Romeo and Juliet Screenplay
By Baz Luhrmann and Craig Pearce
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CastROMEO: Leonardo DiCaprioJULIET: Claire
DanesBENVOLIO: Dash MihokMERCUTIO: Harold
PerrineauTYBALT: John LeguizamoBALTHASAR: Jesse
BradfordGREGORY: Zak OrthSAMPSON: Jamie
KennedyABRA: Vincent LarescaFATHER LAURENCE: Pete
PostlethwaiteNURSE: Miriam MargoylesGLORIA CAPULET: Diane
VenoraFULGENCIO CAPULET: Paul SorvinoCAPTAIN PRINCE:
Vondie Curtis-HallTED MONTAGUE: Brian DennehyCAROLINE
MONTAGUE: Christina PicklesDAVE PARIS: Paul
RuddUNDERTAKER: Farnesio de BernalPHARMACIST: M. Emmet
WalshANCHORWOMAN: Edwina MooreEXPRESS CLERK: Catalina
BotelloRICH RANCHIDIS: Michael CorbettSUSAN SANTANDIAGO:
Harriet HarrisPETER: Pedro AltamiranoLITTLE BOY'S MOTHER:
Margarita WynneLITTLE BOY WITH TOY GUN: Rodrigo
EscandonATTRACTIVE GIRL: Lupita OchoaNUN: Gloria
SilverGAS STATION ATTENDANT: German FabregatEXPRESS DELIVERY
MAN: Jorge AbrahamMONTAGUE LIMO DRIVER: Harry PorterALTER
BOY: Ricardo BaronaALTER BOY: Fausto BaronaSACRISTAN:
John SterliniHUGE BOUNCER: Mario CimarroMIDDLE-AGED
OCCUPANT: Carolyn ValeroMIDDLE-AGED OCCUPANT: Paco Morayta
Abbreviations
In the script, directions for the camera are written in capital letters. Some
terms are abbreviated; below is a guide to the abbreviations:
E.C.U. = extreme close-upEXT. = exteriorINT. =
interiorO.S. = off screenP.O.V. = point of
viewV.O. = voice-over
Screenplay
EXT. HIGHWAY. AFTERNOON.A ribbon of freeway stretching into a blue
and pink late afternoon sky. A huge dark sedan, windows tinted gold, powers
directly for us.CUT TO: A heavy, low-slung pickup truck traveling toward the
sedan.WIDE SHOT: Sky, freeway, the cars closing.TIGHT on: The
sedan.TIGHT on: The pickup.Like thunderous, jousting opponents, the cars
pass in a deafening cacophony of noise.
INT. TRUCK. AFTERNOON.TIGHT on: The fat face of GREGORY,
yelling at the disappearing sedan.
GREGORYA dog of the house of Capulet moves me!
He and the pimply-faced front-seat passenger, SAMPSON, explode with
laughter.The red-haired driver, BENVOLIO, keeps his eyes on the road.
INT. TV STUDIO. DAY.An ANCHORWOMAN; behind her, the faces of
two middle-aged men. The caption reads, "Montague; Capulet. The feud
continues."She speaks to the camera.
ANCHORWOMANTwo households, both alike in dignity.(In
fair Verona, where we lay our scene)From ancient grudge break to new
mutiny,Where civil blood makes civil hands unclean.
EXT. GAS STATION. AFTERNOON.The
truck is in the busy driveway of a large gas station, being filled with gas. The
surrounding walls are painted with murals of blue sky and palm trees.
INT. TRUCK. AFTERNOON.Inside the truck, Gregory and Sampson
are boasting outrageously. The driver's seat is empty.
GREGORYI will take the wall of any man or maid of Capulets.
EXT. GAS STATION. AFTERNOON.SAMPSONI will
show myself a tyrant: when I have fought with the men I will be civil with the
maids, I will cut off their heads.
Gregory; mock outrage.
GREGORYThe heads of the maids?
Sampson leers lecherously at a minibus full of Catholic schoolgirls next to
them.
SAMPSONAy, the heads of the maids, or their maidenheads -
Take it in what sense thou wilt.GREGORYThey must take it
in sense that feel it.
Gregory and Sampson pump up the song on the sound system while gyrating
crudely at the girls.
GREGORY/SAMPSON(singing)I am a pretty piece of
flesh!I am a pretty piece of flesh!Me, they shall feel while I am able
to stand;I am a pretty piece of flesh!
EXT. GAS STATION - MINIMART. AFTERNOON.The teacher nun from
the minibus returns to the vehicle.GREGORY'S P.O.V.: The girls' minibus
pulls away, revealing . . . a tough-looking Latino boy, ABRA, leaning against
the huge, dark sedan.
INT. TRUCK. AFTERNOON.Gregory suddenly stops
gyrating.CLOSE on:
SAMPSONHere comes the house of Capulet.
EXT. GAS STATION. AFTERNOON.Abra stares coldly towards the
boys. His goateed side-kick PETRUCHIO takes notice.
INT. TRUCK. AFTERNOON.CLOSE on: Gregory; eyes locked to the
Capulets. With fake bravado he pulls back his shirt to reveal a handgun. He
nudges Sampson.
GREGORYQuarrel!I will back thee.
CUT TO: Abra. He unfolds his arms to reveal an even more ferocious holstered
gun.CLOSE on: Sampson. Trying to quell his rising panic. He nervously
unbuttons his shirt to clear his side arm.
SAMPSONLet us take the law of our sides. Let them begin.
SUDDENLY: BANG! Gregory and Sampson jump.WHIP PAN: It was the gas station
attendant slamming the hood.Gregory and Sampson are mortally embarrassed.
EXT. GAS STATION. AFTERNOON.Abra; with a snort of contempt, he
turns towards the car:
INT. TRUCK. AFTERNOON.Sampson, furious, tries to save face.
SAMPSONI will bite my thumb at them, which is a disgrace to
them if they bear it.
Sampson quickly bites his thumb toward Abra's back as he gets into the sedan.
INT. SEDAN. AFTERNOON.Abra's eyes flick to the rearview
mirror; Sampson biting his thumb.
EXT. GAS STATION. AFTERNOON.Suddenly, a bloodcurdling screech
of tires. The sedan, rubber burning, reverses full speed towards Sampson and
Gregory. The Capulet car shudders to a halt inches from the truck, blocking its
path.
INT. SEDAN. AFTERNOON.CLOSE on: A scurry of limbs scrabbling
across seats and reaching for door handles.
EXT. GAS STATION. AFTERNOON.Abra hauls Sampson from the truck.
Gregory leaps out, Petruchio covers him. Abra slams Sampson against the side of
the vehicle, then, goading him for his gun, screams:
ABRADo you bite your thumb at us, sir?
Sampson's shaking hand hovers, ready to draw.
SAMPSONI do bite my thumb, sir.
CUT TO: Attendants and customers run for cover.
INT. MINIMART. AFTERNOON.A packet of bullets hits the counter.
A hand with a cat ring picks them up.TILT DOWN: To shiny, black boots
decorated with cat-shaped spurs. A LITTLE BOY with a toy gun runs past. He
stares through the glass doors towards the confrontation outside. The LITTLE
BOY'S MOTHER has not heard the disturbance through the thick glass of the
minimart windows.
EXT. GAS STATION. AFTERNOON.CLOSE on: Abra, a hysterical rage;
he shrieks:
ABRADo you bite you thumb at us,
sir?SAMPSON(sweating, murmurs to Gregory)Is the law on
our side if I say "Ay"?GREGORYNo.
CLOSE on: Sampson, still sweating.
SAMPSONNo, sir, I do not bite my thumb at you, sir, but I
do bite my thumb, sir!
CUT TO: Gregory; a ridiculous inquiry.
GREGORYDo you quarrel, sir?
CUT TO: Abra; a dangerous smile.
ABRAQuarrel, sir, no, sir.
CLOSE on: Sampson; unconvincing bravado...
SAMPSONBut if you do, sir, I am for you. I serve as good a
man as you.
CLOSE on: Abra; a lethal question.
ABRANo better?
CLOSE on: Sampson, trapped.
SAMPSONWell, sir...
WE HEAR: The sound of a toilet flushing.CUT TO: Benvolio leaving the gas
station wash room.
EXT. GAS STATION. AFTERNOON.CUT TO: Gregory. He whispers
maniacally.
GREGORYHere comes our kinsman. Say "better"!
E.C.U.: Sampson; he screams:
SAMPSONYES SIR, BETTER!
DISTORTED OUT-OF-CONTROL CLOSE-UP:Abra shrieks:
ABRAYou lie. DRAW IF YOU BE MEN!
CUT TO: Benvolio. Terror-stricken, he sees the boys.LIGHTNING CUT: Four
hands reaching for guns.SLAM ZOOM: To Benvolio; weapon outstretched, he
screams:
BENVOLIOPart, fools! You know not what you do!
MUSIC STING; A SUPER MARCO SLAM ZOOM along the barrel of Benvolio's gun; the
engraved gun type reads:"Sword 9mm series S"CUT TO: Benvolio. He
screams in desperation:
BENVOLIOPut up your swords!
CUT TO: Gregory,CUT TO: Sampson,CUT TO: Abra,CUT TO:
Petruchio.Frozen, still, weapons undrawn.CUT TO: Benvolio. A moment,
then, from behind, the unmistakable sound of a match striking.CLOSE UP: The
match. It falls to the boot.E.C.U.: The black cat-spurred boots.CRANE
UP: To find the dark, cold eyes and feline smile of the wearer of the boots. His
name is TYBALT; he lights the cigarette clenched between his teeth while holding
his gun outstretched in the other hand.
TYBALTWhat, art thou drawn amoung these heartless
hinds?Turn thee Benvolio and look upon thy
death.BENVOLIO(desperate)I do but keep the peace: Put
up thy sword,Or manage it to part these men with me.
Tybalt; a mocking smile.
TYBALTWhat, drawn and talk of peace? I hate the word, As I
hate hell, all Montagues, and . . .
E.C.U.: Tybalt's finger squeezing the trigger . . . Suddenly we hear firing
from Tybalt's blind side. Tybalt redirects his weapon, cracking off a single
shot at the surprise attacker.
EXT./INT. MINIMART. AFTERNOON.It is the five-year-old at the
minimart door. The bullet shatters the glass of the minimart.CUT TO: THE
HYSTERICAL MOTHER, screaming as she throws herself on the child.
EXT. GAS STATION. AFTERNOON.Tybalt; a lightning turn, his
second gun out.CUT TO: Benvolio. He brings his gun around on
Tybalt.Tybalt fires, blowing Benvolio's gun out of his hand.CUT TO:
Gregory firing at Tybalt. Tybalt combat-rolls.CUT TO: Sampson firing toward
Abra while simultaneously kicking over the truck.CUT TO: The truck squealing
away from the gas pump.The gas hose bursts, spewing gas everywhere.CUT
TO: Gregory firing at Tybalt from the moving truck.CUT TO: The windows
blowing out of the car Tybalt is using for cover. He springs to his feet from
the combat-roll, simultaneously mounting his long-distance sight.CUT TO:
Abra and Petruchio's sedan screeching off after the truck. CUT TO:
Tybalt. Ignoring the gunfire, he slowly draws the high-powered sight to eye
level, launching a shot that rips through Gregory's arm.CUT TO: Gregory. He
falls in his seat, screaming with pain. The truck races away, Capulet's sedan
pursuing.CUT TO: Benvolio picking up his gun; he runs onto the
roadway.Cars squeal to a stop. Benvolio fires back at Tybalt over a halted
car.Taking evasive action, Tybalt hits the ground. Benvolio turns and runs
up the road.CLOSE on: Tybalt. He throws his spent cigarette to the ground
and runs off in pursuit of Benvolio.TIGHT on: The discarded cigarette
igniting a lick of gasoline.CUT TO: Benvolio, running full tilt through the
cars.CUT TO: The flame traveling fast.CUT TO: Tybalt, running full tilt
against the cars.CUT TO: The flame wooshing toward the gasoline-soaked gas
station as people and staff run in all directions.AN ALMIGHTY ORCHESTRAL
CHORD. The gas station ignites into flame. We push toward the painted walls of
blue sky and palm trees as they are consumed in flame.CRANE UP: Over the
burning walls through the smoke to discover . . .
EXT. VERONA BEACH - MATTE SHOT. AFTERNOON.STATIC SUPER WIDE
SHOT: As the flame and smoke clear, we see in the distance towering over the
smoggy city an enormous statue of Christ flanked by two glass towers. one is
neon-crowned CAPULET, the other, MONTAGUE.
On the horizon a squadron of choppers flies toward us.
EXT. AERIAL SHOTS. AFTERNOON.CUT: From inside an armed chopper
to another flying past Capulet Mansion (Chapultepec).
VOICE-OVERFrom forth the fatal loins of these two foesA
pair of star-crossed lovers take their life.
EXT. HIGH ANGLE WIDE. NEAR JESUS STATUE. AFTERNOON.SECOND
OPTICAL: From behind the towers. The words "Montague" and "Capulet" in reverse
crown the frame. Jesus looks away from us. In the distance, we see fires burning
all over the town and, on the horizon, the faint outline of a beach.
VOICE-OVER (cont.)Whose misadventured piteous overthrows
doth with their death bury their parents' strife.
The choppers thunder through frame.
EXT. RIOT AREA.EVENING.TIGHT on: Tybalt, screaming
demonically, gun outstretched. A standoff over the hood of a car.The
MIDDLE-AGED OCCUPANT screams manically.CUT TO: Thundering close above them,
a heavily armed gunship. A command booms from the chopper's public address
system.
CAPTAIN PRINCE(over PA)Rebellious subjects, enemies to
peace,Throw your mistempered weapons to the ground.
CUT BACK: To the standoff.WHIP PAN: VERONA BEACH POLICE patrol cars
swerve to a halt. Cops leap out, rifles aimed.WHIP PAN: To another patrol
car sliding in.
INT. CHOPPER. EVENING.CLOSE on: The steely grey eyes of
CAPTAIN PRINCE, chief of the Verona Beach Police Department. He repeats the
command.
CAPTAIN PRINCEThrow your mistempered weapons to the ground!
CUT TO: Benvolio. He quickly looks to the guns pointed behind and above;
Tybalt does the same.TIGHT on: Tybalt, considering.TIGHT on: Benvolio,
his rage subsiding.Like a surreal ballet, the boys mirror each other
precisely; they slowly back away and, with perfect synchronicity, turn to the
chopper and raise their guns into the air. As they do, we pull up into the
chopper's P.O.V. The wider we get, the more devestation we see. Riot police
subduing looters, cars burning, shop windows smashed.TIGHT on: Tybalt's
gun.TIGHT on: Benvolio's gun.CUT TO: The guns falling serenely through
space. onE touches down, then the other, then . . .
INT.CAPTAIN PRINCE'S PRECINCT OFFICE. NIGHT.CLOSE on: A golden
badge. It reads: VERONA BEACH POLICE. IN GOD WE TRUST.SLAM OUT TO: Captain
Prince's grim features.
CAPTAIN PRINCEThree civil brawls, bred of an airy
wordBy thee, old Capulet, and Montague,Have thrice disturbed the quiet
of our streets.If you ever disturb our streets again,Your lives will pay
the forfeit of the peace.
TIGHT on: The ruddy, bulldog face of TED MONTAGUE.TIGHT on: The dark,
dangerous eyes of FULGENCIO CAPULET.PULL BACK: To reveal Tybalt and Benvolio
handcuffed to POLICE OFFICERS. Montague's and Capulet's LAWYERS stand at the
back of the room.
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