Downton Abbey

by Julian Fellowes

  CARSON: M’lord! M’lord!

  ROBERT: What in heaven’s name —?

  CARSON: A telegram, m’lord.

  Robert stands. He hesitates, looking at his wife.

  CORA: Open it.

  He does so, scans it and looks up.

  ROBERT: Thank God. He’s been reprieved. It’s life imprisonment, but he’s been reprieved.

  CORA: Go and fetch Anna.

  99 INT. LIBRARY. DOWNTON. DAY.

  Anna is there, with Cora, Mary, Edith, Carson and Mrs Hughes.

  ROBERT: The Home Secretary finds that many details call into question the case for premeditation… The point is, he will not hang.

  ANNA: But it’s still life imprisonment.*

  MARY: Don’t dwell on that. Not now. It’s life, not death. That’s all we need to think about.

  ROBERT: We’ve a task ahead of us, it’s true, but we won’t be rescuing the reputation of a corpse. Bates will live and he is innocent. In time, we’ll prove it and he will be free.

  ANNA: I must go and see him. Today. They’ll let me, won’t they?

  ROBERT: I can’t believe they won’t. I’ll get Pratt to run you into York.

  CORA: I hope this means you can hold the Servants’ Ball after all?

  CARSON: Anna?

  ANNA: Of course you can. And I’ll be back for it. That’s if you can get it ready in half a day.

  MRS HUGHES: Just you watch us.

  * Anna has slightly more mixed feelings about this result than the others, because her husband is facing the prospect of life imprisonment. To the Downton audience, that means we’re going to have to prove that he didn’t do it, and they are probably confident that we will manage it, but Anna doesn’t have the advantage of being a television viewer. She can only see that Bates is being locked up for a crime that she, at least, is certain he did not commit.

  100 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Carson is addressing the servants.

  CARSON: So that is the news. It only remains for me to add that we will be holding the Servants’ Ball tonight after all.

  THOMAS: Tonight? Are you serious?

  CARSON: Mrs Hughes thinks we can manage it.

  There is a good deal of relief and happiness at this.

  MRS PATMORE: I never thought they’d hang an innocent man.

  SHORE: He wouldn’t have been the first.

  O’BRIEN: Well, it’s a relief. It is. I don’t mind saying it.

  MRS PATMORE: But he has to stay in prison?

  CARSON: Only until they prove he didn’t do it.

  MRS HUGHES: If you don’t mind, we can worry about that later. Right now, we have a great deal of work to do.

  MRS PATMORE: And it would be on Daisy’s day off.

  101 INT. YORK PRISON. DAY.

  Bates is with Anna.

  ANNA: His lordship means to work with Mr Murray.

  BATES: Will you stay at Downton now?

  ANNA: Of course. I’m sorry to let Lady Mary down, but I think I should. There may be some way I can help them to overturn the conviction. I don’t know what I can do, but there may be something.

  BATES: I don’t deserve you.

  ANNA: Because we will overturn it. I won’t rest until we have you out.

  BATES: But it may take years. That’s if you ever manage it. So there’s one thing I must ask.

  She waits.

  BATES (CONT’D): I can’t have you grey-faced and in perpetual mourning. Promise me you’ll make friends, have fun, live life. I need to know I’m not a drag weight. Tell me you can laugh while I’m in here.

  He means it, and she answers seriously.

  ANNA: I’ll try. I promise.

  102 INT. HALL. DOWNTON. NIGHT.

  The hall is decorated for a party. A buffet of food and drink runs down one side and a small village band is tuning up.

  103 INT. SERVANTS’ HALL. DOWNTON. DAY.

  Most of the servants, spruced up in their best, are getting ready to go up. Thomas, dressed as a valet, is with O’Brien.

  THOMAS: No. I’m getting his rhythm now. I think we’ll do well together.

  O’BRIEN: As long as you can keep your fingers out of his cufflink box.

  Anna comes in. She has taken off her apron but, unlike the others, she is in her black dress with her heart brooch.

  O’BRIEN (CONT’D): Are you not coming up?

  ANNA: Yes, I am. And don’t worry. I’m not going to be a misery guts. I am a working woman and my husband is away. That’s how I see it, and I’d be grateful if you’d all look at it like I do.

  MRS HUGHES: Well, let’s hope he won’t be away for long.

  104 INT. LIBRARY. DOWNTON. NIGHT.

  Matthew comes in and finds Robert. They are in white tie.

  ROBERT: Can I give you some whisky to fortify you for the coming ordeal?*

  MATTHEW: That’s very kind. Is there anyone I should dance with, particularly?

  ROBERT: Well, Cora opens it with Carson —

  MATTHEW: Not Cousin Violet?

  ROBERT: Not since my father died. No, Mama ought to dance with my valet, but we let it lapse while Bates was here. Perhaps Thomas will revive the privilege.

  MATTHEW: He’s certainly got the nerve.

  ROBERT: Then I join in with Mrs Hughes. So perhaps it would be nice if you were to partner O’Brien.

  MATTHEW: Crikey.

  ROBERT: By the way, Mary told me about Mr Swire. I’m sorry to hear it.

  MATTHEW: At least I was with him, and we’d made our peace. I didn’t deserve it. I let Lavinia down.

  ROBERT: You were ready to marry her, Matthew. You would have kept your word. You can’t be blamed for feelings beyond your control.

  This makes Matthew look at him. Robert understands.

  ROBERT (CONT’D): If Swire had any inkling of that, he would have respected you for it.

  Cora enters.

  CORA: Glug those drinks down, both of you. We have to go in.

  * I had a letter from America that interested me. It was about the snobbery in the show that was apparently demonstrated in this scene. The writer felt that Robert and Matthew should have been joyous and glad to dance with their servants, rather than dreading it. Personally, I felt that this member of the audience was missing the point. We present the family as nice people, and there are also nice people downstairs. Nevertheless, this was a working house and the employees’ job was to make the family comfortable. They are not equal, and it is not a love-in. It was a way of life, an unjust one in many ways, but populated here by men and women who are trying to do their best. That doesn’t make any of them saints.

  In fact, I always try to drop in ‘truth reminders’, so Mrs Hughes will say ‘Daisy says…’ and Cora will ask ‘Who is Daisy?’ and you’re reminded of the fact that the family probably doesn’t know what the kitchen maid’s name is. In just the same way, the Servants’ Ball would have been a bit of a trial. Not a horrible trial, and they’re fine about it, but it is not the evening of choice for most of the Crawleys. I felt that tone would strike a truthful note, as opposed to a sentimental one. But I also had to face various shrieks in the papers that such a thing, the mixing of the family and the servants at a social gathering, would never have happened, when in fact the Servants’ Ball was an annual fixture in the vast majority of great houses, and remained so for long after this date. There is a wonderful description of the Servants’ Ball at Welbeck where the butler leads off the dancing with the Duchess of Portland, while the Duke partners the housekeeper, all described by one of the maids who kept a diary. The point is, it was absolutely standard.

  They filmed the party terribly well, with the intercutting of all the different participants dancing and watching and having fun. I allowed myself a slightly vulgar joke for Violet, when Thomas asks about the black bottom: ‘Just keep me upright and we’ll try to avoid it.’

  105 INT. HALL. DOWNTON. NIGHT.

  Carson is steering Cora through a stately waltz. Robert dances with Mrs Hughes
. Matthew partners O’Brien. At the side, Mary stands with Violet.

  VIOLET: I gather Anna isn’t going to America.

  MARY: No. But of course I’m glad for her.

  They see Thomas coming towards them.

  MARY (CONT’D): Uh-oh. Here he comes. To claim his prize.

  Thomas has arrived. He gives a slight bow to Violet.

  THOMAS: Your ladyship, may I have the honour of this dance?

  VIOLET: Well, yes, as it is a waltz. I’m far too old for that awful foxtrot.

  THOMAS: What about the black bottom, m’lady?

  VIOLET: Just keep me upright and we’ll try to avoid it.

  In a corner of the hall, Anna hears voices.

  HEPWORTH (V.O.): Come on, Marigold! They’ll never notice we’ve gone!

  SHORE (V.O.): You’ll be the death of me.

  She glances at the secondary staircase to see them hurrying up it. Back in the hall, Daisy and Mrs Patmore are talking.

  MRS PATMORE: Daisy, I’m having trouble understanding what you mean. So, are you saying you want to leave?

  DAISY: No. I don’t want to leave unless I have to. But I want to move on. I think I’m more than a kitchen maid now. I want to be a proper assistant cook. I know I can be.

  MRS PATMORE: Well, I’ve no objection, if the budget stretches to it. I’ll have to ask Mrs Hughes and her ladyship.

  DAISY: I’ll work for it. I promise.

  MRS PATMORE: Why couldn’t you have spoken of this sensibly the other night, instead of going off into a pet?

  DAISY: Because I took the wrong advice.*

  * That is, she listened to Shore instead of Mr Mason.

  106 INT. BEDROOM PASSAGE/HEPWORTH’S BEDROOM. DOWNTON. NIGHT.

  Mary, Rosamund and Anna are walking along.

  ROSAMUND: I hope this isn’t a practical joke.

  MARY: It is a joke in a way, I’m afraid.

  They have stopped outside a door. Mary nods and Anna throws it open. Inside, Hepworth and Shore are in bed together. For a moment, he is frozen, but only for a moment.

  HEPWORTH: My dear, this is — isn’t what it seems.

  ROSAMUND: Is there room for misinterpretation?

  HEPWORTH: But I can promise —

  ROSAMUND: Clearly, I have been managed and steered by an expert hand, which I now see has not been yours.

  HEPWORTH: But Rosamund —

  SHORE: Let her go. It’s over. Don’t make yourself ridiculous.

  ROSAMUND: Good advice. Why not marry her? She’ll more than cover any social flaws with her resourcefulness.

  SHORE: Isn’t that what I’m always saying, you silly old whatnot?

  MARY: There are no more trains tonight, so you’ll have to leave first thing.

  SHORE: Oh, don’t worry. We will.

  The others go and shut the door behind them.

  ROSAMUND: Please forgive me, but — damn!

  MARY: Why? It’s a lucky escape, if you ask me.

  ROSAMUND: That’s true, of course. I just can’t stand it when Mama is proved right!*

  * I’m sad, actually, about the departure of Hepworth, which is probably final. I thought Nigel Havers made a very good job of him. Nobody could have done it better.

  107 INT. HALL. DOWNTON. NIGHT.

  Anna comes down with the others to find Robert in the hall.

  ANNA: Your lordship, may I have a word?

  ROBERT: Of course. How was Bates?

  ANNA: Relieved, shocked, tired, grateful.

  ROBERT: I’m sure.

  She goes to him.

  ANNA: M’lord, I wonder if I might withdraw my resignation.

  Robert is wreathed in smiles.

  ROBERT: I was hoping you’d say that.

  ANNA: Because we’ve a fight on our hands now. And I think I should be here. So we can fight it together.

  ROBERT: I quite agree. Have you discussed it with Bates?

  ANNA: I have, m’lord.

  ROBERT: And?

  ANNA: He wants me to stay.

  ROBERT: Then who are we to disagree?

  Matthew and Mary are on the edge of the dance floor.

  MATTHEW: What about it?

  MARY: Why not?

  They start to waltz.

  MATTHEW: How are your plans for America going?

  MARY: I’ll book my crossing as soon as I hear back from Grandmama.

  MATTHEW: Will you be gone long?

  MARY: I don’t know. I’ll have to see…

  108 INT. LIBRARY. DOWNTON. NIGHT.

  Robert comes in to find Cora on her own.

  CORA: Do you think we can go to bed?

  ROBERT: I expect so. I think we’ve done our duty. Mama’s gone home and so has Isobel.

  CORA: And the girls?

  ROBERT: I think Edith’s upstairs, and the last time I looked Mary was dancing with Matthew.

  CORA: Don’t let’s interfere with that.

  Robert pours himself a drink from a decanter on a tray.

  CORA (CONT’D): I’ve written to Sybil. I sent her your love.

  He accepts this, but he does not comment.

  CORA (CONT’D): I won’t be kept away from my first grandchild, Robert.

  ROBERT: I don’t know what you mean. I didn’t quarrel with her. I gave my permission. I didn’t fight it.

  CORA: But you wouldn’t go to the wedding.

  ROBERT: No.

  CORA: It isn’t what I wanted for her. None of it is. But this is what’s happened, and we must accept it.

  He sips his drink, looking at her.

  CORA (CONT’D): I want to go over there. And I want Sybil to come here.

  ROBERT: And the chauffeur?

  CORA: Him, too.

  She walks over to him. He stares at her. Then he sighs.

  CORA (CONT’D): It’s been a happy day, Robert. Let’s end on a happy note.

  He puts his arm around her shoulder, which is a surrender.*

  * Of course, here we’re setting up the next series. There’s a certain amount of streamers you throw out to trail the stories of the following year. Basically, you’re saying to the public, we won’t resolve this tonight, but if you keep watching, at some point we will. Or we’ll try to.

  109 INT. SERVANTS’ HALL. DOWNTON. NIGHT.

  Daisy comes in. O’Brien is there with the planchette board.

  O’BRIEN: Tired, already?

  DAISY: A bit. I was thinking about William. He always loved the ball.

  There is the sound of a bell. Anna arrives.

  ANNA: Miss O’Brien. Her ladyship’s ready for bed.

  O’Brien stands and leaves. Daisy sits idly before the board.

  DAISY: I’m ever so glad Mr Bates is going to be all right.

  ANNA: Well, he’s alive. I think we’re quite a way from ‘all right’.

  But she smiles as she says it.

  ANNA (CONT’D): Go on.

  They have both idly put their fingers on the glass and now it begins to move.

  ANNA (CONT’D): Are you pushing it?

  DAISY: No. Are you?

  But it starts to fly towards one letter after another: M. A. Y. T. H. E. Y. B. E. H. A. P. P. Y.

  DAISY (CONT’D): That doesn’t make sense.

  ANNA: Yes, it does. May they be happy.

  W. I. T. H. M. Y. L. O. V. E.

  ANNA (CONT’D): With my love.

  DAISY: What does that mean?

  ANNA: I don’t know. I suppose the spirit wants some couple to be happy.

  DAISY: You were moving it.

  ANNA: No, I wasn’t. You were.*

  * I was rather attacked at the time for actually allowing a spirit to speak through a planchette board. I don’t really have any argument against the criticism, except to point out that it was Christmas, and stranger things happen at sea.

  110 EXT. DOWNTON. NIGHT.

  Matthew and Mary are alone.

  MATTHEW: That was fun. There’ll be a few thick heads in the morning.

  MARY: No doubt they think it’s worth i
t.

  But Matthew has something more than this on his mind.

  MATTHEW: So you’re really going to America? Would Carlisle make your life a nightmare if you stayed?

  MARY: I couldn’t tell you. Maybe. Even if he does let me go, my story’s still out there and always will be.

  MATTHEW: Would you stay? If I asked you to?

  MARY: Oh, Matthew. You don’t mean that. You know yourself we carry more luggage than the porters at King’s Cross. And what about the late Mr Pamuk? Won’t he resurrect himself every time we argued?

  MATTHEW: No.

  MARY: You mean you’ve forgiven me?

  MATTHEW: No. I haven’t forgiven you.

  MARY: Well, then.

  MATTHEW: I haven’t forgiven you because I don’t believe you need my forgiveness. You’ve lived your life and I’ve lived mine. And now it’s time we lived them together.

  This speech does change things for her, but…

  MARY: We’ve been on the edge of this so many times, Matthew. Please don’t take me there again, unless you’re sure.

  MATTHEW: I am sure.

  MARY: And your vows to the memory of Lavinia?

  MATTHEW: I was wrong. I — I don’t think she wants us to be sad. She was someone who never caused a moment’s sorrow in her whole life.

  MARY: I agree.

  MATTHEW: Then will you?

  MARY: You must say it properly. I won’t answer unless you kneel down and everything.

  Which he does.

  MATTHEW: Lady Mary Crawley, will you do me the honour of becoming my wife?

  MARY: How can you ask?

  He stands and kisses her and they remain held in a tight embrace as the camera sweeps up and away from them.*

  * As we reach this blessed event, we should take a second to consider what they have been through since they met, these two, seven and a half years before. Any writer or producer of a series always dreads allowing lovers finally to come together, because once they have, there’s very little left you can do with them in terms of narrative, other than making them unhappy about something else. So you keep them apart and keep them apart, but it’s my belief that there comes a time when the audience thinks, oh, for Christ’s sake, are they going to get together or not? I felt we had reached it, and that to spin it out any more would be wrong. Once that decision had been arrived at, naturally we wanted to make the proposal as big a moment as we possibly could.

  I originally gave Mary a longer response to Matthew’s proposal than the one Michelle Dockery chose to say. She answers simply ‘Yes!’ But perhaps she was right and the moment called for sincerity, not wit.