Downton Abbey Script Book Season 1

by Julian Fellowes

  Anna is asleep. Gwen is next to her. A female hand slides over Anna’s mouth and clamps it shut. Her eyes fly open.

  MARY (V.O.): Sssh!

  Anna looks over and sees Mary, hair tumbled, in a negligee. She nods slightly and Mary removes her hand. With an impassioned look, Mary tiptoes out and Anna follows her.

  33 INT. SERVANTS’ PASSAGE. DOWNTON. DAWN.

  They are together in the passage. Anna is deeply shocked.*

  ANNA: What?

  MARY: He’s dead. I think he’s dead. No, I’m sure he’s dead.

  ANNA: But how? Why?

  MARY: We were together and …

  She breaks off. Surely this is clear enough.

  MARY (CONT’D): He’s dead.

  ANNA: In your room.

  Mary nods. This is deeply shocking. These characters are not living in our world. Anna makes a decision to help.

  ANNA (CONT’D): We’ve got to get him back to his own bed.

  MARY: How? It’s in the bachelor’s corridor, miles from my room.

  ANNA: Could we manage him between us?

  Mary shakes her head impatiently.

  MARY: He weighs a ton. I can’t shift him at all. We’ll need at least one other. What about Bates?

  * * *

  ANNA: He couldn’t lift him. William can’t keep a secret and Thomas wouldn’t try to. And there’s no point in asking Mr Carson. He’d pass out from the shock.

  MARY: Well, we’ve got to do something.

  ANNA: What about your sisters?

  Mary shakes her head firmly.

  MARY: Sybil’s too young. And Edith would use it against me for the rest of my life and beyond.

  * * *

  ANNA: Then who else has as much to lose as you, if it ever gets out?

  MARY: Not Papa. Please don’t say Papa. I couldn’t bear the way he’d look at me.

  ANNA: No, not his lordship …

  34 INT. MARY’S BEDROOM. DOWNTON. DAWN.

  Cora covers her face with her hands in horror. Kemal’s naked, dead body is sprawled among the sheets.

  CORA: What happened?

  MARY: I don’t know. A heart attack, I suppose. Or a stroke. Or … He was alive and suddenly he cried out. And then he was dead.

  CORA: But why was he here at all? Did he force himself on you?

  Mary hesitates. Silently, she shakes her head. If anything, this is even more shocking than the death. Cora breathes for a moment, to steady her nerves.

  CORA (CONT’D): Well … we can talk about that later. Now, we must decide what to do for the best.

  ANNA: There’s only one thing we can do.

  She stares at Cora who is beginning to understand.

  CORA: I couldn’t. It’s not possible.

  MARY: If you don’t, we will figure in a scandal of such magnitude it will never be forgotten until long after we’re both dead.

  * * *

  CORA: But I—

  * * *

  MARY: I’ll be ruined, Mama. Ruined and notorious, a laughing stock, a social pariah. Is that what you want for your eldest daughter? Is it what you want for the family?

  Cora looks at her child so differently now.

  CORA: We must cover him up.

  35 INT. BEDROOM PASSAGE. DOWNTON. DAWN.

  A door opens and the women come out, looking about. Anna carries Kemal’s legs, while behind her Mary and Cora have an arm each over their shoulders. The corpse is in his own dressing gown. The thin light of dawn seeps in.

  CORA: Hurry. The servants will be up soon.

  ANNA: We’ve got time.

  Kemal’s head lolls sideways against Cora’s neck and she cries out. Mary hisses at her.

  MARY: Mama!

  CORA: Sorry.

  They move on. As they pass, a door opens from the back stairs. Daisy leans out to investigate the noise she just heard. In the distance, along the passage, the women are turning the corner. Anna and Cora are out of sight, but Mary, with the arm of the corpse over her shoulder, is just visible. Daisy watches dumbstruck until they vanish.

  36 INT. KEMAL PAMUK’S BEDROOM. DAWN.

  He is in bed. Anna hangs the dressing gown behind the door, while Mary arranges Kemal in a believable position, weeping as she does so. The eyes are open despite her efforts.

  MARY: I can’t make his eyes stay shut.

  CORA: Leave that and come away!

  Anna is kinder. She goes to Mary, taking her shoulders.

  MARY: He was so beautiful.

  ANNA: Her ladyship’s right. We must get back to our rooms.

  Anna leads Mary to the door but Cora stands in their path.

  CORA: I feel now I can never forgive what you have put me through this night. I hope in time I’ll come to be more merciful. But I doubt it.

  MARY: You won’t tell Papa.

  CORA: Since it would probably kill him and certainly ruin his life, I will not. But I keep the secret for his sake, not for yours.

  MARY: Yes, Mama.

  CORA: Anna, I will not insult you by asking that you also conceal Lady Mary’s shame. Now, let us go.*

  She opens the door and they slip silently out.

  37 INT. BEDROOM PASSAGE. DOWNTON. DAWN.

  The three women hurry down as far as the door to the backstairs, where Anna slips away, leaving the others.†

  * * *

  MARY: She won’t betray us.

  CORA: I’m sure she won’t. It pains me to say it, but this morning I find that I trust a housemaid more than I trust my own child.

  She moves on, leaving Mary to shift for herself.

  * * *

  38 INT. BEDROOM PASSAGE. DOWNTON. DAY.

  Thomas walks along with a tray of tea and a jug of hot shaving water. He reaches a door, gives a soft knock, waits for a second and goes in.

  39 INT. KEMAL PAMUK’S BEDROOM. DOWNTON. DAY.

  * * *

  Thomas closes the door and turns. The body lies where the women left it, eyes open, staring. We hear an ear-splitting crash. Thomas has dropped the lot.

  * * *

  40 INT. HALL. DOWNTON. DAY.

  Mary descends the stairs. She is dressed simply, in a white shirt and a black skirt, traces of red around her eyes. The dining room door opens and Evelyn Napier comes out.

  EVELYN: I imagine you’ve heard what’s happened?

  MARY: Yes.

  EVELYN: Terrible thing. Awful. Ghastly for your parents. I don’t suppose I shall ever make it up to them.

  MARY: It’s not your fault.

  EVELYN: I brought him here. If it isn’t my fault, whose is it?

  Mary would rather not answer this, so she doesn’t.

  * * *

  EVELYN (CONT’D): Breakfast’s almost finished. Shall I tell someone you’re down?

  MARY: No, thank you. I had a tray in my room.

  EVELYN: My mother never used to allow trays for unmarried girls.

  He is trying to be light and pleasant.

  MARY: Nor does mine. As a rule.

  Her tone is sadder and heavier than his.

  * * *

  EVELYN: I was wondering if you might show me the gardens before I go? We could get some fresh air?

  MARY: I won’t, if you’ll forgive me. I ought to stay and help Mama.

  EVELYN: Of course.

  She cannot lift her spirits, no matter how she tries.

  * * *

  EVELYN (CONT’D): I am so sorry about all this. I should never have inflicted him on you in the first place.

  Mary has to defend her chosen lover.

  MARY: Please don’t say that. We were glad to have him here. Very glad.

  EVELYN: Lynch’s taken a message to the local … They’ll be along to collect him in an hour or so. I’ll wait until that’s done.

  Mary looks at the ground.

  * * *

  EVELYN (CONT’D): I’ve told your father I’ll deal with the Embassy. There won’t be any more annoyance for you.

  MARY: Thank you.

  Her voice is not stead
y.

  EVELYN: Actually, he was a terribly nice fellow. I wish you could have known him better. I took him on as a duty, but I liked him more and more, the longer I knew him.

  At last Mary looks up, her face streaming with tears, and Evelyn realises that he is preaching to the converted.

  EVELYN (CONT’D): Perhaps you saw his qualities for yourself.

  At this Mary breaks down and runs, sobbing, back upstairs. Evelyn looks after her, speaking under his breath.

  EVELYN (CONT’D): Which, obviously, you did.

  Bringing him to an unwelcome conclusion.

  41 INT. KITCHEN. DOWNTON. DAY.

  William and Thomas, Anna and Gwen have carried down the remains of breakfast, which now they unload with Daisy.

  WILLIAM: I had an uncle who went like that. Finished his cocoa, closed his book and fell back dead on the pillow.

  THOMAS: I don’t think Mr Pamuk bothered with cocoa much, or books. He had other interests.

  WILLIAM: I meant you can go just like that. With no reason.

  GWEN: That’s why you should treat every day as if it were your last.

  THOMAS: Well, we couldn’t criticise Mr Pamuk where that’s concerned.

  Something in this disturbs Anna and Daisy.

  DAISY: What do you mean?

  THOMAS: Nothing. Careful with that.

  He picks up his empty tray and goes, followed by William.

  * * *

  GWEN: You’re very quiet.

  ANNA: There’s a corpse upstairs. What would you like me to do? Sing?

  * * *

  Gwen leaves the others to it, walking out into the passage, when she hears her name whispered from the staircase.

  SYBIL (V.O.): Gwen?

  She looks up. Sybil is standing there with a newspaper.

  GWEN: Your ladyship?

  Sybil produces a newspaper, open, with a box circled.

  SYBIL: I saw this. It came out yesterday. Look. It’s for a secretary at a new firm in Thirsk. See.

  GWEN: I don’t understand. How did you know?

  Sybil comes down to the bottom of the staircase.

  SYBIL: That you wanted to leave? Carson told my father.

  GWEN: And you don’t mind?

  SYBIL: Why should I? I think it’s terrific when people make their own lives. Specially women.

  They are forging a bond. Gwen overcomes her amazement and takes the newspaper, staring at a ringed box.

  * * *

  GWEN: ‘A suitable post for a beginner.’ What does that mean?

  SYBIL: It means the wages are rock bottom but then you can apply for the next job as an experienced assistant.

  Gwen understands this, as she reads.

  SYBIL (CONT’D): And you wouldn’t be far from home. For your first position.

  GWEN: We’d have to wait and see if they’d give me an interview.

  * * *

  SYBIL: Write to them today, and name me as your reference. I can give it without ever specifying precisely what your work here has been.

  * * *

  GWEN: Is that quite honest?

  SYBIL: Later you can tell them whatever you wish, but first get the job.

  * * *

  She goes back towards the staircase.

  GWEN: M’lady—

  Sybil turns.

  GWEN (CONT’D): Thank you.

  42 EXT. GARDENS. DOWNTON. DAY.

  Evelyn is walking towards Cora. He catches up with her.

  EVELYN: Lady Grantham! I’ve come to say goodbye. They’re bringing the car round to take me to the station.

  * * *

  CORA: Have you seen Lord Grantham?

  EVELYN: I have, and I’ve apologised for wreaking havoc on your house.

  But she does not judge him harshly. It’s not his fault.

  CORA: You’ve got everything?

  EVELYN: I think so. Your groom’s been very kind in helping my chap to organise the horses. And I’ve taken all of Kemal’s belongings.

  CORA: He’s … gone now, I understand.

  EVELYN: Yes, he’s gone.

  Cora ponders this for a moment, as, behind them, the car comes to a halt on the gravel. William and Taylor carry out Napier’s and Pamuk’s luggage and strap it on the back.

  CORA: Is his mother still alive?

  EVELYN: I’m afraid so. Kemal used to talk of her often.

  CORA: I should like to write to her if you’d be kind enough to send me the address. She’ll have had such hopes for him.

  EVELYN: Indeed.

  CORA: You build up your dreams for your children. And then … fate just smashes them to pieces.

  Evelyn waits. He senses there is something else going on.

  * * *

  CORA (CONT’D): Have you said goodbye to Mary?

  EVELYN: I have.

  CORA: Will we be seeing you here again?

  EVELYN: Nothing would give me more pleasure, but I’m afraid I am a little busy at the moment …

  But Evelyn wants to be honest. He knows what they expected.

  EVELYN (CONT’D): I wonder if I might risk embarrassing you. Because I should like to make myself clear.

  CORA: Please.

  EVELYN: The truth is, Lady Grantham, I am not a vain man. I do not consider myself a very interesting person.

  She listens without contradicting him.

  EVELYN (CONT’D): But I feel it’s important that my future wife should think me so. A woman who finds me boring could never love me, and I believe marriage should be based on love. At least at the start.

  Cora does not find anything dishonourable in this.*

  CORA: Thank you for your faith in me, Mr Napier. Your instincts do you credit. Good luck to you.

  She gives him her hand in forgiveness and he walks away across the wide lawn, taking Mary’s future with him.

  43 INT. LIBRARY. DAY.

  Robert is standing by the fire, Pharaoh at his feet, when Carson comes in.

  ROBERT: Did Mr Napier get off all right?

  * * *

  CARSON: He did, m’lord. Taylor waited to see he was safely on the train.

  * * *

  Robert nods.

  ROBERT: And poor Mr Pamuk has been taken care of?

  CARSON: We got Grassbys from Thirsk in the end. They’re very good and they didn’t mind coming out on a Sunday.

  * * *

  ROBERT: Death has no Day of Rest. Is everyone all right downstairs?

  * * *

  CARSON: Well, you know. He was a handsome stranger from foreign parts one minute, and the next he was as dead as a doornail. It’s bound to be a shock.

  ROBERT: Of course. Upstairs or down. It’s been horrid for the ladies. And for the female staff, I expect.

  CARSON: It’s particularly hard on the younger maids.

  ROBERT: Indeed. Don’t let the footmen be too coarse in front of them. Thomas likes to show off, but we must have a care for feminine sensibilities. They are finer and more fragile than our own.

  The two men know this at least.

  END OF ACT THREE

  ACT FOUR

  44 INT. SERVICE STAIRCASE. DOWNTON. DAY.

  Mrs Hughes comes down the service stairs, carrying boot hooks and a nightdress. She hears a groan and at the base, she sees Bates leaning on a table, sweating with pain.

  MRS HUGHES: Mr Bates, I am going to have to insist that you tell me what is the matter.

  He straightens up and gives an approximation of a smile.

  BATES: I thought it was for Mr Carson to give me orders.

  MRS HUGHES: Mr Carson’s no better than any other man when it comes to illness. Now tell me what it is and I’ll see what I can do.

  BATES: It’s nothing. Truly. I twisted my bad leg and walked on it too soon. I’ll be fine in a day or two.

  His manner is deceptive, but she is not entirely deceived.

  MRS HUGHES: Well, if it isn’t, I’m sending for the doctor.

  At this moment, Anna comes along the passage, carrying a pair of shoes.
Mrs Hughes holds out the hooks and dress.

  * * *

  MRS HUGHES (CONT’D): You left these behind in the Blue Room, when you were dressing Lady Mary for the kill.

  ANNA: I’m sorry, Mrs Hughes.

  Anna notices Bates’s pallor.

  ANNA: Are you all right?

  MRS HUGHES: He is not all right and he will not tell me why.

  BATES: A man’s got to have some secrets.

  ANNA: But he can have too many.

  She looks into his eyes. He won’t give in.

  * * *

  45 INT. DRAWING ROOM. DAY.

  Cora is with her three daughters, reading and embroidering, when Violet walks in, followed by Carson.

  CARSON: The Dowager Countess—

  She’s already in. Carson leaves and closes the door.

  VIOLET: Is it really true? I can’t believe it!

  CORA: It’s true.

  VIOLET: But last night he looked so well!

  She directs this at her granddaughters, without a response.

  VIOLET (CONT’D): Of course it would happen to a foreigner. Typical.

  MARY: Don’t be ridiculous.

  This earns her a sharp look.

  VIOLET: I’m not being ridiculous. No Englishman would dream of dying in someone else’s house. Especially someone they didn’t even know.*

  SYBIL: Oh Granny, even the English aren’t in control of everything.

  VIOLET: Well, I hope we’re in control of something, if only ourselves.