2. 1
1: ORSINO’S PALACE, ILLYRIA, ON THE ADRIATIC, 1600AD.
TITLE: (On black screen) “THE DUCHY OF ILLYRIA - 1600”
MUSIC: Incidental music climaxing at the end of the scene.
MONTAGE
+ MEDIUM AND CLOSE-UP SHOTS: PEASANTS LAYING STRAW AND WOOD
UNDER A BURNING STAKE.
+ EXT. DOLLY. SKELETONS CHAINED ON GIBBETS ALL THE WAY TO
ORSINO'S PALACE. DAY
+ CUT TO FEMALE VICTIM, BOUND, BEING LED BY GUARDS.
SFX: Chains, footsteps.
+ CUT TO ORSINO AT THE EXECUTION PLACE AS FEMALE VICTIM ARRIVES
AT STAKE.
+ CU. LOGS BURNING FURIOUSLY. NIGHT
+ PULL BACK TO REVEAL WOMAN BEGINNING TO BURNING AT THE STAKE.
NIGHT
SFX: HIDEOUS SCREAMING.
+ INT. TEARFUL OLIVIA WATCHING FROM HER WINDOW AT A BONFIRE ON
THE HORIZON. NIGHT
+ CUT TO WOMAN BURN AT THE STAKE. NIGHT
MONTAGE ENDS
FADE TO BLACK
MUSIC: “Mistress Mine” (Music original, tempo andante,
instrumental as played by Feste at the beginning of scene #13)
3. 2
MAIN TITLES: (Title: “Twelve Nights with Viola and Olivia” or,
“Do What You Will”
ADDITIONAL TITLES: Producer, Director, Creator
CUT TO...
4. 3
2: INT. JUDITH'S TAVERN. 1636 AD. DAY
TITLE: “England – 1636”
TITLE: “20 Years after the death of Shakespeare”
TAVERN GUEST 1
(Drunk) Come now, Judy! Let’s have a
catch!
TAVERN GUEST 2
(Less drunk) By my troth, the wench
has an excellent breast. I had rather
than forty shillings I had so sweet
a breath to sing as she has.
JUDITH
Would you have a love-song, or a song
of good life?
TAVERN GUEST 2
A love-song. A love-song.
TAVERN GUEST 1
Ay, ay; I care not for good life.
Music: “My Thing is my Own” (c. 1723). Music original, tempo Allegro,
with chorus altered to go with drinking.
JUDITH
(Singing) I, a tender young maid,
have been courted by many
Of all sorts and trades as ever was
any.
A spruce haberdasher first spake me
fair
But I would have nothing to do with
small ware.
JUDITH makes rude gesture with her fingers on “small ware.”
Tavern guests roar with delight
5. 4
JUDITH
My thing is my own, and I'll keep it
so still
You other young lasses ye do what you
will.
My thing is my own, and I'll keep it
so still
You other young lasses—Ho! Ho!
HEY!--ye do what you will.
Group raises their tankards at “Ho! Ho! HEY!”
TITLES: “(Actor Name) as JUDITH”
CUT TO...
6. 5
3. OLIVIA’S GARDEN, ILLYRIA, ON THE ADRIATIC. DAY
OLIVIA, MARIA, FEMALE GUESTS
OLIVIA
(Singing) A sweet scented courtier
did give me a kiss,
And promis'd me mountains if I would
be his,
But I'll not believe him, for it is
so true,
Courtiers do promise much more than
they do.
At “give me a kiss,” OLIVIA points to her cheek and MARIA kisses
it, other business. Guests laugh.
ALL
(Singing) My thing is my own, and I'll
keep it so still
You other young lasses ye do what you
will.
My thing is my own, and I'll keep it
so still
You other young lasses—Ho! Ho!
HEY!--ye do what you will.
OLIVIA and MARIA dance together, as do guests during part of
the chorus. All raise their arms at “Ho! Ho! HEY!”
TITLES: “(Actor Name) as OLIVIA” “(Actor Name) as MARIA”
CUT TO...
7. 6
4. DECK OF A SHIP, ON THE ADRIATIC. DAY
VIOLA AND SEBASTIAN, CAPTAIN, SAILORS
VIOLA
(Singing) A Master of Music came with
an intent,
To give me a lesson on my instrument,
I thank'd him for nothing, but bid him
be gone,
For my little fiddle should not be
plaid on.
SEBASTIAN, holding a violin, plays the “Music teacher” who VIOLA
dismisses at “bid him be gone”
My thing is my own, and I'll keep it
so still
You other young lasses ye do what you
will.
My thing is my own, and I'll keep it
so still
You other young lasses—Ho! Ho!
HEY!--ye do what you will.
VIOLA and SEBASTIAN dance together, as do guests during part
of the chorus. All raise their arms at “Ho! Ho! HEY!”
TITLES: “(Actor Name) as VIOLA” “(Actor Name) as SEBASTIAN”
CUT TO...
8. 7
5. TOWN STREETS, ILLYRIA. DAY
ORSINO, CURIO, OFFICER WALKING SLOWLY AND SOMBERLY THROUGH
TOWN. TOWNSPEOPLE IN BACKGROUND.
JUDITH (V.O.)
(Singing) A fine Man of Law did come
out of the Strand,
To plead his own case with his fee in
his hand;
He made a brave motion but that would
not do,
For I did dismiss him and nonsuit him
too.
ORSINO drops a couple coins in the cup of a music player during
verse
TITLES: “(Actor Name) as ORSINO” “(Actor Name) as CURIO” “(Actor
Name) as OFFICER”
CUT TO...
9. 8
6. EXT. OLIVIA'S HOUSE, ILLYRIA. DAY
FESTE, MARIA, SIR TOBY, SIR ANDREW, FABIAN, MALVOLIO
FESTE plays the song at a slower tempo
MARIA
(Singing) A fine dapper tailor, with
a yard – in - his - hand
Did profer his service to be at
command
He spoke of a slit that I had above
knee,
But I'll have no tailors to stitch it
for me.
My thing is my own, and I'll keep it
so still
You other young lasses ye do what you
will.
My thing is my own, and I'll keep it
so still
You other young lasses--ye do what
you will.
MARIA makes a vulgar gesture at “yard in his hand,” “slit above
knee,” and “I’ll have no tailors” sparking some laughter by
others. SIR TOBY and MARIA dance. The mood is rather somber,
and FESTE plays the chorus without words. MALVOLIO appears looks
annoyed, and leaves
TITLES: “(Actor Name) as SIR TOBY” “(Actor Name) as SIR ANDREW”
“(Actor Name) as FABIAN” “(Actor Name) as MALVOLIO”
MONTAGE
(Next verse is instrumental. Various scenes. ANTONIO, as
sailor, whistling the tune)
MONTAGE ENDS
TITLE: “(Actor Name) as ANTONIO”
CUT TO...
10. 9
7. INT. JUDITH’S TAVERN. DAY
JUDITH
(Singing) Now here I could reckon a
hundred and more
Besides all the Gamesters recited
before
That made their addresses in hopes of
a snap
But as young as I was I understood
that:
My thing is my own, and I'll keep it
so still
You other young lasses ye do what you
will.
My thing is my own, and I'll keep it
so still
Until I be married, say men what they
will.
JUDITH bows.
TAVERN GUEST 2
Beshrew me, she’s a fine wench.
CUT TO...
11. 10
8. EXT. ORSINO'S PALACE. DAY
TITLE: ILLYRIA – THE PALACE OF COUNT ORSINO
FESTE
Welcome friends!
Grant me leave, to ask this ye:
What treasur’d fruit hangs sweeter
than true love?
Can music play’d or art display’d
turn love-
Struck eyes from that in which they
have found, like
A pearl o’ parlous deep, love’s
promise pregnant?
What gall burns tender hearts more
fierce than love
Forbidden?—Swept from hand by force
majeure?
What hearts bear not such scars till
tender’d to
Embracing earth below? When shall we,
Before the age expires, give fair and
true Love
Its full-tale due?—Beset not more
sweet Cupid’s aim,
But laud and hymn his cherish’d gifts
as he
Doth will to grant poor mortals mir’d
in worldly cares.
Or shall we fore’er bind ourselves to
witness
Surd laughter o’er bitter anger, and
more yet,
Vain melancholy smiling at grief?
Kind sirs, fair ladies, bonny
kindred. Feste, am I, of Illyria—
A happy land where love, as hope and
song, springs
Eternal as the sun. Although they
call me wit
And fool, yet both doth rise o’
weari’d memory.
“Experience doth teach,” they say,
and long am
I learn’d, if letter’d light. So tend
to this tale,
12. 11
Which did but shortly pitch and toss
our realm.
MONTAGE INT/EXT. LOCATIONS - VARIOUS. DAY/NIGHT
+ EXT. (FOUND FOOTAGE) SHIP IN A HEAVY STORM. DAY
DURING THIS,
FESTE (VO CONT'D)
‘Twas in a roaring tempest, that
turn’d the sea
To green and white, and in that night
did smash
A ship that bore a girl and boy, true
noble born
Whose kin cruel Fate had taken i’ th’
twelve-month
+ EXT. SEBASTIAN, CLINGING TO A SHIP’S MAST. NIGHT
DURING THIS,
FESTE (VO CONT'D)
Now had that boy been launch’d upon
the savage sea,
As so was last he seen, a-clinging to
the
Ship’s mast.
+ EXT. VIOLA RISING FROM THE OCEAN, BEING DRAGGED UP THE BEACH
BY THE CAPTAIN. DAY
FESTE (VO CONT'D)
Once sav’d to shore, the maid did
‘bark to find
Her kin. To gain the freedom o’ the
land,
+ INT. VIOLA BINDING HER BOSOM AND DRESSING AS CESARIO. DAY
DURING THIS,
13. 12
FESTE (VO CONT'D)
The maid did take the habit and the
name
O’ master, more a eunuch, one
“Cesario.”
Song-blest, more else worth service
o’ the Count
Who rules our realm. A noble duke, in
nature as
In name:. Orsino. Lord of great
estate,
Of fresh and stainless youth;
+ INT. VIOLA AS CESARIO AND ORSINO STRIDING THROUGH ORSINO'S
HOUSE. DAY
DURING THIS,
FESTE (VO CONT'D)
Whose majesty did sweep the heart o’
said
Young man-garb’d maid, who could but
weep alone, for;
By fate was she to see her love oft
vainly fling
His love at the disdaining
battlements
Of fair Olivia, the lady and
countess.
+ EXT. OLIVIA ATTENDED BY MARIA IN HER GARDEN. DAY
DURING THIS,
FESTE (VO CONT'D)
The Lady Olivia:
A virtuous maid, the daughter of a
count;
That died some twelvemonth since,
then leaving her
In the protection of his son, her
brother,
Who shortly also died; for whose dear
love,
She hath abjur'd the company and
sight of men.
14. 13
+ EXT. ORSINO'S HOUSE. FESTE WALKING & NARRATING. DAY
DURING THIS,
FESTE (VO CONT'D
And so doth start this baleful tale
A maid in love with brother’s dust,
A maid seeks man she cannot trust
But must retain her male disguise
And drown her tears in gasps and
sighs.
Till then she’ll see love wanly wear,
Alas, to ‘nother, he doth swear.
Thus now begins this tale most true,
Pray give leave t’ give it’s due.
‘Twill tell before much time rush on,
Return I’ll to ye soon—anon!
MONTAGE ENDS
CUT TO...
15. 14
9. EXT. ILLYRIA – THE PALACE OF COUNT ORSINO DAY
INT. ORSINO'S PALACE. DAY
ORSINO
O, when mine eyes did see Olivia
first,
Methought she purg'd the air of
pestilence!
ORSINO pauses, then speaks as if suddenly struck by an idea
ORSINO
Who saw Cesario, ho?
VIOLA
On your attendance, my lord.
ORSINO
Cesario, thou know'st no less but all;
Although thy favor hath I known but days.
I have unclasp'd to thee the book of my soul.
Therefore, good youth, address thy gait unto
her;
Unfold the passion of my love,
Surprise her with discourse of my dear faith!
VIOLA.
Sure, my lord,
If she be so abandon'd to her sorrow
She will never admit me.
ORSINO.
Dear lad, believe it;
For they shall yet belie thy happy years,
That say thou art a man: Diana's lip
Is not more smooth and rubious; thy small pipe
Is as the maiden's organ, shrill and sound,
And all is semblative a woman's part.
She will attend it better in thy youth
Than in a nuncio's of more grave aspect.
At “Diana’s lip” and “small pipe,” ORSINO motions across VIOLA’s
body parts).
Exit VIOLA.
CUT TO...
16. 15
10. OLIVIA’S HOUSE.
VIOLA
My lord and master loves you; O, such
love
Could be but recompens'd!
OLIVIA
How does he love me?
VIOLA
With adorations, fertile tears,
With groans that thunder love, with
sighs of fire.
OLIVIA
Your lord does know my mind; I cannot
love him:
He might have took his answer long
ago.
VIOLA
If I did love you in my master's
flame,
In your denial I would find no sense;
OLIVIA
Why, what would you?
VIOLA
Make me a willow cabin at your gate,
Write loyal cantos of contemned love,
And sing them loud even in the dead
of night;
Halloo your name to the reverberate
hills,
And make the babbling gossip of the
air
Cry out, “Olivia!”
OLIVIA is filled with joyous admiration; she brings her face
close enough to VIOLA’s to kiss; but pulls back and speaks
instead.
OLIVIA
You might do much. What is your
parentage?
VIOLA
[Pretending to forget OLIVIA’s
17. 16
approach.] Above my fortunes, yet my
state is well; I am a gentleman.
OLIVIA
Get you to your lord;
I cannot love him: let him send no
more;
OLIVIA cannot resist flirting with VIOLA
Unless, perchance, you come to me
again,
to tell me how he takes it. Fare you
well;
I thank you for your pains. Spend this
for me.
OLIVIA takes a few coins from her purse and offers them to VIOLA.
VIOLA
I am no fee'd post, lady; keep your
purse:
My master, not myself, lacks
recompense.
May love make his heart a heart of
flint;
Farewell, fair cruelty.
VIOLA bows to OLIVIA, then exits.
OLIVIA
'What is your parentage?'
'Above my fortunes, yet my state is
well;
I am a gentleman.' I'll be sworn thou
art;
Thy tongue, thy face, thy limbs,
actions, and spirit,
Do give thee five-fold blazon. Not
too fast! Soft, soft!
Unless the master were the man. How
now?
Even so quickly may one catch the
plague?
OLIVIA
What ho, Malvolio!
Enter MALVOLIO.
MALVOLIO
Here, madam, at your service.
18. 17
OLIVIA
Run after that same peevish
messenger,
The county’s man: He left this ring
behind him,
Would I or not; Tell him I'll none of
it.
Hie thee, Malvolio!
MALVOLIO
Madam, I will.
Exit MALVOLIO.
CUT TO...
19. 18
11. INT. VIOLA’S CHAMBER. DAY
Viola holds Olivia’s ring as she paces the floor.
VIOLA
Disguise, I see thou art a
wickedness.
Fortune forbid my outside have not
charm'd her!
She made good view of me; indeed, so
much
that, methought her eyes had lost her
tongue.
For she did speak in starts
distractedly.
She loves me, sure: The cunning of her
passion
Invites me to her as this churlish
messenger.
I am the man.
If it be so, poor lady: better love
a dream.
For never can I be, what I doth seem.
CUT TO...
20. 19
12. EXT. OLIVIA’S GARDEN. DAY
OLIVIA
Maria, by Jove’s grace, he is most
wonderful!
MARIA
So unconstant is my lady’s heart—she
let a servant board and conquer?
OLIVIA
Nay, he neither boarded nor
conquer’d; nor room’d and boarded.
MARIA
Verily, and yet what under moon and
sun swept thou in an instant?
OLIVIA
‘Twas not an instant. Yet when I
beheld his limbs, his frame, his
youthful breast—his soft cheek and
the wisp o’er his lip—knew I had I met
my love most true.
MARIA
Beheld his limbs, my lady? What
“limb” didst thou see?
OLIVIA
‘Twas true love, cans’t you see? The
peace in his eyes, the strength in his
arms, the force in his legs, ‘twas all
as should be in man. Love felt I of
him hath I seen no lady behold, much
less I. ‘Twas a love hath ever I
dreameth be mine, but never beheld.
‘Twas love that passeth between
women.
MARIA
Marry, the vessel in which thou hast
repos’d thy love doth most resemble
a she... Only youth taketh thou! Men
grow harder... [pause for double
entendre] Verily, men grow harder, as
tree’s bark doth from sapling grow.
He who sweepeth thou be more
“gentle”–than “man.”
21. 20
OLIVIA
Perhaps he be not “man” in all
manners—perhaps he be a man who
lacketh all his manhood.
OLIVIA motions across her pelvis.
MARIA
Mayhaps, if all be as thou dreams,
what might thou haveth? Thou might
have love, verily thou might haveth
love most true. But thou wouldst have
only love, and nothing... more.
MARIA motions across her pelvis
OLIVIA
What doth you know of love, Maria? May
it might be pric’d, schedul’d, and
markt’d? True love is like a bird in
the bush—nay, like lightning—oft
vanish’d the moment one reacheth
for’t. Love be not bottl’d and
stock’d—true love can only repose in
hearts of true lovers. Fair Maria,
one must strike while the iron is hot!
Maria humorously touches Olivia’s forehead, then breast, than
her lower body
MARIA
Verily, some part of my lady is “hot.”
Dear lady, thou knoweth but the outer
bark of that sapling man. What hath
taken thy heart but a form and shadow
that might’d be gentleman or
gentlewoman in manly garb? Mayhaps
thou hath fallen in love with thine
self?
OLIVIA
Like fair Narcissus at the pool?
MARIA
Ay, my lady, that’s the thing. Doth
thou not see? All thou prize in that
boy may vanish like a midsummer
dream. Perchance, when he delivers
intelligence of his defeat at thy
hands, he’ll not be salli’d to thy
“breastworks...” again.
22. 21
OLIVIA
Nay, but if my “breastworks...” and
my fortifi’d heart hath not repuls’d
the Count for this length, we will
have another essay. Still more, I’ll
warrant the Count try his same
approach and employ his same envoy.
MARIA
Constancy in man is most mark’d by how
easily be his moves clairvoi’d.
OLIVIA
Speaketh you ‘gainst man and men
prejudg’d.
MARIA
By my troth, my lady, mice more than
men fool us—perchance we look with
eyes and not heart.
OLIVIA
Be man what manneth be,
If he be gentleman, and not
unfaithful knave,
He will yet soon return to us, truly.
MARIA
Of honesty, my lady? What means that
in man?
OLIVIA
(Ignoring another thrust by MARIA
against men) Thou recalls the flight
o’ Malvolio.
He bears a ring of mine.
OLIVIA shows her hand to MARIA, MARIA briefly clutches the hand
that OLIVIA offers.
MARIA
(Surprised) Not that precious ring!
OLIVIA
[With a nonchalant wave] A trifle,
Maria.
I deceiv’d Malvolio to think the ring
was the Count’s present.
MARIA
To think that,
Thy man might serve thy house all
23. 22
sundry circuits
O’ this orb, yet not see his cargo be
thine.
By troth, small things elude their
false attention.
OLIVIA
(With obvious delight)
The “size” of things be not at issue,
truly.
When he doth find that yonder youth,
he’ll give him
That ring.
MARIA
Doubtless the youth be confus’d…
OLIVIA
Ay, he shalt be confus’d, for he
cans’t “return” a ring he knows is not
his master’s. Verily, he’ll return
the ring here—else, he’ll accept the
love tendered.
MARIA
Aha,! t The ploy’s the thing!
[A beat]
Mayhaps he pockets the ring and makes
it his?
OLIVIA
Well then he shalt be prov’d a knave
not worthy
Of my love. But marry, should he shy
coin made
A gift most free, why should he take
when more
A dear thing come by mischance?
MARIA
(Feigning innocence) Coin made gift?
OLIVIA
Sure, Maria, didst thou listen for
ev’ry word pass’d twixt I and him?
MARIA
Ay, I did attempt to hear all.
OLIVIA
[Caressing MARIA’s cheek, and
laughing]
24. 23
Maria, now who is the constant one
And who knows thy moves?
MARIA
Thou knows me like the omnipresence,
my lady.
Thou knows me biblically.
[OLIVIA and MARIA laugh conspiratorially]
CUT TO...
25. 24
13. INT. VIOLA’S CHAMBER. NIGHT
CU VIOLA TRIMMING THE NIB OF A QUILL PEN, OTHER BUSINESS AND
STARTING TO WRITE.
MEDIUM AND C.U. SHOTS AS JUDITH ENTERS. VIOLA SUDDENLY NOTICES
JUDITH, ALTHOUGH SHE IS NOTICEABLY CALMER THAN JUDITH.
VIOLA
My lady, how now? God save you.
JUDITH
And you, too, sir. For my foray, prithee, your
pardon.
VIOLA
Pray did not I surprise you.
JUDITH
Nay sir. All is strange, yet real.
[JUDITH motions off camera. Camera pans to reveal contemporary
sound stage and crew]
JUDITH
Be this a playhouse? Stage I see; and
play-go’ers.
Yet under roof, and nay groundlins’
penny-a-head.
VIOLA
Ay, a sort of theatre is this.
[JUDITH stares at VIOLA skeptically.]
What troubles you? Think I lie?
JUDITH
(Looking closely at VIOLA) A maid you
are!
VIOLA
Aye; be that not untimely told.
JUDITH
What is your name?
VIOLA
By Cesario am I known.
26. 25
JUDITH eyes VIOLA skeptically.
VIOLA
But by my troth, by Viola am I to kin and God.
VIOLA pauses while JUDITH absorbs these facts.
VIOLA
This manly outward I usurp but to find
my brother Sebastian, if he be;
‘Twas I with him till tempest did,
Toss him to the sea.
JUDITH pauses to think about what VIOLA said.
JUDITH
When saw you and this stage, mem’ry did cast me
to days whence did I see plays written by brother
o’ mine.
(pause) By Viola call’d you yourself?
VIOLA
Aye, fair woman.
JUDITH
Doth memr’y betray? A play o’ my brother did have
a maid in man’s garb o’ that name.
VIOLA
Doth I not usurp, mayhaps she be I.
JUDITH
Verily, see I what hath I cros’t in sleep.
Truly, this play ‘tis that of brother mine.
Cros’t countless miles and years of time.
VIOLA
Doth you not fear? Lost from home, lost in time?
What will you be? What will be thine?
JUDITH
[To VIOLA] Dear brother penn’d most
sweet and true,
Heroes die but once, as is their due,
Elysia’s shore, thencefrom no man
return’d
[To camera] Yet here stand I, my life
confirm’d
Hath died I once, what I say, canst
sorrow’d Fate more bring?
Why fear I death? Say I to Fate: “O
Death–where is thy sting?”
27. 26
ON LAST LINE, JUDITH RAISES HER ARM IN TRIUMPH. VIOLA LOOKS AT
JUDITH IN AMAZEMENT.
CUT TO...
28. 27
14. EXT. OLIVIA’S GARDEN.DAY
VIOLA enters. SIR ANDREW enters and quietly takes a seat close
to a side door.]
JUDITH calls out from offstage, from the opposite direction than
VIOLA is looking.
JUDITH
O there thou art, Cesario!
VIOLA
Aye, madam.
JUDITH enters and walks to VIOLA, visibly excited and a bit
breathless, as though she had run in from outside and searched
backstage for VIOLA.
What brings you here?
JUDITH
I seek you. Kind sir, give me leave to tell o’
‘mazing sights that I hath seen.
VIOLA
Prithee, do tell.
JUDITH
Returneth I but scarcely, ranging without.
Beholding streets but strangl’y pav’d, nay
horse
Nor ass in sight. More naught but metal carts
With woodless wheels, and rumbling strangely
within.
BRIEF CUT TO JUDITH EXT. EXAMINING PARKED CARS ON A STREET
OR POSSIBLY THE CAMERA PANS FROM THE LAUREL STREET BRIDGE
TO REVEAL THE ANACHRONISM OF THE CA-163 FREEWAY BELOW.
VIOLA
Praise Jove you not a-fear’d your wits.
JUDITH
Aye, sir.
Then trumpets from the ether play’d;
Forthwith, a man did speak unto a case.
VIOLA
A man spoke unto a case?
29. 28
SFX: Cell phone rings, off camera.
CURIO answers immediately. He shouts so loudly that everyone
on the set hears him.
CURIO
Hello? Look, I can’t talk now—I’m
acting in a film.
CURIO rises and starts towards the side door of the studio.
Huh? Oh, I’m playing CURIO in some
post-modern adaptation of Twelfth
Night. It’s very self-referential. I
don’t know, some crazy dyke wrote it.
Huh? Well, I’m only in two scenes. No.
Wait. I’m in three scenes.
CURIO closes the door and exits.
VIOLA
[To camera] Tomorrow, he may be in no scenes.
JUDITH LOOKS PUZZLED FOR A MOMENT, THEN SPEAKS.
JUDITH
Why yes, good sir. The case unto that he spoke
It was much like that.
VIOLA
Verily, to you, we must all seem mad.
JUDITH
Troth, sir; but thee, more than thine ‘presses
me most.
VIOLA
Oh, good woman? What most of all?
JUDITH
Most, surely—I did spy two maidens embrace and
kiss.
BRIEF CUT OF TWO WOMEN IN MODERN CLOTHES (OLIVIA AND
MARIA?) KISSING IN A CORNER.
‘twas not a sisterly graze upon a fair one’s
cheek—‘twas a kiss of love most passion’d.
VIOLA
Think you must our world’s but a witches’s
Sabbath.
30. 29
All wanton and wicked and no rule remiss’d.
Maid’s legs dyk’d nightly in tribading bliss.
JUDITH
[with a wicked gleam] “Tribading
bliss?” Nay gentle-lady: For such as
we are made of, as such we must be.
VIOLA
Good madam?
JUDITH
Art thou the sole soul blind to Olivia’s charms?
Doth not thou find her coml’y and fair?
Art all thy courtly words but artifice and
snare?
When she smileth upon thee, doth thou not quaver
but slight?
Feel any pull towards her reds and her whites?
VIOLA turns away from JUDITH, composes herself, and responds.
VIOLA
Ay, Olivia is of beauty rare and priz’d, and tho’
she stands in the way of my desire’s eye—one jot,
I grudge her not.
Still, did not I love my lord, but were swept
by Olivia’s stream, what good might ensue?
When she’d learn’t her love’s true sex, what
might she do?
What man would then have her for wife?
Crush now her heart, to save her life.
Turn I from her, as her truest friend
For maids must sure marry, and only to men.
EXIT JUDITH AS OLIVIA APPROACHES.
Enter OLIVIA.
OLIVIA
Give me leave, I beseech you. I did
send,
After the last enchantment you did
here,
A ring in chase of you; so did I abuse
Myself, my servant, and, I fear, you.
What might you think?
OLIVIA and VIOLA stare at each other in silence, before VIOLA
speaks.
31. 30
VIOLA
I pity you.
OLIVIA
[Slowly] That's a degree to love.
VIOLA
No, not a bit; 'tis a vulgar proof,
As very oft we pity enemies.
OLIVIA
[Desperately] Cesario, by the roses
of the spring,
By maidhood, honor, truth, and every
thing,
I love thee so, that, despite all thy
pride,
Nor wit nor reason can my passion
hide.
VIOLA
By innocence I swear, and by my youth,
I have one heart, one bosom, and one
truth,
And that no woman has; nor never none
Shall mistress be of it, save I alone.
Olivia retrieves a locket and gives it to Viola.
OLIVIA
Here, wear this jewel for me, 'tis my
picture:
Refuse it not; it hath no tongue to
vex you:
[Pathetically] Yet come again; for
thou perhaps mayst move
That heart, which now abhors, to like
his love?
OLIVIA curtsies, and exits.
CUT TO...
32. 31
15. INT. VIOLA’S CHAMBER. NIGHT
ENTER VIOLA
JUDITH
How is the Lady Olivia?
VIOLA
[Resignedly] She loves me!
JUDITH
Dost thou love her a shred more than
before?
VIOLA
Nay, nay nay!
Doth none o’ this true moonshine
madness catch you?
JUDITH
Nay, all fits my compass.
[A beat] Mayhaps, thou sees just what
Olivia
Doth prize in thee, sir.
Thou art gentle, learned, clever, and
fair.
But tuppence for that—thou art rare!
The Countess may have any man she
should see.
But she’s seen every man—and she
wants thee!
MONTAGE
+ ORSINO WALKS IN ON VIOLA, DISCOVERS SHE'S A WOMAN
+ ORSINO RAPING VIOLA
+ VIOLA BEING LED TO THE STAKE
+ TEARFUL OLIVIA WATCHES BONFIRE ON THE HORIZON. NIGHT
DURING THIS:
VIOLA
Sage woman, what wouldst I do? My lord
I seek—
JUDITH
[Interrupting forcefully] Who not
33. 32
seeketh you.
Perchance thy lord quit his hunt, how
will thee—
Be the only love, that your lover
sees?
And if Orsino comes to thee, shalt
thou reveal?
How wilt thou show what thou now
conceal?
And know this true—the devil to care.
If thy lord comes to thee, he’ll strip
thee bare!
How knows what Olivia doth see in
thee?
Mayhaps she doth know, thou art a
man-she?
Thy lord that thou love—I know he’s
not guess’d,
Else he’d have thee long ago prone and
undress’d.
I love thee, Viola—like daughter of
mine.
MONTAGE ENDS
JUDITH
And weep wouldst I for thee, if it’d
give thee more time.
But time runneth short, thy state is
ill-curst.
Choose lady or tiger?—Doubt which
one’s worse?
CUT TO...
34. 33
16. EXT. OLIVIA’S GARDEN. DAY
OLIVIA stands, sits next to VIOLA, too much in love to look at
VIOLA. Suddenly OLIVIA turns to VIOLA.
OLIVIA
What shall you ask of me that I'll
deny,
That honor sav'd may upon asking
give?
VIOLA
Nothing but this,-- your true love
for my master.
OLIVIA
How with mine honor may I give him
that
Which I have given to you?
VIOLA
(Insistent) I will acquit you!
OLIVIA pauses, but can think of no more to say to persuade VIOLA
OLIVIA
Well, come again to-morrow; fare thee
well.
A fiend like thee might bear my soul
to hell!
OLIVIA curtsies, and exits. Enter SIR TOBY and FABIAN, quickly.
SIR TOBY
Gentleman, God save thee!
VIOLA
And you, sir.
SIR TOBY
That defence thou hast, betake thee
to 't.
Thy intercepter, full of spite,
bloody as the hunter, attends thee at
the orchard-end.
VIOLA
[Backing away.] I will return to the
house and desire some conduct of the
lady.
35. 34
I am no fighter!
SIR TOBY
Sir, no; Back you not to the house,
unless you would undertake with me
which you would avoid with him.
VIOLA
Why this is midsummer madness!
Know for me what my offence is; it is
something of my negligence, nothing
of my purpose.
SIR TOBY
I will do so. Signior Fabian, stay you
by this gentleman till my return.
EXIT SIR TOBY. FABIAN JOINS VIOLA.
VIOLA
Pray you, sir, do you know of this
matter? What manner of man is he?
FABIAN
Sir, he is, the most skillful,
bloody, and fatal opposite that you
could possibly have found in Illyria.
FABIAN places both hands on VIOLA to help calm her. Enter SIR
TOBY and SIR ANDREW, practicing his swordsmanship.
FESTE enters from off camera, sees VIOLA and FABIAN, then sees
SIR TOBY and SIR ANDREW practicing his swordsmanship upstage.
He then walks by VIOLA and FABIAN, and speaks as he passes.
FESTE
[To VIOLA] God save you, sir.
VIOLA
Pray, he does.
FESTE looks again at SIR ANDREW
FESTE
A fair morn’ for practicing
swordship, your worship.
VIOLA
Aye, sir. My best to your lady.
Perchance she’d view our fence?
36. 35
VIOLA STARES AT FABIAN, WHO EYES VIOLA WARILY, MINDFUL OF SIR
TOBY’S THREAT TO FIGHT VIOLA. FESTE SENSES THAT VIOLA NEEDS
HELP, BUT HE PRETENDS IGNORANCE. IN THE DISTANCE, WE CAN SEE
THE BACKS OF SIR ANDREW AND FABIAN AS THEY DO TWELFTH NIGHT
BUSINESS.
FESTE
Perchance she will, sir. God protect
thee!
FESTE exits. FABIAN and VIOLA watch him go.
FABIAN
[To VIOLA] Courage, lad.
SIR TOBY motions to FABIAN.
FABIAN
[To VIOLA:] God’s mercy on you.
VIOLA stands in terror after FABIAN leaves. SIR TOBY and FABIAN
begin walking towards each other, meeting at the half-way point
between VIOLA and SIR ANDREW.
SIR TOBY
There's no remedy, sir: he will fight
you for's oath sake. Marry, he hath
better thought of his quarrel;
therefore draw, for the supportance
of his vow; he will not hurt you.
SIR TOBY motions to FABIAN; they exchange places again.
VIOLA
(Aside) Pray God defend me! A little
thing would make me tell them how much
I lack of a man.
FABIAN
[To VIOLA:] Come, lad. The knight has
given his honor you shan’t be harmed.
FABIAN and SIR TOBY bring VIOLA and SIR ANDREW together, then
FABIAN and SIR TOBY move away. VIOLA and SIR ANDREW fight
comically.
Enter ANTONIO.
ANTONIO
Halt, gentlemen!
37. 36
FABIAN
More matter for a May morning!
ANTONIO approaches SIR ANDREW
ANTONIO
Put up your sword. If this young
gentleman
Have done offence, I take the fault
on me;
If you offend him, I for him defy you.
SIR TOBY walks briskly to ANTONIO.
SIR TOBY
You, sir! Why, what are you?
ANTONIO
One, sir, that for his love dares yet
do more
Than you have heard him brag to you
he will.
SIR TOBY
Nay, if you be an undertaker, I am for
you.
SIR ANDREW, VIOLA and FABIAN retreat. SIR TOBY and ANTONIO draw
swords and fight realistically. SCOPE, HERE, FOR A DAZZLING
DISPLAY OF SWORDSMANSHIP.
[Enter CURIO and OFFICER.]
FABIAN
Hold, good Sir Toby, hold! Here come
some officers.
SIR TOBY
[To ANTONIO] I'll be with you anon.
Exit SIR ANDREW, FABIAN, and SIR TOBY. CURIO and OFFICER enter
and approach ANTONIO.
CURIO
This is the man; do thy office.
OFFICER
Antonio, I arrest thee at the suit of
Count Orsino.
ANTONIO lays down his sword.
38. 37
ANTONIO
[To VIOLA] This comes with seeking
you:
But there's no remedy; I shall answer
it.
What will you do, now my necessity
Makes me to ask you for my purse?
VIOLA
What money, sir?
For the fair kindness you have show'd
me here,
I'll lend you something. My having is
not much;
Hold, there's half my coffer.
ANTONIO
Will you deny me now?
OFFICER
Come, sir, I pray you, go.
ANTONIO
Let me speak a little. This youth that
you see here
I snatch'd one half out of the jaws
of death,
Reliev'd him with such sanctity of
love,
But O how vile an idol proves this
god!
Thou hast, Sebastian, done good
feature shame.
CURIO
The man grows mad; away with him!
Come, come, sir.
ANTONIO
[Resignedly] Lead me on.
Exit ANTONIO, CURIO and OFFICER. VIOLA, stares as ANTONIO is
taken away.
VIOLA
Methinks his words do from such
passion fly
That he believes himself; so do not
I.
Prove true, imagination, O, prove
true,
That I, dear brother, be now ta'en for
39. 38
you!
He nam'd Sebastian. I my brother know
Outward like myself; even such and so
For him I imitate. O heavens above,
Make tempests kind, and salt waves
love!
Exit VIOLA, briskly. Re-enter SIR TOBY, SIR ANDREW, and FABIAN.
SIR TOBY
A paltry boy, and more a coward than
a hare.
FABIAN
A coward, a most devout coward,
religious in it.
SIR ANDREW
I'll after him again and beat him.
SIR TOBY
Do; cuff him soundly, but never draw
thy sword.
SIR ANDREW
[A beat] And I do not,--
SIR ANDREW draws his sword and hurriedly exits with his sword
raised high. Exit SIR TOBY and FABIAN more slowly.
FX: Birds singing until...
OLIVIA (OFF CAMERA)
(SCREAMS) WHAT!? What say you?
A beat. Then, OLIVIA’s pounding feet are heard as she runs out
of her house in her fancy slippers. OLIVIA bursts out.
Enter OLIVIA followed quickly by FESTE and then MARIA.
FESTE
My lady, fear not.
OLIVIA
Go to, sir! Prithee!—find him!—save
him! I would not have him miscarry for
half my dowry.
FESTE
Fear not, madonna
40. 39
Pegasus, on his legs of horse.
Ne’er as quick did sally forth!
Anon.
FESTE exits in haste. MARIA drapes her comforting arm over
OLIVIA.
MARIA
To the house, pray, dry thy tears.
Tis not time to fret, or fear.
Your love’ll be deliver’d, your
heart’s desire.
Find diversion within, withal
transpire.
OLIVIA is visibly shaken, and weeping.
CUT TO...
41. 40
17. EXT. THE CHURCH. DAY
FX CHURCH BELL TOLLS MOURNFULLY.
MUSIC: FUNERAL MUSIC
Church doors open
ENTER PRIEST (bearded and enrobed as for a funeral), SIR ANDREW
(wearing a black armband and carrying a funeral wreath).
ENTER OLIVIA (veiled in deep mourning, weeping), VIOLA,
accompanied by SIR TOBY. PRIEST comforts OLIVIA at the church
threshold. PRIEST closes church doors.
FX CHURCH BELL STOPS TOLLING
ENTER PRIEST from church doorway. He stands up the wreath
outside, now placarded “REST IN PEACE: SOMEONE NOT IN THIS
MOVIE.”
MUSIC: Something cheerful and Shakespearean
Exit VIOLA.
Enter SEBASTIAN, armed with a rapier and dagger, followed by
the CLOWN, who walks up to SEBASTIAN.
FESTE
Will you make me believe that I am not
sent for you?
SEBASTIAN
Go to, thou art a foolish fellow. Let
me be clear of thee.
FESTE
Well held out, i' faith! No, I do not
know you; nor I am not sent to you by
my lady; nor your name is not Master
Cesario;. Nothing that is so is so.
Enter SIR ANDREW
SIR ANDREW
Now, sir, have I met you again?
There's for you.
SIR ANDREW swings at SEBASTIAN, and misses.
42. 41
SEBASTIAN
Why, there 's for thee, and there, and
there.
SEBASTIAN swings at SIR ANDREW, and with his first punch, SIR
ANDREW staggers backwards. SEBASTIAN continues hitting SIR
ANDREW, striking hard each time. When SIR ANDREW collapses,
SEBASTIAN draws his dagger, and turns to the camera.
SEBASTIAN
Are all the people mad?
Enter SIR TOBY, [SEBASTIAN turns back to SIR ANDREW, but SIR
TOBY quickly seizes SEBASTIAN from behind.
FESTE
This will I tell my lady straight. I
would not be in some of your coats for
twopence.
Exit FESTE.
SIR TOBY and SEBASTIAN struggle.
SEBASTIAN
(Shouting) Let go thy hand! I will be
free from thee.
SIR TOBY
Come, my young soldier, put up your
iron: you are well flesh'd.
SEBASTIAN drops his dagger, then throws off SIR TOBY and turns
to face him.
SEBASTIAN
What wouldst thou now?
SEBASTIAN draws his sword.
[To SIR TOBY:] If thou dar'st tempt
me further, draw thy sword!
SIR TOBY
What, what? I must have an ounce or
two of this malapert blood!
[SIR TOBY draws his sword. SEBASTIAN and SIR TOBY fight.
Elaborate swordplay. Enter OLIVIA, and MARIA, away from the
43. 42
fight. OLIVIA has a sword and sheath buckled to her dress. OLIVIA
sees the fight from a distance; her mood changes from worry to
anger in an instant. Suddenly she draws her sword and marches
quickly toward SIR TOBY, from his back, in the stern gait of
a soldier, with MARIA following.. OLIVIA approaches SIR TOBY
and stands ready to strike him.]
OLIVIA
Hold, Toby; on thy life, I charge
thee, hold!
SIR TOBY
Madam!
SIR TOBY pulls away from SEBASTIAN and points his sword loosely.
SIR TOBY is extremely surprised, then sheathes his sword. OLIVA
cooly hands the sword to MARIA, who receives it limply. OLIVIA
turns to SIR TOBY.
OLIVIA
Will it be ever thus?
OLIVIA pushes SIR TOBY
OLIVIA
Ungracious wretch!
OLIVIA punches SIR TOBY in the belly
OLIVIA
Fit for the mountains and the
barbarous caves!
[OLIVIA punches SIR TOBY in the groin, at which point, he
collapses. OLIVIA continues to lecture SIR TOBY while he lies
on the ground. SIR ANDREW exits in panic.]
OLIVIA
Where manners ne'er were preach'd!
Out of my sight!
FABIAN
[To SIR TOBY, still on the ground]
Come, knight. Thou was’t bested by a
more savage fighter.
OLIVIA
[To SEBASTIAN:] Be not offended, dear
Cesario.
I prithee, gentle friend,
44. 43
Let thy fair wisdom, not thy passion,
sway
In this uncivil and unjust extent
Against thy peace.
OLIVIA, overcome with passion and desire, kisses SEBASTIAN,
fully on the lips. He is initially shocked, but returns the kiss
once he realizes he likes OLIVIA’s kiss. OLIVIA realizes what
she has done, and backs away in embarrassment. However,
SEBASTIAN recovers, and realizes that he liked OLIVIA’s kiss.
SEBASTIAN
[To camera] What relish is in this?
How runs the stream?
Am I mad, or else this is a dream?
Let fancy still my sense in; Lethe
steep;
If it be thus to dream, still let me
sleep!
[OLIVIA moves to SEBASTIAN with some hesitation.]
OLIVIA
[TO SEBASTIAN] Come, I prithee.
Would’st thou rule me?
SEBASTIAN
A moment, by your leave.
[To camera] Though my soul disputes
with my sense,
That this may be some error, but no
madness,
Yet doth this accident and flood of
fortune
So far exceed all instance, all
discourse,
That I shall wrangle with my reason,
That persuades me to any other trust
but
That I am mad;
[Pauses for thought.]
Or else the lady's mad; Yet if 't were
so,
She could not sway her house, command
her followers,
Take and give back affairs and their
dispatch
With such a smooth, discreet, and
stable bearing,
as I perceive she does.
Perchance I ask her handmaiden.
45. 44
SEBASTIAN goes to MARIA.
[To MARIA] Your mistress hath
proposed a thing against
all reason. Is your ladyship mad?
MARIA
Nay sir, madness touch only her
kinsman.
MARIA nods towards SIR TOBY. SIR TOBY weakly waves to SEBASTIAN.
SIR TOBY
Go to her man; she is fair and loves
thee.
Wed her, bed her, and keep her
compn’y.
She’ll not thrash you for even causes
great.
She’s fill’d with love and dry of
hate.
Forswear thy doubts; she’s not tiger
nor shrew.
She is woman; kind, gentle and true.
OLIVIA
My lord? My liege. Need more time
still?
SEBASTIAN
Your wish is granted. Madam, I will.
CUT TO...
46. 45
18. INT. VIOLA’S CHAMBER. DAY
JUDITH
My moon and stars! Dare me ask how art
thou?
VIOLA
[Shouting] Are all these people mad?
JUDITH
What hast thou been through?
VIOLA
Been through? Nearly run through!
‘But skewered on a rapier!
JUDITH
In the fore-noon? Footpads on the
high street?
VIOLA
Not by knave—by knight.
JUDITH
By night—in day?
VIOLA
A knight—in rank and estate.
JUDITH
Dubbed by sover’gn—oath of fealty—?
JUDITH pantomimes the ceremony of touching the shoulders and
head with a sword to dub a knight, as though she were a queen.
VIOLA
(Nodding) Aye—not a chess-piece.
JUDITH
Forsooth. Hath this knight a name?
VIOLA
Verily. His name is—my life upon it!
JUDITH
Ill choice for words.
VIOLA
Aye, it’s all one. He ne’er told me!
47. 46
JUDITH
Seeketh thy mortal dispatch, whilst
encloak’d ‘in name?
Surely, he must be mad—possess’d.
Bewilder’d, be-witched—out of his
wits?
Had you been hurt; they’d seen thy—
VIOLA
[Interrupting] Nay, th’ kinsman of
the Lady Olivia assur’d me th’ fault
was mine.
JUDITH
This kinsman of thy lady is friend to
thy foe?
VIOLA
She’s no one’s lady—not so.
JUDITH
Forsooth. Not thy lord’s, nor thine.
Nay, if this kinsman be not mad also.
VIOLA
Not as he seem’d.
JUDITH
Then, reason be found, if reason be
‘round.
Who is this brawler—this glutton o’
fence?
Where hast thou seen him but now or
past-hence?
VIOLA
The house of the lady—both of the men.
JUDITH
Ah, forsooth. Perchance he is
Olivia’s suitor—a spare?
VIOLA
Along with my lord—drown’d i’
sorrow’d care?
JUDITH
Aye—and what does he see? Kindly she
uses thee, bestows valu’d gifts.
Were wager’d, thou art younger,
fairer, more clever,
Than he. More witty, pleasing, all
48. 47
graces maids seek.
Good-natur’d, light in heart, yet
‘bandon’d not to
Untim’ly disorders. What challenge
hath he?
[JUDITH pantomimes fighting with a sword, in the stylized
motions of fencing.]
JUDITH
A martial challenge, sir. Retort by
rapier,
Thy ‘viction writ wi’ thy own blood!
VIOLA
(Horrified) Carve a harmless boy?
A page but tender sent by local lord?
Condign, he slay me, as did mean
brother Cain?
Doth jealousy and covetness, make all
men insane?
If slay he me for cause so slight,
Then might he slay me for sixpence,
by right?
JUDITH
(Forcefully) Sixpence? Tuppence!
VIOLA
(dryly)..Life goes cheap in Illyria.
[VIOLA considers matters, and then
she explodes.] O madam, men misrule
like heathen kings!
How dare they mock Truth, dismiss us
as slatterns?
Too foul’d by Eve to lay hands on the
host?
Deny us pulpit, pen, and bench, the
press?
Be us should preach on Sabbath-day,
confound them!
JUDITH
Your peace, sister—they’ll duck you
soon, by faith.
[A beat] If life be mad, we’re in the
box.
How would you flee this? It’s our sad
lot.
VIOLA
Then returneth the waves!—Life I
49. 48
quitclaim!
If lorded, I’m slave—If lord I am
slain!
Take me to the river—Push me in the
water!
JUDITH
Ho, ho, Cesario!—Art thou a Baptist?
VIOLA
If Dissenter ‘twould make me, then
Baptist I’ll be.
Pray hold me under—a minute or three!
JUDITH
Prithee, sir. Tho’ close runs the
waters, not so deep is the stream.
Tho’ manly-garb’d, thou are noble.
Pray, name a she, not slav’d nor
slain?
Hard by, sways she her house with
dispatch.
No man dwells in her house but that
she rules.
VIOLA
The Lady Olivia!
JUDITH
Verily. How art thy lands, my lady?
VIOLA
(Startled) My lands? My brother hath
lands, not I.
JUDITH
Thy brother, may be lost to the
devouring sea.
VIOLA
(Defiant & assured) Perchance he’s
not, but waits for me to find him!
JUDITH
What card hath fortune turn’d? What
tale to tell?
VIOLA
My escape today ‘twas not entir’ly
mine.
A man, he came a-sudden, and he sav’d
me.
50. 49
JUDITH
Thy stars art favour’d. Pray, how
nam’d this man?
VIOLA
Know not I. But he named Sebastian.
JUDITH
[With joy, disappointment, and awe.]
Thy brother has risen from furi’d
waves.
VIOLA
Sebastian is alive—where’s he to be
found?
JUDITH
My lady—my lord—if ever thou didst
hold faith for thy soul
Hold strong as the mightiest sea.
Cast off thy doubt and sail thy hope
Thy brother will come to thee.
CUT TO...
51. 50
19. EXT.BEFORE OLIVIA'S HOUSE. DAY.
Olivia’s house is a rich mansion built during the Renaissance.
A stone bench like that in Olivia’s garden is in front of the
house. FESTE and JUDITH sit together (he is romancing her a bit)
as he plays the first verse of “O, Mistress Mine”
Enter ORSINO and VIOLA. JUDITH notices the entry of VIOLA and
stops FESTE from playing. ORSINO does not recognize JUDITH, but
VIOLA only pretends not to recognize her.
ORSINO
(TO FESTE) Belong you to the Lady
Olivia, friends?
FESTE
Ay, sir; I am one of her trappings.
ORSINO
I know thee well; how dost thou, my
good fellow?
FESTE
Truly, sir, the better for my foes and
the worse for my friends.
ORSINO
Just the contrary; the better for thy
friends.
FESTE
No, sir, the worse.
ORSINO
How can that be?
FESTE
Marry, sir, my friends praise me and
make an ass of me. Now my foes tell
me plainly I am an ass: so that by my
foes, sir, I profit in the knowledge
of myself, and by my friends I am
abus’d.
ORSINO
Why, this is excellent.
FESTE
By my troth, sir, no; though it please
you to be one of my friends.
52. 51
ORSINO
Thou shalt not be the worse for me;
there's gold.
FESTE
But that it would be double dealing,
sir, I would you could make it
another.
ORSINO
You can fool no more money out of me
at this throw; if you will let your
lady know I am here to speak with her,
it may awake my bounty further.
FESTE
Marry, sir, lullaby to your bounty,
I will awake it anon.
FESTE Exits
Enter ANTONIO, CURIO and OFFICER
VIOLA
Here comes the man, sir, that did
rescue me.
ORSINO
That face of his I do remember well;
Yet, when I saw it last, it was
besmear'd
in the smoke of war.
CURIO
Orsino, this is that Antonio
That took the Phoenix and her fraught
from Candy;
And this is he that did the Tiger
board,
When your young nephew Titus lost his
leg.
Here in the streets, desperate of
shame and state,
In private brabble did we apprehend
him.
VIOLA
He did me kindness, sir; drew on my
side;
But in conclusion put strange speech
upon me;
I know not what't was but
53. 52
distraction.
ORSINO
Notable pirate! Salt water thief!
What foolish boldness brought thee to
their mercies,
Whom thou, in terms so bloody and so
dear,
Hast made thine enemies?
ANTONIO
Orsino, noble sir,
Antonio never yet was thief or
pirate,
Though, I confess, on base and ground
enough,
Orsino's enemy. A witchcraft drew me
hither:
That most ingrateful boy there by
your side,
From the rude sea's enrag'd and foamy
mouth
Did I redeem;
His life I gave him, for his sake
Did I expose myself, pure for his
love,
Into the danger of this adverse town;
Drew to defend him when he was beset:
Where being apprehended, his false
cunning,
Taught him to face me out of his
acquaintance, and denied me mine own
purse,
Which I had recommended to his use
Not half an hour before.
VIOLA
How can this be?
ORSINO
(Pointing to Viola) When came he to
this town?
ANTONIO
To-day, my lord; and for three months
before,
Both day and night did we keep
company.
ORSINO
Fellow, thy words are madness;
Three months this youth hath tended
54. 53
upon me.
Enter OLIVIA and MARIA
But more of that anon.
Here comes the countess; now heaven
walks on earth.
OLIVIA and MARIA bow and curtsy before ORSINO.
OLIVIA
[To ORSINO] What would my lord, but
that he may not have,
Wherein Olivia may seem serviceable?
[To VIOLA, sharply] Cesario, you do
not keep promise with me.
VIOLA
Madam!
ORSINO
Gracious Olivia,--
OLIVIA
[To VIOLA] What do you say, Cesario?
VIOLA
[To OLIVIA] My lord would speak; my duty hushes
me.
OLIVIA
If it be aught to the old tune, my
lord,
It is as fat and fulsome to mine ear
As howling after music.
ORSINO
[To OLIVIA] You uncivil lady, What
shall I do?
OLIVIA
[Smiling unhelpfully] Even what it
please my lord.
ORSINO
Why should I not, had I the heart to
do it,
Kill what I love?–a savage jealousy
That sometime savors nobly. But hear
me this:
[Points at VIOLA] This your minion,
whom I know you love,
55. 54
And whom, by heaven I swear, I tender
dearly,
Him will I tear out of that cruel eye,
Come, boy, with me; my thoughts are
ripe in mischief;
VIOLA
[To ORSINO] And I, most jocund, apt,
and willingly,
To do you rest, a thousand deaths
would die.
OLIVIA
Where goes Cesario?
The following lines are spoken in a swift and steady rhythmic
rhyme
VIOLA
[Passionately] After him I love,
More than I love these eyes, more than
my life,
More, by all mores, than shall I love
wife!
OLIVIA
Ay me detested! Ay me beguil'd!
MARIA
[To camera] And how this male bonding
has gone simply wild!
VIOLA
Who does beguile you? Who does you wrong?
OLIVIA
Hast thou forgotten? Is it so long?
ORSINO
[To VIOLA] Come away!
OLIVIA
[To ORSINO] Whither, my lord?
[To VIOLA] Cesario—husband, stay!
ORSINO
Husband?
OLIVIA
Ay, husband! Can he that deny?
56. 55
VIOLA
[Shaking her head.] No, my lord, not
I.
Rhyming couplets end
[OLIVIA pauses briefly to think how she can convince ORSINO that
she has married “Cesario.”]
OLIVIA
My lord, by your leave.
My maid Maria was a witness to our
conjunction. She may tell what hath
but pass'd
between us.
MONTAGE
+ INT. CHURCH. OLIVIA MARRYING SEBASTIAN. DAY
DURING THIS,
MARIA
(Officially) A contract of eternal
bond of love,
Confirm'd by mutual joinder of your
hands,
(Aside) Between a man and woman; as
the Law
demands.
Attested by the holy close of lips,
Strengthen'd by interchangement of
your rings;
And all the ceremony of this compact
Nay but two hours.
MONTAGE ENDS
ORSINO turns to VIOLA
ORSINO
[To VIOLA:] O thou dissembling cub!
what wilt thou be
When time hath sow'd a grizzle on thy
case?
Farewell, and take her; but direct
thy feet
Where thou and I henceforth may never
meet.
OLIVIA reaches out to VIOLA, as VIOLA looks helplessly upon
ORSINO.
57. 56
OLIVIA
Yes!!
VIOLA
[As OLIVIA physically drags VIOLA
away] My lord, I do protest,--
Enter SIR ANDREW and FABIAN
SIR ANDREW
For the love of God, a surgeon! Send
one presently to Sir Toby!
OLIVIA
[To SIR ANDREW] Sir Andrew, what 's
the matter?
SIR ANDREW
H’as broke my head across and has
given Sir Toby a bloody coxcomb too;
for the love of God, your help!
OLIVIA turns to MARIA
OLIVIA
Maria, tend to the knight.
MARIA examines SIR ANDREW casually, then turns to the camera.
MARIA
[Shouting] Who knew the old man had
so much blood in him?
FABIAN
[To MARIA] Art thou now Lady Macbeth?
OLIVIA
[To SIR ANDREW] Who has done this, Sir
Andrew?
SIR ANDREW
The count's gentleman, one Cesario;
we took him for a coward, but he 's
the very devil incarnate.
ORSINO
(Surprised and disbelieving) My
gentleman Cesario?
SIR ANDREW
'Od's lifelings, here he is! You
broke my head for nothing.
58. 57
VIOLA
Why do you speak to me? I never hurt
you.
You drew your sword upon me without
cause;
But I bespake you fair, and hurt you
not.
SIR ANDREW
If a bloody coxcomb be a hurt, you
have hurt me.
Enter SEBASTIAN.
SEBASTIAN
I am sorry, madam, I have hurt your
kinsman
But, had it been the brother of my
blood,
I must have done no less with wit and
safety.
You throw a strange regard upon me,
and by that
I do perceive it hath offended you;
Pardon me, sweet one, even for the
vows
We made each other but so late ago.
C.U. OLIVIA IS TOO STUNNED TO SPEAK.
To ANTONIO) Antonio, O my dear
Antonio!
How have the hours rack'd and
tortur'd me,
Since I have lost thee!
ANTONIO
Sebastian are you?
SEBASTIAN
Fear'st thou that, Antonio?
ANTONIO
How have you made division of
yourself? Which is Sebastian?
ORSINO
One face, one voice, one habit, and
59. 58
two persons,
A natural perspective, that is and is
not!
OLIVIA
Most wonderful!
SEBASTIAN turns to VIOLA.
SEBASTIAN
Do I stand there? I never had a
brother;
I had a sister, whom the waves
devour'd.
What kin are you to me? What
countryman?
What name? What parentage?
VIOLA
Of Messaline: Sebastian was my
father;
Such a Sebastian was my brother too,
So went he suited to his watery tomb.
If spirits can assume both form and
suit,
You come to fright us.
SEBASTIAN
A spirit I am indeed;
But am in that dimension grossly clad
Which from the womb I did
participate.
Were you a woman, as the rest goes
even,
I should my tears let fall upon your
cheek,
And say, 'Thrice-welcome, drown-ed
Viola!'
VIOLA
Sebastian, my brother!
VIOLA and SEBASTIAN embrace.
OLIVIA
[To MARIA] Is't possible?
MARIA
[To OLIVIA] If this were play'd upon
a stage now, I could condemn it as an
improbable fiction.
60. 59
VIOLA and SEBASTIAN stop embracing. SEBASTIAN turns to OLIVIA.
SEBASTIAN
[To OLIVIA:] So comes it, lady, you
have been mistook;
But nature to her bias drew in that.
ORSINO
[To OLIVIA] Be not amaz'd; right
noble is his blood.
If this be so, as yet the glass seems
true,
I shall have share in this most happy
wreck.
[To VIOLA] Boy, thou hast said to me
a thousand times
Thou never shouldst love woman like
to me.
VIOLA
(Passionately) And all those sayings
will I over-swear;
And all those swearings keep as true
in my soul.
ORSINO
Your master quits you; and, for your
service done him,
So much against the mettle of your
sex,
And since you call'd me master for so
long,
Here is my hand; you shall from this
time be
Your master's mistress.
JUDITH leaps to her feet and interrupts.
JUDITH
Hold! I beseech thee, hold!
Camera pans to reveal crew. All but JUDITH and VIOLA begin to
wander off. ORSINO and SEBASTIAN go one way. OLIVIA, and MARIA
sit. SIR ANDREW and SEBASTIAN go off camera and return carrying
stools, camp chairs, barrels, and other temporary furniture.
After this furniture has been set down, SIR ANDREW, ORSINO, and
SEBASTIAN, begin reading their cell phones, playing cards,
smoking cigarettes and otherwise ignore the scene with JUDITH.
OLIVIA, and MARIA watch intently as JUDITH speaks to VIOLA.
VIOLA
Madam?
61. 60
JUDITH
Viola, thou hast liv’d as man for
naught
But twelve nights, yet thou know’st
th’ liberties
Thou hast as man—great liberties
wouldst not
Be thine as maid or madam.
These liberties wouldst thou forever
forsake?
VIOLA
Aye, madam. For love, would I.
JUDITH
Mayhaps, what love is this?
JUDITH points briefly at ORSINO, who does not even acknowledge
that he is being discussed.
This bluff, full-blooded man:
ever-sway’d
By stormy passion, silent
melancholy,
A-brimm’d with crimson, blazing,
bitter hatred.
A titl’d bear who nourishes rash
violence
On battles past and his capricious
envy.
What man did not, but moments hence,
express
His will to smother thee as swift and
sure
As Desdemona—as unjustly charg’d!
Still more, this green-ey’d auditor
waits pregnant for
Thy beauty to fall fleetly as a
blossom
Dissever’d from a bush—how long will
thou sate
His roving eye and ranging hand?
VIOLA
All this thou say is true.
Yet if love I seek than liberty
What would then be thy plot for me?
What would thou I do?
JUDITH
[Motioning to OLIVIA] Go to she who
loves you.
62. 61
She hath pledg’d thee her love, not
once but divers times.
She offers not just her hand, but her
heart, her arms and home.
VIOLA
Wouldst I, but she hath marri’d my
brother.
So, witty woman, where should I find
another? [Stares at JUDITH smugly.]
JUDITH
[Like an English judge] Call the Lady
Olivia!
MARIA
[Like the clerk of an English court)
Call the Lady Olivia!
OLIVIA enters, gracious yet defiant. OLIVIA stands opposite to
VIOLA.
OLIVIA
A lady hal’d into court! [OLIVIA
smiles at VIOLA] Still, nightingales
answer daws.
OLIVIA glares at JUDITH. However, OLIVIA soon becomes
friendlier to JUDITH.
JUDITH
Lady Olivia, you were married this
morning.
OLIVIA
Aye.
JUDITH
To a young man.
OLIVIA
Aye.
JUDITH
[Pointing to VIOLA.] Whom you thought
was this young maid.
OLIVIA looks fondly at VIOLA.
63. 62
OLIVIA
Aye, O Lady of Misrule.
JUDITH
Well, if there be any law in
Illyria—your marriage may be
annull’d.
OLIVIA
Forsooth. Mayhaps I did marry her
brother—
Is he not an eligible replacement?
JUDITH
For your bridegroom—till death do you
part—you take a substitute? Nay, more
a counterfeit to your love.
[Pointing to VIOLA] Hath he her
tender heart, gen’rous nature,
Her poet’s tongue? Sooth, doth he
shrink from combat,
Ill-fain to neither draw nor offer
blood—
In but two days, hath he not
entertain’d
Pernicious action with thy kin on
both?
[Pointing at SEBASTIAN.] La, there’s
your husband—as your heart is try’d—
How doth he ‘tend to thee whom he has
vow’d?
To him—my lady, countess,
mistress—you are
A maiden, soon forever woman—and look
not
To rise in his esteem if you should
give him
A dozen heirs! What earnest hath thou
in
His true love now?
OLIVIA
Now he is my husband!
JUDITH
Aye—and still of non-age.
The likeness of thy love lies now;
what will
Thy lord be like when he’s thy age,
mayhaps
That o’ thy dogg’d suitor?
64. 63
OLIVIA
[Motioning towards the other men]
Forsooth—thou speaketh true.
JUDITH
Is it a wonder
You found nay vessel fairly fine for your love
‘Til this fair youth did grace your door? In
choice
Of husband, finical you are not—
Were all young maids as wise as you,
We’d have less men as those we do.
[OLIVIA points at VIOLA, and speaks forcefully]
OLIVIA
But she is not a man!
[Pathetically] Alas the day!—I found my true
love in a com’ly maid!
JUDITH
Aye, you did. You pledg’d to her “by
the roses of the spring, maid-hood,
honor, truth, and everything” that
you love her so much that with not
“wit nor reason” can your “passion
hide.”
+ Flashback of scene with OLIVIA and VIOLA during JUDITH’s
quotation from Twelfth Night.
OLIVIA
(Mildly protesting) That was then—
JUDITH
(Fondly, yet officially) As you do
now—is that not a fact?
OLIVIA
(Weakly and helplessly) Yes.
JUDITH walks towards VIOLA, and in turn touches each body part
as she mentions it. VIOLA remains silent, but is clearly choked
with emotion.
JUDITH
These well-turn’d arms; these supple
hands, these firm thighs;
This courtier’s voice; this poet’s
song-fill’d heart;
This rosy cheek; these true-noble
features,
65. 64
And dew-touch’d lips—
Lady Olivia—is this not your true
desire?
OLIVIA
(Passionately) Yes, yes—be it the
doom of my body and end of my
soul—yes!
(after a pause, desperately)
Mayhaps, for all my love to this maid,
she
Loves me as much as maid shows favor
to
Maiden friend—
(pleading) Viola, the Twelve Nights
are past—the masks and revels
dispell’d. As I love thee, do you love
me?
VIOLA
If I were a man—
JUDITH
(Sensing VIOLA’s evasion)
Viola—sister—
VIOLA
And I could not love my lord, but must
wive a woman—
OLIVIA
(Expectantly) Yes?
VIOLA
I should be glad—for the love of thee.
OLIVIA
(Exultant) Yes!
With as much excitement as when she met SEBASTIAN in Act IV,
OLIVIA grabs VIOLA and kisses her. VIOLA is startled, then
embraces OLIVIA passionately. Then realizing what she has
done—separates from OLIVIA. Flushed with excitement, they stare
at each other in amazement. Then OLIVIA reaches out for VIOLA’s
hand and VIOLA crosses JUDITH and joins OLIVIA.
OLIVIA
Fair, sage judge, a magician, art
you, as well?
Prithee, your worship, right this
tragic wreck,
And let us pass into our major years
66. 65
As true lovers of which save only
poets
Do dream.
JUDITH
No two more deserv’d such full-weight
joy. Pray you,
A moment’s recess to recommence anon.
MARIA
A magician? Ha! This is no Star
Chamber and thou art no magistrate!
MARIA strides haughtily toward OLIVIA, pushing VIOLA back.
JUDITH
[Angrily, to MARIA] I know what thou
are—perchance what am I?
MARIA
Doth thou not know, by troth? Thou’rt
an invention—
A mechanism fashion’d by a maker
Of little skill, inferior stuff—to
make
A toy of our master’s entertainment.
JUDITH
If an invention am I, by this shrew
thou claim, thou art as much an
invention—and of her!
MARIA
The bother with invention!—
OLIVIA
Nay—thy peace, Maria.
MARIA
Your pardon, my lady.
I spoke but to notice thee that be she magician,
witch, or device—
She cannot change the course of your life.
She cannot undo what is done, nor do what would
not be done.
Her court is not o’ appeal and errors—were there
errors—I’ll warrant it.
JUDITH
I confess, by my troth—I do not know
the metes and bound of my domain.
67. 66
JUDITH points to the exit.
Still, I know that I can walk off that
way and leave all of you, if I choose.
MARIA
Marry—I predict thou soon shall! Am
I a prophet?
JUDITH
[Ignoring Maria’s jibe, JUDITH
speaks to VIOLA and OLIVIA] As I
can walk where I choose and say what
I will, ergo, my will I have—as
perchance, hath you. Hath you?
JUDITH looks at VIOLA and OLIVIA, challenging them to act. MARIA
stands with arms akimbo; sure this moment will prove her right.
OLIVIA crosses to VIOLA and holds her hand. MARIA is just
slightly less sure of herself. Then OLIVIA takes VIOLA’s other
hand, and they gaze at each other with fondness. OLIVIA and VIOLA
then embrace passionately; JUDITH looks almost smugly at MARIA.
Suddenly, VIOLA releases OLIVIA, and OLIVA returns to the
opposite side of the spotlighted circle, walking backwards
while staring at VIOLA. MARIA looks satisfied, but VIOLA turns
and soliloquies before MARIA can say a word.
MONTAGE
+ BURNING AT THE STAKE. NIGHT
+ OLIVIA LOOKING ON FROM HER WINDOW. NIGHT
DURING THIS,
VIOLA
[To camera] Is it the age? Was love
more true and pure?
Doth axe and stake hold ’part our
hands and lips?
Devour’ng flame, this body wilt not
sate,
Appetent blade, this blood shalt not
long slake,
Majestic friends, pass by this abject
Christian,
Forbear in hosp’al grace and gracious
gen’rous mercy,.
O noble sun, how oft shalt thou walk
‘crost
This globe, ’ere maiden love may walk
68. 67
un-drap’d?
O solemn moon, dim out thy light and
turn
Thy face from this right maid
en-wept’d.
MONTAGE ENDS
OLIVIA
[To VIOLA] Viola, my truest sister.
When come I in
The compass of thy eyes, avert them
not,
But gaze with fond remembrance of
these brief days.
Live virtuously, guard thy soul, as
will I.
When thou sit in the church with thy
high lord,
And I with mine, O pray with me that
when breath
Escapes us and we fear our deaths no
more,
That we will walk together in those
sunlit
Elysian fields where true love flows
as endless
As the rivers to the sea.
JUDITH
Is this what you will?
VIOLA
[To JUDITH] It is what we are—it’s
what we must be.
Yet mortal as I feel, I think Maria
Is right—that we are but poor
players—nay,
The stuff that players play. Our
lines are writ,
Our stages set; we come as bidden; act
as
Requir’d; leave when call’d. We live
when books are
Open’d, and dispel when books are
clos’d. We
Never die—yet the same,
For all the players give,
We never do truly live.
JUDITH
Art thou sure?
69. 68
VIOLA
[Pausing dramatically] Thou art
mortal—thou hast died, and thou wiltl
die again.
Yet while thou art given breath, thy
lines are not writ, thou
May enter unbidden, leave as thou
will, act as thou desire.
The same goes for all today who see
what here transpires.
JUDITH
If this is what indeed must be,
Then stay my hand from destiny.
Be fear or fate apart set ye,
One reasons good as any be.
[TO VIOLA] This is what you will,
Viola. In a trice, thy husband will
demand thee in skirts, you’ll be
forever in his home, and never again
freely walk the town.
VIOLA
This, I know. God preserve thee.
JUDITH
As he has. Fare-well.
JUDITH exits, as VIOLA and OLIVIA and MARIA watch. MARIA reads
from an old hard-bound book in the posh, English, voice of
Virginia Woolf.
MARIA
I told you that Shakespeare had a
sister; she died young—she never
wrote a word. Now my belief is that
this poet who never wrote a word still
lives. She lives in you and in me, and
in many other women who are not
here—But she lives; great poets do
not die.
My belief is, if we have the habit of
freedom and the courage to write
exactly what we think, if our
relation is to the world of reality
and not only to the world of men and
women, then the dead poet who was
Shakespeare’s sister will put on the
body which she has so often laid down,
70. 69
to live and write her poetry. I
maintain that she would come if we
worked for her, and that so to work,
even in poverty and obscurity, is
worthwhile. Virginia Woolf, 1929.
MARIA closes her book. The camera pans to no longer reveal
anachronisms. The actors all rise from their seats, resetting
the folds of their clothes, other business. SIR ANDREW and
SEBASTIAN return some of the furniture off camera, and then
re-enter. ORSINO approaches VIOLA and they resume their prior
positions.
ORSINO
Give me thy hand; Let me see thee in
thy woman's weeds.
JUDITH
From off-camera) I told thee he would
say that!
MARIA
[MARIA shouts at JUDITH in a modern
working-class British accent.] Oi!
Shut it!
VIOLA
I'll bring you to a captain in this
town,
Where lie my maiden weeds; by whose
gentle help
I was preserv'd to serve thee.
OLIVIA
[Slyly glancing at VIOLA before she
speaks to ORSINO].
My lord, so please you, these things further
thought on,
To think me as well a sister as a wife.
ORSINO
Madam, I embrace your offer.
When all is ready, and golden time
convents,
A solemn combination shall be made
Of our dear souls. Meantime, sweet
sister,
We will not part from hence. Cesario,
come;
For so you shall be, while you are a
man;
But, when in other habits you are
71. 70
seen,
Orsino's mistress and his fancy's
queen.
Music: “Mistress Mine” using original music, adapted lyrics
from Twelfth Night, played and sung by FESTE, accompanied by
JUDITH
Exit all but FESTE and MARIA
FESTE
Mistress mine, where are you roaming?
Don’t you know your true love's
coming,
That can sing both high and low.
(FESTE and JUDITH singing)
That can sing both high and low
That can sing both high and low
Mistress mine, your true love’s
coming
That can sing both high and low
+ FADE TO BLACK
TITLES: Initial final credits: Producer, Director, Cast
FESTE
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man's son doth know.
FESTE and JUDITH singing
Every wise man’s son doth know
Every wise man’s son doth know
Journey end in lovers meeting
Every wise man’s son doth know
+ FADE IN to wedding dancing with OLIVIA, MARIA, VIOLA,
ORSINO, SEBASTIAN, FESTE, JUDITH, ANTONIO, CURIO,
OFFICER, OTHERS.
+ CUT TO OLIVIA AND ORSINO
OLIVIA
My Lord Orsino, a moment by your leave?
72. 71
ORSINO
Sister Olivia, what, under moon and
sun shouldst vex thee?
OLIVIA
It alone concerns you. My matter hath
no voice, sir, but to your own most
vouchsafed ear.
ORSINO
Give us this place alone; we’ll hear
this divinity.
[Laughter from guests. Exit all but OLIVIA and ORSINO. ORSINO
and OLIVIA start to walk from the camera]
Now lady, what is your text?
+ FADE TO BLACK
FESTE
(Singing) In delay there lies no
plenty,
JUDITH
(Sings) Then come and kiss me, sweet
and twenty,
Youth's a stuff that will not endure.
FESTE & JUDITH
(Singing) Youth’s a stuff that will
not endure
Youth’s a stuff that will not endure
In delay there lies no plenty
Youth’s a stuff that will not endure.
+ CUT TO VIOLA IN BED, NAKED, AS THOUGH ON HER WEDDING NIGHT.
OLIVIA APPROACHES FROM OFF-SCREEN AND RESTS UPON VIOLA. THEY
KISS.
+ CUT TO ORSINO, SPEAKING TO CAMERA, WITH MARIA AND ONE OF
OLIVIA’S MAIDS HALF-UNDRESSED, FONDLING HIS BODY. SEBASTIAN,
FESTE, JUDITH ARE PARTLY NAKED IN THE BACKGROUND
ORSINO
As a married man, I believe that
traditional marriage, in our
contemporary society, is an
important and vital institution.
74. 73
fine for my grandmother.
SEBASTIAN
But I don’t want to marry your
grandmother!
SIR TOBY
Neither would I, lad!
[MORE SCENES FROM THE PARTY]
FESTE
Dids’t I say this tale couldst not end
in felicitations?
JUDITH
Good ‘i faith, sir. Upon what I
knoweth of my times, and that done by
my betters… By my troth, made we our
seasons merry.
FESTE
Speaketh thou true! For as the blind
hermit of Prague, who never saw pen
and ink, wrote to the niece of
Gorbuduc…
JUDITH
Peace, sot! Let’s have a catch.
FESTE
What is love? Tis not hereafter;
Present mirth hath present laughter;
What's to come is still unsure.
FESTE & JUDITH
What’s to come is still unsure
What’s to come is still unsure
Present mirth hath present laughter;
What’s to come is still unsure.
TITLE: “Any similarity between any character in this film, and
any person, living or dead, is ridiculous.”
TITLE: “The makers of this film contain nuts.”
TITLE: “To write to William Shakespeare (1564-1616), send a
self-addressed, stamped envelope to Holy Trinity Church,
Stratford-upon-Avon CV37 6BG, England. Please allow 3 to 5 weeks
for processing.”
75. 74
TITLE: “In the alternative, contact William Shakespeare over
the Internet via Twitter: @Shakespeare.”
TITLE: “Also like the Facebook page of William Shakespeare at:
https://www.facebook.com/WilliamShakespeareAuthor/”
TITLE: “Thank You for Watching this film. Please drive home as
fast as you can.”
(ENDS)
