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Sense and Sensibility (1995) movie scriptby Emma Thompson.
Adapted from the novel by Jane Austen.
More info about this movie on IMDb.com
0 EXT. OPEN ROADS. NIGHT. TITLE SEQUENCE.
A series of travelling shots. A well-dressed, pompous-looking
individual (JOHN DASHWOOD, 35) is making an urgent journey on
horseback. He looks anxious.
1 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.
2 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.
3 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?'
4 INT. JOHN AND FANNY'S TOWN HOUSE. DRESSING ROOM. DAY.
JOHN is standing in mourning clothes and a travelling 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
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`YR{ o6pshwood, 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.
21 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.
22 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.
23 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 enquiries 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.
24 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.
25 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 atlast?
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/BlV*L
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M}Ax!OTKch^wjވTqFW*Bn+.TRIANNE 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.
34 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.
35 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.
36 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.
37 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.
39 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.
40 EXT. THE LADIES' CARRIAGE. OPEN ROAD. EVE.
The carriage rolls on.
MARGARET (V/O)
Are we there yet?
41 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.
42 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?
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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.
58 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 memor~Gg` -E Q 0:5nR-j_n?=
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+ - hNuf?_Ƙ) *nks2}:odelighted to join you, Colonel!
The COLONEL helps her into the curricle, exchanging nods with WIL
LOUGHBY, 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 deliber
ately, 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.
75 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 DASH- WOOD.
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.
76 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.
77 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.
78 EXT. LONDON TENEMENTS. NIGHT.
A district of extreme poverty, populated by the LOWLIFE of
LONDON: FOOTPADS, dogs, rats and SCAVENGERS of all kinds. ln 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.
79 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.
80 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.
81 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.
82 EXT. BARTON COTTAGE. GARDEN PATH. DAY.
The DASHWOODS return from church to find THOMAS grooming Bedivere
at the garden gate. Their excitement mounts.
83 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.
84 INT. BARTON COTTAGE. PARLOUR. DAY.
ELINOR, MARGARET and MRS DASHWOOD enter to find WIL LOUGHBY
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.
85 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.
86 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 quarrelled.
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
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PXפeی*} VH 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 pro
prieto rially.
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.
108 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.
109 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 o 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.
110 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.
111 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,B^|0ɡ. i
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zZ'eD|0x$c3܈}T*oV$H%GTJ^Gb,XvAg`V\~`>XKĮ'Ħn]I&h02to no avail. MARIANNE puts
their coolness down to the presence ofLUCY, 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 pro
prietorially.
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.
117 EXT. JOHN AND FANNY'S TOWN HOUSE. BACK GARDEN. DAY.
A tranquil afternoon ...
118 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 Dash- wood
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.
119 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!
120 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.
121 EXT. LONDON STREET. DAY.
MRS JENNINGS is running as fast as her fat little legs will carry
her.
122 EXT. MRS JENNINGS'S HOUSE. BERKELEY STREET. DAY.
MRS JENNINGS pants up the front steps.
123 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.
124 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 .
125 EXT. SQUARE IN FRONT OF MRS JENNINGS'S HOUSE. LONDON. DAY.
ELINOR and BRANDON walk round the quiet square.
COLONEL BRANDON (cont.)
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.
126 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
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COLONEL BRANDON
Marianne!
145 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...
146 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.
147 EXT. THE HILL. DAY.
BRANDON runs up the hillside as though the devil were at his
heels.
148 INT. CLEVELAND. DRAWING ROOM. DAY.
CHARLOTTE is handing ELINOR a cup of tea. ELINOR turns back to
look out of the window. She freezes.
149 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.
150 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.
151 EXT. CLEVELAND. NIGHT. RAIN.
The great house sits in darkness. A sense of foreboding.
152 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.
153 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!
154 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.
155 INT. CLEVELAND. DRAWING ROOM. DAY.
BRANDON sits head in hands. His ghosts have come to haunt him.
156. 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.
157 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.
158 EXT. CLEVELAND. DRIVE. EVE.
BRANDON mounts his horse, turns to look at the house for a
moment, and then spurs it violently forward.
159 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.
160 EXT. CLEVELAND. NIGHT.
The house stands in virtual darkness with only a dim light
issuing from one of the upper rooms.
161 EXT. OPEN ROAD. NIGHT.
BRANDON riding fast, his cape billowing out behind him.
162 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.
Dearest Papa!
The dead are coming for the dying.
DISSOLVE.
163 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.
164 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.
165 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.
166 EXT. CLEVELAND. GARDENS. DAWN.
A shimmer of light appears on the rim of the horizon. Somewhere a
lark breaks into clear untroubled song.
167 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!
168 EXT. CLEVELAND. FRONT STEPS. MORNING.
BRANDON helps MRS DASHWOOD, who is weak with exhaustion and
distress, out of the carriage.
169 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!
170 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
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