ONE
Soldiers load supplies into an ambulance outside of Downton’s front door. (I assume the hospital here is closing up.) Edith watches them leave. 1919. Hughes remarks that the Drawing Room is now back to normal.
TWO
Robert walks through the house, his good doggo prancing alongside. He checks in with Cora. They argue whether or not Matthew, the last patient, should now go home. The married couple are . . . not a strong team at this time.
Now we follow Carson with a tea tray for Matthew and Lavinia. He makes clear he looks forward to the return of a footman who would do this job. Ooh, a little Matthew dig at Carson for leaving to butler at Mary’s new house.
Strolling the property, Robert comes upon Maid Jane who’s dropped her basket in the path. They have a chat, all twinkle eyes and smiles. In asking how Jane fares without her husband, Robert goes into a moving count of all the lads on the property who are now gone, including William. He’s in a dark mood.
THREE
An arriving car breaks them apart. It’s Richard. Robert brings him inside.
FOUR
Down at the servant’s table Patmore is glad she has her kitchen back to herself, but the food shortage makes feeding people difficult. Also, Thomas at the table is asked when he’ll leave. He’s not part of staff anymore and the military is gone. He’s snippy, and O’Brien follows him out. What will you do, she asks. Black market. He’s got supply lines and storage all set up.
Bates dresses Robert for dinner. Is there any more news about Mrs. Bates? Robert speculates, making Bates deeply uncomfortable. Is he being evasive, does he know more? These questions ride unspoken, just under the surface.
In the upstairs hallway Richard hijacks Anna. He’s been waiting to ask her something. Ooh, Anna does not want to step alone into his room. (Good girl.) He questions her duties: you’re very busy. (Aha! He wants to poach her from Downton, doesn’t he?) Anna guesses as much, ready to turn him down because of her fiance, Bates. That’s not what he wants, though. He wants information. A spy. Anna rejects his offer and leaves. He asks her not to tell Lady Mary about this. No answer from Anna, and Richard realizes he’s made a tactical mistake.
Family in the Drawing Room, dressed for dinner. A discussion of the latest, looser fashions, with the Dowager disdaining the new and Isabelle arguing for it. (Of course, lol.) Robert remarks that he felt useful before the war and he misses that feeling. That kills the room for a beat. Mary mentions the French style of short hair on women. Cora tells Carson that the Major’s parents plan to stop by for lunch. She thinks they’re coming to talk with people who saw him last. (Do they know about Ethel’s child? Do we know if they know? I can’t remember.)
Sybil, who’s been thinking throughout the entire previous scene, now heads to the garage. She tells Branson how much she misses the bustle of the last two years, and that she only wants to go forward. Have you made up your mind, he asks. Not yet.
Carson shares the news about the Major’s parents with Hughes. She changes the subject to Carson’s new household, Haxby (or something like that). It diverts him. He has a moving speech about not wanting to leave Downton. He thought he’d die here and haunts its halls. But he can help Mary, help her in those first years to get it right. So he must go. He recounts a charming anecdote of Mary when she was a child. Anna, asking for a word with Hughes, interrupts them. She’s prepared to tell them both about Richard’s request.
Bates assists Matthew into bed. Matthew asks him what he thinks it means that his legs tingle. Did you tell the doctor? Yes, he thinks it’s illusion. Well, just wait and see then. (Very practical advice.) As Bates leaves, Matthew requests he not tell anyone about this.
Hughes, carrying a basket, walks through the village and catches the bus. She’s at Ethel’s place with the news about Major’s parents. Hughes has a plan to tell the mother if she can get her alone. Ethel needs to be ready, but stay hidden in the game larder.
Sybil and Edith wander the library, lamenting that it’s a lot of room for just them now that the hospital is gone. I think I’ve found a way to escape all this, says Sybil. Edith cautions her to not be drastic. Oh, it’s drastic, she replies. Neither of them wants to go back to who they were before.
The evil smokers visit Thomas’ black market shed in the village. Lots of non-perishable food. (I think he plans to start by selling to Patmore!)
SWITCH
Holy cow! Carson tells Mary that he won’t go with her. “Sir Richard and I would not work well together.” Oh, whoa! He tells Mary about the Anna offer! She kind of turns it around on him. “I thought you were fond of me.” I think she’s just gobsmacked by the Richard move and is lashing out. Awkward. And then Richard enters. She tells him of Carson’s decision, then says, “Butlers will be a two a penny now that they’re back from the war.” Ouch. (Yikes. Mary without her coolness. Bad look.)
FIVE
Robert, looking for Carson, finds Maid Jane in the butler’s pantry, instead. He hesitates, then steps in to help her with the wine decanting. She tells him how he made her sad yesterday with his talk. And there he goes! In for the kiss. She keeps her hands bunched up, not caressing him back. Leaving, he apologizes. We’re not sure what she thinks, although wow, is that cruel. What’s she going to say? Excuse me, Lord Employer, but I’d rather you didn’t grab me?
We see her dash downstairs and run into Carson, delivering His Lordship’s message. She’s definitely flustered, and Carson asks, “What’s the matter with you?” Nothing, and she’s off.
Carson checks in with Robert. Clearly he’s updating him that he won’t butler for Richard. So that’s settled.
Cut to Mary complaining to Anna that she didn’t tell her first about Richard’s offer. She’s still being a pill, speaking harshly.
Lavinia wheels Matthew into the Drawing Room. The tea tray is still out, and Lavinia picks it up. She’s going to help by returning it. Matthew says, It’s too heavy for you. She trips over the footstool and the tray goes flying. Matthew . . . STANDS . . . to break her fall. They stare at each other, both realizing what just happened.
The camera tracks with Robert as he strides the house, Lavinia behind him, gathering everybody together. Matthew stands for them. Sybil, bless her heart, turns nurse and tells him to sit back down and not tire himself. Robert sends Edith to take Branson for the doctor and Isabelle. “My dear chap,” he says, shaking Matthew’s hand.
Cut to the doctor explaining to them — lol, that he made a mistake. Reaction shots of everyone, including a lingering close-up of Isabelle, going through all the emotions. “My darling boy,” she finally says. (Dead. Weeping.) Everyone will stay for dinner.
Bates meets Anna in the servant’s hall and tells her he’s been thinking of what Robert said: Vera bought the poison and planned her suicide. But she didn’t. Bates bought the poison months ago for rats. Anna advises him to tell the police.
Dinner. The Dowager chats with Richard about the construction at Haxby. He’s riding the workers, in a rush, and she doesn’t approve. The whole conversation is uncomfortable for the room, and we see multiple reaction shots of Carson as he serves. Matthew calls the table’s attention to praise Lavinia, who’s stood by him even when things looked grim. Hear, hear. They would like to marry at Downton. Mary reacts, but no one objects. Cora sympathizes with Mary, judging by her face, and Sybil becomes very pensive. Cut to the garage.
Branson reads the paper as Sybil enters. She’s made her decision. “My answer is . . .” (pause, reaction shot) basically, yes. He can’t believe it. (That’s alright, hon, neither can I. The arc on this has been consistently mushy.) They kiss.
As Robert and Cora prepare for bed, she takes him to task. Mary’s marriage will be delayed now that they must host Matthew’s. He calls her words stupid and selfish. (I don’t like to see Mom and Dad fighting like this.)
In the kitchen. Patmore bustles about, complaining of her food selection. Thomas tries to talk to her, but it’s O’Brien who gets her to listen. Ingredients for Matthew’s wedding cake. If Thomas can get them for her, Patmore will take him seriously. Daisy watches from the sidelines.
A car approaches the front door and Carson waits. When Hughes comes up he says, “Why are you here?” It’s the Major’s parents. The family comes out to greet them. Mr. Bryant is abrupt, almost rude. He wants to get the visit over with. Hughes interjects: She’ll take Mrs. Bryant up to Charles’ room. Cora gives her a look: I’ll do it. Hughes is left alone out front with no angle to work the problem.
Ethel and Baby Charlie wait in the game larder. Hughes lets her know she can’t get a conversation started. They’ll eat and run. (Hilariously, the whole exchange takes place among hanging carcasses.) It’s quite clear that Ethel, here and this close to the parents, is not going to quit and leave as Hughes says.
In the kitchen Daisy asks if she can make the wedding cake. It’s a training situation for Daisy. Hughes enters and asks Daisy to run a sandwich out to the Bryant’s chauffeur. In the background, Ethel rushes through with the baby. Hughes, horrified, runs after.
Luncheon and idle conversation as Ethel barges in. Anna tried to stop her, Hughes is trying, Carson is outraged. Cora rises, knowing what this is about. Ethel stands strong. “This is Charlie, your grandson.” Mrs. B looks on with an open face. Mr. B throws down his napkin. “Where’s your proof?” Aw, poor, sweet Ethel. It never occurred to her that she wouldn’t be believed. And Mrs. B, while Ethel is chased out, keeps looking at the baby with such hope.
Well, that was awkward.
And it continues. Bryant actually believes it’s a scam. Charles would’ve claimed paternity if he’d known. Isabelle and Mrs. B speak kindly, but Bryant stands to leave. Luncheon is over.
Down in the kitchen Ethel sits with the other servants. Carson breaks it up and sends Ethel on her way. The Bryants drive off.
Inside, the family discusses the surprise. Mary and Richard are — practical? cruel? — while others are more sympathetic to Ethel’s plight. “Aren’t all of us stuck with the choices we make?” Mary has become quite bitter.
Back in the kitchen as Patmore looks over the cake ingredients that Thomas has delivered. She’s pleased, but she’s keeping him on the hook, not promising anything yet.
Bates settles Matthew in his chair — no need to rush it — when the Dowager knocks on the bedroom door. She says some niceties, how glad she is that he’s recovering, and then hits him with: “Mary is still in love with you.” He speaks of Lavinia’s dedication and Violet agrees. She’s an admirable young woman. But. Marriage is long. Our kind don’t divorce. Choose wisely.
In the Drawing Room the ladies talk of the wedding with Lavinia. Even Violet is there. In the corner Richard pushes at Mary. Let’s have our wedding in the summer. She agrees, even though she has little enthusiasm. In rolls Matthew. And then Mary asks Richard why he tried to bribe Anna. In the background Matthew stands and everyone lightly claps. “Are you still in love with Matthew Crawley?” Richard asks her. Of course not, Mary says as she walks away.
And Sybil, feeling unwell, will not be down for dinner.
In the back hallway Bates shares with Anna a missive from his lawyer. Vera wrote a letter before she died, and here’s a copy. “I’m afraid for my life.” She’s was wrecking all their plans, had all Bates’ money, and now she’s dead. Heck, yeah, he’s in trouble. Motive and means. And threats.
Mary knocks at Sybil’s door. No answer and it’s locked. Now Anna’s asking Hughes for the master key. For the bathroom she says, lol. In they both go, but Sybil’s room is empty. A note “to my family” sits on the mantle. Mary reads it: “Oh, my God, she’s eloped. She’s gone to Gretna Green.”
SIX
Cut to the moon and car lights. Edith drives Mary as they scan the road. Keep an eye out for the motor. (Did they elope in the estate car, lol? Bold.)
SEVEN
Daisy turns on the kitchen lights and checks on her cake layers in the cupboard. She and Patmore have a “tasting piece”. Oh, dear. They both instantly spit it out. Patmore goes over to Thomas’ ingredients and samples a bag. The flour is mostly plaster dust. Chuck out all of Thomas’ mess and we’ll think again.
EIGHT
Back to the car. Oh, Anna’s in the rear seat. She spots the elopers’ car parked outside an inn. They race upstairs and walk right into the room. Branson is in the chair while Sybil is in the bed, both of them clothed. Mary argues very forcefully for them to wait while the parents get used to the idea. Don’t break up the family like this. Stand your ground and give them time. Tom doesn’t want to listen, but Sybil is persuaded. (Of course she is. It’s her family that she would be losing.) He doesn’t believe she’ll stay true if she goes back, although he’s a bit of a manipulative bully about the conversation. Sybil is firm and gentle. After she’s gone with Edith, Branson says to Mary, “You’re confident you can bring her around.” Yes, Mary says, I am.
Breakfast. Cora enters while Robert reads his paper. The girls aren’t down yet. Cora mentions something about the Spanish Flu. Why are you up, Robert asks. She’s off to help with Isabelle’s refugees. She wants to stay busy; the war has changed her. It seems that Robert hoped the household would go back to the way it was before, and he’s disappointed at Cora’s schedule. Again, he eats alone. The camera swings around to show Maid Jane coming slowly through the door. “I wanted to catch you alone,” she says. For his comfort in his own house she offers to tender her resignation. You will not pay the fault because I behaved in an ungentlemanly manner, he says. Clacking noises from the hall make them nervous. She dashes just as Carson comes in. He says nothing but cranes his neck at the doorway, stern-faced.
Ah, the village storage unit as Thomas enters. Does he know he’s peddling false goods? Oh, no, he doesn’t. Screaming, he destroys everything in the room.
NINE
Cut to Matthew and Lavinia in the Crawley House sitting room. Isabelle enters with the fuzzy good luck charm and asks if it’s his. Molesly found it. Shall I toss it in the barrel, she asks. Matthew grabs it from her hand so quickly he almost takes her thumb, lol. He’ll be keeping it. Might be bad luck to get rid of it.
Back to Thomas as O’Brien enters. “It’s all rubbish,” he says. He yells at her; he’s been taken for a fool and humiliated. He’s lost every penny he had. And he doesn’t know what he’s going to do now.
CRITICAL NOTES
Not much to say. The Three and Six are fairly sad, structurally, but I’ll count them. The Seven impacts one tiny corner of the Eight only, but, again, I’ll count it. For the most part this is a competent plot.
I have trouble analyzing Downton because it is just so episodic. This happens, then this happens. Stories weave about, mostly laying pipe rather than hitting a rise. The build is very much for those in the know. It’s not a show you can pop in at any point and feel at home. Structurally they seem to manage a lot of nice work, but it’s daunting to think of how it’s organized. I wouldn’t want to be the editor, that’s for sure!
Maybe someday I’ll examine an entire season. (I doubt I will, lol, because it’s an immense task!) I actually am curious to know if one character’s story — Bates’ or Mary’s, say — follows an Enneagram arc. The way the show is written and produced, it’s hard to tell how efficient the structure might be. It’s a popular and enjoyable series. I don’t know if anyone could duplicate its success, though, since it appears to have such a haphazard structure.