Yeh Shoulda Been Loved

Yeh Shoulda Been Loved

Jane Horrocks :

It's like he's been lyin' to me all this time.

Retrograde Witch :

Have you thrown him out?

Jane Horrocks :

He's on the couch.

Retrograde Witch :

Should be in a kennel if you ask me.

Jane Horrocks :

And Liz is moving halfway round the world for a new job.

Progressive Witch :

Where's she goin'?

Jane Horrocks :

Florida.

Progressive Witch :

Florida? I'd love to go there.

Jane Horrocks :

My family's falling apart.

I feel like it's my fault.

Harry Hecate :

Jean, I'm sorry, I couldn't help overhearing.

Jane Horrocks :

Harry, I'm just being stupid.

Harry Hecate :

Aye, you are being stupid if

you think any of this is your fault.

Come here. Come on. Come on.

It can happen in any family.

Come on. Come on.

Mary Queen of Scots,

born 1542, died 1587.

Her third husband

murdered her second husband,

her cousin tried her for treason

and her son stole her throne.

Progressive Witch :

It's true. If she was alive today,

she'd be on The Jeremy Kyle Show.

Harry Hecate :

So you listen to me, Jean Henshaw.

Whatever happened is not your fault.

You have done nothing but work yourself

into The Ground for Your Family.

You've been let down, messed around

Told to get your feet back on the ground

When you should have been loved, loved, loved

Should have been loved

You've been ripped off, written off

Told an act of kindness made you soft

When you should have been loved, loved, loved

You should have been loved

But all your detractors underestimated you

Cause they don't know you like I do

You've slept rough, stolen stuff

Been beaten by a guy to show he's tough

When you should have been loved, loved, loved

Should have been loved

And anything new you tried to do

Got treated like a jumper in a queue

When you should have been loved, loved, loved

Should have been loved

But when there was pity and

When there was wealth

You wasted neither on yourself

Should have been loved

Should have been loved

Should have been loved

Should have been loved

Should have been loved

Should have been loved

Should have been loved

Should have been loved

All your detractors underestimated you

Cause they don't know you like I do

Like I do

You've been let down, messed around

Told to get your feet back on the ground

When you should have been loved, loved, loved

ACT III

SCENE I. Forres. The palace.

Enter BANQUO

BANQUO

Thou hast it now: king, Cawdor, Glamis, all,

As the weird women promised, and, I fear,

Thou play'dst most foully for't: yet it was said

It should not stand in thy posterity,

But that myself should be the root and father

Of many kings. If there come truth from them--

As upon thee, Macbeth, their speeches shine--

Why, by the verities on thee made good,

May they not be my oracles as well,

And set me up in hope? But hush! no more.

Sennet sounded. Enter MACBETH, as king, LADY MACBETH, as queen, LENNOX, ROSS, Lords, Ladies, and Attendants

MACBETH

Here's our chief guest.

LADY MACBETH

If he had been forgotten,

It had been as a gap in our great feast,

And all-thing unbecoming.

MACBETH

To-night we hold a solemn supper sir,

And I'll request your presence.

BANQUO

Let your highness

Command upon me; to the which my duties

Are with a most indissoluble tie

For ever knit.

MACBETH

Ride you this afternoon?

BANQUO

Ay, my good lord.

MACBETH

We should have else desired your good advice,

Which still hath been both grave and prosperous,

In this day's council; but we'll take to-morrow.

Is't far you ride?

BANQUO

As far, my lord, as will fill up the time

'Twixt this and supper: go not my horse the better,

I must become a borrower of the night

For a dark hour or twain.

MACBETH

Fail not our feast.

BANQUO

My lord, I will not.

MACBETH

We hear, our bloody cousins are bestow'd

In England and in Ireland, not confessing

Their cruel parricide, filling their hearers

With strange invention: but of that to-morrow,

When therewithal we shall have cause of state

Craving us jointly. Hie you to horse: adieu,

Till you return at night. Goes Fleance with you?

BANQUO

Ay, my good lord: our time does call upon 's.

MACBETH

I wish your horses swift and sure of foot;

And so I do commend you to their backs. Farewell.

Exit BANQUO

Let every man be master of his time

Till seven at night: to make society

The sweeter welcome, we will keep ourself

Till supper-time alone: while then, God be with you!

Exeunt all but MACBETH, and an attendant

Sirrah, a word with you: attend those men

Our pleasure?

ATTENDANT

They are, my lord, without the palace gate.

MACBETH

Bring them before us.

Exit Attendant

To be thus is nothing;

But to be safely thus.--Our fears in Banquo

Stick deep; and in his royalty of nature

Reigns that which would be fear'd: 'tis much he dares;

And, to that dauntless temper of his mind,

He hath a wisdom that doth guide his valour

To act in safety. There is none but he

Whose being I do fear: and, under him,

My Genius is rebuked; as, it is said,

Mark Antony's was by Caesar. He chid the sisters

When first they put the name of king upon me,

And bade them speak to him: then prophet-like

They hail'd him father to a line of kings:

Upon my head they placed a fruitless crown,

And put a barren sceptre in my gripe,

Thence to be wrench'd with an unlineal hand,

No son of mine succeeding. If 't be so,

For Banquo's issue have I filed my mind;

For them the gracious Duncan have I murder'd;

Put rancours in the vessel of my peace

Only for them; and mine eternal jewel

Given to the common enemy of man,

To make them kings, the seed of Banquo kings!

Rather than so, come fate into the list.

And champion me to the utterance! Who's there!

Re-enter Attendant, with two Murderers

Now go to the door, and stay there till we call.

Exit Attendant

Was it not yesterday we spoke together?

First Murderer

It was, so please your highness.

MACBETH

Well then, now

Have you consider'd of my speeches? Know

That it was he in the times past which held you

So under fortune, which you thought had been

Our innocent self: this I made good to you

In our last conference, pass'd in probation with you,

How you were borne in hand, how cross'd,

the instruments,

Who wrought with them, and all things else that might

To half a soul and to a notion crazed

Say 'Thus did Banquo.'

First Murderer

You made it known to us.

MACBETH

I did so, and went further, which is now

Our point of second meeting. Do you find

Your patience so predominant in your nature

That you can let this go? Are you so gospell'd

To pray for this good man and for his issue,

Whose heavy hand hath bow'd you to the grave

And beggar'd yours for ever?

First Murderer

We are men, my liege.

MACBETH

Ay, in the catalogue ye go for men;

As hounds and greyhounds, mongrels, spaniels, curs,

Shoughs, water-rugs and demi-wolves, are clept

All by the name of dogs: the valued file

Distinguishes the swift, the slow, the subtle,

The housekeeper, the hunter, every one

According to the gift which bounteous nature

Hath in him closed; whereby he does receive

Particular addition. from the bill

That writes them all alike: and so of men.

Now, if you have a station in the file,

Not i' the worst rank of manhood, say 't;

And I will put that business in your bosoms,

Whose execution takes your enemy off,

Grapples you to the heart and love of us,

Who wear our health but sickly in his life,

Which in his death were perfect.

Second Murderer

I am one, my liege,

Whom the vile blows and buffets of the world

Have so incensed that I am reckless what

I do to spite the world.

First Murderer

And I another

So weary with disasters, tugg'd with fortune,

That I would set my lie on any chance,

To mend it, or be rid on't.

MACBETH

Both of you

Know Banquo was your enemy.

Both Murderers

True, my lord.

MACBETH

So is he mine; and in such bloody distance,

That every minute of his being thrusts

Against my near'st of life: and though I could

With barefaced power sweep him from my sight

And bid my will avouch it, yet I must not,

For certain friends that are both his and mine,

Whose loves I may not drop, but wail his fall

Who I myself struck down; and thence it is,

That I to your assistance do make love,

Masking the business from the common eye

For sundry weighty reasons.

Second Murderer

We shall, my lord,

Perform what you command us.

First Murderer

Though our lives--

MACBETH

Your spirits shine through you. Within this hour at most

I will advise you where to plant yourselves;

Acquaint you with the perfect spy o' the time,

The moment on't; for't must be done to-night,

And something from the palace; always thought

That I require a clearness: and with him--

To leave no rubs nor botches in the work--

Fleance his son, that keeps him company,

Whose absence is no less material to me

Than is his father's, must embrace the fate

Of that dark hour. Resolve yourselves apart:

I'll come to you anon.

Both Murderers

We are resolved, my lord.

MACBETH

I'll call upon you straight: abide within.

Exeunt Murderers

It is concluded. Banquo, thy soul's flight,

If it find heaven, must find it out to-night.

Exit

SCENE II. The palace.

Enter LADY MACBETH and a Servant

LADY MACBETH

Is Banquo gone from court?

Servant

Ay, madam, but returns again to-night.

LADY MACBETH

Say to the king, I would attend his leisure

For a few words.

Servant

Madam, I will.

Exit

LADY MACBETH

Nought's had, all's spent,

Where our desire is got without content:

'Tis safer to be that which we destroy

Than by destruction dwell in doubtful joy.

Enter MACBETH

How now, my lord! why do you keep alone,

Of sorriest fancies your companions making,

Using those thoughts which should indeed have died

With them they think on? Things without all remedy

Should be without regard: what's done is done.

MACBETH

We have scotch'd the snake, not kill'd it:

She'll close and be herself, whilst our poor malice

Remains in danger of her former tooth.

But let the frame of things disjoint, both the

worlds suffer,

Ere we will eat our meal in fear and sleep

In the affliction of these terrible dreams

That shake us nightly: better be with the dead,

Whom we, to gain our peace, have sent to peace,

Than on the torture of the mind to lie

In restless ecstasy. Duncan is in his grave;

After life's fitful fever he sleeps well;

Treason has done his worst: nor steel, nor poison,

Malice domestic, foreign levy, nothing,

Can touch him further.

LADY MACBETH

Come on;

Gentle my lord, sleek o'er your rugged looks;

Be bright and jovial among your guests to-night.

MACBETH

So shall I, love; and so, I pray, be you:

Let your remembrance apply to Banquo;

Present him eminence, both with eye and tongue:

Unsafe the while, that we

Must lave our honours in these flattering streams,

And make our faces vizards to our hearts,

Disguising what they are.

LADY MACBETH

You must leave this.

MACBETH

O, full of scorpions is my mind, dear wife!

Thou know'st that Banquo, and his Fleance, lives.

LADY MACBETH

But in them nature's copy's not eterne.

MACBETH

There's comfort yet; they are assailable;

Then be thou jocund: ere the bat hath flown

His cloister'd flight, ere to black Hecate's summons

The shard-borne beetle with his drowsy hums

Hath rung night's yawning peal, there shall be done

A deed of dreadful note.

LADY MACBETH

What's to be done?

MACBETH

Be innocent of the knowledge, dearest chuck,

Till thou applaud the deed. Come, seeling night,

Scarf up the tender eye of pitiful day;

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale! Light thickens; and the crow

Makes wing to the rooky wood:

Good things of day begin to droop and drowse;

While night's black agents to their preys do rouse.

Thou marvell'st at my words: but hold thee still;

Things bad begun make strong themselves by ill.

So, prithee, go with me.

Exeunt

SCENE III. A park near the palace.

Enter three Murderers

First Murderer

But who did bid thee join with us?

Third Murderer

Macbeth.

Second Murderer

He needs not our mistrust, since he delivers

Our offices and what we have to do

To the direction just.

First Murderer

Then stand with us.

The west yet glimmers with some streaks of day:

Now spurs the lated traveller apace

To gain the timely inn; and near approaches

The subject of our watch.

Third Murderer

Hark! I hear horses.

BANQUO

[Within] Give us a light there, ho!

Second Murderer

Then 'tis he: the rest

That are within the note of expectation

Already are i' the court.

First Murderer

His horses go about.

Third Murderer

Almost a mile: but he does usually,

So all men do, from hence to the palace gate

Make it their walk.

Second Murderer

A light, a light!

Enter BANQUO, and FLEANCE with a torch

Third Murderer

'Tis he.

First Murderer

Stand to't.

BANQUO

It will be rain to-night.

First Murderer

Let it come down.

They set upon BANQUO

BANQUO

O, treachery! Fly, good Fleance, fly, fly, fly!

Thou mayst revenge. O slave!

Dies. FLEANCE escapes

Third Murderer

Who did strike out the light?

First Murderer

Wast not the way?

Third Murderer

There's but one down; the son is fled.

Second Murderer

We have lost

Best half of our affair.

First Murderer

Well, let's away, and say how much is done.

Exeunt

SCENE IV. The same. Hall in the palace.

A banquet prepared. Enter MACBETH, LADY MACBETH, ROSS, LENNOX, Lords, and Attendants

MACBETH

You know your own degrees; sit down: at first

And last the hearty welcome.

Lords

Thanks to your majesty.

MACBETH

Ourself will mingle with society,

And play the humble host.

Our hostess keeps her state, but in best time

We will require her welcome.

LADY MACBETH

Pronounce it for me, sir, to all our friends;

For my heart speaks they are welcome.

First Murderer appears at the door

MACBETH

See, they encounter thee with their hearts' thanks.

Both sides are even: here I'll sit i' the midst:

Be large in mirth; anon we'll drink a measure

The table round.

Approaching the door

There's blood on thy face.

First Murderer

'Tis Banquo's then.

MACBETH

'Tis better thee without than he within.

Is he dispatch'd?

First Murderer

My lord, his throat is cut; that I did for him.

MACBETH

Thou art the best o' the cut-throats: yet he's good

That did the like for Fleance: if thou didst it,

Thou art the nonpareil.

First Murderer

Most royal sir,

Fleance is 'scaped.

MACBETH

Then comes my fit again: I had else been perfect,

Whole as the marble, founded as the rock,

As broad and general as the casing air:

But now I am cabin'd, cribb'd, confined, bound in

To saucy doubts and fears. But Banquo's safe?

First Murderer

Ay, my good lord: safe in a ditch he bides,

With twenty trenched gashes on his head;

The least a death to nature.

MACBETH

Thanks for that:

There the grown serpent lies; the worm that's fled

Hath nature that in time will venom breed,

No teeth for the present. Get thee gone: to-morrow

We'll hear, ourselves, again.

Exit Murderer

LADY MACBETH

My royal lord,

You do not give the cheer: the feast is sold

That is not often vouch'd, while 'tis a-making,

'Tis given with welcome: to feed were best at home;

From thence the sauce to meat is ceremony;

Meeting were bare without it.

MACBETH

Sweet remembrancer!

Now, good digestion wait on appetite,

And health on both!

LENNOX

May't please your highness sit.

The GHOST OF BANQUO enters, and sits in MACBETH's place

MACBETH

Here had we now our country's honour roof'd,

Were the graced person of our Banquo present;

Who may I rather challenge for unkindness

Than pity for mischance!

ROSS

His absence, sir,

Lays blame upon his promise. Please't your highness

To grace us with your royal company.

MACBETH

The table's full.

LENNOX

Here is a place reserved, sir.

MACBETH

Where?

LENNOX

Here, my good lord. What is't that moves your highness?

MACBETH

Which of you have done this?

Lords

What, my good lord?

MACBETH

Thou canst not say I did it: never shake

Thy gory locks at me.

ROSS

Gentlemen, rise: his highness is not well.

LADY MACBETH

Sit, worthy friends: my lord is often thus,

And hath been from his youth: pray you, keep seat;

The fit is momentary; upon a thought

He will again be well: if much you note him,

You shall offend him and extend his passion:

Feed, and regard him not. Are you a man?

MACBETH

Ay, and a bold one, that dare look on that

Which might appal the devil.

LADY MACBETH

O proper stuff!

This is the very painting of your fear:

This is the air-drawn dagger which, you said,

Led you to Duncan. O, these flaws and starts,

Impostors to true fear, would well become

A woman's story at a winter's fire,

Authorized by her grandam. Shame itself!

Why do you make such faces? When all's done,

You look but on a stool.

MACBETH

Prithee, see there! behold! look! lo!

how say you?

Why, what care I? If thou canst nod, speak too.

If charnel-houses and our graves must send

Those that we bury back, our monuments

Shall be the maws of kites.

GHOST OF BANQUO vanishes

LADY MACBETH

What, quite unmann'd in folly?

MACBETH

If I stand here, I saw him.

LADY MACBETH

Fie, for shame!

MACBETH

Blood hath been shed ere now, i' the olden time,

Ere human statute purged the gentle weal;

Ay, and since too, murders have been perform'd

Too terrible for the ear: the times have been,

That, when the brains were out, the man would die,

And there an end; but now they rise again,

With twenty mortal murders on their crowns,

And push us from our stools: this is more strange

Than such a murder is.

LADY MACBETH

My worthy lord,

Your noble friends do lack you.

MACBETH

I do forget.

Do not muse at me, my most worthy friends,

I have a strange infirmity, which is nothing

To those that know me. Come, love and health to all;

Then I'll sit down. Give me some wine; fill full.

I drink to the general joy o' the whole table,

And to our dear friend Banquo, whom we miss;

Would he were here! to all, and him, we thirst,

And all to all.

Lords

Our duties, and the pledge.

Re-enter GHOST OF BANQUO

MACBETH

Avaunt! and quit my sight! let the earth hide thee!

Thy bones are marrowless, thy blood is cold;

Thou hast no speculation in those eyes

Which thou dost glare with!

LADY MACBETH

Think of this, good peers,

But as a thing of custom: 'tis no other;

Only it spoils the pleasure of the time.

MACBETH

What man dare, I dare:

Approach thou like the rugged Russian bear,

The arm'd rhinoceros, or the Hyrcan tiger;

Take any shape but that, and my firm nerves

Shall never tremble: or be alive again,

And dare me to the desert with thy sword;

If trembling I inhabit then, protest me

The baby of a girl. Hence, horrible shadow!

Unreal mockery, hence!

GHOST OF BANQUO vanishes

Why, so: being gone,

I am a man again. Pray you, sit still.

LADY MACBETH

You have displaced the mirth, broke the good meeting,

With most admired disorder.

MACBETH

Can such things be,

And overcome us like a summer's cloud,

Without our special wonder? You make me strange

Even to the disposition that I owe,

When now I think you can behold such sights,

And keep the natural ruby of your cheeks,

When mine is blanched with fear.

ROSS

What sights, my lord?

LADY MACBETH

I pray you, speak not; he grows worse and worse;

Question enrages him. At once, good night:

Stand not upon the order of your going,

But go at once.

LENNOX

Good night; and better health

Attend his majesty!

LADY MACBETH

A kind good night to all!

Exeunt all but MACBETH and LADY MACBETH

MACBETH

It will have blood; they say, blood will have blood:

Stones have been known to move and trees to speak;

Augurs and understood relations have

By magot-pies and choughs and rooks brought forth

The secret'st man of blood. What is the night?

LADY MACBETH

Almost at odds with morning, which is which.

MACBETH

How say'st thou, that Macduff denies his person

At our great bidding?

LADY MACBETH

Did you send to him, sir?

MACBETH

I hear it by the way; but I will send:

There's not a one of them but in his house

I keep a servant fee'd. I will to-morrow,

And betimes I will, to the weird sisters:

More shall they speak; for now I am bent to know,

By the worst means, the worst. For mine own good,

All causes shall give way: I am in blood

Stepp'd in so far that, should I wade no more,

Returning were as tedious as go o'er:

Strange things I have in head, that will to hand;

Which must be acted ere they may be scann'd.

LADY MACBETH

You lack the season of all natures, sleep.

MACBETH

Come, we'll to sleep. My strange and self-abuse

Is the initiate fear that wants hard use:

We are yet but young in deed.

Exeunt

SCENE V. A Heath.

Thunder. Enter the three Witches meeting HECATE

First Witch

Why, how now, Hecate! you look angerly.

HECATE

Have I not reason, beldams as you are,

Saucy and overbold? How did you dare

To trade and traffic with Macbeth

In riddles and affairs of death;

And I, the mistress of your charms,

The close contriver of all harms,

Was never call'd to bear my part,

Or show the glory of our art?

And, which is worse, all you have done

Hath been but for a wayward son,

Spiteful and wrathful, who, as others do,

Loves for his own ends, not for you.

But make amends now: get you gone,

And at the pit of Acheron

Meet me i' the morning: thither he

Will come to know his destiny:

Your vessels and your spells provide,

Your charms and every thing beside.

I am for the air; this night I'll spend

Unto a dismal and a fatal end:

Great business must be wrought ere noon:

Upon the corner of the moon

There hangs a vaporous drop profound;

I'll catch it ere it come to ground:

And that distill'd by magic sleights

Shall raise such artificial sprites

As by the strength of their illusion

Shall draw him on to his confusion:

He shall spurn fate, scorn death, and bear

He hopes 'bove wisdom, grace and fear:

And you all know, security

Is mortals' chiefest enemy.

Music and a song within: 'Come away, come away,' & c

Hark! I am call'd; my little spirit, see,

Sits in a foggy cloud, and stays for me.

Exit

First Witch

Come, let's make haste; she'll soon be back again.

Exeunt

SCENE VI. Forres. The palace.

Enter LENNOX and another Lord

LENNOX

My former speeches have but hit your thoughts,

Which can interpret further: only, I say,

Things have been strangely borne. The

gracious Duncan

Was pitied of Macbeth: marry, he was dead:

And the right-valiant Banquo walk'd too late;

Whom, you may say, if't please you, Fleance kill'd,

For Fleance fled: men must not walk too late.

Who cannot want the thought how monstrous

It was for Malcolm and for Donalbain

To kill their gracious father? damned fact!

How it did grieve Macbeth! did he not straight

In pious rage the two delinquents tear,

That were the slaves of drink and thralls of sleep?

Was not that nobly done? Ay, and wisely too;

For 'twould have anger'd any heart alive

To hear the men deny't. So that, I say,

He has borne all things well: and I do think

That had he Duncan's sons under his key--

As, an't please heaven, he shall not--they

should find

What 'twere to kill a father; so should Fleance.

But, peace! for from broad words and 'cause he fail'd

His presence at the tyrant's feast, I hear

Macduff lives in disgrace: sir, can you tell

Where he bestows himself?

Lord

The son of Duncan,

From whom this tyrant holds the due of birth

Lives in the English court, and is received

Of the most pious Edward with such grace

That the malevolence of fortune nothing

Takes from his high respect: thither Macduff

Is gone to pray the holy king, upon his aid

To wake Northumberland and warlike Siward:

That, by the help of these--with Him above

To ratify the work--we may again

Give to our tables meat, sleep to our nights,

Free from our feasts and banquets bloody knives,

Do faithful homage and receive free honours:

All which we pine for now: and this report

Hath so exasperate the king that he

Prepares for some attempt of war.

LENNOX

Sent he to Macduff?

Lord

He did: and with an absolute 'Sir, not I,'

The cloudy messenger turns me his back,

And hums, as who should say 'You'll rue the time

That clogs me with this answer.'

LENNOX

And that well might

Advise him to a caution, to hold what distance

His wisdom can provide. Some holy angel

Fly to the court of England and unfold

His message ere he come, that a swift blessing

May soon return to this our suffering country

Under a hand accursed!

Lord

I'll send my prayers with him.

Exeunt

ACT IV

SCENE I. A cavern. In the middle, a boiling cauldron.

Thunder. Enter the three Witches

First Witch

Thrice the brinded cat hath mew'd.

Second Witch

Thrice and once the hedge-pig whined.

Third Witch

Harpier cries 'Tis time, 'tis time.

First Witch

Round about the cauldron go;

In the poison'd entrails throw.

Toad, that under cold stone

Days and nights has thirty-one

Swelter'd venom sleeping got,

Boil thou first i' the charmed pot.

ALL

Double, double toil and trouble;

Fire burn, and cauldron bubble.

Second Witch

Fillet of a fenny snake,

In the cauldron boil and bake;

Eye of newt and toe of frog,

Wool of bat and tongue of dog,

Adder's fork and blind-worm's sting,

Lizard's leg and owlet's wing,

For a charm of powerful trouble,

Like a hell-broth boil and bubble.

ALL

Double, double toil and trouble;

Fire burn and cauldron bubble.

Third Witch

Scale of dragon, tooth of wolf,

Witches' mummy, maw and gulf

Of the ravin'd salt-sea shark,

Root of hemlock digg'd i' the dark,

Liver of blaspheming Jew,

Gall of goat, and slips of yew

Silver'd in the moon's eclipse,

Nose of Turk and Tartar's lips,

Finger of birth-strangled babe

Ditch-deliver'd by a drab,

Make the gruel thick and slab:

Add thereto a tiger's chaudron,

For the ingredients of our cauldron.

ALL

Double, double toil and trouble;

Fire burn and cauldron bubble.

Second Witch

Cool it with a baboon's blood,

Then the charm is firm and good.

Enter HECATE to the other three Witches

HECATE

O well done! I commend your pains;

And every one shall share i' the gains;

And now about the cauldron sing,

Live elves and fairies in a ring,

Enchanting all that you put in.

Music and a song: 'Black spirits,' & c

HECATE retires

Second Witch

By the pricking of my thumbs,

Something wicked this way comes.

Open, locks,

Whoever knocks!

Enter MACBETH

MACBETH

How now, you secret, black, and midnight hags!

What is't you do?

ALL

A deed without a name.

MACBETH

I conjure you, by that which you profess,

Howe'er you come to know it, answer me:

Though you untie the winds and let them fight

Against the churches; though the yesty waves

Confound and swallow navigation up;

Though bladed corn be lodged and trees blown down;

Though castles topple on their warders' heads;

Though palaces and pyramids do slope

Their heads to their foundations; though the treasure

Of nature's germens tumble all together,

Even till destruction sicken; answer me

To what I ask you.

First Witch

Speak.

Second Witch

Demand.

Third Witch

We'll answer.

First Witch

Say, if thou'dst rather hear it from our mouths,

Or from our masters?

MACBETH

Call 'em; let me see 'em.

First Witch

Pour in sow's blood, that hath eaten

Her nine farrow; grease that's sweaten

From the murderer's gibbet throw

Into the flame.

ALL

Come, high or low;

Thyself and office deftly show!

Thunder. First Apparition: an armed Head

MACBETH

Tell me, thou unknown power,--

First Witch

He knows thy thought:

Hear his speech, but say thou nought.

First Apparition

Macbeth! Macbeth! Macbeth! beware Macduff;

Beware the thane of Fife. Dismiss me. Enough.

Descends

MACBETH

Whate'er thou art, for thy good caution, thanks;

Thou hast harp'd my fear aright: but one

word more,--

First Witch

He will not be commanded: here's another,

More potent than the first.

Thunder. Second Apparition: A bloody Child

Second Apparition

Macbeth! Macbeth! Macbeth!

MACBETH

Had I three ears, I'ld hear thee.

Second Apparition

Be bloody, bold, and resolute; laugh to scorn

The power of man, for none of woman born

Shall harm Macbeth.

Descends

MACBETH

Then live, Macduff: what need I fear of thee?

But yet I'll make assurance double sure,

And take a bond of fate: thou shalt not live;

That I may tell pale-hearted fear it lies,

And sleep in spite of thunder.

Thunder. Third Apparition: a Child crowned, with a tree in his hand

What is this

That rises like the issue of a king,

And wears upon his baby-brow the round

And top of sovereignty?

ALL

Listen, but speak not to't.

Third Apparition

Be lion-mettled, proud; and take no care

Who chafes, who frets, or where conspirers are:

Macbeth shall never vanquish'd be until

Great Birnam wood to high Dunsinane hill

Shall come against him.

Descends

MACBETH

That will never be

Who can impress the forest, bid the tree

Unfix his earth-bound root? Sweet bodements! good!

Rebellion's head, rise never till the wood

Of Birnam rise, and our high-placed Macbeth

Shall live the lease of nature, pay his breath

To time and mortal custom. Yet my heart

Throbs to know one thing: tell me, if your art

Can tell so much: shall Banquo's issue ever

Reign in this kingdom?

ALL

Seek to know no more.

MACBETH

I will be satisfied: deny me this,

And an eternal curse fall on you! Let me know.

Why sinks that cauldron? and what noise is this?

Hautboys

First Witch

Show!

Second Witch

Show!

Third Witch

Show!

ALL

Show his eyes, and grieve his heart;

Come like shadows, so depart!

A show of Eight Kings, the last with a glass in his hand; GHOST OF BANQUO following

MACBETH

Thou art too like the spirit of Banquo: down!

Thy crown does sear mine eye-balls. And thy hair,

Thou other gold-bound brow, is like the first.

A third is like the former. Filthy hags!

Why do you show me this? A fourth! Start, eyes!

What, will the line stretch out to the crack of doom?

Another yet! A seventh! I'll see no more:

And yet the eighth appears, who bears a glass

Which shows me many more; and some I see

That two-fold balls and treble scepters carry:

Horrible sight! Now, I see, 'tis true;

For the blood-bolter'd Banquo smiles upon me,

And points at them for his.

Apparitions vanish

What, is this so?

First Witch

Ay, sir, all this is so: but why

Stands Macbeth thus amazedly?

Come, sisters, cheer we up his sprites,

And show the best of our delights:

I'll charm the air to give a sound,

While you perform your antic round:

That this great king may kindly say,

Our duties did his welcome pay.

Music. The witches dance and then vanish, with HECATE

MACBETH

Where are they? Gone? Let this pernicious hour

Stand aye accursed in the calendar!

Come in, without there!

Enter LENNOX

LENNOX

What's your grace's will?

MACBETH

Saw you the weird sisters?

LENNOX

No, my lord.

MACBETH

Came they not by you?

LENNOX

No, indeed, my lord.

MACBETH

Infected be the air whereon they ride;

And damn'd all those that trust them! I did hear

The galloping of horse: who was't came by?

LENNOX

'Tis two or three, my lord, that bring you word

Macduff is fled to England.

MACBETH

Fled to England!

LENNOX

Ay, my good lord.

MACBETH

Time, thou anticipatest my dread exploits:

The flighty purpose never is o'ertook

Unless the deed go with it; from this moment

The very firstlings of my heart shall be

The firstlings of my hand. And even now,

To crown my thoughts with acts, be it thought and done:

The castle of Macduff I will surprise;

Seize upon Fife; give to the edge o' the sword

His wife, his babes, and all unfortunate souls

That trace him in his line. No boasting like a fool;

This deed I'll do before this purpose cool.

But no more sights!--Where are these gentlemen?

Come, bring me where they are.

Exeunta

I CANNOT Believe I Just SAID That!

You make Love like a Japanese Meal —

Small portions, but so many courses!

Listen to me mister!

  Underneath all that neurotic mess 

is someone nice trying to get out.

  Someone who deserves a chance to grow.

So, you won't give up, OK?  OK?

LISTER: 

Why do I feel that somehow 

you've missed the point?  

I mean, whether you believe 

that stuff or not, it's about a dude 

who sacrifices his life for love.

RIMMER: 

Not realistic.  As if!

LISTER: 

You've got no soul, 

man. No soul.

Oh, my darling, don't!  This isn't  a time for sadness, 

it's a time for joy! For laughter!  Don't you see?  

Whatever this crazy old world throws at us now 

it doesn't matter -- none of it.

MAN: 

Marnie, we can never 

be together again.

WOMAN: 

Oh my darling, you're wrong!

We'll always be together.  

It's just... that we'll be apart.

Film music signals the end of the film.

KRYTEN: 

Wasn't that just beautiful?  

Oh! Well recommended, sir.  D'you think 

they ever get back together again?

LISTER: 

(In a weepy voice, with head in hands) 

I don't know.

KRYTEN: 

Pardon?

LISTER: 

(Even more distraught) 

I don't know.

Geronimo! | Red Dwarf | BBC Comedy Greats

#JaneHorrocks The most notable difference from the book is that the boy is restored to human form at the end of the story by The Grand High Witch's assistant (a character who does not appear in the book), who had renounced her former evil. Dahl regarded the film as "utterly appalling".

During the editing process, the editor Stephen Roxburgh told Dahl that he was concerned about misogyny in the book. However, he dismissed these concerns by explaining he was not afraid of offending women. The feminist critic Catherine Itzin claimed that the book 'is how Boys learn to become Men who HATE Women'.

Jemma Crew of the Newstatesman considers it an "unlikely source of inspiration for feminists". The Times article "Not in Front of the Censors" suggests that the LEAST interesting thing to a child about A Witch is that they APPEAR to look like A Woman, and even offers the perspective that a witch might be a VERY feminist role model to a young school girl.

Dahl based the novel on his OWN childhood experiences, with the character of the grandmother modelled on Sofie Dahl, the author’s mother. The Author was “well satisfied” by his work on The Witches, a sentiment which literary biographer Robert Carrick believes may have come from the fact that the novel was a departure from Dahl’s usual “all-problem-solving finish.” Dahl did not work on the novel alone; he was aided by editor Stephen Roxburgh, who helped rework The Witches. Roxburgh’s advice was very extensive and covered areas such as improving plots, tightening up Dahl’s writing, and re-inventing characters. Soon after its publication, the novel received compliments for its illustrations by Quentin Blake

Analysis : Due to the complexity of The Witches and its departure from a typical Dahl novel, several academics have analysed the work. One perspective offered by Castleton University professor James Curtis suggests that the REJECTION of the novel by PARENTS is caused by its focus on “CHILD-HATE” and Dahl’s reluctance to SHIELD children from such a reality. The scholar argues that the book showcases a treatment of children that is NOT ACTUALLY WORSE than historical and modern examples; however, Dahl’s determination to expose to his young readers The TRUTH can be controversial. 

Despite Society occasionally making progress in its treatment of children, Curtis argues that different aspects of Child-Hate displayed in Dahl’s work are based on REAL WORLD EXAMPLES. As the boy’s grandmother informs him, The Witches usually strike children when they are ALONE; Curtis uses this information from the novel to connect to the historical problem of child abandonment. As children have been maimed or KILLED due to abandonment, children are harmed by witches in the novel when they have been left ALONE. 

RIMMER: 

I would have done anything 

to get on this ship.  

Every time I look in the mirror, I see this.

(He points at his letter H.) 

Only to me it doesn't mean Hologram, it means 

half-wit, hopeless, hideous  failure.  

This was a chance to be somebody.

Somebody I liked.

CRANE: 

I've never met anyone 

like you before.

RIMMER: 

Everyone says that.

CRANE: 

(Taking hold of RIMMER by the cheeks) 

Listen to me mister!

  Underneath all that neurotic mess 

is someone nice trying to get out.

  Someone who deserves a chance to grow.

So, you won't give up, OK?  OK?

RIMMER: 

I cheated.

CRANE: 

You're going to win, Arnie.  

You're going to get your dream.  

I promise you.

RIMMER: 

You really think?

CRANE kisses her finger and touches 

RIMMER's lips.  The lift door opens.

CRANE: 

I really think.  (Leaves.)

27 Model shot.

Red Dwarf.

28 Int. Red Dwarf corridor.

RIMMER materialises on the Red Dwarf and walks down a corridor into the room where LISTER and CAT are.

RIMMER: (Seemingly dejected) I won.

LISTER: (Incredulous) What?

RIMMER: 

My opponent withdrew.  I won.  

I'm an officer.  I leave tonight.

  (Leaves.)

29 Int. Red Dwarf transmission room. That night.

RIMMER is saying goodbye to the other Dwarfers, rather falteringly.  

His letter H is now in a circle and he's dressed 

as a member of the Enlightenment's crew.

RIMMER: 

Look, I'm not much good at big speeches, 

and I know I haven't always been an easy guy to get on with.  

And I know that, given the choice, I probably wouldn't 

have chosen you as friends.  But, I just want to say ... 

that over the years, ... I have come to regard you ...

  as ... people ... I met.  I'd just better go, OK?

LISTER: 

See you smeghead.

RIMMER: 

Transfer.

KRYTEN: 

Transfer. 

(RIMMER disappears.)

30 Model shot.

The translucent holoship is drifting by 

when it turns into a blue comet

and flies away.

31 Int. Holoship room.

NUMBER TWO and RIMMER 

walk into a room.

NUMBER TWO: 

Here are your quarters, 

Mr. RIMMER.

RIMMER: 

There must be some mistake -- 

these are commander Crane's quarters.

NUMBER TWO: 

Oh, didn't you know?  She 

was your opponent.

Music starts playing, as from the film 

which was playing at the start of the episode.

RIMMER walks into the captain's room.

RIMMER: 

Navigation officer Rimmer reporting, sir.

The music starts fading out.

PLATINI: 

Arnold, welcome aboard.  (Salutes) 

I trust everything's to your

  sa--

RIMMER: 

Permission to speak, sir.  I wish to 

resign my commission, sir.

PLATINI: 

Resign.  Ah, may I ask 

your reasoning please?

RIMMER: 

Flight commander Crane has taken leave 

of her senses and fallen  in love with me, sir.

PLATINI: 

Love?  Surely not.  Commander Crane is 

far too intellectually advanced to submit 

to a mere short-term hormonal imbalance.

RIMMER: 

That's why she withdrew 

from the challenge and 

allowed me to win, sir.

PLATINI: 

Mr. Rimmer, what you are suggesting is that 

somehow she cared more for your happiness 

than she did for her own life.

RIMMER: 

Am I?  Yes sir, I suppose I am, sir.

PLATINI: 

And now you are doing something 

equally unfathomable -- resigning so that she 

can be reinstated, even though here you could 

have everything:  a position of command, 

an effective physical

  presence, everything.

RIMMER: 

Perhaps you'd be kind enough 

to pass this note on to her, sir.

He hands over an envelope as the music swells up again.

PLATINI: 

I understand your gesture, but really your resignation solves

  nothing.  After all, the two of you will still be... apart.

RIMMER: 

Permission to return 

to Red Dwarf, sir.

PLATINI: 

Granted.

RIMMER stands to attention and 

gives the Enlightened salute.  

He begins to leave, but stops 

and turns around.

RIMMER: 

Oh and sir, you're wrong.  

We won't be apart, we just ... 

won't be together.

A look of disgust comes over RIMMER's face.

RIMMER: 

I cannot believe I just said that!

RIMMER leaves.  While the music is coming to an end, 

the screen narrows to letterbox format and 

"The End" appears in a suitably tacky cursive script.

Nurture

Prologue

1 INT. MAURY’S SHOP— NIGHT 1

A strangled cry escapes FAITH’s lips as ANGELUS sinks his fangs into her neck and begins to drink.

Suddenly Angelus pushes Faith away and falls backward gasping.

ANGELUS

What… did you do?

Faith stares at him, holding her ravaged neck.

CUT TO:

Earlier.

Faith strides forward and shoots at Angelus with the trank gun. He ducks aside and the shot misses, then kicks Faith backward into a stack of boxes.

WESLEY chambers a round in his shotgun and opens fire. Again, Angelus’ demonic reflexes allow him to evade the gunfire.

While Angelus is distracted with Wesley, Faith slides her pant leg up and removes a hypodermic syringe strapped to her leg.

ANGELUS

(o.s.)

You gotta do better than that, Wes! Come on! I’ll give you one more. Strike three!

She quickly plunges the needle into her arm and injects herself with the drug.. Orpheus

4

BACK TO SCENE

Angelus grabs onto the scaffolding and tries to haul himself up but the

drug is too powerful. He collapses back to floor, barely conscious.

ANGELUS

You… you sp… you spiked…

Behind Faith, Wesley tumbles off the scaffolding and crashes to the floor.

He pushes himself up and looks over at Faith.

WESLEY

You all right?

A hint of a smile plays across Faith’s face.

FAITH

Kicked his ass.

Then her eyes roll up into her head and she falls over unconscious.

Opening credit sequence.

Act I

2 INT. HYPERION HOTEL— LOBBY— NIGHT 2

The lobby is quiet. FRED sits at the counter, reading an old book on magick. Suddenly, the door slams open and GUNN enters, dragging an unconscious Angelus and calling out frantically.

GUNN

Connor!

FRED

Oh, my god! Angelus…

GUNN

Pick up your trank gun. I don’t know how much time we have. Connor!

Fred grabs the pistol and hurries around the counter to where Gunn has dumped Angelus on the lobby floor. His hands and feet are bound with rope.

FRED

What happened?

GUNN

Wes called. I went.

He grabs the gun from Fred and cocks it, aiming it at Angelus.

FRED

Where is he? Where’s Faith?

LORNE wanders out into the lobby to see what the fuss is about.

LORNE

Well, what is all the— oh! Angelus! He’s in the hotel!

GUNN

(to Fred)

Get me the steel shackles.

Fred runs back into the office as Lorne stands over Angelus, amazed.

LORNE

Oh, but maybe we’re already aware of that.

GUNN

All I had was rope in the truck.

CONNOR appears on the upper balcony and looks down.

CONNOR

What’s going on?

GUNN

Get down here, now! (to Fred) The leg irons, too.

Connor sees Angelus on the floor and dashes down the stairs.

CONNOR

She found him.

LORNE

Wesley and Faith… where are they?

The door slams open and Wesley enters, carrying Faith in his arms. She’s

out cold, a large blood-soaked bandage pressed to her neck.

WESLEY

(re: Angelus)

Get him downstairs..

CONNOR

What happened to Faith?

WESLEY

She captured Angelus.

FRED

God, what did he do to her?

WESLEY

Gunn…

GUNN

We got it.

LORNE

She looks not well.

CONNOR

She gonna be—

GUNN

Wake up, kid. I need you here.

He hands Connor the shackles and pulls him away from Faith.

WESLEY(to Fred)

Help me with her.

CUT TO:

3 INT. HYPERION HOTEL— CONTINUOUS— NIGHT 3

Accompanied by Lorne and Fred, Wesley carries Faith through the hotel

into one of the rooms and puts her down on the bed..

CUT TO:

4 INT. HYPERION HOTEL— BASEMENT— NIGHT 4

Connor opens the cage door and Gunn drags Angelus inside. They strip

the ropes from his wrists and start fastening the shackles and leg irons.

CUT TO:

5 INT. HYPERION HOTEL— FAITH’S ROOM— NIGHT 5

Lorne checks Faith’s pupils then notices the needle track on her arm. 

He looks up at Wesley, realisation dawning.

Fred enters with a bowl of hot water and fresh bandages. She carefully

removes the cloth from Faith’s neck and looks at the ragged bite marks

beneath. After a moment’s hesitation, she wets a fresh towel and starts to clean the wound.

CUT TO:

6 INT. HYPERION HOTEL— BASEMENT— NIGHT 6

Angelus is firmly secured. Connor leans over him and grimaces.

CONNOR

He fed from her. There’s blood on his breath.

Angelus suddenly jerks in his chains and Connor and Gunn leap backward, Gunn holding his trank pistol at the ready. Angelus mumbles, delirious, but remains unconscious.

ANGELUS (weak)

I’ll kill you… kill… you…

CUT TO:

7 INT. HYPERION HOTEL— FAITH’S ROOM— NIGHT 7

Faith tosses and turns, muttering in her sleep as well.

FAITH

…scratch you out…

FRED

She’s not making any sense.

LORNE (to Wesley)

And speaking of sense, have you been on permanent sabbatical from yours? 

Tell me you did not shoot that girl full of junk and then feed her to Angelus.

WESLEY

It was her choice. Faith knew the risks..

LORNE (angry)

Oh, she couldn’t!

Fred turns around and shushes him. He lowers his voice, 

chagrined but still angry with Wesley.

LORNE

Wesley, I know what that drug does to people. Especially when they super-size the dosage to make sure they really get the job done. And you damn well know it, too.

That Makes Three Things

 

Cut to the street. Anya and Xander are on either side of Giles, all walking down the street. Anya and Xander both talking at once.

XANDER: It's a nightmare.

ANYA: It has to be stopped.

XANDER: It's a plague. It's like a nightmare about a plague.

ANYA: It was like we were being watched.

XANDER: It's like, I didn't wanna be saying things-

ANYA: Like there was a wall missing -

XANDER: - 

but they just kept pouring out.

ANYA: 

-in our apartment.

XANDER: 

And they rhymed and they were mean and

ANYA: 

Like there were only three walls and not a fourth wall and

XANDER: 

My eyes are not beady!

ANYA: 

My toes are not hairy! 

They stop talking over each other. 

XANDER: 

Giles, you've got to stop it.

GILES: Well, I am looking into some leads, and I-

ANYA: It's just, clearly our number is a retro pastiche that's never going to be a breakaway pop hit.

XANDER: Work with me, British man. Give me an axe and show me where to point it. 

We hear a woman singing but we can't see her or make out the words yet. 

GILES: 

Well now, Xander, it's not quite that simple. 

But I have learned about some 

disturbing things. Basically- 

They continue talking in the background as we focus on a woman (BTVS executive producer Marti Noxon) who is standing by her car singing to a policeman. The cop is writing her a parking ticket and we see that her car is parked next to a fire hydrant. As she sings we can see Giles, Xander, and Anya standing and talking in background. 

MARTI:

I'm asking you please no

It isn't right, it isn't fair

There was no parking anywhere

I think that hydrant wasn't there

[cop gives her the ticket] 

Why can't you let it go? 

I think I've paid more than my share... 

She continues singing in the background as

Xander, Anya, and Giles resume walking and talking. 

XANDER: 

As in burnt up? Somebody set people on fire? That's nuts!

ANYA: 

I don't know. One more verse of our little ditty and I would've been looking for a gas can.

GILES: Well, clearly emotions are running high. (We see people in background dancing together) But as far as I can tell these people burnt up from the inside, spontaneously combusted. (Three street sweeper men in background dancing with brooms) I've only seen the one. I was able to examine the body while the police were taking witness arias.

XANDER: Okay, but we're sure that the things are related: the singing and dancing, and burning and dying. 

They stop walking. The street sweepers continue their dance in background. 

GILES: We're not sure of much. Buffy's looking for leads at the local demon haunts, at least ... in theory she is, but ... she doesn't seem to-

XANDER: She's easing back into it. We pulled her out of an untold hell dimension. Ergo the weirdness. The important thing is to be there for her.

GILES: (shakes head) I'm helping her as much as I can, but, uh... 

Anya pats Giles awkwardly on the shoulder.