03x02 - Shakespeare Code

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EXT. THAMES EMBANKMENT

London 1599.

Elizabethan London skyline at night, moonlight reflected on the Thames.

EXT. ALL HALLOWS STREET

A young man is playing a lute as he serenades a woman at a balcony.

WIGGINS: # Her face was like a winter's moon that lights the traveller's way. Her smile was like a summer bloom that bursts then fades away. My love is night, my love is day. My love she is my world.#

LILITH: Such sweet music shows your blood to be afire. Why wait we on stale custom for consummation?

WIGGINS: Oh, yes. Tonight's the night.

He heads for the door of the house and is met by Lilith.

LILITH (coyly): Would you enter, bold sir?

WIGGINS: Oh, I would.

INT. WITCHES' HOUSE

He enters the dwelling to see it dark with numerous fires burning, sharp instruments hanging from the walls and dried plants.

WIGGENS (CONT'D): Lilith, this cannot be the home of one so beautiful. Forgive me, this is foul.

LILITH (shushes him): Sshh. Sad words suit not upon a lover's tongue. (Kisses him. When she pulls away, her face is wizened and her teeth, fangs). Your kiss transformed me.

He backs away, terrified.

LILITH (CONT'D): A suitor should meet his beloved's parents. Mother Doomfinger.

An old woman with features similar to Lilith rises from behind him. He turns to face her, gasping.

LILITH (CONT'D): And Mother Bloodtide.

A second on the ceiling cackles before falling to the floor. They converge upon Wiggins who screams and falls under their att*ck. Lilith rises and faces the camera.

LILITH (CONT'D): Soon at the hour of woven words we shall rise again and this fleeting Earth will perish!

She cackles.

OPENING CREDITS

INT. TARDIS

Inside the TARDIS the Doctor turns a wheeled control while Martha holds on to the console to remain steady.

MARTHA: But how do you travel in time? What makes it go?

THE DOCTOR: Oh, let's take the fun and mystery out of everything. Martha, you don't wanna know. It just does. Hold on tight!

He practically climbs onto the console. Martha is knocked to the floor and the Doctor falls off the console.

MARTHA (standing): Blimey! Do you have to pass a test to fly this thing?

THE DOCTOR: Yes, and I failed it. (Grabs his coat). Now, make the most of it. (Hands her jacket to her). I promised you one trip and one trip only. Outside this door... (stops at door and faces her). Brave new world.

MARTHA: Where are we?

THE DOCTOR: Take a look. (Opens door). After you.

EXT. STREET

Martha walks outside and onto an Elizabethan street at night with people milling about.

MARTHA: Oh, you are kidding me. You are so kidding me. Oh, my God! We did it. We travelled in time. Where are we? No, sorry. I gotta get used to this whole new language. When are we?

The Doctor looks up and pulls her back as from a first floor window and man dumps the contents of a bucket.

MAN: Mind the loo!

THE DOCTOR: Somewhere before the invention of the toilet. Sorry about that.

MARTHA: I've seen worse. I've worked the late night shift at A&E.

The Doctor starts to walk away.

MARTHA (CONT'D): But are we safe? I mean, can we move around and stuff?

THE DOCTOR: Of course we can. Why do you ask?

MARTHA: It's like in the films. You step on a butterfly; you change the future of the human race.

THE DOCTOR: Well, tell you what then, don't step on any butterflies. What have butterflies ever done to you?

They continue walking.

MARTHA: What if, I dunno, what if I k*ll my grandfather?

THE DOCTOR: You planning to?

MARTHA: No.

THE DOCTOR: Well, then.

MARTHA: This is London.

THE DOCTOR: I think so. Right about 1599.

MARTHA: Oh, but hold on. Am I all right? I'm not gonna get carted off as a sl*ve, am I?

THE DOCTOR: Why would they do that?

MARTHA: Not exactly white, in case you haven't noticed.

THE DOCTOR: I'm not even human. Just walk about like you own the place. Works for me. Besides, you'd be surprised. Elizabethan England, not so different from your time. Look over there. (Points). They've got recycling.

Aman shovels manure.

THE DOCTOR (CONT'D): Water cooler moment.

Two men conversing at a water barrel. They walk past a man preaching about the end of the world.

PREACHER: ... and the world will be consumed by flame!

THE DOCTOR: Global warming. Oh, yes, and... entertainment! Popular entertainment for the masses. If I'm right, we're just down the river by Southwark right next to... (The Doctor takes her hand and they run around a corner). Oh, yes, the Globe Theatre! Brand new. Just opened. Through, strictly speaking, it's not a globe; it's a tetradecagon, 14 sides, containing the man himself.

MARTHA: Whoa, you don't mean... is Shakespeare in there?

THE DOCTOR: Oh, yes. (Holds out his arm). Miss Jones, will you accompany me to the theatre?

MARTHA (links her arm in his): Yes, Mr. Smith, I will.

THE DOCTOR: When you get home, you can tell everyone you've seen Shakespeare.

MARTHA: Then I could get sectioned!

INT. THE GLOBE THEATRE

Packed house, everyone applauding and cheering. Actors onstage taking their bows.

MARTHA: That's amazing! Just amazing. It's worth putting up with the smell. And those are men dressed as women, yeah.

THE DOCTOR: London never changes.

MARTHA: Where's Shakespeare? I wanna see Shakespeare. (Chants with fist in air). Author! Author!

The Doctor looks at her.

MARTHA (CONT'D): Do people shout that? Do they shout "Author"?

Man in crowd by Martha picks up the chant and it soon spreads.

THE DOCTOR (looking around): Well... they do now.

Shakespeare comes out and takes an exaggerated bow and blows kisses. Audience goes wild and cheers even louder.

MARTHA: He's a bit different from his portraits.

Lilith sits alone in a box dressed in court finery. She removes a small doll from a pouch.

THE DOCTOR: Genius. He's a genius, the genius. The most human Human that's ever been. Now we're gonna hear him speak. Always, he chooses the best words. New, beautiful, brilliant words.

SHAKESPEARE: Shut your big fat mouths!

The audience laughs.

THE DOCTOR (disappointed): Oh, well.

MARTHA: You should never meet your heroes.

SHAKESPEARE: You have excellent taste! I'll give you that. (Points to man in audience). Oh, that's a wig!

LILITH (who's watching on a balcony, twirls her hand about the tuft of hair on the doll): Wind the craft of ancient harm. The time approaches for our charm.

SHAKESPEARE: I know what you're all saying. "Loves Labour's Lost", that's a funny ending, isn't it? It just stops! Will the boys get the girls? Well, don't get your hose in a tangle, you'll find out soon. Yeah, yeah. All in good time. You don't rush a genius.

He bows. Lilith kisses the doll and Shakespeare jerks upright.

SHAKESPEARE (CONT'D): When? Tomorrow night.

Audience cheers and Lilith is pleased while the cast is stunned.

SHAKESPEARE (CONT'D): The premiere of my brand new play. A sequel, no less, and I call it "Loves Labour's Won"!

Audience applauds loudly and the Doctor remains quiet.

INT. THE GLOBE THEATRE

The Doctor and Martha leave the theatre with the rest of the crowd.

MARTHA: I'm not an expert, but I've never heard of "Loves Labour's Won".

THE DOCTOR: Exactly, the lost play. It doesn't exist, only in rumours. It's mentioned in lists of his plays but never ever turns up. No one knows why.

MARTHA: Have you got a mini-disk or something? We could tape it. We can flog it. Sell it when we get home and make a mint.

THE DOCTOR (looks at her): No.

MARTHA: That would be bad?

THE DOCTOR: Yeah. Yeah.

MARTHA: Well, how come it disappeared in the first place?

THE DOCTOR: Well, I was just gonna give you a quick little trip in the TARDIS but I suppose we could stay a bit longer.

EXT. STREET

The street outside the Elephant Inn. Pan up to lit window then go inside.

INT. ELEPHANT INN

DOLLY BAILEY: Here ya go, Will. Drink up. There's enough beer in this lodgings house to sink the Spanish.

She doles out tankards to three men at the table.

SHAKESPEARE: Dolly Bailey, you've saved my life.

DOLLY BAILEY (flirting): I'll do more than that later tonight. (To maid): And you, girl, hurry up with your tasks. The talk of gentlemen is best not overheard.

LILITH (as maid): Yes, ma'am. Sorry, ma'am.

d*ck: You must be mad, Will. "Loves Labour's Won"? We're not ready. It's supposed to be next week. What made you say that?

KEMPE: You haven't even finished it yet.

SHAKESPEARE: I've just got the final scene to go. You'll get it by morning.

He drinks his beer.

THE DOCTOR: Hello! (Knocks on open door). Excuse me! I'm not interrupting, am I? Mr. Shakespeare, isn't it?

SHAKESPEARE: Oh no, no, no, no. Who let you in? No autographs. No, you can't have yourself sketched with me. And please don't ask where I get my ideas from. Thanks for the interest. Now be a good boy and shove... (Sees Martha standing behind the Doctor). Hey, nonny nonny. Sit right down here next to me. (To d*ck and Kempe): You two get sewing on them costumes. Off you go.

DOLLY BAILEY: Come on, lads. I think our William's found his new muse.

SHAKESPEARE: Sweet lady. (Martha sits at the table). Such unusual clothes. So... fitted.

MARTHA: Um, verily, forsooth, egads.

THE DOCTOR: No, no, don't do that. Don't. (Holds out psychic paper to Shakespeare). I'm Sir Doctor of TARDIS and this is my companion, Miss Martha Jones.

SHAKESPEARE: Interesting, that bit of paper. It's blank.

THE DOCTOR (impressed): Oh, that's... very clever. That proves it. Absolute genius.

MARTHA (peers at paper): No, it says so right there. Sir Doctor, Martha Jones. It says so.

SHAKESPEARE: And I say it's blank.

THE DOCTOR (to Martha): Psychic paper. Um, long story. Oh, I hate starting from scratch.

He puts the psychic paper away.

SHAKESPEARE: Psychic. Never heard that before and words are my trade. Who are you exactly? More's the point, who is your delicious blackamoor lady?

MARTHA: What did you say?

SHAKESPEARE: Oops. Isn't that a word we use nowadays? An Ethiop girl? A swarth? A Queen of Afric...

MARTHA: I can't believe I'm hearing this.

THE DOCTOR: It's political correctness gone mad. Um, Martha's from a far-off land. Freedonia.

LYNLEY: Excuse me! (Enters room). Hold hard a moment. This is abominable behaviour. A new play with no warning? I demand to see a script, Mr Shakespeare. As Master of the Revels, every new script must be registered at my office and examined by me before it can be performed.

SHAKESPEARE: Tomorrow morning, first thing, I'll send it 'round.

LYNLEY: I don't work to your schedule, you work to mine. The script, now!

SHAKESPEARE: I can't.

LYNLEY: Then tomorrow's performance is cancelled.

Lilith slips unnoticed from the room.

MARTHA: It's all go, 'round here, isn't it?

LYNLEY: I'm returning to my office for a banning order. If it's the last thing I do, "Love's Labours Won" will never be played.

He leaves.

EXT. ELEPHANT INN

Lynley goes down the stairs where he bumps into Lilith.

LILITH: Oh, sorry, sir. Beg pardon, sir. Mind you don't hurt that handsome head of yours.

She caresses his head.

LYNLEY: Hold hard, wanton woman! (softer). I shall return later.

As he walks away, Lilith holds up a lock of his hair.

INT. ELEPHANT INN, LANDING

She runs up to the landing and hiding in a corner where she takes out the doll.

LILITH: Oh, my mothers, there's one seeks to stop the performance tomorrow.

INT. WITCHES' HOUSE

Cut to Doomfinger and Bloodtide.

DOOMFINGER: But it must be tomorrow!

BLOODTIDE: "Love's Labours Won" must be performed!

INT. ELEPHANT INN, LANDING

LILITH (wraps Lynley's hair about the doll): Fear not. Chant with me. Water damps the fiercest flame...

INT. WITCHES' HOUSE

MOTHERS: Drowns down girls and boys the same.

EXT. STREET

Lynley walks along the street. Lilith holds the doll underwater and he begins to choke.

INT. ELEPHANT INN

MARTHA: Well, then... mystery solved. That's "Love's Labours Won" over and done with. Thought it might be something more, you know... more mysterious.

They hear screaming from outside.

EXT. STREET

They rush out to the street where Lynley is spitting up water.

MARTHA: It's that Lynley bloke.

THE DOCTOR: What's wrong with him? Leave it to men. I'm a doctor.

He goes to Lynley's side.

MARTHA: So am I near enough.

INT. ELEPHANT INN, LANDING

Lilith takes the doll from the water.

INT. WITCHES' HOUSE

MOTHERS: Now to halt the vital part. s*ab the flesh.

INT. ELEPHANT INN, LANDING

LILITH (whispers): And stop the heart. (Stabs the doll with a large pin). Eternal sleep is thine.

She rips the head off...

EXT. STREET

Down in the street, Lynley falls to the ground. The Doctor stands and runs to look down the street.

MARTHA (listen for heartbeat and breathing): Gotta get the heart going. Mr Lynley, c'mon, can you hear me? You're gonna be all right.

She prepares to start mouth-to-mouth as the Doctor returns and water gushes from Lynley's mouth.

MARTHA (CONT'D): What the hell is that?

THE DOCTOR: I've never seen a death like it. His lungs are full of water, he drowned and then... I dunno, like a blow to the heart, an invisible blow. (Stands and addresses Dolly): Good mistress, this poor fellow has d*ed from a sudden imbalance of the humours. A natural if unfortunate demise. Call a constable and have him taken away.

DOLLY BAILEY: Yes, sir.

Lilith joins them.

LILITH: I'll do it, ma'am.

She walks away with a satisfied smirk. The Doctor crouches back down beside the body.

MARTHA: And why are you telling them that?

THE DOCTOR: This lot still have got one foot in the Dark Ages. If I tell them the truth, they'll panic and think it was witchcraft.

MARTHA: Okay, what was it then?

THE DOCTOR: Witchcraft.

INT. WITCHES' HOUSE

Lilith, Bloodtide and Doomfinger are back in the house gathered over a cauldron.

MOTHERS: The potion is prepared. Now take it.

DOOMFINGER: Magic words for the playwright's fevered mind.

BLOODTIDE: Shakespeare will release us. The mind of a genius will unlock the tide of blood.

LILITH: Upon this night, the work is done. A muse to pen "Love Labour's Won"!

INT. ELEPHANT INN

DOLLY BAILEY: I got you a room, Sir Doctor. You and Miss Jones are just across the landing.

She leaves.

SHAKESPEARE: Poor Lynley. So many strange events. Not least of all, this land of Freedonia where a woman can be a doctor?

MARTHA: Where a woman can do what she likes.

SHAKESPEARE: And you, Sir Doctor. How can a man so young have eyes so old?

THE DOCTOR: I do a lot of reading.

SHAKESPEARE: A trite reply. Yeah, that's what I'd do. (To Martha): And you, you look at him like you're surprised he exists. He's as much of a puzzle to you as he is to me.

MARTHA: I think we should say good night.

She leaves.

SHAKESPEARE: I must work. I have a play to complete. But I'll get my answers tomorrow, Doctor, and I'll discover more about you and why this constant performance of yours.

THE DOCTOR (at doorway): All the world's a stage.

SHAKESPEARE: Hm, I might use that. Good night, Doctor.

THE DOCTOR: Nighty-night, Shakespeare.

He leaves.

INT. ELEPHANT INN, BEDROOM

Martha is examining their room when the Doctor enters.

MARTHA: It's not exactly five-star, is it?

THE DOCTOR: Oh, it'll do. I've seen worse.

MARTHA: I haven't even got a toothbrush.

THE DOCTOR: Ooh. (Pats pockets and pulls out a brush). Contains Venusian spearmint.

MARTHA: So, who's going where? I mean, there's only one bed.

THE DOCTOR: We'll manage. C'mon.

He flops onto the bed.

MARTHA: So, magic and stuff. That's a surprise. It's a little bit "Harry Potter".

THE DOCTOR: Wait till you read Book Seven. Oh, I cried.

MARTHA: But is it real, though? I mean, witches, black magic and all that, it's real?

THE DOCTOR: 'Course it isn't!

MARTHA: Well, how am I supposed to know? I've only just started believing in time travel. Give me a break.

THE DOCTOR: Looks like witchcraft, but it isn't. Can't be. Are you gonna stand there all night?

MARTHA (sits on the bed next to him): Budge up a bit, then. (The Doctor moves over). Sorry, there's not much room. Us two here, same bed. Tongues will wag.

THE DOCTOR (oblivious): There's such a thing as psychic energy but a human couldn't channel it like that. Not without a generator the size of Taunton and I think we'd have spotted that. (Turns on side facing Martha). No. There's something I'm missing, Martha. (She lies so they're face-to-face). Something really close, staring me right in the face and I can't see it. Rose would know. A friend of mine, Rose. Right now, she'd say exactly the right thing. (Lies on back breaking the intimate moment). Still, can't be helped. You're a novice, never mind. I'll take you back home tomorrow.

MARTHA (miffed): Great!

She turns her back on him and blows out the candle.

EXT. STREET

Lilith watches Shakespeare's window from the street. She levitates and opens the window from outside.

INT. ELEPHANT INN, SHAKESPEARE'S ROOM

She blows the fumes of the potion towards him as he writes. He inhales and falls unconscious.

LILTH (enters room and raises marionette): Bind the mind and take the man. Speed the words to writer's hand.

Shakespeare jerks up and, as Lilith moves the puppet's arm, he writes.

INT. ELEPHANT INN, BEDROOM

In their room, Martha is asleep while the Doctor is wide awake.

INT. ELEPHANT INN, SHAKESPEARE'S ROOM

Dolly walks in with broom in hand after Lilith is done.

DOLLY BAILEY: Will? Finished cleaning just in time for your special treat. (Stops when she sees Lilith). Oh, aye. I'm not the first then.

LILITH (turns on her in "witch face"): I'll take that to aid my flight and you shall speak no more this night.

She grabs the broom. Dolly screams.

INT. ELEPHANT INN, BEDROOM

The Doctor jumps up and runs to aid followed by Martha.

INT. ELEPHANT INN, SHAKESPEARE'S ROOM

Shakespeare wakes with a start when they enter and stop to examine Dolly's body.

SHAKESPEARE: Wha'? What was that?

Martha runs to the window where she sees the silhouette of a witch on a broom flying in the sky.

THE DOCTOR: Her heart gave out. She d*ed of fright.

MARTHA: Doctor?

THE DOCTOR (joins her at the window): What did you see?

MARTHA: A witch.

EXT. THAMES EMBANKMENT

It is dawn. A cock crows.

INT. SHAKESPEARE'S ROOM

The Doctor and Martha sit at Shakespeare's desk.

SHAKESPEARE: Oh, sweet Dolly Bailey. She sat out three bouts of the plague in this place. We all ran like rats. But what could have scared her so? She had such enormous spirit.

THE DOCTOR: "Rage, rage against the dying of the light."

SHAKESPEARE: I might use that.

THE DOCTOR: You can't. It's someone else's.

MARTHA: But the thing is, Lynley drowned on dry land, Dolly d*ed of fright and they were both connected to you.

SHAKESPEARE: You're accusing me?

MARTHA: No, but I saw a witch, big as you like, flying, cackling away, and you've written about witches.

SHAKESPEARE: I have? When was that?

THE DOCTOR (low voice): Not, not quite yet.

SHAKESPEARE: Peter Streete spoke of witches.

MARTHA: Who's Peter Streete?

SHAKESPEARE: Our builder. He sketched the plans to the Globe.

THE DOCTOR: The architect. Hold on. The architect! The architect! (Slams fist on table). The Globe! Come on!

He rushes off, followed by Martha and Shakespeare.

INT. THE GLOBE THEATRE

The Doctor is in the pit while Martha and Shakespeare are onstage.

THE DOCTOR: The columns there, right? 14 sides. I've always wondered but I never asked... tell me, Will, why 14 sides?

SHAKESPEARE: It was the shape Peter Streete thought best, that's all. Said it carried the sound well.

THE DOCTOR: Why does that ring a bell? 14...

MARTHA: There are 14 lines in a sonnet.

THE DOCTOR: So there is. Good point. Words and shapes following the same design. (paces). 14 lines, 14 sides, 14 facets...Oh, my head. Tetradecagon... think, think, think! Words, letters, numbers, lines!

SHAKESPEARE: This is just a theatre.

THE DOCTOR: Oh, but a theatre's magic, isn't it? You should know. Stand on this stage, say the right words with the right emphasis a the right time... Oh, you can make men weep, or cry with joy, change them. You can change people's minds just with words in this place. And if you exaggerate that...

MARTHA: It's like you're police box. Small wooden box with all that power inside.

THE DOCTOR: Oh. Oh, Martha Jones, I like you. Tell you what, though. Peter Streete would know. Can I talk to him?

SHAKESPEARE: You won't get an answer. A month after finishing this place... lost his mind.

MARTHA: Why? What happened?

SHAKESPEARE: Started raving about witches, hearing voices, babbling. His mind was addled.

THE DOCTOR: Where is he now?

SHAKESPEARE: Bedlam.

MARTHA: What's Bedlam?

SHAKESPEARE: Bethlem Hospital. The madhouse.

THE DOCTOR: We're gonna go there. Right now. Come on.

He heads out. Martha follows as does Shakespeare.

SHAKESPEARE: Wait! I'm coming with you. I want to witness this at first hand!

Two young actors enter.

SHAKESPEARE (CONT'D): Ralph, the last scene as promised. Copy it, hand it round. Learn it. Speak it. Back before curtain up. Remember, kid, project. Eyes and teeth. You never know; the Queen might turn up. (Walks out). As if. She never does.

EXT. STREET

In the street, Martha and Shakespeare follow the Doctor.

SHAKESPEARE: So, tell me of Freedonia, where women can be doctors, writers, actors.

MARTHA: This country's ruled by a woman.

SHAKESPEARE: Ah, she's royal. That's God's business. Though you are a royal beauty.

MARTHA (stops): Whoa, Nelly! I know for a fact you've got a wife in the country.

SHAKESPEARE: But Martha, this is Town.

THE DOCTOR: Come on. We can all have a good flirt later.

SHAKESPEARE: Is that a promise, Doctor?

THE DOCTOR: Oh, 57 academics just punched the air. Now move!

INT. THE GLOBE THEATRE

Inside the globe, Kempe and d*ck are onstage reading over the script.

d*ck: "Loves Labour's Won". I don't think much of sequels. They're never as good as the original.

KEMPE: Have you seen this last bit? He must have been dozing off when he wrote that. I don't even know what it means.

d*ck: Well, that goes for most of his stuff. Ah, but at least it's my speech. Ah, I get centre-stage. (Reads script). The light of Shadmock's hollow moon doth shine on to a point in space betwixt Dravidian shores...

A strong gust of wind arises from nowhere.

KEMPE: What was that?

d*ck: Dravidian shores linear 5-9-3-0-1-6...

INT. WITCHES' HOUSE

DOOMFINGER: A spirit stirs the ether. (Looks in the cauldron to see Kempe onstage). But too soon. Too soon.

LILITH: Not to fear, my mothers. It is merely a rehearsal of what's to come.

INT. THE GLOBE THEATRE

d*ck: ... and strikes the fulsome grove of Rexel 4.

A dark wraith-like figure appears in front of them.

KEMPE: By all the saints, it's a spirit. (Creature shrieks). It's a vile shade. (It comes towards them then dissipates). I think we should never speak of this again else we'll end up in Bedlam ourselves.

INT. BETHLEM, CORRIDOR

Loud screams and moans sound as the Doctor, Martha and Shakespeare are led through the halls.

JAILER: Does my lord, Doctor, wish some entertainment while he waits? I'd whip these madmen. They'll put on a good show for ya. Bandog and Bedlam!

THE DOCTOR: No, I don't!

JAILER: Wait here, my lords, while I make him decent for the lady.

He walks away.

MARTHA: So this is what you call a hospital, yeah? Where the patients are whipped to entertain

the gentry? And you put your friend in here?

SHAKESPEARE: Oh, and it's all so different in Freedonia.

MARTHA: But you're clever! Do you honestly think this place is any good?

SHAKESPEARE: I've been mad. I've lost my mind. Fear of this place set me right again. It serves its purpose.

MARTHA: Mad in what way?

THE DOCTOR (softly): You lost your son.

SHAKESPEARE: My only boy. The Black Death took him. I wasn't even there.

MARTHA: I didn't know. I'm sorry.

SHAKESPEARE: It made me question everything. The futility of this fleeting existence. To be or not to be... oh, that's quite good.

THE DOCTOR: You should write that down.

SHAKESPEARE: Hm, maybe not. A bit pretentious?

JAILER (calls): This way, m'lord!

They walk down the hall to Peter Streete's cell.

INT. BETHLAM, PETER'S CELL

And the jailer unlocks the door.

JAILER: They can be dangerous, m'lord. Don't know their own strength.

THE DOCTOR: I think it helps if you don't whip them! Now get out!

The jailer leaves and the Doctor approaches Peter slowly.

THE DOCTOR (CONT'D): Peter? Peter Streete?

SHAKESPEARE: He's the same as he was. You'll get nothing out of him.

THE DOCTOR (lays a hand on Peter's shoulder): Peter?

Peter's head jerks up and he looks at the Doctor with wild, glassy eyes and seems like he wants to speak.

INT. WITCHES' HOUSE

In the witches' house, Lilith pauses, sensing something wrong.

LILITH: What is this? I must see. (Looks into the cauldron and sees the Doctor with Peter). That stranger, he was at the inn with Shakespeare. I thought then he smelt of something new.

BLOODTIDE: Now he visits the madhouse. The architect!

INT. BETHLAM, PETER'S CELL

THE DOCTOR (places his fingertips along Peter's face): Peter, I'm the Doctor. Go into the past, one year ago. Let your mind go back, back to when everything was fine and shining. Everything that happened in this year since happened to somebody else. It was just a story. A winter's tale. Let go. Listen. That's it, just let go. (Lies Peter down on his cot). Tell me the story, Peter. Tell me about the witches.

INT. WITCHES' HOUSE

LILITH: Who is this Doctor? Why does he come now at our time of glory? Doomfinger, transport yourself. Doom the Doctor. Doom his hide.

INT. BETHLAM, PETER'S CELL

PETER: Witches spoke to Peter. In the night, they whispered. Got Peter to build the Globe to their design. Their design! The 14 walls, always 14. When the work was done (laughs) they sapped poor Peter's wits.

THE DOCTOR: Where did Peter see the witches? Where in the city? (Crouches beside Peter). Peter, tell me. You've got to tell me where were they?

PETER: All Hallows Street.

DOOMFINGER (appears beside the Doctor): Too many words.

The Doctor goes to stand beside Martha.

MARTHA: What the hell?

DOOMFINGER: Just one touch of the heart.

She lays her hand on Peter's chest.

THE DOCTOR: Noooo! !!

PETER: Ahhhhh!

Peter dies.

SHAKESPEARE: Witch! I'm seeing a witch!

DOOMFINGER: Who would be next, hmm? Just one touch.

INT. WITCHES' HOUSE

Lilith and Bloodtide cackle as they watch.

INT. BETHLAM, PETER'S CELL

DOOMFINGER: Oh, oh, I'll stop your frantic hearts. Poor, fragile mortals.

MARTHA (shouts at door): Let us out! Let us out!

THE DOCTOR: That's not gonna work. The whole building's shouting that.

DOOMFINGER: Who will die first, hmm?

THE DOCTOR: Well, if you're looking for volunteers.

He walks towards Doomfinger.

MARTHA: No! Don't!

SHAKESPEARE: Doctor, can you stop her?

DOOMFINGER: No mortal has power over me.

THE DOCTOR: Oh, but there's a power in words. If I can find the right one, if I can just know you...

DOOMFINGER: None on Earth has knowledge of us.

THE DOCTOR: Then it's a good thing I'm here. Now think, think, think... Humanoid female, uses shapes and words to channel energy... ah, 14! That's it! 14! The 14 stars of the Rexel planetary configuration! Creature, I name you Carrionite!

Doomfinger wails and disappears.

MARTHA: What did you do?

THE DOCTOR: I named her. The power of a name. That's old magic.

MARTHA: But there's no such thing as magic.

THE DOCTOR: Well, it's just a different sort of science. You lot, you chose mathematics. Given the right string of numbers, the right equation, you can split the atom. Carrionites use words instead.

SHAKESPEARE: Use them for what?

THE DOCTOR: The end of the world.

INT. WITCHES' HOUSE

DOOMFINGER (returns wheezing): He knows us! He spoke our name!

LILITH: Then he will know death. He will perish at my hand. My mothers, the time approaches. You must away to the Globe. Go! I will join you. As soon as this Doctor screams his last.

INT. SHAKESPEARE'S ROOM

THE DOCTOR: The Carrionites disappeared way back at the dawn of the universe. Nobody was sure if they were real or legend.

SHAKESPEARE: Well, I'm going for real.

MARTHA: But what do they want?

THE DOCTOR: A new empire on Earth. A world of bones and blood and witchcraft.

MARTHA: But how?

THE DOCTOR: I'm looking at the man with the words.

SHAKESPEARE: Me? But I've done nothing.

MARTHA: Hold on, though. What were you doing last night, when that Carrionite was in the room?

SHAKESPEARE: Finishing the play.

THE DOCTOR: What happens on the last page?

SHAKESPEARE: The boys get the girls. They have a bit of a dance. It's all as funny and thought provoking as usual, except those last few lines. Funny thing is... I don't actually remember writing them.

THE DOCTOR: That's it. They used you. They gave you the final words. Like a spell, like a code. "Love's Labours Won", it's a w*apon! The right combination of words, spoken at the right place with the shape of the Globe as an energy converter! The play's the thing! And yes, you can have that.

INT. THE GLOBE THEATRE

An opening fanfare and d*ck steps out in costume.

d*ck: We left the lovers of Navarre by cruel chance separated, none to claim his heart, their labour's lost. Now will they find Love's Labour's Won?!

Audience cheers and applauds. We see Bloodtide and Doomfinger watching.

INT. SHAKESPEARE'S ROOM

THE DOCTOR (looking at map): All Hallows Street. There it is. Martha, we'll track them down. Will, you get to the Globe. Whatever you do, stop that play!

SHAKESPEARE: I'll do it. (Shakes the Doctor's hand). All these years I've been the cleverest man around. Next to you, I know nothing.

MARTHA: Oh, don't complain.

SHAKESPEARE: I'm not. It's marvellous. Good luck, Doctor.

THE DOCTOR: Good luck, Shakespeare. (Heads for door). Once more unto the breach!

SHAKESPEARE: I like that. Wait a minute... that's one of mine.

THE DOCTOR (pokes his head around door): Oh, just shift!

INT. THE GLOBE THEATRE

The actors are on stage, d*ck cradling a dying Kempe.

d*ck: The eye should have contentment where it rests. This spun-out year I watch on, groaning sick...

Fades as we see the Carrionites in their box holding a small crystal ball, glowing with a blue light.

BLOODTIDE: Patience, my sisters. Patience.

d*ck: Mewling poor drooped men in stenched beds...

Shakespeare bursts through the door onstage.

SHAKESPEARE: Stop the play! I'm sorry, ladies and gentlemen, but stop. This performance must end immediately!

d*ck (mutters): Everyone's a critic.

BLOODTIDE: The wordsmith!

DOOMFINGER: Fear not. I have the doll.

She takes out the doll they use to control Shakespeare.

SHAKESPEARE: I'm sorry. You'll get a refund. (Audience boos). But this play must not be performed!

Doomfinger knocks the doll with her hand and Shakespeare falls unconscious to the stage.

KEMPE (whispers): Is he drunk or what?

d*ck (hoarse whisper): Get him off the stage!

Audience laughs and Shakespeare is carried off by other actors.

KEMPE (standing): You must forgive our irksome Will. He's been on the beer and feeling ill.

DOOMFINGER: There is naught can stop us now.

EXT. ALL HALLOWS TREET

THE DOCTOR: All Hallows Street, but which house?

MARTHA: The thing is, though... am I missing something here? The world didn't end in 1599. It just didn't. Look at me, I'm living proof.

THE DOCTOR: Oh, how to explain the mechanics of the infinite temporal flux? I know! "Back to the Future"! It's like "Back to the Future"!

MARTHA: The film?

THE DOCTOR: No, the novelisation. Yes, the film. Marty McFly goes back and changes history.

MARTHA: And he starts fading away. (Realises). Oh my God, am I gonna fade?

THE DOCTOR: You and the entire future of the human race. It ends right now in 1599 if we don't stop it. But which house?

The door to Lilith's house slowly opens.

THE DOCTOR (CONT'D): Ah, make that witch house.

INT. WITCHES' HOUSE

They walk inside where Lilith is waiting.

THE DOCTOR: I take it we're expected.

LILITH: Oh, I think Death has been waiting for you a very long time.

MARTHA: Right then, it's my turn. (Steps forward). I know how to do this. (Points). I name thee, Carrionite!

Lilith is unaffected.

MARTHA (CONT'D): What did I do wrong? Was it the finger?

LILITH: The power of a name works only once. Observe. (Points at Martha). I gaze upon this bag of bones and now I name thee Martha Jones.

Martha collapses and the Doctor lowers her to the ground.

THE DOCTOR: What have you done?

LILITH: Only sleeping, alas. Curious, the name has less impact. She's somehow out of her time. And as for you, Sir Doctor! (Points, expecting a reaction) Fascinating. There is no name. Why would a man hide his title in such despair? Oh, but look. There's still one word with the power that aches.

THE DOCTOR: The naming won't work on me.

LILITH: But your heart grows cold. The north wind blows and carries down the distant... Rose.

THE DOCTOR (stands): Oh, big mistake 'cos that name keeps me fighting! The Carrionites vanished! Where did you go?

LILITH: The Eternals found the right word to banish us into deep darkness.

THE DOCTOR: And how did you escape?

LILITH: New words. New and glittering from a mind like no other.

THE DOCTOR: Shakespeare.

LILITH: His son perished. The grief of a genius. Grief without measure. Madness enough to allow us entrance.

THE DOCTOR: How many of you?

LILITH: Just the three. But the play tonight shall restore the rest. Then the human race will be purged as pestilence. And from this world we will lead the universe back to the old ways of blood and magic.

THE DOCTOR: Hmm... busy schedule... but first you gotta get past me.

Stands face-to-face with Lilith.

LILITH (seductively): Oh, that should be a pleasure considering my enemy has such a handsome shape.

She runs her fingers along his face.

THE DOCTOR: Now, that's one form of magic that's definitely not gonna work on me.

LILITH: Oh, we'll see.

She yanks a lock of hair from his head and backs away.

THE DOCTOR (fingers head): What did you do?

LILITH: Souvenir.

THE DOCTOR: Well, give it back!

Lilith throws up arms and the window behind her opens and she flies out backwards, levitating outside.

THE DOCTOR (at windowsill): Well, that's just cheating.

LILITH: Behold, Doctor. Men to Carrionites are nothing but puppets.

She pulls out a doll and wraps his hair about it. Martha wakes slowly.

THE DOCTOR: Now, you might call that magic... I'd call that a DNA replication module.

LILITH: What use is your science now?

She stabs the doll. The Doctor lets out a cry and falls to the floor as Lilith cackles and flies away. Martha rushes to the Doctor.

MARTHA: Oh my God! Doctor! Don't worry, I've got you. (Rolls him onto his back and listens for a heartbeat). Hold on, mister. Two hearts?

THE DOCTOR: You're making a habit of this. (Stands and nearly falls). Aahh! (Martha supports him). I've only got one heart working. How do you people cope? I've got to get the other one started. Hit me! Hit me on the chest! (She hits him). Aahh! Other side! (She hits him again). On the back! On the back! (She does). Left a bit! (Again). Ahh, lovely. (Stands). There we go! Ba-da-boom! Well, what are you standing there for? Come one! The Globe!

He rushes out followed by Martha.

INT. THE GLOBE THEATRE

Lilith joins the others in the box.

DOOMFINGER: The Doctor?

LILITH: Dead.

d*ck (onstage): The ladies have prepared a show. Maria means to present !sis descending from the dewy orb of Heaven.

Kempe enters.

d*ck (CONT'D): Ah, here comes Costard.

KEMPE (bows): Masters!

EXT. STREET

Martha and the Doctor run through the streets.

MARTHA: We're going the wrong way!

THE DOCTOR: No, we're not!

Running down a different street.

THE DOCTOR (CONT'D): We're going the wrong way!

They run back the way they came.

INT. THE GLOBE THEATRE

d*ck and Kempe are acting onstage, beginning the final speech.

d*ck: Behold the swainish sight of woman's love. Pish! It's out of season to be heavy disposed.

LILITH: It is now, my mothers. The final words to activate the tetradecagon.

d*ck: Betwixt Dravidian shores and Linear 5-9-3-0-1-6-7.02 and strikes the fulsome grove of Rexel 4. Co-radiating crystal, activate!

LILITH: The portal opens! It begins!

The Carrionites cackle.

EXT. STREET

Running in the streets, the Doctor and Martha hear screaming and see a red glow of energy pouring from the Globe. The preacher from when they first arrived is there.

PREACHER: I told thee so! I told thee!

THE DOCTOR: Stage door!

The Doctor rushes off. Thunderclouds and lightening form over the Globe mixing with the red glow.

INT. THE GLOBE THEATRE

The audience tries to leave but the doors bang shut.

INT. THE GLOBE THEATRE, BACKSTAGE

The Doctor and Martha burst in backstage to see Shakespeare nursing his head.

THE DOCTOR: Stop the play! I think that was it. Yeah, I said, "Stop the play"!

SHAKESPEARE: I hit my head.

THE DOCTOR: Yeah, don't rub it, you'll go bald. (Hears screams from out front). I think that's my cue!

He runs out. Martha grabs Shakespeare's hand and they follow.

INT. THE GLOBE THEATRE

CARRIONITES: Now begins the millennium of blood!

They cackle. The Doctor runs onstage with Martha and Shakespeare behind him.

LILITH: The Doctor! He lives! Then watch this world become a blasted heath! They come! They come!

The remaining Carrionites freed from the crystal fly about the Globe.

THE DOCTOR (grabs Shakespeare): Come on, Will! History needs you!

SHAKESPEARE: But what can I do?

THE DOCTOR: Reverse it!

SHAKESPEARE: How am I supposed to do that?

THE DOCTOR: The shape of the Globe gives words power, but you're the wordsmith, the one true genius. The only man clever enough to do it!

SHAKESPEARE: But what words? I have none ready!

THE DOCTOR: You're William Shakespeare!

SHAKESPEARE: But these Carrionite phrases, the need such precision!

THE DOCTOR: Trust yourself. When you're locked away in your room, the words just come, don't they? Like magic. Words of the right sound, the right shape, the right rhythm, words that last forever! That's what you do, Will! You choose perfect words. Do it. Improvise!

SHAKESPEARE: Close up this den of hateful, dire decay! Decomposition of your witches' plot! You thieve my brains, consider me your toy. My doting Doctor tells me I am not!

LILITH: No! Words of power!

SHAKESPEARE: Foul Carrionite spectres, cease your show! Between the points...

He looks to the Doctor.

THE DOCTOR: 7-6-1-3-9-0!

SHAKESPEARE: 7-6-1-3-9-0! And banished like a tinker's cuss, I say to thee...

Again, looks to the Doctor who is at a loss.

MARTHA: Expelliarmus!

THE DOCTOR: Expelliarmus!

SHAKESPEARE: Expelliarmus!

THE DOCTOR: Good old JK!

The Carrionites scream.

LILITH: The deep darkness! They are consumed! Ahhh!

The wraith-like carrionites get sucked up into the cloud, tornado fashion, as do all copies of the play.

THE DOCTOR: "Love's Labours Won". There it goes.

The cloud dissipates and the audience sighs in relief then begins applauding. The Doctor ducks out as actors take their bows.

MARTHA: They think it was all special effects.

SHAKESPEARE: Your effect is special indeed.

MARTHA: It's not your best line.

Martha and Shakespeare take their bows as well. The Doctor goes to Lilith's box where he finds the crystal within which the three are trapped. He takes it with him.

INT. THE GLOBE THEATRE

Next Morning at the Globe. Martha and Shakespeare are sitting at the edge of the stage.

SHAKESPEARE: And I say, a heart for a hart and a dear for a deer.

MARTHA: I don't get it.

SHAKESPEARE: Then give me a joke from Freedonia.

MARTHA: OK, Shakespeare walks into a pub and the landlord says "oi, mate, you're bard".

SHAKESPEARE: It's brilliant! Doesn't make sense, mind you, but never mind that. (Wraps his hand about her waist). Come here.

MARTHA: I've only just met you.

SHAKESPEARE: The Doctor might never kiss you. Why not entertain a man who will?

MARTHA: I don't know how to tell you this, oh great genius, but your breath doesn't half stink.

The Doctor emerges from backstage wearing a ruff collar and carrying an animal skull.

THE DOCTOR: Good props store back there! I'm not sure about this though (Looks at skull). Reminds me of a Sycorax.

SHAKESPEARE: Sycorax. Nice word. I'll have that off you as well.

THE DOCTOR: I should be on 10%. How's your head?

SHAKESPEARE: Still aching.

THE DOCTOR: Here, I got you this. (Removes collar and puts it on Shakespeare's neck). Neck brace. Wear that for a few days till it's better, although you might wanna keep it. It suits you.

MARTHA: What about the play?

THE DOCTOR: Gone. I looked all over, every single copy of "Love's Labours' Won" went up in the sky.

SHAKESPEARE: My lost masterpiece.

MARTHA: You could write it up again.

THE DOCTOR: Yeah, better not, Will. There's still power in those words. Maybe it should best stay forgotten.

SHAKESPEARE: Oh, but I've got new ideas. Perhaps it's time I wrote about fathers and sons. In memory of my boy, my precious Hamnet.

MARTHA: Hamnet?

SHAKESPEARE: That's him.

MARTHA: Ham-net?

SHAKESPEARE: What's wrong with that?

THE DOCTOR: Anyway, time we were off. I've got a nice attic in the TARDIS where this lot (holds crystal) can scream for all eternity and I've gotta take Martha back to Freedonia.

SHAKESPEARE: You mean travel on through time and space.

THE DOCTOR: You what?

SHAKESPEARE: You're from another world like the Carrionites and Martha is from the future. It's not hard to work out.

THE DOCTOR: That's... incredible. You are incredible.

SHAKESPEARE: We're alike in many ways, Doctor. Martha, let me say goodbye to you in a new verse. A sonnet for my Dark Lady. Shall I compare thee to a summer's day? Thou art more lovely and more temperate...

KEMPE (calls): Will! Will! You'll never believe it! She's here! She's turned up!

d*ck: We're the talk of the town. She heard about last night! She wants us to perform it again.

MARTHA: Who?

d*ck: Her Majesty! She's here!

Fanfare as Elizabeth I enters.

THE DOCTOR (excited): Queen Elizabeth I!

ELIZABETH: Doctor!

THE DOCTOR: What?

ELIZABETH: My sworn enemy!

THE DOCTOR: What?

ELIZABETH: Off with his head!

THE DOCTOR: What?

MARTHA: Never mind "what", just run! See you, Will! And thanks!

Martha and the Doctor run off.

ELIZABETH: Stop that pernicious Doctor!

Shakespeare laughs.

EXT. STREET

Martha and the Doctor run through the streets to the TARDIS.

SOLDIER: Stop in the name of the Queen!

MARTHA: What have you done to upset her?!

THE DOCTOR: How should I know? Haven't even met her yet. That's time travel for you! Still, can't wait to find out. (Unlocks the TARDIS and Martha runs in). That's something to look forward to. Oh!

He ducks inside as archers fire, embedding an arrow in the door. The TARDIS dematerialises.

END