OPENING CREDITS
EXT. DOWNTON ABBEY, GROUNDS
Bates walks out of the front gate.
INT. POST OFFICE
POSTMISTRESS : There you are, Mr Bates, it's in. Came this morning.
(The woman hands Bates a paper.)
BATES : I said it would, which isn't quite the same thing.
(Gwen enters the shop and is surprised to run into Bates.)
BATES: Hello. I could've posted that for you.
GWEN : Well, I prefer to do it myself.
BATES : I'll wait outside.
(Gwen waits for Bates to pass, then approaches the counter and eagerly passes her parcel to the postmistress.)
INT. HOUSEMAIDS' BEDROOM
Anna stands on a chair trying to move a large case on top of the cupboard, but it won't budge. Gwen enters and Anna almost falls.
GWEN : What are you doing?
ANNA : If you must know, I'm trying to find some space on top of the cupboard to make life easier.
(Gwen closes the door and Anna gets off the chair.)
ANNA : So, what's in it, then?
GWEN : What?
ANNA : The bleeding great packing case that weighs a ton, that's what.
GWEN : Can't you just leave it?
ANNA : No, I can't. And you'll tell me right now.
EXT. DOWNTON ABBEY, GROUNDS
Cora walks up to the bench where Mary is reading a letter.
CORA : Anything interesting?
MARY : Not particularly. It's from Evelyn Napier. You met him at the Delta Fields last November at Doncaster races.
CORA : Is that Lord Branksome's boy?
MARY : It is.
CORA : Do you like him?
MARY : I don't dislike him.
CORA : And what's he writing about?
MARY: Oh, nothing much. He's out with the York and Ainsty next week. He'll meet us at Downton. He'll want some tea when he's up here.
CORA: Where's he staying? With friends?
MARY: He says he's found a pub that caters for hunting.
CORA: Well, we can improve on that. He must come here. He can send the horses up early if he wants.
MARY: He'll know why you're asking him.
CORA: I can't think what you mean. His mother's a friend of mine; she'll be pleased at the idea.
MARY: Not very pleased. She's dead.
CORA: All the more reason, then. You can write a note, too, and put it in with mine.
(Mary sighs and Cora gets up to leave.)
MARY: Should I tell him about your friendship with his late mother?
CORA: I'm sure you of all people can compose a letter to a young man without any help from me.
INT. HOUSEMAIDS' ROOM
Anna and Gwen stare down at the typewriter that they pulled out of the packing case on top of the cupboard.
ANNA: How much did it cost?
GWEN: Every penny I'd saved. Al... almost.
ANNA: And...s this the mystery lover?
GWEN: Well, I've been taking a correspondence course in typing and shorthand. That's what was in the envelopes.
ANNA: Are you any good?
GWEN: Yes. I am, actually.
O'Brien opens the door and Gwen and Anna move to block the typewriter from view.
OBRIEN: Eh, Her Ladyship wants the full skirt Lady Mary never wears. A seamstress is going to fit it to Lady Sybil, but I can't find it.
ANNA: I'll come in a minute.
OBRIEN: They're waiting now.
ANNA: One minute. I'm just changing my cap and apron.
(O'Brien looks at them suspiciously and leaves. Anna closes the door.)
ANNA: Have you told anyone? What did your parents say?
GWEN: Well, I can't tell them till I've got a job. Dad will think I'm a fool to leave a good place and Mum will say I'm getting above myself, but...but I don't believe that.
ANNA: Nor do I.
INT. LIBRARY
CORA: It's not of my doing. It's all Mary's own work, but I think we should encourage it.
ROBERT: Branksome's a dull dog, but I don't suppose that matters.
CORA: Did you know his wife had died?
ROBERT: He only ever talks about racing
VIOLET: Cora is right. Mary won't take Matthew Crawley, so we'd better get her settled before the bloom is quite gone off the rose.
CORA: Is the family and old one?
VIOLET: Older than yours I imagine.
ROBERT: Old enough.
CORA: And there's plenty of money.
VIOLET: Oh, really?
CORA: Mm.
ROBERT: Mama, you've already looked him up in the stud books and made inquiries about the fortune, don't pretend otherwise. Are you afraid someone will think you're American if you speak openly?
VIOLET: I doubt it'll come to that.
CORA: Shall I ring for tea?
ROBERT: No, not for me. I'm meeting Cripps at five. I'll see you at dinner.
CORA: You don't seem very pleased.
VIOLET: I'm pleased. It's not brilliant, but I'm pleased.
CORA: So...?
VIOLET: I don't want Robert to use a marriage as an excuse to stop fighting for Mary's inheritance.
CORA: It won't make any difference. I don't think he has the slightest intention of fighting as it is. The price of saving Downton is to accept Matthew Crawley as his heir.
VIOLET: What about you?
CORA: I don't dislike Matthew. In fact, I rather admire him.
VIOLET: Is that sufficient reason to give him your money?
CORA: Of course not!
VIOLET: Then there's nothing more to be said. Are we going to have tea or not?
INT. THE VILLAGE
Matthew rides his bicycle into the village and ring the bell on it as he comes upon Edith.
EDITH: Oh.
(Matthew tips his hat and gets off his bicycle.)
MATTHEW: Hello. I'd offer you a lift if I could.
EDITH: It was you I was coming to see.
MATTHEW: Oh, then your timing is matchless. I just got off the train.
EDITH: The other day at dinner, Cousin Isobel was saying you wanted to see some of the local churches.
MATTHEW: She's right, I do. I want to know more about the county generally if I'm to live here.
EDITH: Well, I thought I might show you a few of the nearer ones. We could take a picnic and make an outing of it.
MATTHEW: That's very kind.
EDITH: Nonsense. I'll enjoy it. It's too long since I played the tourist.
MATTHEW: It would have to be a Saturday. Churches work on Sunday and I work all the week days.
EDITH: Then Saturday it is. I'll get Lynch to sort out the governess cart and I'll pick you up at about eleven.
(Edith walks back the way she came, all smiles, and Matthew tips his hat to her as she leaves.)
INT. SERVANTS' HALL
The servants gather around the typewriter.
DAISY: How does it work?
WILLIAM: It's easy. You just press the letters and they print on the paper.
(William presses a couple of keys to demonstrate. O'Brien shows Carson and Mrs Hughes into the room.)
CARSON: Get back, please.
O'BRIEN: They were trying to hide it, so I knew it was wrong.
CARSON: Where's Gwen now?
THOMAS: Doing the dining room with Anna. They'll be finished soon.
CARSON: Then I'll wait.
HUGHES: With all due respect, Mr Carson, Gwen is under my jurisdiction.
CARSON: Indeed she is, Mrs Hughes, and I have no intention of usurping your authority. I merely want to get to the bottom of it.
WILLIAM: Why shouldn't Gwen have a typewriter if she wants one?
THOMAS: Mind your own business.
Gwen and Anna enter.
GWEN: What's that doing here?
HUGHES: Ah, Gwen. Come in.
GWEN: Why is that down here? Who's been in my room? They had no right!
CARSON: See here! In the first place, none of the rooms in this house belong to you. And in the second, I am in charge of your welfare and that gives me every right.
ANNA (to O'Brien): This is you isn't it?
CARSON: All we want is to know what Gwen wants with a typewriter and why she feels the need to keep it secret.
ANNA: She wants to keep it private, not secret. There's a difference.
BATES: Amen.
GWEN: I've done nothing to be ashamed of. I've bought a typewriter and I've taken a postal course in shorthand. I'm not aware that either of these actions is illegal.
HUGHES: Will you tell us why, preferably without any more cheek?
GWEN: Because I want to leave service. I want to be a secretary.
(Mr Carson and Mrs Hughes exchange a shocked look.)
HUGHES: You want to leave service?
O'BRIEN: What's wrong with being in service?
GWEN: Nothing's wrong with it, and there's nothing wrong with mending roads neither, but it's not what I want to do.
CARSON: I should remind you that there are plenty of young girls who will be glad of a position in this house.
GWEN: And when I hand in my notice, I shall be happy to think one of them will be taking my place.
O'BRIEN: What makes you think we'll wait till then?
ANNA: Are you hiring and sacking now, Miss O'Brien? I thought that lay with Mr Carson and Mrs Hughes.
CARSON: Enough of this. I'm going to ring the dressing gong and we'll have no more talk of this tonight.
GWEN: Can I have my machine back now?
CARSON: Very well. But I wish I was sure you know what you're doing.
MRS PATMORE: Daisy! What's happened to you? I said you could go for a drink of water, not a trip up the Nile.
INT. LADY MARY'S BEDROOM
Anna laces Mary into her corset while Edith sits at the vanity.
ANNA: Which churches will you show him?
EDITH: I can't decide. Kirby, possibly, or perhaps Easingwold.
MARY: You don't think you're being a bit obvious?
EDITH: Coming from you, that's rich.
Cora enters.
CORA: There was a letter from Mr Napier in the evening post.
MARY: Mm. Did he accept?
CORA: Not yet.
EDITH: Perhaps he thought it was too obvious.
CORA: Apparently he's bringing a friend with him, an attaché at the Turkish embassy. A Mr...
(Cora pulls out the letter to read the name.)
CORA: Kemal Pamuk. He's a son of one of the sultan's ministers and he's here for the Albanian talks.
MARY: What's that?
EDITH: To create an independent Albania. Don't you read the papers?
MARY: I'm too busy living a life.
CORA: Since Turkey's signature is vital, Mr Napier's been given the job of keeping him happy until the conference begins and he's eager to try an English hunt. I shall invite this Mr Pamuk to stay here as well. Who knows? A little hospitality in an English house may make all the difference to the outcome. And Mary, you will ride out with him.
MARY: Oh, Mama, must I? My boots are at the menders and I haven't ridden for weeks.
CORA: Anna, please see that Lady Mary is fully equipped to go hunting.
ANNA: Yes, Your Ladyship.
EXT/INT. PROSTHETICS SHOP
Bates enters as the shopkeeper is making a false arm.
ARTIFICIAL LIMBS MAN: Yes?
BATES: I saw this advertisement for a-- a limp corrector.
ARTIFICIAL LIMBS MAN: Yes?
BATES: What does it do exactly?
ARTIFICIAL LIMBS MAN: It corrects limps.
BATES: Does it work?
ARTIFICIAL LIMBS MAN: Well, as I make it and I advertise it, is it likely I'd say no?
BATES: Can I see one?
(The man fetches it from the back room.)
ARTIFICIAL LIMBS MAN: Here we are. You adjust this to the right height to minimize the limp. You tighten these gradually, as tight as you can stand, and as the legs straighten, the foot lowers to the floor. Can't say it's going to be easy, and you can't slack. Every day, all day if you mean business.
BATES: All right. How much?
INT. CRAWLEY HOUSE
Isobel reads the contents of a letter aloud.
ISOBEL: She asks if we can both dine on Saturday. There are two young men staying, so you won't be so outnumbered for once.
MATTHEW: What men?
ISOBEL: A...Turkish diplomat called something I can't read "and Lord Branksome's charming son", who's to be flung at Mary, presumably.
MATTHEW: When it comes to Cousin Mary, she's quite capable of doing her own flinging, I assure you.
INT. GUEST BEDROOM
ANNA: Ugh, open the door, can you?
(Gwen timidly opens the door and Anna goes about her chores.)
ANNA: I couldn't find her britches anywhere, so I asked Mr Bates and he looked among His Lordship's riding clothes. There they were. I only hope to God I've got everything. Hat I'll do here. Gloves and crop are in the hall.
(Gwen starts weeping and Anna notices.)
ANNA: Gwen? Whatever's the matter? Hey, come on, sit down. Hey?
Mr Bates sees them from the hall as they sit on the bed.
BATES: What's happened?
GWEN: Oh...oh, I'm just being silly. You should get that brushed.
BATES: He won't be up for another half an hour. Now, what is it?
GWEN: Well, I suppose I've just realised that it's not going to happen.
BATES: What isn't?
GWEN: None of it. I'm not going to be a secretary. I'm not going to leave service. I doubt I'll leave here before I'm sixty.
ANNA: Hey, what's all this?
GWEN: Oh, you saw their faces. And their right. Oh, look at me! I'm the daughter of a farmhand, I'm lucky to be a maid. I was born with nothing and I'll die with nothing.
BATES: Don't talk like that. You can change your life if you want to. Sometimes you have to be hard on yourself, but you can change it completely, I know.
ANNA: Mr Bates? Are you all right?
BATES: Take her upstairs. Dry her off.
(Bates smiles and turns to open the door.)
ANNA: Come on, Gwen. Hey?
INT CORRIDOR
The maids precede Bates through the door and walk down the corridor. Bates leans against the wall for support and Mrs Hughes finds him closing his eyes in pain.
HUGHES: Mr Bates? What's the matter?
BATES: Nothing. Not a thing. I'm fine.
HUGHES: Let me help you.
BATES: I'm perfectly all right, thank you Mrs Hughes.
HUGHES: Are you sure? You're as white as a sheet.
BATES: It's my wonderful complexion inherited from my Irish mother.
(Mrs Hughes contemplates his behaviour as she watches him walk away)
INT. KITCHENS
William and Thomas enter with empty trays. Thomas sneaks some dessert as the kitchen maids cut it and pour punch.
MRS PATMORE: Take it. Take it, don't dawdle!
EXT. DOWNTON ABBEY, FRONT WALK
Carson stands at the door.
CARSON: William.
Carson directs where the footmen should bring the drinks. Lord and Lady Grantham greet the hunting party while the footmen serve those is hunting pink. The dogs beg for food from Thomas.
LYNCH: Can you see them, milady?
MARY: Not yet. Oh, wait a minute, here is Mr Napier. I was beginning to give up on you. We're moving off.
Napier takes off his hat to Mary.
EVELYN NAPIER: We were fools not to accept your mother's invitation and send the horses down early. As it is, my groom only got here an hour or two ago and my mount's as jump as a deb at her first ball.
MARY: What about Mr Pamuk? I gather if he takes a tumble, you will be endangering world peace.
EVELYN NAPIER: Don't worry about Kemal. He knows what he's doing on a horse.
MARY: Well, where is he?
EVELYN NAPIER: Fussing. He's rather a dandy.
MARY: Well, I can see him now. A funny little foreigner with a wide, toothy grin and hair reeking with pomade.
EVELYN NAPIER: I wouldn't quite say that. Here he is now.
Mary turns with a snobbish smile, but her jaw drops as he rides up.
KEMAL PAMUK: Lady Mary Crawley, I presume?
(Pamuk takes off his hat to her.)
MARY: You presume right.
KEMAL PAMUK: Sorry to be so dishevelled. We've been on a train since dawn and we had to change in a shed.
MARY: You don't look dishevelled to me. Lynch, you don't have to stay with me.
LYNCH: But His Lordship asked me to.
MARY: It's a waste of your day. Help Mr Napier's man get their things back to house.
LYNCH: His Lordship said...
EVELYN NAPIER: Don't worry, I'll look after her.
KEMAL PAMUK: We'll make it our business to keep her from harm, I promise.
(The hunting party rides off, leaving Lynch behind.)
EXT. DOWNTON ABBEY, GROUNDS
Mary sees Kemal stopping off to the side and rides to join him.
MARY: I hope the day is living up to your expectations.
KEMAL PAMUK: It is exceeding them in every way.
MARY: And where's Mr Napier?
KEMAL PAMUK: He's gone over the bridge, look.
MARY: Ah.
KEMAL PAMUK: And, er, what about you? Will you follow him? Or will you come over the jump with me?
MARY: Oh, I was never much one for going 'round by the road.
KEMAL PAMUK
Stay by me and we'll take it together.
(They ride back and jump the fence to ride through the mud.)
INT. CHURCH
EDITH: I wish we could talk a little more about you. What was it like growing up in Manchester?
MATTHEW: Does it say anything about the side aisle?
EDITH: The side aisles were added in the 14th century by Bishop Richard De Warren.
MATTHEW CRAWLEY: Yes, you can see that in the...treatment of the stone.
EDITH: It's wonderful to think of all those men and women worshipping together through the centuries, isn't it? Dreaming and hoping much as we do, I suppose.
MATTHEW: Was the screen at Cromwell casualty?
EDITH: I...I daresay.
MATTHEW: I wonder how Mary's getting on.
EDITH: All right, I should think. Why?
MATTHEW: I just wonder. Will she stay with the hunt the whole day?
EDITH: You know Mary, she likes to be in at the kill.
MATTHEW: Where shall we go next?
EDITH: Not home?
MATTHEW: Oh, not yet. We've time for one more at least before we lose the light.
EDITH: I underestimated your enthusiasm.
EXT. DOWNTON ABBEY, FRONT WALK
Pamuk, Napier, and Mary dismount and walk toward the house in good spirits.
KEMAL PAMUK: Come on.
INT. ENTRYWAY/GREAT HALL
Thomas enters and approaches Carson as the party removes their riding clothes.
THOMAS: Is that one mine?
ROBERT: Home is the hunter home from the hill.
ROBERT: Heavens, you have been in the wars.
MARY: Papa, this is Mr Pamuk. My father, Lord Grantham.
KEMAL PAMUK: How do you do, my lord?
ROBERT: Did you have a good day?
KEMAL PAMUK: Couldn't have been better.
CARSON: This is Thomas, sir. He'll be looking after you.
MARY: You remember Mr Napier.
CORA: Of course. How are you?
EVELYN NAPIER: So kind of you to have us, Lady Grantham.
MARY: And this is Mr Pamuk.
CORA: How do you do?
KEMAL PAMUK: My lady.
ROBERT: Well, what would you like?
MARY: Just baths. We're worn out.
THOMAS: Erm, your cases are upstairs, sir, if you'd like to follow me.
KEMAL PAMUK: Yes.
Anna enters one of the servants' corridors where O'Brien and Gwen are peering out. Thomas gives them an eye as he leads Pamuk to his guest room.
ROBERT(background): Well, I hope Mary hasn't left you too exhausted.
EVELYN NAPIER (background): No, not a bit of it.
GWEN: He doesn't look Turkish at all.
ANNA: Well, he doesn't look like any Englishman I've ever met. Worse luck. I think he's beautiful.
Carson enters to find the three maids standing just inside the servants' door.
CARSON: Is there some crisis of which I am unaware?
O'BRIEN: No, Mr Carson
CARSON: I cannot think of another reason why you should congregate here.
ANNA: No, Mr Carson.
INT. LORD GRANTHAM'S DRESSING ROOM
ROBERT: Have you seen our visitor? Quite a treat for the ladies.
BATES: Indeed, milord.
ROBERT: Are they settled in all right?
BATES: I think so. Mr Napier's valet seems a competent fellow and Thomas knows what he's doing.
ROBERT: Why doesn't the gorgeous Turk have his own chap?
BATES: Apparently his man speaks no English, so Mr Pamuk decided to leave him in London.
ROBERT: Probably very wise. I hope Thomas doesn't mind.
BATES: Oh, you know Thomas, milord. He has to have a grumble, but I gather he cheered up when he saw the gentleman.
(Bates sucks in a breath when he steps with his bad leg.)
ROBERT: Bates, is anything wrong?
BATES: Nothing at all, milord. Is that strap too tight?
ROBERT: Mm.
INT. GUEST BEDROOM
THOMAS: Can I adjust it, sir?
KEMAL PAMUK: Now, I'm relying on you to see that I go downstairs properly dressed.
THOMAS: Don't worry, sir. I've got sharp eyes for anything out of order.
KEMAL PAMUK: Then I put myself entirely in your hands.
THOMAS: You do right, sir.
(Thomas hands Pamuk a bowtie.)
THOMAS: I should love to visit Turkey.
KEMAL PAMUK: Yes, it's a...it's a wonderful country. My man always does this. Can you?
THOMAS: I'm very attracted to the Turkish culture.
KEMAL PAMUK: Then I hope your chance will come to something.
THOMAS: I hope so, too.
(Thomas cups Pamuk's face in his hand, but Pamuk jerks away from his touch.)
KEMAL PAMUK: You forget yourself!
THOMAS: I...I'm sorry, sir. I...
KEMAL PAMUK: That will teach you to believe what the English say about foreigners. I ought to report you.
THOMAS: I think...you mist...
KEMAL PAMUK: I misunderstood nothing. But...I will make you an offer. Later tonight I may need some help with the...geography of house.
THOMAS: The geography?
KEMAL PAMUK: Yes. I'm not sure yet, but I may wish to pay someone a visit. If that is the case, you will help me...
(Pamuk turns back around.)
KEMAL PAMUK: And I will say nothing of your behaviour.
INT. DINING ROOM
VIOLET: I don't understand. Why...why would she want to be a secretary?
MATTHEW: She wants a different life.
VIOLET: But why? I should far prefer to be a maid in a large and pleasant house than work from dawn till dusk in a cramped and gloomy office. Don't you agree, Carson?
CARSON: I do, my lady.
MARY: Why are we talking about this? What does it matter?
CORA: It matters that the people that live and work here are content.
SYBIL: Of course. We should be helping Gwen if that's what she wants.
ISOBEL: I agree. Surely we must all encourage those less fortunate to improve their lot where they can.
VIOLET: Not if it isn't in their best interests.
ISOBEL: Isn't the maid a better judge of that than we are?
MARY: What do you say, Mr Pamuk? Should our housemaid be kept enslaved or forced out into the world?
KEMAL PAMUK: Why are you English so curious about other people's lives? If she wishes to leave, and the law permits it, then let her go.
VIOLET: But perhaps the law should not permit it, for the common good.
ISOBEL: So, you hanker for the days of serfdom.
VIOLET: I hanker for a simpler world. Is that a crime?
KEMAL PAMUK: I do dream of a simpler world, as long as we can keep our trains and our dentistry.
MARY: I wish I shared your enthusiasm. Our dentist is horrid.
KEMAL PAMUK: Well, why go to him, then?
MARY: Well, he treated all of us when we were children. You know how the English are about these things.
KEMAL PAMUK: Mm. Well, the next time you feel a twinge, you must come to Istanbul.
MARY: Wouldn't the journey be painful?
KEMAL PAMUK: Sometimes we must endure a little pain in order to achieve satisfaction.
EVELYN NAPIER: Lady Mary rode very well today.
ROBERT: Why did you send Lynch back?
MARY: I had my champions to left and right. It was enough.
ROBERT: Did you enjoy the hunt today, Mr Napier? Mary said you had a tremendous run.
EVELYN NAPIER: It was like something out of a trollop novel.
CORA: What about you, Mr Pamuk? Was your day successful?
KEMAL PAMUK: Oh, yes, Lady Grantham. I can hardly remember a better one.
(Mary seems to tense uncomfortably at the comment. Matthew isn't pleased.)
INT. DRAWING ROOM
Robert watches Mary talking with Napier, Pamuk, and Matthew Crawley.
ROBERT: Mary has more suitors tonight than the Princess Aurora.
VIOLET: Will she judge them sensibly?
ROBERT: Oh, no one's sensible at her age. Nor should they be. That's our role.
KEMAL PAMUK: Well, if you'll excuse me.
MATTHEW: Was it fun to be back in the saddle?
MARY: Yes. Although, I'll pay for it tomorrow.
MATTHEW! Would you ever come out with me? Or aren't we friends enough for that?
MARY: Oh, I think it might be--
EVELYN NAPIER: That run reminded me of a day last month up in Cheshire.
(Pamuk catches Mary's eye and nods for her to join him.)
EVELYN NAPIER: We came down the side of a hill and...
MARY: Excuse me.
Both men are surprised by her rudeness and obvious preference for Pamuk.
MATTHEW: It seems we must brush up on our powers of fascination.
EVELYN NAPIER: I was a fool to bring him here.
MATTHEW: Don't you like him?
EVELYN NAPIER: Well, I like him very much, but so does everyone else, unfortunately. Excuse me.
Napier leaves. Matthew notices as Edith steps up to him. He gives her a polite smile.
MATTHEW: I hope I didn't wear you out today.
EDITH: Not at all. I enjoyed it. We must do it again.
Matthew watches Mary as Edith talks. Pamuk leaves the room.
MATTHEW: Next time, let's take my mother. She was so jealous she made me promise she could come with us.
EDITH: Of course. How nice that would be.
Thomas notices Mary walk past him to follow Pamuk out of the room.
MARY: What is it?
KEMAL PAMUK: Is this picture really a Della Francesca?
MARY: I think so. The second earl brought back several paintings from--
(Pamuk grabs Mary's face and kisses her furiously, pushing her against the wall.)
MARY: Mr Pamuk!
KEMAL PAMUK: Let me come to you tonight, please.
MARY: I can't think what I have said that has led you to believe--
KEMAL PAMUK: Please. I don't know when we'll meet again. So let it be tonight.
(Pamuk leans in to kiss her again, but Mary pushes him back.)
MARY: Mr Pamuk, I will not repeat your words to my father since I should hate to see you cast out into the darkness, but can we agree to consider them unsaid? Now, if you'll excuse me, I shall rejoin my mother and sisters.
(Mary returns to the drawing room. Pamuk watches her go, then smiles.)
INT. CORRIDOR
Thomas leads Pamuk through the house. Pamuk is wearing a dressing gown. Thomas stops at a door and nods. Pamuk nods and enters.
INT. LADY MARY'S BEDROOM
Mary is reading in bed when Pamuk enters. She snaps the book shut, scrambles out of bed, and pulls the comforter to cover her nightgown. She keeps her voice to a whisper.
MARY: You must be mad!
KEMAL PAMUK: I am. I am in the grip of madness.
MARY: Please leave at once or I'll...
KEMAL PAMUK: Or you'll what?
MARY: I'll scream.
KEMAL PAMUK: No, you won't.
MARY: Well, I'll ring the bell, then.
KEMAL PAMUK: And who's on duty now? The hall boy? Will you really let him find a man in your bedroom? What a story.
MARY: Do you have any idea what you're asking? I'd be ruined if they even knew we'd had this conversation, let alone if they...
KEMAL PAMUK: What? Don't worry. You can still be a virgin for your husband.
MARY: Heavens, is this a proposal?
KEMAL PAMUK
Oh. Alas, no. I don't think our union would please your family.
MARY: I'm afraid not.
KEMAL PAMUK: Nor mine. But...
(Pamuk steps close to her.)
KEMAL PAMUK: ...a little imagination...you wouldn't be the first.
MARY: You and my parents have something in common.
KEMAL PAMUK: Oh?
MARY: You believe I'm...
(Pamuk begins to kiss her neck.)
MARY: ...much more of a rebel than I am. Now, please go.
(Pamuk lays her down on the bed as he kisses her.)
MARY: I'm not what you think I am. If it's my mistake, if I've led you on, I'm sorry, but...I'm not.
KEMAL PAMUK: You are just what I think you are.
(Pamuk continues kissing her neck.)
MARY: No. I've never done anything.
KEMAL PAMUK: Of course not. One look at you would tell me that.
(Pamuk finally kisses her on the lips.)
KEMAL PAMUK: Oh, my darling.
(Pamuk goes to kiss her again, but Mary stops him.)
MARY: Won't it hurt? Is it safe?
KEMAL PAMUK: Trust me.
(Mary gives in and kisses him back and puts her arms around his neck.)
INT. HOUSEMAIDS' BEDROOM
Mary puts her hand over Anna's mouth as she sleeps and Anna wakes. Mary puts a finger to her lips to hush Anna and beckons Anna to follow her. Gwen doesn't wake.
INT. CORRIDOR
They whisper in the corridor.
MARY: He's dead. I think he's dead. No, I'm sure he's dead.
ANNA: But how? Wh...
MARY: We were together and...he's dead.
ANNA: In your room?
(Mary nods and tries to hold back her tears.)
ANNA: We've got to get him back to his own bed.
MARY: But how? It's in the bachelor's corridor miles from my room.
ANNA: Well, could we manage it between us?
MARY: He weighs a ton. I can hardly 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.
MARY: We've got to do something!
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.
INT. LADY MARY'S BEDROOM
Cora looks at the body and Mary in shock. They talk in whispers.
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, then shakes her head.)
CORA: 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.
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. I'll be ruined, Mama! Ruined and notorious, a laughingstock, a social pariah. Is that what you want for your eldest daughter? Is it what you want for the family?
CORA: We must cover him up.
INT. CORRIDOR
Mary, Anna, and Cora carry the body in a sheet. They talk in whispers.
CORA: Hurry, the servants will be up soon.
ANNA: We've got time.
MARY: Mama!
CORA: Sorry!
(They shift positions as they reach the guest bedroom door. Mary drops Pamuk's feet again. Daisy sees them in the corridor as they carry the body into the room. She shrinks back into the servants' corridor.)
INT. GUEST BEDROOM
The women situate Pamuk under his bed covers and Cora takes the sheet they carried him in. Mary tries to close his eyes, but they keep popping open.
MARY: I can't make his eyes stay shut.
CORA: Leave that and come away.
(Anna turns the light out.)
MARY: He was so beautiful.
ANNA: Her Ladyship's right. We must get back to our rooms.
Mary and Anna walk to Cora at the door.
CORA: I feel now that I can never forgive what you have put me through this night. I hope in time I will 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 this secret for his sake, not for yours.
MARY: Yes, Mama.
(Mary looks down in acceptance and shame. Cora hands the bed sheet to Anna.)
CORA: Anna, I will not insult you by asking that you also conceal Lady Mary's shame. Let us go.
(They exit and Anna blows out the candle before she closes the door.)
INT. BACHELOR'S CORRIDOR
Thomas brings a breakfast tray to Pamuk's room. He knocks before entering and stops short when he sees Pamuk dead in the bed.
INT. GREAT HALL
Napier sees Mary as she descends the stairs.
EVELYN NAPIER: I imagine you've heard what's happened?
MARY: Yes.
EVELYN NAPIER: Terrible thing. Awful. Ghastly for your parents. I don't suppose I shall ever make it up to them.
MARY: It wasn't your fault.
EVELYN NAPIER: Well, I brought him here. If it isn't my fault, whose is it?
(Mary is clearly uncomfortable. Her eyes are red from crying.)
EVELYN NAPIER: 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 s--stay and help Mama.
EVELYN NAPIER: Of course.
(Napier nods and turns round to leave, but stops and turns back.)
EVELYN NAPIER: I am so sorry about all this. I've told your father I'll deal with the embassy. There won't be any more annoyance for you.
MARY: Thank you.
EVELYN NAPIER: Actually, he was a terribly nice fellow. I wish I could have known him better.
(Mary begins to cry again.)
EVELYN NAPIER: I took him on as a duty, but I liked him more and more the longer I knew him. Perhaps you saw his qualities for yourself. Which obviously you did.
INT. SERVANTS' CORRIDOR/KITCHENS
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: Well, 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.
DAISY: What do you mean?
THOMAS: Nothing. Careful with that.
Daisy stares after Thomas as she absent-mindedly stirs a bowl. Anna walks upstairs. Gwen is following when Sybil appears around the corner of the servants' hall with a newspaper in her hands.
SYBIL: Gwen, are you busy?
GWEN: Your Ladyship?
(Sybil steps back into the servants' hall and Gwen joins her.)
SYBIL: I saw this.
(Sybil shows Gwen the newspaper.)
SYBIL: It came out yesterday, look. It's for a secretary at a new firm in Thirsk. See?
GWEN: But...I don't understand. How did you know?
SYBIL: That you want to leave? Carson told my father.
GWEN: And you don't mind?
SYBIL: Why should I? I think it's terrific that people make their own lives, especially women. Write to them today and name me as your reference. I can give it without ever specifying precisely what your work here has been.
(Sybil turns to leave.)
GWEN: Milady...thank you.
EXT. DOWNTON ABBEY, GROUNDS
Napier walks towards Cora who is strolling around the grounds.
EVELYN NAPIER: Lady Grantham! I've come to say goodbye. They're bringing the car around to take me to the station.
CORA: Have you said goodbye to Mary?
EVELYN NAPIER: I have.
CORA: Will we be seeing you here again?
EVELYN NAPIER: Nothing would give me more pleasure, but I'm afraid I'm a little busy at the moment, and...I wonder if I might risk embarrassing you, because I should like to make myself clear. The truth is, Lady Grantham, I'm not a vain man. I do not consider myself a very interesting person, 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. (chuckles) At least at the start.
CORA: Thank you for your faith in me, Mr Napier. Your instincts do you credit. Good luck to you.
INT. LIBRARY
ROBERT: Did Mr Napier get off all right?
CARSON: He did, my lord.
ROBERT: And poor Mr Pamuk has been taken care of?
CARSON: We got Grasby's from Thirsk in the end. They're very good and they didn't mind coming out on a Sunday.
ROBERT: 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.
INT. SERVANTS' CORRIDOR
Mrs Hughes finds Mr Bates cringing over his leg again.
HUGHES: Mr Bates? I am going to have to insist that you tell me what is the matter.
BATES: I thought it was for Mr Carson to give me orders.
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've twisted my bad leg and walked on it too soon. It'll be fine in a day or two.
HUGHES: Well, if it isn't, I'm sending for the doctor.
INT. DRAWING ROOM
Mary is entranced in her own gloomy thoughts. Carson enters to introduce Violet.
CARSON: The Dowager Countess.
VIOLET: Oh, my dears, is it really true? I...I can't believe it. Last night he looked so well. Of course, it would happen to a foreigner. It's typical.
MARY: Don't be ridiculous.
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.
MARY: But we're not! Don't you see that? We're not in control of anything at all!
Mary leaves quickly.
CORA: Edith, go and tell Mary to come back at once and apologise to her grandmother.
VIOLET: No, leave her alone. She's had a shock, we all have. Just let her rest.
(Carson opens the door and William carries in the tea.)
VIOLET: Oh, just the ticket. Nanny always said, "Sweet tea is the thing for frayed nerves." Though why it has to be sweet, I couldn't tell you.
INT. KITCHENS
GWEN: What did you mean, "Mr Pamuk lived each day as if it were his last"?
THOMAS: What I said.
GWEN: But, well, how did you know?
THOMAS: Can't keep William waiting. Gangway.
O'BRIEN: I'll be asking the same question later, so you better have an answer ready.
MRS PATMORE: Daisy, where have you hidden the flour? I can't see it anywhere.
DAISY: It's just there, Mrs Patmore.
MRS PATMORE: Well, fetch it to me, then. Oh, you're all in a daze today.
INT. CRAWLEY HOUSE
MATTHEW: Do you think we should've gone up there? To see how they are?
ISOBEL: I sent a note, but I thought I'd be in the way. Why?
MATTHEW: Well, I thought Mary was rather struck with him last night, didn't you?
ISOBEL: Well, it must've been frightful for all of them. But there it is. In the midst of life, we are in death.
INT. LADY GRANTHAM'S BEDROOM
O'BRIEN: I suppose Mr Napier will have to manage everything.
CORA: I suppose he will.
O'BRIEN: We all thought him a very nice gentleman.
CORA: Yes, he is nice.
O'BRIEN: Will we be seeing a lot of him?
CORA: I don't expect so, no.
O'BRIEN: Because we rather hope Lady Mary might have taken a shine to him.
CORA: Seems not.
O'BRIEN: Oh, well. There are plenty more fish in the sea than ever came out of it.
INT. BACHELOR'S CORRIDOR/GUEST BEDROOM
Carson enters to check the room. Mary is sitting on a chair in a corner.
MARY: Are you looking for something?
CARSON: Lady Mary? I just wanted to make sure the room had been tidied up after the...after the people had left.
MARY: Life can be terribly unfair, can't it?
CARSON: It certainly can.
MARY: Everything seems so golden one minute, then turns to ashes the next. Can I ask you a question, Carson? Have you ever felt your life was somehow...slipping away? And there was nothing you could do to stop it?
CARSON: I think everyone feels that at one time or another.
MARY: The odd thing is, I feel...for the first time, really...I understand what it is to be happy. It's just that I know that I won't be.
CARSON: Don't say that, my lady. Don't raise the white flag quite yet. You will still be mistress of Downton. Old Lady Grantham hasn't given up the fight, not by a long shot.
MARY: Oh, that. I wasn't even thinking about that.
CARSON: And if I may say so, my lady, you're still very young.
MARY: Am I? I don't feel it.
CARSON: We're all behind you, my lady. The staff. We're all on your side.
MARY: Thank you, Carson. You've always been so kind to me. Always. From when I was quite a little girl. Why is that?
CARSON: Even a butler has his favourites, my lady.
MARY: Does he? I'm glad.
ANNA: Lady Mary? Oh, milady, I thought...
Anna sees Carson.
MARY: Carson and I were just making sure that everything was shipshape in Bristol fashion. And it is.
(Mary walks to the door and Anna exits.)
MARY: Goodnight, Carson.
CARSON: Goodnight, my lady.
(They exit.)
INT. LORD GRANTHAM'S DRESSING ROOM
ROBERT: Of all the men on earth. I mean, he looked so fit. Dr Clarkson said it was a heart attack. Did you see any signs?
BATES: I didn't have much of a chance to study the gentleman.
ROBERT: You don't suppose there's anything sinister in it, do you? Every day the papers warn us of German spies, and they did say his presence was essential for peace in Albania.
BATES: I doubt it, my lord. Anyone wanting to poison his food would have to get past Mrs Patmore.
ROBERT: Blimey, that's a thought. Unless, of course, she's a spy herself.
Bates cringes in pain. Robert is concerned.
ROBERT: I wish you'd tell me what's wrong, Bates. You'll be in no trouble. I only want to help.
BATES: I know that, Your Lordship, and I am grateful, truly, but there is nothing I need help with.
INT. CORRIDOR
ROBERT: Good morning, Mrs Hughes.
HUGHES: Good morning, milord.
ROBERT: I wonder if you...
(Robert looks back at his room where he left Bates.)
INT. LORD GRANTHAM'S DRESSING ROOM
Bates leans on the bed frame, doubled over in pain. Mrs Hughes enters and Bates straightens.
HUGHES: Now, will you kindly explain what in heaven is going on?
BATES: I'm perfectly well, Mrs Hughes. A bit stiff, that's all.
(Mr Bates begins to limp towards the door, but Mrs Hughes closes it.)
HUGHES: Just so long as you know, I'm not leaving until you tell me.
(Mr Bates sits in a chair and Mrs Hughes turns to him expectantly.)
BATES: I hope you have a strong stomach.
(Mr Bates pulls up his pant leg, revealing severe bruising, bleeding, and swelling caused by the limp corrector. Mrs Hughes grimaces.)
HUGHES: Oh, my God.
(Mrs Hughes puts a hand to her mouth in horror.)
EXT. DOWNTON ABBEY, GROUNDS
Matthew walks away from the house to join Mary.
MATTHEW: Cousin Mary?
MARY: Hello. Are we expecting you?
MATTHEW: No, but I wanted to see you. I looked for you yesterday at church.
MARY: I wasn't feeling up to it. None of us were.
MATTHEW: Must have been a horrible shock.
MARY: Yes.
MATTHEW: And he seemed a nice fellow.
MARY: He was. A very nice fellow.
MATTHEW: So, if there's anything I can do...please ask.
MARY: There isn't. But thank you.
EXT. DOWNTON ABBEY, LAKE
Mrs Hughes precedes Mr Bates down the dock to the lake. Mrs Hughes uncovers the limp corrector she's carrying and hands it to Bates.
BATES: Well, here goes.
HUGHES: Do you not think we ought to say a few words?
BATES: What? Good riddance?
HUGHES: That. And your promise.
BATES: Very well. I promise I will never again try to cure myself. I will spend my life happily as the butt of other's jokes, and I will never mind them.
HUGHES: We all carry scars, Mr Bates, inside or out. You're no different to the rest of us, remember that.
BATES: I will try to. That I do promise.
'Mrs Hughes nods and Bates throws the "limp corrector" into the lake.)
HUGHES: Good riddance!
EXT. COURTYARD
O'BRIEN: So, he definitely went in?
THOMAS: Saw him walk through the door.
O'BRIEN: But you don't know if he went back to his own room?
THOMAS: Yes, I do, 'cause I was the one who found him there the next day.
O'BRIEN: What I mean is, you don't know if he went back under his own steam.
THOMAS: Suppose not, but how else would he a done it?
O'BRIEN: That's what they call "the big question".
THOMAS: I don't want to get in any trouble over this.
O'BRIEN: Don't worry. You won't. Your secret's safe with me.
End of the episode.
Ecrit par Stella