1311 Final Act

FINAL ACT
written by
George Bøgdañ ve GÄNÆAARD & Andrea BUCCINO
JUNE 30TH - JULY 3RD, 2011
AND NOVEMBER 7TH - NOVEMBER 14TH, 2013

1.
INT. ALAN SHAKESPEARE’S THEATRE - NIGHT
A theatre stage. The image looks like 16mm film. The red
curtain is closed. We can hear somebody moving around the
camera, setting up things, coughing, smoking.
The red curtain opens. An actor comes out, moving awkwardly,

and starts reciting the prologue of Shakespeare’s Romeo and
Juliet. As he walks forward on the stage, closer to us, we
notice his lips are not moving. The actor is rigid, stiff, as
if he were made of wood. Under his make-up the skin looks
pale, as if his body was drained out of blood. He is now
close enough for us to see it’s a corpse. Strings are
attached to his arms, legs and head, making him move.
Somebody is manoeuvring him like a puppet, while reciting the
prologue himself.
The play moves onto the next scene. Gregory and Sampson, also
corpses, come on the stage and start talking. While they
talk, we start to slowly move away from the stage.
INT. SMALL, OLD-SCHOOL, CINEMA - CONTINUOUS
As we’re moving away we realize the corpse-play is being

projected onto a cinema screen. As we move out further,
members of the audience can now be seen watching intently.
Most of them are dressed in dark clothes, some of them
wearing long black leather jackets, some also wearing a mask
and sporting a camcorder or a tripod. The play continues on
the screen.
Suddenly, from outside the place, the silence is broken by a

loud crash and the sound of people shouting. More bangs and
crashes are heard as people in the theatre start to get up
and panic.
POLICEMAN #1
Police! Stay where you are! Don’t
you fucking move!
As the police smashes the door chaos ensues.
The TITLES start over the image, as Richard O’Brien’s Science

Fiction/Double Feature from The Rocky Horror Picture Show
begins to play in the background.
Slow motion. Policemen are coming in through the main

entrance, the first line in full anti-riot attire. As some
spectators try to make a run for the emergency exit, more
police comes in from there. The police starts to apprehend
the spectators, using force on everybody resisting. In some
sort of miniature war, spectators and police start fighting
each other.
2.
Policemen start beating up everybody who’s willing to put up

a fight with their batons or whatever is on hand. Some of the
spectators have their noses broken, some are hit on the head
or in the face. Some of them are beaten while down on the
ground. One of the spectators is screaming his lungs out that
he’s a Professor. Nobody pays attention. The clash is at its
climax and the police obviously has the upper hand.
Somebody tries to run for his life, away from the chaos.
Detective FRANK ORLANDO runs after him. The spectator, now
just in front of the silver screen on which the corpse-play
is still being projected, turns just in time to see FRANKS’s
punch hitting him in the face and breaking his nose. As if it
was not enough, FRANK grabs him and throws him towards the
screen. The man flies into it and as he does so his
silhouette overlaps with that of one of the corpse-puppets,
making it look like the strings are actually attached to him.
With the force of the throw, the body of the man rips the
screen apart in the middle, and falls down in the absolute
blackness behind it.
TITLES and music end.
INT. LONDON POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT
A simple table in the middle of a dark, empty room. A few

Rorschach cards on it. Detective TOM DANIELS is on one end,
MARTHA, an apprehended suspect, on the other. TOM is in his
early forties, handsome in a way, and with a very young
appearance. He is wearing his usual detective attire, suit
and tie. The jacket is hanging on the back of his chair.
MARTHA is a girl in her twenties, fat and not really good
looking. A common nobody. She’s wearing black clothes, heavy
make up and short hair. Some of her make up has been washed
down by tears, otherwise she’s unscathed.
TOM looks worn out from the operations and ongoing

interrogation. It’s obvious from his expression that no real
progress has been made.
TOM
OK, let’s go through this thing
again. You’re telling me you were
just invited there by somebody you
fail to recognize, not knowing what
was going on in that place? Please,
look at me. I’m not an idiot.
3.
MARTHA
It’s the truth. I didn’t know what
the fuck was going on in there, or
I wouldn’t have gone in the first
place! I was only told it’s going
to be a fancy dress party.
TOM
Spare me the “I didn’t know”
routine. I’m getting sick of that
bullshit. You’re not getting out of
here until you tell me who you were
with and who told you about the
screening.
TOM turns towards the mirror glass window for a second. He

knows FRANK is there, watching the interrogation.
INT. LONDON POLICE DEPARTMENT, OUTSIDE INTERROGATION ROOM -

CONTINUOUS
FRANK is watching TOM through the mirror glass. FRANK is a

big man, in his forties, well built and charming in a rugged
way. He is wearing his detective suit, which hasn’t seen the
interiors of a dry cleaner in a long time. He is unhappy
about how the investigation is going so far, and how the
interrogation seems to lead to nothing at all. His gaze
focuses on TOM trying to make the girl talk.
EXT. LONDON’S SUBURBS, STREET GIVING INTO AN ALLEY - TWO

YEARS EARLIER, DAY
An old car is speeding through the street. It suddenly stops

in front of the alley, a man dressed in dark clothes jumps
out of it and starts running. A police car runs right after
it. TOM is driving, FRANK sitting beside him.
As soon as TOM stops the car behind that of the suspect,

almost crashing into it, FRANK jumps out, grabs his stun gun
from the holster and runs after the suspect into the alley.
TOM follows.

PRESENT TIME, NIGHT
FRANK keeps looking intently at TOM, while recalling the

events of that last day as partners and, at the same time,
wishing he could enter the room and make the girl talk.
Two OFFICERS, a policewoman and a policeman, move towards

him.
4.
POLICEMAN #2
Detective?
FRANK snaps out of it and turns towards them.
FRANK
Yes? What is it?
(looks almost surprised at
the two officers)
Two of you? Better be some fuckin’
good news.
POLICEWOMAN #1
Matter of fact, it’s really good
news. The woman Detective DANIELS
is interrogating right now seems to
be the organizer of the screening.
Four other suspects have pointed to
her being behind the event. They
say she brought the DVD.
FRANK
Brilliant.
FRANK turns towards the mirror glass again, forgetting about

the two officers.
EXT. LONDON’S SUBURBS, ALLEY - TWO YEARS EARLIER, DAY
FRANK and TOM are now chasing the suspect on foot.
FRANK
Stop, you filthy piece of shit!
TOM slips on an empty can of baked beans lying in the middle

of the street and falls. FRANK seems not to notice and
continues in the pursuit.
The suspect now finds himself in a blind alley, facing the

fire escape ladder of a three storey building. Not knowing
what else to do, he starts climbing it. Once on the roof, he
realizes there’s nowhere else to go. As he turns to see if
FRANK followed him, we see he is wearing a clerical collar.
Before he can make any move, FRANK gets up on the roof and
jumps on him, pinning him down. They are right next to the
edge of the roof.
FRANK.
Here you are, you little shit!
What, you scared of heights, are
you?
5.
As FRANK talks with the suspect pinned down, TOM finally

reaches the roof.
INT. LONDON POLICE DEPARTMENT, INTERROGATION ROOM - PRESENT

TIME, NIGHT
FRANK has now lost all his patience. Without being able to
contain himself anymore, he storms into the interrogation
room.
TOM
FRANK, what the hell are you...?
FRANK
(to MARTHA)
Who gave you that fucking film,
huh?
MARTHA
I don’t know what the fuck you’re
talking about.
(to TOM)
Who the hell is this guy?
FRANK
(getting closer, softly)
You don’t know, now, do you?
FRANK moves around the table, stops and leans closer to

MARTHA. He grabs her by the hair and pulls her ear next to
his mouth.
FRANK (CONT’D)
(whispering)
Listen, sweetheart, I know you
organized that shit. Now, will you
please tell me where the bloody
fuck you got that DVD from, before
I get really fucking angry?
MARTHA
I d-d-don’t know...
FRANK
Fuckin’ bitch!
FRANK pulls MARTHA up by the hair and slaps her angrily with
the back of his hand. MARTHA falls backwards, stumbles on the
chair and falls down with a crash. She starts crying, the
makeup running down her face again.
TOM, recovering from the shock of FRANK’s burst, jumps up,

grabs him by the arm and drags him out of the room.
6.

CONTINUOUS
TOM exits the interrogation room, forcefully pulling an

unwilling FRANK by the arm. The OFFICERS from before are
still there, having watched in stupor what has just happened.
TOM turns to them.
TOM
Go in there and help that girl up.
The TWO run in the room to help MARTHA.
TOM turns to FRANK again.
TOM (CONT’D)
What the fuck are you doing, FRANK?
What the fuck was that?
FRANK
The only way to get some answers
from that fucking bitch!
TOM
FRANK, you said you’ll let me take
care of it my way, didn’t you?
FRANK
I was wrong. Your way is just
wasting our time. We need answers.
Now.
TOM
Then let me get them. Let me do my
job. What you just did there... we
both know how that would end. That
kind of stunts is exactly the
reason why you’ve had no real case
for the last two years.
EXT. LONDON’S SUBURBS, ROOFTOP - TWO YEARS EARLIER, DAY
FRANK has the suspect, a PRIEST, pinned down. He reaches for

his handcuffs.
FRANK
Mate, you’re lucky you found me in
a good mood tonight. You’re
probably gonna get away with just
twenty years and not even a broken
bone.
7.
PRIEST
Fuck you! Do you have any idea who
I am?
FRANK handcuffs the PRIEST and brings him up on his feet.
FRANK
Of course I do... but I don’t
really give a shit. Never been much
of a religious person. Sounds all
like bullshit to me.
PRIEST
I’m not going to prison. Not
happening. I’m far too important,
and there’s absolutely no evidence
against me anyway. You, on the
other hand, are probably both gonna
lose your jobs.
FRANK
Says who? The Archbishop of
Canterbury? The Pope? The Holy
fucking Spirit?
PRIEST
Says me. You’re never tracing
anything back to me. I’m a learned
man, far too smart for you animals.
FRANK
Oh, now, now. I’d accept caveman,
you know, but animal’s a bit
strong.
PRIEST
Fine. Let’s go then. You’ll see at
the station.
FRANK realizes the man is far too calm to be seriously

concerned about being incriminated. Frank takes out a tape
recorder from his jacket pocket.
FRANK
OK, tell you what. I believe you.
In this case, there’s only two ways
this can go. Either you confess to
all the rapes you’ve committed,
here, in front of me and my
partner, or I can kick your head in
till I can use it to have milk and
cereal.
8.
PRIEST
Why should I confess to crimes I
have not committed?
FRANK
Fair enough. Let’s have it your
way, then.
Frank throws the tape recorder off the roof, and it smashes
on the ground with a crash. He then takes the handcuffs from
the PRIEST’s wrists and patiently puts them in his pocket. He
then grabs him by the front of the shirt and throws him full
force off the roof.
TOM, who had been watching until now from two-three feet
away, is shocked and runs towards FRANK on the edge of the
roof.
TOM
FRANK! What the fuck are you
doing?!
As he looks down on the street, he sees that the PRIEST has

landed, safely, in a commercial trash dumpster, on top of
some black trash bags. TOM gives a sigh of relief and turns
to FRANK smiling.
FRANK smiles back. Then he pulls out a .357 Magnum Smith &
Wesson revolver, aims it at the PRIEST three storeys below
and shoots him just once, right in the crotch.

PRESENT TIME, NIGHT
FRANK looks TOM in the eyes, TOM holding his stare, knowing
to be right.
FRANK
OK. You have one more hour. I want
information, and I want it fast. If
in an hour you still have nothing,
I’m taking it. Fine?
TOM
Fine. I’ll get what you want as
long as you don’t interfere. One
hour’ll be more than enough.
FRANK
I’ll be in my office.
9.
While TOM and FRANK talk, the policewoman comes out of the
interrogation room, living her colleague in to assist MARTHA.
FRANK turns to him.
FRANK (CONT’D)
You. Bring a copy of the DVD we got
from them to my office. Fast.
FRANK turns towards the door and walks out.
INT. LONDON POLICE DEPARTMENT - CONTINUOUS
FRANK exits the room and walks through the corridor. He

passes different offices and doors, until he starts going
down a ramp on stairs. He goes in the lower part of the
station, almost a basement, reserved for filing and other
missions of lesser importance. He takes a right and after
walking past a few other doors, on the left enters a door
with his name pinned on it.
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - CONTINUOUS
As he walks in, FRANK leaves the door open.
FRANK’s office is small. Not the office a detective would

normally have. A desk is facing the door. On it a desktop
computer, newspapers, casefiles and a small TV. The walls
are covered with newspaper articles, most of them about
strange cases of many people disappearing in small time
frames, in three cities around Great Britain. One in Wales,
one in Scotland, one in Northern Ireland. Some articles about
a Theatre, Film and TV Professor from Wales, who also
disappeared about two years ago.
FRANK stops, sighs, then looks at the newspapers on the wall

for a couple of seconds, lost in thought. He walks to the
desk, sits, turns on the computer and the TV and leans back
in his chair.
INT. LONDON POLICE DEPARTMENT, CHIEF SUPERINTENDENT’S OFFICE -

TWO YEARS EARLIER, DAY
FRANK and TOM are standing in front of CHIEF SUPERINTENDENT

DAFYDD LEIBOWITZ. LEIBOWITZ, in his uniform, is sitting
behind his desk, smoking a cigarette and looking intently at
the two. He puts out the cigarette in the ashtray.
LEIBOWITZ
So? Who wants to explain what was
that shit?
10.
TOM tries to say something, but he’s immediately stopped by

the CHIEF SUPERINTENDENT.
LEIBOWITZ (CONT’D)
Who the fuck do you think you are,
some goddamn vigilantes? You’re
part of the London bloody Police
Force! Aren’t you?
FRANK
It was just me, Sir, who shot the
suspect. Detective DANIELS had
nothing to do with the force used
to apprehend him.
LEIBOWITZ
He’s your bloody partner! He’s
there to talk some sense into that
fucked up head of yours. That’s why
we have teams of two.
FRANK
With all due respect, Sir, you know
that wouldn’t have changed
anything.
LEIBOWITZ
Yes, I know it, FRANK. Why the fuck
would you do something like that?
What am I supposed to do, huh? I
should fucking fire you. Right now!
FRANK
Sir, I only did the right thing
there. Now that rapist cannot harm
anyone anymore.
LEIBOWITZ
We’re not living in a jungle,
Detective. We have laws, judges.
It’s their call to say if he was
guilty or not. That’s not the way
you do it in civilized society.
FRANK
Fuck civilized society! You think
those little girls found that
monster’s attentions civilized?
TOM
FRANK...
11.
FRANK
Don’t “FRANK” me now, TOM. Sir,
would you have arrested the priest?
Would you have sent that fucking
cunt to jail?
LEIBOWITZ
That’s not the point.
FRANK
It’s the only point to me, Sir.
LEIBOWITZ
He probably would have walked. Yes,
he would have fuckin’ walked. His
back is well covered.
FRANK
Then I was right. And I’d do it
again.
LEIBOWITZ
You shot an unharmed suspect, with
an illegal gun, after throwing
him... pardon, after he
accidentally fell down a roof onto
a dumpster. Do you really think you
can get away with that? With a
person as important as that?
FRANK
I thought he was going for his gun.
I shot in self-defence. And I
didn’t kill him.
LEIBOWITZ
Illegal gun, FRANK! Illegal! You
shot his fucking dick off with a
smuggled gun, in self-defence?
(sighs)
FRANK... you realize I don’t have
any choices left, now, do you?
FRANK
I do, Sir.
LEIBOWITZ
You’re off cases. Any case. You’ll
at least be downgraded, that is if
you’re lucky enough to not get
fired and you still want to be with
us.
(MORE)
12.
LEIBOWITZ (CONT'D)
TOM, as FRANK admitted to have done
everything by himself, you’re not
being penalised. But I hope in the
future you’ll take better care of
your partners.
(looks both in the eyes)
You can go.
FRANK and TOM turn and head for the door.
FRANK. Hand over that fucking gun,
will you?
FRANK stops, turns, takes the holster with the gun from his
belt and puts it on the CHIEF SUPERINTENDENT’s desk. He looks
at him.
Now get the fuck out of here.
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - PRESENT TIME,

NIGHT
FRANK is still sitting behind his desk. The TV is showing the

local news and he’s listening distractedly.
Somebody knocks on his open door.
FRANK
Yeah?
POLICEWOMAN #1
The DVD, sir.
FRANK
Come in, gimme that thing.
The POLICEWOMAN enters and hands FRANK the DVD and a

permanent marker.
POLICEWOMAN #1
I didn’t know if you wanted
anything written on it.
FRANK takes only the disc and waves her off. The POLICEWOMAN
exits without another word.
FRANK looks at the DVD for a moment, then takes it out of its
clear plastic bag and shoves it into the DVD player on the
computer. When the DVD loads he starts shuffling through the
main feature, the corpse-play.
13.
He sees a corpse-Juliet reciting the Rose monologue, then a

corpse-Mercutio getting killed. He goes on the DVD menu, and
looks through the other features. His attention is captured
by what looks like a hidden extra: How to make your
Shakespeare puppet. He plays it.
The feature shows a corpse being opened up. It’s impossible

to see the dark clad person who’s doing the operation. The
blood in the corpse appears to have been all drained out. The
organs are exported, one by one, and put in jars. After the
main organs have been taken care of, the workshop continues
with the skinning of the corpse. FRANK shuffles fast through
the video.
In the meantime, the news on the TV moves onto the case of

the strange disappearance of the Danish Ambassador in the UK.
A reporter, standing in front of the Danish Embassy in
London, is talking, while on his left a picture of the
ambassador is shown.
REPORTER
(from TV)
With the press conference ending
minutes ago, we now know for sure
that the Danish Ambassador to the
United Kingdom has been missing for
forty-eight hours. Many are
speculating the ambassador might
have fallen victim to the so-called
“Shakespeare Killer”, who allegedly
uses the bodies of his victims to
re-enact Shakespeare’s plays.
No official comments were made by
the Police Force, but we are
expecting more developments later
tonight or tomorrow morning.
INT. ALAN SHAKESPEARE’S HOUSE - CONTINUOUS
The end of the same news-programme FRANK was watching in his

office. We slowly move away from the TV to reveal a different
room.
We slowly move in a circle around the room, until we stop on

the door. It’s a big room, with tall bookshelves all over the
four walls. On the first big shelf many different editions of
Shakespeare’s plays can be seen, and many books on his works.
Next to them are different DVD editions of his plays, both
theatre and film. On the other walls is a big collection of
classic literature. Authors such as the great Greeks and
Latin playwrights, Greek Philosophers, Epic poems from all
over the world, all arranged in chronological order.
14.
Recent authors are disposed alphabetically, and for each of

them their works disposed chronologically. An extensive
collection of classic Cinema completes the room. From the
German Expressionists to the great Hollywood masterpieces,
going through arthouse European filmmakers. Books written by
the people involved in creating the films, critical works
too, but not just books. Hundreds of DVDs and Blu-ray discs,
too.
In front of a leather sofa, on a coffee table, many cinema

and stage newspapers and magazines.
We move towards the open door into a long corridor, extending

on the left. We turn there and keep moving, exploring the
house, as if waking up in it for the first time. A man can be
heard walking in another room, while whistling the tune to
Herb Brown’s Singing in the Rain. As we keep going, we see
shadow moving on the right, entering a door. We turn to the
left and enter what seems to be a big theatre with no seats.
A tripod is set at the end of the room, a 16mm film camera on
top of it. We turn right and move towards the stage. The red
curtain is open, but nothing’s on the stage.
As we proceed a man is heard pacing behind. We move onto the

stage and advance through a small door on the back, which
enters a long and wide room looking like a medical
laboratory. Right in the middle of the room we can see a 9
feet long, 4 feet wide working table. On top of the operating
table, coming down from the ceiling, lay two huge sky-lights
and a rope and pulley system, that would facilitate the
handling and turning of heavy corpses. On the far wall,
symmetrically positioned, are two framed covers. The first is
Abbé Manesse‘s Treatise on the Manner of Stuffing and
Preserving Animals and Skins, published in 1786, while the
second is The Preparation and Preservation of Objects of
Natural History by J.S.Wiley, from 1855.
The man, ALAN SHAKESPEARE, gets in.
He enters another room, on the right, to get something. As he

comes out we follow him, always at the height of his hands,
never seeing his face or too much of his body. There’s a desk
in the room, next to a wall. We advance closer to it and see
some pieces of white paper, a glass sample tube containing
red liquid and an old stylographic pen. SHAKESPEARE sits at
the desk, his hands entering our spectrum. He writes a note
in red ink, using the pen. As he moves the pen to get more
ink, we notice the “ink” is actually blood coming from the
glass sample tube. He’s writing a quote from Hamlet: “Though
this be madness, yet there is method in 't”.
We move away, back to the big operating table. There’s a

corpse on it. We move closer and closer to the corpse,
discovering it to be that of the Danish Ambassador.
15.
SHAKESPEARE finishes writing, leaves the note to dry for some

seconds, picks it up and puts it in his leather coat pocket.
He then takes a sip from a cup of tea that was resting on the
desk. He puts down the cup, and gets up. We follow him again.
He goes out of the room, closes the door, paces through the
entire theatre-room into the corridor.
From the windows in the corridor we can see that it is the

break of dawn. SHAKESPEARE walks through the corridor to the
main entrance on the other end, opens the door and exits.
EXT. CITY OF LONDON, KENSINGTON, BUSY STREET - EARLY MORNING
The streets are getting lively as the city gets ready for the
new day. The shops, stores, kiosks are opening. The number of
cars, buses, people is increasing quickly. Everybody’s
rushing to work.
SHAKESPEARE gets back to surface, out of the Underground, and

walks to a newspaper kiosk where he buys The Stage and The
Guardian, without saying a word, paying with exact change. He
takes the newspapers and walks to a bench on the other side
of the street, in the middle of a small oasis of green. He
sits down and reads the newspapers as the street is getting
busier and busier, while checking inquisitively the passers
by, their faces, their rush. Time passes fast.
On the other side of the street a Volkswagen Golf stops in

front of the newspaper kiosk, right behind a black Ford
Fiesta. The driver, AARON, and his wife, AMANDA, are having
an argument. AARON rushes out. AMANDA follows soon after
asking their twin girls to wait for them in the car. AARON
walks into a small shop that’s next to the newspaper kiosk.
AMANDA follows him in.
Having read it, SHAKESPEARE throws The Guardian in a bin next

to the bench, but holds on to The Stage. He crosses the
street, goes to the back of the car and knocks on the window.
The TWINS look at him with interest.
EXT. OUTSIDE “8 1/2” VIDEO STORE - MORNING
THE twin GIRLS are about eight or ten. They have long, curly
brown hair and wear matching school uniforms consisting of
light blue dresses and white shirts. They are holding hands.
THE TWINS are walking alone, on the same street, towards a

nearby DVD and Blu-ray shop. The shop is fairly sized and has
a small parking space next to it. The black and white
insignia reads “8 1/2”. It’s already open. The opening times
say 8:30 am to 8:30 pm every day.
16.
One of the girls is holding the note that SHAKESPEARE wrote

before going out. The other carries a DVD. They are both
singing Herb Brown’s Singing in the Rain. One gives a first
line, the other follows with the next, and so on.
INT. “8 1/2” VIDEO STORE - CONTINUOUS
THE GIRLS enter the video store and look around for some
time, moving between the shelves. All DVDs and Blu-ray discs
are £8.50. The new ones only as rentals, the older ones to
buy. The selection is made of only art films: European,
Asian, Classic Hollywood. No commercial movies, no
blockbusters, no mainstream films.
JIMMY THE FIREFIGHTER, a tall, stumpy, robust man, with an

ugly scar from a past burn on the right side of his face and
neck, is following the girls with his eyes from behind the
counter. They see him and go directly to him, handing him the
note and DVD. JIMMY THE FIREFIGHTER looks puzzled. He takes
the note and DVD and looks at them with interest.
One of the twins has picked up the A Clockwork Orange Blu-ray

disc, with Alex holding a glass of Moloko Plus on the cover.
She hands that to JIMMY THE FIREFIGHTER, interrupting him.
GIRL #1
We love milk. Do you like milk?
JIMMY THE FIREFIGHTER

(smiling)
I do. You buying this?
GIRL #2
No. We can’t afford it. We’re
saving to buy us a pony.
GIRL #1
A white pony. Whiter than the milk.
GIRL #2
The eggplant man asked us to give
you the things. So we did.

OK... And this?
GIRL #1
We love milk. We wanted you to
know.
THE TWINS turn in one move, as if military trained, and head

for the door.
17.
Before going out they stop and turn back, looking straight at
JIMMY THE FIREFIGHTER for a few seconds, standing there next
to the door. They look at one another, nod their heads, then
turn and exit.
EXT. “8 1/2” VIDEO STORE - CONTINUOUS
When exiting, THE TWINS bump into AMANDA, who is looking

hopeless. Tears are running down her face, she’s shivering.
She was looking for them desperately. When seeing THE GIRLS,
on the impulse of the moment, AMANDA grabs them and holds
them tight to her heart.
GIRL #2
What’s wrong, mummy?
AMANDA
Nothing. Everything is OK now
girls. Everything is OK.
INT. “8 1/2” VIDEO STORE - MORNING
After seeing THE GIRLS going out, JIMMY THE FIREFIGHTER looks
at the note he just received. He picks it up, pulls it close
to his nose and smells it. Puts it back down on the counter,
while scratching his head with the other hand. JIMMY THE
FIREFIGHTER smells blood.
He picks the DVD up and walks into the second part of the
video store, another wide room stacked with DVDs and Blu-ray
discs, enters a narrow hallway on the left through a door
covered in a huge ‘À bout de souffle’ poster and goes up a
flight of stairs. All the walls are covered in peculiar,
unknown film posters. An amazing collection.
INT. “8 1/2” VIDEO STORE, MARKS’S OFFICE - CONTINUOUS
JIMMY THE FIREFIGHTER knocks on the door and enters without

waiting to be called in. The office is small but cosy and has
an intimate feel to it. A middle-sized lemon tree is sat next
to the window and there’s a few lemons in a tray on the desk.
The window is facing east-southeast. The room is flooded by
the morning light. The room is dressed in a minimalist style:
the furniture, all new, is back and white, lots of wood and
metal, contrasting with a Hungarian stove in the corner.
MARKS is sitting at his black desk, his feet on it, in front

of his white Dell laptop, facing directly to the door. He’s
greedily eating half a lemon.
18.
Behind him, on the wall, symmetrically positioned in relation

to the other walls, hangs a human sized Alan Shakespeare self-
portrait painting, signed by Shakespeare in red. MARKS is
listening to The Guns of Brixton, the Nouvelle Vague cover.
SHASE 'MARKS' KARETME was born in one of the most powerful

families of Zimbabwe, was educated in law and international
politics abroad, in London, and at the age of 45 became Vice-
President of Botswana. After retiring from politics he moved
back to London, where he bought the video store he has been
running for five years. During his life MARKS has seen
everything: famine, war, heinous crimes, heroes, earthquakes,
flying saucers, secret cults, fake gods. Most of them in the
films he’s selling in his video store. A big chunk of them in
real life. Nothing can surprise MARKS at this point, and
generally he likes to stay out of other people’s business.
JIMMY THE FIREFIGHTER walks to the desk and puts the note and
DVD next to the lemon tray.

New package.
MARKS takes the note and DVD and looks at them with
suspicion.
MARKS
What’s this?

Weirdest thing yet. Two twin girls
walked in and handed them to me,
saying that ‘the eggplant man’
asked them to.
MARKS turns on his chair and looks at the painting.
MARKS
Eggplant man? Either the girls have
a fruitful imagination or this
Shakespeare guy is worse at
painting than Beckham from the
penalty spot.
MARKS reads the note again.

You know I wasn’t sure about the
other ones, but this one looks like
blood to me. And it looks kind of
fresh, too.
MARKS sighs.
19.
JIMMY THE FIREFIGHTER (CONT’D)

Maybe it’s time to call the police.
Now that they’ve got MARTHA and
all.
MARKS
That girl was asking for trouble!
There’s a bloody reason I wanted to
throw everything in the trash. The
last thing I needed in my life was
having to talk to some retarded
policeman. You retire to have a
nice, quiet life, not to be rushed
in the middle of the biggest
British scandal of the decade.
The bell on the counter rings. JIMMY THE FIREFIGHTER and

MARKS look at each other. MARKS shrugs. JIMMY THE FIREFIGHTER
smiles and heads back to the store. MARKS takes the DVD out
of the case and puts it in the DVD drive. He gets up and
walks to the lemon tree. He picks it up, along with all the
soil, revealing a safe-box, looking like an old, circular,
metal film canister, sat on the bottom of the container. He
takes the film canister to his desk, opens it. Inside we can
see a lot more notes like the one SHAKESPEARE wrote hours
before.
EXT. “8 1/2” VIDEO STORE - MORNING
A car stops in front of “8 1/2”. FRANK gets out, still

smoking the last bits of a ‘Toscano’ cigar, steps on the
sidewalk and takes a few moments to look at the video store,
eyeing it like an eagle. His attention is drawn by AMANDA,
who has just finished lecturing THE GIRLS. AMANDA cleans the
tears off her face, takes the girls by their hands and heads
back to the car to let AARON know that everything is fine.
TOM turns off the radio, cleans the cigarette tray on the
door next to FRANK’s seat, makes sure everything is
thoroughly arranged inside the car and FRANK didn’t leave any
stumps behind, and joins FRANK on the sidewalk.
FRANK
(nodding towards the video
store)
Looks decent. Better than I was
expecting. Don’t see why they’d
hire such a munter.
TOM
I didn’t know we were paid to point
fingers. And I remember somebody
telling me he was in a rush.
20.
FRANK
You know I was doing you a favour.
Didn’t wanna have you there with
that creep till the day after
tomorrow, tryin’ to get two words
at a time from her ugly mouth. And
second, you know I hate mornings.
Cut me some slack here, mate. I’ll
bash their heads in in a second,
don’t worry.
FRANK takes the stump of the cigar from his mouth and flicks
it away without caring about where it’ll land. FRANK and TOM
walk into the video store.
EXT. KENSINGTON STREET, IN FRONT OF SMALL SHOP - MORNING
AMANDA and THE GIRLS reach the car to find that AARON is not
there. The car is unlocked. The black Ford Fiesta is gone.
AMANDA takes a glimpse through the small shop’s window, but
can’t see AARON inside. She starts looking around with
unrest.
GIRL #2
Mummy, where is AARON?
AMANDA takes a quick look at the GIRLS. She moves closer to

them, putting her hands on their shoulders and bringing them
closer to her body.
AMANDA
I’m not sure, love. He’s probably
looking for you.
AMANDA takes her mobile out of her purse and gives AARON a
ring. He’s not picking up. AMANDA tries once again, with the
same result. She takes the GIRLS by the hands again, and
walks with them inside the small shop.
INT. KENSINGTON STREET, SMALL SHOP - CONTINUOUS
THE TWINS start looking around the store. A magazine catches

their attention. They start arguing about the star on the
cover.
AMANDA advances directly to the store clerk, who is watching

some news broadcast on ‘The Shakespeare Killer’ while sorting
through a box full of old receipts. He is lazily chewing some
gum.
21.
AMANDA
Morning. Maybe you remember me.
I’ve just been here with my
husband.
THE CLERK looks back bluntly. He’s still more interested in

the news broadcast and his gum than anything else.
AMANDA (CONT’D)
Please Sir, I really, really need
your help. That blue one in front
of the store is our car. While we
were inside a man talked my girls
into going away with him. And after
getting out of the store we
couldn’t find them, so we got
scared and we separated to try
finding them, but we talked about
meeting back here in ten minutes.
THE CLERK is looking at her with a bit more interest, but he

keeps checking the TV while he talks.
SMALL SHOP CLERK

That man that bought the two
reduced pound-ten sandwiches is
your husband?
AMANDA
Yes. Have you seen him?
SMALL SHOP CLERK

I have. He was wearing a brown
suit, wasn’t he?
AMANDA
Yes.
SMALL SHOP CLERK

You know, you have some beautiful
girls, the two of you. You
shouldn’t give them those reduced
sandwiches, especially the ones
with egg and mayo. You shouldn’t be
cheap at your kids’ expense...
AMANDA
Please, Sir. I tried ringing him.
He’s not picking up.
THE CLERK moves his hand, making her understand that she
should calm down, and wait for a second.
22.
SMALL SHOP CLERK

(nodding towards the TV)
They’re pretty much the same every
hour, you know. They go in a loop.
Should come up in a sec.
On TV, next to the reporter, photos of the students from

Aberystwyth now cover the screen. Among them, an old photo
presenting a middle aged Professor of Theatre, Film and TV:
ALAN SHAKESPEARE.
SMALL SHOP CLERK (CONT’D)

See that? Told ya.
AMANDA looks at the TV, and back to the CLERK.
SMALL SHOP CLERK (CONT’D)

See that man? The old one in the
photo. I think he was talking to
your husband, next to the car,
before. I mean... he looked
different in real life... But I
think it was him.
(points left)
They both went into the black Ford
that was parked in front of your
car. Funny thing, that car was here
for two days. Normally, no car’s
parked here for more than a few
minutes.
One of THE GIRLS gets closer to the counter and notices ALAN
SHAKESPEARE’s photo on the telly.
GIRL #1
M! Look! The eggplant man’s on TV.
The other GIRL looks at the TV and starts smiling. AMANDA

startles. She thanks the CLERK, takes both girls by the hand
and rushes out of the shop.
INT. “8 1/2” VIDEO STORE - MORNING
FRANK and TOM enter the video store. Jazz is playing quietly
in the background. A few customers are moving around, looking
through the shelves. Two of them are waiting patiently next
to the till. The first one, a girl, is reading an old number
of Cahiers du Cinéma. The second one, a man, looks into the
same magazine over the girl’s shoulder.
TOM starts looking through the vast selection of DVDs and Blu-
ray Discs with genuine curiosity. FRANK goes straight to the
till.
23.
FRANK
You all right, love? Been waiting
here long?
GIRL WAITING IN LINE

Not too long. They should be here
soon. You in a rush?
FRANK
Kind of.

You could go first if you care to,
I’m not in a hurry. I want to
finish this article anyway.
TOM has found a huge film memorabilia bin and he’s searching
through it. All objects have a tag attached to them, stating
the film, the director and the scene they were used in. He
picks up a mug.
TOM
FRANK, look at this. It’s from
Match Point. You know I love that
film.
FRANK looks at TOM like you would look at a child asking ‘how
do kids come to life’.
TOM (CONT’D)
I didn’t know about this store.
It’s amazing!
(while still searching
through the bin)
Wow! Randal’s cap! That’s nice.
FRANK loses his patience. Addressing the girl in the line.
FRANK
No, really, you know where these
people are? We’ve got some serious
business on hand here.
TOM has just found a wig. He puts it on and looking in a

mirror next to him starts delivering lines from All that
Jazz.

They should be here, I told you. Or
you could use the bell if it really
can’t wait.
FRANK doesn’t wait a second more. He starts ringing the bell

furiously.
24.
FRANK
A bell... A bloody bell. Why the
hell didn’t you tell me there was a
bell?
THE GIRL gives him a look and goes back to her article.
TOM just found a Chucky doll.
TOM
A Chucky doll! DANIEL would love
it!
JIMMY THE FIREFIGHTER comes back into the store and goes
behind the counter.

Everything all right, Sir? Sorry
for keeping you waiting. How can I
help you?
FRANK
Could I speak to Mister...
FRANK searches his pockets for his notebook, a small, black

thing with a cigar painted on it, finds it in his left
pocket, opens it and finds the name he was looking for.
FRANK (CONT’D)
KARETME. Mr. SHASE KARETME.

Oh, MARKS. He likes to be called
MARKS. With an S at the end.
JIMMY THE FIREFIGHTER reaches for a phone next to him, picks

up the receiver and dials an internal code.

Who should I say is looking for
him?
FRANK
Detectives FRANK ORLANDO and TOM
DANIELS. London Police.
MARKS picks up at the other end.

(on the phone)
MARKS, I have MR. ORLANDO from
London Police here with me. He and
his partner would like to have a
word with you.
25.
MARKS says something, but we can’t understand it.

OK. Yeah, sure thing.
JIMMY THE FIREFIGHTER hangs up.

He’ll be down here in a minute. Do
you mind if I take care of the
customers in the meantime?
They both look at TOM, who’s captivated by the memorabilia

bin.

(smiling)
Maybe you’ll find something you
like, too.
FRANK
OK, fine. But you better make sure
it won’t take more than a minute.
FRANK joins TOM who’s now wearing a top hat and a pair of red
round sunglasses. JIMMY THE FIREFIGHTER serves the two
customers that were waiting in the queue. We slowly move
around the store, meeting MARKS as he comes through the back
door.
MARKS advances to the main video-store room. He looks at

JIMMY THE FIREFIGHTER who nods towards the two detectives.
MARKS joins them, smiling as he sees TOM acting like a kid
around the memorabilia bin.
MARKS
Good day, detectives. What can I do
for you?
FRANK
To tell you the truth, I was
looking for our mutual friend.
MARTHA. We really hit it off on our
first date, and I was thinking to
ask her to dinner.
MARKS
Sorry to cut your wings off, but I
don’t think she feels the same. She
took a few days off.
FRANK
Yeah, I might’ve been wrong. Maybe
she just doesn’t like it rough.
(MORE)
26.
FRANK (CONT'D)
But you know, after seeing the kind
of films she’s into I just couldn’t
help myself.
MARKS has no answer. He understands that FRANK knows about

the DVDs, but he’s not yet sure about the painting and quote-
notes.
FRANK (CONT’D)
No worries. I can settle for less.
So? Will I get some answers here,
or you wanna join us at the
station? I’ve got a lovely little
office back there.
MARKS
No need to step that hard on the
gas yet. I’m all yours. You dig
films, art?
FRANK
Of course we do, don’t we TOM? Not
all policemen have the brain of an
ostrich. Of course we do...
Films, sculptures, books. Paintings
and stage acts especially during
the last few days.
Why? You have anything interesting
for us?
MARKS
Maybe. Coffee? Tea?
FRANK
Don’t think I’ve met a Brit who
knows what real coffee is yet.
We’ll both have tea.
TOM has just finished looking through the memorabilia bin. He

only holds on to the Clerks cap and the Chucky doll. JIMMY
THE FIREFIGHTER has no more customers. He’s been listening to
the conversation for a few seconds now.
MARKS
You take sugar? Milk?
TOM
Please. Two sugars for me. And
milk.
FRANK
None for me.
27.
MARKS
JIMMY... will you?

Yeah, boss. Sure.
MARKS
Bring it up to my office. A normal
cup of coffee for me.
(to FRANK and TOM)
This way, detectives.
MARKS, followed by FRANK and TOM, walks back to his office.

They walk slowly, without any words. TOM takes the cap with
him.
INT. “8 1/2” VIDEO STORE, MARKS’S OFFICE - MINUTES LATER
As the three men walk in we see that MARKS has already all
the quote-notes laid out on his desk, the original first DVD
(that FRANK has already watched), the second one (that the
twins have brought in earlier), the small box the first batch
of notes was delivered in and the container in which the ALAN
SHAKESPEARE’s self portrait was received.
The painting is still hanging on the wall, behind the desk.

This is the first thing FRANK notices as he walks in.
FRANK
Bloody Christ. It’s fucking huge.
MARKS
I’m not an expert, but I do have
some experience. It’s not bad
either. Some people would go out of
their way to get their hands on it.
I have sent some emails here and
there and I already have a £45.000
offer for it.
TOM
Too bad it’s not yours to sell.
MARKS
You two act like you’ve never heard
about it and you get 30%.
TOM’s not really interested in the painting, so he goes

straight to the desk. He examines the notes for some time,
after which he hands one to FRANK.
TOM
Looks like blood to me.
28.
MARKS
That’s exactly what JIMMY was
saying.
FRANK takes the note and moves his lips quietly as he reads
it: “I do confess the vices of my blood”.
FRANK
All right, mate, stop playing games
before I start playing myself. You
seem like a nice fellow, don’t make
me move you to the top of my
accomplices list.
MARKS
Like you’d have any list. We both
know this Shakespeare guy is
playing in a different league than
any of us.
TOM moves to the DVDs.
TOM
Which one is the original?
MARKS
If you’re asking which one I
suppose came directly from the
filmmaker... Well, both of them
have.
Both TOM and FRANK stop for a second and look directly at
MARKS. TOM is a bit lost. FRANK is getting angry. MARKS sees
it and decides to start talking.
JIMMY THE FIREFIGHTER interrupts them. He’s bringing the tea

and coffee. MARKS sits in his chair and invites the
detectives to sit down too. JIMMY THE FIREFIGHTER brings in
two chairs from the hallway, after which he goes back out.
MARKS (CONT’D)
OK, I’ll lay the cards on the
table. I really didn’t want to get
involved. I’ve been around too much
smoke and pain in my life, but
there’s not a lot I can do now to
stay away. This Shakespeare guy
pretty much took the decision for
me. And you look like you’re
getting restless.
Unfortunately I don’t have much to
tell you. And you probably know
more than half of it already.
29.
FRANK
Why don’t you let us decide on
that?
MARKS
Well, first we received the self
portrait and the first DVD, around
two-three weeks ago. We don’t have
a huge store here, but we receive
lots of crap. Loads of brainless
artists out there, that don’t know
shit about promoting. I stopped
looking through their crap years
ago, but MARTHA sometimes checks
them out.
We always keep the original. A
thing of mine. Maybe they’ll be
worth something in the future.
JIMMY liked the painting, so I
decided to hang it up.
FRANK
And MARTHA liked this DVD in
particular.
MARKS
She probably did. I didn’t know she
made a copy. I didn’t know what she
was planning. We usually close
early, eight and a half, nine at
the latest. It’s not unusual for
her to go earlier sometimes. Most
times JIMMY locks it for the night.
TOM
So you had no idea she was
organizing the screening?
MARKS
None at all.
TOM
And you didn’t know what was on the
DVD.
MARKS
No.
MARKS takes a sip from his cup. He looks at it, then takes a
lemon from the plate on the desk, cuts it in half and
squeezes it into the tea.
MARKS (CONT’D)
Want some?
30.
FRANK and TOM shake their heads.
MARKS (CONT’D)
Anyway, last week I received the
bulk of quotes. Both me and JIMMY
checked them out, but we didn’t
realize they were written in blood.
Only today, when we got the last
one, JIMMY thought of it. It looked
fresh. The others look a lot older,
as you can see.
FRANK
Where is this new one you’re
talking about?
TOM, who was looking through the notes, gives them all to
MARKS. He looks through them, picks one out and hands it to
FRANK. He puts the others back on the desk. TOM takes them
back.
MARKS
This is the one. From Hamlet.
FRANK
(reading the note)
Though this be madness, yet there
is method in 't.
TOM
What do you mean by received? Who
gave them to you?
MARKS
JIMMY found them in front of the
store, when opening, in the
morning. Except today. He got this
new one and the second DVD from two
little girls, not long before you
came in.
FRANK
Twins?
MARKS
Yeah, that’s what JIMMY said. You
know them?
FRANK
Anything else?
31.
MARKS
Just that they told JIMMY ‘the
eggplant man’ asked them to bring
them here.
TOM
What’s on the DVD?
MARKS
After hearing about the screening,
I got curious. I checked the first
one myself yesterday.
I was looking at the new one when
you called for me. This one’s
Macbeth. Done in exactly the same
manner. But the stage looks like
it’s a different one. And the
bodies are different, too.
But that’s pretty much all I can
tell you about the whole business.
TOM
Why you, then?
MARKS
On that I’m as much in the fog as
you are.
FRANK and TOM have finished their cups of tea and their
questions at the same time. They both get up. TOM takes the
SHAKESPEARE things from the desk. FRANK picks up the painting
container.
TOM
We’ll have to seize these things,
I’m afraid.
FRANK
(to MARKS)
Give me a hand with the painting,
will you?
MARKS
You really taking the painting?
FRANK looks serious.
FRANK
Come on, bub, we don’t have all
day.
MARKS moves his chair next to the wall, steps on it and takes
the painting down, after struggling for a second.
32.
Taking the ALAN SHAKESPEARE portrait down reveals a huge

printed graphic drawing behind it. It’s from the Game of the
Century chess match between Byrne and Fischer, depicting the
game as it was after black’s 17th move: Be6.
MARKS gives the painting to FRANK.
MARKS
30% each?
FRANK
I’d do it mate, trust me. But TOM
is all about respecting the law and
bullshit like that.
FRANK and TOM leave MARKS’s office.
MARKS
Then make sure you don’t forget to
pay for that Clerks. cap, will you?
INT. “8 1/2” VIDEO STORE - MINUTES LATER
JIMMY THE FIREFIGHTER is behind the counter, serving a few

customers. AMANDA, holding her two GIRLS by the hands, walks
into the video store. She looks scared, lost, on the verge of
a mental breakdown. One of the girls points to JIMMY THE
FIREFIGHTER.
GIRL #2
The man with the ugly scar.
AMANDA advances with the girls, jumping the line, speaking

directly to JIMMY THE FIREFIGHTER.
AMANDA
(racing through her words)
I’m awfully sorry to trouble you,
my girls told me they spoke to you
before... You see, my husband has
disappeared. I need to keep looking
for him. I have nobody else I trust
leaving my girls with.
JIMMY THE FIREFIGHTER tries to calm her down and points out
that there are two gents from London Police upstairs that
might help her better.
FRANK and TOM walk back into the video store. JIMMY THE
FIREFIGHTER sees them and cuts the detectives’ way. TOM sees
him coming and stops.
33.
TOM
Don’t worry, mate, I’m paying for
them... £8.50 each, right? You sell
everything for £8.50.
TOM goes for his wallet.

Detectives, I have a lady here
saying her husband has disappeared.
And those twin girls that gave me
the DVD are with her. I asked them
to wait for you.
FRANK
You did good, mate. You did good.
FRANK walks up to AMANDA and the girls.
FRANK (CONT’D)
Hello, love. I’m Detective FRANK
ORLANDO. This is my partner,
Detective TOM DANIELS. I understand
your girls have delivered a DVD to
the video store earlier?
AMANDA
Did they? I don’t know, my husband
has disappeared while I was looking
for them. I can’t find him. He’s
not picking up his phone. And the
clerk in the shop said he’s seen
him going with that Shakespeare
Killer.
TOM
OK. Let’s calm down a bit, ma’am.
You want to take a sit?
(to JIMMY THE FIREFIGHTER)
Mate? Could you bring us some
chairs here?
(to FRANK)
Or we could go to the station?
AMANDA
I’d prefer to continue looking for
AARON. Maybe the clerk was wrong.
FRANK
We will have a few officers on that
in a minute.
TOM? You wanna take care of that?
(to AMANDA)
(MORE)
34.
FRANK (CONT'D)
But it would be better if you and
the girls answer some questions
first. This is very, very
important.
TOM
You want to join us at the station
ma’am? Don’t worry, we’ll have some
officers searching the area
immediately.
AMANDA
Thank you. AARON might be back
looking for us. I want to make sure
he knows the girls are safe.
AMANDA is still not OK. She talks more than she should, can’t
find her words. She is knackered, her voice is fading.
AMANDA (CONT’D)
But couldn’t you join me to our
home instead? For the questions, I
mean. For the girls. They would
feel more comfortable at home. I
wouldn’t like to put them through
the whole police station
experience. They are little girls,
you know...
And I have the car here anyway. We
could go with our car.
FRANK
OK, we can do that.
TOM. I’ll go with them. You make
sure we have some officers looking
for AARON. After you take care of
that, go back to the station and
get those notes and painting to the
lab. They like you better in there
anyway. And ask them to hurry. We
need to know what we’re dealing
with here. If that really is blood
on the notes, we might have our
first real break. And watch that
second DVD. Ten times if you have
to.
TOM
Give me a ring when you’re done. I
could pick you up.
35.
FRANK
I’ll get a taxi. Or take a stroll.
It’ll give me a few minutes to
think it over.
FRANK, AMANDA and the TWINS go to the car. TOM goes to thank
JIMMY THE FIREFIGHTER for all the help and pay for his new
cap and his son’s Chucky doll.
INT. AMANDA’S CAR - DAY
AMANDA is driving. FRANK is sitting to her left, the TWINS

are on the back seats. The car is clean, but FRANK is not
felling too comfortable, not having enough space for his
feet. The TWINS are playing with some McDonald’s Happy Meal
toys. They drive in silence.
FRANK would like to light a cigarette. He takes the pack out,

but after that remembers the girls. Looks back at them and
nods. Puts the pack back and looks out of the window. The
traffic, the cars, the pedestrians start to move faster and
faster. FRANK sees everything around him spinning. Time and
space jump around like Alice’s White Rabbit. He sees AMANDA
saying something but can’t hear or understand. Sky. A taxi.
Now the TWINS are driving and AMANDA is playing with the
toys. Red traffic lights. Green. The car keeps going. AMANDA
is driving again.
FRANK falls into a day-dream.
EXT. FRANK’S HOUSE - TWO YEARS EARLIER, JUST BEFORE SUNRISE
FRANK parks his car in front of the house. The full moon
sheds its light on the street, the street lights are going
off. FRANK gets down and walks to the main door, unlocks it
and walks in. As he walks in, a taxi parks in front of his
house. FRANK doesn’t notice it.
INT. FRANK’S HOUSE. LIVING ROOM - CONTINUOUS
The lights are off, we can barely see the living room. FRANK
turns the lights on. He sees a stack of moving boxes and two
big suitcases next to the entrance. FRANK looks around. His
WIFE is waiting on a chair, already dressed. SHE gets up.
FRANK’S WIFE
Seventy-four hours without even a
call, and you walk in at the very
last moment. There’s some pasta in
the oven. It should still be warm.
36.
FRANK’s WIFE kisses him, takes her purse and one of the
suitcases and walks out. SHE comes back with the taxi DRIVER,
picking the other suitcase and one of the boxes. FRANK and
the DRIVER help with the others. SHE returns to the house and
picks the last one up. FRANK watches her from the threshold,
putting the box in the taxi and getting in. The taxi drives
away.
FRANK closes the door and turns on the TV. BBC WORLD NEWS.
They report students mysteriously disappearing in
Aberystwyth, Wales. FRANK sits on the sofa and watches the
programme in silence.
INT. AMANDA’S CAR - PRESENT TIME, DAY
AMANDA, FRANK and the TWINS have reached AMANDA’s house.

AMANDA stops the car.
AMANDA
We’re here.
FRANK doesn’t hear her.
AMANDA (CONT’D)
Detective? We’re here. This is my
house.
FRANK snaps back to reality.
FRANK
Oh, OK. That’s good.
The TWINS jump out of the car.
AMANDA
Are you a father, detective?
FRANK
Me? No. No, I’m not even a husband
anymore. Nobody should marry a
policeman.
AMANDA and FRANK get out and follow the TWINS. They all enter
AMANDA’s house.
INT. HOTEL ROOM - TWO YEARS EARLIER, NIGHT
Honeymoon suite. Mirrors covering the entire place. Candles,

flowers, pieces of clothing scattered left and right. Empty
champagne bottles.
37.
In a huge, oval water bed FRANK is shagging a couple of twin

sister prostitutes. All three are completely naked, drunk and
stoned. They don’t really know what’s happening, where they
are, what they are doing. Scattered images and thoughts are
running through their heads.
Suddenly FRANK stops. He looks for his clothes, puts them on

and heads for the door.
PROSTITUTE #1
Mister... Didn’t you pay for the
whole weekend?
FRANK
(over his shoulder)
Yeah, I know, love. Enjoy it!
INT. AMANDA’S HOUSE. LIVINGROOM - PRESENT TIME, DAY
FRANK is alone, sitting on a sofa, waiting. He’s holding his

notebook and a pen. AMANDA comes in with two cups of tea and
a pack of headache pills.
AMANDA
So you never drink coffee?
FRANK
Unless I make it, no.
AMANDA sits down. Frank takes one pill from the pack and
drinks it down with the tea.
FRANK (CONT’D)
What about you? Are you married?
Noticed the girls call him AARON.
AMANDA
Long story...
AMANDA looks down and changes the subject.
AMANDA (CONT’D)
I tried calling him again. Same
thing, it’s ringing, but nobody’s
picking up. Do you have any news
from the officers?
FRANK
No. They’ll call me if anything
comes up.
AMANDA
Do you think he’s dead, then?
38.
The TWINS are coming down from their room, having changed in
matching house clothes.
FRANK
Oh, you look beautiful. A pair of
little angels.
AMANDA
Are you ready, girls? Are we OK to
help detective ORLANDO now?
The GIRLS nod and sit next to the sofa, sharing the same
armchair.
FRANK
Could you tell me what happened?
The important bits. And I’ll stop
you from time to time and ask
questions.
AMANDA
Well, we woke up early, we usually
do. Me, AARON and the girls.
FRANK
OK, that’s good. But let’s get a
bit closer to the moment the girls
got to see this guy, OK?
AMANDA
Right. Sorry. OK. Yeah. Right.
So... we were in the car. We
usually take the girls to school.
AARON drops me at work after that
and he keeps the car, sometimes he
needs it during the day. The girls
were thirsty. And me and AARON had
a bit of an argument today, so we
didn’t have time to fix lunch for
them, so we stopped to buy them a
sandwich and something to drink. I
showed you the shop, where the car
was parked, you remember... Where
your partner started interviewing
the shop man. And we were still
arguing when we got there. So we
left the girls in the car, and we
went in. And when we came back out
they were gone. So we started...
AMANDA's at target practice. Her words are rapid-firing

FRANK's brain and he can't find any particular useful piece
of info. He's losing his interest and he's losing his focus.
39.
INT. HAMPTONS BRANCH - TWO YEARS EARLIER, DAY
FRANK’s just finishing the papers. One last signature to

scribble and... he sold the house for three quarters of its
market value. Bargain for Hamptons, great deal for the AGENT
on the other side of the table, fast cash for FRANK. Half of
the money will go into his wife’s account. Half goes into his
pockets right now.
EXT. AUTO DEALER PARKING LOT - TWO YEARS EARLIER, DAY
Next goes the car. FRANK’s not sure about the present
anymore. As for the future... he wants to keep it open for
surprises. He plans to own nothing, be on the move, be free.
INT. LABORATORY - ALAN SHAKESPEARE’S HOUSE, LONDON - PRESENT

TIME, DAY
The TV is on in the next room. On the desk a bunch of photos.

All young men, all looking like they could make a great
Horatio. One of the photos is of JIMMY THE FIREFIGHTER.
SHAKESPEARE sits down on his chair. He’s wearing an orange

surgical suit. He takes the photos, one by one, and looks at
them. After looking at the last one, gathers them in his left
hand and drops them in a paper bin under the desk. Johann
Pachelbel’s Canon in D starts playing somewhere. It’s a
ringtone coming from another room.
We follow the sound, entering the other room, going past the
TV and stopping on a mound of clothes. SHAKESPEARE’s hand
reaches for the mound and finds a mobile in AARON’s trouser
pocket. AMANDA is calling AARON. Without answering or
cancelling the call, SHAKESPEARE goes to an aquarium in the
same room and drops the mobile in the water. It falls on a
pile of mobiles, the bottom ones covered in algae.
SHAKESPEARE leaves the mobile to the piranha fish and goes to

yet another room - a huge abattoir-like fridge. Here we
finally see AARON, naked and fully frozen. SHAKESPEARE pulls
a pair of surgical gloves out of his pocket, puts them on and
sits AARON on a furniture trolley. He takes the corpse into
the laboratory and using the rope and pulley system lays it
on the working table. AARON is left to defrost. We get closer
and check SHAKESPEARE’s newest actor with great attention. It
sure makes the best Horatio.
SHAKESPEARE has already started preparing the tools and

materials. He brings a case with drawers next to the working
table.
40.
It’s full of various sizes of stone, glass and earthen jars,

a large box-like tank of oak and a barrel of salt and alum
solution, plus many other canisters of specific solutions.
Next he brings a hose, connected to running water.
A Guardian film CRITIC is making a case for ALAN SHAKESPEARE

on the TV in the other room.
THE CRITIC
... like Eisenstein, D.W. Griffith,
Godard, even Tarantino. They all
improvised, yeah? Think of how
people reacted to Intolerance when
they first watched it back in the
day. Or what about Monty Python’s
Life of Brian? Remember the
Church’s reaction to it?
INT. LONDON POLICE DEPARTMENT, TOM’S OFFICE - DAY
Compared to FRANK’s office, TOM’s looks like he moved in it

today. Everything is clean and in it’s place, nothing gives
away that a person works there. The only things TOM has
customized his office with are two photos, on his desk, next
to the computer monitor: one a portrait of his kid, the
second of himself with his wife and kid.
TOM was looking at something on his computer. FRANK storms

in.
FRANK
Tell me.
TOM
Tell you what?
FRANK
Anything about that guy AARON?
TOM
Nothing. That CLERK from Kensington
confirmed he saw the guy leaving
with this SHAKESPEARE fellow, or
somebody looking a lot like him, in
a black Ford Fiesta. But it wasn’t
like the guy was forced or
anything...
FRANK
And the lab?
41.
TOM
Yup... written in blood, but that’s
about it. I have some temporary
reports here, but we’re getting
more tomorrow.
TOM hands FRANK a white file. FRANK browses through it.
TOM (CONT’D)
And you?
FRANK brings a sketch out of his pocket. The eggplant man. He

passes it to TOM.
FRANK
The girls made it.
TOM
Not bad.
FRANK
Yeah. Between the clerk and them,
we know what this SHAKESPEARE guy
looks like now.
TOM
I’ll ask Danny for some help. We
should release a sketch. And run a
check on all black Ford Fiestas.
FRANK
Yeah, we should.
TOM
From what I know, it’s the most
popular car in London.
THEY remain silent for a few moments.
FRANK
Seems to me he rushed this one.
This sparks TOM’s attention again.
FRANK (CONT’D)
Nobody’s seen this cunt until now.
Ever. We had nothing on him. But
this time...
FRANK lights a cigar and heads for the door.

42.
INT. ALAN SHAKESPEARE’S HOUSE, LONDON - EVENING
ALAN SHAKESPEARE has finished the work on Horatio. He’s

taking a shower, but the TV is still on. On BBC NEWS a talk
show discusses ‘The Shakespeare Killer’ case. Again the film
critic is defending SHAKESPEARE.
THE CRITIC
We are not even sure who’s doing
the killing, are we? We all know
how they make movies nowadays, come
on! What if it’s all a publicity
stunt? How hard is it to pay a few
students and people around the
country to hide for a year or two?
GUEST #2
And not even let their families
know?
THE CRITIC
For the right money... and the
right project... What about Joaquin
Phoenix? We all speculated... but
were we sure?
GUEST #3
Some of us were sure.
THE CRITIC
All I’m saying is that without a
body there’s no crime, OK?
We hear SHAKESPEARE coming out of the bathroom. He puts on

some clothes and turns on some lights. He starts working on
something off screen.
THE CRITIC (CONT’D)

OK. Let’s say for a minute that he
is actually doing the killing,
a’right? Why don’t I see you
talking about the wars killing our
friends and kids and parents as we
speak? For what? To keep the
weapons industry going? For money?
At least he’s doing it for a noble
cause. His art brings something
new. His art...
SHAKESPEARE turns off the TV. He needs to concentrate.
A huge tank sits in the middle of the room, half filled with
different kinds of liquids of varying densities.
43.
Each has a different colour and they sit on top of each other
in a few layers. SHAKESPEARE has put the tank on top of a
heating device. On top of the tank, sealing it, there’s a
freezing device. They’re both turned on. Halfway to the top,
a big ventilator sits on each side of the tank.
Next to the tank SHAKESPEARE has placed his 16mm camera and
tripod. On the other side are some laser beams. He turns them
on. He also starts the fans and the camera. Soon enough, at
different moments, the liquids start to boil and evaporate.
When hitting the top cover they immediately liquefy and drop
back.
SHAKESPEARE moves between the laser beams and the tank and
using wooden puppets casts shadows inside the tank, over the
liquid vapours of different colours and liquid drops that
dance around.
EXT. LONDON STREETS - CONTINUOUS
It’s raining. FRANK is wandering the streets, thinking about

the case. He doesn’t mind the drops. He probably didn’t even
notice when it started pouring. He remembers...
INT. FRANK’S HOUSE - TWO YEARS EARLIER, EVENING
... watching a news broadcast on STV NEWS on people

disappearing in Edinburgh, Scotland. FRANK had just moved in
his tiny new house on the Thames at that point. With most of
his things still packed, the TV turns on by itself as soon as
he plugs it in. FRANK grabs a beer out of the six-pack on the
floor.
STV NEWS REPORTER

The last person missing is Mr.
Gordon Johnstone, a 43-year-old
software engineer. Here is Allan
Paxton of Police Scotland.
Sir, what can you tell us?
POLICE SCOTLAND SPOKESPERSON

Mr. Johnstone was last seen and
spoken to outside the Port O'Leith
pub on Constitution Street at 2 am
on Sunday morning. It is unclear
where he went after that, but what
we know for sure is that he was
under the influence of alcohol. We
are extremely concerned with the
wellbeing of our missing citizens,
and we’re doing our best to bring
this case to a swift solution.
44.
The news programme continues. FRANK reaches for a box and

pulls it next to him, opens it and takes out a clipboard. He
then brings out of his left pocket his black notebook, with a
cigar painted on it, and a pen. He takes notes.
EXT. LONDON STREETS - PRESENT TIME, EVENING
FRANK’s lost in his thoughts when he almost slams into a

poster billboard advertising a taxidermy exhibition at the
Grant Museum of Zoology. “Over 20.000 animal specimens”, it
reads. Next to a pack of smiling stuffed weasels, a quote:
"Artists must continue the conquest of new territory and new
taboos" - Dan Park, Director of the Royal Academy of Arts,
London.
FRANK stops for a second to eye the billboard. His mobile

goes off.
AMANDA (V.O.)
Hello Detective. Sorry to call you
this late.
FRANK
It’s FRANK. And it’s fine. What’s
happening?
AMANDA (V.O.)
I think I heard something outside
and I kind of got scared. Well...
(beat)
Don’t think anything’s going to
happen, but... well...
(beat)
Oh... I think I wanted to hear a
calm voice.
FRANK
I see. Well, I was out for a stroll
and I’m in the neighbourhood
anyway. I’ll come over just to make
sure.
AMANDA (V.O.)
You think? It’d be great if you
could...
FRANK
OK.
AMANDA (V.O.)
Coffee? Oh... or maybe some tea?
45.
FRANK
Don’t worry about that. I’ll have
something on me.
FRANK puts the mobile back in his pocket and takes out his
notebook. He puts down the address of the organizers of the
taxidermy exhibition.
INT. AMANDA’S HOUSE - NIGHT
AMANDA and FRANK haven’t yet gone to sleep. They’re in the

living room, in front of the TV. They discuss the case first,
but soon get bored and move to some more interesting topics.
For example, right now FRANK trains AMANDA on how to roll a
cigarette. As ever, FRANK’s only using Kentucky pipe tobacco.
While she rolls him one, FRANK uncorks a new bottle of Gaja
Barbaresco.
AMANDA’s a bit tipsy and she drops the rolling paper and
tobacco right on the high pile rug. She’s trying to recover
the tobacco, but it’s an impossible mission. FRANK stands up.
FRANK
It’s no use, don’t worry about it.
I gotta go. It’s way past my
curfew.
AMANDA
What?
AMANDA sees the opened bottle. She tries to fill in her

glass.
AMANDA (CONT’D)
And what about the wine?
FRANK stops her and eyes his glass of Gaja Barbaresco for a
second. He drinks it all in one gulp.
FRANK
No sweat. After all, tomorrow is
another day.
INT. ALAN SHAKESPEARE’S HOUSE, LONDON - NIGHT
The sun will rise again in less than an hour and SHAKESPEARE
is yet to go to sleep. He’s sprawling on his sofa. He has
been reading, for the umpteenth time, passages from
Shakespeare’s Hamlet. You can never prepare too much.
46.
Next to the sofa, on a coffee table, we see his notebook. He

has been scrawling quite a lot: sketches of his plays and his
actors fill the pages. SHAKESPEARE lays the book down on the
table and goes through the notebook. He stops on a blank page
and makes a new sketch: Gertrude, Queen of Denmark.
The first rays of light enter his room. SHAKESPEARE collapses

into a deep sleep.
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - MORNING
FRANK’s back in his office, straight from AMANDA’s. He’s got

Chinese takeout with him and eats it with a fork. At the same
time, he’s going through the second DVD once more, reading
again what he filed for the case and waiting for the hours to
pass and for London to wake.
When the clock strikes eight, FRANK rings Mr. Martin TRACY of
the Guild of UK Taxidermists. He arranges a visit. He rings
TOM next.
INT. TOM’S HOUSE - CONTINUOUS
TOM's wife is on a business trip to Scotland for a few days,

so he has to take care of their 5-year-old son, DANIEL, and
he’s not doing that great of a job. They are already late for
kindergarten. And right now, instead of driving there, TOM’s
cleaning the kitchen. DANIEL managed to drop his Arsenal bowl
and painted the floor and carpet in a black and white texture
of Cocoa Puffs and milk.
TOM is angry at his kid and he shows it. He’s making DANIEL
scrub the floor while he takes care of the carpet. His mobile
rings.
FRANK (V.O.)
Any new ideas?
TOM
Not really... I was cleaning the
bloody kitchen, for fuck's sake.
Daniel made a mess.
FRANK (V.O.)
Great! That’s the best way to get
fresh ideas.
TOM
Cleaning the kitchen?
47.
FRANK (V.O.)
Doing boring stuff that don't need
your brain.
TOM (V.O.)
Oh... Usually it just annoys me.
(beat)
Tell you what, mate, you OK if I
give you a ring when I have my
hands clean?
FRANK
A’right.
EXT. GUILD OF UK TAXIDERMISTS - DAY
FRANK is working his way out of a back exit at the Natural

History Museum. He thought that’s where he’d find the Guild
of UK Taxidermists, but instead an EMPLOYEE points him
towards a small building next to it, on Frankland Road.
INT. GUILD OF UK TAXIDERMISTS, TRACY’S OFFICE - MINUTES LATER
You couldn’t find a better match between a person and his

office. Mr. Martin TRACY, interestingly enough, is the only
Londoner member of the Guild of UK Taxidermists. He is the
President of the Guild, the Secretary and pretty much
everything else. He takes calls, manages the website, he
organizes taxidermy competitions, writes the weekly
newsletter, he makes the diplomas, signs them, he also wins
them. Mr. TRACY crosses and he also heads it home. In much
the same way, his office is the only room the Guild owns. It
can be meeting room, exposition hall, storage unit,
competition turf, awards gala location. It’s a room of many
talents, full of stuffed animals and birds.
Mr. TRACY is a tall and robust man, with hair on pretty much
every part of his body and tattoos on the rest. He has long
hair covering his shoulders and a thick beard. He finishes
showing FRANK his latest exhibits. He can’t really hide his
huge passion and pride.
MR. TRACY
Now, you see this Hobby Falcon
here? He’s going to get me the next
grand prize, right?
It’s not that FRANK isn’t interested in what Mr. TRACY’s

presenting him, but he has a case burning a hole through his
career (not that he needs another one) and he’d love to get
to that. He pulls a DVD out of his pocket.
48.
FRANK
That’s all terribly interesting,
you know, but as I was telling you
I have this thing here I wanna show
you. Would you mind?
They watch the DVD.
FRANK (CONT’D)
What do you make of it?
MR. TRACY
From the looks of it, the man is a
master! I’ve never thought I’d see
something like that in my life. If
what you showed me is real and it
actually happened, that’s serious
business.
FRANK
I got that. Fuck it. What I’m
interested in, is how can I get my
hands on the pigfucker.
Mr. TRACY stops talking. Frank plays the How to make your
Shakespeare puppet featurette again.
FRANK (CONT’D)
Have another look. The location, do
you know it? His tools, those
solutions. Where are they from?
Does he make them? He must have
bought them someplace.
MR. TRACY
You didn’t let me finish. I was
just telling you I’ve never seen
something like this in my life. And
it’s not just what he’s doing, but
how he does it.
I’ve never been to any conventions
outside of Europe, but I read a
lot. He has some South American
influences in his work.
MR. TRACY pauses the video and points to SHAKESPEARE taking

out the heart.
MR. TRACY (CONT’D)

Here, you see? Normally we never
take it out. It’s not important to
us. We only really care about the
skin and main bone structure.
(MORE)
49.
MR. TRACY (CONT’D)
But South Americans, because of
their religion, they worship the
heart, so they take good care of it
in the process.
FRANK
And the tools?
MR. TRACY
We have two dealers we work with,
and as far as I know they’re the
only ones in the UK. I’ll give you
their addresses. But the tools look
foreign, too. You see, they’re
custom made.
FRANK
What about training? Workshops?
MR. TRACY
Not really. We don’t have any. It’s
not such a popular craft here. I
learnt it by myself, like most of
the others.
FRANK shows him a photo of ALAN SHAKESPEARE.
FRANK
Did you ever see this man? At
conventions, meetings, I don’t
know...
MR. TRACY shakes his head.
FRANK (CONT’D)
Exchanged emails or calls during
the last two-three years with
somebody showing peculiar interest
in the craft? You gotta give me
something...
MR. TRACY
No, I’m sorry. Most of us in the
field are old fellows. Children
today aren’t into this kind of
hobbies anymore. All they care
about is girls, computer games and
football.
50.
INT. LONDON POLICE DEPARTMENT, TOM’S OFFICE - DAY
TOM is instructing two OFFICERS on how to proceed with

questioning the two store owners/clerks. He wants to make
sure the officers won’t miss any details.
TOM
I’m sure you were trained and all,
but it’s never like in real life.
Please pay extreme attention to
details and non-verbal
communication. If we ever...
His mobile goes off. It’s FRANK.
FRANK (V.O.)
You got it?
TOM
Yeah, minutes ago. I’m sending the
OFFICERS right now.
FRANK (V.O.)
Don’t forget to check that thing I
asked you to, OK?
TOM hangs up, the OFFICERS leave TOM’s office.
EXT. LONDON STREETS - MINUTES LATER
FRANK is keeping his pace up on a busy London street. His

mobile rings.
FRANK
Shoot.
TOM (V.O.)
Got it! He was in Brazil on a one
year McGill research bursary a few
years back. He ended up staying for
three years, hidden deep in the
Amazonian rainforests. Nobody knows
for sure what he did there. He
didn’t write or present anything
after he returned. And he still
owes McGill the money back.
FRANK’s silent.
TOM
I’m positive he’s our man!
51.
FRANK
Indeed... That’s exactly what I was
afraid of.
EXT. TRAIN STATION, ABERYSTWYTH - ONE YEAR AND A HALF

EARLIER, DAY
FRANK arrives at the train station in Aberystwyth, Wales. He

only has a few cigars and his notebook with him.
INT. DYFED-POWYS POLICE STATION, INSPECTOR’S OFFICE - ONE

YEAR AND A HALF EARLIER, DAY
Inspector CAVENEY receives FRANK and offers him a sit and a

cup of tea. You don’t get a visit from a London Detective
every day. FRANK moves his chair to face the window.
Inspector CAVENEY has an amazing view, right towards the
Castle and the Irish sea. Especially when it’s sunny, it’s
hard to move an inch.
Inspector CAVENEY answers openly to most of FRANK’s question.

Even if the disappearance case remains open, he is convinced
it will never be solved. FRANK fills a few pages with
information he considers useful. Of course it’s not his case,
but it got him interested and that’s enough. He takes it like
a hobby.
INSPECTOR CAVENEY
I’m feeling worst for their
parents. One of them, a girl, was
from as far as Malaysia. And here,
a boy from Montrose, in Scotland.
That’s over 300 miles away!
Some of them came over a few times.
Now only the Malaysian girl’s
parents call once in a while. Think
even they lost all hope.
(beat)
Actually, the only one we’re still
questioned about regularly is the
Professor.
FRANK
Professor?
INSPECTOR CAVENEY
Yes. Professor ALAN SHAKESPEARE.
From the Theatre, Film and TV
Department. You didn’t know about
him?
(beat)
(MORE)
52.
INSPECTOR CAVENEY (CONT'D)
Yes, he’s the only adult that went
missing. They still call about him
from America. He owes money to a
bank or something. You see,
currency's more powerful even than
blood ties.
FRANK
Isn’t it possible they all ran away
someplace? Or one of them killed
the others?
INSPECTOR CAVENEY
Everything is possible, mate. But
we couldn’t find anything to prove
it. None of them had a record,
death wish, enemies or the sort.
It’s quite baffling.
INT. “8 1/2” VIDEO STORE - PRESENT TIME, DAY
MARTHA recovered quickly and is back at work, at “8 1/2”

VIDEO STORE. She’s sorting through a few boxes of VHS tapes.
MARKS has decided to enter the VHS collectors market and has
just received his first shipment from California.
JIMMY THE FIREFIGHTER takes care of a few customers at the

till, then walks up to MARTHA.

What’d you say about going out for
lunch today?
MARTHA
Out? Don’t think I feel like
walking too much.

We could take my car.
MARTHA
I don’t know.

If I go out, would you fancy
something?
MARTHA
I really don’t know. I brought a
few veggie hamburgers with me,
anyhow.
53.

Cool.
JIMMY THE FIREFIGHTER heads for the stairs.
INT. “8 1/2” VIDEO STORE , MARKS’S OFFICE - CONTINUOUS
MARKS’s in his office. He’s listening to David M. Buss’s

audiobook The Murderer Next Door: Why the Mind Is Designed to
Kill. It's a weird version, though. Sounds like someone
played with the speed and made it go faster. TV’s on mute.
They’re still going on about ‘The Shakespeare killer’.
On his desk there’s that ALAN SHAKESPEARE painting again, but

it’s only about half the size of the first one. MARKS is
studying it.
JIMMY THE FIREFIGHTER enters. MARKS pauses the audiobook and

brings the TV volume up.

Boss, I’m going out for a bite.
Wanna join me?
MARKS
Sounds good. That Chinese joint?

Not again! I hate those useless
sticks they give you.
MARKS reaches into one of his desks drawers and brings out a
fork and a bottle of scarlet drink. He hands JIMMY THE
FIREFIGHTER the fork.
MARKS
Told you I’d take care of you,
didn’t I?

Now, that juice must be 100%
natural...
JIMMY THE FIREFIGHTER moves next to the door.

We going or what?
MARKS drinks some of the juice. Manages to spill it partially

on his hand and desk and starts licking them passionately,
one after the other, until they’re clean. He wraps the
painting and hides it behind a tall, black cabinet.
54.
MARKS
JIMMY, it's getting weird.
(points to the TV)
You see? It ain’t stopping. We'd
better wash our hands.

Burn it?
MARKS
Don’t think it’s that bad. We’ll
sell it! Who else has an original
painting coming straight from the
famous ‘Shakespeare Killer’?
INT. TURMEAUS TOBACCONIST - DAY
FRANK’s visiting his favourite place in London: Alfie

Turmeaus Tobacconist in Mayfair. Put a blindfold on him,
bring him here, take away the blindfold and forget about him.
FRANK would find something interesting to fill his time with
for the next week. Turmeaus is the place where he comes when
he’s out of cigars, tobacco or even wine. Turmeaus is the
place where he comes for a chat and a great cup of coffee.
Turmeaus is his Legoland.
FRANK
Katia, stai bene?
KATIA
Franco, come va?
FRANK
Didn’t have the time to thank you
for the Barbaresco crate. Sorry to
have woken you up.
KATIA
Don’t worry. Glad I could help.
FRANK
Well.. At least tell Davide I
thanked you both, OK?
KATIA
You can thank him yourself. He’s in
the office.
FRANK looks around the shelves for a second, but just out of
curiosity. He knows exactly where each product sits.
55.
FRANK
Tell me... you got any more of
those Toscanos?
Right at that moment DAVIDE comes from a room behind the

counter. He is holding a small package he had already fixed
for FRANK.
DAVIDE
Franco, tutto a posto?
FRANK
Davide! Hello! Thanks for the
Barbaresco!
DAVIDE
Figurati! Lo sai che ti vogliamo
bene qui. Tu sei un amico! OK?
FRANK
Amico, sure!
FRANK laughs, then looks at the small package.
FRANK (CONT’D)
Tell me it’s mine.
DAVIDE
Stai scherzando, Franco?
KATIA smiles. DAVIDE gives him the package. FRANK takes a

quick look inside. The works: a few dozen Toscano cigars,
three Amazon Nerone packs, three Kentucky pipe tobacco packs
and a few other small surprises.
DAVIDE (CONT’D)
(in a thick accent)
Want to see something crazy?
FRANK
Think I’ve seen enough crazy for
two lives, but I guess I don’t have
a choice.
DAVIDE laughs. He’s delighted to have his friend over. He

signals FRANK to follow him. FRANK leaves the box on the
counter and goes after DAVIDE.
INT. TURMEAUS TOBACCONIST, DAVIDE’S OFFICE - CONTINUOUS
The room behind the counter is called an office only because

DAVIDE , with an appreciable amount of humour, wants to call
it that way.
56.
It’s mainly a hallway that connects the unloading ramp to the

stockroom and the main store. DAVIDE has transformed it into
something that is half kitchen, half living room. That’s
where he prepares his famous coffee, and where he has his
guests. FRANK takes a sit on one of the old chairs DAVIDE has
recovered next to the dumpster. DAVIDE loves to gather old
stuff and recondition it.
Before handing him a cup of coffee, DAVIDE climbs on a chair

to reach one of the higher shelves. He brings down a wooden
box, which holds an exceptional Castello Fiammata pipe. Both
men know its value. They drink the coffee, talk about the
pipe and pipes in general. DAVIDE complains about KATIA not
wanting to go to bed with him.
FRANK goes on about the case. He tells him about the quote
from Hamlet and the Danish Ambassador missing.
FRANK
That fucker’s the killer. And I’m
pretty damn sure he’s working on
Hamlet now. Problem is, I have no
idea how many puppets he still
needs and who they’re going to be.
He follows no patterns. He makes no
fucking mistakes! We have close to
nothing on him and what we do have
is doing shit for us.
I’m feeling helpless and I’m a
fucking Detective. We’re supposed
to be the best!
FRANK’s mobile goes off.
FRANK (CONT’D)
I’m listening.
TOM (V.O.)
The officers returned with some
bloody big lists. Those sellers
gave them everything they had. It
would take us a month just to pay a
visit to every name.
FRANK
Leave it to luck then. Tell them to
start. Let ‘em choose whoever they
want to visit first. I’ll be back
in an hour. We’ll also take one or
two each, see how it goes. If we
don’t find it useful, we drop it.
57.
TOM (V.O.)
Yeah. We’ll see. I have to go to
the kindergarten later. Teacher
told me there’s a parents
conference and we can’t miss it.
Something important, she said.
INT. KINDERGARTEN, PARENTS MEETING - DAY
TOM is an island of impatience in an ocean of calmness. All

other parents look like they’re at lunch break. They seem to
be really enjoying this meeting and have nothing better to do
at home.
After a quick vote, they decide to put on a play for their

kids. A puppet play! Little Red Riding Hood. With what he’s
going through at work, TOM is the only one to vote against.
They are now working on cast and crew and since all the
parents are leering at him, in less than no time they make
TOM the main puppeteer. It doesn’t matter that he’s never
done it before.
TEACHER
Don’t worry, you can all take
classes. I know a professional
puppeteer and I can get him to
train you. Are you people free
tomorrow?
INT. ALAN SHAKESPEARE’S HOUSE, LONDON - A FEW DAYS EARLIER,

NIGHT
Sometimes SHAKESPEARE gets lost on the Internet. He likes to

go from link to link, follow the river. Most of the time he
ends up in spectacular online niches. One click and he lands
on a live chat where women from Saudi Arabia are talking
about femme-passing, how they out themselves and tribadism.
One of the women shares a link. SHAKESPEARE clicks on it. He
now lands on a forum where terminal patients are discussing
what they regret most never doing in their lives.
That’s where he discovers SUSAN, a 67-year-old lady. Most of

the other people are generalising. They wished they’d lived
their lives more according to themselves. Or keeping their
friends closer. Or trying to be happier. SUSAN regrets not
following a career as an actress.
Finding out where SUSAN lives and where she spends part of
her time is easy. Just a few more clicks and links to follow.
And maybe some above average computer knowledge.
58.
EXT. CHELSEA PHYSIC GARDEN - DAY
SHAKESPEARE is reading Douglas Adams’s The Hitchhiker's Guide

to the Galaxy, on a bench, in Chelsea Physic Garden. He is
waiting for SUSAN. He knows it’s about time she should get
there, and when she enters the park he recognizes her
immediately.
SHAKESPEARE leaves the book on the bench and goes to meet a

rather old woman, barely advancing, one step at a time, with
the help of a walking frame. She looks awful, skin full of
sores, neck bent slightly to the left, only a few, white
hairs swinging in the wind. She is all alone and when she
sees SHAKESPEARE coming towards her, she works a gawky smile
on her face. SHAKESPEARE helps her back to the bench.
SUSAN
You know, I really thought you were
joking.
We never get to see more than hands or feet of ALAN

SHAKESPEARE, but for the first time we now hear him talking.
His voice is, obviously, the same as the one of the actors in
Romeo and Juliet and Macbeth.
SHAKESPEARE
I never joke about something as
important as that.
SUSAN
So you really want to make an
actress of me.
SHAKESPEARE
Of your body, to be more precise.
SUSAN
Indeed.
SHAKESPEARE
How much more would you have?
SUSAN
Not much. A week. Maybe two.
SHAKESPEARE
And you’re OK to flush that down
the drain.
SUSAN
What’s a week in a lifetime? It’s
not like I’ve something to enjoy.
All I’m left with is the wait.
59.
SHAKESPEARE
Somebody seen you going?
SUSAN
No. They all know I’m sleeping now.
SHAKESPEARE
Fine. You OK to go?
SUSAN
Sure. Let’s get to it!
CUTTING BACK AND

FORTH BETWEEN:
FRANK’s once again at AMANDA’s. They are playing LOGO What Am

I with the twins. The GIRLS love the game and they look like
they’re enjoying themselves. At times, FRANK gets lost in his
thoughts, but the GIRLS bring him back with skill. When it
gets late, AMANDA and FRANK put the GIRLS to bed.
When alone, THEY enjoy one more bottle of that Gaja

Barbaresco. AMANDA smokes for the first time in her life.
Things advance faster and faster. FRANK and AMANDA are skiing
down a mountain slope.
AND:
As always, the TV is on. We see an Amazonian birds and

animals courtship documentary, which looks like it was filmed
and edited by SHAKESPEARE himself, in the Amazonian
rainforests. It’s all playing on the backdrop of Frédéric
François Chopin’s Piano Concerto No. 2. The music and images
are expertly synchronized. If you didn’t know, you would
think the music was written for the film.
In his laboratory, SHAKESPEARE has put SUSAN to sleep. He’s

prepping to work on transforming her into Gertrude, Queen of
Denmark, bringing all utensils close to the working table,
making sure all is set.

MORNING
Both FRANK and TOM have been called to LEIBOWITZ’s office at

9 sharp. They’re there at 8:55 am.
60.
And they wait for over 20 minutes. FRANK is smoking by the

window, TOM’s sitting down on a chair. LEIBOWITZ enters. He
looks angry.
LEIBOWITZ
Take a sit, FRANK.
FRANK snuffs out his cigarette and complies.
I’ll be honest with you. Just out
of a video conference. Commissioner
and the sort. They’re not happy
with our work. What am I saying?
They’re not even content! If we
were a bunch of slaves we’d be
hanging by the necks by now. Good
thing we’re civilised.
So let’s take advantage of that and
sort it out like gents. I give you
a deadline, you get me the
motherfucker.
Three days!
FRANK
What?
LEIBOWITZ
(cuts him immediately)
Don’t ‘what’ me! You have three
days. OK? It’s more than your
mothers would give you right now!
FRANK and TOM are silent.
This has been going on long enough
for you to show me something for
it.
FRANK
With all due respect, Sir. We know
who’s done it, what he looks like,
most probably what he’s going to do
next. We’re getting there.
LEIBOWITZ
So what’s he going to do next?
LEIBOWITZ takes a cigarette out from a heavy silver cigarette

case on his desk. He lights it.
61.
While you were sorting that out, we
had two other missing persons
filed. And did you know they just
reported a missing lady at Royal
London Hospital?
What’s the matter, you’re tired?
FRANK and TOM are silent. Again.
You can have anything you need.
Money, people, cars.
It’s got as high as the Prime
Minister. He’s now getting
questions on it at G20! Imagine
that! We solve it, or we’re out.
All of us!
Anything you need, OK? Just get me
that piece of shit! Storm the
streets! Do some damage! We might
not get him right now, but let’s at
least put on a show! The public
must be aware we’re doing
something.
FRANK and TOM stand up and head for the door.
That raid at the cinema. I liked
that!
(picks up on an idea he
thought lost)
He wipes his arse with something,
right? I want to know where he’s
buying it, how many squares he
uses, if it’s pink or blue, single
or triple layered.
(beat)
Good luck boys! Three days!
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - MINUTES LATER
FRANK is pissed. He lets TOM enter first and slams the door
hard behind him. He’s taking it out on whatever he lays his
eyes on.
TOM
Calm down, buddy.
FRANK
I am calm. Problem is I think we’re
too calm. He might be right.
(MORE)
62.
FRANK (CONT'D)
We should be out there on the
streets, kicking heads in left and
right. That’s how you keep those
cocksuckers in line, make ‘em spit
it out!
Look at us, psychoanalysing.
Freud’d be fucking proud!
TOM
New times, FRANK. Media can’t wait
to drive us in the corner.
FRANK has now laid eyes on his old CRT monitor.
FRANK
Anything, right?
He slowly, deliberately unplugs all the cables from behind

the monitor. TOM looks at him, puzzled. When he’s finished,
FRANK grabs the monitor, lifts it high above his head and
smashes it on the ground. He then grabs a chair and uses it
to further pulverize the remains of the monitor. He puts the
chair back and sits on it.
TOM
You done?
FRANK
Gimme a second.
TOM
There’s nothing we can really do.
You know it. In cases like this, we
just need to wait and hope this
SHAKESPEARE guy makes a mistake.
FRANK
I was thinking, he’s doing three
men’s work. One, taxidermist.
Second, puppeteer. Third,
filmmaker. Let’s have a CMT working
on it.
FRANK gets up from his chair and heads towards the door. TOM
follows.
FRANK (CONT’D)
And don’t we have any IT geeks
around here? Can’t we find his
address using those DVDs? I don’t
know. Computers... Internet...
63.
INT. LONDON POLICE DEPARTMENT, TOM’S OFFICE - MINUTES LATER
FRANK and TOM have moved into TOM’s office, which offers a
lot more space. They have SEVEN other OFFICERS with them in
the room. They’re coming up with a plan. They will have small
teams of OFFICERS visiting all names on the taxidermy list.
Second, they’ll have teams investigating the puppeteer path:
Puppet Theatres, puppetry organisations, London School of
Puppetry. FRANK and TOM take it on themselves to visit film
studios and film stock marketers around London.
Somebody knocks on the door. A POLICEMAN enters.
POLICEMAN #3
Sirs, sorry to bother. We have the
full reports.
TOM takes the file and browses.
TOM
All notes written in blood in the
same group. A, RhD positive.
OFFICER #1
RhD positive is 85% of the UK’s
population.
OFFICER #2
Yeah, but it might be blood from
the same person. It might be
SHAKESPEARE’s blood...
TOM
It probably is. But what does that
do for us? It’s not like we don’t
already know who’s the killer!
FRANK scans around the room. OFFICERS are talking one on top
of each other, they’re already making action plans.
FRANK
All right, men! Let’s go! We have
work to do! Get your arses outta
here and find me that cunt!
All OFFICERS exit.
FRANK (CONT’D)
Where do we start? Ealing Studios?
TOM
Mate, I have to go to a
puppeteering lesson.
64.
FRANK’s bewildered.
TOM (CONT’D)
Yesterday’s meeting at the
kindergarten. They decided to put
on a puppet play for the kids. I
have to learn how to manoeuvre the
bloody thing in less than a week.
FRANK smiles.
TOM (CONT’D)
Ironic, isn’t it?
FRANK
You do that, I’ll go check Ealing
and we’ll team up again later.
INT. ALAN SHAKESPEARE’S HOUSE, LONDON - DAY
SHAKESPEARE has just completed his outstanding work on

Gertrude. The puppet-corpse looks life-like! He is now
finishing up, working with some containers full of blood.
There’s a tremendous resemblance between the blood here and
MARKS’s scarlet juice.
We move to the next room, where SHAKESPEARE’s third video,

Much Ado About Nothing, is playing on a computer. Upon
finishing with the blood, SHAKESPEARE enters the room. The
video was a preview. It was playing while the computer was
making a new DVD. DVD#3, which is now ready. The computer
spits it out. SHAKESPEARE wraps it in a paper cover. He next
writes a brand new quote: “For in that sleep of death what
dreams may come”, but is startled by the door buzzer going
off and makes a small smudge. He’ll write it again.
SHAKESPEARE can’t accept anything but perfection!
SHAKESPEARE has eyeholes on both the main door and the

vestibule one. And while the main door is always unlocked,
the vestibule one is always locked. SHAKESPEARE spies through
the eyehole. It’s all quiet in the vestibule. A few big
carrying boxes, but no delivery man. SHAKESPEARE takes them
inside. Before locking the door again, he takes a stack of
cash and what looks like a new order out of his pocket. He
places them in a wooden mail box next to the vestibule door.
INT. KINDERGARTEN - DAY
TOM enters the classroom where they’re having the workshop.

He’s late. They’ve made a circle of chairs and right in the
middle is the TRAINER and a PARENT, fooling around with some
puppets.
65.
TOM knows SHAKESPEARE’s old now, but if he were 20, maybe 30

years younger... he’d look exactly like the TRAINER. TOM
raises his eyebrows.
TOM spends the rest of the workshop asking a zillion

questions. And some may look ridiculous, having in mind the
setting.
TOM
So... Did your parents teach you
the craft?
If he was the prince of disinterest last time he visited the

kindergarten, he’s the nerd right now. He spends most of the
time right in the middle of the circle, learning how to
handle the puppets and learning as much as he can about the
TRAINER. Other parents are impressed. They’re going to put on
a great show for the kids!
EXT. EALING STUDIOS LOT - DAY
Ealing Studios is the place where Met Film School London

operates. As part of their third year curriculum, the
students from the Directing class have each to turn one of
Shakespeare’s plays into a short film. One of the students
moved fast and they’re already in production phase with his
version of Cymbeline. That’s where FRANK can be seen,
mingling with the extras and the crew, asking questions left
and right. Of course they don’t need a police consultant on a
Cymbeline set, but FRANK managed to trick everybody into
thinking that’s his role and he’s part of the team, so
they’re all open to him.
Taking advantage of the situation, FRANK raids the catering

corner when a mild argument between the DIRECTOR and the
WRITER gets his attention. They’ve been acting like rams in
heat for the entire production, so they asked for the help of
Professor Gordon MITCHELL, from King's College, to sort all
Shakespeare-related disputes.
They’re fighting again, but Prof. MITCHELL manages to put out

the fire and they’re back at it. They start shooting the next
scene. Prof. MITCHELL needs a break. He joins FRANK at the
catering corner. FRANK’s fixed on Prof. MITCHELL. He looks
familiar.
FRANK
So, you the Shakespeare expert
around here?
Prof. MITCHELL hushes him.

66.
PROF. MITCHELL
(low voice)
If we destroy the take, he’ll
explode! We need to keep it down.
FRANK
Sorry, mate. Back at the department
we have to yell to get attention.
(beat)
So, you’ve been studying
Shakespeare how many years?
FRANK continues his concealed interrogation.

ONE MONTH EARLIER, MORNING
LEIBOWITZ has asked TOM to come to his office... and bring

him a coffee on his way. Meanwhile, he’s forgotten about the
coffee. When TOM enters, he’s hit right between the eyes by a
dart. LEIBOWITZ has the most amazing nerf gun you’ve ever
seen, made just for him by NERF UK, as a gift for agreeing to
appear in one of their commercials. It was waiting for him in
the office, this morning, and he was eager to test it.
When being hit, TOM spills most of the coffee. He stops to

check if he got any on his suit.
LEIBOWITZ
(pumped)
Did you fucking see that? Bulls
eye!
TOM
Yeah, great job! Now you’ve got a
stained carpet...
(pausing between words to
check the suit)
... and I think I have a stained
suit...
LEIBOWITZ
Come on sonny, where’s your spirit?
Wanna try it? I’ll let you hit me,
OK?
TOM
I’m good.
TOM lays the half empty cup on LEIBOWITZ’s desk. LEIBOWITZ is

reloading his nerf gun. While they talk he continues to play
with it.
67.
TOM (CONT’D)
What’s happening?
LEIBOWITZ
Oh, right. Anything special you’re
working on?
TOM
Not really. Just archived two
cases.
LEIBOWITZ
Perfect! I need a favour. You know
my wife likes to mingle with
singers, performers... TV people.
One friend of hers... had a show on
ITV a while back...
LEIBOWITZ looks at TOM. TOM has no idea what LEIBOWITZ is

talking about.
Great piece of ass, you’d know her
if you watched TV.
Well.. they can’t find her. It’s
been about three days, I think. I
need you to have a look around. Ask
a few questions. Make it look like
we care.
TOM
Yeah, OK. No problem.
LEIBOWITZ
Thanks TOM, I’ll put you on my
Christmas list! Go see CROZIER,
he’ll fill you in with the details.
INT. THE MAGIC CIRCLE - PRESENT TIME, EVENING
Being a policeman and all, FRANK knows exactly where to go

when you’re after an illegal gun in London, and that’s not
ill-famed joints or Russian illegal roulette taverns. After
about two years, he’s returning to The Magic Circle, next to
Euston Station. He goes straight to the Club-Room, second
floor, a room packed full of posters, magical exhibits and
distinct characters.
FRANK finds his man, OCTAVIANON DER ZAUBERER, drinking while

playing poker with a few mates next to a Kellar Self-
Decapitation poster.
68.
FRANK
OCTAVIANON, you have a minute?
OCTAVIANON DER ZAUBERER

FRANK, batrane! Looking good!
FRANK
Thanks, mate! I might need
something from you.
OCTAVIANON DER ZAUBERER is a tall and sluggish fellow. Even

if his name has German resonance, he’s from Romania. Moved to
London years back and put on a magical act after being fired
from the doctors clinic where he worked. They walk around the
room, acting like OCTAVIANON DER ZAUBERER is showing him some
magical trick.
FRANK (CONT’D)
Still in the gun market?

You really think I could afford my
Ferrari and that penthouse in
fucking Chelsea with my magical
shit?
FRANK
Same ol’ crap?

Same ol’ stage, same ol’
motherfucker.
(beat)
What you after?
FRANK
Just a regular peacemaker. Boss
seized the old one.

Facem... No problem at all. Follow
me.
THEY exit the Club-Room.
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - ONE MONTH

EARLIER, MORNING
TOM knocks on FRANK’s door and enters. FRANK was napping,

head on a file he was reading before dozing off. TOM notices
FRANK’s office walls are now all covered in newspaper
clippings and printed out online articles. While talking he
walks around the office and checks the articles.
69.
TOM
You sleeping again?
FRANK
I’m hungry, mate, I had to do
something!
TOM
Grab a bite.
FRANK
I’m broke until payday.
TOM
You still into those disappearance
cases? You have no more wall.
FRANK shows him a filing cabinet.
FRANK
Yeah. I’ve started filing.
TOM
You know what LEIBOWITZ put me on?
A missing person case. One of his
wife’s friends.
(beat)
I could tell him to add you on it.
Weld the team back together. You’ve
had your penance.
FRANK
Don’t bother. I like it here.
TOM
Anyway, have any plans for tonight?
NINA told me to ask you to take
SARA and come over. Have some of
that amatriciana like in the stag
days.
FRANK
I’ll give her a call, see if she
has anything planned.
INT. “8 1/2” VIDEO STORE - PRESENT TIME, NIGHT
Leonard Cohen’s Closing time is breaking out of the speakers.

Between the time they close for the day and the time they get
out, while they clean up and rearrange stuff on the shelves,
“8 1/2” VIDEO STORE employees like to crank up the volume.
They’re celebrating a new day gone.
70.
MARTHA’s alone in the store. She’s working on today’s

balance. There’s a young FELLOW at the main door, monkeying
around, but since she’s facing the wall she can’t see him.
Because of Cohen, she can’t hear him knocking either. She’s
about done. Puts the money in the safe and turns off the
lights.
MARTHA observes him when she goes for the door. She hesitates
at first. The BOY’s wearing a parka and a cap over his head
and you can barely see his face. But she mans up and goes to
open the door, carefully, to see what he’s after.
MARTHA
We’re closed.
PARKA BOY
I see, but I’ve got something for
you.
He shows her a DVD and a new quote-note.
PARKA BOY (CONT’D)

The man said you’ll want it.
MARTHA’s hand goes for the DVD.

No, no. Not so fast. He said you
reeeally want it.
MARTHA
I don’t even know what it is.
PARKA BOY
Told me you’ll know it, if I tell
you The Bard made it.
MARTHA makes a wry face.

See?! I knew it!
MARTHA
Five quid.
PARKA BOY
Fifty.
MARTHA checks her pockets. Brings our a ten pound note. Hands
it to the BOY.

Go on...
71.
MARTHA looks through her pockets once again. One hand stays
in her left pocket.
MARTHA
That’s all I’ve got.
PARKA BOY
You have more in the store. Come
on, don’t be stingy, make it twenty
at least!
She pulls out a second ten pound note. The BOY grabs it and
gives her the DVD and quote-note. He runs away.
INT. MARKS’S OFFICE - NIGHT
MARKS feels a bit cold, so he’s working on starting his

Hungarian stove for the first time this year. It’s a gas
stove and he’s using a lengthy candle to start it with. He’s
a bit afraid of fire and he likes to keep his distance. Past
sequelae.
While doing that, he hears a jerky sound. It’s not that

noisy, but it catches MARKS’s curiosity. He wants to know
where it comes from, make sure it’s not from the stove. He
follows the sound, closer and closer, to the window. A moth
is banging off it. MARKS hates insects. Past sequelae.
MARKS has an idea. Goes to his desk and takes the air-
freshner spray. He sprays the bug with it a few times. The
moth struggles a bit, but eventually falls down to the floor.
MARKS goes back to the stove and lights the candle. He drips
wax on the bug, until it partially covers it. Soon enough the
wax cools and solidifies. MARKS picks a knife and scratches
the mash off the floor. He throws it in the bin. His work
here is done.
There’s a knock on the door.
MARKS
Yes, come in.
MARTHA
Oh, you’ve started the stove?
MARKS
A-ham. What’s up? You still around?
MARTHA
Yeah. Was on my way out when a
bloke knocked on the door.
72.
MARKS
And?
MARTHA
New DVD, and a new quote. Even had
to pay this time. Twenty quid.
MARKS
Ace. Made a copy already?
MARTHA
I’m past that. Trying to stay out
of trouble.
MARTHA wants to lay them on MARKS’s desk.
MARTHA (CONT’D)
I’ll leave ‘em here, OK?
MARKS
Give it to me. I wanna watch it.
MARTHA
Oh, do you? Could I watch it?
MARKS
Sure. Make yourself comfortable.
MARKS loads DVD#3.
FRANK’s back at AMANDA’s. And they have taken the next step.
They are making love, when FRANK notices something out of the
ordinary: AMANDA is weeping. FRANK stops for a second, but
AMANDA asks him to continue. He does so, but can’t stop from
asking.
FRANK
Are you... crying?
AMANDA
Please. Don’t stop!
FRANK
Is it something you normally do?
Or, I don’t know...
AMANDA
No, it’s OK. Don’t stop!
AMANDA kisses him and tries to make him continue to move.

73.
FRANK
It feels fucking weird.
AMANDA hushes him. For a moment it goes back to normal, but

right when FRANK is getting comfortable, she bursts into
tears again. While continuing to cry, she clings to him and
keeps moving. FRANK continues for a minute or two, after
which he stops and drags himself out of her arms and bed.
FRANK (CONT’D)
Sorry. I’ve had my share of strange
shit, but this is getting too much.
FRANK grabs his clothes and leaves. AMANDA’s crying fit

continues.
INT. TOM’S HOUSE - MORNING
TOM’s almost done being a single parent. His wife will land
at Luton during the evening and he’s damn happy about that.
TOM’s a great policeman and a great dad, but taking care of
his boy, fixing him breakfast and making him ready for
kindergarten is not his cup of tea.
They’re late again. DANIEL scoops his last few spoons of milk
and cereal off the bottom of his bowl. TOM throws the child’s
backpack on his back and they’re out the door. DANIEL, too,
is happy about his mum’s return. He’s had it with milk and
cereal!
INT. TOM’S CAR - MORNING
TOM is driving to work, after dropping DANIEL at the

kindergarten. His mobile goes off. TOM hates to talk and
drive, but he has to pick up. It’s DANIEL.
DANIEL (V.O.)
Dad?
TOM
Yes, sport. What’s happening?
Aren’t you in class?
DANIEL (V.O.)
Dad, we forgot my drawing.
TOM
Did we?
DANIEL (V.O.)
Yes. Teacher told me I need it for
the class.
74.
TOM
Can’t you show it tomorrow?
DANIEL (V.O.)
No. All the other kids have ‘em
today. Teacher said she doesn’t
trust me I forgot it at home.
TOM
Pass ‘er on, I’ll tell her.
DANIEL (V.O.)
She doesn’t trust you either...
TOM
Doesn’t she?
DANIEL (V.O.)
No.
EXT. EALING STUDIOS LOT - MORNING
FRANK’s back at Ealing Studios. He had a hunch over that

Prof. MITCHELL he interviewed the day before and failed to
sleep it off. He’s walking around, trying to find him. His
mobile goes off.
FRANK
Shoot.
MARKS (V.O.)
You busy?
FRANK
Yeah. Why?
MARKS (V.O.)
Could I tempt you into buying
Branagh’s Much Ado About Nothing?
Only eight pounds and fifty pence.
FRANK
Sorry MARKS, I don’t have time for
this. Something interesting
happened?
MARKS (V.O.)
Well, maybe you’d fancy ALAN
SHAKESPEARE’s version instead?
75.
INT. MARKS’S OFFICE - CONTINUOUS
FRANK (V.O.)
You serious?
MARKS
Sure am. DVD number three up for
grabs. But this one’s twenty five.
Ha-ha.
FRANK (V.O.)
I’ll be right over.
MARKS hangs up. He made a copy of the DVD. Puts it in the

original cover. Goes to his lemon tree and pulls out the film
canister case. Inside we can see the other two original DVDs.
MARKS adds the third to his collection.
INT. KINDERGARTEN - MOMENTS LATER
TOM knocks on DANIEL’s classroom door and enters. The TEACHER

is showing the KIDS how they make an animated film at Pixar.
She signals TOM to hush. He stops at the door and looks
around the class for DANIEL. Nowhere to be seen.
The TEACHER joins TOM. She looks genuinely surprised to see

DANIEL’s father. They both exit the classroom.
TEACHER
They’re watching a making of video.
I thought it’d be nice for them to
see how animated films are made.
TOM
Yeah, good idea.
(beat)
DANIEL called me. He needed his
drawing.
SHE now sees it.
TEACHER
Oh, yes. I’ll take it. But we
finished the class.
TOM
He was telling me you thought he
was lying, so I went back home to
get it.
(beat)
We forgot it.
76.
TEACHER
It happens.
There’s a moment of awkward silence.
TOM
Ah, I didn’t see him inside. Did he
go to the toilet or something? I
wanted to say hello.
TEACHER
DANIEL?
TOM
A-ham...
TEACHER
I thought you said it’s OK for him
to skip classes today.
TOM
Did I?
TEACHER
Didn’t you?
TOM’s puzzled.
TEACHER (CONT’D)
Twenty, maybe thirty minutes ago.
DANIEL asked to go to the loo. When
he didn’t return I got worried, so
I went out to see if maybe he
needed my help.
A friend of yours, Mister Stott...
TOM interrupts her.
TOM
Stott, you said?
TEACHER
Yes.
TOM
OK. What next?
TEACHER
Well, Mister Stott was in the
hallway. He told me you asked for
DANIEL to be excused for the rest
of today. He was in his car.
77.
TOM
Who was?
TEACHER
DANIEL. I went out to see. He waved
me good bye.
TOM’s thinking. He looks really nervous.
TEACHER (CONT’D)
Well, didn’t you?
TOM
No. After speaking to him over the
phone I went home, took the bloody
drawing and came back here
directly. I didn’t speak to anybody
else.
TOM sighs. Now the TEACHER is dead worried. She, too, sighs.
TOM (CONT’D)
Don’t bother. Must’ve been a
misunderstanding.
TEACHER
Or maybe someone pulling a joke?
TOM
Yeah. Maybe a joke.
TOM has had the time to take it in and think it over real
fast.
TOM (CONT’D)
What does this Mr. Stott look like?
TEACHER
I’d say a man in his sixties. A bit
taller than you maybe. Long hair...
TOM starts running towards the main entrance.
TOM
You hear anything, you call me, OK?
TEACHER
What’s happening? Why are you
running?
TOM exits the kindergarten at full speed.

78.
INT. MARKS’S OFFICE - MORNING
FRANK’s watching DVD#3 with MARKS and JIMMY THE FIREFIGHTER.

Not something to watch with the
mates in the morning, eh?
MARKS
At least it’s a comedy this time.
FRANK
His first comedy.
(beat)
The people... I think they’re from
Ulster. I remember their faces.
Think I might have some articles on
them.
MARKS
So he’s made one in Wales, one in
Scotland and one in Northern
Ireland.
FRANK
And now he’s planning on making
Hamlet in London.
MARKS
England.

He must like travelling.
FRANK
He’s trying to say something with
that, to give me a clue. Must be
dying to get publicity.
MARKS
For a fellow who craves the
spotlight, he’s keeping it really
low profile.
FRANK wants to try something. He takes his pen.
FRANK
Hand me some paper.
MARKS gives him an A4 sheet he was keeping some records on.

FRANK turns it on the other side and starts scribbling
something. A Hamlet characters network. Main characters only.
He then circles all except Hamlet himself.
79.
FRANK (CONT’D)
Think he’s got them all, except
Hamlet.

Good thing I’ve got this ugly scar,
right?
MARKS chuckles. FRANK’s sober as a hearse.
FRANK
How the fuck do you deal with that?
There are around six hundred
thousand men twenty-five to forty
just Inner London. Another million
Outer.
Better to quit and go get wasted at
the bloody pub.
EXT. “8 1/2” VIDEO STORE - MINUTES LATER
FRANK’s in front of “8 1/2” VIDEO STORE. He’s walking to the

police car they gave him to find his way around town. His
mobile rings.
FRANK
I was about to call you.
TOM (V.O.)
You go first then.
FRANK
I have DVD number three.
TOM (V.O.)
What is it?
FRANK
Much Ado About Nothing. MARKS gave
it to me. He got it late last
night.
We took a peek. New people. Some of
the cases I was following, from
Holywood, Ulster.
Quite an interesting display. Makes
me sick saying it, but the cunt’s
getting better at it.
FRANK’s done. TOM’s still there.
FRANK (CONT’D)
You said you have something for me?
80.
TOM (V.O.)
Yeah, but I don’t know how to put
it.
FRANK
Just spit it out.
TOM (V.O.)
DANIEL. It’s possible he’s been
kidnapped.
FRANK
What?
TOM (V.O.)
I just left the kindergarten.
Teacher told me a man, Stott, took
him.
(beat)
Stott is NINA’s maiden name. Don’t
know what to make of it.
FRANK
Give ‘er a ring, yeah? She may know
something.
TOM (V.O.)
I’m afraid I’ll give her a scare
for nothing. Better check home
first, maybe he’s there.
INT. TOM’S HOUSE - DAY
DANIEL is at home, playing. No real surprise there. The toy

he’s playing with, on the other hand, sure seems interesting:
a mini-stage, just like the one SHAKESPEARE had in his house.
We slowly move up from the mini-stage to see SHAKESPEARE
handling two wooden puppets. The ones he was using when
working on that liquids/vapours/drops art installation of
his.
Instead of keeping DANIEL at a distance and making him watch,

SHAKESPEARE gets the child involved in the process. Both
SHAKESPEARE and DANIEL are now doing the puppeteering.
SHAKESPEARE’s in charge of making up the story. They are
having a great time together.
INT. TOM’S HOUSE - MINUTES LATER
DANIEL might have got bored of the puppets, or they might

have finished the story.
81.
DANIEL and SHAKESPEARE have, anyway, now moved on to a new

game, which Chief superintendent Dafydd would have died to
play. SHAKESPEARE is teaching DANIEL how to fire a nerf gun,
and the kid seems to show some talent.
INT. FRANK’S CAR - DAY
FRANK’s driving as fast as he can, cursing and screaming and

acting like a caged lion. He tries to call TOM. No answer.
EXT. TOM’S HOUSE - DAY
TOM arrives home. He forcefully steps on the brakes. The car

stops. TOM jumps out of it and pulls out his stun gun. He’s
approaching his main door cautiously.
TOM finds the main door unlocked, but there’s no sign of

forced entry. He’s in. One small step, twenty eye movements.
He’s making sure he’s not rushing into it.
Suddenly, from behind an armchair, DANIEL jumps out and

shoots. TOM was about to taser his son! At the last moment he
managed to stop himself from pulling the trigger.
DANIEL won the duel. TOM wasn’t expecting such a short

opponent. For the second time in his life, TOM is hit right
between his eyes by a dart. But this time by one with a tip
and plenty of ketamine on it.
After a few moments of astonishment TOM pulls the dart out of

his skin. He’s trying to understand what just happened. A few
feet in front of him, DANIEL exults. TOM wants to go hug his
son. It looks like it was only a joke after all.
TOM’s trying to advance towards DANIEL, he takes a few steps

but feels that no part of his body is listening to him
anymore. TOM’s falling into a deep sleep, right on the sofa.
The last thing he sees before dozing off is a blurred version
of ALAN SHAKESPEARE approaching.
SHAKESPEARE puts his plan B stun gun away. DANIEL did the job
for him, but the kid is a bit scared now and needs his
attention. The child didn’t expect his dad to pass out.
SHAKESPEARE calms him down. DANIEL is told his father was
really tired and needs plenty of sleep to get better and have
more time to play with him.
82.
INT. FRANK’S CAR - DAY
FRANK’s in TOM’s neighbourhood. He’s getting closer. He

reaches for the mobile and gives it another try. Same result.
No answer. He accelerates.
INT. LONDON POLICE DEPARTMENT, CHIEF SUPERINTENDANT’S OFFICE -

THREE WEEKS EARLIER, MORNING
Dafydd LEIBOWITZ is working on his speech with the

SPOKESPERSON. The Danish Embassy in London has announced the
Danish Ambassador is missing and he has to address the
problem. London’s Commissioner of Police breaks in like a
typhoon, followed by a few other important OFFICIALS.
COMMISSIONER
How can we have the fucking Danish
Ambassador to the United Fucking
Kingdom disappear? Bloody hell!
LEIBOWITZ
Sir!
COMMISSIONER
What the fuck are we working on
here, LEIBOWITZ?
LEIBOWITZ
Sir, it’s not our responsibility...
COMMISSIONER
(cuts him)
The fuck it ain’t! Use the best
fucking men we've got, or it’s
going to blow right in our bloody
faces!
INT. LONDON POLICE DEPARTMENT, CONFERENCE ROOM - THREE WEEKS

EARLIER, MORNING
LEIBOWITZ’s finishing his speech. TOM is right next to him.
LEIBOWITZ
... I can't say any more at the
moment. It is on the way of being
solved, but we’re dealing with
very, very sensitive issues.
REPORTERS jump up, asking questions.

83.
INT. TOM’S HOUSE - PRESENT TIME, DAY
Walt Disney’s Dumbo is playing on the TV. DANIEL is

mesmerized by the animation, dialogue and music. He needs to
keep quiet so that he won’t wake up his dad.
SHAKESPEARE
DANIEL, me and your dad will go
away for an hour or two, OK? I need
to take your dad to a magic bed. He
will sleep better there. He will
get better way faster like that. He
will get stronger and happier, too.
Do you want that?
DANIEL approves.
SHAKESPEARE (CONT’D)
Good. I will need you to lock the
door behind us, yes?
DANIEL
Yes.
SHAKESPEARE
After you lock the door you have to
promise me and your dad you’ll come
back here and watch the cartoons in
silence. OK?
DANIEL nods.
SHAKESPEARE (CONT’D)
DANIEL, you have to watch them
until the end if you want your
daddy to be stronger.
DANIEL smiles. That’s not too hard. That’s something he can

actually do. And if it helps his dad get better, he’s going
to do it faultlessly. From the threshold, he waves
SHAKESPEARE good bye. SHAKESPEARE lays TOM on the back seat
of his car.
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - THREE WEEKS

EARLIER, MORNING
LEIBOWITZ storms into FRANK’s office. FRANK was taking care

of some Department’s bureaucracy. LEIBOWITZ is observing the
walls. TOM follows him inside.
LEIBOWITZ
FRANK, I see you’ve made a passion
of these cases.
84.
FRANK
Only passing my time, Sir.
LEIBOWITZ
Did you hear about the Danish
Ambassador?
FRANK
Not what you asked Santa for
Christmas, I bet.
LEIBOWITZ
No, not even close. Tell you
what... think we need you on this
one.
FRANK was sure at some point this moment would come. And
after such a long time in the basement, filing and archiving,
he’d like to be begged. However, since that’s not going to
happen in a million years, he plays it just a bit.
FRANK
What about the sanction?
LEIBOWITZ
Dropped.
FRANK
Well, what about my style?
LEIBOWITZ
Cut the crap, FRANK. You know I
like you, but in any other
circumstance you’d rot here in the
basement. You don’t shoot somebody
in the nuts and get away with it.
FRANK
The cunt fucking deserved it and
you fucking know it!
LEIBOWITZ
Water under the bridge FRANK,
forget it! Let’s focus on the
future.
There’s a reason TOM was witnessing the talk between

LEIBOWITZ and FRANK, and it’s more than him being FRANK’s
past and future partner. LEIBOWITZ has an ace up his sleeve,
the friendship card, and he’s playing it next.
FRANK, we both know you’re an
excellent Detective.
(MORE)
85.
One of the best in this Department.
And TOM is the greatest partner we
could find you.
And the best thing is that he’s
more than your partner... he’s your
friend.
(beat)
What the fuck are you making me
waste my time for? You’re best
together and we need it. Now! As
long as we have no corpse, that
Danish nancy-boy might still be
alive!
Let’s find the motherfucker and
make a name for ourselves.
LEIBOWITZ sees a smile appearing on FRANK’s face.
Come on, let’s get you set up in
your office!
FRANK
If you don’t mind, I’d prefer
staying here. I’ve grown to like
the walls.
EXT. TOM’S HOUSE - PRESENT TIME, DAY
FRANK reaches TOM’s house. He almost smashes his car into a

tree. There’s no trace of SHAKESPEARE. Excluding FRANK, it’s
all quiet around the neighbourhood. FRANK jumps out, pulls
his revolver out of the holster and runs to the door. Tries
it. It’s locked. Goes round the house once and through the
living room window sees DANIEL, safe and sound, enjoying
Dumbo.
FRANK waves, the kid notices him. FRANK makes him come to the
main door and opens up for him.
FRANK
DANIEL, where’s dad?
DANIEL
He’s sleeping.
FRANK pats DANIEL on the head. They go in.
FRANK’s trying to find TOM. He walks around the house. DANIEL

goes back to the TV and watches Dumbo while they talk.
86.
FRANK
Shouldn’t you be at kindergarten?
DANIEL
The eggplant man said I have to
help dad.
FRANK hasn’t found TOM yet and is about to go upstairs. He

stops in his tracks.
FRANK
DANIEL, where’s dad sleeping?
DANIEL
In the magic bed, FRANK. It will
make him stronger!
FRANK
DANIEL, please pay attention to me
for a second. Where is dad?
DANIEL
The eggplant man is taking him to
the magic bed.
FRANK
Did they leave?
DANIEL
Yes.
FRANK starts questioning DANIEL. Car, direction, what does

the eggplant man look like. Even if he’s trying his best to
focus and keep a clear head, FRANK feels some kind of pain
catching up with him. He’s barely breathing. The room starts
spinning around him.
INT. MARKS’S OFFICE - EVENING
MARKS’s at his desk. He’s full of anticipation. He has put

the original ALAN SHAKESPEARE auto-portrait for sale on an
illegal auction website and it’s getting close to the end of
the auction. Five more minutes to go. The current bid says no
less than 68,269 GBP.
The final minutes pass like a dream. Those people must be

really after the painting. The auction ends at 86,350 British
pounds. MARKS waits a few more minutes and checks his bank
account. It’s all there. MARKS’s glowing like a 5000W lamp!
He looks behind his tall, black cabinet and finds the

painting. He gets it ready for mailing. From his desk’s
drawer he takes two envelopes.
87.
Writes JIMMY THE FIREFIGHTER on one and an address on the

second. Brings out his Lloyds checkbook and calls JIMMY THE
FIREFIGHTER.
MARKS
JIMMY, problem solved! I’ll leave a
package and two envelopes
downstairs, next to the counter.
One’s going to have your name on
it. Enjoy it! That fake you made
was ace! But please make sure you
mail the package and the second
envelope tomorrow morning, a’right?
INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - NIGHT
A few hours have passed since TOM’s disappearance. FRANK has

turned London inside out. CMT has been working around the
clock. Teams of two-three OFFICERS have been sent on foot
around the entire city. Nothing. No clue. No luck. No TOM.
FRANK finally understands there’s really nothing he can do to

stop SHAKESPEARE killing TOM and making his version of
Hamlet. Not in a city like London. It makes him angry to know
what SHAKESPEARE was after but it kills him he didn’t guess
TOM might be a target. FRANK’s helpless.
He rips down the articles on the walls, tears apart all files
in the cabinet. In an excess of rage he smashes the new
monitor with his fist and cuts himself badly.
FRANK goes to the door and, after a very long time, closes
it. Behind the closed door he lights a ‘Toscano’ and starts
weeping like a baby. Simon and Garfunkel’s Rose of Aberdeen
starts playing and will continue during the entirety of the
next scene.
The moment is here. We finally see ALAN SHAKESPEARE working

on a transformation. TOM will become, in a few hours, Hamlet,
the Prince of Denmark.
SHAKESPEARE makes an art out of creating his corpse-puppets.

He does it with surgical precision and he enjoys every single
moment of it, as he considers it an integral part of his art.
Every drop of blood he spills, every little patch of skin he
isolates, every single bone he disjoins. He's a methodical
artist, in everything he does.
88.
We follow SHAKESPEARE’s actions closely, documenting the

entire process from start to finish, as if witnessing the
making of How to make your Shakespeare puppet - part two.
When SHAKESPEARE is finished with Hamlet, he cleans his

utensils, the working table, the laboratory. Only after he’s
done with that he relaxes with a glass of Glenkinchie ‘99 and
some music. He is listening to Simon and Garfunkel's Rose of
Aberdeen.
INT. LONDON POLICE DEPARTMENT - DAY
Day after day FRANK is getting worse. He hides his anger as

much as he can. He works like a dog, without any kind of
success. To get more work done in 24 hours he cuts away any
other distractions, until he finally cuts away sleep. And
since he’s no robot, he replaces it with tobacco and alcohol.
In just a few days FRANK becomes a complete wreck. He’s
losing the plot. Without any other viable solution, he takes
it on the few SUSPECTS and WITNESSES they have and finally on
his COLLEAGUES.
EXT. GARRICK'S LAWN, HAMPTON - DAY
FRANK’s on his final lead. He’s following Prof. MITCHELL.

He’s done that the last couple of days. His hopes are high.
He thinks it might get him SHAKESPEARE. What makes him
believe that, though, is sleep deprivation and booze. Prof.
MITCHELL is a simple man, going about his daily business.
FRANK has followed Prof. MITCHELL down to Garrick's Lawn, in

Hampton. That’s where you can find Garrick's Temple to
Shakespeare, a small garden folly which makes a great place
to visit with the class, especially when you’re the convenor
for an MA dedicated to Shakespeare and his work.
Prof. MITCHELL has his students around and lectures them

on...
PROF. MITCHELL
... Othello’s sense of isolation
and alienation...
Prof. MITCHELL sees FRANK. He smiles, waves to the Detective

and continues his lecture. In FRANK’s mind, Prof. MITCHELL’s
voice sounds more and more like that corpse-Romeo.
PROF. MITCHELL (CONT’D)

... mistrust and moral decay. By
losing one another they lose...
89.
He’s heard enough. He’s now sure! Professor Gordon MITCHELL

is in fact ALAN SHAKESPEARE! He pulls out his gun and attacks
Prof. MITCHELL.
FRANK
All right you cocksucker, how long
did you expect to get away with it?
FRANK’s legless. Even if he’d like to run Prof. MITCHELL

down, he barely advances. He decides to use his gun. He
shoots and almost kills one of the students. His second
bullet injures another civilian, while the third misses an
OFFICER trying to stop him, just by an inch.
The OFFICER’s aim on the other side is impeccable. FRANK’s

tasered and falls to the ground in spasms. FRANK’s pinned
down by the OFFICER and handcuffed. He can’t understand why
the OFFICER is not helping him get ALAN SHAKESPEARE.
Everything starts moving faster and faster. Prof. MITCHELL,
his students and everybody else depart the scene. The OFFICER
takes FRANK into a police car. The car starts. Time and space
jump back and forth. Scattered images. Blue sky. Tall
buildings. A taxi almost crashing into the police car.
Clouds. Red traffic lights. Mr. TRACY, dressed as a clown,
crossing the street. AMANDA and both TWINS, dressed in black,
crying at a funeral, right on the pavement.
INT. ALAN SHAKESPEARE’S HOUSE, LONDON - DAY
Not much is left around SHAKESPEARE’s house. Most rooms are

empty. Next to the vestibule door we see a huge stack of
moving boxes. That explains it. Pretty much everything was
already packed.
Except for what ALAN SHAKESPEARE needs for his last task in
London. The theatre stage and space around it are loaded
with equipment and props. The man is restless, running from
one corner to the other, fixing the final details.
With the cast finalized, he can now create his Hamlet, his
magnum opus. The experience from the three plays before
helped SHAKESPEARE in making better corpse-puppets. They all
look life-like. And this allows him to work on his play in
daylight. Better light, better image. Last, but not least,
for Hamlet he went the extra mile and purchased a bundle of
transparent strings. His 16mm camera is now capturing a show
that looks amazingly close to reality.
If we step back and look at the play in its entirety, we

understand he wasn’t experimenting for nothing. ALAN
SHAKESPEARE’s Hamlet is a surrealistic experience. Acting,
music, light, shadows, smoke, rain, lasers. You name it, he’s
used it. And there’s ‘no less is more’ case to be made here.
90.
His Hamlet, if allowed to be nominated, would wipe all awards

in both Palais des Festivals et des Congrès and Dolby
Theatre.
INT. LONDON POLICE DEPARTMENT, CHIEF SUPERINTENDANT’S OFFICE -

EVENING
FRANK’s handcuffed. He’s seated on the sofa, an OFFICER next

to him. He’s slowly getting back his composure.
LEIBOWITZ
You’ve done it, Frank. It’s over.
FRANK
Fuck off!
LEIBOWITZ
For fuck’s sake, you almost killed
that little bastard! A total balls-
up! You’re fucking gone, Frank.
FRANK
And SHAKESPEARE? Who’s gonna catch
that cunt, huh?
LEIBOWITZ
I don’t fucking care. Not my
problem anymore. MI5, Scotland
Yard. They’re onto it now. Let them
have it.
FRANK
Give it to the bloody Queen, will
you? She’ll solve it!
LEIBOWITZ
I‘m sorry FRANK. That’s how things
are. Nothing we can do about it.
You should've thought of that
before.
FRANK
That’s all I was thinking about!
INT. ALAN SHAKESPEARE’S HOUSE, AMAZONIAN RAINFORESTS - FOUR

MONTHS LATER, DAY
ALAN SHAKESPEARE has moved out of London, to the place where

he felt best in his life: the pristine Amazonian rainforests.
We can see the light bringing a different mood to the setting
and we can hear the unique sounds of the rainforest.
91.
The best part of his house is made of wood, all his tools
come from the forest. It fits well with the nature around it.
SHAKESPEARE finally feels at home.
Here he can concentrate and work on editing Hamlet. He works

on his Moviola editing table.
INT. FRANK’S HOUSE - FOUR MONTHS LATER, DAY
For that last stunt, FRANK has been sentenced to one year in
prison. After the appeal it was reduced to six months house
arrest. He spends his time getting better at something he
didn’t really care about before: film and theatre studies.
He’s reading plays all day and watching films all night. Now,
he’s watching Charlie Kaufman’s Synecdoche, New York on his
TV.
There’s a knock on the door. His only few friends now are the
postman and delivery man. FRANK knows it must be one of them.
He pauses the film and answers the door. It’s the POSTMAN, a
forty-something ex-bowls champion, with a huge round belly
and always in a good mood. He knows FRANK must have been
watching a film.
THE POSTMAN
Now, sir. We'll talk, if you like.
I'll tell you right out, I am a man
who likes talking to a man who
likes to talk.
FRANK
Swell. Will we talk about the black
bird?
THE POSTMAN
You're the man for me, sir. No
beating about the bush. Right to
the point.
It’s a game they’re playing. Every time he drops by, the

POSTMAN goes with a famous film quote. FRANK must continue
with the following one. Nine out of ten times FRANK has no
clue. But John Huston’s The Maltese Falcon he watched just a
week back. He liked it.
THE POSTMAN (CONT’D)

Haha, you’re getting better,
Franky! Two in a row!
The POSTMAN takes an envelope out of his bag. He gives it to

FRANK. FRANK thanks him. The POSTMAN looks again through his
bag and brings out a book. FRANK takes it and looks at it.
92.
It’s David J. Skal’s The Monster Show: A Cultural History of

Horror.
THE POSTMAN (CONT’D)

Happy birthday, FRANK!
FRANK is genuinely surprised.
FRANK
Thanks, mate! Surprised me with
that...
THE POSTMAN
See you soon, mate! Keep watching
those films!
FRANK
Sure. Keep them lines coming!
The POSTMAN jumps on his bicycle and is out of the picture.

FRANK goes back to the sofa. He leaves the book on it and
checks the envelope, turns it from side to side a few times.
Nothing much, his name and a cheap stamp. It must be coming
from the UK.
FRANK opens it and brings out a Lloyds Bank check, made in

his name, for 40,000 British pounds.
INT. SMALL CINEMA, MOSTON - ONE YEAR LATER, NIGHT
Manchester is famous for its ‘60s and ‘70s music scene and
for the ecstasy-fuelled dance clubs in the ‘80s. It always
was a great city for independent and underground movements.
It’s where ALAN SHAKESPEARE, one year later, has the biggest
following.
Tonight, in a small cinema in Moston, north-east Manchester,

in a disused warehouse, they’re having the monthly ALAN
SHAKESPEARE night. Right above the entrance hangs a huge
version of that auto-portrait of his. And since they’re
celebrating six months since DVD#4 and Hamlet made it into
the light, they’re having screenings of the entire tetralogy!
They’ve all seen the painting, but nobody has seen

SHAKESPEARE in person during the last few years. People love
it. They can imagine what he looks like. The small cinema is
crowded like an Indian train. There are about 200 seats and
over 300 people. And everybody’s got something on. A mask, a
toy camera, a real camera, a tripod, a wig. If there are 350
people inside, there are 350 different versions of
SHAKESPEARE.
93.
INT. ALAN SHAKESPEARE’S HOUSE, AMAZONIAN RAINFORESTS - ONE

YEAR LATER, EVENING
Nothing much has changed since we’ve last seen SHAKESPEARE’s

house. Not even what SHAKESPEARE is working on. He’s watching
his Hamlet for the thousandth time, with a notebook on his
lap, taking notes. He still believes it can be perfected.
We’re right at Hamlet’s famous monologue. And TOM makes the

best Hamlet ever seen on screen. And the voice... For Hamlet,
SHAKESPEARE used matching voices for each of the characters.
Makes a difference.
HAMLET
To be, or not to be: that is the
question:
Whether 'tis nobler in the mind to
suffer...
We slowly move away from SHAKESPEARE’s TV screen...
INT. SMALL CINEMA, MOSTON - ONE YEAR LATER, NIGHT
... and we’re back in the Moston small cinema. The monologue
continues on the silver screen. Many of the people in the
theatre are acting the scene out loud, in unison with Hamlet.
HAMLET AND CROWD

... the slings and arrows of
outrageous fortune,
Or to take arms against a sea of
troubles,
And by opposing end them? To die:
to sleep;
No more;
INT. SMALL CINEMA, MOSTON - ONE YEAR LATER - NIGHT
Last scene from Alan SHAKESPEARE’s Hamlet
PRINCE FORTINBRAS
... Take up the bodies: such a
sight as this
Becomes the field, but here shows
much amiss.
Go, bid the soldiers shoot.
Some of SHAKESPEARE’s experiments with laser light, liquids

and shadows follow. End credits, each corpse-puppet mentioned
by its real name. The crowd explodes into wide acclaim.
Clapping, cheering, the whole nine yards. Lights on.
94.
The ORGANIZER, a young, short bloke, walks on the stage. A

few OTHERS join him.
THE ORGANIZER
Before we start, I’d like to give
thanks to Mr. Anonymous, for
funding the reconditioning of
grandpa’s old warehouse and making
it into our beloved theatre!
Once again, cheering and clapping. A QnA session starts.
Somewhere in the back, from over a girder, in a concealed

room, FRANK is overseeing the events with great
consideration. To his left, a simple desk and chair. On the
desk, ten to fifteen LED monitors, each showing images
captured by a different surveillance camera.
FADE TO BLACK.
THE END

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1311 Final Act

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FINAL ACT

JUNE 30TH - JULY 3RD, 2011

AND NOVEMBER 7TH - NOVEMBER 14TH, 2013

INT. ALAN SHAKESPEARE’S THEATRE - NIGHT

The red curtain opens. An actor comes out, moving awkwardly,

INT. SMALL, OLD-SCHOOL, CINEMA - CONTINUOUS

As we’re moving away we realize the corpse-play is being

Suddenly, from outside the place, the silence is broken by a

As the police smashes the door chaos ensues.

The TITLES start over the image, as Richard O’Brien’s Science

Slow motion. Policemen are coming in through the main

Policemen start beating up everybody who’s willing to put up

TITLES and music end.

INT. LONDON POLICE DEPARTMENT, INTERROGATION ROOM - NIGHT

A simple table in the middle of a dark, empty room. A few

TOM looks worn out from the operations and ongoing

TOM turns towards the mirror glass window for a second. He

INT. LONDON POLICE DEPARTMENT, OUTSIDE INTERROGATION ROOM -

FRANK is watching TOM through the mirror glass. FRANK is a

EXT. LONDON’S SUBURBS, STREET GIVING INTO AN ALLEY - TWO

An old car is speeding through the street. It suddenly stops

As soon as TOM stops the car behind that of the suspect,

INT. LONDON POLICE DEPARTMENT, OUTSIDE INTERROGATION ROOM -

FRANK keeps looking intently at TOM, while recalling the

Two OFFICERS, a policewoman and a policeman, move towards

FRANK snaps out of it and turns towards them.

FRANK turns towards the mirror glass again, forgetting about

EXT. LONDON’S SUBURBS, ALLEY - TWO YEARS EARLIER, DAY

FRANK and TOM are now chasing the suspect on foot.

TOM slips on an empty can of baked beans lying in the middle

The suspect now finds himself in a blind alley, facing the

As FRANK talks with the suspect pinned down, TOM finally

INT. LONDON POLICE DEPARTMENT, INTERROGATION ROOM - PRESENT

FRANK moves around the table, stops and leans closer to

TOM, recovering from the shock of FRANK’s burst, jumps up,

INT. LONDON POLICE DEPARTMENT, OUTSIDE INTERROGATION ROOM -

TOM exits the interrogation room, forcefully pulling an

The TWO run in the room to help MARTHA.

TOM turns to FRANK again.

EXT. LONDON’S SUBURBS, ROOFTOP - TWO YEARS EARLIER, DAY

FRANK has the suspect, a PRIEST, pinned down. He reaches for

FRANK handcuffs the PRIEST and brings him up on his feet.

FRANK realizes the man is far too calm to be seriously

As he looks down on the street, he sees that the PRIEST has

INT. LONDON POLICE DEPARTMENT, OUTSIDE INTERROGATION ROOM -

FRANK turns towards the door and walks out.

INT. LONDON POLICE DEPARTMENT - CONTINUOUS

FRANK exits the room and walks through the corridor. He

INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - CONTINUOUS

As he walks in, FRANK leaves the door open.

FRANK’s office is small. Not the office a detective would

FRANK stops, sighs, then looks at the newspapers on the wall

INT. LONDON POLICE DEPARTMENT, CHIEF SUPERINTENDENT’S OFFICE -

FRANK and TOM are standing in front of CHIEF SUPERINTENDENT

TOM tries to say something, but he’s immediately stopped by

FRANK and TOM turn and head for the door.

INT. LONDON POLICE DEPARTMENT, FRANK’S OFFICE - PRESENT TIME,

FRANK is still sitting behind his desk. The TV is showing the

Somebody knocks on his open door.

The POLICEWOMAN enters and hands FRANK the DVD and a

He sees a corpse-Juliet reciting the Rose monologue, then a

The feature shows a corpse being opened up. It’s impossible

In the meantime, the news on the TV moves onto the case of

INT. ALAN SHAKESPEARE’S HOUSE - CONTINUOUS