SYNOPSIS
This screen play portrays Catherine Hogarth Dickens, the unsung wife of the celebrated Charles Dickens, 19th-century novelist and journalist, who during the 1850's edited a weekly entitled Household Words. Catherine Dickens was the wife of his youth. Although her story encompasses some thirty-five years, the time of the script's frame is brief: June 13 and June 14, 1870, when Dickens' casket arrived for funeral ceremonies at Westminster Abbey. Four of the author's ten children were in England and attended those services. His estranged wife Catherine received no encouragement to attend. She passed the day in her London home on Gloucester Crescent, where she had lived since her separation from her world-famous husband and where only one of the former circle of friends came to call on her. Since 1858 and, for all purposes, many years before that, she yielded her place as mother and hostess to her younger sister Georgina. Her husband's affections belonged to Ellen Ternan, the young actress, his attentions to whom had precipitated the collapse of the marriage. Catherine's story, told in flashbacks to her meeting with the youthful Dickens in those first days when he wrote for her editor father, to the recognizing of her husband's overwhelming popularity, to the showing forth of all the trials and triumphs of a perfectionistic husband with a household of children, an unending procession of needy relatives, and a bevy of visitors that included such remarkable personalities as Hans Christian Anderson, and, finally, to the demanding of her own respect and dignity as a person in an era and environment that granted no legal status to a married woman, reveals a woman who cannot be pushed aside by a husband who is tired of her and attracted to a woman some twenty years her junior. Catherine had the temerity to demand her own place in history. Of the choices available to her she took the hardest one, speaking out in the confines of a family circle awestruck by the powers of her husband. Yes, she was fat and red-faced and clumsy. Her conversation was not brilliant and she never shone in society, but Catherine inspired the fun of Pickwick and Nickleby: she had the best of the heart of Dickens and cannot be forgotten.
Editor's Note: The scenes listed below don't seem to precisely match the text of the screen play.
Establish publication title HW
Show Vict. homes receiving publication, family reading Child's
History
D reads June 12m 1858 pronouncement to Wills, puts it on front
page--Wills questions
Death - Luke Fildes with him and Georgina, girls away.
The dining room had crimson upholstery.
Credits roll
Servants at Catherine's -- Gloucester Cresent, June 13, 1870
D's Ghost and Catherine
Feb. 7, 1834--meeting - pale brick court of Furnival's
Include Forster's description of D--p. 187
Dash to Exeter and political reporting--late '34
Est. Kensal Lodge and Ainsworth--'34
D as Boz
2nd B'day party
C's jealousy concerning Maria
D's work and widening circle at Kensal Lodge
D dealing with Cath's moods
Cath. and the D's
D and the Hogarths
The wedding and wedding party--Apr. 2, 1836, St. Luke's in
Chelsea, Macrone and Beard only ones outside family. Est. family
at wedding breakfast at Hogarths
Honeymoon at Chalk--chance to walk, look back at Chatham
Work on Pickwick--Mary moves to be with them at Furnival's Inn
Late '36--D meets Forster at Kensal Lodge--pp.185-87
D's assumption of editorship of Bentley's
Cath's confinement with Charlie, inability to nurse--Mary's care
Charlie at 12th night child--see p. 188--Mary had to stay with
grandfather because 2 grandmothers took all the room at
Furnival's--Jan. 6, 1837
Move to Doughty St. -- Begins OT Feb, 37 while still completing
P'wick
Completion of Pickwick
Mary's death--May 7, 1837
Miss Coutts
Cath preg.
New house (Cath and servants)
D's writer's block, depression, Cath's help
Mary b. Mar. 6, 1838
**George Hogarth a contributor to Bentley's
Katey b. Oct. 29, 39
Move to Devonshire Terr. late '39
Cath. arranging an early party--Show Forster with D family
Walter b. Feb. 1841
D's jealousy of Forster and pact about loving another
Journey to Edinburgh--June, 1841
Family at Broadstairs, resting
Georgina joins family--1842
Anne will accompany family to America
Leave for America -- Jan, 1842
Visit of Thomsons and D's less than enthusiastic reception
American trip--Leave Jan. 42
Mesmerism of Kate in Pittsburgh
Birth of Francis in '44
Italian visit 9/44 -6/45
Mme. De La Rue--1845
In Genoa D. dreams for last time of Mary
Redecoration of Devonshire Terr.
Family attends Unitarian Church
Alfred b. Oct. 28, 1845
painful delivery of Sydney--Apr. '47, p. 614
Christening in C. of England
Charlie's Birthday and magic--Jan.' 49
D likens Charley's lassitude to Cath's
Use of anesthetic in childbirth--Henry Fielding, 1-15-49 (8th
child)
Isle of Wight -- p. 667 (children played with Swinburne) S'49
Decision Dora must die in DC -- May, 1850
Outgrowing Dev. Terr., move to Tavistock, 51
Autobiographical Fragment in which he recalls Blacking House??
Annie b. 1850
Death of Annie and breakdown--1851
D. still youthful looking in photos 1850-52
Georgina's assumption of control rivaled by Forster's
Miss Coutts and D set about reform of prostitutes
Inspection of girls' room
Plorn b. 1852
D. begins to look older 53-54, grows beard
Growing cynicism--father's death and left Mother
Feb. 1855--Maria Beadnell, now Mrs. Winter visits--p.835
June, 1855--Hans Christian Anderson visits
Concludes purchase of Gad's Hill (1700# and another 90
for the shrubbery across the road which owner Mrs. Lynn
Linton, one of contributors to HW valued separately--
Mar. 14, 1856 Looked into Valley of the Medway, only an
hour and a quarter from London by Rail. To Crown all,
the sign of the Sir John Falstaff is over the way--had
known the house since a child
Bags under eyes, heavy moustache
Dickens on stage--the Frozen Deep - by '56 a short beard, girls
acted in play at home, but he wouldn't have them on stage
in public--Hired Mrs. Ternan, Ellen and Maria
Boarding up bedroom -- 57
Walk home after finding Hogarths at Tavistock-Apr.'58
The bracelet meant for Ellen arrives at Tavistock
Cath. must visit Ellen
Rejection of Mary's suitor
Kate's marriage
Cath. encourages Charley's career and marriage
Charlie's son following his wedding
Walter's death 64
Cath's mother died in 66
Harry's triumphs - saw his mother a great deal before leaving for
Cambridge
Plorn leaves for Auist. at 16--Sept 26, 67, to
Paddington, then Plymouth, C. asks that he write her the
smallest detail
D. pain in left foot, wore elastic stocking, built
conservatory at Gad's Hill for light and air
Recurring pain in side--since young man. Froze foot at
one time??
Cath's father died Feb., 1870; he'd broken bones in Jan.
Mary's incipient alcoholism
D's stroke June 9, Kate dispatched
Catherine awakes June 14, 1870
Coffin leaves Gad's Hill at 6 A. M.
Groaning table at lunch with Mrs. Hogarth and Helen, both in
mourning--Servants again
Ferns at head, red and white roses down sides of coffin,
wreath of white roses on flags at feet
Miss Coutts visit--"God knows an English home presents the most
formidable of obligations" --an English teatime "poor, dear Mrs.
Dickens
Catherine's request that Kate preserve the letters to show D.
loved her--tells Coutts she'll make on deathbed
Shots of crypt, shoes of public mourners
Ending displays letters in BM
FADE IN
INT - PRINTING OFFICE - DAY
TWO PRINTERS attend presses while workers bundle journals
for distribution.
CLOSE UP
establishes title of journal: HOUSEHOLD WORDS. The title
page announces "A Weekly Journal" conducted by Charles
Dickens and includes a quotation from Shakespeare: "Familiar in
their Mouths as HOUSEHOLD WORDS."
CUT TO
EXT - VICTORIAN HOME - NIGHT
CUT TO
INT - VICTORIAN DRAWING ROOM - NIGHT
Stern, paternalistic Victorian father addresses several
of his children, ages four to about thirteen. He shows
them his copy of HOUSEHOLD WORDS. Behind him a hearth
fire glows.
VICTORIAN FATHER
Give me your careful attention,
all of you. I'm reading from Mr.
Dickens's history of England. He
has put down this history with
his young audience in mind.
Faces of children move by. CLOSE ON especially earnest,
neatly groomed lad of about nine.
CUT TO
INT - PRINTING OFFICE - DAY
PRINTER inspects page from press. Presses clatter.
CLOSE UP reveals front page of HOUSEHOLD WORDS June 12, 1858.
NEW ANGLE
DICKENS reads from first page of publication. His managing
editor WILLS watches in disapproval.
DICKENS (V.O.)
(above clatter of printing)
"Three-and-twenty years have
passed since I entered on my
present relations with the
Public....
I have tried to be as faithful
to the public as they have been
to me....
Some domestic trouble of mine,
of longstanding....
DICKENS (CONT.)
(words lost to clatter)
I most solemnly declare, then--
and this I do, both in my
own name and in my wife's name--
that all the lately whispered
rumours touching the trouble
at which I have glanced,
are abominably false. And
that whosoever repeats one of
them after this denial, will
lie as wilfully and as foully
as it is possible for any
false witness to lie, before
Heaven and earth."
DICKENS shows his printed work
to his managing editor WILLS, whose face registers his
disapproval.
DICKENS
And I have signed my name to it.
Charles Dickens. I want the public
to understand my side of things.
Catherine and I have not got along
for years. Do you understand?
WILLS
And who will print Mrs. Dickens'
side of things? Who will speak for
her?
DICKENS
Catherine has sworn she will keep her
silence. I have especially warned her
mother and her sister Helen not to air
their particular ridiculous accusations.
Damn them.
WILLS
Then it is your wish that Mrs. Dickens'
story not be told?
In response DICKENS folds his arms against his chest and snorts.
ZOOM TO NEW ANGLE
Continue to see all-over action in print shop.
SOPRANO (V.O.)
Take back the heart that thou gavest,
What is mine anguish to thee!
Take back the freedom thou cravest,
Leaving the fetters to me.....
TITLE: HOUSEHOLD WORDS
The credits roll.
SOPRANO (V. O.)
Take back the vows thou hast spoken,
Fling them aside and be free;
Smile o'er each pitiful token,
Leaving the sorrow for me...
In background printing establishment is shown at work
with intermittent shots of Dickens at his writing desk.
Occasional titles go by: A TALE OF TWO CITIES, GREAT
EXPECTATIONS, OUR MUTUAL FRIEND. At last we see Dickens
at work on THE MYSTERY OF EDWIN DROOD.
The credits end.
CUT TO
INT - DINING ROOM, GAD'S HILL PLACE -EVENING
GEORGINA expresses alarm over DICKENS' pallor.
GEORGINA
Are you well? Shouldn't you lie down?
DICKENS
Yes...on the ground.
DICKENS collapses at GEORGINA'S feet.
CUT TO
GEORGINA HOGARTH, KATEY and CHARLEY DICKENS are in the
doorway of the dining room. Behind them a doctor shakes
his head over Dickens's lifeless body that now rests on
the couch. MAMIE sits motionless in a chair across the
room. She holds a glass of wine.
GEORGINA
Katey, you must go to your mother.
You must tell her that he is not
expected to live...
Go at once.
KATEY
Oh, Aunt Georgy....
GEORGINA
And Charley, you are the eldest.
Stay by his side. Perhaps...
CHARLEY
I'll do as you say, Aunt
Georgy. I'll do as you say.
KATEY
Can our surgeon Mr. Steele do
nothing? Nothing at all?
Oh, Aunt Georgina...
The two women embrace. KATEY is sobbing.
CUT TO
EXT - CATHERINE'S HOME, LONDON - NIGHT
LEGEND: 70 Gloucester Crescent, London
CUT TO
INT - CATHERINE'S KITCHEN - NIGHT
A hand grips a stiff-bristled brush and fiercely
polishes an already gleaming, high-buttoned, very black
boot suitable for a Victorian lady. Fitted onto some
second unseen hand, the boot is turned first one way and
then another. Only the steady sweep of bristles sounds.
We see a man's arm, and on it a black band.
CUT TO
Dressed in accordance with mid-19th century codes, FRANK, a
serving man in his fifties sits surveying the one
polished boot. Apparently satisfied, he sets that
right boot beside a left boot on the floor.
FRANK
(to himself)
It's not as if she's going
anywhere.
At one side of an English kitchen/keeping room Frank and
his wife Sarah are at work by lamplight. Sarah is
working on black lace, rubbing her eyes.
SARAH
(pausing in her work)
We've done what we can.
(and looking at Frank)
Frank, what did you say?
FRANK
(raising his voice somewhat)
I said she wasn't going anywhere.
SARAH
It's not kind to talk about her,
poor dear.
FRANK
(shaking his head)
She'll have a husband at rest
in Westminster Abbey. But she
won't be one to see the coffin
lowered. Nor get the comforts
of the service.
(standing, crossing to cabinet)
SARAH
(watching Frank put away
the polish and brush)
She'll hear about it from Mrs.
Katey and her husband.
Katey and Mr. Charley...
they've stood by her.
FRANK
(closing cabinet door)
Eight children left her now.
Only four of them in England.
Only two who dare to come see her.
SARAH
(re-threading her needle with difficulty)
Somehow she should be got to the
grave to look at him.
FRANK
Ah, just look at this lamp.
That new little maid isn't
doing a good job. I'll speak
to her.
It's history, you understand.
He'll be in the Poet's Corner
with the best of them.
SARAH
Yes, and he'd pass it off with
a bit of whimsy, that one.
FRANK
Oh, he seemed pleasant enough.
I remember he'd give a wave and
a wink when he saw me coming
courting.
Pleasant enough....
Sarah's needle takes tiny, even stitches.
SARAH
That smile.... But after knowing
him, I've doubts about a sense of humor.
I've heard him tell her she had
no sense of humor.
"Born in Edinburgh," he'd say,
rolling his eyes.
FRANK
No, no. A pleasant enough man.
He liked entertainment.
SARAH
(rubbing her eyes)
All his smart ways and getting
on...his poking fun at some
of our finest English customs...
(putting down the black silk,
wiping a tear)
FRANK
She's in a bit of luck to have
us, that's all I can say.
We keep her house as proper as any
in London. She's a proud woman.
SARAH
Tomorrow won't be easy.
FRANK
Sarah, put that away. Black's
nothing to work on at night.
SARAH
She's still in mourning for
her dear father.
FRANK
Put that away for now.
Mister Charley made it clear
that his father did not want
mourning worn. Put it in
his will...some bit of
cleverness ... not wanting
anyone to wear black bows or
some such. Oh my, I don't have
his way with words.
SARAH
(putting down her sewing)
Mister Charley said that his father
called our English way of mourning,
a "revolting absurdity."
FRANK
It don't surprise me.
(taking Sarah's hand)
We've done what we can.
SARAH
(folding the lace and pointing
her needle in the spool of black
thread)
She should be there tomorrow.
(again touching the black shawl)
She'll wrap up in all this black
as if it's cold outside.
SARAH folds the shawl.
SARAH
I don't think anyone ever thought
he'd be the first to go. It's
almost like...
FRANK
What? Say it to me.
SARAH
(lowering her voice)
All right. Like she'd won.
FRANK
If surviving is winning...
If it is... I'm not sure.
We'll see. God bless her.
Frank turns down the lamp.
CUT TO
INT - HALLWAY - NIGHT
FRANK'S hand puts boots before Catherine's bedroom door.
CUT TO
INT - CATHERINE'S BEDROOM - NIGHT
Catherine sleeps in a large room bursting with ruffles
and flounces. Heavy draperies. Her bed is a four-poster.
A pale man sits in a boudoir chair at a small draped table
to the other end of the room.
He is in shadows. One hand presses his forehead; the
other grips a quill. He rises slowly, walks to a window,
pushing aside the drapes, trying to open the window.
GHOST OF DICKENS
(grunting with exertion )
It can't be any hotter in hell.
CLOSE UP: CATHERINE in her night cap. Heavy face. Sound
asleep. A snore or two. She stirs briefly.
CATHERINE
Charles?
The thin male figure returns to the boudoir chair
and picks up an ornately framed picture which he
scrutinizes.
CUT TO
The miniature of Dickens in his early twenties,
a painting he commissioned for his engagement
present to Catherine, was presented in 1835.
He was 23 at the time.
GHOST
(Groaning and putting down
the picture)
What dreams I had!
(passing hand across face)
And what an
unblemished countenance.
CLOSE UP
The painting of early Dickens, the romantic young
writer, his idealism evident
CATHERINE sits up, yawning, stretching, arranging her pillows behind
her. She drinks from water at the night stand.
CATHERINE
How warm it is!
GHOST
You could leave a window open
somewhere.
CATHERINE
(Still half asleep)
I've always hated to sleep
with the window open.
It's my habit to sleep with
the window closed.
GHOST
Of course. It's the business of
life that people who always sleep
with the window closed marry
people who never shut them.
CATHERINE
Charles? It is you. I haven't
seen you since you called on
me before your last trip to
America.
GHOST
This is the last you'll see of me.
You can be sure of that. It is
stifling tonight.
CATHERINE
(leaning toward him, squinting)
Will you be at the funeral tomorrow?
GHOST
That hasn't been decided.
(looking wistfully at his pen)
You'd think I'd have been allowed
to finish that tale about Drood.
CATHERINE
How long it's been since you
talked to me about your writing.
Plumps her pillows and leans back smiling.
CATHERINE
How petulant you look! Like
little Plorn when you denied
him some sweet.
GHOST
(Snapping at her)
That's easy for you to say.
You always found time for
leisure. How can someone like
me put away all his work?
Think of what has been left
undone....
CATHERINE
Can't you, even now, admit to
weariness? Poor Charles!
The PALE VISITOR stands up and walks in a crooked
circle, still clasping his quill pen.
GHOST
All I've known is hard work!
You've won, Catherine. Do you
know how I envied your stories
of your comforts in Edinburgh?
Your father a responsible,
persevering and frugal Scotsman.
My father was imprisoned for
debt. I was put to work in a
blacking factory!
CATHERINE
I'm glad to hear you say some
good of Scots. We're a decent
people.
GHOST
That I might have parted with
you and the members of your
family with the warmth and
good wishes I felt for each
of you. Your father...my
mentor...a good man, one to
take an interest in the career
of an ambitious young man.
CATHERINE
And one to make sure
that young man got properly
introduced to his daughter of
nineteen....
CUT TO
LEGEND: FEBRUARY 7, 1835...
CUT TO
EXT - LONDON STREET - NIGHT
A carriage plunges through the confusion of carts and
horses and carriages. Even in the cold we are aware of
the street people. They huddle around fires. They sit
wrapped together against the sides of buildings.
Passers-by occasionally offer coins. Small children lean
against gaunt women, aged far beyond their years. The
occasional bonfires of the destitute provide more light
than the dim gaslights. Melting snow and ice refreeze.
The streets are filthy with dung and refuse and limited
visibility prevents the emergence of any whole scene.
CLOSE ON one face watching the carriage go by. Rheumy
eyes betray hopelessness.
CUT TO
INT LONDON CARRIAGE - NIGHT
MR. AND MRS GEORGE HOGARTH, their son ROBERT, and their
daughters CATHERINE and MARY pull wraps around themselves
as they ride. They are faintly illumined. Momentarily
they emerge from shadows in a flare of light from the
flames of some bonfire they pass by. These are genteel
people, dressed with modest decorum. Their garments are
cut from plain fabric of excellent quality. The HOGARTHS
exude respectability. Their manners are firmly planted in
the traditions of the middle class. He is a man of 52;
his wife is ten years his junior. CATHERINE is their
eldest, a slow, shy, and lovely girl of 19. Her long and
rich dark hair sets off a snow-white, rosy-cheeked
complexion, slightly turned up nose, large, heavy-lidded
blue eyes. ROBERT, a year younger than CATHERINE, is
considerably larger than she. He is more animated in his
speech and a good deal taller and bigger boned; his
youthful face looks young atop his man's body. In profile
MARY has an aquiline nose and faintly receding chin
imparting a maturity beyond her 15 years; her lilting
voice projects her sanguine disposition, a temperament
not so subject to ups and downs as that of her older
sister. Decidedly, the speech of the Hogarths retains
the vowel sounds of their Scottish origins.
ROBERT
(jokingly)
Once we've met this paragon of
accomplishment, I'll be put upon,
I suppose, to show off as well.
MARY
Robert, Brother, we love you
for yourself.
MR. HOGARTH
(speculatively)
Perhaps Mr. Dickens works too
hard. I am very fortunate to
have him as a writer on the
Evening Chronicle, but
such intensity....
CATHERINE
(demurely)
Continue, Father. We have your
word for it that this Mr.
Dickens, who writes voluminously
and wondrously, will prove
interesting.
MRS. HOGARTH
(smiling)
Yet we're hearing some creeping
reservations in your voice.
We all know that voice. It's
the voice that booms, "The new
cook is all very well, but...."
How old is Mr. Dickens who has
with such munificence invited us
and all children we choose to
bring with us to celebrate his
birthday?
MR. HOGARTH
(with grave composure)
He's but 23 today. And already
he's been a law clerk, a fine
parliamentary reporter--taught
himself shorthand--and his
sketches are now receiving even
more attention than does his
fine political reporting.
ROBERT
But?
CATHERINE especially peers at her father to hear his
answer. Her blue eyes are steady and questioning.
MR. HOGARTH
(reluctantly)
The problem's nothing to do
with Mr. Dickens himself. It's
his father. I've had the
opportunities to deal with him
and he's quite another matter.
It's a question of reliability
and... Oh, he's talented enough,
that John Dickens. He can't
keep himself out of debt. I
know Charles must help out.
CUT TO
CATHERINE'S face relaxes. We see her interest in Charles
Dickens has not been disappointed.
CATHERINE
(softly)
Your Mr. Dickens sounds all the
better for what you have now
revealed to us.
MARY
(sweetly, as if enthralled)
Indeed.
CUT TO
EXT - FURNIVAL'S INN - NIGHT
The courtyard is laid out inside walls of pale brick.
The HOGARTHS cross the courtyard.
CUT TO
INT - STEEP UNLIGHTED STAIRWELL - NIGHT
THE HOGARTHS climb the stairs slowly. HOGARTH leading the way and
MARY and ROBERT close behind.
MR. HOGARTH
He warned that the climb to his
third-floor apartment was not easy and
(laughing)
laughed when he cautioned that perhaps
we should not bring the little ones.
MARY and ROBERT manage to stay behind their father on the
stairwell.
CATHERINE and MRS. HOGARTH have paused for breath at the
second landing. They have thrown back their cloaks so
that we see the care they have taken with their simple
hairstyles. The mother retains something of her
daughter's beauty. They eyeball each other and join
hands. Catherine's full bosomed figure is revealed when
she unbuttons her coat.
MRS. HOGARTH
(breathing with some difficulty)
Gracious,
George, do go more slowly.
CATHERINE
(pausing again and inspecting
her shoe, stooping to adjust
the heel)
Somehow I caught my foot on that
last stair. I almost fell.
I did want to wear
my prettiest shoes tonight.
Above the Hogarths a door opens widely. Talking and
laughter and light fill the stairwell. The young CHARLES DICKENS
and his teen-aged younger brother FREDERICK with a lantern appear.
FREDERICK holds the lantern high to light the stairwell.
DICKENS bounds toward the Hogarths from the landing. His
shoulder-length chestnut-brown hair frames an energetic
face. His clothes are very modish, velvet trimmed and
colorful, in flamboyant contrast to the quiet wardrobes
of the Hogarths. His lithe body races down the
stairwell, past Mr. Hogarth, where he puts his arm under
that of Mrs. Hogarth, whom he draws effortlessly, seemingly,
up the stairs.
MR. HOGARTH
You're in the nick of time, Dickens.
Mrs. Hogarth and I have brought
our three eldest children to
your celebration.
That's of course Mrs. Hogarth
you are so admirably assisting.
MR. HOGARTH puts a hand on first the shoulder of ROBERT
and then MARY's.
MR. HOGARTH
Our Mary and Robert.
(Hogarth indicates Catherine)
Last is my eldest child Catherine.
DICKENS turns to CATHERINE two steps below her mother.
Their eyes meet, and their looks reveal spontaneous
attraction. DICKENS insinuates himself between MRS. HOGARTH
and her daughter crooking his other elbow to CATHERINE.
DICKENS
May I have the honor?
Tentatively she lays her hand upon his arm. Then she
slips her arm through his arm. Their eyes remain locked.
CUT TO
INT - DICKENS'S APARTMENT - NIGHT
About fifteen people crowd the small, sparsely furnished,
living area. It is warmed by a fireplace and two lamps. The young
men sit on the floor. A small table holds punch fixings, and
a tea kettle hisses on the fire. DICKENS pours punch for the
new arrivals.
CUT TO
HOGARTH and JOHN DICKENS nod in recognition of each other.
DICKENS draws the others in the HOGARTHS' party to where his
parents sit.
DICKENS
I want you to meet my parents, John
and Elizabeth Dickens. You may
hold them responsible for all this.
MR AND MRS. JOHN DICKENS take an obvious pride in their
son. They sit hand in hand.
JOHN DICKENS
(taking charge)
Son, sing one of those songs I
taught you when you were a lad.
(to the company at large)
I used to take him about with me
to let others hear him sing.
What a favorite of any convivial
gathering he's always been.
CUT TO
DICKENS is standing to one side of the hearth. He has
put on his accordion and adjusts it before playing a
scale or two. When he starts to sing, his voice betrays
the vestigial accents of country speech.
"When the heart of a man is
depressed with care,
The clouds are dispersed when a
woman appears."
He plays a few flourishes.
"Like the notes of a fiddle,
she....
CUT TO
Individual faces appear in the soft firelight. The older
DICKENSES. All the HOGARTHS. THREE YOUNG MEN of about
Dickens's age. FREDERICK. A YOUNG COUPLE sitting very close
together, the woman twisting her unfamiliar
wedding band.
DICKENS loosens his cravat, teasing his
adoring audience with scales and sour notes.
Then he picks up his song again.
DICKENS
"Like the notes of a fiddle she
sweetly, sweetly
Raises our spirits and charms
our fears.
Roses and lilies her cheeks
disclose."
He pauses again. This time he looks directly at
Catherine. Her cheeks flush more vividly than they did
with the warm fire and the punch.
DICKENS
But her bright lips are more
sweet than those.
Press her, caress her, with
blisses her kisses
Persuade us to pleasure and soft
repose."
MR. AND MRS. HOGARTH exchange concerned looks and both
look at their daughter CATHERINE.
CATHERINE sits with lips slightly parted. She can't take
her eyes off DICKENS. One of her prettily shod feet
peeps from beneath her skirt; demurely she conceals it.
DISSOLVE TO
INT - DRAWING ROOM - NIGHT
A MONTAGE presents scenes of DICKENS and CATHERINE dancing,
talking, having tea, suggesting the passing of time since the
first meeting.
CLOSE ON couple in earnest conversation, committed.
CUT TO
EXT - KENSAL LODGE - EVENING
In the fading light appears Kensal Lodge near village of
Willesden; it is a spacious English country home with grounds.
INT - DRAWING ROOM - NIGHT
Several MEN and ONE WOMAN converse and drink sherry in groups of
two or three. DICKENS speaks with a man somewhat
older. He is WILLIAM HARRISON AINSWORTH--small,
handsome, jeweled and dressed as a dandy. A third
man joins them; this is the publisher JOHN MACRONE.
MACRONE
Ainsworth, please introduce me to
this young man. I know him only by
his growing reputation.
AINSWORTH
John Macrone, I have the
pleasure of introducing you to my
recent acquaintance, Charles Dickens.
MACRONE
All of us will no doubt profit from
your acquaintance.
AINSWORTH
Ah, you are thinking of adding one
more name to your list of popular
authors, I can tell.
MACRONE
Now Ainsworth, you need not fear the
world will ever forget the name of
William Harrison Ainsworth and his
brilliant historical novels.
The three men laugh and continue in conversation,
Ainsworth moving on to speak with other guests.
CUT TO
While DICKENS and MACRONE still talk, MACRONE nods
toward the only woman in the room.
MACRONE
Have you met Ainsworth's cousin?
CUT TO
MRS. TOUCHET, a woman of middle age, pleasant appearance. She pours
sherry for one of guests.
CUT TO
MACRONE speaks in a low voice to DICKENS
MACRONE
She's a widow, keeps house for Ainsworth
since he and his wife separated.
DICKENS
Separated? Ah, that's a pity. Yes, he
introduced me to his cousin. Mrs. Touchet,
if I remember. Separated, indeed? Are there children?
CUT TO
INT - HOGARTH'S DRAWING ROOM - NIGHT
HOGARTH and MRS. HOGARTH have drawn chairs together.
MRS. HOGARTH
But Catherine sees so little of him.
I know she is very disappointed that he
didn't accompany her to the musicale last night.
HOGARTH
His work is important. He plans a wonderful
future for both of them.
MRS. HOGARTH
I do want her happiness.
CUT TO
INT - DICKENS' FLAT - NIGHT
Swirling skirts of dancer. Again, we see CATHERINE'S
prettily shod feet.
CATHERINE
(Her voice rising in alarm)
Oh, please, Charles. Not so fast!
CHARLES holds CATHERINE'S waist with both hands.
Face flushed, she holds tightly to his shoulders.
Surrounding them are voices. A fiddler plays.
CATHERINE
I've never danced so fast! What
a demon you can be.
He is laughing and pressing her to him.
CHARLES
I'll let you sit down for a
little while but you must promise
hours more dancing.
Tonight is very special.
CATHERINE
(looking into his eyes)
Always your birthdays will be
special.
CUT TO
Show a room not unlike the former Dickens' apartment at
Furnival's Inn but larger, with more windows and a marble
mantlepiece above the hearth. People hold punch cups.
A large crate of books sits by the doorway.
On the table silver trays hold sandwiches and petit fours.
A small pile of books rests there as well.
CLOSE UP reveals the books cover: Sketches by Boz by
Charles Dickens.
CUT TO
Among the party goers MR. HOGARTH stands.
MR. HOGARTH
Fill your cups once again! Let's have
one more toast.
DICKENS stands at punch table. CATHERINE is ladling
punch into each of the cups that is extended.
The party-goers have gathered about Mr. HOGARTH
MR. HOGARTH
(Indicating Dickens)
Last year we were gathered on
February 7 to wish our friend
well on his birthday. Once
again we salute him.
All laugh and some put their cups to their mouths.
MR. HOGARTH
(lifting his hand)
Hold! There is more. More of
this young man I am so soon to
call my son. To his birthday
as before...to his fine new
flat...to the publication
of his new book...to continued
success and happiness.
All raise their glasses and drink to CHARLES including
CATHERINE in their salutes because DICKENS has moved to
put his arm about her. The bagpipes play some rousing
warrior's song. Groups form. The din of voices fills
the room, uncarpeted and undraped.
CUT TO
CHARLES assists CATHERINE in sitting down in a straight
chair.
CHARLES
You may stay with these dear
friends of mine for only a
short while, Catherine.
Believe nothing they tell
you of me.
Catherine smiles radiantly.
CUT TO
INT - BEDROOM - SAME NIGHT
CATHERINE howls piteously.
MARY and MRS. HOGARTH attend her.
MARY
Please, dear sister.
MRS. HOGARTH
Once again, Catherine. There now.
Oh, do try. Do try to modulate
this grief. We must be rational.
CATHERINE
(sobbing)
R-r-rational? Reason has deserted
me, dear Mama. Sister, how
sorry I am. I don't want to
hurt you. But composure?
(she renews her sobbing)
MRS. HOGARTH
(patiently)
Catherine, say again what it was
you heard at the party.
Charles and the Beadnell girl
...What was her name?
CATHERINE
M-M-Maria.
MRS. HOGARTH
(Bending toward Catherine)
And you were told that some
time ago Charles was very much
in love with her?
CATHERINE
I think that--oh, Mama--he
wanted so much to m-m-marry
her and, and....
MRS. HOGARTH
Dear Kate, I'm sure
after you and Charles are
married this whole matter....
CATHERINE
Her Papa wouldn't have it. Her
Papa didn't like Charles.
MRS. HOGARTH
I still can't see, my Catherine,
what any of this has to do with
you? Your father has said he'll
be proud to have Charles as his
son-in-law. Your Papa thinks
so highly of Charles....
CATHERINE
(dabbing at her eyes)
But Charles was in love with her.
Sh-she broke his heart.
MRS. HOGARTH
(pulling away from Catherine)
He doesn't appear to be a man with
a broken heart at the present time.
MARY
(hesitantly and softly)
Charles now looks at nobody but you.
MRS. HOGARTH
Mary is right, Catherine.
CATHERINE
(Pensively)
Oh, I have been so happy.
This past year. So happy.
MRS. HOGARTH
(With concern)
I think we can all put this
behind us now.
But, Catherine, if learning
about Maria Beadnell makes any
difference about your feelings
for Charles, then....
A vanity mirror reflects CATHERINE'S profile.
CATHERINE
(Her blue eyes see the future)
Oh, Mama...Mary, there is nothing
that could change my feelings
for Charles.
CLOSE ON MRS. HOGARTH'S displeasure.
CUT TO
INT - HOGARTH DRAWING ROOM - DAY
This is the drawing room of the Hogarths' home in
Chelsea. At one end of the room CHARLES and CATHERINE
have pulled two straight backed chairs together and are
engaged in a conversation that betrays serious concern.
CLOSE UP
CATHERINE looks intensely into the face of her betrothed.
Something akin to fright begins to work upon her.
CHARLES
I must speak of this matter. It
touches all outlook of our future.
If we are to be together...and I
pray that we may be, as we have
planned so steadfastly.
CATHERINE
(very faintly)
And I...
DICKENS
(like a parent)
Then there'll be no more of
sullen moods, Catherine.
You want to change.
(admonishingly)
You must change all that, not only
for me, but also for yourself.
CATHERINE
(in a child-like voice)
I want nothing more than to please
you, Charles.
CHARLES
(his face relaxing)
Do you know how much your moods affect me?
Your coldness with me took hold of
our last two meetings. Though
I bundle up against the wind I
leave your presence with a chilly
heart. I want my wife to be as cheerful
as a bird.
CATHERINE
(mollified, almost adult-like)
Oh, I am sorry to have distressed
you. I want to bring you joy.
We will be so happy together, so
happy, will we not?
DICKENS
You are my sweetheart. You
will be as cheerful as a bird.
CUT TO
INT - DRAWING ROOM OF OLDER DICKENS - DAY
In the drawing room of JOHN AND ELIZABETH DICKENS nothing
like the comfortable furnishings of the Hogarths' home
presents itself. Only one ugly table sits at the center
of the room, and an armchair looks especially worn. JOHN
DICKENS stands to one side while MRS. DICKENS and
CATHERINE unfold an embroidered table cloth.
MRS. DICKENS
(Decisively)
It will do nicely for your teatimes
and entertainments.
CATHERINE
Mrs. Dickens, how thoughtful you
have been to take this trouble
with our linens.
What beautiful work...
Mr. Dickens, how can I thank
both of you enough?
JOHN DICKENS
(Proudly)
My wife is a Barrow, you know.
The Barrows have had a place in
the world. They may not take
kindly to an in-law who has had
his shares of the troubles of
this world, but...
MRS. DICKENS
Stop. Stop now. Miss Hogarth
need hear nothing of our family's
troubles.
(turning to Catherine)
Please pay him no attention.
It's my brother who is at
fault. I choose to make no
mind.
MR. DICKENS at first steps back as if ready to make some
new verbal onslaught but seems, upon further thought, to
let the women alone. He rolls his eyes.
MR. DICKENS
(almost apologetically)
I can see the two of you have
no need of my opinions. I'll
just step outside and wait
till Charles arrives.
MRS. DICKENS
(turning to him and patting him)
After I show Miss Hogarth these
linens I've put together, we'll
have tea.
(consolingly)
We've made those lemon tarts you like
so much.
MR. DICKENS leaves the room very slowly as if wanting to
catch any words the two women may yet have for him...and
for each other.
CATHERINE
(attending to the table cloth)
It's Irish linen, is it not?
MRS. DICKENS
Yes, and had so cheaply. Such
lovely work. I hate to think
what little wages those Irish
girls receive.
(brightening)
But then this is England.
CATHERINE
We'll let the men take on the
troubles of the world. What
tiny stitches!
MRS. DICKENS
(almost whispering)
Catherine, you must know my
people will not welcome my
husband, Mr. Dickens, to their
house. It has been a special
grief to me for many years.
My good husband does try....
CATHERINE
(consolingly)
He is the kindest of men.
MRS. DICKENS
(hopefully)
Things will be better for us.
We've turned the corner now.
How could we be more pleased
with Charles's choice of a
bride? Oh, my dear, Miss
Hogarth, already you have
brought us happiness.
CATHERINE
(Catching her brightening)
How wonderful all of you have
been to me. We will join our
two families. I know as time
goes by, we will grow closer.
But how can that be...?
Already....
MRS. DICKENS
(With great pride)
I think, though you may laugh
at me, that Charles will make
a capital husband. He's been
such a dependable sort since
he was a little boy.
CATHERINE
(off Mrs. Dickens's reaction)
My father thinks highly of his
future.
MRS. DICKENS
You'll have your own carriage,
Catherine.
CATHERINE
What do I care? I have no need
for wealth and fine things.
MRS. DICKENS
But Charles is ambitious, my dear.
CATHERINE
Oh, I hope he will not always work
so hard.
MRS. DICKENS
But he loves his work. When he
was only a little boy... When
we had our troubles...
We kept him out of school. He
worked and gave his little sums
to his father....
CATHERINE
He's told me nothing of such times....
Why has he not talked of all this?
MRS. DICKENS
(touching Catherine's arm)
Say nothing of this to him, not
ever. He hates the memory. He
hated his little job. I never
understood how much he hated it.
CATHERINE
Whatever did he do?
MRS. DICKENS
I cannot say. Oh, don't ask me.
But I wanted him to keep on with
his working. Do you understand?
We so much needed every pence he
brought to us. Oh, do you
understand?
CATHERINE
Poor Charles. Oh, I am sorry for
both of you!
(emotionally she hides her face)
CUT TO
INT - HOGARTH DRAWING ROOM - DAY
THE HOGARTHS are settled in their drawing room. MR. AND
MRS HOGARTH are seated in chairs drawn up to catch the
light from French windows to one side of the room. He is
reading a paper and she is working at needlepoint. Young
ROBERT works at the table and holds pen in hand. MARY
and CATHERINE are on straight chairs. MARY holds a
skien of yarn which CATHERINE works into a ball.
GEORGINA (age 9) is knitting a white square, and YOUNG
GEORGE (15) sits in a lounge chair pushed into the
corner.
MRS. HOGARTH
(putting down her needlepoint)
George, it's much too dark over there
for reading. Do come over here where
it's light.
YOUNG GEORGE
(looking up from his book)
I won't. You know how Papa humphs
when he's reading. And you always
want to know what it is I'm chuckling
about. I like it over here.
MRS. HOGARTH
But I know what you're reading. It's
Boz, and you've read all that
before, haven't you?
GEORGE
There you go, Mums. Do let me be. I
want to look at this sketch of Augustus
Minns again. Do you remember?
MRS. HOGARTH
Another of those bachelors Mr. Dickens
likes to portray?
GEORGE
Don't you like the piece?
MRS. HOGARTH
It's all right in its way, I suppose.
Mr. Minns loses his umbrella, does
he not?
GEORGE
Yes. And do you know I feel a little
sorry for him? Poor chap...the order
of his life is his very refuge.
MRS. HOGARTH
Indeed. We English do dote on routine.
CLOSE UP
ROBERT is practicing writing shorthand symbols in a
copybook. He struggles with his penmanship, blotting and
scratching out many of his marks.
ROBERT
Now all of you make it difficult
for me to work. I'm not as far
along in my studies of shorthand
as that wizard of a teacher would
like. I know he'll be here for
tea and inspect my work, wanting
to see more and more.
MARY
Mr. Dickens has told all of us
what rapid progress you are
making, Robert.
CATHERINE displays some petulance.
CATHERINE
He has spent a great deal of his
time supervising his studies.
And his time...
(she widens her eyes)
I might wish that he spent a bit
more of it with me.
At this moment three of the younger children of the
Hogarths march into the room from one door and out the
other. Then they quickly return. They are two boys and
a girl, carrying mops and brooms as if they were muskets
on their shoulders. Their expressions are disciplined.
A tiny drummer, tugging now and then at his pants follows
them. They all exit by the door they entered after two
turns about the room.
MR. HOGARTH
I didn't know girls were being
conscripted into the service
of King George.
GEORGINA has finished knitting her square and places it
with another. She takes up another ball of yarn.
GEORGINA
Mother, do you wish me to assist
Nurse in getting the little ones
ready for tea?
CATHERINE, pouting a bit, looks toward GEORGINA.
CATHERINE
Georgina knits so well. We'll
not be able to ready my trousseau
without her. She knits much
faster than I. Georgina
never loses a stitch.
MRS. HOGARTH
But she is so wonderful with
the little ones, and Nurse
apparently does need some
help this afternoon. Georgina
will be....
CUT TO
Dickens dressed as a sailor opens the window behind the
older Hogarths and jumps into the room. He is whistling
a hornpipe and dances a hornpipe. Then as quickly as he
finishes he jumps out.
CUT TO
YOUNG GEORGE puts down his book, crosses the room and
looks out the window. He looks up and down the garden
and shrugs his shoulders when he turns to look at the
other members of his family who are in the room.
CUT TO
GEORGINA has a tight little countenance that slowly gives
way to the very faintest smile.
CUT TO
MR. HOGARTH folds his paper carefully, putting it down
on a small table beside him. He removes his spectacles
and takes out a handkerchief to wipe his brow.
CUT TO
MRS. HOGARTH purses her lips and stabs her needle into an
almost finished piece of work.
CLOSE UP
Needlepoint cushion cover that advises "God Bless Our
Happy Home." The m and e remain unfinished.
CUT TO
MARY, who draws a hand from the skien of yarn to smooth
her hair, exchanges a glance with CATHERINE and
suppresses a smile.
CATHERINE
(sighing)
It's his sense of humor.
MR. HOGARTH
(speculatively)
He does get altogether carried
away, don't you think?
GEORGINA
(rising from her chair)
I'll go see about the little ones,
Mother. I think I hear crying.
MARY
(slowly)
They'd so have liked the
hornpipe.
CUT TO
YOUNG GEORGE, who continues to stand in the middle of the
room as if not knowing what to do next, puts his hands in
his pockets and scowls.
GEORGE
(to Catherine)
There's a side to Charles
Dickens that none of us will
ever understand.
A knock at the door interrupts whatever else GEORGE might
have said. He closes his mouth, biting his lip, and goes
to answer the door.
The occupants of the drawing room listen attentively.
DICKENS
Good afternoon, George. Is
everyone well?
GEORGE
Good afternoon to you. We've
been expecting you. Come into
the drawing room....
DICKENS enters the drawing room as if everything is as
usual. He is dressed in his normal Sunday clothes. The
Hogarths sit in astonishment, waiting for him to speak.
Their faces betray great wonderment.
Suddenly DICKENS bursts out with uproarious laughter. He
is obviously delighted with his wild and spirited joke.
The HOGARTHS look back and forth at one another and one-by-one
they register a muted amusement. The fun of their
visitor is infectious, at last.
CUT TO
EXT - ST. LUKE'S CHURCH IN CHELSEA -DAY
Superimpose date: April 2, 1836
DICKENS and CATHERINE emerge from church as man and wife.
She is not dressed in elaborate bridal clothes, and the
wedding party that follows is small. A carriage waits
for them and they step inside followed by children and
adults of wedding party.
CUT TO
INT - CARRIAGE - DAY
DICKENS embraces CATHERINE.
DICKENS
Now it is always, my darling.
CATHERINE
Always.
CUT TO
INT - HOGARTH DINING ROOM - DAY
Establish table set at wedding breakfast at the
Hogarths'. Only two men who are not family members take
part in festivities. CATHERINE stoops to allow the many
children to look at her bouquet and to feel the satin of
her dress. She is radiant. Before everybody is seated,
DICKENS attempts to orient his publisher JOHN MACRONE, an
older man than Dickens. The other outsider is THOMAS
BEARD, of Dickens' own age. He lays a hand on MACRONE'S
shoulder and indicates various family members.
DICKENS
My friend Mr. Beard, of course, has
made the acquaintances of this
constellation of people, all now
related to that writer you chose to
introduce to the world...one Boz, I
speak of. In truth, Boz was my
family name given me by that rogue
my brother Frederick...
Frederick, smiling, converses with Mary Hogarth;
both are sixteen.
DICKENS
I can't remember whether you've met
my older sister Fanny, but you have
heard her sing now.
FANNY is a very frail young woman. At 26 she is two
years older than Charles but looks several years older
than he.
MACRONE
She is very talented. What an agreeable
voice for your wedding ceremony. Yes,
I have met her.
CUT TO DICKENS who is still pointing out each person he
names.
DICKENS
My other sister is Letitia, only 20.
LETITIA, animated, rosier cheeked than FANNY and of
taller, sturdier build. She will be the only immediate
member of Dickens' family to survive him.
MACRONE appears to try to put all this large family into
his memory.
MACRONE
Ah, she is on your side of the family
then?
DICKENS, smiling and helpful, continues to nod to
others at the wedding breakfast, patting the younger ones
on the head as they approach, bestowing hugs and kisses.
DICKENS
My friend Henry Austin calls on her.
Our family may soon have other
nuptials.
(he pauses, then gestures)
My father John Dickens you have met.
That is my mother next to him. She
and Catherine have become very close.
I tell them they think alike.
CUT TO
JOHN DICKENS is everywhere. He is obviously beside
himself with elation. He raps children's heads, shakes
hands, laughs merrily, hugs MRS. DICKENS exuberantly.
CUT TO
MACRONE, laughing at John Dickens.
MACRONE
Now I know where you get all that
energy. Oh, I like your family
very much.
MRS. HOGARTH works with two young maids to place food
on the table.
CUT TO
MRS. HOGARTH speaks with MR. HOGARTH.
MRS. HOGARTH
(softly)
We must get people to the table while
things are still warm.
CUT TO
MR. HOGARTH taking charge of separating the children from
CATHERINE.
MR. HOGARTH
(Above the din of voices)
Let's sit down. All of us.
(to the children)
Now I want all of you at that far end
of the table.
(to Charles' guests)
Mr. Macrone and Mr. Beard, will you
be able to manage? Now do seat yourselves
near Catherine and Charles.
(to Georgina)
Georgina, do help the little ones.
CUT TO
GEORGINA efficiently begins seating the young Dickens and
Hogarths.
CUT TO
DICKENS nods again to MACRONE.
DICKENS
I'll see to it that you know each
and every Hogarth family member. But
do let's eat first.
(his eyes search out Catherine)
Oh, Catherine, we'll be together with
our parents. May all our holidays be
so joyous.
CUT TO
MR. AND MRS. HOGARTH exchange smiles.
CUT TO
CATHERINE's white satin wedding shoes peep from beneath
her skirts as she moves toward her new husband.
CUT TO
EXT - HONEYMOON COTTAGE - EVENING
GATHERING COASTAL FOG
CUT TO
INT - CHALK HONEYMOON COTTAGE - EVENING
CHARLES and CATHERINE are in front of small fieldstone
hearth. He is working bellows to catch kindling. When
he is assured that fire will go well, he pulls Catherine
to the hearth rug so that when she is sitting he may lie
down and put his head in her lap.
CHARLES
I hope that girl does more
beef for us tonight. That walk
gave me a great appetite.
CATHERINE
When we talked, she said she had meat
pie in mind. I hope that will please
you as well. I wish I'd a better
idea of such things myself....
CHARLES
Nonsense. Your head will be busy with
other matters. And...Mary will be with
us to help you.
CATHERINE
You and Mary have become such great
friends. It pleases me. Of all my
family she has been the closest to my
heart. Of all...until I met you.
CHARLES
I'd wanted something grander in London
than Furnival's. It won't be long till
we have our separate house. With a fine
room for Mary... And... others,
my darling.
CATHERINE
(laughing, putting her hands to her
ample breasts, unconsciously)
Many others.
CHARLES
(With a playful concern that grows
more serious)
There now. Three or four others.
If you please.
CUT TO
CATHERINE, smiling, as if she will let "three or four"
pass for the moment. She smoothes his hair.
CATHERINE
That was the longest walk I've
ever taken.
Do you always walk so far?
CHARLES
You're joking. Not for me.
You'll grow accustomed to my jaunts.
I want you to be the companion of
my little journeys. Your legs
will grow stronger.
CATHERINE
I've liked the smell of the sea.
It is lovely here at Chalk. And
to hear you tell of your boyhood
in Chatham....
CHARLES
My happiest time ... And isn't
the cathedral at Rochester splendid?
Someday we'll have a country home.
We can come to smell the sea
whenever all that smoke and grime
of London dims our spirits.
Flames of well kindled fire engulf the logs and the wood
curls and snaps.
CUT TO
Marble fireplace at Furnival's, a more subdued fire from
coals on the grate.
CUT TO
EXT - FURNIVAL'S INN. ESTABLISHING.
CUT TO
Dickens entering Inn's courtyard and walking across the
courtyard. A bush or two flower. Spring flowers line
the walkway.
CUT TO
Dickens enters his large apartment at Furnival's. Seated
before the fire are Mary, Catherine, and Dickens' younger
brother Frederick. They all turn to welcome Dickens.
CATHERINE
Frederick has come by for a visit.
FREDERICK
I've wanted to move my things
out of the way sooner.
I'll take a few more.
DICKENS
Oh, they're not in the way.
I'll try to find some time to
help you. It will take time
to get settled.
CATHERINE
I'd worried that you might be
late to tea.
DICKENS
Not at all. As a matter of fact,
I'm expecting a visitor.
CATHERINE
A visitor?
DICKENS
That dour Seymour I've spoken of...
(to Frederick)
The one who would have drawn my
Mr. Pickwick skinny and spoiled
his commodious nature...
FREDERICK laughs with his brother.
DICKENS is suddenly all business and unsmiling.
DICKENS
I've invited Seymour over,
ostensibly for teatime and
to meet my new wife.
(he pauses as if choosing words)
But give me some time alone
with him. I've business with
him as well.
CUT TO
INT - DRAWING ROOM - LATE AFTERNOON
DICKENS and older man - SEYMOUR, the illustrator of the
beginnings of Pickwick Papers, a moody man with years of
experience, sit alone. Dickens butters a remnant of toast
from the despoiled teatime and pours a last half cup of
tea when Seymour declines further refreshment with a
raised hand.
DICKENS
I know I shall always keep a
firmer hand on the illustrations
of my works than others might.
And, of course, we'll learn to
work with each other's uh,
sensitivities. Your experience
wins you respect.
(he looks to see what
effect his words
have upon his visitor,
but Seymour's face keeps
an unreadable expression)
And my rising reputation will
do no little part in carrying
our mutual effort to every well
deserved success.
(Dickens chuckles alone.)
Indeed your execution of the
furnishings of the room in
which you place my "dying
clown" is superb! But don't
you think the woman can look
a bit younger and that
miserable man be rendered more
sympathetic in his appearance?
A stony appearance sets into SEYMOUR'S face.
He waits to answer.
SEYMOUR
(Distantly)
I made my reputation in the time
of the troubles between King
George and Queen Caroline.
DICKENS
(Chuckling)
Indeed you did. Oh, sir, you did.
Unfathomable emotion clouds SEYMOUR's face.
SEYMOUR
The idea of the gentlemen's
club was mine, you must
remember. The idea behind
PICKWICK PAPERS was all mine.
CUT TO
INT - DRAWING ROOM - NIGHT
DICKENS, MARY, CATHERINE are before the fire, DICKENS
reading.
DICKENS
So it's here that Mr. Pickwick
and Mr. Wardle meet a character
I've given the name Sam Weller.
They offer him money for
information and he says...
But let me read it...
"...What the devil do you want
with me, as the man said when
he sees the ghost."
MARY and CATHERINE laugh with appreciation.
DICKENS
But you see, when he's asked
who's present at the Inn where
he's employed to clean and shine
the shoes, he answers, according
to his trade:
"There's a wooden leg in number
six; there's a pair of Hessians
in thirteen..." And so on.
Do you understand?
The little audience nods.
DICKENS
"...and a pair o' lady's shoes in
number five."
MARY claps her hands as if she does not have to have
those shoes identified.
MARY
And those shoes belong to Miss Rachel!
DICKENS
Indeed they do....
They laugh merrily and Dickens bends his head to
read some more....
CUT TO
INT - DICKENS' BEDROOM - EARLY MORNING
SOUNDS OF KNOCKING
Both DICKENS in bed. CHARLES is opening eyes and
struggling to figure out why. A louder knock causes
him to rise. CATHERINE awakes.
CATHERINE
What is it?
DICKENS
(drawing on dressing gown)
Someone at the door. This early.
CUT TO
INT - ENTRY - SAME MORNING
DICKENS opens door. MARY has entered the room fast
behind him.
FREDERICK appears in the hallway. He carries a package.
FREDERICK
(taking in Mary and eyeing
his brother)
Charles, do step outside. I've
something to tell you.
(attempting to smile)
Good morning, Mary.
The brothers step into hallway, and Frederick pulls the
door shut behind them. He taps Charles with his package.
CHARLES
(off his brother's emotion
and taking package)
What is this? How strangely
you act. And at such a time...
FREDERICK
It's Seymour.
CHARLES
This is his drawing then? But
whyever? What is it?
FREDERICK
Seymour has done his last work.
He's blown out his brains.
CHARLES
What are you saying?
FREDERICK
Last night. With his fowling
piece.
MARY and CATHERINE open the door behind them.
CATHERINE
Charles, do come inside. Why do
you and Frederick stand there?
The brothers exchange glances, and then CHARLES looks at
the women.
CHARLES
There's been an accident.
CUT TO
INT - CATHERINE is in drawing room. She is looking at
Seymour's drawing.
CATHERINE
It's exactly as Charles wanted
it done.
Tears well from her brimming eyes. MARY attempts to
comfort her.
MARY
He was a very moody man.
CATHERINE
(As if to herself)
Moody.
CUT TO
EXT - KENSAL LODGE - LATE AFTERNOON
BEARD AND DICKENS WALK THROUGH GROUNDS TO DOOR. IT IS
LATE IN THE YEAR, AND LEAVES HAVE FALLEN. NO SUN, STILL
SOME GRAY DAYLIGHT. THEY WALK BRISKLY AND ARE BUNDLED
AGAINST THE COLD.
DICKENS
I agree. This year has gone by
all too quickly.
BEARD
I'd hoped we'd get out here to
Ainsworth's before this. Ah, I
can't compare the pace of my
life with that of yours.
DICKENS
Seemingly with each new pleasure
there's some responsibility. I
could not be more fortunate, of
course.
BEARD
But you occasionally envy that
freedom you perceive in your
still unmarried associates.
DICKENS
Hmm. You won't betray me?
Both men laugh as they knock at the massive front door of
Kensal Lodge.
CUT TO
INT - DRAWING ROOM - SAME EVENING
A SERVING MAN HELPS DICKENS AND BEARD WITH THEIR
WRAPS WHICH HE GIVES TO A HOUSEMAID BEFORE USHERING THEM
INTO AINSWORTH'S DRAWING ROOM. CAMERA FOLLOWS THEM.
AINSWORTH AND JOHN FORSTER ARE IN CONVERSATION AS DICKENS
AND BEARD ENTER. OTHER GUESTS GATHER ABOUT AINSWORTH'S
COUSIN WHO IS POURING TEA. THE ROOM IS TRADITIONALLY
FURNISHED AND A WIDE HEARTH WARMS THE ROOM AND INVITES
OCCASIONAL GUESTS TO WARM THEMSELVES.
AINSWORTH
(raising a hand to greet the
new arrivals)
How pleased I am to see both of
you! I'd hoped you'd find my
home before now, I might add.
DICKENS AND BEARD
As we did. Absolutely. How fine
to be here once again.
AINSWORTH
Macrone will be along later. I
assume you know John Forster.
DICKENS
(smiling and extending
both his hands)
But no. We have somehow never
met.
FORSTER, as was his habit, dramatically puts his
hand upon his heart and sententiously quotes from
Diogenes. He is Dickens's age but with considerably
more girth. He is dark skinned, extravagant in his
gestures, passionate in his opinions.
FORSTER
I am seeking a man.
His allusion is not lost on DICKENS, who returns
with lines from Shakespeare.
DICKENS
But man, proud man,
Drest in a little brief authority,
Most ignorant of what he's most assur'd,
His glassy essence, like an angry ape,
Plays such fantastic tricks before high heaven,
Aa make the angels weep.
BEARD and AINSWORTH join in the resulting merriment.
AINSWORTH
Now that you've met, you'll get
along famously. I don't know
where you may find a more
devoted admirer of your Mr.
Pickwick, Mr. Dickens, than is
John Forster.
FORSTER
(vigorously agreeing)
And of your Sam Weller. Never
let go of that one. Oh,
remember how we meet him at
that inn before Pickwick
took him as his serving man?
DICKENS
(with evident sincerity)
I can't thank you enough for
your kindest of reviews in the
Examiner.
AINSWORTH
It was those reviews that led
me to believe you were the best
of friends.
DICKENS
I do believe we shall be.
CUT TO
The three men join two others who linger beside
Ainsworth's cousin. While tea is being poured for them,
MACRONE at last enters the room. All exchange greetings.
CUT TO
MACRONE sipping tea deliberately and taking the measure
of Dickens.
MACRONE
How is Catherine?
DICKENS
Fine. Oh, just fine. And her
delightful sister Mary takes
the best of care of both of us.
I don't see how we could have
this baby without her.
CUT TO
AINSWORTH evidences surprise about the coming baby.
AINSWORTH
What is this I hear? Is it
decently time for a baby,
old man? When is this offspring
of such a remarkable father
due?
They all laugh.
DICKENS
(with unaccustomed
embarrassment)
In January. The baby will
arrive in January if all goes
well.
MACRONE
(with amusement)
And to dispel any prurient
speculation, Mr. Dickens and
his beautiful wife will have
been married nine months by
that time.
Broad shot catches guests' amused reaction. Camera
catches CLOSE UP of face-by-face, DICKENS raising his
teacup as if hiding behind it. CLOSE on FORSTER. His
face is round and plump, smiling like a complacent baby's
face.
CUT TO
INT - DICKENS'S BEDROOM - DAY
Newborn baby's howling, contorted face.
CATHERINE is in bed surrounded by DICKENS, MRS. HOGARTH,
and MRS. DICKENS. MARY is putting the infant into his
lavish cradle and soothing him.
CATHERINE
He sounds as if he's starving.
MRS. HOGARTH
Now, Catherine dear, don't you
worry. Your milk will come by
tomorrow. That baby will be
fine.
DICKENS
He is wonderfully strong and
healthy.
MRS. DICKENS
(She has a silly smile)
We're going to take such good
care of both of you.
CATHERINE
I do want to be the best of
mothers. And I feel so very
weak.
MRS. DICKENS
Of course, you do. That's the
way it is. You need your family
at a time like this.
MRS. HOGARTH
Both Charles's mother and I will
stay tonight.
CATHERINE
But what of Mary?
MRS. HOGARTH
She'll be with your father for
a brief time. Then you'll all
manage splendidly.
DICKENS
I'll take care of getting Mary
back and forth. Now you must
get some sleep.
MRS. HOGARTH
You heard what the doctor said.
Baby begins crying again. DICKENS looks first at
his wife and then at his new son, apparently only
beginning to realize how changed his life will become.
He alone is very sober when the others smile to reassure
CATHERINE.
CATHERINE
(beginning to look very
pleased with herself)
How can I not sleep well knowing
that all of you are near? The
baby then is perfect, is he not?
CATHERINE smooths her hair as if to make herself more
attractive. Her eyes are especially lovely. She begins
to beam upon all of them blissfully and relax among her
pillows.
CHARLES watches her obvious enjoyment of their attention
as if he has never seen her before. The baby cries more
lustily.
DICKENS
How loudly he cries!
CUT TO
EXT - DOUGHTY ST. - DAY
BROAD SHOT - DICKENS, MARY with baby in her arms hugged
to her, CATHERINE stand in front of what will be their
new home. This house is the only one of the many
Dickens' residences now open to the public.
DICKENS
It is the house I wanted for us
when we were first married. I
agree with the agents that it
will be perfect for us. Now
we'll have twelve rooms instead
of three.
CATHERINE
How well you have done! How
wisely you have chosen! But
so much room!
DICKENS
Don't you think Frederick will
find room here?
CATHERINE
Of course. How splendid! We
will all live happily ever after.
It is truly like a fairy tale.
DICKENS steps back to admire his new house and puts
one arm about CATHERINE and the other about MARY and
the smiling baby.
DICKENS
It is what we all have wanted.
CUT TO
INT - DOUGHTY ST. DRAWING ROOM - NIGHT
FANNY and her husband HENRY BURNETT are visiting. FANNY
has put on some weight and appears very cheerful.
FREDERICK and MARY play at cards together. CATHERINE has
propped herself against many pillows on the couch. She
is eating a little cake and laughing.
FREDERICK
(gleefully boisterous, his
excited voice rising)
There! That's the third trick
I've won from you, Mary. One
more, and I'll have a kiss as
well.
MARY
(screeching delightedly)
You won't!
CATHERINE
Frederick, do behave yourself!
You'll disturb your brother and
he must stay at his writing.
FANNY
Does Charles work all the time?
FREDERICK
Oh, he stops to take us all to
church on Sunday.
FANNY
(wryly)
You know I don't believe that.
CATHERINE
He started a new book last
month.
MARY
(thoughtfully)
It's not so jolly as Pickwick.
CATHERINE
(brushing crumbs from
her lips)
But it's very good all the same.
We can't wait for each new
chapter. The new book is
called Oliver Twist.
MARY
That's the poor orphan's name.
CUT TO
INT - DICKENS'S STUDY - SAME NIGHT
DICKENS is at his work table in a small upstairs rooms.
He raises his head to listen after Frederick's voice
stops his pen. He rises and opens the door to listen to
the voices. Then he returns and gathers his paper and
pen and ink and leaves the room.
CUT TO
From perspective of hallway, we look over Dickens
into drawing room. Dickens stands for some moments
before speaking. His eyes take in Catherine reaching for
another cake, Frederick and Mary at their card game once
again, Fanny in hushed and enraptured conversation with
her new husband. CLOSE on CATHERINE's pleasure with her
bite of cake.
DICKENS
You are all here!
CATHERINE
(with dismay)
Have we disturbed you? We don't
want our fun to keep you from
your work.
DICKENS
(always enjoying company)
Nonsense! I can work the better
with all of you to console me.
Frederick, help me set up that
small table in the library. We
can set it up out here in the
hallway. I don't want to miss
anything.
FREDERICK rises from the game table.
CUT TO
EXT - ST. JAMES THEATRE - NIGHT
It is a Saturday night in early May. DICKENS, FREDERICK,
CATHERINE, MARY are climbing into a carriage. They are
laughing and obviously all in high spirits.
DICKENS
(the last to enter)
Driver, our home is at No. 48
Doughty St., just north of
Gray's Inn.
CUT TO
INT - LONDON CARRIAGE - NIGHT
The four members of the theater party remain animated.
CATHERINE
However did the magician get
the cooperation of that little
dog?
FREDERICK
Wouldn't I like to own that mutt
that did tricks for the clown!
DICKENS
Indeed, I'm going to take up
magic. I'll make a fine figure
on the stage.
FREDERICK
You used to promise you'd be in
the theater some day. It would
suit you, I believe.
CATHERINE
There's definitely a theatrical
streak in the Dickens family.
MARY
I love to hear Fanny sing.
DICKENS
And what of the singer that we
heard tonight?
MARY
(almost mystically)
When I heard her, I thought I
sat very detached from this
earth, as if on a cloud that
seemed to be....
DICKENS
Go on.
MARY
It was as if I were in the glow
of heaven looking down on all
of you.
They are all quieted by her speech and keep a momentary
silence.
CATHERINE
(breaking the silence)
Mary, what a strange thing! It
does grow late. I hope Charley
has slept soundly while we've
been gone.
MARY
Charley is the best of babies.
DICKENS
And you, Mary, are the best of
sisters.
FREDERICK
(dispelling the calm
of the group with his
good-natured teasing)
Even if you are not the best of
card players.
CUT TO
EXT - DOUGHTY ST. - SAME NIGHT
Carriage arrives at gated private Doughty St.
where the Dickens party is waved on by porter.
CUT TO
INT - Hallway in DICKENS home - SAME NIGHT
MARY removes her bonnet and with her handkerchief blots
perspiration from her forehead. CATHERINE watches MARY
while removing her own bonnet. CATHERINE'S head gives no
appearance of moisture.
CATHERINE
Mary, how rosy your cheeks are.
MARY
I used no color on them, Sister.
CATHERINE
Oh, I did not mean... I was a
bit concerned about you, that's
all.
DICKENS
(taking Catherine's hand)
Like a good mother.
CATHERINE
I do believe Mary's cheeks are
flushed.
MARY
You have no cause to worry.
After a good night's sleep,
I'll be fine. Wake me early.
I'll take care of Charley's
changing.
MARY climbs the stairs rather slowly and mid-way reaches
out a hand to support herself.
CATHERINE
Good night.
DICKENS
Good night, Mary. Do sleep
well.
(he puts an arm around
Catherine, and they move
up the stairs)
DICKENS (CONT.)
You're right, Catherine. Mary's
cheeks are flushed. Where is
that Frederick?
CATHERINE
(laughing)
No worry about that one. He's
down in the kitchen feasting on
the roast lamb cook saved for
ragout tomorrow.
DICKENS
(again merry)
That rascal!
From upstairs they hear a muffled cry.
CUT TO
INT - Mary's bedroom - SAME NIGHT
MARY lies gasping for breath on the floor. Her hands
press her chest as if trying to contain her heart.
CUT TO
INT - STAIRWAY - SAME NIGHT
DICKENS bolts up the stairs two at a time.
CUT TO
INT - Mary's room - SAME NIGHT
DICKENS has lifted Mary in his arms and cradles her
against his chest as CATHERINE enters the door. MARY is
barely conscious but manages a faint smile.
CATHERINE
(with anguish)
Oh, Mary! My Sister! Charles,
what is wrong.
DICKENS
(achieving composure with
difficulty)
She is gravely ill. We must send
Frederick for the doctor at once.
CATHERINE rushes out the door. DICKENS stands listening
to her hysterical crying.
CATHERINE
(her voice clearly heard in
Mary's room)
Frederick! Frederick! Do come here
at once.
DICKENS carries MARY to her bed and lays her down gently.
MARY
(scarcely able to speak)
Dear Brother...dear Charles.
CUT TO
INT - Mary's room - NEXT MORNING
DICKENS and CATHERINE enter with MRS. HOGARTH.
MARY is breathing with great difficulty.
MRS. HOGARTH registers her recognition that she has been
brought to Mary's deathbed.
MRS. HOGARTH
My God, My God, is this my own
Mary. My little girl...
MRS. HOGARTH puts her hand upon Mary's forehead, now
appearing cool and pale. She kneels down and
throws her arms around Mary's almost lifeless body.
MRS. HOGARTH
Oh, my God.
MRS. HOGARTH collapses at Mary's bedside.
CUT TO
INT - Another bedroom at Doughty St. - SAME DAY
CATHERINE sits now at her mother's bedside. Frederick
stands beside her. The mother is crying softly but seems
conscious.
CATHERINE
(to Frederick)
She'll come around.
FREDERICK
Papa will be here soon.
CUT TO
INT - MARY'S ROOM - SAME DAY
DICKENS sits at Mary's bedside. His eyes are closed in
meditation, and one hand clasps Mary's right hand. He
opens his eyes to watch her. MARY exhales a long, last
breath. At first, DICKENS shows no emotion. Then tears
begin to flow. He picks up the small hand he holds. On
her ring finger is a small gold ring. DICKENS slips off
this ring, and we see it blurred through his tears.
After he turns the ring first one way and then another,
he puts it on the little finger of his right hand. He
holds out his hand to look at the ring.
DICKENS
Mary.
CUT TO
EXT - CEMETERY ON HARROW ROAD - DAY
MEMBERS OF DICKENS FAMILY AND HOGARTHS DRESSED IN
MOURNING DISPERSING FROM FUNERAL CEREMONIES FOR MARY.
BEAUTIFUL SPRING DAY.
Both CATHERINE and DICKENS weep openly.
CATHERINE
(leaning on Charles's arm)
Mary always loved the springtime.
Charles, you chose well to bury
her here.
DICKENS
(depressed)
I want for myself the grave at
our sister's side.
CATHERINE
(clearly upset, looking
back at her father)
We must... Mary would want us,
Charles, to live. We have
Charley. And...another...
DICKENS
(his depression unshaken)
I should be stronger. I will
be more responsible.
CATHERINE
Our memories of happiness make
our loss the harder to bear.
CATHERINE stumbles slightly as they walk from the grave.
She puts her hand to her head.
DICKENS
Are you well?
CATHERINE
I will be well and strong.
MR. HOGARTH between YOUNG GEORGE and ROBERT follows
behind. Only ROBERT wipes away a tear. The other two
men are dry-eyed, almost expressionless in their grief.
MR. HOGARTH
I'll bring your mother out here
when she has recovered.
ROBERT
Ah, she'll come around, Papa.
It is beautiful here. Charles
did choose well.
MR. HOGARTH
It was his friend Ainsworth's
suggestion. Charles had passed
this way when he visited Kensal
Lodge.
ROBERT
And he has promised to write
Ainsworth so that arrangements
can be made with the gardener.
MR. HOGARTH
There'll be a rose tree to
shade her small grave.
YOUNG GEORGE
I'll miss Mary very much.
CATHERINE is leaning heavily upon DICKENS. The Hogarth
men catch up with the young couple.
CLOSE UP
CATHERINE is grimacing as if in pain. She unties her
bonnet and holds it to her abdomen.
CLOSE UP
MR. HOGARTH is reacting with alarm.
MR. HOGARTH
Catherine, what is it?
CATHERINE
(obviously in pain)
Oh, father... Charles...
My baby...
CUT TO
INT - BEDROOM - DAY
MRS. HOGARTH and CATHERINE are in a bedroom where MRS.
HOGARTH is propped in a chair. CATHERINE is spooning
soup into her mouth patiently.
MRS. HOGARTH
Catherine, you must not take up
all your time with nursing me.
I promise I'll be stronger in
no time.
CATHERINE
Mother, I want you to take all
care of yourself. How could
you be of any trouble?
MRS. HOGARTH
But in your condition, Catherine...
CATHERINE
(Calmly)
Mother, I must tell you now. I
have lost the baby.
MRS. HOGARTH
(gasps)
No! Oh, my dearest girl.
CATHERINE
(with some new strength
and confidence)
I am fine, Mother. Please
believe me when I tell you I
am fine. Charles and I will
have other babies.
CUT TO
INT - DICKENS'S STUDY - DAY
DICKENS talks with FREDERICK.
DICKENS
I can't say how long.
FREDERICK
But I am to say that you can do
no work for the time being? No
work on either "PICKWICK" or
"OLIVER TWIST"?
DICKENS
(in a deep depression,
covering his face with
his hands)
I may never finish either work.
I cannot write. This last
week...
(gesturing hopelessly)
FREDERICK sits beside his brother and neither speak.
After their long silence a knock at the door sounds and
CATHERINE enters the room without waiting for permission.
She is carrying sherry and biscuit.
CATHERINE
(with sympathy)
I've brought you both something.
Please, Charles, do try to
eat. Frederick? But you are
always with appetite!
DICKENS
(without emotion)
Frederick will tell my publishers
I cannot write. We'll go away.
The country will be good for
us.
CATHERINE
(looking at him with concern)
Yes, the country. I'll take such
care of you in the country.
She sets down the small tray and pours sherry.
DICKENS'S hand accepts glass of sherry from CATHERINE'S
hand.
CUT TO
EXT - KENSAL LODGE - AUTUMN DAY
DICKENS AND BEARD ON HORSEBACK.
DICKENS'S FACE STILL SHOWS SOMETHING OF DEPRESSION.
DICKENS
Beard, I do appreciate your
riding with me to the little
grave. My heart is buried
there, you know.
CLOSE UP - BEARD OFF DICKENS'S REACTION SHOWS PUZZLEMENT.
BEARD
You're still not yourself, my
friend.
DICKENS
Who am I indeed? And what is
life itself? Answer me that
riddle, if you will.
BROAD SHOT frames both men on horseback in the vivid
colors of autumn leaves.
BEARD
You are twenty-five years old,
Charles Dickens. You are young.
Camera ZOOMS to distance men so that they are mere
specks in autumn landscape.
CUT TO
EXT - DOUGHTY ST. - WINTER'S DAY.
DEEP SNOW. ONE FINE CARRIAGE MAKES ITS WAY PAST PORTER
TO PRIVATE STREET.
CUT TO
INT - SITTING ROOM OF DOUGHTY RESIDENCE - SAME DAY
CATHERINE AND HER MOTHER ARE AT TEA. WHEN CATHERINE
RISES TO PULL A ROPE SUMMONING HER SERVANT, WE SEE SHE IS
ABOUT SIX MONTHS PREGNANT.
CATHERINE
(thoughtfully)
I've had the strangest letter
from my husband.
MRS. HOGARTH
Can you tell me what is strange
about it, Catherine?
CATHERINE
Mother, he is troubled. You
know we all of us will never
shake our memories of Mary.
MRS. HOGARTH
Catherine, how strong you have
been these many months. And
Charles?
CATHERINE
He describes the dreams he has
of Mary.
MRS. HOGARTH
He dreams of her often?
CATHERINE
The poor man dreams of her every
night. He gets no rest. I fear
for his mind.
MRS. HOGARTH
You have kept us all together.
Charles and I have much to
thank you for.
A rap at the door stops her.
CATHERINE
Enter.
Flustered face of MAID appears in door. The delivery of
her message is with smiles and excitement.
MAID
Oh, excuse me. I couldn't get
right up for the tea things.
Because...oh, there's a very
rich lady 'as come to call.
MRS. HOGARTH
(impatiently)
And what is her name?
MAID
(giggling)
Miss Coutts, M'am.
CATHERINE
(rising as if from
surprise)
Miss Coutts? Show her up
immediately.
CATHERINE AND HER MOTHER LOOK ABOUT ANXIOUSLY.
CATHERINE
Oh, never mind, Annie. Take the
tea things. I'll go down myself.
Do bring fresh tea for Miss Coutts.
CUT TO
INT - SITTING ROOM - SAME DAY
Sitting room as before, but MISS COUTTS sits in best
chair finishing her tea primly. CATHERINE works at
needlepoint, and MRS. HOGARTH hems a baby's garment.
Apparently, they have been busy with their hands while
MISS COUTTS has done all the talking.
MISS COUTTS
And so I hope you'll both forgive
me for not having called sooner.
I know how upset Mr. Dickens was
by your younger daughter's death.
And, Mrs. Dickens, I have so
wanted to meet you.
(she drinks tea thoughtfully)
MISS COUTTS (CONT.)
But how our lives have all
changed this past year! We have
our charming new queen.
CATHERINE
Oh, Charles declares he is in
love with Queen Victoria.
(she laughs)
But I remind him he is no longer
free.
MISS COUTTS
Indeed! You are a merry wife
for Mr. Dickens. But Victoria,
I am sure, reads his stories and
with all England rejoiced when he
came round again, finishing the
tale of Mr. Pickwick, taking us
on with Oliver Twist.
CATHERINE
We do appreciate your visit. My
mother is with me during Charles's
absence. He has business in York-
shire, but will return soon.
MISS COUTTS
Ah, he is a one for business.
And I have hopes, you must know,
that he will help me.
CATHERINE
I am sure he will always be glad
to help you, Miss Coutts.
MISS COUTTS
I need his assistance as an
almoner. It is not easy to
be charitable.
CATHERINE
An almoner?
MISS COUTTS
I have been placed by my inheritance
most fortunately in life.
It is my wish to leave the world
a better place as best I can, do
you understand?
CATHERINE
(nodding her head)
My husband has always had great
concern for the less fortunate.
MISS COUTTS
(to both Catherine and
her mother)
He will become a wealthy man in
his own right. Mark my words.
CATHERINE and MRS. HOGARTH pause in their handiwork to
give MISS COUTTS serious attention as MISS COUTTS drains
her teacup with apparent satisfaction.
CUT TO
INT - DICKENSES' BEDROOM - NIGHT
DICKENS IS ON HIS KNEES, HIS HEAD IN CATHERINE'S LAP.
SHE IS LARGE WITH HER CHILD. HE PUTS HIS HEAD AGAINST
HER WOMB TENDERLY.
DICKENS
I hear the little heart. How
strong it sounds. And there
a perceptible kick... Do you
feel pain when the baby kicks?
CATHERINE
(laughing and smoothing
his hair)
I feel great joy.
DICKENS
(rising and sitting beside
her)
My darling, how I looked forward
to my return here. You and
Doughty Street are ever in my
heart.
CATHERINE
Your letters were my solace.
DICKENS
For me your letters were the
return of all comfort. How
well I slept once I could tell
my Catherine of my troubling
dreams. My sweetest Kate...
CATHERINE
We have both done well through
these trying months.
DICKENS
(sighing)
And I suppose we are the stronger.
CATHERINE
I know this baby will be a girl.
We will call her Mary, and she
will bring us great happiness.
DICKENS
Kate, you give me more than I
dreamed life had to offer.
They embrace. CATHERINE looks especially confident and
serene.
CATHERINE
You must always tell me your
dreams. You must always sleep
well.
CUT TO
EXT - WINTER LANDSCAPE OF DOUGHTY ST. MERGING TO SPRING
AND WINTER AGAIN - DAYS AND NIGHTS
FINALLY WE SEE FURNITURE BEING CARRIED TO A MOVING VAN
IN FRONT OF THE HOUSE.
CUT TO
INT - SPLENDID LIBRARY - DAY
AT MANSION ON DEVONSHIRE TERRACE WHERE DICKENS FAMILY
MOVED IN LATE '39, BUTLER IS SHOWING NEW MAID SARAH
THROUGH THE HOUSE. SARAH IS NOT QUITE TWENTY.
BUTLER
You have some work experience,
Sarah?
SARAH
Five years now, Sir. The family
I was last wi' is moving to
Canada, and I'm 'fraid to go
wi' 'em.
BUTLER
I see. And do you know what
family this is?
SARAH
Oh, I do that. It's Mr. Dickens's
family. I'm a great one for
reading. I read every word of
Nicholas Nickleby.
BUTLER
We must never disturb Mr. Dickens
when he is at work.
SARAH
Oh, no, sir. How hard he must
work.
BUTLER
He wants his library well kept.
You will dust all these books.
SARAH
(taking measure of the
impressive new shelves and
the rows of beautifully
bound books)
I'll 'andle his books with great
care. It's the first time
I've seen so many fine books.
(she runs a hand along
one shelf in admiration)
BUTLER
(almost smiling)
You should do nicely, Sarah.
We will need more and more help.
The Dickenses do entertain.
CUT TO
INT - Nursery - DAY
SARAH and CATHERINE are with MAMIE, a toddler, and a
baby, KATIE, only a few weeks old.
SARAH
(indicating Mamie)
I've a brother that's this one's
size. Don't want to leave your
Mum, do you, little one?
CATHERINE
(finishing changing the
infant and returning her
to bassinet)
I'm glad, Sarah, that you are
experienced with children. You
can see I need help. We have
a regular nurse, but...
SARAH
I understand.
CATHERINE
And the little ones must not
bother Mr. Dickens when he's
at his work.
SARAH
(putting out a hand to Mamie)
And what's your name?
MAMIE studies SARAH.
CATHERINE
Her Christian name is Mary. She
was named after my dear sister
Mary who died before she was
born.
SARAH
I'm sorry about your sister,
Ma'am.
CATHERINE
(softly)
But we can't call her Mary.
We've always called her Mamie.
SARAH
(not daring to look
at Catherine)
Hello, Mamie.
CUT TO
INT - DINING ROOM - DAY
Dining table is crowded with faces all turned to watch
Dickens at work carving a large Christmas turkey. Holly
berries decorate the immense room where most members of
Hogarth and Dickens family are comfortably seated.
DICKENS
Ah, Catherine, this most tasty
bit of white meat for you. Will
you have some sauce?
CUT TO
JOHN DICKENS and ELIZABETH are seated down table from
DICKENS. BEARD sits between them and their son.
BEARD
How splendid that you remain in
London for the holidays.
Christmas will always be family.
JOHN DICKENS
(with a bit of quaver)
Isn't all time for family then?
BEARD
Why, of course.
ELIZABETH
Now, John.
JOHN DICKENS
I have such prospects in
London, young man. There are
those who know the merits of
my work.
ELIZABETH
We have our pension. Charles
helps so much. Now, John...
JOHN
But to leave London....
ELIZABETH
We'll do well in Exeter. It's
Charles's decision.
BEARD
(consolingly)
Exeter is a capital place.
CUT TO
CHARLEY is in his high chair. CATHERINE holds
MAMIE on her lap. She is a loving mother, sharing
bits of her turkey with CHARLEY. She hugs the
small boy proudly. But he has eyes only for his
father's operation with the Christmas turkey.
CHARLEY
Daddy. See Daddy.
CUT TO
JOHN DICKENS is looking at his portion of turkey.
JOHN DICKENS
I'd like a bit more of the white
meat than Charles gave me.
MRS. DICKENS
There are so many of us, John.
JOHN DICKENS
We won't see the wedding of
our Queen Victoria in Exeter.
MRS. DICKENS
(with resignation)
I'll hate to miss the excitement
of the royal wedding.
CATHERINE picks up something of the elder Dickenses'
conversation and smiles at them across the table.
CATHERINE
How wonderful that we can all
be together for the holidays.
As she speaks the maid SARAH appears behind her carrying
an infant of only two months.
SARAH
'Scuse me, Ma'am. Little Katie
is making an awful fuss.
CATHERINE
Oh, my poor darling. Mother
Dickens, do take my chair and
look after Charley.
Before excusing herself, CATHERINE gives Charley a
reassuring hug. She wipes a bit of gravy from her mouth,
and a strand of hair has come loose to fall across her
forehead. BEARD rises to give her a hand as she departs.
CUT TO
CHARLES DICKENS watches his wife leave the table without
speaking. At first, his face shows no emotion, but CLOSE
on an unrepressed expression of displeasure.
CUT TO
CHARLEY mashing potatoes between his fingers as he
watches his father.
CHARLEY
Daddy.
CUT TO
INT - FASHIONABLE DRAWING ROOM - DAY
Two ladies of fashion, LADY HOLLAND and her SISTER,
dawdle over an expensive tea setting.
LADY HOLLAND
(superciliously)
That is your opinion, Sister?
SISTER
All London agrees. Mr. Dickens
is most charming. A bit of the
countryside, I suppose.
LADY HOLLAND
But attractive?
SISTER
Ah, a very attractive addition
to the London social scene, I
must say.
LADY HOLLAND
And intelligent?
SISTER
Already his wit has made itself
known. Oh, he is most desirable.
Elected to the Athenaeum after
the publication of only two
books. Remarkable. Then
there's Dickens at home...
LADY HOLLAND
Your gossip never fails to amuse
me. Do continue.
SISTER
There's a Mrs. Dickens.
LADY HOLLAND
A pity. But well-born, I'm told.
Her father knew Sir Walter Scott.
SISTER
She's Scottish. Oh, highly
presentable.
LADY HOLLAND
And quite pretty?
SISTER
I've never seen her. The men
say she is pretty enough.
LADY HOLLAND
And the gossips say she will
never grace a fine soiree?
SISTER
(slowly)
It takes more than Scottish
manners. She has little ability
to hold her own in our drollery.
Her husband's wit but serves to
make her own appear the duller.
LADY HOLLAND
He's free to move about without
her, I gather. For he is often
in company now. He is invited
everywhere.
SISTER
Everywhere. And he must go
without her. She's always in
a family way, besides.
LADY HOLLAND
(laughing merrily)
Oh, I hear there are already
many children. How unkind you
are! Any soiree would be the
better for turning attention
to procreation and the care
and feeding of infants.
Both women laugh with great enjoyment of their joke.
CUT TO
INT - THE DRAWING ROOM AT DEVONSHIRE TERRACE - DAY
ABOUT FIFTEEN PEOPLE ARE GATHERED. CATHERINE GIVES
SPECIAL ATTENTION TO JOHN FORSTER.
CATHERINE
Mr. Forster, I want you to sit
here.
CHARLEY is watching his mother's party arrangements
carefully and impedes the movement of chairs. His
rockinghorse sits to one side of the room.
JOHN FORSTER
Oh, thank you, Mrs. Dickens.
Do let me help you. I think
we want to arrange some chairs
to take advantage of the music,
don't you?
FORSTER demonstrates the take-charge manner he will
assume in the Dickens household. After making a few
decisions about where furnishings should be, he picks up
CHARLEY and carries him to the rockinghorse. CHARLEY
sits soberly upon his horse and rocks with little
enthusiasm.
CUT TO
INT - DRAWING ROOM - LATER IN DAY
The party has been in progress for some time and
listeners are intent upon the last words of Fanny Dickens
Burnett's song.
FANNY
(appearing in delicate health)
"I sent thee late a rosy wreath,
Not so much honoring thee,
As giving it a hope that there
It could not withered be;
But thou thereon didst only breathe
And send'st it back to me;
Since when it grows and smells I swear,
Not of itself but thee."
The little company applauds supportively, for Fanny's
voice remains beautiful, but some show concern when the
frail little lady sits down, taking a slight child on her
lap. She is pregnant once again.
CUT TO
FREDERICK has CHARLEY on his knee and appears in
excellent spirits. He sits with the Burnetts. The
elder DICKENS are not among the company.
FREDERICK
Fanny, it's been some months
since you've sung for us. How
beautiful your voice is.
FORSTER
Very beautiful.
DICKENS
Who is to be next? I have
already played three numbers
on my accordion.
BURNETT
I've never heard Kate's story
about the Scottish lady.
CATHERINE
Oh, surely you have.
DICKENS
Then it is time, Catherine, for
your story about the Scottish
lady.
FREDERICK
Stand up. Stand up.
CATHERINE
(standing and clearing her throat)
If you will--
(hesitantly)
This Scottish woman had a verrry
religious friend who came to see
her one day. Now mind you, my
Scottish woman is not
irreligious.
FREDERICK
We couldn't tolerate that.
The company laughs with FREDERICK.
CATHERINE
Oh, Frederick.
(still hesitant)
But the religious friend did
go on so about poor Eve and
described on and on that
treacherous snake and the
beauties of the Garden of
Eden.
FREDERICK
You must tell us about the
Garden of Eden.
CATHERINE
Oh, do bae still.
That friend, too, gave a long
discourse on temptation.
The apple in particular.
DICKENS
There may be an idea for my
next novel here.
CATHERINE
(tossing her head)
You all have such fun with me.
DICKENS
And tell us what the Scottish
lady said.
CATHERINE
At last that lady said with
all certainty--
"Weel--all I can say is that
it wouldna be nae temptation
tae me to go rinnin' aboot a
gairden stairk naked, 'ating
green apples!"
Applause and laughter conclude her story. CATHERINE sits
down looking both flustered and pleased with herself.
CUT TO
INT - DICKENSES' bedroom - NIGHT
CATHERINE, still flushed and lovely with excitement, is
letting down her beautiful dark hair. She sits before a
triple-mirrored dressing table, her firm breasts barely
captured by her corseting when DICKENS steps up behind
her. Their eyes meet in the mirroring.
DICKENS
No prince ever had a princess
so clever and delectable.
CATHERINE
You have been reading fairy
tales again.
DICKENS
But they are true. The prince
and the princess live happily.
CATHERINE
In a palace. With many happy,
healthy children.
DICKENS
And many friends.
CATHERINE
Yes, good and kind friends.
DICKENS
Catherine, what do you think
of John Forster.
CATHERINE off his sudden seriousness.
CATHERINE
He is your true friend.
DICKENS
But do you find him attractive?
CATHERINE
Attractive? In what way? Oh,
Charles... Silly Charles...
He becomes even more serious.
DICKENS
Will you promise me something?
CATHERINE
I'd promise you anything.
DICKENS
If either of us ever is to fall
in love with another, that one
must tell the other. Do you
promise?
All the fun drains from her face, which matches his now
in seriousness.
CATHERINE
How strangely you speak.
DICKENS
Do you promise?
CATHERINE
If you wish...
CUT TO
INT - Large banquet hall in Edinburough - NIGHT
It is June, 1841, and DICKENS is receiving honors from
Scottish literary establishment. CATHERINE is at his
side. As they enter the hall, the band plays "Charlie is
My Darling."
CATHERINE
I never thought I'd return to
Edinborough with such pomp.
DICKENS
A mother of four children
deserves every attention.
CATHERINE
Oh, I've never seen you in
such spirits.
They are escorted across the hall.
CUT TO
One banquet guest talks to another.
GUEST
They've turned seventy people
away.
OTHER GUEST
Mr. Dickens's popularity exceeds
that of Earl Gray's.
GUEST
And Edinborough may be proud
indeed. This is Mrs. Dickens's
birthplace. What a charming
couple they make. She is
radiant.
CUT TO
Dignitaries are officiously seating the DICKENSES at the
speaker's table.
CUT TO
EXT - The beach at Broadstairs - DAY
Summertime. In a beach chair CATHERINE sits looking out
to the English Channel. She holds her baby boy Walter,
born Feb. 8, 1841, and she is cooing to him and rocking
him. She hums with contentment. Along the shore CHARLEY
and MAMIE solemnly step in and out of the wash from the
waves. They are barefoot, chubby and happy children.
With them is fourteen-year-old GEORGINA HOGARTH. She
assists CHARLEY when he tires of the waves and begins to
build a castle in the sand.
CUT TO
CLOSE UP of castle in the sand.
CUT TO
BROAD SHOT that shows coastline and Dickens approaching
At CATHERINE'S side KATEY'S blissful slumber continues in
spite of the loud cries of overhead gulls.
DICKENS appears to take in scene with the greatest
satisfaction. He smiles.
DICKENS bends to whisper to CATHERINE.
DICKENS
How beautiful all of you are.
CATHERINE
(starting)
Charles!
DICKENS kisses both CATHERINE and small WALTER.
DICKENS
(indicating KATEY)
What dreams she must have here
at Broadstairs. The sea air
is good for all of us.
CATHERINE
(laughing)
I think of our honeymoon. But
there are so many of us now.
DICKENS
(becoming serious)
And Georgina? Do you find her
helpful with the little ones?
CATHERINE
Georgina has always been a
mother's best little helper.
She is only fourteen, but
both Charley and Mamie mind
her every word. Look at them.
DICKENS and CATHERINE watch the little ones with
GEORGINA. The sand castle is immense.
CUT TO
GEORGINA shows CHARLIE and MAMIE how to pack the wet sand
and shape a turret.
DICKENS is nodding his head.
CUT TO
INT - Servants' quarters - NIGHT
The maid Sarah and another maid ANNE are speaking.
SARAH
You are the brave one, you are.
ANNE
I'll go. I want to see something
of the world for myself.
SARAH
Oh, I'd never go to sea, I'd
never. To get all tossed
around. Oh, you are a brave
one.
ANNE
We'll leave in January.
SARAH
It will be cold in the States.
ANNE
It will be cold, but I'm from
the north country. I'm a
strong country girl.
SARAH
You are indeed.
ANNE
Of course, you will stay with
the children.
SARAH
We're all to go to the Macreadys.
ANNE
How the children will miss their
pets--the guinea pigs and rabbits.
SARAH
And that noisy raven.
ANNE
Oh, I won't miss the raven.
SARAH
They'll pine for their parents.
They dote on their father's
foolish stories.
ANNE
And their mother's abiding love.
Their mother will shed many a
tear for them.
SARAH
If the truth be known, she wants
to go no more than I do.
ANNE
She's a good wife.
CUT TO
PHOTO MONTAGE of the American tour that CHARLES and
CATHERINE make in 1842. CATHERINE is terrified and sick
in her ship cabin. DICKENS is taken up by the Boston
Brahmins. He is appalled by American roads and the
habit American men have of spitting in public. He takes
long hikes that wear out American hosts. He is
tirelessly at the lectern.
CUT TO
EXT - ESTABLISHING SHOT -- PITTSBURGH, PA. - DAY
CUT TO
INT - American Hotel Room - NIGHT
CATHERINE is in the bedroom of the suite. ANNE is
turning down the bed. CATHERINE goes to her bedside
table and picks up a framed portrait.
CLOSE UP
Portrait of Charley, Mamie, Katey, and Walter in their
mother's hands.
CATHERINE wipes away tears as she looks at the children.
CATHERINE
My poor darlings. Will I ever
see them again?
ANNE
(pausing in her work)
I'm sure the return voyage will
be easier.
CATHERINE
But will be safe as we carry
on the tour? We are going very
far west. To St. Louis. It
is a mistake.
ANNE
(plumping the pillows)
I'm hoping the worst is behind
us. The storms....
CATHERINE
(absorbed in the children)
The Macreadys write regularly.
The children remain well. My
baby has a new tooth.
ANNE
Try to sleep tonight. Do try.
CATHERINE
I will. I will try. And you,
Anne. Do go along to your rest
and don't pay attention to my
nerves. You have been such a
comfort.
ANNE
Thank you, ma'am. Good night.
As ANNE leaves the bedroom by the door to the hallway,
DICKENS enters from the sitting room. He is in night
attire.
DICKENS
Anne is right, Catherine. You
must sleep. We have so far to
go, so much left to do.
CATHERINE tries to hide her tears by turning away.
DICKENS goes to her and takes her in his arms, turning
her face toward him with concern.
DICKENS
I need you with me, Kate. I
need you.
CATHERINE throws her arms around him, sobbing wildly.
CATHERINE
I mustn't be a fool.
They stand together while she seems to pull herself
together.
CATHERINE
Charles...
DICKENS
What is it?
CATHERINE
You know what an interest you've
taken in Dr. Elliotson's ideas.
DICKENS
I believe strongly in the power
of mesmerism. Yes.
CATHERINE
Have you tried your own powers?
DICKENS
No. I will. I've read a great
deal. I've heard so much of
Thackeray's praise of Elliotson.
Catherine...should I try all
that with you?
DICKENS draws together two chairs and is looking
intently at CATHERINE. She obviously goes under his
spell but suddenly becomes hysterical.
CATHERINE
(laughing and crying
wildly)
My babies! All of them forsaken.
Their parents heading into
a place of...savages. And...
slavers. My God! Who has
been to Missouri?
DICKENS
(calmly determined)
Ah, there you go, Kate. Get it
all out.
CATHERINE
(still wildly)
I miss them all. Even...ah,
even that raven in the
garden.
DICKENS
(chuckling, in spite
of himself)
Even the raven? Oh, my Kate,
look at me.
Their eyes lock as he places his face closer to hers.
We see DICKENS struggle to fix CATHERINE's gaze with his
own. At last, her face relaxes. Her eyes close. He
assists her to the bed.
CUT TO
INT - ANNE's SLEEPING QUARTERS - SAME NIGHT
ANNE is on her knees at the side of her narrow bed. She
prays earnestly.
CUT TO
INT - Nursery at Devonshire Terrace - NIGHT
The DICKENS are hugging CHARLEY, MAMIE, AND KATEY in a
joyful reunion. They have brought them beaded Indian
moccasins.
DICKENS
I had to go out into the wilds.
Your mother remained at the
hotel in St. Louis. But I was
captured by Indians and tied to
a stake with a leather thong.
CATHERINE
Oh, tell the truth, the truth...
CHARLEY is caught up in paroxysms of delight and rolls
on his bed with near delirium.
CATHERINE
He is beside himself. It is
too much. Oh, promise that the
next time we take such a trip
the little ones may go along.
DICKENS has caught up CHARLEY and holds the five-year-
old in his arms.
CATHERINE
Promise me.
DICKENS
We'll take the children next
time.
CUT TO
EXT - A postman is delivering a letter to Devonshire Terrace.
CUT TO
INT - Sitting room at Devonshire Terrace.
DICKENS is folding the letter. CATHERINE is directing
questioning look at him.
DICKENS
Six thousand copies of my
Christmas Carol sold the
day of publication.
CATHERINE
I am not surprised. It is the
finest of your family stories.
When CATHERINE rises from her chair, we see that she is
again pregnant.
DICKENS
I am indeed a family man.
CUT TO
INT - DICKENS'S STUDY
DICKENS is alone in his study. He folds another letter.
DICKENS muses on his reply to letter.
DICKENS talks to himself as he writes.
DICKENS
My friends would have me to
dine at Richmond. How can I
say no to Forster and Maclise?
And why would I say no?
DICKENS finishes his writing and reads the results aloud.
DICKENS
Nurses, wet and dry; apothecaries;
mothers-in-law; babies; with all
the sweet (and chaste) delights
of private life; these, my country-
men, are hard to leave. But
you have called me forth, and
I will come.
After he reads, he buries his face in his hands.