FIRST DROP OF RAIN - simplyscripts.comwillingly kiss a man who did not first seek my permission....

FIRST DROP OF RAIN

Written by

James P Brosnahan

Copyright (c) 2020

WGA #2080815

[email protected]

FADE IN:

EXT. PARK - BANK OF POND - DAY

FRANCES BURNEY (early 20s), a passionate and insightfulyoung woman, sits on a bench along with HUGH LOWE (late20s), her handsome correspondence tutor. Frances reads thelast page of a novel while Hugh listens with rapt attention.

SUPER: "London. Spring of 1776. Based on a true story."

Frances hands the book to Hugh.

INSERT - BOOK COVER

"Pamela: Or, Virtue Rewarded - by - Samuel Richardson"

BACK TO SCENE

Hugh tucks the book into his messenger bag.

HUGHWell, Fanny, what is the verdict?

FRANCESOh, Hugh, is it not enough that Ienjoy the books you bring me?

HUGHI am your tutor. Thus, I am compelledto inquire. And, as my pupil, you areobliged to answer.

FRANCESVery well. Mr. Richardson'sepistolary style is effective.

HUGHHesitant praise.

FRANCESHe presents Pamela as an autonomousperson and not an appendage to fatheror husband. And, she works for herliving. For that, I applaud him.However, women are too deep aprofundity to be compassed by a naiveprotagonist who views her chastity asa priceless possession to be guardedby all means necessary.

EXT. PARK - ROSE GARDEN - CONTINUOUS

Frances and Hugh stroll the garden path.

HUGHWomen find Pamela to be a heroine forrebelling against her abusive master.

FRANCESSadly, Pamela does surrender herperson to him when she becomes hisobedient wife. - I would neverwillingly kiss a man who did notfirst seek my permission. And, Icertainly would not marry a so-calledgentleman whose concept of courtinginvolved unwelcomed advances to theextreme of assault.

Frances and Hugh are in sight of a shelter house when thefirst few drops of rain gently fall.

FRANCES (cont'd)Chastity is not a woman's highestcurrency. I fear; what is to becomeof young women if all they have toread are novels such as Pamela.

Hugh reaches to check a rosebush. Frances smiles playfully.

FRANCES (cont'd)I have left no letter to be found.

HUGHI like our little game.

FRANCESIt is as if I have an admirer.

HUGHI admire you.

FRANCESYou must. You are my tutor.

Drizzle becomes a steady rain.

Frances races Hugh to the shelter house!

2.

INT. SHELTER HOUSE - CONTINUOUS

Hugh makes it inside the shelter house a few steps ahead ofFrances. They are both in laughter.

FRANCESYou never let me win.

HUGHWould you respect me if I did?

Frances shakes her head.

They watch the rain from the safety of the shelter house.

FRANCESMother used to read novels to me onrainy days. I miss her.

Hugh gives her a sympathetic nod.

Distant THUNDER! The rain comes down harder.

FRANCES (cont'd)I fear we are to miss today's lesson.

They sit at a table.

FRANCES (cont'd)How do you expect me to practice myletters with neither ink nor quill?

HUGHI have something to show you.

Hugh produces blank sheets of paper from his messenger bagand slides them in front of Frances.

FRANCESI am quite familiar with paper.

Hugh produces a fountain pen from the bag.

FRANCES (cont'd)What is it?

Hugh demonstrates the pen.

HUGHA fountain pen. Recently arrived fromGermany.

3.

FRANCESWill wonders never cease.

HUGHNow that my father put me in chargeof the family publishing business, Iplan to gift one to all my authors.

Frances looks with fascination at the fountain pen.

FRANCESMay I?

Hugh playfully presents the fountain pen to Frances.

HUGHJust this once. These are meant foraccomplished authors - notcorrespondence pupils.

Frances raises an eyebrow.

EXT. HILL'S CIRCULATING LIBRARY - LATER

The rain has stopped and this street in the Strand is busywith shoppers. Frances and Hugh admire the fine books ondisplay in the window.

Frances' gaze tracks from book to book, every one of them iscredited to a male author. Frances frowns. Her eyes land ona title of interest to her.

INSERT - BOOK IN WINDOW

"Clarissa: Or, the History of a Young Lady - By - SamuelRichardson"

BACK TO SCENE

Frances turns to find Hugh smiling at her.

Hugh holds open the door for Frances.

INT. HILL'S CIRCULATING LIBRARY - CONTINUOUS

Men and Women peruse titles on display.

LIBRARY MAN (adult) makes himself useful with some workbehind the counter.

Frances and Hugh step up to the counter.

4.

LIBRARY MANMay I assist you, sir.

Hugh playfully indicates a smiling Frances. Library Man isdeadpan as he shifts his eyes to her.

FRANCESClarissa, if you please.

EXT. HILL'S CIRCULATING LIBRARY - CONTINUOUS

Hugh and Frances emerge from the store. Frances clutches thebook as if it is her most precious possession.

FRANCESI shall give this a fair appraisal.

HUGHYour father must never become wisethat I procure books for you.

FRANCESIt will remain our precious secret.

INT. BURNEY FAMILY HOME - SEWING ROOM - DAY (MORNING)

This once luxurious upper-class residence is now showingsigns of neglect. Formerly a bedroom, this room is nowoutfitted for seamstress work. The drapes are drawn closed,shutting out the sun. The candlelight is more suggestive ofmidnight than morning.

Frances is hunched over Clarissa, which she has beensecretly reading all night.

A rather untidy sewing table cluttered with table linensmuch in need of mending, as well as a dress form with anevening gown in the early stages of making, are evidencethat Frances is far behind in her sewing.

Frances reads to the end and sets the book upon the desk.She goes to the sewing table and threads a needle. Shereturns to the desk, inks a quill, and pens the opening of aletter in perfect Italian 'ladies' hand' handwriting, whichis much narrower and more slanted than modern cursive.

INSERT - LETTER

"Dearest, Hugh"

BACK TO SCENE

5.

Frances goes to the window and draws open the drapes. It'sdawn. She gasps!

FOOTSTEPS of a man coming up the stairs!

Frances scurries to hide Clarissa in a locked desk drawer.She runs to the dress form, where she pins the evening gownas if she had been hard at work sewing all night.

CHARLES BURNEY (50s), Frances' father, knocks and opens thedoor. His demeanor screams disappointment.

FRANCESPicture it with ruffles and lace.

Charles shifts his gaze to the tattered tablecloth.

CHARLESMrs. Stokes expects her linens to bemended in time for her niece'sbirthday. She agreed to payhandsomely if you were to deliverthem this very afternoon.

FRANCESMust I? It is such a lovely day.

CHARLESThe path to idleness is known to leadmany far off the King's highway.

FRANCESI have toiled all night.

Charles notices the letter, inkwell and quill on the desksurrounded by burnt candles.

CHARLESSewing?

Frances nods her head.

Charles makes his way to the desk.

CHARLES (cont'd)If that is true, then how is it thatthe candles are here - yet, you aresewing over there?

FRANCESI... took a break to compose a letterto Hugh. Only for a moment.

6.

Charles picks up the letter.

FRANCES (cont'd)Personal correspondence. I trust youwill respect my privacy, Father.

Charles shakes his head in disappointment.

FRANCES (cont'd)Do you find it unreasonable for apupil and her tutor to shareintimacies?

CHARLESI desire the best for you.

Charles returns the letter to the desk.

FRANCESNow that Mother is gone, Hugh isthe only one who understands me.

Charles processes her painful words.

CHARLESI do not wish for you the hard lifeof a woman of labor. It is importantto me that you marry well.

FRANCESFor a daughter not to burden herfather, must she burden a husband?

Charles lets out a sigh of exasperation.

INT. BURNEY FAMILY HOME - STAIRCASE - CONTINUOUS

Frances follows Charles down the stairs.

FRANCESI intend to earn a good living.

CHARLESSome work beyond sewing, perhaps?

INT. BURNEY FAMILY HOME - FOYER - CONTINUOUS

FRANCESI am fond of writing.

7.

CHARLESYou are a good girl, my dear, and Iam indebted to you for your admirablecopying of my notes for my book. Donot let the idea take hold of youthat such work is well paid.

FRANCESI was not thinking of copying.Perhaps, I could write a novel.

CHARLESTo be sure - to be sure. You mightwrite a novel for your privatecollection. So might anyone who couldpay for a ream of paper, a bottle ofink and a box of quills.

FRANCESI like how I feel when I write. Myquill takes me away to a place whereI do not miss Mother so much.

CHARLESMy dear, writing a book requires farmore than female feelings. It demandsmale intellect.

Frances is crestfallen.

Charles retrieves hat and coat from the hall tree.

CHARLES (cont'd)I trust that my new book will findthe shelves of many readers. In themeantime, you must earn enough as adressmaker to maintain appearances.Attracting a proper husband is anexpensive proposition.

FRANCESThere is more to life than a husband.

CHARLESYou are no longer a girl. Every yearcounts in reducing one's chances ofbeing settled in life. Pray tell,what can be more important than ahusband?

8.

FRANCESPersonal accomplishment. I rememberhow proud you were when you firstbeheld your History of Medieval Musicin cover and binding. All of Londonflocked to your fame.

CHARLESIt seems like a lifetime has passedsince the King was last desirous ofinviting me to dinner at Windsor.

FRANCESI desire to one day feel truly proudof myself, if only for a moment.

Charles dons coat and hat.

CHARLESYou have plenty of reasons to beproud. Many fine ladies havecomplimented your dressmaking.

Frances sighs in frustration.

CHARLES (cont'd)Tomorrow night, we are going to seeLa Buona Figliuola. I am doingresearch for my book. Afterwards, youwill attend your first formal ball,where I suspect you will find manyeligible suitors.

Frances purses her lips.

CHARLES (cont'd)Your sister married a singer and shelives in the lap of luxury.

Charles takes a long, hard look at Frances. This makes hersuddenly self-conscious.

CHARLES (cont'd)Your hair is a rat's nest.

Frances runs her hands through her hair.

CHARLES (cont'd)Always be prepared to make a goodfirst impression, lest it be yourlast.

9.

FRANCESMother used to say that a realgentleman understands that the trueworth of a woman is sealed within herpages. He is a pretentious cad whomakes the mistake that he fancies allthere is to know about a woman byglancing at her cover.

CHARLESYour beauty, my dear, is how you willwin a man's heart.

INT. BURNEY FAMILY HOME - SEWING ROOM - CONTINUOUS

Frances stands in front of a full-length mirror as she runsa comb through her hair. The comb gets tangled and pulls. She musses her hair in frustration!

Frances goes to the desk and continues writing the letter toHugh that she started earlier.

INSERT - LETTER

"Dearest Hugh, I am grateful for your gift of Clarissa."

BACK TO SCENE

Frances finishes writing the letter and seals it in wax.

EXT. PARK - ROSE GARDEN - LATER

Frances strolls down a path to the rosebush. Seeing that sheis alone, she hides the letter deep within the rosebush asto not be easily discovered by the casual passerby.

SERIES OF SHOTS -- Frances tends to her seamstress duties.

A) Frances mends linens.

B) Frances leaves the house to deliver the mended linens.

C) Frances returns to the house. She is laden with a freshpile of torn and tattered linens.

D) Frances sews evening gown by candlelight.

E) Frances falls fast asleep while dawn breaks outside thewindow. The completed evening gown adorns the dress form.

10.

INT. BURNEY FAMILY HOME - PARLOR - DAY (AFTERNOON)

HANNAH PEARCE (late 20s), the accomplished married daughterof the Burney family, plays piano. Frances and Charleslisten with rapt attention. The private concert comes to anend and Frances and Charles applaud.

CHARLESto Frances( )

Your sister is a wonderful pianist.to Hannah( )

Hannah, please express my gratitudeto Bernard for allowing his wife tovisit her broken down father.

Frances can see in her father's eyes the pride he has forher older sister. Frances rises from her chair.

FRANCESI must attend to my mending. Thankyou, Hannah. Delightful, as always.

Frances walks out.

CHARLESPoor Frances has none of youradvantages.

HANNAHShe really is not a dunce, you know.

CHARLESI must admit, despite her lack ofmusical ability, she really has donesome very pretty sewing.

Hannah rolls her eyes at Charles.


Hannah toys with the contents of Frances' sewing basketwhile Frances sews.

HANNAHYou work very neatly. More neatlythan I.

Frances smiles her thanks for the compliment.

HANNAH (cont'd)How is your writing progressing?

11.

FRANCESI have given my full attention to mysewing.

Hannah examines cutouts that will eventually form a dress.

HANNAHHow is it that you can make suchelaborate dresses?

FRANCESIt is not too difficult, really. Isee the dress in my mind, break itdown into sections, cut out thepieces and sew them together.

HANNAHI believe you will find that samecreative process is important to awriter.

FRANCESI have a great deal of work. May weconverse later?

HANNAHI remember the day you made a prettybonfire of your novel.

FRANCESI was worried Father would discoverit.

HANNAHI rescued a few pages from thefireplace. I still read them fromtime to time, wishing I had yourtalent for writing.

Frances looks up from her sewing for an instant and thenfuriously gives her attention to her sewing work.

HANNAH (cont'd)Listen to your older sister. What youshould toss into the fire is thesense of guilt you attach to thewriting of stories. If you applyyourself to your craft, I have nodoubt you could become one of thebest novelists in all of London.

Frances becomes a little fidgety with needle and thread.

12.

HANNAH (cont'd)Father believes that nothing a womancould do would surprise him.

Hannah steps to the door.

HANNAH (cont'd)I play piano. That is my gift. Youhave been blessed with the gift ofstorytelling. Put it to good use. Ican see you accomplishing somethingtruly extraordinary.

INT. LOWE AND SON PUBLISHERS - OFFICE - LATER (EVENING)

THOMAS LOWE (60s), Hugh's father and the proprietor of Loweand Son Publishers, is seated at his desk.

MRS. EVANS (40s), attired in a dress suitable for the wifeof a Member of Parliament, scowls at Thomas.

THOMASMrs. Evans, the quality of yourmanuscript is - ah - quite unlikeanything in our catalog.

Mrs. Evans glances at her manuscript on his desk. It sitson top of a stack of other rejections.

MRS. EVANSThen, why not publish it?

THOMASWe are a respectable publisher. Wemust adhere to our principles.

MRS. EVANSI see. You are punishing me for beinga literary lady.

Thomas and Mrs. Evans in a stare down. Neither blinks.

MRS. EVANS (cont'd)May I have my manuscript - please?

Thomas retrieves her manuscript and hands it over.

Mrs. Evans storms out of the office.

Thomas sighs relief. He catches a glimpse of Hugh passing byin the hall outside the open door. Hugh is dressed in dailybusiness attire and carries a messenger bag.

13.

THOMASSon!

Hugh stands in the doorway.

HUGHYes, Father?

THOMASWhere are you off to at this hour?

HUGHI have been summoned by Mr. Burney.It is rumored he is writing a historyof opera.

Hugh pats his messenger bag.

HUGH (cont'd)I have a contract ready for him tosign, just in case. - Who was thatlady? She appeared rather put out.

THOMASMrs. Evans. Wife to a Member ofParliament. She considers herselfsomething of a novelist.

HUGHIs her book any good?

THOMASScandalous story in the style ofHaywood's Love in Excess. Entirelyinappropriate for our respectableclientele.

HUGHYou reject all literary ladies. Why?

THOMASThey are all scandalous women withstories to match. Richardson wouldnever imagine a female character sobold as to think like a man.

HUGHWhat if a female writer were to crafta story where the protagonist thinksand acts like a real woman - wouldyou consider it?

14.

THOMASLowe and Son will never publish aliterary lady!

EXT. PARK - ROSE GARDEN - LATER (EVENING)

Hugh casually strolls down the path to the rosebush. Seeingthat he is alone, he stealthily retrieves Frances' hiddenletter. He reads it.

FRANCES (V.O.)as Hugh reads...( )

Dearest Hugh, I am grateful for yourgift of Clarissa. As an interpreterof women, Mr. Richardson has sorelymissed the mark yet again. To befair, I am unworthy to pronouncejudgment. Lacking any experience ofromance, my narrative of men would befound equally wanting. I cherish youfor bringing me books. You are mytrusted tutor. Sincerely, Fanny.

Hugh places the letter in his messenger bag.

INT. BURNEY FAMILY HOME - PARLOR - LATER (EVENING)

Charles, in formal attire, swirls a glass of Madeira wine ashe lounges on the sofa. Hugh sits up straight in a nearbychair. In his hand is a glass of Madeira.

HUGHYou certainly know how to make onefeel under dressed.

CHARLESI wish to speak with you on a matterof some gravity.

HUGHFather and I are hopeful this matterhas to do with Lowe and Son'srepresentation of your new book.

CHARLESI hold your father in high esteem. Hehas grown Lowe Publishers from humblebeginnings into the most respectedpublishing house in London.

15.

HUGHYou mean, Lowe and Son Publishers.

CHARLESThomas sells my book to respectedprofessors. You tutor my daughter inthe womanly art of correspondence.

Charles swirls his wine and raises the glass to his nose.

CHARLES (cont'd)Hint of orange peel and burnt sugar.

Charles sips and lets the wine linger on the tongue.

HUGHShall we discuss your book?

Charles glances towards the stairs as if he expects someoneto descend at any moment.

CHARLESAmong other things.

HUGHTo what other purpose have I donemyself the honor of this visit?

CHARLESYou were a Navy man.

HUGHI served my King, yes.

CHARLESThen, you have been among the savagesof the South Seas, and are acquaintedwith the rules of chasing andcapturing prizes - all of thefeminine gender.

HUGHDo you mean frigates and catamarans?

CHARLESThere is nothing nearer feminine inform than a catamaran.

HUGHWhat does this have to do with yourbook? You are writing on the subjectof opera, not of ships and seas.

16.

CHARLESI venture to say you see my daughteras something of a prize.

Hugh's look of astonishment is met with Charles' stern gaze.

CHARLES (cont'd)Do not be under any illusion that Iam not wise. Nothing happens in thishouse without my knowing it.

Hugh reaches into his messenger bag to retrieve thepublishing contract, but unwittingly ends up with the letterfrom Frances in his hand. The wax seal makes it evident,however, he fails to notice. Charles immediately recognizeshis daughter's wax seal, and he smirks.

HUGHI have here a contract, sir.

CHARLESI understand you and Frances exchangepersonal letters.

Hugh follows Charles' stern gaze to the letter and catcheshis mistake.

HUGHThat she may practice hercorrespondence, yes.

Hugh stuffs the letter into his messenger bag and retrievesthe contract.

CHARLESNo more personal letters. I wish forFrances a husband who can provide herthe lavish life she richly deserves.

Hugh is dumbfounded as he holds the contract in his unsteadyhand. Charles looks at Hugh sternly.

Frances, breathtaking in her evening gown, appears standingin the passageway. She is shocked at the unexpected presenceof Hugh!

FRANCESHugh!

Hugh is fast to his feet! He is rendered witless by Frances'stunning beauty.

17.

HUGHFanny!

Charles raises an eyebrow.

Hugh bows.

HUGH (cont'd)You are stunning.

Frances curtsies.

FRANCESYou are too kind, sir.

Frances glares at Charles. He retorts with a cheeky grin anda shrug.

CHARLESto Hugh( )

How careless of me to get my daysconfused. Tonight, is my daughter'sintroduction into society. Quite theformal affair. Many of London's mosteligible bachelors will be there.

Hugh gazes at Frances. This makes her self-conscious.

HUGHI have never seen you so elegant.

FRANCESNo one will notice me.

HUGHLondon will adore you.

Charles extends his arm. Frances accepts.

CHARLESto Hugh( )

You may see yourself out. Leave yourcontract on the table.

to Frances( )Shall we?

Charles escorts Frances out of the room.

Main door to the house CREAKS OPEN and SLAMS CLOSED.

Hugh sets the contract on the table.

18.

INT. GRAND BALLROOM - LATER

Chamber orchestra plays and couples waltz.

MILES HAZELTON (early 30s), one of London's most famoustenors and an eligible bachelor, holds court with manyfashionable ladies.

Frances hangs onto Charles' arm. Charles slides his arm outfrom Frances' grasp.

FRANCESDo not leave me.

CHARLESMy dear, you cannot experience lifesitting in a corner.

Charles winks and makes his exit.

Frances gingerly steps into the room.

MUSIC ends.

APPLAUSE from all, except Frances who observes for a second,not knowing what to do. A moment passes. Frances applaudswith great enthusiasm just as the applause in the room diesdown, placing herself as the center of attention. Dancecouples are put off by her display of classlessness.

Frances notices that she has established herself as acuriosity.

Miles cannot take his eyes off her.

Frances tries and fails to feign a self-confident posture.As she looks for a friendly face, her eyes land on Miles.Intimidated by him, she retreats into the corner.

Miles approaches and they stand face to face.

Miles smiles. Her beauty has rendered him breathless.

Frances flushes, her eyes cast downward.

FRANCESI would rather that you talk to methan merely look at me.

MILESYours is a face that deserves to beadmired.

19.

FRANCESI do not invite people to look at me,and happily few people do.

The next waltz begins to play.

MILESWill you honor me with a dance?

FRANCESI would rather not be consideredready to accept the first partner whowould take me.

MILESPlease allow me to properly introducemyself. I am Miles Hazelton.

Frances is starstruck.

FRANCESThe opera tenor?

Miles bows.

MILESAt your service.

Miles waits for Frances to introduce herself, but all shecan do is gaze at him.

MILES (cont'd)And, you are?

FRANCESFrances. Frances Burney.

Miles offers to take her hand.

MILESMiss Burney, allow me the honor andhappiness of this dance.

Frances extends her hand at first, then draws it back.

MILES (cont'd)It is perfectly natural.

FRANCESI am sure it is. I just have neverseen nature so formally attired.

Miles gallantly extends his hand and waits patiently.

20.

Frances summons courage and takes his hand.

Miles leads Frances out onto the dance floor.

Dancing couples sneak peeks at Frances. She is a new facedancing with the famous tenor. Frances catches their glancesand is suddenly even more self-conscious. Miles can see whatis going on and he soaks in the attention.

MILESLet them look. They are all enviousthat I have such a lovely partner.

Frances smiles. She struggles to maintain a proper danceposture. Her inexperience at a formal dance is heightened bynervousness.

FRANCESI must be an embarrassment.

MILESYour part is easy. All you need to dois follow my lead.

Miles does his best to lead Frances, however, her feet getin his way and they nearly topple with Miles catching her.

MUSIC stops and the room goes silent!

FRANCESI feel like a fart in a hurricane.

Miles is on the verge of laughter, yet maintains composure.

Dance couples stare at Frances and Miles.

FRANCES (cont'd)Sorry.

MUSIC as the next song plays.

Miles and Frances dance. Frances is deliberate about herfootwork, which results in mechanical movement.

Miles attempts to pull Frances in closer to him. Sheresponds by maintaining a respectable distance.

MILESBeing in the public eye, I couldnever get away with such crudelanguage. A fart in a hurricane. Ha! Women are the fortunate ones.

21.

FRANCESHow so?

MILESYou enjoy the fruit of a gentleman'stalents without expenditure of effortnor fear of consequence.

Frances glares at him.

MILES (cont'd)You must admit that men are burdenedwith high expectations while ladiesare granted allowances for theirfailures.

FRANCESMight I suggest we find a moresuitable subject of conversation?

MILESTake this dance, for example. Yourright foot is unfamiliar with yourleft, yet I will be the one ridiculedfor being an inadequate lead.

Frances pulls away from Miles, which startles him.

FRANCESI am sorry that you have been sounfortunate as to make choice of mefor a partner.

Frances turns away, drawing unwanted attention for Miles.

MILESWhat accident of mine may I attributeto your poor behavior?

Frances meets Miles eye to eye.

FRANCESAccident, sir?

MILESYes, accident; for surely it is notmy intention to tempt a lady to beguilty of ill-manners.

FRANCESI would like to go now. London hasjust grown tiresome.

22.

INT. GRAND BALLROOM - LOBBY - CONTINUOUS

Charles observes Frances storming in from the ballroom.

Frances makes her way to the exit and, realizing that she iswithout her father, comes to a stop. She waits in dignifiedfashion as Charles approaches. He extends his arm. Sheaccepts. He escorts her to the door.

FRANCESI should have stayed in the corner.

CHARLESI see. What is the gentleman's name?

INT. BURNEY FAMILY HOME - SEWING ROOM - DAY (NEXT MORNING)

Frances sews, glancing at the desk while she works. She setsaside the sewing needle. She retrieves a hidden key fromunderneath a candle and unlocks a desk drawer, retrievingthe novel Clarissa. She gazes at it for a moment. Francessets the book aside and settles in at the desk. She inks herquill and begins to write.

FRANCES (V.O.)as she writes...( )

To draw characters from nature and tomark the manners of the times, is theattempted plan of the followingletters. - Evelina to the Rev. Mr.Villars.

Frances blankly stares at the paper. She glances at theevening gown on the dress form. She smiles and writes.

FRANCES (V.O.) (cont'd)as she writes...( )

A private ball this was called, so Iexpected to have seen about four orfive couples; but Lord! I believe Isaw half the world! The gentlemenlooked as if they thought I was quiteat their disposal. I thought it soprovoking, that I determined I wouldrather not dance at all, than withanyone who would seem to think meready to accept the first partner whowould condescend to take me.Everything is so new to me. But it isnow time to conclude. I am, with alllove and duty, your Evelina.

23.

Frances smiles as she admires her first page.

Charles appears standing in the doorway.

CHARLESMore letters?

Frances glances at the top of the page.

INSERT - TOP OF PAGE

"Evelina to the Rev. Mr. Villars."

BACK TO SCENE

FRANCESYes, Father. I am writing letters.

Charles eyes are drawn to the book Clarissa on the desk. Heshakes his head and walks away.

EXT. PARK - TEA GARDEN - DAY

Fashionable ladies mingle and enjoy tea.

Frances and Hannah sip tea and eat cakes at a table.

FRANCESMiles believes himself to be thebelle of the ball, but I shall teachhim that a woman can be just asimportant as a man.

HANNAHI am somewhat acquainted with Mr.Hazelton. He has performed in morethan one opera with my husband. I amcertain he was quite taken with you.

FRANCESMy heart raced when he asked me todance. Is this what love feels like?

HANNAHCareful now. What one considers loveis often a veiled infatuation.

FRANCESHe chose me! So many distinguishedladies - and he danced with me - anobody - a seamstress.

24.

HANNAHThere are seamstresses that do morefor this world than ladies of rank.

FRANCESI must lift myself up from my levelof insignificance. I will never playthe part of a crowned beggar maid.

HANNAHIs that how you think of yourself - abeggar maid?

A flurry of activity as ladies flock to greet Miles, who ison a stroll through the park! Frances does not notice, butHannah does.

FRANCESMiles is exceedingly handsome.

HANNAHNot to mention fashionably dressed.

Hannah motions for Frances to turn around. The sight ofMiles catches Frances by surprise!

Ladies press around Miles and speak at him in a buzz ofvoices. He bows low to the ladies and smiles politely.

Miles catches a glimpse of Frances and his smile broadens.He comes to her side. It is only then that he noticesHannah. He tips his hat and bows.

MILESMiss Burney. - Mrs. Pearce.

Frances is speechless.

HANNAHFine weather we are having.

MILESI regret I am expected at rehearsal.Otherwise, I would join you.

Miles presents a pair of theater tickets to Frances.

MILES (cont'd)You will be my honored guest onopening night.

Frances remains speechless as she accepts the tickets.

25.

MILES (cont'd)Consider this an apology for my rudebehavior at the ball. - Enjoy yourtea, ladies.

Frances watches Miles walk away.

HANNAHTell me about this rude behavior.

FRANCESWe exchanged a few words in haste.

HANNAHI would never wish for you the hardfate of having a singer at your side.

FRANCESAnd yet, you married one.

HANNAHThat is what makes me an authority.Mother is no longer with us, so it ismy responsibility, as your oldersister, to provide an opinion on thismatter.

FRANCESI am listening.

HANNAHMen are like those books you read.Mr. Hazelton does pose an impressivebinding and cover. I grant him that. However, I advise you to read thisbook word for word, lest you make arash judgment before you reach thefinal chapter. Do you understand whatI am saying?

FRANCESCompletely. You are saying that a mansuch as Miles is beyond my reach.

HANNAHListen to me. I know a thing or twoabout men like Mr. Hazelton. Did heseek to learn about you?

FRANCESI did not provide him an opportunity.

26.

HANNAHBe wary of a man who is smitten withhimself. That has been my experiencewith singers.

FRANCESMy only sister considers me unworthyof a gentleman's affections.

Hannah chuckles and shakes her head in frustration.

INT. BURNEY FAMILY HOME - SEWING ROOM - DAY

Frances sits at the desk. The book Clarissa is nowhere to beseen. She pens the last line of a new chapter. She takes thepage to the window and reads.

FRANCESReading...( )

I have since been extremely angrywith myself for neglecting soexcellent an opportunity ofapologizing for my behavior at thedance. But, if ever we should happento be so situated again, I willcertainly mention it; for I aminexpressibly concerned at thethought of his harboring an opinionthat I am bold or impertinent, and Icould almost kill myself for havinggiven him the shadow of a reason forso shocking an idea.

KNOCK at the door.

FRANCES (cont'd)You may enter.

Charles cracks the door and pokes his head in.

Frances glances at the empty space on the desk once occupiedby Clarissa. Charles has a mischievous look about him.

FRANCES (cont'd)Have you seen my copy of...?

Frances thinks twice and cuts herself off.

CHARLES(feigns confusion)

Copy of what, dear?

27.

FRANCESNever mind it.

CHARLESHugh is expected today.

FRANCESHow soon?

CLIP CLOP of a horse drawn carriage is heard.

CHARLESPresently, it would appear. It seemsas if the man has an annoyingpenchant for unannounced visits.

Charles closes the door behind him.

Frances looks in the mirror and confirms that she is notquite put together for receiving guests.

INT. BURNEY FAMILY HOME - PARLOR - CONTINUOUS

Charles serves Hugh a drink.

CHARLESI summoned you because I haveimportant business to discuss.

HUGHI am your servant, sir. I trust thatthis time you refer to our contract.

CHARLESWhen your father published my firstbook, there was no contract beyond ahandshake between two honorable men.

Frances appears standing in the passageway and waits to beacknowledged.

HUGHThese are modern times, sir. Much haschanged.

CHARLESChange is a double-bladed sword. With every swing, we slay the worst,and the best, of our traditions.

HUGHI trust you perused the contract.

28.

Frances clears her throat to draw attention.

Hugh is fast to his feet!

HUGH (cont'd)Fanny!

Hugh bows. Frances curtsies. Charles smirks.

HUGH (cont'd)Please, join us.

FRANCESAre you quite sure? The conversationimpressed upon me that you areconducting business.

HUGHI insist.

Frances takes a seat, followed by Hugh.

Charles reaches into his vest pocket for the contract andcomes up empty.

CHARLESHow careless of me. I must have leftthe contract sitting on my desk. Ifyou will excuse me.

Charles is at the passageway when he turns to Hugh.

CHARLES (cont'd)No catamarans.

Charles smirks and leaves the room.

FRANCESCatamarans?

HUGHNavy humor.

FRANCESWhat were you discussing with Father,if you do not mind me asking?

HUGHAn agreement for me to represent hisnew book.

FRANCESOh. Did you get my letter?

29.

HUGHI have it right here.

Hugh reaches into his messenger bag and produces the letter.

HUGH (cont'd)It is my belief that you could writerings around Richardson - with someknowledge of romance, as you statedso well.

Hugh hands the letter to Frances.

Charles appears standing in the passageway. He eavesdrops,unobserved by Hugh and Frances.

HUGH (cont'd)I considered you could read it to meand expound your review of Clarissa.

FRANCESYou have always been sincere in your interest to learn my perspective.

HUGHOnce I finish up with your father, wecan get to our lesson.

FRANCESThat would be lovely. Unfortunately,I have misplaced the book.

Hugh catches a glimpse of Charles. Charles clearly holds abook in his hands. Hugh gapes. Frances considers Hugh'sexpression is in response to her misplacement of the book.

FRANCES (cont'd)I will find a way to replace it.

CHARLESI believe Hugh was not expecting meto discover this.

Frances turns her gaze to Charles.

Charles holds up the book Clarissa for all the world to see!

Frances furrows her brow.

Charles raises an eyebrow at Frances and indicates theletter in her hands.

30.

CHARLES (cont'd)May I?

FRANCESI find your request appalling;however, I am not ashamed. You maysee it if you insist.

Frances surrenders the letter to Charles. He glances at itbefore turning his attention to Hugh.

CHARLESHave I not made myself perfectlyclear that my daughter is forbiddento read novels?

FRANCESIt was all my doing, Father. I am theone responsible for bringingRichardson's rubbish into your house.

CHARLESSamuel Richardson was a devoutmoralist and I will not have his namesullied in this house.

FRANCESConsider his Pamela. He praises hermore for defending her virtue thananything related to her abilities orintelligence. She is an object of hermaster's lust for much of the story. That is what we get in our librarieswhen men hold the quills.

Charles smiles. He is mildly amused.

CHARLESIf you are to go to all this troubleto sneak a book into our home, Isuggest you hide it properly. Not tomention, show some appreciation forquality writing.

FRANCESOf course, the issue you would takemost umbrage with is that I did notlike the forbidden book.

HUGHSurely, you do not suggest thatFrances is lesser for reading novels?

31.

CHARLESIt is indecent.

FRANCESWell, I read. I even write.

CHARLESAnd someday your letters will be ondisplay at Hill's Library alongsidegreat men of literature.

FRANCESWould it be so terrible if I were towrite a novel?

Charles laughs.

CHARLESto Hugh, in fun( )

Look what you have done. You havedisillusioned the poor girl throughthe reading of fiction.

FRANCESYou said yourself that I did goodwork on your History of MedievalMusic.

CHARLESCopying notes for your father's bookdoes not make you a writer. It simplymeans that you are a useful daughter.

HUGHHer correspondence is of highquality.

CHARLESBe serious, man! I do not meanwriting letters! What if Franceswrote a serious book? Would you darepublish her?

HUGHLowe and Son does not publishliterary ladies.

Charles looks Frances straight in the eyes.

CHARLESThere you have it, my dear. If youwere to write a book, it would be allfor naught.

32.

Frances is crestfallen. She rises.

FRANCESI am not quite up for a lesson today,Mr. Lowe. Since the chances of myseeing you again before you takeleave is remote, I bid you goodbye.

Frances makes a graceful exit despite her dashed hopes.


Frances runs in and slams the door! She hides her face inher hands to conceal her tears.


HUGHI fear we reduced her to hysterics.

Charles presents the book and Frances' letter to Hugh.

CHARLESReading causes her no end of trouble.

Hugh presents the contract to Charles. The men exchangebook and documents like they are hostages.

HUGHI believe reading conjures up fondmemories of her mother.

CHARLESEsther was a voracious reader.

HUGHAnd you made choice of her as yourwife.

Charles raises an eyebrow.

HUGH (cont'd)May I be so bold as to suggest thatFrances will fair equally well - notdespite her reading; because of it.

CHARLESFrances is a grown woman now. She canno longer afford to engage in suchunfashionable activities if she is toreach for a higher shelf than Esther.

33.

Charles peruses the contract.

HUGHI trust we can come to an agreement.

CHARLESThe sum is far less than expected.

HUGHIt is a generous offer.

CHARLESA bloody insult! That's what it is! A fraction of what Thomas paid for myfirst book.

HUGHThe history of music is no longer thetreasured subject it once was.

Hugh extends a hand.

HUGH (cont'd)If this book sells as well as yourfirst, I will see to it that you arefairly compensated.

Charles and Hugh shake hands.

CHARLESYou shall have a first draft shortly. I am well into the early chapters.

HUGHPerhaps, Frances could help you onthis book beyond copy work?

CHARLESYou are not a father, so I do notexpect you to understand. I mustprotect Frances.

HUGHFrom what, exactly?

CHARLESHumiliation.

HUGHHers or yours?

Charles stares at Hugh, a quizzical look on his face.

34.


Frances, quill in hand, blankly stares at an equally blanksheet of paper.

KNOCK at the door.

HUGH (O.S.)It is I, Hugh. May I enter?

FRANCESIf you insist.

Hugh enters.

HUGHHave I upset you?

FRANCESThe winds seem to send you in alldirections. I would expect a formerpilot to steer his ship on a truercourse.

HUGHI am confused.

FRANCESYou are confused? Try being taught toappreciate literature only todiscover that your tutor is notsupportive of literary ladies.

HUGHThat is not what I said.

FRANCESThen, Father and I must be equallymistaken by your meaning.

Hugh is drawn to the blank sheets of paper on the desk. Shefollows his gaze.

FRANCES (cont'd)I have been searching for how tobegin the next letter.

HUGH"Dearest, Hugh" is as good a place tostart as any.

A tattered tablecloth and a promise of a dress on the sewingtable catches Hugh's eye.

35.

FRANCESI have been ruminating on whether ornot to follow the epistolary form.

Hugh is drawn to the dress.

HUGHIt appears you may be falling behindon your duties.

Frances rolls her eyes.

HUGH (cont'd)I am concerned your father maycurtail our lessons if you fail tomake progress. We cannot allow thatto happen.

Hugh examines the stitching on the dress.

FRANCESWhat I have been trying to say isthat I am struggling with how tostyle my writing.

HUGHYou know all too well how to style aletter.

Frances grunts in frustration!

HUGH (cont'd)Your herringbone is impressive. Howdo you do it?

Frances tosses her hands in the air!

FRANCESFine! Let's talk sewing!

Frances sets aside her quill and takes a seat next to Hugh.

FRANCES (cont'd)(a bit sarcastic)

Would you like me to teach you how toherringbone?

HUGHin perfect honesty( )

Would you mind?

Frances is caught off guard. She pauses and softens hertone.

36.

FRANCESIt would be my pleasure.

Frances takes up needle and thread.

FRANCES (cont'd)What you know is modeled from thecommon Channel herring. It isfollowed with regularity by Londonseamstresses.

Frances demonstrates the stitching of a herringbone patternon a piece of muslin.

FRANCES (cont'd)My new pattern is modeled after theflying-fish of the South Seas.

Hugh looks at her quizzically.

FRANCES (cont'd)I still have all those drawings youbrought me from your sailingadventures.

HUGHThat was years ago.

Frances smiles.

FRANCESNotice the beautiful design of thebackbone.

Hugh examines her fine work.

HUGHYou have a steady hand.

FRANCESThank you.

HUGHLet me help you with the tablecloth. Simple mending, I can do. I wouldrather it not become common knowledgethat I enjoy it so much.

FRANCESIt is a strange world, indeed, whenone must hide their talents.

37.

HUGHIt is a hard world for men. We areexpected to be one sort of way.

FRANCESI can only imagine the strain.

HUGHOurs is a family of boys. Someone hadto learn the basics.

They laugh and mend the tablecloth.

HUGH (cont'd)Perhaps, we could alternate lessons.I teach you literature one week andyou teach me more advanced sewingtechniques the next - all with theutmost discretion, of course.

Frances smiles and nods. They sew.

FRANCESHave you ever dreamt of doingsomething truly meaningful?

HUGHFanny, I have little doubt you canmake a man instantly happy while alsotaking the world by storm.

FRANCESMen take the world by storm. Womenare destined to dance in theirpuddles.

Charles steps into the room. He looks with suspicion at Hughholding the tablecloth and sewing needle.

Hugh, suddenly self-conscious, sets the sewing work down.

Charles stares blankly at Frances and shakes his head. Heleaves and shuts the door behind him.

FRANCES (cont'd)Father is exasperating!

HUGHHe means well.

38.

FRANCESA father's acknowledgment that adaughter is useful is practically anannouncement that she is notaccomplished.

HUGHHe loves you, in his way.

FRANCESYou are now in charge of publishing,am I correct?

HUGHYes, but what does that have to dowith anything?

FRANCESWould Lowe and Son ever considerpublishing a female author?

HUGHMy father would never stand for it.

FRANCESI am asking you.

HUGHI would consider it. Provided, ofcourse, she proved herself able towrite as well as the publishedauthors in our catalog.

Frances gives Hugh a peck on the cheek!

HUGH (cont'd)Wow! Tell your literary lady friendthat it is good to dream.

FRANCESWho are you talking about?

HUGHYou are inquiring on behalf of aliterary lady, am I correct?

FRANCESMy literary lady friend dreams thesame dream that comes to so many menwho have written a book and sent itforth for the world to receive withacclaim; the dream of fame.

39.

HUGHA lofty dream.

FRANCESA proper dream.

HUGHAdvise your friend that, for now, herbest odds are to submit to a lesserpublisher. They are more sympatheticto literary ladies. I have heardabout print runs of tens of copies.

Frances purses her lips disappointingly.

FRANCESAnd this is why fame will allude her.

INT. GRAND BALLROOM - NIGHT

Couples waltz about the dance floor.

Frances walks in with Charles.

FRANCESMiles was incredible tonight!

CHARLESGallery seats, however, I am notcomplaining. It was a sensationalopening night.

FRANCESHis performance of Waft her, Angelswas something I will not soon forget. Was there ever so angelic a man?

Miles is nowhere to be seen. Charles can read thedisappointment on Frances' face.

CHARLESIt may take him some time to leavethe theater, considering all thoseladies gathered at the stage door.

Frances rolls her eyes at Charles.

Frances has her back to the ballroom entrance, so she doesnot notice the appearance of Miles.

MUSIC stops.

40.

Crowd welcomes Miles with enthusiastic applause!

Frances twirls to observe Miles standing at the entrance.She smiles and Miles answers her with a low bow. Frances isembarrassed and quickly turns to Charles. She hides herflushed face in her gloved hands.

Charles grins and feigns a yawn.

CHARLES (cont'd)All this excitement has taken a tollon this old man. Would you mindterribly if I call it a night? I willask our driver to return.

Frances gives her father a peck on the cheek.

Charles bows and makes his way to the door.

Miles approaches Frances.

Charles beams with pride as he makes his way out the door.

FRANCESWhat is it like to walk into a roomresounding with acclamation and womenready to throw themselves at yourfeet?

MILESTiresome.

FRANCESI have often wondered how it wouldfeel to be admired.

MILESYou must have many admirers.

FRANCESThat is a nice consideration.

MILESThank you for coming to my openingnight.

FRANCESI thoroughly enjoyed it, although Iam still somewhat ignorant to what itwas all supposed to be about.

MILESHere is a secret. So am I.

41.

FRANCESSurely, you understand the story?

MILESI sing my part, the same words nightafter night, and try not to appearbored out of my mind. That is thereal craft in acting.

FRANCESWell, you are good at it.

MILESWhen I approached you after theperformance, you fled from me. Wasthat kind?

FRANCESOne who has my odious self-consciousness does not ask what iskind or unkind. She simply flies.

MILESWhat did you think of my performance?

FRANCESI am still thinking of Waft her,Angels, although nearly an hour musthave passed since I heard you singthe last notes. It seems to me thatwhen half a century will have passed,I shall still be thinking of it.

MILESThen I have not sung in vain.

MUSIC resumes and couples make their way to the dance floor.

MILES (cont'd)May I have the honor of this dance?

FRANCESYou may.

MILESDoes that mean you are not going torun away like at the theater?

FRANCESIt means, I would rather dance withyou than with a stranger.

Miles leads Frances onto the dance floor.

42.

MILESWould you like to hear about myprocess as a singer?

FRANCESOf course.

MILESMy old maestro gave me this advicewhen I was proving to him my successin reaching the high note, which Ihad been striving for years to bringinto my compass. "That is all verywell," he said. "You have aimed attouching that rare note. Now youraim must be to touch the heart."

FRANCESNot too difficult - for you.

MILESI did not care to touch hearts. Forme, it was all in the musicalchallenge. That is, until my eyesbeheld you. Now, I want to touch yourheart with everything I sing.

His hand wanders low on her waist.

MILES (cont'd)I know a quiet place where we canbecome better acquainted.

Frances takes his hand and guides it from her waist.

FRANCESIt is enough for one evening that Iwas wafted by the angels. You mustnot speak another word lest the charmof the evening should fade away.

INT. BURNEY FAMILY HOME - SEWING ROOM - LATER

Frances lights candles. She retrieves the manuscript of hernovel Evelina from the locked desk drawer.

INSERT - MANUSCRIPT TITLE PAGE

"Evelina: Or, the History of a Young Lady's Entrance intothe World - By - Anonymous"

BACK TO SCENE

43.

Frances writes at a productive pace.

FRANCES (V.O.)Evelina to the Rev. Mr. Villars. -Just attended my first opera. I hadnot any idea of so great a performer. His voice so clear, so melodious, yetso wonderfully various in its tones!Such grace in his motions! And - Suchfire in his eyes!

A glimpse of one of her letters to Hugh gives her pause. Frances scans the letter and then the first page of herbook. She places the letter next to the page of her book.

INSERT - LETTER AND FIRST PAGE

It is evident by the identical handwriting that both werewritten by Frances. Furthermore, the script is in 'ladies'hand' and makes it obvious that a woman wrote it.

BACK TO SCENE

INT. BURNEY FAMILY HOME - CHARLES' STUDY - CONTINUOUS

Frances pulls a manuscript from the shelf. She sits at herfather's partner desk and sets his original handwrittenmanuscript in front of her.

INSERT - MANUSCRIPT COVER

"The History of Medieval Music - By - Charles Burney"

BACK TO SCENE

Frances flips to a page and studies the handwritingdifferences between her father's penmanship and hers.

INSERT - PAGE OF MANUSCRIPT

Charles' penmanship is in round hand: a plain, middle-sizescript akin to modern day cursive. Simple and easy to read,compared to the elegance and flourishes of 'ladies' hand.'

BACK TO SCENE

FLASHBACK:

YOUNG FRANCES (teens) and Charles collaborate on notes forCharles' History of Medieval Music manuscript. Young Francescopies a note on a page.

44.

INSERT - PAGE OF MANUSCRIPT

Charles' handwriting is different from her hand.

BACK TO SCENE

YOUNG FRANCESMy hand is distinctive from yours.

CHARLESI learned round hand. It is a manlyform. Mr. Lowe taught you to write inItalian 'ladies' hand.' It is asimple form, thus much easier toteach to the ladies.

END FLASHBACK.

Frances, with an unsteady hand, fails at her first attemptto mimic round hand.

FOOTSTEPS as Charles comes up the stairs!

Frances scurries to clean up the desk and return herfather's manuscript to the bookshelf.

SERIES OF SHOTS -- Frances learns to write in round hand.

A) Frances in her father's study where she practices roundhand while growing more and more frustrated with what seemsto be a lack of progress.

B) Frances copies the first page of Evelina and compares theoriginal with the copy. There is a slight improvement in herround hand with a hint of 'ladies' hand.'

C) Frances copies the first page of Evelina in fluid roundhand and is pleased with her new manly style of handwriting.

EXT. PARK - BANK OF POND - DAY

Frances and Miles stroll the bank of the pond. They appeardeeply infatuated with each other. A butterfly catchesFrances' attention and she bends down to get a closer look.

MILESThe bloom on the wing of a butterflyis a very tender thing. The breath ofa man is sufficient to remove it. Andwhen the bloom has gone the charm ofthe beautiful creature has gone also.

45.

Frances is a little peeved.

FRANCESDo you mean to imply that thebutterfly is beautiful, but nothingelse?

Miles laughs.

MILESI am rebuked!

Miles and Frances come eye to eye.

MILES (cont'd)With us, I mean the beauty of yoursoul. Your life has on it the bloomof a butterfly's wing.

Miles takes her in his arms.

MILES (cont'd)If you wish, I will not go beyond therose as my emblem of you - my bestwoman.


Frances and Hugh sew together.

HUGHA summer has passed since you lastwrote me. In the meantime, I mustread for work, not pleasure.

Frances glances at inkwell and quills upon the desk.

FRANCESI have been busy.

HUGHSo, I have not fallen into disfavor?

FRANCESI had not realized how sincerely youhave missed reading my letters.

46.

HUGHI feel as if I were suddenly cut offfrom some great interest in life; asif I had gone to the office onemorning and found that someone hadstolen the printing press.

Hugh gazes into Frances' eyes.

HUGH (cont'd)I can finish up here if you wouldlike to sit down and compose one. Iwill even pretend to be surprisedwhen I find it among the roses.

Hugh inadvertently pricks his thumb with the sewing needle!

HUGH (cont'd)Ouch!

FRANCESThat is why God invented the thimble.

HUGHIf you tell anyone about this, sohelp me, I will deny it and label youthe biggest liar in all of London.

Frances giggles.

HUGH (cont'd)Does my sewing amuse you?

Frances regains composure.

FRANCESYou show much improvement.

Hugh grins and resumes mending.

FRANCES (cont'd)My heart is not in my needlework.

HUGHI can tell. Your cross stitch isslovenly and your straight stitchindifferent.

FRANCESAnd how is it that a man cancriticize my sewing?

47.

HUGHI have a wonderful tutor.

Charles comes knocking with roses and a card from Miles.Charles shoots Hugh a cheeky grin and walks out. Francesreads the card.

FRANCESreading the card...( )

To Frances, my beautiful rose. MilesHazelton.

HUGHThe tenor?

Frances grins from ear to ear and nods.

FRANCESWe met that night Father took me tothe ball.

HUGHAre you two - courting?

FRANCESYes, I believe we are.

Frances fawns over the roses. Hugh looks a bit thrown off-kilter, yet Frances doesn't seem to fully connect why.

INT. BURNEY FAMILY HOME - PARLOR - DAY

Hannah practices piano while Frances dusts the furniture.

SUPER: "Spring of 1777."

FRANCESIt is the greatest mystery of mylife. Why a man who is as handsome asan archangel should so much as glanceat me.

HANNAHIn the book you are writing, LordOrville respects Evelina physicallyand emotionally. Is that true of Mr.Hazelton?

FRANCESMiles sometimes forgets himself. ButI know what to do.

48.

HANNAHIt is a beautiful romance you arewriting. The pages you shared arequite good.

FRANCESDo you remember how Father made ajest of my thirst for reading bypretending to teach me the alphabetwith the page turned upside down?

HANNAHI considered him clever. He was firstto recognize your early difficultyreading letters.

FRANCESI could have sorted it out on my own.

HANNAHI have no doubt.

FRANCESThis I learned on my own. Sobrilliant a person as Miles couldnever be happily married to soinsignificant a person as myself.

HANNAHIt would be a huge misfortune if youshould allow yourself to be attractedby the glamour that attaches to theappearance of such a man as Mr.Hazelton, though, mind you, I believethat he honestly fancies himself inlove with you. Please be sensible.

FRANCESI will prove to Miles that I canwrite as well as he can sing. Then,we will be equals.

INT. PEARCE FAMILY HOME - PARLOR - NIGHT

Miles relaxes on the sofa while Frances trims wicks andlights candles.

Miles is drawn to the piano.

MILESI suppose you play piano?

49.

FRANCESI find enjoyment in writing.

Frances is fidgety as she retrieves from the mantel a shortstory she composed for Miles.

MILESGood letter-writing gives innocentpleasure to family and friends. It isa ladylike accomplishment and oneworth excelling in.

Frances joins Miles on the sofa. She sits a respectabledistance from him, yet he slides closer. Frances presentsthe short story to Miles.

FRANCESI wrote this for you.

Miles is so enamored with the piano that he fails to noticethe short story.

MILESThat is a beautiful forte-piano.

FRANCESOh. Yes, it has provided manyentertaining evenings.

Miles places his hand upon her knee.

MILESYou must have a talented musician inthe family.

Frances gently slides his hand from her knee.

FRANCESMy older sister, Hannah. May I readto you what I wrote?

MILESOnly a few years ago, no one thoughtto improve upon the harpsichord; andyet I assert that in a short time theharpsichord will be no more than acuriosity.

FRANCESPerhaps, you would like to take mywords home with you to read later?

50.

MILESI am of the opinion that the pianowill replace the harpsichord in everyhousehold.

Miles directs his gaze from the piano to Frances.

MILES (cont'd)How has this come about? I am makinga speech about pianos when I meant totalk to you of yourself?

FRANCESWe always seem to find a moreprofitable topic.

Miles responds with a cheeky grin.

INT. BURNEY FAMILY HOME - SEWING ROOM - LATER

Frances writes late into the night. Her frustration growswith the daunting task of a new novelist's first draft.


The conversation with Lord Orvillewas delightful. His manners are soelegant, so gentle, so unassuming,that they at once engage esteem,anddiffuse complacence. Far from beingindolently satisfied with his ownaccomplishments, as I have alreadyobserved many men here are, thoughwithout any pretensions to his merit,he is most assiduously attentive toplease and to serve all who are inhis company.

Frances is at her wits end as she finds mistake aftermistake in her manuscript. She inks the quill and writes.

FRANCES (V.O.) (cont'd)as she writes...( )

And, though his success isinvariable, he never manifests thesmallest degree of consciousness.

Frances puts down the quill. She casts a wistful glance atone of Hugh's many letters on the desk.

51.


Decorated for Christmas. Frances battles to remain awake asshe opens her Christmas present. Hugh watches her withhopeful anticipation.

FRANCESYou always give the most thoughtfulChristmas presents.

HUGHI hope you like it.

Frances is thrilled to find that the gift is a novel!

INSERT - BOOK COVER

"Shamela - By - Henry Fielding"

BACK TO SCENE

HUGH (cont'd)I realize that you have a love-haterelationship with Mr. Richardson, soI figured you would enjoy a bawdyparody of his book Pamela.

FRANCESShameful - yet, I expect I will enjoyevery word of it.

HUGHIt is splendid fun. However, you mustadmit that there is not a man amongus that can write like Richardson.

Frances yawns.

FRANCESSorry. Late nights.

HUGHcrestfallen( )

Oh. I see.

Frances turns to chapter one of Shamela. She doses off withher head on Hugh's shoulder, the book cradled in her arms. Hugh is left sitting there, not knowing what to do.

52.


Frances writes as rapidly as her quill can travel over thepaper. She is bleary-eyed, yet determined.

SUPER: "February, 1778."

FRANCESThe end.

Frances sighs relief. She gets a fresh sheet of paper andwrites.

INSERT - LETTER

In perfect men's round hand:

"Dear Sirs, The liberty which I take in addressing to youthis query will doubtless move your wonder and probably yourcontempt."

BACK TO SCENE

KNOCK at the door.

Frances frantically covers up the letter.

CHARLES (O.S.)I am departing shortly to deliver mymanuscript to Lowe and Son.

Charles' FOOTSTEPS fade as he descends the staircase.

Frances is amused by her reaction to hide her enterprise. She inks the quill and continues the query letter.


Without name, without recommendation,and unknown to success, I apply foryour patronage. Let not the anxioussolicitude with which I recommendmyself to your notice expose me toyour derision.

FLASHBACK:

INT. PEARCE FAMILY HOME - SEWING ROOM - NIGHT

Frances is huddled over her manuscript as she writes.

53.

FRANCES (V.O.)Remember, Gentlemen, you were allyoung writers once and byrecollecting your first publicationand those first terrors you willallow for mine.


Frances and Miles waltz across the dance floor.

FRANCES (V.O.)My novel, Evelina, tells the story ofa young woman, educated in the mostsecluded retirement and, at the ageof seventeen, makes her firstappearance upon the great and busystage of life. If you would honor mewith a proper read of my words, youshall find my voice in Evelina.

EXT. HILL'S CIRCULATING LIBRARY - DAY

Frances wistfully gazes at books on display in the window.

FRANCES (V.O.)I thank you in advance and lookforward in hopeful anticipation toseeing my novel in the circulatinglibraries.

END FLASHBACK.

FRANCESas she writes...( )

I have the honor to be, Gentlemen,your most obedient and humbleservant. Signed, Anonymous.

Frances emphatically places the quill in its holder.


Charles cradles his manuscript under an arm and is about toopen the door when Frances descends the stairs. She presentsa parcel to Charles.

FRANCESBelated letters, for Hugh.

54.

CHARLESIt is customary to correspond oneletter at a time.

FRANCESWould it trouble you to deliver themto him along with your manuscript -and can you keep it a surprise? Iwant Hugh to find them waiting forhim in the morning.

Charles winks as he walks out the door.

INT. LOWE AND SON PUBLISHERS - OFFICE - DAY (NEXT MORNING)

Hugh starts his day by finding two new manuscripts, Evelinaand History of Opera on his desk. He glances through thefirst page or two of Evelina.

INT. BURNEY FAMILY HOME - SEWING ROOM - LATER (EVENING)

Frances and Hugh converse. Frances cradles a parcel wrappedwith string.

FRANCESHave you read Father's manuscript?

HUGHNot a single word. I would ratherread letters from you. Sadly, all Iget are hands pricked by thorns.

playfully( )It seems as if miles have comebetween us.

Frances rolls her eyes at him.

Hugh indicates the parcel in her hands.

FRANCESOh, yes. What is it?

HUGHYou must open it to find out.

Frances rips open the parcel and is amazed to find that Hughhas unwittingly brought her manuscript Evelina!

HUGH (cont'd)A fresh manuscript, yet to beconsidered for publication.

55.

FRANCESThat would account for its half-dressed appearance, lacking a cover.

HUGHThat is what is to be blamed for mydistraction from your father's book. I must admit, the first few pages arenot terrible.

FRANCESEvelina: Or, the History of a YoungLady's Entrance into the World. Doyou call that an alluring title?

HUGHToo sentimental. And the author isanonymous. The worst kind.

FRANCESHow did you come by it?

HUGHIt magically appeared on my desk lastnight.

Charles comes knocking. He is dressed in his finery.

CHARLESI am off to the opera. Hugh, if youare still here upon my return, weshall have a Madeira and discuss mybook.

Charles steps out and closes the door behind him.

HUGHYou are taking a night off from theopera?

FRANCESMiles' understudy performs tonight.

HUGHAnd he did not call on you? What ashame.

FRANCESYou sound like a jealous schoolboy.

HUGHI was making light of Mr. Hazelton'sodious mistake in judgment.

56.

FRANCESYou are jealous that I would ratherdance with him than practicecorrespondence with you.

HUGHYou can spend every single day withthat singer. That is your choice.

FRANCESNow Mr. Hazelton is - that singer?

HUGHWould you like to read Evelina?

FRANCESI suppose we can read a page or two. We have an hour before sunset.

Hugh makes himself comfortable at the desk chair. Francestakes a seat by the window for reading light.

HUGHAll that I ask of you, Fanny, is thatyou do not glance at me every now andthen to see if I am still awake. Ithas been a long day.

Frances reads the manuscript.

FRANCESreads...( )

In the republic of letters, there isno member of such inferior rank, orwho is so much disdained by hisbrethren of the quill, as the humbleNovelist.

HUGHYour father might fancy this one.

FRANCESreads...( )

The following letters are presentedto the Public - for such, by novelwriters, novel readers will becalled.

Frances reads. Hugh's mild interest grows into rivetedattention. Sun sets outside the window, passing throughtwilight to darkness.

57.

FRANCES (cont'd)reads...( )

In a short time, Lord Orvillereturned. I consented, with the bestgrace I could, to another dance. Itoccurred to me, that, insignificantas I was, compared to a man of hisrank and figure, since he had been sounfortunate as to make choice of mefor a partner, I should endeavor tomake the best of it.

Frances sets the manuscript down.

HUGHCandles! Candles!

FRANCESAre you not exhausted?

HUGHThe story is wonderful. We must lightcandles. Candles, I say!

Frances is fast to her feet!

FRANCESDoes it sound real to you? All aboutthe young lady who is about to enterthe world?

HUGHNot merely does it sound real, it isreal! It is reality!

FRANCESYou really think so?

HUGHThe man who wrote this is somethingof a genius.

FRANCESYou do not think it possible that theauthor is a woman?

HUGHWill you get the candles, Fanny? Itseems that you are sorely in need ofillumination if you put that questionto me seriously.

58.

FRANCESYou think there is nothing womanly inthe story?

HUGHThere is plenty that is womanly,because the man who wrote it knowshow to convey to a reader a sense ofwomanliness. That is his genius.

FRANCESDo you consider the writer has adeeper understanding of Evelina thanif she were imagined by Richardson?

HUGHAbsolutely! Evelina is attracted to agentleman who respects her in everyway. Now, no more chatter and get thecandles.

INT. BURNEY FAMILY HOME - STAIRCASE - CONTINUOUS

Frances grins from ear to ear as she descends the stairs!


Frances steps in with two candles. She sets the candles onthe desk and lights them.

FRANCESI think we can get through two morechapters tonight.

HUGHThe entirety.

FRANCESYou have heard a great deal of italready.

HUGHWhat you read seems to me to be asgood as anything I have read inyears. But that is not saying thatthe remainder may not be so greatlyinferior as to compel me to pronounceunfavorably of the book as a whole.

Frances reads as time passes.

59.

FRANCESreads...( )

As soon as the company was engagedwith cards, Lord Orville exerted hisutmost eloquence to reconcile me tothis hasty plan; but how was Istartled when he told me that nextTuesday was the day appointed by myfather to be the most important of mylife.

Clock chimes midnight. Frances pulls her nose out of themanuscript. She yawns as she rises from her chair.

FRANCES (cont'd)Evelina will be the better for asleep. Please make yourself at homein the guestroom.

HUGHPlease, may I have the manuscript? Iusually awake before six, and soshall have a couple of hours of itbefore rising. I would like to knowhow it resolves before morning tea.

FRANCESWe will leave it here upon the deskand we shall finish as we have begun.

Hugh does not budge. Frances holds her ground.

FRANCES (cont'd)Goodnight.

Hugh bows and walks out. Frances follows and closes thedoor. Neither thought to snuff out the candles.

INT. BURNEY FAMILY HOME - FOYER - LATER

The clock chimes two o'clock in the morning.

Charles enters from the street. He is weary from a longnight of opera and party. Silence, save for the TICKINGclock, gives him pause. He had expected Hugh to greet himfor their nightcap.


Charles pours himself a glass of wine.

60.

INT. BURNEY FAMILY HOME - HALLWAY - CONTINUOUS

Charles is on his way to bed when a warm glow from under thesewing room door gives him pause. He gently taps on thedoor. Hearing no reply, he slowly opens the door.


Charles enters the candlelit room. He looks about as if heexpects someone to be there. He shakes his headdisapprovingly and extinguishes one of two candles. He isabout to extinguish its pair, but stops short when hecatches a glimpse of the manuscript upon the table. Heexamines the cover. The title startles him!

Charles pulls close the candle and flips to one of the finalpages of the manuscript.

Hugh strolls in, half asleep, and both men are startled atthe presence of the other!

CHARLESWhat the devil!

HUGHYour daughter has given me asleepless night.

CHARLESI beg your pardon?

HUGHI lay awake endeavoring to determinewhat would be the outcome of LordOrville proposing marriage.

CHARLESLord Orville?

HUGHA character in that masterpiece of abook. - I see you have given into theevil of novel reading.

Charles gives a look of puzzlement and then, realizing hehas Evelina open before him, chuckles and shakes his head.

HUGH (cont'd)I worked out the story to its properconclusion – so I thought – on myleft side.

(MORE)

61.

But, when I turned on my right, IHUGH (cont'd)

found that I had been grossly astrayin all my fancies.

CHARLESDo you consider this a good book?

HUGHIt is worthy of being placed betweenClarissa and Pamela.

CHARLESExtravagant praise.

HUGHI could never understand you banningnovels, but now I see the wisdom ofit. They tend to unsettle one. Readnot a word of it. Go to bed and saveyourself from the evil influence ofEvelina. Goodnight.

Hugh leaves. Charles goes to the door to make sure that Hughis gone. He tiptoes back to the desk, sits down and flips toone of the last chapters in the manuscript.

Charles looks up from the page and gasps!

Charles flips the page and reads line after line.

INT. BURNEY FAMILY HOME - DINING ROOM - DAY (MORNING)

Frances and Charles at breakfast. Charles occasionallyglances at Frances. Frances appears perplexed by herfather's odd behavior. Hugh walks in. He is dressed for theroad in coat and hat.

FRANCESYou are not staying?

HUGHI am expected at the office.

FRANCESWhat a pity.

HUGHSo, Mr. Burney, was I correct to saythe book is enthralling?

Charles closely examines the pattern on his plate.

62.

CHARLESI would not know.

HUGHAh! Those dark rings about your eyesbetray you, sir. Is it not true thatit is to blame for your lack of restlast night?

FRANCESWhat book is that, Father? A sourcefor your History of Opera?

CHARLESA manuscript with the title -Evelina: Or, the History of a YoungLady's Entrance into the World.

Frances has the expression of a caught thief.

HUGHto Frances( )

I am grateful to you for reading itto me last night. And you are quitean accomplished reader. It was as ifyou knew Evelina before reading herwords.

CHARLESNot a finer work of fiction will youfind than this new masterpiece.

HUGHI wish we knew who the master was.

CHARLESDo you intend to publish it?

HUGHThe story is a revolutionarytreatment of romance; one that standsout as suitable for young ladies.

CHARLESThat would broaden your readership.

HUGHThis is true.

63.

CHARLESFurthermore, would there be nothingmore profitable than a successfulnovel for which no authorship may beattributed?

HUGHI suppose I could consider taking arisk on an anonymous publication.

FRANCESDoes that mean you consider it ready?

HUGHAll manuscripts require an editor'stouch. Without knowledge of theauthor, it would be left to me tosecure one.

CHARLESI will edit it for you.

HUGHYou, sir? A novel?

CHARLESIt will expand my reach as a writer.

HUGHI will see to it that you receive agenerous fee for your work.

Charles and Hugh shake hands.

HUGH (cont'd)Be hasty with your edits. If I do notsoon learn what happens to Evelina inthe last few chapters, I shall beinconsolable.

Frances and Charles come eye to eye. Charles can barelyconceal his amusement. Frances is suddenly embarrassed andturns her eyes away.

INT. BURNEY FAMILY HOME - DINING ROOM - LATER (SAME MORNING)

Frances clears the table. Charles walks in. In his hand isthe manuscript Evelina.

CHARLESI fear that this duplicity has beengoing on for a long time.

64.

Frances stands still, doubtful of what is going to happen.

CHARLES (cont'd)It was you who wrote Evelina andunder my very nose. Am I correct?

FRANCESI did not mean any disrespect.

CHARLESYou do not deny it?

FRANCESI am proud of it.

Charles hands the manuscript to Frances.

CHARLESImpressive use of round hand. Yourhandwriting had me guessing.

FRANCESHow did you conclude it was me?

CHARLESLast night, I came across yourmanuscript and sat down to peruse alate chapter. It lay beneath my eyes,and I tell you truly that I did notseem to read it. I seemed to hearyour voice reading the verses in myear, and the truth came upon me,incredible though it appeared, I knewthat it was you who had written it.

FRANCESHow does it read?

CHARLESThere is no difference between it anda real book.

Charles winks.

CHARLES (cont'd)I owe you an apology. Years ago, Iread some scorched pages of a bookthat your sister fetched from thefireplace. I believe you titled yourstory, Evelina's Adventures?

FRANCESThe Adventures of Evelina. You knew?

65.

CHARLESYes. It concerned me that you may tryto follow in my footsteps only to berejected and end up disillusioned andhurt.

FRANCESAnd that is why I was forbidden fromreading novels after mother passed.

CHARLESI feared what would become of you, atimid child reading in the cornerwith no evident prospects of success.

FRANCESI have always felt that you have verylittle confidence in my abilities.

CHARLESYou very well may be the mosttalented Burney. I am sorry that Idid not see it sooner.

FRANCESHow could you have seen me at all,when all those years, your worldrevolved around Hannah.

CHARLESCan you ever forgive me?

FRANCESThis is a great deal to consider.

CHARLESFair enough. Now, we must get Evelinaready for publication with aneditor's eye.

FRANCESDo you remember when you taught methe alphabet?

CHARLESOh, yes! The upside-down pages.

FRANCESYou are doing it again.

CHARLESDoing what?

66.

FRANCESUpside-down help.

Charles appears puzzled.

FRANCES (cont'd)You volunteered to edit my workwithout asking me first. I can dothis on my own.

CHARLESI know you can.

FRANCESI am confused.

CHARLESYou are going to revise Evelinayourself. We need Hugh to believethat I am the editor so you may seeit through to publication.

Frances hugs Charles.

CHARLES (cont'd)You must read the book, page to page,with a diligence beyond the author'seyes. That said, there is really nomistake on any page I read, so far asI could see.

FRANCESUnless the whole is a mistake.

Charles bursts into laughter.

FRANCES (cont'd)That thought amuses you?

CHARLESTell me. Was Evelina the parcel ofletters I delivered to Hugh's office?

FRANCESI did not mislead you, entirely. Mybook is, after all, a series ofletters.

CHARLESThomas has not the slightest notionthat he is about to publish mydaughter's book!

(MORE)

67.

Tell me how you got your knowledge ofCHARLES (cont'd)

the things in that book - thepictures red with life - blood of menand women - love - emotion - pathos -all that makes up life. Not tomention the characterization - thatis what seems to me all butmiraculous. Tell me, if you can -author to author - how you filledyour canvas?

Frances opens the manuscript and flips to a page.

FRANCESWell, Father, let's start whereEvelina first arrives in London.

INT. BURNEY FAMILY HOME - PARLOR - NIGHT

Charles, Miles and BERNARD (30s), Hannah's handsome husbandand a singer, are happy with drink as they entertainthemselves at the far end of the parlor.

Frances and Hannah quietly look on from the other end of theroom. The men pay them no notice. Frances looks downcast.

The men and women are separated far enough apart as to nothear each other.

MILESI understand that Hannah no longerplays piano in public.

BERNARDA good woman will avoid publicity. Her home should be sufficient forher.

MILESI will drink to that!

Miles, Bernard and Charles clank their glasses!

HANNAHJust look at them. They are quitepleased with themselves.

FRANCESI never considered there would be somany opening nights.

KNOCKING at the front door.

68.


Hannah stays a few steps back as Frances answers the door. It is Hugh and he has a small gift-wrapped box in his hand. Hugh hears the men's drunken laughter and searches Frances'face for a clue as to what is transpiring.

FRANCESOpening night.

Hugh presents the gift to Frances.

HUGHHappy birthday.

Frances opens the box and finds an elegant quill pen andholder set. She is overwhelmed.

HUGH (cont'd)I have never forgotten that day whenyou inquired about publishing onbehalf of your literary lady friend. Perhaps, you might consider writing anovel some day.

Frances is rendered speechless.

Miles and Bernard appear in the passageway.

Hugh and Miles come eye to eye.

Hugh kisses Frances on the hand and he is out the door.

MILES(to Bernard)

It is just the correspondence tutor. Come, I need another drink.

Miles and Bernard stumble off.

Frances looks to Hannah.

HANNAHHugh remembered.

INT. BURNEY FAMILY HOME - CHARLES' STUDY - NIGHT

Frances writes with an unsteady hand and strains to readwith tired eyes. She uses the new quill pen set that Hughgave her as a birthday present.

Charles pokes his head in.

69.

CHARLESSeeing you at that desk brings backfond memories.

FRANCESSo many mistakes.

CHARLESYou shall persevere. I know you.

FRANCESFather, if I ever have a daughter whoshows difficulty reading, I will turnthe page upside-down as well.

Charles smiles.

Frances holds up her hand!

FRANCES (cont'd)However, I will explain the purposeof my actions to her, so she is notleft feeling incapable.

Charles nods his head in understanding.

CHARLESIt really hurt me, when you said thatHugh is the only one who understandsyou since Esther passed, God rest hersoul.

FRANCESThat is how I truly felt.

CHARLESPast tense?

Frances nods and gives her father a hug.

FRANCESI am afraid of being inferior in theeyes of the world.

Charles tries to lighten her mood with a joke.

CHARLESThere is no cause for concern. Youare anonymous.

70.


Frances wraps the edited Evelina in brown paper and string.


Charles, parcel with Evelina in hand, heads out the door.

INT. LOWE AND SON PUBLISHERS - PRINTING ROOM - DAY (MORNING)

PRINTER thumbs through Evelina and frowns. He quizzicallyexamines a line of text with a magnifying glass.

INT. LOWE AND SON PUBLISHERS - OFFICE - LATER (MORNING)

Through the glass in the door, we observe Printer speakingto Thomas. Thomas' face darkens.

INT. LOWE AND SON PUBLISHERS - OFFICE - LATER (EVENING)

Thomas reads the final page of Evelina while Hugh anxiouslypaces.

THOMAS(reading...)

The fate of your Evelina is decided!This morning, with fearful joy andtrembling gratitude, she unitedherself for ever with the object ofher dearest, her eternal affection.I have time for no more; the chaisenow waits which is to conduct me todear Berry Hill, and to the arms ofthe best of men. Evelina. The end.

Thomas clasps his hands in contemplation.

HUGHA masterpiece. Do you agree?

Thomas nods his agreement.

HUGH (cont'd)I will instruct the printers tocommence with the first run.

THOMASSon, are you in earnest in sayingthat you are unaware of the author?

71.

HUGHHe has not revealed himself.

THOMASYou assume this is the work of a man?

HUGHOf course, it is the work of a man.

THOMASI have a suspicion. We must not makethe accident of publishing a lady.

HUGHBut you surely noticed the masculinehandwriting of the script?

THOMASThat is just the point. Our printershave examined it and say that it is alady’s calligraphy only disguised tolook like a man’s. In my ownjudgment, they are right.

HUGHRidiculous!

Thomas indicates for Hugh to approach the desk, which hedoes. Thomas opens the book to a random page and examinesthe handwriting. Hugh feigns interest to appease Thomas.

THOMASSee here. It is an upright roundhand, neat and clear. The hand is,for the most part, too perfect. Tooexact. And, there is the issue of anoccasional slip into 'ladies' hand.' This is the work of a womanpretending to be a man.

HUGHWhat of it? The fact remains thatthis is the best book since Fielding.

THOMASI know you harbor sympathies forliterary ladies. However, I cannotallow you to publish this fraud. Wewould find ourselves pilloried by allof London.

HUGHThis book deserves many readers.

72.

Thomas slams his fist upon the desk!

THOMASI will not be humiliated bypublishing a woman!

INT. LOWE AND SON PUBLISHERS - OFFICE - LATER

Hugh peruses Charles' book, The History Of Opera, bound incover.

HUGHI despise Opera.


Frances looks out the window and fights back tears. Hannahsits near Frances. She, too, appears saddened.

SUPER: "Autumn of 1778."

Charles rushes in, full of enthusiasm!

CHARLESI just came from Lowe and Son. Mybook is to be made available to thecirculating libraries! This the bestnews! And look at this...

Charles holds up a fountain pen!

CHARLES (cont'd)Latest invention from Germany. Hughgave it to me.

Frances breaks down sobbing.

Charles looks to Hannah, the emotionally in touch one, forguidance, and Hannah gives him a look as she goes to comforther sister.

FRANCESOh, Father, it is too cruel. I workedso hard at my book. You were right.All my trouble has gone for naught.

CHARLESIt is only cruel if it sets youcrying in this way. Writing a book islike throwing a stone into the ocean.

(MORE)

73.

It may fall so that it makes a splashCHARLES (cont'd)

and sinks down straightaway - or - itmay fall so that it forms ripples.However, it will sink to the bottomall the same. Success or failure isonly the difference between a splashand a ripple.

FRANCESI was a fool to think that my littlestone would float.

CHARLESIt takes time to print a book. I amsure Hugh is working hard at it.

FRANCESI was beginning to feel that I hadthe right to consider myself anauthor. This failure has put me backin my place.

HANNAHPerhaps, Evelina is not a stone. What if Evelina is a raindrop?

FRANCESA raindrop?

HANNAHRaindrops make ripples, and, unlikestones, they do not sink. A raindropbecomes one with the ocean.

Frances and Charles exchange confused glances.

HANNAH (cont'd)Those that came before you, Elstob,Manly, Haywood to name a few, haverained into the same ocean of ourliterary experience, while so manyother women have been denied theirvoice.

CHARLESto Frances( )

Like I nearly denied yours.

HANNAHWhat if your book is the first dropof rain that springs forth a new eraof respectably for female authors?

74.

FRANCESI consider you are making too much ofmy book. You speak of it being thefirst drop of rain while it gathersdust in Hugh's office.

HANNAHEvelina is a strong woman. Hercreator is even more so. Have alittle faith. Your book will one dayreach the shelves of many women.

CHARLESSome of them may one day wield theirown quills.


Miles and Frances make a grand entrance complete with thecessation of MUSIC and applause directed at Miles. Milessoaks in the attention. He guides Frances to therefreshments and serves up drinks.

MILESHow many performances does this make?

FRANCESI have been to twenty - no - Ibelieve this one makes twenty-one.

MILESIt seems as if a moment has passedsince I first set eyes upon you, andyou tell me that you have seen overtwenty of my performances already.

FRANCESBeen to that many. Watched but a fewscenes, here and there.

MILESI suppose opera is not sentimentalenough. Or, is it that my voiceoffends your ears?

FRANCESAn opera requires so much attention,it is scarce possible to keep awakeif one listens. By the time it isevening, I am so fatigued with diningand wine, well, it is perfectly animpossibility.

75.

MILESIf you were a man, I would considerthis a provocation sufficient for aduel. Alas, you are a beautifulwoman, and I would much prefer tochallenge you to a waltz.

Miles bows. Frances curtsies. They dance.

FRANCESI am afraid. Is this the place? Isthis the time? Are you the one?

MILESEvery place is our place. Every timeis our time. And you are the only onefor me.

Miles takes her in his arms and initiates a passionate kiss!This uninvited kiss startles Frances and she pulls away!

MILES (cont'd)I assumed you wanted to.

FRANCESIf you and I were alone, perhaps, andwith me granting you permission.

MILESWhat are these people? They arenothing to us. Less than nothing.

FRANCESAll eyes will be upon us. People willnaturally assume that the renownedopera singer is having an affair withone of his fawning fans.

MILESWhat are people in a church to thedevout who enters and keeps his eyesfixed upon the lovely face of thesaint to whom he prays? The saint andhe are in communion together, andtheir communion isolates them thoughthe church is crowded.

FRANCESAm I supposed to be the saint?

76.

MILESIndeed, you are, my beautiful saint.I look into your face and I have aglimpse of heaven itself. I love you.

Frances looks down.

MILES (cont'd)Let our eyes meet and it will be asif our lips had met.

Frances raises her head slowly until her eyes meet his.

MILES (cont'd)I am just a man, like any other man. But I feel, gazing into the face ofmy saint, as if I were immortal andcrossing the threshold of the heaventhat is hers. It

FIRST DROP OF RAIN - simplyscripts.comwillingly kiss a man who did not first seek my permission....

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