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#504 : Révolution à Downton

Sarah Bunting continue de provoquer des vagues et des disputes au-dessus des escaliers, mais cette fois, elle est peut-être allée trop loin. De retour à Downton, Thomas souffre d'une maladie inexplicable. Baxter soupçonne qu'il y'a plus que ce qu'il laisse penser. Pendant ce temps, Violet révèle à Isobel la vérité surprenante de son passé avec le prince Kuragin et Mary vient à prendre une décision concernant Lord Gillingham, mais les choses ne vont pas tout à fait comme prévu. Quand le père de Rose, Shrimpy revient à Downton, il annonce des nouvelles qui vont choquer toute la famille.


4.38 - 8 votes

Titre VO
Episode 4

Titre VF
Révolution à Downton

Première diffusion

Première diffusion en France


Promo VO

Promo VO



Logo de la chaîne RTS Un

Suisse (redif)
Jeudi 10.11.2016 à 10:05

Logo de la chaîne TMC

France (inédit)
Samedi 17.01.2015 à 21:50
0.60m / 2.6% (Part)

Logo de la chaîne ITV

Grande-Bretagne (inédit)
Dimanche 12.10.2014 à 21:00

Plus de détails

Captures | Tournage

Réalisateur : Minkie Spiro

Scénariste : Julian Fellowes


Distributions :

Maggie Smith... Violet Crawley, Dowager Countess of Grantham
Hugh Bonneville... Robert Crawley, Comte de Grantham
Laura Carmichael... Lady Edith Crawley
Jim Carter... Charles Carson
Brendan Coyle... John Bates
Michelle Dockery... Lady Mary Crawley
Kevin Doyle... Molesley
Joanne Froggatt... Anna Smith
Lily James... Lady Rose
Rob James-Collier... Thomas Barrow
Allen Leech... Tom Branson
Phyllis Logan... Elsie Hughes
Elizabeth McGovern... Cora Crawley, Comtesse de Grantham
Sophie McShera... Daisy Robinson Mason
Lesley Nicol... Beryl Patmore
Penelope Wilton... Isobel Crawley
Raquel Cassidy... Phyllis Baxter
Tom Cullen... Anthony Gillingham
Julian Ovenden... Charles Blake
Samantha Bond... Rosamund Painswick


Guests Stars :

Emma Lowndes (Mrs Drewe), Andrew Scarborough (Tim Drewe), Daisy Lewis (Sarah Bunting), Douglas Reith (Lord Merton), Richard E. Grant (Simon Bricker), Fifi Hart (Sybbie Branson), Howard Ward (Sergeant Willis), Peter Egan (Hugh MacClare), Catherine Steadman (Mabel Lane Fox), Christopher Rozycki (Nikolai Rostov), Rade Sherbedgia (Igor Kuragin), James Edginton (Portier)






Thomas is back from London.




The servants breakfast. Thomas comes in.


CARSON: h, Mr Barrow, you're back. I'm afraid you've missed luncheon, but you're in time to help upstairs.

HUGHES: Maybe there's something left.

THOMAS: Don't bother. I'm not hungry.

CARSON: Charming as ever, I see!

BAXTER: How's your father doing?

THOMAS: Oh, much better, as it happens. In fact, he's quite well again.

ANNA: That's good news.

THOMAS: Yes. It is.




The Family breakfast.


TOM: You remember we're meeting Mr Wavell at three? Pip's Corner.

ROBERT: Yes, clearly, but I don't see the point in it, since I'm not going to agree.

MARY: He's driven all the way from Leeds.

VIOLET (to Rose): I had a letter from your father. He says he's in London for a visit.

CORA: Shrimpie's in England? Have you made any plans to see him?

ROSE: Not yet. He wonders if you might let him stay here.

CORA: Of course, whenever he wants.

ROBERT: Is Susan with him?

ROSE: No. Their time's up soon and she couldn't face another voyage.

ROBERT: Where will they send him, do you think? After Bombay.

(Mary makes a face to Robert)

ISOBEL: How are your Russians getting on?

ROSE: Oh, it's so sad. They talk about the old days - dances at the Winter Palace, picnics on the banks of the Neva - but there are holes in their shoes, and they've got no money for food.

ROBERT: This is where Tom says it serves them right.

TOM: Well, I don't approve of how things were managed in Russia, but I'm still sorry for people who have to make a new life in a foreign land.

MARY: Honestly, Papa, every time you challenge Tom, you sound much more unreasonable than he is.

ROBERT: Do I? How's your old beau managing, Mama? Prince Thingummyjig.

VIOLET: He is not my old beau. Your father would have called out any man who said such a thing.

EDITH: Even so, I do hope you see him again. Poor old boy.

VIOLET: You don't know anything about it.




ROBERT: How far would the houses stretch?

TOM: Well, the whole field, really.

ROBERT: But why can't they be built in a row, like the other streets?

TOM: They'd sell more quickly as separate dwellings, and we'd get a percentage of the sales.

ROBERT: So, we're paid once, and in return the field is lost, the village is spoiled and Mr Wavell moves on in search of his next victim.

(Mr Wavell is arrived)




Violet and Isobel is here to visit the Russian.


ISOBEL: Why didn't you tell them we were coming here today?


ISOBEL: They'll find out as soon as Rose gets home.

VIOLET: I didn't want to be a 'topic' for the rest of luncheon.

ISOBEL: But what are we here for'?

VIOLET: Well, somethings been troubling me. Oh, why on earth didn't we get a taxi from the station? We must be mad. Well, we'll get a taxi home that's for sure.

ISOBEL: It's saying it's in the crypt.




VIOLET: Oh, Isobel, I didn't think it would be like this.

ISOBEL: No, neither did I.

ROSE: Aunt Violet? Mrs Crawley? You never said you were coming.

VIOLET: We wanted to surprise you.

ROSE: Well, you've succeeded.

(Violet sees Prince Kuragin)

VIOLET: Ah, there he is. I must be the last person you expected to see.

KURAGIN: No. I thought you would come.

VIOLET: I've brought my cousin, Mrs Crawley.

KURAGIN: Do you remember Rostov?

VIOLET: Count Rostov, I think.

ROSTOV: Thank you. Yes. Please, ladies.

KURAGIN: Please.

(All sit)

VIOLET: I'm sorry I didn't say very much Thank you at Downton. But I was I was so surprised.

KURAGIN: You haven't changed. I have. It's true. Then, you were the young and beautiful Countess of Grantham, turning eyes in a ballroom or out in your carriage. Now you are the great lady, imperious, magnificent. But these are two sides of the same coin. Your life has not much altered in half a century.

VIOLET: It doesn't seem so to me.

KURAGIN: Whereas the handsome and powerful Prince Kuragin, with his thousands of acres and his golden palaces That man does not exist. Not any more.




Carson sees Molesley in the stairs.


CARSON: Ah, Mr Molesley. I've put out some silver to be cleaned. I'd be grateful if you could see to it.

MOLESLEY: Very good, Mr Carson.

CARSON: I was looking for Mr Barrow.

MOLESLEY: He's gone out.

CARSON: Precisely. But then I thought: No. This is down to Mr Molesley. After all, he is the First Footman.

(Molesley sees what he has to do)





VIOLET: I have thought a good deal about what you said the other day, when I asked after the Princess.

KURAGIN: That I don't know how or where she is? It's true. We were arrested together, and when I came out of prison, I heard she'd been exiled a year earlier.

ISOBEL: There must be someone in authority who…

KURAGIN: Who? The Soviet Ambassador. Do you think he cares where Princess Irina Kuragin is presently lodged?

SOBEL: Well, what about the Foreign Office?

KURAGIN: Do they help the losing side in any revolution? No.

ISOBEL: You mustn't give up hope.

KURAGIN: When you go through a storm like ours, you give up hope quite early on in the proceedings.

VIOLET: I agree. Hope is a tease, designed to prevent us accepting reality.

ISOBEL: Oh, you only say that to sound clever.

VIOLET: I know. You should try it.




Tom, Robert and Mary come home, they walk in front of the future memorial.


TOM: I want to call on the blacksmith. I'll see you back at the house.

(Robert sees Mrs Patmore near)

ROBERT: Mrs Patmore?

MRS PATMORE: Oh, good afternoon, m'lord. M'lady.

ROBERT: I wish I knew what that was about. And why the funny look when I asked after Shrimpie at luncheon?

MARY: I suspect he's come to tell Rose they're getting a divorce.

ROBERT: Are you serious?

MARY: I'm afraid so. He's hinted at it in his letters, apparently, and I gather things have not been improving.

ROBERT: That's the end of his career.

MARY: Well, the Martboroughs have survived divorce.

ROBERT: Well, the Martboroughs are very rich. Shrimpie hasn't got a bean. People will drop them like hot potatoes.

MARY: Will we drop Shrimpie? Susan's your cousin, not him.

ROBERT: No, I won't take sides, whatever Susan wants.




Bates comes in. Anna is already here.


ANNA: Would you give me a hand with these?

BATES: When are you leaving?

ANNA: Lady Mary wants to get the eight o'clock. She's going to a dress show with Lady Rosamund in the afternoon.

BATES: I'll miss you.

ANNA: So I should hope. Are you all right? I hope you haven't let the sergeant worry you.

BATES: No, he doesn't worry me.

ANNA: I just wish we could all forget about Mr Green.




Violet and Isobel are back home.


ISOBEL: Why did you want me to go with you today?

VIOLET: Oh, it was just in case things turned mawkish. I prevent Lord Merton saying anything to embarrass you I wanted the same protection myself.

ISOBEL: I presume you and Prince Kuragin were once attracted to each other.

VIOLET: 'Attracted to each other'? Is that what you call it? As it happens, he asked me to run away with him.

ISOBEL: But you didn't go.

VIOLET: No, Lord Grantham gave me a frame by Faberge, with two pictures of the children in it, and I saw sense.

ISOBEL: Lord Grantham sounds rather more subtle than I'd realised.

VIOLET: Well, like all Englishmen of his type. He hid his qualities beneath a thick blanket of convention, so I didn't see who he really was at first.

ISOBEL: It was lucky you found out in time. If it was in time.

VIOLET: I forget.




Daisy make her homework, Mrs Patmore wants Daisy in the kitchen.


MRS PATMORE: Daisy! Will you put those bally books away and come and help? And where are the pastry casings?

DAISY: I'll make them now.

MRS PATMORE: You should have made them before! What is all that?

DAISY: I'm studying the Glorious Revolution of 1688.

MRS PATMORE: Well, there'll be a glorious revolution down here, if you don't watch it! Did you hear that in there? I mean, mathematics is one thing. She's studying to be a revolutionary now!


Mrs Hughes sees Thmoas takes a spoon.


HUGHES: I hope there's no cooking going on up in your room.

MOLESLEY: I should find out what he's up to.

BAXTER: I'm sure it's nothing.




Lord Merton is in the street, anxious. She enters in the garden and Isobel saws him.


ISOBEL: Lord Merton?

LORD MERTON: Oh! I er Well, that is You're here.

ISOBEL: Well, hadn't you better come in?

LORD MERTON: Thank you.


They enter.


ISOBEL: Well, how can I help?

LORD MERTON: I nearly flunked it, but I've put it off so many times, and as I was sitting all alone at luncheon today, I just thought: “No. I'm jolly well going over there to say it.”

ISOBEL: I do hope this won't be something you'll regret.

LORD MERTON: You may regret it. I won't.

ISOBEL: Very well. I'm listening.

LORD MERTON: I really should go down on one knee, but I fear I'd never get up again. I'm sure you realise by now I'm asking for your hand in marriage.

ISOBEL: Dear Lord Merton, you see…

LORD MERTON: Please. Please. I want to be quite dear. I'm not speaking out of loneliness or with a view to my comfort.

ISOBEL: I'm sure…

LORD MERTON: No, you're not. When men of my age marry, that's usually the reason. But my proposal is a romantic one. I state freely and proudly, Isobel, that I have fallen in love with you. And I want to spend what remains of my life in your company. I believe I could make you happy. At any rate, I…I should very much like the chance to try.

ISOBEL: Well, goodness, Lord Merton I freely admit you have taken me by surprise. Not with your proposal, but with your talk of love.

LORD MERTON: I mean it. And before you refuse me I'd like to ask you to leave it on the table, so to speak. Say nothing for the time being. Just think about it.

ISOBEL: I'm not sure it would change my answer, but after such eloquence, to refuse your request would seem ungenerous. I will think about it.

LORD MERTON: Well… Now I think I'll take my leave. I suspect ordinary conversation would be difficult after that.




ROBERT: What do you mean, that man Bricker is coming back? Why?

CORA: 'That man Bricker'? What has he done to deserve such a welcome?

ROBERT: Hasn't he seen what he came to see?

CORA: He wants to investigate a possible link between our picture and a later work by Della Francesca.

ROBERT: Shrimpie is coming this week.

CORA: Well, then, he and Mr Bricker will get to know each other, won't they?


ROSE: Edith, darling, why so glum?

EDITH: I'm not glum, am I?

CORA: How's your prodigy child?

EDITH: I haven't seen her for a while. I was getting rather under their feet, so I thought I'd give them a rest.

ROBERT: I knew that would happen. Why don't you leave it for a few months?

EDITH: A few months?

ROBERT: I should. Then they'll be pleased to see you when you do go back.


MARY: Any thoughts on Pip's Corner?

CORA: I'd love to understand the merits of the argument.

ROBERT: You want us to do it, don't you?

TOM: Well, it's capital with no outlay. We have to consider it.

ROBERT: Consider it, yes. But it's complex. Do we really want to start breaking bits off the estate and selling them piecemeal?

MARY: You wanted to sell land when Matthew died.

ROBERT: And I was wrong. I didn't see how many owners would chip away at their land until there was nothing viable left. Anyway, we can talk about it tomorrow.

MARY: Not me. I'm going up to London first thing. Aunt Rosamund's taking me to a dress show.

ROBERT: It's good to know you've got your priorities straight.




Baxter heards someone in a room.


BAXTER: Hello? Who's in there? Please, let me know who's in there.

THOMAS: Go away.

BAXTER: Mr Barrow? Would you like me to fetch a man to help you? Mr Barrow!

THOMAS: What man? There isn't a man in this house who'd help me.

BAXTER: What's the matter with you?

THOMAS: Just mind your own business!




Anna prepares Mary for bed.


ANNA: Now, you're sure there's no big evening event?

MARY: No, and we're only there one night.

ANNA: When are you seeing His Lordship?

MARY: Friday morning.

Before we catch the train home.

ANNA: It's right to do it face to face.

MARY: But of course I'm dreading it.




Tom comes back. He sees Sybbie with the nanny.


SYBBIE: Daddy!

TOM: Hello, Sybbie, my love. Kiss. Thank you, Nanny. Morning, George.

(Robert arrives)

SYBBIE: Morning, Donk.

ROBERT: Morning, Sybbie. Morning, George. (to Carson) Do we think Lady Mary made the train? She was cutting it fine.

CARSON: Mr Stark saw them both on board.

ROBERT: Carson, may I ask you something? Is Mrs Patmore quite happy?

CARSON: I'm afraid there is a particular matter that has upset her, m'lord.

ROBERT: May I know what it is?




Violet and Isobel take tea.


VIOLET: But why make him wait?

ISOBEL: You mean I must refuse him now?

VIOLET: Well, you said yourself the whole idea was ridiculous.

ISOBEL: Yes, but I can only tell you, when it came to it, he was not ridiculous.

VIOLET: You surprise me. One kind word and your judgment takes flight.

ISOBEL: Surely Prince Kuragin has reminded you what one kind word can do. He's asked me to think about it. And I will think about it.




Robert reads the newspaper. Edith comes in.


EDITH: It was Michael's office on the telephone… there's been a development. Apparently, there's a trial going on in Munich. Of the leader of a group of thugs there.

ROBERT: I've read about this. They wear brown shirts and go around bullying people. The leader tried to start a revolution.

EDITH: That's it. It was absurd.

ROBERT: Maybe. But I'm afraid we're going to see a lot more of this sort of thing. We pushed Germany too hard with our demands after the war.

EDITH: It seems it was this gang that got into a fight with Michael.

ROBERT: I can easily believe it. They're a horrid bunch, from the sound of it.

EDITH: Yes, but we might be dose to finding out what happened to him.

ROBERT: That's why his office telephoned? It will be very hard for you, my darling, but I promise it's better to know the truth than to live in a cloud of mystery and despair.

EDITH: But as long as I don't know for sure, then, in a way, I'm keeping him alive. I hate to let go of that. Can you keep this to yourself, Papa? Until we're told for certain. I don't want to put up with Mary's pity any longer than I have to.

ROBERT: She will pity you, and God knows, so do I.




Mary is arrived, she is late pour the show.


MARY: I'm fearfully late.

Where are my gloves?

ANNA: Don't worry.

It will all be unpacked before you get back.

MARY: You're a dream. I must run. Oh, wait a minute. Could you post this? Or give it to Mead if he hasn't emptied the box in the hall. I never said where to meet me, and Kensington Gardens would be nice and neutral. I thought about dining with him tonight, but midday seemed more appropriate for bad news.

ANNA: Very good, m'lady.




Mary and Rosamund look a defile.


ROSAMUND: And how is Edith getting on?

MARY: Actually, she's rather gloomy at the moment.

ROSAMUND: Do we know why?

EDITH: She's taken an interest in a child of one of the tenants, and now the parents are sick of her.

ROSAMUND: And why this child in particular?

MARY: I don't know. She took a fancy to it. Now she seems to have overplayed her hand. Golly. That'd be useful.

ROSAMUND: So, tell me more about this farmer and his little girl.

MARY: How did you know it was a girl?

ROSAMUND: Well, you must have said.

MARY: He looks after the pigs. Oh, yummy.

(Mary sees Charles Blake in the other side)

MARY: Good heavens. There's Charles Blake. What's he doing here?




Edith wants to see her daughter who with Mrs Drewe picking up kids.




Anna goes to Gillingham’s hotel. A man watchs her.


ANNA: Excuse me. Is this right for Lord Gillingham? That doorway.

SERVANT: First floor.

ANNA: Thank you.




Charles and his guest join Mary.


CHARLES: Hello. Nice to see you. Are you shopping for your trousseau?

MARY: Ha-ha. Oh, I think you know Lady Mary Crawley. Miss Lane Fox. Oops. I've suddenly remembered the significance.

MISS LANE FOX: Try not to be an ass, Charles.

MARY: Well, we don't know each other, exactly.

MISS LANE FOX: But we certainly know of each other. Don't we? It's not often you meet the woman you were jilted for.

MARY: Well, I…

MISS LANE FOX: Don't worry. I wouldn't want a man who preferred someone else.

CHARLES: You're quite over him, then?

MISS LANE FOX: Absolutely. Now I must go. I'm meeting Ralph Kerr later. He's very tetchy if he's kept waiting.

(Miss Lane Fox leaves)

CHARLES: I thought you knew each other.

MARY: No. And I must say, she wasn't at all what I imagined.

CHARLES: What was that?

MARY: I don't know. Someone meeker and more virtuous.

CHARLES: I don't think Mabel's very meek.

MARY: No. Obviously not.

CHARLES: How long are you in London?

MARY: I go home tomorrow. I'll see Tony in the morning and then catch the train.

CHARLES: Why? What are you doing tonight?

MARY: Nothing.

CHARLES: Then why not have dinner with me?

MARY: Don't you have plans?

CHARLES: None that I want to honour. I'll come for you at eight.

MARY: Nowhere too swanky. I haven't brought the right clothes.




Anna is on the place where Green is murdered, the man is still looking at her.




Edith sees the family come home.




Carson comes in.


DAISY: I'll do them!

CARSON: Mrs Patmore, His Lordship is asking for you. Come up to the library, please.

MRS PATMORE: Oh, my heaven! What, now?

HUGHES: Oh, Lord! You look fine. Give me your apron.

CARSON: Ah, Mr Molesley. Just the man. Can you cast your eye over the dining table? I won't have time before dinner, and you're the First Footman.

MOLESLEY: I was just going to…

HUGHES: While you're up there, check the bedrooms for Lord Flintshire and Mr Bricker. I haven't got a moment and, as Mr Carson says, you are the First Footman.

MRS PATMORE: Right. I'm ready.

DAISY: Go on, then, Mr Molesley.

MOLESLEY: It doesn't seem quite fair.

DAISY: You wanted to be First Footman.

What did you think? That you'd spend all day with your feet up?




Edith knocks on the door.


EDITH: I thought I'd pop in and see how Marigold's getting on.

MRS DREWE: I'm afraid I'm just taking her up for a rest, m'lady. They've been playing outside and she's tired.

EDITH: Does she have to go up right away?

MRS DREWE: I think so, yes, m'lady.

TIM DREWE: M'lady? The… the trouble is, Margie thinks you're unsettling the child.




Robert tells about the memorial.


ROBERT: There are laws that govern the whole business of war memorials.

MRS PATMORE: So Mr Carson's told me, m'lord.

ROBERT: I appreciate how distressing this is for you and your family.

MRS PATMORE: Do you, m'lord? Because I'm not sure Mr Carson does.

ROBERT: Carson is as sorry about it as I am. Aren't you, Carson?

CARSON: I'm sorry that Mrs Patmore should be distressed, m'lord.

MRS PATMORE: But you're not sorry Archie's name's to be left off the memorial. He volunteered. He didn't wait to be called up. He went to the Front to fight, and as for his so-called cowardice that were like a wound in battle, a wound to his brain, so he didn't know what he was doing. He were a good and decent lad.

ROBERT: Of course he was.

MRS PATMORE: But doesn't that make him a casualty of war, m'lord? Same as our William or any of them. He could have stayed here, safe and well, until they came for him. But instead, he chose to fight for his country.

ROBERT: It may surprise you to learn, Mrs Patmore, but I agree with you, even though I can do nothing about it. It's not helpful, but I do.

MRS PATMORE: No, it is helpful. It helps to think that decent folk can see our Archie was a victim. Even if Mr Carson can't.

ROBERT: Thank you, Carson.


Carson and Mrs Patmore leave, Cora comes in.


ROBERT: When does Shrimpie get here? And your ghastly art dealer.

CORA: They're on the same train and the car's meeting them, so they'll have time to change. And he isn't a dealer. He's a historian.

ROBERT: Is he, indeed? Lawks a-mercy. I wish I knew why he was coming.

CORA: He wants to discuss the painting.

ROBERT: With you?

CORA: Yes. Is that so shocking?

ROBERT: I'd better get on.




Carson meets Molesley.


CARSON: Oh, Mr Molesley. I've not been told whether Lord Flintshire and Mr Bricker will be bringing valets. Could you see they're properly attended?

MOLESLEY: Well, I've got a lot on my plate, Mr Carson.

CARSON: I am sorry, Mr Molesley, but you are

MOLESLEY: Yes, I know. I know. I'm the First Footman.




Charles and Mary diner.


MARY: So, you’re happy?

CHARLES: Well, I'm not delirious, but who is? I have a pretty good life.

MARY: Well, I'm glad.

CHARLES: I was never the type to die of a broken heart, you know. I'm sorry if that offends you.

MARY: On the contrary. I only hope Tony feels the same.

CHARLES: Goodness. I wasn't expecting that. I wish I could work you out.

MARY: I wish I could work me out.

CHARLES: When will you tell him?

MARY: Tomorrow. I'm meeting him at noon. By the Peter Pan statue in Kensington Gardens.

CHARLES: Won't that make him dream of happy families?

MARY: Well, it's too late to change it now.

CHARLES: What's he done wrong?

MARY: Nothing. I'm very fond of him. I'll always be fond of him. I want him to be the godfather of my children. Just not their father.

CHARLES: How will he take it?

MARY: Not as well as you.

CHARLES: Well, you've got a way to soften the blow. If you want to.

MARY: I don't see how.

CHARLES: Don't you?




VIOLET: You seem a little subdued tonight.

EDITH: Do I, Granny? How strange. I wonder why.

VIOLET: I know it sounds hard, but you must learn to leave things behind.

EDITH: I suppose you mean I'm to leave Michael behind now, as you've already made it quite clear I'm to leave the baby behind.

VIOLET: I would never suggest anything that is not in your interest.

EDITH: In my interest? Or the family's?

VIOLET: To me, they are the same.

EDITH: And that is where we differ.


SHRIMPIE: I've been thinking about your missing person.

VIOLET: Oh, I don't want to be a nuisance, but aren't there departments devoted to finding people who are lost?

SHRIMPIE: Alas, not at my command. And the Russians who were driven out have spread to the four corners of the earth. Who is this woman? An old friend of yours?

VIOLET: No, she's the wife of an old friend. Oh, just see what you can do, Shrimpie.

SHRIMPIE: Aunt Violet - if I can still call you Aunt Violet - I ought to warn you about something.

VIOLET: I can guess what it is.

SHRIMPIE: You won't approve.

VIOLET: No. I don't.

SHRIMPIE: You may even feel the need to take sides. Susan is your niece.

VIOLET: Well, I think you're making a serious mistake, but you may rest easy on that score. I never take sides in a broken marriage.

SHRIMPIE: Why is that?

VIOLET: Because, however much the couple may strive to be honest, no-one is ever in possession of the facts.


CORA: Are you in a hurry to leave tomorrow?

BRICKER: Not at all. In fact, at the risk of being a burden, I thought I might stay another night.

ROBERT: When are you off tomorrow?

CORA: He's staying for a couple of days.

ROBERT: Is he? Well, I hope we've got enough here to amuse you.


ROBERT: Come into the library.

SHRIMPIE: Excuse me.


ISOBEL: Why not invite Miss Bunting to dinner tomorrow night? Mary will be back - we'll be quite a party. Edith, persuade him.

EDITH: I don't think Papa would think it a very good idea.

CORA: What's this?

ISOBEL: I wanted Torn to invite Miss Bunting to dinner tomorrow, but Edith says Robert won't allow it.

CORA: Nonsense. Of course you must bring her, if you like. I insist.




Robert and Shrimpie drink.


ROBERT: So, you've enjoyed Bombay for the most part?

SHRIMPIE: Oh, yes. It's a wonderful city, the gateway to the glories of the East. I felt very privileged.

ROBERT: I gather things have not improved with Susan.

SHRIMPIE: No. The times I've blessed you and Cora for keeping Rose out of it.

ROBERT: What happens now?

SHRIMPIE: Divorce, I'm afraid. I can't see any other way.

ROBERT: But my dear chap, is it worth it? Why can't you just live apart?

SHRIMPIE: If you'd ever been as unhappy as I am, you'd know why not.




Baxter fixes something, Thomas is in the hall.


THOMAS: Has Molesley gone to bed?

BAXTER: Yes. Why?

THOMAS: Mrs Patmore needs two more chafing dishes first thing tomorrow.

BAXTER: You can tell him in the morning.

THOMAS: You're not so pally now, are you? Why are you still up?

BAXTER: I just want to get this finished. Your father was never ill, was he?

THOMAS: I'm sorry?

BAXTER: Are you the one who's ill? Is that it? Is that why you went away?

THOMAS: What's it to do with you?

BAXTER: I'm right, aren't I? You're ill, and you went away to be treated, and now you're trying to carry on with the treatment yourself.

THOMAS: Well, it has nothing to do with you, so just leave me alone.




Shrimpie explains the situation to his daughter.


SHRIMPIE: Robert asked why we couldn't stay together, for the look of the thing. I hope you see that we can't.

ROSE: But Daddy, where are you going to live?

SHRIMPIE: Your mother will keep Upper Brook Street. I'm not sure where I'm going to go yet, but I'll find something.

ROSE: Oh, can I live with you?

SHRIMPIE: To be honest, I think you should stay here for a while. The next part could be quite unpleasant.

ROSE: I'm learning from it, though. I don't care how eligible some chap may be - I'm not going to be bullied.

SHRIMPIE: Fighting talk.

ROSE: I mean it. You all think that now I'm officially 'out', it's time to find my man. But I'm only going to marry if I'm totally, absolutely in love.

SHRIMPIE: Of course.

ROSE: When I find him, will you promise to be on my side? Promise you won't try to force me into a 'suitable' marriage, like you were forced.

SHRIMPIE: In other words, you're asking for a blank cheque.

ROSE: Yes. That's just what I want.

SHRIMPIE: Oh, my dearest one. On the subject of marriage, I have no right to give advice, let alone orders.




Bricker and Cora watch a picture.


BRICKER: 'You must make haste to reach Dieppe, where you are to seek out a Mr Avebury. He will arrange for you to be taken aboard a packet and conveyed to safety, but do not delay, if you hold your mother dear.’

CORA: Poor woman. I know how she felt.

BRICKER: 'As for your collection, Mr Avebury will do what he can, but I'd rather every canvas or carving were tossed in the sea to your being one extra hour in that unhappy country.’ I'm glad he didn't take her advice.

CORA: He did not. He brought crates and crates over, then went back after the Reign of Terror to buy more.

BRICKER: And you have preserved them safely in this beautiful place.

CORA: I'm glad you think it's beautiful.

BRICKER: I think everything about Downton is beautiful, including its mistress.

CORA: You mustn't say such things.

BRICKER: I have to, or I'll burst.

(Robert comes in)

ROBERT: What's burst?

BRICKER: I was just saying that being allowed to touch a painting like this will make me burst.

CORA: It's wonderful to show it to someone so appreciative.

ROBERT: Yes. No-one could say you're not appreciative, Mr Bricker.




Tony and Mary are in their meeting.


TONY: I can't be hearing this correctly.

MARY: I'm afraid you are.

TONY: So, you sleep with a man because he wants to marry you, but now you change your mind. It's insane!

MARY: I'm sorry if you think so.

TONY: Well, I won't let it happen. I love you and you love me. At least, you told me so in Liverpool.

MARY: I know, and I thought I meant it.

TONY: Well, what's changed?

MARY: I can't explain, exactly. But something has. That's all.

TONY: Am I a bad lover'? Is that what you're trying to tell me?

MARY: Don't be silly. It's not that at all. It's just, I feel I've sort of woken up out of a dream.

TONY: How flattering! We go to bed together and you wake up!

MARY: I'm just not sure we have enough in common, to make a go of things.

TONY: Well, I refuse to accept it. I refuse to believe that a woman like you, a lady, could give herself to a man without first being certain that he was the one.

MARY: So, what are you saying?

TONY: This is something we've got to get through. And we will. We will get through this together.




Molesley enters in the office.


CARSON: Mr Molesley. You wanted to see me?

MOLESLEY: Only to say that I'm not sure I should be called the First Footman, after all, Mr Carson.

CARSON: Are you not?

MOLESLEY: No. Well, it's not like the old days, is it? I mean, the duties of the First Footman are shared between a lot of people now, aren't they?

CARSON: Are they?

MOLESLEY: Well, they should be because I've got the duties of the Second and Third Footman to deal with.

CARSON: So, you don't feel you need the precedence that the title 'First Footman' confers?

MOLESLEY: Er well, not really, no.

CARSON: Very well. I'll see what I can do.




Sarah Bunting has accepted the invitation. Tom talks with her.


TOM: I wasn't sure you'd want to come.

SARAH: Nonsense. I'm flattered to be asked. I didn't think I would be again. Not after last time.

TOM: Try to be nice to him tonight.

SARAH: I will be, if he's nice to me.

TOM: I know you don't like him, or any of them, much, but you forget one thing. They are good to me, in their way. And I love them.

SARAH: I don't want you to hate them. Just to realise that you're more than a retainer. I can't bear for you to waste your life propping up a system that's dying.

TOM: Well, it won't die before dinner.




Hughes asks who belongs the magazine.


HUGHES: Someone's dropped this in the passage. The London Magazine. Does it belong to any of you?

ANNA: Mr Barrow was reading it earlier.

HUGHES: Would you give it to him when he comes down, Miss Baxter?

BAXTER: Of course.


Before giving the magazine to Thomas, Baxter reads it. Thomas surprises her.


THOMAS: Where did you get this? Have you been in my room?

BAXTER: Of course not.

You dropped it in the passage.

Mrs Hughes found it.

THOMAS: Mrs Hughes found it, but Miss Baxter read it.

BAXTER: I'm sorry for what you've gone through, if what I think is correct.

THOMAS: Don't you pity me. Don't you dare pity me.




All is dining.


CORA: Did you bring the photographs of Della Francesca's Nativity?

BRICKER: I certainly did. We can compare them to the painting tomorrow.

CORA: It would be so lovely if it does turn out to be a study for it.

BROCKER: Yes. It would be absolutely lovely.

CORA: Mr Bricker, one more word and I will ask you to sit somewhere else!


ROBERT: He flatters her. He keeps asking her opinion on everything.

VIOLET: Well, don't you ever ask her opinion?

ROBERT: Of course I do. Sometimes.


SHRIMPIE: Did you have a good time in London?

MARY: Quite good. I set myself rather a difficult task, and it's always a relief when it's done, isn't it?


ISOBEL (to Sarah): How are your lessons going?

ROBERT: What's this?

EDITH: Miss Bunting is giving instruction to Mrs Patmore's undercook.

ROBERT: Oh, yes. I heard about that.

SARAH: You sound as if you don't approve.

ROBERT: I approve. As long as you're not making her unsettled.

SARAH: You don't know her name, do you?

TOM: Sarah, please.

MARY: Of course he does. Daisy.

SARAH: Well, he knows it now.

ROBERT: I knew it before. And it sounds as if you're upsetting her and Mrs Patmore.

VIOLET: I think you should drop this.

SARAH: Why don't you send for her'? Bring Daisy in and ask her yourself.

ROBERT: I'm sure she's too busy.

SARAH: Not too busy to answer a summons from you.

TOM: We don't want to embarrass her.

ROBERT: Carson?

CARSON: This is the busiest time of their day, m'lord. Maybe it would be better

ROBERT: No. Fetch her. And ask Mrs Patmore to come up, as well.

CARSON: Very good, m'lord.

VIOLET: Your father may regret this.




Anna unpacks Mary’s stuff.


BATES: I wondered if you wanted a hand.

ANNA: Almost done. You could put the cases away, if you've a mind.

BATES: Did you enjoy yourself?

ANNA: We weren't there long enough. I went to deliver a letter to Lord Gillingham in Albany.

BATES: Oh, yes?

ANNA: Then I walked into Piccadilly.

BATES: His Lordship's lucky to live there.

ANNA: Do you recall Mr Green saying that?

BATES: Saying what?

ANNA: Jimmy heard where he lived and called him a lucky tyke.

BATES: He wasn't very lucky in the end, though, was he?

ANNA: No. He wasn't lucky in the end.

BATES: Right. I'll take these up to the luggage room.




Daisy and Mrs Patmore enter in the room.


MRS PATMORE: Is something wrong with the dinner, m'lord?

CORA: Not at all.

VIOLET: We apologise, Mrs Patmore, for interfering with your duties in this strange and inconsiderate way.

ROBERT: Mrs Patmore, Carson tells me you feel Daisy's lessons have disturbed the peace of the kitchen.

DAISY: Did you say that?

MRS PATMORE: I don't know what I said. I was upset about that other business.

ROBERT: I wondered if it were true. Daisy?

DAISY: Well, I'm sorry if I've made trouble downstairs.

MRS PATMORE: Well, you haven't. Not really.

DAISY: But I must say this, m'lord. Miss Bunting here has opened my eyes to a world of knowledge I knew nothing of. Maybe I'll stay a cook all my life, but I have choices now, interests, facts at my fingertips. And I'd never have had any of that if she hadn't come here to teach me.

ISOBEL: Brava. Well said.

BRICKER: Quite a testimonial.

MRS PATMORE: May we go, m'lord? We've still got the pudding and the savouries.

ROBERT: Of course. Thank you.

(Daisy and Mrs Patmore go back to the kitchen)

ROBERT: Obviously, the lessons have proved successful. I'm pleased to hear it.

SARAH: Are you, Lord Grantham?

MARY: Oh, for heaven's sake, let it go. You've proved your point.

SARAH: Have I, though? All I've proved is that Lord Grantham would like us serfs to stay in our allotted place from cradle to grave.

ROBERT (angrily): There is only one thing I would like and that I would like passionately. It is to see you leave this house and never come back!

(He leaves the room)

MARY: Happy now?

VIOLET: Edith, dear, are you still writing that very interesting column?

EDITH: Yes, Granny.

VIOLET: Oh, you must show me some of them. What is the latest one about?

EDITH: What are they all about? The way the world is changing.




Everyone talks about the scene.


WOMAN: What's happening? What's all the commotion?




Carson explains to Hughes.


CARSON: He just left the room.

(Anna comes in)

ANNA: Oh, I don't mean to interrupt.

HUGHES: No, no. We were just discussing the Battle of Little Bighorn.

CARSON: The Battle of Little Minx, more like. To speak to His Lordship in that manner! In his own house.

ANNA: It's true, then? I thought Mr Barrow might be exaggerating.

HUGHES: It seems he wasn't, for once.

CARSON: Mr Branson must be horrified to have brought her here.

ANNA: I don't know. I like him, but sometimes I think we've forgotten the Mr Branson that was down here with us, spouting Keir Hardie between every mouthful. They've made him one of them in a way, but it's not who he really is.

CARSON: Then it makes me wonder whether Downton is the place for him.

HUGHES: A question I'm sure he's asked himself many times.




Robert is still upset.


ROBERT: I can't stand that woman.

CORA: No great surprise there.

ROBERT: I suppose you think I made a fool of myself.

CORA: What does it matter?

ROBERT: I don't see that you were much better. Flirting and twinkling with that ghastly travelling salesman.

CORA: Go to sleep, and when you wake up, make sure you get out of bed on the right side.




Mary upstairs. Tom is up drinking.


MARY: Good night, Tom. And cheer up. You gave Granny a wonderful evening.




Mrs Patmore and Daisy talks about what happened.


MRS PATMORE: Well, what a to-do! It seems to me your friend Miss Bunting is out to make trouble.

DAISY: She's brought me to life, Mrs Patmore.

MRS PATMORE: All the same, she wouldn't win a popularity contest upstairs.

DAISY: Would you like to write a letter to the War Office?

MRS PATMORE: Oh, don't be daft.

DAISY: I mean it. If you think Archie's been badly treated, you must protest.

MRS PATMORE: I wouldn't know how to write a letter like that.

DAISY: I can write it for you.

MRS PATMORE: It won't do any good. His Lordship says there are rules in place. He wouldn't lie.

DAISY: No, but if you protest and then, over the years, more and more others protest, then they might change their blessed rules.

MRS PATMORE: This is your learning, isn't it? That's what you're trying to show me you're not afraid.

DAISY: No, I'm not.

MRS PATMORE: Well, go on, then. We'll do it tomorrow.




Sgt Willis is here.


HUGHES: How can we help you this time?

SGT WILLIS: It's an odd business. Since all this started, they've kept a plain-clothes man on watch at Lord Gillingham's set in Albany, and now I'm told that Mrs Bates was seen there, loitering outside.

HUGHES: Well, I know why that would be. Lady Mary must have wanted to see Lord Gillingham while she was in London. No doubt, Anna was sent with a message to arrange a meeting.

CARSON: I knew you'd have something sensible to say. Sergeant?

SGT WILLIS: Well, it seems likely. But from there, Mrs Bates walked into Piccadilly, to the spot where Mr Green died. There's no possibility she might have a grudge against him, that Mr Bates might share?

CARSON: Not that I'm aware. As I recall, she rather liked him.

SGT WILLIS: Mrs Hughes?

HUGHES: Yes, she liked him. So she said.

SGT WILLIS: They may want to question her, but before they do, they want me to check one thing. She was definitely here on the day of his death? Here at Downton?

CARSON: I believe so.

HUGHES: Surely, you can't think that Mrs…

SGT WILLIS: I'm not paid to think, Mrs Hughes. Just to record the facts.




Isobel and Violet talks with Shrimpie.


ISOBEL: Hong Kong?

SHRIMPIE: A lot of the Tsarist sympathisers ended up there.

ISOBEL: How did they survive?

SHRIMPIE: As servants and taxi drivers. Milliners and prostitutes. Anything they could lay their hand to.

VIOLET: I will not suggest to which of those callings the Princess Kuragin was most suited.

ISOBEL: If you dislike her so much, why are you going to all this trouble?

VIOLET: Because I owe it to her.


SHRIMPIE: By the way, Susan has written to Annabel to say that she's furious that you've all taken me in.

VIOLET: Oh, dear Susan has been in a rage since she was playing with her dolls. I am proof against her tantrums.

ISOBEL: I would rephrase that if you want to stay neutral.

VIOLET: I won't take sides. it's true. But I don't think I could ever be described as 'neutral'.




MARY: Have you apologized to Tom?

ROBERT: I never knew anyone who could provoke me into saying so many things I don't believe. But I am sorry, Tom. Please forgive me.

TOM: She knows how to goad you.

ROBERT: With the precision of a surgeon.

MARY: Why do you go on with her?

TOM: Since Sybil. died, I've forgotten what it's like to be with someone who feels about things as I do. That's why. Or that's been why.

ROBERT: To me, it's as if you'd joined us and now you're backing away.

MARY: What are we doing here?

ROBERT: I want to explain why I think we should turn down Wavell's offer.

MARY: I know. We are only the caretakers of Downton. But Papa, some things have to change.

ROBERT: True. But we mustn't destroy what we're trying to protect. Wavell would wreck this lovely place for ever, with his ugly, cheap houses.

MARY: But you can't block all development.

ROBERT: I won't. I intend to expand, but without spoiling. I'm going to make a plan and find a solid builder who can fit in to the village and not ruin it.

TOM: That may be hard to achieve.

ROBERT: It may be harder than cashing Wavell's cheque, but does that mean we shouldn't we try.

TOM: No.

ROBERT: We will build. We'll even make money for the estate. But we won't destroy what people love about this place. Do you think that's wrong?

MARY: No. It's not wrong.

ROBERT: That's all I'm asking.


End of the episode.

Ecrit par Stella


Kikavu ?

Au total, 64 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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cartegold  (10.07.2019 à 11:07)

Oui, sous leur propre toit, c'est ça qui m'agace chez elle^^

C'est vrai qu'elle se serait bien entendu avec Tom dans une autre période de sa vie. Il a beaucoup évolué, et c'est difficile pour lui de trouver sa place entre ses convictions et sa famille ! J'aime beaucoup toutes les réflexions qu'il apporte.

stella  (08.07.2019 à 22:49)

Ah bah c'est sur qu'elle bouscule pas mal les habitudes des Crawleys ^^

cartegold  (08.07.2019 à 16:12)

C'est vrai que Sarah Bunting n'y va pas de mains mortes. J'ai beaucoup de mal avec son personnage !


Merci aux 2 rédacteurs qui ont contribué à la rédaction de cette fiche épisode

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