All language subtitles for Downton.Abbey.A.New.Era.2022.1080p.AMZN.WEB-DL.DDP5.1.H.264-EVO-HI

♪ ♪

♪ ♪

(birds chirping)

♪ ♪

PRIEST:
...serve the Lord, rejoicing

in the power of his Spirit.

And the blessing
of God Almighty,

the Father, the Son
and the Holy Spirit be upon you

and remain with you all forever.

Amen.

CONGREGATION:
Amen.

♪ ♪

- (quietly): Thank you.
- (chuckles)

Mm-hmm.

(church bells ringing)

MAN:
They're coming. Look.

(excited chatter)

(Tom chuckles)

(cheering, laughter)

If you could all look
this way, please.

(camera clicks)

(low conversations)

I have never seen
a wedding like it.

- It's a bit grander than ours.
- (chuckles)

- There you are.
- (Carson clears throat)

I haven't noticed any
congratulations on your lips.

- Mm.
- Don't tease him.

I wish the boy well.

- I do.
- Oh.

Very smart.

- Ah, Mary.
- Hello.

- Darling, have you seen the cake?
- It's beautiful.

(chuckling)

All smile.

(children laughing,
chattering playfully)

BERTIE:
It's delightful.

Be careful, children.

(scoffs)

Oh.

(camera clicks)

LUCY and TOM: Thank you.

They're going to live here.

And I'm off to the dower house.

The thought of being warm
in winter

goes to my head
like strong drink.

(chuckles)
I can imagine.

We're going to cut the cake.

I want to thank you
for allowing me to be so happy.

I feel like I've been given
much more than I deserve.

Well, that's
an encouraging start.

(cheering, applause, laughter)

- Bravo.
- (laughs)

(laughter)

(excited chattering)

♪ ♪

Splendid. Size of that cake.

- Goodbye.
- Send us a postcard.

- Thank you for everything.
- Bye, old boy.

- Bye-bye.
- Have a wonderful time.

- Have a safe journey.
- We will.

(laughter, cheering)

(excited chattering)

Bye.

Goodbye.

Goodbye.

(cheers and happy chattering
continue)

(horn beeps)

WOMAN:
Congratulations.

(cheering continues)

♪ ♪

(horn beeps)

I've had a letter
from Mr. Murray.

He's coming to Down ton
on Tuesday.

- What do you want him for?
- Oh, it wasn't me.

It was your grandmother
who summoned him.

He'd like us there.

Rosamund, you should be with us.

- Oh, dear.
- Why do you say that?

There's only one reason
old ladies summon their lawyers.

♪ ♪

Do sit down.

I feel like Andromeda
chained to a rock

with you lot hovering over me.

I don't know why
Murray told you to be here

without asking me first.

(chuckles)
Nor do we.

Ah, Denker.

A Mr. Murray will be here soon.

H-He's here now, milady.

He... he says
you're expecting him.

What? Why didn't you tell me?

You shouldn't be so untrusting.

Ah, have you told them,
Lady Grantham? Good.

Please.

She's told us nothing.

Well, that's easily done.

I've come into possession of
a villa in the south of France.

And now I've given it to
my great-granddaughter Sybbie.

What?

What bit didn't you understand?

I don't understand any of it.

What villa? Where?

This is too extraordinary
for any words.

It's called La Villa des
Colombes, and it's near Toulon.

But why was it yours?

And why have you never
said anything about it?

Because I thought it was a joke.

- Start at the beginning.
- (Mary sighs)

Years ago, before you were born,
I was in France,

and I met a man,
the Marquis de Montmirail.

And he invited me
to spend some time

at a villa he'd just bought.

A year or so later,
he wrote to me

and said he'd transferred
the villa into my name.

I never thought he was serious,
so I didn't pay any attention.

- But it wasn't a joke?
- MURRAY: It seems not.

He died recently,
and to his widow's alarm,

the villa they've been using
every winter for years

was registered to Lady Grantham.

He never changed it.

- Now, I'll need some signatures.
- Oh, yes.

Why have you given it to Sybbie?

Your children
are well set up here,

and Edith's are more
than taken care of,

but Brompton will go
to a child of Tom and Lucy's.

So darling Sybil's only daughter
will inherit little,

and I wanted to correct that.

What family did he have, uh,
this M-Montmirail chap?

The widow and a son,
the present marquis.

The mother is keen they should
take the matter to court.

- Well, you can't blame her.
- VIOLET: Why?

If her husband
wanted me to have the place,

who are we to argue?

You never thought
to turn it down?

Do I look as if I'd turn down
a villa in the south of France?

Mr. Murray?

- May I ask a favor?
- Please.

I have a task for you.

It's all explained
in this letter.

I'll telephone in a few days
in case there are questions.

Of course, Lady Grantham.

- Now, I hear my train calling.
- Goodbye, Mr. Murray.

And thank you.

You want me to tell you

why he did it when the truth is

I do not know.

(door opens)

And with that,
I will say good night

and leave you to discuss
my mysterious past.

Now, Denker, don't steer me.

I'm not a racing car.

More's the pity.

I beg your pardon.

You really must try...

It does seem odd.

They spend a few days together
in the same resort

more than 60 years ago,
and he gives her a house.

I suppose he wasn't
just a lunatic.

Well, that's what
they'll try to prove.

Well, I think it's marvelous of
Granny to take care of Sybbie.

Even if Monsieur de Montmirail
was as mad as a rat.

But why did Mama
never say a word?

ROBERT:
As far as she's concerned,

she received
a very eccentric letter

more than half a century ago,

she considered it potty
at the time

and never gave it
another thought.

(Teo barks)

GEORGE:
Well done, Marigold.

(continues indistinctly)

MARIGOLD:
That's right. Good shot.

GEORGE:
You stand back.

- (Teo barks)
- (Marigold giggles)

Nanny, watch.

BARROW: A telephone call
for you, milord.

- Who is it?
- Uh, a Mr. Barber.

- Says he's from British Lion.
- ROSAMUND: What's that?

It's a film company, isn't it?

I better find out what he wants.

What will they do with the villa
in the summer?

They can't let it.
Nobody goes there then.

- Oh, they do now.
- Well, surely it's too hot.

Apparently not.

- MARIGOLD: Mummy!
- Hello, darling.

Mummy, come and play!

MARIGOLD
It's a race. Come on. Quickly.

♪ ♪

(bird chirping)

Mr. Barber turns out to be
a producer and director.

He wanted to practice
chronophotography here.

(chuckles)
It's not the Stone Age, Papa.

You mean he wants
to make a film at Down ton?

What did you say?

- I let him down gently.
- Then I'll ring him back.

I want to hear
what he has to offer.

What's the point?

BERTIE: Well, I suppose
there'd be a fee.

ROSAMUND:
When does Henry get home?

MARY:
Not in time for this.

Where is he now?

His last message
was from Istanbul or somewhere.

But as far as I'm concerned,

the whole idea
of a rally is barmy.

You can manage it without him.

I see.
So it's down to me, is it?

You can't expect us
to deal with kinema people.

First, let's just listen
to his proposal.

- CORA: Hmm.
- Come along, Mary.

I'll keep you company.

The money would be useful,
surely.

EDITH: Is everything
all right with Henry?

He's in love with cars.

He's in love with speed.
He's in love with adventure.

He's also in love with me,
I think.

But I don't seem to cancel out
the other three.

And you thought you would?

I suppose I did.

NANNY:
Ready for you.

(laughing)

(engine rumbling)

♪ ♪

BARBER:
It's perfect.

Until recently, film making was

largely confined to the studios,

but now the process
has opened up.

Abel Gance's Napoléon last year

showed what a camera can do
on location,

filming in real houses,
real landscapes.

What sort of film is it?

The Gambler is set in 1875.

Uh, an earl's daughter,
Lady Anne Erskine,

falls in love with a man
who turns out to be a gambler,

to her family's horror.

I can imagine.

They meet at a house party
in the country,

and things soon
spin out of control.

There are visits
to a smart gambling club,

which we'd do here.

A gambling club at Down ton?

That would finish Granny off.

And Papa, too.

- We must have time to think.
- Of course.

Here's my card.

- Mm-hmm.
- Ring me if you have any questions at all.

I'll get Barrow to see you out.

I suppose there are two
questions that we would need

the answer to before we can
really have the discussion.

Uh, we'd be here
for about a month,

and if you turn the card over,
you'll see what we'd pay.

Of course, that's negotiable.

- MARY: Goodbye, Mr. Barber.
- EDITH: Goodbye.

And that's the starting point?

(thunder rumbling)

ROBERT:
I think it's a horrible idea.

Actresses plastered in makeup
and actors just plastered,

scrambling over our things.

We'd have to keep counting
the spoons in the pantry.

The locals might take
a dim view.

Well, you mustn't
let that stop you.

The county takes
a dim view of everything.

You have to consider the fee.

We don't need
to talk about money.

EDITH: Oh, but you need
to think about it.

You could have a new roof,
for a start.

You could soon be looking at
real flooding, and then what?

If you turn them down, do you
think we could persuade them

to drive further north
to Brancaster?

(scattered laughter)

Mama, where do you stand?

Mary, dear, will you take
your father to see the attics?

I don't think he's been there
for quite a while.

(thunder rumbling softly)

I haven't been up here
for years.

Well, this is the situation
we're in.

With the money, we can bring
the house up to snuff,

to match what we've spent
on the estate

and enter the 1930s
with our heads held high.

- But if you don't want to...
- No.

No, you steer ahead.

You're the captain now.

I am aware of that,
even if you think I'm not.

- (light laughter)
- (Mrs. Hughes sighs)

And now I have
the unenviable task

of breaking the news
to Mr. Carson.

DAISY:
I can't believe it.

To make a film here?
Can they do that?

Would there be film stars?
Famous ones?

Oh, give her some water
before she passes out.

Nothing's decided yet.

MRS. PATMORE: It's all very fine
to get excited.

You live at the farm.

The rest of us
will have them in and out

and round about
every hour God sends.

DENKER:
And what of Her Ladyship?

- Hoping for a peaceful end...
- Mm.

...and suddenly plunged into
a three-ring circus.

Well, I agree with Daisy.

We'll get to know men and women

we've only seen
upon the silver screen.

- And if it's good for the house...
- This is the point.

An injection of cash
could make all the difference.

They mention how much?

It's not our business
if they did.

- They did not.
- Well, good night.

- Good night. - Good night.
- Good night, Mrs. Hughes.

Still, times change
and we must change with them.

Mrs. Parker.
We should be getting home, too.

Very good, Mr. Parker.
I'm coming.

(Mrs. Patmore chuckles)

Daisy's more obedient with him
than she ever was with me.

Maybe he makes her happier.

Well, I did me best.

CARSON:
A moving picture?

At Down ton?

I know it sounds unlikely,

but I'm not sure
it's quite as awful as that.

I disagree.

Rough and vulgar actors
and actresses

strolling through the rooms
with their sticky fingers,

sitting on the chairs,

eating at the table where
the King of England once sat?

Oh, this smacks of
the worst excesses

of the French Revolution.

Should we ask them
to stay standing

and put them in gloves?

This is a comedown, Elsie.

This is a falling-off.

They are flirting with mob rule.

But it will pay, Charlie,
and they need the money.

Oh, by that argument, why not
open the place to the public

and have them poke and pry
in every corner?

We tried that once,

and I thought we'd all decided
never again.

You carry on like that, you'll
give yourself a heart attack.

I'd be better off out of it
if this is what we've come to.

(sighs)

(over radio): ♪ These moments
don't happen so often ♪

- ♪ It doesn't seem right ♪
- ANDY: Hmm.

♪ To delay... ♪

MASON:
Andy, I wonder if you might

fold that newspaper properly?

I'll take it upstairs with me.

Course.

So, moving picture
to be made at the big house.

What will that mean
for the pair of you?

- Can't say exactly.
- But it'll be exciting.

Seeing how a film's made,
meeting the stars.

I'd keep clear of them
if I were you.

Keep clear of all of it.

I'll say good night, then.

- Good night.
- DAISY: Night.

Forgot the paper
after all that. (chuckles)

Memory like a sieve.

DAISY:
Night.

Remember,
it's his farm, not ours.

It's Lord Grantham's farm,
and he's only the tenant.

Maybe.

But don't say anything
you'll regret.

That's the problem.

I'm bound to in the end,
and then where will we be?

Murray's had
the will translated.

Apparently, Montmirail refers
to an idyllic interlude

he spent with Mama as a young
man before he was married.

What else did Murray
have to say?

Why, it's odd.

The widow wants
to fight the will,

but the son believes it can be
settled in a friendly way.

I'd cover the villa with barbed
wire and board up the windows.

(chuckles) He says he'd like us
to visit him there.

Now, clearly Mama can't travel,

but he asked us to bring
Tom and Lucy with us

now that he knows
Sybbie is to be the beneficiary.

What do you think?

Well, we could
get to know Lucy better.

And with any luck, it would mean

we'd miss the whole
of Mary's frightful film.

I found it. Myrna Dalgleish.

I knew I had a good one of her.

Her beauty is so classic.

I've got one of him.

Guy Dexter in Casanova.

The very thought of it
makes me blush.

There is something about him.

Like a wild animal
ready to spring.

Ready to spring on you,
you mean.

- (gasps)
- BATES: That's enough.

You'll have Andy and me jealous
if you don't watch out.

Oh, I like the sound of that.
(chuckles)

I hate that you'll miss
all the fun.

I'm nervous now, leaving you
alone with Guy Dexter.

The chance would be
a fine thing. (laughs)

- MARY: What do you think, Bertie?
- CORA: A complication.

Tom says they'd have to bring
Maud Bagshaw.

She's living with them
until her house is ready.

We can all stay in an hotel.

In that case, can we come?

I'd love it.

We wouldn't be in the way?

So everyone's going except me?

And me.

I've been thinking about
an article on the people

who visit the south of France
in the summer now.

Are you writing again?
I'm pleased.

Edith's back at the magazine
for a couple of days a week.

And little Peter?

Has a wonderful nanny,
thank heavens.

Can you really work
with two young children

while running a house
like Brancaster?

(chuckles)
Ask me in six months' time.

Well, I'm glad to hear
you're doing something

with your brain again.

Well, let's hope
it's still there.

ROBERT: I'll telephone
Montmirail tomorrow

and explain
we'll be in an hotel.

I should think
he'll be relieved.

(quiet knocking)

Come in.

- I saw the light was still on.
- (chuckles)

I suppose you agree with Papa
that the whole idea of a film

is too common
to even be considered.

Nothing is too common

if it will help
to keep Down ton afloat.

Well, we'd have enough money
for a new roof.

At the cost
of one terrible month.

Honestly, I do think
it will be pretty terrible.

But the sight of old washbasins
catching rainwater

in the attics is terrible, too.

We got through the war.
We can get through this.

But you must be firm, Mary.

To those people, women like us
fall into two categories:

dragons and fools.

You must make sure
they think of you as a dragon.

(laughing)

♪ ♪

MRS. HUGHES:
Mr. Bates and Miss Baxter

will go to look after
Lord and Lady Grantham.

The rest will stay at Down ton
to help with the film people.

You'll get no help from me.

In contrast to
Miss Won't-Lift-a-Finger,

I'd love to help.

Could I be
Miss Dalgleish's lady's maid?

I've asked Anna to take that on.

I don't want to be
a spoilsport, Daisy,

but you do have a job down here.

We know Miss Dalgleish
is staying in the house?

She is, with the director
and the leading man.

The rest are going to put up
in the village.

Now, I need to go
and see Lady Mary.

Oh, don't worry, Daisy.

Anna will find a way
to get you in there.

Well, I'd exchange it all for
a trip to the south of France.

- Daisy?
- (Daisy sighs)

He's opposed, I'm afraid,
milady, and says he must

stand watch
and keep them in check.

I don't know how helpful
that will be.

We've got to get rid of him.

But how?

CARSON:
I should travel to France

with the rest of the party?

Really?

MRS. HUGHES: She worries
that everything will be

odd and foreign
for His Lordship.

And neither Mr. Bates
nor Miss Baxter

will have the authority to make
sure it's all done properly.

Yes. I see.

His Lordship needs you, Charlie.

Only you can show them
how things should be managed.

Don't you worry about that.

They'd better be warned.

The British are coming.

But what would I do with him?

And wouldn't it be rather an
imposition on the Montmirails?

He longs to be useful to you,
Papa, as he always did.

Couldn't you give him
the feeling that he'd help you

just by being there?

I will if you insist, but it
seems very sentimental to me.

♪ ♪

MAN:
Hold it right there.

Right, you lot, go behind him.

MAN 2:
You two, come on, pull along.

- Follow the wardrobe mistress.
- Pass me those.

- She'll show you where to go.
- Thank you.

- No, that's private.
- Oh, I see.

- This way.
- Here they are.

(low, overlapping chatter)

Excuse me, gentlemen.

Yes, please. That's it.

You're an angel.

(overlapping chatter)

♪ ♪

(clears throat)

Hello, Mr. Molesley.
Why are you here?

You know I love anything
to do with films.

Well, I know you enjoy
a trip to the pictures.

Oh, no, it's more than that.

For me, Hollywood is
the ultimate dream factory.

And I need dreams
as much as the next man.

Mm.

ALBERT:
All this for one woman.

(sighs) I give you
Miss Dalgleish's wardrobe.

I know, but just fancy.

(breathing heavily)

- No, do it properly.
- (chuckles)

(speaks indistinctly)

(quiet chatter)

(plays random chords on piano)

(quiet chatter continues)

Sorry.

Nice and steady, lads.
Keep it moving.

Keep it just over there.

- Thank you very much.
- Right you are.

Watch your footing.

Oh, you're all here,
hiding from the invaders.

Sybbie!

(chuckles):
Hello, darling.

- What a lovely surprise.
- CORA: Tom had her driven

so she could be with her cousins
while we're in France.

Oh, we've been
talking about you.

About me, Donk? Why?

Any number of reasons, all good.

May I present Miss Dalgleish.

My father, Lord Grantham.

She is one of the stars
of our film.

I can easily believe it.

Welcome to Down ton,
Miss Dalgleish.

(giggles)

Mm.

The modern world
comes to Down ton.

You've told our host in France
that we're staying at an hotel?

ROBERT:
Oh, he wouldn't hear of it.

He insists we stay at the villa.

Even though we're there
to steal it from them?

He seems a very nice chap,
and his English is flawless,

which is more than can be said
for my French. (chuckles)

Mr. Guy Dexter.

ROBERT:
Welcome, Mr. Dexter.

I'm Lord Grantham.

This is my daughter,
Lady Mary Talbot.

She'll look after you,

as the rest of us
are off to the Riviera.

But I hope
you'll enjoy yourself here.

I'd come with you if I could.

- You're English?
- Yes.

I went over to America
ten years ago to try my luck,

and I've been there ever since.

- Hmm.
- I'm not the only one.

They call us the Hollywood Raj,

and we all play cricket
once a week.

And the weather
never stops play. (chuckles)

Do you know the south of France?

Last time I was there,
I was marooned on the roof

of the Negresco with Ronald
Colman and Gloria Swanson.

On the roof?

You can tell us the rest
of that story at dinner.

- When are you leaving?
- ROBERT: Tomorrow.

Uh, Dover, Calais and then
the Blue Train down to Nice.

How enviable that sounds.

When do you expect
your director?

Oh, he'll be here for dinner.
Don't you think, Myrna?

(Cockney accent):
How should I know?

("Everything Has Changed
But You" playing)

Myrna Dalgleish in this house.

It seems incredible.

ANNA:
Her dad sold fruit

in the old Borough Market.
Now look at her.

A goddess of the screen.

And you're going to be her maid.

She's brought
a mountain of luggage,

so I thought you and Anna
could go together right now

and offer to unpack.

BATES: Just remember,
neither of you know this woman.

She may not be the film star
you see in the fan magazines.

ANNA: Well, there's only
one way to find out. (chuckles)

♪ And soon my tears are dry ♪

♪ In your eyes,
I see you're still blue ♪

- Thank you.
- ♪ Everything has changed but you. ♪

♪ ♪

- FOOTMAN: The Lady Grantham.
- (song ends)

I'm sorry to burst in on you.

Not at all.

The fact is
I've made a new will,

and I need you both
to witness my signature.

I'm just fussing.

It's only my jewelry
and a few other pieces.

It's always a good idea to
bring these things up to date.

CORA:
Murray was down anyway,

so I thought I would
take advantage of that.

I'm glad you've come,
because I wanted to tell you

that Violet has asked us
to go through her things.

What? Why has she asked you?

I really don't know, but,
of course, anything of interest

will be referred
to Robert and you.

I just thought
you ought to be told.

Well, she wants her death to be
ordered and free of bother.

It's all
very Violet-like, really.

- Are we wrong to go to France?
- Oh, certainly not.

Mary can send a telegram

if there are
any dark developments.

But there won't be.

I don't pretend I've always
worshipped at her shrine,

but it will be strange.

And Mary will miss her
when she's gone.

Mary will become her,

- so the gap will be filled.
- (chuckles softly)

And now I must run.

I'm making dinner late
by being here.

I'll see you when we get back.

Yes, of course.

She's right.
It will be strange.

I shall miss having a sparring
partner to keep me trim.

Be careful how you handle
them clothes.

They're haute couture.

I should go to Lady Mary and
Lady Hexham to help them dress,

so I'll leave Daisy
with the unpacking.

I'll be back
when you're at dinner.

So long as it's finished

and the trunks are gone
when I come up.

What were you doing
on the roof of the Negresco?

Oh, it was a scavenger hunt,
and we needed a chimney pot.

But when we got up there,
they were huge,

so we smashed one
and all took a piece.

(chuckles):
Oh, was the manager pleased?

Well, it was good publicity.

Is there such a thing
as good publicity?

There is
if you're in the movies.

Well, I suppose the Russians
smash their glasses

for good luck.

And now film people
smash other people's property

for good publicity. (chuckles)

Is this true, Miss Dalgleish?

Oh, I don't do nothing
unless I feel like it.

Oh, how musical
you make it sound.

Hold the plate nearer.

How did you become
a film actress?

A talent scout spotted me.

Because I'm so beautiful.

(chuckles)
It seems wonderfully romantic.

Well, it's not that romantic.

Not when you know that every man

in the room
just wants to give you one.

What a colorful life you lead.

(Robert clears throat)

H-Have you made
many kinematographs

traveling around the country?

I'm afraid I'm rather glad
to be missing it.

Well, I know you're only
doing it for the money,

but that's all right.

(gulps)

What I never understand is how
you remember all those lines.

Well, it's not theater.

In fact, I'm not even sure
it's proper acting.

Oh, but isn't that
about to change?

Aren't films starting to talk?

Couple of words here or there.
Nothing to frighten the horses.

Says who?

Get me a crème de men the.

Would it be possible
to remind Miss Dalgleish

that the servants work hard
in this house

and they are doing their best?

They're not used to rudeness.

Well, she's not
used to criticism.

Her face on the screen
sells a million tickets,

- and she knows it.
- MYRNA: Cheers.

I see.

♪ ♪

MYRNA: Well, I got my
first picture when I was 20.

(conversation continues
indistinctly)

Thank you.

I'm the butler, sir.

Please tell me
if there's anything you need.

Anything I need?

Seems rather a tall order.

(chuckles)
I'm sorry. I'm-I'm teasing you.

What I should've said was
I have everything I need.

Thank you so much.

Very good, sir.

(yawns)

Oh, put that guidebook down,
Charlie, and go to sleep.

Mm, let me finish the chapter.

You won't believe
what these people eat.

(grunts softly)

- ♪ ♪
- (overlapping chatter)

(Carson sighs)

- (clears throat)
- Sorry.

- Come on, Carson.
- Coming through.

(sighs) Let's run for it
before things get any worse.

I hope you've got
a Mediterranean version

of that outfit, or you'll boil.

Don't worry about me, milord.

Hmm.

ROBERT: And you're going
to be good, aren't you?

MARY:
Goodbye, Papa.

- Look after Teo.
- Of course. (kisses)

Now, have a lovely time,
no matter what they're like.

Yeah. We'll do our best.

Now, don't get into any scrapes.

I have found,
when dealing with foreigners,

if one speaks loudly and slowly,
they'll bend to your will.

Not too loudly
and not too slowly.

Uh, no, no, Andrew.
Andrew. No, no.

Thank you, Bates.

- Ah.
- We've come to wish you luck.

Well, you only just caught us,

as we set off
on our strange mission.

Well.

I'm sorry
you'll miss the filming.

Will you watch it
while we're away?

I will if they let me.

Try and enjoy yourself.

No need to say the same to you.

Please make sure that
Johnnie keeps his nose clean.

It will be done, sir.

(laughs softly)

(overlapping chatter)

Everyone aboard
or we'll miss the train.

♪ ♪

MRS PATMORE:
Don't think I've ever seen

so many lovely-looking ladies.

Cup of tea for Miss Dalgleish.

I've just made some.
Daisy can take it up.

Oh, I'll do that. I want to.

No, let me. Please.

Lady Mary won't mind.
I'm begging you.

Steady on, Daisy.

Uh, but I'll fetch
the tray after.

(piano plays flourish)

(gentle melody plays)

(gasps)

This is for you, Miss Dalgleish.

I never got chance to say
how exciting it is

that you're here.

I love your pictures.

You've been such an inspiration
to me.

Since I first saw
Star-Crossed...

- MYRNA: Can we get a move on?
- BARBER: Right away.

Positions, everyone.

(whispering):
She's the actress?

- (Myrna clears throat)
- Roll the camera.

- Harry.
- (camera rattling)

- And action!
- (gasping)

- (plays flourish)
- You walk downstairs

and find him with your eyes.

- You halt and walk on.
- (piano plays gentle melody)

But he's waiting for you.

Tell her she looks beautiful.

(piano playing gentle music)

You're delighted to hear it,
but you cannot admit it.

You look into his eyes.

Will you let him kiss you?

It feels as if you might.

Wait! Wait! Who's he?

- Cut, cut, cut, cut.
- (music stops)

So... I'm ever so sorry.

MYRNA:
Wait, I-I can't work like this.

Oh, it's Molesley.

He's a great favorite here.

You don't mind him watching,
do you?

I'm sure they don't mind
him watching.

- They just don't want him in it.
- Oh.

(chuckles):
No. Well spotted.

So now you just do it all again?

- Exactly.
- Oh.

I'd rather earn my living
down a mine.

- First positions please.
- Oh.

BARBER:
Roll the camera.

Harry.

- And action!
- (gasps)

- As if he did that again.
- Coming down the stairs,

not expecting to find him there
waiting for you.

♪ ♪

If I'd known we were all going
to be staying at the villa,

- I'm not sure I'd have come.
- Why not?

You don't think it might be
a little awkward?

When we've appropriated
this family's home?

I'm not sure that's
the sensible way to look at it.

I'm just glad Sybbie will be
on much more equal terms

with her cousins.

MAUD: Violet is giving
your child a great opportunity,

a real start in life.

Does her generosity
surprise you?

Attila the Hun loved his family.

(chuckles)

(grunts)

You all right, Mr. Carson?

CARSON: "All right"
is not the first phrase

that springs to mind.

I've brought you
some chicken soup, Mr. Carson.

(grunts)

(muffled grunts)

♪ ♪

(Bertie chuckles)

I think she sounds very rude.

I expect she's done in.

Well, it must be difficult when
the whole film depends on you.

It depends on Mr. Dexter, too,

and he seems very well-mannered.

And so attractive.

Oi, oi.
Are you up to something?

If I were, would I tell you?

(laughter)

Mr. Molesley's in the film now.

- (laughter)
- I wasn't sure where to stand.

Why don't we let the film
people get on with their work

while we get on with ours.

Listen to him, Daisy,
before you run away

- to join the circus.
- (others chuckling)

♪ ♪

♪ ♪

(seabirds screeching)

♪ ♪

I say, how are we all?
How did we all survive?

- All right? (chuckles)
- Yes.

(quiet chatter, chuckling)

- Well, shall we?
- MAUD: Oh, the color of the sea.

Ah.

Monsieur de Montmirail?

Lord Grantham. Bienvenu.

Well, we've become
quite a party.

I'm afraid we've even
brought our butler.

I'm not quite sure why.

But how chic.

Now, come in, everybody.

- Come on.
- MAUD: Just going to feel like I need a drink.

MAUD:
And I could do with a sit-down.

MONTMIRAIL:
I can imagine.

Welcome.

ROBERT:
Merci.

Ma man.

May I present Lord Grantham.

My mother.
La Marquise de Montmirail.

ROBERT:
Madame.

Uh, this is Lady Grantham,
Lord and Lady Hexham,

Lady Bagshaw
and Mr. and Mrs. Branson.

MME DE MONTMIRAIL:
Ah, Monsieur Branson,

father of the lucky child.

How happy you must be.

My wife and I
are very glad to be here.

I must say straightaway how
kind you are to include us all.

We're delighted, Lord Hexham.

Aren't we, maman?

Delighted.

Thank you, Mrs. Patmore.

- Thank you.
- Uh, mind you eat them slowly.

Whoa. (chuckles)

Oh. Mr. Mason.

How are you? Are you
on your way back to the farm?

I wanted to give
the young couple a break.

They're never alone.

They always
have to put up with me.

Well, it's your house
to do as you like.

But I want them to feel
it's their home,

so that when I surrender the
tenancy, they'll take it on.

What will you do?

Don't you worry about me.

You've got your own concerns.

Well, I do worry about you.

Oh, thank you. Oof.

Call sheets for tomorrow
will be issued in an hour

and delivered to your digs.

A good day?

It's always good
if we get through the schedule.

What's that? Good news, I hope.

Not really.

My husband isn't coming back
when he said.

Must be a disappointment.

It's a disappointment
but not a surprise.

Half past 8:00
is too late for me.

I like to eat at 7:00.

It's difficult for the kitchen
if we change the usual timings.

(Myrna sighs)

I wish I could see
the star magic.

Well, I tell you what.

One of her films
is showing in Thirsk.

Why don't we catch it?

I should say no.

Why?

None of your family's here.
You're your own mistress.

All right.

I'll warn Barrow,
put on a coat and tell Granny.

(knocking)

Now, Granny, don't be cross,

but I'm going into Thirsk
to see a film.

On your own?

With Mr. Barber, the director.

Have you heard
from Henry lately?

He sent a telegram today.

He's not coming back yet.

Denker, change of plan.

I won't get dressed.

I'll have my dinner on a tray.

Milady.

MARY:
I am sorry.

It's not your fault

that Miss Dalgleish has
all the charm of a verruca.

Well, Mr. Dexter's nice.

He can stick up for himself
without my help.

Doesn't filming interest you?

I watched some of it.

I'd rather eat pebbles.

- (chuckles)
- In fact,

I think I'll retire to my bed.

At least until they've all gone.

Should I be worried?

Well, Florence Nightingale took
to her bed at the age of 38.

She died at 90.

You would tell me, wouldn't you?

What do you think?

Go on.

(door opens)

- ♪ ♪
- (birds chirping)

MME DE MONTMIRAIL:
And you, Lord Grantham?

Are you familiar
with the south of France?

I know Lord Brougham
first made it fashionable

in the 1830s
when he was chancellor.

So you're only taking back
what is yours by right?

ROBERT: I wouldn't say that,
but I do see

why you find it upsetting.

But here you are,

eyeing up the furniture,
measuring the curtains.

MONTMIRAIL:
Ma man, please.

We can always buy another villa.

We're here
because your son invited us.

But I suppose
I would like to know

why your husband
did what he did.

I've asked our lawyer
to join us here in a few days.

I think it's an excellent idea.

Until then,
I hope you'll enjoy your stay.

(clears throat)

Your butler lends a welcome air
of splendor to the proceedings.

But he can stand down
if you prefer.

Why, when the villa already
belongs to your granddaughter?

Lady Bagshaw,
please come and sit here.

(Carson clears throat)

I am so sorry.

I laid down for five minutes,
shut my eyes, and that was it.

- I was gone.
- (Montmirail chuckles)

Welcome to
the Villa of the Doves.

- You must come here a lot.
- MME DE MONTMIRAIL: We do.

Or rather, we did,
before you entered our lives.

MONTMIRAIL:
Always in the winter

for as long as I can remember.

But now coming in the
warmer months is catching on.

I'm planning an article on that.

You're a writer, Lady Hexham?

More of a journalist,
I'm afraid.

I have a magazine, and
I'm taking back control of it.

What's your article about?

Oh, uh, Scott Fitzgerald,
Zelda, Coco Chanel.

All the people that got the
hotels to stay open in July.

Can I publish some pictures
of the villa?

Might that be possible?

Of course.

If we can see the images
before you use them.

Ah, you're obviously not
the first journalist he's met.

(laughter)

♪ ♪

MAN:
Tickets, please.

We're going to have to defer
our appreciation

of Miss Dalgleish's attractions
to another time.

This isn't her film.

The Terror is the first
all-talking picture

to show in Britain.

- I thought that was The Jazz Singer.
- Oh, no.

In that, Al Jolson just says
a few words to his old mother.

Oh, and sings.

In this,
they talk all the way through.

- Mm.
- Where's the Rialto?

Uh, take the next left and park.

(knocking)

Lady Mary's gone
to the pictures in Thirsk

with Mr. Barber, and old Lady
Grantham's eating in her room.

So Mr. Dexter and Miss Dalgleish
will be dining alone.

Have you let Mrs. Patmore know?

I have.

We all pity Mr. Dexter.

(sighs)

What's the matter?

Oh, you wouldn't be interested,
Mrs. Hughes.

Try me.

If you want to.

(Barrow clears throat)

When we had the royal visit,

do you remember
a valet called Ellis?

I do.

You and he were quite friendly,
I recall.

I had a letter from him
this morning

saying he's getting married.

And that's sad?

I know it shouldn't be.

Mr. Barrow, your path in life
is a hard one.

Most people in your position

choose to hide
behind appearances

that will allow them to
avoid persecution and rejection.

He's surely not
to be blamed for it.

(sighs)

It isn't what I want,
Mrs. Hughes.

Then you're a brave man.

But you're also destined
to be a lonely one.

Unless you're very fortunate.

(playing light classical music)

I thought you said her face
could sell a million tickets.

- Not in Thirsk, apparently.
- (chuckles)

MARY:
But you're right, of course.

She is very beautiful.

(ensemble playing
"God Save the King")

CORA:
How wonderful this is.

I'm still curious
as to why we're here.

If you'd come to England,
you could have met Mama,

which would've made more sense.

It was you I wanted to meet
more than old Lady Grantham.

And your mother?

The situation is
more delicate for her,

but she'll be all right.

I'll make sure of that.

♪ ♪

- That way.
- Mm.

TOM:
What do think their game is?

To lull us into
a sense of security

then whack us with a lawsuit?

Maybe they want us
to feel guilty

and withdraw from the field.

I think it's just that Monsieur
de Montmirail loved his father,

and he intends
to carry out his wishes.

And we're here
to represent Granny,

the mystery figure in all this.

(groans)

(sighs)

(grunts)

(sighs)

♪ ♪

(bell jingles)

(sighs)

Bonjour, monsieur.

Glare. Um, no.

Um, cover.

C... Uh, cool. (chuckles)

Yes. (sighs)

- Carson?
- Oh.

(stammers)

May I be of help?

Um... (speaks French)

(stammers)
I thought maybe this one.

It makes you look like
King Zog of Albania.

(softly):
Yeah.

Oh, perfect.

Oh. No, no, no.

I wouldn't hear of it.

It was my choice,
so I should pay.

Yeah, but I'm the one
who has to wear it.

Um...

Thanks for your custom, sir.

Both you and your wife.

(Maud laughs softly)

(Carson groans)

If you were selling menswear
when you first

got to Hollywood,
how did you break into films?

Well, one day, they asked me
to pose for a trade journal

in a suit
that they were marketing,

and an agent came
and signed me up.

- Because you're so handsome.
- Oh.

I thought they were excited
by my acting talent.

- (laughter)
- Come on, girls. Get to wardrobe.

We all want to go home.

Now you know
why I'm in the movies.

How did you become a butler?

Well, it's a lot less glamorous.

I got a job as a hall boy.

Then I was a junior footman,
first footman, valet

and finally butler.

There's not much
I couldn't tell you

about how to run a house, sir.

See, that's the difference
between you and me.

I don't know what I'm doing
half the time.

That's not what it looks like.

Oh, thank you, Mr...?

Just Barrow, sir.

BARBER:
Right, Guy.

Let's rehearse please.

Myrna, say the line.

I saved you a mallet.

I always think they look like
instruments of war.

It's because they are.

There's a telephone call
for you.

A Mr. Bullock.
He says it's urgent.

Five minutes, everyone!

ISOBEL:
There's a drama going on below.

The man in charge was
shouting down the telephone

when I came up.

Apparently, they're making
the wrong sort of film.

Is there a right sort?

Well, all I know is

it seems the public
only want films that talk.

I should've thought
the best thing about films

- is that you can't hear them.
- (chuckles)

Be even better if
you couldn't see them either.

(both laughing)

Everybody,
gather around, please!

Everybody!

(clears throat)

- We are suspending production.
- (people groaning)

I-I know. I know.

I'm sorry to be
the bearer of bad news.

We'll contact you all
when we've finalized our plans.

- Thank you.
- (indistinct chatter)

What is it? What's happened?

Well, it seems the talkies are

making too much money
to ignore, while our picture

is silent and too expensive
to make its costs back,

so they want to cut
their losses and shut us down.

- But how sad.
- It is worse than sad

for the men and women
working on it.

We still owe our extras
back pay,

and now they're out of a job.

- I told you. I...
- Excuse me.

Myrna.

W-Why is he stopping?

Apparently, silent films
aren't making any money now.

I saw it the other night.

The cinema was almost empty.

What a shame.

I feel sorry for Mr. Barber.

- He doesn't deserve this.
- MYRNA: Enough.

I wish I could help.

Oh, uh, (chuckles)
I wish you could, too,

but I don't see how.

We're making a silent.

They only want to release
talkies, so...

Well, why couldn't this be
turned into a talking film?

What would that mean?

Getting a technician down
from London.

He could record sound

for scenes
we've already made and...

And then put new speeches
into the rest.

Why wouldn't that work?

Uh...

Mr. Mason's driving me mad.

Every cup and saucer
has to be right.

The fact is
you're his daughter-in-law.

His son died in the war.

I mean, it's no wonder he and I

rub each other up the wrong way.

Well, it's a shame
he's getting on your nerves

because he's a lovely chap.

And he thinks the world
of you, Daisy.

Weren't you sweet on him once?

About a hundred years ago.

ANNA: I hear there's a sound
expert coming down from London.

Don't remind me. (sighs)

Are you all right?

Can I help?

(voice breaking):
No one can help me now.

(Myrna crying)

♪ ♪

Well.

If it isn't Just Barrow.

Sir?

I've just been thinking
how much more interesting

this great house is
than our silly little film.

Don't call me "sir."

Is there anything I can do?

Well, not unless you've got
some ideas for my next career.

Um, I don't understand.

Films have been mime until now.

Mime with music.

Now with the new talkies,
they're gonna be about acting.

They won't want us.

They'll hire real actors
from the theater, and...

we'll be finished.

But you've got a good voice.

There may be
new faces coming in,

but the public
won't want to say goodbye

to all their old favorites.

I hope you're right.

Sir.

♪ ♪

(laughing)

That's the Duke...

That's the Duke
of Westminster's yacht.

♪ ♪

Let me sum up.

In the years since 1864,

the late Marquis de Montmirail
made four wills.

In every one,
he refers to the fact

that he gave
the Villa des Colombes

to the now Dowager Countess
of Grantham in 1865.

I brought the originals.

I will leave copies.

Then clearly it wasn't something
that slipped his mind.

He meant to do this thing,
and he stuck by his decision.

I feel better for that.

MME DE MONTMIRAIL: She must
have had some hold over him.

She must have blackmailed him.

Ma man, this is
a foolish response.

We shall challenge it in court.

GANNAY:
On what basis, madame?

You have other houses.

There's no question of hardship.

Your husband bought the villa
and disposed of it

before he even met you.

My advice would be to surrender
the property without delay.

(scoffs)

Thank you so much.

- Do you mean to accept this?
- Of course.

My father made me sole executor,
Lord Grantham.

I like to think
it was because he trusted me

to carry out his wishes.

Then why did you invite us here?

Because I was curious
to meet you.

My father and your mother

spent a week together
in October 1864.

And I was born in July 1865.

Precisely.

I think that's the key to why

he gave her the villa
one month later.

In gratitude for your birth.

In short, I believe you and I
have a great deal in common.

- (both laughing)
- (seabirds screeching)

- We should thank old Lady Grantham.
- Of course.

At least now we know
that for her to have the villa

wasn't a random choice
or a foolish mistake

but a decision that was firmly
endorsed over many years.

Feels funny, in a way,
to know my own child is

part of this golden circle
where, because of your blood,

lovely things happen.

Just as Mary will have Down ton
and we will have Brompton.

Yes, but they're
working estates.

This place was made
for laughter and fun.

Wouldn't Sybil have been
pleased for her daughter?

And encouraged her to use it
for the good of others?

Yes, I think she would.

Then let's do the same.

I long to bring Sybbie here.

She'll love it.

(sighs) Look at that view.

Don't you feel grateful
we're alive?

I love you, you know.

In a way I thought
I'd never love again.

And I love you.

So that's all right.

TOM: Shall we go back in?
The water is...

CORA:
They look very happy together.

- So they should.
- EDITH: Mm.

It's thrilling for Sybbie,
for all of them.

I like the idea of Tom and Lucy

hosting a gathering here
every summer,

until it becomes
a family tradition.

(sighs)

The sun has made me sleepy.

If you'll excuse me, I think
I'll have a nap before dinner.

You look a little tired, too.

Why don't you do the same?

I won't be too long.

She's right. You do look tired.

Never sure how helpful it is
for people to point it out.

Oh, I'm sorry.

Keep writing, whatever happens.

Mama, if something is troubling
you, please just say it.

No, no, it's nothing, honestly.

- (crickets chirping)
- CARSON: I've had to change

the setting of
the dinner table again,

but I think they've got
the hang of ironing

His Lordship's shirts at last.

You should've let me do that.

They must be very grateful
for your help, Mr. Carson.

CARSON:
Well, maybe.

When I showed them how to do it,

they certainly spoke a lot of
French very loud and very fast.

Is anything settled yet?

It seems the villa
now belongs to Miss Sybbie.

Lucky girl.

Do you envy her, Miss Baxter?

I'm not a big believer in envy,
Mr. Bates.

I know what I want,
and I can live without

a villa in the south of France.

What do you want, Miss Baxter?

Oh, come now, Mr. Carson.

We all know
what Miss Baxter wants.

Her affections are
very firmly engaged.

Not engaged.

Not engaged in that way,
perhaps, but thoroughly taken.

Are we discussing Mr. Molesley?

We are.

But suppose he never
steps up to the mark?

Then I will be a spinster.

You'd never marry anyone else?

(chuckles softly)

It took me long enough
to find him.

Madame.

I don't know how long
he's thought about it,

but once he checked the dates,
he was sure.

I was born exactly nine months
after... and I quote...

The "idyllic interlude"
they spent together.

And he gave her the villa
soon after I was born.

I'm sure that's all coincidence.

Are you?

It would explain the mystery.

Your father loved you very much.

- But Rosamund's the one who looks like him.
- (knocking)

I hope this helps, milady.

CORA:
Thank you, Baxter.

- Good night.
- Good night.

What's that for?
Are you all right?

Just a bit of heartburn.
I'm fine.

What will happen if the story
gets out, do you think?

I suppose Carson
will hand in his notice.

Don't be ridiculous.

You're the least French person
I've ever met.

You don't even like garlic.

That's not exactly
cast-iron proof.

- ♪ ♪
- (men grunting)

How have they managed
this so fast?

Because time is money.

The problem now is
what are the actors gonna say.

What do you mean?

Well, I write
the lines for them,

but they don't always
stick to the text,

and often
we can't really remember

what the actors
have actually said.

Why not let Mr. Molesley help?

Why? What could he do?

Well, he's the village
schoolmaster,

and I know he can lip-read.

I'm sure he could
sort something out.

That's certainly true.

And he's been here
every day as it is

and watched all the scenes.

Right, Mr. Barber. I'm ready.

Bring on the thespians.

Oh. (chuckles softly)

CARSON: That looks
very professional, milady,

if you don't mind my saying.

It's the new Speed Reflex.

You can see the image
before you take it.

- Oh, what will they think of next?
- (chuckles)

How are you
getting on downstairs?

All right, I think, sir.

Although, they're very French,
the French, aren't they?

I suppose they're bound to be.

CARSON:
I suppose they are.

Poor things.

Now, this is pretty good,

but, Carson, could you move
the telephone?

It spoils it a bit.

It's lovely to see you
enjoying your labors.

It feels good to have a...

Foothold in
the real world again?

- Something like that, yes.
- Mm.

Oh, my goodness.

What is it?

CARSON:
Look.

♪ ♪

Who is she?

That is the Lady Grantham
I first went to work for

as a young hall boy
wet behind the ears.

Granny?

Heavens.

Thank you, Carson.
Could you leave us for a moment?

What does it say?

"Violette, mon adorée."

(Edith sighs)

Gosh.

Mary had a little lamb.

(over headphones):
Its fleece was white as snow.

Right, Mr. Stubbins,
are you ready?

As ready as I can be,
Mr. Barber,

when I've not controlled
the soundproofing or the set.

If we could have
Mr. Dexter, please.

Guy?

Where are the lines?

I'm so sorry.

- No, no, no.
- Oh.

- Thank you.
- And here.

Now, time your speech
to match the film.

No, no, no. Don't lean in.

- And try not to move your head.
- (clears throat)

All right.

- Ring the bell for silence!
- (bell jingles)

And...

STUBBINS:
Rolling sound.

GUY:
"Well, if it isn't Lady Anne.

"I thought you might find me.

"No one can keep a secret
these days.

"May I remind you
it's my future to throw away.

No, wait. Don't go."

Cut.

(people chuckling, murmuring)

Well done.

Miss Dalgleish.

Ready.

(Barber clears throat)

(Myrna clears throat)

(bell jingles)

BARBER:
And action.

"I knew where you'd be.

I only came to..."

Hang on a minute.
I turned me head round there.

- You...
- Oh, y-yes.

I-I've written a line
to cover that. You see?

"I've only come to stop you
throwing away your future."

You... y-you turn back
on "future."

Right.

(Myrna clears throat)

- BARBER: And action.
- (camera rattling)

MYRNA:
"I knew where you'd be.

I've only come to stop you
throwing away your future."

- Louder, Miss Dalgleish!
- (sighs)

(louder): "I can't stay
and watch you ruin yourself.

- Um, I must..."
- Cut. Cut.

Thank you, Myrna.
Could I have a moment?

- (clears throat)
- GUY: You all right?

(smacks lips) Now what?

- Mr. Stubbins?
- Oh, I am here to record sound,

- Mr. Barber, not to perform miracles.
- (sighs)

The Lady Anne Erskine
she is not.

Couldn't she just learn
the accent a bit better

- and do it again?
- (sighs)

People spend lives
trying to learn

this particular accent
and failing.

George Bernard Shaw
wrote a play about it.

Uh, you could do it, milady.

You saw how Mr. Dexter managed.

It can't be that hard.

- But I couldn't.
- What?

You couldn't do the accent?

I think you could.
I think you do.

- But I'm not an actress.
- Well, is Myrna an actress?

Are you keen to see
her Hedda Gabler?

- (coughs)
- Even so.

Look, just-just try it.

If you can't do it, we'll
shut down, possibly for good.

If you can,
you'll allow us to keep going.

Please.

(quietly): How do we deal
with Miss Dalgleish?

Oh, right now, um,
get her back upstairs.

- We need to know if this is gonna work.
- Mm-hmm. Mm-hmm.

- I'll do that.
- Mm-hmm. (clears throat)

MRS. HUGHES:
Miss Dalgleish?

- Here are the lines, milady.
- (clears throat) Thank you.

I don't know how I get myself
into these things.

"I knew where you'd be.

"I've only come to stop you
throwing away your future.

"I can't stay
and watch you ruin yourself.

I must."

And cut.

Play them together.

(dramatic orchestral music
playing)

(Guy's voice):
Well, if it isn't Lady Anne.

I thought you might find me.

No one can keep a secret
these days.

(Mary's voice):
I knew where you'd be.

I've only come to stop you
throwing away your future.

May I remind you
it's my future to throw away.

I can't stay
and watch you ruin yourself.

No, wait.

Don't go.

I must.

- (applause)
- Oh.

(laughter)

I do hope that was a prop.

When was it painted?

And why was she his adored one?

Because she granted
the ultimate favor?

They were only together
for a few days.

Does it sound likely?

And it's just a coincidence

that Papa was born
nine months later?

I expect, when she got home,

your grandpapa was
jolly pleased to see her.

- (Bertie and Lucy laugh)
- Anyway, what's clear is

Monsieur de Montmirail
was madly in love with her.

- When did he marry?
- BERTIE: Oh, I know that.

I looked him up.

He married in 1870,

five years after
Robert was born.

And the present marquis
arrived in 1873.

So the villa was
a sort of parting gift

to your grandmother before
he looked around for a wife.

That's what it sounds like.

Evidently.

DAISY:
I'm gonna sound him out.

- About Mrs. Patmore.
- You can't.

I can.

You know she's got
a house of her own.

You know she's lonely.

It's a solution for all of us.

You look very conspiratorial.

We were talking about
Mrs. Patmore

and how much she likes you.

Does she indeed?

Well, I like her.

- She's a fine woman.
- She is.

But I worry sometimes
that she's lonely.

She's got her own cottage,
of course,

but I think she'd like
some company in it.

(chuckles)

I know what you're thinking,
but the answer's no.

You've always said
you admired her.

And so I do.

But I couldn't live off a woman.

It wouldn't be right.

- Even if she wanted it?
- Even then.

There are things that are right

and there are things
that are wrong,

and I can't change that.

Thank you for taking it on.

I owe you a great deal.

Is everything in order?

Well, (sighs)
once we've recorded sound

for the scenes
we've already shot,

we'll need new material
for what's left...

MOLESLEY:
Ooh.

M-May I have a word, Mr. Barber?

Of course.

I-I've been through
all the dialogue cards

that w-would've been shown
if the picture were silent,

and I've started
to sketch out scenes

that would cover
the needs of the plot.

You mean you've written a play?

Well, I've started one.

- Could I read these scenes?
- Of course.

And if you're content,
I'll do the rest.

Am I bound by the plot synopsis?

For instance,
when she finally casts him off,

might it not be better
with a big romantic climax?

I don't understand.

Well, Bill Benson's

about to throw away his life
on the tables.

Alone, hollow and without hope.

Then suddenly he lifts his face

and sees Anne standing there,
tall, serene, graceful,

her eyes shining
with unshed tears.

On an impulse,
he snatches back his money.

Rien ne va plus!

The wheel spins.

(whooshing)

(imitates roulette wheel
clicking to a stop)

And every last thing he owns
would have gone.

But no.

Her love, her beauty
have saved him.

She takes his hand,
and they walk away.

Together.

The end.

I think I'm going to cry.

Mr. Molesley,
please finish the script

however you think best
and bring it to me.

Right.

- You say he used to work here?
- MARY: Yes.

He was a footman.

But we weren't aware
of his hidden talents.

(insects chirring)

MAUD: Poor Carson. He must be
cooking in those heavy clothes.

Isn't there a lighter version
he could wear?

- I believe so.
- Thank you, monsieur,

but we English are never too
hot to wear the correct attire.

(chuckles) I've invited
some friends tomorrow

to say goodbye
and introduce all of you.

But the presence
of your butler reminds me

that we are now your guests

and I should have
asked your permission.

Oh, please.

Let us drink to

your fortunate granddaughter,
Sybil Branson.

- To Sybbie.
- ALL: Sybbie.

I wish she were here.
I should like to meet her.

LUCY:
I hope you will one day.

She's a lovely girl.

It's nice to hear
a stepmother talk like that.

You must be pleased
the way things have turned out.

When people you love
have a stroke of luck,

it's almost better than
being lucky yourself.

Almost but not quite.

- Yeah.
- (light laughter)

You know the miniatures
in the library?

One of them is of Granny,
and it's engraved on the side.

♪ ♪

I've seen it.

I have been obliged
to see it there

for more than half a century.

But he forbade me to move it.

He made me swear.

Any more news from Mr. Talbot?

Not since the cable
I showed you.

You must be missing him, milady.

I just hope he misses me.

His Lordship will be home soon.

I'm afraid
he'll be in for a shock.

Have you enjoyed the filming?

In a way.

I like Mr. Barber and Mr. Dexter

and watching how a film is made,
but... (sighs)

I feel a bit let down, too.

By Miss Dalgleish?

It sounds stupid, but...

I thought
we might become friends.

They say it can be a mistake
to meet your favorite stars.

In this case, they'd be right.

(band playing "Crazy Rhythm")

(overlapping chatter)

♪ Crazy rhythm,
here's the doorway ♪

♪ I go my way,
you go your way... ♪

- TOM: So do I.
- (chuckles)

Are you feeling happy?

I am, but there's work
to be done.

And the more hard work involved,
the happier you'll be.

- Well, you know me already.
- (chuckles)

And, yes, I mean to enjoy
Sybbie's good fortune.

I want us all to enjoy it.

Congratulations, Tom.

You're a leopard who has
successfully changed his spots.

♪ Crazy rhythm,
I've gone crazy, too... ♪

♪ Crazy rhythm,
I've gone crazy, too. ♪

(sighs)

(song ends)

ANDY:
Ah, he's too fast.

- ANDY: Another one.
- GEORGE: Oh, no.

(Teo barking)

Where's the ball?

ANDY:
He's gone.

Ah, good hit.

GEORGE:
Yes. How's that?

George should be in bed,
or at least on his way there.

Do you have other children?

A daughter, Caroline,
with my second husband.

George's father was killed in
a car accident seven years ago,

on the day George was born.

He held the baby in his arms
and died on the way home.

My God.

What was he like?

He was perfect, really.

As handsome as a prince
in a fairy tale.

Moral, strong, full of dreams,
determined to do his bit.

- Do you miss him?
- Of course.

Although I sometimes wonder

what life would've made of him
if he'd lived.

In a way...

In a way?

I was going to say, in a way,
you remind me of him.

Although I couldn't
tell you why.

I'm flattered.

What about your present husband?

Oh, Henry's much more pragmatic.

There are no dreams about him.
He's a doer.

And he must test
his powers of endurance

from morning till night.

But he's a good workmate.

Is he handsome, too?

Oh, yes.

I like them handsome.

(chuckles softly)

But there's trouble in paradise?

You don't need me to tell you

that marriage is a novel,
not a short story.

Full of plot twists
along the way.

Suppose it comes down to
whether or not you love him.

Really, Mr. Barber?

Is this because
you work in the films?

(laughing)

I think I've said more than
enough for one evening.

MONTMIRAIL (over speakers):
So I hope you will warmly

welcome our successors
of the villa.

And with the Bransons, perhaps
you'll see Lord Grantham,

whom I think
I may now call my...

my good friend.

(applause)

(band playing "Blues My
Naughty Sweetie Gives To Me")

♪ There are blues ♪

♪ That you get from worry ♪

♪ There are blues ♪

♪ That you get from pain... ♪

He's handled it all
with such good manners.

Because he thinks
I'm his brother.

For a second there, I thought
he was going to say it.

You can't talk like that.
Your father loved you.

- Enough.
- But it's not enough, is it?

- (sighs)
- Not when I might be a lifelong fraud.

A Frenchman's bastard

who usurped the role
of the proper heir.

EDITH: But that would've been
Matthew's father,

and now Matthew's son
will inherit,

so what difference does it make
in the long run?

♪ The silent blues
that's on my mind ♪

♪ They're
the very meanest kind ♪

♪ The blues my naughty sweetie
gives to me... ♪

(sighs)

I'm afraid
it's a real blow for Papa

to find he may be an impostor.

If it's true, he'll be crushed.

Ma man.

You know, I've enjoyed
watching you work out here.

I had a sort of flash of
what you've been missing.

It seems I'm not quite ready

to say goodbye
to that side of my life.

MONTMIRAIL:
I've looked at the miniature,

Lady Hexham,
and, uh, you're right.

The matter is settled.

Please take it home
for your grandmother.

It's hers anyway.

Merci.

(jazz music continues)

Excuse me a moment.

What is it?

Whatever your secret may be,

isn't it a good time
to share it with Papa?

(sighs)

(Robert and Montmirail
speaking quietly)

MONTMIRAIL: Yeah, it's nothing
compared to the sea.

- That was beautiful.
- It was...

You've been so gracious, but
it's time for us to go home.

MONTMIRAIL:
We'll be gone, too, before long.

As you know,
the contents of the house

already belong to your mother.

Oh, you must take
whatever you want.

No. His wishes are clear.

Well, our lawyers
can manage the rest.

I know it's late,
but can we go for a walk?

Yes, of course.

Monsieur, we are in your debt.

Thank you.

- Madame.
- CORA: Thank you.

(band playing "Am I Blue?")

♪ Am I blue? ♪

♪ Am I blue? ♪

♪ Ain't these tears in my eyes ♪

♪ Tellin' you... ♪

Why didn't you tell me before?

I was going to, and then
suddenly we were coming here.

But you should never
have come here.

We have to get you
to a proper doctor,

and I don't mean
some quack in Marseilles.

Dr. Clarks on
is more than capable

- of coming up with a diagnosis.
- Then we'll go to London.

We'll-we'll go to America
if we have to.

We'll discuss it
when we know more.

You should have told me!

With the chance of a last treat

before illness
took over our lives?

It may not be as bad as that.

Robert, I've run
the hospital for years.

Do you think I just sat there
with my ears blocked?

- (sobbing)
- Oh, no. No, no, no.

No. No.

This is not what I wanted
at all.

- We're not sad people.
- (sniffles)

My being ill now
doesn't make us sad.

(crying):
Oh, my God. Oh, my...

To lose my mother and my name.

Must I lose you, too?

- I can't bear it.
- If I can bear it, you can.

Remember, I loved you
from the start.

I loved you before you loved me.

I've always been ashamed
of that.

Don't be. I had money.
You needed it.

And then love came.

And we have been happy,
haven't we?

(whispers):
Oh, darling.

You have been everything to me.

Everything.

And I hope I can be everything
for a while yet.

Now...

- ...we must make an early start tomorrow,
- Oh.

And it's hours past my bedtime.

(chuckles)

(chuckles):
Oh, dear.

Hope we can still get tickets
on the Blue Train.

ROBERT:
Oh, yes.

(jazz music continues)

- (music ends)
- (birds chirping)

(quiet chatter)

Why is the camera
in a padded cell?

Anyone would think
it was a lunatic.

Well, it's certainly
unpredictable.

The microphone
must not pick up any noise

- unless I have approved it.
- Mm.

The padded box contains the
sound of the camera working.

So we're really in
your hands now, Mr. Stubbins.

Your words, not mine.

Everyone ready?

Let's go for a take. And...

STUBBINS: Uh, please be aware
of where the microphones are

and speak clearly.

And, uh, this time, Myrna,
mime but don't talk.

- Not a word. Do you understand?
- I'm not stupid.

We only want to hear Lady Mary.

Mary, please.

Very good.

Uh, Albert,
you ready with the clap stick?

(clears throat)

- Ring the bell.
- (bell jingles)

Roll the camera.

Albert.

And...

...action.

Madame, Messieurs,
placez vos Paris.

MARY:
Bill.

You came back.

MARY and MYRNA:
I always come back.

- Sorry. Sorry.
- BARBER: Cut!

Uh, everyone,
back to ones, please.

(bell jingles)

Roll the camera.

And... action.

Madame, Messieurs,
placez vos Paris.

MARY:
Bill.

You came back.

MARY and MYRNA:
I always come back.

- Sorry!
- BARBER: Cut!

MYRNA: But it's just
very difficult for me

because she's right in me ear!

And you've got me
coming out a bush!

BARBER:
I understand. Reset please.

MARY:
Bill.

You came back.

MARY and MYRNA:
I always come back.

- Bloody hell!
- There's no need to swear, is there?

- Myrna, I-I'm sorry. I'm sorry.
- Right, that's it.

- I've had enough.
- Myrna.

You take your hands off me.

- Get out of my way!
- Myrna, darling!

No!

Now what?

I knew she'd be trouble
right from the start.

She's rude. She's surly.

ANNA: True, but now
she also feels humiliated.

Moving her mouth while Lady
Mary's voice comes out of it.

MRS. PATMORE: And this is
her first sound film.

What happens to her next?

MRS. HUGHES:
I suppose her career's finished.

I suppose a lot of them
are finished.

The point is they've got
to get her back to work.

But what if she won't come?
They can't force her.

Why don't you two have a go?

You know how to reason with her.

They don't.

(Anna sighs)

Myrna, darling,
please come down.

We can't do anything
without you.

You can talk without me!

Just go away!

Milady.

I think it would be
a good idea to let the maids

see if they can make her
comfortable, Mr. Barber.

All right.
If you think so, yeah.

Stand back, everybody.

(knocking)

Please let us in,
Miss Dalgleish.

We understand
what you're going through.

That's true, and you know it.

(lock clicks)

I'm not going down
just so they can humiliate me

- and laugh at me.
- They won't do that.

Oh? You should've heard them
at every premiere.

"Don't speak.
Don't open your mouth."

They despise me.

Why didn't you take
elocution lessons?

Lots of people do.

I tried. I couldn't get it.

Couldn't get the knack.

Something's upset you
since the day you got here.

- What is it?
- It's this.

I knew I was finished the moment
I saw The Jazz Singer.

It's been like a sword
hanging over me.

I thought maybe I had
a few more films ahead of me,

but this one will be me last.

You don't know that.

You look good
in the bits I've seen.

And how do I sound, eh?

But the fact is I'm washed up,
as the Yanks say.

I'm yesterday's news.

(Myrna sighs)

Come on, lady.

You're not talking
to your fan club now.

What?

You're famous,
beautiful and rich.

So what if
your film career is over?

There's any number of things
you can do.

Now, dust yourself off.

And while you're at it,
try being polite

- to the people who serve you.
- Come on, Daisy.

You're one of us,
not one of them.

Just remember it.

Now, chop-chop.

Straighten your hair,
and let's get going.

(knocking)

How you doing in there?

DAISY:
She's almost ready, Mr. Barber.

You are, aren't you,
Miss Dalgleish?

I had a sister
just like you once.

I miss her.

Every day.

You remind me of her.

She died of the Spanish flu
in 1919.

Didn't think
it would touch our family,

but you never know, do you?

(inhales deeply)
Shall we go?

(Myrna sighs)

I'm not worth it.

MARY:
You're worth it to me.

Rien ne va plus.

(actors murmuring)

It seems you're my savior.

MARY: And I intend
to remain your savior

for a very long time to come.

Mary?

What on earth is going on?

Cut!

Oh, no!

(laughter)

So you put them to rights?

CARSON (chuckles):
I think I can say so

without fear of contradiction.

I left them in no doubt
as to how things are done

when they are done properly.

Eh, Mr. Bates?

Uh, you made
your feelings clear.

They certainly know
what it is to deal with

- an English butler.
- (laughter)

Oh, get your coats.

Watching you,
it took me back to the plays

you three used to put on
in the attic.

Except there's rather more
riding on it this time.

I don't mean to be harsh, but
how do we know she's any good?

Oh, she's absolutely superb.

I showed Granny
Papa's telegram, Tom,

but you ought to look in.

Perhaps we should go up now.

Maybe you're right.

It ought to be you.
(clears throat)

You can give her the miniature.

What miniature is this?

It's a long story.

Talkies must be good news

for the actors
in the West End theaters.

Good news for them,
bad news for me.

Death by microphone, eh, Guy?

Our business has always been
a game of chance.

Well said.

I have an idea, Miss Dalgleish,
which might just help.

I'm taking your mama
to the hospital

first thing in the morning.

I'm dreading it, of course.

But that's for you to hear,
not her.

I thought they might
put up more of a fight.

So did we.

The mother wanted to.

And then Edith found this.

It's inscribed to you
on the side.

Oh.

♪ ♪

(chuckles)

I...

I suppose they think something
improper went on between us.

- I suppose everyone does.
- Oh, no.

I-I wouldn't say that.

You're such a bad liar, Tom.

I'd never have got anywhere if
I were as rotten a liar as you.

(Lucy and Tom chuckle)

We're going to try and meet
at the villa every year.

The whole family together,
in the summer.

Won't it be too hot?

- We hope you'll come and find out.
- (chuckles): Oh, no.

No.

That's-that's all over for me.

Never mind. (chuckles)

I am happy to have
known you, Tom.

I think we got on pretty well
in the end, don't you?

I think we did.

In the end.

You weren't quite
what we had in mind for Sybil,

but we got past it.

And that's life, isn't it?

Getting past the unexpected.

And perhaps learning from it,

which I think we can say
we've done.

You've been a good friend to me
through the years, Violet.

I hope I've been
a friend to you.

And now you're settled.

Maud's back in the family,
and everyone's happy.

When was the miniature painted?

Did you sit for it?

No, we... we went for a walk

in the town one day,

and there was a shop where
a man was taking photographs.

Yeah, I remember 'cause
he was the first photographer

I'd ever seen.

They must have copied it
from that.

Montmirail sent it to me
in London

with a silly scribbled letter.

I sent it back.

Of course,
I should have burned it.

We'll leave you to rest.

But we wanted to say
how very grateful we are.

And Sybbie will be, too.

It's a beautiful place.

That I do remember.

(door opens, closes)

(sighs)

Time for bed.

Yes, I'll just tidy these up.

What are they?

The letters of
Monsieur de Montmirail.

Oh. They're clearly labeled?

(chuckles) I'm afraid so.

(chuckles) So she was lying

when she said
she remembers nothing.

"Lying" is a harsh word.

Maybe she pushed it
to the back of her mind.

Well, I don't believe
it stayed there

with all the fuss going on.

- I'll ask when I go and see her.
- Hmm.

♪ ♪

(typewriter clacking
in distance)

Is this the way
to find Mr. Barrow?

Left.

- (laughs softly)
- (typewriter bell dings)

- Oh.
- So this is where you hide.

Can I help with anything, sir?

Well, you can certainly help
by not calling me "sir."

(chuckles)

I'm not sure
what Mr. Carson would make of

my receiving a visit from
an upstairs guest, Mr. Dexter.

Well, Mr. Carson
isn't in charge now.

You are.

Suppose someone comes in.
What would they say?

I don't care.

I've lived in America
for ten years now.

I don't believe
in that stuff anymore.

Please, call me Guy.

What's your real name?

Quentin.

Quentin Sidebotham.

That was a good decision.

(Guy chuckles)

Do you know
what you're doing next?

I don't think anybody does.

I shall go home
and await developments.

I might call Clive Brook
or Charlie Chaplin,

see what they think.

You know Charlie Chaplin?

Well, he's a little wild
for me, but yeah, I-I know him.

- (chuckles)
- Hollywood gets some bad publicity,

but I live in a place
called Hancock Park,

and it's... it's pretty nice.

I can believe it.

Well, why don't you come
and see for yourself?

What?

I mean it.

I travel a lot for my work,

and I don't have a wife
to look after me, so...

...you could do it.

I'd be your valet?

More than that.

You'd run the house
and organize our journeys,

make me comfortable.

Make us both comfortable.

Of course, if my career folds,

then we'd have to
think again, but...

Your career won't fold.

Good.

Well...

You let me know when you've...

come to a decision.

(typewriter clacking)

(door closes)

Right. I have everything I need.

I will come up to the house
with the results

as soon as I have them.

But do you feel optimistic?

Robert, there's no point
in that sort of talk.

Lady Grantham knows too much
to pull the wool over her eyes.

But even if everything is
as bad as it could be,

there's still a surgery.

Let's take it
one step at a time.

Oh, God.

Robert doesn't see it, but
things could be a lot worse.

How many have to face
this kind of thing

feeling they've wasted
their lives?

I don't.

Not at all.

How are things at the farm?

Cramped.

Poor Mr. Mason.

He'd be so unhappy
to hear you say it.

He's been talking
about you lately.

Oh, yes?

Saying what a fine woman you are

and how much he admires you.

Does he? Really?

But he won't take it
any further.

Why not?

Because he can't ask you
to live at the farm

and he couldn't be dependent
on a woman.

Oh, couldn't he?

We'll see about that.

Look what we've found.

When I was going through
Violet's things.

"The letters of
the Marquis de Montmirail."

EDITH:
Oh, dear.

It doesn't look good for Papa

if she felt the need
to keep it a secret.

Well, let's not jump the gun.

Oh, I'm so sorry. Are you
in the middle of something?

No, no.

Could I speak to you alone
for a moment, please?

Yes.

So what happens now?

Well, I thought
we could read them together.

Bertie, you and I can do it and
report back what they contain.

And we'll break the news
to Papa.

(Barber clears throat)

What is it?

You have to help me.

We're just about to film
our last set piece,

the-the dinner when Benson
realizes he must give her up

and rushes off to London.

I know.
I've just been learning it.

Molesley's done a wonderful job.

I told you the extras were
fed up with not being paid,

and I don't blame them,

but I'm still waiting
for the money.

Well, they won't do
anything too drastic.

Won't they?

They say they're not
coming into work.

But how can I help?

Could your servants stand in?

You're welcome to ask them.

(chuckles)

Is there something else,
Mr. Barber?

I could never have got through
any of this without you.

If that's true, then I'm glad.

(sighs)

May I kiss you?

No.

Don't you want to?

I'm afraid I'm too
old-fashioned to believe

that what I want is
the only thing that matters.

- Have I offended you?
- Not at all.

Nothing is nicer
for an old married woman

than to find she's still
an object of desire.

(chuckles)

Well, you better not tell
your husband when he gets back.

He might, uh,
hit me on the nose.

Mm, wouldn't that be thrilling?

Two gorgeous men
fighting for my favors.

(knocking, door opens)

You rang, milady?

- So she'd kept his letters?
- Seemingly. Every one.

I won't ask
what she had to hide,

in case you tell me the answer.

Well, most of them
are rather sad.

There was clearly no love lost
between him and his wife.

But what do they tell us about

the days they spent together
in France?

I'm afraid that they didn't
write to each other then.

So we still have no proof
of what really happened.

BERTIE:
I suppose that is

where the mystery resides.

I'll come and see
Violet tomorrow.

(sighs) Should I do it?

No.

You're what the lawyers call
"an interested party."

I'm not.

You mean we'd be up there
on the screen

with Miss Dalgleish
and Mr. Dexter?

- (chuckles) Are you sure?
- (excited murmuring)

- That's exactly what I mean.
- Well, I'll do it.

Mm, so will Mr. Carson.

(excited chatter)

Mr. Molesley
will want to join in.

- How many do you need?
- BARBER: Uh, we need ten.

Miss Denker, are you up for it?

Certainly not.

I want to keep an eye
on Her Ladyship.

- What about Mr. Mason?
- I could always ask.

No, hurry to the farm
and ask him now.

And they've got costumes for us?

BARBER: Oh, well,
they'll need time to fit them,

so you should
go upstairs to wardrobe

- before the end of the day.
- (chatter, laughter)

What about servants?

- Who's going to wait on us?
- (laughter)

Well, I was thinking
we could use Albert.

- (gasping)
- Would I be serving Miss Dalgleish?

- I suppose so.
- Oh, well...

- (excited chatter)
- Right, let's get back to work, please!

- All right, come on now.
- Come along.

ISOBEL: Filming must be the
slowest occupation known to man.

It makes a glacier
look impatient.

I suppose Robert's in hell.

He was longing for it all to be
over by the time they got back.

You could ease his pain
if you wish.

We found the letters
of Monsieur de Montmirail.

But Robert still doesn't have
the answer he needs.

I won't pretend
not to understand you.

Did they tell you
about the miniature?

What's its significance?

Well, could you fetch it?

It's in the bottom
right-hand drawer.

If you open it at the back,

you'll find the letter
he sent with it.

It's still there
after all this time.

Could you read it?

"Chère Violette,
we have missed the chance

"to know perfect love.

But we still can if you would
only change your mind."

Why didn't you just tell us?

There was nothing to tell.

Nothing happened.

Apart from years
of being pestered.

Well, no.

That's not quite right.

Then what is?

I never saw him after that.

I knew I'd have given in.

If I'd been tested again,
I would have failed.

Oh.

I was a fool for love
in those days.

A few years later,
we went to Russia,

and I got into terrible trouble.

Well, I nearly did.

With Prince Kuragin.
Yes, I know.

How did you avoid it
with the marquis?

I can't think.

He was the most attractive man
I'd ever met

in my life. (chuckles)

But I hadn't long been married,

and it must have seemed a
shame, you know, to spoil that.

I wish you'd said all this.

I didn't want you to think
my life had been a fraud,

when it hasn't.

I was happy
with Robert's father.

Well, (chuckles) happy enough
in that English way,

when you never talk
about anything

but you trust each other.

If they'd put Kuragin
and Montmirail together,

I would have come out
as some sort of scarlet woman.

(chuckles)

You don't seem
very scarlet to me.

Well, I'm trusting you

to make sure
that's not how I'm remembered.

Well, the next earl
will be Matthew's son,

my grandson,
your great-grandson.

I'll do my best
to see he values you.

I know you will.

I know I can trust you
to do the right thing.

That's very generous of you.

Well, because we've had
our tussles, you and I.

Well, it's true, but
I'm glad you came to Down ton.

I'd never known anyone
whose opinion I could trust,

you know, to be morally right,
not for years.

Well, not since my mother died.

You must have wondered
why I asked you

to go through my papers.

I did rather.

When I think about that world
of long ago,

when I... I was a girl
in my first crinoline...

...in those moments, I feel
as if I've been transported

to a different planet.

And so you have been.

Like every human being
who lives long enough.

And I have. Lived long enough.

- Oh, I didn't mean it like that.
- (laughing)

♪ ♪

(knocking)

I'm sorry,
but I just couldn't wait.

ISOBEL:
It's all right.

Nothing happened.

You're your father's son.

(sighs)

I can't pretend
I'm not relieved.

I can't pretend
I'm not insulted.

Why do you think
he gave you the villa

if it has nothing to do
with my birth?

I think it had everything
to do with your birth.

When you were born,
it sent a message

that what he wanted
was never going to happen

and it was time to move on.

He never loved his wife
as he loved you.

The villa proves that.

Well...

...that's not for me to say.

♪ ♪

(excited murmuring)

- BARBER: Yeah.
- WOMAN: Right.

Ooh.

(laughing quietly)

I looked through
the final scenes.

I'm impressed.

Does this kind of work
appeal to you,

writing plays for the screen?

What, you-you mean...

Well, say, four a year.

I'd send you the book
or short story I was keen on

with my notes and suggestions.

Um, I would pay 700 guineas
against a thousand.

STUBBINS:
Mr. Barber.

MOLESLEY:
Sorry?

Uh, you'd get 700
for writing the script.

That would rise to a thousand
if the film is made.

For each script?

♪ ♪

I feel like the queen.

Well, I don't envy her if these
corsets are anything to go by.

(breathes deeply, grunts)

- This is absurd.
- MRS. HUGHES: Cheer up.

After all, you should be
used to the costume.

BARBER: We've put the names
on the places, so, please,

all of you,
find your chair and sit.

Uh, Mr. Carson, you will be
playing Lord Pumphrey

at the head of the table.

Seems odd to be sitting in here.

You've spent enough time
standing.

(chuckles softly)

I'd say you've spent
long enough.

You may be right, Mr. Dexter.

Tell me, did your offer mean
what I think it did?

It can mean as little
or as much as you like.

I'd like it to mean
a great deal.

Then you're in luck.

♪ ♪

- Mrs. Hughes.
- Thank you.

This is you.

- I don't recognize you.
- (Andy chuckles)

And...

(Carson clears throat)

ROBERT:
Oh, no, no, really.

Please, we're not here.

My Lord, if-if you could make
your way up behind the camera.

Thank you.

(quiet murmuring)

(softly):
Oh.

(Mrs. Patmore chuckles)

I look like something
to scare the crows. (laughs)

Nonsense.

You're a picture of elegance.

Now, sit down here
and have something warming.

MASON: I thought
it were just colored water.

Well, so it is for the others.

For us, I've smuggled in
something nice.

Oh, you're right. This is good.

(chuckles)

MRS. PATMORE: Don't the young
couple look nice together?

It must be wonderful
to feel you're helping them.

I'd like to do more.

Well, this is what
I want to talk about.

(laughing)

You're not nervous?

Well, how should a man feel

when all his dreams
have come true?

All your dreams?

I-I know, but, you see,
Miss Baxter...

Phyllis.

Phyllis.

I felt ashamed.

The best I could offer
was a poor life

on a schoolmaster's salary.

I'd have taken it.

But now you won't have to.

I'm gonna write plays
to be made into films.

For Mr. Barber?

For Mr. Barber now,

but who knows what'll happen
if I'm any good at it.

(over speakers): Uh, it's gonna
be talking films from now on.

Oh, what the blazes?

- BAXTER: And these will pay?
- (sighs)

(Molesley laughs)

MOLESLEY:
For the first time,

I can offer
a decent prosperous life.

For the both of us.

So what do you say?

Are you not going to kneel?

(chuckles softly)

- Do you want me to?
- I think so.

It'll never happen again.

(both chuckle)

Right then, um...

Will you marry me, Miss Baxter?

I mean, Phyllis.

- BAXTER: Yes!
- (all chuckling)

I jolly well will,
Mr. Molesley.

(applause, chatter in distance)

(both gasp)

(both chuckle)

- (excited murmuring)
- (applause)

CORA:
Congratulations.

- BERTIE: Well done.
- ANDY: Well done, Mr. Molesley.

(laughter, chattering)

MRS. HUGHES:
Well done, Mr. Molesley.

(chuckles):
Settle down, everyone, please.

Let's go for a first take.

Say it again.

Barkis is willing.

Oh, Mr. Mason.

And you'll be content to live
in my little cottage?

Unless you think it's wrong.

I most certainly do not.

And now the young ones
can have the farm?

I'll surrender the lease.

Oh, well, I'll drink to that.

(both snickering)

- Right, and if we can...
- Remember!

Clarity, diction
and keep your heads still.

- Thank you.
- Thank you.

- (bell jingles)
- Roll the camera.

(clears throat)

And action.

MARY:
Where are you going?

Back to London.

MARY:
What? You can't.

I can and I must.

If I stay, darling Anne,

I'll destroy you
along with myself.

Can't you see?

Oh.

MARY:
We'll fight it together.

No, we won't.

I'm the worthless one.
I'm the exile.

I'm the lost soul.

Now let me go!

(sobbing softly)

Bill, please wait.

- (shocked murmuring)
- He's broken her heart.

Chap's a cad.

And cut.

(laughter, chatter)

- (applause, excited chatter)
- EDITH: Bravo.

Bravo.

(applause fades)

♪ ♪

The buffet in the hall
is ready, milady.

Thank you, Barrow.

Milady, I wonder
if I might have a word.

Of course.

I'd like to hand in my notice.

Oh.

Well, I know you haven't
always been happy here.

Oh, it's not that, milady.
I've had good years at Down ton.

But I've formed a sort of...

Well, I'm not sure
what it is, really...

A working friendship
with Mr. Dexter.

- Guy?
- That's it, milady.

And we mean to travel together.

He'll make films,
and I'll look after him.

I'll be his dresser,
as the film people put it.

And if I'm right...

(sighs)
then it's the nearest I've come

to the offer
of an honest way of life.

You don't need
to explain, Barrow.

I wish you well.

And I hope you'll be as happy
as our cruel world allows.

Thank you, milady.

♪ ♪

(door opens)

- (sighs)
- Well?

I've done it.

Good.

(both chuckle)

We're all wondering if you'll
miss your acting career.

Oh, please say yes.
Come up to London.

- We'll find you a part.
- No, thank you.

I've enjoyed it, in fact,
but once will suffice.

Can I help you, Miss Dalgleish?

(American accent):
Um, I'd love some of that ham,

if you can reach it,
and a little sauce.

(chuckles)
What's happened to your voice?

What do you mean?

Well, you've lost the ghastly...

Of course, I didn't mean
"ghastly," exactly.

She's a natural.

(normal voice):
Well, Lady Grantham thinks

I can go to Hollywood
and just be an American.

(sighs)
Well, why shouldn't you?

- (Bertie chuckles)
- Come along, Bertie.

Would you excuse me?

I, um, I just want
to go downstairs.

Thank you.

Why is she so nice
all of a sudden?

Oh, it's simple.
She's not afraid anymore.

CORA:
Mm-hmm.

You do know that
I'm completely mad about you?

Dear Mr. Barber,

I can't give you what you want.

But I can say that I've loved
working with you.

And I must be content with that.

It's all you're going to get.

(chuckles softly)

I'm mainly glad to be
my father's son

because I loved him.

It matters more to me
than all the dynastic stuff.

And so it should.

I'm happy for Sybbie, as long
as she learns how to pay back.

You don't believe
in the idle rich?

I believe in them.

I just don't want
any member of my family

to be one of them.

That sounds good to me.
(chuckles)

I think I'll have another cup.

Excuse me.

Does that include any
future member of your family?

Well, yes, of course, becau...

(both chuckle softly)

It's early days,
so don't say anything yet.

Oh, my darling,
I won't say a word.

- But I think that I can kiss you.
- (chuckles)

(quietly): Dr. Clarks on
has arrived, milord.

I notice you're very friendly
with the handsome Mr. Barber.

MARY:
Don't start.

I've kept myself out of trouble
and I've been good.

With some difficulty,
I might add.

It is not
what you were dreading.

Pernicious anemia is
often mistaken for cancer.

And until a few years ago,

it might well have
finished you off.

But there is now treatment.

- Oh. (chuckles)
- Oh, thank God.

It won't be
particularly enjoyable,

but you will get better
and you won't die.

(chuckles)
Well, thank you, Dr. Clarks on.

Thank you very, very, very much.

Yes, thank you.

Now, you must come in
and have some supper.

But it's very much
catch-as-catch-can tonight.

All the servants
are film stars now.

I doubt we'll ever get them back

- behind the green baize door.
- (chuckles)

DENKER:
Oh, milord!

Milady! Come quickly!

Please, quickly!

Doctor.

Say it again.

- Talk in that voice.
- (clears throat)

(American accent): I just
wanna say how grateful I am.

You both licked me into shape
when I needed it.

Thank you.

- So you'll go to Hollywood now?
- (normal voice): Why not?

I've no family to hold me here.

And I've done a talkie now,

which puts me ahead
of the race, I hope.

Just don't forget who you are
or where you've come from.

But don't let it
hold you back either.

And good luck.

(chuckles softly)

Come here.

(chuckling)

Old Lady Grantham's
sinking fast.

They're upstairs with her now.

Get some coffee or something
stronger just in case.

Charlie, are you all right?

CARSON:
What did King Lear say?

"Blow, winds,
and crack your cheeks.

Rage, blow, you cataracts
and hurricanoes."

Has the moment
of her leaving come at last?

(groans):
Oh.

(clicks tongue)

That so great a lady should go

when the house
is full of film people.

♪ ♪

Maud.

(Violet chuckles)

What are you doing here?

Well, you won't believe me,
but I sh... I shall miss you.

Or have you just come to check
I'm on the way out?

(chuckles softly)

Is there anything you want?

Whatever I have wanted,
dearest boy,

you have given me
long before now

and many times over.

Dear Mama, I hope I haven't
been a disappointment.

You were always
so much cleverer than me.

True.

But don't let that
come between us now.

You are far kinder
than I have ever been.

Cora, I owe you an apology.

I didn't think
you'd last the course.

I know.

But I was wrong.

Now, that's something you
haven't heard me say until now.

It was worth waiting for.

(chuckles)

Oh, Mary dear and Edith.

You've been
wonderful granddaughters.

And I leave you both

confident that your lives
will be happy and fruitful.

Oh, Granny.

Darling Granny.

Now, that must be enough

or I shall be like
one of those guests who

(laughs):
pack the car and never leave.

(crying):
Mila... Milady...

- (whimpering)
- Stop that noise.

(chuckles)
I can't hear myself die.

(Violet breathes deeply)

(crying continues)

♪ ♪

♪ ♪

(breathes deeply)

(shuddering breathes)

♪ ♪

♪ ♪

Take that as well.

(sniffling)

♪ ♪

♪ ♪

(sighs)

♪ ♪

♪ ♪

Thank you, Bates.

A strange day for you and me.

We're orphans at last.

- Good morning.
- Good morning.

Milady.

She'd be so pleased you're here.

I can remember the first time
I really saw her, milady.

Oh, close up, I mean.

I'd just been promoted
from hall boy,

and I was in the dining room
with the old butler then,

Mr. Mount joy.

I'd been terrified of him.

But then she walked towards us.

She was angry
about something, and...

and I could see him tremble.

I never forgot that.

And I was never afraid
of him again.

You belong to our history.

In fact, I wonder
if your part is quite done.

Would you ever consider
coming back?

For a bit longer anyway.

Milady?

Barrow is leaving, and I can't
break in a new butler alone.

Could Andrew be your steady hand

while you train him up
to succeed you?

Could he manage that,
do you think?

Well, certainly.

In time.

Her Ladyship's brooch.

So now the Down ton torch
has passed to you.

Mm.

Oh, to His Lordship.

But if I'm to carry it, too, I
shall try to do so with pride.

I can't pretend
I'm not a little frightened.

Oh, you have no need to be.

You have the strength for it.

- Do I?
- Mm.

- Sometimes I wonder.
- (scoffs)

Well, I don't wonder.

Not for a moment.

And you can always count on me,
if that means anything.

It means a great deal.

(inhales deeply)

And I think you know.

Now I just need a moment
before we go.

Milady.

(breathes shakily)

♪ ♪

What did she have to say?

She wants me back
in the house. (sighs)

As butler.

Does she indeed?

MARY:
We ought to move off.

Thanks for organizing this.

She left instructions
down to the tiniest detail.

- (Cora chuckles softly)
- I can imagine.

You'll be burying me one day,

and I'm glad to see
it'll be done well.

I suppose the point is

individual Crawleys come and go,
but the family lives on.

Mama knew that
and believed in it.

Didn't she just.

♪ ♪

♪ ♪

(engine idling)

♪ ♪

(quietly): This way now.
We shall go inside.

♪ ♪

♪ ♪

(birds chirping)

♪ ♪

LUCY:
Thank you.

ROBERT: Oh. Aha.
Here they are. Oh. Oh.

♪ ♪

- CORA: Oh.
- TOM: Andy.

- (Lucy chuckles)
- Adorable.

- Hello.
- Aw.

- Congratulations. - Thank you.
- Well done.

(talking low, indistinctly)

EDITH:
Are you exhausted?

Sybbie, how are you doing?

(talking low, indistinctly)

- Congratulations.
- Thank you.

(quiet chatter, laughter)

Oh. What a bonny baby.

- MRS. PATMORE: Aw.
- EDITH: He's very handsome.

EDITH:
Look, Mary.

Hello.

Who's this?

(laughter)

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

♪ ♪

(music fades)