(For description of Scenes etc., see book.)

Pages :- pages norked

## SCENES.

DAFFODIL HOUSE, Brecon, South Wales.
Interiors, Garden, etc. etc.

LONDON FLAT.
Refined, charming, not too expensive.
JOHN and his sister, MADGE live there.

INDIA.
Interior at evening, with view from windows, verandah.
Various scenes. Garden. Ball scene. Riding course.
By the lake etc.

GOODBYE TO INDIA.
Ship scenes. (Not imperative, but if easy or possible)
Various scenes returning from India.

JOHN'S HOUSE IN LONDON.
(He has got on) and it should be handsome and show
evidences of well-offness. One or two interiors.

A COTTAGE ON THE THAMES.
Interior and exterior. Garden, etc. Various scenes.

THE RIVER.
Various scenes. In a boat. Under a tree. On an
island, a picnic for two, etc.

SIR NOEL FRANK'S HOUSE.
Aristocratic interior. (This is the last scene)

CHARACTERS.

(All of the gentlefolk class)

AUNT MARIA Disagreeable-looking, middle-aged.

JOHN & MADGE

BROOKE Nephew and Niece of AUNT MARIA; they live with her. Both young; MADGE must be beautiful.

MARK CUTHBERT-

SON An Artist, friend of JOHN'S. Fascinating and handsome, magnetic. About 30.

JAMES HARRISON. More middle-class looking than JOHN or MARK, but very prosperous-looking as time goes on. Clerk in some office. Young - about 25 at first.

NEILLER Vicar's daughter. MADGE'S friend. Young.

SIR NOEL FRANKS. Elderly, aristocratic, a diplomat.

JANET. An old servant, attached to MADGE.

GUESTS, INDIANS, GOVERNESS, TWO CHILDREN, SERVANTS, etc. etc.

2.

JAMES HARRISON comes to see MADGE again; she is miserable. (JOHN has left Oxford by this time and is living in London in a flat). She becomes still more dissatisfied with her engagement to JAMES HARRISON. She breaks off her engagement with JAMES, gives him back his ring. AUNT MARIA furious.

JOHN'S flat in London. MADGE goes to live with him at the flat. He is an engineer. Very happy there.

MARK CUTHBERTSON comes to see them. Evidently struck with MADGE'S growing beauty. He goes to India to do sketches for his illustrated paper.

MADGE misses MARK. One or two scenes with JOHN. She hears that JAMES HARRISON is married. He is delighted.

JOHN (who is an engineer) gets a contract for some work in India, near Poona. A letter from MARK in India :-

"You must bring Madge, I shall be at Poona too."

MADGE laughingly entreats JOHN to take her. She wants to see her friend, Nellie, who is at Poona with her husband. JOHN consents.

Scenes in India. MADGE staying with NELLIE at Poona. Her drawing room. MARK is there.

Various scenes with MARK follow, showing that he is very attentive to MADGE, and that MADGE is falling in love with him. (These can be picturesque scenes). They ride together, walk about the Indian garden.

They have a little quarrel. There is a ball scene. MADGE stands watching for him, miserable because she has offended him. At last he comes. He takes her out to the garden. They walk up and down. Evidently have made up their little quarrel. He grows more tender, kisses her.

On the screen :-

"He doesn't ask her to marry him."

4.

talks to him and there is a coolness. MARK goes.

JAMES HARRISON, now a widower and ve ry prosperous, comes to
see MADGE. He looks round at MADGE'S luxurious home. (JOHN is
rich now and their home is very elegant.

On screen :-

"You'll never settle down, Madge."

SIR NOEL FRANKS comes to see MADGE, courting and, in his own
way, in love. She is evidently very stiff to him.

JOHN goes to South America for two months. He takes a
cottage on the river for MADGE and her old nurse JANET. He tells
her that MARK is not to come near her. MADGE in despair.

JAMES HARRISON comes to see her in London again. He talks
to her and is evidently trying to persuade her.

On screen :-

"I will come and see your house and children on
my return."

He goes. Evidently still in love with her; but he is always the
business man.

THE COTTAGE on the THAMES. MADGE at the cottage alone with
JANET. In the garden, where there is a summer house.

MADGE pulls about on the river alone. Looks very sad. Goes
back to cottage. Postman passes by the cottage, she evidently
asks if there are any letters for her. He shakes his head. She
sits in the garden, in a secluded part so that no one can see her.

MARK seen in the distance. MADGE unable to hide her pleasure.

6.

In JAMES'S large drawing room, which is rather Victorian and prosperous middle-class. JAMES points to water-colours on the wall.

On screen :-

"My poor wife did these."

Tea brought in. Governess and two little girls enter. Little girls carefully eat cake, drop crumbs, are reproved. MADGE says goodbye quickly, goes away in taxi. JAMES wants to come with her. She shakes her head.

The next day. MADGE alone. Letter comes. She opens it; gesture of despair; writes answer.

On screen :-

"No, dear James, no. I do not love you and cannot
marry you."

A week later. MARK'S sister-in-law tells MADGE that MARK is always going to Richmond. MADGE sitting alone.

On screen can be seen for a moment, MARK walking in Richmond Park with another girl. Scene fades away.

MADGE miserable. MARK passes her in street, he with girl, does not see MADGE.

The next day. SIR NOEL talking to MADGE. He evidently asks her to marry him. She stands by the fireplace and is about to explain. SIR NOEL puts up a hand, as if to silence her.

On screen :-

"Dear lady, I do not ask about your past. I want
you to give me your future."

Sketch of how scenario could be made:

M A D G E   B R O O K E

(Taken from Mrs. W.K. Clifford's celebrated
book: Love Letters of a Worldly Woman.)

Many editions in England and America.

Three editions in Paris (French Translation
by H. Davray.

Extracts from this book are made into a tiny vol.
for the Queen's Doll's House Library and will be
published in 'The Book of the Queen's Doll's House.

MADGE BROOK

SCENE:-
Daffodil House, Brecon, South Wales. AUNT MARIA,
rather disagreeable. JOHN & MADGE BROOK, nephew
and niece live with her. JOHN, undergrad, from
Oxford. MADGE, 16, hair down, etc.

JOHN brings his artist friend, MARK CUTHBERTSON (26) home with him in vacation. He should be a very fascinating man, good-looking, self-willed, dominant. He treats MADGE as a child at Daffodil. He and JOHN play about with her in the garden, etc.

LATER: MADGE'S friend NELLIE comes over from the vicarage to say good bye. She is going out to India to be married.

ON SCREEN: "You must come out and stay with us, dear Madge."

TWO MONTHS LATER

JOHN has left Oxford, is an engineer. He comes to
Daffodil and takes MADGE away. They go to London
together and live in lodgings, pretty and refined,
not very well off. JOHN gets a railway contract to
do in India, near Poona, where NELLIE and her husband
live.

MARK CUTHBERTSON comes to see JOHN in London. MARK is
going out to India next week to do illustrations for a
paper. MADGE comes in just as he is going. He looks
down on her. "Little Madge grown up. We shall meet
in India".

ON SCREEN: Telegram dated Poona: "I am so glad you are coming with John. Nellie."

On the verandah, NELLIE'S house. MADGE and JOHN and MARK. MARK and MADGE evidently attracted to each other. By the lake at Poona together.

Indian room one evening, lamp lighted, wonderful view
from the windows. MADGE at the piano. The others go
out on the verandah. MARK and MADGE follow. In the
twilight for a moment he puts his arm round her
shoulder then takes it away again.

MADGE alone, looking out over the landscape. Evidently
night, stars or moon. Puts her hands over her face.

-3-

## PART II.

JOHN is getting on; a better home than formerly.

MADGE has many admirers. SIR NOEL comes to see her.
He is an elderly aristocratic-looking diplomat.

MARK comes back to England. He shows MADGE and JOHN
some of his sketches. MADGE has been drawing and he
offers to give her some help, and JOHN fits up a
little studio for her.

### MADGE'S STUDIO

SIR NOEL sends MADGE some beautiful flowers which she
arranges in pots about the studio. MARK gives a shrug.

### MARK'S STUDIO

MARK evidently persuading MADGE; he takes her to see
his studio. They could be shown going there in taxi.

THEY enter the studio, which is large and handsome.
There should be a little ebony clock hanging where it
can be well seen.

SHE hesitates before entering. HE evidently remonstrates
Brings her in. SHE shivers a little. HE sets a light in
the fire laid in the big fireplace; when it burns up he
throws on a log or two.

SHE sits down on a wicker chair by the fire, he puts
silk cushions behind her back and under her head. He
takes her hands and evidently talks tenderly. She looks
a little frightened. He soothes her. He takes her in
his arms and kisses her.

### ON SCREEN:

But he doesn't ask her to marry him.

JOHN and MADGE alone together. JOHN evidently expostulating with MADGE. MADGE leaves the room.

MARK arrives. JOHN evidently cool to him.

MADGE and SIR NOEL together. SHE is evidently rather
stiff to him.

-7-

He gives a little shrug, is evidently rather pleased. SHE gets up, stands by the fireplace and evidently gives out all the bitterness in her soul to him; he listens to her with little shrugs and smiles, she stops as if in despair, and finally unable to bear more, she points to the door.

He gets up, shakes hands, goes. She throws herself on to an easy chair and hides her face.

## THREE DAYS BEFORE THE MARRIAGE:

Drawing room, wedding presents all about, preparations. A package brought in ~~is~~ paper, she looks at the card

**ON SCREEN:** (card) "Mr. Mark Cuthbertson, with kind regards and best wishes".

She opens the box, pulls out an ebony clock like the one in the studio. She looks at it in despair. If visitors are in drawing room, they can come round and see it.

When she is left alone she puts the clock back into the box.

**NEXT DAY:** MADGE arriving at some little station on Thames. She carries the box containing clock. Walks away from station, stops at the Inn, borrows a trowel, walks on past the cottage to the river, takes a boat, pulls away to the island, makes the boat fast and lands. Walks to the spot where she and MARK had their picnic, digs a hole with the trowel, takes clock out of box, winds it up, looks at it, kisses it, buries it, covers up hole, puts dead leaves on it. Comes away in the boat, pulls along river again.

**SEVEN YEARS LATER:** "I am content".

MADGE alone in the drawing room evidently waiting, she is in evening dress. She looks a little older, sad and brave and sweet. MAID enters with an opera cloak.

SIR NOEL enters, he has ribbon and orders etc. on, evidently going out with her. He looks at her, gives her a little courtly bow of approval. Maid puts on opera cloak. They go out of the room together.

END

4.

## ON SCREEN.

JOHN & MADGE alone together. JOHN evidently extolling with MADGE. MADGE leaves the room.

MADGE & SIR NOEL together. She is evidently rather stiff to him.

## LATER.

JOHN explains to MADGE that he is going to South America for two months; that he has taken a cottage in the country for her and her old nurse JANET, and that MARK is not to visit her.

MADGE in despair.

## AT A COTTAGE ON THE THAMES.

One or two pretty scenes with JANET in the garden, in which there could be a summerhouse.

MADGE pulling about on the river alone.

MADGE looks very sad. She goes back to the cottage. Postman passes, she evidently asks if there are any letters for her. He shakes his head.

She sits in the garden in a secluded part so that JANET and no one else can see her.

MARK seen in the distance. MADGE sees him with dismay and joy. She hesitates.

## ON SCREEN.

"I am staying at the Swan to do some sketches. We will go on the river together." She-evidently-embarrassed-

5.

She evidently embarrassed. Talk. Becomes happy.

**ON SCREEN.** A glorious time.

MADGE & MARK pulling about on the river together. They land on one of the islands. They make their way along a pathway to the trees and sit and talk as if they were making plans.

**IN THE COTTAGE.**

JANET packing a picnic basket, food etc. She carries it into the little drawing room. MADGE waiting for her.

MARK comes. They go off with the picnic basket to the river. They get into the boat and pull off to the island. They go to the place they have been at before, unpack the basket and have their lunch.

**ON SCREEN.** A fortnight later. MARK becomes less attentive and he doesn't ask her to marry him.

MADGE watching for him in the garden. After a time he comes. He shows her some sketches in a portfolio, his manner is less loverlike. He goes.

**ON SCREEN.** "I go back to London to-morrow."

MADGE alone in the drawing room. MARK should be going down the pathway. He turns round, she waves her handkerchief to him. He vanishes, she throws herself on the sofa. JANET comes in. MADGE confides in her.

**ON SCREEN.** "Hold back, dear, as woman holds off man follows; as she comes forward he falls back - remember that, Miss Madge".

MADGE gets up; a little gesture of despair. MADGE on the river alone, goes desperately to the island. She lands and goes to the place where they held their picnic; throws herself down on the ground.

**IN LONDON AGAIN.**

MADGE alone, evidently waiting, watching. Telegram brought in.

6.

**ON SCREEN.** "Sorry cannot come, must take long walk."

She screws it up and throws it into the fire.

JOHN comes in, tells her he is going to be married and asks her if there is anything between her and MARK.

JOHN evidently full of excitement and happiness. He questions MADGE who shakes her head.

**ON SCREEN.** The next day.

MADGE alone. MARK comes. He behaves like a formal caller, not a bit like a lover. While he is there a letter is brought in. MADGE mechanically opens it, evidently very long, puts it down on table.

After a minute or two MARK gets up to go, shakes hands, not loverlike.

MADGE sits still thinking, then she wearily reads her letter, gesture of despair, writes answer.

**ON SCREEN.** "No, dear James, no. I do not love you and can never marry you."

**A WEEK LATER.** MARK'S sister-in-law calls to see MADGE.

She evidently talks about MARK and tells her that he is always going to Richmond.

ON THE SCREEN could be seen for a moment MARK walking in Richmond Park with another girl. The scene fades away.

Scene goes back to room. MADGE talking with her visitor. A note brought in. VISITOR goes away. MADGE reads her note, writes an answer and gives it to servant.

**ON SCREEN.** "Dear Sir Noel, I will be at home to you, as you wish, to-morrow afternoon at four."

Madge Brook."

**NEXT DAY.** SIR NOEL is talking to MADGE. They are both standing

7.

up by the fireplace, then they sit; he evidently asks her to marry him, she gets up again and stands by the fireplace and is evidently about to explain something. SIR NOEL puts up a hand as if to silence her.

**ON SCREEN.** "Dear Lady, it is not your past I am asking about, I want you to give me your future."

Back in room again. It should be a pretty scene. MADGE beautiful, sad and hesitating, and the thin formal aristocrat. She gives in. He kisses her hands and bows low over them.

**A VISIT FROM MARK.** She tells MARK.

MADGE sitting alone in her drawing room, grave and thoughtful.

MARK announced and enters. He behaves like any other caller. She tells him of her engagement.

He gives a little shrug, is evidently rather pleased. She gets up, stands by the fireplace and evidently gives out all the bitterness in her soul to him; he listens to her with little shrugs and smiles, she stops as if in despair, and finally unable to bear more, she points to the door.

**THREE DAYS BEFORE THE MARRIAGE.**

Drawing room, wedding presents all about, preparations. A package brought in in paper, she looks at the card -

**ON SCREEN.** (card) "Mr Mark Cuthbertson, with kind regards and best wishes."

8.

**NEXT DAY**
MADGE arriving at some little station on Thames. She carries the box containing clock. Walks away from station, stops at the inn, borrows a trowel, walks past the cottage to the river, takes a boat, pulls to the island, lands. Walks to spot where she and MARK had their picnic, digs hole with the trowel, takes clock out of box, winds it up, looks at it, kisses it, buries it, covers up hole, puts dead leaves on it. Comes away in the boat, pulls along river again.

**SEVEN YEARS LATER**
"I am content".

SIR NOEL enters, he has ribbon and orders etc on, evidently going out with her. He looks at her, gives her a little courtly bow of approval. MAID puts on opera cloak. They go out of the room together.

E N D.