"SENSE AND SENSIBILITY" Screenplay by Emma Thompson Based on the novel by Jane Austen EXT. OPEN ROADS - NIGHT - TITLE SEQUENCE A series of traveling shots. A well-dressed, pompous-looking individual (JOHN DASHWOOD, 35) is making an urgent journey on horseback. He looks anxious. EXT. NORLAND PARK - ENGLAND - MARCH 1800 - NIGHT Silence. Norland Park, a large country house built in the early part of the eighteenth century, lies in the moonlit parkland. INT. NORLAND PARK - MR DASHWOOD'S BEDROOM - NIGHT In the dim light shed by candles we see a bed in which a MAN (MR DASHWOOD, 52) lies his skin waxy, his breathing laboured. Around him two silhouettes move and murmur, their clothing susurrating in the deathly hush. DOCTORS. A WOMAN (MRS DASHWOOD, 50) sits by his side, holding his hand, her eyes never leaving his face. MR DASHWOOD (urgent) Is John not yet arrived? MRS DASHWOOD We expect him at any moment, dearest. MR DASHWOOD looks anguished. MR DASHWOOD The girls--I have left so little. MRS DASHWOOD Shh, hush, Henry. MR DASHWOOD Elinor will try to look after you all, but make sure she finds a good husband. The men are such noodles hereabouts, little wonder none has pleased her. They smile at each other. MRS DASHWOOD is just managing to conceal her fear and grief MRS DASHWOOD But Marianne is sure to find her storybook hero. MR DASHWOOD A romantic poet with flashing eyes and empty pockets? MRS DASHWOOD As long as she loves him, whoever he is. MR DASHWOOD Margaret will go to sea and become a pirate so we need not concern ourselves with her. MRS DASHWOOD tries to laugh but it emerges as a sob. An older MANSERVANT (THOMAS) now enters, anxiety written on every feature. THOMAS Your son is arrived from London, sir. MR DASHWOOD squeezes his wife's hand. MR DASHWOOD Let me speak to John alone. She nods quickly and he smiles at her with infinite tenderness. MR DASHWOOD Ah, my dear. How happy you have made me. MRS DASHWOOD makes a superhuman effort and smiles back. She allows THOMAS to help her out. She passes JOHN DASHWOOD as he enters, presses his hand, but cannot speak. JOHN takes her place by the bed. JOHN Father... MR DASHWOOD summons his last ounces of energy and starts to whisper with desperate intensity. MR DASHWOOD John you will find out soon enough from my will that the estate of Norland was left to me in such a way as prevents me from dividing it between my families. JOHN blinks. He cannot quite take it in. JOHN Calm yourself, Father. This is not good for you. But MR DASHWOOD continues with even greater determination. MR DASHWOOD Norland in its entirety is therefore yours by law and I am happy for you and Fanny. JOHN looks torn between genuine distress and unexpected delight. MR DASHWOOD But your stepmother my wife and daughters are left with only five hundred pounds a year, barely enough to live on and nothing for the girls' dowries. You must help them. JOHN's face is a picture of conflicting emotions. Behind them is the ominous rustling of parchments. JOHN Of course MR DASHWOOD You must promise to do this. A brief moment of sincerity overcomes JOHN's natural hypocrisy. JOHN I promise, Father, I promise. MR DASHWOOD seems relieved. Suddenly his breathing changes. JOHN looks alarmed. He rises and we hear him going to find the DOCTOR. JOHN Come! Come quickly! But it is we who share the dying man's last words. MR DASHWOOD Help them. EXT. JOHN AND FANNY'S TOWN HOUSE - LONDON - DAY Outside the house sits a very well-to-do carriage. Behind it waits another open carriage upon which servants are laying trunks and boxes. FANNY (V.O.) 'Help them?' INT. JOHN AND FANNY'S TOWN HOUSE - DRESSING ROOM - DAY JOHN is standing in mourning clothes and a traveling cape. He is watching, and obviously waiting for, a pert WOMAN (FANNY DASHWOOD) who is standing by a mirror looking at him keenly. FANNY What do you mean, 'help them'? JOHN Dearest, I mean to give them three thousand pounds. FANNY goes very still. JOHN gets nervous. JOHN The interest will provide them with a little extra income. Such a gift will certainly discharge my promise to my father. FANNY slowly turns back to the mirror. FANNY Oh, without question! More than amply... JOHN One had rather, on such occasions, do too much than too little. A pause as FANNY turns and looks at him again. JOHN Of course, he did not stipulate a particular sum. INT. LAUNDRY - NORLAND PARK - DAY A red-eyed MAID (BETSY) plunges a beautiful muslin frock into a vat of black dye. INT. NORLAND PARK - MRS DASHWOOD'S BEDROOM - DAY MRS DASHWOOD is rushing about, mourning ribbons flapping, putting her knick-knacks into a small valise. The room is in chaos. A young WOMAN (ELINOR DASHWOOD) looks on helplessly. MRS DASHWOOD To be reduced to the condition of visitor in my own home! It is not to be borne, Elinor! ELINOR Consider, Mamma! We have nowhere to go. MRS DASHWOOD John and Fanny will descend from London at any moment, followed no doubt by cartloads of relatives ready to turn us out of our rooms one by one do you expect me to be here to welcome them? Vultures! She suddenly collapses into a chair and bursts into tears. ELINOR I shall start making inquiries for a new house at once. Until then we must try to bear their coming. INT. JOHN AND FANNY'S CARRIAGE - DAY JOHN and FANNY are on their way out of London. JOHN Fifteen hundred then. What say you to fifteen hundred? FANNY What brother on earth would do half so much for his real sisters--let alone half-blood? JOHN They can hardly expect more. FANNY There is no knowing what they expect. The question is, what can you afford? INT. NORLAND PARK - DRAWING ROOM - DAY A beautiful young WOMAN (MARIANNE DASHWOOD) is sitting at the piano playing a particularly sad piece. ELINOR enters. ELINOR Marianne, cannot you play something else? Mamma has been weeping since breakfast. MARIANNE stops, turns the pages of her music book and starts playing something equally lugubrious. ELINOR I meant something less mournful, dearest. EXT. ROADSIDE INN - DAY JOHN and FANNY are waiting as the OSTLERS make the final adjustments to their carriage. The LANDLORD hovers, waiting for a tip. JOHN A hundred pounds a year to their mother while she lives. Would that be more advisable? It is better than parting with the fifteen hundred all at once. He displays some coins in his hand. FANNY removes one and nods. FANNY But if she should live longer than fifteen years we would be completely taken in. People always live forever when there is an annuity to be paid them. JOHN gives the coins to the LANDLORD. EXT. NORLAND PARK - MARGARET'S TREE-HOUSE - DAY ELINOR comes to the foot of a large tree from which a small staircase issues. ELINOR Margaret, are you there? Please come down. John and Fanny will be here soon. A pause. ELINOR is about to leave when a disembodied and truculent young voice stops her. MARGARET (V.O.) Why are they coming to live at Norland? They already have a house in London. ELINOR Because houses go from father to son, dearest not from father to daughter. It is the law. Silence. ELINOR tries another tack. ELINOR If you come inside, we could play with your atlas. MARGARET (V.O.) It's not my atlas any more. It's their atlas. CLOSE on ELINOR as she ponders the truth of this statement. INT. JOHN AND FANNY'S CARRIAGE - DAY JOHN and FANNY joggle on. JOHN Twenty pounds now and then will amply discharge my promise, you are quite right. FANNY Indeed. Although to say the truth, I am convinced within myself that your father had no idea of your giving them money. JOHN They will have five hundred a year amongst them as it is-- FANNY --and what on earth can four women want for more than that? Their housekeeping will be nothing at all they will have no carriage, no horses, hardly any servants and will keep no company. Only conceive how comfortable they will be! INT. NORLAND PARK - SERVANTS' HALL - DAY The large contingent of SERVANTS who staff Norland Park are gathered in gloomy silence as ELINOR addresses them. ELINOR As you know, we are looking for a new home. When we leave we shall be able to retain only Thomas and Betsy. CAM holds on THOMAS and BETSY, a capable woman. ELINOR We are very sorry to have to leave you all. But we are certain you will find the new Mrs Dashwood a fair and generous mistress. EXT. NORLAND PARK. DRIVE - DAY JOHN and FANNY's carriage approaches Norland. FANNY (V.O.) They will be much more able to give you something. INT. JOHN AND FANNY'S CARRIAGE - DAY JOHN and FANNY are about to get out. JOHN So we are agreed. No money but the occasional gift of game and fish in season will be very welcome. FANNY Your father would be proud of you. INT. NORLAND PARK - DINING ROOM - EARLY EVE The entire family, with the exception of MARGARET, is present. BETSY is serving food in an atmosphere of stiff silence. Cutlery clinks. JOHN chews loudly. MARIANNE is rigid with resentment. MRS DASHWOOD maintains a cool, removed dignity. ELINOR tries to play hostess. ELINOR How is Mrs Ferrars? FANNY My mother is always in excellent health, thank you. My brother Robert is in town with her this season and quite the most popular bachelor in London! He has his own barouche. In the brief silence which follows this, FANNY surreptitiously checks the hallmark on her butterknife. ELINOR You have two brothers, have you not? FANNY Indeed, yes. Edward is the eldest Mamma quite depends upon him. He is traveling up from Plymouth shortly and will break his journey here. MRS DASHWOOD looks at ELINOR pointedly. JOHN notices. JOHN (to MRS DASHWOOD) If that is agreeable to you, of course. MRS DASHWOOD My dear John this is your home now. FANNY looks about, barely able to conceal her satisfaction. INT. NORLAND PARK - ELINOR'S BEDROOM - DAY ELINOR is sitting with a little pile of parcels. She puts a shawl into some paper and ties it with ribbon as MARIANNE thunders in, looking mutinous. MARIANNE Fanny wishes to know where the key for the silver cabinet is kept. ELINOR Betsy has it, I think. What does Fanny want with the silver? MARIANNE I can only presume she wants to count it. What are you doing? ELINOR Presents for the servants. Have you seen Margaret? I am worried about her. She has taken to hiding in the oddest places. MARIANNE Fortunate girl. At least she can escape Fanny, which is more than any of us is able. ELINOR You do your best. You have not said a word to her for a week. MARIANNE (truculently) I have! I have said 'yes' and 'no'. INT. NORLAND PARK - BREAKFAST ROOM - DAY FANNY, MRS DASHWOOD, ELINOR and JOHN are at breakfast. MARIANNE enters. ELINOR catches her eye and indicates FANNY with a slight motion of her head. MARIANNE makes a face. MARIANNE (very polite) Good morning, Fanny. FANNY is rather startled. FANNY Good morning, Marianne. ELINOR is relieved. MARIANNE (to Fanny) How did you find the silver? Is it all genuine? ELINOR rushes in before MARIANNE gets any further. ELINOR Pray, when may we expect the pleasure of your brother's company? FANNY Edward is due tomorrow. And my dear Mrs Dashwood, in view of the fact that he will not be with us for long, I wondered if Miss Margaret would mind giving up her room to him the view is quite incomparable from her windows and I should so much like Edward to see Norland at its best. MARIANNE slams her cup down and throws a furious look at ELINOR. INT. NORLAND PARK - MARGARET'S BEDROOM - DAY ELINOR and MARIANNE are removing MARGARET's toys. MARIANNE Intolerable woman! ELINOR There is but one consolation if Edward is anything like Fanny, we shall be only too happy to leave. EXT. NORLAND PARK - DRIVE - DAY A very capable HORSEMAN (EDWARD FERRARS) canters up the gravel drive. CLOSE on his face as he gazes up at the elegant fa�ade. INT. NORLAND PARK - DRAWING ROOM - DAY Everyone except MARGARET is present. EDWARD has just shaken bands with ELINOR. He behaves with great respect to the DASHWOODS and seems embarrassed by FANNY's pro prietorial air. FANNY But where is Miss Margaret? I declare, Mrs Dashwood, I am beginning to doubt of her existence! She must run positively wild! MRS DASHWOOD Forgive us, Mr Ferrars. My youngest is not to be found this morning. She is a little shy of strangers at present. EDWARD Naturally. I am also shy of strangers and I have nothing like her excuse. MARIANNE (dangerous) How do you like your view, Mr Ferrars? ELINOR glances at her warningly but EDWARD replies with careful consideration. EDWARD Very much. Your stables are very handsome and beautifully kept, Mrs Dashwood. FANNY Stables! Edward--your windows overlook the lake. EDWARD An oversight, Fanny, led me to the wrong room. I have rectified the situation and am happily settled in the guest quarters. MARIANNE and ELINOR look at each other in surprise. FANNY looks furious. MRS DASHWOOD smiles warmly at EDWARD. CLOSE on ELINOR. She is impressed. INT. NORLAND PARK - STAIRCASE - DAY FANNY is walking with EDWARD, who looks at the pictures with interest. FANNY They are all exceedingly spoilt, I find. Miss Margaret spends all her time up trees and under furniture and I have barely had a civil word from Marianne. EDWARD My dear Fanny, they have just lost their father their lives will never be the same again. FANNY That is no excuse. INT. NORLAND PARK - LIBRARY - DAY FANNY leads EDWARD in. She sniffs with distaste. FANNY I have never liked the smell of books. EDWARD Oh? No. The dust, perhaps. As they speak, EDWARD notices a large atlas retreating apparently all by itself across the floor. Someone is obviously under the table, pulling it out of sight. He registers it and immediately moves in such a way as to shield it from FANNY. He turns back, searching for something to divert her. EDWARD I hear you have great plans for the walnut grove. FANNY Oh yes! I shall have it pulled down to make room for a Grecian temple. There is a stifled wail from under the table, which EDWARD covers with a cough. EDWARD How picturesque. Will you show me the site? And he ushers FANNY out, flicking a quick glance over his shoulder at the fugitive's foot. INT. NORLAND PARK - VELVET ROOM - DAY ELINOR, MRS DASHWOOD and MARIANNE are sitting round a table with a pile of letters. ELINOR is handing one back to her mother. ELINOR Too expensive. We do not need four bedrooms, we can share. MARIANNE This one, then? ELINOR reads the letter quickly. ELINOR Marianne, we have only five hundred pounds a year. I will send out more inquiries today. There is a knock on the door. Hesitantly, EDWARD appears. EDWARD Pardon my intrusion, but I believe I have found what you are looking for. MARIANNE and MRS DASHWOOD are puzzled by his elliptical manner but ELINOR immediately understands and rises, in smiling relief. INT. NORLAND PARK - ENTRANCE HALL OUTSIDE LIBRARY - DAY EDWARD is standing outside keeping a discreet lookout. The door is half open and he can hear ELINOR trying to coax MARGARET out. FANNY walks by with a BUTLER to whom she is giving instructions. EDWARD pretends to examine the mouldings and she passes on unsuspecting. ELINOR (V.O.) Won't you come out, dearest? We haven't seen you all day. Mamma is very concerned. More silence. EDWARD thinks hard. He makes a decision. INT. NORLAND PARK - LIBRARY - DAY EDWARD walks in loudly. EDWARD Oh, Miss Dashwood! Excuse me I was wondering do you by any chance have such a thing as a reliable atlas? ELINOR looks up at him in astonishment. ELINOR I believe so. EDWARD Excellent. I wish to check the position of the Nile. EDWARD appears to be utterly sincere. EDWARD My sister says it is in South America. From under the table we hear a snort. ELINOR looks at him in realisation. ELINOR Oh! No, no indeed. She is quite wrong. For I believe it is in--in Belgium. EDWARD Belgium? Surely not. You must be thinking of the Volga. MARGARET (from under the table) The Volga? ELINOR Of course. The Volga, which, as you know, starts in... EDWARD Vladivostok, and ends in... ELINOR St Albans. EDWARD Indeed. Where the coffee beans come from. They are having such a good time that it is rather a pity the game is stopped by the appearance from under the table of MARGARET who reveals herself to be a disheveled girl of eleven. She hauls the atlas up and plonks it in front of EDWARD. MARGARET The source of the Nile is in Abyssinia. EDWARD Is it? Good heavens. How do you do. Edward Ferrars. MARGARET Margaret Dashwood. EDWARD shakes MARGARET's hand solemnly and looks over her head at ELINOR. They smile at each other, a connection made. INT. NORLAND PARK - DRAWING ROOM - ANOTHER DAY JOHN is reading a newspaper. MRS DASHWOOD sits across from FANNY, who thumbs through a fashion-plate magazine. ELINOR is at a desk by the window writing a letter we see the words 'of course we should like to leave as soon as possible'. Suddenly she hears a commotion outside. MARGARET runs past the window brandishing a stick. EDWARD follows, and proceeds to teach her the first principles of sword-fighting. They feint and parry, EDWARD serious and without a hint of condescension, MARGARET concentrating furiously. EDWARD suddenly turns, as though feeling ELINOR's gaze. She smiles but looks away quickly. INT. NORLAND PARK - VELVET ROOM - ANOTHER DAY EDWARD comes into the doorway and sees ELINOR who is listening to MARIANNE playing a concerto. ELINOR stands in a graceful, rather sad attitude, her back to us. Suddenly she senses EDWARD behind her and turns. He is about to turn away, embarrassed to have been caught admiring her, when he sees she has been weeping. Hastily she tries to dry her eyes. He comes forward and offers her a handkerchief, which she takes with a grateful smile. We notice his monogram in the corner: ECF. ELINOR (apologetic) That was my father's favourite. EDWARD nods kindly. ELINOR Thank you so much for your help with Margaret, Mr Ferrars. She is a changed girl since your arrival. EDWARD Not at all. I enjoy her company. ELINOR Has she shown you her tree-house? EDWARD Not yet. Would you do me the honour, Miss Dashwood? It is very fine out. ELINOR With pleasure. They start to walk out of shot, still talking. ELINOR Margaret has always wanted to travel. EDWARD I know. She is heading an expedition to China shortly. I am to go as her servant but only on the understanding that I will be very badly treated. ELINOR What will your duties be? EDWARD Sword-fighting, administering rum and swabbing. ELINOR Ah. CAM tilts up to find MRS DASHWOOD on the middle landing of the staircase, smiling down at them. CAM tilts up yet further to find FANNY on the landing above, watching EDWARD and ELINOR with a face like a prune. EXT. NORLAND PARK - GARDENS - DAY EDWARD and ELINOR are still talking as they walk arm in arm in the late afternoon sun. EDWARD All I want--all I have ever wanted is the quiet of a private life but my mother is determined to see me distinguished. ELINOR As? EDWARD She hardly knows. Any fine figure will suit a great orator, a leading politician, even a barrister would serve, but only on the condition that I drive my own barouche and dine in the first circles. His tone is light but there is an underlying bitterness to it. ELINOR And what do you wish for? EDWARD I always preferred the church, but that is not smart enough for my mother she prefers the army, but that is a great deal too smart for me. ELINOR Would you stay in London? EDWARD I hate London. No peace. A country living is my ideal a small parish where I might do some good, keep chickens and give very short sermons. EXT. FIELDS NEAR NORLAND - DAY EDWARD and ELINOR are on horseback. The atmosphere is intimate, the quality of the conversation rooted now in their affections. ELINOR You talk of feeling idle and useless imagine how that is compounded when one has no choice and no hope whatsoever of any occupation. EDWARD nods and smiles at the irony of it. EDWARD Our circumstances are therefore precisely the same. ELINOR Except that you will inherit your fortune. He looks at her slightly shocked but enjoying her boldness. ELINOR We cannot even earn ours. EDWARD Perhaps Margaret is right. ELINOR Right? EDWARD Piracy is our only option. They ride on in silence for a moment. EDWARD What is swabbing exactly? INT. NORLAND PARK - DRAWING ROOM - EVE Dinner is over. JOHN and FANNY are examining plans of the Norland estate, looking for somewhere to build a hermitage. EDWARD is reading out loud. ELINOR embroiders and listens. MRS DASHWOOD and MARIANNE make up the rest of the audience, the latter in a state of high impatience. EDWARD No voice divine the storm allayed No light propitious shone, When snatched from all effectual aid, We perished each alone: But I beneath a rougher sea, And whelmed in deeper gulfs than he. MARIANNE jumps up and goes to him. MARIANNE No, Edward! Listen. She takes the book from him and reads the stanza with passionate brio. MARIANNE Can you not feel his despair? Try again. Rather mortified, EDWARD starts again, but not before receiving a sympathetic look from ELINOR which seems to comfort him a little. INT. NORLAND PARK - MORNING ROOM - DAY MRS DASHWOOD is ruminating sadly. MARIANNE rushes in holding a letter. MARIANNE Mamma, look. This has just arrived. MRS DASHWOOD (reading from the letter) 'I should be pleased to offer you a home at Barton Cottage as soon as ever you have need of it' why, it is from my cousin, Sir John Middleton! MARIANNE Even Elinor must approve the rent. MRS DASHWOOD looks at the letter again and thinks. MRS DASHWOOD Has Elinor not yet seen this? MARIANNE No I will fetch her. MRS DASHWOOD Wait. No. Let us delay. MARIANNE Why? MRS DASHWOOD I think--I believe that Edward and Elinor have formed an attachment. Marianne nods, a little reluctantly. MRS DASHWOOD It would be cruel to take her away so soon and Devonshire is so far. MRS DASHWOOD makes her decision. She takes the letter and hides it in the pocket of her gown. MARIANNE looks on frowningly. MRS DASHWOOD Why so grave? Do you disapprove her choice? MARIANNE By no means. Edward is very amiable. MRS DASHWOOD Amiable but? MARIANNE But there is something wanting. He is too sedate his reading last night. MRS DASHWOOD Elinor has not your feelings, his reserve suits her. MARIANNE thinks for a little. MARIANNE Can he love her? Can the ardour of the soul really be satisfied with such polite, concealed affections? To love is to burn to be on fire, all made of passion, of adoration, of sacrifice! Like Juliet, or Guinevere or Heloise. MRS DASHWOOD They made rather pathetic ends, dear. MARIANNE Pathetic! To die for love? How can you say so? What could be more glorious? MRS DASHWOOD I think that may be taking your romantic sensibilities a little far. MARIANNE The more I know of the world, the more I am convinced that I shall never see a man whom I can truly love. MRS DASHWOOD You require so much! MARIANNE I do not! I require only what any young woman of taste should a man who sings well, dances admirably, rides bravely, reads with passion and whose tastes agree in every point with my own. INT. NORLAND PARK - ELINOR'S BEDROOM - NIGHT ELINOR is in bed, deep in thought. MARIANNE enters in her nightclothes, carrying a book of poetry. She reads, teasingly. MARIANNE Is love a fancy, or a feeling? No It is immortal as immaculate truth 'Tis not a blossom shed as soon as Youth Drops from the stem of life for it will grow In barren regions, where no waters flow Nor ray of promise cheats the pensive gloom-- She jumps onto the bed. ELINOR smiles somewhat suspiciously. MARIANNE What a pity it is that Edward has no passion for reading. ELINOR It was you who asked him to read and then you made him nervous. MARIANNE Me? ELINOR But your behaviour to him in all other respects is perfectly cordial so I must assume that you like him in spite of his deficiencies. MARIANNE (trying hard) I think him everything that is amiable and worthy. ELINOR Praise indeed! MARIANNE But he shall have my unanswering devotion when you tell me he is to be my brother. ELINOR is greatly taken aback and does not know how to reply. Suddenly MARIANNE hugs her passionately. MARIANNE How shall I do without you? ELINOR Do without me? MARIANNE pulls away, her eyes full of tears. MARIANNE I am sure you will be very happy. But you must promise not to live too far away. ELINOR Marianne, there is no question of that is, there is no under standing between... ELINOR trails off. MARIANNE looks at her keenly. MARIANNE Do you love him? The bold clarity of this question discomforts ELINOR. ELINOR I do not attempt to deny that I think very highly of him that I greatly esteem that I like him. MARIANNE Esteem him! Like him! Use those insipid words again and I shall leave the room this instant! This makes ELINOR laugh in spite of her discomfort. ELINOR Very well. Forgive me. Believe my feelings to be stronger than I have declared but further than that you must not believe. MARIANNE is flummoxed but she rallies swiftly and picks up her book again. MARIANNE 'Is love a fancy or a feeling?' Or a Ferrars? ELINOR Go to bed! ELINOR blushes in good earnest. MARIANNE goes to the door. MARIANNE (imitating Elinor) 'I do not attempt to deny that I think highly of him greatly esteem him! Like him!' And she is gone, leaving ELINOR both agitated and amused. INT. NORLAND PARK - BREAKFAST ROOM - DAY FANNY is standing by the window looking out. We see her POV of ELINOR and EDWARD walking in the garden. MRS DASHWOOD enters, pauses for a moment and then joins FANNY at the window. FANNY pretends not to have been watching but MRS DASHWOOD looks down at the lovers and then smiles sweetly at her. MRS DASHWOOD We are all so happy that you chose to invite Edward to Norland. He is a dear boy and we are all very fond of him. FANNY does a bit of quick thinking. FANNY We have great hopes for him. Much is expected of him by our mother with regard to his profession MRS DASHWOOD Naturally. FANNY And in marriage. She is determined that both he and Robert will marry well. MRS DASHWOOD Of course. But I hope she desires them to marry for love, first and foremost? I have always felt that, contrary to common wisdom, true affection is by far the most valuable dowry. FANNY Love is all very well, but unfortunately we cannot always rely on the heart to lead us in the most suitable directions. FANNY lowers her voice confidingly. FANNY You see, my dear Mrs Dashwood, Edward is entirely the kind of compassionate person upon whom penniless women can prey--and having entered into any kind of understanding, he would never go back on his word. He is quite simply incapable of doing so. But it would lead to his ruin. I worry for him so, Mrs Dashwood. My mother has always made it perfectly plain that she will withdraw all financial support from Edward, should he choose to plant his affections in less... exalted ground than he deserves. It is impossible for MRS DASHWOOD not to get the point. She is appalled and furious. MRS DASHWOOD I understand you perfectly. She sweeps off. INT. NORLAND PARK - MRS DASHWOOD'S DRESSING ROOM - DAY MRS DASHWOOD, breathless with rage, is searching through her wardrobe for the gown which contains SIR JOHN's letter. Frocks fly hither and thither. Finally MRS DASHWOOD plunges her hand into the right pocket and withdraws the letter. She looks at it, suddenly concerned and anxious. INT. NORLAND PARK - DINING ROOM - EVE The entire family is present. Everyone is watching MRS DASHWOOD, who has just made her announcement. EDWARD Devonshire! He is devastated. FANNY is thrilled. MRS DASHWOOD looks at him with compassion and then at ELINOR, who is trying to keep calm. MRS DASHWOOD My cousin Sir John Middleton has offered us a small house on his estate. JOHN Sir John Middleton? What is his situation? He must be a man of property. MRS DASHWOOD He is a widower. He lives with his mother-in-law at Barton Park and it is Barton Cottage that he offers us. FANNY Oh, a cottage! How charming. A little cottage is always very snug. EDWARD But you will not leave before the summer? MRS DASHWOOD Oh, my dear Edward, we can no longer trespass upon your sister's good will. We must leave as soon as possible. MARGARET You will come and stay with us, Edward! EDWARD I should like that very much. FANNY Edward has long been expected in town by our mother. MRS DASHWOOD ignores FANNY. MRS DASHWOOD Come as soon as you can, Edward. Remember that you are always welcome. INT/EXT. NORLAND PARK - STABLES - DAY ELINOR has come to say goodbye to her HORSE. She strokes the soft face sadly. Then she senses someone and turns to find EDWARD standing nearby. EDWARD Cannot you take him with you? ELINOR We cannot possibly afford him. EDWARD Perhaps he could make himself useful in the kitchen? ELINOR tries to smile. EDWARD looks at her for a long moment and then comes closer. EDWARD Miss Dashwood--Elinor. I must talk to you. The use of her Christian name--and in such a loving tone-- stops ELINOR's breath altogether. EDWARD There is something of great importance I need... to tell you-- He comes closer still. The HORSE breathes between them. ELINOR is on fire with anticipation but EDWARD looks troubled and has less the air of a suitor than he might. EDWARD --about--about my education. ELINOR (after a beat) Your education? EDWARD Yes. It was less... successful than it might have been. EDWARD laughs nervously. ELINOR is completely bewildered. EDWARD It was conducted in Plymouth--oddly enough. ELINOR Indeed? EDWARD Yes. Do you know it? ELINOR Plymouth? EDWARD Yes. ELINOR No. EDWARD Oh--well--I spent four years there-- at a school run by a--a Mr Pratt-- ELINOR Pratt? ELINOR is beginning to feel like a parrot. EDWARD Precisely--Mr Pratt--and there, I-- that is to say, he has a-- As EDWARD flounders, a familiar voice cuts through this unexpected foray into his academic past. FANNY Edward! Edward! They turn to find FANNY powering down upon them, waving a letter. EDWARD steps back, glancing almost guiltily at ELINOR, who is as confused as we are. FANNY I have been all over for you! You are needed in London this instant! EDWARD Fanny, I am leaving this afternoon as it is-- FANNY No, no, that will not do. Family affairs are in chaos owing to your absence. Mother is quite adamant that you should leave at once. FANNY is determined. She obviously has no intention of leaving him alone with ELINOR. EDWARD turns to ELINOR, frustration in every muscle, his jaw set tight. EDWARD Excuse me, Miss Dashwood. FANNY drags EDWARD off, leaving ELINOR to gaze sadly after them. INT. THE LADIES' CARRIAGE - OPEN ROAD - RAIN - EVE The DASHWOODS are on their way. The mood is very sombre. MARGARET Edward promised he would bring the atlas to Barton for me. MARIANNE looks at ELINOR, pleased. MARIANNE Did he? Well, I will wager he will do so in less than a fortnight! MRS DASHWOOD looks at ELINOR with satisfaction. EXT. THE LADIES' CARRIAGE - OPEN ROAD - EVE The carriage rolls on. MARGARET (V.O.) Are we there yet? EXT. ROAD TO AND FROM BARTON COTTAGE - DAY In comparison to Norland, Barton Cottage has the air of a damp shoebox. it sits low and bleak in the grey lonely countryside. From one side we can see the DASHWOODS' carriage drawing up at the gate. From the other, a much grander vehicle, from which loud whooping can be heard, is approaching. EXT. BARTON COTTAGE - GARDEN PATH - DAY As the exhausted DASHWOODS alight, they converge with a ruddy- complexioned MAN in a redingote (SIR JOHN MIDDLETON) and a rotund, equally roseate LADY (MRS JENNINGS) who have fallen over each other in their haste to get out of their carriage. MRS DASHWOOD Sir John! SIR JOHN clasps her hands and starts to help her up the path, followed by ELINOR, MARIANNE and MARGARET, who is clearly fascinated by his bouncy companion. SIR JOHN Dear ladies, dear ladies, upon my word, here you are, here you are, here you are! MRS DASHWOOD Sir John, your extraordinary kindness-- SIR JOHN Oh, none of that, hush, please, none of that, but here is my dear mamma- in-law Mrs Jennings. MRS JENNINGS Was the journey tolerable, you poor souls? SIR JOHN Why did you not come up to the Park first and take your ease? We saw you pass--Like many people who live rather lonely lives together. SIR JOHN and MRS JENNINGS talk incessantly, interrupt each other all the time and never listen. MRS JENNINGS --but I would not wait for you to come to us, I made John call for the carriage-- SIR JOHN She would not wait, you know. MRS JENNINGS --as we get so little company. They reach the front door and BETSY's smiling welcome. In the confusion of milling people and THOMAS carrying the lighter luggage, MARIANNE contrives to slip into the house alone. We follow her but hear the conversation continuing in V.O. MARIANNE looks about the parlour, where a dismal fire is smoking. She starts up the stairs, expressionless. MRS JENNINGS (V.O.) But I feel as if I know you already-- delightful creatures! SIR JOHN (V.O.) Delightful! And you know you are to dine at Barton Park every day. MRS DASHWOOD (V.O.) Oh, but dear Sir John, we cannot-- SIR JOHN (V.O.) Oh, no no no no no no no, I shall not brook refusals. I am quite deaf to 'em, you know-- MRS JENNINGS (V.O.) --deaf-- MARIANNE enters a small bedroom. She sits on the bed. Then she goes to the window and opens it. Voices float up. SIR JOHN (V.O.) But I insist! ELINOR (V.O.) Let us only settle in for a few days, Sir John, and thank you-- SIR JOHN (V.O.) Oh, no thankings, no, please, can't bear 'em, embarrassing, you know-- MARIANNE closes the window and crosses the corridor to another bed room--similarly stark. She sighs and turns back down the stairs. SIR JOHN (V.O.) We will send game and fruit as a matter of course-- MRS JENNINGS (V.O.) --fruit and game-- SIR JOHN (V.O.) --and the carriage is at your beck and call-- MARIANNE joins the group, who are now in the parlour. MRS JENNINGS --call--and here is Miss Marianne! SIR JOHN Where did you disappear to? MRS JENNINGS I declare you are the loveliest girl I ever set eyes on! Cannot you get them married, Mrs Dashwood? You must not leave it too long! SIR JOHN But, alas, there are no smart young men hereabouts to woo them-- MRS JENNINGS --not a beau for miles! The strain of exhibiting joy and gratitude is beginning to tell on MRS DASHWOOD who is sagging visibly. SIR JOHN Come, Mother, let us leave them in peace. MRS JENNINGS But there is Colonel Brandon! SIR JOHN is dragging her down the path. SIR JOHN Excellent fellow! We served in the East India Regiment together. MRS JENNINGS Just wait till he sees you! If we can persuade him out to meet you! SIR JOHN Reclusive individual. But you are fatigued. I can see that you are fatigued. Now he is pushing her into the carriage. MRS JENNINGS Of course she is fatigued! SIR JOHN Come along, Mother, we really must leave them to themselves. MRS JENNINGS You must get your maidservant to make you up some camphor--it is the best tonic for the staggers! SIR JOHN Send Thomas to us for the carriage when you are ready! They take off, waving wildly. MARGARET goes down the path to watch them and turns back to her slightly stunned family. MARGARET I like them. MRS DASHWOOD (weakly) What generosity. ELINOR Indeed. I am surprised they did not offer us their clothing. INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - NIGHT MARIANNE and ELINOR are getting undressed for bed. it's very cold. They keep their underclothing on and get in, shivering at the bony chill of the linen. EXT. BARTON COTTAGE - KITCHEN GARDEN - DAY BETSY is pinning out laundry. EXT. BARTON COTTAGE - GARDEN - DAY MARGARET tries to climb an impossible tree. Her petticoats snag and tear. INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY MARIANNE looks out of the window at the wild countryside. Uncon sciously, one hand plays up and down on the sill as though it were a keyboard. INT. BARTON COTTAGE - PARLOUR - DAY ELINOR sits at a little desk counting money and making notes. BETSY enters to clean out the fire. She notices the money. BETSY Sugar is five shilling a pound these parts, Miss Dashwood. ELINOR (lightly) No more sugar then. INT. BARTON COTTAGE - PARLOUR - EVE CLOSE on MRS DASHWOOD looking out of the window, thinking. She remembers MRS JENNINGS's words: MRS JENNINGS (V.O.) Not a beau for miles. MRS DASHWOOD turns into the room to look at her brood. ELINOR and MARIANNE are mending MARGARET's petticoats. CLOSE on the mother's anxious expression--what is to become of them? EXT. BARTON PARK - EVE Establishing shot of SIR JOHN's house--a very comfortable- looking country seat with fine grounds. SIR JOHN (V.O.) Where can Brandon be, poor fellow? I hope he has not lamed his horse. INT. BARTON PARK - DINING ROOM - EVE CLOSE on an empty chair and place setting. Pull out to reveal the DASHWOODS at their first dinner with SIR JOHN and MRS JENNINGS. MRS JENNINGS Colonel Brandon is the most eligible bachelor in the county--he is bound to do for one of you. Mind, he is a better age for Miss Dashwood--but I dare say she left her heart behind in Sussex, eh? MARIANNE flashes an unmistakable glance of alarmed concern at her sister, which MRS JENNINGS notices. MRS JENNINGS Aha! I see you, Miss Marianne! I think I have unearthed a secret! SIR JOHN Oho! Have you sniffed one out already, Mother? You are worse than my best pointer, Flossie! They both laugh immoderately. ELINOR tries to stay calm. MRS JENNINGS What sort of man is he, Miss Dashwood? Is he butcher, baker, candlestick- maker? I shall winkle it out of you somehow, you know! SIR JOHN She's horribly good at winkling. MRS JENNINGS You are in lonely country now, Miss Dashwood, none of us has any secrets here-- SIR JOHN --or if we do, we do not keep them for long! ELINOR tries to smile. MARIANNE looks furious. MARGARET is staring at MRS JENNINGS as if she were some particularly thrilling form of wildlife. MRS JENNINGS He is curate of the parish, I dare say! SIR JOHN Or a handsome lieutenant! MRS JENNINGS Give us a clue, Miss Dashwood--is he in uniform? ELINOR starts to change the subject, but MARGARET interrupts her. MARGARET He has no profession! SIR JOHN and MRS JENNINGS turn on her with screams of delight. ELINOR, MARIANNE and MRS DASHWOOD look at each other helplessly. SIR JOHN No profession! A gentleman, then! MARIANNE (with daggers) Margaret, you know perfectly well there is no such person. MARGARET There is! There is! And his name begins with an F! ELINOR looks hard at her plate. MRS DASHWOOD Margaret! MRS DASHWOOD is appalled at her youngest's relish for such a vulgar game. SIR JOHN and MRS JENNINGS are cock-a-hoop. SIR JOHN F indeed! A very promising letter. Let me--F, F, Fo, Fa... Upon my word, but I cannot think of a single name beginning with F-- MRS JENNINGS Forrest? Foster? Frost? Foggarty? MARIANNE suddenly stands up. SIR JOHN and MRS JENNINGS are so surprised they stop talking. Everyone stares at MARIANNE. MARIANNE (controlled fury) Sir John, might I play your pianoforte? SIR JOHN Of course, yes--my goodness. We do not stand on ceremony here, my dear. For once, ELINOR is grateful for her sister's rudeness as everyone rises and follows MARIANNE out. EXT. BARTON PARK - FRONT STEPS - EVE A soldierly MAN of about forty (COLONEL BRANDON) is dismounting from his horse. From within we hear MARIANNE's song begin. His head snaps up to the windows. An expression of pained surprise comes into his melancholy, brooding eyes. INT. BARTON PARK - MUSIC ROOM - EVE Everyone watches MARIANNE as she plays and sings. Behind them we see BRANDON entering. But he stays in the shadow of the door and no one notices him. CLOSE on his face. He gazes at MARIANNE with an unfathomable look of grief and longing. He breathes in deeply. Suddenly, ELINOR feels his presence and looks around at him. After a few moments, she turns back, slightly puzzled. The song finishes. Everyone claps. The MAN ventures out into the light and SIR JOHN springs from his seat. SIR JOHN Brandon! Where have you been? Come, come and meet our beautiful new neighbours! MRS JENNINGS What a pity you are late, Colonel! You have missed the most delightful singing! BRANDON bows to the company and smiles slightly. COLONEL BRANDON A great pity, indeed. ELINOR looks at him, even more puzzled. SIR JOHN Mrs Dashwood, may I present my dear friend Colonel Brandon? We served together in the East Indies and I assure you there is no better fellow on earth-- MARGARET Have you really been to the East Indies, Colonel? COLONEL BRANDON I have. MARGARET What is it like? MARGARET is quivering with fascination. SIR JOHN Like? Hot. But COLONEL BRANDON knows what MARGARET wants to hear. COLONEL BRANDON (mysteriously) The air is full of spices. MARGARET smiles with satisfaction. SIR JOHN Come, Miss Dashwood--it is your turn to entertain us! ELINOR Oh no, Sir John, I do not-- SIR JOHN --and I think we can all guess what key you will sing in! SIR JOHN and MRS JENNINGS are bursting with their new joke. SIR JOHN/MRS JENNINGS F major! They fall about. INT. SIR JOHN'S CARRIAGE - NIGHT The DASHWOODS are returning home. A row is in progress. MARIANNE (to Margaret) As for you, you have no right, no right at all, to parade your ignorant assumptions-- MARGARET They are not assumptions. You told me. ELINOR stares at MARIANNE. MARIANNE colours and attacks MARGARET again. MARIANNE I told you nothing-- MARGARET They'll meet him when he comes, anyway. MARIANNE That is not the point. You do not speak of such things before strangers-- MARGARET But everyone else was-- MARIANNE Mrs Jennings is not everyone. MARGARET I like her! She talks about things. We never talk about things. MRS DASHWOOD Hush, please, now that is enough, Margaret. If you cannot think of anything appropriate to say, you will please restrict your remarks to the weather. A heated pause. MARGARET I like Colonel Brandon too. He's been to places. EXT. POND NEAR BARTON PARK - DAY In the background, SIR JOHN, ELINOR and MRS JENNINGS pack the remains of a picnic into a basket. MRS DASHWOOD and MARGARET examine a foxhole. In the foreground, MARIANNE is cutting bulrushes for basketwork. Her knife is blunt and she saws impatiently. COLONEL BRANDON materialises at her side and wordlessly offers her his hunting knife. Oddly nervous, MARIANNE takes it. She turns back to the rushes and cuts them with ease. The COLONEL's gaze follows her movements as if held by a magnet. INT. KEEPER'S LODGE - BARTON PARK - DAY SIR JOHN and BRANDON are cleaning their guns in companionable silence--a habit left over from army days. SIR JOHN eyes BRANDON roguishly. SIR JOHN You know what they're saying, of course... No answer. SIR JOHN The word is that you have developed a taste for--certain company. BRANDON stays resolutely silent. SIR JOHN is emboldened. SIR JOHN And why not, say I. A man like you-- in his prime--she'd be a most fortunate young lady-- BRANDON cuts across him. COLONEL BRANDON Marianne Dashwood would no more think of me than she would of you, John. SIR JOHN Brandon, my boy, do not think of yourself so meanly-- COLONEL BRANDON And all the better for her. SIR JOHN subsides. BRANDON is clearly as angry with himself as he is with SIR JOHN. EXT. POND NEAR BARTON PARK - ANOTHER DAY BRANDON strides along in hunting gear, a gun slung under one arm, his dog trotting behind him with a duck clamped between its jaws. The bulrushes catch his eye and he slows, then stops. He stands for a moment deep in thought. Then he takes his hunting knife, cuts one and walks off contemplatively. EXT. BARTON PARK - GARDENS - DAY An outdoor luncheon is in progress. COLONEL BRANDON is talking to MRS DASHWOOD. Occasionally he looks over towards MARIANNE, who is playing bilboquet with SIR JOHN and MARGARET. MRS JENNINGS nudges ELINOR hard and gestures to BRANDON. MRS JENNINGS (stage whisper) Besotted! Excellent match, for he is rich and she is handsome. ELINOR How long have you known the Colonel? MRS JENNINGS Oh, Lord bless you, as long as ever I have been here, and I came fifteen years back. His estate at Delaford is but four miles hence and he and John are very thick. He has no wife or children of his own, for-- MRS JENNINGS lowers her voice to a stentorian whisper. MRS JENNINGS --he has a tragic history. He loved a girl once--twenty years ago now--a ward to his family, but they were not permitted to marry... ELINOR is intrigued. ELINOR On what grounds? MRS JENNINGS Money. Eliza was poor. When the father discovered their amour, she was flung out of the house and he packed off into the army. I believe he would have done himself a harm if not for John... ELINOR What became of the lady? MRS JENNINGS Oh, she was passed from man to man-- disappeared from all good society. When Brandon got back from India he searched for heaven knows how long, only to find her dying in a poor house. You have seen how it has affected him. Once I thought my daughter Charlotte might have cheered him up, but she is much better off where she is. ELINOR is silent with amazement at this unexpected history. MRS JENNINGS Look at him now, though. So attentive. I shall try an experiment on him. ELINOR Oh no, please, dear Mrs Jennings, leave the poor Colonel alone. MRS JENNINGS No, no, it is just the thing--all suitors need a little help, my dear MRS JENNINGS winks at ELINOR and rubs her hands as though about to perform a magic trick. MRS JENNINGS (trillingly) Colonel Brandon! BRANDON looks up. MRS JENNINGS We have not heard you play for us of late! COLONEL BRANDON For the simple reason that you have a far superior musician here. He indicates MARIANNE, who smiles absently. MRS JENNINGS Perhaps you did not know, Miss Marianne, that our dear Brandon shares your passion for music and plays the piano forte very well. MARIANNE looks at BRANDON in some surprise. MRS JENNINGS Play us a duet! BRANDON looks at MRS JENNINGS warningly but she ignores him. MRS JENNINGS I'll trow you know quite as many melancholy tunes as Miss Marianne! Her tone is so knowing that MARIANNE frowns uncomfortably. MRS JENNINGS Come! Let us see you both side by side! MARIANNE rises impatiently. MARIANNE I do not know any duets. Forgive me, Colonel. She moves away. MRS JENNINGS chuckles. INT. BARTON COTTAGE - PARLOUR - LATE AFTERNOON The DASHWOODS returning. MARIANNE is taking her bonnet off so furiously that she simply gets the knot tighter and tighter. Despite them selves, ELINOR and MRS DASHWOOD are amused. MARIANNE Oh! Are we never to have a moment's peace? The rent here may be low but I think we have it on very hard terms. ELINOR Mrs Jennings is a wealthy woman with a married daughter--she has nothing to do but marry off everyone else's. BETSY pokes her head out from the dining room. BETSY There's a parcel arrived for you, Miss Dashwood! MARGARET A parcel! They all crowd into the dining room to find a large package on the table, which MARGARET is permitted to open. In the meantime ELINOR comes to the rescue with the bonnet and MARIANNE stands shifting like a spirited mare as ELINOR patiently unravels the knot. MARIANNE It is too ridiculous! When is a man to be safe from such wit if age and infirmity do not protect him? ELINOR Infirmity! MRS DASHWOOD If Colonel Brandon is infirm, then I am at death's door. ELINOR It is a miracle your life has extended this far... MARIANNE Did you not hear him complain of a rheumatism in his shoulder? ELINOR A slight ache' I believe was his phrase... MARIANNE smiles and ELINOR laughs at her. Then MARGARET opens the parcel to reveal--her atlas. The atmosphere alters immediately as MRS DASHWOOD and MARIANNE look at ELINOR in consternation. MARGARET But Edward said he would bring it himself. There is a letter on top of the atlas. CLOSE on the address 'To the Dashwoods'. MRS DASHWOOD picks it up, looks at ELINOR, and opens MRS DASHWOOD 'Dear Mrs Dashwood, Miss Dashwood, Miss Marianne and Captain Margaret-- it gives me great pleasure to restore this atlas to its rightful owner. Alas, business in London does not permit me to accompany it, although this is likely to hurt me far more than it hurts you. For the present my memories of your kindness must be enough to sustain me, and I remain your devoted servant always. E. C. Ferrars.' A silence greets this brief epistle. ELINOR struggles to contain her bitter disappointment. MARGARET But why hasn't he come? MRS DASHWOOD He says he is busy, dear. MARGARET He said he'd come. MARGARET is genuinely upset. ELINOR quietly hangs up MARIANNE's bonnet. MARGARET Why hasn't he come? MRS DASHWOOD looks beseechingly at MARIANNE, who nods and grasps MARGARET's hand. MARIANNE I am taking you for a walk. MARGARET No! I've been a walk. MARIANNE You need another. MARGARET It is going to rain. MARIANNE shoves her bonnet back on and drags MARGARET out. MARIANNE It is not going to rain. MARGARET You always say that and then it always does. We hear the front door slam behind them. There is a short silence. MRS DASHWOOD I fear Mrs Jennings is a bad influence. She approaches ELINOR. MRS DASHWOOD You must miss him, Elinor. ELINOR looks very directly at her mother. ELINOR We are not engaged, Mamma. MRS DASHWOOD But he loves you, dearest, of that I am certain. ELINOR looks down. She speaks slowly, choosing her words with care. ELINOR I am by no means assured of his regard for me. MRS DASHWOOD Oh, Elinor! ELINOR But even were he to feel such a... preference, I think we should be foolish to assume that there would not be many obstacles to his choosing a woman of no rank who cannot afford to buy sugar... MRS DASHWOOD But Elinor--your heart must tell you-- ELINOR In such a situation, Mamma, it is perhaps better to use one's head. She clears her throat, rises determinedly, picks up the accounts book and opens it. MRS DASHWOOD is silenced. EXT. FIELDS NEAR BARTON COTTAGE - DAY MARIANNE walks very briskly, dragging an unwilling MARGARET behind her. EXT. DOWNS NEAR BARTON COTTAGE - DAY It has started to rain. Mists are gathering around the two figures walking against the wind. MARIANNE Is there any felicity in the world superior to this? MARGARET I told you it would rain. MARIANNE Look! There is some blue sky! Let us chase it! MARGARET I'm not supposed to run. MARIANNE runs off down the hill into the heart of the mist. MARGARET stumbles after her, grumbling. We follow MARIANNE in her headlong descent and suddenly, dramatically, she trips and sprawls to the ground, letting out a sharp cry of pain. MARGARET Marianne! MARIANNE Help me! She tries to get up, but the pain in her ankle is too great. She sinks back to the ground. MARGARET is very alarmed. MARIANNE Margaret, run home and fetch help. The mists have thickened. They can no longer see where they are. Despite her rising fear, MARGARET squares her shoulders bravely and tries to sense the direction. MARGARET I think it is this way. I will run as fast as I can, Marianne. She dashes off. As she goes into the mist we hear the thunder of hooves. CU Margaret's terrified expression. They seem to be coming from all around. She wheels and turns and then--Crash! Through the mist breaks a huge white horse. Astride sits an Adonis in hunting gear. MARGARET squeals. The horse rears. Its rider controls it and slides off. He rushes to MARIANNE's side. THE STRANGER Are you hurt? MARIANNE (transfixed) Only my ankle. THE STRANGER May I have your permission to-- He indicates her leg. Decorous, perhaps faintly impish. THE STRANGER --ascertain if there are any breaks? MARIANNE nods speechlessly. With great delicacy, he feels her ankle. MARGARET's eyes are out on chapel-hooks. MARIANNE almost swoons with embarrassment and excitement mixed. THE STRANGER It is not broken. Now, can you put your arm about my neck? MARIANNE does not need any encouragement. He lifts her effortlessly and calls to his horse: 'Bedivere!' It trots obediently forward. The STRANGER smiles down at MARIANNE. THE STRANGER Allow me to escort you home. INT. BARTON COTTAGE - DINING ROOM - DAY Rain is thudding against the window from which MRS DASHWOOD turns, looking very worried. MRS DASHWOOD Marianne was sure it would not rain. ELINOR Which invariably means it will. But we can see she is trying to conceal her anxiety from her mother. There are noises in the hall. MRS DASHWOOD At last! MARGARET runs into the room dripping wet. MARGARET She fell over! She fell down--and he's carrying her! INT. BARTON COTTAGE - FRONT DOOR - DAY MRS DASHWOOD and ELINOR rush to the front door. They see the STRANGER carrying MARIANNE up the garden path, his scarlet coat staining the monochrome rain. MRS DASHWOOD Marianne! The STRANGER reaches the door. This is no time for introductions. ELINOR In here, sir--this way. Margaret, open the door wider. Please, sir, lay her here. Marianne, are you in pain? They move into the parlour. INT. BARTON COTTAGE - PARLOUR - DAY MARIANNE is carried in, surrounded by ELINOR, MRS DASHWOOD and MARGARET. THE STRANGER It is a twisted ankle. MARIANNE Do not be alarmed, Mamma. The STRANGER deposits MARIANNE on the sofa. They look straight into each other's eyes. Electric. THE STRANGER I can assure you it is not serious. I took the liberty of feeling the bone and it is perfectly sound. ELINOR raises her eyebrows at MARIANNE, who blushes to her roots. MRS DASHWOOD Sir, I cannot even begin to thank you. THE STRANGER Please do not think of it. I'm honoured of be of service. MRS DASHWOOD Will you not be seated? THE STRANGER Pray excuse me--I have no desire to leave a water mark! But permit me to call tomorrow afternoon and inquire after the patient? MRS DASHWOOD We shall look forward to it! He turns to MARIANNE and smiles. She smiles back gloriously. He bows, and sweeps out of the room. MARIANNE (hissing) His name! His name! MRS DASHWOOD silences her with a gesture and follows him out with all the solicitous charm she can command while MARGARET pokes her head around the door to watch. ELINOR is removing MARIANNE's boot and trying not to laugh at her. EXT. BARTON COTTAGE - FRONT DOOR - DAY MRS DASHWOOD calls out after him. MRS DASHWOOD Please tell us to whom we are so much obliged? The STRANGER mounts Bedivere and turns to her. THE STRANGER John Willoughby of Allenham--your servant, ma'am! And he gallops off into the mist--we almost expect Bedivere to sprout wings. CLOSE on MRS DASHWOOD's excited expression. INT. BARTON COTTAGE - PARLOUR - DAY MRS DASHWOOD runs back into the parlour, jittering with excitement and anxiety. MARIANNE Mr John Willoughby of Allenham! MRS DASHWOOD What an impressive gentleman! MARIANNE He lifted me as if I weighed no more than a dried leaf! ELINOR Is he human? MARIANNE hits ELINOR. MRS DASHWOOD tends to her ankle. MRS DASHWOOD Tell me if I hurt you. ELINOR (regarding Marianne's ecstatic expression) She feels no pain, Mamma. Margaret, ask Betsy to make up a cold compress, please. MARGARET (leaving reluctantly) Did you see him? He expressed himself well, did he not? MRS DASHWOOD With great decorum and honour. MARIANNE And spirit and wit and feeling. ELINOR And economy--ten words at most. From below stairs we can hear MARGARET wailing Wait for me! MARIANNE And he is to come tomorrow! ELINOR You must change, Marianne--you will catch a cold. MARIANNE What care I for colds when there is such a man? ELINOR You will care very much when your nose swells up. MARIANNE You are right. Help me, Elinor. MARGARET comes back with the bandages. MARGARET What has happened? ELINOR We have decided to give you to the Gypsies. ELINOR and MARIANNE go upstairs. MARGARET whispers to MRS DASHWOOD. MARGARET Will they be married before Edward and Elinor, do you think, Mamma? MRS DASHWOOD Margaret, you are worse than Mrs Jennings. EXT. BARTON COTTAGE - MORNING The rain has cleared. SIR JOHN's horse munches grass contentedly by the side of the road. SIR JOHN (V.O.) Mr Willoughby is well worth catching, Miss Dashwood--Miss Marianne must not expect to have all the men to herself! INT. BARTON COTTAGE - PARLOUR - MORNING The DASHWOODS are having a frustrating time winkling information about WILLOUGHBY out of SIR JOHN, who is in turn only anxious to protect BRANDON's interest. MARIANNE has her bandaged foot up on the sofa and is fast losing patience. MARIANNE But what do you know of Mr Willoughby, Sir John? SIR JOHN Decent shot--and there is not a bolder rider in all England. MARIANNE But what is he like? SIR JOHN Like? MARIANNE What are his tastes? His passions? His pursuits? SIR JOHN (mystified) Well, he has the nicest little bitch of a pointer--was she out with him yesterday? MARIANNE gives up. MRS DASHWOOD takes over. MRS DASHWOOD Where is Allenham, Sir John? SIR JOHN Nice little estate three miles east. He is to inherit it from an elderly relative--Lady Allen is her name. Now they are getting somewhere. MARIANNE is about to ask another question when they hear a horse galloping up. Everyone is electrified. MARGARET runs to the window and turns back in disappointment. MARGARET It is Colonel Brandon. I shall go outside and keep watch. MARGARET runs out of the room. SIR JOHN You are all on the lookout for Willoughby, eh? Dear me, poor Brandon. You will none of you think of him now. BRANDON is admitted by BETSY. He is carrying a large bunch of hothouse flowers. COLONEL BRANDON How is the invalid? He hands MARIANNE the flowers with a smile. MARIANNE Thank you so much, Colonel. She rather absently hands the flowers to ELINOR, who goes for a vase. SIR JOHN gestures at BRANDON with bluff insensitivity. SIR JOHN Miss Marianne, I cannot see why you should set your cap at Mr Willoughby when you have already made such a splendid conquest! MARIANNE I have no intention of 'setting my cap' at anyone, Sir John! COLONEL BRANDON Mr Willoughby--Lady Allen's nephew? BRANDON's light tone betrays no emotion. ELINOR comes back in with the flowers and puts them on the table next to MARIANNE. SIR JOHN Aye, he visits every year for he is to inherit Allenham--and he has a very pretty estate of his own, Miss Dashwood, Combe Magna in Somerset. If I were you, I would not give him up to my younger sister in spite of all this tumbling down hills. Suddenly MARGARET runs in screaming 'Marianne's preserver!' at the top of her voice. Everyone starts to move at once. MARGARET is silenced. BRANDON looks at MARIANNE, whose incandescent expression makes her feelings all too clear. SIR JOHN Here is the man himself. Come, Brandon-- we know when we are not wanted. Let us leave him to the ladies! ELINOR Marianne! Sir John and the Colonel are leaving. MARIANNE looks up, suddenly self-conscious. MARIANNE Goodbye, Colonel. Thank you for the flowers. ELINOR sees them out. We hear WILLOUGHBY's voice outside. CLOSE on MARIANNE's radiant anticipation. EXT. BARTON COTTAGE - FRONT DOOR - DAY WILLOUGHBY is shaking hands with COLONEL BRANDON and SIR JOHN. WILLOUGHBY How do you do, Colonel? SIR JOHN How does he do? How do you do, more like. Go on in, they're waiting for you! BRANDON looks at WILLOUGHBY for a moment. He bows. WILLOUGHBY bows. Then BRANDON and SIR JOHN exit. INT. BARTON COTTAGE - PARLOUR - DAY ELINOR leads in WILLOUGHBY. MRS DASHWOOD greets him with outstretched arms. MRS DASHWOOD Mr Willoughby! What a pleasure to see you again! WILLOUGHBY The pleasure is all mine, I can asstire you. I trust Miss Marianne has not caught cold? MARIANNE You have found out my name! WILLOUGHBY Of course. The neighbourhood is crawling with my spies. He suddenly produces a bunch of wild flowers from behind his back and offers them to MARIANNE with a courtly, humorous bow. WILLOUGHBY And since you cannot venture out to nature, nature must be brought to you! MARIANNE How beautiful. These are not from the hothouse. WILLOUGHBY sees BRANDON's flowers. WILLOUGHBY Ah! I see mine is not the first offering, nor the most elegant. I am afraid I obtained these from an obliging field. MARIANNE But I have always preferred wild flowers! WILLOUGHBY I suspected as much. ELINOR takes the delicate flowers from WILLOUGHBY. ELINOR I will put these in water. MRS DASHWOOD Our gratitude, Mr Willoughby, is beyond expression-- WILLOUGHBY But it is I who am grateful. I have often passed this cottage and grieved for its lonely state--and then the first news I had from Lady Allen when I arrived was that it was taken. I felt a peculiar interest in the event which nothing can account for but my present delight in meeting you. He is merry, spirited, voluble--a breath of fresh air. ELINOR brings back WILLOUGHBY's flowers and places them next to BRANDON's on the side table. MRS DASHWOOD Pray sit down, Mr Willoughby. She indicates a chair but WILLOUGHBY sees a book lying on MARIANNE's footstool, picks it up and--to her great delight-- sits down on the stool at her feet. WILLOUGHBY Who is reading Shakespeare's sonnets? Everyone answers at once. MARIANNE/ELINOR/MRS DASHWOOD I am. / We all are. / Marianne. MRS DASHWOOD Marianne has been reading them out to us. WILLOUGHBY Which are your favourites? It is a general question but MARIANNE gaily commandeers it. MARIANNE Without a doubt, mine is 116. WILLOUGHBY Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove--then how does it go? MARIANNE '0, no! it is an ever-fixed mark.' WILLOUGHBY joins in the line halfway through and continues. ELINOR and MRS DASHWOOD exchange glances. Clearly, their contribution to this conversation will be minimal. WILLOUGHBY 'That looks on storms'--or is it tempests? Let me find it. WILLOUGHBY gets out a tiny leatherbound book. WILLOUGHBY It is strange you should be reading them--for, look, I carry this with me always. It is a miniature copy of the sonnets. MARIANNE is delighted, and, mutually astonished at this piece of synchronicity, they proceed to look up other favourites, chatting as though they were already intimates. MRS DASHWOOD smiles at ELINOR with satisfaction. ELINOR, amused, picks up her sewing. MARGARET stares. WILLOUGHBY and MARIANNE are oblivious to everything but each other. EXT. BARTON COTTAGE - GARDEN PATH - DAY WILLOUGHBY is leaving. He has a flower from MARIANNE's bunch in his buttonhole and is on his horse, looking about as virile as his horse. Everyone has come out to say goodbye, MARIANNE supported by ELINOR and MRS DASHWOOD. WILLOUGHBY Till tomorrow! And my pocket sonnets are yours, Miss Marianne! A talisman against further injury! MARIANNE Goodbye! Thank you! He gallops off. They all wave. MARGARET follows him down the road for a while. ELINOR Good work, Marianne! You have covered all forms of poetry; another meeting will ascertain his views on nature and romantic attachments and then you will have nothing left to talk about and the acquaintanceship will be over. MARIANNE I suppose I have erred against decorum. I should have been dull and spiritless and talked only of the weather, or the state of the roads. ELINOR No, but Mr Willoughby can be in no doubt of your enthusiasm for him. MARIANNE Why should he doubt it? Why should I hide my regard? ELINOR No particular reason, Marianne, only that we know so little of him-- MARIANNE But time alone does not determine intimacy. Seven years would be insufficient to make some people acquainted with each other and seven days are more than enough for others. ELINOR Or seven hours in this case. MARIANNE I feel I know Mr Willoughby well already. If I had weaker, more shallow feelings perhaps I could conceal them, as you do-- Then she realises what she's said. MRS DASHWOOD Marianne, that is not fair-- MARIANNE I am sorry, Elinor, I did not mean ELINOR I know. Do not trouble yourself, Marianne. ELINOR turns back into the house. MARIANNE I do not understand her, Mamma. Why does she never mention Edward? I have never even seen her cry about him, or about Norland. MRS DASHWOOD Nor I. But Elinor is not like you or I, dear. She does not like to be swayed by her emotions. INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY CLOSE on Edward's handkerchief. We can see the monogram ECF clearly. CLOSE on ELINOR staring out of the window. Tears stand in her eyes but she presses the handkerchief to them before they fall. INT. BARTON PARK - DRAWING ROOM - EVE After dinner. Tea has been served. ELINOR, COLONEL BRANDON, MRS DASHWOOD and MRS JENNINGS play at cards. In a far corner of the room, MARIANNE is concentrating as she draws a silhouette. WILLOUGHBY's profile glows behind the screen in front of her, She looks up and stops, gazing, bewitched, at his beauty. The lips move--a whisper: Marianne. Then, louder: Haven't you finished? He moves out from behind the screen, eyes full of laughter. They look at each other. INT. BARTON COTTAGE - PARLOUR - DAY ELINOR and MRS DASHWOOD are at the accounts. WILLOUGHBY and MARIANNE are on the other side of the room in the window seat, whispering together. Clearly, he is already part of the family. MRS DASHWOOD Surely you are not going to deny us beef as well as sugar? ELINOR There is nothing under tenpence a pound. We have to economise. MRS DASHWOOD Do you want us to starve? ELINOR No. Just not to eat beef. MRS DASHWOOD is silenced but sighs crossly. ELINOR looks over to the lovers and sees WILLOUGHBY in the act of cutting off a lock of MARIANNE's hair, which he kisses and places in his pocket-book. ELINOR is transfixed by this strangely erotic moment. WILLOUGHBY senses her gaze and looks over. She snaps her head back to her sums and is astonished to find that she has written 'Edward' at the top of the sheet. Hastily she rubs it out and writes 'Expenses'. EXT. BARTON CHURCH. DAY. MRS JENNINGS is talking to the elderly CURATE. Other PARISHIONERS exit the church as WILLOUGHBY's curricle (the eighteenth-century equivalent of a sports car) goes flying by. MARIANNE sits by his side, the picture of happiness. MRS JENNINGS nudges the CURATE and whispers. The PARISHIONERS stare after them and comment to each other. EXT. BARTON COTTAGE - GARDEN PATH - DAY MARIANNE and ELINOR are coming down the path together. MARIANNE is dressed to go out. The argument has evidently started indoors and is being continued here. MARIANNE If there was any true impropriety in my behaviour, I should be sensible of it, Elinor-- ELINOR But as it has already exposed you to some very impertinent remarks, do you not begin to doubt your own discretion? MARIANNE If the impertinent remarks of such as Mrs Jennings are proof of impropriety, then we are all offending every moment of our lives-- The conversation is halted by the arrival of COLONEL BRANDON on horseback. COLONEL BRANDON (dismounting) Miss Dashwood! Miss Marianne! ELINOR Good morning, Colonel! COLONEL BRANDON I come to issue an invitation. A picnic on my estate at Delaford--if you would care to join us on Thursday next. Mrs Jennings's daughter and her husband are traveling up especially. ELINOR Thank you, Colonel, we shall be delighted. At that moment, WILLOUGHBY's curricle hoves into view and MARIANNE's face lights up. COLONEL BRANDON (to Marianne) I will of course be including Mr Willoughby in the party. Even MARIANNE is a little embarrassed and recollects her manners. She smiles kindly at BRANDON. MARIANNE I should be delighted to join you, Colonel! The COLONEL helps her into the curricle, exchanging nods with WILLOUGHBY, who is regarding him with some suspicion. WILLOUGHBY Good morning, Miss Dashwood; good morning, Colonel. MARIANNE The Colonel has invited us to Delaford, Willoughby! WILLOUGHBY Excellent. I understand you have a particularly fine pianoforte, Colonel. The undercurrents of this conversation are decidedly tense. COLONEL BRANDON A Broadwood Grand. MARIANNE A Broadwood Grand! Then I shall really be able to play for you! WILLOUGHBY We shall look forward to it! MARIANNE smiles her perfect happiness at him and he whips up the horses. They drive off, waving their farewells. BRANDON looks after them for a silent moment, and then collects himself and turns to ELINOR, who is less than satisfied with their behaviour. COLONEL BRANDON Your sister seems very happy. ELINOR Yes. Marianne does not approve of hiding her emotions. In fact, her romantic prejudices have the unfortunate tendency to set propriety at naught. COLONEL BRANDON She is wholly unspoilt. ELINOR Rather too unspoilt, in my view. The sooner she becomes acquainted with the ways of the world, the better. COLONEL BRANDON looks at her sharply and then speaks very deliberately, as though controlling some powerful emotion. COLONEL BRANDON I knew a lady like your sister--the same impulsive sweetness of temper-- who was forced into, as you put it, a better acquaintance with the world. The result was only ruination and despair. He stops, and briskly remounts his horse. COLONEL BRANDON Do not desire it, Miss Dashwood. EXT. BARTON PARK - DRIVE - DAY People and carriages fill the drive, the sun shines and the atmosphere is pleasantly expectant. SIR JOHN is organising the provision of blankets and parasols and COLONEL BRANDON is busy furnishing the DRIVERS with their routes. There are three new faces a pretty, blowsy WOMAN (CHARLOTTE PALMER), a stony-faced MAN (MR PALMER) and an exceedingly good-looking GIRL (LUCY STEELE), who are standing with ELINOR, MARIANNE, MARGARET, MRS JENNINGS and MRS DASHWOOD. MARIANNE is standing slightly apart, looking out along the road, impatient for WILLOUGHBY. MRS JENNINGS Imagine my surprise, Mrs Dashwood, when Charlotte and her lord and master appeared with our cousin Lucy! The last person I expected to see! 'Where did you pop out from, Miss?' says I. I was never so surprised to see anyone in all my life! LUCY STEELE smiles shyly and looks at the ground. MRS JENNINGS continues sotto voce to MRS DASHWOOD. MRS JENNINGS She probably came on purpose to share the fun, for there are no funds for such luxuries at home, poor thing. LUCY I had not seen you for so long, dear Mrs Jennings, I could not resist the opportunity. CHARLOTTE Oh, you sly thing! It was the Misses Dashwood she wanted to see, not Delaford, Mamma! I have heard nothing but 'Miss Dashwood this, Miss Dashwood that' for I don't know how long! And what do you think of them now you do see them, Lucy? My mother has talked of nothing else in her letters since you came to Barton, Mrs Dashwood. Mr Palmer--are they not the very creatures she describes? MR PALMER regards his wife with a less than enchanted expression. MR PALMER Nothing like. CHARLOTTE (laughing gaily) Why, Mr Palmer! Do you know you are quite rude today? He is to be an MP, you know, Mrs Dashwood, and it is very fatiguing for him for he is forced to make everybody like him-- he says it is quite shocking-- MRS PALMER I never said anything so irrational. Don't palm all your abuses of the language upon me. MRS JENNINGS (to Mrs Dashwood) Mr Palmer is so droll--he is always out of humour. MR PALMER does indeed have the air of a man under siege. WILLOUGH BY suddenly appears in his curricle. MARIANNE waves to him with a radiant smile. MRS JENNINGS nudges CHARLOTTE and points to MARIANNE. MRS JENNINGS Here he is! Now you shall see, Charlotte. WILLOUGHBY drives up as close to MARIANNE as possible, making her laugh. MRS JENNINGS How now, Mr Willoughby! You must greet my daughter Charlotte, and Mr Palmer-- WILLOUGHBY How do you do? MRS JENNINGS And my little cousin, Miss Lucy Steele. WILLOUGHBY Welcome to our party, Miss Steele! LUCY bobs demurely. WILLOUGHBY inclines his head politely, leaps from the curricle and hands MARIANNE in. MRS JENNINGS coos and chuckles at them. CHARLOTTE nudges ELINOR. CHARLOTTE I know Mr Willoughby extremely well-- not that I ever spoke to him but I have seen him forever in town. Your sister is monstrous lucky to get him. Mamma says Colonel Brandon is in love with her as well, which is a very great compliment for he hardly ever falls in love with anyone. ELINOR smiles politely. WILLOUGHBY moves the curricle out to the front of the drive. CHARLOTTE points after them and laughs with MRS JENNINGS. LUCY edges up beside ELINOR. LUCY May I beg a seat beside you, Miss Dashwood? I have so longed to make your better acquaintance! I have heard nothing but the highest praise for you. ELINOR is relieved to change the subject. ELINOR I would be delighted. But Sir John and Mrs Jennings are too excessive in their compliments. I am sure to disappoint. LUCY No, for it was from quite another source that I heard you praised and one not at all inclined to exaggeration. LUCY speaks in a knowing, confidential undertone, as though not wanting anyone else to hear. At that moment a HORSEMAN thunders up the drive towards them. Everyone turns to face the new arrival. SIR JOHN What can this be? It is a MESSENGER who has obviously had a long, hard ride. He asks for COLONEL BRANDON and hands him a letter, which BRANDON tears open. MRS JENNINGS is puce with suppressed curiosity. COLONEL BRANDON My horse! Quickly! SIR JOHN What is the matter, Brandon? COLONEL BRANDON I must away to London. SIR JOHN No! Impossible! Everyone gathers round BRANDON, who is, naturally, mortified. A SERVANT brings up the COLONEL's horse. COLONEL BRANDON Imperative. There is a murmur of disappointment from the party. SIR JOHN is embarrassed and protests again. SIR JOHN But Brandon, we are all assembled. We cannot picnic at Delaford without our host! Go up to town tomorrow. WILLOUGHBY Or wait till we return and start then--you would not be six hours later. COLONEL BRANDON I cannot afford to lose one minute. As he speaks, he is mounting his horse. His grave urgency silences all protest and he gallops off, leaving everyone stunned and, of course, deeply curious. Then they all start to talk at once. LUCY is still next to ELINOR. LUCY Oh, Miss Dashwood, I cannot bear it! Just when I was to have the opportunity of speaking with you. EXT. MEADOW NEAR BARTON COTTAGE - DAY Having been denied their trip, the DASHWOODS and WILLOUGHBY have set out an impromptu picnic. WILLOUGHBY is wandering restlessly about. The weather is sublime. WILLOUGHBY Frailty, thy name is Brandon! MARIANNE There are some people who cannot bear a party of pleasure. I think he wrote the letter himself as a trick for getting out of it. MRS DASHWOOD (indulgently) You are a very wicked pair, Colonel Brandon will be sadly missed. WILLOUGHBY Why? When he is the kind of man that everyone speaks well of and no one wants to talk to. MARIANNE Exactly! ELINOR Nonsense. MRS DASHWOOD Colonel Brandon is very highly esteemed at the Park. WILLOUGHBY Which is enough censure in itself. ELINOR (half laughing) Really, Willoughby! WILLOUGHBY (imitating Mrs Jennings perfectly) Come, come, Mr Impudence--I know you and your wicked ways--oh! He gives a little shriek and waddles about the garden doing her walk. He comes up to ELINOR and puts his head on her shoulder. WILLOUGHBY Come, Miss Dashwood, reveal your beau, reveal him, I say! Let's have no secrets between friends! Let me winkle them out of you! ELINOR hits him on the nose with her teaspoon and he waddles off to MARIANNE. WILLOUGHBY (as Mrs Jennings) I declare, Miss Marianne, if I do not have you married to the Colonel by teatime, I shall swallow my own bonnet. MARIANNE laughs. WILLOUGHBY drops the parody suddenly. WILLOUGHBY As if you could marry such a character. ELINOR Why should you dislike him? There is indeed an edge to WILLOUGHBY's raillery. He flicks ELINOR an almost alarmed glance and then sweeps MARIANNE to her feet and starts to dance around the garden with her. WILLOUGHBY Because he has threatened me with rain when I wanted it fine, he has found fault with the balance of my curricle and I cannot persuade him to buy my brown mare. If it will be of any satisfaction to you, however, to be told I believe his character to be in all other respects irreproachable, I am ready to confess it. And in return for an acknowledgement that must give me some pain. (he is slowing down) You cannot deny me the privilege... (slower still) of disliking him... (and stopping) as much as I adore... He and MARIANNE are standing looking at each other. The expression on WILLOUGHBY's face is heart-stopping. MARGARET has stopped eating and is staring with her mouth open. ELINOR glances at MRS DASHWOOD but she is gazing up at them with almost as many stars in her eyes as MARIANNE. Suddenly WILLOUGHBY breaks the mood by swinging away from MARIANNE and gesturing to the house. WILLOUGHBY --this cottage! The tension is broken. MARGARET starts to chew again. MRS DASHWOOD I have great plans for improvements to it, you know, Mr Willoughby. WILLOUGHBY Now that I will never consent to. Not a stone must be added to its walls. Were I rich enough, I would instantly pull down Combe Magna and build it up again in the exact image of that cottage! ELINOR With dark, narrow stairs, a poky hall and a fire that smokes? WILLOUGHBY Especially the fire that smokes! Then I might be as happy at Combe Magna as I have been at Barton. He looks at MARIANNE, who has gone to sit at her mother's feet. WILLOUGHBY But this place has one claim on my affection which no other can possibly share. MARIANNE is so irradiated with happiness that she looks like an angel. WILLOUGHBY Promise me you will never change it. MRS DASHWOOD I do not have the heart. ELINOR Or the money. EXT. BARTON COTTAGE - GARDEN PATH AND GATE - DUSK MARIANNE is seeing WILLOUGHBY off. WILLOUGHBY Miss Marianne, will you--will you do me the honour of granting me an interview tomorrow--alone? MARIANNE Willoughby, we are always alone! WILLOUGHBY But there is something very particular I should like to ask you. There is something about his formal tone that makes her feel shy. MARIANNE Of course. I shall ask Mamma if I may stay behind from church. WILLOUGHBY Thank you. Until tomorrow then--Miss Marianne. He mounts Bedivere and leaves. MARIANNE looks after him, her eyes shining. He is coming to propose. EXT. LONDON TENEMENTS - NIGHT A district of extreme poverty, populated by the LOWLIFE of LONDON: FOOTPADS, dogs, rats and SCAVENGERS of all kinds. In the distance a tavern belches forth drunken REVELLERS who sway and reel into the night. A hooded HORSEMAN pulls up his exhausted steed at the entrance to a slum. He dismounts and looks up at one of the windows. The rags hanging there twitch as if someone is watching for him. He strides inside. INT. TENEMENT STAIRS - NIGHT Stepping over a supine BEGGAR at the foot of the stairs, the HORSEMAN flings back his hood--it is BRANDON, hollow-eyed and dropping with weariness. We follow him up the stairs to a door which is opened by an OLDER WOMAN. INT. TENEMENT ROOM - NIGHT He enters a bare room partitioned with filthy rags hung from the ceiling and lit with stinking tallow lamps. At the window stands the slight figure of a VERY YOUNG WOMAN. She turns. BRANDON reacts with a tender smile which stiffens into an expression of deep shock. We see her silhouette. She is heavily pregnant. She bursts into tears and runs into his arms. INT. BARTON CHURCH - DAY Amongst the small CONGREGATION listening to the sermon drone on, we see the excited faces of ELINOR, MARGARET and MRS DASHWOOD. MARGARET Do you think he will kneel down when he asks her? ELINOR Shhh! MARGARET (with satisfaction) They always kneel down. EXT. BARTON COTTAGE - GARDEN PATH - DAY The DASHWOODS return from church to find THOMAS grooming Bedivere at the garden gate. Their excitement mounts. INT. BARTON COTTAGE - FRONT DOOR - DAY They all enter the cottage, talking nonsense loudly in order to signal their presence. MARGARET giggles. Suddenly, MARIANNE bursts out of the parlour sobbing, and disappears into the room opposite. ELINOR and MARGARET stand by the door in utter consternation, while MRS DASH- WOOD goes to MARIANNE. MRS DASHWOOD What is wrong, my dearest? MARIANNE shakes her head and waves them away. INT. BARTON COTTAGE - PARLOUR - DAY ELINOR, MARGARET and MRS DASHWOOD enter to find WILLOUGHBY standing in a frozen attitude by the fireplace. MRS DASHWOOD Willoughby! What is the matter? WILLOUGHBY I--forgive me, Mrs Dashwood. I am sent--that is to say, Lady Allen has exercised the privilege of riches upon a dependent cousin and is sending me to London. He cannot look any of them in the eye. MRS DASHWOOD When--this morning? WILLOUGHBY Almost this moment. MRS DASHWOOD How very disappointing! But your business will not detain you from us for long, I hope? WILLOUGHBY You are very kind--but I have no idea of returning immediately to Devonshire. I am seldom invited to Allenham more than once a year. MRS DASHWOOD For shame, Willoughby! Can you wait for an invitation from Barton Cottage? WILLOUGHBY My engagements at present are of such a nature--that is--I dare not flatter myself-- The atmosphere is thick with tension. WILLOUGHBY flicks a glance at the three WOMEN staring at him in mute astonishment. WILLOUGHBY It is folly to linger in this manner. I will not torment myself further. He rushes past them and out of the cottage. They follow him to the door. EXT. BARTON COTTAGE - FRONT DOOR - DAY The DASHWOODS cluster round the door. MARGARET Willoughby, come back! She is silenced by ELINOR as WILLOUGHBY seizes Bedivere's reins from THOMAS, mounts up and rides off at a furious pace. INT. BARTON COTTAGE - PARLOUR - DAY They all rush back into the parlour. ELINOR Meg, dearest, please ask Betsy to make a cup of hot tea for Marianne. MARGARET nods dumbly and goes. MRS DASHWOOD has her arms around MARIANNE. MRS DASHWOOD What is wrong, my love? MARIANNE Nothing! Please do not ask me questions! MARIANNE struggles free. MARIANNE Please let me be! She runs off upstairs and we hear her bedroom door slamming. There is a moment of stunned silence. ELINOR They must have quarreled. MRS DASHWOOD That is unlikely. Perhaps this--Lady Allen--disapproves of his regard for Marianne and has invented an excuse to send him away? ELINOR Then why did he not say as much? It is not like Willoughby to be secretive. Did he think Marianne was richer than she is? MRS DASHWOOD How could he? She gestures to the room and then looks at ELINOR with a frown. MRS DASHWOOD What is it you suspect him of? ELINOR I can hardly tell you. But why was his manner so guilty? MRS DASHWOOD What are you saying, Elinor? That he has been acting a part to your sister for all this time? MRS DASHWOOD is getting defensive. ELINOR pauses to think. ELINOR No, he loves her, I am sure. MRS DASHWOOD Of course he loves her! ELINOR But has he left her with any assurance of his return? Cannot you ask her if he has proposed? MRS DASHWOOD Certainly not. I cannot force a confidence from Marianne and nor must you. We must trust her to confide in us in her own time. ELINOR (shaking her head) There was something so underhand in the manner of his leaving. MRS DASHWOOD You are resolved, then, to think the worst of him. ELINOR Not resolved-- MRS DASHWOOD (cold) I prefer to give him the benefit of my good opinion. He deserves no less. From all of us. She stalks out of the room and starts up the stairs. ELINOR follows her. ELINOR Mamma, I am very fond of Willoughby-- MRS DASHWOOD goes into her bedroom and shuts the door. ELINOR is halfway up the stairs. She meets a wet-eyed MARGARET coming down with a cup of tea. MARGARET She would not let me in. ELINOR takes the cup and MARGARET runs out into the garden in tears. The sound of sobbing also comes from MARIANNE's room, and now from MRS DASHWOOD's as well. ELINOR sits down helplessly on the stairs and drinks the tea. EXT. BARTON COTTAGE - RAIN - DAY The rain has settled in. The cottage looks cold and bleak. INT. BARTON COTTAGE - UPSTAIRS CORRIDOR - DAY BETSY carries another uneaten meal from MARIANNE's room. She looks at the food and tuts in anxiety. INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY MARIANNE is sitting by the window looking out at the rain through tear-swollen eyes. WILLOUGHBY's sonnets are on her lap. MARIANNE How like a winter hath my absence been from thee, the pleasure of the fleeting year! What freezings have I felt, what dark days seen! What old December's bareness everywhere! EXT. BARTON PARK - RAIN - EVE Smoke issues from every chimney in the place. INT. BARTON PARK - DRAWING ROOM - EVE Dinner is over. MARIANNE sits listlessly by the window. MR PALMER is hiding behind a newspaper. SIR JOHN and MARGARET are looking at a map and discussing routes through China. LUCY, CHARLOTTE, MRS DASHWOOD and MRS JENNINGS are at cards. ELINOR is reading. CHARLOTTE Oh! If only this rain would stop! MR PALMER (from behind the paper) If only you would stop. MRS JENNINGS and CHARLOTTE laugh at him. MRS JENNINGS 'Twas you took her off my hands, Mr Palmer, and a very good bargain you made of it too, but now I have the whip hand over you for you cannot give her back! The heavy silence behind the paper attests to the unhappy truth of this statement. MRS JENNINGS Miss Marianne, come and play a round with us! Looking out at the weather will not bring him back. CHARLOTTE (sotto voce) She ate nothing at dinner. MRS JENNINGS Mind, we are all a little forlorn these days. London has swallowed all our company. CHARLOTTE and MRS JENNINGS start to gossip about the disappearances of BRANDON and WILLOUGHBY. LUCY walks over and sits by ELINOR, who politely puts aside the book. LUCY (low) Dear Miss Dashwood, perhaps now we might have our--discussion. ELINOR Our discussion? LUCY looks around at MRS JENNINGS and lowers her voice still further, so that ELINOR is obliged to move her chair nearer. LUCY There is a particular question I have long wanted to ask you, but perhaps you will think me impertinent? ELINOR I cannot imagine so. LUCY But it is an odd question. Forgive me, I have no wish to trouble you-- She looks away coyly as if deciding whether to speak. ELINOR My dear Miss Steele-- CHARLOTTE (interrupting) Miss Dashwood, if only Mr Willoughby had gone home to Combe Magna, we could have taken Miss Marianne to see him! For we live but half a mile away. MR PALMER Five and a half. CHARLOTTE No, I cannot believe it is that far, for you can see the place from the top of our hill. Is it really five and a half miles? No! I cannot believe it. MR PALMER Try. ELINOR You have my permission to ask any manner of question, if that is of any help. LUCY Thank you. I wonder, are you at all acquainted with your sister-in-law's mother? Mrs Ferrars? ELINOR sits back in deep surprise. ELINOR With Fanny's mother? No, I have never met her. LUCY I am sure you think me strange for inquiring--if I dared tell-- MRS JENNINGS (shouting over) If she tells you aught of the famous 'Mr F', Lucy, you are to pass it on. ELINOR tries to ignore MRS JENNINGS, who is keeping a curious eye on them. LUCY Will you take a turn with me, Miss Dashwood? LUCY rises and takes ELINOR's arm. She guides her as far away as possible from MRS JENNINGS and CHARLOTTE. ELINOR I had no idea at all that you were connected with that family. LUCY Oh! I am certainly nothing to Mrs Ferrars at present--but the time may come when we may be very intimately connected. ELINOR (low) What do you mean? Do you have an understanding with Fanny's brother Robert? LUCY The youngest? No, I never saw him in my life. No, with Edward. ELINOR Edward? ELINOR stops walking. ELINOR Edward Ferrars? LUCY nods. LUCY Edward and I have been secretly engaged these five years. ELINOR is frozen to the spot. LUCY You may well be surprised. I should never have mentioned it, had I not known I could entirely trust you to keep our secret. Edward cannot mind me telling you for he looks on you quite as his own sister. ELINOR walks on mechanically. Disbelief has set in. ELINOR I am sorry, but we surely--we cannot mean the same Mr Ferrars? LUCY The very same--he was four years under the tutelage of my uncle Mr Pratt, down in Plymouth. Has he never spoken of it? ELINOR (awareness dawning) Mr Pratt! Yes, I believe he has. LUCY I was very unwilling to enter into it without his mother's approval but we loved each other with too great a passion for prudence. Though you do nor know him so well as I, Miss Dashwood, you must have seen how capable he is of making a woman sincerely attached to him. I cannot pretend it has not been very hard on us both. We can hardly meet above twice a year. She sniffs and produces a large handkerchief which she holds to her eyes so that the monogram is clearly visible. ECF. ELINOR, seeing the copy of the handkerchief she has held so dear, moves quickly to a chair and sits down. LUCY You seem out of sorts, Miss Dashwood-- are you quite well? ELINOR Perfectly well, thank you. LUCY I have not offended you? ELINOR On the contrary. MRS JENNINGS has been watching. Now she rises, unable to contain herself. MRS JENNINGS I can stand it no longer, I must know what you are saying, Lucy! Miss Dashwood is quite engrossed! MRS JENNINGS starts to bear down on them. LUCY whispers with real urgency. LUCY Oh, Miss Dashwood, if anyone finds out, it will ruin him--you must not tell a soul! Edward says you would not break your word to save your life! Promise me! ECU on ELINOR's face. ELINOR I give you my word. MRS JENNINGS looms over them. MRS JENNINGS Well, what can have fascinated you to such an extent, Miss Dashwood? CHARLOTTE Tell us all! ELINOR cannot speak but LUCY glides smoothly in. LUCY We were talking of London, ma'am, and all its--diversions. MRS JENNINGS Do you hear, Charlotte? MRS JENNINGS claps her hands delightedly. MRS JENNINGS While you were so busy whispering, Charlotte and I have concocted a plan! CHARLOTTE It is the best plan in the world. MRS JENNINGS I make for London shortly and I invite you, Lucy, and both the Misses Dashwood to join me! ELINOR cannot hide her dismay. MARIANNE springs from her seat. MARIANNE London! MARGARET Oh, can I go! Can I go? MRS DASHWOOD You know perfectly well you are too young, dearest. MRS JENNINGS I shall convey you all to my house in Berkeley Street and we shall taste all the delights of the season--what say you? MARGARET Oh, please can I go? I'm twelve soon. CHARLOTTE Mr Palmer, do you not long to have the Misses Dashwood come to London? MR PALMER I came into Devonshire with no other view. ELINOR exerts herself. ELINOR Mrs Jennings, you are very kind, but we cannot possibly leave our mother... LUCY's calculating eyes turn to MRS DASHWOOD with alacrity. LUCY Indeed, the loss would be too great. A chorus of objections goes up, particularly from MRS DASHWOOD, who is both delighted and relieved to see MARIANNE with a smile on her face. MRS JENNINGS Your mother can spare you very well. MRS DASHWOOD Of course I can! CHARLOTTE Of course she can! SIR JOHN And look at Miss Marianne--it would break her heart to deny her! MRS JENNINGS I will brook no refusal, Miss Dashwood! MARIANNE claps her hands, her eyes ablaze with joy. MRS JENNINGS takes ELINOR's hand. MRS JENNINGS Let you and me strike hands upon the bargain--and if I do not have the three of you married by Christmas, it will not be my fault! INT. BARTON COTTAGE - ELINOR/MARIANNE'S BEDROOM - NIGHT We are in ELINOR and MARIANNE's bedroom. ELINOR is in bed. She is lying on her side with her back to MARIANNE. We are CLOSE on her face. MARIANNE is running around excitedly, pulling out ribbons, looking at dresses, etc. MARIANNE I was never so grateful in all my life as I am to Mrs Jennings. What a kind woman she is! I like her more than I can say. Oh, Elinor! I shall see Willoughby. Think how surprised he will be! And you will see Edward! ELINOR cannot reply. MARIANNE Are you asleep? ELINOR With you in the room? MARIANNE laughs. MARIANNE I do not believe you feel as calm as you look, not even you, Elinor. I will never sleep tonight! Oh, what were you and Miss Steele whispering about so long? CLOSE on ELINOR's expression as she struggles with the impossibility of unburdening herself to her sister without breaking her promise to LUCY. After a pause-- ELINOR Nothing of significance. MARIANNE looks at ELINOR curiously, then returns to her packing. EXT. BARTON COTTAGE - GARDEN GATE - DAY MRS DASHWOOD and MARGARET are waving MRS JENNINGS's carriage off. MARIANNE waves back with such exuberance that she practically falls out. INT. MRS JENNINGS'S CARRIAGE - ROAD TO LONDON - DAY MRS JENNINGS is chattering about London to MARIANNE, who listens with new-found tolerance. LUCY is whispering into ELINOR's ear. LUCY I have written to Edward, Miss Dashwood, and yet I do not know how much I may see of him. Secrecy is vital--he will never be able to call. ELINOR I should imagine not. LUCY It is so hard. I believe my only comfort has been the constancy of his affection. ELINOR You are fortunate, over such a lengthy engagement, never to have had any doubts on that score. LUCY looks at ELINOR sharply, but ELINOR is impassive. LUCY Oh! I am of rather a jealous nature and if he had talked more of one young lady than any other... but he has never given a moment's alarm on that count. We can see from ELINOR's expression that she understands LUCY perfectly. The strain around her eyes is pronounced. LUCY Imagine how glad he will be to learn that we are friends! EXT. LONDON STREET - DAY MRS JENNINGS's carriage trundles along. EXT. MRS JENNINGS'S HOUSE - LONDON - DAY Establishing shot of a handsome town house. MRS JENNINGS's carriage comes into shot and stops in front of it. INT. MRS JENNINGS'S HOUSE - HALL - DAY They enter the grand hallway under the supercilious gaze of a powdered FOOTMAN (MR PIGEON). ELINOR is haggard after two days of close proximity with LUCY. MRS JENNINGS is all officious bustle and MARIANNE is feverish with anticipation. She whispers to MRS JENNINGS, who laughs heartily. MRS JENNINGS To be sure, my dear, you must just hand it to Pigeon there. He will take care of it. MARIANNE hands a letter to the sphinx-like FOOTMAN. We can see a large W in the address. ELINOR looks at MARIANNE inquiringly but MARIANNE moves away from her. MRS JENNINGS Lord above, you do not waste any time, Miss Marianne! MARIANNE glances self-consciously at ELINOR and follows MRS JENNINGS upstairs. LUCY goes up to ELINOR and whispers. LUCY A letter! So they are definitely engaged! Mrs Jennings says your sister will buy her wedding clothes here in town. ELINOR Indeed Miss Steele, I know of no such plan. But ELINOR does not know what else to say. She marches firmly upstairs. INT. MRS JENNINGS'S HOUSE - DRAWING ROOM - DAY MARIANNE and ELINOR have changed from their traveling clothes and are having a cup of tea. At least, ELINOR is. MARIANNE is pacing up and down in front of the window. ELINOR John and Fanny are in town. I think we shall be forced to see them. There is a faint knocking from somewhere. MARIANNE jumps. ELINOR I think it was for next door. MARIANNE looks out of the window. MARIANNE Yes, you are right. She sits down with a rueful smile. Suddenly a much louder rap is heard and they both jump. We hear a bustling downstairs. MARIANNE can hardly breathe. She goes to the drawing-room door, opens it, goes out, comes back in. We hear a MAN's voice. MARIANNE Oh, Elinor! It is Willoughby, indeed it is! She turns and almost throws herself into the arms of COLONEL BRANDON. MARIANNE Oh! Excuse me, Colonel-- She leaves the room hastily. ELINOR is so ashamed of MARIANNE's rudeness that she does not at first notice BRANDON's mood of tense distress. ELINOR Colonel Brandon, what a pleasure to see you! Have you been in London all this while? COLONEL BRANDON I have. How is your dear mother? ELINOR Very well, thank you. Silence. ELINOR Colonel, is there anything-- But BRANDON interrupts her. COLONEL BRANDON Forgive me, Miss Dashwood, but I have heard reports through town... is it impossible to--but I could have no chance of succeeding--indeed I hardly know what to do. Tell me once and for all, is everything finally resolved between your sister and Mr Willoughby? ELINOR is torn between discomfiture and compassion. ELINOR Colonel, though neither one has informed me of their under standing, I have no doubt of their mutual affection. BRANDON stands very still. COLONEL BRANDON Thank you, Miss Dashwood. To your sister I wish all imaginable happiness. To Mr Willoughby, that he... may endeavour to deserve her. His tone is heavy with some bitter meaning. ELINOR What do you mean? But he recollects himself. COLONEL BRANDON Forgive me, I--forgive me. He bows and leaves abruptly. ELINOR is deeply troubled. EXT. GREENWICH ARCADE - LONDON - DAY The PALMERS, MRS JENNINGS, JOHN, FANNY, LUCY, ELINOR and MARIANNE are walking through the arcade. Additional wealth has evidently encouraged FANNY sartorially and she sprouts as much fruit and feathers as a market stall. LUCY is holding ELINOR's arm in a pinionlike grip. MRS JENNINGS is gossiping with CHARLOTTE. MARIANNE's good looks are heightened by her feverish expectation of seeing WILLOUGHBY at every step, and many young men raise their hats to her and turn as she passes. MARIANNE Where is dear Edward, John? We expect to see him daily. FANNY stiffens. LUCY's sharp eyes dart hither and thither. MRS JENNINGS senses gossip. ELINOR steels herself. MRS JENNINGS And who is 'dear Edward'? CHARLOTTE Who indeed? FANNY smiles glacially. FANNY My brother, Mrs Jennings--Edward Ferrars. MRS JENNINGS looks at ELINOR in sly triumph. MRS JENNINGS Indeed! Is that Ferrars with an F? She and CHARLOTTE chuckle to each other. LUCY looks at ELINOR. INT. MRS JENNINGS'S HOUSE - HALL - EVE MRS JENNINGS, LUCY, ELINOR and MARIANNE return from their outing. MARIANNE immediately assails PIGEON. MARIANNE Are there any messages, Pigeon? PIGEON No, ma'am. MARIANNE No message at all? No cards? PIGEON (affronted) None, ma am. MARIANNE sighs with disappointment and starts up the stairs. MRS JENNINGS looks archly at ELINOR. MRS JENNINGS I note you do not inquire for your messages, Miss Dashwood! ELINOR No, for I do not expect any, Mrs Jennings. I have very little acquaintance in town. And she follows MARIANNE firmly upstairs. LUCY watches her go, and MRS JENNINGS chuckles and turns to her. MRS JENNINGS She is as sly as you, Lucy! INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT ELINOR wakes up. The flickering of a candle has disturbed her. She sits up in bed and sees MARIANNE sitting at the desk in her nightgown, writing another letter. ELINOR Marianne, is anything wrong? MARIANNE Nothing at all. Go back to sleep. INT. MRS JENNINGS'S HOUSE - MORNING ROOM - NIGHT MARIANNE, in her nightclothes and dressing gown, paces restlessly, her letter in her hands. A slight knock at the door heralds a much-ruffled PIGEON, wig askew. MARIANNE hands him the letter. He bows and goes, highly disgruntled. INT. MRS JENNINGS'S HOUSE - HALL - MORNING MRS JENNINGS is giving PIGEON his instructions for the day. MARIANNE comes running downstairs. PIGEON regards her drily. PIGEON No messages, ma am. MARIANNE looks so dejected that MRS JENNINGS takes her hand. MRS JENNINGS Do not fret, my dear. I am told that this good weather is keeping many sportsmen in the country at present, but the frost will drive them back to town very soon, depend upon it. MARIANNE brightens. MARIANNE Of course! I had not thought of-- thank you, Mrs Jennings! She runs back upstairs. MRS JENNINGS calls after her. MRS JENNINGS And Miss Dashwood may set her heart at rest, for I overheard your sister- in-law say that she was to bring the elusive Mr F to the ball tonight! EXT. GRAND CRESCENT LEADING TO BALLROOM ENTRANCE - NIGHT So many carriages have entered the crescent to deliver the GUESTS that gridlock has occurred and people are forced to walk to the entrance. We see MRS JENNINGS, MARIANNE, ELINOR and LUCY alighting from their carriage and picking their way through the mud, their skirts raised above their ankles. ELINOR nearly trips and is obliged to grab onto LUCY in order not to slip into the dirt. INT. GRAND BALLROOM - EVE The great ballroom is crammed with GUESTS all determined to enjoy themselves despite the considerable inconveniences caused by noise, heat and overcrowding. MEN are sweating profusely, WOMEN dab their brows, rack punch is being swallowed by the gallon, flirting is conducted at fever pitch and all conversation is inordinately loud. Only the DANCERS have a modicum of space in which to perform their mincing steps. MRS JENNINGS and her brood bump into the PALMERS. CHARLOTTE (screeching) This is very merry! MRS JENNINGS then spots FANNY, who is conducting a desultory conversation with an overpowdered ACQUAINTANCE. She drags ELINOR, MARIANNE and LUCY over to her. MRS JENNINGS There you are! Goodness, how hot it is, Mrs Dashwood. You are not alone, I trust? FANNY Indeed not. John is just gone to fetch my brother--he has been eating ices. LUCY clutches at ELINOR's sleeve. MRS JENNINGS Your brother! I declare, that is good news indeed. At long last! And she beams her approval upon ELINOR. LUCY (whispering) Miss Dashwood, I declare I shall faint clean away. FANNY has seen JOHN threading his way towards them and waves at him. There is someone behind him. LUCY preens. JOHN bows to them. JOHN Mrs Jennings, may I present my brother- in-law? He turns to reveal a good-looking young MAN with a vacuous smile. JOHN Mr Robert Ferrars! ROBERT My dear ladies--we meet at last! There is a general bowing and shaking of hands. ELINOR is relieved. LUCY drops a low curtsy. MRS JENNINGS So you must be the younger brother? Is Mr Edward not here? Miss Dashwood here was counting on him! ROBERT looks ELINOR up and down. He exchanges glances with FANNY before he speaks. ROBERT Oh! He is far too busy for such gatherings--and has no special acquaintance here to make his attendance worthwhile. MRS JENNINGS looks at ELINOR in puzzlement. MRS JENNINGS Well, I declare, I do not know what the young men are about these days-- are they all in hiding? ELINOR looks down, agonised with embarrassment. MRS JENNINGS Come, Mr Robert, in the absence of your brother, you must dance with our lovely Miss Dashwood! ROBERT (not best pleased) It would be my honour. He turns to LUCY and bows. ROBERT And perhaps Miss Steele might consider reserving the allemande? LUCY curtsies again. ROBERT escorts a most unwilling ELINOR onto the dance floor. ROBERT You reside in Devonshire, I b'lieve, Miss Dashwood? ELINOR We do. ROBERT In a cottage? ELINOR Yes. ROBERT I am excessively fond of a cottage. If I had any money to spare, I should build one myself. Luckily for ELINOR the set changes and she is obliged to turn away from ROBERT. She wheels round to face her new partner. It is WILLOUGHBY! They both stop dancing and stare at each other aghast. A traffic jam starts and they are forced to take hands and resume the steps. WILLOUGHBY (stiff) How do you do, Miss Dashwood? ELINOR does not know quite how to respond. ELINOR I am well, thank you, Mr Willoughby. She looks about for MARIANNE, instinctively wanting to keep her away from WILLOUGHBY. WILLOUGHBY How is your--family? ELINOR (cold) We are all extremely well, Mr Willoughby--thank you for your kind inquiry. WILLOUGHBY is shamed into silence. Then he sees MARIANNE. At the same moment the music pauses. MARIANNE looks up. In the brief moment of relative quiet, her great cry rings across the room. MARIANNE Willoughby! Everyone turns to look as MARIANNE rushes towards him with both arms outstretched, her face luminous with joy. As the noise of the room builds again and PEOPLE change their partners, we are aware that many are surreptitiously watching. MARIANNE reaches him but WILLOUGHBY stands with his arms frozen at his side. MARIANNE gives a little confused laugh. MARIANNE Good God, Willoughby! Will you nor shake hands with me? WILLOUGHBY looks extremely uncomfortable and glances towards a group of very smart PEOPLE who are watching him closely. Central to this group is a SOPHISTICATED WOMAN who frowns at him proprietorially. WILLOUGHBY shakes MARIANNE's hand briefly. Behind her, MRS JENNINGS is giving an animated commentary to FANNY and JOHN, while LUCY whispers in ROBERT's ear as they go past to join the set. WILLOUGHBY (strangled) How do you do, Miss Marianne? MARIANNE Willoughby, what is the matter? Why have you not come to see me? Were you not in London? Have you nor received my letters? WILLOUGHBY is sweating with tension. WILLOUGHBY Yes, I had the pleasure of receiving the information which you were so good as to send me. MARIANNE (piteously) For heaven's sake, Willoughby, tell me what is wrong! WILLOUGHBY Thank you--I am most obliged. If you will excuse me, I must return to my party. He bows, white to the teeth, and walks away to join the SOPHISTICATED WOMAN. MARIANNE Willoughby! He is drawn away by his PARTY, some of whom look back at MARIANNE with a mixture of curiosity and condescension. MARIANNE almost sinks to her knees. ELINOR supports her. ELINOR Marianne! Come away! MARIANNE Go to him, Elinor--force him to come to me. MRS JENNINGS has come up, full of concern. ELINOR Dearest, do not betray what you feel to everyone present! This is not the place for explanations-- MRS JENNINGS Come along, dear. They almost have to drag MARIANNE away. MRS JENNINGS turns back to the DASHWOOD party. FANNY and JOHN have practically imploded with embarrassment and are distancing themselves as much as possible from the source. LUCY and ROBERT are dancing nearby. MRS JENNINGS Will you come, Lucy? LUCY Oh, are we leaving so soon? ROBERT If I might be so bold, Mrs Jennings, it would be our pleasure to escort your young charge home. LUCY How very kind! MRS JENNINGS That is very handsome-- She rushes off to follow MARIANNE and ELINOR. We stay for a moment with LUCY and ROBERT who have left the set. ROBERT She actually sent him messages during the night? CAM rises to show the DASHWOODS exiting past the whispering, sneering faces of the CROWD. INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT MARIANNE sits scribbling a letter at the desk. ELINOR Marianne, please tell me-- MARIANNE Do not ask me questions! ELINOR You have no confidence in me. MARIANNE This reproach from you! You, who confide in no one. ELINOR I have nothing to tell. MARIANNE Nor I. We have neither of us anything to tell. I because I conceal nothing and you because you communicate nothing. INT. MRS JENNINGS'S HOUSE - BREAKFAST ROOM - DAY A silent breakfast. MARIANNE is red-eyed from crying and limp from lack of sleep. MRS JENNINGS is dressed to go out, pulling on her gloves and bustling as usual. PIGEON enters with a letter on a salver. He offers it to MARIANNE. She seizes it and runs out of the room. MRS JENNINGS chuckles. MRS JENNINGS There now! Lovers' quarrels are swift to heal! That letter will do the trick, mark my word. She goes to the door. MRS JENNINGS I must be off. I hope he won't keep her waiting much longer, Miss Dashwood. It hurts to see her looking so forlorn. She leaves and ELINOR finds herself alone with LUCY, who loses no time in sharing her new-found happiness. LUCY What a welcome I had from Edward's family, Miss Dashwood--I am surprised you never told me what an agreeable woman your sister-in-law is! And Mr Robert--all so affable! ELINOR It is perhaps fortunate that none of them knows of your engagement. Excuse me. ELINOR rises and leaves. INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY ELINOR finds MARIANNE sitting on the edge of the bed. She does not acknowledge ELINOR but merely lifts the letter and reads out, with deadly calm: MARIANNE 'My dear Madam--I am quite at a loss to discover in what point I could be so unfortunate as to offend you. My esteem for your family is very sincere but if I have given rise to a belief of more than I felt or meant to express, I shall reproach myself for not having been more guarded. My affections have long been engaged elsewhere and it is with great regret that I return your letters and the lock of hair which you so obligingly bestowed upon me. I am etc. John Willoughby.' ELINOR Oh, Marianne. MARIANNE gives a great howl of pain and flings herself across the bed as though in physical agony. ELINOR Marianne, oh, Marianne--it is better to know at once what his intentions are. Dearest, think of what you would have felt if your engagement had carried on for months and months before he chose to put an end to it. MARIANNE We are not engaged. ELINOR But you wrote to him! I thought then that he must have left you with some kind of understanding? MARIANNE No--he is not so unworthy as you think him. ELINOR Not so unworthy! Did he tell you that he loved you? MARIANNE Yes. No--never absolutely. It was every day implied, but never declared. Sometimes I thought it had been, but it never was. He has broken no vow. ELINOR He has broken faith with all of us, he made us all believe he loved you. MARIANNE He did! He did--he loved me as I loved him. MRS JENNINGS bursts through the door in her hat and coat, panting. MRS JENNINGS I had to come straight up--how are you, Miss Marianne? MARIANNE begins to sob uncontrollably. MRS JENNINGS Poor thing! She looks very bad. No wonder, Miss Dashwood, for it is but too true. I was told here in the street by Miss Morton, who is a great friend: he is to be married at the end of the month--to a Miss Grey with fifty thousand pounds. Well, said I, if 'tis true, then he is a good-for-nothing who has used my young friend abominably ill, and I wish with all my soul that his wife may plague his heart out! She goes round the bed to comfort MARIANNE. MRS JENNINGS But he is not the only young man worth having, my dear, and with your pretty face you will never want for admirers. MARIANNE sobs even harder. MRS JENNINGS Ah, me! She had better have her cry out and have done with it. I will go and look out something to tempt her-- does she care for olives? ELINOR I cannot tell you. MRS JENNINGS leaves. MARIANNE seizes the letter again. MARIANNE I cannot believe his nature capable of such cruelty! ELINOR Marianne, there is no excuse for him-- this is his hand-- MARIANNE But it cannot be his heart! Oh, Mamma! I want Mamma! Elinor, please take me home! Cannot we go tomorrow? ELINOR There is no one to take us. MARIANNE Cannot we hire a carriage? ELINOR We have no money--and indeed we owe Mrs Jennings more courtesy. MARIANNE All she wants is gossip and she only likes me because I supply it! Oh, God! I cannot endure to stay. ELINOR I will find a way. I promise. INT. COFFEE-HOUSE - COVENT GARDEN - DAY FANNY, JOHN and ROBERT are drinking chocolate together. ROBERT Apparently they never were engaged. FANNY Miss Grey has fifty thousand pounds. Marianne is virtually penniless. JOHN She cannot have expected him to go through with it. But I feel for Marianne--she will lose her bloom and end a spinster like Elinor. I think, my dear, we might consider having them to stay with us for a few days--we are, after all, family, and my father. He trails off. FANNY exchanges an alarmed glance with ROBERT. She thinks fast. FANNY My love, I would ask them with all my heart, but I have already asked Miss Steele for a visit and we cannot deprive Mrs Jennings of all her company at once. We can invite your sisters some other year, you know, and Miss Steele will profit far more from your generosity--poor girl! JOHN That is very thoughtful, Fanny. We shall ask Elinor and Marianne next year, then... Certainly! EXT. JOHN AND FANNY'S TOWN HOUSE - LONDON STREET - DAY MRS JENNINGS's carriage stands outside. A livened FOOTMAN opens the door and LUCY steps out brandishing a new muff. INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY MARIANNE sits alone on the bed. Around her lie her notes to Willoughby, her lock of hair and the pocket sonnets. In her hands is the creased and tear-stained letter from Willoughby which she is examining over and over. INT. MRS JENNINGS'S HOUSE - DRAWING ROOM - DAY ELINOR is seated at a desk writing a letter. There is a sudden rap at the front door. Footsteps are heard and as she turns, the maid enters with COLONEL BRANDON. ELINOR rises to greet him. ELINOR Thank you for coming, Colonel. He bows. ELINOR is on edge. BRANDON looks haggard with concern. COLONEL BRANDON How does your sister? ELINOR I must get her home as quickly as possible. The Palmers can take us as far as Cleveland, which is but a day from Barton-- COLONEL BRANDON Then permit me to accompany you and take you straight on from Cleveland to Barton myself. ELINOR takes his hands gratefully. ELINOR I confess that is precisely what I had hoped for. Marianne suffers cruelly, and what pains me most is how hard she tries to justify Mr Willoughby. But you know her disposition. After a moment BRANDON nods. He seems unable to remain still or calm and finds it difficult to begin speaking. COLONEL BRANDON Perhaps I--my regard for you all-- Miss Dashwood, will you allow me to prove it by relating some circumstances which nothing but an earnest desire of being useful-- ELINOR You have something to tell me of Mr Willoughby. COLONEL BRANDON (nods) When I quitted Barton last--but I must go further back. A short account of myself will be necessary. No doubt... no doubt Mrs Jennings has apprised you of certain events in my past--the sad outcome of my connection with a young woman named Eliza. ELINOR nods. COLONEL BRANDON What is not commonly known is that twenty years ago, Eliza bore an illegitimate child. The father, whoever he was, abandoned them. This is strong stuff. ELINOR's concern deepens. COLONEL BRANDON As she lay dying, she begged me to look after the child. Eliza died in my arms, broken, wasted away--ah! Miss Dashwood, such a subject-- untouched for so many years--it is dangerous... He paces about, barely able to conceal his distress. COLONEL BRANDON I had failed Eliza in every other way--I could not refuse her now. I took the child--Beth is her name-- and placed her with a family where I could be sure she would be well looked after. I saw her whenever I could. I saw that she was headstrong like her mother--and, God forgive me, I indulged her, I allowed her too much freedom. Almost a year ago, she disappeared. ELINOR Disappeared! COLONEL BRANDON I instigated a search but for eight months I was left to imagine the worst. At last, on the day of the Delaford picnic, I received the first news her. She was with child... and the blackguard who had-- BRANDON stops and looks straight at ELINOR. ELINOR Good God. Do you mean--Willoughby? BRANDON nods. ELINOR drops into a chair, utterly shocked. COLONEL BRANDON Before I could return to confront him, Lady Allen learned of his behaviour and turned him from the house. He beat a hasty retreat to London-- ELINOR Yes! He left us that morning, without any explanation! COLONEL BRANDON Lady Allen had annulled his legacy. He was left with next to nothing, and in danger of losing all that remained to his debtors-- ELINOR --and so abandoned Marianne for Miss Grey and her fifty thousand pounds. BRANDON is silent. ELINOR is breathless. ELINOR Have you seen Mr Willoughby since you learned...? BRANDON (nodding) We met by appointment, he to defend, I to punish his conduct. ELINOR stares at him, aghast. BRANDON We returned unwounded, so the meeting never got abroad. ELINOR nods and is silent for a moment. ELINOR Is Beth still in town? COLONEL BRANDON She has chosen to go into the country for her confinement. Such has been the unhappy resemblance between the fate of mother and daughter, and so imperfectly have I discharged my trust. A pause. COLONEL BRANDON I would not have burdened you, Miss Dashwood, had I not from my heart believed it might, in time, lessen your sister's regrets. BRANDON moves to the door and then stops. He turns to her and speaks with effort. COLONEL BRANDON I have described Mr Willoughby as the worst of libertines--but I have since learned from Lady Allen that he did mean to propose that day. Therefore I cannot deny that his intentions towards Marianne were honourable, and I feel certain he would have married her, had it not been for--for the money. She looks up at BRANDON. Silence. INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT MARIANNE is sitting on the bed staring into space. ELINOR is kneeling by her, holding her hands. ELINOR Dearest, was I right to tell you? MARIANNE Of course. ELINOR Whatever his past actions, whatever his present course, at least you may be certain that he loved you. MARIANNE But not enough. Not enough. INT. MRS JENNINGS'S HOUSE - STUDY - DAY ELINOR sits alone with her head in her hands. Suddenly MRS JENNINGS hustles in looking pleased. MRS JENNINGS Here is someone to cheer you up, Miss Dashwood! She is followed in by LUCY. MRS JENNINGS leaves, busy as ever. LUCY plants an expression of ghastly concern on her face. LUCY How is your dear sister, Miss Dashwood? Poor thing! I must say, I do not know what I should do if a man treated me with so little respect. ELINOR I hope you are enjoying your stay with John and Fanny, Miss Steele? LUCY I was never so happy in my entire life, Miss Dashwood! I do believe your sister-in-law has taken quite a fancy to me. I had to come and tell you--for you cannot imagine what has happened! ELINOR No, I cannot. LUCY Yesterday I was introduced to Edward's mother! ELINOR Indeed? LUCY And she was a vast deal more than civil. I have not yet seen Edward but now I feel sure to very soon-- The MAID comes back. MAID There's a Mr Edward Ferrars to see you, Miss Dashwood. There is a tiny frozen silence. ELINOR Do ask him to come up. ELINOR quite involuntarily sits down and then stands up again. EDWARD is admitted, looking both anxious and eager. As LUCY is sitting in the window seat, at first he sees only ELINOR. EDWARD Miss Dashwood, how can I-- But ELINOR cuts him off. ELINOR Mr Ferrars, what a pleasure to see you. You... know Miss Steele, of course. EDWARD turns slowly and encounters LUCY's glassy smile. He all but blanches. Then bows, and clears his throat. EDWARD How do you do, Miss Steele. LUCY I am well, thank you, Mr Ferrars. EDWARD has no notion of what to do or say. He swallows. ELINOR Do sit down, Mr Ferrars. LUCY's eyes are sharp as broken glass. EDWARD remains on his feet, looking helplessly from one woman to the other. LUCY You must be surprised to find me here, Mr Ferrars! I expect you thought I was at your sister's house. This is precisely what EDWARD had thought. He tries to smile but his facial muscles won't work. ELINOR decides to fetch help. ELINOR Let me call Marianne, Mr Ferrars. She would be most disappointed to miss you. ELINOR goes to the door, thankful to escape, but MARIANNE prevents her by walking in at that moment. Despite her anguish, she is very pleased to see EDWARD and embraces him warmly. MARIANNE Edward! I heard your voice! At last you have found us! EDWARD is shocked by her appearance and momentarily forgets his own confusion. EDWARD Forgive me, Marianne, my visit is shamefully overdue. You are pale. I hope you have not been unwell? MARIANNE Oh, don't think of me--Elinor is well, you see, that must be enough for both of us! MARIANNE gestures to ELINOR encouragingly but EDWARD seems unable to look at her. EDWARD How do you like London, Marianne? MARIANNE Not at all. The sight of you is all the pleasure it has afforded, is that not so, Elinor? Again, MARIANNE endeavours to ignite the lovers. ELINOR tries to silence MARIANNE with her eyes but to no avail. MARIANNE puts their coolness down to the presence of LUCY, at whom she glances with a none too friendly air. MARIANNE Why have you taken so long to come and see us? EDWARD I have been much engaged elsewhere. MARIANNE Engaged elsewhere! But what was that when there were such friends to be met? LUCY Perhaps, Miss Marianne, you think young men never honour their engagements, little or great. ELINOR is appalled by this remark but MARIANNE does not notice it and turns back to LUCY earnestly. MARIANNE No, indeed--for Edward is the most fearful of giving pain and the most incapable of being selfish of anyone I ever saw. EDWARD makes an uncomfortable noise. MARIANNE Edward, will you not sit? Elinor, help me to persuade him. Now EDWARD can stand it no longer. EDWARD Forgive me but I must take my leave-- MARIANNE But you are only just arrived! ELINOR rises, desperate for them both to go. EDWARD You must excuse me, I have a commission to attend to for Fanny-- LUCY jumps in like a shot. LUCY In that case perhaps you might escort me back to your sister's house, Mr Ferrars? There is an extremely awkward pause. EDWARD I would be honoured. Goodbye, Miss Dashwood, Miss Marianne. He shakes hands with ELINOR and with MARIANNE, who is silent with dismay. LUCY takes EDWARD's arm and looks up at him proprietorially. After a stiff bow and a muttered farewell from EDWARD, they leave. MARIANNE looks at her sister in astonishment. MARIANNE Why did you not urge him to stay? ELINOR He must have had his reasons for going. MARIANNE His reason was no doubt your coldness. If I were Edward I would assume you did not care for me at all. EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY A tranquil afternoon... INT. JOHN AND FANNY'S TOWN HOUSE - DRAWING ROOM - DAY LUCY is sitting with FANNY, who is doing some pointless basketwork. LUCY hands FANNY rushes. LUCY Poor Miss Marianne looked very badly t'other day. When I think of her, deserted and abandoned, it frightens me to think I shall never marry. FANNY Nonsense. You will marry far better than either of the Dashwood girls. LUCY How can that possibly be? FANNY You have ten times their sense and looks. LUCY But I have no dowry. FANNY There are qualities which will always make up for that, and you have them in abundance. It would not surprise me if you were to marry far and away beyond your expectations. LUCY I wish it might be so. There is a young man-- FANNY Ah ha! I am glad to hear of it. Is he of good breeding and fortune? LUCY Oh both--but his family would certainly oppose the match. FANNY Tush! They will allow it as soon as they see you, my dear. LUCY It is a very great secret. I have told no one in the world for fear of discovery. FANNY looks up, curious to know more. FANNY My dear, I am the soul of discretion. LUCY If I dared tell... FANNY I can assure you I am as silent as the grave. LUCY leans forward to whisper in FANNY's ear. EXT. JOHN AND FANNY'S TOWN HOUSE - DAY We hold a long shot of the house for a moment of silence. Then from inside comes an almost inhumanly loud shriek. FANNY (V.O.) Viper in my bosom! EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY FANNY is trying to drag LUCY out of the house. ROBERT and JOHN are trying to reason with her. FANNY loses her grip and falls backwards. LUCY flings herself into ROBERT's arms. ROBERT falls over. EXT. LONDON STREET - DAY MRS JENNINGS is running as fast as her fat little legs will carry her. EXT. MRS JENNINGS'S HOUSE - BERKELEY STREET - DAY MRS JENNINGS pants up the front steps. INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY ELINOR and MARIANNE are packing. Their mood is gloomy and uncommunicative. MRS JENNINGS explodes into the room fighting for breath. MRS JENNINGS Oh, my dears! What a commotion! Mr Edward Ferrars--the very one I used to joke you about, Miss Dashwood-- has been engaged these five years to Lucy Steele! MARIANNE lets out a gasp. She looks at ELINOR, who nods at her in swift confirmation. MRS JENNINGS Poor Mr Ferrars! His mother, who by all accounts is very proud, demanded that he break the engagement on pain of disinheritance. But he has refused to break his promise to Lucy. He has stood by her, good man, and is cut off without a penny! She has settled it all irrevocably upon Mr Robert. But I cannot stop, I must go to Lucy. Your sister-in-law scolded her like any fury--drove her to hysterics. She leaves the room, still rabbiting on. There is a silence. MARIANNE How long have you known? ELINOR Since the evening Mrs Jennings offered to take us to London. MARIANNE Why did you not tell me? ELINOR Lucy told me in the strictest confidence. MARIANNE looks at her in complete incredulity. ELINOR I could not break my word. Clearly, there is no arguing this point. MARIANNE But Edward loves you. ELINOR He made me no promises. He tried to tell me about Lucy. MARIANNE He cannot marry her. ELINOR Would you have him treat her even worse than Willoughby has treated you? MARIANNE No--but nor would I have him marry where he does not love. ELINOR tries hard to be controlled. ELINOR Edward made his promise a long time ago, long before he met me. Though he may... harbour some regret, I believe he will be happy--in the knowledge that he did his duty and kept his word. After all--after all that is bewitching in the idea of one's happiness depending entirely on one person, it is not always possible. We must accept. Edward will marry Lucy--and you and I will go home. MARIANNE Always resignation and acceptance! Always prudence and honour and duty! Elinor, where is your heart? ELINOR finally explodes. She turns upon MARIANNE almost savagely. ELINOR What do you know of my heart? What do you know of anything but your own suffering? For weeks, Marianne, I have had this pressing on me without being at liberty to speak of it to a single creature. It was forced upon me by the very person whose prior claims ruined all my hopes. I have had to endure her exultation again and again while knowing myself to be divided from Edward forever. Believe me, Marianne, had I not been bound to silence I could have produced proof enough of a broken heart even for you. Complete silence. Then MARIANNE speaks in a whisper. MARIANNE Oh, Elinor! MARIANNE bursts into sobs and flings her arms around ELINOR, who, almost impatiently, tries to comfort her. EXT. PALMER RESIDENCE - LONDON STREET - DAY LUCY and MRS JENNINGS are on the doorstep. LUCY looks rather lost and pathetic, with her little bundles, hastily packed. The door opens and CHARLOTTE precedes the SERVANT, ushering them in with shrill cries of sympathy. COLONEL BRANDON (V.O.) I have heard that your friend Mr Ferrars has been entirely cast off by his family for persevering in his engagement to Miss Steele. EXT. SQUARE IN FRONT OF MRS JENNINGS'S HOUSE - LONDON - DAY ELINOR and BRANDON walk round the quiet square. COLONEL BRANDON Have I been rightly informed? Is it so? ELINOR is greatly taken aback by this unexpected query. ELINOR It is indeed so. Are you acquainted with Mr Ferrars? COLONEL BRANDON No, we have never met. But I know only too well the cruelty--the impolitic cruelty of dividing two young people long attached to one another. Mrs Ferrars does not know what she may drive her son to-- He pauses, frowning in remembrance. ELINOR waits in suspense. COLONEL BRANDON I have a proposal to make that should enable him to marry Miss Steele immediately. Since the gentleman is so close a friend to your family, perhaps you will be good enough to mention it to him? ELINOR is completely taken aback. She takes a moment to reply. ELINOR Colonel, I am sure he would be only too delighted to hear it from your own lips. COLONEL BRANDON I think not. His behaviour has proved him proud--in the best sense. I feel certain this is the right course. INT. MRS JENNINGS'S HOUSE - STUDY - DAY ELINOR is waiting. The MAID announces EDWARD and he walks in momentarily. They are alone for the first time in months and for a moment, neither speaks. ELINOR Mr Ferrars. EDWARD Miss Dashwood. ELINOR indicates a seat for him but neither sits. ELINOR Thank you for responding so promptly to my message. EDWARD I was most grateful to receive it. I-- Miss Dashwood, God knows what you must think of me... ELINOR Mr Ferrars-- He interrupts her, desperate to explain. EDWARD I have no right to speak, I know-- ELINOR has to stop him. ELINOR Mr Ferrars, I have good news. I think you know of our friend Colonel Brandon? EDWARD looks completely bewildered. EDWARD Yes, I have heard his name. ELINOR starts to speak rather faster than usual. ELINOR Colonel Brandon desires me to say that, understanding you wish to join the clergy, he has great pleasure in offering you the parish on his estate at Delaford, now just vacant, in the hope that it may enable you--and Miss Steele--to marry. EDWARD cannot at first take it in. ELINOR sits down. EDWARD Colonel Brandon? ELINOR Yes. He means it as testimony of his concern for--for the cruel situation in which you find yourselves. Now EDWARD sits--in shock. EDWARD Colonel Brandon give me a parish? Can it be possible? ELINOR The unkindness of your family has made you astonished to find friendship elsewhere. EDWARD looks at ELINOR, his eyes full of growing comprehension. EDWARD No. Not to find it in you. I cannot be ignorant that to you--to your goodness--I owe it all. I feel it. I would express it if I could, but, as you know, I am no orator. ELINOR You are very much mistaken. I assure you that you owe it almost entirely to your own merit--I have had no hand in it. But EDWARD clearly believes she has been instrumental in the offer. He frowns slightly before speaking with rather an effort. EDWARD Colonel Brandon must be a man of great worth and respect ability. ELINOR finds some relief in saying at least one thing that she truly means. ELINOR He is the kindest and best of men. This makes EDWARD seem even more depressed. He sits silent for a moment but then rouses himself to action. EDWARD May I enquire why the Colonel did not tell me himself? ELINOR I think he felt it would be better coming from... a friend. EDWARD looks at ELINOR, his eyes full of sadness. EDWARD Your friendship has been the most important of my life. ELINOR You will always have it. EDWARD Forgive me. ELINOR Mr Ferrars, you honour your promises-- that is more important than anything else. I wish you--both--very happy. They rise. She curtsies. He bows. EDWARD Goodbye, Miss Dashwood. EDWARD leaves silently. ELINOR stands stock-still in the middle of the room. EXT. MRS JENNINGS'S HOUSE - DAY The PALMERS' carriage stands outside the house. COLONEL BRANDON helps MARIANNE in beside ELINOR before mounting his horse to ride alongside. MRS JENNINGS waves goodbye from the steps. The carriage moves off. MRS JENNINGS blows her nose, looks up and down the street in search of gossip and goes back indoors with a sigh. INT. THE PALMERS' CARRIAGE - ON THE ROAD - DAY MARIANNE is sitting back in her seat with her eyes closed. She does not look well. MR PALMER is behind his newspaper. CHARLOTTE What a stroke of luck for Lucy and Edward to find a parish so close to Barton! You will all be able to meet very often. That will cheer you up, Miss Marianne. I do declare I have never disliked a person so much as I do Mr Willoughby, for your sake. Insufferable man! To think we can see his insufferable house from the top of our hill! CLOSE on MARIANNE's eyes slowly opening. CHARLOTTE I shall ask Jackson to plant some very tall trees. MR PALMER (from behind the paper) You will do nothing of the sort. EXT. THE PALMERS' CARRIAGE - OPEN ROAD - DAY The carriage bowls along, with BRANDON riding next to it. CHARLOTTE (V.O.) I hear Miss Grey's bridal gown was everything of the finest--made in Paris, no less. I should have liked to see it, although I dare say it was a sorry affair, scalloped with ruffles--but what do the French know about fashion? EXT. CLEVELAND - DRIVE - AFTERNOON The carriage stands outside the PALMER residence, a resplendent affair with a great deal of land. BRANDON is helping MARIANNE and ELINOR out of the carriage. CHARLOTTE (V.O.) I am resolved never to mention Mr Willoughby's name again, and furthermore I shall tell everyone I meet what a good-for nothing he is. MR PALMER (V.O.) Be quiet. ELINOR and MARIANNE stand on the steps as the PALMERS debauch from the carriage amid a welter of SERVANTS. ELINOR (sotto voce) I do not think she drew breath from the moment we left London. It is my fault--I should have found some other way of getting home. MARIANNE There was no other way you said so yourself. ELINOR We shall be home soon enough. Mamma will comfort you, dearest. MARIANNE I am stiff from sitting so long. Will you tell Charlotte that I am going for a stroll? ELINOR glances at the sky in concern. ELINOR I think it is going to rain. MARIANNE No, no, it will not rain. ELINOR cannot help but smile at this return of the old MARIANNE. ELINOR You always say that and then it always does. MARIANNE I will keep to the garden, near the house. MARIANNE walks off. ELINOR watches her go anxiously. INT. CLEVELAND - DRAWING ROOM - DAY MRS BUNTING, a rather baleful NANNY, looks on as MR PALMER holds up a screaming BABY in a frilly bonnet for everyone's inspection. CHARLOTTE We are very proud of our little Thomas, Colonel--and his papa has such a way with him... BRANDON flicks a glance at MR PALMER for whom holding a baby comes as naturally as breathing underwater. EXT. CLEVELAND - GARDEN - DAY MARIANNE walks purposefully towards the garden wall, beyond which lies a hill. INT. CLEVELAND - DRAWING ROOM - DAY ELINOR enters to find CHARLOTTE alone with the now hysterical BABY THOMAS. CHARLOTTE There you are, Miss Dashwood! Mr Palmer and the Colonel have locked themselves up in the billiard room. Come and meet little Thomas. Where is Miss Marianne? ELINOR She is taking a little air in the garden. CHARLOTTE Oh, very good. That is the great advantage of the countryside--all the fresh air and... and all the fresh air... CHARLOTTE's conversational difficulties are drowned out by her offspring. EXT. CLEVELAND - GARDEN - DAY MARIANNE comes to a gate in the wall and turns the handle. It opens. She throws a glance back to the house and passes through. There is a low rumble of thunder. INT. CLEVELAND - DRAWING ROOM - DAY BABY THOMAS is purple in the face but shows no signs of quietening. CHARLOTTE joggles him about inefficiently. CHARLOTTE (yelling) He is the best child in the world-- he never cries unless he wants to and then, Lord, there is no stopping him. EXT. THE HILL - DAY MARIANNE, calm and determined, walks towards the top of the hill. The wind whips and plucks at her hair and skirts. INT. CLEVELAND - DRAWING ROOM - DAY ELINOR, traumatised by her new acquaintance with the shrieking BABY THOMAS, goes to look out of the window. She frowns. EXT. CLEVELAND - GARDEN - DAY ELINOR's POV. MARIANNE is nowhere in sight. Storm clouds have gathered on the bill. INT. CLEVELAND - DRAWING ROOM - DAY ELINOR turns from the window. BABY THOMAS stops crying for two seconds. ELINOR I cannot see Marianne. There is a crack of thunder. BABY THOMAS starts again. EXT. THE HILL - DAY Rain has started to pour down. MARIANNE walks on regardless. INT. CLEVELAND - DRAWING ROOM - DAY CHARLOTTE shouts over BABY THOMAS to ELINOR. CHARLOTTE She has probably taken shelter in one of the greenhouses! EXT. THE HILL - DAY MARIANNE has reached the top. Soaked to the skin, she stands with the storm raging around her, staring at the spires of Combe Magna, the place that would have been her home. Rain streaks her face and the wind whips her hair about her. Through frozen lips she whispers: MARIANNE Love is not love Which alters when it alteration finds Or bends with the remover to remove: 0, no! it is an ever-fixed mark That looks on tempests and is never shaken... EXT. CLEVELAND - GREENHOUSES - DAY BRANDON is looking for MARIANNE. He enters a greenhouse. COLONEL BRANDON Marianne! EXT. THE HILL - DAY MARIANNE stares at Combe Magna, a strange smile playing about her lips. Then she calls to WILLOUGHBY as though he were near. The effect is eerie, unworldly. MARIANNE Willoughby... Willoughby... INT. CLEVELAND - DRAWING ROOM - DAY CHARLOTTE, MR PALMER and ELINOR are waiting anxiously. BABY THOMAS has been removed. ELINOR is staring out of the window. CHARLOTTE One thing is certain--she will be wet through when she returns. MR PALMER Thank you for pointing that out, my dear. Do not worry, Miss Dashwood-- Brandon will find her. I think we can all guess where she went. EXT. THE HILL - DAY BRANDON runs up the hillside as though the devil were at his heels. INT. CLEVELAND - DRAWING ROOM - DAY CHARLOTTE is handing ELINOR a cup of tea. ELINOR turns back to look out of the window. She freezes. EXT. CLEVELAND - GARDEN - DAY ELINOR's POV of BRANDON walking up to the house with MARIANNE cradled in his arms. It is like seeing Willoughby's ghost. INT. CLEVELAND - HALL - DAY Everyone rushes out of the drawing room as the COLONEL enters with MARIANNE. He is exhausted and soaked. MARIANNE is dumb with cold and fatigue. COLONEL BRANDON She is not hurt--but we must get her warm! ELINOR and MR PALMER take MARIANNE from BRANDON and go upstairs, with CHARLOTTE in pursuit. EXT. CLEVELAND - NIGHT - RAIN The great house sits in darkness. A sense of foreboding. INT. CLEVELAND - UPSTAIRS CORRIDOR - NIGHT ELINOR is in her nightgown, knocking at a door. MR PALMER answers in his nightshirt, astonished to have been summoned out of bed. ELINOR I think Marianne may need a doctor. INT. CLEVELAND - BREAKFAST ROOM - DAY MR PALMER and CHARLOTTE are sitting at the breakfast table. BRANDON is pacing. The rain has stopped. CHARLOTTE You'll wear yourself out, Colonel! Do not worry! A day or two in bed will soon set her to rights! MR PALMER You can rely upon Harris, Colonel. I have never found a better physician. Enter ELINOR with DR HARRIS. COLONEL BRANDON (urgent) What is your diagnosis? DR HARRIS It is an infectious fever that has taken far more serious hold than I would have expected in one so young. I would recommend the hasty removal of your child, Mr Palmer-- CHARLOTTE runs out of the room screaming. CHARLOTTE Mrs Bunting! Mrs Bunting! EXT. CLEVELAND - FRONT STEPS - DAY CHARLOTTE is getting into their carriage with MRS BUNTING and BABY THOMAS. MR PALMER is on the steps with ELINOR. He takes her hand and looks at her with real sympathy. MR PALMER My dear Miss Dashwood, I am more sorry than I can say. If you would prefer me to stay I am at your service. ELINOR is touched to find this warm heart beneath his frosty exterior. ELINOR Mr Palmer, that is very kind. But Colonel Brandon and Dr Harris will look after us. Thank you for everything you have done. MR PALMER nods, presses her hand, and walks down the steps to the carriage. INT. CLEVELAND - DRAWING ROOM - DAY BRANDON sits head in hands. His ghosts have come to haunt him. INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - DAY MARIANNE is tossing and turning in the bed. DR HARRIS is trying to take her pulse. He looks up at ELINOR, who is watching anxiously. DR HARRIS She is not doing as well as I would like. INT. CLEVELAND - UPSTAIRS CORRIDOR - DAY ELINOR exits the bedroom to find BRANDON outside. She jumps. COLONEL BRANDON What can I do? ELINOR Colonel, you have done so much already. COLONEL BRANDON Give me an occupation, Miss Dashwood, or I shall run mad. He is dangerously quiet. ELINOR She would be easier if her mother were here. COLONEL BRANDON Of course. Barton is but eight hours away. If I make no stop, you may see us early tomorrow morning. He takes ELINOR's hand and kisses it. COLONEL BRANDON In your hands I know she will be safe. EXT. CLEVELAND - DRIVE - EVE BRANDON mounts his horse, turns to look at the house for a moment, and then spurs it violently forward. INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - EVE ELINOR is by the window, having watched BRANDON's departure. DR HARRIS is by MARIANNE's side. He turns to ELINOR. DR HARRIS Double the number of drops and I will return as soon as I can. EXT. CLEVELAND - NIGHT The house stands in virtual darkness with only a dim light issuing from one of the upper rooms. EXT. OPEN ROAD - NIGHT BRANDON riding fast, his cape billowing out behind him. INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - NIGHT MARIANNE's eyes glitter with the fever. ELINOR wipes her brow. Suddenly she speaks. MARIANNE Who is that? She is looking at the end of the bed. MARIANNE Look, look, Elinor. ELINOR There is no one there, dearest. MARIANNE It is Papa. Papa has come. ELINOR looks fearfully towards the end of the bed. MARIANNE tries to smile with her cracked lips. MARIANNE Dearest Papa! The dead are coming for the dying. DISSOLVE: INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER ELINOR, her eyes red from watching, wipes MARIANNE's temples. DR HARRIS takes her pulse and looks at ELINOR anxiously. His silence is worse than any utterance. DISSOLVE: INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER The room is very still. MARIANNE is pale as wax. DR HARRIS puts on his coat. ELINOR looks at him fearfully. DR HARRIS I must fetch more laudanum. I cannot pretend, Miss Dashwood, that your sister's condition is not very serious. You must prepare yourself. I will return very shortly. He leaves the room. DISSOLVE: INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER MARIANNE lies in the grip of her fever. ELINOR sits watching her. Slowly she rises and walks to the bed. When she speaks, her tone is very practical. ELINOR Marianne, Marianne, please try-- Suddenly, almost unconsciously, she starts to heave with dry sobs, wrenched out of her, full of anguish and heartbreak and all the more painful for being tearless. ELINOR Marianne, please try--I cannot--I cannot do without you. Oh, please, I have tried to bear everything else-- I will try--but please, dearest, beloved Marianne, do not leave me alone. She falls to her knees by the bed, gulping for breath, taking MARIANNE's hand and kissing it again and again. DISSOLVE: EXT. CLEVELAND - GARDENS - DAWN A shimmer of light appears on the rim of the horizon. Somewhere a lark breaks into clear untroubled song. INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING DR HARRIS sits slumped in a chair. MARIANNE lies motionless. ELINOR rises with difficulty from the bedside and goes to the window. She is white as paper. The lark sings. Then, from behind, comes the faintest of whispers. MARIANNE (V.O.) Elinor? ELINOR turns with a cry. DR HARRIS springs from his seat and examines MARIANNE. He then turns to ELINOR with a smile of relief and nods. At that moment the sound of carriage wheels is heard on the gravel. ELINOR My mother! EXT. CLEVELAND - FRONT STEPS - MORNING BRANDON helps MRS DASHWOOD, who is weak with exhaustion and distress, out of the carriage. INT. CLEVELAND - STAIRCASE - MORNING ELINOR hurls herself down the stairs. She reaches the door just as BRANDON and MRS DASHWOOD enter and practically swoons into her mother's arms. ELINOR Mamma! She is out of danger! INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING CLOSE on MARIANNE's face as MRS DASHWOOD kisses her. MRS DASHWOOD There, there, my love, my Marianne. MARIANNE opens her eyes and smiles at her mother. MRS DASHWOOD takes her gently into her arms. MARIANNE suddenly looks anxious. She is too weak to move her head. She whispers with urgent effort. MARIANNE Where is Elinor? ELINOR I am here, dearest, I am here. MARIANNE looks at her with deep relief. Behind the DASHWOODS, BRANDON stands at the door, unwilling to intrude on this intimacy. He wipes his eyes and turns away. MARIANNE sees and whispers to him. MARIANNE Colonel Brandon. BRANDON turns back, his eyes full of tears. MARIANNE looks at him for a moment. Then, very quietly: MARIANNE Thank you. EXT. BARTON COTTAGE - GARDEN AND SURROUNDINGS - DAY The cottage nestles in the first buds of spring. A piece of rope hangs down from the branches of a tree in the garden. It starts to wave about wildly and we see MARGARET emerging and climbing down. She has built herself a new tree-house. COLONEL BRANDON (V.O.) What though the sea with waves continuall Doe eate the earth, it is no more at all. INT. BARTON COTTAGE - PARLOUR - DAY MARIANNE is on the sofa by the window. She is pale, convalescent and calm. Different somehow. She listens intently as BRANDON reads her the poem. COLONEL BRANDON Nor is the earth the lesse, or loseth aught. For whatsoever from one place doth fall, Is with the tide unto another brought... We move back to find MRS DASHWOOD and ELINOR at the other end of the room, sewing peacefully. MRS. DASHWOOD He certainly is nor so dashing as Willoughby but he has a far more pleasing countenance. There was always a something, if you remember, in Willoughby's eyes at times which I did not like. ELINOR listens patiently as her mother rewrites history. We cut back to BRANDON as he finishes reading. COLONEL BRANDON 'For there is nothing lost, but may be found, if sought... He looks up at MARIANNE. A soul-breathing glance. She smiles as he closes the book. MARIANNE Shall we continue tomorrow? COLONEL BRANDON No--for I must away. MARIANNE Away? Where? COLONEL BRANDON (teasing) That I cannot tell you. It is a secret. He rises to leave. MARIANNE (impulsive) But you will not stay away long? CLOSE on BRANDON's reaction. EXT. FIELDS NEAR BARTON COTTAGE - DAY ELINOR and MARIANNE are out on a walk. They go very slowly, MARIANNE leaning on ELINOR's arm. Their mood is loving, companion able. EXT. DOWNS NEAR BARTON COTTAGE - DAY ELINOR and MARIANNE walk on. Suddenly, MARIANNE stops. MARIANNE There. She indicates a spot on the ground but ELINOR can see nothing and is momentarily alarmed. MARIANNE gazes at the ground and breathes in deeply. MARIANNE There I fell, and there I first saw Willoughby. ELINOR Poor Willoughby. He will always regret you. MARIANNE But does it follow that, had he chosen me, he would have been content? ELINOR looks at MARIANNE, surprised. MARIANNE He would have had a wife he loved but no money--and might soon have learned to rank the demands of his pocket-book far above the demands of his heart. ELINOR regards MARIANNE admiringly. MARIANNE smiles sadly. MARIANNE If his present regrets are half as painful as mine, he will suffer enough. ELINOR Do you compare your conduct with his? MARIANNE No. I compare it with what it ought to have been. I compare it with yours. ELINOR Our situations were very different. MARIANNE My illness has made me consider the past. I saw in my own behaviour nothing but imprudence--and worse. I was insolent and unjust to everyone-- ELINOR tries to stem the flow but MARIANNE continues. MARIANNE --but you--you I wronged above all. Only I knew your heart and its sorrows but even then I was never a grain more compassionate. I brought my illness upon myself--I wanted to destroy myself. And had I succeeded, what misery should I have caused you? ELINOR embraces her. They stand with their arms round one another in silence for a moment. Then MARIANNE breaks away and speaks with great good humour and energy. MARIANNE I shall mend my ways! I shall no longer worry others nor torture myself. I am determined to enter on a course of serious study---Colonel Brandon has promised me the run of his library and I shall read at least six hours a day. By the end of the year I expect to have improved my learning a very great deal. EXT. ROAD NEAR BARTON COTTAGE - DAY THOMAS is sitting on the back of a local wagon, holding a basket of food. He jumps off near the cottage and waves a cheery farewell to the DRIVER. INT. BARTON COTTAGE - PARLOUR - DAY CLOSE on the accounts book, covered in blots and crossed-out sums. Pull up to reveal MARIANNE labouring over it. Her sickness has left her slightly short-sighted and she uses a pince-nez that makes her look like an owl. ELINOR is sewing and MRS DASHWOOD is snoozing. MARGARET goes up and looks over MARIANNE's shoulder. She frowns at the spider's web of ink. MARGARET You'll go blind if you're not careful. BETSY brings in coals for the fire. MRS DASHWOOD rouses herself. MRS DASHWOOD Is Thomas back from Exeter, Betsy? BETSY Yes, ma'am--he brung back two lovely fillets for you. MRS DASHWOOD looks nervously at ELINOR like a child who has been caught out. MRS DASHWOOD Beef is far less expensive in Exeter, and anyway they are for Marianne. ELINOR laughs and rolls her eyes to heaven. BETSY turns on her way out to remark: BETSY Sixpence a piece, Miss Dashwood. Oh, and he says Mr Ferrars is married, but I suppose you know that, ma'am. There is a stunned silence. Everyone looks at ELINOR. MRS DASHWOOD Fetch Thomas to us, Betsy. BETSY leaves. They all sit very still. MARGARET is about to talk to ELINOR about it but MARIANNE stops her. THOMAS enters. THOMAS Beg pardon, Miss Dashwood, but they was the cheapest in the market-- MRS DASHWOOD It was a very good price, Thomas, well done. Would you be so kind as to build up the fire a little? THOMAS (relieved) Yes, ma'am. There is a pause. MRS DASHWOOD Who told you that Mr Ferrars was married, Thomas? THOMAS builds up the fire as he answers. He tells the story with pleasure. THOMAS I seen him myself, ma'am, and his lady too, Miss Lucy Steele as was-- they were stopping in a chaise at the New London Inn. I happened to look up as I passed the chaise and I see it was Miss Steele. So I took off my hat and she inquired after you, ma'am, and all the young ladies, especially Miss Dashwood, and bid me I should give you her and Mr Ferrars's best compliments and service and how they'd be sure to send you a piece of the cake. MRS DASHWOOD Was Mr Ferrars in the carriage with her? THOMAS Yes, ma'am--I just seen him leaning back in it, but he did not look up. ELINOR screws up her courage. ELINOR Did-- But she cannot continue. MARIANNE glances at her compassionately and takes over. MARIANNE Did Mrs Ferrars seem well? THOMAS Yes, Miss Marianne--she said how she was vastly contented and, since she was always a very affable young lady, I made free to wish her joy. MRS DASHWOOD Thank you, Thomas. He nods and leaves, confused by the silent atmosphere. ELINOR sits for a moment, then gets up and walks out. EXT. BARTON COTTAGE - GARDEN - EVE ELINOR is standing by the gate, looking out. MRS DASHWOOD comes down the path to join her. She links arms with ELINOR and they stand in silence for a beat. MRS DASHWOOD Your father once told me not to allow you to neglect yourself. Now I find that it is I who have neglected you most. ELINOR No, Mamma. MRS DASHWOOD Yes, I have. We all have. Marianne is right. ELINOR I am very good at hiding. MRS DASHWOOD Then we must observe you more closely. A pause. ELINOR Mamma? MRS DASHWOOD Yes, my darling? ELINOR There is a painful difference between the expectation of an unpleasant event and its final certainty. MRS DASHWOOD squeezes ELINOR's arm tightly. EXT. OPEN ROAD NEAR BARTON - DAY A horse and cart are jogging along. The cart contains a large object tied down and covered with canvas. The DRIVER whistles tunelessly. INT. BARTON COTTAGE - KITCHEN - DAY MARGARET is standing on the kitchen table while ELINOR and MARIANNE pin a piece of material around the bottom of her skirt to lengthen it. Suddenly there is a commotion upstairs. MRS DASHWOOD (V.O.) Marianne! Marianne! Come and see what is coming! Everyone runs out of the kitchen. EXT. BARTON COTTAGE - GARDEN - DAY THOMAS and the CARTER are carrying a small piano up the path. INT. BARTON COTTAGE - PARLOUR - DAY They carry the piano into the parlour and to the DASHWOODS' joyful astonishment it fits perfectly. MRS DASHWOOD reads out the letter that has accompanied it. MRS DASHWOOD 'At last I have found a small enough instrument to fir the parlour. I expect to follow it in a day or two, by which time I expect you to have learned the enclosed. Your devoted friend, Christopher Brandon.' MRS DASHWOOD hands MARIANNE the letter and a broadsheet song. MARGARET He must like you very much, Marianne. MARIANNE It is not just for me! It is for all of us. All the same, she looks conscious of the truth. EXT. BARTON COTTAGE - GARDEN - DAY MARGARET is up her tree. ELINOR is pulling weeds. MRS DASHWOOD is sitting on a stool working on MARGARET's dress and listening to the strains of the new song which MARIANNE is singing in the cottage. All of a sudden, MRS DASHWOOD rises, shielding her eyes with her hand. She walks down to the gate, looking out. MRS DASHWOOD Here is Colonel Brandon! Marianne! The piano stops. MARIANNE comes out and they all gather at the gate to watch for the rider. EXT. OPEN COUNTRY - DAY Their POV of a HORSEMAN in the distance. EXT. BARTON COTTAGE - GARDEN GATE - DAY ELINOR I do not think it is the Colonel. MRS DASHWOOD It must be. He said he would arrive today. You must play him the new song, Marianne. Suddenly there is a yell from MARGARET's tree. MARGARET Edward! MARGARET practically throws herself out of the tree onto the grass. MARGARET It is Edward! The women look at each other in complete consternation. MRS DASHWOOD Calm. We must be calm. INT. BARTON COTTAGE - PARLOUR - DAY Tense silence reigns. Everyone tries to busy themselves. BETSY enters. BETSY Mr Ferrars for you, ma'am. EDWARD follows her in, looking white and agitated. MRS DASHWOOD (rising) Edward! What a pleasure to see you. EDWARD Mrs Dashwood. Miss Marianne. Margaret. Miss Dashwood. I hope I find you all well. He bows formally to each of them, lingering on ELINOR, who is looking firmly at her lap. He looks anxious. MARIANNE Thank you, Edward, we are all very well. There is a pause while they all search for an appropriate remark. Finally MARGARET decides to have a go at polite conversation. MARGARET We have been enjoying very fine weather. MARIANNE looks at her incredulously. MARGARET Well, we have. EDWARD I am glad of it. The... the roads were very dry. MRS DASHWOOD decides to bite the bullet. MRS DASHWOOD (giving him her hand) May I wish you great joy, Edward. He takes her hand somewhat confusedly and accepts her offer of a seat. There is an awful silence. MARIANNE tries to help. MARIANNE I hope you have left Mrs Ferrars well? EDWARD Tolerably, thank you. There is another bone-crunching pause. EDWARD I--But EDWARD cannot seem to find any words. MRS DASHWOOD Is Mrs Ferrars at the new parish? EDWARD looks extremely confused. EDWARD No--my mother is in town. He plucks up the courage to look at ELINOR again and is evidently not much comforted by what he sees. MRS DASHWOOD I meant to enquire after Mrs Edward Ferrars. EDWARD colours. He hesitates. EDWARD Then you have not heard--the news--I think you mean my brother--you mean Mrs Robert Ferrars. They all stare at him in shock. MRS DASHWOOD Mrs Robert Ferrars? ELINOR has frozen. EDWARD rises and goes to the window. EDWARD Yes. I received a letter from Miss Steele--or Mrs Ferrars, I should say-- communicating the... the transfer of her affections to my brother Robert. They were much thrown together in London, I believe, and... and in view of the change in my circumstances, I felt it only fair that Miss Steele be released from our engagement. At any rate, they were married last week and are now in Plymouth. ELINOR rises suddenly, EDWARD turns and they stand looking at one another. ELINOR Then you--are not married. EDWARD No. ELINOR bursts into tears. The shock of this emotional explosion stuns everyone for a second and then MARIANNE makes an executive decision. Wordlessly, she takes MARGARET's hand and leads her and MRS DASHWOOD out of the room. EXT. BARTON COTTAGE - GARDEN - DAY The three DASHWOODS come into the garden, still holding hands. INT. BARTON COTTAGE - PARLOUR - DAY ELINOR cannot stop crying. EDWARD comes forward, very slowly. EDWARD Elinor! I met Lucy when I was very young. Had I had an active profession, I should never have felt such an idle, foolish inclination. At Norland my behaviour was very wrong. But I convinced myself you felt only friendship for me and it was my heart alone that I was risking. I have come with no expectations. Only to profess, now that I am at liberty to do so, that my heart is and always will be yours. ELINOR looks at him, her face streaked with tears of released emotion, of pain and of happiness. EXT. BARTON COTTAGE - GARDEN MARIANNE and MRS DASHWOOD are stamping about in the garden trying to keep warm. MARGARET has climbed into her tree-house. The branches rustle. MARGARET He's sitting next to her! MRS DASHWOOD/MARIANNE Margaret, come down!/Is he? MRS DASHWOOD (scolding) Margaret! Will you stop-- MARIANNE What's happening now? MRS DASHWOOD Marianne! MARGARET (V.O.) He's kneeling down! MRS DASHWOOD can't help herself. MRS DASHWOOD Oh! Is he? Oh! She and MARIANNE look at each other joyfully. EXT. DOWNS NEAR BARTON - DAY The figures of EDWARD and ELINOR can be seen walking, in deep conversation. EXT. PATH NEAR BARTON COTTAGE - DUSK Later. The lovers walk slowly, their heads almost touching, their words low and intimate. ELINOR Your mother, I suppose, will hardly be less angry with Robert for marrying Lucy. EDWARD The more so since she settled the money upon him so irrevocably-- ELINOR --no doubt because she had run out of sons to disinherit. EDWARD Her family fluctuates at an alarming rate. Then, in London, when you told me of the Colonel's offer, I became convinced that you wanted me to marry Lucy and that--well, that you and Colonel Brandon... ELINOR Me and Colonel Brandon! EDWARD I shall not forget attempting to thank him for making it possible for me to marry the woman I did not love while convinced he had designs upon the woman I did--do--love. EDWARD stops walking. He looks at ELINOR and realises he can stand it no longer. EDWARD Would you--can you--excuse me-- He takes her face in his hands and kisses her. EXT. PATH TO BARTON CHURCH - DAY A group of VILLAGE CHILDREN run down the hillside towards the church waving ribbons and dressed in their Sunday best. EXT. BARTON VILLAGE CHURCH - DAY A large wedding party is gathered outside the church. The entire village is present--CHILDREN, FARMERS, LABOURERS, SHOPKEEPERS, and all our PRINCIPALS. We see MRS JENNINGS in a gigantic mauve bonnet, CHARLOTTE and MR PALMER, SIR JOHN, MRS DASHWOOD, MARGARET, THOMAS, JOHN and FANNY, who is dressed in a fantastically inappropriate concoction, and some MEN in regimental uniform. The path to the church is strewn with wild flowers and everyone holds a bunch of their own. The church bells start to peal, and a great cheer goes up as the door opens and BETSY comes out holding the bridal cake aloft. The bride and groom appear: MARIANNE, in white lawn, and COLONEL BRANDON in full uniform. Behind them come EDWARD in his parson's garb and, on his arm, ELINOR as matron of honour. CLOSE on them as they watch the party moving away. MARIANNE and BRANDON make their way forwards, everyone throws their flowers over them, whooping and singing. An open carriage decked with bridal wreaths comes to meet them, and BRANDON lifts MARIANNE in. His melancholy air is all but gone and he radiates joyful life and vigour. MARIANNE also looks extremely happy - but there is a gravity to her joy that makes her seem much older. According to the custom of the time, BRANDON throws a large handful of six pences into the crowd, and the VILLAGE CHILDREN jump and dive for them. The coins spin and bounce, catching the sun like jewels. One hits FANNY in the eye. She reels and falls over backwards into a gorse bush. CAM pulls back as the wedding procession makes its glorious way from the church. We draw away into the surrounding countryside. Then we see, on the far edge of frame, very small, a MAN sitting on a white horse, watching. It is WILLOUGHBY. As we draw back further still, he slowly pulls the horse around and moves off in the opposite direction. THE END