• Scene 49: Solmes coming in and bowing very foppish before line; melodramatic music as she comes down (heavy door, images will repeat in whorehouse), inexorable violent people all around her, stands proud, placed before Solmes, both ushered into room.
• Scene 50/51/50: In front room, the courtship scene which combines motifs from 2 obsessive-repetitive ones, again repeat of her moving further off, we see uncle and brother listening, Betty comes with letters stolen from Clary's desk (as in whorehouse will happen). She'd rather be bricked up, brother says not yet; she will be, she is a kind of Antigone, James holds her neck -- this repeats Lovelace's gesture in scene with Belford, uncle protests, ends on frozen still of her on couch before effeminate persistent Solmes. This set of scenes comes from Letters 78-79, Folio Society I, ppp. 378-400, 405-7; feelings of Letter 32.3-33.2 (Clary's recoil, letter to uncle, to Solmes, Solmes's refusal to give up). All comes together

Part 2

This part covers Letters 80-157, April 5th to 27th, Vol I, 1st Edition, Folio; pp. 325-531; alternatively, Letters 80-99 (I), and 1-58 (II), Vols 1 and 2, 3rd edition, Everyman, pp. I, 409-516, II, 1-201. From where Anne's mother comes out as hostile and not willing to help Clarissa, much less take her in, to settling into Mrs Sinclair's house (just before attempting to go to church) 46 minutes

Episode 1: Friend's Plea: Emblem Anna bitter "I suppose it's mere fancy to have a mind of one's own ..."

• Scenes 1/2/3: Established by Howe house, and then on stairs, and then downstairs front parlor; dialogue of Anne and her mother where mother refuses to help, erases principles; they fight their own issues which also give perspective on Clary's situation: a woman to have no will of her own, the choices are bitter and not really wanted on the terms offered. Then Hickman. Anna serious and grave and plangent until Hickman arrives. At beginning of part. Letters 58, Folio Society I, pp. 244-49. Witty and lighter as contrast to plangent troubled letter by Clary in book.
• Scene 4: Mr Harlowe and Clary talk at one another through the brother; Clary speaks up for herself ("I am silenced ... if you think your health will bear it ...); he does not require daughter's help in his "choice of another son .." 25.4, 41.2, pp 125-6, pp. 190-91. The language is again modern and original.
• Scene 5/6/7/8: Clary finishing 3 letters, jeered at by Betty who is paid to take them to Harlowes. Montage of each relative taking and tearing characteristically, dumb shows; Joe Leman observing as he carries wine glasses with wine down stairs. Betty returns them torn Letters to mother, father, uncle. Letters 32.1-4, Folio Society, Vol 1, pp. 148-58, 41.1-2, pp. 188-91
• Scene 9: First masquerade motif ; Lovelace enjoying dressing as a working man so he can wander furtively around Harlowe walls; Rosebud there, 17 and Lovelace tells Jack she is offlimits as he promised her grandmother who begged. Cold mean exultant talk & tone: woman birds. Combining letters, Letter 34, Folio Society I, pp 162-63
• Scene 10, and then interwoven back and forth (as above): Grim assailing of Clary by Arabella and James, helped by Betty, assaulting her for her letters
• Scene 9: Back to tavern : girl giggles and Jack told "forbidden fruit;' grandmother "begged me to be merciful". Jack "you agreed?" "Word of a gentleman." Jack: "What's that worth?" Something of the Jack we first meet in Richardson, Letter 143, Folio Society, Vol 1, p. 500: glimmers of ethical view of thing. Belford's very first letter in Richardson is objecting, but also predicting Clary will fall.
• Scene 10: Clary's room: James assaults, she is held by Arabella and Betty, anticipates rape scene as she strips her outer garments off and we see her in underdress pressed hard by mean faces, Arabella's jealous spite ("As usual you're to have your own will in everything"), triumphing over how Solmes will have her soon.
• Scene 9: Masquerade begins here explicitly: meaning through juxtaposition, Lovelace now saying "But to Clarissa Harlowe ...to have her on her knees begging me for mercy ..." Jack enjoying masquerade playing. Very different from his first letter in novel. Jack is never complacent like this in book;again see Letter 143, Folio Society I, pp. 500-3. In film he is made at first into a rake like Lovelace.
• Scene 10: Arabella and James still on top of sister held down in chair, marriage license ordered, ceremony this Tuesday. Arabella says Mr Solmes has set aside room for nursery so there is novelistic and filmic textual authority for image of man half-mad over cradle. BAD TUESDAY. Letter 83, Folio Society, Vol 1, p. 337
• Scene 11: Mad scene of imbecilic man cradling cradle. Craziness over the top reached.
• Scene 10: Clary looks at self in mirror, puts white satin in front of her, discards, writes letter to Lovelace, Voice over of Clarissa in book her last letter revokes plan to free, but she turns up. Letter 83, Folio Society, I, p 341 where she writes to Lovelace saying she will meet him. (Very bad treatment in book just before too)
• Scenes 11/12: As voice over continues, we see her running through garden: visualization of remembered striking illustrations and words about how she has resolved to throw herself on protection of his female relatives (he mentioned this in their first scene). In book fleeing is presented by him as having that option. His face in disguise seen through gloom, his satisfaction getting letter. Letter 84, Folio Society, I, p. 345-6. His transport
• Scenes 13/14: Dark candle scene: again Clarissa comes in, but this time not encountered, Betty waiting and we know that Betty has been allowed to let her go and door left open. Has a Radcliffe feel. Betty's haunting of Clary with her family's words, Letter 85, Folio Society I, p. 346

Episode 2: Nightmare: Emblem Clary's nightmare focusing on James and Solmes with Arabella seen on the side

• Scene 15: Clarissa's nightmare: anticipating how she's left after rape; sword to her heart from Lovelace, but others surrounding her no better; instead of saving her, he will skewer her. In book he does derange her health yet further at Smith's; white like a white sheet at funeral. Original nightmare in Letter 84, Folio Society I, pp. 342-43.
• Scene 16: Again meaning through juxtaposition: Lovelace holding letter (from Scenes 10-11), and saying "mine, Jack, mine ..."; here Belford as careless and rakish as Lovelace (in book he is not from the very beginning, though he does nothing but ask Lovelace not to try her, evinces attitude she'll "fail") Again Letter 84, Folio Society, I, p. 345-6. His transport, and in this scene anger, desire for revenge
• Scenes 17/18: Betty brings in wine "with compliments," and when she goes, Clary puts down book and we get a THIRD VOICE OVER letter, this to Anna. Letter 86, Folio Society I, pp 350-53.
• Scene 19: Brief Anne reading scene: fleeting watching her read letter: "oh that he may not come my dear friend I beg that you will burn this letter ..." Worry plain on her face, in book Letter 87, Folio Society, I, pp. 56
• Scene 20/21/22/23: Now central scene of high pitch music: she goes down stairs, hall clear of people (deliberate), but we see Joe see her; 21 in purple darkness through garden to wall and in, 22 his face seen waiting; then she lets him in and Joe's back and forth inbetween (his words: "be not afraid, draw back the bolt"); 23 and then he pushes her through door, and hurries her off afraid of what's there. Then house in purple, man with dog walking back, anguished statue. Very theatric, part of nightmare episode, quiet terror the key feel. Radcliffe scene. From Letter 97-99, Folio Society, I, pp. 399ff. "The moment I heard the door bolt unlock, I was sure of her."

According to Cynthia Wall, and by my own videocassette's division, the first third of three parts ended here.

Episode 3: Freedom: Emblem Clary intensely relieved to close door to her room at Hampstead on Lovelace after she was hurried/tricked away from Harlowe Place

• Scenes 24/25/26: Harlowe house dissolves into third house: St Albans all purply: three phases: 1) she's relieved against door and walks, he on the other side of door with candle smoked out; he grins, 2) and then she sees a door, opens and he is standing there by bed grinning, she shuts and moves chest to bar him; 3) she moves to center of room and sits down and camera on that Very much a Radcliffe scene where doors open from other side. Expression on her face deeply revulsed. No equivalent in book. Repulsion. Terror.
• Scenes 27/28: St Albans during day; hand putting seal on letter; she goes to mail and he is there in passage; tense back-and-forth, he encroaching, trying to control, trying for kiss, has defined them as brother and sister, she very irritated, sleepless, not free (some language from book). Mood and feel of letters 97-98 (L to B ecstatic, C to A, vexed, nervous, irritated, cannot get herself to take up his offer of setting out to relatives, Folio Society I, 98. Brother and sister, she wants him to leave, she hears his rattle (but not called a snake). LETTER SCENE
• Scene 29: Lovelace reading the letter from previous scene, given it by buxom maid, Lucy; VOICE OVER of his salacious thoughts about maid
• Scene 30: Establishment shot of Harlowe House, we see Joe outside door, goes in, given list of names on letter paper by James: James wants information about Lovelace's "former conquests," seeking revenge, to get her back, Arabella sexily giving him snuff, subservient to him. Tiny germ in Letter 35, Folio Society, I, p. 164 (L boasting of contrivances through Joe Leman)
• Scene 31: Brief epitomizing scene of Lovelace and Clary: he cannot live if she avoids him like this; she wants his absence; "I do not find sir you are a man who improves upon acquaintance" Quick back and forth scenes (or sequences of images) here.
• Scene 32: Anna Howe's house, she is at bottom of stairs, has received Clary's letter from maid; her mother calls and chases her up stairs (shadows); this is parallel to Lovelace and Clarissa, for she locks mother out, and we get VOICE OVER of Clary for letter; only mother has right to demand entrance; mother comes in and slaps hand, only Anna tears letters. Again we begin with a door. A transformation of Letter 100, 111, Folio Society I, pp. 403-8, 431-3; Letter 132, Folio Society, I, p. 476 (mother slaps her) -- anger and distress taken from this first, bickering from second. It was earlier in book Clarissa hoped to flee to house, and that was the scene that opens this part (Friend's plea has letter with content of this scene).
• Scene 33: Beautiful green outdoors pastoral where Lovelace wrung bird's neck; but instead of Jack we have Joe; time has passed enough for Joe to have bunch of documents; Lovelace has been a villain and we are to see hypocrisy (? self-deluded) of Joe's worry about mistress; we viewers are alerted to reality that rape is what Lovelace is capable of doing if he does not get his way. Again "Freedom" an ironic title. This is from Letter 96, Folio Society I, p 385, Letters 139-40, Folio Society, I, 494-7 (about the rape of Miss Betterton, matter comes from here).
• Scene 34: Clary writing letter to Bella: Voice over an appeal and this. This is taken straight, Letter 102, Folio Society, p. 411
• Scene 35: Voice over carries over in Harlowe corridor pictures taken down, James and Arabella supervising the death of Clary in the house, covering everything not movable in shrouds. Letter 144 Aunt Hervey's funereal tone, and Anna's telling of reaction in her letters, begins solemn and nasaty rejection, Folio Society I, pp. 503, sister's cruelty in Letter 147,p. 508-10 (scene of taking down stuff and putting it away here). Effect of Clary asking for clothes, book, money, and for help and support as they drape room in white has effect of burial scene. Epistolarity here is making subjective the objective happening, it becomes part of inner world. This was done in 1983 BBC Mansfield Park so nothing new.
• Scene 36: Joe and Lovelace on same day now in inn together, carrying on conversation (brief): Joe tells Lovelace of revenge plot (later we see this help Lovelace says he and Joe will give James result in scene in church which further drives Clary into hiding). Continuing conversation and letters of Scene 33.
• Scene 37: Establishment: St Albans house, another morning; Clarissa seems to be copying something out from Bible (perhaps Nokes and Barron getting in meditations this way?). This scene is a replica outwardingly of Scene 34 where she was writing to Arabella. Lovelace to her, and false pretense of offer to reform, she again irritated because he will not leave her, accuses him of tricking her, he then ratchets this up, bullying a James Harlowe way, but he reaches her emotions when she says she hears the rattle of him (as snake); then he shakes her, demands she looks at him and suddenly neurotically on floor, and becomes hysteric asking her to mould him, to chain him up (masochistic); ends on VOICE OVER of new letter: what could she say; he looked as if he would look through her, devour her hand. Place we are at in book is around Letter 120, Folio Society, I, pp. 252-3. Original recomposed, feeling by Lovelace at opening of Letter 153, Folio Society, I, p. 520

Episode 4: New Plan: Emblem Clary reading Bible and Lovelace (ludicrously humble) comes up to her to say he wants to start his reform

• Scene 38: Street scene outside tavern establishes where we are, and Lovelace inside with Jack wavers for a bit, but returns to new plan of moving her. Letter 154, Folio Society, I p. 520
• Scene 39: Now Establishment shot is Clary at her book: it's as if he's acting out a play in front of her, the hesitant sinner seeks to reform; the joke about Sodom and Gomorrah jars.
• Scene 40: Her watching him from the window pacing with the Bible in the grass; VOICE OVER of Clarissa wondering if he's pretending, seems a genuine inward soliloquy. We know his aim to subdue her.
• Scene 41: Jack and Lovelace at fencing club. We see it's an act, and yet he's drawn to her; he resents her taunts and it cannot be said his "love" for "implace virtue like ice"is promising. Jack laughs at him, "Who you?" Harsh sound of steel as they watch others. (In book Jack's second letter, 169, finds him grave, earnest, pleading for her, if illustration insists on his ugliness, Folio Society I, p 555
• Scene 42: VOICE OVER OF ANNA as Anna's letter read first by Clary sitting in same room at window, and then hands are of Lovelace with her listening of Anne telling of James's plot (without reading book we can suspect this cooked up by Lovelace and Joe). Her face full of misery. We distrust him and his face turned from her shows us his quiet calculatoin and desire to get her to London, as a private place. Letter 132, Folio Society, I, p. 474
• Scene 43: Symbolic establishment shot: sword at heart, repeats motif of Clary's nightmare, returns to bird in wood neck wrung, which refers now also to talk of rape. All comes together again. Desire to rape is desire to kill . This must be another day of Lovelace and Jack at fencing club. As they only half-play at fighting, we are told of Lovelace's plan to "snare" her: so there's a second plan, to take her to Sinclair, banging hard at heart and then fiercely fighting with Belford. He'll go to Doleman.
• Scene 44: Lovelace now climbing stairs (so many stairways, labyrinthine turns) and we see barred windows, a hand and a voice reading LETTER FROM REALTOR Letters 130-31 (gain one from C to A and one from L to B, Folio Society, I. pp 469-474). So as it common sequence reversed: in film first Clary is told of Singleton plot and then the offer of moving.
• Scene 45: Mastershot from above of Clary now reading aloud details from letter we just heard over supper in St Alban's room; he is winning by gentle hypocrisies but she has not made up her mind, does not know which to pick
• Scenes 46/47: The curse. The curse is made the impetus for move as it also leads to move more gradually in the book; in the book there is an open acknowledgement of love (almost) and drawing near marriage (almost). Begins with father's face and then crossing out name and date in Bible (a book), then we get another scene of James dictating to Arabella LETTER how nothing will be sent to her. In book Letters 146-147, Folio Society I, 508-9 includes details we saw dramatized in scene where they put away her stuff and covered all in white sheets, in book her clothes are sent to her
• Scene 48: Scene of Clarissa's profound distess at letter; he curses the curser and says oh love be mine, but he does not offer to marry her. In book when powerful curse letter comes he is planning elaborate machiavellian plot and distanced, cool, manipulative, looking forward to getting to Sinclair's. The breakdowns of Lovelace in book are less predictable, more often and hard to catch up. As to literal content, there's less and it is simplified, but general overall shape and points are translated. Letter 149, Folio Society, I, pp. 512-23
• Scene 49: Lovelace writing a letter and we hear Lovelace's voice over where he says had a parson been there, he'd have married her, but we know Jack would say you say that now; he is looking in mirror and we see him in mirror; we see a house undergoing disguises and changes, parallel with taking down Clary's things in Harlowe house, masquerade taken up again, first thing to be set up is writing desk; lines resonant and come from Lovelace's letters. Mary and virgin replace baroque sex; bible put down on white satin gilded scissors. Lines from Let 153, Folio Soc I, p. 520
• Scenes 50/51: Tracking shots with haunted subject anamnesic music; she looks dazed, unhappy: see St Albans house, inside and they come out; get into carriage, riding across countryside; stony looks; hear VOICE OVER of Anna which continues to
• Scene 52: Anna's house, her threshold, she is speaking to James at the door, he trying to obtain information; having these scenes dramatizes a problem in the epistolary novel: why was there no attempt to reach one another physically; her bitterness comes from the letters she does write; ends on still of her worried vexed face since through glass window with bars at top. These come later on (see below) when she realizes the house is a brothel. Many of her letters show she thinks Harlowes very cruel.

Episode 5: Mrs Sinclair: Emblem Clary's first sight of Sally, Debra, Dorcas and Mrs Sinclair waiting in vestibule as she comes in to the London house

• Scene 53: Tracking shot continues as they drive through London and we arrive at Mrs Sinclair's house; she is looking out intensely, and as they come out, he is pushing her forwards into the house quickly. There is no description of the coming, and letter tells of how she feels once she's in, Letter 155, Folio Society, I, p. 524
• Scene 54: The women as she comes in, the introductions, the key. Photographed significantly in different angles, Lovelace takes key from Mrs Sinclair who calls Clary Mrs Lovelace
• Scene 55: Continuation up turning stairs where she is incensed he has called her Mrs Lovelace, lying again, from sister to wife (more dangerous); she turns rigid, taut face, takes key, face echoes Anna's, Letter 155, Folio Society, I, pp. 524-27 (games about his vows and pretense of marriage). Actress also shows deep distress. In letters in book leading up to this he has been playing games of half-offering marriage and she unwilling to catch at it.
• Scene 56: Church like music; darkness of room, throbbing music, she looks out window and is seeing a customer come in through back
• Scene 57: Parlour masquerade: Mrs Sinclair absurdly overacts the grieving widow. Funny in its way, Clary's intensely pointed strained face. Letter 156, Folio Society, I, p. 529 gives a prosaic realistic account of first conversations with Mrs Sinclair
• Scene 58: Clarissa's room, Dorcas making bed, puts letter on pillow. Still she's surrounded by women; Dorcas leaves, Clarissa at pier glass, VOICE OVER of Anna, final Letter of part: about brother's cruel plot, asserts God is just, do not despair, God is just, wind comes up (gothic), she runs and locks door, anamnesic music. Letter 148, Folio Society, I, p. 510. Actress in these scenes very distressed. Repeating behavior of sitting the way she did when she first came to St Albans.

Part 3

This part covers Letters 157-253, April 17th to June 12th; Folio Society, I, pp 532-780; II, pp 1-870 (see though 848 "I am a machine at last, and no free agent" where he bids adieu to his conscience); alternatively Letters 58-129 (II), 1-25 (III), Everyman II, pp 201-526, III, pp 1-170 (from fright he cooks up over church to sequence in Hampstead up and including appearance of Tomlinson, just before license and stuff about yearly marriages and false Lady Betty and Charlotte Montague appear, "I am a machine" is p. 147). They can cover a lot because of epitomizing and short scenes. Power the result of how much piled in so swiftly and intensely, back and forth, juxtapositions and careful nuances of language and gestures and everything chosen. Only false note so far was jarring joke about Sodom and Gomorrah in Part 2. 50 minutes. A great deal of original invention too.

Episode 1: Church Visit. Emblem Clarissa and Lovelace in church, Lovelace turning round to see James Harlowe: very quick succession, almost not quite montage, epitomizing; enormous amount of emotional life packed into 4 minutes

• 1: Establishment shot, now Sinclair frontage at corner, London street. Dorcas coming down stairs, into room, Lovelace and women playing cards, Dorcas' amused voice, "She wants to go to church and they drop cards and hasten out. Lesbian gestures of sex suggested by Sinclair and Sally's interaction, Sally's low cut dress. Origin of occasion, going to church, Letter 159, Folio Society, I, pp. 539-40 (but much transformed to bring in all sorts of elements not in it originally)
• Scene 2: James writing, to him Joe with document (letter?), and they leave at once, brief dumb show
• Scene 3: Sinclair house, corridor, Clarissa bested by Lovelace as he has all at his beck and call; she is sharp to women ("I do not go to church to contemplate the architecture), getting in her way, crowding her
• Scene 4: London streets, yellow carriage moving along, people from back seen (lush, money spent here)
• Scene 5: The stairwell had been last still of scene 3, and now we watch a woman's feet go up (red symbol on stockings), open door, mahogany desk (where did Clary get this? jewels, scarves), and begin to rifle, sleeve Dorcas's, looking for letters, another brief dumb show. As in part 2 there is obsessive repetition of motifs.
• Scene 6: In church, people's faces listening the sermon (Lord God to Eve, "the serpent beguiled me and I did eat ..."), James and Joe hurry in, Joe points, Lovelace turns back and then forward satisfied look on face
• Scene 5: Back to hand rifling mahogany box, and it comes upon packet of letters
• Scene 6: Clary at altar, taking sacrament, then Lovelace and then she sees James's face of hatred, fright bad and they rush away, James as soon as he's finished after them with Joe, rest of congregation stares
• Scene 7: Flight through streets nearby, her face intensely distressed, great grief in face, she cannot go to church, he gripping her
• Scene 8: Sinclair front room: Dorcas' joke, a hellfire sermon? Lovelace says I told you so, Clary's poignant "why can he not leave me in peace .... will I never be free?" (from book but about Lovelace much more in tone; in book she talks about her brother's projects being Lovelace's pretenses, Letter 158, Folio Society I, p. 535), Dorcas brings refreshment, helps Clary upstairs, incident has subdued her; phony look of concern on Lovelace's face in contrast, and dramatic irony of "Don't worry, you're safe here ..."
• Scene 7: Lovelace looking about streets nearby, Joe there, laughs and congratulates, "Well done, Joe," and thanked for payment (jingle of coins)
• Scene 9: Fencing place: Lovelace wildly aggressive, anticipates last battle, Belford's "has her virtue ever been put to the test," and "if" she comes through from book. "I'll marry her, " and we are to feel how horrible for her such a marriage, Lovelace's love of triumph
• Scene 10: Stairwell in Harlowe house, James and Bella triumphant, she reassuring him "there's no need for a next time," "she's dug her own pit," James "the more she struggles .. deeper she shall sink ..." intense sexual feeling and gestures between them.
• Scene 11: Dorcas at door with dress, goes in, birthday party, dress from Lovelace, mirror
• Scene 12: Clary goes downstairs and listens in
• Scene 13: A phony enacted scene between Lovelace and women (Sally voices exaggerated respect) about his exacerbated feeling (no sex), James "stop at nothing", "I love her so much"; we watch the scene ourselves and see Mrs Sinclair eating white sugar square. Equivalent phony scene fools Clary, Letter 159, Folio Society, I, p 550
• Scene 14: Clary now up in room, dressed, contemplating self in mirror, putting mask on but we don't see her in it, haunting music, minor key, tremulous
• Scene 15: Quick switch downstairs as two masked men come in
• Scene 16: Back upstairs, music still going, and she tries on mask, looks at her face in this white cast, and takes mask down, frightened
• Scene 17: Downstairs, Lovelace at door, men go in, we glimpse one is Belford
• Scene 16: Clary now looking at herself in mirror, proud, stands tall with dignity -- somehow pathetic
• Scene 18: In room and we see two people with masks whispering, one is Sally heard: "so what have you brought me?", mastershot, then Mrs Sinclair, another, pairs whispering. All of the above an original development out of Letter 161, Folio Society, I, pp. 542-44.

Episode 2: Entertainment: Everyone at table in masks turned round as Clarissa comes in, how she sees them

• Scene 18 (Cont'd): Dumb show great intensity as they realize she is looking at them, glimpse of camera on Belford and then Lovelace, her looking at them, Lovelace takes her to her seat; again origin Letter 161, Folio Society, I, pp. 542-44; also Letter 222, I, pp. 711-12 (Cowley quotation); she's frightened of Lovelace, his face in mask; empty dishes means time elapsed, sexy conversation (in book Tourville tells sexy stories; here the cast list calls him Mowbray); in book it is Belford who asks. As with Raven's Pallisers, the dramatist has to provide specifics and he does.
• Scene 19: Corridor, stairwell, she rushes upstairs, very upset
• Scene 20: She is inside room and VOICE OVER of herself writing letter to Anna, the opening lines of Letter 161, Folio Society I, p. 542: "I have just escaped the most disagreeable company" she ever experienced
• Scene 19: Quick switch to outside door, legs with stockings, gorgeous sleeve trying lock
• Scene 20: She rushes to door and makes sure her lock is firm, and we get lines from another letter as VOICE OVER continues: "look carefully to the seals ... " Attempt to get in is Miss Partington incident (right around same time). Breathing hard, haunted music
• Scene 21: Street scene, now Jack begins to be alienated and asks Lovelace to desist, Letters 169-70, Folio Society I, pp. 555-57 (includes idea that he has seen a bird actually starve itself to death, no lady [changed to woman] half so silly". They look at bird in a cage.
• Scene 22: Jack and Lovelace now in tavern, and bird part of conversation said. Jack's appalled face.
• Scenes 23/24/23/25: Like gothic heroine, Clary exploring and goes down stairs and finds door opened, 24) room where an orgy has taken place (tape of laughing voices, high melodramatic music); 23) running away, stopped on stairs by Lovelace, they run up and 25) he bullies her and she defies him (again a substitute for Partington, also for modern viewer who might wonder at her naivete: "Is this what I deserve .... God knows what you deserve? ... I shall leave this place tomorrow ... I've told you the single life is all I want ... you must live as you please ... And if I chose to live with you? That can never be. Oh but it must. We were born for each other ..." . See blog for transcript full transcript" From section between party and his encroaching the first time, Letters 202, 207.1, Folio I, pp. 649-54, 671, etc. To him Dorcas with Captain Tomlinson's card
• Scenes 26/27/26: Downstairs room: the Tomlinson play played out with Clary (chased by Dorcas obviously kept there to keep tabs on her; "Where will you go, madam? do you want a coach ...") on the other side of the door, as yet we do not know he is phony: a new game going on which subdues her anger by deluding her ("Did you tell him so?" He: ... "happiness can be within our grasp ...". Source for quarrel Letter 215, Folio Society I, pp 689-91. Dissolve to
• Scene 28: VOICE OVER of Clarissa's letter to Anna, she looking at self in mirror, showing that Anna's advice "all delicacy is at end wit me," also leading her to give in to Lovelace.

Episode 3: Uncle's News: Tomlinson contemplating document

• Scene 29: Establishment: Tomlinson with document, Clary across table; she forgets her family were never happy; the over-the-top concern of Tomlinson; her face strained as it means so much, "oh my angel," puts ring on her finger. Letter 221, Folio Society, I, pp. 707-9.
• Scene 30: Plays within plays: Clarissa coming down stairs, Dorcas puts on her cloak, Lovelace there to help; just in doorframe women watching this, Dumb show
• Scene 31: At the opera house; in book it's Otway's Venice Preserved, but the lines would not make sense much less parallel the book so it's switched to two arias, from Dido. Letters 194, 200, Folio Society I, p 681, 640. She looks happy, he too. Dumb show; there is a mastershot at some point to show diva on stage in front of people.
• Scene 32: As with church, this trip facilitates getting at Clary's letters, sleeve indicates it's one of the prostitutes, we see candle, arm lifting out hidden packet of letters. In book around time of going to play Lovelace gets hands on letters of Anna which infuriate him further, Letters 198-99, Folio Society, I, 632-39. Music from opera going all the while
• Scene 31: Back to opera, Lovelace's face as diva sings self-evidently ironic aria: "Remember me."
• Scene 32: Sally copying out letters, she grins and giggles as aria continues
• Scene 31: Back to opera, Clary's deep-feeling face, his from the side, he puts his hand on hers, clutching tighter and tighter, she closes eyes.
• Scene 32: Packet of letters being put back, the white satin box looks undisturbed
• Scene 30: In corridor again, as horse and carriage heard, Dorcas lets them in, and Clary tells Lovelace; "this is the happiest day since I left my father's house." And still "Remember me" plays on. Music links scenic montage. She kisses him, he looks regretful for a moment.
• Scene 33: In Mrs Sinclair's inside room, we see Tomlinson and then he throws off wig. Somehow horrible as he's so bald, like death head, makes one think of a corpse, total change of mood, hands large paper to Lovelace for safekeeping; Sinclair playing with Tomlinson in the back part of room; Sally begins to read snatches and Deb in mocking voice; why do you not go up there, do you want us to undress her, she's there all alone. Scorn: Sally: "A peep show ... Poor old man ... you didn't use to be so shy ..." His savage anger at Anna's letters does come at this juncture and we have scene of his hatred as he confronts and distresses her and makes her drop tenderness and trust, Letter 200, Folio Society, I, 642-47. Camera not on him but them.
• Scene 34: Clarissa at desk, writing Lovelace her first genuine love letter, nightgown with peaceful look on face; her loving letter inside Letter 202, Folio Society, I pp. 653-4, two lines taken from it
• Scenes 35/36: Corridor with column dominating. We see women looking from one door, Lovelace at the other, Dorcas bringing up fire, and women dousing, fanning, out she flies (face again suffused with distress), and Lovelace pulls her in. Fire letters 224, 231, Folio Society, I, pp. 722-27, 757 (in book it's not threatened genital sex, using a phallus, but actual literal breast sucking is suggested, his hands on her breasts and in her vulva area). Inside bedroom he leaps on her in bed, "Don't be afraid," she conjures him not to, she gets out of his grasp, finds scissors (not so central in text). Words, as he rushes in and mastershot from above of them in bed with single spotlight. See blog for transcript Lovelace: Don't be afraid ... "
• Scene 46: Lovelace in his room by fireplace. Mastershot, fire crackles, moving about wordlessly, bundle of letters in his hand. We are to understand thsi incited him. 'Damnation" Again part of series of quick scenes (sequence of images)
• Scene 47: Again establishment shot of Sinclair house, Dorcas putting breakfast by room and calling and told go away, Dorcas removes it, and Lovelace comes out of his room, and puts letter under door.
• Scene 48: Clary on other side of door, with light robe over stuff nightgown, picks up letter. Voice over of Lovelace, confessing his eagerness, off for a license, she looks ill. In book at this point an exchange of brief intimate letters between them where it's apparent she has seen through his pretenses to some extent, suspects the women, wants out and now. Clary in book says Lovelace should protect (this is Belford's argument in his letters too), he attacks. Letters 226-227 (last mentions license), Folio Society, I, pp. 728-33. IN book we are to see how he cruelly is constantly teasing her.
• Scene 49: Lovelace at bottom of stairs, near door, dressed like a peacock, sword, lovely hat, pink cuffs. He as not been touched at all.

Episode 4: The Escape: Emblem after fire/near coerced sex, Clarissa at door escaping

• Scene 50: Dorcas on Sinclair stairs, Clary asks about fire, Dorcas lies, asks for Tillotson, and passes by women, one of several scenes where gestures suggest sex going on between women, and sneaks out.
• Scene 51/52/53: Lovelace on dark stairs, again barred window (same one as in Doleman and again sponging house/prison), looking at license; going through streets, humming, sure of himself, jumping up stairs several at a time and comes into empty room
• Scene 54: Confronts women at top of stairs, Dorcas whines, Mrs Sinclair makes protective gesture, he suddenly aims his sword ferocious, ominous anamnesic music, Sinclair looks angry. Whole thing has very little dialogue.
• Scene 55: He is in dark, brooding, reading letter, face moves from regretful to mediation, to obsessed and half-mad. He crumbles letter. Letter 228, Folio Society, I, pp. 740ff. (for both scenes 54 and 55)

According to Cynthia Wall, and by my own videocassette's division, this is where the original second third ended

• Scenes 56/57/56: Establishment shot, outside London street, it feels like morning, then letter on silver tray, then Mrs Sinclair attempting to read it sideways; moves into room where Lovelace with women, switch to him reading Anna's letter telling Clary this is is "the most devilish of hourses, you are cruelly deceived ..." Tiny piece from Letter 229.1, Folio Society, I, p. 744 mostly, coach detail in Letter 231, p. 757. Will comes in with man who says he drove Clary to Hampstead. Lovelace hurries into corridor, out door, "Will!" Nice to have servants everywhere.
• Scene 58: Establishment shot of yet another house: Hampstead. New house for battle to be fought at; serene landscape picture, quiet room, Clary writing a letter, VOICE OVER to Anna, I am at last escaped the clutches ... Replacement for Letter 230, Folio Society I, p. 754 (first of sequence in book from Hampstead). We are into Volume 5 of original 1st edition of book; there are three volumes to go.
• Scene 59: New stairwell, new maid, Patty given letter, up comes Lovelace as old man with Mrs Moore, masquerade As when he traipsed about Harlowe house, he did much more in the way of costuming than necessary (but no longer can fool her). Letter 233, Folio Society, I, pp. 768-774. "Damned physicians, satire in last phase after rape, more against mistreating servants, bad clergymen. Again real charade, this time though at the top of the stairs, after first serene though tired look, becomes suspicious. Has learned something of the world, to be on guard. He manifests great intensity as he sees her. Something about this is familiar.
• Scenes 60/61: IN the room, she spies the ring, and faints, and he pulls off wig and teeth. Mrs Moore notices abhorrence next to risk of life (line from book: "The lady cannot bear the sight of you ..."); he immediately begins with his story about how she's his wife. A certain irony for in his mind she is his and he has right to fuck her therefore. In film in corridor he tells Mrs Moore "she torments me," in book, she cries out, "Unhappy creature ... What pretense hast thou for tormenting thus ..." He is a sort of stalker.
• Scene 62: Harlowe house, day, James coming down stairs, Bella already there, Anna come to ask them to help. Holding a letter. Help before it is too late. They will not. Depth of concern in Anna's yees, they walk away leaving Anna stunned. In book she is sharp, insulting, gets nowhere, makes things worse. See Letters 351-57, Folio Society, II, pp. 1109-12 (See Everyman Vol 3, Letters 123-129, beginning July 20th (after the rape).
• Scene 63: He plays out scene before Mrs Moore and Widow Bevins refusing to admit they are not wed. Letter 235, Folio Society, II, pp. 790-95. Alas in film version she is not as clear in denying it; Mrs Moore says she denies it stoutly, but that is offstage. (This softens Lovelace.) Also instead of Miss Rawlins who would probably not be presented sympathetically we have sexy stupid Widow Bevis. Clary says "persecute" instead of "torment" He throws letters from his female relatives at her. When Mrs Moore says, "you'll be safe here," we do believe her. But she will not go downstairs so his version will win out.

Episode 5: Master of Deceit: Lovelace at harpsichord lying persuasively to Widow Bevis and (less so to) Mrs Moore

• Scene 64: Establishment shot: now Hampstead seen in purply light. In some modest dining room, Lovelace at harpsichord winning over Widow Bevis, attempted coercive sex is turned into romp, and it's true that some would regard it that way. Mrs Moore is not impressed and stands in for Widow Rawlins. Mrs Moore: "I have never heard of such a thing." But when upper class women come, she must retire before them.
• Scene 65: Swift sequence of shots, Will by candle, Patty comes in, they kiss, and he takes letters. Book he steals letters with Widow Bevis acting out Clarissa for him, but Will also has a "sweetheart" in the house to whom Clary gives and Will takes letters, Letter 240, 241, Folio Society II, pp 815, 817. This makes for more young couples, but I'm not sure that an older woman would not have reinforced women beware women and made the story yet more fearful & would have been more complicated to show, indeed hard to believe.
• Scene 66: Yet another room, perhaps late at night, Lovelace dictating revised letters to Will. First says what's there and then the alteration, lines about crowquills and stumps in novel. He is lovingly going over words he appears to loathe. Letters 239.1-240, Folio Society II, pp. 811-16
• Scene 67: Hampstead loding door, Clary coming to door and there's Will with the forged letter. Now VOICE OVER of Anna telling Clary house devout and repeating idea her "uncle urges you to seize this opportunity for an honorable reconciliation." Clary's face a picture of discomfort, and distress.
• Scene 68: Hampstead house, outside, daytime. Clarissa trying to get Mrs Moore and Widow Bevis to stay as Tomlinson comes in; she is pressured by him to have a private word and her uncle urged on her. She is very reluctant to agree to any of it.
• Scene 69: Anne receiving Clary's letter, standing by a window, puzzled. The same line: "My uncle urges me to seize this opportunty to an honorable reconciliation." He perturbed, she concerned. Not angry as in book. Just worried.
• Scene 70: Triumphant Lovelace, reciting names of his female relatives. Clary suspects something: "Is this a new trick ... " It comes too pat. It is a version of Letter 244, Folio Society, II, pp. 834-845. The difference is in the book she insists more strongly she wants to follow her own destiny, her heart is against him repeatedly, but at the end does yield a little; here but once "My heart is not with you. It is against you Mr Lovelace," she has seen what he is, and she will do as she sees fit and he too. Less melodramatic in language but a similar trajectory. In book she will wait for Miss Howe's letter (then comes the scene where Lovelace snatched this letter through the widow and forges another). In the film she came downstairs because she had the other first.
• Scene 71: Lovelace and Belford at the tavern, Belford earnestly trying to persuade him to stop now, and Lovelace saying "what I can't forgive are her virtues ... I am so far in I have put it beyond my power to be honest ... I have become a machine" "Farewell to conscience" from end of letter. Letter 246, Folio Society II, p. 848. No letters by Belford at this juncture, only the hysterical one right after rape, and the one refusing to do L's bidding unless B knew L meant it which he doubts, Letters 258, 286, Folio Society, II, p. 883, pp.957-58. He also says he's not a machine much earlier (Everyman II, 400, Letter 103, May 23rd containing Clarissa's one yielding love letter). Sense of pain, dread, violent harpischord, anamnesic music.
• We skip their long talk in the book where she speaks quietly and tells him she does not want him, Letters 248-53, pp. 848-70. A loss. But would get in way of story driving them to one another for mass audience.

Part IV

This part covers Letters 254-537, plus Conclusion, June 11th to December 18th, Folio Society II, pp. 871-1494; alternatively, Letters 26-133 (III), 1-176 (IV), Everyman, III, pp. 171-526; IV, pp. 1-551. 51 minutes. Very powerful, perhaps the best, a culmination, her death so moving because one grieves for how human life is such a misery death is better. Scenes at first much longer than the've been since part 1. Although particularly compressed in this last part, Nokes and Barron did cover the whole book.

Episode 1: Family Visit: Emblem is Lady Betty and Charlotte's first entrance. Savage irony about families going on in this film.

• Scene 1: Lovelace opens wide the doors like a master of ceremonies leading in players. From Letter 255 and 256, Folio Society II, pp. 875-78. A lot of dialogue is original as this superexcited fantasy is played as semi-real. The key note played by Diana Quick is cool; she is absolutely untouchable by human emotions. These false masks overplay the arrogance to Lovelace, and he to the women is all obedient deference. Clarissa like a child, lost spirit, confused because her direction from Anna was not what she wanted. Not really realistic, on the edge of naturalism. Offense to all virtuous women. When plan begun to bring her out of house, Clarissa does look at Lady Betty as if she's mad. Music begins as Clary says "No, I'll stay ..."
• Scene or sequence 2: In the carriage, Clary realizes she knows the area. Flattery laid on with trowel. (Lady Betty speaks of Lord M as Lord Marchmain , a quiet self-reflexive reference, a sort of joke as Diana Quick was Lady Julia in Brideshead Revisited). Lady Betty's face gradually growing harder.
• Scene 3: Now before Sinclair house and slowly pulled out. "My dear you are ill" says Lady Betty (later he says after the rape she's not well). Ever so light voice as she reassures I will not stir from your side (Clary not thinking any more). Trust me. You are quite safe. When Mrs Sinclair appears, music gets louder and nightmare feel, fiery music as she enters house
• Scene 4: They are coming into front room, Lady Betty fanning the drugged Clarissa, arrogant orders to Mrs Sinclair ("this instant"). "Lean on me. How you tremble .."
• Scene 5: In corridor Mrs Sinclair pulls out drug from her bosom. Absurd costuming and gesture in its way. A paper.
• Scene 6: Tea given her, and milk tastes funny, Lady Betty says "Rest. Rest," and is going. "Don't leave me," but she goes and Clary falls off.
• Scene 7: Vestibule into room in front: shocking moment as Quick's face twists, her wig is thrown off and she becomes someone else. The most riveting moment in the film I think. Tremendous excitement in text at this point too. She is Polly. "Almost as good as our matchmaker." Tomlinson whose real name we are not told drunk, being fed. Horrible. Emasculated. (In book he is repentent but this is better.)

Episode 2: The Final Act. Emblem is Lovelace facing Clarissa all drugged, ever pretending gentleness and attention to her every wish.

• Scene 8: She looks up, and he's there and she knows something's afoot. In book we are told terror, Mrs Sinclair comes in to bully, "God help me. Lord protect me ... no no no no" as he lifts her
• Scene 9: Tracking shot down the hall, hard mean no sensuality, just a direct assault. They kept her fully clothed so as to avoid pornography.
• Scene 10: The rape, the rhythms of the bed seem to surge through to the edge of the women's hands as they twist her arms She does keep saying no. The women ride her like a horse, he comes down with look of sheer hatred. He slaps her hard. She lays on bed the way she did in bridal gown in dream. Reported rape in Folio Society, II, letter 257 by Lovelace, p. 883; letter 314 by Clarissa, p. 1011; reported rape in Everyman, III letter 29, by Lovelace, p. 196, letter 86, end of series by Clarissa, p. 371. Wordless.
• Scene 11: In the street near tavern: Lovelace's famous words; Jack's fury: "why do you drag me here ... you savage ... It'll not be the end of it ... I'll hunt you down. I will not rest until this violation has claimed the blood of one of us". He kicks baskets around. Letters 257, 258, Folio Society, II, pp.883-885
• Scene 12 : Clary pouring boiling water in basin, washing herself, getting sweat off, looking at herself in mirror, pulls hair back. The broken, vulnerable, terrorized and mad Clary is skipped. Letters 261, Papers I-10, 261.1, Folio Society, II, pp. 890-96.
• Scene 13 Establishment shot of outside house, morning, life goes on, Clary brought in between prostitutes. From Letter 263, Folio Society, II, pp. 899-903, also Letter 267, Folio Society, II, p 914. also MK, 241-42. Between Sally and Deborah Clarissa is brought before Lovelace. For me this scene embodies this line: From bitter searching of the heart, / Quickened with passion and with pain / We rise to play a greater part.--Frank Scott via Leonard Cohen. See blog for transcript of lines Clarissa: "What further evils are reserved for me? ...
• Scene 13: Downstairs room, prostitutes talking. This is added. There is no scene in the book of them alone discussing Lovelace and Clarissa. Mocking Lovelace, she's one of us now. In book we have Clarissa trying to bribe Dorcas, win her over, the women we are told grab her, and later they taunt her in the prison and drive her to hysterics (Letter 333, Folio Society, II, pp 1050-64)..
• Scene 14: Lovelace writing a letter to Jack, VOICE-Over about license, mocking. Letter 254, Folio Society, II, pp. 871-72. (Rest of letter about one year marriages saved for Ambrose's assembly).
• Scene 15: Clary on stairs, suddenly tries to flee, grabbed by women. She picks up penknife and puts it to her throat; he redirects it to his own but she hasn't the hatred nor violence in her to slash him and breaks down. From Letter 264, Folio Society, II, p 905. Penknife occurs twice in book, Letter 913, Folio Society, II, pp. 913-915, when he is menacing on, half-thinking to force her to sex, and she throws herself on chair, gets a bloody nose and he offers to dispatch himself with a sword; second time is cooked up scene of attempted rape where she takes a knife to her throat and he does not remove it; she stands firm, nor does he put it to his throat, Letter 281, Folio Society, pp. 950-52
• Scenes 16/17: Alternatively, first Jack reading a letter VOICE OVER of Lovelace Lines come from his letters, purpose of scene to fit the plot, now he is taken away to Lord M's. He is in carriage in landscape, and then back to Jack reading. In novel at first Jack refuses and then agrees for Lovelace's sake, Letters 286, 294, Folio Society, II, pp. 957-58, 967-68. "Sinclair's girls are savages ..."
• Scene 18: Clary being readied for wedding; girls complaining like petty spoiled children. I suppose one result is she dies in this plain wedding dress.
• Scene 19: Clary comes out, sees coast is clear, put on cape and runs, Mrs Sinclair (top shot) comes down, sees Miss Lyons and other women in room, and realizes Clarissa has fled and goes after her. Letter 293, Folio Society II, pp. 964-65 (how Clary escaped by telling them they were punishable by law and the door left unlocked)
• Scene 20 (or sequence): Clarissa fleeing through streets with Mrs Sinclair right after her. Both in capes. Past iron gates, corridors of columns, upstairs into church, old wooden door shut in our face. Raining.
• Scene 21: In church, she walks through high vestibule, to benches, sits and prays. We hear thunder. She is at last alone.

Episode 3: Arrested. Emblem : Clarissa seen in the cape through the bars approaching her prison from the hall.

• Scene 22: Clarissa comes out, beggar woman nearby; she is arrested for debt, comment about bilking her lodgings. Source intense distress of Letter 333, Folio Society, II, pp. 1051-55.
• Scene 23: Literal bars as she comes up (emblem); it is a relief. She is alone and unmolested at last. Sound of cat's yowl.
• Scene 24: Belford coming up poorly lit cement wall stairs, into room, he beseeches her to let him help her, she would as soon die here as anywhere. In film he takes ring (not in book). Letter 334, Folio Society, II, 1066-68 (some of language comes from here). Tremendous contrast with next scene at ball as we see her face looking out barred window
• Scene 25: Overdressed people dancing, mastershot and then zero in on Lovelace splendidly dressed, offers his scheme of yearly marriages, sounds very like Restoration comedy, Letter 322, 325, 367, Folio Society, II, p. 1025, 1133-37 (first & 2nd mentions of Colonel Ambrose as Lovelace's kinsman, ball, Everyman, IV, p. 16), Letter 254, Folio Society, II, pp. 872-74 (annual marriages). Weaves biting dialogue with Miss D'Oily in, then more dancing, more talk of annuals leaning over stairwell, other ladies omitted but Anna seen and he rushes to her; useless talk; dissolve Lovelace himself seen dancing. See paper for transcript of Lovelace's amoral witty speeech and Miss D'Oily's accosting him.

Episode 4: Publicly Humiliated. Emblem: Lovelace kneeling, before everyone in assembly just slapped once by the real Lady Betty

• Scene 25: (Continues): We return to stairs, two women , one large, imposing, and Lovelace breaks away from dance to kneel, a play within a play, she slaps him hard twice, "Impersonate me with your strumpets ...", dancing resumes
• Scene 26: Brief series of shots where gradually we make out Clarissa behind bars writing a letter to sister asking for curse to be lifted. her health "precarious". In book back at Smith's, after Anna's set-to with sister (p. 1109, see above, Part 3, Episode 5). Quiet, birds, sound of quill scratching. Striking contrasts with Lovelace. Letter 363, Folio Society, II, pp. 1122-23.
• Scene 27: In church again. Anna's worried concerned face trying to appeal to sneering James and cold Bella. It is James who says she must prosecute, Hickman who says a modest woman shrinks from this, and James rejoins marry the fellow ("a husband makes a charming fig leaf for a wife's failings" -- last line), and part of Arabella's letter 378, Folio Society, II, p. 1160.
• Scene 28: Now in prison with Doctor, old woman with soup bowl and spoon, Belford hanging over all, doctor attempts to prove to Clarissa she is not guilty and all want her to try to live. Clary: "I cannot." Belford: "You must try." After reading, Clary: "Death's not a punishment, death is my friend. The only real dishonor is compromise, and self-betrayal. Death is my independence. Belford's distressed face.
• Scene 29: Two brief shots of Clarissa half sitting up in bed, VOICE OVER of Clary, in prison room writing, and Anna reading aloud and beginning to cry, in continuation of same letter. A farewell and camera back to Clary's hands writing letter. Letter 458 provides tone, 473.2 the goodbye (somewhat hysterical), Folio Society, II, p. 1319-21, 1349
• Scene 30: We see window of prison stairwell, Lovelace's voice, a man, "You sir?", and Belford at top of stairs; Lovelace " ... my heart is set on it. I will have her even in my deathbed," Belford: "Then you'll have to kill me first" and takes a lunge. Lovelace backs off, down stairs, a stalker. Series of letters where Lovelace hounds her at Smiths, begins Letter 415ff, 418, Folio Society, II, p.1208ff, 1219ff (Everyman, Vol IV, Letter 55, p. 124)
• Scene 31: Inside room, Clary ask if it was Lovelace and Belford says he's gone and she thinks of expedient and begins to read aloud as pen scratches: "Mr Lovelace, I have good news to tell you ... " Letter 421.1, Folio Society II, p 1233 (which does follow right after the Smith scenes in the book as in the film Lovelace attempts to bypass Belford)
• Scene 32: Lovelace in chamber, depths of night, VOICE OVER of Clary continues letter. "I beg you sir do not disturb or interrupt me ..."
• Scene 33: Lovelace was in Mrs Sinclair's house and emerges, serious look on face. He is the one now paralyzed in looks, depressed, and for a moment half-fooled. In this rendition, the whores mocking him and Clarissa. "Oh, Mr Lovelace my soul is above you .... " Deb with body exposed. Scene of aping Clarissa amuses him in Letter 416, Folio society II, p 1217 (in the midst of the ugly scenes written by him of his bullying the Smiths, Everyman IV, p 134) Caress between Mrs Sinclair and Deb suggests lesbian sex again.
• Scene 34: Again stone stairwell leading to prison room, slowly coffin brought upstairs and set in its place. Belford seen gloomy on bench by wall, his point of view on Clary and woman nurse and bewigged doctor. Letter 450, Folio Society, II, p. 1303-5.
• Scene 35: Establishment shot: coffin, church sounds, and Belford there on knees asking her to allow Lovelace to see her, and she says she "cannot" but tell him "he has my forgiveness ... wish my suffering could in any way atone for his sins my last trear should fll on his behaflf. I could have loved him .." Letter 467, Folio Society, II, pp. 1342-45. They omitted all self-satisfied notes ("poor man he had a loss in losing me") and also lines that in context are religious come out as secular love and forgiveness. She is no longer clean, she is sweaty, dirty, but quiet and calm.
• Scene 36: Establishment shot is Harlowe family in close concave with Doctor inside group. Uncle responds with reproachful look to James, he is egregious in words and says if she comes home, he will leave, father says "then leave, the child has suffered enough ..." and he walks out

Episode 5: Clarissa's time: Emblem: She lays dying on her prison pallet, and is serene, exultant, blithe to go

• Scene 37: Her face swollen, dying, she smiles. Letter 481, Folio Society, II, pp. 1360-72. Illustration in book has Morden by her bedside and she takes both their hands; in the film it's Bedford who gives her his hand. By bedside priest, doctor, Belford, woman nurse. Concludes on her face and dissolve.

  Clary: I am not sad. Rejoice with me that all my worldly troubles are so near an end. Mr Belford.
  He takes her hand, and she smiles.
  Clary: Bless oh bless you all. Oh com. Blessed lord Jes.... She dies, man makes a sign of the cross and strong theme music starts in quieter vein and continues in the next scene

• Scene 38: Lovelace's room late at night; establishment shot is a letter on top of a pile on a desk; we see his face, he reads, she's dead, a tremendous shout, "no" and his face broken into patterns. Equivalent is mad and anguished letters 480 (by Mowbray) 511-12, Folio Society II, 1359-40, 1427-30.
• Scene 39: Crane shot of Harlowe front hall, family standing in row, coffin brought in, all but James sad, close up of mother's face over coffin keening, of father's, corpse in coffin, mother grieving, at worship over dead daughter. Another dumb scene. Letter 500, Folio Society, II, 1398-99. Father reproaching son, mother crying out.
• Scene 40: Fencing room: the duel and death of Lovelace. Letter 537, Folio Society, II, pp. 1487-88. Beyond replacement of Morden with Belford, in original Lovelace looks to win and "outrageous" that he doesn't; in scene with Belford he does not at first believe Belford means to kill him; Lovelace shown seeking death, very different from the novel. See paper for transcript of words and gestures, beginning Establishment shot: Lovelace boasting and swearing revenge, moving about quickly, a grim Belford seen; then Belford speaks and Lovelace begins to menace him with sword, Belford fends him off, and then Lovelace grins angrily, comes forward and Belford says the truth: Lovelace with sword hanging by him:" I'll have my revenge on them ... I shall sweep away every last vestige of the Harlowe tribe from the face of the earth. Belford there, facing him, rigid /....
• Scene 41: Establishment shot: close up of mother in hat and earrings, looks deep within (is she thinking she did not take Clary in) we hear bells, she smiles, has her way now. Performance of ceremony, Anna looking sad and then at him from afar, slightly anxious; then we see the group walking out; then they pass by the gravestone, Anna puts flowers down, Hickman nudges her away, mother turns back to, and camera gets close shot of stone, and then moves away as we watch procession go off. An interpretation different from SR's conclusion, Folio Society, II, p. 1491
• Scene 42: Harlowe house once more from outside. 2nd Establishment face is family again in study where will was read, money discussions happen, uncle is packing papers. James tries to snatch papers back, but uncle won't let go and offers to litigate; Mr Harlowe asks if he will withdraw all his estates, and uncle says yes. As Lovelace says "is death the consequence of rape," James and Bella make common sense prudent rebuttals: "Why should be pay the price for Clarissa's wilful stupidity" and "I fail to see what making me a beggar does for my sister's reputation." Uncle going out gives moral: "greed has destroyed" the "heart" of the family.
• Scene 42: Outside house, carriage, waiting, uncle goes in, drives off, sounds of birds, horses, outside and anamnesic music resumes, hysterical pitch as we stare at house and credits roll.