MRS PATMORE: That’s just it! I know I could manage better if only—
ROBERT: Please, Mrs Patmore!
ANNA: Let him speak! Beg pardon, m’lord.
ROBERT: Don’t apologise. Now. On Doctor Clarkson’s recommendation, I’m sending you up to London to see an eye specialist at Moorfields. Anna will go with you and you’ll stay with my sister Lady Rosamund Painswick, in Eaton Square.*
The news is like a thunderbolt. Mrs Patmore staggers.
MRS PATMORE: I’m afraid I’m going to have to sit in your presence, m’lord.
ROBERT: Of course.
Anna gets a chair under her in the nick of time.†
MRS PATMORE: But how will you get on here?
ROBERT: Well, Mrs Crawley is lending us her cook, Mrs Bird. She’s coming over tomorrow. You’ll be good enough to show her how things work.
MRS PATMORE: And are the Crawleys to starve while I’m away?
ROBERT: They’ll eat here every evening. Now, my sister’s butler will look after you. He’s very nice. Anna, you won’t mind a visit to London?
ANNA: No m’lord. It’ll be an adventure.
ROBERT: One with a happy ending, I hope.
25 EXT. GARDENS. DOWNTON. DAY.
Matthew is with Mary. He is angry.
MATTHEW: Let me get this clear! At Sybil’s ball you said you’d give me your answer the day you got back, and now you say you will not!
MARY: Why do we have to rush into it? I need to be sure, that’s all.
MATTHEW: But you were sure.
She will not answer this challenge, which angers him more.
MATTHEW (CONT’D): Shall I tell you what I think has altered you? My prospects! Because nothing else has changed!
MARY: No—
MATTHEW: Yes! If your mother’s child is a boy, then he’s the heir and I go back to living on my wits, and you’d rather not follow me there!
MARY: Oh, Matthew, you always make everything so black and white.
MATTHEW: I think this is black and white. Do you love me enough to spend your life with me? If you don’t, then say no. If you do, then say yes.
MARY: I want to …
But she hesitates. Old habits die hard. She tries to joke.
MARY (CONT’D): Granny told me I should say yes now, and then withdraw if you lost everything.
MATTHEW: To make that work, you have to be a good liar. Are you a good liar?
MARY: Well, not good enough to try it, apparently.*
26 INT. DRESSING ROOM. DOWNTON. EVE.
Bates is dressing Robert for dinner.
ROBERT: How could you not have realised they’d discover the loss at once? And to keep them in your house … But you only served two years?
BATES: That’s right, m’lord.
ROBERT: So clearly the judge thought there was some mitigating factor.
Bates has fetched the tail coat from the bed. He helps Robert into it and brushes the shoulders, without comment.
ROBERT: Bates, we’ve come a long way together. I owe you a great deal, some might say everything.
BATES: Please, your lordship. Whatever debt you think you owe me, is long since paid in full.
ROBERT: I just want to know the truth.
BATES: I cannot speak of it, m’lord. You must decide whether I stay or go on the basis of the evidence before you. I will respect that.
27 INT. KITCHEN PASSAGE. DOWNTON. DAY.
ANNA: I’m sorry. I don’t believe it.
Bates and Anna are talking together, softly.
BATES: How can you say that? When I confessed to the crime?
ANNA: Well, his lordship obviously doesn’t think that’s all there is to it, and I don’t either.
* * *
BATES: Suit yourself.
ANNA: I will suit myself.
* * *
Mrs Hughes arrives down the passage.
MRS HUGHES: Anna, are you set for the nine o’clock train tomorrow?
ANNA: All packed and ready.
MRS HUGHES: You’ll be met at King’s Cross by Lady Rosamund’s chauffeur which I think is generous, but after that you’re on your own … Right. I must get back. I’m acting referee for Mrs Patmore and Mrs Bird.*
BATES: Best of luck.
With a laugh, she is gone. Anna turns to the valet.
ANNA: Will you miss me?
BATES: Try not to miss me. It’ll be good practice.
28 INT. KITCHEN. DOWNTON. DAY.
Mrs Patmore and Mrs Bird are evenly matched.
MRS PATMORE: I expect it’ll be hard adjusting to this kitchen after the one you’re used to.
MRS BIRD: Not to worry. I’m sure I can have it cleaned up in no time.
MRS PATMORE: Cleaned up?
MRS BIRD: I’m not criticising. With your eyesight, it’s a wonder you could see the pots at all.†
Mrs Hughes deems it time to intervene.
MRS HUGHES: You’ve met Daisy and the others?
MRS BIRD: I have. Though what they all find to do is a mystery to me.
MRS PATMORE: Are you not used to managing staff, Mrs Bird?
MRS BIRD: I’m used to getting it done with one kitchen maid, Mrs Patmore, but I suppose, in a house like this, you expect to take it easy.
On the edge of the room, Anna has joined Molesley.
ANNA: Do you think we should erect a ring and let them fight it out?
MOLESLEY: She’s all right, Mrs Bird. She’s more of a general than a trooper but, you know, you need that in a cook.
ANNA: Mrs Patmore’s the Generalissimo.
They laugh together. Molesley likes this Anna.
29 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.
Isobel is indignant as she listens to her son.
ISOBEL: Well, I’m very sad. I thought Mary was made of better stuff.
MATTHEW: Don’t speak against her.
ISOBEL: Of course she’s taken advice from someone with false and greedy values.
MATTHEW: Oh, Mother—
ISOBEL: And we don’t have to go too far to know who that is! I’ve a good mind—
MATTHEW: Mother! You are not to go near Cousin Violet. That is an order.
But Isobel shows clear signs of resistance.
30 INT. CORA’S BEDROOM. DOWNTON. EVE.
Robert is dressed for dinner. Cora’s at the dressing table.
ROBERT: Something’s not right about it.
CORA: I agree. Having a silver thief in the house does not seem right at all. Even if he could walk.
ROBERT: But Carson isn’t keen to get rid of him, either, and he normally comes down on this sort of thing like a ton of bricks.
CORA: What’s his reasoning?
ROBERT: He blames Thomas and O’Brien. He says they’ve been working against Bates since he got here.
CORA: So I should sack O’Brien instead?
ROBERT: You’ll hear no argument from me.
O’BRIEN (V.O.): This should do the trick, m’lady.
O’Brien is in the room, walking towards them. She carries a sash which she starts to tie. But when did she come in?
31 EXT. KITCHEN COURTYARD. DOWNTON. EVENING.
Thomas is with O’Brien who is smoking furiously.
O’BRIEN: Ten years of my life! That’s what I’ve given her! Ten bloody years!
THOMAS: But did she say she’d sack you?
O’BRIEN: It’s obviously what he wants.
THOMAS: So when will they tell you?
O’BRIEN: When they’ve found a replacement! Heaven forfend she should have to put a comb through her own hair! And if I’m going, you won’t be far behind.
THOMAS: Oh, so what? Sod ’em. There’s a war coming and war means change. We should be making plans.
O’BRIEN: What are you talking about?
THOMAS: Well, put it like this. I don’t want to be a footman any more, but I don’t intend to be killed in battle, neither.
He winks, throws away his cigarette and goes back in.
32 INT. KITCHEN
PASSAGE. DOWNTON. EVENING.
Thomas strides along, passing Mrs Patmore and Daisy.
MRS PATMORE: I’m not saying poison them. Just make sure they don’t find her food all that agreeable.
DAISY: By poisoning it?
MRS PATMORE: Will you stop that!
DAISY: You don’t want it to taste nice.
MRS PATMORE: I want them to be glad when I get back. That’s all.*
33 INT. HALL. DOWNTON. DAY.
Carson is with Mr Bromidge, from the telephone company.
CARSON: This will be for the family and the one in my pantry is for the staff. Or more precisely, me.
BROMIDGE: We don’t normally provide two.
CARSON: Then perhaps we should find another supplier.
BROMIDGE: Hold your horses. All right. Where do you see this other telephone?
CARSON: Here. In the outer hall.
There is, at that moment, a ring of the bell. Carson opens the door to reveal the form of Sir Anthony Strallan.
STRALLAN: Good afternoon, Carson. Is Lady Edith in?
EDITH (V.O.): I am! I most certainly am!
She’s come downstairs with Sybil. She hurries towards them.
STRALLAN: I was just driving past …
EDITH: Yes?
STRALLAN: I thought you might like to come for a spin. If you’re not too busy.
EDITH: Wait ’til I get my coat!
She darts away. Mr Bromidge has been held up long enough.
BROMIDGE: Is it all right if I make some notes?
SYBIL: I’m so sorry, Mr …?
CARSON: Oh, this is Mr Bromidge, m’lady. He’s here about the telephone.
SYBIL: Oh, please make your notes, then Mr Bromidge. We’re so looking forward to it. What an exciting business to be in!
STRALLAN: You must be expanding every day.
BROMIDGE: Oh, we are, sir, but that brings its problems. Training up men for the work, when many have no aptitude. I can’t even find a secretary who can keep pace, at the moment.
SYBIL: What?
BROMIDGE: It’s hard with a new concept. Too old, and they can’t change. Too young, and they’ve no experience.
SYBIL: But have you filled the post yet? Because I know just the woman.
BROMIDGE: Well, she must hurry up. We’ll close the list tomorrow night.
SYBIL: You’ll have her application. I promise.
END OF ACT TWO
ACT THREE
34 INT. HOSPITAL ROOM. MOORFIELDS. LONDON. DAY.
Mrs Patmore is there, with Anna who carries a suitcase.
ANNA: Oh, this isn’t bad at all, is it?
MRS PATMORE: I don’t know … No one told me there’d be an actual operation.*
ANNA: What did you think? They were just going to make magic passes over your eyes?
Mrs Patmore sits, as a doctor looks in, with his notes.
DOCTOR: All right, Mrs … Patmore?
ANNA: She’ll be fine, thank you.
DOCTOR: And you’ve been sent to us by … the Earl of Grantham?
ANNA: That’s it.
DOCTOR: Very good. You can leave her now. We’ll keep her in for a week. You can collect her next Friday.
ANNA: I’ll be in to visit every day.
MRS PATMORE: What about the rest of the time?
ANNA: Oh, don’t worry about me.
35 EXT. DUKE OF YORK BARRACKS. LONDON. DAY.
Anna walks towards the great building.
36 EXT. OFFICE. DUKE OF YORK BARRACKS. DAY.
Anna is talking to an NCO.
NCO: Bates, you say?
ANNA: John Bates. He must have left the army about eight years ago.
NCO: Wait here, please.
She nods and sits on a bench.
37 INT. KITCHEN. DOWNTON. DAY.
Mrs Bird is with Daisy and the other kitchen maids.
MRS BIRD: Have you finished the soup?
DAISY: I think so, Mrs Bird.
MRS BIRD: And the sauce for the fish?
DAISY: Yes.
MRS BIRD: Well, then put them in the warmer.
She walks away. Daisy grabs a jug and pours water into the soup, then she sprinkles green powder, and orange powder into the sauce. She picks up the tray and scurries off.
* * *
38 INT/EXT. MOTOR CAR/DOWNTON. DAY.
Sybil comes out of the house and runs into the car.
SYBIL: Go! Quickly!
BRANSON: Where’s the fire?
SYBIL: I have to put Gwen’s letter through their door, and be back in time to dress for dinner.
BRANSON: I think it’s terrific, m’lady. What you’re doing. I think you’re terrific.
He turns as he says this, and since she is leaning forward, their faces are only a few inches apart. For a moment, they are just a young couple, flushed with excitement. Then she remembers herself, lowers her lashes and sits back.
SYBIL: I don’t want to be terrific. I want to be successful.
* * *
39 EXT. DUKE OF YORK BARRACKS. DAY.
The man returns, carrying a heavy ledger.
NCO: You don’t mean John Bates who went to prison? For theft?
ANNA: That’s correct.
NCO: Well, I know who he is right enough. That was an odd business.
ANNA: Why ‘odd’?
NCO: Never mind. So you’re his cousin and you’d like to be in touch?
She says nothing but waits. At last he nods.
NCO (CONT’D): Very forgiving. Well, I’ve got no address for him or his wife.
Naturally, the word comes as something of a blow.
NCO (CONT’D): But I have got one for his mother which should still be good. I’ve written it down for you.
ANNA: Thank you for your trouble.
40 INT. GALLERY. DOWNTON. EVE.
Mary is waiting in the shadows, but when Edith arrives, she steps out and starts downstairs with her, speaking softly.
MARY: Is it true you wrote to the Turkish Ambassador, about Kemal?
Edith nearly jumps out of her skin. She regains control.
EDITH: Who told you?
MARY: Someone who knows that you did.
EDITH: Then why are you asking?
MARY: Because I wanted to give you one last chance to deny it.
EDITH: And what if I did? He had a right to know how his countryman died. In the arms of a slut.
She walks away towards the library, as Mary gasps for air.
41 INT. DRAWING ROOM. DOWNTON. EVE.
It is after dinner. The family, plus Violet, Isobel and Matthew are there. Carson dispenses coffee and drinks at a table, with the help of William and Thomas. The latter takes a plate of sweets to Cora, sitting on a sofa with Violet.
VIOLET: How’s that advertisement getting on? For the new maid?
CORA: Well, it’s only just come out.
Thomas hears this. He walks back to Carson who beckons him.
CARSON: William and I can manage here now. Go and tell Mrs Bird we’ll have our dinner in twenty minutes.
Thomas nods and leaves, as Cora sees Edith sitting alone and stands. On her way to her daughter, she passes Carson.
CORA: Carson, be sure to say to Mrs Bird the dinner was really delicious.
She has now joined Edith and takes the chair next to her.
CORA (CONT’D): So? How was your drive?
EDITH: Oh, it was lovely. Only …
She gives a breathless, excited glance at her mother.
CORA: Yes?
EDITH: Well, he said he had a question for me. He told me he’d ask it at the garden party. And he hopes I’ll say yes!
CORA: You must think very carefully about what your answer will be.
MARY: Yes, I should think very carefully about a lot of things.
They had not noticed she was listening. Mary walks on. Matthew watches her, but looks away when she glances over. He is with Robert, Violet and Isobel by the fire.
MATTHEW: Do your neighbours have one?
ROBERT: Yes, they do, in London anyway.
MATTHEW: It seems very wise to get a telephone now. If there is a war, it may be hard to have one installed in a private house.
ROBERT: Well, let me show you where we’re going to put it?
Robert leads Matthew away and out of the room.
VIOLET: First electricity, now telephones. Sometimes I think I must be living in an H.G. Wells novel. But the young are so calm about change, aren’t they. Look at Matthew. I do admire him.*
ISOBEL: Do you?
Her tone and her look are not warm. Violet sighs.
VIOLET: What have I done wrong now?
ISOBEL: Oh please! Don’t pretend Mary’s sudden reluctance can’t be traced back to you.
VIOLET: I shall pretend it. I told her to take him. Your quarrel’s with my daughter Rosamund, not me. So put that in your pipe and smoke it.
William reaches for her cup, bringing matters to a close.†
42 INT. KITCHEN PASSAGE/CARSON’S PANTRY. DOWNTON. NIGHT.
Molesley opens the door to find Thomas taking a wallet from Carson’s change coat. Thomas starts.
THOMAS: Mr Moseley, what are you after?
MOLESLEY: I wanted a word with Mr Carson. I’m here to have my dinner.
THOMAS: You don’t want much, do you?
MOLESLEY: What were you doing?
THOMAS: Mr Carson dropped his wallet in the passage. I was replacing it.
He dares Molesley to disagree with him.
43 INT. DINING ROOM. DOWNTON. NIGHT.
Robert and Matthew are alone, drinking port.
ROBERT: But everything seemed so settled between you, at Sybil’s ball.
MATTHEW: Things have changed since then.
ROBERT: Not necessarily. I don’t seem to be much good at making boys.
But Matthew is too worn down to joke about this.
Downton Abbey Script Book Season 1 Page 30