46 Charles Ponzi was a real fellow who became briefly rich before heading for a lengthy term in gaol. His name would enter the language meaning false pyramid selling. He was in action at this time.
47 This is a good Downton argument, because we agree with and like Robert’s concern for the tenants and the estate, which someone like him would feel. We are on his side. On the other hand, as Cora says, they have to maintain the estate as a source of employment and income, which can only happen if it is run efficiently. So in a sense they are both in strong positions, but they are pulling in opposite directions. Here, Cora does come down on the other side, and Robert is wounded, but in his wounding he’s convinced. Sometimes in an argument you go on after you know you’ve lost, because actually you have been convinced, even though you don’t want to admit it quite yet.
48 In the days before the internet the Telegraph’s Information Desk was a first port of call when you wanted to know something. The Sketch was a weekly glossy illustrated magazine. The nearest equivalent today is Hello!, but it had other articles besides the celebrity gossip, although there was quite a lot of that.
49 ‘… the blood drains from her face’. When you write that kind of direction it is always a little unfair on the actor. I remember a wonderful stage direction, although I’ve forgotten the play, where the text describes the character as entering from stage left and ‘in his eyes is written the fall of Rome’. Can you imagine the feelings of the poor actor at the read-through?
50 This was cut and it doesn’t matter much, but I like to mention characters whom we have met earlier in the series, but who have not been in it for a while. In some shows, no vanished character is ever mentioned who is not immediately coming back.
51 Bates has made his own life much more complicated by winning a reprieve for Thomas. He didn’t think it through. Which of us will think ill of him for that, when we’ve all done something similar at one time or another?
52 B. T. Bosanquet (1877–1936) was an Old Etonian who played cricket for Middlesex and England. His ‘Bosie’ is a legbreak ball delivered out of the back of the hand that becomes an offbreak, not that I know what the phrase means. I wonder if the name was a kind of in-joke. Oscar Wilde’s tragedy was still quite recent and he had been brought down by his love for Lord Alfred Douglas, otherwise known as Bosie.
53 Every now and then you want to give a few false resolutions to stories, to stop the audience feeling too comfortable. They thought that storyline was done and dusted but… it’s not.
54 This analysis by Branson that they all have to get behind the wheel and try to make it turn is meant to show how there is a place for Robert in this new Downton, which we will go on with.
55 In films, people aren’t often allowed to live a compromise; they normally have to have a total resolution. In reality, on the other hand, a false position is often the best option available. Almost all of us are living in a false position to some degree, and so it seems to me quite realistic to give Ethel a compromised conclusion. She will keep an eye on her son and he will probably never know she is his mother until the end, if then. Certainly not until he’s a grown man. This is not too bad for him and a definite improvement for her.
I was sad to lose Amy Nuttall. Her performance was extremely strong and hers was a very moving story, to me anyway. But sometimes with a character you feel you have accomplished their journey; you’ve got there. It is very difficult to explain, and not everyone agrees. On a show like Coronation Street, one producer will see tremendous potential in certain characters, and then the next producer will come along a year or two later and feel differently. Suddenly an actor who thought they would be running the Rovers Return for the rest of time is out on their ear. But worse than going is staying with nothing to do, and we all agreed we had reached Ethel’s conclusion. Amy is an extremely talented actress. We loved having her and I wish her more than well.
56 The musical Chu Chin Chou (by Oscar Asche, with music by Frederic Norton) opened in London in 1916 and ran for five years, then considered a triumph. I was in one of its very rare revivals when I was in Rep in Northampton in 1973. I know it well, because I was made understudy to the juvenile lead. I was so terrified I might have to go on that if he developed the mildest sniffle I would run to the chemist and spend half my weekly salary on cold remedies for him.
57 What we’ve really done with Matthew is to make him the happiest married man alive, we’ve made him the one person that Branson loves, the one person that Edith loves and the man who saved Downton. All of this has been done within three episodes because we know we’ve got to knock him on the head at the end of the series. So we are trying to make it as sad when he goes as we possibly can, and also to put them all into dramatic relationships that will give them something to play after he’s dead. It’s all quite deliberate, building him up and up until the end of the Special… And then he gets it in the neck.
58 I’ve long been interested in this question. There was a so-called screwball comedy (what does that mean?) made at the end of the 1930s, starring Claudette Colbert, Don Ameche, John Barrymore and Mary Astor, titled Midnight. I remember watching it with my parents when I was a boy. There was lots of mistaken identity and wackiness, but at the end Don Ameche pretended to be mad to prevent his wife from divorcing him, because you couldn’t divorce a mad person. This seemed so odd to me, but it was true, as my mother explained, and the law wasn’t changed for some years after the film was made.
In fact, later on, I had a relation of my own with a wife who went mad. He did eventually divorce her, but it was incredibly difficult, because there are all these safeguards for the welfare of the mad party who is unable to look after him- or herself. By comparison, a normal divorce between two adults is a walkover. Culturally, we have grown up on mad wives you can’t get rid of. That’s why Rochester could not divorce Mrs Rochester and had to hide her in the attic, which I think is lost on most young readers today. A Victorian reading Jane Eyre would not have needed an explanation. Anyway, Gregson is a 1920s Mr Rochester.
59 I knew we had to tell the audience what Bates had said, what the three words were, and I needed to rely on the viewers’ memory, because otherwise ‘Her ladyship’s soap’ doesn’t make any sense, as it doesn’t to either Anna or Bates. But we know it is the bar of soap that O’Brien placed for Cora to slip on, causing the miscarriage, which O’Brien so bitterly regretted. I didn’t have any complaints actually, so I think most people did piece it together.
60 Robert strong-arming Alfred is, I think, realistic. The police must often find it difficult when they are dealing with authority figures who essentially expect to live by their own laws. I am sure they come up against it all the time when they interview a big employer, the head of a corporation, a major landowner… The downside of this is the story of Cyril Smith, the Liberal MP, where clearly, not once but time and again, some bigwig stepped in to shelter him. That was peculiarly offensive because it involved not just children, but children with no defenders, in homes where they were kept for others’ pleasure, like the Emperor Tiberius’s minnows. It is very horrible to think how many men went along with it – men who were not evil so much as weak, too weak to make trouble. And actually, although I am not a big fan of the cases where something dubious happened in 1961, there are crimes that seem to scream across that divide, and the Cyril Smith case, like Jimmy Savile’s, is one of them. There’s nothing we can do to him now, but his victims deserve some acknowledgement.
Here, there’s nothing the police can do, and on the whole I hope we are on Robert’s side. We don’t want to see Thomas dragged off. Nevertheless, it must sometimes be difficult when the police feel they’re being blocked and their only option is just to wait until the next time. In this instance, they are of course also dealing with an aristocrat. They know Robert would telephone the Chief Constable: ‘Bobby, my dear chap, do you know what’s going on…?’
61 Originally, I intended a bit more of a tableau than I got here. I don’t think I ex
plained it clearly enough. I wanted Branson to see Sybbie as a member of the family, not just as his daughter – an image of how all these people were related to her and she was part of something. A sort of ‘Holy Family’ icon. There was a nice shot of Mary and Matthew with the child, but the rest were quite spaced out. Anyway, it worked. His daughter is shown as safe in her group of protectors, none of whom will harm her, and that’s the security of leaving her there. So he decides to stay, at least until she’s older. This is what Cora wants and what she believes Sybil would have wanted. I’m not so sure, but I’m glad they’re all happy.
62 I rather disagreed with the slow-motion shot here as it seemed sentimental and not quite right for the style of Downton, but I was overruled and now I’m not sure I was correct. This is, after all, Matthew’s last happy ending, and perhaps it was good to celebrate it in a kind of self-consciously perfect way.
ACT ONE1
1 EXT. DOWNTON. DAY.
A cart is being loaded with luggage, including fishing rods, hat boxes, the lot. A caption reads: One Year Later.
2 INT. PASSAGE. DOWNTON. DAY.
Anna is carrying a suitcase. O’Brien, who is carrying cases of her own, approaches.
O’BRIEN: Anna. What have you got for hair in the evening?
ANNA: Er… Diamond stars and one tiara. We may not use it, but I’d rather be safe than sorry.
A new, pretty maid, Edna, walks down the passage, passing Branson, and giving him a good looking over.
3 INT. KITCHENS. DOWNTON. DAY.
Daisy and Mrs Patmore make sandwiches and peel boiled eggs.
MRS PATMORE: Wrap it all in brown paper so they won’t have a basket to worry about at the other end.
4 INT. KITCHEN PASSAGE. DOWNTON. DAY.
Bates comes in to find Jimmy.
BATES: The suitcases are finished.
JIMMY: Okay. I’ll go up and get them now.2
He starts up the stairs. Ivy has overheard this.
IVY: It’s quite a palaver, isn’t it? Do they go to Duneagle every year?
BATES: Not last year after Lady Sybil died, and not during the war. But otherwise, it’s the high spot of his lordship’s calendar.
5 INT/EXT. ENTRANCE. DOWNTON. DAY.
Cases are being packed. Thomas oversees the equipment being carried outside.
THOMAS: Come on, quickly, quickly. Straight onto the wagonette.
Alfred’s loading cases. Molesley, in a panic, is with Carson.
MOLESLEY: Why aren’t we taking the guns?
CARSON: Because you’re going stalking, Mr Molesley. And stalking does not involve shotguns.
MOLESLEY: Well, maybe we should take them, just to be sure.
CARSON: I am already sure.3
Branson looks on, with his baby in his arms. Alfred, Jimmy and Thomas struggle to get a particularly heavy case onto the cart. Thomas and Jimmy walk back into the house awkwardly, and in silence. Jimmy walks away.
6 INT. MARY’S BEDROOM. DOWNTON. DAY.
Anna is dressing a pregnant Mary, under Matthew’s gaze.
MARY: We can’t possibly chuck now. We couldn’t be so rude.
MATTHEW: Why don’t I go on my own?
MARY: Darling, this isn’t 1850. No one expects me to hide indoors until the baby’s born.
MATTHEW: Of course not… Well, all right. If you’re certain. But if you change your mind at any point and want to come home, just tell me.
He leaves. Anna looks at Mary.
ANNA: I hope you know what you’re doing.
MARY: Et tu, Brute?4
7 INT. SERVANTS’ HALL. DOWNTON. DAY.
Thomas reads a newspaper. Bates, Molesley and O’Brien are in overcoats as Ivy comes in with a large parcel. Anna follows.
IVY: There you are. That’s your lunch for the train.
ANNA: I’ve four evening dresses for ten nights. Do you think it’s enough?
O’BRIEN: I’ve put in five.
IVY: It all seems very formal. I thought they were going stalking.
O’BRIEN: How do you think they eat their dinner? Wrapped in a towel?
THOMAS: I envy you, Mr Bates. I’d love to go stalking at Duneagle. But then I suppose you won’t be out on the hill much. Not with your leg.
Mrs Hughes arrives. She addresses the new maid.
MRS HUGHES: Edna, they’re almost out of the dining room.
EDNA: I thought I was doing the bedrooms.
MRS HUGHES: We clear the dining room first and clean the bedrooms when they’re out of them. Like any other house.
EDNA: Not any house in 1921.5
MRS HUGHES: I can’t help that. We still do things properly at Downton Abbey.
8 INT. OUTER HALL. DOWNTON. DAY.
Edith is on the telephone. She is smiling, despite herself.
EDITH: Well, no, we’d be thrilled to see you… It just seems an awfully long way to come for a walk…
9 INT. DINING ROOM. DOWNTON. DAY.
Carson and Thomas attend the whole family at breakfast, including all the women, as Edith walks back in and sits down.
CORA: Who was it?
EDITH: My editor, Michael Gregson… He’s realised he’s going to be in Scotland at the same time as us.
MARY: Don’t tell me he’ll be near Duneagle?
EDITH: Apparently.
MARY: What a coincidence.
Mary and Matthew share a look.
EDITH: Yes, isn’t it?
CORA: Maybe we can ask him over. We want to meet him, don’t we, Robert?6
MATTHEW: Why are the Flintshires based in Scotland when the title’s Welsh?
ROBERT: Oh, Shrimpie’s grandmother was Countess of Newtonmore in her own right; it’s now their courtesy title. She was chiefly heiress of that strand of the MacClares and they took her name. Shrimpie’s the chief now.7
MATTHEW: Dare one ask why he’s called Shrimpie?
ROBERT: It was a nursery game. Louisa was a lobster, Agatha was a shark, which is easy to believe, and I suppose Shrimpie was a shrimp.
BRANSON: Is he very small?
MARY: No, but he was the youngest.8
CORA: I’m sorry you won’t be with us.
BRANSON: Why should they ask me? I don’t know them at all.9
MATTHEW: Nor do I, really.
ROBERT: Are you sure you should be going?
MARY: Don’t be a spoilsport. I still have a month.
She notices that Carson is watching her intently.
MARY (CONT’D): You don’t want me to go, either.
CARSON: I think you should take good care of yourself, m’lady. That’s all.
ROBERT: I agree. Right. Let’s get started. I told Mama we’d be on the platform at quarter to, and we’re late.
10 EXT. RAILWAY STATION. DOWNTON VILLAGE. DAY.
Bates, Molesley, O’Brien and Anna are walking by the luggage van.
ANNA: It feels like a holiday, doesn’t it?
O’BRIEN: Oh, don’t worry. It won’t feel like a holiday once we get there.
MOLESLEY: Oh! Let me just retrieve the briefcase. He might need it for the journey.
He darts back into the van as O’Brien walks off down the platform, leaving Anna and Bates alone.
BATES: I ought to check their dining-car seats for luncheon.
ANNA: Do you like Scotland?
BATES: Have you really never been?
ANNA: They didn’t go last year, and you know I wasn’t a proper lady’s maid before that.
BATES: No, I meant as a child, or when you were growing up… My mother’s mother was Scottish. She was a Keith. Did I tell you that?10
Further down, Robert is talking to Branson, while Isis sniffs around.
ROBERT: Now, you won’t forget to take her for some decent walks? She can be lazy.
BRANSON: Don’t worry. She’ll be fine.11
Violet has met the others. Isobel is there.
ISOBEL: Have you got everything?
VIOLET: Well, if I haven’t it’s too late now. Do you think it
’s wise? To leave him here unsupervised?
She is looking at Branson, who is chatting to Robert.
CORA: What do you mean?
VIOLET: Well, I know he’s housebroken, more or less, but I don’t want freedom to go to his head.12
ISOBEL: I’ll keep an eye on him. He can come to dinner tonight.
VIOLET: Oh, well. That’s one day taken care of. Only nine to go.
They climb in. The whistle blows. Isobel waves them off, Matthew blows his mother a kiss and Branson stands with Isis.
11 INT. SERVANTS’ HALL. DOWNTON. DAY.
The servants are eating lunch.
ALFRED: So, will we have a bit of a break while they’re away, Mr Carson?
CARSON: What?
JIMMY: He meant can we expect some time off? For an outing or something.
CARSON: I don’t understand. Has someone forgotten to pay your wages?
JIMMY: No.
CARSON: Exactly. Now, we will start with the ceremonial ware. And when that’s done, I want all the silver brought down for cleaning, one room at a time.
The three maids at the table snigger.
MRS HUGHES: And don’t you maids think you’re out of it. We’ll give every room a thorough cleaning while they’re away…
She lowers her voice as she whispers to Carson.
MRS HUGHES (CONT’D): But you can let them have a bit of free time, can’t you?
CARSON: If they get the extra work done, then I’ll think about it.13
12 INT. BRANSON’S BEDROOM. DOWNTON. DAY.
Edna picks up a picture of Sybil as Mrs Hughes comes in.
Downton Abbey, Series 3 Scripts (Official) Page 48