# Romeo And Juliet Script - Screenplay

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                        WILLIAM SHAKESPEARE'S

                        ROMEO & JULIET SCRIPT

       ADAPTED FOR THE SCREEN BY CRAIG PEARCE AND BAZ LUHRMANN

                                           FINAL SHOOTING SCRIPT

                                                 October 6, 1995

    EXT.  HIGHWAY.  AFTERNOON.

    A ribbon of freeway stretching into a blue and pink late
    afternoon sky. A huge dark sedan, windows tinted gold,
    headlights blazing, powers directly for us.

    CUT TO: A heavy, low-slung, pickup truck traveling toward
    the sedan.

    WIDE SHOT: Sky, freeway, the cars closing.

    TIGHT ON: The sedan.

    TIGHT ON: The pickup.

    Like thunderous, jousting opponents, the cars pass in a
    deafening cacophony of noise.

    INT.  TRUCK.  AFTERNOON.

    TIGHT ON: The fat face of GREGORY, yelling at the
    disappearing sedan.

                             GREGORY
                A dog of the house of Capulet moves
                me!

    He and the pimply-faced front-seat passenger, SAMPSON,
    explode with laughter.

    The red-haired driver BENVOLIO, keeps his eyes on the road.

    EXT.  EXIT RAMP.  AFTERNOON.

    The truck spirals down an exit ramp and screeches into busy
    driveway of a large gas station.

    EXT.  GAS STATION.  AFTERNOON.

    Attendants immediately run to the truck.  Two clean
    windshields and duco, the third fills the gas tank.

    INT.  TRUCK.  AFTERNOON.

    Gregory in the back seat is boasting outrageously.

                             GREGORY
                A dog of that house shall move me
                to stand.  I will take the wall of
                any man or maid of Capulets.

    Sampson, sarcastically.

                             SAMPSON
                That shows thee a weak slave.  For
                the weakest goes to the wall.

                             GREGORY
                'Tis true; and therefore women,
                being the weaker vessels, are ever
                thrust to the wall.  Therefore, I
                will push Capulet's men from the
                wall, and thrust his maids to the
                wall.

    Benvolio, disgusted, gets out of the car.

                             BENVOLIO
                The quarrel is between our masters...

                             GREGORY
                       (yelling after him)
                ...and us their men.

    EXT.  GAS STATION.  AFTERNOON.

    FOLLOW: Benvolio as he heads for the bathroom.

    PICK UP: A mother wrangling three little boys out of a
    station wagon - the smallest kid carries a toy pistol.

    SUPER FAST SCAN TRACK: Past the mother to - the huge black
    sedan pulling up outside the gas station mini-mart.

    The front door of the sedan opens.  Shiny black boots -
    decorated with tiny, silver, cat-shaped spurs - plant
    themselves on the ground.  The boots are joined by two other
    pairs of well-shod feet.

    HOLD: The spurred boots move out of frame.

    CRANE UP: The other feet belong to a tough-looking Latin
    youth ABRA - and his goateed side-kick PETRUCHIO.

    Abra and Petruchio enter the mini-mart, as four white-clad
    girls exit.

    FOLLOW: The girls as they head for their car.

    SUPER FAST SCAN TRACK: Past the girls to:

    INT.  TRUCK.  AFTERNOON.

    Sampson is trying to out boast Gregory.

                             SAMPSON
                I will show myself a tyrant.  When
                I have fought with the men I will
                be civil with the maids, I will cut
                off their heads.

    Gregory; mock outrage.

                             GREGORY
                The heads of the maids?

    Sampson leers lecherously at the girls.

                             SAMPSON
                Ay, the heads of the maids, or
                their maiden heads, take it in what
                sense thou wilt.

                             GREGORY
                They must take it in sense that
                feel it.

    Gregory and Sampson pump up the song on the sound system and
    sing out at the girls.

                             GREGORY/SAMPSON
                       (singing)
                I am a pretty piece of flesh!
                I am a pretty piece of flesh!
                Me, they shall feel while I am able
                to stand;
                I am a pretty piece of flesh!

    The girls, pretending not to notice, get into the car.

    EXT.  GAS STATION - MINIMART.  AFTERNOON.

    GREGORY'S P.O.V.: The car pulls away revealing... Abra and
    Petruchio exiting the mini-mart.

    INT.  TRUCK.  AFTERNOON.

    CLOSE ON: Gregory.

    CLOSE ON: Sampson - Their singing abruptly halts.

                             SAMPSON
                Here comes of the House of Capulet.

    EXT.  GAS STATION.  AFTERNOON.

    Abra and Petruchio stare coldly toward the boys.

    INT.  TRUCK.  AFTERNOON.

    CLOSE ON: Sampson swallowing hard.

    CLOSE ON: Gregory; eyes locked to the Capulets. With fake
    bravado he nudges Sampson.

                             GREGORY
                Quarrel I will back thee.

    CLOSE ON: Sampson trying to quell his rising panic.

                             SAMPSON
                Let us take the law of our sides.
                Let them begin.

    SUDDENLY: BANG! Gregory and Sampson jump.

    WHIP PAN: It was the garage attendant slamming the hood.

    Gregory and Sampson are mortally embarrassed.

    EXT.  MINI-MART.  AFTERNOON.

    Abra and Petruchio laugh contemptuously and move to their
    car:

    FOLLOW: The mother and kids exiting the mini-mart.

    SUPER FAST SCAN TRACK: To...

    INT.  TRUCK.  AFTERNOON.

    Sampson furiously tries to save face.

                             SAMPSON
                I will bite my thumb at them; which
                is a disgrace to them if they bear
                it.

    Sampson quickly bites his thumb toward Abra's back as he
    gets into the sedan.

    INT.  SEDAN.  AFTERNOON.

    Abra's eyes flick to the rear view mirror.

    E.C.U.: The rear view mirror; Sampson biting his thumb.

    EXT.  GAS STATION.  AFTERNOON.

    Suddenly, a blood curdling screech of tires - the sedan,
    rubber burning, reverses full speed toward Sampson and
    Gregory.

    The mother in the station wagon brakes to avoid collision -
    a sports car shunts into her vehicle.  Mother and children
    scream.

    Attendants scatter.

    The Capulet car shudders to a halt inches from the truck,
    blocking its path.

    INT.  BLACK SEDAN.  AFTERNOON.

    CLOSE ON: A scurry of limbs scrabbling across seats and
    reaching for door handles;

    EXT.  GAS STATION.  AFTERNOON.

    Abra hauls Sampson from the truck. Gregory leaps out,
    Petruchio covers him. Abra slams Sampson against the side of
    the vehicle - then, goading him to go for his gun, screams:

                             ABRA
                Do you bite your thumb at us, sir?

    Sampson's shaking hand hovers - ready to draw.

                             SAMPSON
                I do bite my thumb, sir.

    INT.  STATION WAGON.  AFTERNOON.

    CUT TO: The panicked mother in the station wagon.  She
    motions her children to the floor.

    EXT.  GAS STATION.  AFTERNOON.

    Customers run for cover.

    CLOSE ON: Abra: An hysterical rage; he shrieks:

                             ABRA
                Do you bite you thumb at us, sir?

                             SAMPSON
                       (sweating, murmurs to Gregory)
                Is the law on our side if I say "Ay"?

                             GREGORY
                No.

    INT.  BATHROOM.  AFTERNOON.

    CLOSE ON: The black cowboy boots, trousers down around them.
    The sound of a toilet flushing.

    PAN TO: The next cubicle, the door opens revealing Benvolio.

    EXT.  GAS STATION.  AFTERNOON.

    CLOSE ON: Sampson, still sweating.

                             SAMPSON
                No, sir, I do not bite my thumb at
                you, sir - but I do bite my thumb,
                sir!

    CUT TO: Gregory; a ridiculous inquiry.

                             GREGORY
                Do you quarrel, sir?

    CUT TO: Abra; a dangerous smile.

                             ABRA
                Quarrel sir, no sir.

    CLOSE ON: Sampson; unconvincing bravado...

                             SAMPSON
                But if you do, sir, I am for you. I
                serve as good a man as you.

    CLOSE ON: Abra; a lethal question.

                             ABRA
                No better?

    CLOSE ON: Sampson, trapped.

                             SAMPSON
                Well sir...

    INT.  STATION WAGON.  AFTERNOON.

    CUT TO: Inside the station wagon.  The mother does not
    notice her five year old aiming a toy gun toward the boys.

    EXT.  GAS STATION.  AFTERNOON.

    CUT TO: Gregory's P.O.V.: Benvolio emerging from the
    bathroom - he whispers maniacally.

                             GREGORY
                Here comes our kinsman. Say better!

    EXTREME CLOSE UP: Sampson; he screams:

                             SAMPSON
                YES SIR, BETTER!

    EXTREME CLOSE UP: Abra demonically roars:

                             ABRA
                THOU LIEST!

    CUT TO: Benvolio. Terror stricken, he sees the boys.

    DISTORTED OUT OF CONTROL CLOSE UP: Abra shrieks:

                             ABRA
                DRAW IF YOU BE MEN!

    LIGHTNING CUT: Four hands reaching for guns.

    SLAM ZOOM: To Benvolio - weapon outstretched he screams:

                             BENVOLIO
                Part, fools! You know not what you
                do!

    MUSIC STING; A SUPER MARCO SLAM ZOOM along the barrel of
    Benvolio's gun; the engraved gun type reads:

    'Sword 9mm series S'

    CUT TO: Benvolio. He screams in desperation:

                             BENVOLIO
                Put up your swords!

    Gregory, Sampson, Abra, and Petruchio freeze.  A moment -
    then from behind, the unmistakable sound of a gun being
    cocked.

    EXTREME CLOSE UP: The black cowboy boots.

    CRANE UP: To find the dark cold eyes and feline smile, of
    the wearer of the boots. His name is TYBALT; a cigarette is
    clenched between his teeth and his gun is aimed at Benvolio's
    head.

                             TYBALT
                What, art thou drawn amoung these
                heartless hinds?
                Turn thee Benvolio.

    Benvolio, a choked explanation:

                             BENVOLIO
                I do but keep the peace.

    A mocking smile.

                             TYBALT
                Peace? I hate the word
                As I hate hell, all Montagues, and...

    EXTREME CLOSE UP: Tybalt's finger squeezing the trigger...

    Suddenly we hear firing from Tybalt's blind side.

    Tybalt redirects his weapon, cracking off a single shot at
    the surprise attacker.

    EXT./INT.  MINIMART.  AFTERNOON.

    It is the five year old from the station wagon. The bullet
    smacks the toy gun from the child's hand, shattering the
    wagon's window.

    Mother and children scream.

    EXT.  GAS STATION.  AFTERNOON.

    A panicked Benvolio falls back, accidentally his gun fires -
    the bullet whistles past Tybalt's head.

    Tybalt combat rolls, and using a screaming car load of girls
    as cover, returns two quick shots, narrowly missing Benvolio.

    EXT.  GAS STATION.  AFTERNOON.

    The gas station attendant hits a button and heavy metal
    screens slam down.

    EXT.  GAS STATION.  AFTERNOON.

    CUT TO: Gregory firing - a bullet rips through Abra's arm.

    Petruchio dives for cover; Gregory and Sampson leap into
    Benvolio's truck.  Rubber burns as they smash past the
    Capulet vehicle.

    CLOSE ON: Tybalt taking aim.

    EXT.  HIGHWAY - SUPERMARKET.  AFTERNOON.

    His first shot plugs the fuel tank, the second a tire.  Out
    of control and spewing gasoline the Montague truck careens
    across the highway and through the glass front of a
    supermarket.

    Gregory and Sampson throw themselves from the truck moments
    before...

    EXT.  SUPERMARKET.  AFTERNOON.

    CLOSE ON: The gas tank erupts into an almighty fireball.

    The screen fills with flame: the following images combust in
    front of us:

    EXT.  HIGHWAY - SUPERMARKET - FROM AIR.  AFTERNOON.

    NEWS CHOPPER P.O.V.: Citizens run in the streets.

    Looters raid shops near the supermarket - security guards
    return fire.

    INT.  RESTAURANT.  NIGHT.

    A table of dark suited men and their wives.

    CLOSE ON: The powerful 60 year old face of FULGENCIO CAPULET.
    Seated next to him is his much younger wife GLORIA.

    SUDDENLY: Windows explode in a tidal wave of glass.  Diners
    take cover.

    Capulet moves fearlessly toward the window.

                             CAPULET
                       (to a waiter)
                Give me my long sword!

    EXT.  STREET.  NIGHT.

    CLOSE ON: The word MONTAGUE fills the screen.

    PULL BACK: We see the word is the number plate of a large
    black limousine.

    The limousine is stuck in the traffic snarl - bullets bounce
    off its bullet proof windshield.

    INT.  MONTAGUE'S LIMOUSINE.  NIGHT.

    TED MONTAGUE, a 60 year old red-faced bulldog of a man,
    bursts from the back of the limousine.

                             MONTAGUE
                What noise is this!

    As Ted draws an enormous pearl handed revolver, CAROLINE,
    his conservatively dressed wife, tries to restrain him.

                             CAROLINE
                Thou shalt not stir one foot to
                seek a foe!

                             MONTAGUE
                       (shrugging her off)
                Hold me not, let me go!

    EXT.  STREET.  NIGHT.

    Crouched behind a truck, Benvolio shakily tries to re-load.

    CLOSE ON: The barrel of Tybalt's gun enters frame and
    presses into Benvolio's forehead.  Tybalt whispers sweetly.

                             TYBALT
                Look upon thy death, Benvolio.

    CLOSE ON: Tybalt's finger on the trigger.  Benvolio screams
    a scream of mortal horror.

    SUDDENLY Tybalt is blinded by a burning shaft of light.  A
    magnificently powerful helicopter gunship hovers above him.
    A command booms from the chopper's public address system.

                             CAPTAIN PRINCE
                       (over PA)
                Rebellious subjects, enemies to
                peace,
                Throw your mistempered weapons to
                the ground.

    INT.  CHOPPER.  NIGHT.

    CLOSE ON: The steely gray eyes of CAPTAIN PRINCE, chief of
    the Verona Beach Police Department. He lifts the microphone
    and repeats the command.

                             CAPTAIN PRINCE
                Throw your mistempered weapons to
                the ground!

    EXT.  VERONA BEACH.  NIGHT.

    Tybalt looks up to the chopper.  Patrol cars screech to a
    halt.

    An almighty orchestral chord.

    EXT.  VERONA BEACH - MATTE SHOT.  NIGHT.

    SUPER WIDE SHOT: A trail of devastation winds up through
    grid-locked traffic to the burning supermarket.

    In the distance looms an enormous statue of Christ flanked
    by two glass towers.  We push toward the towers.  One is
    neon-crowned MONTAGUE, the other, CAPULET.

    We hear:

                             VOICE OVER
                Two households, both alike in
                dignity.
                In fair Verona, where we lay our
                scene
                From ancient grudge break to new
                mutiny,
                Where civil blood makes civil hands
                unclean.
                From forth the fatal loins of these
                two foes
                A pair of star crossed lovers take
                their life.
                Whose misadventured piteous
                overthrows
                Doth with their death bury their
                parents strife.

    A dark chord.

    EXT.  VERONA BEACH SKYLINE.  NIGHT.

    A swarm of helicopters thunder into frame.  We see
    compressed, time-lapsed, images of their journey.

    SLAM INTO: A coat of arms that labels a large tower - the
    emblem reads; "Verona Beach Police Department: In God We
    Trust".

    HOLD:

    INT.  CAPTAIN PRINCE'S PRECINCT OFFICE.  NIGHT.

    CLOSE ON: Captain Prince's grim features.  He eyes Capulet
    and Montague.

                             CAPTAIN PRINCE
                Three civil brawls, bred of an airy
                word
                By thee, old Capulet, and Montague,
                Have thrice disturbed the quiet of
                our streets.

    Capulet's lawyer tries to intervene.

                             LAWYER
                My noble Prince I can...

    Captain Prince overriding, slams the desk.

                             CAPTAIN PRINCE
                If ever you disturb our streets
                again,
                Your lives shall pay the forfeit of
                the peace.

    Hold on Captain Prince's determined gaze.

    EXT.  VERONA STREET.  DAWN.

    A majestic sunrise; Ted Montague's limousine sulks through
    deserted streets.  In the distance, Jesus looks out over the
    now peaceful city.

    INT.  MONTAGUE'S LIMOUSINE.  DAWN.

    Ted Montague, his wife Caroline, and nephew Benvolio ride in
    uncomfortable silence.

    Caroline finally speaks her anger.

                             CAROLINE
                O where is Romeo?  Saw you him
                today?
                       (pointedly to Montague)
                Right glad I am he was not at this
                fray.

    Montague snorts derisively and stares out the window.
    Embarrassed, Benvolio tries to be of assistance.

                             BENVOLIO
                Madam, underneath The Grove of
                Sycamore
                So early walking did I see your son.

    Ted Montague speaks with contempt.

                             MONTAGUE
                Many a morning hath he there been
                seen
                With tears augmenting the fresh
                morning's dew.

    Caroline struggles to contain her emotion.

                             CAROLINE
                Away from light steals home my
                heavy son
                And private in his chamber pens
                himself,
                Shuts up his windows, locks fair
                daylight out
                And makes himself an artificial
                night.

    Montague barks into the car intercom.

                             MONTAGUE
                Westward from this city side.

    EXT.  STREET.  DAWN.

    The limousine U-turns heading west.

    EXT.  BEACH.  DAWN.

    To the melancholic strains of Mozart's "Serenade for Winds",
    we see a blond nineteen year old boy sitting alone on an
    empty beach.

    CLOSE ON: The boy, ROMEO.  Looking out over the ocean he
    sucks on the last of a cigarette and then writes intensely
    in a small worn note book.

    We hear his voice over.

                             ROMEO (V/O)
                Love is a smoke made with the fume
                of sighs;
                Being purged, a fire sparkling in
                lovers' eyes;
                Being vexed, a sea nourished with
                lovers' tears.
                What is it else?  A madness most
                discreet,
                A choking gall and a preserving
                sweet.

    INT.  MONTAGUE'S LIMOUSINE.  DAWN.

    The limo is parked in a cross street that runs down to the
    beach.

    Opposite the limo, young diehard clubbers, faded drag queens
    and street people, hang outside a dilapidated nightclub.  A
    broken neon sign reads: "The Grove of Sick Amore."

    Ted, Caroline and Benvolio sit watching the silhouette of
    Romeo on the beach.

                             MONTAGUE
                Black and portentous must this
                humour prove
                Unless good counsel may the cause
                remove.

    EXT.  BEACH.  DAWN.

    P.O.V.: From the limousine.  Romeo rises and listlessly
    makes his way up the beach - seeing his father's car he
    turns and heads for the path that hugs the beach front.

    INT.  MONTAGUE'S LIMOUSINE.  DAWN.

                             BENVOLIO
                So please you step aside.
                I'll know his grievance or be much
                denied.

    Benvolio clambers out of the limo.

    CLOSE ON: Montague, an encouraging smile.

                             MONTAGUE
                Come Madam.  Let's away.

    EXT.  STREET.  DAWN.

    The limousine pulls away and Benvolio heads after Romeo.  He
    pauses.  A deck at the rear of "Sick Amore" sprawls onto the
    beach.  At the base of the deck, Benvolio can see Romeo
    squatting in discussion with an old drunk.  Benvolio
    approaches with a not very convincing casualness.

                             BENVOLIO
                Good morrow, cousin.

    Romeo turns.  Sore, red, unfriendly eyes squint back at
    Benvolio.

                             ROMEO
                Is the day so young?

                             BENVOLIO
                But new struck, Coz.

    Romeo rises, Benvolio follows.

                             ROMEO
                Ay me!  Sad hours seem long.

    Romeo stops as if taking in Benvolio for the first time.

                             ROMEO (CONT.)
                Was that my father that went hence
                so fast?

                             BENVOLIO
                       (guilty)
                It was.

    Benvolio chases Romeo down the path which divides the beach
    from a string of cheap souvenir shops and sleazy bars.

                             BENVOLIO
                What sadness lengthens Romeo's hours?

                             ROMEO
                Not having that which having makes
                them short.

                             BENVOLIO
                In love?

                             ROMEO
                Out.

                             BENVOLIO
                Of love?

                             ROMEO
                Out of her favor where I am in love.

                             BENVOLIO
                Alas that love, so gentle in his
                view,
                Should be so tyrannical and rough
                in proof!

                             ROMEO
                Alas that love, whose view...

    Romeo is halted by the sight of last night's disturbance
    displayed on a small TV screen in an outdoor bar.

                             ROMEO (CONT.)
                What fray was here?

    Benvolio starts to reply.

                             ROMEO (CONT.)
                       (angrily)
                Yet tell me not, for I have heard
                it all.
                Here's much to do with hate, but
                more with love.

    Romeo turns the corner away from the beach.  He strides
    along the sidewalk raging.

                             ROMEO (CONT.)
                Why then, O brawling love, O loving
                hate,
                O anything, of nothing first
                create!
                O heavy lightness, serious vanity,
                Misshapen chaos of well-seeming
                forms,
                Feather of lead, bright smoke, cold
                fire, sick health,
                Still-waking sleep, that is not
                what it is!

    Romeo screams at a huge bouncer who lounges in the doorway
    of a sex club.

                             ROMEO (CONT.)
                This love feel I, that feel no love
                in this!

    The bouncer's hand moves to his gun.  Romeo, ignoring him,
    turns on Benvolio.  A mocking laughter through tears:

                             ROMEO (CONT.)
                Dost thou not laugh?

    Benvolio, nervously eyeing the bouncer, shepherds Romeo out
    of danger.

                             BENVOLIO
                No, coz, I rather weep.

    Romeo smiles.

                             ROMEO
                Farewell, my coz.

    Romeo, breaking into a jog, leaves Benvolio behind.  Benvolio
    pursues him down the street.

    EXT.  ROMEO'S CAR.  DAY.

    CLOSE ON: The sleeping face of a fourteen year old boy -
    BALTHASAR.

    PULL BACK: Balthasar sleeps on the hood of a magnificent
    silver car.

    Three or four kids doze on the sidewalk.  As Romeo
    approaches, they jump up and begin vigorously polishing the
    already gleaming car.

    Balthasar wakes.  He springs off the hood, chases the kids
    away, then, producing a huge bunch of keys, opens the car
    door for Romeo.

    Benvolio intercepts Romeo at the car.

                             BENVOLIO
                Tell me in sadness, who is it that
                you love.

                             ROMEO
                In sadness, cousin, I do love...a
                woman.

                             BENVOLIO
                I aimed so near when I supposed you
                loved.

    Romeo leans against the car.

                             ROMEO
                A right good marksman; and she's
                fair I love.

    Romeo pulls his shirt down to reveal a small shoulder tattoo.

    CLOSE ON:  The tattooed word; ROSALINE.

                             BENVOLIO
                Rosaline!
                       (he is impressed)
                A right fair mark, fair coz, is
                soonest hit.

                             ROMEO
                She'll not be hit with Cupid's
                arrow.
                She hath Dian's wit,
                And in strong proof of chastity
                lives well armed.

    Benvolio can't believe it.

                             BENVOLIO
                Then she hath sworn that she will
                still live chaste?

                             ROMEO
                She hath; and in that sparing makes
                huge waste.

    Benvolio - a plan.
                             BENVOLIO
                Be ruled by me; forget to think of
                her.

                             ROMEO
                O, teach me how I should forget to
                think!

    Benvolio indicates one of the working girls already strutting
    the foot path.

                             BENVOLIO
                By giving liberty unto thine eyes.
                Examine other beauties.

    Romeo laughs dismissively.  He throws the kids a few coins
    and slides into the drivers seat.  Balthasar jumps in back.

                             ROMEO
                Farewell.  Thou canst not teach me
                to forget.

                             BENVOLIO
                I'll pay that doctrine, or else die
                in debt.

    Benvolio leaps into the passenger seat of the moving vehicle.

    INT.  CAPULET OFFICE.  DAY.

    An orchestral fanfare.  TRACK DOWN: Past monstrous letters
    that read CAPULET and in through a window to discover
    Fulgencio Capulet.  He stares out the window toward the
    other tallest building in Verona; the one crested with the
    word MONTAGUE.

                             CAPULET
                But Montague is bound as well as I,
                In penalty alike;

    Capulet turns: on the other side of his desk sits DAVID
    PARIS; a square-jawed young man in a red cashmere sweater.
    Tea has been served from an exquisite silver tea service.

                             CAPULET (CONT.)
                And 'tis not hard, I think, for me
                so old as we to keep the peace.

    Dave smiles obligingly.

                             DAVE
                Of honorable reckoning are you
                both,
                And pity 'tis you lived at odds so
                long.

    An awkward pause: Dave sips tea, then, with a deep breath...

                             DAVE (CONT.)
                But now, my lord, what say you to
                my suit?

    Capulet considers the framed photograph on his desk.

                             CAPULET
                But saying o'er what I have said
                before;
                My child is yet a stranger in the
                world;
                Let two more summers wither in
                their pride,
                Ere we may think her ripe to be a
                bride.

    Dave is politely insistent.

                             DAVE
                Younger than she are happy mothers
                made.

                             CAPULET
                       (checking him hard)
                And too soon marred are those so
                early made.
                Earth hath swallowed all my hopes
                but she;
                She is the hopeful lady of my earth.

    Capulet rounds the desk and places a fatherly hand on Dave's
    shoulder.

                             CAPULET (CONT.)
                But woo her, gentle Paris, get her
                heart.
                My will to her consent is but a
                part,
                And she agreed, within her scope of
                choice
                Lies my consent and fair according
                voice.
                This night I hold an old Accustomed
                feast.

    Capulet leans close.

                             CAPULET (CONT.)
                At my poor house, look to behold
                this night,
                Fresh female buds that make dark
                heaven light.
                Hear all; all see,
                And like her most whose merit most
                shall be.

    Capulet smiles knowingly.  Dave seems encouraged.

                             CAPULET (CONT.)
                       (a hearty slap)
                Come go with me!

    Capulet excitedly ushers Dave from the office.

    INT.  POOL HALL.  DAY.

    Dim, smoke filled.  Benvolio and Romeo play pool.

                             BENVOLIO
                       (chalking his cue)
                Take thou some new infection to thy
                eye.

    He lines up the six ball top pocket.

                             BENVOLIO (CONT.)
                And the rank poison of the old will
                die.

    A hopeless shot that slams the eight ball toward the side
    pocket.  Romeo stops it with his hand and hurls it against
    the other balls.

                             BENVOLIO
                Why, Romeo, art thou mad?

    Romeo sinks the other balls with his hands.

                             ROMEO
                Not mad, but bound more than a
                madman is;
                Shut up in prison, kept without my
                food,

    Romeo stalks away from the table.

                             ROMEO (CONT.)
                Whipped and tormented.

    He stops at the gun check, rummaging in his pocket.

                             ROMEO
                Good day, good fellow.

    A crusty old man looks up from the small television.  His
    entire face a tattooed shooting target, the bullseye between
    his eyes.

    The old man points to the sign that reads: "No ticket no
    gun."  Romeo finally produces a ticket.  Crusty the Target
    goes out back.  Romeo's attention is caught by the television.

    INT.  T.V.  STUDIO SET.  DAY

    CUT TO: TELEVISION.

    An ostentatious woman and her over groomed partner Rich,
    hosts what looks to be a kind of Entertainment Tonight show.
    The graphic behind them reads "Solemnity Nights" with Susan
    Santandiago and Rich Ranchidis.

    Susan speaks conspiratorially to camera.

                             SUSAN
                Now I'll tell you without asking.
                The great
                Rich Capulet, holds an old
                accustomed feast;

    Rich chimes in:

                             RICH
                A fair Assembly.

                             SUSAN
                I Pray you sir can you read?

    A list of names begins to scroll across the screen.  Rich
    reads them off.

                             RICH
                Signor Placentio and his wife and
                daughters,
                Signor Martino, the Lady Widow
                Of Utruvio and her lovely nieces,
                Rosaline and Livia...

    INT.  POOL HALL.  DAY.

    CUT TO: Benvolio, he leans into Romeo.

                             BENVOLIO
                At this same ancient feast of
                Capulet's
                Sups the fair Rosaline; whom thou
                so loves,
                With all the admired beauties of
                Verona.
                Go thither, and with unattained eye
                Compare her face with some that I
                shall show,
                And I will make thee think thy swan
                a crow.

                             ROMEO
                One fairer than my love?

    Crusty returns.  He hands the boys their guns.

                             ROMEO (CONT.)
                The all-seeing sun Ne'er saw her
                match since first the world begun.

    CUT TO: TELEVISION.

                             SUSAN
                If you be not of the house of
                Montagues,
                Come and crush a cup of wine!

                             RICH
                Rest you merry!

    CUT TO: Romeo, he considers.

                             ROMEO
                I'll go along, no such sight to be
                shown.
                But to rejoice in splendour of mine
                own.

    The boys move off.

    PUSH IN ON: THE TELEVISION.

    EXT.  CAPULET STATE.  DAY.

    An aerial shot of a magnificent island estate.  An Italianate
    wonder of Florentine architecture.  Armed guards patrol the
    grounds.  The telecaption reads "Capulet Mansion."

    The file tape loses its television quality.  We sweep down
    through manicured gardens, where workers prepare decorations
    for tonight's celebrations, and into the house.  The music
    darkens and we hear the desperate calling of a girl's name.

                             VOICE OVER
                J U L I E T !

    INT.  CAPULET MANSION - CORRIDOR.  DAY.

    CUT TO: A long deserted corridor.

                             VOICE OVER
                J U L I E T !

    INT.  CAPULET MANSION - DRAWING ROOM.  DAY.

    CUT TO: An echoey Chinoiserie style drawing room.

                             VOICE OVER
                J U L I E T !

    INT.  BATHROOM.  DAY.

    CLOSE ON: The still, serene, submerged features of a
    beautiful young girl.  Dark floating hair gently frames the
    face.  Heavy liquid eyes stare up through the water.

    We hear, though faintly, the calling:

                             VOICE OVER
                J U L I E T !

    With a rush JULIET surfaces.  As she gulps air, we realise
    that she is in fact, in a bath.

    We hear the calling loudly again.

                             VOICE OVER
                J U L I E T !

    Juliet listens.  For a moment she is very still, then she
    closes her eyes and slides back beneath the surface of the
    water.

    INT.  ENTRANCE HALL CAPULET MANSION.  DAY.

    A Gothic, unfriendly environment heavy with religious
    iconography.  The entrance hall is crowded with workers and
    servants preparing for tonight's party.

    Gloria Capulet fiddles with a short black wig in the hallway
    mirror.  She is attired in full Cleopatra costume.

    Dissatisfied with the wig, she rips it from her head and
    calls maniacally.

                             GLORIA
                J U L I E T !

    Gloria is met by the NURSE, a fat, grandmotherly Hispanic
    woman.

                             GLORIA (CONT.)
                Nurse, where's my daughter?  Call
                her forth to me.

                             NURSE
                I bade her come.  God forbid!
                Where's this girl?
                Juliet!

    CUT TO: The top of the stairs.  As if from nowhere, Juliet
    has appeared.  She wears a bathrobe and her hair is wet.

                             JULIET
                       (coolly)
                Madam, I am here.  What is you will.

    Gloria, startled, sweeps up the stairs and shuffles her
    daughter toward a doorway.

                             GLORIA
                Nurse, give leave awhile, we must
                talk in secret.

    INT.  GLORIA'S DRESSING ROOM.  DAY.

    Gloria shepherds Juliet into her opulent dressing room and
    closes the door.  She circles with nervous vexation searching
    for words, stops, then suddenly opens the door and yells out
    to the Nurse.

                             GLORIA (CONT.)
                Nurse, come back again.
                I have remembered me, thou's hear
                our counsel.

    The Nurse enters.  Gloria, still refusing eye contact,
    checks her appearance once more in the mirror.  She takes a
    hairbrush and, feigning pleasantness, intensely brushes her
    hair.

                             GLORIA (CONT.)
                Nurse, thou knowest my daughter's
                of a pretty age.

                             NURSE
                       (to Juliet)
                Thou wast the prettiest babe that
                e'er I nursed.

    The hair brush clatters onto the dresser.  A moment of tense
    silence.  Gloria grips herself and pours a sherry.

    Back still turned, she speaks to her daughter.

                             GLORIA
                By my count, I was your mother much
                upon these years
                That you are now a maid.

    A nembutal twists like a pin in the corner of Gloria's mouth.
    She slugs it down with the sherry and turns abruptly to face
    Juliet.

                             GLORIA (CONT.)
                Thus then in brief, the valiant
                Paris seeks you for his love.

    CUT TO: Juliet; an uncomprehending stare.

    The Nurse, caught off guard, tries to buoy the situation.

                             NURSE
                A man, young lady!  Lady, such a
                man
                As all the world - why, he's a man
                of wax.

    The medication takes immediate effect upon Gloria.  She
    joins Juliet on the couch and coos in Paris's favour.

                             GLORIA
                Verona's summer hath not such a
                flower.

                             NURSE
                Nay, he's a flower; in faith, a
                very flower.

                             GLORIA
                This night you shall behold him at
                our feast;
                Read o'er the volume of young
                Paris' face
                And find delight writ there with
                beauty's pen.
                This precious book of love, this
                unbound lover,
                To beautify him only lacks a cover.
                So shall you share all that he doth
                possess,
                By having him, making yourself no
                less.

    Gloria probes Juliet's thoughts.

                             GLORIA
                Can you like of Paris' love?

    Juliet, adept at negotiating her mother's strange moods,
    chooses her words precisely.

                             JULIET
                I'll look to like, if looking
                liking move,
                But no more deep will I endart mine
                eye,
                Than your consent gives strength to
                make it fly.

    PETER the chauffeur enters.

                             PETER
                Madam.  The guests are come.

                             GLORIA
                       (checks the mirror)
                We follow thee.

    She exits, Nurse in tow.

    CLOSE ON: Juliet stares out the windows and across the water.

    Suddenly the Nurse's face leers into shot.  She whispers
    enthusiastically into Juliet's ear.

                             NURSE
                Go girl, seek happy nights to happy
                days.

    CLOSE ON: Juliet's face.

    EXT.  CAPULET MANSION.  DAY/NIGHT.

    JUMP CUT: Aerial shot of Capulet Mansion.  We time lapse
    from late afternoon to night; fairy lights illuminate,
    guests appear, music swells, and a single incandescent
    flare, explodes pink against the inky sky.

    EXT.  BEACH.  NIGHT.

    CLOSE ON: Romeo: his face glows pink.  He is sitting on the
    grubby shoreline of Verona Bay dressed as a boy King Arthur,
    with fake chain mail and sword.

    Romeo watches the dying flare sink into the bay.  The sound
    of the party drifts across the water.  Balthasar, dressed as
    Frankenstein's monster, touches a lighter to a large bong
    and Romeo inhales smoke.

    Behind them, Benvolio, drunk and dressed as a pizza, is
    yelling at Gregory, who, dressed as a Viking, is trying to
    cut slices off his pizza costume.  Sampson, also dressed as
    a Viking, sits in the back of a car.  One arm is bandaged
    and he swigs from a bottle.

    Suddenly the darkness is slashed by headlights.  A reckless
    sports car speeds toward the boys.  Stereo screaming, the
    car skids to a halt.

    CLOSE ON: Music blares from the sound system.  A silver
    stilettoed foot emerges from the car and plants itself
    firmly in the dirt.

    CUT TO: The boys, eyes wide with amazement.

    CUT TO: Another stiletto follows the first.  Guitar groans.

    PAN: Slowly up a shapely pair of black stockinged legs, past
    a hint of garter belt to a black sequined mini-skirt and up
    over a muscular dark skinned stomach and tiny sequined bra
    top, to discover: the 21 year old male, African American
    face of MERCUTIO.

    CUT TO: The boys.  Recovering from the initial shock, they
    laugh and cat-call raucously.

    CUT TO: Mercutio.  He roughly jams a short black wig onto
    his head and yells above the music.

                             MERCUTIO
                Strike drum!

    Mercutio magically produces invitations from somewhere
    within his mini-skirt and dances down the beach to the boys.

    Aggressively bumping and grinding, Mercutio distributes the
    invitations.  Reaching Romeo, he declares:

                             MERCUTIO
                We'll on without apology.

    Romeo lets the invitation fall to the sand.

                             ROMEO
                I am not for this ambling.
                Being but heavy, I will bear the
                light.

    Romeo pulls on the bong once more.

    Suddenly, Mercutio is upon Romeo.  Hauling him to his feet,
    he waltzes him through the sand.

                             MERCUTIO
                Nay, gentle Romeo, we must have you
                dance.

    Romeo pushes Mercutio away.

                             ROMEO
                Not I, believe me.  You have
                dancing shoes
                With nimble soles.  I have a soul
                of lead.

    Mercutio in mock sympathy.

                             MERCUTIO
                Too great oppression for a tender
                thing.

                             ROMEO
                Is love a tender thing?  It is too
                rough, too rude, too boisterous,
                and it pricks like thorn.

    Romeo lies staring up at the stars.

                             MERCUTIO
                If love be rough with you, be rough
                with love.

    Mercutio jumps on Romeo.

                             MERCUTIO (CONT.)
                Prick love for pricking, and you
                beat love down.

    Romeo fights Mercutio off.

                             ROMEO
                Under love's heavy burden do I sink!

    CUT TO: Benvolio, impatiently honking the horn.

                             BENVOLIO
                Every man betake him to his legs!

    Mercutio heads Romeo toward the car.

                             MERCUTIO
                Come, we burn daylight, ho!

    Romeo pulls away.

                             ROMEO
                But 'tis no wit to go.

    Mercutio turns, exasperated.

                             MERCUTIO
                Why, may one ask?

                             ROMEO
                I dreamt a dream tonight.

                             MERCUTIO
                And so did I.

                             ROMEO
                Well, what was yours?

                             MERCUTIO
                That dreamers often lie.

                             ROMEO
                In bed asleep, while they do dream
                things true.

    Mercutio produces a tiny gold pill case.

                             MERCUTIO
                O, then I see Queen Mab hath been
                with you.
                She is the fairies' midwife, and
                she comes
                In shape no bigger than an agate
                stone
                On the forefinger of an alderman,
                Drawn with a team of little atomies
                Over men's noses as they lie asleep.

    Tantalisingly, he passes the case beneath Romeo's nose.

                             MERCUTIO (CONT.)
                Her chariot is an empty hazelnut,
                Her wagoner a small gray-coated gnat.

    With a conjurer's dexterity Mercutio extracts a small, gray
    pill.

                             MERCUTIO (CONT.)
                And in this state she gallops night
                by night
                Through lovers' brains, and then
                they dream of love;

    He palms the pills.  It reappears from behind Romeo's ear.

                             MERCUTIO (CONT.)
                O'er lawyers' fingers who straight
                dream on fees;
                O'er ladies' lips, who straight on
                kisses dream,
                Which oft the angry Mab with
                blisters plagues.
                Because their breaths with
                sweetmeats tainted are.

    The pill box glints in the moonlight.

                             MERCUTIO (CONT.)
                Sometime she driveth o'er a
                soldier's neck;
                And then dreams he of cutting
                foreign throats.
                And being thus frighted, swears a
                prayer or two
                And sleeps again.

    Mercutio now intensely angry:

                             MERCUTIO (CONT.)
                This is that very Mab
                That plaits the manes of horses in
                the night
                And bakes the elf-locks in foul
                sluttish hairs

    He screams into the night.

                             MERCUTIO (CONT.)
                This is the hag, when maids lie on
                their backs,
                That presses them and learns them
                first to bear,
                Making them women of good carriage.
                This is she, this is she...

    CLOSE ON: Mercutio.  He breaks off.  There is a strange
    stillness amongst the group.  Romeo goes to his friend.

                             ROMEO
                Peace, peace, Mercutio, peace.
                Thou talkest of nothing.

    Mercutio meets Romeo's gaze.

                             MERCUTIO
                True, I talk of dreams;
                Which are the children of an idle
                brain,
                Begot of nothing but vain fantasy.
                Which is as thin of substance as
                the air
                And more inconstant than the wind,
                who woos
                Even now the frozen bosom of the
                north
                And, being angered, puffs away from
                thence
                Turning his attention to the dew-
                dropping south.

    CUT TO: Benvolio in the car.  The alcohol has caught up with
    him and he looks a little queasy.

                             BENVOLIO
                This wind you talk of blows us from
                ourselves:
                Supper is done and we shall come
                too late.

    Romeo looks toward the distant city.

                             ROMEO
                I fear, too early, for my mind
                misgives
                Some consequence yet hanging in the
                stars
                Shall bitterly begin his fearful
                date
                With this night's revels, and
                expire the term
                Of a despised life closed in my
                breast,
                By some vile forfeit of untimely
                death.

    PAUSE: The water turns golden as fireworks explode across
    the bay.  Romeo smiles.

                             ROMEO (CONT.)
                But he that hath the steerage of my
                course
                Direct my sail!

    He takes the pill and drops it into his mouth.

                             ROMEO (CONT.)
                On, lusty gentlemen!

    With the rush of a mind altering cocktail, we ZOOM IN on
    Romeo's eyes; they shimmer with the shooting star reflection
    of exploding fireworks - a bending Eastern chord, we launch
    into Donna Summer's 'I Feel Love', sung by the vocalist from
    Soundgarden with orchestration by 'Deconstruction' and sitar
    by Ravi Shankar.

    EXT.  MERCUTIO'S CAR - ON FREEWAY.  NIGHT.

    PULL OUT: From Romeo's eyes.  He is lying in the passenger
    seat of Mercutio's convertible as it rockets along the
    freeway.  The camera is directly above Romeo.  He stares up
    at the fireworks that reflect in the windshield.  The car
    and freeway begin to rotate and the camera follows.  We feel
    that the car is now travelling upside-down.  The camera
    sways through a brilliant explosion of fireworks that fill
    the screen with a zillion pixilating, colored dots of fire.

    INT.  CAPULET'S MANSION - BALLROOM.  NIGHT.

    PULL OUT: To discover the glittering dots of fire refracting
    from the sparkling domed roof of the magnificently ornate
    Capulet Ballroom.  The camera swoops down over bizarrely
    costumed revellers cavorting to a driving Latin big band.
    The camera partners with a drugged Mercutio and Benvolio who
    shamelessly caper with each other in a mock antic adagio.

    CUT TO: Romeo gazing blankly at the dance floor.

    CUT TO: Mercutio.  He sweeps up a thirty-something
    sophisticate and twirls her in Romeo's direction.

                             MERCUTIO
                Everyman betake him to his legs!

    Romeo moves off through the crowd.

    CUT TO: ROMEO'S P.O.V.: Contorted images of costumed guests
    eat, drink and laugh in a grotesque collision of Yves Saint
    Laurent cocktail party and Bacchanalian romp.

    Suddenly a large arm coils around Romeo's neck.

    DISTORTED EXTREME CLOSE UP: A seriously intoxicated Fulgencio
    Capulet; his puffy red face squeezes against Romeo's.

                             CAPULET
                Ah, I have seen the day that I
                could
                Tell a whispering tale in a fair
                ladies ear.
                Such as would please.

    Capulet screams above the music:

                             CAPULET (CONT.)
                Come musicians play!

    Blood drums in Romeo's ears.  Breaking free from Capulet's
    grasp as he pushes through the crowd toward the bathroom.

    INT.  BATHROOM.  NIGHT.

    Silent, underwater shot.  Romeo's tranquil features submerged
    in a basin of water.

    BEAT.

    With a gasp, Romeo rises.  A moment.  His breathing calms.
    Then, smoothing water into his hair, he gazes into the
    bathroom mirror.  He turns:

    The entire wall opposite the mirror, is a magnificent salt-
    water fish tank.

    Romeo, drawn by it's submarine beauty, leans against the
    fish tank.  Applause echoes faintly through the bathroom
    speakers.

    INT.  BALLROOM.  NIGHT.

    As the applause dies, a dark-haired Latina Diva takes the
    spotlight.  The band ease into the opening bars of a love
    ballad.

    INT.  BATHROOM.  NIGHT.

    As the music swells, Romeo watches a moustached catfish
    glide past a medieval castle.

    Suddenly, Romeo pulls away.  Peering back at him through the
    castle is a pair of exquisitely beautiful angelic eyes.

    The Diva's first pure, achingly beautiful notes soar.

    Confused, Romeo looks again.  There is no mistake - it is a
    girl.  Through a shimmering curtain of ribbon weed, two dark
    wide eyes, a childish nose and sumptuous full lips.

    Romeo pushes his face closer to the glass.  The other face
    snaps abruptly away.

    INT.  POWDER ROOM.  NIGHT.

    CUT TO: Juliet, dressed as an angel, on the other side of
    the tank.  We now realise that the girls' powder room and
    the boys' bathroom are divided by this watery wonder world.

    Juliet warily moves closer to the glass.

    INT.  BATHROOM.  NIGHT.

    Romeo leans his face against the glass.  The love ballad
    builds.

    SLOW TRACK: From Romeo's profile, in through the water, and...

    INT.  POWDER ROOM.  NIGHT.

    ...out the other side, to find Juliet in profile, peering
    into the tank.

    INT.  BATHROOM.  NIGHT.

    Romeo presses his nose lightly against the glass.

    INT.  POWDER ROOM.  NIGHT.

    Juliet; a tiny smile.

    Suddenly, CRASH!  The door slams open.  Juliet turns,
    startled.  It is the Nurse.

                             NURSE
                Juliet, your mother calls.

    The Nurse bustles Juliet out the door.  Juliet looks over
    her shoulder at the mystery boy.

    INT.  BALLROOM.  NIGHT.

    Romeo, now without his mask, slams out of the bathroom -
    Juliet and the Nurse have disappeared into the crowd.

    CUT TO: Juliet being dragged along by the Nurse.  She
    glances back toward the mystery boy, but he is gone.

    Juliet and the Nurse rejoin Dave Paris, who is dressed as an
    astronaut, and Gloria, at the side of the dance floor.

    Dave, irresistible smile, extends his hand to Juliet.

                             DAVE
                Will you now deny to dance?

    Juliet looks to Dave, desperately searching for a reason to
    decline.  Gloria, brushing aside her silly daughter's
    protests, slugs the last of her champagne and corrals them
    onto the dance floor.

                             GLORIA
                       (whispering to Juliet)
                A man, young lady, such a man.

    As Juliet is dragged onto the floor her eyes furtively
    search for the boy.

    CUT TO: Romeo in the crowd.  Desperate to find the girl, he
    roughly shunts aside a reveller dressed as Lucifer, Prince
    of Darkness.

    HOLD ON: Lucifer.  He removes his mask: it is Tybalt.  He
    turns to Abra, who's dressed as a demon.

                             TYBALT
                What, dares the slave come hither
                to fleer and scorn at our solemnity?
                Now by the stock and honor of my
                kin
                To strike him dead I hold it not a
                sin.

    Tybalt moves off aggressively, but is halted as Capulet
    slams a hand into his chest.

                             CAPULET
                Why how now kinsman, wherefore
                storm you so?

                             TYBALT
                Uncle, this is that villain Romeo.
                A Montague, our foe.

    Capulet peers across the ballroom.

                             CAPULET
                Young Romeo is it?

                             TYBALT
                'Tis he.

                             CAPULET
                Content thee gentle coz, let him
                alone.
                I would not for the wealth of all
                this town
                Here in my house do him
                disparagement.
                Therefore be patient; take no note
                of him.

    Tybalt can't believe it.

                             TYBALT
                I'll not endure him.

    CLOSE ON: Capulet, exploding with rage.
                             CAPULET
                He shall be endured!
                       (slapping Tybalt viciously)
                What, goodman boy!  I say he shall!
                Go to.

    Capulet violently shoves Tybalt to the ground.

                             CAPULET
                You'll make a mutiny among my guests!

    A middle aged couple look on shocked - Capulet waves to them
    festively:

                             CAPULET
                What?  Cheerly my hearts!

    Capulet snorts at Tybalt in disgust.

                             CAPULET
                You'll not endure him!  Am I the
                master here or you?  Go to.

    Smoothing his hair into place, Capulet turns back into the
    ballroom.

    CLOSE ON: Tybalt choking back tears of rage.

    CUT TO: Romeo moving through the crowd.  For a moment the
    crush clears and he spies the Angel on the dance floor.

    CLOSE ON: Romeo whispers:

                             ROMEO
                Did my heart love till now?
                Forswear it, sight.
                For I ne'er saw true beauty till
                this night.

    Romeo begins to circumnavigate the dance floor in an attempt
    to get closer to Juliet.

    CUT TO: Dave slow dancing with Juliet.

    Juliet's eyes search the room for the boy.

    CLOSE ON: Romeo.

    CLOSE ON: Juliet.

    Their eyes connect.

    Juliet looks quickly back to Dave who, oblivious, returns
    his most devastating smile.

    CUT TO: The songstress, her voice soars.

    CUT TO: Juliet.  Unable to look away from the boy, she
    stares over Dave's shoulder.

    CUT TO: Romeo.  Ignoring the danger, he continues to move
    toward the Angel.

    With the Diva's spiralling final notes, the ballad concludes.

    A complete black out.  As the crowd break into wild applause,
    Juliet's eyes search the darkness, but the boy is gone.

    The crowd cheers and screams its applause.  An avalanche of
    balloons, tinsel and confetti rains down from the roof;
    swathes of red silk drop from the ceiling and the space is
    transformed.

    CLOSE ON: Juliet, searching for the boy.

    Suddenly: A gasp, Juliet's eyes widen, shocked.

    In the dark, a hand has shot out from the drape curtaining
    off the stage and clasped hers.  Juliet barely dares breathe.

    She glances furtively to Dave Paris - he watches the stage.

    Slowly Juliet turns toward the hand; there through a break
    in the curtain she can see eye, cheek and lips of the
    mystery boy.  As the Diva reprises the chorus, Romeo gently
    pulls Juliet behind the curtain.

    INT.  BEHIND CURTAIN.  NIGHT.

    Concealed from the party by the red velvet drape, hands
    still clasped, the teenagers are so close their bodies
    almost touch.

                             ROMEO
                If I profane with my unworthiest
                hand
                This holy shrine, the gentle sin is
                this.
                My lips, two blushing pilgrims,
                ready stand
                To smooth that rough touch with a
                tender kiss.

    Romeo moves his lips toward Juliet's.  She stops him.

                             JULIET
                Good pilgrim, you do wrong your
                hand too much,
                Which mannerly devotion shows in
                this.
                For saints have hands that pilgrim's
                hands do touch,
                And palm to palm is holy palmers'
                kiss.

                             ROMEO
                Have not saints lips, and holy
                palmers too?

                             JULIET
                       (a gentle scolding)
                Ay, pilgrim, lips that they must
                use in prayer.

                             ROMEO
                O, then, dear saint, let lips do
                what hands do,
                They pray: grant thou, lest faith
                turn to despair.

                             JULIET
                Saints do not move, though grant
                for prayer's sake.

                             ROMEO
                Then move not while my prayer's
                effect I take.

    He kisses her.

                             ROMEO (CONT.)
                Thus from my lips, by thine my sin
                is purged.

                             JULIET
                Then have my lips the sin that they
                have took.

                             ROMEO
                Sin from my lips?  O trespass
                sweetly urged!
                Give me my sin again.

    He kisses her.

                             JULIET
                You kiss by th' book.

    They kiss again.

    Suddenly a harsh light falls across the entwined couple.
    They break apart - Nurse has pulled open the curtain and
    stands eyeing them severely.

                             NURSE
                Madam, your mother craves a word
                with you.

    We see that the party is breaking up.  But for groups of
    die-hard revellers, the room is nearly empty.

                             NURSE (CONT.)
                Come, let's away.

    She takes firm control of her charge.

    Juliet furtively motions for the startled Romeo not to
    follow as he trails them across the room.

    CUT TO: ROMEO'S P.O.V.: The Nurse and Juliet reach the door,
    but instead of leaving, they turn and ascend the staircase
    that arcs around to the mezzanine level.  They join a vexed
    Gloria Capulet who clings to a patient Dave Paris.

    Inaudible words are exchanged.  Juliet flickers her eyes
    nervously to Romeo.

    CUT TO: Romeo.  He halts at the foot of the stairs unsure.

    CUT TO: Gloria.  Catching Juliet's interest in the boy, she
    indicates to her daughter to 'COME ALONG'.

    CUT TO: Romeo; a dawning realisation.

                             ROMEO
                       (under his breath)
                Is she a Capulet?

    CUT TO: Juliet.  She stops and turns back.

    CUT TO: Romeo, comprehending the reality of who she is.

    CUT TO: Juliet.  The Nurse whispers in her ear.

                             NURSE
                His name is Romeo, and a Montague,
                The only son of your great enemy.

    An orchestral treatment of Joy Division's "Love will tear us
    Apart" swells;

    HOLD ON: Juliet.  Like a cloud passing across the sun, a
    dark coldness descends upon her.

    CUT TO: Mercutio.  He throws himself upon the shell shocked
    Romeo.

                             MERCUTIO
                Away, begone, the sport is at its
                best.

    Mercutio shuttles Romeo toward the door.

                             ROMEO
                Ay so I fear,

    A covert glance over his shoulder.

                             ROMEO (CONT.)
                The more is my unrest.

    EXT.  CAPULET MANSION.  NIGHT.

    Mercutio bundles Romeo through the front door and down the
    stairs to the waiting getaway car.

    INT.  CAPULET MANSION - STAIRS ALCOVE WINDOW - NIGHT.

    CUT TO: Juliet.  Manoeuvred by the Nurse up the stairs, she
    breaks away and rushes to a tiny, windowed alcove.

    EXT.  CAPULET MANSION - MAIN ENTRANCE.  NIGHT.

    CUT TO: Mercutio's convertible and its noisy confederacy
    joining the line of departing limos.

    A huge sign combusts into blinding fireworks that write in
    giant words "CAPULET."

    As the convertible passes beneath the blazing words, Romeo
    turns.  Through a deluge of falling sparks, he glimpses the
    mystery girl high up in the tower.

    EXT.  CAPULET MANSION - WINDOW.  NIGHT.

    CLOSE ON: Juliet leaning out of the tower window.  Brilliant
    sparkles light in her eyes.

    PUSH IN: We hear her secret whisper:

                             JULIET
                My only love, sprung from my only
                hate.
                Too early seen unknown, and known
                too late.
                Prodigious birth of love it is to me

    EXT.  CAPULET MANSION - MAIN ENTRANCE DRIVE.  NIGHT.

    CUT TO: JULIET'S P.O.V.: In slow motion Romeo, through the
    falling curtain of fiery embers.

                             JULIET (CONT.)(V/O)
                That I must love a loathed enemy.

    EXT.  CAPULET MANSION - WINDOW.  NIGHT.

    Warm wind blows the smoke from the expended fireworks.
    Juliet closes the window and leans against the glass.

    CRANE DOWN: The side of the building past revellers who
    don't know when to leave.  Standing in the front doorway is
    someone else who cannot take their eyes off the departing
    Romeo.  It is Tybalt.  The music darkens as we push through
    the smoky wind.

                             TYBALT
                I will withdraw.  But this intrusion
                shall,
                Now seeming sweet, convert to
                bitterest gall.

    INT.  MERCUTIO'S CAR.  NIGHT.

    Caught in the jam of departing vehicles, Mercutio's car
    crawls along the bridge that links Capulet island with the
    mainland.  The boys sing along raucously with the radio.

                             BOYS
                "I am a pretty piece of flesh,
                I am a pretty piece of flesh..."

    PUSH IN: On Romeo, he whispers:

                             ROMEO
                Can I go forward when my heart is
                here?
                Turn back, dull earth, and find thy
                centre out.

    Romeo leaps from the car.  Benvolio yells after him.

                             BENVOLIO
                Romeo!  Cousin Romeo!  Romeo!

    EXT.  CAPULET BRIDGE.  NIGHT.

    Romeo runs back along the bridge toward the estate.  At the
    gates, armed guards supervise the exodus of vehicles.  Romeo
    uses the traffic to shield himself from view.

    Romeo leaps from the bridge and into the shadows at the base
    of the high stone wall that borders the compound.

    EXT.  CAPULET BRIDGE.  NIGHT.

    Mercutio's car prowls back along the bridge.  The last
    guests have departed and the gates are swinging shut.  The
    convertible halts in front of them.

                             BENVOLIO
                He ran this way.  Call, good
                Mercutio.

                             MERCUTIO
                Nay, I'll conjure too.

    Mercutio leaps from the car.  He postures like a magician in
    a low-budget variety special.  The boys cheer him on.

                             MERCUTIO
                Romeo!  Humours!  Madman!  Passion!
                Lover!
                I conjure thee by Rosaline's bright
                eyes,
                By her high forehead and her
                scarlet lip,
                By her fine foot, straight leg, and
                quivering thigh.
                And the demesnes that there adjacent
                lie,
                That in thy likeness thou appear to
                us!

    EXT.  CAPULET WALL.  NIGHT.

    CLOSE ON: Romeo's fake chain mail shirt tangled in the
    barbed wire at the top of the wall.

    PAN DOWN: Romeo, now on the other side of the wall, pulls up
    his undershirt and gingerly inspects the cuts inflicted by
    the wire.

    Mercutio's cavorting echoes from the bridge.  Romeo smiles
    ironically.

                             ROMEO
                He jests at scars that never felt a
                wound.

    Romeo moves off through the darkened grounds of Capulet
    estate.

    EXT.  CAPULET BRIDGE.  NIGHT.

    The boys laugh hysterically as Mercutio staggers around the
    bridge in imitation of a love sick fool.

                             MERCUTIO
                O Romeo, that she were, O that she
                were
                An open-arse and thou a poperin pear!

    The hilarity is abruptly arrested as a security spotlight
    blazes to life, pinning Mercutio in its beam.  The sound of
    automatic weapons cocking pierces the night.

    CLOSE ON: Mercutio.  He's brave but not stupid.  He gets
    back into the car.

                             MERCUTIO (CONT.)
                Come, shall we go?

    EXT.  THE BACK OF CAPULET MANSION.  NIGHT.

    CLOSE ON: A pair of stone cherubs on top of the retaining
    wall of a terraced garden.  Romeo's face appears between them.

    Romeo hauls himself up onto the wall.  Below is a Greco-
    Roman style pool area.  To the right the darkened rear wing
    of Capulet Mansion.  Suddenly the back of the house explodes
    with light.  Romeo takes cover.

                             ROMEO
                But soft, what light through yonder
                window breaks?

    Romeo's question is answered as out onto the verandah comes
    Juliet.  She is still clad in her angel robe, but without
    the halo and wings.  She slowly descends to pool level.

                             ROMEO
                It is the East, and Juliet is the
                sun!
                Arise, fair sun, and kill the
                envious moon,
                Who is already sick and pale with
                grief
                That thou her maid art far more
                fair than she.
                Be not her maid, since she is
                envious.
                Her vestal livery is but sick and
                green,
                And none but fools do wear it.

    Juliet stands on the top step of the pool stairs.  She is
    directly below Romeo as he whispers.

                             ROMEO (CONT.)
                Cast it off!

    Juliet sits on the edge of the pool, her legs dangle in the
    water.

                             ROMEO (CONT.)
                It is my lady.  O, it is my love!
                O that she knew she were!

    Juliet sighs.

                             JULIET
                Ay me!

                             ROMEO
                       (whispers)
                She speaks.
                O, speak again, bright angel!

    Juliet looks longingly toward the stars.

                             JULIET
                O Romeo, Romeo! - Whyfore art thou
                Romeo?
                Deny thy father and refuse thy
                name.
                Or, if thou wilt not, be but sworn
                my love,
                And I'll no longer be a Capulet.

    CLOSE ON: Romeo.  Incredulous.

                             ROMEO
                Shall I hear more, or shall I speak
                at this?

                             JULIET
                'Tis but thy name that is my enemy.
                Thou are thyself, though not a
                Montague.
                What's Montague?  It is not hand
                nor foot
                Nor arm nor face nor any other part
                Belonging to a man.  O, be some
                other name!
                What's in a name?
                That which we call a rose
                By any other word would smell as
                sweet.
                So Romeo would, were he not Romeo
                called,
                Retain that dear perfection which
                he owes
                Without that title.  Romeo, doff
                thy name,
                And for thy name, which is no part
                of thee,
                Take all myself.

    Romeo wildly calls:

                             ROMEO
                I take thee at thy word!
                Call me but love, and I'll be new
                baptised.
                Henceforth I never will be Romeo.

    Romeo jumps down from the wall.  Juliet screams, and turns,
    toppling backwards.  Romeo grabs her hand but her momentum
    overbalances him and they both plunge headlong into the pool.

    EXT.  CAPULET MANSION - POOL - UNDERWATER.  NIGHT.

    Underwater shot:  A slow motion phosphorescent tangle of
    arms, legs and bodies.

    EXT.  CAPULET MANSION - BACK GARDEN.  NIGHT.

    CUT TO: A security guard.  Alerted by the noise he moves
    toward the pool area.

    EXT.  CAPULET MANSION - POOL GARDEN - NIGHT.

    CUT TO: Above water, real time: Romeo and Juliet surface
    spluttering.  Juliet thrashes the water in an attempt to get
    distance from her attacker.

                             JULIET
                What man art thou that, thus
                bescreened in night,
                So stumblest on my counsel?

    Romeo: A calming gesture as he tries to tread water.

                             ROMEO
                By a name I know not how to tell
                thee who I am:
                My name, dear saint, is hateful to
                myself
                Because it is an enemy to thee.

    The ferocious barking of a guard dog arrests the teenagers
    attention.  A moment, then they slide beneath the water.

    CUT TO: The security guard and dog appearing above the pool
    area.

    GUARD'S P.O.V.: The rippling surface of the water.

    CUT TO - UNDERWATER SHOT: Romeo and Juliet submerged, hair
    streaming, stare at each other like two beautiful fish.

    CUT TO: The guard.  He can see noisy caterers cleaning up
    around the other side of the house.  Frowning, he returns
    the way he came.

    CUT TO: Romeo and Juliet.  Gasping for air, they cautiously
    surface.  A moment - then Juliet, a small smile.

                             JULIET
                Art thou not Romeo, and a Montague?

                             ROMEO
                Neither, fair maid, if either thee
                dislike.

    Juliet looks nervously toward the house.  She drags Romeo
    toward a small grotto at the end of the pool.

                             JULIET
                How cam'st thou hither, tell me,
                and whyfore?
                The garden walls are high and hard
                to climb,
                And the place death, considering
                who thou art.

                             ROMEO
                       (with splashy bravado)
                With love's light wings did I o'er
                perch these walls.
                For stony limits cannot hold love
                out,
                And what love can do, that dares
                love attempt.
                Therefore thy kinsmen are no stop
                to me.

    Juliet drags Romeo firmly into the grotto.

                             JULIET
                       (a real fear)
                If they do see thee, they will
                murder thee.

    Romeo slowly pulls Juliet toward him.

                             ROMEO
                I have night's cloak to hide me
                from their eyes.
                And but thou love me, let them find
                me here.
                My life were better ended by their
                hate
                Than death prorogued, wanting of
                thy love.

    The lovers kiss long and deep.  Then Juliet, suddenly
    fearful, pushes Romeo away.

                             JULIET
                Thou knowest the mask of night is
                on my face,
                Else would a maiden blush bepaint
                my cheek,
                For that which thou hast heard me
                speak tonight.
                Fain would I dwell on form - fain,
                fain deny
                What I have spoke.  But farewell
                compliment!
                Dost thou love me?

    Romeo tries to speak, Juliet silences him.

                             JULIET (CONT.)
                I know thou wilt say 'Ay', and I
                will take thy word.  Yet, if thou
                swearest,
                Thou mayst prove false.  O gentle
                Romeo,
                If thou dost love, pronounce it
                faithfully.
                Or if thou think'st I am too
                quickly won,
                I'll frown, and be perverse, and
                say thee nay,
                So thou wilt woo.  But else, not
                for the world.
                In truth, fair Montague, I am too
                fond,
                And therefore thou mayst think my
                'haviour light.
                But trust me, gentleman, I'll prove
                more true
                Than those that have more cunning
                to be strange.

                             ROMEO
                Lady, by yonder blessed moon I vow,
                That tips with silver all these
                fruit-tree tops -

                             JULIET
                O, swear not by the moon, th'
                inconstant moon,
                That monthly changes in her circled
                orb,
                Lest that thy love prove likewise
                variable.

                             ROMEO
                What shall I swear by?

                             JULIET
                Do not swear at all.
                Or if thou wilt, swear by thy
                gracious self,
                Which is the god of my idolatry,
                And I'll believe thee.

    She touches his cheek.  Romeo moves his lips close.

                             ROMEO
                If my heart's dear love -

    Confused, Juliet breaks away.

                             JULIET
                Well, do not swear.  Although I joy
                in thee,
                I have no joy of this contract
                tonight.
                It is too rash, too unadvised, too
                sudden;
                Too like the lightning, which doth
                cease to be
                Ere one can say 'it lightens.'
                Sweet, good night.
                This bud of love, by summer's
                ripening breath,
                May prove a beauteous flower when
                next we meet.
                Good night, good night.  As sweet
                repose and rest
                Come to thy heart as that within my
                breast.

    She rushes up the stairs - Romeo follows desperately.

                             ROMEO
                O, wilt thou leave me so unsatisfied?

    Juliet - a shocked look.

                             JULIET
                What satisfaction canst thou have
                tonight?

    CLOSE ON: Romeo.

                             ROMEO
                The exchange of thy love's faithful
                vow for mine.

    CLOSE ON: Juliet.  She runs joyously to Romeo.

                             JULIET
                I gave thee mind before thou didst
                request it!

    Kissing him passionately.

                             JULIET (CONT.)
                And yet I would it were to give
                again.

                             ROMEO
                Wouldst thou withdraw it?  For what
                purpose love?

                             JULIET
                But to be frank and give it thee
                again.

    They kiss again.  The Nurse calls from inside.

                             NURSE (O/S)
                Juliet!

    Juliet looks to the house.

                             JULIET
                       (breathlessly)
                Three words, dear Romeo, and good
                night indeed.
                If that thy bent of love be
                honourable.
                Thy purpose marriage, send me word
                tomorrow,
                By one that I'll procure to come to
                thee,
                Where and what time thou wilt
                perform the rite,
                And all my fortunes at thy foot
                I'll lay
                And follow thee my lord throughout
                the world.

                             NURSE (O/S)
                Madam!

                             JULIET
                I come, anon - But if thou meanest
                not well,
                I do beseech thee...

                             NURSE (O/S)
                Madam!

                             JULIET
                       (to Nurse)
                By and by I come!
                To cease thy strife and leave me to
                my grief.
                Tomorrow will I send.

    Romeo holds Juliet's gaze.

                             ROMEO
                So thrive my soul.

                             NURSE (O/S)
                Madam!

    Juliet breaks away.

                             JULIET
                A thousand times good night!

    With a final kiss, Juliet runs inside.

                             ROMEO
                A thousand times the worse, to want
                thy light.
                Love goes toward love as schoolboys
                from their books;
                But love from love, toward school
                with heavy looks.

    Juliet re-appears at the upper balcony.

                             JULIET
                Romeo!  What o'clock tomorrow
                Shall I send to thee?

                             ROMEO
                By the hour of nine.

    Juliet unclasps a delicate silver necklace from around her
    neck.

                             JULIET
                I will not fail. 'Tis twenty year
                till then.
                Goodnight, goodnight!  Parting is
                such sweet sorrow.
                That I shall say goodnight till it
                be morrow.

    She lets the necklace fall from her hand.  Romeo catches it
    and she is gone.

                             ROMEO
                Sleep dwell upon thine eyes, peace
                in thy breast,
                Would I were sleep and peace, so
                sweet to rest.

    INT.  GREENHOUSE.  DAWN.

    Morning sunlight filters through the lush foliage of a
    tropical rainforest.

    PAN DOWN: As we hear:

                             FATHER LAURENCE (O/S)
                O mickle is the powerful grace that
                lies
                In plants, herbs, stones, and their
                true qualities.

    We discover the intensely concentrating features of FATHER
    LAURENCE.  Fifties, wiry and wearing a priest's collar,
    Laurence delicately makes an incision in the bulb of a small
    purple flowered plant.

    A pair of fresh faced ten year old boys look on in wonderment
    as a vivid blue sap oozes from the incision.

                             FATHER LAURENCE (CONT.)
                Within the infant rind of this weak
                flower
                Poison hath residence, and medicine
                power.

    PULL BACK: The Priest carefully gathers the sap into a
    beaker.  We discover that we are in a small tropical
    greenhouse.

                             FATHER LAURENCE (CONT.)
                       (to the boys)
                For this, being smelt, with that
                part cheers each part;
                Being tasted, stays all senses with
                the heart.

    The boys follow the Father as he moves out of the greenhouse
    and into an adjoining work area.  The walls are lined with
    bottles of herbs and dried plants and a television flickers
    in the corner.

                             FATHER LAURENCE (CONT.)
                For naught so vile on the earth
                doth live,
                But to the earth some special good
                doth give;

    With the precision of a chemist, Father Laurence funnels the
    sap into a small bottle and places it in the refrigerator.
    From out of the refrigerator he produces a large jar of
    candy.  He eyes the boys sternly.

                             FATHER LAURENCE (CONT.)
                Nor aught so good but, strained
                from that fair use,
                Revolts from true birth, stumbling
                on abuse.

    The boys take their candy and scram.

    CUT TO: The muted television.  A morning news program shows
    footage of a murder scene cordoned off with police tape.  A
    distraught mother is being restrained.

    CLOSE ON: The priest contemplating the television.

                             FATHER LAURENCE
                Two such opposed kings encamp them
                still
                In man as well as herbs: grace and
                rude will;
                And where the worser is predominant,
                Full soon the canker death eats up
                that plant.

    A feverish knocking breaks the priest's reverie.

                             ROMEO (O/S)
                Good morrow, father!

    Father Laurence snaps off the television and exits the
    workroom.

    EXT.  WALL.  DAWN.

    Romeo, dressed in last night's chain mail, pounds desperately
    on a wooden door set into a high stone wall.

                             ROMEO
                Good morrow, father!

    EXT.  COURTYARD.  DAWN.

    From the workroom, Father Laurence enters a courtyard which
    encloses a tranquil tropical garden.  He opens a door in the
    wall of the courtyard and smiles as the costumed Romeo
    bursts in.

                             FATHER LAURENCE
                Benedicite!
                What early tongue so sweet saluteth
                me?

    Without pausing, the priest continues through the courtyard
    and toward the church.

                             FATHER LAURENCE (CONT.)
                Young son, it argues a distempered
                head
                So soon to bid good morrow to thy
                bed.
                Or if not so, then here I hit it
                right -
                Our Romeo hath not been in bed
                tonight.

    The priest enters the back of the church.

    INT.  SACRISTY.  DAWN.

    Romeo, on fire to tell of his experience, follows the priest
    into the sacristy.

                             ROMEO
                The last is true.  The sweeter rest
                was mine.

                             FATHER LAURENCE
                       (he stops)
                God pardon sin!  Wast thou with
                Rosaline?

                             ROMEO
                With Rosaline, my ghostly father?
                No.
                I have forgot that name and that
                name's woe.

    The Father lays out the cut glass bottles and communion tray
    for mass.

                             FATHER LAURENCE
                That's my good son!  But where hast
                thou been then?

    Unconsciously, Romeo helps the priest prepare.  It is clear
    he knows the routine by heart.

                             ROMEO
                I have been feasting with mine
                enemy,
                Where on a sudden one hath wounded
                me.
                That's by me wounded.  Both our
                remedies
                Within they help and holy physic
                lies.

                             FATHER LAURENCE
                       (buttoning a long
                       black cassock)
                Be plain, good son, and homely in
                thy drift.
                Riddling confession finds but
                riddling shrift.

                             ROMEO
                Then plainly know my heart's dear
                love is set,
                On the fair daughter of rich
                Capulet.
                We met, we wooed, and made exchange
                of vow,
                I'll tell thee as we pass.  But
                this I pray,
                That thou consent to marry us today.

    CUT TO: The Priest, thunderstruck.  The two kids, now
    dressed in red altar-boy robes, enter.

                             ALTAR BOYS
                Good morrow, Romeo.

    The apoplectic priest waves the boys away.  They get the
    message and bolt.

                             FATHER LAURENCE
                Holy Saint Francis!  What a change
                is here!
                Is Rosaline, that thou didst love
                so dear,
                So soon foresaken?  Young men's
                love then lies
                Not truly in their hearts, but in
                their eyes.

                             ROMEO
                Thou chid'st me oft for loving
                Rosaline.

                             FATHER LAURENCE
                       (very angry)
                For doting, not for loving, pupil
                mine.

                             ROMEO
                I pray thee chide me not.  Her I
                love now
                Doth grace for grace and love for
                love allow.
                The other did not so.

                             FATHER LAURENCE
                O, she knew well
                Thy love did read by rote, that
                could not spell.

    The Father falls into a chair and considers.  He looks
    through the sacristy door to where a small children's choir
    has assembled.  Their angelic voices soar into the purest of
    hymns.

                             CHOIR
                How can you just leave me standing
                Alone in a world so cold,
                Maybe I'm just too demanding,
                Maybe I'm just like my father, too
                bold,
                Maybe you're just like my mother,
                She's never satisfied.
                Why do we scream at each other?
                This is what it sounds like when
                doves cry...

    We recognise the hymn as "When Doves Cry" by Prince.

    PUSH IN: On the Priest; moved, he looks to Romeo.

                             FATHER LAURENCE
                But come, young waverer, come, go
                with me.
                In one respect I'll thy assistant
                be.
                For this alliance may so happy
                prove
                To turn your households' rancor to
                pure love.

    Romeo hurriedly assists the priest with his vestments.

                             ROMEO
                O, let us hence!  I stand on sudden
                haste.

    Father Laurence holds Romeo in his powerful gaze.

                             FATHER LAURENCE
                Wisely and slow.  They stumble that
                run fast.

    The procession is joined by the two little altar boys and
    the mass begins.

    EXT.  VERONA BEACH.  DAY.

    As the Angelic voices of the choir soar, we see a pay phone
    etched with hyper-real starkness against the white sand,
    green sea and blue sky.

    A single leaning palm tree frames the image like a ridiculous
    tourist postcard.

    Benvolio speaks on the pay phone.  Mercutio, torso naked but
    for his holstered Sports Rapier 9mm, drums his fingers on
    the side of the booth.

                             MERCUTIO
                Where the devil should this Romeo
                be?
                Came he not home tonight?

                             BENVOLIO
                       (slamming down the phone)
                Not to his father's.  I spoke with
                his man.

    Mercutio storms off down the beach.

                             MERCUTIO
                Why, that same pale hard-hearted
                wench, that Rosaline,
                Torments him so that he will sure
                run mad.

                             BENVOLIO
                       (running to keep up)
                Tybalt hath sent a letter to his
                father's house.

                             MERCUTIO
                       (halts abruptly)
                A challenge, on my life.

    CLOSE ON: Benvolio, unsure.

                             BENVOLIO
                Romeo will answer it?

                             MERCUTIO
                Any man that can write may answer a
                letter.

                             BENVOLIO
                Nay, he will answer the letter's
                master, how he dares, being dared.

    Mercutio clamps Benvolio into a headlock.

                             MERCUTIO
                Alas, poor Romeo, he is already
                dead!
                Stabbed with a white wench's black
                eye,

    He whispers into Benvolio's ear:

                             MERCUTIO (CONT.)
                Run through the ear with a love
                song.
                       (in disgust)
                And is he a man to encounter Tybalt?

                             BENVOLIO
                       (struggling to break free)
                Why, what is Tybalt?

                             MERCUTIO
                       (releasing him)
                More than Prince of Cats, I can
                tell you.
                O, he's the courageous captain of
                compliments.
                The very butcher of a silk button.

    Lightening fast, Mercutio draws his gun.  He twirls it in an
    impressive display of gunmanship which ends with the barrel
    between the startled Benvolio's eyes.

                             MERCUTIO (CONT.)
                A duellist, a duellist.

    Romeo's car pulls into the beach side parking lot.  Benvolio
    heads toward it.

                             BENVOLIO
                Here comes Romeo, here comes Romeo!

    EXT.  BEACH - PARKING LOT.  DAY.

    Romeo alights from his car and throws his keys to Balthasar
    who lounges outside the beach side hang.  Mercutio saunters
    up the beach with mock nonchalance.

                             MERCUTIO
                Signor Romeo, Bonjour.  There's a
                French salutation to your French
                slop.  You gave us the counterfeit
                fairly last night.

                             ROMEO
                Good morrow to you both.  What
                counterfeit did I give you?

                             MERCUTIO
                The slip, sir, the slip.  Can you
                not conceive?

    Romeo smiles smugly.

                             ROMEO
                Pardon, good Mercutio.  My business
                was great, and in such a case as
                mine a man may strain courtesy.

                             MERCUTIO
                       (sarcastically)
                A most courteous exposition.

                             ROMEO
                Nay I am the very pink of courtesy.

                             MERCUTIO
                       (camply)
                Pink for flower?

    The boys laugh.  Romeo feigns anger.

                             ROMEO
                I will bite thee on the ear for
                that jest!

    Mercutio, goading Romeo to follow, backs off down the beach.

                             MERCUTIO
                Come between us, good Benvolio!  My
                wits faint.

    Mercutio flicks sand at Romeo, then sprints off down the
    beach.  Romeo, laughing, gives chase.

                             ROMEO
                Switch and spurs, switch and spurs,
                or I'll cry a match.

    EXT.  BEACH - SHORELINE.  DAY.

    Romeo is gaining on Mercutio, who runs headlong into the sea.
    With a yell, Romeo dives in after him.

    EXT.  BEACH - AT SEA.  DAY.

    Mercutio splashes the laughing Romeo.

                             MERCUTIO
                Why, is not this better now than
                groaning for love?

    Romeo tries to dunk Mercutio.

                             MERCUTIO (CONT.)
                Now art thou sociable.

    Mercutio, evading, heads for shore.

                             MERCUTIO (CONT.)
                Now art thou Romeo.  Now art thou...

    EXT.  BEACH - SHORELINE.  DAY.

    Romeo tackles Mercutio on the wet sand.  Mercutio falls
    suddenly serious.

                             MERCUTIO (CONT.)
                       (quietly)
                What thou art, by art as well as by
                nature.

    A moment between the boys.  A shadow falls across them.
    Romeo looks up.

                             ROMEO
                Here's goodly gear.

    Standing above the boys is the Nurse.  She wears a
    ridiculous, all red, "Jackie O" style disguise of sunglasses,
    scarf and parasol.

                             MERCUTIO
                       (bemused)
                God ye good e'en fair gentlewoman.

    The nurse, ignoring Mercutio, speaks dramatically to Romeo.

                             NURSE
                I desire some confidence with you.

    She turns and walks back to the parking lot where Peter the
    chauffer waits beside the limousine.

    Benvolio and the other boys look on curiously.

                             MERCUTIO
                A bawd, a bawd, a bawd!  So ho!

    But Romeo rises and to the amazement of Mercutio actually
    follows this woman.  Mercutio looks questioningly to
    Benvolio, who shrugs.

                             BENVOLIO
                She will endite him to some supper?

    Even more strangely, Romeo gets into the limousine.

                             MERCUTIO
                       (taken by surprise)
                Romeo, will you come to your
                father's?
                We'll to dinner thither.

                             ROMEO
                       (as he closes the door)
                I will follow you.

                             MERCUTIO
                Farewell, ancient lady.  Farewell.

    The car pulls away.

    EXT.  STREET.  DAY.

    The limousine drives through Verona Beach.

    INT.  MOVING LIMOUSINE.  DAY.

    CLOSE ON: Romeo jammed into the corner of the seat.  The
    Nurse's face is pressed alarmingly close to his.  She speaks
    in cold deadly earnest.

                             NURSE
                If ye should lead her in a fool's
                paradise, as they say, it were a
                very gross kind of behavior, as
                they say.  For the gentlewoman is
                young; and therefore, if you should
                deal double with her, truly it were
                an ill thing and very weak dealing.

    BEAT: Romeo chooses his words carefully.

                             ROMEO
                Bid her to come to confession this
                afternoon,
                And there she shall at Friar
                Laurence's cell
                Be shrived and
                       (PUSH IN ON: Romeo)
                married.

    INT.  JULIET'S BEDROOM.  DAY.

    CLOSE ON: Juliet's face peering out her bedroom window.

                             JULIET
                O God she comes!

    EXT.  CAPULETS MANSION - DRIVEWAY.  DAY.

    PULL BACK: JULIET'S P.O.V.: The limousine pulls up at the
    front door, the Nurse alights.

    Juliet bolts from the room.

    INT.  LANDING.  DAY.

    Juliet hurries down the stairs - the Nurse, a way ahead,
    disappears into a doorway.

    INT.  STAIRWAY.  DAY.

    Juliet races down a dark stairwell that leads to the bowels
    of the house.

    INT.  KITCHEN.  DAY.

    The kitchen, obviously the Nurse's domain, is decorated with
    a mixture of religious iconography and travel posters.  Most
    of the posters depict a strange city of decadent, decaying,
    beauty.

    Juliet bursts breathlessly into the room.

                             JULIET
                O honey nurse, what news?

    The Nurse, buried up to her ample hips inside the
    refrigerator, does not turn around.

    Juliet cries impatiently.

                             JULIET
                Nurse!

    The nurse emerges from the ice box laden with food.  Moving
    to the counter she starts to make a sandwich.

                             NURSE
                I am aweary, give me leave awhile.
                Fie, how my bones ache.  What a
                jaunce have I.

    Juliet under her breath.

                             JULIET
                I would thou hadst my bones and I
                thy news.

    Juliet goes to the nurse.

                             JULIET
                Nay come, I pray thee, speak: good;
                good
                Nurse, speak.

    Sandwich made, the nurse shuffles over to a corner couch.

                             NURSE
                Jesu, what haste.  Can you not stay
                awhile?
                Can you not see I am out of breath?

    Juliet cannot stand the suspense any longer.

                             JULIET
                How art thou out of breath when
                thou hast breath
                To say to me that thou art out of
                breath!
                Is the news good or bad?  Answer to
                that.

    The Nurse takes a big bite from her sandwich and answers
    through thoughtful chews.

                             NURSE
                Well, you have made a simple
                choice.
                You know not how to choose a man.
                Romeo?  No, not he.
                Though his face be better than any
                man's, yet his leg excels all men's
                and for a hand and a foot and a
                body, though they be not to be
                talked on, yet they are past
                compare.
                He's not the flower of courtesy,
                but I'll warrant him as gentle as a
                lamb.  Go thy ways, wench, serve
                God.  What, have you dined at home?

    Juliet is flabbergasted.

                             JULIET
                No, no.  But all this I did know
                before.  What says he of our
                marriage?  What of that

                             NURSE
                Lord how my head aches!  What a
                head have I:
                My back -

    This is a game that Juliet knows well.  She moves behind the
    Nurse and begins massaging her back.

                             NURSE (CONT.)
                o' t'other side - ah, my back!
                Beshrew your heart for sending me
                about
                To catch my death with jauncing up
                and down.

    With sublime self control, Juliet coo's sweetly.

                             JULIET
                I'faith I am sorry that thou art
                not well.
                Sweet, sweet, sweet Nurse, tell me,
                what says my love?

                             NURSE
                Your love says like an honest
                gentleman,
                And a courteous, and a kind, and a
                handsome,
                And I warrant a virtuous - Where is
                your mother?

    Juliet cracks.

                             JULIET
                Where is my mother?  How oddly thou
                repliest!
                'Your love says, like an honest
                gentleman, "Where is your mother"'!

    The nurse sulks.

                             NURSE
                O God's lady dear are you so hot?
                Henceforth do your messages yourself.

    Juliet's frustration explodes.

                             JULIET
                Here's such a coil!  COME WHAT SAYS
                ROMEO?

    PAUSE: The Nurse considers Juliet.

                             NURSE
                Have you got leave to go to
                confession today?

                             JULIET
                I have.

                             NURSE
                Then hie you hence to Father
                Laurence cell.
                There stays a husband to make you a
                wife!

    Juliet, with a scream of joy, hugs the Nurse to her.

    HOLD ON: Juliet's ecstatic features.

    INT.  CHURCH.  DAY.

    TIGHT ON: FATHER LAURENCE:

                             FATHER LAURENCE
                These violent delights have violent
                ends!

    PULL BACK: Father Laurence is preaching energetically from
    the pulpit.  Hidden from the congregation, Romeo waits in a
    small alcove chapel at the side of the altar.

                             FATHER LAURENCE (CONT.)
                The sweetest honey
                Is loathsome in its own
                deliciousness,
                Therefore love moderately.

    The Father glances toward Romeo.

                             FATHER LAURENCE (CONT.)
                Long love doth so.
                Too swift arrives as tardy as too
                slow.

    Juliet pushes through the double doors at the far end of the
    church.

    Father Laurence motions to the middle-aged choir master who
    leads the choir into a choral version of Led Zeppelin's "A
    Whole Lot of Love" with Latin lyrics.

    Father Laurence hurries from the altar over to Romeo.

                             FATHER LAURENCE (CONT.)
                Here comes the lady.

    Juliet bursts into the tiny chapel.  Trying to observe a
    vestige of decorum, she greets Father Laurence.

                             JULIET
                Good afternoon to my ghostly
                confessor.

    But before the priest can reply, the two lovers embrace,
    kissing passionately.

                             FATHER LAURENCE
                       (dryly)
                Romeo shall thank thee, daughter,
                for us both.

    The choir completes the hymn and the priest, realising it is
    his cue, rushes back to the altar.  He quickly delivers a
    prayer to the congregation while eyeing the increasingly
    amorous smooching of the young couple.

    The choir launch into a joyous chorus and the priest returns
    to Romeo and Juliet.  He delicately parts the couple.

                             FATHER LAURENCE (CONT.)
                Come, come, and we will make short
                work.
                For, by your leaves, you shall not
                stay alone
                Till Holy Church incorporate two in
                one.

    A young boy with a voice like Jamiroquai steps forward.  He
    launches into a wailing solo.

    MACRO CLOSE UP: A simple silver ring.  Engraved on the
    inside of the band are the words 'I love thee.'

    PULL BACK: Romeo slips the ring onto Juliet's finger as the
    priest executes the formal sacrament of marriage.

    INT./EXT.  CHURCH.  DAY.

    CRANE UP: Through the majestic patterning of stained glass,
    and out of the church to find Peter, the chauffeur, cradling
    a small camera as he waits nervously beside the limo.

    EXT.  CHURCH.  DAY.

    The music swells in celebration.  Romeo and Juliet, now
    newly-wed, rush from the side door of the church.  The
    priest follows, throwing handfuls of rice.  Peter studiously
    takes a snap as the bride and groom kiss.

    Peter holds the door of the limousine open.  Reluctantly
    Juliet gets into the car.

    As the car pulls out of the driveway, Romeo runs alongside.

    HOLD: On Romeo as he watches the big black car speed away.

    EXT.  UNDERWATER.  DAY.

    FISH-EYE VIEW: From the bottom of the ocean; Mercutio's
    distorted features.  Gun aimed, he stares intently into the
    water.

    A muffled BANG! and a bullet whizzes past the camera.

    EXT.  VERONA BEACH.  DAY.

    We see that Mercutio - wading in knee deep water close to
    the beach - is hunting fish.

    Benvolio shelters in the shade of an unmanned life guard
    tower.

    A shimmering heat haze blankets the deserted beach and the
    horizon is stacked with purple storm clouds.

                             BENVOLIO
                I pray thee, good Mercutio, let's
                retire.
                The day is hot,

    Mercutio, ignoring him, plugs away at another fish.  Benvolio
    nervously looks to see if there is any reaction to the sound
    of the shot.

                             BENVOLIO (CONT.)
                The Capels are abroad.  And if we
                meet we shall not 'scape a brawl.

    Mercutio strides out of the water.

                             MERCUTIO
                Thou art like one of these fellows
                that, when he enters the confines
                of a tavern, claps me his sword
                upon the table and says 'God send
                me no need of thee!'
                       (he hands Benvolio
                       his gun)
                and by the operation of the second
                cup draws him on the drawer, when
                indeed there is no need.

    Another incredible sleight of hand routine and Mercutio has
    managed to draw Benvolio's pistol, retrieve his own gun, and
    trap Benvolio with a barrel at each temple.

    The joke has worn thin for Benvolio; he pushes past Mercutio
    toward where Balthasar, Sampson and Gregory lounge in the
    shade of the beach-side hang.

    Suddenly he stops dead - a monstrous black sedan prowls into
    the beach side parking lot.

                             BENVOLIO
                By my head, here comes the Capulets.

                             MERCUTIO
                By my heel, I care not.

    EXT.  BEACH - PARKING LOT.  DAY.

    The sedan mounts the curb and slides to a halt only metres
    from Benvolio and Mercutio.

    Tybalt, Abra and Petruchio alight from the sedan and walk
    menacingly toward Mercutio and Benvolio.

                             TYBALT
                Gentlemen, good day.  A word with
                one of you.

    The boys from the hang, drawn the Capulet car, converge -
    eyes dart nervously, hands stray towards guns.

    Mercutio smiles mockingly.

                             MERCUTIO
                And but one word with one of us?
                Couple it with something.  Make it
                a word and a...

    Leaning close to Tybalt, he camps the implication.

                             MERCUTIO (CONT.)
                ...blow.

    Mercutio scores.  The boys laugh.

                             TYBALT
                       (furious)
                You shall find me apt enough to
                that, sir,
                       (clutching at his
                       side arm)
                And you will give me occasion.

    CLOSE ON: Mercutio.  He stops, eyeing the hand on the gun.
    No one moves.

                             MERCUTIO
                       (a breathy, coquettish
                       voice)
                Could you not take some occasion
                without giving?

    The boys fall about again.  Tybalt cracks.

                             TYBALT
                Mercutio, thou consortest with Romeo.

    The accusation stings - Mercutio's anger flares.

                             MERCUTIO
                Consort?  What, dost thou make us
                minstrels?  And thou make minstrels
                of us look to hear nothing but
                discords.  Here's my fiddlestick.

    Indicating his holstered gun.

                             MERCUTIO (CONT.)
                Here's that shall make you dance.
                       (barking at Tybalt)
                Zounds,
                       (goading him to go
                       for his gun)
                consort!

    CLOSE ON: Tybalt.

    CLOSE ON: Mercutio.  He will not back down.  Benvolio tries
    to diffuse things.

                             BENVOLIO
                Either withdraw unto some private
                place.
                Or reason coldly of your grievances.
                Here all eyes gaze on us.

                             MERCUTIO
                Men's eyes were made to look, and
                let them gaze.
                I will not budge for no man's
                pleasure, I.

    At that moment, Romeo's car pulls into the lot.  Tybalt
    smiles.

                             TYBALT
                Well sir, here comes my man.

    Tybalt moves toward Romeo who bounds from his car full of
    happy news.

                             TYBALT
                Romeo, the love I bear thee can
                afford
                No better term than this:

    CLOSE ON: Tybalt.  He clears his jacket from his side arm
    and issues the challenge.

                             TYBALT (CONT.)
                Thou art a villain!

    CLOSE ON: Mercutio.

    CLOSE ON: Benvolio.

    All eyes are on Romeo.

    Romeo calmly approaches his now cousin.

                             ROMEO
                Tybalt, the reason that I have to
                love thee
                Doth much excuse the appertaining
                rage
                To such a greeting: villain am I
                none,
                Therefore farewell.  I see thou
                knowest me not.

    Romeo turns, and to the amazement of all, walks back to his
    car.  Tybalt, unable to shoot him in the back, is confused.
    He hurls himself into his sedan.

    Kicking it into a sand spraying U-turn, he careens the short
    distance to Romeo's car.  Slamming into the back of it he
    blocks Romeo in.

    Tybalt leaps out, maniacally kicking at bumper, door and
    headlights.  Romeo flicks the locks down.  Tybalt shatters
    the side window and hauls Romeo through the door, slamming
    him against the savaged fuselage.

                             TYBALT
                Boy, this shall not excuse the
                injuries
                That thou hast done me!

    He smashes Romeo across the face, Romeo crashes to the
    roadway.

                             TYBALT
                       (yelling)
                Turn and draw.

    A cut has opened in the side of Romeo's mouth.  He unsteadily
    lifts himself up, and meeting Tybalt's gaze, speaks through
    bloodied teeth.

                             ROMEO
                I never injured thee,
                And so, good Capulet, which name I
                tender
                As dearly as mine own...

    Romeo cautiously extracts his gun...

                             ROMEO (CONT.)
                ...be satisfied.

    ...and throws it at Tybalt's feet.

    Storm clouds obscure the sun as Romeo turns and walks from
    the parking lot.

    Mercutio, Benvolio and the others cannot believe their eyes.

                             MERCUTIO
                O calm, dishonourable, vile
                submission!

    EXT.  BEACH - VACANT LOT.  DAY.

    Tybalt's anger must be answered.  He ceremoniously disarms,
    gives his weapon to Abra, and sprints after Romeo who is now
    passing a beach side lot that houses an abandoned grand
    hotel.  A bone-cracking kick sends Romeo crumbling into the
    vacant lot.  The boys swarm toward the fray.

    Romeo, still refusing the fight, scrambles up the stairs of
    the deserted hotel.  Tybalt trips him and Romeo careens into
    an ornamental wooden railing, smashing it to pieces.

    Tybalt kicks savagely at the helpless Romeo.

    Suddenly, Mercutio appears running full tilt down the
    concrete terrace.  He plucks up one of the splintered wooden
    palings and yells...

                             MERCUTIO (CONT.)
                Tybalt, you ratcatcher,

    ...as he bludgeons him across the face.  Tybalt goes down.

                             MERCUTIO (CONT.)
                Will you walk?

    Tybalt leaps to his feet grabbing a lump of wood.

                             TYBALT
                What wouldst thou have with me?

    He swipes at Mercutio.

                             MERCUTIO
                       (avoiding)
                Good King of Cats, nothing but one
                of your nine lives.

    Mercutio jabs, Tybalt sidesteps.

                             TYBALT
                I am for you.

    Tybalt aims a double-handed blow to Mercutio's head.
    Mercutio blocks, hooking Tybalt's stick away.

    Unarmed, Tybalt throws his full body weight upon Mercutio,
    slamming him against a window that shatters in a storm of
    glass.

    Lightning fast, Mercutio jackknifes to his feet.  He raises
    his weapon to deliver a skull-crushing final blow to the
    trapped Tybalt.  Romeo rushes between them.

                             ROMEO
                Forbear this outrage, good Mercutio!

    Seizing the opportunity, Tybalt lunges at Romeo with a
    lethal triangle of broken glass.  He misses, gouging instead
    a slash of flesh from Mercutio's stomach.

    A scream of excruciating pain as Mercutio grabs at his
    bloodied side.  Everyone is still.  In the abrupt silence,
    sirens are heard closing in the distance.  Abra tugs at
    Tybalt.

                             ABRA
                Away Tybalt!

    They bolt for their vehicle.

    Benvolio goes to Mercutio.

                             BENVOLIO
                Art thou hurt?

    But Mercutio, covering his wound with his hand, laughs.

                             MERCUTIO
                Ay, ay, a scratch.

    He turns to his assembled fans at the bottom of the stairs.
    With outrageous bravado he plays at being Caesar the
    conqueror.

                             MERCUTIO (CONT.)
                A scratch!

    The boys cheer their conquering hero.  Romeo helps Mercutio
    down the stairs.

                             ROMEO
                Courage, man.  The hurt cannot be
                much.

    Mercutio holding his bleeding side, jokes through the pain.

                             MERCUTIO
                'Twill serve.  Ask for me tomorrow
                and you shall find me a grave man.

    He turns the next thought to the assembled audience.

                             MERCUTIO (CONT.)
                       (through crazy laughter)
                A plague o' both your houses!

    Mercutio turns from the cheering boys to Romeo who is
    struggling to support his weight.

    Mercutio - through weak and desperate breathing.

                             MERCUTIO (CONT.)
                Why the devil came you between us?
                I was hurt under your arm.

    Romeo starts to register the panic in Mercutio's eyes.

                             ROMEO
                I thought all for the best.

    Like an animal trying to break free from a mortal trap,
    Mercutio pushes Romeo away.  He screams in horror, as if
    falling in the dark:

                             MERCUTIO
                A plague o' both your houses!
                They have made worms' meat of me.

    Mercutio staggers down the stairs and collapses in the dirt.
    Romeo is there instantly, cradling his friend's head out of
    the dust.  The dying boy stares back at Romeo, smiling
    through the chilling cold.

                             MERCUTIO (CONT.)
                       (a silent whisper)
                Your houses!

    Everything stands still, everything is quiet.  The storm
    finally breaks.

    EXT.  BEACH - RAIN.  DAY.

    Tiny drops of water fall from the sky and bespeckle
    Mercutio's lifeless body.  The droplets grow to a heavy rain.
    Romeo can hear the faint sound a thousand miles away of
    Benvolio whispering:

                             BENVOLIO
                Mercutio is dead!

    Tears streak Romeo's face.  He cries out.

                             ROMEO
                Oh sweet Juliet,
                Thy beauty hath made me effeminate
                And in my temper softened valor's
                steel!

    The sound of Tybalt's vehicle starting brings back cold
    reality.  Romeo's sorrow turns to uncontrollable rage.

    Shrugging aside Benvolio's attempts to restrain him, Romeo
    runs to his car.

    EXT.  BEACH - PARKING LOT.  DAY.

    Up ahead Tybalt's sedan screeches into a fishtailing U-turn
    and powers away.

    Romeo jumps into his vehicle.  In an effort to head Tybalt
    off, he guns his damaged machine down a one way street.

    The rain is now blinding.  Romeo stops for nothing;
    pedestrians flee, cars spin out of control.

    EXT.  VERONA BEACH STREETS - FROM AIR.  DAY.

    AERIAL SHOT: The two cars speed along parallel roads toward
    Plaza Jesu.  Romeo is gaining.

    EXT.  VERONA STREET - CHRIST ROUNDABOUT.  DAY.

    CUT TO: Tybalt's car negotiating the immense roundabout at
    the foot of the statue of Jesus.

    EXT.  CHRIST ROUNDABOUT.  DAY.

    CUT TO: Romeo's car firing out of the one way street and
    slamming into Tybalt's car.  Tybalt's car careens out of
    control up the stairs of the statue, clips the fountain,
    flips, and slides upside down onto the roadway.

    CUT TO: Tybalt scrambling from his upturned vehicle.

    CUT TO: Romeo running toward him.

    SUDDENLY Romeo is halted by Tybalt's drawn gun.  Fearlessly
    marching toward it, he screams through tears.

                             ROMEO
                Mercutio's soul
                Is but a little way above our heads,

    Romeo grabs the barrel of the gun; forcing it between his
    own eyes, he growls insanely at Tybalt.

                             ROMEO (CONT.)
                Staying for thine to keep him
                company.

    Tybalt, unnerved, tries to back off.

                             TYBALT
                Thou, wretched boy, shalt with him
                hence.

    Romeo, refusing to let go of the gun, forces Tybalt backward
    through the torrential rain.

                             ROMEO
                       (with frightening intensity)
                Either thou or I, or both, must go
                with him.

    Cars swerve, Romeo is relentless.  He grips Tybalt's hand
    trying to force him to shoot.

                             ROMEO (CONT.)
                Either thou or I, or both, must go
                with him.

    Panicked, Tybalt wrenches free and lurches onto the roadway.
    Blinded by the headlights of an oncoming car he thuds onto
    its hood as it skids to a halt.  The impact catapults his
    gun high into the air.

    Romeo coldly follows its slow motion, spinning trajectory.

    Real time stretches as the gun dances high above his head.
    Police sirens, cars swerving, people screaming, and the
    yelling of panicked commands fade to a nothingness.

    Romeo stands calmly considering the gun in the air.  A
    harrowing symphonic tone and the echo of Mercutio's voice
    can be heard.

                             MERCUTIO (V/O)
                Why the devil came you between us?

    CUT TO: Patrol cars sliding to a halt.

    CUT TO: The spinning gun slowly falling to earth.

    CUT TO: Tybalt rising from the ground.

    CUT TO: Cops leaping from their cars.

    CUT TO: The gun landing in Romeo's hand.  His eyes full of
    rage.

    CUT TO: Cops levelling their revolvers.

                             COP
                       (Romeo in his sights)
                Put up thy weapon.

    CUT TO: Real time - Romeo fires three deliberate shots.
    Tybalt's body convulses backwards against the car, hitting
    it with a thud, bloodying the shattered windscreen.

    The cop fires.  A bullet grazes Romeo's arm - his gun drops
    as he screams.

                             ROMEO
                O, I am fortune's fool!

    At that moment a roaring hurricane wind hits; blinding police.

    CLOSE ON: The scaffolding surrounding the Jesus statue.
    Part of it's canvas covering rips away.  Scaffold rains down
    as the insanely flapping material tries to smash free from
    it's moorings.

    Through the mayhem, a rusty Ford driven by Balthasar, slides
    to a halt.

    Balthasar screams out at Romeo.

                             BALTHASAR
                Romeo, away be gone!  Stand not
                amazed!

    Romeo collapses into the front seat.

    The cops open fire as Balthasar speeds off into the storm.

    INT.  BALTHASAR'S CAR.  AFTERNOON.

    Romeo is bleeding from the bullet graze.

    EXT.  CAUSEWAY.  AFTERNOON.

    The gale-force winds throw waves across the causeway as the
    fugitives disappear into the black afternoon.

    CRANE UP: In the distance we see Montague and Capulet towers.
    Divided by the statue of Christ, they suffer the storm's rage.

    EXT.  MONUMENT.  AFTERNOON.

    Away, below the outstretched arms of Christ, lights from
    emergency vehicles pulse red through the downpour.

    THE CAMERA: Falls through heavy rain toward a woman crouched
    over the lifeless body of Tybalt.

    She cries:

                             GLORIA
                Tybalt!

    Cops nervously eye Fulgencio Capulet and Ted Montague, who,
    both flanked by body guards, face each other across the
    crime scene.  Medics stand by helplessly as Gloria clings to
    Tybalt's body.  A handcuffed Benvolio looks on.

                             GLORIA (CONT.)
                Tybalt, my cousin, O my brother's
                child!
                O, the blood is spilled of my dear
                kinsman.

    Police lines part as Captain Prince arrives.

                             CAPTAIN PRINCE
                Where are the vile beginners of
                this fray?

    Benvolio struggles forward.

                             BENVOLIO
                O noble Prince I can discover all
                The unlucky manage of this fatal
                brawl.

    Gloria appeals hysterically:

                             GLORIA
                Prince as thou art true,
                For blood of ours shed blood of
                Montague!

                             CAPTAIN PRINCE
                Benvolio, who began this bloody fray?

                             BENVOLIO
                       (pointing to Tybalt's corpse)
                There lies the man, slain by young
                Romeo,
                That slew thy kinsman brave Mercutio.

    Gloria interjects savagely.

                             GLORIA
                He speaks not true!  Affection
                makes him false!

                             BENVOLIO
                Romeo, that spoke him fair, could
                not take
                Truce with the unruly spleen of
                Tybalt
                Deaf to peace!

                             GLORIA
                He is a kinsman to the Montague!
                I beg for justice which thou Prince
                must give.
                Romeo slew Tybalt, Romeo must not
                live!

    Captain Prince turns to Gloria.
                             CAPTAIN PRINCE
                Romeo slew him, he slew Mercutio.
                Who now the price of his dear blood
                doth owe?

    Ted Montague pleads:

                             MONTAGUE
                Not Romeo, Prince, he was Mercutio's
                friend; His fault concludes but
                what the law should end,
                The life of Tybalt.

    Captain Prince eyes Montague coldly.

                             CAPTAIN PRINCE
                And for that offence
                Immediately we do exile him.

    Montague, body guards in tow, surges forward.

                             MONTAGUE
                Noble Prince...?

    Prince silences him.

                             CAPTAIN PRINCE
                I will be deaf to pleading and
                excuses;
                Nor tears nor prayers shall purchase
                out abuses.
                Therefore use none.

    The Captain turns and addresses his assembled officers.

                             CAPTAIN PRINCE (CONT.)
                Let Romeo hence in haste,
                Else, when he is found that hour is
                his last.

    CLOSE ON: Captain Prince.

                             CAPTAIN PRINCE (CONT.)
                Bear hence this body and attend our
                will.
                Mercy but murders, pardoning those
                that kill.

    INT.  JULIET'S BEDROOM.  AFTERNOON.

    An acoustic guitar version of Joy Division's 'Love Will Tear
    Us Apart.' Juliet traces the path of a raindrop on the
    window pane as she speaks her thoughts to the storm.

                             JULIET
                Come gentle night, coming loving
                black browed night,
                Give me my Romeo.  And when I shall
                die,
                Take him and cut him out in little
                stars,
                And he will make the face of heaven
                so fine
                That all the world will be in love
                with night,
                And pay no worship to the garish
                sun.
                O, I have bought the mansion of a
                love
                But not possessed it, and though I
                am sold,
                Not yet enjoyed.  So tedious is
                this day
                As is the night before some festival
                To an impatient child that hath new
                robes
                And may not wear them.

    EXT.  CAPULET'S MANSION - DRIVEWAY.  AFTERNOON.

    Juliet's P.O.V.: The limousine pulls into the driveway.

    PULL OUT: Of the window and CRANE DOWN: Juliet runs from the
    room.

    EXT.  CAPULET MANSION.  AFTERNOON.

    Through the open doorway we see an excited Juliet meet the
    Nurse at the bottom of the stairs.

    The music surges.

    TRACK IN: The Nurse's words are lost in the storm.

    Juliet buckles.

    INT.  CAPULET MANSION.  AFTERNOON.

    We are close enough now to hear Juliet's words.

                             JULIET
                Oh God!  Did Romeo's hand shed
                Tybalt's blood?

                             NURSE
                It did, it did!  Alas the day, it
                did!

                             JULIET
                Oh serpent heart, hid with a
                flowering face.
                Was ever book containing such vile
                matter
                So fairly bound?  O, that deceit
                should dwell
                In such a gorgeous palace!

                             NURSE
                There's no trust, No faith, no
                honesty in men.  All perjured,
                All forsworn, all naught, all
                dissemblers.
                Shame come to Romeo.

                             JULIET
                Blistered be thy tongue
                For such a wish!  He was not born
                to shame.  Upon his brow shame is
                ashamed to sit.

                             NURSE
                Will you speak well of him that
                killed your cousin?

                             JULIET
                Shall I speak ill of him that is my
                husband?
                Ah, poor my lord, what tongue shall
                smooth thy name
                When I, thy three-hours wife have
                mangled it?
                But whyfore, villain, didst thou
                kill my cousin?
                That villain cousin would have
                killed my husband.
                All this is comfort, wherefore weep
                I then?
                Some word there was worser than
                Tybalt's death:
                I would forget it fain - exiled.
                Tybalt is dead, and Romeo exiled.
                To speak that word is father,
                mother,
                Tybalt, Romeo, Juliet, all slain,
                All dead.

    Juliet sinks to the floor, overwhelmed by tears.

                             JULIET (CONT.)
                Nurse, I'll to my wedding bed,
                And death, not Romeo, take my
                maidenhead.

    Nurse looks down at Juliet.  She goes and comforts her.

                             NURSE
                Hie to your chamber.  I'll find
                Romeo
                To comfort you.  I know well where
                he is.
                Hark ye, your Romeo will be here at
                night.

    Juliet looks up through tears.

                             JULIET
                O find him, give this ring to my
                true knight,
                And bid him come to take his last
                farewell.

    SLAM MACRO ZOOM: Into the ring.  The screen fills with the
    words 'I love thee'.

    INT.  PRESBYTERY BEDROOM.  NIGHT.

    Romeo lies on the bed shirtless and crying.  His wound has
    been bandaged and Balthasar crouches frightened in the corner.

    The priest leads the Nurse into the room.

    Romeo looks up.

                             ROMEO
                Nurse!

    She goes to him.

                             NURSE
                Ah sir!  Ah sir!  Death's the end
                of all.

                             ROMEO
                Speakest thou of Juliet?
                Where is she?  And how doth she?
                And what says
                My concealed lady to our cancelled
                love?

                             NURSE
                O, she says nothing, sir, but weeps
                and weeps,
                And then on Romeo cries, and then
                falls down again.

    Romeo is wailing inconsolably.
                             ROMEO
                As if that name,
                Shot from the deadly level of a
                gun,
                Did murder her, as that name's
                cursed hand murdered her kinsman!

    Father Laurence shakes the hysterical boy.

                             FATHER LAURENCE
                I thought thy disposition better
                tempered!
                Thy Juliet is alive, There art thou
                happy.
                The law that threatened death
                becomes thy friend
                And turns it to exile.  There art
                thou happy.
                A pack of blessings light upon thy
                back.

    Romeo calms.  The Nurse gives him the ring.

                             NURSE
                Here sir, a ring my lady bid me
                give you.

    Romeo enfolds the ring in his hand.

                             ROMEO
                How well my comfort is revived by
                this.

    The priest goes to his wardrobe, removes a clean white shirt
    and helps Romeo put it on.

                             FATHER LAURENCE
                Go, get thee to thy love, as was
                decreed.
                Ascend her chamber.  Hence and
                comfort her.
                But look thou stay not till the
                Watch be set,
                For then thou canst not pass to
                Mantua where thou shalt live till
                we can find a time
                To blaze your marriage, reconcile
                your friends,
                Beg pardon of the Prince and call
                thee back,
                With twenty hundred thousand times
                more joy
                Than thou wentst forth in
                lamentation.

    Father Laurence ushers Romeo from the room.

    INT.  HALLWAY.  NIGHT.

    They hurry down the hallway.

    The priest opens the front door.

                             FATHER LAURENCE
                Go hence.  Be gone by the break of
                day
                Sojourn in Mantua.  Give me thy hand.

    Romeo embraces him.

                             ROMEO
                Farewell.

    The priest and Balthasar watch as Romeo and the Nurse sprint
    for the car.

    INT.  CAPULET MANSION.  NIGHT.

    Sobs echo through the house.

    Dave Paris stands in the entrance hallway clutching a huge
    bunch of flowers.

    Fulgencio Capulet stands beside him, whisky glass in hand.

    CUT TO: Gloria on the upper landing.  There is a strange
    faraway quality about her as she descends to Dave and Capulet.

                             GLORIA
                She'll not come down tonight.

    Dave, an understanding smile.

                             DAVE
                These times of woe afford no times
                to woo.

    Capulet guides Dave into the house.

                             CAPULET
                Look you, she loved her kinsman
                Tybalt dearly.

                             GLORIA
                       (joining)
                And so did I.

                             CAPULET
                       (a cold glance at Gloria)
                Well, we were born to die.

    Capulet takes a large slug of whisky.  Gloria leans close to
    Dave.

                             GLORIA
                I'll know her mind early tomorrow.
                Tonight she's mewed up to her
                heaviness.

    As Gloria, Dave and Capulet exit down the hallway we CRANE
    UP: toward Juliet's bedroom door.

    INT.  JULIET'S BEDROOM.  NIGHT.

    CLOSE ON: Juliet's face.  Tears stream onto the pillow.
    Without warning a hand lightly touches her cheek.  Juliet's
    eyes dart up to discover Romeo standing above her.

    A still moment of disbelief.  Leaning down, Roemo kisses
    away the tears that fall from her dark, wide eyes.

    Juliet's lips find Romeo's and they gently sink back onto
    the bed.

    INT.  SITTING ROOM.  NIGHT.

    Capulet sits in an armchair drinking.  Dave and Gloria sit
    opposite as Capulet whips himself into a frenzy of drunken
    excitement.

                             CAPULET
                We'll keep no great ado - a friend
                or two.
                For, hark you, Tybalt being slain
                so late,
                It may be thought we held him
                carelessly,
                Being our kinsman if we revel
                much -
                But soft what day is this?

                             DAVE
                Monday my lord.

                             CAPULET
                Well Wednesday is too soon - what
                say you to Thursday?

    Gloria looks up alarmed; Dave is stunned.

                             DAVE
                My lord I...

                             CAPULET
                       (leaning close)
                I will make a desperate tender of
                my child's love.
                       (a drunken good humour)
                I think she will be ruled in all
                respects by me;
                       (exploding with
                       hearty laughter)
                Nay, more, I doubt it not!

    CUT TO: Gloria, her face hardens.

                             CAPULET
                       (to Dave)
                But what say you to Thursday?

    Dave is trying to catch up.

                             DAVE
                My lord I...

    CUT TO: Capulet he eyes Dave intently.

                             DAVE (CONT.)
                I would that Thursday were tomorrow.

    Delighted, Capulet jumps to his feet.

                             CAPULET
                A Thursday let it be then!

    Capulet holds out his glass in toast.  Dave and Gloria rise.

                             CAPULET
                Wife, go you to Juliet ere you go
                to bed.
                Tell her, a Thursday she shall be
                married
                To this noble sir!

    CLOSE ON: The glasses clink.

    EXT.  CAPULET ESTATE.  DAWN.

    A pink and gold dawn breaks over Capulet Mansion.

    INT.  JULIET'S BEDROOM.  DAWN.

    A tangle of young limbs.

    Romeo and Juliet blissfully asleep.  The dawn light creeps
    into the room.

    EXT.  CAPULET ESTATE.  DAWN.

    Balthasar's car covertly pulls into a side road near the
    estate.

    INT.  JULIET'S BEDROOM.  DAWN.

    Romeo and Juliet still asleep.

    CRANE DOWN: Toward the sleeping innocence of the faces.

    HOLD: A shadow of fear passes across Romeo's features.

    With a cry of panic, he sits bolt upright.

    Wide awake, but disorientated, Romeo stares around the
    room - as Juliet stirs, he remembers where he is.

    Slipping quietly from the bed, Romeo begins to dress.

    CLOSE ON: Romeo.  A pair of lips enter frame and find his
    neck.  It is Juliet.  She hugs herself to him.

                             JULIET
                Wilt thou be gone?  It is not yet
                near day.

    Romeo turns - softly he strokes her cheek.

                             ROMEO
                I must be gone and live, or stay
                and die.

    Juliet kisses his finger-tips.

                             JULIET
                Yond light is not daylight,

    And then his cheek...

                             JULIET (CONT.)
                I know it, I
                It is some meteor that the sun
                exhales
                To light thee on thy way to Mantua.
                Therefore stay yet.  Thou needest
                not to be gone.

    Romeo, feverishly returning the kisses, throws himself on
    Juliet.

                             ROMEO
                Let me be taken, let me be put to
                death.
                I have more care to stay than will
                to go.
                Come, death, and welcome!  Juliet
                wills it so.

    Juliet is suddenly still.  Romeo kisses her gently.

                             ROMEO (CONT.)
                How is't, my soul?  Let's talk.  It
                is not day.

    Juliet pulls Romeo to his feet.

                             JULIET
                It is, it is!  Hie hence, be gone,
                away!
                O, now be gone!  More light and
                light it grows.

    Frantically she helps him into his clothes.

                             ROMEO
                More light and light: more dark and
                dark our woes.

    There is an urgent knocking on the door.  They freeze.

                             NURSE (O/S)
                Madam!

                             JULIET
                Nurse!

                             NURSE (O/S)
                Your lady mother is coming to your
                chamber.

                             JULIET
                Then, window, let day in, and let
                life out.

    Desperately Juliet pulls Romeo out onto the balcony.

    EXT.  BALCONY.  DAWN.

    The storm, now past, has left a morning achingly pure.

                             ROMEO
                Farewell, farewell.  One kiss, and
                I'll descend.

    Romeo climbs down from the balcony and into the shadows.

                             JULIET
                O, think'st thou we shall ever meet
                again?

    Romeo smiles up at her.

                             ROMEO
                I doubt it not;

    Juliet's face darkens.

                             JULIET
                O God, I have an ill-divining soul.
                Methinks I see thee, now thou art
                so low,
                As one dead in the bottom of a tomb.

    Romeo scrambles back up to the balcony.

                             ROMEO
                Trust me, love, all these woes
                shall serve
                For sweet discourses in our times
                to come.

    From Juliet's bedroom comes the brittle sound of Gloria
    Capulet's voice.

                             GLORIA
                Ho daughter!  Are you up?

    Juliet spins around.  Gloria has parted the curtains and is
    staring directly at her daughter.

                             GLORIA
                Well, well.

    CUT TO: Romeo sheltered just below the lip of the balcony.

    FOLLOW: His hand, as it slowly reaches up and touches
    Juliet's fingers hidden behind her back.

    Gloria returns to the room.  Juliet steals a glance toward
    Romeo as he silently mouths:

                             ROMEO
                Adieu, adieu!

    As Romeo's face disappears into the shadows Juliet whispers
    a little prayer to herself.

                             JULIET
                O Fortune, Fortune!  Be fickle,
                Fortune,
                Fo then I hope thou wilt not keep
                him long
                But send him back.

    INT.  JULIET'S BEDROOM.  DAWN.

    Juliet is trying not to cry as she goes in to her mother.
    Gloria turns to her.

                             GLORIA
                Thou hast a careful father, child:
                One who, to put thee from thy
                heaviness,
                Hath sorted out a sudden day of joy
                That thou expects not nor I looked
                not for.

    Juliet plays along.

                             JULIET
                Madam, in happy time.  What day is
                that?

    Gloria takes a deep breath.

                             GLORIA
                Marry, my child, early next Thursday
                morn
                The gallant, young, and noble
                gentleman,
                Sir Paris, at Saint Peter's Church,
                Shall happily make thee there a
                joyful bride.

    CLOSE ON: Juliet.  She can barely speak.

                             JULIET
                Now by Saint Peter's Church, and
                Peter too,
                He shall not make me there a joyful
                bride!

    Fear passes across Gloria's face.

                             GLORIA
                Here comes your father.  Tell him
                so yourself.

    Capulet - whisky glass in hand - ebulliently bursts into the
    room.

                             CAPULET
                How now, wife?
                Have you delivered to her our decree?

                             GLORIA
                Ay, sir.  But she will none, she
                gives you thanks.
                I would the fool were married to
                her grave!

    Capulet - a dangerous calm.

                             CAPULET
                How?  Will she none?
                Is she not proud?  Doth she not
                count her blest,
                Unworthy as she is, that we have
                wrought
                So worthy a gentleman to be her
                bride?

                             JULIET
                Not proud you have, but thankful
                that you have.
                Proud can I never be of what I hate.

    PAUSE: Capulet considers his daughter, then -

    BAM!  He hurls his glass against the wall, shattering it
    into a thousand pieces.

                             CAPULET
                Thank me no thankings, nor proud me
                no prouds,
                But fettle your fine joints 'gainst
                Thursday next ...

    Capulet advances.  Juliet, terrified, retreats into the
    hallway.

                             JULIET
                Hear me with patience but to speak
                a word...

    INT.  LANDING.  DAY.

    The Nurse appears as Capulet picks his daughter up and
    shakes her like a rag doll.

                             CAPULET
                Speak not, reply not, do not answer
                me!

    He throws her to the floor.  His fist thuds as it slams into
    her face.

                             GLORIA
                       (screaming)
                Fie, fie!  What are you mad?

    Gloria tries to restrain Capulet.  He back-hands her,
    sending her flying against the wall - bellowing insanely, he
    advances on his cowering daughter.

                             CAPULET
                Hang thee, young baggage!
                Disobedient wretch.

    The Nurse throws herself between Capulet and Juliet.

                             NURSE
                God in heaven bless her!
                You are to blame, my lord, to rate
                her so.

    Furious, Capulet shunts her aside.

                             CAPULET
                Peace, you mumbling fool!

    Capulet yanks his daughter's face close to his.

                             CAPULET (CONT.)
                I tell thee what - get thee to
                church a Thursday
                Or never after look me in the face.
                And you be mine, I'll give you to
                my friend.
                And you be not, hang, beg, starve,
                die in the streets,
                Trust to it.  Bethink you.  I'll
                not be forsworn.

    Capulet storms off down the hall.

    CLOSE ON: Juliet.  She huddles, shaking at the top of the
    stairs.

                             JULIET
                O sweet my mother, cast me not
                away!
                Delay this marriage for a month, a
                week.
                Or if you do not, make the bridal
                bed
                In that dim monument where Tybalt
                lies.

    A trickle of blood issues from Gloria's cut lip.  She checks
    her appearance in the hall mirror.

                             GLORIA
                Talk not to me, for I'll not speak
                a word.
                Do as thou wilt, for I have done
                with thee.

    Gloria leaves.

                             JULIET
                O God! - O Nurse, how shall this be
                prevented?

    The Nurse doesn't reply.

                             JULIET (CONT.)
                What sayest thou?  Hast thou not a
                word of joy?
                Some comfort, Nurse.

    A heavy silence.

    The Nurse goes to Juliet.

                             NURSE
                Faith, here it is.
                I think it best you married with
                this Paris.
                O, he's a lovely gentleman!
                I think you are happy in this
                second match,
                For it excels your first; or if it
                did not,
                Your first is dead - or 'twere as
                good he were
                As living here and you no use of him.

    Juliet is very still.

                             JULIET
                Speakest thou from thy heart?

                             NURSE
                And from my soul too.  Else beshrew
                them both.

                             JULIET
                Amen.

                             NURSE
                       (unsure)
                What?

    Juliet is matter of fact.

                             JULIET
                Well, thou hast comforted me
                marvellous much.
                Go in; and tell my lady I am gone,
                Having displeased my father, to
                Friar Laurence,
                To make confession and to be
                absolved.

    The old woman nods.  She strokes Juliet's hair.

                             NURSE
                This is wisely done.

    Juliet does not look up.

    A disturbing choral chant:

                                                DISSOLVE TO:

    INT.  CHURCH.  DAY.

    Sunlight pierces stained glass - the chant a sinister
    underscoring.  We hear Dave Paris' voice:

                             DAVE (O/S)
                Immoderately she weeps for Tybalt's
                death...

    CRANE DOWN: Father Laurence and Dave Paris stand at the
    front of the church.

                             DAVE (CONT.)
                ...Now, sir, her father counts it
                dangerous
                That she doth give her sorrow so
                much sway,
                And in his wisdom hastes our
                marriage
                To stop the inundation of her
                tears...

    Father Laurence turns.  Juliet stands framed in the white
    glare of the doorway.

    Dave smiles.

                             DAVE
                Happily met, my lady and my wife.

    CLOSE ON: Juliet's hand concealed beneath her coat - we can
    just see the handle of a gun.

    Juliet advances slowly, an icy calm:

                             JULIET
                That may be, sir, when I may be a
                wife.

                             DAVE
                That 'may be', must be, love, on
                Thursday next.

    Juliet stares past Dave.

                             JULIET
                What must be, shall be.

    Father Laurence, a forced cheerfulness.

                             FATHER LAURENCE
                That's a certain text.

                             DAVE
                Come you to make confession?

    Juliet forces a smile.

                             JULIET
                Are you at leisure, holy father,
                now?
                Or shall I come to you at evening
                mass?

                             FATHER LAURENCE
                My leisure serves me, pensive
                daughter, now.
                       (to Dave)
                We must entreat the time alone.

                             DAVE
                God shield I should disturb
                devotion! - Juliet, on Thursday
                early will I rouse ye;

    Dave bends.

    CLOSE ON: Juliet; she stares stonily ahead as Dave kisses
    her cheek.

                             DAVE (CONT.)
                Till then, adieu, and keep this
                holy kiss.

    Dave leaves.

    TRACK WITH: Juliet; she runs for the sacristy.

    The priest follows.

    INT.  SACRISTY.  DAY.

    Juliet, shaking with sobs takes refuge in the shadows of the
    small room.

    The priest goes to her.

                             FATHER LAURENCE
                O Juliet, I already know thy grief.

    Juliet pulls away.

                             JULIET
                Tell me not, Father, that thou
                hearest of this,
                Unless thou tell me how I may
                prevent it.

                             FATHER LAURENCE
                It strains me past the compass of
                my wits.

                             JULIET
                       (desperately)
                If in thy wisdom thou canst give no
                help
                Do thou but call my resolution
                wise,
                And with this I'll help it presently!

    She pulls the gun, pointing it towards herself.

    Horrified, Father Laurence moves to her.

    Juliet, panicked, levels the gun at him.

                             FATHER LAURENCE
                Hold daughter!

                             JULIET
                       (through tears)
                Be not so long to speak.  I lone to
                die!

    Father Laurence holds out a soothing hand.

                             FATHER LAURENCE
                I do spy a kind of hope,
                Which craves as desperate an
                execution
                As that is desperate which we would
                prevent.
                If, rather than marry Paris,
                Thou hast the strength of will to
                slay thyself,
                Then it is likely thou wilt
                undertake
                A thing like death...

    We hear the distended chords of Fauré's Requiem.

                             FATHER LAURENCE (CONT.)
                to chide away this shame...

    It continues throughout as;

    The entire screen fills with a glinting tear drop of blue
    liquid.

    Reflected in the fluid's convex surface, the face of Father
    Laurence.

    The face disappears as the tear drop falls and splashes into
    a clear water solution.

    Like a comet in slow motion, the drop stains the water a
    cobalt hue.

    INT.  GREENHOUSE WORKROOM.  DAY.

    PULL BACK: The blue liquid fills a tiny glass vial held by
    Father Laurence.

                             FATHER LAURENCE (CONT.)
                No warmth, no breath shall testify
                thou livest.
                Each part, deprived of supple
                government,
                Shall stiff and stark and cold
                appear, like death.
                Now when the bridegroom in the
                morning
                Comes to rouse thee from thy bed,
                there art thou, dead.
                Thou shalt be borne to that same
                ancient vault
                Where all the kindred of the
                Capulets lie.
                In the meantime, against thou shalt
                awake,
                Shall Romeo by my letters know our
                drift,
                And hither shall he come.
                And that very
                Night shall Romeo bear thee hence
                to Mantua.

    The priest cautiously hands Juliet the vial.

                             FATHER LAURENCE (CONT.)
                Take thou this vial, being then in
                bed,
                And this distilling liquor drink
                thou off.
                I'll send my letters to thy lord
                with speed to Mantua.

    EXT.  CHURCH.  DAY.

    As Father Laurence speaks, the screen fills with an express
    envelope addressed "Romeo - Mantua." The envelope pulls away
    from the camera and falls into a canvas bag brimming with
    hundreds of like envelopes.

    TRACK: With the canvas bag.  It continues its journey into
    the back of an express delivery van.

    Heavy double doors slam shut, filling the screen with the
    slogan 'Speed Express.'

    The van pulls away.

                                                DISSOLVE TO:

    EXT.  MANTUA.  DAY.

    A burning red sun is setting over an endless vista of ragged
    wasteland.

    CRANE DOWN: A weathered sign reads - Mantua: Behind it a
    vast colony of permanent trailer homes stretches into the
    distance.

    The rap, rap, rap of knocking echoes through the park...

    CUT TO: The source of the knocking.  An express delivery
    man, envelope in hand, raps vigorously on the door of an
    unremarkable trailer.

    INT.  TRAILER.  DAY.

    TOPOGRAPHICAL SHOT: Romeo lies flat on a single bed in the
    crampled trailer.

    The rap, rap, rap is very loud now.  We move toward Romeo
    and realise he cannot hear the knocking because he has
    Walkman headphones on.

    EXT.  TRAILER.  DAY.

    Unsuccessful, the delivery man is filling out a "WE CALLED"
    card.  He pushes it under the door.

                                                DISSOLVE TO:

    INT.  CAPULET MANSION.  NIGHT.

    The heraldic 'Wedding Chimes' by JS Bach.  Juliet stands
    resplendent in a radiant bridal gown.  The image floats
    ethereally in a towering slab of mirror.

    PULL OUT: From the mirror.  The wedding dress is in fact
    being held in front of Juliet by two members of the house
    staff.  Juliet is dressed in her night gown.  The Nurse
    suggests various pairs of shoes.

                             JULIET
                       (disinterested)
                Ay, these attires are best.

    The fuss dispensed with, the staff leave.

                             JULIET
                But, gentle Nurse,
                I pray thee leave me to myself
                tonight.

                             NURSE
                Why Bride?

    Juliet navigates the Nurse toward the door.

                             JULIET
                       (almost in tears)
                To move the heavens to smile upon
                my state,
                Which, well thou knowest, is cross
                and full of sin.

    Juliet holds the Nurse in a pleading stare.  She leaves.

    Alone now, Juliet hurries to her bedside drawer.  She
    cautiously removes a rolled piece of cloth from which she
    produces the glass vial.

                             JULIET
                       (whispers)
                What if this mixture do not work at
                all?
                Shall I be married then tomorrow
                morning?

    She cautiously begins to unscrew the tiny black lid.
    Suddenly, a knock at her door.  Palming the vial, Juliet
    swings around to meet the arrival of her mother.  Gloria
    probes her daughter's uneasiness.

                             GLORIA
                What, are you busy, ho?  Need you
                my help?

                             JULIET
                       (makes light of it)
                No, madam.  We have culled such
                necessaries
                As are behoveful for our state
                tomorrow.
                So please you, let me now be left
                alone,
                And let the Nurse this night sit up
                with you.

    Juliet begins to pull down the covers on her bed.

                             JULIET (CONT.)
                For I am sure you have your hands
                full all
                In this so sudden business.

    Gloria, sensing Juliet's distress, moves cautiously toward
    her.  Taking hold of the bed covers she helps her daughter
    into bed.

                             GLORIA
                Good night.

    Juliet slides into bed.  Gloria covers her with the blanket.

                             GLORIA (CONT.)
                Get thee to bed, and rest, for thou
                hast need.

    A brief moment between mother and daughter.  Gloria, unable
    to cross that final barrier, moves to the door; but she is
    stopped by the urgency in Juliet's voice.

                             JULIET
                Farewell!

    Gloria turns to Juliet.

                             JULIET (CONT.)
                God knows when we shall meet again.

    CLOSE ON: Gloria.  A faint perplexity, and then with an
    almost warm smile she turns out the light and leaves.

    The room is in darkness but for patterns of moonlight
    through windows.

    TRACK: Toward Juliet.  The sombre tones of Fauré's Requiem
    seep into our consciousness.

                             JULIET
                I have a faint cold fear thrills
                through my veins
                That almost freezes up the heat of
                life.

    She brings the vial her mouth.

                             JULIET (CONT.)
                Come, vial.  Romeo, I drink to thee.

    Juliet drinks, a sudden violent convulsion, her face contorts
    in fear.

                                                DISSOLVE TO:

    EXT.  CAPULET ESTATE.  DAY.

    The sky is filled with green and grey clouds.  A gusty rain
    blows the flower arrangements across the lawn.  Large white
    wedding marquees flap in the wind.

    Through blurring rain, we see ambulances and police vehicles,
    lights flashing.  Father Laurence, accompanied by a dour
    looking man in black, alights from his car.  We follow their
    P.O.V.: We hear snatches of radio calls.

                             MEDIC ONE (OVER RADIO)
                Mortal drugs?

                             MEDIC TWO (OVER RADIO)
                Of lethal quantity as 'twould
                render death.

    INT.  CAPULET MANSION - DINING ROOM.  DAY.

    They enter the house and pass the vast dining room, bedecked
    with wedding decorations.

    Capulet sits at the large mahogany table.  In the background
    Gloria stares vacantly.

    Moving swiftly toward a doorway, the music builds.

    INT.  CAPULET MANSION - JULIET'S BEDROOM.  DAY.

    The door opens.  On the bed Juliet's still body.  Father
    Laurence closes the door.  The priest kneels and hastily
    examines Juliet's pupils.  He looks to the man in black who
    retrieves the glass vial from the floor and pockets it.

                             FATHER LAURENCE
                       (to the man in black)
                As the custom is,
                In all her best array bear her to
                church.

    When the man in black allows two other dark suited men into
    the room, it becomes clear he is the undertaker.

                             UNDERTAKER
                She shall be borne to that same
                ancient vault
                Where all the kindred of the
                Capulets lie.

    INT.  MAUSOLEUM.  DAY.

    A thousand voices proclaim the 'Song of Ascension.'

    PAN DOWN: From the vaulting glass ceiling of the Capulet
    mausoleum.

    On view, enshrined in literally thousands of lit candles, is
    Juliet's peaceful body.

    We move through lines of Capulet mourners.  In the shadows
    of the front door a young man hides.

    CLOSE ON: The young man.  We recognise the distressed face
    of Balthasar.

    PUSH IN: Balthasar rushes from the Mausoleum.

    EXT.  MANTUA.  DAY.

    We are high above Mantua.  Beyond the trailer park stretches
    a long ribbon of black highway.

    As a Speed Express van turns off the highway and into the
    park, we hear Romeo's voice over:

                             ROMEO (V/O)
                If I may trust the flattering truth
                of sleep
                My dreams presage some joyful news
                at hand...

    CRANE DOWN: The Express van pulls up at the front office.
    The driver alights and goes inside.

    INT.  TRAILER.  DAY.

    Romeo sits at the trailer's small kitchen table smoking and
    writing in his notebook.  The "WE CALLED" card lies next to
    an overflowing ashtray.

    His voice over continues.

                             ROMEO (V/O)
                And all this day an unaccustomed
                spirit
                Lifts me above the ground with
                cheerful thoughts.
                I dreamt my lady came and found me
                dead
                And breathed such life with kisses
                in my lips
                That I revived and was an emperor.
                Ah me, how sweet is love itself
                possessed
                When but love's shadows are so rich
                in joy.

    Stubbing out his cigarette, Romeo gazes through the trailer
    window to see Balthasar's speeding car turn off the highway
    and into the trailer park.

                             ROMEO
                News from Verona!

    An excited Romeo rushes from the trailer.

    EXT.  TRAILER PARK.  DAY.

    CRANE HIGH: Romeo sprints across open ground to intercept
    Balthasar's car.  We see, but Romeo cannot, the Express van
    approaching from the office.  The car slews to a halt and
    Balthasar jumps out.

    Romeo yells joyously.

                             ROMEO
                How now, Balthasar?

    Bathlasar cannot speak.

                             ROMEO (CONT.)
                Dost thou not bring me letters from
                the Priest?
                How doth my lady?  Is my father
                well?
                How doth my lady Juliet?  That I
                ask again,
                For nothing can be ill if she be
                well.

    Balthasar does not know how to say what he has come to tell.
    He looks away.

                             BALTHASAR
                Then she is well and nothing can be
                ill.
                Her body sleeps in Capels' monument,
                And her immortal part with angels
                lives.
                I saw her laid low in her kindred's
                vault.

    For a long moment Romeo is profoundly still.  When he
    speaks, it is with a chilling calm.

                             ROMEO
                Is it e'en so?

    Balthasar nods.

    Romeo turns and stares into the distant wasteland.

    CLOSE ON: He speaks with bitter determination.

                             ROMEO
                Then I defy you stars.

    Romeo moves to the car.

                             ROMEO
                I will hence tonight.

    Balthasar tries to restrain him.

                             BALTHASAR
                Have patience...

    Exploding with fury, Romeo throws Balthasar against the
    vehicle.

                             ROMEO
                Leave me!

    CUT TO: The Speed Express messenger.  Returning to his
    truck, the priest's undelivered envelope in his hand, the
    messenger looks toward the two boys.

    CUT TO: The boys.  Balthasar pleads with Romeo.

                             BALTHASAR
                Your looks are pale and wild and do
                import
                Some misadventure.

                             ROMEO
                       (with cold serenity)
                Tush, thou art deceived.
                       (a niggling thought)
                Hast thou no letters to me from the
                Priest?

    Balthasar shakes his head.

    Romeo smiles.

                             ROMEO
                No matter - I will hence tonight.

    Romeo climbs into the passenger seat of the car.  Balthasar
    reluctantly gets behind the wheel.

    As silent tears begin to flow, Romeo turns his face to the
    setting sun.

    PUSH IN: As he whispers:

                             ROMEO
                Well Juliet, I will lie with thee
                tonight.

    Balthasar's car roars out of the park.

    CUT TO: The delivery man.  He looks to the envelope in his
    hand, then gets back into his truck.

    EXT.  HIGHWAY.  NIGHT.

    Balthasar's car speeds along the night-time highway.

    CRANE UP: In the distance the glow of city lights.

    EXT.  ALLEYWAY.  NIGHT.

    Balthasar's car pulls into an alley and stops outside a
    decrepity apartment block.

    INT.  APARTMENT BLOCK.  NIGHT.

    CLOSE ON: A bespectacled eye peers through the crack of a
    partly open doorway.  Below the face, the barrel of a
    shotgun protrudes menacingly.

    CUT TO: Romeo in the dark, paint peeling hallway.

                             ROMEO
                Let me have
                A dram of poison, such soon-
                speeding gear
                As will disperse itself through all
                the veins
                That the life-weary taker may fall
                dead.

    The eye considers, a voice rasps back.

                             APOTHECARY
                Such mortal drugs I have, but
                Verona's law
                Is death to any he that utters them.

    Romeo speaks with fury.

                             ROMEO
                The world is not thy friend, nor
                the world's law.
                Then be not poor, but break it and
                take this.

    Romeo shoves a wad of money at THE APOTHECARY'S face.

    BEAT.  The rattle of a latch chain and the door swings open.

    Standing in the doorway is The Apothecary.  Sixty something,
    he has a face scarred with age and abuse.

                             APOTHECARY
                My poverty, but not my will consents.

    CLOSE ON: Romeo.

                             ROMEO
                I pay thy poverty and not thy will.

    INT.  PRESBYTERY.  NIGHT.

    CLOSE ON: Father Laurence.  He speaks into the telephone
    with concern.

                             FATHER LAURENCE
                Who bore my letter then to Romeo?

    INT.  SPEED EXPRESS DEPOT.  NIGHT.

    A bored clerk is on the other end of the line.  The priest's
    letter is on the counter beside him.

                             CLERK
                I could not sent it - here it is
                again.

    INT.  PRESBYTERY.  NIGHT.

    Father Laurence is worried.

                             FATHER LAURENCE
                By my brotherhood, unhappy fortune!
                The letter was of dear import.
                       (PAUSE: the priest listens)
                Adieu.

    He hangs up the receiver and looks at the wall clock.

                             FATHER LAURENCE (CONT.)
                Now must I to the monument alone.
                Within this hour will fair Juliet
                awake.

    DISSOLVE FROM: The clock to...

    INT.  APOTHECARY'S APARTMENT.  NIGHT.

    CLOSE ON: A cat skitters across a stained formica table.

    PULL BACK: The Apothecary's apartment is filled with cats.
    Dozens of feline eyes glow in the dim room.  Romeo stands
    nervously.  The Apothecary extracts a small chemist's vial
    from inside a 'Statue of Our Lady' table lamp - he now
    speaks with cool professionalism.

                             APOTHECARY
                Drink it off and if you had the
                strength of twenty men it would
                dispatch you straight.

    Romeo takes the vial and hands over the money.

                             ROMEO
                There is my gold - worse poison to
                men's souls
                Than these poor compounds that thou
                mayst not sell.

    INT.  BALTHASAR'S CAR.  NIGHT.

    Motor running, Balthasar waits in the alley outside the
    apartment building.  He checks the rear view mirror and
    freezes.  At the end of the alleyway a police car crawls to
    a halt.

    EXT.  ALLEYWAY.  NIGHT.

    Romeo exits the building, and as he does so, the streetlight
    catches his face.  The Cop's and Romeo's eyes meet.

    INT.  POLICE CAR.  NIGHT.

    CLOSE ON: The cop.

                             COP
                This is that banished haughty
                Montague.

    INT.  BALTHASAR'S CAR.

    Balthasar cracks; he guns the engine and the car lurches
    forward.

    EXT.  ALLEYWAY.  NIGHT.

    Tires screech as Romeo dives into the passenger seat of
    Balthasar's moving vehicle.

    Siren blaring, the police car gives chase.

    AERIAL SHOT.  NIGHT.

    Balthasar's car winds through traffic - the patrol car
    gaining.

    EXT.  ANOTHER PART OF TOWN.  NIGHT.

    A police car U-turns over a median strip.

    EXT.  BALTHASAR'S CAR.  NIGHT.

    TIGHT ON: A rusted brown hood.

    The tortured engine screams as Balthasar negotiates the
    speeding car through city traffic.

    CRANE UP: Red and blue police light approach fast.

    INT.  PRECINCT OFFICE.  NIGHT.

    Captain Prince barrels through the corridors of police
    headquarters pulling on his flying jacket.

    EXT.  STREET.  NIGHT.

    TIGHT ON: A smoking tire as it lays rubber to the asphalt.

    Balthasar grits his teeth as he weaves the car through the
    impossibly tight space between a container truck and a bus.

    WHIP PAN: The patrol car is almost upon them when... in a
    seemingly suicidal manoeuvre Balthasar throws his car into a
    right-angle turn across four lanes of oncoming traffic.
    Horns blare.

    CUT TO: A skidding, squealing, out of control sedan, braking
    to avoid collision.

    Miraculously, Balthasar's vehicle shoots out of it its path
    and onto the other side of the roadway.

    The sedan slams into the following patrol car.

    EXT.  DRIVEWAY.  NIGHT.

    Balthasar's car speeds into the driveway of the Verona Beach
    Eternal Rest Cemetery.

    INT.  CHOPPER.  NIGHT.

    Captain Prince scans the night time city below.  He speaks
    to the pilot and the chopper banks sharply.

    EXT.  CEMETERY.  NIGHT.

    CLOSE ON: A stone angel etched against the night sky.

    PAN DOWN: Romeo pulls a crowbar from the trunk of the parked
    car.  Police sirens sound in the distance.

    Romeo eyes Balthasar intently.

                             ROMEO
                Upon thy life, whatever thou
                hearest
                Or seest, stand all aloof.  Give me
                the light -

    Balthasar stands motionless - Romeo rips the torch from his
    hands and strides into the cemetery.  Balthasar follows.

                             BALTHASAR
                I do beseech you...

    Romeo turns, punching Balthasar hard; he goes down, blood
    spurting from his nose.

                             ROMEO
                Do not interrupt me in my course or
                By heaven I will tear thee joint by
                joint
                And strew this hungry churchyard
                with thy limbs!

    Balthasar slowly rises.  Both boys are trying hard not to cry.

                             ROMEO (CONT.)
                The time and my intents are savage
                wild,
                More fierce and more inexorable far
                Than empty tigers or the roaring sea.

                             BALTHASAR
                I will be gone and not trouble ye.

    Romeo smiles.

                             ROMEO
                So shalt thou show me friendship.

    They embrace as Romeo whispers.

                             ROMEO (CONT.)
                Live, and be prosperous; and
                farewell, good fellow.

    EXT.  MAUSOLEUM.  NIGHT.

    CLOSE ON: A crowbar wrenches at ornate glass and iron doors.

    PULL BACK: The Gothic structure of the mausoleum rears
    against the night sky.  Romeo frenziedly attacks the gates
    of the small side chapel.

                             ROMEO
                Thou detestable maw, thou womb of
                death,
                Thus I enforce thy rotten jaws to
                open.

    With a final heave the doors scrape open.

    Silence.

    ROMEO'S P.O.V.: An endless marble corridor lit by hundreds
    of tiny flickering eternal flames.

    CLOSE ON: Romeo.  He murmurs:
                             ROMEO
                In despite I'll cram thee with more
                food.

    Suddenly a hurricane wind and whirr of machinery: like a
    huge black insect, Captain Prince's chopper swoops down over
    the mausoleum.

    Romeo is caught in the glare of the chopper's burning arc
    light.  Sirens scream, police units race through the cemetery.
    Blinded, Romeo fires wildly toward the chopper.

    The police cars screech to a halt.

    CLOSE ON: A police marksman in the chopper.  His finger
    squeezes the rifle trigger.

    BANG!  A bullet slams into Romeo's shoulder.  The other cops
    open fire and Romeo is sent reeling backwards into the
    mausoleum in a fusillade of bullets.

    INT.  CHOPPER.  NIGHT.

    An angry Captain Prince bellows into the radio.

                             CAPTAIN PRINCE
                Hold!  Hold!

    The police hold their fire.

    INT.  MAUSOLEUM.  NIGHT.

    Bleeding from the shoulder wound, Romeo drags shut the heavy
    double doors of the chapel.  He bangs off three shots
    through a pane of broken glass and screams at the police.

                             ROMEO
                Stand all aloof!

    EXT.  MAUSOLEUM.  NIGHT.

    Outside the chopper hovers.  Police take up siege positions.
    Captain Prince's voice echoes through the bullhorn.

                             CAPTAIN PRINCE
                Romeo, come forth, come forth.

    INT.  MAUSOLEUM.  NIGHT.

    Romeo uses the crowbar to wedge the doors shut.  He bangs
    off another shot as he yells out at the Police.

                             ROMEO
                Tempt not a desperate man!

    Romeo waits.  There is no response from the cops.

    INT.  CHOPPER.  NIGHT.

    As the chopper settles to earth, Captain Prince speaks into
    the radio.

                             CAPTAIN PRINCE
                Bring forth these enemies Montague
                and Capulet.

    INT.  PRIEST'S CAR.  NIGHT.

    Orange rescue lights reflect through the windshield of the
    priest's car as it crawls past the crashed sedan and police
    vehicle.

    Father Laurence thumps the steering wheel in frustration.

                             FATHER LAURENCE
                Saint Francis be my speed tonight!

    Across the road Police swarm around the entrance to the
    cemetery.

                             FATHER LAURENCE
                Fear comes upon me.
                O, much I fear some ill unthrifty
                thing.

    HOLD ON: The green glow of the car clock as the seconds
    pulse away.

    INT.  MAUSOLEUM.  NIGHT.

    TRACK: Down the marble corridor lit by the eternal flames.

    DISCOVER: Romeo.  He weakly stands at the entrance to the
    viewing chapel.

    The chapel is dark.

    As Romeo's eyes adjust he can just see, picked out by a
    shaft of blue moonlight, the glowing figure of a sleeping
    girl.  He moves down the aisle past the tombs of long-dead
    Capulets.

    Romeo is close now.  He halts as if in the presence of an
    unbelievable vision.  He lights a match and the room glows
    gold.  The warm light reveals a Juliet even more beautiful
    in seeming death.

    Romeo lights some of the hundreds of candles that surround
    her.

                             ROMEO
                O my love, my wife,
                Death, that hath sucked the honey
                of thy breath,
                Hath had no power yet upon thy
                beauty,
                Thou art not conquered.  Beauty's
                ensign yet
                Is crimson in thy lips and in thy
                cheeks,
                And death's pale flag is not
                advanced there.

    Romeo kneels close, as if not wanting to wake a sleeping
    child.  Unconscious tears fall from his eyes as he whispers.

                             ROMEO (CONT.)
                Ah, dear Juliet, why art thou yet
                so fair?
                Shall I believe that unsubstantial
                death
                Is amorous and keeps thee here in
                dark
                To be his paramour?  For fear of
                that
                I still will stay with thee.  Here,
                oh here
                Will I set up my everlasting rest
                And shake the yoke of inauspicious
                stars
                From this world-wearied flesh.

    He lays himself close.

                             ROMEO (CONT.)
                Eyes, look your last.
                Arms, take your last embrace.  And,
                lips, O you
                The doors of breath, seal with a
                righteous kiss...

    Gently Romeo kisses Juliet's lips.  Ever so slightly,
    Juliet's hand moves - Romeo does not notice.

                             ROMEO (CONT.)
                A dateless bargain to engrossing
                death.

    Romeo drinks from the vial; the power of the compound is
    immediate.  He convulses and falls, his head resting on
    Juliet.

                             ROMEO (CONT.)
                       (fighting for breath)
                O true apothecary, thy drugs are
                quick.

    Behind Romeo's head we can see Juliet's eyes opening.  Romeo
    sucks the last few breaths of life into his lungs.  Through
    a blurry consciousness Juliet becomes aware of Romeo.

                             JULIET
                Oh Romeo, what's here?

    Forcing herself up, she cradles his head in her arms.
    Romeo's clear wide eyes stare back, he is completely still
    but for the sound of weak breaths desperately drawn across
    motionless lips.

    Juliet finds the vial clenched in Romeo's hand.  Tears slip
    from her eyes.

                             JULIET (CONT.)
                Drunk all, and left
                No friendly drop to help me after.
                I will kiss thy lips.
                Haply some poison yet doth hang on
                them
                To make me die with a restorative.

    She delicately kisses Romeo's lips.

                             JULIET (CONT.)
                       (a heart-broken whisper)
                Thy lips are warm.

    Desperately the lovers cling to each other.  With all his
    desire to stay alive, Romeo whispers:

                             ROMEO
                Thus with a kiss I die.

    There is no breath.  He is still.  Silence.  Sobbing, Juliet
    hugs the lifeless Romeo to her.

                             JULIET
                Romeo.  O' my true love Romeo.

    She looks to the gun in his hand.

    EXT.  MAUSOLEUM.  NIGHT.

    TRACK: Quickly past Captain Prince and the Capulets taking
    cover behind a patrol car.

    Two police officers urgently convey Montague and his wife
    toward them.

    Discover Father Laurence arriving.

    CUT TO: Father Laurence's P.O.V.: Patrol cars, lights
    flashing, surround the mausoleum.

    He sees, through the open door of a police car, a hand-
    cuffed youth.  It is Balthasar.  Father Laurence hurries to
    him.

    It is dawning on Father Laurence.

                             FATHER LAURENCE
                Balthasar?

                             BALTHASAR
                       (desperately)
                I brought news of Juliet's death...
                And then in post came Romeo from
                Mantua
                To this same place... to this same
                monument.

    CLOSE ON: Father Laurence.

                             FATHER LAURENCE
                How long hath he been there?

                             BALTHASAR
                Full half an hour.

    Father Laurence turns towards the mausoleum.

                             FATHER LAURENCE
                Romeo.
                       (a shock of realisation)
                The lady stirs...

    INT.  MAUSOLEUM.  NIGHT.

    TRACK SLOW TOWARD: Juliet: Sobbing uncontrollably she prises
    the gun from Romeo's hand.

    EXT.  MAUSOLEUM.  NIGHT.

    Father Laurence, desperate, breaks through the police line
    and runs toward the mausoleum.

    CUT TO: The parents and Captain Prince.

                             CAPTAIN PRINCE
                Hold!  Go not forth!

    INT.  MAUSOLEUM.  NIGHT.

    Juliet turns the gun on herself.

    EXT.  MAUSOLEUM.  NIGHT.

    CLOSE ON: Father Laurence, he screams as he mounts the
    mausoleum stairs.

                             FATHER LAURENCE
                The lady stirs!

    CRACK!  The sound of a single gun shot rips through the night.

    CUT TO: Captain Prince.

    CUT TO: The parents, a look of cold shock.

    CUT TO: The priest - his cry echoes through the night.

    INT.  MAUSOLEUM.  NIGHT.

    Juliet lies peacefully on Romeo's chest.  Her eyes awake.  A
    wash of deep red blood floods across them both.  As we move
    away from the forms of the two young lovers lit by a ring of
    candles, the police burst in, guns ready to resolve what has
    already been resolved.  Continuing up, we pass through the
    glass dome of the viewing chapel, and over the building.

    EXT.  MAUSOLEUM.  NIGHT.

    There, huddled at the base of the Mausoleum steps, are the
    Montague and Capulet parents and Father Laurence.

    From high up we see Captain Prince emerge from the Mausoleum
    and speak to the group.  A moment, then their cries float
    gently up.

    EXT.  SKY.  NIGHT.

    We are travelling high into the sky now.  The cries of the
    parents and the buzz of radio calls fade to nothing.

    EXT.  VERONA BEACH STREET - CHRIST ROUNDABOUT-FROM AIR.  DAWN.

    As the sun struggled to rise, we push toward the figure of
    Jesus silently surveying the city.

    EXT.  VERONA BEACH - CHRIST ROUNDABOUT.  DAWN.

    As Jesus' face fills the screen, droplets of water begin to
    streak his cheeks.

    HOLD: Music swells; the droplets grow to a torrent, and a
    heavy rain begins to fall.

    For a long beat, we stay with this image.

    CRANE DOWN: From the Jesus.  A sea of black umbrellas
    stretches back from the steps of Freedom Tower.

    EXT.  FREEDOM TOWER.  DAY.

    At the top of the steps are a pair of flower strewn caskets.
    Before the caskets stand Fulgencia and Gloria Capulet, and
    Ted and Caroline Montague.  They stare with blank,
    uncomprehending sorrow.

    Among the crowd we see the distraught faces of Benvolio,
    Balthasar, Father Laurence and the Nurse.

    The caskets are gently slid into a pair of long black cars.
    Montague and Capulet descend the stairs.  Captain Prince
    blocks their path.  He holds them in his gaze.

                             CAPTAIN PRINCE
                See what a scourge is laid upon
                your hate,
                That heaven finds means to kill
                your joys with love;
                And I, for winking at your discords
                too,
                Have lost a brace of kinsmen.  All
                are punished.

    The Prince steps aside.  The procession moves off.  Montague
    and Capulet look to one another, a moment, and then the two
    adversaries together follow the bodies of their dead children.

    AERIAL SHOT: The rain falls.  Two black cars lead the people
    of Verona Beach in a sorrowful parade.

    As the cars pass beneath the towering effigy of Jesus, the
    image pixilates into a television picture.

    PULL OUT: A TV anchor woman watches the image on a studio
    monitor.

    She turns:

                             ANCHOR WOMAN
                       (to camera)
                A glooming peace this morning with
                it brings:
                The sun for sorrow will not show
                his head.
                Go hence, to have more talk of
                these sad things.
                Some shall be pardoned, and some
                punished,
                For never was a story of more woe
                Than this of Juliet and her Romeo.

    The anchor woman changes beat to the next story; but her
    dialogue fades, and her image gets smaller as the television
    recedes into a black distance.

    The music that reminds us most of these two lost lives
    swells.  When the television is very small it is switched off.

    BLACK SCREEN.  HOLD A BEAT.

                             END CREDITS