* * *
She pats her child’s hand, as she glances at the dashboard.
CORA (CONT’D): Heavens. Look at the time. Not a minute to change and Granny’s invited herself for dinner.
SYBIL: Then she can jolly well wait.
CORA: So women’s rights begin at home? I see. Well, I’m all for that.
They laugh, and so, discreetly, does Branson.
16 INT. CARSON’S PANTRY. DOWNTON. EVE.
Carson is looking at two bottles of Claret on the table before him. The wine book is open. Mrs Hughes looks in, wearing her coat. She has made an effort with her hat.
MRS HUGHES: I’m just off, Mr Carson.
CARSON: According to the wine book, we should still have six dozen of this, but I’m beggared if I can find much more than four.
MRS HUGHES: Look again before you jump to any, nasty conclusions.*
He absorbs this as he looks at her.
CARSON: It’s a long time since you last took a night off.
* * *
His words have triggered her own thoughts.
MRS HUGHES: Maybe too long. But I think I’ve dealt with everything.
CARSON: We’ll be fine. It’s only family.
MRS HUGHES: And Old Violet.
Carson looks at her. He doesn’t approve and she knows it.
MRS HUGHES (CONT’D): Her ladyship just told me. You don’t think I ought to stay, do you?
* * *
CARSON: Certainly not. Be off with you.
MRS HUGHES: Oh. Anna’s in bed with a cold. So I’m afraid it’s down to you.
CARSON: Go.
17 EXT. DOWNTON VILLAGE. DAY.
The fair is open now. Matthew is at the coconut shy, his bicycle parked nearby. He looks up to find Mary watching him.
MATTHEW: I thought I’d have a go before I went home. How about you?
* * *
MARY: I’m only here to send a telegram. And I haven’t any money.
MATTHEW: Let me.
He gives a penny to the man. She throws and hits one.
MATTHEW (CONT’D): Well done. You’ve shown me up.
He takes hold of his bike, thinking for a moment.
* * *
MATTHEW: Do you know if your father’s doing anything this evening?
MARY: He’s not coming to the fair.
MATTHEW: Seriously.
MARY: Having dinner with his family.
MATTHEW: Could I look in afterwards?
MARY: May I ask why?
MATTHEW: Your grandmother paid me a visit this afternoon, and I—well, never mind, but I would like to see him.
MARY: Granny came to see you? Is it all part of the Great Matter?
He smiles but he does not answer. They walk on.
MARY (CONT’D): So are you enjoying yourself yet? In your new life?
Is she making fun of him? She doesn’t seem to be.
MATTHEW: Yes, I think so. I know my work seems trivial to you—
MARY: Not necessarily. Sometimes I rather envy you, having somewhere to go every morning.
MATTHEW: I thought that made me very middle class.
MARY: You should learn to forget what I say. I know I do.
She laughs, which he takes as a kind of apology.
MATTHEW: How about you? Is your life proving satisfactory? Apart from the Great Matter, of course.
Things are improving, if they can joke about it.
MARY: Women like me don’t have a life. We choose clothes and pay calls and work for charity and do the Season. But we’re stuck in a waiting room, until we marry.
* * *
MATTHEW: Couldn’t you find an occupation?
MARY: How? What do I know? My education was little more than etiquette, prejudice and dance steps.*
MATTHEW: You could help at the hospital.
MARY: Like your mother? Not really. She has knowledge and training. All I could do is read to patients who weren’t listening.
* * *
MATTHEW: I’ve made you angry.
MARY: My life makes me angry. Not you.
They walk on.
18 INT. KITCHEN. DOWNTON. NIGHT.
Mrs Patmore and Daisy are spooning food into serving dishes while Thomas and William wait. Carson hurries in.
CARSON: I never put the Sauterne on ice. Mrs Hughes goes out for one night and we all fall to pieces!
THOMAS: We wondered if we could walk down to the fair, after dinner.
CARSON: I suppose so. But don’t be too late.
He hurries through, too busy to concentrate.
THOMAS: Where do you think she’s gone?
WILLIAM: None of your business.
MRS PATMORE: Like most of what goes on here. Take it!
She slams a roasting tray clumsily into Daisy’s hands, who almost drops the thing, but Thomas leaps in to save her.
THOMAS: Well caught, that man! Though I say it myself.
DAISY: Thanks, ever so.
He winks at her, then takes his tray up and marches out. She is smiling when she catches William looking at her.
DAISY (CONT’D): Yes?
William, hurt, turns away and goes. Mrs Patmore looks over.
MRS PATMORE: Well, you’ve cheered up a bit.
DAISY: But he’s so agile, isn’t he? He could have been a sportsman.
MRS PATMORE: Who?
DAISY: Thomas, of course.
MRS PATMORE: Oh, really? And which sport did you have in mind?*
19 INT. STAIRCASE. DOWNTON. EARLY EVE.
Mary is making her way down to dinner, when Robert rounds the staircase above, also on his way down with Pharaoh.
MARY: I ran into Cousin Matthew in the village. He wanted to call on you after dinner. Apparently, Granny’s been to see him.
ROBERT: Did you tell him she’s coming here this evening?
MARY: I didn’t know she was.
ROBERT: When he arrives, do your best to keep her in the drawing room.
* * *
MARY: I’d like to see you try, if she doesn’t want to stay there.
* * *
20 EXT. DOWNTON. NIGHT.
Matthew is walking towards the house. He lets himself in through the front door, which is unlocked.
21 INT. HALL. DOWNTON. NIGHT.
First William comes through the dining room door, next Cora, turning in the doorway.
CORA: Don’t stay too long. Let them have an early night.
The women start across the hall. Mary is at the back, as the others make their way towards the drawing room.
VIOLET: Sybil darling, why would you want to go to a real school? You’re not a doctor’s daughter.
Matthew is in the inner hall behind the glass doors. He does not announce his presence but watches the women as they walk, in particular Mary, the way she moves, the way she turns. Then, in a tight shot, we see her realise he is there. She raises her finger to her lips to prevent him making a move.
SYBIL: But no one learns anything from a governess! Apart from French and how to curtsey.
VIOLET: What else do you need? Or are you thinking of a career in banking?
CORA: Things are different in America—
VIOLET: I know. They live in wig-wams.
CORA: And when they come out of them, they go to school.
Mary has waited until the others have gone into the drawing room. Now, she comes to open the glass door for Matthew.
MARY: If you wait in the library, I’ll tell Papa you’re here.
MATTHEW: Thank you.
He goes left and she goes right. And William watches.
22 EXT. FAIR. DOWNTON VILLAGE GREEN. EVENING.
Mrs Hughes is standing uncomfortably on the Green watching the activity. She tweaks the veil on her hat.
JOE (V.O.): Elsie?
She turns to find a country man in his fifties, in a suit that looks a little tight, smiling nervously. This is Joe Burns.
JOE (CONT’D): It is Elsie, isn’t it?
MRS HUGHES: It is
. Though there’s very few left to call me that, Joe Burns.
He takes her hand, quite tenderly, and looks into her face.
JOE: I’m flattered that I’m one of them.
23 INT. LIBRARY. DOWNTON. NIGHT.
Robert is with Matthew. Pharaoh lies by the fire. Carson has brought in a tray of whisky, water and a soda siphon.
ROBERT: Where’s Thomas?
CARSON: I’m afraid I’ve let some of the servants go down to the fair, m’lord. I didn’t know we’d have any visitors tonight.
ROBERT: Oh, that’s all right. They don’t have much fun. You should join them.
Carson leaves without replying. Robert lifts the decanter.
* * *
MATTHEW: Not too much. And just water.
* * *
ROBERT: So, what did you say to Mama?
MATTHEW: I haven’t spoken to her since the visit, but I have looked through every source, and I can’t find one reason to base a challenge.
ROBERT: I could have told you that.
MATTHEW: I’m not quite sure how to phrase it when I tell her.
ROBERT: She shouldn’t have put you on the spot like that. It was unkind.
MATTHEW: I’m afraid she’ll think I’ve failed because I don’t want to succeed.
ROBERT: She will think that, but I don’t. And nor will Cora.
MATTHEW: But of course it’s impossible for Mary. She must resent me so bitterly, and I don’t blame her.
Surprisingly, Robert finds this speech encouraging.
24 INT. SNUG. THE GRANTHAM ARMS. DOWNTON VILLAGE. NIGHT.
Mrs Hughes and Joe are eating dinner.
MRS HUGHES: It must have been so hard for you when Ivy died.
* * *
JOE: Took some getting used to. A farming life can be lonely.
* * *
MRS HUGHES: What about your son? Do you see much of him?
JOE: No. That’s it. I would have given Peter a share in the farm if he wanted it, but he’s joined the army.
MRS HUGHES: Well, I never.
JOE: Oh, he seems happy.
* * *
MRS HUGHES: That’s the main thing.
JOE: I suppose it is. But it’s left me on my own.
* * *
It is fairly clear where this is leading.
JOE: So how’s life treated you?
* * *
MRS HUGHES: Oh, I can’t complain. I haven’t travelled but I’ve seen a bit of life, and no mistake. Then again, nothing’s joy galore, is it?
* * *
JOE: I notice you call yourself ‘Mrs’.
MRS HUGHES: Housekeepers and cooks are always ‘Mrs’. You know better than anyone I haven’t changed my name.
JOE: Well, I know you wouldn’t change it to Burns, when you had the chance.
But he smiles as he says it, and so does she.*
* * *
25 EXT. DOWNTON VILLAGE. NIGHT.
Thomas, William, Gwen and Daisy walk along. Daisy hangs on Thomas’s arm, which is breaking William’s heart.
THOMAS: An evening of mystery. Mrs Hughes out on the tiles, all dolled up like a dog’s dinner, then Mr Crawley hurries into the library with his lordship …
GWEN: What are you suggesting?
THOMAS: Who knows? There are more things in heaven and earth, Horatio.
WILLIAM: Who’s Horatio?
Thomas shares his contempt with Daisy, who also laughs at William. They’ve reached the helter skelter.
THOMAS: Come on, Daisy.
He hurries her up the steps.
GWEN: Cheer up. It may never happen.
WILLIAM: It already has. Who is Horatio?
He looks at Thomas and Daisy laughing as they ride round.
* * *
26 INT. SERVANTS’ HALL. DOWNTON. EVE.
Bates is there, with a box of collars. O’Brien is sewing. Branson is reading a paper.
O’BRIEN: You shouldn’t have eaten with us. The chauffeur always eats in his own cottage.*
BATES: Steady on. You can cut him a bit of slack on his second day.
BRANSON: I’m waiting to take old Lady Grantham home.
O’BRIEN: Even then, Taylor never ate with us. You’re taking advantage of Mrs Hughes’s absence.
She goes back to her sewing.
BRANSON: What are you doing?
BATES: Sorting the collars. Removing the ones which have come to an end.
BRANSON: What happens to his lordship’s old clothes?
O’BRIEN: What’s it to you? Clothes are a valet’s perk not a chauffeur’s.
Bates checks her, raising his eyebrows to Branson.
BATES: I get some. But most of it goes into the missionary barrel.
BRANSON: I know it’s meant to be kind, but I can think of better ways to help the needy than sending stiff collars to the equator.
Bates laughs, as he goes on with his work.
BATES: I thought Anna might have come down for her dinner.
* * *
O’BRIEN: And show she’s ready to start work again? Not a chance. So I’m to have all three girls to manage plus her ladyship who, naturally, doesn’t let up.
* * *
BATES: She’s still in bed, then?
O’BRIEN: She is. While I’m sat here, sewing like a cursed princess in a fairy tale, and not down at the fair with the others.
* * *
BATES: Have they taken her any supper?
O’BRIEN: Don’t bother me with it. I’ve got enough to worry about.
* * *
27 INT. DRAWING ROOM. DOWNTON. NIGHT.
Carson has come in, as the clock chimes on the mantleshelf.
CARSON: Would you like me to ask Branson to bring the car round, m’lady?
* * *
VIOLET: Is that the time? Where’s Robert? He can’t have been drinking port since we left, or he’ll be under the table by now.
* * *
CARSON: His lordship’s in the library.
VIOLET: All alone? Oh, how sad.
CARSON: No, he’s—
MARY: We can say goodbye to Papa for you, Granny.
Mary is looking straight at Carson as she speaks.
VIOLET: He’s what?
The butler is no match for the dowager. He must answer.
CARSON: He’s with Mr Crawley, m’lady.
* * *
VIOLET: Cousin Matthew is here? Did you know about this?
CORA: No, but—
VIOLET: Please tell Branson I shall be ready to leave in ten minutes.
She is on her feet as she looks back at Mary.
VIOLET: But not before.
And she stalks out.
* * *
28 INT. LIBRARY. DOWNTON. NIGHT.
Robert and Matthew are still talking.
MATTHEW: The question is, what do I say to Cousin Violet?
ROBERT: Oh, don’t worry about that. I can handle her.
From the hearth, Pharaoh looks up at the door.
VIOLET (V.O.): Really? Well, if you can, you must have learned to very recently.
Violet is standing in the doorway. Mary enters behind her.*
* * *
29 INT. KITCHEN. DOWNTON. NIGHT.
Bates arrives. Mrs Patmore is sitting, drinking tea.
BATES: All on your own?
MRS PATMORE: And isn’t it a blessed relief.
BATES: I was just wondering if anyone had taken Anna up some supper.
MRS PATMORE: Well, if they haven’t, she’ll have to starve. I cannot put any more weight on these sad and aching feet tonight.
* * *
30 INT. ANNA’S AND GWEN’S BEDROOM. DOWNTON. NIGHT.
Anna’s reading in bed, when she hears knocking. She puts down her book, grabs a dressing gown, and goes out.
31 INT. PASSAGE. SERVANTS’ QUARTERS. DOWNTON. NIGHT.
She looks down the empty passage towards a closed door.
BATES (V.O.): Anna? Are you there?
She can hardly believe her
ears. She hurries to the door.
ANNA: Mr Bates?
BATES (V.O.): Can you open the door?
ANNA: I daren’t. No one can open that door, except Mrs Hughes.
BATES (V.O.): Just for a moment. I’ve brought you something.
Anna hesitates. Then, nervously, she unlocks the door. Bates is standing there with a tray. It has covered dishes, a jug of milk, and a small vase with a flower.
ANNA: I don’t know what she’d say.
* * *
BATES: I do. But she’s out for the evening, and the others are down at the fair.
ANNA: You should have gone with them.
BATES: I was worried you’d be hungry.
ANNA: I thought I’d been forgotten.
BATES: You’d never be forgotten by me.
He says it almost without thinking, and then they both realise the import of his words. She takes the tray.
ANNA: It’s so pretty.
BATES: An eye for detail, that’s what I’m known for.
Will they kiss? There’s a noise on the stairs. Anna starts.
ANNA: You’d better go. But thank you.
BATES: Thank you.
Which doesn’t really make sense, but it does to him. She closes the door and locks it then hurries back to her room.*
* * *
Downton Abbey Script Book Season 1 Page 17
