MARY: We’ll have to wait and see.
EDITH: We’ll have to wait and see if he comes to the boil.
MARY: He will. Don’t you worry.
EDITH: He hasn’t yet.
SYBIL: Who? Who hasn’t?
Mary continues to address her spikier sister.
MARY: Things are different for me, now.
EDITH: How do you know? Has Papa told you things are different? Suppose he can’t make them different?
MARY: He can and he will. It’s not like when it was all going to Patrick. Papa won’t give everything to a man we’ve never even heard of.
EDITH: And you’re happy to catch him in that way?
MARY: I don’t care how I catch him.
SYBIL: In what way? Who? What’s changed? What things are different?
But Mary and Edith know what they’re talking about.
* * *
END OF ACT THREE
ACT FOUR
51 INT. KITCHEN PASSAGE. NIGHT.
Carson is walking along the passage as Thomas tries to get his attention.
THOMAS: I just think you should know it’s not working, Mr Carson. It’s been going on for three months now and it’s not working.
CARSON: Do you mean Mr Bates is lazy?
THOMAS: Not lazy, exactly. But he just can’t carry. He can hardly manage his lordship’s cases. You saw how it was when they went up to London for the memorial. He can’t help with the guests’ luggage neither, and as for waiting at table, we can forget that.
CARSON: And what do you want me to do?
THOMAS: It’s not for me to say. But is it fair on William to have all the extra work?
Carson does not comment but he takes the point.
THOMAS (CONT’D): I don’t believe you’d like to think the house was falling below the way things ought to be.
CARSON: I would not.
THOMAS: That’s all I’m saying.
Carson sighs. He is not a comfortable man.
52 INT. MARY’S BEDROOM. NIGHT.
Sybil’s by the door. Mary still sits at the dressing table.
SYBIL: I’m going down. Coming?
MARY: In a moment. You go.
Sybil walks over to the table, worried.
SYBIL: I know you’re sad about Patrick, whatever you say. I know it.
MARY: You’re a darling.
* * *
She takes her sister’s hand and kisses it.
* * *
MARY (CONT’D): But you see, I’m not as sad as I should be. And that’s what makes me sad.
* * *
With a melancholy smile, she releases Sybil’s hand.
53 INT. GALLERY. NIGHT.
Sybil comes out of Mary’s door and walks down the gallery to the staircase, when she sees Edith, standing there.
SYBIL: What’s the matter?
Edith is startled, then she recovers.
EDITH: Nothing.
Sybil finds what her sister was looking at. Among a group of silver-framed photographs on a chest is one of a smiling, young man, not handsome but pleasant-looking.
SYBIL: Poor Patrick.
EDITH: Yes. Poor darling Patrick.
For the first time, she sounds warm and genuine, as the tears start to course down her cheeks. Sybil hugs her.
SYBIL: You’re the poor darling. I know how you’ll miss him.
EDITH: More than he’d miss me.
SYBIL: Nonsense. He was devoted to you.
EDITH: Do you think so?
SYBIL: Of course. He loved us all, and we loved him.
Naturally, this is not what Edith wanted to hear.
EDITH: Not Mary. She never cared for him. Not really.
SYBIL: That isn’t true.
EDITH: You heard her. She’s more upset about wearing black than she is about him dying. I just hope—
SYBIL: What?
EDITH: I hope one day she learns what it feels like to be unlucky.
SYBIL: Oh dearest, you don’t mean that.
But as Edith dries her tears, it looks as if she does.
* * *
54 INT. ROBERT’S DRESSING ROOM. NIGHT.
Robert is in white tie. Bates is brushing his tail coat.
ROBERT: Thank you.
Bates bends to pick up something on the floor.
ROBERT (CONT’D): I’ll do that.
BATES: No.
He has spoken quite sharply. Robert waits.
BATES (CONT’D): No thank you, m’lord. I can do it.
ROBERT: I’m sure.
BATES: I hope so. I hope you are sure.
Robert sighs. He’s clearly troubled about the situation.
ROBERT: Bates, we have to be sensible. I won’t be doing you a favour in the long run if it’s too much for you. No matter what we’ve been through, it’s got to work.
BATES: Of course it has, sir. I mean m’lord.
His slip has reminded Robert of their history.
ROBERT: Do you miss the army, Bates?
BATES: I miss a lot of things. But you have to keep moving, don’t you?
ROBERT: You do, indeed.
BATES: I’ll show you, m’lord. I promise. I won’t let you down. We’ve managed so far, haven’t we?
His supplication is moving. After a moment, Robert nods.
ROBERT: Yes, we have. Of course we have.
55 INT. CORA’S BEDROOM. NIGHT.
Cora is dressing for dinner, putting a few finishing touches to her appearance. With a knock, Robert comes in. O’Brien takes the discarded underwear and leaves.
ROBERT: You look very nice.
CORA: Thank you.
Cora waits for him to speak but he doesn’t.
CORA (CONT’D): Did Murray make matters clearer?
ROBERT: Yes. I’m afraid he did.
But he will not be drawn. She pins on a brooch.
CORA: By the way, O’Brien says Bates is causing a lot of awkwardness downstairs. You may have to do something about it.
ROBERT: She’s always making trouble.
CORA: Is that fair when she hasn’t mentioned it before now?
ROBERT: I don’t know why you listen to her.
CORA: It is quite eccentric, even for you, to have a crippled valet.
ROBERT: Please don’t use that word.
CORA: Did he tell you he couldn’t walk when he made his application?
ROBERT: Don’t exaggerate.
CORA: But doesn’t it strike you as dishonest not to mention it?
ROBERT: I knew he’d been wounded.
CORA: You never said.
ROBERT: You know I don’t care to talk about all that.
She waits but there is no explanation forthcoming.
CORA: Of course I understand what it must be like, to have fought alongside someone, in a war.
ROBERT: Oh? You understand that, do you?
CORA: Certainly I do. You must form the most tremendous bonds, even with a servant—
ROBERT: Really? Even with a servant?
His sarcasm is infuriating. She’s only trying to help.
CORA: Oh Robert, don’t catch me out. I’m simply saying I fully see why you want to help him.
ROBERT: But?
She shrugs, slightly. It is difficult for her, too.
CORA: Is this the right way, to employ him for a job he can’t do? When he needs special treatment at every turn? Is it any wonder if the others’ noses are put out?
ROBERT: I just want to give him a chance.
The trouble is she may be right.
* * *
ROBERT (CONT’D): I’m going down.
CORA: I won’t be long.
He leaves.
* * *
56 INT. DRAWING ROOM. NIGHT.
Violet is looking out of the window as Robert comes in.
ROBERT: Mama, I’m sorry. Nobody told me you were here.
She smiles at him, shielding her eyes with a fan.
VIOLET: Such a glare. I feel as if I were on stage at the Gaiety.
ROBERT: We’re used to it. I do wish you’d let me install it in the Dower House. It’s very convenient. The man who manages the generator could look after yours as well.
VIOLET: It’s no good. I couldn’t have electricity in the house. I wouldn’t sleep a wink. All those vapours seeping about.
ROBERT: Even Cora won’t have it in the bedrooms. She did wonder about the kitchens, but I couldn’t see the point.
Violet listens politely. She has come with an agenda.
VIOLET: Before anyone joins us, I’m glad of this chance for a little talk. I gather Murray was here today.
ROBERT: News travels fast. Yes, I saw him. And he’s not optimistic that there’s anything we can do.
VIOLET: Well, I refuse to believe it.
ROBERT: Be that as it may, it’s a fact.
VIOLET: But to lose Cora’s fortune, too—
ROBERT: Really, Mama. You know as well as I do Cora’s fortune is not Cora’s fortune any more! Thanks to Papa, it’s part of the estate and the estate is entailed to my heir! That’s it! That’s all of it!
VIOLET: Robert, I don’t mean to sound harsh—
ROBERT: You may not mean to, but I bet you will.
VIOLET: Twenty-four years ago you married Cora, against my wishes, for her money. Give it away now, and what was the point of your peculiar marriage in the first place?
ROBERT: If I told you she’d made me very happy, would that stretch belief?
VIOLET: It’s not why you chose her, above all those girls who could have filled my shoes so easily.
* * *
ROBERT: Marriage is like life. Things change.
VIOLET: They haven’t changed for me.
* * *
ROBERT: If you must know, when I think of my motives for pursuing Cora, I’m ashamed. There is no need to remind me of them.
VIOLET: Don’t you care about Downton?
ROBERT: What do you think? I have given my life to Downton. I was born here and I hope to die here. I claim no career beyond the nurture of this house and the estate. It is my third parent and my fourth child. Do I care about it? Yes. I do care!
He is uncomfortably aware his voice has risen because they are no longer alone. The door has been opened by Thomas in the hall, and Cora enters with her daughters.
CORA: I hope I don’t hear sounds of disagreement.
VIOLET: Oh, is that what they call discussion in New York?
MARY: I’m glad you’re fighting. I’m glad somebody’s putting up a fight.
SYBIL: You’re not really fighting Granny, are you, Papa?
ROBERT: Your grandmother only wants to do what’s right. And so do I.
Carson is at the door.
CARSON: Dinner is served, m’lady.
Robert gives his arm to Violet, Cora to Mary and the other two follow as a pair.
57 INT. THE SERVANTS’ HALL. NIGHT.
Gwen’s laying the table for the servants’ dinner. The other maids sit round, reading and sewing. Bates is reading.
DAISY: Does anyone else keep dreaming about the Titanic? I can’t get it out of my mind.
GWEN: Not again. Give it a rest.
ANNA: Daisy, it’s been three months. It’s time to let it go.
DAISY: But all them people, freezing to death in the midnight, icy water.
O’BRIEN: Oh, you sound like a penny dreadful.
GWEN: I expect you saw worse things in South Africa. Eh, Mr Bates?
BATES: Not worse. But pretty bad.
DAISY: Did you enjoy the war?
BATES: I don’t think anyone enjoys war. But there are good memories, too.
ANNA: I’m sure there are.
GWEN: Mr Bates, would you hand me that tray?
She has spoken quite innocently as Bates is right by a tray of forks. He stands and picks it up but as he takes a step towards Gwen he stumbles and the tray falls with a clatter.
BATES: Blast.
ANNA: I’ll do it.
She stoops and gathers the forks in no time. But O’Brien watches his humiliation with a wry expression.
* * *
O’BRIEN: I expect you’ve got some bad memories, too? Eh, Mr Bates?
* * *
Before he can answer, Carson looks in.
CARSON: The ladies are out. We’ve given them coffee and his lordship’s taken his port to the library. Anna, Gwen. Go up and help clear away. Daisy, tell Mrs Patmore we’ll eat in fifteen minutes.
The gathering is broken up.
58 INT. DINING ROOM. NIGHT.
Thomas and William are stacking the plates and glasses onto trays as the women come in to help. Gwen picks up a plate.
GWEN: I keep forgetting. Do these go next door or back to the kitchen?
THOMAS: Those go back. But the dessert service and all the glasses stay in the upstairs pantry.
WILLIAM: Put it on here.
She does. He picks up the tray and goes out.
59 INT. SERVERY. NIGHT.
This little room is next to the dining room, containing sinks and cupboards for the best china and glass. As Thomas puts his tray down, he sees O’Brien watching from the door.
THOMAS: What is it?
O’BRIEN: Her ladyship’s told him she thinks Mr Bates ought to go. She said to me: ‘If only his lordship had been content with Thomas.’
THOMAS: Did she really?
Anna comes in with a tray.
ANNA: What are you doing up here?
O’BRIEN: It’s a free country.
* * *
Anna starts to unload the glasses onto the side. Then takes a jug and puts a small amount of water into each one.
O’BRIEN (CONT’D): Why do you always do that?
ANNA: Stops the red wine marking before Daisy has a chance to wash up.
* * *
She looks at the pair of them hovering.
ANNA: Well, I’m going for my dinner. You two can stay here plotting.
60 INT. SERVANTS’ PASSAGE. NIGHT.
Bates is trying to open a door in the kitchen passage. He carries boots, and his stick is making things awkward.
ANNA (V.O.): Let me.
She has come upon him unawares.
BATES: There’s no need.
She looks at him, understanding his predicament.
ANNA: Mr Bates, anyone can have their hands full.
She holds the door for him. For once, his guard is down.
BATES: Thank you.
ANNA: We’d better get moving, or they’ll start without us.
BATES: Just let them try.
He chuckles. By now, Anna is definitely a friend.
61 EXT. DOWER HOUSE. DAY.
The Dower House is an attractive villa in the park.
62 INT. DRAWING ROOM. DOWER HOUSE. DAY.
Watched by Cora, Violet is reading a letter.
VIOLET: So the young Duke of Crowborough is asking himself to stay.
CORA: And we know why.
* * *
VIOLET: You hope you know why. That is not at all the same. What does Robert say?
CORA: Not much. Except Crowborough’s had plenty of chances to speak before now if he’d wanted to. But Robert’s being so stubborn about everything at the moment.
Violet queries this with a look.
CORA (CONT’D): You’ve heard about his new valet?
VIOLET: My maid told me.
CORA: It’s really too tiresome that he won’t see sense.
VIOLET: On that or anything else.
CORA: Amen.
* * *
VIOLET (CONT’D): You realise the Duke thinks that Mary’s prospects have altered.
CORA: I suppose so.
VIOLET: There’s no ‘suppose’ about it.
She has risen and now she glances approvingly into a glass.
VIOLET (CONT’D): Of course this is exactly the sort of opportunity that will come to Mary, if we can only get things settled in her favour. Is Robert coming round?
CORA: Not yet. To him, the risk is we’
d succeed in saving my money but not the estate. He feels he’d be betraying his duty if Downton was lost because of him.
VIOLET: Well, I’m going to write to Murray.
CORA: He won’t say anything different.
VIOLET: Well, we have to start somewhere. Our duty is to Mary.
Cora does not disagree, even if she is not optimistic.
* * *
VIOLET (CONT’D): What do the other girls say? Do they know about Crowborough?
CORA: Not yet. Why?
VIOLET: I used to think Edith had a soft spot for Patrick … It won’t please her to see Mary a duchess.
CORA: Oh, no. Edith liked Patrick. We all did. But there was no more to it than that.
* * *
With a look of pity, Violet hands the letter back.
VIOLET: Well, give him a date for when Mary’s out of mourning. No one wants to kiss a girl in black.
She knows her business, this one.
63 INT. MARY’S BEDROOM. DAY.
The screen is filled with the image of Mary, in ravishing shades of pink and mauve and lilac.
EDITH (V.O.): Do stop admiring yourself. He’s not marrying you for your looks.
The other two girls are with Mary who sits before a glass.
EDITH: That’s if he wants to marry you at all.
MARY: He will.
SYBIL: You look beautiful.
MARY: Thank you, Sybil, darling.
* * *
Casually, she blows Sybil a kiss. Cora appears.
* * *
CORA: We should go down. They’ll be back from the station any moment.
Her daughters file out past her. But she stops Mary and removes a flower from her hair.
CORA (CONT’D): Let’s not gild the lily, dear.
Downton Abbey Script Book Season 1 Page 4