WILLIAM SHAKESPEARE'S ROMEO & JULIET ADAPTED ..., Lecture notes of Art

Download WILLIAM SHAKESPEARE'S ROMEO & JULIET ADAPTED ... and more Lecture notes Art in PDF only on Docsity! WILLIAM SHAKESPEARE'S ROMEO & JULIET ADAPTED FOR THE SCREEN BY CRAIG PEARCE AND BAZ LUHRMANN FINAL SHOOTING SCRIPT October 6, 1995 EXT. HIGHWAY. AFTERNOON. A ribbon of freeway stretching into a blue and pink late afternoon sky. A huge dark sedan, windows tinted gold, headlights blazing, powers directly for us. CUT TO: A heavy, low-slung, pickup truck traveling toward the sedan. WIDE SHOT: Sky, freeway, the cars closing. TIGHT ON: The sedan. TIGHT ON: The pickup. Like thunderous, jousting opponents, the cars pass in a deafening cacophony of noise. INT. TRUCK. AFTERNOON. TIGHT ON: The fat face of GREGORY, yelling at the disappearing sedan. GREGORY A dog of the house of Capulet moves me! He and the pimply-faced front-seat passenger, SAMPSON, explode with laughter. The red-haired driver BENVOLIO, keeps his eyes on the road. EXT. EXIT RAMP. AFTERNOON. The truck spirals down an exit ramp and screeches into busy driveway of a large gas station. EXT. GAS STATION. AFTERNOON. Attendants immediately run to the truck. Two clean windshields and duco, the third fills the gas tank. INT. TRUCK. AFTERNOON. Gregory in the back seat is boasting outrageously. GREGORY A dog of that house shall move me to stand. I will take the wall of any man or maid of Capulets. Sampson, sarcastically. SAMPSON That shows thee a weak slave. For the weakest goes to the wall. GREGORY 'Tis true; and therefore women, being the weaker vessels, are ever thrust to the wall. Therefore, I will push Capulet's men from the wall, and thrust his maids to the wall. Benvolio, disgusted, gets out of the car. BENVOLIO The quarrel is between our masters... GREGORY (yelling after him) ...and us their men. EXT. GAS STATION. AFTERNOON. FOLLOW: Benvolio as he heads for the bathroom. PICK UP: A mother wrangling three little boys out of a station wagon - the smallest kid carries a toy pistol. SUPER FAST SCAN TRACK: Past the mother to - the huge black sedan pulling up outside the gas station mini-mart. The front door of the sedan opens. Shiny black boots - decorated with tiny, silver, cat-shaped spurs - plant themselves on the ground. The boots are joined by two other pairs of well-shod feet. HOLD: The spurred boots move out of frame. CRANE UP: The other feet belong to a tough-looking Latin youth ABRA - and his goateed side-kick PETRUCHIO. INT. BLACK SEDAN. AFTERNOON. CLOSE ON: A scurry of limbs scrabbling across seats and reaching for door handles; EXT. GAS STATION. AFTERNOON. Abra hauls Sampson from the truck. Gregory leaps out, Petruchio covers him. Abra slams Sampson against the side of the vehicle - then, goading him to go for his gun, screams: ABRA Do you bite your thumb at us, sir? Sampson's shaking hand hovers - ready to draw. SAMPSON I do bite my thumb, sir. INT. STATION WAGON. AFTERNOON. CUT TO: The panicked mother in the station wagon. She motions her children to the floor. EXT. GAS STATION. AFTERNOON. Customers run for cover. CLOSE ON: Abra: An hysterical rage; he shrieks: ABRA Do you bite you thumb at us, sir? SAMPSON (sweating, murmurs to Gregory) Is the law on our side if I say "Ay"? GREGORY No. INT. BATHROOM. AFTERNOON. CLOSE ON: The black cowboy boots, trousers down around them. The sound of a toilet flushing. PAN TO: The next cubicle, the door opens revealing Benvolio. EXT. GAS STATION. AFTERNOON. CLOSE ON: Sampson, still sweating. SAMPSON No, sir, I do not bite my thumb at you, sir - but I do bite my thumb, sir! CUT TO: Gregory; a ridiculous inquiry. GREGORY Do you quarrel, sir? CUT TO: Abra; a dangerous smile. ABRA Quarrel sir, no sir. CLOSE ON: Sampson; unconvincing bravado... SAMPSON But if you do, sir, I am for you. I serve as good a man as you. CLOSE ON: Abra; a lethal question. ABRA No better? CLOSE ON: Sampson, trapped. SAMPSON Well sir... INT. STATION WAGON. AFTERNOON. CUT TO: Inside the station wagon. The mother does not notice her five year old aiming a toy gun toward the boys. EXT. GAS STATION. AFTERNOON. CUT TO: Gregory's P.O.V.: Benvolio emerging from the bathroom - he whispers maniacally. GREGORY Here comes our kinsman. Say better! EXTREME CLOSE UP: Sampson; he screams: SAMPSON YES SIR, BETTER! EXTREME CLOSE UP: Abra demonically roars: ABRA THOU LIEST! CUT TO: Benvolio. Terror stricken, he sees the boys. DISTORTED OUT OF CONTROL CLOSE UP: Abra shrieks: ABRA DRAW IF YOU BE MEN! LIGHTNING CUT: Four hands reaching for guns. SLAM ZOOM: To Benvolio - weapon outstretched he screams: BENVOLIO Part, fools! You know not what you do! MUSIC STING; A SUPER MARCO SLAM ZOOM along the barrel of Benvolio's gun; the engraved gun type reads: 'Sword 9mm series S' CUT TO: Benvolio. He screams in desperation: BENVOLIO Put up your swords! Gregory, Sampson, Abra, and Petruchio freeze. A moment - then from behind, the unmistakable sound of a gun being cocked. EXTREME CLOSE UP: The black cowboy boots. CRANE UP: To find the dark cold eyes and feline smile, of the wearer of the boots. His name is TYBALT; a cigarette is clenched between his teeth and his gun is aimed at Benvolio's head. TYBALT What, art thou drawn amoung these heartless hinds? Turn thee Benvolio. Benvolio, a choked explanation: BENVOLIO I do but keep the peace. A mocking smile. TYBALT Peace? I hate the word As I hate hell, all Montagues, and... EXTREME CLOSE UP: Tybalt's finger squeezing the trigger... Suddenly we hear firing from Tybalt's blind side. Tybalt redirects his weapon, cracking off a single shot at the surprise attacker. EXT./INT. MINIMART. AFTERNOON. It is the five year old from the station wagon. The bullet smacks the toy gun from the child's hand, shattering the wagon's window. Mother and children scream. EXT. GAS STATION. AFTERNOON. A panicked Benvolio falls back, accidentally his gun fires - the bullet whistles past Tybalt's head. Tybalt combat rolls, and using a screaming car load of girls as cover, returns two quick shots, narrowly missing Benvolio. EXT. GAS STATION. AFTERNOON. The gas station attendant hits a button and heavy metal screens slam down. EXT. GAS STATION. AFTERNOON. CUT TO: Gregory firing - a bullet rips through Abra's arm. Petruchio dives for cover; Gregory and Sampson leap into Benvolio's truck. Rubber burns as they smash past the Capulet vehicle. CLOSE ON: Tybalt taking aim. Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star crossed lovers take their life. Whose misadventured piteous overthrows Doth with their death bury their parents strife. A dark chord. EXT. VERONA BEACH SKYLINE. NIGHT. A swarm of helicopters thunder into frame. We see compressed, time-lapsed, images of their journey. SLAM INTO: A coat of arms that labels a large tower - the emblem reads; "Verona Beach Police Department: In God We Trust". HOLD: INT. CAPTAIN PRINCE'S PRECINCT OFFICE. NIGHT. CLOSE ON: Captain Prince's grim features. He eyes Capulet and Montague. CAPTAIN PRINCE Three civil brawls, bred of an airy word By thee, old Capulet, and Montague, Have thrice disturbed the quiet of our streets. Capulet's lawyer tries to intervene. LAWYER My noble Prince I can... Captain Prince overriding, slams the desk. CAPTAIN PRINCE If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. Hold on Captain Prince's determined gaze. EXT. VERONA STREET. DAWN. A majestic sunrise; Ted Montague's limousine sulks through deserted streets. In the distance, Jesus looks out over the now peaceful city. INT. MONTAGUE'S LIMOUSINE. DAWN. Ted Montague, his wife Caroline, and nephew Benvolio ride in uncomfortable silence. Caroline finally speaks her anger. CAROLINE O where is Romeo? Saw you him today? (pointedly to Montague) Right glad I am he was not at this fray. Montague snorts derisively and stares out the window. Embarrassed, Benvolio tries to be of assistance. BENVOLIO Madam, underneath The Grove of Sycamore So early walking did I see your son. Ted Montague speaks with contempt. MONTAGUE Many a morning hath he there been seen With tears augmenting the fresh morning's dew. Caroline struggles to contain her emotion. CAROLINE 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. Montague barks into the car intercom. MONTAGUE Westward from this city side. EXT. STREET. DAWN. The limousine U-turns heading west. EXT. BEACH. DAWN. To the melancholic strains of Mozart's "Serenade for Winds", we see a blond nineteen year old boy sitting alone on an empty beach. CLOSE ON: The boy, ROMEO. Looking out over the ocean he sucks on the last of a cigarette and then writes intensely in a small worn note book. We hear his voice over. ROMEO (V/O) Love is a smoke made 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. INT. MONTAGUE'S LIMOUSINE. DAWN. The limo is parked in a cross street that runs down to the beach. Opposite the limo, young diehard clubbers, faded drag queens and street people, hang outside a dilapidated nightclub. A broken neon sign reads: "The Grove of Sick Amore." Ted, Caroline and Benvolio sit watching the silhouette of Romeo on the beach. MONTAGUE Black and portentous must this humour prove Unless good counsel may the cause remove. EXT. BEACH. DAWN. P.O.V.: From the limousine. Romeo rises and listlessly makes his way up the beach - seeing his father's car he turns and heads for the path that hugs the beach front. INT. MONTAGUE'S LIMOUSINE. DAWN. BENVOLIO So please you step aside. I'll know his grievance or be much denied. Benvolio clambers out of the limo. CLOSE ON: Montague, an encouraging smile. MONTAGUE Come Madam. Let's away. EXT. STREET. DAWN. The limousine pulls away and Benvolio heads after Romeo. He pauses. A deck at the rear of "Sick Amore" sprawls onto the beach. At the base of the deck, Benvolio can see Romeo squatting in discussion with an old drunk. Benvolio approaches with a not very convincing casualness. BENVOLIO Good morrow, cousin. Romeo turns. Sore, red, unfriendly eyes squint back at Benvolio. ROMEO Is the day so young? BENVOLIO But new struck, Coz. In sadness, cousin, I do love...a woman. BENVOLIO I aimed so near when I supposed you loved. Romeo leans against the car. ROMEO A right good marksman; and she's fair I love. Romeo pulls his shirt down to reveal a small shoulder tattoo. CLOSE ON: The tattooed word; ROSALINE. BENVOLIO Rosaline! (he is impressed) A right fair mark, fair coz, is soonest hit. ROMEO She'll not be hit with Cupid's arrow. She hath Dian's wit, And in strong proof of chastity lives well armed. Benvolio can't believe it. BENVOLIO Then she hath sworn that she will still live chaste? ROMEO She hath; and in that sparing makes huge waste. Benvolio - a plan. BENVOLIO Be ruled by me; forget to think of her. ROMEO O, teach me how I should forget to think! Benvolio indicates one of the working girls already strutting the foot path. BENVOLIO By giving liberty unto thine eyes. Examine other beauties. Romeo laughs dismissively. He throws the kids a few coins and slides into the drivers seat. Balthasar jumps in back. ROMEO Farewell. Thou canst not teach me to forget. BENVOLIO I'll pay that doctrine, or else die in debt. Benvolio leaps into the passenger seat of the moving vehicle. INT. CAPULET OFFICE. DAY. An orchestral fanfare. TRACK DOWN: Past monstrous letters that read CAPULET and in through a window to discover Fulgencio Capulet. He stares out the window toward the other tallest building in Verona; the one crested with the word MONTAGUE. CAPULET But Montague is bound as well as I, In penalty alike; Capulet turns: on the other side of his desk sits DAVID PARIS; a square-jawed young man in a red cashmere sweater. Tea has been served from an exquisite silver tea service. CAPULET (CONT.) And 'tis not hard, I think, for me so old as we to keep the peace. Dave smiles obligingly. DAVE Of honorable reckoning are you both, And pity 'tis you lived at odds so long. An awkward pause: Dave sips tea, then, with a deep breath... DAVE (CONT.) But now, my lord, what say you to my suit? Capulet considers the framed photograph on his desk. CAPULET But saying o'er what I have said before; My child is yet a stranger in the world; Let two more summers wither in their pride, Ere we may think her ripe to be a bride. Dave is politely insistent. DAVE Younger than she are happy mothers made. CAPULET (checking him hard) 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. Capulet rounds the desk and places a fatherly hand on Dave's shoulder. CAPULET (CONT.) But woo her, gentle Paris, get her heart. My will to her consent is but a part, And she agreed, within her scope of choice Lies my consent and fair according voice. This night I hold an old Accustomed feast. Capulet leans close. CAPULET (CONT.) At my poor house, look to behold this night, Fresh female buds that make dark heaven light. Hear all; all see, And like her most whose merit most shall be. Capulet smiles knowingly. Dave seems encouraged. CAPULET (CONT.) (a hearty slap) Come go with me! Capulet excitedly ushers Dave from the office. INT. POOL HALL. DAY. Dim, smoke filled. Benvolio and Romeo play pool. BENVOLIO (chalking his cue) Take thou some new infection to thy eye. He lines up the six ball top pocket. BENVOLIO (CONT.) And the rank poison of the old will die. A hopeless shot that slams the eight ball toward the side pocket. Romeo stops it with his hand and hurls it against the other balls. BENVOLIO Why, Romeo, art thou mad? Romeo sinks the other balls with his hands. ROMEO Not mad, but bound more than a CUT TO: An echoey Chinoiserie style drawing room. VOICE OVER J U L I E T ! INT. BATHROOM. DAY. CLOSE ON: The still, serene, submerged features of a beautiful young girl. Dark floating hair gently frames the face. Heavy liquid eyes stare up through the water. We hear, though faintly, the calling: VOICE OVER J U L I E T ! With a rush JULIET surfaces. As she gulps air, we realise that she is in fact, in a bath. We hear the calling loudly again. VOICE OVER J U L I E T ! Juliet listens. For a moment she is very still, then she closes her eyes and slides back beneath the surface of the water. INT. ENTRANCE HALL CAPULET MANSION. DAY. A Gothic, unfriendly environment heavy with religious iconography. The entrance hall is crowded with workers and servants preparing for tonight's party. Gloria Capulet fiddles with a short black wig in the hallway mirror. She is attired in full Cleopatra costume. Dissatisfied with the wig, she rips it from her head and calls maniacally. GLORIA J U L I E T ! Gloria is met by the NURSE, a fat, grandmotherly Hispanic woman. GLORIA (CONT.) Nurse, where's my daughter? Call her forth to me. NURSE I bade her come. God forbid! Where's this girl? Juliet! CUT TO: The top of the stairs. As if from nowhere, Juliet has appeared. She wears a bathrobe and her hair is wet. JULIET (coolly) Madam, I am here. What is you will. Gloria, startled, sweeps up the stairs and shuffles her daughter toward a doorway. GLORIA Nurse, give leave awhile, we must talk in secret. INT. GLORIA'S DRESSING ROOM. DAY. Gloria shepherds Juliet into her opulent dressing room and closes the door. She circles with nervous vexation searching for words, stops, then suddenly opens the door and yells out to the Nurse. GLORIA (CONT.) Nurse, come back again. I have remembered me, thou's hear our counsel. The Nurse enters. Gloria, still refusing eye contact, checks her appearance once more in the mirror. She takes a hairbrush and, feigning pleasantness, intensely brushes her hair. GLORIA (CONT.) Nurse, thou knowest my daughter's of a pretty age. NURSE (to Juliet) Thou wast the prettiest babe that e'er I nursed. The hair brush clatters onto the dresser. A moment of tense silence. Gloria grips herself and pours a sherry. Back still turned, she speaks to her daughter. GLORIA By my count, I was your mother much upon these years That you are now a maid. A nembutal twists like a pin in the corner of Gloria's mouth. She slugs it down with the sherry and turns abruptly to face Juliet. GLORIA (CONT.) Thus then in brief, the valiant Paris seeks you for his love. CUT TO: Juliet; an uncomprehending stare. The Nurse, caught off guard, tries to buoy the situation. NURSE A man, young lady! Lady, such a man As all the world - why, he's a man of wax. The medication takes immediate effect upon Gloria. She joins Juliet on the couch and coos in Paris's favour. GLORIA Verona's summer hath not such a flower. NURSE Nay, he's a flower; in faith, a very flower. GLORIA 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. This precious book of love, this unbound lover, To beautify him only lacks a cover. So shall you share all that he doth possess, By having him, making yourself no less. Gloria probes Juliet's thoughts. GLORIA Can you like of Paris' love? Juliet, adept at negotiating her mother's strange moods, chooses her words precisely. JULIET I'll look to like, if looking liking move, But no more deep will I endart mine eye, Than your consent gives strength to make it fly. PETER the chauffeur enters. PETER Madam. The guests are come. GLORIA (checks the mirror) We follow thee. She exits, Nurse in tow. CLOSE ON: Juliet stares out the windows and across the water. Suddenly the Nurse's face leers into shot. She whispers enthusiastically into Juliet's ear. NURSE Go girl, seek happy nights to happy days. CLOSE ON: Juliet's face. EXT. CAPULET MANSION. DAY/NIGHT. JUMP CUT: Aerial shot of Capulet Mansion. We time lapse Why, may one ask? ROMEO I dreamt a dream tonight. MERCUTIO And so did I. ROMEO Well, what was yours? MERCUTIO That dreamers often lie. ROMEO In bed asleep, while they do dream things true. Mercutio produces a tiny gold pill case. MERCUTIO O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep. Tantalisingly, he passes the case beneath Romeo's nose. MERCUTIO (CONT.) Her chariot is an empty hazelnut, Her wagoner a small gray-coated gnat. With a conjurer's dexterity Mercutio extracts a small, gray pill. MERCUTIO (CONT.) And in this state she gallops night by night Through lovers' brains, and then they dream of love; He palms the pills. It reappears from behind Romeo's ear. MERCUTIO (CONT.) 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. The pill box glints in the moonlight. MERCUTIO (CONT.) Sometime she driveth o'er a soldier's neck; And then dreams he of cutting foreign throats. And being thus frighted, swears a prayer or two And sleeps again. Mercutio now intensely angry: MERCUTIO (CONT.) This is that very Mab That plaits the manes of horses in the night And bakes the elf-locks in foul sluttish hairs He screams into the night. MERCUTIO (CONT.) 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, this is she... CLOSE ON: Mercutio. He breaks off. There is a strange stillness amongst the group. Romeo goes to his friend. ROMEO Peace, peace, Mercutio, peace. Thou talkest of nothing. Mercutio meets Romeo's gaze. 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 substance as the air And more inconstant than the wind, who woos Even now the frozen bosom of the north And, being angered, puffs away from thence Turning his attention to the dew- dropping south. CUT TO: Benvolio in the car. The alcohol has caught up with him and he looks a little queasy. BENVOLIO This wind you talk of blows us from ourselves: Supper is done and we shall come too late. Romeo looks toward the distant city. ROMEO I fear, too early, for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night's revels, and expire the term Of a despised life closed in my breast, By some vile forfeit of untimely death. PAUSE: The water turns golden as fireworks explode across the bay. Romeo smiles. ROMEO (CONT.) But he that hath the steerage of my course Direct my sail! He takes the pill and drops it into his mouth. ROMEO (CONT.) On, lusty gentlemen! With the rush of a mind altering cocktail, we ZOOM IN on Romeo's eyes; they shimmer with the shooting star reflection of exploding fireworks - a bending Eastern chord, we launch into Donna Summer's 'I Feel Love', sung by the vocalist from Soundgarden with orchestration by 'Deconstruction' and sitar by Ravi Shankar. EXT. MERCUTIO'S CAR - ON FREEWAY. NIGHT. PULL OUT: From Romeo's eyes. He is lying in the passenger seat of Mercutio's convertible as it rockets along the freeway. The camera is directly above Romeo. He stares up at the fireworks that reflect in the windshield. The car and freeway begin to rotate and the camera follows. We feel that the car is now travelling upside-down. The camera sways through a brilliant explosion of fireworks that fill the screen with a zillion pixilating, colored dots of fire. INT. CAPULET'S MANSION - BALLROOM. NIGHT. PULL OUT: To discover the glittering dots of fire refracting from the sparkling domed roof of the magnificently ornate Capulet Ballroom. The camera swoops down over bizarrely costumed revellers cavorting to a driving Latin big band. The camera partners with a drugged Mercutio and Benvolio who shamelessly caper with each other in a mock antic adagio. CUT TO: Romeo gazing blankly at the dance floor. CUT TO: Mercutio. He sweeps up a thirty-something sophisticate and twirls her in Romeo's direction. MERCUTIO Everyman betake him to his legs! Romeo moves off through the crowd. CUT TO: ROMEO'S P.O.V.: Contorted images of costumed guests CUT TO: Romeo in the crowd. Desperate to find the girl, he roughly shunts aside a reveller dressed as Lucifer, Prince of Darkness. HOLD ON: Lucifer. He removes his mask: it is Tybalt. He turns to Abra, who's dressed as a demon. TYBALT What, dares the slave come hither to fleer and scorn at our solemnity? Now by the stock and honor of my kin To strike him dead I hold it not a sin. Tybalt moves off aggressively, but is halted as Capulet slams a hand into his chest. CAPULET Why how now kinsman, wherefore storm you so? TYBALT Uncle, this is that villain Romeo. A Montague, our foe. Capulet peers across the ballroom. CAPULET Young Romeo is it? TYBALT 'Tis he. CAPULET Content thee gentle coz, let him alone. I would not for the wealth of all this town Here in my house do him disparagement. Therefore be patient; take no note of him. Tybalt can't believe it. TYBALT I'll not endure him. CLOSE ON: Capulet, exploding with rage. CAPULET He shall be endured! (slapping Tybalt viciously) What, goodman boy! I say he shall! Go to. Capulet violently shoves Tybalt to the ground. CAPULET You'll make a mutiny among my guests! A middle aged couple look on shocked - Capulet waves to them festively: CAPULET What? Cheerly my hearts! Capulet snorts at Tybalt in disgust. CAPULET You'll not endure him! Am I the master here or you? Go to. Smoothing his hair into place, Capulet turns back into the ballroom. CLOSE ON: Tybalt choking back tears of rage. CUT TO: Romeo moving through the crowd. For a moment the crush clears and he spies the Angel on the dance floor. CLOSE ON: Romeo whispers: ROMEO Did my heart love till now? Forswear it, sight. For I ne'er saw true beauty till this night. Romeo begins to circumnavigate the dance floor in an attempt to get closer to Juliet. CUT TO: Dave slow dancing with Juliet. Juliet's eyes search the room for the boy. CLOSE ON: Romeo. CLOSE ON: Juliet. Their eyes connect. Juliet looks quickly back to Dave who, oblivious, returns his most devastating smile. CUT TO: The songstress, her voice soars. CUT TO: Juliet. Unable to look away from the boy, she stares over Dave's shoulder. CUT TO: Romeo. Ignoring the danger, he continues to move toward the Angel. With the Diva's spiralling final notes, the ballad concludes. A complete black out. As the crowd break into wild applause, Juliet's eyes search the darkness, but the boy is gone. The crowd cheers and screams its applause. An avalanche of balloons, tinsel and confetti rains down from the roof; swathes of red silk drop from the ceiling and the space is transformed. CLOSE ON: Juliet, searching for the boy. Suddenly: A gasp, Juliet's eyes widen, shocked. In the dark, a hand has shot out from the drape curtaining off the stage and clasped hers. Juliet barely dares breathe. She glances furtively to Dave Paris - he watches the stage. Slowly Juliet turns toward the hand; there through a break in the curtain she can see eye, cheek and lips of the mystery boy. As the Diva reprises the chorus, Romeo gently pulls Juliet behind the curtain. INT. BEHIND CURTAIN. NIGHT. Concealed from the party by the red velvet drape, hands still clasped, the teenagers are so close their bodies almost touch. 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. Romeo moves his lips toward Juliet's. She stops him. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this. For saints have hands that pilgrim's hands do touch, And palm to palm is holy palmers' kiss. ROMEO Have not saints lips, and holy palmers too? JULIET (a gentle scolding) Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do, They pray: grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayer's sake. ROMEO Then move not while my prayer's effect I take. He kisses her. EXT. CAPULET MANSION - MAIN ENTRANCE DRIVE. NIGHT. CUT TO: JULIET'S P.O.V.: In slow motion Romeo, through the falling curtain of fiery embers. JULIET (CONT.)(V/O) That I must love a loathed enemy. EXT. CAPULET MANSION - WINDOW. NIGHT. Warm wind blows the smoke from the expended fireworks. Juliet closes the window and leans against the glass. CRANE DOWN: The side of the building past revellers who don't know when to leave. Standing in the front doorway is someone else who cannot take their eyes off the departing Romeo. It is Tybalt. The music darkens as we push through the smoky wind. TYBALT I will withdraw. But this intrusion shall, Now seeming sweet, convert to bitterest gall. INT. MERCUTIO'S CAR. NIGHT. Caught in the jam of departing vehicles, Mercutio's car crawls along the bridge that links Capulet island with the mainland. The boys sing along raucously with the radio. BOYS "I am a pretty piece of flesh, I am a pretty piece of flesh..." PUSH IN: On Romeo, he whispers: ROMEO Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out. Romeo leaps from the car. Benvolio yells after him. BENVOLIO Romeo! Cousin Romeo! Romeo! EXT. CAPULET BRIDGE. NIGHT. Romeo runs back along the bridge toward the estate. At the gates, armed guards supervise the exodus of vehicles. Romeo uses the traffic to shield himself from view. Romeo leaps from the bridge and into the shadows at the base of the high stone wall that borders the compound. EXT. CAPULET BRIDGE. NIGHT. Mercutio's car prowls back along the bridge. The last guests have departed and the gates are swinging shut. The convertible halts in front of them. BENVOLIO He ran this way. Call, good Mercutio. MERCUTIO Nay, I'll conjure too. Mercutio leaps from the car. He postures like a magician in a low-budget variety special. The boys cheer him on. MERCUTIO Romeo! Humours! Madman! Passion! Lover! I conjure thee by Rosaline's bright eyes, By her high forehead and her scarlet lip, By her fine foot, straight leg, and quivering thigh. And the demesnes that there adjacent lie, That in thy likeness thou appear to us! EXT. CAPULET WALL. NIGHT. CLOSE ON: Romeo's fake chain mail shirt tangled in the barbed wire at the top of the wall. PAN DOWN: Romeo, now on the other side of the wall, pulls up his undershirt and gingerly inspects the cuts inflicted by the wire. Mercutio's cavorting echoes from the bridge. Romeo smiles ironically. ROMEO He jests at scars that never felt a wound. Romeo moves off through the darkened grounds of Capulet estate. EXT. CAPULET BRIDGE. NIGHT. The boys laugh hysterically as Mercutio staggers around the bridge in imitation of a love sick fool. MERCUTIO O Romeo, that she were, O that she were An open-arse and thou a poperin pear! The hilarity is abruptly arrested as a security spotlight blazes to life, pinning Mercutio in its beam. The sound of automatic weapons cocking pierces the night. CLOSE ON: Mercutio. He's brave but not stupid. He gets back into the car. MERCUTIO (CONT.) Come, shall we go? EXT. THE BACK OF CAPULET MANSION. NIGHT. CLOSE ON: A pair of stone cherubs on top of the retaining wall of a terraced garden. Romeo's face appears between them. Romeo hauls himself up onto the wall. Below is a Greco- Roman style pool area. To the right the darkened rear wing of Capulet Mansion. Suddenly the back of the house explodes with light. Romeo takes cover. ROMEO But soft, what light through yonder window breaks? Romeo's question is answered as out onto the verandah comes Juliet. She is still clad in her angel robe, but without the halo and wings. She slowly descends to pool level. ROMEO 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. Juliet stands on the top step of the pool stairs. She is directly below Romeo as he whispers. ROMEO (CONT.) Cast it off! Juliet sits on the edge of the pool, her legs dangle in the water. ROMEO (CONT.) It is my lady. O, it is my love! O that she knew she were! Juliet sighs. JULIET Ay me! ROMEO (whispers) She speaks. O, speak again, bright angel! Juliet looks longingly toward the stars. JULIET O Romeo, Romeo! - Whyfore art thou Romeo? Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love, Romeo slowly pulls Juliet toward him. 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. The lovers kiss long and deep. Then Juliet, suddenly fearful, pushes Romeo away. JULIET Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek, For that which thou hast heard me speak tonight. Fain would I dwell on form - fain, fain deny What I have spoke. But farewell compliment! Dost thou love me? Romeo tries to speak, Juliet silences him. JULIET (CONT.) I know thou wilt say 'Ay', and I will take thy word. Yet, if thou swearest, Thou mayst prove false. O gentle Romeo, If thou dost love, pronounce it faithfully. Or if thou think'st 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 'haviour light. But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. ROMEO Lady, by yonder blessed moon I vow, That tips with silver all these fruit-tree tops - 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. She touches his cheek. Romeo moves his lips close. ROMEO If my heart's dear love - Confused, Juliet breaks away. JULIET Well, do not swear. Although I joy in thee, I have no joy of this contract tonight. It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say 'it lightens.' 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 repose and rest Come to thy heart as that within my breast. She rushes up the stairs - Romeo follows desperately. ROMEO O, wilt thou leave me so unsatisfied? Juliet - a shocked look. JULIET What satisfaction canst thou have tonight? CLOSE ON: Romeo. ROMEO The exchange of thy love's faithful vow for mine. CLOSE ON: Juliet. She runs joyously to Romeo. JULIET I gave thee mind before thou didst request it! Kissing him passionately. JULIET (CONT.) 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. They kiss again. The Nurse calls from inside. NURSE (O/S) Juliet! Juliet looks to the house. JULIET (breathlessly) Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable. 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 (O/S) Madam! JULIET I come, anon - But if thou meanest not well, I do beseech thee... NURSE (O/S) Madam! JULIET (to Nurse) By and by I come! To cease thy strife and leave me to my grief. Tomorrow will I send. Romeo holds Juliet's gaze. ROMEO So thrive my soul. NURSE (O/S) Father Laurence snaps off the television and exits the workroom. EXT. WALL. DAWN. Romeo, dressed in last night's chain mail, pounds desperately on a wooden door set into a high stone wall. ROMEO Good morrow, father! EXT. COURTYARD. DAWN. From the workroom, Father Laurence enters a courtyard which encloses a tranquil tropical garden. He opens a door in the wall of the courtyard and smiles as the costumed Romeo bursts in. FATHER LAURENCE Benedicite! What early tongue so sweet saluteth me? Without pausing, the priest continues through the courtyard and toward the church. FATHER LAURENCE (CONT.) Young son, it argues a distempered head So soon to bid good morrow to thy bed. Or if not so, then here I hit it right - Our Romeo hath not been in bed tonight. The priest enters the back of the church. INT. SACRISTY. DAWN. Romeo, on fire to tell of his experience, follows the priest into the sacristy. ROMEO The last is true. The sweeter rest was mine. FATHER LAURENCE (he stops) God pardon sin! Wast thou with Rosaline? ROMEO With Rosaline, my ghostly father? No. I have forgot that name and that name's woe. The Father lays out the cut glass bottles and communion tray for mass. FATHER LAURENCE That's my good son! But where hast thou been then? Unconsciously, Romeo helps the priest prepare. It is clear he knows the routine by heart. ROMEO I have been feasting with mine enemy, Where on a sudden one hath wounded me. That's by me wounded. Both our remedies Within they help and holy physic lies. FATHER LAURENCE (buttoning a long black cassock) 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. 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. CUT TO: The Priest, thunderstruck. The two kids, now dressed in red altar-boy robes, enter. ALTAR BOYS Good morrow, Romeo. The apoplectic priest waves the boys away. They get the message and bolt. FATHER LAURENCE Holy Saint Francis! What a change is here! Is Rosaline, that thou didst love so dear, So soon foresaken? Young men's love then lies Not truly in their hearts, but in their eyes. ROMEO Thou chid'st me oft for loving Rosaline. FATHER LAURENCE (very angry) For doting, not for loving, pupil mine. ROMEO I pray thee chide me not. Her I love now Doth grace for grace and love for love allow. The other did not so. FATHER LAURENCE O, she knew well Thy love did read by rote, that could not spell. The Father falls into a chair and considers. He looks through the sacristy door to where a small children's choir has assembled. Their angelic voices soar into the purest of hymns. CHOIR How can you just leave me standing Alone in a world so cold, Maybe I'm just too demanding, Maybe I'm just like my father, too bold, Maybe you're just like my mother, She's never satisfied. Why do we scream at each other? This is what it sounds like when doves cry... We recognise the hymn as "When Doves Cry" by Prince. PUSH IN: On the Priest; moved, he looks to Romeo. FATHER LAURENCE 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' rancor to pure love. Romeo hurriedly assists the priest with his vestments. ROMEO O, let us hence! I stand on sudden haste. Father Laurence holds Romeo in his powerful gaze. FATHER LAURENCE Wisely and slow. They stumble that run fast. The procession is joined by the two little altar boys and the mass begins. EXT. VERONA BEACH. DAY. As the Angelic voices of the choir soar, we see a pay phone etched with hyper-real starkness against the white sand, Pink for flower? The boys laugh. Romeo feigns anger. ROMEO I will bite thee on the ear for that jest! Mercutio, goading Romeo to follow, backs off down the beach. MERCUTIO Come between us, good Benvolio! My wits faint. Mercutio flicks sand at Romeo, then sprints off down the beach. Romeo, laughing, gives chase. ROMEO Switch and spurs, switch and spurs, or I'll cry a match. EXT. BEACH - SHORELINE. DAY. Romeo is gaining on Mercutio, who runs headlong into the sea. With a yell, Romeo dives in after him. EXT. BEACH - AT SEA. DAY. Mercutio splashes the laughing Romeo. MERCUTIO Why, is not this better now than groaning for love? Romeo tries to dunk Mercutio. MERCUTIO (CONT.) Now art thou sociable. Mercutio, evading, heads for shore. MERCUTIO (CONT.) Now art thou Romeo. Now art thou... EXT. BEACH - SHORELINE. DAY. Romeo tackles Mercutio on the wet sand. Mercutio falls suddenly serious. MERCUTIO (CONT.) (quietly) What thou art, by art as well as by nature. A moment between the boys. A shadow falls across them. Romeo looks up. ROMEO Here's goodly gear. Standing above the boys is the Nurse. She wears a ridiculous, all red, "Jackie O" style disguise of sunglasses, scarf and parasol. MERCUTIO (bemused) God ye good e'en fair gentlewoman. The nurse, ignoring Mercutio, speaks dramatically to Romeo. NURSE I desire some confidence with you. She turns and walks back to the parking lot where Peter the chauffer waits beside the limousine. Benvolio and the other boys look on curiously. MERCUTIO A bawd, a bawd, a bawd! So ho! But Romeo rises and to the amazement of Mercutio actually follows this woman. Mercutio looks questioningly to Benvolio, who shrugs. BENVOLIO She will endite him to some supper? Even more strangely, Romeo gets into the limousine. MERCUTIO (taken by surprise) Romeo, will you come to your father's? We'll to dinner thither. ROMEO (as he closes the door) I will follow you. MERCUTIO Farewell, ancient lady. Farewell. The car pulls away. EXT. STREET. DAY. The limousine drives through Verona Beach. INT. MOVING LIMOUSINE. DAY. CLOSE ON: Romeo jammed into the corner of the seat. The Nurse's face is pressed alarmingly close to his. She speaks in cold deadly earnest. NURSE If ye should lead her in a fool's paradise, as they say, it were a very gross kind of behavior, as they say. For the gentlewoman is young; and therefore, if you should deal double with her, truly it were an ill thing and very weak dealing. BEAT: Romeo chooses his words carefully. ROMEO Bid her to come to confession this afternoon, And there she shall at Friar Laurence's cell Be shrived and (PUSH IN ON: Romeo) married. INT. JULIET'S BEDROOM. DAY. CLOSE ON: Juliet's face peering out her bedroom window. JULIET O God she comes! EXT. CAPULETS MANSION - DRIVEWAY. DAY. PULL BACK: JULIET'S P.O.V.: The limousine pulls up at the front door, the Nurse alights. Juliet bolts from the room. INT. LANDING. DAY. Juliet hurries down the stairs - the Nurse, a way ahead, disappears into a doorway. INT. STAIRWAY. DAY. Juliet races down a dark stairwell that leads to the bowels of the house. INT. KITCHEN. DAY. The kitchen, obviously the Nurse's domain, is decorated with a mixture of religious iconography and travel posters. Most of the posters depict a strange city of decadent, decaying, beauty. Juliet bursts breathlessly into the room. JULIET O honey nurse, what news? The Nurse, buried up to her ample hips inside the refrigerator, does not turn around. Juliet cries impatiently. JULIET Nurse! The nurse emerges from the ice box laden with food. Moving to the counter she starts to make a sandwich. NURSE I am aweary, give me leave awhile. Fie, how my bones ache. What a jaunce have I. Juliet under her breath. JULIET I would thou hadst my bones and I thy news. ends! PULL BACK: Father Laurence is preaching energetically from the pulpit. Hidden from the congregation, Romeo waits in a small alcove chapel at the side of the altar. FATHER LAURENCE (CONT.) The sweetest honey Is loathsome in its own deliciousness, Therefore love moderately. The Father glances toward Romeo. FATHER LAURENCE (CONT.) Long love doth so. Too swift arrives as tardy as too slow. Juliet pushes through the double doors at the far end of the church. Father Laurence motions to the middle-aged choir master who leads the choir into a choral version of Led Zeppelin's "A Whole Lot of Love" with Latin lyrics. Father Laurence hurries from the altar over to Romeo. FATHER LAURENCE (CONT.) Here comes the lady. Juliet bursts into the tiny chapel. Trying to observe a vestige of decorum, she greets Father Laurence. JULIET Good afternoon to my ghostly confessor. But before the priest can reply, the two lovers embrace, kissing passionately. FATHER LAURENCE (dryly) Romeo shall thank thee, daughter, for us both. The choir completes the hymn and the priest, realising it is his cue, rushes back to the altar. He quickly delivers a prayer to the congregation while eyeing the increasingly amorous smooching of the young couple. The choir launch into a joyous chorus and the priest returns to Romeo and Juliet. He delicately parts the couple. FATHER LAURENCE (CONT.) Come, come, and we will make short work. For, by your leaves, you shall not stay alone Till Holy Church incorporate two in one. A young boy with a voice like Jamiroquai steps forward. He launches into a wailing solo. MACRO CLOSE UP: A simple silver ring. Engraved on the inside of the band are the words 'I love thee.' PULL BACK: Romeo slips the ring onto Juliet's finger as the priest executes the formal sacrament of marriage. INT./EXT. CHURCH. DAY. CRANE UP: Through the majestic patterning of stained glass, and out of the church to find Peter, the chauffeur, cradling a small camera as he waits nervously beside the limo. EXT. CHURCH. DAY. The music swells in celebration. Romeo and Juliet, now newly-wed, rush from the side door of the church. The priest follows, throwing handfuls of rice. Peter studiously takes a snap as the bride and groom kiss. Peter holds the door of the limousine open. Reluctantly Juliet gets into the car. As the car pulls out of the driveway, Romeo runs alongside. HOLD: On Romeo as he watches the big black car speed away. EXT. UNDERWATER. DAY. FISH-EYE VIEW: From the bottom of the ocean; Mercutio's distorted features. Gun aimed, he stares intently into the water. A muffled BANG! and a bullet whizzes past the camera. EXT. VERONA BEACH. DAY. We see that Mercutio - wading in knee deep water close to the beach - is hunting fish. Benvolio shelters in the shade of an unmanned life guard tower. A shimmering heat haze blankets the deserted beach and the horizon is stacked with purple storm clouds. BENVOLIO I pray thee, good Mercutio, let's retire. The day is hot, Mercutio, ignoring him, plugs away at another fish. Benvolio nervously looks to see if there is any reaction to the sound of the shot. BENVOLIO (CONT.) The Capels are abroad. And if we meet we shall not 'scape a brawl. Mercutio strides out of the water. 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!' (he hands Benvolio his gun) and by the operation of the second cup draws him on the drawer, when indeed there is no need. Another incredible sleight of hand routine and Mercutio has managed to draw Benvolio's pistol, retrieve his own gun, and trap Benvolio with a barrel at each temple. The joke has worn thin for Benvolio; he pushes past Mercutio toward where Balthasar, Sampson and Gregory lounge in the shade of the beach-side hang. Suddenly he stops dead - a monstrous black sedan prowls into the beach side parking lot. BENVOLIO By my head, here comes the Capulets. MERCUTIO By my heel, I care not. EXT. BEACH - PARKING LOT. DAY. The sedan mounts the curb and slides to a halt only metres from Benvolio and Mercutio. Tybalt, Abra and Petruchio alight from the sedan and walk menacingly toward Mercutio and Benvolio. TYBALT Gentlemen, good day. A word with one of you. The boys from the hang, drawn the Capulet car, converge - eyes dart nervously, hands stray towards guns. Mercutio smiles mockingly. MERCUTIO And but one word with one of us? Couple it with something. Make it a word and a... Leaning close to Tybalt, he camps the implication. MERCUTIO (CONT.) ...blow. Mercutio scores. The boys laugh. TYBALT (furious) You shall find me apt enough to that, sir, (clutching at his side arm) And you will give me occasion. CLOSE ON: Mercutio. He stops, eyeing the hand on the gun. ...and throws it at Tybalt's feet. Storm clouds obscure the sun as Romeo turns and walks from the parking lot. Mercutio, Benvolio and the others cannot believe their eyes. MERCUTIO O calm, dishonourable, vile submission! EXT. BEACH - VACANT LOT. DAY. Tybalt's anger must be answered. He ceremoniously disarms, gives his weapon to Abra, and sprints after Romeo who is now passing a beach side lot that houses an abandoned grand hotel. A bone-cracking kick sends Romeo crumbling into the vacant lot. The boys swarm toward the fray. Romeo, still refusing the fight, scrambles up the stairs of the deserted hotel. Tybalt trips him and Romeo careens into an ornamental wooden railing, smashing it to pieces. Tybalt kicks savagely at the helpless Romeo. Suddenly, Mercutio appears running full tilt down the concrete terrace. He plucks up one of the splintered wooden palings and yells... MERCUTIO (CONT.) Tybalt, you ratcatcher, ...as he bludgeons him across the face. Tybalt goes down. MERCUTIO (CONT.) Will you walk? Tybalt leaps to his feet grabbing a lump of wood. TYBALT What wouldst thou have with me? He swipes at Mercutio. MERCUTIO (avoiding) Good King of Cats, nothing but one of your nine lives. Mercutio jabs, Tybalt sidesteps. TYBALT I am for you. Tybalt aims a double-handed blow to Mercutio's head. Mercutio blocks, hooking Tybalt's stick away. Unarmed, Tybalt throws his full body weight upon Mercutio, slamming him against a window that shatters in a storm of glass. Lightning fast, Mercutio jackknifes to his feet. He raises his weapon to deliver a skull-crushing final blow to the trapped Tybalt. Romeo rushes between them. ROMEO Forbear this outrage, good Mercutio! Seizing the opportunity, Tybalt lunges at Romeo with a lethal triangle of broken glass. He misses, gouging instead a slash of flesh from Mercutio's stomach. A scream of excruciating pain as Mercutio grabs at his bloodied side. Everyone is still. In the abrupt silence, sirens are heard closing in the distance. Abra tugs at Tybalt. ABRA Away Tybalt! They bolt for their vehicle. Benvolio goes to Mercutio. BENVOLIO Art thou hurt? But Mercutio, covering his wound with his hand, laughs. MERCUTIO Ay, ay, a scratch. He turns to his assembled fans at the bottom of the stairs. With outrageous bravado he plays at being Caesar the conqueror. MERCUTIO (CONT.) A scratch! The boys cheer their conquering hero. Romeo helps Mercutio down the stairs. ROMEO Courage, man. The hurt cannot be much. Mercutio holding his bleeding side, jokes through the pain. MERCUTIO 'Twill serve. Ask for me tomorrow and you shall find me a grave man. He turns the next thought to the assembled audience. MERCUTIO (CONT.) (through crazy laughter) A plague o' both your houses! Mercutio turns from the cheering boys to Romeo who is struggling to support his weight. Mercutio - through weak and desperate breathing. MERCUTIO (CONT.) Why the devil came you between us? I was hurt under your arm. Romeo starts to register the panic in Mercutio's eyes. ROMEO I thought all for the best. Like an animal trying to break free from a mortal trap, Mercutio pushes Romeo away. He screams in horror, as if falling in the dark: MERCUTIO A plague o' both your houses! They have made worms' meat of me. Mercutio staggers down the stairs and collapses in the dirt. Romeo is there instantly, cradling his friend's head out of the dust. The dying boy stares back at Romeo, smiling through the chilling cold. MERCUTIO (CONT.) (a silent whisper) Your houses! Everything stands still, everything is quiet. The storm finally breaks. EXT. BEACH - RAIN. DAY. Tiny drops of water fall from the sky and bespeckle Mercutio's lifeless body. The droplets grow to a heavy rain. Romeo can hear the faint sound a thousand miles away of Benvolio whispering: BENVOLIO Mercutio is dead! Tears streak Romeo's face. He cries out. ROMEO Oh sweet Juliet, Thy beauty hath made me effeminate And in my temper softened valor's steel! The sound of Tybalt's vehicle starting brings back cold reality. Romeo's sorrow turns to uncontrollable rage. Shrugging aside Benvolio's attempts to restrain him, Romeo runs to his car. EXT. BEACH - PARKING LOT. DAY. Up ahead Tybalt's sedan screeches into a fishtailing U-turn and powers away. Romeo jumps into his vehicle. In an effort to head Tybalt off, he guns his damaged machine down a one way street. The rain is now blinding. Romeo stops for nothing; pedestrians flee, cars spin out of control. EXT. VERONA BEACH STREETS - FROM AIR. DAY. AERIAL SHOT: The two cars speed along parallel roads toward Plaza Jesu. Romeo is gaining. EXT. VERONA STREET - CHRIST ROUNDABOUT. DAY. CUT TO: Tybalt's car negotiating the immense roundabout at the foot of the statue of Jesus. THE CAMERA: Falls through heavy rain toward a woman crouched over the lifeless body of Tybalt. She cries: GLORIA Tybalt! Cops nervously eye Fulgencio Capulet and Ted Montague, who, both flanked by body guards, face each other across the crime scene. Medics stand by helplessly as Gloria clings to Tybalt's body. A handcuffed Benvolio looks on. GLORIA (CONT.) Tybalt, my cousin, O my brother's child! O, the blood is spilled of my dear kinsman. Police lines part as Captain Prince arrives. CAPTAIN PRINCE Where are the vile beginners of this fray? Benvolio struggles forward. BENVOLIO O noble Prince I can discover all The unlucky manage of this fatal brawl. Gloria appeals hysterically: GLORIA Prince as thou art true, For blood of ours shed blood of Montague! CAPTAIN PRINCE Benvolio, who began this bloody fray? BENVOLIO (pointing to Tybalt's corpse) There lies the man, slain by young Romeo, That slew thy kinsman brave Mercutio. Gloria interjects savagely. GLORIA He speaks not true! Affection makes him false! BENVOLIO Romeo, that spoke him fair, could not take Truce with the unruly spleen of Tybalt Deaf to peace! GLORIA He is a kinsman to the Montague! I beg for justice which thou Prince must give. Romeo slew Tybalt, Romeo must not live! Captain Prince turns to Gloria. CAPTAIN PRINCE Romeo slew him, he slew Mercutio. Who now the price of his dear blood doth owe? Ted Montague pleads: MONTAGUE Not Romeo, Prince, he was Mercutio's friend; His fault concludes but what the law should end, The life of Tybalt. Captain Prince eyes Montague coldly. CAPTAIN PRINCE And for that offence Immediately we do exile him. Montague, body guards in tow, surges forward. MONTAGUE Noble Prince...? Prince silences him. CAPTAIN PRINCE I will be deaf to pleading and excuses; Nor tears nor prayers shall purchase out abuses. Therefore use none. The Captain turns and addresses his assembled officers. CAPTAIN PRINCE (CONT.) Let Romeo hence in haste, Else, when he is found that hour is his last. CLOSE ON: Captain Prince. CAPTAIN PRINCE (CONT.) Bear hence this body and attend our will. Mercy but murders, pardoning those that kill. INT. JULIET'S BEDROOM. AFTERNOON. An acoustic guitar version of Joy Division's 'Love Will Tear Us Apart.' Juliet traces the path of a raindrop on the window pane as she speaks her thoughts to the storm. JULIET Come gentle night, coming loving black browed night, Give me my Romeo. And when I 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. O, I have bought the mansion of a love But not possessed it, and though I am sold, Not yet enjoyed. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. EXT. CAPULET'S MANSION - DRIVEWAY. AFTERNOON. Juliet's P.O.V.: The limousine pulls into the driveway. PULL OUT: Of the window and CRANE DOWN: Juliet runs from the room. EXT. CAPULET MANSION. AFTERNOON. Through the open doorway we see an excited Juliet meet the Nurse at the bottom of the stairs. The music surges. TRACK IN: The Nurse's words are lost in the storm. Juliet buckles. INT. CAPULET MANSION. AFTERNOON. We are close enough now to hear Juliet's words. JULIET Oh God! Did Romeo's hand shed Tybalt's blood? NURSE It did, it did! Alas the day, it did! JULIET Oh serpent heart, hid with a flowering face. Was ever book containing such vile matter So fairly bound? O, that deceit should dwell In such a gorgeous palace! NURSE There's no trust, No faith, no honesty in men. All perjured, ROMEO How well my comfort is revived by this. The priest goes to his wardrobe, removes a clean white shirt and helps Romeo put it on. FATHER LAURENCE Go, get thee to thy love, as was decreed. Ascend her chamber. Hence and comfort her. But look thou stay not till the Watch be set, For then thou canst not pass to Mantua where thou shalt live till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the Prince and call thee back, With twenty hundred thousand times more joy Than thou wentst forth in lamentation. Father Laurence ushers Romeo from the room. INT. HALLWAY. NIGHT. They hurry down the hallway. The priest opens the front door. FATHER LAURENCE Go hence. Be gone by the break of day Sojourn in Mantua. Give me thy hand. Romeo embraces him. ROMEO Farewell. The priest and Balthasar watch as Romeo and the Nurse sprint for the car. INT. CAPULET MANSION. NIGHT. Sobs echo through the house. Dave Paris stands in the entrance hallway clutching a huge bunch of flowers. Fulgencio Capulet stands beside him, whisky glass in hand. CUT TO: Gloria on the upper landing. There is a strange faraway quality about her as she descends to Dave and Capulet. GLORIA She'll not come down tonight. Dave, an understanding smile. DAVE These times of woe afford no times to woo. Capulet guides Dave into the house. CAPULET Look you, she loved her kinsman Tybalt dearly. GLORIA (joining) And so did I. CAPULET (a cold glance at Gloria) Well, we were born to die. Capulet takes a large slug of whisky. Gloria leans close to Dave. GLORIA I'll know her mind early tomorrow. Tonight she's mewed up to her heaviness. As Gloria, Dave and Capulet exit down the hallway we CRANE UP: toward Juliet's bedroom door. INT. JULIET'S BEDROOM. NIGHT. CLOSE ON: Juliet's face. Tears stream onto the pillow. Without warning a hand lightly touches her cheek. Juliet's eyes dart up to discover Romeo standing above her. A still moment of disbelief. Leaning down, Roemo kisses away the tears that fall from her dark, wide eyes. Juliet's lips find Romeo's and they gently sink back onto the bed. INT. SITTING ROOM. NIGHT. Capulet sits in an armchair drinking. Dave and Gloria sit opposite as Capulet whips himself into a frenzy of drunken excitement. CAPULET We'll 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 - But soft what day is this? DAVE Monday my lord. CAPULET Well Wednesday is too soon - what say you to Thursday? Gloria looks up alarmed; Dave is stunned. DAVE My lord I... CAPULET (leaning close) I will make a desperate tender of my child's love. (a drunken good humour) I think she will be ruled in all respects by me; (exploding with hearty laughter) Nay, more, I doubt it not! CUT TO: Gloria, her face hardens. CAPULET (to Dave) But what say you to Thursday? Dave is trying to catch up. DAVE My lord I... CUT TO: Capulet he eyes Dave intently. DAVE (CONT.) I would that Thursday were tomorrow. Delighted, Capulet jumps to his feet. CAPULET A Thursday let it be then! Capulet holds out his glass in toast. Dave and Gloria rise. CAPULET Wife, go you to Juliet ere you go to bed. Tell her, a Thursday she shall be married To this noble sir! CLOSE ON: The glasses clink. EXT. CAPULET ESTATE. DAWN. A pink and gold dawn breaks over Capulet Mansion. INT. JULIET'S BEDROOM. DAWN. A tangle of young limbs. Romeo and Juliet blissfully asleep. The dawn light creeps into the room. EXT. CAPULET ESTATE. DAWN. From Juliet's bedroom comes the brittle sound of Gloria Capulet's voice. GLORIA Ho daughter! Are you up? Juliet spins around. Gloria has parted the curtains and is staring directly at her daughter. GLORIA Well, well. CUT TO: Romeo sheltered just below the lip of the balcony. FOLLOW: His hand, as it slowly reaches up and touches Juliet's fingers hidden behind her back. Gloria returns to the room. Juliet steals a glance toward Romeo as he silently mouths: ROMEO Adieu, adieu! As Romeo's face disappears into the shadows Juliet whispers a little prayer to herself. JULIET O Fortune, Fortune! Be fickle, Fortune, Fo then I hope thou wilt not keep him long But send him back. INT. JULIET'S BEDROOM. DAWN. Juliet is trying not to cry as she goes in to her mother. Gloria turns to her. GLORIA 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 plays along. JULIET Madam, in happy time. What day is that? Gloria takes a deep breath. GLORIA Marry, my child, early next Thursday morn The gallant, young, and noble gentleman, Sir Paris, at Saint Peter's Church, Shall happily make thee there a joyful bride. CLOSE ON: Juliet. She can barely speak. JULIET Now by Saint Peter's Church, and Peter too, He shall not make me there a joyful bride! Fear passes across Gloria's face. GLORIA Here comes your father. Tell him so yourself. Capulet - whisky glass in hand - ebulliently bursts into the room. CAPULET How now, wife? Have you delivered to her our decree? GLORIA Ay, sir. But she will none, she gives you thanks. I would the fool were married to her grave! Capulet - a dangerous calm. CAPULET How? Will she none? Is she not proud? Doth she not count her blest, Unworthy as she is, that we have wrought So worthy a gentleman to be her bride? JULIET Not proud you have, but thankful that you have. Proud can I never be of what I hate. PAUSE: Capulet considers his daughter, then - BAM! He hurls his glass against the wall, shattering it into a thousand pieces. CAPULET Thank me no thankings, nor proud me no prouds, But fettle your fine joints 'gainst Thursday next ... Capulet advances. Juliet, terrified, retreats into the hallway. JULIET Hear me with patience but to speak a word... INT. LANDING. DAY. The Nurse appears as Capulet picks his daughter up and shakes her like a rag doll. CAPULET Speak not, reply not, do not answer me! He throws her to the floor. His fist thuds as it slams into her face. GLORIA (screaming) Fie, fie! What are you mad? Gloria tries to restrain Capulet. He back-hands her, sending her flying against the wall - bellowing insanely, he advances on his cowering daughter. CAPULET Hang thee, young baggage! Disobedient wretch. The Nurse throws herself between Capulet and Juliet. NURSE God in heaven bless her! You are to blame, my lord, to rate her so. Furious, Capulet shunts her aside. CAPULET Peace, you mumbling fool! Capulet yanks his daughter's face close to his. CAPULET (CONT.) I tell thee what - get thee to church a Thursday Or never after look me in the face. And you be mine, I'll give you to my friend. And you be not, hang, beg, starve, die in the streets, Trust to it. Bethink you. I'll not be forsworn. Capulet storms off down the hall. CLOSE ON: Juliet. She huddles, shaking at the top of the stairs. JULIET O sweet my mother, cast me not away! Delay this marriage for a month, a week. Or if you do not, make the bridal bed In that dim monument where Tybalt lies. FATHER LAURENCE That's a certain text. DAVE Come you to make confession? Juliet forces a smile. JULIET Are you at leisure, holy father, now? Or shall I come to you at evening mass? FATHER LAURENCE My leisure serves me, pensive daughter, now. (to Dave) We must entreat the time alone. DAVE God shield I should disturb devotion! - Juliet, on Thursday early will I rouse ye; Dave bends. CLOSE ON: Juliet; she stares stonily ahead as Dave kisses her cheek. DAVE (CONT.) Till then, adieu, and keep this holy kiss. Dave leaves. TRACK WITH: Juliet; she runs for the sacristy. The priest follows. INT. SACRISTY. DAY. Juliet, shaking with sobs takes refuge in the shadows of the small room. The priest goes to her. FATHER LAURENCE O Juliet, I already know thy grief. Juliet pulls away. JULIET Tell me not, Father, that thou hearest of this, Unless thou tell me how I may prevent it. FATHER LAURENCE It strains me past the compass of my wits. JULIET (desperately) If in thy wisdom thou canst give no help Do thou but call my resolution wise, And with this I'll help it presently! She pulls the gun, pointing it towards herself. Horrified, Father Laurence moves to her. Juliet, panicked, levels the gun at him. FATHER LAURENCE Hold daughter! JULIET (through tears) Be not so long to speak. I lone to die! Father Laurence holds out a soothing hand. FATHER LAURENCE I do spy a kind of hope, Which craves as desperate an execution As that is desperate which we would prevent. If, rather than marry Paris, Thou hast the strength of will to slay thyself, Then it is likely thou wilt undertake A thing like death... We hear the distended chords of Fauré's Requiem. FATHER LAURENCE (CONT.) to chide away this shame... It continues throughout as; The entire screen fills with a glinting tear drop of blue liquid. Reflected in the fluid's convex surface, the face of Father Laurence. The face disappears as the tear drop falls and splashes into a clear water solution. Like a comet in slow motion, the drop stains the water a cobalt hue. INT. GREENHOUSE WORKROOM. DAY. PULL BACK: The blue liquid fills a tiny glass vial held by Father Laurence. FATHER LAURENCE (CONT.) No warmth, no breath shall testify thou livest. Each part, deprived of supple government, Shall stiff and stark and cold appear, like death. Now when the bridegroom in the morning Comes to rouse thee from thy bed, there art thou, dead. Thou shalt be borne to that same ancient vault Where all the kindred of the Capulets lie. In the meantime, against thou shalt awake, Shall Romeo by my letters know our drift, And hither shall he come. And that very Night shall Romeo bear thee hence to Mantua. The priest cautiously hands Juliet the vial. FATHER LAURENCE (CONT.) Take thou this vial, being then in bed, And this distilling liquor drink thou off. I'll send my letters to thy lord with speed to Mantua. EXT. CHURCH. DAY. As Father Laurence speaks, the screen fills with an express envelope addressed "Romeo - Mantua." The envelope pulls away from the camera and falls into a canvas bag brimming with hundreds of like envelopes. TRACK: With the canvas bag. It continues its journey into the back of an express delivery van. Heavy double doors slam shut, filling the screen with the slogan 'Speed Express.' The van pulls away. DISSOLVE TO: EXT. MANTUA. DAY. A burning red sun is setting over an endless vista of ragged wasteland. CRANE DOWN: A weathered sign reads - Mantua: Behind it a vast colony of permanent trailer homes stretches into the distance. The rap, rap, rap of knocking echoes through the park... CUT TO: The source of the knocking. An express delivery man, envelope in hand, raps vigorously on the door of an unremarkable trailer. INT. TRAILER. DAY. life. She brings the vial her mouth. JULIET (CONT.) Come, vial. Romeo, I drink to thee. Juliet drinks, a sudden violent convulsion, her face contorts in fear. DISSOLVE TO: EXT. CAPULET ESTATE. DAY. The sky is filled with green and grey clouds. A gusty rain blows the flower arrangements across the lawn. Large white wedding marquees flap in the wind. Through blurring rain, we see ambulances and police vehicles, lights flashing. Father Laurence, accompanied by a dour looking man in black, alights from his car. We follow their P.O.V.: We hear snatches of radio calls. MEDIC ONE (OVER RADIO) Mortal drugs? MEDIC TWO (OVER RADIO) Of lethal quantity as 'twould render death. INT. CAPULET MANSION - DINING ROOM. DAY. They enter the house and pass the vast dining room, bedecked with wedding decorations. Capulet sits at the large mahogany table. In the background Gloria stares vacantly. Moving swiftly toward a doorway, the music builds. INT. CAPULET MANSION - JULIET'S BEDROOM. DAY. The door opens. On the bed Juliet's still body. Father Laurence closes the door. The priest kneels and hastily examines Juliet's pupils. He looks to the man in black who retrieves the glass vial from the floor and pockets it. FATHER LAURENCE (to the man in black) As the custom is, In all her best array bear her to church. When the man in black allows two other dark suited men into the room, it becomes clear he is the undertaker. UNDERTAKER She shall be borne to that same ancient vault Where all the kindred of the Capulets lie. INT. MAUSOLEUM. DAY. A thousand voices proclaim the 'Song of Ascension.' PAN DOWN: From the vaulting glass ceiling of the Capulet mausoleum. On view, enshrined in literally thousands of lit candles, is Juliet's peaceful body. We move through lines of Capulet mourners. In the shadows of the front door a young man hides. CLOSE ON: The young man. We recognise the distressed face of Balthasar. PUSH IN: Balthasar rushes from the Mausoleum. EXT. MANTUA. DAY. We are high above Mantua. Beyond the trailer park stretches a long ribbon of black highway. As a Speed Express van turns off the highway and into the park, we hear Romeo's voice over: ROMEO (V/O) If I may trust the flattering truth of sleep My dreams presage some joyful news at hand... CRANE DOWN: The Express van pulls up at the front office. The driver alights and goes inside. INT. TRAILER. DAY. Romeo sits at the trailer's small kitchen table smoking and writing in his notebook. The "WE CALLED" card lies next to an overflowing ashtray. His voice over continues. ROMEO (V/O) And all this day an unaccustomed spirit Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead And breathed such life with kisses in my lips That I revived and was an emperor. Ah me, how sweet is love itself possessed When but love's shadows are so rich in joy. Stubbing out his cigarette, Romeo gazes through the trailer window to see Balthasar's speeding car turn off the highway and into the trailer park. ROMEO News from Verona! An excited Romeo rushes from the trailer. EXT. TRAILER PARK. DAY. CRANE HIGH: Romeo sprints across open ground to intercept Balthasar's car. We see, but Romeo cannot, the Express van approaching from the office. The car slews to a halt and Balthasar jumps out. Romeo yells joyously. ROMEO How now, Balthasar? Bathlasar cannot speak. ROMEO (CONT.) Dost thou not bring me letters from the Priest? How doth my lady? Is my father well? How doth my lady Juliet? That I ask again, For nothing can be ill if she be well. Balthasar does not know how to say what he has come to tell. He looks away. 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. For a long moment Romeo is profoundly still. When he speaks, it is with a chilling calm. ROMEO Is it e'en so? Balthasar nods. Romeo turns and stares into the distant wasteland. CLOSE ON: He speaks with bitter determination. ROMEO Then I defy you stars. Romeo moves to the car. ROMEO I will hence tonight. Balthasar tries to restrain him. BALTHASAR Have patience... Exploding with fury, Romeo throws Balthasar against the (PAUSE: the priest listens) Adieu. He hangs up the receiver and looks at the wall clock. FATHER LAURENCE (CONT.) Now must I to the monument alone. Within this hour will fair Juliet awake. DISSOLVE FROM: The clock to... INT. APOTHECARY'S APARTMENT. NIGHT. CLOSE ON: A cat skitters across a stained formica table. PULL BACK: The Apothecary's apartment is filled with cats. Dozens of feline eyes glow in the dim room. Romeo stands nervously. The Apothecary extracts a small chemist's vial from inside a 'Statue of Our Lady' table lamp - he now speaks with cool professionalism. APOTHECARY Drink it off and if you had the strength of twenty men it would dispatch you straight. Romeo takes the vial and hands over the money. ROMEO There is my gold - worse poison to men's souls Than these poor compounds that thou mayst not sell. INT. BALTHASAR'S CAR. NIGHT. Motor running, Balthasar waits in the alley outside the apartment building. He checks the rear view mirror and freezes. At the end of the alleyway a police car crawls to a halt. EXT. ALLEYWAY. NIGHT. Romeo exits the building, and as he does so, the streetlight catches his face. The Cop's and Romeo's eyes meet. INT. POLICE CAR. NIGHT. CLOSE ON: The cop. COP This is that banished haughty Montague. INT. BALTHASAR'S CAR. Balthasar cracks; he guns the engine and the car lurches forward. EXT. ALLEYWAY. NIGHT. Tires screech as Romeo dives into the passenger seat of Balthasar's moving vehicle. Siren blaring, the police car gives chase. AERIAL SHOT. NIGHT. Balthasar's car winds through traffic - the patrol car gaining. EXT. ANOTHER PART OF TOWN. NIGHT. A police car U-turns over a median strip. EXT. BALTHASAR'S CAR. NIGHT. TIGHT ON: A rusted brown hood. The tortured engine screams as Balthasar negotiates the speeding car through city traffic. CRANE UP: Red and blue police light approach fast. INT. PRECINCT OFFICE. NIGHT. Captain Prince barrels through the corridors of police headquarters pulling on his flying jacket. EXT. STREET. NIGHT. TIGHT ON: A smoking tire as it lays rubber to the asphalt. Balthasar grits his teeth as he weaves the car through the impossibly tight space between a container truck and a bus. WHIP PAN: The patrol car is almost upon them when... in a seemingly suicidal manoeuvre Balthasar throws his car into a right-angle turn across four lanes of oncoming traffic. Horns blare. CUT TO: A skidding, squealing, out of control sedan, braking to avoid collision. Miraculously, Balthasar's vehicle shoots out of it its path and onto the other side of the roadway. The sedan slams into the following patrol car. EXT. DRIVEWAY. NIGHT. Balthasar's car speeds into the driveway of the Verona Beach Eternal Rest Cemetery. INT. CHOPPER. NIGHT. Captain Prince scans the night time city below. He speaks to the pilot and the chopper banks sharply. EXT. CEMETERY. NIGHT. CLOSE ON: A stone angel etched against the night sky. PAN DOWN: Romeo pulls a crowbar from the trunk of the parked car. Police sirens sound in the distance. Romeo eyes Balthasar intently. ROMEO Upon thy life, whatever thou hearest Or seest, stand all aloof. Give me the light - Balthasar stands motionless - Romeo rips the torch from his hands and strides into the cemetery. Balthasar follows. BALTHASAR I do beseech you... Romeo turns, punching Balthasar hard; he goes down, blood spurting from his nose. ROMEO Do not interrupt me in my course or By heaven I will tear thee joint by joint And strew this hungry churchyard with thy limbs! Balthasar slowly rises. Both boys are trying hard not to cry. ROMEO (CONT.) The time and my intents are savage wild, More fierce and more inexorable far Than empty tigers or the roaring sea. BALTHASAR I will be gone and not trouble ye. Romeo smiles. ROMEO So shalt thou show me friendship. They embrace as Romeo whispers. ROMEO (CONT.) Live, and be prosperous; and farewell, good fellow. EXT. MAUSOLEUM. NIGHT. CLOSE ON: A crowbar wrenches at ornate glass and iron doors. PULL BACK: The Gothic structure of the mausoleum rears against the night sky. Romeo frenziedly attacks the gates of the small side chapel. ROMEO Thou detestable maw, thou womb of death, Thus I enforce thy rotten jaws to open. With a final heave the doors scrape open. Silence. ROMEO'S P.O.V.: An endless marble corridor lit by hundreds of tiny flickering eternal flames. ROMEO (CONT.) Ah, dear Juliet, why art thou yet so fair? Shall I believe that unsubstantial death Is amorous and keeps thee here in dark To be his paramour? For fear of that I still will stay with thee. Here, oh here Will I set up my everlasting rest And shake the yoke of inauspicious stars From this world-wearied flesh. He lays himself close. ROMEO (CONT.) Eyes, look your last. Arms, take your last embrace. And, lips, O you The doors of breath, seal with a righteous kiss... Gently Romeo kisses Juliet's lips. Ever so slightly, Juliet's hand moves - Romeo does not notice. ROMEO (CONT.) A dateless bargain to engrossing death. Romeo drinks from the vial; the power of the compound is immediate. He convulses and falls, his head resting on Juliet. ROMEO (CONT.) (fighting for breath) O true apothecary, thy drugs are quick. Behind Romeo's head we can see Juliet's eyes opening. Romeo sucks the last few breaths of life into his lungs. Through a blurry consciousness Juliet becomes aware of Romeo. JULIET Oh Romeo, what's here? Forcing herself up, she cradles his head in her arms. Romeo's clear wide eyes stare back, he is completely still but for the sound of weak breaths desperately drawn across motionless lips. Juliet finds the vial clenched in Romeo's hand. Tears slip from her eyes. JULIET (CONT.) 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. She delicately kisses Romeo's lips. JULIET (CONT.) (a heart-broken whisper) Thy lips are warm. Desperately the lovers cling to each other. With all his desire to stay alive, Romeo whispers: ROMEO Thus with a kiss I die. There is no breath. He is still. Silence. Sobbing, Juliet hugs the lifeless Romeo to her. JULIET Romeo. O' my true love Romeo. She looks to the gun in his hand. EXT. MAUSOLEUM. NIGHT. TRACK: Quickly past Captain Prince and the Capulets taking cover behind a patrol car. Two police officers urgently convey Montague and his wife toward them. Discover Father Laurence arriving. CUT TO: Father Laurence's P.O.V.: Patrol cars, lights flashing, surround the mausoleum. He sees, through the open door of a police car, a hand- cuffed youth. It is Balthasar. Father Laurence hurries to him. It is dawning on Father Laurence. FATHER LAURENCE Balthasar? BALTHASAR (desperately) I brought news of Juliet's death... And then in post came Romeo from Mantua To this same place... to this same monument. CLOSE ON: Father Laurence. FATHER LAURENCE How long hath he been there? BALTHASAR Full half an hour. Father Laurence turns towards the mausoleum. FATHER LAURENCE Romeo. (a shock of realisation) The lady stirs... INT. MAUSOLEUM. NIGHT. TRACK SLOW TOWARD: Juliet: Sobbing uncontrollably she prises the gun from Romeo's hand. EXT. MAUSOLEUM. NIGHT. Father Laurence, desperate, breaks through the police line and runs toward the mausoleum. CUT TO: The parents and Captain Prince. CAPTAIN PRINCE Hold! Go not forth! INT. MAUSOLEUM. NIGHT. Juliet turns the gun on herself. EXT. MAUSOLEUM. NIGHT. CLOSE ON: Father Laurence, he screams as he mounts the mausoleum stairs. FATHER LAURENCE The lady stirs! CRACK! The sound of a single gun shot rips through the night. CUT TO: Captain Prince. CUT TO: The parents, a look of cold shock. CUT TO: The priest - his cry echoes through the night. INT. MAUSOLEUM. NIGHT. Juliet lies peacefully on Romeo's chest. Her eyes awake. A wash of deep red blood floods across them both. As we move away from the forms of the two young lovers lit by a ring of candles, the police burst in, guns ready to resolve what has already been resolved. Continuing up, we pass through the glass dome of the viewing chapel, and over the building. EXT. MAUSOLEUM. NIGHT. There, huddled at the base of the Mausoleum steps, are the Montague and Capulet parents and Father Laurence. From high up we see Captain Prince emerge from the Mausoleum and speak to the group. A moment, then their cries float gently up. EXT. SKY. NIGHT. We are travelling high into the sky now. The cries of the parents and the buzz of radio calls fade to nothing. EXT. VERONA BEACH STREET - CHRIST ROUNDABOUT-FROM AIR. DAWN. As the sun struggled to rise, we push toward the figure of Jesus silently surveying the city.