Downton Abbey

by Julian Fellowes

  CORA: I hope they’re not coming down with anything. The stories of this ‘Spanish ’flu’ are too awful.

  ROBERT: No, it’s nothing of the sort. Why are you up so early?

  CORA: I’m meeting Isobel. She wants me to help with her refugees.

  ROBERT: I thought the whole point of Mama arranging that was to keep her out of your hair.

  CORA: I know. But now the soldiers are gone, I do have a lot of time on my hands, and maybe I can be useful.

  ROBERT: Why is it different from before the war?

  CORA: I don’t know exactly. It just is. Maybe the war’s changed me. I guess it’s changed everybody.

  ROBERT: Not me.

  CORA: Don’t be too sure. If I’m not back before luncheon, don’t wait.

  She goes. Carson picks up the chafing dish with a cloth.

  CARSON: I’ll take this down to keep it hot, m’lord.

  As he goes out through the servery, Jane enters from the other door. There is an oddness here. Robert looks at her.

  JANE: I wanted to catch you alone.

  ROBERT: Oh?

  JANE: Yes. You see, I think you might be happier if I tendered my resignation.

  ROBERT: What?

  JANE: I’d hate you to be uncomfortable in your own house and —

  ROBERT: I won’t hear of it.

  JANE: But I know —

  ROBERT: You will not be deprived of your livelihood because I behaved in an ungentlemanly manner. The fault was entirely mine. You will not pay the price.

  There’s a noise. She slips out of the door as Carson appears. His eyes take in the retreating figure. Robert says nothing.

  54A INT. SHED. DOWNTON VILLAGE. DAY.

  Thomas enters and goes on the rampage. In a fury, he begins cutting open bags of flour, pulling things off shelves and destroying everything in sight before collapsing to the floor.

  55 INT. DRAWING ROOM. CRAWLEY HOUSE. DAY.

  Lavinia is embroidering and Matthew is reading as Isobel comes in. She is holding Mary’s little toy rabbit.

  ISOBEL: Is this yours? Molesley found it in your dressing room.

  Matthew looks up. He doesn’t know what to say.

  ISOBEL (CONT’D): It’s not one of your old toys, is it? Because I don’t recognise it.

  MATTHEW: No. It was given to me. As a charm, I think. To take to the front.

  ISOBEL: Well, you’re home and safe now. Shall I put it in the barrel for the village children?

  MATTHEW: No.

  He has spoken quite sharply and Lavinia looks up.

  MATTHEW (CONT’D): You never know. It might be bad luck not to keep it.

  And he takes the toy and puts it in his pocket.

  ISOBEL: Luncheon will be ready soon.*

  * Once more we have the toy dog, which looks good here, even if I am still nostalgic for my original rabbit. I don’t know why I didn’t just lend them the real rabbit it was based on – my own very scruffy and much-loved toy – as that might have persuaded them. It was stupid of me, really. Anyway, the dog plays its part well enough. The moment Matthew tells Isobel not to give away the toy, we know he hasn’t let go of Mary.

  56 INT. SHED. DOWNTON VILLAGE. DAY.

  Jars are tipped up and spilled, bags cut into, boxes half empty. In the middle stands Thomas, covered in flour. O’Brien is with him.

  THOMAS: It’s all rubbish! It’s all bloody rubbish!

  O’BRIEN: Can’t you ask for your money back?

  THOMAS: Oh yes. ’Course I can ask. And a fat lot of good that’ll do!

  O’BRIEN: You must challenge him.

  THOMAS: How? I only ever met him in a pub. I wouldn’t know where to find him.

  O’BRIEN: But surely, you —

  THOMAS: Don’t you understand, woman? I’ve been tricked! I’ve been had! I’ve been taken for the fool that I am!

  His eyes are full now, and she is moved by his plight.

  O’BRIEN: How much did he get from you?

  THOMAS: Every penny I had! And then some!

  O’BRIEN: What are you going to do now?

  THOMAS: I don’t know. I don’t bloody know.*

  He starts to weep as she takes him into her arms for comfort.

  * This is a good Downton finish, I feel, because it’s dramatic and harsh, but it also probably means that Thomas won’t be leaving the series, because he’s got no money.

  END OF EPISODE SEVEN

  ACT ONE

  1 INT. HALL. DOWNTON. DAY.

  1919. The hall boys are clearing the hall of furniture and rolling up the big rug. Cora supervises with Mary, Lavinia, Isobel and Mrs Hughes. Matthew, walking with a stick, is with them.*

  CORA: We can put the presents in the drawing room, against the window.

  MRS HUGHES: Very good, m’lady.

  ISOBEL: I suppose we do have to display all the presents? It can look rather greedy.†

  LAVINIA: I can’t bear the disruption we seem to have brought down on your heads.

  CORA: Don’t be silly.

  Mary is talking to Matthew.

  MARY: How are you feeling?

  MATTHEW: Just wish I could get rid of this damn stick — I’m sorry.

  MARY: Don’t be. If anyone has a right to swear, it’s you.

  LAVINIA: Don’t bully yourself. Think of where we were a few months ago and smile.

  MARY: I quite agree.

  MATTHEW: But I want to make it up and down that aisle without assistance.

  LAVINIA: Up, yes. You’ll have me to lean on when you’re coming down.

  MARY: And you still have three full days of practice. So never say die.

  ISOBEL: My goodness, is that the time? I must be getting back. Cousin Cora and I are helping with the new batch of refugees at four.

  LAVINIA: I’ll go with you.

  MATTHEW: She’s just sucking up, Mother.

  LAVINIA: Any bride who doesn’t suck up to her husband’s mother is a fool.

  * It is always quite traumatic to roll up the big rug in the hall at Highclere, and we very much need permission from the Carnarvons to do it. The result of this is that we strive not to overplay our hand and roll it up lightly, on the slightest excuse, but there are certain functions we just have to take it up for, and obviously Matthew’s wedding was one of them.

  † Wedding present displays have gone now, but they lasted well into my childhood, when you would walk into a drawing room, as part of the reception, and there were all the presents – silver and china and jewels, and so on – laid out with their cards, so you could see who gave what. It seems rather a vulgar idea now, but it wasn’t in the least unusual.

  2 INT. CARSON’S PANTRY. DOWNTON. DAY.

  Mrs Hughes is at the door carrying a letter.

  MRS HUGHES: Can I bother you? Mrs Bryant has written a letter I did not expect. She says her husband wants to see the baby. They both do.

  CARSON: Isn’t that what you hoped?

  MRS HUGHES: Yes and no. Remember what he was like the last time. I don’t want to build up Ethel’s hopes again.

  CARSON: Ethel’s not important. It’s the boy’s chances you have to look to.

  MRS HUGHES: I believe you’re right. Though we come at it by different routes.*

  * I felt that the Bryants’ wanting to see the baby, once they’d considered matters, was truthful. Mr Bryant’s initial response to Ethel’s news would believably be anger, but it feels real that the moment they really absorbed that there was a baby, that they could still have descendants even though their only child was dead, they would reconsider – or rather, he would. Mrs Bryant was open to the boy from the start. You can imagine them talking about it all the way home in the car.

  3 INT. MARY’S BEDROOM. DOWNTON. EVE.

  Edith and Sybil are dressed for dinner. Anna is tending Mary.

  MARY: But why announce it tonight all of a sudden?

  SYBIL: He’s got a job on a newspaper. He heard today. It’s a real chance.

  EDITH: You’re not just trying to bury
it under all the fuss of the wedding?

  SYBIL: Certainly not. It’s because of the offer. Tom has to decide right now.

  MARY: Maybe he does, but you don’t. Let him go to Dublin and then you can use the calm to consider.

  EDITH: Mary doesn’t want you to be trapped before you’re completely sure.

  SYBIL: But I am sure! How many times do I have to say it? Anna, tell them.

  ANNA: Lady Mary’s right. It’s a very big thing to give up your whole world.

  MARY: Thank you. Listen to her if you won’t listen to me.

  SYBIL: But I’m not giving up my world. If they want to give me up, that’s their affair. I’m perfectly happy to carry on being friends with everyone.

  MARY: Married to the chauffeur.

  SYBIL: Yes. Anyway, he’s a journalist now, which sounds better for Granny. We’re going to tell Papa tonight.

  EDITH: We? You mean you and Branson?

  SYBIL: He’s coming in after dinner.

  EDITH: But what will Papa do?

  MARY: I imagine he’ll call the police.*

  * Mary, of course, was hoping the whole thing would die away, but it’s not going to happen.

  4 INT. KITCHEN PASSAGE. DOWNTON. EVE.

  Anna is coming downstairs when Mrs Hughes sees her.

  MRS HUGHES: Anna, can you lay another place at the dinner table? The Dowager’s here. They forgot she was coming.

  ANNA: Old Lady Grantham’s here tonight?

  MRS HUGHES: Yes. Why?

  ANNA: No reason. I’ll go and do it now.

  5 INT. DINING ROOM. DOWNTON. EVE.

  Anna is serving the pudding with Jane, supervised by Carson.

  VIOLET: What is there for refugees in the North Riding of Yorkshire?

  EDITH: The chance to build a new life.

  VIOLET: But why here, if they’re used to Vladivostok or Peru?

  CORA: They’re mainly from central Europe, which has been laid waste by the war. They’re here to start again.

  VIOLET: Won’t they be lonely so far from home?

  LAVINIA: But they’re safe. And safety’s worth a little loneliness.

  During this, Sybil has signed to Anna, and when the latter bends down to hold the pudding plate Sybil whispers:

  SYBIL: Find him and tell him not to come in. Tell him Granny’s here.

  Anna nods. Jane holds a dish for Robert. He smiles at her.

  ROBERT: Thank you.

  CORA: Tomorrow we must settle the flowers with Bassett.

  VIOLET: Specify the detail. The last thing we want is his creative streak.

  6 INT. CARSON’S PANTRY. DOWNTON. DAY.

  Carson is with Thomas.

  CARSON: Downton is not a hostel.

  THOMAS: No, Mr Carson.

  CARSON: And you made such a point of not being a servant any more. Our ears are ringing with it.

  THOMAS: The trouble is… I’m a little out of pocket at the moment.

  CARSON: I cannot say that I’m sympathetic. When you dabble in the black market —

  THOMAS: I just need some more time, Mr Carson…

  CARSON: How long is it since the last patient left, Sergeant? You are trespassing on our generosity.

  THOMAS: I’ll try to make myself useful.

  CARSON: Just find somewhere to go.

  7 INT. SERVANTS’ HALL. DOWNTON. EVE.

  Anna comes in and scans the table. Bates looks up.

  ANNA: Is Mr Branson here?

  BATES: I haven’t seen him. What should I say if I do?

  ANNA: I’ll be upstairs clearing. Tell him to come and find me. It’s important.

  She hurries away. Bates looks at the other servants.

  BATES: Very mysterious.

  O’BRIEN: But then you love a mystery, don’t you, Mr Bates?

  8 EXT. DOWNTON. EVE.

  Branson is turning into the kitchen courtyard, but he stops.

  BRANSON: No, dammit. This time, you’re going through the front door.

  9 INT. DINING ROOM. DOWNTON. EVE.

  Anna and Jane are finishing clearing the table.

  ANNA: You look very chipper.

  JANE: I am. I heard this afternoon my son’s got into Ripon Grammar… Oh, Lady Edith’s forgotten her shawl.

  ANNA: Put it at the bottom of the stairs.

  Jane vanishes for a moment and then returns.

  JANE: Whyever is Mr Branson in the hall?

  ANNA: Mr Branson —?

  She hurries out to see Branson opening the drawing-room door.

  10 INT. DRAWING ROOM. DOWNTON. EVE.

  They all have coffee. Carson is serving drinks.

  EDITH: Lavinia’s coming first thing. We can’t decide anything without her.

  During this, Branson has walked in. Now Robert notices him.

  ROBERT: Yes?

  BRANSON: I’m here.

  ROBERT: So I can see.

  There is a strange pause. Sybil stands and goes to him.

  SYBIL: I don’t think this is such a good idea. We mustn’t worry Granny…

  BRANSON: You’ve asked me to come and I’ve come.

  VIOLET: Would someone please tell me what is going on? Or have we all stepped through the looking glass?

  BRANSON: Your grandmother has as much right to know as anybody else.

  VIOLET: Why don’t I find that reassuring?*

  * Branson is wearing rather an awkward and inappropriate outfit, a sort of tweed coat. This was a brilliant touch on the part of our costume designer, Susannah Buxton, who is a true genius in this department. And Allen Leech’s performance is wonderfully judged, too – slightly awkward, slightly defensive, and then, with Sybil’s support, comes a gradual relaxation. Of course, when Violet asks whether they have all stepped through the looking glass, she demonstrates that she knows what’s going on. She hopes she’s wrong, but she knows she isn’t, really.

  11 INT. KITCHEN. DOWNTON. EVE.

  Mrs Patmore is with Daisy.

  MRS PATMORE: How much longer is Mr Carson going to be? This is why it’s never worth trying to make food interesting in the servants’ hall… You’re very quiet this evening.

  DAISY: I’ve had a letter. Off Mr Mason. William’s dad.

  MRS PATMORE: Oh, yes? What does he want?

  DAISY: To see me.

  MRS PATMORE: Oh, there’s nothing very wonderful in that. You’re his daughter-in-law. Why shouldn’t he see you?

  DAISY: I wish it were as simple.

  MRS PATMORE: Well, I think it is, but I’ll not reopen the wound. Oh, Mr Carson, where can you be?

  12 INT. DRAWING ROOM. DOWNTON. EVE.

  They are all completely stunned, including Carson. Robert is standing and, at this moment, interrogating Mary.

  ROBERT: What do you mean, you knew?

  MARY: I hoped it would blow over. I didn’t want to split the family when Sybil might still wake up.

  ROBERT: And all the time, you’ve been driving me about, bowing and scraping, and seducing my daughter behind my back?

  BRANSON: I don’t bow and scrape, and I’ve not seduced anyone. Give your daughter some credit for knowing her own mind.

  ROBERT: How dare you speak to me in that tone? You will leave at once!

  SYBIL: Oh, Papa —

  ROBERT: This is a folly, a ridiculous, juvenile madness —

  VIOLET: Sybil, what do you have in mind?

  ROBERT: Mama, this is hardly —

  VIOLET: No. She must have something in mind, otherwise she wouldn’t have summoned him here tonight.

  Somehow this calms them all down a little.

  SYBIL: Thank you, Granny. Yes, we do have a plan. Tom’s got a job on a paper. I’ll stay until after the wedding — I don’t want to steal their thunder — but after that I’ll go to Dublin.

  CORA: To live with him? Unmarried?

  SYBIL: I’ll live with his mother while the banns are read. And then we’ll be married, and I’ll get a job as a nurse.

  VIOLET: What does your mother make of this?


  BRANSON: If you must know, she thinks we’re very foolish.

  VIOLET: Oh, so at least we have something in common.

  ROBERT: I won’t allow it! I will not allow my daughter to throw away her life!

  SYBIL: You can posture all you like, Papa, it won’t make any difference.

  ROBERT: Oh, yes, it will.

  SYBIL: How? I don’t want any money, and you can hardly lock me up until I die. I’ll say goodnight, but I can promise you one thing: tomorrow morning, nothing will have changed. Tom?

  Branson nods and they leave together. The door closes.

  CORA: She’s right about one thing: we can’t lock her up until she dies.

  VIOLET: Worse luck.*

  * I thought they did all this very well. When Branson denies that he either bows or scrapes, when he says, quite rightly, that he has not seduced anyone, then not just Robert but everyone in the room sees that whatever relationship they may have had with their former chauffeur is now over and done with. Branson knows, too, as he stands there in the drawing room, that he is no longer the chauffeur at Downton Abbey. That was an important moment in this story and they brought it off.

  END OF ACT ONE

  ACT TWO

  13 INT. CORA’S BEDROOM. DOWNTON. DAY.

  A new day. O’Brien is dressing Cora.

  O’BRIEN: Lady Mary and Lady Edith are with Miss Swire in the drawing room.

  CORA: Of course. The flowers for the wedding. It’s good to have something else to talk about. Oh —

  She has started to walk when she feels unsteady.

  O’BRIEN: Your ladyship?

  CORA: I felt a little dizzy… It’s gone now. I’ll just sit for a moment… Tell me, how’s Thomas getting on with finding a job?

  O’BRIEN: I’m afraid it’s more difficult than he thought it would be.

  CORA: Well, I suppose he has his army pay. That should tide him over.

  O’Brien makes no comment.

  14 INT. DRAWING ROOM. DOWNTON. DAY.

  Lavinia is on the sofa talking to Mary and Edith.

  MARY: What I can’t bear is the thought of Sybil waking up in a Dublin slum, away from everything she knows.

  EDITH: Perhaps Branson will discover oil or something, and make a fortune.

  MARY: Would it wash him clean? I wonder.

  LAVINIA: Well, it worked for Richard Carlisle… My God, I’m so sorry. I don’t know what came over me. Please, please forget I said that.