AUTHORS ANONYMOUS
Written by
David Congalton
July 14 2012
REVISED
FOR EDUCATIONAL PURPOSES ONLY
FADE IN:
1 EXT. FITZGERALD/GRAHAM APARTMENT -- HOLLYWOOD - DAY
North Hayworth Avenue, off Sunset Boulevard. A quiet, tree-
lined residential street. Note the small apartment complex
set back from the curb.
CAPTION: HOLLYWOOD, CALIFORNIA
Our narrator is HENRY OBERT (O-BURT)(30).
HENRY (V.O.)
This is where where F. Scott
Fitzgerald died on December 21, 1940.
INSERT ARCHIVAL PHOTOS of Fitzgerald. His work. His life.
HENRY (V.O.) (CONT'D)
Fitzgerald was one of the truly great
American writers of the 20th century.
Tender is the Night. The Last Tycoon.
This Side of Paradise. And, of course,
my favorite, The Great Gatsby. But
Fitzgerald ended up out here. Writing
movies that never got made. Drinking
too much. Alienating people. Losing
his way.
2 EXT. FITZGERALD/GRAHAM APARTMENT -- SIDEWALK - DAY
Henry stands on the sidewalk. Full of promise and hope.
Wears a pizza delivery outfit as he stares at the apartment,
more with reverence than curiosity.
CAPTION: HENRY OBERT
HENRY (V.O.)
I stop by here sometimes--out of
respect. Fitzgerald had this amazing
gift.
3 EXT. FITZGERALD/GRAHAM APARTMENT -- SIDEWALK - CONTINUOUS
Henry crosses the street--heading for his parked Honda. He
unlocks the car. Swings open the back door.
HENRY (V.O.)
But he wasted it. He wasted his
talent.
Henry yanks a MAGNETIC SIGN out of the back seat and slaps
it on the outside of the driver's door: PIZZA STARZ. One
last glance at the fabled apartment complex.
2.
HENRY (V.O.) (CONT'D)
When I sell my novel, I won't make
his mistakes.
4 INT. ALAN AND COLETTE'S HOUSE -- LIVING ROOM - DAY
The man (40's) and woman (30's) sit on the couch in their
tastefully-decorated San Fernando Valley home. Expensive
taste in clothes. Her cleavage a bit too obvious. Both
seem a little uncomfortable. Uncertain.
CAPTION: DR. ALAN & COLETTE MOONEY
They look off to the side, speaking to someone off-camera.
ALAN
We thought this was going to be a
reality series.
COLETTE
You know, like the Kardashians.
They listen. Here comes the bad news.
ALAN
Oh. Really? A documentary? This
is going to be a documentary about
our writing group?
COLETTE
The whole group. Not just us, right?
Not that it should be just about
us...
Nervous laugh.
ALAN
No.
They look at each other: A documentary? They try to mask
their disappointment.
COLETTE
So this is going to be like--like
what I saw the other night on cable?
About bees mating.
ALAN
Or that, um, that one about the
Holocaust.
Colette nods, remembering.
ALAN (CONT'D)
Pretty...Pretty--
3.
COLETTE
--Powerful.
ALAN
Powerful. Yes. Powerful.
COLETTE
We love documentaries.
ALAN
We do.
They look at each other again: What have we gotten into?
COLETTE (V.O.)
Natasha, the Russian peasant, dressed
oh-so-slowly...
5 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - EVENING
A POSTER BOARD SIGN--someone went to Kinko's--is posted
prominently reading: QUIET, PLEASE--WRITERS AT WORK.
COLETTE (V.O.)
(Reading)
...consumed totally, completely,
absolutely, by endless thoughts of
Yuri fondling her breast, his other
hand groping her womanhood, knowing...
They sit around the dining room table. Colette, convinced
she's the next Amy Tan, reads aloud from her TYPED PAGES.
The others all have copies in front of them. We recognize
Henry, the frog waiting to become a prince, making copious
notes and Alan, oh-so-proud, hanging on every word. Beaming.
Three others round out the group:
Younger MAN (early 30s). Unshaven. Always thinks he's the
coolest guy in any room. Can't avoid glances at the camera.
CAPTION: WILLIAM BRUCE
The OLDEST MEMBER of the group (over 60) sits with his arms
folded as he listens, shifting in his chair. Captain Grumpy.
CAPTION: JOHN K. BUTZIN
Finally, the young (mid-to-late 20s), angelic, WOMAN listening
intently, the one who probably stopped to rescue a cat on
her way here.
CAPTION: HANNAH RINALDI
4.
COLETTE (CONT'D)
...Any second that she might explode,
her chastity spraying across the
ceiling...Spraying across the ceiling
like passionate graffiti. Natasha
never thought such a moment possible.
"Have I satisfied you, Natasha?"
Yuri had inquired after their fourth
round of vodka-soaked lovemaking.
"Nyet, Not yet," Natasha stated,
exhausted, but grateful.
Awkward silence around the table as Colette removes her
reading glasses and waits. Alan clears his throat, looking
cheerful.
ALAN
Well? Comments?
6 INT. HENRY'S APARTMENT - DAY 6
Henry's sparse studio apartment. Minimal furniture. His laptop
is set up on an old door, stretched across some blue plastic
crates.
There are BOOKS piled everywhere. All sorts of books. And
PAPER -- pieces of paper, including letters and cards and
printed emails, dozens of them, are taped throughout the
small apartment.
We are introduced to Henry the writer: pondering over his
battered laptop, pacing up and down the floor, checking his
nearly empty refrigerator, stretched out on his Goodwill
couch, watching TV.
Finally, inspiration. Henry rushes to his desk and taps out
a sentence or two on his computer, feeling proud for his
accomplishment.
HENRY (V.O.)
I graduated from the University of
Illinois. English major. Taught
high school for a couple years, but
hated it. Moved out here to be a
writer.
7 EXT. HOUSE - DAY/NIGHT 7
As Henry's voice over continues, we see him in uniform with
pizza in hand at the front door of a house. Rings doorbell.
HENRY (V.O.)
I work two jobs. Delivering pizzas
and cleaning carpets. Good jobs for
a writer.
5.
8 INT. HOUSE - DAY/NIGHT 8
Henry cleaning the carpets as the heavily-tattooed MOTORCYCLE
DUDE points to a dirty spot: Over here.
HENRY (V.O.)
You meet lots of interesting people.
9 INT. HENRY'S APARTMENT - DAY 9
Henry points to the letters on the wall. C.U. picks up on
phrases like "We regret to inform you," or "Sorry, but this
story isn't right for us," or "The Baxter Agency currently
isn't accepting new clients."
HENRY (V.O.)
I have two unpublished novels.
Working on my third, Pizza to Go.
These are my rejection letters.
Rejected by agents. Rejected by
publishers. When you think about
it, it's pretty amazing how many
ways people can reject you.
10 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 10
Henry, John, Alan, Colette, Hannah, and William sit around
the table. Impressive buffet of cold cuts, cheeses, and
shrimp has been set out.
HENRY (V.O.)
Our writing group meets every Tuesday
night. Mostly at Alan and Colette's.
Sometimes we rotate.
John helps himself to some shrimp. Then helps himself to
some more.
HENRY (V.O.) (CONT'D)
I love coming to the group. Everyone
always has such constructive feedback.
It's like we're all in this together.
HANNAH
I really like the way Yuri is
developing, Colette.
COLETTE
You do?
JOHN
Well, if you ask John K. Butzin...
Can't help looking at the camera. Making sure it's on him.
6.
JOHN (CONT'D)
You're still going to have to explain
why this Natasha dame goes AWOL on
her husband. Still kinda iffy to
me.
Another glance at the camera: Did you get that?
ALAN
I was bothered by that, too. Why
would Natasha betray a reliable,
dependable husband for a washed-up
young punk?
All eyes on Colette. She shifts in her chair. Uncomfortable.
COLETTE
Oh. Well...um...um...
An uneasy silence. Colette is blocked--nowhere to go
creatively. Her face tightens up. Bites her lip.
COLETTE (CONT'D)
Oh God. I've been rewriting and
rewriting and rewriting and--
ALAN
Poodles. It's OK.
COLETTE
No. It's not OK. I still can't
explain Natasha's motive. What's
the use? I'm not a writer.
William to the rescue.
WILLIAM
Whoa. Whoa. Time out. The dude's
good in bed. Trust me, that's all
the motive she needs.
JOHN
Roger that. Torpedo Chapter Three.
Blow it up. Get the focus back on
this broad--Natasha.
HENRY
--Yes. I was thinking the same thing.
HANNAH
Make it clear that Natasha wants to
be closer...
Colette makes notes furiously, nodding in agreement.
7.
HENRY (V.O.)
Writing can be such a solitary
existence, so it's good to have this
outlet where you can meet other
writers and exchange ideas. Here it
really is all for one and one for
all.
11 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 11
Later that evening. Meeting is over.
Alan, Colette, Hannah, Henry, William, and John are all
standing up now. William stretches. John reaches for more
shrimp. Friendly banter. Laughter.
COLETTE
Who wants coffee?
Everybody does. William taps Henry on the shoulder.
WILLIAM
Lend me ten bucks? I'm having cash
flow issues.
HENRY
Sure.
WILLIAM
Thanks, bro'. You're the best.
12 INT. HENRY'S APARTMENT - DAY 12
Henry sits at his desk, staring at the blank computer. Lost
in thought. Emphasis on lost.
HENRY (V.O.)
This new novel Pizza to Go is about
Scott, a pizza delivery guy in LA.
He comes across some interesting
characters. I like what I have so
far, but it's only a hundred pages
and I'm stuck...
13 INT. HENRY'S APARTMENT - LATER - DAY 13
Henry stands in front of the mirror in his apartment, wearing
the Pizza Starz hat and shirt. Ready for work.
HENRY (V.O.)
...Haven't written a word in the
last two weeks. Not one. Hannah
teases me about having writer's block.
8.
14 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 14
FLASHBACK to the last group meeting. Focus on Hannah. Her
smile. Her warmth. She listens and comments. Actively
engaged in the conversation.
HENRY (V.O.)
...I keep thinking about her. She's
all I think about. Really would
like to ask her out.
15 INT. HANNAH'S APARTMENT - DAY 15
Hannah reaches for a pair of READING GLASSES and slips them
on. Talks to someone O.S.
HANNAH
What do you think? On or off? Do
they make me look smarter? I need a
new pair.
She takes the glasses off. Puts them back on. Off again.
Debating. Hannah prepares herself with a series of quick
breaths and waves her hands in the air. Then she stares
directly into the camera.
HANNAH (CONT'D)
Hi. I'm originally from Prescott,
Arizona. Followed my mom out here
about four years ago. That's her
back there.
Camera picks up a wisp of a WOMAN (over 50)in the background,
waving, with an equally pleasant smile.
CAPTION: MAUREEN RINALDI
HANNAH (CONT'D)
My parents are divorced. Not her
fault.
16 INT. RESTAURANT #1 - DAY 16
William favors jeans and faded tweed jacket. Sits in the
corner of a Valley restaurant, nursing a cup of coffee and
talks to the camera.
WILLIAM
What do you want to know about me?
I'm 27. Single. A virgin.
He flashes that wicked, seductive smile.
9.
WILLIAM (CONT'D)
Just kidding. I'm actually 28.
Hometown is Modesto, California, A
sprawling junk heap of a town without
a soul. Why did I come to LA? Um,
because I knew you were here and
that you'd loan me a hundred bucks
if I needed it. Right?
WAITRESS #1 refills his coffee cup. Her reward is that smile.
WILLIAM (CONT'D)
Thanks, babe.
She walks away. William admires the view.
WILLIAM (CONT'D)
I already got her number. Maybe I'll
text her. Maybe I won't.
Eyes back towards the camera.
WILLIAM (CONT'D)
So 'bout that hundred bucks? What
d'ya think?
A hint of desperation in his voice.
WILLIAM (CONT'D)
OK. What about fifty? C'mon, bro'.
Support the arts.
17 INT. HANNAH'S APARTMENT -- DAY 17
Hannah continues talking to the camera. Maureen still in
background.
HANNAH
I've always had this knack for telling
stories. Ever since I was a kid.
MAUREEN
She's a natural.
HANNAH
Moved here. Took a couple writing
classes. Decided to go for it.
24/7. Total dedication to my craft.
The writing always comes first. My
latest effort is called Sleeping on
the Moon. It's about rejection. And
pain. Not really about the moon
itself. More of a...
10.
She searches for the word that escapes her. Maureen to the
rescue.
MAUREEN
Metaphor.
HANNAH
Right.
18 INT. RESTAURANT #1 - DAY 18
William continues talking to the camera.
WILLIAM
So. LA? I'm here because of Bukowski.
Charles Bukowski. Greatest writer
ever. Period.
INSERT ARCHIVAL PHOTOS of Charles Bukowski.
WILLIAM (CONT'D)
LA is his town, man. If I'm gonna
be a writer, then I have to walk in
Bukowski's shoes. Experience and
capture the plight of the working
class.
He waves to WAITRESS #1.
WILLIAM (CONT'D)
I like the people in the group. But
they can't write worth shit. But,
man, Hannah is something. She's the
only reason I keep going. Not because
I'm learning anything. Hell, no. I
just think she's hot.
19 INT. HANNAH'S APARTMENT -- DAY 19
Hannah leans forward towards the camera, as if to hear better.
HANNAH
My favorite writer? Favorite writer.
Favorite writer...
Hannah goes blank. The smile disappears as her face goes
into noticeable contortions. This is worse than Final
Jeopardy. She turns quiet, squirming.
HANNAH (CONT'D)
Favorite. Wow. Hard to say. I've
studied Composition more than actual
Literature. Gee. I know Maureen
enjoys Jane...
11.
Searching for a last name, Hannah looks back to Maureen for
help.
MAUREEN
Jane Austen.
HANNAH
That's the one. I hear she's good.
But my favorite writer? Let me think
about that a bit, OK?
Short beat. Hannah lowers her voice, almost a loud
confessional whisper.
HANNAH (CONT'D)
I didn't go to college.
20 INT. JOHN'S MOBILE HOME - DAY 20
John is holding court at his mobile home, showcasing the
finest in furniture from Sears. John stuffs his home with
various MILITARY ARTIFACTS--photos, equipment, books. He's
got it all. John talks to the camera.
JOHN
Everything John K. Butzin knows
about writing comes down to two simple
words: Tom Clancy. Yes, sir. Tom
Clancy. The man's a genius. Does
his research. All those nitty-gritty
technical details. Now that's writing!
John K. Butzin has one agent very
interested in Roaring Lion. And a
publisher up in Oxnard is looking at
it as we speak. Plus a certain
cousin's best friend has a neighbor
who has an in with Clint Eastwood,
so Hollywood might be calling soon.
Don't know how the other members of
the writing group will handle all
this success by one person. They
better not be pussies.
21 INT. ALAN AND COLETTE'S HOUSE -- LIVING ROOM - DAY 21
Alan and Colette remain on the couch. Talking to the camera.
All smiles. Much more comfortable with the camera.
ALAN
Well, I'm an optometrist in Glendale.
COLETTE
And I write full-time.
12.
ALAN
Our last name's Mooney. You could
call us Mooneys. We get that joke
all the time.
The couple giggle at the joke. Forced.
ALAN (CONT'D)
Which writer do I admire? Hmmm. How
about John Grisham? Look at all
that money he's made! Just teasing,
John. We know you deserved every
dime, but, hey, John, could you spread
it around a bit, pal?
COLETTE
Alan likes to tease.
She gives her husband an affectionate squeeze.
ALAN
Colette, here, is the real writer.
I'm more of an idea guy. I come up
with great ideas, but don't always
follow through. I'll show you.
He picks up his mini-digital Olympus RECORDER off the coffee
table. Thinks for a second.
ALAN (CONT'D)
(To recorder)
Idea for romantic novel.
Alan catches himself.
ALAN (CONT'D)
No. Make that, idea for romantic
ebook.
He winks at the camera--showing he's hip to the jargon.
ALAN (CONT'D)
Possible movie option, too: Frovers.
They couldn't be friends. They
couldn't be lovers. So they became
Frovers.
Satisfied, Alan turns off the recorder.
22 EXT. COLETTE'S GARDEN - DAY 22
Colette opens the sliding glass door and steps out into a
beautiful garden area. Quiet and private. Camera follows
her over to a solitary BENCH.
13.
COLETTE
This is where I come for inspiration.
I believe a writer must have quiet
and solitude. I'll meditate. Write
in my journal. Set out my creative
path for the day. This is my Walden
Pond.
Colette sits down on the bench. Takes in the environment.
COLETTE (CONT'D)
Favorite author? I'd have to say
Joan Didion. Her writing sends
shivers down my spine. Though Joyce
Carol Oates has been known to bring
me to actual orgasm.
23 EXT. COLETTE'S GARDEN - DAY 23
Colette sits on her bench, reading a BOOK. C.U. reveals
that it is a novel by Joyce Carol Oates. Colette appears to
be getting into the story just a bit too much.
24 EXT. COLETTE'S GARDEN - DAY 24
POOL GUY and GARDENER hear Colette's sensual cries drifting
over the hedge. What the hell? They exchange puzzled looks.
25 EXT. COLETTE'S GARDEN - DAY 25
Back to the present. Camera picks up a FRAMED PHOTO OF OPRAH
from a corner of the bench. Holds it up for camera.
COLETTE
Oh, this? I keep Oprah out here for
luck. She's done so much to help
writers. I know I'm going to be on
her television show one day. I just
know it.
Colette can already see the moment in her mind. Short beat.
Then she looks off-camera--listening to someone.
COLETTE (CONT'D)
What? Oprah doesn't have a TV show
anymore? Really? Since when?
Short beat as she hears the answer.
COLETTE (CONT'D)
Oh...
Short beat as she tries to cover.
14.
COLETTE (CONT'D)
I knew that. I did. I-I knew.
26 INT. HENRY'S APARTMENT - NIGHT 26
Henry stands in front of his mirror. Checks his appearance.
Again. Talks to the camera.
HENRY
Tonight's the night. I'm going to
ask Hannah out.
Henry becomes lost in thought. Regroups.
HENRY (CONT'D)
It's time. I like her. She likes me--
I think. I've got to take action.
Still stuck on Page 100. So I'm
asking Hannah out on a date tonight.
It'll be great. And I'll put this
writer's block behind me.
Checks his appearance one last time in the mirror.
HENRY (CONT'D)
Wish me luck.
27 INT. ALAN AND COLETTE'S HOUSE -- LIVING ROOM - NIGHT 27
Alan sits in his favorite chair, talking directly to the
camera.
ALAN
I'm the group leader. After all,
getting together was my idea. They're
all my patients. That's how we met.
First one published gets a free eye
exam.
Alan cackles a bit too hard at that joke. He listens to a
question being asked.
ALAN (CONT'D)
Why did I form the group? To help
Colette. Oh, I certainly enjoy the
creative process, but Colette?
Writing is her dream. I'd do anything
for her because...because she's my
dream. So there you have it.
Alan reaches for his tape recorder.
ALAN (CONT'D)
Possible names for future characters.
(MORE)
15.
ALAN (CONT'D)
Anthony Gilmore. No, wait. Make
that Anthony T. Gilmore. Much
better. Slate McCoy. Fletcher Peck.
Fiona Foxx. And...a man known simply
as Banjo.
Satisfied, Alan turns off the recorder.
28 INT. RESTAURANT #1 - NIGHT 28
Place is empty. Alan, Colette, William, John, and Henry
gather around the center table.
The WRITERS AT WORK poster is propped up against a nearby
empty chair. Hard not to notice the EMPTY CHAIR at the table.
Hannah is missing.
Waitress #1 pours coffee all around. Henry fidgets in his
chair, focused on the empty chair.
JOHN
(To William)
How come we never chow down at your
place?
WILLIAM
This is my place. Close to the working
people.
John rolls his eyes.
HENRY
Where's Hannah? Anyone know?
Nobody responds. Alan checks his watch.
ALAN
Time to get started.
HENRY
Shouldn't we wait for Hannah?
WILLIAM
Let's go, people. I'm ready to read.
ALAN
William's right. We'll start. She'll
show up.
William starts passing out pages. Henry eyes the empty chair.
Colette looks over William's pages. There are only three.
She has a puzzled look.
16.
COLETTE
William, aren't these the same pages
you read last time?
WILLIAM
Nope, they're different.
JOHN
They look the same.
WILLIAM
They're different. I changed a word.
HENRY
One word?
COLETTE
That's it?
WILLIAM
Writing is rewriting, Colette.
Bukowski said, "Write five words.
Rewrite seven."
HENRY
No. Dorothy Parker said that.
JOHN
One word? Jesus H. Christ.
WILLIAM
It's my creative vision, John.
ALAN
(Jumping in)
Which we are here to support. This
is William's decision.
WILLIAM
Let me just read. See if you can
pick out the word. Tell me if it's
better, or worse.
JOHN
(Muttering)
One goddamn word.
Henry continues staring at the empty chair.
29 INT. RESTAURANT #1 - NIGHT 29
The evening meeting is winding to an end. John stands up to
stretch. Alan slides papers into his leather satchel.
HANNAH'S CHAIR remains empty. Henry remains concerned.
17.
HENRY
I wonder what happened to Hannah.
ALAN
It's not like her to miss.
The mystery is quickly solved. Front door opens. In rushes
Hannah, dashing directly towards the others, looking harried.
HANNAH
I'm so sorry. I'm so sorry for missing
the meeting.
JOHN
What happened? Your car break down?
ALAN
You oversleep?
COLETTE
Maureen. Is Maureen OK?
WILLIAM
People. C'mon. Look at her. That
glow. Hannah met a guy. She got
laid.
Hannah gives William a playful smack on the back.
HANNAH
As a matter of fact, I did meet a
guy.
WILLIAM
Told ya.
HANNAH
His name's Brian.
Check out Henry. He looks absolutely horrified. No!
Hannah takes a deep breath and flashes a smile the size of
the Grand Canyon.
HANNAH (CONT'D)
He's my new agent!
She remembers the camera.
HANNAH (CONT'D)
(Directly to camera)
An agent. I've got an agent!
Surprise and silence. The writers look at each other and
then back at Hannah. Not quite sure how to react.
18.
Stunned as Hannah turns her attention back to the group.
HANNAH (CONT'D)
That writing class I took? Well,
for the final project, I turned in
the first chapter of Sleeping on the
Moon. I guess the teacher liked it.
Then he gave it to his friend who's
an agent. Brian. He called. Had to
see me right away. Brian wants to
sign me.
WILLIAM
Bet Brian wants more than that.
Playful smack from Colette to William on the shoulder: Behave.
COLETTE
That's so great, Hannah.
JOHN
I salute you, young lady.
And he does.
ALAN
Yes. Fantastic. Fanntasstic.
Henry takes it all in quietly, unable to speak.
Alan bounces up and gives Hannah a big hug as the others
immediately start peppering her with questions.
30 INT. RESTAURANT #1 - NIGHT 30
Colette, Alan, John, William and Henry encircle a beaming
Hannah as Waitress #1 snaps their PHOTO.
31 INT. RESTAURANT #1 - NIGHT 31
Alan pops the drugstore CHAMPAGNE and pours into the cheap
plastic cups, as Colette passes them around to Hannah, Henry,
John, and William.
ALAN
(Raising cup)
To Hannah!
Everyone clinks their cups together.
HANNAH
Thank you. But I just want to remind
everyone that we're all in this
together. I couldn't have come this
far without the group.
19.
ALAN
(Smiling)
All for one . . . .
But our camera picks up on the individual writers and
something is amiss. Everything seems a beat off. People
appear happy, but a little subdued. The joy seems a bit too
forced.
HANNAH
I'm merely the first one to get
signed. But we're all going to have
an agent soon.
JOHN
Well, as a matter of fact, there's
an agent in Santa Monica very
interested in John K. Butzin. He's
reading the manuscript as we speak.
The others let John's remark pass without comment. William
taps Henry on the shoulder.
WILLIAM
(Lower voice)
Hey, can you lend me ten bucks?
Henry is still a bit dazed by this unexpected turn of events.
HENRY
Sure.
WILLIAM
Thanks, bro'. You're the best.
Henry's eyes can't leave Hannah.
32 EXT. RESTAURANT #1 - NIGHT 32
The front door to the restaurant swings open and the writing
group members tumble out into the evening. Alan carries his
WRITERS AT WORK sign.
William makes a move towards Hannah, but the the ever-
protective Henry grabs her gently by her elbow, cutting
William off. They start walking in one direction. William
and John head out in the other. Meanwhile, Alan and Colette
wave enthusiastically to Hannah.
ALAN
Congratulations again, Hannah!
COLETTE
Yes, yes. Way to go, Hannah!
20.
HANNAH
(Calling back)
Thank you! 'Night.
Alan and Colette continue to smile and wave until Hannah is
out of ear shot.
ALAN
Well, Hannah's got an agent.
Short beat.
COLETTE
She must have slept with him.
ALAN
Of course she did.
33 EXT. CITY STREET - NIGHT 33
Henry and Hannah arrive at her car. She unlocks the front
door of her clunker-of-a-Ford as Henry waits.
HENRY
I'm so proud of you, Hannah.
HANNAH
Your turn will come, Henry. You're a
better writer than I am. So much
better. You went to college.
Hannah looks directly into the camera, pointing to Henry.
HANNAH (CONT'D)
He's a great writer. Henry Obert. I
knew him when.
Henry, clearly embarrassed, puts his hand up to block the
camera. Tries to change the subject.
HENRY
Listen. Maybe some afternoon we
could go for a drive. There are
some special places I'd like to show
you.
HANNAH
Sure. I can't believe I've lived out
here four years and haven't seen --
She stops in mid-sentence. A light goes on in her head.
HANNAH (CONT'D)
Oh, my.
21.
HENRY
What?
HANNAH
Four years. It's been four years
since I moved here. And now I have
an agent. It's the number four again.
My lucky number. I should have known
this was going to happen.
HENRY
There is no one more deserving.
Hannah rewards Henry's praise with a peck on the lips. And
a warm hug.
Hannah steps in her car, starts it up and rolls down the
window.
HANNAH
I'm going to dedicate my novel to
you.
A final wave and Henry watches as she disappears into the
night. He sighs.
34 INT. MONTAGE OF SHOTS - DAY 34
A series of shots featuring the writers writing--or, at least,
trying: Alan pauses between eye appointments to record an
idea.
William continues scribbling at the restaurant, this time
eyeing WAITRESS #2.
Hannah, sitting cross-legged on her bed, types away on her
laptop computer.
Colette sits on her private bench, seeking inspiration.
John sits at his keyboard. Vintage black-and-white war movie
plays on the TV. John appears more interested in the movie.
Henry stares at his laptop. The screen is blank. Henry
surrenders yet again and flips off the computer.
35 INT. HENRY'S APARTMENT - DAY 35
Henry, sitting in his studio apartment, wears his pizza
delivery outfit. Ready for work. Talks to the camera.
HENRY
I'm happy for Hannah.
(MORE)
22.
HENRY (CONT'D)
Still, her getting an agent sort of
ruins my plans, doesn't it? I mean,
Hannah has an agent. I don't. That
won't work for dating. I can't ask
her out until I get an agent.
Henry gestures at a PHOTOGRAPH taped to the wall among his
rejection letters.
HENRY (CONT'D)
That's Richard Benedict. He's written
seven novels. Fantastic writer.
INSERT ARCHIVAL PHOTOS of Richard Benedict.
HENRY (CONT'D)
The Fitzgerald of his generation.
Richard Benedict made me want to be
a writer.
36 INT. ALAN AND COLETTE'S HOUSE -- LIVING ROOM - DAY 36
Colette dressed in a leotard, practices basic yoga on a mat
in her living room. Chanting. Overly dramatic, as always.
Takes a break and talks to the camera.
COLETTE
My novel is called Nyet, Not Yet.
It's about a Russian woman who comes
to this country in search of love.
It was inspired by a story I heard
from one of my massage clients, Yuri.
Yes, it's true--I used to do massage.
In fact, that's how I met Alan, though
I certainly didn't give him the kind
of massage he really wanted. At least
not the first time.
Colette allows herself a slight smile at the memory.
COLETTE (CONT'D)
I will get an agent. It comes down
to this: if Hannah can get an agent,
I can get an agent. After all, I am
a graduate of Mills College.
37 INT. HANNAH'S APARTMENT - DAY 37
Plopped down in her rocking chair, Hannah talks to someone
O.S. Maureen goes about her day in the background.
23.
HANNAH
Have I thought of my favorite author
yet? No. Not yet. There are so
many, you know?
The deep breaths and waving of hands begin again. Here comes
that smile as she looks directly into the camera.
HANNAH (CONT'D)
So. I am somewhat superstitious.
Yes. Guilty. I'm drawn to the number
4. I was born at exactly 4:04 p.m.
on April 4th. 4-4-4-4. That wasn't
an accident. No way.
She's dead serious.
HANNAH (CONT'D)
Certain things I've learned to avoid.
Black cats. Cracked mirrors. Oh.
And the number 13 especially. I hate
the number 13. Hate it.
Conversation interrupted by RINGING DOORBELL. Hannah frowns
at the interruption as Maureen scurries to the door and opens
it, revealing Colette hiding behind a HUGE GIFT BASKET. She
breezes in. Takes over. Over the top.
COLETTE
Hi...Hi...Hello everyone. I was
just in the neighborhood and--
Colette freezes when she notices the camera.
COLETTE (CONT'D)
Oh, Hannah. I'm so sorry. I didn't
know they'd be here--
Yeah, right. Hannah springs up. Follows Colette as she sets
the basket down for all to admire.
HANNAH
Colette. What a lovely surprise!
Hugs all around between Hannah and Maureen and Colette.
Hannah looks blown away by the gift basket.
HANNAH (CONT'D)
My, what's this?
COLETTE
Oh. It's nothing. I just had to
say "Congratulations" to my new
favorite author.
24.
Hannah is truly touched. Maureen notices a CARD attached to
the basket.
MAUREEN
(Reading)
"For Poodles...Now may we have sex
again? Love, Alan."
What? Embarrassed, Colette snatches the card from Maureen.
Hannah is more focused on the gift. Doesn't really hear.
HANNAH
So sweet of you, Colette.
COLETTE
My pleasure. Say, Hannah...about
your agent?
Hannah looks over at Colette: What?
COLETTE (CONT'D)
Is he--Is he taking on new clients?
HANNAH
Gee. I don't really know.
Colette blurts out without thinking.
COLETTE
Think you could ask?
Awkward situation for Hannah. How best to respond?
HANNAH
I guess so. Maybe.
COLETTE
Because if he is...
HANNAH
Let's talk about this at group
meeting, OK?
COLETTE
Oh. Of course. Of course.
Absolutely.
Long beat. Conversation over. The three women wait for one
another to speak. Colette checks her watch.
COLETTE (CONT'D)
Well...
A hug for both Maureen and Hannah.
25.
COLETTE (CONT'D)
I've got to go. Talk soon. By the
way, everything in the basket--gluten
free!
A final wave to the camera and Colette disappears.
MAUREEN
Colette Mooney. My, that woman is
something else.
A light goes off in Hannah's head.
HANNAH
(To herself; counting
on her fingers)
Colette Mooney. C-o-l-e-t-t-e M-o-o-
n-e...
She can't finish the count. The ugly truth is staring her in
the face.
HANNAH (CONT'D)
13 letters. Oh, dear...
Hannah and Maureen exchange concerned looks.
38 INT. ALAN'S OFFICE DAY 38
Hannah and Henry sit together in the reception area. Alan
breezes in, ever-smiling, greeting both enthusiastically.
39 INT. ALAN'S OFFICE - DAY 39
Rows of EYE GLASSES on display as Alan guides Hannah over to
the fitting table. Henry tags along.
HANNAH
Thanks for seeing me today, Alan.
ALAN
No problemo. Let's get you some new
eye wear.
HANNAH
Something that makes me look smart.
HENRY
You're already smart, Hannah.
Hannah gives Henry's hand a playful squeeze: Thank you.
Alan and Hannah sit down opposite from each other. Henry
pulls up a chair to the side. Alan selects a pair. Puts them
on Hannah.
26.
ALAN
How about...
Hannah shrugs her blase reaction.
HANNAH
Mmmmmmm.
Alan removes the brown-colored frames. Studies them for a
second. Then -- inspiration arrives.
ALAN
Excuse me. One sec.
He reaches inside his coat pocket for his RECORDER. Speaks
into it.
ALAN (CONT'D)
Ah. Name for character. Alexander
Brown. Wears brown-colored glasses.
HANNAH
Of course he would.
Henry nods, agreeing. Satisfied, Alan puts the recorder
away and reaches for another pair of glasses.
ALAN
You know this great idea for a novel
hit me this morning. It's called
Unleashed.
Alan tries the second pair on Hannah. She checks herself in
the mirror. Then she shows Henry. They both shake their head:
No. It is a funny moment between friends. They laugh as Alan
reaches for pair #3.
ALAN (CONT'D)
It's about a dog who becomes human
for 24 hours in order to rescue his
kidnapped owner. I love this idea,
Hannah.
HANNAH
Could be a winner.
Alan puts the third pair of glasses on Hannah. She checks
herself in the mirror, finally liking what she sees. She
looks over towards Henry.
HANNAH (CONT'D)
What do you think?
Poor Henry. She does look good. He's falling even harder for
her by the moment.
27.
HENRY
You look great, Hannah.
Hannah can't decide. She studies herself in the mirror as
Henry studies her. Henry reaches for his ANDROID and snaps
a photo of her. Alan brings them back to real time.
ALAN
Question: You think your agent might
be interested in this idea? Does he
have a dog?
HANNAH
(Evading)
Oh. I don't know--
ALAN
How about a cat? It could be a cat.
HANNAH
Um. Sure. Probably could be.
ALAN
Think about mentioning it to your
agent, OK? Unleashed. Dog -- or cat --
becomes human.
Alan beams with pride at his imagination on display. Hannah
fidgets. Avoids Alan. Henry jumps in to save the moment.
HENRY
I'll help you develop the idea, Alan.
Alan looks pleased. Hannah looks grateful.
40 INT. RESTAURANT #1 - DAY 40
The TWO MIDDLE-AGED WOMEN (CUSTOMER #1 AND CUSTOMER #2) sit
across from each other in the nearly-deserted restaurant.
Body language suggests an intense, passionate, personal chat.
WILLIAM (V.O.)
A writer has to hear everything. On
the streets. In the restaurants.
But something's amiss. Customer #1 stops abruptly, glancing
at the table next to them: William has suddenly materialized.
Sitting with a cup of coffee and a legal pad, scribbling.
WILLIAM (V.O.) (CONT'D)
My dialogue has to be real so I'm
everywhere. Standing behind you at
the checkout stand.
28.
Customer #1 resumes conversation, but looks sharply back at
William. His head is tilted towards them. Listening.
WILLIAM (V.O.) (CONT'D)
Peeing next to you at the urinal. I
watch. I listen.
Customer #1 says something to Customer #2. Looks back at
William. His head is still cocked as he makes notes.
WILLIAM (V.O.) (CONT'D)
Writing down scraps of conversation.
Customer #1 grows more agitated. Customer #2 tries to calm
her down. Finally, Customer #1 shoots up and marches over
to William, her finger jabbing in the air towards the
notebook. William shrugs, playing dumb.
WILLIAM (V.O.) (CONT'D)
That's right. I eavesdrop.
Customer #1 reaches down and grabs the notebook from William.
He tries to stop her, but too late.
WILLIAM (V.O.) (CONT'D)
How else do you accurately capture
the misery of the human condition?
She reads the page and shows it to Cutomer #2 who reads the
notes and is equally shocked.
WILLIAM (V.O.) (CONT'D)
Now Bukowski says "An intellectual
says a simple thing in a hard way."
The two women start yelling at William. He keeps shaking his
head. Customer #1 tears the page into shreds.
WILLIAM (V.O.) (CONT'D)
"An artist says a hard thing in a
simple way."
Waitress #2 comes over. The women talk to her and she starts
yelling at William. Customer #1 poking her finger in his
chest. Escalates to a push. The COOK comes out and starts
yelling at William.
WILLIAM (V.O.) (CONT'D)
Gotta love it. That's me. Simple.
Real.
Surrounded by yelling people, William breaks through the
circle and moves towards the door. The BUS BOY yells, too.
29.
WILLIAM (V.O.) (CONT'D)
Powerful. An artist.
41 EXT. JOHN'S MOBILE HOME - DAY 41
John grins for the camera. The reason why sits next to him
in the matching LAWN CHAIRS.
The WOMAN is clearly younger than John. Plainly dressed in a
faded sweat shirt. Little makeup. Nervous in front of the
camera, but she looks more at us than she does at John. He
can't keep his eyes off her.
CAPTION: SIGRID HAGENGUTH
JOHN
Meet someone very s-p-e-c-i-e-l.
Here with us today all the way from...
Coaxing Sigrid to finish the thought.
SIGRID
Germany.
JOHN
Oh! That accent! Found her working
at the hardware store. Went in for a
drill bit. Came out with a prime
candidate for Mrs. John K. Butzin.
42 INT. HARDWARE STORE - DAY 42
Watch Sigrid work. Hard. Uber hard. Stocking shelves. Running
cash register. Consulting HER BOSS -- an older man.
Assisting customers. Moving boxes. Always wearing a red
employee vest. She does speak with a thick accent. Sincere,
if naive.
SIGRID
(Starts speaking
German. Stops. In
English)
Apologies. American only. I come
from Dusseldorf, yes? Came to this
great country 90 years ago -- no, 90
days ago. Apologies. Took job in
store as cleaning lady. Promoted to
cashier. Now assistant, assistant
manager.
43 INT. JOHN'S MOBILE HOME - DAY 43
Sigrid stands next to a wall display. Everything and anything
to do with the U.S. is hanging on this wall: Magazine covers
of Obama. A U.S. flag. Burger King logo. Photo of Jay Leno.
30.
N.Y. Yankees pennant. Whatever comes to mind for the U.S.
seems to be taped, tacked, glued or whatever to that wall.
SIGRID
This my 'Wall of America' tribute,
yes? To my new country. And in the
center, of course, the three men I
admire most in America.
First we see the FRAMED PHOTO of a certain business mogul.
SIGRID (CONT'D)
Herr Trump. Very rich. Very famous.
Very sexy.
Then we move on to the second PHOTO of a certain TV celebrity.
SIGRID (CONT'D)
Herr Simon Cowell. Very rich. Very
famous. Very sexy.
Move on to the third PHOTO. Hey, we know this person:
SIGRID (CONT'D)
Ja. My special guy. Herr Bootzin.
About to become very rich. Very
famous. Already very sexy.
(Beat)
Then maybe Sigrid Hagenguth becomes
Mrs. John K. Bootzin, ja?
44 EXT. COLETTE'S GARDEN - DAY 44
Colette sits. Focused on the WHITE ENVELOPE in one hand.
Alan sits next to her, squeezing her other hand. Photo of
Oprah on the other side.
COLETTE
I know this is a rejection letter.
I can't open this. I can't be
rejected today. I take rejection so
personally.
ALAN
I bet it's good news.
She opens the envelope. Peeks inside. No letter. Just the
SMALLEST POST-IT NOTE flutters out on to the ground. Colette
picks it up.
COLETTE
"Sorry. Not interested." I knew it.
How can such a big rejection come
from such a small piece of paper?
31.
Colette folds the Post-It Note in half--and then in quarters.
Holding it in her hand, she begins to chant. Alan holds on
to her hand and pats her on the back. Good husband.
45 INT. HANNAH'S APARTMENT - DAY 45
Hannah and Maureen watch with interest and obvious
appreciation as Henry, dutifully wearing his uniform, cleans
their living room carpet.
Open PIZZA STARZ �BOX on the breakfast bar. Looks like Henry
has brought dinner, as well. Hannah's iPhone goes off. As a
courtesy, Henry stops the machine.
HANNAH
(On phone)
Hello? Yes. Oh, hi, Brian.
(LISTENING) Really? (LISTENING) Oh
my god! Oh my god! Oh my god!
Hannah starts jumping up and down like a little girl while
Maureen and Henry look on in bewildered anticipation.
HANNAH (CONT'D)
(On phone)
Oh my god!
MAUREEN
What's he saying?
HANNAH
He sold my novel.
HENRY
What?
HANNAH
(Nodding excitedly)
Brian sold Sleeping on the Moon!
Now Maureen starts jumping up and down. Henry can't hide his
surprise.
MAUREEN
Oh my god! Oh my god!
HANNAH
(On telephone)
Yes, Brian. I will. Thank you.
Thank you. Thank you. I will.
Promise. Thank you!
Hannah turns off her iPhone. Mother and daughter can't
believe the news. Jumping up and down. Warm embrace.
32.
In turn, they both embrace Henry, who also shares the
genuine, sincere moment.
HENRY
You did it, Hannah! You did it!
MAUREEN
I'm so proud of you, dear!
HANNAH
Thank you.
Another embrace between mother and daughter. This could go
on all night.
HENRY
We need to tell the group!
The smile disappears from Hannah's face.
HANNAH
The group. Oh, dear. The group. No,
no, I can't tell them about this.
HENRY
Why not?
HANNAH
Oh.
She looks to Maureen for support.
HANNAH (CONT'D)
It will seem like I'm bragging or
something. I mean I'm the one with
an agent. Now this. It could be
too much, too soon, don't you think?
Henry understands. He wants to help.
HENRY
Suppose I tell them? They could hear
the news from me.
Hannah lights up at the suggestion. She goes to Henry and
gives him a tight hug. So very tight. Blesses him with another
friendly peck on the lips.
HANNAH
Thank you, my friend. I can always
depend on you, can't I?
46 INT. JOHN'S MOBILE HOME - DAY 46
John talks to the camera.
33.
JOHN
That's great for Hannah, her little
book deal, and all. But John K.
Butzin has some news to announce, as
well.
John holds up a BROCHURE.
JOHN (CONT'D)
I've just inked a deal with U R the
Publisher, a reputable company based
in New Delhi. They publish 5000 titles
internationally every year. Paying
'em two hundred dollars and they're
going to format and publish my novel
Roaring Lion. I've waited for this
moment forever. Finally, a Butzin
is going to be a published author.
A voice drifts in from another room.
SIGRID (O.S.)
Yoo-hoo. Mr. Published-Author-to-Be.
Sigrid would like you to come in for
personal, private autograph. Please.
Please.
John gulps. Then he remembers the camera. Makes a "cut"
motion with his finger across the neck.
47 INT. HENRY'S APARTMENT - NIGHT 47
Henry's turn to host the group meeting. Alan, William,
Colette, and John share the lumpy couch and the folding metal
chairs. Open PIZZA STARZ BOXES in the background.
Everyone is enjoying a single slice of pizza off a paper
plate--except for John, who is inhaling two pieces at once.
The mood is somber. Quiet.
WILLIAM
Hannah's just lucky. That's all.
John tries to agree, but his mouth is too stuffed with pizza.
Cheap FLOWERS from Ralph's and BALLOONS in full display on
the coffee table. Henry stands--listening--by the front
door.
HENRY
Here she comes!
Henry opens the door. Hannah floats in.
The serious expressions suddenly, magically, turn to broad
smiles. Henry is the first to offer a hug.
34.
Alan, William, Colette, John give her a standing ovation.
Hannah notices the balloons and flowers.
HANNAH
Ohhhhhh. For me? You shouldn't have.
WILLIAM
Way to go, Ms. Published Author!
Everyone gets a hug from Hannah. William gives Hannah an
extra long hug.
ALAN
We're all jealous, Hannah. Just
teasing.
COLETTE
No. Seriously. We're all jealous.
Nervous laughter around the room.
HANNAH
You're all making too much of a
spectacle here.
HENRY
When will your book come out, Hannah?
HANNAH
A year. Takes about a year.
WILLIAM
So how much did you get?
ALAN
Don't ask her that.
WILLIAM
(Shrugging)
Why not? How much did you get?
HANNAH
I did OK. Leave it at that. What's
important is that I owe this success
to all of you. I would be lost without
this writing group.
JOHN
(Louder than normal)
I don't know if anyone heard.
All eyes turn to John, still inhaling pizza.
35.
JOHN (CONT'D)
But U.R. the Publisher has agreed to
publish Roaring Lion by John K.
Butzin.
Puzzled looks are the reaction.
ALAN
U.R. the Publisher?
HENRY
They self-publish. E-books. Print on
Demand.
JOHN
That's right, Obert. But I'll have
my book in two weeks. None of this
B.S. waiting around. John K. Butzin
will be a published author. And be
published first.
HANNAH
(Ever-diplomatic)
Well, John. Congratulations.
She leans over and gives him the briefest of hugs. There are
other congratulatory murmurs coming from the group.
ALAN
My, two published authors in the
group. The rest of us are going to
have to catch up.
48 INT. HENRY'S APARTMENT - NIGHT 48
The meeting gets down to business. Alan, Colette, Henry,
William and Hannah, wearing her new glasses, listen as John
reads from Roaring Lion.
JOHN
(Reading)
Gunner stared out over the bleak
horizon, seeing one dead Viet Cong
after another lay scattered on the
bloody hillside. He had won this
time, but Gunner knew Charlie would
be back in the morning. By god, he
would be ready. So would his M60
General Purpose Machine Gun and Mark
2 Fragmentation/Hand Rifle Grenade.
John finishes and sits back in his chair, quite pleased with
himself.
36.
ALAN
OK, John. Nicely done. Let's get
some feedback.
Henry, as always, has been making notes.
HENRY
Well. In terms of the characters--
JOHN
(Jumping in)
--Hold on, Obert. I wanna hear from
her.
John points towards Hannah.
ALAN
We'll hear from everybody.
JOHN
I don't want to hear from everybody.
She has a book coming out. John K.
Butzin has a book coming out. I want
to hear from Hannah, author to author.
WILLIAM
Oh, screw you.
ALAN
This is really going against the
spirit of the group, John. Everyone's
opinion is valid.
JOHN
Hers is more valid. What'd you think,
Hannah? Tell me.
Hannah struggles to speak. Clearly uncomfortable.
HANNAH
I-I . . .
The words freeze in her mouth. Awkward silence. Finally.
WILLIAM
(Standing up)
Going outside for a smoke.
William thunders away from the group. Colette watches him
go.
COLETTE
I'll go talk to him.
Colette follows, calling after William.
37.
ALAN
Let's take a fifteen minute break,
shall we?
Embarrassed, Hannah excuses herself. Henry trails along after
her, leaving a muttering John and calm Alan alone. Alan
reaches for his recorder. Talks into it.
ALAN (CONT'D)
Ahhh, idea for Michael Crichton-type
novel. Members of Antarctic research
station attacked by mutant penguins.
Satisfied, Alan turns off the recorder while John reaches
for more pizza.
49 EXT. COLETTE'S GARDEN - DAY 49
Colette is back on her bench. Standing behind her is a
mysterious MAN (Over 40) who favors black clothes and dark
shades.
CAPTION: DR. XIROMAN
COLETTE
I want you to meet someone special.
This is my spiritual adviser. Doctor
Xiroman has taken a vow of silence
for one full year to protest climate
change. What an amazing man. Dr.
Xiroman is going to cleanse the air
of all this rejection.
Camera goes to Dr. Xiroman. Somber, expressionless. Does he
even have a pulse?
Dr. Xiroman walks over to small fire pit and meditates as he
places his hands over the rising flames. Colette begins a
New Age chant for added support.
50 INT. RESTAURANT #2 - DAY 50
THREE YOUNG MEN in the corner booth. Jeans and baseball caps.
Very animated conversation. Loud, punctuated by laughter.
They think they're the only people in the joint. The WAITRESS--
EUDORA (20's)--with the purple streaks in her hair and
matching purple glasses, refills their cups.
William sits alone at the counter, impossible to hide his
disdain. He talks to the camera with the three men in the
background.
WILLIAM
See those jokers back there?
(MORE)
38.
WILLIAM (CONT'D)
They "write" for TV. Town's full of
them. Creative vultures. Anything
for a paycheck. Fade in. Fade out.
C.S.I. 24. Who Wants to Suck My --
William scoffs as the disdain drips from his mouth.
WILLIAM (CONT'D)
Gimme a break. Television. Telecrap.
They've sold their souls to the devil.
For what? A house in Malibu? A tennis
court?
William glances over his shoulder, shaking his head in
disgust. Another table catches his eye. TWO ATTRACTIVE WOMEN
engage in friendly banter over coffee. William stares them
down, making friendly eye contact.
The woman facing him returns eye contact. She smiles. William
smiles, watching them as he continues.
WILLIAM (CONT'D)
That will never be me. I will never
compromise my vision for financial
gain. I'd rather borrow money from
friends than sell out for a quick
dollar.
The two women stand up. William is stoked. This is too easy.
But the women instead go to the three TV writers. Immediately
invited to sit down with them.
William can't believe it. What the...
HENRY (V.O.)
"...Gatsby had an extraordinary gift
for hope, a romantic readiness...
51 INT. HENRY'S APARTMENT - DAY 51
Henry reads from The Great Gatsby.
HENRY
"...such as I have never found in
any other person and which it is not
likely I shall ever find again..."
Henry is always moved whenever he reads Fitzgerald. Putting
down the book, he talks to the camera.
HENRY (CONT'D)
You know, the year before he died,
F.
(MORE)
39.
HENRY (CONT'D)
Scott Fitzgerald made a grand total
of $13.13 in royalties from his
writing. I guess Hannah's right
about 13 being unlucky.
A question is asked O.S. Henry listens.
HENRY (CONT'D)
Sure. Sure. I know that. Gatsby
does end tragically. But that's
fiction. Hannah...She's real. Our
story will have a happy ending.
Pause. Henry rethinks.
HENRY (CONT'D)
Maybe. Maybe a happy ending.
His confidence flies out the door.
HENRY (CONT'D)
Hope. Hope we have a happy ending.
Fingers crossed.
52 INT. ALAN & COLETTE'S HOUSE -- LIVING ROOM - DAY 52
Alan and Colette hold court on their living room couch,
talking to the camera.
ALAN
There's been one rule in this house.
Whatever Colette wants, Colette gets.
COLETTE
Thank you, Alan.
They look at each other adoringly. Real or fake?
ALAN
She wants a Mercedes? No problem.
Credit cards? How many? Her own
business? Done. An agent?
Colette eats it up.
ALAN (CONT'D)
Call it karma or serendipity or
kismet. Whatever. But it just so
happens that very well-known literary
agent David Keller--
COLETTE
(Interrupting)
--Very well-known. He's so known.
40.
ALAN
Exactly. Well, guess who is coming
in tomorrow to see Dr. Alan Mooney
for an eye examination and new
glasses?
Colette starts squealing in anticipation. Alan nods with
confidence and flashes a "thumbs up."
COLETTE
I love you, Poodles.
ALAN
Love you more, Poodles.
53 INT. ALAN'S OFFICE - DAY 53
The casually dressed MAN (40's) sits in the waiting area for
Alan Mooney, spending time on his iPhone, conducting business
as he waits.
CAPTION: DAVID KELLER
He doesn't have to wait long. Alan personally comes out
into the waiting area to fetch him. Big grin. Hand extended.
ALAN
Dr. Alan Mooney.
David, caught off guard by the doctor's sudden appearance,
winds up his phone conversation.
DAVID
(on phone)
Let me call you back.
David stands up.
DAVID (CONT'D)
David Keller.
They shake hands.
ALAN
I know. Big fan. Big fan.
David can't help but notice the camera.
ALAN (CONT'D)
Oh, that. They're doing a little
documentary about my writing group.
DAVID
Really?
41.
ALAN
Just act natural.
Lowering his voice.
ALAN (CONT'D)
It was supposed to be a reality
series.
54 INT. ALAN'S OFFICE -- EXAMINATION ROOM - DAY 54
Standard examination room. Alan guides David into the chair.
ALAN
Great. Let's start out with a basic
eye examination.
Alan flips a couple SWITCHES. Eye reading CHART appears on
the wall. Alan turns off the lights.
ALAN (CONT'D)
OK, David. See if you can read that
first line for me, please.
DAVID
(Reading)
X7K6AC
ALAN
Very good, David. Would you like to
try for what's behind Door Number
Three? Try this one, please.
Alan brings up a different line on the screen.
DAVID
(Reading)
E2PH8S
ALAN
20/25. Looking good, David. But
anyone can identify simple letters
and numbers. Let's see how you do
reading a more challenging text.
Alan brings up a different page. Several paragraphs on a
printed page.
ALAN (CONT'D)
See that?
DAVID
Yes.
42.
ALAN
Good. Read me the first paragraph,
please.
DAVID
(Reading; monotone)
Natasha, the Russian peasant, dressed
oh-so-slowly, consumed totally,
completely, absolutely, by endless
thoughts of Yuri.
ALAN
Oh. Very nice. Very nice. Now the
next paragraph, please.
David looks rather puzzled, but complies.
DAVID
(Reading; monotone)
"I never, ever thought I could feel
this way," Natasha said excitedly.
"Nor could I," Yuri said happily,
his body dripping with enormous beads
of sweat.
ALAN
Man. Wow. Gee. Isn't that great
writing? My wife Colette wrote that.
The patients just love reading her
stuff. It's from her new novel,
Nyet, Not Yet.
A loud KNOCK on the examination room door. David is saved by
the bell.
ALAN (CONT'D)
My, I wonder who that could be.
He walks over to the door, opens it and feigns surprise to
see Colette. She moves right in.
COLETTE
Hi, honey. So sorry to intrude.
ALAN
Colette? Gee, this is an incredible
coincidence. We were just talking
about you. And here you are!
Colette is locked like a laser beam on David Keller.
COLETTE
(Gushing)
Hello.
43.
ALAN
Oh, where are my manners? Colette,
this is David Keller. David, this is
my wife, Colette Mooney. The writer.
DAVID
Hi.
COLETTE
Pleasure to meet you, David.
ALAN
Actually, Colette wrote this beautiful
prose you've been reading, David.
Honey, I can't believe this
coincidence.
COLETTE
Well, I was just dropping off--
ALAN
(Overlapping)
Oh, of course. Thanks for bringing
it by. Say, honey, David's been
reading that first page of yours.
You don't happen to have any more of
that opening chapter, do you?
Colette thinks for a second.
COLETTE
As a matter of fact, I think I do. I
think I do.
Colette searches her large PURSE and produces a manila folder.
ALAN
Say, how about that?
Colette hands the manila folder to David, who accepts it
reluctantly. He's been had.
DAVID
How about that?
55 INT. ALAN'S OFFICE -- EXAMINATION ROOM - DAY 55
Colette sits in the chair, Alan stands behind her, massaging
her shoulders. Both share that smirk of satisfaction.
COLETTE
That went very well.
ALAN
Oh, yes, Poodles. Very.
44.
COLETTE
Though David Keller did seem in a
hurry to leave.
ALAN
The sooner he can begin reading.
Colette buys that. Of course.
COLETTE
I bet he calls tomorrow with an offer.
ALAN
I bet he calls tonight.
Alan's left hand starts to slide down towards Colette's chest.
She doesn't notice--her mind is elsewhere.
56 EXT. OUTSIDE ALAN'S OFFICE - DAY 56
DAVID takes Colette's pages and tosses them in city TRASH
CAN, muttering to himself as he walks away.
COLETTE (V.O.)
(Overlapping Alan)
I did it.
ALAN (V.O.)
(Overlapping Colette)
We did it.
57 INT. HANNAH'S APARTMENT - DAY 57
Hannah sits cross-legged on her living room floor, wearing
her new glasses, reading typed pages. Henry sits close to
her. Not too close. Waiting. Hannah finishes. Impressed.
HANNAH
Henry. This is good. So good.
HENRY
Really?
Hannah nods. Really.
HENRY (CONT'D)
But I've only got 100 pages. Can't
seem to move forward.
HANNAH
I'm dying to know more about Scott
and Christy. What great characters.
45.
HENRY
Yeah. Sure wish I knew what was going
to happen with them.
Hannah gives Henry a friendly tap on the knee for
encouragement.
HANNAH
You'll figure it out, Henry. It'll
pass. Focus on your writing. No
distractions. The writing comes first.
Henry lets it sink in. Changes the subject.
HENRY
Say, um, remember I offered to drive
you around and show you a couple
special places?
58 EXT. RICHARD BENEDICT HOME - DAY 58
The imposing house screams success. Henry and Hannah sit in
Henry's parked car, taking it in.
HANNAH
Who lives here?
HENRY
Richard Benedict.
HANNAH
Oh. That writer you like?
HENRY
Like? No. It's much more than that.
Wow. He...He...
Henry struggles to put it into words.
HENRY (CONT'D)
...Reading Richard Benedict...made
me want to be a better writer. He's
that good, Hannah.
HANNAH
Can't say I've read his stuff. Nice
house, though.
59 EXT. FITZGERALD/GRAHAM HOME - DAY 59
Henry and Hannah stand on the sidewalk in front of the North
Hayworth home. Henry seems barely able to contain his
excitement.
46.
HENRY
Here we are.
Hannah stares blankly at the house.
HENRY (CONT'D)
North Hayworth Avenue. Hollywood,
California.
Hannah smiles politely, but it's clear she doesn't recognize
the house.
HENRY (CONT'D)
Big clue time. Sheila Graham.
Still nothing registers with Hannah.
HENRY (CONT'D)
OK. Give up? Writer Sheila Graham
lived here. Fitzgerald was her lover.
This is where he died on December
21, 1940.
Hannah lets it all sink in.
HANNAH
Fitzgerald? He's the one who shot
himself, right?
HENRY
No. Fitzgerald. F. Scott Fitzgerald.
He wrote The Great Gatsby.
The name doesn't register with Hannah.
HENRY (CONT'D)
(Reciting from heart)
Gatsby believed in the green light,
the orgiastic future that year by
year recedes before us. It eluded us
then, but that's--
HANNAH
(Interjecting)
I've never read it.
Henry can't hide his surprise.
HENRY
What?
Hannah stops, cognizant of the ever-present camera.
47.
HANNAH
(To camera)
Could you turn that off for a few
minutes, please?
HENRY
You know they can't. What's wrong?
Hannah hesitates. Counts to three. Lowers her voice.
HANNAH
I've never read The Great Gatsby.
HENRY
You're kidding.
HANNAH
Henry. I never went to college.
I've heard of Hemingway. A little.
Fitzgerald. Somewhere. But I don't
have your education. Your smarts. I
haven't read all these great novels.
My stories come from my heart.
Henry lets it all sink in. Hannah looks at the house.
HANNAH (CONT'D)
Tell me about the book.
HENRY
Gatsby is about social position and
the American Dream and . . .
Henry stops. Rethinks his explanation.
HENRY (CONT'D)
Actually, it's quite simple. Boy
meets girl. Boy loses girl. Boy
moves heaven and earth to win the
girl back.
HANNAH
And it's your favorite?
Henry nods with his heart.
HANNAH (CONT'D)
So how does it end? Does boy get the
girl?
Long beat. Then Henry reaches into the back seat of his car
for his KNAPSACK. Puts it on his lap, unzips it. Pulls out
his personal copy of Gatsby.
48.
HENRY
Here. Take my copy.
He hands the well-read book to Hannah.
HENRY (CONT'D)
Now you can find out for yourself.
60 INT. JOHN'S MOBILE HOME - DAY 60
John is on the telephone, clutching a copy of Roaring Lion.
He does not look happy.
JOHN
(On telephone)
Yes. I'm still holding. Where are
you again? New Dehli? Oh.
John stares at his book, shaking his head. Waits for a few
seconds.
Sigrid is in the background, doing light housekeeping, trying
not to listen, but obviously can't avoid it.
JOHN (CONT'D)
(On telephone)
Butzin. John K. Butzin. Right. That's
me. Roaring Lion. Yes. Well, I
have a copy of my book you sent, but
there must be some mistake...Well,
you put a dog on the cover. Not a
lion like we agreed.
John holds the book up for the camera to catch the
unmistakable dog barking on the front cover.
JOHN (CONT'D)
(On telephone)
Plus the back cover is written in
Chinese. Chinese...Yes, I know
Chinese when I see it. One of those
Chinese assault rifles almost cost
me an eye at Hamburger Hill...
John listens--trying to remain calm.
JOHN (CONT'D)
I seem to be missing pages 1-0-7 to
1-1-2...Yes, I'm sure. And what in
blazes is this Chapter Eight?
Sigrid keeps cleaning. Stoic expression.
49.
JOHN (CONT'D)
(On telephone)
This Chapter Eight isn't mine. It's
about hormone replacement for women.
Do you think John K. Butzin would
write that? Must be from another
goddamn book. So what the hell you
going to do about this? You, sir,
are dealing with a decorated veteran--
a combat veteran--of the United States
Army.
John waits for an explanation.
JOHN (CONT'D)
Yes. I'll hold.
John looks again at his book in disbelief. Then he remembers
the camera. Forces a faint smile.
JOHN (CONT'D)
(To camera)
Minor details. That's all. All that
truly matters is that John K. Butzin
is finally a published author.
But catch Sigrid's expression. She is quiet. More than a
little concerned at what she is hearing.
61 INT. RESTAURANT #2 - DAY 61
Henry and Hannah at a table, sharing coffee. Eudora the
waitress swings by with a refill, hair purple as ever. Hannah
thumbs through her copy of Gatsby, looking interested. And
pleased. Eudora notices the book.
EUDORA
Great book. Classic.
Henry nods in agreement. Eudora moves on.
HANNAH
Oh, I needed this break. Thank you,
Henry.
HENRY
You're welcome.
HANNAH
It's just that I'm starting to feel
the pressure, you know? There is so
much riding on this first book.
50.
HENRY
Don't be silly. Sleeping on the
Moon will hit the bestseller list.
You'll be the toast of the literary
world. And I'll come over to Beverly
Hills and deliver a pizza to you.
HANNAH
Beverly Hills, ah...
HENRY
Definitely.
62 EXT. HANNAH'S APARTMENT / CITY STREET - DAY 62
Parked on the street in front of Hannah's apartment. Henry
and Hannah, this mutual admiration society, stand by the
car. Hannah still has her copy of Gatsby. Short beat.
HANNAH
What a dear, sweet friend you are.
Hannah graces Henry with another hug. Another quick peck on
the lips. But wait--Henry wants more. He kisses her back.
More than a peck. Too much more. Hannah, surprised, pulls
back--her hand on his chest: Stop.
HANNAH (CONT'D)
(Gently)
No distractions. The writing comes
first, 'kay?
Henry nods reluctantly: Understood. One last hug from Hannah
before she heads for her front door, smiling back over her
shoulder at Henry. Henry watches her leave, knowing that
this was absolutely, positively, the best day of his life.
63 INT. HANNAH'S APARTMENT -- LIVING ROOM - NIGHT 63
The writing group meets. Hannah, Henry, John, William, Alan
and Colette sit around the living room, pages in front of
them.
WRITERS AT WORK sign on display.
Maureen, trying not to be in the way, goes from writer to
writer, carrying a large TRAY OF VEGGIES.
ALAN
Alright. Whose turn is it to read?
Henry?
All eyes on Henry. He shifts uncomfortably in his chair.
51.
HENRY
Oh. Um. Someone else go. I don't
have anything new ready tonight.
Concerned looks all around.
COLETTE
It's been weeks, Henry.
HENRY
I know. Still can't focus.
JOHN
Don't be a pussy, Obert. Get writing.
Complete the mission.
HANNAH
Writer's block can be very serious,
John.
John scoffs in disbelief. Maureen offers William some veggies.
He helps himself and checks out Maureen as she moves on to
Alan.
WILLIAM
What's so hard, bro'? I mean, you've
got Scott and Christy. Two friends.
Tell their story.
HENRY
That's the problem. I think the
story's changing.
ALAN
Changing? How so?
HENRY
Lately I'm feeling something much
deeper, much richer. Scott and
Christy, um, growing closer.
The other group members appear puzzled.
COLETTE
Christy's a beautiful, wealthy author
in Beverly Hills. How close can they
get?
HENRY
Follow me. Something happens.
Christy has an epiphany. She-She
realizes her feelings run much deeper
now for Scott.
52.
Henry does everything he can not to look at Hannah. Short
beat.
WILLIAM
Nah. Don't buy it.
JOHN
They're friends. Why muck it up?
Don't put 'em in the same foxhole.
COLETTE
Is this Scott wanting to go beyond
the friendship? There's no way
Christy would suggest it. What do
you think, Hannah?
ALAN
Yes. Hannah, what do you think?
All eyes go back to Hannah. She does not want to answer.
HANNAH
Gee, I-I guess...I really never
thought of them that way.
HENRY
Never?
Hannah shakes her head. Chooses her words carefully.
HANNAH
No. It's always been a friendship.
Henry takes a moment. Thinking.
HENRY
You don't see anything possibly
happening between them?
HANNAH
No. Friends. Nothing more.
WILLIAM
Exactly.
HANNAH
I'd be uncomfortable with any changes
in the relationship.
Message received. All eyes on Henry. Defeated.
HENRY
OK. Thanks, everyone. I'll try to
have something on paper next time.
53.
JOHN
Remember, Obert. Complete the mission.
64 INT. HANNAH'S APARTMENT -- LIVING ROOM - NIGHT 64
Meeting over. Writing group starts breaking up. William
leans in close by Hannah.
WILLIAM
(Lowered voice)
Got a sec?
William motions Hannah over to the corner of the living room,
away from the others. She follows, looking puzzled. Henry
watches with curiosity. William starts speaking to Hannah in
hushed tones, trying not to let anyone else overhear the
conversation.
HANNAH
How much?
More hushed tones from William. Hannah shakes her head.
HANNAH (CONT'D)
But if I loaned you money, then I
wouldn't have it.
WILLIAM
Hey, I just figured, you know. You
got that big advance. Help out a
fellow writer. I'm good for it,
Hannah.
HANNAH
Sorry. It's bad luck to loan money.
WILLIAM
OK, then, just give it to me.
Henry makes a point of moving in and standing directly by
Hannah, staring William down. Henry and Hannah make eye
contact. Henry looks to her: Are we OK? Hannah looks away.
Colette comes up next to William.
COLETTE
How much do you need?
William looks surprised.
65 INT. JOHN'S MOBILE HOME - DAY 65
John sits in his comfortable chair. Sigrid is nearby, at the
computer. John talks to the camera.
54.
JOHN
This is a big moment. Roaring Lion
has been posted on Amazon.com. Now
all books. Your fiction. Your
nonfiction. They're ranked on Amazon
by sales. Obviously everyone wants
to be number one. They say a book
is selling well on Amazon if it's in
the top 5000. Time to run it up the
flag pole. Sigrid?
Nervous, Sigrid takes a deep breath and taps away on the
computer keys. She waits, focused intently on the screen.
SIGRID
(Reading slowly aloud)
2,472,899 . . .
Silence. Long silence as it all sinks in. John seems suddenly
uncomfortable. Sigrid types away on the computer keys again.
Reads off the screen.
SIGRID (CONT'D)
Tom Clancy. 32.
John discovers a new interest in the ceiling.
66 INT. HANNAH'S APARTMENT - DAY 66
Hannah plops in her chair, upscale SHOPPING BAGS at her feet.
Maureen hovers in the background.
HANNAH
How am I doing? OK. Sort of. Brian
called. Looks like there's real
interest in movie rights for Sleeping
on the Moon. Yeah, thanks.
Heavy sigh. Not excited in the least. Matter-of-fact.
HANNAH (CONT'D)
But I don't dare say anything to the
group. They find out I've got a
movie deal--I don't know. I'm sensing
enough jealousy as it is, you know?
Could be awkward if they found out.
It's a real--what's that word?
MAUREEN
Conundrum.
HANNAH
That's it. I'm in one.
55.
67 EXT. JOHN'S MOBILE HOME - NIGHT 67
WRITERS AT WORK poster taped to the front door.
68 INT. JOHN'S MOBILE HOME - NIGHT 68
Full meeting of the writing group, all crammed around the
dining table. Henry and Hannah sit apart.
A single BOWL OF PRETZELS has been placed before them. Hannah
reads from her typed pages. Alan, William, Colette, and Henry
hang on her every word.
John is half-listening at best, more interested in the
MAGAZINE he's thumbing through.
William REACHES UNDER THE TABLE and gently squeezes Colette's
hand. Surprised, she pulls her hand away.
HANNAH
(Reading; with feeling)
"Please come home, Michael." "Why
would you want to marry me, Kyra? I
barely graduated high school."
"Michael, I don't care about some
silly college degree. You're the
most intelligent person I've ever
known. You are my shining star."
Then Colette puts it back and squeezes William's hand. It's
his turn to be surprised.
Hannah slides off her new reading glasses, waiting for someone
to react. The room falls silent. Alan steps in.
ALAN
OK. Comments. Anyone?
No response. Group members look at the pages. At each other.
No one steps forward.
HANNAH
I value your feedback. We're all in
this together, right?
Nobody bites.
HANNAH (CONT'D)
Colette--Did the new scene work for
you?
Colette seems thrown by the direct question.
56.
COLETTE
Oh...Gee...Hannah. What? I mean,
you're being published. This is
being published.
HANNAH
But my editor wants rewrites. Am I
on track?
Colette punts. Alan jumps in to save his wife.
ALAN
Of course you are, Hannah.
WILLIAM
You got the deal. You got the check.
First one to be published.
John CLEARS HIS THROAT rather loudly: What about me, butthead?
William ignores him.
ALAN
I think what I'm hearing from the
group is...is...you're fine. We all
love it. Nothing here to critique.
You don't need us--well, it's not
that you don't need us, but, you
know...
Alan's voice trails off before he can dig himself any deeper.
More silence as Hannah wrestles with this unexpected reaction.
Finally looks to Henry for help.
HANNAH
What do you think, Henry?
All eyes on Henry. He hesitates. Then --
HENRY
Yes. Actually, it is really good,
but there are a couple things--little
things--I'd point out. For example--
JOHN
Holy Douglas MacArthur --
All eyes on John. Finally holds up magazine to reveal that
he's been reading VARIETY.
JOHN (CONT'D)
(Reading)
"Hollywood decides to go sleeping on
the moon.
(MORE)
57.
JOHN (CONT'D)
First-time scribe Hannah Rinaldi,
repped by Brian Barkley of SoHo,
scores six-figure movie deal. Ink is
still fresh, but Barkley boasts keen
interest by..."
John keeps reading. Various reactions, mostly muted, around
the table. Can Hannah's face turn any redder?
69 INT. MONTAGE OF SHOTS - NIGHT 69
Members of the writing group struggle to deal with Hannah's
latest success:
Alan and Colette sit on their living room couch together,
wearing matching pajamas, staring straight ahead like zombies.
His tape recorder sits on the coffee table. Alan reaches
for it. She grabs it from his hand and throws it.
William sits at the counter of Restaurant #2, drumming his
fingers on the legal pad, half-heartedly trying to write.
WAITRESS #3 pours him some more coffee, trying to make eye
contact with him. William ignores her.
John sits in front of his computer screen, but he can't
concentrate. Gives up. Shuts down computer. Flips on TV.
Another war movie.
Henry stares absent-mindedly at his wall of rejection letters.
Hannah sits at her computer--the only one actually working
at the moment--but she stops long enough to take a deep,
deep sigh. A lot weighs on her mind.
70 EXT. ALAN AND COLETTE'S HOUSE -- DRIVEWAY - DAY 70
Alan arrives home. Steps out of his Lexus. Whistling. Happy-
go-lucky. Pauses in the driveway to record another idea.
ALAN
Idea for novel. Perhaps screenplay.
The Amazing Doctor Eckleburg. An eye
doctor turned crime fighter. Ladies
man.
71 INT. ALAN AND COLETTE'S HOUSE -- LIVING ROOM - DAY 71
Alan sails through the front door. His smile disappears.
William is plopped on the living room couch. Shirt half
unbuttoned. Smoking. He freezes mid-puff.
ALAN
William?
58.
WILLIAM
Hey. Alan.
SOUND OF SHOWER AND COLETTE SINGING OFF-KEY echoes throughout
the house. Alan turns quiet as he makes the connection.
WILLIAM (CONT'D)
Just, um. Just stopped by to...read
some pages for Colette. Yeah.
There are no pages on the coffee table in front of William.
72 EXT. COLETTE'S GARDEN - MOMENTS LATER 72
Alan steps outside. Somber. Focused. Acts like the
Terminator in his scanning of the area. Man on a mission.
What is he looking for? He finds it almost immediately,
zeroing in on Colette's bench. Alan marches over and grabs
Colette's prized framed photo of Oprah. Clutching it in his
hand, Alan looks at Oprah's smiling face, then back towards
the house. Then he takes the frame and smashes it down on
the ground as hard as he can. Next he jumps up and down on
the smashed frame multiple times. Not satisfied, Alan bends
down, picks up the photo and rips it to shreds with his hands.
There. That felt good.
Pool Guy and Gardener have witnessed the whole scene. What
the hell? They exchange puzzled looks.
73 INT. HENRY'S APARTMENT - DAY 73
Henry talks to the camera.
HENRY
Hannah's avoiding me. She doesn't
respond to emails or voice messages.
She's "busy." Always an excuse.
74 INT. HENRY'S APARTMENT - DAY 74
Henry talks to the camera--his concern unmistakable.
HENRY
Things have definitely changed between
us. I did get to go to her place
for dinner last night.
75 INT. HANNAH'S APARTMENT - EVENING 75
A spruced-up Henry sits down for dinner. All smiles.
HENRY (V.O.)
Hannah wasn't there. She was in New
York with her publisher. But Maureen
and I had a lovely time.
59.
Maureen passes Henry more vegetables.
76 EXT. COLETTE'S GARDEN - DAY 76
Colette sits on her private bench. Note the NEW PHOTO OF
OPRAH in a new frame. Colette talks to the camera.
COLETTE
Yes. You noticed. I replaced the
photo. I may be replacing other
things around here soon...I was just
using William...for research.
She holds up THREE MORE LETTERS.
COLETTE (CONT'D)
Speaking of rejection...three more
letters saying Nyet, including one
from David Keller. I should have
offered him a massage. How much
more rejection can I take?
Colette stares at the letters, focusing on remaining strong.
COLETTE (CONT'D)
(Reciting)
"We keep going back, stronger, not
weaker, because we will not allow--
Her voice cracks. She stops. Fighting for composure
COLETTE (CONT'D)
--Rejection to beat us down--
Colette's frustration is boiling into anger as she struggles
to keep it under control.
COLETTE (CONT'D)
--It will only strengthen our resolve.
To be successful there is no other
way." Mr. Henry D. Thoreau.
Short beat.
COLETTE (CONT'D)
Rejection sucks.
77 EXT. COLETTE'S GARDEN - DAY 77
Smoke rises from the fire pit, burning what's left of the
letters. Colette sits cross-legged, devoting her full energy
to chanting and beating her hands on a small DRUM.
It isn't enough today. Watch as Colette's solemn chant
dissolves into tears of frustration.
60.
Dr. Xiroman places a comforting hand on her shoulder, trying
to calm Colette down.
78 EXT. JOHN'S MOBILE HOME - DAY 78
Sitting outside in the cheap lawn chairs with Sigrid, John
addresses the camera. He cleans up pretty good.
JOHN
This is going to be a great day for
John K. Butzin. Yes, sir. First
official book signing.
Sigrid holds up a copy of Roaring Lion. The dog on the cover
has had an image of a lion slapped over it. Sigrid beams
with pride.
JOHN (CONT'D)
Ready and raring to go. Of course,
it would have been better to do this
in an actual bookstore, but, hell,
they're dropping faster than Charlie
at Dak To. Not to worry. Since Sigrid
works at the hardware store, they're
going to let her favorite author
sign a few books there.
SIGRID
More than a few books. Many, many
books, Ja?
JOHN
Ja, my Strudel. Many books.
79 EXT. HARDWARE STORE - DAY 79
SIGNS in front window announcing hammers, ladders, paint on
sale. Also a handwritten PIECE OF PAPER taped to the window
with masking tape, announcing AUTHOR SIGNING.
80 INT. HARDWARE STORE - DAY 80
John sits at his card table in the corner. Alone. A stack of
books sit piled in front of him. CUSTOMERS walk all around,
ignoring John completely. John tries to stay relaxed, smiling
and nodding at people, not being too forceful.
Sigrid, wearing her little red work vest and glasses, stands
off to the side, beaming with pride. She hurries over to a
cash register, takes the telephone out of her surprised boss'
hand, and jumps on the store's PA SYSTEM, blasting throughout
the store.
61.
SIGRID
(On PA system)
Attention shoppers. Famous author,
Mr. John K. Bootzin, signing new
best seller. Up front of store.
John K. Bootzin. Also, special
today in plumbing department.
Ballcocks. Two for one. All
customers guaranteed will be
satisfied. Ja.
81 INT. HARDWARE STORE -- DAY 81
The PILE OF BOOKS seems untouched.
82 INT. HARDWARE STORE - DAY 82
Still no takers. Sigrid comes over to console him.
JOHN
Sorry, Strudel. Seem to be shooting
blanks today.
John looks past Sigrid. His face brightens. A smiling Alan
has arrived, flanked by Colette, Henry and Hannah. Hannah
holds a cupcake. Alan has a bottle of champagne and some
plastic cups. But there is no touching, no direct
interaction, between Colette and Alan.
ALAN
Author! Author!
John stands up. Clearly touched.
JOHN
Hey-Hey. The cavalry's arrived.
Look who's here.
SIGRID
Hello, everyone!
HANNAH
Wouldn't miss your signing, John.
Hannah presents John with the cupcake and leans in for a
friendly peck on the cheek. Colette aims her cell phone
camera at John.
COLETTE
Smile, John!
John half-smiles in response. Henry reaches over and shakes
his hand.
62.
HENRY
Congratulations, John.
JOHN
Thanks, Obert. Where's the Bukowski
wannabe?
Awkward silence as the group members exchange puzzled looks.
HANNAH
William said he'd meet us here.
JOHN
What a turd. Never liked that punk
anyway.
ALAN
Maybe he's still at our house.
COLETTE
Maybe he is. Maybe I should go see.
ALAN
Maybe you should.
What's that about? Henry studies John's book. Flips to the
back cover. Surprised.
HENRY
This is in Chinese.
All eyes on John. Squirming, he looks over to Sigrid: Help
me. She thinks for a second.
SIGRID
International edition!
John nods convincingly in agreement.
ALL
(Except John and Sigrid)
Oh...
83 INT. JOHN'S MOBILE HOME - DAY 83
Sigrid sits alone on the couch as John floats in and out of
camera, humming to himself, dancing like Fred Astaire. John
is happy. Sigrid seems more subdued. Marked contrast.
John addresses the camera.
JOHN
Know what the hardware store manager
said? He said today was their most
successful book signing. Ever.
63.
A question is asked. John listens.
JOHN (CONT'D)
This was their first book signing?
Oh.
Think, John. Think.
JOHN (CONT'D)
Well, John K. Butzin set the bar
pretty high for the next writer, let
me tell ya. That's right: 1-2-3-4-5-
6-7-8-9-10-11. Eleven books sold.
Sigrid clears her throat and flashes ten fingers in the air.
JOHN (CONT'D)
Oh, that's right, Strudel. You
borrowed one at the store to help
prop open the side door. I forgot.
SIGRID
Ja...
JOHN
Ten books. But there are now at
least ten homes in California where
folks have books by Melville.
Hemingway. Clancy. And now Butzin.
It's a humbling thought.
John goes back to his routine. Sigrid offers up a supportive
smile, but she doesn't seem quite as impressed.
84 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 84
Alan sits at the writers' table. Alone. Talks to the camera
in whispered tones.
ALAN
I've made an important decision as
group leader. I've decided to ask
William to leave the group. Now it
has absolutely nothing to do with
that incident at our house. It has
nothing to do with the fact that I'm
now sleeping in the guest room. But
let's face it--the kid's a slacker.
No contribution to the group. Zero.
Zip. Nada. I'm sure he'll be fine
with it.
64.
85 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 85
William kicks his CHAIR over. Alan, Colette, John, Henry and
Hannah sit calmly around the table. Henry and Hannah apart.
ALAN
There's no need to get so upset.
WILLIAM
Fine. I was going to quit anyway.
Leave this bunch of losers.
William makes eye contact with Colette: You too? She looks
away: Sorry. Only fuels William more. He points to Alan.
WILLIAM (CONT'D)
Christ. You and your stupid recorder.
And your stupid ideas. And your stupid
character names.
William clenches his fist and pretends it's a microphone.
WILLIAM (CONT'D)
Name for character. Bobby Blow Me.
Gimme a break.
Alan sits stone-faced. William turns to John.
WILLIAM (CONT'D)
And G.I. Joe over here with that
piece-of-crap, self-published tripe.
Who are you kidding?
Flustered, John starts to stand up. Alan grabs John's arm,
pulls him back down.
ALAN
Just ignore him.
William continues on his rant with Colette.
WILLIAM
Colette, Colette, my pet. News Flash
for you: Oprah's not calling--unless
she needs a massage. Get real!
JOHN
Oprah? She's not on TV anymore.
COLETTE
I know that.
William turns his attention to Henry.
65.
WILLIAM
The great Henry O. Man, you got the
gift, bro'. But your head is up
your ass over poor, sweet, successful
Hannah here.
Hannah and Henry avoid looking at each other as William smiles
at Hannah.
WILLIAM (CONT'D)
Hannah. Hannah. Hannah. We could
have been so hot together. I'm just
as good a writer as you are, but you
sure look better in a skirt --
HENRY
(Voice rising)
That's enough.
WILLIAM
I don't need any of you. I don't
need any of your pointless, pedestrian
feedback. I'm a writer.
JOHN
You've got goddamn three pages.
WILLIAM
They're a great three pages! You
just don't appreciate my dedication.
HANNAH
You're a pretend writer, William.
Silence. William is surprised that Hannah speaks out.
HENRY
She's right. You act the part. You
like the lifestyle. You hit on women.
You quote Bukowski. But Bukowski did
the work. Each and every day he
wrote. That's your problem, William.
You don't do the work.
WILLIAM
I don't do the work? Man, that sounds
frickin' hilarious coming from you.
When's the last time you wrote
anything?
That hits a nerve. William and Henry stare each other down.
Enough. William flips off the group with his middle finger.
Mumbling, grumbling under his breath, he starts to leave.
Pauses at the WRITERS AT WORK sign. Picks it up.
66.
ALAN
Not the sign!
Too late. William RIPS it in two. And a second time for
good measure. Throwing the pieces on the ground. Stomps out
of the house, slamming the front door.
The group turns quiet for a long beat. Everyone calming down.
Alan takes control again -- eyes still darting over to what's
left of his beloved sign.
ALAN (CONT'D)
Let's move on. Next item. Richard
Benedict is going to be doing a
signing at Wordsmith next week.
Alan looks directly at Henry.
ALAN (CONT'D)
Who wants to go?
86 INT. BOOKSTORE - DAY 86
Large bookstore. Long line. Why? Because Richard Benedict
is in the building, doing a signing of his new novel The
Pineapple Man.
Hannah, Henry, Alan, and Colette stand in line together,
waiting. Colette is holding one copy of the BOOK. Hannah
has one. Henry has one.
Alan reaches inside his coat pocket for his RECORDER. Snaps
it on.
ALAN
Idea for novel. Jealous husband
murders his tramp-of-a-wife and buries
her chopped-up body in the back yard.
Colette pretends not to hear. Line inches forward. Alan cranes
his neck to see what's happening.
HENRY
(To himself)
Mr. Benedict, I just want to thank
you. No. You've inspired my writing--
No. Hi. I'm Henry. I just think you're
the greatest...
Colette puts a friendly hand on Henry's shoulder.
COLETTE
Let me tell you something, Henry.
67.
Henry looks to her, expecting words of comfort.
COLETTE (CONT'D)
One day, I'll have a signing like
this.
Colette looks around, already imagining the event.
87 INT. JOHN'S MOBILE HOME - DAY 87
John is bent over his PRINTER, jiggling the front end, trying
to open it. Tapping it on the side. No luck.
JOHN
Nope. Not going to see Richard
whatever-his-name-is. John K.
Butzin, author, doesn't need to stand
in line anymore. No, sir. This soon-
to-be best-selling writer is spending
every minute, every dollar, on
promoting Roaring Lion.
Try as he might, John can't open up his printer. Sigrid
appears. Leans in. Effortlessly opens up the printer. Takes
the cartridge from John. Snaps it in. Shuts the lid. Done.
John grunts his thanks.
JOHN (CONT'D)
Strudel, check my sales ranking again.
Sigrid steps to the computer and taps a couple keys. Stares
at the screen.
SIGRID
(Reading out loud)
1,644,973 . . .
Not quite the hoped-for response. Turns quiet inside the
mobile home. John clears his throat.
JOHN
Wow. Look how far I've moved up
already.
Sigrid types again. Reads off the screen.
SIGRID
John Grisham. 12.
Forget about John for the moment. Watch Sigrid as her eyes
dart around--from the screen, to John in the chair, out the
window. Back again. This is the moment. Sigrid gets it
now: John K. Butzin is not the author he pretends to be.
Very quiet in the mobile home.
68.
88 INT. BOOKSTORE - DAY 88
The AUTHOR (50's) sits at the signing table, obliging, but
not outgoing, grunting hello to people and smiling (somewhat)
for photos as he signs BOOKS. He is not here by choice today.
CAPTION: RICHARD BENEDICT
The young CLERK hovers nearby, assisting with books and trying
to keep the line moving.
Henry is first, followed by Alan and Colette, then Hannah.
Henry clutches his copy. Good luck trying to rip it from
his hands. The four get nearer to Benedict.
ALAN
He's older than I thought.
HANNAH
I've never seen him before.
HENRY
(To himself)
Pleasure to meet you. No. Honor to
meet you. He She They is my favorite
novel.
Closer...Closer...Closer they get to the table. Richard signs
away. Henry seems transfixed by him. Now it's his turn to
have his book signed.
CLERK
Next, please.
The moment has arrived. Henry stands directly in front of
Richard Benedict. Henry seems nervous. Too nervous to speak.
Richard looks up and for the slightest, milli-second their
eyes meet.
At that exact moment, RICHARD'S CELL PHONE GOES OFF. He
answers.
RICHARD
(On phone)
What?!
Henry stands there, unable to move, staring at Richard while
he speaks on the phone.
CLERK
(To Henry)
Sir?
No response. Alan nudges Henry. No good.
69.
CLERK (CONT'D)
Sir? We need to keep the line moving.
Sir?
Alan intervenes. He takes Henry's copy of the novel and slides
it over to Benedict. Benedict scribbles his name quickly and
slides it back with no eye contact, yelling on the phone.
RICHARD
(On phone)
Absolutely not! I'll sue that bastard
first...
Alan grabs the book and gives it back to Henry, nudging him
again.
ALAN
We need to move, Henry.
Alan and Colette slide their book over to Richard.
COLETTE
Hi there.
Richard looks up at her for a split second and decides to
ignore her. Another scribbled signature as he remains on
the phone.
Colette takes the book, trying not to look hurt. Alan grabs
Henry and they leave the area. Hannah is next up. She puts
her book down on the table.
RICHARD
(On phone)
Damn it! That simply won't--
Richard glances up. Sees Hannah standing there. He stops in
mid-sentence. Smiles.
RICHARD (CONT'D)
Hi.
HANNAH
Hello.
Richard hangs up the phone.
The two start chatting. Camera goes over to the shell-shocked
Henry, still clutching his book, watching as Hannah and
Richard carry on. Henry is so disconcerted by what he sees
that he fails to notice Eudora, still with purple hair and
matching glasses, the very next person in line behind Hannah,
waving at him.
70.
89 EXT. BOOKSTORE - DAY 89
Outside bookstore. After the signing. Alan and Colette walk
ahead. Henry and Hannah follow. Colette, Henry and Hannah
each carry book bags.
HENRY
So what did he say?
HANNAH
Who?
HENRY
Who!?!? Richard Benedict. You know,
the guy who just held up the line
for five minutes talking to you?
ALAN
(Over his shoulder)
Ten. It was closer to ten minutes.
HANNAH
I don't know. We just talked.
HENRY
He sure liked you.
HANNAH
We just talked, Henry. I mentioned
my book. He started asking about it.
Writer to writer. No big deal.
HENRY
No big deal? Talking to Richard
Benedict. No big deal!
Colette keeps walking. Biting her lip. Very quiet.
ALAN
You gave him your phone number.
HANNAH
Look, a guy like that reads more
books in a week than I ever have.
Why would he bother call--
Just then, Hannah's iPhone goes off. She answers. The other
three stop in their tracks.
HANNAH (CONT'D)
(On telephone)
Hello? Who? Richard? Oh. Richard.
Hi.
71.
COLETTE
Unbelievable.
Henry inches closer to Hannah, forcing Hannah to move back,
creating an uneasy dance between the two. She turns her
back on Henry.
HANNAH
(On telephone)
Coffee? Oh, God. I don't know,
Richard. I really appreciate the
invitation, but--
She listens. Her face is anguished. Finally --
HANNAH (CONT'D)
This isn't a good time. Call me later.
Yes. I'll think about it. Yes. Bye.
Hannah turns off her phone. Alan, Colette, Henry stand there,
gaping jaws wide open.
ALAN
Amazing.
COLETTE
This isn't fair. This just isn't
fair.
HANNAH
What?
COLETTE
First, you get an agent. Then you
sell your book. Then the big movie
deal.
ALAN
Please don't.
COLETTE
No. This isn't fair. And now Richard
Benedict wants to have coffee with
you? All this is happening to you.
And only you. Isn't there anything --
I don't know--some kind of cosmic
creative crumb for the rest of us to
nibble on?
HANNAH
I don't like what you're suggesting,
Colette. You know how hard I work.
How devoted I am. And I have been
totally supportive of your writing.
I've encouraged you all along.
72.
COLETTE
You wouldn't introduce me to your
agent.
HANNAH
Brian didn't want to meet you. I
asked.
ALAN
Hannah has earned her success.
COLETTE
Butt out Mr. Idea Man.
ALAN
Hannah is a writer. She devotes
herself one hundred percent to
writing. Not one hundred percent to
sleeping with writers.
Henry steps in. Finally.
HENRY
Why don't you two just go on ahead?
COLETTE
It's not fair that she be the only
one.
HENRY
Go.
ALAN
C'mon. Let's go.
Colette marches off in a huff; Alan in pursuit. She looks
over her shoulder, shouting back at Hannah.
COLETTE
13! 13! 13! 13!
90 EXT. CITY BENCH - DAY 90
Henry and Hannah sit on opposite ends of the bench. Hannah
looks distraught, lost in thought, simmering.
Henry knows to keep his distance. Waits.
91 EXT. COLETTE'S GARDEN - DAY 91
Colette looks frazzled. Pondering. Plotting. She finally
notices the camera.
73.
COLETTE
I know. I'm a shit for exploding at
Hannah, aren't I?
Runs her hands through her hair.
COLETTE (CONT'D)
Poor, sweet, superstitious, everybody-
loves-Hannah.
Starts massaging forehead--trying to reduce stress.
COLETTE (CONT'D)
If she can succeed, so can I. "We
were born to succeed, not to fail."
Hears a question O.S.
COLETTE (CONT'D)
Who said that? I don't know.
Somebody famous. Somebody with an
agent.
Now come the deep breaths. More stress control.
COLETTE (CONT'D)
I can't accomplish anything without
an agent. They won't come to me.
Fine. I'll go to them. I'll make it
happen.
92 EXT. CITY BENCH - DAY 92
Hannah and Henry remain on the bench. Hannah takes a breath
and finally breaks her silence.
HANNAH
Your writer's block?
HENRY
Yeah.
HANNAH
It's because your focus is always on
everything else. Gatsby. Fitzgerald.
Me.
Whoa. Henry isn't about to argue.
HANNAH (CONT'D)
Listen to me, Henry Obert. Your
writing must come first. Take this
passion you have. Put it on the page.
Forget everything else. All you're
doing is wasting...
74.
Hannah continues the lecture, speaking from the heart.
HENRY (V.O.)
She's right. But I know what's really
happening here. Hannah's telling me
she has every intention of talking
to Richard Benedict. She has every
intention of seeing him.
93 INT. HARDWARE STORE - DAY 93
There. On the discount table up by the cash register lies a
pile of Roaring Lion books under another handmade SIGN: 50%
OFF! Sigrid stares at the pile of unwanted books in quiet
contemplation. Heavy sigh.
Sigrid glances up. Her boss watches her from the cash
register with a certain longing. He smiles. Sigrid returns
the smile.
Back to business. Sigrid pulls a wad of DOLLAR BILLS from
her hip pocket. Counts quickly. Then picks up John's books,
one by one.
94 INT. JOHN'S MOBILE HOME - DAY 94
John looks like the proverbial kid in a candy store. In
total shock as he clutches a handful of TWENTIES.
JOHN
Wow! All the books sold at the
hardware store?
SIGRID
Ja. Every one.
John claps his hands together. There is a certain spring in
his feet.
JOHN
Didn't I tell you, Strudel? Write
it and they will read.
John can't contain his enthusiasm as he paces the mobile
home, his mind racing. Sigrid is more composed.
JOHN (CONT'D)
Get some more copies down there.
Maybe do another signing. Yeah.
No. Time for a real tour. Fresno.
Bakersfield. Stockton. Call a few
bookstores. Let 'em know John K.
Butzin is coming. Lock and load.
75.
And he's off, leaving the frame, already planning his big
adventure, leaving Sigrid alone.
Facing the camera, she nods slightly. Then offers us a small
wave.
SIGRID
Bye. Bye.
95 INT. LOIS PIPER AGENCY - DAY 95
The small reception area for The Lois Piper Agency. Tastefully
decorated. PHONES constantly chirping.
The young MALE ASSISTANT behind the counter, obviously paid
to be patient, points to the framed sign on the counter, in
large letters: NO UNSOLICITED MANUSCRIPTS WILL BE ACCEPTED.
Colette and Dr. Xiroman will not be deterred. She holds a
thick MANILA ENVELOPE.
COLETTE
I have to see Ms. Piper. We just
need five minutes. 1-2-3-4-5 minutes
of her time.
The assistant points back to the sign.
COLETTE (CONT'D)
Can you just please stick your head
in her office, tell her that Colette
Mooney is here. I know she's busy,
but she'll certainly want to see my
manuscript.
The assistant ignores her.
COLETTE (CONT'D)
(Flustered)
I'm a graduate of Mills College.
Behind them, coming from the inner office, we hear LOIS PIPER
YELLING.
LOIS (O.S.)
If I have to read one more vampire
story, I swear I'll drive a stake
through my own goddamn heart.
MANUSCRIPT comes flying out of her office. Loose pages
splatter everywhere in the main office. Lois Piper quickly
follows. Older. Tired. Needs a drink. Now.
CAPTION: LOIS PIPER
76.
LOIS (CONT'D)
Vampires! Zombies! Harry Potter
knock-offs! People writing about
their dogs! Just shoot me now!
It is at that moment when Lois first notices the camera.
Caught off-guard. What the hell??? Colette cranes her neck
over the assistant.
COLETTE
Ms. Piper? Ms. Piper?
Lois turns her attention to Colette. Who are you? Then--
magically--Lois changes. A big smile replaces the scowl.
She marches towards Colette, who is clearly not expecting a
warm reception.
Lois walks right past Colette and instead warmly shakes hands
with Dr. Xiroman.
LOIS
Dr. Xiroman. I can't believe you're
here. How lovely to see you again.
Dr. Xiroman nods his head in greeting.
LOIS (CONT'D)
Just in the neighborhood? Please
come in for a minute.
Another glance at the camera. Then, taking Dr. Xiroman by
the elbow, Lois guides him back towards her office, completely
snubbing a bewildered Colette.
LOIS (CONT'D)
My family talks about you all the
time. You were so helpful to my
sister. She's doing much better.
Colette stands there helplessly, watching her future walk
away. The assistant points in their direction: Get in there!
96 INT. PIPER OFFICE - DAY 96
Lois plops down behind her desk. Stacks of MANUSCRIPTS cover
her desk. Dr. Xiroman sits quietly in one chair. Colette
sits next to him.
LOIS
(Sighing; Distraught)
Look at my desk, Dr. Xiroman. Look
at all this. Do you know what it is?
Crap. It's all crap. Crap. Crap.
Crap. I hate my job. I hate my life.
77.
Dr. Xiroman nods: I understand.
LOIS (CONT'D)
Know what I feel like doing?
She looks at the camera.
LOIS (CONT'D)
Come in closer. I want you to get
this. Closer. C'mon. More. Closer.
Satisfied, Lois takes her free hand and SHOVES ALL THE
MANUSCRIPTS off her desk, sending them flying on the floor.
LOIS (CONT'D)
Wheeeeee!
Colette looks aghast. Lois seems free at last.
LOIS (CONT'D)
That was so...liberating. I haven't
felt this good since that night in
Paris with Salman Rushdie.
Lois growls like a tiger at the memory.
LOIS (CONT'D)
I envy you, Dr. Xiroman. Know that?
Look at your life. Your work. You
helped my sister. You've helped so
many people. You have such a positive
message to share.
The camera picks up on Lois as the light goes on, the wheels
start turning in her head.
LOIS (CONT'D)
Wait a minute. Wait a minute. Wait a
minute. A positive message to share.
Helping people. That's it!
COLETTE
(Confused)
What?
LOIS
Of course. Dr. Xiroman, you should
write a book. This could be a whole
series.
COLETTE
But--
78.
LOIS
--It's perfect! Television. Your
own blog. Personal appearances.
COLETTE
But--
Dr. Xiroman has no reaction. Colette can't believe what she
is hearing.
LOIS
Getting from Xiro to One by Doctor
Xiroman. Oh, I like that.
COLETTE
But--
LOIS
--In fact, as long as you're here
today, why don't we just get you
under contract? I know just who to
call in New York.
COLETTE
But--But. What about me?
Lois shoots her a look: What about you? Colette backs down--
not wanting to spoil the moment. Lois yells for her assistant.
Finally a slight smile crosses Dr. Xiroman's face.
97 INT. PIPER OFFICE - DAY 97
Dr. Xiroman beams as he signs the standard agency contract
so quickly drawn up for him. Lois and her Assistant appear
equally excited.
COLETTE fidgets off to the side. Then Lois hands her the pen
and points her towards the contract.
COLETTE (V.O.)
Co-Authors. Actually I'll be listed
as junior author. It's not exactly
what I wanted, but at least now I
finally have an agent. And a book
deal.
98 INT. PIPER OFFICE - DAY 98
Lois and the Assistant wave goodbye as Colette and Dr.
Xiroman leave.
COLETTE (V.O.)
My novel will have to wait a while
longer. Nyet, Colette. Not Yet. But
soon.
79.
99 EXT. RESIDENTIAL STREET - NIGHT 99
Henry delivers another pizza. Pockets the money as he walks
back to his car, whistling. Checks his delivery list. Stares
at the next address in sudden disbelief.
HENRY
Shit!
100 EXT. RICHARD BENEDICT'S HOUSE - NIGHT 100
Henry stands in the doorway, glumly clutching the PIZZA BOX.
Hesitates. Finally rings doorbell. Pause. Followed by LOUD
LAUGHTER. Door swings open. Richard stands there, wearing
only his jeans. His hair is a mess.
RICHARD
You're late, Pizza Boy.
Richard finally notices the camera.
RICHARD (CONT'D)
What the --
HENRY
(Overlapping)
They're with me. Your total comes to
nineteen dollars and sixty-five cents.
Richard pulls a crumpled twenty from his jean pocket. He
hands it to Henry. Then reconsiders, calling inside.
RICHARD
Babe, I need a single.
No response.
RICHARD (CONT'D)
C'mon, babe. Got a dollar for Pizza
Boy?
WOMAN'S VOICE
Coming!
Richard gives a last glance to the camera. He's got better
things to do. Off he goes.
Short beat. Hannah comes to the door wearing Richard's shirt
and little else, carrying a single dollar bill.
HANNAH
Here you--
Her words freeze up as she recognizes Henry. Henry and Hannah
lock eyes for a long beat. Poor kid. This is the moment.
80.
Reality smacks him in the face. Hard.
Hannah starts to hand Henry the money. He puts his hands up:
No thanks. Hannah doesn't press. Henry can't hold back any
longer.
HENRY
No distractions. The writing comes
first.
HANNAH
He's making me a better writer.
HENRY
Yeah. I bet he is.
Quietly seething, Henry nods towards the camera.
HENRY (CONT'D)
How much better are you, Hannah?
Show us. Who wrote Slaughterhouse
Five? D'ya know?
HANNAH
Henry. Don't.
HENRY
No, No. This could be quite
educational. How about Native Son?
Catch-22?
HANNAH
Why isn't it enough that I'm your
friend?
HENRY
Lord of the Flies? Portnoy's
Complaint? Do you know any author?
Harry Potter--You must know Harry
Potter.
HANNAH
Why isn't it enough that I believe
in your writing?
HENRY
--Sophie's Choice? Anything published
in the English language.
HANNAH
--That I believe in you?
HENRY
You didn't read Gatsby, did you?
Never even opened it, I bet.
81.
Enough.
HANNAH
I'm not--
She hesitates. Not for long.
HANNAH (CONT'D)
I'm not the one delivering pizzas
for a living.
Score one for Hannah.
HANNAH (CONT'D)
I'm not the one wasting my talent.
You've read all those books, sure,
but my book is being published. Is
yours?
Henry has no comeback. Hannah stares him down. The dollar
bill drops from her hand on to the ground. She retreats
back inside the house, firmly closing the front door, leaving
Henry alone.
Only then do we notice the number of the house: 4441.
101 INT. HENRY'S APARTMENT - NIGHT 101
We've never seen Henry like this. He rips down all his Richard
Benedict photos from the wall. Collects all his Benedict
books. Stuffs everything in a CARDBOARD BOX. Next he turns
his attention to all the rejection letters on the wall. Lot
of rejection. Gives them a long look. Then he snaps up the
photo of Hannah from near his computer. He takes the photo
and tacks it dead center in the middle of all his rejection
letters.
Henry stares at the photo, oblivious to the camera, consumed
by Hannah's radiant smile. His latest, and most painful,
rejection. It's over.
Henry understands what must be done. He goes over to his
desk. Sits down at his laptop. One last glance over at
Hannah's photo as he turns the computer on.
He contemplates for a second. Then begins typing.
102 INT. JOHN'S MOBILE HOME - DAY 102
Sigrid's Wall of America has been taken down. A few nail
holes and tape marks are all that remain--except for the
single PHOTO of John still hanging in the center.
82.
103 EXT. JOHN'S MOBILE HOME - DAY 103
Back to the two lawn chairs--with one prime difference.
Sigrid's chair is empty. John sits by himself. This is a
softer, more reflective, John talking to the camera.
JOHN
Well, Strudel shipped out.
A side glance to the empty chair.
JOHN (CONT'D)
Oh, she wanted to stay, but... I
didn't have time for a relationship.
Not with my book selling like it is.
She, well, she became collateral
damage. Hated to end it. What a
dame. I mean...Sigrid. She had the
smarts of my first wife. The body
of my second wife. Thank god she
wasn't anything like my third wife.
I did the right thing. Yes, sir.
Good acting, John. He looks back to the empty chair. Can't
avoid reaching over and giving the arm rest a little love
tap.
104 INT. JOHN'S MOBILE HOME - DAY 104
John packs COPIES OF HIS BOOK ever-so-carefully into an old
standard issue military DUFFEL BAG.
JOHN (V.O.)
What matters now is that the Roaring
Lion book tour is about to begin.
Can't wait to hit the road and meet
the good people of this nation.
Good American people.
John gazes over at his photo on the wall. Salutes himself.
105 INT. ALAN AND COLETTE'S HOUSE -- DINING ROOM - NIGHT 105
Meeting of the writing group. Not yet started. John, Alan,
and Hannah sit around the table. No refreshments being
served. No small talk. Everyone is quiet.
Hannah looks fantastic. More makeup. Nicer clothes. Fidgets
in her chair. Seems anxious. Stares at her new KINDLE.
FRONT DOOR opens and closes. FOOTSTEPS approaching. It's
Henry. Looks determined. Man on a mission. Carries a satchel.
HENRY
Sorry I'm late.
83.
John grunts something. Hannah remains quiet. Avoids eye
contact with Henry. Henry reaches into his satchel and pulls
out stapled, typed pages. Multiple copies. Hands one to
each of the three group members. Puts another down where
Colette will sit.
JOHN
Wutch you got here, Obert?
HENRY
New pages. I'm ready to read.
ALAN
Way to go, Henry.
Even Hannah looks surprised. She and Alan thumb through their
copies. John sniffs at the front page. Henry slides in across
from Hannah. Looks satisfied. FRONT DOOR opens again. MORE
FOOTSTEPS. Colette arrives with Dr. Xiroman in tow. Xiroman?
The others exchange puzzled glances.
JOHN
Christ. What's he doing here?
COLETTE
I've invited Doctor Xiroman to join
our writing group.
ALAN
You must be joking, Colette.
COLETTE
I am not joking. And, as a matter
of fact, I'll have all of you know
that the doctor and I are soon to be
published authors. We've signed with
The Lois Piper Agency.
Colette stands there, waiting for the applause and
congratulations, but all she receives is stunned silence.
HENRY
You can't do this.
COLETTE
Why not? With William gone, we have
an opening.
ALAN
Henry's right. We all have to agree
on new members.
COLETTE
I don't care about your silly rules.
84.
ALAN
I am the leader of the group--
COLETTE
--Oh, please. Alan.
ALAN
(Voice rising)
I am the leader of the group.
COLETTE
And Dr. Xiroman is my co-author and
he is joining "the group."
ALAN
He is not.
COLETTE
He is.
ALAN
Is not.
COLETTE
Is.
ALAN
Is n--
Hannah can't take it any longer. She throws up her hands.
HANNAH
(Yelling)
STOP!
The room turns quiet. All eyes on Hannah. She composes
herself.
HANNAH (CONT'D)
I'm leaving.
Surprise all around. Hannah avoids looking at Henry.
HANNAH (CONT'D)
It's time. Richard is going to mentor
me. Today's the 22nd. Two plus two
equals four and we all know four's...
Her voice trails off. Why bother explaining. Just do it.
HANNAH (CONT'D)
Anyway, I'm quitting.
There. She said it. Hannah looks so relieved. She's done.
Indignant, Colette stares her up and down.
85.
Points to Dr. Xiroman.
COLETTE
Well, in this case one plus one equals
one very successful writing team. I
can't believe you, Hannah. You're
doing this just to upstage our news
about landing an agent.
ALAN
Stop it...
COLETTE
No, this is what it's all about.
The spotlight always has to be on
Little Miss Sunshine. Her agent. Her
book deal. Her movie deal.
John shoots to his feet.
JOHN
News flash for you all. John K.
Butzin is also saying Sayonara.
Heading off on my international book
tour.
HENRY
International?
JOHN
Damn straight. Tijuana.
(Beat)
I'm done with you pussies.
John snatches up his folder and marches out of the house.
Silence. Colette starts to sit down at the table--motions
for Xiroman to join her. Final straw for Alan. Stares
directly at Colette.
ALAN
Get out. Now.
Colette can't believe what she's hearing.
ALAN (CONT'D)
As the leader of this writing group,
I've determined your actions are
contrary to our stated purpose. Get
out.
COLETTE
You can't kick me out. I live here.
She's right. Alan considers his options.
86.
ALAN
Fine. Then go to your room.
Points to Xiroman.
ALAN (CONT'D)
And take him with you. Won't be the
first guy.
Alan means business. Colette stands up straight. Gathers
up her materials.
COLETTE
We'll certainly have plenty to discuss
in therapy.
ALAN
Go by yourself. I'm done.
COLETTE
Oh. Just like always--Alan finishes
first.
She grabs Dr. Xiroman's arm.
COLETTE (CONT'D)
Come, Dr. Xiroman. I'm looking forward
to working with a real doctor. On
our new book.
Colette and Dr. Xiroman disappear. Frustrated, Alan takes a
deep breath. Reaches inside his coat pocket for his recorder.
Turns it on.
ALAN
Idea for novel.
Alan hesitates. Thinks for a second. Turns off the recorder.
Slides it across the table to Henry.
ALAN (CONT'D)
Here. Take it. Maybe you can use
some of my ideas in your novel.
Alan flashes a "thumbs up" sign to Henry and to Hannah. He
starts to leave, but remembers the camera.
ALAN (CONT'D)
(To camera)
This was supposed to be a reality
series.
That's off his chest. Alan leaves Henry and Hannah alone at
the table. Awkward silence.
87.
He stands up. Calmly puts his typed pages back in his
satchel. Leaves Alan's recorder on the table, walks away
without looking back.
HANNAH
Henry . . .
Don't waste your breath. He's gone.
106 INT. BOOKSTORE - DAY 106
Hannah's book release party. Great turnout. Her professional
PHOTO adorns a POSTER announcing the publication of Sleeping
on the Moon. Boy, Hannah looks terrific in that photo.
Richard hovers around the makeshift bar, drink in hand.
Maureen, looking radiant, accepts the congratulations of
well-wishers. TABLE prominently centered has piles of Hannah's
novel, waiting to be signed.
Hannah talks to the camera, looking especially radiant. This
is her day and she is more than ready for her close-up.
Totally different in wardrobe and appearance.
HANNAH
Exciting, isn't it? I'm so nervous.
I don't know half these people. Most
of them are Richard's friends.
Hannah waves to Richard. He waves back. Hannah glances around
the room, as if looking for someone in particular.
HANNAH (CONT'D)
Nobody's showed up from my old writing
group. Not one. Probably shouldn't
be surprised. Haven't really heard
from anyone in months.
She is asked a question.
HANNAH (CONT'D)
Favorite writer? You keep asking me
that. Too funny. Sorry. Still can't
think of one.
107 INT. BOOKSTORE - DAY 107
Hannah sits behind the table, signing books. Maureen stands
behind her helping to orchestrate the line of people.
Hannah acts very gracious. Signing a book, smiling and
chatting up the guests. She seems at ease. Everything is
going her way. She looks past the line. Her eyes light up
and she jumps to her feet.
88.
HANNAH
Oh my God!
Hannah bolts from the table, cuts through the line and finds
Henry standing alone.
HENRY
Hi, Hannah.
HANNAH
Henry. Ohhhhh. Thank you. Thank
you. Thank you so much for coming.
Hannah throws her arms around Henry, giving him a long
heartfelt hug, almost smothering the poor guy--not that he
complains. She lets go and gives Henry a friendly once-over.
HANNAH (CONT'D)
You're the only one from the group
who showed up.
Still awkward for them to be around each other.
HANNAH (CONT'D)
I can't believe you remembered my
signing.
HENRY
Well, pretty hard to miss that article
about you in People magazine. Just
wanted to say hi. And congratulations.
Maureen comes up behind Hannah. Beams at Henry, and waves.
MAUREEN
Hello, Henry.
(To Hannah)
Hannah, come back. Your public awaits.
HENRY
Go on. They need you.
HANNAH
Please stay.
HENRY
Can't. Sorry.
HANNAH
Oh.
HENRY
Yeah. Hot date. You know. Can't keep
her waiting. A flight attendant.
89.
HANNAH
(Buying the obvious
lie)
A flight attendant?
Henry nods.
HANNAH (CONT'D)
Well, then. Guess you can't stay.
HENRY
Sorry.
HANNAH
One sec. Wait here.
Hannah runs back to the signing table, pulls out a book and
scribbles something inside. She brings the book back over to
Henry.
HANNAH (CONT'D)
This is for you.
HENRY
(Protesting)
Hannah . . .
HANNAH
Take it.
Henry accepts the book. Hannah gives him another long hug.
HANNAH (CONT'D)
Do you want to say hello to Richard?
HENRY
No. No, thanks.
HANNAH
C'mon. It will take just a minute.
HENRY
I can't. Really.
MAUREEN
Dear, sweet Hannah. Please!
HANNAH
Just say hi.
Henry tries to back away. Hannah leans forward, grabs his
hand and tugs him in the other direction.
HENRY
I've really got to --
90.
HANNAH
Oh, c'mon. You'll --
Then -- BAM, Henry, not looking where he's going, slams into
Richard accidentally, spilling Richard's drink all over the
author. Horrified looks all around.
108 EXT. OUTSIDE BOOKSTORE - DAY 108
Outside the bookstore, Henry stands on the sidewalk, talking
to the camera as he clutches Hannah's book.
HENRY
Well, I did it. I showed up to
Hannah's signing. I congratulated
her. I supported her, writer to
writer. And I finally got introduced
to Richard Benedict--formally. Sort
of.
Henry opens up his copy of Hannah's novel. He turns quiet,
obviously moved. He holds the book up for the camera to
see.
HENRY (CONT'D)
Look. Hannah dedicated her novel to
me. Just like she promised.
Right beneath the printed dedication For Henry Obert, Hannah
has written, For Henry, My Forever Friend xoxoxo Hannah.
Henry studies the book for a second. Snaps it shut.
109 INT. KELLER OFFICE - DAY 109
Literary agent David Keller being interviewed for the camera
in his office. Stacks of MANUSCRIPTS on his desk. David
pulls one out.
DAVID
This is why I love LA. True story.
This guy delivers a pizza to my house
one night. Then the very next week,
my wife has someone come in and clean
the carpets. Guess what? Same guy.
Small world, isn't it? So we get
talking. He tells me his name's
Henry. He's a writer. He's just
finished a manuscript. Offers us a
discount on the carpets if I'll read
ten pages. I like that thinking.
So I read ten pages. Wow. I want to
read ten more. Before I know it,
I've read the entire book.
(MORE)
91.
DAVID (CONT'D)
Just loved it. Fresh voice.
Interesting characters. And that
ending.
David thumbs through the manuscript.
DAVID (CONT'D)
The washed-up, impotent novelist
getting gunned down by Scott, the
jealous, underemployed, pizza delivery
man. This kid nailed it. It's on the
page, know what I mean? So I intend
to sign Mr. Henry Obert and get Pizza
to Go out there. I predict a best
seller. Probably a movie, too.
I'll call him with the good news. Or
maybe I'll just order a pizza.
110 INT. HENRY'S APARTMENT - DAY 110
Henry taking down the rejection letters from his walls and
packing them in a cardboard BOX.
HENRY (V.O.)
David Keller did call me. One week
later, he sold Pizza to Go to a New
York publisher. They decided to
rename it A Slice of LA. I did it.
I sold my novel.
Henry puts the last of the rejection letters away. Finally,
he picks up a FRAMED PHOTO. INSERT shows the six members of
the writing group from happier times--the photo snapped in
the restaurant. Full of hope and promise.
HENRY (V.O.) (CONT'D)
I miss the Tuesday night group.
They made me a better writer. They
taught me how to handle rejection.
Henry lingers on the photo before packing it away, as well.
111 INT. RESTAURANT #2 - DAY 111
Mostly empty. Henry sits at a booth, alone, a new copy of
Gatsby in his hands. He talks to the camera. CUP OF COFFEE
in front of him.
HENRY
Hannah was right. The writing must
always come first. Everything else
waits. Everything. That's what I
did finally. Finished my novel.
(MORE)
92.
HENRY (CONT'D)
Sold it. Now? Now I'm open. Ready
for whatever--
WAITRESS stops by the table, refilling Henry's cup. Then
setting the pot on the table, she reaches over and snatches
the copy of Gatsby.
Surprised, Henry glances up.
HENRY (CONT'D)
--happens next...
It's her again. That young waitress with purple streaks in
her hair and matching purple glasses thumbs through the book.
Henry finally checks out her name tag: Eudora.
Clutching the book, Eudora recites from memory:
EUDORA
Gatsby believed in the green light,
the orgiastic future that year by
year recedes before us. It eluded us
then, but that's no matter--
HENRY
(Surprised)
--Tomorrow we will run faster, stretch
out our arms further...
Eudora nods. Henry is amazed.
HENRY (CONT'D)
You know Fitzgerald?
EUDORA
Not intimately. He died here, you
know.
HENRY
December 21, 1940.
EUDORA
I go by there sometimes.
HENRY
The place on Hayworth.
EUDORA
Is that weird. That I do that?
HENRY
No. No. Not at all.
Eudora smiles, glad for the positive reinforcement.
93.
EUDORA
OK. Good. Because, you know, I don't
want people to think I'm weird.
HENRY
Of course not. Do you write?
EUDORA
Kinda, sort of. But I'm thinking of
joining a writing group.
Henry bites his tongue. Eudora nods towards the camera.
EUDORA (CONT'D)
So what's this? Some kind of reality
show, or something?
Henry smiles. The two continue their idle chatter.
CARD: EPILOGUE
112 EXT. MOBILE HOME PARK, PHOENIX -- DAY 112
Caption reads: PHOENIX, ARIZONA.
JOHN (V.O.)
After a very successful book tour,
John K. Butzin heard the Grand Canyon
State calling. This is home now.
113 EXT. MOBILE HOME PARK (ARIZONA) -- DAY 113
John's trailer. COSTUMED CHILDREN knock on the door while
holding their trick or treat bags.
JOHN (V.O.)
Real God-fearing Americans live here.
Good people. Not those La La pussies.
John opens the front door.
CHILDREN
Trick or Treat!
John responds by dropping a BOOK in the first bag.
JOHN
Look at this treat you get. A copy
of Roaring Lion by John K. Butzin.
Happy Halloween.
The children are dumbfounded. John moves on to the next child.
94.
114 INT. RESTAURANT #2 - DAY 114
William is back at the counter, looking as scruffy as ever.
Off to the side stands a GEEKY KID, gripping a FLIP PHONE
aimed directly at William. William talks to our camera.
WILLIAM
C'mon. Admit it. You missed me.
It wasn't as interesting once I left,
right?
He winks. The Kid doesn't move.
WILLIAM (CONT'D)
I knew the group wouldn't last without
me. No way. Losers.
He nods towards his companion.
WILLIAM (CONT'D)
Him? Oh. It's my new project. A
reality TV show based on my life.
You know...women I meet...thoughts
that pop into my head. Kid follows
me all around. 24/7. Actually I got
the idea from you guys. Same concept--
just better characters.
A question is asked.
WILLIAM (CONT'D)
Which network? Um, well...it's
a...it's P-P-A...Pasadena Public
Access. Oh, people watch. Yeah.
We're on right after that pet psychic.
A waitress's HAND reaches in and refills William's coffee
cup. He likes what he sees.
WILLIAM (CONT'D)
Thanks, babe.
He looks over to Geeky Kid.
WILLIAM (CONT'D)
Get a close-up on her. Nice and
tight.
William will never change.
WILLIAM (CONT'D)
And, hey, Kid. Lend me five bucks.
I want to leave an extra special
tip.
95.
115 INT. SCHOOL HALLWAY (LOS ANGELES) -- DAY 115
TWO POSTERS ON EASEL in the hallway. First poster announcing:
ALAN (V.O.)
After I sent Colette packing, I was
ready for a new chapter in my life...
SATURDAY'S ADULT EDUCATION CLASSES.
PUPPET MAKING meets in Room 22, and QUILTING is in Room 24.
WRITING 20/20 is in Room 26.
And DOG OBEDIENCE is out in the courtyard, but we already
know that--the loud sound of BARKING DOGS and PEOPLE YELLING
"SIT" is heard in the background.
Second poster is a new version of QUIET, PLEASE--WRITERS AT
WORK.
ALAN (V.O.) (CONT'D)
I found it teaching Adult Ed. "Writing
20/20" is the class. Helping writers
to see. Inspired by my new self-
published e-book of the same title.
116 INT. SCHOOL CLASSROOM - DAY 116
STUDENTS scattered around the classroom. All adult. Ethnic
and demographic mix. Listening attentively. Taking notes.
The DOGS continue barking outside.
Alan stands in front of the class. Beaming. Excited, He CLAPS
his hands once.
ALAN
OK. You've got ten seconds. Write
down the name of your character.
First name that pops into mind. C'mon.
Tell me your character.
Students think for a second. Start scribbling a name.
ALAN (CONT'D)
1-2-3-4-5-6-7-8-9-9.5-9.75-10 seconds.
OK. Pass your names up front here.
Let's see what you came up with.
Students hand their papers forward. Alan starts collecting
them.
ALAN (CONT'D)
The right name is so important for
your character. OK. What do we have?
96.
He looks at the first piece of paper.
ALAN (CONT'D)
Here's one I haven't heard. Heywood
Ja-Jabloom???
That's not it. Alan tries again.
ALAN (CONT'D)
Or is it Jablom? Maybe Jablowme.
Heywood Jablowme?
Laughter and guffaws from the students. Alan looks puzzled.
ALAN (CONT'D)
What's so funny? Heywood Jablowme?
Am I missing something? Heywood
Jablowme?
The students continue to laugh. Poor Alan.
117 EXT. ALAN AND COLETTE'S HOUSE - DAY 117
Catch the FOR SALE sign posted on the front lawn.
118 EXT. COLETTE'S GARDEN - DAY 118
Colette engages in intense meditation on her bench. The garden
around her is now dead.
COLETTE (V.O.)
Dr. Xiroman and I wrote our book. It
actually did fairly well.
INSERT BOOK. Title in large letters: Getting from Xiro to
One by Dr. Xiroman in equally large letters. At the bottom
of the book, in very tiny letters, reads With Colette Mooney.
COLETTE (V.O.) (CONT'D)
Dr. Phil turned us down. But we had
a lovely time on Anderson.
INSERT PHOTO of smiling Anderson Cooper.
COLETTE (CONT'D)
Anderson actually wanted us back,
but Dr. Xiroman and Lois Piper started
dating. They eloped to Vegas last
month. Off on a world cruise.
INSERT PHOTO of Dr. Xiroman and Lois being married in Vegas
by ELVIS.
97.
COLETTE (CONT'D)
So in less than a year, I've lost my
husband, my co-author, and my agent.
But I still have Nyet, Not Yet. And
I will find an agent to sell my novel.
Look. I bought an ad in the trades.
Colette reaches for her reading glasses and shares the ad
copy with us, reading aloud:
COLETTE (CONT'D)
"The magic fingers that just typed
the publishing world's next best
selling novel are now waiting to
provide free massage to interested
literary agents. Experienced.
Sensitive. Discreet. Memorable. No
Junior Agents, please."
Looking quite pleased with herself, Colette lets the copy
fall away.
COLETTE (CONT'D)
It's how I met my last husband. I
think it can work again. No worries.
After all, I am a graduate of --
Her iPhone starts playing music, signaling a phone call.
Colette smiles in knowing satisfaction--publication is just
a touch away
119 EXT. MOVIE SET -- DAY 119
The MOVIE CREW, on location, scurries about, trying to line
up their next shot.
HANNAH (V.O.)
Welcome to Sleeping on the Moon: The
Movie! It's so exciting!
120 EXT. MOVIE SET -- DAY 120
Hannah, looking good, sits in a chair, a BOOK on her lap.
She is talking to the camera. CREW in the background.
HANNAH
Let's see. My book ended up on the
best sellers list. Stopping at Number
13.
She crinkles her nose in obvious disappointment.
HANNAH (CONT'D)
Then Richard left me.
(MORE)
98.
HANNAH (CONT'D)
I'm sure the two were connected. No
loss. Such an ego. But guess what?
I've gone back to school!
To underscore the point, she holds up a the book--it's The
Great Gatsby.
HANNAH (CONT'D)
Look what I'm reading for class.
Isn't that pretty, you know, what do
they call it? What's that word?
She hears an answer.
HANNAH (CONT'D)
Ironic. That's it. Pretty ironic.
But I'm going to get my degree.
Then I'll be smart. Really smart.
Short beat
HANNAH (CONT'D)
You know how you kept asking me that
question. Who's my favorite writer?
Short beat.
HANNAH (CONT'D)
Turns out I do have one. Mr. Henry
Obert. He's become a great writer.
A published author.
She smiles.
HANNAH (CONT'D)
I knew him when.
She likes her answer. But then hesitates.
HANNAH (CONT'D)
Probably shouldn't tell him I said
that, 'kay?
She winks.
HANNAH (CONT'D)
Keep it between us.
Goodbye Hannah. Good luck.
99.
121 EXT. FITZGERALD/GRAHAM HOME -- HOLLYWOOD - DAY 121
HENRY (V.O.)
Well, my novel finally came out.
Seems to be doing OK.
122 EXT. FITZGERALD/GRAHAM HOME/SIDEWALK -- DAY 122
Henry looks more confident. More poised. Better clothes.
The frog has become the prince.
He glances back at the building.
HENRY
You know Fitzgerald said that all
good writing is swimming under water
and holding your breath. He was right.
But after all I've been through, I
think I'm finally ready to exhale.
He looks at his watch.
HENRY (CONT'D)
Oops. I'm late. Gotta go.
123 EXT. BOOKSTORE -- DAY 123
SHOPPERS coming in and out of the store. POSTER in front
window announces book signing for Henry Obert, author of
Slice of LA.
Right next to BANNER announcing GOING OUT OF BUSINESS. And
next to the banner--a YOUNG MAN leans up against the wall,
waiting, passing time reading his KINDLE.
124 INT. BOOKSTORE - DAY 124
We jump to the woman clutching FOUR COPIES of Henry's novel.
Wait a minute--we recognize those trendy glasses. It's Eudora,
a rather pregnant Eudora.
EUDORA
(Laughing)
Yes, I'm totally busted. I'm buying
four copies of A Slice of LA. One
for each member of my writing group.
Also because I think Henry Wayne
Obert is the greatest new writer of
the decade! Sexiest, too!
Eudora is having way too much fun.
EUDORA (CONT'D)
OK. So he's my husband. I'm biased.
But I still think the kid can write.
100.
125 INT. BOOKSTORE - DAY 125
Henry sits at the table in the bookstore, graciously and
happily signing copies of his book for the SHORT LINE OF
PEOPLE waiting.
This is his moment, the one that brought him all the way
from Illinois. He has arrived. As a person. As a writer.
Henry looks up. Eudora is nestled comfortably in a nearby
leather chair, reading away. She looks up.
They make eye contact. Her smile is all the encouragement
Henry needs. All that he will ever need.
He reaches for the next book to sign.
FADE OUT:
ANONYMOUS
Written by
John Orloff
1 BLACK SCREEN 1
TITLES BEGIN over the SOUNDS of city traffic.
FADE UP:
2 EXT. THEATER DISTRICT OF BROADWAY - DUSK 2
The sidewalks are filled with theater-goers heading for
their shows. Cabs line the streets.
SIDE ALLEY
A cab quickly turns into the alley, coming to a
screeching halt. A Man in a Grey Suit jumps out and
rushes to the side entrance of a theater.
In the background we see that the title of the play,
"Anonymous", is written on the theatre's marquee...
3 INT. BROADWAY THEATER - BACKSTAGE - DUSK 3
We follow the Man in the Grey Suit as he rushes through
narrow backstage hallways, passing several ACTORS
dressing in Elizabethan costumes, applying their make-
up, etc...
TITLES CONTINUE.
4 INT. BROADWAY THEATER - BACKSTAGE/EMPTY STAGE - DUSK 4
The curtains are still closed, and the sound of the
audience excitedly MURMURING behind them is heard. .
Stagehands are moving stage lights as--
A STAGE MANAGER
takes a nervous peek through the curtains to check the
audience-- it's a full house. He holds a prop umbrella
in one hand, anxiously checks his watch in the other.
He looks on both wings of the stage-- and then relief
floods his face as he sees The Man in the Grey Suit
hurrying over to him. The Stage Manager wordlessly
hands him the umbrella and signals to a stagehand in
the background.
The curtains start to OPEN and the MURMUR of the
audience dies down.
1
pg. 2
5 INT. BROADWAY THEATER - THE STAGE - CONTINUOUS 5
The man with the umbrella stands on the empty stage, a
single light on him. He is "PROLOGUE". (We will see
the same actor later as the "Prologue" of Henry V).
"Prologue" regards his audience for a beat before:
PROLOGUE
Soul of the Age!
The applause, delight, the wonder of
our stage!
Our Shakespeare, rise...
(beat, repeating)
Our Shakespeare... For he is all of
ours, is he not? The most performed
playwright of all time! The author of
37 plays, 154 sonnets, and several
epic poems that are collectively known
as the ultimate expressions of
humanity in the English language. And
yet... And yet...
(beat)
Not a single manuscript of any kind
has ever been found written in
Shakespeare's own hand. In four
hundred years, not one document-- be
it poem, play, diary or even a simple
letter.
(beat)
He was born the son of a glove-maker,
and at some unknown time, armed with
but an elementary school education, he
went to London where, the story goes,
he became an actor and eventually a
playwright.
OFF STAGE
A stagehand takes a wooden hammer and beats against a
flat metal pate, creating the SOUNDS of THUNDER.
Another stagehand starts to lift shutters in front of a
stage light back and forth to create LIGHTNING STRIKES.
ON STAGE
"Prologue" opens his umbrella.
PROLOGUE (CONT'D)
He died at the age of 56, and was
survived by his wife and two daughters
who were, like Shakespeare's own
father, irrefutably illiterate.
2
pg. 3
OFF STAGE
In the rafters a stagehand opens valves. It starts to
RAIN.
PROLOGUE (O.C.) (CONT'D)
His will famously left his second best
bed to his widow. But it made no
mention of a single book or
manuscript.
The actor who will play "Ben JONSON" (mid 30's) appears
in the wings, bearded, ready to go on stage, holding a
prop leather manuscript. Behind him a group of
Elizabethan "soldiers" strap on their swords.
ON STAGE
"Prologue" continues, as do TITLES.
PROLOGUE (CONT'D)
Is it possible Shakespeare owned no
books at his death because... he could
not read? That he wrote no letters
because he, like his father before him
and his children after him, could not
write?
(lets that sink in, then)
Our Shakespeare is a cypher, a ghost;
his biography made not by history...
but by conjecture. His story not
written with facts, but with...
imagination.
The rain has intensified. "Prologue" turns and the
camera starts to leave him and the TITLES END....
PROLOGUE (CONT'D)
(more energetic)
So! Let me offer you a different
story. A darker story... Of quills
and swords. Of power and betrayal.
Of a stage conquered, and a throne
lost!
A FLASH OF LIGHTNING, and for a moment only sheets of
RAIN are visible. No stage, no "Prologue". Then,
trough the rain, we see a form of a man... Ben
Jonson... running. Then we make out the shapes of
houses... a street. We're not on a stage anymore. We
are:
3
pg. 4
6 EXT. BANKSIDE LONDON - 1604 NIGHT 6
Jonson-- carrying the manuscript-- runs up the street
toward a large circular theater.
He frantically opens the wooden door to the theater--
7 INT. THE ROSE THEATER - NIGHT 7
--and he quickly bolts it behind him, turns, and
desperately looks for a place to hide. He runs towards
the stage as--
8 EXT. THE ROSE THEATER - CONTINUOUS 8
About a dozen uniformed guards reach the door. They
are led by Sir Richard POLE (40), Captain of the Guard.
POLE
Break it down!
And several of the guards charge the door with their
pikes, HITTING it hard.
POLE (CONT'D)
Again!
9 INT. THE ROSE THEATER - CONTINUOUS 9
Jonson hurries backstage, and disappears from our view
just as--
10 EXT/INT. THE ROSE THEATER - CONTINUOUS 10
--the guards SMASH the door open. Pole is the first
in.
POLE
Jonson! Jonson!! Show yourself!
The soldiers immediately spread out into different
parts of the theater. Jonson's gone. Because--
JONSON
has moved under the stage silently scurrying like a rat
trying to find a place to hide among the stacks of
props and costumes (swords, masks, flags and banners,
shields, barrels, canons, etc.) But Jonson freezes
when he sees--
4
pg. 5
THROUGH THE CRACKS OF THE STAGE'S FLOORBOARDS
--the soldiers jump onto the stage and spread out, Pole
amongst them.
POLE (CONT'D)
Out with you! Jonson! We'll smoke
you out like a rat if we have to!
(beat)
Jonson?! Jonson!!
Nothing. A beat, then--
POLE (CONT'D)
(to a soldier)
Torch it.
The soldier hesitates.
POLE (CONT'D)
Torch it! All of you!
The soldiers obey, lighting fire to the walls, the
galleries, the columns as--
JONSON
GASPS in horror. Desperate-- he spies an open metal
box nearby filled with un-used fireworks.
He tosses the fireworks out of the box-- and then
places the bound manuscripts in their place, then
closes the box. Then-- he grabs a nearby rapier as--
FLAMES
--begin to take hold everywhere: the columns at the
front of the stage... the trompe-l'oeil walls... the
seating galleries... the columns...
A TRAP DOOR
opens center-stage, and Jonson JUMPS out, the rapier in
his right hand, ready for a fight. But-- three
soldiers jump onto the stage, pikes ready.
Jonson-- no fool- turns and runs for the other end of
the stage-- but then runs smack into four other
soldiers!
Ballocks!
Jonson turns this way and that-- nowhere to run-- grins
wryly, drops his sword. Raises his hands in surrender.
5
pg. 6
11 EXT. THE ROSE THEATER - NIGHT 11
Jonson, his hands tied behind him, is pushed through
the door, Pole following.
A small crowd of actors, whores, etc., watch the
theater burn. The guards have to push their way
through them.
INSERT
The fire reaches the fireworks below the theater's
stage, and--
BACK TO SCENE
-- the SOUND of fireworks EXPLODING makes Jonson turn
and see:
THE THEATER
Timbers CRASH and fireworks EXPLODE over the theater.
12 EXT. THE THAMES RIVER - DAWN 12
A longboat carrying Jonson, Pole and the guards makes
its way towards the Tower Of London.
13 INT. TOWER OF LONDON - AN INTERROGATION ROOM - DAWN 13
Jonson is thrown into a chair, a guard on either side
of him. It's dark-- the only light coming from a few
torches in the walls, and a large fire pit at the far
side of the room.
An INTERROGATOR (30's) faces him. Dressed all in
black, he is wispy thin.
INTERROGATOR
You are Benjamin Jonson, playwright?
Son of William Jonson, glass-blower,
son of James Jonson brick-layer?
Jonson nods.
INTERROGATOR (CONT'D)
And have you ever been arrested
before, Mr. Jonson?
JONSON
I'm a writer, aren't I? Of course
I've bloody well been--
6
pg. 7
And a guard BACKHANDS Jonson on the face full force--
hard enough to send Jonson and the chair to the ground.
His nose starts to bleed.
As the Guards pull him up, the Interrogator looks
across the room-- there is someone else there, a
FIGURE, watching, but cloaked in the darkness.
Jonson notices the figure as well. We hear a voice
from the darkness.
FIGURE
Ask him about the plays.
JONSON
(to the Interrogator)
Plays?
(to the Figure)
Which would you prefer, my lord? A
pastoral? An historical? An
historical-pastoral, or an hysterical
historical pastoral--
And SMACK! He's hit by the guards again. He SPITS out
a tooth.
INTERROGATOR
We are not interested in your plays,
Jonson. We are interested in the
plays given to you by Edward de Vere,
Earl of Oxford.
Jonson stares at him a beat, and then looks into the
darkness.
JONSON
I'm sorry my lord, but I am not sure I
know whereof you speak. I have had
the honor of meeting his lordship--
And SMACK--
FLASH CUT TO:
FACES
laughing. Not in this room, somewhere else. Somewhere
outside. Before we really understand what we are
seeing we are:
BACK IN THE CELL
Jonson blinks, trying to stay conscious. His mouth is
ripped, bleeding. So is his nose.
7
pg. 8
The skin has broken on his forehead. The Interrogator
leans into the bloody Jonson.
INTERROGATOR
Where are the plays?
Before Jonson even has a chance to answer-- SMACK!
CUT TO:
MORE FACES
Laughing. We are:
14 INT. THE ROSE THEATER - DAY 14
And it is nine years earlier. The faces come from an
audience watching a play. They find the performance
hysterical.
15 EXT. ROSE THEATER/BANKSIDE LONDON - CONTINUOUS 15
The Rose towers above the nearby buildings "Bankside"
(the part of London that houses the theaters,
whorehouses, etc.).
The Rose towers above the nearby buildings "Bankside"
(the part of London that houses the theaters,
whorehouses, etc.).
SOUTHAMPTON (O.S.)
Well?
TWO MEN
walk towards the theater. Edward de Vere (47), the
Earl of OXFORD, an intensely handsome man. His clothes
have seen better days.
His companion is Henry Wriothesley, Earl of SOUTHAMPTON
(22). Blonde, attractive, a bit of a pretty boy-- and
extremely enthusiastic.
SOUTHAMPTON (CONT'D)
Wonderful, isn't it?
OXFORD
(frowning slightly)
Well, it's certainly... big.
8
pg. 9
SOUTHAMPTON
I promise you, Edward, you've seen
nothing like it before! Nothing!
OXFORD
Bricklayers and whores watching
Aristophones? You're quite right,
Henry, not only have I never witnessed
it, I'm not sure I care to.
SOUTHAMPTON
(teasing)
You're an elitist, you know that,
Edward?
Oxford pauses at the entrance.
OXFORD
There won't be puppets, will there?
Southampton grins and gives a few coins to an USHER,
who escorts the two of them (the retainers stay
outside) inside.
USHER
My lords...
INT. THE ENTRY OF THE ROSE THEATER - CONTINUOUS
The usher takes them up a flight of stairs. Oxford
observes everything as they walk.
SOUTHAMPTON
The stage-craft is quite spectacular.
Far more elaborate than anything I've
seen at court. I've witnessed be-
headings that god as my witness look
as real as at the Tower, cannons fired
in battle...
They come to the second floor, where a SELLING-MAID has
a box of food and drink in front of her bosom-- much
like a match-stick girl.
SELLING-MAID
Ale? Mutton, mi' lord?
Southampton waves her off as they follow the usher up
another flight of stairs.
9
pg. 10
SOUTHAMPTON
...and last week, they had some sort
of a device to hoist cherubs into the
air and fly over the entire audience!
OXFORD
An ap� mekhanes the�s. Deus ex
machina. Machine of the Gods.
And as they ascend up more stairs, Oxford catches
glimpses of the stage and performance through the
rafters and over the heads of the attending audience.
OXFORD (CONT'D)
Whenever the Greeks wrote their heroes
into a situation from which they
couldn't write their way out--
Oxford is becoming intrigued by the theater, almost
despite himself.
OXFORD (CONT'D)
--Out came the ap� mekhanes the�s...
As when Hippolytus is saved by
Artemis, or Medea flown to Athens...
Always good for an ap� mekhanes the�s
was Euripides
Oxford continues up, two steps behind Southampton.
They come to the third floor and enter the box seating
area reserved for nobles, giving Oxford his first real
look at the theater itself. Oxford looks around and
sees-
FROM OXFORD'S POV
Audience members LAUGHING-- others DRINKING-- maids
SELLING food-- the actors ACTING...
It's alive. Magical.
BACK TO OXFORD
Oxford takes it all in, almost stunned by it.
ON-STAGE
The actor William SHAKESPEARE (30) plays a commoner.
He is handsome, sexy, charismatic; and holds a tankard
of ale, and SWIGS from it constantly.
Another actor SPENCER (30) plays "FASTIDIOUS"; a
pompous, over-dressed, caricature of a nobleman.
10
pg. 11
He wears an enormous feather on his hat. Also on stage
is an actor called John HEMINGE (late 40's), who plays
"Sogliardo"
SHAKESPEARE
And whither were you riding now,
signior?
"FASTIDIOUS"
Who, I? What a silly jest's that!
Whither should I ride but to the
court?
SHAKESPEARE
O, pardon me, sir, twenty places more;
your hot-house, your pig-house, or
your whore-house!
The audience ROARS in laughter as Shakespeare looks
below at a buxom young lady among the "groundlings".
He smiles seductively. She smiles back.
BACKSTAGE
Jonson (now 25 and clean-shaven) is watching the
performance from behind a curtain, silently speaking
the lines with the actors.
IN THE RAISED SEATING
A group of playwrights and poets watch the play with an
air of judgement. They are: Christopher "Kit" MARLOWE
(32), young, brilliant, a bit foppish (he likes the
boys), Thomas NASHE (late 30's)-- a heavy-set, a hard
drinking satirist-- and Thomas DEKKER (29), considered
a bit of a hack by his colleagues.
They are called the "Mermaid's Wits" because they
frequent a pub named The Mermaid's Tavern.
NASHE
(takes a swig of ale)
His second play, and almost a full
house.
(burps)
He's got a wit, does Jonson.
MARLOWE
That might be so, but like a grain of
wheat hid in a bushel of chaff: you
shall seek all day ere you find it,
and when you have it, it's not worth
the search!
11
pg. 12
The others smile as a WOMAN passes.
WOMAN
Ale! Ale!!
DEKKER
Marlowe-- spot me a few pence, will
you? Henslowe still owes me for
"Shoemaker's Holiday".
MARLOWE
(retrieving coins)
That would be because no one saw
"Shoemaker's Holiday".
DEKKER
Ale here!
Marlowe gives the woman a few pennies as--
NASHE
Kit... Isn't that one of your
unrequited loves in the box over
there?
Marlowe glances across the theater and spots
Southampton siting next to Oxford.
MARLOWE
(frowns)
But with whom? Tell me not he prefers
the company of such old grey men as
that!
Nashe squints.
NASHE
I think-- yes, by the beard, that's
the Earl of Oxford. Old Tom Hooker
used to play for him. Had his own
acting troupe for private Court
performances and the like.
DEKKER
I wonder if he needs any material?
MARLOWE
Certainly not any of yours.
NASHE
No, no-- that was years ago. Had a
falling out with the Queen, I heard.
He's more of a recluse than a patron
these days.
12
pg. 13
ON STAGE
Shakespeare points to "Fastidious".
SHAKESPEARE
Who, he, the noble there? Why, he's a
gull, a fool, no salt in him i' the
earth; man, he looks like a fresh
salmon kept in a tub!
Shakespeare struts around as though he owned the place.
The more he talks, the more the audience ROARS in
laughter.
SHAKESPEARE (CONT'D)
He sleeps with a musk-cat every night,
and walks all day hang'd in perfumed
chains for penance.
A GROUNDLING
Oi! So that's what I been smelling!
More groundlings laugh. Interestingly--
NOBLEMEN
in the box seats do not.
ON STAGE
Shakespeare continues his rant, speaking directly to
the groundlings.
SHAKESPEARE
He has his skin tann'd in civet, to
make his complexion strong, and the
sweetness of his youth lasting in the
sense of his sweet lady. And, sadly,
the poor man's brain is lighter than
his feather...
As the audience HOWLS in laughter, we see:
A NOBLEMAN
with a feathered hat gets up in fury, and exits the
theater, his lady with him. The Audience LAUGHS at him
as he goes.
ON STAGE
Shakespeare smiles triumphantly.
13
pg. 14
SHAKESPEARE (CONT'D)
He is a good and empty puff, but he
loves you well, signior. I wish you
well with him.
OXFORD
Watches the nobleman with the big feathered hat pass
by.
BACKSTAGE
Later in the play...
Shakespeare returns backstage and takes a deep swig
from his tankard. He's actually drunk, though his
performance didn't show it at all. He spots Jonson,
and grabs him.
SHAKESPEARE (CONT'D)
Jonson! Wonderful dialogue!
Wonderful. I hope your next--
HENSLOWE (O.C.)
Will! Will Shakespeare!
Shakespeare turns to see a furious Philip HENSLOWE
(50'S) heading his way.
HENSLOWE (CONT'D)
That's not ale in that goblet is it?
Shakespeare hides the goblet behind his back.
SHAKESPEARE
Ale? Me? Drink during a performance?
I am a professional sir!
(burps)
A complete and--
He is interrupted by SCREAMS. Not from actors on
stage, but by the audience.
IN THE THEATER
Complete panic erupts as dozens of The Queen's Guard
STORM into the theater. Everyone tries to get out as
quickly as possible, including the other actors, Henry
CONDELL (20's), Thomas POPE (30's), William SLY (13).
SIR RICHARD POLE, THE CAPTAIN OF THE GUARD
--jumps on stage.
14
pg. 15
POLE
This play has been declared seditious
and illegal by Lord William Cecil!
The audience begins to BOO at the mention of Cecil.
POLE (CONT'D)
All are herewith ordered to disperse
immediately!
A GROUNDLING
Why don't you disperse William Cecil's
arse!
POLE
Arrest that man!
IN OXFORD'S BOX
SOUTHAMPTON
Damn it all. Well! Off to Essex's
then?
He gets up. Oxford does not, seemingly interested in
the real drama below as everyone hurries from the
theater.
SOUTHAMPTON (CONT'D)
Edward?
Oxford turns to him, distracted, and nods.
ON STAGE
Jonson pushes his way on stage.
JONSON
(to Pole)
Seditious? Seditious?! It's a comedy
for god's sake! There's nothing
seditious about--
POLE
Oi, is that right, is it? And you
know this because?
JONSON
Because I wrote the bloody thing! And-
-
POLE
Arrest him as well!
Jonson is grabbed by guards.
15
pg. 16
17 INT. A JAIL CELL - DAY 17
Jonson is THROWN into the cell, the door SLAMMED behind
him.
JONSON
(to the door)
A pox on you!
(beat)
And your carbuncled father!
Jonson looks around-- the cell is filled with a dozen
or so other prisoners.
ESSEX (O.S.)
People taxed to the point of
starvation, Spain running the New
World, open revolt in Ireland,
Catholic plots everywhere you turn...
CUT TO:
18 INT. TENNIS COURT AT ESSEX HOUSE - DAY 18
Robert, Earl of ESSEX (28), is playing tennis against
Southampton. He's handsome, red-headed, and, we will
learn, very ambitious.
ESSEX
...and how do the Cecils spend their
time and energy? Shutting a theater!
A theater, for god's sake? It's
madness! No wonder the mob hates them
so!
The court is inside, and slightly different from
today's game: the back walls are playable, somewhat
like racquet-ball.
Oxford sits on a bench, watching. Essex SLAMS a shot,
but it goes--
OXFORD
Out!
Essex looks furious, but holds his tongue. Southampton
prepares to serve.
OXFORD (CONT'D)
(to Southampton)
Henry, how many people were at that
play?
16
pg. 17
Southampton pauses before serving.
SOUTHAMPTON
Hmm? I'm not sure, two thousand,
maybe more.
Southampton SERVES. Essex returns, and another heated
rally begins.
OXFORD
And how many performances are there of
a play like that?
SOUTHAMPTON
Five or six I suppose.
He HITS the ball again, and this time Essex misses it.
ESSEX
By the--!
OXFORD
(to Essex)
So! Ten thousand souls. All
listening to the writings of one man--
the ideas of one man. That's power,
Robert. And if there is one thing the
Cecils understand, it's power.
ESSEX
(snorts)
And when did words ever win a kingdom?
I think I'll keep my sword, thank you
very much.
Southampton SERVES as Oxford smiles at Essex's naivet�.
19 INT. CHANGING ROOMS/ESSEX HOUSE - DAY 19
Southampton and Essex are dressing out of their tennis
clothes and into their normal clothes, assisted by two
valets.
ESSEX
(to the valets)
Leave us.
(they exit)
Henry... Some of my men have...
intercepted... some of William Cecil's
recent correspondence with King James
of Scotland...
17
pg. 18
Southampton pauses in clothing himself. This is
serious.
ESSEX (CONT'D)
Cecil's all but promising him the
throne...
SOUTHAMPTON
To James? Elizabeth would never agree
to-
ESSEX
Elizabeth is old. Ill. Not of her
old mind. Sometimes she doesn't even
recognize me. And yet, still she
refuses to name an heir.
SOUTHAMPTON
But a Scotsman? On the Tudor throne?
ESSEX
You are not in the Privy Council.
Elizabeth does everything the Cecils
wish of her. Everything!
BEHIND THEM
Oxford enters. They don't notice, though. He
instantly realizes he shouldn't say anything. He
listens as:
WIDER
ESSEX (CONT'D)
Think, Henry, if James owes Cecil his
throne, Cecil will have more influence
in the next reign than he does in this
one. And after William Cecil, his
hunch-backed son will take his
place...
(careful)
That is why we must do everything in
our power to ensure that the right man
succeeds her.
(beat)
A man deserving of the Tudor crown.
Southampton stiffens at that last phrase.
ESSEX (CONT'D)
I ask you for the support of you and
your men, Henry.... if it comes to a
fight.
18
pg. 19
Southampton looks at Essex hard.
SOUTHAMPTON
You know you need not ask. I stand
with you, as I always have.
Essex smiles at him warmly. They both HEAR something
shuffle behind them. They turn, and see:
WHERE OXFORD WAS STANDING
Nothing. He is gone.
BACK TO SOUTHAMPTON AND ESSEX
They exchange a slightly worried look.
CUT TO:
20 EXT. ESSEX HOUSE - DAY 20
Moments later, Oxford and Southampton are exiting the
elaborate building that serves as Essex's London
residence.
OXFORD
Essex played rather poorly, didn't he?
Southampton just nods, distracted. Oxford reaches out
to him, and touches his shoulder.
OXFORD (CONT'D)
(warning)
Henry... The Cecils brook no rivals.
Southampton pauses, confused for an instant, then--
SOUTHAMPTON
(re: his discussion with
Essex)
You heard?
Oxford nods.
SOUTHAMPTON (CONT'D)
Always concerned for me, aren't you
Edward?
They keep walking towards Southampton's men.
SOUTHAMPTON (CONT'D)
And what would you have me do?
19
pg. 20
OXFORD
I would have you deny him.
SOUTHAMPTON
The son of the Queen?
OXFORD
That is rumor only, Henry--
They stop. Southampton makes sure that his men are out
of earshot.
SOUTHAMPTON
Rumor? My god, all you have to do is
look at Essex to see the Queen's
reflection. Everyone thinks he's her
son, everyone! And I for one would
rather bow to a Tudor, bastard though
he may be, than a Scotsman!
OXFORD
I desire nothing more than to see the
next king be the rightful king. But
what Essex contemplates will surely
lead to Civil War.
(beat)
No. If this is to be done, it must be
done carefully, skillfully.
SOUTHAMPTON
As I heard it, Elizabeth exiled you
from her presence for the last twenty
years because of your "skill" at Court
politics.
And then he feels instantly ashamed of having said
that.
OXFORD
I only have your interests in mind,
Henry. For as you so rightly point
out, my interests are already lost.
SOUTHAMPTON
I know. Forgive me. You know how I
feel about you. You have been a great
friend to me ever since my father
died. I promise you that I will do
nothing rash without consulting you
first.
Oxford nods, still worried, and Southampton heads for
his horse.
20
pg. 21
OXFORD
Henry! Will you do me one thing more?
Deliver a gift for me? A rather...
elaborate gift?
21 EXT. CECIL HOUSE - SUNSET 21
The stone house is nothing like a stereotypical Tudor
house; it's enormous, and very ornate and intricate in
design.
It faces the river, and has an elaborate docking area
which is now filled with all sorts of longboats letting
the noblemen off for a week-end get away.
22 INT. CECIL HOUSE - GREAT HALL - DUSK 22
Most of England's nobility is assembled in small
groups, talking. It's a dour, quiet affair. Some
music, no life. Quite Puritan.
Southampton is there, but Essex and Oxford are nowhere
to be seen.
A HUNCH-BACKED MAN
--makes his way through the room, causing conversations
to cease as he walks by. Even the most senior of the
nobles bow their heads slightly in greeting him. This
is Sir ROBERT CECIL (mid 30's).
He pauses near Southampton.
SOUTHAMPTON
Sir Robert.
ROBERT CECIL
My lord of Southampton.
(looking around)
Have you seen Essex?
SOUTHAMPTON
I believe he is still in the viewing
chamber with her majesty...
ROBERT CECIL
(sharp, annoyed)
Alone?
21
pg. 22
SOUTHAMPTON
(smiles)
With your father in London dealing
with all the troubles in Ireland, who
else should the Queen turn to but
Essex?
Robert Cecil looks annoyed, but holds his tongue as the
SOUND of pikes HITTING the floor silences the hall.
A FOOTMAN clears his throat and--
FOOTMAN
By the grace of god, her majesty,
Elizabeth, Queen of England, Wales and
Ireland!
DOUBLE DOORS
open, and Elizabeth (in her 60's) enters. She is
wearing a large sparkling pearl-encrusted dress with a
wide collar.
She walks slowly and carefully, and has a slight tremor
in her head and hands. She seems un-certain; like
she's not sure she recognizes all the faces around her
(Alzheimer's?). And she compensates for it by being
all the more regal, all the more un-human.
Essex is on her arm, dressed in a splendid jewel-
encrusted doublet.
Robert Cecil FROWNS at the sight of Essex on her arm.
Essex ignores Cecil's glare, notices Southampton--
ESSEX
(to Elizabeth)
Ah-- Majesty, I've been told my lord
of Southampton has a gift for you.
ELIZABETH
(eyes sparkle)
A gift?
SOUTHAMPTON
Yes, your grace, though not from me.
Southampton CLAPS his hands and a door across the room
OPENS.
A DWARF enters, followed by dancing faires, actors
swirling sparklers, and musicians playing music.
22
pg. 23
Elizabeth's rheumy eyes widen in complete delight, a
smile of total jubilation crosses her face.
Robert Cecil, on the other hand, looks horrified.
ELIZABETH
Are you this gift, my precious little
man?
DWARF
No, no, my most majestic majesty. I
am a free man. My gift is a play,
majesty.
ELIZABETH
A play?
The dwarf bows his assent.
ROBERT CECIL
(to the Dwarf)
Plays are the work of the devil, born
from a cesspool of plague, whoredom,
thievery, fornication, and heresy.
You may tell your master that her
majesty--
ESSEX
(interrupting)
--Will gladly accept your gift.
Robert Cecil turns to Essex, shocked.
ESSEX (CONT'D)
(to Elizabeth)
Of course that is if you so desire,
majesty.
(to Robert Cecil)
The choice is her majesty's to make,
not yours. Is that not so Sir Robert?
Robert frowns as Elizabeth looks around, unsure of the
political tides around her. Then--
ELIZABETH
(to the dwarf)
Comedy? Or tragedy?
DWARF
Comedy, majesty.
ELIZABETH
(delighted)
A comedy!
(MORE)
23
pg. 24
ELIZABETH (CONT'D)
(beat)
By whom?
DWARF
By... Anonymous, your majesty...
ELIZABETH
Anonymous...?
(then)
Oh, but I do so admire his verse...
Elizabeth lets go of Essex, and offers her hand to the
Dwarf, who smiles brightly.
ELIZABETH (CONT'D)
Lead us to this gift.
And the Dwarf leads Elizabeth towards the door. Essex
follows, and Southampton locks into step next to him.
They exchange a knowing look as--
Robert Cecil steps in line far after the Queen, not
happy with this turn of events as we hear--
"QUINCE" (O.S.)
Bless thee, Bottom! Bless thee! Thou
art translated!
CUT TO:
23 EXT. THE GROUNDS AT CECIL HOUSE - NIGHT 23
Sheer magic. Candles everywhere: in stakes, in the
ground, in the trees. They light a make-shift "stage"
surrounded by huge oak trees on three sides.
"BOTTOM"
I see their knavery: this is to make
an ass of me; to fright me, if they
could. But I will not stir from this
place, do what they can.
Chairs have been brought out and put in rows in the
grass. Elizabeth is watching center front row (of
course). She loves it, SQUEALING in delight like a
young woman. Essex is next to her.
24
pg. 25
ON STAGE
Several actors are mid-scene in "A Midsummer Night's
Dream" (Act 3, Scene 1), their make-up quite elaborate
and fantastical: "Bottom", who is costumed as a man--
except that he has a DONKEY'S HEAD, "Quince", a
commoner, "Puck", played by the dwarf who is now
dressed like a cupid, and "Titania", Queen of the
fairies, who is presently asleep in a bed of fur. Puck
hides behind a tree watching.
"BOTTOM" (CONT'D)
I will walk up and down here, and I
will sing, that they shall hear I am
not afraid.
BACKSTAGE
Oxford watches from behind a curtain, carefully
observing the Queen's reaction. Somehow we feel that
seeing her again after so many years stirs up some deep
emotion in him.
ON STAGE
"BOTTOM" (CONT'D)
(sings)
The ousel cock so black of hue,
With orange-tawny bill,
The throstle with his note so true,
The wren with little quill--
Titania awakens in her nest-like bed of fur.
"TITANIA"
What angel wakes me from my flow'ry
bed?
ELIZABETH
strongly reacts to Titania awakening. It stirs some
memory in her. A pleasant memory.
OXFORD
watches, delighted by her reaction.
FROM HIS POV
We see Elizabeth watching. But it is an Elizabeth only
26 years old (referred to as YOUNG ELIZABETH in this
script). We HEAR the sound of other dialogue, but from
the same play. We are:
25
pg. 26
24 INT. HEDINGHAM CASTLE - GREAT HALL - NIGHT 24
Thirty-eight years earlier. And YOUNG ELIZABETH watches
an earlier, slightly less sophisticated staging of "A
Midsummer Night's Dream" (the costumes and sets are a
bit more thrown together).
All the actors are children from 7-12 years old or so.
FROM BACKSTAGE
A boy watches in the exact same position as we just saw
Oxford. This is BOY OXFORD-- now only 10 years old.
But he is made up and wears a winged costume for the
character of "Puck".
"OBERON" (O.S.)
...and the owner of it blest ever
shall in safety rest. Trip away; make
no stay;
meet me all by break of day.
And the characters of "Oberon" and "Titania" exit. Boy
Oxford hurries--
ON STAGE
"PUCK"
If we shadows have offended, think but
this, and all is mended, that you have
but slumber'd here while these visions
did appear...
Next to Young Elizabeth, JOHN DE VERE, Oxford's father,
also watches, his face beaming with pride.
"PUCK" (CONT'D)
...And this weak and idle theme, No
more yielding but a dream, gentles, do
not reprehend; if you pardon, we will
mend.
A STERN LOOKING MAN
is watching a few seats away from Young Elizabeth. He
is WILLIAM CECIL (40's, Robert's father). He is a
Puritan, dressed all in black (with a white lace
collar), and has a long beard. He is frowning,
loathing the play.
26
pg. 27
ON STAGE
"PUCK" (CONT'D)
So, good night unto you all. Give me
your hands, if we be friends, and
Robin shall restore amends.
The play now over, Young Elizabeth applauds with
delight, as do the small group of courtiers all around
her.
YOUNG ELIZABETH
Lovely. Lovely!
CUT TO:
25 INT. HEDINGHAM CASTLE - KITCHEN - LATER 25
A make-shift "back-stage" where all the young "actors"
are removing their costumes and make-up, including Boy
Oxford, who sits in front of a make-shift, leaning
mirror.
Much excited talking and commotion, until Boy Oxford
notices everyone has gone silent. He turns-- his winged
costume still on-- just as--
YOUNG ELIZABETH (O.S.)
Ah! There he is.
Young Elizabeth and her senior Court, including William
Cecil and John De Vere, have entered.
Boy Oxford bows deeply.
YOUNG ELIZABETH (CONT'D)
(to Boy Oxford)
Your father tells me you wrote this
evening's play yourself.
Boy Oxford glances at his father-- should he answer
directly? His father NODS.
BOY OXFORD
I did indeed, your majesty.
YOUNG ELIZABETH
You sport with me.
(smiling)
Compose something.
BOY OXFORD
Now?
27
pg. 28
YOUNG ELIZABETH
Yes. Now.
BOY OXFORD
On what subject, your grace?
She thinks. Then--
YOUNG ELIZABETH
(smiles)
Truth...
BOY OXFORD
(thinks, then--)
For... Truth... is Truth...
Though... never so old...
and time cannot make that false,
which once was true.
She smiles, claps.
YOUNG ELIZABETH
(to John de Vere)
My lord of Oxford. It seems you have
added a poet to your family's long
line of warriors.
BOY OXFORD
Madam, I am as accomplished with the
sword and the musket as I am with
verse.
YOUNG ELIZABETH
(amused)
Are you indeed?
BOY OXFORD
(nods seriously)
It is my only desire to one day be
your majesty's most trusted servant in
matters both of war and state, if you
will but have me.
YOUNG ELIZABETH
(charmed)
Why, Lord Cecil, it seems we may very
well have found your replacement.
WILLIAM CECIL
We hope not too soon, majesty, we hope
not too soon.
28
pg. 29
YOUNG ELIZABETH
(teasing)
And how liked you our young lord's
play, William?
William Cecil stiffens in discomfort.
YOUNG ELIZABETH (CONT'D)
(to Boy Oxford,
conspiratorially)
Our Lord Cecil is our most religious
of subjects, and no doubt thinks your
little masque will deliver your soul
straight into the arms of Lucifer
himself. Don't you, William?
The Boy Oxford looks at William Cecil, perplexed by
such a thing.
WILLIAM CECIL
That is God's decision, your majesty.
Not mine.
William Cecil looks directly at John de Vere resulting
in an uncomfortable silence.
Elizabeth notices.
YOUNG ELIZABETH
Well, if plays are indeed such a sin,
I pray I do not find my salvation
until very late in life.
Boy Oxford smiles. He might very well be in love.
CUT TO:
26 INT. A JAIL CELL - DAY 26
Thirty-eight years later. The door SWEEPS open and a
snoring, sleeping Jonson is awakened by--
GUARD (O.S.)
Jonson! Ben Jonson!
The other prisoners make way as the guard approaches
Jonson. The guard tosses a wax-sealed piece of
parchment onto Jonson's lap.
GUARD (CONT'D)
You've been released.
Jonson looks at it, confused.
29
pg. 30
GUARD (CONT'D)
Got powerful friends, now, don't you?
26A EXT. A BOAT - RIVER THAMES - DAY 26A
Jonson is in a nobleman's longboat (for the first time
in his life). Across from him sits FRANCESCO--
Italian, 60's-- wearing a doublet with the Oxford coat
of arms on its chest.
The City of London is far in the distance.
Jonson looks around uncomfortably at the luxurious boat
for a moment before--
JONSON
And who are you?
Francesco just stares back.
JONSON (CONT'D)
And where are we going?
Francesco is silent.
WIDER
The boat approaches a large stone house, Oxford Stone.
CUT TO:
A RED ROSE
as it is cut from its bush by ink-stained hands. We
are:
27 EXT. OXFORD STONE - GARDEN - DAY 27
Oxford smells the rose, inhaling its essence. Then he
turns and sees Francesco escorting Ben Jonson towards
him.
Before they reach him he glances at his wife ANNE De
Vere (40's) who sits in the distance knitting with one
of their daughter's, BRIDGET (17).
Jonson is quite uncomfortable to be at such a grand
place. Jonson CLEARS his throat.
JONSON
My lord...
30
pg. 31
OXFORD
The Tudor rose. The most beautiful of
flowers, don't you think?
JONSON
It looks to me to have quite a number
of thorns, my lord.
OXFORD
So it does. So it does.
JONSON
I am told, my lord, that I owe my
freedom to you.
OXFORD
That is true. And it was quite hard
to come by. One does not cross my
father-in-law lightly.
Jonson doesn't know who he is talking about.
OXFORD (CONT'D)
Lord William Cecil. I have the
questionable distinction of being
married to his only daughter.
Oxford looks over to his wife who watches them
suspiciously. He begins to walk away forcing Jonson and
Francesco to follow.
OXFORD (CONT'D)
It did, however, serve as helpful when
I wrote to your jailers to release you
in my father-in-law's name.
Jonson suddenly looks worried and turns and looks back
to Anne.
JONSON
(in a panicked whisper)
My lord-- I'm sorry, does that mean my
release is not officially sanctioned?
OXFORD
Don't be an idiot Jonson, of course it
wasn't.
(beat)
But you are free, are you not?
They have come to an entrance to a GARDEN MAZE and Anne
watches them as they disappear into the maze.
31
pg. 32
28 EXT. MAZE - DAY 28
Oxford turns to Jonson.
OXFORD
I enjoyed your little comedy last
week, Jonson. You have potential,
great potential.
JONSON
Thank you, my lord.
OXFORD
But it's politics did seem to have
quite an effect on the Tower. My
father-in-law's men felt it quite
seditious.
JONSON
Politics? My play had nothing to do
with politics! It was just a simple
comedy--
OXFORD
That showed your betters as fools who
go through life barely managing to get
food from plate to mouth, were it not
for the cleverness of their servants.
(beat)
All art is political, Jonson.
Otherwise it would just be decoration.
And all artists have something to say,
otherwise... they'd make shoes. And
you're not a cobbler, are you, Jonson?
As they enter the center of the maze, Oxford turns to
his servant.
OXFORD (CONT'D)
(nods)
Francesco.
Francesco steps forward and hands Jonson a leather
bound manuscript. Jonson looks at it confused and
opens it.
JONSON
A play, my lord?
OXFORD
One you shall stage Bankside.
JONSON
Stage?
32
pg. 33
OXFORD
Under your name.
JONSON
My name, my lord?
OXFORD
I can't very well use my name, can I?
I'm the seventeenth Earl of Oxford.
The Lord Great Chamberlain of England,
Viscount Bolebec, Lord Escales,
Sandford and Badlesmere, etc, etc.
No. I have a... reputation to
protect. In my world, one does not
write plays, Jonson. People like you
do.
Jonson tries not to be offended.
JONSON
Yes. My lord. You wrote an entire
play, my lord. I know how difficult--
OXFORD
Not a play, Jonson, I've written many.
No doubt, many more than you yourself.
A good number performed at Court years
ago, others never seen by a living
soul.
JONSON
And you want... me to apply my name to
this play?
OXFORD
No. I mean you to put your name to
all of them.
JONSON
All of them?
OXFORD
Well don't look like I just gutted
your pet dog, Jonson. I mean to make
you the most popular-- and therefore
the most monetarily successful--
playwright in all of London.
Jonson pales. This is a disaster for him.
OXFORD (CONT'D)
I wish you god speed and good morrow.
Jonson looks down at the manuscript, reads a few lines.
33
pg. 34
JONSON
My lord-- I really--
He looks up, but Oxford is gone, having left the maze
without so much as a good-bye.
JONSON (CONT'D)
My lord?
But before he can follow, Francesco tosses a leather
pouch of coins at his feet.
FRANCESCO
That is for your trouble, Signor
Jonson. And your silence. If I hear
you break that silence, then... not so
good for Signor Jonson.
And Francesco follows after his master as Jonson picks
up the pouch, examining its contents.
And then Jonson realizes he doesn't know how to get out
of the maze. He chases after them.
JONSON
Hello? My lord?! I--
And he's lost. He looks this way and that, then picks
a path (the wrong one).
29 EXT. CECIL HOUSE - DAY 29
Robert Cecil is standing at the opulent river entrance
to Cecil House, waiting for an enormous barge docking.
William Cecil (now 75) is at the front of the barge,
waiting to disembark. He constantly holds an ornately
carved white cane.
WILLIAM CECIL
So! I am gone for three days, and you
somehow manage to let her spend all of
them solely in the company of the Earl
of Essex...
Robert Cecil looks at him sharply. How did he know.
WILLIAM CECIL (CONT'D)
Don't think because I was in London, I
didn't know exactly what went on here
in my absence.
34
pg. 35
ROBERT CECIL
He is an Earl, father. I cannot deny
him--
WILLIAM CECIL
Of course not! You don't deny him
anything. You find excuses. She is
unwell, she is reading, she is seeing
the Ambassador from Russia. For God's
sake, use your imagination, Robert.
Whatever will you do when I am gone?
(beat)
We will have to deal with Essex soon.
His ambitions are becoming a nuisance.
30 INT. CECIL HOUSE - HALLWAY - DAY 30
William Cecil enters an impressive hallway and turns to
his son.
WILLIAM CECIL
Now tell me about the play.
Robert Cecil looks surprised for an instant that he
knows about that as well.
ROBERT CECIL
It-- it was an anonymous gift. Essex
insisted it be performed, just to
spite me in front of Court...
WILLIAM CECIL
Of course he did.
(concerned)
But what was it about?
ROBERT CECIL
About? Some nonsense about fairies
and cherubs.
WILLIAM CECIL
...And dancing asses?
Robert looks surprised at his father who has stopped
suddenly.
WILLIAM CECIL (CONT'D)
(realizing, to himself)
Edward...
(to Robert Cecil)
Have you any idea what you have-- No,
how could you...
35
pg. 36
And he starts back up the stairs.
ROBERT CECIL
Father... It was just a play...
WILLIAM CECIL
And do you know how long it took me to
banish them from her presence? She
adores them! Adores them! And Edward
knows it.
(beat)
Mark my words, Robert, he has done
this for a purpose.
ROBERT CECIL
Purpose? What purpose?
WILLIAM CECIL
(thinking, to himself)
What purpose indeed?
(to Robert)
But through your carelessness I must
now deal not only with Essex, but
Edward as well. For whether in shadow
or in person, Edward has returned to
Court!
And with that he slams the door shut.
Robert Cecil walks over to a nearby window. Visibly
upset he starts to stare out of the window and
remembers...
CUT TO:
31 OMIT 31
THROUGH A THIRD STORY WINDOW
We see servants carrying big trunks. There are at least
120 men on horses. They all wear the Oxford's crest.
WILLIAM CECIL (O.S)
Robert.
32 INT. CECIL HOUSE - HALLWAY - DAY 32
And it is thirty years earlier.
BOY ROBERT CECIL (now 9) is staring out of the window.
His back must have been deformed either in utero or at
birth, because even now he is hunchbacked.
36
pg. 37
WILLIAM CECIL(O.S.)
(more commanding)
Robert! Come here.
Finally Boy Robert Cecil turns and sees Young Oxford
(now 17) entering the hallway with William Cecil and
his wife and daughter, Young ANNE (15). In front of
them, lined up, are several men whom we will learn are
TUTORS.
Boy Robert Cecil doesn't move.
WILLIAM CECIL (CONT'D)
(to Young Oxford)
I am sorry, my lord. But my son
Robert prefers the company... of
himself...
Boy Robert Cecil watches as his father turns to his
mother and sister.
WILLIAM CECIL (CONT'D)
May I present my wife, Lady Cecil, and
my daughter, Anne.
Young Anne curtsies.
YOUNG ANNE
I am sorry for your loss, my lord.
The realm lost a great lord with your
father's death. We hope you will be
happy in our house--
BOY ROBERT CECIL (O.S.)
Are you going to live here forever?
Everybody turns and sees the odd hunchback child has
finally come over.
YOUNG OXFORD
(smiles)
No. Only until I reach my maturity.
BOY ROBERT CECIL
Why?
WILLIAM CECIL
Because the Queen has bade it so.
(to Young Oxford)
My lord, when we first met, you said
you wished to become a great man of
State. Both the Queen and I hope to
make that so.
(MORE)
37
pg. 38
WILLIAM CECIL (CONT'D)
To that end, I have the honor of
introducing you to your tutors.
(indicates one of them)
Seven to eight you shall be tutored in
French by Mister Crane--
YOUNG OXFORD
Monsieur. Ca me fait plaisir de vous
connaitre.
Master Crane bows his head.
WILLIAM CECIL
Nine to ten is Greek with Mister
Simmons.
YOUNG OXFORD
(in Greek)
Dalon, an d'ego, hoti mathamata ge
esti ha trafo psychas.
BOY ROBERT CECIL
Is that Homer?
YOUNG OXFORD
(sharp)
No. Plato.
Boy Robert frowns at the correction.
WILLIAM CECIL
(slight frown, then)
And you know your uncle, Mister
Golding, who has petitioned me to
allow you to assist him in his
translations of ancient Latin texts
into English.
YOUNG OXFORD
(in Latin)
Continetne, ut spero, Ovidii
Metamorphose? Mihi honori erit,
patrue
Mister Golding bows his head in appreciation.
WILLIAM CECIL
Then cosmography with Doctor Richards.
Two to three is geography and history,
and four to five fencing.
William Cecil seems to have finished.
38
pg. 39
YOUNG OXFORD
(to William Cecil)
And composition? Poetry?
WILLIAM CECIL
This is a Puritan home, your grace.
We believe such activities to be the
worship of false idols, and therefore
a sin before the eyes of God.
YOUNG OXFORD
A sin? But surely there must be room
for beauty and art in life, my lord.
WILLIAM CECIL
Not in this household.
33 INT. CECIL HOUSE - GREAT HALL - DAY 33
Young Oxford is fencing with a tutor. He's quite good.
In fact, he's better than the tutor, who is twice his
age.
Boy Robert Cecil casually watches as he plays chess
against himself.
Young Oxford, with a fierce, beautifully executed
attack, disarms his tutor. The tutor's sword FLIES
into the air, and hits--
THE CHESS BOARD
making the pieces scatter.
WIDER
Boy Robert Cecil looks up, his face furious, to see
Young Oxford coming over to him.
YOUNG OXFORD
You were losing anyway.
BOY ROBERT CECIL
I was also winning.
Young Oxford picks up the sword, throws it to his
tutor, who catches it.
BOY ROBERT CECIL
(CONT'D)
You know I am going to one day succeed
my father at the Queen's side. Not
you.
39
pg. 40
Young Oxford motions to go, then picks up the black
king, and tosses it to Boy Robert Cecil, who can't
catch it because of his deformity. It CLANGS on the
floor.
YOUNG OXFORD
Really?
34 INT. CECIL HOUSE - HALLWAY - DAY 34
Moments later, the Young Oxford heads down the hall
alone, heading for his rooms, his sword still in his
hand.
CUT TO:
POEMS
neatly written on parchment. We are:
35 INT. CECIL HOUSE - YOUNG OXFORD'S ROOM - DAY 35
And a SERVANT is looking at the poems, then quickly
stuffing them into a bag.
But then he HEARS footsteps coming. Panicked, he looks
for someplace to hide-- a tapestry half covers a door--
he runs to it-- the door is locked!
So he hides behind the tapestry just as the door opens,
and Young Oxford enters.
After a few steps, Young Oxford senses something amiss.
Looks at his--
WRITING DESK
where the parchments are scattered.
YOUNG OXFORD
goes to his desk, picks up one of the pieces of
parchment. It has poetry on it. His poetry. He goes
through some other pages. And realizes other pages are
missing. He becomes infuriated. He sees--
UNDER THE TAPESTRY
Two feet.
40
pg. 41
WIDER
Young Oxford CHARGES the tapestry, sword in hand. He
THRUSTS the sword THROUGH the tapestry.
The man screams in agony as he falls. He doesn't just
die, but screams and screams and screams.
Young Oxford steps back-- half in horror... half in
triumph. The SOUND of APPLAUSE takes us to:
36 INT. THE ROSE THEATER - BACKSTAGE - DAY 36
Thirty-three years later.
Shakespeare is on stage, taking a bow. The audience is
APPLAUDING and SCREAMING their approval of a
performance that has just ended. He steps backwards--
BACKSTAGE
--where Jonson stands holding the manuscript Oxford
gave him.
SHAKESPEARE
Is it any good?
JONSON
How in blazes should I know?
SHAKESPEARE
You haven't even read it?
And Shakespeare is drawn back--
ON STAGE
--where he bows again, then steps--
BACKSTAGE
--so Jonson can answer him.
JONSON
I read a line or two-- I promised
Henslowe I'd finish "Eastward Ho" by
Saturday.
SHAKESPEARE
And you say he's a nobleman?
Jonson doesn't answer.
41
pg. 42
SHAKESPEARE (CONT'D)
Powerful? Rich??
Jonson still doesn't answer, which is answer enough.
SHAKESPEARE (CONT'D)
Ohhhh, you have to do it then, don't
you?
And Shakespeare goes back on stage.
37 EXT. BANKSIDE LONDON - DAY 37
Jonson and Shakespeare are walking along Bankside,
still mid-conversation. They pass all sorts of vendors
selling fish, fresh water, food, etc...
JONSON
I tell you Will-- I came to London to
become a great poet, to, to, be the
conscience of our times, the soul of
our age! To change the world, not to
become someone else's--
SHAKESPEARE
(amused)
Change the world? With rhyme?
JONSON
Yes, why not? Why can't a man change
the world with words?
Shakespeare laughs at him.
JONSON (CONT'D)
(mimicking Oxford)
"I can make you the most popular and
the richest playwright in all of
London."
(takes a swig)
Ballocks! I can do that myself, thank
you very much.
38 INT. THE MERMAID'S TAVERN - NIGHT 38
Shakespeare is perusing the manuscript. Some of the
actors from the Rose are in the BG.
SHAKESPEARE
You know, it's actually not half
bad...
42
pg. 43
Jonson takes a swig of ale, then--
JONSON
Not half--?! You're an actor, what in
God's name do you know about writing?!
He's an amateur, Will, a complete and
utter amateur. Last week gardening,
this week playwrighting, next week
hawking.
(takes another swig)
No. I won't do it. It would be an
affront against the Muses...
SHAKESPEARE
(smiles)
Well we musn't offend the muses,
whatever we do.
(thinks, then)
How much money did you say he gave
you?
JONSON
What, you think my name can be bought,
if the number's great enough, do you?
Shakespeare smiles enigmatically.
SHAKESPEARE
No, not at all... I think we should
keep your good name quite intact,
thank you very much.
Jonson frowns, confused as we--
CUT TO:
A RED WIG
as it is placed on the head of Elizabeth. We are:
39 INT. WHITEHALL PALACE - OLD ELIZABETH'S BEDROOM - DAY 39
Elizabeth is behind an elaborately painted screen.
Several ladies-in-waiting attend her, helping her get
ready for the day. It's an intricate process. Make-
up, multiple articles of clothing, jewelry...
WILLIAM CECIL (O.S.)
King Philip of Spain sees the current
Catholic revolt in Ireland as a
weakness of ours. A weakness to be
exploited....
43
pg. 44
Elizabeth's wig is being glued into place.
ELIZABETH
Ireland?
THE OTHER SIDE OF THE SCREEN (THEN INTERCUT EACH SIDE
OF SCREEN AS NEEDED)
William Cecil hasn't realized that his son Robert has
sneaked in the room behind him to listen in.
WILLIAM CECIL
There are rumors of his sending
financial aid, and even troops. We
must act quickly.
(beat)
We must replace the Lord Lieutenant of
Ireland, and send additional troops
immediately, majesty.
ELIZABETH
Replace? With whom?
William Cecil hesitates slightly, then--
WILLIAM CECIL
I would recommend the Earl of Essex,
your majesty.
ELIZABETH
Essex? To Ireland?
(frowns)
For how long?
WILLIAM CECIL
As long as the present crisis
warrants, majesty.
ELIZABETH
Impossible. He cannot be spared. We
feel his counsel is of greater import
with each passing day.
Not what William Cecil wanted to hear.
WILLIAM CECIL
I only recommend we send your most
able subjects where they are most
needed, majesty.
(beat, a last-ditch
effort)
Philip of Spain dreams still of taking
your kingdom from you.
(MORE)
44
pg. 45
WILLIAM CECIL (CONT'D)
Of burning you at the stake as a
heretic. Give him a foot-hold in
Ireland, and--
ELIZABETH
But Essex?
WILLIAM CECIL
Essex's martial abilities are, in my
opinion, the only antidote to the
plague of Philip.
(clears his throat)
Though, Essex would not,
unfortunately, be able to remain in
the Privy Council if he is in
Ireland...
ELIZABETH
And who would you advise to replace
him?
Three ladies-in-waiting approach with three different
gown. Elizabeth studies them as:
WILLIAM CECIL
Sir Robert Cecil.
ELIZABETH
Your son?
WILLIAM CECIL
He is my own advisor first, my son
second, majesty. His counsel has been
invaluable to me, and no doubt will be
to you as well.
Elizabeth points to one of the dresses, and waves the
handmaidens away.
ELIZABETH
Yes, yes, yes. We will send Essex to
Ireland and place Robert on my Privy
Council.
But William's flash of victory is dampened by--
ELIZABETH (CONT'D)
I saw a play this last weekend,
William. It made me think of... days
long past. Of memories... long past.
Long past. I should like to see more
of them...
Has Edward been happy, William? With
your daughter?
45
pg. 46
William Cecil doesn't answer. Instead he thinks,
remembers, as we hear his younger voice...
WILLIAM CECIL (O.S.)
Murdered!
CUT TO:
40 INT. CECIL HOUSE - GREAT HALL - DAY 40
Thirty years earlier.
William Cecil is standing in front of an enormous
fireplace, pacing in a pique of anger.
WILLIAM CECIL
By your own hand!
YOUNG OXFORD
He was stealing my poems.
WILLIAM CECIL
He was doing my bidding!
YOUNG OXFORD
Yours?
WILLIAM CECIL
Of course. As soon as Robert informed
me that you were disobeying my
express--
YOUNG OXFORD
Robert? Robert told--
William Cecil SLAMS his fists on a table.
WILLIAM CECIL
Enough! Thou shalt not worship false
idols in my household! Your
everlasting soul hangs in the balance.
Not poems. Your soul!
YOUNG OXFORD
My poems are my soul!
William Cecil turns away in frustration as much as
disgust.
WILLIAM CECIL
You have placed me in a grave
position, Edward.
(MORE)
46
pg. 47
WILLIAM CECIL (CONT'D)
I cannot have my reputation soiled by
this regrettable lack of control on
your part... No. I will not have it.
We can claim self-defense, he drew
sword first.
(beat)
But... I wish something in return.
Young Oxford looks worried.
WILLIAM CECIL (CONT'D)
My daughter is young, impressionable.
She has feelings for you, Edward. It
is to be expected, living in such
close quarters...
YOUNG OXFORD
Sir. For the last three years you
have managed to seize much of my
inheritance--
WILLIAM CECIL
Hold your tongue, Edward, before you
make a claim you cannot retract! I
have been legally reimbursed for your
education and living expenses.
YOUNG OXFORD
And now you suggest you be
"reimbursed" the rest of my once
considerable estates through your
daughter's bed?
William Cecil studies Young Oxford's face.
WILLIAM CECIL
No. This is how I suggest you keep
your noble head from the executioner's
block.
YOUNG OXFORD
stares at him. The SOUND of CHURCH BELLS RINGING takes
us to:
41 INT. WESTMINSTER ABBEY - DAY 41
And Young Oxford and Anne are being married by a
bishop.
47
pg. 48
BISHOP
...and in the fear of god, duly
considering the causes for which
matrimony was ordained. One was the
procreation of children...
WILLIAM CECIL
appears triumphant. He looks beaming over to...
BISHOP (CONT'D)
...to be brought up in the fear and
nurture of the Lord and praise of God.
Secondly, it was ordained for a remedy
against sin.
YOUNG ELIZABETH
Who presides over the whole affair. The first time we
see a dress on her which makes her truly regal.
BISHOP (CONT'D)
Thirdly, for the mutual society, help
and comfort, that the one ought to
have of the other, both in prosperity
and adversity, into the which holiest
state these two persons present come
now to be joined.
AT THE ALTAR
Young Anne looks at her young husband, lovingly. Young
Oxford is a bit overwhelmed and unsure of it all. And
then we HEAR a trumpet BLARING, which takes us to:
42 INT. THE ROSE THEATER - DAY 42
Thirty-two years later.
Vendors hawk food and drink as they walk through the
audience.
IN OXFORD'S BOX
Oxford sits, Francesco behind him, exhilarated by the
scene below him.
IN THE GALLERIES
Marlowe, Dekker and Nashe are looking at their single-
sheet programs.
48
pg. 49
NASHE
"Henry V" by... No one?
MARLOWE
And why would any of you admit to
trying to better me in a historical
drama? Comedy, yes, tragedy, perhaps.
But never will one of you best me in
historicals.
Marlowe takes a swig of ale, and spots Jonson coming to
join them.
MARLOWE (CONT'D)
Or will we be seeing a most hysterical
historical?
Jonson sits next to Marlowe.
MARLOWE (CONT'D)
Hmm? Ben? Waiting to see how it's
received before you lay claim??
Before Jonson can answer--
ON STAGE
An actor, CONDELL (40's), dressed all in white (even
his face is painted white) enters stage. He is
"Prologue". He addresses the audience directly.
"PROLOGUE"
Oh, for a muse of fire, that would
ascend the brightest heaven of
invention. A kingdom for a stage,
princes to act, and monarchs to behold
the swelling scene! Then should
warlike Harry, like himself, assume
the port of Mars, and at his heels
should famine, sword, and fire crouch
for his employment. Can this cockpit
hold the vasty fields of France?
IN THE GALLERIES
Jonson seems surprised. This is not what he expected.
This is good.
CUT TO:
HORSE HOOVES
as they POUND on cobblestone. We are:
49
pg. 50
43 EXT. THE ENGLISH COUNTRY-SIDE - DAY 43
And Southampton is riding his horse at full gallop
through the countryside. About two dozen retainers
follow, the first few with Southampton's coat-of-arms
on flags.
44 INT. THE ROSE THEATER - DAY 44
It is later in the play.
On stage, about 15 actors are in full battle armor.
They include: "HENRY V", played by the actor called
Spencer, "WESTMORELAND", "EXETER", "SALISBURY". All
the men on stage now wear battle armor.
"HENRY V"
This day is called the feast of
Crispian: he that outlives this day,
and comes safe home, will stand a tip-
toe when this day is named, and rouse
him at the name of Crispian.
IN THE GALLERIES
Marlowe, Dekker, Nashe and Jonson all watch, obviously
impressed. Nashe takes a swig of Ale.
IN OXFORD'S BOX
Oxford watches, loving the stagecraft involved in the
production.
"HENRY V" (CONT'D)
He that shall see this day and live
t'old age, will yearly on the vigil
feast his neighbors, and say 'To-
morrow is Saint Crispian.
ON STAGE
"Henry V" speaks to his men.
"HENRY V" (CONT'D)
Then will he strip his sleeve and show
his scars.
The actor playing "Henry" kneels at the front of the
stage. He speaks to the groundlings as though they are
his troops.
50
pg. 51
"HENRY V" (CONT'D)
And say 'These wounds I had on
Crispin's day.' Old men forget: yet
all shall be forgot, but he'll
remember with advantages what feats he
did that day. This story shall the
good man teach his son.
THE GROUNDLINGS
become literally spellbound.
"HENRY V" (CONT'D)
And Crispin Crispian shall ne'er go
by, from this day to the ending of the
world, but we in it shall be
remembered; we few, we happy few, we
band of brothers; for he to-day that
sheds his blood with me shall be my
brother; be he ne'er so vile, this day
shall gentle his condition: and
gentlemen in England now a-bed shall
think themselves accursed they were
not here, and hold their man-hoods
cheap whiles any speaks that fought
with us upon Saint Crispin's day!
The entire audience stands and CHEERS madly.
OXFORD
watches, with a pride he has never felt.
IN THE GALLERIES
The "wits" look at each other amazed.
ON STAGE
"SALISBURY"
My sovereign lord, bestow yourself
with speed. The French are bravely in
their battles set and will with all
expedience charge on us.
"HENRY V"
All things are ready, if our minds be
so.
"WESTMORELAND"
Perish the man whose mind is backward
now!
51
pg. 52
"HENRY V"
You know your places: God be with you
all!
THE "HUT"
which is a round tower on top of the stage, contains
several small cannons manned by stagehands. They shoot
BLANK CANNON SHOTS.
45 EXT. THE CITY GATES OF LONDON - DAY 45
Southampton and his retainers gallop through a City
gate. Above the gate, the severed heads of murderers
sit on pikes.
46 INT. THE ROSE THEATER - DAY 46
Actors portraying French soldiers STORM the stage,
swords brandished. "Henry" and his men begin fighting
them, their swordplay elaborate and impressive.
47 EXT. LONDON BRIDGE - DAY 47
Southampton and his entourage gallop over London
Bridge.
48 INT. THE ROSE THEATER - DAY 48
The battle rages on stage.
One hardy audience member starts to actually ATTACK one
of the French "soldiers" himself. He's quickly joined
by a few comrades-- and it quickly becomes a madhouse;
half play, half real fight, as more audience members
join the "battle". The play quickly degenerates into a
bloody brawl between actors and audience.
49 EXT/INT. ROSE THEATER - DAY 49
Southampton arrives at the theater. He jumps off his
horse, and hurries--
INTO THE STAIRWELL
jumping two steps at a time. We HEAR the sound of
APPLAUSE. The play is now over. Southampton hurries
into--
52
pg. 53
OXFORD'S BOX
He sees Oxford, who is applauding. All the actors of
the play are taking their bows.
SOUTHAMPTON
William Cecil's convinced the Queen
that only Essex can save Ireland from
the Revolt.
Oxford processes this.
SOUTHAMPTON (CONT'D)
I've pledged to go with him, Edward.
We sail in an hour.
OXFORD
Henry--
SOUTHAMPTON
I ask for your blessing, Edward.
OXFORD
I can't give it to you.
IN THE GALLERIES
NASHE
I for one wish to see this anonymous
colleague of ours.
(stands)
Playwright! Playwright!!
Marlowe and others join in. And--
BACKSTAGE
Shakespeare, standing next to a small table of props,
quickly dips his fingers in an inkwell to make them
stained. He grabs a large feathered quill and tucks a
piece of parchment under his arm, then hurries--
ON STAGE
--where he bows deeply, loving the adulation.
IN OXFORD'S BOX
SOUTHAMPTON
If he is to be my king, then it is my
sacred duty to be with him in battle.
53
pg. 54
Oxford tries to understand Southampton, but then
notices Shakespeare on stage. His mouth opens in
shock, and he turns to look across the theater at--
JONSON
who guiltily looks away. Marlowe's mouth is open, his
hands stop applauding.
IN OXFORD'S BOX
Southampton is angered by Oxford's distraction.
SOUTHAMPTON (CONT'D)
I am sorry to have disturbed your
entertainment.
And he exits.
OXFORD
Henry-- Henry!!
But the younger man is gone.
ON STAGE
Shakespeare bows, then--
SHAKESPEARE
I, I... It's been... I, I, want
to... thank my actors, whose great
acting brought... my words... to life
due to their most finest acting.
Ah... Thank you.
OXFORD (O.S.)
An actor?!!
CUT TO:
50 INT. OXFORD STONE - STUDY - DAY 50
The multi-arched ceiling is painted blue with gold
stars. Globes-- both terrestrial and astral-- abound.
Jonson stands in front of a very angry Oxford.
OXFORD
An actor for god's sake?
JONSON
My lord, I thought that--
54
pg. 55
OXFORD
You presumed to think? On my behalf?
Whatever made you believe you had that
prerogative?
A beat. Jonson is a bit afraid.
JONSON
My lord, your voice is completely
different than mine. My, my, my
characters are--
OXFORD
Voice? You have no voice! That's why
I chose you!
(beat, softer)
You at least kept my name from him?
Jonson NODS.
OXFORD (CONT'D)
And will continue to do so?
Oxford studies him, believes him. Then he opens a
cabinet.
In it, manuscript after manuscript are stacked. Jonson
looks behind him, stunned by the number.
Oxford looks up and down the cabinet. He pulls one
out, decides no, and puts it back, looking for just the
right one... He pulls another out, then hands it to
Jonson.
OXFORD (CONT'D)
A romantic tragedy. In iambic
pentameter.
JONSON
(amazed)
All, my lord? Is that possible?
OXFORD
Of course it is!
51 INT. OXFORD STONE - HALLWAY - DAY 51
Jonson exits Oxford's study, still amazed at the
manuscript as he walks.
He passes ANNE, Oxford's wife (now 40's), who is on her
way to the study with their eldest daughter, BRIDGET
(17).
55
pg. 56
She watches him go by and immediately realizes that she
has seen him before. But she stays silent.
52 INT. OXFORD STONE - STUDY - DAY 52
Oxford is writing at a desk as Anne enters.
ANNE
Who was that man? I've seen him
before.
Oxford holds up a finger to prevent her from speaking
while he finishes writing a thought. It's a long
thought. Anne is obviously annoyed, and interrupts
him.
ANNE (CONT'D)
Edward-- we must discuss our Bridget's
dowry.
OXFORD
(looking up - confused)
Dowry?
He remembers when he spies his daughter.
ANNE
She cannot go into marriage without a
dowry that is becoming to the daughter
of the Earl Oxford.
OXFORD
I can give her Brooke House and a
hundred pounds.
BRIDGET
A hundred pounds? Father? Mother!
OXFORD
That is all we have to give at the
moment.
The matter over, Oxford goes back to his writing.
ANNE
(furious)
Edward. Edward! Speak to me! Our
family is in financial ruins, and, and
you, you play the flute while Rome
burns!
Oxford turns.
56
pg. 57
OXFORD
Nero fiddled whilst Rome burned.
And then he goes back to writing.
ANNE
For god's sake, who cares Edward?
When your own daughter can't even have
a suitable dowry?
She stares at him.
ANNE (CONT'D)
My god, you're writing again, aren't
you? After you agreed-- after my
father expressly forbade it!
Oxford turns to her, full of emotion
OXFORD
Anne-- If you could have seen them--
the mob... They, they didn't just sit
there like the reptilia of court,
faces motionless, fangs momentarily
retracted. No! They, they jumped on
stage, they fought the French! A
butcher-- he actually broke his arm!
He was so--
ANNE
Stop! Stop it at once!!
Anne storms over and grabs the parchment from under
him, and begins RIPPING it up.
ANNE (CONT'D)
Why!? Why must you write?! Why must
you continue to humiliate this family?
He stares at her, almost uncomprehendingly. Then--
OXFORD
The voices, Anne... The voices. I, I
can't stop them... They, they come
when I sleep, when I wake, when I sup,
when I, I, I walk down a hall! The
sweet longings of a maiden, the, the
surging ambitions of a courtier, the
foul designs of a murderer, the
wretched pleas of his victims. Only-
- only when I put their words-- their
voices-- to parchment are they cast
loose, freed... Only then is my
mind... quieted... at peace.
57
pg. 58
Anne steps back, frightened of him.
OXFORD (CONT'D)
I... would go mad if I didn't write
down the voices.
She stares at him, horrified.
ANNE
Art thou possessed?
He stares back at her. A long beat
OXFORD
I... don't know.
SHAKESPEARE (O.S.)
"Two households, both alike in
dignity, In fair Verona, where we lay
our scene"
53 EXT. LONDON BRIDGE - DAY 53
Shakespeare and Jonson are walking along London Bridge--
the only bridge that spanned the Thames at the time, it
is a street lined with multi-storied buildings-- almost
like a mall.
Shakespeare caries and reads from a manuscript of
"Romeo and Juliet"
SHAKESPEARE
"From ancient grudge break to new
mutiny, Where civil blood makes civil
hands unclean."
(no longer reading)
Incredible!! The whole bloody thing
in verse?!
JONSON
(nonchalant)
It's really not that difficult, if you
try.
SHAKESPEARE
And have you ever tried?
Jonson gives him a sharp look, and pauses to pick some
onions from a stand.
Shakespeare notices a BUXOM BLONDE women selling apples
at the next stand.
58
pg. 59
SHAKESPEARE (CONT'D)
(performing for the
Blonde)
"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."
The Buxom Blonde smiles at Shakespeare seductively.
SHAKESPEARE (CONT'D)
(to Jonson)
I'll have little trouble parting the
legs of barmaids after that
performance!
JONSON
You can't play Romeo.
Jonson leaves the stall, and continues down the street.
Shakespeare hesitates, then gives the girl a dazzling
smile. She smiles back, then Shakespeare runs after
Jonson.
SHAKESPEARE
(to Jonson)
Why not? I won't let that oaf Spencer
have another go at one of my roles.
No-- only Will Shakespeare can pump
the life into Romeo's veins.
(grins at another passing
girl)
And his cod piece!
(beat, desperate)
Ben-- Ben! I'm an actor, every inch
of me, down to my very toes... I want-
- no, I need, crave-- to act. I can't
just idle the day by with--
JONSON
So bloody well act like a writer! And
for God's sake, keep off the stage.
Writers don't have time to act.
DISSOLVE TO:
59
pg. 60
54 INT. THE ROSE THEATER - DAY 54
A performance of "Romeo and Juliet". About a dozen
actors are dancing. It is Act 1, Scene 5. "ROMEO",
played by Spencer, is staring longingly at "Juliet".
"Romeo" turns to his servant.
"ROMEO"
What lady's that, which doth enrich
the hand of yonder knight?
"SERVANT"
I know not, sir.
"ROMEO"
O, she doth teach the torches to burn
bright! It seems she hangs upon the
cheek of night like a rich jewel in an
Ethiop's ear; beauty too rich for use,
for earth too dear!
The actor playing Romeo plays to the women in the
audience. And
THE WOMEN
respond, eye lashes twittering.
THE WITS
Watch in awe! Now they're all taking swigs of ale.
BACKSTAGE
Shakespeare mouthing silently the lines of "Romeo".
IN OXFORD'S BOX
Oxford watches the dance carefully.
"ROMEO" (CONT'D)
Did my heart love till now? Forswear
it, sight! For I ne'er saw true
beauty till this night.
DISSOLVE TO:
55 INT. RICHMOND PALACE - GREAT HALL - NIGHT 55
Twenty-eight years earlier. A dance is taking place.
YOUNG OXFORD-- now 20 is dancing with Young Anne. But
his eyes are on:
60
pg. 61
Young Elizabeth, who is dancing with the Spanish
AMBASSADOR.
YOUNG ELIZABETH
seems less than interested in her dancing partner. She
STARES intently back at Young Oxford.
WIDER
There is a natural change in the music, and all the
dancers switch partners-- it's part of the dance.
Young Oxford goes to Young Elizabeth, the Spanish
Ambassador goes to Anne.
YOUNG ELIZABETH AND YOUNG OXFORD
stare into each others eyes as they dance the intricate
moves.
YOUNG ELIZABETH
My lord of Oxford.
Elizabeth smiles.
YOUNG ELIZABETH (CONT'D)
We liked your play tonight very much.
Your young King Henry reminded us of
you.
OXFORD
Did he?
YOUNG ELIZABETH
Rash, yet brave. A boy-- and yet a
man. Fair on the eyes, fairer to the
ear...
WIDER
Much of the Court is watching this. They can tell
there are sparks between them.
All the dancers change partners, including Elizabeth
and Oxford. A few dance moves, and Oxford once again
finds himself with Elizabeth.
YOUNG ELIZABETH (CONT'D)
We are glad of your return from the
continent. Two years is far too long
to be without such excellent
amusements.
Young Oxford dips his head slightly in acknowledgment.
61
pg. 62
YOUNG OXFORD
If I had known my absence would cause
your grace so much... longing, I would
have returned much-- much-- sooner.
Was that a come-on? Young Elizabeth decides to find
out.
YOUNG ELIZABETH
Your wife must be much pleased by your
presence once more at her side...
Young Oxford glances over at--
YOUNG ANNE
who is now dancing with the Spanish Ambassador. But
she watches Young Elizabeth and Young Oxford with a
great deal of jealousy.
WILLIAM CECIL
Follows his daughter's look. He doesn't like what he
sees any more than Young Anne does.
BACK TO YOUNG ELIZABETH AND YOUNG OXFORD
Still dancing.
YOUNG OXFORD
If she is, it is but a small comfort
to me. I am returned only under my
father-in-law's insistence.
A beat as this sinks in.
YOUNG ELIZABETH
(surprised)
Cecil had told me your match was one
of love.
YOUNG OXFORD
And so he would wish.
(long beat)
But how could one ever love the moon,
after having first seen the sun?
He stares intensely into her eyes. And she stares
right back.
DISSOLVE TO:
62
pg. 63
57 EXT. RICHMOND PALACE - BALCONY - DAY 57
Three Ladies-in-waiting run onto the balcony to join
Bessie, who is looking across the palace grounds,
watching--
56 EXT. RICHMOND PALACE - FOREST - SAME TIME 56
Young Elizabeth and Young Oxford, both on horseback,
unaccompanied, trot over a small bridge.
56A EXT. RICHMOND PALACE - BALCONY - SAME TIME 56A
The Ladies-in-waiting giggle, but are interrupted by--
WILLIAM CECIL (O.S.)
Where is her majesty?
Bessie turns to William Cecil.
BESSIE
My lord. Her majesty went riding with
the Earl of Oxford.
The Ladies-in-waiting share knowing smiles.
56B EXT. RICHMOND PALACE - FOREST - SAME TIME 56B
Young Elizabeth and Young Oxford share flirty glances,
and then Young Elizabeth spurs her horse to a gallop,
and dashes into the fog. Young Oxford immediately
follows.
CUT TO:
58 INT. A ROYAL TENT - LATER 58
A servant places a silver plate filled with shucked
oysters onto a table filled with quail, venison, wine,
etc...
Young Elizabeth sits across from Young Oxford. It's
just the two of them dining.
YOUNG ELIZABETH
And which country did you like the
most on your travels, my lord?
YOUNG OXFORD
I think Italy, your grace.
63
pg. 64
YOUNG ELIZABETH
And why is that? The weather? The
food?
YOUNG OXFORD
No their theater, which they call la
Commedia dell'arte. And, of course,
the women.
She raises an eyebrow.
YOUNG ELIZABETH
The women?
YOUNG OXFORD
They were more... clear with their
desires than our English ladies. When
they want something, they take it.
They do not wait to be taken...
SLOW DISSOLVE TO:
59 OMIT 59
60 INT. RICHMOND PALACE - RECEIVING CHAMBER - NIGHT 60
A door SLAMS open, and Young Elizabeth and Young Oxford
dash in, ripping each others clothes off in the
fireplace-lit room.
Young Elizabeth gently pushes Young Oxford towards her
throne... She kisses him. Then begin to make love.
On the throne.
DISSOLVE TO:
LATER
Postcoital, the fire still lit. Young Elizabeth is
half asleep, half awake, nestled in furs in front of
the fireplace... much like Titania in "Midsummer
Night's Dream"...
Young Oxford watches her as she stirs and wakes. She
smiles at him.
YOUNG ELIZABETH
I can't decide. Are you Prince
Hal...? Or Romeo? No. Benedick,
maybe...?
No--
(MORE)
64
pg. 65
YOUNG ELIZABETH (CONT'D)
(smiles)
--Puck
YOUNG OXFORD
(smiles)
Puck?
YOUNG ELIZABETH
Yes, Puck!
She's only teasing.
YOUNG OXFORD
Ah, but Puck would never fight for you
in the Netherlands...
YOUNG ELIZABETH
(surprised, smiles)
The Netherlands?
But then she realizes he's serious, and the smile
vanishes.
YOUNG OXFORD
Well, why not? It's an open secret on
the continent that you support the
rebels against Spain-- and that you
are commissioning Englishmen to help
their cause. Spain's loss is
England's gain, is it not?
Her eyes narrow as she studies his face.
YOUNG ELIZABETH
Is this why you bedded me? For a
commission?
YOUNG OXFORD
No. No-- of course not-- I--
She stands, wrapped in her sheets, furious at the
thought of once more being used.
YOUNG ELIZABETH
Leave me. Leave at once!
A beat.
YOUNG OXFORD
Bess--
YOUNG ELIZABETH
How dare you! How dare you!! I
command you to leave my presence.
65
pg. 66
And she steps back, waiting for him to exit.
Young Oxford stands... and starts to approach her...
He's nude, his back to us.
She steps back, a bit stunned by his impertinence. He
steps towards her as--
YOUNG OXFORD
O Mistress mine, where are you
roaming?
O stay and hear... your true-love's
coming,
That can--
(looks up and down her
body)
--kiss both high and low...
A bit stunned by his approach, she stumbles backwards
on her sheets.
YOUNG OXFORD (CONT'D)
Trip no further, pretty sweeting....
But he's sexy... and naked. And spouting poetry. She
stops retreating and allows his approach.
YOUNG OXFORD (CONT'D)
Journeys end in lovers' meeting--
Every wise man's son doth know.
A small smile escapes her lips.
YOUNG OXFORD (CONT'D)
What is love? 'tis not hereafter;
Present mirth hath present laughter;
What's to come is still unsure:
He starts to kiss her neck. Cautiously at first. But
she likes it.
YOUNG OXFORD (CONT'D)
In delay there lies no plenty--
Then come kiss me, Sweet-and-twenty,
Youth's a stuff will not endure.
She responds to him, melting from both his words and
touch. They start to kiss deeply, passionately... And-
-
YOUNG ELIZABETH
(passionately)
You will stay in England... And in...
my chambers...
66
pg. 67
The flash of disappointment on Young Oxford's face
about that last bit is tempered by Young Elizabeth's
sheet falling to the floor. They begin to make love
passionately once more.
NASHE (O.S.)
I could do it if I wanted to...
61 INT. THE MERMAID'S TAVERN - DAY 61
Twenty-seven years later. Jonson, Marlowe, Dekker and
Nashe sit silently at a table, mugs of ale in hand.
Having just returned from "Romeo and Juliet", all are a
bit in shock. The actors from the perfomance are there
as well in the BG.
MARLOWE
(to Nashe)
Do what?
NASHE
(a little drunk)
A play in iambic, in iambic pen...in-
bic-pentameter. It's not that hard.
JONSON
Think you so? Have you ever tried?
NASHE
Of course not. But I could if I
wanted...
DEKKER
It wasn't all in verse.
NASHE
Ha! See! Even easier!
Shakespeare enters and makes a bee line for them.
SHAKESPEARE
(excited)
Henslowe wants "Romeo" to run a
fortnight.
(unbelievable news)
A fortnight! Innkeeper! A round for
everybody! Inkeeper!!
(no response)
Billy!!!
And Shakespeare goes over to the bar.
67
pg. 68
NASHE
A fortnight?
DEKKER
The maids love the romantic tragedies.
MARLOWE
Precisely why I avoid them.
NASHE
Aw, well. No worries. A one-trick
pony. He'll never be able to do it
again.
62 INT./EXT. THE ROSE THEATER - DAY 62
A MONTAGE of various plays:
"TWELFTH NIGHT"
Viola and Sebastian are reunited...
"CAESAR"
Caesar is attacked by Brutus, Cinna, Cassius, etc...
"MACBETH"
The witches are on stage.
These three performances are INTER-CUT with:
PLAYBILLS
outside the Rose, announcing each play's title. At
first, Shakespeare's name is small, with each
succeeding play his name gets bigger. And--
AFTER EACH PERFORMANCE
Shakespeare bows to the ever-increasing applause of his
audience. He looks up to see the Mermaid's Wits all
watching him with stony silence.
And as each play is seen, Jonson and the rest of the
Wits seem more and more depressed.
And after each performance, Shakespeare seems to be
greeted with more and more adulation.
The MONTAGE ends with...
68
pg. 69
A PLAYBILL
in front of the theater announcing "William
Shakespeare's Hamlet". Shakespeare's name is now above
the title. We HEAR the audience howl with LAUGHTER as--
63 INT. ROSE THEATER - DAY 63
An actor playing "POLONIUS" does an obvious caricature
of William Cecil, dressed in black with an exaggerated
rendition of Cecil's beard.
"POLONIUS"
(over-acting)
...Beware of entrance to a quarrel,
but being in, bear it that the opposed
may beware of thee. Give every man
thy ear, but few thy voice, take each
man's censure, but reserve thy
judgment....
64 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 64
Elizabeth watches the same play at a court performance.
We see Elizabeth smiling amused as "Polinous" continues
his rant...
"POLINOUS"
....Costly thy habit as thy purse can
buy, but not expressed in fancy, rich,
nor gaudy, for the apparel oft
proclaims the man. This above all, to
thine own self be true.
Elizabeth absent mindedly starts to scratch her chest,
irritated by some sort of itch, but still focused on
the play.
65 INT. ROSE THEATER - DAY 65
Jonson watches tight lipped...
The character of GERTRUDE", the Queen, is joined by
"HAMLET". "Polonius" is behind a curtain, listening
in, and is seen by the audience. "Hamlet" appears
enraged.
"GERTRUDE"
What wilt thou do? Thou wilt not
murder me? Help, ho!
69
pg. 70
"POLONIUS"
(behind curtain)
What ho, help!
"Hamlet" draws his sword.
"HAMLET"
How now? A rat? Dead, for a ducat,
dead!
"Hamlet" stabs "Polonius" through the curtain.
"POLONIUS"
O, I am slain.
"Polonius" emerges from behind the curtain, covered in
pig's blood, and dies an anguished death.
There is stunned silence in the audience. And then one
lone Groundling CLAPS, then another, then the whole
audience.
GROUNDLING
Not a day too soon for old Cecil!!
66 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 66
Elizabeth is still scratching her chest, but more
vigorously as some of the members of court give
uncomfortable glances at each other over the death of
William Cecil-- er "Polonius" onstage.
"GERTRUDE"
O me, what hast thou done?
"HAMLET"
Nay, I know not. Is it the King?
"HAMLET" (CONT'D)
Thou wretched, rash, intruding fool,
farewell! I took thee for thy better:
take thy fortune; Thou find'st to be
too busy is some danger. Leave
wringing of your hands: peace! sit you
down, And let me wring your heart; for
so I shall, If it be made of
penetrable stuff,
If damned custom have not brass'd it
so
That it is proof and bulwark against
sense.
70
pg. 71
Elizabeth can't take the itching anymore. She RIPS
open her bodice and violently scratches some sort of
rash on her chest.
67 INT/EXT. ROSE THEATER - DAY 67
Oxford is in his usual box, but completely alone. He
has a smile of satisfaction on his lips while...
JONSON
Looks over to Oxford with astonishment... While on
stage the world sees for the first time "Hamlet"
contemplating suicide.
"HAMLET"
To be, or not to be: that is the
question: whether `tis nobler in the
mind to suffer the slings and arrows
of outrageous fortune, or to take arms
against a sea of troubles, and by
opposing end them...
Loud thunder and...
RAIN STARTS TO FALL
And as only the stage and the galleries are covered,
the groundlings are pelted with the cold drops of
water. But they stay. They stay. They cover
themselves up, and silently watch on.
"HAMLET'
...To die, to sleep- no more- and by a
sleep to say we end the heartache, and
the thousand natural shocks that flesh
is heir to...
The audience-- soaked, pelted with rain-- watches
immobile.
And then a again a loud thunder clap takes us to the
end of the play...
SHAKESPEARE
Bows to the thunderous applause. It is still raining,
but nobody wants to leave. While-
THE MERMAID'S WITS
watch in the crowd, a complex range of emotions, but
jealousy and loathing at the top of the list.
71
pg. 72
ON STAGE
some of the audience members grab Shakespeare, and pull
him on their shoulders, carrying him triumphantly out
of the theater.
CUT TO:
68 EXT. STREET IN FRONT OF TOWER OF LONDON - DAY 68
Marlowe walks towards the Tower of London.
68A INT. TOWER OF LONDON / POLE'S ROOM - DAY 68A
Silence....Marlowe is waiting patiently...
He is sitting across from Pole, the Captain of the
Guard, who is reading his report....
POLE
(looks up)
Are you certain of this?
(almost confused)
William Cecil was murdered?
MARLOWE
Not literally, of course. He was a
character, a fictional character. But
the metaphor was clear for anyone to
see. And see, they did.
Pole reads more from the parchment.
MARLOWE (CONT'D)
Will you shut it down?
Pole continues to read.
POLE
That is not for me to decide...
He brings out a pouch of coins, and tosses it across
the table.
POLE (CONT'D)
Your service to his lordship is once
again greatly appreciated.
Marlowe takes the pouch of money.
72
pg. 73
ROBERT CECIL (O.S.)
He butchered you!
69 INT. CECIL HOUSE - WILLIAM CECIL'S STUDY - DAY 69
Robert Cecil is furious, pacing back and forth in front
of William Cecil, who sits behind a large wooden desk.
William Cecil is pale and sweaty-- he is deathly ill,
and sits in a wooden chair with small spoked wheels
attached to the legs-- sort of an Elizabethan
wheelchair.
ROBERT CECIL
Not only in front of Court! But the
entire City as well! We must arrest
this Shakespeare and-
WILLIAM CECIL
No, Robert, think. If he is really as
popular as you say, we would only
anger the mob. No. We must strike at
Edward directly.
William Cecil slowly-- and shakily-- bends down from
his chair as--
ROBERT CECIL
But we cannot maintain our authority
if the mob thinks us laughing stocks--
WILLIAM CECIL
(angry)
Our authority comes from Elizabeth and
from God! Elizabeth! Elizabeth is
the key to all.
Robert Cecil looks hurt by his father's anger.
WILLIAM CECIL (CONT'D)
(gentler)
Robert... You must think deeper. You
must compensate. Compensate for
your... malformations... with the
gifts God did grant you... With
cunning. With ruthlessness.
William Ceci pushes a hidden button on the side of his
desk-- a spring loaded secret drawer POPS open. Robert
Cecil has never seen it before.
Cecil produces a folded piece of parchment from the
drawer, offers it to Robert Cecil.
73
pg. 74
WILLIAM CECIL (CONT'D)
From King James of Scotland.
Robert Cecil looks surprised.
69A INT. CECIL HOUSE - HALLWAY - MOMENTS LATER 69A
Robert Cecil is pushing William Cecil in his
wheelchair. They are completely alone.
WILLIAM CECIL
James knows of the Queen's affection
for Essex... and the rumors of his
birth. He is justly concerned.
(beat)
You will reply to him.
ROBERT CECIL
I will reply to him?
WILLIAM CECIL
I am dying, Robert--
(before Robert can
protest)
We both know this to be true. And I
will not witness the next coronation.
69B INT. CECIL HOUSE - WILLIAM CECIL'S BEDROOM - MOMENTS 69B
LATER
Robert Cecil wheels his father in.
WILLIAM CECIL
Help me to my bed, my son.
(Robert Cecil does so)
If we are to secure your place at the
side of the next king, you must get
that king his throne, not I.
A beat as this registers on Robert Cecil.
WILLIAM CECIL (CONT'D)
You will write to James that I am
gravely ill, but that all is in hand.
Much of the Privy Council has already
secretly agreed to his ascension to
the English throne due to your
tireless, but secret, entreaties on
his behalf.
(beat)
And then tell him Essex will not
return from Ireland alive.
74
pg. 75
Robert Cecil looks surprised.
WILLIAM CECIL (CONT'D)
This is how kings are made, Robert.
So it was with Elizabeth, and so it
shall ever be. There were many rival
claims to her throne, but none
survived to make their claim. James
must know that you will do the same
for him, and he will reward you for
it.
(beat)
But we must do one thing more...
William Cecil has a coughing fit-- reaches for a glass
vial of medicine at his bedside-- takes it.
WILLIAM CECIL (CONT'D)
Like Essex, Edward must be removed.
ROBERT CECIL
(confused)
Edward?
William Cecil is slowly falling asleep...
WILLIAM CECIL
He uses the tools at his disposal, as
we use the tools at ours. But ours
will win... as they always have.
ROBERT CECIL
(more confused)
I-- I don't understand, father. What
does Edward--
WILLIAM CECIL
Edward seeks what we seek. To choose
the next King.
Off Robert Cecil's surprised face we hear:
YOUNG ELIZABETH (O.S.)
I am with child...
CUT TO:
70 INT. RICHMOND PALACE - LONG GALLERY - DUSK 70
Twenty seven years earlier. Young Elizabeth is pacing,
terribly agitated. Bessie, the lady-in-waiting we have
seen constantly at her side is the only other person
present.
75
pg. 76
WILLIAM CECIL
Are you certain?
Young Elizabeth turns to Bessie.
BESSIE
Two cycles have passed, my lord.
William Cecil thinks.
YOUNG ELIZABETH
I wish to marry him...
William Cecil looks startled.
WILLIAM CECIL
Marry him, your grace? He is already
married.
YOUNG ELIZABETH
I can do what I will.
WILLIAM CECIL
Can you?
She gives him a sharp look.
WILLIAM CECIL (CONT'D)
Most of the Catholic princes of Europe
wish to topple you and end your
Protestant reign... The only things
that stop them are the channel, and
the hope that they might marry you,
and thereby achieve your realm through
other means.
Young Elizabeth hears him, thinks on it, then begins
pacing again.
YOUNG ELIZABETH
I love him...
WILLIAM CECIL
Would you risk your throne for him?
Would you risk England for him?
He knows the answer to that.
WILLIAM CECIL (CONT'D)
We must do as we have done before...
You must go on Progress, somewhere
isolated, accompanied by only those
whom you most trust.
(MORE)
76
pg. 77
WILLIAM CECIL (CONT'D)
After the birth, I will find a
suitable house for the child to be
reared in.
Young Elizabeth is uncertain.
YOUNG ELIZABETH
And Edward?
WILLIAM CECIL
He must never know.
71 INT. CECIL HOUSE - PRIVATE CHAPEL - DAY 71
A simple, cold space, like William Cecil himself.
William Cecil is alone in prayer. A few beats, then he
senses he is not alone. He turns and sees Young Oxford
(still 20).
YOUNG OXFORD
What have you done?
WILLIAM CECIL
I am praying.
YOUNG OXFORD
(ignoring him)
She won't see me! I've gone to her
chambers three times, and she will not
receive me. And now she's gone!
William Cecil regards Young Oxford for a beat, then
stands.
WILLIAM CECIL
She's on Progress.
With this he leaves the chapel.
72 INT. CECIL HOUSE - HALLWAY - CONTINUOUS 72
Young Oxford runs after him.
YOUNG OXFORD
Where? Where did she go?
William Cecil is silent.
YOUNG OXFORD (CONT'D)
What did you say to her? Tell me!
77
pg. 78
WILLIAM CECIL
The Queen does not ask for my advice
about matters of the heart, Edward.
If she had, she hardly would have
chosen you for her pleasure.
He has a point.
WILLIAM CECIL (CONT'D)
You must have known her eye would move
elsewhere, Edward. It always has.
You are neither the first, nor the
last, of her lovers.
Young Oxford looks up at him like a bucket of cold
water has hit him.
William Cecil stops. He looks at Oxford with a stern
face.
WILLIAM CECIL (CONT'D)
Go back to my daughter, Edward. She
will accept you with open arms, as she
always has. Behave as your great
title demands you behave. Tend to
your estates, your investments.
(a beat)
And make me a grandson, an heir!
Off Young Oxford's pained expression.
CUT TO:
73 INT. MERMAID'S TAVERN - NIGHT 73
Twenty-seven years later. Jonson is alone, trying to
write at a small table, though it's obvious from his
fits and starts and crossing outs that he is having
difficulty.
MARLOWE (O.S.)
It's difficult to write, isn't it?
After watching something like
"Hamlet"...
Jonson looks up. Marlowe sits, uninvited. Jonson
looks annoyed at the interruption.
MARLOWE (CONT'D)
I've seen you watch him. Will.
During a performance. It eats at
you... at your soul...
78
pg. 79
Jonson stares at him, his answer obvious.
MARLOWE (CONT'D)
Why do you think Will hasn't been
arrested? You or I make the slightest
joke about a nobleman of no
consequence, and we find ourselves in
a cell quicker than a fart spreads in
the trade winds. Will-- he murders a
caricature of old William Cecil
himself, and still whores all the way
to Westminster and back.
JONSON
(shrugs)
Perhaps they haven't noticed..
Jonson gets up and walks towards the door.
MARLOWE
I made sure they did...
Jonson turns around.
JONSON
You informed on one of your own? To
the Tower?
MARLOWE
Watch who you judge, Ben, for as God
is my witness, you may well find
yourself doing the same before you
meet your maker. We do what we have
to, to survive, and survive well, in
this life. All of us. And Will is
definitely not one of us. You know
he's illiterate, don't you?
Jonson is stunned.
MARLOWE (CONT'D)
No? Oh, he can read well enough-- how
else could he learn his lines? But
the man never actually learned to form
his letters.
JONSON
Why are you here, Kit?
MARLOWE
(smiles)
So who did write it? You? No. You'd
take credit for it. No...
(MORE)
79
pg. 80
MARLOWE (CONT'D)
It must be someone who wants their
anonymity protected. Someone who
might even pay to have it protected.
Jonson is getting nervous.
MARLOWE (CONT'D)
A nobleman.
Jonson looks up. Marlowe smiles, knowing he is closer
to the truth.
MARLOWE (CONT'D)
But which? You know, don't you, Ben?
JONSON
You've had too much to drink, Kit.
You're beginning to sound like one of
your plays.
Jonson stands and hurries out of the Tavern.
73A EXT. BANKSIDE LONDON - MOMENTS LATER 73A
Jonson heads down the street, Marlowe chasing after
him.
MARLOWE
Ben! Tell me. We can go to him
together. Guarantee his anonymity...
for a price.
JONSON
You reported on me as well, didn't
you, Kit? Last year. That's why I
was arrested, wasn't it? Because you
went to the Tower?
MARLOWE
(lying)
Ben, Ben... I had nothing to do with
that.
Jonson studies Marlowe for a beat and then walks away.
MARLOWE (CONT'D)
Ben-- I'll just go to Will! He'll
tell me because he has so much more to
lose than you. Fame. Fortune. And
you'll profit nothing from it.
Nothing!
But Jonson is gone.
80
pg. 81
74 EXT. MILITARY CAMP - IRELAND - DAY 74
A military encampment with dozens of tents on a cliff
by the Irish seaside.
CLOSER
Essex's tent is larger, and guarded. An OLD SERVANT
carrying a tray with a silver pitcher approaches. A
guard opens the tent for him to enter.
INT. ESSEX'S TENT - CONTINUOUS
Essex is having a Council of War with his generals and
senior officers, including Southampton. They all stand
around a table, consulting a map of Ireland.
ESSEX
(pointing)
If the Rebels have stripped the
northern borders... Then we must
march south... and take Cahir
Castle...
The SERVANT stays in the background as he pours wine
into various goblets. Southampton notices him-- the
servant's hand shakes as he pours the wine.
GENERAL
(clears throat,
uncomfortable)
My lord. `Tis a well-defended
fortress. Two thousand men at
least. We cannot--
Southampton notices the Servant's shaking hand slipping
into a pocket as--
ESSEX
So what would you have me do? Spend
the entire spring encamped? I am sent
to Ireland to end this infernal
rebellion, not idle my days with--
SOUTHAMPTON
Robert!
In an instant Southampton draws a silver engraved
pistol and SHOOTS the servant!
Everyone is shocked-- but then we see:
81
pg. 82
THE SERVANT
had drawn his own, small wooden pistol.
ESSEX
shares a look with Southampton.
75 EXT. OXFORD STONE - GARDEN - DAY 75
To Establish. A foggy day. In the Foreground we see
the maze. Oxford and his fencing master, BEAULIEU
(20's) are in the center of the maze dueling with
rapiers for exercise.
CLOSER
They wear outfits that are slightly more protective
than ornamental.
They duel for a few moments, and then Oxford TOUCHES
Beaulieu's shoulder. The speak entirely in French.
BEAULIEU
Point!
Oxford backs off, as does the fencing master.
OXFORD
(in French)
Bien. Faisons du travail... le Coup
droit d'autorit�?
BEAULIE
Mais oui, mon seigneur.
OXFORD
Bien. En garde!
And they once again begin to duel. But we quickly
surmise something is amiss. Beaulieu is much more
aggressive than he was before. Oxford realizes it, but
is an expert swordsman, and defends himself well.
And then Beaulieu aggressively moves forward, and STABS
Oxford in the leg.
OXFORD (CONT'D)
Qu'est ce que vous faites?
But Oxford has little chance to react, because Beaulieu
continues his attack.
82
pg. 83
OXFORD (CONT'D)
Beaulieu? Beaulieu?!
This has become an assassination attempt, not an
exercise.
ENTRANCE OF THE MAZE
Francesco is entering the maze with a silver tray
carrying a pitcher and two goblets.
CENTER OF THE MAZE
Though wounded, Oxford is a superior swordsman. And he
begins his own attack-- with a ferocity that surprises
Beaulieu.
IN THE MAZE
Francesco heads for the center as--
IN THE CENTER OF THE MAZE
Oxford PIERCES Beaulieu's heart with his rapier, and
Beaulieu SCREAMS--
IN THE MAZE
Francesco hears the scream, and starts to run.
FRANCESCO
Signor? Signor?!
IN THE CENTER OF THE MAZE
Oxford collapses as Francesco rushes in.
FRANCESCO (CONT'D)
Signor? Mio dio! Signor! What has
happened--
Oxford checks his leg wound, and glances at the dead
Beaulieu. He tries to wave off Franceso's aid, but to
no avail as--
OXFORD
Beaulieu-- he, he tried to kill me...
76 EXT. BANKSIDE LONDON - DAY 76
Jonson, slightly drunk, walks down a street, a whore
under his arm, and notices a commotion up ahead: people
talking by an alley near the Mermaid's tavern.
83
pg. 84
JONSON
(to a passer-by)
What's all that, then?
MAN
A body...
Jonson peers over and sees:
A BODY
on its back in the alley. Someone turns it over. It's
MARLOWE, a dried stab-wound in his eye.
JONSON
is stunned.
MAN (CONT'D)
Must have been a cut-purse. Nowhere's
bloody safe anymore, I'll tell you
that...
CUT TO:
77 INT. A BEAR-BAITING THEATER - DAY 77
A small, open air theater where a chained bear is being
led around the theater. A set of mastiffs are being
led on the opposite side of the theater.
The spectators are unruly, loudly making bets for the
mauling to come.
Jonson is among them, taking a look at the bear, deciding
whether to bet on it or not.
BEAR BAITER
Sampson! Sired by the great Arthur
himself! No dog's yet been bred that can
take him down!
Shakespeare suddenly sits next Jonson hardly notices.
SHAKESPEARE
I need more money.
JONSON
More--? You already make more than any
playwright Bankside.
84
pg. 85
BEAR BAITER
But then here, good friends, I bring you
a pack of dogs so fierce, so dangerous,
that Medusa herself would shrink in fear!
SHAKESPEARE
I'm going to build my own theater, Ben,
one that fits the scale of my work--
Jonson suddenly turns to him.
JONSON
Your work?
BEAR BAITER
Not a one has had a morsel of food in a
week! Bred by the great John Sinclow!
A MAN
Fourpence on three dogs!
SHAKESPEARE
They insist only a gentleman can own the
land.
ANOTHER MAN
A shilling on four!
SHAKESPEARE
The bribes are outrageous, but I found
some one who will make me a coat-of-arms,
and change the Stratford lists for me.
JONSON
Impossible.
ANOTHER MAN
Eight shillings on six dogs! Eight
shillings on six dogs!
JONSON
I'll take that bet!! Eight shillings on
the bear, six dogs!
ANOTHER MAN
Done!
SHAKESPEARE
Bad bet, that.
JONSON
(to Shakespeare)
You'll have to make do with what
you've got. I won't be your beggar.
85
pg. 86
Shakespeare gives him a look to kill.
SHAKESPEARE
This isn't a request, Ben. I'll have
more money.
JONSON
Or what? You'll slit my throat like
you did Kit's?
MAN
Release the dogs! Release the dogs!
Shakespeare shows no reaction.
JONSON
I know he went to see you last night,
Will. And I know he was planning to
expose you if you didn't agree to his
terms.
IN THE PIT
The bear baiting begins.
WIDER
Shakespeare stares at Jonson.
SHAKESPEARE
(dead serious)
You're mad, Ben. Kit was my friend.
JONSON
Be careful, Will. You kill me off
too, and you won't have any good plays
to act in after this is all done.
Some of the spectators BOO while others CHEER, and--
SHAKESPEARE
I'll have my guineas, Ben. One way or
another, I'll have my guineas.
And he gets up and leaves as the--
DOGS
start to go for the bear's throat. Thge cheering goes to
a roar as we--
CUT TO:
86
pg. 87
SHAKESPEARE
Wears a beard and fake nose. He tries to stay hidden so
Jonson doesn't see him. We are:
78 EXT. LONDON BRIDGE - DAY 78
Jonson is waiting not far from him by a stand and
drinks an ale.
Then Oxford's servant, Francesco, appears.
After the two men have exchanged couple of words,
Francesco gives Jonson a leather folder containing a
manuscript and a purse jingling with coin. Jonson
takes them and leaves.
Jonson safely gone, Shakespeare starts to follow
Francesco who heads back over the bridge.
78A EXT. THE THAMES RIVER - DUSK 78A
Shakespeare is in a small boat following Francesco, who
is in Oxford's boat. They head towards Oxford Stone.
EXT. OXFORD STONE - DUSK
Shakespeare watches as Francesco enters Oxford Stone.
79 OMIT 79
CUT TO:
80 INT. OXFORD STONE - STUDY - DUSK 80
Shakespeare is waiting, clearly uncomfortable. It's
not the kind of room he's used to being in. He holds
his wig and his nose.
A door opens, and Oxford enters, walking on a stick
because of his leg injury. He is followed by his
servant, Francesco.
OXFORD
So! You are the famous Shakespeare
whose labors I have enjoyed so much.
I am at your service, sir.
87
pg. 88
Shakespeare is uncomfortable. He wasn't expecting
Oxford himself. Then he just goes for it.
SHAKESPEARE
My lord-- I- I need more money.
OXFORD
(sharp)
I beg your pardon?
SHAKESPEARE
My expenses have, ah, aggrandized...
since this all began.
OXFORD
"Aggrandized"?
SHAKESPEARE
And if, if your lordship doesn't agree
to an increase in my, ah, fee, I shall
be forced to make certain... facts
public.
FRANCESCO
Have you any idea to whom you are
speaking?
SHAKESPEARE
I am addressing the writer of
Hamlet... of Juliet and her Romeo. Am
I not?
Oxford is silent. Francesco goes to physically eject
Shakespeare from the room.
FRANCESCO
Out. Get out! How dare you insult my
master in--
OXFORD
Wait!
(beat)
How much?
Shakespeare looks at Francesco, then Oxford.
SHAKESPEARE
Four hundred pounds. A year.
FRANCESCO
A year?
OXFORD
Pay him.
88
pg. 89
Francesco is shocked.
OXFORD (CONT'D)
(impatient, in Italian)
Pagalo!
Shakespeare smiles.
81 EXT. OXFORD STONE - DUSK 81
Shakespeare exits, tossing a leather pouch filled with
coins. He smiles.
82 INT. OXFORD STONE - STUDY - DUSK 82
Oxford watches Shakespeare walk down the road through a
window.
FRANCESCO
Forgive me for speaking of things
above my place or understanding,
signor. But... Is this wise? They
have already tried to kill you once.
OXFORD
Wisdom, Francesco, is a quality I have
unfortunately never possessed...
Francesco stares at Oxford who is deep in thought.
The sound of heated love making takes us to...
83 INT. CECIL HOUSE - YOUNG OXFORD'S BEDROOM - NIGHT 83
Twenty-five years earlier. Young Oxford (now 25 and
with a beard) is making love to someone. We can't tell
who at first, and assume it is Elizabeth. And then we
see, it's BESSIE, Young Elizabeth's lady-in-waiting.
DISSOLVE TO:
84 INT. CECIL HOUSE - YOUNG OXFORD'S BEDROOM - NIGHT 84
An hour later, post-coital. A fire is burning, and
Bessie is finishing dressing herself.
BESSIE
Edward... You know she would be
furious if she found out about this...
89
pg. 90
Young Oxford doesn't answer. He is deep in thought.
BESSIE (CONT'D)
She still loves you.
YOUNG OXFORD
No. She abandoned me.
BESSIE
You don't know, do you?
He looks at her quizzically.
BESSIE (CONT'D)
The Queen. She had your child.
85 EXT. CECIL HOUSE - EARLY MORNING 85
A carriage drives towards the house.
85A INT. CARRIAGE - EARLY MORNING 85A
Young Anne de Vere holds her sleeping daughter in her
arms.
86 INT. CECIL HOUSE - HALLWAY - EARLY MORNING 86
Bessie carefully closes Oxford's bedroom door and
suddenly freezes.
She turns and sees Young Oxford's wife with her little
daughter at her side standing in the hallway staring at
her.
For a moment nobody dares to move, then Bessie rushes
off...
WILLIAM CECIL
I cannot be certain, majesty, when
the... relationship began.
CUT TO:
87 INT. RICHMOND PALACE - GREAT HALL - DAY 87
Young Elizabeth looks out a window, obviously
distressed. William Cecil is across from her, his face
tense.
90
pg. 91
WILLIAM CECIL
But sometime soon after your return to
Court.
YOUNG ELIZABETH
You're sure?
WILLIAM CECIL
They-- they haven't been very
discreet, majesty. I presume he
wanted you to know. To... to hurt
you.
She is crushed.
WILLIAM CECIL (CONT'D)
Majesty, there is more. The lady is
pregnant.
Young Elizabeth freezes, stunned. Then--
YOUNG ELIZABETH
Arrest them. Arrest them both!
William Cecil bows and exits.
Now alone, Young Elizabeth lets her emotions out. She
picks up a vase and THROWS it into a wall.
87A EXT. TOWER OF LONDON - DAY 87A
From high above, we see a carriage arrive. It stops,
and William Cecil gets out.
88 INT. TOWER OF LONDON - YOUNG OXFORD'S CELL - DAY 88
Young Oxford (now 26) is looking out a window at the
river beyond. He has been imprisoned for some months.
His beard has become ragged, his clothes have seen
better days.
William Cecil enters.
WILLIAM CECIL
Your whore gave birth last week.
Young Oxford turns to William Cecil. The stare at each
other for a beat.
91
pg. 92
WILLIAM CECIL (CONT'D)
The Queen has decided to release you.
It seems time does indeed heal all
wounds.
(beat)
These are her conditions for your
release. One. You will not
acknowledge the child. Two. You will
never see the mother again. Three.
You will avoid Court at all costs.
Her majesty would prefer not to be
reminded of you in any way ever again.
A beat as Young Oxford thinks on all this.
YOUNG OXFORD
Banished...?
WILLIAM CECIL
No. You have the freedom of the
kingdom. Just not of the Court.
(beat)
Those are her terms. Here are mine.
You will go back to my daughter. You
will make some effort to make her
happy and you will finally act
according to your station in life, and
accept the responsibilities of your
great title.
Oxford reluctantly NODS. William Cecil goes to leave.
YOUNG OXFORD
My lord! I, too, have a condition.
William Cecil turns.
YOUNG OXFORD (CONT'D)
I will go back to your daughter if...
You tell me the name of the child.
WILLIAM CECIL
I don't know if the whore has even
delivered the--
YOUNG OXFORD
No. The other one.
Cecil's face goes to stone.
WILLIAM CECIL
The other one?
(realizing)
Who told you?
92
pg. 93
Cecil is obviously annoyed by this development.
YOUNG OXFORD
I will go back to your daughter. I
will make you as many grandchildren as
she can bare...
William Cecil thinks.
YOUNG OXFORD (CONT'D)
Or I can remain here...
William Cecil decides.
WILLIAM CECIL
There is no record of his true birth,
no trail that leads to you, or the...
mother. His foster parents never knew
the truth, and both are now dead...
YOUNG OXFORD
The name?
WILLIAM CECIL
Make even a hint of this to the child,
or anyone else, and this agreement is
void, and I'll see your head on the
block within a fortnight. And the
boy's as well.
YOUNG OXFORD
(excited)
It's a boy...?
89 EXT. CECIL HOUSE - GARDEN - DAY 89
Young Oxford (cleaned up) is watching a BOY about five
years old dueling with a tutor. The boy is quite good.
The boy notices Young Oxford, and stops duelling.
BOY
Hello...
YOUNG OXFORD
Hello.
Young Oxford smiles at the boy.
YOUNG OXFORD (CONT'D)
I'm Edward, the Earl of Oxford.
93
pg. 94
BOY
My lord...
The Boy bows, a serious expression on his face.
YOUNG OXFORD
They tell me one day you're to be an
Earl as well.
BOY
I shall be the Earl of Southampton.
YOUNG OXFORD
(smiling)
Well then, we shall be Earls together,
shan't we?
CUT TO:
90 INT. WESTMINSTER ABBEY - DAY 90
Twenty-five years later. William Cecil's body is in
state, in his coffin, in the center of the apse.
ELIZABETH
looking completely stricken, approaches the coffin,
holding Cecil's white cane. She places it at his side.
In the background we hear the Archbishop of Canterbury
reading from the bible.
ARCHBISHOP (O.S.)
... In the sweat of thy face shalt
thou eat bread, till thou return to
the earth: for out of it wast thou
taken, because thou art dust, and to
dust shalt thou return...
ROBERT CECIL
scans the room, to see how it is all playing out.
OXFORD
watches stoically, his wife and children at his side.
94
pg. 95
91 EXT. WESTMINSTER ABBEY - DAY 91
The funeral over, Elizabeth exits the portal of
Westminster Abbey and heads to her carriage. A huge
crowd of mourners has assembled.
Robert Cecil steps into place right behind her.
ELIZABETH
We wish to recall Essex from
Ireland...
Robert Cecil is instantly concerned, but hides it well.
They continue to walk.
ELIZABETH (CONT'D)
We feel a terrible void, now that your
father is no longer at our side...
Robert Cecil bows his head as he walks.
ROBERT CECIL
A wise decision, your majesty. If
nothing else, it will give him an
opportunity to respond to all these
rumors.
Still walking, she turns to him sharply.
ELIZABETH
Rumors?
ROBERT CECIL
I'm sorry, majesty, I thought you'd
heard.
ELIZABETH
Heard what?
ROBERT CECIL
Essex is in negotiations with Philip
of Spain...
ELIZABETH
Peace is at hand. We know this.
ROBERT CECIL
Majesty-- it is said that Essex has
promised Phillip all of Catholic
Ireland in return for...
He hesitates.
95
pg. 96
ELIZABETH
In return for what?
ROBERT CECIL
Spain's support of Essex's claim to
the throne of England...
They have arrived at her carriage.
ROBERT CECIL (CONT'D)
(beat)
It is, as of yet, just rumor.
ELIZABETH
Bring him to me, William. Bring him
to me at once!
ROBERT CECIL
(correcting)
Robert, majesty.
Elizabeth stares at him for an instant, then gets into
her carriage, unsure of herself.
ROBERT CECIL (CONT'D)
My father's death has been a great
loss for us all...
She ignores him, trying to collect herself. Robert
Cecil turns to the driver, NODS, and the carriage takes
off.
As soon as it is away, Robert Cecil turns and some in
the crowd of commoners begin to BOO at him.
CUT TO:
HORSE HOOVES
as they gallop over emerald green grasses. We are:
92 EXT. A MILITARY FIELD IN IRELAND - DAY 92
A group of horsemen gallop into Essex's camp. A
MESSENGER jumps off his horse and heads for Essex's
tent.
93 INT. ESSEX'S TENT - DAY 93
Where Essex and Southampton are having dinner as the
messenger enters. He bows.
96
pg. 97
MESSENGER
My lord...
He hands him a sealed envelope. Essex takes it, begins
to read. Frowns, SLAMS the parchment down. He looks
into the distance, trying to process what he's just
read.
Southampton picks up the parchment and begins reading.
SOUTHAMPTON
She can't believe this...
ESSEX
Oh, can't she?
SOUTHAMPTON
It's Robert Cecil. He failed to kill
you, now he tries to kill your name.
Essex heads for the flap of the tent.
ESSEX
We leave with the tide!
CUT TO:
94 INT. THE MERMAID'S TAVERN - NIGHT 94
Shakespeare enters the tavern carrying a rolled up
parchment. He passes various actors drinking, then
hurries over to Jonson, Nashe and Dekker, who are deep
in drink.
SHAKESPEARE
Well, I've got it!
Shakespeare unravels the parchment. He puts it on the
table with a flourish.
It shows a coat-of-arms containing a spear and a
falcon. The colors are numerous, and garish.
SHAKESPEARE (CONT'D)
The herald just finished it not an
hour ago.
(smiles)
Well?
Everyone is confused by it.
NASHE
It's quite... colorful.
97
pg. 98
DEKKER
What in blazes is it?
SHAKESPEARE
My coat-of-arms! It cost a bloody
fortune, but, by god, you can call me
gentleman now!
Jonson looks over at Shakespeare. Shakespeare locks
eyes with him, but looks away, ashamed of something.
DEKKER
I can't quite make out the motto...
Non sanz... Non...
SHAKESPEARE
"Non sanz droict".
NASHE
Not without--
JONSON
Right!? Not without right?
(beat)
You went to him, didn't you? You
lying knave-- you went to him!
Shakespeare doesn't want to discuss this with the
others present.
SHAKESPEARE
(smiles)
Ben. Ben! Let me buy you a--
He grabs Jonson's shoulder, but Jonson pushes him away.
JONSON
What? You've already killed off one
competitor. Now you want another dead
as well?
Shakespeare looks at the confused Nashe and Dekker
nervously.
SHAKESPEARE
I don't know what you mean. Ben, we
should really--
JONSON
I swore to him I wouldn't tell you his
name. Swore it! Do you have any idea
what he might do to me? Do you?
(to Nashe)
(MORE)
98
pg. 99
JONSON (CONT'D)
He's not even a writer you know. He
can't even--
SHAKESPEARE
Ben-- you've had too much to drink.
Shakespeare grabs Jonson.
JONSON
Unhand me!
Shakespeare backs off. Jonson pulls out a piece of
parchment from his shirt.
JONSON (CONT'D)
Here!
(looks around)
A quill! A quill!
Nashe and Dekker look at each other, slightly
embarrassed. Jonson finds a quill deep in his pants.
He thrusts it at Will, who ignores it.
JONSON (CONT'D)
(re: the parchment)
Go on, Will. Write something for us.
Now. Go on! Amaze us with your
verse. Your wit! No? Try astounding
us with the letter "E". Or an "I"--
it's just a straight line!
Shakespeare stares at him.
SHAKESPEARE
You haven't got any ink.
And he exits.
CUT TO:
95 EXT. THE CITY GATES OF LONDON - DAY 95
Southampton and Essex are on horseback, followed by
several dozen armed retainers, GALLOPING towards the
city of London.
96 EXT. WHITEHALL PALACE - COURTYARD - DAY 96
The party rides into the first gate. The palace is the
city residence of the Queen, and is at the edge of the
City.
99
pg. 100
Essex and Southampton jump off their horses.
97 INT. WHITEHALL PALACE - HALLWAY - DAY 97
Essex and Southampton walk quickly down the long
hallway, opening door after door. Servants scurry
behind them, terrified of the intrusion, trying to stop
them. They open the doors into--
98 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 98
The ladies-in-waiting scream in fear when they see the
two men in battle gear.
ESSEX
(to Southampton)
Wait for me.
And he continues on into--
99 INT. WHITEHALL PALACE - OLD ELIZABETH'S BEDROOM - 99
CONTINUOUS
--where Elizabeth is still dressing, putting on make-
up, etc. She is NOT wearing her wig, and is only
wearing her undergarments. She looks quite ugly.
She turns to see Essex, shocked at his intrusion.
Essex FREEZES. He knows he has just made an enormous
faux-pas.
ESSEX
Majesty, I, I...
She stares at him, horrified to be seen in such a
manner. The she regains her composure and--
ELIZABETH
Get out! Out!!!
He steps back in horror-- not at her appearance, but
what he has just done. The doors SLAM in front of him
as we--
ELIZABETH (O.S.)
(CONT'D)
The insolence!
100
pg. 101
100 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 100
Elizabeth, now dressed and wearing her wig on her
throne, is raging at Robert Cecil.
ELIZABETH
Who in God's name does he think he is?
Abandoning his post without my leave!
She begins to absent-mindedly unbutton the top of her
bodice.
ELIZABETH (CONT'D)
Coming into our presence in such a
manner, neither announced nor invited,
half his army in my courtyard. He's
gone mad... mad!
ROBERT CECIL
No. Unfortunately for us, your
majesty, he is quite sane. He simply
believes he is your royal equal.
She turns to him sharply, furious at the thought.
101 EXT. ESSEX HOUSE - DAY 101
It looks like an armed camp, with part of Essex's army
encamped in the front courtyard. The soldiers are all
tense.
Oxford, followed only by Francesco, rides into the
courtyard. He is immediately surrounded by armed men,
their muskets pointed at him. Oxford raises his hands.
OXFORD
I am Edward, Earl of Oxford.
SOUTHAMPTON
Edward! Edward! Thank god you're
here.
Southampton comes towards him.
SOUTHAMPTON (CONT'D)
Elizabeth has revoked all of his royal
licenses! She believes every lie
Cecil tells about him.
(seeing Oxford's wound)
Edward? What happened to your leg?
101
pg. 102
OXFORD
(shrugs)
Nothing.
Oxford continues towards the door. Southampton
follows, his concern for Oxford's wound noticeable.
102 INT. ESSEX HOUSE - HALL - DAY 102
Oxford, Southampton and Essex are alone. Oxford is
sitting in a chair, while Essex paces impatiently,
Southampton standing between them.
ESSEX
She won't accept my letters. I cannot
get to her. Cecil plans to arrest me
any day. I know it.
(beat and more determined)
But that won't be as easy as he
thinks.
OXFORD
Fight him in London, and you only
validate every rumor and lie Cecil has
ever told about you.
ESSEX
Then what do you suggest I do? Let
myself be arrested so I can be tried
and executed for crimes I did not
commit?
OXFORD
No. I will go to Elizabeth, myself,
alone--
ESSEX
How? Cecil won't let her see a letter
without reading it first.
OXFORD
I won't send her a letter. I will
send her a book.
Essex looks confused, but Oxford ignores it.
OXFORD (CONT'D)
She will call for me. And while I am
with her, you will come-- not with an
army, not with swords, but with her
loyal subjects. The cobblers, the
tinkers, the bricklayers of London.
(MORE)
102
pg. 103
OXFORD (CONT'D)
All, all calling for Robert Cecil's
banishment from Court. Words, Robert,
words, will prevail with her, not
swords.
Essex looks unsure.
ESSEX
And the mob? How will I--
OXFORD
Leave that to me.
103 OMIT 103
103A INT. OXFORD STONE - A STUDY - NIGHT 103A
Oxford is in his rooms, writing feverishly by
candlelight.
He completes a thought... closes the manuscript...
writes down the title with a flourish:
The Tragedie of Richard III
104 INT. A ROOM ABOVE THE MERMAID'S TAVERN - DAY 104
A room for the whores to take their tricks. Small,
with nothing much beyond a straw bed.
Shakespeare is bedding a buxom young lady.
And then the door OPENS. Francesco enters, and Oxford
follows, holding a manuscript. Shakespeare looks
shocked. She starts to SCREAM and yell as she pulls a
sheet to cover herself.
FRANCESCO
(to the whore)
Hold your tongue, whore, and get out!
She does so as Oxford walks over to Shakespeare. He
tosses the manuscript to him. Shakespeare starts to
look at it. The whore is partially dressed, so--
FRANCESCO (CONT'D)
(to the whore)
Out, woman!
WHORE
Oi. `Oo's going to pay me then?
103
pg. 104
Shakespeare gives a look to Oxford-- he certainly isn't
going to pay for it.
Oxford nods to Francesco, who gives the whore a few
coins. She smiles, and leaves.
OXFORD
You shall begin rehearsals
immediately. But it is not to be
performed until I tell you. And you
may only have a day's notice.
Shakespeare looks confused.
SHAKESPEARE
That will be expensive-- keeping all
the actors ready. Having the props
made but not--
Oxford tosses a very large pouch of coins at him, and
then begins to leave.
OXFORD
Oh, and congratulations. You've had
an epic poem published today.
SHAKESPEARE
(confused)
Published? You mean like in a book?
Renaissance MUSIC BEGINS as we--
CUT TO:
A PIECE OF PAPER
as a printer presses down the press onto it. The title
page is printed in front of us. It's called "Venus and
Adonis". A MONTAGE BEGINS.
105 INT. A PRINT SHOP - DAY 105
And the printer brings the page out from the press and
checks it for proper alignment.
SHAKESPEARE (V.O.)
`The boar!' quoth she; whereat a
sudden pale,
Like lawn being spread upon the
blushing rose...
Usurps her cheek; she trembles at his
tale,
(MORE)
104
pg. 105
SHAKESPEARE (V.O.)
And on his neck her yoking arms she
throws:
The printer nods his approval... The poem continues
with:
105A EXT. THE PRINT SHOP - DAY 105A
Shakespeare exits the Print Shop, continuing to read
the book, now out-loud.
SHAKESPEARE (V.O.)
She sinketh down, still hanging by his
neck,
He on her belly falls, she on her
back.
(not quoting)
Oh, I like this...
DISSOLVE TO:
106 OMIT 106
A COVER OF "VENUS AND ADONIS"
that is held by a woman.
LADY IN WAITING (O.S.)
'Fondling,' she saith,
I'll be a park, and thou shalt be my
deer;
Feed where thou wilt, on mountain or
in dale:
We are:
107 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 107
A LADY-IN-WAITING is reading out loud to other Ladies.
They listen giggling now and then. We only see them
from the back.
LADY IN WAITING
Graze on my lips; and if those hills
be dry,
Stray lower, where the pleasant
fountains lie.
105
pg. 106
SECOND LADY IN WAITING
(continuing)
Seeds spring from seeds, and beauty
breedeth beauty;
Thou wast begot; to beget is thy duty.
By law of nature thou art bound to
breed...
They look up and see--
ELIZABETH
standing across the room. How much has she heard?
WIDER
They all stand abruptly, worried. The women who was
reading the book puts it down on a table.
Elizabeth silently walks over to them, and picks up the
book. She opens it as we--
CUT TO:
108 INT. WHITEHALL PALACE - HALLWAY - DUSK 108
Robert Cecil walks down the long hall, heading for an
audience with the queen. Two guards open a door,
letting him into--
109 INT. WHITEHALL PALACE - OLD ELIZABETH'S BEDROOM - DUSK 109
Elizabeth is looking out the window. It's raining
outside. She is NOT wearing her wig, not much make-up,
and looks quite... odd.
Robert Cecil enters.
ELIZABETH
(turns)
You find me disgusting, don't you?
Repugnant. Wrinkled?
ROBERT CECIL
You, you are the sun, majesty. The
glory of--
ELIZABETH
Liar!
Robert Cecil shuts his mouth.
106
pg. 107
ELIZABETH (CONT'D)
Is it so hard to believe that once I
was young? That I was... beautiful?
Your father knew me as such...
(beat)
You have read the book?
She doesn't have to say which one. Robert Cecil sees a
copy of "Venus and Adonis" on a table. He NODS.
ELIZABETH (CONT'D)
He writes to me. To remind me of that
beauty. That love. How I... took
him. How I... adored him...
Robert Cecil knows to be silent. She looks out the
window.
ELIZABETH (CONT'D)
(throaty, sexually)
Graze on my lips; and if those hills
be dry,
Stray lower, where the pleasant
fountains lie...
She smiles seductively, transported in time.
ELIZABETH (CONT'D)
I've been foolish. Proud. Yes. Too
proud. Gloriana... The Virgin
Queen... A statue. Bloodless.
(beat)
"Thou wast begot; to beget is thy
duty.
By law of nature thou art bound to
breed, That thine may live when thou
thyself art dead"...
(beat)
Your father told you of the child?
A beat.
ROBERT CECIL
(hint of a smile)
Which one, your majesty?
Elizabeth's eyes flare in anger for an instant, then
she regains composure.
ELIZABETH
His. Mine. He still lives?
Robert Cecil nods.
107
pg. 108
ELIZABETH (CONT'D)
He was well placed? A nobleman?
ROBERT CECIL
(hesitates)
Yes... your majesty.
ELIZABETH
Who?
Robert Cecil hesitates.
ELIZABETH (CONT'D)
I am your Queen! Now who is my son!!?
ROBERT CECIL
His grace, the Earl of... Southampton,
your majesty.
She seems surprised. Perhaps she was expecting Essex.
But then she smiles, and NODS in approval.
CECIL
Majesty... You are not having doubts
about James of Scotland succeeding
you, are you?
Elizabeth goes into a rage.
ELIZABETH
James?! He is the son of Mary! She
plotted and schemed to steal the
throne from under me! No son of hers
will rule while a yet Tudor lives!
Robert Cecil is surprised by her fury. He bows his
head as Elizabeth tries to collect herself.
ELIZABETH (CONT'D)
I will decide what is best for my
kingdom! Not you! Not you!!
(calmer)
I have bid Edward to come to me on my
return to London on Monday next. It
is decided.
She says no more, the audience over. Robert Cecil
hesitates, and then she glares at him... He bows and
exits, the fury on his face plain.
Elizabeth looks at her own reflection in the window...
108
pg. 109
ELIZABETH (CONT'D)
(sotto)
And so, in spite of death, I shall
survive,
In that, my likeness still is left
alive.
CUT TO:
110 EXT. BANKSIDE LONDON - DAY 110
Ben Jonson walks with a manuscript in his hands. He
stops for a moment when he sees the new Globe theater.
Workers are still painting the walls.
He pauses when he sees a poster in front advertising a
performance of "Richard III" on Monday next.
110A INT. THE GLOBE THEATER - DAY 110A
Jonson sticks his head in and takes in the glorious new
theater Shakespeare and Burbage have built.
The actor Condell is on stage, rehearsing the character
of "Gloucester". He walks on stage with a limp, and
has a large hump on his back. He is a caricature of
Robert Cecil.
"GLOUCESTER"
(in character)
But I, that am not shaped for sportive
tricks, nor made to court an amorous
looking-glass...
Richard BURBAGE, the theater's stage manager, is
watching his performance with Spencer and a group of
actors.
Jonson stops and watches the rehearsal for a beat.
"GLOUCESTER" (CONT'D)
(in character)
I, that am curtail'd of this fair
proportion, deformed, unfinish'd, sent
before my time into this breathing
world...
SPENCER
Good part, that...
109
pg. 110
"GLOUCESTER"
...and that so lamely and
unfashionable that dogs bark at me as
I halt by them.
(out of character)
Is this wise?
BURBAGE
It's only the one performance. Go on!
"GLOUCESTER"
I need a drink...
And "Gloucester" heads backstage.
JONSON
(to Burbage)
Burbage. Wonderful theater. Wonderful!
The best Bankside! But only one
performance? Is it that bad?
BURBAGE
Hardly, it's Will's new play. Richard
the Third. We've been hired to
perform it free to the public.
JONSON
Free?
BURBAGE
Aye. Some anonymous nobleman paid for
everything. God knows Will never
would. Been rehearsing all week,
just found out this morning, we go up
next Monday.
Jonson thinks a beat-- that's odd-- but then holds up
his manuscript.
JONSON
(grins)
My best so far. I guarantee more than
one performance. Though I'll not pay
for the tickets myself.
(winks)
No need to.
BURBAGE
Sorry, Ben...
Jonson looks confused.
110
pg. 111
BURBAGE (CONT'D)
Will... He's part owner... I'm sorry
Ben, but I had to agree no Jonson
plays at the Globe... Ever.
Jonson is in shock.
CUT TO:
111 INT. THE MERMAID'S TAVERN - NIGHT 111
Jonson is deep in drink, by himself. He listens as
patrons of the bar say:
MAN
(to a woman)
You doin' tomorrow?
WOMAN
You askin?
MAN
Managed to get two tickets to
Shakespeare's latest. Cost me a
fortune.
PASSING MAN
Ballocks, did it! They're giving them
away free.
Some of the actors from the rehearsal enter, all jolly
and excited. They head for the bar. They are: The
ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge,
etc...
SPENCER
Best villain in the history of
theater, Richard the Third. No doubt.
HEMINGE
Come on. Better than Mephistopheles?
SPENCER
No doubt! Your Marlowe-- god rest his
soul-- is fine for your everyday
scalawag, and your Jonson won't even
try the hard drama. No, this is
Shakespeare, for god's sake! The man
knows drama. I tell you, not even the
Greeks compare!
(toasting)
To Shakespeare! And villainy!
111
pg. 112
ALL
To Shakespeare! And villainy!
Jonson gets up, furious, and exits, quite drunk. The
actors don't even notice him.
112 EXT. STREET IN FRONT OF TOWER OF LONDON - NIGHT 112
Jonson stumbles down the streets, alone, deep in his
own private hell. It's raining.
WHORE
Fancy a tumble? Only sixpence!
Jonson waves her off. He looks up and sees:
FROM HIS POV:
The Tower of London. He makes a decision.
113 OMITTED 113
114 INT. THE TOWER OF LONDON - POLE'S ROOM - DAY 114
Jonson sits in the same spot where Marlowe was sitting
earlier. And he hates himself for it. Rain drips down
the windows.
Pole looks up from some papers.
POLE
I haven't got all day, man.
JONSON
I... There is a-- there is a play to
be performed... on Monday.
POLE
There's many plays to be performed
next Monday, isn't there?
JONSON
Yes, my lord, but this one is to be
performed one performance, and one
performance only. On Monday. All
Bankside is talking of it.
(beat)
The History of King Richard the Third.
By William Shakespeare.
Pole is confused. So?
112
pg. 113
JONSON (CONT'D)
He kills his brother the king, and
half the royal family to get the
throne for himself--
POLE
I know who Richard the Third was.
JONSON
Yes. Of course you do. But in
William Shakespeare's version, he is
played as a hunch-back.
Pole realizes this is significant.
115 INT. CECIL HOUSE - THE PRIVATE CHAPEL - DAWN 115
Robert Cecil has prayed all night. His lips silently
move in a prayer for a miracle.
When Pole appears he doesn't stop his prayer. Only
after Pole whispers in his ear does he stop and look
slowly up to the simple cross and close his eyes in
relief.
116 EXT. LONDON - DAY 116
From high, high above a city of 200,000 souls. It's a
beautiful sunny day, but black storm clouds are on the
horizon.
All of London is on its feet. They all are on their way
to Bankside.
The London Bridge is crammed one way. The River Thames
is full of many small boats of theatergoers.
117 EXT. BANKSIDE - IN FRONT OF THE GLOBE - DAY 117
We see that a huge crowd has formed in front of the
Globe.
118 INT. THE GLOBE THEATER - BACKSTAGE - DAY 118
Everyone is busy, preparing for the performance;
actors, stage-hands, etc...
Shakespeare adjusts an actor's costume when Burbage
walks up besides him.
113
pg. 114
BURBAGE
We have to turn `em away by the
hundreds! Look! Never seen anything
quite like it!
And both men look out the curtains to the crowd
outside.
The theater is full to the last seat. The people are
crammed together like sardines.
118A INT. OXFORD STONE - OXFORD'S ROOM - NIGHT 118A
Oxford is being dressed in front of a mirror... His
finest clothes... Powder to face...
Francesco assists him.
118AA INT. THE GLOBE THEATER - THE GALLERIES - DAY 118AA
Jonson is leaning against the edge of the balustrade,
watching the Groundlings fill in. He bites his nails
nervous.
Nashe joins him as--
NASHE
So! I heard the Earl of Essex paid for
this whole performance! Man's never even
been to the theater, and still he's heard
of Will--
Dekker also joins them.
DEKKER
Essex!? Impossible. My cousin's one of
his men-at-arms. Hasn't been paid in
weeks. They're all just sitting there,
waiting.
JONSON
Waiting? Waiting for what?
DEKKER
Wants to have an audience with the Queen.
As if Cecil would ever let Essex near her
now.
NASHE
By the mass, Cecil in favor, Essex out!
Who can keep up with it all!?
(takes a swig)
(MORE)
114
pg. 115
NASHE (CONT'D)
Zounds, I tire of politics, politics,
politics.
119 EXT. THE THAMES RIVER - DAY 119
Oxford is in a long-boat, headed for Whitehall Palace.
The oars of the boat cut neatly and silently into the
water.
120 INT. WHITEHALL PALACE - OLD ELIZABETH'S BEDROOM - DAY 120
Elizabeth is doing her toilette. She seems excited like
a school girl before her first date. Her Ladies in
waiting are attending to her.
121 INT. THE GLOBE THEATER - DAY 121
The audience HUSHES as--
ON STAGE
"GLOUCESTER", the future Richard III, enters. He is
hunch-backed, and looks as much like Robert Cecil as
possible in terms of beard and costume. First the
people are in stunned silence, but then like magic the
hissing starts. It is followed by more hissing and the
first boos.
The actor playing Gloucester nervously looks around...
IN THE GALLERIES
Dekker seems surprised at the similarity to Robert Cecil.
DEKKER
(to Nashe)
Tired of politics are you? Seems you
picked the wrong day to come to the
theater, then...
Jonson gives Dekker a sharp look. What's going on here?
ON STAGE
"Gloucester" addresses the audience.
"GLOUCESTER"
Now is the winter of our discontent
made glorious summer by this son of
York. Grim-visaged war hath smooth'd
his wrinkled front....
115
pg. 116
The hissing and booing has swelled so strong that the
actor stops for a moment. But then he finds the courage
again to continue.
Jonson looks down at the Groundling's reaction, and
spots--
FRANCESCO
in the audience. But among the Groundlings, not in
Oxford's usual box seat.
JONSON
looks over to Oxford's box. It's empty.
"GLOUCESTER"
...and now instead of mounting barded
steeds to fright the souls of fearful
adversaries, he capers nimbly in a
lady's chamber to the lascivious
pleasing of a lute. But I, that am
not shaped for sportive tricks, nor
made to court an amorous looking-
glass...
122 OMIT 122
123 INT. WHITEHALL PALACE - ROBERT CECIL'S ROOM - DAY 123
Robert Cecil watches himself in a mirror as armor is
placed on him by servants.
"GLOUCESTER" (O.S.)
I, that am curtail'd of this fair
proportion, deformed, unfinish'd, sent
before my time into this breathing
world,....
124 EXT. BANKSIDE - IN FRONT OF THE GLOBE THEATER - DAY 124
The huge crowd has stayed in front of the Globe. It
seems they are waiting for something. We hear hissing
and booing from the crowd inside the theater.
"GLOUCESTER"
...and that so lamely and
unfashionable that dogs bark at me as
I halt by them.
116
pg. 117
125 INT. THE GLOBE THEATER - DAY 125
On stage, "Gloucester: continues despite the concert of
hissing and booing...
"GLOUCESTER"
And therefore, since I cannot prove a
lover, I am determined to prove a
villain and hate the idle pleasures of
these days...
126 EXT. ESSEX HOUSE - DAY 126
Essex mounts his horse, Southampton at his side. Their
sixty or so men behind them ready for the march to
Elizabeth.
ESSEX
Edward knows what he is doing... Does
he not?
SOUTHAMPTON
He promised us a mob. They'll be
here.
Essex looks concerned, but says no more.
127 INT. WHITEHALL PALACE - ROBERT CECIL'S ROOM - DAY 127
The servant tightens the last strap of Robert Cecil's
armor. He smiles at himself in the mirror.
"GLOUCESTER" (O.S.)
Plots have I laid!
CANNONS DRAWN BY HORSES
as they roll down a cobbled street. We are:
128 EXT. LONDON BRIDGE - DAY 128
Soldiers move people and carts off the street. Others
put CANNONS into place and then cover them with canvas
tarps.
"GLOUCESTER" (O.S.)
Inductions dangerous, by drunken
prophecies, libels and dreams, to set
my brother Clarence and the king in
deadly hate the one against the other.
117
pg. 118
129 INT. THE GLOBE THEATER - DAY 129
Shakespeare watches from backstage, getting more and
more nervous by the audience's reaction.
AN AUDIENCE MEMBER
(to the actor playing
"Gloucester")
A pox on you!
FRANCESCO
A pox on Cecil!
MORE AUDIENCE MEMBERS
A pox on Cecil! A pox on Cecil!
The actors are getting nervous. People start throwing
lettuce and tomatoes at them.
NASHE
Why is Oxford's man with the Groundlings?
BACKSTAGE
Shakespeare and Burbage exchange a worried glance.
130 EXT. ESSEX HOUSE - DAY 130
The BELLS of St. James' Cathedral mark the hour as five
o'clock. Essex looks to Southampton nervously.
131 INT. THE GLOBE THEATER - DAY 131
The play continues. "Gloucester" is plotting yet
another death on his way to the throne.
"GLOUCESTER"
Hath she forgot already that brave
prince,
Edward, her lord, whom I, some three
months since,
Stabb'd in my angry mood at Tewksbury?
A sweeter and a lovelier gentleman-
Fram'd in the prodigality of
nature, Young, valiant, wise, and
no doubt right royal-
FRANCESCO
Down with Cecil!
The actor playing "Gloucester" hesitates. The audience
is getting unruly.
118
pg. 119
FRANCESCO (CONT'D)
Up with Essex! To Essex House! To
Essex House!!
IN THE GALLERIES
Jonson is putting the pieces together. He stands.
JONSON
This is what Essex is waiting for--
(realizing)
Oxford is bringing him a mob.
Jonson heads for the stairs.
NASHE
Why would Oxford--
JONSON
I don't know, I don't know! But, the
Tower-- Cecil, he already knows. He
knows!
(looks at Francesco)
I-- I have to warn them!
Nashe and Dekker are baffled as Jonson rushes down the
stairs.
VARIOUS GROUNDLINGS
Up with Essex! Essex! Death to
Cecil!
BACKSTAGE
Shakespeare turns to Burbage.
SHAKESPEARE
We must close the play. Now!!
BURBAGE
Close the...? Are you off your head?
We can start to HEAR the audience chanting "Ess-ex,Ess-
ex"...
ON STAGE
It's getting unruly.
"GLOUCESTER"
(repeating)
Fram'd... in the prodigality of
nature, Young, valiant, wise, and no
doubt right royal-
119
pg. 120
"Ess-ex, Ess-ex, Ess-ex"
ON THE GROUND
Jonson pushes his way through the crowd, trying to head
for Francesco. But they're separated by a sea of people.
FRANCESCO
To Essex House! To Essex House!
Death to Cecil! Traitor!
A moment as the whole audience thinks on this. And
then these chants are repeated by hundreds in the
audience as they are pushing towards exits.
And Jonson-- still struggling to reach Francesco-- is
carried along with the mob.
132 EXT. OUTSIDE THE GLOBE THEATER - DAY 132
The mob pours out of the doors.
Storm clouds are gathering. A RUMBLE of thunder sounds
in the distance.
133 INT. WHITEHALL PALACE - HALLWAY - DAY 133
Oxford is waiting for his audience, looking out a
window, nervously.
134 EXT. BANKSIDE LONDON - DAY 134
The crowd pours through Bankside, growing in numbers as
more people come out of taverns, whore-houses, etc...
A shop-owner comes out of his store, confused. Another
MAN grabs him.
MAN
To Essex! And then to the Queen!
(joins in the chanting)
Ess-ex! Ess-ex!
The shop-owner begins to get the spirit of the mob.
135 EXT. LONDON BRIDGE - DAY 135
If anything, the crowd is twice the size it was moments
ago. They head down the shop-lined bridge, full of
bravado.
120
pg. 121
JONSON
is in the middle of the uncontrolled mob. He spots
Francesco nearby.
WIDER
The mob has to slow down on the bridge. There is not
much room. And then it happens!
We are at the front of the mob, when the first soldiers
appear and pull down the tarps revealing the cannons.
People scream as an Officer appears and--
OFFICER
Fire!
And then the cannon FIRES. There is PANIC all around,
and-
JONSON
runs with the crowd, trying to escape.
137 EXT. ESSEX HOUSE - DAY 137
Essex and Southampton look tense. They expected a mob
here by now.
SOUTHAMPTON
They should be here by now...
Essex frowns.
ESSEX
We go as we are! Now!!
And he spurs his horse, and GALLOPS down the street.
ESSEX (CONT'D)
To the Queen!
Southampton has no choice, and follows. So do the 60
or so men behind them.
136 INT. WHITEHALL PALACE - HALLWAY - DAY 136
Oxford hears a cannon shot. But it could also be the
sound of thunder. He goes to the window, sees the rain
clouds, and dismisses the sound. A LADY IN WAITING
enters.
121
pg. 122
LADY-IN-WAITING
My lord. Her majesty will be with you
shortly.
138 Omitted 138
139 EXT. LONDON BRIDGE - DAY 139
The mob is in panic. And--
JONSON
is in the middle of it.
FRANCESCO
Signor Jonson! We are betrayed! Run!
Run!
Jonson looks on in horror as Francesco is KILLED by a
soldier wielding a pike.
140 EXT. WHITEHALL PALACE - COURTYARD - DAY 140
Essex and his men ROAR past the token guards at the
front gate, and gallop into the--
MAIN COURTYARD
Essex rears his horse, looks around at the many windows
that surround them from above.
ESSEX
To the Queen! To the Queen!
His men repeat his plea. And then, once again, another
trap springs.
THE GATE
SLAMS closed. And--
GUARDS ARMED WITH MUSKETS
line up in a colonnade in the story above. Pole is in
command.
POLE
Take your aim!
SOUTHAMPTON
realizes--
122
pg. 123
SOUTHAMPTON
It's a trap!
ESSEX
Spread out!
But before his men can obey--
IN THE COLONNADE
Pole orders--
POLE
Fire!!
IN THE COURTYARD
AND a hundred shots FIRE down into Essex and his men!
141 INT. WHITEHALL PALACE - HALLWAY - DAY 141
Oxford HEARS the SHOTS fired. Confused, he goes to a
window, looks out and sees:
FROM HIS POV:
Men fall all around Essex and Southampton.
141A EXT. WHITEHALL PALACE - COURTYARD - DAY 141A
Pole walks down the colonnade.
POLE
Re-load!
142 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 142
Elizabeth heads for the window just as a door behind
her SLAMS open, and Robert Cecil hurries in with a
dozen guards.
ROBERT CECIL
Majesty! You must away! Essex is in
armed revolt! He's come to usurp you!
ELIZABETH
(confused)
Essex? I-- Edward is--
She seems like a confused old woman.
123
pg. 124
ROBERT CECIL
You must flee! Quickly! Majesty! He
means to kill you and take your throne
for himself!
It takes only an instant for that to sink in. She
looks enraged. And then she turns with a flurry, and
heads back the way she came. The guards that were with
Robert Cecil follow her.
143 EXT. WHITEHALL PALACE - COURTYARD - DAY 143
Another fusillade is SHOT, and more of Essex's men go
down.
And then doors OPEN on the ground floor, and guards
RUSH out to take down the survivors.
Essex and Southampton valiantly fight, but there's just
too many.
They're soon surrounded... And Essex, knowing all is
lost, raises his sword in defeat.
Southampton sees this, and does the same.
144 INT. WHITEHALL PALACE - HALLWAY - CONTINUOUS 144
Oxford watches all of this through the window.
ROBERT CECIL (O.S.)
She won't forgive him this, Edward.
Oxford turns, devastated.
ROBERT CECIL (CONT'D)
Essex will be convicted and executed
for treason.
(beat)
As will your son.
Oxford looks shocked.
ROBERT CECIL (CONT'D)
(smiles)
What? Didn't you think I knew? Of
course I knew, Edward. My father told
me all his secrets. All of them.
(smiling)
Though the most fascinating was not
made known to me until after his
death.
(MORE)
124
pg. 125
ROBERT CECIL (CONT'D)
He hated you, Edward, how he hated
you. And yet he married his only
daughter to you. I never knew why,
until I read his last letter to me.
OXFORD
He wanted his grandson to be an Earl.
ROBERT CECIL
No, Edward. He wanted his grandson to
be a king.
Oxford now looks confused.
ROBERT CECIL (CONT'D)
Elizabeth had several children,
Edward, not just yours. She was
sixteen for the first. Bloody Mary
was still Queen, and our future
Gloriana was out of favor. No one
thought her very important at all.
Except my father, of course. And when
her first child was born, a male, my
father took it, and hid it. The
grandson of Henry VIII, the foundling
of course had to be reared a nobleman.
John De Vere, the previous Earl of
Oxford, agreed to accept the task.
Oxford goes ashen.
OXFORD
You lie...
ROBERT CECIL
Do I?
(beat)
Why do you think he worked so hard to
become your guardian after your father
died? He had it all planned years in
advance. He would teach you
everything he knew about statecraft,
marry his daughter, and, after
Elizabeth's death, proclaim you heir.
His own grandchild to follow you on
the throne. But he couldn't possibly
predict what kind of failure you would
become. How you would fail in
politics, ignore your estates to the
point of bankruptcy, all to write...
(sneers)
Poetry.
(beat)
Or that you would commit incest.
(MORE)
125
pg. 126
ROBERT CECIL (CONT'D)
(beat)
Delicious isn't it? Right out of a
Greek tragedy.
OXFORD
Elizabeth would never have--
ROBERT CECIL
What? Slept with her son?
(beat)
I don't think she ever knew, to tell
you the truth. Though you never know
with the Tudors. They all have had
such strange tastes in bed-fellows.
(beat)
You could have been a king, Edward.
And your son after you. Except for
the fact that... you were you.
145 EXT. WHITEHALL PALACE - COURTYARD - DAY 145
It's raining, hard.
Oxford almost stumbles out of the building onto the now
empty courtyard. The remains of the battle are still
visible. Wounded, screaming horses struggle to
stand...
Oxford's a shell-- devoid of emotion. Broken. Hardly
alive at all. He drops to his knees, the rain pouring
down on him.
We see the silhouette of a man watching through a
window from the second story above. It's--
145A INT. WHITEHALL PALACE - HALL - SAME TIME 145A
--Robert Cecil, a slight smile on his face.
Pole approaches him from behind. Robert Cecil doesn't
turn or acknowledge Pole, but speaks to him as he
stares at Oxford.
ROBERT CECIL
I want a fair trial for Southampton...
Evidence, witnesses, no false
confessions. It must be above
reproach. Though with a guilty
verdict of course. Oh, and Pole--
(turns)
If there is any mention of that play--
(looks back at Oxford)
(MORE)
126
pg. 127
ROBERT CECIL (CONT'D)
--Make certain the secretaries refer
to it as Richard the Second. There
will be no mention of hunchbacks in
the official record...
CUT TO:
146 EXT. OXFORD STONE - GARDEN - DAY 146
Oxford is sitting in a chair, watching the river
Thames, alone. Snow is falling and Oxford is covered
in a thick blanket. He looks ill.
Anne walks up behind him.
ANNE
Sentence has been passed.
Oxford looks over at her. Anne smiles. This news
gives her great pleasure.
ANNE (CONT'D)
They are to be be-headed.
(with venom)
Both of them. Essex tomorrow,
Southampton in a week.
(beat)
Your son is going to be killed,
Edward. By his own mother. Put that
in one of your plays!
And she leaves him with that.
147 EXT. THE TOWER OF LONDON - COURTYARD - DAY 147
Essex-- dressed in black, but with a bright red
waistcoat-- is led up a scaffold by guards, his hands
bound behind him.
Snow covers the courtyard. There are only a few
witnesses, as befitting Essex's rank.
ESSEX
stands, looking at life one last time. The Executioner
approaches with an axe. Essex turns, realizing it is
time.
ESSEX
Strike true.
He kneels, resting his head on a wooden bench.
127
pg. 128
ESSEX (CONT'D)
God save the Queen!
And BAM! Just as the axe lands we--
CUT TO:
FROM A WINDOW
we see the body of Essex fall onto the scaffolding, his
head into a basket. We are:
148 INT. THE TOWER OF LONDON - A CELL - DAY 148
Southampton, a prisoner, is watching his future fate
from a room high in a tower.
DISSOLVE TO:
BOOTS
as they walk, limping along tiled floors. We are:
149 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - DAY 149
Doors fly open and Oxford appears before Elizabeth, who
is on her throne, regal and all in white, surrounded
by courtiers, including Robert Cecil. But she looks
very old, very ill.
Everyone goes silent as Oxford approaches Elizabeth.
Oxford makes no notice of them. He bows deeply in
front of her.
ELIZABETH
Leave us. All of you.
People start to exit. But not Robert Cecil.
ROBERT CECIL
Majesty, I--
ELIZABETH
Leave us!
Cecil exits, obviously worried. When they are alone:
ELIZABETH (CONT'D)
You look old...
Oxford smiles sadly.
128
pg. 129
OXFORD
I thank your majesty for seeing me.
ELIZABETH
You cannot have him.
OXFORD
He is our son.
ELIZABETH
Who did commit High Treason!
OXFORD
They only wished for a place in
government equal to their station.
Equal to their birth.
ELIZABETH
You caused this! Your play, your
words, caused my people to mob against
me! Do you think I wasn't aware of
your plot with this man Shakespeare,
that I wouldn't recognize your voice?
It should be your head on the block
next week, not Southampton's!
Oxford kneels.
OXFORD
Then take my head. In our son's
stead.
Elizabeth turns away from him, angered. She walks to a
window, turns her back on him.
OXFORD (CONT'D)
Neither they nor I ever conspired
against you. Cecil alone was our aim.
He has corrupted your--
ELIZABETH
Cecil? He has kept me my throne!
(beat)
Mary, Queen of Scots... Philip, King
of Spain... Four French Louis's...
Eight Popes-- they all wanted my head.
My throne. All of them!
(beat)
Yet here I remain... Because of the
Cecils.
OXFORD
We would have protected you--
129
pg. 130
ELIZABETH
You would have protected me? You? My
"loyal" Earls?
(snarls)
You think Essex and Southampton were
the first to conspire against me, to
try to take my throne? No!
(beat)
Only the Cecils could I trust!
Commoners! They could never claim my
throne. Never! Their wealth, their
power, their survival, all depended on
me. Me and no other!
A long beat before--
OXFORD
Let our child live...
ELIZABETH
(furious)
All Englishmen are my children!
She has a coughing fit. Oxford patiently waits until
she has recovered. Finally...
ELIZABETH (CONT'D)
Does he know?
Oxford shakes his head.
ELIZABETH (CONT'D)
And if I give him to you?
OXFORD
He will never learn of it from me.
She pauses for a long moment... And then she decides.
ELIZABETH
He must never know... Never.
(beat)
Take him.
Oxford dares to smile, relieved.
OXFORD
But only after my death! Only then!
When all is complete. After James is
crowned king, his crown safe, only
then can you claim your son... our
son.
(beat)
This Island will be whole.
(MORE)
130
pg. 131
OXFORD (CONT'D)
One Island, one kingdom, one King.
(with disgust)
Scotsman though he be.
(beat)
That, that will be my final gift to my
people.
(beat)
And I shall remain pure... Un-taken!
Elizabeth again looks out a window.
ELIZABETH
Treason... that is all that has come
from you... your son... Your plays...
None will be claimed by you. None.
And she leaves the throne chamber. Oxford looks after
her as the SOUNDS of BELLS slowly begin GONGING as we-
DISSOLVE TO:
150 EXT. LONDON - DAY 150
The bell-ringing comes from St. Paul's Cathedral, the
largest church in the City.
CUT TO:
151 EXT. THE THAMES RIVER - DAY 151
On the frozen river Thames we see the funeral
procession for the greatest Queen England has ever
seen. Everybody follows the carriage with the casket
of the queen.
All the lords and ladies of the land. All wear
elaborate black clothing.
First is Robert Cecil. Proudly. Not far walks Oxford.
He is a statue. Devoid of emotion. And then joyous
CHORAL MUSIC replaces the CHURCH GONGS as we--
CUT TO:
A GOLD CROWN
as it is placed on a head. We are:
131
pg. 132
152 INT. WESTMINSTER ABBEY - DAY 152
JAMES I (late 30's) is being crowned by the Archbishop.
All the lords and ladies of the land are standing in
attendance.
ROBERT CECIL
is watching James. His face betrays his proud
feelings. All of Robert Cecil's desires have come true.
Oxford's wife Anne is there, but Oxford is nowhere to
be seen.
ARCHBISHOP (O.S.)
God save the King!
EVERYONE IN THE ABBEY
God save the King!
CUT TO:
153 EXT. STREET IN FRONT OF TOWER OF LONDON - DAY 153
It's foggy. Oxford stands next to a carriage, waiting
as the gates open, and Southampton-- scruffy and a bit
worse for wear-- is escorted out.
Southampton smiles weakly when he sees Oxford waiting
for him. The two men walk towards each other and
embrace.
Both men have tears in their eyes.
SHAKESPEARE (O.S.)
No, no, no, no.
CUT TO:
154 INT. THE GLOBE THEATER - DAY 154
Shakespeare is on stage, supervising a rehearsal of
"Much Ado About Nothing". He doesn't look pleased.
SHAKESPEARE
The line won't get a laugh that way.
You must accent the word sirrah--
JONSON (O.S.)
Will! Will Shakespeare!
132
pg. 133
Shakespeare turns and sees Jonson heading his way.
Jonson is completely drunk, waving a sword in one hand,
a tankard in another.
JONSON (CONT'D)
So! Off to the palace are you?
Shakespeare immediately sees Jonson's condition.
SHAKESPEARE
Ben!
JONSON
A command performance for our new
king! Even in bloody Scotland they've
heard of bloody Will Shakespeare, have
they? Fraud. Charlatan.
Counterfeiter of wit! Murderer!
The actors on stage are all watching, nervous.
SHAKESPEARE
Ben, please...
But Jonson CHARGES Shakespeare. Shakespeare easily
dodges the drunk Jonson. Jonson ROARS and attacks
again.
Shakespeare dodges again, turns, and manages to grab
Jonson by the throat. They are face to face.
SHAKESPEARE (CONT'D)
You came to me, Ben. You came to me!
They stare at each other and then Shakespeare SHOVES
him off. Jonson falls to the ground.
CUT TO:
155 EXT. OUTSIDE THE GLOBE THEATER - LATE AFTERNOON 155
Jonson-- only semi conscious-- is carried by the actors
and dumped into the street. They leave him there. He
wallows in the mud for a beat. Then--
SERVANT (O.C.)
Master Jonson?
Jonson looks up to see one of Oxford's servants
standing above him.
133
pg. 134
156 INT. OXFORD STONE - OUTSIDE OXFORD'S BEDROOM - DUSK 156
The servant guides Jonson towards Oxford's bedroom just
as Anne and a DOCTOR emerge from it. She recognizes
him.
ANNE
(to servant)
What is this man doing in my house?
The servant doesn't know what to say.
ANNE (CONT'D)
(to Jonson)
You will leave at once. My husband is
quite ill--
JONSON
It was your husband who sent for me,
madam.
ANNE
And I am dismissing you--
A SECOND DOCTOR exits the sick man's room.
SECOND DOCTOR
Are you Jonson?
Jonson nods.
SECOND DOCTOR (CONT'D)
He's asking for you.
JONSON
Excuse me, your grace.
CUT TO:
157 INT. OXFORD STONE - OXFORD'S BEDROOM - CONTINUOUS 157
Oxford, in bed, looks quite ill, sweat covering his
brow.
He furiously writes on a small tablet on his lap. He
holds up his hand for silence as Jonson enters, the
doctor following behind him.
OXFORD
Thank you, doctor.
The doctor exits.
134
pg. 135
OXFORD (CONT'D)
Come over here, Jonson...
He points to a chair by the bed. When Jonson sits down
he notices a big pile of manuscripts by the side of the
bed.
OXFORD (CONT'D)
Did you know, Jonson, that my family
can trace its peerage farther back
than any family in the kingdom? We
fought at Crecy. At Bosworth Field.
At Agincourt.
(beat)
I inherited my Earldom as one of the
wealthiest men ever to breathe English
air... and at last breath, I shall be
one of the poorest.
Jonson looks on sadly.
OXFORD (CONT'D)
Never a voice in government. Never a
sword raised in glorious battle. No
immortal deeds for my heirs to know me
by.
(beat)
Words, merely words, are to be my
legacy...
(beat)
You alone watch my plays and know them
as mine. When I hear the applause,
the cheering, of the audience, all
those hands clapping, they are
celebrating... another man. But in
that cacophony of sounds, I strained
to hear the sound of two hands only.
Yours.
(beat)
But heard them, I never did.
Jonson stares at him.
OXFORD (CONT'D)
Death takes away all pretense and
demands honesty from its target. You,
you have never told me... never told
me what you thought of my work...
To answer is not an easy task for Jonson's ego. He
hesitates.
135
pg. 136
JONSON
(almost a whisper)
I find... your words... the most
wondrous ever heard on our stage. On
any stage... Ever.
The two men now looking each other in the eye.
JONSON (CONT'D)
(sotto)
You are the soul of the age...
Oxford smiles at the thought of it. Then--
OXFORD
Promise me... promise me, Jonson, that
you will keep our secret safe. That
you won't expose Shakespeare...
JONSON
My lord?
OXFORD
I have seen it in your face... He
vexes you. How could he not? But he
is not your burden. He is mine.
Then he nods to the manuscripts by his side.
OXFORD (CONT'D)
All my writings. The plays, the
sonnets... Keep them safe. Keep them
from my family. From the Cecil's.
Wait a few years, and then, publish
them.
Jonson looks stricken.
JONSON
I am not worthy of this charge, my
lord. I... I betrayed you... I told
them of your--
OXFORD
I have made it my life to know the
character of men, Jonson. I know you.
You may have betrayed me, but you will
never betray my words...
He puts the last manuscript on the pile.
Jonson looks at the--
136
pg. 137
FRONT PAGE
Which reads "DEDICATION", then more words, starting
with:
"To the Earl of Southampton"
158 INT. OXFORD STONE - OUTSIDE OXFORD'S BEDROOM - DUSK 158
Jonson leaves Oxford's room, visibly shaken. The
manuscripts are under his arm.
Anne, Oxford's wife is still there, surround by
doctors.
Then she sees Jonson leaving.
ANNE
Get out! You, your friends, your
blasphemous theaters, have brought
nothing but ruin and dishonor to this
family.
JONSON
Ruin? Dishonor? Madam. You, your
family, me, even Elizabeth herself
shall be remembered solely because we
had the honor to live whilst your
husband put ink to paper.
He turns and exits.
CUT TO:
159 EXT. OXFORD STONE - DUSK 159
Jonson exits the building and walks away. He reads the
dedication on the first page of the manuscript as he
walks.
JONSON (V.O.)
To the Earl of Southampton. The love
I dedicate to your lordship is without
end; whereof this pamphlet, without
beginning, is but a superfluous
moiety.
Jonson freezes, and looks back at Oxford's house,
realizing there is another whole layer to all this;
exactly what he can only guess.
CUT TO:
137
pg. 138
160 INT. OXFORD STONE - OXFORD'S ROOM - NIGHT 160
A few hours later. Oxford has died in his bed. Anne
watches as a doctor covers his face with a sheet.
JONSON (V.O.)
What I have done is yours; what I have
to do is yours; being part in all I
have, devoted, yours.
161 EXT. A SMALL CHURCH - DAY 161
A casket is being interred into the family mausoleum.
Anne is there, as are Oxford's children. So is Robert
Cecil.
JONSON (V.O.)
Were my worth greater, my duty would
show greater; meantime, as it is, it
is bound to your lordship, to whom I
wish long life... still lengthened
with all happiness.
Southampton is there as well. Watching. Tears roll
down his cheeks.
CUT TO:
162 INT. TOWER OF LONDON - INTERROGATION ROOM - NIGHT 162
Where we began.
A bucket of water is DUMPED on Jonson. He regains
consciousness and looks around. Somewhat confused he
sees:
Robert Cecil limping out of the dark towards him.
Robert Cecil leans down, and very close to his ear,
whispers:
CECIL
I can make all this go away, Jonson...
To be but a dream. Like one of your
plays... Or, I can bring you so much
pain-- pain that were you given a
thousand years, and a thousand quills,
you could never justly describe...
Cecil steps back.
138
pg. 139
CECIL (CONT'D)
I know you have them. All his
manuscripts. My sister saw you leave
Oxford Stone with them under your arm.
Jonson takes a long time before answering. Will he
betray Oxford?
JONSON
They were destroyed... burned... by
your own men...
Cecil doesn't know whether to believe him or not.
INTERROGATOR
He's lying...
JONSON
My lord? Why would I lie? Is there a
man alive who has reason to hate him
more than I?
Jonson stares directly at Cecil, knowing he is speaking
about Cecil as well as himself.
JONSON (CONT'D)
He was something I could never be. An
undeniable perfection... that plagued
my soul... And to him I was...
nothing. A messenger. Nothing more.
Cecil stares into his eyes for a long moment, searching
for the truth. Then he smiles.
CECIL
Let him go! He tells the truth.
Robert Cecil turns to leave, but then turns a last
time.
CECIL (CONT'D)
And Jonson-- better him, won't you?
Wipe his memory for all time. For
you. And for me.
Robert Cecil smiles at Jonson, who can only stare at
him. Finally:
JONSON
(sotto)
I am afraid that this is not possible,
my lord.
Robert Cecil's smile freezes and he leaves.
139
pg. 140
163 EXT. STREET IN FRONT OF TOWER OF LONDON - DAWN 163
Jonson is getting released. He walks away....a lonely
figure.
164 EXT. THE ROSE THEATER - DAWN 164
Wide from above...Still smoking from the fire....All
the sudden we make out Jonson searching through the
rubble.
164A INT. WHITEHALL PALACE - AUDIENCE CHAMBER - NIGHT 164A
Set for a Court performance of a play. Courtiers bow
as King James I enters the chamber, Robert Cecil two
steps behind him. James takes his seat right in front
of the stage, as Elizabeth used to.
164B EXT. THE ROSE THEATER - DAWN 164B
Jonson's eyes search the ground. And, eventually, he
finds it--
THE METAL BOX
that seems to somehow have survived the conflagration.
JONSON
opens the box.
INSIDE THE BOX
Are the manuscripts Oxford gave him. Jonson smiles,
relieved. They are singed at the edges, but they are
there. We hear--
PROLOGUE (O.S.)
O-- for a muse of fire... that would
ascend the brightest heaven of
invention...
DISSOLVE TO:
AN ACTOR
playing Prologue. He is the same actor who introduced
the "play" at the beginning of the film. But now he
wears Elizabethan clothing-- but again, all
monochromatic and grey.
140
pg. 141
PROLOGUE (CONT'D)
A kingdom for a stage, princes to act,
and monarchs to behold the swelling
scene!
165 INT. WHITEHALL PALACE - AUDIENCE CHAMBER - NIGHT 165
And he is standing on the stage.
PROLOGUE
Let us, ciphers to this great accompt,
on your imaginary forces work.
King James' watches enthusiastically, Robert Cecil
right next to him.
JAMES I
We had seen some of this Shakespeare's
plays in Edinburgh, Sir Robert. I
must tell you, we enjoyed them
immensely, and look forward to seeing
many more, now that we are in
London... I presume you are as avid a
theater man as myself?
Robert Cecil's smile remains frozen.
ROBERT CECIL
Of course, your majesty...
The CAMERA moves away from them and we realize we are
on the theater stage where we started.
166 INT. BROADWAY THEATER - STAGE - DUSK 166
"Prologue" turns and addresses his audience (and us) in
the modern theater.
PROLOGUE
Robert Cecil remained the most powerful
man in the Court of King James, though he
could not prevent the public theaters
from becoming ever more popular. William
Shakespeare, however, spent the remaining
years of his life not in the playhouses
of London, but in the small town of his
birth, Stratford upon Avon, as a
businessman and grain merchant.
(beat)
(MORE)
141
pg. 142
PROLOGUE (CONT'D)
Ben Jonson succeeded in his desire to be
the most celebrated playwright of his
time, becoming England's first Poet
Laureate. And in 1623, he wrote the
dedication to the collected works of the
man we call William Shakespeare.
(beat)
And so... though our story is finished,
our poet's is not. For his monument is
ever-living, made not of stone but of
verse, and it shall be remembered... as
long as words are made of breath and
breath of life.
The curtains close.
END CREDITS start to roll...
FADE OUT.
