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Downton Abbey: Episode 3x04
beware of dog
lika_mikala wrote in scriptline

<<< EPISODE 3x03EPISODE 3x05 >>>


[OPENING CREDITS]

--
ACT ONE
[00:30, INT. SERVANTS’ HALL – DAY]
[Mr Carson sorts the post and hands it out.]

THOMAS BARROW
Well, she [?]

MRS HUGHES
Oh, that’s a shame.

[Anna waits, but doesn’t receive any letters.]

ANNA BATES
Nothing for me, Mr Carson?

MR CARSON
No, Anna. Once again, I’m afraid there’s nothing for you.

[Carson and Mrs Hughes both look sad for Anna.]

--
[01:05, INT. PRISON – DAY]
[The prisoners walk around the catwalks. Bates steps up to the guard, but the guard looks at the post he has left and shakes his head. Bates pauses in disappointment. A second guard gets impatient and pulls him forward.]

TURNER
Come on.

[Bates walks sadly back to his cell.]

--
[01:32, INT. MARY AND MATTHEW’S BEDROOM – DAY]
[Anna helps Mary finish dressing while Matthew sits on the bed already dressed.]

MATTHEW CRAWLEY
I’ve got enough on my plate without going into every detail.

LADY MARY CRAWLEY
You’re co-owner of this estate. You have to get into the detail.

MATTHEW (exhale)
Not to challenge Robert, surely?

MARY
You won’t have any reason to, but you have to pull your weight. That’s all I’m saying.

MATTHEW (to Anna)
How is Bates?

ANNA
I’ve not seen him for a while, sir.

MATTHEW
Oh? Why is that?

ANNA
I’m not quite sure, sir. They’ve stopped all his visitors.

MATTHEW
Has he given you a reason?

ANNA
Well, he’s not written in quite some time now.

MATTHEW
And you don’t know why?

[the conversation is becoming increasingly difficult for Anna.]

ANNA
No, but I’m certain I will before too long.

[Anna finishes tying Mary’s shoes.]

--
[02:10, INT. MRS HUGHES’S SITTING ROOM – DAY]
[Someone knocks and Isobel enters. Mrs Hughes gets up from her writing desk with a pleasant tone of surprise.]

MRS HUGHES
Mrs Crawley, how may I help?

ISOBEL CRAWLEY
I’m sorry to push in on you again, but I didn’t have time to come down before dinner and now we’re on our way home.

MRS HUGHES
Oh.

[Mrs Hughes nods. Isobel hesitates for a moment, then closes the door.]

ISOBEL
Mrs Hughes, you know I went to see Ethel Parks.

MRS HUGHES
I do, ma’am.

ISOBEL
Well, she wouldn’t speak to me then, but she has since sought me out and asked me to deliver this letter into your hands.

[Isobel hands her the letter.]

MRS HUGHES
When we last spoke of her, you seemed to think she’d…fallen into bad way.

ISOBEL
I’m afraid that’s the case. She’s been working as a prostitute.

[Mrs Hughes is taken aback. She begins to recover after a moment.]

MRS HUGHES
My, my. That’s not a word you hear in this house every day.

ISOBEL
No. But I think it also serves to show the measure of her misery. Ethel has been driven into this, of that I have no doubt. If only she would allow me to help her. But she won’t. If this letter can give you any clue as to how I might be helpful, please let me know.

MRS HUGHES
I will, ma’am.

[Isobel turns to the door.]

MRS HUGHES
Your sentiments do you credit, but I suspect she will be too ashamed to face how far she’s fallen.

ISOBEL
Goodnight.

MRS HUGHES
Goodnight, Mrs Crawley.

ISOBEL

--
[03:37, INT. DINING ROOM – EVENING]
[Matthew and Robert have drinks together. Carson brings them cigars.]

MR CARSON
Sir, am I to answer to you both?

MATTHEW
Of course not. What Lord Grantham means is that I have made an investment in the estate. That is all. Otherwise, nothing has changed.

MR CARSON
Very good. And can we bring the staff back up to snuff?

[Matthew takes in a breath, about to speak.]

ROBERT, EARL OF GRANTHAM
I believe we can.

[Matthew regards Robert, dropping whatever he was about to say, but clearly not in agreement.]

MR CARSON
Mrs Hughes is short of a housemaid, Mrs Patmore wants a kitchen maid, and I need a new footman.

MATTHEW
Do you really? I sometimes feel the world is rather different than it was before the war.

MR CARSON
I see.

[Robert regards Matthew now.]

MR CARSON
I would like to return to my duties as a butler, sir. But if you prefer that I continue to do the work of a second footman in addition—

ROBERT
Mr Crawley does not mean that at all, do you?

MATTHEW
Certainly not.

MR CARSON
Well that is good news.

ROBERT
I suppose it’s too late to get into shape before the dinner for the archbishop of York, but it’ll be the last time you’ll have to fudge it.

MR CARSON
I will do my best for the archbishop with an added spring in my step.

[Carson exits.]

--
[04:38, INT. DINING ROOM – MORNING]
[Robert, Matthew, and Edith have breakfast together.]

MATTHEW
Why don’t you have breakfast in bed?

LADY EDITH CRAWLEY
Because I’m not married.

MATTHEW
Yes, but...now that

EDITH
Now that both of the others are, what difference would it make?

MATTHEW
You know what I mean.

EDITH
I prefer to be up and about.

[Robert reads the paper aloud.]

ROBERT
Tennessee is going to ratify the nineteenth amendment.

MATTHEW
Meaning?

ROBERT
All American women will have the vote.

EDITH
Which is more than they do here.

ROBERT
Well, they almost do.

EDITH
I don’t have the vote. I’m not over thirty, and I’m not a householder. It’s ridiculous.

MATTHEW
You should write to the Times.

EDITH
Maybe I will.

[Robert doesn’t seem pleased by the suggestion.]

ROBERT
Ask your mother if she needs any help with tonight’s dinner. There’s nothing so toffee nosed as a prince of the church, so make sure you put him next to your grandmother. She’ll know how to handle him.

[Edith rises from the table.]

--
[05:19, INT. SERVANTS’ CORRIDOR/HALL – DAY]
[Anna descends the stairs and hangs up her apron, struggling to hold down her emotions. She enters the hall where the servants are dining.]

MR CARSON
Oh, Anna, you’ll be happy to hear that as soon as we take on a new housemaid, you’ll be a lady’s maid to Lady Mary at last.

[Anna sits down at the table, still fidgety and distracted.]

ANNA
That’s nice, Mr Carson. Thank you.

MRS HUGHES
Thought you’d be more pleased.

ANNA
No, I am pleased, really. I’m... I’ve just got a lot on my mind. Sorry.

MR CARSON
I’ve also advertised for a new footman.

SARAH O’BRIEN
He’ll be second footman, won’t he?

MR CARSON
As to that, I will make no pronouncements at this stage.

THOMAS
Try to find a man with something about him, Mr Carson. I don’t like to feel the house isn’t being properly represented.

ALFRED NUGENT
Is that aimed at me?

THOMAS
If the cap fits, wear it.

MR CARSON (to Mrs Hughes)
You’re very quiet.

MRS HUGHES
You’ll never guess what.

[Mrs Hughes keeps her voice low.]

MRS HUGHES
I’ve had a letter from Ethel. She wants to meet me, but she won’t come here.

MR CARSON
What for? And why not?

MRS HUGHES
I think she’d be uncomfortable.

MR CARSON
Why, particularly?

MRS HUGHES
Never you mind. I think I’ll ask Mrs Crawley if we can meet there. Heaven knows what Ethel wants of us this time.

--
[06:40, INT. NURSERY – DAY]

MATTHEW
Cora said you were looking for me.

MARY
Yes. I’ve stolen the nursery as a sitting room for us. And this is the paper.

[Mary points out some materials she has laid out for redecorating.]

MARY
Unless you hate it.

MATTHEW
No.

[Matthew looks at the paper and back at Mary, expectantly.]

MATTHEW
Is that all?

MARY
Why? What did you think it was?

[Matthew rounds the table to approach Mary as she looks over the materials.]

MATTHEW
Cora said you’d been to the doctor earlier. I wondered why.

MARY
To find something for my hay fever.

[Matthew nods.]

MATTHEW
And what will we use for a day nursery...should the need arise?

[Matthew leans in behind Mary with a playful smile on his face.]

MARY
I think we can worry about that a little further down the line.

[Matthew’s smile fades and he nods.]

--
[07:20, INT. DOWER HOUSE – DAY]
[Violet looks at a small bottle in her hands.]

VIOLET, DOWAGER COUNTESS OF GRANTHAM
Oh, thank you, my dear. That’s very kind. How much do I owe you?

EDITH
A guinea.

[Violet looks sharply at Edith in surprise.]

VIOLET
A guinea? For a bottle of scent? Did he have a mask and a gun?

[Edith exhales in an attempt to chuckle.]

VIOLET
How are you?

EDITH
All right...I suppose.

VIOLET
Yes, I worry about you. That sort of thing is so horrid.

EDITH
Being jilted at the altar? Yes, it is horrid. Multiplied by about ten thousand million.

[Edith sits.]

VIOLET
Oh. You must keep busy.

EDITH
What with? There’s nothing to do at the house. Except when we entertain.

VIOLET
Well, there must be something you can put your mind to.

EDITH
Like what? Gardening?

VIOLET
Well, no, you can’t be as desperate as that.

[Edith sighs.]

EDITH
Then what?

VIOLET
Edith, dear, you’re a woman with a brain and reasonable ability. Stop whining and find something to do.

--
[08:19, INT. SERVANTS’ HALL – DAY]
[Anna puts sewing supplies in a small box. She sniffles. Mrs Hughes enters.]

MRS HUGHES
I’m going out, Anna. I’ve told Mrs Patmore, and I think everything’s under control for tonight, but...

[Mrs Hughes sees Anna’s expression.]

MRS HUGHES
What’s the matter?

ANNA
Nothing.

[Mrs Hughes gives Anna a dubious look and waits.]

ANNA
Except...well, I ha— I haven’t had a letter from Mr Bates in weeks.

[Mrs Hughes nods in understanding.]

ANNA
I worry...I worry that he’s being gallant and...trying to set me free. He wants me to make a new life without him.

MRS HUGHES
I doubt it very much.

ANNA
Then why would he be silent like this? And stop me visiting?

MRS HUGHES
Obviously, I don’t know why, but I do know there’ll be a good reason.

ANNA
Do you really think so?

MRS HUGHES
I’d swear to it.

[Anna nods with a relieved smile and Mrs Hughes puts a comforting hand on her shoulder.]

--
ACT TWO
[09:25, INT. PRISON, WORK ROOM – DAY]
[The prisoners sew cloth sacks. Dent sits down across the table behind Bates and whispers to him.]

DENT
They know you tricked ‘em.

JOHN BATES
Who knows what?

DENT
Mr Durrant’s a dealer on the outside.

[Bates keeps quiet while Durrant walks past.]

BATES
What’s that to do with me?

DENT
He’s working for your cellmate. All I know is that you punched Craig, so they set you up. But you hid the stuff they planted and turned the tables on them and now they’re angry.

BATES
And what can they do?

DENT
Tell you what they can start by doing.

[Dent surreptitiously moves to the bench across from Bates.]

DENT
Durrant’s reported you to the governor for violence. You’re officially a dangerous prisoner.

BATES
The governor won’t fall for that.

DENT
No? So when was the last time your wife came to visit, eh? How many letters you received lately?

[Bates freezes and he smiles with a chuckle.]

BATES
Thank God. What a relief. I thought she’d given up on me.

[Dent shakes his head.]

DENT
Don’t thank God until you know what else they’ve got in store for you.

TURNER
Stop talking!

[Dent moves away. Bates ponders Dent’s words and smiles again.]

--
[10:48, INT. MR CARSON’S OFFICE – DAY]

MR CARSON
Go on, then.

[Alfred points to the row of spoons laid out before him.]

ALFRED
Tea spoon, egg spoon...melon spoon, grapefruit spoon, jam spoon...

[Alfred points his finger over the last spoon, thinking hard. Carson waits.]

MR CARSON
Shall I tell you?

[Thomas steps in watching.]

ALFRED
All right.

[Carson picks up the spoon.]

MR CARSON
A bullion spoon.

ALFRED
But I thought soup spoons were the same as table spoons.

MR CARSON
Ah, so they are, but not for bullion, which is drunk from a smaller dish. Off you go, now. I must get on.

[Thomas glares passively at Alfred as Alfred exits.]

THOMAS
You’re taking a lot of trouble with young Alfred, Mr Carson. I feel quite jealous.

MR CARSON
I don’t know why. He asked for help. You never did.

[Thomas quirks his head at the comment, then pulls his mouth in to a tight smile before leaving.]

--
[11:43, CRAWLEY HOUSE – DAY]

ETHEL PARKS
It’s very hard to begin.

MRS HUGHES
Well, find a way, Ethel. We all have lives to lead.

[Ethel takes a breath.]

ETHEL
Could you write to the Bryants? To say I want them to have Charlie?

MRS HUGHES
We’ve already been down this path...to no avail.

ETHEL
I know. And I know I said a mother’s love was worth more than all they had to give, but I said it for me. Not for him.

ISOBEL
My dear, you mustn’t do anything until you’re absolutely sure.

ETHEL
Mrs Hughes said we all have lives to lead, but that isn’t true. I’ve got no life.

[Mrs Hughes purses her lips and swallows hard.]

ETHEL
I exist, but barely.

ISOBEL
Ethel, we all know the route you’ve taken.

ETHEL
It’s good of you to have me here.

ISOBEL
All I mean is that I work with others like you to rebuild their lives. Can’t we work together to find a way for you to keep your son?

ETHEL
With his grandparents, Charlie can build a life that is whatever he wishes it to be. With all respect, ma’am, you and I working together could never offer him that.

[Mrs Hughes looks at Isobel and then to Ethel.]

MRS HUGHES
You want me to write to them again.

ISOBEL
But leave it vague. Say that Ethel would like them to keep in contact with their grandson.

[Mrs Hughes nods.]

ETHEL (determined)
I won’t change my mind.

MRS HUGHES
Nevertheless, that’s what I’ll do. Then there’ll be no disappointment whatever comes.

[Ethel nods.]

MRS HUGHES
Now, if you’ll forgive me, we’ve a big dinner tonight. Good day, ma’am. Ethel.

[Mrs Hughes exits.]

--
[13:07, INT. CRAWLEY HOUSE, FRONT HALL – DAY]
[Mrs Hughes walk to the front had with Mrs Bird.]

MRS HUGHES
Ethel has had a very hard time of it since she left us, Mrs Bird. She’s had great difficulty making ends meet.

MRS BIRD
We know how she solved that problem.

[Isobel and Ethel join them in the hallway and Mrs Bird opens the door for Mrs Hughes.]

MRS BIRD
Give my regards to Mr Molesley.

[Mrs Hughes exits.]

ISOBEL
Till we meet again, my dear.

[Ethel turns to the coat rack.]

ETEHL
I— I had a coat.

MRS BIRD
It’s there.

[Mrs Bird waves at the coat rack, but doesn’t move. Ethel begins stepping forward.]

ISOBEL
You will help Miss Parks, please Mrs Bird.

[Mrs Bird takes the coat off the rack and holds it out toward Ethel, not moving, so that Ethel has to step forward to take it. Ethel opens the door for herself and exits awkwardly with a small smile to Isobel. Isobel waits for Mrs Bird to close the door and turn around.]

ISOBEL
Some manners wouldn’t go amiss.

[Isobel turns to leave.]

MRS BIRD
I do not believe it is part of my duties to wait on the likes of her. I’m sorry, but that’s what I feel.

[Isobel stares as Mrs Bird exits.]

--
[14:03, INT. DRAWING ROOM – EVENING]

ARCHBISHOP OF YORK
I don’t want to sound anti-Catholic.

ROBERT
Why not? I am.

ARCHBISHOP OF YORK (chuckle)
Not in any real way, I’m sure.

ROBERT
I don’t want thumbscrews or the rack, but there always seems to be something of Johnny Foreigner about the Catholics.

--
[14:16, EXT. DOWNTON VILLAGE – EVENING]
[A policeman bicycles through the rain. A figure watches the policeman pass and then runs up the street.]

--
[14:36, INT. TRAIN STATION/DOWNTON FRONT HALL – EVENING]

SYBIL BRANSON (on telephone)
I’ve no time to talk, but tell them I’m all right. I’m out of the flat. They haven’t stopped me...

[Sybil stops talking when she sees someone suspicious.]

EDITH (on telephone)
Who hasn’t stopped you? Sybil? Hello?

[Sybil hangs up. Edith hangs up the phone, very confused.]

--
[14:56, EXT. WOODS – EVENING]
[The hiding figure dashes between trees in the dark, pouring rain.]

--
[15:04, INT. DRAWING ROOM – EVENING]
[Edith enters with hesitant footsteps.]

MARY
What’s the matter?

EDITH
I’ve just had the most peculiar conversation with Sybil.

[Cora and Mary wait with curious concern.]

EDITH
She kept on about being out of the flat and nobody had stopped her and...

CORA, COUNTESS OF GRANTHAM
What do you mean, “No one had stopped her”? Stopped her from doing what?

EDITH
That’s just it. I don’t know. She suddenly put down the telephone.

[Carson enters.]

MR CARSON
Dinner is served, my lady.

--
[15:30, INT. DINING ROOM – EVENING]

VIOLET
Y—Tell me, Dr Lang, do you find that the war has driven the people back into the churches or further away than ever?

[Someone pounds on the front door.]

ARCHBISHOP OF YORK
“Behold, I stand at the door and knock.”

MATTHEW
Someone sounds very angry.

CORA
Or very wet.

MARY
Or both.

[Carson turns to Alfred. Alfred nods and leaves to answer the door.]

--
[15:50, INT. FRONT HALL – EVENING]
[Alfred opens the door to find Tom standing there soaking wet.]

ALFRED
Do you have any luggage, sir?

TOM BRANSON
I barely have the clothes I stand in.

[Tom walks in past Alfred. He takes off his hat and looks back as Alfred closes the door.]

TOM
Where are they?

ALFRED
They’re in the—

[Mary appears.]

MARY
Tom! What’s happened? Where’s Sybil?

TOM
I had to get away and leave her to follow, but I made all the arrangements in case. She’ll be on her way by now.

MARY
By why are you here? And why must she follow you alone?

[Tom hesitates and Mary becomes concerned.]

TOM
I can explain.

MARY
There’s a dinner going on, but I’ll go on and tell them that you’re here.

[Tom grabs Mary’s arm to stop her.]

TOM
No. Don’t.

[Mary looks down at her arm and back at Tom with real concern.]

TOM
No one must know. I’ll tell you it all when they’re gone.

[Matthew enters.]

MATTHEW
What’s the matter?

[Matthew looks at Tom in surprise.]

MATTHEW
Tom!

MARY
Go upstairs and find some dry clothes of Matthew’s. I’ll come for you when the coast is clear.

[Matthew leads Tom upstairs and Mary turns to Alfred.]

MARY
Would you please ask Mrs Hughes to sort some food out for him?

ALFRED
Yes, milady.

--
[16:47, INT. DINING ROOM – EVENING]
[Mary and Matthew return to dinner.]

MARY
An idiotic man delivering a village pamphlet, can you imagine? In this weather and this time of night?

[Robert chuckles, but Cora looks more suspicious. Mary leans over and whispers to Robert, surprising him with the truth.]

MARY
It’s Branson. He wouldn’t come in.

ROBERT
Why not?

[Mary shakes her head.]

ROBERT
Is Sybil with him?

[Mary doesn’t respond.]

ROBERT
What’s going on?

MARY
She’s not here, but apparently she’s coming soon. He’ll explain what’s happened when our guest is gone.

VIOLET
Something to look forward to.

ROBERT
Other men have normal families with sons-in-law who farm or preach or serve their country in the army.

VIOLET
Maybe they do, but no family is ever what it seems from the outside.

--
[17:23, INT. SERVANTS’ HALL – EVENING]

DAISY MASON
Do you think he’s on the run from the police?

ANNA
Don’t be so daft.

THOMAS
Well, he hadn’t got the money for a taxicab from the station.

MRS HUGHES
Maybe he fancied the walk.

O’BRIEN
Yes, that’s it. I should think he loves a night walk in the pouring rain without a coat.

DAISY
What room is he in?

MR CARSON
I’ll take that, thank you, Daisy.

[The servants stand and Carson takes the food tray from Daisy. Carson gives the gossipers a look over his shoulder before he exits.]

THOMAS
So, there’ll be no more gossip on that subject tonight.

--
[17:49, INT. LIBRARY – NIGHT]
[Tom is on the spot, slouching miserably in his chair, as the family gathers to listen to his explanation.]

TOM
They turned everyone out of the castle. Lord and Lady [?], their sons, and all the servants. And then they set fire to it.

[The family is stunned.]

EDITH
What a tragedy.

VIOLET
Well, [?] yes and no. That house was hideous. But of course, that is no excuse.

ROBERT
No, it is not.

MATTHEW
But what was your involvement?

TOM
Who says I was involved?

MARY
Well, you seem to know a lot about it if you weren’t.

CORA
And why are you running away? And what was Sybil’s part in all this?

TOM
She’s not involved. Not at all. But they think I was part of it. They think I was one of the instigators.

MARY
So the police are looking for you?

TOM
That’s why I couldn’t go home. I knew if they took me, I wouldn’t get a fair hearing.

CORA
You mean, you gave them Sybil while you saved yourself.

TOM
I don’t think they’ll hold her, but if they do, then I’m prepared to go back and face the consequences.

ROBERT
You damn well better be.

CORA
You must see the home secretary.

ROBERT
And tell him what? The police say he was there, he says he wasn’t.

TOM
I didn’t say I wasn’t there.

[The family looks at Tom with wide eyes. Robert takes a couple steps forward.]

ROBERT
Why were you? For the fun of seeing private property destroyed?

TOM
Those places are different for me. I don’t look at them and see charm and gracious living. I see something horrible.

VIOLET
J—with [?] Castle, I rather agree.

ROBERT
Mamma, you are not helping.

TOM
But when I saw them turned out, standing there with their children...all of them in tears watching their home burn...I was sorry. I admit it. I don’t want their type to govern Ireland, I want a free state, but...I was sorry.

EDITH
Never mind that. What’s happened to Sybil?

TOM
We agreed that I should leave at once, and that she’d close the flat and follow. But I got the last boat, so she won’t be here before tomorrow.

ROBERT
Good God Almighty! You abandoned a pregnant woman in a land that’s not her own!

[Tom begins crying with shame.]

ROBERT
You leave her to shift for herself while you run for it?!

CORA
You have to go to London, Robert. For Sybil’s sake if not for his. You have to see Mr Short.

[Robert is red-face with rage.]

ROBERT
I don’t have to do anything!

TOM
I never meant for—

ROBERT
Go to bed!

[Robert turns away and lowers his voice to a calmer level.]

ROBERT
I’ll give you my answer in the morning.

[Tom gets up shakily and leaves.]

--
[20:03, INT. GUEST BEDROOM – NIGHT]
[Tom enters the room, walks to the bed, and cries as he sits down.]

--
[20:27, INT. SERVANTS’ HALL – NIGHT]

MR MOLESLEY
Of course, she married beneath her.

MRS PATMORE
And who are you, then? A Hapsburg archduke?

O’BRIEN
What if he has to go to prison? What then?

MR CARSON
That’s quite enough of that, thank you Miss O’Brien. Bedtime, I think.

[The servants rise from the table.]

--
[20:45, INT. MRS HUGHES’S SITTING ROOM – NIGHT]
[Mrs Hughes finishes her tea as Carson knocks and enters with a sheet of paper.]

MR CARSON
I’m going up.

MRS HUGHES
Good night.

MR CARSON
I’ll try to keep them quiet, but to be honest, I knew it would happen. I knew he would bring shame on this house. It sounds as if he’s on the run from the police, and for all we know, Lady Sybil is languishing in a dungeon somewhere in Dublin.

MRS HUGHES (sigh)
Let’s wait. And see what the morning brings.

[Mrs Hughes picks up a metal contraption with a cord.]

MR CARSON
What in God’s name is it?

MRS HUGHES
An electric toaster. I’ve given it to myself as a treat. If it’s any good, I’m going to suggest getting one for the upstairs breakfasts.

MR CARSON
Is it not enough that we’re sheltering a dangerous revolutionary, Mrs Hughes? Could you not have spared me that?

[Mrs Hughes looks at her toaster, not understanding his objection. Carson leaves and she inspects the toaster mechanics.]

--
ACT THREE
[21:34, INT. SERVANTS’ CORRIDOR/HALL – DAY]
[A stranger walks down the corridor and knocks on the open door. The maids look up and stare at the handsome stranger.]

JIMMY KENT
Hello.

[One of the maids gasps in excitement.]

ANNA
Can we help you?

JIMMY KENT
I’m here to see Mr Carson.

[Thomas enters, sees the handsome man, and looks at gawking women.]

THOMAS
Who’s this?

JIMMY KENT
Jimmy Kent, at your service.

[Thomas smiles at Jimmy.]

THOMAS
I’m Mr Barrow, His Lordship’s valet.

JIMMY KENT
And I am hoping to be His Lordship’s footman.

[Alfred shifts in his chair.]

JIMMY KENT
Which is why I’m looking for Mr Carson.

[Thomas looks over the handsome possible addition, and Mrs Hughes enters.]

MRS HUGHES
What’s the matter? Have you all been turned into pillars of salt?

[Mrs Hughes catches sight of the handsome newcomer.]

MRS HUGHES
May I help?

JIMMY KENT
I’ve come for the interview.

MRS HUGHES
I see. Well, if you’ll, er, wait there.

[Mrs Hughes turns to look at the staring maids and exits.]

--
[22:23, INT. LIBRARY – DAY]
[The family is gathered. Robert speaks just under a shout.]

ROBERT
I want to make it quite clear that whatever I do, I am doing it for Sybil, and not for you. I find your actions despicable, whatever your beliefs. You speak of Ireland’s suffering and I do not contradict you, but Ireland cannot prosper until this savagery is put away.

MARY
That’s all very well, Papa, but you must keep Tom out of prison.

[Robert exhales unhappily.]

ROBERT
I’ll go to London today. I’ll telephone Murray and ask him to arrange an interview. I won’t come home until I’ve seen Short.

CORA
Thank you. I know it’s right.

ROBERT
It’s right for him.

CORA
And for Sybil, and for this family.

ROBERT
I suppose so. Let me know if Sybil gets in touch.

TOM
She won’t. She won’t want to give them anything to trace her by.

ROBERT
What a harsh world you live in.

TOM
We all live in a harsh world. But at least I know I do.

[Robert draws his gaze up thoughtfully at these words and then exits.]

--
[23:15, INT. MR CARSON’S OFFICE – DAY]
[Carson looks over Jimmy Kent’s reference.]

MR CARSON
I see you’ve been working for the Dowager Lady Anstruther.

JIMMY KENT
Yes. But she’s closed up the house and gone to live in France. She begged me to go with her, but I didn’t fancy it. I didn’t think I’d like the food.

MR CARSON
I see. She begged you, did she?

[Jimmy can see his comment didn’t go over so well.]

JIMMY KENT
You what women can be like.

MR CARSON
Not, I suspect, as well as you.

[Jimmy seems nervous at the cool manner.]

--
[23:39, EXT. CRAWLEY HOUSE – DAY]
[Ethel walks her little boy up to the house, she stops just outside the gate.]

ETHEL
Hey, Charlie, let’s put your hat in. Make you look nice and smart.

[Ethel puts his hat on.]

ETHEL
Be a good boy for Mummy, yeah?

[She wipes a smudge from his face and kisses his little hand.]

ETHEL
Come on.

[Ethel takes his hand and they walk to the house.]

--
[24:01, INT. CRAWLEY HOUSE – DAY]
[The Bryants sit with Ethel, Isobel, and Mrs Hughes. Charlie sits on Ethel’s lap.]

MRS BRYANT
Thank you for letting us come.

MR BRYANT
And why have we come? To hear more guff about a mother’s love?

ISOBEL
Mr Bryant, that’s not fair.

MR BRYANT
Isn’t it? We know what you are now, Ethel. We know how far you’ve fallen. I didn’t want to let Mrs Bryant in the same room as you, but she insisted.

MRS BRYANT
What Mr Bryant means—

ETHEL
How could you know about me?

MR BRYANT
Do you think it’s so difficult to find out about a woman like you? Ha. I could give you a list of your clients.

[This does not sit well with Isobel or Mrs Hughes.]

ETHEL
You mean, you’ve had me followed?

MR BRYANT
What? Didn’t you think we’d keep a check on our grandson?

MRS BRYANT
We’re not judging you.

MR BRYANT
I’m judging her. I judge her and I find her wanting.

MRS BRYANT
Ethel, we’ve decided to offer you some money, to make things easier so that you won’t have to...

MR BRYANT
Unless you don’t want to give it up.

[Mrs Bryant looks at her husband’s distasteful comment.]

ISOBEL
Well, that’s very generous, isn’t it, Ethel?

[Ethel looks down at Charlie and kisses his forehead.]

ISOBEL
It throws a different light on things.

[Ethel glares up at Mr Bryant. Isobel hears trays rattling outside the room.]

ISOBEL
Oh, there’s Mrs Bird with the tea.

[Isobel gets up.]

ISOBEL
Would you like to help me, Ethel?

[Ethel stands up, putting Charlie on his feet, and Mr Bryant crouches in front of him with a teddy bear.]

MR BRYANT
Charlie, look what I’ve got for you.

CHARLIE
A teddy.

[Mrs Bryant laughs happily.]

MR BRYANT
That’s right.

[Ethel looks at Charlie sadly as she exits with Isobel.]

MR BRYANT
Isn’t it nice [?]

--
[25:26, INT. CRAWLEY HOUSE, CORRIDOR – DAY]
[Ethel and Isobel step into the hall just as Mrs Bird is approaching with a tea tray.]

MRS BIRD
Should I not take it in, then?

ETHEL
I can do that.

[Ethel reaches for the tray, but Mrs Bird pulls it out of her reach.]

MRS BIRD
Sure I don’t need your help.

[Ethel pauses awkwardly.]

ISOBEL
Thank you, Mrs Bird.

[Mrs Bird puts the tray down on a nearby table and exits with a backward look at Ethel. Ethel picks up the tray.]

ISOBEL
Ethel... you don’t have to do this. You have a choice.

ETHEL
You mean I should take money from that man? It won’t be much. Enough to keep us from starving, but not much more.

ISOBEL
But even if Charlie doesn’t go to a famous school or university, you’ll be there to give him love.

[Ethel stares into space.]

ETHEL
Yeah, I suppose Mr Crawley went to a famous school and university.

[Ethel looks Isobel in the eye and Isobel can’t refute it. Ethel nods.]

ETHEL
I see. Thank you, Mrs Crawley.

[Charlie and Mr Bryant laugh in the room. Isobel enters the room.]

--
[26:21, INT. PRISON, CAFETERIA – DAY]
[Bates sits down next to Dent.]

DENT
When do you want it to happen?

BATES
Tomorrow night.

DENT
Not Mr Durrant?

BATES
No. Any other warden but him. Tell Turner about it; he’s straight. But don’t tell until the afternoon.

[Dent nods.]

BATES
Why are you doing this? Why are you helping me?

DENT
I can’t stand Craig.

[Bates looks down the table at Craig.]

--
[26:58, INT. CRAWLEY HOUSE – DAY]
[Ethel serves Mrs Bryant tea.]

MRS BRYANT
You do that very neatly, my dear.

ETHEL
I was trained [?] by Mrs Hughes.

MR BRYANT
She was a good worker, even though things haven’t gone so well lately.

[Ethel and Isobel continue to serve the tea.]

MRS BRYANT
I hope that you can accept our offer, Ethel, and that we can be friends, because we both wish you well, don’t we, dear?

[Mrs Bryant turns to her husband who is sitting with Charlie on his lap.]

MR BRYANT
I don’t wish you ill, I’ll say that.

ETHEL
I can’t accept your offer.

[Mr Bryant is surprised. Ethel puts down the tea tray and faces him.]

ETHEL
And we won’t be friends.

MRS BRYANT
What? Not even for Charlie’s sake?

ETHEL
I think you love my son, Mr Bryant. I don’t think you’re a nice man, or a kind one, but I believe you love my boy.

[Mrs Hughes looks away.]

ETHEL
So you’ll be pleased by what I’ve come here to say.

--
[27:55, INT. LIBRARY – DAY]
[Mary enters to find Matthew looking over papers at the desk.]

MARY
Any news while I was out?

[Mary rings the bell.]

MATTHEW
No. Perhaps the home secretary won’t see him.

MARY
Papa will pull some strings until he does.

[Mary approaches the desk and sees the papers.]

MARY
A-ha, you started on the Aegean task. How are you getting on?

MATTHEW
Badly. I’m beginning to get a sense of how it all works.

MARY
In a way, it’s probably best you tackle it by yourself.

[Matthew smiles with a chuckle and Mary walks away from the desk. Carson enters.]

MARY
Ah, Carson. May we please have some tea?

MR CARSON
Of course, my lady.

[Carson begins to leave.]

MARY
Anna said you’re interviewing footmen today.

MR CARSON
That is correct.

MARY
Have you chosen the lucky winner?

MR CARSON
Not yet. There were two candidates when it came down to it. One was steady, but not much else, but the ladies downstairs want the other one.

[Mary nods with an understanding “oh” expression.]

MATTHEW
Why is that?

MR CARSON
I don’t know precisely, unless it’s because he’s more handsome.

[Mary smiles.]

MARY
Of course it’s because he’s more handsome. Oh, do pick him, Carson, and cheer us all up a bit. Alfred’s nice, but he does look like a puppy who’s been rescued from a puddle.

[Matthew chuckles.]

MR CARSON
Well, this new one seems very sure of himself.

MATTHEW
You can manage that, can’t you?

MR CARSON
I suppose I could, sir.

MARY
Well, it’s settled, then. Tell the maids they can buy their valentines.

MR CARSON
So be it, my lady.

[Carson walks toward the door.]

MR CARSON
But Alfred is very good, you know. He’s very willing, even if he is Miss O’Brien’s nephew.

[Carson exits and Mary and Matthew both laugh quietly.]

MATTHEW
Clearly nothing worse could be said of any man.

[Mary laughs.]

--
[29:30, EXT. CRAWLEY HOUSE – DAY]
[Isobel, Mrs Hughes, and Ethel follow to the Bryants’ waiting car, Mr and Mrs Bryant each hold one of Charlie’s hands. Mrs Bryant turns to Ethel.]

MRS BRYANT
You’ll want to say goodbye.

[Ethel looks at Charlie and crouches down and gives him his new teddy bear. Ethel smiles at Charlie and kisses his hand.]

ETHEL
I give you my blessings for your whole life long, my darling boy.

CHARLIE
Yes.

ETHEL
You won’t remember that or me.

[Charlie reaches out to Ethel.]

ETHEL
But I’ll stay with you all the same.

[Ethel kisses Charlie’s cheek. Isobel and Mrs Hughes exchange a sad and disapproving look. Ethel embraces Charlie. The Bryants look at each other and Mr Bryant steps forward to collect Charlie.]

MR BRYANT
Let’s not make a meal of it.

[Mr Bryant pulls Charlie away.]

CHARLIE
Mummy.

MR BRYANT
Come on.

[Mr Bryant picks up Charlie and carries him to the car. Ethel watches them go, beginning to cry. Mrs Bryant steps up to Ethel.]

MRS BRYANT
I’ll write to you.

ETHEL
I’ll never see my son again.

[Ethel gasps in tears.]

MRS BRYANT
Never is a long time, Ethel. But you were right, he does love Charlie. And not just for his father’s sake. Now, I must be going. Say goodbye.

[Mrs Bryant steps back and nods to Mrs Hughes and Isobel. Ethel watches Charlie through the car window as Mrs Bryant walks back to the car. She begins to cry again when Charlie waves to her. The car starts off and Ethel takes a few steps toward it, then stops and puts her hands to her face as she watches the car drive away. Ethel cried bitterly and Mrs Hughes steps up behind her.]

MRS HUGHES
You’ve done a hard thing today, Ethel. The hardest thing of all.

ETHEL
You don’t agree, do you?

[Ethel turns to Isobel.]

ISOBEL
I don’t want to make you doubt now that it’s happened.

[Ethel turns back to where she last saw the car.]

MRS HUGHES
You’ve done the right thing for the boy, Ethel, whatever Mrs Crawley may say, begging your pardon, ma’am.

ISOBEL
Perhaps you’re right.

MRS HUGHES
I am, until we live in a very different world from this one.

ETHEL
Well, then. I should be away.

[Ethel walks down the road, pulling her coat in around her. Isobel and Mrs Hughes watch her go.]

MRS HUGHES
What chance is there for a woman like her? She’s taken the road to ruin. There’s no way back.

[Mrs Hughes takes a breath and nods to Isobel before leaving. Isobel stares at Ethel’s retreating figure.]

--
[32:11, INT. PRISON, BATES’S CELL – DAY]
[The guards enter.]

TURNER
Stand up! Against the wall, the pair of you.

[The other guards push Craig and Bates against the wall.]

CRAIG
What you looking for?

TURNER
Just keep quiet.

[The guards search the beds. Durrant enters and looks at Craig with concern. One of the guards finds something in Craig’s mattress.]

GUARD
Mr Turner.

TURNER
Well, well. A very mysterious package, I don’t think.

[Durrant looks at Bates.]

TURNER
Craig, what d’you call this?

CRAIG
I don’t know. I’ve done nothing.

[Turner looks at Bates, then back at Craig.]

TURNER
You better come with us, Craig.

[Turner nods to the other guards and exits. Craig looks at Bates.]

CRAIG
You’ll be sorry.

[The guards escort Craig out of the cell. Bates thinks over the situation and exhales.]

--
[33:10, EXT. FRONT DOOR/INT. GREAT HALL – DAY]
[A motorcar drives to Downton Abbey. Sybil enters the hall alone. Tom jogs in, out of breath.]

TOM
Oh, thank God.

[Tom and Sybil walk straight into each other’s arms and hold tight. They pull back just enough to kiss. Tom strokes her cheek with tears in his eyes.]

TOM
I’m so sorry.

SYBIL (whisper)
Shh. It’s all right.

--
[33:49, INT. GUEST BEDROOM – DAY]
[Tom and Sybil sit holding each other’s hands while the ladies of the family stand in the room. Anna leaves.]

SYBIL
They didn’t try to stop me, but it doesn’t mean they won’t come after us. Unless Papa can persuade them otherwise.

CORA
Tom...

[Cora sits on the bed.]

CORA
How could you have left her all alone to fend for herself?

[Sybil shakes her head.]

SYBIL
It wasn’t like that. We thought this might happen and we decided what to do. The question is, what now?

CORA
You mustn’t travel anymore, not before the baby’s born.

[Tom and Sybil look at each other for a moment.]

SYBIL
But Tom wants it to be born in Dublin.

[Mary stares at Sybil in disbelief.]

MARY
He won’t hold you to that now.

TOM
Well, won’t this be the first place that they look?

MARY
How could you be part of it? The [?]s are like us.

[Tom looks away and stands up.]

MARY
She came out with me. She was Laura [?] then. How could you dance ‘round her burning house, Tom? It’s horrible.

SYBIL
He didn’t dance. And he isn’t dancing now.

[Someone knocks.]

SYBIL
Come in.

[Carson enters with a tiny silver tray.]

MR CARSON
Telegram for you, my lady.

[Cora takes it and Sybil stands in anticipation. Cora reads it quickly to herself.]

CORA
Your father’s coming home. He’s seen Mr Short.

SYBIL
And what happened?

CORA
He doesn’t say, only that neither of you is to leave Downton.

[Sybil and Tom look at one another and hold hands.]

--
ACT FOUR
[34:57, INT. SERVANTS’ CORRIDOR – DAY]
[Thomas enters with a couple suitcases.]

MR MOLESLEY
You’re back.

THOMAS
I am. Anything happen here?

MR MOLESLEY
There’s a new footman; came today. How was London?

THOMAS
I had fun, as a matter of fact.

MR MOLESLEY
Has the [?] been saved?

THOMAS
That’s not for me to say, is it Mr Molesley? I better take these upstairs.

--
[35:21, SERVANTS’ BEDROOM CORRIDOR – DAY]
[Thomas passes the new footman’s room as he walks down the hall. He stops and looks back in the room where Jimmy is changing clothes.]

THOMAS
You got the job then?

JIMMY KENT
I’m on my way, Mr Barrow. They say you were a footman once.

[Thomas smiles.]

THOMAS
That’s right.

JIMMY KENT
So can I come to you if there’s anything I need to know?

THOMAS
Certainly. Why not?

[Thomas nods with a smile and continues down the hall as Jimmy finishes dressing. O’Brien walks by and looks in at the half-dressed man, then down the hall at Thomas.]

--
[35:45, INT. LIBRARY – EVENING]
[The family gathers. Tom stands by Sybil’s seat on the couch.]

TOM
I can never go back to Ireland? That’s impossible!

ROBERT
If you do, you’ll be put in prison. It’s the best I could manage.

CORA
Surely they need proof to ban a man from his own country.

ROBERT
They have more proof than Tom will concede.

SYBIL
Is that fair?

[Sybil takes Tom’s hand.]

SYBIL
He’s admitted to being there. He told you so himself.

ROBERT
But he did not tell me that he attended Dublin meetings where the attacks on the Anglo-Irish were planned.

[Matthew, Mary, and Sybil look at Tom in surprise. Sybil pulls her hand away from Tom’s, looking betrayed and disappointed.]

TOM
I was always against any personal violence. I swear it.

VIOLET
Oh, so at least we can sleep in our beds.

ROBERT
Maybe, but you were not against the violent destruction of property.

TOM
I’ve told you, the sight of it was worse than I expected.

MATTHEW
So, what was the deal you managed to extract from the home secretary?

ROBERT
They don’t want to make a martyr of him. And with Sybil, they think they could have another Maud Gonne on their hands, or Lady Gregory, or worse if they’re not careful.

VIOLET
Lady Gregory, Countess Markievicz...why are the Irish rebels so well born?

ROBERT
Whatever the reason, I don’t want Lady Sybil Branson to join their ranks. Mercifully, nor do the Irish authorities. If Tom can stay away, they’ll leave him alone.

TOM
I can’t be kept away from Ireland.

ROBERT
You’ll be arrested the moment you touch dry land.

--
[36:58, INT. KITCHENS – EVENING]

MRS PATMORE
Now then, do what Mr Carson tells you.

JIMMY KENT
I know what I’m about.

DAISY
Are you all right, Alfred?

ALFRED
Yes. But shouldn’t I be carrying the pork and Jimmy the veg? I am first footman.

MRS PATMORE
Never mind that. Up you go.

DAISY
I think Alfred’s right. Isn’t he first footman, like he says.

MRS PATMORE
That’s for Mr Carson to decide.

[Jimmy carries off the pork with a smile.]

MRS PATMORE
By heck, it’s nice to think we’re running at full strength again.

DAISY
Really? I’m running at full strength and always have been with no one to help me neither.

MRS PATMORE
All in good time, Daisy. All in good time.

--
[37:27, INT. DINING ROOM – EVENING]

VIOLET
What do you mean you wrote to a newspaper? No lady writes to a newspaper.

EDITH
What about Lady Sarah Wilson? She’s the daughter of a duke and she worked as a war journalist.

VIOLET
Well, she’s a Churchill. The Churchills are different.

MARY
Have we no Churchill blood?

CORA
I think Granny’s right.

VIOLET
Can somebody write that down?

CORA
It’s good to have strong views, but notoriety is never helpful.

EDITH
Well, I’ve sent it now.

ROBERT
It won’t be published.

EDITH
Thank you for the vote of confidence, Papa.

CORA
This is our new footman, Mamma. What should we call you?

JIMMY KENT
Jimmy.

MR CARSON
James, Your Ladyship.

[Carson steps forward and clears his throat.]

MR CARSON
This is James.

ROBERT
Welcome to Downton, James.

JAMES
Thank you, milord.

[James stands there stiffly and looks sideways at Carson before exiting.]

MARY
Well done, Carson. That must’ve cheered up the maids.

VIOLET
He looks like a footman in a musical review.

EDITH
Poor Alfred. We mustn’t allow him to be completely overshadowed.

MR CARSON
Quite right, my lady. Hard work and diligence weigh more than beauty in the real world.

[Carson steps away.]

VIOLET
If only that were true.

--
[38:28, INT. SERVANTS’ CORRIDOR – EVENING]
[James, Alfred, and Carson descend the stairs.]

JAMES
I’ve never been James in my life. I was Jimmy to Lady Anstruther.

[James stops and turns around when Carson speaks.]

MR CARSON
I don’t care if you were Father Christmas to Lady Anstruther. You’re James now, and you will stay James while you’re at Downton.

[James nods obediently and turns around unhappily.]

JAMES
He thinks he’s the Big Cheese and no mistake.

ALFRED
That’s ‘cause he is the Big Cheese.

[O’Brien and Thomas watch James and Alfred enter the kitchens for the next course.]

O’BRIEN
He’s nice, that new bloke, isn’t he?

THOMAS
Why do you say that?

O’BRIEN
Oh, only an impression, that’s all.

[O’Brien leaves. Thomas looks at her, then back at James, considering her comment.]

--
[39:01, INT. DINING ROOM – EVENING]
[Robert, Tom, and Matthew have drinks after dinner.]

TOM
If you’ll excuse me, I’m going to bed.

[Tom stands.]

Can you tell the others?

ROBERT
Tomorrow we’ll make some plans.

TOM
I don’t know how.

[Tom walks toward the door.]

MATTHEW
You’ve lived out of Ireland before, surely you can again?

TOM
But Ireland’s coming of age now and I need to be part of that.

[Robert sighs in slight annoyance.]

TOM
But I know what you’ve done for me.

[Tom and Robert regard one another earnestly.]

TOM
I know you kept me free...and I am grateful. Truly.

[Tom exits.]

MATTHEW
Poor chap. I’m sure he is grateful.

ROBERT
No, he’s not. He says it to keep the peace with Sybil. But then, I only rescued him for Sybil’s sake, so I suppose we’re even.

[Robert takes a sip and Matthew smokes his cigar.]

ROBERT
Did you get a chance to look through the books they brought in?

MATTHEW
As a matter of fact, I did.

ROBERT
Could you make head or tail of them?

MATTHEW
I think so, yes. I was waiting for a...good moment to discuss them.

ROBERT
Oh?

MATTHEW
Yes, there was some...aspects of the way things have been done that I wasn’t quite sure about.

ROBERT
You sound like Murray.

[Matthew looks worried by Robert’s carefree attitude.]

MATTHEW
Do I?

ROBERT
He’s always banging on about how we should overhaul this or overhaul that. Nothing’s ever right for him.

MATTHEW
Well, I...[?]

ROBERT
Come on, we should let them get in here. We can talk about it another time, if you really want to.

[Robert leaves and Matthew thinks over the situation uncomfortably.]

--
[40:23, INT. PRISON, BATES’S CELL – EVENING]
[Bates is reading when Turner opens the door. Turner tosses a tied stack of letters onto the desk.]

TURNER
These came for you, Bates.

[Bates looks at the letters.]

BATES
When? When did they come?

TURNER
They came when you were out of favour. Now you’re in favour again.

[Bates rushes to untie the stack. He looks at Turner.]

BATES
Why? What have I done?

[Turner pauses to think before answering.]

TURNER
Just watch out for Mr Durrant. You’re not a favourite with him.

[Turner exits and Bates flips through the letters. Bates chuckles with relieved happiness and opens a letter.]

--
[41:14, INT. SERVANTS’ HALL/MRS HUGHES’S SITTING ROOM – NIGHT]
[Mr Carson looks around and sniffs the air. He sees smoke coming from another room.]

MR CARSON
Oh...my...

[Carson rushes down the corridor, grabbing a fire pail. He takes off the cover and rushes into Mrs Hughes’s sitting room, stopping abruptly when he finds Mrs Hughes sitting there.]

MRS HUGHES (chuckling)
Oh! Are you going to tip that over me? I was just making myself some toast. You have to set the number on the dial, and I had it up to high. But I’ve got the hang of it now.

[Mrs Hughes takes some lightly toasted bread out of the toaster.]

MRS HUGHES
Would you like a piece?

MR CARSON
I was worried that Mr Branson might take it into his head to burn the house down, but I didn’t think that you would.

MRS HUGHES
No? I should never take anything for granted, Mr Carson.

[Another servant rushes in with a fire pail.]

MR CARSON
No, no, no, no, not now.

[Mrs Hughes chuckles and Mr Carson exits with a sigh.]

--
[42:02, INT. GUEST BEDROOM – NIGHT]
[Sybil sits in bed with a cross look on her face.]

SYBIL
You never told me you went to those meetings.

TOM
I never told you I didn’t.

SYBIL
And what else haven’t you told me?

TOM
I all I know is, I can’t stay here. Not for long.

SYBIL
You must. And so must I. And you must let the baby be born here.

TOM
You’re very free with your musts.

SYBIL
But I will not be free with our child’s chances.

[Tom gets into bed.]

SYBIL
We need peace and safety.

[Sybil puts her hand over Tom’s.]

SYBIL
Downton can offer us both.

[Tom kisses Sybil’s cheek, but she still looks sad when he pulls away.]

--
[42:45, INT. DINING ROOM – MORNING]
[Robert reads the paper as he, Matthew, Edith, and Tom sit down to breakfast.]

ROBERT
God in heaven! “Earl’s daughter speaks out for women’s rights.”

[Robert lowers the paper to look at Edith.]

EDITH
What?

ROBERT
“In a letter to this newspaper today, Lady Edith Crawley, daughter of the earl of Grantham...”

[Edith looks excitedly at Matthew, who begins to grin.]

ROBERT
“Condemns the limitations of the women’s suffrage bill, and denounces the government’s aims to return women to their pre-war existence.”

[Edith smiles.]

EDITH
You said they wouldn’t print it.

MATTHEW
Well done. That’s most impressive.

ROBERT
Don’t say you support her.

MATTHEW
Of course I support her. And so do you, really...when you’ve...had a chance to think about it.

TOM
So I should hope, anyway.

[Tom grins at Edith.]

MR CARSON
Ugh.

ROBERT
What do you think, Carson?

MR CARSON
I would rather not say, my lord.

[Matthew smirks and looks at Edith. Edith smiles happily down at her plate.]

--
[43:27, INT. SERVANTS’ CORRIDOR – DAY]
[Anna climbs the stairs. Mrs Hughes stops at the bottom of the steps.]

MRS HUGHES
Anna?

ANNA
Yes?

MRS HUGHES
There’s quite a package of letters arrived for you earlier.

[Anna walks quickly back down and flips through the letters.]

MRS HUGHES
Are they all from Mr Bates?

[Anna nods and smiles with tears in her eyes.]

ANNA
It looks like it.

MRS HUGHES
Why so many at once?

ANNA (sigh)
Oh, I neither know, nor care, just so long as I’ve got them.

[Anna rushes up the steps happily with the letters clutched in her hand.]

--
[43:58, INT. KITCHENS – DAY]
[Daisy looks through the cupboard. Alfred enters and clasps his hands behind his back.]

ALFRED
Thanks for sticking up for me last night.

DAISY
It won’t make any difference.

ALFRED
Well, no, but it’s good to know you’re on my side.

[Daisy thinks for a moment and gathers her courage and turns around.]

DAISY
I am on your side, Alfred. In fact...

[Daisy steps down from her stool.]

DAISY
There’s something I’ve been wanting to say.

ALFRED
You’ve got my attention.

[Daisy smiles.]

DAISY
Well—

MRS PATMORE
Ah, here you are, Daisy.

[Mrs Patmore enters with another girl.]

MRS PATMORE
I’d like to introduce Miss Ivy Stuart, the new kitchen maid.

[Alfred smiles down at the pretty maid.]

MRS PATMORE
And this is Daisy, my assistant cook.

[Mrs Patmore says the title with a proud flare. Daisy just stares and Mrs Patmore’s smile drops in confusion.]

ALFRED
My, but aren’t you a sight for sore eyes, Miss Stuart.

[Daisy looks up at Alfred.]

MRS PATMORE
That’s enough of that. Alfred’s a footman, so you’ll know enough not to listen to a word he says. Shoo.

[Mrs Patmore waves him away. Alfred steps forward and leans down toward Ivy.]

ALFRED
Tell me if you need any help.

[Daisy stares at them. Alfred begins to leave, then turns around.]

ALFRED
Sorry, Daisy, what were you saying?

DAISY
Nothing. Don’t matter now.

[Alfred leaves and Ivy steps up to Daisy with a smile.]

IVY STUART
I hope we’re going to get on.

[Daisy pouts.]

DAISY
We don’t have to get on. We have to work together.

[Daisy turns back to her cupboard.]

--
[45:09, INT. THE DOWER HOUSE – DAY]
[Matthew visits Violet. He voice is anxious.]

MATTHEW
A situation has arisen, and...I’m not quite sure which way to turn.

VIOLET
Well, obviously, if you’ve turned to me.

MATTHEW
Robert won’t discuss the matter. And Mary is affronted by the very mention of it. But given that I’ve sunk my own fortune, alongside everyone else’s, into...

VIOLET
Into—into Downton.

MATTHEW
I feel a duty, apart from anything else, to do what I can.

VIOLET
About?

MATTHEW
Downton is being mismanaged, Cousin Violet, and something must be done. The thing is, how do I do it without putting people’s noses out of joint?

VIOLET
Oh, my dear. Oh, I doubt there is a way to achieve that. I mean, you must do what needs to be done, of course, but...oh, I think I can safely say a great many noses will be out of joint.

[Matthew nods.]

--
[46:05, INT. PRISON, BATES’S CELL/HOUSEMAIDS’ BEDROOM – NIGHT]
[Bates sits on the bed reading his post with a big smile. Anna curls up in bed with a letter, crying with happiness. They both read into the night, delighting in the letters from each other.]


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