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29.<br />
CHARLES (CONT’D)<br />
Can I buy you that drink?<br />
FLORENCE<br />
I’m late for work.<br />
She pushes on the door and steps into -<br />
33 EXT. LONDON STREET. NIGHT.<br />
33<br />
A rainstorm. FLORENCE runs down the street.<br />
34 EXT. SECOND LONDON STREET. NIGHT.<br />
34<br />
And hurries down another street, violin case stuffed under her<br />
coat for protection.<br />
35 EXT. STREET BY WIGMORE HALL. NIGHT.<br />
35<br />
Walking hurriedly now, she comes down the street and turns into<br />
the stage door of Wigmore Hall.<br />
36 INT. WIGMORE HALL. LADIES LAVATORY. NIGHT.<br />
36<br />
By a row of hand basins, FLORENCE vigorously dries her hair with<br />
a borrowed towel.<br />
37 INT. WIGMORE HALL. STAGE. AUDITORIUM. NIGHT.<br />
37<br />
A concert is in progress. Two grand pianos fill the stage. Two<br />
PIANISTS are playing Rachmaninov’s ‘Symphonic Dances’. FLORENCE<br />
is at one piano, primly seated at the pianist’s side. She’s a<br />
page turner.<br />
The haunting second theme of the first movement is floating in.<br />
We see a row of the audience - very elderly, rapt, gnarled<br />
faces.<br />
We CLOSE IN on FLORENCE. The music is affecting her. Some<br />
powerful emotion is being held in check.<br />
As she leans forward to turn a page, CUT TO.
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