With Elizabeth's response to her aunt's letter the reader is drawn close to her mixed emotions, as she fathoms what Darcy's actions in funding and arranging Lydia's marriage to Wickham might mean to her relationship with him. She is deep in thought. In Davies' 1995 adaptation this is presented as the image of Darcy and her uncle shaking hands fades and Elizabeth has only a moment to reflect before Wickham arrives. In the 2005 film, Elizabeth hears of Darcy's involvement from Lydia at the dining table. At this point Wickham shoots her an unnerved glance causing him to drop his plate. It is only as he pauses to nod goodbye to her and she turns away, that he will know her full disapproval. A whole dialogue from the novel is expressed solely by a series of looks.

The settings between the novel and the 1995 adaptation contrast strongly here - at the start of Chapter 52, Elizabeth is in 'the little copse' reading the letter. In Davies' script she is in the garden much closer to the house. She is somewhat ambushed by Wickham in the novel, barely having time to get up from her seat, and with no chance of avoiding him. On screen in the 1995 production, Wickham is posing against a wall when he interrupts her reading.

Elizabeth's reply about being interrupted show the power that a Jane Austen speech can wield in one word. In this case the word 'must'. She enables her heroine to show that she is irritated by his interruption but that he could prove to her that it might have been worth it. Austen could have chosen 'is' or 'will be' but instead selects the stronger 'must' with its implication of duty and obligation. Andrew Davies' stage direction gives a strong sense of how this line will be delivered.

The Davies'script indicates that they stroll in the garden along the path by the house, while in the novel, Wickham joins Elizabeth and the two walk with more privacy in the copse. But Davies' earlier draft indicates that Wickham has plans to lead Elizabeth into the wilderness garden but she steers him to the well-trodden more public path.

In the novel, Wickham starts his gentle enquiries about Elizabeth's visit to Pemberley with talk of the housekeeper there. This first part of the conversation from the novel appears in Davies' earlier draft . This may have been cut during shooting to keep the action moving, because it repeat some of Wickham's complaints of his ill-treatment from an earlier conversation or during the editing to keep Episode 6 to the right length.

When Wickham refers to 'passing' Darcy in London a few times, Elizabeth and the reader already know that these were no chance meetings and therefore that he is lying to her face. In Davies' script this is the first thing he says to her about Darcy and Pemberley which sharpens the insult. Or is he testing her out to see what she knows?

If Wickham is testing Elizabeth about what she knows, her response does exactly the same to him. By first suggesting that Darcy might be in town due to a wedding, and only clarifying after a pause that she means his wedding to Miss de Bourgh, she unsettles Wickham. In the Davies' production, his facial expression says "how true, if only she knew". The actors' performances highlight the inferences present in the dialogue much of which is Jane Austen's.

Their veiled argument steps up once Elizabeth and Wickham start to talk about Georgiana Darcy, whom she introduces into the conversation. When Wickham, at the height of his hypocrisy, says he hopes Georgiana will turn out well, Elizabeth fires a more serious warning shot: 'she has got over the most trying age'. In Darcy's young sister's case it was Wickham who nearly caused her downfall. Davies' stage direction is explicit in showing how this comment unnerves Wickham who on-screen half stops in his tracks before changing the subject rapidly.

Elizabeth's playful-sounding question to Wickham about making sermons is, as Davies' stage direction states, full of 'obvious irony'. In the novel Wickham defends himself saying how the parson's life would have suited him. In Davies' script this is shrunk to a slightly cross look and 'Exceedingly well'.

The hammer-blow response that reveals to Wickham that she knows exactly what he is, comes in the novel when she refers to hearing from 'an authority' as good as Darcy that Wickham turned down the parish promised to him in favour or a payout. Without revealing her sources, but showing which side of the story she believes, in the Davies script she reduces Wickham to a mere 'Well' in response as he submits.

Elizabeth acknowledges her victory by putting an end to this 'quarrel' and offering him her hand. As long as he knows where she stands, they can move on as 'brother and sister'. Neither the Wickham of the novel nor the on-screen Wickham can meet her gaze. And in both the novel and Davies' script Elisabeth has walked them back to the house and she leads the way in. Austen introduces Chapter 53 with confirmation that Elizabeth has silenced Wickham and this effectively marks the end of his character arc. In the 2005 film, as Lydia and Wickham depart from Longbourn, without a word having passed between Elizabeth and Wickham. His last act is to pull Lydia down to sit in the carriage and stop her loud goodbyes to her family. An ominous sign.

There is strong contrast in the arrival of Lady Catherine at Longbourn between the two adaptations. In Davies' 1995 adaptation it is the remaining Bennet women (including Jane) who receive her in the daytime. Whereas in the Joe Wright adaptation, Lady Catherine arrives at night and the whole household greet her at the door, including Mr Bennet and the dogs. The effects of these choices of setting the scene are very different: Davies matches the novel with the move to the outdoors for the debate that follows between Elizabeth and Lady Catherine which is less cloying and claustrophobic than the candlelit interior scenes of the 2005 film .

The brusqueness of Lady Catherine’s arrival and entrance in the Bennet’s sitting room is matched by the conciseness of Austen’s sentence structure. The brusqueness of her actions will soon be reflected in her dialogue with Elizabeth. Andrew Davies captures this abrupt quality in Lady C’s opening lines and then adds an extra note of rudeness as she twice cuts off Mrs Bennet's comments mid-sentence.

Jane Austen expresses Elizabeth’s thought to herself as ‘she said’ – but it is clear that this is the character’s internal monologue In other parts of the novel internal dialogue is expressed by Austen as 'thought Elizabeth'. or said to herself

Lady Catherine’s opening sentences are jabs at Elizabeth with the repeated use of ‘You cannot’…’your own heart… your own conscience’ making it clear that Elizabeth is in the wrong about something and she has put her ‘noble guest’ to much trouble in travelling to Longbourn. Lady Catherine is to use this rhetorical device of anaphora repeatedly in her argument with Elizabeth. . The fact that this is to be a verbal duel is signified in the Davies’ adaptation when she turns abruptly to face Elizabeth some 10 paces away as soon as they enter the walled garden and have some privacy.

In contrast to the assertive statements from Lady Catherine, Elizabeth uses conditional sentences based on hypotheticals to deflect her opponent’s claims. Here ‘If you believed it to be impossible… I wonder you took the trouble of coming…’ Her evasion is like a parry to Lady Catherine’s lunge forward with a sword. This device is called a rhetorical conditional and is used several times. Andrew Davies retains these, recogising them as a key part of Elizabeth's verbal arsenal .

Throwing her own words back in her face is another ploy that Elizabeth uses to strike back at Lady Catherine’s rudeness. Here – she returns the word ‘frankness’ that Lady Catherine has claimed is one of her strong points with the implication that frankness is only another word for extreme offensiveness – something Elizabeth does not herself possess. She manages to operate within the politeness code and use this as a reason for not denying the rumour about her and Darcy. As part of making the dialogue shorter for the screen, Davies chooses to omit this detail - her ladyship neither claims to be frank nor does Elizabeth have this as ammunition to fire back at her.

Lady Catherine introduces the tale of how she and Darcy’s mother decided long ago that he and Miss de Bourgh would be married. In rhetorical terms she is using an anecdote to support her claim that Elizabeth should reject any claim she has on Darcy. The stage directions in Andrew Davies'script show Lady Catherine's change of mood as she first hesitates to use such a personal story and then grows angrier with Elizabeth as she tells it .

The point of Elizabeth’s lower social class is emphasised by another forceful language device – the power of three – when she tells her she is ‘of inferior birth, of no importance in the world and wholly unallied to the family’ In rhetoric, this is called a tricolon. Davies changes the emotive power of three to 'without family, connections of fortune' to take away the stigma of Elizabeth being condsidered 'unimportant' which might have clashed with the ideas of viewers of the 1990s and replaces it with a the money-related term 'fortune'.

The fact that Elizabeth remains logical is supported by her use of balanced sentences with equally weighted halves. This device of parataxis is present in many speeches by Jane Austen’s witty heroines and here makes it sound like she is laying out a case in a court of law. Davies uses one of the more direct examples of parataxis when Elizabeth seeks to impress on Lady Catherine that she is Darcy's equal.

Elizabeth acknowledges this is a verbal battle by pointing out to Lady Catherine that her arguments have been frivolous and that in making them she has been ill-judged. By commenting on the standard of argument she attacks the argument rather than the person directly but still criticises Lady Catherine’s skills and judgement.

Elizabeth finally loses her cool after Lady Catherine resorts to insulting her family (just as she does when Darcy does this during his first proposal). She speaks her response ‘resentfully’ and tries to bring the conversation to an abrupt close.

It is Elizabeth who rises first and takes the initiative to act. The Davies adaptation takes this further with Lady Catherine out of breath and hurrying to keep up with Elizabeth as she makes off to the house from the walled garden.

In a final appeal to the code of manners, Lady Catherine asks if Elizabeth will not reject any claims on Darcy for ‘duty, honour and gratitude’ and another emotive power of three. In response, Elizabeth flings the same three words back at her adversary. She is not beholden to Lady Catherine and has received no offer and so can deflect these terms. Elizabeth's response in Davies' script does not react to Catherine's attempt at moral blackmail, but returns another balanced argument to her. Essentially, this matter is between herself and Darcy and no-one else.

Mrs Bennet’s half-question, wondering if Lady Catherine ‘had nothing special to say to you’ is deflected by Elizabeth, the narrator ephemistically comments with a ‘little falsehood’ to protect herself and to avoid explanation to her mother. The 2005 dialogue echoes the response of a teenager as Elizabeth storms upstairs shouting ‘Won’t you ever leave me alone!’