CARSON (V.O.): Get back. Please.
He is with Mrs Hughes and O’Brien. They stare at the offending object.
O’BRIEN: They were trying to hide it, so I knew it was wrong.
CARSON: Where’s Gwen now?
THOMAS: Doing the dining room with Anna. They’ll be finished soon.
CARSON: Then I’ll wait.
MRS HUGHES: With all due respect, Mr Carson, Gwen is under my jurisdiction.
CARSON: Indeed she is, Mrs Hughes, and I have no intention of usurping your authority. I merely want to get to the bottom of it.
WILLIAM: Why shouldn’t Gwen have a typewriter, if she wants one?
THOMAS: Mind your own business.
GWEN (V.O.): What’s that doing here?
She is standing in the doorway with Anna.
MRS HUGHES: Ah, Gwen, come in.
GWEN: Why’s that down here? Who’s been in my room? They had no right.
Mrs Hughes steps forward to quash this revolution at once.
MRS HUGHES: Now, see here. In the first place none of the rooms in this house belong to you. And in the second, I am in charge of your welfare and that gives me every right.*
ANNA: This is you, isn’t it?
She is addressing O’Brien who says nothing.
CARSON: All we want to know is why Gwen wants a typewriter and why she feels the need to keep it secret.
ANNA: She wants to keep it private, not secret. There’s a difference.
BATES: Amen.
He has joined the group and stands in the door.
GWEN: I’ve done nothing to be ashamed of. I’ve bought a typewriter and I’ve taken a postal course in shorthand. I’m not aware that either of these actions is illegal.
MRS HUGHES: Will you tell us why? Preferably without any more cheek.
GWEN: Because I want to leave service. I want to be a secretary.
The bomb has dropped.
MRS HUGHES: You want to leave service?
O’BRIEN: What’s wrong with being in service?
GWEN: Nothing’s wrong with it. And there’s nothing wrong with mending roads, neither, but it’s not what I want to do.
CARSON: I should remind you there are plenty of young girls who’d be glad of a position in this house.
GWEN: And when I hand in my notice, I shall be happy to think one of them will be taking my place.
O’BRIEN: What makes you think we’ll wait until then?
ANNA: Are you hiring and sacking now, Miss O’Brien? I thought that lay with Mr Carson and Mrs Hughes.
CARSON: Enough of this. I’m going to ring the dressing gong, and we’ll have no more talk of it tonight.
GWEN: Can I have my machine back now?
CARSON: Very well. But I wish I was sure you know what you’re doing.
She does not answer him but takes the machine and leaves.*
MRS PATMORE: Daisy? What’s happened to you? I said you could go for a drink of water, not a trip up the Nile.
She is in the doorway and the girl files out past her. The others drift out, until Anna is alone with Bates.
* * *
BATES: You spoke up well in there.
ANNA: She is taking a risk, though. Mr Carson’s right.
BATES: Maybe. But it’s her risk to take.
ANNA: I suppose you’re right.
They start to walk to the service staircase.
ANNA (CONT’D): Anything planned? For your half day tomorrow?
BATES: I might take a train into Leeds.
ANNA: What for?
BATES: No reason in particular. Come on, we’d better get moving or they’ll be dressing themselves and we can’t have that. They might find out they can manage without us.
With a laugh he starts up the stairs.
* * *
10 INT. MARY’S BEDROOM. NIGHT.
Edith is dressed. Anna is finishing off Mary.
ANNA: Which churches will you show him?
EDITH: I can’t decide. Kirby, possibly. Or perhaps Easingwold.
MARY: You don’t think you’re being a bit obvious?
EDITH: Coming from you, that’s rich.
There is a rustle in the doorway and their mother enters.
CORA: There was a letter from Mr Napier in the evening post.
MARY: Did he accept?
CORA: Not yet.
EDITH: Maybe he thought it too obvious.
This annoys Cora as much as Mary.
* * *
CORA: Apparently he’ll have a friend with him. They’re travelling straight to the meet from London, and they’re planning to stay at the Worsley Arms that night.
MARY: Who is this friend?
* * *
CORA: An attache’ at the Turkish Embassy.
She squints slightly at the page she holds in her hand.
CORA (CONT’D): A Mr Kemal Pamuk. He’s the son of one of the Sultan’s ministers and he’s here for the Albanian talks.
MARY: What’s that?
EDITH: To create an independent Albania. Don’t you read the papers?
MARY: I’m too busy living a life.
CORA: Since Turkey’s signature is vital Mr Napier’s been given the job of keeping him happy until the conference begins. And Mr Pamuk is eager to try an English hunt.
* * *
EDITH: So that’s that, then.
* * *
CORA: Not at all. I shall invite this Mr Pamuk to stay here as well. Who knows? A little hospitality in an English house may make all the difference to the outcome.
EDITH: You hope.
CORA: And Mary, you will ride out with them.
MARY: Oh, Mama, must I? My boots are at the menders and I haven’t ridden for weeks.
CORA: Anna, please see that Lady Mary is fully equipped to go hunting.
ANNA: Yes, your ladyship.
Cora walks out of the room, on her way to the staircase.
11 EXT. STREET IN A LARGE TOWN. DAY
Bates is holding the magazine he collected earlier. He checks the address and walks into a shop.
12 INT. SHOP. DAY.
This is an odd place with artificial limbs and crutches on display. A man is working at a bench in the corner.*
MAN: Yes?
BATES: I saw this advertisement. For a limp correcter.
MAN: Yes.
BATES: What does it do exactly?
MAN: It corrects limps.
He is waiting for Bates to get to the point.
BATES: Does it work?
MAN: Well, as I make it and I advertise it, is it likely I’d say no?
BATES: Could I see one?
Without a word, the man goes into a back room as Bates stares rather uneasily at the instruments on display.
MAN: Here we are.
He is back with a box and now he takes out a kind of caliper, with iron struts and straps and an adjustable foot platform at the bottom. It looks extremely uncomfortable.
* * *
MAN (CONT’D): You adjust this to the right height to minimise your limp. You tighten these gradually, as tight as you can stand, and, as the leg straightens, the foot lowers to the floor. You’ll need special shoes. What size are you? And which leg is affected?
BATES: Ten. And it’s the right.
The man goes to fetch a box, while Bates stares at the machine. He struggles not to wince as he looks at it.
BATES (CONT’D): How long does it take?
MAN: How long is a piece of string?
BATES: But it really works?
* * *
MAN: I’m not saying it’s easy. And you can’t slack. Every day, all day, if you mean business.
He has arrived with a box containing the shoes. Bates stares at the vicious implement, biting his lip.
BATES: All right. How much?
13 EXT. CRAWLEY HOUSE. NIGHT.
The windows of Crawley house are lit.
14 INT. DRAWING ROOM. CRAWLEY HOUSE. NIGHT.
Isobel is reading a letter.
ISOBEL:
She asks if we can both dine on Saturday. There are two young men staying, so you won’t be so outnumbered for once.
MATTHEW: What men?
ISOBEL: A Turkish diplomat called … something I can’t read and ‘Lord Branksome’s charming son.’ Who’s to be flung at Mary, presumably.
* * *
MATTHEW: When it comes to Cousin Mary, she is quite capable of doing her own flinging, I assure you. Must we go? I’ve got the whole day with Edith. I could use a night off.
ISOBEL: I think we should.
She opens another letter, scanning it. When she speaks she does so without lifting her eyes from the paper.
ISOBEL (CONT’D): And you’re all set to go church visiting?
MATTHEW: Apparently. I didn’t seem to have much option.
ISOBEL: I’m afraid it’s my fault. She asked what your interests were, and I just blurted it all out. I hope you’re not annoyed.
MATTHEW: Not at all. Why should I be?
ISOBEL: No reason.
But she knows more than her son about Edith’s intentions.
* * *
15 INT. BEDROOM PASSAGE. DAY.
It’s early and Anna is carrying riding boots, a riding habit, a top hat and veil. She sees Gwen.
* * *
ANNA: Ah. Open the door of the Blue Room, can you? I’m going to lay it out in there. Then when she gets up it’s ready.
* * *
Gwen has opened the door of a bedroom and they go in.
16 INT. BLUE ROOM. DAY.
This is a handsome, spare bedroom. Anna chatters on as she spreads the things out on the bed.
ANNA: I couldn’t find her breeches anywhere. So I asked Mr Bates and he looked among his lordship’s riding clothes. There they were.
Still Gwen is silent. The garments are laid out.
ANNA (CONT’D): I only hope to God I’ve got everything. Hat, I’ll do here. Gloves and crop are in the hall.
There is the sound of a sob and she turns. Gwen is crying.
ANNA (CONT’D): Gwen? Whatever’s the matter?
Gwen just shakes her head, crying in good earnest now.
* * *
ANNA (CONT’D): Come on. You can tell me. Has someone been teasing you?
* * *
Gwen shakes her head but still cries. There is a step in the passage and Bates looks round the door. He is carrying a tweed suit on his arm. He sees the source of the crying.
BATES: What’s up?
* * *
ANNA: She’s upset.
* * *
GWEN: Oh, I’m just being silly. You should get that brushed.
BATES: He won’t be up for another half an hour. Now, what is it?
GWEN: I suppose I’ve just realised that it’s not going to happen.
BATES: What isn’t?
GWEN: Oh, none of it. I’m not going to be a secretary. I’m not going to leave service. I doubt I leave here before I’m sixty.
ANNA: What’s all this?
* * *
GWEN: You saw their faces, and they’re right. Oh, look at me. Can you see me in an office? Sitting in the boardroom, taking down dictation?
ANNA: Why shouldn’t you?
* * *
Gwen is not crying now. Instead, she is in despair.
GWEN: Because I’m the daughter of a farmhand and I’m lucky to be a maid. I was born with nothing, and I’ll die with nothing.
BATES: Don’t talk like that.
* * *
GWEN: Why not?
BATES: Because it’s not true. Because you can change your life if you want to.
* * *
* * *
GWEN: Really?
BATES: Yes. Sometimes you have to be hard on yourself, but you can change it completely. I know.
* * *
He winces slightly, as if at a sudden stab of pain.
ANNA: Mr Bates? Are you all right?
BATES: Take her upstairs. Dry her off.
17 INT. BEDROOM PASSAGE/BACKSTAIRS. DAY.
They emerge. Anna and Gwen go one way and Bates heads for the backstairs. He rests for a moment, breathing deeply, then he lands heavily on the landing and cries out in pain.
MRS HUGHES (V.O.): Mr Bates? What’s the matter?
She is coming up at the same time and is only now in sight.
BATES: Nothing. Not a thing. I’m fine.
* * *
MRS HUGHES: Let me help you down to the next landing.
* * *
BATES: I am perfectly all right, thank you, Mrs Hughes.
MRS HUGHES: Are you sure? You’re as white as a sheet.
BATES: That’s my wonderful complexion, inherited from my Irish mother.
With a forced chuckle, he goes on down.
END OF ACT ONE
ACT TWO
18 INT. KITCHEN. DAY.
Trays are rushed in by Thomas and William. Daisy snatches off the dirty glasses and replaces them with waiting clean ones. Mrs Patmore ladles stirrup cup from a steaming tureen and kitchen maids cut up fruit cake as fast as they can.
MRS PATMORE: Take it, take it! Don’t dawdle!
The footmen hurry away from the mad, frantic workplace.
19 EXT. THE MEET AT DOWNTON. DAY.
As the laden footmen glide smoothly out of the front door, Robert, Cora and Sybil walk among the riders chatting. Thomas and William, supervised by Carson, carry the trays of stirrup cup and cake for riders and followers. Mary, looking superb in a habit that fits like a glove, stares at the crowd. The head groom, Lynch, is mounted beside her.
LYNCH: Can you see them, m’lady?
MARY: Not yet. Oh, wait a minute. Here’s Mr Napier.
A pleasant-looking man, Evelyn Napier, comes trotting over.
MARY (CONT’D): I was beginning to give up on you. We’re moving off.
EVELYN: We were fools not to accept your mother’s invitation and send the horses down early. As it is, my groom only got here an hour or two ago, and my mount’s as jumpy as a deb at her first ball.
MARY: What about Mr Pamuk? I gather if he takes a tumble, you’ll be endangering world peace.
* * *
EVELYN: Not only that. His father’s a bigwig at the Ottoman Court, so if I don’t get him home safe and sound I know I’ll be beheaded by proxy.
MARY: Isn’t it a risk to take him hunting?
* * *
EVELYN: Don’t worry about Kemal. He knows what he’s doing on a horse.
MARY: Where is he?
EVELYN: Fussing. He’s rather a dandy. You should have heard him ask about the clothes for what he persists in calling a ‘noble house.’
MARY: I can see him now. A funny little foreigner with a wide, toothy grin and hair reeking of pomade.
EVELYN: I wouldn’t quite say that. Here he is now.
Mary looks up and her jaw drops. Riding towards her is one of the handsomest, sexiest men she has ever seen in her life. He stands in his stirrups and doffs his silk hat.*
KEMAL: Lady Mary Crawley, I presume?
MARY: You presume right.
KEMAL: Sorry to be so dishevelled. We’ve been on a train since dawn and we had to change in a shed.
MARY: You don’t look dishevelled to me.
EVELYN: I think we’re going.
The hunt is moving off. Mary turns to the groom.
MARY: Lynch, you don’t have to stay with me.
LYNCH: His lordship asked me to.
MARY: It’s a waste of your day. Help Mr Napier’s man get their things back to the house.
LYNCH: His lordship said …
EVELYN: Don’t worry. I’ll look after her.
* * *
LYNCH: But his lordship—
* * *
KEMAL: We’ll make it our business to keep her from harm. I promise.
And before Lynch can say another word, they have gone.
* * *
20 INT. CARSON’S PANTRY. DAY.
Carson, Thomas and William are cleaning silver.
CARSON:
You can dress Mr Pamuk, Thomas. Mr Napier’s chap will bring the luggage over this morning, so you’ve time to get sorted out.
THOMAS: Why doesn’t he have his own man?
CARSON: Mr Napier’s valet was to see to both, but it’s a lot to ask when they won’t be here before six.
THOMAS: I thought he was supposed to be in England to prevent a war.
CARSON: Not single-handedly.
THOMAS: Even so. He can’t be up to much if he doesn’t have his own valet.
WILLIAM: It might be different if you’re a Turk. I’ve heard lots of things are different when you’re a Turk.
He speaks the comment more innocently than Thomas hears it.
THOMAS: That’s a thought.
CARSON: Get into the pattern, Thomas. You’re not polishing an apple.
But Thomas’s mind is on other possibilities.
* * *
21 EXT. OPEN COUNTRY. DAY
The hunt is in full cry, dangerous and glamorous and frightening. Mary gallops along in the crowd, then pulls up as she sees Kemal on the crest of a hill.*
MARY: I hope the day is living up to your expectations.
KEMAL: It is exceeding them in every way.
The look he gives her is unmistakable.
MARY: Where’s Mr Napier?
KEMAL: He’s gone over the bridge. Look.
He points to a group including Napier on the road.
Downton Abbey Script Book Season 1 Page 12