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.
36 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.29
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 (CONT’D): 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 (CONT’D): 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.30
MATTHEW (CONT’D): 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.31
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.32
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.
37 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.33
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.
38 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?34
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?
39 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?35
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.36
40 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 an
d, 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.
41 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.37
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 (CONT’D): 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.
END OF ACT THREE
ACT FOUR
42 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.38
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 (CONT’D): 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.
43 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?39
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.
44 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.
45 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.40
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.
46 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.
47 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.
48 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 —
Downton Abbey, Series 3 Scripts (Official) Page 44
