Downton Abbey, Series 3 Scripts (Official)

by Julian Fellowes

Wilkins is at the drinks table. She takes a glass as she turns to Nield.

  WILKINS: Can I trouble you for a drop of whisky, Mr Nield?

  NIELD: Certainly, Miss Wilkins, but I’m surprised if it’s for you.

  WILKINS: Oh, no. For a guest from the South.

  He gives her a bottle and turns away to talk to someone. Wilkins takes it and pours about four inches into the glass.

  75 INT. LIBRARY. DOWNTON. NIGHT.

  Mrs Hughes stops. Someone is singing ‘Rock-a-Bye Baby’. She pushes a half-open door and goes in. Carson is rocking the baby in his arms. Mrs Hughes watches him for a few moments. Then he turns.

  CARSON: Ah, you’re back, then.

  MRS HUGHES: We are, and we’ve a few stories to tell. But you’ve spent your day more productively, I see. Where’s Nanny?

  CARSON: I’m not sure. She must have had some washing to do or something. But she’ll find us in a moment.

  He stares down at the now placid child in his arms.

  CARSON (CONT’D): I was thinking about Lady Sybil, when she was this age.

  MRS HUGHES: All we can do for her now is to cherish her bairn, and it’s lovely to watch you doing just that.

  CARSON: Well, there’s no need to get sentimental, Mrs Hughes. Right, let’s get this one back to bed. Come on, shall we go look for Nanny?71

  76 INT. BALLROOM. DUNEAGLE CASTLE. NIGHT.

  Robert has joined Cora and his mother.

  CORA: Where have you been?

  ROBERT: Trying to calm Shrimpie. You missed some fun and games earlier.

  CORA: So I gather.

  ROBERT: How is Rose?

  VIOLET: In need of rescue.

  She looks at Cora, but the latter shakes her head.

  CORA: No. I know what you’re thinking, but I won’t do that to Susan.72

  She moves away.

  ROBERT: What was she talking about?

  VIOLET: Never mind. Now, where is Shrimpie?

  ROBERT: Hiding and licking his wounds. I’ll go in search of him in a bit, poor fellow, if he hasn’t come back.

  Across the room, Wilkins arrives with the drink.

  O’BRIEN: That’s very kind. Thank you.

  Wilkins leaves as O’Brien takes one sip, wrinkles her nose and puts the glass down. Molesley has joined her.

  MOLESLEY: Don’t you want it?

  O’BRIEN: No. I wouldn’t drink that if I were you, Mr —

  But Molesley has finished it off in one draught.

  MOLESLEY: Oh, that slipped down a treat. Think I’ll get another one.

  O’BRIEN: Each to his own.

  77 INT. BILLIARDS ROOM. DUNEAGLE CASTLE. NIGHT.

  Robert is with Shrimpie by the billiards table.

  ROBERT: Shrimpie, I think you’ve got to come and show your face —

  Shrimpie is standing by the window with a gun in his hand.

  ROBERT (CONT’D): For Christ’s sake, don’t!

  Shrimpie is puzzled until he notices the gun in his own hand.

  SHRIMPIE: My dear fellow, it’s not what you think. There’s a fox who’s been giving us some trouble. But I don’t think he’s coming tonight.

  He places the gun on the desk, shaking his head.

  SHRIMPIE (CONT’D): And don’t worry. I’d never do that to the children. I’m far too much of a coward.

  ROBERT: You make me feel as if I’ve been blind. Was it always as bad?

  SHRIMPIE: Not at the beginning. We weren’t madly in love, but there was a job to be done and we both believed in it. Then the children came along, and for years we hardly had time to think.

  ROBERT: What went wrong?

  SHRIMPIE: First James left and then Annabel got married, and we started to learn just how little we had in common.

  ROBERT: Why is Susan so hard on Rose?

  SHRIMPIE: Who knows? Perhaps Rose reminds her of me. As I used to be. Me, when I had something to live for.

  ROBERT: Oh, you have a great deal to live for. Duneagle. I can’t remember being as envious as I have been these past few days.

  SHRIMPIE: Don’t be. It’ll all have to go.

  ROBERT: What?

  SHRIMPIE: It’s my own fault. If I’d had any gumption and modernised as you did… But I sat on my hands as the money drained away. Now it’s all gone.

  ROBERT: What will you do?

  SHRIMPIE: Go to India first and then London. Oh, it’ll be all right. What, with the club and the Lords, Susan and I needn’t see too much of each other.

  ROBERT: Shrimpie, my dear chap, I’m so sorry.

  SHRIMPIE: Question is: Rose. What are we going to do about Rose?

  Shrimpie rolls the ball he has been holding down the table.73

  END OF ACT FIVE

  ACT SIX

  78 INT. BALLROOM. DUNEAGLE CASTLE. NIGHT.

  The band strikes up. Rose runs over to Anna and Bates.

  ROSE: Anna! Come on. This is it.

  BATES: This is what?

  ROSE: You’ll see!

  She pulls Anna to the circle of dancers. They start.

  MARY: Look at Anna! She never said she could reel. Bates? Did you know?

  BATES: No, m’lady. I never knew.

  MARY: But isn’t she marvellous?

  It’s true. Anna is whirling round with the best of them. Bates looks at her, as she laughs and skips through the figures of the reel. He smiles.

  BATES: Yes. She is marvellous.

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

  Mrs Hughes is reading when Mrs Patmore arrives, carrying a tea tray with cups for two.

  MRS HUGHES: Oh, Mrs Patmore, how kind of you.

  MRS PATMORE: I want a word, so I thought we could have some tea while I get it.

  She shuts the door and pours out two cups, and she gives one to Mrs Hughes while she talks.

  MRS PATMORE (CONT’D): You were right. He says he loves me and he can’t live without me.

  MRS HUGHES: Oh, dear.

  MRS PATMORE: What do you mean, ‘Oh, dear’? It’s a long time since anyone wanted to share my seat on the bus, never mind my heart and home.

  MRS HUGHES: I don’t know how to say it.

  MRS PATMORE: Find a way.

  They sit down.

  MRS HUGHES: Well, I first noticed it when I was standing at the stall. He was flirting with that young assistant and stroking her… well… bottom.

  MRS PATMORE: What?

  MRS HUGHES: It’s true. Then I saw him making eyes at some other women when he was pulling in the tug-of-war.

  MRS PATMORE: While I was cheering him?

  MRS HUGHES: And later, when I was with Alfred, I saw Mr Tufton in the crowd, and he seemed to be chewing the mouth off some poor woman…

  MRS PATMORE: Where was I all this time?

  MRS HUGHES: I don’t know. Dreaming of a better life… Oh, Mrs Patmore, I am sorry. I don’t know if he wanted to eat a few dinners before he told you the truth, or if he planned to marry you and chain you to the stove…

  MRS PATMORE: Either way, it was the cooking he was after. And not me.

  MRS HUGHES: I feel terrible. I should’ve pulled you away then and there, but you were having such a good time.

  She covers her face with her hands and sits, silent.

  MRS HUGHES (CONT’D): Is there anything I can do?

  Mrs Patmore shakes her head and we hear, ‘No.’ Then she removes her hands. She is grinning from ear to ear.

  MRS PATMORE: Because I’ve never felt more relieved in all my life!

  MRS HUGHES: What?

  MRS PATMORE: The more he said about how he liked his beef roasted and his eggs fried and his pancakes flipped, the more I wondered how to get away.

  MRS HUGHES: And what if he comes back?

  MRS PATMORE: He’ll get a thick ear and no mistake. But how could he do such a thing, Mrs Hughes? How could he lead a poor woman on like that?

  MRS HUGHES: You heard him, Mrs Patmore. Any time, any place. He loves to be in love.

  And the two of them burs
t into peals of laughter.74

  80 INT. BALLROOM. DUNEAGLE CASTLE. NIGHT.

  Robert is with Violet.

  ROBERT: We ought to get it settled.

  VIOLET: We’ll talk to her tomorrow.

  ROBERT: The thing is, I believe it would do her good. To have someone like Rose to look after.

  Violet regards this dear simpleton of a son.

  VIOLET: Now, why didn’t I think of that?

  Edith is with Gregson.

  EDITH: And that was really his reaction? How disappointing.

  GREGSON: I wasn’t going to tell you until I was leaving.

  EDITH: Why not?

  GREGSON: Because I wanted us to have a last evening together.

  EDITH: This is not our last evening.

  GREGSON: Isn’t it?

  EDITH: It’s odd. If you’d asked before tonight how I felt about you, I’m not sure what I would have answered, but now I’m absolutely sure. And this is not our last evening.75

  The couples form an eightsome and she leads Gregson onto the floor. As the dance starts, Mary is with Matthew. The ballroom is filled with a blood-curdling cry.

  MARY: What in God’s name —?

  At the centre of a circle, Molesley has gone mad. He dances like a dervish, arms stretched above him, screaming and yelling, terrifying the maid opposite him. He swings her round like a cape. O’Brien is standing with Wilkins.

  O’BRIEN: Are you proud of your handiwork? Seeing as he’s taken my punishment.

  WILKINS: I don’t know what you mean.

  O’BRIEN: Never mind, Miss Wilkins. It might do him good to let it all go for once. And I’m grateful. I am.

  WILKINS: What for?

  O’BRIEN: Because I need never be held back by any sense of loyalty to you.76

  She walks off to speak to Susan Flintshire as Wilkins wonders if she’s been smart. Violet and Robert are watching Molesley.

  ROBERT: They do say there’s a wild man inside all of us.

  VIOLET: If only he would stay inside.

  81 INT. BRANSON’S BEDROOM. DOWNTON. NIGHT.

  Branson is bare-chested, in pyjama trousers, when the door opens. It is Edna.

  BRANSON: What in the —?

  EDNA: I thought you’d like to know Mr Barrow is feeling much better.

  BRANSON: Thank you, but you should go now.

  EDNA: I just wanted to tell you what a lovely day I’ve had. Really lovely. Shall we meet for lunch tomorrow? In the Grantham Arms?

  Taking him unawares, she quickly kisses his mouth and hurries out. And now he sees what he has done.

  82 INT. BALLROOM. DUNEAGLE CASTLE. NIGHT.

  Mary is finishing Hamilton House. She rubs her tummy, looking concerned, and returns to sit with Matthew.

  MARY: I don’t think I should have done that, but I couldn’t resist.

  MATTHEW: Which is just what I was afraid of —

  MARY: Calm down. Everything’s fine, but I wonder: would you mind terribly if I went home tomorrow?

  MATTHEW: Of course not. I’ll tell Shrimpie tonight that we’re leaving and —

  MARY: No, not you. You must stay here.

  MATTHEW: What do you mean? I don’t want to let you out of my sight.

  MARY: But if you come, Mama and Papa will think they have to leave, and the party will break up.

  MATTHEW: So what? I’m coming with you.

  MARY: But it’s very unfair on Susan and Shrimpie when I’m perfectly all right. It’s only a couple more days. Let me go, and I’ll see you when I see you. Please.77

  She glances across the room to where Molesley has passed out.

  MARY (CONT’D): Besides, Molesley may need a little time before he’s fit to travel.

  83 INT. HALL. DUNEAGLE CASTLE. NIGHT.

  Bates and Anna emerge from the ballroom.

  ANNA: Let’s get away before we have to carry him upstairs.

  She is laughing, as Bates looks at her in wonder.

  ANNA (CONT’D): Why are you being funny? You’re not angry with me, are you?

  BATES: Angry? Good God, no.

  ANNA: I hope I haven’t upset you, Mr MacBates. I thought the sight of me reeling would make you smile.

  BATES: It does make me smile, but it also fills me with wonder.

  ANNA: How so?

  BATES: That an old peg-leg like me should find himself married to a creature made of quicksilver and light.

  Anna is very moved by this. Rose comes down the stairs.

  ROSE: Isn’t she terrific, Bates? She said you’d never believe she could do it.

  BATES: She was wrong, m’lady.

  Anna looks up at him, a little concerned.

  BATES (CONT’D): There’s nothing I don’t believe she could do. Nothing at all.

  ROSE: Good. I shall have pleasure telling Mummy I’ve done something right.

  She goes into the ballroom.

  ANNA: Oh, that reminds me. Lady Mary wants to leave in the morning, so I may not see you for a day or two.

  BATES: Do you think I could sneak into the maids’ quarters tonight?

  ANNA: I’m afraid not. But you know what my mother says?

  BATES: No. What does your mother say?

  ANNA: That it’s always nice to leave something for another time.78

  She takes his face in her hands and kisses him. Behind them, the door opens and a wretched, green Molesley appears.

  ANNA (CONT’D): Are you all right, Mr Molesley?

  MOLESLEY: ‘All right’ is not the first phrase that springs to mind.

  He staggers upstairs, leaving the other two laughing.

  84 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Mrs Hughes is with Edna and some others when Carson looks in.

  CARSON: That was Mr Bates on the telephone. Lady Mary and Anna are coming back today. They’re already on the train so we need to be prepared.

  MRS HUGHES: Well, we’d better look sharp. Edna, air the room and make up the bed, while I go and talk to Mrs Patmore.

  EDNA: Must I?

  This brings them up short, both Mrs Hughes and Carson.

  CARSON: Why? Do you have you other plans, Edna?

  EDNA: I said I’d meet Tom Branson for lunch in the village.

  CARSON: Did you, indeed? ‘Tom’ Branson?79

  But Mrs Hughes ushers Carson to the passage outside.

  MRS HUGHES: Before you start, it may not be his fault.

  CARSON: Whether it’s his fault or not, she has to go.

  MRS HUGHES: Oh, yes. Of course she has to go. Will you tell him or will I?

  CARSON: You’d better do it. I’d only be rude, which wouldn’t help anyone.

  85 INT. CORA’S BEDROOM. DUNEAGLE CASTLE. DAY.

  Cora sits in bed with a breakfast tray. There is a knock and Susan comes in. She is dressed.

  SUSAN: You’ve heard about Mary?

  CORA: I have. Her maid left a message with O’Brien. I hope you don’t think her rude. I know you haven’t always approved of Mary.

  SUSAN: She’s having a baby. We all need a little leeway when it comes to our babies. And as for the other business, I’m not as harsh as I was. Rose is proving quite an education.

  CORA: I can imagine.

  SUSAN: Annabel was so straightforward. But I find myself worrying about Rose before I open my eyes for the morning. Do you think I’m being stupid?

  CORA: Not at all. I understand better than anyone else here could.

  Cora is becoming aware that Susan has come to say something.

  SUSAN: Shrimpie wants her to live at Downton while we’re in India.

  CORA: I’ve told Robert I would never agree to that against your wishes.

  SUSAN: I know. Thank you. It’s not often that I get support in this house.

  She smiles wearily.

  SUSAN (CONT’D): But I wonder now if he isn’t right and that we need a rest from one another. Apart from anything else, I can’t bring her out from Bombay. But would you be prepared for all that?

  CORA: If you want
me to be. And only if you want it. But what about you and Shrimpie?

  SUSAN: Oh, we’ll soldier on. Our sort never accept defeat… Even if I wish we could.

  She walks to the door. Then she pauses.

  SUSAN (CONT’D): Will you speak well of me to her? Not every day, but sometimes?

  CORA: Of course I will. I promise.80

  86 INT. LIBRARY. DOWNTON. DAY.

  Branson is with Mrs Hughes.

  BRANSON: So I’ve spoiled things for her?

  MRS HUGHES: I’m afraid the work would no longer satisfy her. I’ve seen it before. She’d unsettle the other maids.

  BRANSON: I didn’t encourage her, you know.

  MRS HUGHES: Maybe. But if I may say it, you didn’t discourage her, either.

  BRANSON: Can I ask one thing? That you give her a decent reference. Please.

  MRS HUGHES: I will. Though I don’t think she’s cut out to be a housemaid… Would you allow me to speak as I would have in the old days?

  BRANSON: Go on, then.

  MRS HUGHES: You let Edna make you ashamed of your new life, but you’ve done well and Lady Sybil would be so proud.

  At this, Branson’s eyes fill with tears. He shakes his head.

  BRANSON: I can’t bear to be without her.

  MRS HUGHES: You must bear it. And one day I hope — and so would she — you’ll find someone to bear it with you. But until then, be your own master and call your own tune.81

  87 INT. GRANTHAM ARMS. DOWNTON VILLAGE. DAY.

  Edna sits alone, attracting puzzled glances.

  88 EXT. RAILWAY STATION. DOWNTON VILLAGE. DAY.

  Mary is helped onto the platform by a guard. Anna and the chauffeur are supervising the removal of the luggage. Mary approaches.

  ANNA: M’lady? Is something the matter?

  MARY: I don’t want to alarm anyone, but would you leave the cases here for now and take me straight to the hospital?

  CHAUFFEUR: M’lady.

  ANNA: What?

  MARY: Let Mrs Crawley know and get a message to Mr Crawley straight away.

  Mary and Anna exchange a look. They know what’s happening.

  89 EXT. THE GLEN. DAY.

  Matthew is lying, with Nield nearby, preparing to shoot a stag. A man rides up behind them. He shouts and a stag panics at the noise and runs.

  HORSEMAN: Mr Crawley! Mr Crawley!

  NIELD: What in God’s name —?

  The man gets off his horse and rushes towards them.