Downton Abbey Script Book Season 1 (33 page)

Gwen is sitting, waiting. She looks anxiously at the receptionist, who smiles coldly. The clocks shows it is half past eleven.

The clock shows ten minutes to one. Gwen comes out of an office, nods to the secretary and rushes along the corridor.

Bates walks in with a coat over his arm, then he stops.

BATES: I'm sorry, m'lord. I didn't think you'd be in here.

Robert is bent over the case of snuff boxes.

ROBERT: Are my eyes deceiving me or is one of these missing?

Bates walks over and stares down.

BATES: I don't know them well enough.

ROBERT: No. Why would you? But there's a very pretty little blue one, with a miniature framed in French paste. It was made for a German prince. I forget who … Unless it was moved for some reason … but why would it be?

This is the kind of thing any servant dreads.
*

Gwen comes racing out and clambers back up.

GWEN: I'm so sorry, m'lady. But I didn't get in there until nearly twelve.

SYBIL: We'll just have to hope your secret's safe with Anna.

She looks across at Gwen, who is bursting with excitement.

SYBIL (CONT'D): So? How did you get on?

GWEN: Oh, m'lady! I think they liked me. I really do!

With a grin, Sybil whips up the horse and they set off.

Sybil and Gwen are walking alongside their horse. They are both looking fairly tired. They see a man ahead of them.

SYBIL: Hello. Our horse has cast a shoe. Is there a smithy nearby?

MAN: You can try old Crump in the next village.

Sybil and Gwen both thank him and they walk along together.

SYBIL: At least it happened on the way home.

GWEN: They'll be worried about you.

SYBIL: The point is you've got the job.

GWEN: I think I have. I hope I have.

She is still excited as they march onwards.

O'Brien comes out of the ironing room, carrying a splendid evening dress. She almost bumps into Anna, who's surprised.

ANNA: Is her ladyship wearing that now?

O'BRIEN: Oh no. This is for Friday night. I thought I'd give it a press while I had the time.

ANNA: You don't know what's happened to Lady Sybil, do you? I've got the changes ready for the other two, but there's no sign of her.

O'BRIEN: Don't you start. I've had Her Majesty on at me all afternoon.

William hears this. He is walking down the passage.

WILLIAM: Mr Carson says he'll fetch the police if she's not back soon.

Which is unsettling. Anna goes. So does O'Brien. William continues on down the passage, almost passing Daisy.

WILLIAM (CONT'D): Hello? What's the matter?

DAISY: Nothing. I've got a lot on my mind, that's all.

WILLIAM: Because I may not be as bright as Thomas, but I'm a good listener.

DAISY: Oh, why can't you leave me alone?

She goes, leaving him with a heavy heart.

It is getting dark and the girls are exhausted.

MAN: Sorry, Miss. But Mr Crump's staying over at the Skelton estate tonight. He's working there all week.

SYBIL: Is there anyone else?

MAN: Not that I know of.

Sybil thanks him and they trudge on.

The two girls are trying to get the horse to cross a ford. Their skirts are in the stream.

SYBIL: Come on Dragon, come on! Dragon, if you don't move now, I'll have you boiled for glue!

The horse makes a terrific jerking leap across, dragging the cart and leaving both of them sitting in the muddy water. The horse looks back at them with a smile.

O'Brien is fastening the back of a simple evening frock.

CORA: But what if she's overturned? What if she's lying in a ditch somewhere?

O'BRIEN: I'm sure she'll be back in the shake of a lamb's tail.

But Cora isn't sure. She moves to her dressing table, where O'Brien tidies her hair and inserts a diamond ornament.

CORA: The truth is they're all getting too old for a mother's control.

O'BRIEN: They're growing up.

CORA: They've
grown
up. They need their own establishments.

O'BRIEN: I'm sure they'll all get plenty of offers.

Cora looks at her through the glass. Will they?

O'Brien is still working on Cora's hair.

CORA: Nobody warns you about bringing up daughters. You think it's going to be like
Little Women
, and instead they're at each other's throats from dawn ‘til dusk.
†

O'BRIEN: Not Lady Sybil, surely.

CORA: Oh no. Sybil's the family peacemaker. But Mary and Edith have been like two rats in a barrel since they were little girls.

She is distracted by her own reflection but this last speech has given O'Brien an idea, and not a kind one.

Sybil waits, drained, as Gwen slips away round the side of the house. Then she rings the bell and William appears.

SYBIL: Can you get someone to send for Lynch?

WILLIAM: I'll take him round to the stables, m'lady. I'm glad to.

Sybil doesn't argue. She almost falls through the door.

Anna walks in. Gwen is in bed, exhausted.

ANNA: You look done in. I'll bring you some food up later when we've finished dinner.

GWEN: I think I've got a temperature.

ANNA: I expect you have. Where were you?

Gwen is rather deflated by this. Her cover is blown.

GWEN: You came up, then?

ANNA: I had to change for the afternoon. I've had Mrs Hughes and all sorts asking how you were. I didn't know what to say. I wish you'd warned me.

GWEN: Did you cover for me?

ANNA: What do you think?
‡

She adjusts her cap.

ANNA (CONT'D): I don't suppose this had anything to do with Lady Sybil.

GWEN: Oh, Anna, it was a nightmare. The horse threw a shoe and we tried to find a blacksmith but we couldn't …

Anna is laughing at the account and so, at last, is Gwen.

GWEN (CONT'D): I don't know how I got in without being seen. I'm sure I've left a trail of mud up the stairs.

ANNA: So did you get the job?

GWEN: We'll have to wait and see.

But of course she thinks she has.

Edith, changed, is writing letters when O'Brien comes in.

O'BRIEN: Sorry to bother you, m'lady, but your mother wanted you to know that Lady Sybil's back. She's changing now, so dinner won't be late, after all.

EDITH: What happened to her?

O'BRIEN: The horse went lame.

Edith nods her thanks. But the maid does not leave, instead she seems to hover. At last Edith looks over.

EDITH: Is there anything else?

O'BRIEN: There
is
something that's been troubling me … You remember that Turkish gentleman? Mr Pamuk? The one who died. All sudden like.

EDITH: Of course I remember.

O'BRIEN: Well … it's Daisy, m'lady.

This name does not strike any bells.

O'BRIEN (CONT'D): The kitchen maid. Only she's been talking recently as if she had ideas about Mr Pamuk's death.

EDITH: What sort of ‘ideas'?

O'BRIEN: Well, I've no proof and maybe I'm wrong. But I've a sense she knows something but she won't say what.

Now comes the coup de grâce.

O'BRIEN (CONT'D): Something involving Lady Mary.

At last Edith's interest is captured. Entirely.

EDITH: How absurd. What could she know?

O'BRIEN: That's just it. Whatever it is, she won't say. Not to us, anyway.

EDITH: Have you spoken to Lady Mary about this?

O'BRIEN: I didn't like to, m'lady. It seemed impertinent somehow. But I thought someone in the family ought to know about it.

O'Brien, of course, is cleverer than any of them. Edith nods.

EDITH: Quite right. Bring the girl to my room tomorrow. After breakfast.

Mary comes in, also dressed for dinner, as O'Brien goes.

MARY: What did she want?

EDITH: Nothing. Just a message from Mama that Sybil's turned up alive.

MARY: Poor darling. She had to walk for miles. I don't think I'd have got down, however lame the horse.

EDITH: No. I don't believe you would.

She goes back to her letter.

Edith is with Daisy and O'Brien. Daisy shaking with nerves.

DAISY: I couldn't say, m'lady. I don't know what Miss O'Brien means. I didn't see nuffin. Well not much.

The other two women exchange a quick glance.

EDITH: O'Brien, I wonder if you might leave us?

O'Brien goes, annoyed to be shut out of her own plot.

EDITH (CONT'D): Now … it's Daisy, isn't it?
*

DAISY: Yes, m'lady.

EDITH: I'm sure you see O'Brien acted as she did because she's concerned.

DAISY: I suppose so, m'lady, but—

EDITH: She seems to think that you are in possession of some knowledge that is uncomfortable for you.

Daisy is silent. She won't agree but she can't lie.

EDITH (CONT'D): Because if that is the case, then I don't think it fair on you.

Daisy looks up. She'd thought she was in trouble.

EDITH (CONT'D): Why should you be burdened with Mary's secret? When there's nothing in it for you but worry and grief? My dear, my heart goes out to you. It really does.

These are the kindest words Daisy has heard in a long time. If ever. Her shoulders start to shake and soon she's weeping. Edith steps in and takes her gently in her arms.

EDITH (CONT'D): There, there. Come and sit down. You've been carrying too heavy a load for too long. Just tell me, and I promise you'll feel better.

Violet is getting down from her carriage. Mary is with her. They walk into the village hall.

The flower show. The decorations are complete and people are setting out the stalls with cakes and jams as well as flowers. Matthew and Isobel are admiring Bill Molesley's table. Cora sees Violet and comes over to greet her with a cool kiss on the cheek.

VIOLET: You seem well prepared.

CORA: They'll add a few flowers in the morning before we open, but I think we're nearly there.

Isobel has approached them.

ISOBEL: Do look at Mr Molesley's display. He's worked so hard.