SCENES
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Scene Map 60
# PG SLUGLINE
1 2
0 EXT. FOREST - DAY 0
2 2
2 EXT. FOREST - ANCIENT TREE - AFTERNOON 2
3 3
3 INT. HEWLANDS - STUDY - AFTERNOON 3
4 8
5 INT. HEWLANDS - KITCHEN - DAY 5
5 9
6 EXT. RIVER AVON - EVENING 6
6 10
10 INT. HENLEY HOUSE - DINING ROOM - CONTINUOUS 10
7 13
11 INT. HENLEY HOUSE - NIGHT 11
8 14
14 EXT. FOREST - ANCIENT TREE - DAY 30 YEARS AGO 14
9 15
19B EXT. FOREST - DARK PATH - DAY 19B
10 16
19C EXT. FOREST - ANCIENT TREE - DAY 19C
11 21
23 INT. HENLEY HOUSE - WORKSHOP - DAY WEEKS LATER 23
12 22
24 EXT. HEWLANDS - GARDEN - DAY 24
13 23
25 INT. HEWLANDS - APPLE SHED - DAY 25
14 25
27 INT. HEWLANDS - KITCHEN - DAY 17 YEARS AGO 27
15 27
29 EXT. RIVER AVON - DAY 29
16 30
31 EXT. HENLEY HOUSE - EVENING 31
17 33
32 INT. CHURCH - NIGHT 32
18 33
33 INT. HENLEY STREET - ATTIC - MORNING 7 MONTHS LATER 33
19 34
36 EXT. FOREST - ANCIENT TREE - DAY 36
20 35
38A EXT. RIVER AVON. - DAY A YEAR LATER 38A
21 38
40 INT. HENLEY HOUSE - ATTIC - NIGHT 40
22 41
41 EXT. HEWLANDS - FIELD - MORNING 41
23 44
42 INT. HENLEY HOUSE - KITCHEN - MORNING MONTHS LATER 42
24 46
43 EXT. RIVER AVON - DAY MONTHS LATER 43
25 47
47 INT. HENLEY HOUSE - PASSAGEWAY - DAY 47
26 50
49 INT. HEWLANDS - DINING ROOM - NIGHT 17 YEARS AGO 49
27 52
51 INT. HENLEY HOUSE - DINING ROOM -PRESENT DAY 51
28 53
53 INT. HENLEY HOUSE - ATTIC - MORNING 11 YEARS LATER 53
29 54
56A INT. HENLEY HOUSE - KITCHEN - DAY 56A
30 56
56B EXT. HENLEY HOUSE - GARDEN - DAY 56B
31 57
57A EXT. FOREST - ANCIENT TREE - THE NEXT DAY 57A
32 58
58 EXT. EDGE OF FOREST - DAY 58
33 60
59 INT. HENLEY HOUSE - KITCHEN - NIGHT 59
34 62
60 EXT. HENLEY HOUSE - EARLY MORNING 60
35 63
62 EXT. LONDON - RIVER THAMES - AFTERNOON TWO WEEKS LATER 62
36 64
64 EXT. LONDON - CHARTERHOUSE - COURTYARD - EVENING 64
37 65
65 EXT. HEWLANDS - GARDEN - DAY 65
38 67
70 EXT. HENLEY HOUSE - DAY 70
39 68
74A INT. HENLEY HOUSE - DINING ROOM - EVENING 74A
40 69
75 INT. HENLEY HOUSE - KITCHEN - NIGHT 75
41 70
76 INT. HENLEY HOUSE - ATTIC - DAWN 76
42 73
78 EXT. ROAD - DAWN 78
43 73
80 INT. HENLEY HOUSE - DINING ROOM - DAWN 80
44 74
82 INT. HENLEY HOUSE - DINING ROOM - MORNING 82
45 76
83 INT. HENLEY HOUSE - DINING ROOM - DAY 83
46 78
85 INT. HENLEY HOUSE - DINING ROOM - NIGHT 85
47 82
86 INT. HENLEY HOUSE - ATTIC - DAWN A DAY LATER 86
48 84
87 INT. HENLEY HOUSE - GARDEN - DAY THREE WEEKS LATER 87
49 86
89 INT. HENLEY HOUSE - KITCHEN - MORNING NEXT DAY 89
50 87
90A EXT. THE FOREST - TIME PASSES 90A
51 88
93 INT. HENLEY HOUSE - KITCHEN - DAY 93
52 90
96 EXT. LONDON - CHARTERHOUSE - COURTYARD - DAY 96
53 92
97 EXT. LONDON - RIVER THAMES - DOCK - EVENING 97
54 93
98 EXT. NEW HOUSE - MONTHS LATER 98
55 94
100 INT. HENLEY HOUSE - ATTIC - NIGHT 100
56 98
104A EXT. LONDON - GLOBE THEATRE - TIME PASSES 104A
57 99
106 EXT. NEW HOUSE - WALKWAY - DAY 106
58 102
109 EXT. OUTSIDE LONDON - MORNING 109
59 102
112 INT. LONDON - WILL’S ATTIC - DAY 112
60 103
113 INT. GLOBE THEATRE - DRESSING ROOM - DAY 113
INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
1 2
0 EXT. FOREST - DAY 0
0 EXT. FOREST - DAY 0
0 EXT. FOREST - DAY 0 Opera: Purcell’s When I Am Laid In Earth. A RED EGG is nesting on a bed of fallen leaves, surrounded by circular tree roots. We are in an ancient forest of Britain. The overwhelming
2 2
2 EXT. FOREST - ANCIENT TREE - AFTERNOON 2
2 EXT. FOREST - ANCIENT TREE - AFTERNOON 2
2 EXT. FOREST - ANCIENT TREE - AFTERNOON 2 In the heart of the forest is an ancient tree. A YOUNG WOMAN is asleep, nesting amongst its massive roots. Her hair is long and dirty. Her cheeks sunburnt. She wears a worn dress in dark red, like a fresh organ. This is Agnes.
3 3
3 INT. HEWLANDS - STUDY - AFTERNOON 3
3 INT. HEWLANDS - STUDY - AFTERNOON 3
3 INT. HEWLANDS - STUDY - AFTERNOON 3 The Latin words roll on and on, scraping at the walls. Will turns to give the boys the correct pronunciation. WILL (IN LATIN) I must essay a path whereby I, too,
4 8
5 INT. HEWLANDS - KITCHEN - DAY 5
5 INT. HEWLANDS - KITCHEN - DAY 5
5 INT. HEWLANDS - KITCHEN - DAY 5 Agnes enters, overheated. The kitchen is in pristine order. At the table sits JOAN, her stepmother. Joan is brushing the hair of one of her DAUGHTERS. She is proud of how neat and pretty they are. Her TWO BOYS are
5 9
6 EXT. RIVER AVON - EVENING 6
6 EXT. RIVER AVON - EVENING 6
6 EXT. RIVER AVON - EVENING 6 Will paces along the riverbank. A FISHERMAN and TWO WOMEN WASHING LAUNDRY. He walks into the river for a swim, cooling the heat under his skin. He dives in, disappearing underwater.
6 10
10 INT. HENLEY HOUSE - DINING ROOM - CONTINUOUS 10
10 INT. HENLEY HOUSE - DINING ROOM - CONTINUOUS 10
10 INT. HENLEY HOUSE - DINING ROOM - CONTINUOUS 10 The room is filled with heavy furniture. At the table sits MARY (40s), her children, GILBERT (16), ELIZA (14) and EDMOND (9). Everyone seems to be talking at the same time, except for the patriarch, JOHN (40s), silent at the head.
7 13
11 INT. HENLEY HOUSE - NIGHT 11
11 INT. HENLEY HOUSE - NIGHT 11
11 INT. HENLEY HOUSE - NIGHT 11 When the humans in the house go to sleep, the other beings wake up. We don’t see them but we can feel them: The residue in the air next to the fireplace carries secrets burned away long ago.
8 14
14 EXT. FOREST - ANCIENT TREE - DAY 30 YEARS AGO 14
14 EXT. FOREST - ANCIENT TREE - DAY 30 YEARS AGO 14
14 EXT. FOREST - ANCIENT TREE - DAY 30 YEARS AGO 14 The ancient tree. Barely changed in time. The red egg nests amongst its roots - the same place Agnes has slept - waiting - 15 EXT. FOREST - DAY 30 YEARS AGO 15 A WOOD-DWELLER named Rowan wanders through the trees,
9 15
19B EXT. FOREST - DARK PATH - DAY 19B
19B EXT. FOREST - DARK PATH - DAY 19B
19B EXT. FOREST - DARK PATH - DAY 19B Through the shadowy trees Will finds Agnes foraging. He watches her, she gathers herbs roughly, twisting them off of the branch with a flick of the wrist and adds them to her basket. She smells twigs, licks the sap from a tree and
10 16
19C EXT. FOREST - ANCIENT TREE - DAY 19C
19C EXT. FOREST - ANCIENT TREE - DAY 19C
19C EXT. FOREST - ANCIENT TREE - DAY 19C They come around the boulder and arrive at the ancient tree. WILL Agnes! She stops and turns around.
11 21
23 INT. HENLEY HOUSE - WORKSHOP - DAY WEEKS LATER 23
23 INT. HENLEY HOUSE - WORKSHOP - DAY WEEKS LATER 23
23 INT. HENLEY HOUSE - WORKSHOP - DAY WEEKS LATER 23 The leather work is as repetitive as the Latin lessons. Will turns over pair after pair of ladies’ gloves. The heat keeps building and building. He is so full he’s about to burst.
12 22
24 EXT. HEWLANDS - GARDEN - DAY 24
24 EXT. HEWLANDS - GARDEN - DAY 24
24 EXT. HEWLANDS - GARDEN - DAY 24 Will is back in the garden. He knows what he must do. He finds Agnes adding compost to a newly dug garden patch, muddy and sweaty. WILL
13 23
25 INT. HEWLANDS - APPLE SHED - DAY 25
25 INT. HEWLANDS - APPLE SHED - DAY 25
25 INT. HEWLANDS - APPLE SHED - DAY 25 They are crushed into a low space filled with apples in near- darkness. Their bodies close together. The hawk is hooded, sits on a stand. It turns its head towards Will. Agnes leans back against a platform where apples are put out
14 25
27 INT. HEWLANDS - KITCHEN - DAY 17 YEARS AGO 27
27 INT. HEWLANDS - KITCHEN - DAY 17 YEARS AGO 27
27 INT. HEWLANDS - KITCHEN - DAY 17 YEARS AGO 27 Rowan’s kitchen is as wild as the forest, filled with hanging herbs, plants, tree barks, stones. She is heavily pregnant, for the third time. She is sitting at a long table, making a paste with a grinding stone, the same one we saw Agnes using
15 27
29 EXT. RIVER AVON - DAY 29
29 EXT. RIVER AVON - DAY 29
29 EXT. RIVER AVON - DAY 29 Will swims against the current, pushing himself to his physical limit. He dives under, fully immersed, tumbles through the bubbling, light-filled underwater world.
16 30
31 EXT. HENLEY HOUSE - EVENING 31
31 EXT. HENLEY HOUSE - EVENING 31
31 EXT. HENLEY HOUSE - EVENING 31 Bartholomew walks out of the door, taking a deep breath. Agnes follows behind. AGNES Will you see to my hawk?
17 33
32 INT. CHURCH - NIGHT 32
32 INT. CHURCH - NIGHT 32
32 INT. CHURCH - NIGHT 32 The chanting continues as a secret wedding is held inside a church at night. It’s rushed and hushed. A few candles are burning. Two families pour in quietly, all in their day clothes, moving in and out of darkness like ghosts.
18 33
33 INT. HENLEY STREET - ATTIC - MORNING 7 MONTHS LATER 33
33 INT. HENLEY STREET - ATTIC - MORNING 7 MONTHS LATER 33
33 INT. HENLEY STREET - ATTIC - MORNING 7 MONTHS LATER 33 DREAM SEQUENCE (shot separately) Agnes wakes with a start, to find herself in her curtained marriage bed, on the upper floor of Henley house. Will is asleep beside her, having a nightmare, whispering in
19 34
36 EXT. FOREST - ANCIENT TREE - DAY 36
36 EXT. FOREST - ANCIENT TREE - DAY 36
36 EXT. FOREST - ANCIENT TREE - DAY 36 Agnes lowers herself to the ground. She is panting but happy. She is where she needs to be. She feels another pain coming, driving towards her, getting closer, like thunder over a landscape. She turns, crouches,
20 35
38A EXT. RIVER AVON. - DAY A YEAR LATER 38A
38A EXT. RIVER AVON. - DAY A YEAR LATER 38A
38A EXT. RIVER AVON. - DAY A YEAR LATER 38A The river flows. We find Will standing on the bank, lost in thought. 38 INT. HENLEY HOUSE - WORKSHOP - DAY A WEEK LATER 38 The banging of a hammer. Intricate shots of making a pair of
21 38
40 INT. HENLEY HOUSE - ATTIC - NIGHT 40
40 INT. HENLEY HOUSE - ATTIC - NIGHT 40
40 INT. HENLEY HOUSE - ATTIC - NIGHT 40 In the still of the night, Agnes wakes up from a dream. She slowly puts her hand on her belly, realizing she is with child again. She sees the space next to her is empty. She looks up and sees her husband hunched over his writing desk.
22 41
41 EXT. HEWLANDS - FIELD - MORNING 41
41 EXT. HEWLANDS - FIELD - MORNING 41
41 EXT. HEWLANDS - FIELD - MORNING 41 Bartholomew’s dog is herding sheep between pastures. He whistles. The dog runs back to him, darting across the meadow, happy. They go back to the wooden fence where Agnes is sitting, eyes resting on the forest beyond.
23 44
42 INT. HENLEY HOUSE - KITCHEN - MORNING MONTHS LATER 42
42 INT. HENLEY HOUSE - KITCHEN - MORNING MONTHS LATER 42
42 INT. HENLEY HOUSE - KITCHEN - MORNING MONTHS LATER 42 Agnes’s pregnancy is showing. She is at the table wrapping food up for Will to take on the road. She is sitting still, putting all her focus into tying each item with the greatest care, trying to hide her feelings from him. The separation is
24 46
43 EXT. RIVER AVON - DAY MONTHS LATER 43
43 EXT. RIVER AVON - DAY MONTHS LATER 43
43 EXT. RIVER AVON - DAY MONTHS LATER 43 A STORM. The river bank is broken. Water rushes onto land. 44A INT. HENLEY HOUSE - ATTIC - DAY 44A Agnes is on the floor, alone, trying to find a comfortable position. She is very pregnant. She knows it’s time. She
25 47
47 INT. HENLEY HOUSE - PASSAGEWAY - DAY 47
47 INT. HENLEY HOUSE - PASSAGEWAY - DAY 47
47 INT. HENLEY HOUSE - PASSAGEWAY - DAY 47 Water creeps under the door, flooding the floor. 48 INT. HENLEY HOUSE - DINING ROOM - DAY 48 Eliza is helplessly sweeping water out. Agnes’s contractions are worse. Mary and the MIDWIFE hold her
26 50
49 INT. HEWLANDS - DINING ROOM - NIGHT 17 YEARS AGO 49
49 INT. HEWLANDS - DINING ROOM - NIGHT 17 YEARS AGO 49
49 INT. HEWLANDS - DINING ROOM - NIGHT 17 YEARS AGO 49 Young Agnes (9) peaks into the dark room and sees - Like a gothic painting, in the middle of the room, Rowan is lying on a blood soaked bed, lifeless, her belly still swollen. She has died in childbirth.
27 52
51 INT. HENLEY HOUSE - DINING ROOM -PRESENT DAY 51
51 INT. HENLEY HOUSE - DINING ROOM -PRESENT DAY 51
51 INT. HENLEY HOUSE - DINING ROOM -PRESENT DAY 51 The pains come without interval, on and on. Agnes, like a swimmer going under, cannot catch her breath. Her screams, by the end are ragged, hoarse, desperate. Mary holds her, her own face wet with tears.
28 53
53 INT. HENLEY HOUSE - ATTIC - MORNING 11 YEARS LATER 53
53 INT. HENLEY HOUSE - ATTIC - MORNING 11 YEARS LATER 53
53 INT. HENLEY HOUSE - ATTIC - MORNING 11 YEARS LATER 53 A Latin lesson board, a school bag, small quills and rolls of paper scattered on the floor. The baby blanket from the twin’s birth on a pallet bed by the wedding bed.
29 54
56A INT. HENLEY HOUSE - KITCHEN - DAY 56A
56A INT. HENLEY HOUSE - KITCHEN - DAY 56A
56A INT. HENLEY HOUSE - KITCHEN - DAY 56A They run into the kitchen, almost crashing into their older sister SUSANNA, who is doing chores. JUDITH Sorry, Susanna!
30 56
56B EXT. HENLEY HOUSE - GARDEN - DAY 56B
56B EXT. HENLEY HOUSE - GARDEN - DAY 56B
56B EXT. HENLEY HOUSE - GARDEN - DAY 56B Agnes walks out of the back door. Her eyes are covered by Will who follows behind. WILL One more step. Here. Stop. Ready?
31 57
57A EXT. FOREST - ANCIENT TREE - THE NEXT DAY 57A
57A EXT. FOREST - ANCIENT TREE - THE NEXT DAY 57A
57A EXT. FOREST - ANCIENT TREE - THE NEXT DAY 57A Agnes’s hawk, lifeless, lies in a hole in the ground, surrounded by branches, herbs and flowers. A small burial. Agnes puts the glove Will made for her into the earth next to the hawk. Her fingers stroke its feathers.
32 58
58 EXT. EDGE OF FOREST - DAY 58
58 EXT. EDGE OF FOREST - DAY 58
58 EXT. EDGE OF FOREST - DAY 58 They leave the forest through a bed of tall ferns. Agnes and the kids run ahead into the meadow, playing catch. Will falls behind watching them. He grows wary. Hamnet notices and goes back to him.
33 60
59 INT. HENLEY HOUSE - KITCHEN - NIGHT 59
59 INT. HENLEY HOUSE - KITCHEN - NIGHT 59
59 INT. HENLEY HOUSE - KITCHEN - NIGHT 59 Agnes and Will are sitting by the small fire. The silence of the night is loud. They’ve been together for 13 years now. So much is sad and unsaid in that time. WILL
34 62
60 EXT. HENLEY HOUSE - EARLY MORNING 60
60 EXT. HENLEY HOUSE - EARLY MORNING 60
60 EXT. HENLEY HOUSE - EARLY MORNING 60 Will is leaving. The children cling to him. He watches them walking down the street, Hamnet walking backwards waving, until they disappear into the doorway. He stands there staring at the empty street, unable to move
35 63
62 EXT. LONDON - RIVER THAMES - AFTERNOON TWO WEEKS LATER 62
62 EXT. LONDON - RIVER THAMES - AFTERNOON TWO WEEKS LATER 62
62 EXT. LONDON - RIVER THAMES - AFTERNOON TWO WEEKS LATER 62 The fast flowing water of river Thames. Will eats a pie, watching the water, restless. There are tents near by. TRAVELERS and LOCALS hiding from the plague. He throws the rest of the pie to a homeless dog anxiously
36 64
64 EXT. LONDON - CHARTERHOUSE - COURTYARD - EVENING 64
64 EXT. LONDON - CHARTERHOUSE - COURTYARD - EVENING 64
64 EXT. LONDON - CHARTERHOUSE - COURTYARD - EVENING 64 This is the courtyard where his apartment is located. Four tall walls. Small windows. Stone ground. One singular tree in the middle, a dot of green in a world of grey. A GROUP OF TRAVELERS has settled in one corner of the
37 65
65 EXT. HEWLANDS - GARDEN - DAY 65
65 EXT. HEWLANDS - GARDEN - DAY 65
65 EXT. HEWLANDS - GARDEN - DAY 65 A SWARM OF BEES are massing in the orchard - a blackish stain spread that vibrates and quivers with outrage. Agnes is eyeing the swarm. Bartholomew at a distance. AGNES
38 67
70 EXT. HENLEY HOUSE - DAY 70
70 EXT. HENLEY HOUSE - DAY 70
70 EXT. HENLEY HOUSE - DAY 70 Agnes appears through misty rain. 71 INT. HENLEY HOUSE - KITCHEN - DAY 71 She enters, unloading a bundle of rosemary, a jar of honey, a hunk of beeswax.
39 68
74A INT. HENLEY HOUSE - DINING ROOM - EVENING 74A
74A INT. HENLEY HOUSE - DINING ROOM - EVENING 74A
74A INT. HENLEY HOUSE - DINING ROOM - EVENING 74A Fire is blazing in the fireplace. Mary is working the bellows. Susanna hands her wood. Eliza is rushing around the room to light all the candles to bring more warmth.
40 69
75 INT. HENLEY HOUSE - KITCHEN - NIGHT 75
75 INT. HENLEY HOUSE - KITCHEN - NIGHT 75
75 INT. HENLEY HOUSE - KITCHEN - NIGHT 75 Mary enters and finds Eliza at the table, her head bowed as if she is praying and Susanna pacing like her father. Susanna stops when she sees Mary’s expression. Eliza looks up.
41 70
76 INT. HENLEY HOUSE - ATTIC - DAWN 76
76 INT. HENLEY HOUSE - ATTIC - DAWN 76
76 INT. HENLEY HOUSE - ATTIC - DAWN 76 Hamnet drifts to the surface of sleep. He lies for a while, wondering why nothing feels right, why he feels so dry of mouth, so heavy of heart, so sore in the head. HAMNET
42 73
78 EXT. ROAD - DAWN 78
78 EXT. ROAD - DAWN 78
78 EXT. ROAD - DAWN 78 An empty road in the field. Will is riding a horse as fast as he can in the dusky light. He arrives at a makeshift livery, jumps off the horse and hands it to a LIVERY WORKER.
43 73
80 INT. HENLEY HOUSE - DINING ROOM - DAWN 80
80 INT. HENLEY HOUSE - DINING ROOM - DAWN 80
80 INT. HENLEY HOUSE - DINING ROOM - DAWN 80 Agnes’s head jerks up, her lips in the middle of forming a word. She looks down at herself, disorientated. Then, it comes to her in a rush. She lifts the sheet. There is someone on the pallet with
44 74
82 INT. HENLEY HOUSE - DINING ROOM - MORNING 82
82 INT. HENLEY HOUSE - DINING ROOM - MORNING 82
82 INT. HENLEY HOUSE - DINING ROOM - MORNING 82 Death is violent. Death is a struggle. The body clings to life, as ivy to a wall and will not easily let go. Hamnet’s body writhes, twists, buckles and strains. Agnes tries to feed him rosemary and mint jelly but he won’t
45 76
83 INT. HENLEY HOUSE - DINING ROOM - DAY 83
83 INT. HENLEY HOUSE - DINING ROOM - DAY 83
83 INT. HENLEY HOUSE - DINING ROOM - DAY 83 Cloths are draped over the panes, dimming the room. The silence is slowly broken by small bubbles of sound. A BREEZE threads through the room, stirring the air, toying with drapes, mantel-cloth, dust.
46 78
85 INT. HENLEY HOUSE - DINING ROOM - NIGHT 85
85 INT. HENLEY HOUSE - DINING ROOM - NIGHT 85
85 INT. HENLEY HOUSE - DINING ROOM - NIGHT 85 Agnes wets her hands in a bowl and draws her fingers through Hamnet’s hair. She wipes his closed eyes, his cheeks, his lips. Mary walks in. Agnes is alarmed by the intrusion.
47 82
86 INT. HENLEY HOUSE - ATTIC - DAWN A DAY LATER 86
86 INT. HENLEY HOUSE - ATTIC - DAWN A DAY LATER 86
86 INT. HENLEY HOUSE - ATTIC - DAWN A DAY LATER 86 Agnes is a woman broken into pieces, crumbled and scattered around. She stays in bed, sleepless, frozen. She can hear her husband pacing at the other end of the attic. There is no other sound. No crying, no sobbing, no
48 84
87 INT. HENLEY HOUSE - GARDEN - DAY THREE WEEKS LATER 87
87 INT. HENLEY HOUSE - GARDEN - DAY THREE WEEKS LATER 87
87 INT. HENLEY HOUSE - GARDEN - DAY THREE WEEKS LATER 87 Will finds Judith sitting on the bench in the garden with Hamnet’s wooden sword in her hands. He sits down beside her. Her eyes are red. She begins to cry, again, silently. It breaks his heart.
49 86
89 INT. HENLEY HOUSE - KITCHEN - MORNING NEXT DAY 89
89 INT. HENLEY HOUSE - KITCHEN - MORNING NEXT DAY 89
89 INT. HENLEY HOUSE - KITCHEN - MORNING NEXT DAY 89 Agnes is preparing breakfast. The skin around her eyes is red and dry. She is not focused. There is no joy or purpose in her movements, just habits. Will appears beside her. He watches her for a moment. She
50 87
90A EXT. THE FOREST - TIME PASSES 90A
90A EXT. THE FOREST - TIME PASSES 90A
90A EXT. THE FOREST - TIME PASSES 90A The forest in the winter. Death is everywhere. The red egg is covered by dead leaves. SUSANNA (O.S.) When I do count the clock that
51 88
93 INT. HENLEY HOUSE - KITCHEN - DAY 93
93 INT. HENLEY HOUSE - KITCHEN - DAY 93
93 INT. HENLEY HOUSE - KITCHEN - DAY 93 Susanna is reading from her father’s letter - in it is a sonnet he has written. SUSANNA And nothing ‘gainst Time’s scythe
52 90
96 EXT. LONDON - CHARTERHOUSE - COURTYARD - DAY 96
96 EXT. LONDON - CHARTERHOUSE - COURTYARD - DAY 96
96 EXT. LONDON - CHARTERHOUSE - COURTYARD - DAY 96 Will is pacing in the courtyard with a quill in his hand. Behind him, under the lone tree, TWO ACTORS (Hamlet and Ophelia) are playing out a scene. We’ll stay with Will for the scene and won’t see the faces of the actors.
53 92
97 EXT. LONDON - RIVER THAMES - DOCK - EVENING 97
97 EXT. LONDON - RIVER THAMES - DOCK - EVENING 97
97 EXT. LONDON - RIVER THAMES - DOCK - EVENING 97 The river is quiet tonight. There is no moon in the sky. No wind. There is a heaviness in the air. A doldrum. Will wanders onto the empty dock. He is running lines in his head, barely noticing where he is going in the darkness.
54 93
98 EXT. NEW HOUSE - MONTHS LATER 98
98 EXT. NEW HOUSE - MONTHS LATER 98
98 EXT. NEW HOUSE - MONTHS LATER 98 A massive timbered house. An estate with at least fifteen rooms. Wild garden and pond in the front. Barns, animal sheds, greenhouses and fields on all sides. A set of keys in Agnes’s hand.
55 94
100 INT. HENLEY HOUSE - ATTIC - NIGHT 100
100 INT. HENLEY HOUSE - ATTIC - NIGHT 100
100 INT. HENLEY HOUSE - ATTIC - NIGHT 100 Will finds Agnes hovering over a half-burnt candle, drawing remedy instructions in her book of herbs at his old desk. Blue Revisions - 02/10/2024 94.
56 98
104A EXT. LONDON - GLOBE THEATRE - TIME PASSES 104A
104A EXT. LONDON - GLOBE THEATRE - TIME PASSES 104A
104A EXT. LONDON - GLOBE THEATRE - TIME PASSES 104A Shots of construction. Nature turned into materials to build civilization. Both violent and miraculous. 104B I/E. LONDON - GLOBE THEATRE - DAY 104B Will is standing alone on the stage, not yet complete,
57 99
106 EXT. NEW HOUSE - WALKWAY - DAY 106
106 EXT. NEW HOUSE - WALKWAY - DAY 106
106 EXT. NEW HOUSE - WALKWAY - DAY 106 Susanna hurries through a walkway that connects the front and back of the house. She is in charge of the house keys and wears them on a hook at her waist. Her face is tense as usual.
58 102
109 EXT. OUTSIDE LONDON - MORNING 109
109 EXT. OUTSIDE LONDON - MORNING 109
109 EXT. OUTSIDE LONDON - MORNING 109 London - a broken clutter of a city, the river winding through it, clouds pulling up threads of smoke. 110 EXT. LONDON - CHARTERHOUSE - DAY 110 The street is filled with noise and stench, humans and
59 102
112 INT. LONDON - WILL’S ATTIC - DAY 112
112 INT. LONDON - WILL’S ATTIC - DAY 112
112 INT. LONDON - WILL’S ATTIC - DAY 112 The room has a low ceiling slanting inwards at all angles. There is a low bed, pushed up against the wall, a cupboard. There is no decorations, no sign of warmth. BARTHOLOMEW
60 103
113 INT. GLOBE THEATRE - DRESSING ROOM - DAY 113
113 INT. GLOBE THEATRE - DRESSING ROOM - DAY 113
113 INT. GLOBE THEATRE - DRESSING ROOM - DAY 113 Will’s eyes are closed. He’s listening. The sound of players and the crowd outside. A crash, a curse, a burst of laughter, turning into his rhythm. He stretches his body, puts on his costume, takes a paste of
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Hamnet

When a glover’s son-turned-latin-tutor falls for a forest-born healer, their fragile happiness is shattered by plague; as grief pushes him into the London theatre and her into folk ritual, both must reckon with art, loss and the void that waits at the heart of love. Other loglines ›

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Unique Selling Point

This script offers a fresh, intimate perspective on William Shakespeare by focusing not on his celebrity but on his domestic life, marriage, and profound grief over his son's death. It uniquely connects personal tragedy to artistic creation, showing how 'Hamlet' emerged from real loss. The script blends historical realism with magical realism and metaphysical elements in a way that feels organic rather than contrived. Its focus on Agnes as a complex, intuitive woman with her own agency and wisdom provides a compelling feminist counterpoint to traditional Shakespeare narratives.

AI Verdict

OpenAI
 Recommend
Score 8.3
Claude
 Recommend
Score 8.5
Grok
 Recommend
Score 8.8
Gemini
 Consider
Score 7.3
DeepSeek
 Recommend
Score 8.3
Average Score: 8.2
Key Takeaways
For the Writer:
Focus on tightening the pacing in the middle section after Hamnet's death by condensing repetitive grief and domestic scenes to maintain momentum and emotional intensity. Strengthen character arcs, particularly Will's internal conflict and resolution, by adding clearer motivations and connective tissue to show his transformation. Clarify the rules of supernatural elements like Agnes's psychic abilities to ensure they serve the narrative without ambiguity, enhancing thematic coherence and audience engagement while preserving the script's poetic essence.
For Executives:
The script has strong value as a literary, emotionally driven historical drama with broad appeal to adult audiences and potential for critical acclaim, especially through its unique take on Shakespeare's personal life and the origins of 'Hamlet.' However, risks include uneven pacing that could lead to audience disinterest in the middle act, underdeveloped secondary character arcs that might dilute emotional depth, and a niche, introspective style that could limit commercial viability in a market favoring high-concept or action-driven period pieces. Overall, it's a solid project for prestige platforms but requires revisions to boost marketability and avoid festival-circuit-only success.
See Details in P/C/R/HR Section
Story Facts
Genres:
Drama 60% Romance 25% Fantasy 15% Horror 10%

Setting: 16th century, specifically during the Elizabethan era, Primarily in Stratford-upon-Avon, England, and London, with significant scenes in the forest and the Globe Theatre.

Themes: Grief and Loss, Nature and Renewal, The Power of Art and Storytelling, Familial Bonds and Relationships, Identity and Transformation, Supernatural and Mystical Elements, Social Hierarchy and Societal Expectations

Conflict & Stakes: The central conflict revolves around the emotional turmoil of the Shakespeare family following the death of Hamnet, exploring themes of grief, artistic ambition, and familial bonds.

Mood: Melancholic and reflective, with moments of tension and emotional depth.

Standout Features:

  • Unique Hook: The intertwining of Shakespeare's personal life with his creative work, particularly the influence of his son Hamnet's death on his writing.
  • Major Twist: The emotional revelation of the twins switching places in health, symbolizing the deep connection between them.
  • Distinctive Setting: The contrast between the vibrant life of the Globe Theatre and the somber, intimate settings of the Shakespeare household.
  • Innovative Ideas: The exploration of grief through the lens of Shakespeare's creative process, blending historical fact with emotional storytelling.
  • Unique Characters: Complex portrayals of historical figures, particularly Agnes as a strong, nature-connected mother.

Comparable Scripts: The Witch (2015), Hamlet by William Shakespeare, The Secret of Roan Inish (1994), The Green Knight (2021), The Night Circus by Erin Morgenstern, A Midsummer Night's Dream by William Shakespeare, The Crucible by Arthur Miller, The Handmaid's Tale by Margaret Atwood, The Lovely Bones by Alice Sebold

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.14
Key Suggestions:
To strengthen the script's creative craft, prioritize refining character depth and pacing issues highlighted in the analysis. Deepen supporting characters like Bartholomew to add nuance to family dynamics and emotional layers, while tightening dialogue-heavy scenes in the middle acts to maintain momentum and audience engagement. Additionally, incorporate more internal reflections for key characters to clarify motivations and enhance emotional authenticity, drawing from the script's strong thematic elements of grief and resilience.
> Go to Screenplay Insights
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
To refine this script from a creative standpoint, prioritize tightening the pacing to eliminate drag and rush, ensuring smoother transitions between timelines for better clarity without losing the dreamlike quality. Incorporate more direct dialogue to ground the emotional depth and make symbolic elements more accessible, allowing the poetic language to enhance rather than overshadow the narrative, ultimately strengthening audience immersion and character relatability.
> Go to Story Critique
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The character analysis reveals strong emotional depth in protagonists like Agnes and Will, but opportunities exist to enhance the script by deepening relational dynamics and ensuring all characters have meaningful arcs. Focus on exploring backstories, such as Agnes's maternal influences and Will's familial conflicts, to add layers of complexity and drive more authentic emotional beats. Additionally, address static elements in supporting characters like Mary by introducing subtle growth moments to prevent the narrative from feeling stagnant, ultimately enriching the overall craft and thematic resonance of the story.
> Go to Characters
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script excels in evoking deep emotional responses through its portrayal of grief and familial bonds, but to elevate its craft, focus on diversifying emotional tones to avoid monotony in the later acts. By incorporating suggestions like adding moments of levity, hope, and nuanced character interactions, the writer can create a more balanced emotional arc, enhancing audience engagement and preventing fatigue while preserving the story's tragic core.
> Go to Emotional Analysis
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
From a creative perspective, the script's strength lies in its deep exploration of grief and identity, but to enhance it, focus on amplifying Agnes's internal monologues and key decision points to make her evolution from suppression to agency more visceral and engaging. Tighten the pacing in grief-heavy scenes to avoid emotional fatigue, ensuring that philosophical conflicts are woven seamlessly into action and dialogue for greater impact and resonance in the narrative arc.
> Go to Goals and Philosophical Conflict
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
From a creative perspective, the script's thematic depth in grief, nature, and art is compelling, but to enhance its craft, focus on tightening the pacing in scenes heavy with emotional introspection to maintain audience engagement without diluting the raw power of loss. Additionally, integrating the supernatural elements more subtly could prevent them from overshadowing the human core, ensuring that the mystical aspects serve to amplify rather than distract from the primary theme of enduring love and resilience, making the narrative more cohesive and impactful.
> Go to Themes
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
To elevate the script's creative integrity, focus on resolving key character inconsistencies, such as Agnes's failure to use her intuitive powers during pivotal moments, by either reinforcing her arc with logical explanations or selectively applying her abilities to maintain authenticity. Additionally, streamline redundant elements like the Nine Herb Charm and the forest void motif to enhance pacing and thematic clarity, ensuring magical realism integrates seamlessly with the historical drama for a more cohesive and emotionally resonant narrative.
> Go to Logic & Inconsistencies

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
The script's poetic and introspective voice is a strength, vividly capturing emotional depth and themes of loss and nature, but to enhance its craft, focus on tightening pacing in slower scenes to maintain audience engagement and ensure that symbolic elements advance the plot rather than overshadow it. This could involve interweaving more dynamic action with the lush descriptions to create a more balanced narrative flow, making the story more compelling and accessible without diluting its evocative style.
> Go to Unique Voice
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay's strength lies in its emotional depth and atmospheric immersion, but to enhance it creatively, focus on refining dialogue to make it more nuanced and less expository, deepening character arcs to build stronger emotional connections, and enriching thematic elements with subtle symbolism and subtext. Engaging with recommended exercises and resources will help transform these areas, making the narrative more resonant and authentic.
> Go to Writer's Craft
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
> Go to Memorable Lines
Tropes
Highlights common or genre-specific tropes found in the script.
> Go to Tropes
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The script's world-building is richly detailed and effectively supports character development and themes, but to enhance creative craft, focus on refining the symbolic elements—like the forest and river motifs—to avoid repetition and ensure they dynamically evolve with the narrative. This will heighten emotional resonance and prevent the world from overshadowing character-driven moments, making the story more immersive and tightly woven.
> Go to World Building
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script's strength lies in its emotional intensity and effective use of tension to drive conflict, but it risks becoming predictable due to over-reliance on emotional and tense tones. To enhance craft, incorporate more varied scene dynamics, such as increasing dialogue in mysterious sections and adding gradual tonal transitions, to deepen character development and improve pacing, ultimately creating a more balanced and engaging narrative.
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Loglines
Presents logline variations based on theme, genre, and hook.
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Script•o•Scope