Downton Abbey, Series 3 Scripts (Official)

by Julian Fellowes

  MATTHEW: So I should hope. There. See? You’re getting the hang of it.57

  It is true. Branson has hit the ball hard.

  66 INT. GREGSON’S OFFICE. LONDON. DAY.

  Gregson is surprised to find Edith standing before him.

  EDITH: I’m sorry if this is inconvenient.

  GREGSON: It’s unexpected, not inconvenient.

  She sits, gathering her nerve.

  EDITH: I suppose I’d better just say it.

  GREGSON: Please do.

  EDITH: I had the impression on my last visit that you were flirting… giving signs that you found me attractive. If I’m wrong, then I apologise —

  GREGSON: You’re not wrong.

  This makes things both better and worse.

  EDITH: But, since then I have discovered you are in fact married.

  This elicits a long pause. Then he nods.

  GREGSON: Yes.

  EDITH: I’m afraid I find the idea of a married man flirting with me wholly repugnant, so you’ll see I must hand in my resignation at once. I’ve enjoyed the work and thank you for the opportunity. But now we must part.

  She stands, keen to get out before she loses it. He stands.

  GREGSON: No. It’s true, I am married, but I hope you’ll allow me to explain.

  EDITH: Explain what? I am familiar with the institution of marriage.

  GREGSON: Yes. But not with this one. My wife is in an asylum. And she has been for some years. It’s an odd business. Lizzie was a wonderful person and I loved her very much. It took me a long time to accept that the woman I knew was gone and wouldn’t be coming back.

  EDITH: Then why haven’t you got a divorce?

  GREGSON: I can’t. Under our present legal system a lunatic is not deemed responsible; she’s neither the guilty nor the innocent party.

  He is sad rather than bitter.

  EDITH: So it means that…

  Edith sits again. This revelation has changed everything.

  GREGSON: It means that I’m tied for the rest of my life to a mad woman who doesn’t even know me.

  EDITH: I see.

  GREGSON: Do you? Because if you do, I hope you’ll consider staying on. I can’t begin to tell you how much it cheers me to read your column and to meet when we do. I hope very much you’ll consider staying on.58

  66A EXT. VILLAGE AND CICKET PITCH. DOWNTON ESTATE. DAY.

  The cricketers march through the village and onto the field of play.

  67 EXT. CRICKET PITCH. DOWNTON ESTATE. DAY.

  Robert tosses the coin, while Clarkson makes the call.

  CLARKSON: Heads.

  ROBERT: Ah. Well, there we are.

  The House Team is batting and Bates keeps score. Jimmy and Matthew stride out to the crease. All the male servants are in whites. Violet and Isobel are among the spectators. Old Mr Molesley is the umpire, in a white coat. We join them at the moment that Matthew hits the ball for four. Bates hangs the score.

  VIOLET: I’m glad everything’s settled with Ethel. But I trust you can find another cook without too much difficulty.

  ISOBEL: Preferably one with a blameless record so my house ceases to be a topic of gossip, which is really what this is all about.

  VIOLET: If Ethel wants to be part of her son’s life, even a little part, who are we to stand in her way?

  ISOBEL: Of course, if you’d had to sell Charlie to the butcher to be chopped up as stew to achieve the same ends, you would have done so.

  VIOLET: Happily, it was not needed.

  But she does not deny it. Back to the cricket, and Matthew is out, Carson comes out to bat, and finally it is Robert and Thomas at the crease. Thomas’s skill lives up to its billing as a series of elegant strokes sees him make a century.

  ROBERT: Oh, shot, sir.

  Everyone rises to their feet to applaud. A beaming Robert shakes his hand.

  ROBERT: Well played, Barrow.

  THOMAS: Thank you.

  ROBERT: Excellent innings.

  Bates is with Anna.

  ANNA: I knew you’d regret it. He’ll be up to his old tricks before too long.

  BATES: I thought I was helping him get out of our lives for good. And now he ranks higher than I do. I’ve been a damn fool.

  ANNA: I’ve no sympathy.

  But she is as amused as cross.

  ANNA (CONT’D): By the way, what was that phrase he gave you to say to Miss O’Brien? You can tell me now, surely?

  BATES: If you keep it under your hat. It was: ‘Her ladyship’s soap.’

  ANNA: What?

  BATES: I can’t make any sense of it, either, but that’s what he said. ‘Her ladyship’s soap.’ And it worked.59

  Robert and Thomas are running, but the ball has been returned fast and it is smashed against the wicket just before Robert reaches the crease. Robert is out and walks from the crease. On his way to the marquee he greets Molesley.

  ROBERT: It’s down to you, Molesley. Last man in. We’re in good shape thanks to Barrow, but we could do with a bonus.

  MOLESLEY: Don’t you worry about me, m’lord. I’ll show them a thing or two.

  ROBERT: That’s the spirit.

  He joins Mary at the edge of the field.

  MARY: Well done, Papa.

  ROBERT: Well, I did my best. We’ll just have to hope it’s enough.

  MARY: Anna says we are to expect great things of Molesley.

  Molesley takes his place. The bowler bowls. Molesley draws himself up, muttering fiercely under his breath.

  MOLESLEY: This time. Oh, Lord, I beg you. Make it happen for me this time!

  The ball arrives and he steps forward to play it as it whacks into the wicket and sends the bails flying.

  CLARKSON: ‘Owzat!

  MOLESLEY: Well bowled.

  Mr Molesley holds up his hand to mark his son out.

  ROBERT: As usual, our expectations are disappointed. Let’s have some tea.

  As his team walks off the pitch, he leads the way back to the tent where tea is being dispensed by Mrs Hughes, Mrs Patmore, Ivy and Daisy. Rose walks up to Edith and Rosamund.

  ROSE: Who gave me away? Was it you?

  EDITH: Certainly not.

  ROSE: Because, in case you don’t know, I’m being sent north tomorrow, with a monster for a gaoler!

  Rosamund is rather uncomfortable as Rose stalks off. Violet approaches.

  VIOLET: Well, what did she expect? Carrying on with a married man, as if her home were in a tree.

  EDITH: Granny? Who told you?

  Violet is silent, but she glances at Rosamund.

  EDITH (CONT’D): How could you have done that? After you promised?

  ROSAMUND: But Mama said you told her! I just filled in the details.

  EDITH: I never said a word.

  ROSAMUND: Have you tricked me, Mama?

  VIOLET: Tricked? I am not a conjuror. I only did what was necessary to preserve the honour of the family.

  ROSAMUND: In other words, you tricked me.

  Robert approaches Jimmy. Carson is nearby.

  ROBERT: James, you put up a very good show out there. Well done.

  Jimmy stands, unused to the pseudo informality.

  JIMMY: Thank you, m’lord.

  ROBERT: As a matter of fact, I wanted to thank you for your generosity with Barrow. Letting him stay on shows a real largeness of spirit.

  JIMMY: Stay on? Mr Barrow’s staying on?

  ROBERT: As under butler. I was given the impression you’d allowed it.

  JIMMY: I allowed him to have a decent reference, for when he left.

  ROBERT: But you won’t mind too much, will you? Oh, and by the way, congratulations on your appointment as first footman.

  CARSON: What?

  JIMMY: Thank you, m’lord. Very much.

  Two men in dark clothing get out of a car and walk across the pitch. Alfred looks very nervous. Branson catches sight of them first but he is looking around.

  BRANSON: Have you seen Sybbie?

  MRS HUGHES:
Lady Mary had her the last time I saw them.

  He nods and goes off in search as Thomas arrives. They are watching Robert calming Carson down.

  THOMAS: How do you think it’s going?

  MRS HUGHES: I’m sure it’ll go well for you. You’re like a cat with your nine lives, Mr Barrow. But if you’ve scraped by this time, watch your back in future.

  THOMAS: You know me, Mrs Hughes. Always try to stay light on my feet.

  MRS HUGHES: Too light, if you ask me.

  Carson and Robert are now alone. The two men are nearer.

  CARSON: I’m not comfortable, m’lord. Promoting that young jackanapes over Alfred.

  ROBERT: It needn’t be for ever. And James won’t do anything to rock the boat now. Isn’t that the main thing?

  CARSON: If you say so, m’lord. But I’m not comfortable.

  The men have reached them. Robert raises an enquiring brow.

  FIRST OFFICER: Lord Grantham, I believe?

  ROBERT: The same.

  FIRST OFFICER: We’re looking for a Mr Alfred Nugent, m’lord.

  ROBERT: And you are?

  FIRST OFFICER: Inspector Stanford and Sergeant Brand, York Police.

  ROBERT: Alfred can’t have got into trouble with the police. That’s not possible.

  FIRST OFFICER: He’s made a complaint concerning a Mr Thomas Barrow making an assault of a criminal nature on another of your employees.

  Robert and Carson exchange a glance.

  ROBERT: That is a very serious allegation.

  FIRST OFFICER: It is, m’lord. Serious enough to bring us here to interrupt your cricket match. If you’d like to point out the young gentleman?

  CARSON: He’s over —

  ROBERT: I’ll fetch him.

  Before the Inspector can argue with this, Robert walks off with a firm, admonitory look at Carson.

  FIRST OFFICER: Well, we’ll go with —

  CARSON: I think it’s better if you leave it to his lordship. I’m sure he can get to the bottom of it.

  FIRST OFFICER: I’m not sure we want him to.

  Robert is with Alfred.

  ALFRED: But I know what I saw, m’lord, and it weren’t right.

  ROBERT: I’m not asking you to abandon your beliefs, Alfred. Just to introduce a little kindness into the equation.

  ALFRED: Am I not to stand up against evil?

  ROBERT: Evil? Thomas does not choose to be the way he is, and what harm was done, really, that his life should be destroyed for it?

  ALFRED: Well…

  ROBERT: Let he who is without sin cast the first stone. Are you without sin, Alfred? For I am certainly not.60

  Old Bill Molesley is taking a cup of tea from Mrs Patmore. Doctor Clarkson is there.

  CLARKSON: Sorry about your son, Mr Molesley.

  BILL MOLESLEY: Don’t be.

  MRS PATMORE: But he talked such a lovely game.

  BILL MOLESLEY: He could always talk a good game of cricket. He just couldn’t play it.

  Robert is approaching the policemen with Alfred.

  ROBERT: Just as I thought. There’s been a mix-up. Alfred here witnessed some rough-housing between two of the staff and misinterpreted it. Isn’t that the case, Alfred?

  ALFRED: If you say so, m’lord.

  FIRST OFFICER: With all due respect, we’re not interested in his lordship’s version of events. We want yours.

  ALFRED: It’s like he says. They were fighting and joking and I got the wrong end of the stick.

  FIRST OFFICER: But why did you make the telephone call without checking your facts?

  ROBERT: I’m very much afraid to say he was a bit squiffy, weren’t you, Alfred?

  ALFRED: If that’s how we’re telling it. I made the call before I knew what I were doing. I’d been at the cider.

  CARSON: You what?

  ROBERT: Oh, I think we can overlook it this once, don’t you, Carson?

  His look tells Carson to shut up, which he does.

  ROBERT (CONT’D): So, you see, I’m afraid there’s really nothing to investigate. I’m terribly sorry to have wasted your time. Would you care to have some tea?

  The policemen know they are on a hiding to nothing.

  FIRST OFFICER: No, thank you, Lord Grantham. I think we’ve got the measure of it. Good luck with your match.

  They walk away, muttering and shaking their heads. Robert puts his hand on Alfred’s shoulder.

  ROBERT: You did the right thing, Alfred. Judge not, lest ye be judged. Don’t you agree, Carson?

  CARSON: Do I have any choice, m’lord?

  Branson walks round the corner of the tent and there is a family group. Mary, on a low deck chair, arranges a daisy chain around the neck of Sybbie who sits on her lap, while Matthew looks on. Rosamund and Edith are chatting, but we cannot hear what they say, while Isobel sits with Violet. All Branson can see is his baby at the centre of this large, social family. Cora watches from a seat nearby. She is drinking tea.61

  BRANSON: Where’s Nanny?

  MARY: Gone to get some baby paraphernalia. Shall I tell her you’re looking for her?

  BRANSON: No, no. I’ll be here anyway.

  He walks over and sits next to Cora.

  CORA: You’re very good to play.

  BRANSON: I don’t know why I made such a fuss about it. Can I ask you something?

  CORA: Of course.

  BRANSON: If I were to say I’d live with you while Sybbie’s little, and that we wouldn’t move out until she’s older, would you mind?

  CORA: I should be delighted. And I know it’s what Sybil would want.

  BRANSON: I think you’re right. And that’s why I’m suggesting it.

  Matthew is with Mary, drinking tea.

  MATTHEW: Tom says Robert’s ready to get behind the plan.

  MARY: I’m glad. So we’ll be building a new kingdom, while we make our little prince.

  MATTHEW: I’m looking forward to both enormously.

  He kisses her hand with a chuckle as he looks round.

  ROBERT: Right, gentlemen. Time’s up to resume play.

  MATTHEW: We’re about to start again. I hope I can count on you not to laugh when I drop the ball.

  MARY: You can always count on me.

  MATTHEW: I know that.

  ROBERT: Gentlemen! Time’s up!

  He and the others are all walking back out onto the pitch.

  MATTHEW: I didn’t know it was possible to love as much as I love you.

  ROBERT: Matthew! Hurry up! You’re keeping everyone waiting!

  MATTHEW: I’ve got to go.

  MARY: Of course you have.

  MATTHEW: Though I’d rather stay here for the rest of my life, holding your hand.

  MARY: Go.

  He kisses her. Matthew runs onto the pitch. He stops when he reaches Robert. He has something he wants to say.

  MATTHEW: Tom seems to think you might be coming round.

  ROBERT: Well, he’s brought me round more like. But, yes. All right. Let’s give it a go, and see what the future brings.

  MATTHEW: Thank you.

  Robert takes up his place as wicket-keeper and Matthew drops into his place as, at a sign from the umpire, Carson bowls. Clarkson hits the ball high.

  MOLESLEY: Catch it!

  And Branson catches it. The crowd and players applaud, and Matthew, Branson and Robert run together, shake hands and embrace.62

  END OF EPISODE EIGHT

  1 In the structure of Downton, unusually really, the first episode and the last episode of the series are an hour and a half; all the others are one hour, except for the Special, which is two hours. And because the Special is shown in Britain a little while after the end of the series, on Christmas Day, we have to have two endings. We need the end of the series to be essentially a resolution that is satisfactory, but then the Special must be like a movie, carrying its own dynamic and resolved within itself. After that we have a long gap, to recover.

  2 Bill Molesley (played very well by Bernard Gallagher) comes in eve
ry now and then, usually to give Molesley some back story, and here we involve him in this year’s climax, the cricket match. We like to have a big event like cricket or a fête or a wedding so that we can legitimately involve the servants, the family and everyone else in our little world. When it came to country house cricket, you often had the house playing the village. Occasionally you could have the servants versus the family, but to have a house team that was a mixture of family and servants was quite usual, as they had it in L. P. Hartley’s The Go-Between.

  3 Thomas is allowed a moment of nobility, just to vary things, and for me, he is noble here. We probably don’t dislike him any the less, but we do see what he’s up against.

  4 I am always rather touched by people who talk endlessly and enthusiastically about things they are not actually any good at. They want to be good and one of the toughest lessons in life is to realise that because you want to be good at something doesn’t mean that you are good at it. In fact, if life guides you towards a different door you must go through it. I speak from experience, because I wanted to be a famous actor, but in the end, although I had a perfectly respectable acting career, I did not have that something extra that I seem to have in writing. Now whether that was just luck or not doesn’t make any difference. That was the direction I had to go in. I’ve seen people refuse what they regard as the wrong lucky break, but you mustn’t refuse the wrong lucky break because all lucky breaks are lucky breaks. Here, Molesley believes that because he loves cricket he can force himself to be good at it. But life isn’t like that.

  5 Edith’s column about her soldiers is a truthful reflection of the period. In the early 1920s there were a lot of ex-soldiers knocking around. One of the problems was that the officer class had been heavily decimated early on in the war and by 1916 they were promoting from the ranks far more. These men were called temporary officers, but this was soon corrupted into ‘temporary gentlemen’. After the end of the war a lot of them became slightly sad figures, dressed in their blazers, running the golf club. There simply weren’t enough job opportunities for men who wanted to sustain the social rank that being promoted to officers had given them. Working as dancing partners in nightclubs was quite common.

  6 Rose MacClare is going to be Sybil’s replacement as a young girl in the series. Sybil was a rebel, but she wasn’t a flapper. Rose is. By being ten years younger than Mary, she is a product of the postwar age – she was fourteen when the war finished. And now she is eighteen. And so she is going into the Twenties as a young woman who is not referring back to the way things used to be. She looks forward to the way things are now. She is Violet’s great-niece; her mother is Violet’s niece, but she drops the ‘great’, which was quite normal. My great-aunts were all called Aunt – Aunt Isie, Aunt Lorna – they weren’t called Great-Aunt Isie. You just dropped a generation.