Downton Abbey Script Book Season 1

The Complete Scripts

Julian Fellowes

• Publisher: William Morrow Paperbacks
• Year: 2024
• Print ISBN: 9780062238313
• eBook ISBN: 9780062238320
• Topic: Media & Performing Arts
• Subtopic: Film Screenplays

Full shooting scripts with commentary from creator Julian Fellowes highlighting key historical and dramatic details. Includes previously unseen material.
The most successful British television drama of our time, the multi-award-winning  Downton Abbey has become a national phenomenon in the U.S. as well. Created by Julian Fellowes—who received an Academy Award for his screenplay for the acclaimed Robert Altman motion picture,  Gosford Park— Downton Abbey features stellar performances, ravishing sets and costumes, and, most importantly, absolutely riveting plots. Now the scripts for the entire first season have been collected in one volume, along with never before seen material, incisive commentary, and color photos that will completely immerse fans in the world of  Downton Abbey.
Praise for Downton Abbey
"A deft balance of emotion, suspense and comedy." — Daily Telegraph
"The sets and costumes are ravishing, the attention to detail painstaking and the performances are brilliant. But above all, it's a cracking story." — The Times (London)\
"There is no mystery about the potency of this series, slathered in wit, powered by storytelling of a high order." — The Wall Street Journal
"A sumptuous, accomplished piece of television." — The Guardian (UK)

EPISODE ONE

ACT ONE

1 EXT. NORTHERN ENGLAND. DAWN.

At dawn, a steam train travels through this lovely part of England. As the camera moves in, we can see a man, whom we will know as John Bates, sitting by himself in a second class carriage. Above him run the telegraph wires, humming with their unrevealed, urgent messages. The train flies on.

2 INT. VILLAGE POST OFFICE. DAWN.

A postmaster is sorting the letters with his wife when there’s a noise. They look at each other.

POSTMASTER: You do it.

Clearly, this is not what she wants to hear. She sits in the corner, puts on a heavy set of headphones and listens.

POSTMASTER’S WIFE: Oh my God.

She starts to write on a telegram form. Then she takes off the headphones as he draws near. She lets him read it.

POSTMASTER: That’s impossible. It can’t be.

If anything, he’s more shocked than she is.

POSTMASTER (CONT’D): I’ll take it up there now.

POSTMASTER’S WIFE: Jimmy can do it when he comes in.

POSTMASTER: Better take it now.

POSTMASTER’S WIFE: Don’t be stupid. None of them will be up for hours and what difference will it make?

But she sighs and shakes her head with sorrow. The credits begin.

3 EXT. DOWNTON ABBEY. DAWN.

April 1912—The sun is rising behind Downton Abbey, a great and splendid house in a great and splendid park. So secure does it appear, that it seems as if the way of life it represents will last for another thousand years. It won’t.*

4 INT. ANNA’S AND GWEN’S BEDROOM.

There is a sharp knock on the door.

DAISY (V.O.): Six o’clock.

GWEN: Thank you, Daisy.†

She looks across at the other body in the bed.

GWEN (CONT’D): Anna?

ANNA: Just once in my life, I’d like to sleep until I woke up natural.

She groans and lies back, eyes closed.

5 INT. KITCHEN. DAY.

Daisy the scullery maid is raking out the clinker.* Mrs Patmore, the cook, comes in and ties on her apron.

MRS PATMORE: Is your fire still in?

DAISY: Yes, Mrs Patmore.

MRS PATMORE: My, my, will wonders never cease? Have you laid the servants’ hall breakfast?

DAISY: Yes, Mrs Patmore.

MRS PATMORE: And finished blacking that stove?

DAISY: Yes, Mrs Patmore.

MRS PATMORE: What about the bedroom fires?

DAISY: All lit, Mrs Patmore.

MRS PATMORE: I suppose you woke them?

DAISY: I don’t think so.†

MRS PATMORE: Then take your basket and get started on the fires on the ground floor.

Daisy gets to her feet and lifts the heavy basket.

6 INT. GREEN BAIZE DOOR/GREAT HALL/HALL/LIBRARIES. DAY.

Daisy comes up the grim kitchen staircase and pushes open the door. Beyond is a different world, with the light from a high glass dome playing on the pictures in their gilt frames, on the Turkey carpets, on the rich, shining woods of the furniture and gleaming floor. In a long, tracking shot, we follow the maid as she crosses the great hall into the marble-floored entrance hall, and on into a small library. She checks the fire. It has not been lit, so she moves on into the main library, vast, gilded and splendid. The first footman, Thomas, has just finished opening the shutters and he passes her without a word, as she kneels and glumly starts to brush out the grate. We follow Thomas.*

7 INT. DINING ROOM. DAY.

… into the richly furnished dining room. He opens the shutters as his junior, William, comes in with a tray.

THOMAS: Where have you been?

WILLIAM: I’m not late, am I?

THOMAS: You’re late when I say you’re late.*

William starts to spread a white damask table cloth.

8 INT. DRAWING ROOM. DAY.

Anna and Gwen open the curtains and shutters. Anna turns.

ANNA: Daisy? Whatever are you doing there, crouching in the dark?

The wretched Daisy is bent over the fire grate.

DAISY: You weren’t here and I didn’t like to touch the curtains with my dirty hands....

Table of contents

• Dedication
• Contents
• Foreword
• Episode One
• Episode Two
• Episode Three
• Episode Four
• Episode Five
• Episode Six
• Episode Seven
• Cast List
• Production Credits
• Acknowledgements
• Photo Section
• Credits
• Copyright
• Back Ad
• About the Publisher