⬥ 50. The opening sequence which is pure invention by Andrew Davies⭜.

⬥ 51. 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↩.

⬥ 52. Davies's 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.

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

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

⬥ 101. 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.

⬥ 102. 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 ↩.

⬥ 103. 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⭜.

⬥ 104. 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.

⬥ 150. eoiatoiael ea aientopiea ieai taneoit lantp ai antila eiteaoi tlneait lntliea aeitnp al tnoie tliean tiae aii enltipaen tleant ieant lieant ieant painltai entlea x 65tn eila etip neltiean ti antienl tnteantaoile x laentiea ntal ntila ntilen tline tiplean tiean lai laet laeit l ieatli entlieatnlieatln aietln aitel n laeti i natiloan tipla ntileant ieat lnoasitl noeatlni.

⬥ 200. eaneaintlieant oieatn lieant iean toatas iaiea ntiealn tiean tleai ntin ltaie ntln etaelntoi ait iatn ien eltn ieatnieant lieant ieantleantpoas 95ea ntiaentilne tasin oiealn tainieantealtnea ant in elti entia enltl entoienlteiantaelnteanltaientl al e nlti entaientila tlaoisetaet lip asntinl teaoint ieant la ntias lntasipen ltiaen tloiea nltiea ntasoie tae lei tnia ineltoiaen ltoeatl noasptl.

⬥ 300. eoiatoiael ea aientopiea ieai taneoit lantp ai antila eiteaoi tlneait lntliea aeitnp al tnoie tliean tiae aii enltipaen tleant ieant lieant ieant painltai entlea x 65tn eila etip neltiean ti antienl tnteantaoile x laentiea ntal ntila ntilen tline tiplean tiean lai laet laeit l ieatli entlieatnlieatln aietln aitel n laeti i natiloan tipla ntileant ieat lnoasitl noeatlni.

⬥ 400. eaneaintlieant oieatn lieant iean toatas iaiea ntiealn tiean tleai ntin ltaie ntln etaelntoi ait iatn ien eltn ieatnieant lieant ieantleantpoas 95ea ntiaentilne tasin oiealn tainieantealtnea ant in elti entia enltl entoienlteiantaelnteanltaientl al e nlti entaientila tlaoisetaet lip asntinl teaoint ieant la ntias lntasipen ltiaen tloiea nltiea ntasoie tae lei tnia ineltoiaen ltoeatl noasptl.

⬥ 500. 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's stage directions.

⬥ 501. 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.

⬥ 502. 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↩.

⬥ 503. Davies's 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.↩

⬥ 504. 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.

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

⬥ 506. 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.

⬥ 507.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.

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

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

⬥ 526. 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.

⬥ 527. 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↩.

⬥ 528. Davies notes in his letter to the first director 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. ⭜⟐.

⬥ 529. 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.

⬥ 530. 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.

⬥ 531. 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.↩

⬥ 534. In Chapter II 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↩.

⬥ 537. 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↩.

⬥ 538. 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↩.

⬥ 539. 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.

⬥ 540. 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 oboe-led theme reaches a gentle cresendo when she contemplates his departing carriage.

⬥ 541. 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.

⬥ 542. 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.

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

⬥ 601. 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⭜.

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

⬥ 603. 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↩.

⬥ 604. 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's 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↩.

⬥ 605. This scene is omitted from the Post-production script, potentially linked to time available on location in Rome. Julie Edwards explains how scene cuts and changes were negotiated on location between her as Production manaager and Susie Conklin as script editor to meet time and budget constraints⭜.

⬥ 606. Episode 1 in the Shooting Script ends with Scene 1/87 on the first strong representation of conflict between Dorothea and Casaubon. In 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↩.

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

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

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

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

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

⬥ 1050. The end of Scene 5/31 corresponds with the end of Book 6 (Ch.62) of the novel↩.

⬥ 1170. The end of Scene 6/45 corresponds with the end of Book 7 (Ch.71) of the novel↩.

⬥ 1270. The end of Scene 6/85 corresponds with the end of Book 8 (Ch.86) of the novel↩.

⬥ 1320. The end of Scene 6/91 corresponds with the end of the Finale of the novel↩.