VIOLET: After dinner. We’ll get her on her own.
MARY: She won’t want to see all this go. Not now she knows it’s for her own granddaughter. She won’t.
VIOLET: Never mistake a wish for a certainty. Let’s hope she won’t.
44 INT. KITCHENS. DOWNTON. NIGHT.
They are working but the atmosphere is slightly smoky.
DAISY: Mrs Patmore —
MRS PATMORE: What is it now?
DAISY: It’s smoking. The range.
MRS PATMORE: The wind must be in the wrong direction. Just rake it through.
There is the sound of running feet. Thomas appears.
THOMAS: Where’s Alfred?
MRS PATMORE: Why?
THOMAS: Where’s Alfred!
DAISY: I think he’s in the servants’ hall.
Thomas races off. They stare at each other.
45 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
Thomas bursts in. Alfred, O’Brien and some others are there.
THOMAS: Where are they?
ANNA: Where are what?
THOMAS: His bloody evening shirts, that’s what! Where have you put them?
ALFRED: I haven’t touched his evening shirts. Why would I?
THOMAS: Have you done this?
He turns a threatening finger towards O’Brien.
O’BRIEN: Thomas, why would I know anything about his lordship’s shirts?
THOMAS: When I find out…
O’BRIEN: Keep your histrionics to yourself and hurry up about it. Her ladyship’s already in the drawing room. Are you telling me his lordship’s not even dressed?
Thomas gives her and then Alfred a savage look and races off. Alfred looks at his aunt long and hard, but O’Brien confirms nothing.
46 INT. ROBERT’S DRESSING ROOM. DOWNTON. NIGHT.
Robert is in his underwear. He is very angry.
ROBERT: You can’t have lost them all!
THOMAS: I haven’t ‘lost’ any of them, m’lord. They’ve been taken by someone, stolen, pinched.
ROBERT: Why would they do that?
THOMAS: To get at me, m’lord.
ROBERT: Are you not popular downstairs?
Thomas had allowed himself to lose control. He reins it in.
THOMAS: Oh, I wouldn’t say that, m’lord. But you know how people can be. They like a little joke.
ROBERT: Well, I’m sorry but this is quite unacceptable. If you uncover the culprit, refer them to me. But for now, what are we going to do?51
47 EXT/INT. DOWNTON. HALL. NIGHT.
Cars are arriving. Carson is on duty. Glamorous, bejewelled women are escorted by smart men in tails. Inside, Carson greets them and the glittering tide moves on towards the drawing room.
48 INT. KITCHENS. DOWNTON. NIGHT.
The smoke is getting thick. Panic is setting in.
MRS PATMORE: It can’t be going out!
DAISY: Well, it is. There must be a block in the flue.52
MRS PATMORE: But the dinner’s not cooked. We haven’t even put in the soufflés.
DAISY: There’ll be no soufflés tonight.
MRS PATMORE: And the mutton’s still raw.
She stares into the oven. Mrs Hughes coughs in the doorway.
MRS HUGHES: What in heaven’s name is going on?
MRS PATMORE: I’ll tell you what. We’ve twenty lords and ladies in the drawing room waiting for dinner, and we’ve got no dinner to give them.
MRS HUGHES: Oh, my God.
END OF ACT THREE
ACT FOUR
49 INT. DRAWING ROOM. DOWNTON. NIGHT.
The room is filling with a laughing, chattering group. Mary and Violet are by the chimneypiece when Matthew arrives.
MARY: Why are you not in white tie?
MATTHEW: Darling, please forgive me. I’m afraid they never sent my tails back.
Robert arrives in a dinner jacket, soft shirt and a bow tie.
VIOLET: Good God, almighty. You’re not in white tie, either? What have you come as?
ROBERT: I am so sorry. Thomas has lost all my dress shirts.
Violet looks across at Edith and Strallan chatting.
VIOLET: Why… Why is he still here? I thought you’d given him his marching orders.
ROBERT: I had. But my dear mother-in-law intervened. I’ve a good mind to tell her —
VIOLET: No, no, no, no. Not tonight. She must have it all her own way tonight, don’t you think?
She forces herself to smile as Martha approaches.
MARTHA: Oh, you two are dressed for a barbecue.
ROBERT: I feel like a Chicago bootlegger.53
VIOLET: I don’t even know what that means, but it sounds almost as peculiar as you look.
Isobel has arrived, just as Cora approaches her husband.
CORA: Robert, come quickly.
ISOBEL: What is it?
CORA: Apparently the oven’s broken down.
ROBERT: It can’t have done. What does that mean?
CORA: Well, to cut a long story short, it means we have no food.
MARTHA: Oh… Funny clothes and no food. Should be quite an evening.
CORA: Thank you, Mother.
She leaves. They all go with her into the hall.
50 INT. HALL. DOWNTON. NIGHT.
Mrs Hughes and Carson are standing there.
MRS HUGHES: Nothing’s cooked, and nothing’s going to be cooked.
MARY: But surely —
CORA: Shall we just tell them to go home?
MARTHA: Not a bit of it! No, Cora, please, come on. They’ve come for a party, we’re going to give ’em a party!
She smiles at the bewildered group.
MARTHA (CONT’D): Carson, clear the table. You go down to the larders, you bring up bread, fruit, cheese, chicken, ham, whatever’s edible. We’re going to have an indoor picnic. They’re going to eat whatever they want, wherever they want. All over the house.
CARSON: Are you quite sure, madam?
He casts an agonised glance at Robert.
ROBERT: It’s not really how we do it —
MARTHA: How you used to do it.
ISOBEL: Oh, come on. It might be fun.
CORA: I agree. We’ll all pull together and it’ll be great fun.
MARTHA: Yes! Now, I know what we need.
She walks back into the drawing room, calling.
MARTHA (CONT’D): Does anyone here play the piano?
Mary is left with her mother and Violet.
MARY: Oh, Mama. This is so exactly not what we wanted the evening to be!
CORA: If it’s the end of your undignified campaign, I won’t be sorry.
She walks away as Mary turns to Violet.
MARY: We can’t just give up.
VIOLET: Certainly not. Oh, do you think I might have a drink — Oh, I’m so sorry. I thought you were a waiter.54
She has spoken absent-mindedly to Robert, who stands to one side. He does not reply. He just watches Martha taking over.
51 INT. KITCHENS. DOWNTON. NIGHT.
Everyone is helping, Reed included, bringing in food from the various stores. There are hams, ends of joints, salads, cheese. Mrs Patmore and Mrs Hughes are arranging the plates.
MRS PATMORE: Slice that finely, and fetch some parsley. And cut the dry bits off.
ALFRED: You’re good to lend a hand.
REED: I don’t mind helping. I think it’s good to do other things sometimes.
ALFRED: I know you do.
He and Reed smile, all of which Daisy sees.
MOLESLEY: There’s not much left of this.
ANNA: Better cut it in squares and put it with the ham. You’re very smart in your new valet’s outfit.
Molesley blushes with pleasure as Mrs Hughes leans back.
MRS HUGHES: Alfred, go and check the meat larder. Bring anything back you think a human being could swallow.
CARSON: Chop, chop, Mrs Hughes. We can rest later but not yet.
MRS PATMORE: But Mr Carson, would you just —
MRS HUGHE
S: Mr Carson’s quite right. There’s not a minute to lose.
52 EXT. KITCHEN COURTYARD. DOWNTON. NIGHT.
At the meat safe, Alfred sniffs a plate and puts it back.
REED (V.O.): Psst. Do you want to know a secret?
She has followed him out. He waits.
REED: Those shirts that Thomas thinks you stole? I saw who took them and I know where they are.
ALFRED: Who did take them?
REED: Never mind that. But I followed. I’ll show you if you want.
ALFRED: Why are you being so nice to me?
REED: Because I like you.
ALFRED: And you can say it? Just like that?
REED: I’m an American, Alfred, and this is 1920. Time to live a little.
ALFRED: I thought you were just trying to find something out for Mrs Levinson.
REED: What would she need to find out? When she can read them all like the palm of her hand. She won’t help, you know.
ALFRED: Help with what?
REED: Never mind. Just kiss me again.
He does, unaware of Daisy standing in the doorway.
53 INT. DINING ROOM/DRAWING ROOM. DOWNTON. NIGHT.
Martha is in her element, shepherding the guests. The table is covered with food and Carson, Alfred and Anna continue to bring in more. Robert hovers awkwardly.
MARTHA: Now, all of you, find whatever it is you want to eat, and take it wherever you want to sit!
LADY MANVILLE: Anywhere?55
MARTHA: Anywhere. All over the house. If any of you have ever wanted to explore Downton Abbey, this is your chance!
Robert feels as if he’s been locked in with a madwoman.
ROBERT: I’m sorry if it’s all a bit casual.
LADY MANVILLE: It’s exciting, Lord Grantham. I feel like one of those bright young people they write about in the newspapers.56
ROBERT: Thank you, Lady Manville.
She walks off. He sees Carson, who looks like a drowning man.
ISOBEL: Cheer up. She won’t be here forever.
ROBERT: But what damage will be done before she goes?
In the drawing room, a guest plays the piano. Martha is there, singing the verse, until she notices Violet nodding off in a chair. Casually, Martha strolls up to Violet, just in time for the chorus.
MARTHA: ‘Let me call you Sweetheart, I’m in love with you.’
Violet does not look anxious to be called ‘Sweetheart’ as Martha takes her hand and kisses it theatrically.57
54 INT. KITCHENS. DOWNTON. NIGHT.
Mrs Hughes and Mrs Patmore are surveying the detritus.
MRS HUGHES: Is there anything for our supper?
MRS PATMORE: I’ve hidden a veal and egg pie… Oh, I wish you’d let me talk to Mr Carson.58
MRS HUGHES: I don’t want to be a sick woman in his eyes for the next two months. Or a dying one, in the months to come after that.
But the strain is too much, and now, at last, she breaks down, sobbing. Mrs Patmore takes Mrs Hughes in her arms.
MRS PATMORE: I know it’ll be all right.
MRS HUGHES: No, you don’t. But I appreciate the sentiment.
55 INT. DINING ROOM. DOWNTON. NIGHT.
Strallan and Edith are together amid the wreckage.
STRALLAN: Are you absolutely sure you won’t wake up in ten years’ time and wonder why you’re tied to this crippled old codger?
EDITH: Only if you keep talking like that.
STRALLAN: Do you know how much you mean to me? You have given me back my life.
EDITH: That’s more like it.
She kisses him gently.
STRALLAN: And you’re certain you won’t wait?
EDITH: To give you the chance to change your mind? Don’t worry. I can get it organised in a month. Shall we tell them tonight?
STRALLAN: No, no. I’ll come back in the morning.59
56 INT. SERVANTS’ STAIRCASE. DOWNTON. NIGHT.
Alfred carries a bundle and is starting up the stairs…
DAISY: Alfred, can I ask you something? Why do you like that American girl?
ALFRED: Steady! Who says I do?
DAISY: Don’t you?
ALFRED: All right. I suppose I do.
DAISY: And it doesn’t matter that she’s fast? Or that you won’t see her again after she’s gone home?60
ALFRED: So what? She made me feel good about myself, Daisy. I feel good for the first time since I came here. That’s what matters to me.
Carson appears at the top of the staircase.
CARSON: Alfred, hurry up. I need you to take round the claret.
ALFRED: All through the rooms? Won’t they spill it on the floor?
CARSON: If you ask me, we are staring into the chaos of Gomorrah. But we have to give them more wine and you’re going to help. What’s that?
ALFRED: I have to take it upstairs, for his lordship.
CARSON: Then be quick about it.
The men leave. Daisy is thoughtful as she watches them go.
57 INT. DRAWING ROOM. DOWNTON. NIGHT.
People sit in groups. Young men and women on the floor, piano music in the background. Mary and Violet are with Martha.
MARTHA: But of course I’ll help you any way I can.
MARY: Thank heaven.
VIOLET: Oh, it seems our family owes Downton’s survival to the Levinsons not once, but twice.
MARTHA: Oh, I’m so sorry, but you’ve misunderstood me. No, I cannot rescue Downton. It’s a shame if it has to go, but I can’t.
MARY: But… Why not?
MARTHA: Because your grandpa tied the money down. He felt that the Crawley family had quite enough.
MARY: But you said you’d help us.
MARTHA: I can entertain all of you in Newport and in New York, and I can add to Cora’s dress allowance, but that’s all. My income might be generous, but I cannot touch the capital. Besides, Mary…
She looks round the room.
MARTHA (CONT’D): The world is changed. These houses were built for another age. Are you quite sure you want to continue with the bother of it all?
MARY: Quite sure.
MARTHA: If I were you, and I knew I was going to lose it, I should look on the sunny side. Both of our husbands tied the money up tight before they were taken.
She glances at Violet, who is just as angry as Mary.
VIOLET: Lord Grantham wasn’t taken. He died.61
57A INT. YORK PRISON. CORRIDOR. NIGHT.
Bates’s cell-mate, Craig, receives something in his hand discreetly from a prison guard, which Bates witnesses.
58 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
O’Brien and the maids are reading and working.
O’BRIEN: I suppose it’s scrap sandwich for the servants tonight.
ANNA: Mrs Patmore’s kept something by.
They are interrupted by the arrival of Thomas.
THOMAS: Who put them back?
ANNA: What?
THOMAS: The shirts. Who put them back?
O’BRIEN: Oh? They’re back, are they? You mean you overlooked them in the first place.
THOMAS: Don’t tell me what I mean, Miss O’Brien. I’m warning you —
O’BRIEN: Listen to yourself. You sound like Tom Mix in a Wild West picture show.62 Stop ‘warning’ me, and go and lay out his lordship’s pyjamas.
The others all laugh and Thomas retreats as Alfred looks in.
ALFRED: What were you laughing at?
O’BRIEN: Seems those missing shirts went for a walk and now they’ve come home.
ALFRED: Really? Have they?
He gives away no more than she did, but Reed smiles at him.
59 INT. HALL. DOWNTON. NIGHT.
Violet is leaving. A few of the guests are still stretched out here and there. Carson walks about with a claret jug.
ROBERT: Well, Mama. I dare say this has been a novel experience.
VIOLET: It’s not the phrase that springs most immediately to mind.
CORA: Mary told me about your co
nversation with Mother.
ROBERT: What was that?
VIOLET: No matter. I’m sorry Cora was troubled with it.
CORA: But you see, I’m not troubled. By whatever may come.
Violet casts an eye round disdainfully.
VIOLET: What about you, Carson? Have you enjoyed this glimpse of the future? Because it looks to me like a sketch for The Wreck of the Méduse.63
CARSON: A good analogy, m’lady. I feel I’ve been on that storm-tossed raft and only now am I rowing back to shore.
ROBERT: Well, if this is the modern world, I suppose we must get used to it.
VIOLET: Happily, I am past the age when I have to get used to anything.64
60 INT. YORK PRISON. BATES’S CELL. NIGHT.
Bates is on his bed. His cell-mate, Craig, is restless.
BATES: What’s the matter with you?
There is the sound of a key and the door opens. A warder, Durrant, stands there. He and Craig murmur. Bates looks over.
CRAIG: Keep your eyes to yourself.
BATES: Gladly.
Durrant leaves, locking the door. Craig retreats to his bed.
CRAIG: You didn’t see nothing.
BATES: I agree.
CRAIG: ’Cause if you did, I’ll cut you.
Bates gets up slowly then, suddenly, like an animal, he seizes Craig and punches him. Hard. Then flings him back against the wall.
BATES: Don’t ever threaten me.
CRAIG: I forgot I was sharing a cell with a murderer.
BATES: Don’t forget it again.65
61 INT. MARY’S BEDROOM. DOWNTON. NIGHT.
Matthew is in his dressing gown. Anna attends to Mary.
ANNA: Is that all, m’lady?
MARY: Yes, thank you. Goodnight.
MATTHEW: Any news of Bates? Good news, I mean.
ANNA: Not yet, sir. But there will be.
She goes, leaving them alone. Mary sighs.
MARY: It’s ridiculous. Uncle Harold gets millions to waste on girls and boats and we can’t save Downton.
MATTHEW: I promise to go into it and see if there’s really no way to keep it.
MARY: We all know there’s one way.
MATTHEW: Only if you want me to feel like a thief for the rest of my life.
MARY: And it’s not a price worth paying?
MATTHEW: Not if you love me.
MARY: Of course not. I wasn’t serious.
62 INT. HALL/LIBRARY. DOWNTON. NIGHT.
Carson is closing the door. Robert appears.
Downton Abbey, Series 3 Scripts (Official) Page 12
