127e1efe32b11e606a0c8f49a2399abb4a52f9d9
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http://www.imsdb.com/scripts/Elizabeth-The-Golden-Age.html
ELIZABETH : THE
. END TITLES
 In 1585, Catholic Spain ruled by King Philip II of Spain (Jordi Molla) is the most powerful country in the world. Seeing Protestant England as a threat, and in retaliation for English piracy of Spanish ships, Philip declares war. He plans to take over England and make his daughter, Isabella, the Queen of England in Elizabeth's place. Meanwhile, Elizabeth I of England (Cate Blanchett) is being pressured by her advisor, Francis Walsingham (Geoffrey Rush), to marry, for if she dies without an heir, the throne will pass to her cousin, Mary, Queen of Scots (Samantha Morton), who is Catholic. Therefore, the Queen is presented with portraits of appropriate suitors, particularly the very youthful Charles II, Archduke of Austria (Christian Brassington), who has become infatuated with the her. However, she refuses to marry any of them.
English explorer Walter Raleigh (Clive Owen) is presented at Elizabeth's court, having returned from the New World, and he offers her potatoes, tobacco, two Native Americans, and gold from a Spanish ship that he claims was "unable to continue its journey". Elizabeth commands that the Native Americans be treated well and refuses to accept the gold.
Elizabeth is attracted to Raleigh, enthralled by his tales of exploration, and asks Bess Throckmorton (Abbie Cornish), her most favored lady-in-waiting, to observe him. Bess also finds Raleigh attractive and secretly begins an affair with him. Elizabeth seeks guidance from her astrologer, Dr. John Dee (David Threlfall), who predicts that two empires will go to war. However, he cannot predict which will triumph over the other, leaving Elizabeth to ponder her and England's fate.
Jesuits in London conspire with Philip to assassinate Elizabeth and replace her with Mary, in what Philip calls "The English Enterprise", historically known as the Babington Plot. From her imprisonment, Mary sends secret correspondence to the Jesuits, who recruit Anthony Babington (Eddie Redmayne) to assassinate Elizabeth. Walsingham continues to warn Elizabeth of Spain's rising power and of the Catholics' plots against her. However she, unlike her predecessor and half-sister Mary I of England, refuses to force her people to share her religious beliefs. Even so, those conspiring against Elizabeth are being hunted and murdered, including Bess's cousin, Sir Francis Throckmorton and his father, whom Bess had failed to protect. After learning of her cousin's torture and death at Walsingham's hands, Bess turns to Raleigh for comfort.
Walsingham's brother, a Papist, who knows of the plot against Elizabeth is jailed. Walsingham reveals Spain's plot to Elizabeth, who angrily confronts the Spanish diplomats. The Spanish ambassador feigns ignorance, accuses Elizabeth of receiving Spanish gold from pirates, and insinuates that she has a sexual relationship with Raleigh. In response, a sword fight nearly ensues between the Queen's male escorts and the Spanish contingent, and Elizabeth throws the Spaniards out of court.
Meanwhile, Philip is cutting down the forests of Spain to build the Spanish Armada, to invade England. Mary writes letters condoning the plot.
Babington storms into a cathedral where Elizabeth is praying and points a gun at her. Elizabeth opens her arms, seemingly fearless. He pulls the trigger, and the gun fires. At first Walsingham is unable to discern why the gun was harmless, though it is later revealed by the traitor, in the torture chamber, that there was no bullet in the gun.
Elizabeth learns of Mary's involvement in the plot, and Walsingham insists Mary be executed to quell any possible revolt. Elizabeth is reluctant, but nevertheless agrees.
Mary is tried for high treason and is beheaded, after ascending the block in a blood-red dress (red being the Catholic liturgical color for martyrs). Walsingham sees that this was part of the Jesuits' plan all along. Philip had never intended Mary to become queen, but since the Pope and other Catholic leaders regarded Mary as the true Queen of England, Philip uses Mary's death to obtain papal approval for war.
The "murder" of the last legitimate Catholic in the line of succession gives Philip the pretext he needs to invade England and place his daughter on the throne as a puppet monarch, and he oversees the departure of the Armada from Cรกdiz. In England, Raleigh asks to leave for the New World, which Elizabeth forbids, instead knighting him and making him Captain of the Royal Guard.
Bess discovers she is pregnant with Raleigh's child, and after telling him the news, she pleads with him to leave. He chooses not to, and the couple marries in secret. Elizabeth confronts Bess a few weeks later; Bess confesses that she is indeed pregnant with Raleigh's child, and that Raleigh is her husband.
An enraged Elizabeth berates Bess, reminding her that she cannot marry without royal consent. Feeling betrayed, the queen banishes Bess from court and has Raleigh imprisoned for the crime of seducing a ward of the Queen.
Walsingham arranges for his brother William to be released and taken to France, on the condition that he must never return to England.
The Armada begins its approach up the English Channel, and Elizabeth forgives Bess and sets Raleigh free to join Sir Francis Drake in the battle. Elizabeth gives her Speech to the Troops at Tilbury, while seated on a war horse and wearing full plate armour.
The ships of the Armada vastly outnumber England's, but at the last moment, a major storm blows the Armada toward the beaches, endangering its formation and ships. The ships of the Armada drop anchor, and the Armada becomes a sitting duck for English fire ships. Elizabeth, back at her coastal headquarters, walks out to the cliffs and watches the Spanish Armada sink in flames. Elizabeth visits Walsingham on his deathbed and tells her old friend to rest. She then visits Raleigh and Bess and blesses their child. Elizabeth seemingly triumphs personally through her ordeal, again resigned to her role as the Virgin Queen and mother to the English people.
In 1585 , Catholic Spain ruled by King Philip II of Spain ( Jordi Molla ) is the most powerful country in the world . Seeing Protestant England as a threat , and in retaliation for English piracy of Spanish ships , Philip declares war . He plans to take over England and make his daughter , Isabella , the Queen of England in Elizabeth s place . Meanwhile , Elizabeth I of England ( Cate Blanchett ) is being pressured by her advisor , Francis Walsingham ( Geoffrey Rush ) , to marry , for if she dies without an heir , the throne will pass to her cousin , Mary , Queen of Scots ( Samantha Morton ) , who is Catholic . Therefore , the Queen is presented with portraits of appropriate suitors , particularly the very youthful Charles II , Archduke of Austria ( Christian Brassington ) , who has become infatuated with the her . However , she refuses to marry any of them . English explorer Walter Raleigh ( Clive Owen ) is presented at Elizabeth s court , having returned from the New World , and he offers her potatoes , tobacco , two Native Americans , and gold from a Spanish ship that he claims was unable to continue its journey . Elizabeth commands that the Native Americans be treated well and refuses to accept the gold . Elizabeth is attracted to Raleigh , enthralled by his tales of exploration , and asks Bess Throckmorton ( Abbie Cornish ) , her most favored lady-in-waiting , to observe him . Bess also finds Raleigh attractive and secretly begins an affair with him . Elizabeth seeks guidance from her astrologer , Dr. John Dee ( David Threlfall ) , who predicts that two empires will go to war . However , he can not predict which will triumph over the other , leaving Elizabeth to ponder her and England s fate . Jesuits in London conspire with Philip to assassinate Elizabeth and replace her with Mary , in what Philip calls The English Enterprise , historically known as the Babington Plot . From her imprisonment , Mary sends secret correspondence to the Jesuits , who recruit Anthony Babington ( Eddie Redmayne ) to assassinate Elizabeth . Walsingham continues to warn Elizabeth of Spain s rising power and of the Catholics ' plots against her . However she , unlike her predecessor and half-sister Mary I of England , refuses to force her people to share her religious beliefs . Even so , those conspiring against Elizabeth are being hunted and murdered , including Bess s cousin , Sir Francis Throckmorton and his father , whom Bess had failed to protect . After learning of her cousin s torture and death at Walsingham s hands , Bess turns to Raleigh for comfort . Walsingham s brother , a Papist , who knows of the plot against Elizabeth is jailed . Walsingham reveals Spain s plot to Elizabeth , who angrily confronts the Spanish diplomats . The Spanish ambassador feigns ignorance , accuses Elizabeth of receiving Spanish gold from pirates , and insinuates that she has a sexual relationship with Raleigh . In response , a sword fight nearly ensues between the Queen s male escorts and the Spanish contingent , and Elizabeth throws the Spaniards out of court . Meanwhile , Philip is cutting down the forests of Spain to build the Spanish Armada , to invade England . Mary writes letters condoning the plot . Babington storms into a cathedral where Elizabeth is praying and points a gun at her . Elizabeth opens her arms , seemingly fearless . He pulls the trigger , and the gun fires . At first Walsingham is unable to discern why the gun was harmless , though it is later revealed by the traitor , in the torture chamber , that there was no bullet in the gun . Elizabeth learns of Mary s involvement in the plot , and Walsingham insists Mary be executed to quell any possible revolt . Elizabeth is reluctant , but nevertheless agrees . Mary is tried for high treason and is beheaded , after ascending the block in a blood-red dress ( red being the Catholic liturgical color for martyrs ) . Walsingham sees that this was part of the Jesuits ' plan all along . Philip had never intended Mary to become queen , but since the Pope and other Catholic leaders regarded Mary as the true Queen of England , Philip uses Mary s death to obtain papal approval for war . The murder of the last legitimate Catholic in the line of succession gives Philip the pretext he needs to invade England and place his daughter on the throne as a puppet monarch , and he oversees the departure of the Armada from Cรกdiz . In England , Raleigh asks to leave for the New World , which Elizabeth forbids , instead knighting him and making him Captain of the Royal Guard . Bess discovers she is pregnant with Raleigh s child , and after telling him the news , she pleads with him to leave . He chooses not to , and the couple marries in secret . Elizabeth confronts Bess a few weeks later ; Bess confesses that she is indeed pregnant with Raleigh s child , and that Raleigh is her husband . An enraged Elizabeth berates Bess , reminding her that she can not marry without royal consent . Feeling betrayed , the queen banishes Bess from court and has Raleigh imprisoned for the crime of seducing a ward of the Queen . Walsingham arranges for his brother William to be released and taken to France , on the condition that he must never return to England . The Armada begins its approach up the English Channel , and Elizabeth forgives Bess and sets Raleigh free to join Sir Francis Drake in the battle . Elizabeth gives her Speech to the Troops at Tilbury , while seated on a war horse and wearing full plate armour . The ships of the Armada vastly outnumber England s , but at the last moment , a major storm blows the Armada toward the beaches , endangering its formation and ships . The ships of the Armada drop anchor , and the Armada becomes a sitting duck for English fire ships . Elizabeth , back at her coastal headquarters , walks out to the cliffs and watches the Spanish Armada sink in flames . Elizabeth visits Walsingham on his deathbed and tells her old friend to rest . She then visits Raleigh and Bess and blesses their child . Elizabeth seemingly triumphs personally through her ordeal , again resigned to her role as the Virgin Queen and mother to the English people .
http://en.wikipedia.org/wiki/Elizabeth:_The_Golden_Age
Elizabeth: The Golden Age
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<pre>




<b>                 ELIZABETH: THE GOLDEN AGE
</b>



                        Written by

             William Nicholson & Michael Hirst
<b>                  
</b>




                                                     5th July 2006
<b>                          
</b>
<b>
</b>    (Dialogue printed in brackets to be translated and spoken
    in Spanish or German as appropriate, and sub-titled.)


<b>    EXT. TITLE SEQUENCE P                                         1
</b>    Painted images of the Elizabethan age -

<b>                         CAPTION
</b>
              A world divided by religious
              hatred.

              The new Protestant faith is
              spreading.

    Bodies burned on a pyre - men writhing under torture - a
    momentary half-recognisable face, gaunt and staring -
<b>    FATHER ROBERT RESTON.
</b>
<b>                        CAPTION
</b>              The most powerful ruler in
              Christendom, Philip of Spain, has
              sworn to return all Europe to the
              Catholic faith.

    Images of rival monarchs Philip and Elizabeth in court
    paintings: stiff, formal, imperious.

<b>                          CAPTION
</b>              Only England stands in his way: a
              weak impoverished nation ruled by
              a woman.

    Finally images of God in judgement, as if speaking to his
    chosen servant.

<b>                          CAPTION
</b>              Philip prepares to obey the will
2             of his God.


<b>    INT. PRIVATE CHAPEL, ESCORIAL PALACE, SPAIN - DAY             2
</b>
    Bn ascetic-looking man dressed in black kneels in a small
    plain chapel, in virtual darkness. PHILIP II, King of Spain
    bows his head low, abasing himself before his God.
<b>              T
</b><b>    S/I CAPTION:
</b>
               scorial Palace, Spain, 1585.

    Now, slowly, he raises his head. His eyes open, and we see
    there the glow of a new certainty. God has spoken to him.

<b>                         PHILIP
</b>              (I hear. I obey. My Lord and my
<b>1
</b>              God.)
<b>
</b>                                          May 1 Blue Draft--p.2


<b>    INT. HALLWAY/SALON, ESCORIAL PALACE - DAY
</b><b>3                                                                 3
</b>    Philip walks rapidly down a long corridor that opens out
    into a broader hallway, moving from the darkness of the
    chapel into ever brighter light and more visible glory. On
    his face the far shining gaze of a man who now knows his
    mission. Silent servants press themselves to the walls as
    he goes by. Through the hallway to a grand salon. COURTIERS
    fall silent and bow as he passes. So into the grandest
    salon of all, where his magnificent court is gathered;
    among them his 12-year-old daughter, the INFANTA. As he
    enters, all kneel.

    His eyes scan his ministers and courtiers, all kneeling,
    heads bowed before him. His gaze falls on one who wears the
    plain black robes of a Jesuit priest: Robert Reston, the
    face we glimpsed in the opening montage. He speaks to all.

<b>                        PHILIP
</b>              (God has made his will known to
              me. The time for our great
              enterprise has come.)

    The Jesuit looks up and his eyes too show a powerful but
    disciplined satisfaction. He murmurs softly to himself.

<b>                        RESTON
</b>              At last.

    Cathedral bells ring out. The cheers of a crowd are heard
    through the open windows.

    The king passes out onto the salon's first-floor balcony.


<b>    EXT. BALCONY, ESCORIAL PALACE - DAY
</b><b>4                                                                 4
</b>    Hot sunlight. Philip stands gazing across the plaza at the
    great cathedral on the far side, as the bells ring out and
    the CROWD in the plaza below wave their hats and cheer. The
    Infanta is by his side. His MINISTERS cluster behind him.
    Lining the crowd on either side of the plaza stand columns
    of ARMED SOLDIERS: a formidable reminder of the king's
    power.

    Philip does nothing, but his presence intoxicates the
    crowd. As their cries swell, wave upon wave, the king's
    eyes glow and he breathes in deeply, feeding on his
    people's adoration.


<b>    EXT. THAMES - DAY
</b><b>5                                                                 5
</b>    A ripple of light on the water. A blur of approaching
    colour.
<b>
</b>                                   May 1 Blue Draft--p.3
The ROYAL BARGE is gliding towards us, slowly taking shape:
its hull gaily painted, its canopy adorned with colourful
fabrics, its banks of oars rising and falling, casting
bright shards of shining water in the sunlight.
<b>P
</b> eople passing on the river bank point and wave, smiling,
cheering. They see the Queen now. They call out.

Two young men walking arm-in-arm stare more intently than
any; but they do not cheer or wave. There's something
chilling in the way they track the distant figure of the
Queen.

They are BABINGTON and SAVAGE.

Over this an insistent voice:

<b>                    HOWARD (V.O.)
</b>          Why do you go among the people,
          majesty? I tell you plainly, you
          will be murdered! Every Catholic
          in England is a potential
          assassin!
<b>
</b><b>                                                                       
</b>



<b>                                                                       
</b>



<b>                                    4
</b>

<b>    INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>6                                                                 6    
</b>    An agitated group is gathered in this room where the
    business of state is transacted. We catch glimpses of the
    Queen in their midst, preparing to leave, as her ministers
    try to persuade her of the seriousness of the situation:
    SIR CHRISTOPHER HATTON, 30s, an ambitious courtier; LORD
    HOWARD, 50s, a weathered old campaigner; and standing back
    from the rest, watching from the side lines, SIR FRANCIS
    WALSINGHAM, the Queen's veteran friend and adviser.     
<b>           
</b><b>                        HATTON
</b>              Be warned by the atrocities in
              France! God-fearing Christians                                                                       
              murdered by Papist cut-throats
              inflamed by hatred of the truth!                         

<b>                                                                       
</b><b>                        HOWARD
</b>              We know the Catholics take their                         
              orders from Spain. The Spanish                           
              speak openly of Mary Stuart as                           
<b>                                                                       
</b>              Queen of England in waiting.

<b>                        ELIZABETH
</b>                  (sharply)
              Mary Stuart is a Queen cast out
              by her own ungrateful nation.
<b>                            
</b><b>                        HATTON
</b>              With respect, majesty - a                                
<b>                                                                       
</b>              Catholic Queen. Your loyal
              Protestant supporters don't                              
              understand why Mary Stuart lives                         
<b>                                                                       
</b>              under our protection, at our
              expense - very considerable                              
              expense - 
<b>                                               
</b><b>                        ELIZABETH                                      
</b>              Mary Stuart is my cousin. She is                         
              our guest. And she is under our                          
              control.   
<b>                                              
</b><b>                        HOWARD                                         
</b>              But while she lives, majesty, she                        
              is a beacon that draws our                               
              enemies' eyes and hopes. 
<b>                                
</b><b>                        ELIZABETH                                      
</b>              While she lives?    
<b>                                     
</b><b>                        HATTON                                         
</b>              She is the poison at the heart of                        
              England. The poison must be cut                          
              out.                                                     
<b>
</b><b>                                                                       
</b>



<b>                                4A
</b>
<b>                        ELIZABETH                                      
</b>              You'd have me make a martyr of                           
              her. What is her crime?                                  

<b>    EXT. THAMES - DAY
</b><b>7                                                                 7
</b>    The Londoners on the river bank cheer and wave as the royal
    barge goes by.

<b>                        HOWARD (V.O.)                                  
</b>              Treachery, ma'am. All Catholics                          
              are traitors! Their loyalty is to                        
              the Pope of Rome.     
<b>                                   
</b><b>                        ELIZABETH (V.O.)
</b>              How many Catholics are there in
              England, sir?

<b>                        HOWARD (V.O.)                                  
</b>              Immense numbers, majesty!   
<b>                             
</b><b>                        HATTON (V.O.)
</b>              We believe half the nation clings                        
              to the old superstitions.                                
<b>
</b><b>           
</b>
<b>                                    5
</b>



<b>    INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>8                                                                 8    
</b><b>                        ELIZABETH                                      
</b>              What would you have me do? `Cut                          
              out' half the people of England?                         
<b>                        HOWARD                                         
</b>              We must act, majesty. Our                                
              inaction is taken to be weakness.                        
<b>                        ELIZABETH                                      
</b>              If any of my people break the                            
<b>                                                                       
</b>              law, they will be punished. Until
              that day, I wish them to be let                          
              them alone.                                              
<b>                        HATTON                                         
</b>              Until the day they rise in                               
              rebellion! Majesty, we have
              proven reason to fear every
              Catholic in the land -

<b>                         ELIZABETH
</b>              Fear creates fear, sir. I will
              not punish my people for their
              beliefs. Only for their deeds.
                am assured that the people of
              England love their Queen. My
              constant endeavour is to earn
              that love.


<b>    EXT. ROYAL BARGE, THAMES - DAY
</b><b>9                                                                 9
</b>    Londoners on the river banks wave and cheer. Elizabeth,
    seated on the royal barge, sees them with satisfaction. She
    gives an occasional slight inclination of her head in
    acknowledgement.                                                   
    Elizabeth sits with her favourite seated beside her, her
    youngest and prettiest maid of honour, BESS THROCKMORTON.
    Walsingham sits facing them, looking sourly at the cheering        
    spectators.                                                        
<b>                        WALSINGHAM                                     
</b>              The people are agitated.                                 
<b>                        ELIZABETH                                      
</b>              What people?                                             
<b>
</b><b>                  5A
</b>
<b>          WALSINGHAM                              
</b>Your bishops are preaching that                   
God is showing his displeasure-                   
the Queen being still unmarried -                 
some are saying infertile -                       
<b>          ELIZABETH                               
</b>What nonsense!                                    
<b>          WALSINGHAM                              
</b>Dangerous nonsense. Mary Stuart                   
has a son -                                       
<b>          ELIZABETH                               
</b>Why does everyone torment me with                 
<b>                                                  
</b>Mary Stuart?
<b>
</b>                                Pink Revision May 18- p.6
                    ELIZABETH(cont'd)
          It's not her fault that she's                      
          next in line to the throne.                        
              (to Bess)                                      
          Don't hide your face.

She leans over to brush a stray lock of hair from Bess's
face.

<b>                    WALSINGHAM                               
</b>          So long as you have no issue.                      
Elizabeth looks back at Wsalsingham.                         
<b>                    WALSINGHAM                               
</b>          Produce an heir and there'll be                    
          no more talk of Mary Stuart.                       
<b>                    ELIZABETH                                
</b>          Isn't it customary to obtain a                     
<b>                                                             
</b>          husband before producing an heir?
              (to Bess)                                      
          We shall have to look out a
          husband for you soon, Bess.

<b>                    BESS
</b>          Not too soon, my lady.

<b>                    WALSINGHAM                               
</b>          There are husbands to be had.                      
<b>                    ELIZABETH                                
</b>              (to Bess)                                      
<b>                                                             
</b>          Don't you want to be married?

<b>                    BESS
</b>          I'll want the marriage if I want
          the man.

<b>                                                             
</b><b>                    WALSINGHAM
</b>          Austria. France. Sweden.                           
<b>                    ELIZABETH                                
</b>          Why stop there? Turkey has a                       
          Sultan. China has an Emperor.                      
              (to Bess)                                      
          What sort of man do you want?                      
<b>                    WALSINGHAM                               
</b>          I confine myself to the possible.                  
<b>                    BESS                                     
</b>          An honest man. With friendly                       
          eyes.                                              
<b>
</b>                                              May 1 Blue Draft7

<b>                         ELIZABETH                                      
</b>                   (to Walsingham)                                      
               That's where you and I differ,                           
               Walsingham. I find the impossible                        
               far more interesting.                                    
                   (to Bess)                                            
               And good legs. You'll want good
               legs.

<b>                         BESS
</b>               And sweet breath.

<b>                         ELIZABETH
</b>               So that you can kiss him without
               choking.
<b>                                                                        
</b>                   (to Walsingham)
               There must be any amount of                              
               princes in undiscovered lands                            
<b>                                                                        
</b>               across the sea. Find me an honest
               one of those.                                            

<b>9A                                                                9A
</b><b>     INT. ST PAUL'S CATHEDRAL - DAY
</b>
     The royal party enters the Cathedral. Elizabeth and
     Walsingham advance into the wide empty nave, followed by
     the Queen's ladies and the guards. Bess is now back in her
     place among the ladies.
<b>                          E
</b><b>                          LIZABETH
</b>               Ship builders are being recruited
               in Spanish ports at double wages.
               The sea wall at Dover is
               cracking. There's no money to
               rebuild our defences. I don't
               need advisers to tell me my
               business.

<b>                         WALSINGHAM
</b>               They care for your safety,
               majesty. The threats to your
               person are real.

<b>                         ELIZABETH
</b>               And they know very well that if I
               fall, they all come tumbling down
               after me.

     She goes on to the steps at the foot of the altar, and
     kneels to pray. As she kneels she holds out one hand behind
     her, not looking round. Bess steps forward, and taking her
     hand, kneels and prays with her.
<b>
</b>                           Double Pink revision 18 July - p.8

<b>                         ELIZABETH
</b>               Let's pray, Bess. May we have
               wisdom not to fear shadows in the
               night, and courage when the day
               of danger truly dawns.

     ON ELIZABETH as she prays.


<b>     OMITTED
</b><b>10                                                              10    
</b><b>
</b><b>                                                                        
</b>



                           Double Pink revision 18 July - p.9


<b>     EXT THE TYGER, ENGLISH CHANNEL - DAY
</b><b>11                                                                11    
</b>     Raleigh is standing on the prow of a war-ship as it cuts           
     through the water toward the white cliffs of Dover. The            
     ship and its sailors have been at sea for many months, and         
     it shows.                                                          
     Raleigh shouts to his Sailing-Master.

<b>                         RALEIGH                                        
</b>               Let England know we're back, Mr                          
               Calley.                                                  
<b>                         CALLEY                                         
</b><b>                                                                        
</b>               Master Gunner, run out starboard
               and tie-off. A broadside from the                        
               bow.                                                     
<b>                         MASTER GUNNER                                  
</b>               Run out and prime. From the bow                          
               number one gun, on my word -                             
<b>                                                                        
</b>               discharge! Two -- Three-- Four.

     Canon fire echoes over the distant white cliffs.                   

<b>     INT. QUEEN'S PRIVATE QUARTERS - NIGHT
</b><b>13                                                                13
</b>     ON ELIZABETH - Imperfectly reflected in a mirror in the
     soft candlelight. Her ladies are putting her clothes away.         
<b>     E
</b>     Bess begins the process of stripping away her make-up.

      lizabeth studies her true face as it comes into view.

<b>                         ELIZABETH
</b>               Lines round my mouth. Where did
               they come from?

<b>                         BESS
</b>               Smile lines, my lady.                                    
<b>                         ELIZABETH
</b>               Smile lines? When do I smile?                            
     With that she smiles, and sees Bess's answering reflected          
     smile.                                                             
<b>                         ELIZABETH
</b>               Now you have smile lines too.                            
<b>
</b><b>      N
</b>



                                        May 1 Blue Draft - p.10

      Her smile fades. She gazes at her now naked face,
      vulnerable in the mirror.


<b>      INT. QUEEN'S BEDCHAMBER - NIGHT
</b><b>13A                                                               13A
</b>      The royal bed, immense and ornate. Elizabeth lies here
      small, awake, and alone.

<b>                          PHILIP
</b>                `Elizabeth! The angels weep for
                you, Elizabeth! Why do you close                         
                your ears to the voice of your                           
                loving God?'                                             


<b>      EXT. FOREST, SPAIN - DAY
</b><b>13B                                                               13B
</b>      Foresters at work felling great trees, working
      rhythmically, in pairs. From all round echoes the same
      sound, of axe on timber.

<b>                          PHILIP (V.O.)
</b>                `Elizabeth! You are leading the
                souls of your people to Hell!
                Turn back! Marry me, and save
                England!'I spoke to her just as I
                speak to you now.

       ow we see the royal carriage riding through mature forest,
      accompanied by a mounted entourage.

      IN THE CARRIAGE - The king, Philip II, the Infanta and
      Father Robert Reston.

<b>                          PHILIP
</b>                But she did not listen. She made
                me a speech about the virtues of
                virginity. Me! Virginity! She has
                brought this on herself.
<b>      P
</b>       hilip surveys the scene through the carriage window with a
      shudder.

<b>                          PHILIP
</b>                Every tree that falls hurts me. I
                lose a part of myself. I am
                cursed with sensitivity. I feel
                too much.

      We don't yet know what the felling of the trees portends.
      But Reston does. To him, it's a glorious sight.

<b>                          RESTON
</b>                Your majesty has a merciful soul.
<b>
</b>                                         May 1 Blue Draft - p.11

<b>                          PHILIP
</b>                I sacrifice my country's forests
                to save the souls of a lost
                nation. That is true mercy.
                England is lost to darkness,
                Father. I bring light.

      WIDE NOW - We see the carriage and the royal party crest a
      hill, and there is revealed an awesome sight: the forest
      has been felled as far as the eye can see. Great piles of
      cut timber dot the ravaged landscape. Everywhere men are at
      work lopping branches from felled trees. Wagon teams haul
      immense trunks away. Fires burn stacks of lopped branches,
      and the smoke rises up into the empty sky.
<b>      I
</b>       N THE CARRIAGE - On Reston's face as he stares at the
      fires. He speaks half to himself, out of the depths of his
      own fanatical certainty.

<b>                          RESTON
</b>                The light of purifying fire.

      He turns and fixes the king with his intent gaze.

<b>                           RESTON
</b>                My time has come, majesty.
                    (Beat)
                Send me home.


<b>      EXT. CHARTLEY HALL- DAY
</b><b>13C                                                                13C    
</b>      Establishing wide shot of chartley Hall.                            

<b>      EXT. CHARTLEY HALL, GARDEN - DAY
</b><b>14                                                                  14
</b>      A small yapping Skye terrier is barking at a LAUNDRESS, who
      is handing over a letter, folded small, to a sharp-faced
      middle-aged French lady's maid, ANNETTE. The laundress
      curtseys and leaves.


<b>      INT. MARY STUART'S QUARTERS, CHARTLEY HALL - DAY
</b><b>15                                                                  15
</b>      The terrier scampers ahead of Annette to its mistress, MARY
      STUART, who sits embroidering a pink satin petticoat. She
      is a handsome but bitter woman in her mid-thirties. Round
      her stands her small retinue of three ladies and a
      chaplain.

<b>                          MARY
</b>                This is so pretty I'm inclined to
                send it as a present to my dear
                cousin Elizabeth.                                         
      She holds up the delicate work to show her ladies.
<b>
</b>                                 May 1 Blue Draft - p.12

<b>                    MARY (CONT'D)                              
</b>          It is an intimate garment, of                        
          course. But even Elizabeth must                      
          have the occasional intimate                         
          moment.                                              
Annette reaches her mistress and kneels before her, holding
out the letter.

<b>                      ANNETTE
</b>          My Queen.

Mary lays down her needlework and takes the letter from her
and reads it for herself.

<b>                    MARY
</b>          Our friends write to give us
          hope.

<b>                    ANNETTE
</b>              (low)
          Soon England's true believers
          will rise up against the bastard
          usurper Elizabeth, and slit her
          throat, and throw her down to
          hell.

<b>                    MARY
</b>          That's enough, Annette.
              (But she loves it.)
          Slit her throat? Please.

<b>                    ANNETTE
</b>          And when the bastard usurper is
          dead, my lady will be queen.

The chaplain gives a sharp cough of warning.

The Warden of Chartley Hall, SIR AMYAS PAULET, enters the
room. He is soberly dressed, but has charming manners, and     
is clearly susceptible to his handsome ward. Mary turns to     
him at once with a teasing smile.                              
<b>                    MARY                                       
</b>          Here's my noble jailer, come to                      
          smack my hand.                                       
She holds out one hand to be smacked. The other hand holds
the letter out of sight.                                       
<b>                    MARY                                       
</b>          Have I sinned again, sir?                            
<b>                    PAULET                                     
</b>          No, no, my lady. Unless beauty is                    
          counted a sin.                                       
<b>
</b>                         DoubleGoldenrod - 25 July -p.13
                    PAULET(cont'd)
              (Kissing her hand)                            
          I come to pay my respects.                        
<b>                    MARY                                    
</b>          Oh, you jailer. I don't trust                     
          you.                                              
<b>                    PAULET                                  
</b>          Not jailer, my lady, please.                      
          Warden. Protector. Friend. You                    
          are the Queen's guest.                            
Mary signs to her ladies. One of them brings her the        
embroidery, discreetly receiving in exchange the hidden     
letter.                                                     

<b>                                                            
</b><b>                    MARY
</b>          See how I pass my time in my                      
          lonely prison.                                    
<b>                    PAULET                                  
</b>          Charming, ma'am. Distractingly                    
          charming.                                         
She holds the intimate garment against her body. Paulet     
seems to be too fascinated by it to notice he is being      
<b>                                                            
</b>duped.

<b>                    MARY                                    
</b><b>                                                            
</b>          Such a pretty undergarment. But
          for whose eyes?                                   
<b>
</b><b>                                                                       
</b>

<b>                                                                       
</b>



                              DoubleGoldenrod - 25 July -p.14



<b>     INT. ARMOURER'S SHOP, LONDON - DAY
</b><b>17                                                               17    
</b>     A pistol is being loaded: a fiddly process involving a            
     powder horn, wadding, and an iron ball the size of a              
     hazelnut.                                                         
<b>                         ARMOURER (O.O.V.)
</b>               So what's it for, my young                              
               friend? Not for shooting rabbits,                       
               I'm guessing.                                           
<b>                         SAVAGE                                        
</b>               We live in dangerous times.

<b>                         ARMOURER                                      
</b>               We do indeed.

     Savage moves close as if to study the loading process. We
     see the two of them talking from outside the window.              
<b>                                                                       
</b><b>                         SAVAGE
</b>                   (very low)                                          
               The conspiracy gains strength.                          
<b>                                                                       
</b>               Tell our master one of the circle
               has already gained access to the                        
               court.                                                  
     The Armourer nods. He hands the pistol to Savage. Savage          
     takes it and leaves.                                              
     Immediately after, a man enters and walks up behind the now       
     seated Armourer. The Armourer turns round.                        
<b>                         RESTON                                        
</b>               I ask for your forgiveness.                             
     Moving with speed, he seizes the Armourer's head, twists it       
     to one side, and snaps his neck.                                  
     Reston walks quietly out of the store.                            

<b>     EXT. WHITEHALL PALACE - DAY
</b><b>18                                                               18
</b>     A crowd of eager SPECTATORS and WOULD-BE COURTIERS has
     gathered, held back by a line of guards, all hoping to
     attract the attention of the Queen when she appears. This
     is the route from the Presence Chamber to the Chapel Royal.
<b>
</b>                                 May 1 Blue Draft - p.15
Every Sunday the Queen processes here, and crowds gather to
see her. Two of Walsingham's men, AGENTS 1 and 2, mingle in
the crowd: faces we'll see again.

Tom Babington stands unobtrusively at the back of the
crowd. He carries a bag which may or may not contain a gun.
<b>A
</b>  bustle of activity, a ripple of anticipation - `She's
coming!' - and the palace doors open.

BABINGTON'S POV: the crowd, the wall of BODYGUARDS, the
cluster of COURTIERS and LADIES, and in their midst,
Elizabeth, almost completely masked as she passes by.
Alongside the Queen, among her maids-of-honour, is Bess
Throckmorton; behind her, Walsingham.

The people cheer, call out to the Queen, reach to touch
her, fall to their knees.

<b>                    CROWD
</b>          God bless your majesty - God love
          you! - See her sweet face!

<b>                                                                
</b>Others in the crowd are shouting more militant sentiments.

<b>                    CROWD                                       
</b><b>                                                                
</b>          Hang the Papists! - Look out for
          traitors, Elizabeth! Mary Stuart                      
          is the whore of Rome!                                 
Babington moves forward, easing his way to the front of the
crowd. Nearby there stands another young man who is
watching, not cheering: RAMSAY.

A WOMAN WTH A BABY pushes her way almost to the Queen,          
<b>                                                                
</b>holding her baby before her.

<b>                    WOMAN WITH BABY                             
</b><b>                                                                
</b>          Your blessing, majesty. My little
          one, your blessing.                                   
BABINGTON'S POV- The Queen stopping to bless the little         
baby, smiling, putting out her hand to touch the baby's         
head. The mother bobs a curtsey. The Queen moves on, with       
her entourage.                                                  
A sudden scuffle in the crowd. Babington turns to look.

A CLOAK SWEEPS THROUGH FRAME - dropping down to the ground -
revealing as it passes the handsome smiling face of
Raleigh, directly in R
                     the path of the Queen.

<b>                     ALEIGH
</b>          A puddle in the way, majesty.

Elizabeth signs to the guards to stay calm. She stares at
Raleigh, then she looks down at the cloak. No sign of any
puddles. Bess Throckmorton watches, suppressing a smile.
<b>
</b><b>      E
</b>



                                          May 1 Blue Draft - p.16

      Elizabeth looks back up, meets Raleigh's eyes with a cool
      appraising gaze. Then she walks on over the cloak, shaking
      her head.

<b>                          ELIZABETH                                        
</b>                A puddle...                                                
      The guards take up their positions once more. Bess throws
      Raleigh a quick smile as she follows the royal party. His
      answering shrug says: I tried. He picks up the cloak, and
      stands gazing after the Queen.

       lizabeth goes into the chapel, and the doors close behind
      her.

<b>                          ROYAL SERVANT
</b>                The Queen is at her prayers!


<b>      INT. CHAPEL ROYAL - DAY
</b><b>18A                                                                 18A
</b>      The Queen at her prayers, her mind elsewhere; privately
      amused.

<b>                          ELIZABETH
</b>                A puddle...


<b>18B                                                                 18B
</b><b>      EXT. WHITEHALL PALACE - DAY
</b>
      Raleigh puts an arm round Calley.

<b>                          RALEIGH
</b>                She spoke to me. You have to give
                me that.

<b>                          CALLEY
</b>                Oh, I do. The Queen spoke to you.
                One word - but she spoke.

<b>                             RALEIGH
</b>                Two words.

<b>                          CALLEY
</b>                You're made. A dukedom at the
                very least.

<b>                          RALEIGH
</b>                Did you see the girl behind her?
                I've been at sea too long.


<b>      INT. GREAT HALL, WHITEHALL PALACE - DAY
</b><b>19                                                                   19
</b>      The Great Hall is crowded with competing factions. A group
      of Spaniards, led by their Ambassador, DON GUERAU DE SPES,
      stand watching everyone else with haughty disdain.
<b>
</b><b>                                                             
</b>



<b>                    W
</b>



                             Yellow Revision May 22--p.17
An architect waits to present details of a building
project. Petitioners wait vainly, in the hope of catching
the Queen's eye. Howard and Hatton are in attendance.        
Walsingham stands by the Queen's side, briefing her in a     
low murmur for her ears only.                                
<b>                     ALSINGHAM
</b>          Thousands are dying every day of                   
          famine in Ireland. Another                         
          rebellion is a distinct                            
          possibility.                                       
A courtier is holding a portrait which he shows to the
Queen.                                                       
<b>                    COURTIER                                 
</b>          Francis of Valois, majesty.

<b>                    HATTON
</b><b>                                                             
</b>          Brother to the king of France,
          majesty.                                           
<b>                    WALSINGHAM                               
</b><b>                                                             
</b>          France is in religious turmoil.
          It would be unwise to engage with                  
          their instability.                                 
<b>                    ELIZABETH                                
</b>              (to Lord Howard)                               
          You have the plans for the new
          docks?

<b>                                                             
</b><b>                    HOWARD
</b>          Here, majesty.

<b>                                                             
</b>Howard beckons the Architect forward to show his model.
Elizabeth studies it. Walsingham murmurs on.

<b>                    WALSINGHAM
</b>          We still need to keep France out                   
          of the arms of Spain.                              
<b>                    ELIZABETH
</b>          Let me think on it.                                
              (to Howard)                                    
          What if enemy ships should sail
          up the Thames? Can the docks be
          closed?

<b>                    HOWARD                                   
</b>          Not closed, majesty. But the gun                   
          positions here, and here, have                     
          full command of the channel.                       
The courtier displays a second portrait.                     
<b>                    COURTIER                                 
</b>          King Erik of Sweden, majesty.                      
<b>
</b>                           Yellow Revision May 22--p.17A

<b>                    ELIZABETH                               
</b>          What again?                                       
<b>                    WALSINGHAM                              
</b>          Still madly in love with you.                     
<b>                    ELIZABETH                               
</b>          Still mad, you mean. (Looking                     
          around). Where's Bess?                            
The courtier presents a third portrait.                     
<b>                    COURTIER                                
</b>          Ivan, Tsar of all the Russias,                    
          known as "The Terrible."                          
Walsingham merely shakes his head.                          
<b>
</b><b>                                                                      
</b>



                                 Buff revision 6th June- p.18


<b>     INT. ANTECHAMBER, WHITEHALL PALACE - DAY
</b><b>20                                                              20
</b>     Bess Throckmorton is late. She comes running through the
     crowd of lesser petitioners who wait in the hope of gaining
     access to the Queen. She passes Calley, the two native
     Americans, and a group of sailors holding large hampers.
     Raleigh is trying to persuade the doorkeeper to let him          
     past.                                                            
<b>                         DOORKEEPER
</b>               You'll have to see the Lord                            
               Chamberlain, sir.                                      
     He indicates a portly man surrounded by petitioners, beyond      
<b>                                                                      
</b>     the open doors to the inner rooms.

<b>                         RALEIGH
</b><b>                                                                      
</b>               How am I to see him if you won't
               let me through?                                        
<b>                         DOORKEEPER                                   
</b><b>                                                                      
</b>               You must wait for him to come
               out, sir.                                              

<b>                                                                      
</b><b>                         RALEIGH
</b>               And when will he come out?                             

<b>                                                                      
</b><b>                         DOORKEEPER
</b>               There's no way of knowing that,                        
               sir.                                                   
     The doorkeeper stands aside for Bess. She recognises             
     Raleigh, and throws him a smile before rushing past.             
<b>                         RALEIGH                                      
</b>                   (as if to Calley)                                  
<b>                                                                      
</b>               I had less trouble than this
               boarding a Spanish ship!                               
               Everything is easier when you can                      
               kill people.                                           

<b>     INT. GREAT HALL, WHITEHALL PALACE - DAY
</b><b>21                                                              21
</b>     Bess curtseys before Elizabeth; who shakes her head at her.

<b>                         ELIZABETH
</b>               Late again, Bess.

<b>                         BESS
</b>               I beg your majesty's forgiveness.

<b>                         ELIZABETH
</b>               Given. Once.
<b>
</b>                 Buff revision 6th June- p.18A

<b>          BESS
</b>The puddle man is outside,
majesty.
<b>
</b><b>                    E
</b>



<b>              (
</b>



<b>                                                            
</b>



                           Yellow Revision May 22-- p.19

Elizabeth takes Bess's arm and turns with her to the
portraits.

<b>                    ELIZABETH
</b>          My suitors.

The Courtier has a fourth portrait.                         
<b>                    COURTIER                                
</b>          The Archduke Charles of Austria,                  
          majesty.                                          
<b>                    HATTON                                  
</b>          The younger brother of Maximilian
          II, the Holy Roman Emperor.                       
<b>                    WALSINGHAM                              
</b>          A cousin of Philip II of Spain.                   
<b>                    BESS                                    
</b>          He's rather sweet.

<b>                    ELIZABETH
</b>          More your age than mine, Bess.
          How old is he?

<b>                    HATTON                                  
</b>          Young... I believe, majesty. An                   
<b>                                                            
</b>          Austrian alliance would keep
          France quiet.                                     
<b>                    WALSINGHAM
</b>          And it would put Philip on a                      
          leash.                                            
Elizabeth looks across at the Spaniards.

<b>                    ELIZABETH
</b>          I become almost enthusiastic.
               to Hatton)                                   
          Send for him.
              (to Bess)
          Where is he, then?

Bess understands. She bobs and hurries to the door.

<b>                    ELIZABETH
</b>              (to Walsingham)
          How much longer do you think I
          can play this game?

<b>                    WALSINGHAM
</b>          Virginity is an asset that holds
          its value well.

<b>                     LIZABETH
</b>          Diplomatically speaking.
<b>
</b>                          Yellow Revision May 22 - p.19A

Raleigh now enters with Calley, the native Americans and
court servants carrying hampers.
<b>
</b><b>                    R
</b>



                           Yellow Revision May 22 - p.20
One of the Spaniards recognises him and murmurs to the
Ambassador; who speaks angrily to the Queen.

<b>                    DON GUERAU
</b>          Majesty, this man is a notorious
          pirate.

<b>                    ELIZABETH
</b>          Indeed?

Don Guerau points to the hampers.

<b>                    DON GUERAU
</b>          Spanish treasure, stolen from
          Spanish ships. You will see.
<b>R
</b> aleigh kneels before the Queen. Elizabeth gestures for him
to rise.

<b>                    ELIZABETH
</b>          Well, sir. Who are you?

<b>                    RALEIGH
</b>          Walter Raleigh, your majesty.

<b>                    ELIZABETH
</b><b>                                                               
</b>          Ah, yes. Raleigh. I've heard of
          your voyage. What's your rank?                       
<b>                    RALEIGH
</b>          A gentleman of Devon.

<b>                    ELIZABETH
</b>          What do you want?

<b>                    RALEIGH
</b>          The honour to be in the presence
          of my Queen, whose radiant beauty
          is the boast and glory of the
          English people.

<b>                    ELIZABETH
</b>          Yes, well, here you are.

<b>                     ALEIGH
</b>          I'm just returned from the New
          World, majesty. I have claimed
          the fertile coast in your name,
          and called it Virginia, in honour
          of our Virgin Queen.

Elizabeth raises her eyebrows.

<b>                    ELIZABETH
</b>          Virginia? And if I marry? Will
          you change the name to Conjugia?

A royal joke. Her entourage laughs dutifully.
<b>
</b><b>              (
</b>



                              Yellow Revision May 22 -p.21

<b>                    RALEIGH
</b>          I ask for your gracious
          permission, majesty, to return to
          the New World with your royal
          warrant, to found a colony under
          the laws and protections of
          England.
<b>E
</b> lizabeth's eye has fallen on the native Americans.

<b>                    ELIZABETH
</b>          Who are they?

<b>                    RALEIGH
</b>          Americans, majesty. They long to                     
          be your newest subjects.

He beckons Calley to lead Wanchese and Manteo forward.

<b>                    ELIZABETH
</b>          Have they no ruler of their own?

<b>                    RALEIGH
</b>          None to match England's Queen.

Elizabeth gazes at the natives. She holds out her hand.
Unaware that he's meant to kiss the Queen's hand, Manteo,
takes it and shakes it. A gasp from the watching courtiers.
But Elizabeth accepts the courtesy.

<b>                    ELIZABETH
</b>          These gentlemen are welcome. See
          that they're treated well.

Calley hurries them away before worse happens.

<b>                    RALEIGH
</b>          I also come bearing gifts for
          your majesty, from the New World.

He beckons to the servants to bring the baskets. Don Guerau
steps forward.

<b>                    DON GUERAU
</b>          The fruits of piracy, majesty.
          The true property of the realm of
          Spain.

<b>                    ELIZABETH
</b>          Let's see, shall we?
               to Raleigh)
          What do you bring me?

<b>                    RALEIGH
</b>          Mud, and leaves.
<b>
</b><b>R
</b>



                                 May 1 Blue Draft - p.22

Members of the court share suppressed smiles.

<b>                    ELIZABETH
</b>              (amused)
          Mud and leaves?

 aleigh throws open the first basket. Don Guerau peers
inside suspiciously. It does indeed seem to be filled with
mud.

Raleigh takes out a potato beneath the Ambassador's nose.

<b>                    RALEIGH
</b>          Patata, majesty. You eat it. Very
          nourishing.

He beckons forward the second basket, which is full of
leaves. Again Don Guerau tracks his every move. He takes
out a tobacco leaf. R

<b>                     ALEIGH
</b>          Tobacco. You breathe its smoke.
          Very stimulating.

Now Don Guerau realises he's being laughed at on all sides.
He draws himself up with angry pride, wrinkling his nose.

<b>                    DON GUERAU
</b>          Forgive me, majesty, I find the
          air has become stale. I am
          sensitive to the smell of open
          sewers.

A glare at Raleigh, a bow for the Queen, and Don Guerau
leads his Spaniards out.

<b>                    ELIZABETH
</b>              (to Raleigh)
          Continue.

With a broad smile, Raleigh gestures forward the third
basket. This one really is full of gold. He takes out a
gold coin and presents it to Elizabeth.

<b>                    RALEIGH
</b>          Gold. You spend it. Very
          satisfying.

Elizabeth examines the fat gold coin, with its image of
Philip of Spain. She tries not to smile.

<b>                    RALEIGH
</b>          Courtesy of a Spanish ship, that
          found itself unable to complete
          its journey.

Elizabeth drops the gold coin back into the basket.
<b>
</b>                                   Green Revision May 25 - p.23

<b>                         ELIZABETH
</b>               The fruits of piracy after all,                          
               it seems.                                                
<b>                         RALEIGH
</b>               Philip of Spain is no friend of
               England, majesty. The more gold I
               take from him, the safer you will
               be.

<b>                         ELIZABETH
</b>               Well, well. A political pirate. A
               logic-chopping pirate.

<b>                         RALEIGH
</b>               And your majesty's most loyal
               subject.

     She gives him a long look.

<b>                           ELIZABETH
</b>               But not my best dressed.
               W    (Beat)
                 elcome home, Mr Raleigh.

     She turns her attention back to Hatton and the portraits.
     Raleigh bows and withdraws, followed by his men. Walsingham
     follows.


<b>     INT. HALLWAY, WHITEHALL PALACE - DAY
</b><b>22                                                                22
</b>     Raleigh comes out into the hallway with Calley by his side.        

<b>                                                                        
</b><b>                         RALEIGH
</b>               What did you think of her?                               

<b>                                                                        
</b><b>                         CALLEY
</b>               Terrifying.                                              
<b>                         RALEIGH                                        
</b>               But magnificent.                                         
     He moves on.

     Raleigh's eyes fall on Don Guerau, the Spanish Ambassador,
     passing near with his fellow Spaniards and a few English           
     courtiers and ministers, including Hatton. Don Guerau              
     stares at him.                                                     
     The doors to the privy chamber open and the Queen's ladies
     come swishing out in a tight chattering group, Bess beside
     her friend MARGARET.
<b>
</b>                                       May 1 Blue Draft - p.24

<b>                         MARGARET
</b>               `Mud and leaves'! I nearly died!
<b>                         B
</b><b>                          ESS
</b>               `Patata! You eat it!'

     They giggle as they go by.

<b>                         MARGARET
</b>               She liked him. I could tell.

<b>                         BESS
</b>               Well, wouldn't you?

     They see Raleigh now, and the chatter ceases. The ladies
     come to a stop and curtsey. Raleigh gives a bow, his eyes
     singling out Bess.

<b>                         RALEIGH
</b>               I'm glad to have the opportunity
               to thank you. Without your help,
               I'd still be in outer darkness.

<b>                         BESS
</b>               I did very little, sir. You'd
               already caught the Queen's eye.

<b>                         RALEIGH
</b>               Then I thank you for the very
               little.

     The ladies go on their way and the laughing chatter
     resumes, with many a backward glance at the handsome
     Raleigh. No one pays attention to a figure in the shadows,
     another of Walsingham's men, AGENT 3.


<b>23                                                                23
</b><b>     EXT. WOOD - DUSK
</b>
     Young Savage stands alone among trees, shivering, white-
     faced, half-mumbling, half-singing an endless prayer. He
     holds a pistol with which he means to kill himself. But he
     can't do it.         S
<b>                          AVAGE
</b>                   (singing)
               Salve regina, mater
               misericordiae, vita dulcedo et
               spes nostra salve...

     In a clearing nearby three men sit round a fire. They are
     young Catholic fanatics - Babington, Ramsay, and FRANCIS
     THROCKMORTON. A fourth man stands before them, his back to
     us, watching Savage. At first we don't see who he is.
<b>
</b>                                 May 1 Blue Draft - p.25

<b>                    RESTON (O.O.V.)
</b>          His weakness endangers us all. He
          can't go on with us. And we can't
          leave him behind.

Now the man turns and looks intently at Babington, and we      
see he is Robert Reston; no longer in the clothes of a
priest.

<b>                    RESTON
</b>          Who will help him?

Babington rises. Reston nods his approval. Babington goes      
off through the trees. Reston and the others follow a
little behind.

<b>                    SAVAGE
</b><b>              (
</b>               singing)
          Ad te clamamus, exsulaes filii
          Evae. Ad te suspiramus gementes
          et flentes in hac lacrimarum
          valle -

He sings on as Babington approaches him, seeming no longer
to know what's happening. Babington takes the pistol from
his hand.

<b>                    BABINGTON
</b>          Make your peace with God.

Savage stares, and suddenly realises what Babington means
to do. Terror overwhelms him.

<b>                    SAVAGE
</b>          No, Tom! Don't kill me! I don't
          want to die!

Now he's blubbering with fear. Babington is shaken by this,
and can't shoot.

Reston begins to pray aloud.

<b>                    RESTON
</b>          Si ambulam in medio umbrae
          mortis, non timebo mala -

The others join in with the words of the well-known psalm.     
Babington too joins in, now weeping.

<b>                    RESTON AND OTHERS
</b>          Quoniam tu mecum es, Domine.
          Virga tua et baculus tuus, ipsa
          me consolata sunt -
<b>B
</b> ANG! Savage falls dead.
<b>
</b><b>     H
</b>



                                         May 1 Blue Draft - p.26


<b>     INT. WALSINGHAM'S HOUSE - EVENING
</b><b>24                                                                 24    
</b>     Walsingham enters his private home, and gives his hat and
     cloak to his servant.

<b>                         SERVANT
</b>               Visitor waiting, sir.

     Walsingham frowns. He climbs the stairs to the door of his
     study. There, pacing nervously, is his younger brother
     WILLIAM, a middle-aged student. Walsingham's scowl
     disappears. He opens his arms wide.                                 
<b>                          WALSINGHAM                                     
</b><b>                                                                         
</b>               William!

<b>                         WILLIAM                                         
</b><b>                                                                         
</b>               Hello, Francis.

     They embrace. Then Walsingham pushes him back to take a             
     good look at him.                                                   
<b>                         WALSINGHAM
</b>               You look terrible. Don't they
               feed you in Paris? How are your
               studies? Learned the secrets of
               the universe yet?

<b>                          WILLIAM
</b>               Not yet.

<b>                         WALSINGHAM
</b>               These are dangerous times to be
               questioning the ways of God. You
               must take care of yourself.

<b>                         WILLIAM
</b>               My needs are simple.

<b>                         WALSINGHAM
</b>               You'll dine with us? You'll lodge
               with us?

      is daughter MARY appears at the top of the next flight.

<b>                          MARY WALSINGHAM
</b>               William!

     She comes tumbling down and into his arms. She's an eager
     innocent 20-year-old, much loved by her father.

<b>                         WILLIAM
</b>               Look at you! All grown up.

     URSULA, Walsingham's wife, appears as Mary leads William up
     the stairs.
<b>
</b><b>     M
</b>



                                       May 1 Blue Draft - p.27

<b>                         URSULA
</b>               William. This is a pleasure.

<b>                         WILLIAM
</b>               I've been away too long, ma'am.

<b>                         MARY WALSINGHAM
</b>               You come with me, William.

      ary and William go on into the family's living rooms.
     Ursula meets her husband's eyes.
<b>                          U
</b><b>                          RSULA
</b>               He's not still a student, is he?


<b>     INT. LIVING ROOM, WALSINGHAM'S HOUSE - NIGHT
</b><b>26                                                               26
</b>     William is by the fire, listening to Mary playing the
     virginal and singing. Walsingham and Ursula are by the
     dinner table.

<b>                         URSULA
</b>               Have you spoken to the Queen?

<b>                         WALSINGHAM
</b>               I speak to her daily.

<b>                         URSULA
</b>               You know what I mean. You've done
               enough. No man could do more.

<b>                         WALSINGHAM
</b>               I can't leave court yet. The
               Queen needs me.

<b>                         URSULA
</b>               So you're to die in harness like
               a pack horse, are you? And for
               what?
                   (calling)                                           
               Mary! William!                                          
<b>                         WALSINGHAM                                    
</b>               These are difficult times-                              
<b>                         URSULA                                        
</b>               It's always difficult times.                            
     Mary joins them, her arm in William's. Walsingham seizes
     the opportunity to change the subject.

<b>                         WALSINGHAM                                    
</b>               William, come and tell us all the                       
               new ideas in the University. Will                       
               the great breach in the church                          
               ever be healed?                                         
<b>
</b>                       May 1 Blue Draft - p.28

<b>          WILLIAM                                 
</b>I doubt it, brother. Compromise                   
is out of fashion. On both sides                  
they say there can only be one                    
truth, and one God.                               
<b>            URSULA
</b>Sit, sit.

<b>          MARY
</b><b>H
</b> ere by me, William.

<b>          WALSINGHAM                              
</b>What do they say in Paris of the                  
Pope's call for holy war?                         
<b>          WILLIAM                                 
</b>Many welcome it.                                  
<b>          URSULA
</b>I don't understand why we must
all hate each other.

<b>          WILLIAM
</b>Truth will always hate falsehood,
ma'am.

<b>          MARY
</b>Why do we have to talk about war?
Tell us your nice news, William.
Are you married yet?

<b>          WILLIAM
</b>    (smiling)
Not yet.

<b>          MARY
</b>Then we must find you a nice
sensible English wife.

<b>          WILLIAM
</b>No, no. I won't be staying long.
I must go back to my studies.

<b>          WALSINGHAM
</b>Not too soon, I hope. Every man
deserves a rest.

<b>          URSULA
</b>Listen to him! When did you last
rest, I'd like to know?
    (to William)
He won't listen to me. Not a
thought for his health. You tell
him, he's your brother. He'll die
at his desk, out of sheer
selfishness.
<b>
</b><b>                         E
</b>



                                 Green Revision May 25 - p.29

     Walsingham shares a rueful smile with William that says,
     `Women, eh?'. They take their seats for dinner.
<b>2
</b>
<b>     INT. GREAT HALL, WHITEHALL PALACE - DAY
</b><b> 7                                                                27
</b>     Elizabeth sits sumptuously gowned and jewelled at an               
     ornately-dressed dining table, surrounded by her ladies,           
     Bess among them; Walsingham discreetly in the background.
     They're listening to a young Austrian make a formal speech
     of love. The AUSTRIAN AMBASSADOR stands to one side,
     mouthing the words to prompt him.

     The ARCHDUKE CHARLES is still a boy: sixteen years old,
     slight, pale, trembling with shyness. He struggles through
     his rehearsed speech.

<b>                         ARCHDUKE CHARLES
</b><b>                                                                        
</b>               Your majesty's beauty is dazzling
               to my eyes. Your learning is                             
               famed throughout Europe. I see                           
               before me perfection in human                            
<b>                                                                        
</b>               form. Oh, Elizabeth! How blessed
               am I to stand in your fabled                             
               presence, warmed by your                                 
<b>                                                                        
</b>               greatness as by the rays of the
               sun. Oh Elizabeth! To speak your                         
               name is to hear celestial music.                         
<b>                                                                        
</b>               May that sweet sound guide me
               through my life to come -                                
               Elizabeth! Elizabeth! I have                             
<b>                                                                        
</b>               travelled here, to this
               illustrious court, in the hope                           
               that our two great nations might                         
<b>                                                                        
</b>               be joined in love. But now that I
               am bathed in the radiance of your                        
               glory, I am overwhelmed. I am                            
<b>                                                                        
</b>               conquered. I die. Only your love,
               great Elizabeth, can restore me
               to life.
<b>     C
</b>      ourtiers exchange smiles at his efforts. The Spaniards
     sneer openly. But Elizabeth takes the charade with due
     gravity.

<b>                          LIZABETH
</b>               Your highness does me great
               honour. Shall we eat our dinner?                         
               It should prove almost as
               restorative as my love.

     Raleigh enters the Great Hall, trailed by Calley, as the
     dinner gets under way. They join the much larger group who         
     simply stand and watch. Royal meals are in part a spectacle
     for the court. A JESTER moves from group to group, playing
     pranks on the guests.
<b>
</b>                           Green Revision May 25 - p.29A

Raleigh is now dressed in court fashion, and looks very
well; as the glances of several court ladies show. He
catches Bess's eye and they share a smile.

<b>                    COURT LADY
</b>          So tell me, Mr Raleigh, in your
          sea battles - how do you sink an
          enemy ship? You shoot holes in
          its sides, I suppose.
<b>
</b><b>                 (
</b>



                                    May 1 Blue Draft - p.30

<b>                    RALEIGH
</b>          No, ma'am. A sunk ship is of no
          value. The object is to capture
          and command.

<b>                    COURT LADY
</b>          And how do you do that?

<b>                    RALEIGH
</b>          Surprise. Speed. Irresistible
          violence.

Calley, listening, rolls his eyes.

Elizabeth, at the table with the Archduke by her side,
glances towards Raleigh, and sees him flirting with the
court ladies. Then back to the young Archduke, who has
hardly touched his food.

<b>                    ELIZABETH
</b>          I think you're not as accustomed
          as I am to eating in public. I
          have a secret.
               lowering her voice)
          I pretend there's a pane of glass
          - eine Glasscheibe - between me
          and them.
<b>S
</b> he moves one hand before her face, indicating an imaginary
pane of glass. As she looks, she sees Bess staring at
someone - follows her gaze - and is amused to find that the
object of her attention is also Raleigh.

<b>                    ELIZABETH
</b>          They can see me, but they can't
          hear me, or touch me. You should
          try it.

She beckons to Bess.

<b>                       ELIZABETH
</b>          Bess.

Bess comes forward.

<b>                    ELIZABETH
</b>              (low)
          He interests me. Talk to him.

<b>                    BESS
</b>          Him, my lady?

<b>                       ELIZABETH
</b>          Him.

Bess turns and looks across towards Raleigh, as he flirts
with the court ladies.
<b>
</b><b>                                                            
</b>



<b>                                                            
</b>



                            Green Revision May 25 - p.31

Elizabeth turns back to her guest.

<b>                    ELIZABETH
</b>          His highness is tired after his
          journey.

The young Archduke, frozen with shyness, sits staring
before him, trembling as he frames a proper reply.

<b>                    ARCHDUKE CHARLES
</b>          No man can be tired in the
          presence of so lovely a Queen.
<b>E
</b> lizabeth speaks so only he can hear, in German.

<b>                     ELIZABETH
</b>          (You play the game very well, my
          young friend. But don't you                       
<b>                                                            
</b>          sometimes feel an overwhelming
          desire to say what you're really                  
          thinking?)                                        
The Archduke's eyes open very wide. He glances at
Elizabeth, and sees on her face a conspiratorial smile.

<b>                    ARCHDUKE CHARLES
</b>          (I daren't even think what I'm                    
          really thinking.)                                 
<b>                    ELIZABETH
</b>          (You're thinking, perhaps, that                   
<b>                                                            
</b>          you would far rather be home.)

<b>                    ARCHDUKE CHARLES
</b>          (You're very wise, madame.)

He's grateful to her, and his shy face shows it.

Raleigh is still being entertained by the court ladies.     
<b>                    COURT LADY                              
</b>          I adore the natives you brought
          back with you. I don't suppose                    
          you could get one for me? They're                 
          not dangerous, are they?                          
<b>                    RALEIGH                                 
</b>          That depends what you propose to                  
          do with them.                                     
<b>                    COURT LADY                              
</b>          I'd dress him up in mulberry-                     
          coloured silk and have him walk                   
           behind me, carrying my cloak.                    
<b>
</b>                           Green Revision May 25 - p.31A

Bess has now approached Raleigh.

<b>                    BESS
</b>          The pirate is not too bored by
          the vanities of the court, I
          hope.

<b>                    RALEIGH
</b>          A simple sailor, dazzled by the
          bright lights.

Bess draws him away from the court ladies.

<b>                    BESS
</b>          If you can bring yourself to
          leave the dazzle of the bright
          lights for a moment -
<b>
</b>                                 May 1 Blue Draft - p.32

<b>                    RALEIGH
</b><b>          D
</b>           rawn away by the brightest light
          of all.

<b>                    BESS
</b>          That can only mean the Queen.

<b>                    RALEIGH
</b>          I don't presume to raise my eyes
          so high.


They both look at the Queen. She's watching Raleigh. He     
bows.

<b>                    BESS
</b>          It seems you've presumed after
          all.

<b>                    RALEIGH
</b>          It seems you're determined to
          think the worst of me.

<b>                    BESS
</b>          Tell me what it is you really
          want.

<b>                    RALEIGH
</b>          What every man wants. Money.
          Fame. Love.

<b>                    BESS
</b>          In that order?

<b>                    RALEIGH
</b>          Each leads to the next. The money
          will buy and equip ships for a
          return voyage to the New World.
          The success of my infant colony
          there will make me famous. The
          fame will bring me love.

<b>                    BESS
</b>          It seems rather a long way round.

<b>                    RALEIGH
</b>          There are benefits along the way.
          It is something, after all, to
          take a blank on the map and build
          there a shining city.

<b>                    BESS
</b>          Which you will no doubt name
          after yourself.
<b>
</b>                                    May 1 Blue Draft - p.33

<b>                    RALEIGH
</b>              (smiling)
          No doubt. B

<b>                     ESS
</b>          Well, then. I am answered.

<b>                    RALEIGH
</b>          May I ask a question in return?

<b>                       BESS
</b>          Of course.

<b>                    RALEIGH
</b>          How am I to win the Queen's
          favour?

<b>                    BESS
</b>          Why should I tell you that, sir?

<b>                    RALEIGH
</b>          I've little enough to offer, I
          know. But whatever I have to give
          - ask, and it's yours.

Bess thinks for a moment.

<b>                    BESS
</b>          My advice to you is, say what you
          mean to say as plainly as
          possible. All men flatter the
          Queen in the hope of advancement.
          Pay her the compliment of truth.

She gives him her hand. He kisses it.

<b>                    RALEIGH
</b>          I don't even know your name.

<b>                    BESS
</b>          Elizabeth Throckmorton.

<b>                    RALEIGH
</b>          A second Elizabeth.

<b>                    BESS
</b>          Everyone calls me Bess.
<b>S
</b> he goes back to the Queen, as Elizabeth is rising to
leave. She speaks to the company.

<b>                    ELIZABETH
</b>          His highness the Archduke informs
          me that my charms overwhelm him.
          He will retire to his private
          quarters to rest.
<b>
</b><b>                                                                       
</b>



<b>                                                                       
</b>



<b>                               34
</b>
     This causes much amusement. Don Guerau sneers openly. The
     Archduke rises. All rise. The Archduke bows solemnly to the
     Queen, and leaves with his entourage. Elizabeth beckons to
     Walsingham, and speaks low to him.

<b>                         ELIZABETH
</b>               He's a sweet boy. I don't want
               him hurt by your schemes.


<b>     INT. QUEEN'S PRIVATE QUARTERS - DAY
</b><b>28                                                               28
</b>     Bess is reading to Elizabeth. Elizabeth watching her, her
     mind elsewhere.

<b>                         ELIZABETH
</b>               I suspect him of being a
               professional charmer. Am I right?

<b>                         BESS
</b>               He is certainly charming, my
               lady.

<b>                         ELIZABETH
</b>               There are duller professions. And
               what is it he hopes to gain by
               his charms?

<b>                         BESS
</b>               He hopes for glory in his New
               World. He dreams of building a
               shining city.

<b>                          ELIZABETH                                    
</b><b>                                                                       
</b>               Which I'm to pay for, no doubt.
                   (Beat)                                              
               You like him, don't you?                                
<b>                         BESS                                          
</b>               It's refreshing to meet a man who                       
               looks to a world beyond the                             
               court.                                                  
<b>                         ELIZABETH
</b>               So it is. We shall let him come                         
               again.                                                  


<b>     INT. MARY STUART'S QUARTERS, CHARTLEY HALL - DAY
</b><b>29                                                               29
</b>     Mary Stuart holds her pet dog in her arms, listening to
     Annette, who kneels before her.
<b>
</b>                                   May 1 Blue Draft - p. 35

<b>                    MARY
</b>          Dismissed? On whose orders?

She looks up at the laundress, who stands red-eyed and
snuffling, with a guard by her side.

<b>                    MARY
</b>          Do stop snivelling.

<b>                    ANNETTE
</b>          The Warden, my lady.

<b>                    MARY
</b>          The Warden? My Warden?

As she speaks, Sir Amyas Paulet enters. Mary's voice
becomes seductive.

<b>                                                               
</b><b>                    MARY
</b>          What have you done now, you bad                      
          man? Sent away my laundress? How                     
          am I to have clean clothes? Or do                    
<b>                                                               
</b>          you want me to go about naked?

Paulet smiles at the notion of Mary naked.                     
<b>                    PAULET
</b>          That was not my motive, ma'am.                       
<b>                                                               
</b>          Much though -
              (Thinking better of it)                          
          Your laundress was found to be                       
<b>                                                               
</b>          carrying letters in her washing.
          Not her job, I think.                                

<b>                                                               
</b><b>                    MARY
</b>          How am I to send my intimate                         
          letters?                                             
<b>                    PAULET                                     
</b>          Through me.                                          
<b>                    MARY                                       
</b>          And you will read them.                              
<b>                    PAULET                                     
</b>          With respectful admiration.                          
<b>                    MARY                                       
</b>          Am I to have no privacy?                             
<b>                    PAULET                                     
</b>          No.                                                  
Beneath the charm, steel.                                      
<b>                    MARY                                       
</b>          You disappoint me, sir.                              
<b>
</b><b>                                                               
</b>



                                May 1 Blue Draft - p. 36

<b>                    PAULET                                     
</b>          The Queen orders these measures                      
          for your protection.                                 
<b>                    MARY                                       
</b>          The Queen! Am I not a Queen too?                     
          What if I wish to write a love                       
          letter? Is Elizabeth to be sent a                    
          copy? Is she so starved of lovers                    
          that she must feed on mine?                          
<b>                    PAULET                                     
</b>          The Queen grieved when your                          
          husband died, ma'am. As she                          
          grieved when your second husband                     
<b>                                                               
</b>          died. And the third. If there is
          a possibility of a fourth -                          

<b>                                                               
</b><b>                    MARY
</b>          Tormentor! Is that Elizabeth's                       
          order too? That you torment and                      
          mock me?                                             
She turns to go, but stops before leaving the room: bitter,    
haughty, not deigning to look back.                            
<b>                    MARY                                       
</b>          They say she's a beautiful woman.                    
<b>                                                               
</b>          Is she so very beautiful?

<b>                    PAULET                                     
</b><b>                                                               
</b>          I don't presume to comment on the
          Queen's person.                                      
<b>                    MARY
</b>          She's called the virgin queen.                       
          Why is that, sir? Can it be that                     
<b>                                                               
</b>          no man will have her?

Mary changes mood again, thinking it more politic to keep
the Warden under her spell. She waves Annette and the
laundress away.

<b>                    MARY
</b>          My friend, forgive me. You are my
          friend, are you not?                                 
<b>                    PAULET
</b>          I am your servant, ma'am, and
          your admirer.

<b>                    MARY
</b>          I shall send no more letters. I
          shall stay here quietly, in my
          prison. With you.
<b>
</b><b>                                                                         
</b>



<b>                                                                         
</b>



                                      May 1 Blue Draft - p. 37


<b>      OMITTED
</b><b>30                                                                 30
</b>
<b>      INT. ANTECHAMBER, WHITEHALL PALACE - DAY
</b><b>31                                                                 31    
</b>      The same crowd of petitioners wait in vain for access to           
      the Queen. The same door keeper. Raleigh enters, and this          
      time the door keeper bows, and ushers him through the open         
      doors.                                                             
      Over this we hear Raleigh's voice telling of his                   
      adventures:                                                        
<b>                          RALEIGH (V.O.)                                 
</b><b>                                                                         
</b>                It begins with a journey. You
                must cross an ocean.                                     

<b>      INT. QUEEN'S PRIVATE QUARTERS - DAY
</b><b>32                                                                 32
</b>      Elizabeth listens attentively, her eyes looking far away           
<b>                                                                         
</b>      into the distance, as Raleigh tells of his adventures.

<b>                          RALEIGH                                        
</b><b>                                                                         
</b>                Can you imagine - can you feel -
                what it is to cross an ocean? For                        
                weeks you see nothing but the                            
<b>                                                                         
</b>                horizon. All round you. Perfect,
                and empty. Your ship is small -                          
                tiny - a speck in such immensity.                        

<b>      INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>33                                                                 33
</b>      Walsingham is talking to Elizabeth about matters of state.         
      We are on her face, and we can see that she hears nothing          
<b>                                                                         
</b>      of what he tells her. Her mind is all on Raleigh's voice.

<b>                          RALEIGH (V.O.)                                 
</b>                You live with fear, in the grip                          
                of fear - fear of storms, fear of                        
                sickness on board, fear of the                           
                immensity. What if you never                             
                escape? How can you escape?                              
                There's nowhere to go. So you                            
                must drive your fear down, deep                          
                into your belly, and study your                          
                charts, and watch your compass,                          
                and pray for a fair wind - and                           
                hope.                                                    

<b>      INT. PRIVY CHAMBER, WHITEHALL PALACE - NIGHT
</b><b>33A                                                               33A
</b>      Now Elizabeth is with Raleigh again, listening as he goes          
      on speaking to her, now directly.                                  
<b>
</b><b>                                                                       
</b>



<b>3
</b>



                                      May 1 Blue Draft - p. 38

<b>                         RALEIGH                                       
</b>               Pure naked fragile hope, when all                       
               your senses scream at you, Lost!                        
               Lost! Imagine it. Day after day,                        
               staring west, the rising sun on                         
               your back, the setting sun in                           
               your eyes, hoping, hoping -                             
     Sir Christopher Hatton enters.

<b>                         HATTON
</b>               Majesty, the Archduke and the                           
               court are waiting.                                      
<b>                         ELIZABETH
</b>                   (sharply)
               Let them wait!
                   (to Raleigh)
               Go on, Mr Raleigh. You were
               hoping.

     Hatton bows and leaves, frowning.

<b>                         RALEIGH
</b>               At first it's no more than a haze
               on the horizon, the ghost of a
               haze, the pure line corrupted.
               But clouds do that, and storms.
               So you watch, you watch.


<b> 4                                                               34
</b><b>     INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - NIGHT
</b>
     Elizabeth dances with Raleigh. As they dance, his voice
     continues over; and Elizabeth seems to be listening to him.

<b>                         RALEIGH (V.O.)
</b>               Then it's a smudge, a shadow on
               the far water. For a day, for
               another day, the stain slowly
               spreads along the horizon, and
               takes form - until on the third
               day you let yourself believe. You
               dare to whisper the word - land!

     The music ends, and the dance finishes.

     Elizabeth is seated now - it's later in time. Raleigh is
     speaking intently to her, and she is captivated.                  
<b>                         RALEIGH
</b>               Land. Life. Resurrection. The
               true adventure. Coming out of the
               vast unknown, out of the
               immensity, into safe harbour at
               last. That - that - is the New
               World.
<b>
</b><b>                         B
</b>



<b>                                                                        
</b>



                                     May 1 Blue Draft - p. 39

     A short silence. Elizabeth is absorbing what he has told
     her.

<b>                         ELIZABETH (V.O.)
</b>               The Queen does not have a private                        
               life.                                                    

<b>     INT PRESENCE CHAMBER, WHITEHALL PALACE - DAY
</b><b>35                                                                35
</b>     Elizabeth is on the throne. The Archduke Charles and his
     entourage face her. The court fills the room. Elizabeth
     makes her formal response to the young Archduke.

<b>                         ELIZABETH
</b>               The Queen lives for her people.
               You will therefore forgive me,
               sir, if after much thought and
               prayer I decline your offer of
               marriage.

     The Archduke, barely able to conceal his relief, turns to
     the Austrian ambassador.

<b>                         ARCHDUKE CHARLES
</b>               (Can I go home now?)

     Elizabeth inclines her head, trying not to smile.

<b>                         ELIZABETH
</b>               (Go home, my friend. Don't be in
               a hurry to grow old. Youth is so
               very precious.)

     Elizabeth rises and takes the Archduke's arm as they start
     to leave the chamber. Bess, in her wake, finds an                  
     opportunity to speak softly to Raleigh.

<b>                         BESS
</b>               Well? Are you satisfied with the                         
               Queen's favour?

<b>                         RALEIGH
</b>               She listened as if she understood
               me.

<b>                            ESS
</b>               Then I shall expect some
               gratitude. R

<b>                          ALEIGH
</b>               What do you want?

     Their eyes meet, both aware of the current of mutual
     attraction.
<b>
</b><b>                          R
</b>



                                      May 1 Blue Draft - p. 40

<b>                          BESS                                          
</b>                I expect I'll think of something.

      Bess hurries after the Queen. The Austrian entourage is
      just leaving as the Queen turns.

<b>                          ELIZABETH
</b>                Mr. Raleigh.


<b>      INT QUEEN'S PRIVATE QUARTERS - DAY
</b><b>35A                                                              35A
</b>      Elizabeth and Raleigh walk together around the perimeter
      hallway, dwarfed by vast murals.

<b>                          ELIZABETH
</b>                I like your immensities. Your
                ocean is an image of eternity, I
                think. Such great spaces make us
                small. Do we discover the New
                World, Mr Raleigh, or does the
                New World discover us?

<b>                          RALEIGH
</b>                You speak like a true explorer.

<b>                          ELIZABETH
</b>                I like you, Mr Raleigh.

<b>                          RALEIGH
</b>                And I like you.

      She stops and turns to meet Raleigh's eyes. She's not used
      to such direct replies. Bess is watching them.

<b>                          ELIZABETH
</b>                You know, of course, that when I
                like a man, I reward him.

<b>                           ALEIGH
</b>                I have heard that.

<b>                          ELIZABETH
</b>                And what have you to say about
                it?       R
<b>                           ALEIGH
</b>                Reward my mission, majesty, not
                me.

<b>                          ELIZABETH
</b>                Is the mission not the man?                             
<b>                          RALEIGH
</b>                Leave me free to like you in
                return. That can be my reward.
<b>
</b><b>                              41-43
</b>
<b>                          ELIZABETH
</b>                Go on.                                                  
<b>                          RALEIGH
</b>                I think it must be hard for so
                great a Queen to know the simple
                pleasure of being liked for
                herself.

      Elizabeth stares. This is a little too close to the truth.

<b>                          ELIZABETH
</b>                Now you become dull.


<b>35B                                                              35B    
</b><b>      EXT. WINDSOR GREAT PARK - DAY
</b>
      Horses racing, hoofs pounding over the grass, manes flying -
      Two riders hurtle between the trees, down a woodland ride,
      neck and neck-

      Elizabeth and Raleigh are racing against each other, faces
      glowing, laughing, abandoned to the breakneck speed of the
      moment.

      Raleigh is winning now, first by a head, then by a length.
      At the end of the ride he slows his horse to a walk.

<b>                          RALEIGH
</b>                Mine!

      Elizabeth shakes her head, unable to speak.

<b>                          ELIZABETH
</b>                    (out of breath)
                You have - the stronger horse.

<b>                Y         RALEIGH
</b>                 ours carries the lighter load.

<b>                          ELIZABETH                                     
</b>                The Queen does not give way to                          
                others.                                                 
      Raleigh stops his horse. Elizabeth rides on up to him and         
      then past him. Raleigh secretly spurs his horse. The horse        
      springs forward, ahead of her.                                    
<b>                          RALEIGH                                       
</b>                Whoa! Whoa!                                             
                    (at Elizabeth, reigning                             
                     in the horse)                                      
                Forgive me, majesty. My horse                           
                doesn't know his place yet                              
      Elizabeth looks at him, amused, intrigued.                        
<b>
</b><b>                                                             
</b>



<b>                                                             
</b>



<b>                                                             
</b>



<b>                          43A
</b>
<b>                    ELIZABETH                                
</b>          Have you ever known your place,                    
          Mr. Raleigh?                                       
She urges her horse forward, forcing Raleigh to catch up.    
<b>                    ELIZABETH (CONT'D)                       
</b>          I'm surprised you're not married                   
          yet.                                               
<b>                    RALEIGH                                  
</b>          I'm a sailor, majesty.                             
<b>                    ELIZABETH                                
</b>          And can sailors not be lovers?                     
<b>                    RALEIGH                                  
</b>              (with a smile)                                 
<b>                                                             
</b>          Must lovers be husbands?

<b>                    ELIZABETH                                
</b>          Ah, I see. You like love better
<b>                                                             
</b>          than marriage. That I understand.

<b>                    RALEIGH                                  
</b><b>                                                             
</b>          Your majesty is not eager to be
          married?                                           

<b>                                                             
</b><b>                    ELIZABETH
</b>          When I marry, I marry for my                       
          country.                                           
<b>                                                             
</b>              (looking at Raleigh)
          When I love, I love for myself.                    
              (pause)                                        
<b>                                                             
</b>          You have had many loves, I think.

<b>                    RALEIGH                                  
</b>              (with a smile)
          Some...                                            
<b>                    ELIZABETH                                
</b>          You've yet to meet your equal?                     
Raleigh hesitates. She understands him.                      
<b>                    RALEIGH                                  
</b>          I would want someone who knows me                  
          as I am.                                           
Now it is Elizabeth who hesitates. He understands her as     
well.                                                        
<b>                    ELIZABETH
</b>          You want a friend, not just an
          equal. You want someone to share                   
          your joy when you're happy.                        
<b>
</b><b>                                                                        
</b>



<b>                                                                        
</b>



                                 Double Blue - july 8 - p.43B
                         ELIZABETH(cont'd)
               Someone to cry with when you're                          
               sad. Someone to talk to when                             
               there's nothing to say. Someone                          
               to find by your side when you                            
               wake in the night. Someone who                           
               remembers what you once were,                            
               when you've grown old.                                   
     She turns to him with a smile.                                     
<b>                         ELIZABETH (CONT'D)
</b>               Ah yes. I know all about it.                             
               There. I'm rested now.                                   
     She turns her horse around in the direction from which they        
     came. Raleigh follows.                                             
<b>                         ELIZABETH (CONT'D)                             
</b>               We can be something to each                              
<b>                                                                        
</b>               other, I hope, Mr. Raleigh.

     She spurs her horse, and suddenly she's racing away, back          
     across the park to the distant band of mounted courtiers           
<b>                                                                        
</b>     and Queen's ladies, including Bess. Raleigh spurs his horse
     to follow, also fast, but this time careful to keep a              
     distance behind.                                                   
     As they near the courtiers, Raleigh splits off. Bess
     watches as Elizabeth turns and looks after him as he rides         
<b>3                                                                       
</b>     away.


<b> 6                                                                36
</b><b>     INT. BESS'S BEDROOM - NIGHT
</b>
     Bess creeps out of her bedroom, pulling on a cloak.


<b>     INT. WHITEHALL PALACE - NIGHT
</b><b>37                                                                37
</b>     Bess makes her way down the dark palace corridor, stepping
     over sleeping courtiers as she goes. Margaret watches her
     from the shadows.


<b>     EXT. LONDON ALLEY - NIGHT
</b><b>38                                                                38
</b>     Cloaked and hooded, Bess passes quietly down an alley,
     stepping over more sleeping forms. London's homeless.

     She finds a door, checks a note she holds, glances round to
     be sure no one sees her, knocks and enters.


<b>     INT LONDON HOUSE - NIGHT
</b><b>39                                                                39    
</b>     A man closes the door behind his visitor. Bess shakes off          
     her hood. It's George Throckmorton, one of the                     
     conspirators. They embrace.                                        
<b>
</b><b>                                                              
</b>
<b>                                                              
</b>



<b>                                                              
</b>



<b>                                                              
</b>



<b>                                                              
</b>



<b>                                                              
</b>



                              Double Blue - july 8 - p.43C

<b>                    BESS                                      
</b>          George! What's wrong? Is your                       
          father alright?                                     
<b>                    THROCKMORTON                              
</b>          He's old. He won't live long now.                   
          Thank you for coming, dear Bess.                    
<b>                    BESS
</b>          I was worried. You must send me                     
          no more letters. You know what                      
          would happen if I was caught.                       
<b>                    THROCKMORTON
</b>          I need your help.                                   
<b>                    BESS                                      
</b>          Do you need more money?                             
<b>                    THROCKMORTON                              
</b>          My father is a tired old man. We                    
          don't want to hide like this                        
<b>                                                              
</b>          anymore. We both want to get back
          to court.                                           
<b>                    BESS
</b>          You are known Papists.                              

<b>                                                              
</b><b>                    THROCKMORTON
</b>          The Queen loves you. Speak to                       
          her.                                                
<b>                    BESS                                      
</b>          I cannot betray the Queen.

<b>                    THROCKMORTON
</b>          You are not betraying her. My                       
<b>                                                              
</b>          father and I will embrace the new
          faith.                                              
Bess is suspicious and starts to leave.                       
<b>                    BESS
</b>          Don't put me in danger like this.                   
<b>                    THROCKMORTON                              
</b>          Cousin Bess, we've known each
          other all our lives. I would do                     
          nothing to harm you.                                
<b>                       BESS
</b>          I'm sorry.                                          
<b>                    THROCKMORTON                              
</b>          If they catch us, they will kill                    
          us. Our lives are in your hands.                    
<b>
</b><b>                         E
</b>



                                    Double Blue - july 8 - p.43D


<b>     INT. HALLWAY, WHITEHALL PALACE - DAY
</b><b>40                                                                 40
</b>     A group of the Queen's ladies make their way down the
     hallway, Bess among them. The others are gossiping in low
     whispers as they go. Bess is silent with anxiety.

     Then she looks ahead, and her face fills with fear.
     Walsingham is coming down the hallway towards them. The
     ladies curtsey. He nods, and throws a glance at Bess. The
     ladies move on.

     Bess looks back. Walsingham is also looking back, and seems
     to be watching her.


<b>     INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>41                                                                 41
</b>     Bess hurries ahead of the others through the Privy Chamber
     to the Queen's private quarters.                                    

<b>42   B                                                             42
</b><b>     INT. QUEEN'S PRIVATE QUARTERS - DAY
</b>
      ess passes ladies organising the Queen's wardrobe. She
     finds the Queen laughing with Raleigh - not alone, but
     unusually informal.

<b>                          LIZABETH
</b>               Don't tease me, Mr Raleigh.
               There's nothing I'd like to do
               more.

<b>                         RALEIGH
</b>               So why don't you?

<b>                         ELIZABETH
</b>               Alright, then. I will.

     He blinks: caught by surprise.

<b>                         ELIZABETH
</b>               See! You lie! You don't want me                           
               on your ship at all.
                   (turning towards Bess)                                
               You're a liar!                                            
     Elizabeth now takes in Bess.                                        
<b>
</b><b>      O
</b>



                                      Green revision May 25 -p.44

<b>                          ELIZABETH
</b>                Would you like to go to sea,
                Bess?

<b>                           BESS                                            
</b>                Majesty?                                                   
<b>                          RALEIGH
</b>                I'm afraid that's not possible.
                Women bring bad luck on board
                ship.

<b>                          ELIZABETH
</b>                Oh, do they?

<b>                          RALEIGH
</b>                Lock up a hundred men in a space
                smaller than this room, for
                months at a time - Men have
                needs. A beautiful woman like you
                would drive us all mad.

<b>                          ELIZABETH
</b>                    (amused)
                Men have needs?

       nce again Elizabeth meets Raleigh's eyes. Then she breaks
      away, feeling the contact is dangerous.

<b>                          ELIZABETH
</b>                Then let them stay on land and
                see to their needs.
                    (to Bess)
                Mr Raleigh is eager to sail away
                to his infant colony, Bess. We
                must persuade him to stay a
                little longer, mustn't we?


<b>      INT. HALLWAY, WHITEHALL PALACE - DAY
</b><b>42A                                                                 42A    
</b>      Raleigh is leaving. Walsingham has been waiting for him. He          
      falls into step beside him.                                          
<b>                           WALSINGHAM                                      
</b>                Mr Raleigh. A word of advice. The                          
                Queen chooses to show you favour.                          
                You naturally wish to take                                 
                advantage of that.                                         
                    (Beat)                                                 
                Don't ask for too much.                                    
<b>                          RALEIGH                                          
</b>                You think all I want is money.                             
<b>                          WALSINGHAM                                       
</b>                I hope all you want is money.                              
<b>
</b>                                Buff Revision 6th June - p.44A

<b>                          RALEIGH                                       
</b>               You think I'm a cynical                                  
               adventurer, with little breeding                         
               and less education. You're wrong.                        
               I'm a cynical adventurer with                            
               little breeding and an excellent                         
               education.                                               
<b>                          WALSINGHAM                                    
</b>               I begin to see why the Queen                             
               likes you.                                               


<b>     INT/EXT. LONDON HOUSE - NIGHT
</b><b>43                                                                43
</b>     A soft knock on the door. Francis Throckmorton goes to the
     window and looks out.

     THROCKMORTON'S POV - In the street outside, a woman with
     her head covered.

     He unbolts the door. T

<b>                           HROCKMORTON
</b>               Bess?

     Two men burst in and seize him. They are Agents 4 and 5.
     Beyond, the woman - not Bess - is hurrying away.

     Throckmorton struggles. A single sharp blow, and he folds
     to the ground.
<b>
</b><b>                                 45
</b>

<b>     REPOSITIONED AS SCENE 35B
</b><b>44                                                               44    
</b><b>
</b><b>                                46-49
</b>



<b>        OMITTED
</b><b>44A-B                                                          44A-B      
</b>
<b>        INT. QUEEN'S PRIVATE QUARTERS - DAY
</b><b>45                                                                  45
</b>        Multiple images of Elizabeth, naked. Strange misty
        refracted glimpses of her face, her body.

        A bath of steaming hot water has been placed in the Queen's
        private quarters, and screened by mirrors. The Queen is in
        the bath, being washed by her ladies.
<b>        B
</b>         ess Throckmorton has the job of holding the Queen's hair
        out of the water as she's washed. She strokes the soft
        tresses as she holds them, unaware that Elizabeth can see
        her in the mirror.

        Then she looks up and catches Elizabeth's eyes, and stops
        in confusion.

<b>                            ELIZABETH
</b>                  No, don't stop. I like it.

        Bess returns to her gentle caresses, and Elizabeth to her
        thoughts.

<b>                            ELIZABETH
</b>                  Is it true, Bess? That I've never
                  known the simple pleasure of
                  being liked for myself?

<b>                            BESS
</b>                  I hope you believe that I like                          
                  you for yourself, my lady.                              
<b>                            ELIZABETH
</b>                  Is anybody ever liked just for
                  themselves? Are you? I doubt it.
                  Men like you because you're
                  pretty. And because you have the
                  ear of the Queen.
<b>
</b><b>                         E
</b>



                                     May 1 Blue Draft - p. 50

<b>                         BESS
</b>               No doubt, my lady.

<b>                         ELIZABETH
</b>               Him too. He likes you because he
               wants my favour. You do realise
               that?

<b>                         BESS
</b>               Yes, my lady.

<b>                         ELIZABETH
</b>               And the other thing too, of
               course. But all men want that.
               Male desire confers no
     B         distinction.

      ess strokes Elizabeth's hair in silence. Then she sees
     Elizabeth gazing at her in the mirror.

<b>                          LIZABETH
</b>               I envy you, Bess. You're free to
               have - what I can't have. You're
               my adventurer. Don't be afraid.
               It's all over so soon.



<b>46                                                               46
</b><b>     INT. TORTURE ROOM - DAY
</b>
     A man who looks like a shop assistant sits grabbing a quick
     lunch. He's the TORTURER. Nearby on a blood-stained bench
     lies a huddled half-naked figure, trembling uncontrollably.
     It's Francis Throckmorton. He's neither manacled nor
     guarded. His body is so broken it's not necessary.

     Walsingham enters. The torturer jumps to his feet.
     Walsingham goes to Throckmorton. He gazes at him, shaking
     his head. He's getting too old for this dirty business.

<b>                         WALSINGHAM
</b>               Still nothing to tell me, Mr
               Throckmorton?

     Throckmorton struggles to lift his head.
<b>                          T
</b><b>                          HROCKMORTON
</b>               My soul will go free soon.

<b>                         WALSINGHAM
</b>               I know about the Enterprise. I
               need names. But if you won't help
               me, perhaps your father will.

     He signs to the torturer. The torturer goes into an
     adjoining cell.
<b>
</b>                              orchid revisions 28 June - p. 51

<b>                          WALSINGHAM
</b>                He's been questioned, as you
                have. I do have to know, you see.

      The torturer and a guard enter, dragging between them the
      broken but living body of OLD THROCKMORTON.

<b>                          THROCKMORTON
</b>                No!

      Old Throckmorton looks up, eyes blank with suffering.

<b>                          THROCKMORTON
</b>                Enough! You want a name, I'll
                give you a name.

<b>                          WALSINGHAM
</b>                Well?

      Walsingham comes close to hear. Throckmorton chokes out
      something we don't hear, but the torturer hears, and his
      eyes open wide.


<b>      INCORPORATED INTO SCENE 46B
</b><b>46A                                                               46A    
</b><b>
</b>                                 orchid revisions 28 June - p. 52



<b>      INT. HALLWAY, WHITEHALL PALACE - DAY
</b><b>46B                                                                 46B
</b>      Elizabeth passes down a hallway at a brisk pace, Hatton by           
      her side, her ladies hurrying behind her.                            
<b>                          HATTON
</b>                Another letter has come from Mary                          
                Stuart, majesty. Asking to meet                            
                you.                                                       
<b>                          ELIZABETH                                        
</b>                Filled with declarations of love?                          

<b>                                                                           
</b><b>                             HATTON
</b>                As always.                                                 

<b>                                                                           
</b><b>                          ELIZABETH
</b>                If she wants my love, let her                              
                deserve it. Refused.                                       

<b>      INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - DAY
</b><b>47                                                                   47
</b>      Elizabeth enters her private quarters, now moving with
      regal dignity once more, but the flush on her cheeks gives
      her away. Her ladies follow.

      There stands Raleigh, waiting for her.

<b>                          ELIZABETH
</b>                Mr Raleigh. I've kept you
                waiting.

<b>                          RALEIGH                                          
</b>                You have more important concerns                           
<b>                                                                           
</b>                than me.

<b>                          ELIZABETH                                        
</b>                There is always other business.                            
                But I have been waiting too.                               
      Walsingham enters.

<b>                             WALSINGHAM
</b>                Majesty.

      Elizabeth turns on him with a frown of irritation.

<b>                          ELIZABETH
</b>                Yes, Walsingham?

<b>                          WALSINGHAM
</b>                The traitor has talked, majesty.
                The traitor Throckmorton.
<b>
</b>                       orchid revisions 28 June - p. 52A

A flash of fear in Bess's eyes.

<b>                    ELIZABETH
</b>              (to Raleigh)
          Forgive me, sir. As you see, my
          time is not my own.

Elizabeth moves away so that Walsingham can talk to her in
confidence. She listens to his murmured words, and anger
shows on her face.
<b>
</b><b>     E
</b>



                               May 1 Blue Draft 28 June - p. 53


<b>     EXT. TORTURE ROOM - DAY
</b><b>48                                                                48
</b>     The torturer, now off duty, is standing in the open doorway
     to empty his bladder. He's unlacing his britches, when he
     hears footsteps approaching behind.
<b>                          T
</b><b>                            ORTURER
</b>               Harry?

     The torturer begins to piss, with evident pleasure.

<b>                         TORTURER
</b>               You'll never guess what I heard -

     A knife at his throat. A quick slash.

     The killer, Agent 3, waits one more moment, to be sure the
     job is done. The torturer slumps, still standing, against
     the wall.

     Agent 3 slips away.

     On the flag stones, blood trickles down to mingle with the
     urine.


<b>     INT. WHITEHALL PALACE - DAY
</b><b>49                                                                49
</b>     Now there are guards everywhere. The whole palace is on
     heightened alert.

      lizabeth sweeps out of the Privy Chamber into the Great
     Hall, accompanied by the Spanish Ambassador on one side and
     Walsingham on the other. Her entourage scuttles behind.

<b>                         ELIZABETH
</b>               What do you know of the
               Enterprise of England,
               Ambassador?

<b>                         DON GUERAU
</b>               The Enterprise...? Forgive me,
               your majesty...

<b>                         ELIZABETH
</b>               It's a plan for the invasion of
               my country. Two armies landing on
               the coasts of Sussex and -

<b>                           WALSINGHAM
</b>               Norfolk.

<b>                         ELIZABETH
</b>               And Norfolk. Mary Stuart is to be
               set free, and placed on the
               English throne.
<b>
</b>                        May 1 Blue Draft 28 June - p. 54
                    ELIZABETH(cont'd)
          I am to be assassinated. Does any
          of this sound familiar?

<b>                    DON GUERAU
</b>          I know nothing of any invasion
          plans.

<b>                    ELIZABETH
</b>          I refer to this plan as the
          Enterprise of England. It should
          more accurately be called `la
          Empresa di Inglaterra', because
          it's a Spanish plan. The plan of
          your king, my one-time brother-in-
          law, Philip II, to attack my
          country.

The Ambassador decides the best form of defence is attack.
<b>                     D
</b><b>                     ON GUERAU
</b>          Attack? It is my country that is
          under attack! Your so-called
          pirates attack our merchant ships
          daily! Do you think we don't know
          where their orders come from? The
          whole world knows that pirates
          sail up the Thames all the way to
          the royal bed!

<b>                    ELIZABETH
</b>              (exploding)
          You will leave my presence, sir!
          Go back to Spain! Tell Philip
          that I don't fear him, or his
          priests, or his armies. Tell him
          if he wants to shake his little
          fist at us, we're ready to give
          him such a bite he'll wish he'd
          kept his hands in his pockets.

Don Guerau sees no point in further pretence. He speaks
with pride and contempt.

<b>                    DON GUERAU
</b>          You see a leaf fall, and you
          think you know which way the wind
          blows. But a wind is coming,
          madam, that will sweep away your
          pride.
<b>H
</b> e bows and turns to go. Elizabeth's words blaze after him.

<b>                    ELIZABETH
</b>          I too can command the wind, sir.
          I have a hurricane in me that
          will strip Spain bare, if you
          dare to try me!
<b>
</b>                             May 1 Blue Draft 28 June - p. 55

     Shivering with rage she turns round, and there's Raleigh.
     Her fury overflows onto him.

<b>                         ELIZABETH
</b>               What are you staring at? Lower
               your eyes! I am the Queen!

     She sweeps past him without a further glance.

     ON RALEIGH - Watching Elizabeth go. A shake of his head.
     Enough.


<b>     EXT. SHIPYARD, SPAIN - DAY
</b><b>50                                                                50
</b>     Immense stacks of cut timber as far as the eye can see.
     Skeletons of new ships, big ships, rising in the great
     yard. Hundreds of ship-builders at work.
<b>     T
</b>      his is what the forests were felled for: a brand-new fleet
     is being built.

     Tiny figures in the wide scene: the royal party appears.
     Philip has come to see progress for himself. As he and his
     entourage tour the construction site, one of his ministers
     briefs him on the latest developments in England.

<b>                         SPANISH MINISTER
</b>               (It can't be denied that we've
               lost the advantage of surprise. A
               large part of our plans has come
               into their hands.)

<b>                         PHILIP
</b>               (The Jesuit is still at liberty?)

<b>                         SPANISH MINISTER
</b>               (We understand so, majesty.)

<b>                         PHILIP
</b>               (He knows his business. We've
               lost nothing.)

     The workmen kneel to Philip as he passes.

<b>                         PHILIP
</b>               (Tell the carpenters to go on
               working. No one is to stop for
               me. The fleet must be ready to
               sail in a month.)

<b>                         SPANISH MINISTER
</b>               (Impossible, majesty!)

<b>                         PHILIP
</b>               (If this is God's work, God will
               make it possible.)
<b>
</b><b>      C
</b>



                                 May 1 Blue Draft 28 June - p. 56

<b>                          SPANISH MINISTER
</b><b>                (
</b>                 Only a miracle -)

<b>                          PHILIP
</b>                (A miracle, then. Let it be
                done!)


<b>      INT. CAPTAIN'S CABIN, TYGER - DAY
</b><b>51                                                                   51
</b>       LOSE ON pen and paper - a letter being written in haste.

      Raleigh at a ship's table littered with charts. He's
      writing a letter to the Queen.

<b>                                                                           
</b>      Calley enters.

<b>                          CALLEY                                           
</b><b>                                                                           
</b>                Visitor for you, sir.


<b>      EXT. DECK, TYGER - DAY
</b><b>51A                                                                 51A    
</b>      The Tyger is in dock. Raleigh emerges from his cabin to              
      find Bess waiting for him.                                           
<b>                          RALEIGH                                          
</b>                The Queen has sent you to me.                              
<b>                          BESS                                             
</b>                Yes -                                                      
<b>                          RALEIGH                                          
</b>                Tell the Queen that I will                                 
<b>                                                                           
</b>                trouble her no more. As soon as
                my ship's repairs are complete I                           
                will ask permission to sail.                               
<b>                          BESS                                             
</b>                The Queen asks me to assure you -                          
<b>                          RALEIGH                                          
</b>                I need no assurances. I'm no                               
                courtier and never have been.                              
                I've lost my appetite for playing                          
                games that it seems I'm too                                
                stupid to understand.                                      
<b>                          BESS                                             
</b>                That is unfair -                                           
<b>                          RALEIGH                                          
</b>                You call me unfair!                                        
<b>                          BESS                                             
</b>                Let me speak!                                              
<b>
</b><b>                                                                        
</b>



                             May 1 Blue Draft 28 June - p. 57

     Raleigh is taken aback by Bess's sudden anger.                     
<b>                         BESS
</b>               The Queen shouts at you once, and                        
               you sulk like a child. I thought                         
               you more of a man than that. And                         
               I thought you a better friend to                         
               the Queen. Her every move is                             
               watched by a hundred eyes.                               
               Assassins plot to kill her.                              
               Enemies prepare to overwhelm her                         
               country. And you say she's                               
               playing games?                                           
     Raleigh is watching her as she speaks, and he's impressed.
<b>                                                                        
</b>     Anger suits her.

<b>                         RALEIGH                                        
</b><b>                                                                        
</b>               Very well. What is my Queen's
               command?                                                 
<b>                         BESS                                           
</b><b>                                                                        
</b>               Go to her, sir. As her friend.


<b>52                                                                52
</b><b>     INT. QUEEN'S PRIVATE QUARTERS - DAY
</b>
     Elizabeth is pacing, disturbed, Raleigh's letter open in
     her hand.

     The doors open. Raleigh enters. Elizabeth waits for the
     servants to close the doors behind him. Holds up the
     letter.

<b>                         ELIZABETH
</b>               You ask permission to go.

<b>                                                                        
</b><b>                         RALEIGH
</b>               Yes, majesty.                                            
<b>                         ELIZABETH                                      
</b>               You plan to return to the New                            
               World. To your colony. For two,                          
               or three, or four years.                                 
<b>                         RALEIGH                                        
</b>               If your majesty grants me your                           
               royal warrant.                                           
<b>                         ELIZABETH                                      
</b>               That is a long time.                                     
<b>                         RALEIGH                                        
</b>               There's nothing left for me to do                        
               here. At sea I know what I'm to                          
               do, I know the risks, I know the                         
               rewards. Here -                                          
<b>
</b>                           May 1 Blue Draft 28 June - p. 58

A shrug. What can he do?                                       
<b>                    ELIZABETH
</b>          But you're quite wrong. You are
          needed here. I have decided to
          appoint you Captain of my
          personal guard.

<b>                    RALEIGH
</b>          Captain of your - !

<b>                    ELIZABETH
</b>          Kneel.

He kneels. She taps him on the shoulder with one hand.

<b>                    ELIZABETH
</b>          Rise, Sir Walter Raleigh.

He rises, but keeps his eyes on the ground.                    
<b>                     ELIZABETH
</b><b>                                                               
</b>          Well? You may express your
          gratitude.                                           

<b>                                                               
</b><b>                    RALEIGH
</b>          This is too great an honour.                         

<b>                                                               
</b><b>                    ELIZABETH
</b>          If it's such an honour, why are                      
          you staring at your boots?                           
<b>                    RALEIGH                                    
</b>          You know why.                                        
He raises his eyes, but he still doesn't look at her.          
<b>                    ELIZABETH
</b>          Now you stare at the wall. Am I
          so old and hideous that you can't
          even look me in the face?

He turns now, and looks her in the face.                       
<b>                    RALEIGH
</b>          Why do you talk like a fool when
          you're anything but a fool?

This stops her in her tracks. For a moment she can't trust
herself to speak. Then:

<b>                    ELIZABETH
</b>          My friend, forgive me. I'm a vain
          and foolish woman. At court it's
          all a game. I like to be admired.
          I require it. I grow accustomed
          to it. But it's all - nothing.
<b>
</b><b>     B
</b>



<b>5
</b>



                             May 1 Blue Draft 28 June - p. 59
                         ELIZABETH(cont'd)
               You come here as if from another
               world, and I - You have real
               adventures, you go where the maps
               end. I would follow you there if
               I could, believe me.                                    
     Raleigh looks long into her eyes. If anything, he admires         
     and loves her all the more now.                                   
<b>                         ELIZABETH                                     
</b>               The storm clouds are gathering,                         
               my friend. Please don't leave me                        
               now.                                                    

<b>     EXT. GALLOWS - DAY
</b><b>53                                                               53
</b>     CLOSE ON Throckmorton as the noose is tightened round his
     neck. His face is ravaged by the tortures he's endured, but
     he holds his head high, ready for death. Round him an
     unseen crowd bays for blood.

<b>                         CROWD (O.S.)
</b>               Hang! Hang! Hang!

<b>                         RESTON (V.O.)
</b>               Lord have mercy on the soul of
               your servant, who gives his life
               for your eternal truth...


<b>     INT. SECRET ROOM - DAY
</b><b> 4                                                               54
</b>     A candle-lit cellar, where Reston and the conspirators pray
     for the condemned man, heads bowed.

      abington bursts in.                                              

<b>                                                                       
</b><b>                         BABINGTON
</b>               Francis is about to die! We must                        
               act!      R                                             
<b>                          ESTON
</b>               He enters heaven as a soldier                           
               returns home victorious from war.                       
<b>                         BABINGTON
</b>               Why don't we strike? What's he
               dying for? Is this part of your
               plan?

     Reston puts his hands on Babington's shoulders and gently         
     but irresistibly forces him down to pray with them.               
<b>                         RESTON
</b>               Lord, be with us as the end
               approaches.
<b>
</b><b>                                                                        
</b>



                              May 1 Blue Draft 28 June - p. 60
                          RESTON(cont'd)
                We will not fail in our duty. We
                look beyond death, to eternity.


<b>      EXT. GALLOWS - DAY
</b><b>55                                                                55
</b>      Throckmorton drops. His body flails. His neck breaks. A
      roar of bloodlust from the crowd.


<b>      (RENUMBERED- SEE SCENE 51A)
</b><b>55A                                                              55A    
</b>
<b>      INT. PRIVATE CHAPEL - NIGHT
</b><b>55B                                                              55B    
</b>      Bess is on her knees before the simple altar, her head            
<b>                                                                        
</b>      bowed in prayer.

      Raleigh enters through the rear doors. He stands in               
<b>                                                                        
</b>      silence, watching her as she prays. He hears her sigh.

      He takes a step towards her. She hears, startled. Turns and
      sees him.                                                         
<b>                          BESS                                          
</b>                Oh! It's you!   
<b>                                        
</b><b>                          RALEIGH                                       
</b>                I'm sorry. I didn't mean to                                                                                                   
                disturb you.

<b>                          BESS                                                                        
</b>                My prayer's done.

      She rises to her feet.   
<b>                                         
</b><b>                          RALEIGH                                       
</b>                Something has distressed you.  
<b>                         
</b><b>                          BESS                                          
</b>                And I thought I prayed in                               
                silence.               
<b>                                 
</b><b>                          RALEIGH                                       
</b>                So you did.        
<b>                                     
</b>      She turns away, unable to look him in the eyes.   
<b>                
</b><b>                          BESS                                          
</b>                A man was hanged today. A Papist.                       
                I knew him well. He was my                              
                cousin. He died because I gave                          
                information. I gave information                         
                to prove my loyalty. Because I                          
                was afraid.                                             
<b>
</b>                                May 1 Blue Draft 28 June - p. 61

<b>                         RALEIGH                                         
</b>               That's necessity. That's the                              
               world we live in.                                         
<b>                         BESS                                            
</b>               He told me he wanted to change.                           
               Become part of the new England. I                         
               was afraid that he was lying to                           
               me. But what if - what if it was                          
               true?                                                     
     He sees the horror in her eyes, at the thought that she has         
     sent an innocent man to his death. Tears rise to her eyes.          
<b>                         BESS                                            
</b><b>                                                                         
</b>               What if I was his last hope? What
               if I was the one person he                                
               thought he could trust?                                   
<b>                         RALEIGH                                         
</b>               If you knew him well, you will                            
               have sensed the truth.                                    
<b>                         BESS                                            
</b>               I thought so.                                             
<b>                         RALEIGH                                         
</b>               He was hoping to use you. You did                         
<b>                                                                         
</b>               what you had to do.

     She can no longer hold back the tears.                              
<b>                         RALEIGH                                         
</b>               There, now.                                               
     He wipes away a tear from her cheek. In desperate need of           
     comfort, she throws herself into his arms. He holds her             
<b>                                                                         
</b>     close as she sobs.

<b>                         RALEIGH                                         
</b>               We're all mortal, Bess. We do                             
               what we can.                                              
     He strokes her cheek. She meets his eyes, filled with               
     gratitude. She takes the hand that touches her face and             
     moves it to her lips. She kisses it, still holding his              
     eyes. He draws her back into his arms, and they kiss.               
     Suddenly they're kissing eagerly, greedily, their long pent-        
     up passion released at last.                                        

<b>     OMITTED
</b><b>56                                                                 56    
</b><b>
</b><b>     A
</b>



<b>                            C
</b>



                                May 1 Blue Draft 28 June - p. 62


<b>     EXT. CHARTLEY HALL - DAY
</b><b>57                                                                 57
</b>     A brewer's wagon, pulled by two dray horses and carrying
     beer barrels, crosses the ancient bridge over the moat and
     pulls up by the gates.

     The brewer, a big ugly man called BURTON, looks down at the
     GUARDS. Beside him, taking care not to draw attention to
     himself, sits Ramsay.

<b>                         BURTON
</b>               Morning. Another filthy day on
               God's stinking earth.

<b>                         GUARD
</b>               Morning to you.

     It's a familiar ritual. The guards search the wagon.


<b>     INT. CELLAR, CHARTLEY HALL - DAY
</b><b>58                                                                 58
</b>     Burton, standing outside, rolls the barrels through a trap
     door and down a chute into the cellar, where they are
     caught by the CELLARMAN, and stacked. Another GUARD stands
     and watches.         B
<b>                             URTON
</b>               Last cask!

     The cellarman takes it, then closes the trap door. The
     guard watches as the cellarman empties the beer barrels
     into open vats; leaving the bungs on one side. The barrels
     are then thrown on a fire.

<b>                          ELLARMAN
</b>               Nothing but beer. Satisfied?


<b>     INT. CELLAR, CHARTLEY HALL - DAY
</b><b>59                                                                 59
</b>     CLOSE ON the bungs, unnoticed on a side shelf.

     A FEMALE HAND picks up one of the bungs. Fingers probe. A
     cavity opens. Inside, tightly folded pages.


<b>     INT. HALLWAY, CHARTLEY HALL - DAY
</b><b>60                                                                 60
</b>      nnette, Mary Stuart's maid, walks calmly up to the GUARD
     outside the doors to her mistress's apartments. She nods at
     him, and he unlocks the doors, letting her through.
<b>
</b><b>     O
</b>



                               May 1 Blue Draft 28 June - p. 63


<b>     INT. MARY STUART'S QUARTERS, CHARTLEY HALL - DAY
</b><b>61                                                                61
</b>      nce inside, Annette abandons her calm manner, and hurries
     through the apartment.

<b>                         ANNETTE
</b>               Madame! Madame!

     Mary Stuart comes to meet her. Annette removes the crumpled
     papers from her undergarments. Mary crosses herself, takes
     the letter to a lamp, and devours it with eager eyes.

<b>                         MARY
</b>                   (to herself)
               The gentlemen are ready. It will
               be soon now.

<b>                         ANNETTE
</b>               Blessed Mother of God pray for
               us!

<b>                         MARY
</b>               Bring me pen and paper, Annette.
               They wait on my reply. Hurry,
               now, hurry!


<b>62                                                                62
</b><b>     EXT. RIVER/DEE'S HOUSE - DUSK
</b>
     The moon seen through a sextant.

     A strange figure stands on the flat roof of a riverside
     house, studying the night sky. He's tall, with a long
     pointed beard and a skullcap: the famous magus DR JOHN DEE.

     A hiss and splash from the night river. He turns to look.
     Out of the mists and shadows comes the lights of an
     approaching barge.

     ON THE ROYAL BARGE - Elizabeth and Walsingham, wrapped
     against night chill, being rowed up river. Over this, lines
     led from the next scene:

<b>                         ELIZABETH (V.O.)
</b><b>               W
</b>                ell, Dr Dee. Here I am again,                           
               back to consult the wisdom of                            
               your charts.                                             

<b>     INT. DEE'S HOUSE - DUSK
</b><b>63                                                                63
</b>     The finest library in England. The greatest array of
     scientific instruments. Part study, part laboratory, part
     magician's lair, Dr Dee's house is crammed with the
     evidence of his wide-ranging curiosity.
<b>
</b>                        May 1 Blue Draft 28 June - p. 64

The magus sits at a table before an astrological chart,
while Elizabeth and Walsingham look on.

<b>                    DEE
</b>          The alignment of the planets is                   
          most unusual this year. Mars is                   
          due to take the ascendant three                   
          days after the anniversary of                     
          your birth - your majesty was                     
          born on September 7th - and I see                 
          that twelve days before the                       
          anniversary of your birth -                       
He transfers his attention to a different, astronomical
chart.

<b>                    DEE
</b>          - there will be a full moon - the                 
          moon which -

He moves back to the astrological chart.

<b>                    DEE
</b>          - governs the fortunes of all
          princes of the female gender.

<b>                    ELIZABETH
</b>          Princes of the female gender.

<b>                    DEE
</b>          I mean to say, a prince who is
          also a woman.

<b>                    ELIZABETH
</b>          Yes, Dr Dee. I am following you.
          So what does it all mean?
<b>                    D
</b><b>                     EE
</b>          It means the rise of a great
          empire, majesty. And it means
          convulsions, also. The fall of an
          empire.

Elizabeth listens, a faraway look in her eyes. She knows
nothing of the planets, but she feels it deep within
herself: her moment of destiny is near.

<b>                    ELIZABETH
</b>          Which empire is to rise, and
          which is to fall?

<b>                    DEE
</b>          That I can't say. Astrology is,
          as yet, more an art than a
          science.
<b>
</b>                        May 1 Blue Draft 28 June - p. 65

Walsingham has been idly examining the scientific
instruments. He speaks now as if his question is casual.

<b>                    WALSINGHAM
</b>          Nothing more, Dr Dee? No more
          specific calamities that we can
          guard against?

<b>                    ELIZABETH
</b>          He means, Will I be assassinated?

<b>                    WALSINGHAM
</b>          Queens are mortal.

Dr Dee smiles as he gently contradicts him.

<b>                    DEE
</b>          Elizabeth is mortal. The Queen
          will never die.

<b>                     ELIZABETH
</b>          You see, Francis? This is a
          mystery.
              (to Dee)
          He has no patience with
          mysteries. W

<b>                     ALSINGHAM
</b>          What I don't know, I can't use.

<b>                    DEE
</b>          And yet mysteries have power.
          Have you not learned that?

<b>                    ELIZABETH
</b>          Francis. Leave us for a moment.

Walsingham leaves. Elizabeth turns to Dr Dee. Now for a
short private moment the Queen becomes a woman.

<b>                    ELIZABETH
</b>          And the private life of this
          prince of the female gender, Dr
          Dee? What do the stars foretell
          there? Or is this too a mystery?

<b>                    DEE
</b>          These are matters of state,
          majesty.

<b>                    ELIZABETH
</b>          Do the stars not foretell matters
          of state?

<b>                    DEE
</b>          For such a prediction, I must
          look in a different chart.
<b>
</b>                             May 1 Blue Draft 28 June - p. 66

     He means her face. He murmurs to himself as he studies her
     features, reading her character.

<b>                         DEE
</b>               Wonderful... Out of such
               suffering, to have forged such
               strength... You will need all
               your strength in days to come...
               And love... So much love...

     But as he looks, he finds something more that disturbs him.        
<b>                         DEE
</b>               But you doubt yourself, my                               
               child... I've not seen fear in                           
<b>                                                                        
</b>               your face before.

<b>                         ELIZABETH                                      
</b><b>                                                                        
</b>               Have I reason to fear?

<b>                         DEE                                            
</b>               Something has weakened you...                            
<b>                                                                        
</b>               There is danger, yes... Your
               strength lies in your spirit.                            
               Nothing else matters. There are                          
<b>                                                                        
</b>               hard days coming. You must trust
               the power of your spirit.                                

<b>                                                                        
</b>     Elizabeth is shaken by these words. Dee turns to look out
     once more at the night sky.                                        

<b>                                                                        
</b><b>                         DEE
</b>               But I'm no prophet. I see no more                        
               than the shadows of ghosts.                              
<b>                         ELIZABETH
</b>               An art, not a science. I
               understand.


<b>     EXT. THAMES - DUSK
</b><b>64                                                                64
</b>     The royal barge returns down the night river. Elizabeth
     sits in silence, gazing into the darkness, deep in her own
     thoughts.


<b>     INT. RALEIGH'S HOUSE - DUSK
</b><b>65                                                                65
</b>     Raleigh and Bess make love.


<b>     INT. QUEEN'S PRIVATE QUARTERS - NIGHT
</b><b>66                                                                66
</b>     Elizabeth stands before a long mirror, alone in her
     dressing chamber, illuminated by lamp light.
<b>
</b><b>                                                                           
</b>



                                 May 1 Blue Draft 28 June - p. 67
      She wears a plain shift. She loosens the ties of her shift
      and lets it fall to the floor, leaving her naked.

      She gazes at her own naked body in the mirror.


<b>      INT. SECRET ROOM - NIGHT
</b><b>67    R                                                              67
</b>       eston sits at the table, writing by candle light. Burton
      the brewer enters. Reston leaps to his feet, very tense.

<b>                          RESTON
</b>                You have it?

      Burton hands him the letter. Reston opens it and reads it
      at speed. Then he hands it to a man we don't see.

<b>                          RESTON
</b>                What do you think? There must be                           
<b>                                                                           
</b>                clear and valid authority.

      He gazes at the unseen man, waiting on his verdict.

<b>                          WILLIAM (O.O.V.)
</b>                No. It won't do.                                           
      Reston nods agreement. He returns to the table and dashes
      off a letter, muttering as he does so.

<b>                          RESTON
</b>                We wait on a direct order.                                 
      He completes the note and gives it to Burton.

<b>                          RESTON
</b>                One more journey, my friend. Then
<b>                -
</b>                    (fiercely)
                consummatum est! It is finished.


<b>      INT. BESS'S BEDROOM - NIGHT
</b><b>67A                                                                 67A    
</b>      Bess lies restlessly asleep. Suddenly she gives a start and
      wakes. She stifles a scream with her hands. On the far side
      of the room, sitting watching her in silence, is
      Walsingham.

<b>                          BESS
</b>                Please! I'm innocent! I've always
                been a loyal servant of the
                Queen. I'd never betray the
                Queen, never -

<b>                          WALSINGHAM
</b>                But you have, my dear. And you
                do. We both know that.
<b>
</b><b>                            E
</b>



<b>                            D
</b>



                                May 1 Blue Draft 28 June - p. 68

     Bess knows he means her affair with Raleigh. Now she's too
     terrified to speak.

     Walsingham rises.

<b>                            WALSINGHAM
</b>                  Keep me informed, and all will be
                  well. I don't like surprises.

     He leaves.


<b>     INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - DAY
</b><b>68                                                                 68
</b><b>                            DANCING MASTER
</b>                  Jump!

     The dancing master is instructing Bess in the dance called
     La Volta, watched by the Queen, her ladies and courtiers. A
     trio of musicians plays a jaunty tune.

<b>                             ANCING MASTER
</b>                      (to Bess)
                  When I push like this, my lady,
                  give a jump into the air.

<b>                            ELIZABETH
</b>                  Let him throw you round, Bess.
                  You can trust him.

     The dancing master spins Bess round and lifts her up into
     the air. Her feet fly out as she spins. It's a bold, even
     risqué dance, and the onlookers laugh to see it.

<b>                            DANCING MASTER
</b>                  And round - and round - and round
                  - and down!

     He lowers Bess to the ground. She loves it. As the spinning
     begins again, Raleigh enters.

<b>                             LIZABETH
</b><b>                  L
</b>                   a Volta, Mr Raleigh. The jump. I
                  require all my ladies to learn
                  it. You see how fearless Bess is.

     Raleigh watches Bess dance.

<b>                            RALEIGH
</b>                  You like your ladies to jump at
                  your command?

<b>                            ELIZABETH
</b>                  Sometimes. Do you think that
                  wrong?
<b>
</b><b>S
</b>



                          May 1 Blue Draft 28 June - p. 69

<b>                    RALEIGH
</b>          No, no. You're the Queen. You are
          to be obeyed.

<b>                    ELIZABETH
</b>          To tell you the truth, Mr
          Raleigh, there are times when I'm
          tired of being always in control.

<b>                      RALEIGH
</b>          Nonsense.

<b>                      ELIZABETH
</b>          What?

<b>                    RALEIGH
</b>          You don't mean a word of it. You
          eat and drink control.

<b>                    ELIZABETH
</b>          Do you say so?

The exercise ends. All clap.

<b>                     ELIZABETH
</b>          Bess, you must try a dance with
          Mr Raleigh. He's eager to show us
          his skill.

<b>                    RALEIGH
</b>          No skill at all, majesty. I don't
          know the steps.

<b>                    ELIZABETH
</b>          Oh, it's very simple.

 he goes to Bess to demonstrate, holding her by the waist.

<b>                    ELIZABETH
</b>          You stand like this, with your
          hands firmly clasped here - and
          when she jumps, on the eighth
          step, you swing her round - once,
          twice, three times - and you're
          back to the beginning. What could
          be simpler?

<b>                    DANCING MASTER
</b>          Your majesty knows the dance
          better than I.

<b>                    ELIZABETH
</b>          So come, Mr Raleigh. Take your
          position. I am to be obeyed.

<b>                    RALEIGH
</b>          As your majesty wishes.
<b>
</b><b>                         M
</b>



                              May 1 Blue Draft 28 June - p. 70

     Raleigh takes his place with Bess.

<b>                          ELIZABETH
</b>               Hold her tight. I don't want her
               dropped.
<b>                   (
</b>                     to the musicians)
               Play!

     The dance begins again. Bess jumps, and Raleigh swings her
     round and round, finding the knack after an awkward start.
     Elizabeth watches, smiling, nodding to the beat. She can
     see the faces of the dancers; and so long as she controls
     the intimacy between them, she's excited by it.

     Walsingham enters and stands by her side, watching.

<b>                         ELIZABETH
</b>                   (low)
               Leave her alone, Walsingham. I
               want both of them left alone.


<b>69                                                                69    
</b><b>     SCENE RENUMBERED- SEE SCENE 67A
</b>

<b>70                                                                70
</b><b>     INT. MARY STUART'S QUARTERS, CHARTLEY HALL - DAY
</b>
     Mary Stuart is praying, but under cover of her bible, she
     is writing a secret letter. Sir Amyas Paulet enters, with
     three men. Mary closes the letter in her bible.

<b>                           ARY
</b>               Am I a danger to England even
               when I pray?
<b>                         P
</b><b>                          AULET
</b>               As always, ma'am, my concern is
               for your safety.

<b>                         MARY
</b>               I pray for my cousin Elizabeth.
               Do you think she prays for me?


<b>     INT. SECRET ROOM - DAY
</b><b>71                                                                71
</b>     Mary's latest letter is now in Reston's hand. Babington and
     Ramsay sit staring at Reston. This time the Jesuit is
     pleased. He reads the letter aloud to the unseen man.

<b>                         RESTON
</b>               `If our forces are in readiness,
               both within and without the
               realm, then your Queen commands
               you to set the gentlemen to
               work.'
<b>
</b>                             May 1 Blue Draft 28 June - p. 71
                         RESTON(cont'd)
                   (with quiet steely                                   
                    satisfaction)                                       
               I think we have it.

     He hands the letter over. For the first time we see who it
     is: William, now revealed as one of the conspirators.
     William reads the letter for himself.

<b>                         WILLIAM
</b>                   (nodding agreement)                                  
               This is the spark that will set                          
               England ablaze.                                          
     Reston takes out pistols, and hands one to Ramsay, one to          
     Babington.           R                                             
<b>                          ESTON
</b>               We've been patient long enough.                          
               Let God's work begin.                                    

<b>     INT. STUDY, WALSINGHAM'S HOUSE - NIGHT
</b><b>72                                                                72
</b>     Walsingham is at work at his desk. A knock on the door.
     Walsingham does not look up from his papers.

     William enters, wrapped in a cloak, one hand concealed.

<b>                         WILLIAM
</b>               It's me. William.

<b>                         WALSINGHAM
</b>                   (still not looking up)
               Where have you been? We haven't
               seen you for days.

<b>                         WILLIAM
</b>               I met up with some old friends.

<b>                         WALSINGHAM
</b>               From Paris, no doubt.

<b>                            WILLIAM
</b>               Yes.

<b>                         WALSINGHAM
</b>               And now you've come back.

     He looks up at last.

<b>                         WALSINGHAM
</b>               Do you know, I can still remember
               the day you were born?

     He smiles, but there's sadness in his eyes.
<b>
</b>                                May 1 Blue Draft 28 June - p. 72

<b>                         WALSINGHAM
</b>               I was eleven years old. And you,
               this helpless bundle. I looked at
               you in your crib, with your
               little wrinkled face, and I loved
               you from the first. I vowed then
               to look after you. I watched you                          
               grow up with your head in the                             
               clouds, always a dreamer. I                               
               couldn't follow you there. And                            
               now I've failed you, haven't I?                           
               Forgive me if I haven't loved you
               enough.

     Clink. Something falls from William's hand to the floor.
     His face has gone grey.

<b>                         WALSINGHAM
</b>               Did you really think I didn't
               know?

     On the floor - a dagger.

     William opens his mouth to answer, but no sound comes out.
     Walsingham raps twice on his desk. The door opens, and
     Agents 4 and 5 enter.

<b>                         WALSINGHAM
</b>               Was it for money? At least tell
               me you got a good price.
<b>     W
</b>      illiam shakes his head.

<b>                         WALSINGHAM
</b>               What then? What would you murder
               your own brother for?

<b>                         WILLIAM
</b>                   (whisper)
               Eternal life.

     Walsingham stares at him. A great sadness building.

<b>                         WALSINGHAM
</b>               Eternal life. The bribe no man
               can refuse.


<b>     OMITTED (INCORPORATED INTO SCENE 71)
</b><b>73                                                                 73    
</b>
<b>     EXT. WHITEHALL PALACE - DAY
</b><b>74                                                                 74
</b>     CLOSE ON Elizabeth, surrounded by courtiers and bodyguards,
     as she processes from the Presence Chamber to the Chapel
     Royal. As before, the way is lined with eager supplicants.
<b>
</b>                                May 1 Blue Draft 28 June - p. 73

     CLOSE ON Babington and Ramsay, forcing their way through
     the crowd to the front line.

     Elizabeth disappears from view into the Chapel.

<b>                         ROYAL SERVANT
</b>               The Queen is at her prayers!
<b>     T
</b>      he chapel doors begin to close.

<b>                            BABINGTON
</b>               Now!

     Ramsay hurls himself forward, shouting -

<b>                         RAMSAY
</b>               God for Mary! England's true
               Queen!

     The guards run to seize him, opening up a momentary space -

     Babington sprints through it for the closing chapel doors -


<b>     INT. CHAPEL ROYAL - DAY
</b><b>75                                                                 75
</b>     Babington bursts into the chapel, sees a line of ladies
     kneeling, masking the figure in front of the altar - he
     pulls out a pistol -

<b>                            BABINGTON
</b>               Elizabeth!

     Elizabeth turns and rises to confront the assassin's gun.
     Babington stares at her, hypnotised by her fearlessness.
     Then he pulls the trigger.

     Bang!

     Elizabeth still stares at him. She's unhurt.

     Babington lets out a cry of anguish, and crumples to the
     ground. Elizabeth stares on into space, frozen by the
     moment, magnificent.


<b>     INT. MARY STUART'S QUARTERS, CHARTLEY HALL - DAY
</b><b>76                                                                 76
</b>     Mary paces impatiently in her room, trailed by her little
     dog. She hears the sound of bells. Joy floods her features.

     Pounding feet. She turns to see Sir Amyas Paulet hurrying
     towards her, through a gate in the wall.

<b>                         MARY
</b>               You bring news?
<b>
</b>                             May 1 Blue Draft 28 June - p. 74

<b>                    PAULET
</b>          The Queen has been attacked -

<b>                      MARY
</b>          Yes?

<b>                    PAULET
</b>          The assassin seized -

<b>                      MARY
</b>          Yes?

<b>                    PAULET
</b>          The Queen unharmed -

<b>                      MARY
</b>          Unharmed?

<b>                    PAULET
</b>          And you, ma'am, are under arrest.

He has led up to this deliberately, and now stands smiling
at her utter confusion. The man who looked like a fool has
been playing his own game all along.

<b>                    MARY
</b>          Me? What has any of this to do
          with me?

Paulet makes a sign. Burton the brewer comes through the
gate: Walsingham's man after all.
<b>                     P
</b><b>                     AULET
</b>          That's the trouble with intrigue,
          isn't it? With so many secrets,
          you can never quite tell who's on
          who's side, until the game ends.

He takes the hollow bung out of one pocket and admires it.

<b>                    PAULET
</b>          My own invention. Theatrical, but
          effective. My master has every
          letter you've written.

<b>                    MARY
</b>          Your master?

<b>                    PAULET
</b>          Walsingham.

Now she knows it's over. She begins to weep.

<b>                    MARY
</b>          Traitors. I'm surrounded by
          traitors. Who am I to trust?                           
<b>
</b>                             May 1 Blue Draft 28 June - p. 75

     She picks up her little dog, weeping bitterly.

<b>                         MARY
</b>               Only my little one...


<b>     INT. PRISON - DAY
</b><b>77                                                                77
</b>     Walsingham has a lamp in his hand. He moves slowly along a
     passage, bowed down by a sense of failure.

     He directs the light of his lamp through cell bars onto a
     face. The Jesuit. Reston looks back, unafraid.

<b>                         WALSINGHAM
</b>               Ready to die, I see, Jesuit.

<b>                         RESTON
</b>               I have done what I was sent to
               do.

<b>                         WALSINGHAM
</b>               Why was the gun not loaded?

     Reston doesn't answer. Walsingham gazes at him a moment
     longer. Then he moves the lamp along. There, shackled and
     white-faced, sit Babington and Ramsay. Walsingham studies
     their faces.

     Walsingham carries his lamp down the passage and shines it
     into the next cell. Here lies a man in chains, huddled on
     the floor. He looks up as the light falls on him. William.

     Walsingham looks down on the pitiful sight.
<b>                          W
</b><b>                          ALSINGHAM
</b>               What was the Jesuit sent to do?

<b>                         WILLIAM
</b>               To kill the Queen. You know it.
               You know everything.

<b>                         WALSINGHAM
</b>               Not quite everything.

<b>                         WILLIAM
</b>               I've told you all I know. Go
               ahead and kill me. Take what's
               left of me. I don't care any
               more. All my life you've had
               everything and I've had nothing.
               So finish it. There's a better
               world waiting for me. We'll all
               be judged in the end, brother.
               Even you.

     Walsingham gazes down on this pitiful show of pride.
<b>
</b>                                  orchid revision 28 June -p. 76

<b>                         WALSINGHAM
</b>               You're no martyr. You weren't
               even much of a murderer. Go back
               to France. Back to your dreams.                           
               Never let me hear of you again.

     Walsingham turns away. As he goes we see what he won't show
     William: that the hurt of the betrayal is almost more than
     he can bear.

     He goes back up the passage. As he passes Reston, the
     Jesuit calls out softly.

<b>                         RESTON
</b>               Send me home.


<b>     INT. ESCORIAL PALACE, SPAIN - DAY
</b><b>78   P                                                             78
</b>      hilip sits listening intently, staring into space, the
     Infanta by his side. Don Guerau de Spes is briefing him.

<b>                         DON GUERAU
</b>               (They have letters in Mary
               Stuart's own hand. All England
               cries out for her death.)

     Philip nods as he listens. All goes to plan. He turns to
     the Infanta.

<b>                         PHILIP
</b>               (My dearest, how would you like
               to be Queen of England?)
<b>
</b>                                orchid revision 28 June -p. 77


<b>     INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - DAY
</b><b>79                                                               79
</b>     Elizabeth sits deep in thought, Bess by her side. Shadows
     all round.

<b>                         ELIZABETH
</b>               They say she's taller than me.
               Her hair is chestnut in colour.                         
               Her eyes are hazel. They say                            
               she's beautiful. But people lie.                        
               They say I am beautiful.                                
     A dismissive shrug. Clearly she does not think herself            
     beautiful.                                                        
<b>                         BESS                                          
</b>               She plotted to kill you.                                
<b>                         ELIZABETH                                     
</b>               Yes, it's true. I've read her                           
               letters. I too was a prisoner                           
<b>                                                                       
</b>               once. I've feared for my life.
               I've done terrible things - just                        
               to live.                                                
<b>                         BESS                                          
</b>               So do we all.                                           
<b>                         ELIZABETH                                     
</b>               I can be merciful. But she                              
<b>                                                                       
</b>               protests her innocence, and that
               is a lie. Why will she not admit                        
               she has wronged me?                                     
<b>                         BESS                                          
</b>               She'll go on lying til you cut                          
<b>                                                                       
</b>               out her traitor's heart.

     Elizabeth stares at her in surprise.                              
<b>                         ELIZABETH                                     
</b>               You used to be gentler, Bess.                           
<b>                         BESS                                          
</b>               I used to be quieter, majesty.                          

<b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b><b>80                                                               80
</b>     Mary Stuart sits before her accusers in the Great Hall of
     this sombre castle, her new prison. She wears black, but
     she is proud, composed, and beautiful. She is faced by a
     commission of lords, appointed to try her.
<b>
</b><b>                         W
</b>



                              orchid revision 28 June -p. 77A

<b>                         MARY
</b>               Who are you to sit in judgement                        
               on me? By what authority do you                        
               condemn a Queen? God alone has                         
               made me what I am. He is my only                       
               judge. Raise your law above God's                      
               law, and what law remains? In                          
               your vanity and ignorance you set                      
               loose the monster of misrule. You                      
               know neither who you are nor what                      
               you do. But I know who I am. I                         
               die as I have lived - trusting in                      
               the mercy of my God - a Queen.
<b>8                                                                     
</b>

<b> 1                                                              81
</b><b>     INT. PRIVY CHAMBER, WHITEHALL PALACE - NIGHT
</b>
     Elizabeth raging at Walsingham.

<b>                         ELIZABETH
</b>               Must die? Mary Stuart must die?                        
               Where is it written? Who dares to                      
<b>                                                                      
</b>               give orders to the Queen?

<b>                          ALSINGHAM
</b>               Majesty, this is no time for
               mercy -

<b>                         ELIZABETH
</b>               Don't preach at me, old man. Look
               at you! You can hardly stand. Go
               home to your wife. Go home to
               your bed.

<b>                         WALSINGHAM
</b>               The law must have its way.
<b>
</b>                                  orchid revisions 28 june - p.78

<b>                         ELIZABETH
</b>               The law is for common men, not
               for princes.

     Walsingham sees there's no point in persisting. He bows and          
     withdraws.                                                           

<b>     INT. HALLWAY, WHITEHALL PALACE - DAY
</b><b>82                                                                  82
</b>     Raleigh comes hurrying towards the Queen's quarters. Bess
     sees him approaching and comes out to meet him. They speak
     low, not wanting the ever-present guards to hear them.

<b>                         BESS
</b>               Thank God you've come. I've never
               seen her so distressed. She's
               been alone in her rooms since
               morning. She'll see no one.

<b>                         RALEIGH
</b>               Has she asked for me?

<b>                         BESS
</b>               No. But she needs you. I know she
               does.

     Raleigh takes Bess's B
                          hand in his, discreetly.

<b>                            ESS
</b>               Go to her.
<b>
</b>                                 orchid revisions 28 june - p.79


<b>     INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - DAY
</b><b>83                                                                 83
</b>     Elizabeth sits alone, deep in thought.

     Raleigh enters, and comes before her. She doesn't look
     round, but she knows it's him.

<b>                            RALEIGH
</b>               My Queen.

<b>                            ELIZABETH
</b>               My friend.

     Still she doesn't turn to him.

<b>                         ELIZABETH (CONT'D)                              
</b>               Did Bess bid you come? Have you                           
<b>                                                                         
</b>               too come to tell me I must murder
               a Queen?                                                  
<b>                         RALEIGH
</b>               No. You don't need me to instruct
               you in your duty.

<b>                                                                         
</b><b>                         ELIZABETH
</b>               My duty? Was it my father's duty                          
               to murder my mother? I would be                           
<b>                                                                         
</b>               loath to die so bloody a death.

<b>                         RALEIGH
</b>               Since when were you so afraid?

     Now she looks at him.

<b>                         ELIZABETH
</b>               Yes, I am afraid. I am always
               afraid.

     Raleigh looks back at her in silence for a long moment.
     Then -

<b>                         RALEIGH
</b>               You fear your soul will be
               touched. Royalty is close to
               immortality. Kill a Queen - and
               queens are mortal.

<b>                         ELIZABETH
</b>               You understand me well.

<b>                         RALEIGH
</b>               We mortals have many weaknesses.
               We feel too much. Hurt too much.
               And all too soon, we die. But we
               do have the chance of love.
<b>
</b><b>8
</b>
<b>                                                                      
</b>



                             orchid revisions 28 june - p.79A

     Elizabeth closes her eyes.

<b>                         ELIZABETH
</b>               Do we? Do we really?

     She nods, her eyes still closed.

<b>                         ELIZABETH (CONT'D)
</b>               I owe England my life. Don't ask                       
               for my soul.                                           

<b>     INT. MARY'S QUARTERS, FOTHERINGAY CASTLE - NIGHT
</b><b> 4                                                              84
</b>     Mary Stuart at supper, feeding titbits from the table to
     her little dog.

     Sir Amyas Paulet enters. Mary sees at once from his face
     that he brings grave news.
<b>
</b><b>     E
</b>



<b>     O
</b>



<b>     T
</b>



                             may 1 blue draft 28 June - p. 80

<b>                         MARY
</b>               Your face tells me. It's decided.

<b>                         PAULET
</b>               Tomorrow morning. At eight.

     Annette, her maid, bursts into wailing sobs. Mary herself
     goes very still. She's starting to carry out her final
     strategy.

<b>                         MARY
</b>               Please don't cry.                                        

<b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b><b>85                                                                85
</b>     The great timbered hall of the castle has been specially
     prepared for the execution. A stage has been constructed in
     the centre, and around the stage are chairs upon which
     DIGNITARIES and MEMBERS OF PARLIAMENT are already sitting.

     The block dominates the stage. Beside it, the hooded
     EXECUTIONER with his axe. The DEAN OF PETERBOROUGH in his
     clerical robes.
<b>     T
</b>      here are more chairs in the body of the hall, occupied by
     members of the public. They are all waiting for the
     performance to begin.

     Mary enters.

      he people crane their necks to see her. She doesn't
     disappoint. She is wearing a black velvet gown, her
     luxurious auburn hair tied in a bunch. Her LADIES,
     following her in procession, show signs of weeping and
     distress, but Mary herself glides to the platform with a
     regal bearing.

      n her face there is a look that is almost ecstatic.


<b>     INT. QUEEN'S PRIVATE QUARTERS, WHITEHALL PALACE - DAY
</b><b>86                                                                86
</b>      lizabeth, alone. She knows what's happening. She can't
     rest or be at peace. She tries to sit, then paces, becoming
     more and more agitated.


<b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b><b>87                                                                87
</b>     As Mary mounts the stage, the executioner kneels.

<b>                         EXECUTIONER
</b>               Forgiveness, your grace.
<b>
</b><b>     N
</b>



                             may 1 blue draft 28 June - p. 81

<b>                         MARY
</b>               I forgive you with all my heart,
               for now, I hope, you will make an
               end of all my troubles.

     She stands, smiling still, and holds out her arms to let
     her ladies disrobe her.


<b>     INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>88                                                                88
</b>      ow deeply distressed, Elizabeth suddenly bursts out of the
     Privy Chamber into the great Presence Chamber, tears
     welling into her eyes. Bess close behind her.

     She hardly notices the people around her, until she sees
     Raleigh.

<b>                         ELIZABETH
</b>               I want it stopped!


<b>89                                                                89
</b><b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b>
     Mary's black dress falls to the ground, revealing
     underneath a petticoat of dark red silk - the colour of
     martyrdom. There is a collective gasp from the spectators.


<b>     INT. GREAT HALL, WHITEHALL - DAY
</b><b>90                                                                90
</b>     Elizabeth is hysterical, shouting in Raleigh's restraining
     arms.

<b>                         ELIZABETH
</b>               No! It must be stopped!


<b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b><b>91                                                                91
</b>     Mary kneels, puts her head on the block.
<b>                          M
</b><b>                          ARY
</b>               Into your hands, O Lord, I
               commend my spirit.

     She stretches out her arms as a signal. The axe comes down.


<b>     INT. GREAT HALL, WHITEHALL - DAY
</b><b>92                                                                92
</b>     Elizabeth cries out, as if the axe has fallen on her neck.
     Then she sinks sobbing to the ground, supported by both
     Raleigh and Bess; and for a moment, the three are united in
     a single embrace.
<b>
</b><b>     P
</b>



                             may 1 blue draft 28 June - p. 82

<b>                         EXECUTIONER (V.O.)
</b>               God save the Queen!


<b>     INT. GREAT HALL, FOTHERINGAY CASTLE - DAY
</b><b>93                                                               93
</b>     ON THE FACES of the awed spectators. We see, FOREGROUND,
     the scarlet-clad torso of the executed Mary. A gasp of
     horror from the spectators. The dead woman's skirts are
     moving.

     Out from under her skirts creeps her little dog. The dog
     looks round, not understanding, and whimpers softly.

     Annette takes the dog into her arms.


<b>     INT. COUNCIL CHAMBER, ESCORIAL PALACE - DAY
</b><b>95   T                                                           95
</b>      he sound of cheering crowds outside in the plaza calling
     out the one Spanish word: `War! War! War!'.

      hilip enters from the balcony, walking briskly, holding
     the Infanta by the hand. He comes to a stop before his
     assembled ministers. His eyes shine.

<b>                         PHILIP
</b>               (A sweet and Christian lady lies                        
<b>                                                                       
</b>               martyred, slain by a- Godless-
               childless- BASTARD! Blood must                          
               pay for blood! We have just and                         
<b>                                                                       
</b>               holy cause! I call the legions of
               Christ to war! Elizabeth! Blood-                        
               soaked virgin Elizabeth! You will                       
<b>                                                                       
</b>               pay with your country- your
               throne- and your life!)                                 

<b>     INT. HALLWAY, WHITEHALL PALACE - NIGHT
</b><b>96                                                               96
</b>     ON WALSINGHAM - As he walks through the palace.

<b>                         WALSINGHAM (V.O.)
</b>               Forgive me. In my weakness and my
               vanity, I have failed you.


<b>     INT. PRIVY CHAMBER, WHITEHALL PALACE - DAY
</b><b>97                                                               97
</b>     Walsingham on his knees before Elizabeth, abasing himself
     in shame. Elizabeth is in control once more.
<b>                          E
</b><b>                          LIZABETH
</b>               How have you failed me? What am I
               to forgive you for?
<b>
</b>                              may 1 blue draft 28 June - p. 83

<b>                         WALSINGHAM
</b>               Philip of Spain is a God-fearing
               man. He cannot make war without
               just cause. He sent the Jesuit to
               kill a Queen. But not you.

<b>                         ELIZABETH
</b>               Not me!

<b>                         WALSINGHAM
</b>               The Jesuit's mission was to draw
               Mary Stuart into the murder plot.
               He knew I was reading her every
               letter. He waited until she wrote
               the words that sealed her guilt.

     Now Elizabeth gets it.

<b>                         ELIZABETH
</b>                   (slowly)
               And I ordered her execution. I
               murdered God's anointed Queen.
               And now God's most dutiful son
               makes holy war to punish me.

<b>                         WALSINGHAM
</b>               Forgive me, majesty. Let me go.

<b>                                                                        
</b>     Elizabeth hardly hears him any more. She realises the end
     game is upon her.                                                  
<b>                         ELIZABETH
</b>               Yes... Go...                                             

<b>                                                                        
</b>     Walsingham leaves. Elizabeth never even looks at him. She's
     looking into the distance, preparing herself for what must         
     now come.                                                          

<b>     INT. LISBON CATHEDRAL - DAY
</b><b>98                                                                98
</b>     The great Standard of the Armada, bearing the image of the
     Virgin, is carried into the cathedral.

     Philip follows, leading a column of Spain's noblest
     GRANDEES and PRINCES of the church.

     The ARCHBISHOP sprinkles holy water onto the Standard, and
     makes the sign of the Cross over it.

<b>                         ARCHBISHOP
</b>               Exurge, domine et vindica causam
               tuam. Amen.

     Philip kneels to kiss the blessed Standard - which is then
     thrust aloft again, into the vast spaces of the Cathedral.
<b>
</b>                               may 1 blue draft 28 June - p. 84
     And at once there is a great outpouring of emotion, the
     congregation applauding, many weeping at the sight.
<b>9
</b>
<b>     INT. QUEEN'S PRIVATE QUARTERS - NIGHT
</b><b> 9                                                                99
</b>     Elizabeth is alone, pacing slowly, reading a book - the
     Consolation of Philosophy, by Boethius. She reads, pauses,
     looks into the far distance; then reads and walks again.

<b>                         ELIZABETH (V.O.)
</b>               `Think you that there is any
               certainty in the affairs of
               mankind, when you know that one
               swift hour can destroy the
               greatest among us?'

     She turns, and there is Raleigh. She holds up her book.

<b>                           ELIZABETH
</b>               Boethius.

<b>                         RALEIGH
</b>               The Consolation of Philosophy.

<b>                         ELIZABETH
</b>               Thank you for coming at this late
               hour.

     She closes her book and puts it away.

<b>                         ELIZABETH
</b>               We're at war. Who knows when
               we'll meet again. If we'll meet
               again.

<b>                         RALEIGH
</b>               May the Lord God preserve
               England's Queen.

<b>                         ELIZABETH
</b>               The same God in whose name Philip
               wages his holy war. Philip is a
               righteous man, and righteous men
               love to destroy. They burn whole
               worlds to make them pure, and
               leave behind - ashes.

<b>                         RALEIGH
</b>               He'll not burn England.

<b>                         ELIZABETH
</b>               He may. His Armada is invincible,
               they say. If London falls, I                             
               fall. If England is lost, I am                           
               lost.                                                    
<b>
</b>                         may 1 blue draft 28 June - p. 85

<b>                     RALEIGH
</b>          Never!

<b>                    ELIZABETH
</b>          Never? It's night. My thoughts
          turn dark. Don't you ever think
          that one day, perhaps one day
          soon, you too will die?

<b>                    RALEIGH
</b>          The closer I come to death, the
          more I want to live. The hungrier
          I am for life.

His defiant energy breaks Elizabeth's morbid mood.
<b>                     E
</b><b>                     LIZABETH
</b>          You're right. We must live while
          we can.

<b>                    RALEIGH
</b>          Why be afraid of tomorrow?
          Today's all we have, and all we
          know.

<b>                    ELIZABETH
</b>          Today. Tonight.

<b>                     RALEIGH
</b>          Now.

They hold each other's eyes.

<b>                     ELIZABETH
</b>          I wish -

But she can't say it.

<b>                    RALEIGH
</b>          I've never known a woman like
          you.

<b>                    ELIZABETH
</b>          In some other time, in some other
          world, could you have loved me?

<b>                    RALEIGH
</b>          I know only one world. In this
          world, I have loved you.

Elizabeth smiles a small smile.

<b>                    ELIZABETH
</b>          Then there's... something you                      
          could do for me - something I've
          not known for a very long time -
          if you felt so inclined -
<b>
</b>                              may 1 blue draft 28 June - p. 86

      Raleigh intuits what she wants. He comes closer as she
      speaks.              E
<b>                           LIZABETH
</b>                Something not to be spoken of
                afterwards - to be forgotten -
                but just for now -

      She lifts her head to his. She meets his eyes.

<b>                          ELIZABETH
</b>                A kiss?

      He takes her in his arms, and they kiss. One kiss to hold
      all that might have been, all that they both know can never
      be.

      When at last they part she turns away from him, head bowed,
      eyes still closed, holding on to the sweet moment.


<b>      EXT. LISBON HARBOUR - DAY
</b><b>100                                                               100
</b>      CLOSE IMAGES as the Armada standard is carried in
      procession to the flagship, and hoisted into position on
      the ship's towering prow. Cannons fire a booming salute.

      As the standard billows in the breeze, beyond it we see the
      forest of masts that make up the great Armada.


<b>101                                                               101
</b><b>      INT. ANTECHAMBER, WHITEHALL PALACE - DAY
</b>
      The palace is galvanised by the invasion threat. Armed men
      go by at the double, passing servants hauling out trolleys
      bearing valuables, as the court prepares for the worst.

<b>                                                                         
</b>      Raleigh and Howard stride fast across the Guard Chamber,
      the first of the sequence of great rooms. They are deep in         
      war talk.                                                          
      Bess appears ahead, and beckons him to a secluded corner.
<b>                           R
</b><b>                           ALEIGH
</b>                Bess, I've been ordered to my
                ship -

      Bess stops his mouth with one finger.

<b>                          BESS
</b>                I'll be quick. I have something
                to tell you. But I ask for
                nothing. Is that understood? Your
                life is your own. Nothing will
                change.
<b>
</b>                           may 1 blue draft 28 June - p. 87

<b>                    RALEIGH
</b>          What is this, Bess?

Two court officials hurry by. Bess lowers her voice.

<b>                    BESS
</b>          I'm -

Her hand touches her waist.

<b>                    RALEIGH
</b>          You're pregnant?

<b>                    BESS
</b>          No one knows. My plans are made.
          I shall ask the Queen for
          permission to leave court. I
          shall live quietly in the country
          with - with my child. The Queen
          must know nothing.

Raleigh stares at her, stunned. More people are passing.
This is no place for R
                     displays of strong feeling.

<b>                     ALEIGH
</b>          Where will you go?

<b>                    BESS
</b>          To my mother's house.

<b>                    RALEIGH
</b><b>                                                               
</b>          You can't go!

<b>                    BESS
</b>          I'm a ward of the Queen. I can't
          court a man without her
          permission. I can't marry without
          her permission. As for having a
          child -

Another official passes by.

<b>                    RALEIGH
</b>          When were you planning to leave?                     
<b>                    BESS
</b>          As soon as I'm allowed.

Raleigh finds himself caught in an impossible situation.
His internal struggle shows itself in the twists and jerks
of his body.

<b>                    RALEIGH
</b>          Am I not to see you again? What's
          to become of the child? Bess -
<b>
</b><b>                          B
</b>



                              may 1 blue draft 28 June - p. 88

<b>                          BESS
</b>                Hush! We've no choice. You know
                it as well as I do.

<b>                           RALEIGH
</b>                All I know is nothing's as it
                should be.

<b>                          BESS
</b>                Please listen. You once said to
                me, `Whatever I have to give, ask
                and it's yours.' Do you remember?

<b>                          RALEIGH
</b>                Of course I remember.

<b>                          BESS
</b>                I ask that you forget me. Go to
                your ship. Do your duty. Forget
                me.
<b>      R
</b>       aleigh gazes at her, deeply moved.

<b>                          RALEIGH
</b>                Oh, Bess...

      The Queen's ladies come hurrying by. Margaret calls to Bess
      as they go.

<b>                          MARGARET
</b>                Bess! We're summoned.

<b>                            ESS
</b>                I'm coming.
                    (to Raleigh)
                Goodbye.

      She runs after the ladies.

      Raleigh walks slowly after them down the hall. On his face
      a new look forms. He knows now what he's going to do.


<b>      OMITTED
</b><b>102                                                              102    
</b>
<b>      EXT. SEA - DAY
</b><b>103                                                              103
</b>      An empty horizon.

      Then, on the very line of the horizon, the ghost of a
      movement. Far away, too small to make out, something is
      coming.
<b>
</b><b>1
</b>



                              may 1 blue draft 28 June - p. 89


<b>      INT. ELIZABETH'S BEDCHAMBER, WHITEHALL PALACE - NIGHT
</b><b>104                                                               104
</b>      Elizabeth starts up in bed, calls out in sudden fear.

<b>                          ELIZABETH
</b>                Air! I must have air!

      Her servants hurry in, and open the window.

      Elizabeth goes to the open window and breathes in deeply.
      She looks up at the moon.

<b>                          RALEIGH (V.O.)
</b>                With this ring I thee wed. With
                my body I thee worship...


<b> 05                                                               105
</b><b>      INT. PRIVATE CHAPEL - NIGHT
</b>
      Raleigh and Bess are being married in secret by a PRIEST.
      The only witness is Bess's fellow maid of honour Margaret.

      Raleigh makes his vow tenderly and lovingly, his eyes on
      Bess throughout.

<b>                          RALEIGH
</b>                ... and with all my worldly goods
      H         I thee endow.

       e places the ring on her left thumb.

<b>                          RALEIGH
</b>                In the name of the father -

      He moves the ring to her forefinger -

<b>                          RALEIGH
</b>                And of the Son -

      To her index finger -

<b>                          RALEIGH
</b>                And of the Holy Spirit.

      And finally onto her ring finger.

<b>                          RALEIGH
</b>                Amen.


<b>      INT. MAP ROOM, WHITEHALL PALACE - DAY
</b><b>106                                                               106
</b>      A room in which a map of Europe is inlaid in the floor. A
      table strewn with maps stands in the centre. Elizabeth is
      imperious, back in control.
<b>
</b><b>                          E
</b>



                                    Grey Revisions 22 June -p.90

<b>                           ELIZABETH
</b>                This Spanish Armada is at sea
                carrying an army of ten thousand
                men.
                     (indicating on the map)
                The Duke of Parma has fifteen                             
                thousand men on the French coast.                         
<b>                          WALSINGHAM                                      
</b>                They plan to cross the Channel in                         
                barges, under the protection of                           
                the Spanish fleet, and sail up                            
                the Thames.                                               
<b>                          ELIZABETH                                       
</b><b>                                                                          
</b>                But they don't yet have enough
                barges at Calais. We have a                               
                little time.                                              
<b>                          WALSINGHAM                                      
</b>                    (surprised)                                           
                That is so.                                               
<b>                          ELIZABETH                                       
</b>                Our forces defend the Thames                              
<b>                                                                          
</b>                entrance at Tilbury. How many
                men?                                                      

<b>                                                                          
</b><b>                          HATTON
</b>                We have three, possibly four                              
                thousand, majesty.                                        
<b>                           WALSINGHAM                                     
</b>                If the Spanish fleet reaches
                Calais in strength, the combined
                armies will be beyond our power
                to resist.

<b>                           LIZABETH
</b>                Therefore, the Spanish fleet must                         
                not reach Calais.

<b>                           HOWARD
</b>                Majesty, this vast Armada will                            
                surely smash through our naval                            
                defences. We must be prepared for                         
                the worst.


<b>      INT. WHITEHALL PALACE - DAY
</b><b>107   E                                                            107
</b>       lizabeth walks briskly through the great public rooms back
      to her quarters, with Walsingham by her side and her
      entourage following behind.
<b>
</b><b>                                                                           
</b>



<b>                          E
</b>



                                           May 1 Blue Draft -p.91

<b>                          WALSINGHAM
</b>                How did you know about the
                numbers of the Dutch barges,
                majesty? I don't recall supplying
                you with that information.

<b>                          ELIZABETH
</b>                You may observe, Walsingham, that
                I don't see my way with only one
                eye. Nor do I hop along on only
                one leg. Why then would I rely on
                only one source of information?

      She sweeps into her quarters. Her ladies, waiting there,
      jump up in haste. She scans them.

<b>                           LIZABETH
</b>                Where's Bess?

      Her eyes coem to rest on Margaret. She sees that Margaret            
      knows something.                                                     
<b>                          ELIZABETH
</b>                Where is she?                                              

<b>      EXT. THE LIZARD, CORNWALL - DUSK
</b><b>108                                                                 108
</b>      We are on the very tip of England.

      A watch-tower has been built, and next to it a large beacon
      of wood. A YOUNG MAN is minding the watch.

      He stares out to sea, catching sight of something. Over the
      rim of the world has appeared the long line of the Spanish
      fleet, like a floating wall, black and menacing.
<b>      H
</b>       e runs down the steps from the tower. He lights a bundle
      of sticks and thrusts them again and again into the beacon.

      The beacon catches fire. As the flames rise into the sky,
      so a second beacon erupts into flame on the next headland.
      And then a third on the next, a fourth on the next, a
      fifth, disappearing around the coastline.


<b>      INT. WHITEHALL PALACE - DUSK
</b><b>109                                                                 109    
</b>      Doors burst open and Elizabeth comes storming out, barely            
      containing a powerful rage.                                          
<b>                          ELIZABETH                                        
</b>                Bess! Bess Throckmorton!                                   
      Bess comes running from the far end.
<b>
</b>                                     May 1 Blue Draft -p.92

<b>                    BESS
</b>          Here, my lady!

<b>                    ELIZABETH                                  
</b>          Tell me! Is it true? Are you                         
          married? Are you with child? Are                     
          you WITH CHILD?                                      
Bess stands before her with her head bowed.                    
<b>                    BESS                                       
</b>          Yes, my lady.                                        
Elizabeth falls on her with uncontrolled rage, striking out    
at her, beating her about the head, shrieking out the words    
<b>                                                               
</b>that so inflame and wound her. Bess takes the blows in
silence.                                                       

<b>                                                               
</b><b>                    ELIZABETH
</b>          You traitress! You dare to have                      
          secrets from me! I am your Queen!                    
          You ask my permission before you
          rut - before you marry - before
          you breed! My bitches wear my
          collars! Do you hear me? How dare
          you be with child!

Walsingham comes hobbling up.

<b>                    WALSINGHAM
</b>          Majesty, please! Dignity - mercy -

But Elizabeth is too far gone. She turns on him, eyes
blazing.

<b>                    ELIZABETH
</b>          This is no time for mercy! That's
          what you said to me. I don't
          forget. But you showed mercy,
          Walsingham! Go to your traitor
          brother, and leave me to my
          business!
<b>W
</b> alsingham turns white. Elizabeth is back berating Bess.

<b>                    ELIZABETH
</b>          Is it his child? Tell me! Say it!
          Is the child his? Tell me! Say
          it! Is it his?

Bess responds to the Queen's hysteria with dignity.

<b>                    BESS
</b>          Yes, my lady. It is - my
          husband's child.

Her gaze reaches beyond the Queen. Elizabeth turns.
<b>
</b><b>       F
</b>



                                         May 1 Blue Draft -p.93

       Raleigh has come up to them unnoticed. He has seen and
       heard all. He speaks to Elizabeth quietly, sadly.

<b>                           RALEIGH
</b>                 This is not the Queen I love and
                 serve.

       Elizabeth stares at him. He meets her eyes. His gaze is so
       unflinching that slowly the madness drains out of her. When
       she speaks next, she is her proud self again.

<b>                           ELIZABETH
</b>                 This gentleman has seduced a lady                        
                 under my care. This lady has                             
                 married without my consent. These
                 are offences punishable by law.
                     (to Walsingham)
                 Arrest him.


<b>       OMITTED
</b><b>110                                                               110     
</b>
<b>       EXT. ENGLISH COAST - DUSK
</b><b>111                                                               111
</b>        rom way up high we see beacon after warning beacon
       bursting into flame, the light from them describing the
       contours of England.

       As they rush on, they suddenly divide, some continuing
       along the coast, others racing inland.


<b>       RENUMBERED- SEE SCENE 112B
</b><b>112                                                               112     
</b>


<b>112A                                                              112A    
</b><b>       INT. DEE'S HOUSE - DUSK
</b>
       Dr Dee watches as Elizabeth prowls his cluttered rooms,
       releasing the tension that has swelled to bursting point
       within her.

<b>                           ELIZABETH
</b>                 The fall of an empire, you told
                 me. Did you mean the English
                 empire? Because by God, England
                 will not fall while I am Queen!
                 If that's your prophecy, sir,
                 prophesy again!

<b>                           DEE
</b>                 You want me to tell your majesty
                 only what your majesty chooses to
                 hear?
<b>
</b><b>       E
</b>



                                         May 1 Blue Draft -p.94

<b>                           ELIZABETH
</b>                 I will not be a toy of the fates!
                 Have I not faced an assassin's
                 bullet and lived?

       She turns to Dr Dee and sees his quizzical gaze on her, and
       she lets her rage pass.
<b>                            E
</b><b>                            LIZABETH
</b>                 Just tell me there's no
                 certainty. The shadows of ghosts,
                 you said. Any outcome is
                 possible. Give me hope.

<b>                           DEE
</b>                 The forces that shape the world
                 are greater than all of us,
                 majesty. How can I promise you
                 that they'll conspire in your
                 favour, even though you are the
                 Queen? But this much I know. When
                 the storm breaks, each man acts
                 in accordance with his own
                 nature. Some are dumb with
                 terror. Some flee. Some hide. And
                 some spread their wings like
                 eagles and soar on the wind.

       Elizabeth understands. She draws herself up, finding now
       the self-belief she needs for the battle to come.

<b>                           ELIZABETH
</b>                 You're a wise man, Dr Dee.

<b>                           DEE
</b>                 And you, madam, are a very great
                 lady.


<b>       INT. WHITEHALL PALACE - NIGHT
</b><b>112B                                                              112B
</b>        lizabeth stares out of the window, watches as the last
       beacon is kindled not far away, and bursts into flame.

       Behind her stand her ministers: Hatton, Howard, and
       Walsingham.
<b>       S
</b>
        he turns to face the others. All littleness has dropped
       away. She sees only her nation's hour of destiny, and her
       own duty.

<b>                           ELIZABETH                                      
</b>                 My lords, I can offer you no                             
                 words of comfort.                                        
<b>
</b><b>                                                                        
</b>


<b>                                                                        
</b>

<b>                                                                        
</b>

<b>                                                                        
</b>

<b>                                                                        
</b>



                               DoubleGoldenrod - 25 July -p.95
                          ELIZABETH(cont'd)
                If this Armada succeeds there                           
                will be no more freedom in our
                land, and England will be no
                more. We cannot be defeated.                            

<b>      EXT. SEA - DAY
</b><b>113                                                              113
</b>      The unending line of Spanish ships advances over the water.
      Still far away, but scary in power and reach.

<b>                          RALEIGH
</b>                What news? Is the fleet at sea?

<b>                          SERVANT
</b>                Yes, sir. May God preserve them.


<b>      INT. TOWER OF LONDON - DAY
</b><b>114                                                              114    
</b>      Raleigh lies awake and fully dressed on the bed in his            
      prison room. The room is furnished for a gentleman, but the       
      walls are thick and the windows barred.                           
      The door opens, and a servant brings in a tray of food.           
      Raleigh sits up.                                                  
<b>                             RALEIGH                                    
</b>                What news?

<b>                          SERVANT                                       
</b>                The Spanish are off Portland.

<b>                          RALEIGH                                       
</b>                And the fleet?

<b>                          SERVANT
</b>                Still at Plymouth, joined by
<b>                                                                        
</b>                Drake and all the rest.

<b>                          RALEIGH                                       
</b>                    (bitter)
                All but me.                                             

<b>      EXT. ENGLISH CHANNEL - DAY
</b><b>115                                                              115
</b>      The white cliffs of England, seen from the Channel.

      INTO FRAME sweeps a SPANISH ENSIGN, streaming from a mast.
      And another, and another. Mast after mast, straining sails,
      shivering ropes, and the FLAGS of the enemy - flying from
      the top-gallants of a hundred ships - so near to England
      now that they seem to have been planted already on
      England's white cliffs.
<b>
</b>                              DoubleGoldenrod - 25 July -p.95A


<b>      INT. ST PAUL'S CATHEDRAL - DAY
</b><b>116                                                               116
</b>      The Queen, Sir Christopher Hatton, Walsingham and her              
      entourage, all now heavily armed, enter the great vaulted
      nave of St Paul's. As they make their way towards the
      altar, Elizabeth issues commands.
<b>                           E
</b><b>                           LIZABETH
</b>                The bells are to ring in every
                church in the land.

      Hatton bows to show he has received the order.                     
<b>                           ELIZABETH
</b>                Labourers are to leave the fields
                and take up arms. The harvest
                must wait.
<b>
</b>                                          May 1 Blue Draft- p.96

      Hatton bows and leaves. Elizabeth continues up the nave,            
      now followed only by Walsingham. She turns to him with              
      another order.                                                      
<b>                          ELIZABETH
</b>                Release all prisoners. England is
                their country too.

      She moves forward again. Walsingham follows, waiting,               
      knowing there's more. Elizabeth turns to him one last time.         
<b>                          ELIZABETH
</b>                Release Raleigh. He is
                forgiven... As I too pray to be
                forgiven...

      Walsingham leaves. Elizabeth goes forward to stand before           
      the altar alone.                                                    
<b>                          ELIZABETH
</b>                Leave me. All of you.

      The remainder of her entourage bow and withdraw. Elizabeth
      goes on down the nave to the altar, and there, at the foot
      of the steps, sinks to her knees. She does not bow her
      head.

      ON ELIZABETH - Alone in the great space, staring at her God
<b>      P
</b>      as at an equal.

       AN UP to the blazing coloured light of the stained glass
      window -


<b>117                                                                117
</b><b>      INT. ESCORIAL PALACE - DAY
</b>
      DOWN from high windows to see monks praying for the success
      of the Armada. Their chant has a driving war-like rhythm,
      that carries over the following scenes.


<b>      INT. ESCORIAL PALACE, SPAIN - DAY
</b><b>118                                                                118
</b>      SPEED TRACK down a palace corridor, urged on by the beat of
      the chant, into Philip's cell.

      TRACK IN to the flame of a single candle: its bright heart
      seems to be the source of the pounding chant.


<b>      EXT. ENGLISH CHANNEL - DAY
</b><b>119                                                                119
</b>      The chant powers on.

      SHIPS' BOWS slice the water, racing towards us.
<b>
</b>                                  DoubleGoldenrod - 25 July -p.97


<b>       INT. PHILIP'S CELL - DAY
</b><b>120                                                                 120
</b>       ON PHILIP as the chant drives on, murmuring his own prayer.

<b>                           PHILIP
</b>                 Tu es Deus qui facis mirabilia
                 solus. Notam fecisti in gentibus
                 virtutem tuam...


<b>       INT. TOWER OF LONDON - DAY
</b><b>120A                                                              120A     
</b>       CLOSE ON RALEIGH - A Royal Official has just handed him a           
       letter. He reads it and then looks up.                              
<b>                           RALEIGH                                         
</b>                 Tell the Queen I will join my                             
<b>                                                                           
</b>                 ship.


<b>       EXT. ENGLISH CAMP, TILBURY - DAY
</b><b>121                                                                 121
</b>       The chant continues -

       TRACKING THROUGH English troops to the Queen's tent -


<b>121A                                                              121A
</b><b>       EXT PLYMOUTH HARBOUR - DAY
</b>
       The English fleet sets sail and leaves Plymouth harbour.


<b>       INT. QUEEN'S TENT, TILBURY - DAY
</b><b>122                                                                 122
</b>       The Queen's advisers mill round Elizabeth. Walsingham is            
       seated in the background.                                           
<b>                           ELIZABETH
</b>                 Are our ships at sea? Has the
                 fleet left Plymouth? That can't
                 be so hard to know.

       ADMIRAL WINTER enters, out of breath, clutching the latest          
       reports.                                                            
<b>                           ADMIRAL WINTER
</b>                 The enemy has been engaged,
                 majesty.

       He reads as he speaks. The news is not so good after all.

<b>                           ADMIRAL WINTER                                  
</b>                 A brave action. Two ships lost.

<b>                           ELIZABETH
</b>                 With what gain?
<b>
</b>                              DoubleGoldenrod - 25 July -p.97A

<b>                          HATTON
</b>                The enemy continues to advance.


<b>      EXT. ENGLISH CHANNEL - DAY
</b><b>123                                                               123
</b>      FOREGROUND - Floating wreckage, and the bodies of English
      sailors. Beyond, the long line of the Spanish fleet,
      advancing, firing. The Spanish ships are monsters, much
      taller than the English ships.
<b>
</b><b>                I
</b>

<b>                                                                        
</b>



<b>                                                                        
</b>



<b>                                                                        
</b>



<b>                                                                        
</b>

<b>                                                                        
</b>

<b>                                                                        
</b>



<b>                                                                        
</b>


<b>                                                                        
</b>



                            Double Pink revision 18 July- p.98


<b>      INT. ADMIRAL'S CABIN, ARK ROYAL - DAY
</b><b>124                                                              124
</b>      Lord Howard bent over a mass of charts with his commanders
      round him: HAWKINS, DRAKE, FROBISHER and Raleigh. The boom
      of Spanish cannon shakes the air. Flashes of fire light the
      faces of the English officers.

<b>                          DRAKE                                         
</b>                We must attack! What choice do we
                have?                                                   
<b>                          HOWARD                                        
</b>                We're decisively outgunned,
                Drake. We are losing too many                           
<b>                                                                        
</b>                ships. We must defend the coast.

<b>                          DRAKE
</b>                    (studying the chart of
                     the Armada's progress)                             
                There has to be a way of getting                        
                inside this crescent formation.                         
<b>                          RALEIGH
</b>                Our ships may be smaller but
<b>                                                                        
</b>                they're nimbler. We should use
                the strengths we've got.                                

<b>                                                                        
</b><b>                          HOWARD
</b>                I tell you, we're out-gunned. Do
                you want to lose the whole fleet?                       
<b>                          RALEIGH                                       
</b>                Break their formation and we have                       
<b>                                                                        
</b>                a chance.

<b>                          HOWARD                                        
</b>                We can't get near them.


<b>      INT. QUEEN'S TENT, TILBURY - DAY
</b><b>125                                                              125
</b>      Elizabeth among her advisers. An air of mounting panic.

<b>                          WALSINGHAM                                    
</b>                The Spanish are barely a day
                away, majesty.

<b>                          HATTON
</b>                 t would be wise to withdraw to
                safer ground.
<b>
</b>                                   Grey Revision 22 June - p.99

<b>                          WALSINGHAM                                      
</b>                I beg you to appreciate the
                gravity of the situation,
                majesty. There is very little
                time.

      Elizabeth turns on him, calm and defiant.

<b>                          ELIZABETH
</b>                Then we must act.


<b>      EXT. ENGLISH CAMP, TILBURY - DAY
</b><b>126                                                                126
</b>      A low distant beat as we TRACK THROUGH the English camp.
      The soldiers are a citizen army, no hardened professionals.
      We pass a troop busy sharpening their pikes; an older
      soldier in quiet prayer; a band sharing drinks; a youth
      rubbing down a horse.

      Now they hear the distant beat approaching. One by one they
      look up, surprised, uncertain.

      Now they hear it loud and clear: the beat of an army on the
      march.

      CLOSE ON tramping feet. An advancing force. Horses' hooves
      beating the ground.
<b>      O
</b>       N THE SOLDIERS' FACES - Staring, half afraid, half
      expectant - then filled with a surge of sudden hope -

      SOLDIERS' POV - English flags rising over the low brow of
      the hill.


<b>      EXT. HILL ABOVE THE ENGLISH CAMP - DAY
</b><b>127                                                                127
</b>      In the midst of the advancing array of banners and flags,
      riding a white horse, dressed in silver armour, holding a
      silver staff - Elizabeth - transformed into a goddess of
      war.

      The thousands of gaping soldiers sink awe-struck to their
      knees.

      ON ELIZABETH as she surveys her rag-tag army. The army lets         
      out a cheer.                                                        
      The Queen cries out to ore) army, her voice echoing in the
                           (m her
      chill air.

<b>                          ELIZABETH                                       
</b>                My loving people! We see the                              
                sails of the enemy approaching.                           
                We hear the Spanish guns over the                         
                water.                                                    
<b>
</b><b>      T
</b>



                             Goldenrod revision 1 June - p.100
                          ELIZABETH(cont'd)
                Soon now we will meet them face                          
                to face. In that encounter,                              
                England lives, or England dies. I                        
                am resolved in the midst and heat                        
                of the battle to live or die                             
                amongst you all!                                         
      A cheer from the men.                                              
<b>                          ELIZABETH
</b>                While we stand together no
                invader shall pass. Let them come
                with all the armies of Hell, they
                will not pass.                                           
      The crowd gives another mighty cheer.

<b>                          ELIZABETH
</b>                So let us sound the advance and
<b>                                                                         
</b>                go forward, together, you and I.
                I myself will be your general,                           
                judge and rewarder of every one                          
                of your virtues in the field.                            
                When this day of battle is ended,
                we meet again in heaven, or on
                the field of victory.

       he greatest shout of all.

<b>                          SOLDIERS
</b>                Aye!


<b>      INT. DEE'S HOUSE - DUSK
</b><b>128                                                               128
</b>      Dr Dee studies his charts.


<b>129                                                               129
</b><b>      INT. PHILIP'S CELL - DUSK
</b>
      Philip sits staring at the flame of the candle. The whole
      world waits.


<b>      EXT. ARK ROYAL - DUSK
</b><b>130                                                               130
</b>      A ship's lamp sways in the window. A sailor notes the
      movement.
<b>
</b><b>                                                                         
</b>



                         DoubleGreen Revision - 22 July - p.101

<b>                          SAILOR
</b>
                Wind change!

      High in the rigging above, a sail flaps and bellies in a
      new direction.

      The sound of a rising storm.


<b>      INT. QUEEN'S TENT, TILBURY - DUSK
</b><b>131                                                               131
</b>      Elizabeth looks around her as the tent shudders in the
      rising wind.


<b>      EXT. SPANISH SHIP - DUSK
</b><b>132                                                               132
</b>
<b>                                                                         
</b>      The vast Armada is being buffeted by the storm, but still
      it comes on. The sea is in turmoil, lightning streaks              
      across the darkening sky.                                          
<b>                                                                         
</b><b>                          SPANISH OFFICER
</b>                (Drop Anchor!)

<b>                                                                         
</b><b>                          2ND OFFICER
</b>                (Our orders are to stay in                               
                formation.)                                              
<b>                          SPANISH OFFICER                                
</b>                (If we don't drop anchor, we'll                          
<b>                                                                         
</b>                be smashed on the rocks!)


<b>133                                                               133
</b><b>      EXT SPANISH SHIP - DUSK
</b>
      Spanish sailors furl the sails, haul in ropes. An anchor
      crashes into the sea.


<b>      EXT. ARK ROYAL - DUSK
</b><b>134                                                               134
</b>      Raleigh and Drake hurry along the deck in the whipping wind        
      and spray. Drake is watching the Spanish fleet, and                
      shouting above the noise of the storm.                             
<b>                          DRAKE                                          
</b>                They've dropped anchor. These                            
                Spanish monsters can't handle our                        
                English seas.                                            
<b>                          RALEIGH                                        
</b>                We have the wind in our favour.                          
                Do we go?                                                
<b>                          DRAKE                                          
</b>                We go.                                                   
<b>
</b>                                DoubleYellow - 22 July- p.101A

      Drake embraces Raleigh. Action at last.                           
<b>                          DRAKE (CONT'D)                                
</b>                God speed, my friend. And don't                         
                forget to jump.
<b>1                                                                       
</b>
<b>      INT QUEEN TENT, TILBURY - DUSK
</b><b> 35                                                              135
</b>      The tent is full of commotion, soldiers and ministers come
      in and out.
<b>
</b><b>                                                                          
</b>



                                    DoubleGreen- 22 July- p.102

<b>                           ADMIRAL WINTER                                 
</b>                 Under whose orders is he acting?

<b>                           HATTON
</b>                 He was told not to risk any more
                 ships of the fleet.

       Elizabeth is distant from the general hubbub.


<b>       EXT THE TYGER - DUSK
</b><b>136                                                               136
</b>       Raleigh at the helm of the Tyger gazing intently ahead.
       Before him, the might of the Spanish Armada. Behind him,
       men move down the ship with barrels, pouring pitch over the
<b>                                                                          
</b>       decks. Calley lights a torch and hands it to Raleigh.


<b>137                                                               137
</b><b>       EXT. SPANISH SHIP - DUSK
</b>
       Spanish sailors watch in horror as the spreading flames of
       the fire-ships move inexorably toward them.


<b>       EXT. SPANISH SHIP - DUSK
</b><b>138                                                               138
</b>       A Spanish officer reacts to the danger and shouts commands.        
<b>                           SPANISH OFFICER
</b>                 (Raise anchor! Quickly! No - cut                         
                 the ropes! Cut the ropes!)                               
       Ropes are slashed by flailing axes and cut away from the           
       capstan.                                                           

<b>       INT PHILIP'S CELL - DUSK
</b><b>139                                                               139
</b>       Philip stares in horror at the flickering candle. The far-
       off sound of the storm wind.                                       

<b>       OMITTED
</b><b>140                                                               140
</b>
<b>       INT. QUEEN'S TENT, TILBURY - DUSK
</b><b>140A                                                              140A    
</b>       Elizabeth's entourage look at the maps stretched out on the        
       tables. Hatton enters.                                             
<b>                           WALSINGHAM
</b>                 How many Spanish ships are
                 burning?

       Hatton murmurs a figure.                                           
<b>
</b>                                       May 1 Blue Draft - p.103

<b>                          WALSINGHAM
</b>                Not enough.

      ON ELIZABETH- Staring out, as if to sea.                           
<b>                          ELIZABETH
</b>                One empire will rise, and one
                will fall...


<b>      EXT THE TYGER - DUSK
</b><b>141                                                               141
</b>      Raleigh on the prow of the Tyger as it sails towards the
      Spanish fleet. He holds a flaming torch, and calmly surveys
      his target. He lights the fuses on the prow and tosses the
      torch behind him. The pitch on the deck bursts into flame.
      He runs to the side of the ship and scales down the
      rigging.
<b>1
</b>
<b>      EXT. SPANISH SHIP - DUSK
</b><b> 42                                                               142
</b>      Chaos and panic amongst the Spanish sailors as the fire-
      ship approaches. Men wildly fire off their muskets and the
      cannons boom.


<b>      EXT. TYGER - DUSK
</b><b>143                                                               143
</b>      Cannonballs crash into the side of the flaming Tyger.
      Certain now of the ship's course, Raleigh finally leaps
<b>                                                                         
</b>      into the water. As seen from underwater, Raleigh swims away
      from the ship.                                                     

<b>      EXT TYGER - DUSK
</b><b>144                                                               144
</b>      The prelaid fuses amongst the Tyger's cannons ignite, as
      the Tyger smashes into the side of the Spanish ship. From
      beneath, we see the hulls collide.


<b>      EXT SPANISH SHIP - DUSK
</b><b>145                                                               145
</b>      The Tyger's cannons explode causing devastation on the
      Spanish deck. Sailors run for cover. A horse rears and
      jumps over the side.


<b>      EXT ENGLISH CHANNEL - DUSK
</b><b>146                                                               146
</b>      From underneath, men leap into the water. A horse swims
      past, lit from flames above.
<b>
</b>                              DoubleGoldenrod - 25 July -p.103A


<b>       EXT ROOFTOP, JOHN DEE'S HOUSE - NIGHT
</b><b>146A                                                           146A    
</b>       John Dee stands on his roof, looking at the sky through a       
       sextant.                                                        

<b>       EXT. ADMIRAL'S CABIN, ARK ROYAL - DUSK
</b><b>146B                                                           146B    
</b>       Raleigh, singed and wet from his exploits, is with Drake in     
       the cabin.                                                      
<b>                           RALEIGH                                     
</b>                 How many ships are burning?                           

<b>                                                                       
</b><b>                           DRAKE
</b>                 Four.                                                 

<b>                                                                       
</b><b>                           RALEIGH
</b>                 Not enough.                                           
       He turns his face towards the coast of England. He speaks       
<b>                                                                       
</b>       as if to her, a quiet heart-felt prayer.

<b>                           RALEIGH (CONT'D)                            
</b><b>                                                                       
</b>                 May God be with us all tonight.
<b>
</b>                                         May 1 Blue Draft - p.104


<b>       INT PHILIP'S CELL - DUSK
</b><b>147                                                                 147
</b>       The candle flickers. A clap of thunder, and the candle goes
       out.


<b>       EXT HILL ABOVE THE ENGLISH CAMP
</b><b>147A                                                            147A       
</b>       Elizabeth looks out to sea. The wind roars, the clouds              
       race, the lightning flashes.                                        

<b>       EXT ENGLISH CHANNEL - DUSK
</b><b>148                                                                 148
</b>       Images of the beginning of the destruction of the Armada:
       Philip's portrait is covered by water inside a sinking
       cabin; a Madonna statue floats; a Spanish battle flag burst
<b>                                                                           
</b>       into flame.


<b>       OMITTED
</b><b>149                                                                 149
</b>
<b>       RENUMBERED- SEE SCENE 147A
</b><b>150                                                                 150    
</b>
<b>       EXT. ENGLISH CHANNEL - NIGHT
</b><b>151                                                                 151
</b>       Raging waves, black sea. The howl of the storm, the rending
       of breaking timbers, the screams of drowning men. Somewhere
       out there, tiny in the vast seascape, the Armada is being
       smashed into oblivion.


<b>       EXT HILL ABOVE THE ENGLISH CAMP- NIGHT
</b><b>152                                                                 152
</b>       Elizabeth stands there drinking in the tempest, the wind
       lashing her clothes and hair, but she loves it, lives it,
       breathes it. This is her storm - her victory.


<b>       INT. CHAPEL, ESCORIAL PALACE - DAY
</b><b>153                                                                 153
</b>       The space that echoed before to the chants of war is silent
       now.

       Philip and the Infanta come down the nave. Philip's face is
       set, expressionless.

       Philip reaches the steps at the foot of the altar. He goes
       down on his knees. Then he drops further down, to abase
       himself on the hard stone floor. The cardinals turn their
       backs to him.
<b>       T
</b>        he Infanta remains standing beside him, impassive, staring
       at nothing. She throws down her Elizabeth doll.
<b>
</b>                                       May 1 Blue Draft - p.105

       A low sob from Philip.


<b>       EXT HILL ABOVE THE ENGLISH CAMP- NIGHT
</b><b>153A                                                              153A    
</b>       Elizabeth triumphant in the roaring wind.                          

<b>       EXT ENGLISH COAST - DAY
</b><b>154                                                                154
</b>       From inside a cave looking out to sea, a scene of
       devastation. Dead Spanish sailors have been washed up
       amongst planks, barrels and a torn Spanish ensign.

       A long scream of pain -                                            

<b>       OMITTED
</b><b>155                                                                155    
</b>
<b>       INT. BESS THROCKMORTON'S BEDROOM - DAY
</b><b>156                                                                156
</b>       CLOSE ON BESS - Screaming in pain. A final spasm passes
       through her. She sinks back.

       The cry of a new-born child. She hears, and her exhausted
       face lights up with a radiant smile.


<b>       INT. WALSINGHAM'S BEDROOM, LONDON - DAY
</b><b>157                                                                157
</b>       Walsingham lies in bed, his eyes closed. His wife Ursula
       and daughter Mary in the background. He's dying.
<b>       E
</b>        lizabeth has come to him. She looks down on him with deep
       concern.

<b>                           ELIZABETH
</b>                 Francis. My old friend.


<b>       EXT. PARIS STREET - DAY
</b><b>158                                                                158
</b>       An anonymous man - Agent 3 - walks down a shabby Paris
       street. Stops before a small anonymous house. Knocks.


<b>       INT. PARIS HOUSE - DAY
</b><b>159                                                                159
</b>       The anonymous man is let into the house by a figure we
       don't yet see. He looks round the room. A fire burning in
       the grate. English books on the table. A half-eaten meal.

<b>                           AGENT 3
</b>                 I come from your brother.

       Now we see who he speaks to: William.
<b>
</b>                                      May 1 Blue Draft - p.106

<b>                          WILLIAM
</b>                What does he want?

<b>                          AGENT 3
</b>                He asks your forgiveness.

<b>                          WILLIAM
</b>                My forgiveness?

      On William: he stares. Then he understands. Fear brings
      sudden tears to his eyes.

      A gasp. Walsingham's man has plunged a knife into his
      heart.


<b>      INT. WALSINGHAM'S BEDROOM, LONDON - DAY
</b><b>160                                                              160
</b>      Walsingham speaks to his Queen with difficulty.

<b>                          WALSINGHAM
</b>                I have served your majesty - in
                all things...

<b>                          ELIZABETH
</b>                I know it, old friend. Don't
                leave me now.

      Walsingham's eyes open. A weak smile.

<b>                          WALSINGHAM
</b><b>                Y
</b>                 ou don't need me any more.
                Permission - to go -

      Elizabeth looks tenderly down on him, shaking her head.

<b>                          ELIZABETH
</b>                You always did do as you pleased,
                whether I wanted it or not. I've
                no doubt you'll do as you please
                now.

      He lets his eyes close. She stoops down and kisses his
      cheek.


<b>      INT. RALEIGH'S HOUSE - DAY
</b><b>161                                                              161
</b>      We see Raleigh from behind. He's holding something, and
      dancing slowly about, and crooning a low song, in the
      oddest way.

      Beyond him, half-glimpsed, an inner room, where Bess is
      resting on a bed.
<b>
</b><b>                       R
</b>



<b>                             107
</b>
Now in his solitary dance Raleigh turns, and we see he's
holding a new-born BABY BOY. He kisses the baby's little
bald head, and sings his wordless song.

Footsteps outside. The door opens, and a royal servant
enters, followed by other servants and guards.

<b>                     OYAL SERVANT
</b>          Her majesty the Queen!

Elizabeth enters, in formal style. She stands and takes in
the scene - Raleigh holding his baby son - the room beyond -
Bess rises at once and comes through to make her curtsey to     
the Queen. Elizabeth seems not to see her.                      
A regal wave at the servants and guards. They withdraw.

Elizabeth stalks round the room. No reason to suppose her
displeasure has passed.

<b>                    ELIZABETH
</b>          When was the birth?

<b>                    RALEIGH
</b><b>          F
</b>           our nights ago.

<b>                    ELIZABETH
</b>          The mother is well?

<b>                       RALEIGH
</b>          Thank God.

Now Elizabeth turns to Bess, and their eyes meet. The Queen     
puts out her hand and touches Bess lightly on one cheek. A      
<b>                                                                
</b>silent forgiveness.

<b>                    ELIZABETH
</b>          And the child?

<b>                    RALEIGH
</b>          My son is well.

Now for the first time she looks at the baby.

<b>                    ELIZABETH
</b>          Your Elizabeth has a child. You                       
          must be proud.

<b>                       RALEIGH
</b>          Yes.

Elizabeth moves away, unable to bear seeing the baby.
<b>
</b><b>                       E
</b>



<b>                       E
</b>



<b>                       R
</b>



<b>                             108
</b>
<b>                       ELIZABETH
</b>             And fulfilled?                                    
<b>                       RALEIGH                                 
</b>             As any man can be.                                
Elizabeth looks at him in silence for a long moment.           
<b>                       ELIZABETH
</b>             And do you still dream of your
             shining city, your New World?                     
<b>                        ALEIGH
</b>             More than ever.                                   
She turns to go. But before she reaches the door, she
stops.

<b>                        LIZABETH
</b>             I'd like to give your son my
             blessing.

<b>                       RALEIGH
</b>             I would be honoured.

Elizabeth takes the baby in her arms. She holds him
carefully. She finds herself more moved than she had
expected. She bends her head over him, and turns her back
on Raleigh.

Raleigh watches and waits. And waits.

ON ELIZABETH: her cheek pressed to the baby's head. Her
eyes closed.

<b>                        LIZABETH (V.O.)
</b>             I am called the Virgin Queen. And
<b>                                                               
</b>             yet I have many children... You
             are all my children. There is no                  
             jewel, be it never so rich a                      
             prize, which I put before this                    
             jewel: I mean, your love. I want                  
             no more wars. England is enough                   
             for me. I want no lordship over                   
             your souls. Only a free people                    
             can love.                                         
                 (Beat)                                        
             And in your love - is my life.                    
<b>END TITLES                                                     
</b><b>
</b></pre><br>
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	<td><h1>Elizabeth: The Golden Age</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=William Nicholson" title="Scripts by William Nicholson">William Nicholson</a>&nbsp;&nbsp;<a href="/writer.php?w=Michael Hirst" title="Scripts by Michael Hirst">Michael Hirst</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
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Who is the Virgin Queen?
Who is the Virgin Queen ?
Elizabeth
Elizabeth
Elizabeth
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