MARY: And Sir Richard offered to waive the debt if you gave him the evidence of the ministers’ guilt?
LAVINIA: Papa was terrified, and I knew I could get into my uncle’s office and find the proof.
Suddenly she laughs softly to herself.
MARY: What is it?
LAVINIA: He threatened to tell you all about it and now I’ve told you anyway. My uncle was guilty. They all were. Sir Richard didn’t make it up.
MARY: I believe you.
LAVINIA: But that’s not why I did it. It was entirely to save Papa from ruin.
65 INT. KITCHEN. DOWNTON. SUMMER EVENING.
William is with Daisy. Mrs Patmore is listening.
WILLIAM: Have you got that picture for me?
DAISY: I might have.
She brings it out of her pocket. He takes it.
WILLIAM: Because you know what I’m going to ask you… So, will you?
DAISY: William, you’re not sure. You can’t be sure.
WILLIAM: I am sure.
MRS PATMORE: So is she. Aren’t you, Daisy? Isn’t this just what you told me you hoped would happen? It’s like a fairy story.
DAISY: Very like.
WILLIAM: Is she right, Daisy? Are we engaged? Because if we are, I know I can tackle whatever may come!
DAISY: Go on, then.*
And they embrace. But while William’s eyes are closed, Daisy is staring at Mrs Patmore. They part as Mrs Hughes arrives.
MRS HUGHES: William? Do you want to go up top? The General’s leaving and Mr Carson likes a full complement. No, Daisy. Not you. The war has not changed everything.
* In those distant days, being engaged to someone did not mean you were sleeping with them, and so one must put Daisy’s acceptance of William’s proposal into that context. To become engaged, all the time knowing that you were probably going to break it off, did not mean you would be sexually compromised. Because normally it just wouldn’t have happened. It was, as they say, a different time.
66 INT. SMALL LIBRARY. DOWNTON. SUMMER EVENING.
Matthew comes in. Mary is standing with Rosamund nearby.
MATTHEW: The General’s just about to leave. I’m afraid he doesn’t have time to come in here.
MARY: I hope it’s all been a success.
He smiles, but something is troubling him.
MATTHEW: Cousin Violet said you had something to say about Lavinia. What is it?
MARY: I haven’t the slightest idea.
MATTHEW: Oh, what a relief. She was hinting you had uncovered some horrid stain.
MARY: The only evidence I’ve uncovered is that she’s a charming person.
MATTHEW: What a testimonial.*
MARY: The truth is we’re very much alike, so naturally I think she’s perfect. We all do. Don’t we, Aunt Rosamund?
ROSAMUND: Quite perfect.
* I think we wanted to make the whole thing as difficult for Mary as possible, and if you like the person your beloved has run off with, it’s much harder than if you can demonise them.
67 EXT. DOWNTON. SUMMER EVENING.
They’re milling about. Robert approaches Matthew.
ROBERT: Is there any chance you might take our footman, William, for your servant? The footman who was serving at dinner. I can pull some strings, get him transferred to your lot.
MATTHEW: If you’d like me to, of course. I can’t promise to keep him safe.†
ROBERT: I know. But he’d have someone looking out for him. Oh, my God…
Behind them, Lang appears to be crying. Robert hurries over.
ROBERT (CONT’D): Lang? Are you all right, old chap?
Lang collapses into Robert’s chest, sobbing. Carson runs up.
ROBERT (CONT’D): Come, come, man. Things can’t be as bad as all that… Carson?
CARSON: Mr Lang, what’s happened?
LANG: The Generals and all these officers. I don’t have to go back with them, do I? Because I can’t, sir! I can’t!
CARSON: The General’s looking for you, m’lord.
He’s right. The General is by the car. He hasn’t noticed anything. Robert hurries back and shakes his hand. Strutt climbs into the car. Matthew is with Lavinia.
MATTHEW: If I don’t see you again before I have to go back, be safe… [To Mary] You, too.
He kisses Lavinia’s hand and climbs in. As the car pulls away, Mary puts her arm around the weeping younger woman. Some of the officers have come outside and Bryant is chatting to Ethel. Mrs Hughes is watching. The group breaks up.
MRS HUGHES: Ethel? Will you come here for a moment, please?
The maid approaches and Mrs Hughes speaks in a hiss.
MRS HUGHES (CONT’D): I hope I won’t have to tell you off again. Because this is the third time. And in my book, the third time is the last!
ETHEL: If Major Bryant talks to me, I can’t stay silent.
MRS HUGHES: No. But you can stay away from Major Bryant!
By now, O’Brien has taken charge of Lang.
O’BRIEN: Don’t worry. You’re not going anywhere you don’t want to go.
LANG: They can’t make me go back.
O’BRIEN: Do you know what? I think it’s time you had a bit of a rest, Mr Lang. After that, we can see what’s what.
She takes the unresisting man away as Robert comes over.
ROBERT: How is he?
CARSON: I’m sorry about that, m’lord. I believe he had a bad time at the front, poor fellow.
ROBERT: No apologies, Carson. I have not served at the front, but I know what they’ve been through. There’s no need to apologise to me.
†Having soldiers moved around from regiment to regiment so that they could become your servants was not unusual. Someone in the press wrote that this could never have happened, but they were talking complete nonsense. It was done all the time.
68 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
Thomas and some of the servants are drinking tea.
ETHEL: What will they do with him?
ANNA: That’s for Mr Carson and his lordship to decide. Mind you don’t speak of it. And don’t judge him.
ETHEL: I don’t judge him badly. He’s not afraid to break the chains of the past and face a new world, is he? I think Mr Branson’s a free spirit.
THOMAS: You’d better watch yourself, or you’ll be flying free with him.
O’BRIEN: I wonder if Mr Carson’s going to tell his lordship.
As she speaks, she doesn’t see Carson approaching.
O’BRIEN (CONT’D): Because if he does, Branson must be sacked and it’s bound to get out. And who’s running this house where a traitor is able to threaten a General? Mr Carson, that’s who.
CARSON (V.O.): Did I hear my name?
O’BRIEN: We were just saying that you’ll know how to manage Mr Branson’s misbehaviour. So the house won’t suffer and all of us with it.
69 INT. BEDROOM PASSAGE. DOWNTON. NIGHT.
Mary is at her door when Edith turns the corner.
EDITH: I heard you giving Lavinia your blessing before we went out.
Mary gives her sister a cool look, but decides to answer her.
MARY: Whatever may be wrong with my life is not her fault.
EDITH: It isn’t like you to be altruistic.
MARY: The General may have praised you, dear, but you don’t need to use long words.
EDITH: I know what you’re going through.
MARY: That’s more like it.
70 INT. CARSON’S PANTRY. DOWNTON. NIGHT.
Carson has filled two glasses. He hands one to Mrs Hughes.
CARSON: Here. We’ve earned it.
MRS HUGHES: Ah. So, what will you do with him?
CARSON: Branson or Lang?
MRS HUGHES: Not Mr Lang. He isn’t well, but he’s not a bad man —
CARSON: Oh, not at all. But he doesn’t belong at Downton.
MRS HUGHES: I meant Mr Branson.
CARSON: Hm. It’s a delicate business, Mrs Hughes. Would we really be right to tell
the police and cause a furore and bring riot down on our heads? And all because he wanted to pour a pot of slop over a man’s head?
MRS HUGHES: From your phrasing, I gather the answer you want from me is no?
CARSON: Would it help, Mrs Hughes? That’s all I’m asking. Would it help?
71 INT. SERVANTS’ HALL. DOWNTON. NIGHT.
Daisy comes in with Mrs Patmore and William.
ETHEL: Where’s Mr Branson?
ANNA: Mr Carson sent him back to his cottage to stew in his own juice. Will we see you in the morning, William? To wish you luck?
WILLIAM: Oh, yes. But I’ve got something I’d like to say now. If you don’t mind.
DAISY: Don’t. Not yet.
WILLIAM: They must know sooner or later. Daisy and I are going to be married.
ETHEL: You never are! When?
DAISY: After the war.
She glances at Mrs Patmore as she says it.
WILLIAM: I’m not sure I can wait that long.
Ethel is next to Anna. She whispers.
ETHEL: Aren’t you jealous?
ANNA: No, I’m not jealous. But I’m happy for them, if it’s what they want.
Anna glances at Daisy, who catches her eye. It troubles her.
72 INT. PASSAGE/LANG’S BEDROOM. DOWNTON. NIGHT.
A hall boy is going to bed. Carson stops outside Lang’s door, knocks and goes in. Inside, Lang is packing his suitcase.
CARSON: I see what I had planned to say is already superfluous, Mr Lang. You got there before me.
LANG: I’ve let you down, Mr Carson, and for that I’m sorry.
CARSON: We let you down. You weren’t suited for work, and I should have spotted that. You will have two months’ wages, and please tell us how you get on. And when you’re ready for work again you may rely on a good report from me.
LANG: That’s kind. Thank you.
CARSON: But, Mr Lang, if I were you… I’d steer clear of serving at table.
73 INT. CORA’S BEDROOM. DOWNTON. NIGHT.
Cora is in bed as Robert climbs in.
CORA: How did you manage?
ROBERT: Carson came up. He says Lang must go and he’s gone to tell him. We’ll make it as easy as we can.
CORA: It was nice of William to serve tonight. He didn’t have to.
ROBERT: I’m going to arrange for him to be Matthew’s servant. With any luck it’ll keep him out of trouble.
CORA: Matthew and Mary looked so natural together. Did you notice? Talking and laughing… But I suppose Lavinia’s a nice girl…
ROBERT: We’ve dreamed a dream, my dear, but now it’s over. The world was in a dream before the war, but now it’s woken up and said goodbye to it. And so must we.
He kisses her and turns out the light.
END OF EPISODE THREE
ACT ONE
1 INT. HALL. DOWNTON. DAY.
1918. The hall is busy as maids, nurses and orderlies pass through. Edith comes in, carrying post, and sees Mary on the stairs.
EDITH: Mary, the men are arranging the concert now and they are so anxious for us both to be in it, or there’ll be no girls at all. Please say you will.
MARY: Do I have to?
CORA: Yes, you do.
She strides along as Isobel also comes into the hall.
CORA (CONT’D): Keeping their spirits up is an important part of the cure, and it’s so very little to ask.
ISOBEL: What’s going on?
EDITH: The men are putting on a concert.
ISOBEL: Can I help?
CORA: Edith has it under control.
EDITH: I do, if Mary’s willing.
MARY: Oh, all right. One song and that’s your lot. What about music?
We follow them towards the door of the library as they talk.
EDITH: I’ll play. Mama won’t move the grand, so they’ve brought the upright from the nursery. I’ll just hand these out and we can practise.*
MARY: Not now. I’m off to the Dower House. Granny has sent for me.
EDITH: Then we’ll do it this afternoon. Oh, and they’ve asked for ‘If You Were the Only Girl in the World’.
MARY: You cannot be serious.
EDITH: They all want it.
MARY: Why don’t I just sing ‘Oh, Mr Porter!’ and have done with it?
She leaves by the front door, and Edith goes into the big library. We return to the others.
ISOBEL: What time is Doctor Clarkson’s round?
CORA: It’s already happened.
ISOBEL: Without me? Why? I’m not very late.
CORA: We didn’t see the need to wait. Mrs Hughes, I need to steal you for a minute. I have to check the linen books.
ISOBEL: But I went over them last week —
MRS HUGHES: Very good, m’lady. I’ll get started.
ISOBEL: Surely I can —
CORA: Anna, can you tell Mrs Patmore it’d be easier for me to go through the menus this afternoon?
ANNA: Of course, your ladyship.
ISOBEL: Cousin Cora —
CORA: Please. Can it wait? I’ve a mountain to get through.
The maids and Cora go about their business, leaving Isobel alone in the crowd.
* I was sorry we had to lose the line ‘Mama won’t move the grand, so they’ve brought the upright from the nursery,’ because I was always brought up on the fact that uprights were essentially for practice and for governesses, and the only real piano that could be seen in a drawing room was a grand piano. But there are graver issues.
2 INT. LIBRARY. DOWNTON. DAY.
This is now a recreation room, with ping pong and card tables, where men are playing. An upright piano has been brought in and a soldier is playing ‘Chopsticks’, while Edith hands out the letters.
EDITH: There’s a parcel for you. There’s a little one for you. This looks as if it’s been opened, but it hasn’t.
She notices the maid, Ethel, laughing with Major Bryant.
EDITH (CONT’D): Ethel? Have you nothing to do?
The maid blushes and hurries away.
BRYANT: I was keeping her talking. You mustn’t blame her.
EDITH: I don’t.
3 INT. SERVANTS’ HALL. DOWNTON. DAY.
Carson is also handing out letters. He gives one to Thomas.
CARSON: Should this go with the upstairs post? Since you’re not on my staff.
THOMAS: No, I’m not. So perhaps it should.
Carson moves on. Anna comes in as Thomas talks to O’Brien.
O’BRIEN: Anything interesting?
THOMAS: It’s just from an old mate who I —
He breaks off from the letter and leans in to whisper.
THOMAS (CONT’D): See you in the courtyard.
He stands and moves off. After a moment, so does she.
ANNA: I suppose we are sure they’re not working for the Germans?
Which makes the others laugh. Mrs Patmore arrives.
MRS PATMORE: Daisy? Where’s that marjoram?
DAISY: Mr Brocket never brought it in.
MRS PATMORE: Well, go and fetch some, then. It’s only in the corner of the yard.
4 EXT. GARDEN. DOWER HOUSE. DAY.
MARY: What a lovely day.
Mary is with Violet, who is pursuing a point.
VIOLET: Are you quite sure about Lavinia?
MARY: She wasn’t Sir Richard’s mistress. She gave him the evidence to settle a debt of… someone she loved.
VIOLET: And this is your beau, is it? A man who lends money, then uses it to blackmail the recipient?
MARY: He needed the proof to publish the story. Even I can see that. He lives in a tough world.
VIOLET: And will you be joining him there?
Mary decides to tell the truth to her grandmother.
MARY: Richard Carlisle is powerful. He’s rich and getting richer. He wants to buy a proper house, you know, with an estate. He says after the war the market will be flooded and we can take our pick.
VIOLET: Oh, and you can dance on the grave of
the fallen family.
MARY: They will fall, lots of them; some won’t rise again. But I don’t intend to be among them.*
VIOLET: That leaves Matthew.
MARY: That’s done now, Granny. Finished. It’s time to move forward.†
VIOLET: There aren’t many who can make me feel soft-hearted. But you do.
They stroll along for a moment.
VIOLET (CONT’D): It’s this awful war that’s spoiled everything. You and Edith should be married by now, to normal men leading normal lives.
MARY: Normal for you. Not for everyone.
VIOLET: I suppose Edith’s still mooning after poor old Anthony Strallan.
MARY: I hear he’s in the thick of it in France. So either death will claim him. Or Edith. I know which I’d prefer.
VIOLET: What about Sybil? Does she have anyone in her sights?
MARY: Not that I know of.
VIOLET: Nobody? I hoped there was some well-born swain sending letters from the field of glory… I’m going in. It’s getting cold.
MARY: I ought to go back.
VIOLET: Are you sure she has no chap in mind? How odd. I had an endless series of crushes at her age.
MARY: I don’t think so.
VIOLET: Not even some man she doesn’t care to mention?
MARY: What do you mean?
VIOLET: Well, war breaks down barriers, and when peacetime re-erects them it’s very easy to find oneself on the wrong side.
MARY: Really, Granny. How can you say that I’m too worldly, but Sybil’s not worldly enough? You cannot be so contrary.
VIOLET: I’m a woman, Mary. I can be as contrary as I choose.
* Violet wants a reason to dislike Carlisle, because she dislikes the idea of him, so she’s actually looking for a moral justification for her hostility. But here we have a conversation that represents quite an important strand of thought for many of these people in that period. Both Violet and Mary know they are about to witness a considerable set-back for the upper class, and neither of them is pretending otherwise. Their honesty is why we like them.
† Mary’s decision that she doesn’t want to go down with the ship – in other words, she wants to keep going – was inspired, I suppose, by the marriage of Lady Patricia Herbert, the daughter of the Earl of Pembroke, who in 1928 married the 3rd Viscount Hambledon, heir to the W. H. Smith fortune, despite, I have been told, a certain amount of family opposition. The comparison is not quite accurate, since Lord Hambledon’s mother had been a daughter of the Earl of Arran, but he still wasn’t the 26th Earl of anything, and the money was pretty new. I believe they were happy. As a result of this marriage, the new Lady Hambledon went on living that pre-war life, very securely, right through the Twenties and Thirties, and so on, when it had ended for so many of her contemporaries. Of course Violet would prefer Mary to marry the 26th Earl and stumble along like everyone else, but it’s not what Mary is after. The irony being that it is the Violet in Mary that is not accepting defeat, so it’s all, hopefully, quite complicated.
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