Downton Abbey, Series 3 Scripts (Official)

by Julian Fellowes

  DAISY: He’s ever so generous. And so kind.43

  36 INT. DINING ROOM. CRAWLEY HOUSE. DAY.

  The five women are eating together.

  CORA: This was very good.

  ISOBEL: It was. It really was.

  VIOLET: Don’t sound so surprised.

  ISOBEL: I am surprised. I owe Ethel an apology. I’ve underestimated her.

  EDITH: I sometimes wonder if I should learn to cook.

  MARY: Why?

  EDITH: You never know. It might come in handy one day. And I’ve got to do something.44

  ISOBEL: What did you say to that editor who wanted you to write for him?

  EDITH: I haven’t said anything, yet. It’s probably too late now, anyway.

  ISOBEL: Matthew tells me Robert was against it.

  CORA: What difference does that make?

  VIOLET: Oh, really, my dear, shhh —

  CORA: We’re all family. I’m not letting the side down. I’m just saying that Robert frequently makes decisions based on values that have no relevance any more.

  EDITH: Do you think I should do it?

  ISOBEL: I wouldn’t countermand your father.

  VIOLET: Then why bring it up?

  MARY: Well, I do. And so does Matthew.

  The door opens. It is Robert.

  ROBERT: And so does Matthew what? What else has Matthew decided for my family?

  Isobel stands.

  ISOBEL: Robert —

  ROBERT: Don’t worry. I don’t need to be fed. We’re going. All of you. Now. This is completely astonishing.

  CORA: What are you talking about?

  ROBERT: Do you know who has prepared this luncheon for you?

  CORA: Yes. Ethel. Our former housemaid.

  ROBERT: Who bore a bastard child.

  VIOLET: What?

  CORA: Robert, Ethel has rebuilt her life —

  ROBERT: Has she? Do you know what she has built it into?

  MARY: What do you mean?

  ISOBEL: I think Cousin Robert is referring to Ethel’s work as a prostitute.

  This is news. Violet recovers first.

  VIOLET: Well, of course, these days servants are very hard to find.

  ISOBEL: I don’t think you understand the difficulties she’s had to face —

  ROBERT: I couldn’t care less how she earns her living! Good luck to her! What I care about is that you have exposed my family to scandal!

  ISOBEL: But who would know?

  ROBERT: I can’t tell you how people find out these things, but they do. Your gardener, your kitchen maid, your…

  The door opens and Ethel enters with a tray of the pudding. She is neatly dressed in black with a white apron. Violet whispers to Mary.

  VIOLET: It seems hard to believe, but then I suppose she has an appropriate costume for every activity.

  ROBERT: We’re leaving.

  ETHEL: Is this because of me, m’lord?

  CORA: No. It’s because of his lordship. And we’re not leaving. Is that a Charlotte Russe? How delicious.

  ETHEL: I hope it’s tasty, m’lady. Mrs Patmore gave me some help…

  CORA: I’m glad to know that Mrs Patmore has a good heart, and does not judge.

  She says this looking directly at Robert.

  ROBERT: Is anyone coming?

  VIOLET: It seems a pity to miss such a good pudding.

  Robert slams out of the room.

  37 EXT. EXERCISE YARD. YORK PRISON. DAY.

  The prisoners are exercising. Bates has his eyes on Craig further down the line. Gradually he moves up. Some of the others notice, but they do not give him away. As they pass a small recess, Bates acts fast, pulling Craig out of the line.

  CRAIG: They’ll get you for this.

  BATES: Maybe. But not before I get you.

  CRAIG: I don’t know what you want.

  BATES: Who went to see Mrs Bartlett? Who got her to change her evidence?

  CRAIG: Who’s Mrs Bartlett?

  Quick as a flash, Bates pulls a thin stiletto knife out of his pocket and presses it into Craig’s neck.

  CRAIG (CONT’D): You’re out of your bleedin’ mind.

  BATES: Yes. I am out of my mind and, lest we forget, I am an assassin. Now tell me, who went to see her?

  CRAIG: Durrant.

  BATES: How did you know about her evidence?

  CRAIG: I seen where you hide your letters. When we shared a cell.

  BATES: I see. Well, now Durrant is going to tell her the police are on to her, and she’s gonna wind up inside if she doesn’t change her story.

  CRAIG: Change it to what?

  BATES: To the truth.

  CRAIG: Or else what?

  BATES: Or else I go to the Governor. I tell him how you and Durrant are bringing in drugs and trying to get me to sell them for you.

  CRAIG: That’s a lie.

  BATES: My goodness, so it is. But I think he’ll believe it, don’t you? When you’ve already had a warning? And Durrant’ll lose his job, and you will stay here five years longer.

  CRAIG: Or we could always kill you.

  BATES: Yes, but you’re not a killer, Craig. Not like me. You rob and steal and break into helpless old women’s houses. But you’re not a killer. It’s not in you. I am. It is in me.

  He releases his grip on Craig’s throat and steps back.

  CRAIG: It was only a joke.

  BATES: Well, it was a bad joke and now it’s over.

  CRAIG: He won’t like it.

  He nods towards Durrant as they come back out into the light.

  BATES: He’ll like it better than early retirement.

  He smiles at a curious Durrant and moves off.45

  38 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. NIGHT.

  Carson is still horrified.

  CARSON: No. He went down there and told them. And none of them came away.

  MRS HUGHES: Not even the Dowager? My, my. Perhaps the world is becoming a kinder place.

  CARSON: You say ‘kinder’. I say weaker and less disciplined.46

  MRS HUGHES: Well, if her ladyship is prepared to visit Crawley House, I dare say you won’t object when I do.

  CARSON: I won’t forbid it, because I have no right to do so, but I do object. With every fibre of my being.

  MRS HUGHES: Then we must agree to differ.

  Mrs Hughes walks away but stops when Carson continues.

  CARSON: If we must, we must, but you disappoint me. I never thought of you as a woman with no standards.

  Mrs Hughes shoots him a look as she closes the door behind her.47

  39 INT. LIBRARY. DOWNTON. NIGHT.

  Robert is on his own when Mary comes in.

  MARY: I wish you’d come back to the drawing room.

  ROBERT: I’d only set your mother’s teeth on edge.

  MARY: She’ll come through it. She will. Which brings me to your performance today. How did that help?

  ROBERT: I was angry with Isobel. For exposing you all to gossip.

  MARY: You were angry, all right. But not with Isobel or Ethel. I think it’s because the world isn’t going your way. Not any more.

  He pours himself another drink.

  ROBERT: Has Matthew told you about his latest plans for Downton?

  MARY: I know he wants to change things.

  ROBERT: Oh, doesn’t he just. Now he intends to lecture poor old Jarvis on how to do his job, when Jarvis has lived in the area since he was a boy.

  MARY: You mustn’t let him upset you.

  ROBERT: He’s more or less told me I’ve let the estate fall to pieces.

  MARY: I’m sure he didn’t mean that.

  ROBERT: Didn’t he? ‘A fool and his money are soon parted.’ And I have been parted from my money, so I suppose I am a fool.

  MARY: You won’t win over the Christening.

  ROBERT: Not if you’re against me.

  MARY: I’m never against you. But you’ve lost on this one.

  ROBERT: Did Sybil truly not mind?

  MARY: She
wanted Tom to be happy. She loved him very much, you know. We all need to remember that.

  ROBERT: I keep forgetting she’s gone. I see things in the paper that would make her laugh, I come inside to tell her that her favourite rose is in bloom, and then, suddenly…

  He closes his eyes in grief.

  MARY: Say that to Mama. Please.

  ROBERT: She doesn’t want to hear it from me.48

  END OF ACT THREE

  ACT FOUR

  40 INT. NURSERY. DOWNTON. NIGHT.

  The room is in shadow save for a night light burning. Branson looks down into the crib, as Mary and Matthew come in.

  MATTHEW: How is she doing?

  BRANSON: She’s as healthy and blooming as any motherless child could be.

  MARY: She’s a motherless child and I’m a childless mother. You’d think we could sort something out.

  She laughs gently, as if this were a joke.

  BRANSON: But she’ll always be motherless. There’s the difference.

  This is kind of him, which Matthew appreciates.

  MATTHEW: Thank you.

  Mary takes the child from Branson and holds her, while Matthew strokes the baby’s head. Matthew and Mary look at one another.49

  41 INT. SERVANTS’ HALL. DOWNTON. NIGHT.

  Dinner’s over and they sit around.

  MOLESLEY: You mean they stayed in that house? Even after they knew?

  MRS HUGHES: I expect they didn’t want to insult Mrs Crawley.

  MOLESLEY: I couldn’t have swallowed another bite. Not once I knew.

  MRS HUGHES: Jesus managed to eat with Mary Magdalene.

  MOLESLEY: Now, we can’t be sure that he ate with her. He did allow her to wash his feet.

  MRS HUGHES: I see. Well, I’ll tell Ethel she has a treat in store.

  Further down the table Ivy is distracted by Alfred’s staring.

  IVY: What’s the matter with you?

  ALFRED: I’m sorry, but… I don’t know… You seem even prettier somehow.

  MRS PATMORE: Ivy? We haven’t finished yet.

  IVY: We’ve never finished.

  But as she walks past the cook, Mrs Patmore stops her.

  MRS PATMORE: What’s this?

  She reaches up with her apron and wipes Ivy’s cheek.

  MRS PATMORE (CONT’D): Rouge? Have you been painting your face?

  IVY: It’s not like the old days, Mrs Patmore. All the girls do it now.

  MRS PATMORE: Not in this house, Miss Hussy! Go and wash! We’ll see no more of it!50

  Jimmy has been playing the piano all this time. Thomas stands by the piano, watching him.

  ANNA: It’s nice to know we’ve another piano player in the house. Unless you think it’s too soon?

  MRS HUGHES: Oh, no. Lady Sybil was a bright young thing. She’d be glad of some music. You play well, James.

  THOMAS: There’s no end to Jimmy’s talents, is there?

  He rests his hand on Jimmy’s shoulder. O’Brien has come in.

  O’BRIEN: His lordship wants you.

  Thomas strokes Jimmy’s neck and ear and walks off.

  JIMMY: I wish he wouldn’t do that.

  O’BRIEN: What?

  JIMMY: He’s always touching me. I’m going to tell Mr Carson.

  O’BRIEN: You’d never.

  JIMMY: I’d tell the flippin’ police if it’d make him stop.51

  O’BRIEN: I must go. I need to fetch some linen and her ladyship won’t be long now.

  She leaves the room as Jimmy plays on. Daisy comes up.

  DAISY: I like to hear you play, but it makes me sad, too.

  JIMMY: Why’s that?

  DAISY: There was a footman here once, William; he used to play.

  JIMMY: But why does that make you sad?

  DAISY: Because he died. In the war. He was… he was my husband.

  JIMMY: I see.

  With a half-smile, Daisy moves off.

  42 INT. PASSAGE/SERVANTS’ HALL. DOWNTON. DAY.

  Daisy carries a tray down the passage and into the servants’ hall. She stops dead. Facing away from her is Alfred, alone, singing under his breath and trying to dance the foxtrot.

  DAISY: What are you doing?

  He jumps round as if he’d been shot.

  ALFRED: Nothing.

  DAISY: It didn’t look like nothing.

  ALFRED: Can you dance the foxtrot?

  DAISY: I think so. Yeah. I can.

  ALFRED: Would you teach me?

  DAISY: Well, I’m s’posed to lay the tea…

  ALFRED: And here’s me thinking you’d like to dance with me.

  DAISY: Go on, then.52

  She puts down the tray and joins him.

  ALFRED: How do you put that hand —?

  DAISY: Like this.

  They take up a dancing position.

  DAISY (CONT’D): You do… that foot goes back first.

  ALFRED: Right.

  DAISY: Yeah, it goes: slow, slow, quick, quick, slow, slow, quick, quick, slow, slow, quick, quick.

  The pair dance clumsily under Daisy’s tutelage, though she’s clearly relishing every moment of it.

  ALFRED: What is it?

  DAISY: Nothing. It just reminded me of when Thomas tried to teach me the grizzly bear…

  ALFRED: I’ve never heard of that one.

  DAISY: Well, it was a long time ago, and a lot’s happened since. Now, come on.

  She starts to sing softly, as she dances.

  43 INT. BEDROOM PASSAGE. DOWNTON. NIGHT.

  O’Brien is carrying some shirts. She passes the dressing room door as Thomas comes out. They talk in hushed tones.

  O’BRIEN: Everything all right?

  THOMAS: So so. I don’t think he’s very happy but it’s none of my business.

  O’BRIEN: Not like your little footman friend.

  THOMAS: Why do you say that?

  O’BRIEN: I think he’s got a crush on you. He was purring when you were with him at the piano. I saw.

  THOMAS: Well, he’s a nice lad. And he’s obviously got good taste.

  O’Brien laughs and walks on.53

  44 EXT. DOWNTON. DAY.

  Mary and Edith are walking up the drive when Anna comes running towards them, waving a telegram.

  ANNA: M’lady! It’s arrived! It’s here! I wanted you to be the first to know!

  MARY: Know what? What’s arrived?

  ANNA: He’s done it! Mr Murray’s done it! He’s got her to make a statement! Witnessed and everything!54

  EDITH: Does he say why Mrs Bartlett changed her mind and told the truth in the end?

  ANNA: I don’t care why she did it! She’s done it! That’s what matters!

  EDITH: So when will Bates be set free?

  ANNA: It’ll take a few weeks. For the formalities. But he’ll be released. Mr Murray’s quite clear about that. So Mr Bates is coming home.

  MARY: Oh, I am so, so happy for you.

  ANNA: I know you are.

  EDITH: Have you told Papa?

  ANNA: Not yet, m’lady.

  MARY: Oh, do. Please do. He’s very low just now. And it will be wonderful for him to hear something good.

  They all run towards the house.

  45 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Daisy and Alfred are practising the foxtrot.

  DAISY: I’ve got to go. I must get started on the luncheon.

  ALFRED: Do you think I’m getting better?

  Daisy hesitates. There isn’t much sign of it.

  DAISY: Why does it matter if you’re enjoying yourself?

  ALFRED: Because I’ve got to get the hang of it. I’ve just got to, that’s all.

  46 INT. LIBRARY. DOWNTON. DAY.

  Robert is working when Cora comes in, with a sheet of paper.

  CORA: Have you seen this note from Mama?

  ROBERT: I have. I wonder what she wants.

  CORA: I can stand anything but a lecture on marital harmony.

  He laughs as if she were joking. But she does not laugh
.

  CORA (CONT’D): Do we have to go?

  ROBERT: I think so. And we needn’t stay long.

  CORA: Good.

  ROBERT: You look very nice this morning.

  CORA: Don’t flirt with me, Robert. Not now. In case you’ve forgotten, our daughter is dead.

  Cora walks out, closing the door behind her.

  47 INT. LIBRARY. DOWNTON. DAY.

  Robert is alone now, and sad, when the door bursts open and Anna is standing there, flushed. Behind her are Mary and Edith, still in their coats. Robert gets to his feet.

  ANNA: I’m ever so sorry to interrupt, m’lord, but Mrs Bartlett has given a statement that’ll clear him. At least, Mr Murray says ‘it will make the verdict unsafe’. So Mr Bates is coming back to Downton.

  MARY: Isn’t it marvellous?

  ROBERT: Yes. That is absolutely marvellous. Do you want to telephone Murray? If you do, tell Carson. He’ll manage it for you.

  EDITH: Why? Are you going out?

  ROBERT: Your grandmother has asked us to call. But I’ll hear what he says later. I really am so very glad.

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

  Carson is working on the wine books. He sees Ethel passing.

  CARSON: Excuse me. What are you doing here?

  ETHEL: I’m sorry, Mr Carson, but I wanted to thank Mrs Patmore, and I’ve brought these flowers.

  CARSON: When we want flowers, there are plenty in the gardens here.

  Mrs Hughes has arrived to hear this last remark.

  MRS HUGHES: How nice of you, Ethel. Mrs Patmore’s in the kitchen.

  Ethel moves off as Mrs Hughes gives Carson a severe look.

  MRS HUGHES (CONT’D): I hope you never need a favour from your fellow man.

  CARSON: You can talk as tough as you like. I know you won’t abandon me.

  MRS HUGHES: Well then, why doesn’t that thought make you kinder?

  CARSON: Because I am who I am, Mrs Hughes.55

  49 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Daisy and Alfred are dancing.

  DAISY: Slow, slow, quickly go back, slow —

  JIMMY (V.O.): Oh…

  He has come in and he stands there looking at them.

  JIMMY: Look at the pair of you.

  DAISY: Alfred’s learning the foxtrot.

  JIMMY: I bet he is, but he’s gonna have to do better than that.

  DAISY: What do you mean? Why?

  JIMMY: Well, he’s only learning it to please our Ivy. Aren’t you, m’laddo?

  DAISY: Is that true?