EXT. EVENING: FOREST
The following shots are disorientingly out of focus, played over eerie music. The camera pans quickly around a swath of trees, most of them devoid of their autumn-brown leaves. The ground is muddy, leaf-strewn, and speckled with frost. In the distance, the barking of dogs grows fainter. All sound is distorted, echoing as though coming from a large, empty hall.
INTERCUT:
EXT. EVENING: FOREST
The sound of running feet crunching over the fallen leaves comes loudly, with a hint of a reverb. Shaky CU on the lower half of EDGAR'S body, dodging trees and crashing wildly through the undergrowth.
EXT. EVENING: FOREST
Another flash pan around the forest, this time taking in the horizon line. The evening is cloudy, mist gathering at the farther edges of the trees with no way to determine the direction of the sun. The camera should swing sharply, making the shadows stretch and contort.
EXT. EVENING: FOREST
EDGAR'S face is visible in CU- he is terrified, face slashed where branches have whipped him, covered with mud, bleeding from the mouth, hair disheveled. His harsh breathing plays over the shot as the perspective abruptly shifts to the ground before him, as though he is running with the camera. A thick branch looms alarmingly close, and flashes out of sight, like it has been ducked under.
EXT. EVENING: FOREST
Another pan around the trees, shuddering as the sound of a breaking branch echoes like a gunshot.
EXT. EVENING: FOREST
Parts of EDGAR'S frame are visible, but sporadically; only the sound of his running is a constant. Suddenly the running stops, and a crash is heard; the camera tumbles wildly over undergrowth and sky before slowing to an eerie near-stillness, moving slowly to catch a glimpse of EDGAR'S body, lying prostrate against the leaves. He has fallen, his arms braced beneath his shoulders, his back heaving as he tries to catch his breath. His face is pressed into the ground, invisible to the camera.
EXT. EVENING: FOREST
A slower pan around the forest, stopping to center on a large, lightning-blasted tree trunk. The trunk has fallen against a crop of boulders, sheltering a hollow beneath it.
EXT. EVENING: FOREST
EDGAR pushes himself laboriously up, staggers slightly, and begins to sprint again. The screen fades to black as the fallen tree comes within sight and EDGAR throws himself over it.
FADE TO:
EXT. EVENING: FOREST
In slow motion, EDGAR, having landed heavily on his feet, falls to his knees, bracing one hand against a boulder, and glances around one more time before sitting down. The music shifts to a sadder tenor. We only see the upper half of EDGAR'S body in CU; he cranes his neck to look back over one shoulder, pauses for a moment, and turns back to stare directly into the camera. His hair hides much of his face, but his eyes, haunted and ringed with black shadows, looking nearly demonic, are clearly visible. The spell is broken as he turns to look over his other shoulder, clutching his thin shirt tightly to his chest with one scratched and muddy hand. Fade to black as EDGAR slumps forward with a shaky sigh, head coming to rest on his knees.
FADE TO:
EXT. EVENING: FOREST
EDGAR'S face is in extreme CU, with only the eyes and nose consistently visible. While he speaks his eyes dart about wildly, his breath catching in his throat.
EDGAR
I heard myself proclaimed, and by the happy hollow of a tree escaped the hunt. No port is free, no place that guard and most unusual vigilance does not attend my taking. (Pause, an uneasy breath)Whiles I may scape I will preserve myself... and am bethought to take the basest and most poorest shape that ever penury in contempt of man brought near to beast.
Pan out to EDGAR'S full body, now in a crouching position. With one shaking hand he reaches out and gathers a fistful of mud and leaves, crushing it. He rubs it over his hands and into his face as he continues to speak, with the intensity of his speech rising to a fever pitch.
EDGAR
My face I'll grime with filth- blanket my loins, elf all my hairs in knots, and with presented nakedness outface the winds and persecutions of the sky-!
EDGAR violently rips off his jerkin and belt, tearing his shirt in the process. He pauses, panting raggedly, staring at the garments in his hands as though he has never seen them before. Shaking his head slightly, he drops them. When he next speaks the words are hurried, with a strange note almost resembling desperate, mad glee thrumming uneasily through them
EDGAR
(frenzied, low)
The country gives me proof and precedent of Bedlam beggars who, with roaring voices (jerkily pushes up the sleeves of his shirt, picks up a wickedly spiked hawthorn branch, turning it ponderously over in his hands), strike in their numbed and mortified bare arms- pins, wooden pricks, nails sprigs of rosemary…(EDGAR clutches the branch to his chest, reminiscent of a frightened child)and with this horrible object from low farms, poor pelting villages, sheep-cotes and mills, sometime with lunatic bans, sometime with prayers enforce their charity.
A pause. EDGAR drops his head to his chest, hiding his face from view, and begins to rock back and forth on his heels. Shakily he crosses himself with the branch and holds it out, as though begging for money.
EDGAR
(in the voice of Poor Tom)
'Poor Turlygod! Poor Tom!'
Another pause as EDGAR drops his head onto his outstretched arm, listing sideways as he begins to laugh softly, with a sobbing quality to it.
EDGAR
(in his own voice)
That's something yet! (Pause as EDGAR straightens up to stare at the branch, face darkening as the music hits a low climax)Edgar I nothing am.
The following sequence is in slow motion. EDGAR, gazing fixedly at the branch, snaps it in half. The camera slowly begins to zoom in as he stabs one side of it into his arm and rips it downwards through the flesh. He screams, the sound a jarring echo, and bends double over the limb in pain. When he straightens the jagged holes from the thorns, as well as the scratches on his hands, are clearly visible, weeping blood as he clumsily pushes his clothing into a gap between the boulders. He staggers to a standing position and strips off his shirt, dragging the thorns over his chest and back with one hand while the other pulls at his breeches. He no longer screams, but instead begins to laugh again as the new wounds bleed. Still laughing, newly naked, clothing lying torn and stained upon the ground, tears streaming down his face, he falls to his knees as he takes the thorns to the side of his neck.
FADE TO:
EXT. EVENING: FRONT GATE, GLOUCESTER'S HOUSE
LEAR and a KNIGHT approach GLOUCESTER'S gate, conversing quietly. The FOOL follows a few steps behind, looking rather bored and put out, while the rest of LEAR'S train disappears in the direction of the stables. The following conversation occurs in the background of the general noise.
LEAR
'Tis strange that they should so depart from home and not send back my messenger.
KNIGHT
As I learned, the night before there was no purpose of his remove.
LEAR, the KNIGHT, and the FOOL pass through the gate and, upon seeing the still-sleeping KENT in the stocks, pull up short. The FOOL'S mouth drops open in a mixture of shock and amazement. KENT, hearing the approaching footsteps, slowly wakes and gives the party a stiff, brisk nod.
KENT
Hail to thee, noble master.
LEAR
(bemused)
How! Mak'st thou this shame thy pastime?
FOOL
(laughing delightedly)
Ha, ha, look, he wears cruel garters! Horses are tied by the heads, dogs and bears by th' neck, monkeys by th' loins, and men by th' legs. When a man's over-lusty at legs, then he wears wooden nether-stocks.
LEAR
(to KENT)
What's he that hath so much thy place mistook to set thee here?
KENT
It is both he and she; your son and daughter.
LEAR
No.
KENT
Yes.
LEAR
No, I say.
KENT
I say yea.
LEAR
(with growing agitation)
No, no, they would not.
KENT
(patience becoming strained)
Yes, they have.
LEAR
By Jupiter, I swear no-!
KENT
By Juno, I swear ay.
LEAR
(desperately)
They durst not do't- they would not, could not do't.'Tis worse than murder, to do upon respect such violent outrage. Resolve me with all modest haste which way thou mayest deserve or they propose this usage, coming from us.
KENT
My lord, when at their home I did commend your highness' letters to them, ere I was risen from the place that showed my duty kneeling, came there a reeking post stewed in his haste, half breathless, panting forth from Goneril his mistress salutations, delivered letters spite of intermission, which presently they read, on whose contents they summoned up their meiny, straight took horse, commanded me to follow and attend the leisure of their answer, gave me cold looks; and meeting here the other messenger, whose welcome I perceived had poisoned mine- being the very fellow that of late displayed so saucily against your highness- having more man than wit about me, drew. He raised the house with loud and coward cries. Your son and daughter found this trespass worth this shame which here it suffers.
FOOL
(to LEAR)
Winter's not gone yet if the wild geese fly that way. But for all this thou shalt have as many dolours for thy daughters as thou canst tell in a year.
LEAR
O, how this mother swells up toward my heart! Histerica passio, down, thou climbing sorrow, thy element's below- where is this daughter?
KENT
With the Earl, sir, within.
LEAR
Follow me not; stay there.
LEAR turns abruptly and makes for the house. The camera zooms in to focus on the bewildered KNIGHT, KENT, and the FOOL, who is now leaning against the wooden posts of the stocks, seemingly unmoved by how close KENT'S face is to his. LEAR, however, can still be seen in the background, gesticulating wildly at a SERVANT who answers the door until he is admitted entrance.
KNIGHT
(to KENT)
Made you no more offense than what you speak of?
KENT
No. How chance the King comes with so small a train?
FOOL
An thou hadst been set i'th' stocks for that question, thou hadst well deserved it.
KENT
Why, Fool?
FOOL
We'll set thee to school an ant, to teach thee there's no labouring in the winter. All that follow their noses are led by their eyes but blind men, and there's not a nose among a hundred but can smell him that's stinking. Let go thy hold when a great wheel runs down a hill, lest it break thy neck with following it; but the great one that goes up the hill, let him draw thee after. When a wise man gives thee better counsel, give me mine again. I would have none but knaves follow it, since a fool gives it. (Sings)'That sir that serves for gain and follows but for form, will pack when it begins to rain and leave thee in the storm.
The camera closes in on the FOOL'S face. The next verse of his song is quiet, sung seemingly to himself, and his gaze, centered on the ground by KENT'S feet, is abstracted, almost troubled.
FOOL
'But I will tarry, the fool will stay, and let the wise man fly. The knave turns fool that runs away, the fool no knave, pardie.'
Pan out. The moment is abruptly broken as the FOOL drops into a crouch to look KENT in the eyes, a vaguely mocking, yet pitying look on his face. For his part, KENT is curious, and not altogether pleased.
KENT
Where learnt you this, Fool?
FOOL
(ironically)
Not i'th' stocks, fool.
The slam of a door startles everyone onscreen. LEAR, followed closely by an apologetic, somewhat disheveled GLOUCESTER, storms over to the small party, fury evident on his face. He begins to pace, beating an open palm with his fist as he does.
LEAR
Deny to speak with me? They are sick, they are weary, they have travelled all the night? Mere insolence, ay, the images of revolt and flying off! Fetch me a better answer.
GLOUCESTER
(hesitantly)
My dear lord, you know the fiery quality of the Duke: how unmovable and fixed he is in his own course-
LEAR
(beating at the air in frustration)
Vengeance, death, plague, confusion! What 'fiery quality'? Gloucester, Gloucester, I'd speak with the Duke of Cornwall and his wife!
GLOUCESTER
Well, my good lord, I have informed them so.
LEAR
(rounding on GLOUCESTER in amazement)
'Informed them'? Dost understand me, man?
GLOUCESTER
Ay, my good lord-
LEAR
The King would speak with Cornwall; the dear father would with his daughter speak, commands, tends service. Are they informed of this? My breath and blood- (A pause as LEAR curses under his breath, then snorts a laugh) Fiery. The Duke? Tell the hot Duke that- (Another pause; LEAR stops pacing, all semblance of fight gone from his now tired and defeated visage)No, but not yet. Maybe he is not well. We are not ourselves when nature, being oppressed, commands the mind to suffer with the body. I'll forbear, and am fallen out with my more headier will, to take the indisposed and sickly fit for the sound man. (Another pause; a new coldness, bred of growing realization, creeps across LEAR'S face)Death to my state. Wherefore should he sit here? This act persuades me that this remotion of the Duke and her is practice only. (TO GLOUCESTER)Give me my servant forth. Go tell the Duke and 's wife I'd speak with them- now, presently. Bid them come forth and hear me, or at their chamber door I'll beat the drum till it cry sleep to death.
GLOUCESTER
I would have all well betwixt you.
GLOUCESTER, a hand over his heart, bows slowly before returning to the house. LEAR, letting out a low moan, puts both hands to his face.
LEAR
O, my heart, my heart!
FOOL
(pulling his bauble from his belt and fiddling absently with it)
Cry to it, nuncle, as the cockney did to the eels when she put 'em i'th' paste alive. She rapped them o'th' coxcombs with a stick (Beats viciously at the air with his bauble, jumping about and impersonating a cantankerous fishwife), and cried 'Down, wantons, down!'
The door opens again, and the FOOL immediately stops his antics, returning the bauble to his belt and settling himself upon the ground as though he had never even moved. CORNWALL and REGAN, both looking a bit the worse for wear for their late night, make their way over to LEAR, who has gone still. GLOUCESTER and several of CORNWALL'S SERVANTS follow behind. In the shadow of the doorway, EDMUND, unnoticed by the company, moves to watch.
LEAR
Good morrow to you both.
CORNWALL
(coolly polite)
Hail to your grace.
At a nod from CORNWALL, the SERVANTS move to free KENT from the stocks. He stands, shakily, a pained grimace crossing his face before he forcibly steels his countenance to a blank. The FOOL, missing nothing, smirks briefly.
REGAN
I am glad to see your highness.
LEAR
Regan, I think you are. I know what reason I have to think so. If thou shouldst not be glad I would divorce me from thy mother's shrine, sepulchring an adultress. (To KENT)Oh, are you free? Some other time for that. (KENT, accompanied by one of the SERVANTS, exits into the house; they are met by EDMUND at the door, which closes quietly behind them)Beloved Regan, thy sister is naught. O, Regan, she hath tied sharp-toothed unkindness like a vulture here. I can scarce speak to thee. Thou'lt not believe of how deplored a quality- O, Regan!
REGAN
I pray you, sir, take patience. I have hope you less know how to value her desert than she to slack her duty.
LEAR
Say, how is that?
REGAN
I cannot think my sister in the least would fail her obligation. If, sir, perchance she hath restrained the riots of your followers, 'tis on such ground and such wholesome end as clears her from all blame.
LEAR
My curses on her!
REGAN
O, sir, you are old. Nature in you stands on the very verge of her confine. You should be ruled and led by some discretion that discerns your state better than you yourself. Therefore I pray that to our sister you do make return; say you have wronged her.
LEAR
(incredulous)
Ask her forgiveness? Do you mark how this becomes the house? (LEAR kneels stiffly, a great irony in the motion) 'Dear daughter, I confess that I am old. Age is unnecessary. On my knees I beg that you'll vouchsafe me raiment, bed, and food-'
REGAN
(with rising anger, tightly controlled)
Good sir, no more. These are unsightly tricks. Return you to my sister.
LEAR
(rising to his feet)
Never, Regan. She hath abated me of half my train, looked black upon me, struck me with her tongue most serpent-like upon the very heart. (Suddenly seized by a fury) All the stored vengeances of heaven fall upon her ungrateful top! Strike her young bones, you taking airs, with lameness!
CORNWALL
Fie, fie, sir.
LEAR
You nimble lightnings, dart your blinding flames into her scornful eyes. Infect her beauty, you fen-sucked fogs drawn by the pow'rful sun to fall and blast her pride!
REGAN
(stunned)
O blest gods! So will you wish on me when the rash mood-
LEAR
No, Regan, thou shalt never have my curse. Thy tender-hafted nature shall not give thee o'er to harshness. Her eyes are fierce, but thine do comfort and not burn. 'Tis not in thee to grudge my pleasures and to oppose the bolt against my coming in. Thou better know'st the offices of nature, bond of childhood, effects of courtesy, dues of gratitude. Thy half of the kingdom thou hast not forgot, wherein I thee endowed.
REGAN
Good sir, to th' purpose.
LEAR
Who put my man i'th' stocks?
The sound of an unfamiliar trumpet fanfare outside the gate shatters the tenuous peace. CORNWALL steps forward, agitated, motioning a SERVANT to check the gate.
CORNWALL
What trumpet's that?
The SERVANT reenters through the gate with OSWALD, who surreptitiously scans the yard for KENT, and visibly sags with relief to find him absent.
REGAN
I know't, my sister's. This approves her letter that she would soon be here. (To OSWALD)Is your lady come?
LEAR
This is a slave whose easy-borrowed pride dwells in the sickly grace of her he follows. (LEAR moves forward to strike OSWALD across the mouth; OSWALD cries out) Out, varlet, from my sight!
CORNWALL
What means your grace?
GONERIL, unaccompanied, dressed to ride, moves gracefully through the gate, eyeing LEAR and the gathered company severely. OSWALD takes a small step towards her as she draws nearer the company, but GONERIL takes no notice.
GONERIL
Who struck my servant? (Moves to take REGAN'S hand)Regan, I have good hope thou didst not know on't.
LEAR
Who comes here? O heavens, if you do love old men, if your sweet sway allow obedience, make it your cause! Send down and take my part. (To GONERIL) Art not ashamed to look upon this beard?(REGAN moves to clasp GONERIL'S hand, perturbed) O, Regan, wilt thou take her by the hand?
GONERIL
Why not by the hand, sir? How have I offended? All's not offence that indiscretion finds and dotage terms so.
LEAR
O sides, you are too tough! Will you yet hold?- How came my man in the stocks?
CORNWALL
I set him there, sir; but his own disorders deserved much less advancement.
LEAR
You? Did you?
REGAN
I pray you, father, being weak, seem so. If till the expiration of your month you will return and sojourn with my sister, dismissing half your train, come then to me.
LEAR
Return to her, and fifty men dismissed? No. Rather I abjure all roofs, and choose to be a comrade with the wolf and owl, to wage against the enmity of the air necessity's sharp pinch. Return with her? Why, the hot-blooded France that dowerless took our youngest born- I could as well be brought to knee his throne and, squire-like, pension beg to keep base life afoot.
GONERIL
At your choice, sir.
LEAR
(attempting restraint)
I prithee, daughter, do not make me mad. I will not trouble thee, my child. Farewell. We'll no more meet, no more see one another. But yet thou art my flesh, my blood, my daughter-! Or rather a disease that lies within my flesh, which I must needs call mine. Thou art a boil, a plague-sore in my corrupted blood- but I'll not chide thee. Let shame come when it will. Mend when thou canst; be better at thy leisure. I can be patient, I can stay with Regan- I and my hundred knights.
REGAN
Not altogether so, sir. I look not for you yet, nor am provided for your fit welcome. Give ear, sir, to my sister; for those that mingle reason with your passion must think you are old, and so- but she knows what she does.
LEAR
(incredulously)
Is this well-spoken now?
REGAN
(with caustic calm)
I dare avouch it, sir. What, fifty followers? Is it not well? What should you need of more, yea, or so many, sith that both charge and danger speaks against so great a number? How in one house should many people under two commands hold amity? 'Tis almost impossible.
GONERIL
Why might not you, my lord, receive attendance from those that she class servants, or from mine?
REGAN
Why not, my lord? If then they chanced to slack you, we could control them. If you will come to me, I entreat you bring but five and twenty. To no more will I give place or notice.
LEAR
I gave you all.
REGAN
And in good time you gave it-
LEAR
Made you my guardians, my depositaries, but kept a reservation to be followed with such a number. What? Must I come to you with five and twenty, Regan? Said you so?
REGAN
And speak it again, my lord. No more with me.
LEAR
Those wicked creatures yet do seem well-favored when others are more wicked. Not being the worst stands in some rank of praise.(To GONERIL)I'll go with thee. Thy fifty yet doth double five and twenty, and thou art twice her love.
GONERIL
Hear me, my lord. What need you five and twenty, ten, or five, to follow in a house where twice so many have a command to tend you? What needs one?
LEAR
O, reason not the need! Our basest beggars are in the poorest things superfluous. Allow not nature more than nature needs, man's life is cheap as beast's. For true need- you heavens, give me that patience, patience I need. You see me here, you gods, a poor old fellow, as full of grief as age, wretched in both. If it be you that stirs these daughters' hearts against their father, fool me not so much to bear it tamely. Touch me with noble anger, and let not women's weapons, water-drops, stain my man's cheeks. No, you unnatural hags, I will have such revenges on you both that all the world shall- I will do such things- what they are, yet I know not, but they shall be the terrors of the earth! You think I'll weep? No. I'll not weep.
A low rumble of thunder punctuates the frenzy of LEAR'S speech. The wind has picked up, the clouds overhead have grown alarmingly dark, and several of the SERVANTS look to the sky in apprehension. The FOOL flinches slightly, obviously spooked and trying to hide it. LEAR appears unmoved.
LEAR
I have full cause of weeping, but this heart shall break into a hundred thousand flaws ere I'll weep.
Zoom in on LEAR, the rage on his face giving way to fear. He turns slowly to face the FOOL, while the KNIGHT, just barely visible in the blurred background, moves towards LEAR with a look of concern.
LEAR
(a plaintive whisper)
O, Fool, I shall go mad.
Without another word, LEAR, now in three-quarter shot, stumbles out the gate, his bent back rounding a corner and disappearing from view. GLOUCESTER, glancing nervously between CORNWALL, REGAN, GONERIL, and the gate, follows LEAR out, and the KNIGHT follows him out. A moment later he returns with KENT, and the two converse urgently while the FOOL shakes himself and rises, overtaking GLOUCESTER on his way to the gate. Another louder rumble of thunder sounds, and CORNWALL glances anxiously at the clouds. The SISTERS watch the spectacle of exits, their faces unreadable.
CORNWALL
Let us withdraw. 'Twill be a storm.
REGAN
This house is little. The old man and his people cannot be well bestowed.
GONERIL
'Tis his own blame; hath put himself from rest, and must needs taste his folly.
REGAN
For his particular I'll receive him gladly, but not one follower.
CORNWALL
So am I purposed. (A pause as CORNWALL glances about the largely empty yard) Where is my lord of Gloucester?
REGAN
Followed the old man forth.
GLOUCESTER reenters the yard through the still-open gate, wearing a perturbed expression.
GLOUCESTER
The King is in high rage.
CORNWALL
Whither is he going?
GLOUCESTER
I know not.
REGAN
'Tis best to give him way. He leads himself.
GLOUCESTER
Alack, the night comes on, and the bleak winds do sorely rustle. For many miles about there's scarce a bush.
REGAN
O sir, to willful men the injuries that they themselves procure must be their schoolmasters. Shut up your doors. He is attended with a desperate train, and what they many incense him to, being apt to have his ear abused, wisdom bids fear.
CORNWALL
My Regan counsels well. Shut up your doors, my lord. 'Tis a wild night.
The SERVANTS and OSWALD make their way into the house, followed by GONERIL. CORNWALL puts an arm around REGAN before they, too, make their way within door. Only GLOUCESTER remains outside, gazing worriedly at the gate, but a loud clap of thunder forces him to hurry inside.
FADE TO:
