3-1! ‘..'~ _ -—-— —4 “AA—— A 'TELEWS-Elfié Amwmw 0:: Romeo at? must BY WELLEAM smxmfiws That: {War the 'WM 9:? (M, A ,. Gfimet Schafer 1966- ”nu-A TH ESIS LIBRARY Michigan State University fl ABSTRACT A TELEVISION ADAPTATION OF ROMEO AND JULIET BY WILLIAM SHAKESPEARE by Garnet Schafer Because television in the United States programs popular entertainment to appeal to the largest possible audience, only a small effort has been made to produce shows of high cultural quality. Thus, in prOportion to the total number of dramatic shows on the air, the production of theatrical classics has been limited to a small number. Consequently, the public lacks exposure to much enrichment found in viewing cultural drama in the home. A television adaptation of William Shakespeare‘s Bgmeg agg Juliet is an attempt to produce this theatrical classic, in addition to discussing the justification for its production over the medium of television with the problems of production involved. Justification of this particular dramatic selection for television production requires a detailed explanation of known factors contributing to its reputation in the theater world. As the world's most famous love story, Romeo and Juliet enjoys an interesting history from theatrics to film. Since there is no record of its production over television, Garnet Schafer a discussion of problems in producing Shakespearean drama over television in contrast to stage and film will reflect advantages and disadvantages to be considered in this spe— cific show. Finally, followed by its actual production script, a discussion of the problems of producing Romeo and Juliet will encompass those of scripting and staging the drama. These problems will include set design, lighting, music, movement of actors, motivation of cameras, and interpre— tation of the script. Even though the final details of pro- duction will be decided according to every director's individual ideas, it is hOped that this adaptation will serve to facilitate the effective presentation of Romeo and Juliet over television. A TELEVISION ADAPTATION OF ROMEO AND JULIET BY WILLIAM SHAKESPEARE / BY IL/ I. -. 1". " Garnet‘Schafer A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Television and Radio 1966 /UZ/ We Major Professor Approved ACKNOWLE DGME NT S The author wishes to express her gratitude and appreciation to Mr. Arthur Weld, an advisor whose patient guidance in creativity served as a challenge for her interest in working on television production and set design. A note of appreciation to Mr. Frank Rutledge of the Michigan State University Speech Department for sug- gestions on authoritative references for historical costume and stage design. ii TABLE OF CONTENTS Page INTRODUCTION . . . . . . . . . . . . . . . . . . . . . l ROMEO AND JULIET: ON STAGE, FILM, AND TELEVISION . . 6 PROBLEMS OF PRODUCTION . . . . . . . . . . . . . . . . l4 PRODUCTION SCRIPT . . . . . . . . . . . . . . . . . . 23 APPENDIX . . . . . . . . . . . . . . . . . . . . . . . 112 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . 114 iii INTRODUCTION In adapting a Shakespearean play for television in this creative thesis, I set out to accomplish a threefold purpose: 1) to create a play that would contain intrinsic literary merit worthy of television production, 2) to create a Shakespearean production that would communicate an under- standing and enjoyment of him, so as to motivate viewers to attend Shakespearean theatrical productions, and 3) to further my functional and critical knowledge of television production through a process underlying the explanation of my interpretation as writer-producer. As the specific play to accomplish my purpose, I selected Romeo and Juliet for several reasons. First, from the standpoint of establishing audience interest, Romeo and Juliet is probably the most familiar in story of all of Shakespeare's plays. Its romantic theme appeals to viewers of all ages from all walks of life. Once a mass audience turns on the set because of initial interest, the producer has taken the first essential step toward achieving his goal of attaining audience interest. Secondly, it is producible for television; Romeo and Juliet boasts a combination of qualities from various aspects of dynamic drama. Through a combination of the six Aristotelian elements of plot, character, thought, diction, music, and spectacle develOped by the genius of Shakespeare, Romeo and Juliet has the potential to maintain audience interest. For instance, in a TV production too many persons on the screen create visual confusion. But Romeo and Juliet involves a dynamic plot seldom develOped by more than two characters appearing as central subjects on the camera at the same time. Either the main characters, Romeo and Juliet, develop dramatic suspense, or one of them increases dramatic tension in dialOgue with another, minor character. Another aspect, that of brevity, suggests that little of the neces- sary dramatic development would have to be cut in comparison to longer plays such as Hamlet. The smaller the amount cut, the greater the production stands in justice to its original poetic content. A further aspect in favor of Romeo and Juliet suggests that the characters are prime factors in motivating swift dramatic action. Because the characters draw the focus of attention, limited realistic settings necessary for television drama (such as a balcony) can be used without hindering the spectacle of the performance. Finally, in addition to consort music from the Shakespearean era, renowned classical music scores of Berlioz, Tchaikovsky, and Prokofieff are available for use to heighten dramatic effect. The complete thesis includes four chapters. This introductory chapter unfolds both my purpose and justification for Shakespeare on television. The second chapter serves to relate and compare productions of Shakespeare, and, in particular, of Romeo and Juliet on stage, film, and television. The third chapter discusses the problems of production of Romeo and Juliet on television, while the final chapter is the annotated production script. Before clarifying the necessary terms used in my thesis, I feel it important to first define my function as adaptor of the script of Romeo and Juliet for television. Then, an explanation follows on my use of the adaptation and the annotated script, in addition to television terms used in discussion of this production. As author of the annotated thesis, I have attempted to accomplish work equivalent to that of a writer—producer. Adaptation, in this case, can be defined as a combined process of transferring and editing the script from Shakespeare's complete drama to a scripted format producible for television. The annotated script takes the form of a fully scripted television format. The script dis- closes not only the details of production including blocking and setting, but also what the viewer should see. Floor plans of each scene are included to supplement the script. Used in discussion in the following chapters are two distinguishing properties of television: immediacy and intimacy. Stasheff and Bretz define immediacy clearly as "the feeling that what one sees on the TV screen is living and actual reality, at that very moment taking place."1 Intimacy may be defined as the transference of a personality so that the audience can almost reach out to touch the person. Variety is a prime motivational factor for the sake of interest in any drama. Since the success of Romeo and Juliet rests upon variety as the chief motivational power in maintaining interest, a well—balanced variation between simplicity and spectacle plays an important part in my pro- duction. In keeping this adaptation true to Shakespeare's story, the rise and fall of minor conflicts build gradually up to the major crisis when Romeo kills Tybalt resulting in his and Juliet's own eventual death. The breach of hatred between the Montagues and Capulets demands a justifiable climax ending in their reconciliation because of three un- timely deaths. Capitalizing on conflict to create forward movement, varied by slow-down in pace to maintain interest, brings out a concrete realization of the universal theme in terms of these specific events. Shakespearean drama has something in it for everyone. Producing an interpretation of Shakespeare can be a challenging and rewarding experience, since Shakespeare lEdward Stasheff and Rudy Bretz, The Television Pro— gram (New York: Hill and wang, Inc., 1962), p. 10. 2William Shakespeare, Romeo and Juliet (motion picture ed.; New York: Random House, Inc., 1936), p. 247. wrote with the intention of portraying the universal pro- fundities of life. A production of Romeo and Juliet should assume responsibility for giving an appreciative understand— ing of Shakespeare to its audience of television viewers to- day. In the words of M. R. Ridley, editor of 'The New Temple Shakespeare,‘ "There are the actors, the audience, and Shakespeare; and it is the director's business to bring them into harmony, with justice to all parties."1 lMargaret Webster, Shakespeare Today (London: The Aldine Press, 1957), p. 10. ROMEO AND JULIET: ON STAGE, FILM, AND TELEVISION Drama "reduced to the simplicity of poetry" characterizes the world's most famous tale of youthful true love at first sight, William Shakespeare's Romeo and Juliet. Shakespeare is by no means the first to use this familiar dramatic plot. But his lyrical drama of the tragedy of "Juliet and her Romeo" has since been known as the greatest version of this story by any author. The portrayal of this drama has evolved from productions upon the Elizabethan stage to many a successful depiction of the same tale upon the modern stage, and even on film. Basing his play on the narrative poem by Arthur Brooke, The Traqical Historye 9f Romeus and Juliet, in 1594 Shakespeare began the composition of Romeo and Juliet with the primary setting for the drama in the fifteenth century capital of Northern Italy, Verona. Shakespeare's drama was an improvement over many earlier stagings of the same plot. This plot first stems from a story of romance in Ephesus in Asia Minor by the medieval writer, Xenophon, in the Ephesiaca 1William Shakespeare, Romeo and Juliet, ed. Oscar James Campbell, Alfred Rothschild, and Stuart Vaughan (New York: Bantam Books, Inc., 1956), p. l. in Greek. Then, in 1476 Masuccio of Salerno published a number of adventures similar to those of Romeo and Juliet. In 1530, a story by Luigi da Porto first mentions these lovers by name. Later, other famous European writers were to alter this tale, yet use it time and again. But Shakespeare's drama follows most closely that of the long narrative poem by Arthur Brooke of England written in 1562.1 Shakespeare makes several improvements over Brooke's poem for production of his drama on the Elizabethan stage. The most apparent changes can be categorized as compression or condensation for dramatic effect. For instance, the action extending over nine months in Brooke's poem is reduced to less than six days in Shakespeare's tragedy.2 This re- duction emphasizes the swiftness of the lovers' actions re- sulting from strong feelings of emotion. This production by Shakespeare on the stage of the Globe Theater gave the drama its name to last down to the present day. Romeo and Juliet can claim over four hundred years of success in a variety of forms from stage to film in several cultures. Since its staging in Elizabethan times, the drama has shared honors of renowned stage performances among actresses playing Juliet inclusive of Mrs. Siddons, Fanny lHardin Craig, Ag Interpretation of Shakespeare (New York: The Dryden Press, 1948), p. 42. 2William Shakespeare, Romeo and Juliet (motion picture ed.; New York: Random House, Inc., 1936), p. 247. Kemble, Mary Anderson, Julie Marlowe, Doris Keane, and, in more recent years, Jane Cowell and Katharine Cornell.l The year 1908 marked the completion of one of the first films of Romeo and Juliet during the pioneering stages of cinema.2 This was a short Vitagraph production. From the year 1914 there is record of another filming of the drama by Biograph Company, and during 1916 there were two re- leases of much longer films than before by both Metro Pictures Corporation and Twentieth Century Fox. Lasting ap- proximately two hours, the Metro Production used eight reels. Starring Theda Bara as Juliet and Harry Hilliard as Romeo, the Fox Production was almost as long.3 In the later history of theatrical film, there have been two productions of Romeo and Juliet. The more familiar of the two was re- leased in 1936 by Metro—Goldwyn-Meyer. Produced by Irving Thalberg, the movie starred Norma Shear and Leslie Howard. A more recent theatrical film on which there is little infor- mation starred Laurence Harvey. 1William Shakespeare, Romeo and Juliet (motion picture ed.; New York: Random House, Inc., 1936), p. 247. 2Georges Sadoul, Histoire Generale g3 Cinema, Vol. II: Les Pionniers g3 Cinema (Paris: Les Editions Denoel, 1947), pp. 414 and 475. 3Deems Taylor, A Pictorial History of the Movies (New York: Simon and Schuster Co., 1943). 4Paula Silberstein, "On Film and Filmstrip," Scho- lastic Teacher, LXXXIV (February 21, 1964), p. 21-T. On television during the past fifteen years there have been several productions of Shakespeare worthy of note, yet Romeo and Juliet does not appear among them. In March of 1959 "Du Pont Show of the Month" over CBS gave a ninety— minute presentation of Hamlet by London's Old Vic Company starring John Neville. The program was seriously criticized for deletions in the script from the cutting and from elec- tronic and mechanical tricks.l Later that same year NBC made a more successful taping of Shakespeare for television with its version of The Tempest. The production starred Maurice Evans with Lee Remick, Roddy MacDowall, William Bassett, and Richard Burton.2 The National Educational Television and Radio Center made a very successful attempt in the early 1960's to bring its audience a series of fifteen programs presenting Shakespeare's eight chronicle plays. This historical cycle from the deposition of Richard II to the coronation of Henry VII was entitled, An_§qe of Kings.3 Then, in 1963 the British Broadcasting Corporation and the Danish Television Service combined efforts to film Hamlet as a television play in the setting in Elsinore north of 1J. P. Shanley, ”TV: Hamlet on TV," America, Vol. C (March 14, 1959), pp. 698-700. 2"It's Shakespeare Alive," Newsweek, LIV (July 27, 1959), p. 83. 3National Educational Television and Radio Center, .AQ Age Qi Kings, A Report Presented by NET in cooperation with Humble Oil and Refining Company (Houston: Humble Oil and Refining Company, 1961), p. 5. lO Copenhagen where Shakespeare said it actually happened. The two—and—one-half hour production cost $120,000.1 Finally, WCBS—TV makes an annual taping of the Opening production of the New York Shakespeare Festival in Central Park. .After much publicity in 1964, their three-hour and ten-minute videotaping of Hamlet caught the understudy in the lead role instead of the star, Alfred Ryder, who had an attack of laryngitis several hours before!2 In distinguishing Shakespearean drama on film and TV from the stage, various properties of each of these mediums must be taken into consideration. First, the Shakesperean drama on stage calls for a robust tradition of acting in Opposition to modified acting in film, and particularly on television. Even as much as a whisper near a micrOphone comes out loudly in filming. Furthermore, because every action is intensified through a camera lens, the emphasis of attention in film and television is on the video, rather than audio. The angle of viewing contributes to this pronounced difference. In a stage production every member views the drama from a fixed point, whereas in film and television the audience sees each shot from the angle of the camera. On stage actions portray the story, but particularly in motion l"Hamlet at Elsinore," Newsweek, LXII (October 14, 1963), p. 78. 2R. L. Shayon, "Oops! Wrong Hamlet!" Saturday Review, XLVII (July 4, 1964), p. 19. 11 pictures actors' reactions are more important.1 Since the original form of Shakespearean drama was written for presen- tation on the stage, Shakespeare's words still remain as the most important element in his plays, more important than the physical action itself. If the main focus in television is on the video, then the picture must serve to show actors' reactions which both reflect and call attention to Shakespeare's deliberate wording. Consequently, the acting style with appropriate gestures and vocal levels must be suited to the medium of television. The flatness created by drama viewed on a two— dimensional screen, as opposed to the three-dimensional action within the proscenium arch of theater, suggests a further distinction of both television and film. The TV pro- ducer's end product is visualization of a series of pictures in sequence from the viewpoint of the audience. If he chooses to create the illusion of the stage through effective pictures, the producer provides his audience with a front- row theater seat2--an advantageous solution to the problem of flatness! Furthermore, on account of editing processes and the possibility of intercutting three or four scenes all of which are supposed to be developing simultaneously, both lRichard Hubbell, Television Programming and Pro- duction (New York: Rinehart and Company, 1950), p. 29. 2Edward Stasheff and Rudy Bretz, The Television Program (New York: Hill and Wang, Inc., 1962), p. 5° 12 film and television have other advantages over the stage. The stage must portray each scene in orderly fashion. The staging limitations of time, place, and action are less important in motion pictures and in television. Therefore, the final product on the screen can present a very realistic portrayal of Romeo and Juliet. Television can capitalize upon these advantages over theatrics and motion pictures which stem from its unique prOperties of convenience, immediacy, and intimacy. Com- bining these three factors to achieve realism, television can bring to the screen its very own contribution of this poetic drama. -As for convenience, in that it may be seen in the home, television is more convenient for the average person than the theater. Thus, television performs a unique function for audience interpretation of Shakespeare. For example, those who refuse to take time to go to the theater will, nevertheless, turn on TV to watch even a mediocre Shakespearean production. As well as giving the home audience convenience, it also can furnish the viewer with the feeling of immediacy. Depending upon the effects in a particular production, the immediacy of television can es- tablish a prime advantage over film. The problem in pro— ducing a Shakespearean play would be to create a feeling of immediacy involving visual emphasis in Romeo and Juliet upon the characters, rather than upon the entire set. This would also help to solve the problem of necessary emphasis on the 13 audio portion of the play. It also contributes to a further advantage of intimacy as it is defined in Chapter 1: The transference of a personality so that the audience can al— most reach out to touch the person. The properties of con- venience, immediacy, and intimacy can therefore combine to achieve realism on the television screen with the final re- sult not shared by either film or stage. But producing a television drama involves consider- ation of equipment, including cameras and microphones, in addition to available floor space, scenery, lights, music, furniture, and props. These elements combine to affect de— cisions consequential to camera shots and pictorial compo- sition. Proper use of these combinations of setting and equipment is essential in making a success of the television drama. PROB LEMS OF PRODUCT ION In spite of several major problems involved in its scripting and staging, Romeo and Juliet does possess the qualities of a Shakespearean drama well-suited for pro— duction over the medium of television. First of all, since it is "the world's most famous love story," the popularity of this drama in itself would appeal to a wider range of television viewers than perhaps any of Shakespeare's plays. Secondly, camera shots satisfactory for television viewing can be centered upon a minimum of characters without de- stroying the meaning of the story. The ball at Capulet's house is the only scene requiring a large cast of persons for its believability. But here, as in other scenes, at— tention in the majority of camera shots should be focused up- on Romeo's meeting of Juliet. Thus, in order to portray this drama over television, the problems are limited pri- marily to those of scripting and of staging Shakespeare's verse and the intended corresponding actions effectively for the viewer. Problems in scripting Romeo and Juliet for this tele- vision adaptation include retention of as much of the origin- al language as possible while cutting the script to fit the selected time period. In short, the process is one of 14 15 selection and compression.1 Because beauty in the Shakespearean version of Romeo and Juliet comes from the lyrical language of its poetry, the play condensed in script form must contain this same lyricism. Editing involves the cutting of all parts unnecessary to visual continuity with- out destroying the clarity of meaning. In maintaining the principles of dramatic structure, the dialogue between characters must not only remain dynamic, but also in logical sequence. In writing the script, provision must be made for simple transitions, in addition to allowances for scene changes. Stating many ideas in visual, rather than aural, terms solves part of this problem.2 In the video column of this script the lettered numbers serve to signify the position of properties and characters in relation to the position of the camera corresponding to the layout of the floor plan for each scene. For example, the video column at the beginning of Take #1 reads: 1 FADE IN ON STREET SCENE IN VERONA: PAGE SEATED ON BENCH, WHILE GROUP OF EXCITED CITIZENS TALK AT HOLLY IN TO MCU OF PAGE AS HE RISES FROM BENCH. (CAMERA DOLLY FROM G-9 TO E-6.) D—3 indicates the position of the actors on the floor plan, while G-9 to E-6 gives the movement of the camera. lsee Kevin M. Hannon, "An Adaptation of The Necklace for Television" (unpublished Master's thesis, Michigan State University, 1956), p. 17. 2Ibid., pp. 7-8. 16 Time imposes definite limits on the script for tele— vision in three ways. First, the total time for the entire show must be decided upon. A theater presentation of Romeo and Juliet takes about three hours on the stage. The practical time period chosen for this television production is that of a ninety—minute special. Secondly, time in the sense of physical movement, costume change, and make—up while the show is on the air must be taken into account. And finally, time to capture audience interest is an all— important measure in planning the script for this drama. One of the major problems in reducing the script to meet the time limits was to eliminate considerable portions of the play inclusive of entire scenes. The only lines that have been added are those of the Latin chant of the Friar at Romeo and Juliet's marriage. Most of the famous lines re— main in this television adaptation. In omitting much of the minor action, this script adheres to the main thread of the story. The chorus which introduces Acts One and Two of the play version has been reduced in this script to one person: a young Elizabethan court page. An initial camera shot of a court page typical of Elizabethan times holds attention better than the visual and aural confusion of a chorus. Be- cause the comic scenes where they appear in the play were cut, the servants of Capulet, Sampson, Gregory, and Anthony, and the musicians, Catling, Rebeck, and Soundpost, are missing in this adaptation. Unfortunately, these comic l7 scenes showing delightful glimpses into medieval and Eliza- bethan customs have had to be omitted in order to keep as much of the essential story in the script as possible.1 But one exception of excellent lyrical description unimportant to development of the story remaining in the script in its entirety is the famous ”Queen Mab" speech. The problem of transference of lines and scenes with- in the play is minor. Within the script, several lines are placed in a different order for the sake of camera shots, yet the scenes remain in the order of the original Shakespearean text. Two examples of line transference occur in the adap- tation. First, in Act IV, scene i, of the original text the Friar and Juliet exchange serious dialogue on his plan for her escape from forthcoming marriage to Paris. In this adaptation these short speeches have been combined (between lines 45 and 120) into one longer speech by each of them, so that the camera can focus upon Juliet's actions almost near- ing hysteria. The second instance of line transference oc— curs in Act IV, scene iii. In Juliet's initial speech of the act, line 1 is given as the fifth line, as a cue to facili- tate transition of attention to Lady Capulet's entrance in offering help in the selection of Juliet's wedding attire. Scripting this drama for television production raises a further problem of staging to include scenery, 1see Appendix. 18 actors, and cameras. Videotaping the production can solve the confusion of scene and costume changes. The taping can be stopped at any point to allow for transitions, in addition to any corrections. Therefore, rather than designating scenes and acts, the script will be divided for reference in— to three thirty-minute segments of eighteen takes. »A practi— cal point to begin every take would be immediately preceding the fade in to each new scene. To help the actors achieve the maximum in intimacy and realism, Shakespeare's original verse has been printed as prose in the audio column of this script. In addition to a brief description of the characters' actions, the video column also contains the lettered-number combination to show positioning of the characters and props in relation to the cameras within a given space. The major problems of staging will then involve placement of scenery and actors in relation to the camera view. All on-camera movement can be executed within a medium—sized television studio. The videotaping calls for three cameras with the exception of the two balcony scenes. Here, a fourth camera is required to shoot Romeo's reaction over Juliet's shoulder from her chamber. The other three cameras will focus upon Romeo and Juliet from Capulet's orchard below. All of these cameras may be of the studio pedestal type. The studio pedestal can be re—positioned quickly in any direction, and can be easily raised and lowered. 19 The scenery should represent the Italian Renaissance of the fourteenth and fifteenth centuries from the Northern Italian cities of Verona and Mantua. An excellent book for reference on architecture in the city of Verona during this period is C. E. Street's Brick and Marble lg the Middle Ages: Notes 9: Tours lg the North 9; Italy.1 Other helpful refer— ences on this time period stress the elaborate design of the pillars and rounded arch doorways of tombs, mausoleums, and Cloisters.2 The details of dimensions of specific pieces of scenery along with their spacing in relation to blocking of actors are of utmost importance in regard to camera View. Thus, for this purpose, the floor plans give the dimensions in scaled measurement for each specific scene. A set re— quiring detailed explanation for its construction is Juliet's balcony. Juliet's balcony may be duplicated in two scenes. A real balcony must be built for actions played out over the orchard for purposes of height. But when Juliet comes back into her chamber in the second of the two balcony scenes, the balcony will be duplicated for shooting action occuring on the ground level of the studio floor where the chamber scene is. Here, the balcony can be but a piece of background l(London: John Murray, 1894), pp. 83-126. 2Charles A. Cummings, A History 9f Architecture_ig Italy (Boston and New York: Houghton, Mifflin, and Company, 1901), pp. 63-77. 20 scenery. Taping must be interrupted to allow for transition of actors from the platform to the ground level. Technical considerations of interest are lighting and music. First of all, care of lighting technique is an absolute necessity in the two balcony scenes where night fades to daybreak during the lovers' conversation. Key or modeling light can play an important part in these settings for the creation of necessary shadows. Other distinctions may depict the dank darkness of the Friar's cell in contrast to the light of Juliet's chamber. Day and night contrasts also come out in showing Verona streets at night followed in takes by Capulet's lighted ballroom. Within the night scenes back light can be utilized to make the subjects stand out against the dark background. Hence, the lighting calls for skill in producing continual contrasts. Suggestions for background music might include songs from the Elizabethan era played by consort, lute, or harpsi- chord. Listed according to their classification under com- posers or collections in Schwann catalog, these suggestions stand as examples of the type of effective music for this production:1 Bream, Julian, Consort. --Evening 9f Elizabethan Music. (9—63) (Vic., LD-2656.) Elizabethan Consort of Viols/Golden Age Singers. --Shakespeare's Time. (ll-64) (West. 19076.) lSchwann catalog, XVIII (May, 1966). 21 Harpsichord. Dart. —-Early English. 4-Oiseau. (50075/6; 50130/1.) TCHAIKOVSKY: Romeo and Juliet. Bernstein, NY Phil. Col. ML-5182. TCHAIKOVSKY: Romeo and Juliet. Toscanini, NBC Sym. - Berlioz: Romeo. Vic. LM—1019. BERLIOZ, TCHAIKOVSKY, PROKOFIEFF: Romeo and Juliet. (Vic. LM-6028.) (No longer classified in Schwann.) If this type of music is selected by a competent musical di- rector, it should present no problem to the production. To relieve difficulties of taping the music during production, this background music may be pre-recorded. Then, marked with corresponding cues, it can be faded in and out during the actual videotaping. The actors themselves must be chosen with acting ability in television drama. Actors who work well together in a confined area with training in vocal level and gesturing for television acting should be given primary consideration. Television drama differs from that of the theater in that it calls for much less emphasis on projection of voice and ex— aggeration of gestures. Actors' costuming should mirror the Italian Renaissance of the fifteenth century. As an important final consideration in this pro— duction, the task of interpretation yet remains. Interpre- tation of Shakespeare's intent becomes of primary importance in coordinating actions on the set in relation to the various lLucy Barton, Historic Costume for the Stage (BOSton: Walter H. Baker Co., 1935). 22 camera shots. Only when actions accurately portray the mean— ing of the lines as seen through the eye of the camera, and, in turn, on the television screen, does the production terminate as a success. In the words of Danish critic Georg M. C. Brandes, the interpretation of Romeo and Juliet can only mean the portrayal of: the drama of youthful and impulsive love-at- first—sight, so passionate that it bursts every barrier in its path, so determined that it knows no middle way between happiness and death, and so strong that it throws lovers into each others' arms with scarcely a moment's pause, and, lastly, so ill- fated that death follows straightway upon the ecstasy of union. Here, more than anywhere else, has Shakespeare shown in all its intensity the dual action of an absorbing love in filling the soul with gladness to the point of intoxication, and, at the same time, with despair at the very idea of parting.l lGeorg M. Brandes in Romeo and Juliet, ed. Oscar J. Campbell, Alfred Rothschild, and Stuart Vaughn (New York: Bantam Books, Inc., 1961), p. 172. PRODUCTION SCRIPT Although they are but limited in detail, the follow- ing floor plans can serve to help the director with sug- gestions for staging each scene. Of course, any director will have his own ideas to contribute to the production of the script. Thus, before each floor plan is a brief de- scription of its set elements. The floor plans are arranged in the order of their ”take," except where several "takes" use the same set repeatedly. For the body of the text in this script, in general I used Charles Jasper Sisson's edition of William Shakespeare: The Complete WOrks.l But in one case, Take #7, Act II, scene iv, lines 5—7, I used another edition for a different arrangement of lines for accurate characterization over television. Takes 1, 3, 7, and 9 focus upon a street in the Renaissance capital of Northern Italy, Verona. Buildings along the street should reflect this period of Early lCharles Jasper Sisson, William Shakespeare: The Complete Works (New York: Harper and Brothers, Publishers, 1953), PP. 874—909. 2William Shakespeare, Romeo and Juliet, ed. Oscar James Campbell, Alfred Rothschild, and Stuart Vaughan (New York: Bantam Books, Inc., 1956), pp. 23—140° 23 24 Renaissance architecture. Brick and stone were the prevalent building materials for the cathedrals, homes, and shOps. Arched windows and doorways of rough brickwork or marble characterized these dwellings. A stone bench should be placed in front of the solid brick home with stone pillars. Small squares called piazzas with a fountain or statue in their center were frequent in Italian streets. Key lighting from scoops may be diminished to dis- tinguish daytime scenes from the night scene for Take #3. N U1 B C D F G EII ‘—-__. III 4: \i \ I 7 <3-VI-4> ‘J V V < Iv LI 7‘ 611+ <— Ix —> CD )( . VIA-II I Portion of a Cathedral II Doorway of Cathedral; Height — 12'; Depth 1/2' III Cathedral Pillar; height — 12' IV Front of Home V Pillars of Home VI Doorway of Home VII Wall of Adjacent Home VIII Piazza IX XI Statue - Height — Trees - Height 8' Bench 7| Takes # l. 3. 7.9 Verona. A Street. 35" = 45' 1/4' x l' 26 ROMEO AND JULIET Act I — 30:00 (First Segment) VIDEO 1 FADE IN ON STREET SCENE IN VERONA: PAGE SEATED ON BENCH, WHILE GROUP OF EXCITED CITIZENS TALK AT D-3. DOLLY IN TO MCU OF PAGE AS HE RISES FROM BENCH. (CAMERA DOLLY FROM G-9 TO E-6.) 2 MS OF PAGE PAN TO FOLLOW HIM WALKING FROM D—4 TO GROUP AT D-3. l MCU OF PAGE DOLLY OUT TO MS AS CITIZENS STAND BACK TO WITNESS FIGHT BETWEEN (TAKE #1) MUSIC UP FOR 5 SECONDS, THEN UNDER FOR: CITIZENS MUTTER IN ANGERED TONES. PAGE: 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 over- throws Doth with their death bury their parents' strife. The fearful passage of their death-marked love, And the con— tinuance of their parents' rage, Which, but their children's end, naught could remove, Is now the two hours' traffic of our stage.... NOISE OF CITIZENS INCREASES. TYBALT AND BENVOLIO. TYBALT THRUSTS HIS SWORD AT BENVOLIO WHO CANNOT FIGHT AS FAST. CAPULET AND LADY CAPULET ENTER CAMERA FROM DL— RECTION OF A—l. (CAMERA AT G-5.) THEY APPROACH THE FIGHT AT D-3. 2 MS OF CAPULET AND LADY CAPULET (CAMERA AT E-4.) 1 LS OF GROUP. MONTAGUE AND LADY MONTAGUE ENTER CAMERA FROM DIRECTION OF A-l. CAPULET CROSSES TO MEET MONTAGUE AT C-3. MONTAGUE PULLS OUT A DAGGER, BUT CAPULET SEIZES HIS WRIST. GUARDED BY TWO SUBJECTS, PRINCE ENTERS CAMERA FROM DIRECTION OF A-l. 3 MCU OF PRINCE AT C-3 PRINCE CROSSES TO D-3. l GROUP SHOT OF PRINCE, CAPULET, MONTAGUE, BEN? VOLIO, AND TYBALT 3 MCU OF PRINCE 27 CITIZENS: Strike, beat them down. Down with the Capulets! Down with the Montagues! CAPULET: What noise is this? Give me my long sword, ho: LADY c.: A crutch, a crutch! Why call you for a sword? CAPULET: My sword, I say. Old Montague is come, And flourishes his blade in spite of me. MONTAGUE: Thou villain, Hold me not, let me go. Capulet: LADY M.: Thou shalt not stir one foot to seek a foe. PRINCE: Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel—- Will they not hear? Throw your mistempered weapons to the ground, And hear the sentence of your moved Prince. Three civil brawls bred of an airy word, by thee old Capulet, and Montague, Have thrice disturbed the quiet of our streets, And made Verona's ancient citizens Cast by their grave beseeming orna- ments, To wield old partisans, in hands as old, Cankered with peace, to part your cankered hate. If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. For this time, all the rest depart away. 2 MS OF PRINCE, CAPULET, AND MONTAGUE DOLLY BACK SLOWLY. ALL BUT MONTAGUE, LADY M., AND BENVOLIO EXEUNT AT Arl. 3 MS OF MONTAGUE AND BENVOLIO l TIGHT GROUP SHOT MIMICS ROMEO. PAN TO FOLLOW HIM PACING FROM C-3 TO C-4, POUTING WITH HIS FACE DOWNWARD. 28 You Capulet shall go along with me; And Montague, come you this afternoon, To know our farther pleasure in this case, To old Freetown, our common judgement place Once more, on pain of death, all men depart. MONTAGUE: Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? BENVOLIO: Here were the servants of your adversary, .And yours, close fighting ere I did ap- proach. I drew to part them, in the instant came, The fiery Tybalt, with his sword prepared, Which as he breathed defiance to my ears, He swung about his head and out the winds, Who nothing hurt withal hissed him in scorn. While we were interchanging thrusts and blows, Came more and more, and fought on part and part, Till the Prince came, who parted either part. LADY M.: 0 where is Romeo? Saw you him today? Right glad I am he was not at this fray. BENVOLIO: Madam, an hour before the worshipped sun Peered forth the golden window of the east. A troubled mind drave me to walk abroad, Where underneath the grove of sycamore, That westward rooteth from this city side, So early walking did I see your son. Towards him I made, but he was ware of me, And stole into the covert of the wood. I measuring his affections by my 3 MCU OF MONTAGUE l TIGHT GROUP SHOT AT C-3 2 MS OF GROUP 1 TIGHT GROUP SHOT 3 MCU OF MONTAGUE 2 MS OF GROUP DOLLY BACK FOR ROMEO'S ENTRANCE FROM DIRECTION OF E-4. 29 own, Pursued my humour, not pursuing his, And gladly shunned who gladly fled from me. MONTAGUE: Many a morning hath there been seen, With tears augmenting the fresh morning's dew, Adding to clouds more clouds with his deep sighs. But all so soon as the all- cheering sun Should in the farthest east begin to draw The shady curtains from Aurora's bed, Away from light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks fair daylight out, And makes himself an artificial night. Black and portentous must this humour prove, Unless good counsel may the cause remove. BENVOLIO: My noble uncle, do you know the cause? MONTAGUE: I neither know it, nor can learn of him. BENVOLIO: Have you importuned him by any means? MONTAGUE: Both by myself and many other friends. But be, his own affections' counsellor, Is to himself--I will not say how true--But to himself so secret and so close, So far from sound- ing and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, we would as willingly give cure as know. BENVOLIO: See where he comes. so please you step aside. I'll know his grievance or be much denied. MONTAGUE TURNS TO LEAVE IN DIRECTION OF A-l. DOLLY BACK SLIGHTLY FARTHER TO SHOW EXEUNT OF THE MONTAGUES. 3 MS OF ROMEO AND BENVOLIO AT C-3. LOOKING DOWNWARD, ‘URNS HIS BACK ON BENVOLIO. ROMEO ROMEO CONTINUES TO GAZE AT GROUND. BENVOLIO TAPS ROMEO ON SHOULDER. 2 CU OF ROMEO LOOKING UPWARD 3 TIGHT MS OF ROMEO AND BENVOLIO AS ROMEO TURNS BACK TO QUESTION BENVOLIO 3O MONTAGUE: I would thou wert so happy by thy stay To hear true shrift. BENVOLIO: Good morrow, cousin. ROMEO: Is the day so young? BENVOLIO: But new struck nine. ROMEO: Ay me, sad hours seem long. Was that my father that went hence so fast? BENVOLIO: It was. What sadness lenghtens Romeo's hours? ROMEO: Not having that which makes them short. BENVOLIO: In love? ROMEO: Out-- BENVOLIO: Of love? ROMEO: Out of her favour where I am in love. BENVOLIO: Alas that love, so gentle in his view, Should be so tyrannous and rough in proof: ROMEO: Alas that love, whose View muffled still, Should without eyes see pathways to his will. Here‘s much to do with hate, but more with love. This love feel I, that feel no love in this. Dost thou not laugh? BENVOLIO: No coz, I rather weep. ROMEO: Good heart, at what? BENVOLIO: oppression. At thy good.heart's 2 MCU OF ROMEO 1 CU OF ROMEO'S ANTAGONIZED FACIAL EXPRESSION AS HE LOOKS UPWARD 2 MS OF ROMEO WALKING AWAY FROM C-3 TO D—3. BENVOLIO FOLLOWS HIM. l MCU OF ROMEO TURNING BACK TO FACE BENVOLIO. PAN TO FOLLOW THEM WALKING TO E-3. 3 MS OF ROMEO AND BENVOLIO PAUSING TO TALK AT E-3. ROMEO SITS ON CORNER OF BENCH WITH HEAD IN HANDS. 31 ROMEO: Why such is love's transgression. Griefs of mine own lie heavy in my breast. Which thou wilt propagate to have it pressed With more of thine; this love that thou hast shown, Doth add more grief, to too much of mine own. Love is a smoke raised with the fume of sighs; Being purged, a fire sparkling in lovers' eyes; Being vexed, a sea nourished with lovers' tears. What is it else? A madness most discreet, A choking gall, and a preserving sweet. Farewell my coz. BENVOLIO: Soft, I will go along. And if you leave me so, you do me wrong. ROMEO: Tut I have lost myself; I am not here. This is not Romeo, he's some other where. BENVOLIO: Tell me in sadness, who is that you love. ROMEO: What, shall I groan and tell thee? BENVOLIO: Groan? Why no But sadly tell me who. ROMEO: Bid a sick man in sadness make his will? Ah word ill urged to one that is so ill. In sadness cousin, I do love a woman. BENVOLIO: I aimed so near, when I supposed you loved. ROMEO: A right good mark—man. And she's fair I love. BENVOLIO: A right fair mark, fair coz, is soonest hit. ROMEO: Well in that hit you miss, she'll not be hit with l MCU OF ROMEO 3 MS OF ROMEO AND BENVOLIO l MCU OF ROMEO ROMEO RISES FROM BENCH. DOLLY OUT FOR 2-SHOT TO FOLLOW EXEUNT OF ROMEO AND BENVOLIO FROM E-3 TO G-4. DISSOLVE TO 3 LS OF ENTRANCE OF CAPULET WITH HIS SERVANT AND PARIS IN SAME SET FROM DIRECTION OF A-l. -DOLLY IN TO MS AS PARIS AND CAPULET STOP TO TALK AT D—3. SERVANT SITS ON NEARBY BENCH. 32 Cupid's arrow. She hath Dian's wit, And in strong proof of chastity well-armed, From love's weak childish bow she lives uncharmed. She will not stay the siege of loving terms, Nor bid the en— counter of assailing eyes, Nor ope her lap to saint—seducing gold. 0 she is rich in beauty, only poor, That when she dies with beauty dies her store. BENVOLIO: Be ruled by me, to think of her. forget ROMEO: O teach me how I should forget to think. BENVOLIO: unto thine eyes. beauties. By giving libert Examine other ROMEO: 'Tis the way to call hers, exquisite, in question more. These happy masks that kiss fair ladies' brows, Being black, put us in mind they hide the fair. He that is strucken blind cannot forget The precious treasure of his eyesight lost. Show me a mistress that is passing fair, What doth her beauty serve, but as a note Where I may read who passed that passing fair? BENVOLIO: I'll pay that doctrine, or else die in debt. MUSIC UP FOR 5 SECONDS, THEN UNDER FOR: CAPULET: But Montague is bound as well as I, In penalty alike; and 'tis not hard, I think For men so old as we to keep peace. PARIS: Of honourable reckoning are you both, And pity 'tis you lived at odds so long. But now my lord, what say you to my suit? l MCU OF CAPULET 2 SHOT OF CAPULET OVER PARIS' SHOULDER SERVANT RISES FROM BENCH. GIVES SERVANT PAPER. DOLLY OUT TO FOLLOW EXEUNT OF CAPULET AND PARIS IN DIRECTION OF A-l. HOLD ON LS OF SERVANT SERVANT BEGINS TO LEAVE IN DIRECTION OF E-3. BENVOLIO AND ROMEO ENTER CAMERA FROM DIRECTION OF F-3, CROSSING TO E—3. 33 CAPULET: But saying o'er what I have said before. My child is yet a stranger in the world, She hath not seen the change of fourteen years. Let two more summers wither in their pride Ere we may think her ripe to be a bride. PARIS: Younger than she are happy mothers made. CAPULET: And too soon marred are those so early made. Earth hath swallowed all my hopes but she: She is the hOpeful lady of my earth. But woo her gentle Paris, get her heart, My will to her consent is but a part. An she agree, within her scope of choice Lies my consent and fair according voice. This night I hold an old accustomed feast. Whereto I have invited many a guest, Such as I love; and you among the store, Once more most welcome, makes my number more. Which on View of many, mine being one May stand in number, though in reckoning none. Come go with me. (TO SERVANT) Go sirrah, trudge about Through fair Verona, find those persons out Whose names are written there, and to them say, My house and welcome on their pleasure stay. SERVANT: Find them out whose names are written here! But I am sent to find those persons whose names are here writ, and can never find what names the writing person hath here writ. I must to the learned in good time. ROMEO MUTTERS NONSENSE BARELY AUDIBLE. MUMBLING IN A DAZE, ROMEO BUMPS INTO SERVANT AT E—3. (X) SERVANT TURNS TO DEPART. SERVANT HANDS ROMEO PAPER. ROMEO PAUSES BRIEFLY TO LOOK AWAY STUNNED. HE FINISHES READING. GIVES BACK PAPER. 2 MS OF SERVANT AND ROMEO 34 BENVOLIO: Why Romeo, art thou mad? ROMEO: Not mad, but more bound than a madman is; (X) God—den good fellow. SERVANT: God gi' god-den, I pray sir can you read? ROMEO: Ay, mine own fortune in my misery. SERVANT: Perhaps you have learned it without book. But I pray can you read any thing you see? ROMEO: Ay, if I know the letters and the language. SERVANT: Ye say honestly, rest you merry. ROMEO: Stay fellow, I can read. (READS THE PAPER.) "Seigneur Martino, and his wife and daughters; County Anselme and his beauteous sisters; the lady widow of Vitruvio, Seigneur Placentio, and his lovely nieces; Mercutio and his brother Valentine; mine uncle Capulet, his wife and daughters; my fair niece Rosaline, (PAUSE . ) Livia, Seigneur Valentio, and his cousin Tybalt; Lucio and the lively Helena." A fair assembly: Whither should they come? SERVANT: Up. ROMEO: Whither? To supper? SERVANT: To our house. ROMEO: Whose house? SERVANT: My master's. DOLLY BACK FOR 3-SHOT. SERVANT EXITS. 3 MCU OF BENVOLIO l REVERSE ANGLE REACTION OF ROMEO GLANCING DOWNWARD (CAMERA AT C-2.) 2 GROUP SHOT TO COVER THEIR EXEUNT AT G-4. (CAMERA AT C-9.) FADE OUT 35 ROMEO: Indeed I should have asked you that before. SERVANT: Now I'll tell you with- out asking. My master is the great rich Capulet, and if you be not of the house of the Montagues, I pray come crush a cup of wine. Rest you merry. BENVOLIO: At this same ancient feast of Capulet's Sups the fair Rosaline whom thou so loves, With all the admired beauties of Verona Go thither, and with unattainted eye, Compare her face with some that I shall show, And I will make thee think thy swan a crow. Tut you saw her fair, none else being by, herself poised with herself in either eye. But in that crystal scales let there be weighed Your lady's love against some other maid That I will show you shining at this feast, And she shall scant show well that now shows best. ROMEO: I'll go along, no such sight to be shown, But to rejoice in splendour of mine own. 36 Juliet's chamber shows several sections in its ”takes" reflecting specific detail. The director can vary some of the detail according to his own tastes, but certain set pieces should be used. First, three plain walls should surround the room with Juliet's bed, dresser with mirror and bench, closet, and perhaps a clothes chest on the floor. These pieces of furniture alone should be enough to decorate the room. Juliet's bed should be a four—poster canOpy. All doorways including the closet, balcony, and room entrance may have tall, slender arches. A rear screen projection may serve as backing for the balcony to duplicate the setting of the actual balcony scene. 37 Takes # 2, 13, 15 Verona. Juliet's Chamber 25' x 40' 1/4" x l' A 1,3 c P a ,1 ; < V 9 A! A\ IV 0 II < Ix 4e a air... . EZZIEZZJ III b I VI 11: . IX 5 I Juliet's Bed 1‘ II Closet VII \V III Clothes Chest IV Double Window - Door to Balcony ' V Balcony VI Dresser with Mirror VII Dresser Seat VIII Door to Room IX Wall FADE IN TO 1 LS OF LADY C. AND NURSE AT D-4 IN JULIET'S BEDROOM (CAMERA AT E—7.) JULIET ENTERS CAMERA FROM DOOR AT E—5. DOLLY IN FOR TIGHT GROUP SHOT AT E-4. NURSE BEGINS EXIT TO DOOR AT E-S. CROSSES BACK TO E-4. JULIET SITS AT DRESSER. NURSE BRUSHES JULIET'S HAIR. 3 MS OF NURSE AND JULIET AT D-4. 38 (TAKE #2) TRANSITIONAL MUSIC FOR SEVERAL SECONDS, ENDING WITH STAB. LADY C.: daughter? Nurse, where's my Call her forth to me. NURSE: Now by my maidenhead -- at twelve-year-old—- I bade her come. What lamb! What lady— bird! God forbid! Where's this girl? What, Juliet! JULIET: How now? Who calls? NURSE: Your mother. JULIET: Madam, I am here, what is your will? LADY CAPULET: This is the matter-— nurse, give leave awhile, We must talk in secret. Nurse, come back again, I have remembered me. Thou's hear our counsel. Thou knowest my daughter's of a pretty age. NURSE: Faith I can tell her age unto an hour. On Lammas Eve at night shall she be fourteen; That shall she marry, I remember it well. 'Tis since the earth- quake now eleven years, And she was weaned-— I never shall forget it—— Of all the days of the year, upon that day. Thou wast the 2 TIGHT GROUP SHOT l REFLECTION OF JULIET FROM MIRROR (CAMERA AT B-4.) JULIET RISES, BEGINS TO CROSS TO DOOR. PAN TO INCLUDE LADY c. FOLLOWING HER. 3 MCU OF LADY c. 2 TIGHT GROUP-SHOT AT E—4o 39 prettiest babe that e'er I nursed; ~An I might live to see thee married once, I have my wish. LADY CAPULET: Marry, that marry is the very theme I came to talk of. Tell me daughter Juliet, How stands your dispositions to be married? JULIET: It is an honour that I dream not of. NURSE: .An honour? Were not I thine only nurse, I would say Thou hadst sucked wisdom from thy teat. LADY C.: Well, think of marriage now. Younger than you, Here in Verona, ladies of esteem, Are made already mothers. By my count, I was your mother much upon these years That you are now a maid. Thus then in brief—- The valiant Paris seeks you for his love. NURSE: A man, young lady; lady, such a man As all the world—- why he's a man of wax. LADY C: Verona's summer hath not such a flower. NURSE: Nay he's a flower, in faith a very flower. LADY C. What say you, can you love the gentleman? This night you shall behold him at our feast, Read o'er the volume of young Paris' face, .And find delight writ there with beauty's pen; Examine every married lineament, And see how one another lends content; And what obscured in this fair volume lies Find written in the margent of his eyes. 3 MCU OF LADY C. 2 CU OF JULIET 3 TIGHT GROUP SHOT. SERVANT ENTERS CAMERA FROM DOOR AT E-5. SERVANT EXITS AT E-S. IN EXEUNT, THEY FOLLOW HIM SHORTLY. FADE OUT 40 This precious book of love, this unbound lover, To beautify him only lacks a cover. That book in many's eyes doth share the glory, That in gold clasps locks in the golden story; So shall you share all that he doth possess, By having him, making yourself no less. I'll look to like, if looking liking move. But no more deep will endart mine eye Than your consent gives strength to make it fly. SERVANT: Madam the guests are come, supper served up, you called, my young lady asked for, the nurse cursed in the pantry, and every thing in extremity. I must hence to wait; I beseech you follow straight. LADY C.: We follow thee. Juliet, the County stays. NURSE: Go girl, seek happy nights to happy days. MUSIC UP AND OUT 41 (TAKE #3) (See floor plan preceding Take #1) FADE IN TO 2 MS OF ROMEO, BENVOLIO, AND MERCUTIO IN DARKENED STREET OF VERONA WALKING FROM B-2 TO D-3. PAN TO FOLLOW THEM WALKING VERY SLOWLY PAUSING TO TALK THEY STOP WALKING‘AT D_3o MUSIC UP MUSIC UNDER FOR: ROMEO: Give me a torch, I am not for this ambling; Being but heavy, I will bear the light. MERCUTIO: Nay gentle Romeo, we must have you dance. ROMEO: NOt I, believe me, you have dancing shoes With nimble soles, I have a soul of lead So stakes me to the ground I cannot move. MERCUTIO: You are a lover, borrow Cupid's wings, And soar with them above a common bound. ROMEO: I cannot bound a pitch above dull woe. Under love's heavy burden do I sink. MERCUTIO: And to sink in it should you burden love; Too great Oppression for a tender thing. ROMEO: Is love a tender thing? It is too rough, Too rude, too boisterous, and it pricks like thorn. 42 MERCUTIO: If love be rough with you, be rough with love. Prick love for pricking, and you beat love down. 1 CU OF MERCUTIO Give me a case to put my visage in. A visor for a visor. What care I What curious eye doth quote deformities? PUTS ON A MASK Here are the beetle brows shall blush for me. 3 TIGHT GROUP SHOT BENVOLIO: Come knock and enter, and no sooner in, But every man betake him to his legs. MERCUTIO: Come, we burn daylight, ho! ROMEO: Nay that's not so. 2 MS OF MERCUTIO MERCUTIO: I mean sir, in delay AND ROMEO We waste our lights in vain, like lamps by day. Take our good meaning, for our judgment sits Five times in that, ere once in our five wits. ROMEO: And we mean well in going to this mask; But 'tis no wit to go. MERCUTIO: Why, may one ask? ROMEO: I dreamt a dream to-night. MERCUTIO: And so did I. ROMEO: Well, what was yours? MERCUTIO: That dreamers Often lie. ROMEO LOOKS DOWN IN ROMEO: In bed asleep while they SADNESS do dream things true. MERCUTIO SLAPS ROMEO ON MERCUTIO: 0 then I see Queen Mab BACK hath been with you. 1 MCU OF She is the fairues' midwife, and MERCUTIO she comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn 2 MS OF MERCUTIO GESTURING A DESCRIPTION OF HER PROPERTIES AS HE WALKS FROM D-3 TO C-3. PAN TO FOLLOW CAPERING IN PIXIE-LIKE MOVEMENTS AROUND STATUE FROM C-3 TO C-4. 3 MCU OVER ROMEO'S SHOULDER AS ROMEO CROSSES TO HIM AT C-4. MERCUTIO BRUSHES ROMEO UNDER THE NOSE4 (CAMERA AT E-3.) DRAWS HIS FINGER ACROSS ROMEO'S THROAT RAISES HIS ARMS UPWARD, THEN DOWN. 1 CU OF MERCUTIO 43 with a team of little atomies Over men's noses as they lie asleep Her wagon-spokes made of long spinners' legs; The cover, Of the wings of grasshoppers; Her traces, of the smallest spider web; Her collars, of the moonshine's watery beams; Her whip of cricket's bone; the lash of film; Her wagoner, a small gray-coated gnat, Not half so big as a round little worm, Pricked from the lazy finger of a maid. Her chariot is an empty hazel-nut, Made by the joiner squirrel or old grub, Time out a mind the fairies' coachmakers. And in this state she gallOps night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on curtsies straight; O'er lawyers' fingers, who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are. Sometime she gallOps over a courtiers's nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe- pig's tail, Tickling a parson's nose as 'a lies asleep, Then he dreams of another benefice. Sometimes she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathom deep; and then anon Drums in his ear, at which he starts and wakes; And being thus frighted, swears a prayer or two, And sleeps again. This is that very Mab That plats the manes of horses in the night, And bakes the elf-locks in foul 2 MS OF MERCUTIO AND ROMEO BENVOLIO ENTERS CAMERA FROM D-3 TO JOIN THEM. 3 TIGHT GROUP SHOT BENVOLIO PATS ROMEO ON THE BACK. PAN TO FOLLOW THEIR EXIT FROM C-4 TO A-l. FADE OUT. 44 sluttish hairs. Which once untangled, much misfortune bodes. This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage. This is she-- ROMEO: Peace, peace, Mercutio, peace. Thou talk'st of nothing. MERCUTIO: True, I talk of dreams; Which are the children of an idle brain, Begot of nothing but vain fantasy; Which is as thin of sub— stance as the air, And more in— constant than the wind who woces Even now the frozen bosom of the north, And being angered puffs away from thence, Turning his side to the dew-dropping south. BENVOLIO: This wind you talk of blows us from ourselves. Supper is done, and we shall come too late. ROMEO: On lusty gentlemen. BENVOLIO: Strike drum. MUSIC UP FOR 20 SECONDS, THEN OUT. 45 For the dance scene where Romeo and Juliet first meet an elaborate hall can reflect the occasion. Tapestries, several long mirrors, and pictures may appear on the two side walls behind the rows of veined marble pillars resting on slightly larger square blocks with foliated capitals. If at all possible, chandeliers should be constructed from the ceiling. But some spill light at least can create this ef— fect in splashes on the dancers and in the mirrors on the wall from above. Two wide doors of glass windows at the end of the dance floor will open onto a terrace shown by rear screen projection. This scene on the projection may reflect some moonlight, the stone railing of a porth, trees, and a fountain through the porch railing. The dance floor should be made of wood. 10 / A g_ B C ig D - E g F a ‘ I \ 7 ‘1\ II II 1\ .VI VI \1/ III .III \L EV \\\\ r VII IV \1/ O III .III V “\L Iv * IV )V ¢ (I 0 III OIII I — Rear Screen Projection of Terrace II - Doors to Terrace ‘( III - Pillars - Height — 12' IV - Tapestries V - Pictures Take #4 TO VI - Mirrors Verona. A Hall In 13’ VII — Side Door Capulet's House. . 33' x 80' 1/4" = l' FADE IN TO 1 ELS OF BALLROOM, HALL IN CAPULET'S HOUSE: SHOT OF GUESTS DANCING. (CAMERA AT D-16.) THREE MASKERS ENTER CAMERA AT D-9. ROMEO WATCHES JULIET DANCING AT D-8, THEN APPROACHES SERVANT AT E—9. DOLLY IN FOR 2-SHOT OF ROMEO AND SERVANT WITH JULIET DANCING IN THE BACKGROUND. 2 MCU OF JULIET OVER SHOULDERS OF ROMEO AND SERVANT (CAMERA AT F-lO.) 3 CU OF ROMEO l ELS COMBO OF TYBALT AND SERVANT IN FOREGROUND AT D-lO; ROMEO AND SERVANT IN BACKGROUND. TYBALT AND SERVANT ENTER, THEN CROSS FROM D-lO TO. D-9. TYBALT POINTS TOWARD ROMEO 47 (TAKE #4) DANCE MUSIC UP AFTER STAGE ACTION OF ROMEO, FADE MUSIC UNDER FOR: ROMEO (TO SERVANT): What lady's that which doth enrich the hand of yonder knight? SERVANT: I know not sir. ROMEO: 0 she doth teach the torches to burn bright. It seems she hangs upon the cheek of night As a rich jewel in an Ethiop's ear; Beauty too rich for use, for earth too dear. Did my heart love till now? Forswear it sight, For I ne'er saw true beauty till this night. TYBALT: This by his voice should be a Montague. Fetch me my rapier, boy. What dares the slave Come hither covered with an antic face, To fleer the scorn of our solemnity? Now by the stock and honour of our kin, To strike him dead I hold not a Sln. CAPULET ENTERS FOREGROUND OF COMBO FROM DIRECTION OF D—lO. 3 MS OF CAPULET AND TYBALT CUT TO 2 MS OF ROMEO APPROACHING JULIET AT E-2. SHE HAS STOPPED DANCING TO WALK IN THE DIRECTION OF THE TERRACE AT OPPOSITE END OF ROOM. 48 CAPULET: Why how now kinsman, wherefore storm you so? TYBALT: Uncle, this is a Montague, our foe; A villain that is hither come in spite, To scorn in our solemnity this night. CAPULET: Young Romeo is it? TYBALT: 'Tis he, that villain Romeo. CAPULET: Content thee gentle coz, let him alone. 'A bears him like a portly gentleman; And to say the truth, Verona brags of him To be a virtuous and well governed youth. I would not for the wealth of all this town Here in this house do him disparagement. Therefore be patient, take no note of him; It is my will, the which if thou re— spect, Show a fair presence, and put off these frowns, An ill- beseeming semblance for a feast. TYBALT: It fits when such a villain is a guest. I'll not endure him. CAPULET: He shall be endured. TYBALT: Why uncle, 'tis a shame—- CAPULET: GO to, go to, You are a saucy boy. ROMEO: If I profane with my unworthiest hand This holy shrine, the gentle sin is this. My lips two blushing pilgrims ready stand To smooth that rough touch with a tender kiss. JULIET: Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, 1 SHOT OF JULIET OVER ROMEO'S SHOULDER THEY KISS. (X) 2 MS AT REVERSE ANGLE REACTION OF ROMEO OVER JULIET'S SHOULDER THEY KISS. l REPEAT REVERSE ANGLE REACTION 3 LS ON HASTY ENTRANCE OF NURSE FROM DIRECTION OF E-3. JULIET EXITS IN DIRECTION OF E-3. ROMEO HOLDS NURSE BACK WITH QUESTIONING. 2 MS OF NURSE AND ROMEO 1 CU OF ROMEO 49 And palm to palm is holy palmers' kiss. ROMEO: Have not saints lips, and holy palmers too? JULIET: Ay pilgrim, lips that they must use in prayer. ROMEO: 0 then dear saint, let lips do what hands do. They pray; grant thou, lest faith turn to despair. JULIET: though grant for prayers' Saints do not move, sake. ROMEO: Then move not while my prayer's effect I take. (X) Thus from my lips, by thine, my sin is purged. JULEIT: Then have my lips the sin that they have took. ROMEO: Sin from my lips? O trespass sweetly urged. Give me my sin again. JULIET: You kiss by the book. NURSE: Madam, your mother craves a word with you. ROMEO: What is her mother? NURSE: Marry bachelor, Her mother is the lady of the house, And a good lady, and a wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her Shall have the chinks. ROMEO: Is she a Capulet? O dear account, my life is my foe's debt. 3 LS OF GROUP INCLUDING BENVOLIO AND CAPULETS APPROACHING ROMEO FROM D-4 TO D-2. 2 GROUP SHOT OF ROMEO, BENVOLIO, AND CAPULET BENVOLIO SHAKES HIS HEAD TO INDICATE THEY MUST GO. 3 LS AS CAPULET BECKONS TO A SECOND CAPULET NEAR- BY. PAN TO FOLLOW EXEUNT OF ALL BUT NURSE IN THE DIRECTION OF F-3. JULIET ENTERS FROM E—4 TO CROSS TO NURSE AT D—2. 2 MS OF JULIET AND NURSE 3 LS OF JULIET NODDING TOWARD ROMEO WHO LINGERS NEAR DOOR AT G-3. 1 MS OF JULIET PACING IN ANXIETY FROM D-2 TO C-l AND BACK AGAIN, WHILE WAITING FOR NURSE TO RETURN. 2 MS OF JULIET AND NURSE AT D-2 50 BENVOLIO: (APPROACHING WITH CAPULETS NOT FAR BEHIND) Away, be gone; the sport is at its best. ROMEO: Ay, so I fear, the more is my unrest. CAPULET: Nay gentlemen, prepare not to be gone; We have a trifling foolish banquet towards. Is it e'en so? Why then I thank you all. I thank you, honest gentlemen; good night. More torches here! Come on, then, let's go to bed. -Ah sirrah, by my fay, it waxes late. I'll to my rest. JULIET: Come hither nurse. What is yond gentleman? NURSE: The son and heir of old Tiberio. JULIET: What's he that now is going out of door? NURSE: Marry that I think be young Petruchio. JULIET: What's he that follows here that would not dance? NURSE: I know not. JULIET: Go ask his name—- if he be married, My grave is like to be my wedding—bed. NURSE: His name is Romeo, and a Montague; the only son of your great enemy. 1 CU OF JULIET 2 MS OF JULIET AND NURSE DOLLY OUT TO ELS WITH DANCERS IN BACKGROUND. JULIET AND NURSE EXEUNT IN DIRECTION OF F-3, WHILE DANCING CONTINUES. FADE OUT. 51 JULIET: My only love sprung from my only hate, Too early seen unknown, and known too late! Prodigious birth of love it is to me, That I must love a loathed enemy. NURSE: What's this, what's this? JULIET: A rhyme I learned even now Of one I danced withal. ( A CALL WITHIN): Juliet! NURSE: Anon, anon! Come let's away, the strangers all are gone. MUSIC UP. 52 The orchard scene takes place behind Capulet's house. Ground mats should distinguish the dirt of the path from the grassy surroundings of the peach orchard. Both the walls and Capulet's house can be of solid brick construction, while the balcony stands out in stone. Juliet's window will be of high arched design to open as a double-door onto the balcony. Key lighting from SCOOpS which can be faded to extremes must be used for the gradual transitions from night to daybreak in these scenes. Spills can shed streams of light from the direction of the moon and from Juliet's window at night to cast effective shadows. 53 HHH> HHH> HH> .H H :¢\H .ov x .mm moucxomm co COOS xH momom oumnouo wcooamm ouco muoon HHH> ma .0H .m # mmxme A.© #5034 I pnmflwm m.omEomv .oa . ecsouo soum unmflmm I scooamm HH> H socmm H> mmoom m.umasmmo > .m I m unmflmm nocmum mmmum>< .m ugmflwm xcona mmmno>¢ momma nommm >H mcmq HHH >H sxm mo monoxomm HH _ v. .o Dnmflmm u Hams H my >H >H . O Q _ _ / >H I 0 M >H w HHH O W >H . o .H A H /\ lll‘ I V Amwm HH - u r e a I) u (will U - m < ROMEO AND JULIET Act II, Scene i — Act III, 54 Scene ii. 30:00 - 60:00 (Second Segment.) (TAKE #5) VERONA. CAPULET'S WALLED ORCHARD AND A LANE BY IT. 2 FADE IN TO MCU OF ROMEO CLIMBING OVER WALL WITH HIS ATTENTION FIXED ON DISTANT SIGHT. IGNORES VOICES FROM OTHER SIDE OF THE WALL. (CAMERA AT B-4.) ROMEO SNAGS CLOTHES ON BOUGH OF TREE. MAINTAINS HIS PERSISTENT EFFORT UNTIL HE IS ABLE TO JUMP DOWN INTO CAPULET'S ORCHARD AT B-l. (CAMER AT B-4.) BRUSHES HIMSELF OFF. 1 MCU OF JULIET'S ENTRANCE AT J-4 ON BALCONY. (CAMERA AT G-5.) 2 LS OF ROMEO WALKING DOWN LANE FROM B-l TO H—4. 3 MCU OF ROMEO (CAMERA AT I-6.) MUSIC UP FOR 20", THEN UNDER FOR: BACKGROUND VOICES OF MERCUTIO AND BENVOLIO MERCUTIO: If love be blind, love cannot hit the mark. Now will he sit under a medlar tree, And wish his mistress were that kind of fruit As maids call medlars when they laugh alone. BENVOLIO: Go then, for 'tis in vain To seek him here that means not to be found. ROMEO: He jests at scars that never felt a wound. ROMEO: But soft, what light through yonder window breaks. It is the East and Juliet is the sun. Arise fair sun and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she. Be not her maid since she is envious, Her vestal livery is but sick and green, And none but fools do wear it; cast it off. l MCU OF JULIET LEANING ON BALCONY LOOKING OUT INTO NIGHT 3 MS OF ROMEO AND JULIET. ROMEO PARTIALLY HIDES BEHIND TREE AT H-4. 1 MCU OF JULIET LEANING ON BALCONY RAIL 3 MS OF ROMEO AND JULIET. HE VENTURES OUT ONE STEP FROM BEHIND THE TREE AT H-4. 1 MCU OF JULIET AS SHE WALKS TO J-5 ON BALCONY AND BACK. 2 MCU OF ROMEO STEPPING OUT COMPLETELY FROM BEHIND THE TREE AT H-4. 3 MCU OF JULIET OVER ROMEO'S SHOULDER. SHE IS NOT YET AWARE OF HIS PRESENCE. JULIET LEANS ON BALCONY RAIL ONCE MORE. 55 It is my lady, 0 it is my love. She speaks, yet she says. nothing; what of that? Her eye discourses, I will answer it. I am too bold, 'tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What in her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp.... JULIET: Ay me! ROMEO: She speaks. O speak again bright angel, for thou art as glorious to this night being o'er my head, As is a winged messenger of heaven Unto the white-upturned wond'ring eyes Of mortals that fall back to gaze on him, When he bestrides the lazy pacing clouds, And sails upon the bosom of the air. JULIET: 0 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 thy name that is my enemy. Thou art thyself, though not a Montague. What's Montague? It is nor hand nor foot, Nor arm nor face, nor any other part Belonging to a man. 0 be some other name. What's in a name? That which we call a rose By any other word would smell as sweet; 80 Romeo would, 1 MS OF ROMEO AND JULIET JULIET SEES ROMEO. ADDRESSES HIM. 3 CU OF JULIET LEANING FARTHER YET OVER BALCONY RAIL TO SPEAK IN ALMOST A WHISPER (CAMERA AT F-5) 2 MCU OF ROMEO AS HE CLIMBS THE WALL TO STAND NEAR HER AT I-4. HE REACHES UP TO CLASP HER HAND IN HIS. 4 ANGLE SHOT FROM BALCONY OVER JULIET'S SHOULDER OF ROMEO 2 MS OF ROMEO AND JULIET. JULIET RELEASES HIS HAND, THEN TURNS AWAY. 56 were he not Romeo called, Retain that dear perfection which he owes Without that title. Romeo doff thy name, .And for thy name which is no part of thee, Take all myself. ROMEO: I take thee at thy word. Call me but love, and I'll be new baptized; Henceforth I never will be Romeo. JULIET: What man art thou, thus bescreened in night So Stumblest on my counsel? that ROMEO: By a name I know not how to tell thee who I am. My name, dear saint, is hateful to myself, Because it is an enemy to thee. Had I it written, I would tear the word. JULIET: How cam'st thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here. ROMEO: With love's light wings did I o'er perch these walls, For stony limits cannot hold love out, And what love can do, that dares love attempt. Therefore thy kins- men are no stop to me. JULIET: If they do see thee, they will murder thee. ROMEO: Alack there lies more peril in thine eye, Than twenty of their swords; look thou but sweet, And I am proof against their enmity. JULIET: I would not for the world they saw thee here. JULIET LEANS CLOSER TO ROMEO. 3 COMBO SHOT OF JULIET WALKING TO FAR SIDE OF BALCONY IN FOREGROUND AT J-5 WITH ROMEO REMAINING IN BACKGROUND. (X) SLIGHT PAN TO FOLLOW HER MOVEMENT BACK AGAIN TO I-4. 1 MS OF ROMEO AND JULIET 3 CU OF JULIET 1 MS OF ROMEO AND JULIET. HE CLASPS HER HAND ONCE MORE, WHILE GESTURING TOWARD THE MOON. 57 ROMEO: I have night's cloak to hide me from their eyes. And but thou love me, let them find me here. My life were better ended by their hate, Than death prorogued, wanting of thy love. JULIET: By whose direction found'st thou out this place? ROMEO: By love that first did prompt me to enquire; He lent me counsel, and I lent him eyes. I am no pilot, yet wert thou as far As that vast shore washed with the farthest sea, I Should adventure for such merchandise. JULEIT: Dost thou love me? (X) I know thou wilt say ay, And I will take thy word; yet if thou swearest, Thou mayst prove false; at lovers' perjuries They say Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully. Or if thou thinkest I am too quickly won, I'll frown and be perverse, and say thee nay, So thou wilt woo; but else not for the world. In truth fair Montague I am too fond; And therefore thou mayst think my havior light. But trust me gentleman, I'll prove more true Than those who have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard'st, ere I was ware, My true love's passion; therefore pardon me, .And not impute this yielding to light love, Which the dark night hath so discovered. ROMEO: Lady, by yonder blessed moon I vow, That tips with silver all these fruit tree tOps-- SHE TAKES HIS FREE HAND. JULIET BREAKS AWAY. 3 CU OF JULIET 2 MCU OF ROMEO 3 CU OF JULIET 58 JULIET: O swear not by the moon, th' inconstant moon, That monthly Changes in her circled orb, Lest that thy love prove likewise variable. ROMEO: What shall I swear by? JULIET: Do not swear at all. Or if thou wilt, swear by thy gracious self, Which is the god of my idolatry. And I'll believe thee. ROMEO: If my heart's dear love—- JULIET: Sweet, good night. This bud of love by summer's ripening breath May prove a beauteous flower when next we meet. Good night, good night. AS sweet re- pose and rest Come to thy heart as that within my breast. ROMEO: O wilt thou leave me so unsatisfied? JULIET: What satisfaction can thou have tonight? ROMEO: Th' exchange of thy love's faithful vow for mine. JULIET: I gave thee mine before thou didst request it. ~And yet I would it were to give again. ROMEO: Wouldst thou withdraw it? For what purpose, love? JULIET: But to be frank and give it thee again; And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep; the more I give thee The more I have, for both are infinite. NURSE: (OFF) Juliet! 1 MS OF ROMEO AND JULIET ROMEO TURNS TO FACE THE SKY BEHIND HIM JULIET RE-ENTERS CAMERA 3 MCU OF JULIET 4 CU OF ROMEO OVER JULIET'S SHOULDER JULIET TURNS AND EXITS FROM CAMERA i MS OF ROMEO JUMPING DOWN FROM WALL. PAN TO FOLLOW HIM FROM I-4 TO E-3. 3 MCU OF JULIET RE- ENTERING CAMERA 59 JULIET: I hear some noise within; dear love adieu. Anon good nurse! Sweet Montague, be true. Stay but a little, I will come again. ROMEO: O blessed, blessed night! I am afeard, Being in night, all this is but a dream, Too flattering-sweet to be substantial. JULIET: Three words, dear Romeo, and good night indeed. If that thy bent of love be honorable, Thy purpose marriage, send me word tomorrow. By one that I'll procure to come to thee, Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay, And follow thee my lord throughout the world. NURSE: (OFF.) Madam! JULIET: thou meanest not well, seech thee—- I come, anon. -—But if I do be— NURSE: (OFF.) Madam! JULIET: By and by, I come. -—To cease thy strife, and leave me to my grief. To-morrow will I send. ROMEO: So thrive my soul-- JULIET: A thousand times good night. ROMEO: A thousand times the worse, to want thy light. Love goes toward love as schoolboys from their books, But love from love, toward school with heavy looks. JULIET: Hist, Romeo, hist! O for a falconer's voice, To lure this tassel-gentle back again. Bondage is hoarse, and may not 1 MS OF ROMEO AND JULIET (X) JULIET LEANS OUT OVER BALCONY RAIL. ROMEO TURNS BACK TOWARD HER. HE WALKS BACK TOWARD WALL FROM E-3 TO I-4. VERY GRADUAL FADE UP OF SET LIGHTS TO DAWN 3 MS OF JULIET OVER ROMEO'S SHOULDER 1 MS OF ROMEO AND JULIET 4 MCU OF ROMEO'S REACTION OVER JULIET'S SHOULDER (CAMERA AT Kr4.) 3 MS OF JULIET OVER ROMEO'S SHOULDER (x) JULIET EXITS INTO HOUSE. 1 CU OF ROMEO LOOKING AFTER HER 2 MS OF ROMEO. PAN TO COVER ROMEO AS HE HASTENS DOWN THE LANE FROM I-4 TO B-l GLANCING BACK TOWARD HER WINDOW. FADE OUT. 60 speak aloud, Else I would tear the cave where Echo lies, And make her airy tongue more hoarse than mine, With repetition of my Romeo's name. (X) Romeo! ROMEO: It is my soul that calls upon my name. How silver-sweet sound lovers' tongues by night. Like softest music to attending ears. MUSIC SOFTLY UNDER: JULIET: Romeo! ROMEO: My sweet. JULIET: At what a clock to—morrow Shall I send thee? ROMEO: By the hour of nine. JULIET: I will not fail; 'tis twenty years till then. 'Tis almost morning; I would have gone, And yet no farther than a wanton's bird, That lets it hOp a little from her hand, Like a poor prisoner in his twisted gyves, And with a silken thread plucks it back again, So loving jealous of his liberty. ROMEO: I would I were that bird. JULIET: Sweet, so would I; Yet I should kill thee with much cherish- ing. Good night, (X) good night. Parting is such sweet sorrow, That I shall say good night till it be morrow. ROMEO: Sleep dwell upon thine eyes, peace in thy 'breast. Would I were sleep and peace, so sweet to rest. Hence will I to my ghostly father's cell, His help to crave, and my dear hap to tell. MUSIC UP. 61 Friar Laurence's cell requires special attention for establishing its dim and dank setting. The curved walls of the cell cut out of natural stone can be void of any kind of decoration to create this bleak effect. The bench, table, and chair may be of a crude wood; the arch door should also be of a heavy paneled wood. The only elaborate decorations should be placed at the altar. With a crucifix in front of it, effective design backgrounding the altar necessitates a large tapestry from the Early Christian Era of the Renaissance. A simple platform may be used to elevate the Friar during the marriage ceremony. Several books inclusive of a Roman Catholic prayer book to be used for the ceremony should be placed on the Friar's table. An abundance of herbs in a few baskets must be scattered on the floor near the bench. 62 II - III - IV - VI - VII - Walls of the Cell Bench Table - Height - 2 1/2' Chair - Height - 3" Altar - Height - 6' Platform - 2' from Ground Doorway with Wooden Door - Depth - l' Takes # 6, Verona. Fr Laurence' 25' x 40' 8, 14, 17 iar 5 Cell. 1/4"=1' FADE IN TO FRIAR LAURENCE'S CELL: 3 MS OF FRIAR ENTERING THROUGH DOOR AT E—2. HE CARRIES A BASKET OF HERBS. PAN TO FOLLOW HIM FROM E-2 TO C-2. STOPS TO REST ON BENCH AT C-2. 1 LS AS FRIAR STANDS AND PICKS SOME PARTICULAR HERBS OUT OF THE BASKET. ROMEO ENTERS CAMERA STANDING IN DOORWAY AT E-2. ROMEO CROSSES TO C—2. 2 MS OF FRIAR AND ROMEO TALKING 63 (TAKE #6) SEGUE MUSIC....UP FOR 10", THEN FADE UNDER FOR: FRIAR: The gray-eyed morn smiles on the frowning night, Check'ring the eastern clouds with streaks of light; And flecked darkness like a drunkard reels From forth day's path and Titan's fiery wheels. Now ere the sun advance his burning eye, The day to cheer, dank dew to dry. I must up—fill this osier-cage of ours With baleful weeds and precious-juiced flowers. 0 mickle is the powerful grace that lies In plants, herbs, stones, and their true qualities. Within the infant rind of this weak flower Poison hath residence, and medicine power; For this being smelt with that part Cheers each part; Being tasted, slays all senses with the heart. Two such Opposed kings encamp them still In man as well as herbs -- grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. and night's ROMEO: Good morrow father. FRIAR LAURENCE: Benedicite! What early tongue so sweet saluteth me? Young son, it argues a distempered head Care keeps his watch in every Old man's FRIAR MOTIONS FOR ROMEO TO SIT ON BENCH. TILT AS THEY SIT DOWN. ROMEO LEANS TOWARD EDGE OF BENCH WITH HEAD IN HANDS ON KNEES. 3 MCU OF ROMEO AS HE STANDS TO.BEGIN TO PACE. 2 MS OF FRIAR SEATED AND ROMEO STANDING; SPEECH- LESS....LISTENING TO FRIAR. l MCU OF ROMEO OVER FRIAR'S SHOULDER (X) 64 eye with unstuffed brain his limbs, there golden sleep doth reign. Therefore thy earliness doth me assure Thou art up—roused by some distemperature; Or if not so, then here I hit it right, Our Romeo hath not been in bed tO-night. But where unbruised youth Doth couch ROMEO: That last is true; sweeter rest was mine. the FRIAR: God pardon sin, wast thou with Rosaline? ROMEO: With Rosaline, my ghostly father, no. I have forgot that name, and that name's woe. FRIAR: Be plain good son, and homely in thy drift; Riddling confession finds but riddling shrift. ROMEO: Then plainly know my heart's dear love is set On the fair daughter of rich Capulet. As mine on hers, so hers is set on mine, And all combined, save what thou must combine By holy marriage. When, and where, and how, We met, we wooed, and made exchange of vow. We met, we wooed, and made exchange of vow. I'll tell thee as we pass, but this I pray, That thou consent to marry us today. FRIAR: Holy Saint Francis, what a change is here! Is Rosaline that thou didst love so dear So soon forsaken? Young men's love then lies Not truly in their hearts, but in their eyes. Jesu Maria, what a deal of brine Hath washed thy sallow cheeks for Rosaline! (X) Lo here upon thy cheek the stain doth Sit Of an old tear that is not washed off yet. If e'er thou wast thyself, and these woes thine, Thou and 2 MS OF FRIAR RISING UP AND ROMEO STANDING. (X) PAN SLOWLY TO FOLLOW THEIR EXEUNT AS THEY TALK. FRIAR MOTIONS FOR ROMEO TO FOLLOW. (X) THEY WALK FROM C—2 TO E-2. FADE OUT. 65 these woes were all for Rosaline. (X) And art thou changed? Pronounce this sentence then, WOmen may fall, when there's no strength in men. (X) But come young waverer, come go with me, In one respect I'll thy assistant be; For this alliance may so happy prove, To turn your households' rancour to pure love. ROMEO: 0 let us hence, I stand on sudden haste. FRIAR: Wisely and slow, they stumble that run fast. MUSIC UP AND OUT. 66 (TAKE #7) (See floor plan preceding Take #1) FADE IN TO 1 LS OF MERCUTIO AND MERCUTIO: Where the devil BENVOLIO WALKING IN FRONT should this Romeo be? Came he OF A CATHEDRAL ON A STREET not home tonight? IN VERONA AT C-3. BENVOLIO: Not to his father's; (CAMERA AT E-6.) I spoke with his man. DISTRACTED ROMEO WANDERS (WHISPERS.) Here comes Romeo, ON TO CAMERA FROM A—l. here comes Romeo. THEY CATCH ROMEO'S MERCUTIO: Signior Romeo, bon ATTENTION. HE JOINS THEM jour. There's a French salutation AT C-3. to your French slop. You gave us the counterfeit fairly last night. ROMEO: Good morrow to you both. What counterfeit did I give you? 2 MS OF ROMEO AND MERCUTIO: The slip sir, the MERCUTIO slip, can you not conceive? ROMEO: Pardon good Mercutio, my business was great, and in such a case as mine a man may strain courtesy. MERCUTIO: That's as much as to say, such a case as yours constrains a man to bow in the hams. ROMEO: Meaning to curtsy—— MERCUTIO: Thou hast most kindly hit it. ROMEO SEES NURSE. DOLLY BACK TO SHOW THE NURSE'S ENTRANCE WITH PETER. NURSE AND PETER COME FROM A-l TO C-3. PETER IS FANNING THE NURSE AT C-3. 2 MS OF PETER AND NURSE. PETER YAWNS. 3 GROUP SHOT TOWNSPEOPLE PASS BACK AND FORTH IN BACKGROUND. 67 ROMEO: A most courteous exposition. Here's goodly gear! MERCUTIO: A sail, a sail! BENVOLIO: Two, two; a shirt and a smock. NURSE: Peter. PETER: Anon. NURSE: My fan Peter. MERCUTIO: Good Peter, to hide her face, for her fan's the fairer face. NURSE: God ye good morrow gentlemen. MERCUTIO: God ye good den fair gentlewoman. NURSE: Is it good den? MERCUTIO: 'Tis no less, I tell ye, for the bawdy hand of the dial is now upon the prick of noon. NURSE: Out upon you, what a man are you! ROMEO: One, gentlewoman, that God hath made himself to mar. NURSE: By my troth it is well said, for himself to mar quoth 'a? Gentlemen, can any of you tell me where I may find the young Romeo? ROMEO: I can tell you; but the young Romeo will be Older when you have found him than he was when you sought him: I am the youngest of that name, for fault of a worse. NURSE: You say well. MERCUTIO AND BENVOLIO LEAVE CAMERA. NURSE SHAKES FIST IN MERCUTIO'S DIRECTION. NURSE BECKONS ROMEO TO FOLLOW HER TOWARD THE STATUE AWAY FROM PERSONS PASSING BY ON THE STREET. PAN TO FOLLOW THEM FROM C-3 TO C-4. (X) 2 MS OF NURSE AND ROMEO IN FRONT OF STATUE AT C-4 68 MERCUTIO: Yea, is the worst well? Very well took, i' faith, wisely, wisely. NURSE: If you be he sir, I desire some confidence with you. MERCUTIO: Romeo, will you come to your father's? We'll to dinner thither. ROMEO: I will follow you. MERCUTIO: farewell. lady. Farewell, ancient lady; (SINGS.): Lady, Lady, NURSE: I pray you sir, what saucy merchant was this that was so full of his ropery? ROMEO: A gentleman, nurse, that loves to hear himself talk, and will speak more in a minute than he will stand to in a month. NURSE: An 'a speak any thing against me, I'll take him down, an 'a were lustier than he is. and twenty such Jacks; and if I cannot, I'll find those that shall. Pray you sir a word: (X) and as I told you, my young lady bid me enquire you out; what she bid me say, I will keep to myself; but first let me tell ye, if ye should lead her in a fool's paradise, as they say, it were a gross kind of behaviour. as they say; for the gentlewoman is young; and therefore, if you should deal double with her, truly it were an ill thing to be offered to any gentlewoman, and very weak dealing. ROMEO: Nurse, commend me to thy lady and mistress. I protest unto thee-- 1 CU OF ROMEO WITH LOOK OF CONFUSION 3 MCU OF NURSE l MCU OF ROMEO 2 MS OF ROMEO AND NURSE (X) NURSE TRIES TO REFUSE MONEY. ROMEO MAKES HER TAKE IT. NURSE TURNS IN EXCITEMENT TO LEAVE. PAN AS ROMEO FOLLOWS NURSE FROM C—4 TO C-3. ROMEO AND NURSE STOP WALKING TO TALK AT C-3. 69 NURSE: Good heart, and i' faith I will tell her as much. Lord, lord, she will be a joyful woman. ROMEO: What wilt thou tell her, nurse? Thou dost not mark me. NURSE: I will tell her sir, that you do protest, which as I take it is a gentlemanlike offer. ROMEO: Bid her devise Some means to come to shrift this afternoon, And there she shall at Friar Laurence' cell Be shrived and married. (X) Here is for thy pains. NURSE: No truly sir, not a penny. ROMEO: Go to, I say you shall. NURSE: This afternoon, sir? Well she shall be there. ROMEO: And stay good nurse behind the abbey wall, Within this hour my man shall be with thee, .And bring thee cords made like a tackled stair, Which to the high top-gallant of my joy Must be my convoy in the secret night. Farewell; be trusty, and I'll quit thy pains. Farewell, commend me to thy mistress. NURSE: Well, sir, my mistress is the sweetest lady. Lord, lord, when 'twas a little prating thing. 0 there is a nobleman in town, one Paris, that would fain lay knife aboard; but she good soul had as lief as a toad, a very toad, as see him. I anger her sometimes, and tell her that Paris is the prOperer man, but I'll warrant you, when I say so, she looks as pale as any clout in the versal world. ROMEO EXITS FROM CAMERA (X) IN THE DIRECTION OF A—l. 1 LS OF PETER'S ENTRANCE INTO CAMERA FROM SEAT ON BENCH AT E-3 TO NURSE AT C-3. NURSE GIVES PETER HER FAN TO CARRY. CAMERA PAN TO FOLLOW THEIR EXEUNT WITH PETER FANNING NURSE FROM C-3 TO A-l. FADE OUT. 70 ROMEO: NURSE: Peter! PETER: NURSE: Commend me to thy lady. Ay, a thousand times. Anon. Before, and apace. (X) 71 (TAKE #8) (See floor plan preceding Take #6) FADE IN TO FRIAR LAURENCE'S CELL. 2 MS OF FRIAR AT DESK AND ROMEO STANDING NEXT TO HIM AT D—4. (CAMERA AT A-4.) 3 MCU OF FRIAR AS HE RISES FROM CHAIR. 2 MS OF FRIAR AND ROMEO. DOLLY BACK TO SHOW JULIET ENTERING CAMERA FROM DIRECTION OF E—3. (CAMERA DOLLY FROM A—4 TO A-8.) MUSIC UP 7", THEN UNDER FOR: FRIAR: So smile the heavens upon this holy act, That after-hours with sorrow chide us not. ROMEO: Amen, amen, but come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight. Do thou but Close our hands with holy words, Then love— devouring death do what he dare, It is enough I may but call her mine. FRIAR: These Violent delights have violent ends. And in their triumph die; like fire and powder, Which as they kiss consume. The sweetest honey Is loathsome in his own deliciousness, And in the taste confounds the appetite. Therefore love moderately, long love doth so; Too swift arrives as tardy as too slow. Here comes the lady. 0 so light a foot Will ne'er wear out the everlasting flint. A lover may bestride the gossamers That idles in the wanton summer air, And yet not fall; so light is vanity. JULIET KNEELS AT D—4. 1 MS OF ROMEO HELPING JULIET TO HER FEET ROMEO AND JULIET FACE EACH OTHER WITH CLASPED HANDS 3 MCU OF JULIET OVER ROMEO'S SHOULDER 2 MEDIUM GROUP SHOT PAN TO FOLLOW GROUP TO ALTAR FROM D-4 TO B-3. (CAMERA PAN FROM A-8 TO D-6.) ROMEO AND JULIET STAND WITH BACKS TO CAMERA FACING THE FRIAR. FRIAR ON PLATFORM FACING CAMERA BEGINS THEIR MARRIAGE IN LATIN. CROSSES THEM. THEY IN TURN CROSS THEMSELVES. DOLLY BACK. FADE OUT. 72 JULIET: Good even to my ghostly confessor. FRIAR: Romeo shall thank thee daughter for us both. JULIET: As much to him, his thanks too much. else is ROMEO: Ah, Juliet, if the measure of thy joy Be heaped like mine, and that thy skill be more To blazon it, then sweeten with thy breath This neighbour air, and let rich music's tongue Unfold the imagined happiness that both Receive in either by this dear encounter. JULIET: Conceit, more rich in matter than in words, Brags of this substance not of ornament. They are but beggars that can count their worth, But my true love is grown to such excess, I cannot sum up sum of half my wealth. FRIAR: Come, come with me, and we will make short work. For by your leaves, you shall not stay alone, Till holy Church incorporate two in one. MUSIC UP, THEN UNDER FOR: FRIAR: In nomine Patris, et Filii, et Spiritus Sancti. Amen. MUSIC UP. 73 (TAKE #9) (See floor plan preceding Take #1) FADE IN TO VERONA STREET. 1 MS OF BENVOLIO AND MERCUTIO SEATED ON BENCH AT E-4. BENVOLIO GETS UP AS IF TO LEAVE. BENVOLIO TRYS AGAIN TO GO. PAN TO FOLLOW THEIR STEPS TO F-4. AS MERCUTIO RISES TO FOLLOW HIM. 1 LS OF BENVOLIO AND MERCUTIO IN FOREGROUND AT F-4 AND CAPULETS ENTERING BACKGROUND AT A-l. CAPULETS APPROACH FROM A-l TO F-4. BENVOLIO: I pray thee good Mercutio, let's retire. The day is hot, the Capulets abroad; And if we meet we shall not 'scape a brawl, For now these hot days, is the mad blood stirring. MERCUTIO: Thou art like one of these fellows that when he enters the confines of a tavern claps me his sword upon the table, and says, God send me no need of thee; and by the Operation of the second cup draws him on the drawer, when indeed there is no need. BENVOLIO: Am I like such a fellow? MERCUTIO: Come, come, thou art as hot a Jack in thy mood as any in Italy; and as soon moved to be moody, and as soon moody to be moved. BENVOLIO: By my head, here come the Capulets. MERCUTIO: By my heel, I care not. TYBALT: Follow me close, for I will speak to them. Gentlemen, good den; a word with one of you. 2 MS AS MERCUTIO TURNS TO FACE TYBALT. 2-SHOT OF THEM. 1 LS OF GROUP. BENVOLIO STEPS FORWARD. ROMEO ENTERS CAMERA FROM DIRECTION OF A-l. 2 MS OF TYBALT AND ROMEO TYBALT PLACES HIS HAND ON HIS SWORD. ROMEO IGNORES THE GESTURE. ROMEO TURNS TO WALK AWAY. TYBALT DRAWS SWORD. 74 MERCUTIO: And but one word with one of us? Couple it with some- thing, make it a word and a blow. TYBALT: You shall find me apt enough to that sir, an you will give me occasion. MERCUTIO: Could you not take some occasion without giving? TYBALT: Mercutio, with Romeo. thou consortest MERCUTIO: Consort? What, dost thou make us minstrels? BENVOLIO: We talk here in the public haunt of men. Either with— draw unto some private place, Or reason coldly of your grievances, Or else depart; here all eyes gaze on us. MERCUTIO: Men's eyes were made to look, and let them gaze. I will not budge for no man's pleasure, I. TYBALT: Well, peace be with you sir, here comes my man. MERCUTIO: But I'll be hanged sir, if he wear your livery. Marry go before to field, he'll be your follower; Your worship in that sense may call him man. TYBALT: Romeo, the love I bear thee can afford No better term than this-— thou art a villain. ROMEO: Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting—— villain am I none. Therefore farewell, I see thou knowest me not. TYBALT: Boy, this shall not ex- cuse the injuries That thou hast done me, therefore turn and draw. ROMEO TURNS BACK. MERCUTIO BREAKS INTO THE SHOT. MERCUTIO DRAWS.... SEPARATING ROMEO FROM TYBALT. ROMEO WITHDRAWS SEVERAL STEPS. 1 MS OF TYBALT AND MERCUTIO WITH DRAWN SWORD. TYBALT DRAWS SWORD. ROMEO BREAKS BACK INTO SHOT. TYBALT AND MERCUTIO FIGHT. DOLLY BACK TO SHOW ENTIRETY OF FIGHT AS ROMEO SUMMONS BENVOLIO TO THEM. HOLD ON GROUP SHOT WITH A FEW CAPULETS IN BACKGROUND AND FIGHTERS IN FOREGROUND. TYBALT THRUSTS MERCUTIO UNDER ROMEO'S ARM, THEN EXITS FROM CAMERA WITH CAPULETS. 2 MS OF MERCUTIO ON GROUND WITH ROMEO KNEELING BESIDE HIM. 75 ROMEO: I do 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 mine own, be satisfied. MERCUTIO: O calm, dishonourable, vile submission! Alla stoccata carries it away. Tybalt, you rat-catcher, will you walk? TYBALT: with me? What wouldst thou have MERCUTIO: Good King of Cats, nothing but one of your nine lives, that I mean to make bold withal, and as you shall use me hereafter dry-beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out. TYBALT: I am for you. ROMEO: Gentle Mercutio, put thy rapier up. MERCUTIO: Come sir, your passado. ROMEO: Draw Benvolio, beat down their weapons. Gentlemen, for shame, forbear this outrage. Tybalt, Mercutio, the Prince expressly hath Forbid this bandying in Verona streets. Hold Tybalt. Good MercutiO—- MERCUTIO: I am hurt.... ROMEO: Courage man, the hurt cannot be much. 3 CU OF MERCUTIO 2 GROUP SHOT AS BENVOLIO REACHES DOWN TO CARRY MERCUTIO OFF BENVOLIO CARRIES HIM OFF IN DIRECTION OF G-2. 3 MCU OF ROMEO WALKING WITH HEAD BENT LOW FROM F-4 TO D-3. STOPS WALKING TO LOOK UPWARD AT SKY. 2 MS OF ROMEO REGAINING SENSES AS BENVOLIO ENTERS SHOUTING FROM G-2. BENVOLIO TURNS. 1 LS OF TYBALT APPROACH- ING BENVOLIO AND ROMEO FROM A-l TO D-3. ROMEO DRAWS SWORD. 2 MS OF ROMEO AND TYBALT. TYBALT DRAWS SWORD. ROMEO POINTS SWORD AT TYBALT. THEY FIGHT, BUT ROMEO RAPIDLY OVERCOMES TYBALT AS HE PLUNGES HIS 76 MERCUTIO: No 'tis not so deep as a well, nor so wide as a Church door, but 'tis enough, 'twill serve. Help me into some house, Benvolio, Or I shall faint. A plague a both your houses! They have made worms' meat of me, I have it, And soundly too. Your houses! ROMEO: This gentleman, the Prince's near ally, My very friend, hath got this mortal hurt In my behalf; my reputation stained With Tybalt's slander, Tybalt hath an hour Hath been my cousin. 0 sweet Juliet, Thy beauty hath made me effeminate, And in my temper softened valour's steel. BENVOLIO: 0 Romeo, Romeo, brave Mercutio is dead. That gallant spirit hath aspired the clouds. Which too untimely here did scorn the earth. ROMEO: This day's black fate on more days doth depend, This but begins the woe others must end. BENVOLIO: Here comes the furious Tybalt back again. ROMEO: Again? In triumph! And Mercutio slain! Either thou or I, or both, must go with him. TYBALT: Thou wretched boy, that didst consort him here, Shalt with him hence. ROMEO: This shall determine that. SWORD TO DEAL TYBALT A FATAL BLOW. TYBALT FALLS. l GROUP SHOT SHOWING TYBALT ON GROUND ROMEO RUNS IN DIRECTION OF A-l. DOLLY OUT FAST TO SHOW HIS EXIT AND ENTRANCE OF CAPULETS, MONTAGUES, AND PRINCE FROM G-l TO E-3. THEY CONGREGATE AROUND BENVOLIO AT E-3. (CAMERA DOLLYS FROM E-5 TO G-9.) 2 MS OF LADY CAPULET RUSHING TO KNEEL BESIDE TYBALT. 1 MS OF PRINCE AND BENVOLIO WITH ONLOOKERS IN BACKGROUND 3 MCU OF BENVOLIO THESE MOVEMENTS BENVOLIO DEMONSTRATES WITH HIS HANDS 77 BENVOLIO: Romeo away, be gone. The citizens are up, and Tybalt slain. ROMEO: O I am fortune's fool! BENVOLIO: Why dost thou stay? PRINCE: Where are the vile beginners of this fray? BENVOLIO: O noble Prince, I can discover all. The unlucky manage of this fatal brawl. There lies the man, slain by young Romeo, That slew thy kinsman, brave Mercutio. LADY C.: Tybalt, my cousin, 0 my brother's child! 0 Prince, O cousin, husband! 0 the blood is spilt Of my dear kinsman! Prince, as thou art true, For blood of ours shed blood of Montague. O cousin, cousin! PRINCE: Benvolio, who began this bloody fray? BENVOLIO: Tybalt here slain, whom Romeo's hand did slay. Romeo, that spoke him fair, bid him be— think How nice the quarrel was, and urged withal Your high displeasure. All this, uttered With gentle breath, calm look, knees humbly bowed, Could not take truce with the unruly spleen Of Tybalt deaf to peace but that he tilts With piercing steel at bold Mercutio's breast; Who, all as hot, turns deadly point to point, And with a martial scorn, with one hand beats Cold death RAISES HIS HAND AS IF TO SWEAR AN OATH 1 MS OF GROUP 3 MCU OF PRINCE DOLLY OUT TO SHOW CAPULETS BEARING BODY OFF (X) TO E-2: INTO NEARBY HOME. FADE OUT. 78 aside, and with the other sends It back to Tybalt, whose dexterity Retorts it. And as he fell, did Romeo turn and fly. This is the truth, or let Benvolio die. LADY C.: He is a kinsman to the Montague; Affection makes him false, he speaks not true. PRINCE: Romeo slew him, he slew Mercutio. Who now the price of his dear blood doth owe? MONTAGUE: Not Romeo, Prince, he was Mercutio's friend; His fault concludes but what the law should end, The life of Tybalt. PRINCE: And for that offence Immediately we do exile him hence. Else when he is found, that hour is his last. (X) Bear hence this body, and attend our will. Mercy but murders, pardoning those that kill. MUSIC UP TO FULL -- STINGER. ROMEO AND JULIET 79 Scene iii. (TAKE #10) (See floor plan preceding Take #5) Act III, Scene ii — Act V, 60:00 — 90:00 (Third Segment.) FADE IN TO VERONA. CAPULET'S ORCHARD. 1 LS OF ORCHARD LANE WITH JULIET SITTING ON BENCH IN DISTANCE BEYOND FAR SIDE OF LANE AT H—2. SHE RISES, THEN WALKS AMONG PEACH TREES TOWARD THE LANE FROM H—2 TO G—3. DOLLY IN FAST (X) TO MCU AS JULIET PAUSES BY TREE AT FAR SIDE OF LANE AT G-3. JULIET GAZES UP AT THE SKY AND LEANS AGAINST THE TREE. (CAMERA DOLLY FROM E-8 TO G-6.) 2 MS OF JULIET LEANING AGAINST THE TREE. (CAMERA AT H—6.) JULIET'S THOUGHTS INTER- RUPTED BY FOOTSTEPS AND NOISE OF NURSE DRAGGING LADDER OF CORDS DOWN LANE. 1 LS OF NURSE APPROACHING JULIET FROM C-2 TO G-3. JULIET TURNS BRIEFLY AWAY FROM HER. MUSIC UP 5", THEN UNDER FOR: JULIET: Gallop apace, you fiery- footed steeds, Towards Phoebus' lodging; such a wagoner As Phaeton would whip you to the west, And bring in cloudy night immediately. (X) Come civil night, Thou sober-suited matron all in black, .And learn me how to lose a winning match, Played for a pair of stainless maidenhoods. Come gentle night, come loving black-browed night, Give me my Romeo, and when he shall die, 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, And pay no worship to the garish sun. JULIET: 0 here comes my nurse. (TURNING AWAY) And she brings news; and every tongue that speaks But Romeo's name speaks heavenly eloquence. (CAMERA AT H-6.) 3 MCU OF JULIET TURNING BACK TO IMPETUOUSLY QUESTION NURSE.- 2 MS OF JULIET AND NURSE NOW AT G-3. NURSE THROWS THE CORDS DOWN. JULIET STRICKEN l MCU OF NURSE OVER JULIET'S SHOULDER. OVERACTS HYSTERIA. NURSE 3 MCU OF JULIET'S RE- ACTION OVER NURSE'S SHOULDER. 2 MS OF NURSE AND JULIET. NURSE CONTINUES TO OVERACT. 80 Now nurse, what news? What, hast thou there the cords That Romeo bid thee fetch? NURSE: the cords. Ay, ay, JULIET: Ay me, what news? Why dost thou wring thy hands? NURSE: Ah weladay, he's dead, he's dead, he's dead. We are undone lady, we are undone. Alack the day, he's gone, he's killed, he's dead. JULIET: Can heaven be so envious? NURSE: Romeo can, Though heaven cannot. 0 Romeo, Romeo, Who ever would have thought it? Romeo! JULIET: What devil art thou, that dost torment me thus? This torture should be roared in dis- mal hell. Hath Romeo slain himself? NURSE: I saw the wound, I saw it with mine eyes—— God save the mark -- here on his manly breast. JULIET: Vile earth, to earth resign; end motion here; And thou and Romeo press one heavy bier. NURSE: O Tybalt, Tybalt, the best friend I had, 0 courteous Tybalt, honest gentlemen, That ever I should live to see thee dead! JULIET: What storm is this that blows so contrary? Is Romeo slaughtered? And is Tybalt dead? NURSE: Tybalt is gone, and Romeo banished. Romeo that killed him, he is banished. JULIET TURNS, AND RUNS FROM SHOT IN DIRECTION OF G-3 WITH HANDS OVER FACE. 3 MCU OF NURSE IN DESPAIR. 1 MS OF JULIET AT G-3. JULIET SINKS DOWN ON BENCH. (X) 3 CU OF JULIET JULIET GIVES INTO SEVERE SOBBING 2 MS OF JULIET QUESTIONING NURSE NOW AT G-3. JULIET REMAINS SEATED. NURSE STANDING AND PLACING ARM AROUND JULIET'S SHOULDER. POINTS TO CORDS DROPPED NEARBY. JULIET STANDS, TO WALK AWAY. 1 MS OF JULIET WALKING TOWARD CORDS AT G-3. BEGINS JULIET TURNS SLIGHTLY TO HEAR NURSE. 2 MS OF JULIET AND NURSE. JULIET GIVES RING TO NURSE, THEN NURSE LEAVES SHOT. 1 CU OF JULIET'S FACE WITH TRAGIC LOOK. SHE PAUSES. FADE OUT. 81 JULIET: O, God, did Romeo's hand shed Tybalt's blood? NURSE: It did, it did, alas the day, it did! JULIET: O serpent heart, hid with a flow'ring face! Did ever dragon keep so fair a cave? (X) Tybalt is dead and Romeo banished. Romeo is banished -— to speak that word, Is father, mother, Tybalt, Romeo, Juliet, All slain, all dead. Romeo is banished. There is no end, no limit, measure, bound. In that word's death; no words can that woe sound. Where is my father and my mother, nurse? NURSE: Weeping and wailing over Tybalt's corse. Will you go to them? I will bring you thither. JULIET: Wash they his wounds with tears? Mine shall be spent, When theirs are dry, for Romeo's banishment. Take up those cords. Poor ropes you are beguiled, Both you and I, for Romeo is exiled. He made you for a highway to my bed. But I a maid die maiden- widowed. Come, cords, come nurse, I'll to my wedding-bed, And death, not Romeo, take my maidenhead. NURSE: (OFF) CLOSER) your chamber, Romeo To comfort you. I wot well where he is. Hark ye, your Romeo will be here at night. to him, he is at Laurence' Hie to (COMING I'll find I'll cell. JULIET: ring to And bid to take 0 find him, give this my true knight, him come. his last farewell. MUSIC UP AND OUT. 82 A hall in Capulet's house will include two rows of stone pillars resting on larger blocks leading to the entrance door. This front door may be made of rough wood heavy in thickness. Three walls should make up this set. On the wall at either side of the entrance door two large paintings of perhaps a country setting and a prominent member of the Capulet family may hang. A velvet-cushioned bench can be placed for additional detail under one of these pictures. The floors could be made in blocks of marble. 83 ) 0 III III - r III III V III III I — Front Door of House II - Pictures III — Pillars - Height - 12' IV - Bench V - Walls Take # ll Verona. Hall in Capulet's House- 25' = 45' 1/4" = 1" FADE IN TO A HALL IN CAPULET'S HOUSE. 2 MEDIUM THREE-SHOT OF LADY CAPULET, CAPULET, AND PARIS WALKING DOWN HALL AT B-3. PAN TO FOLLOW UNTIL THEY STOP AT B-2. THEY STOP WALKING TO STAND IN FRONT OF PILLAR AT B-2. LADY C. LEAVES SHOT. 1 MS OF CAPULET WALKING PARIS TO DOOR FROM B-2 TO C-2. 84 (TAKE #11) CAPULET: Things have fallen out so unluckily, That we have not had time to move our daughter. Look you, she loved her kinsman Tybalt dearly, And so did I. Well, we were born to die. 'Tis very late, she'll not come down tonight. I promise you, but for your company, I would have been abed an hour ago. PARIS: These times of woe afford no time to woo. Madam good night, commend me to your daughter. LADY C.: I will, and know her mind early tO-morrow; To-night she's mewed up to her heaviness. CAPULET: Sir Paris, I will make a desperate tender Of my child's love. I think she will be ruled In all respects by me; nay more, I doubt it not. PARIS: Monday my lord. CAPULET: Monday? Ha, ha, well Wednesday is too soon. A Thursday let it be, a Thursday, tell her, She shall be married to this noble earl. Will you be ready? Do you like this haste? We'll THEY STOP IN FRONT OF DOOR AT C-2. PARIS OPENS DOOR TO EXIT. PARIS BOWS VERY GRACIOUSLY, THEN DEPARTS. CAPULET TURNS TO BEGIN TO WALK BACK SLOWLY IN THE DIRECTION OF B-3. FADE OUT. 85 keep no great ado —- a friend or two. For hark you, Tybalt being slain so late, It may be thought we held him carelessly, Being our kinsman, if we revel much. Therefore we'll have some half a dozen friends, And there an end. But what say you to Thursday? PARIS: My lord, I would that Thursday were to—morrow. CAPULET: Well get you gone, a Thursday be it then. Farewell my lord. Light to my chamber ho! Afore me, it is so very late, that we May call it by and by. Good night. 86 (TAKE #12) (See floor plan preceding Take #5) FADE IN TO BALCONY. 4 MCU OF ROMEO OVER JULIET'S SHOULDER. ROMEO BEGINS TO DESCEND ROPE LADDER....FROM BALCONY TO ORCHARD. JULIET LOOKS AFTER HIM. JULIET TURNS TO LOOK INTO CAMERA (ROOM) TURNS BACK TO LOOK AT ROMEO THEY KISS. LADDER. ROMEO DESCENDS MUSIC UP, THEN UNDER FOR: 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; Nightly she sings on yond pomegranate tree. Believe me love, it was the nightingale. ROMEO: It was the lark, the herald of the morn, No nightin- gale. Look love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die. NURSE: (OFF) Madam. JULIET: Nurse. NURSE: (OFF) Your lady mother is coming to your chamber. The day is broke, be wary, look about. JULIET: Then window let day in, and let life out. ROMEO: Farewell, farewell. One kiss, and I'll descend. MUSIC UP AND OUT. 87 (TAKE #13) (See floor plan preceding Take #2) CUT TO JULIET'S CHAMBER. l MCU OF JULIET ENTERING CHAMBER FROM BALCONY AT D—2. A (CAMERA AT D-4.) 2 MS OF LADY C. AND JULIET MEETING AT D-3. LADY PLACES HER ARM AROUND JULIET. BREAKS AWAY FROM HER MOTHER. JULIET: Madam I am not well. LADY C.: Evermore weeping for your cousin's death? What, wilt thou wash him from his grave with tears? JULIET: Yet let me weep for such a feeling loss. LADY C.: Well, well, thou hast a careful father Child, One who to put thee from thy heaviness Hath sorted out a sudden day of joy, That thou expects not, nor I looked not for. JULIET: Madam, in happy time, what day is that? LADY C.: Marry my child, early next Thursday morn, The gallant, young, and noble gentleman, The County Paris, at Saint Peter's Church, Shall happily make thee there a joyful bride. JULIET: Now by Saint Peter's Church, and Peter too, He shall not make me there a joyful bride. I wonder at this haste, that I must wed Ere he that should be my husband comes to woo. 3 LS OF CAPULET'S ENTRANCE FROM E-5 TO D—3. LADY TURNS TOWARD HIM TO PROTEST. CAPULET TAKES WIFE BY THE SHOULDER. 2 THREE-SHOT OF CAPULET, LADY C., AND JULIET. 3 MS OF JULIET KNEELING BESIDE HER FATHER. TURNS TO LOOK FOR MOTHER. 2 MEDIUM THREE-SHOT AT D-3. LADY CAPULET AND CAPULET EXEUNT. 1 CU OF JULIET ON KNEES WITH EYES TO THE GROUND. NURSE COMES TO STAND ABOVE HER AND TOUCH HER ON THE SHOULDER. 3 MS OF JULIET STANDING TO ADDRESS NURSE. PAN AS JULIET CROSSES TO C-2 TO GET HER SHAWL FROM CHEST. NURSE REMAINS AT D-3. FADE OUT. 88 LADY C.: Here comes your father, tell him so yourself; And see how he will take it at your hands. Sir, she will none, she gives you thanks. I would the fool were married to her grave. CAPULET: take me with you wife. she none? Doth she not give us thanks? Is she not proud? Doth she not count her blessed, Unworthy as she is, that we have wrought So worthy a gentleman to be her bridegroom? Soft, take me with you, How will JULIET: Good father, I beseech you on my knees, Hear me with patience, but to speak a word. CAPULET: Hang thee young baggage, disobedient wretch! I tell thee what, get thee to church a Thursday, Or never look me in the face. JULIET: Is there no pity in the Clouds, That sees into the bottom of my grief? 0 sweet my mother cast me not away. LADY C.: Talk not to me, for I'll not speak a word. Do as thou wilt, for I have done with thee. JULIET: O God! »0 nurse, how shall this be prevented? Go in, and tell my lady I am gone, Having displeased my father, to Laurence' cell, To make confession, and to be absolved. 89 (TAKE #14) (See floor plan preceding Take #6) FADE IN ON FRIAR'S CELL. 1 LS OF CELL. DOLLY IN SLOWLY ON FRIAR AND PARIS ENTERING SET FROM DOORWAY AT E-3. HOLD ON MS AT C-4. 2 MCU OF PARIS 3 MS OF FRIAR AND PARIS HOLD CAMERA AS FRIAR TURNS AWAY FROM PARIS. FRIAR TURNS BACK AGAIN. DOLLY BACK TO LS TO INCLUDE JULIET ENTERING FROM DOORWAY AT E-2. JULIET CROSSES TO THEM AT C-4. ESTABLISH MUSIC AND SOUND (FOOTSTEPS AND VOICES) ON TAPE FOR 10 SECONDS. THEN FADE UNDER FOR: FRIAR: You say you do not know the lady's mind. Uneven is the course, I like it not. PARIS: Immoderately she weeps for Tybalt's death, .And there— fore have I little talked of love, For Venus smiles not in a house tears. Now sir, her father counts it dangerous That she do give her sorrow so much sway; And in his wisdom hastes our marriage, To stop the inundation of her tears; Which too much minded by herself alone. May be put from her by society. Now do you know the reason of this haste. FRIAR: (ASIDE) I would I knew not why it Should be Slowed. Look sir, here comes the Lady toward my cell. PARIS: Happily met, my lady and my wife. JULIET: That may be sir, when I may be a wife. 1 MS OF PARIS AND JULIET PARIS TAKES HER BY THE ARM TO DRAW HER CLOSER JULIET TURNS TO FATHER. 2 MEDIUM THREE-SHOT. l MS OF PARIS AND JULIET 9O PARIS: That may he, must be, love, on Thursday next. FRIAR: That's a certain text. PARIS: Come to you to make con— fession to this father? JULIET: To answer that, I should confess to you. PARIS: Do not deny to him that you love me. JULIET: If I do so, it will be of more price, Being spoke be- hind your back than to your face. PARIS: Poor soul, thy face is much abused with tears. JULIET: The tears have got small victory by that, For it was bad enough before their spite. PARIS: Thou wrong'st it more than tears with that report. JULIET: That is no slander sir, which is a truth, And what I spake, I spake it to my face. PARIS: Thy face is mine, and thou hast slandered it. JULIET: It may be so, for it is not my own. Are you at leisure, holy father, now. Or shall I come to you at evening mass? FRIAR: My leisure serves me pensive daughter now. My lord, we must entreat the time alone. PAIRS: God shield I should dis- turb devotion. Juliet, on Thursday early I will rouse ye. FAST DOLLY OUT FOR PARIS' EXIT FROM C-4 TO E-2 THROUGH DOORWAY. 2 MS OF JULIET AND FRIAR. JULIET SITS DOWN ON BENCH AT C-2, ONLY TO STAND AGAIN. 1 PAN IN AREA OF C-2 TO SHOW JULIET PACING AND USING HANDS TO DEPICT ANIMAL IMAGES, AND THEIR EFFECT UPON HER. PLEADS WITH FRIAR FOR HELP....ALMOST KNEELING AGAIN BEFORE HE STOPS HER. 2 MS OF JULIET AND FRIAR. FRIAR HELPS HER UP BY THE ARM FROM POSITION WHERE SHE IS ALMOST KNEELING. l MCU OF JULIET'S RE- ACTION OVER FRIAR'S SHOULDER AS HE CONTINUES TO EXPLAIN. HE HANDS HER THE VIAL. JULIET'S EYES SHOW EAGERNESS EVEN AT HIS IDEA. 91 Till then adieu, holy kiss. and keep this MUSIC UP FOR 5", THEN OUT. JULIET: O, weep with me, past hOpe, past cure, past help. 0 bid me leap, rather than marry Paris, From off the battlements of any tower, Or walk in thievish ways, or bid me lurk Where serpents are; chain me with roaring bears, Or hide me nightly in a Charnel house, O'er covered quite with dead man's rattling bones, With reeky shanks and yellow Chapless skulls° Or bid me go into a new-made grave, -And hide me with a dead man in his grave, Things that to hear them told have made me trenble; And I will do it without fear or doubt, To live an unstained wife to my sweet love. FRIAR: Hold daughter, I do spy a kind of hope, Which craves as desperate an execution, As that is desperate which we would pre— vent. If rather than to marry County Paris Thou has the strength of will to slay thyself, Then it is likely thou wilt under- take A thing like death to chide away this shame, That cop'st with death himself to 'scape from it; And if thou dar'st, I'll give thee remedy. FRIAR: Take thou this vial, being then in bed, And this distilling liquor drink thou off, When presently through all the veins shall run .A cold and drowsy humour; for no pulse Shall keep his native progress, but surcease; The roses in thy lips and cheeks shall fade To waned ashes, thy eyes' windows fall, Like death, when he shuts up the day of life. 3 MS OF FRIAR AND JULIET AS HE CLASPS HER HAND. DOLLY BACK TO FOLLOW JULIET'S EXIT FROM c-2 THROUGH DOORWAY AT E—2. (x) FADE OUT. 92 Now when the bridegroom in the morning comes to rouse thee from thy bed, there art thou dead; In thy best robes, uncovered, on the bier Thou shalt be borne to that same ancient vault, Where all the kindred of the Capulets lie, In the mean time, against thou shalt awake, Shall Romeo by my letters know our drift, and that very night Shall Romeo bear thee hence to Mantua. JULIET: Give me, give me, 0 tell not me of fear. FRIAR: Hold. Get you gone, be strong and prosperous In this resolve; I'll send a friar with speed To Mantua, with my letters to thy lord. JULIET: Love give me strength, and strength shall help afford. Farewell dear father. (X) MUSIC UP AND OUT. 93 (TAKE #15) (See floor plan preceding Take #2) FADE IN TO JULIET'S CHAMBER l GROUP SHOT OF NURSE, LADY CAPULET, AND CAPULET TALKING AT D-4. 3 LS OF JULIET'S ENTRANCE FROM E-S TO D—4. JULIET KNEELS AT CAPULET'S FEET. l MCU OF JULIET 2 MS OF CAPULET STANDING AND JULIET KNEELING JULIET STANDS UP. 1 GROUP SHOT NURSE: See where she comes from shrift with merry look. CAPULET: How now my headstrong, where have you been gadding? JULIET: Where I have learned to repent the sin of disobedient Opposition To you and your behests, and am enjoined By holy Laurence to fall prostrate here, And beg your pardon. I met the youthful lord at Laurence’ cell, And gave him what becomed love I might, Not stepping o'er the bounds of modesty. CAPULET: Why I am glad on't; this is well. Stand up. This is as't should be. Let me see the county. Ay marry go I say, and fetch him hither. Now afore God, this reverend holy friar, All our whole city is much bound to him. JULIET: Nurse, will you go with me into my closet, To help me sort such needful ornaments As you think fit to furnish me to- morrow? CAPULET EXITS IN THE DIRECTION OF E-5. LADY CAPULET LINGERS AT D—4. JULIET CROSSES FROM D-4 TO B-2. NURSE FOLLOWS HER. 2 MS OF JULIET AND NURSE. PAN TO FOLLOW THEM TO CLOSET AT B-2. OPENS CLOSET, THUMBS THROUGH CLOTHES, BRINGS OUT A PARTICULAR ENSEMBLE. LADY CAPULET LOOKS ON, THEN INTERRUPTS, CROSSING TO B-2. (CAMERA AT D-S.) l MEDIUM THREE-SHOT AT B-2. (CAMERA AT D-3.) 3 MS OVER JULIET'S SHOULDER OF LADY CAPULET AND NURSE. JULIET LOOKS AFTER THEM IN SILENCE. THEY CROSS FROM B-2 TO EXEUNT IN THE DIRECTION OF E—5. (CAMERA AT A—2 ) l MCU OF JULIET PICKING UP VIAL. SHE CROSSES FROM B—2 TO B-3 TO LIE DOWN ON BED. 94 LADY C.: No, not till Thursday, there is time enough. CAPULET: Go nurse, go with her: JULIET: Gentle nurse, I pray thee leave me to myself tonight. For I have need of many orisons, To move the heavens to smile upon my state, Ay, those attires are best; ......... LADY c.: Need you my help? JULIET: No madam, we have culled such necessaries -As are behoveful for our state to—morrow So please you, let me now be left alone, And let the nurse this night sit up with you; For I am sure you have your hands full all, In this so sudden business. LADY C.: Good night, Get thee to bed and rest, for thou hast need. JULIET: (MANAGES TO WHISPER) Farewell. God knows when we Shall meet again. I have a faint cold fear thrills through my veins That almost freezes up the heat of life. I'll call them back again to comfort me. (IN FRANTIC HUSHED TONES) Nurse: What should she do here? My dismal scene I needs must act alone. (ALOUD) Come, vial. What if this mixture do not work at all? Shall I be married then to-morrow morning? PAN, THEN TILT DOWN TO FOLLOW HER MOVEMENT. LAYS DOWN DAGGER BESIDE HER ON BED. JULIET LIES DOWN IN BED WITH VIAL IN HANDS. JULIET SITS UP IN BED. JULIET DRINKS VIAL AND FALLS ON BED. FADE UP SKY LIGHTS SEEN THROUGH WINDOW. DISSOLVE TO 1 MCU OF NURSE ENTERING JULIET'S CHAMBER FROM E-5. PAN TO FOLLOW NURSE FROM E-S TO B-4. OBSERVES JULIET IN BED. DRAWS BACK CURTAINS FROM AROUND HER BED. BENDS DOWN TO SHAKE JULIET. NURSE SCREAMS FRANTICALLY. 3 LS OF CHAMBER. LADY CAPULET ENTERS FROM DOOR AT E-S. (CAMERA AT E-8.) LADY C. APPROACHES NURSE AT BED AT B—4. 95 Lie thou there. 0 if I wake, shall I not be dis- traught, Environed with all these hideous fears, And madly play with my forefathers' joints, And pluck the mangled Tybalt from his shroud, And in this rage, with some great kinsman's bone, As with a club, dash out my desperate brains? 0 look, methinks I see my cousin's ghost, Seeking out Romeo that did spit his body Up- on a rapier's point -- stay Tybalt, stay! Romeo! Romeo! Romeo! I drink to thee. MUSIC UP FOR 5", THEN STINGER. NURSE: Mistress! What, mistress! Juliet! Fast, I warrant her. She-- Why lamb, why lady -- fie you Slug-a-bed! How sound she is asleep! I needs must wake her. What, dressed, and in your clothes, and down again? I must needs wake you. Lady! Lady! Lady! Alas, alas, help, help, 0, weladay that Some aqua-vitae my lady's dead! ever I was born! ho! My lord! My lady! LADY C.: What noise is here? NURSE: O lamentable day. LADY c.: What is the matter? NURSE: Look, look, 0 heavy day. CAPULET ENTERS FROM E-5. NURSE WRINGS HANDS HYSTERICALLY. CAPULET CROSSES TO BED AT B-4. 2 MS OF CAPULET LOOKING OVER JULIET 3 GROUP SHOT (CAMERA AT C-7.) DOLLY OUT TO INCLUDE FRIAR CROSSING FROM E-S TO B-4. PARIS TAKES JULIET'S HAND AND WITH HIS OTHER HAND TOUCHES HER CHEEK. 96 LADY C.: 0 me, 0 me, my child, my only life. Revive, look up, or I will die with thee. Help! help! Call help. CAPULET: For shame, bring Juliet forth; her lord is come. NURSE: She's dead, deceased, she's dead, alack the day! CAPULET: Ha! Let me see her. Out alas she's cold, Her blood is settled, and her joints are stiff. Life and these lips have long been separated. Death lies on her like an untimely frost Upon the sweetest flower of all the field. NURSE: O lamentable day. LADY C.: O woeful time. FRIAR: (OFF) Come, is the bride ready to go to church? CAPULET: Ready to go, but never to return. 0 son, the night be— fore thy wedding-day Hath Death lain with thy wife; there she lies, Flower as she was, de— flowered by him. Death is my son— in—law, Death is my heir, My daughter he hath wedded, I will die, And leave him all; life, living, all is Death's. PARIS: Have I thought, love, to see this morning's face, And doth it give me such a sight as this? LADY C.: Accursed, unhappy, wretched, hateful day, Most miserable hour that e'er time saw In lasting labour of his pilgrimage! NURSE: O woe, o woeful, woeful, woeful day.... FRIAR APPROACHES CAPULET. 2 THREE—SHOT OF FRIAR, CAPULET, AND JULIET 3 GROUP SHOT 97 FRIAR: Peace ho for shame! Con— fusion's cure lives not In these confusions, Heaven and yourself Had part in this fair maid, now heaven hath all, And all the better is it for the maid. Your part in her you could not keep from death, But heaven keeps his part in eternal life. The most you sought was her promotion, For 'twas your heaven she should be advanced Above the clouds, as high as heaven itself? On this fair corse; and as the custom is, All in her best array bear her to church. For though fond nature bids us all lament, Yet nature's tears are reason's merriment. CAPULET: All things that we ordained festival Turn from their office to black funeral; Our instruments to melancholy bells, Our wedding cheer to sad burial feast; Our solemn hymns to sullen dirges change, Our bridal flowers serve for a buried corse, And all things change them to the contrary. MUSIC UP AND OUT. 98 A shaded street may well set the scene for action in the Northern Italian city of Mantua. The apothecary's shOp is the necessary piece of setting here. This shOp can be constructed with a solid, plain brick front with a simple arch doorway of wood. Another brick building may be placed adjacent to it. Slightly behind the apothecary's shOp the background of a shady street may be painted in careful per- spective to meet realistically with the actual construction of trees in the foreground. The piazza holding a large fountain with a statue and several trees can complete this scene with a stone street bench placed nearby. 99 O U [33 '11 '1 '— A V m 5‘15 9.. I II III IV VI VII III I——§\\ /\ L EB 4L.- / Trees Along Street Fountain With Statue - Height - 8' Street With Trees Painted in Perspective Bench Apothecary's Shop Door to Shop Adjacent Shop Take # l6 Mantua- A Street. 35' x 45' 1/4" = l' V VII lOO (TAKE #16) FADE IN TO A STREET IN MANTUA. 2 MS OF ROMEO AT C—3 ROMEO: If I may trust the DRINKING AND EATING ON flattering truth of sleep, My BENCH. ROMEO MUTTERS dreams presage some joyful news PENSIVELY. at hand. Ah me, how sweet is love itself possessed, When but love's shadows are so rich in joy. BALTHASAR ENTERS CAMERA News from Verona. How now FROM DIRECTION OF A—l. Balthasar, Dost thou not bring APPROACHES ROMEO. me letters from the Friar? How (CAMERA AT F—9.) doth my lady? Is my father well? How fares my Juliet? That I ask again, For nothing can be ill if she be well. BALTHASAR: Then she is well and nothing can be ill. Her body sleeps in Capels' monument, And her immortal part with angels lives. I saw her laid low in her kindred's vault, And presently took post to tell you. O pardon me for bringing these ill news, Since you did leave it for my office sir. ROMEO RISES TO WALK IN A CIRCLE AROUND BENCH. ROMEO: Is it even so? 1 CU OF ROMEO'S STRICKEN Then I defy you stars. Thou FACIAL EXPRESSION WITH A knowest my lodging, get me ink WILD LOOK IN HIS EYES. and paper, And hire post-horses; I will hence tonight. 2 MS OF BALTHASAR WITH BALTHASAR: I do beseech you sir, ROMEO CONTINUING TO PACE have patience. Your looks are AROUND THE BENCH. pale and wild, and do import some misadventure. ROMEO STOPS PACING BALTHASAR EXITS IN DIRECTION OF A-l. 3 CU OF ROMEO THINKING DESPERATELY (CAMERA AT C-7.) PAN AS HE WALKS DOWN STREET TO F-2. STOPS IN FRONT OF APOTHE— CARY'S SHOP AT F-2. ENTERS SHOP. FADE OUT. lOl ROMEO: Tush, thou are deceived. Leave me, and do the thing I bid thee do. Hast thou no letters to me from the friar? BALTHASAR: No my lord. ROMEO: No matter. Get thee gone, And hire those horses; I'll be with thee straight. ROMEO: Well, Juliet, I will lie with thee tonight. Let's see for means. 0 mischief, thou art swift To enter in the thoughts of desperate men. I do remember an apothecary-- As I remember, this should be the house. What ho apothecary! MUSIC UP FOR 15 SECONDS, THEN OUT. FADE IN TO FRIAR'S CELL. MUSIC UP 7", THEN UNDER FOR: 102 (TAKE #17) (See floor plan preceding Take #6) 1 LS OF FRIAR JOHN ENTER— ING FROM DOOR AT E-3 AND FRIAR J.: Holy Franciscan friar, OF FRIAR LAURENCE ENTERING brother, ho! FROM DIRECTION OF C-2. (CAMERA AT A—8.) FRIAR L.: This same should be the voice of Friar John. THEY MEET AT D—2. from Mantua. What says Romeo? 3 Or of his mind be writ, his letter. FRIAR J.: Going to find a bare- One of our Here in foot brother out, order, to associate me, this city visiting the sick, finding him, the searchers of the town, Suspecting that we both were in a house Where the infectious pestilence did reign, the doors, and would not let us forth, So that my speed to Mantua there was stayed. FRIAR L.: Who bare my letter then to Romeo? FRIAR J.: I could not send it, Nor get a messenger to bring it thee, fearful were they of infection. here it is again—— MCU OF FRIAR LAURENCE FRIAR L.: Unhappy fortune! my brotherhood, The letter was not nice, but full of charge dear import; and neglecting it May do much danger. Welcome give me Sealed up 1 MS OF TWO FRIARS FRIAR LAURENCE POINTS IN DIRECTION OF A-l. FRIAR JOHN EXITS FROM CAMERA IN THAT DIRECTION. PAN TO FOLLOW FRIAR LAURENCE' EXIT IN DIRECTION OF J—2. (CAMERA AT E-S.) FADE OUT. 103 Friar John, go hence, Get me an iron crow. FRIAR L.: Now must I to the monument alone; Within this three hours will fair Juliet wake. She will beshrew me much that Romeo Hath no notice of these accidents. STAB OF MUSIC. 104 Although the shots in the graveyard need no detailed explanation, the tomb of the Capulets in this same scene can be made interesting to the viewer through detail on the walls. Several continuous passageways of round arches can support these walls. One passageway containing the tombs of Tybalt and Juliet will extend out to the graveyard. An: other passageway with a tomb of another Capulet from which Juliet's tomb may again be seen will intersect the first passageway at right angles. Their walls could have about five or six feet of solid stone up to the curve of the arches. Around the curved arches will stretch Biblical figures in mosaic from the Early Christian Era. The tombs may rest upon large slates of raised stone about six inches from the stone floor. lO 105 Page 1 A B C ._ F 'I ' <§————-III—:——€> " III III VI III (L. _;? i\ II H S v Iv I 6 J <~———_— III > <_ III .9 ' l Cameras’? 0 Page 1: I - Arch Doorway — Height - 8' II - Door to Monument III - Walls IV - Tomb of Juliet Take #,18 Verona. Churchyard: V — Tomb Of Tybalt Monument of Ca ulets VI - Tomb of Another Capulet . . p 55 x 55 Page 2: 1/4" = ll VII - Backdrop of Sky _ , VIII - Yew Trees - Height - 8' Egge % _ gingmfingrd IX - Gravestones ge u C y V x - Wall - Height - 6' u 91311193 .G - i I A K < f VII I /\ 1 1| 2 Ix Ix ‘? q. x Ix 1 3 v— ! Ix I ' . 1x 1x (b 4 9 L Ix J 14— ] Ix V lO IX FADE IN TO CHURCHYARD: MONUMENT OF THE CAPULETS 2 MS OF PARIS GROPING AND MUMBLING AS THOUGH INSANE AT J-4 IN CHURCHYARD. (CAMERA AT H-7.) PARIS STOPS TO LISTEN. HIDES BEHIND YEW TREE AT J-4. 3 LS OF ROMEO AND BALTHASAR ENTERING CHURCHYARD AT K-l. BALTHASAR HANDS ROMEO LIGHT. 2 MS OF ROMEO AND BALTHASAR AS THEY STOP AT H-3. (X) (CAMERA AT G-9.) 107 (TAKE #18) PARIS: Sweet flower, with flowers thy bridal bed I strew. O woe, thy canopy is dust and stones. Which with sweet water nightly I will dew, Or wanting that, with tears distilled by moans. The obsequies that I for thee will keep, Nightly shall be to strew thy grave and weep. PAGE: (WHISTLES OFF.) PARIS: The boy gives warning something doth approach. What cursed foot wanders this way to— night, To cross my obsequies and true love's rite? What, with a torch! Muffle me night awhile. ROMEO: Give me that mattock and the wrenching iron. Hold, take this letter; early in the morning See thou deliver it to my lord and father. Give me the light. (X) Upon thy life I charge thee, Whate'er thou hearest or seest, stand all aloof, And do not interrupt me in my course. Why I descend into this bed of death, Is partly to behold my lady's face; But chiefly to take thence from her dead finger 'A precious ring -- a ring that I must use In dear employment. Therefore hence, be gone. ROMEO GIVES BALTHASAR LETTER 3 LS TO SHOW ROMEO APPROACHING DOOR OF MONUMENT AT G-4. BALTHASAR WATCHES HIM. 2 MCU OF BALTHASAR AT H—3. 1 MS OF ROMEO OPENING TOMB AT D—4. (CAMERA AT D-8.) 3 LS OF ROMEO OPENING TOMB AND PARIS' ENTRANCE AT F-4. PARIS CROSSES TO D-4. (CAMERA AT C—9.) 1 MS OF ROMEO AND PARIS. ROMEO DRAWS RAPIER. THEY FIGHT. 3 LS OF FIGHT ROMEO STABS PARIS. PARIS FALLS. (CAMERA AT G-4.) 1 MCU OF PARIS ON EDGE OF JULIET'S TOMB AT D-4. 2 MS OF ROMEO LOOKING DOWN UPON PARIS. 108 BALTHASAR: I will be gone sir, and not trouble you. ROMEO: So shalt thou show me friendship. Take thou that. Live and be prosperous, and fare- well good fellow. BALTHASAR: (ASIDE) For all this same, I'll hide me hereabout. His looks I fear, and his intents I doubt. SOUND OF FOOTSTEPS APPROACHING RAPIDLY. PARIS: Condemned villain, I do apprehend thee. Obey and go with me, for thou must die. ROMEO: I must indeed, and there- fore came I hither. Good gentle youth, tempt not a desperate man; Fly hence and leave me. For I come hither armed against myself. Stay not, be gone, live, and here- after say, A madman's mercy bid thee run away. PARIS: I do defy thy conjurations, And apprehend thee for a felon here. ROMEO: Wilt thou provoke me? Then have at thee boy. PAGE: (OFF) 0 lord, they fight, I will go call the watch. PARIS: O I am slain! If thou be merciful, Open the tomb, lay me with Juliet. ROMEO: In faith I will. Let me peruse this face. Mercutio's kinsman, noble County Paris! I'll bury thee in a triumphant grave. PLACES HANDS FIRMLY ON HIPS. TILT TO SHOW ROMEO PICKING UP PARIS AND PLACING HIM NEARBY IN TOMB. PAN ASIKWEK) KNEELS NEXT TO JULIET. LOOKS CLOSELY AT HER. 1 CU OF JULIET (CAMERA AT A—8.) (X) 3 MCU OF ROMEO WITH LOOK OF INSANE DISTRACTION 1 MS OF ROMEO PREPARING TO DIE NEXT TO JULIET. KISSES HER. DRINKS FROM VIAL. IN HER ARMS. DIES 3 LS OF FRIAR ENTERING FROM F-4. APPROACHES THE DEAD PERSONS AT D-4. HIS LANTERN SHINES UPON ROMEO. 1 CU REACTION OF FRIAR. NOTICES PARIS, THEN JULIET AS HE GROWS ACCUSTOMED TO LIGHT IN MONUMENT. 2 MS OF FRIAR OVER ROMEO AND JULIET. JULIET SITS UP. (Alack, 109 A grave? 0 no, a lantern, slaughtered youth. For here lies Juliet, and her beauty makes This vault a feasting presence full of light. Death, lie thou there, by a dead man interred. How oft when men are at the point of death Have they been merry, which their keepers call A lightning before death. 0 how may I Call this a lightning? O my love, my wife! Death hath sucked the honey of thy breath, Hath had no power yet upon thy beauty. (X) Thou art not conquered; beauty's ensign yet Is crimson in thy lips and in thy cheeks, And death's pale flag is not advanced there. 0 here Will I set up my ever- lasting rest; And Shake the yoke of inauspicious stars From this world-wearied flesh. Eyes look your last, Arms take your last embrace. Here's to my love! 0 true apothecary! Thy drugs are quick. Thus with a kiss I die. FRIAR: (OFF) Romeo! alack, what blood is this which stains The stony entrance of this sepulchre? What mean these masterless and gory swords To lie discoloured by this place of peace? Romeo! 0, pale! Who else? What, Paris too? And steeped in blood? Ah what an unkind hour Is guilty of this lamentable chance! The lady stirs. JULIET: O comfortable friar, where is my lord? I do remember GESTURES, THEN TRIES TO HELP HER AWAY BY TAKING HER ARM. JULIET FIRMLY RESISTS. FRIAR PERSISTS, THEN MUST HURRY OFF HIMSELF, ANTICIPATING JULIET TO FOLLOW. 3 LS OF FRIAR'S EXIT FROM D-4 TO ENTRANCE AT F-4 TAKEN OVER JULIET'S SHOULDER. 2 MS OF JULIET LOOKING AFTER FRIAR, THEN ATTEND- ING HER HUSBAND. (CAMERA AT B-7.) KISSES HIM. (X) DRAWS ROMEO'S DAGGER. STABS HERSELF, THEN FALLS TO DIE IN ROMEO'S ARMS. DISSOLVE TO 3 GROUP SHOT AT D—4: PRINCE SHAKES LETTER IN HIS HAND. CAPULET, MONTAGUE, AND A FEW 110 well where I should be, And there I am. Where is my Romeo? (SOUND OF MANY FOOTSTEPS APPROACHING.) FRIAR: I hear some noise. Lady, come from that nest Of death, contagion, and unnatural sleep. A greater power than we can contradict Hath thwarted our intents. Come, come away. Thy husband in thy bosom there lies dead; And Paris too. Come I'll dispose of thee Among a sisterhood of holy nuns. Stay not to question, for the watch is coming; Come, go good Juliet, I dare no longer stay. JULIET: Go get thee hence, for I will not away. JULIET: What's here? A cup closed in my true love's hand? Poison I see hath been his time- less end. 0 churl, drunk all; and left no friendly drop To help me after? I will kiss thy lips; Haply some poison yet doth hang on them, To make me die with a restorative. (X) Thy lips are warm. WATCHMAN: (OFF) Lead boy. Which way. JULIET: Yea, noise? Then I'll be brief. 0 happy dagger! This is thy sheath; there rust, and let me die. MUSIC UP. ESTABLISH SOUND OF LOUD FOOTSTEPS COMING CLOSER. PRINCE: And here he writes that he did buy poison of a poor apothecary, and therewithal Came to this vault, to die, and lie SERVANTS INCLUDING BALTHASAR SURROUND HIM. (CAMERA AT G-4.) 1 THREE-SHOT OF PRINCE, CAPULET, AND MONTAGUE. (CAMERA AT G-4.) CAPULET AND MONTAGUE JOIN HANDS. DOLLY OUT ON GROUP. MONTAGUE TO THE RIGHT, CAPULET TO THE LEFT OF PRINCE WITH JOINED HANDS. DISSOLVE TO SET OF VERONA. 2 LS OF FUNERAL PRO- CESSION PASSING STATUE. (CAMERA AT G—9.) SUPER CREDITS. GO TO BLACK. 111 with Juliet. Where be these enemies? Capulet, Montague, See what a scourge is laid upon your hate, That heaven finds means to kill your joys with love. And I for winking at your discords too Have lost a brace of kinsmen; all are punished. CAPULET: give me thy hand. daughter's jointure, Can I demand. 0 brother Montague, This is my for no more MONTAGUE: But I can give thee more, For I will raise her statue in pure gold, That while Verona by that name is known, There shall no figure at such rate be set As that of true and faithful Juliet. CAPULET: As rich shall Romeo's by his lady's lie, Poor sacri— fices of our enmity. PRINCE: 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, (MUSIC SLOWLY UP.) Than this of Juliet and her Romeo. MUSIC UP TO FULL. MUSIC DOWN AND OUT. APPENDIX Lines deleted from the original Shakespearean script for television adaptation. PROLOGUE, ACT I: Lines 13-14. ACT I, Scene 1: Lines 1— (. . . bills, and partisans!) 80, 179-187, 123—131. ACT I, Scene 2: Lines 24—31, 38 (It is written . . . )- ( . . . with his nets) 41, 54, 56- (. . . and tormented, and-—) 57, 92—98. ACT I, Scene 3: Lines 13-20, 26-59, 95-96. ACT I, Scene 4: Lines 1-10, 19-20, 35- (. . . to the ears.) 43, 106- (. . . Direct my sail.) 113. ACT I, Scene 5: Lines 1—43, 50-53, 79-83, 85-94. PROLOGUE. ACT II: Lines l-l4. ACT II, Scene 1: Lines 1-32, 37—41. ACT II, Scene 2: Lines 20 (her eyes in . . .) — 24, 25 (She speaks. O . . .) — 32, 85-89, 116— (. . . say, it lightens.) 120, 171-176. ACT II, Scene 3: Lines 9—14, 17—23, 47-54, 71-74, 81-89. ACT II, Scene 4: Lines 4— ( . . . to thy purpose——) 45, 61-105, 136—145, 160 (Scurvy knave, I . . . — ( . . . quivers. Scurvy knave!) 171, 206-210, 219 (Doth not rosemary . . .) - 226. ACT II, Scene 5: Lines 1-80. ACT III, Scene 1: Lines 15—36, 94-97, 100-109, 128-132, 139—140, 142-145, 170-177, 182-186, 193—199. 112 113 ACT III, Scene 2: Lines 5- ( . . . agrees with night.) 10, 14—19, 26—30, 45 (Say thou but . . .)- 51, 54—58, 66-68, 75— 111, 113-121. ACT III, Scene 3: Lines 1—75. ACT III, Scene 4: Lines 15— (. . . day is this?) 18. ACT III, Scene 5: Lines 12—36, 43— (. . . how now Juliet?) 69, 72-74, 76-107, 121—124, 127-139, 140 (sir, but), 147—159, 163-197, 203-210, 207-230, 234-242. ACT IV, Scene 1: Lines 1-3, 44 (shut the door . . .)- (. . . Come) 45, 46—67, 89-92, 97 (but surcease; No . . .)— 98, 102—106, 109, 115- (. . . Watch thy waking,) 116, 118-120. ACT IV, Scene 2: Lines 1-14, 21 (Pardon I beseech . . .) -24, 38—47. ACT IV, Scene 3: Lines 5- (. . . you busy, ho?) 6, 23 (no, no, this shall forbid it.), 24—48. ACT IV, Scene 4: Lines 1—27. ACT IV, Scene 5: Lines 17-21, 44—48, 50-64, 91—150. ACT V, Scene 1: Lines 3—9, 25-26, 38-54, 56-86. ACT V, Scene 2: Lines 21 (and bring it . . .) -23, 27-29. ACT V, Scene 3: Lines l—ll, 33-39, 45-55, 60 (Think upon these . . .) -64, 76-82, 97- (. . . are thy chamber—maids.) 109, 113 (And lips, o . . .) -118, 121-139, 171-287. BIBLIOGRAPHY Books Barton, Lucy. Historic Costume for the Stage. Boston: Walter H. Baker, Company, 1935. Bretz, Rudy and Stasheff, Edward. The Television Program. New York: Hill and Wang, 1962. Craig, Hardin. .An Interpretation 9: Shakespeare. New York: The Dryden Press, 1948. Cummings, Charles A. .A History 9; Architecture in Italy. Boston and New York: Houghton, Mifflin, and Company, 1901. Hubbell, Richard. Television Programming and Production. New York: Rinehart and Company, 1950. Shakespeare, William. Romeo and Juliet. Edited by Oscar James Campbell, Alfred Rothschild, and Stuart Vaughan. New York: Bantam Books, Inc., 1961. Shakespeare, William. Romeo and Juliet. A motion picture edition. New York: Random House, 1936. Street, C. E. Brick and Marble in the Middle Ages: Notes of Tours in the North 9; Italy. London: John Murray, 1894. Webster, Margaret. Shakespeare Today. London: The Aldine Press, 1957. William Shakespeare: The Complete WOrks. Edited by Charles Jasper Sisson. New York: Harper and Brothers, 1953. Articles and Periodicals "Hamlet at Elsinore," Newsweek, LXII (October 14, 1963), p. 78. "It's Shakespeare Alive," Newsweek, LIV (July 27, 1959), p. 83. 114 ,_ ~-_v .a-.~&a~-.a.. 115 Schwann Long Playing Record Catalog. XVIII, No. 5 (May, 1966). Shanley, J. P. "TV: Hamlet on TV," America, Vol. C (March 14, 1959), pp. 698-700. Shayon, R. L. "Opps! Wrong Hamlet!" Saturday Review, XLVII (July 4, 1964), p. 19. Silberstein, Paula E. "On Film and Filmstrip," Scholastic Teacher, LXXXIV (February 21, 1964), 21—T. Reports National Educational Television and Radio Center. .§£.A9§ of Kings. A Report Presented by NET in cooperation with Humble Oil and Refining Company. Houston: Humble Oil and Refining Company, 1961. Unpublished Material Hannon, Sister Kevin Marie. "An Adaptation of The Necklace for Television." Unpublished Master's thesis, Michigan State University, 1956.