60 It’s always rather a big thing when we take up the carpet at Highclere, so we can’t do it too often, but for a wedding reception it just wasn’t possible to keep it down. And I like it when Carson says, ‘Mr Bassett’s men are doing the foliage.’ Mr Bassett, the gardener, is a sort of Ghost of Christmas Past in this show. We talk about him quite often, but he never appears.
61 This sounds rather repetitive so perhaps it was right it got cut. It is important that the audience is absolutely clear about what one character is telling another, but you do try to avoid repeating it. You structure a scene so that it finishes just as they’re about to get the information you already know, or you start the scene when they’ve just got it. Sometimes you can’t avoid a slight repeat, but you do work against it.
62 It is quite an old-fashioned device, when you start a play with two maids dusting saying, ‘Oh, when do you think they’ll be here?’ ‘Goodness knows’ and so on, all of which is designed to herald a big event. We are doing much the same thing here. But we knew that the advance publicity of the arrival in the series of Shirley MacLaine was going to be such a big story that the work would have been done for us.
63 Violet, of course, is refusing to go up for the arrival because she knows that almost the only person in the larger family group who does not accord her any status is Martha Levinson, so she refuses to give her that pleasure.
I wish we hadn’t cut these lines about Martha’s name. Once the series had started going out in America the whole business of her having a Jewish name became an enormous factor – people wrote letters, there were questions in the papers, most of which took me by surprise. I simply thought it was quite interesting as an element. We do have later stories that touch on the casual anti-Semitism of the English upper classes at that time, which has always fascinated me. I have never understood it, what it was based on, why they went on with it, but even today you can still pick up traces. But Violet is not anti-Semitic. She just sees everything in terms of the survival of the Crawley family. As usual.
64 Branson must have a proper morning coat if he’s going to be best man. Even Isobel would see that, because by having a best man who’s not in a proper outfit you’re making some sort of eccentric statement, which wouldn’t be acceptable. Despite Branson’s protests, there is no moment when Violet is prepared to be swayed. Branson is beaten and that’s that.
65 Martha is not a sentimentalist. We make that statement immediately. Her clothes are very up-to-date quite deliberately, whereas Violet’s clothes are up-to-date technically, but they always look back to the Edwardian era, and the inspiration for her appearance was always Queen Mary, who managed to die in 1953 but never got much beyond 1910 in terms of style. Martha wants to look and be modern. And she makes a certain amount of fun of them all for trying to resist the future.
There is also an ironic statement in here, when Martha talks about the arrangements for the birth – ‘These things are managed so much better in the States’ – although actually eclampsia was fatal in the States at this time, too, but even so…
66 Reed also belongs essentially to the modern world, which, naturally, makes Mrs Patmore despise her. With her requests for goat’s milk, and no fats, no citrus, and all the rest of it… It was an American thing to specify all the things you couldn’t eat long before it came here. When I was a child, and later than that, we were expected to eat everything, and if there was something you literally couldn’t swallow you pushed it round your plate and hid it under the lettuce, but what you never said was, ‘No tomatoes for me.’ And anyway, before the war you weren’t expected to clear your plate, so it was much less difficult to leave things without people commenting than it is now.
67 All Martha understands is that her husband’s money is going to this young man who is no relation to them, which is, understandably, absolutely infuriating to her. She doesn’t have any problem with Branson’s marrying her granddaughter at all, but I suspect her of rubbing this in Robert’s face. I’m not sure how pleased she would have been if Cora had married a chauffeur. But that is only my secret thought.
68 Here we have Matthew and Mary talking about Pulbrook and this is where we get down to the key plot detail of ‘per stirpes’, which we have talked about already. If it is non ‘per stirpes’ then Pulbrook has to die before Reggie for Matthew to be the heir, because if he died after Reggie Swire then his children would already have inherited before they were aware of the inheritance. But there is also the issue of Matthew’s decency. He feels he can’t keep the money because he believes that he was only included in the will when he was going to marry Swire’s daughter, Lavinia. By contrast, Mary is completely pragmatic. To be honest, these points of view represent exactly how my parents would have behaved – and differed. Daddy would have said he couldn’t possibly keep it, while Mummy would have thought he was out of his mind. Like these two, he was the idealist, she was the pragmatist. Besides which, to Mary, Matthew’s dithering means he isn’t a true Crawley, he doesn’t believe in the survival of the Crawleys of Downton, which is a horrible awakening moment. Michelle Dockery did it awfully well. They were both marvellous, in fact. But this is an insight into the problems of making a couple happy. You have to find a reason to make them unhappy and full of tension as quickly as you possibly can.
69 Some of this was cut, which I was rather sad about, because Bates’s desire for the ordinary reminds me of my own journey back to school at the end of the holidays. We would travel from King’s Cross in the afternoon and reach York in the evening, and inevitably it’s left me with a lifelong distaste for being on a train in the dark, because it always meant school. But I remember travelling up through the northern towns, past all these back-to-back houses, and I would see the lights on and people sitting in their kitchen having tea, and I remember such envy. I used to think, ‘Why can’t I be sitting in that kitchen eating that cake?’ I’ve never forgotten it. And I’m sure when you’re in prison the things you want to think about are not matters of great import, but the ordinariness of free life: Sunday lunch, watching television… That was the reason for this scene. Bates wants to talk about ordinary things – bridesmaids and such – although he’s not in the least a soppy personality. He doesn’t want to talk about big issues; he wants to talk about little things. And then we have Anna talking about going to London, but planning to come back so she can go on visiting him, but he insists that she go to France, because she has the responsibility of living life for both of them.
70 All significant names – the Draxes, the Townshends and the Lane-Foxes are neighbours of ours in Dorset.
71 When Reed says everything’s changing, we are harping on that sense of disintegration that becomes one of our central themes.
72 We all felt that we needed a Martha/Violet scene now. And rather than just drop her into the arrival, we wanted to see the moment when they met, and for it to be just them. When you watch this scene, they are very evenly weighted in terms of screen power. You’re trying to watch them both, which is the test of it. In this exchange Martha wins and Violet doesn’t pretend otherwise, which I think is nice. Martha has the ability to face the reality of the present, which many of the other characters don’t, and here we are able to enjoy their different outlooks.
73 The point of this is the shift in Branson’s perception of Violet, whom he has seen, up to this point, as his enemy. I wouldn’t say that he now sees her as his friend exactly, but he has a greater understanding that he has become part of the overall picture for her. She has accepted the situation, in the sense that she wants things to be as peaceful as they can be. And, of course, he is quite moved by it.
74 Mrs Patmore deals with Daisy’s strike by paying no attention to it and pretending it’s not happening, which I always think is quite a good way to manage recalcitrance. It’s rather like coping with a naughty child.
75 I think it’s true that there are lots of brides’ tears before weddings.
76 This, really, is where the friendship is forg
ed that we’ve already hinted at, and from now on, dramatically, they will be treated in the narrative as friends. Branson is still hovering between his customs as a servant and his customs as a family member, and he goes on batting back and forth. And obviously this is the moment when they have to address Mary’s point – it’s not about money, it’s that Matthew won’t save her darling Papa when he could. I agree with her, actually. The issue is not whether Matthew inherits, but that his instinct wasn’t immediately to save Robert.
77 I felt this was a very romantic scene, which we wanted – a romantic lovers’ scene before the wedding. That felt important. I liked the idea of there being an obstruction, which became his decision to shut his eyes as he entered the room. And in fact, when they filmed it, using the door as a sort of Romeo and Juliet barrier, I thought it worked well. But they put in one detail that I didn’t write. Mary opens her eyes and looks at him, and he doesn’t open his. When they did it, it was simply meant as a romantic gesture, but of course it’s bad luck for her to have seen him, and so in a way it ties into what’s going to happen.
78 I wanted a family state tiara, as a reminder of the responsibilities of Mary’s position, and a strong visual statement of aristocratic duty. But in the event they couldn’t find a real one they liked, and the false ones didn’t look real. The one she wore was real, and Michelle Dockery adored it, but it was very 1920s, so in a way we were saying it was a new tiara, bought for the occasion, which wasn’t completely right for the narrative. But then, when the show went out, it turned out to have belonged to Princess Maud of Fife, the daughter of the Princess Royal, Duchess of Fife, who married the Earl of Southesk in the 1920s. The tiara had been made for her and subsequently sold by the family, and one of them had recognised it. I found that incredibly interesting, so I then completely forgave the fact that it wasn’t the grand family tiara I wanted, and had become a modern one. Really, in terms of logic, if there was no money they could hardly have gone out and ordered a tiara.
79 Again, details of how this sort of wedding was done, with bridesmaids having their own car and so on. I think people are quite interested in that.
80 It was rather sad that Daisy and Mrs Patmore weren’t able to go to the wedding. Some people said, ‘Oh, let’s have them there anyway,’ but I said, ‘No, this is a workplace drama. They’ve got to be where they would be in the workplace.’
81 I loved this shot of Mary descending the staircase, watched by her two fathers, Robert and Carson, both of them bursting with pride. Charming.
82 Actually it was very touching. In Bampton, where we film the village of Downton, the inhabitants were so generous and excited, with the children running round, and the crowd trying to protect us from the paparazzi and the spoilers. We are always very grateful to them for their loyalty and support, which has been unflagging.
83 Molesley has earned his spurs by getting Branson into a morning coat, which will pay off for him later. And there’s Edith making her move on Strallan, which clearly tells us there is more to come. We have Violet and Martha having a last spar… And at last Mary arrives.
ACT ONE
1 EXT. COUNTRY ROAD. YORKSHIRE. DAY.
A 1920 roadster races along, with Mary holding onto her hat next to Matthew. Anna is in the dickie seat behind.
MARY: Who will groan first when they see it? Granny or Papa?
MATTHEW: I should think they’ll howl at the moon in unison.
The car turns in through the gates of Downton.
2 EXT. DOWNTON. DAY.
The car roars down the drive. The family comes running out of the front door. Robert stops in his tracks.
ROBERT: What in God’s name is this?
The car skids to a halt. Alfred steps in to open the door.
ROBERT (CONT’D): Well, I never.
CORA: Where did this come from?
MATTHEW: I ordered it on the way through, in London, picked it up on the way back. It’s a Humber.1
ROBERT: Well, at least it’s English.
Cora is holding Mary’s hands.
CORA: Welcome home, my darling.
ROBERT: How was the honeymoon?
MATTHEW: My eyes have been opened.
ROBERT: Don’t I know it. Now come on in.2
3 INT. MARY’S BEDROOM. DOWNTON. DAY.
Anna is unpacking while Mary helps and Cora and Edith watch.
MARY: What’ve you been up to while we’ve been away?
CORA: Mainly just recovering from the wedding… And Mother’s still here.3
MARY: Golly.
ANNA: I think that’s everything, m’lady.
Anna takes the suitcase and leaves. Mary looks at Edith.
CORA: Edith, dear. Run down and tell Carson we’re ready for tea.
EDITH: You can just say you want to be alone. I won’t faint.
MARY: All right. We want to be alone.4
Edith goes.
MARY (CONT’D): Have you told her what may happen?
CORA: About putting Downton up for sale? Yes, your father’s told her. And he’s told Granny.
MARY: That can’t have been easy.
CORA: He felt sick for a week, but he’s done it. That’s all, though. We haven’t told my mother and we haven’t told the servants.
MARY: Well, I warn you now. I’m not giving up so easily.
CORA: It’s just a house, Mary.
MARY: Not to me, it isn’t. Let’s go down.5
4 INT. SERVANTS’ HALL. DOWNTON. DAY.
Alfred is setting studs into an evening shirt. Thomas is in there, with O’Brien and some of the others.
THOMAS: Who’s that for? And why are you doing it down here?
ALFRED: It’s for Mr Matthew. It was creased and I brought it down to iron.
THOMAS: You’re never looking after him. What about Mr Molesley?
ANNA: He’s staying on at Crawley House.
THOMAS: Then why wasn’t I asked?
O’BRIEN: Mr Carson thought it best.
THOMAS: Did he, indeed? I wonder how that came about. And if you are learning how to do your job, you should never open a shirt in a room like this where it might be marked, let alone put studs in it. Do that in a dressing room and nowhere else.
ALFRED: Thank you.
O’BRIEN: Yes, thank you, Thomas, for always trying to be so very helpful.6
They hear the sound of the dressing gong.
5 INT. DINING ROOM. DOWNTON. NIGHT.
Dinner is in progress. Carson and Alfred are serving.
MARTHA: So, how did you enjoy the South of France?
MARY: It was lovely, but almost too hot, even now.
MARTHA: I think it’s such a shame they close things up during the summer. I love the sun.
VIOLET: So we can see.
MARY: Oh, you couldn’t be in Cannes in the summer. No one could bear it.
MARTHA: I could.7
Violet lowers her voice and leans in to Robert.
VIOLET: Just how long is she here for?
ROBERT: Who knows?8
VIOLET: No guest should be admitted without the date of their departure settled.9
ROBERT: You won’t get any argument from me.
Isobel speaks across the table to Matthew.
ISOBEL: There’s a hideous pile of post, I’m afraid. I’ve put it on the hall table. Don’t look at it tonight.
MARY: What have you been up to?
ISOBEL: As a matter of fact, I’ve found myself a new occupation. But I’m afraid Cousin Violet doesn’t think it quite appropriate.
VIOLET: Can we talk about it afterwards?
MARTHA: Are there still forbidden subjects? In 1920? I can’t believe this.
VIOLET: I speak of taste, rather than law.
MARTHA: Well, it’s not my taste. What about you, Cora?
CORA: I agree with Mama. Some subjects are not suitable for every ear.
She glances at Alfred, which Martha sees.
MARTHA: Oh. Pas devant les domestiques? Come on, my dear, Carson and A
lfred know more about life than we ever will.10
She laughs gaily. Carson fumes. Robert whispers to Violet.
ROBERT: Can’t we stop this?
VIOLET: How? She’s like a runaway train.
Matthew decides to take charge.
MATTHEW: What have you been doing, Edith?
EDITH: Nothing much. I rather miss the war, really, but of course one mustn’t say that.11
CORA: Edith’s a treasure. We’ve a dinner next week and I haven’t had to lift a finger. Shall we go through?
MARY: What about poor old Strallan? Have you seen anything of him?
EDITH: I don’t know why you call him ‘poor’ or ‘old’, when he’s neither.
They have all stood. Violet uses the moment to catch Robert.
VIOLET: Isn’t it dangerous to let that Strallan nonsense simmer on?
ROBERT: To be fair, I don’t think it’s coming from him.
VIOLET: Then ask him to end it. It’ll be more effective than if we try.
6 INT. KITCHENS/PASSAGE. DOWNTON. NIGHT.
Alfred carries down a tray of used plates.
MRS PATMORE: She ate it, then. I’m never sure about Americans and offal.12
ALFRED: I think she’d eat whatever you put in front of her, that one. What a gob. I thought Mr Carson was going to put a bag over her head. Oops.
Reed is listening by the door. Daisy is by the range.
REED: Mrs Levinson knows you make fun of her. But she makes fun of you.
MRS PATMORE: Then we’re all square, aren’t we?
DAISY: The chimney isn’t drawing properly. This oven’s not hot enough.
MRS PATMORE: Ooh, a bad workman always blames his tools.
She looks up. Mrs Hughes is in the doorway.
MRS HUGHES: You’re busy.
Downton Abbey, Series 3 Scripts (Official) Page 9
