As with last year, we're getting a double episode to kick off PBS's season even though the two parts aired separately in the UK; as such, I'm going to divide the coverage in two even though PBS is presenting this as a single unit.
PART ONE
It's 1922 and Matthew's been dead six months. Let's start here: Thomas clashes with the nanny for the two babies in the house (Branson's and Mary's) and tells Cora she's an unfit caregiver. Although he's typically twisting events for his own benefit, his mostly-lie becomes truth when Cora overhears the nanny nastily telling young Sybil that she's a filthy half-breed (she's talking about the different class origins of her parents, not that that makes it any less vile). Cora dismisses her on the spot and personally stands guard over the kids; the morning, she thanks Thomas for his warning, so his stock is once again on the rise.
It's Valentine's Day and the mail reveals Daisy has a secret admirer. She convinces herself that it's Alfred, even though he's still pretty clearly into Ivy (and still annoyed at Jimmy James for stringing her along). Mrs. Patmore confesses that she sent it so Daisy wouldn't feel neglected, and Daisy takes the news in the kind spirit in which it was intended. Speaking of Mrs. Patmore, she's up in arms when the modern innovation du episode shows up… an eggbeater. She worries that such advances will end up costing all of them their jobs, but when the mousse Daisy makes with it is a big hit, Mrs. Patmore breaks a bowl taking it for a test drive and despairs to Mrs. Hughes about being an old dog whose time for new tricks is past. Also worried about his place in the current landscape is Molesley, as Matthew's death left him without a position; with Carson unable to keep him on in what's basically a charity situation any longer, his father and the Dowager Countess worry that he won't find anything in service with the world changing as it is. The Dowager Countess then conspires to arrange an impromptu on-the-job interview for Molesley with "Lady Shackleton," played by the absolutely wonderful Harriet Walter (in far too small a role), whose butler is retiring. However, the Dowager Countess' butler, thinking Molesley has designs on his job, sabotages his efforts, so Molesley's identity as the Eeyore of the show is still completely intact.
Via snoopery, Mrs. Hughes learns that a "Mr. Grigg" wrote to Carson (think back aaaaall the way to the second episode of the show and the "Cheerful Charlies") and goes to see him in a Dickensian sweatshop; it turns out he and Carson were old friends in Carson's performing days, but they fell out, and now Carson doesn't want to be reminded of that time in his life. The health-challenged Grigg also seems -- as was indicated in his first appearance -- to have had some legal troubles, as his work detail seems to be some kind of punishment, so being stonewalled by Carson, Mrs. Hughes the humanitarian appeals to Isobel for help, and while Isobel at first hesitates given her distraught emotional state, she eventually agrees to take Grigg in. Carson is aghast that Mrs. Hughes would impose on her at a time like this, but Mrs. Hughes inform him she's doing it for Isobel's sake as much as Grigg's, and later, Isobel tells Carson that the whole affair has made her feel compassion for the first time since Matthew's death. Indeed, when Grigg arrives Isobel seems more like her old self, so Mrs. Hughes continues to do good wherever she can.
As we who read casting news unfortunately expected, O'Brien has departed Downton to join Lady Flintshire in India, and as news of her sudden disappearance -- she didn't even breathe a word to Alfred, her nephew --- spreads through the house like wildfire, Mrs. Hughes and Anna scramble to fill in waiting on Cora. Rose comes under a bit of fire for her mother having snaked O'Brien as she did, and it turns out she did get wind of her mother's plan, but didn't think she'd actually go through with it. Thus feeling guilty, Rose takes it upon herself to advertise locally, which results in Edna, the one who was so smitten with Branson AND WHO COULD BLAME HER, applying for the job. Edna has learned hairdressing and has gotten some small experience as a lady's maid in the time since we last saw her and with Cora having been at Duneagle (and as such ignorant of what went down with Branson), she hires Edna on the spot. Mrs. Hughes is obviously stunned, but she can't say much without exposing Branson to embarrassment, so she keeps her disapproval general, which does nothing to dissuade Cora. Carson, Mrs. Hughes and Branson then have a summit meeting in which Carson rules they're going to have to suck it up and deal with Edna, and Branson looks more terrified even than that time the Dowager Countess ordered him to wear a tux.
Moving upstairs, Edith and Michael Gregson are now seeing each other semi-openly, with Cora very much in favor and Lord Grantham decidedly not. Gregson also discovers that if he were to become a German citizen, he'd be able to divorce his clinically insane wife, and Edith is overwhelmed by the gesture, not least because the dust has barely settled from the Great War and he'd risk becoming a pariah. Lord Grantham is basically like, this girl and her romantic choices, and it's maybe hard to completely blame him at this point.
Lord Grantham and Branson are co-managing the estate, even walking the grounds as one, but the place's assets are complicated as ever due to Matthew having died intestate, leaving his infant son technically in possession of most of his interest. Regardless, Branson wants to get Mary involved in the place's governance, but Lord Grantham won't hear of it with her haunting Downton like a black-clad specter and not even spending much time with her boy "Master George." With Matthew's death creating imminent and significant tax burdens, Lord Grantham wants to represent Mary and as such have controlling interest on Downton's management. Branson still thinks Mary getting involved would be good both for her and for the estate, so he appeals to Carson for help, and Carson's mild lingering distaste for Branson is overwhelmed by his unflagging love for Mary. Mary takes Carson's head off for his impudence, but Carson is unbowed and tells her she's giving in to defeat, and the Dowager Countess unwittingly backs him up at a dinner from which Mary flees in grief. Later, however, the Dowager Countess gently tells Mary she needs to choose life (her words, essentially), and like Isobel, Mary starts coming to herself again, eventually apologizing to Carson before breaking down in his arms. In the end, Mary attends a big tenants' meeting, wearing something other than black for the first time since she became widowed and ready to represent her and Matthew's progressive ideas for Downton's future. If only it were that easy!
PART TWO:Let's dispense with the harebrained/pointless stuff: Anna runs into Molesley in town, and seeing that he's been reduced to laying tar to pay off his debts, she offers to lend or even give him some money. When he won't accept, Bates goes to the Dowager Countess on his wife's behalf, and she gives him money he then pretends he borrowed from Molesley a long time ago. There's the usual twaddle with Ivy and Alfred and Jimmy James and Daisy; also, Rose wants to hit a thé dansant that's beneath ladies of her station, so she asks Anna to take her on the sly; while Anna won't go that far, she does get permission from Mary to chaperone her. On an errand in the same town, Jimmy James spots them and dances with Anna, while Rose lies to her hot-but-common date that she's in service at Downton. A fight then breaks out from which the Downton crowd flees, but her true-hearted bloke makes his way to Downton to see her, so Anna gets Rose into a maid's uniform for some nervous flirting and a late but sensible lie that she's promised to someone else, as well as an aside to Jimmy James she'll have his back if he keeps her secret. Oh, and Gregson is planning to go through with the Germany plan, and thinking their future is becoming more solid, Edith invites him to a house party Cora is throwing at Downton, which doesn't even happen this episode. Now:
Whether sensing a kindred outcast spirit or attempting to make a political connection with the new lady's maid, Thomas makes overtures of friendship to Edna, which Anna warns her about. When Edna ruins a garment of Cora's, though, Thomas helps her get Cora to believe it's because Anna was unkind to her; when Anna and Bates figure out Thomas' involvement, they realize they now have two enemies for the price of one.
Mary gets a package holding the contents of Matthew's old office, but Carson and Mrs. Hughes decide to give it first to Lord Grantham in case there's anything therein that will upset his daughter. It contains some mementos… and a letter from Matthew stating that he intended Mary to be his sole heiress. Thinking the letter will have no legal bearing, Lord Grantham hesitates to give it to Mary, for which the Dowager Countess reproves him, adding that he's obviously only balking because he'd prefer to resume having sole custody of Downton. Lord Grantham reluctantly shares the letter with Mary before announcing its contents to the principal players, but although they're heartened, Lord Grantham cautions them it may not change anything. He then continues to behave like a pompous fool, trying to intimidate Mary with all the Downton issues she'll have to bone up on if she wants to share the management responsibilities, but this only serves to rally literally everyone else to her side.
Dr. Clarkson examines Grigg and pronounces him fit for some honest work, but Grigg is bummed that Carson still doesn't want to see him. Through her returned force of will, Isobel gets Grigg a job interview for a stage-door manager position in a theater in Belfast before bustling over to Carson and suggesting he patch things up with his old mate. Carson, typically, is staunchly against the idea at first, but Saint Mrs. Hughes sets him right, and Carson shows up to the train platform for a reconciliatory heart-to-heart.
The Dowager Countess calls Mary and Branson in and decrees that Branson will be Mary's teacher; he'll take her on his rounds and instruct her in the issues of Downton. Mary and Branson are amused at the way the Dowager Countess flouts her idiot son, and soon, Branson has her out on the grounds chatting about the death duties, about which she later tells her flustered father he's entirely wrong. That's especially relevant because in the end, Lord Grantham announces that the legal opinions are in and the letter actually is valid as a will, so Mary officially owns half of Downton. I do apologize/I do not apologize, Lord Grantham!
As in the recaplet, I'm dividing this into two parts to acknowledge that it was aired as two separate episodes in the UK. Welcome to Season Four!
PART ONE
Skipping the opening credits, we push in on Downton bathed in darkness before venturing inside. After a quick montage of "someone" (it's an O'Brien stand-in, as we'll quickly come to learn) leaving a couple notes in sealed envelopes, we hear crying babies on the soundtrack and a see a stern-looking nanny walking the halls to attend to them. Mary then opens her eyes in bed -- on one distinct side despite the other being empty -- and we then pull focus to a nightstand photo of her and Matthew in case we need extra help with the notion that she's in her Widow's Bed Of Sadness.
In the dim light, "O'Brien" exits Downton. After we see Mary sitting up forlornly, Anna flips on an electric light switch (I can't be sure, but the circuit may be a new thing here), and then we see Mary, her Black Kimono Of Bereavement and her even-more-pallid-than-usual complexion making her appear fully qualified to haunt the earth at night. There must be some moors not too far away, right? Regarding the beautiful day in front of her with no amount of positivity, she woodenly rings her bell. Downstairs, Anna tells Carson she'll have to go despite the brouhaha O'Brien's letter has unleashed. If you read casting spoilers (or the recaplet) you know that O'Brien fled under cover of almost-night to join Lady Flintshire in India, which was strongly indicated as a possibility from O'Brien's behavior up at Duneagle. With it now official, a flustered Mrs. Hughes says she'll take Cora the letter and her breakfast for today, and Anna offers to fill in going forward until they find a replacement for O'Brien, as Mary will just sigh and guess that suffering is now her lot in life… I mean, she "won't mind." On her way up, Thomas asks what's got Anna in such a right state, and Anna doesn't slow down as she breaks the news about O'Brien, which, given their animosity last season, doesn't have the sting it might once have. Indeed, Thomas goes running into the room and excitedly tells Ivy and Jimmy James, so I guess whatever friendship the two boys forged is still intact. The news spreads quickly among the whole staff, as well it might.
Cut to Cora telling Lord Grantham she can't believe it, and I love and will miss O'Brien but you can hardly blame Lord Grantham biting out, "I can." He's talking about her sneaking off in the night, but Cora's more aghast that Lady Flintshire poached her maid like that, and I don't know if a Miss Manners For British Nobility actually existed back then, but it does seem like a serious breach of etiquette to the layman. Cora disbelievingly reads aloud from the letter -- "Lady Flintshire has booked my ticket for India, and it seems too good a chance to miss" -- and when Lord Grantham inquires if there really was no warning, Mrs. Hughes admits there was a telegram for O'Brien the day before. Cora is fairly despondent, while downstairs, Carson is acidly grilling Alfred about whether his aunt really let nothing on to him. Alfred assures him she did not and he's surely a good company man, but let's acknowledge that even if there were any subtle clues, he wouldn't likely have been the first (or tenth) person to pick up on them. When Carson is gone, Alfred worriedly tells the kitchen staff that he really didn't know, and O'Brien may be his aunt, but "she's a dark horse." Mrs. Patmore, gleefully: "No one will contradict you there!" Hee. It's not like she's my all-time favorite or anything, but if you're talking reliably hilarious line deliveries Mrs. Patmore at least deserves inclusion in the conversation.
Outside, Thomas tips his hat to "Nanny West" and her underling, who are pushing the two kids along in their strollers, but when Thomas stops the younger woman and has a moment with young Sybil, Nanny West asks him not to touch the children without her permission. Thomas is unimpressed with her broad smile and drops his own as he informs her he knew the girl's mother (it's been a while between seasons so I hope you don't mind the reminder of how closely Thomas valued Sybil), but Nanny West is similarly unmoved as she says they have to get on, and would he ask Mrs. Patmore to send up the kids' lunch in half an hour? Given that he's not on duty at the moment and not clearly headed back to the house, it seems like an odd request, so I'm not sure she should be entirely blown away when he suggests she ask Mrs. Patmore herself. That's doesn't mean it's unamusing, though.
In the kitchen, people are still talking about O'Brien, and Jimmy James is the only one to take up for her, as he says she obviously wanted an adventure and he doesn't see the problem. Alfred points out that it's not what she did, but how she did it. Jimmy James counters, "You're only talking like that so we'll think you didn't know." Hee. I'm tired of him using Ivy to do it, but I generally like how Jimmy James continually tries (and succeeds) to get under Alfred's skin. Surely happy to be free of O'Brien and just as happy not to talk about her, Bates asks Anna how Mary was that morning, and Anna sighs that she was no different; she supposes she must come out of her funk eventually, but she sounds more like she wants to believe it than she actually does. Talk turns to the nanny, and Daisy thinks it's a hard job, as you're not one of the family but not really thrown in with the servants either. Thomas, hearing this last bit, regally takes a seat and announces that Nanny West thinks an awful lot of herself: "She only tried to give me orders." This time it's Bates spiking the beach ball: "You mean she mistook you for a servant?" Hee. Alfred is slow enough to require an explanation of this punch line, which only adds to the mystery of how he and O'Brien could possibly be related.
Outside, Lord Grantham, Branson and Isis have just wrapped up a meeting with a tenant farmer, after which Branson asks if Lord Grantham really wants to "abandon the whole plan." Lord Grantham replies that their hands are tied, as they have to find death duties on half the estate, and I suppose there's not much point in going into the philosophy of estate taxes, but given that the land isn't being liquidated it does seem a little unfair and counterproductive to the local economy. Branson thinks it would be better if Mary were back in play, but Lord Grantham sniffs that she never was -- she owns a third of Matthew's share of Downton by law, but the rest of it belongs to her son, and since Matthew died intestate there's nothing to be done about it. Branson tries to play audience surrogate as he asks if the fact that Mary is George's guardian changes anything, but it doesn't, according to Lord Grantham, and since he owns a full half and Mary's in emotional pieces, it's better for him to handle this crisis on his own.
A less pompous/entitled member of British nobility (HAAAA ha ha) might be a bit more deferential given how Lavinia's Matthew's money was needed to save Downton from the ruin Lord Grantham visited upon it, but I do believe his concern for Mary is genuine, which is why I'll never dislike the character, maddening as he often is. (Also Hugh Bonneville is great, never shying away from making Lord Grantham believably and frustratingly self-important.) Branson does agree that Mary loved Matthew very much, and Lord Grantham blithely continues that the price of such love is great misery when one of the involved parties dies. Branson looks stricken as he says he knows, and Lord Grantham at least almost collapses in consternation as he agrees that of course Branson does. This show is hilarious with how quickly events move: "Oh, your wife and my youngest daughter died what, four whole episodes ago! How would I possibly remember that?"
It looks like the graveyard conversation we witnessed was well-founded, as Carson tells Molesley essentially that while "we would hate to appear inhospitable" it has been six months and they can't afford to keep him around anymore. Molesley is like, well, maybe I could go to my dad's place I guess, but Carson doesn't acknowledge any equivocation as he's like, great all settled and then leaves the room so quickly he almost goes back in time. Mrs. Patmore then happens by and tells Molesley to cheer up as it may never happen, but he replies it already has. Well, Molesley, your default setting is "pretty glum," so you can excuse the mistake.
In the parlor, Edith announces she's walking into town that afternoon to check in on Isobel. Rose brightly says she'll join, and when Edith is like, yeah, she's not in a fit state for your kind of cheery company, Rose tells her she only meant she'd come to the village. Edith then announces that Michael Gregson is giving a party for her in London to introduce her to his literary friends, and Cora looks predictably happy while Lord Grantham even more predictably pulls a face that makes him appear to be stifling a reaction to Isis having cut one.
In town, whether having walked the first part of the way with Edith or not, Rose pops in to the small post office and pays the proprietress sixpence to put an advertisement in the window. Rose is a bit cagey about saying what it's for, which is odd, because A) we already know she wants to atone for her mother's part in thieving O'Brien and B) the woman will be able to, you know LOOK AT IT once Rose is gone. Silly Rose!
Mrs. Hughes hesitantly asks Cora (she's still attending to her for the moment), who's ready for bed, how Edith found Isobel (you'll remember that Mrs. Hughes and Isobel bonded over the Edith affair), and Cora sighs that she's still in a very dark place. Mrs. Hughes points out that Cora, having lost a child herself, is singularly qualified to comfort Isobel, but Cora's not so sure she could have borne the pain of losing Sybil if she didn't at least have two other children to hang onto. Lord Grantham then enters, and after Mrs. Hughes withdraws, he tells Cora he feels like they need to settle the question of the management of Downton, but he also doesn't want to rush Mary. Cora's like, Mary is George's guardian, so I don't see that there's a "question." But Lord Grantham still thinks he should be in sole charge, and he's at least got one reasonable point about the death duties forcing them to make some big decisions soon. Cora still looks at him like he just grew a second noble head as she asks if he's trying to push Mary out. Lord Grantham won't be dissuaded from talking nonsense about owing this to George or whatever, and Cora looks like she might as well go to sleep because she has nothing to say to that.
The day just so happens to be Valentine's Day; after Carson foreshadowingly mentions to Mrs. Hughes that he wasn't always a stranger to romance, Daisy looks forlorn until she gets a card, which she runs off to open. Bates and Anna tease each other about their cards, and their relationship is a lot more bearable when the show doesn't treat it like the romance of the century, I'll say that much.
Elsewhere, Edith is heading upstairs with a card of her own in hand and a happy smile on her face when she runs into her sister, who affectlessly remembers what day it is. She asks when Edith is leaving for London, and Edith replies that she's going on the ten o'clock. There's then a long, uncomfortable moment before Edith says she ought to pack, so I guess if Sybil's death didn't make these two any closer, Matthew's didn't really have a chance. Mary intones for Edith to have a lovely time before descending the stairs and pausing when she sees the archway where… honestly, I can't recall, but it obviously reminds her of Matthew. I'm sorry, but those two had so many moments it's hard to remember, and it's not like we didn't know she misses him.
At "Ripon Union Workhouse," Mrs. Hughes enters and after making some inquiries seeks out a certain older man. The conditions look sweatshop-y and "GOD IS GOOD" is written prominently on the wall, so it'll be no surprise when we learn that there's a punitive element to this situation. Mrs. Hughes finds her quarry, the "Charles Grigg" who, as I mentioned, was introduced to us way back in the second episode ever as an old performing associate and now-antagonist of Carson -- Lord Grantham paid him twenty pounds to go away and never come back -- and tells him she works with "Charlie Carson" at Downton. Grigg being the letter-writer, he brightens and asks if Carson sent her, but she admits that he didn't quite, and we also hear that Grigg has a nasty-sounding cough, although whether it's due to current conditions or a more sinister health issue isn't clear. After Mrs. Hughes expertly skirts the issue of Carson's involvement/awareness, Grigg smiles that despite their falling out they go back a long way, and it means a lot to him that Carson cares. He then gives another cough that sounds like death itself, so I can't blame Mrs. Hughes for wondering what she's gotten herself into on more than one level.
On the ground floor, Nanny West calls to "Thomas" and starts to give him instructions to give to Mrs. Patmore, and Thomas is like, look, the stairs below are right here! She asks him to please do it, as the kids are on their own, and I know they need something to come back to bite her, but even with O'Brien up and leaving how is a communication system around the kids' meals not firmly in place? Thomas is Lord Grantham's valet; isn't this a job for the footmen?
In the sitting room, Edith wonders why she bothered running all over London placing ads if Rose was going to sort everything out, but no one pays her griping any mind and Rose announces that one of the three applicants is promising, so they'll see her in Ripon on Friday, since she's looking after her aunt and can't make it to Downton. Elsewhere, Branson tells Mary to snap out of it and take an interest in something already, and when Mary says she's interested in her son, Branson asks if she is, really. Mary: "I will be." Heh. Mary at least asks what he's been up to, but Branson can't get half a sentence out before Lord Grantham the conversation police is like, Tom, don't bore her with THINGS! Branson holds his tongue, but it looks like it's taking supreme physical effort.
Downstairs, we learn what we already knew, which is that Jimmy James sent no card to Ivy, but new information is that he did send one to a female former employer of his who he hears is returning from France. Thomas asks if that wasn't a bit forward, but Jimmy James smirks that he doesn't think she'll mind. He is total noble-cougar bait, isn't he?
Mrs. Hughes has apparently gone to Isobel about Grigg, and Isobel tells her she's not sure it's any of her business. Mrs. Hughes replies she never thought she'd hear her say that, and Isobel isn't so bereaved that she doesn't flinch at that one. Hee. Mrs. Hughes sucks it up and asks if she could bring Grigg to Crawley House -- if they'd vouch for him to the authorities, they could extract him from the workhouse. When Isobel hears that the Abbey isn't an option due to the fact that Carson has shut himself of Grigg (and I'm not sure if anyone outside Bates, Anna and Lord Grantham know what went down with Grigg and Carson the last time the former was at Downton), she asks if Mrs. Hughes wants to risk his wrath and adds that in her present state she's not sure she'll be much good to anyone, but Mrs. Hughes won't hear any more self-pity and tells Isobel to channel her strength toward the good of another. A bit forward, perhaps, but I think TV dictates that cancer (scare) survivors are pretty much allowed to do whatever they want.
In town, Mrs. Hughes arrives at Crawley House with Grigg in tow, and when they enter, Isobel is all capable business, first sending Grigg up for a bath and some clean clothes from the missionary barrel and then telling Mrs. Hughes that she'll have him stay in bed for the day and then reassess. Mrs. Hughes tells her how kind she is, but Isobel demurs: "We must all do what we can." Of course, the point is that she once again feels part of a "we," and Mrs. Hughes smiles to herself, which seems well-earned to me.
Edith pulls up at the Criterion, and then inside, she and Gregson take a seat at a table as she comments how new it is for her to be out in public with a man, drinking and dining. Gregson agrees that the war changed everything before telling her how much he loves her; he then gives her a progress report, which is that he can legally divorce his wife if he becomes a German citizen. Edith asks if he'd really join "the most hated race in Europe" for her, and when the answer is yes, she throws social caution to the wind and kisses him right there. Well, she might as well while he's still half-respectable, I guess. But hey, what about Greece and Portugal? If I were they, I'd be not a little insulted.
"Edna Braithwaite is coming back?" It's Mrs. Hughes's turn to open a scene with a disbelieving line, and she tries to disavow her reference to what degree she can without implicating Branson, but it's ineffective and on top of that, Cora rips her for being uncharitable. Mrs. Hughes almost chokes on the irony but manages to stay silent, which is yet another impressive feat from her.
Daisy starts in with Mrs. Patmore about the Valentine's card, trying to do the math to conclude Alfred sent it, so Mrs. Patmore throws up her hands and fetches Alfred from playing cards with Jimmy James and Thomas. Molesley turns up, and when Anna asks him about the lunch, he's like, yyyyeah I gotta go, and then Branson appears and says Mrs. Hughes was looking for him and is told where she is. Alfred confesses what anyone with half a brain already knew, which is that he sent the card to Ivy, adding that Jimmy James didn't send one within the house. He takes his idiot self back to his boys, whereupon Daisy's poor brain casts about for a lifeline until Mrs. Patmore finally tells her that she sent Daisy a card because she didn't want her to feel left out when Alfred OBVS sent one to Ivy. Thankfully, Daisy brightens at this and expresses happiness that at least she's got a friend, and Mrs. Patmore doesn't reply that if they're really friends now she hopes Daisy will shut up about that lunkhead, but she's probably thinking it.
In Carson's office, Mrs. Hughes tells Carson and Branson she didn't know what to do, and Branson says it wasn't Mrs. Hughes's duty to spill that she only wrote the reference at Branson's behest -- he'll tell Cora himself. Carson, however, no-no-nos that Cora's been severely tried without getting any notion that "Lady Sybil's husband was unworthy," and I don't think that's the most charitable way of looking at it, nor am I sure that they're doing Cora a favor by keeping Edna in her employ. But what Carson decrees is happening -- she's got some proper training, at least, and they'll have to make sure she behaves herself; turning to Branson, he adds, "And I hope we may rely on you to make sure Edna doesn't step out of line." I mean, his terrified look suggests that he'll try, but I have the feeling she's got a sixth sense about when his shirt's off.
Upstairs, Cora is heading to her room when she hears one of the children crying and Nanny West's voice; it's unintelligible at this distance, but remembering Thomas's warning, she creeps forth to investigate. Reaching the ajar door, she sees Nanny West holding Master George fondly -- and telling him not to let "that chauffeur's daughter" disturb her. This is bad enough, but Cora senses more damning evidence is coming and indeed, Nanny West turns to Sybil in her crib and spits for "you wicked little cross-breed" to go back to sleep. At this, Cora wastes no further time in sweeping in and ringing downstairs before turning to a flustered Nanny West and informing her in no uncertain terms that she will pack that night and leave first thing in the morning. She adds that she's not to touch the kids again, and when Mrs. Hughes appears, Cora quickly tells her to find Nanny West a bed for the night and to get one of the maids to sleep with the children. Nanny West tries to cut in, but Cora practically hisses that her values "have no place in a civilized home," and with that, a distraught Nanny West withdraws. Cora then sits down to guard the kids personally while Mrs. Hughes, looking pretty thrown herself, receives her instructions again. Too bad this didn't happen before the Edna interview, because I have the feeling Downton's hiring practices are going to get a little less trusting.
Downstairs, Lord Grantham and Mary are the last two up, and Lord Grantham asks Mary if Edith's relationship with Gregson is serious. Mary: "Well, he's not bad-looking, and he's still alive, which puts him two points ahead of most men of our generation." There's at least some gallows humor in her delivery, but Lord Grantham isn't interested in levity as he intones that Edith could do a great deal better, and if that's true it's not because of anything you've done, sir. Mary then mentions Matthew and the conversation predictably grinds to a halt, so Lord Grantham suggests she go to bed. She starts to shuffle off, but turns back to ask if he'd like her at the tenants' lunch. This was mentioned at the dinner from which she fled, so it's not out of the blue, but Lord Grantham of course tells her not to bother her fragile little head about it. Mary shows some signs of life, putting a note of challenge into her voice as she tells him she has ideas and she and Matthew used to talk about the estate, but Lord Grantham as usual doesn't really hear a word she's saying as he kisses her goodnight.
We stay with her as she pauses irresolutely on the stairs, though, and then she reverses course -- and we cut to her entering Carson's office. She immediately apologizes for her behavior, and although Carson tells her there's no need, she pushes on and tells Carson that the Dowager Countess agrees with him about how she's let her grief dominate her. Carson at least says that doesn't surprise him before asking if this means she's returning to the land of the living, and she replies that she certainly knows she's spent too long in the land of the dead. The hair-splitting only emboldens Carson as he tells her they were all very fond of Matthew, and this is too much for Mary, who breaks down in wracking sobs to which she may not have given in since Matthew died. Carson comes to her and comforts her in a way that, whether due to custom or temperament, I think her own father never could, and as he holds her in his arms and the musical cue they always played over Matthew and Mary's romantic scenes kicks up, he soothingly tells her to go on and have a good cry. "That's what's needed now. And when you're ready, you can get to work. Because you are strong enough." Aww. Again, they're pushing through Matthew's death quickly from a narrative standpoint, but the emotions depicted are affecting, and it's nice to see how it exposes that the older servants really are in a way part of the family.
Mary wonders if she's really strong enough, especially given that Lord Grantham doesn't seem to agree, but Carson kindly asks if she doesn't owe it to Matthew to protect his work and fight for his changes? "To steer Downton in the right direction?" Sounding calmer already, she thanks Carson for always being ready with a shot of self-confidence, and he smiles as big as he ever does when he assures her that will never change. They bid each other goodnight and it's quite lovely.
Less lovely is the racket that Mrs. Hughes suddenly hears, and when she goes to investigate, she finds Mrs. Patmore having broken a bowl thanks to her inability to control the eggbeater. Mrs. Hughes is like, great, first Nanny West is a psycho and now this, but Mrs. Patmore barely bats an eye at the mention of child abuse before complaining that her lack of proficiency with modern gadgets is going to leave her unable to join the future, so to calm her down Mrs. Hughes offers to help her clean up the mess. I don't know, Mrs. Patmore… maybe you can be the first on your block to get proficient with the use of a liquefier? As they clean, the two women start gossiping about Nanny West, which shows they're getting back to normal, I guess.
The sun peers through the clouds the day and downstairs, Lord Grantham runs into his wife, who's like, Thomas is now essentially royalty in my eyes thanks to the warning he gave me about Nanny West. Lord Grantham, in his inimitable way, is like "Not another one!" when he hears Nanny West is departing, but Cora assures him it's for the best as Thomas shoots the nearby Bates a triumphant look. Cora personally thanks Thomas again, who plays it for all it's worth as Bates looks on like "Grrrrrrrreat."
It's time for the tenants' lunch, which as you'd imagine is a complete banger party, but that changes when Mary -- wearing lavender instead of black -- enters. All the men stand, and as Mary turns on all her old charm, Branson (joined by Carson) looks delighted and insists she take his seat at the middle of the table. Even Lord Grantham does not appear nearly as put out as he might as he mildly asks if she's got time for this, but Mary breezily replies that she's been looking forward to it before engaging one of the farmers in shop talk. Lord Grantham shoots Branson a look, but Branson continues to beam and that's a lovely enough sight off which to pull back and out. Onto…
PART TWO
Downstairs, Mrs. Hughes tells the crowd she's gotten a letter from Gwen -- you remember, the maid from Season One who bought a typewriter and took a postal course in shorthand, and wasn't aware that either of those actions was illegal -- announcing that she's married. The bell rings and Mrs. Hughes is like, that's for you, Edna, before going on that Gwen's mother-in-law is ill, so they kept the wedding quiet, but she hopes to be able to introduce him to the people at Downton. (I don't watch Game Of Thrones, but the actress, Rose Leslie, has a recurring role in Westeros.) Anna offers to get her a card that they can all sign, which just might be important (or at least relevant) later, while elsewhere, Thomas chats a bit with Edna and they seem to bond over the fact that not everybody likes them. Anna then catches Edna on her way up and cautions her that now that she's a lady's maid, Thomas will try to curry favor with her for political reasons and she should be wary of him, but Edna seems neutral as she heads upstairs.
Jimmy James brings a box into the kitchen, and when Carson and Mrs. Hughes examine it, they see that it's addressed to Mary -- and is from Matthew's office. Mrs. Hughes wonders if an intermediary shouldn't open it in case it contains anything that would upset Mary. Carson sees the wisdom in that, which is fine, but he decides to bring it to Lord Grantham, which is asinine. If you're worried about the emotional consequences, wouldn't Cora be a much better choice? Regardless, later on Lord Grantham opens a strongbox that was apparently in the package; there's a small stuffed dog (I think; the features aren't that clear) and a book -- out of which drops a piece of paper after Lord Grantham picks it up. Plot in motion and all, but another conveniently-appearing letter determining Downton's financial future? I think that's your series quota, mates.
Downstairs, Jimmy James is impressed about Phyllis Dare coming to perform in a musical in York, and Ivy's the only one who's never heard of her, as she's never been to the theater. I mean, not that I expect any culture requirements in her job, but if even Daisy knows about the Dare sisters maybe Ivy really is kind of a rube.
Lord Grantham has taken the letter to the Dowager Countess, who tells him that of course he has to share it with Mary, but he wonders if it's wise given that it might turn out to have no legal status. The Dowager Countess, however, lets us in on the secret when she replies that Matthew intended Mary to be his sole heiress, and that will mean a great deal to her emotionally even if it comes to nothing financially. Lord Grantham says he'll send it to Murray for an opinion, but the Dowager Countess is firm that Mary should read it before that happens -- or is Lord Grantham trying to hide from the idea that he would prefer to be in sole charge of the estate? Lord Grantham well-I-nevers that Mary won't want to get involved regardless of the dispensation of Matthew's estate, and I'd ask if he came down with amnesia and as such doesn't remember the end of Part One, but that would just get in the Dowager Countess's way: "When you talk like that, I'm tempted to ring for Nanny and have you put to bed with no supper." Oh, did you also employ Nanny West? Also, HA!
Dr. Clarkson comes down from examining Grigg and tells Mrs. Hughes that there's nothing wrong with him that a little hard work and exercise wouldn't cure. Mrs. Hughes thinks finding him a job at his age is the issue, of course, but Clarkson tells her Isobel has things well in hand before appreciatively adding that Mrs. Hughes obviously knew what she was doing when she brought him there. Isobel then calls for Mrs. Hughes to join them, and we cut to her complying, with Grigg looking much better for his stay with Isobel, although he still has at least a remnant of that cough. His spirits sag, though, when Mrs. Hughes has nothing to tell him about Carson visiting, and he even calls her on making up a story about Carson having sent him his best wishes. He cryptically adds that Carson "thinks it were all my fault, but it weren't," and if you want anything less vague, you're going to have to wait until a lot farther than the five-minute mark.
After Daisy announces that they're going to have a full table upstairs that night, Alfred starts in about Ivy and Jimmy James YET AGAIN and I really Can't With This, so let's skip ahead to Mrs. Patmore having a crisis about having to pick up some fish from York, whereupon Jimmy James -- his eye presumably on theater tickets -- offers to go for her if she'll make the request to Carson. Meanwhile, in town, Anna catches sight of Molesley working as part of a tar-laying team, and he's obviously embarrassed to be seen doing menial work and looking no cleaner than a chimney sweep, but she accosts him anyway, whereupon he tells her he owes money all over the village and is desperate for work. Anna tries to bright-side it, but he's disconsolate, so she asks how much he owes, and the answer is probably north of twenty pounds. Anna, looking rather upset and moved, gingerly asks if she and Bates might lend or even give him some money, but he tells her he couldn't accept it, although he does appreciate the offer. The foreman then barks at Molesley to get back to work, which frankly I'm surprised took this long.
Mary comes in to see Lord Grantham and after he dismisses Bates, he comes clean about the letter (explaining that it was overlooked and Matthew's things were only just now packed up) and gives it to her to read, adding that he's invited the Dowager Countess and Isobel to dinner to discuss it. After hearing his reasons why she's not the first or second person to see the letter, she opens it with shaking hands, while downstairs, Anna expresses how upset she is about Molesley to her husband. Now in the sitting room, Isobel is learning the news along with the rest of the upstairs crowd; once they're prepared, Mary has Lord Grantham read the letter aloud, which was written the day before they left for Duneagle; it talks about how Matthew realized he'd never made a will, which was thoroughly irresponsible of him and a mistake he intended to rectify. In the meantime, though, he wanted to get his preliminary wishes down, those being simply that he wanted Mary to be his sole heir. Mary's face collapses as she hears a declaration of Matthew's love as the signoff, but Isobel's face is bright as she supposes the letter must have legal standing, especially since, as Mary pipes up, it was signed in front of two of his clients. Lord Grantham, however, cautions them that "whatever Matthew's intentions, it is not a will," and he's technically correct but it'll somehow be satisfying to find him essentially wrong yet again.
Mrs. Patmore tells Jimmy James he has leave to go to York on her errand; when he's gone, Alfred babbles about Jimmy James's intentions toward Ivy and Mrs. Patmore rolls her eyes. Guess which one I can relate to?
Upstairs, Cora and Isobel express their gratitude that Matthew was, in a manner of speaking, allowed a last word, but Lord Grantham gripes to the Dowager Countess that now the estate will have to pay double death duties before it reaches Master George. The Dowager Countess, however, thinks that's a reasonable price to pay for the benefit of Mary's involvement, and Mary is just saying to Branson how she welcomes the right to have an opinion, so her father who was so worried about her gentle spirit wastes no time in crushing it by listing off a bunch of estate-related issues on which Mary obviously hasn't yet been briefed and isn't yet prepared to give an opinion. Not only is this dickish, but it also completely backfires when Mary acidly replies that Lord Grantham is obviously endeavoring to make some sort of point, and Cora takes up not only for her daughter as she notes Lord Grantham is trying to say that a woman's place is in the home. Branson chimes in that no one knew Matthew's plans better than Mary before soliciting Isobel for her opinion, and Isobel, albeit as diplomatically as possible, goes to Mary's corner as well. Lord Grantham tries to say he was only pointing out how much work Mary will have in front of her should the letter prove to be valid, but the Dowager Countess hasn't had her say: "Which you very much hope it is not." Jeez, and the women didn't even have to use their whole bench to make him look like a jerk. What were you thinking, Lord Grantham?
Downstairs, Edna is teary-eyed, as she did something to one of Cora's blouses (probably burned it with an iron, although I can't be sure), but Thomas tells her to take heart and follow his plan. You'd think Thomas might be a little more appreciative of what Bates and Anna did for him in regard to the Jimmy James scandal, but I suppose it's in character that one joke at his expense makes everything forgotten. Down the hall, Bates tells Anna he thinks it would be nice for people in the village to sign the card for Gwen (he tellingly lists Molesley among them), and he'll be happy to go make the rounds. Anna is surprised, as she doesn't think of Bates as social, and Bates replies that he doesn't need to be social when he has her. Well okay, but… that doesn't explain the errand, then?
Downstairs, Isobel has told Mrs. Hughes that she wrote to a great many places inquiring for a job on Grigg's behalf, but the manager of the opera house in Belfast got back to her saying they need a stage doorkeeper and that Grigg would fit the bill quite nicely. Mrs. Hughes then gently brings up Matthew's letter, saying she hopes it wasn't too upsetting, but Isobel tells her it was a relief, and it made her so happy that he was finally heard, although she's worried about what the ensuing developments may mean for Mary. And as much credit I and everyone else in the world give Maggie Smith, Penelope Wilton is absolutely wonderful in this role and has always been right near the top of my list even if they gave her the most to do back in Season One.
Referring to the little dog from the box, Mary says she'll keep it on her dressing table to remind her that Matthew is on her side. Anna tries to tell her that everyone is on her side, which is almost literally true, but Mary -- clearly still upset -- counters that Lord Grantham gave her "such a whacking" at dinner, and he's clearly glad to have Downton back under his control. Anna points out that Lord Grantham always speaks highly both of Matthew and the changes he made, but Mary thinks that while that may be true, Lord Grantham now thinks he can manage alone. "And the question is, can he?" Is no one going to bring up what a pig's ear he made of it at the beginning of last season?
Rose is listening to Roaring Twenties music when Anna turns up with a selection of Mary's belts, as she wanted to borrow one. Rose beckons her in and shows her a flyer for a thé dansant before saying how Cora will never let her go without a chaperone, and with Edith in London and Mary "not in the mood," would Anna consider it? Anna's like, first off, this looks like something for servants and farm workers, not ladies, and when Rose counters that she really wants to try the one-step out, Anna tells her there's no way she can do it without asking Mary. Rose wheedles that it'll just be so much fun and she knows from Duneagle how Anna loves to dance, but Anna stands firm. Anna, remember how Bates was just saying you've stayed young? Here's your chance to prove him right!
Cora is "vexed" at the destruction of her garment and Edna is like, oh, so sorry, can't tell you how I did it, I'll just look at the floor like Thomas told me to. Cora, looking sad (but not my-daughter-just-died sad), sends her off, while downstairs, Carson is looking through some old clippings and photos from his performing days. Mrs. Hughes wanders in and asks why he's doing this now, and rather than telling her it fits with the episode theme of people putting their past pain behind them, he tells her no reason before finding a picture of an old female friend. Her name was Alice, apparently, and Carson doesn't hesitate to say that he considered her a friend, but he also felt she treated him badly and he also wonders if it even matters: "We shout and scream and wail and cry, but in the end we must all die." That is a really fitting quote for this show.
Bates turns up to the Dowager Countess's (announced amazingly unenthusiastically by Spratt, whom I'm liking more and more), and Bates, without much preamble, is basically like look, Molesley needs money and won't take it, so you hand me some cash and I'll figure out the trickery to get it into his hands, sound good? The Dowager Countess looks like she's going to write this down for the time she finds someone to whom to complain about servants and their demands.
Thomas sees Cora heading to talk to Lord Grantham and is like, oh, too bad about Edna, but she didn't want to point the finger at Anna for ruining the garment to sabotage her, or causing her to ruin the garment, or something. It couldn't be more vague, and given this is Saint Anna we're talking about this really is the flimsiest of stories, but Cora looks like she's at least considering buying it before Lord Grantham appears and whisks her into the library. I mean, I guess after Nanny West she's inclined to believe the worst in people, but if that's the case she should also raise an eyebrow in Thomas's direction.
Speaking of Anna, after a dropped handoff of a vial leads to perfume spilled all over the floor (Mary shows how much she's recovered by noting that now the room's "going to smell like a tart's boudoir"), Anna offers to go into York to get a replacement, and then is like, oh by the way Rose asked about this thing today and what do you think? Mary, noting that it is "rather slow" at Downton for a girl Rose's age, gives her permission but cautions her to be sure to keep Rose out of trouble. No one asks what the odds are, which points to the fact that the Dowager Countess isn't in the scene.
Bates is trying to get Molesley to sign the card, and Molesley reluctantly agrees, but when Bates invites him over for dinner, Molesley's like, what's with you being all friendly? Ha! If Molesley smells a rat, Bates, you really need to get out more. Bates does at least take the question with good humor, which is probably already an improvement.
Spratt announces Branson to the Dowager Countess and Mary, and after the Dowager Countess beckons "Branson" into a chair, Mary exasperatedly lectures her for not calling him "Tom." Well, I'm not one to talk, but the Dowager Countess gives in, although she does sigh how much she sympathizes with King Canute. Hee. The Dowager Countess then makes her point, which is that since between Mary and her son, they will own half of Downton, so she wants her to have a say in its administration. Mary is still feeling stung about her father's comments, however, so the Dowager Countess gets to the crux of her plan, which is that Branson will train Mary -- he'll take her on her rounds, talk to her about the farmers' difficulties, and "explain… the crops. And… the livestock." Pretty good for just having learned those words this morning! Branson looks delighted by the idea, and he and Mary are going to be quite thrown together now; I wonder if the show would dare put them together despite the social weirdness of it. I'm not really in favor of it narratively but the two do have chemistry, at least; it would also make Lord Grantham's head explode yet again. Speaking of whom, Mary pointedly asks if they're to do all this without telling him, but the Dowager Countess serenely replies, "There can be too much truth in any relationship." She's right; it's not like she's quite told her son he's a dunderhead to his face.
Isobel turns up to the Abbey and tells Carson she's there to see him; Carson stiffens when she brings Grigg up, but Isobel goes on that she knows Grigg caused him unhappiness and he claims it wasn't his fault. Carson seethes that Grigg was always a liar, and Isobel is taken aback, but tries once more, offering that it might be better to settle their differences than to let them fester. Carson, however, is having none of it, as he sharply tells Isobel it's none of her business, and Isobel apologizes for interfering. God, Carson, the poor woman hasn't even stopped wearing black yet!
In London, after Edith expresses admiration that Gregson knows how to make coffee and he cautions her that life with him won't quite be what she's used to, he tells her that his plans are progressing nicely. Edith asks once again if he's sure: "Does it matter that people will hate you for it?" He asks if she'll hate him, and when she replies that she'll love him more than ever, he tells her that's all that matters. She then offers to bring him to Downton, as it seems a logical step given the progression of their relationship. He's reluctant, as he's sure her parents won't love their situation O RLY, so she hits upon the idea of him coming to a house party Cora is giving month, as there will be a lot of guests so his presence won't be so conspicuous. She then says she's got to catch her train, and when he asks if she won't stay, she declines, but adds that "it's getting harder and harder to say no." Maybe try out nein, then?
Mary steps out of the Abbey to find a smiling Branson waiting there for her with the car; despite the wreck that killed her husband, she doesn't much seem to balk, and we quickly cut to them driving along. Meanwhile, in York, Jimmy James is doing the shopping for Mrs. Patmore as promised when he catches sight of Rose, who's twirling about excitedly as Anna chats with a flower vendor. Intrigued, he follows and sees them head into the York Dance Hall, with the dance prominently advertised to the entrance. Inside, Anna senses how rough the crowd is and wonders again whether they should be there, but Rose won't be deterred and soon she's thrilled to hear the one-step playing on the piano. Anna chides Rose for making eyes at the crowd, but it's too late, as a raaather dashing -- if common -- bloke makes his way up and in a working-class accent asks Rose to dance. She's like, oh my and yes, but Anna insists at least on an introduction, so he gives his name as "Sam Thawley," and the actor, Jonathan Howard, is young but has recently been in some big studio movies including Thor: The Dark World, so he seems like an up-and-comer. Once "Rose Smith" is up in the arms of "Twinkletoes," as he jokes he's called, Jimmy James wanders in and joins Anna; after the expected "what are you doing here" explanations, he asks her to dance and she agrees "if only to check that Lady Rose isn't getting in too deep." ANNA! Sam tells Rose that he's an under-gardener for "Lord Ellis," and Rose lies she's in service at Downton and she sounds noble because she's "worked and worked on the accent" (ha). She then is flustered to catch sight of Jimmy James, but soon she's getting all dreamy-eyed again while looking into the face of her new man. I can't say I blame her, but nor does the "Oh, brother" look that Anna and Jimmy James exchange seem unfounded.
After a beautiful establishing shot of Downton's countryside, Branson points out property lines to Mary before bringing up the subject of the death duties. After remarking that it's odd that Mary as Matthew's widow will, should the letter be deemed valid, still have to pay as much tax on it as if Matthew had left the estate to "Mrs. Tiggywinkle down the road," and if this is not a fictional Mrs. Tiggywinkle in the Downton universe I wonder when we'll get to meet her. Mary wonders what then they should do, so Branson tells her Lord Grantham believes they should sell off some of the land and pay the debt in one fell swoop. Mary supposes that Branson disagrees, but he merely tells her he wants to know what she thinks. Me too!
Bate --, accompanied by the mischievous music the show employs anytime someone's doing something crafty/silly/ill-advised/all of the above -- is putting the finishing touches on a forgery of Molesley signature, using the one on the card as a guide. Bates, your heart's in the right place, but you going to prison didn't work for you or me the first time, so be careful, okay?
As they dance, Jimmy James tells Anna he got tickets for him and Ivy to see Phyllis Dare, while nearby, some tough tries to cut in to dance with Rose, and even though she doesn't want to, he makes a thing of it and punches are soon thrown. Rose starts slapping at Sam's antagonist to the point where I really thought she was going to take one in her mannered kisser, but Sam calls for Jimmy James to get her out of there, and he and Anna quickly oblige just ahead of the cops coming to break things up. I'm guessing this isn't going to make Rose any less hot for Sam should she ever see him again, but what are the chances?
Molesley tentatively turns up to dinner below stairs, Thomas giving him a hilariously bored look before Bates tells him he was going through his desk that afternoon and came up with "that note" -- long story short, Bates is pretending that Molesley lent him some money when he first arrived at Downton and has written up a false note and forged Molesley's signature to it to support the lie. Obviously no one should buy this -- even leaving aside the fact that Molesley would surely recall lending Bates such an astronomical sum (it's thirty pounds), and that's granting that he would have been willing and able to do so -- the paper itself would show its age; remember about a decade has passed in the show's time since the first season. However, it's possible everyone is essentially clued in to this but that Molesley (never the sharpest knife in the drawer anyway) is willing not to look too closely at the situation given that it allows him to save face, which I suppose is fine. Lots of time spent on Molesley the past two episodes, though, no? I can't imagine much of the audience finds him particularly interesting, and I'd have no problem with the show keeping him strictly for comic relief (in limited doses, because his clumsy/clueless shtick gets old pretty fast). Anyway, there's a predictable fuss over it, but Bates hands over the money and gets out of there, whereupon Anna chases after him and he tells her he did it for her. She asks how he managed it, and he smiles that he keeps telling her: "Prison was an education." Yeah, but the boring kind.
"Take her to the theater?" Carson is back with the disbelieving opening, although this one's milder than any preceding; he asks how Jimmy James knows Ivy will even want to go, and Mrs. Patmore heaves a put-upon sigh: "She'll want to go." Hee. Carson complains that "it's turning to Liberty Hall around here," and Mrs. Hughes and Patmore exchange a smirk, but when he hears that they're not going to be serving upstairs dinner on the night in question, he wearily concedes. Jimmy James heads off to tell Ivy, and Mrs. Patmore worries that he'll break her heart, but Mrs. Hughes thinks it might do her some good and I can't say I disagree. When Mrs. Patmore is gone, Carson muses that it's strange to think how much a part of his life the theater once was, and Mrs. Hughes takes the conversational opening to bring up Grigg again -- he's leaving the morning on the eleven o'clock train. Carson is like, and I care why, but Mrs. Hughes tells him that Grigg is an open wound for him: "You'd do better to stitch it up and let it heal." That's what Isobel said too, but nevertheless, Carson looks gruff and unmoved. You know, more so than usual.
Lord Grantham comes in to see Bates and spouts a bunch of horseshit about how just because Anna's jealous of Edna now being the senior lady's maid doesn't give her the right to give her a hard time, and we know this show's a soap and gossip and unreliable information are its fuel, but it's really stretching credulity for both Lord Grantham and Cora to take this Thomas story at face value even if his stock is at a high. I don't buy it. Bates, of course, has no idea what to make of any of this, but given his complete lack of any context it makes no sense for him to argue the point, so he doesn't. At this point, though, I'm surprised he doesn't give a Seinfeld-like "Thomas!" just on general principles.
Ivy's skipping around downstairs being a total hick as Alfred chews the insides of his cheeks and Mrs. Patmore assures her they won't let her go to the theater looking like a farmhand. Ivy rushes out and Alfred stomps off, after which Mrs. Patmore essentially tells Daisy that Alfred will probably be hers soon if she still thinks he's good enough. I still don't understand why Daisy wants to date someone two and a half feet taller than she, but I suppose she doesn't have a lot of choices around here.
Oh, look who it is -- our Sam, marching toward Downton at dusk. By the time he arrives, darkness has completely fallen, and he rings at the servants' entrance and asks Thomas about "the housemaid Rose." Thomas starts to give the guy some cheek (and not the good kind, although I'm surprised given the guy's looks), but luckily Anna is within earshot, and she rushes over, whereupon Thomas leaves… which is surprising, as this seems like the sort of intrigue he'd at least keep an eye on to see how it could benefit him. Sam tells Anna he wants to check in on Rose and he'll wait, so Anna does some quick thinking and asks him to sit tight. Cut to her at the foot of the stairs; when Rose comes down for dinner, she breaks the news, and Rose is excited but flustered and doesn't know how to proceed. Anna, however, has an idea, and after we see her keeping an eye on the hallway downstairs, the outer door opens and Rose comes bounding out in a maid's uniform.
Sam tells her he had to make sure she was all right after the unpleasantness in York, and she smiles that the way he punched "that horrid man" was so brave. Sam: "I'll do more'n that for ya." Oh my. Rose continues to be all hot and bothered as Sam takes her hand and asks if he can see her again even though "I know I'm not good enough for ya" (…um) but he's a steady chap, and as doomed as this would be I'm kind of surprised that Rose kiboshes it right here by telling him she's promised to another man, a local farmer. He's disappointed but understanding and turns to go, but she calls him back and tells him that when he finds someone, who'll be nicer and better than she, the girl will be very lucky. Duh. She then plants a chaste kiss on him, which she breaks once she hears someone behind her -- it's Jimmy James come for a cigarette, and as she rushes back into the house she whispers, "Say nothing and I'll be your friend forever." It only makes sense, given her age and wild side, that Rose get more involved with the downstairs crowd than the up, so I have a feeling this isn't going to prove to be an idle promise.
Upstairs, Edith arrives home, having been delayed on the train, and Rose enters the sitting room right after her, whereupon Lord Grantham announces that the legal opinions are in, and the conclusion is that Matthew's letter demonstrates "testamentary intention" and is as such a valid substitute for a will. Mary takes a quivering breath as she hears the official news that she owns half of Downton, and then after everyone starts to file into the dining room, she suggests to her father and Branson that the three of them sit down the day and have a proper talk. Lord Grantham agrees but says their main topic of conversation, the death duties, is simple, but Mary demurs that she doesn't agree with his course of action. She then heads in to dinner, leaving Lord Grantham free to turn to Branson and be like "why I oughta" about it, but Branson says he didn't put Mary up to it -- but neither will Lord Grantham keep her quiet. I think I speak for everyone here: THANK GOD.
Downstairs, Anna and Bates are at a loss until they run across Thomas and Edna having the most wonderful little laugh together; Carson then enters and whisks Thomas away to help him serve the wine, leaving Edna to keep chuckling to herself until Bates, in a challenging voice, asks what's so funny. She tells him nothing, but her smile doesn't fade and Bates and Anna both are like, grrreat, another enemy. I'm not sure I'd worry too much about it, you two; if there's anything this woman seems to do consistently, it's overplay her hand.
In his office, Carson looks at the photo of that woman again and appears moved; cut to the train station the day, with Isobel, Mrs. Hughes and Dr. Clarkson come with Grigg to see him off. When the train arrives, it sends up an expected cloud of smoke -- out of which eventually steps Carson. Well, he was in the theater; I doubt he could resist that bit of flair. Grigg steps forward and the two of them take a little walk; we learn the source of the problem is that Alice chose Grigg "all those years ago," but Grigg tells him that their marriage never worked, and they separated long before her death five years earlier. He went to see her on her deathbed, from which she told Grigg that Carson was the better man. It makes for a nice story from Carson's point of view but as parting words to your estranged husband go those are pretty stone cold, no?
Grigg goes on that Alice loved Carson but was too blind to see it at the time, and he needs Carson to know that at the time, Alice chose him honestly -- he never sought to steal her away. Isobel then chimes in to tell Grigg he's going to have to board, so he opens the door, but turns back to shake Isobel's hand and thank her. He then tells Carson their paths probably won't cross again, so it'd be nice if they shook hands and put everything behind them, and Carson removes his glove and obliges. They wish each other well, and after Grigg playfully calls Carson "Charlie," he's gone. Carson insists that Isobel pass on to him any expenses she incurred on Grigg's behalf, and after protesting initially, she understands that it's important to him and acquiesces. Carson then walks right past Mrs. Hughes, which: rude, but she takes no offense and catches up with him to suggest they walk together; they head off back to Downton, and we're out. time: Tom Cullen shows up, and although it's a very different role from that of Weekend, I'm still pretty psyched.
John Ramos is a writer and film producer living in Los Angeles. His new film, a documentary on online privacy and the exploitation of personal data called Terms And Conditions May Apply, a New York Times Critics' Pick, is now on iTunes here. You can get news on it from the film's Twitter accountor website, or check out trackoff.us to learn how to protect your privacy. Also, you can email John at couchbaron@gmail.com, follow him on Twitter at https://twitter.com/couchbaron, or check out his blog, "Pull Up A Chair," which he'd just love for you to stop by.