ONE
The Somme, 1916. We’re with Matthew in the middle of war. Grit, explosions, trenches, and wounds. He’s some kind of officer with news that his unit will soon be relieved. He’s got a bit of leave coming, and he’d like to see a certain girl (unnamed). Downton, he says, seems like another world.
Roll credits.
TWO
Establishing shot of the Abbey. Anna leads the new maid through her duties, although the house is in disarray. A banner that says, “Help Our Hospital” hangs in the front room as Carson directs servants to remove the furniture.
William dresses Lord Grantham in his military uniform, but he doesn’t know the proper arrangement of of all the regalia. A bit of exposition as Robert tells William that he’s not back in the army (“they don’t want me”) but is basically in the Home Guard. Why is Bates gone to London? We don’t know yet.
Everything’s all a-bustle, with furniture carried in and out. O’Brien smokes alone in the yard.
Robert asks Carson if we’ve news of Bates. Ah, the funeral was last Monday. (Who died?)
THREE
Joining Cora and Sybil at breakfast, Robert reads a letter: he’s back in the army proper as a Colonel.
FOUR
Cora questions him about it while Sybil, with her own letter, quietly cries. They finally notice her, but she excuses herself.
Edith practices driving with Branson! Heh. Oh, God, there she goes grinding the clutch.
In the kitchen Patmore throws something together for this hospital fundraiser. William hangs about, upset that his dad won’t let him enlist. Everyone’s fighting (even Thomas!) while William stays at home.
Ethel — the new girl — is a cranky snot to our Anna. Hughes asks about Bates. His mother died (aha) and he is due to return any time. Violet comes in to wrestle with the flower arrangements. Already they’ve given Maggie Smith some room to bring out her dry humor. She’s had more lines in the first seven minutes than she had half of last season.
Now Cora and Robert bring Isabelle into the library. She’s had a letter from Matthew. Oh, ho, ho, he’s engaged to be married. To a Miss Lavinia. Yikes. Poor Robert. The family is gobsmacked, and even Isabelle looks upset. Matthew will be bringing her here tonight. And Mary’s back from London today, too. Oh, well. We’ll use the concert as a new beginning. (In other words, suck it up, Mary. You’ve lost both your family home and the boy.)
Here comes Sybil through the front door as Isabelle is leaving. What’s the matter, dear? One of her man friends is dead. This was the news in the letter, and it seems that it’s not the first time she’s learned that someone she “once danced with” has died. She wants to be of real use, and Isabelle offers to help her train as an auxiliary nurse. Meanwhile, O’Brien lurks and overhears Isabelle recommends that Sybil learn how to make a bed and cook one or two things. Ask Patmore to show you, Isabelle says — hahahaha! O’Brien immediately informs Her Ladyship of the news.
Cora, Isabelle, and Violet ride together in the carriage and discuss Sybil. The two older ladies, normally at cross purposes, agree against Cora. That’s funny. When they drop Isabelle off Molesley comes out to help. Cora asks him if he intends to join up, and he says he’s been informed he’s not suitable. Why not? Well, he obviously doesn’t want to say. A tiny mystery there.
Here comes the train. Ah, it’s Bates arriving home. As he walks the platform from third class, Mary exits the first class compartment. So, he gets a lift to the house. Multiple establishing shots as the car drives up. Lol, it’s very pretty, and the period-appropriate auto is charming, even if it does border on a Willow’s Village sequence. Anna waits to receive Mary, allowing her a surprise reunion with Bates.
Haha, Sybil’s in the kitchen. The maids laugh at her when she says she doesn’t know how to make tea. She’s a good sport, saying she doesn’t want to be a joke when she starts her course. Daisy chimes in, Of course we’ll help you, and now Patmore’s stuck. Heh.
Anna styles Mary’s hair as all the women sit in her room, visiting. Oh, Edith brings it! She’s the one who mentions Matthew. Oh, dear, Cora won’t say it, so Edith does. He’s coming with his fiance. It’s important that Mary know, why didn’t Cora tell her? She must roll with the news in front of everyone. Some guy, Richard, is coming to visit Mary? (I don’t know. I sense many beats to this scene, and some seem swallowed.) All the women leave, and Anna asks if Mary’s alright? Now she cries.
We’re mingling at the fundraising concert. Ooh, boy, here comes Matthew with Lavinia. He and Robert wear smart red coats, formal military, I assume. Very awkward meeting with Mary as Lavinia says, “I’ve heard so much about you.” She seems sweet and feminine and demure, and quite different from Mary. (She also looks like a lamb being led to the cook stove, but we’ll see.)
SWITCH
Oh, no, oh, no. During the concert two women stand and hand out white feathers to the “cowards”. Poor William. What a horrible practice. Robert stands and explodes. Wow, well done. On the way out the door the women also give a feather to Branson. He just smiles.
FIVE
At the dinner table Cora apologizes to William as he serves. Edith chimes in with support for the women. Are the writers trying to make Edith as unlikable as possible!? That’s unfair. Isabelle tells Sybil that a place at the nursing course has unexpectedly opened. Here’s poor Robert asking what this is all about.
Outside, Bates updates Anna. His wife turned up, and now he thinks he can finally divorce her. His reasoning is confusing, but the important part is this: Anna asks, Is this a proposal? They kiss. Moving little courtyard scene.
Back at dinner, Edith says Branson told her she’s ready for the road. Robert: “That’s not what he told me.” Snort. Another put-down of Edith. She’s either mean or stupid, depending on the writing whim. Robert asks Lavinia how she met Matthew. Her father’s a solicitor like Matthew, she says. On the other side of the table, though, Mary and Matthew start up their intimate conversation, just as they always did, about his war experience. Lavinia’s stuck next to Robert waaay over there.
In the kitchen Ethel reads “Photoplay” magazine, which interests Daisy. O’Brien comes in and tells Ethel that Her Ladyship wants to see her in the drawing room. Now? Yes. (Oh, O’Brien, what are you up to?) When she gets up and rushes away, all the staff laugh. Rut-roh.
The ladies talk, with Edith encouraging Lavinia. In pops Ethel. She addresses Cora, thanking her, and the room freezes. Carson comes out of his skin! As she leaves, the family snickers. I don’t think Ethel knows she’s been punked!
Matthew says goodnight to Mary, and they’re like an old married couple.
Haha, now Ethel knows. She complains in the kitchen the next morning. Carson tells O’Brien that Her Ladyship wants the matter to fade away. No disciplinary action. They discuss Sybil’s presence in the kitchen. Hughes supports her. Ethel goes off on a diatribe. She’s so unlikable to everyone there.
At Crawley House, the Doctor tells Isabelle how many wounded they’ll be expected to have beds for. More than the hospital can handle. As they talk Molesley removes the tea service. Doctor asks if he should be carrying something “in his condition”. Ooh. Wait. The Dowager told the doctor Molesley has lung trouble and needed to be excused? Is that what he’s saying? She also asked that William be excused for a “skin condition”. What’s going on? Well, Isabelle is now on the case.
Sybil cooks . . . something. Patmore, who must be respectful, tries not to slam her too hard. Daisy jumps in with support.
Evening, and Anna and Bates discuss plans. They could sell his mother’s house and buy a small hotel nearby. They’re a team now, and they’re adorable. Anna is so happy. However, in the middle of the deep feelings, Ethel enters and sits down. Lol, she’s so annoying. Good job of writing and acting, I guess.
Morning, and Matthew’s on his way to the train. Mary waits for him at the station. She gives him . . . a snuggly. A stuffed little dog, for luck. Matthew is so fatalistic. If I don’t come back . . . look after mother, after Lavinia. Mary tries to reassure him. He’s glad they’re friends again. Another emotional scene.
Anna catches Ethel gossiping with some woman in the kitchen. It’s Bates’ wife! Anna goes back in and we get our first view of Mrs. Bates. She definitely knows who Anna is. Hughes comes in and offers tea in her parlor. We know Mrs. Bates is not nice, but we don’t know how bad it is. She’s stylish enough, and handsome, but her eyes are calculating. And, lol, she calls him “Batesy”. Ack.
Cora works her embroidery when Carson enters. Something’s been going on and he’s uncomfortable that she’s not been made aware. He must inform her that Sybil’s been in the kitchen for the last two days.
And here we are, Patmore instructing Sybil in cake making. Cora looks through the window, proud. Carson says the treat is to be a surprise for her. And it will be, Cora says. Don’t tell her I know! As Sybil pulls out the cake, Branson wanders in. Watching Sybil’s joy at her success, Cora tears up.
Bates vs. Bates over tea. She weasels about and then cuts to the chase: do what I say or I go to the papers about Lady Mary and a Turkish gentleman. And (although I don’t think Bates can attest to this but we can) she knows the truth. My God, she even knows Anna’s involvement. (Really? That’s an unbelievable amount of gossip on Edith’s part.) He grabs her hands, shaking with restrained violence, and calls her a bitch. You will give your notice tonight, she says. It’s an ugly scene. As Vera talks, the camera pans up to show an air vent over the parlor table. Ah, it’s Hughes on the other side, listening.
Robert’s furious. Obviously Bates is resigning. Robert says he thought they were friends. He’s just plain hurt. There’s Bates with that martyr’s face he does so well, honor eating him alive. Outside in the courtyard Anna confronts him. What’s the real reason? Ah, Anna knows he’s making some sacrifice. Good girl. He leaves and Anna’s devastated. What’s funny is I think Anna would agree, she would join his sacrifice to keep Mary safe, if only he’d told her.
William sits in the dark in the kitchen when Daisy enters. He could enlist if he wanted to, he says. Maybe I really am a coward. I wish you’d cheer up, Daisy says, I’d do anything. And then she kisses him playfully. Aw, lol, it doesn’t cheer him! You just feel sorry for me. Does this mean you’re my girl? He’s excited and she looks a little overwhelmed.
War. Matthew’s back in the trenches. Insert the little snuggly dog as Matthew lays it aside. He sets up Lavinia’s picture, so he literally just walked in. Oh, my. They go to check the damages (bombs fall) and he grabs the luck charm on the way out. As Matthew takes cover he notices another man: Thomas. Brothers in arms, eh?
Downton, as Bates and Vera leave. Anna watches from the window. In Mary’s room Hughes takes over as maid. No, it’s Sybil’s room and she packs. Edith offers to drive her, saying her skill will be useful when all the healthy men are gone to war. And there goes Sybil with Branson.
The Dowager visits with Isabelle and the Doctor. Oh, she’s defending her intervention into Molesley’s and William’s medical fitness for war. Isabelle objects and Violet says, “Do you want Molesley to die?” Hahaha. The doctor hides behind his hand. Isabelle speaks well, though, and Doctor takes her side. He’ll correct his information at once. It’s sad because Molesley is the least likely soldier imaginable. And he knows it.
Hughes catches Carson working. He never stops. Now he’ll have to dress His Lordship, too, with Bates gone. Hughes confesses about overhearing Vera. Ooh, she knew she would listen in! She planned the whole tea thing!
Branson carries Sybil’s bags as she arrives at the training center. Oh, my, Branson speaks up. He gives an impassioned speech about his feelings and she says . . . she’s flattered. Oof. He says he’ll give his notice and she says don’t. They won’t hear from me what you said.
Cut to explosions. Thomas, carrying a stretcher through the trenches, bitterly complains. His companion, waxing on about luck, gets shot through the head while sharing a cigarette with him.
Robert, in red regalia, joins other military men for a formal dinner.
Molesley corners the doctor and claims lung trouble, just as the Dowager said. Is he telling the truth? It seems doubtful. The war board has already discharged me, he says. Why make extra work? And Doctor agrees, although he clearly knows it’s a wink. William, though, will get a corrected record.
SIX
Back to the red coats. Robert thinks he’s on duty, that he’s part of the war effort as a soldier. But the position is only an honorary one. Oh, hahaha! “We old codgers have our work,” says the other man. Cruel, lol. Deep cut.
SEVEN
O’Brien prepares Cora for bed, telling her that Thomas wishes he could come home. And Carson prepares Robert, who complains about Bates’ departure. Carson must tell him. Honor compels. The wife, he says, was prepared to “engulf this house in scandal”. At first Robert scoffs, but then he locks on: What scandal? Carson cannot honorably say, but now Robert knows that Bates “fell on his sword” to protect the family. Lol, again Robert feels like a loser.
EIGHT
Carson, retiring, catches Ethel dusting around the floor. Ah, someone has asked her to do Carson’s job, and obviously the whole thing was a prank. It was O’Brien. Oh, you marvelous piece of evil!
Going to bed, Robert shares his low feelings with Cora.
Anna comes upon Ethel crying in their room. They’re kind to each other in their misery.
Edith walks in unannounced to Mary’s room. She’s forgotten her book, but she catches Mary praying. Of course, she’s nasty about it. After Edith leaves, we hear Mary’s prayer and see she’s holding a portrait of Matthew. Her prayer goes to voiceover as we cut to the trenches. Nighttime, and Matthew walks the line. He comes upon Thomas in a gap, boiling up a little condensed milk and sugar, and joins him. Thomas has all the Downton news via O’Brien. He asks Matthew if he could be reassigned to help with the Downton village hospital. You’d have to be sent home from the front first, Matthew says.
NINE
After Matthew leaves, push-in on Thomas’ face. He goes wobbly and starts crying, then lifts his lit lighter up out of the trench cover. His hand is shot. He gasps, “Thank you for my deliverance.” End.
An absolutely immense amount of information, with huge Four and Five details. Honestly, I only stabbed at the Switch moment. I didn’t see a clear demarcation, although the Shaming Women seem to take the conversation about who will serve to a different level. Bates and Matthew, their loves and travails, are the arc for this episode, but we have other tidbits. Branson’s romance with Sybil, which I only know because I’ve seen the show before, is moving slowly along. At this point we see humiliation and unreturned feelings, but it’s arcing. Also, William’s frustration that he can’t enlist. In this episode we learn that he hasn’t been called up because the Dowager contrived to remove him from the list. This story has places to go, and the pipe is being laid now. I don’t remember what becomes of Ethel, although she seems to be the “Downton must modernize” person this season. And we have the hospital, the wounded, and where the injured will go for care. The Switch I’ve chosen is more about these tangential plots than the main arc of this episode. I don’t like that. Is there a better moment when the story pauses, and then churns forward? I’m not seeing it. Each beat is very episodic, and the momentum is desultory.
Lovely Three/Six, though. Carson’s decision at the Seven is loaded with potential. The show ends strong, especially with the powerful Thomas moment.