Synopsis
I've received several requests over the years to make my early drafts of Shakespeare in Love available.
Here's one of them
Shakespeare in Love, First Draft
FADE IN
EXT LONG SHOT LONDON DAY
The great city at the end of the sixteenth century, all wood
and plaster and thatch, hard by a river full of traffic.
Nearby, the ROSE, one of London's theaters, a three-story
affair, six-sided so it's almost round. Inside, three
galleries circle a dirt pit with a bare stage thrust into
it. It's a bright June day--the only smoke in the entire
city rises from a chimney at the theater's rear.
HENSLOWE (V.O.)
To tell you my story of the first
performance of Romeo and Juliet,, I
must go back to the year 1594...
INT ROSE HENSLOWE'S ROOM
A thug of a man, HUGH FENNYMAN, forces the bare feet of a
half-dressed theater owner in his mid-thirties, PHILLIP
HENSLOWE, into the fireplace while two henchmen, LAMBERT and
FREES, hold him down in a chair.
HENSLOWE (V.O.)
In the spring of that year, I was
experiencing certain business
difficulties...
LAMBERT
They're starting to melt.
FENNYMAN
Like candles, Phillip, leaving
stubs--you'll have to roll around
London on little wheels. What am I
used to, Lambert?
LAMBERT
People paying...
FENNYMAN
Why, Mr. Frees?
FREES
'Cos they fear the consequences,
Mr. Fennyman...
Gurgling, Henslowe tugs Fennyman's arm--Fennyman lets him
speak.
2.
HENSLOWE
I do fear you, Mr. Fennyman, and my
rolling around London on wheels
might give you a momentary leisure,
but it won't pay you. The truth is,
it's gone--bad investments, same as
you...
Fennyman thrusts him towards the fire--Henslowe yells.
HENSLOWE (CONT'D)
Don't you see? we're partners,
yoked side by side in the same
quandary. Our one chance, dear
Mister Fennyman, mine and yours as
well, is where we stand...
He wrenches free, rushes across the room to a water bucket
and stands in it.
HENSLOWE (CONT'D)
The theater..
INT STAGE
The thugs march Henslowe out onto the open stage, enclosed by
its empty galleries.
FENNYMAN
I went to the theater once--I
didn't like it...
HENSLOWE
But how much did you pay..?
FENNYMAN
A penny.
HENSLOWE
My point--you paid a penny for
something sight unseen. Each day,
thousands do, filling theaters all
over London, buying not a commodity
they can hold in their hand but the
mere hope of entertainment···
Fennyman's losing interest--Henslowe speaks for his life.
3.
HENSLOWE (CONT'D)
The plays of our youth--rustic
farces in the street; in twenty years,
great tragedies, histories, lofty words
from the finest actors in impressive
surroundings such as these. One
penny, like yours, for entrance,
another for the gallery, a third
for a cushion, that times fifteen
hundred a night, three hundred and
fifty nights a year. It's a gold
mine, a mint--A Game Of Chess,
1592, nine nights, one hundred and
sixty pounds net--it's the greatest
device for parting people from
their money since the inception of
the Christian Church. Let me put
up a play, Mr. Fennyman···
FENNYMAN
If you were any good at it, we
wouldn't be here···
HENSLOWE
This will be different--I will
gather a new company, I'll draw on
a close personal relationship with
the finest playwright in the field.
He's very fast, very cooperative...
Fennyman looks over at Frees and Lambert. Lambert draws a
finger across his neck. Henslowe falls to his knees.
HENSLOWE (CONT'D)
·..He will write and I will bring
forth on these boards, I swear, a
resounding success in, swearing
again, two weeks. Two weeks, Mr.
Fennyman, an eye blink in your
advancing career, but life for me
and a chance to repay you...
Lambert and Frees are closing in.
HENSLOWE (CONT'D)
··.Double--not only the sixty
pounds but twice over, one hundred
and twenty, plus interest.
The hoods consider for a beat.
LAMBERT
I liked the fire better···
So did Fennyman--he throws Henslowe hard against a pillar.
4.
FENNYMAN
That's my first answer, which
predicates all others. It's amazing
how as I rise in life, I meet a
lower class of clientele...
But there's something in the offer that gives him pause.
FENNYMAN (CONT'D)
For sake of argument, say I weaken
and agree to this-- who is this
nine day's wonder..?
CUT TO
EXT LONDON HOUSE DAY
Henslowe is pounding on the door of a house in Southwark. Two
windows open overhead--in one, an irate LANDLORD, the other,
a voluptuous HOUSEWIFE.
HENSLOWE
Will Shakepeare··?
MAN
Gone. And if he shows up here
again, 1'11 tear his head off and
hand it back to him..·
He slams the window shut. The housewife closes hers--but
waves goodby to Henslowe with her fingers.
INT TAVERN DAY
Jammed, smoky--Henslowe among the PLAYWRIGHTS, a scruffy
bunch, all scribbling for their next beer.
PLAYWRIGHT ONE
What rhymes with "castle"..?
PLAYWRIGHT TWO
That line-stealer, that pisspot
pentameter purloiner of other
people's thunder? No, no-one's
seen him. .
5.
PLAYWRIGHT THREE
(answering him)
"Asshole"...
EXT LONDON BRIDGE SHAKESPEARE AND HENSLOWE SUNSET
WILL SHAKESPEARE is a troubled man. Henslowe can tell by his
walk as he catches up with him through the bridge crowd.
Will's turned thirty this year--he wears a dirty doublet, a
jewel-encrusted sword too long for him, and all his worldly
belongings beneath his arms.
HENSLOWE
Will--I've been looking for you··.
WILL
The soul of love, Phillip..·
HENSLOWE
Yes..·
WILL
What do all men seek...?
HENSLOWE
The soul of love...
WILL
And I have sought it, with widows,
with countesses and with whores,
large breasts and small, short legs
and long, smooth-faced and pocked,
entering them not only for pleasure
but in the hopes of reaching the
pith, the very bottom of love. And
what did I find..?
He turns to Henslowe--he's been concealing a black eye.
WILL (CONT'D)
Everything else--vanity,
shallowness ·..
HENSLOWE
Maybe you haven't found the right
one yet..·
WILL
I was speaking of myself. I am
love's fool, Phillip-- I trip over
my own feet, I grow tongue-tied. I
put sluts on pedestals, degrade
honest women. I kiss the candle
and blow out the girl..
EXT LONDON STREET INCLUDING PURITAN
6.
A Puritan preacher MAKEPEACE ABSOLUTION, trussed up like a
turkey in his black suit, harangues the passing crowd from a
box.
MAKEPEACE
··.And worst of all in these
wretched plays, double-dealing
ambidextoes, men as women, men in
pearls and ermine, flirting hands,
batting lashes, men/women crying
for their men abroad or counseling
some king to regicide, and thence
to bed for some act impossible to
imagine. Oh, society upside down,
oh rebellion of morality, snare to
children, oh God, tear down this
wicked theater of corruption··!
Henslowe passes, chasing Will, like everyone else, not paying
Makepeace much attention.
HENSLOWE
Will, I'd exhausted my credit at
the usual places, I was forced to
borrow from a certain Fennyman...
WILL
The thief..?
HENSLOWE
And murderer. He's in usury now. I
need a play in two weeks or I'll
lose the Rose and end up floating
like a log in the river we just
passed over...
WILL
I can't write anything...
HENSLOWE
We've had success together--we've
made money...
WILL
You cheated me...
HENSLOWE
And you threatened to sue, and I
paid--what greater proof of
friendship? Come to Whitehall--I
want to show you something···
He takes some of Will's gear.
WILL
We won't get in...
7.
HENSLOWE
I have a way···
EXT WHITEHALL PALACE GATE
The most prosperous theater company in town, Lord Pembroke's
Men, hauls its trunks through a side door for a command
performance that night. Among them, Henslowe gets Will to
help him with a trunk. The self-important company lead,
RICHARD ROWLEY, spots them.
ROWLEY
Stealing, Henslowe..?
HENSLOWE
Lending a hand, Richard. In the
spirit of our profession.
Hefting the trunk, Henslowe notices Will's covered his face
with his scarf.
HENSLOWE (CONT'D)
You're hiding your face...
He realizes he's hiding it from Rowley.
HENSLOWE (CONT'D)
You've been with his wife...
WILL
A literary woman--I thought she had
possibilities.
Reaching the door, a yeoman assumes they're with the company,
lets them pass.
INT PERFORMANCE HALL NIGHT
At the apex of the torch-lit hall sits QUEEN ELIZABETH
herself, makeup coating her sixty years, her eyes still
glinting. Around the walls, ranks of lords and ladies sit
stiffly in their peacock finery, watching the Pembrokes
perform. Will and Henslowe stand to the side of the temporary
stage--the company's doing Will's Two Gentlemen of Verona.
Rowley has the audience in stitches.
WILL
How I despise that.
HENSLOWE
It's your play...
8.
WILL
He's ad-libbing lines--they always
do, milk for laughs, butcher the
story; not that it matters--
everyone thinks the actors make up
the words as they walk about...
HENSLOWE
But look at them. You watch the
stage--I watch the audience, I know
what they want; it's you, more of
you, torrents, they want to be
ravished by your words of love···
WILL
Love...
He says it too loudly--people around him shush him.
WILL (CONT'D)
(Quieter)
Love is madness. Love is a special
form of pain···
SAM GOSSE, the Pembroke's young leading girl player, steps up
beside them, nods hello, adjusts his breasts and makes an
entrance as Rowley exits.
HENSLOWE
Look at her...
Henslowe's pointing across the room--Will looks.
HENSLOWE (CONT'D)
She knows all your lines···
ANGLE BELINDA
In the line of Ladies in Waiting near the Queen, twenty-five
year old BELINDA DE LESSEPS. Her beauty's different from
those around her--she's natural, unadorned; it makes her
stand out. She wears a signet ring with the letter A,
unimportant now, significant later. Her look is downcast-
eyes lowered, she's whispering, by heart, the lines of the
scene on stage. Beside her sits her NURSE, a lusty older
woman. She nudges her.
ANGLE LORD WESSEX, LORD, LADY ARUNDEL, EDGAR DE LESSEPS
Across the room. WESSEX is in his forties, dark, cruel, self
important. He's trying to catch Belinda's eye. Beside him,
her parents, LORD and LADY ARUNDEL, redfaced, bilious,
annoyed with their daughter, and Belinda's brother EDGAR DE
LESSEPS, an overdressed boob.
9.
ANGLE BELINDA
She knows what the nudge means. She won't look at Wessex-
she's enraptured by the words.
ANGLE TWO LADIES IN WAITING
Two homely sisters watch this interaction.
LADY ONE
Belinda De Lesseps--so contrary.
Why doesn't Wessex like me--or you,
for that matter··?
LADY TWO
Your father doesn't hold the
monopoly in sweet wine.
ANGLE WESSEX AND EDGAR
Wessex clearly annoyed.
EDGAR
She's afraid, my lord, the way
mortals can't look at the sun, for
fear of blindness···
WESSEX
She's not all that attractive-
she'd better 1ook...
ANGLE STAGE WINGS WILL
Seeing Belinda whispering his lines, Will's heart breaks in
sudden two. He stares at her.
ANGLE BELINDA
Aware of Will across the room. She raises her eyes, sees
him, him looking at her. She smiles shyly.
10.
NURSE
(whispering)
Is that him..?
(on Belinda's nod)
He's handsome.
ANGLE WESSEX
Shoving people aside to find out who Belinda's looking at. He
follows her eyes across the room--and spots Will.
ANGLE ELIZABETH AND COURTIERS
Those around the Queen glance between Belinda and Wessex-
gossip is more interesting than the play. Even Elizabeth
notices.
ANGLE WILL AND HENSLOWE
Henslowe seeing the love-struck look on Will's face.
HENSLOWE
She's transfixed, pinned to her
seat. What a gift you have--what I
wouldn't give for one ounce of
it...
But Will forcefully tears his eyes from Belinda. He stalks
off.
WILL
I'm a cheat.
HENSLOWE
Don't say that...
WILL
I pretend to know about love. I
move words around. Put a pistol to
my head, I could not tell you one
thing about it, except it rhymes
with "dove"...
Henslowe hurries after, not giving up.
EXT LONDON STREETS WILL AND HENSLOWE NIGHT
Walking together, breaths misting in the night air.
11.
WILL
But if I could find the soul of
love. Think of it, Phillip--I
could bring it back, like
Prometheus brought fire, to
liberate us all. If we could touch
the soul of love, think of it--we
could move the world, stop its
spin, we'd have such a power...
ANGLE WILL, HENSLOWE, WESSEX AND EDGAR 21
Turning a corner, lost in his passion, Will stumbles head on
into Lord Wessex, with Edgar beside him. Wessex trips
backward, into the muck at the center of the street.
WILL
I beg your pardon...
Wessex regards his mired hose, looks up at Will, fuming.
WESSEX
You, a second time..
WILL
I'm sorry--we haven't met.
WESSEX
Wessex of Chealth. You laid your
actor's eyes on my girl tonight-
now you insult me twice. That's a
sword at your side....
WILL
My father's...
WESSEX
(drawing his)
Rather fine for you···
He thrusts at Will, who backpedals awkwardly, pulling his
own.
WILL
Believe me, I meant no offense
then..
He blocks another Wessex thrust.
WILL (CONT'D)
But I take it now..
EDGAR
My lord, the Queen forbids
swordplay...
12.
WESSEX
The Queen's an old lady, not long
for us...
Will's not as skillful, but he's putting up a fight.
WESSEX (CONT'D)
You know something of this.··
WILL
We must--people who live by their
swords come and see us; they know
if it's fake...
WESSEX
(driving at him)
How I hate actors. Dressed in our
cast-off clothes, pretending to be
us, on-stage and worse, off. But
you only know slap-sword--never
actually skewered a man, have
you..?
He gets inside Will's guard, flicks his sword away, trips him
so he falls on his back. Wessex lays his point against
Will's throat.
WESSEX (CONT'D)
Never felt the grind of blade on
gristle...
FULLER ANGLE
As two NIGHT WATCHMEN hurry up with their halbreds, brought
by the sound of the fight.
WATCHMAN ONE
My lord, I pray--please put up your
sword or we must arrest you.
Wessex steps back from Will, sheathes his sword.
WESSEX
No blood--besides, it's over. Take
warning, Shakescene--beware, lest
your eyes be your undoing...
He motions to Edgar and they head off.
ANGLE WILL AND HENSLOWE
The night watchmen stand by--Henslowe, who's been discreetly
hiding in a doorway, helps Will stand.
13.
WILL
You see? More madness. I didn't
look at his girl--I have no idea
who his girl is. He could have
killed me. Who was that··?
HENSLOWE
Lord Wessex--a climber. Deadly
swordsman-- he found his first wife
in bed with a lover and one sword
did the work of two. Will, this
has not been the best day of your
life--I suggest a change of
fortune...
He brushes him off, walks off with him.
HENSLOWE (CONT'D)
Don't think of writing a play for
me--do it for us; be my partner, in
a company. You have been
underappreciated, it's true; write
a play that's in your heart--you'll
mount it, the actors will say your
words exactly, you'll get no
salary, no, no pound an act, hired
man and farewell, you'll get
a cut of the house each night-
you'll become, with this play,
among one of the most exclusive
groups in town: you'll be a sharer.
Work--that's the best antidote;
hard labor--not long, two weeks,
intensive--you'll come out a new
man, head clear, blood purged,
ready to pursue your quest for love
once more.
WILL
You'll say anything, won't you,
Phillip..?
HENSLOWE
To save my theater. Will, if you
ever loved me...
Will says nothing--Henslowe takes that as a good sign.
HENSLOWE (CONT'D)
You must have something stuck away
you could pull out···
WILL
Romeo and Juliet
HENSLOWE
Latinate. I love it already..·
14.
WILL
I loathed it--I wrote one scene·.·
HENSLOWE
A comedy...
WILL
Misbegotten.
HENSLOWE
But a comedy, fluff, by-the-umbers,
young lovers, a Sea Captain, a
Bandit Chief, confusions of
identity, a marriage at the end....
WILL
Something like that.
HENSLOWE
Perfect--inoffensive, a crowd
pleaser, they'll flock to us. Two
weeks, Will--Fortune's Wheel will
spin, we'll look back on this night
and smile. You can stay with me at
the Rose...
Will's about to say no--but Henslowe's worn him down. Maybe
he's right.
INT ROOM AT THE ROSE NIGHT
A small room, one window, a skylight--Will unpacks his
things. He's taken out a miniature framed portrait of a man
and put it prominently on a table. Now he takes out a folio
marked "Romeo and Juliet." There's only a few sheets in it-
he sighs as he reads over them. A knock on the door--PETER,
old, long-suffering, the Rose's scribe, stage manager, and
general gofer, sticks his head in.
PETER
Mr. Shakespeare. Good to be
working with you again...
WILL
Hullo, Peter--nice to see you.
Only these. More tomorrow··.
He hands the pages over and Peter exits. Will turns to the
fire, shaking his head.
WILL (CONT'D)
But what do I know about love...?
15.
HENSLOWE (V .O.)
I'd gained breathing space. With
luck, the play would work. I
thought my worst problems were
behind me. I did not know what lay
ahead.··
CUT TO
EXT INNS OF COURT HEMMINGS BROTHERS AND WILL DAY
Will's tracked down JOHN and JAMES HEMMINGS, brothers and
actors, in their thirties, to a bench outside the Inns of
Court, both wrapped in bandages, waiting to testify. They're
fighing over space on the bench--they always fight. In the
background, Henslowe, Peter, Fennyman, Lambert, Frees, and
Sam Gosse.
JOHN
We were in a building that
collapsed.
WILL
You look terrible...
JAMES
Why--do you have a part..?
WILL
For both of you, but you're busy...
Both brothers stand, start stripping off their bandages,
getting in each others way.
JOHN
There was no building.
JAMES
These aren't real--we're bearing
false witness in a lawsuit...
He takes out a walnut on a cord around his neck, kisses it.
JAMES (CONT'D)
Burbage Junior gave me this the day
we went up in Tammerlane. See how
it serves me...
JOHN
Who's that with Phillip--Hugh
Fennyman..?
WILL
He's the investor...
16.
JAMES
(reacting)
Ah. Who's the lead..?
INT THEATER DAY
Another theater in town--the group watches while a young
ACTOR on stage reads Romeo's lines from sides that Peter's
prepared. Sam reads for Juliet.
SAM
Good pilgrim, you do wrong your
hand too much/ Which mannerly
devotions shows in this;/ For
saints have hands that pilgrims's
hands do touch,/ And palm to palm
is holy palmer's kiss.
ACTOR
Have not saints lips, and holy
palmers too?
SAM
Ay, pilgrim, lips that they must
use in prayer.
ACTOR
O, then, dear saint, let lips do
what hands do!/ They pray; grant
thou, lest faith turns to
despair·..
ANGLE AUDIENCE WILL AND HENSLOWE
Will's shaking his head--he's not satisfied. Henslowe nods,
but can't help glancing nervously at Fennyman behind him.
Beside him sits a wispy young man named WABASH.
EXT LONDON STREET BASHFORD DAY
RALPH BASHFORD'S a red-nosed, leather-lunged bear of a man in
his fifties--he's selling strawberries door to door, ellowing
"strawberries--housewives, here are your strawberries," as
Will approaches.
BASHFORD
Will--well met; haven't seen you in
months. Strawberries··?
WILL
No, Ralph, but a part, if you want
it...
17.
BASHFORD
What wonderful news. Playing
what..?
WILL
I don't know yet--we'll find
something...
BASHFORD
Will has offered me a role···
He dances a small jig of joy.
BASHFORD (CONT'D)
With any luck, it will match my
stage triumph in Muly Mullocco.
How kind of you, Will, to think of
me--I'm so superabundantly happy···
(turning to the crowd)
"Fresh strawberries--gratis,
free·.·"
People grab berries from all sides.
BASHFORD (CONT'D)
And by the way, you'll be gratified
to know I've stopped...
He makes a tippling gesture as they head for the group.
INT THEATER DAY
Another Romeo audition, another theater, the expanded group,
this time with a vain young actor named BELLING.
SAM
Saints do not move, though grant
for prayers's sake.
BELLING
Then move not while my prayer's
effect I take./ Thus from my lips,
by thine my sin is purged···
He mimes a stagey kiss.
ANGLE GROUP
Watching. Henslowe whispers to Will.
HENSLOWE
He wants a huge salary, but he's
worth it. Splendid, isn't he..?
Will shakes his head. Henslowe groans.
18.
INT BACKSTAGE GROUP TRACKING
Passing through backstage, heading for the street.
WILL
He's not my Romeo...
HENSLOWE
He's the best first love in
London...
WILL
He saws the air with his hands. Are
we partners or not, Phillip? And
who is that..?
He's noticed Wabash.
HENSLOWE
Young Wabash, my landlord's son. I
promised him a role, in lieu of
rent...
EXT ST. PAUL'S CATHEDRAL GROUP TRACKING DAY
Henslowe is insistent.
HENSLOWE
Will--it's only a play···
FENNYMAN (OVERHEARING)
...Half a day closer to its debut,
and you ain't even begun writing,
Mr. Shakespeare. Hot day, eh, Mr.
Frees...?
FREES
Very hot. Torrid. Makes me melt...
Henslowe grips Will's arm. From the side, a man falls in
step with Will--he's dressed in the most tasteless of
Elizabethan fashions, he's an oaf, his voice is annoying, and
his name's OLIVER WIDMERPOOL.
WIDMERPOOL
Hello, Will--I heard you were
evicted··.
WILL
Hello Widmerpool..
19.
WIDMERPOOL
(looking him over)
Shabby--! could cut you one at a
very nice price when some money
comes in...
(holding him back)
My news is, I'm planning a sort of
reunion for those of us from
Stratford and you must come. A day
of revelry with your old friends...
WILL
I'm sorry--I have no time.
WIDMERPOOL
I've even composed a song..
WILL
I'm busy, Widmerpool. You'll have
to excuse me--I can't come.
He hurries to catch the others.
WIDMERPOOL
I won't take no for an answer.
I'll let you know the date···
EXT CATHEDRAL GROUP
The group passes one of the cathedral side halls--through a
door, they can hear applause from inside. Will stops.
WILL
Let's look in there···
HENSLOWE
(incredulous)
A children's company..?
INT ST. PAUL'S HALL
For that's what it is--a dramatic company solely of children,
eight to eighteen, elegantly costumed, performing
sophisticated court comedies in a cathedral hall, the
amusement being their little voices piping weighty lines and
nine-year olds in love scenes. Will and the group stand
behind the crowd. Company members nod to them; everybody in
this world knows each other.
20.
HENSLOWE
Little apes. Taking audience away
from serious productions, such as
mine.··
He's ready to go, but Will shushes him--a young man (THOMAS
ARUNDEL) has made an entrance. He's not the lead--it's a
small part--but something about him, his dark hair, his
adolescent moustache, his graceful gestures, makes Will
pause.
ANGLE THOMAS
On stage, doing his lines. He's very attractive--he has a
natural stage presence.
ANGLE WILL AND OTHERS
Henslowe sees Will staring at the boy.
HENSLOWE
Him..?
WILL
We should read him··.
HENSLOWE
But he's a child...
Will is serious. Henslowe sighs.
HENSLOWE (CONT'D)
I'll leave word.
He steps to a company member and whispers.
CUT TO
INT ROSE STAGE NIGHT
As Thomas Arundel steps onto the Rose's stage, peering into
the darkness. Will, Henslowe, Fennyman, Lambert, Frees and
Peter are there--Sam stands stage right.
THOMAS
Thomas Arundel. I had a note to
come···
21.
HENSLOWE
It was mine--I'm Phillip Henslowe.
We're doing Romeo and Juliet--Mr.
Fennyman, Mr. Frees and Mr.
Lambert, my associates, Sam Gosse
over there, and that's Will
Shakespeare···
The name startles Thomas.
THOMAS
I didn't know...
HENSLOWE
Yes--he's our poet. Would you be
so kind as to read for us the part
of Romeo··?
Sam hands him the sides. Thomas glances them over, whispers
he's ready, and they begin to read the palmer's kiss scene.
Sam's tired from the long day--he reads with little
enthusiasm. And Thomas is nervous--he does poorly, flubs
some of his lines. When they reach the kiss, Sam fakes it,
kisses air.
ANGLE GROUP
Disappointed--they all know it was bad. Will suddenly stands.
WILL
Sam's tired--let me try with him···
ANGLE STAGE
Will climbs on stage, speaks to Sam, trades places with
him.He whispers to Thomas privately.
WILL
Scared..?
THOMAS
Very much so.
WILL
First time with an adult
company·.·?
Thomas nods. They're edgy with each other. Will's voice
cracks--he clears his throat.
22.
WILL (CONT'D)
You wouldn't be here if I didn't
think you could do it. Try it
again, take your time. I'll be
Juliet···
Thomas nods again and they begin. Something extraordinary
happens--reading with Will, Thomas is stronger, his voice
becomes passionate. Will is a great Juliet; each brings out
the best in the other.
WILL (CONT'D)
Saints do not move, though grant
for prayer's sake.
THOMAS
Then move not while my prayer's
effect I take/Thus from my lips,
by thine my sin is purged...
It's the cue for the kiss. Neither's sure what to do, to do
it, as the lines dictate, or not, to pull out of the scene.
Both are tense.
WILL
He kisses her here...
ANGLE AUDIENCE
Relieved at how Will's dealt with it.
ANGLE WILL AND THOMAS
Both swallow. But there are lines left in the scene.
WILL
Then have my lips the sin that they
have took.
THOMAS
Sin from my lips? O trespass
sweetly urged/ Give me my sin
again...
They confront the cue again. They hesitate--their lips
approach. It's not that one commits before the other, but
both at the same moment. Their lips meet, linger--then part.
ANGLE AUDIENCE
A knowing glance from Fennyman to Frees--he knew all these
theater types were fruits.
ANGLE WILL AND THOMAS
Not breathing, regarding each other.
23.
ANGLE GROUP HENSLOWE
He's been silent--but now he realizes Will's picked his
Romeo. He begins to applaud loudly--Peter joins in.
SAM
(beside Henslowe, sourly)
How young do you expect me to play
her··.?
HENSLOWE
His age--sixteen.
SAM
Fuck me. Of course, I can do it...
ANGLE WILL AND THOMAS
Both still frozen. Will's voice cracks again.
WILL
That was very nice...
THOMAS
Thank you.
WILL
Would you like the part..?
THOMAS
Yes--very much...
WILL
Be here at nine tomorrow and we'll
begin.
His heart's thumping in his chest--he has no idea why.
CUT TO
INT SHAKESPEARE'S ROOM NIGHT
Late--Will at his table, lit by candlelight. He's trying to
write--he stares at the pages, still confused by what
happened. In a corner, Lambert, bored, cleans his teeth with
a straw, sucking when he loosens something.
24.
LAMBERT
How do you do it? You hear people
talking in your head, or do you put
pen to paper and see what comes
out..?
Will tries to ignore him.
LAMBERT (CONT'D)
Any time that's best? I'm good in
the morning, in the afternoon, I
often tire, but by evening, a new
energy comes over me and I can go
all night...
WILL
Mr. Lambert, I'm never sure how it
works, but I know it's an agonizing
and solitary process, and you being
here is a great inconvenience...
LAMBERT
Worse if I weren't, because it
might be Fennyman, and if he
thought you weren't scribbling,
he'd rearrange this place to its
detriment...
Will tries to force something--he takes his pen, starts to
write, then watches as it traces out the word "Thomas." He
violently crosses it out, stands, grabs a cape.
WILL
I must get air, Mr. Lambert...
LAMBERT
Open a window...
WILL
Outside. I'll be back...
EXT LONDON STREET WILL NIGHT
Will alone down the empty streets, in a panic.
WILL
"Thomas." You wrote "Thomas." You
wrote a boy's name.··
He finds himself in front of a shop window--he stops,
addresses his reflection.
25.
WILL (CONT'D)
It's you, isn't it--it's your
doing, you who's always been my
compass, and I've always followed
you, since Stratford. You pointed
here at London and I came here--you
pointed at women and I went to
women, but now you swing and point
at a boy, all because of
that one kiss, that spider's kiss-
you point at the jagged reef, the
ship foundering, hull split,
rigging torn, masts tumbling, the
whirlpool, Will drowned, lost
forever···.
He is talking to his crotch--and his crotch does not respond.
CUT TO
INT ROSE STAGE DAY
It's the first exciting day of a company coming together.
Thomas squeezes through the crowd, the leads, new actors for
small parts, stagehands. Bashford is vocalizing, Sam's
sending off a pretty girl, Wabash stands with a lost look,
and Peter argues with the Hemmings brothers.
JAMES
You're too old for a bandit...
JOHN
A year more than you, and I've the
physique..
JAMES
Mystique, I'd call it, it being
mystical how it functions with that
slop you feed it...
Peter breaks them up, handing out their sides.
PETER
John, the Bandit Chief--James, the
Captain···
INT BACKSTAGE FENNYMAN FREES AND LAMBERT
Entering through the backstage confusion. Fennyman collars
Henslowe as he passes.
FENNYMAN
Nine o'clock, and nothing
accomplished? A bad beginning··.
26.
HENSLOWE
I was just gathering the company.
A tradition of the theater--I like
to make a small speech the first
day of rehersal...
He motions to Peter to gather the actors, but Fennyman pushes
past.
INT STAGE
FENNYMAN
I'll make it.
Peter calls the actors to attention--Fennyman draws himself
up to speak.
FENNYMAN (CONT'D)
You're all a pack of worthless
scrubs until proven otherwise, as
far as I'm concerned. I, Hugh
Fennyman, am the solitary one to
please here, and if you don't
pleasure me, beware your
testicles...
The company, unused to this treatment, protects,
figuratively, its testicles. Henslowe puts on a smile.
HENSLOWE
That sums it up. Peter, we'll
start with Thomas and Sam, the
poems on the trees...
ANGLE HENSLOWE AND WABASH
Helping clear the stage, Henslowe comes upon Wabash.
WABASH
What do I do..?
Henslowe positions him near one of the two large pillars that
hold up the stage roof and points to his sides.
HENSLOWE
When Thomas stops talking, say
Carin's lines.··
ANGLE STAGE
Henslowe joins Will in the pit, Fennyman and his men behind
them. On stage, Peter cues Thomas, who enters and crosses
downstage to the other pillar. Reading off his sides, he
mimes hanging poems on a tree trunk.
27.
THOMAS
Hang there, my verses, in witness
of my love: And thou, thrice
crowned Queen of Night, survey/With
thy chaste eye, from thy pale
sphere above,/ Thy huntresses' name
that my full life doth sway·..
ANGLE WILL
Watching--Thomas continues beyond him.
THOMAS
O Juliet! these trees shall be my
books, /And in their barks my
thoughts I'll character/ That every
eye which in this forest looks/
Shall see thy virtue witnessed
everywhere···
WILL
(interrupting)
Thomas···
His voice cracks--he clears it.
WILL (CONT'D)
·..favor this side of the pillar,
if you please···
ANGLE THOMAS
Doing so--and pausing.
THOMAS
Since we've stopped, may I say
something..?
ANGLE WILL (INTERCUT)
WILL
What is it..?
THOMAS
I think this scene is silly.
The company reacts.
WILL
Why is that..?
28.
THOMAS
You have Romeo hanging poems on
trees. He knows where Juliet is-
why doesn't he simply find her and
tell her he loves her..?
Will's about to reply--before he can, Fennyman thunders from
behind him.
FENNYMAN
Because Mr. Shakespeare's the brain
of this enterprise and you're one
bloody finger of one bloody hand.
Now say the bloody words or I'll
come up there and choke them from
you, does that clarify it?
THOMAS
(a beat, to Will)
Is that your wish..?
WILL
Please say the words..
THOMAS
(a beat, continuing)
Run, run, Romeo, carve on every
tree/ The fair, the chaste, and
unexpressive she.
There's an awkward silence. Henslowe coughs loudly. Wabash
looks up, steps forward.
WABASH
(stiffly)
And how like you this shepherd's
life, Master Captain..
ANGLE HENSLOWE AND WILL
Henslowe whispers to his partner.
HENSLOWE
I suspect Mister Fennyman may be
somewhat of a problem before this
is over...
ANGLE PEMBROKE'S MAN
Someone from the Pembroke's, in the shadows at the back of
the theater, watching the rehersal.
29.
CUT TO
INT BACKSTAGE WILL AND THOMAS DAY
The day's gone on. Backstage, Thomas passes Will. Will
looks away, nervously--then clears his throat again.
WILL
Thomas, a word. I wish you would
not do that, question me in front
of the company. I'm glad for any
of your comments--you should make
them to me in private···
THOMAS
I'm sorry--you're right···
Will turns to go.
THOMAS (CONT'D)
And I wasn't being critical. It's
that the scene fell so short of
what it could be.
WILL
By what measure..?
THOMAS
Your own, your other plays, all of
which I've seen, and applauded. I
thought this might better the
others in its loving--that's not my
idea, it's yours, it was in the
scene we did. The passion felt so
real...
WILL
We're not doing real--we're doing
whatever we have a week Friday.
Lovers lost in the woods, Juliet
disguised as a page, her father
searching, captured by the Bandit
Chief, Romeo rescuing her with the
Captain, the Chief revealed as her
brother, separated at birth, he
marrying Juliet's sister, Romeo
likewise Juliet, and the families
reconciled in the end. A comedy..
THOMAS
Conventional...
WILL
Yes...
THOMAS
Ordinary.
30.
WILL
Ordinary's what's wanted...
THOMAS
Have you ever hung poems on
trees..?
WILL
What would you do...?
THOMAS
They see each other and find a bed
WILL
Like that...
THOMAS
It's what I'd want. Wouldn't
you··?
WILL
It's somewhat less than noble...
THOMAS
It's real...
WILL
...and I must hold off that event,
however portrayed, to act three,
better four, having five acts to
fill--if they copulate in act one,
we'll be left with a twenty-minute
play, offending the audience and
leaving it feeling under
compensated. It's well actors
consider their ports, I wouldn't
discourage you for a moment, but
it's something you'll understand
with more experience under your
belt...
THOMAS
"Ports"..?
WILL
What about them?
THOMAS
You said ports--"actors consider
their ports..."
WILL
Their "parts"--consider "parts",
and you should consider yours in
terms of the overall design.·.
He turns, self-satisfied--and bangs into a door jamb. He
exits with as much dignity as he can.
31.
INT BACKSTAGE ROOM WILL
Hiding himself, reeling in panic.
WILL
"Ports?"--you actually said
"ports?" Port is left, the side
sinister, port is a wine, leading
to drunkenness, port is a haven, a
comfort. Port is a hole...
He shudders.
CUT TO
INT ST. PAULS WILL AND HENSLOWE NIGHT
Only a few of the reverent there this evening in the
cavernous nave. Will walks down the center aisle, spots who
he's seeking-- Henslowe, in a pew, his account books open on
his lap. Will slides in beside him.
WILL
Peter said you'd be here..·
HENSLOWE
Fennyman's all over me, he
criticizes how I make my entries-
he hates my threes. Do they let
you defecate alone..?
Will nods.
HENSLOWE (CONT'D)
Not me.
WILL
Phillip...
HENSLOWE
Yes, Will.
WILL
It's Thomas.
HENSLOWE
He's fine--better than I thought...
WILL
Phillip, I've contracted...
(tormented)
An attraction. For him.
HENSLOWE
Spiritual? Magnetic?
32.
WILL
Erotic. Phillip, I love him.
Only now does Henslowe see the look on his face.
HENSLOWE
You're fond of him.
WILL
More than that.
HENSLOWE
He reminds you of yourself,
starting out. It's brotherly-
you're confusing the emotions...
WILL
It's not brotherly. I have
brothers--I don't want to kiss
their neck where it joins their
shoulder. I can't work, I can't
sleep. I'm changeable, fumbling,
full of tears, full of smiles, now
like him, now hate him--all the
symptoms...
Henslowe tries to laugh it off.
WILL (CONT'D)
I want to penetrate him·..
HENSLOWE
Where..?
WILL
I don't know...
HENSLOWE
That's one thing you'd want to get
straight. Ho, ho...
WILL
Phillip...
HENSLOWE
I made a pun...
WILL
Phillip--it's serious··!
HENSLOWE
I don't usually...
(sober)
No, of course--you're right, it
is...
WILL
It's a sin. I can burn in Hell···
33.
HENSLOWE
The part that troubles me most is
the not-working part. Our world
will end not with the
flames of Armageddon but next
Friday if we don't have the play,
and you haven't finished an act···
Frustrated, Will stands and heads off. Henslowe calls after.
HENSLOWE (CONT'D)
Go home and write.
WILL
(calling back)
I can't--the play's no good...
HENSLOWE
Says who··?
WILL
Thomas--and he's right·..
Henslowe reacts.
EXT STREET WILL TRACKING NIGHT
Will, walking the city streets, alone in the crowd.
WILL
This is madness. Phillip's right-
work.
(shakes his head)
But how can I? It's a boy...
(considers)
And if it is? Then you've lived
thirty years of your life and never
known who you really were. Will
Shakespeare? Oh yes--minor
playwright, liked boys. How
history will remember you--wrote
plays, yes, noted mainly for his
pederasty...
He stops short--he looks across a square. On its far side, a
tavern frequented by nances, Elizabethan gays. At tables in
front, a crowd, some modest, some florid, like any other.
Several kiss and clip their lovers in the doorway, to the
shock of passers-by.
34.
WILL (CONT'D)
Is that your future..?
INT WHITEHALL DINING ROOM BELINDA AND NURSE NIGHT
Belinda, a new Belinda, sitting among the court at a late
dinner at crowded tables under torchlight. She's happy,
laughing, excitedly whispering into her Nurse's ear as they
eat, the Nurse grasping her wrists with joy at what she's
being told.
ANGLE WESSEX AND EDGAR
Eating nearby. Wessex regards Belinda.
WESSEX
She smiles. She's happy...
EDGAR
She contemplates her future with
you.
WESSEX
She has taken a lover.
EDGAR (SHOCKED)
No..!
WESSEX
Women are like amoebas--totally
transparent. Observe her smile...
(Edgar looks)
A woman's smile is a language, a
language limited to two or three
simple propositions. That one
tells me she's cuckholding me...
EDGAR
I'm sure you're mistaken, my
Lord···
Wessex shoves Edgar's face down onto the table, almost into
his food, and holds it there.
35.
WESSEX
We could discuss this like
gentlemen, you and I, but I will
cut through the colloquy, bypass
the debate and conclude your sister
is currently the bawd of some
whoremaster. I want you to find
out who he is, and unless you wish
a flattened nose, you will nod
assent..
Edgar nods. Wessex lets him up. People on either side have
been staring--Wessex glares at them and they look away. He
looks around the hall.
WESSEX (CONT'D)
The question is, who else knows··?
EXT THAMESIDE WILL NIGHT
Will weaves down the street alongside the river--he's had a
few consoling beers.
WILL
You wanted to be prosperous, to sit
with the great gentlemen of London.
Pull up a stool, Will--tell us of
your love life. Did he not shave
today, and scrape your skin? Leave
you, did he, for a stevedore..?
(groaning)
This cannot be. This is the end of
who I am...
And he flings himself over the bank into the river.
ANGLE WILL MUDFLAT
The tide's out--he's standing in mud, ankle-deep.
WILL
It can be. You love Thomas--and
you must follow love. And
therefore begin the rest of your
life···
36.
CUT TO
INT WILL'S ROOM THE ROSE DAY
Will's pacing nervously from the window to the door. Opening
it, he can hear sounds of rehersal from the stage below. He
shuts it, crosses to the table, sits, looks over his writing-
stands, goes to the door again. Opening it again, he hears
goodbys, the rehersal ending for the day. He moves to the
window.
ANGLE WINDOW
Through it, the cast in the street, heading its various ways.
Now Thomas appears--Will turns to leave, but pauses at the
table. He kneels before the miniature portrait sitting on it
-he murmurs a prayer of forgiveness and turns it on its face.
He hurries out.
EXT ROSE WILL AND THOMAS TRACKING
Will emerges from the Rose, following Thomas. He catches up
with him, falls in step.
WILL
Walk with you..?
THOMAS
Of course.
Will's flustered--Thomas notices.
THOMAS (CONT'D)
You seem upset...
WILL
Pre-occupied. With a scene. Not
this play--another one. I thought
we might talk about it...
Thomas nods.
WILL (CONT'D)
Not here--it's noisy...
He looks around--he spots a grove of trees behind some
buildings.
INT GROVE WILL AND THOMAS
As they enter the coolness of the grove. It's lovely--birds
flutter. Will finds a spot under a tree.
37.
THOMAS
Tell me about it.
WILL
It's a love scene. Very
complicated--a page wooing his
master...
THOMAS
A man in love with another..?
WILL
Yes..
(a beat)
It's a comedy...
He waits for Thomas's reaction.
THOMAS
Challenging...
WILL
I can't have him do what a man
might do with a woman, bully her
into love or pretend indifference,
praise his best friend to make him
jealous--as a man, he knows all a
man's tricks. I start with history
-how Jupiter loved his cup bearer,
young Ganymede, how Plato in the
Symposium praises the love of young
boys as the most noble. There I
stick...
THOMAS
Perhaps we should play it out...
WILL
I the page, you the master.
Thomas nods. Will swallows.
WILL (CONT'D)
We could try.
(considers)
He might begin, "Sir, my heart's
thoughts might make you flee..."
THOMAS
"And who'd want to hear them, with
you fleeing before they're
spoken..." Does he take his
hand..?
WILL
He probably should.
He takes Thomas's--Thomas lets him.
38.
WILL (CONT'D)
He might say next, "Still, I fear
my longings, once spoken, giving
you offense..."
THOMAS
"All men search their lives for
love--they only fear not finding
it..."
WILL
You don't think he'd be
insulted...?
THOMAS
You've given no insult yet. These
are weak--give me something with
force.··
WILL
"Sir, our love's forbidden by every
law of man and nature..."
THOMAS
Is he lover or lawyer? He offers
objections before the master raises
them. I'd reply, "Lovers make
their own laws; across the world,
men are uncovering entire new
continents--lack you the courage to
explore mine...?"
Will's drawn closer to Thomas, face to face. His lips are
dry.
WILL
Thomas...
THOMAS
Yes?
WILL
There is no play. It's you. I
love you...
Thomas looks scared--but also excited.
THOMAS
Do you?
WILL
Since that first kiss. It must
disgust you, but pity me...
Thomas tries to pull back--Will holds on.
WILL (CONT'D)
Don't stop me--this is very hard···
39.
THOMAS
You may not like what you find...
WILL
Like? I adore you more than
anyone ever before. You're bold,
you're witty, you're graceful,
elegant, your leg, your hands--a
cathedral of monks could spend
their lives cataloguing your
virtues...
Thomas struggles, but Will's on a roll.
WILL (CONT'D)
I surrender myself to you--I
sacrifice whoever I may be on the
altar of who you are...
Now Thomas breaks loose, escapes around a tree, but Will's
faster--he catches him.
WILL (CONT'D)
And if you lead me down strange
roads, so be it, I must be strange,
and if it brings me pain, then
sharpen the knives...
He pins him against the trunk.
WILL (CONT'D)
.··and if I burn in Hell, then
welcome flames and smoke and fire,
because life is not as necessary as
you are...
And he presses his mouth against the boy. Thomas struggles
at first, but now slowly melts--he kisses Will back.
Breathless, Will steps back to regard him--but something's
wrong. And there's something on his upper lip. He touches
it--he comes away with Thomas's moustache on his fingers.
Thomas wheels to flee--Will grabs his shoulder, gets a
handful of hair. It's a wig. Will stands there,
thunderstruck, while Thomas, with a sob, pulls off the wig
and shakes out her blonde hair. Thomas is Belinda De Lesseps.
Will takes a blundering step forward, trips over a root, and
falls on his face. Belinda runs off through the trees.
ANGLE WILL
On his knees, holding the moustache, dazed.
40.
HENSLOWE (V.O.)
Thomas was a girl. He'd gone and
cast a girl in our play. And he
knew her, too--he'd seen her
somewhere before. He asked himself
where.··
Will racks his whirling brain--then remembers.
WILL
The palace...
CUT TO
INT WHITEHALL PALACE HALLWAY WILL AND GUARD DAY
Will shadows a pair of ladies-in-waiting down a hallway. In
the air, the sound of laughter and music, but Will's look is
grim--he's on a mission. A YEOMAN guard lets the women pass
but prevents him.
WILL
The chambers of the ladies in
waiting..?
YEOMAN
(lowering his halberd)
State your business.
WILL
I'm simply asking...
He backs away.
INT HALLWAY WILL
Looking for a way past the guards. He hears the sound of
yelling, water sloshing--he looks through a half-open
doorway. It's a high-cielinged chamber, filled with lobster
red friars soaking in tubs of hot water, splashing each
other. On a near wall, their robes hang on pegs, one close
enough so Will can reach it.
INT ANOTHER HALLWAY WILL AND FRIARS
Friar Will, hands in his sleeves, face hidden under the cowl,
hurries along, glancing down a series of intersecting
hallways so intently he doesn't notice the approach of more
friars, four chanting neophytes, led by a superior. Passing
Will, the superior cuffs him, spins him around and shoves him
towards the end of the line. Will chants
with the others--the superior leads his column
through a doorway. Will follows, but after a beat, he re
emerges.
41.
ANGLE HALLWAY BELINDA AND NURSE
Belinda, in a Court dress, walks down the hall on her Nurse's
arm, her face red from crying.
NURSE
You see what comes from playing in
costumes? I warned you when you
began it would come to something
like this. Hush--I can't stand it
when you cry...
From the side, a friar reaches out and grabs Belinda by the
wrist. She beams when she sees who it is--but Will is
hopping mad.
BELINDA
Will..!
WILL
You'll excuse me--I don't have your
name, but then we've not been
introduced...
NURSE
Is this him..?
BELINDA
Yes...
NURSE
Oh lord--she's Belinda De Lesseps,
daughter of Lord and Lady Arundel;
hurry·..
She hustles them down the hall. Belinda still beams--Will
won't let go of her.
BELINDA
You remembered me···
WILL
Yes, the one who knew my lines, and
for whatever pleasure I gave you,
you returned me viciousness,
treachery and betrayal, you added
me to History's great compendium of
idiots, but put me aside--I'm
nothing, I don't matter--I'm
speaking of a company of actors...
Belinda's too thrilled to stop him--the Nurse shoves them
through a chamber door and shuts it, taking up a post outside
it like a sentry.
42.
NURSE
She tests the limits of affection,
make no mistake about it...
Putting her ear to the door, she can hear Will's muffled
yelling.
INT BELINDA'S CHAMBER WILL AND BELINDA
For that's where they are, her room in the ladies in waiting
wing, modest but tasteful, glass doors to a balcony, a huge
four-post bed in the center. Belinda's crying--Will's
pacing, his habit thrown off.
WILL
·.·the City seeking to shut us
down, the Puritans looking for any
excuse to destroy us, we forced to
use men as women to at least avoid
the charge of offending the fairer
sex. And the actors--trusting me,
many of them married, feeding
families, innocent children, on
whatever the doorbox brings...
(pauses)
What are you doing..?
He's only half-noticed that she's begun to untie the laces of
her dress. She lets it fall to the floor, steps from it,
naked as Venus.
BELINDA
This is me.
WILL
What's so funny?
BELINDA
You're pointing.
She's looking at his crotch. He blushes beet-red.
INT HALLWAY NURSE
Her ear against the door again. It's silent--the shouting
inside has stopped. She nods, drags a chair over to the door
and sits, relieved, fanning herself.
CUT TO
INT BELINDA'S CHAMBER SUNSET
They're in bed. They've been making passionate love all day-
now they make love as the sun sets.
43.
INT BELINDA'S CHAMBER NIGHT
They've been making love since sunset--now they make love as
the moon rises over the rooftops.
INT BELINDA'S CHAMBER NIGHT 77
A full moon floods into the room. The bedcovers half on the
floor, the sheets in knots. In bed, Will shelters Belinda in
his arms. He's worn out, still dazed at what he's fallen
into. Belinda's still excited.
BELINDA
···I'd see people in the street,
selling butter and carrying water
and rowing boats--and they were
free; I thought to myself, who more
free in London than a young boy?
It wasn't hard, I only had to study
my silly brother, and once out and
saw I could, I went to the theater
because I loved it and loved
performing, and I was hired, I was
tall enough and my voice deep
enough for St. Paul's, and then you
found me, wonder of wonders, the
one man in the world I thought
could love me··.
(looks up at him)
Am I going too fast? Tell me, and
I'll pout and frown and make you
woo...
WILL
No, don't stop...
44.
BELINDA
Because I am so different, yards
from other girls, somebody tells me
go one way, I'll crawl on my knees
to go the other, and your plays
moved me, all those lovers, and
there I was, my wish come true, and
curse my wish because I was with
him, his Romeo, but what if he
discovered me, I'd disgust him,
he'd reject me, because many do,
nobody knows me truly, I look on
the men of Court and see five
hundred, a thousand faces and not
one who loves me for what I truly
am; if you did, you give me
something no other ever has, man,
parent, or friend--no, my Nurse
has, she's my best and only friend,
but you must, because you came...
WILL
I love you·
The words thrill her.
BELINDA
Say it again.
WILL
Belinda, I love you, Belinda De
Lesseps.
She starts to cry, softly.
WILL (CONT'D)
I'm sorry..·
BELINDA
No, I'm happy...
He kisses the tears from her cheeks.
WILL
You taste like the ocean···
BELINDA
Will. My Will...
WILL
I will...
BELINDA
And I know what love means to you-
I've seen you struggling in your
plays...
WILL
You know them all..?
45.
BELINDA
The love scenes, anyway--I've seen
how, in the Twins, love was only
pratfalls, then your Richard
Crookback, he was a smiler, suave,
but he loved only for evil, then
Two Gentlemen, a great leap
forward, best friends torn between
the same girl and their love for
each other, then Love's Labors
Lost, another great leap, a king
and four courtiers swearing off
love for a year, but they can't do
it, they break their vows and chase
the girls from France--it's a clear
progression...
WILL
I didn't think anyone noticed...
BELINDA
Now Romeo, and it can be your
finest. You want to know all there
is to love...
WILL
I do...
BELINDA
So do I...
There's a knock on the door--it opens. Alarmed, Belinda
snatches the covers, Will dives beneath and she smooths them
down.
FULLER ANGLE INCLUDING NURSE
It's only the Nurse, entering with a tray with mugs of cocoa,
sandwiches, and a bowl of fruit.
NURSE
Just myself...
Will emerges as the Nurse sets the tray by the bed.
NURSE (CONT'D)
I thought it was time for
nourishment. La, you look like
dolls in a house, or pigs in swill.
So soon you could lose your neck-
his too; have you mentioned him..?
BELINDA
(a fierce look)
No--and be quiet.
46.
WILL
Mentioned who..?
BELINDA
Nobody--she's a blabbermouth.
Thank you--now go...
The Nurse makes a face as she exits--Belinda makes a face
back.
CUT TO:
INT BELINDA'S CHANBER NIGHT
Cold rain pelts the windows. Belinda and Will sit close to
the fire, wrapped in one blanket, the empty tray beside them.
He kisses her breasts and she kisses his.
WILL
I could never do what you've done.
I wouldn't have the nerve.
BELINDA
You think I'm brave?
WILL
Braver than me.
BELINDA
You came. You must be brave too...
WILL
And love must be courage. All love
is risk--the father waking in the
next room....
BELINDA
The husband coming home...
WILL
The flowers thrown out, the poems
tossed in the fire, the you offend
mes and never touch me agains.
Courage must be the soul of love...
They regard each other..
BELINDA
What happens tomorrow..?
WILL
Nothing that ever happened
before...
47.
BELINDA
I mean with me. Do I come to the
Rose..?
He takes her face in his hands.
WILL
You are my Romeo...
EXT WHITEHALL BALCONY DAWN
After the rain, the first tinge of morning in the sky.
There's a way for Will to leave unnoticed--her balcony, a
convenient branch, a tree leading to the street. On the
branch, Will kisses Belinda over the railing. They whisper
their last goodbys--he starts down.
BELINDA
Wi11...
WILL
(climbing back up)
Yes..?
BELINDA
I can't give you up...
(She kisses him again)
I must. Goodbye...
She starts off.
WILL
Belinda...
She hurries back, happy he called her, and kisses him again.
WILL (CONT'D)
Who is "him"..?
BELINDA
"Him" who..?
WILL
The Nurse's "him"...
BELINDA
It's not important···
WILL
Can we be honest...?
BELINDA
(a beat)
A man who wants to marry me...
WILL
Which man...
48.
BELINDA
Wessex of Chealth.··
Maybe it's co-incidence, maybe Will's reaction to the name,
but his branch snaps and he'd fall if he wasn't hanging on.
BELINDA (CONT'D)
Are you all right..?
WILL
Yes..·
She helps him get his footing.
BELINDA
I won't, ever.
WILL
You can't. He's a monster··.
BELINDA
Do you know him?
WILL
You must escape--I'll do anything
to help you...
BELINDA
I said I won't marry him. He only
wants me for my father's monopoly
and my father only wants his money
because my brother spent all we had
on clothes and dinners for his
stupid friends...
WILL
You could go somewhere--Virginia··.
BELINDA
And not be in the play...?
WILL
Hang the play--the play's not worth
you. Does the Queen want this..?
BELINDA
She signed the settlement. But I'm
a woman, I have my powers--they
can't make me marry anyone I don't
want to. I can always say no, let
Elizabeth exile me to the furthest
pole, I'll say it forever. She's
always said no, and she rules an
empire...
Somebody clears their throat inside the room.
49.
BELINDA (CONT'D)
I'll be with you soon...
She blows a kiss and exits--Will starts down.
INT CHAMBER
Belinda, entering, finds the Nurse waiting for her.
NURSE
Well--was it all you hoped..?
Belinda starts tickling her--when the Nurse objects, she
dances her around the room, their skirts flying.
BELINDA
More--it was he himself. And he
wants me..!
CUT TO
EXT LONDON STREETS WILL AND WIDMERPOOL MORNING
The streets are filling as the sun rises--Will walks in a
fog, filled with the wonder of life, bumping into people,
pushed off, not caring.
HENSLOWE (V.O.)
If Wessex caught him, he'd kill
him, Will was thinking--his
greatest desire was his greatest
danger. He was no fighter--he was
a playwright. What would Romeo do?
Anything, face a sea of enemies.
Could he do any less, for the soul
of love.·?
Will makes passes with an imaginary sword.
HENSLOWE (V.O.)
But Romeo was a boy, a fiction.
Still, he came from Will--he was
from his best side. And Romeo
would die for love...
Will feels inspired--he starts to sing out loud. From the
side, Widmerpool falls in step with him.
WIDMERPOOL
Will, you're singing...
WILL
Am I? Good morning, Widmerpool--a
beautiful morning...
50.
WIDMERPOOL
It is in fact, and the plans for
the reunion proceed apace. A
picnic in Banbury Fields--we'll
each put in for a keg of ale, cater
a modest meal from a tavern, play
games, and afterwards buy us some
girls.·.
WILL
One word, Oliver...
WIDMERPOOL
Yes, old friend...
WILL
Love.
WIDMERPOOL
Indeed. I'll let you know as
things gel. It will be a day to
remember...
He claps Will on the shoulder and hurries off, leaving Will
dreamy again.
HENSLOWE (V.O.)
Being nice to Widmerpool was a
mistake.
A little girl's voice replies--this is CECILY, Henslowe's
twelve-year-old grandaughter.
CICELY (V .O.)
Why..?
HENSLOWE (V.O.)
You'll see later. So Will had
Belinda, but she was a royal, a
pawn in the game of court politics-
she'd never have her way. On the
other hand, Will was married..
CICELY (V.O.)
He was..?
HENSLOWE (V.O.)
Anne, back in Stratford, with two
children, a daughter your age,
another, the survivor of twins. He
never told her--she probably knew,
having followed him--and she never
told him she'd have to marry Wessex
some day for her parents sake, so
they were both lying to each other,
as lovers lie, as lovers lie
together, because to tell the truth
would be an end to love...
51.
CUT TO
INT ROSE REHERSAL MORNING
Thomas is on stage, Sam standing above him on the first
balcony, reading a new scene off their sides. Will and
Henslowe watch from the audience.
ROMEO
But soft! What light through
yonder window breaks?/ O, it is my
love/ O, that she knew she were!/
O, that I were a glove upon that
hand,/ That I might touch that
cheek!
JULIET
Ay me!
ROMEO
She speaks./ Speak again, bright
angel.
JULIET
O Romeo, Romeo! wherefore art thou
Romeo?/ Deny thy father and refuse
thy name;/ or, if thou wilt not, be
but sworn my love,/ And I'll no
longer be a Capulet.
ROMEO
Shall I hear more, or shall I speak
at this?
JULIET
'Tis but a name that is my enemy./
What's in a name? That which we
call a rose/ By any other name
would smell as sweet.
ANGLE WINGS
The actors--the Hemmings brothers, Bashford, Wabash--watch.
They nod--this is good stuff. Peter follows the text with
his copy.
ANGLE WILL
Excited, whispering to Henslowe.
52.
WILL
He's bold. So is she--they have
bravery in common. No poems on
trees--the instant they see each
other, love...
BACK TO SHOT
JULIET
What man art thou that, thus
bescreened in night,/ So stumbleth
on my counsel?
ROMEO
My name, dear saint, is hateful to
myself,/ Because it is an enemy to
thee.
JULIET
Art thou not Romeo, and a
Montague?/ How camest thou hither?
The orchard walls are high and hard
to climb,/ And this place death, if
any of my kinsmen find thee here.
ROMEO
With love's light wings did I
o'erperch these walls;/ For stony
limits cannot hold love out,/ And
what love can do, that dares love
attempt.
ANGLE WILL AND HENSLOWE
Will whispering again.
WILL
I was scratching the surface
before, Phillip--my heart wasn't in
it. It is now--they deserve each
other because the soul of love is
courage, true love stands on the
precipice, against family, city,
the whole world. It takes courage
to have sex, that's why they're so
hated, because they put sex before
everything else, family, city, the
whole play's about it; perhaps they
should have sex on stage...
HENSLOWE
Will..!
53.
WILL
It's what they're talking about,
it's what we all need, like
sunlight and water, it's what
brings us together here, you, me,
the audience, to see it, to be seen
by sex, to feel it, smell it, to be
excited, to get hard or wet...
HENSLOWE
No...
Will backs off--it was an idea.
ANGLE STAGE
JULIET
My bounty is as boundless as the
sea,/ My love as deep; the more I
give to thee,/ The more I have, for
both are infinite./ I hear some
noise within. Dear love, adieu.
Peter calls Juliet's name from the wings. Sam turns to go.
JULIET (CONT'D)
Anon, good nurse. Sweet Montague,
be true./ Stay but a little, I will
come again.
Sam exits.
ANGLE WILL AND HENSLOWE
Henslowe shocked by what Will's just told him.
HENSLOWE
John a nurse..?
WILL
Juliet's begining to speak--she
needs a friend...
HENSLOWE
John hasn't played a dress part in
twenty years...
WILL
He can do her the same as the
Bandit Chief, fat, bawdy, the same
voice, everything he's good at...
HENSLOWE
I liked the Bandit Chief...
54.
WILL
And it's not a wood anymore--it's
Verona. They're not simply boy and
girl--they're star-crossed, two
families warring, the Montagues,
the Capeletti. The Montague
father's arranging a marriage...
HENSLOWE
More cast...
WILL
John and James can double the
fathers. Plus the intended,
Paris...
HENSLOWE
I've already put money down on the
Bandit Chief's costume. These
changes take time, Will--I'm very
concerned about Mister Fennyman...
Will shushes him, indicates the stage.
ANGLE STAGE
As Sam enters above again.
JULIET
Three words, dear Romeo, and good
night indeed./ If that thy bent of
love be honorable,/ Send me word
tomorrow./ And all my fortunes at
thy foot I'll lay/ And follow thee
my lord throughout the world./ But
if thou meanest not well, I do
beseech thee--
NURSE (V.O.)
Madam..!
JULIET
By and by I come.--/ To cease thy
suit and leave me to my grief./ A
thousand times good night!
Sam exits. Thrilled, Thomas starts to leave--Sam appears
above again.
JULIET (CONT'D)
Romeo!
ROMEO
My sweet?
55.
JULIET
At what o'clock tomorrow/ Shall I
send to thee?
ROMEO
By the hour of nine.
JULIET
I will not fail. 'Tis twenty years
till then./ I have forgot why I did
call thee back.
ROMEO
Let me stand here till thou
remember it.
JULIET
I shall forget, to have thee still
stand there./ Good night, good
night! Parting is such sweet
sorrow/ That I shall say good night
till it be morrow.
Both exit.
ANGLE WINGS ACTORS
Silent for a beat--then they begin to applaud spontaneously.
BASHFORD
It's the most beautiful thing I've
ever seen in my life.
ANGLE WILL AND HENSLOWE
Applauding as well.
HENSLOWE
It's still a comedy...
WILL
Still a comedy...
HENSLOWE
There are woods--they get lost.··
WILL
They fall in with shepherds,
there's a storm, the fairies save
them--something like that.
Henslowe nods--but he's still uneasy.
CUT TO:
56.
EXT WHITEHALL PALACE WALL DAY
Will waits in a doorway across from the palace. A beat--a
door in the wall opens and out comes Belinda, dressed as
Thomas. Will hisses--she spots him, hurries to him. They
kiss in the doorway. He takes her hand.
BELINDA
Where are we going?
WILL
My room. Modest, but we won't take
up much space.
BELINDA
It's a beautiful day...
WILL
Also pleasant indoors..
BELINDA
But we've the afternoon, money, and
the whole city. Take my hand...
She steps out into the sunlight and offers him her hand. Will
looks edgily up and down at people passing.
BELINDA (CONT'D)
You're afraid.
WILL
Not really...
BELINDA
You care what people think...
She offers it again. It's a dare. He takes it.
EXT BANBURY FIELDS WILL AND BELINDA DAY
Green fields outside the city walls, filled with men at their
pleasures--archery, wrestling, bowling, bear-baiting.
There's beggars, cardsharks, an open bazzar, music
everywhere. Will and Belinda wander through it hand in hand,
two young men on a stroll. Some look, some stare--Belinda
doesn't care either way. Will looks ahead--and his face
falls.
ANGLE INCLUDING WIDMERPOOL
The last person Will wants to see. Widmerpool's spotted them
-he angles through the crowd and falls in step.
57.
WIDMERPOOL
Will--well met. The Stratfordianus
is all set--this coming Sunday, the
King's Head, no time yet, but I
will inform...
(looking at Belinda)
Who's your handsome friend..?
WILL
None of your business--and I'm not
coming..
WIDMERPOOL
But you promised, the other night.
Everyone else is doing so well-
Nathan Field, finest printer in
town, that wife of his, Jud Morgan,
a fortune in real estate, humble me
with my royal clientele, Abner
Lang, his starch works can't keep
up with the orders, he's sending
his overage to Antwerp...
WILL
I'm glad to hear it...
WIDMERPOOL
·..As I tell all those back home in
my frequent letters. What an irony
it is...
(to Belinda)
He, principus of our grammar class,
who translated Horace so easily
while the rest of us struggled with
our ABCs, the only one of us...
WILL
Still a pauper.
WIDMERPOOL
In the arts.
WILL
Widmerpool, I never said I'd come,
and I can't.
WIDMERPOOL
I'll let you know the time...
Will takes Belinda and heads off. Widmerpool watches them
go.
EXT FIELDS WILL AND BELINDA DAY
Strolling over the glorious fields together.
58.
BELINDA
When did you first know you were
strange..?
WILL
Early. I was the one who stared at
flowers. A line of poetry would
make me shiver. You..?
BELINDA
When the girls did needlepoint and
the boys went to fence and ride
and I went with the boys. Fair to
Elizabeth--they offered us what
they did them, the languages, the
physical arts, but only I took
them...
ANGLE ARCHERY BUTTS WILL AND BELINDA
They stroll past a row of archers.
WILL
I see a bow, I think of my father.
He tried to teach me...
BELINDA
Did he..?
WILL
I learned, but later, in the
theater···
BELINDA
Do you see him..?
WILL
Not for eight years. He's a
glove-maker. I've two brothers-
they work with him. I write to him
-I tell him I'm well, thriving,
happy. I lie. Your parents..?
BELINDA
My father thinks I should hold
myself blessed for his finding me
so worthy a gentleman as Wessex. He
calls me proud, baggage, a
headstrong puling fool--he says if
I don't walk to Westminster on my
wedding day, he'll drag me in a
cart, do what he says or hang, beg,
starve, die in the street, he'll
shut his door on me.
WILL
Your mother..?
59.
BELINDA
She doesn't disagree.
WILL
You must get away...
BELINDA
No, I don't.
WILL
I can't stand thinking what could
happen...
She puts a finger to his lips.
BELINDA
I forbid you ever to talk of this
again. Don't you see? I do what I
want, and so am happy...
EXT HILLSIDE WILL AND BELINDA DAY
Stretched out, lying on his cape, he beside her, both naked,
on an oak-dotted hill overlooking the fields. They're in
waist-high grass, laced with wildflowers--they've beaten a
plot of it down to form a green room for their privacy. Will
plays with a sprig of flowers.
WILL
Cowslips...
He gives them to her.
BELINDA
Sunflowers--and eating the seeds...
WILL
Animal..?
BELINDA
Rabbits...
WILL
Deer. I hunted them--I could never
kill one...
BELINDA
Smell...?
WILL
Your body, with love on it...
BELINDA
The poop of a baby.
(on his look)
I only said that. Your hair, just
at the crown. Worst fear...
60.
WILL
Failure.
BELINDA
Confinement. Worst fault...
WILL
Selfishness.
BELINDA
Loneliness...
WILL
Music..?
BELINDA
A choir in a country church..·
WILL
So's mine. And I can hear one any
time...
He leans over and kisses her long. She smiles, loops her
arms around him.
BELINDA
Would you have still loved me if I
were a boy..?
WILL
Difficult to answer..
(he considers)
I would have had to...
BELINDA
You prefer I'm a girl...
He rolls on top of her.
WILL
Only because it allows us to make
love face to face...
They kiss again--her eyes twinkle.
BELINDA
If I were a boy, you'd have a
harder time of it...
WILL
Not necessarily...
BELINDA
You don't know me if you think I'm
weak...
WILL
Not weak--frail.
61.
BELINDA
Nor frail--I could match you...
WILL
I think you capable of anything,
but here, for the first time, I
doubt you...
She gets her knees under him and in one quick move flips him
on his back, upside down. Will's dazed.
WILL (CONT'D)
Where'd you learn that..?
BELINDA
I told you--they taught us. Are
you hurt..?
She's concerned, bends over him. Will's shamming--he grabs
her and flings her over. They separate, and grinning, throw
themselves at each other, wrestling Greco-Roman style,
tumbling over and over in the tall grass, growling and
snarling, until Will manages to pin her.
BELINDA (CONT'D)
What do I forfeit..?
WILL
Thoughts of any other man···
He bends over her, kissing her neck and chest.
WILL (CONT'D)
My favorite part of you..?
BELINDA
What··?
WILL
The top of your chest, when you
blush, and the red travels from
your cheeks the length of your neck
and spreads across your breasts···
BELINDA
We'll go home like two chums, with
grass stains on our clothes.·.
WILL
Like two friends...
BELINDA
We are, I think...
WILL
Love without friendship is lust...
62.
BELINDA
And so Romeo and Juliet must be
friends··.
WILL
Because they want love--not lust
alone...
BELINDA
And they're strange, because they
want it in a world that only wants
to hate...
Will regards her. He can use that.
CUT TO
INT SOUTHWARK TAVERN WILL AND COMPANY NIGHT
Will sitting with Henslowe and the actors at their ease in a
tavern--but he's not with them. He looks into the distance-
he's seeing Belinda.
HENSLOWE (V.O.)
Will felt the joy of strangers
finding each other. He wasn't sure
what he had fallen into--he felt as
if parts of him were breaking off
and falling away, like ice off an
arctic floe. In that mood, he
returned to a place he'd once
been···
INT GAY TAVERN
The one Will saw earlier. He tentatively enters, picking his
way through the crowd up to the serving table. The TAPSTER
is a large man in heavy makeup, his hair dyed scarlet--Will
motions him over, whispers to him, counts out some money. The
tapster pounds on the table with a mug, waits for quiet.
TAPSTER
This gentleman, of unusual
generosity, has bought a round for
everyone in the house...
The crowd shouts its approval and crowds the table to fill
their mugs. Men all around Will thank him, slap his back for
his good fellowship.
TAPSTER (CONT'D)
What should we be drinking to..?
The crowd waits for Will's answer. He raises his mug.
63.
WILL
To the soul of love--which at its
very pith and secret core, is
friendship...
The whole house drinks to friendship.
CUT TO
EXT REAR OF THE THE ROSE BELINDA DAY
Belinda's in a farthingale, bewigged and pretty, holding a
fan--she's motioning to somebody inside the door at the rear
of the theater.
WILL (V.O.)
No...
BELINDA
You look lovely...
WILL (V.O.)
I hate this--we all did...
She motions, insisting. After a beat, Will emerges into
daylight. He's also wearing a dress, a wig, a fan--a
complete woman's costume.
WILL
We couldn't wait to graduate to
male parts...
But he's outside. Belinda puts her arm through his.
BELINDA
This will be good for Juliet...
WILL
Juliet's fine as she is...
BELINDA
She can be better...
Will's not happy, but he sets out alongside her, two women on
a stroll, one of them tottering on high heels.
64.
WILL
And how I hate these. How do you
balance with these great swinging
pendula··?
He means his breasts--Belinda laughs. Will sees someone
coming, groans out loud. Belinda looks--it's Widmerpool
again. She knows what to do--they turn down a side street
and out of sight.
ANGLE WIPMERPOOL
Widmerpool looks down the side street, sure he just saw Will
Shakespeare in a dress. On the chance it was, he calls out.
WIDMERPOOL
Will, if it was you, it's set for
nine a.m.···
INT WOMAN'S CHAMBER WHITEHALL PALACE GROUP DAY
Where Belinda's taken Will, to the palace, and a group of
WOMEN. He sits demurely on a chair, Belinda beside him,
struggling to remember his women's moves and not give himself
away, holding a plate of sweets in a pleasant chamber among a
circle of six women of various ages. They're discussing a
question Belinda has posed.
WOMAN ONE
A stiff one on a cold winter's
night...
The women all smile--Will does as well.
WOMAN TWO
A requirement, certainly, without
which nothing else follows··.
WOMAN THREE
That they do what their sex
dictates, and leave us do what ours
does us...
WOMAN FOUR
Which is to say, give us our
liberty...
WOMAN FIVE
Why do you ask, Belinda..?
BELINDA
It came up in a conversation, my
cousin and I...
She indicates Will--Will smiles coquettishly.
65.
BELINDA (CONT'D)
···with two gentlemen, and since we
could not find a definitive answer,
we went out to seek other
opinions...
ANGLE ROOM INCLUDING ELIZABETH
Will nearly drops his plate--the Queen herself has just
entered. He and the ladies rise to curtsy, but Elizabeth
waves them down, sits.
ELIZABETH
What is the topic?
WOMAN FIVE
Belinda raised it--what is it that
women most want from a man···?
The Queen glances at the plate of sweets. Will gets the idea
-he passes it over. Elizabeth regards him, shaking her head
at this poor thing's large hands.
ELIZABETH
That's simple--that he be tender
when he should be, strong when the
occasion calls, that he look well
at other women but make no move
towards them, that he be patient
and kind, encourage that in his
wife, and that when troubles come,
be like a rock in the ocean,
battered and wet and cold, but does
not crumble...
The ladies nod--that's it exactly. The Queen turns back to
Will, hands him one of her sweets.
ELIZABETH (CONT'D)
You should eat more of these--you
lack color...
EXT PALACE GARDENS WESSEX AND EDGAR DAY
Strolling together through the formal garden, Edgar smelling
the roses
ANGLE WILL AND BELINDA
They're leaving the palace, entering the garden. Will's mind
is racing.
66.
WILL
So that's what Juliet wants, her
liberty, to make her own choice of
man...
BELINDA
Yes, but more than that...
WILL
Romeo's total attention, his
absolute consideration ...
BELINDA
Even more...
They look up and see the two men. Will bristles at the sight
of Wessex.
WILL
Him. He makes my blood boil···
BELINDA
This way--we'll avoid him·.·
She raises her skirts and leads Will to the side.
ANGLE GROUP
But Wessex and Edgar have spotted them. They turn down a
path and cut them off.
WESSEX
Belinda, good morning, how lovely
you appear...
BELINDA
I'm plain--we both know it...
WESSEX
You don't even begrudge me
flattery...
She tries to go--Wessex grabs her wrist.
WESSEX (CONT'D)
I'm not done. I spoke your father-
! told him October was too long a
wait, that I was beside myself to
taste the joys of our married
state, and he agreed September was
preferable...
BELINDA
Why hurry? You don't love me···
67.
WESSEX
No--we marry for profit. Love is
surrender--why would I ever do
that, without a knife at my
throat..?
She pulls away but he won't let go.
WESSEX (CONT'D)
Like the mare, Belinda, you will be
broken. I've purchased a ring of
engagement--I'm having it sent
over, a large diamond I think will
impress even you...
Will can't stand it--he whacks Wessex on the wrist with his
fan.
WILL
Let go of her, churl...
WESSEX
Who is this..?
BELINDA
My cousin...
WILL
Wilhelmina, and I won't stand by
while you abuse her. You are a
brute, sir--your manners indicate
your place of birth, which most
certainly was lined with hay and
smeared with dung...
Wessex looks Will over, gets an idea. He takes Will by the
elbow and leads him to the side. Edgar shakes his head.
EDGAR
My word, I don't remember such a
cousin..·
ANGLE WILL AND WESSEX
Wessex pulling Will into whispering distance.
WESSEX
Wilhemina, tell me--have you seen
Belinda of late with any strange
men..?
WILL
I'm sure all men seem strange to
you, not being in your exact
image...
68.
WESSEX
You evade.
WILL
My lord, if she were seeing a man-
if she was head over heels
passionate, if they were sweating
buckets day and night, if their
skin was so hot it peeled off in
sheets, if their abandon destroyed
beds, shattered windows and brought
down entire neighborhoods--! would
not tell you.·.
He blips Wessex on the nose with his fan, and rejoins
Belinda, taking her arm. Wessex watches them go.
EXT GARDEN LOGGIA WESSEX AND EDGAR TRACKING
Wessex storms down the loggia bordering the garden with
Edgar. Here and there, men of the court stand in
conversation.
WESSEX
She knows--everyone in the world
must, except me, being dependent on
you...
ANGLE TWO MEN OF COURT
As Wessex and Edgar approach them, MAN ONE's telling the
other about an encounter he had with a girl.
MAN ONE
I spoke her not once but twice.
Imagine that--two times..!
He holds two fingers for emphasis--the first and the pinky.
Seeing this, Wessex explodes--he turns on the man, going for
his throat.
WESSEX
What did you call me..?
MAN ONE
Upon my honor, nothing, my lord...
WESSEX
Cornuto--the sign of the horns. You
see--he calls me cuckhold..!
Edgar pulls Wessex off.
69.
EDGAR
My lord, I think he was signifying
a quantity...
He calms Wessex down, leads him away.
ANGLE TWO OTHER MEN OF COURT
Further down the loggia, two more men. MAN TWO has a bit of
food between his front teeth--he tries to loosen it with his
finger and thumb.
MAN TWO
I believe I may have it, finally...
Wessex sees him. That's it--he wheels on the man, his sword
flashing as he draws it.
WESSEX
He gives me the sign of the fig.
Thieves steal figs from my
garden...!
He thrusts, piercing the man's cape, inches from his side.
WESSEX (CONT'D)
You see--they all know. They mock
me··!
Edgar again pulls Wessex off, leaving Man Two trembling.
Wessex stops at a window, catches his breath as he checks his
reflection.
WESSEX (CONT'D)
It's all metaphor. How I hate
poetry..
EXT/INT WILL'S ROOM WILL AND BELINDA DAY
Hoisting their skirts as they climb the stairs to Will's
room.
WILL
Somebody should put an end to that
man...
BELINDA
But we can't--we're women. It's
their world--their genitals prove
it...
On the landing, Will suddenly turns to Belinda--he's got it.
WILL
Protection.
70.
BELINDA
(delighted)
Yes...
He sweeps her up and carries her into the room.
WILL
What all women want, Juliet from
Romeo--her father, the one she'll
marry, all the men in her life are
dangerous, she wants a man of her
own to protect her from the others,
why she wants Romeo, why she'd
throw herself at him...
He lays her down down on the bed and embraces her.
WILL (CONT'D)
Grab him, hold him, claim him...
BELINDA
Yes...
Will kisses her--he's so happy.
WILL
You are beautiful...
She smiles, shakes her head, self-consciously.
WILL (CONT'D)
You're a muse, descended from
heaven, bearing inspiration...
BELINDA
I'm different.
WILL
You're beautiful...
BELINDA
I have a mirror. I'm unusual..·
WILL
You are beautiful.
She accepts it. Will goes to take off an earring. She stops
his hand.
WILL (CONT'D)
You like me in silks·.·
She smiles, her eyes sparkling, and rolls on top of him.
71.
CUT TO
INT WILL'S ROOM WILL DAY
Later in the day--Belinda has gone. Shirt open, hair
touseled, bursting with inspiration, Will writes, his quill
racing.
HENSLOWE (V.O.)
The pages flew. Someone, a muse,
Belinda, a mixture of Will and
Belinda in his head--was dictating
lines, and he strove to write them
down...
INT WILL'S ROOM WILL AND PETER NIGHT
Evening--a knock on the door. Peter sticks his head in--Will
hands him a stack of pages. Peter takes them and exits.
INT TAVERN NIGHT PETER
In a quiet corner, he copies Will's draft onto sides for the
actors, making notes on a long sheet of cardboard, the start
of the backstage plot board.
EXT ROOF OF WILL'S ROOM WILL NIGHT
Taking a break, Will's climbed out his skylight onto the
rooftop. Holding pen and paper, he looks over the moonlit
city.
HENSLOWE (V.O.)
He was obsessed with her--he saw
her everywhere, and in her absence,
he was drawn to things, that being
beautiful, were her allies--the
lights of the houses, the night
wind, the pale and lambent moon···
INT WHITEHALL PALACE BELINDA'S CHAMBER BELINDA NIGHT
Alone, dreamy-eyed, she sits before a vanity mirror staring
at herself. Around her, creams and paints in unused jars.
HENSLOWE (V.O.)
And Belinda? She thought only of
him...
72.
BELINDA
Me beautiful? That's Cupid
speaking--and he's blind. But what
if I am? Could I be..?
She impulsively opens a jar, takes a dab of cream and spreads
it on her cheek.
INT PALACE COURTROOM BELINDA AND NURSE DAY
Crowded with the pearls of the realm. Belinda makes an
entrance, on her Nurse's arm--she's as stunning as she can
make herself. With the Nurse smiling smugly, they pass
through the crowd. Murmuring, reacting, it spreads for her-
they've never seen Belinda De Lesseps this radiant before.
Wessex, to one side, glowers--this only makes him more
convinced she's with somebody. The two sisters see her and
grumble. Edgar, sitting with his parents, sees her--his
mother begs him to do something, his father pokes him sharply
in the shoulder.
HENSLOWE (V.O.)
But troubles were brewing.
Troubles you could predict...
INT WIDMERPOOL'S TAILOR SHOP WIDMERPOOL DAY
At a table, composing a letter, while around him, his staff
works late, fitting the latest gaudy court wear on dummies.
HENSLOWE (V.O.)
Troublers you couldn't.
WIDMERPOOL
(to himself)
To John Shakespeare. Dear Master
Shakespeare. Dear John.··
He likes that--he begins the letter.
WIDMERPOOL (CONT'D)
As an ancient friend of you and
your family, and great friend and
admirer of your son William, it is
with a heavy heart I write to tell
you what a terrible thing has
become of him...
73.
CUT TO
INT THE CURTAIN THEATER ROWLEY, WIFE, AND BRAVOS DAY
The theater where Lord Pembroke's men play. Clearly the home
of the most successful company--its decorations and size make
the Rose look second-rate. The company prepares for the
afternoon show--Richard Rowley's WIFE, a comely woman, is
passing back stage. She stops at the sight of her husband in
deep conversation with three husky ACTORS. Spotting his wife,
Rowley glares at her--he won't continue until she passes on.
INT ROSE STAGE DAY
Busy, like the Curtain--the company works up a new scene. The
others watch Sam and John, playing the Nurse, on stage.
NURSE
Lord how my head aches! What a
head have I!/ It beats as it would
fall in twenty pieces./ My back
at'other side--ah, my back, my
back!/ Beshrew your heart for
sending me about/ To catch my death
with jauncing up and down!
JULIET
!'faith, I am sorry that thou art
not well./ Sweet, sweet, sweet
nurse, tell me, what says my love?
NURSE
Your love says, like an honest
gentleman, and a courteous, and a
kind, and a handsome, and I
warrant, a virtuous--Where is your
mother?
JULIET
Where is my mother? Why, she is
within. How oddly thou repliest!/
'Your love says, like an honest
gentleman,/ "Where is your
mother?"'
NURSE
O God's Lady dear!/ Are you so
hot? Is this the poultice for my
aching bones?/ Henceforward do your
messages yourself.
John is a great Nurse--the company's enjoying it, but one by
one, their smiles fade as they turn, and see, standing at the
theater's rear, the three Pembroke actors, their arms folded,
clearly there to make trouble.
74.
EXT LONDON STREETS WILL AND HENSLOWE TRACKING DAY
They're walking together, Henslowe clearly upset.
HENSLOWE (V.O.)
And great troubles of my own...
HENSLOWE
He's in my lap all twenty-four
hours, he's in my house, he tells
my children I'm naughty. He thinks
I'm trying to cheat him···
WILL
Are you?
HENSLOWE
Of course I am--how else will I
ever see a penny out of this? You
knew I'd cheat you..·
He pauses as the three Pembroke actors pass, their work,
whatever it was, done. They don't register at first.
HENSLOWE (CONT'D)
···You also knew I'd leave enough
to make you happy. You must help
me, Will--Fennyman's everywhere; we
must kill him before I go insane···
(they register now)
Did you see them...?
WILL
Who..?
HENSLOWE
Those three. They're Pembroke's-
from the direction of...
He looks in the direction of the Rose. A plume of smoke rises
over the rooftops. Henslowe lets out a groan, starts to run,
Will following.
INT ROSE THE COMPANY
They turn as Will and Henslowe hurry in. There's been a
fire-- it's blackened one gallery side but it's almost out;
Peter, Wabash and Bashford douse the last flames with water
buckets. On stage, Thomas (Belinda) is looking at a torn
sleeve, John has a bloody nose and blood on his dress, James
holds a hurt hand--only Sam stands aloof.
HENSLOWE
(agonized)
My theater--my poor Rose...
75.
BASHFORD
Worse than it looks. A little
paint, judiciously applied...
HENSLOWE
The Pembrokes..?
All nod. Will's gone up on stage to Thomas.
WILL
Did you fight..?
JAMES
(indicating Sam)
Except him...
SAM
I'm paid to act, not bodyguard...
JOHN
We were outnumbered--there were
eight in total···
HENSLOWE
We passed three in the street...
JOHN
Each fought with the strength of
three...
JAMES
They had a message. From Rowley...
PETER
He'd heard you'd risen from the
gutter to put up a play. He warns
you it will be bad for your health,
and ours·..
FULLER ANGLE FENNYMAN LAMBERT AND FREES
Henslowe shudders as Fennyman, his henchmen in tow, storms in
from backstage. Fennyman takes in the scene.
FENNYMAN
What's all this..?
HENSLOWE
Nothing--a bit of vigorous
competition···
FENNYMAN
Who did this--who dared..?
PETER
The Pembrokes.
76.
FENNYMAN
I hate them. Where do they
live..?
He turns to go--Henslowe gets in his way.
HENSLOWE
Mister Fennyman, please--you're
unfamiliar, they're the most
powerful company in town, favored
by the court, this is normal,
ordinary business, cut and thrust,
the thing is to not be emotional,
to turn the other cheek...
During this, Fennyman has motioned to Frees--Frees claps his
hand across Henslowe's mouth, which Henslowe accepts.
JAMES
He's right...
JOHN
They're tough...
Fennyman turns to Wabash--it may be the first time he's
noticed him.
FENNYMAN
What did you do?
WABASH
I don't have a part···
FENNYMAN
(to Thomas)
You..?
THOMAS
(with a glance at Will)
I say we have the same right to
perform as anyone else. But I
defer to the group...
FENNYMAN
You, poet..?
Will regards the damage.
WILL
I say we're a company, recently
born, now in its adolescence···
Henslowe gets Will's drift--he tears Frees' hand off.
HENSLOWE
Will, don't do this. Bethink
yourself; you're a sharer--you're
management·..
77.
WILL
...and if we lie down to this and
not respond, we will never grow
up...
FENNYMAN
At least one of you with balls. Who
joins us..?
Thomas steps forward. The company eye each other. John
holds James back, but James breaks free. When John follows,
James tries to bat him away. Bashford steps up, then Peter,
Wabash-- only Sam holds back.
SAM
I'll protect against further
vandalism...
That's it--with Will and Fennyman leading, they head off.
Henslowe chases after.
HENSLOWE
Will--John--Peter, think of my
future...
EXT STREET THE COMPANY TRACKING
Determined, they push through the street crowd, Will,
Fennyman, Frees and Lambert in the lead.
FENNYMAN
Mister Lambert, name something
appropriate...
LAMBERT
An apiary.
FENNYMAN
Just the thing--fetch me an
apiary...
Lambert peels off to do it. Henslowe's raced ahead of them,
now cuts them off.
HENSLOWE
Believe me, this is commerce,
nothing more--I've been through it
before, to retaliate will make
things worse. I'll speak to them-
perhaps a small contribution to
their welfare: I'll point out how
small we are, unassuming, how we'd
never conceive taking away
a single one of their customers···
Frees shoves him backward into a vegetable stand.
78.
FENNYMAN
Cutpursing to crooking to money
lending--as I've climbed the
ladder, I've held to one principle
and that is: smash. A
man insults me, smash him, he
strikes me, smash his house, he
hurts my house, beware his aged
parents. I am not one of your tit
for-tat niceties; smashing's got me
where I am...
EXT STREET AND THE CURTAIN
They turn a corner--the round walls of the Curtain loom at
the intersection. Lambert is waiting--he's brought a heavy
leather sling and, at the end of a stick, an apiary--a
buzzing beehive. He helps Fennyman fit the beehive into the
sling. Henslowe grabs Will.
HENSLOWE
This all comes from your diddling
Rowley's wife···
WILL
It comes from having a good play...
HENSLOWE
Is it? You haven't said
anything··.
Will steals a glance at Thomas.
79.
WILL
It may be...
Henslowe lets go--instant mood change. Ready, Fennyman looks
at the company. It nods its approval. He begins to whirl the
beehive, whirling himself around, faster and faster, until
it's a blur, and then, while everyone goes ooooh, he
launches it. The beehive sails into the sky, up over the
theater wall and out of sight.
INT CURTAIN THEATER
Halfway through the afternoon's performance, the pit shoulder
to shoulder, gallerys jammed, the demi-monde of London.
Rowley's performing a comic scene, the house in the palm of
his hand, when the beehive smashes to pieces center stage.
The actors around him stop. The house goes silent. There's
a buzzing sound.
EXT THE CURTAIN
A beat--and then the house explodes, the crowd racing out of
the theater past Fennyman and the company.
INT CURTAIN STAGE
The actors fleeing the furious bees.
EXT CURTAIN COMPANY
Roaring at the sight of whores trampling lords, pickpockets
flattening apprentices in their exit.
EXT REAR THEATER DOOR
As the Pembrokes escape out the backstage door. Fennyman's
there, with Will, Lambert, Frees, Peter. As each of the
actors that trashed the Rose appears, Peter fingers them-
Lambert or Frees clobbers them.
INT THEATER ROWLEY'S WIFE
Watching from a safe place, a smile behind her hand.
80.
CUT TO
EXT LONDON STREETS THE COMPANY DAY
Returning happily from their triumph--revenge has welded them
together. Will's out front with Fennyman.
FENNYMAN
That's what your play needs--blood,
a little violence. All this limp
talk of romance, eyes as conduits,
swains swooning for love all
because she opened her legs and
he'd the presense of mind to do
something with his John Bull
besides be-piss his leg with it. Dan
Cupid, tiny arrows, sighs and
suicides--it makes me sick...
EXT STREET CORNER MAKEPEACE ABSOLUTION
The self-apppointed Puritan censor, making another street
corner speech.
MAKEPEACE
There are no plays in the Bible.
And wherefore do we need plays at
all? Wastes of honest time, of
hardsweated money, we'd have none
were it not that she likes them,
you know my meaning, she there,
revelling in Whitehall, our great
ancient virgin·..
A fist comes out of nowhere and puts him in orbit. It belongs
to Fennyman, who keeps going.
FENNYMAN
Idiot--what do you know about it?
INT TAVERN
Where Fennyman's taken Will for a post-fight drink. He's
still on a roll.
81.
FENNYMAN
What's love--sixty seconds in the
hay and a lifetime sentence, a
brain fried in the sun, deception,
selfdeception, the rank opposite
of shitting, an honest bodily task
that at least disposes of garbage
instead of acquiring more of it...
He stops to wipe his mouth.
FENNYMAN (CONT'D)
Do I insult you..?
Will's been looking on with wonderment.
WILL
No, not at all...
(tentatively)
In fact, would you like a part··?
CUT TO
INT STAGE THE ROSE DAY
The company looks on amazed as Fennyman prowls the stage,
reading off sides, bumping other actors out of his way as he
declaims the part of Mercutio.
FENNYMAN
Romeo! humors! madman! passion!
lover!/ Speak but one rhyme and I
am satisfied. Cry but 'Ay me!',
pronounce but 'love' and 'dove'.
Why, is not this not better? Now
thou art sociable, now art thou who
thou art. For this drivelling love
is like some great imbecile that
runs lolling up and down to hide
his member in a hole...
ANGLE THE WINGS WILL AND HENSLOWE
Watching as Fennyman launches into his Queen Mab speech.
Will's pleased--Henslowe is aghast.
WILL
He'll be so busy with lines and
costumes, he'll be out of your
hair. Besides, the play needs a
cynic--it makes Romeo's love stand
prouder. Who better than Romeo's
best friend? James is a friar
now, by the way···
82.
HENSLOWE
Not a sea captain..?
WILL
Mercutio's killed by Juliet's
cousin--Tibaldo, I think--therefore
Romeo must avenge him, therefore
he's torn between love and honor,
his two great passions, either one
of which can undo him...
Will turns and Henslowe follows him back stage, through
increased activity--a COSTUMER is fitting the Hemmings
brothers, MUSICIANS decide with Peter where their music will
go.
HENSLOWE
We have no Tibaldo···
Will stops before Wabash, standing befuddled as usual.
Wabash points at himself--me? Will nods, carries on.
WILL
And the marriage must be in the
middle. The soul of love is
protection...
HENSLOWE
You told me it was courage··.
WILL
It is--then friendship. Love has
layers, Phillip. It's like diving
into the ocean--first beautiful
fish, then deeper, pearls inside
oysters, and even deeper, jewels
from the wrecks of treasure ships-
and what's deepest about love
happens after marriage, not before,
so it belongs in the middle.
Fennyman's right--I keep smashing
the play; whenever I do, it gets
better...
HENSLOWE
This is not like you, Will...
WILL
No, probably not.
HENSLOWE
You can't keep changing everything.
There are certain rules--the
audience expects them. And what's
the third act..?
WILL
I don't know yet...
83.
HENSLOWE
Then find one. Steal one--steal
from yourself. It is still a
comedy·.·
Will nods.
HENSLOWE (CONT'D)
Simple, inoffensive...
WILL
You should be happy, Phillip···
HENSLOWE
You're smiling. That's what's
different about you--you're
speaking continually through a
smile, it alters the tone of your
voice...
(realizing)
Will, you're in love...
Will stops, takes him by the shoulders.
WILL
I am, Phillip. Envy me. She is the
one··.
He kisses Henslowe full on the cheek.
WILL (CONT'D)
And she's giving me the play...
He bucks him up, heads off. Henslowe calls after.
HENSLOWE
You might ask her for the third
act...
84.
CUT TO
INT WILL'S ROOM DAY
Empty. The skylight swung open--daylight streams hrough.
EXT ROSE ROOFTOP WILL AND BELINDA
Stretched out naked on the thatch, side by side, visible to
anyone who'd care to look.
EXT CEMETERY DAY
An overgrown graveyard outside the city. Belinda lies on a
tomb, her arms crossed, while Will bends over and kisses her.
It resurrects her--she sits and opens her eyes, like a
sleeping princess.
BELINDA
I rise...
HENSLOWE (V.O.)
They made love on rooftops, in
cemeteries, always searching for
the path to the very soul of
love...
INT SMALL SPACE WILL AND BELINDA DAY
They're kissing passionately in a cramped dark space lit only
by a tiny window. They part--Will smiles, opens a door, and
exits.
INT ST. PAUL'S CATHEDRAL
For that's where they've been, inside one of the
confessionals to one side of the nave. As Will crosses
towards a distant pew, he passes near a woman PARISHONER, who
smiles approvingly at the devotion of this nice young man.
ANOTHER ANGLE
Now the confessional door opens and Belinda emerges. As she
passes the parishoner, the woman's jaw drops.
ANGLE WILL AND BELINDA
85.
He sits in the middle of the transept, under the vaulted dome
high overhead. Light slants in through the huge stained-glass
windows--the choir sings. Will lifts his arm and Belinda
slides under it. He looks up at the light.
HENSLOWE (V.O.)
Each time they thought they could
not go deeper, they went deeper.
They felt they were close to bottom
that soon, they'd touch. Will
thought at the very bottom might be
Heaven. Like all of us, he'd spent
his life wondering if there was
one...
CICELY (V.O.)
Is there..?
HENSLOWE (V.O.)
Nobody knows for sure, but for Will
it didn't matter, because he'd
already seen it, with her...
She holds him closer.
HENSLOWE (V.O.)
And Belinda? She was feeling the
first glow in her belly that told
her she was carrying his child···
CUT TO
EXT CITY SQUARE THE STRATFORDIANS MORNING
At a table outside a tavern, the renuion party, holding
heraldic banners and bunting labeled "Stratford"--Widmerpool,
NED FIELD, on his first ale of a long day, JUDSON MORGAN and
ABNER LANG, his arms around a big bass drum. Widmerpool
thrums his fingers, looks up at the church clock tower across
the street. It's striking 9:15.
INT WILL'S ROOM THE ROSE WILL AND BELINDA
The room sunny, they warm in each others arms, sleepy from a
night where sleep was the last thing on their minds.
86.
HENSLOWE (V.O.)
They thought they were invincible-
lovers, in my experience, often do.
But they were not···
EXT TAVERN STRATFORDIANS
The group's getting antsy. Widmerpool stands.
WIDMERPOOL
I should fetch him...
LANG
He said he wouldn't come...
MORGAN
We should be off--we're losing our
day···
Widmerpool takes his seat again.
WIDMERPOOL
All right--give him ten more
minutes·.·
He makes room for two men squeezing past who take a table
next to them. It's Edgar and his manservant, DEADBOLT.
Widmerpool glances them up and down.
INT WILL'S ROOM WILL AND BELINDA
Savoring the quiet morning.
WILL
I would be locked inside you.
Permanently stitched, so we were
four-armed and four-legged···
BELINDA
Awkward. We'd scare children...
WILL
Awkward at first, but we'd grow
used to it, and over time we'd fuse
and become one together, one sweet
egg, white and yolk···
She giggles.
EXT TAVERN WIDMERPOOL AND EDGAR
Edgar's aware that Widmerpool is staring at him.
87.
WIDMERPOOL
Sir Edgar De Lesseps, is it not..?
(pinching his sleeve)
Very fine, Mantuan--but I daresay
whatever you paid, I could do
better. Widmerpool, Oliver--I'm in
Threadneedle Stret···
( (noticing)
Oh, my, that ring.··
He's spotted a signet ring, the letter A, on Edgar's hand.
WIDMERPOOL (CONT'D)
Very fashionable these days···
EDGAR
Not fashionable at all. A for
Arundel--that's my family···
WIDMERPOOL
I've seen it twice in recent days,
on either occasion on the hand of
one in the company of my good
friend the celebrated poet William
Shakespeare--first a boy, then a
girl. Both, as a matter of fact,
looked like you···
EDGAR
A girl..?
He looks over at Deadbolt, his expression asking, "do you
think?...". Deadbolt's response is, "could be..."
EDGAR (CONT'D)
Where is this Shakespeare···?
WIDMERPOOL
Not far. He attends our
Stratfordiania--in fact, I was
about to get him. Would you walk
with us..?
Edgar and Deadbolt would. Widmerpool's delighted--he
gathers up the others and they set off.
CUT TO:
INT WILL'S ROOM WILL AND BELINDA MORNING
Their drowsy stillness broken by someone calling Will's name
from the street. Will gets up, peers through the curtains.
His face falls.
WILL
It's that pest Widmerpool. If
we're quiet, he'll go away..·
88.
EXT STREET GROUP
In the street outside, waving their Stratford banners.
Widmerpool keeps calling up to the window, but there's no
response.
WIDMERPOOL
He must be there...
Deadbolt hisses to Edgar, pointing out that with a barrel and
a foothold on the wall, they can climb easily to Will's roof.
Edgar follows him.
ANGLE WALL
As Edgar follows Deadbolt up the wall onto the roof.
EDGAR
If she is here with the poet,
Deadbolt, think of Wessex's debt to
me...
INT ROSE THEATER STRATFORDIANS
Undaunted, Widmerpool leads the others up the stairs to the
landing outside Will's room.
INT WILL'S ROOM
Will can hear them coming. Exasperated, he hides Belinda
away in a tall wardrobe, wraps himself in a sheet and strides
to the door, flinging it open. Before he can speak, Abner
Lang booms his bass drum and they march inside, singing the
Stratford fight song Widmerpool's written for the occasion.
Will can't block them--they flood the room, each greeting him
profusely, spreading out for their own personal inspection of
a famous writer's workplace.
EXT ROOF EDGAR AND DEADBOLT
The singing and booming rising through the thatch as Edgar
creeps towards the skylight.
89.
EDGAR
No longer Edgar the dolt, Edgar the
know-nothing, the supernumerary.
It shall be Edgar the bold, Edgar
the wise, Edgar the extremely
competent...
He peers in, trying to see.
INT ROOM
Somebody has opened the wardrobe--Belinda's revealed,
covering herself with her hands. The Stratfordians make much
of that, ignore Will's shouts that they leave. He throws a
cape over Belinda.
ANGLE EDGAR
Believing he's spotted Belinda through the skylight.
EDGAR
(moving around)
It's her! Deadbolt--give me
room···
INT ROOM
Resorting to extremes, Will pulls out his father's sword.
WILL
If you do not leave this same
minute, this will speak for me··.
That gets their attention--they all freeze.
WIDMERPOOL
But Will--where's your fellowship?
We must stick together, we who have
drunk of the Avon...
WILL
I left the Avon--I hate the Avon···
For emphasis, he raises the sword. The tip goes through the
roof thatch.
ANGLE EDGAR
And into Edgar's foot. He yowls, dances in pain, holding his
foot--Deadbolt watches, open-mouthed, as he loses his balance
and topples over the edge into the street.
90.
INT ROOM
They've heard the yowl--Will uses the pause to shove them out
bodily; he latches the door behind them. Belinda's at the
window--Will joins her there, in time to see one man helping
another hobble around a corner.
BELINDA
It's my brother. He followed me
here···
WILL
No, it wasn't...
BELINDA
It was--and he was hurt.··
WILL
It's a co-incidence. A man fell
the street outside my window, a
million to one chance: it and us
have nothing in common...
Saying this, he's locking the window, pulling the curtains
across it. He returns to the bed, holds out his hand.
WILL (CONT'D)
Come to bed...
She won't--she doesn't believe him, and Will doesn't believe
himself. She starts to cry. He takes her hand and guides her
back to the bed.
ANGLE WILL AND BELINDA
He pulls the sheet over their heads, like a tent. He holds
her closely.
WILL
It will turn out...
She shakes her head, sobbing.
WILL (CONT'D)
Your parents will change. They'll
be angry at first, then forgive us
when they see the love we have...
She won't stop, no matter how he comforts her.
91.
WILL (CONT'D)
The lovers run away--they hide in
the forest. They wait. Her
father, her mother, the entire
court searches for them. Everyone
is overcome with grief...
She knows who he's talking about--Romeo and Juliet. A beat-
she joins in.
BELINDA
Her parents blame themselves for
driving her away...
WILL
And then, emotion at its highest,
the lovers return. Everyone is
overjoyed. Instantly, the parents
open their arms to them, all is
forgiven, Paris forgotten. Even the
King forgives them, for he too is a
friend of love...
He forces a smile. But the fantasy lies flat--both know it's
whistling past the graveyard.
CUT TO:
INT WILL'S ROOM WILL AND BELINDA DAY
Some time later. Belinda's cried herself to sleep--he's
laying her down, gently slipping from the bed so he won't
wake her.
EXT QUARTERDECK SHIP DAY
Rocking at its mooring on the Thames. The ship's CAPTAIN
looks over the bejeweled sword of his father that Will's
handed him. Two SEAMEN stand by.
WILL
It's worth it...
CAPTAIN
More, for that matter···
WILL
She may not go willingly. It's not
a kidnapping. It's from devotion-
this is for her best welfare···
92.
CAPTAIN
We do as you say, sir...
Will nods his thanks.
INT WILL'S ROOM DAY
Will bursts into the room, the seamen behind him.
WILL
Belinda, I've arranged it. You're
free···
The bed is empty. Unbelieving, Will searches theand room-
then stops short. On his table, his play manuscript--on the
title page, an imprint of Belinda's red lips. Shouting, he
runs out, past the seamen.
INT WHITEHALL PALACE HALL DAY
Ladies are being flung high into the air, squealing with joy.
The great hall's filled with the glitterati of court, and in
the center of it, a dance--the volta, two lines facing, lords
and ladies, meeting in the center and on the third measure of
the sprightly music, the lift, the men throwing the ladies up
with as much leg and swirl of skirt as they can. Will pushes
through the throng, searching for Belinda.
ANGLE WILL AND BELINDA
He sees her--she's in line with the woman dancers. He shoves
through the crowd, comes up behind her. She wears
a fixed smile--standing across from her in the line
of men is Wessex, with the smile of a victor.
WILL
You did not have to do this...
Her smile doesn't waver.
WILL (CONT'D)
You did not have to submit to
him...
BELINDA
I did not. I negotiated...
She dances to the center of the room, circles with Wessex,
arm in arn--Will must wait, frantic, until she returns to her
place. Wessex spots Will--so, to one side of the room,
glowering on a cane, does Edgar.
93.
BELINDA (CONT'D)
He said he'd close down the play-
he said he'd throw you in the
Tower. I said if he did not, I
would marry him...
WILL
No ·· !
In the opposite line, Wessex claps his hands, like an animal
trainer--Belinda turns away, smiles at him. Will tries
holding her as she moves out to meet Wessex--he follows her
into the dancers' midst. Wessex flings Belinda up on the
proper measure--they circle Will, he helpless, jostled by the
dancers.
WILL (CONT'D)
Belinda, don't be my ransom--you
are too fine...
BELINDA
Don't cry--nobody cries here.··
Will follows her back towards the line.
WILL
I'll burn the play...
BELINDA
You can't--I'm going to be in it,
once anyway, the first day--that
was one of my terms. Go--I'll come
later...
He's speechless. Wessex dances past.
WESSEX
Have your play--in a day, it will
be forgotten. While I get her for
life...
Behind her smile, Belinda's tortured.
BELINDA
Will, don't you see--I'm doing what
I want to do, and so am happy.
Please--leave me...
He can't--he stands there, out of place, in the swirl of the
crowd.
EXT GARDENS LOGGIA WILL AND NURSE
Lost, Will stumbles down the loggia--he looks up and sees,
sitting in the garden's center, the Nurse, alone, crying.
Their eyes meet.
94.
WILL
She said nobody cried here...
NURSE
Clearly, she lied.
He crosses to her--she clutches him.
WILL
We can't let him have her..·
NURSE
Her mind's made up--no one can
change it. It's the saddest day
of my life...
CUT TO
INT SPACE HENSLOWE AND CICILY DAY
In some shadowed place--where's not yet clear. This is
Henslowe the narrator--he's in his late seventies, frail, his
hair wispy. Cicely, his granddaughter, is a solemn twelve.
Henslowe wipes away a tear.
HENSLOWE
It was sad. You don't see love
like that very often.
It's rare--like solar eclipses or
tidal waves...
CICELY
What happened..?
HENSLOWE
I was looking everywhere for Will.
I couldn't find him--what a time to
disappear. It turned out he'd
locked himself in his room...
INT THE ROSE WILL'S ROOM DAY
The play ms. on the work table, the page with Belinda's lips
on top. The page is stained--and now more drops fall on it.
They're tears, Will's--he's leaning over the table, his face
in his hands, crying.
EXT STAIRWAY TO WILL'S ROOM
As Henslowe puffs up the stairs to the landing. Peter sits
vigil outside.
HENSLOWE
Anything..?
Peter shakes his head. Henslowe knocks on the door.
95.
HENSLOWE (CONT'D)
Will, it's Phillip.
PETER
It's no use...
He points to a tray of untouched food by the door. Henslowe
tries again.
HENSLOWE
Will, you must answer. You can't
simply languish in there...
No resosnse.
HENSLOWE (CONT'D)
Stay with him...
Henslowe starts down the stairs.
PETER
What about the play··.?
From the slump of his shoulders, it's clear Henslowe has no
idea.
INT WILL'S ROOM NIGHT
It's evening. Will sits red-eyed, lit by the fire, staring
at the page with Belinda's lips. He puts that aside, picks
up a chunk of the play, maybe half, flips through it. He
stands, crosses to the fireplace and hurls the pages in. He
watches them burn, curl to ash. He goes back to the table,
sits heavily. He knows what he must do. He takes his pen,
dips it, takes a blank sheet. He starts to write.
INT WILL'S ROOM NIGHT
Midnight. A candle burns low--Will, sobbing, writing as fast
he can. A stack of new pages grows.
CUT TO:
INT TAVERN ACTORS AND FAMILIES NIGHT
The actors around a table at a nearby tavern. BASHFORD'S
WIFE is with him, the Hemmings brothers with their WIVES and
KIDS underfoot. There's a general air of gloom.
96.
JAMES
I've been in good plays and bad-
that's the risk you take--but I've
always known what I'm supposed to
say some time before opening day...
JOHN
The Nurse has her lines...
James bats him, but only half-heartedly.
SAM
My dress is the color of puke...
JOHN
I suppose it's up to us to save it.
What do you think, Wabash..?
WABASH
This is my first play.
James feeds one of his kids from his plate.
JAMES
What do we think of Will..?
SAM
Scattered. Doesn't know what he
wants..
BASHFORD
(looking up)
He took us each off the street.
He's done well by us before. We
know him--it's up to us to stand by
him no.·..
JAMES
Two days to go and we're not off
book..
With a glance at his wife, Bashford stops a passing server.
BASHFORD
(showing with his fingers)
I'll have a very small ale...
INT HENSLOWE'S HOUSE NIGHT
At the same time, Henslowe at home, at his dining table, his
hands through his hair. The long-suffering MRS. HENSLOWE
feeds him.
HENSLOWE
I never asked for riches, glory...
His two DAUGHTERS, eight and twelve, dressed for bed, hurry
in for a goodnight kiss, then run to their room.
97.
HENSLOWE (CONT'D)
I'm no artist. Enough to retire,
a farm perhaps, watch the sheep
fatten, make small ventures--not
globe-girdling quests, packets to
France, lace. How did I get in
this business..?
His wife puts her arms around him.
WIFE
You say this every time...
INT ROSE LANDING PETER NIGHT
Towards three--a hand is shaking Peter awake. He looks up-
it's Will, gaunt, bleary-eyed, in the doorway. He hands him
a sheaf of pages.
PETER
Master Shakespeare...
WILL
Copy these--I'll have more···
Peter stands to leave.
WILL (CONT'D)
And Peter, I find myself without a
sword. Please, bring me one from
property...
PETER
What sort of sword···?
WILL
The sharpest...
He shuts the door. Peter hurries off.
INT WILL'S ROOM DAWN
First light through the window. Will finishes the last page
of the last scene. He puts down his pen, leans back. It's
done.
98.
CUT TO
INT THE ROSE STAGE GROUP DAY
The company is gathered--Henslowe, the actors, bit players,
costumers, grips, musicians. They're reading Will's
revisions, passing the pages around. Will sits to one side,
waiting for them to finish. Henslowe finishes first--he says
nothing. The other reach the last pages, one by one look up.
Nobody speaks. Henslowe finally clears his throat.
HENSLOWE
They die?
Will nods.
HENSLOWE (CONT'D)
Both of them. It's a tragedy...
WILL
It must be. I've searched for the
soul of love, and the soul of love
is tragedy, because all love ends.
Even at its highest, we all know it
will end--love of man for woman,
parent for child--it will end, it
always ends, and that's why we hold
so closely. If we lived forever,
we would not love as hard...
The company's silent. Henslowe only sighs--it's over.
SAM
I don't die--I marry...
(he stands up)
And I quit.
PETER
You can't. It's not done...
SAM
Then here I begin a tradition. And
you're fools if you don't--you'll
look like complete and utter fools
up here...
He heads off. The actors eye each other--they're afraid he's
right. Still, nobody follows him. Peter finally stands.
PETER
We have the night. Let's begin...
ANGLE FENNYMAN FREES AND LAMBERT
Entering from the theater's front. Sam's passing him-
Fennyman grabs him.
99.
FENNYMAN
Where's he going?
SAM
Leaving.
FENNYMAN
Not without my permission...
SAM
Go on, hit me--you still have no
play....
WILL
(from the stage)
Mister Fennyman..
(Fennyman looks up)
Let him go...
Something in his tone makes Fennyman comply--Sam exits past
him.
FENNYMAN
Then who plays the girl..?
He looks over at Lambert--Lambert shakes his head vigorously.
PETER
I will. I'll read her, if I have
to···
FENNYMAN
Would anyone pay to see that..?
WILL
Some might. A few·..
FENNYMAN
Then I'm in--I didn't memorize all
those suffering words for
nothing...
ANGLE WILL AND HENSLOWE
Henslowe sits dejected. Will touches his shoulder--it's a
gesture of apology for what he's put his old friend through.
Henslowe says nothing.
CUT TO
INT THE ROSE BACKSTAGE WILL AND BELINDA NIGHT
Will passes through--beyond him, the company's rehearsing by
candlelight. He looks up--Belinda is standing there, dressed
as Thomas. They kiss--long, slow and sadly.
100.
INT BACKSTAGE WILL AND BELINDA
He's sat her in a corner--he waits while she reads the
pages.When she puts the last one down, she's weeping.
WILL
What do you think··?
BELINDA
(looking up)
It's perfect···
Will sighs.
WILL
Sam's gone. You can do Juliet--you
know most of her lines...
Belinda nods--she thinks she can.
BELINDA
Then who will be Romeo..?
WILL
Romeo is me.
CUT TO
EXT PEMBROKE'S THEATER EDGAR, ROWLEY, AND ACTORS NIGHT
The Pembroke actors surround Rowley, watching as Edgar, on
his cane, passes out some money.
ROWLEY
Your generosity does not convert
us, my lord. We would do this for
nothing...
EDGAR
Then tomorrow--at the Rose...
INT MAKEPEACE'S ROOM MAKEPEACE NIGHT
In his dingy room, on his knees, his eyes glinting, praying
before his private, home-made altar.
101.
MAKEPEACE
God, give me strength, let me be
thy avenging arm, striking down thy
enemies, the great Babel, the Mog
and Magog, those abominations in
thy sight, or let me perish in the
attempt. This I pray in your name.
Amen...
EXT LONDON LONG SHOT DAWN
As the sun rises over the city, tinting the rooftops.
EXT ROOFTOP OF ROSE DAY
From the stage roof, Frees fires the cannon that announces
that afternoon's performance. The blast echoes over the
city.
EXT LONDON STREETS
The city hears--and responds. Apprentices slip from their
work, housewives leave their servants in change, whores exit
their brothels, lawyers postpone cases at in the Inns of
Court--a good part of London enters the streets, all heading
for the Rose.
INT TAVERN SAM AND WRITERS
The ink-stained wretches from the early scene--they look up
from their writing at the passing crowds.
WRITER ONE
(grudgingly)
Good house...
WRITER TWO
Everyone's heard about the play.
SAM
Let him try to replace me.
He folds his arms.
EXT ROSE DAY
A hoard of people, a crush at the doorway. Pennies clink in
the coin boxes.
102.
INT ROSE AUDIENCE
Spreading through the theater, noisy, excited, finding its
places. On the second balcony over the stage, the musicians
tune up.
ANGLE WESSEX AND EDGAR
Finding seats in the second gallery, with the other
aristocrats. Edgar wsears a catbird smile.
ANGLE AUDIENCE
Visible among the crowd, Will's former landlady, Rowley's
wife, the actors' wives and children come to cheer their
husbands on, Mrs. Henslowe, and finally, Widmerpool and the
Stratfordians.
WIDMERPOOL
(whispering to Jud Morgan)
I hear there've been lots of
problems with this play...
ANGLE GALLERY DARK WOMAN
A imperious WOMAN, hidden by the hood of her cloak and
surrounded by young courtiers, takes a seat in the shadowy
gallery corner, out of the crowd's sight.
ANGLE GALLERY DARK MAN
A middle aged MAN, his face obscured by a hat, takes an
unobtrusive seat at the gallery's rear.
INT BACKSTAGE JAMES
He's stripped down, dressing in his Friar's habit. He
suddenly realizes his walnut is missing from around his neck.
He goes white.
JAMES
My lucky walnut...
He looks around, frantically, turns to others passing.
JAMES (CONT'D)
Has anybody seen my Burbage
walnut..?
103.
INT BACKSTAGE WILL AND BELINDA
Will's peeking out at the house--he looks dashing in his
Romeo doublet and sword. He turns--there's Belinda,
ravishing in her Juliet dress. They regard each other, are
about to speak--when Peter appears and herds them over to
where the rest of the company stands.
ANGLE THE COMPANY
They join Henslowe, the principals, extras, in costume, the
stagehands, all jittery, eager. Costumers baste up last
minute hems. Peter, the master copy of the play in his
hand, counts noses.
ANGLE BASHFORD AND WABASH
Everybody's reacting to how good Thomas looks. Wabash stares
at his breasts. He whispers to Bashford.
WABASH
Very convincing...
Bashford looks, nods.
WABASH (CONT'D)
Better than Sam.
BASHFORD
Different...
James passes through, searching for his walnut. Bashford
notices Wabash's hands are trembling.
BASHFORD (CONT'D)
Frightened..?
Wabash nods.
BASHFORD (CONT'D)
Vanishes, once it starts...
WABASH
But what if I appear a fool...?
104.
BASHFORD
The more fool you are, the better
it plays, for some reason. It
takes a certain courage--and as a
suppliment, I often find benefit in
this...
He offers him a half-empty wine bottle he's concealing.
Wabash takes a swig--so does Bashford, for the sake of
manners.
ANGLE PETER
He hangs the plot board on a post beside him. He looks the
company over.
PETER
Everybody ready?
All nod.
EXT OUTSIDE REAR OF THEATER JOHN HEMMINGS
Bent over, in his Nurse's dress, yorking into the street. He
wipes his mouth with his sleeve.
JOHN
And on we go...
He heads inside.
INT ROSE STAGE
As the muscians begin an overture. The house settles as
Peter walks slowly out downstage center and clears his
throat.
105.
PETER
Two households, both alike in
dignity,/ In fair Verona, where we
lay our scene,/ From ancient grudge
break to new mutiny,/ Where civil
blood makes civil hands unclean./
From forth the fatal loins of these
two foes/ A pair of star-crossed
lovers take their life/ Whose
misadventured piteous overthrows/
Doth with their death bury their
parents strife...
ANGLE BACKSTAGE HENSLOWE, WILL AND BELINDA
Henslowe passes backstage as I,1 begins. Turning a corner,
he comes upon Will giving Belinda a last secret kiss in the
shadows. He turns quickly back, his hand on his heart.
HENSLOWE (V.O.)
There it was--the last straw. My
Romeo was in love with my Juliet...
ANGLE BACKSTAGE HENSLOWE
Looking for a place to hide.
HENSLOWE (V.O.)
I could not watch. It could never
work, not after a mad night of
revisions, the actors dazed,
bleary-eyed, searching for their
nuts, not sure if the were friars
or nurses or the Man in the Moon...
He finds a dark corner.
HENSLOWE (V.O.)
All I could think of was how many
parts of my body would still
connect at day's end when our
debacle was known, the show closed,
and Fennyman exacting his terrible
revenge...
INT STAGE WILL AND JOHN
John as Benvolio and Will as Romeo have entered.
BENVOLIO
Good morrow, Cousin.
106.
ROMEO
Ay me! sad hours seem long.
BENVOLIO
What sadness lengthens Romeo's
hours?
ROMEO
Not having that which makes having
them short.
BENVOGLIO
In love?
ROMEO
Out...
ANGLE BACKSTAGE HENSLOWE
Henslowe's pacing--he can hear the action on stage, faintly.
HENSLOWE (V.O.)
But hidden there, where I was, I
realized I was hearing something
unusual...
He stops--he listens intently.
HENSLOWE (V.O.)
It was silence. The audience--it
wasn't fidgiting, murmuring,
cracking its knuckles, looking
around to see who else was there or
wondering where it would dine that
evening. It was quiet...
ANGLE WINGS HENSLOWE
He bends at a knothole in the wall and peeks out at the
audience.
ANGLE STAGE
Will and Belinda, holding masks to their faces, playing the
Palmer's Kiss scene while the dancers at the Capulet party
circle them.
ROMEO
O, then, dear saint, let lips do
what hands do!/ They pray; grant
thou, lest faith turn to despair.
107.
JULIET
Saints do not move, though grant
for prayer's sake.
ROMEO
Then move not while my prayer's
effect I take./ Thus from my lips,
by thine my sin is purged.
And he raises his mask and kisses her, sweetly and long.
ANGLE AUDIENCE
Henslowe's right--the audience is quiet. Every face is on
stage, stirred by the scene's eroticism. There's an honesty
to it--they've never seen actors kiss like that.
HENSLOWE (V.O.)
They were hooked. I could tell--I
who'd always watched the house.
They'd gotten past the skepticism
all audiences must, that so many
square feet of pine is Verona, that
boys in dresses are girls, midgets
are kings..
He stands from the knothole, considering this.
HENSLOWE (V.O.)
They were believing it...
ANGLE WESSEX AND EDGAR
Wessex fuming at what he sees on stage.
WESSEX
He's kissing her. She didn't say
anything about kissing.
Edgar calms him--he seems strangely unconcerned.
ANGLE WINGS HENSLOWE
Squeezing past Peter, who's hissing entrances and exits, to
where he can see both the stage and the house. Beyond him,
Will and Belinda in the balcony scene.
HENSLOWE (V.O.)
I looked for myself. I saw a boy
and girl, filled with the juice of
youth, in love at first sight.
Everyone in the house knew love
like that--they'd all felt it, or
seen it once, or prayed for it...
108.
ANGLE STAGE
The end of the scene, where Juliet calls Romeo back for a
third time.
JULIET
At what o'clock tomorrow shall I
send to thee?
ROMEO
By the hour of nine.
JULIET
I will not fail. 'Tis twenty years
till then./ I have forgot why I did
call thee back.
ROMEO
Let me stand here till thou
remember it.
ANGLE AUDIENCE
Chuckling--they like the joke as well. A few clap.
ANGLE HENSLOWE
Amazed. Will and Belinda exit past him--Peter shoves John on,
as the Nurse, and Belinda again. Peter looks around for Lady
Capulet. Bashford takes another slug, hides the bottle,
hurries after.
HENSLOWE (V.O.)
I saw a jolly woman, a friend to
the lovers, and it came to me how
the greatest gift a friend can give
is that of hope...
ANGLE AUDIENCE PEMBROKES
Inching through the crowd in the pit, Rowley leads his crew
of Lord Pembroke's Men towards the stage. They conceal
things under their capes.
ANGLE STAGE
John has the audience laughing, but Bashford's stumbling on
his lines.
109.
NURSE
And then my husband (God be with
his soul!/ 'A was a merry man) took
up this child./ 'Yea,' quoth he,
'dost thou fall upon thy face?/
Thou wilt fall backward when thou
hast more wit;/ Wilt thou not,
Juliet?' and, by my holidam,/ The
pretty wretch left crying and said
'Ay.'
WIFE
Enough of this. I pray thee hold
thy peace.
NURSE
'Thou wilt fall backward when thou
comest to age:/ Wilt thou not,
Jule?' It stinted and said 'Ay.'
WIFE
(Bashford pausing)
She says ay. And I say, as the
mother...
ANGLE WINGS PETER
Hissing a prompt to Bashford.
PETER
And stint thou too...
ANGLE STAGE BASHFORD
Bashford hears the prompt, nods.
WIFE
And stint thou too, I pray thee,
nurse, say I.
NURSE
Peace, I have done./ That was the
prettiest babe that e'er I nursed./
An I might live to see thee married
once,/ I have my wish.
WIFE
Marry, that 'marry' is the very
theme/ I came to talk of. Think
you of marriage now. Younger than
you,/ Here in Verona, ladies of
esteem,/ Are made already mothers.
By my count...
Bashford goes up again--this time for good.
110.
WIFE (CONT'D)
(Bashford, to himself)
"By my count, by my count··." What
is the line? So many changes...
ANGLE PETER AND HENSLOWE
Hissing the prompt out loud.
PETER
I was your mother much upon these
years...
Henslowe covers his eyes.
ANGLE STAGE
Bashford looks around, in a boozy daze.
WIFE
"By my count·.·" What, by my
count?--I haven't the vaguest
idea...
JULIET
(whispereing)
...I was your mother much...
Bashford finds himself now--he spreads his arms.
BASHFORD
(as Count Orgelioso)
..·I will have vengeance, arms and
legs, hacked torsos, blood in a
pudding, bowls of death-cold bodies
to slake my thirst. Who thwarts
Count Orgelioso shall spent
eternity in Hell, indexing his
errors...
ANGLE BACKSTAGE
All there are dumbfounded.
PETER
He's doing Muly Mullocco.··
ANGLE STAGE
As John abruptly downstages Bashford.
111.
NURSE
She was your mother much upon these
years./ Thus then in brief;/ The
valiant Paris seeks you for his
love./ Verona's summer hath not
such a flower./ Speak briefly--can
you like of Paris's love?
JULIET
I'll look to like, if looking
liking move...
ANGLE BACKSTAGE PETER AND HENSLOWE
Peter taps Henslowe, who opens his eyes.
PETER
They covered...
CUT TO
INT STAGE DAY
It's Act II--on stage, James as Father Capulet, and Juliet on
her knees, crying.
CAPULET
Is she not proud? Doth she not
count her blest,/ Unworthy as she
is, that we have wrought/ So worthy
a gentleman to be her bride?
JULIET
Good father, I beseech you on my
knees,/ Hear me with patience but
to speak a word.
ANGLE HENSLOWE
Henslowe's face is grim--Belinda is convincing.
112.
HENSLOWE (V.O.)
Then against all that hope, Will
laid a father, so swollen with
pride he put his own love before
that of his child's. I felt her
hurt, and I wondered if I'd done
that ever with mine--one of them
was your mother, by the way...
ANGLE ROWLEY
In the pit, looking up at Edgar in the gallery. Edgar holds
up his palm.
CUT TO
ANGLE AUDIENCE DAY
The musicians play--it's the Wedding scene. The audience is
moved--wives reach out and take their husband's hands.
ANGLE STAGE
Romeo awaits Juliet's arrival with James, as the Friar.
HENSLOWE (V.O.)
We saw a wedding, held in secret
because the parents could not
know...
Juliet enters--Romeo takes her hand and they kneel in front
of the friar.·
HENSLOWE (V.O.)
...the lovers kneeling and
swearing, and all we husbands and
wives remembered how we'd once
knelt and swore, never guessing
what was to come and what
we'd have to weather...
ANGLE WILL AND BELINDA
Will using Romeo's words as his farewell to Belinda.
113.
ROMEO
Ah Juliet, if the measure of thy
joy/ Be heaped like mine, then
sweeten with thy breath/ This
neighbor air, and let rich music's
tongue/ Unfold the imagined
happiness that both/ Receive in
either by this dear encounter.
ANGLE WESSEX AND EDGAR
By now, Wessex can barely sit still.
WESSEX
This whole play's about me...
But Edgar's holding his handkerchief, waving it faintly.
ANGLE AUDIENCE THE PEMBROKES
Rowley, among the Lord Pembroke's Men, sees Edgar's cue. He
leads his company towards an exit.
ANGLE WESSEX AND EDGAR
Wessex has noticed this.
WESSEX
What are you about..?
(realizing)
A plot..?
EDGAR
A present for my brother-in-law···
Wessex smiles coldly--he may have misjudged Edgar.
CUT TO
INT STAGE DAY
It's Act III--Fennyman struts his glory as Mercutio.
BENVOLIO
By my head, here come the
Capulets···
114.
MERCUTIO
By my heel, I care not···
It's Wabash's cue--Fennyman glances to the wings.
INT WINGS WABASH
In terminal terror. He takes another swig from Bashford's
bottle and a very deep breath.
ANGLE STAGE
As Wabash enters, leading the gang of Capulets. He's
suddenly transformed himself into a giant, seemingly ten feet
tall. The rival groups circle each other.
HENSLOWE (V.O.)
Next, we saw a man who preferred
war to peace, hate to happiness,
and we all bethought us how little
it took to kill love, how it was an
insect's wing, crushed with a
finger···
TYBALT
(Wabash's voice booming)
Follow me close, for I will speak
to them. Gentlemen, good-den. A
word with one of you.
MERCUTIO
And but one word with one of us?/
Couple it with something; make it a
word and a blow.
TYBALT
You shall find me apt enough to
that, sir, and you will give me
occasion. Mercutio, thou
consortest with Romeo.
MERCUTIO
Consort? What, dost thou make us
minstrels? Look to hear nothing
but discords. Here's my
fiddlestick; here's that shall make
you dance.
Tybalt sees a better game--Romeo has just entered.
TYBALT
Peace be with you, sir. Here comes
my man./ Romeo, the love I bear thee
can afford/ No better term than
this: thou art a villain.
115.
INT BACKSTAGE PEMBROKES
With a cry, the Pembrokes invade the backstage, shouting.
From under their capes, swords and clubs.
ANGLE STAGE
The actors hear the commotion offstage but stay in the scene.
ROMEO
I protest I never injured thee,/
But love thee better than thou
canst devise/ Till thou shalt know
the reason of my love;/ And so,
good Capulet, which name I tender/
As dearly as my own, be satisfied.
He starts off. Mercutio rushes Tybalt.
MERCUTIO
O calm, dishonorable, vile
submission!
(draws his sword)
Tybalt, you ratcatcher, will you
walk?
ANGLE BACKSTAGE MELEE
The company knows how to defend itself. Peter swings the plot
board, Lambert and Frees crack heads, Bashford hugs one
Pembroke, pickling his face with his breath.
ANGLE FIGHT JAMES
Knocked down, finding his feet--and spotting, rolling loose
across the floor, his lucky walnut. He grabs for it, there's
a Pembroke in his way--he clobbers him aside. He lunges for
it again--another Pembroke intrudes and James knocks him ass
over tit. He dives for it, grabs it, clutches it to his
heart.
ANGLE STAGE
Mercutio and Tybalt swordfight on stage--Romeo struggles to
get between them.
116.
ROMEO
Gentlemen! The Prince expressly
hath/ Forbid this bandying in
Verona streets./ Hold, Tybalt!
Good Mercutio...
HENSLOWE (V.O.)
And then, in one blow, this man cut
the lovers' cords in twain and sent
them tumbling into misfortune...
Romeo grabs Mercutio--Tybalt takes the opportunity and stabs
Mercutio under Romeo's arm. The pigsblood bladder in
Fennyman's costume breaks--blood gushes over him. Tybalt and
his followers flee offstage.
MERCUTIO
(staggering)
A scratch, a scratch. Marry, 'tis
enough, 'tis not as deep as a well
nor as wide as a church door, but
'twill serve. Ask for me tomorrow,
and I am a grave man. Why the devil
came you between us?
ROMEO
I though all for the best...
MERCUTIO
Help me into some house or I shall
faint. A plague a both your
houses.
Fennyman exits, supported by Benvolio.
INT WINGS FENNYMAN
And finds himself in the middle of the backstage fight.
Roaring, gory with stage blood, he happily charges into the
middle of it.
INT STAGE
Romeo in agony. Benvoglio enters.
BENVOLIO
Oh Romeo, brave Mercutio is dead./
Here comes the furious Tybalt back
again.
Tybalt and his followers re-enter, cocky.
117.
ROMEO
Alive in triumph, and Mercutio
slain?/ Now, Tybalt, Mercutio's
soul is but a little way above our
heads,/ Staying for thine to keep
him company./ Either thou or I, or
both, must go with him.
He draws--so does Tybalt and they fall to fighting.
ANGLE BACKSTAGE FENNYMAN AND ROWLEY
Squared off backstage. Rowley steps back to draw his sword-
he's off balance; Fennyman tackles him and flings him through
the wings...
ANGLE STAGE ROMEO, TYBALT AND ROWLEY
And onto the stage. Sword out, Rowley finds himself in the
middle of Romeo and Tybalt's stage fight.
ANGLE AUDIENCE
Puzzled. It's been captivated by the play--but who's this
new character?
ANGLE STAGHE FIGHT
Rowley looking around, at the actors, the audience, at where
he finds himself. Both Will and Wabash improvise--Wabash
whacks him with the flat of his sword.
ROMEO
Needest thou assistance, then..?
TYBALT
Not for a robin such as thee. I
thought him your man...
Will decks Rowley, spins him towards Wabash.
ROMEO
Then balance the scales with me...
TYBALT
Willingly, for I would dispatch
thee singly, to thy singular end...
They double-team Rowley, who goes down--Wabash, cocky from
the wine, can't resist a last kick at Rowley's midsection.
Romeo skewers Tybalt--Wabash falls dead. Benvolio grabs at
Romeo.
118.
BENVOLIO
Romeo, away, be gone! The citizens
are up and Tybalt slain./ The
Prince will doom thee death/ If
thou are taken. Flee, be gone.
ROMEO
Oh I am fortune's fool!
He runs off.
INT WINGS WILL
He exits past Peter pushing Belinda on stage. He beholds the
fight's aftermath--James and John, knuckles bloody, Bashford
wheezing, the Pembrokes tied up and gagged. Peter and Frees
are dragging Rowley off stage. Fennyman wipes his hands.
FENNYMAN
You have lots of enemies. Of
course, I approve. You never told
me this was so much fun...
CUT TO:
INT ROSE THE AUDIENCE DAY
Solemn, tense, silent.
ANGLE STAGE
III, v.--Romeo and Juliet on her balcony. Soft music plays.
HENSLOWE (V.O.)
Then we saw two lovers after a
night of love. Will did not say so-
he did not have to; we could tell
by their eyes, the way they
touched...
JULIET
Wilt thou be gone? It is not yet
near day./ It was the nightingale
and not the lark/ That pierced the
fearful hollow of thine ear./ Believe
me, love, it was the nightengale.
ROMEO
It was the lark, the herald of the
morn;/ No nightingale; night's
candles are burnt out.
119.
JULIET
Yond light is not daylight; I know
it./ Therefore stay yet; thou
need'st not to be gone.
ROMEO
I am content, so thou wilt have it
so./ I'll say yon grey is not the
morning's eye./ I have more care
to stay than will to go./ Come
death, and welcome! Juliet wills
it so.
ANGLE AUDIENCE
Spellbound. Some are crying.
HENSLOWE (V.O.)
And we knew, before they did, that
love was done, that they'd never
hold each other again···
ANGLE MAKEPEACE
Among those in the audience in tears, crying, his sacred
mission forgotten.
ANGLE STAGE
Romeo and Juliet kissing.
ROMEO
How is't, my soul? Let's talk. It
is not day.
JULIET
It is, it is. Go hence, be gone,
away!/ It is the lark that sings so
out of tune./ O, now be gone!
More light and light it grows.
ROMEO
Farewell, farewell. One kiss, and
I'll descend.
A last kiss, one last touch of fingertips--and Romeo climbs
down and exits.
120.
JULIET
Art thou gone so, love-lord, my
husband-friend?/ O God, I have an
ill-divining soul!/ Methinks I see
thee, now thou art so low,/ As one
dead in the bottom of a tomb.
She cries.
HENSLOWE (V.O.)
Tomb. And with that word, it all
turned to tragedy. The audience
did not breathe. It was like a
dream-they did not want to wake
them. You could hear a pin drop...
FADE TO
INT BACKSTAGE HENSLOWE AND COMPANY DAY
Silent, expectant, sensing they're in the middle of something
extraordinary.
HENSLOWE (V.O.)
And then we watched the lovers
die···
ANGLE STAGE
It's v, i--Romeo paces. Lambert, as Balthasar, enters.
ROMEO
News from Verona. How now,
Balthasar?/ How doth my lady? How
fares my Juliet?/ For nothing can
be ill if she be well.
BALTHASAR
Her body sleeps in Capel's
monument,/ And her immortal part
with angels lives./ I saw her laid
low in her kindred's vault.
ROMEO
Then I defy you, stars!
BALTHASAR
I do beseech you sir, have
patience./ Your looks are wild and
do import some misadventure.
121.
ROMEO
Tush, you are deceived. Leave me
and hire posthorses./ I'll be with
you straight.
(Balthasar exits)
Well, Juliet, I will lie with thee
tonight./ Let's see for means. I do
remember an apothecary/ And to
myself I said, 'if a man did need
a poison now,/ Here's a wretch
would sell it him.'/ O, this
thought did forerun my need. Come
poison,/ Give me company to my
Juliet's grave.
FADE TO
ANGLE STAGE DAY
It's V, iii--Juliet lies on a bier in her tomb, asleep from
the sleeping potion. Romeo forces open the tomb door.
ROMEO
Thou detestable maw, thou womb of
death,/ Gorged with the dearest
morsel of the earth,/ Thus I
enforce thy rotten jaws to open.
He beholds Juliet, crosses to her.
ROMEO (CONT'D)
O, my love! my wife!/ Death, that
hath sucked the honey of thy
breath,/ Hath had no power upon thy
beauty./ Why art thou yet so fair?
Shall I believe/ That unsubstantial
Death is amorous,/ And that the
lean abhorred monster keeps/ Thee
here in dark to be his paramour?/
For fear of that, I still will
stay with thee/ And never from this
pallet of dim night/ Depart again.
Here will I remain/ With worms that
are thy chambermaids.
ANGLE AUDIENCE
Women dry their tears with handkerchiefs--men chew their
knuckles.
ANGLE WILL AND BELINDA
Dead to the audience, she looks up at Will through half
opened eyes.
122.
ROMEO
Eyes, look your last!/ Arms, take
your last embrace, and lips, O you/
The doors of breath, seal with a
righteous kiss/ A dateless bargain
to engrossing death.
He kisses Belinda, lovingly and long. The audience does not
see her lips caress his in response.He takes out a vial of
poison, a small cup, and fills it.
ROMEO (CONT'D)
Here's to my love.
(he drinks off the vial)
Thus with a kiss, I die.
The poison runs through him--he collapses beside the bier.
ANGLE AUDIENCE
Silent, on the edges of their seats.
ANGLE WINGS CAST
Likewise spellbound, watching.
ANGLE STAGE BELINDA
A long beat--then Belinda stirs from her sleep. Behind her,
James, as the Friar, enters the tomb.
FRIAR
Fear comes upon me./ O, much I
fear some ill unthrifty thing.
He sees Romeo--he reacts.
FRIAR (CONT'D)
Romeo! O, pale! Ah, what an
unkind hour/ Is guilty of this
lamentable chance.
JULIET
(waking, seeing the Friar
there)
O comfortable friar! Where is my
lord?/ I do remember well where I
should be,/ It was a pleasant
sleep: thy potion served./ But
where is Romeo?
123.
FRIAR
(to a noise offstage)
I hear some noise. Lady, come from
this nest of death./ A greater
power than we can contradict/ Hath
thwarted our intents.
Juliet sees Romeo. She shrieks.
ANGLE AUDIENCE
Startled, where they sit or stand.
BACK TO SHOT
FRIAR
Come, go, good Juliet. I dare no
longer stay.
JULIET
Go, get thee hence, for I will not
away.
The friar exits--Juliet kneels in grief beside Romeo.
JULIET .
What's here? A cup, closed in my
true love's hand?/ Poison, I see,
hath been his timeless end./ Come
night; come to Romeo, that day in
night./ Take him and cut him out
in little stars,/ And he will make
the face of heaven so fine/ That
all the world will be in love with
night/ O, churl! Drunk all, and
left no friendly drop?/ I will
kiss thy lips./ Happly some poison
yet doth hang on them/ To make me
die with a restorative.
She kisses Will--it's her goodby to him. She whispers the
words too softly for anyone but him to hear. Will's crying-
he whispers goodbye back to her.
JULIET
Thy lips are warm.
From offstage, the sound of a watchman, entering--Frees
struggles with the heavy door.
JULIET (CONT'D)
Noise? Then I'll be brief. O happy
dagger!
She takes Romeo's dagger from his belt.
124.
JULIET (CONT'D)
This is thy sheath; there rust, and
let me die.
She stabs herself.
ANGLE AUDIENCE
Silent as a grave. Many cry.
ANGLE STAGE
Above, on the balcony, a musician begins to beat a drum,
slowly. The others join in a dirge--even they are crying.
Below, Frees enters and reacts to what he sees.
ANGLE STAGE
As more enter the tomb--Bashford as the prince, the Capulets,
the Montagues, reacting to what they find. They circle the
dead lovers.
PRINCE
Seal up the mouth of outrage for a
while,/ Till we can clear these
ambiguities/ And know their
spring, their head, their true
descent;/ And then will I be
general of your woes.
The cast lifts the bodies of Romeo and Juliet and slowly
bears them offstage in a procession. Bashford comes to the
foot of the stage.
PRINCE (CONT'D)
A glooming peace this morning with
it brings./ The sun for sorrow
will not show his head./ Go hence,
to have more talk of these sad
things;/ Some shall be pardoned,
and some punished;/ For never was
a story of more woe/ Than
this of Juliet and her Romeo.
He follows the procession offstage.
ANGLE BACKSTAGE
The actors gathering silently, giving Bashford his exit.
Will holds Belinda's hand. Now Bashford joins them--he and
the rest of the company listen for the audience's response.
They hear nothing.
125.
WILL
They didn't like it·.·
BASHFORD
(listening, a beat)
I think they're crying...
ANGLE AUDIENCE
He's right--the whole house is in tears, overcome by what
it's seen. And then somebody begins to clap. Others join
in, more in turn, then everyone. Applause rocks the theater.
ANGLE BACKSTAGE
Hearing the applause, the shouts, growing, thunderous. They
grin, excited--it's a hit.
BASHFORD
It's the most superabundantly
beautiful thing I have ever seen...
Will and Belinda beam at each other. Fennyman pumps
Henslowe's hand--Henslowe's in a daze. He turns, hugs Will-
he shoves the cast on stage to take their bows.
ANGLE STAGE
Will and Belinda lead the rest on stage. The house erupts
in a cheer. They bow--when they turn to go, cheers grow
louder. The audience won't let them off. Will takes a bow-
he holds out his hand and brings Belinda forward. More
cheering.
AUDIENCE SAM
He couldn't stay away--he's applauding wildly with the rest,
mopping his tears. A MAN beside him nudges him.
MAN
He's good...
126.
SAM
He's outstanding. He's wonderful..·
ANGLE AUDIENCE
Fennyman's pals whistle, fingers in their teeth. The actors'
families cheer--the little kids wave. Will's landlady,
Rowley's wife, even Widmerpool and the Stratfordians, all on
their feet.
ANGLE WABASH
Coming forward for his Tybalt bow.
ANGLE MISTER WABASH
Wabash's FATHER whistling loudly, feeling Henslowe's debt to
him well paid.
ANGLE STAGE
Will thanking the musicians--even Peter comes on for a bow.
Will leads the cast off.
ANGLE BACKSTAGE
They're all ecstatic, congratulating, hugging each other. The
families and friends pile in from the audience. Will grabs
Belinda's hand and runs off.
ANGLE BACKSTAGE WILL AND BELINDA
IN a private spot, he kisses her hotly and she him--it's for
joy, and both know, for the last time. Will looks over her
shoulder. Standing there is Wessex.
WESSEX
I believe you're holding something
of mine...
Will clutches Belinda's hand--he won't let go.
WESSEX (CONT'D)
Well? There was an agreement...
Belinda nods, pulls away. As she crosses towards Wessex,
Will whispers a prayer and draws his sword.
127.
WILL
I agreed she'd go. I did not agree
you'd be alive to receive her...
Belinda cries out, tries to stop him--he moves her aside.
WESSEX
Your sword's out--good; just where
I want it. I saw your play,
Shakespeare--here's my judgement.
I will now divide you into five
acts...
He steps towards Will and in one move, draws his sword,
backhand, slicing a cut across Will's arm.
WESSEX (CONT'D)
Oh--silly me. We hadn't really
begun...
When Will glances at the blood, Wessex pricks him in the
other arm--he's toying with him.
He thrusts--Will quickly draws his sword, blocks it, and the
fight begins. Belinda calls to the others for help.
INT WINGS
Wessex drives Will back into the wings, into the middle of
celebrating company. They make way, scattering. Will has
recovered his poise--he defends himself. Fennyman cheers him
on.
WILL
Last time we met, you tweaked me
for never having killed a man...
WESSEX
I remember something along those
lines...
WILL
You've never met one that so hated
you, or so indifferent to living.
He thrusts. Wessex flinches for a moment, recovers and
drives Will back onto the stage.
ANGLE AUDIENCE
Half the house is still there--the fight appearing onstage
makes them turn. They can't tell if it's real or some
unannounced encore. Some clap.
ANGLE STAGE WILL AND WESSEX
128.
A furious fight, swords clanging.
WILL
You're an enemy of love, Wessex-
you leave it dead behind. The
world would bloom without you in
it...
WESSEX
I see--now you're a gardner...
WILL
The pruner, who cuts the weeds and
lets the living grow...
WESSEX
Rhetoric. Did you think for one
moment you, a paltry player, rags
on a stick, could love a woman so
far above you? She's from a world
where things are real-- you're a
simulation·..
Will gets under his guard and slashes his arm.
WILL
No simulation that...
WESSEX
Then I counter with reality...
And he cuts Will in the hip--blood spreads on his hose.
WILL
Then when I cut you, pretend you're
not bleeding.
Will sidesteps the lunge, slugs him off his feet: when Wessex
sprawls, he stands on his sword hand and lays his point at
Wessex's throat.
THOMAS
Will, no! Don't do it...
They glare at each other, breathing hard.
WOMAN'S VOICE (O.S.)
She's quite right--stop this at
once···
FULLER ANGLE INCLUDING ELIZABETH
It's her commanding voice, the Queen herself--she's the dark
lady who's been sitting in the gallery. Her courtiers move
the company aside--it drops to its knees in reverence as she
climbs on stage. Will steps off Wessex, kneels--so, when
they see her, do those remaining in the audience.
129.
ELIZABETH
Enough blood for one night, Wessex.
I thought you were a swordsman.
Manners...
He sullenly kneels to her. She looks around.
ELIZABETH (CONT'D)
Belinda de Lesseps? Where are
you··?
Thomas pushes through the company, comes forward and
curtsies.
ANGLE THE COMPANY
Realizing at the same moment Thomas is Belinda, and Belinda's
a girl. Peter is shocked, Wabash delighted, Fennyman amazed.
Bashford blinks.
JOHN
I knew it all along...
JAMES
What a lie that is...
They bat at each other.
ANGLE HENSLOWE
Near one of the stage posts, realizing this is the love Will
spoke of. His eyes roll back--he holds on to keep from
falling.
ANGLE FAVORING ELIZABETH
Commanding the stage.
ELIZABETH
You made a pact, Belinda--you're
obliged to keep it. Go to Wessex.
BELINDA
Yes, Your Majesty...
She crosses obediently to Wessex.
ELIZABETH
Will Shakespeare..?
WILL
Yes. Ma'm.
130.
ELIZABETH
What are you about? Next you'll
be spreading the false conclusion
the sword is mightier than the pen.
WILL
Yes. Ma'm.
ELIZABETH
Stick to your writing. By the way-
I enjoyed it.
She turns--the courtiers clear a path and she exits through
the crowd. Wessex, with one last look for Will, takes
Belinda and leads her off.
ANGLE WILL AND BELINDA
Will watches her leave. She looks back at him one last time
and then is gone.
CUT TO:
EXT REAR OF ROSE NIGHT
The street is deserted. Will sits on the curb, his head in
his hands, miserable, weeping. A beat--then the man in the
hat from the rear of the theater sits beside him.
MAN
Quite a night.
WILL
Did you see it?
MAN
Yes.
He looks over Will's wounds.
WILL
Let them bleed--they'll clean
themselves.··
The man notices Will's sword.
MAN
Who's is that..?
WILL
I sold yours.
The man nods. Peter appears behind them, spots Will, comes
over and drops a bag of clinking coins alongside him. Will
thanks him and he leaves.
131.
MAN
And that..?
WILL
My share.
The man hefts the bag.
MAN
Heavy.
WILL
It's what I asked for. I should
have asked for more. Oh, father...
Will breaks out weeping and buries his face in JOHN
SHAKESPEARE'S shoulder. His father puts his arm around him
and holds him.
ANGLE LONG SHOT
Father and son on the dark street.
HENSLOWE (V.O.)
And that was the first performance
of Romeo and Juliet.
CICELY (V.O.)
Did he ever see her again.?
HENSLOWE (V.O.)
Once...
INT WHITEHALL PALACE DAY
A command performance of Romeo and Juliet. The hall is
jammed with royals, Elizabeth on a throne. There's a new
Romeo--and Sam's playing Juliet.
ANGLE WILL AND BELINDA
Will stands in the wings, staring through the crowd at
Belinda. She sits beside Wessex--she returns his look. Her
face is pale, emotionless.
132.
HENSLOWE (V.O.)
We had a different Romeo. Sam
played Juliet--as well, but
differently. That was the
beginning of a period of great
success for us. Will,
myself, the Hemmingses,
Bashford, we founded the Lord
Chamberlain's--we were the foremost
theater company in London
for the next fifteen years...
INT PLAYHOUSE WILL DAY
An older Will, balding, paunchy, watching a production of
Hamlet from the wings.
HENSLOWE (V.O.)
Will wrote many more plays--some
love stories, a few histories, but
mostly tragedies...
CICELY (V. O.)
What happened to the baby..?
HENSLOWE (V.O.)
She raised him. He came out fine.
Wessex died in a duel two years
later. Belinda married the old
Duke of Southampton. He liked
boys--in the customary sense...
INT THE ROSE THEATER DAY
Where Henslowe and Cicely have been all this time. It's the
year 1645--the Rose is long-since abandoned, in ruins now,
the galleries collapsed, weeds knee-high in the pit.
Henslowe walks Cicily through it, holding her hand.
HENSLOWE
Of course, the Puritans won, in the
end--the plays have been closed
since '44. They'll open again-
they always do. People like going
to the theater...
(he sighs)
I wish you could have seen it,
Sissy. Like Bashford said, it was
beautiful. It was true love. All
spit and paper-mache, of course,
but the truest love I ever knew,
and thank God I, who made my living
selling illusions, saw it once,
else I might never have believed
such a thing existed...
133.
EXT STRATFORD MEADOW LONGSHOT DAY
In the distance, an elderly man and woman sit on chairs at a
picnic in the center of a bright English meadow. Daughters
bring them food--grandchildren gambol at their feet.
HENSLOWE (V.O.)
Will retired in 1609, wealthy, fat
like me and rather tired, back home
to Stratford, to the comfort of his
wife and daughters. He dabbled a
bit in real estate and grew roses
and then he died, in the sixteenth
year of the new century.
The figures in the meadow grow dim and fade.
FADE OUT