1. There is an audio clip illustrating an aspect of Eliot's narration from the Prelude here . It forms a marked contrast with Davies' choice of opening to Episode 1 .

2. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 1 here . The narrator gives ironic consideration to why a girl like Dorothea might be considered a challenging choice of wife or why she might decide not to marry..

3. View the opening sequence which is pure invention by Andrew Davies .

4. A handdrawn stagecoach is the primary image on the Block 1 Production schedule cover. In a witty parallel with Lydgate and his optimism for his new venture, the image depicts the production team riding into town with all their 'Props', 'Frocks' 'Design' 'Camera' and 'V/X' luggage aboard. In fact, this first block of shooting (1 March-9 April 1993), covered many of the country house scenes. The Stamford shoot for the Middlemarch town scenes formed Block 3 in July and August 1993 .

5. Lydgate's first line the Post-production script is an imperative addressed to his fellow travellers. Even at this point he is making his views felt and pointing to the advent of change. Compare with his first line in the Shooting script, 'The future.' addressed to himself .

6. Davies' stage direction which others the navvies (the agents of change) as 'huge terrible half naked monsters' is not followed through in the screen version of this scene where the railway layers are clothed and unthreatening.

7. Scheduling the appearance and filming of the horses was a complex job in itself as Production Manager Julie Edwards explains .

8. Lydgate enters Middlemarch for the first time,as captured during the shooting of this scene .

9. Omitted from the Post-production script but present in the screen version is Lydgate tipping the stage coach man as he hands him his minimal luggage 'Here's your bag'. This removes the need for the inn keeper's assistant to take the bag.

10. The inn keeper's confident identification of Lydgate indicates he is expected and the only gentleman stranger to step down from the coach. The Post-production script has finessed the inn keeper's line to a more tentative question to Lydgate. His subsequent speech brings the 'welcome' and provides exposition for the viewer that Lydgate will replace Dr Peacock in Middlemarch .

11. The White Hart pub sign that blows in the breeze above Lydgate's head started as Gerry Scott's black-and-white sketch with this note inscribed by her on the back to the person granting sign-off regarding the nature of the final backdrop to the image . The finished image reveals the skill and attention to detail given to the design and realisation of each prop produced for the adaptation .

12. A key minor figure, Mawmsey the grocer, is established with this panning shot representing Lydgate's point of view as he takes his first look along Middlemarch's main street.

13. In interview, Director of the production, Anthony Page reflects on Davies' adaptive style which is to relay events in a more 'direct and popular and modern' way. He comments that to have employed a narrator figure in the dramatisation may have worked on stage to give a more literary feel . Davies himself puts forward his vision for dramatising Middlemarch for 'a 1990s audience' in an early letter to Michael Wearing - Head of BBC Drama serials - in 1991 .

14. Anthony Page explains, in interview, the challenge of casting Dorothea because of her more intangible qualities some of which are referenced in Andrew Davies' stage direction introducing Dorothea in Scene 1/3. Page also reflects on how Juliet Aubrey suited the role .

15. In interview, Lighting cameraman, Brian Tufano describes the three vantage points from which the cameras captured this riding scene and effects he created through these choices .

16. The Post-production script adds this line for Celia to show the sisters have been out riding for leisure for some time and will be expected back at Tipton. Celia's laughter is infectious and as they gallop home, Dorothea joins her in laughing freely - not signalled here in Davies' stage directions.

17. Celia's additional line in the Post-production script both encourages Dorothea to ride on and shows she is not as concerned with the poor family's plight as Dorothea.

18. Culverthorpe Hall in Lincolnshire was the setting for Tipton Grange - the home of the Brooke's. This view of Culverthorpe Hall shows the stable block on the far left where in Scene 1/Celia and Dorothea leave their horses to the groom after their ride .

19. This is the moment where Davies has Dorothea decide to give up riding. There is a source for this in the novel . The script is abbreviated in the Post-production script .

20. Davies' interpretations of characters, such as this first comment on Brooke, often disappear from stage directions between the Shooting script and the Post-production script. In this case this and the camera shot to the sisters from Brooke's point of view is replaced by a direction for Brooke's speech to cut 'across this' shot of the sisters.

21. There is a longer commentary on these opening scenes, and the Lydgate market walk scene that was inserted in the Post-production script, here .

22. Roach, Brooke's Steward, ad lib's an extra line in the Post-production script - a pragmatic decision to allow the two characters to exit Scene 1/6, but it also hints at the worse consequences of Brooke's inaction, caused by not spending a few shilings on repairs.

23. A significant reordering of scenes here: the Shooting script carries on with the Dorothea plot for a further four lengthy scenes; instead the Post-production script locates five short scenes here establishing Lydgate's early days as a doctor in Middlemarch and his relationships with Farebrother and Bulstrode .

24. A new scene in the Post-production script. This simple stage direction is transformed into a tour of the noisy and vibrant Middlemarch market square in the onscreen version. The sights and sounds of the market envelope Lydgate as he walks through it.

25. An extra scene in the Post-production script, signalled by the 'a' of Scene 1/19a; conveys a quick indication of Lydgate's solitary studious homelife.

26. There is a longer commentary on this scene, termed by Andrew Davies the jewellery scene, here .

27. Note how the lighting moves from afternoon to dusk in the onscreen version of Scene 1/7 .

28. Dorothea's opening speech is more deliberate in the Shooting script - asking Celia to come and look at her plans and showing how important they are to her with the need to 'do this right'. The equivalent speech in the Post-production script is simpler and her concern is over the size of the fireplaces not their proportion . The screen version aids this with a close-up of the cottage plans themselves. None of this detail of the plans is considered in the novel .

29. Costume designer, Anushia Nieradzik, describes in interview how she begins the design process by discussing costumes with the actors playing each role and how important the idea of the right silhouette is to her designs .

30. Celia's move to persuade Dorothea to take the cross necklace is misjudged. Dorothea cannot think of wearing this emblem as an ornament and dismisses the necklace as a 'trinket'. There is a source for this in the novel .

31. Davies notes in his letter to the first producer attached to the Middlemarch series, David Snodin, regarding a very early draft of this scene that, amongst several other implications a strong revelation within it is a sensual awakening in the two sisters and their differing responses to this .

32. Davies takes this speech almost verbatim from the novel, so powerfully does it convey Dorothea's sensuous reaction to the emeralds. Note however that the ellipses denote dramatic pauses rather than omissions from dialogue in the novel. Davies most significant omission is Dorothea's biblical reference to 'gems being emblems in the Revelation of St John' . Eliot implies has Dorothea explore this spiritual allusion, one means by which her character tries to suppress the sensual.

33. In interview, Lighting cameraman Brian Tufano explains how the lighting effect he creates at this point in the scene seeks to enhance the verbal narrative through a visual narrative .

34. In the novel, Dorothea's final objection to accepting the jewels is caused by the misery and materiality she recalls will have gone into their mining, manufacture and sale . She overrides this objection on the proviso that she will keep only these two items. Davies chooses to omit this objection from his dialogue, which could be seen to relate to colonialism, as it does not inhibit Dorothea's decision.

35. The final line in the Shooting script reflects the novel where Dorothea is still unsure she has done the right thing in accepting the emeralds and is uncertain about wearing them publicly; this comes across to Celia as a sharp comment . In contrast, this line is cut from the Post-production script and the scene ends with Dorothea saying perhaps she will wear the gems.

36. Director, Anthony Page explains in interview why he considered Casaubon to be the most difficult part to cast in the adaptation and how he had to work hard around Patrick Malahide's availability once he was cast .

37. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 2 here . The narrator comments ironically on how great inferences are drawn from small comments during a courtship that is usually too short to get to know a future partner well. The Shooting script marks Dorothea's gratitude and pleasure at Casaubon's defence of her position. She's moved and impressed. .

38. In Chapter 2 of the novel, this conversation takes place just between these three characters at the tea table in the drawing room after dinner. This makes Casaubon's defence of Dorothea more pointed against Sir James .

39. Scene 1/9 only exists in the Shooting script. Here Davies summarises the talk between Celia and Dorothea from Chapter II, when they are in the drawing-room alone after dinner, but he sets this scene more intimately in Dorothea's bedroom where the sisters' thoughts clash over Casaubon. Celia focuses on his appearance, particularly the 'two big moles with hairs sprouting out of them' on his face while Dorothea concentrates on his 'great soul'. While Scene 1/9 is absent from the Post-production script, it makes strong references to the equivalent conversation in the novel .

40. The long scene in the Shooting script is split into Scenes 1/11 and 1/11a in the Post-production script . These depict the discussion first about scholarship and then shared possibilities between Dorothea and Casaubon in two separate garden locations at Tipton. This better represents the fact that in Chapter III of the novel their conversation takes place over walks on two consecutive days of Casaubon's visit .

41. The focus on Dorothea's eager response is reflected in the screen version of Scene 1/11a when as Casaubon speaks of his visit being 'more than pleasant' the camera gradually moves in on her, capturing more of her ardent feeling.

42. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 3 here . The narrator guides the reader not to judge Dorothea's interpretations of Casaubon's knowledge and in the process casts slight doubt over the wisdom she ascribes to him. Andrew Davies reflects these interpretations of Casaubon in Shooting script Scene 1/11 .

43. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 3 here The narrator dwells on the fact that the court of public opinion would not understand Dorothea's unconventional notions of marriage. Andrew Davies' equivalent to Dorothea's walk with Monk is the farewell to Casaubon in Shooting script Scene 1/12.

44. The Post-production script indicates that that incidental music IM2A/D flows across Scenes 1/11, 1/11a and 1/12 unifying them. It might suggest Dorothea's growing hopes and feelings towards Casaubon as its cor anglais-led theme reaches a gentle cresendo when she contemplates his departing carriage.

45. Production designer, Gerry Scott reveals in interview that the Old Infirmary ward was one of only a few interior sets that her team could not find locations for in Stamford because of the size of space required .

46. Lydgate's first speech in the hospital ward reveals his resistance to traditional purging for newer thought on treating fever . Davies conveys that being in favour of progress goes hand-in-hand with Lydgate's idealism. Later in this scene he talks disparagingly of Trawley, a doctor acquaintance, who has sold out and rejected his youthful ideals. There is a source for this in the novel but it comes in Chapter 12 where Lydgate dines at Farebrother's .

47. The longer Shooting script Scene 1/13 is split here in the Post-production script to exit Lydgate and Farebrother from the hospital ward to the cloister in Scene 1/13a where they talk more privately of Trawley, and which leads them to meet Bulstrode. The scenes transition neatly from the hospital interior contructed in the gym at Stamford College to the exterior cloister set at Browne's Hospital, Stamford .

48. Andrew Davies invents this linking scene to transport Lydgate with Bulstrode to the bank for their meeting about the hospital that occurs in Chapter 13 of the novel . His casual stage direction in the Shooting script is followed through in the screened version, with Bulstrode and Lydgate's conversation being played over their walk down the High Street to the bank. Davies influences the set up of this scene with this comment but and his direction disappears by the Post-production script .

49. Hawley's hawkish line in the Shooting script - observing that Lydgate is already in Bulstrode's pocket - is omitted from the Post-production script. Perhaps due to this scene being moved forward in the episode from its original location in the Shooting script making it too soon for this criticism of Lydgate to begin .

50. Examining the plans for the new hospital is not part of the meeting with Bulstrode in Chapter 13. Davies introduces this visual element in Scene 1/15 to show Lydgate's enthusiasm for the physical manifestation of his medical ambition. A stronger link between this and Dorothea's parallel enthusiasm when drawing up plans for the new cottages is made in the Post-production script where Dorothea's Scene 1/7 is positioned adjacent to Lydgate's Scene 1/15 . The adaptation uses this visual cue of the plans to link the idealist spirit of Eliot's protagonists .

51. The Shooting script reflects much more of the longer conversation between Bulstrode and Lydgate from Chapter 13 where they discuss the kind of opposition that Lydgate will face in Middlemarch to his reformist attitudes to medical practice . However, this is lost from the Post-production script in favour perhaps of progressing more swiftly to discussion of the election of the hospital chaplaincy. Bringing Scene 1/15 forward in the episode may also have made it to early to introduce the idea of opposition to Lydgate .

52. Davies uses the device of the plans again, this time as Lydgate's means of deflecting the conversation that Bulstrode wishes to open about the appointment of Tyke and the 'spirtual life' of patients at the new hospital. In the novel Lydgate engages slightly more in this topic but is then relieved from talking further by Mr Vincy's arrival to plead with Bulstrode for Fred's letter .

53. Bulstrode soft, inherently threatening tone, referred to in Chapter 13 of the novel, is carried through by Davies into the stage direction at this point as an significant and effective part of his characterisation. It leaves Lydgate feeling 'rather startled' as this latent forcefulness in Bulstrode comes to the surface and is well delivered by Peter Jeffrey in his onscreen performance.

54. Scene 1/16 is invented for the Shooting script as a bridging scene between Lydgate's meeting with Bulstrode over the hospital drawings and his plans to study that evening being changed by Farebrother's dinner invitation. This order is changed in the Post-production script with several scenes in the Dorothea-Casaubon plot interrupting Lydgate's Scenes 1/15 and 1/16 . The effect is to suggest that more time has elapsed between these scenes. This brings it closer to the novel, as several chapters come between Bulstrode's meeting with Lydgate and Farebrother's dinner with Lydgate where his vote for the hospital chaplaincy is discussed.

55. This scene also establishes the Green Dragon as a key location for action and gossip in Middlemarch. The Stamford residence used for the pub exterior with its distinctive arched doorway and half-boarded windows as Davies' stage directions suggest act as the 'only light in the darkness' for Lydgate on his way home. Farebrother is also seen exiting the pub in Scene 1/18a of the Post-Production script . At this point the three signs designed by Production designer, Gerry Scott for the Green Dragon, including the one for 'Good Billiards', so relevant to these scenes, can be seen clearly in shot .

56. Production designer, Gerry Scott reveals in interview that the Green Dragon inn was one of only a few interior sets that her team could not find locations for in Stamford because of the need for a separate billiards room .

57. Scene 1/17 is another innovation of Davies to introduce the lower echelons of Middlemarch society, Fred Vincy and the theme of his mounting debts. Davies' stage directions have Fred 'standing cue in hand' watching Farebrother play in both scripts, but by the time this scene is filmed, the first thing the audience sees is Fred failing to pot a ball. This visual change is a far stronger cue to how his luck will run for much of the novel. This slightly careworn first appearance of Fred in the adaptation contrasts with the more assured Fred that Eliot introduces first at the Vincy breakfast in Chapter 12.

58. Mrs Dollop is not mentioned in the Shooting script for Scene 1/17. She has morphed from the novel, where she is landlady of The Tankard, Middlemarch's lowest ranking public house, to become landlady of The Green Dragon in Davies' adaptation. She makes an early appearance here, not being present in Eliot's novel until Chapter 45 where is introduced as a woman 'trechant' in her assertions . This is the tone that Davies strikes with her first lines of dialogue in Scene 1/17.

59. Whereas his winnings are collected from the table in the Shooting script, Farebrother has to come to Bambridge to collect them in the Post-production script, Fred having already been called over. Visually this is more powerful as they are handed over directly in front of the seated Fred. Bambridge is effectively given more agency in this final adaptation of the scene .

60. Third in a sequence of scenes that Davies inserts to bring Lydgate to dine at Farebrother's, Scene 1/18 in the Shooting script is set on the town bridge. Lydgate is alone, still a newcomer to Middlemarch, when Farebrother catches up with him. In contrast, by the Post-production script, although alone, he is looking in the shop windows on the High Street . Lydgate's invitation to Farebrother's is pre-arranged in the novel, not the spontaneous thing it is in Davies' script .

61. The overhead night-time set-up for Scene 1/18b is captured in this on-location shot . Douglas Hodge (Lydgate) and Simon Chandler(Farebrother) can be seen bottom right speaking with Director, Anthony Page.

62. Andrew Davies omits Farebrother's dependants - his mother, aunt and sister - from the Shooting script and opens Scene 1/19 with the dicussion between Lydgate and Farebrother. Eliot characterises the relationship between Farebrother and his female relations in the preceding conversation over dinner . Farebrother' Mother and aunt are reinstated in the Post-production script at start of Scene 1/19 . View the onscreen version of this after-dinner scene, here .

63. Lydgate's speech is refined between the Shooting script and the Post-production script: the direct comparison between Middlemarch and London is jettisoned and Lydgate's 'bleeding' and 'medicines of dubious value' become 'panaceas that are as useful as bottles of ditchwater', creating both a higher registed to his language and his medical understanding .

64. This idea of his research being more fruitful in Middlemarch develops in the Post-production script to Lydgate expressing that fact that he will have more freedom to do work here than in the city. No one will be watching him . Davies simply conveys here how wrong Lydgate's initial reading of this provincial town is. This part of the discussion in not held in the novel between Farebrother and Lydgate. Instead Davies has drawn the idea from Lydgate's conversation with Bulstrode about the new hospital in Chapter 13 .

65. Scene 1/20 in the Shooting script is conflated into a longer Scene 1/19 in the Post-production script. Farebrother and Lydgate remain indoors rather than finishing their late-night conversation walking Lydgate back to his lodgings. Combining the two scenes also allows for a smoother transition to Farebrother's gentle warning to Lydgate about the nature of Middlemarchers .

66. Davies retains much of Farebrother's speech from the end of Chapter 17 in the novel to show that he is a man who works for the good of the community rather than adopting ideas that would help him improve his own situation. But that he will understand if Lydgate has to take that road . However, he does combine two Farebrother speeches from the Shooting script into one in the Post-production script, to deliver these points more concisely .

67. There is a longer commentary on Scenes 1/19-20, here .

68. View this scene as it was shot by cinematographer Brian Tufano. The following interview extract offers further insights into the lighting techniques Tufano uses for this on-location interior . A plan of the lighting for this scene further illustrates Tufano's comments , together with a image of the scissor-lift lighting platform he mentions .

69. Andrew Davies simplifies the Vincy family - the TV audience only ever meet or hear about the elder siblings, Rosamond and Fred. In the novel Eliot tells the reader that Bob, the second son, has already gone to work with Mr Vincy and the younger daughters are in the school-room at this time in the morning .

70. Rosamond is here noted as sitting in an 'adjacent room'; whereas in the novel and Shooting script, she is seated within the Vincy's combined Breakfast and sitting room . Such a change could derive from the choice of location for the Vincy house in Stamford in 1993 - the layout of the rooms at 3 All Saints' Place as shown in this location shot . But this set arrangement also sets Rosamond apart from the debris of the family breakfast, engaged in the ladylike leisure activity of painting .

71. On screen, Mrs Vincy's needlework is a piece of mending, marking it out as more practical than Rosamond's decorative artwork. Also noteworthy is that the direct quotation from Chapter 12 guiding delivery of the line, about Mrs Vincy's good humour and good looks for her age, that Davies includes in his Shooting script is omitted here in favour of the stage direction to return to her needlework .

72. The way that the colours and choices of the fabrics for Rosamond and Mrs Vincy's costumes are complementary to one another and to the decor of the Vincy sitting room is no accident. In interview, costume designer, Anushia Nierdzik explains how she matches the colours of her costumes both to the characters and their surroundings, as part of the colour palette for each home or location .

73. Andrew Davies preserves the difference in register that Eliot initiates in the way Rosamond addresses Mrs Vincy as 'Mamma' but Fred calls her 'Mother'. Fred hangs on to some of the terms from his family's lower-class roots whereas Rosamond has had them drilled out of her at Mrs Lemon's school. Differences in the ways the brother and sister speak help to convey their attitudes which cannot be relayed easily by narration in a television drama .

74. Andrew Davies conflates some speech from the novel with a flourish in this three-part speech where Rosamond vows almost to herself in the Shooting script that not only will she marry someone different from her brother but that she will not marry anyone from her home town . George Eliot's narrator reveals Rosamond's pretensions to marry out of Middlemarch earlier in Chapter 11 ; Andrew Davies puts the words quietly, but insistently, into her mouth the first time she appears on screen .

75. Rosamond's preference for the phrase 'the best of them' over 'the pick of them' is another example of how she marks herself out as more refined than the rest of her family. Andrew Davies utilises Eliot's small observations of register from the novel to establish key traits of Rosamond's character in this, her first appearance in the dramatisation .

76. In interview, actress Trevyn McDowell (McGowan) reveals how she wished to bring a modern voice to her portrayal of Rosamond but also that her nature was a product of her being indulged by her parents. An element that is strongly reflected in the breakfast scene .

77. The sibling sparring starts simply in Davies' script with Rosamond objecting to Fred calling her 'Rosy'. She insists on 'Rosamond' - indicating she is no longer a girl. This is an innovation by Davies to signal the nature of their relationship. In the novel they initally argue in a more complex way over the use of slang terms .

78. For the rest of the verbal sparring between Rosamond and Fred, Davies selects two arguments from the novel: why does Fred have to be disagreeable and why he chooses a kipper for breakfast. Davies modernises the phraseology to bring greater pace to the dialogue .

79. Rosamond agrees to visit Uncle Featherstone 'To please you, Mamma' in the Shooting script. It is not until Scene 1/23 that Fred understands her real reason for visiting is the off-chance of meeting Lydgate. In the novel her agenda is revealed by the narrator when, in Chapter 11, Rosamond pretends she does not mind where she rides out with Fred but the reader is then made privy to her thoughts .

80. In the novel, the breakfast scene is the first time the reader meets Fred. At home he comes across as a confident young man of education, with some arrogance. In Davies' adaptation the first appearance of Fred is in Scene 1/17 where he is playing billiards at The Green Dragon. He loses the game, then is called over to the horsedealer Bambridge and explains he still can't repay his debt to him. A very different first insight into Fred than the Vincy breakfast in the novel.

81. There is a longer commentary on Scene 1/21, here .

82. Fred grasps Rosamond's real reason for visiting Stone Court with her question about the 'new doctor' attending Featherstone. Andrew Davies makes this part of their light-hearted dialogue during their ride, whereas in the novel, Mrs Vincy asks about Lydgate over breakfast and Fred terms him a prig. His sister soaks up all the information she can about the new doctor from this conversation .

83. As a reminder of how young Fred is, Andrew Davies has him envy the mounts of other young men as he rides along with his sister. In this interview extract, Davies equates this kind of desire for a better horse with young men of the 1990s wish for an impressive car. This comment also foreshadows Fred's disastrous horse-buying in Episode 2.

84. This is the first sight of Featherstone's house, Stone Court, in the adaptation, the location for which was the privately-owned Stragglethorpe Hall in Lincolnshire .

85. Stone Court features prominently on the cover of the Block 2 Production schedule which covers the second set of country house location shoots (1 May-15 June 1993) . The central image is of Producer, Louis Marks and in top-left corner Script editor, Susie Chapman is pictured as costume stand-in for Mrs Cadwallader.

86. Andrew Davies' Shooting script retains Featherstone's words from Chapter 12 telling the 'two misses' ['missies' here] to take themselves off . This leads to an episode in the novel where Mary and Roasmond go to Mary's room and talk, revealing their familiarity with one another from childhood . This line is excised from the Post-production script and replaced with Featherstone's 'Off with you' which is directed at the 'row of Waules' in the screen version Mary also moves away to be with Rosamond by the piano, leaving Fred and Featherstone together.

87. There is only a hint here in Davies use of the phrase 'a little bird has told me' of the long story that Mrs Waule has been telling her brother Featherstone in Chapter 12 about Fred supposedly bragging of his future inheritance to his debtors . Davies' stage direction and the camera's shot of the Waules sat on the opposite side of Featherstone's parlour is left to convey something of Fred's comment to Rosamond at the start of Chapter 12 that 'they hang about my uncle like vultures' .

88. To support the idea that Fred suspects the Waules of telling tales about his debts, in the screened version, shots of him glancing back at Jane Waule are edited into the previous speech from Featherstone and his own here. No mention of this is made in the novel while the stage direction to this effect comes in both the Shooting script and the Post-production script at the end of Fred's speech .

89. Eliot's chosen idiolect for Featherstone is reflected by Davies here with his use of 'dockimentation' for 'documentation'. In the novel there are further instances of this, for example with 'speckliating fellow' and 'speckilation' later in Chapter 12 .

90. Davies uses the device of Featherstone's coughing, brought on by laughing at his own joke to bring Mary and Rosamond back to the group. In the novel a bell is rung to summon them from Mary's room and it is this same bell that Mary hears at the end of their chat . In effect, Eliot creates a short flashback scene here, bookended by the ring of the bell.

91. In the novel, Fred has sent the books ahead to Stone Court and before Mary reappears with his sister, Featherstone has admonished him about this and asked him to send her no more . In the Post-production script, Davies introduces Mary's reading and admonishes Fred in front of her. She however stands up to him, the stage directions noting she treats Featherstone 'much more like an equal than FRED and ROSAMOND do' .

92. Note that the last two pages of Scene 1/25 are missing from the Shooting script, possibly removed by script editor Susie Conklin to send to script-writer Andrew Davies. Link here to the equivalent Post-production script for these pages .

93. Rosamond's singing of 'Home Sweet Home' takss over from the sound of Lydgate's arrival at Stonecourt on horseback as Scene 1/26 cuts to Scene 1/27 in the parlour where Rosamond is at the piano .

94. Note that the first page of Scene 1/27 is missing from the Shooting script, possibly removed by script editor Susie Conklin to send to screenwriter Andrew Davies. Link here to the equivalent Post-production script for the first page of this scene .

95. Trevyn McDowell's interview offers some interesting insights as to how she and Anthony Page interpreted Rosamond and one way in which she had hoped to use her own singing voice in this portrayal .

96. Davies' stage directions in Scene 1/27 refer repeatedly to looks exchanged between Lydgate and Rosamond. They hold one another's gaze or avert their eyes. This is the language of 'love at first sight' which Eliot refers to as Rosamond later reflects on her meeting with Lydgate (Ch.12) . Unlike this scene, in the novel, Lydgate just misses Rosamond's song upon which he comments when they next meet (Ch.16) .

97. The action slows right down here in the screened version focusing on the chemistry created by the actors playing Rosamond and Lydgate. Trevyn McDowell talks of her previous experience of working with Douglas Hodge and how they developed the Rosamond-Lydgate relationship with Anthony Page .

98. Andrew Davies subtly adapts this moment giving it an ambivalence - does Rosamond genuinely mislay her riding whip and Lydgate merely comes to her aid? Or is it her ruse to bring him cloer to her? In the novel she is simply on her way to pick up her whip when he intervenes .

99. There is a longer commentary on this scene, here .

100. Davies transposes this dialogue of this first part of Scene 1/28 from Ch. 11 in the novel where over breakfast, Mrs Vincy has asked Fred about his impressions of the new Doctor Lydgate and Rosamond has quietly paid her full attention .

101. This line from Rosamond about 'being of good family' does not appear in the Shooting script but it does appear one of her original responses to Fred's introduction to Lydgate around the Vincy breakfast table in Ch. 11 of the novel . In the Post-production script Fred's speech is split, unlike in the Shooting script, so that his question about Mary's view of him starts a new speech. Rosamond's line also shows how she glosses over the fact that Tertius's richer relative does not know how to manage money.

102. At the end of Ch. 12 in the novel, Fred does not ask what Mary said of him but if Mary has said Mrs Waule has reported anything detrimental about him to Featherstone. He is trying to find out where Featherstone has gained his information about Fred's behaviour. Mrs Waule is the one who has said Fred is 'unsteady' but Davies adapts it to be Mary who says this. This minute change makes it personal and reinforces Mary's reported words from the novel that she would refuse Fred if he were to propose .

103. The tone Rosamond's of words here do not match the more friendly nature of the conversation in the novel between her and Mary at Stone Court. Davies generally portrays Rosamond as less kind to Mary. For example in Chapter 12, Rosamond courteously asks Mary if she can repeat to Fred or to her mother what Mary has said about a marriage proposal .

104. The end of Scene 1/28 corresponds with the end of Book 1 (Ch. 12) of the novel .

105. Andrew Davies gives a more definite purpose to Dorothea's walk with Monk in Chapter 3 by introducing the visit to the ailing Mr Barnacle. In the novel this walk is to allow her to think about the possibility of a proposal from Casaubon and how this would open up greater opportunity to do good . The only real hint of this purpose comes in the opening stage direction about her condering life as the 'wife of a genius' which persists into the Post-production script .

106. The dialogue softens between Shooting script and the Post-production script with Dorothea shifting from a lady bountiful figure to a person well-known to her tenants, addressing the children familiarly by name . This sense in the Post-production script of Dorothea's class superority being downplayed is also reflected in the cut to the last two lines lines of her speech here, in the Shooting script .

107. Eliot's exploration of Dorothea's intense 'religious disposition' during her walk with Monk is reflected in Davies' stage direction for her to fall on her knees beside the sick tenant's bed. This action disappears from the Post-production script .

108. Dorothea's speech reveals the other main dramatic reason for the inclusion of her visit to the Barnacles: to remind the audience that Mr Brooke, for all his higher thoughts of reform, is not a considerate or very dutiful landlord. Neither Dorothea nor Mrs Barnacle hold out much hope of the cottage roof being repaired. Dorothea's rather unrealistic for this historical period promise to send the doctor to Mr Barnacle is removed between the Shooting script and the Post-production script .

109. Davies here condenses two speeches from this conversation from the novel and a recollection of Dorothea's from later in Chapter 3 when she recalls Chettam does not instead give the pet dog to Celia as she anticipated he would. She thinks to herself that at least it will not be there at Tipton for her to tread on . Her reaction to his gift is symptomatic of her blindness to Chettam's wish to court her.

110. This comment from Chettam is in reaction to Dorothea's opinion on toy breeds of dog in the novel but in the Post-production script it is used instead to express Chettams's slight envy of her sureness of opinion on more significant matters of social injustice . Whereas in the Shooting script his line is the blander 'I'm... very much of your opinion!'

111. In the novel, the conversation in Scene 1/33 largely takes place between Celia and Dorothea in their carriage as they return from viewing of Sir James's new cottage sites in Chapter 4. There has been far more liasion between Dorothea and Sir James over the cottage plans in Chapter 3 than is included in the adaptation. The enclosed and intimate location of the carriage gives Celia the opportunity to tell Dorothea a few home truths about Sir James' intentions towards her .

112. The inclusion of Brooke in this scene is largely to open up the chance of a further invitation to Tipton Grange for Casaubon and to show Celia that Dorothea favours this. '(Celia sighs)' at the thought of this invitaton in the Shooting script but by the Post-production script her line 'Oh no!' has been added to make her feeling clearer . In respsonse, Dorothea looks up from her open book at the breakfast table to assure Brooke he should invite Casaubon 'as often as he is willing to come.' The open book is a reference to Chapter 3 and her new habit of reading 'learned books' whenever possible so as appear less ignorant in conversation with Casaubon .

113. In the Shooting script Davies skilfully uses concision with the original longer conversation in Chapter 4 for dramatic effect. He removes Celia's softer approach to the topic of Sir James - where she tells her sister of rumours circulating among the servants of Dorothea's forthcoming match with Sir James before stating plainly that he is 'very much in love' with her, so dispelling Dorothea's ideas that he thinks only of her as a 'future sister' . Instead, Celia's statement of Chettam's love for Dorothea comes much sooner in the script and makes a stronger impact both on Dorothea and the audience.

114. The fact that Dorothea walks out shows a strength of feeling that she is not able to convey in the novel because she has to remain in the carriage at close quarters with Celia until they reach Tipton. The physical effect of this shock on her is made clear in Chapter 4 and the reason Eliot offers for this is not that Dorothea worries she has led Sir James on but that her altruistic plans are now in shreds because of a misconstruction of 'society' on their friendship .

115. This scene where Dorothea greets her uncle and follows him up the steps to the main entrance to Tipton Grange is one of the many uses made of the front of Culverthorpe Hall in the dramatisation .

116. In Chapter 4 of the novel it is Brooke who greets Dorothea and Celia at Tipton when they return from Freshitt. He is back from a trip to petition 'for the pardon of some criminal'. Although the scene where the sisters argue and this one are adjacent in the Shooting script they are separated by four scenes in the Vincy and Lydgate plots in the Post-production script . This gives a sense of some days passing between Celia's revelation to Dorothea and this moment.

117. The result of the Assizes case is brought forward by Davies, with Brooke confirming to Dorothea that Bunch the sheep-stealer will hang. In Chapter 4, how the criminal fared is not mentioned until they are settled in front of the fire and it acts as a prelude to Brooke broaching Casaubon's wish to propose to Dorothea .

118. Dorothea and Brooke are in the sitting room at Tipton Grange rather than the library as is stated in the opening stage directions. This is an interesting setting in which to consider Production designer, Gerry Scott's interview comments on her contrasting choices of decor for the older families' country houses and the newer monied families' Middlemarch houses .

119. The Shooting script starts with Scene 1/38 where at Tipton Dorothea, seated by the fire, hears Casaubon's voice as she reads his letter of proposal. The order of Scenes 1/38 and 1/39 is reversed in the Post-production script so that the reading of the letter starts with Casaubon in his library and then switches to Dorothea reading by the fire , as can be seen in the film version .

120. Casaubon's letter of proposal opens Chapter 5 in the novel, where the epigraph also has a proleptic quality .

121. Andrew Davies omits Dorothea's letter in reply to Casaubon's proposal. Dorothea's response in Chapter 5 of the novel is short but she copies it out three times before she is happy with it .

122. The detail of Causaubon's noisy soup eating is retained by Davies from the novel in both the Shooting script and the Post-production script, as an indication of how unattractive he is in social and conventional terms to a young woman of marriageable age. Dorothea has clearly not even noticed this about her suitor. Davies, however, omits Celia's much deeper and growing suspicions of her older sister's attraction to the older man which Eliot reveals in the novel as Celia recalls Dorothea's 'admiration' for the 'ugly and learned' teacher, 'Monsieur Liret at Lausanne' .

123. The build-up to Dorothea's revelation that she has accepted Casaubon's proposal is not reflected in Davies' adaptation with the effect that Celia's startled look here makes her look unprepared for Dorothea's angry reaction. In the novel, at this point, Celia is instead in trepidation that Dorothea is about to make the engagement known to her..

124. There is a longer commentary on Scenes 1/37-40, here .

125. Scenes 1/42-1/45 in the Shooting script which depict the first meeting between Dorothea and Casaubon after the proposal do not appear at all in the Post-production script. Instead the action leaps straight to Freshitt and Chettam's reaction to the news of their engagement in Scenes 1/46 and 1/47.. These scenes may have been shot but later edited out due to timing considerations or a directorial decision may have been taken to truncate the Dorothea-Casaubon courtship still further for the television audience.

126. In this stage direction Davies overlays Casaubon's arrival with Gothic conventions - the dark carriage, the coachman in black, the intimidating trot of the horses and Casaubon seated in the interior in his 'rather frightening black hat'. Celia, acting as self-appointed look-out, witnesses this forbidding arrival.

127. Scenes 1/42-1/44 which announce Casaubon's arrival and then bring the couple together do not figure in Chapter 5 of the novel . Visually, they are quite flamboyant, with Dorothea viewing her suitor from the top of the stairs and then running down to greet him. They match the verbal flamboyance of Scene 1/45.

128. Davies includes verbatim, some of the highly archaic phrases from Casaubon's wooing dialogue with Dorothea . Had this survived, the 1990s television audience may have found it hard to believe that the heroine could continue with the engagement, without the presence of Eliot's narratorial comment that while Casaubon's intention was 'honest' his speeech 'at the end was as sincere as... the cawing of an amorous rook'.

129. Davies effects a narrative reversal in Scenes 1/46-1/47 by having Chettam deliver the news of Dorothea's engagement to his mother and Mrs Cadwallader. In Chapter 7 of the novel it is she who discovers the news from Celia and drives directly to Freshitt to tell Chettam .

130. Note that the whole of Scene 1/47 is missing from the Shooting script, possibly removed by script editor Susie Conklin to send to script-writer Andrew Davies. Link here to the equivalent Post-production script for both pages of this scene and notes on its adaptation.

131. The scene opens in media res with Chettam bemoaning the engagement news. Mrs Cadwallader and his mother do not seem as surprised by it as he does and placate him. Davies takes the two-hander 'one foot in the grave' joke straight from the conversation between Mrs Cadwallader and Sir James in Chapter 7.

132. Mrs Cadwallader's acerbic tone also reverberates from the novel when she likens Casaubon's 'great soul' to 'a great bladder for dried peas to rattle in'. Davies deftly manages to refer back to the earlier conversation in Chapter 7 where Celia tells Mrs Cadwallader that Dorothea has chosen Casaubon for his 'great soul' .

133. Davies takes a speech, which Eliot claims Mrs Cadwallader makes 'first to herself and afterwards to her husband' in Chapter 6 , and has her deliver it directly to Chettam in Scene 1/47.

134. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 6 here . The narrator steps alongside Mrs Cadawallader to explore her preoccupations and uses her a vehicle for comedy.

135. The seed of the match between Chettam and Celia is planted by the two women. Davies uses Mrs Cadwallader's comment from the novel that Celia already admires him as much as 'a man expects to be admired' only omitting Eliot's narrator's 'almost' before 'as much as'. Lady Chettam follows up with comments reinforcing how conventional Celia is - her docility, her love of geraniums

136. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 6 here . The narrator steps back from the action, as omniscient narrator considering all 'men and women', but still counts themselves among 'We mortals'. In doing so, the narrator comments that although Sir James may be proud in his actions he is hiding his 'own hurts' so as 'not to hurt others'. This moment when Chettam decides he will ride to visit the Brooke sisters afterall is not one that Davies chose to adapt.

137. Davies' closing stage direction implies that Chettam is already beginning to see how pragmatic a marriage to Celia would be. This hints at his actions at the end of Chapter 7: after Mrs Cadwallader leaves, he first takes a ride away from Tipton but then turns back to pay a visit there, to Celia .

138. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 7 here . The narrator effects a brief time shift here to look ahead to when Brooke will criticise bishops' incomes as part of an election speech whereas here he is hoping that a bishop's title will come Casaubon's way. By using prolepsis, Eliot suggests how time can make a hypocrite of most people.'

139. The grim exterior of the old infirmary and the scene of the poor man in a fever that follows is a stark reminder after the previous scene at Freshitt Hall in the Shooting script and at Tipton Grange in the Post-production script of the contrast between the conditions of the landed classes and the working people of Middlemarch .

140. The characters named 'Patient' and 'Wife' in the Shooting script become the named individuals, Mr and Mrs Tegg, in the Post-production script . In this invented scene, Davies personalises these minor characters using the family name of the shoemakers in Middlemarch mentioned in Chapter 16 of the novel .

141. Mr Tegg's lines become much shorter between the Shooting script, and the Post-production speech. This speech in particular also loses much of it specificity: the fact that he works in Vincy's ribbon factory is cut between the two scripts and the fact that 'the shuttle's broke' is lost between the Post-production script and the onscreen version. The effect of this and other changes, such as the Nurse character being removed and the 'iced-water' treatment becoming 'tepid sponging', mean the focus moves much faster and more intensively to Lydgate's new medical ideas and bedside manner.

142. Mrs Tegg's fear of the illness being cholera reminds the viewer that fear of this disease reaching the town pervades Middlemarch. Lydgate's response is calm and measured. As doctor who has worked beyond the provinces, he has experience of the disease and is sure this is not cholera. The instructions on how to protect the Tegg children at home disappear between the Shooting and Post-production scripts . Douglas Hodge as Lydgate instils confidence in Mrs Tegg with his manner as much as his advice.

143. From the Shooting script to the Post-production script, Vincy's opening speech reminding the viewer why Fred needs the letter, is omitted. In the Post-production script Scene 1/50 appears earlier in Episode 1 and so can open in media res .

144. Davies often chooses to omit a specific but retain a general point in dialogue and this can sometimes result in a less nuanced plot or characer depiction. Here Vincy merely points out that Bulstrode is as fond of a profitable deal as any other man. In the novel, Eliot goes further, hinting that Bulstrode's dealings with Plymdale make him party to the use of inferior dyes. Vincy hints that he could make this public if Bulstrode does not support Fred with the letter to Featherstone. This detail also reveals the fine margins by which textile manufacturers in Middlemarch are operating .

145. Featherstone reads much more of Bulstrode's letter to Fred in Chapter 14 of the novel . This is indicative of Davies' powerful condensation of this whole chapter into three short scenes in his adaptation: Scene 1/51 and Scenes 153a and b. In the Shooting script he also borrows Featherstone's words from Chapter 12 that foresee Bulstrode's eventual fall 'any day when the Devil leaves off backing him'. This part of Featherstone's speech is subsequently cut from the Post-production script perhaps as it represented too much of a spoiler for the Bulstrode plot .

146. The action relating to the handing over of Fred's 'present' from Featherstone shrinks from Fred fetching the money-tin in the Shooting script to Featherstone producing it from under the bedclothes in the Post-production script. This allows the camera to focus on Fred's keen anticpation of the tin being opened . In the novel the clearly upset, red-eyed, Mary is called upstairs to fetch the money-tin, alerting the reader to how she is bullied by Featherstone when no visitors are around .

147. The Post-production script ends with Featherstone's emphatic 'I should think you are' rather than the limp stock expresson of gratitude from Fred in the Shooting script. Featherstone's parting line signals his continuing power over Fred which is far more evident in the novel where he insists Fred should count out the banknotes and consider their value while he relishes being able to influence the young man .

148. Mary's location and chore - hanging washing up outside - evolves into folding washing on the landing outside Featherstone's room in the Post-production script Scene 1/53a . This was probably due to the spaces available for shooting at Stragglethorpe Hall (used for Stone Court in the dramatisation). Both locations contrast with Mary's more comfortable setting in Chapter 14 of the novel where she sits, reading by the fire, as Fred comes downstairs .

149. In Eliot's dialogue between Mary and Fred in Chapter 14 there is no discussion at all of Featherstone's payment to Fred. It is taken as read, as Mary was present when the money-tin was opened and so knows of it. Davies chooses to introduce the topic as it allows him to seed the subplot of the Caleb Garth's involvement in underwriting Fred's debt in the line 'a very good friend - the best fellow I know has signed a bill'. And this element survives into the Post-prodcuction script . In the novel, Fred instead raises Mary's mood with his jealousy of John Waule's visit to her leading to some lighter banter between them .

150. Mary's comment 'My father says an idle man ought not to exist, much less be married' is verbatim from the novel but it quickly turns to levity here when Fred asks over-dramatically 'what am I to do? Blow my brains out?'. This humour can only be hinted at in the brief lines that pass between Mary and Fred but is far more pronounced, conveying their underlying love for one another in the novel . In the Shooting script Davies has Mary succinctly combine gentle teasing with sound advice about completing his exam in her response. In the Post-production script her line is delivered once she has moved downstairs with Fred in pursuit as they transition into Scene 153b .

151. Davies ends the debate between Fred and Mary in a more conciliatory way in the Shooting script than in the Post-production script which takes Mary's admonishment as her parting shot. She delivers this and heads rapidly back upstairs with the folded washing, leaving Fred looking miserable in the hallway . In the Shooting script, she turns back to him and acknowledges the depth of her affection for him but implies he has just gone to far. This emulates the closing mood of Chapter 14 where Fred departs still with hope of winning Mary .

152. Many of the details from the description of Lowick in the novel are retained by Davies in this the viewer's first encounter with Casaubon's estate. It is all 'yew trees' and 'greenish façade' summoning images of death and stagnation. There is no brighter side to the house with a lime tree avenue as there is in the novel . A pale Casaubon stands outside waiting for the Tipton party to arrive but in the script he greets them at the door, rather warmly .

153. The rear courtyard and entrance to Brympton d'Evercy in Somerset corresponded closely with the description of Lowick Manor in both the novel and Davies' stage directions. The porchway pictured here is where Casaubon welcomes his betrothed and her family in Scene 1/56 .

154. This opening stage direction to Scene 1/57 which remains the same in both scripts reflects a long description in Chapter 9 of the novel of Dorothea's initial idealistic impressions of Lowick where she imagines spending her married life . Unlike Celia, she can only see good in the dimly-lit rooms and laden bookcases.

155. Locating the betrothed couple alone in Casaubon's library, Davies sets up this scene as potentially romantic. In fact, the only things to receive caresses are the notebooks. In his stage directions, Davies implies that Dorothea's feelings are spiritual - those of the 'novitiate'. The irony of staging a positively-charged library scene, which from here on becomes a location of constant conflict between Dorothea and Casaubon, will only be appreciated by the viewer in later episodes. The sunlight that Casaubon sheds on his books by opening the drapes in the Shooting script is omitted from the Post-production script stage directions, either for lighting design or symbolic reasons .

156. The dialogue between Dorothea and Casaubon about his work and her suggestion that she might start learning Latin and Greek to help him, does not happen on her first visit to Lowick in the novel. Dorothea merely admires 'the dark book-shelves in the long library' in Chapter 9 . Davies extracts this conversation, including the reference to Milton's daughters from Chapter 7 where it takes place during one of Casaubon's courtship visits to Tipton Grange . This scene might hint to the viewer that there may yet be potential in this working relationship.

157. Note that the whole of Scene 1/59 is missing from the Shooting script, possibly removed by script editor Susie Conklin to send to screenwriter Andrew Davies. Link here to the equivalent Post-production script for this scene .

158. Davies has his vociferous Brooke, in the person of Robert Hardy, comment loudly on revamping the decor at Lowick not only in Scene 1/59 but also in Scene 1/60. This only occurs once in the novel where Dorothea gently closes him down on this topic and makes reassuring noises with 'No uncle... Pray do not speak of altering anything' .

159. Davies' dialogue in Scene 1/60 follows the conversation in Chapter 9 about the portraits of Casaubon's mother and her prettier sister very closely . However, in the novel it is Dorothea, sensing the topic is awkward for Casaubon, who suggests they walk in the garden. By contrast, in the Post-production script the idea comes from Casaubon .

160. There is no stage direction in the Shooting script requiring the final shot in this scene to be of Dorothea continuing to study the miniature of Aunt Julia. But this is how the scene ends on screen, though not recorded in the Post-production script . The portrait prop is purposely drawn to reflect the features of Rufus Sewell (Ladislaw), whom Dorothea meets in the next scene. This provides an effective visual link to the novel where Eliot describes how Dorothea immediately identifies the same features in Ladislaw as she saw in the miniature of his grandmother .

161. Ladislaw's hat - a motif that carries associations of his Polish political emigre status - is introduced by Eliot in Chapter 9 to reveal his handsome face when he looks up from under its brim . Davies who make much use of the hat for stage business in his later directions, chooses to present a hatless Ladislaw in this first encounter with Dorothea, perhaps because for a late twentieth-century audience a man sketching in a formal hat in a garden setting might seem out of place.

162. Davies abbreviates the walk around the gardens at Lowick substantially from the novel. There Celia glimpses Ladislaw before they are introduced to Mr Tucker the curate at Lowick who assures Dorothea that the tenants and cottages on Casaubon's estate are all well cared for. This scuppers her hopes of doing good works and improvments once she is married . Brooke then asks who 'that youngster' is in the garden which forms the entry point for Scene 1/61.

163. Davies' introduction of Dorothea's love interest is low-key in comparison even with the novel, where her comment about art is taken the wrong way by Ladislaw a later chapter reveals . On screen the performances of Sewell and Aubrey do not seem to play up to the 'keen interest' in Dorothea that the Shooting script stage directions request from Ladislaw and his 'ironic' smile at Brooke's invitation to Tipton is not in evidence.

164. Andrew Davies uses stage direction to hint at Ladislaw's sense of humour. Eliot expands on his ability to laugh at life in the novel ('Ladislaw thinks she must be barmy'). At such moments Davies' candour about characters' inner life, while doubtless useful for actors and director, is almost always underplayed in performance.

165. The dialogue in the Shooting script represents a highly pared-down version of the conversation in the novel between Dorothea, Casaubon and Brooke that follows the meeting with Ladislaw in Chapter 9 . This effect is exacerbated in the Post-production script where Dorothea's speech is cut praising Casaubon's patience and support of his cousin while the young man decides on his future direction. Celia's stage direction, however, in response to this speech, remains redundantly in the later script .

166. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 10 here . On page 123, The narrator steps beside Will Ladislaw to lay open his reasoning behind his travels - a part of his 'openness to receptivity' of 'Genius' - and his rather hedonistic attitudes. By page 124, the narrator has stepped back to her omniscient position with 'Let him start for the Continent then, without our pronouncing on his future' and switches her focus to Casaubon, delving into his thoughts. The conclusion is that, like Will, he cannot help being the centre of his own world. The news of Will's departure is not represented in the adaptation but, sequentially, follows his introduction to Dorothea at Lowick and Casaubon's agreement to support Will in Italy for a year..

167. Note that the first page of Scene 1/64 is missing from the Shooting script, possibly removed by script editor Susie Conklin to send to script-writer Andrew Davies. Link here to the equivalent Post-production script first page of this this scene .

168. It is probable that the first page of the Shooting script was very similar in content to the to first page of the Post-production script because the second pages in each have same page break .

169. The establishing Scene 1/63, changes from an evening to a daylight setting between the Post-production script and the screen version. Scene 1/64 reflects the mixing of different classes at Tipton Grange for Dorothea and Casaubon's engagement party in this clip..

170. The screen version of this scene takes place in a reception room where drinks are being served before the engagement dinner rather than as the guests enter the dining room, as in the Post-production script.

171. Mrs Cadwallader takes on the role of commentator on those present at the engagement party. Davies has her comment in a similar way to Eliot's ironic narrator in Chapter 10, who expresses that it is unusual in pre-Reform times to have townsfolk and country landowners mixing socially .

172. It is at the engagement party in Chapter 10 of the novel that the reader is first introduced to Lydgate, towards the end of Book 1 "Miss Brooke". And there it is Lady Chettam who asks Mrs Cadwallader about him . In contrast, Andrew Davies opens Episode 1 with Lydgate's arrival in Middlemarch.

173. The dialogue in Shooting script Scene 1/64 derives from the more private post-dinner conversations of the men and the women in Chapter 10. There is no pre-dinner scene in the novel. Here the middle-aged bachelor, Chichely, talks of Dorothea as a fine woman, but of his preference for a woman like Rosamond with men not in mixed company. There are no women in the room when he makes similar comments in the novel . This dialogue does not appear in the shorter Post-production script version of the scene.

174. There is a longer commentary on this scene, here .

175. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 10 here . On page 131, the narrator comments, from Mrs Cadwallader's perspective, on Brooke's choice of guests from different social rankings at Dorothea and Casaubon's engagement reception at Tipton Grange. His reasoning behind this is revealed by Mrs Cadwallader in Scene 1/64 of the Shooting script . In the second extract on page 133, the narrator reveals that even Brooke's invitations would not have extended as far as 'Miss Vincy', a mere daughter of a manufacturer.

176. Scene 1/65 is of Andrew Davies' invention. There is no specific source for it in the novel. It enables Davies to introduce Brooke's political aspirations and ideas on reform, earlier than they are introduced in the novel. His reformist ambitions are discussed by his political adversaries in Chapter 37 and by his peers and friends in Chapter 38 , long after Dorothea and Casaubon's are married.

177. Brooke's speech in the Shooting script is a few lines longer than that in the Post-production script but it is honed to emphasise several key ideas for viewers of the dramatisation. The biblical reference to David and Jonathan going forth in friendship is cut, for example and replaced with the phrases 'if you will, and so forth' often used in Brooke's idiolect when is he nervous. And he is nervous as he moves from talking about 'progress' in life, as represented by the betrothal of Casaubon and Dorothea, to the context of political reform. The words 'progress' or 'progressive' are used throughout this short speech but reform - the more loaded political term - is only introduced in the last couple of sentence. Brooke gently prepares his audience for his allegiance to 'reform' whereas in the Shooting script he presents it earlier - standing alone with a capital R .

178. Perhaps to allay the fears of men like Chettam and Chichely in the dining room, Brooke repeats his intention always to proceed with reform 'in moderation' twice in his Shooting script speech. This element of his argument is reserved just for the end of the Post-production script, where it gains more emphasis and gives a sense of Brooke playing to the different views of his guests .

179. Davies includes the words 'and women' when Brooke welcomes the 'progressive men' to his table, a reference not only to his niece, Dorothea and Mrs Cadwallader but also to the adaptation's 1990's television audience. Certainly in the list of men he does welcome in person, Brooke allies himself with the reformers of different kinds in Middlemarch and proves Mrs Cadwallader's claim true that Brooke means to 'treat' the Middlemarchers and in her more prejudicial terms is 'toadying to the hoi polloi' .

180. This opening stage direction reflects the main purpose of this short scene where Brooke effectively hands Dorothea over to Casaubon's care. It is significant that Brooke and Celia remain on the steps of Tipton Grange while Dorothea sees her future husband to his carriage. And it is significant that the conversation in which Dorothea is first wounded by Casaubon takes place 'not in earshot' of her family. Davies has also chosen to place this conversation after the engagement dinner, whereas it happens just before Dorothea and Casaubon dress for dinner in Chaper 10 of the novel .

181. Without a direct depiction of the marriage either in the novel or in the adaptation, Davies effectively invents a wedding speech for Brooke here. In expressing his affection for his nieces he gives Casaubon an unwitting example of how he should emulate such affection towards Dorothea. His second speech in the Shooting script actually notes 'now you shall have that happy task, Casaubon' though this is cut from the Post-production script. Nonetheless, the following stage direction inplies that this rattles Casaubon bringing 'a trace of anxiety' into his eyes as he's largely only considered Dorothea bringing affection to him .

182. Celia is keener to see Casaubon on his way in the Shooting script. Her second speech 'This is a chilly wind.' suggests she is cold and he should not be detaining them on the doorstep. Only her slightly acerbic first speech remains in the Post-production script, perhaps the results of economy in the editing suite or a directorial means of toning down Celia's irritation at Casaubon .

183. Davies makes only a few minor changes to the dialogue that passes between Dorothea and Casaubon in Chapter 10 about a lady 'companion' for Dorothea on their honeymoon to Rome. Dorothea's reactions are perhaps more varied in Eliot's rendition. Casaubon's words 'grated on Dorothea' and she 'coloured from annoyance' as well as feeling 'hurt'. In Davies' stage directions she is 'very hurt' and then 'flooded by tenderness' as she realises her betrothed is scared that he has upset her. In the novel Casaubon remains impervious 'not in the least noticing that she was hurt' .

184. Lydgate's second visit to Bulstrode's bank could be seen as a rerun of Scene 1/15 but Davies uses this invented scene to show that the stakes have increased for Lydgate since his last visit . Bulstrode is about to put further pressure on him to vote for Tyke in the chaplaincy election. The choice for Lydgate is accented in the Post-production script by the juxtaposition of this scene with the hospital scenes (1/48-49) that immediately precede it, where Lydgate tends to the feverish Mr Tegg and reassures his wife that Middlemarch will soon have a new fever hospital .

185. The frustration in Lydgate's curt question is clearly due to him being summoned from potentially life-saving work to discuss an issue of local politics. A few seconds later in this scene he maintains 'I'm a medical man. I have no opinion about these things' and the stage directions record that he is 'annoyed at being called away from his work'. But this scene represents the first in a short sequence in the build-up to the vote, and marks the start of the turmoil that afflicts Lydgate in the novel as he comes to realise the strength of Bulstrode's power in the town and struggles to decide between Farebrother and Tyke.

186. Davies' propensity to relay Bulstrode's power in only few words of dialogue is strengthened here by Peter Jeffrey's low-key but sinister delivery of these lines. He streses ''earnestly advise' and 'great deal' leaving Hodge's Lydgate in no doubt as to the potential effects of his decision.

187. Scene 1/69 depicts a social environment - an evening gathering at Mayor Vincy's - where the topic of the chaplaincy is raised before Lydgate again. The scene is shown much from his perspective and occasionally from Rosamond's. It opens with her close observation of her mother when she offers to refill Lydgate's glass . Davies advises that Rosmond will be 'anxious that he finds her mother vulgar and boring'. This is borne out in the Post-production speech where Davies injects a slightly vulgar speech for Mrs Vincy. This is delivered well in performance with Jacqueline Tong's affectatious pronunciation of the word 'jolly' as 'jollay' in her lines to Lydgate and McDowell's visible flinch at this. There is a source for this in Lydgate's comparison of mother and daughter Vincy in Chapter 16 of the novel where this party takes place .

188. On the sidelines of the male characters' discussion of the chaplaincy, the stage directions note that Lydgate 'does his courteous listening bit' as both Tyke and Farebrother are criticised. In his portrayal of Lydgate, Hodge becomes even more pensive when Vincy expresses that he is glad no longer to be a board member, knowing 'whichever way I cast my vote I'd be offending someone'. In the novel Eliot lends Vincy the subtler phrase 'roll some of my responsibility onto your shoulders' with regard to Lydgate and his fellow doctors voting for the chaplaincy, whereas Davies makes the chance of offending someone his main message . This coheres dramatically with the message Bulstrode delivered loud and clear in Scene 1/49.

189. Lydgate's response comes across here more negatively than it does in the novel, where he makes it clear he is speaking generally . It also sounds more critical of Farebrother - and some plot reordering that occurs in Davies' adapation does not help in this regard. At this point in the novel, Lydgate has yet to visit Farebrother at home and bond with him over his scientific collections. In the adaptation this happened as far back as Scene 1/19 .

190. The dramatic transition from Lydgate's slight disagreement with Chichely to his exchange with Farebrother is managed more creatively in the Post-production script. There 'A spurt of clapping and laughing' signals Farebrother has won at whist again and interrupts Lydgate before he can offer his conciliatory remark 'Well there we can agree' to Chichely. He has made another unfavourable impression in Middlemarch .

191. Davies shows Farebrother in his element at the Vincy's party but he steps aside from the card table in the Post-production script to check that he and Lydgate are still on good terms. The matter of the vote is not mentioned overtly between them in Chapter 16. Farebrother wittily invites Lydgate to the whist table - joking 'you are too young and light for this kind of thing' . This quip appears in Davies' scripts but is not delivered until Lydgate honestly owns that he has not made up his mind on how to vote and that without Farebrother he would 'starve in this town for want of intelligent conversation' . In this line, Davies harks back to their dialogue during their evening together in Scene 1/19.

192. The next conversation that Lydgate is drawn into is altogether lighter. In the novel, his talk with Rosamond occurs both before and after he watches her play and sing. In the scripts their conversation, the first since they met as Stone Court in Scene 1/27, is condensed by Davies to a flirtatious interlude where Rosamond successfully draws Lydgate in. Her coy description of herself as a 'just raw country girl' (similar to her alignment of herself with 'raw country girls' in the Chapter 16) elicits his compliments and enables her ostensibly to accept them shyly. The later teasing line about 'the rides towards Tipton and Lowick' is another hook (drawn verbatim from the novel) which Lydgate swallows with his response about 'meaning something much nearer to me' . Nevertheless, in the onscreen performances the chemistry between McDowell and Hodge makes this a moment of frisson for the audience.

193. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 11 here . The narrator steps back to talk about Destiny's part in the characters' outcomes ('our dramatis personae'). Rosamond, and the way her education has shaped her for upwards social mobility, becomes the narrator's focus.

194. Davies' stage direction in the Shooting script refers to qualms that Lydgate expresses in the novel about Farebrother's seeming need to gamble and his success at this . This direction is lost from the Post-production script and Farebrother's next win is more of a distraction from Rosamond for Lydgate. Farebrother is also shown drinking wine in the onscreen version where Lydgate notices he drinks only water when he plays cards .

195. The motif of the town bridge is used by Davies several times in the Shooting script as the place where Lydgate stops briefly to contemplate a looming issue or change in his life. Probably due to the constraints of the actual location in Stamford, the bridge is usually replaced, as here, by a night-time walk home throught the streets . In Chapter 16, Lydgate contemplates both Rosamond and marriage on his way home and Farebrother and the vote . In the Shooting script Davies' stage direction seems to suggest it is Rosamond who his uppermost in his mind.

196. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 15 here . The narrator presents themselves as the local historian of Middlemarch. Rather than Fielding's great historian of earlier novels, they are concerned with 'unravelling certain human lots' rather than Fielding's 'tempting range of relevencies called the universe'. This enables the narrator to turn to 'the new settler' in 'this particular web' - and gives his backstory.

197. Back at his lodgings, Lydgate's late-night experiments on tissue continue in the Shooting script but in the Post-production script this is interrupted by voiced-over recollections of the words and warnings of both Farebrother and Bulstrode as he struggles to decide which way he will vote . In the novel, less visually engagingly, Lydgate merely casts aside his book as he ponders his scientific calling and then thoughts of his evening at the Vincys' .

198. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 15 here. . The narrator reflects on how any human with high ideals can be derailed by ordinariness of by love and generalises about how easily this happens over time, as if by osmosis. This leads to an exploration of Lydgate's professional aims and introduces the story of Lydgate's time in Paris.

199. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 15 here . The narrator looks back 40 years from her standpoint of 1870 to what was thought and understood scientifically in the late 1820s.

200. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 16 here . The narrator offers the reader insights into the social aspirations driving Rosamond's ideas of marrying Lydgate.

201. In the Post-production script this scene (1/73) depicting Brooke's arrival at the old infirmary is no longer included. Instead, Brooke enters on a simple stage direction. The reordering of scenes between the two iterations of the script is the cause of this . It was decided to end Episode 1 with the voting scene at the Hospital board meeting rather than the early scenes of the Casaubon's wedding trip to Rome. In the Post-production script the Rome scenes intervene between Scene 1/72 and 1/74. This also signals the passing of more time between the events in these scenes .

202. The impressive location for the Old Infirmary Board meetings is the Great Hall at Browne's Hospital, Stamford, itself founded in medieval times. The production gives the impression that this room is on the first floor - with Lydgate's entrance to this scene. It is in fact on the ground floor of Browne's hospital .

203. Dr Minchin is among the 'town worthies' attending the hospital board meeting in the Shooting script. By the Post-production script, Minchin has disappeared . Chichely who has previously appeared in Scene 1/64 takes his place. This is change could be purely pragmatic, avoiding the need for another acting part, but it also has the effect of changing the number of doctors present from four in the novel to only one (Wrench). Eliot uses the discussion among the doctors in Chapter XVIII to show the antipathy for him that Lydgate has aroused among all the Middlemarch medical men .

204. Watch how Scene 1/74 unfolds after the arrival of Mr Brooke to form the culmination of Episode 1. .

205. Dr Minchin's line of disparaging dialogue about Bulstrode nurturing Lydgate is reallocated to Chichely in the Post-production script .

206. Lydgate's arrival is signalled by a simple stage direction in the Shooting script. This changes in the Post-production script with the introduction of Scene 1/74a which depicts Lydgate hurriedly bounding up the stairs to the meeting, thus ramping up the tension of the voting scene and providing a visual break from the board room for the viewer. The staircase up from the cloisters at Browne's Hospital, Stamford, offered an atmospheric backdrop for this additional scene .

207. Bulstrode has the final word in Episode 1. Andrew Davies allots him the lines that Eliot gives to her narrrator in Chapter 18, confirming Tyke's appointment as chaplain .

208. There is a longer commentary on this scene, here .

209. The location of this short establishing scene works so much more effectively in the Post-production script version. There it signals not only the shift from night to day and from Middlemarch to Rome but also symbolises the dawn of Casaubon and Dorothea's married life together .

210. Rome was the first location where shooting took place in early 1993. In interview script-editor, Susie Conklin (formerly Chapman) discusses how the sheer size of the budget (£6 million) for the series surprised some but that the experienced producer, Louis Marks provided a steady hand to steer this ship . Conklin observes that, with such an 'epic' production, the way the budget is used needs to be flexible and often the scripts need to be adapted to suit the practicalities of the location .

211. This scene is omitted from the Post-production script, probably due to the lack of time available on location in Rome. Julie Edwards (Production manager) explains how scene cuts and changes were negotiated while on location between her and Susie Chapman (Script editor) to match time and budget constraints . Instead, elements of Scenes 1/76-80 are revised into new Scenes 1/76-78 in the Post-production script to suit the locations available to the producers . This results in some wholesale changes to dialogue and reduces the number of spoken parts for the Roman street characters.

212. A candid image of Director Anthony Page and Patrick Malahide (Casaubon), in the little square where Scene 1/76 is shot, shows a much happier aspect than the Davies' stage direction for Casaubon to look 'more like death than ever'.

213. This short scene in the Shooting script focuses on Dorothea's reaction to grimy streets and then to the splendour of antiquities of Rome whereas the Post-production script brings in lines of courtly compliment from Casaubon to Dorothea taken verbatim from Chapter 20 of the novel . On screen, Aubrey conveys Dorothea's look of kindly consideration at her husband's attempts to keep her happy.

214. There is more about Dorothea's reaction to the madonna and child statue in the church she has visited in Commentary 9 .

215. It is from this point in Shooting script Scene 1/79 that the script is rewritten to suit the actual location with Casaubon referring here to visiting the Campidoglio next but in the Post-production script to the Palazzo Doria Pamphili . Dorothea's concern that Casaubon will be too fatigued is a constant across both scenes. And Davies' stage direction in the Shooting script - 'Oh God. They are both having such an awful time' - is conveyed just as well in the Post-production script by the stiff manner in which Casaubon 'holds out his arm to Dorothea' to urge her onwards.

216. View the onscreen version of Dorothea and Casaubon touring the antiquities in Rome, here .

217. Andrew Davies selects events from Chapters 19 and 20 in the novel to form Scenes 1/82 to 1/84 in the Shooting script. In turn, these are combined into a single museum gallery location in Scene 1/83 in the Post-production script . Chapter 19 begins with Naumanm drawing Ladislaw's attention to Dorothea standing pensively in the Vatican Museum. Chapter 20 finds Dorothea weeping back at her lodgings in Rome and fills in the story of how she came to be standing alone in the museum .

218. Elements of this conversation between Dorothea and Casaubon take place earlier in time in the novel, in Chapter 20 during another visit to the antiquities . However, Davies invents this speech about Cupid and Psyche in the Shooting script and the statue of Apollo in the Post-production script to show how Casaubon can make even the most romantic subjects dull.

219. Dorothea's question to Casaubon also belongs to their earlier conversation at the antiquities in the novel, but Davies borrows it here to give Casaubon his exit to the Vatican library. In fact he has taken himself to the library alone in Chapter 20 of the novel after their argument and she is accompanied only by her ladies maid, Tantripp, to the hall of statues .

220. Stage directions in the Shooting script have Naumann viewing the back of Dorothea; the Post-production script clarifies this with Brian Tufano's cinematography capturing her in a side view, lit by light from the museum window. Dorothea's costume transforms from a 'Quakerish grey' in the novel to a grey-blue in the screen version, connecting to Naumann's wish to paint her as a nun . Rather than staring out of a window at the fast retreating Casaubon, in Chapter 19 she seems transfixed by a sliver of sunlight on the floor of the museum by the sensual statue of Cleopatra.

221. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 19 here . The narrator provides historical context before zooming in on Dorothea’s honeymoon and on Will who is a ‘youth of other nations’ in Rome.

222. Davies chooses to reveal that Ladislaw is Naumann's companion in a more compactly dramatic way to Eliot's revelation. In the screened version, his back is to the audience and he turns quickly to join Nauman in an anteroom doorway. In Chapter 19, Naumann runs off to find Ladislaw in a less dramatic and immediate fashion to lead him to the hall of statues .

223. Ladislaw's blander response in the Shooting script to Naumann's demand about Dorothea: 'Get her for me' reverts in the Post-production script to his more impassioned response from the novel . On screen, he blurts out 'Confound you' and then reins himself back for the rest of the speech, as if surprised by his own strength of feeling. This seems more in keeping with Ladislaw's own recognition at the end of Chapter 20 that on seeing Dorothea in Rome something changes fundamentally in him .

224. There is a longer commentary on Scenes 1/83-1/84 here .

225. Many of Davies' stage directions in Shooting script Scene 1/85, indicating strongly that the sexual side of the Casaubons' marriage is non-existent, are omitted from the much shorter scene in the Post-production script. These include Dorothea's poignant question as she prepares to go to bed with her new husband: 'why should she feel like sighing, or weeping? But she does, she does' .

226. Davies goes further in Scene 1/85 of the Shooting script to spell out Casaubon's fear of his wife's 'youth, her energy, her intelligence, and her sexuality' in their pre-sleep dialogue. All of this implication in the stage direction is removed from the Post-production script and the action cuts straight to the start of Scene 1/86 with Casaubon asleep in bed .

227. Where Casaubon is noted as 'sleeping like a corpse' in both scripts, the implication could be that he is playing dead to escape physical intimacy. A subtle difference between the stage directions is that when Dorothea touches him in the Shooting script he turns away from her 'Even in his sleep' whereas in the Post-production script and on screen it is much less certain that he is asleep when he turns away .

228. The voiced-over start of the next morning's conversation between the Casaubons segues neatly from Dorothea's late night perusal of the notebooks to her introduction of them to their talk next day. This may have been a creative decision by the producer or a pragmatic editing decision to shave seconds off the episode length or a mixture of both .

229. Davies embeds a tacit joke here - punning on Carp (an academic adversary of Casaubon's) and his research into ancient 'fish deities' . Both are mentioned independently in the novel but the screenwriter brings them together here. In both scripts Casaubon delivers this line 'entirely to himself'. The Shooting script implies he is hiding from Dorothea by 'taking comfort from his petty feud with Carp'. But in performance, Malahide delivers the line with a lightness, almost to deflect Dorothea from her line of argument about his work - a ploy which does not work .

230. Casaubon's use of 'My love' to Dorothea is never a term of endearment but one of censure. Davies produces an adaptation filleted from the novel of the first major argument between the couple . Davies' particular screen-writing skill of ensuring 'dramatic background' to Eliot's dialogue is highlighted in interview by Susie Conklin (fomerly Chapman) . Certainly Malahide's performance leaves viewers in no doubt of Casaubon's channelled fury, reflecting Eliot's own narration of this in Chapter 20.

231. The Post-production script remains very close to the dialogue in the Shooting script except that in the later script, Casaubon interrupts his wife meaning she has to repeat that, in the circumstances, her judgment could only be a 'superficial one'. In this way, Dorothea has the last word both in the novel and the adaptation .

232. Episode 1 in the Shooting script ends with Scene 1/87 on the first strong representation of conflict between Dorothea and Casaubon. In the Post-production script, Episode 1 ends with Lydgate's vote for Tyke and his first humiliation by the Middlemarchers. The Post-production script bookends Episode 1 with the Lydgate plot .

233. Andrew Davies uses the cover of the Episode 2 Shooting script to record the main changes he proposes to make: in this case to include elements of the horsefair episode in Chapter 23 of the novel; to look again at script pages 2/87 and 2/90; to end the Episode with Rosamond and Lydgate .

234. The opening of the new Middlemarch Fever hospital was originally designed in the Shooting script to open Episode 2. Instead it follows scenes depicting the latter part of the Casaubons' honeymoon in Rome, in the Post-production script .

235. The location for the new Fever hospital was Barn Hill House in Stamford, then a privately-owned property. The stone exterior was cleaned especially to give the impression that this Georgian buiding had only just been constructed .

236. A crucial but also integral part of the mise-en-scène for Scene 2/1 which brings the viewer back to Middlemarch from Rome, is the banner that forms the backdrop for Mayor Vincy as he delivers his speech of welcome to the opening of the town's new hospital. Gerry Scott's design was the key to the creation of this prop which effectively sur-titles the scene .

237. The detail in Davies' Shooting script stage direction that 'A little knot of other doctors go humph' in reaction to Lydgate being appointed as medical supervisor is a reminder of the negative feeling he has begun to engender among his fellow professionals in Middlemarch. This useful recap is however omitted from the Post-production script - perhaps due to the casting of fewer doctors than was originally intended. Dr Minchin, for example . On screen, the omission also has the positive effect of concentrating the viewer's gaze on Rosamond's approving glance towards Lydgate.

238. Hawley's comment that the chaplaincy should have gone to Farebrother provides a neat reminder to the viewer of the climactic scene in Episode 1 where Lydgate acts out of pride in voting for Tyke rather than Farebrother .

239. Scene 2/1 is shortened between the Shooting script and the Post-production script from this point onwards. Brooke's speech here becomes more specific in the Post-production as Davies replaces the character's habitual references to 'moderation' with particular references to social improvements in 'ventilation' and 'diet' . Brooke blundering forward towards Lady Medlicote is also altered to the less buffoonish interruption by Powderell who delivers the (unscripted) line 'Mr Brooke, if you wouldn't mind?' to allow Lady Medlicote to officially open the hospital .

240. There is a longer commentary on this scene here .

241. View the onscreen version of Ladislaw's first meeting with Dorothea in Rome here .

242. This short scene in the Shooting script depicting Dorothea sobbing in response to her breakfast argument with Casaubon is cut from the Post-production script . The propensity here, which can also be noted elsewhere in the fine-tuning of the adaptation, is for scenes where Dorothea shows excess emotion to be cut. Davies consciously reduces the number of times this occurs between the novel and his Shooting script. Dorothea's sobbing opens Chapter 20 of the novel and is returned to by Eliot later in that chapter (p.298) marking it as a significant point in her protagonist's relationship with Casaubon . (Such scenes are pruned further between the Shooting script and the final script as in this case.)

243. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 20 here . The narrator effects a time shift back from events of Chapter 19 to give an explanation of why Dorothea is crying on her honeymoon.

244. Also cut between the Shooting script and the Post-production script are the opening comments in the conversation between Dorothea and Ladislaw in Scene 2/4. Instead this opens in media res which brings more immediacy to their encounter . Dorothea is not overtly shown to have been upset and crying, though her eyes reflect some degree of heightened emotion as the scene begins.

245. There is a longer commentary on Scenes 2/2-2/4 here .

246. In interview, Davies refers to the non-realistic interior soundscapes he at first intended to include in the script of which this scene in the Vatican library is an example, representing Casaubon's mental disorientation after his argument with Dorothea .

247. Composer Chris Gunning, in interview, reflects on how the extra-diegetic music associated with Casaubon darkens from this point in Episode 2 .

248. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 21 here . Eliot's narrator uses prolepsis, to show that Dorothea recalls this moment of revelation and the lesson she took from it for the rest of her life. Eliot gives her protagonist an afterlife beyond the bounds of the novel in such instances which brings psychological realism to her characterisation.

249. Naumann's confidence in his impressive studio setting, persuades Casaubon to sit for him as Thomas Aquinas and allows Ladislaw time to talk with Dorothea. The split location of the artist's studio and the exterior balcony enhances this effect in the Post-production script and the onscreen version . In the Shooting script Naumann's single larger studio contains all the characters - Dorothea and Ladislaw stand apart by a window to talk.

250. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 22 here . The narrator moves closer to Ladislaw's narrative perspective, revaling how the strength of his feelings for Dorothea modifies his more usual tolerance of the objectification of women.

251. There is a longer commentary on Scenes 2/9-2/12 here .

252. The end of Scene 2/12 corresponds with the end of Book 2 (Ch.22) of the novel .

253. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 23 here . Eliot's generalising narrator, using the inclusive pronoun ‘we’, raises an issue, in this case, "Who does a person go to when they need to ask a favour and with what motivations?". The focus is then narrowed to Fred and what he chooses to do in this situation.

254. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 23 here . The narrator observes a minor event - three men leaving town on horseback – from both inside and out. It is viewed as if by the townsfolk of Middllemarch but also from Fred's perspective with regard to how he might justify why he keeps company on such an outing with Bambridge and Horrocks.

255. The amount of money that Mary Garth counts out to settle Fred's debt differs between £24 in the Shooting script and £18 in the Post-production script . From Chapter 25 in the novel it is clear that her parents need her to pay £18 and so this may account for the change. It is enough here for Mary to state that she has £6 left of her savings, and quietly put these away. The visual torment for Fred of watching her count out the money he will take from her is well-delivered on screen. Mary even has to give him the last pound in coins . In the novel Eliot spares Fred this indignity - as Mary hands the money to her father later in the chapter .

256. In this exchange between Mary and Fred, Davies makes it clear that she won't absolve him of the responsibility of getting into debt as he seeks to explain this away as 'terrible luck'. Davies takes Fred's reference early in Chapter 25 to his lack of luck and gives Mary a retort that makes Fred aware that what is 'bad luck' for him changes the course of others' lives seriously for the worse . Mary understands these consequences all to clearly and Fred due to selfishness, is blind to them.

257. Davies carefully chooses contrasting language of emotion and reaction for Mary and for Fred in this conversation, Fred's always being the more extreme. His overly dramatic question 'Do you hate me now?', typical of the spoilt son of the Vincys, meets with Mary's measured response 'I don't think well of you' which still manages to reveal a sliver of positivity towards him in the 'well'. Fred responds with the hyperbolic 'I don't think I could live...', the stock response of a potentially spurned lover.

258. In giving her reasons why she cannot hate Fred, Mary reveals that she values people most who show empathy and who like her irrespective of her social position or theirs, just as Fred does. But she then counters that she could not marry a man unless she could respect him. Davies uses 'respect' - more of a 1990s frame of reference for choosing a husband - whereas Eliot is content for Mary to tell Fred how selfish his conduct has been. Only to her father, later in Chapter 25, does she confirm that she will not marry Fred while he has 'no manly independence' .

259. Mary's parting comment in the Shooting script about Fred being 'stupidly selfish', though reflecting her dialogue with him in the novel , is lost from the Post-production script. Instead the music swells as Mary delivers her last speech and when she disappears upstairs to tend to Featherstone, the camera rests on the forlorn Fred . In interview, Andrew Davies reveals much more about how he shaped Mary's dialogue and how Rachel Power's performance in the role significantly enhanced this .

260. In interview, composer Chris Gunning, explains his choice of musical theme for the extra-diegetic music associated with Mary and Fred .

261. There is a longer commentary on Scenes 2/20-21A-2/37 and the later Stone Court hallway scene (2/37) between Mary and Farebrother, here .

262. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 26 here . The omniscient narrator gathers up and reports the views of Middlemarch on a particular incident – in this case Lydgate's replacement of Wrench as doctor to the Vincys.

263. Andrew Davies annotated this page with a reminder to introduce a 'bad-horse' scene. An intriguing place to note this because Fred has already fallen ill at this point in the Shooting script after his horse-buying encounter in Scene 2/17 .

264. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 27 here . The narrator takes an extended metaphor (sometimes scientific, often philosophical) and applies it to a particular character of her own – in this case Rosamond.

265. Lighting cameraman, Brian Tufano remarks in interview that locations can be employed carefully to tell part of the story or reflect a particular character. He mentions Bympton D'Evercy and Casaubon as an example of making a residence an objective correlative for a character . In this case, Davies extensive stage directions about the gloomy nature of Lowick on the Casaubons' return from honeymoon perfectly supports this idea. These stage directions have been culled in the Post-production script because the onscreen visuals say it all .

266. Andrew Davies makes an alteration to Brooke's speech about Ladislaw to avoid a repetition of the phrase 'young men with bold ideas' from an earlier speech . In fact, this phrase persists into the Post-production script where speeches from the short 2/31 are subsumed into Scene 2/29 .

267. Davies invents this scene, bringing the Reverend Farebrother to Mary with news of Fred's recovery which parallels his later role in Episodes 3 and 5 as emissary for Fred, and echoes the earlier hallway meeting in Scene 2/21A between Fred and Mary . Instead in the novel Fred recuperates at Stonecourt after his illness, accompanied by Mrs Vincy . In the Shooting script the two hallway scenes are interrupted only by the plotline of Fred's illness which brings Lydgate and Rosamond together more often. In the Post-production script Scenes 2/46-2/54 intervene as well, portraying the Casaubons' increasingly fraught relationship, Casaubon's sudden collapse and Dorothea requesting Brooke to write to Ladislaw to stop him returning to Middlemarch .

268. The stage direction in the Shooting script, gives such detailed notes on how Mary reacts to news of Fred being out of danger. These are later abbreviated in the Post-production script to remove some of the interiority . Even so, reflected clearly but reservedly in Rachel Power's performance is Davies' original direction that 'she somehow hug her joy to herself for a moment' before she responds in her 'usual sharp-tongued mode'. Davies,in his interview, shows his admiration for Power's depth of interpretation as Mary Garth - a character that he initially found it harder than most to write .

269. The Shooting script ends this scene more abruptly with Farebrother's implicative line 'Except one, perhaps' than the Post-production script. In this, Farebrother collects himself enough to bring the conversation back to Fred's recovery and Mary to thank him . On-screen, these extra lines are paced to allow the camera to move between Mary and Farebrother, reflecting their unspoken understanding and showing how Mary's empathy for him in her gaze as the recorder and string theme associated with her plays.

270. There is a longer commentary on Scene 2/37 and the earlier Stone Court hallway scene with Mary and Fred (2/20-21a), here .

271. In interview, Director Anthony Page reveals how the actors were auditioned not from Davies' script but using dialogue from the novel. This party scene at the Vincys' would have offered prime material for auditioning . Although it seems Page and Marks came to regret their strategy when the cast kept returning to the novel for more lines once they were on location .

272. The frontage of the new Fever Hospital is employed once more as a backdrop, this time as the start of Lydgate and Bulstrode's walk-and-talk about the doctor's intentions towards Rosamond .

273. There is a longer commentary to this scene here .

274. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 29 here . The narrator questions overtly why the dominant narrative perspective should be Dorothea’s. Instead the reader is offered some reflection on the marriage from Casaubon's point of view. This does not translate into the TV adaptation.

275. There is something of the Gothic in the library scenes that lead up to Casaubon's collapse, reflected both in the lighting effects and the scoring of the music .

276. In interview, director Anthony Page, talks about how challenging it was to convey the effect of Dorothea on Casaubon's own perception of his academic work and the fallacy he has built up around it .

277. There is a longer commentary to Scenes 2/48-51 here .

278. Andrew Davies' close reading of the script for changes and errors is evident from his amendment of just one word on this page .

279. Andrew Davies' annotations to this page signal that he wishes a) to change the ending of Episode 2 to Lydgate's hasty proposal to Rosamond and b) that he proposes to alter Brooke's lines in this scene so that the letter-writing scene inviting Ladislaw to Middlemarch can be omitted .

280. The faint annotation 'In the street' at the very start of Scene 2/55, seems to indicate Davies was toying with a change of location for Lydgate and Rosamond who rarely meet outside . However, the interior setting for the scene was retained in the Post-production script .

281. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 31 here . Even during the intimate Lydgate-Rosamond proposal, the narrative voice is strong, with the direct address to the reader to ‘Remember’ Lydgate’s contrasting qualities. And, although the narrator protests Rosamond's actions and reactions are natural here, she still behaves perfomatively.

282. As with the final scene in Episode 1, the climactic scene to Episode 2, railroads Lydgate into a decision that he might not have taken in a more considered moment. The pace of the scene and Douglas Hodge's portrayal of Lydgate's impetuous nature, make it easy to accept, as George Eliot notes in Chapter 31, that after only 30 minutes he emerges from the Vincys' 'an engaged man, whose soul was not his own' .

283. Douglas Hodge reveals, in interview, how productive it was to have had previous acting experiences with Trevyn McDowell for their portrayal of Lydgate and Rosamond . He also explains how they designed the blocking of the scene to portray how the characters need to overcome the social barrier set up between them and the resulting proposal .

284. In interview, composer Chris Gunning, explains the way he wrote the extra-diegetic music for the Lydgate-Rosamond proposal scene to reflect the characters' changing emotions .

285. There is a longer commentary to this scene here .

286. Andrew Davies uses the cover of the Episode 3 Shooting script to record the main changes he proposes to make: in this case the probability of opening the episode with Ladislaw's return to Middlemarch and to look again at script pages 47, 85, 94, 104, 105 . An insight into Davies' first ideas for shaping Episode 3 can be found in his Notes made in 1991

287. Instead of Davies' proposal in his handwritten annotations to the Shooting script for a bright opening to this episode with Ladislaw's arrival back in Middlemarch , the Post-production script begins with Featherstone's death . This remains close to the original opening of the Shooting script, where the Waules continue to visit the old man during his decline . These scenes 3/5-3/7 are instead moved in the Post-production script to near the end of Episode 2 .

288. Davies' description of the Waules and Featherstones as 'vultures' refers back to Fred's comment in Chapter 12 of them 'hanging about' his uncle 'like vultures' and also to Eliot's extended metaphor of the animals' thoughts as they entered the ark, at the start of Chapter 35 which depicts Featherstone's funeral . In a similar vein, Davies' stage direction describes Mrs Waule and Featherstone's brother as 'pair of giant bluebottles' at the start of Scene 3/7 .

289. The parlour is packed with Featherstone's relatives, feasting and drinking tea at his expense as is narrated at length in Chapter 32 where Eliot underlines their parasitic nature and Mrs Vincy's assurances to Mary that they must be dealt with generously during their relative's 'last illness' . Davies condenses much of this chapter into the short scenes 3/6-3/7 and in Scene 3/8, which is cut between the Shooting script and the Post-production script, he references the 'stuffed veal' and 'good cheese' that Mrs Vincy recommends is served in Chapter 32 .

290. The use of [OOV] sound in this brief scene effectively and evocatively reflects the eavesdropping that is prevalent in the Featherstone household in its master's last days. To enhance this effect the [OOV] dialogue is extended in the Post-production script . Each of the many relatives around his dining table is alert to how Featherstone dismisses his nearest blood relatives from his chamber. But the viewer, also eavesdropping here, is then admitted to Featherstone's bedchamber in the following scene .

291. In interview, production manager, Julie Edwards reports how actor Michael Hordern was elderly and infirm, like his character Featherstone, and needed to stay on location at Stragglethorpe Hall (Stone Court) .

292. In Chapter 32, the narrator ironically notes that Mrs Waule is herself affected by the 'touching' nature of her own thought about her children here . Her hypocrisy is that she and Solomon are wealthy enough not to need a legacy for their children. Davies only gives lines to these two richer siblings, the poorer Jonah and Cranch, nephew to Featherstone, he chooses to omit. He deems Solomon and Mrs Waule, as the two principal blood relatives of Featherstone, to be sufficient dramatically to show the jealousy towards the Vincys who preside in old man's chamber . When Mrs Waule implies insidiously that the Vincys are taking their place, the camera lingers on Mrs Vincy's offended face before Fred leaps up to offer that he and his mother could leave.

293. While Mary is present in the Post-production scene, ushering Solmon and Mrs Waule in and out of Featherstone's chamber, she does not have a line as she does in the Shooting script and there is no exhange of glances between Mrs Vincy and Mary. Her role is more neutral in the finished production and it is Mrs Vincy who steps in to calm Featherstone with a gentle 'Ssh' as he demands his brother and sister get out .

294. Scene 3/8 is cut after the Shooting script but fragments of the dialogue from this short scene are subsumed into the end of Scene 3/7 in the Post-production script . With this cut, the brother and sister's argument from Chapter 36 that the property should be left to the closest blood relative is also lost from the script .

295. Davies omits from his adaptation the speculation that Mary Garth causes among the Featherstone relatives, and their interest in her as a possible match because she might be a legatee of the old man. Among them is Borthrop Trumbull, the Middlemarch auctioneer, who talks to Mary in Chapter 32 about Sir Walter Scott and offers to lend her books from his collection .

296. Scene 3/10 which opens Episode 3 in the Post-production script, begins with Mary Garth dozing in the the chair before the fire . This is in stark contrast with the novel where she sits musing on the day that has past and Eliot's narrator allows her to reflect on how she feels about her uncle and master, Peter Featherstone and his relatives .

297. Featherstone's instruction to Mary about burning the will and where she will find it are truncated by Davies between the Shooting script and the Post-production script . Gone are the details of the 'iron chest' and the printed title of the will itself. With these cuts are lost a reference to novel, where in Chapter 32 Featherstone's relatives speculate that Mary will have access to his 'iron chests' . The irony being that when she does have the opportunity to open the iron chest, prized by others, she rejects it .

298. The opening line in this speech is omitted in the Post-production script , thus losing a link with the novel where the Eliot underlines the importance to Featherstone of retaining ultimate power over his legacy and his relatives to the very end . He has not however bargained for his sheer physical frailty and on Mary's strong moral sense in these final moments of his life. His sense of physical frustration is relayed in his throwing of the walking cane but his coughing fit that ends the conversation on screen does not show his complete defeat so well as Davies' stage directions that leave him 'whimpering' and 'helpless' .

299. On screen, although when Mary wakes she acts quickly to check if Featherstone is dead, the camera also lingers over her reaction to his death. In contrast, Mary acts urgently in Chapter 33 of the novel to alert the household that her master has died .

300. There is a longer commentary on Scenes 3/10-11 here .

301. The end of Scene 3/11 corresponds with the end of Book 3 (Ch.33) of the novel .

302. Andrew Davies explains in interview that he considered cutting Mrs Cadwallader from his adaptation because she did not actively deliver a plot line but eventually resolved to retain her as she has so many telling lines of dialogue and brings such colour to the ensemble. Her line her about the 'wretched handloom weavers' carries real historical authenticity and comes from the equivalent scene in Chapter 34 of the novel . By contrast, he found he could cut the plot line that actively links Ladislaw to Bulstrode without hindering the plot development .

303. There is an audio clip illustrating an aspect of Eliot's narration from the start of Chapter 34 here . The narrator ruminates about Featherstone - supplying reasons for his malicious temperament, which is reflected in his funeral arrangements.

304. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 34 here . In a moment of prolepsis, the narrator notes that Dorothea will recall this funeral at 'sensitive points in memory' through her life, associating a despondent point in another family's life with a despondent point in her own.

305. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 35 here . Unusually using the pronoun 'one' rather than 'we', the narrator compares the 'Christian Carnivora' of Featherstone's family through an anthromorphic analogy with the animals boarding the Ark discussing how they could divide up the provisions, including some of their fellow travellers.

306. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 37 here . In placing events in Middlemarch in the context of a particular significant moment in history, Eliot's narrator moves from national politcal preoccupations to the confusion this is creating in the town through the two main newspapers' mixed messaging - the traditionally Tory Trumpet and the more Liberal Pioneer. She focuses all of this through the lens of one 'noticeable article' which will lead the reader to a discussion of Ladislaw's appointment at The Pioneer.

307. Lydgate and Rosamond's onscreen wedding scene and the townsfolk's talk of this can be viewed here .

308. As Standish makes this comment the camera flips to Brooke and Ladislaw as they turn to face the gathering before they get into Brooke's carriage. The carriage is pictured here with members of the crew and Rufus Sewell in costume on 2 August 1993, the day Scene 3/25 was shot .

309. There is a longer commentary on Scene 3/25 here .

310. Ladislaw's first post-Rome visit to Lowick to talk with Dorothea can be viewed here .

311. Davies' three recommendations for changes in his annotations to Shooting script, Scene 3/32, page 3/47, are reflected in the Post-production script : the dialogue between Dorothea and Ladislaw begins in media res; on screen, she is lighter in her mood around spending 'not all' her hours in the library; her final speech is curtailed to sound less tortured .

312. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 37 here . The narrator addresses the reader directly with 'you see' to emphasise a point about her protagonist. In this case that it is Dorothea's 'blindness' to social obstacles - 'things obvious to others' - which allows her to pursue her 'pure purpose'.

313. The changes Davies suggests in his annotations to Shooting script page 3/48 come into being in the Post-production script : for example the rephrasing of Ladislaw's reference to his grandmother's abandonment by her family as 'abominable' instead of sounding as if Casaubon is included in the blame for this, acknowledges his recognition of it and makes Dorothea even more sympathetic to his family's plight. The script addition of her disinheritance being bound to the fact of 'merely falling in love with a poor man' is also affective .

314. Director, Anthony Page discusses, in interview, how much more relaxed Juliet Aubrey and Rufus Sewell were with each other in this scene, shot late in the production schedule (August 1993) at Brymton D'Evercy, Somerset. In other scenes, shot earlier, the two actors were 'more formal' with one another and Page uses this as evidence that it is usually better for scenes to be shot in appearing sequence .

315. There is a longer commentary on Scenes 3/32 here .

316. Davies builds into these Shooting script stage directions a reference back to Ladislaw's intention to walk the five miles briskly over the wet grass to Tipton (from the previous scene and Chapter 37 of the novel) . This contrasts subtly with the introspective Casaubon's return to Lowick by coach. The young man has energy to burn off, whereas Dorothea's husband is sedentary and would not risk his health walking miles across 'wet grass'.

317. Production designer, Gerry Scott explains what she considers important in terms of conveying historical accuracy through the mise-en-scène . This is illustrated well by this tea scene between Dorothea and Casaubon in the final production. Incidentally, the taking of tea is not detailed in the stage directions for either the Shooting script or the Post-production script .

318. Dorothea and Casaubon's scene of bedtime strife can be viewed here .

319. There is a longer commentary on Scenes 3/41 here .

320. Rosamond and Lydgate's visit to Quallingham can be viewed here . Read the full scenes which appear in the Post-production script here . The magnificent exterior and one interior at Grimsthorpe Castle (Lincolnshire) served as the locations for the Quallingham scenes where Lydgate and Rosamond first arrive by carriage and then dine with Sir Godwin and his son .

321. There is a longer commentary on Scenes 3/43-44 cut prior to the Shooting script, as they re-appear in the Post-production script, here..

322. Brooke and Dorothea's visit to the Dagleys' cottage can be viewed here .

323. There is a longer commentary on Scenes 3/50-51 here .

324. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 40 here . The omniscient narrator, this time using the pronoun 'I', alters the plot focus at the start of the chapter by employing the analogy of an electric battery to observe cause and effect on a set of components. In this case the components are the Garths and the epigraph refers to Caleb's work ethic and diligence causing a change of fortune with his appointment to the estate management of Tipton.

325. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 40 here . The narrator puts forward ideas relating to a woman’s 'plainness' through Mary, counseling how this counts for little in terms of attraction.

326. Davies' annotated page of the Shooting script reveals that he wished to make a cut to the end of Mrs Garth's speech which softened her view of Fred. . In fact the whole scene is cut between the Shooting script and the Post-production script and the viewer does not know of Garth's intention to ask Fred to work for him . Only much later in Scene 5/20 does Fred seek employment with Garth .

327. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 42 here . The narrator examines Casaubon’s reasons for considering legal preventions to anyone else being happy once he is dead, and especially Ladislaw. The narration moves close to Casaubon's perspective before revealing how he masks from himself his own motives.

328. Davies' annotated page of the Shooting script includes a change to the word 'particularly' to 'peculiarly' in the phrase 'particularly difficult to predict'. Here, the screenwriter is wishing to revert to the way Lydgate expresses this idea about Casaubon's heart disease to Dorothea in Chapter 30 of the novel . This change was not effected in the Post-production script, perhaps due to the more archaic usage of 'peculiar' .

329. The end of Scene 3/67 corresponds with the end of Book 4 (Ch.42) of the novel .

330. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 43 here . The narrator observes Dorothea and Rosamond's first meeting. Their contrasting qualities, rank and values are represented through their attire. The narration also notes that, in these first moments, Dorothea's attention is so fully on Rosamond that she does not register 'the gentleman' present as Ladislaw.

331. Davies' annotated page of the Shooting script suggests the slightly repetitive second use of the word 'must' is removed . This change was not made in Scene 3/71a of the Post-production script .

332. Davies' annotated page of the Shooting script suggests cutting the speech where Lydgate explains why the medics of Middlemarch will not support the new hospital and try to 'hinder subscriptions' . However, this neat condensation of the conversation from Chapter 44 remains intact in the Post-production script. .

333. Scenes 3/73-75 appear in the Shooting script to depict the moment in Chapter 46 of the novel where Ladislaw attends Lowick Church even when he has been forbidden to visit there. This comes after an evening where, having been ‘mortified’ by Dorothea's discovery of him alone at home with Rosamond Lydgate, he wrestles with his feelings in a lengthy passage of narrative introspection. Here Ladislaw, the romantic, fantasises over Dorothea precisely because of her unavailability: ‘What others might have called the futility of his passion, made an additional delight for his imagination’ . Following this, he resolves he will see her in church the next morning.

334. Davies' script includes Casaubon reading the bible lesson. Whereas in Chapter 46 Casaubon is not preaching at the service Ladislaw attends and so sits with Dorothea . This enables the delivery of a message via Casaubon's voiced-over reading of a message that carries connotations for Ladislaw: as an adult one should 'put away childish things'. Casaubon's reading spans across Scenes 3/73-75, where there is no dialogue, symbolically rendering Ladislaw speechless in the presence of Dorothea.

335. In the novel, Ladislaw sits himelf in Tucker's pew (Lowick's curate) but the Tucker family do not attend and he is left conspicuously alone just as Davies seats him in the Shooting script. The set-up for these scenes at St Andrew's Church, Brympton d'Evercy would have been relatively easy to achieve with its well-lit nave and pulpit from which Casaubon might speak . One of its tomb figures might even have been modelled on Casaubon himself . It may have been that budget or logistical constraints, at this late stage in the location shoot, mitigated against the filming of these scenes.

336. Davies portrays Ladislaw's only communication with Dorothea through her 'distressed' and 'embarrassed' look as she leaves the church on Casaubon's arm. In Chapter 46 she bows to him on her way into church and then with more 'agitation' on the way out leaving Ladislaw mortified that he has caused her discomfort and still without having seen and talked with her . Brympton d'Evercy churchyard would have made an ideal setting for Scene 3/75 .

337. The fact that there was a question mark over these scenes as early as the drafting of the Shooting script is evidenced by Davies' notes for Episode 3 (September 1991) where his scene list enumerates: ‘29. Ladislaw goes to Lowick Church. (omit?)’. Yet they would have served a dramatic function in reinforcing Ladislaw's infatuation, between the recent screen encounters with Ladislaw in and around Middlemarch (at the Lydgates and The Pioneer) and Scene 4/43 when he returns to Lowick to say goodbye to Dorothea. It may also have helped sustain an audience’s faith in his commitment to Dorothea despite the ambiguity of his social actions. Instead, the Post-production script leaps straight to Scene 3/76 and Dorothea's full realisation of the futile nature of Casaubon's research .

338. In interview, Lighting cameraman, Brian Tufano explains the different lighting techniques he used to obtain the lighting of Casaubon's library as he and Dorothea begin their long day of labour on his notebooks .

339. Costume designer, Anushia Nieradzik discusses how she gains access to shots of interiors and gauges what colours to use for constumes that will tone in with those. Here in Casaubon's gloomy library and the darkness and seriouslness of Lowick in general, Dorothea rarely wears any colours brighter than the petrol-blue of her dress in this scene .

340. Davies increases the level of melodrama in this scene from the novel through his dialogue. Here he implies that Casaubon will demand 'much intensive labour' from his young wife both now and after she becomes his widow. In Chapter 48, Casaubon does not speak this intention to Dorothea - it is only in his thoughts that he will 'demand much labour and interest from her' . Susie Conklin (formerly Chapman), in interview, indicates that Anthony Page gave the principal actors time on set to grow into their performances for intense scenes such as these .

341. There is a departure here in the Post-production script from the Shooting script. In the earlier version Casaubon's notebooks are 'in disarray' and Dorothea asks 'But where am I to start?'. Her task is simply to copy out all the marked passages. In the Post-production script her husband's notebooks are instead 'carefully arranged' and her task is to begin the 'condensation' of his notes by marking only the passages he will select . This is much closer to the process outlined in Chapter 48 .

342. Davies appears to have added all these details in the Post-production script, as if taken from Casaubon's notebooks. They do not exist in the novel and are references to real people and places from Ancient Greece.

343. Scene 3/77 was cut before the Shooting script but a short follow-on scene in the library (Scene 3/76a) is added in the Post-production script to indicate that Dorothea has been working on the notebooks all day and long into the evening. This adds to the febrile intensity between the couple before they go to bed . In the novel they work only for two hours and Casaubon instead asks that they take the notebook and pencil up to their room .

344. The scenes leading to Casaubon's death can be viewed here .

345. Davies' annotated page of the Shooting script suggests with a vertical line and a question mark next to Casaubon's speech that the wording might need to change . The wording is almost verbatim from Chapter 48 of the novel . No change was made in Scene 3/79 of the Post-production script .

346. Brympton D'Evercy in Somerset provided the perfect wall-lined setting for the 'Yew tree' path along which Dorothea hurries in this scene to deliver her decision to Casaubon .

347. There is a longer commentary on Scenes 3/79-84 here .

348. Andrew Davies uses the cover of the Episode 4 Shooting script to record the main changes he proposes to make: in this case the alterations to the Mawmsey-Lydgate scene on page 9 and the insertion of a short 'missing' scene (4/10) where Dorothea comes around from a faint on page 17 [16]. He also notes to look again at script pages 70, 71, 84, 86 and 88a .

349. Andrew Davies notes in interview that he provided alternative structures for both Episode 4 and 5 to settle a debate over plot ordering between himself and producer, Louis Marks / script editor, Susie Chapman. Evidence of this may be inferred in the reordering of scenes in Episode 4 between the Shooting script and the Post-production script .

350. The unique role played by Susie Chapman through both her contributions to the Middlemarch scripts and in liaising between Andrew Davies and director, Anthony Page, is acknowledged here by Davies, in interview, when discussing the job of script writer . Susie Conklin (formerly Chapman) adds her own reflections on her role here .

351. View the market square scene that opens Episode 4 here .

352. Note that between the Shooting script and the Post-production script, the Agitator becomes Tonks and Tonks (the man who approaches Ladislaw) becomes Sparks .

353. A new first speech for the Agitator (Tonks) is inserted at the very start of 4/1 in the Post-production script, sending the direct message that he's campaigning for the vote for more men to gain fairer representation in parliament .

354. This line from Supporters in the crowd for Tonks is replaced between the Shooting script and the Post-production script by another sharp interchange between Hawley and the political agitator. This, along with camera shots cutting back and forth between them, energises the scene still further.

355. There is a longer commentary on Scene 4/1 where the political agitator comes to town, here .

356. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 46 here . The narrator opens this chapter by zooming out from her most recent focus on Lydgate to national political events - Lord Russell's Reform Bill. Then the narration zooms back in to a different location in Middlemarch to pursue this theme through Ladislaw and Brooke.

357. Scene 4/2 is preceded by an establisher in the Post-production script, not present in the Shooting script. This depicts the head printer, Jenkins, overseeing the handover of copies of The Pioneer for distribution, as Mr Brooke arrives at the office . Jenkins and his fellow minor characters are pictured on this day of the shoot outside the Stamford location for The Pioneer in this image . Gerry Scott's design for The Pioneer sign that hangs over the door is shown this sketch .

358. The debate about Reform is continued here by Ladislaw and Brooke from Scene 4/1, with Brooke maintaining his characteristic call for moderation and Ladislaw arguing that a thorough reform is needed in Britain to avoid the extremity of revolution that happened 30 years before in France. Davies stays close here to the dialogue in Chapter 46 of the novel . The backdrop for this discussion is captured in a location shot of the newspaper office .

359. The 'bit of an avalanche' analogy that Ladislaw makes here as part of his argument for thorough reform is taken by Davies verbatim from Eliot in Chapter 46. .

360. Davies' Ladislaw reacts more sharply to Brooke's thought about buying him a pocket borough than does Eliot's Ladislaw He tends to be slightly more more politically pragmatic or keeps his thoughts to himself - which can be reflected in Eliot's narrative. For example, in Chapter 46, Ladislaw is rather flattered that Brooke has said his avalanche analogy of reminds him of Edmund Burke's fine speeches and so Ladislaw's risposte about pocket boroughs is witty rather than critical. The language of the riposte also softens slightly between the Shooting script and the Post-production script .

361. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 46 here . The narrator pauses the action to reflect on the nature of Will Ladislaw's dilletanteism and how, almost by chance, he has found a cause in his work with Brooke to which he is becoming committed.

362. Ladislaw's speech here is another indication of the modern-day degree of informality that Davies injects into the relationship between Will and Brooke. In the novel Eliot's narrator breaks off from their debate about reform as Will's thoughts shift to his banishment from Lowick .

363. The Post-production script ends with a formal 'Goodbye' between Ladislaw and Brooke that is not present in the Shootng script . After this, the camera lingers on Ladislaw for a good 10 seconds, as he dwells on Brooke's comment about the sadness of the situation at Lowick where the viewer is transported next in Scene 4/3.

364. View the walk-and-talk scene where Lydgate and Farebrother are buttonholed by Mr Mawmsey here .

365. The entrance to Mr Mawmsey's grocer's shop is dressed just as it is presented in this location shot as Lydgate and Farebrother walk past it, attracting the master grocer's attention at the start of this scene . The interior of Mawmsey's shop which features later, in Scene 4/23, was also modelled in great detail by the production design team as this plan view demonstrates .

366. Farebrother bids Mawmsey 'Good afternoon', showing common courtesy to the Middlemarch tradesperson that Lydgate does not, even though, the viewer soon discovers, he treats Mrs Mawmsey. With this, Davies also introduces Mawmsey to the viewers and Farebrother to a scene in which he does not appear in Chapter 45 of the novel. There, Lydgate is on his own when he talks with Mawmsey . In fact, Mawmsey's response to Farebrother in the Post-production script is omitted and instead he immediately buttonholes Lydgate .

367. Davies' script for most of this scene remains unchanged between the Shooting script and the Post-production script, attesting to his skill in both enhancing and concising the narrative for this encounter in Chapter 45 . Ken Campbell's performance as Mawmsey adds the 'jocosely complimentary' tone of Eliot's Mawmsey to the 'grandly confidential' note for Mawmsey in Davies' stage directions .

368. Davies reflects Dr Lydgate's almost flippant tone here to Mawmsey and uses his analogy of 'overdosing the king's lieges' directly from Eliot's dialogue in Chapter 45 . But as Eliot asserts, Lydgate does this 'rather thoughtlessly' (p.259) and it leaves Mawmsey slightly confused and offended. In the novel his comment also offends his fellow Middlemarch medics when relayed to them .

369. As Davies' annotated page of the Shooting script reveals, he felt the ending of this scene needed strengthening to show Mawmsey's indignation at Lydgate's 'overdosing' comment . And the new line in the Post-production script, spoken to his assistant Atkins, shows his solution to this and also perhaps indicates that the grocer is not looking forward to bringing the news to his wife .

370. Farebrother's opening speech in the Shooting script, reminding Lydgate of all he has to be thankful for, is omitted from the Post-production script. With this is lost the sense that the scene opens in media res after Lydgate has complained to his friend. Instead the nub of the scene is reached faster - Lydgate is meeting with some 'hostility' in the town and his expenditure is exceeding his means . Here, near the start of Episode 4, Davies reminds the viewer that Lydgate faces hostility not only because of his new medical practices but because he is allied with Bulstrode. This last idea is pursued more obviously in Shooting script Scene 4/7b which is subsequently cut completely from the Post-production script .

371. Davies' annotated page of the Shooting script indicates that he planned to inject a phrase into Lydgate's speech here to identify Mawmsey as an exemplar of the Middlemarchers' mentality towards new things . No such change appears in the Post-production script .

372. These stage directions indicate that both Lydgate and Farebrother acknowlegdge the two women. On screen it is only Farebother who turns and tips his hat to them when one greets him. He is respected by and respects the Middlemarchers. Lydgate carries on talking and looks only at Farebrother. The Shooting script stage directions indicate that the women are 'quite clearly gossiping about them' and that once the men pass by they 'turn away and continue their conversation' . Although this is not as clear in the Post-production script, it is clear in performance. These gossips, pictured in this production still, may even overhear Lydgate's thoughts on the 'ignorance and spite' of Middlemarch .

373. The final on-screen exchange between Farebrother and Lydgate in this scene is altogether less fanciful than it is in the Shooting script. Here, Davies indicates Lydgate is still optimistic and dotes on Rosamond. He moves swiftly from their financial need to 'cut our coat according to our cloth' to likening his wife to Botticelli's naked Venus who 'needs no adornment' at all. In the Post-production script, the shorter exchange loses some of Lydgate's optimism and, though he seems to take Farebrother's point about not racking up too much debt in Middlemarch, his tone is less than convincing .

374. There is a longer commentary on Scenes 4/6-4/7a here .

375. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 44 here . The narrator explains how the rumour mill in Middlemarch operates in relation to Lydgate's new methods. The dryly ironic voice is present in the comment that these rumours 'need never stop short at the boundary of knowledge' and 'can draw for ever on the vasts of ignorance'.

376. Davies' annotated page of the Shooting script suggest that he felt strongly that a 'missing' scene (4/10) should be reinstated here scene. The foot of this page indicates that 4/10 had been previously deleted. . A scene featuring Lydgate's help in reviving Dorothea physically and mentally after her fainting episode does appear in the Post-production script but not in the form Davies pens on this annotated page. For example, it includes his advice that Mrs Casaubon should be able to do whatever gives her 'most repose of mind' . This is a condensation of a similar incident in Chapter 50 of the novel .

377. Davies' annotated page of the Shooting script suggests an addition to this scene which sees Dorothea imagining the presence of Casaubon in his Lowick library. He asks, 'Can we just try it?' . In fact scene 4/15 is extended still further in the Post-production script when Dorothea finds a letter addressed to her from Casaubon and hears V/Os of their previous painful conversations in the library before seeing the vision of him. .

378. This location shot of the proofing end of The Pioneer office is the set for this scene. An apprentice printer descends these stairs as Lydgate begins his converstation with Will, bringing a sense of the busy working environment .

379. Davies' annotated page of the Shooting script suggests an addition to this scene where Ladislaw wishes he could just leave town but claims there is too much to keep him there. . A slightly abbreviated version of this addition makes it into the Post-production script but it has no direct origin in the novel .

380. View the scene where Ladislaw and Lydgate argue over their moral values here .

381. There is a longer commentary on Scene 4/20 here .

382. Scene 4/22 is either reinstated in the Post-production script or a new Scene 4/22 is inserted there .

383. Scene 4/22 where Brooke and Ladislaw approach Mawmsey's replaces the original idea of Mawmsey taking the air outside his shop as Brooke comes to visit in the Shooting script (4/23). This image shows the way the street scene leading up to Mawmsey's was prepared, including the market stall on the corner that Brooke and Ladislaw come around. A Stamford resident, guided by a crew member, is also seen being entering the 'Coffee House' adjacent to Mawmsey's .

384. The scene where Brooke is bested by Mawmsey when he goes canvassing for the grocer's vote can be viewed here .

385. The interior of Mawmsey's shop was modelled as a whole by the production design team then constructed in the Stamford College gymnasium . Finally it was lavishly dressed for the scene where Brooke enters the shop .

386. There is a longer commentary on Scene 4/23 here .

387. Much of Scene 4/30 is subsumed at the start of Scene 4/32 in the Post-production script, including the conversation between Sparks and Dagley about who Brooke is, where he is from and his status . Instead, in the Post-production script, 4/30 becomes a much simpler establisher for the Hustings in the market square .

388. As the building used for The White Hart had no balcony, instead the production design and build team constructed a wooden hustings platform with a canvas roof. This and the hustings scene can be seen taking shape in these location photos: . The final scene ready to shoot with actors, extras and carriages in place in St Georges Square, Stamford was made by the cinematography to look much larger on screen .

389. Production designer, Gerry Scott, explains in interview how she scoped out each location to establish the work required to convert it to a heritage drama setting . Scott goes on to describe the kinds of detail that would need to be changed on each residence . One clear example of this is the false shop fronts - visible side-on to the right of this image of the Hustings scene. The relaid 'nineteenth century' road surface, covering the tarmac, is another example in the foreground here .

390. Bulstrode is included in Brooke's entourage in the Shooting script, as he is in Chapter 51 of the novel . In the Post-production script, however, he is absent and instead Vincy and Standish are more promintent .

391. Brooke begins to panic about the details of his speech and, despite Ladislaw's best efforts to focus him on their 'broad outlines and a 'clear strong message', the dialogue conveys that Brooke neither can retain his speech nor knows his audience. Some of Brooke's bluster is condensed between the Shooting and Post-production scripts to build momentum and also to allow for a short dialogue addition at the end of this scene. .

392. Davies' annotated page of the Shooting script, for the start of Scene 4/32, suggests an addition where Vincy summarises to Brooke, Ladislaw (and viewers) the running order for the husting speeches. . This dialogue is adopted in the Post-production and occurs in motion as Brooke's is swept by outdoors by his committee..

393. View the scenes where Brooke is heckled and fails to engage the townsfolk at the Middlemarch hustings here .

394. Ladislaw's opening speech in the Post-production script is truncated from that in the Shooting script . The part that Davies removes is notably where Ladislaw focuses on himself. The Post-production script is more 'self-less'. This script alteration enhances the contrast between his introduction and Brooke's more self-centred speech. More importantly in adaptation terms, in the novel Ladislaw makes no speech at all at the hustings. Brooke's introduction is by 'a political personage from Brassing' .

395. Davies fashions Ladislaw's speeches in Scene 4/32 as a model of rhetoric. He moves from the general to the specific, employs rhetorical questions, emphasis and repetiton and values his audience. By the of his introduction Davies notes in his Stage directions that Ladislaw has the 'bite and edge of passion' required for a great orator and as his speech concludes the crowd are 'very conscious of their worth' .

396. Ladislaw's penultimate speech is edited out between the Shooting script and the Post-production script . His effusive comments about Brooke are lost, perhaps because they echo some of the ways in which Brooke goes on to talks about himself in own opening remarks. Ladislaw understands that less is sometimes more.

397. Davies acknowledges that 'two sherries is a lot' for Brooke, just as in Chapter 51 Eliot shows Brooke is foolish but also offers sympathy for his nerves and states that he is 'an abstemious man' for whom two large sherries in quick succession is 'a surprise to his system' .

398. The first overt speech by the character Vent, whom Davies refers to in his stage directions at the top of Scene 4/32 as 'a little round faced grinning man', is a comical 'Quaack'. Vent is named by Davies but in the novel remains a disembodied voice that distracts the crowd at Brooke's expense with his 'Punch-voiced echo'. Vent becomes the voice of the effigy that is next unveiled by Hawley's crew. This 'Quaack' is the sound that fills the void when Brooke pauses - his mind having gone 'completely blank'. Instead of an initial 'Quack', Eliot mentions 'a parrot-like... echo' of Brooke's words that throws him further off course .

399. When Brooke falters in his speech, Davies' homophonic joke of 'I... I...' and 'Aye?' for Vent derives from the Shakespearian comic portfolio .

400. The effect of Brooke's effigy being raised in the crowd is shown from the side-on perspective of the production crew in this on-location image of the Hustings scene .

401. Trade is the most relevant topic that Brooke has hit on yet but, before he reaches that in the Post-production script, he recalls Ladislaw's earlier metaphor that you cannot have a 'bit of an avalanche' . It sounds nonsensical and provides Vent with yet more material with which to parody him. Eliot's narrator tells the reader that when Brooke mentions the Baltic, a reference remote from his audience's experience, Vent whips up the crowd further and by this point Davies' crowd are also 'roaring with laughter' .

402. Vent's pun on 'bill' to mean the reckoning rather than the Reform Bill comes straight from the novel and leads to the effigy being pelted with eggs with some also hitting 'the original' Brooke . In the final producution eggs and tomatoes are chiefly aimed at Brooke but the effigy remains unscathed .

403. There is a longer commentary on Scenes 4/32-32a here . Scene 4/32a only appears in the Post-Production script.

404. This short scene rounding off the Hustings sequence, only appears in the Post-production script. It portrays both Brooke's belief that this is merely a set back and Ladislaw's despair at his patron's lack of sense. The reference for this scene comes from the end of Chapter 51 .

405. Scene 4/34 reappears in the Post-production script to indicate Mr Brooke's poor show at the hustings is the cause of gossip in the streets of Middlemarch . He comes down the hill and rounds the corner to The Pioneer office. This location shot shows the Stamford property used for the newspaper office . Brooke next appears standing in the office at the start of 4/35 whereas in the Shooting script he enters through the front door as he did in Scene 4.2. This change could have also been made to inject visual variety into The Pioneer scenes in Episode 4.

406. Davies' notes on his annotated Shooting script for Scene 4/38, underline two words for emphasis in Mrs Cadwallader's speech to Dorothea and insert one missing word into Dorothea's response .

407. Scene 4/43, where Dorothea and Ladislaw misunderstand one another over the reasons for his decision to leave Middlemarch, can be viewed here .

408. Davies annotates this speech in the Shooting script to delete Dorothea's statement about Ladislaw's 'many talents' . In fact, in the Post-production script only the word 'Besides' that starts this sentence has been cut .

409. Davies reverses two parts of Dorothea's speech from the novel here for dramatic effect . By ending on 'long to speak' the tension rises, encouraging an expectation that she will go on reveal her feelings. There is a small correction to the Shooting script made by Andrew Davies but with no defintive change to meaning .

410. There is a longer commentary on Scene 4/43 here .

411. Davies' annotated Shooting script, shows a pragmatic change to Raffles' penultimate speech in Scene 4/50. The screenwriter realises that Raffles cannot address Caleb as 'Mr Garth' as he has not yet been introduced and so changes it to 'Good evening, sir' . This in fact becomes his final speech in the Post-production script equivalent, Scene 4/50b .

412. Much of this speech is taken verbatim from Raffles' words to Bulstrode in Chapter 53 once they are alone: the insinuating references to Bulstrode now being a 'country squire', to his first wife being 'dead a long while' and to Nick looking 'very pale and pasty' . These details are omitted however from the Post-production script - in all likelihood because similar information is conveyed by Raffles in Scene 4/51 .

413. Raffles' first visit to Stone Court to blackmail Bulstrode can be viewed here .

414. Raflles' more overt questioning in front of Harriet of Bultrode's explanation of his business at Stone Court is replaced in the Post-production script with his subtler but more insinuating farewell comment to her that he could tell her a 'tale or two' of Nick's former life in London . In Chapter 53 of the novel, Mrs Bulstrode is not present at all. Bulstrode installs Raffles at Stone Court for the night where Mrs Abel, Rigg's housekeeper, is still in residence. The Bulstrodes' main home is still at the Shrubs in Middlemarch at this point . Davies brings their residence at Stone Court forward to increase the jeopardy of Raffles' presence.

415. This speech remains unchanged between the Shooting script and the Post-production script but Andrew Davies' annotations to the former indicate that he was concerned it might be laying the story of Bulstrode's past too heavily 'on the line' . His concerns may have been due to source of this speech being taken from Chapter 61 of the novel where Ladislaw questions Bulstrode about the business he and his first wife ran amidst 'thieves and convicts' . This contrasts with much of the dialogue for the remainder of the scene which is rooted in Chapter 53 where Raffles first appears at Stone Court .

416. Davies sets most of the conversation that reveals Bulstrode's backstory and Raffles's intention to blackmail him in this evening scene. By contrast, in the novel, Eliot keeps the evening conversation short so that Bulstrode can ruminate on Raffles during his ride home to Middlemarch. The greater part of their dialogue happens back at Stone Court early the next morning . Davies' rearrangement of these conversations also allows for further involvement of Harriet in the night-time scene (Sc 4/54) where she wakes to find Bulstrode praying for guidance on what to do about Raffles .

417. Raffles' tone, described in Chapter 53 as 'a peculiar mixutre of joviality and sneering' is implied in this line of dialogue by Davies and perfectly delivered by John Savident in performance . It is, in part, why Eliot's narrator tells readers that Bulstrode determines to wait until Raffles was 'quite sober before he spent more words upon him'. Instead, Davies' Bulstrode deals with Raffles in his inebriated state .

418. Bulstrode's comment about a man overreaching himself, which originates from the novel, shows that he does not yet appreciate the irony of his own position in Middlemarch . Raffles is quick to show him this irony with his response in the Shooting script, which Eliot does not allow him. This response is extended by Davies, using material from a later speech in the Post-production script to reveal the story of how Bulstrode cheated his step-daughter out of her inheritance and how she died penniless . In the final production this provokes an expression of shock on Bulstrode's face that might imply he did not know this or that he now realises the full implications of Raffles' knowledge. In the novel, Raffles himself does not know Sarah's ultimate fate. That is revealed earlier to the reader by Ladislaw (who Davies chooses not to relate to the Bulstrode-Raffles plot in his adaptation). Only at the end of Chapter 53, after Bulstrode departs, does Raffles remember that Sarah's married name was Ladislaw .

419. In the Shooting script, Raffles reveals what he wants from Bulstrode before he goes to bed; in the Post-production script, news of the 'hundreds' he demands of Bulstrode's 'thousands and thousands' is delayed for their morning conversation, sustaining the dramatic tension of this plot line..

420. Davies' uncanny skill for alighting on a word or phrase from the source text he is adapting to perfectly reflect its time frame is exemplified here in Raffles' 'pick up my portmanteau at the turnpike'. This originates late in Chapter 53 but the fact that the portmanteau is at the turnpike comes from earlier in this chapter . The fact that these words were already old-fashioned in Eliot's time and that she was probably using them to give her historical novel a flavour of the 1830s is not lost on Davies. This line persists in the Post-production script in Scene 4/56 .

421. Davies' annotated page, places a question mark over the last line of Raffles speech where he poses the question to Bulstrode 'But for how long, eh?' will a payment keep him away . By the time of the Post-production script, these last two sentences have been cut .

422. There is a longer commentary on Scene 4/51 here .

423. This short night-time scene, which is of Davies' invention, foregrounds Bulstrode's moral self-examination over his former life and dealings with Raffles, which Eliot's narrative offers in Chapter 53 . The scene also shows Mrs Bulstrode is alert to her husband's perturbation as she watches him side-lit by the fire, wringing his hands .

424. This establishing scene signalling both the dawning of a new day at Stone Court and Raffles' uncouth behaviour, which would set alarm bells ringing in Middlemarch about Bulstrode if he were to remain in town, disappears between the Shooting script and the Post-production script .

425. The improvement made between Scene 4/56 in the Shooting script and the same scene in the Post-production script is marked. By withholding the details of Raffles' blackmail demand until the latter, Davies strengthens the dramatic effect and rids the scene of the less successful dialogue where Raffles laughs at how pale Bulstrode is looking. The blocking of the scene also changes dramatically: in the Shooting script Raffles stands, as if to take control of the situation while Bulstrode is seated; in the Post-production script, Bulstrode stands in an attempt to keep control but the seated Raffles, chinking his teacup with his spoon, retains the initiative as he makes his demands with an uneven toothy grin .

426. The Shooting script ends this scene with Bulstrode extracting an assurance from Raffles that he will not stretch his 'patience too far'. Davies' intervening query in an annotation on the Shooting script suggests an end to 4/56 where Raffles leaves Stone Court waving rather impudently to Bulstrode . The final changes in the Post-production script, revert more to the mood at the end of Chapter 53, where Bultrode is much less certain that Raffles will not reappear . He refers to Raffles as an 'ugly black spot' that 'might become inseparable even from the vision of his own hearth' .

427. The end of Scene 4/56 corresponds with the end of Book 5 (Ch.53) of the novel .

428. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 58 here . The narrator's close observation spells out a nuance of Rosamond's character, through her choice to ride out a second time on Captain Lydgate's grey. She opts for self-gratification that will bring her close to her 'dreams before marriage' over the possible consequences for her unborn child. But there is also empathy embedded here in the narration.

429. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 58 here . Moving from the generalising comment that 'men' have 'numerous strands of experience lying side by side and never compare them with each other', the narrator meditates on Lydgate' specific blindness to how he reaches his financial impasse.

430. Andrew Davies uses the cover of the Episode 5 Shooting script to record the main changes he proposes to make: in this case he queries Rosamond's reference to visiting Quallingham in Scene 5/35 (p.5/60) when the scene where this happens (3/44) has been cut from the Shooting script. This scene was later reinstated during the Block 3 shoot of August 1993 . He also notes to look again at script pages 4, 19 and 48 .

431. Fred's request to Farebrother to sound out Mary's feelings in Scene 5/9 can be viewed here. It forms the opening of Episode 5 .

432. The exterior location (of the screened version) for Fred and Farebrother's conversation concerning Mary Garth, was the churchyard of St Andrew's Church Brympton D'Evercy in Somerset - captured in this image . The original intention in the Shooting script was for the setting to be the interior of Lowick parsonage and for Farebrother to be unpackng his books in his new home but, pehaps due to limitations in the interiors available at this locaation, this changed to the sunlit exterior of the churchyard .

433. There is a longer commentary on Scene 5/9 here .

434. This annotated script page reveals that Andrew Davies adds a note of emphasis to Farebrother's entreaty on Fred's behalf just by inserting the word 'other' into 'some way' in this speech .

435. This first speech of Dorothea's is taken from some speech reported by Caleb Garth to Susan. He tells her in Chapter 46 that Dorothea's view of doing good work that can be reflected up on in old age is a thought that he also had when a young man . Davies himself cuts this direct reference from the novel in his annotations to the Shooting script .

436. In the annotations to this script page, Andrew Davies rings some text and notes 'Kill this'. These opening speeches are indeed cut from the Post-production script and the action starts in media res . Some of Dorothea's omitted sentiments about not minding the expense of the cottages are instead featured as in the closing lines of the scene as the two characters walk away .

437. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 56 here . In comic-ironic mode, the narrator introduces the objections of the women and landowners of the Middlemarch hundred to the sale of land to railway companies. Rail travel might be 'presumptuous and dangerous' but it is also recognised as highly profitable by those with land to sell.

438. View Scenes 5/15-20 here, where a group of farmworkers threaten the railway surveyors and Fred and Caleb Garth intervene to resolve the situation .

439. In interview, Lighting cameraman Brian Tufano explains how 5/15-5/20 was one of the few scene sequences that he felt needed to be storyboarded. He outlines multiple reasons for this including the fact that there was much ground to be covered and that it involved a fight scene .

440. There is a longer commentary on Scenes 5/15-5/20 here .

441. An establishing shot of the Garth's home is inserted in the Post-production script just before Scene 5/21 . In the earlier script this was not necessary as the story flowed chronologically from 5/20 where Fred and Garth talk about his future. Contrastingly, in the Post-Production script 5/21 is preceded by 5/24 where Fred tells Mr Vincy he does not wish to enter the clergy. The location for the Garth's residence with its sloping roofline was situated in rural Northamptonshire .

442. Mrs Cadwallader's open-carriage conversation with Dorothea, after Chettam complains about Ladislaw's continued presence, can be viewed here .

443. In his annotations to the Shooting script, Davies circles the last sentence of Mrs Cadwallader's speech about 'we English' and 'open carriages' as if he is considering cutting this. The sentence is retained in the Post-production script and the moments it takes up are used by Aubrey to show Dorothea's silent anger towards Mrs Cadwallader. The term 'we English' also reminds the viewer of the xenophobic attitudes witnessed in this landed class during the preceding scene .

444. There is a longer commentary on Scenes 5/27-5/28 here. .

445. View Scenes 5/29 and 5/31-33 here, where Dorothea finds Ladislaw at Tipton and he tells her of his imminent and permanent departure .

446. The end of Scene 5/31 corresponds with the end of Book 6 (Ch.62) of the novel .

447. There is a longer commentary on Scenes 5/29 and 5/31-33 here .

448. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 64 here . The narrator interprets Rosamond's resentsments resulting from the the clash between her dreams and the reality of married life.

449. The scenes where Fred discovers Farebrother loves Mary and he encounters them in the orchard can be viewed here .

450. There is a longer commentary on Scenes 5/45-46 here .

451. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 61 here . The narrator moves close to Bulstrode's consciousness to reveal his inner turmoil and dread of being exposed by Raffles after his visit to the bank.

452. Andrew Davies uses the cover of the Episode 6 Shooting script to record the main changes he proposes to make: in this case he queries whether 6/1 (p.6/1), which stresses that Lydgate is getting further into debt, is a 'bit too much', and if 6/44 (p.6/68), where Dorothea's cottage plans have to be ditched due to their excessive cost, is 'too much of a let down'. He also notes to look again at script pages 86-88 .

453. View Scene 6/4 here, where Lydgate berates Rosamond for writing to his Uncle Godwin at Quallingham for financial help. This forms the opening of Episode 6 .

454. There is a longer commentary on Scene 6/4 here .

455. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 65 here . The narrator records a moment of recognition and resignation in Lydgate as he realises he will never will not be able to prevent Rosamond's actions by remonstrating with her.

456. The location for Lydgate's dispensing office at the new Fever Hospital was an existing room at Barn Hill House, Stamford. It can be seen, dressed with medicines and medical equipment, as the backdrop to Scene 6/6, where the distressed Lydgate measures himself a dose of opium .

457. The scenes where Garth meets Raffles on the road to Stone Court to where he insists he will no longer work for Bulstrode can be viewed here . It corresponds with Scenes 6/14 and 6/15a and b in the Post-production script .

458. Andrew Davies explains in interview that he found he could cut the plot line that actively links Ladislaw to Bulstrode without hindering the plot development. Linked to this and also cut is the part of the plot where Raffles not only tells Ladislaw about Bultrode's past but news of this leaks to the Middlemarch rumour mill .

459. There is a longer commentary on Scenes 6/14-15 here .

460. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 70 here . The narrator compares the misgivings of both Lydgate and Bulstrode after the banker settles the doctor's debts. Both feel diminished - Lydgate by becoming indebted to Bulstrode and Bulstrode by the temptation brought by his hold over Lydgate.

461. Davies notes on this annotated page of the Shooting script that this important last speech should be Lydgate's and not Bulstrode's .

462. View Scenes 6/36-38 here, where Lydgate reacts to Raffles' death, the news becomes known in Middlemarch and spreads to the Green Dragon .

463. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 71 here . The rumour mill of Middlemarch is in operation again. The narrator shows how a group including Bambridge and Hopkins grows at the Green Dragon as a link between Raffles' illness and death is established with Bulstrode and the news travels fast.

464. There is a longer commentary on Scenes 6/36-38 and Scenes 6/39a to 6/41 in the Shooting script here .

465. The Production schedule indicates that Scene 6/42 was shot in Stamford on 9 August 1993 but that it did not make the final cut. It was possibly omitted to ensure the episode was exactly the correct length .

466. This short scene is another where Lydgate is openly gossiped about by the wider community of Middlemarch - a prominent strand in the novel which Davies seeks to represent. Its loss from the screened version weakens this representation. In the novel, Lydgate and Bulstrode do meet just outside the hospital but their conversation is not recorded and Bulstrode's dialogue is taken by Davies from a prior conversation with Harriet Bulstrode about their future plans .

467. Scene 6/43 was shot at Browne's Hospital on the penultimate day of filming in Stamford - 12 August 1993 - before the production moved to Yeovil (Lowick). A handdrawn image on the front of the Block 3 Production schedule (4 July-26 August) shows crew members queuing up to buy their own crosses, signalling that the location filming had been a long haul . It was unusual for cast and crew to be on location for so long. Television drama filming had been traditionally more studio-based.

468. Davies annotates this page of the Shooting script to indicate 'This scene is no good'. However, a better use for this scene is found by moving it forward in Episode 6 of the Post-production script , so that Dorothea's plans and Lydgate's domestic situation are both shown to be failing at the start of this final episode .

469. The end of Scene 6/45 corresponds with the end of Book 7 (Ch.71) of the novel .

470. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 74 here . The narrator comes close to Harriet Bulstrode's consciousness as the character determines to help her spouse bear his burden of shame. The symbolism of her changing into a plain dress and their wordless acknowledgement of how their life has changee is sensitively conveyed through the narration.

471. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 75 here . The narrator relays that Rosamond is developing new fantasies for her enjoyment, this time based on romantic ideas around Will Ladislaw, instead of focusing on the realities of her life. Instead she imagines her future life of 'interesting scenes'.

472. The scene where Dorothea offers to help Lydgate and promises to visit and speak with Rosamond can be viewed here .

473. The annotated Shooting script page for the opening of Scene 6/61 makes two cuts to Dorothea's speeches to ensure she does not come across as too 'self-pitying' or too clever for clever's sake: one person 'quoting Vesalius is quite enough'. These changes are carried through in the Post-production script .

474. Davies seeks to make further cuts to speeches in scene 6/61 which he sees as either too wordy or weakening 'the spine of the scene' . In fact, both cuts are rejected and these speeches remain unchanged in the Post-production script .

475. The cuts that Davies wishes to make from the continuing debate between Dorothea and Lydgate about his decision to leave Middlemarch are again resisted . This dialogue remains unchanged in the Post-production script. In fact, another request is added by Lydgate that Dorothea will help to clear his name with Farebrother .

476. It is at this point in the Post-production script that the conversation between Dorothea and Lydgate moves outdoors at Lowick to form Scene 1/61a .

477. Davies re-situates one of Eliot's renowned images, delivered by her narrator in Chapter 20, in Dorothea's lines. She shares with Lydgate the image of the muffled cry which lies 'on the other side of silence'. In the novel it is Dorothea's sadness at the reality of her married life that prompts the image . In the Shooting script it appears as Dorothea consoles Lydgate after his own trials, close to the end of the plot. In the Post-production script, the image becomes the focal point of 6/61a - a short added scene where Dorothea walks Lydgate to the stables . In interview, Davies talks about the genuine need to retain some of Eliot's greatest lines but also insists that, for dramaturgical reasons, it is vital to resist actors' wishes to reclaim too much material from the novel . Susie Conklin (then Chapman) concurs with Davies that screenwriting frees the text from the narration to bring the story closer to the viewer .

478. The last exchanges in this dialogue are adapted slightly in the Post-production script . This scene closes with Dorothea asking if she may visit Rosamond but these lines are cut from the on-screen version because Lydgate has already asked if she would call on his wife at the end of 1/61. Instead, both Lydgate and the audience are left to ponder the image of the 'muffled cry... on the other side of silence' as the two actors walk out of frame.

479. Davies' annotated Shooting script page ends this scene with the handwritten direction for Dorothea to 'finish strong, + confident. An angel', intending for Dorothea's growing confidence to come through . Instead her 'rather shy tremulous smille is retained where this dialogue falls in Scene 6/61a of the Post-production script .

480. There is a longer commentary on Scene 6/61 in the Shooting script here .

481. The annotated script page for Scene 6/66 in the Shooting script reveals Davies' addition to ramp up the melodrama between Ladislaw and Rosamond. It shows Will's strength of feeling which Rosamond has completely misjudged before he collects himself . In fact, this scene is cut in its entirety from the Post-production script .

482. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 76 here . The narrator conveys Dorothea's ardent will to do good for the benefit of others powerfully as something that haunts her 'like a passion'. It defies the conventions of her 'youth and sex'.

483. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 80 here . Dorothea's night of extreme sorrow and disappointment over Ladislaw, after she discovers him with Rosamond, is depicted as if she is weathering a storm of emotion. She runs through all the feelings she has held for Ladislaw, seeks some distance from them and then awakes to the calm of the dawn light.

484. View Scenes 6/71-2 and 6/77 here, where Dorothea rises to a balmy morning and then visits Rosamond to speak of marriage .

485. There is a longer commentary on Scenes 6/71-2 and Scene 6/77 in the Shooting script here .

486. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 81 here . This culmination in the narration captures the moment between Dorothea and Rosamond where, from their different perspectives they understand one another's pain.

487. There is an audio clip illustrating an aspect of Eliot's narration from Chapter 85 here . A telling quotation from Bunyan's Pilgrim's Progress forms the epigraph which opens this chapter dealing with Bulstrode's wish to make amends to his wife's family. He views himself as judged guilty 'for not being the man he professed to be'.

488. The final scenes where Dorothea discusses her future with Celia and then a narrator reveals how things turn out for the three central couples can be viewed here .

489. The end of Scene 6/85 corresponds with the end of Book 8 (Ch.86) of the novel .

490. Andrew Davies explains in a 1993 interview how at the time of speaking he did not know what visuals would play beneath 'George Eliot's voice' which he deemed the best vehicle for relaying the fates of her characters at the conclusion of his adaptation .

491. There is an audio clip illustrating an aspect of Eliot's narration from the Finale here . The narrator reflects on the 'after-years' of her heroine in these three short extracts from the Finale.

492. There is a longer commentary on Scenes 6/85-91 in the Shooting script here .

493. The end of Scene 6/91 corresponds with the end of the Finale of the novel .