OPENING CREDITS
INT. YORK PRISON. DAWN
A warder opens a locked door and Bates, in hat and coat, walks through.
EXT. YORK PRISON. DAWN
A car pulls up. Anna is sitting in the back.
EXT. MAIN GATE. YORK PRISON. DAWN
Bates walks towards the main gate, which is opened for him.
EXT. YORK PRISON. DAWN
Anna sits in the car with a chauffeur waiting in the cold, early light. At last a small door, set into the great wooden gate, opens and Bates emerges. Anna hurries out of the car. For a moment they stare at each other, and then Anna runs forward and they embrace.
ANNA: Thank God.
BATES: Yes. Thank God. And you.
(They kiss)
EXT. DOWNTON. DAY
Bates and Anna are in the car, approaching Downton.
INT. SERVANTS’ HALL/PASSAGE. DOWNTON. DAY
The servants are all having breakfast.
ALFRED: How do we speak to him?
MRS HUGHES: Normally. How do you think you speak to him?
JIMMY: But what about prison, or do we pretend it’s never happened?
BATES: I don’t think that’ll be necessary.
(He is standing there with Anna. Everyone crowds round)
CARSON: Welcome back, Mr Bates. I have waited a long time to say that.
BATES: Thank you, Mr Carson.
MRS HUGHES: Too long. Now come and sit down.
MOLESLEY: Give us yer coat.
MRS HUGHES: Mrs Patmore, can you find something for Mr Bates to eat?
MRS PATMORE: I certainly can. Daisy! Ivy! Stir your stumps and get some breakfast for our returning hero!
ANNA: Can’t I have some?
BATES: Who’s Ivy?
ANNA: The new kitchen maid.
(Bates sees Thomas standing there)
BATES: Thomas. Still here, I see.
THOMAS: Mr Barrow, now, Mr Bates. And yes, I’m still here. And busy as a bee.
CARSON: There have been some changes since… since you’ve been away. You will have heard about Lady Sybil.
BATES: Yes, I’ve heard. Anna took a letter from me to her ladyship.
MRS PATMORE: There we are.
(She puts some food before Bates)
BATES: Thank you, Mrs Patmore.
MOLESLEY: Can we all have one of those?
(They all laugh)
DAISY: Welcome back, Mr Bates.
BATES: Thank you, Daisy.
We hear Carson introduce the new faces as Anna walks into the passage and removes her coat to hang it. Mrs Hughes follows.
MRS HUGHES: Anna, we’ve always skirted round the subject, but I hope Mr Bates knows how very sorry I was. To be used in that way at the trial.
ANNA: To be quite honest, Mrs Hughes, he forgave you long before I did. He knew you only said what was true.
MRS HUGHES: Even so, to see justice done at last takes a weight from my mind.
INT. DINING ROOM. DOWNTON. DAY
Robert, Matthew, Branson and Edith are having breakfast. Robert feeds Isis while Edith is readingva letter.
MATTHEW: Something nice?
EDITH: The editor’s written back, repeating his offer.
ROBERT: He knows he’s on to a good thing.
EDITH: He wants to meet me. He asks if I’m ever in London.
MATTHEW: Why not? You could see Rosamund and buy some new clothes.
ROBERT: He only wants to persuade you to write for his horrible paper.
EDITH: Still, I think I will go. It seems rude not to, in a way, and I haven’t been to London for ages. Excuse me.
She stands and leaves. Robert looks at Matthew.
ROBERT: Please don’t encourage her.
MATTHEW: But I think it’s a good idea.
(Robert clearly does not agree. He also stands)
ROBERT: I gather you’ve trapped poor old Jarvis into a meeting.
MATTHEW: It won’t take long. But he is the agent and there are things we must get started on, if you agree.
ROBERT: Oh, I’m glad you still think my agreement has a part to play.
(He leaves. Branson looks at Matthew)
BRANSON: Are you sure you wouldn’t rather just cut and run, like me?
INT. HALL. DOWNTON. DAY
Followed by Isis, Robert is walking away from the dining room when he sees Bates waiting by the staircase.
ROBERT: Bates! My dear fellow! I didn’t know you were here already!
BATES: They let you out at dawn. Thank you for sending Anna in the car.
ROBERT: Nonsense. Where have they put you?
BATES: In my old room, m’lord.
ROBERT: Well, that won’t do. I’ll ask Jarvis how far they’ve got with finding a cottage.
BATES: Thank you… About Thomas —
ROBERT: He’s called Barrow, these days.
BATES: Yes. He would be.
ROBERT: I’ll sort it out, Bates. I promise. But in the meantime, you just rest. Stay in bed, read books.
BATES: If you’re to pay me a wage, I have to make myself useful.
ROBERT: For now, just enjoy being free. Heaven knows you deserve it.
(Robert leaves, with Isis in tow)
EXT. CRAWLEY HOUSE. DAY
A car pulls up, and Ethel, who is picking herbs from the garden, runs inside.
INT. DRAWING ROOM. CRAWLEY HOUSE. DAY
Isobel is with Violet.
ISOBEL: But you didn’t walk out of my luncheon when Robert asked you to.
VIOLET: Well, that luncheon was to support Cora in her grief. It did not seem appropriate to let the whole thing end in chaos and a quarrel.
ISOBEL: So you don’t think I should have given Ethel a second chance?
VIOLET: I do not criticise your motives, but did you really consider? Ethel is notorious in the village.
ISOBEL: I don’t think so.
VIOLET: I know so. You have surrounded this house with a miasma of scandal, and touched all of us by association.
ISOBEL: I think one must fight for one’s beliefs.
VIOLET: And is poor Ethel to be the cudgel by which you fight your foes?
(The door opens. Ethel appears with a tray of coffee things)
ISOBEL: Ah, Ethel.
(Isobel gets up to close the door behind Ethel)
ISOBEL (CONT’D): I was telling Lady Grantham how your cooking has come on.
ETHEL: I’m studying, m’lady. These days, a working woman must have a skill.
VIOLET: But you seem to have so many.
EXT. GARDENS. DOWNTON. DAY
Robert is walking with Cora.
CORA: I don’t see how you can just sack him. He’s done nothing wrong.
ROBERT: He can’t have expected to stay my valet once Bates was released.
CORA: Ask Carson. He’ll have some ideas.
(In the distance a nurse is wheeling a perambulator)
CORA: Poor little girl.
ROBERT: Has Branson said anything more about moving out?
CORA: How can he move out before he’s found a job? How can you want him to? He’s our responsibility now, Robert, he and the baby. We owe that to Sybil.
(But he does not answer and instead looks away)
ROBERT: I must get on. I’ve got this meeting with Jarvis and Matthew.
INT. SERVANTS’ HALL. DOWNTON. DAY.
Bates and Anna are there, along with Thomas and some of the others. Anna cleans a gold fringe, while Ivy lays the table.
ANNA: Stop fidgeting.
BATES: Give me that cloth.
(She does. He starts to help sponging and shining the fringe)
THOMAS: You got any plans, Mr Bates?
BATES: It’s rather early to say. His lordship suggested I have a rest.
MOLESLEY: I expect you’ll be looking for something to do, Mr Barrow. Now that Mr Bates is back.
(He has only voiced the thoughts of everyone in the room)
THOMAS: I wouldn’t be too sure about that.
ALFRED: They’re showing a film tonight in the village hall. Way Down East. It’s about a wronged woman who survives in the wilderness, through her own wits and courage.
O’BRIEN: Blimey. They’ve stolen my story.
ALFRED: Lillian Gish is in it.
IVY: I like her.
ALFRED: There’s a late showing tonight, half past ten, for local servants. What about it?
(Ivy is quite interested, in spite of herself)
IVY: Will you come with us?
JIMMY: I haven’t got a ticket.
IVY: You could get one.
JIMMY: Sounds a bit soppy, to be honest.
IVY: Well, I’m not going with Alfred on my own. My mum wouldn’t like it.
MRS HUGHES: She would not, and nor would I. You may go if Madge or Alice go with you. But not otherwise.
(Alfred looks over to the maids. Two of them smile and nod)
IVY: All right. If Mrs Patmore agrees. Straight there and back, mind.
(Alfred is thrilled, Jimmy snorts with derision)
INT. LIBRARY. DOWNTON. DAY
Robert, Matthew and an elderly man, Jarvis, are standing over some plans on the table.
JARVIS: This means the overhaul of every part of the estate we hold in hand, and some large new parcels in addition. All in an instant.
MATTHEW: But don’t you see? If we invest in new machinery, new methods and new techniques, the whole estate must benefit by it. And as for taking new lands in hand, we won’t be running it as separate farms. We’ll find another use for some of the farmhouses…
ROBERT: This is ridiculous! Downton has existed for hundreds of years in perfect harmony. We have worked with the farmers as partners. Now you want to blow it all to smithereens…
MATTHEW: Of course I don’t, but…
JARVIS: If I may, my lord. Mr Crawley, you are very new to our way of life here…
MATTHEW: I beg your pardon!
ROBERT: There’s no point biting Jarvis’s head off, you are new to it.
MATTHEW: Must I remind you of the state the place was in a few months ago?
ROBERT: That was nothing to do with the way we run it! The money was lost in a bad investment.
MATTHEW: Yes. And you’ve been bailing the place out with Cora’s fortune. You have been for years. Downton must be self-supporting if it’s to have a chance of survival!
(His voice has been raised and, as he stops, they all three realise this and become embarrassed)
ROBERT: Well. You’ve given us plenty to think about. Hasn’t he, Mr Jarvis?
JARVIS: He has indeed, Lord Grantham.
EXT. DOWNTON VILLAGE. DAY
Ethel comes out of the shop. She is crying and she stops to wipe her eyes. Violet has seen this as she is driven past in her car.
INT. HALL. DOWNTON. DAY
Cora, Robert, Branson and Edith emerge from the dining room. Matthew and Mary are behind them. Matthew talks softly.
MATTHEW: I’m afraid I must involve Murray.
MARY: But Papa employs Mr Murray.
MATTHEW: The estate employs Murray, and the estate needs his help.
Edith leads the way with Branson, Robert and Cora.
EDITH: I’ll be back on Tuesday.
CORA: Are you going to take the job?
EDITH: I haven’t decided.
ROBERT: Don’t be ridiculous.
(He walks into the drawing room. The others follow)
INT. DRAWING ROOM. DOWER HOUSE. DAY
Violet is with Edith, having tea.
VIOLET: Why would I persuade your father otherwise, when I agree with him?
EDITH: How can you say that, when you keep telling me to find something to do?
VIOLET: I meant run a local charity, or paint watercolours or something.
EDITH: Well, I’m going to London to see the editor tomorrow, and if I like him then I’m going to say yes. I don’t want to fall out with Papa…
VIOLET: But you do want to be notorious.
EDITH: No, I don’t. Not at all. But I don’t want to be invisible, either. I’ve had enough of it.
(Violet considers this for a moment)
VIOLET: Very well. I’m coming up tonight. I’ll see what I can do. But I want a favour in return.
INT. DRAWING ROOM. CRAWLEY HOUSE. DAY
Ethel, looking bleak, has brought in tea for Isobel.
ISOBEL: Ethel? What’s the matter?
ETHEL: I had rather a nasty encounter in the village, that’s all.
ISOBEL: What sort of encounter?
ETHEL: Mrs Bakewell refused to serve me. In the end her husband did, but it wasn’t very nice.
ISOBEL: We shall take our business elsewhere.
ETHEL: There’s no need for that, ma’am. I’m used to it.
ISOBEL: You shouldn’t have to be.
INT. KITCHENS. DOWNTON. DAY
Alfred and Jimmy saunter in to find Ivy working.
ALFRED: Are you all set for this evening?
MRS PATMORE: If you mean have I allowed Ivy to go out when it’s not her half day, I have, but why, I could not tell you. Bring them all home safe.
ALFRED: If that’s Béchamel, why don’t you use parsley or mace?
MRS PATMORE: I do. But I boil it in the milk beforehand. I made it last night.
JIMMY: Oh, leave her alone, you big ninnie.
MRS PATMORE: There’s nothing wrong with a man who can cook. Some say the best cooks in the world are men.
JIMMY: And do we think this sad beanpole will be the best cook in the world?
CARSON: Why do you always feel the need to be so unpleasant, James? What’s Alfred ever done to you?
(He is standing in the doorway. He delivers his next speech towards Alfred as he turns and goes)
CARSON: You can take in the fish and meat tonight. James can follow with the sauce.
JIMMY: But I should be the first footman.
IVY: Course you should.
(Hearing this, a furious Daisy appeals to Alfred)
DAISY: Listen to her! You’re taller than him! You’ve been here longer than him! Why are you taking her to the pictures, when she talks like that?
ALFRED: Well, I’ve got the tickets now. So…
INT. NIGHT NURSERY. DOWNTON. DAY
Mary looks in, to find Branson holding the baby on his lap.
MARY: Don’t get up.
(She sits down next to him, playing with the baby’s feet)
MARY: How’s the christening going?
BRANSON: It’s all arranged with the Catholic church in Ripon.
MARY: Weren’t you going to tell us?
BRANSON: You and Matthew. I didn’t think the others would want to know.
MARY: Please give them a chance to behave properly.
BRANSON: I wondered if you’d be a godmother?
MARY: Am I allowed to be?
BRANSON: As long as at least one of them is Catholic, and my brother’s coming over. He’ll stay in the village.
MARY: No, he won’t. He’ll stay here.
BRANSON: He’s a bit of a rough diamond.
MARY: I’m very fond of diamonds.
EXT. DOWNTON GROUNDS/COTTAGE. DOWNTON. DAY
Anna and Bates are together, looking around.
BATES: I still can’t believe I’m here. I keep pinching myself.
ANNA: Believe.
BATES: Which one would be ours?
ANNA: Well, they won’t move Mr Chirk or the Tripps, but Mrs Bow wants to live in the village, so we might get hers.
BATES: None of which solves the problem of what I’m going to do.
ANNA: Your job, of course. They’ll have to give Thomas his notice.
BATES: Mr Barrow.
ANNA: Mr Stick-It-Up-Your-Jumper. He’ll have to go.
(He looks at her, and smiles)
BATES: Revenge is sweet.
INT. NIGHT NURSERY. DOWNTON. EVE
This is a converted spare room with a changing table. A nurse tidies up while Branson watches Cora play with the baby.
CORA: Sybbie, precious? I think she’s starting to recognise her name.
BRANSON: Sybbie? Not Sybil?
CORA: The same but different… Mary tells me the christening is all arranged. May we come?
BRANSON: If you want. I didn’t think Lord Grantham would feel comfortable.
CORA: Nurse? It’s time for our bath.
(The nurse moves forward, takes the baby and goes out)
CORA: We mustn’t give them too much to talk about downstairs… So have you made any more plans?
BRANSON: My brother is coming over for the christening. He’s written that he’s moving to Liverpool and he’d like me to go into business with him.
CORA: When does he arrive?
BRANSON: The night before the service. Mary wants him to stay here, but I’m not sure it’s a good idea.
CORA: She didn’t say anything to me.
BRANSON: Perhaps it’s to be a surprise.
INT. KITCHENS/PASSAGE. DOWNTON. EVE
Alfred is taking the plate of fish. He walks out first. Jimmy has the sauce.
JIMMY: Look at him. He can’t balance it.
MRS PATMORE: Leave him alone. Up you go.
(Jimmy passes Thomas)
JIMMY: It’s a flippin’ insult. Just ’cos he’s ten foot tall.
THOMAS: You’re right.
JIMMY: I’ve got a good mind to…
THOMAS: Ah, ah. Don’t do anything you’ll regret. These things can be managed, but not by losing your temper.
(Jimmy walks on. O’Brien is watching)
O’BRIEN: You make a cosy couple, I must say.
THOMAS: I don’t think so.
O’BRIEN: That’s not what I’ve heard. Alfred says he’s always going on about you. Silly, sloppy stuff. Alfred’s sick and tired of it, and no wonder.
THOMAS: He’s making it up.
O’BRIEN: Have it your own way.
(Thomas walks on, with a lot to consider)
INT. SERVERY/DINING ROOM. DOWNTON. EVE
Alfred is preparing, nervously. Jimmy comes in.
ALFRED: Right…
JIMMY: Don’t put them like that.
(He rearranges the spoon and fork at the edge of the dish)
JIMMY: They’ve got to be able to get hold of them.
(Carson appears at the doorway. He nods)
CARSON: Come along.
INT. DINING ROOM. DOWNTON. NIGHT
Violet, Isobel and the family are all present.
MATTHEW: I’ve asked Mr Murray to come up. So we can talk it through together.
ROBERT: You’ve asked Murray? To come here? Without consulting me?
MATTHEW: I felt I wasn’t explaining things well, and I know he can.
(Alfred has reached Violet on Robert’s right)
VIOLET: Oh, lovely. What a treat.
Alfred leans in. The spoons fall into Violet’s lap. He makes a grab for them and deposits some fish there as well.
VIOLET: Oh!
CARSON: Oh, my, your ladyship!
VIOLET: No fuss, no fuss. Just scrape me down and get me a spare napkin.
JIMMY: I’ll take that.
He removes the dish from a defeated Alfred and hands him the sauce. He moves on to Robert, who helps himself. Violet talks on as Carson is putting her to rights.
VIOLET: I saw your cook in the village today, Isobel. She seemed upset.
ISOBEL: Yes. Mrs Bakewell was rather unkind.
MARY: Mrs Bakewell? In the shop? How odd. Why?
(She then remembers whom they are talking about)
MARY: Oh. I suppose we know why.
ISOBEL: It seems a pity that, even in this pretty little village, people can be so unforgiving.14
ROBERT: Some people are unforgiving; others are insensitive.
CORA: What time do you leave in the morning?
EDITH: I thought I’d get the ten o’clock. I’m meeting him for tea.
CORA: And you’re sure Aunt Rosamund doesn’t mind giving you a bed?
EDITH: She didn’t seem to.
ROBERT: You’re not encouraging this?
CORA: She hasn’t agreed to anything yet.
MATTHEW: Well, I hope she does agree. I think she’ll get a lot out of it.
ROBERT: Mama, talk to her. Talk to all of them. Say something sensible.
ISOBEL: Yes. Let’s hear how a woman’s place is in the home.
VIOLET: I do think a woman’s place is eventually in the home, but I see no harm in her having some fun before she gets there.
EDITH: Oh, Granny! Thank you!
ISOBEL: Have you changed your pills?
VIOLET: And another thing. Edith isn’t getting any younger. Perhaps she isn’t cut out for domestic life.
This casts something of a pall over the proceedings.
MATTHEW: How are your plans proceeding, Tom?
BRANSON: I was telling Lady Grantham. My brother has a garage in Liverpool. He’s asked me to go in with him.
MARY: The brother who’s coming to stay?
BRANSON: Yes. Kieran.
ROBERT: Why is he coming here?
MARY: For the christening.
(For Robert, this is the tin lid. Silence falls)
INT. SERVANTS’ HALL. DOWNTON. NIGHT
They are finishing dinner. Alfred is in a state.
O’BRIEN: How did he rearrange the spoons?
ALFRED: He put them right on the edge of my plate, but I’m not saying it was deliberate.
JIMMY: I hope you’re not, ’cos I was trying to help.
CARSON: Well, I think Alfred can manage without your help in future, James. And next time, will you wait to be asked before you take charge?
MRS PATMORE: Are you still here?
(She has just come in. Daisy and Ivy are clearing)
CARSON: Perhaps Alfred no longer wants to go to the pictures. He may want to ponder his mistakes instead.
MRS HUGHES: Of course they’re going.
IVY: Are we?
CARSON: Yes. You can go. I will not withdraw my permission. But as you walk, you might contemplate what it is to waste a chance when it is given. I believed in you, Alfred, and you have disappointed me.
IVY: I’ll get my coat.
The young couple leave. Mrs Hughes looks at Carson.
MRS HUGHES: I s’pose you never wasted a chance.
CARSON: Well, if I did, I learned from it, and that’s all I’m asking from him.
MRS HUGHES: That and some ritual humiliation.
(Further down the table, O’Brien nods at the defeated Jimmy)
O’BRIEN: Silly duffer. I expect he’s waiting for you to console him, Mr Barrow.
INT. MARY’S BEDROOM. DOWNTON. NIGHT
Matthew is in bed. Mary gets in beside him.
MARY: You shouldn’t have rung Murray without telling Papa.
MATTHEW: You berate me for not wanting to take responsibility, and now you tell me off for doing just that. You can’t have it both ways.
MARY: I can if I want to.
(She leans in and kisses him)
MARY: What’s the matter?
MATTHEW: Do you think I should see someone?
MARY: What?
MATTHEW: If there’s anything wrong then it’s obviously my fault. You know what they told us when I was wounded.
MARY: But they were wrong. They said so.
MATTHEW: I wonder. All doctors pretend to know more than they do.
MARY: Darling, please don’t worry. I’m sure there’s nothing wrong.
MATTHEW: That’s the point. We’re not sure.
EXT. THE DRIVE. DOWNTON. NIGHT
Alfred and Ivy walk along. The other two maids loiter behind.
ALFRED: It was okay, but I prefer English films with English stars. They seem more real somehow.
IVY: I like the American actors. They’ve got more you-know-what.
ALFRED: And how about Ivy Close in The Worldlings? She makes Lillian Gish look like a village school ma’am.
IVY: Ivy Close. It’s funny to think of a film star having your own name.
ALFRED: There aren’t any with my name.
IVY: No… but there’s a king. The one who burned the cakes.
ALFRED: Well, I hope I won’t be burning any of my cakes in future.
(They both laugh. They do seem well suited)
INT. SERVANTS’ HALL. DOWNTON. NIGHT
Thomas is reading a paper when Jimmy comes in.
JIMMY: Where is everyone?
THOMAS: They’ve gone to bed. Except for the picture-goers. They’re not back.
JIMMY: If I’d thrown a bucket of slop in the old lady’s lap, I wouldn’t be allowed to go to the flicks.
THOMAS: What are you saying?
JIMMY: Mr Carson doesn’t like me. No matter what Alfred does, he still prefers him. It’s not bloody fair.
THOMAS: Well, I love you.
(He says it lightly. Jimmy takes it as a joke)
JIMMY: If you do, you’re on your own.
THOMAS: I’m sure I’m not. What about your family? Where you from?
JIMMY: I don’t have any family, not really. Cousins. You know. No one else.
THOMAS: And your mum and dad?
JIMMY: Dead. My dad was killed in the war and my mother died of the ’flu. I haven’t any brothers and sisters, so there we are. All on me ownsome.
THOMAS: You must get lonely.
JIMMY: Meaning?
THOMAS: I know what it’s like, that’s all. Funny. We’re quite a pair.
(Jimmy doesn’t know how to respond, but Thomas’s tone is kind)
THOMAS: We both like to look very sure of ourselves but we’re not so sure underneath, are we? Still, you’ve no need to worry. Mr Carson may prefer Alfred, but nobody else does.
JIMMY: Don’t they? I wonder. Sometimes I think it’s just Jimmy contra mundi.
O’Brien arrives. She finds a book she left on the table.
O’BRIEN: Was that Latin? I should try it on Mr Carson. Make up some points.
JIMMY: Never mind Latin, I need a magic spell.
O’BRIEN: G’night.
(He goes out. O’Brien shakes her head)
O’BRIEN: He’s a funny one, isn’t he? All bluster and shine on the surface, but something else behind the eyes.
(Thomas is silent)
O’BRIEN: What? Am I not supposed to comment on him because you’ve formed a mutual admiration society?
THOMAS: Whatever it is, it’s not mutual.
O’BRIEN: You can’t pull the wool over my eyes. I know what’s going on.
THOMAS: You’re quite wrong, Miss O’Brien. He’s a proper little ladies’ man.
(O’Brien gives a snort of laughter. He looks at her)
O’BRIEN: If that’s how you want to play it.
THOMAS: What are you going on about?
O’BRIEN: There’s no need to bark. I only know what Alfred tells me.
THOMAS: Well, if he says Jimmy’s interested in me, he’s lying.
O’BRIEN: Oh, dear. Was it supposed to be a secret?
(She gathers up her things and leaves)
INT. JIMMY’S BEDROOM. DOWNTON. NIGHT
Jimmy is getting washed and undressed for bed.
INT. SERVANTS’ HALL. DOWNTON. NIGHT
Thomas sits alone reading the paper, then puts it down.
INT. THOMAS’S BEDROOM. DOWNTON. NIGHT
A vexed and tormented-looking Thomas starts to undress, then sits down, torn by thought.
EXT. THE DRIVE. DOWNTON. NIGHT
Alfred and a giggling Ivy come up the drive.
IVY: You are daft.
ALFRED: Oh, Ivy. I love to be out with you like this. I wish we could make it a regular thing.
IVY: I can’t. I wouldn’t want you to get the wrong idea.
ALFRED: Look, I’m sorry, but Jimmy’s just not interested. I hate to hurt your feelings like that, but he’s not.
IVY: You don’t know that. He flirts with me. He does.
ALFRED: If you knew he wasn’t interested, would that make a difference?
IVY: I’d have to hear it from his lips.
INT. THOMAS’S BEDROOM. DOWNTON. NIGHT
Thomas continues to brood on his bed.
INT. SERVANTS’ PASSAGE/STAIRS. DOWNTON. NIGHT
Alfred forlornly watches Ivy, and then he goes up the stairs.
INT. MENSERVANTS’ PASSAGE. DOWNTON. NIGHT
Thomas comes out of his room in his trousers and vest. He walks down the hall to another door. There is no sound. He opens it and goes inside.
INT. JIMMY’S ROOM. DOWNTON. NIGHT
Thomas comes in. Jimmy is asleep. Thomas closes the door behind him.
INT. STAIRS. DOWNTON. NIGHT
Alfred makes his way up the stairs.
INT. JIMMY’S BEDROOM. DOWNTON. NIGHT
Thomas kneels down by the sleeping face. He strokes the young man’s cheek.
THOMAS: I’m here now.
Thomas sits on Jimmy’s bed. He leans over and kisses his mouth. The sleeping Jimmy almost responds, then he springs awake, just as Alfred walks in and turns on the light.
ALFRED: I’m sorry to wake you, Jimmy, but I’ve got to ask…
(He stops dead. In his eyes, Jimmy is kissing Thomas)
ALFRED: Oh, my…
JIMMY: Get off! Get the bloody hell off me! Will you bloody get off! Alfred, it’s not what you think!
THOMAS: Don’t do that. Please. Alfred doesn’t matter. No one’ll believe a word he says. He’s nothing.
JIMMY: What are you doing? Why are you in here?
THOMAS: Because of what you said. Because of all there is between us.
JIMMY: There’s nothing between us! Except my fist if you don’t get out! And if you tell any…
(But when he looks round, Alfred has gone. Jimmy is standing now, and threatening. Thomas backs away)
THOMAS: But what about… the things you said…
JIMMY: I said nothing except get out! Go on, get out, Thomas!
INT. MENSERVANTS’ PASSAGE. DOWNTON. NIGHT
Thomas is in the passage when Carson opens his door.
CARSON: What is going on?
THOMAS: Nothing, Mr Carson. Jimmy, er, James, had a nightmare. He’s fine, now.
CARSON: Well, go to bed.
(Carson storms off to bed, slamming his door behind him. When Thomas turns round, he sees Alfred looking at him)
INT. SERVANTS’ HALL. DOWNTON. DAY
This is breakfast, but there is an atmosphere you could cut with a knife. Jimmy stares straight ahead. Alfred is nervous. Thomas offers them toast, and they both glare at him.
ANNA: What is it? What’s going on?
MRS HUGHES: James? What’s the matter with you?
JIMMY: Nothing.
MRS HUGHES: Alfred?
ALFRED: Ask Mr Barrow.
(But Thomas speaks before she can. He shakes his head)
THOMAS: It’s nothing. Really.
MOLESLEY: It doesn’t seem like nothing.
(He gives a little laugh and looks round, but nobody joins in. Ivy enters with some more toast. Jimmy looks up)
JIMMY: Ivy? Never mind the toast, you look very tasty yourself, this morning.
CARSON: What did you say?
JIMMY: Well, can’t a red-blooded man compliment a pretty girl?
CARSON: Not at breakfast, for heaven’s sake!
O’BRIEN: Alfred? What’s happened?
(She has whispered, and he whispers back)
ALFRED: Not now.
CARSON: Well, if there is anything I ought to know, I hope I hear about it before the end of the day.
(Alfred looks at Thomas, but Thomas just looks away)
EXT. A STREET IN LONDON. DAY
Edith pulls up in a car, gets out and walks across the street. She is dressed in a smart suit. She finds the entrance she is looking for and goes inside.
INT. GREGSON’S OFFICE. LONDON. DAY
Michael Gregson, forty, is a handsome fellow in a solid sort of way. Edith is with him, holding a cup of tea.
EDITH: This really has been so interesting.
GREGSON: Well, I hope this means that you’re persuadable, Lady Edith.
EDITH: I’ll think about it, I promise. I just felt I had to meet you and see what it would be like.
GREGSON: I assume your father disapproves.
EDITH: Well, it’s the business of parents to worry, isn’t it?
GREGSON: Oh, no. All sorts of toffs are writing for magazines nowadays. Some of them even advertise face creams and cigarettes and the rest of it.
EDITH: I’m afraid Papa would not find that reassuring.
(Which makes him laugh)
EDITH: In fact, if he were here he’d probably just shout ‘Run!’
GREGSON: Will you please make up your own mind, without his advice?
EDITH: I’ll have to think about that, too.
GREGSON: Are you going back to Yorkshire tonight?
EDITH: No. I’m staying with my aunt. I’ve got to look in to the offices of The Lady while I’m here.
GREGSON: Not to write for them, I trust?
EDITH: Oh, no. It’s just something I promised to do for my grandmother.
GREGSON: The Lady? That’s, er, Covent Garden. Here’s an idea. Let’s… Let’s have lunch tomorrow at Rules. If you accept the job we’ll celebrate; if it’s a no, I’ll drown my sorrows. How’s that?
(Edith laughs and they shake hands)
INT. ROBERT’S DRESSING ROOM. DOWNTON. EVE
Thomas is dressing Robert for dinner. He drops his brush.
ROBERT: You seem nervous today, Barrow. Is something troubling you?
THOMAS: No, m’lord.
ROBERT: We will get things sorted out. We won’t leave you in the lurch.
THOMAS: I’d be grateful if you could let me know when you’ve made a decision.
ROBERT: I’ll talk things through with Carson, and we’ll see what we can come up with.
INT. DRAWING ROOM. DOWNTON. NIGHT
It is after dinner, and they are all in there. Across the room, Mary, Matthew and Branson have spread a map of the estate out on the piano.
MATTHEW: It makes no sense to retain this bit as a separate section. No sense at all. But of course Jarvis won’t see that because he hates change.
MARY: Just try to carry Papa with you. That’s all I ask.
MATTHEW: He’ll be with me in the end because this is the only way forward, and at some point he’s going to see that.
MARY: Some point in the near future, I hope.
Carson, Jimmy and Alfred are serving. The young men seem distracted.
CARSON: What’s the matter with you both? You were in a dream all through dinner.
JIMMY: Nothing’s the matter.
Cora is talking to Robert.
CORA: Does Mr Murray want luncheon tomorrow?
ROBERT: No. He’s in York all morning. He’ll come up here afterwards.
CORA: Followed by Tom’s brother for dinner. So it promises to be a day of contrasts.
ROBERT: God in heaven.
(He scratches Isis’s ear)
MARY: What do you think, Tom?
BRANSON: I agree with Matthew. The estate can offer proper compensation to the tenants now, while the money’s there, but if we miss this chance it may not come again.
ROBERT: So says the Marxist.
(He has walked over to listen. Violet has heard this, too)
BRANSON: If you don’t mind my saying so, you’ve a narrow view of socialism.
ROBERT: You seem to have a very broad interpretation of it.
VIOLET: Now, now, children. If Branson is watering down his revolutionary fervour, let us give thanks.
MARY: Tom.
VIOLET: Do you know anything about farming, Tom?
BRANSON: A little. My grandfather was a sheep farmer in Ireland.
CORA: Oh, Mama. Edith telephoned. She’s running your errand in the morning. She’ll catch a train after lunch.
MARY: What errand is that?
VIOLET: She’s just looking for something you can only get in London.
MARY: That doesn’t narrow the field. Did she say if she’d taken the job?
CORA: I don’t think she’s decided.
ROBERT: So there’s still hope, then?
By the table, Jimmy whispers to Alfred.
JIMMY: Why do you keep giving me funny looks?
ALFRED: I’m not.
(Carson speaks softly)
CARSON: What’s going on? Have you both been up to something I don’t know about?
ALFRED: Not both of us.
INT. CORA’S BEDROOM. DOWNTON. NIGHT
Robert and Cora are in bed.
CORA: Are you awake?
ROBERT: I can’t seem to get to sleep. I don’t know why.
(He reaches out and turns on the lamp)
ROBERT: Could you credit Matthew summoning Murray without my permission?
CORA: You keep telling everyone Downton’s a dual monarchy now. I never realised you didn’t mean it.
ROBERT: So, you’re against me over Matthew, the christening and Edith.
CORA: Robert, even your mother spoke up for Edith. Think of that.
ROBERT: A facer, I admit. She’ll have had some reason of her own, of course.
CORA: Is she really so Machiavellian?
ROBERT: Yes.
(With a sigh, he switches out the light again)
INT. RULES RESTAURANT. LONDON. DAY
Edith weaves between the tables, pulling off her gloves. Gregson stands as she approaches the table.
GREGSON: I was afraid you’d stood me up.
EDITH: I’m so sorry. It took much longer than I thought.
GREGSON: What was it about?
EDITH: Oh, just family stuff. An errand for my grandmother.
GREGSON: Are you very family minded?
EDITH: Well, you know. When you live at home with your parents, you’re still in the middle of all of it.
GREGSON: Yes, I saw a picture in the paper of your elder sister’s wedding. She looked very glamorous.
EDITH: People say so.
GREGSON: Am I allowed to say I’m rather pleased you’re not married?
EDITH: I’m a little less pleased.
GREGSON: Oh, dear. That sounds like you’re hiding a romantic secret.
(He is being playful and flirting. Her tone is more acerbic)
EDITH: Not too romantic. A little while ago I was jilted at the altar. Which wasn’t much fun.
(Gregson looks shocked)
GREGSON: Oh dear. I am sorry.
EDITH: Oh, please don’t be. It’s a relief to be reminded I’m not an object of pity to the entire world.
(He reaches out and takes her hand)
GREGSON: I’ve clearly put my foot in it, and now you’ll turn the job down… Please don’t.
(But Edith has recovered. She looks into his worried face)
EDITH: I won’t. Not if you don’t want me to.
INT. LIBRARY. DOWNTON. DAY
Robert and Matthew are with Jarvis and Murray.
MURRAY: Surely, Lord Grantham, you don’t question Mr Crawley’s goal of making the estate selfsufficient?
ROBERT: No. But I question his plans for the employees and tenants in order to achieve it. Can’t we allow things to evolve more gently? As we did in the past.
MURRAY: The past is not much of a model. The third Earl nearly went bankrupt, the fourth only saved the estate by dying, and what would you all have done in the Nineties without Lady Grantham’s money?
ROBERT: I say, Murray. When I asked you to say what you think, I didn’t mean to be taken literally.
JARVIS: Must we talk in this way?
MATTHEW: Yes. I’m afraid so. Thanks to Mr Swire we have another chance, but we have to change our ways. All I’m talking about is investment, increasing productivity and reducing waste…
JARVIS: Waste!
MATTHEW: Yes. The estate has been run very wastefully for many years…
JARVIS: I won’t listen to this!
ROBERT: Now, come on, Jarvis. If I can listen to it, so can you.
JARVIS: No, Lord Grantham, I can’t! Am I to stand here, after forty years of loyal service, to be accused of malfeasance and corruption!
MATTHEW: Nothing of the sort!
MURRAY: Mr Jarvis, I don’t think that was anyone’s intention…
JARVIS: No? That’s what it sounded like to me! Can I rely on you to give a fair account of my career here?
ROBERT: My dear chap, think for a moment. We must both see things have to move forward. My goal is to find the way of least disruption. Won’t you stay and help me with that?
JARVIS: My lord. Will you give me a good reference?
ROBERT: Yes, of course I will.
MATTHEW: Mr Jarvis, if I have offended you, then I offer my sincerest apologies.
JARVIS: Thank you. But I can see that my time here is done. I’m the old broom, Mr Crawley. You are the new. I wish you luck with your sweeping. My lord.
(With that, he goes. The others stare at each other)
INT. CARSON’S PANTRY/SERVANTS’ HALL. DOWNTON. DAY
Mrs Hughes looks in as Carson is comparing a couple of bottles of wine.
MRS HUGHES: Mr Carson. You’d better come.
He stands and together they make their way to the servants’ hall, where they are all having their tea. A large Irishman in a tweed coat is holding court.
KIERAN BRANSON: We always said he’d make something of himself, and so he has.
CARSON: May I help you?
ANNA: This is Mr Branson’s brother.
CARSON: Then what’s he doing down here?
BATES: He won’t go up.
MOLESLEY: He says he’d rather stop with us.
CARSON: Can we fetch Mr Branson, sir?
MRS HUGHES: I’ve already sent Alfred. Here they are now.
Branson, Alfred and Mary are walking down the passage.
BRANSON: Kieran? What are you doing down here? Come upstairs.
KIERAN BRANSON: I don’t fancy it. Can I not stay put? Have my dinner down here?
MARY: But we’re all so looking forward to meeting you, Mr Branson. If you come with us, you can see your room and get changed… If you want to.
KIERAN BRANSON: And what would I change into? A pumpkin?
(All the servants laugh, but compose themselves at a glance from Mary)
KIERAN BRANSON: Come on, Tommy. Can we not eat down here? They seem a nice lot. What’s the matter? You too grand for them, now?
BRANSON: They know I’m not, but my mother-in-law has been kind enough to invite you to stay and dine. And I’ll not let you snub her. Now, get a move on.
Kieran stands, pats Molesley on the back, and they go. Mrs Hughes looks at the butler.
MRS HUGHES: I know. You always said he would bring shame on this house.
CARSON: No, Mrs Hughes. For once, I will hold my tongue. I thought Mr Branson’s respect for her ladyship’s invitation exemplary. And now it’s time for the gong.
(He leaves and Mrs Hughes finds herself facing Anna and Bates)
MRS HUGHES: Well. ‘Mr’ Branson’s done something right, for a change.
ANNA: Miracles can happen.
INT. MARY’S BEDROOM. DOWNTON. EVE
Mary’s hair is being finished by Anna. Matthew sprawls on the bed. He is not yet changed.
MARY: Have they decided which cottage you’re to have?
ANNA: Not yet. But I wish we could settle Mr Bates’s job, first.
MARY: He’s Papa’s valet, surely?
ANNA: He will be. But no one seems to know what to do with Mr Barrow.
MARY: He’ll have to go.
ANNA: Then I wish we could get on with it. There. That’s you done, m’lady.
(She picks up some things and leaves)
MARY: Hadn’t you better get changed?
(She adjusts a necklace in front of the mirror)
MARY: How was it?
Matthew sinks back on to the bed in faux exhaustion.
MATTHEW: Pretty bad. Jarvis has resigned.
MARY: What?
MATTHEW: He’s gone, and I’m going to have to make it all work or I’ve had it.
MARY: But you’re certain this is right?
MATTHEW: Come here.
(He holds out his hand. She walks over and he pulls her down onto the bed, holding her in his arms)
MARY: You’ll make me untidy.
MATTHEW: Good.
(Now he takes her face in his hands. His voice is passionate)
MATTHEW: You see, I know it’s right, Mary. I believe I can make Downton safe for our children, if we ever have any. But I can only do it if you’re with me. I need to know that you and I are one. In this, as in everything.
MARY: But what about Papa? I do love him.
MATTHEW: Love him by all means, but believe in me. Believe in what I’m doing, in what we’re doing, or I don’t think I can go on.
(She stares at him and then kisses him)
MARY: There. Will that convince you?
MATTHEW: Convince me again.
(She does)
MARY: And don’t say ‘if we ever have any’. Because we will.
MATTHEW: I’ll believe you, if you believe in me.
INT. SERVANTS’ HALL. DOWNTON. EVE
O’Brien is alone with Alfred.
O’BRIEN: But it’s been a while now. What if Mr Carson finds out you knew all along and you never told him, how will that look?
ALFRED: Surely it’s for Jimmy to tell?
O’BRIEN: Supposing he’s in on it?
ALFRED: No. He started yelling at Thomas as soon as I walked in.
O’BRIEN: Yes, I’m sure he did. As soon as you walked in. What if you hadn’t walked in? I’m sorry, Alfred, Mr Carson won’t tolerate these sorts of shenanigans, and he’ll be furious if he finds out you knew and you said nothing. You need to speak up. For your own good.
(Daisy and Ivy come in to lay the table for the servants’ dinner, which brings the conversation to an end)
INT. HALL/EDITH’S BEDROOM. DOWNTON. NIGHT
Edith comes rushing through the hall in her coat and hat, and quickly gets ready for dinner in her room.
INT. DINING ROOM. DOWNTON. NIGHT
All the family, including Isobel and Violet, are there. Kieran, still in his tweed coat, seems slightly subdued.
ROBERT: And what exactly does this business consist of?
KIERAN BRANSON: Automobile refurbishment.
BRANSON: He means car repairs.
ROBERT: I see. And you would live nearby?
KIERAN BRANSON: We’ve rooms over the garage and we can get one of the cousins over, to help with little Sybbie. There’s a bit of a park not too far away.
MARY: Well, that’s something.
How ghastly it sounds. There is a leaden pause.
VIOLET: I remember an evening rather like this. We were travelling back from Scotland to London when the train was suddenly engulfed by a blizzard, and we spent the night in a tradesmen’s hotel in Middlesbrough.
(That doesn’t seem to get the ball rolling, either)
EDITH: Granny, I’ve done what you asked.
ISOBEL: What was that?
VIOLET: I’ll tell you about it, later.
MARY: So, who’s coming to the christening?
CORA: All of us, I expect.
MARY: Granny?
VIOLET: Well, yes, If Brans… Tom wants me to.
BRANSON: I would be honoured.
MATTHEW: Robert, are you coming?
ROBERT: Tom doesn’t want me there, and I wouldn’t know what to do. All that crossing and bobbing up and down. I went to a Mass once in Rome and it was more like a gymnastic display.
(He laughs, but the others don’t really – except for Kieran Branson)
BRANSON: I would like you to be there very much.
ROBERT: Why? What difference would it make?
BRANSON: All I know is Sybil would want you there. She loved you with all her heart and she would want you there.
CORA: Will you argue with that?
ROBERT: Not if you think it’s so important.
MATTHEW: How did you get on in London?
EDITH: Well, as a matter of fact, I’ve got an announcement to make and now’s as good a time as any. Listen, everyone. You have a journalist in the family.
VIOLET: Since we have a country solicitor and a car mechanic, it was only a matter of time.
MARY: How was the editor in the end?
EDITH: Oh, nice. Very nice.
(Which makes Mary look at her again)
INT. KITCHEN PASSAGE/SERVANTS’ HALL. DOWNTON. NIGHT
O’Brien is with Alfred.
O’BRIEN: So you’re ready to speak out?
ALFRED: I think you’re right, and I must.
O’BRIEN: Good. He has broken all the fundamental laws of God and man. Report him, as you should, and then stand back and enjoy his fall.
BATES: Enjoy whose fall?
(He is standing near them. They did not see him arrive)
O’BRIEN: What?
BATES: You said: ‘Stand back and enjoy his fall.’ Whose fall?
O’BRIEN: I don’t know. I can’t remember.
(Bates nods and moves on to the servants’ hall, where he finds Anna, among the others, reading. He speaks softly)
BATES: Miss O’Brien’s up to something.
ANNA: You do surprise me.
BATES: She’s plotting misery. I suppose Thomas will be in on it.
ANNA: I doubt it.
BATES: Why not? Don’t they hunt in a pack?
ANNA: Not these days. Things’ve changed.
(Which gives Bates something to think about)
INT. DRAWING ROOM. DOWNTON. NIGHT
The company is all in there. Isobel is with Edith and Violet.
ISOBEL: I don’t understand. You’ve placed an advertisement in a magazine to find a job for my housekeeper?
VIOLET: I knew you’d be against it.
ISOBEL: Well, how would you feel if I found other work for your cook or butler?
EDITH: Granny feels that for Ethel’s sake she should move elsewhere…
ISOBEL: Oh, nonsense. She couldn’t give tuppence about Ethel or anyone like her!
VIOLET: You’ve been reading those communist newspapers again.
Kieran is with Branson, Matthew and Mary.
KIERAN BRANSON: I don’t suppose there’s any beer?
BRANSON: Haven’t you had enough?
MARY: Of course we have beer. We must have some somewhere. Carson?
CARSON: I believe so, m’lady. I’ll fetch it.
Robert is stroking Isis. He murmurs to Cora.
ROBERT: What’s the betting we’ll have a chorus of ‘Molly Malone’ before we finish?
CORA: You’re the one pushing Tom into his brother’s arms. This is not what Sybil wanted for him. She told me.
On his way to the door, Carson passes Violet.
VIOLET: Ah, Carson. Would you ask Mrs Hughes to meet me in the hall, please?
CARSON: Very good, m’lady. I will bring the beer in a moment, sir.
KIERAN BRANSON: It isn’t so bad here, after all.
INT. MRS HUGHES’S SITTING ROOM/PASSAGE. DOWNTON. NIGHT
Carson holds a tankard on a tray. He’s with Mrs Hughes.
CARSON: I don’t know. She just asked if you could go up.
MRS HUGHES: I suppose I’ll have to.
(In the passage, Alfred and Jimmy are coming downstairs)
CARSON: What’s this?
JIMMY: They said we could go. They’ll ring when they need the car.
(He walks into the servants’ hall. Alfred lingers)
ALFRED: Mr Carson, might I have a word?
CARSON: Well, I have to take this up.
(But Alfred just looks. After a moment, Carson nods)
CARSON: Oh, very well. Come with me.
(As they go, Molesley turns to the others)
MOLESLEY: Well, this is a house of mystery and no mistake.
(But, as usual, no one wants to share his joke)
INT. HALL. DOWNTON. NIGHT
Violet, Edith and Isobel are with Mrs Hughes.
VIOLET: Mrs Hughes, you’ve always taken an interest in Ethel. Do you think I’m wrong?
MRS HUGHES: No. While Ethel is in this village she is doomed to be lonely. But if, as her ladyship suggests, she could get a job far away from here...
EDITH: She’s not a bad cook now, and with a respectable reference, which of course you can give her…
MRS HUGHES: And I can write another.
ISOBEL: I can’t get over how you’ve planned all this without a word to me.
VIOLET: Well, I knew you wouldn’t agree. I know how you hate facing facts.
ISOBEL: I resent that. I’m sorry but I do.
VIOLET: Nevertheless. Ethel is unhappy, as you must know. Besides which, her presence in the village…
ISOBEL: Ah. Now we’re getting to it. Robert disapproves and Carson disapproves and everyone disapproves except me.
MRS HUGHES: Mrs Crawley, I hope you don’t see me as an intolerant person.
ISOBEL: No.
MRS HUGHES: Because I agree with her ladyship. In a new place, where she can start again, Ethel has far more chance of happiness than in re-enacting her own version of The Scarlet Letter in Downton.
VIOLET: What is The Scarlet Letter?
EDITH: A novel. By Nathaniel Hawthorne.
VIOLET: It sounds most unsuitable.
ISOBEL: I’ll talk to Ethel.
EDITH: The advertisement in The Lady will appear next month, so there’s plenty of time to consider it properly.
INT. CARSON’S PANTRY. DOWNTON. NIGHT
Carson stands aghast, facing Alfred. They are both in shock.
CARSON: I don’t understand what you’re saying. Thomas was doing what?
ALFRED: I’ve just told you. When I came in, it looked as if… No. He was… He was kissing Jimmy on the mouth.
CARSON: Kissing?
ALFRED: That’s what I saw, Mr Carson.
CARSON: And what was James doing?
ALFRED: I think he was asleep, ’cos he just woke and he got very angry.
CARSON: As he should have been, by God.
ALFRED: My auntie says he might have been faking his anger because I walked in, but it didn’t look fake to me.
CARSON: Well, we can always rely on your aunt to take the ungenerous view.
(He thinks for a moment)
CARSON: You will not speak of this to anyone. Is that clear? I’ll decide how to proceed, if necessary with the advice of his lordship, but I don’t want to hear the subject even mentioned in the servants’ hall.
ALFRED: Very good, Mr Carson.
CARSON: The world can be a shocking place, Alfred, but you are a man now, and you must learn to take it on the chin.
INT. KITCHEN. CRAWLEY HOUSE. NIGHT
Isobel comes in. Ethel sits alone in a chair. A lamp sheds a feeble light but she does not read. She just sits and stares. Isobel watches her for a moment. Then Ethel turns and stands.
ETHEL: Beg pardon, ma’am. I was miles away.
ISOBEL: That’s all right. I just wanted to let you know I was back.
ETHEL: Would you like some tea?
ISOBEL: No, thank you. I’m going straight to bed… Ethel, are you happy?
ETHEL: Well, I… suppose I’m happy compared to what I was before.
ISOBEL: You see, I… Never mind. Goodnight.
INT. DRAWING ROOM. DOWNTON. NIGHT
Robert, Cora and Violet are alone.
VIOLET: How can I still be here when all the young have gone to bed?
ROBERT: The motor’s ready when you are.
VIOLET: When is Jarvis leaving?
ROBERT: I’m not sure… It seems a poor return for forty years of service.
VIOLET: Maybe. But he was your father’s man. To him, you were always the young master, never the chief.
ROBERT: Which does not alter the fact that now we must find someone else.
VIOLET: But you’ve already found him.
ROBERT: What do you mean?
VIOLET: Well, obviously the answer to a thousand different questions is to give the position to Branson.
CORA: Tom.
VIOLET: Well, if he’s the agent, we can call him Branson again, thank heaven.
ROBERT: That’s a mad plan.
CORA: It’s not. Tom and Matthew can work on the new ideas together. They’re the same age. Well done, Mama.
ROBERT: But what does he know of farming?
VIOLET: His grandfather was a farmer.
ROBERT: In a small way.
VIOLET: Which means he has more practical experience than Jarvis ever had. Think of the child. You cannot want your only granddaughter to grow up in a garage with that drunken gorilla?
CORA: Don’t we owe this to Sybil? She asked me not to let Tom slide backwards. And I promised.
ROBERT: I’ll do it on one condition. No, two. First, Matthew must agree.
CORA: He will.
ROBERT: Second, you will both admit it when you realise you were wrong.
VIOLET: Oh, well. That is an easy caveat to accept. Because I’m never wrong.
INT. CARSON’S PANTRY. DOWNTON. NIGHT
Thomas stands before Carson’s desk.
CARSON: I don’t need to tell you that this is a criminal offence.
THOMAS: We hadn’t done nothing.
CARSON: But you were hoping to do something if Alfred hadn’t come in.
THOMAS: It’s not against the law to hope, is it?
CARSON: Don’t get clever with me. When you should be horsewhipped!
(But pronouncing the words has released some of the tension)
CARSON: Do you have a defence? Am I mistaken in any part of this?
THOMAS: Not really, Mr Carson. As for a defence, what can I say? I was… very drawn to him, and I’d got the impression that he felt the same way. I was wrong.
CARSON: It seems an odd mistake to make.
THOMAS: When you’re like me, Mr Carson, you have to read the signs as best you can, because no one dares speak out.
CARSON: I do not wish to take a tour of your revolting world.
THOMAS: No.
CARSON: So, are you saying that James is the innocent party in all this?
THOMAS: Yes, Mr Carson, he is. Now, when would you like my resignation?
CARSON: I will take time to consider. And we must first find out what James intends to do. He’d be within his rights to report you to the police.
THOMAS: Oh, my God.
CARSON: Although I’m quite sure it won’t come to that.
THOMAS: Are you going to tell his lordship?
CARSON: I haven’t decided. Will you give me your word that nothing had happened?
THOMAS: I will, yes.
CARSON: Right. Goodnight.
(Thomas nods and heads for the door. Mrs Hughes comes in)
MRS HUGHES: Mr Barrow looks very grim-faced.
CARSON: Never mind him… Human nature’s a funny business, isn’t it?
MRS HUGHES: Now, why didn’t the poets come to you, Mr Carson? They’d have saved themselves a lot of time and trouble.
INT. MENSERVANTS’ PASSAGE. DOWNTON. NIGHT
Alfred is with Jimmy.
ALFRED: I wasn’t supposed to mention it to anyone, but I’m not comfortable keeping you in the dark.
JIMMY: No… So what did old Carson say?
ALFRED: Not much. I told him you were as shocked as I was… What are you thinking?
JIMMY: Only that if I can manage this sensibly, I think you can kiss goodbye to being first footman.
(With that enigmatic observation, he goes into his room)
EXT. CATHOLIC CHURCH. RIPON. DAY
The bells are pealing as the party emerges from the church. A photographer is waiting.
BRANSON: What’s this?
EDITH: I hope you don’t mind. After all, we had to have a record.
PHOTOGRAPHER: If you could all form a group around the father.
(They do. Cora is with Mary and Edith)
EDITH: It seems so strange without Sybil here.
CORA: She’s watching. I know.
MARY: I envy you. I wish I did.
PHOTOGRAPHER: Ever so slightly. Thank you very much.
(Robert finds himself next to Branson. Matthew is there)
BRANSON: You really mean it? You want me to take on the running of the whole estate? It’s a big job.
ROBERT: Think of it as a christening present from Sybil.
BRANSON: But if you’re only doing it because of her, if you’re not sure…
ROBERT: I’m sure we should give it a go. If it doesn’t work out or you get bored, then we can think again.
MATTHEW: It’s a wonderful idea, Tom, and I’m ashamed it wasn’t mine.
(The camera goes off)
PHOTOGRAPHER: Perhaps one with the grandfather holding the baby? And maybe the great-grandmother with him?
(Robert takes the child nervously. Violet joins him)
PHOTOGRAPHER: And what about Father Dominic, who christened her?
A Benedictine priest in a long, black cassock steps forward and makes a third adult in the group. Robert and Violet both look as if they are trapped in a cage with a crocodile.
CORA: What’s the matter, Robert? Are you afraid you’ll be converted while you’re not looking?
(The others laugh as the shutter clicks, capturing Robert’s startled face)
End of the episode.
Ecrit par Stella,
basé sur le script officiel
