A gunshot rings out. We close in on two soldiers lying in a battlefield covered in dirt. One is severely wounded, the other turns his head, revealing Matthew Crawley.
THE SOMME, 1916
Matthew sees to his wounded comrade. Cut to soldiers running through the field, some carrying the wounded on stretchers, bombs exploding around them. Matthew carries the wounded soldier to relative safety in the trenches.
MATTHEW: Sergeant Stevens!
SGT STEVENS: Sir!
MATTHEW: I want every wounded man taken down the line before it starts to get dark. We've bloody well lost enough of them for one day.
(Matthew enters his bunker where he opens a message. His man servant carries in a pitcher and cloth.)
MATTHEW: When did this arrive?
DAVIS: Sir.
(The bunker continually shakes and pours dirt from the ceiling.)
MATTHEW: Ah, good news. We'll be relieved today by the [Devons?]. The men can finally get some rest, and I've got a few days' leave coming to me.
DAVIS: What'll you do with them, sir?
MATTHEW: London first to remind myself what real food tastes like. Then north for a couple of days, I suppose. Naturally there's a girl I want to see when I'm there.
DAVIS: So I should hope, sir. Strange, i'n't it? Think of our old lives just going on as before while we're here in this.
MATTHEW: More than strange. When I think of my life at Downton, it seems like another world.
OPENING TITLES
INT. DOWNTON ABBEY
A servant opens the windows in the library. Other servants bustle about the rooms preparing for a benefit. Anna leads the new house maid through the rooms.
ANNA: We normally have everything done before the family wakes up, but it's all at six and sevens today. I'll go through it tomorrow when we're back to normal.
ETHEL: I do know how to run a house.
(Mr Carson gestures for some workers to move a piece of furniture.)
CARSON: Come along.
INT. LORD GRANTHAM'S DRESSING ROOM
William helps Lord Grantham dress in his old uniform. William starts to buckle the shoulder belt.
ROBERT: It goes under the epaulette.
(William undoes the shoulder belt and restrings it through the epaulette.)
WILLIAM: I'm sorry, my lord. If I'd known, I'd have asked Mr Bates about it before he left for London.
ROBERT: Because I'll be in uniform a lot of the time in future.
WILLIAM: Does being Lord Lieutenant mean you're back in the army?
ROBERT: Not exactly. The Lord Lieut is responsible for the army in the county while the war is on. But no, I'm not back in the army. It appears they don't want me.
INT. OUTER HALL
Mr Carson continues to supervise while Robert comes down with the dog.
ROBERT: Morning. I don't suppose there's any news of Bates?
CARSON: We expect him back any day, my lord. He wrote to Anna that they had the funeral last Monday.
ROBERT: William's a good chap, but he's not Bates when it comes to uniforms. I may not be a real soldier, but I think I ought to look like one.
CARSON: Quite, my lord.
INT. DINING ROOM
Robert joins Lady Grantham and Sybil for breakfast.
ROBERT: We don't often see you in here for breakfast.
CORA: Isobel said she was coming up to help and your mother threatened to look in. No doubt they would love it if they found me still in bed.
(Sybil and Robert open their post.
ROBERT: I don't believe it.
CORA: Please say it's something nice.
ROBERT: General Robertson's invited me to be Colonel of the North Riding Volunteers. Well, this is the best bit. It may please you to know that the idea was given to me by General Hague. Well, if Hague's involved, it means I'm back in the army properly.
CORA: How can that be? You were told you weren't wanted for active service. You can't jump in the army like a jack-in-the-box.
(Sybil is obviously very upset by her post.)
ROBERT: I don't see why not. Churchill went back to the front after the Gilly business. If he can do it, why shouldn't I? Sybil, are you all right?
CORA: Sybil, darling.
SYBIL: Will you excuse me? I think I'll just...
(Sybil takes her post and leaves. Mr Carson opens the door for her.)
CORA: She's had more bad news.
EXT. STREET
Branson is teaching Lady Edith how to drive.
EDITH: I do think I'm getting better, don't you?
BRANSON: Up to a point, my lady. If you could just get the clutch right down to the floor.
EDITH: But I am.
BRANSON: Not quite, my lady.
EDITH: It doesn't seem to want to go.
BRANSON: I think it wants to if you ask it properly. That's better. You'll be putting me out of a job.
EDITH: Won't the call up put you all out of your jobs?
BRANSON: I'll cross that bridge when I come to it.
INT. KITCHENS
WILLIAM: What are you giving them to eat?
MRS PATMORE: Not much. They know the money's for the hospital, so they can't expect Belshazzar's feast.
DAISY: I'll make some cheese straws. What's the matter with you?
WILLIAM: Nothing much. My dad still won't let me enlist.
MRS PATMORE: Your father has no one but you, of course he doesn't want you to enlist. Who can argue with him?
WILLIAM: So I stand by while the lads on the farms and in the gardens go to war? Even Thomas is on the front in the medical corps.
MRS PATMORE: Ha! That'll come as a nasty shock.
WILLIAM: Oh, you can make fun of him, Mrs Patmore, but he's fighting for his king and country and I'm not.
MRS PATMORE: Well, I daresay you won't have long to wait.
WILLIAM: Well, I hope you're right.
MRS PATMORE: Do you? Because I don't. I hope very much that I am wrong.
INT. LARGE PARLOUR
ISOBEL: It's kind of you to let us have it here. They'll enjoy it so much more.
VIOLET: And you can charge so much more for the tickets.
ROBERT: Good morning, Mama. This is very early for you to be up and about.
VIOLET: War makes early risers of us all. I thought I would help with the flowers.
CORA: Basset has plenty, but...thank you.
Cora exits.
VIOLET: You don't mind my taking over the flowers, do you? Cora's flower always look more suited to a first communion in southern Italy. Well, what else have you planned for tonight's raffles?
ROBERT: Anything we can think of that will raise money.
VIOLET: Hot buttered toast with a countess, a tuppence a slice?
INT. LIBRARY
Ethel fluffs a pillow by tossing it in the air.
ANNA: You drop the cushions on the floor to plump them up.
ETHEL: I know.
HUGHES: Ethel, are you settling in?
ETHEL: I would be if Anna would stop teaching me how to suck eggs. I was Head Housemaid in my last position.
HUGHES: You were Senior Housemaid out of two in a much smaller house.
ANNA: Are they to be coming here tonight?
HUGHES: Only at the interval, and keep them out of the drawing room. I thought Mr Bates would've been back by now, or he could've stood guard.
ETHEL: Who is this Mr Bates?
ANNA: He's Lordship's Valet. He's been in London because his mother died.
ETHEL: Well, everyone talks about him as if he were king.
ANNA: Do they? That's nice to hear.
Violet enters.
VIOLET: Anna. Help me do battle with this...monstrosity.
(Violet stares at the hideous flower arrangement on the table.)
VIOLET: Looks like a creature from the Lost World.
INT. MR CARSON'S OFFICE
Mr Carson is polishing the silver set.
HUGHES: You should let William do that.
CARSON: He's got enough on his hands getting the uniforms out of mothballs. Agh, I must remember to put Anna on alert for dinner tonight.
HUGHES: You have to ease up a bit or you'll give yourself a heart attack. There's a war on. Things cannot be the same when there's a war on.
CARSON: I do not agree. Keeping up standards is the only way to show the Germans that they will not beat us in the end.
HUGHES: Well, give me some warning the next time we're expecting Germans at Downton, I'll see what I can do.
INT. LIBRARY
Anna collects the flowers Violet removed and takes them away as Cora, Isobel, and Robert enter.
VIOLET: Thank you.
ISOBEL: Well, we thought we'd come in here for a little talk.
VIOLET: Oh. Well, I'm sure we won't be disturbed.
(Robert rolls his eyes, then motions Isobel to the couch.)
ROBERT: Please.
Isobel sits.
ISOBEL: Well, the thing is...I've had a letter from Matthew. Of course he doesn't tell me what he's actually doing.
ROBERT: No, he wouldn't. But I'm glad he's all right. I miss him.
ISOBEL: Well, that's the point. You must know he's been down here a few times since the war started.
CORA: We had heard.
VIOLET: Downton is hardly a metropolis.
ROBERT: Is he still determined to go back to Manchester when it's all over?
ISOBEL: He doesn't talk much about life after the war, none of them do. I suppose they don't want to tempt fate. Until now, that is. He writes that he's engaged to be married to a Miss Lavinia Swire.
(They are rather upset by this news. Cora sits down.)
VIOLET; Well, I...I suppose we all knew it would happen one day.
ROBERT: Do you know her?
ISOBEL: Not yet. Apparently they met when he was in England last time. It all seems rather hurried.
ROBERT: You can't blame them for wanting to live in the present.
ISOBEL: Anyway, he's been in London on leave, and now he's bringing her here to meet me. He'll be here tonight and tomorrow, then he leaves on Thursday while she stays for a bit.
CORA: So, will you miss the concert
ISOBEL: Well, that's up to you. We'd all hoped that he and Mary would sort things out between them, but if that's not to be, then shouldn't we try to get back to normal? Even if he's not keen to live in the village. He's still the heir. And you're still his family.
ROBERT: I quite agree. We can't know if Matthew will come through it. Either way, I would like to see him, and I want to wish him luck.
CORA: The trouble is Mary's back from London today as well. She gets in at five o'clock.
ISOBEL: Matthew's driving in Lavinia's car. They won't meet on the train.
VIOLET: Oh, that's a relief. I hate Greek drama. You know, when everything happens off stage.
CORA: But shall we tell her not to come? We might still catch her.
ROBERT: Isobel's right. We must use this engagement as a new beginning. You bring our Lieutenant Crawley to the concert and stay for dinner afterwards.
ISOBEL: I was hoping you'd say that.
PATH
Sybil enters the house, crying with the note in her hand.
ISOBEL: Oh, there you are, I'm just going home, but I'll be back at four...
(Sybil walks by without looking at her.)
ISOBEL: Sybil, my dear, what's the matter?
SYBIL: Tom Belasis has been killed.
ISOBEL: What a terrible thing.
SYBIL: I remember him at Imogen's ball. He made me laugh out loud just as her uncle was giving a speech. Sometimes it feels as if all the men I ever danced with are dead. I just feel so useless. Wasting my life while they sacrifice theirs.
ISOBEL: You've been a tremendous help with the concert.
SYBIL: No, I d-- I don't mean selling programs or finding prizes for the Tombola, I want to do a real job. Real work.
(O'Brien is listening in)
ISOBEL: Well, if you are serious, what about an auxiliary nurse? There's a training college in York. I know I could get you onto a course. It may be something of a rough awakening. Are you ready for that? I mean, have you ever made your own bed, for example, or scrubbed a floor.
Isobel sees O'Brien eaves dropping.
ISOBEL: O'Brien, what is it?
O'BRIEN: Mr Platte is taking Her Ladyship and Lady Grantham down to the village, she wondered if you'd like to go with them.
ISOBEL: That's very kind. Thank you.
O'Brien leaves.
SYBIL: Go on. What else would I need?
ISOBEL: Well, if you're serious, what about cooking? Why don't you ask Mrs Patmore if she could give you one or two basic tips. When you get to York, it might be useful to know a little more than nothing.
INT. LADY GRANTHAM'S BEDROOM
O'Brien helps Lady Grantham dress to go out.
O'BRIEN: They want to use her as a maid of all work at the hospital. I suppose it's cheaper when Lady Sybil can live here for nothing, but it doesn't seem quite right somehow to take advantage.
CORA: No, it does not.
O'BRIEN: I hear the young men that are being brought in now are very disfigured.
CORA: How terrible.
O'BRIEN: Limbs missing and faces blown apart. And Lady Sybil's been nurtured so very gently. And what types would she be working with? Still, you'll know what's best to do.
CORA: Yes. I certainly will.
INT. KITCHENS
Daisy shells peas, Anna polishes, William mends a shirt, Branson reads the newspaper, and O'Brien sits down to sew.
MRS PATMORE: Where's the butter for the pancakes?
DAISY: It's in the cold larder.
ETHEL: Are we having pancakes tonight?
O'BRIEN: No we kwon it is like.
MRS PATMORE: Upstairs dinner Crepe Suzette.
ETHEL: I've always wanted to try those. Could you save me some? If they don't finish them all.
MRS PATMORE: Er, save you some Crepe Suzette?
(Branson regards Mrs Patmore. Anna smiles at the strange request.)
ETHEL: If you don't mind. What are we having?
MRS PATMORE: Lamb stew and semolina.
ETHEL: Do you eat a lot of stews?
MRS PATMORE: Don't you fancy that, dear?
ETHEL: Not all the time.
MRS PATMORE: Oh, I see. And would you like to sleep in Her Ladyship's bedroom while you're at it?
ETHEL: Wouldn't mind. I hate sharing a room. I didn't in my last place.
ANNA: There were only two maids and a cook.
ETHEL: Well, I'm just saying.
MRS PATMORE: And I'll just say, if you don't look out.
(Ethel smiles in amusement as Mrs Patmore leaves.)
O'BRIEN: You've got a cheek on your first day.
ETHEL: I don't see why. I want the best and I'm not ashamed to admit it.
O'BRIEN: And you think we don't?
ETHEL: I think it's hard to change at your age. I don't blame you. But I suppose, in the end, I want to be more than just a servant.
INT. CARRIAGE
CORA: I'm sorry, but if Dr Clarkson needs free labour, I'd prefer him not to find it in my nursery.
ISOBEL: But Sybil isn't in the nursery.
VIOLET: No, and in case you haven't noticed, she hasn't been there for some time.
CORA: You know what I mean.
VIOLET: Well, no, not really. You can't pretend it's not respectable when every day we're treated to pictures of queens and princesses in Red Cross uniform, ladling soup down the throat of some unfortunate.
CORA: But Sybil won't be ladling soup. She'll have to witness unimaginable horrors, and she's an innocent.
ISOBEL: Her innocence will protect her.
VIOLET: For once I agree with Cousin Isobel. Sybil must be allowed to do her bit like everyone else.
Mr Molesley opens the carriage for Isobel and hands her out in front of her house.
CORA: What about you, Molesley? Are you ready for the call if it comes?
MOLESLEY: It won't be coming for me, milady. I had a letter from the war office. They say I'm not suitable for service.
CORA: Why not?
MOLESLEY: I really couldn't say, milady.
ISOBEL: As you can imagine, Molesley's father is beside himself with joy.
VIOLET: God moves in a mysterious way, his wonders to perform.
EXT. DOWNTON TRAIN STATION
Mr Bates steps out of 3rd class. A station employee opens a 1st class door for Lady Mary and she runs into Bates.
LADY MARY: Bates! No one told me you were on this train.
BATES: They didn't know, milady.
MARY: We'll give you a lift to the house.
EXT. DOWNTOWN, FRONT DOOR
Branson pulls the car up to the front door. Bates steps out of the front seat and walks to Anna. William collects the luggage.
ANNA: Why didn't you say you were coming?
BATES: I didn't know till today.
MARY: Anna, I borrowed a case from Lady Rosamund. I bought some things while I was in London.
ANNA: Very good, milady.
INT. KITCHENS
SYBIL: Well, it would be our secret. A surprise. You don't mind, do you?
MRS PATMORE: Oh, it's not that I mind, milady.
SYBIL: And I only need the basics. How to boil an egg. How to make tea.
MRS PATMORE: Don't you know how to make tea?
SYBIL: Not really. You're right. It is a joke. But when I start my course, I don't want to be a joke. Will you help me?
DAISY: Of course we will, won't we?
MRS PATMORE: If you say so. Let's get started. Do you know how to fill a kettle?
SYBIL: Everyone knows that.
(Sybil takes the kettle from Mrs Patmore and goes to the tap. She opens the valve and water sprays all over. The servants laugh.)
MRS PATMORE: Not everyone, apparently.
INT. LARGE PARLOUR
The band begins to practice while Mr Carson straightens the chairs.
INT. KITCHENS
Anna puts a box on the table and nearly runs into Bates on her way out.
BATES: When can I talk to you?
ANNA: After the concert. Outside in the courtyard. There's bound to be a gap before they start dinner.
DAISY: Are you going up for the concert?
WILLIAM: Maybe. Can I sit with you?
DAISY: Don't be daft. We've got dinner to make. I've not got time for concerts.
WILLIAM: I've had a letter from my dad. He won't change his mind. He says he can live with it if I get called up, as there's nothing we can do, but if I enlist and anything happens, he'll never get over it.
DAISY: He loves you.
WILLIAM: He may love me, but he doesn't own me. He's not being fair.
INT. LADY MARY'S BEDROOM
Anna finishes Mary's hair while Sybil sits on the bed; Cora and Edith sit in chairs.
SYBIL: Glad to be back?
MARY: I'm never sure. When I'm in London, I long for Yorkshire, and when I'm here, I ache to hear my heels clicking on the pavement. I'd forgotten about this nightmare concert. Why didn't you warn me? I'd have come back tomorrow.
EDITH: But you'd have missed Matthew.
(Mary pauses in surprise.)
CORA: I was going to tell you. Matthew's on leave and he's in the village, so Papa and I thought it would be a good time to mend our fences. He's coming tonight with Isobel.
EDITH: And his fiancé.
MARY: What?
CORA: Edith. I don't know how helpful you're being.
SYBIL: Matthew's engaged. He's brought her to Downton to meet his mother.
MARY: Well, how marvellous.
SYBIL: You don't mind?
MARY: Why should I? We're not going to marry, but I don't want him to spend the rest of his life in a cave.
CORA: Exactly what Papa and I feel. Please try to be happy for him.
MARY: Of course I'm happy! Good luck to him. Anyway, there's someone I want you all to meet. Have you ever come across Richard Carlisle?
EDITH: Sir Richard Carlisle? The one with all those horrid newspapers?
MARY: We met at Clifton.
EDITH: But how old is he?
MARY: Old enough not to ask stupid questions. Anyway, I can't wait for you to know him. If only Papa hadn't closed down the shoot.
CORA: Most people have stopped shooting now that the war's on. But I'm sure Papa will be happy to have Sir Richard come and stay.
Cora and Sybil rise to leave.
EDITH: Are you? I shouldn't have thought he was Papa's type at all.
CORA: You coming?
MARY: I'll be down in a minute.
The family leaves and Anna turns to Mary.
ANNA: Are you all right, milady?
MARY: Oh, Anna.
(Mary breaks down crying. Anna puts a comforting hand on her shoulder.)
INT. DOWNTON, THE CONCERT
Isobel, Matthew, and Lavinia arrive.
LAVINIA: It's awfully grand.
MATTHEW: You'd better get used to it. It will be your home one day.
LAVINIA: I'm not sure "home" would ever be quite the word to describe it.
(Robert approaches and shakes hands with Matthew.)
ROBERT: My dear fellow, welcome back. It's so very good to see you.
MATTHEW: May I present Miss Lavinia Swire.
LAVINIA: How do you do, Lord Grantham.
ROBERT: How do you do, Miss Swire.
(Sybil and Edith check out the fiancé and exchange a look.)
VIOLET: So, that's Mary's replacement. Well, I suppose looks aren't everything.
CORA: I think she seems rather sweet. I'm afraid meeting us all together must be very intimidating.
VIOLET: I do hope so.
Mary and Matthew catch each other's eye. Mary smiles awkwardly. Matthew looks away like he didn't see her. Mary's smile fades until she sees Isobel and they greet each other.
ROBERT: Now, please come this way.
LAVINIA: Thank you.
MARY: It's good to see you. Hello, Miss Swire. I'm Mary Crawley.
LAVINIA: Of course you are. I mean, I've been longing to meet you, because I've heard so much about you from Matthew. Er, that is...
MARY: Nice things, I hope.
MATTHEW: What else would she hear from me?
ROBERTPlease.
(Robert shows Lavinia to her seat.)
MARY: I can't say. It's been such a long time. Who knows what you think of me now.
MATTHEW: I think...I'm very glad to see you looking so well.
MARY: All right, you win. We are at peace again.
(She squeezes his arm. The band starts. Sitting down, Lavinia and Mary regard each other.)
INT. MR CARSON'S OFFICE
Mr Carson is filtering wine as Mrs Hughes walks in.
HUGHES: Have you found something nice?
CARSON: Why in particular?
HUGHES: As a welcome home for Mr Matthew.
CARSON: Hmph.
HUGHES: Oh, what's the matter? I thought you'd come 'round to him.
CARSON: Last time he was here, he hadn't broken Lady Mary's heart.
HUGHES: Lady Mary broke her own heart. Hmph. That's if she has a heart to break.
CARSON: I don't think we're ever going to see eye to eye on this, Mrs Hughes.
HUGHES: She refused him when she thought he'd have nothing, and when he was heir again, she wanted him back.
CARSON: I thought caution was a virtue.
HUGHES: Caution, maybe, self-interest is not. Perhaps Miss Swire is a gentler person.
CARSON: If you ask me, this Miss Swire who, it may interest you to know, is not to be found in Burke's Peerage or Burke's Landed Gentry has an eye to the main chance.
HUGHES: That's not snobbish, I suppose.
CARSON: I like to see things done properly, Mrs Hughes, and I won't apologise for that. Now, if you'll excuse me.
CONCERT HALL
Two women stand up on and start handing out white feathers. One hands a feather to William.
WILLIAM: What is it?
WHITE FEATHER GIRL 1: A white feather, of course, Coward.
ROBERT: Stop this at once! This is neither the time nor the place!
WHITE FEATHER GIRL 2: These people should be aware that there are cowards among them.
ROBERT: Will you please leave? You are the cowards here, not they!
Mr Bates stands, also angry, and the women leave. Robert nods to William. William nods back and sits down.
ROBERT: Leader, will you continue?
(William fingers the white feather the woman gave him. The exiting women hand Branson a feather on their way out. He smiles and takes it.)
BRANSON: I'm in a uniform.
WHITE FEATHER GIRL 1: Wrong kind.
INT. DINING ROOM
William serves Cora at dinner.
CORA: That was horrid, William. I hope you won't let it upset you.
WILLIAM: No, Your Ladyship.
ROBERT: Why are these women so unkind?
EDITH: Of course it is horrid, but when heroes are giving their lives every day, it's hard to watch healthy young men do nothing.
(Robert looks quickly at William, who looks down uncomfortably. Isobel talks down the table to Sybil.)
ISOBEL: By the way, Sybil, very good news. They do have a vacancy. It's very short notice, because someone dropped out. You'd have to be ready to start on Friday.
ROBERT: May I ask what this is about?
SYBIL: Cousin Isobel has got me a place on a nursing course in York. I want to work at the hospital.
CORA: We don't have to talk about it now.
EXT. COURTYARD
BATES: She just turned up at my mother's house not long before she died.
ANNA: So...what does it mean?
BATES: I think it means, at long last, I'm able to get a divorce.
ANNA: Mr Bates, is this a proposal?
BATES: If that's what you want to call it. And you might start calling me John.
ANNA: Why are you sure she'll do it now when she's refused for so long?
BATES: Mother left me some money. Much more than I thought. Vera's a greedy woman, she won't refuse what I can offer her.
ANNA: Will we have to leave Downton?
BATES: Not until we want to. I've spoken to His Lordship and he will find a cottage for us near the house.
ANNA: You told him you want to marry me?
BATES: I did.
ANNA: Before you spoke to me?
BATES: You don't mind, do you?
ANNA: Of course I mind. In fact, I'd give you a smack if I didn't want to kiss you so much I could burst.
(Bates cups Anna's face with his hand and they kiss. She stands on her tip-toes as they hold each other.)
INT. DINING ROOM
EDITH: Branson says I'm ready for the road.
ROBERT: That's not what he told me.
LAVINIA: Oh, how delicious, I love these.
ROBERT: How did you and Matthew meet?
LAVINIA: Oh, in London. My father works in London, so I've always lived there. But I love the country, too.
VIOLET: Of course you do.
LAVINIA
Daddy's a solicitor, like Matthew.
VIOLET: My, my. You're very well-placed if you're ever in trouble with the law.
ROBERT: Did I tell you I've been given a colonelcy in the North Riding Volunteers? So, I'm properly in the army again.
MATTHEW: Mm. Congratulations.
Matthew turns to Mary on his right.
MATTHEW: He won't go with them, will he? When they're called to the front?
MARY: I hope not, but he seems to think so. What's it been like?
MATTHEW: You know, the thing is, I just can't talk about it.
MARY: Have you missed us?
MATTHEW: What do you think?
They smile at each other. Matthew looks at Lavinia at the other side of the table.
MATTHEW: You don't mind my brining Lavinia?
MARY: On the contrary, I'm glad. Glad to see you happy.
MATTHEW: What about you? You happy?
MARY: I think I'm about to be happy. Does that count?
MATTHEW: It does if you mean it.
MARY: You'll be the first to know.
INT. KITCHENS
Servants are setting the table for their meal.
DAISY: What you reading?
ETHEL: Photoplay about Mable Norman. She was nothing when she started, you know. Her father was a carpenter and they'd no money, and now she's a shining film star.
O'BRIEN: Ethel, I've a message for you from Her Ladyship. You're to go up and see her now.
ETHEL: What? Where?
O'BRIEN: In the drawing room, of course. They're all in the drawing room.
ETHEL: What've I done wrong?
O'BRIEN: Nothing. Quite the reverse. She's very pleased with the way you've begun, and she wants to thank you.
ETHEL: Now?
O'BRIEN: Yes, now. She's asked for you. How much longer are you gonna keep her waiting?
(Ethel quickly puts away her magazine. The servants hold in their giggles in the corner. Ethel leaves in a hurry and the servants burst out laughing.)
INT. DRAWING ROOM
The party sits down in the drawing room.
LAVINIA: I don't know much about life in the country, but I do understand how the law works, so I believe I can be helpful to Matthew there.
EDITH: But you'll be immensely helpful. Don't you think so, Mary?
MARY: Of course.
The door opens and Ethel rushes in. Everyone looks up and William pauses in the middle of serving Lady Grantham.
ETHEL: Beg pardon, milady, for keeping you waiting.
CORA: What?
ETHEL: I'm ever so grateful for your appreciation, and I want you to know that it's a privilege to work here.
(William's still frozen as everyone stares at Ethel. Mr Carson looks mortified.)
CARSON: Ethel. What are you doing in here?
ETHEL: H-- Her Ladyship sent for me.
CARSON: And who gave you this message?
ETHEL: Miss O'Brien. She said I wasn't to keep Her Ladyship waiting.
CARSON: You may go back downstairs now, thank you, Ethel.
ETHEL: Right. Thank you, milady.
(Ethel curtsies excitedly and exits. Cora smiles and shakes her head.)
VIOLET: Well, do we think she's mad, ill, or working for the Russians?
INT. OUTER HALL
Mr Carson waits with Lavinia outside as Mary escorts Matthew out.
MATTHEW: She has plenty of time to learn. Cousin Robert will be in charge here for many years. Lavinia will be a lawyers wife far longer than she'll be a countess. That's if I get through the war in one piece.
MARY: Of course you will. Don't even think like that. How long are you staying in the village?
MATTHEW: Just tomorrow. I take the six o'clock train on Thursday.
MARY: And then you'll be in France.
MATTHEW: Wherever I'm going, I'm so pleased that we're friends again.
INT. KITCHENS
The servants sit down to dinner.
ETHEL: I still don't understand why it was funny to make me look a fool. You weren't even there to enjoy it.
O'BRIEN: Oh, don't worry, we enjoyed it all right from down here.
CARSON: Miss O'Brien, Her Ladyship has asked me to take the incident no further. Don't tempt me to disobey. Did I see Lady Sybil in the kitchen yesterday?
MRS PATMORE: She wants to learn some cooking.
DAISY: She says that she's gonna train to be a nurse, so she needs to know how to cook and clean and everything.
CARSON: Has she told Her Ladyship about this?
DAISY: It's supposed to be a surprise.
HUGHES: Mr Carson, it speaks well of Lady Sybil that she wants to help the wounded. Let's not give her away.
ETHEL: Why shouldn't she learn how to cook and scrub. She may need it when the war's over. Things are changing. For her lot and us. And when they do, I mean to make the most of it. I take it they ate all the pancakes last night then?
MRS PATMORE: They did. Here y'are.
INT. CRAWLEY HOUSE
ISOBEL: What are we aiming at?
DR CLARKSON: They'd like us to take a hundred wounded men, three times the number the hospital was built for.
ISOBEL: Well, that settles it. We'll have to convert the second day room.
DR CLARKSON: So there's to be no convalescence at all?
ISOBEL: I'm afraid not. Once they can stand, they must go.
DR CLARKSON: If only there were somewhere nearer than Farley Hall. I can't get there more than twice a week at the most.
(Clarkson notices Molesley taking out the tea tray.)
DR CLARKSON: Uh, should he be doing that?
ISOBEL: Why not?
DR CLARKSON: I only meant with his condition.
ISOBEL: What condition is that?
DR CLARKSON: His lungs. Old Lady Grantham told me he's had a lot of trouble with his lungs.
ISOBEL: And why did she tell you that, particularly?
DR CLARKSON: She wanted me to write to the war office. She was anxious to spare him the humiliation of being refused on medical grounds.
ISOBEL: And who else did she wish you to take under your protection?
DR CLARKSON: William Mason, the footman at the big house. He has a-- a bad skin condition, apparently, and hates people to know. She wanted to spare him the physical examination.
ISOBEL: I'm sure she did.
INT. KITCHENS
Sybil stirs something on the stove. Mrs Patmore check over her shoulder.
MRS PATMORE: What in Wonderland do you call that? I mean, I do not fully understand what you're trying to do, milady.
SYBIL: Oh, I knew it wasn't supposed to look like this.
MRS PATMORE: No, milady, I would go so far as to say there is no food on the earth that is supposed to look like that.
(Daisy comes over to check on Sybil.)
SYBIL: Why does everything go so lumpy?
DAISY: Tell you what, chuck it out and we'll start again.
INT. KITCHENS
Anna and Bates sit alone at the table.
ANNA: I don't think we should sell your mother's house. Not yet.
BATES: We could rent it out. Then we can save. When I have some time off, I'll go up to London and get it ready.
ANNA: Maybe I can come with you. We could do it together.
BATES: I've got an idea that a bit later on, if we want to...
ANNA: If we want to start a family.
BATES: I thought, when the time is right, we might sell. And we could buy a small hotel just-- just a little one, maybe near here and we could work together and have the children with us.
(Anna tries not to cry through her smiles.)
BATES; What is it?
ANNA: Nothing. It's just...in my whole life, I never thought I could be as happy as I am at this moment.
(Ethel comes in a drop something on the table with a sour expression and sits down, either oblivious or unfeeling, destroying the moment.)
INT. CRAWLEY HOUSE
Matthew steps past the gate and sees a young maid and milkman flirting. He takes a breath and then heads off to the train station.
EXT. TRAIN STATION
Matthew looks for his train car, but does a double take when he sees Mary waiting. She turns around, sees him, and they walk to each other.
MARY: Don't worry, I haven't come to undo your good work of the other night.
MATTHEW: You must have been up before the servants.
MARY: They were rather surprised to see me.
(Mary opens her purse.)
MARY: I wanted to give you this.
(She hands him a little stuffed dog.)
MARY: It's my lucky charm. I've had it always. So, you must promise to bring it back without a scratch.
MATTHEW: Won't you need it?
MARY: Not as much as you. So, look after it. Please.
MATTHEW: I'll try not to be a hero, if that's what you're afraid of.
(He puts it in his pocket.)
MARY: Just come back safe and sound. Did you have a happy time yesterday?
MATTHEW: Showed Lavinia the places I like the most. Gave her a few memories. Mary, if I don't come back...
MARY: But...
MATTHEW: No. If I don't, then do remember how very glad I am that we made up when we had the chance. I mean it. You send me off to war a happy man. Will you do something for me? Will you...will you look after mother...if anything happens?
MARY: Of course we will. But it won't.
MATTHEW: And Lavinia. She's young, she will find someone else. I hope she does, anyway, but...until she does.
MARY: Goodbye then.
(She kissed Matthew on the cheek.)
MARY: And such good luck.
MATTHEW: Goodbye, Mary. And God bless you.
(Matthew gets in the train and Mary watches it take him out of sight. Out of sight, both of them are very emotional.)
INT. KITCHENS
VERA BATES: Lady Mary was very much part of the story, I can assure you.
ETHEL: How do you know?
VERA BATES: Well, you see, I worked for Lady Flin...
(Anna walks into the kitchen.)
ANNA: Ethel! I hope you've offered our visitor some tea.
ETHEL: I'll go and ask Daisy.
ANNA: What is the first law of service? We do not discuss the business of this house with strangers.
ETHEL: But she's not a stranger, she's Mr Bates's wife. Has anyone told him she's here?
(Ethel leaves and Anna tries to process her shock. Anna walks back into the kitchen.)
VERA BATES: So you're Anna.
ANNA: I am.
VERA BATES: You're the one who went to call on my late lamented mother-in-law.
ANNA: Yes, I did.
Mr Bates enters slowly. Ethel enters to watch.
VERA BATES: I know you did.
MR BATES: Sorry to keep you waiting, Vera. I was up in the attics sorting out some cupboards.
VERA BATES: Don't worry. I've been having a nice time here with Ethel and Miss Smith.
(Mrs Hughes enters.)
HUGHES: Mr Bates. Ethel told me about your visitor, so I've had the tea put in my sitting room. I thought you might take Mrs Bates in there.
BATES: That's very thoughtful.
VERA BATES: It is. But then, you're all so kind. I'm beginning to understand why my Batesy's got so spoiled.
(Mr Bates and Anna glare at Vera.)
INT. DRAWING ROOM
Cora's embroidering when Mr Carson enters.
CARSON: I'm sorry to trouble you, my lady.
CORA: What is it, Carson?
CARSON: Something has been going on, and I don't feel quite easy that you've not been made aware of it.
CORA: Goodness. What is this dark secret?
CARSON: Lady Sybil has spent the last two in the kitchens.
CORA: What?
CARSON: She asked Mrs Patmore for some cooking lessons.
INT. KITCHENS
MRS PATMORE: Now, steady. Even the most experienced cook can burn themself if they're not careful.
SYBIL: But do you think it's ready?
MRS PATMORE: I know it's ready.
DAISY: Go on, you don't want to spoil it.
(Mr Carson and Cora watch through the window in the corridor.)
CARSON: It seems she's made a cake for Your Ladyship as a surprise, but I am uneasy with surprises at the best of times and I wonder if the whole exercise is entirely appropriate.
Branson enters the kitchen just as Sybil is pulling the cake out of the oven with a huge smile on her face. He grins.
SYBIL: Ta-da.
MRS PATMORE: Oooh.
Carson watches with disapproval. Cora watches with wonder. A smile lights up her face. Daisy and Mrs Patmore help Sybil finish the cake.
CARSON: I'm not comfortable with this, my lady. Not comfortable at all.
CORA: I was worried about Lady Sybil. But I'm not worried anymore.
CARSON: So you don't mind, my lady?
(Cora is close to tears in her joy. She shakes her head.)
CORA: No. I do not mind. And I'm very grateful to you. And Carson, the cake will be a surprise whether you approve or not, so please don't give me away.
INT. MRS HUGHES'S SITTING ROOM
Vera Bates pours some tea while Bates stands resolutely.
VERA BATES: Sit down.
BATES: I don't want to sit down.
VERA BATES: Suit yourself.
BATES: Look, I'm not saying it's all your fault for how things were between us, but I couldn't go back to that. I'll take the blame. I'll go to some hotel in Moulton with a tart. So why hold on?
VERA BATES: Because I tried it on my own and I don't like it. You've got money now. We'd be comfortable.
BATES: You're out of your mind. What makes you think that I would allow that to happen?
VERA BATES: You went to prison for me once. I must say, this is very good. Does Lord Grantham have his own blend?
BATES: Is that all?
VERA BATES: Not quite. You see, if you don't come back to me, I'm going to the newspapers with a cracking story, and I'd like to bet the Granthams won't survive it.
BATES: Oh? And what nonsense is this?
VERA BATES: The nonsense I heard when I used your name to get a job with Lady Flincher. His Lordship's cousin.
BATES: I know who Lady Flincher is.
VERA BATES: When I arrived, her maid asked me if it was true about Lady Mary Crawley and the Turkish diplomat. They thought I'd know, you see, being your wife.
BATES: I hope you told them you knew nothing about it.
VERA BATES: As if. I said, why don't you tell me what you think you know, and I'll tell you if it's true. Goodness me, wasn't my patience rewarded. The public's bored with the war, you see. They like gossip. And a diplomat dying in the bed of an earl's unmarried daughter. Well! That takes the ticket for the tale of the year.
BATES: It's a pack of lies!
VERA BATES: I assume that's loyalty and not ignorance. Because, you see, I heard that Lady Mary needed her maid to help her carry him. And, yes, you guessed it, your precious Anna's gonna figure in the story, too. Not to worry too much. It's not a criminal offense, is it? Just a social one.
BATES: You bitch.
VERA BATES: Please. Be my guest. Well then you must excuse me when I run into town and have it photographed.
BATES: What do you want from me?
VERA BATES: Firstly, you'll hand in your notice. Tonight. I'll put up at the pub in the village.
BATES: What reason do I give?
VERA BATES: You don't need a reason. Just tell them that you're going. And then tomorrow we head back to London. Stay in your mother's house for the time being till we get ourselves sorted. And in case you're wondering, whatever my future plans may be, they will involve you.
(Mrs Hughes shuts the grate in the corridor outside her sitting room where she's been eavesdropping, then shifts a box to conceal it and leaves.)
INT. LORD GRANTHAM'S DRESSING ROOM
ROBERT: Bates, when you first came here, I fought to keep you! Everyone was against me! Everyone! From Her Ladyship to Carson! They thought I was mad! But I said to them, "After all that we've been through together, Bates and I, I owe him my loyalty!"
BATES: I appreciate that, my lord, but...
ROBERT: But what?! But loyalty doesn't matter to you?!
BATES: It does matter, my lord.
ROBERT: Not enough to make you change your mind! Not even enough to make you stay until I've found a replacement!
BATES: I can't.
ROBERT: You won't take any more money off me! You leave empty handed!
BATES: I don't want money, my lord.
ROBERT: I'm sorry, Bates, that was a low shot. Of course, you can have whatever is owing to you. I thought we were friends, that's all. I thought we'd crossed a great divide successfully. Well, well. I've had my say. It's your life. But you've disappointed me, Bates.
(Bates stands stiffly, close to tears from Robert's stinging words.)
ROBERT: I cannot remember being more disappointed in any man.
EXT. COURTYARD
Anna follows Bates out into the courtyard and puts a hand on his arm to stop him.
ANNA: I don't believe it! You say my life is over and your wife will collect you first thing, and that's it? Have you mentioned this to anyone else?
BATES: Only Mr Carson and Mrs Hughes. The others can find out when I've gone.
ANNA: I know you've not told me the real reason.
BATES: You're wrong. Vera has reminded me that I'm a married man, that I must give my vows another chance. I had no right to involve you in my life.
ANNA: Yes, you see, but that's just what I don't agree with. You had every right. I know you. You're doing something gallant here, making a sacrifice for my honour, but I don't want you to. I don't care! Don't you understand? I don't care what people say. I'd live in sin with you. If she's threatening to ruin me, then let her. It's nothing to me. The only ruin that I recognize is to be without you.
BATES: Forget me and be happy, please.
ANNA: I couldn't. Not ever.
BATES: You should. And you must. I am nothing.
INT. KITCHENS
William sits in the dark kitchen. Daisy enters.
DAISY: William?
(Daisy turns on the light.)
DAISY: I thought everyone had gone up. I'm just looking for that magazine I Ethel were reading. I hope you noticed I'm not scared of electricity anymore.
(She sits down at the table next to William.)
DAISY: Well, not much. I couldn't touch a switch when it were only upstairs, but I've got used to it now. I hate to see you like this.
WILLIAM: Even though I'm a dirty coward?
DAISY: You're not. Not to me.
WILLIAM: Well, why don't I enlist? I could. I know I promised my dad, but he's not my owner. He's not the law. Am I frightened? Is that it. Honestly.
DAISY: Don't be so hard on yourself. No one wants to go to war. Agh, I wish you'd cheer up. Please. I'd do anything to cheer you up.
WILLIAM: Like what?
DAISY: Like this.
(She kisses him. He sits up straight, surprised, then checks the corridor to see if anyone saw. He looks back at Daisy, and then sinks back into his dull mood.)
WILLIAM: You just feel sorry for me.
DAISY: William, I've kissed you. You've wanted me to long enough. Well, now I have. Enjoy it.
WILLIAM: Does this mean you'll be my girl? Daisy, 'cause if you were my girl, I know I could tackle anything.
EXT. BATTLEFRONT TRENCHES
Bombs explode nearby. Matthew and his manservant are in the bunker.
MATTHEW: We were supposed to be at rest for ten days at least.
MEDICAL OFFICER: Orders arrived this morning, sir. We were hit bad, so they're out and we're in.
(Matthew puts Mary's good luck charm on the table.)
MEDICAL OFFICER: And it's in the trench since we got here.
MATTHEW: Anybody hurt?
MEDICAL OFFICER: Rankin's dead and Kent. And Corporal Wright was hit. Thank God the stretch bearers were there.
MATTHEW: Let me see what the damage is now.
MEDICAL OFFICER: Sir.
(The soldier straightens in solute and exits. Matthew is about to follow, but goes back for Mary's lucky charm. Out in the trenches, Matthew ducks and covers as a bomb explodes, then continues.)
MATTHEW: All right?
SOLDIER: Morning, sir.
Matthew continues, then ducks and covers again. When he looks up, he sees Thomas Barrow, the former First Footman.
MATTHEW: Thomas? It is Thomas, isn't it?
THOMAS: Corporal Barrow now, Mr Crawley.
MATTHEW: You'll never guess where I've just been.
EXT. DOWNTON
Bates takes one last look at Downton Abbey before the open carriage takes off with him and his wife. Anna cries as she watches from the house.
INT. LADY SYBIL'S BEDROOM
The ladies help Sybil pack.
VIOLET: Where's Anna?
HUGHES: She's not feeling very well today, Your Ladyship. I've taken over for the time being.
VIOLET: Oh, that's so kind of you. Just make sure Lady Sybil packs things she can get in and out of without a maid.
(Edith starts to pack an evening gown.)
SYBIL: Oh, I don't need that. I'd never wear it.
EDITH: But you must have something decent. Suppose you're invited to dinner.
SYBIL: I know this is hard for you to grasp, but I'm not there to go out to dinner. I'm there to learn.
MARY: Take one, just in case.
EDITH: We'll miss you.
SYBIL: Don't be silly. It's only two months. And I'll come home if I can.
EDITH: Why don't I drive you?
VIOLET: She's taking enough chance with her life as it is.
EDITH: Oh, Granny.
VIOLET: What is this driving mania?
EDITH: It'll be useful. They won't let a healthy man drive us around for much longer. And if Sybil can be a nurse, why can't I be a chauffeur?
VIOLET: Well, I shall leave you. I have been summoned by Cousin Isobel for tea. Goodbye Sybil. And good luck with it all.
SYBIL: Thank you for being such a sport.
VIOLET: It's a big step you're taking, dear. But war deals out strange tasks. Remember your Great Aunt Roberta.
MARY: What about her?
VIOLET: She loaded the guns at Lucknow.
CORA: I'll come with you. I'll tell William to fetch the bags. The first one to leave the nest.
Cora exits.
EDITH: Poor Mama. She always feels these things so dreadfully.
MARY: That's her American blood.
SYBIL: I'm so glad we've settled everything with Cousin Matthew. Aren't you, Mary?
MARY: Oh, please stop treading on eggshells. I've other fish to fry.
EXT. DOWNTON
Sybil waves to her mother and sisters from the car. She begins to cry as they drive away.
INT. CRAWLEY HOUSE
VIOLET: I make no apology. It would be a terrible thing if poor old Mr Molesley's son were killed, wouldn't it Molesley?
ISOBEL: I'm sure it would, but--
VIOLET: And then I heard William's father would be left on his own if anything happened to the boy. And what would become of Carson if the last of his staff were to go?
ISOBEL: That's not the point.
VIOLET: Do you want Molesley to die?
(Molesley looks a bit shocked, and Dr Clarkson closes his eyes pinches the bridge of his nose as he listens to them bicker.)
ISOBEL: Of course I don't.
VIOLET: Well...
ISOBEL: I don't want my own son to die either, but this is a war, and we must be in it together. High and low, rich and poor. There can be no special cases, because every man at the front is a special case to someone.
DR CLARKSON: Mrs Crawley is right. I understand your motives, Lady Grantham, and I do not criticise them.
VIOLET: Thank you.
DR CLARKSON: But I shall write to the ministry at once, correcting the misinformation. Good day. I'll see myself out.
ISOBEL: Molesley, you understand why I said what I did?
MOLESLEY: Indeed, I do, ma'am.
ISOBEL: You won't be called up at once. Not while there are younger men to be taken.
VIOLET: But they'll get you in the end, Molesley. And you can blame Mrs Crawley when they do.
INT. MR CARSON'S OFFICE
Mrs Hughes finds Mr Carson writing at his desk.
HUGHES: I wish you'd stop working for one minute. At least put the light on or you'll strain your eyes.
(Mr Carson sighs and turns on the table lamp.)
CARSON: It's getting dark so early now. Has she gone?
HUGHES: She has. So, we've lost Mr Bates and Lady Sybil in one day.
CARSON: I can't believe it. I suppose I'll have to look after His Lordship now on top of everything else.
HUGHES: And I don't want any jokes about broomsticks and sweeping the floor.
CARSON: His Lordship's got his regimental dinner in Richmond tonight. That means he'll be in the full fig.
HUGHES: You'll manage.
CARSON: You know, when Mr Bates first came to this house, I thought he could never do the work, but now I can't imagine the place without him. Did you see this coming, because I didn't.
HUGHES: I have a confession. I let them have their tea in my sitting room.
CARSON: That was nice of you.
HUGHES: It was...quite nice, but I had my reasons. There's a grating on the wall, which means you can hear what's being said in the room.
CARSON: Now, if I was a gentleman, I wouldn't want to know.
HUGHES: But you're not.
CARSON: Fortunately.
EXT. YORK, HOSPITAL
Branson carries Sybil's bags as they walk into the hospital courtyard where the wounded men are exercising. Several are missing limbs. Branson puts her bags down in a stone corridor.
SYBIL: It'll be hard to let you go, my last link with home.
TOM: Not as hard as it is for me.
SYBIL: Branson...
TOM: I know I shouldn't say it, but I can't keep it in any longer.
SYBIL: I wish you would.
TOM: I've told myself and told myself you're too far above me, but things are changing. When the war is over, the world won't be the same place as it was when it started. And I'll make something of myself, I promise.
SYBIL: I know you will.
TOM: Then bet on me. And if your family casts you off, it won't be forever. They'll come around. And until they do, I promise to devote every waking minute to your happiness.
SYBIL: I'm terribly flattered.
TOM: Don't say that.
SYBIL: Why not?
TOM: Because flattered is a word posh people use when they're getting ready to say "no."
SYBIL: That sounds more like you.
TOM: Please don't make fun of me. It's cost me all I've got to say these things. Right. I'll go. I'll hand in my notice, and I won't be there when you get back.
SYBIL: No, don't do that.
TOM: I must. They won't let me stay when they've heard what I said.
SYBIL: They won't hear. Not from me.
EXT. BATTLEFRONT TRENCHES
Thomas and anther stretcher bearer carry a man through the trenches.
THOMAS/ Bloody hell! There must be more to life than this!
(A bomb hits nearby and they drop the stretcher as they're knocked off their feet.)
STRETCHER BEARER: You all right, Corporal?
THOMAS: I think so. Yeah, I'm all right.
(The stretcher bearer takes out a cigarette case. Thomas checks the soldier they dropped. He's dead.)
STRETCHER BEARER: You won't believe it back home where I come from. I thought, "Medical Corps. Not much danger there." How wrong can one man be? Here.
(The stretcher bearer offers his cigarette to Thomas.)
STRETCHER BEARER: I think it comes down to luck. If a bullet's got your name on it, there's nothing you can do. If not, you thank God you're alive...
(A bullet runs through the stretcher bearer's helmet. He drops right in front of Thomas, who panics.)
OFFICER: Get these bodies away! Come on Corporal Barrow!
INT. RICHMOND
The fine silver and candelabra adorn the dining room table.
ROBERT: I cannot tell you how pleased I am to be here tonight, sir.
GENERAL: Well, we are very pleased to have you here, Grantham.
ROBERT: You see, just to know I'm with you all. To sense that I belong here. It's as simple as this: I no longer feel like a fraud.
INT. HOSPTAL, CORRIDOR
Mr Molesley broods in the hospital corridor, waiting for Dr Clarkson.
DR CLARKSON: Mr Molesley, what are you doing here?
MOLESLEY: I was waiting to see you, Doctor.
DR CLARKSON: How can I help?
MOLESLEY: It's just, I was wondering whether you'd written that letter, the one you spoke of this afternoon.
DR CLARKSON: To the war office? Not yet. I'm sorry you were involved in all that. I should've checked with you first before I interfered.
MOLESLEY: Well, that's just it, you see, I think if you had checked with me, y--you'd have found exactly what Lady Grantham described.
DR CLARKSON: I don't quite...
MOLESLEY: I have trouble with my lungs. I get sort of...breathless sometimes. I-- I've noticed it's getting worse. They haven't written to William yet. The Ministry, I mean. They have discharged me. Why don't just make extra work for them to have to fail me all over again?
DR CLARKSON: Very well. I shall correct my statement as regards William. But make no mention of you.
MOLESLEY: Thank you, Doctor.
DR CLARKSON: It's all right. But Molesley. I hope you will help the war effort...in other ways.
INT. RICHMOND
The officers sit down to drinks.
ROBERT: When might the regiment be wanted, sir? The talk at dinner suggested it might be soon.
GENERAL: Oh, pretty soon I'd say.
ROBERT: Well, I'm as ready now as I'll ever be.
GENERAL: For what?
ROBERT: To go to France...with the regiment.
GENERAL: Why would you do that?
ROBERT: Because I'm their Colonel, of course. Well, there must be some use for me over there.
GENERAL: My dear fellow, we're not as heartless as that. The position's only an honorary one. Nobody expects you to go to war.
ROBERT: An honorary one?
GENERAL: We thought it'd cheer things up a bit to have the Lord Lieutenant at our table. And so it does. We're very glad to welcome you here.
ROBERT: I see.
GENERAL: We old codgers have our work cut out for us, keeping spirits high at home. Someone must.
ROBERT: Oh, indeed, sir.
GENERAL: Was that Cavendish? I must catch him before I go.
INT. LADY GRANTHAM'S BEDROOM
O'Brien prepares Cora's hair for bed.
O'BRIEN: So, Lady Sybil got off all right in the end. I'm afraid we have to admit, she knows what she wants.
CORA: Yes. She certainly does.
O'BRIEN: I don't suppose the war will leave any of us alone by the time it's done. I had a letter from Thomas the other day. He writes that, when he thinks about how things used to be, it seems like a dream. Not much more than two years ago, but he says he might as well be a century.
CORA: So you hear from Thomas? Is he well? Please give him my regards.
O'BRIEN: He's well enough, my lady. I don't think he'd mind coming home.
CORA: Oh, I wish he could, O'Brien.
INT. LORD GRANTHAM'S DRESSING ROOM
ROBERT: Of course, if Bates hadn't been so bloody selfish, he would've let us plan for his departure properly.
CARSON: Your Lordship, I have information that I have no proper claim to.
ROBERT: Well, what is it?
CARSON: Well, if Your Lordship can assure me that you'll keep it to yourself.
ROBERT: I promise, Carson. You can drop the last veil.
CARSON: Well, I feel it is only right to tell you that Mr Bates's leaving was not selfish. Quite the reverse.
ROBERT: Felt selfish to me. As for the wretched Anna, with dishonest promises.
CARSON: Mr Bates left because, had he not done so, his wife was planning to engulf this house in scandal.
ROBERT: In scandal? What scandal?
CARSON: The point is, my lord, Mrs Bates would've made Downton notorious. The price of her silence was her husband's return.
ROBERT: But I must know what story she was planning to tell.
CARSON: I'm sorry, my lord. I could not speak of it without injuring you and betraying myself.
ROBERT: But you are saying that Bates fell on his sword to protect the reputation of my family.
INT. DRAWING ROOM
Ethel is dusting an electric plug by in the near dark. Carson is about to close the doors when he hears the rustling of her duster. He enters and checks on her.
CARSON: Ethel, what are you doing?
ETHEL: Seeing to the plugs for the night.
CARSON: What?
ETHEL: Polishing the electric plugs and checking them for vapours.
CARSON: And why are you doing this?
ETHEL: Because you were too busy. She said you usually did it, but could I manage it tonight.
CARSON: And "she", I take it, would be Miss O'Brien.
(Mr Carson gives Ethel a look, revealing her naivety.)
CARSON: Go to bed, Ethel. And next time she gives you an order, ask me first.
INT. LADY GRANTHAM'S BEDROOM
Robert absentmindedly removes his robe, lost in thought.
CORA: Is anything the matter?
ROBERT: Nothing. Except that today has shown me I am not only a worthless man, but also a bad tempered and ungrateful one.
CORA: Well, we all know that. Can I help? I wonder how Sybil's feeling.
ROBERT: The war's reaching its long fingers into Downton and scattering out chicks. But I'm glad we made peace with Matthew.
CORA: I agree. Let us thank Sir Richard Carlisle for distracting Mary at just the right moment. By the way, she wants him to come and stay so we can all meet him.
ROBERT: She wants us to invite a hawker of newspaper scandal to stay as a guest in this house? It's lucky I have a sense of irony.
INT. HOUSEMAIDS' BEDROOM
Anna enters to find Ethel sitting on the bed crying.
ANNA: Not you, too.
(Anna puts her lamp on the mantel and pulls up a chair beside Ethel.)
ANNA: What's the matter?
ETHEL: Why ask? You don't care.
ANNA: Ethel...perhaps if you stop going on about all the marvellous things you're going to do when you leave service.
ETHEL: But you've got to have dreams. Don't you have any dreams?
ANNA: Of course I do. Big dreams.
(Anna is close to tears.)
ANNA: It's just, I know now they won't be coming true.
(Ethel takes Anna's hand to comfort her.)
INT. LADY MARY'S BEDROOM
Mary kneels by her bed, looking at a photo of Matthew. She folds her hands, but hears the door knob turn and quickly shoves the photo under the blanket and stands up. Edith enters.
MARY: What do you want?
EDITH: I think I left my book in here.
(Mary finds the book and hands it to Edith. Edith smiles in amusement.)
MARY: Is that all?
EDITH: You were praying.
MARY: Don't be ridiculous.
EDITH: You were praying. What were you praying for?
MARY: Please go, I'm tired.
(Edith leaves. Mary kneels beside the bed again and pulls out Matthew's photo. She folds her hands.)
MARY: Dear Lord, I don't pretend to have much credit with you. I'm not even sure that you're there. But if you are, and if I've ever done anything good, I beg you to keep him safe.
EXT. BATTLEFRONT TRENCHES
Matthew walks through the quiet trenches. He finds Thomas sitting in a shelter, having some tea.
MATTHEW: You look very comfortable there, Corporal.
THOMAS: Would you like some, sir? We've got condensed milk and sugar.
MATTHEW: I won't ask how you managed that.
(They sit in the shelter and Thomas pours Matthew a drink while he removes his helmet. Thomas hands him the drink.)
THOMAS: Go on, sir.
MATTHEW: That's nectar. You sure you can spare it?
THOMAS: Gladly. If we could talk about the old days and forget about all this for a minute or two.
MATTHEW: Do you ever hear from anyone?
THOMAS: Oh, yes. Miss O'Brien keeps me informed. Lady Edith's driving. Lady Sybil's training as a nurse. Miss O'Brien tells me the hospital's busier than ever with the wounded coming in. That true?
MATTHEW: Certainly is. They had a concert when I was there to raise extra funds.
THOMAS: I'm curious, sir. Do you think I could ever get a transfer back to the hospital, seeing as it's war work?
MATTHEW: Well, you'd have to be sent home from the front first. And then you might have to pull a few strings.
(Matthew finishes his tea.)
MATTHEW: Thank you for that. Thank you very much.
THOMAS: What would my mother say? Me entertaining the future Earl of Grantham for tea.
MATTHEW: War has a way of distinguishing between the things that matter and the things that don't.
They put their helmets back on and exit the shelter. They solute each other and Matthew leaves. Thomas pauses for a moment and then makes his way through the trenches. He finds a lonely spot and begins to panic as he puts out a cigarette and lighter. His panic rises as he holds up the lighter above the top of the trench. A shot rings out and he pulls his hand in, cradling the bloody wound.
THOMAS: Thank you. Thank you for my deliverance.
End of the episode.
Ecrit par Stella