Downton Abbey

by Julian Fellowes

  MR BRYANT: Would you like to ride it, Charlie?

  We have never seen him smile before, but now he does as he lifts the boy and holds him on the horse. Mrs Bryant comes over.

  MRS BRYANT: Thank you for letting us come.

  ETHEL: I’m only here to say that…

  She tails off. Her child is playing with a teddy bear now, which Mr Bryant manipulates to walk towards him. Charlie is laughing and rolling about as he plays with the toys.

  MR BRYANT: What did you want to say? Did you want to tell us about the childhood he’s having with you? Or shall we talk about the one he could have with us?

  MRS HUGHES: Mr Bryant, I don’t think this is fair, to Ethel or the boy —

  MR BRYANT: Why is that? Because she’s sure she wants to take all this away from him? Is that why it’s not fair?

  Ethel is standing, dumb with misery.

  MRS HUGHES: Come on. Tell them what you came to tell them… Ethel will not be cowed by your bullying, Mr Bryant, and no more will I.

  MR BRYANT: Is she right, Ethel? Will you really prevent the boy from enjoying his good fortune, to prove a point?

  Held by Bryant, Charlie squeals with laughter as a giant jack-in-the-box jumps out at him. Ethel looks over at her happy little son and the happy man playing with him, so unlike the bully we have seen until now.

  ETHEL: You’re buying him really, aren’t you? That’s what it comes down to.

  For the first time, Bryant’s tone is almost gentle.

  MR BRYANT: No. We’re not buying him. We’re showing you what he could have. What he could be.

  But he longs to get back to playing with the boy, playing with the toys, being a father again.

  MRS BRYANT: My dear, I know you only want the best for him. Like every mother.

  Ethel stands there, tears pouring down her cheeks, looking at her son playing with this loving grandfather who can give the boy everything. She nods. She has made the decision.

  81 EXT. DOWNTON. DAY.

  Thomas, his clothes torn, covered in mud, almost staggers towards the house. Suddenly, the dog Isis bounds out at him.

  THOMAS: Isis? Where have you bloody been, eh?

  But Robert has come round the corner, after the dog.

  ROBERT: What in God’s name happened to you?

  THOMAS: I’ve been looking for the dog.

  ROBERT: A village child found her yesterday. Somehow the silly animal had got herself shut into one of the keepers’ shelters. They took her back and claimed their reward this morning.

  THOMAS: Oh… Well, that’s good.

  Robert is staring at Thomas.

  ROBERT: Did you really get yourself into this mess looking for my dog?

  THOMAS: I know how fond of her you are.

  ROBERT: I’m impressed, Thomas. It’s good to know there’s some decency in the world at a time like this. Thank you.

  THOMAS: That’s all right, m’lord. The main thing is she’s home and healthy.

  Robert is completely revising his view of the man.*

  * The irony of this story is that Thomas’s going to look for the dog changes Robert’s opinion of him, when in fact he set the whole thing up, meaning to work it differently.

  82 EXT. DOWNTON. DAY.

  The men have finished loading the last toys into the van. We glimpse the rocking horse. The Bryants’ car is waiting there, too. The van drives off as the Bryants, Mrs Hughes and Ethel come outside. Mr Bryant has Charlie by the hand.

  MRS BRYANT: Won’t you say goodbye to the nice lady, Charlie?

  Ethel kneels and kisses her son for the last time.

  ETHEL: I give you my blessings for your whole life long, my darling boy. You won’t remember that, or me, but they’ll stay with you all the same.

  MR BRYANT: Let’s not make a meal of it.

  After all, he is still the same man. Ethel stands and moves back.

  MRS BRYANT: You go on, dear, and settle him in.

  Mr Bryant takes the boy over to the car and they climb in. The motor starts. During this, Mrs Bryant turns to Ethel.

  MRS BRYANT (CONT’D): I’ll write to you. Make sure Mrs Hughes always has your address.

  ETHEL: But he said —

  MRS BRYANT: A little judicious disobedience is a key part of marriage, as I hope you find out, my dear. Write to me, too, if you wish. I always get to the post before he does.

  ETHEL: But I can’t see him, can I? He’ll never let me see my Charlie again.

  MRS BRYANT: Never is a long time, Ethel. Too long for me to second guess… And we will love him, you know. Not just for his father’s sake, but for his own. So, goodbye, my dear, and you, Mrs Hughes, and thank you.

  She joins the others in the car, which drives away, watched by the two women.

  MRS HUGHES: You’ve done a hard thing, today, Ethel. The hardest thing of all, but I think it was right.

  ETHEL: Was it?

  MRS HUGHES: You know it was. Until we live in a very different world from this one. And you’re young. You’ll find work. You’ll have a future.

  Ethel looks up at the house behind them.

  ETHEL: I won’t be working here, though, will I? I’m not good enough for Downton Abbey. I’m a sinner now and I mustn’t contaminate the other maids.

  The housekeeper looks at her and shakes her head.

  MRS HUGHES: Ethel, Ethel… Why do you always have to push your luck?

  Still shaking her head, she goes back inside.

  83 EXT. MASON’S FARM. DAY.

  Mason is putting some fruit and flowers into a trap.

  DAISY: I could walk to the station. I walked here, after all.

  MASON: I want to talk while we go.

  Daisy seems to know what this will be about.

  MASON (CONT’D): If you’re my daughter, you must allow me to give you advice.

  DAISY: I s’pose.

  MASON: Well, then, if you’re not content with the way you’re treated, don’t sulk and answer back. Tell them.

  DAISY: They wouldn’t listen.

  MASON: You don’t know. You haven’t given them the chance. Go to Mrs Patmore, and explain to her why you think you’re worth more than you’re getting. Make your case and put it to her.

  DAISY: But Miss Shore says —

  MASON: Daisy, do me a favour and stop listening to that Miss Shore.

  With that, he shakes the reins and the horse moves off.*

  * In a sense, Mason is my voice in this exchange in that I agree with him that deliberately encouraging people to feel a grudge is incredibly negative. Like him, I believe that if you’ve got a legitimate complaint, then don’t sulk. Just complain to the right person.

  84 INT. STAIRCASE/PASSAGE. DOWNTON. NIGHT.

  Lord Hepworth is climbing the stairs when he sees Rosamund coming down. He’s in travelling clothes, she in evening dress.

  ROSAMUND: Are you here? Nobody told me.

  HEPWORTH: Only just. The train was late. I’ll have to scramble to get changed.

  ROSAMUND: I’m afraid it may be a rather gloomy visit. No news yet for the poor valet, I’m afraid, so the Servants’ Ball has been cancelled.

  HEPWORTH: Never mind. I’m very flattered to be asked back on any terms. I hope I can read something into it.

  ROSAMUND: Only my desire not to lose my maid. Shore wouldn’t stop nagging me until you were invited. You owe her a tip. But I mustn’t delay you.

  She walks on down the staircase.†

  † Hepworth’s coming back is a little bit of a cheat. Would he really return to Yorkshire for a Servants’ Ball? But on the other hand, wouldn’t he come back for anything he was asked to, if he felt it was promoting his cause with Rosamund?

  85 INT. MARY’S BEDROOM. DOWNTON. NIGHT.

  Mary is dressed for dinner. Anna puts on her shoes.

  ANNA: What will you do in America?

  MARY: What I do here? Pay calls and go to dinners. My grandmother has houses in New York and Newport. It’ll be dull, but not uncomfortable.

  A
NNA: M’lady, I’ve been thinking… If things go badly for us… I thought I might come with you.

  MARY: You mean you won’t leave, after all?

  ANNA: I have to leave Downton, but I don’t have to leave you.

  MARY: But of course you can come with me. You don’t need to ask… But let’s not give up hope yet.

  ANNA: No, m’lady. Let’s not do that.

  She works on. She wants to change the subject.

  86 INT. ROBERT’S DRESSING ROOM. DOWNTON. NIGHT.

  Carson is dressing Robert.

  CARSON: Sir Richard and Lord Hepworth are here. Their train was late.

  ROBERT: I don’t know what they’ve come for.

  CARSON: You mean we won’t be holding the Servants’ Ball, m’lord?

  ROBERT: Of course not.

  He glances at himself in the glass.

  ROBERT (CONT’D): I’m not sure Sir Richard will be staying after tomorrow, anyway.

  He looks at Carson, almost reluctant to speak.

  CARSON: M’lord?

  ROBERT: I was only going to say that… if I do need a new valet, I think I’d like to give Thomas a trial.

  CARSON: Really, m’lord?

  ROBERT: I think I’ve misjudged him. There’s more true kindness in him than I’d given credit for.

  CARSON: Is there?

  ROBERT: I think so. At any rate, let’s give him a chance. Everyone deserves a chance. Even Thomas.

  But he is sad.

  87 INT. MARY’S BEDROOM. DOWNTON. NIGHT.

  ANNA: So Sir Richard’s back?

  MARY: I haven’t seen him yet. He and Lord Hepworth only just arrived in time to change.

  ANNA: Are you ready?

  MARY: I think so. I’ll ask him to meet me in the boudoir after dinner. I know what I have to say to him. It’s time.*

  * By this stage of an episode you are wrapping everything up, and the audience is aware that they’ve got several pay-offs to come. What’s really going to happen to Bates? Because they can’t believe he’s actually going to hang. When is Mary going to fire Carlisle? Because they know by now she’s not going to marry him. When is Rosamund going to find out about Hepworth? And so on. You encourage them in a sense of expectation.

  88 INT. OUTER HALL. DOWNTON. NIGHT.

  Thomas has taken coats from Isobel and Matthew. He leaves.

  ISOBEL: I wish you’d take my advice and fight for her, but I know you won’t.

  MATTHEW: I don’t expect you to understand.

  ISOBEL: Well, that’s good, because I can’t. And please don’t invoke the name of that sweet, dead girl again.

  She leads the way on through.

  89 INT. MRS HUGHES’S SITTING ROOM. DOWNTON. NIGHT.

  Mrs Hughes is with Anna.

  ANNA: I’ve always wanted to see America. So at least I’ve got a plan.

  MRS HUGHES: I suppose so. I still can’t be glad you’ll be leaving here. But it’s good news that you won’t be casting off entirely.

  ANNA: It’s only if…

  She cannot finish the sentence.

  MRS HUGHES: I know.

  She is on the edge of tears herself.

  MRS HUGHES (CONT’D): Just so’s you know, you’re highly valued by all of us. Both of you. Very highly valued.

  She takes the sobbing Anna into her arms and holds her.

  90 INT. BOUDOIR. DOWNTON. NIGHT.

  Carlisle is with Mary. He is furious.

  CARLISLE: By God, Mary. What more could I have done?

  MARY: Nothing. But you must see we’re not well suited. We’d never be happy.

  CARLISLE: You won’t be happy by the time I’m finished! I promise you that!

  MARY: Of course I’m grateful —

  CARLISLE: So you should be! I buy your filthy scandal, I keep it safe from prying eyes! And why did the papers leave you alone over Bates? Why has there been nothing linking him to the great Earl of Grantham? Tell me!

  MARY: I suppose you stopped it.

  CARLISLE: With threats, bribes, calling in favours, yes, I stopped it!

  MARY: Papa will be so thankful.

  CARLISLE: You don’t think it holds now, do you? You don’t think I’ll save you or him for one more day?

  MARY: And you wonder why we wouldn’t make each other happy?

  Carlisle’s shouting has covered the opening door.

  MATTHEW: Mary? Are you quite all right?

  CARLISLE: Oh, here he is. The man who can smile and smile and be a villain! Is she not to be trusted even to get rid of me without your help?

  Matthew ignores him and speaks only to Mary.

  MATTHEW: I heard shouting —

  CARLISLE: Lavinia knew it, you know. She knew you never loved her.

  Now Matthew turns to him, enraged.

  MATTHEW: Don’t you dare —

  CARLISLE: Oh, she said it once. It was late and she was tired. You two were locked together in the corner of the room and she said: ‘If he could just admit the truth, then all four of us might have a chance.’

  MATTHEW: You liar!

  CARLISLE: I’m not a liar. No, I am many things, but not that. She regretted it, of course, but she said it.

  MATTHEW: You bastard!

  He takes a swing at Carlisle, who fights back, sending Matthew into a table, shattering a vase. The door flies open.

  ROBERT: Stop this at once!

  The dishevelled pair do stop and stand there awkwardly.*

  ROBERT (CONT’D): I think we should all go to bed. I presume you will be leaving in the morning, Sir Richard. What time shall I order your car?

  Carlisle comes up to him.

  CARLISLE: How smooth you are. What a model of manners and elegance. I wonder if you will be quite so serene when the papers are full of your eldest daughter’s exploits.

  ROBERT: I shall do my best.

  Violet appears in the doorway.

  VIOLET: What on earth’s the matter?

  CARLISLE: I’m leaving in the morning, Lady Grantham. I doubt we‘ll meet again.

  VIOLET: Do you promise?

  Carlisle flounces off. Robert looks at Matthew.

  ROBERT: I’m afraid you may have found his reference to Mary puzzling.

  MATTHEW: No. She’s told me all about it.

  ROBERT: Then I’m glad you can still fight for her honour. I am not surprised, but I am glad. Thank you.

  MATTHEW: Sorry about the vase.

  VIOLET: Oh, don’t be, don’t be. It was a wedding present from a frightful aunt. I have hated it for half a century.

  * Matthew has obviously been listening outside the door, in my head anyway. He’s heard the shouting and he’s come in to find out what’s going on, and at last we have this very satisfactory fight between the two men, which we’ve been waiting for and longing for. What I liked about the fight was that both men really had a go. It became undignified and silly, in the way that fighting is always undignified and silly, and somehow that made it very real.

  END OF ACT SIX

  ACT SEVEN

  91 INT. KITCHEN. DOWNTON. DAY.

  Daisy, in her coat and hat, is with Mrs Patmore.

  MRS PATMORE: Here’s a cake to give to Mr Mason. And enjoy your day off. You’ll be working hard when you get back.

  SHORE: In other words, business as usual.

  She stands there with a tray of breakfast.

  MRS PATMORE: Don’t you start spreading the slime of discontent.

  SHORE: If she’s discontent, it’s not my fault.

  MRS PATMORE: Are you, Daisy? Is that what this is about? Are you unhappy here?

  DAISY: I’d best be going.

  92 EXT. DOWNTON. DAY.

  The car is being loaded by Carlisle’s valet.

  93 INT. HALL. DOWNTON. DAY.

  Carlisle, dressed for travel, is leaving. Mary appears, hurrying down the staircase.*

  MARY: Wait!

  CARLISLE: After last night’s exhibition, I rather hoped to escape unobserved.

  MARY: I didn’t want you to
go without saying goodbye.

  CARLISLE: Well then, goodbye.

  MARY: I suppose you feel I’ve used you, and I’m sorry if I have. I’m sorry about Haxby, about all of it.

  CARLISLE: I assume this is a plea to stay my hand from punishment. But I warn you, I’d feel no guilt in exposing you. My job is to sell newspapers.

  MARY: Papa has suggested I go to New York to wait it out, so I’ll be all right. I just didn’t want our final words to be angry ones.

  He looks at her and now he is almost tender.

  CARLISLE: I loved you, you know. More than you knew, and much, much more than you loved me.

  MARY: Then I hope the next woman you love deserves you more than I did.

  Carlisle starts towards the door.

  CARLISLE: And don’t worry about Haxby. I’ll sell it at a profit. I usually do.

  * I was keen to have this moment. I didn’t wish to say goodbye to Carlisle in the library when he’s lying on the floor, looking dishevelled and ridiculous. We owed him, and Iain Glen who played him, more than that. And for me, what he says in this scene is true. I am quite sure that Carlisle loved Mary much more than she loved him. In fact, I suspect they would have done pretty well together if Matthew had never existed. For this reason, and for so many others, we were very lucky to get Iain Glen. He had the confidence not to shrink from the hard side of the character, but he never entirely lost your sympathy. At any rate, he never lost mine. I thought he got the whole characterisation absolutely spot on.

  94 EXT. DOWNTON. DAY.

  Carlisle emerges. He looks at this great house he will never visit again. Then he sets his face and climbs into the car.

  95 INT. BEDROOM PASSAGE. DOWNTON. DAY.

  Anna is walking along when she hears giggling. She rounds the corner and Shore is standing with Hepworth. They break apart and Shore joins Anna.

  SHORE: He’s still on at me. To press his case with the mistress.

  ANNA: He’s very tenacious, I must say.

  SHORE: You know men.

  She walks on through the door to the service staircase.

  ANNA: And I know women, too…

  96 EXT. DOWNTON. DAY.

  A man is bicycling towards the house.

  97 INT. HALL/DRAWING ROOM. DOWNTON. DAY.

  Carson is running towards the library.

  98 INT. LIBRARY. DOWNTON. DAY.

  Carson bursts into the room. Robert and Cora are working.