Violet is frustrated by this, which Isobel sees.
ISOBEL: Don’t say I didn’t warn you.
VIOLET: I wouldn’t dare.
Cora is with Branson.
CORA: But how can I help?
BRANSON: If our plan works, we’ll be farming a third of the estate directly.
CORA: And you can manage that?
BRANSON: We think so, but we need you to think so too, because Lord Grantham definitely won’t.
MARY: Are you drawing up the battle lines?
She has just arrived to join them.
CORA: Poor Robert. The postwar world is not being kind to him.
MARY: How are you getting on with the agent’s house? I hope Jarvis didn’t leave it a wreck.
BRANSON: No. Not at all. But the furniture was his, so I’ll have to begin in a state of Trappist simplicity.
MARY: I’m sure there’s some stuff in the attics here. We’ll have a look.
CORA: What about Sybbie? Won’t it be lonely for her? With just you and Nanny and nobody else for company?
BRANSON: I think it’s right for both of us.
20 EXT. KITCHEN COURTYARD. DOWNTON. NIGHT.
Mrs Hughes comes out with a scuttle and walks towards a door when she sees a figure half hidden in shadow.
MRS HUGHES: Good God. Who’s there?
The figure moves. It is Thomas, sitting on the wet ground. He has been crying.
MRS HUGHES (CONT’D): Mr Barrow? What in heaven’s name are you doing out here?
THOMAS: Have you come for some coal?
MRS HUGHES: I’ve run out and everyone’s busy.
THOMAS: Give it here.
He pushes open the door and starts to shovel in the coal.
MRS HUGHES: I know you’re leaving, but things can’t be as black as all that. You’re trained now. You can apply for a position as a butler.
THOMAS: You don’t know everything, then.
MRS HUGHES: Don’t I?
THOMAS: Not if you think I’ve got a future.
MRS HUGHES: Then will you tell me everything?
THOMAS: Look, I’m afraid if I do, Mrs Hughes, that… it will shock and disgust you.
MRS HUGHES: ‘Shock and disgust’? My, my. I think I have to hear it now. Come on.18
21 INT. HALL. CRAWLEY HOUSE. DAY.
Isobel is with Ethel, who has a sheet of paper.
ETHEL: I’m just going out to the shops, ma’am, if you’d like to see the menus for today and tomorrow.
ISOBEL: This all looks nice, but perhaps a lighter pudding for tonight? Baked custard? Or some fruit?
ETHEL: Very good, ma’am.19
ISOBEL: Ethel, I’ve been putting it off but there’s something you ought to know and you will need to think about.
Ethel waits.
ISOBEL: Lady Grantham, the Dowager, that is, has been concerned that your history here has left you lonely.
ETHEL: She’s kind to concern herself.
ISOBEL: It’s not just that. She believes that you’ve made this house a local topic of unwelcome conversation.
ETHEL: Ah.
ISOBEL: So she’s placed an advertisement for you and she’s got some replies.
ETHEL: She did this without telling me?
ISOBEL: She did it without telling me.
She brings out a packet of envelopes and gives them over.
ISOBEL (CONT’D): The point is, you would go to your new position with references from me and from Mrs Hughes, and you would not have to refer to your earlier life. In effect, you’d be washed clean.
ETHEL: So are you sacking me?
ISOBEL: Not at all. But I’m now persuaded that the decision to stay or go must be yours and not mine.
22 INT. MARY’S BEDROOM. DOWNTON. EVE.
Edith enters. Mary is getting ready in front of her mirror.
EDITH: Yes?
MARY: Is the new maid working out?
EDITH: No, not really. I don’t think she’ll stay. I miss Anna… What do you call her now she’s your maid?
MARY: Anna, I’m afraid. I can’t very well call her Bates.
EDITH: No. What’s this about?
MARY: Well… You know Matthew wants to come with you to London…
EDITH: Why shouldn’t he?
MARY: I just need to check which train you’re planning to come back on.
EDITH: The three o’clock on Thursday. Why?
MARY: Can you promise not to let him catch an earlier one?
EDITH: Of course not. What reason would I give?
MARY: You can think of something. Please.
EDITH: Oh, all right. But why is everything always so complicated?20
23 INT. HALL. DOWNTON. NIGHT.
This is only the core family, without Violet, Isobel or Rose. They’ve had dinner, and are disposed about the room.
MATTHEW: When are we leaving tomorrow?
EDITH: Eleven. We’ll lunch on the train.
MATTHEW: Goodnight. I’ll see you upstairs.
He touches Mary’s cheek and slips out. Edith looks at Mary.
EDITH: What do you think Rose is up to? Planning her so-called surprise?
MARY: I’m not sure. I’m beginning to suspect Lady Rose MacClare may prove to be rather a handful.
EDITH: And she’s my handful, worse luck.
Robert is with Branson.
BRANSON: We’ll talk about it when Matthew gets back from London.
ROBERT: Can’t I even have a clue?
BRANSON: He should tell you. It’s his idea.
ROBERT: God. It sounds ominous.
CORA: What does?
She has joined them.
ROBERT: Matthew has some ghastly scheme for the estate and Tom’s too frightened to say what it is. I need a drink.
He goes off to fetch one.
CORA: Is this the big plan?
BRANSON: Yes. And it’s going to come off.
CORA: Well done. You must be pleased.
BRANSON: I am pleased, but I worry that Lord Grantham will be angry we’ve taken it so far without involving him.
CORA: You have to see his point… Have you started planning the move?
BRANSON: Not really. Not yet.
CORA: I do wish you weren’t going. Are you sure it’s what you want? The two of you alone in an empty house?
BRANSON: I think it’s for the best.21
24 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. NIGHT.
Mrs Hughes is with Carson. The door is shut. He pours them a sherry.
MRS HUGHES: You cannot allow him to blackmail you like this. And before you ask, Thomas has told me the whole story.
CARSON: I’m only sorry you had to listen to such horrors.
MRS HUGHES: Why? Do you think Thomas is the first man of… that sort, that I’ve ever come across?
CARSON: I would hope so.
MRS HUGHES: Well, he isn’t. And I’ll tell you something else. I think James may have led him on —
CARSON: What! Oh, I cannot listen to such… allegations —
MRS HUGHES: Oh, calm down. I don’t mean deliberately. But he’s a vain and silly flirt. He may have given Thomas the wrong impression without meaning to.
CARSON: I can hardly believe we’re having this conversation.
MRS HUGHES: Maybe not, but I won’t sit by and let that young whippersnapper ruin a man for the rest of his life. Not a man who was wounded in the service of King and Country.
CARSON: We may have no choice. These practices, with which you are apparently so familiar, are against the law.
MRS HUGHES: I know that!
CARSON: Very well, then. If we stand up to James and he goes to the police, it will only put Thomas in prison, which he will not thank you for.22
25 EXT. THE BATESES’ COTTAGE. DOWNTON. NIGHT.
Bates comes out of the cottage, holding a candle in a funnel. Bates stops and finds Thomas, smoking in the shadows.
THOMAS: Inspecting the love nest?
BATES: Just fetching some coal.
THOMAS: I envy you.
BATES: Whatever you say.
THOMAS: No. I mean it. The happy couple and everyone so pleased for you. Can’t imagine what that’s like.
BATES: Perhaps you should try being nicer.
THOMAS: It’s being nice that got me into trouble.
BATES: What do you mean?
THOMAS: Never mind. I’ll be gone soon and out of your hair. You’ll be glad of that.
BATES: Yes, I will be.
Thomas stubs his cigarette out and walks away. But Bates is troubled by this exchange.
END OF ACT TWO
ACT THREE
26 INT. SERVANTS’ HALL. DOWNTON. DAY.
Carson is addressing them all.
CARSON: I assume I can count on you, Mr Molesley?
MOLESLEY: Oh, I’ll say. There’s not much I don’t know about cricket.
CARSON: You make me quite nervous. So, with you, me, James, Alfred, both you hall boys, that makes six from down here. What about Mr Stark?
MRS HUGHES: He’ll play. He’s always kicking a ball around by the garages.
CARSON: It’s not quite the same thing.
MRS HUGHES: It is to me.23
BATES: I can’t play, Mr Carson. But I can keep score.
CARSON: Good. Very good. So, with his lordship, Mr Crawley and ‘Mr’ Branson, we’re already ten.
IVY: What about you, Mr Barrow?
There is a slight silence at the table.
THOMAS: I think I’ll be gone by then.
JIMMY: Yes. You will.
O’Brien smiles at this, which Bates sees.
27 INT. LIBRARY/HALL. DOWNTON. DAY.
Robert is with Cora.
ROBERT: Where’s Mary? I was looking for her, but Anna said she’d gone out.
CORA: She’s away for the night. She’ll be back tomorrow.
ROBERT: Oh?
But Cora does not provide any more information than this.
ROBERT (CONT’D): Cora, is everything… as it should be between them?
CORA: Between Mary and Matthew? Oh, yes, I think so. Why do you ask?
ROBERT: I find I’m rather impatient to get the succession settled.
CORA: Robert, it’s still early days.
The door opens and Carson appears.
CARSON: Luncheon is served, m’lady.
ROBERT: Is it just us?
CORA: Yes. Tom’s on the other side of the estate, so he said he’d eat in a pub.
They get up and head out.
ROBERT: He’s hiding from me until Matthew’s told me the worst.
CORA: Probably.
CARSON: May I take the opportunity to bring your lordship up to date with the team?
ROBERT: Are we in good shape?
CARSON: I reckon that with three family players and seven from downstairs, we’re only one short.
ROBERT: Two short. Branson won’t play.
CORA: Mr Branson is busy at the moment.
CARSON: Is he, m’lady? Might I point out that we’re all busy, but we still find time to support the honour of the house.
ROBERT: Yes. But that is not the right road to travel, Carson, if we want to remain in her ladyship’s good graces.24
28 INT. HALL. ROSAMUND’S HOUSE. LONDON. DAY.
Rosamund is greeting them all as they arrive.25
ROSAMUND: Now, I know you’re here because you all have lots of things to do, so just run about and do them.
EDITH: I’ll go up and change.
ROSAMUND: But I did think we’d have dinner together. And then we can have a proper catch-up.
MATTHEW: If that’s what you’d like, but please don’t let me be a nuisance.
ROSE: We could always just —
ROSAMUND: I insist. A good family gossip will be my payment in kind.
EDITH: Then of course we’d be delighted.
ROSAMUND: Good. We dine at half past eight.
As they all head upstairs, Rose sneaks off into another room and picks up the telephone.
ROSE: Hello, operator? Knightsbridge 4056…
29 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
Isobel walks in the door with a basket of flowers, and Ethel is waiting for her.
ETHEL: I’ve been through those replies to her ladyship’s advertisement. And I don’t think there’s one where I should be happier than here.
ISOBEL: That’s very flattering.
ETHEL: You don’t mind if I stay, then?
ISOBEL: Quite the reverse. I’m delighted.
ETHEL: There was a nice letter from a Mrs Watson. But it was near Cheadle.
Isobel realises some response is expected, but what?
ETHEL (CONT’D): Cheadle’s very close to where Mr and Mrs Bryant live.
ISOBEL: Oh, I see. And you feel that would defeat the purpose, if the goal is to leave your past behind you?
ETHEL: Don’t you, Ma’am?
ISOBEL: Yes, I’m afraid I do. It’s a pity if it was the only one that was appealing.
Ethel covers her face with her hands and starts to weep.
ETHEL: I’ll never see Charlie again. I know I won’t. I know it.
ISOBEL: No, you don’t. And in the meantime, you have made a great sacrifice for his happiness. No mother could do more than that.
Ethel nods. She has pulled herself together.
ETHEL: So it looks as if I’ll be staying on. I’m sorry if it makes trouble between you and the Dowager.
ISOBEL: Oh, don’t worry about that. If you’d gone, she’d have found some other bone for us to fight over.
30 INT. GREGSON’S OFFICE. LONDON. DAY.
Gregson and Edith are standing over some pages. Edith is looking especially nice with her hair freshly done.
GREGSON: You look very pretty today. I’m not sure how, er, professional it is of me to point that out.
EDITH: Well, it’s jolly nice of you.
GREGSON: So, er, business. Now, I’ve read your piece. Of course the plight of ex-soldiers — it’s not an obvious topic for a woman’s column.
EDITH: I knew you were going to say that. I know it isn’t very feminine, but I felt so strongly about it I thought it was worth a try.
GREGSON: No, no. You misunderstand me. I like the idea of a woman taking a position on a ‘man’s’ subject. And I was going to say: ‘Don’t be afraid of being serious when it feels right.’
EDITH: Really?
GREGSON: Really. You know, I think we’re onto something new here. The mature female voice in debate.
EDITH: I don’t like the sound of ‘mature’.
GREGSON: No. Er… ‘Balanced’?
EDITH: Yes. Let’s go with ‘balanced’.
They laugh. They are very well suited.
GREGSON: Are you in town tonight and by any chance looking for something to do?
EDITH: I am, but sadly I’m spoken for. I’m staying with my aunt and I’m chaperoning a cousin’s daughter, so it’s complicated.
GREGSON: That’s a pity… But you will let me know when you’re up in London again?26
31 INT. THE BATESES’ COTTAGE. DOWNTON. DAY.
Bates and Anna, in overalls, have covered the furniture with sheets, and they are distempering the room.
ANNA: But why are you bothering with Thomas? He’s going. Good riddance.
BATES: I don’t know. Something he said. And I feel funny taking his job.
ANNA: You haven’t taken his job. He filled in for you, while you were away, that’s all.
BATES: Hmm. I might ask Mrs Hughes. She usually knows what’s going on.
He splashes his face with distemper.
ANNA: Which is more than you do.
32 EXT. ROSAMUND’S HOUSE. EVE.
Rose emerges. She looks like a different person, in a snappy coat and a bright silk scarf. She runs down the street, hailing a taxicab.
ROSE: Taxi!
The taxi pulls up, horn beeping.
ROSE: Warwick Square, please.27
Rose climbs in and the car driv
es away.
33 EXT. WARWICK SQUARE. LONDON. EVE.
The taxi driver waits patiently. Rose appears, with a sleek lounge lizard of a man, Terence Margadale. She leans in.
ROSE: I’m afraid I’ve been hours. You’re an angel to wait.
TAXI DRIVER: I’ve not been paid, Miss.
ROSE: No. Well, could you take us to the Blue Dragon? It’s in Greek Street.
34 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. NIGHT.
Mrs Hughes is with Bates.
BATES: Now I understand it.
MRS HUGHES: You’re not too shocked, then?
BATES: No, but why is Mr Carson? It’s not as if none of us knew.
MRS HUGHES: I think the point is we didn’t know officially. That’s what Mr Carson finds hard. He can’t avoid the subject any longer, because it’s lying there on the mat.28
BATES: And he can’t stand up to Jimmy?
MRS HUGHES: He says he’s powerless. And it’s true we won’t help Thomas by putting him in prison.
BATES: I wouldn’t wish that on any man. Hah. Imagine me feeling sorry for Thomas.
MRS HUGHES: Life is full of surprises.
35 INT. DINING ROOM. ROSAMUND’S HOUSE. LONDON. NIGHT.
Rosamund, Matthew and Edith are dining at a table laid for four in this grand apartment. A butler waits on them.
ROSAMUND: You don’t think we should have waited?
MATTHEW: No. Why should your delicious dinner be spoiled just because Rose has forgotten the time? How long was she here when she came back?
ROSAMUND: I was out, but my maid said she just ran in and out to change her frock and make a telephone call. She swore she’d be back by eight. But it’s past ten now.
EDITH: It’s my fault. I shouldn’t have let her out of my sight.
MATTHEW: Nonsense. You had stuff to see to. That’s why we’re in London at all.
ROSAMUND: Talking of which, how did you get on today? With your editor?
EDITH: Oh. Quite well, I think. How about you, Matthew?
MATTHEW: Oh, I was only running errands. My main thing is tomorrow.
He is distracted as the butler has been called in a whisper to the door. Rosamund raises her voice.
ROSAMUND: Mead? What is it?
The man turns back. He is a little flustered. A rather rough-looking man hovers behind him, clutching his cap.
MEAD: Come on. This is the driver who took up Lady Rose from outside the house, m’lady.
Downton Abbey, Series 3 Scripts (Official) Page 43