What we have here is a series of “then this happened” events. See my Critical Notes after the breakdown for why I’m disappointed.
ONE
Downton’s grounds. Mary pushes Matthew in a wheelchair across the front of the property on a sunny day. Other recuperating soldiers also stroll the area. Matthew regrets that William isn’t here.
TWO
In the library, Richard and Robert watch from the window. Richard asks if he should be jealous. Robert changes the subject. Richard intends, it seems, to buy a neighboring property. Edith laments the times they’ve spent there growing up, and now it’s to change hands. Richard will modernize the property. Carson announces the Doctor, interrupting the discussion. Someone named Patrick Gordon wants permission to convalesce at Downton. No one seems to know who he is, but he’s welcome.
At the servant’s table, the new maid sews with O’Brien, Anna, and Bates. Jane, that’s her name. O’Brien complains that the couple will have a house together outside of the property. In comes Daisy, black armband evident, rattling the dishes. She has no comment, and Anna tells the others to give her time.
The ladies — Isabelle, Violet, and Cora — sit in the parlor at the Crawley House. Cora remarks that the war will be over soon and everyone at Downton will go home. Isabelle argues that the house should remain useful, a center of recovery, while Violet disdains the notion that a private house doesn’t get to be private. Cora looks horrified at the thought she won’t get her house back someday.
We have a soldier bandaged and suffering from burns. It’s going to be the Gordon fellow. Edith waits at the doorway to his room and says hello. He stands and greets her. Pretty mysterious in the framing. When he steps into the light, eager to connect with her, she blanches at his scarring. She has no idea of their relationship, but he reiterates that they’ve met before.
THREE
Jane chases Daisy, trying to get her to understand her widow benefits. Daisy insists she’s not a real widow. Patmore argues that William would want her to take it, and Daisy fires back. “You made me a liar while he was alive.”
FOUR
Carson attends to Richard in his room, dressing. Oh, my, he wants to offer Carson a job. Carson, bless his heart, is confused: “I have a job.” It’s for Mary, says Richard, selling the position, although she doesn’t know yet. Carson, unflappable, says, “I await Lady Mary’s instruction.”
Cora and Violet walk from dinner with Robert and update him on Isabelle’s plans for Downton. Violet says they must tempt Isabelle with another cause, as she won’t be dissuaded once she’s set on something.
At the servant’s table Patmore worries about food shortages. The war is wrapping up, and what will everyone do after? Patmore will hoard. Meanwhile, in the servant’s entry, Hughes slips Ethel bags of food. Carson sees.
Cora details to Robert how busy she is. A little tension there.
Mary and Richard tour this neighbor house he wants to buy. It’s immense. They agree to rescue the old girl.
Carson and Hughes tell Cora about the Ethel situation. Hughes isn’t in trouble, exactly, but she’s not congratulated, either, for her choice. Carson’s dislike definitely is based in a moral standard. Ethel should’ve said “no” to the Major. And then he laments having to serve Robert his lonely lunch, with everyone else gone. Hughes says send Jane instead.
And here’s Robert at the big table, abandoned, and Jane coming with the tray. Robert starts polite conversation about her son, and they end up having a friendly, open moment. Lol, Carson comes in and moves her along. Improper familiarity, and all. (Carson gets to be the firm daddy in this episode, haha.)
Hughes visits Ethel and updates her. Hughes suggests she go to a big city and invent a past as a way to start over.
Carson interrupts the servant’s dinner to inform Bates he has a call from his lawyer. Anna accompanies him to the telephone. Then Thomas tells Carson that Lady Mary was looking for him. Hours ago. (He loves yanking that tail.) Carson is quite indignant he wasn’t told earlier.
Edith collects letters for the post from the wounded. Gordon confronts her: do you really not recognize me? He came here all the time growing up. Edith freaks: you’re not saying you’re Patrick? He is obviously someone who was important to her, and she hasn’t known him. But Patrick drowned on Titanic. (Ah, now I remember.) Of course, this man in front of her, with his heavy burn scarring, would be very difficult to recognize.
Bates learns on his phone call that he’s not divorced after all. (Of course he isn’t. They can’t have Anna and Bates just get married without multiple seasons of false starts and soap opera drama. Yeesh.) What’s interesting is that O’Brien overhears.
Back to Edith in shock as Patrick explains how he was rescued and then mistaken for Canadian. He had amnesia and took the name Gordon from a gin bottle. Later, he was caught in an explosion that brought back his memory. Oh, aha. Patrick was the heir. The patrimony of Downton is in trouble again! He’s the one who was semi-engaged to Mary but was loved by Edith. Now he breaks down crying because he loved Edith back, and no one knew.
Cut to Mary wheeling Matthew about the lawn, lol. (Patrick and Matthew cage battle! Let’s go!) She tells him about the house Richard intends to buy, and that Carson has been offered to come. When Mary says she doesn’t have to marry Richard, Matthew becomes adamant. If you weren’t engaged I wouldn’t have you anywhere near me, he says. Apparently he’s honest and open with her only because she’s unavailable.
And then we see the couple from the window as Richard and Cora look on. Well, Richard knows they belong together, lol. Cora tries to convince Richard that it will be fine. Oh, Richard with the master manipulation: Do you want Mary to have children? Then Lavinia needs to come back into Matthew’s life now.
SWITCH
Shoes on concrete. It’s Sybil in the garage, approaching Branson under the car. She has no answer yet for him. She can’t think about anything until the war is over. He’ll wait forever, he says.
FIVE
The evil smokers! Thomas credits Patmore with knowing that rationed food is valuable right now. He needs money for the black market, but O’Brien won’t get involved.
Bates, preoccupied, dresses Robert who sports a tuxedo, the latest fashion. Edith enters. Robert asks what is it, and Edith says he’d better sit down.
Oh, my. Carson, with an actual ruler, measures the place settings for accuracy. In comes Mary. Carson says, in regards to becoming her butler, I’ll give you my answer when you’ve spoken to His Lordship. It seems that he’d follow her anywhere she asked, but he doesn’t really want to leave.
Robert visits Patrick. Interesting, he’s very cautious. Patrick can’t prove his story, he can only relate details the actual Patrick would know. Robert might even be angry that the heir presumptive didn’t come to him first. (It is irregular.) Patrick makes a gesture over his mouth, an unconscious move, that stops Robert. He begins to wonder if it’s true.
Violet and Isabelle have tea, with Violet definitely working an angle, lol. She tosses out different problems, looking for Isabelle to nibble. Helping refugees does spark an interest. And everyone is to be at dinner tonight, Robert insists.
Mary confronts Robert while Bates dresses him. He doesn’t want to lose Carson, but of course he wouldn’t deny Mary.
The family meets in the library. Robert delivers the news and we see everyone wrestling with it. Richard asks, Who’s Patrick Crawley? Mary is doubtful. Where’s he been for six years? Oh, and Mary goes further. Any fortune teller can know details. It’s about Matthew for her, of course. She begins to cry when she thinks about what a cruel trick it is on him. Matthew, though, is on Patrick’s side. He can walk the estate and father children. Actually, the news is brutal on Matthew, and he reacts with harsh anger.
O’Brien tidies up Cora’s room as Hughes comes in. Cora has called her to let her know the Major has been killed. (!) They’ve had a letter from his father. Can you relay the news? O’Brien, asking tactful questions, puts it together, we see.
Maid Jane stumbles upon Robert sitting in the library. He’s upset about the Patrick thing, but he goes up to bed.
Edith and Patrick walk the grounds, reminiscing. She says she does now recognize him.
Cut to Ethel, who’s obviously just been told the news. Can I write to his parents? Hughes says, you have no proof the Major is the father. Ethel agonizes that Maid Jane is respected and she’s not, even though their babies’ fathers have both died in battle.
Carson and Richard have a moment. He’d like an answer from Carson to his proposition. Aw, Mary wants him there but Carson is in such a difficult position!
Rut-roh. Bates, while dressing Robert, asks for permission to go to London. Is it the former Mrs. Bates, Robert asks? I wish she was the former, says Bates. Or the late. (Whoo, boy, that vitriol will bite him down the line.)
Ethel holds her baby and weeps. Okay, that’s ominous.
At the servant’s table over dinner, Carson and Branson lightly argue German politics. O’Brien and Bates do a bit of sniping. It all ends when Robert enters and the whole table rises to attention. He’s come to announce that the war is officially over. Cheers, applause, and hugging all around.
The ladies meet for tea. Isabelle must tell Cora that the plight of the war refugees has grabbed her. (Lol, look at Violet act all innocent.) Cora gets it immediately and encourages her to follow her heart. The whole scene is played for humor. As Cora and the Dowager drive away, Cora thanks her for her intervention.
Edith sits with Patrick who has a very dramatic fit about the family not recognizing him as the heir. Edith, of course, tries to pacify him until he — wow — knocks the table over in the middle of the Downton mess hall. Ew, he screams at her.
SIX
At the servant’s table O’Brien thinks Vera Bates has bitten off more than she can chew. Maid Jane wants to tell Daisy about her widow benefits. Although everyone tries to reassure Daisy she did a kind thing, Daisy’s too wracked to hear. Bates arrives from the train station, and he and Anna step aside. He has a cut near his left eye, and he says the meeting went badly. Push-in on O’Brien, scheming.
SEVEN
Now the family, including Matthew, meets in the library. Robert has the lawyer’s report. Patrick had a friend named Peter Gordon. Mary and Violet think this Patrick is a fake. Edith argues in his favor, but she’s defeated. Be polite but nothing more, Robert tells her. As they leave, Matthew reiterates that another man would be for the best. Don’t think about me. Robert says, “My dear chap, I think of nothing else.”
EIGHT
Edith and Patrick sit outside. Clearly she’s told him of the lawyer’s report. He says something that suggests he really is Peter, but Edith doesn’t get it.
Hughes visits Carson in his butler pantry as he reviews the bookkeeping. It seems he’s made his mind up to go with Mary. Hughes says she’ll miss him.
Dinner is just ending as Richard arrives late. He’s brought Lavinia! Cora is gracious, but the rest of the family looks uncomfortable. (Lol, Carson looks completely put out.) Lavinia wheels Matthew into the library. She tells him he won’t frighten her away. Her glowing skin and cheerful face are enough to break any heart.
In the dining room, left behind, Cora and Robert argue. She sent for Lavinia, but Robert feels sorry for Matthew. They have a row and Cora storms out. Cut to Richard and Mary in the hallway having a very similar argument. Richard threatens her. Don’t cross me, he says, pushing her against the wall. Then he lightly kisses her.
Edith enters the sick room to see Sybil removing the sheets on Gordon’s bed. He left after breakfast. Sybil has a note for her, which only says, “It was too difficult. P. Gordon.” Edith still believes he was Patrick, and feels very badly for him.
Robert addresses everyone — family, staff, remaining officers — in the entryway as they wait for the clock to strike on the armistice. Eleven o’clock, and everyone stands at silent attention. The camera dollies past them all.
As they disperse, Bates offers to help push Matthew while Lavinia opens doors. Matthew becomes surprised and stammers. He’s not clear, but the suggestion is that he felt something in his legs. He won’t speak of it to anyone, though, until he feels it again.
NINE
Robert and Carson stand together outside the front door. Carson says he won’t leave until they’ve found a proper replacement for him. The camera, as it dollies backward, shows the two men framed in the open doorway.
And the camera continues its movement as it cuts to Edith sitting against a pillar in the yard. She holds the note and weeps.
At the servant’s table Carson delivers a telegram for Bates. After reading it, Bates hands the cable to Anna and walks out. His wife’s dead. They found her early this morning. Surprise around the table as Anna follows Bates.
Cut to a pair of shoes, a hand, and a body on the floor. For some reason, lol, we must see Dead Vera at the end of this episode.
CRITICAL NOTES
Where to begin? Let’s start at the Eight. Working backwards is one of the best ways to spot the structure. What excites us at the climax? 1) The resolution of Patrick/Peter. I doubt he’s gone forever, but at least for this episode his story wraps up. 2) The love triangle. Richard is abusive, Lavinia is practically an angel, Matthew despairs throughout, and Mary’s caught in the middle. (Oops, that’s a quadrangle.) The tingly legs are almost a Nine moment, but they also fit with Matthew’s arc. He’s been passive, and now we have an inkling that he will be a story motivator again. 3) The war is over.
Now, let’s look back at the Two. What happens there that points toward this Eight? 1) The Doctor asks if Patrick Gordon can convalesce at Downton, and Edith’s in the room right at the beginning of this plot. Good. 2) Prior to that Richard expresses concern about Mary and Matthew. This moment seems too casual to be a Trouble introduction. The same scene later with Cora is much more intentional and vibrant. That needed a swap or a rewrite. Not good. 3) The discussion among the ladies about the fate of Downton is a precursor to the war ending. I’m quite tired of the “let’s demean Isabelle Crawley” bit, but beyond that, I don’t find this problem to be worthy of a Two. It’s more Four stuff, and it’s not a strong set-up for the Eight. Not Good. 4) In the middle of all this Two potential is Daisy, who doesn’t belong there at all. Imagine cutting the scene completely and letting her anger erupt in the later scene where she speaks. It’s the scene I’ve marked as the Three. That’s a clue right there that Daisy shouldn’t be diluting a weightier beat by sharing some of her emotion in a Two. Bad.
The Three/Six is only sort of about Daisy, though. The editing doesn’t commit to this, doesn’t narrowly focus on these Daisy moments. The conflict — Daisy made a dying man very happy by lying to him — is fascinating. So many emotions! We haven’t yet seen (and I don’t think we ever do see) Daisy realize that she also lied to God by falsely engaging in a sacramental marriage. The impulse to please William is noble, something she could choose to feel proud about, yet she’s certain she’s done wrong. It’s a great philosophical question, and I love that it hits the Three/Six.
I’ve marked the Switch as the garage scene because nothing like it comes before or after. The Sybil-Branson romance plops out of nowhere and disappears thereafter. It’s shot from a very strange low angle (because Branson’s under the car) that is mimicked later in Vera’s death shot, something I’m fairly sure they didn’t intend.
This was an unsuccessful episode in my opinion. A lot of plot could’ve been tighter, especially right at the beginning with the Two. Not many of the storylines follow an arc. Really only the Edith and Patrick thread, a tale of a very gullible woman, has a beginning/middle/end. I know that’s kind of Edith’s role — Lovelorn Loser — just like Isabelle’s role has become The Bossy One, but it doesn’t have to be that way. Look at Daisy. Her inherent strengths and weaknesses have taken her to an interesting place. More writing like this, please.