men from Grassby’s have arrived.
BRANSON: To take her away.
MARY: Yes. And we must let them.
Mary comes to the bed and kisses Sybil’s still face.
MARY (CONT’D): Goodbye, my darling.
Edith kisses Sybil on the forehead, too.
MARY (CONT’D): She was the only person living who always thought you and I were such nice people.
EDITH: Oh, Mary. Do you think we might get along a little better in the future?
MARY: I doubt it, but since this is the last time we three will all be together in this life, let’s love each other now, as sisters should.
She hugs Edith and takes a deep breath. The sisters turn to Branson, who gazes out the window.
MARY (CONT’D): Can I tell them to come up?
Branson nods but does not move as the sisters leave together.41
52A INT. LIBRARY. DOWNTON. DAY.
Anna is with Murray.
ANNA: You see, what I have discovered is quite simple, Mr Murray. It’s proof of my husband’s innocence.
MURRAY: That seems a good place to start.
ANNA: Yes. But the key to his innocence depends on the word of a woman who hates him, and may want him to stay in prison, whatever the truth.
MURRAY: Why not tell me everything you know?42
52B INT. SYBIL’S BEDROOM. DOWNTON. DAY.
Branson walks from the window to the bed and sits on it, taking Sybil’s hand as the tears come once again.
53 INT. LIBRARY. DOWNTON. DAY.
Matthew is with Murray.
MATTHEW: Of course, this isn’t the right time, but you’re here, and it’s not a subject for the telephone.
MURRAY: No. But I must confess to you, Mr Crawley, that even at this sad hour your words are music to my ears. Testing times are coming for these estates. Indeed, they’ve already arrived, and many great families will go to the wall over the next few years. It’s never been more vitally important to maximise the assets of a place like this, and run it with a solid business head.
MARY: What are you talking about?
She has comes in without their noticing. Matthew is silent.
MURRAY: Mr Crawley and I were discussing the management of the estate. He was outlining some interesting plans for the future.
MARY: And do you intend to involve my father in these fascinating plans?
MURRAY: Of course.
MARY: Then I cannot think this a very appropriate moment to be deciding the destiny of Downton, Mr Murray, when my sister’s body has just been removed from the house and my father is quite unable to see or speak to anyone.
The two men understand that she is extremely indignant.
MURRAY: I’m really only here to talk to Mrs Bates about her new evidence. Naturally, if I’d known —
MARY: No, no. That’s quite different. None of us would wish to keep Bates in prison for an hour longer than necessary. Shall I fetch her?
MURRAY: I’ve already seen her. Now I’m on my way to York. To visit Bates and learn what he has to say about it.
MARY: Then thank you so much for coming all this way.
Mary goes to the bell pull.
MURRAY: Lady Mary, please tell your parents how very sorry I am.
MARY: Of course.
The door opens and Alfred stands there.
MARY (CONT’D): Mr Murray is just leaving.
Murray accepts this, takes up his briefcase and goes.
MATTHEW: I’m sorry, darling. Forgive me. I wasn’t thinking. It’s just… Murray was in the house —
MARY: Papa has lost his youngest daughter. I think that’s enough. Or does he have to lose control of his estate on the same day?43
54 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. DAY.
Mrs Hughes is with Carson and Mrs Patmore.
MRS HUGHES: Mrs Rose, in the village, has just had a baby and she’s volunteered to nurse the child.
CARSON: Good. I suppose she’ll stay here?
MRS HUGHES: Not for long. The Doctor’s sent up a pamphlet on feeding babies with something called the ‘percentage method’. Boiled milk, water, honey, orange juice… That kind of thing.
MRS PATMORE: I’ll take care of it.
CARSON: We don’t want to add to your work.
MRS PATMORE: I don’t mind. I’m glad to do it.
She dabs her eyes.
MRS PATMORE (CONT’D): She wasn’t much more than a baby, herself, poor love. When I think how I taught her to cook. She couldn’t boil an egg when she came downstairs, but yet she was so eager…
He sighs.
MRS HUGHES: I’m sure she was very grateful.
CARSON: I’ll go up and tell them the child will be taken care of. I wonder how her ladyship’s coping. And of course there’s Branson. What will we do about him now?
MRS HUGHES: We will show him that we are kind people, Mr Carson. That’s what.44
55 INT. VISITING CELL. YORK PRISON. DAY.
Murray is opposite Bates.
MURRAY: I agree the challenge is to get a statement from Mrs Bartlett before she realises its significance.
BATES: That’s it…
He stops for a moment and sighs.
BATES (CONT’D): I can’t stop thinking about Lady Sybil. A lovely young woman, at the height of her happiness. If I had any beliefs, that would shake them.
A bell rings. The prison warder, Durrant, calls out.
DURRANT: Make your way out now!
MURRAY: I’ll keep you informed, Mr Bates. I’ll do my very best for you.
BATES: Thank you, Mr Murray.
The visitors stand and start to leave. Craig watches Murray and Bates with Durrant.
DURRANT: I s’pose that’s his lawyer.
CRAIG: Lord Grantham’s lawyer, more like.
DURRANT: I don’t care if he’s lawyer to the Prince of Wales. He’ll get a shock when he contacts Mrs Audrey Bartlett.
Which is obviously very amusing to them both.
56 EXT. FRONT DOOR. DOWNTON. DAY.
Alfred walks forward and opens the door to Violet, in black.
56A INT. FRONT DOOR. DOWNTON. DAY
Alfred closes the door behind Violet, who approaches Carson.
VIOLET: Oh, Carson.
CARSON: Good afternoon, m’lady.
VIOLET: We’ve seen some troubles, you and I. Nothing worse than this.
CARSON: Nothing could be worse than this, m’lady.
She nods and, uncharacteristically, pats his arm. Crossing the hall, she stops and almost sags, her shoulders shaking, and she holds onto the wall for support. She takes out a handkerchief and dabs her eyes. But then, as Carson watches, she lifts her veil and straightens up again, as stiff as a ramrod, and walks on into the drawing room.45
57 INT. DRAWING ROOM. DOWNTON. DAY.
Cora is staring into the fire as Violet comes in. Robert, Mary, Matthew, Isobel and Edith are with her. They are all in mourning. Robert stands.
ROBERT: Ah, Mama.
VIOLET: Oh, my dears.
ROBERT: You’ll be glad to know they’ve found a nurse for the baby. She is already here.
VIOLET: Good. Good. Where — Where’s Tom?
EDITH: He’s upstairs. I’ve asked if he wants anything. He says no.
CORA: He wants his wife back. But that’s what he can’t have.
She stands.
CORA (CONT’D): I must write to Doctor Clarkson and have it sent down before dinner.
ROBERT: Darling, there’s no need for that.
CORA: I should. I want to. I have to apologise for our behaviour.
MARY: What? Why?
CORA: Because if we’d listened to him Sybil might still be alive. But Sir Philip and your father knew better, and now she’s dead.
She leaves, closing the door behind her.
VIOLET: Why… Why did she say that?
ROBERT: Because there is some truth in it.
VIOLET: My dear, when tragedies strike we try to find someone to blame, and in the absence of a suitable candidate we usually blame ourselves. You are not to blame. No one is to blame. Our darling Sybil has died during childbirth, like too many women before her. And all we can do now is cherish her memory and her child.
But Robert only stares out of the window, in silence for a moment, before he speaks.
ROBERT: Nevertheless, there is truth in it.46
58 EXT. DOWNTON. DAY.
From a window on the first floor, Branson looks down. In his arms he holds his newborn, motherless child.47
END OF EPISODE FIVE
1 Jessica Brown Findlay (who plays Sybil) had announced from very early on that she would do the third season but no more. What many in the audience did not grasp, least of all in America, is that no English agent will allow a client to sign for more than three years of anything. In America the actors are generally required to commit for far longer, but we don’t do that. And there is no question but that it is harder to lose a character when they are a member of the Crawley family. When a servant wants to leave – and Siobhan Finneran (O’Brien) also decided to leave at the end of the third season, much to my sorrow – that is easy. They get another job. But a member of the family can’t just vanish, and if they’re not prepared to come back at all, ever, then they must die, because it’s not believable that you literally never see them again.
If Jessica had been happy to do one or two more episodes in the next series, then we would have kept her alive and made her live in Dublin, occasionally coming over for visits. But she wanted a clean break. Of course, in a way, for Allen Leech (Branson) it was rather good that she didn’t want to come back at all, because he then could stay on as a widower at the heart of the series. The real problem for us arose when Dan Stevens, who played Matthew Crawley, decided he also wanted to leave, but we didn’t learn this until the first five episodes had been written and cast. If I had known, I might have killed Sybil in Episode Two and then Matthew could have had an accident in Seven, but once we were going to film Five, then we couldn’t have another episode all about death. It had to be slam bam. Dead.
Anyway, Jessica wanted to have a new adventure. I thought it might be a useful thing to kill her in childbirth, as a reminder that women still died in childbirth in the 1920s (and can die now). People imagine that had all finished some time around the year 1857, but it absolutely did not. This decision also gave us an opportunity to look at the kind of condition that would kill you. What interested me, having talked it through with an obstetrician, was the commonly held notion that eclampsia and pre-eclampsia have gone away, when it is still a very, very serious condition. The difference being that, in the 1920s, once the fits had started you had no chance. The only tiny possibility of surviving was to deliver the child as quickly as possible by caesarean and hope that the fits would never come. This was no guarantee, but sometimes it did work.
Interestingly, both Napoleon I and Napoleon III were faced with doctors saying, ‘I can save either the mother or the child,’ and in fact, rather admirably given the dynastic situation, they both chose the mother and, in b
oth instances, the doctor got the child through as well. But they did not require caesareans and these were very risky until the 1880s, at the earliest. Nevertheless, in this instance, it was the only option.
2 David Robb (Doctor Clarkson) said to me, ‘So many stories seem to hinge on my getting the diagnosis wrong. Can I just have one story where I get it right?’ So that gave me the idea of Robert, who is not at fault – that would be unfair – holding the belief that he must get in an expert. This allowed me to tackle the damage that has been wrought by so-called experts in every field, who of course turn out in so many instances not to be experts at all, but merely to hold the current fashionable prejudice about whatever it is. Robert falls for that. He thinks because he is an important man and his daughter is who she is, he must have a London expert who knows everything and is fashionable. We start with Clarkson, who thinks everything is going well. ‘The womb is preparing itself for birth.’ I quite like this line of Cora’s in reply: ‘Doctor Clarkson, I’m afraid Lord Grantham doesn’t enjoy medical detail.’ That’s me.
3 Ivy’s consciousness about being more likely to come across new medical developments in the city but not outside it is truthful. People certainly thought like that. My stepmother’s mother was American and she was expected to have her baby in the family house in Rutland, but when it came to it, in 1917, she chose to go to London, for exactly this reason. On arriving, she discovered to her dismay that none of the hospitals would admit her, because they were all full of wounded soldiers. ‘But you’re not ill,’ they said. ‘You’re just having a baby.’ In the end, she checked into the Hyde Park Hotel where my stepmother was born. So Maureen was a child of the Hyde Park Hotel. Rather nicely, years later in 1982 when she married my father, they were staying their first night at the Hyde Park Hotel before going to Ireland, and someone (not me) tipped off the hotel that Maureen had been born there. They were given a wonderful bridal suite and all that sort of generous stuff, and a friend afterwards said to the manager, ‘That was very, very kind of you to do that, to make such a fuss of them.’ ‘Yes,’ he answered, ‘but it wasn’t a dangerous precedent.
4 One of Carson’s permanent battles is to keep things clean and to stop young men being young men: ‘I don’t like the direction this conversation is taking.’ We see that through all the series, and Mrs Hughes endorses it, because of her responsibility for the maids.
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