THOMAS: Nothing.
O’BRIEN: His lordship’s blaming Mr Napier for spreading gossip about Lady Mary, but it was you, wasn’t it?
THOMAS: Why do you say that?
O’BRIEN: Because Napier wasn’t in on it. Only four people know he was in her room that night. You, me, Lady Mary and possibly Daisy. And I haven’t said nothing to nobody.
THOMAS: I didn’t tell about Pamuk. I just wrote that Lady Mary was no better than she ought to be.
O’BRIEN: Who did you write it to?
THOMAS: Only a friend of mine. Valet to Lord Savident.
O’BRIEN: You know what they say about old Savident. Not so much an open mind as an open mouth. No wonder it’s all round London.
THOMAS: You won’t tell, will you? I’m in enough trouble as it is.
O’BRIEN: Why? What’s happened?
THOMAS: I think Mr Bates saw me nicking a bottle of wine.
O’BRIEN: Has he told Mr Carson?
THOMAS: Not yet. But he will when he’s feeling spiteful. I wish we could be shot of him.
O’BRIEN: Then think of something quick. Turn the tables on him, before he has the chance to nail you.
12 INT. STAIRCASE HALL. DOWNTON. NIGHT.
Robert spies Sybil who is about to go upstairs.
ROBERT: I thought you were in bed hours ago.
SYBIL: I was writing a note for Lynch. I need the governess cart tomorrow.
ROBERT: Oh?
SYBIL: I’m going into Malton.
ROBERT: Don’t risk the traffic in Malton. Not now, when every Tom, Dick and Harry seems to have a motor.
SYBIL: Hardly.
ROBERT: Last time I was there, there were five parked in the market place and another three drove past while I was waiting.
* * *
SYBIL: Horrid for the horses.
* * *
ROBERT: Get Branson to take you in the car. Neither of us is using it.
SYBIL: I thought I’d pop in on old Mrs Stuart. Will you tell Mama, if I forget?
Sybil is not changing her plans. She kisses him goodnight and goes on up the staircase, with her flickering candle.
13 INT. KITCHEN PASSAGE. DAY.
O’Brien, with breakfast tray, is with Thomas. Daisy enters.
O’BRIEN: You’re late this morning.
DAISY: The library grate needed a real going-over. Are any of them down yet?
THOMAS: Lady Sybil’s in the dining room.
DAISY: I’ll start with her room, then.
O’BRIEN: Daisy?
The maid turns in the passage to face them.
O’BRIEN (CONT’D): You know when you were talking about the feeling of death in the house …
DAISY: I was just being silly.
O’BRIEN: I found myself wondering about the connection between the poor Turkish gentleman, Mr Pamuk, and Lady Mary’s room.
Daisy is like one struck. She stammers and licks her lips.
O’BRIEN (CONT’D): Only you were saying how you felt so uncomfortable in there.
O’Brien’s mouth is smiling pleasantly. Her eyes are not.
DAISY: Well, I … I’ve got to get on. I’m late enough as it is.
As she scurries off, the others nod. Daisy knows something.
14 EXT. DOWNTON VILLAGE. DAY.
Mary is walking in the village. Matthew comes round the corner on his bicycle.
MATTHEW: Hello.
Matthew dismounts and starts wheeling the bicycle. Mary is going to snap back, but changes her mind.
MATTHEW (CONT’D): Is everything all right?
MARY: I am about to send a telegram.
She falls into step with him as he walks along.
MARY (CONT’D): Papa’s sister is always nagging him to send supplies to London and then we cable her, so her butler can be at King’s Cross to meet them. It’s idiotic, really.
MATTHEW: Is this Lady Rosamond Painswick?
MARY: You have done your homework.
MATTHEW: She wrote to welcome me into the family, which I thought pretty generous given the circumstances.
MARY: It’s easy to be generous when you have nothing to lose.
He gives a sympathetic look which almost makes her smile.
MARY (CONT’D): So are you doing any more church visiting with Edith?
MATTHEW: My mother’s trying to set something up.
MARY: Watch out. I think she has big plans for you.
MATTHEW: Then she’s in for an equally big disappointment.
He gives a knowing look and, again, he has made her laugh.
END OF ACT ONE
ACT TWO
15 INT. SYBIL’S BEDROOM. DAY.
Anna and Gwen are working as usual when Daisy comes in.
DAISY: Is it all right to do the fire?
ANNA: Why are you so late?
DAISY: I went back to my room after I’d woken everyone, and I just shut my eyes for a moment … I’ve been trying to catch up ever since.
ANNA: Have you had any breakfast?
DAISY: Not a crumb.
ANNA: Here.
She takes a small tin from beside the bed, holding it open.
GWEN: You can’t take her biscuits.
ANNA: She never eats them. None of them do. They’re just thrown away and changed every evening.
Daisy takes the tin and starts to munch one as she speaks.
DAISY: Thanks. She wouldn’t mind anyway. She’s nice, Lady Sybil.
Gwen looks at the clock and sits heavily on the bed.
GWEN: Ooh.
CARSON (V.O.): Gwen? May I ask why you are sitting on Lady Sybil’s bed?
He is in the doorway. Which seems to make Gwen nervous.
GWEN: Well, you see I had a turn … like a burst of sickness … Just sudden-like. I had to sit down.
ANNA: It’s true. She came over queasy.
CARSON: You’d better go and lie down. I’ll tell Mrs Hughes.
GWEN: I don’t need to interrupt her morning. I’m sure I’ll be fine, if I can just put my feet up.
CARSON: How many more bedrooms have you still got to do?
ANNA: Just one. Lady Edith’s.
CARSON: And you can manage on your own?
ANNA: Well, she’s no use to man or beast in that state.
Gwen stands and goes to the door. She looks back, a little guiltily, to see Anna finishing the counterpane.
ANNA (CONT’D): Shoo.
She waves her away. Carson looks round the room, sternly.
CARSON: Daisy? May I ask why you are holding Lady Sybil’s biscuit jar?
Daisy, still swallowing, nearly jumps through the roof.
DAISY: I was just polishing it before I put it back.
CARSON: See that you do.
He goes, leaving Anna and Daisy to share their relief. Anna picks up a tray, to take candle and water carafe away.
* * *
16 INT. KITCHEN. DAY.
Mrs Patmore is indignant.
MRS PATMORE: Where is that stupid girl?
MRS HUGHES (V.O.): She’s just here.
Mrs Hughes is watching from the door, puzzled.
MRS PATMORE: Why are you hiding?
DAISY: I’m not hiding. I’m stood here.
MRS PATMORE: One more word and you’ll be up a chimney with a brush in your hand.
DAISY: Yes, Mrs Patmore.
MRS PATMORE: Have you done them fires? Because it’d be ever so nice if they were finished by Christmas.
Daisy scuttles off. Mrs Hughes speaks again.
MRS HUGHES: She wasn’t hiding.
* * *
17 INT. KITCHEN. DAY.
Mrs Hughes walks along the corridor towards the kitchen where Cora is standing with Mrs Patmore and Daisy.
CORA: But Mrs Patmore, it’s such a little thing to ask.
MRS PATMORE: I’m sorry, m’lady, but I can’t do more than my best.
Mrs Hughes has arrived.
MRS HUGHES: Is there some difficulty, your ladyship?
; * * *
CORA: Dear Mrs Hughes, as you know we’re giving a dinner on Friday for Sir Anthony Strallan—
* * *
MRS HUGHES: Yes, m’lady.
CORA: Well, it seems he is particularly fond of a certain new pudding. It’s called Apple Charlotte. Do you know it?
MRS HUGHES: I’m not sure.
CORA: His sister, Mrs Chetwood, sent me the receipt, and I’m trying to persuade Mrs Patmore to make it.
MRS PATMORE: And I’m trying to persuade her ladyship that I have already planned the dinner with her, and I can’t change it now.
MRS HUGHES: Why not?
MRS PATMORE: Because everything’s been ordered and prepared.
Mrs Hughes takes the paper from Cora.
* * *
MRS HUGHES: Well, there’s nothing here that looks very complicated. Apples, lemon, butter … I think we’ve some Granose Flakes. If not, we can certainly get them—
* * *
MRS PATMORE: I cannot work from a new receipt at a moment’s notice!
DAISY: But I can read it to you, if that’s the problem.
Predictably, this sets the match to the taper.
MRS PATMORE: Problem? Who mentioned a problem? How dare you say such a thing in front of her ladyship!
Cora’s had enough. She raises her hands in defeat.
CORA: Very well. We can try it another time, when you’ve had longer to prepare. We’ll stay with the raspberry meringue.*
MRS PATMORE: And very nice it’ll be, too.
CORA: I’m sure.
Cora walks away with Mrs Hughes, who stops her at the door.
MRS HUGHES: I’m so sorry about that, m’lady.
CORA: Never mind. I was asking a lot.
Behind them Mrs Patmore is hissing more abuse at her underling.
* * *
MRS PATMORE: Oh, yes. Butter wouldn’t melt in your mouth, would it? But you’ll pay for that! And the hour will not be long in coming!
* * *
Cora glances back at the irate cook stamping about.
CORA: Do look after that girl.
MRS HUGHES: Daisy? She’s used to it. She’ll be all right.
CORA: I wonder. Mrs Patmore looks ready to eat her alive.
DAISY: I was only trying to help.
MRS PATMORE: Oh, like Judas was only ‘trying to help’ I s’pose, when he brought the Roman soldiers to the garden! Oh, just you watch it, my dear! Just you watch it!
18 EXT. THE PARK. DOWNTON. DAY.
Sybil holds the reins of the little cart as it travels briskly through the park. As she approaches the gate, she looks around and pulls in the horse. After a moment there is a movement and Gwen emerges from behind a bush. She is neatly dressed in the suit Sybil gave her. She climbs in and they set off again. Sybil glances at her approvingly.*
GWEN: I’ve had to let your skirt down a little, but I can put it back.
SYBIL: No, it’s yours … What happens if a maid finds your room is empty?
GWEN: It’d only be Anna and she wouldn’t give me away. She’s like a sister. She’d never betray me.
SYBIL: Then she’s not like my sisters.
She turns to the horse.
SYBIL (CONT’D): Walk on.
Sybil and Gwen laugh together as they speed off on an adventure.
19 INT. EDITH’S BEDROOM. DAY.
Anna is making the bed. She has to keep walking round it.
BATES (V.O.): Shall I give you a hand?
He is standing in the doorway. He walks over to the bed.
ANNA: Oh, would you? It takes half the time with two.
BATES: I always feel a bit sorry for Lady Edith.
ANNA: Me too. Although I don’t know why. When you think what she’s got and we haven’t.
* * *
BATES: Mr Molesley said she’d made a play for Mr Crawley.
ANNA: ‘Made a play’ is a bit strong.
* * *
BATES: Mrs Hughes said she was after the other heir. Mr Patrick Crawley. The one who drowned.
ANNA: That was different. She was in love with him.
BATES: What happened?
ANNA: She never got a look in. He was all set up to marry Lady Mary.
BATES: Then he was a braver man than I am, Gunga Din.
Which makes both smile a little.
BATES (CONT’D): Sad to think about.
ANNA: It’s always sad when you love someone who doesn’t love you back. No matter who you are.
BATES: I meant it’s sad that he died.
Anna feels slightly caught out.
ANNA: Oh. Yes. Very sad. He was nice.
The bed is finished and the room tidied. She has loaded the tray, and now she takes it up and starts for the door.
ANNA (CONT’D): Well, thank you for that. Much appreciated.
BATES: My pleasure.
She is almost out of the room when he speaks again.
BATES (CONT’D): Perhaps Mr Patrick did love her back but just couldn’t say it.
ANNA: Why ever not?
BATES: Sometimes you’re not at liberty to speak. Sometimes it wouldn’t be right.
And he has passed her and gone about his business.
* * *
20 EXT. STREET IN MALTON. DAY.
Sybil sits in the governess cart as Gwen climbs down.
SYBIL: Don’t be too long.
GWEN: They said ten o’clock, so we should be fine. We’ll be back before they notice we’re gone.
SYBIL: Good luck.
With a nervous smile, Gwen hurries inside.
* * *
21 INT. OFFICES. MALTON. DAY
A secretary leads Gwen along the corridor.
SECRETARY: Take a seat.
Gwen sits down. A wall clock shows five to ten. A door opens, a woman emerges. Gwen leans forward expectantly, but nothing happens.
22 INT. DRAWING ROOM. DOWER HOUSE. DAY.
Violet sits ruling the roost. Isobel is paying a call.
VIOLET: The flower show? I thought I was in for another telling off about the hospital.
She smiles pleasantly.
ISOBEL: No. This time it’s the flower show. I’ve been to see old Mr Molesley’s garden. His roses are the most beautiful I’ve ever laid eyes on.
Now Violet is beginning to get the idea. Her eyes narrow.
VIOLET: Go on.
ISOBEL: You may not know it but I believe the committee feels obliged to give you the cup for Best Bloom as a kind of local tradition.
VIOLET: No, No. I do not know that. I thought I usually won the prize for the Best Bloom in the Village because my gardener had grown the Best Bloom in the Village.
She sits back pleasantly, waiting for the next tactic.
ISOBEL: Yes, but you don’t ‘usually’ win, do you? You always win.
VIOLET: I have been very fortunate in that regard.
ISOBEL: Surely, when Mr Molesley’s garden is so remarkable and he is so very proud of his—
VIOLET: You talk of Mr Molesley’s pride. What of my gardener’s pride? Is he to be sacrificed on the altar of Molesley’s ambition?
ISOBEL: All I’m asking is that you release them from any obligation to let you win. Why not just tell them to choose whichever flower is best …
VIOLET: But that is precisely what they already know. And do.
Isobel is tough but Violet is tougher.*
* * *
23 INT. OFFICES. MALTON. DAY.
Gwen is sitting, waiting. She looks anxiously at the receptionist, who smiles coldly. The clocks shows it is half past eleven.
* * *
24 INT. OFFICES. MALTON. DAY
The clock shows ten minutes to one. Gwen comes out of an office, nods to the secretary and rushes along the corridor.
25 INT. DRESSING ROOM. DAY.
Bates walks in with a coat over his arm, then he stops.
BATES: I’m sorry, m’lord. I didn’t think you’d be in here.
Robert is bent over the case of snuff boxe
s.
ROBERT: Are my eyes deceiving me or is one of these missing?
Bates walks over and stares down.
BATES: I don’t know them well enough.
ROBERT: No. Why would you? But there’s a very pretty little blue one, with a miniature framed in French paste. It was made for a German prince. I forget who … Unless it was moved for some reason … but why would it be?
This is the kind of thing any servant dreads.*
* * *
26 EXT. STREET IN MALTON. DAY.
Gwen comes racing out and clambers back up.
GWEN: I’m so sorry, m’lady. But I didn’t get in there until nearly twelve.
SYBIL: We’ll just have to hope your secret’s safe with Anna.
She looks across at Gwen, who is bursting with excitement.
SYBIL (CONT’D): So? How did you get on?
GWEN: Oh, m’lady! I think they liked me. I really do!
With a grin, Sybil whips up the horse and they set off.
* * *
27 EXT. COUNTRY LANE OUTSIDE A VILLAGE. DAY.
Sybil and Gwen are walking alongside their horse. They are both looking fairly tired. They see a man ahead of them.
SYBIL: Hello. Our horse has cast a shoe. Is there a smithy nearby?
MAN: You can try old Crump in the next village.
Sybil and Gwen both thank him and they walk along together.
SYBIL: At least it happened on the way home.
GWEN: They’ll be worried about you.
* * *
SYBIL: The point is you’ve got the job.
GWEN: I think I have. I hope I have.
She is still excited as they march onwards.
Downton Abbey Script Book Season 1 Page 21