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#308 : Secrets et confidences

Downton est en plein mouvement, car au village, un match annuel de cricket approche, ce qui faire ressortir le coté compétitif de Robert. La petite-nièce de Violet, Rose arrive, cette visite de Londres révèle qu'il y a bien plus en elle qu'au-delà des apparence. L'avenir de Thomas est entre les mains de M. Carson, mais il pourrait bien trouver en M. Bates un allié improbable. Quels sont les secrets qui retiennent Mary et Matthew des autres ?

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Titre VO
Episode 8

Titre VF
Secrets et confidences

Première diffusion
04.11.2012

Première diffusion en France
20.09.2013

Vidéos

Promo 308 (VO)

Promo 308 (VO)

  

Diffusions

Logo de la chaîne TMC

France (inédit)
Vendredi 20.09.2013 à 21:40
0.71m / 3.3% (Part)

Logo de la chaîne ITV

Grande-Bretagne (inédit)
Dimanche 04.11.2012 à 00:00
9.80m

Plus de détails

Captures

Réalisateur : David Evans

Scénariste : Julian Fellowes

 

Distributions :

Hugh Bonneville... Robert Crawley, Comte de Grantham
Elizabeth McGovern... Cora Crawley, Comtesse de Grantham
Maggie Smith... Violet Crawley 
Michelle Dockery... Lady Mary Crawley
Laura Carmichael... Lady Edith Crawley
Dan Stevens... Matthew Crawley
Penelope Wilton... Isobel Crawley
Jim Carter... Charles Carson
Phyllis Logan... Elsie Hughes
Joanne Froggatt... Anna Smith
Brendan Coyle... John Bates
Allen Leech... Tom Branson
Sophie McShera... Daisy Robinson Mason
Lesley Nicol... Beryl Patmore
Rob James-Collier... Thomas Barrow
Siobhan Finneran... Sarah O'Brien  
Kevin Doyle... Molesley
David Robb... Docteur Clarkson
Samantha Bond... Rosamund Painswick
Amy Nuttall... Ether Parks
Matt Milne... Alfred Nugent
Cara Theobold... Ivy Stuart
Ed Speleers... Jimmy Kent

 

Guests Stars :

Edward Baker-Duly (Terence Margadale), Charles Edwards (Gregson), Bernard Gallagher (Bill Molesley), Lily James (Lady Rose), Edmund Kente (Mead), Christine Mackie (Mme Bryant), Richard Teverson (Dr Ryder), Tony Turner (Inspecteur Stanford)

OPENING CREDITS

 

EXT. DOWNTON VILLAGE CRICKET PITCH. DAY

 

Molesley is with his father, old Bill Molesley, inspecting the cricket pitch, which is being rolled.

 

BILL MOLESLEY: I think it’s held up well, all things considered.

MOLESLEY: Especially after all that rain.

BILL MOLESLEY: How’s the house team coming on? Because we’re taking this very seriously in the village.

MOLESLEY: Nobody takes it more seriously than his lordship, Dad. Whatever he likes to pretend.

 

INT. CARSON’S PANTRY. DOWNTON. EVE

 

Thomas is with Carson.

 

CARSON: Mr Bates has had his rest now, and wants to get back to work. Mr Barrow, isn’t it better to take your punishment and move on?

THOMAS: You mean because…

CARSON: Let’s not go through it all again. I have left things unresolved for too long. It’s time to draw a line under this whole unfortunate episode.

THOMAS: So I go out the window.

CARSON: I cannot hide that I find your situation revolting but, whether or not you believe me, I am not entirely unsympathetic. You have been twisted by nature into something foul, and even I can see that you did not ask for it.

(Thomas accepts this without comment)

CARSON: I think it better that you resign quietly, citing the excuse that Mr Bates has returned. I will write a perfectly acceptable reference and you’ll find that there’s nothing about it that’s hard to explain.

THOMAS: I see. What about tonight?

CARSON: Well, it’s nearly time to change, so you should dress him tonight and let Mr Bates take over tomorrow.

(Thomas nods and walks to the door. Then he turns)

THOMAS: I am not foul, Mr Carson. I am not the same as you, but I am not foul.

CARSON: Yes, well. We’ve spoken enough on this subject. Now, if you will excuse me, I’ll ring the gong.

(He walks out, past Miss O’Brien who may have been listening)

CARSON: Come along, Miss O’Brien. Time to stop eavesdropping and do some work.

O’BRIEN: I don’t know what you…

(But Carson has gone about his business)

 

INT. LIBRARY. DOWNTON. EVE

 

Robert, Cora, Mary and Edith sit around. Edith is reading some pieces of paper covered in writing.

 

CORA: How are you getting on with the cricket team?

ROBERT: We should be all right. We’ve still got Thomas, thank God.

EDITH: Won’t he be leaving soon?

ROBERT: Not before the match if I’ve got anything to do with it. And we’ve two footmen again and two sons-in-law, so with Carson, the valets and the hall boys, we’re almost there.

EDITH: One of the gardeners told Anna their team is in terrific shape.

ROBERT: It’s so unfair that the outside staff play for the village.

EDITH: Why don’t you support the house and the village? You own both.

ROBERT: But I’m captain of the house team.

CORA: If I were you, I’d be captain of the village. They always win.

ROBERT: Not always. Usually, but not always… Mary? You look as if you’re in a trance. What were you doing in London? It’s worn you out.

MARY: Maybe. I’ll try and rest tomorrow.

(She glances at her mother. The gong sounds in the house)

 

INT. SERVANTS’ HALL. DOWNTON. EVE

 

O’Brien is with Jimmy, who glances at the clock.

 

JIMMY: Crikey. I’d better go.

O’BRIEN: Before you do, a little bird tells me Mr Carson has made up his mind to deal with Thomas after all.

JIMMY: Well, it’s about time.

O’BRIEN: I only meant, if you want to register your anger at how Thomas treated you, now is the hour.

JIMMY: I’m not sure. I’m still disgusted by the whole thing, obviously…

O’BRIEN: Obviously. But if you don’t speak out, people might think you weren’t disgusted at all… Now, you must excuse me. I ought to be upstairs.

(She hurries off, leaving Jimmy to think it over)

 

INT. BEDROOM PASSAGE. DOWNTON. EVE

 

Matthew, in black tie, finds Anna waiting outside a door.

 

MATTHEW: Anna? What are you doing out here?

ANNA: Her ladyship’s with Lady Mary, sir. I’m afraid she’s going to be late.

MATTHEW: Let me see what’s happening.

(He opens the door and goes in)

 

INT. MARY’S BEDROOM. DOWNTON. EVE

 

Cora is seated by the dressing table, holding Mary’s hand.

 

CORA: You couldn’t be in better hands than Doctor Ryder’s. Truly.

MARY: I hope to God you’re right.

MATTHEW: Anna’s worried you’re getting late.

(They hadn’t seen him and they look round)

MARY: Heavens, you made me jump.

CORA: I must go. O’Brien will scold me.

 

She stands and leaves, letting Anna come in.

 

MATTHEW: What were you talking about?

MARY: Nothing… Women’s stuff. Your ears must have been burning earlier. Papa was discussing the cricket match.

MATTHEW: The village thrashed us last year. I suppose I’ll have to play?

MARY: You suppose right. It’s because of last year he’s absolutely desperate to win this time.

MATTHEW: Bates must count himself lucky to be out of it.

ANNA: I think he’d like to walk normally, sir, even if playing cricket was the price he had to pay.

MATTHEW: Of course he would. I’m so sorry. How stupid of me.

(But Anna is laughing. She has caught him out)

ANNA: That’s quite all right, sir. I was only joking.

 

INT. KITCHENS/PASSAGE. DOWNTON. EVE

 

Molesley, carrying some shirts, is chatting while he follows Mrs Patmore, who gets to the kitchen and joins Daisy and Ivy in their work.

 

MOLESLEY: Oh, there’s absolutely no question that some people have a feel for it. I think cricket’s like anything else. When you learn it as a child, there’s an understanding that is hard to come by later. And with a father like mine, I was brought up with cricket in my blood.

MRS PATMORE: I see. And why did you never think of playing for the county?

MOLESLEY: I don’t seek public recognition, Mrs Patmore. I’m not one of those who likes to trumpet his glory abroad.

MRS PATMORE: No. Of course not.

DAISY: Why have you never played in the match before?

MOLESLEY: How could I? I didn’t work at the house until this year, and I could hardly play on the village team.

MRS PATMORE: Oh. Hardly.

IVY: We’ll have to start a fan club, won’t we?

MOLESLEY: That’s kind, Ivy, but I just want to do my best for the house. That’s all the reward I seek.

MRS PATMORE: Oh, your modesty is an example to us all, Mr Molesley.

(He leaves, and they all laugh)

 

INT. DRAWING ROOM. DOWNTON. EVE

 

Edith is still reading her papers as the others drift in.

 

MARY: What is that you’re so glued to?

EDITH: This week’s column. I’ve got to send it off tomorrow.

MATTHEW: What’s it about?

EDITH: The poor soldiers. How many are reduced to begging on the streets. And some officers are working as dance partners in nightclubs.

MATTHEW: After the trenches even the Embassy Club must seem an improvement.

EDITH: You shouldn’t make fun of them.

MARY: She’s forgetting that you were in the trenches and she wasn’t.

 

Violet is with Isobel and Cora.

 

VIOLET: She must be eighteen by now.

CORA: Little Rose, eighteen. How scary.

ISOBEL: It’s quite a responsibility.

VIOLET: Well, I couldn’t say no. Her mother is my niece and my godchild, and she asked it as a special favour. Apparently, she hates London and they can’t get to Scotland until July… poor Shrimpie, his work keeps him nailed to his desk.

ISOBEL: She hates London, so she’s coming to a great-aunt in Yorkshire to have a good time. How original.

 

Across the room, Robert is talking to Branson.

 

ROBERT: Well, don’t be silly. Of course you will.

BRANSON: No, I won’t. I’d like to help, but I’ve never played a game of cricket in my life. Oddly, the game was never part of my childhood.

ROBERT: Didn’t you play last year?

BRANSON: No. Nor the year before that. The fact is, I’ve never played cricket.

ROBERT: But couldn’t you try?

CORA: Robert. Stop being such a bully. Let’s just have a nice dinner.

 

INT. KITCHEN PASSAGE. DOWNTON. NIGHT

 

Jimmy is loading his tray. He walks out past O’Brien.

 

O’BRIEN: I’m afraid I’ve heard Mr Carson’s going to let him off.

JIMMY: What can I do about it?

O’BRIEN: Say you won’t tolerate it. That unless he gives him a bad reference you’re going to tell the police.

JIMMY: I couldn’t do that… Could I?

O’BRIEN: Why not? And won’t you have to? If you don’t want folk to think there’s something funny about you.

MRS PATMORE: It’s a good job that’s supposed to be eaten cold.

(She is standing behind them. Jimmy runs off. Mrs Patmore turns to find Bates watching. She shakes her head)

 

INT. HALL. DOWNTON. NIGHT

 

Violet and Isobel are leaving. Robert and Cora are seeing them out.

 

ROBERT: Are you sure about Rose? Wouldn’t it be better if she stayed here?

VIOLET: Oh, no. I’m quite looking forward to it.

ISOBEL: I couldn’t manage an eighteen-year-old. Not these days. I wouldn’t know what she was talking about.

VIOLET: My husband was a great traveller, so I have spent many happy evenings without understanding a word.

CORA: I dare say there’s a trick to it.

VIOLET: The thing is to keep smiling, and never look as if you disapprove.

 

INT. ROBERT’S DRESSING ROOM. DOWNTON. NIGHT

 

Robert is in his gown, while Thomas clears some clothes away and Bates stands there.

 

ROBERT: So, Bates, I’ll see you on duty tomorrow. Goodnight, Barrow. You do know I wish you every good fortune?

THOMAS: I believe so. Thank you, m’lord.

(Robert goes, leaving the others alone)

THOMAS: To the victor the spoils.

BATES: What will you do?

THOMAS: Oh, what’s it to you?

BATES: You’re right. It’s nothing to me.

 

INT. MARY’S BEDROOM. DOWNTON. NIGHT

 

Mary is in bed. Matthew paces the room, in his gown.

 

MATTHEW: If we can buy out Simpson and Tucker, quite a chunk of the estate will be back in hand. We’ll be operating a real business. That’s why I think the cricket may have come at rather a good time.

MARY: Why? Because you think if you get a few runs and catch someone out, Papa will accept all this gladly?

MATTHEW: I think the cricket match will show him it doesn’t mean we can’t keep up the old traditions as well.

MARY: And am I to help persuade him?

MATTHEW: Of course. You’re on my team now.

(He gets on the bed and leans in to kiss her)

MARY: You can kiss me, but that’s it.

MATTHEW: Why? Haven’t you missed me?

MARY: Desperately. But London seems to have tired me out.

 

INT. CARSON’S PANTRY. DOWNTON. NIGHT

 

Jimmy knocks at the door. Carson looks up enquiringly.

 

CARSON: Come.

JIMMY: Mr Carson, is it true Mr Barrow’s leaving?

CARSON: Yes, and for what it’s worth, I think he was genuinely mistaken over the… incident and he’s sorry now. Which, of course, is no excuse.

JIMMY: I want to be sure you’ll give him a bad reference.

(If the curtains had spoken this couldn’t be much odder)

CARSON: I’m sorry?

JIMMY: I can’t let a man like that go to work in innocent people’s houses.

CARSON: I will write the character I think he deserves.

JIMMY: Can I read it?

CARSON: Certainly not.

JIMMY: Because I’ve been thinking, I ought to report him to the police.

CARSON: What?

JIMMY: It’s my duty. I know today thinking is much more liberal but —

CARSON: Now, just a minute. I’ve never been called a liberal in my life and I don’t intend to start now! But I do not believe in scandal. Mr Barrow will go, and when he does I would like him to go quietly. For the sake of the house, the family and, for that matter, you.

JIMMY: I’m sorry, Mr Carson, but I can’t stay quiet if my conscience prompts me differently. I won’t turn a blind eye to sin.

(He walks out, leaving a troubled Carson)

 

EXT. DOWNTON VILLAGE/CRAWLEY HOUSE. DAY

 

A car drives up to Crawley House. Violet gets out with a glamorous-looking young woman.

 

INT. DRAWING ROOM. CRAWLEY HOUSE. DAY

 

Isobel is with Violet and her companion, Rose MacClare.

 

ISOBEL: Well, this is nice. I’ve asked Ethel to bring us some coffee.

ROSE: Oh, I’m not supposed to drink coffee. My mother doesn’t approve.

ISOBEL: Would you like something else?

ROSE: Absolutely not. After all, she won’t find out unless you tell her.

(They smile, but Violet is not entirely at ease with this)

ISOBEL: How is Lady Flintshire?

ROSE: Incredibly busy. Daddy works harder than a slave, and so she has to manage everything else by herself.

ISOBEL: I doubt he works harder than a slave.

VIOLET: Cousin Isobel is very literal. Now, I have something for you…

 

She breaks off as the door opens and Ethel carries in a tray.

 

ETHEL: Shall I pour, ma’am?

ISOBEL: No, thank you. I’ll do it.

(The maid nods and leaves. When the door closes, Violet takes some letters from her bag)

VIOLET: These are the first answers to the advertisement.

ISOBEL: Cousin Violet is trying to find a new job for my cook.

ROSE: That sounds rather inconvenient.

ISOBEL: Cousin Violet has never let a matter of convenience stand in the way of a principle.

VIOLET: As the kettle said to the pot.

 

INT. CARSON’S PANTRY. DOWNTON. DAY

 

Carson is once again with Thomas.

 

THOMAS: I’m to leave with no reference, after working here for ten years?

CARSON: I’m afraid my hands are tied.

THOMAS: I’ll never get another job now, Mr Carson… Does his lordship know about this?

CARSON: No.

THOMAS: Then I’m going to tell him.

CARSON: And how would you do that, without telling him the rest of it?

THOMAS: This wasn’t Jimmy’s idea. Somebody’s put him up to it. He wouldn’t be so unkind, not left to himself.

CARSON: I’m almost touched that you will defend him under such circumstances. But, there it is.

THOMAS: Well, can I stay here for a day or two? While I come up with some sort of plan?

CARSON: Yes. I think I can allow that. But that’s the best I can do.

THOMAS: Thank you, Mr Carson.

 

INT. THE BATESES’ COTTAGE. DOWNTON. EVE

 

This is a shabby and cramped living room. Bates and Anna stand alone in it, looking round.

 

BATES: At least it doesn’t smell damp.

ANNA: I think it’s nice. Or it will be. When it’s got a lick of paint.

BATES: I can do that. I can.

ANNA: You’re not climbing any ladders. But, yes, together we can make it really comfy.

BATES: What do they call extreme optimism?

ANNA: They call it ‘making the best of things’, and that is what we’ll do.

BATES: You being in this room is enough to make it nice. Come here.

(He takes her in his arms to kiss her. She responds and they fall back onto the ancient sofa, which collapses under their weight in a cloud of dust. They lie there, laughing)

 

INT. DINING ROOM. DOWNTON. NIGHT

 

The family, including Rose, are all present. Carson, Jimmy and Alfred are waiting at table.

 

MARY: We should think of some things to do while you’re here.

ROBERT: Edith, you should take Rose over to Whitby on Wednesday. When they have their market. She’d enjoy that.

EDITH: I can’t. I’m going to London on Wednesday.

ROSE: Oh. Well, could I come?

VIOLET: Ooh. But you’ve only just got here. I thought you hated London.

ROSE: Who told you that?

VIOLET: Susan.

ROSE: Oh. Darling Mummy.

VIOLET: Should I correct her?

ROSE: Oh, no. She’s right, really. But I’m planning a surprise for her, and I need to go to London to arrange it. You won’t give me away, will you?

ROBERT: Won’t you stay with your parents?

ROSE: Well, I can’t. That would spoil everything.

EDITH: You can stay with me. Aunt Rosamund won’t mind. And there’s plenty of room.

CORA: I don’t even know why you’re going.

EDITH: To see my editor. To discuss my article.

ROBERT: Someone should invent a new kind of telegram, so you could send a whole document at once. Just like that.

ISOBEL: And if a document, why not a person? Like H. G. Wells’s Time Machine. You’d just get in, press the button, and step out in Deauville.

VIOLET: Would we be allowed to take a maid?

 

INT. DRAWING ROOM. DOWNTON. NIGHT

 

They are all in there. Matthew walks over to Edith.

 

MATTHEW: I think I might come up with you to London. I’ll ring the office in the morning. I can stay at my club.

EDITH: Don’t do that. Aunt Rosamund would love to have you. And I suspect I’ll need help controlling Rose.

MATTHEW: Why do you say that? She seems rather demure to me.

EDITH: I’m not sure. Instinct.

 

Violet is with Rose and Isobel.

 

VIOLET: But when your mother finds out will she mind?

ROSE: No. She’ll be delighted and so grateful to all of you for helping with my secret. Besides, with Edith as my chaperone, what harm can I come to?

(Violet is frustrated by this, which Isobel sees)

ISOBEL: Don’t say I didn’t warn you.

VIOLET: I wouldn’t dare.

 

Cora is with Branson.

 

CORA: But how can I help?

BRANSON: If our plan works, we’ll be farming a third of the estate directly.

CORA: And you can manage that?

BRANSON: We think so, but we need you to think so too, because Lord Grantham definitely won’t.

MARY: Are you drawing up the battle lines?

(She has just arrived to join them)

CORA: Poor Robert. The postwar world is not being kind to him.

MARY: How are you getting on with the agent’s house? I hope Jarvis didn’t leave it a wreck.

BRANSON: No. Not at all. But the furniture was his, so I’ll have to begin in a state of Trappist simplicity.

MARY: I’m sure there’s some stuff in the attics here. We’ll have a look.

CORA: What about Sybbie? Won’t it be lonely for her? With just you and Nanny and nobody else for company?

BRANSON: I think it’s right for both of us.

 

EXT. KITCHEN COURTYARD. DOWNTON. NIGHT

 

Mrs Hughes comes out with a scuttle and walks towards a door when she sees a figure half hidden in shadow.

 

MRS HUGHES: Good God. Who’s there?

(The figure moves. It is Thomas, sitting on the wet ground. He has been crying)

MRS HUGHES: Mr Barrow? What in heaven’s name are you doing out here?

THOMAS: Have you come for some coal?

MRS HUGHES: I’ve run out and everyone’s busy.

THOMAS: Give it here.

(He pushes open the door and starts to shovel in the coal)

MRS HUGHES: I know you’re leaving, but things can’t be as black as all that. You’re trained now. You can apply for a position as a butler.

THOMAS: You don’t know everything, then.

MRS HUGHES: Don’t I?

THOMAS: Not if you think I’ve got a future.

MRS HUGHES: Then will you tell me everything?

THOMAS: Look, I’m afraid if I do, Mrs Hughes, that… it will shock and disgust you.

MRS HUGHES: ‘Shock and disgust’? My, my. I think I have to hear it now. Come on.

 

INT. HALL. CRAWLEY HOUSE. DAY

 

Isobel is with Ethel, who has a sheet of paper.

 

ETHEL: I’m just going out to the shops, ma’am, if you’d like to see the menus for today and tomorrow.

ISOBEL: This all looks nice, but perhaps a lighter pudding for tonight? Baked custard? Or some fruit?

ETHEL: Very good, ma’am.

ISOBEL: Ethel, I’ve been putting it off but there’s something you ought to know and you will need to think about.

(Ethel waits)

ISOBEL: Lady Grantham, the Dowager, that is, has been concerned that your history here has left you lonely.

ETHEL: She’s kind to concern herself.

ISOBEL: It’s not just that. She believes that you’ve made this house a local topic of unwelcome conversation.

ETHEL: Ah.

ISOBEL: So she’s placed an advertisement for you and she’s got some replies.

ETHEL: She did this without telling me?

ISOBEL: She did it without telling me.

(She brings out a packet of envelopes and gives them over)

ISOBEL: The point is, you would go to your new position with references from me and from Mrs Hughes, and you would not have to refer to your earlier life. In effect, you’d be washed clean.

ETHEL: So are you sacking me?

ISOBEL: Not at all. But I’m now persuaded that the decision to stay or go must be yours and not mine.

 

INT. MARY’S BEDROOM. DOWNTON. EVE

 

Edith enters. Mary is getting ready in front of her mirror.

 

EDITH: Yes?

MARY: Is the new maid working out?

EDITH: No, not really. I don’t think she’ll stay. I miss Anna… What do you call her now she’s your maid?

MARY: Anna, I’m afraid. I can’t very well call her Bates.

EDITH: No. What’s this about?

MARY: Well… You know Matthew wants to come with you to London…

EDITH: Why shouldn’t he?

MARY: I just need to check which train you’re planning to come back on.

EDITH: The three o’clock on Thursday. Why?

MARY: Can you promise not to let him catch an earlier one?

EDITH: Of course not. What reason would I give?

MARY: You can think of something. Please.

EDITH: Oh, all right. But why is everything always so complicated?

 

INT. HALL. DOWNTON. NIGHT

 

This is only the core family, without Violet, Isobel or Rose. They’ve had dinner, and are disposed about the room.

 

MATTHEW: When are we leaving tomorrow?

EDITH: Eleven. We’ll lunch on the train.

MATTHEW: Goodnight. I’ll see you upstairs.

(He touches Mary’s cheek and slips out. Edith looks at Mary)

EDITH: What do you think Rose is up to? Planning her so-called surprise?

MARY: I’m not sure. I’m beginning to suspect Lady Rose MacClare may prove to be rather a handful.

EDITH: And she’s my handful, worse luck.

 

Robert is with Branson.

 

BRANSON: We’ll talk about it when Matthew gets back from London.

ROBERT: Can’t I even have a clue?

BRANSON: He should tell you. It’s his idea.

ROBERT: God. It sounds ominous.

CORA: What does?

(She has joined them)

ROBERT: Matthew has some ghastly scheme for the estate and Tom’s too frightened to say what it is. I need a drink.

(He goes off to fetch one)

CORA: Is this the big plan?

BRANSON: Yes. And it’s going to come off.

CORA: Well done. You must be pleased.

BRANSON: I am pleased, but I worry that Lord Grantham will be angry we’ve taken it so far without involving him.

CORA: You have to see his point… Have you started planning the move?

BRANSON: Not really. Not yet.

CORA: I do wish you weren’t going. Are you sure it’s what you want? The two of you alone in an empty house?

BRANSON: I think it’s for the best.

 

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

 

Mrs Hughes is with Carson. The door is shut. He pours them a sherry.

 

MRS HUGHES: You cannot allow him to blackmail you like this. And before you ask, Thomas has told me the whole story.

CARSON: I’m only sorry you had to listen to such horrors.

MRS HUGHES: Why? Do you think Thomas is the first man of… that sort, that I’ve ever come across?

CARSON: I would hope so.

MRS HUGHES: Well, he isn’t. And I’ll tell you something else. I think James may have led him on…

CARSON: What! Oh, I cannot listen to such… allegations.

MRS HUGHES: Oh, calm down. I don’t mean deliberately. But he’s a vain and silly flirt. He may have given Thomas the wrong impression without meaning to.

CARSON: I can hardly believe we’re having this conversation.

MRS HUGHES: Maybe not, but I won’t sit by and let that young whippersnapper ruin a man for the rest of his life. Not a man who was wounded in the service of King and Country.

CARSON: We may have no choice. These practices, with which you are apparently so familiar, are against the law.

MRS HUGHES: I know that!

CARSON: Very well, then. If we stand up to James and he goes to the police, it will only put Thomas in prison, which he will not thank you for.

 

EXT. THE BATESES’ COTTAGE. DOWNTON. NIGHT

 

Bates comes out of the cottage, holding a candle in a funnel. Bates stops and finds Thomas, smoking in the shadows.

 

THOMAS: Inspecting the love nest?

BATES: Just fetching some coal.

THOMAS: I envy you.

BATES: Whatever you say.

THOMAS: No. I mean it. The happy couple and everyone so pleased for you. Can’t imagine what that’s like.

BATES: Perhaps you should try being nicer.

THOMAS: It’s being nice that got me into trouble.

BATES: What do you mean?

THOMAS: Never mind. I’ll be gone soon and out of your hair. You’ll be glad of that.

BATES: Yes, I will be.

(Thomas stubs his cigarette out and walks away. But Bates is troubled by this exchange)

 

INT. SERVANTS’ HALL. DOWNTON. DAY

 

Carson is addressing them all.

 

CARSON: I assume I can count on you, Mr Molesley?

MOLESLEY: Oh, I’ll say. There’s not much I don’t know about cricket.

CARSON: You make me quite nervous. So, with you, me, James, Alfred, both you hall boys, that makes six from down here. What about Mr Stark?

MRS HUGHES: He’ll play. He’s always kicking a ball around by the garages.

CARSON: It’s not quite the same thing.

MRS HUGHES: It is to me.

BATES: I can’t play, Mr Carson. But I can keep score.

CARSON: Good. Very good. So, with his lordship, Mr Crawley and ‘Mr’ Branson, we’re already ten.

IVY: What about you, Mr Barrow?

(There is a slight silence at the table)

THOMAS: I think I’ll be gone by then.

JIMMY: Yes. You will.

(O’Brien smiles at this, which Bates sees)

 

INT. LIBRARY/HALL. DOWNTON. DAY

 

Robert is with Cora.

 

ROBERT: Where’s Mary? I was looking for her, but Anna said she’d gone out.

CORA: She’s away for the night. She’ll be back tomorrow.

ROBERT: Oh?

(But Cora does not provide any more information than this)

ROBERT: Cora, is everything… as it should be between them?

CORA: Between Mary and Matthew? Oh, yes, I think so. Why do you ask?

ROBERT: I find I’m rather impatient to get the succession settled.

CORA: Robert, it’s still early days.

 

The door opens and Carson appears.

 

CARSON: Luncheon is served, m’lady.

ROBERT: Is it just us?

CORA: Yes. Tom’s on the other side of the estate, so he said he’d eat in a pub.

(They get up and head out)

ROBERT: He’s hiding from me until Matthew’s told me the worst.

CORA: Probably.

CARSON: May I take the opportunity to bring your lordship up to date with the team?

ROBERT: Are we in good shape?

CARSON: I reckon that with three family players and seven from downstairs, we’re only one short.

ROBERT: Two short. Branson won’t play.

CORA: Mr Branson is busy at the moment.

CARSON: Is he, m’lady? Might I point out that we’re all busy, but we still find time to support the honour of the house.

ROBERT: Yes. But that is not the right road to travel, Carson, if we want to remain in her ladyship’s good graces.

 

INT. HALL. ROSAMUND’S HOUSE. LONDON. DAY

 

Rosamund is greeting them all as they arrive.

 

ROSAMUND: Now, I know you’re here because you all have lots of things to do, so just run about and do them.

EDITH: I’ll go up and change.

ROSAMUND: But I did think we’d have dinner together. And then we can have a proper catch-up.

MATTHEW: If that’s what you’d like, but please don’t let me be a nuisance.

ROSE: We could always just…

ROSAMUND: I insist. A good family gossip will be my payment in kind.

EDITH: Then of course we’d be delighted.

ROSAMUND: Good. We dine at half past eight.

(As they all head upstairs, Rose sneaks off into another room and picks up the telephone)

ROSE: Hello, operator? Knightsbridge 4056…

 

INT. DRAWING ROOM. CRAWLEY HOUSE. DAY

 

Isobel walks in the door with a basket of flowers, and Ethel is waiting for her.

 

ETHEL: I’ve been through those replies to her ladyship’s advertisement. And I don’t think there’s one where I should be happier than here.

ISOBEL: That’s very flattering.

ETHEL: You don’t mind if I stay, then?

ISOBEL: Quite the reverse. I’m delighted.

ETHEL: There was a nice letter from a Mrs Watson. But it was near Cheadle.

(Isobel realises some response is expected, but what?)

ETHEL: Cheadle’s very close to where Mr and Mrs Bryant live.

ISOBEL: Oh, I see. And you feel that would defeat the purpose, if the goal is to leave your past behind you?

ETHEL: Don’t you, Ma’am?

ISOBEL: Yes, I’m afraid I do. It’s a pity if it was the only one that was appealing.

(Ethel covers her face with her hands and starts to weep)

ETHEL: I’ll never see Charlie again. I know I won’t. I know it.

ISOBEL: No, you don’t. And in the meantime, you have made a great sacrifice for his happiness. No mother could do more than that.

ETHEL: So it looks as if I’ll be staying on. I’m sorry if it makes trouble between you and the Dowager.

ISOBEL: Oh, don’t worry about that. If you’d gone, she’d have found some other bone for us to fight over.

 

INT. GREGSON’S OFFICE. LONDON. DAY

 

Gregson and Edith are standing over some pages. Edith is looking especially nice with her hair freshly done.

 

GREGSON: You look very pretty today. I’m not sure how, er, professional it is of me to point that out.

EDITH: Well, it’s jolly nice of you.

GREGSON: So, er, business. Now, I’ve read your piece. Of course the plight of ex-soldiers… it’s not an obvious topic for a woman’s column.

EDITH: I knew you were going to say that. I know it isn’t very feminine, but I felt so strongly about it I thought it was worth a try.

GREGSON: No, no. You misunderstand me. I like the idea of a woman taking a position on a ‘man’s’ subject. And I was going to say: ‘Don’t be afraid of being serious when it feels right.’

EDITH: Really?

GREGSON: Really. You know, I think we’re onto something new here.

(The mature female voice in debate)

EDITH: I don’t like the sound of ‘mature’.

GREGSON: No. Er… ‘Balanced’?

EDITH: Yes. Let’s go with ‘balanced’.

(They laugh. They are very well suited)

GREGSON: Are you in town tonight and by any chance looking for something to do?

EDITH: I am, but sadly I’m spoken for. I’m staying with my aunt and I’m chaperoning a cousin’s daughter, so it’s complicated.

GREGSON: That’s a pity… But you will let me know when you’re up in London again?

 

INT. THE BATESES’ COTTAGE. DOWNTON. DAY

 

Bates and Anna, in overalls, have covered the furniture with sheets, and they are distempering the room.

 

ANNA: But why are you bothering with Thomas? He’s going. Good riddance.

BATES: I don’t know. Something he said. And I feel funny taking his job.

ANNA: You haven’t taken his job. He filled in for you, while you were away, that’s all.

BATES: Hmm. I might ask Mrs Hughes. She usually knows what’s going on.

ANNA: Which is more than you do.

 

EXT. ROSAMUND’S HOUSE. EVE

 

Rose emerges. She looks like a different person, in a snappy coat and a bright silk scarf. She runs down the street, hailing a taxicab.

 

ROSE: Taxi!

(The taxi pulls up, horn beeping)

ROSE: Warwick Square, please.

(Rose climbs in and the car drives away)

 

EXT. WARWICK SQUARE. LONDON. EVE

 

The taxi driver waits patiently. Rose appears, with a sleek lounge lizard of a man, Terence Margadale. She leans in.

 

ROSE: I’m afraid I’ve been hours. You’re an angel to wait.

TAXI DRIVER: I’ve not been paid, Miss.

ROSE: No. Well, could you take us to the Blue Dragon? It’s in Greek Street.

 

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

 

Mrs Hughes is with Bates.

 

BATES: Now I understand it.

MRS HUGHES: You’re not too shocked, then?

BATES: No, but why is Mr Carson? It’s not as if none of us knew.

MRS HUGHES: I think the point is we didn’t know officially. That’s what Mr Carson finds hard. He can’t avoid the subject any longer, because it’s lying there on the mat.

BATES: And he can’t stand up to Jimmy?

MRS HUGHES: He says he’s powerless. And it’s true we won’t help Thomas by putting him in prison.

BATES: I wouldn’t wish that on any man. Hah. Imagine me feeling sorry for Thomas.

MRS HUGHES: Life is full of surprises.

 

INT. DINING ROOM. ROSAMUND’S HOUSE. LONDON. NIGHT

 

Rosamund, Matthew and Edith are dining at a table laid for four in this grand apartment. A butler waits on them.

 

ROSAMUND: You don’t think we should have waited?

MATTHEW: No. Why should your delicious dinner be spoiled just because Rose has forgotten the time? How long was she here when she came back?

ROSAMUND: I was out, but my maid said she just ran in and out to change her frock and make a telephone call. She swore she’d be back by eight. But it’s past ten now.

EDITH: It’s my fault. I shouldn’t have let her out of my sight.

MATTHEW: Nonsense. You had stuff to see to. That’s why we’re in London at all.

ROSAMUND: Talking of which, how did you get on today? With your editor?

EDITH: Oh. Quite well, I think. How about you, Matthew?

MATTHEW: Oh, I was only running errands. My main thing is tomorrow.

 

He is distracted as the butler has been called in a whisper to the door. Rosamund raises her voice.

 

ROSAMUND: Mead? What is it?

(The man turns back. He is a little flustered. A rather rough-looking man hovers behind him, clutching his cap)

MEAD: Come on. This is the driver who took up Lady Rose from outside the house, m’lady.

TAXI DRIVER: I came back because she left a scarf in the back of my cab.

MATTHEW: How very good of you.

MEAD: Well, go on. Tell them why they sent you up to the dining room.

TAXI DRIVER: I know where she is, m’am. Your maid downstairs said you might like to hear.

ROSAMUND: And she was right. Where did she go?

TAXI DRIVER: First to Warwick Square. To pick up a… friend.

EDITH: And then you took her on somewhere?

TAXI DRIVER: Eventually. I was sat outside for the best part of two hours.

ROSAMUND: How very expensive.

TAXI DRIVER: When they came out, they said they wanted to go to a club. The Blue Dragon, on Greek

Street.

ROSAMUND: And what sort of club is that?

TAXI DRIVER: Well… you know.

ROSAMUND: That’s the point. I don’t.

 

INT. THE BLUE DRAGON. SOHO. NIGHT

 

A band of black musicians plays jazz in the crowded, smoky basement. The clientele is mostly, but not entirely, young, with vividly made-up women and sleek, lounge-lizard men. Rose is on the floor with an older man. They’re dancing the faster, jazzier version of the foxtrot that was popular in the 1920s. Matthew, Rosamund and Edith enter.

 

MATTHEW: This is like the outer circle from Dante’s Inferno.

ROSAMUND: The outer circle?

EDITH: There she is.

ROSAMUND: Heavens. What a transformation.

(Some ‘bright young things’ push past Rosamund)

ROSAMUND: And that, presumably, is the ‘friend’ she spent two hours with in Warwick Square.

MATTHEW: Let’s not start down that track.

(As they watch she kisses her partner passionately. Rose and the man then make their way to a table, where…)

ROSE: Oh, my G— How on earth did you find me?

(The dancing partner has stood. Rosamund addresses him firmly)

ROSAMUND: How do you do. I am a cousin of Rose’s mother.

MATTHEW: Lady Rosamund Painswick…

ROSE: Terence Margadale.

MARGADALE: Well, how do you do. Please sit down.

(They do. He speaks to a passing waiter)

MARGADALE: Can you bring some more glasses?

ROSAMUND: Tell me, where is Mrs Margadale?

MARGADALE: She’s in the country at the —

(He and Rose realise he has been tricked. There is a silence)

ROSE: Er… Terence used to work for Daddy so he’s more of a family friend, really.

EDITH: Oh, so Cousin Shrimpie’ll be pleased to hear about him, won’t he?

ROSE: No, please…

MATTHEW: Why don’t we dance?

 

To the bewilderment of the others, he takes Rose’s arm and leads her onto the floor. He talks as they dance.

 

MATTHEW: Now, look. I think I can just about get Rosamund and Edith to keep their mouths shut, if you come back with us now and have nothing more to do with this man, at least not until you are out of our charge.

ROSE: But you know, he’s… he’s… he’s terribly unhappy and it’s not his fault at all. His wife is absolutely horrid…

MATTHEW: Married men who wish to seduce young women always have horrid wives. I suggest you meet Mrs Margadale before you come to any final conclusions.

ROSE: You’re wrong. He’s in love with me. He wants to marry me just as soon as he can get a divorce.

MATTHEW: And when will that be?

ROSE: Well, you see, it’s terribly difficult.

MATTHEW: Yes, I thought it might be. Now are you going to accept my conditions, or do I throw you to Lady Rosamund?

ROSE: Why are you helping me?

MATTHEW: I’m on the side of the downtrodden.

(He leads her from the dance floor)

MATTHEW: Excuse me.

 

Back at the table, the women are struggling.

 

EDITH: I rather like Warwick Square. Sort of Belgravia without the bustle.

MARGADALE: Oh, we haven’t been there very long.

(They look up. Matthew and Rose are approaching)

MATTHEW: Rose is feeling rather tired, so we’re leaving.

MARGADALE: But won’t you at least stay for a…

(But they have gone, leaving him to his bottle of champagne)

 

INT. DRAWING ROOM. DOWNTON. DAY

 

Cora, Violet and Isobel are together, without servants.

 

VIOLET: Well, no. No, I’m glad she’s staying, but one forgets about parenthood. The on-and-on’ness of it.

ISOBEL: Were you a very involved mother with Robert and Rosamund?

VIOLET: Does it surprise you?

ISOBEL: A bit. I’d imagined them surrounded by nannies and governesses, being starched and ironed to spend an hour with you after tea.

VIOLET: Yes, but it was an hour every day.

ISOBEL: I see. Yes. How tiring.

CORA: Rose seems a nice young woman.

VIOLET: Nice, I give you, and placid, but…

CORA: But what?

VIOLET: I’m not sure. A sense that we’re only being shown half the picture. I wish I could talk to Susan.

ISOBEL: If you do speak to Lady Flintshire, you must be careful not to mention the trip to London.

CORA: We did all promise not to tell.

VIOLET: Not me. I never did any such thing.

 

INT. CARSON’S PANTRY. DOWNTON. DAY

 

Carson is with Bates.

 

CARSON: After the money turned up from Mr Swire, things went back to normal.

(Jimmy knocks. They look up)

JIMMY: Mr Carson, may I have a word?

BATES: I’ll leave you.

JIMMY: You can stay. I’m not bothered.

(There is an insolence in his manner which infuriates Carson. Carson motions for Bates to stay)

CARSON: Well?

JIMMY: When’s Mr Barrow leaving?

CARSON: I’m not sure.

JIMMY: He’s lost his job. Why can’t he just go? I find it very awkward.

CARSON: I am sorry to hear that.

JIMMY: If you think I’ll change my mind about the reference, I won’t.

BATES: Are you always so unpleasant?

JIMMY: I’m not unpleasant, but you don’t know what he did.

BATES: He made a mistake. You’re still in one piece. Why do you have to be such a big girl’s blouse about it?

JIMMY: I’m sorry, Mr Carson, but I won’t change my mind.

(Jimmy looks at Bates furiously and leaves)

BATES: I suppose you know who’s put him up to this, Mr Carson?

 

INT. SERVANTS’ HALL. DOWNTON. DAY

 

Jimmy has come in to find Alfred and some of the others. Molesley is practising with his bat. O’Brien is sewing.

 

JIMMY: That Mr Bates is gobby, isn’t he?

IVY: Why do you say that?

JIMMY: Well, everyone used to talk about him as if he could walk on water, but he’s got a mouth on him.

ALFRED: What did he say?

JIMMY: He was sticking up for Mr Barrow.

IVY: Is this because of Mr Carson not giving him a reference? I don’t think it’s right, do you?

JIMMY: Yes, I bloody well do think it’s right! You know nothing about it!

(He storms out. Ivy is bewildered)

IVY: What’s happened? What did I say?

O’BRIEN: I shouldn’t get involved, dear. If you’ll take my advice, I should stay out of it.

 

INT. MOTOR CAR. DAY

 

Violet and Isobel are being driven home.

 

VIOLET: Stark, I wonder if we could have the window up. It’s a bit draughty.

(The chauffeur nods and the dividing window is raised)

VIOLET: Tell me, has there been any progress with Ethel?

ISOBEL: No. I’m sorry to disappoint you but she doesn’t want to go.

VIOLET: Not one of them was right?

ISOBEL: One. A Mrs Watson. But the house was near where the Bryants live and, to be honest, I suspect that was the reason. A chance to see little Charlie from time to time.

VIOLET: Well, I can’t blame her for that.

ISOBEL: Of course not. But the Bryants would be bound to find out, which would only lead to more heartbreak.

 

INT. DOCTOR RYDER’S CONSULTING ROOMS. LONDON. DAY

 

Matthew is with the doctor.

 

RYDER: I’ll write to you as soon as I hear, but it’s extremely unlikely there is anything wrong at all. This may prove an expensive journey for you.

MATTHEW: May I ask you a question, Doctor Ryder? Has my wife been to see you?

RYDER: I’m not aware of treating a Mrs Crawley, but even if I had I could not possibly comment on it.

MATTHEW: I only want to know if she was here for the same purpose as me.

RYDER: I don’t mean to be rude but, just supposing she has been one of my patients, surely if she wanted you to know, she’d have told you.

MATTHEW: Of course. It’s only… I can’t bear to think of her being worried, when I know very well that if anyone’s to blame, it’s me.

RYDER: I’m not sure ‘blame’ is a very useful concept in this area.

(He stands to indicate that the interview is over)

RYDER: Please believe me that probability and logic indicate a Crawley baby yowling in its crib before too long.

MATTHEW: Thank you. Goodbye.

RYDER: Goodbye. I’ll show you out.

(Matthew leaves and walks down the stairs, where he is shocked to see Mary standing in front of the receptionist)

MARY: Mrs Levinson for Doctor Ryder.

(Mary turns and finds Matthew standing there)

 

INT. CAFE. LONDON. DAY

 

A waitress carries a pot of tea to Matthew and Mary’s table.

 

MATTHEW: This should buck you up.

MARY: Buck me up or kill me. It looks like treacle.

(He sits. They are not angry, but it is a strange moment)

MATTHEW: Why did you go without saying? When I knew all along it was me.

MARY: You know nothing of the sort… In fact, it was me.

MATTHEW: What do you mean?

MARY: There was something wrong. With… Actually, I can’t talk about this sort of thing. Even to you.

MATTHEW: You sound like Robert.

MARY: Well, I am his daughter. The fact is, it meant a small operation…

MATTHEW: What!

MARY: It’s all right. It was weeks ago. That’s why I’ve been keeping you at arm’s length.

MATTHEW: What a relief. I thought you’d gone off me.

MARY: Anyway, today was just to see if all is well and he says it is. He says I’m to get in touch with him in six months’ time, but that I’ll be pregnant before then.

MATTHEW: So, now we can start making babies.

(They smile warmly at one another. He takes her hand and kisses it)

MATTHEW: What do you think we’d have done if there had been a problem?

MARY: God knows. Track down the next heir after you and adopt him.

(She starts to laugh and, after a moment, so does he)

MATTHEW: We’d be okay. That’s the main thing.

MARY: Yes. I think it is.

MATTHEW: How did you explain your absence?

MARY: Mama knows. She’ll cover for me.

MATTHEW: You told your mother but you wouldn’t tell me?

MARY: Any woman would understand.

MATTHEW: Now you can join our merry band for the ride home. I have much to tell of young Lady Rose, who proved quite as troublesome as you suspected.

MARY: What about Edith and her editor?

MATTHEW: I think she’s rather taken with him. She had her hair done.

MARY: Oh, dear. He’ll obviously turn out to be wildly unsuitable. Either that, or a complete rotter.

MATTHEW: You’re very harsh.

MARY: No, I’m not. We all conform to a pattern, and that’s hers.

 

INT. HALL. LADY ROSAMUND’S HOUSE. LONDON. DAY

 

They are in the hall. Mary is with them.

 

ROSAMUND: Right. Have you got everything?

MARY: You’re so sweet to put them all up.

ROSAMUND: Not a bit. I only wish you’d been here with us.

MARY: I know. It was silly of me.

 

Rosamund turns to Rose.

 

ROSAMUND: I feel very guilty not telling Susan about last night.

ROSE: Mummy wouldn’t understand.

ROSAMUND: Nor do I. What were you thinking? A respectable, well-born young woman going out with a married man?

(The camera finds Edith’s face. But Matthew continues to talk)

MATTHEW: Rose knows that it all depends on her behaviour for the rest of her stay. One false step and I shall personally telephone Lady Flintshire.

ROSAMUND: Very well. But I don’t approve. Now hurry or you’ll miss your train. I’ll see you at the cricket match.

(Rose sighs and walks off)

MATTHEW: Edith, you’re in a daze. What is it?

EDITH: Oh, just something we were talking about last night. Aunt Rosamund reminded me of it. That’s all.

 

EXT/INT. THE DOWER HOUSE. HALL. EVE

 

The car has arrived at the Dower House. All four get out.

 

MATTHEW: We thought we’d walk from here.

(They set off, leaving the other two)

ROSE: I don’t need to be escorted inside. What are you afraid of? That I’ll make a run for it?

EDITH: Rose, you’ve obviously read too many novels about young women admired for their feistiness.

(As they talk, they open the door and go into the hall)

ROSE: Do you think they will keep quiet?

EDITH: I expect so. As long as you stick to your side of the bargain.

ROSE: Even Cousin Rosamund? She didn’t like being made to keep the secret.

EDITH: Probably because she knows that Granny would be furious.

(The camera travels on, to find Violet on the stairs. Hearing this, Violet turns and climbs the staircase out of sight)

 

INT. KITCHENS. DOWNTON. NIGHT

 

Daisy and Ivy are working as Molesley is demonstrating moves with a cricket bat for Jimmy and Mrs Patmore.

 

MOLESLEY: It’s all in the wrist. Don’t tighten your grip until you’re ready to take the stroke. Just keep it light. You see? How I turn it, first this way and now that.

JIMMY: Why not just whack it for six?

MOLESLEY: It’s not the battle of the Titans, Jimmy. A little grace, please, a little art. Cricket is a spectator sport, so let’s give the spectators something worth looking at.

(He demonstrates some noble footwork)

MRS PATMORE: By heaven, Mr Molesley. You should be on the stage.

(Alfred walks in. He seems downcast)

MRS PATMORE: Alfred? What’s the matter?

ALFRED: Nothing. I’m not easy about this business with Mr Barrow.

MRS PATMORE: Well, why not take a turn with Mr Molesley’s bat? That’ll put a smile on your face.

DAISY: Is Mr Carson really not giving Mr Barrow a reference? That’s what I heard.

IVY: Why ever not?

MRS PATMORE: It’s complicated, Ivy. And very difficult for Mr Carson.

IVY: What will he do? If he hasn’t got a reference?

MRS PATMORE: Well, he could always go abroad. He might do well in America, Mr Barrow.

DAISY: Seems a bit drastic. Why should he go abroad?

JIMMY: Keep your nose out of it.

IVY: Why won’t someone tell us what’s going on?

MRS PATMORE: Because you wouldn’t understand it. I very much hope.

 

EXT. DRIVE. DOWNTON. EVE

 

Mary and Matthew are walking along, hand in hand. The car overtakes them and stops. Edith looks out of the window.

 

EDITH: Sure you don’t want a lift?

MARY: Quite sure.

(The car moves off)

MATTHEW: The big meeting with Robert is in the morning and I need you there. He trusts you more than me.

MARY: Papa trusts you.

MATTHEW: But he thinks I don’t understand the responsibilities of this way of life. He thinks I’m a bean-counter.

MARY: Well, you are in a way.

MATTHEW: Darling, it’s the bean-counters who’ll survive and, anyway, I’m a bean-counter with a heart.

(This makes her smile. She kisses his hand)

MARY: I’ll be there. But Mama ought to join us, to be on his side.

MATTHEW: I agree. Now hurry up.

MARY: Why?

MATTHEW: Because there isn’t long before dinner. We’ve got work to do.

MARY: You should have thought of that before you sent the car away.

 

INT. ROBERT’S DRESSING ROOM. DOWNTON. DAY

 

Bates is dressing Robert for a new day.

 

ROBERT: It’s not very fragrant, is it?

BATES: No, m’lord.

ROBERT: Why didn’t Carson tell me? He’s the one who’s being undermined.

BATES: It’s a very difficult subject for him to discuss.

ROBERT: I can imagine. But it’s not as if we didn’t all know. About Barrow.41

BATES: That’s what I said to Mrs Hughes.

ROBERT: I mean, if I’d shouted blue murder every time someone tried to kiss me at Eton, I’d have gone hoarse in a month. What a tiresome fellow.42

BATES: It’s not the boy’s fault. He’s been whipped up, told that if he doesn’t see it through, we’d all suspect him of batting for the same team.

ROBERT: Crikey. But who’d do that? Who’s got it in for Barrow?

BATES: Miss O’Brien.

ROBERT: O’Brien? I thought they were as thick as thieves.

BATES: Not now, m’lord.

ROBERT: Well, if that’s true, it seems like a good place to start.

 

INT. DRAWING ROOM. DOWER HOUSE. DAY

 

Violet and Rose are alone.

 

VIOLET: I’ve spoken to your mother. She has a new plan for when you leave here.

ROSE: Aren’t I going back to London?

VIOLET: Oh, no, no. It’s so horrid and dusty…

ROSE: What is Mummy’s plan?

VIOLET: They’re opening Duneagle early; you’re to go there.

ROSE: On my own?

VIOLET: No. Your Aunt Agatha will keep you company.

ROSE: Alone in Scotland with Aunt Agatha! She can’t be serious!

VIOLET: I know, I know. Lady Agatha isn’t much of a party person, I admit…

ROSE: A party person? It’s like being guarded by Quasimodo and the Witch of Endor rolled into one! This is all because I went up to London to see Terence, isn’t it? How did she find out? Who gave me away?

VIOLET: I don’t know who ‘Terence’ is…

ROSE: Of course, it’s not your fault, Aunt Violet. But they promised!

VIOLET: Don’t shoot the messenger, my dear. I’m only relaying your mother’s orders. You’re to stay for the cricket match and head north the next day.

ROSE: Perhaps I’ll run away.

VIOLET: Not this time. My maid will travel with you. So you have someone to talk to on the journey.

ROSE: I won’t be held a prisoner forever.

VIOLET: No. One day you’ll be older and out of our power. But not yet.

(They lock eyes. But Rose knows her mother, through Violet, has won)

 

INT. THOMAS’S BEDROOM. ATTICS. DOWNTON. DAY

 

Thomas is sitting on the bed, while Bates stands there.

 

THOMAS: Prison’s changed you. There was a time when nothing was too bad for me, as far as you were concerned.

BATES: Prison has changed me.

(Thomas sinks back on his pillow)

THOMAS: The hell with it. I’m finished and there’s nothing to be done for me.

BATES: You do know Miss O’Brien is behind it?

THOMAS: I knew someone was. Jimmy’d never think of it for himself.

BATES: Doesn’t it bother you that she’ll get away with it?

THOMAS: Not really. To tell you the truth, I’m tired. Tired of fighting my corner, tired of being disliked. Wouldn’t it be better if I just go?

BATES: Without a reference after ten years here, you’ll never work again.

THOMAS: Not in England, but elsewhere maybe, yeah. I’ve a cousin in Bombay. I might go there. I like the sun.

BATES: But you must fight fire with fire, Mr Barrow. There must be something you know about Miss O’Brien you could use against her.

THOMAS: You’ve heard of the phrase ‘To know when you’re beaten’? Well, I’m beaten, Mr Bates. I am well and truly beaten.

BATES: Then give me the weapon and I’ll do the work. What can I say that would make her change her mind?

(Thomas looks at him. He almost speaks… and then)

THOMAS: I couldn’t. She made me promise on everything I hold sacred.

BATES: I’m glad to hear there are things you hold sacred, Mr Barrow.

(But he waits…)

 

INT. LIBRARY. DOWNTON. DAY

 

Robert is with Branson, Cora, Matthew and Mary.

 

ROBERT: It is not how we do things! Many of the farmers’ families have been at Downton for as long as we have!

BRANSON: But we need to see more profits from the farms…

ROBERT: Here we go! Profit! Profit! Profit! MATTHEW: Profit is also called income. We cannot go forward with no income.

ROBERT: But why not tackle it gradually? Perhaps buy some time by investing your capital. I hear of schemes every day that’ll double whatever’s put into them or treble it or more.

MATTHEW: Many schemes offer high rewards; very few deliver them.

ROBERT: There’s a chap in America — what’s his name? Charles Ponzi… who offers a huge return after ninety days. Now, Harry Stoke has gone in with a bundle…

MATTHEW: Then Harry Stoke, whoever he is, is a fool!

ROBERT: But if I could find out about…

MATTHEW: Robert, the last time you took an interest in investments you ruined the family!

(He has shouted. This silences Robert, and enrages Cora)

CORA: Now, look here! Robert’s been the captain of this ship long enough to be entitled to some respect!

MARY: He didn’t mean to be disrespectful.

ROBERT: Well, he does a marvellous impression of it!

BRANSON: We are giving the farmers a choice. That’s all. If they want to sell, the larger units will let us meet the challenges of the modern world.

MARY: We need to build something that will last, Papa. Not stand by and watch it crumble into dust.

ROBERT: What about the tenants? What about the men and women, who put their trust in us? Is this fair to them? I don’t believe so.

CORA: But isn’t the most important thing, for them or us, to maintain Downton as a source of employment?

ROBERT: So you’re against me, too.

CORA: It seems to me your plan adds up to carrying on as if nothing’s changed, to spend Matthew’s money keeping up the illusion. Then when we’ve fallen into a bottomless pit of debt, we’ll sell up and go.

(They are all silent at this assessment. Cora nods)

CORA: But I don’t think the tenants will thank us for that, nor the farm workers, nor the servants, nor the village, nor the county. So, yes, I believe Matthew is right.

ROBERT: I see. You seem to be agreed that there’s no place for me in all this. So obviously it’s time for me to take a back seat.

(He is very, very hurt and he walks out, leaving them to it)

 

INT. HALL. DOWNTON. DAY

 

As Robert strides across the hall, behind him, in the outer hall, Edith is on the telephone. Someone has answered.

 

EDITH: Hello? Is that the Daily Telegraph Information Desk? I want to find out about a London editor… Michael Gregson… Of The Sketch… Just some general stuff, his education, what he’s done since then, and a little about his… private life.

 

EXT. BACK DOOR. DOWNTON. DAY

 

O’Brien comes out of the door and sets off.

 

EXT. THE BATESES’ COTTAGE. DOWNTON. DAY

 

O’Brien arrives at the Bates cottage.

 

INT. THE BATESES’ COTTAGE. DOWNTON. DAY

 

The little room is painted. Anna is up a ladder pinning a frilly pelmet to a board. Bates stands by the fireplace.

 

ANNA: But why here? I don’t like the idea of her being our first visitor.

BATES: I want to be away from the others.

ANNA: I don’t know why you’re doing this. You don’t even like Thomas.

BATES: Because I know what it is to feel powerless. To see your life slide away and there’s nothing you can do to stop it.

ANNA: Quite the orator. Have you thought about standing for Parliament?

 

There is a knock at the door. It is O’Brien. She looks round.

 

O’BRIEN: Oh, yes. Very nice. It’ll be even better with a bit of money spent on it.

ANNA: Can I get you some tea?

O’BRIEN: If I’m staying long enough. I don’t know what it is Mr Bates wants to see me about.

BATES: You’ll have time for tea.

 

INT. DRAWING ROOM. CRAWLEY HOUSE. DAY

 

Ethel is collecting a tray of tea things.

 

ETHEL: Will that be all, ma’am?

ISOBEL: There is one thing. There was a letter delivered by hand this afternoon. It’s from the Dowager.

ETHEL: Oh, yes?

ISOBEL: She wants us to call on her in the morning.

ETHEL: I don’t understand.

ISOBEL: Nor I. She wants us both to go to the Dower House at eleven.

ETHEL: But why would she want me?

ISOBEL: No doubt we’ll find out in the morning.

 

INT. THE BATESES’ COTTAGE. DOWNTON. DAY

 

Bates and O’Brien are together, watched by Anna.

 

O’BRIEN: Well, I am surprised to find that you’re a fan of Mr Oscar Wilde.

BATES: You’ve known about Mr Barrow all along, so what’s changed now?

O’BRIEN: Perhaps I’ve come to my senses.

ANNA: You mean you’ve found a way to be even nastier than usual.

O’BRIEN: Oh. Get back in the knife box, Miss Sharp.

BATES: I want you to persuade Jimmy to let Mr Barrow have a reference, so when he leaves here he can start again.

O’BRIEN: Why would Jimmy listen to me?

(Bates just looks at her)

O’BRIEN: I won’t do it.

BATES: I think you will. And to persuade you, I’m going to whisper three words into your ear.

O’BRIEN: It won’t make any difference.

(But when Bates walks round the table and whispers something, the blood drains from her face. She stands)

O’BRIEN: I’m going.

BATES: Sort it out by this evening.

O’BRIEN: Or?

BATES: Or you’ll find your secret is no longer safe with me.

 

INT. SERVANTS’ HALL. DOWNTON. NIGHT

 

O’Brien is with Jimmy.

 

O’BRIEN: I’m just saying I think you’ve made your point. To let it go now would be the gentlemanly thing to do.

JIMMY: You said if I let it go they’d think I was up to the same thing. That I wasn’t a proper man.

O’BRIEN: If you’d done nothing, yes, but this way you’ll come across as merciful and not vindictive, do you see?

JIMMY: I never wanted to push it this far.

O’BRIEN: Then you’ll be glad to stop it.

JIMMY: You’re sure I won’t be made to look a fool?

O’BRIEN: Far from it. I think they’ll hold you higher in their estimation.

CARSON: Ah, James? Upstairs, please.

JIMMY: May I have a word with you, please, Mr Carson, before we go up?

 

INT. DINING ROOM. DOWNTON. NIGHT

 

The family is at dinner. The atmosphere is strained.

 

CORA: But why London? You’ve only just got back.

EDITH: Something’s come up.

MARY: What?

MATTHEW: She doesn’t have to justify herself whenever she leaves the house.

EDITH: Thank you, Matthew, but I don’t mind. I’ve had some bad news, that’s all. I need to go up to London to sort it out.

MARY: What sort of bad news?

MATTHEW: Never mind. It’s not our business. How’s the cricket team coming along?

ROBERT: We’re still two short.

MARY: I wrote to Evelyn Napier, but he can’t get away on that Saturday.

MATTHEW: Why him?

MARY: Evelyn’s a whizz at cricket. He’s on some team or other.

MATTHEW: What about the chaps at the office?

ROBERT: But it should be men who are connected to Downton in some way. Napier would be all right, as he used to stay here, but recruiting in the office seems a bit desperate.

MATTHEW: And you’re still determined not to play?

BRANSON: It’s not that I won’t play. I can’t play. I don’t know how.

CORA: Stop twisting his arm… Any news on the move, Tom? We’re going to miss you both so much.

EDITH: You told Matthew not to twist his arm, now you’re doing exactly the same thing.

CORA: I just think children are happier in families. I’m sorry, but I do.

 

INT. ROBERT’S DRESSING ROOM. DOWNTON. NIGHT

 

Bates is getting Robert changed for bed.

 

ROBERT: Well, I’m glad that’s settled, but I suppose Barrow will have to go?

BATES: M’lord?

ROBERT: He’s so good at cricket. I know we were soundly beaten last year, but he did get most of our runs.

BATES: I thought we just wanted him to have a reference, so he could find work when he leaves.51

ROBERT: I know, but, now that I think about it, Carson ought to insist that he stays on. He needs to re-establish his authority over James.

BATES: Couldn’t Mr Barrow just stay till after the match, m’lord? And then go?

ROBERT: That seems rather unkind. Wouldn’t we be using him?

BATES: But what would he stay as?

ROBERT: You’re a clever fellow. You’ll think of something. Just tell him it’s conditional on his playing.

BATES: He might not want to stay, m’lord. After the unpleasantness.

ROBERT: I think he will. Then he won’t have to leave with a nasty taste in his mouth. But don’t forget the cricket.

BATES: I won’t, m’lord.

 

INT. SERVANTS’ HALL. DOWNTON. NIGHT

 

Molesley is demonstrating how to bowl the ball.

 

MOLESLEY: You see how my grip is firm but tender. Cherish the ball, don’t crush it.

JIMMY: Do you know how to bowl a googly?

MOLESLEY: Can I bowl a googly? I should say so, although I prefer to call it a Bosie, after Bernard Bosanquet who first invented it. I saw him play once at Lord’s. I’ve tried to model my style on his.

MRS PATMORE: Have you, now? How proud he’d be.

(Jimmy is distracted by Alfred beckoning him. He leaves Molesley instructing the hall boys and goes over to him)

ALFRED: Is it true you’ve given in? And let Mr Barrow get away with it?

JIMMY: It was dragging on and on. At least this way we’ll be rid of him.

ALFRED: I heard his lordship wants him to stay for the cricket match.

JIMMY: And even if he does, it won’t be for much longer. Then he’ll get his reference and go. Good riddance.

(Even so, Alfred seems really troubled by this)

 

INT. DINING ROOM. DOWNTON. DAY

 

Robert, Matthew and Branson are at breakfast.

 

ROBERT: Where’s Lady Edith, Carson?

CARSON: She went to the station first thing, m’lord.

MATTHEW: Her mystery mission… I’m going over to Windmill Farm, to see what we can do with the outbuildings. Would you like to come with me?

ROBERT: I’m sure you can manage on your own.

 

Matthew does not prolong the awkward moment. He leaves.

 

ROBERT (CONT’D): Aren’t you going?

BRANSON: I’ll meet him there later… He’s putting a good face on it, but you know he wants you with him on this. More than anything.

ROBERT: I should not serve him well. I don’t have the instincts for what he wants to do.

BRANSON: You mean you’re not a tradesman.

ROBERT: Your word, not mine.

BRANSON: Shall I tell how I look at it? Every man or woman who marries into this house, every child born into it, has to put their gifts at the family’s disposal. I’m a hard worker, and I’ve some knowledge of the land. Matthew knows the law and the nature of business.

ROBERT: Which I do not.

BRANSON: You understand the responsibilities we owe to the people round here, those who work for the estate and those that don’t. It seems to me if we could manage to pool all of that, if we each do what we can do, then Downton has a real chance.

(Robert is both surprised and rather moved by this outburst)

ROBERT: You’re very eloquent.

BRANSON: I’m not usually.

(Branson looks down, a little embarrassed)

ROBERT: You’re a good spokesman for Matthew’s vision. Better than he has been, lately.

BRANSON: So you’ll give us your backing?

ROBERT: I’ll think about it. On one condition.

(Branson waits to hear)

ROBERT: You play cricket for the house. You said it yourself: we all have to do what we can do.

(Branson knows when he is beaten)

BRANSON: For God’s sake. If it means that much to you.

(Robert has his team)

 

EXT. DOWER HOUSE. DOWNTON. DAY

 

Isobel and Ethel approach the front door.

 

INT. DRAWING ROOM. DOWER HOUSE. DAY

 

They are shown in, to find Violet… and Mrs Bryant.

 

ETHEL: Oh.

MRS BRYANT: You didn’t expect to find me here.

ISOBEL: No.

VIOLET: I thought the only person who could tell us with any accuracy the Bryants’ response to Ethel’s working nearby were the Bryants themselves.

MRS BRYANT: Lady Grantham wrote to me, explaining your wish.

ETHEL: Well, it was only that Mrs Watson had answered the advertisement…

MRS BRYANT: I know the circumstances. Just as I know that you would like to see how Charlie’s getting on.

ISOBEL: But surely Mr Bryant…

MRS BRYANT: Mr Bryant will know nothing about it. As it happens, I’ve been uncomfortable about keeping a mother from her son. And although I would not want to confuse him, until he’s much older, if then…

ETHEL: We wouldn’t have to confuse him. I’ve already worked it out. I’m his old nanny who was employed by you when he was first born.

ISOBEL: But what about when he talks about you to Mr Bryant?

MRS BRYANT: You will please leave Mr Bryant to me. Now, Ethel, you must write to Mrs Watson today and get it settled.

ETHEL: And I’ll be able to see Charlie.

ISOBEL: It won’t be easy.

ETHEL: It’ll be easier than not seeing him. Very much easier.

 

INT. MRS HUGHES’S SITTING ROOM. DOWNTON. DAY

 

Mrs Hughes, Carson, Bates and Anna are all in there.

 

MRS HUGHES: His lordship is quite correct. You must re-establish your authority.

CARSON: That’s all very well. But there’s still nothing to stop James going to the police.

BATES: He won’t do that now. Miss O’Brien won’t let him.

MRS HUGHES: I wish I knew why she keeps changing direction.

ANNA: I agree. It’s funny, isn’t it?

(She stares at Bates but he says nothing)

CARSON: And if Mr Barrow is to stay on… what would he be? My valet?

MRS HUGHES: You can make him under butler. Then your dinners will be grand enough for Chu Chin Chow, and he can apply to be a butler when he does leave.

BATES: But that would make him my superior.

CARSON: Oh, I don’t know. Under butler, head valet. There’s not much in it.

MRS HUGHES: The question remains. How do we convince James?

CARSON: Well, it’s his lordship who wants Mr Barrow to stay on, so I think his lordship can bring it about.

 

EXT. CRICKET GROUND. DOWNTON ESTATE. DAY

 

Branson, padded up, and Matthew are practising in the nets. Matthew is bowling. Branson misses.

 

BRANSON: Is this worth it? I’ve no time to learn anything. Shouldn’t I just trust to beginner’s luck?

MATTHEW: Certainly not. I want you to profit from my skills in gratitude for bringing Robert round.

BRANSON: Not completely. Not yet.

(Matthew bowls again. Branson misses)

MATTHEW: Elbow up.

BRANSON: You won’t make a gentleman of me, you know. You can teach me to fish, to ride and to shoot, but I’ll still be an Irish Mick in my heart.

MATTHEW: So I should hope. There. See? You’re getting the hang of it.

(It is true. Branson has hit the ball hard)

 

INT. GREGSON’S OFFICE. LONDON. DAY

 

Gregson is surprised to find Edith standing before him.

 

EDITH: I’m sorry if this is inconvenient.

GREGSON: It’s unexpected, not inconvenient.

(She sits, gathering her nerve)

EDITH: I suppose I’d better just say it.

GREGSON: Please do.

EDITH: I had the impression on my last visit that you were flirting… giving signs that you found me attractive. If I’m wrong, then I apologise…

GREGSON: You’re not wrong.

(This makes things both better and worse)

EDITH: But, since then I have discovered you are in fact married.

(This elicits a long pause. Then he nods)

GREGSON: Yes.

EDITH: I’m afraid I find the idea of a married man flirting with me wholly repugnant, so you’ll see I must hand in my resignation at once. I’ve enjoyed the work and thank you for the opportunity. But now we must part.

(She stands, keen to get out before she loses it. He stands)

GREGSON: No. It’s true, I am married, but I hope you’ll allow me to explain.

EDITH: Explain what? I am familiar with the institution of marriage.

GREGSON: Yes. But not with this one. My wife is in an asylum. And she has been for some years. It’s an odd business. Lizzie was a wonderful person and I loved her very much. It took me a long time to accept that the woman I knew was gone and wouldn’t be coming back.

EDITH: Then why haven’t you got a divorce?

GREGSON: I can’t. Under our present legal system a lunatic is not deemed responsible; she’s neither the guilty nor the innocent party.

(He is sad rather than bitter)

EDITH: So it means that…

(Edith sits again. This revelation has changed everything)

GREGSON: It means that I’m tied for the rest of my life to a mad woman who doesn’t even know me.

EDITH: I see.

GREGSON: Do you? Because if you do, I hope you’ll consider staying on. I can’t begin to tell you how much it cheers me to read your column and to meet when we do. I hope very much you’ll consider staying on.

 

EXT. VILLAGE AND CICKET PITCH. DOWNTON ESTATE. DAY

 

The cricketers march through the village and onto the field of play.

 

EXT. CRICKET PITCH. DOWNTON ESTATE. DAY

 

Robert tosses the coin, while Clarkson makes the call.

 

CLARKSON: Heads.

ROBERT: Ah. Well, there we are.

 

The House Team is batting and Bates keeps score. Jimmy and Matthew stride out to the crease. All the male servants are in whites. Violet and Isobel are among the spectators. Old Mr Molesley is the umpire, in a white coat. We join them at the moment that Matthew hits the ball for four. Bates hangs the score.

 

VIOLET: I’m glad everything’s settled with Ethel. But I trust you can find another cook without too much difficulty.

ISOBEL: Preferably one with a blameless record so my house ceases to be a topic of gossip, which is really what this is all about.

VIOLET: If Ethel wants to be part of her son’s life, even a little part, who are we to stand in her way?

ISOBEL: Of course, if you’d had to sell Charlie to the butcher to be chopped up as stew to achieve the same ends, you would have done so.

VIOLET: Happily, it was not needed.

 

But she does not deny it. Back to the cricket, and Matthew is out, Carson comes out to bat, and finally it is Robert and Thomas at the crease. Thomas’s skill lives up to its billing as a series of elegant strokes sees him make a century.

 

ROBERT: Oh, shot, sir.

(Everyone rises to their feet to applaud. A beaming Robert shakes his hand)

ROBERT: Well played, Barrow.

THOMAS: Thank you.

ROBERT: Excellent innings.

 

Bates is with Anna.

 

ANNA: I knew you’d regret it. He’ll be up to his old tricks before too long.

BATES: I thought I was helping him get out of our lives for good. And now he ranks higher than I do. I’ve been a damn fool.

ANNA: I’ve no sympathy.

(But she is as amused as cross)

ANNA: By the way, what was that phrase he gave you to say to Miss O’Brien? You can tell me now, surely?

BATES: If you keep it under your hat. It was: ‘Her ladyship’s soap.’

ANNA: What?

BATES: I can’t make any sense of it, either, but that’s what he said. ‘Her ladyship’s soap.’ And it worked.

 

Robert and Thomas are running, but the ball has been returned fast and it is smashed against the wicket just before Robert reaches the crease. Robert is out and walks from the crease. On his way to the marquee he greets Molesley.

 

ROBERT: It’s down to you, Molesley. Last man in. We’re in good shape thanks to Barrow, but we could do with a bonus.

MOLESLEY: Don’t you worry about me, m’lord. I’ll show them a thing or two.

ROBERT: That’s the spirit.

(He joins Mary at the edge of the field)

MARY: Well done, Papa.

ROBERT: Well, I did my best. We’ll just have to hope it’s enough.

MARY: Anna says we are to expect great things of Molesley.

(Molesley takes his place. The bowler bowls. Molesley draws himself up, muttering fiercely under his breath)

MOLESLEY: This time. Oh, Lord, I beg you. Make it happen for me this time!

 

The ball arrives and he steps forward to play it as it whacks into the wicket and sends the bails flying.

 

CLARKSON: ‘Owzat!

MOLESLEY: Well bowled.

(Mr Molesley holds up his hand to mark his son out)

ROBERT: As usual, our expectations are disappointed. Let’s have some tea.

 

As his team walks off the pitch, he leads the way back to the tent where tea is being dispensed by Mrs Hughes, Mrs Patmore, Ivy and Daisy. Rose walks up to Edith and Rosamund.

 

ROSE: Who gave me away? Was it you?

EDITH: Certainly not.

ROSE: Because, in case you don’t know, I’m being sent north tomorrow, with a monster for a gaoler!

 

Rosamund is rather uncomfortable as Rose stalks off. Violet approaches.

 

VIOLET: Well, what did she expect? Carrying on with a married man, as if her home were in a tree.

EDITH: Granny? Who told you?

(Violet is silent, but she glances at Rosamund)

EDITH: How could you have done that? After you promised?

ROSAMUND: But Mama said you told her! I just filled in the details.

EDITH: I never said a word.

ROSAMUND: Have you tricked me, Mama?

VIOLET: Tricked? I am not a conjuror. I only did what was necessary to preserve the honour of the family.

ROSAMUND: In other words, you tricked me.

 

Robert approaches Jimmy. Carson is nearby.

 

ROBERT: James, you put up a very good show out there. Well done.

(Jimmy stands, unused to the pseudo informality)

JIMMY: Thank you, m’lord.

ROBERT: As a matter of fact, I wanted to thank you for your generosity with Barrow. Letting him stay on shows a real largeness of spirit.

JIMMY: Stay on? Mr Barrow’s staying on?

ROBERT: As under butler. I was given the impression you’d allowed it.

JIMMY: I allowed him to have a decent reference, for when he left.

ROBERT: But you won’t mind too much, will you? Oh, and by the way, congratulations on your appointment as first footman.

CARSON: What?

JIMMY: Thank you, m’lord. Very much.

 

Two men in dark clothing get out of a car and walk across the pitch. Alfred looks very nervous. Branson catches sight of them first but he is looking around.

 

BRANSON: Have you seen Sybbie?

MRS HUGHES: Lady Mary had her the last time I saw them.

 

He nods and goes off in search as Thomas arrives. They are watching Robert calming Carson down.

 

THOMAS: How do you think it’s going?

MRS HUGHES: I’m sure it’ll go well for you. You’re like a cat with your nine lives, Mr Barrow. But if you’ve scraped by this time, watch your back in future.

THOMAS: You know me, Mrs Hughes. Always try to stay light on my feet.

MRS HUGHES: Too light, if you ask me.

 

Carson and Robert are now alone. The two men are nearer.

 

CARSON: I’m not comfortable, m’lord. Promoting that young jackanapes over Alfred.

ROBERT: It needn’t be for ever. And James won’t do anything to rock the boat now. Isn’t that the main thing?

CARSON: If you say so, m’lord. But I’m not comfortable.

(The men have reached them. Robert raises an enquiring brow)

FIRST OFFICER: Lord Grantham, I believe?

ROBERT: The same.

FIRST OFFICER: We’re looking for a Mr Alfred Nugent, m’lord.

ROBERT: And you are?

FIRST OFFICER: Inspector Stanford and Sergeant Brand, York Police.

ROBERT: Alfred can’t have got into trouble with the police. That’s not possible.

FIRST OFFICER: He’s made a complaint concerning a Mr Thomas Barrow making an assault of a criminal nature on another of your employees.

(Robert and Carson exchange a glance)

ROBERT: That is a very serious allegation.

FIRST OFFICER: It is, m’lord. Serious enough to bring us here to interrupt your cricket match. If you’d like to point out the young gentleman?

CARSON: He’s over…

ROBERT: I’ll fetch him.

(Before the Inspector can argue with this, Robert walks off with a firm, admonitory look at Carson)

FIRST OFFICER: Well, we’ll go with…

CARSON: I think it’s better if you leave it to his lordship. I’m sure he can get to the bottom of it.

FIRST OFFICER: I’m not sure we want him to.

 

Robert is with Alfred.

 

ALFRED: But I know what I saw, m’lord, and it weren’t right.

ROBERT: I’m not asking you to abandon your beliefs, Alfred. Just to introduce a little kindness into the equation.

ALFRED: Am I not to stand up against evil?

ROBERT: Evil? Thomas does not choose to be the way he is, and what harm was done, really, that his life should be destroyed for it?

ALFRED: Well…

ROBERT: Let he who is without sin cast the first stone. Are you without sin, Alfred? For I am certainly not.

 

Old Bill Molesley is taking a cup of tea from Mrs Patmore. Doctor Clarkson is there.

 

CLARKSON: Sorry about your son, Mr Molesley.

BILL MOLESLEY: Don’t be.

MRS PATMORE: But he talked such a lovely game.

BILL MOLESLEY: He could always talk a good game of cricket. He just couldn’t play it.

 

Robert is approaching the policemen with Alfred.

 

ROBERT: Just as I thought. There’s been a mix-up. Alfred here witnessed some rough-housing between two of the staff and misinterpreted it. Isn’t that the case, Alfred?

ALFRED: If you say so, m’lord.

FIRST OFFICER: With all due respect, we’re not interested in his lordship’s version of events. We want yours.

ALFRED: It’s like he says. They were fighting and joking and I got the wrong end of the stick.

FIRST OFFICER: But why did you make the telephone call without checking your facts?

ROBERT: I’m very much afraid to say he was a bit squiffy, weren’t you, Alfred?

ALFRED: If that’s how we’re telling it. I made the call before I knew what I were doing. I’d been at the cider.

CARSON: You what?

ROBERT: Oh, I think we can overlook it this once, don’t you, Carson?

(His look tells Carson to shut up, which he does)

ROBERT: So, you see, I’m afraid there’s really nothing to investigate. I’m terribly sorry to have wasted your time. Would you care to have some tea?

(The policemen know they are on a hiding to nothing)

FIRST OFFICER: No, thank you, Lord Grantham. I think we’ve got the measure of it. Good luck with your match.

(They walk away, muttering and shaking their heads. Robert puts his hand on Alfred’s shoulder)

ROBERT: You did the right thing, Alfred. Judge not, lest ye be judged. Don’t you agree, Carson? CARSON: Do I have any choice, m’lord?

 

Branson walks round the corner of the tent and there is a family group. Mary, on a low deck chair, arranges a daisy chain around the neck of Sybbie who sits on her lap, while Matthew looks on. Rosamund and Edith are chatting, but we cannot hear what they say, while Isobel sits with Violet. All Branson can see is his baby at the centre of this large, social family. Cora watches from a seat nearby. She is drinking tea.

 

BRANSON: Where’s Nanny?

MARY: Gone to get some baby paraphernalia. Shall I tell her you’re looking for her?

BRANSON: No, no. I’ll be here anyway.

(He walks over and sits next to Cora)

CORA: You’re very good to play.

BRANSON: I don’t know why I made such a fuss about it. Can I ask you something?

CORA: Of course.

BRANSON: If I were to say I’d live with you while Sybbie’s little, and that we wouldn’t move out until she’s older, would you mind?

CORA: I should be delighted. And I know it’s what Sybil would want.

BRANSON: I think you’re right. And that’s why I’m suggesting it.

 

Matthew is with Mary, drinking tea.

 

MATTHEW: Tom says Robert’s ready to get behind the plan.

MARY: I’m glad. So we’ll be building a new kingdom, while we make our little prince.

MATTHEW: I’m looking forward to both enormously.

(He kisses her hand with a chuckle as he looks round)

ROBERT: Right, gentlemen. Time’s up to resume play.

MATTHEW: We’re about to start again. I hope I can count on you not to laugh when I drop the ball.

MARY: You can always count on me.

MATTHEW: I know that.

ROBERT: Gentlemen! Time’s up!

(He and the others are all walking back out onto the pitch)

MATTHEW: I didn’t know it was possible to love as much as I love you.

ROBERT: Matthew! Hurry up! You’re keeping everyone waiting!

MATTHEW: I’ve got to go.

MARY: Of course you have.

MATTHEW: Though I’d rather stay here for the rest of my life, holding your hand.

MARY: Go.

 

He kisses her. Matthew runs onto the pitch. He stops when he reaches Robert. He has something he wants to say.

 

MATTHEW: Tom seems to think you might be coming round.

ROBERT: Well, he’s brought me round more like. But, yes. All right. Let’s give it a go, and see what the future brings.

MATTHEW: Thank you.

 

Robert takes up his place as wicket-keeper and Matthew drops into his place as, at a sign from the umpire, Carson bowls. Clarkson hits the ball high.

 

MOLESLEY: Catch it!

 

And Branson catches it. The crowd and players applaud, and Matthew, Branson and Robert run together, shake hands and embrace.

 

End of the episode.

Ecrit par Stella,
basé sur le script officiel

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Au total, 54 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

bibifanser 
12.08.2019 vers 08h

friends76 
05.07.2019 vers 22h

cartegold 
06.05.2019 vers 10h

Jamie08 
13.03.2019 vers 19h

Dawsey400 
02.10.2018 vers 21h

albi2302 
10.04.2018 vers 21h

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cartegold  (06.05.2019 à 10:03)

Cet épisode m'a semblé en dessous des autres, je n'ai pas accroché. Je reconnais que l'histoire de Rose ne m'a pas du tout convaincue...

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