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Downton Abbey: Episode 3x02
beware of dog
lika_mikala wrote in scriptline

<<< EPISODE 3x01EPISODE 3x03 >>>


[OPENING CREDITS]

--
ACT ONE
[00:30, EXT. COUNTRY ROAD - DAY]
[Mary and Matthew drive towards Downton.]

LADY MARY
Who will groan first when they see it, Granny or Papa?

MATTHEW CRAWLEY (chuckles)
I should think they’ll howl at the moon in unison.

[Mary laughs.]

--
[00:53, EXT. DOWNTON ABBEY, FRONT DOOR - DAY]
[Matthew drives the car up to the front door. Robert, Cora, Edith, and Alfred come out to greet them.]

ROBERT, EARL OF GRANTHAM (chuckles)
What in god’s name is this? Well, I never.

CORA, COUNTESS OF GRANTHAM
Where did this come from?

MATTHEW
I ordered it on the way through in London, picked it up on the way back. It’s an AC.

ROBERT
Well, at least it’s English.

[Cora greets Mary.]

CORA
Welcome (kiss) back, my darling.

[Robert shakes hands with Matthew.]

ROBERT
How was the honeymoon?

MATTHEW
My eyes have been opened.

ROBERT
Don’t I know it. Now come on in.

MARY
Did Anna get back all right?

CORA
She did.

--
[01:26, INT. SERVANTS’ HALL - DAY]
[Thomas enters.]

THOMAS BARROW
Who’s that for? And why’re you doing it down here?

[Alfred has a shirt spread out on the dining table.]

ALFRED NUGENT
It’s for Mr Matthew. It was creased and I brought it down to iron.

THOMAS
You’re never looking after him. What about Mr Molesley?

ANNA BATES
He’s staying on at Crawley House.

THOMAS
Then why wasn’t I asked?

SARAH O’BRIEN
Mr Carson thought it best.

THOMAS
Did he, indeed? I wonder how that came about. And if you are learning how to do your job, you should never open a shirt in a room like this where it might be marked, let alone put studs in it. Do that in a dressing room and nowhere else.

ALFRED
Thank you.

O’BRIEN
Yes, thank you, Thomas. For always trying to be so very helpful.

[Dinner gong rings.]

--
[02:06, INT. DINING ROOM - EVENING]

MARTHA LEVINSON
So, how did you enjoy the south of France?

MARY
It was lovely. But almost too hot even now.

MARTHA LEVINSON
I think it’s such a shame they close things up during the summer. I love the sun.

VIOLET, DOWAGER COUNTESS OF GRANTHAM
So we can see.

MARY
Though you couldn’t be in Cannes for the summer. No one could bear it.

MARTHA LEVINSON
I could.

[Mary raises her eyebrows.]

VIOLET (aside to Robert)
Just how long is she here for?

ROBERT (aside to Violet)
Who knows.

VIOLET (aside to Robert)
No guest should be admitted without the date of their departure settled.

ROBERT (aside to Violet)
You won’t get any argument from me.

VIOLET
Humph.

ISOBEL CRAWLEY
There’s a hideous pile of post, I’m afraid. I put it on the hall table. Don’t look at it tonight.

[Matthew smiles.]

MARY
What have you been up to?

ISOBEL
As a matter of fact, I’ve found myself a new occupation. But I’m afraid Cousin Violet doesn’t think it’s quite appropriate.

VIOLET
Can we talk about it afterwards?

MARTHA LEVINSON
Are there still forbidden subjects in 1920? (chuckles) I can’t believe this.

[Mary has a frozen smile on her face.]

VIOLET
I speak of taste rather than law.

MARTHA LEVINSON
Well, it’s not my taste. What about you, Cora?

CORA
I agree with Mama. Some subjects are not suitable for every ear.

MARTHA LEVINSON
Oh. Pas devant les domestiques? Ha. Come on, my dear. Carson and Alfred know more about life than we ever will.

[Carson’s mouth opens.]

ROBERT (aside to Violet)
Can’t we stop this?

VIOLET (aside to Robert)
How? It’s like a runaway train.

[Mrs Levinson is the last to put down her silverware.]

CORA
Shall we go through?

[Everyone rises from the table.]

MARY
What about poor old Strallan? Have you seen anything of him?

LADY EDITH
I don’t know why you call him poor or old when he’s neither.

[Mary looks away with raised eyebrows. The ladies leave. Violet lingers to have a word with Robert.]

VIOLET
Isn’t it dangerous to let this Strallan nonsense simmer on?

ROBERT
Well, to be fair, I don’t think it’s coming from him.

VIOLET
Then ask him to end it. It’ll be more effective than if we try.

--
[03:44, INT. KITCHEN - EVENING]
[Alfred returns to the kitchens.]

MRS PATMORE
Oh, she ate it, then? I’m never sure about Americans and offal.

ALFRED
I think she’d eat whatever you put in front of her, that one. What a gob. I thought Mr Carson was gonna put a bag over her head.

[Alfred turns around and Martha Levinson’s maid is standing there.]

ALFRED
Oops.

REED
Mrs Levinson knows you make fun of her. But she makes fun of you.

[Reed smiles.]

MRS PATMORE
Then we’re all square, aren’t we?

[Daisy crouches at the oven.]

DAISY MASON
The chimney isn’t drawing properly. This oven’s not hot enough.

MRS PATMORE
Oh, a bad workman always blames his tools.

MRS HUGHES
Oh, you’re busy.

MRS PATMORE
No, I’m not. Well, we’re eating in half an hour, but it’s all done.

MRS HUGHES
Well, if you could spare a minute.

--
[04:19, INT. DINING ROOM - EVENING]
[Matthew and Robert smoke and drink together.]

MATTHEW
This is very good. I hope you didn’t open it for me.

ROBERT
Certainly I did. To welcome you into this house as my son. I can’t tell you how glad it makes me.

MATTHEW
Robert, I want us always to feel we can be honest with each other.

ROBERT
Of course.

MATTHEW
Because Mary’s told me about your present difficulties.

[Robert sighs for a moment.]

ROBERT
She was right. Losing Downton will affect you both more than anyone.

MATTHEW
I wonder if she’s told you about the will of Lavinia’s father.

--
[04:56, INT. DRAWING ROOM - EVENING]
[Mary and Violet speak together in one part of the room.]

VIOLET
Well, yes. Your father told me all about it. But I cannot understand why so much money was put into one company.

MARY
I couldn’t agree more.

VIOLET
Now we’re to be turned out of Downton. Even Lloyd George can’t want that.

MARY
I’m not sure he’s a good example.

VIOLET
The point is, have we overlooked something? You know, some source of revenue previously untapped? If only we had some coal, or gravel, or tin.

MARY
Well, I can think of someone who’s got plenty of tin.

[Mrs Levinson speaks with Cora, Isobel, and Edith in another part of the room.]

MARTHA LEVINSON
So, you help women who have…fallen over.

ISOBEL
Not quite.

CORA
Cousin Isobel helps women who’ve had to degrade themselves to survive. There’s a centre in York.

MARTHA LEVINSON
Oh, no addresses, please, or Alfred will be making notes.

[Martha winks at Alfred as he serves them tea. Alfred smiles in amusement, but Carson gives him a sharp look.]

MARTHA LEVINSON
So what do you do for these women?

ISOBEL
Well, first we like to send them away...to rest.

MARTHA LEVINSON
I should think they’d need it.

[Edith bats her eyelashes, trying to maintain her composure.]

ISOBEL
And then we try to find them alternative employment.

CORA
The war destroyed many households. In thousands of families, the bread winners are dead.

MARTHA LEVINSON
So, you want me to contribute?

CORA
You don’t have to give money after every conversation, Mother.

MARTHA LEVINSON
No? Isn’t that what they English expect of rich Americans?

[Mary and Violet exchange a look.]

--
[06:15, INT. DINING ROOM - EVENING]

ROBERT
But why can’t you benefit from the will? You’ve done nothing wrong.

MATTHEW
When Swire made it, he didn’t know I’d broken his daughter’s heart. It was to reward my fidelity when, in fact, I’d betrayed her. If I kept that money, I would be no better than a common criminal.

ROBERT
I see. Well, if that’s how you feel, then there’s no more to be said.

[Anna enters, then freezes.]

ANNA
I’m ever so sorry, milord. I thought you were out of here.

ROBERT
Yes, we should be. Please, we’re going now.

[Matthew and Robert down their drinks and leave the room.]

--
[06:50, INT. MRS HUGHES’S SITTING ROOM - EVENING]
[Mrs Hughes refastens her blouse.]

MRS PATMORE
It’s a lump, alright. There’s no point in dithering about that. What are you going to do about it?

MRS HUGHES
Don’t know.

[Mrs Patmore puffs out her breath.]

MRS PATMORE
Well, I do know. Tomorrow you’ll make an appointment with the doctor and we’ll see what he’s got to say.

MRS HUGHES
But what if it’s—

MRS PATMORE
Ahp!

[Mrs Patmore puts up a hand.]

MRS PATMORE
If it is, and I’m not saying it is, it’s best to know now.

[Mrs Hughes nods.]

MRS HUGHES
I suppose so.

[Mrs Hughes starts to cry and Mrs Patmore pats her arm.]

MRS PATMORE
Now, look. You’ll not be alone for a minute if you don’t want to be. But we have to get it seen to.

MRS HUGHES
And then there’s expense.

MRS PATMORE
Well, if you must pay money, better to a doctor than to an undertaker.

MRS HUGHES (chuckle)
If that’s an example of your bedside manner, Mrs Patmore, I think I’d sooner face it alone.

--
[07:44, INT. MARY AND MATTHEW’S BEDROOM - MORNING]
[Anna brings in a breakfast tray while Mary and Matthew are still cuddling in the dark.]

MATTHEW
It seems rather shocking for Anna to have to find me en déshabille.

[Mary chuckles. Anna opens the curtains.]

ANNA
I’m made of stout stuff, sir. Don’t worry about that.

MARY
Are you seeing Bates today?

ANNA
I am. And I can’t wait.

MARY
Well, give him our best wishes.

[Anna leaves.]

MATTHEW
I’m sorry, it still seems odd to be found in your bed.

[Mary turns to Matthew.]

MARY
But very nice.

MATTHEW
Oh, as nice as nice can be.

[They kiss and go back to cuddling.]

MATTHEW
I’m going to see Jarvis today and find out what houses are available.

MARY
Do you have to when these are our last days here? I thought something might have turned up when we were away, but it seems it hasn’t.

MATTHEW
Would you rather wait until we have to go and found a new house then?

[Mary sits up on her elbow and looks at him.]

MARY
After all, darling, you’re the one who’s pushing us out.

[They kiss.]

--
ACT TWO
[08:45, EXT. LONDON, ALLEY - DAY]
[Prostitutes solicit men in the alley. Isobel enters the alley. One of the women is Ethel. Ethel recognizes Isobel as she walks past her spot, and Ethel shrinks behind a column. Isobel passes, then slows to a stop. She turns sharply, having remembered Ethel, but Ethel is gone.]

PROSTITUTE
Good evening, sir.

--
[09:06, INT. SIR ANTHONY STRALLAN’S HOUSE - DAY]

SIR ANTHONY STRALLAN
But Mary’s only just got back from honeymoon. It’s a family time.

EDITH
But you are—

STRALLAN
Please, stop saying I’m family when I’m not. I’ll be there for the big dinner next week.

[Edith stands there with a wounded look on her face.]

STRALLAN
What is it?

EDITH
I know you don’t mean to hurt me, but—

STRALLAN
Of course I don’t. It’s the last thing I’d ever wish to do.

EDITH
Then why do you shove me away?

STRALLAN
I don’t want to. Not at all. But—

EDITH
If you’re going to talk about your wretched arm again, I won’t listen.

STRALLAN
It’s not just my arm. I’m too old for you. You need a young chap with his life ahead of him.

EDITH
But your life’s ahead of you.

STRALLAN
Oh, my dear, if only you knew how much I’d like to believe that.

EDITH
Then it’s settled. You’re not going to push me away anymore. Are you are coming for dinner tonight.

[Strallan’s mouth twitches into a smile.]

EDITH
That’s all there is to it.

--
[09:58, INT. PRISON - DAY]
[Anna enters the prison. She sits across from Bates.]

JOHN BATES
How did you get on with Vera’s book?

ANNA
I had a few answers waiting for me when I got back and two returned address unknown.

BATES
Who from?

ANNA
Let me see. One was...a Mr Harlip, I think, and the other was... Mrs Bartlett, I think.

BATES
Well, Harlip doesn’t matter. He was a cousin in the north, she never saw him. But Mrs Bartlett’s a shame. She lived around the corner, she was very friendly with Vera.

ANNA
I’ll find her. Don’t worry.

BATES
Tell me about France. Did you eat frog’s legs and dance the cancan?

ANNA
No. But I bought a garter.

[Bates and Anna grin at each other.]

--
[10:48, INT. DOWNTON COTTAGE HOSPITAL, DR CLARKSON’S OFFICE - MORNING]
[Dr Clarkson finishes washing his hands.]

DR CLARKSON
You have no other symptoms?

MRS HUGHES
Not that I’m aware of.

DR CLARKSON
You’re not feeling ill or tired?

MRS HUGHES
I can’t swear to not feeling tired, but nothing out of the ordinary.

DR CLARKSON
Very well. I’m just going to conduct a preliminary examination.

MRS PATMORE
Do you mind if I stay?

DR CLARKSON
I should prefer it.

--
[11:16, INT. SERVANTS’ CORRIDOR - DAY]
[Thomas sees Alfred walking down the corridor with something.]

THOMAS
What’ve you got there?

ALFRED
Mr Matthew’s tailcoat. What do you think that is?

[Alfred points out something on the coat.]

THOMAS
Mm. Hard to say.

ALFRED
I’ve tried it with all the usual things, but I can’t shift it.

THOMAS
I’ll give you a tip if you like.

ALFRED
Would you? Really?

THOMAS (nods)
But keep it to yourself. Don’t want to give away all my secrets.

--
[11:37, INT. DRAWING ROOM - DAY]
[Violet enters to find Mary sitting alone reading a fashion magazine.]

VIOLET
Oh, there you are, my dear.

MARY
Good morning, Granny.

VIOLET
I’ve been looking for you. Now, I want to know if we’re serious...

[Violet sits down and Mary tilts her head in curiosity.]

VIOLET
...about getting that woman, about asking your other grandmother to come to our aid.

MARY
Well, she’s made of money, and there’s only Mama and Uncle Harold to share it when she’s gone.

VIOLET
We can’t wait that long. She looks as if she’ll bury us all. No, we must act now. We must make her feel it is her duty to save Downton.

MARY
But how? What can we do?

VIOLET
Well, get her to sense its value. Of its vital role in the area. You’re her granddaughter. This will be your house if it survives. Surely you can make something of that if she has a heart at all.

MARY
Well, come for tea this afternoon.

VIOLET
Then we can begin.

[Mary nods.]

--
[12:33, INT. HOSPITAL - DAY]
[Mrs Hughes buttons up her coat.]

DR CLARKSON
Believe me, there are several stages to go through before there’s any cause for despair.

MRS HUGHES
Well, what stages?

[Mrs Hughes sits down.]

DR CLARKSON
When you come back in a day or two, I’ll remove some fluid from the cist. With any luck, it’ll be clear and that will be that.

MRS PATMORE
How will you do it?

DR CLARKSON
With a syringe.

MRS PATMORE
Will it hurt?

MRS HUGHES
Since he has to do it whether it hurts or not, I don’t see the point of that question. What I want to know is, what happens if the fluid is not clear?

DR CLARKSON
It’ll be sent away for analysis.

MRS HUGHES
Because it may be...cancer?

DR CLARKSON
It may be cancer, but...I am fairly certain it is not.

MRS PATMORE
There you are. It’s very, very unlikely, isn’t it, Doctor?

MRS HUGHES
If the doctor treats me like an adult, Mrs Patmore, why do you insist on treating me like a child?

[Mrs Patmore shifts uncomfortably.]

--
[13:25, INT. KITCHEN - DAY]
[Alfred enters as the kitchen maids go about their duties. Daisy pokes at the stove.]

DAISY
Does this seem slow to you?

ALFRED
Not really.

[Reed enters.]

REED
Mrs Levinson is going to the Dower House with the others for tea.

[Reed stops when she sees Alfred walking out with a smile as he looks at the floor.

REED
I think he likes me.

DAISY
He’s being friendly, that’s all.

[Reed rolls her eyes and exits.]

--
[13:47, INT.]
[Mary enters as Matthew sits at the desk.]

MARY
Are you all right? You seem to have been slaving away for hours.

MATTHEW (sigh)
I want to up to date with it all before I go back into the office.

MARY
Anything from Mr Swire’s lawyer?

[Matthew pulls out a letter from the stack of post.]

MATTHEW
You can read it if you like.

[Mary reads it and Matthew sighs again.]

MARY
So you are definitely Reggie’s heir.

MATTHEW
Looks like it. But if they have to get a death certificate out of the Indian authorities, it won’t all be settled by Tuesday.

MARY
Good.

MATTHEW
Why is it good?

MARY
The delay may give you time to change your mind.

[Matthew makes a worn down expression.]

MATTHEW
Stop punishing me, Mary, please. If I accepted the legacy, I would be...taking money under false pretences. I’d be stealing. Your father understands, now why can’t you?

MARY
I don’t think he understands at all. He just doesn’t want to beg. Anyway, I’m off to Granny’s for tea. I’ll see you later.

[Matthew stands up and takes Mary’s hand, trying to heal the breach.]

MATTHEW
I do love you so terribly much.

MARY
Yes. I know you do.

[Mary leaves and Matthew is pensive.]

--
[15:02, INT. DOWER HOUSE - DAY]

CORA
So what’s Harold doing now?

MARTHA LEVINSON
His idée fixe is yachts. Bigger yachts, faster yacht...

[Martha waves her hand.]

MARTHA LEVINSON
...something with yachts.

CORA
Is he happy?

MARTHA LEVINSON
He’s much too busy to find out.

VIOLET
It always seems so strange to me that Cora has a brother.

MARTHA LEVINSON
Why?

CORA
You know how things work here, Mother. If there’s a boy, the daughters don’t get anything.

VIOLET
There’s no such thing as an English heiress with a brother. Why do we never see him?

MARTHA LEVINSON
Oh, Harold hates to leave America.

VIOLET (chuckles)
Curious. He hates to leave America. I should hate to go there.

MARY
You don’t mean that, Granny, when we’re both so drawn to America.

[Violet’s expression becomes slightly awkward as she takes Mary’s hint.]

VIOLET
Indeed, indeed we are. Never more than now, when the bond between the Crawleys and the Levinsons is so strong.

CORA
That’s nice...if you mean it, Mama.

[Cora tilts her head dubiously, regarding Violet.]

VIOLET
I do. It is marvellous the way our families support each other.

MARTHA LEVINSON
You mean, you needed the Levinson cash to keep the Crawleys on top.

MARY
I’m not sure we’d put it that way.

VIOLET
I’m quite sure we would not.

[Cora looks between Mary and Violet, trying to read their intentions.]

MARY
But I hope you do feel that Mama’s fortune has been well spent in shoring up an ancient family.

MARTHA LEVINSON (chuckles)
Nah, you got to spend it on something.

--
[16:25, INT. MATTHEW CRAWLEY’S DRESSING ROOM - EVENING]
[Alfred helps Matthew into his tails. Matthew notices something on the coat.]

MATTHEW
What happened here?

ALFRED
I...I just...

[Matthew turns to face Alfred. Alfred takes a step backward and drops his eyes to the ground, his hands clasped behind his back.]

MATTHEW
You just what?

ALFRED
There was a mark in it.

MATTHEW
Well, I know there was a mark in it, but you didn’t need to burn it away. (chuckles) What have you done? Well, I’ll—I’ll go down in my dinner jacket. You can send it to my tailor in London in the morning.

[Matthew takes off the coat and sees Alfred’s expression when he hands it over.]

MATTHEW
Come on, nobody’s died. Just find the dinner jacket.

[Alfred nods.]

--
[16:52, INT. SERVANTS’ CORRIDOR - EVENING]

MR CARSON
Mrs Hughes! There don’t seem to be any glasses laid for the pudding wine.

MRS HUGHES
Oh, are they having one tonight?

MR CARSON
It’s on the menus. I don’t write them for my own amusement.

MRS HUGHES
No, I daresay not.

MR CARSON
Mrs Hughes, I am trying, and so far failing, to persuade His Lordship to bring the staff levels back up to snuff. But until he does, it is vital that you pull your weight!

[Carson walks off in a huff. Mrs Hughes is clearly still distracted. She’s pensive for a moment longer, and then heaves a big sigh.]

--
[17:19, INT. DINING ROOM - EVENING]

MARTHA LEVINSON
Newport’s not a jungle, not at all. But it is a little less formal.

VIOLET
Well, Matthew obviously wants you to feel at home in his play clothes.

MATTHEW (chuckles)
Don’t blame me for this. I’m afraid Alfred and I had a bit of a disaster earlier.

CORA
Why? What happened?

MATTHEW
Somehow the poor chap managed to burn a hole in my tails.

[Alfred is upset by the reference to his mistake.]

MATTHEW
But don’t worry, it can be mended.

[Carson looks up at Alfred in shock, lifting the serving dish he’s holding without thinking, just as Robert is trying to serve himself from the tray.]

ROBERT
Careful, Carson. Steady the [?].

[Carson leans back down.]

MR CARSON
Beg pardon, my lord.

STRALLAN
I rather like dinner jackets. And I agree with you, sometimes it’s nice to be informal.

EDITH
Especially when a couple is alone.

[Strallan tilts his head down at Edith, catching her hint. Violet and Robert exchanged displeased looks.]

MARY
But people like us should lead the fight to keep tradition going.

ISOBEL
If you mean we can never change, I can’t agree to that.

CORA
Nor me. I think accepting change is quite as important as defending the past.

MARY
But the role of houses like Downton is to protect tradition. That’s why they’re so important to maintain.

VIOLET
Don’t you agree, Mrs Levinson? We must do everything in our power to keep houses like Downton going.

MARTHA LEVINSON
Sure, if you think it’s worth it. So, who’s coming to dinner next week?

[Mary looks at Violet and raises her eyebrows at Martha’s indifferent reply.]

CORA
Some locals. We thought you’d like to see Downton on parade.

MARY
That’s right, Grandmamma. I’m glad we’ve planned a dinner. We can show you the real point of Downton.

--
[18:30, INT. SERVANTS’ HALL – EVENING]
[Carson and Alfred enter as the other servants are preparing for their dinner.]

ALFRED
I don’t know what to say, Mr Carson.

O’BRIEN
What’s going on here?

MR CARSON
Alfred has embarrassed the family. He forced Mr Matthew to appear downstairs improperly dressed.

O’BRIEN
Oh! You make it sound quite exciting.

MR CARSON
I will not tolerate vulgarity, thank you, Miss O’Brien.

ANNA
I’m sure Alfred didn’t mean to, Mr Carson.

MR CARSON
Humph.

[Mr Carson exits.]

ALFRED
I asked Thomas [?]--

THOMAS
Oi, what’s this?

ALFRED
The stuff you gave me to clean the tails burned a hole in them.

THOMAS
No such thing. I gave you some soda crystals, that’s all. If you used them wrongly, it’s not my fault. This is what comes of making him run before he could walk.

[O’Brien looks closely at Thomas. He sits down stiffly, feigning innocence.]

--
[19:11, INT. LIBRARY - EVENING]
[Robert and Strallan talk alone.]

STRALLAN
If you want me to stay away from her, of course I will.

ROBERT
I know it sounds harsh.

STRALLAN
Please, Robert, I understand completely. Lady Edith is your daughter and you don’t want her involved with some cripple who’s far too old.

ROBERT
Now you’re the one who’s harsh.

STRALLAN
The trouble is, she calls ‘round regularly. I can hardly ask for her not to be admitted. I suppose I could write to her.

ROBERT
I hope you won’t feel we can’t be friends after this.

[Strallan smiles.]

STRALLAN
No. But let’s leave it for a while. I’ll duck out of the dinner next week.

ROBERT
It might be best. Thank you.

[Robert exits.]

--
[19:49, INT. STORE CUPBOARD - EVENING]
[Alfred and O’Brien enter to look over the various bottles. O’Brien points to one.]

O’BRIEN
That’s the one you should’ve taken. Soda crystals.

ALFRED
But he didn’t give me that. He pointed to this one, I promise.

[Alfred takes the bottle next to the one O’Brien pointed at and looks at it in distress while she regards him.]

O’BRIEN
You don’t have to promise. I believe you.

[Alfred looks up at her as she leaves.]

--
ACT THREE
[20:07, INT. LORD GRANTHAM’S DRESSING ROOM – NIGHT]
[Robert changes into his pyjamas.]

ROBERT
So you think he’s not ready?

THOMAS
He’s just a lad, milord. He can see to the odd visitor, but permanent valet to Mr Matthew...is too much.

ROBERT
Actually, I’m pretty sure Mr Crawley would rather manage on his own.

THOMAS
They wouldn’t like that downstairs, milord.

ROBERT
I was afraid you’d say that. So, what would you suggest?

THOMAS
Ask Mr Molesley to join us. It’ll be kinder to Alfred in the long run, kinder than asking more than he can give.

[Robert considers Thomas’s suggestion. Thomas folds some clothes, smirking at his own cleverness.]

--
[20:45, INT. MARY AND MATTHEW’S BEDROOM - NIGHT]
[Mary lies in bed while Matthew finishes getting ready.]

MARY
How is that poor footman? I thought Carson was going to eat him alive.

MATTHEW
Very glum. To be honest, he has been a clot. I’ll have to send the coat up to London.

MARY
Well, get it done quickly. This dinner has to be the grandest of the grand.

[Matthew lets out a breath.]

MATTHEW
What do you hope to show her?

MARY
Why Downton matters. Why it mustn’t be allowed to fall apart.

[Matthew climbs into bed.]

MATTHEW
Hasn’t Cora had her share of the Levinson gold? I thought what was left was headed for your uncle.

MARY
It’s not so laid down in America. He’s as rich as Croesus as it is.

MATTHEW (disapproving)
So you mean to fleece her.

MARY
Since you’re the one to get us out of this hole if you wanted to, I won’t take any criticism, thank you.

MATTHEW
Will she do it?

MARY
Granny means to make her or die in the attempt. Now stop talking and kiss me before I get cross.

[Matthew grins and kisses her eagerly.]

--
[21:30, INT. MRS HUGHES’S SITTING ROOM - NIGHT]

MRS PATMORE
You hear him. With any luck, you’ll know at once.

[Mr Carson barges through the slightly open door.]

MR CARSON
I wish you could get those maids under control. They’ve broken one of the serving dishes this time, and with a dinner next week!

[Mrs Hughes rolls her eyes.]

MRS HUGHES
We’re short of a footman. We’re short of a kitchen maid and one house maid at least, that’s if Anna’s to be a proper lady’s maid, which is what Lady Mary wants.

MR CARSON
Well, naturally. She likes things done properly.

[Mrs Hughes finally loses it, taking Mr Carson aback.]

MRS HUGHES
For heaven’s sake! We can’t do things properly until either His Lordship allows us the staff we need or until you and the blessed Lady Mary come down from that cloud and join the human race!

[Mrs Patmore raises her eyebrows and Mr Carson takes on a superior tone and expression.]

MR CARSON
I can only suppose that you are overtired. I bid you goodnight.

[Mr Carson turns toward the door, but Mrs Patmore steps forward.]

MRS PATMORE
You see she—

[Mr Carson turns back around.]

MRS HUGHES
Goodnight. Mr Carson. We will discuss the dinner in the morning.

[Mr Carson nods and exits. Mrs Hughes glares for a moment as she turns to Mrs Patmore.]

MRS HUGHES
And no, Mrs Patmore, you may not tell him.

[Mrs Patmore sighs.]

--
[22:22, INT. SERVANTS’ HALL - NIGHT]
[Mr Carson goes over the dinner menus as Alfred approaches.]

MR CARSON
Oh, have you finished with Mr Matthew?

ALFRED
I have. He’s in the dining room.

MR CARSON
Very good. You won’t need to attend to him again.

[O’Brien’s mouth opens in surprise as she sits at the table.]

MR CARSON
Mr Molesley will be coming up from the village.

ALFRED
Has Mr Matthew complained?

MR CARSON
He didn’t have to. That’s not your fault. We’ve hurried you along too fast. You mustn’t feel badly.

[Carson exits and O’Brien steps up to Alfred.]

O‘BRIEN
This is Thomas’s doing. But don’t you fret. I’ll make him sorry.

[O’Brien exits. Alfred walks down the servants’ corridor, then stops and leans against the wall, hanging his head. Reed steps out from the kitchen and sees his downcast look. She steps directly in front of him.]

REED
I’m on your side.

[Alfred looks up with a happier expression.]

ALFRED (sigh)
I’m glad somebody is.

[Reed surprises Alfred with a kiss. Daisy witnesses it from the kitchen. Reed takes off down the corridor and Daisy watches Alfred with her mouth open in surprise.]

--
[23:26, INT. DINING ROOM - MORNING]
[Robert enters to find Edith and Matthew at the breakfast table.]

ROBERT
No Mary?

MATTHEW
She says she’s a married woman now, so she can have breakfast in bed.

[Matthew smiles a little and Robert chuckles. He looks over the mail and hands Edith a letter addressed to her.]

ROBERT
I’m sorry about your tails.

MATTHEW
Carson’s sending them up on the London train this morning. They’ll have to put a new panel in.

ROBERT
We thought we’d get Molesley to come and look after you. He knows your ways.

MATTHEW
I’m perfectly happy to—

ROBERT
I think it best if he comes.

MR CARSON
I do need to talk to you about the other staff we need, my lord.

[Robert puts down the serving spoon with a clang.]

ROBERT
Not now, Carson. But you may send for Molesley if Mrs Crawley has no objection.

[Edith drops her silverware with a clang and Robert looks over as she reads her letter with a distressed look. ]

ROBERT
Edith?

[Matthew looks up at her.]

EDITH
Oh, Papa, how could you?

[Edith walks out crying.]

MATTHEW
Golly. Do you know what that was?

ROBERT
I’m afraid I probably do.

[Robert sighs.]

--
[24:22, INT. DRAWING ROOM - DAY]
[Cora embroiders while Mary sits down to visit with her.]

CORA
I’m sorry, but quite enough of my father’s money has already been poured into Downton. Why should Harold lose half his inheritance because of our folly?

MARY
So it’s all Papa’s fault?

CORA
Well, it isn’t my mother’s and it isn’t my brother’s. I don’t see why they should pay for it.

MARY
We’re still going to ask.

CORA
What are you so afraid of? If we sell, we move to a smaller house and a more modest estate. We don’t have to go down the mine.

MARY
You don’t understand.

CORA
Mary, a lot of people live in smaller houses than they used to.

MARY
Which only goes to show that you’re American and I am English. I shall be Countess of Grantham one day and in my book, the Countess of Grantham lives at Downton Abbey.

[Cora regards Mary with a wry smile as Mary leaves.]

--
[25:02, EXT/INT. WOMEN’S SHELTER - DAY]
[Ethel approaches the shelter. Inside, Isobel talks to a woman who is eating eagerly.]

ISOBEL
What job might you be suited to? Because we’re not simply here to give you food. We must try to find you your place in the world.

[Ethel enters. Isobel looks up.]

ISOBEL
Do you want to speak to me?

ISOBEL
Yes, Mrs Crawley, I do.

[Isobel approaches Ethel with a smile, still not quite recognizing her.]

ISOBEL
Have you come for our help? You’re very welcome if you have.

[Ethel backs away and begins to leave.]

ISOBEL
Wait a minute. I know you.

[Ethel stops and turns around.]

ISOBEL
You were the maid who brought your child into the dining room at Downton that time.

ETHEL
I’m sorry, this has been a mistake. I thought I was ready to ask you, but I’m not. I’m not ready.

[Ethel rushes out and Isobel calls after her.]

ISOBEL
Ask me what?

--
[25:56, INT. HOSPITAL - DAY]
[Mrs Hughes and Mrs Patmore jump a little as they hear the door open and Dr Clarkson enters.]

DR CLARKSON
I’m sorry to keep you waiting, ladies. The fact is, it’s not quite as simple.

MRS PATMORE
Oh, my god.

MRS HUGHES
Mrs Patmore, will you please leave the hysteria to me.

DR CLARKSON
I’m afraid the test was inconclusive. I had hoped that the fluid from the cist would be clear, but there are traces of blood in it. Not enough to confirm the presence of cancer, but...a little too much to exclude it.

MRS HUGHES
So, what happens now?

DR CLARKSON
I send it away for analysis. And this stage will take some time.

MRS PATMORE
How much time?

DR CLARKSON
Anything up to two months.

MRS PATMORE
Oh, my g—

[Mrs Hughes shoots Mrs Patmore a look and she stops.]

DR CLARKSON
Until then, please try to take it a little more easily. Sit down and put your feet up if you can.

MRS PATMORE
Oh, chance’d be a fine thing.

[They all rise as the women prepare to leave.]

DR CLARKSON
Would you like me to say something to Lady Grantham?

MRS HUGHES
No, thank you, Doctor. I’ll speak to her myself, if I need to. Thank you.

--
[26:57, EXT. DOWNTON GROUNDS - DAY]
[Edith cries into her Grandma Levinson’s shoulder on a bench. Robert comes across them as he walks with his dog.]

ROBERT
My darling girl, what’s this?

MARTHA LEVINSON
I think you know what it is since you asked Sir Anthony to write.

ROBERT
Edith, you do understand that I only ever want what’s best for you.

EDITH
And you’re the judge of that?

ROBERT
In this, I think I am.

EDITH
Sybil marries a chauffeur and you welcome him to Downton, but when I’m in love with a gentleman, you...cast him into the outer darkness.

MARTHA LEVINSON
She has a point, Robert.

ROBERT
Strallan is certainly a gentleman.

MARTHA LEVINSON
Well then, besides which, Edith tells me he has a house, he has money, he has a title, everything that you care about.

ROBERT
You make me sound very shallow.

EDITH
Aren’t you, when you make me give him up because he has a bad arm?

ROBERT
That’s not the only reason. He’s a quarter of a century too old. Did she tell you that?

MARTHA LEVINSON
Your daughter is sad and lonely, Robert. Now, I don’t mean to interfere, but—

ROBERT
Don’t you?

EDITH
If you ban him from Downton, I’ll only go to his house. I mean it.

ROBERT
I don’t believe he’d see you.

EDITH
Then I’ll just wait outside until he does. How can you not like him because of his age, when almost every young man we grew up with is dead? Do you want me to spend my life alone?

ROBERT
I didn’t say I don’t like him. I like him very much.

EDITH
So do I, Papa. So do I.

[Edith goes to Robert and takes his hand.]

EDITH
Please, ask him back. He writes he’s not coming to Mama’s dinner, but please make him. Please, please, please.

ROBERT
Oh, all right then.

[Edith sighs a little in relief. She looks to her grandmamma with a tearful smile and Martha nods her encouragement.]

--
[28:31, INT. PRISON – DAY]
[Anna and Bates sit at a visiting table.]

ANNA
I found Mrs Bartlett. I wrote back to the tenant of her old house explaining, and they’ve sent me a forwarding address. I don’t know why they didn’t before.

BATES
Just because you know where she is doesn’t mean she’ll talk to you.

ANNA
Why not?

BATES
[?] Bartlett was the nearest thing Vera had to a friend.

ANNA
That’s why I want to meet her.

BATES
Maybe, but when she looks at you, she won’t see the real Anna Bates.

ANNA
She doesn’t have to like me. I need her to be honest. I’m going to write and ask for a meeting. I can get to London and back in a day.

BATES
She won’t agree.

ANNA
I’ve the rent from the house, so I can make it worth her while. Why do you think Vera didn’t go and see her instead of sending that letter?

BATES
What do you mean?

ANNA
When Vera was frightened about your visit, she wrote that letter saying how scared she was instead of walking ‘round to see her friend.

[Bates thinks it over.]

BATES
Maybe she did both.

[Anna looks down, not accepting his explanation.]

BATES
So, what’s the news at home?

[Anna shakes her head, still looking down.]

ANNA
I shouldn’t tell you, really. I haven’t told any of the others. It’s breaking the code of a lady’s maid. (whisper) His Lordship’s in trouble. It seems they may have to sell.

BATES (whisper)
What? Sell Downton? That makes me sad. I wouldn’t’ve thought there was much that could touch me in here, but...that does.

--
[30:03, EXT. DOWNTON GROUNDS - DAY]
[Mr Molesley runs to the house, very out of breath.]

--
[30:15, INT. MATTHEW’S DRESSING ROOM - EVENING]
[Mr Molesley enters, still panting for air.]

MR MOLESLEY
It’s never come. They promised and promised, and I thought it was sure to be on the seven o’clock, but it’s not.

MATTHEW
Well, I’ll just have to wear black tie.

[Matthew takes off his white bowtie.]

MR MOLESLEY
But Lady Mary! She’ll—

MATTHEW
These things don’t matter as much as they did. Lady Mary knows that as well as anyone.

[Mr Molesley hesitates, a bigger stickler for tradition, then goes for Matthew’s other tie.]

--
[30:41, INT. UPSTAIRS CORRIDOR - EVENING]
[Reed walks down the corridor. She turns a corner to find O’Brien exiting Robert’s dressing room with a stack of shirts.]

--
[30:51, INT. GREAT HALL - EVENING]
[Carson opens the front hall door for Violet.]

VIOLET
Thank you. I know I’m early—

MARY
Granny.

[Mary rushes forward.]

MARY
Come and see what we’ve done.

VIOLET
Oh, excuse us.

--
[30:57, INT. DINING ROOM - EVENING]
[The table is magnificently decorated, including large arrangements of flowers. Mary shows it off eagerly.]

MARY
What do you think?

[Violet smiles proudly.]

VIOLET
Nothing succeeds like excess.

MARY
When shall we tackle her?

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.

--
[31:25, INT. KITCHEN – EVENING]

DAISY
Mrs Patmore.

MRS PATMORE
What is it now?

DAISY
It’s smoking, the range.

[Daisy opens the smoking oven.]

MRS PATMORE
The wind must be in the wrong direction. Just rake it through.

THOMAS
Where’s Alfred?

MRS PATMORE
Why?

[Thomas enters in a panic.]

THOMAS
Where’s Alfred!

DAISY
I think he’s in the servant’s hall.

--
[31:37, INT. SERVANT’S HALL - EVENING]
[Thomas enters in a panic.]

THOMAS (to Alfred)
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 turns to O’Brien.]

THOMAS
Have you done this?

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 shifts nervously on his feet, looking between O’Brien and Alfred. He rushes off and O’Brien turns back to her paper.]

--
[32:08, INT. LORD GRANTHAM’S DRESSING ROOM - EVENING]
[Robert faces Thomas, still wearing his dressing gown.]

ROBERT
You can’t have lost them all!

THOMAS
I haven’t lost any of them, milord. Th—they’ve been taken by someone, s—stolen, pinched.

ROBERT
Why would they do that?

THOMAS
To get at me, milord!

[Robert’s head tilts back in surprise and he approaches Thomas.]

ROBERT
Are you not popular downstairs?

THOMAS
Well, I wouldn’t say that, milord. 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?

[Thomas’s mouth opens like a fish, trying to think of any solution to his dilemma.]

--
[32:42, EXT. FRONT DOOR, EVENING]
[The guests arrive via motorcar.]

--
[32:55, INT. GREAT HALL - EVENING]
[Carson welcomes the guests.]

MR CARSON
Good evening, Sir John.

[The guests enter happily, completely at odds to the panic stirring in the rest of the household.]

--
[33:03, INT. KITCHEN - EVENING]
[Mrs Patmore and Daisy inspect the heavily smoking oven.]

MRS PATMORE
It can’t be going out!

DAISY
Well, it is. There must be a block in the floo.

MRS PATMORE
But the dinner’s not cooked. We haven’t even put in the soufflés.

DAISY
They’ll be no soufflés tonight.

[Mrs Patmore enters, seeing the smoke.]

MRS PATMORE
Yeah, but the mutton’s still raw.

MRS HUGHES
What in heaven’s name is going on?

MRS PATMORE
I’ll tell you what! We’ve twenty lord and ladies in the drawing room waiting for dinner, and we’ve got no dinner to give them!

MRS HUGHES
Oh, my god.

--
ACT FOUR
[33:24, INT. DRAWING ROOM - EVENING]
[Matthew enters in a black tie and dinner jacket. He holds his arms out for Mary see him.]

MARY (whisper)
Why are you not in white tie?

MATTHEW
Darling, please forgive me. I’m afraid they never sent my tails back.

[Robert enters in the same form of dress and Violet looks him over in surprise.]

VIOLET
You’re not in white tie either? What have you come as?

ROBERT
I’m so sorry. Thomas has lost all my dress shirts.

[Violet sees Edith and Strallan laughing and smiling at each other over Robert’s shoulder.]

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?

[Martha enters behind the gentlemen and exaggerates her surprise when she sees Matthew and Robert’s dinner jackets.]

MARTHA LEVINSON
Oh, you two are dressed for a barbecue.

ROBERT
I feel like a Chicago bootlegger.

VIOLET
I don’t even know what that means, but it sounds almost as peculiar as you look.

[Cora enters with hurried footsteps.]

CORA
Robert, come quickly.

ISOBEL
What is it?

CORA
Apparently the oven’s broken down.

[Mary and Violet reel from the horrible added surprise.]

ROBERT
It can’t have done. What does that mean?

CORA
To cut a long story short, it means we have no food.

MARTHA LEVINSON (chuckle)
Oh! Funny clothes and no food. It should be quite an evening.

CORA
Thank you, Mother.

--
[34:13, INT. GREAT HALL - EVENING]
[Mr Carson and Mrs Hughes whisper together as the family enters.]

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 LEVINSON
No, Cora, please, come on. They’ve come for a party, we’re going to give them a party. Carson.

MR CARSON
Mm?

MARTHA LEVINSON
Clear the table, you’re going to go down to the larders, you bring up bread, fruit, cheese, chicken, ham, whatever’s edible.

[Carson, Mrs Hughes, Violet, Mary, and Robert reel from the break with tradition.]

MARTHA LEVINSON
We’re going to have an indoor picnic. They’re going to eat whatever they want, wherever they want, all over the house.

[Carson stares at Martha in shock.]

MR CARSON
Are you quite sure, madam?

ROBERT
It’s not really how we do it.

MARTHA LEVINSON
How you used to do it.

ISOBEL
Oh, come on. It might be fun.

CORA (excited)
I agree. We’ll all pull together and it will be great fun.

MARTHA LEVINSON
Yes! Now, I know what we need. Does anyone here play the piano?

[Mrs Levinson exits enthusiastically.]

MARY (whisper)
Oh, Mama, this is so exactly not what we wanted the evening to be.

CORA (whisper)
If it’s the end of your undignified campaign, I won’t be sorry.

[Cora and the others exit, while Violet shift uncomfortably.]

MARY
We can’t just give up.

VIOLET
Certainly not. Oh, do you think I might have a drink?

[Violet turns her head and “realises” she just addressed Robert.]

VIOLET
Oh, I’m so sorry. I thought you were a waiter.

--
[35:14, INT. KITCHEN - EVENING]
[All of the servants pitch in to help out with the impromptu dinner plans. Mrs Patmore gives some instructions to Anna and Molesley.]

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.

MR 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.

MRS HUGHES
Alfred, go and check the meat larder. Bring anything back you think a human being could swallow.

[Alfred takes off and Carson enters.]

MR CARSON
Chop, chop, Mrs Hughes. We can rest later, but not yet.

MRS PATMORE
Mr Carson, would you just—?

MRS HUGHES
Mr Carson’s quite right. There’s not a minute to lose.

[Mrs Patmore purses her lips at Mrs Hughes’s insistence on secrecy. The other servants continue to fix the dinner.]

--
[35:53, INT. MEAT LARDER - EVENING]
[Reed peeks into the meat larder to find Alfred.]

REED
Psst. Do you want to know a secret? Those shirts that Thomas thinks you stole...I saw who took ‘em, 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.

[Reed smirks at him.]

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.

[Reed raises her eyebrows at him.]

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 ‘em all like the palm of her hand? She won’t help, you know.

ALFRED
Help with what?

REED
Never mind. Just kiss me again.

[Alfred steps forward and kisses her soundly. Daisy freezes and takes a step down towards the kitchen when she sees them.]

--
[36:48, INT. DINING ROOM - EVENING]
[The servants place more food on the dining room table while Martha leads the guests in.]

MARTHA LEVINSON
Now, all of you, find whatever it is you want to eat, and take it wherever you want to sit.

LADY MANVILLE
Anywhere?

MARTHA LEVINSON
Anywhere. All over the house. If any of you have ever wanted to explore Downton Abbey, this is your chance.

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.

[Robert tenses and exchanges a look with Carson, who looks mortified.]

ROBERT (graciously)
Thank you, Lady Manville.

ISOBEL
Cheer up. She won’t be here forever.

ROBERT
But how much damage will be done before she goes?

--
[37:17, INT. DRAWING ROOM - EVENING]
[Someone plays the piano and Martha leads the guests in a song.]

MARTHA LEVINSON & GUESTS
Let me call you sweetheart, I’m in love with you. Let me hear you whisper that you love me, too. Keep the love light glowing in your eyes so true.

[Martha is clearly enjoying herself, along with several of the guests, while Carson looks continually uncomfortable and perplexed. Martha sits down in the chair next to Violet, who appears to be waking from a nap. Violet looks over, a bit startled to find herself being serenaded personally by Martha.]

MARTHA LEVINSON
Let me call you sweetheart.

[The others stop singing and allow Martha to finish out a solo at the end of the song.]

MARTHA LEVINSON
I’m in love with you.

[Martha takes Violet’s hand and kisses it, while Violet shifts in her chair. Robert and Carson exchange another look.]

--
[38:11, INT. KITCHENS - EVENING]

MRS HUGHES
Is there anything for our supper?

MRS PATMORE
I’ve hidden a veal and egg pie.

[Mrs Hughes nods her head in relieved thanks.]

MRS PATMORE
Oh, I wish you’d let me talk to Mr Carson.

MRS HUGHES
I don’t want to be a sick in his eyes for the next two months. Or a dying one in the months to come after that.

[Mrs Hughes steps quickly to the doorway and covers her mouth as she starts crying.]

MRS PATMORE
Shh. I know it’ll be all right.

[Mrs Hughes recovers enough to speak.]

MRS HUGHES (voice breaking)
No, you don’t, but I appreciate the sentiment.

--
[38:44, INT. DINING ROOM - EVENING]
[Edith and Strallan stand close and speak in hushed voices.]

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?

[Strallan leans forward and whispers in Edith’s ear.]

STRALLAN
You have given me back my life.

EDITH
That’s more like it.

[Edith kisses his cheek.]

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 organized in a month. Shall we tell them tonight?

STRALLAN
No, no. I’ll come back in the morning.

[Edith nods and smiles happily.]

--
[39:26, INT. SERVANTS’ CORRIDOR - EVENING]
[Daisy encounters Alfred on her way down 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
Well, 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?

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 descends the stairs behind Daisy.]

MR 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?

MR CARSON
If you ask me, we are staring into the chaos of Gomorrah, but we have to give them more wine and you are going to help. What’s that?

[Carson points to the package in Alfred’s arms.]

ALFRED
I have to take it upstairs for His Lordship.

MR CARSON
Well, be quick about it.

[Carson takes the last couple steps down to the corridor and Daisy watches Alfred go up the stairs.]

--
[40:09, INT. DRAWING ROOM - EVENING]

MARTHA LEVINSON
But of course I’ll help you any way I can.

MARY
Oh, thank heaven.

[Mary and Violet smile in relief.]

VIOLET
Oh, it seems our family owes Downton’s survival to the Levinsons not once, but twice.

MARTHA LEVINSON
No. I’m so sorry, but you’ve misunderstood me. No, I cannot rescue Downton.

[Mary and Violet’s smiles fall.]

MARTHA LEVINSON
It’s a shame if it has to go, but I can’t.

MARY
But...why not?

MARTHA LEVINSON
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 LEVINSON
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, the world has changed. These houses were built for another age.

[Martha lets out heavy sigh at the thought of the upkeep.]

MARTHA LEVINSON
Are you quite sure you want to continue with the bother of it all?

MARY
Quite sure.

MARTHA LEVINSON
If I were you and I knew I was going to lose it, I should look on the sunny side.

[Mary looks down at her lap in her disappointment. Martha talks pointedly to Violet]

MARTHA LEVINSON
Both of our husbands tied the money up tight before they were taken.

VIOLET
Lord Grantham wasn’t taken. He died.

--
[41:25, INT. PRISON, EVENING]
[Bates sees a guard hand something to his cellmate as he’s being escorted back.]

--
[41:37, INT. SERVANTS’ HALL - EVENING]
[The maids sit at the table with various occupations.]

O’BRIEN
I suppose it’s scrap sandwich for the servants tonight.

ANNA
Mrs Patmore’s kept something by.

[Thomas enters.]

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’ve overlooked them in the first place.

[Reed smiles knowingly as she listens to the conversation.]

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. Stop warning me and go and lay out His Lordship’s pyjamas.

[Some house maids giggle. Alfred enters.]

ALFRED
What are you laughing at?

O’BRIEN
Seems those missing shirts went for a walk and now they’ve come home.

ALFRED
Really? Have they?

[Alfred tries to keep a straight face, and Reed smile at him and tries not to laugh.]

--
[42: 22, INT. PRISON, BATES’S CELL - NIGHT ]
[Craig turns to face Bates.]

CRAIG
You didn’t see nothing.

BATES
I agree.

[Bates turns back to his book.]

CRAIG
‘Cause if you did, I’ll cut you.

[Bates puts his book down and gets up to face Craig. He punches Craig in the stomach and wrestles him up against the wall, pinning him by the throat.]

BATES
Don’t ever threaten me.

CRAIG
I forgot I was sharing a cell with a murderer.

BATES
Don’t forget it again.

--
[43:05, INT. LIBRARY - NIGHT]
[Robert enters, weary from the trials of evening. He pours himself a nightcap. He turns in surprise as Martha speaks.]

MARTHA LEVINSON
This evening has made me homesick for America. It’s time to go.

ROBERT
I don’t suppose you want some whiskey to take to bed.

MARTHA LEVINSON
Oh, but I’d love one. No water.

[Robert pours a glass and hands it to her.]

MARTHA LEVINSON
Thank you.

[Robert sips his drink.]

MARTHA LEVINSON
I’m sorry I can’t help you keep Downton, Robert.

[Robert pauses at her remark and sits down.]

MARTHA LEVINSON
That’s what Mary wanted.

ROBERT
Ah. I thought there was something.

MARTHA LEVINSON
You know, the way to deal with the world today is not to ignore it. If you do, you’ll just get hurt.

ROBERT
Sometimes I feel like a creature in the wilds whose natural habitat is gradually being destroyed.

MARTHA LEVINSON
Some animals adapt to new surroundings. It seems a better choice than extinction.

ROBERT
I don’t think it is a choice. I think it’s what’s in you.

MARTHA LEVINSON
Well, let’s hope that what’s in you will carry you through these times to a safer shore.

[Martha raises her glass to toast. Robert raises his glass in a toast, but Martha nods her head forward, waiting for him to clink her glass. He doesn’t so she clinks his glass. He’s slightly surprise. She rolls her eyes and they drink.]

--
[44:31, INT. MRS HUGHES’S SITTING ROOM - NIGHT]
[Mrs Hughes stares gloomily into the fireplace.]

MR CARSON
Is everything all right?

[Mrs Hughes turns around in surprise.]

MRS HUGHES
Certainly.

[Carson looks at her with concern.]

MRS HUGHES
Was there something you wanted?

MR CARSON
The kitchen managed well tonight in difficult circumstances. His Lordship sends his thanks.

MRS HUGHES
Was the evening a success?

MR CARSON
The odd thing is, I think it was. Though for me, everything sprawled on the floor, eating like beaters at a break in the shooting, that’s not a party. It’s a works outing. Where’s the style, Mrs Hughes? Where’s the show?

MRS HUGHES
Perhaps people are tired of...style and show.

MR CARSON
Well, in my opinion, to misquote Dr Johnson, “if you’re tired of style, you are tired of life.”

MRS HUGHES (chuckles)
Goodnight, Mr Carson.

[Carson pauses at the door and turns back around.]

MR CARSON
You’d say if anything was wrong, wouldn’t you? I know I’ve been a bit crabby, but I am on your side.

MRS HUGHES
Thank you for that.

[Mrs Hughes smiles at Carson’s kindness. He looks at her with the same concern for the moment, then exits. Mrs Hughes looks around her sitting room, then follows him out, turning off the light. She meets Mrs Patmore in the corridor.]

MRS HUGHES
You’ve just missed an admirer. Mr Carson says you did well tonight.

MRS PATMORE
Humph. Did you tell him?

MRS HUGHES
No.

[They walk down the corridor together.]

MRS HUGHES
And what is there to tell? One day, I will die. And so will he, and you, and every one of us under this roof. (sigh) You must put these things in proportion, Mrs Patmore, and I think I can do that now.

[Mrs Patmore nods and puts a hand on Mrs Hughes’s arm before going off to bed. Mrs Hughes turns off the lights in the corridor.]



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