THOMAS: I’m here now.
Thomas sits on Jimmy’s bed. He leans over and kisses his mouth. The sleeping Jimmy almost responds, then he springs awake, just as Alfred walks in and turns on the light.
ALFRED: I’m sorry to wake you, Jimmy, but I’ve got to ask —
He stops dead. In his eyes, Jimmy is kissing Thomas.
ALFRED (CONT’D): Oh, my —
JIMMY: Get off! Get the bloody hell off me! Will you bloody get off! Alfred, it’s not what you think!
THOMAS: Don’t do that. Please. Alfred doesn’t matter. No one’ll believe a word he says. He’s nothing.
JIMMY: What are you doing? Why are you in here?
THOMAS: Because of what you said. Because of all there is between us.
JIMMY: There’s nothing between us! Except my fist if you don’t get out! And if you tell any —
But when he looks round, Alfred has gone. Jimmy is standing now, and threatening. Thomas backs away.
THOMAS: But what about… the things you said —
JIMMY: I said nothing except get out! Go on, get out, Thomas!19
28 INT. MENSERVANTS’ PASSAGE. DOWNTON. NIGHT.
Thomas is in the passage when Carson opens his door.
CARSON: What is going on?
THOMAS: Nothing, Mr Carson. Jimmy, er, James, had a nightmare. He’s fine, now.
CARSON: Well, go to bed.
Carson storms off to bed, slamming his door behind him.
When Thomas turns round, he sees Alfred looking at him.
END OF ACT TWO
ACT THREE
29 INT. SERVANTS’ HALL. DOWNTON. DAY.
This is breakfast, but there is an atmosphere you could cut with a knife. Jimmy stares straight ahead. Alfred is nervous. Thomas offers them toast, and they both glare at him.
ANNA: What is it? What’s going on?
MRS HUGHES: James? What’s the matter with you?
JIMMY: Nothing.
MRS HUGHES: Alfred?
ALFRED: Ask Mr Barrow.
But Thomas speaks before she can. He shakes his head.
THOMAS: It’s nothing. Really.
MOLESLEY: It doesn’t seem like nothing.
He gives a little laugh and looks round, but nobody joins in. Ivy enters with some more toast. Jimmy looks up.
JIMMY: Ivy? Never mind the toast, you look very tasty yourself, this morning.
CARSON: What did you say?
JIMMY: Well, can’t a red-blooded man compliment a pretty girl?
CARSON: Not at breakfast, for heaven’s sake!
O’BRIEN: Alfred? What’s happened?
She has whispered, and he whispers back.
ALFRED: Not now.
CARSON: Well, if there is anything I ought to know, I hope I hear about it before the end of the day.
Alfred looks at Thomas, but Thomas just looks away.20
30 EXT. A STREET IN LONDON. DAY.
Edith pulls up in a car, gets out and walks across the street. She is dressed in a smart suit. She finds the entrance she is looking for and goes inside.
31 INT. GREGSON’S OFFICE. LONDON. DAY.
Michael Gregson, forty, is a handsome fellow in a solid sort of way. Edith is with him, holding a cup of tea.21
EDITH: This really has been so interesting.
GREGSON: Well, I hope this means that you’re persuadable, Lady Edith.
EDITH: I’ll think about it, I promise. I just felt I had to meet you and see what it would be like.
GREGSON: I assume your father disapproves.
EDITH: Well, it’s the business of parents to worry, isn’t it?
GREGSON: Oh, no. All sorts of toffs are writing for magazines nowadays. Some of them even advertise face creams and cigarettes and the rest of it.
EDITH: I’m afraid Papa would not find that reassuring.
Which makes him laugh.
EDITH (CONT’D): In fact, if he were here he’d probably just shout ‘Run!’
GREGSON: Will you please make up your own mind, without his advice?
EDITH: I’ll have to think about that, too.
GREGSON: Are you going back to Yorkshire tonight?
EDITH: No. I’m staying with my aunt. I’ve got to look in to the offices of The Lady while I’m here.
GREGSON: Not to write for them, I trust?
EDITH: Oh, no. It’s just something I promised to do for my grandmother.
GREGSON: The Lady? That’s, er, Covent Garden. Here’s an idea. Let’s… Let’s have lunch tomorrow at Rules. If you accept the job we’ll celebrate; if it’s a no, I’ll drown my sorrows. How’s that?
Edith laughs and they shake hands.22
32 INT. ROBERT’S DRESSING ROOM. DOWNTON. EVE.
Thomas is dressing Robert for dinner. He drops his brush.
ROBERT: You seem nervous today, Barrow. Is something troubling you?
THOMAS: No, m’lord.
ROBERT: We will get things sorted out. We won’t leave you in the lurch.
THOMAS: I’d be grateful if you could let me know when you’ve made a decision.
ROBERT: I’ll talk things through with Carson, and we’ll see what we can come up with.
33 INT. DRAWING ROOM. DOWNTON. NIGHT.
It is after dinner, and they are all in there.
Across the room, Mary, Matthew and Branson have spread a map of the estate out on the piano.
MATTHEW: It makes no sense to retain this bit as a separate section. No sense at all. But of course Jarvis won’t see that because he hates change.
MARY: Just try to carry Papa with you. That’s all I ask.
MATTHEW: He’ll be with me in the end because this is the only way forward, and at some point he’s going to see that.
MARY: Some point in the near future, I hope.
Carson, Jimmy and Alfred are serving. The young men seem distracted.
CARSON: What’s the matter with you both? You were in a dream all through dinner.
JIMMY: Nothing’s the matter.
Cora is talking to Robert.
CORA: Does Mr Murray want luncheon tomorrow?
ROBERT: No. He’s in York all morning. He’ll come up here afterwards.
CORA: Followed by Tom’s brother for dinner. So it promises to be a day of contrasts.
ROBERT: God in heaven.
He scratches Isis’s ear.
MARY: What do you think, Tom?
BRANSON: I agree with Matthew. The estate can offer proper compensation to the tenants now, while the money’s there, but if we miss this chance it may not come again.
ROBERT: So says the Marxist.
He has walked over to listen. Violet has heard this, too.
BRANSON: If you don’t mind my saying so, you’ve a narrow view of socialism.
ROBERT: You seem to have a very broad interpretation of it.
VIOLET: Now, now, children. If Branson is watering down his revolutionary fervour, let us give thanks.
MARY: Tom.
VIOLET: Do you know anything about farming, Tom?
BRANSON: A little. My grandfather was a sheep farmer in Ireland.23
CORA: Oh, Mama. Edith telephoned. She’s running your errand in the morning. She’ll catch a train after lunch.
MARY: What errand is that?
VIOLET: She’s just looking for something you can only get in London.
MARY: That doesn’t narrow the field. Did she say if she’d taken the job?
CORA: I don’t think she’s decided.
ROBERT: So there’s still hope, then?
By the table, Jimmy whispers to Alfred.
JIMMY: Why do you keep giving me funny looks?
ALFRED: I’m not.
Carson speaks softly.
CARSON: What’s going on? Have you both been up to something I don’t know about?
ALFRED: Not both of us.
34 INT. CORA’S BEDROOM. DOWNTON. NIGHT.
Robert and Cora are in bed.
CORA: Are you awake?
ROBERT: I can’t seem to
get to sleep. I don’t know why.
He reaches out and turns on the lamp.
ROBERT (CONT’D): Could you credit Matthew summoning Murray without my permission?
CORA: You keep telling everyone Downton’s a dual monarchy now. I never realised you didn’t mean it.
ROBERT: So, you’re against me over Matthew, the christening and Edith.
CORA: Robert, even your mother spoke up for Edith. Think of that.
ROBERT: A facer, I admit. She’ll have had some reason of her own, of course.
CORA: Is she really so Machiavellian?
ROBERT: Yes.
With a sigh, he switches out the light again.24
35 INT. RULES RESTAURANT. LONDON. DAY.
Edith weaves between the tables, pulling off her gloves. Gregson stands as she approaches the table.
GREGSON: I was afraid you’d stood me up.
EDITH: I’m so sorry. It took much longer than I thought.
GREGSON: What was it about?
EDITH: Oh, just family stuff. An errand for my grandmother.
GREGSON: Are you very family minded?
EDITH: Well, you know. When you live at home with your parents, you’re still in the middle of all of it.
GREGSON: Yes, I saw a picture in the paper of your elder sister’s wedding. She looked very glamorous.
EDITH: People say so.
GREGSON: Am I allowed to say I’m rather pleased you’re not married?
EDITH: I’m a little less pleased.
GREGSON: Oh, dear. That sounds like you’re hiding a romantic secret.
He is being playful and flirting. Her tone is more acerbic.
EDITH: Not too romantic. A little while ago I was jilted at the altar. Which wasn’t much fun.
Gregson looks shocked.
GREGSON: Oh dear. I am sorry.
EDITH: Oh, please don’t be. It’s a relief to be reminded I’m not an object of pity to the entire world.
He reaches out and takes her hand.
GREGSON: I’ve clearly put my foot in it, and now you’ll turn the job down… Please don’t.
But Edith has recovered. She looks into his worried face.
EDITH: I won’t. Not if you don’t want me to.25
36 INT. LIBRARY. DOWNTON. DAY.
Robert and Matthew are with Jarvis and Murray.
MURRAY: Surely, Lord Grantham, you don’t question Mr Crawley’s goal of making the estate self-sufficient?
ROBERT: No. But I question his plans for the employees and tenants in order to achieve it. Can’t we allow things to evolve more gently? As we did in the past.
MURRAY: The past is not much of a model. The third Earl nearly went bankrupt, the fourth only saved the estate by dying, and what would you all have done in the Nineties without Lady Grantham’s money?
ROBERT: I say, Murray. When I asked you to say what you think, I didn’t mean to be taken literally.
JARVIS: Must we talk in this way?
MATTHEW: Yes. I’m afraid so. Thanks to Mr Swire we have another chance, but we have to change our ways. All I’m talking about is investment, increasing productivity and reducing waste —
JARVIS: Waste!
MATTHEW: Yes. The estate has been run very wastefully for many years —
JARVIS: I won’t listen to this!
ROBERT: Now, come on, Jarvis. If I can listen to it, so can you.
JARVIS: No, Lord Grantham, I can’t! Am I to stand here, after forty years of loyal service, to be accused of malfeasance and corruption!
MATTHEW: Nothing of the sort!
MURRAY: Mr Jarvis, I don’t think that was anyone’s intention —
JARVIS: No? That’s what it sounded like to me! Can I rely on you to give a fair account of my career here?
ROBERT: My dear chap, think for a moment. We must both see things have to move forward. My goal is to find the way of least disruption. Won’t you stay and help me with that?
JARVIS: My lord. Will you give me a good reference?
ROBERT: Yes, of course I will.
MATTHEW: Mr Jarvis, if I have offended you, then I offer my sincerest apologies.
JARVIS: Thank you. But I can see that my time here is done. I’m the old broom, Mr Crawley. You are the new. I wish you luck with your sweeping. My lord.
With that, he goes. The others stare at each other.26
37 INT. CARSON’S PANTRY/SERVANTS’ HALL. DOWNTON. DAY.
Mrs Hughes looks in as Carson is comparing a couple of bottles of wine.
MRS HUGHES: Mr Carson. You’d better come.
He stands and together they make their way to the servants’ hall, where they are all having their tea. A large Irishman in a tweed coat is holding court.
KIERAN BRANSON: We always said he’d make something of himself, and so he has.
CARSON: May I help you?
ANNA: This is Mr Branson’s brother.
CARSON: Then what’s he doing down here?
BATES: He won’t go up.
MOLESLEY: He says he’d rather stop with us.
CARSON: Can we fetch Mr Branson, sir?
MRS HUGHES: I’ve already sent Alfred. Here they are now.
Branson, Alfred and Mary are walking down the passage.
BRANSON: Kieran? What are you doing down here? Come upstairs.
KIERAN BRANSON: I don’t fancy it. Can I not stay put? Have my dinner down here?
MARY: But we’re all so looking forward to meeting you, Mr Branson. If you come with us, you can see your room and get changed… If you want to.
KIERAN BRANSON: And what would I change into? A pumpkin?
All the servants laugh, but compose themselves at a glance from Mary.
KIERAN BRANSON (CONT’D): Come on, Tommy. Can we not eat down here? They seem a nice lot. What’s the matter? You too grand for them, now?
BRANSON: They know I’m not, but my mother-in-law has been kind enough to invite you to stay and dine. And I’ll not let you snub her. Now, get a move on.
Kieran stands, pats Molesley on the back, and they go. Mrs Hughes looks at the butler.
MRS HUGHES: I know. You always said he would bring shame on this house.
CARSON: No, Mrs Hughes. For once, I will hold my tongue. I thought Mr Branson’s respect for her ladyship’s invitation exemplary. And now it’s time for the gong.
He leaves and Mrs Hughes finds herself facing Anna and Bates.
MRS HUGHES: Well. ‘Mr’ Branson’s done something right, for a change.
ANNA: Miracles can happen.27
38 INT. MARY’S BEDROOM. DOWNTON. EVE.
Mary’s hair is being finished by Anna. Matthew sprawls on the bed. He is not yet changed.
MARY: Have they decided which cottage you’re to have?
ANNA: Not yet. But I wish we could settle Mr Bates’s job, first.
MARY: He’s Papa’s valet, surely?
ANNA: He will be. But no one seems to know what to do with Mr Barrow.
MARY: He’ll have to go.
ANNA: Then I wish we could get on with it. There. That’s you done, m’lady.
She picks up some things and leaves.
MARY: Hadn’t you better get changed?
She adjusts a necklace in front of the mirror.
MARY (CONT’D): How was it?
Matthew sinks back on to the bed in faux exhaustion.
MATTHEW: Pretty bad. Jarvis has resigned.
MARY: What?
MATTHEW: He’s gone, and I’m going to have to make it all work or I’ve had it.
MARY: But you’re certain this is right?
MATTHEW: Come here.
He holds out his hand. She walks over and he pulls her down onto the bed, holding her in his arms.
MARY: You’ll make me untidy.
MATTHEW: Good.
Now he takes her face in his hands. His voice is passionate.
MATTHEW (CONT’D): You see, I know it’s right, Mary. I believe I can make Downton safe for our children, if we ever have any. But I can only do it if you’
re with me. I need to know that you and I are one. In this, as in everything.
MARY: But what about Papa? I do love him.
MATTHEW: Love him by all means, but believe in me. Believe in what I’m doing, in what we’re doing, or I don’t think I can go on.
She stares at him and then kisses him.
MARY: There. Will that convince you?
MATTHEW: Convince me again.
She does.
MARY: And don’t say ‘if we ever have any’. Because we will.
MATTHEW: I’ll believe you, if you believe in me.28
END OF ACT THREE
ACT FOUR
39 INT. SERVANTS’ HALL. DOWNTON. EVE.
O’Brien is alone with Alfred.
O’BRIEN: But it’s been a while now. What if Mr Carson finds out you knew all along and you never told him, how will that look?
ALFRED: Surely it’s for Jimmy to tell?
O’BRIEN: Supposing he’s in on it?
ALFRED: No. He started yelling at Thomas as soon as I walked in.
O’BRIEN: Yes, I’m sure he did. As soon as you walked in. What if you hadn’t walked in? I’m sorry, Alfred, Mr Carson won’t tolerate these sorts of shenanigans, and he’ll be furious if he finds out you knew and you said nothing. You need to speak up. For your own good.
Daisy and Ivy come in to lay the table for the servants’ dinner, which brings the conversation to an end.
39A INT. HALL/EDITH’S BEDROOM. DOWNTON. NIGHT
Edith comes rushing through the hall in her coat and hat, and quickly gets ready for dinner in her room.
40 INT. DINING ROOM. DOWNTON. NIGHT.
All the family, including Isobel and Violet, are there. Kieran, still in his tweed coat, seems slightly subdued.
ROBERT: And what exactly does this business consist of?
KIERAN BRANSON: Automobile refurbishment.
BRANSON: He means car repairs.
ROBERT: I see. And you would live nearby?
KIERAN BRANSON: We’ve rooms over the garage and we can get one of the cousins over, to help with little Sybbie. There’s a bit of a park not too far away.
MARY: Well, that’s something.29
How ghastly it sounds. There is a leaden pause.
VIOLET: I remember an evening rather like this. We were travelling back from Scotland to London when the train was suddenly engulfed by a blizzard, and we spent the night in a tradesmen’s hotel in Middlesbrough.
That doesn’t seem to get the ball rolling, either.
Downton Abbey, Series 3 Scripts (Official) Page 39