Shakespeare in love

Una película bonita, con un Shakespeare improbable.
Pongo la parte más "movida".
Se puede ver en Youtube. Subieron una doblada al español de España. Abominable.



PARTE DEL SCREENPLAY QUE CORRESPONDE A ESTE VIDEO
(Si quieren el guión completo, basta escribir en el buscador "Shakespeare in Love" "Screenplay by Marc Norman and Tom Stoppard")

INT. THE CURTAIN THEATRE. STAGE. DAY.

Swordplay. An amazing performance that holds the audience
spellbound. "TYBALT" kills "MERCUTIO."

ALLEYN AS MERCUTIO
(to ROMEO)
"I am hurt.

WILL AS ROMEO
Courage man. The hurt cannot be much.

ALLEYN A MERCUTIO
Ask for me tomorrow and you shall find
me a grave man."

A roll of thunder. Over the heads of the audience, far
above the thatched roof of the theatre, clouds are
gathering in the sky. On stage "MERCUTIO" is in 'ROMEO'S"
arms, but the tone of the playing is unlike anything we
have seen before: without bombast, intense and real. And
the audience is quiet and attentive.

ALLEYN AS MERCUTIO (CONT'D)
"…--Why the devil came you between us?
I was hurt under your arms."

EXT. THE CURTAIN THEATRE. DAY.

In the semirural view towards the City of London, there
can be discerned a gaggle of approaching MEN and three is
something orderly about them. As they come closer, we see
that they are a company of PIKE MEN, marching toward the
theatre, led by the Master of the Revels, TILNEY. Thunder
rolls.

INT. THE CURTAIN THEATRE. STAGE. DAY.

Figures are running across the stage, in the panic that
follows "TYBALT" death.

ACTOR AS BENVOLIO
"Romeo, away, be gone! The citizens
are up and Tybalt slain. Stand not
amazed. The prince will doom thee
death If thou art taken. Hence, be
gone away!"

WILL AS ROMEO
"I am fortune's fool!"

ACTOR AS BENVOLIO
"Why dost thou stay!"

INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.

WILL has just 'killed' "TYBALT." He is still breathless
from fighting. he stands face to face with VIOLA.

WILL
I am fortune's fool.

They stare at each other, transfixed.

WILL (CONT'D)
You are married?

PAUSE. She cannot answer.

WILL (CONT'D)
If you be married, my gave is like to
be my wedding bed. The implication of
her silence fills the air. WILL does
not move.

INT. THE CURTAIN THEATRE. STAGE. DAY.

We cannot tell whether this is the play or their life.
The audience, and the rest of the world, might as well
not exist. WILL turn from her and begins to descend from
the 'balcony.'

VIOLA AS JULIET
"Art thou gone so?

WILL stops.

VIOLA AS JULIET (CONT'D)
Love, lord, ay husband, friend, I must
hear from thee every day in the hour,
For in a minute there are many days.
O, by this count I shall be much in
years Ere I again behold my Romeo…"

WILL as "ROMEO" seems unable to speak. Then he says:

WILL AS ROMEO
"…Farewell…"

All other sounds drain away, and time seems to stop.

VIOLA AS JULIET
"O think'st thou we shall ever meet
again…? Methinks I see thee, now thou
art so low, As one dead in the bottom
of a tomb. Either my eyesight fails,
or thou lookest pale."

WILL AS ROMEO
"Trust me, love, in my eyes so do you.
Dry sorrow drinks our blood. Adieu.
Adieu"

INT. THE CURTAIN THEATRE. STAGE. DAY.

Now the FRIAR is giving "JULIET' his potion.

EDWARD AS FRIAR
"No warmth, no breath shall testify
thou livest And in this borrow'd
likeness of shrunk death Thou shall
continue two and forty hours And then
awake as from a pleasant sleep…"

INT. THE CURTAIN THEATRE. STAGE. DAY.

It's FENNYMAN'S moment. The "APOTHECARY" and "ROMEO."

WILL AS ROMEO
"Come hither, man. I see that thou art
poor. Hold, there is forty ducats. Let
me have A dram of poison--"

FENNYMAN AS APOTHECARY
"Such mortal drugs I have but Mantua's
law is death to any he that utters
them!"

FENNYMAN has cut in several lines early, but his
conviction is astonishing.

FENNYMAN AS APOTHECARY
"My poverty but not my will consents."

WILL AS ROMEO
"I pay thy poverty and not thy will."

EXT. STREET. NEAR THE CURTAIN THEATRE. DAY.

TILNEY, on the march. His hand grips a copy of the
Curtain flyer.

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" lies "dead." She lies on top of her tomb, "lying
in stage," her best dress, her hair done, her hands in
prayer at her breast, her eyes closed. "ROMEO" has found
her like this.

WILL AS ROMEO
"Eyes, look your last! Arms, take your
last embrace! and lips, Oh you The
doors of breath, seal with a righteous
kiss A dateless bargain to engrossing
death! Come, bitter conduct; come,
unsavory guide! Thou desparate pilot,
now at once run on The dashing rocks
thy seasick weary bark!"

As WILL embraces her, VIOLA'S eyes flicker open (shielded
by WILL from the audience) and the lovers look at each
other for a moment as WILL and VIOLA rather than as
"ROMEO" and "JULIET." Their eyes are wet with tears.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

BURBAGE and ROSALINE are watching.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

KEMPE is watching.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

We see that in the audience are several of the WHORES we
recognise from the brothel. They are weeping openly.

INT. THE CURTAIN THEATRE. STAGE. DAY.

WILL is raising the fatal drug in a last toast.

WILL AS ROMEO
"Here's to my love (he drinks) O true
Apothecary."

INT. THE CURTAIN THEATRE. THE WINGS. DAY.

FENNYMAN, moved but proud in the wings.

FENNYMAN
(whispers to himself)
I was good. I was great.

INT. THE CURTAIN THEATRE. STAGE. DAY.

WILL AS ROMEO
"Thy drugs are quick. Thus with a kiss
I die." (and he dies)

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

The NURSE is weeping too.

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" wakes up with a start.

VIOLA AS JULIET
"…Where is my lord?

I do remember well where I should be, And there I am.
Where is my Romeo?"

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

NURSE
(involuntarily)
Dead!

INT. THE CURTAIN THEATRE. STAGE. DAY.

VIOLA AS JULIET
"What here? A cup clos'd in my true
love's hand? Poison, I see, hath been
his timeless end."

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" takes "ROMEO'S" dagger.

VIOLA AS JULIET
"…O happy dagger

This is thy sheath. There rust, and let me die."

She stabs herself and dies. The "inner curtain" closes
over the tomb.

INT. THE CURTAIN THEATRE. STAGE/AUDITORIUM. DAY.

HIGH ANGLE on audience and stage. "THE PRINCE" played by
WABASH is having the last word.

THE PRINCE
"For never was a story of more woe
Than this of Juliet and her Romeo."

The end. There is complete silence. The ACTORS are
worried. But then the audience goes mad with applause.

INT. THE CURTAIN THEATRE. THE INNER CURTAIN/STAGE. DAY.

The inner curtain opens, but WILL and VIOLA, are in a
play of their own…embracing and kissing passionately,
making their own farewell. HENSLOWE is too stunned and
moved to react at first. Then he looks at the audience
and the penny drops. It's a hit.

INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.

The audience roars. WILL, VIOLA, and THE COMPANY come
forward to meet the applause. TILNEY and his MEN burst
in. TILNEY jumps up onto the stage, where the ADMIRAL'S
MEN are taking their bows. TILNEY'S "COPS" ring the
stage, facing inwards.

TILNEY
(shouts triumphantly)
I arrest you in the name of Queen
Elizabeth!

The AUDIENCE goes quiet. BURBAGE jumps out of the
audience onto the stage.

BURBAGE
Arrest who, Mr. Tilney?

TILNEY
Everybody! The Admiral's Men, The
Chamberlain's Men and everyone of you
ne'er-do-wells who stands in contempt
of the authority invested in me by her
Majesty.

BURBAGE
Contempt? You closed the Rose--I have
not opened it.

TILNEY is at a loss but only for a moment.

TILNEY
(he points a "j'accuse"
finger at VIOLA)
That woman is a woman!

The entire audience and the actors, recoil and gasp. The
NURSE crosses herself.

ALLEYN
What?! A woman?! You mean that goat?!

He points at VIOLA, brazening it out without much chance.

TILNEY
I'll see you all in the clink! In the
same of her Majesty Queen Elizabeth

And an authoritative voice from the audience interrupts
him.

VOICE
Mr. Tilney…!

It is QUEEN ELIZABETH herself, descending now, her hood
and cloak thrown back. She is an awesome sight. A shaft
of sunlight hits her.

QUEEN
Have a care with my name, you will
wear it out.

There is a general parting of the waves, soldiers and
actors, a general backing off and bowing as QUEEN
ELIZABETH takes the limelight.

QUEEN (CONT'D)
The Queen of England does not attend
exhibitions of public lewdness so
something is out of joint. Come here,
Master Kent. Let me look at you.

VIOLA comes forward, and is about to curtsey when she
catches the QUEEN'S eye, an arresting eye, which arrests
the curtsey and turns it into a sweeping bow.

QUEEN (CONT'D)
Yes, the illusion is remarkable and
your error, Mr. Tilney, easily
forgiven, but I know something of a
woman in a man's profession, yes, by
God, I do know about that. That is
enough from you, Maser Kent. If only
Lord Wessex were here.

VOICE
He is, Ma'am.
****************************************************
WILL notices a thirteen-year-old actor,
the URCHIN we met before.

WILL
Who are you, master?

URCHIN
I am Ethel, sir, the Pirate's
daughter.

WILL
(furiously)
I'll be damned if you are!

And he helps the URCHIN off with a kick. The URCHIN
glowers with resentment.
Later: The
URCHIN, the short-lived Ethel, is sitting in the alley.

WILL
Better fortune, boy.

URCHIN
(shrugs)
I was in a play. They cut my head off
in Titus Andronicus. When I write
plays, they will be like Titus.

WILL
(pleased)
You admire it?

The URCHIN nods grimly.

URCHIN
I like it when they cut heads off. And
the daughter mutilated with knives.

WILL
Oh. What is your name?

URCHIN.
John Webster. Here, kitty, kitty.

Because a stray cat is nearby. The cat show an interest.
The URCHIN passes a white mouse to the cat and watches
the result with sober interest.

URCHIN
Plenty of blood. That is the only
writing.

WILL backs away, unnerved by the boy.

URCHIN
Wait, you'll see the cat bites his
head off.

WILL
I have to get back.

******
Menéndez y Menéndez opus
El pariente bueno transcribe en
http://www.menendezymenendez.com/2008/09/shakespeare-una-nueva-biografa.html
una entrevista con Peter Ackroyd, autor de una biografía del Bardo.