1. home and garden

Lady
a play
Draft Date: 2/22/2015
Author's Note:
This play is a thought as is drifts through the mind of the main character, Mildred.
Consequently, the play's jumps through space and time should be seamless with production
values wholly subservient to the pacing of that thought. Minimalist productions values are
thus preferred.
Additionally, as the secondary characters and situations are filtered through Mildred, they
may read as hyper-real. However, because of this, it is all the more important that they be
played with sincerity rather than as cartoons. There are no laugh lines -- only characters that
are humorous through sincerity.
Description
Lady is part melodrama, part cautionary tale, and part suspense-thriller that re-tells
Shakespeare's MacBeth from Lady MacBeth's frame of reference. Haunting with mischievous
sheep, a witch trial, a maniacal king, murder, and a lot of blood, the play is a thrill ride from
beginning to end. However, underpinning it all is the tale of a lonely, isolated character with
whom audience shares an intimate stream consciousness as she struggles with a sense of
personal worth, morality, and the villain within each and every one of us.
Synopsis
As a little girl, Mildred had a notion than an audience was watching her from some great
beyond, and, consequently, that she was destined for greatness. As to the nature of this
greatness, Mildred was unsure. But, many years later, when Mildred acquires a ticket to
Paris, she becomes convinced her greatness lies just across the sea.
That notion, however, can be quickly dismissed as Mildred's boat hits an iceberg and
sinks. Mildred, the lone survivor, washes up on a distant shores of Scotland, where she is
taken for a witch and nearly burned at the stake. Mildred survives, however, making a living
as a tutor to the butcher's son, then falling in love with -- and marrying -- a humble
shepherd. She is surprisingly happy... almost.
Something is missing in this simple life -- her destiny of greatness. So, when uprisings break
out against the brutal Scottish king, and husband finds himself an wildly popular (but
accidental) war hero, Mildred sees an opportunity: murder the king and take the Scottish
throne for themselves.
Of course, no plan is flawless, once the deed is done, the guilt of the horrific act drives her
husband mad, and his madness plunges the country into a bloody chaos. However, it is not
until the blood of both the innocent and her husband run in the streets that Mildred comes to
terms with the destruction she has wrought. She had always thought herself a hero, but now
she sees she was the villain all along.
Determined to make amends, Mildred ends the civil war by surrendering Scotland to the
magistrates of Norway. And now, a reviled pauper, Mildred finds she has nothing left...
except the beauty of the present moment.
Cast of Characters
This is ensemble piece in which actors are cast in multiple roles. The minimum ensemble
size is about 12-15 players, though the play can accommodate many more.
Primary Roles
MILDRED. A sultry Englishwoman and an intellectually gifted, well-read eccentric. Feeling
innately superior to those around her, Mildred forges few close ties. Though, at least in her
youth, people are drawn to her for her beauty and style. In this journey, we follow Mildred as
a young woman through middle age.
FATHER. Mildred's father, long passed, but forever echoing in Mildred's mind. A merchant
class candle-maker in life, he now comes to Mildred at times as a guide.
MACKLIN. A Scottish shepherd so gentle that he is relentless abused by his
sheep. Handsome, yet odd, Macklin is led entirely by his heart and his deference to the
heavens. He becomes Mildred's love interest and then husband as we follow him as a young
adult through middle age.
JACQUIE. A sheep. Indignant and sassy, Jacquie is Macklin's favourite sheep and his
confidant.
MELBA & DILLON. Macklin's other sheep and unapologetic rabble-rousers.
ALDRINA. Macklin's forever decrepit mother. One must wonder how such disdainful
woman produced such a gentle son.
FLEA. A peasant boy in Glamis, Scotland who grows into a young man as Mildred's
pupil. He holds his own as Mildred's intellectual equal.
BANNY. Flea's kind father and the local butcher.
HILLARY. A young Scottish woman of noble birth, Hillary is the with who has stolen Flea's
heart.
WENDY. (the ringleader), WILMA (the flighty one), and WART (the gentle one). A trio of
peasant Scottish women who are the closest thing to friends that Mildred has. In some ways
they adore Mildred, for her wit in style, but, Wendy at least, also resents Mildred for her
condescending nature
DUNCAN. The aged, maniacal king of Scotland who has ruled with an unjust hand for fortysix years.
Secondary Roles
CAPTAIN. Captain of a British passenger vessel.
PASSENGERS & CREWMEN. French and English passengers and crewmen crossing the
English Channel.
PARISIAN WOMAN. A wealthy Parisian woman with clout.
SEAMAN. A creepy sailor of a British shipping vessel.
TOWNSPEOPLE (including RUSSELL, CHARLIE, and a PRIEST). Poor peasants in the
Scottish town of Glamis. They are also the various SOLDIERS, MEN, and WOMEN.
ROSS & ANGUS. Members and magistrates of King Duncan's court.
KING'S MEN. King Duncan's Army.
TERRENCE. The King's right hand thane.
SHEEP. Various sheep who graze upon the green, green grass of Scotland.
MALCOLM & DONALBAIN. Sons of King Duncan
GUESTS, ATTENDANTS, & GUARDS. The posse who follow King Duncan.
PORTER. Macklin and Mildred's porter.
TILLY: The Porter's antiquated sheep.
MACDUFF. A Scottish nobleman and sleuth.
LENNOX. A Scottish nobleman and assistant to MacDuff.
DOUGLAS MACDOUGALHAM. A Scottish musician and sheep sadist.
ACT ONE
SCENE: MILDRED'S AUDIENCE
(As the audience enters, a CHAMBER ORCHESTRA plays a very lively
seventeenth century prelude.
At its completion, MILDRED, a sultry English woman enters, applauding the
music.)
MILDRED
Bravo! Bravo! Wasn't that lovely? Let's have another round of applause, shall we?
(accepting that some of the applause is
for her)
Oh, and for me! Thank you! How do you like my dress?
(MILDRED sits down centre. She takes in the audience.)
So.
MILDRED (cont'd)
My father used to say, "Mildred, live your life as though someone is watching."
And though what he meant by that was always behave yourself, as a little girl I took it to
mean that I had an audience. My own personal audience, watching me from some great
beyond. And having been made privilege to such knowledge I arrived at two conclusions.
One, that I had a responsibility to my audience to live a life that was -- above all else -interesting, which, mind you, does not always coincide with a perfect moral character.
And two, that I was destined for greatness. I mean, why else would an audience be
watching me -- a little girl from Oxford? As to the nature of this greatness -- were I to be
a countess or a poet or an actress of great renown -- I did not know. But whatever it was, I
expected it to meet me at every corner.
Of course, with time, I grew up and forgot about my audience, or they about me. And life
took its unexpected course, as it has a tendency to do.
But now, after all these years, here we are! You, my audience, and I, Mildred
Hobblesmith, reunited at last. Oh, to look up and again see your beautiful faces... well
most of them beautiful... It warms my heart. Though you're probably wondering why
you're here. Why now? Why this particular moment?
(more)
2.
MILDRED (cont'd)
For, at this very moment, that promise of greatness inadvertently foretold to me by my
father all those many years ago has finally arrived.
(pulling out a slip of paper)
You see, I've acquired this: a ticket. And not just any ticket. One that will take me across
the sea to my destiny, if one is to believe in such.
I'm all at once more terrified and excited than I've ever been in my life. And it all begins,
right here, right now.
(A CAPTAIN calls from off stage.)
CAPTAIN (OFF STAGE)
All aboard!
SCENE: THE DOCK
(The stage gives way to a grey backdrop of the sooty London sky, filled with
billowing smokestacks. A passenger vessel is docked, and PASSENGERS,
some French, some English, line up to board. A CAPTAIN takes tickets while
munching on a bag of chestnuts.
MILDRED, seventeen years younger, approaches the line with her luggage.)
Is this the boat to Paris?
MILDRED
(working her feminine charm)
PASSENGER 1
It is.
Travelling by yourself?
(beat)
Only way to travel I say.
MILDRED
(The MEN perk up at this.)
MILDRED (cont'd)
It's my first time you know, to Paris. But I must say it's where I've always felt I belong.
Have you been?
I have!
And is it as lovely as they say?
PASSENGER 2
MILDRED
3.
PASSENGER 3
(in a French accent)
Mademoiselle. It is the city of love!
MILDRED
And I hear they cook everything in butter? Is this true?
PASSENGER 1
Did you hear that? She asked if you people cook in butter.
(The PASSENGERS chuckle.)
PASSENGER 4
(in a French accent)
My dear, butter is in our blood.
MILDRED
And what of the arts? Music, poetry -PASSENGER 5
I dare say, the French invented poetry!
PASSENGER 6
There everyone's an artist. Even the common folk.
PASSENGER 7
Tell me, where will you be staying?
MILDRED
I haven't quite decided.
PASSENGER 8
I have. You'll be staying with me.
PASSENGER 9
Why would she stay with you? She'll be staying with me.
Watch yourself miss.
PASSENGER 10
(A BEGGAR pulls on the CAPTAIN's arm.)
No, no! Go away!
CAPTAIN
(The PASSENGERS usher MILDRED to the front of the line.)
CAPTAIN (cont'd)
Ticket please.
(As MILDRED hands over her ticket, an ANGRY ENGLISHMAN runs in with
some GUARDS.)
4.
ENGLISHMAN
(pointing to MILDRED)
There's she is! There's thief who stole my ticket. Right out of my pocket!
Did you steal this man's ticket?
CAPTAIN
MILDRED
What!? No!
She doesn't look like a thief.
CAPTAIN
ENGLISHMAN
She's done herself up. She didn't look like this an hour ago, I'll tell ya that! Give me my
ticket!
(A WEALTHY PARISIAN WOMAN with a baguette walks down the plank.)
What's going on here?!
PARISIAN WOMAN
CAPTAIN
This man's calling this lady a thief.
PARISIAN WOMAN
I'll be the judge of that. I can always tell a lady from a thief. Tell me, Mademoiselle, why
are you heading to France?
...to study poetry.
MILDRED
PARISIAN WOMAN
(sceptical)
Oh. Poetry. Do you speak French?
MILDRED
Madame, quelle belle bagutte que vou avez. [TRANSLATION: Madam, what a lovely
baguette you have.]
PARISIAN WOMAN
Ahhh, mais ce qui es sur ma baguette? [TRANSLATION: Ahhh, but what is on my
baguette?]
MILDRED
(carefully considering her vowel)
Beurre. Beurre sur votre baguette. [TRANSLATION: Butter. Butter is on your baguette.]
Uh-huh!
PARISIAN WOMAN
5.
MILDRED
Uh-huh!
MILDRED & PARISIAN WOMAN (cont'd)
(sharing a French laugh together)
Uh-huh-huh-huh-huh-huh!
PARISIAN
Mademoiselle's French is as good a mine. She is no thief. Come aboard, young lady!
(The PARISIAN WOMAN leads MILDRED up the plank. The GUARDS pull
the ENGLISHMAN away as he howls.
The BEGGAR pulls again on the CAPTAIN's arm.)
CAPTAIN
For the last time! I'm not giving you any chestnuts!
(The CAPTAIN follows the last PASSENGER on board, and the boat departs.)
SCENE: BLOODY HELL
(MILDRED leans against the rail looking out at the channel. PASSENGERS
and CREWMEN mill about. The PARISIAN WOMAN comes by.)
Oh, Madame --
MILDRED
PARISIAN WOMAN
Listen to me. I know you're a thief and you stole that ticket. Your French? Meh. But
everyone deserves a second chance in life. And this is yours. I have taken great risk here
today. Do not disappoint me. Is this clear?
Yes, Madame.
MILDRED
PARISIAN WOMAN
(handing MILDRED a card)
And should you need anything in France, here is my card.
(The PARISIAN WOMAN exits. MILDRED's FATHER enters.)
FATHER
I see you're finally making it across the channel.
Oh, hello father.
MILDRED
6.
FATHER
You know, had I lived, I'd have taken you myself.
MILDRED
I know. You'd have done everything you could. But I've found my way.
FATHER
I don't suppose you know what you'll do when you get there?
MILDRED
I have a plan.
FATHER
Well, you know what they say. Life doesn't always go according to plan.
What's that supposed to mean?
MILDRED
(Suddenly, the ship rocks violently.)
Bloody hell!!!... Is that normal?
MILDRED (cont'd)
(MILDRED's FATHER exits.)
Only when a storm's brewin'.
CREWMAN
(A sudden tumult of thunder and lightning. The wind picks up, and the boat
rocks.)
Do you see that?
Where?
Over starboard.
I do. What is that?
I'd say it's a fog, a mist of sorts.
PASSENGER 1
PASSENGER 2
PASSENGER 1
PASSENGER 2
PASSENGER 3
PASSENGER 4
Never seen a fog like that. What colour would you say that is? Lavender?
It's headed this way! My God!
PASSENGER 7
7.
PASSENGER 8
Take cover!!!
(Pink fog envelops the boat.)
PASSENGERS
(hysterical ad lib)
What's going on?! I can't see! What is it? It smells awful! Get under the deck! I've
never come across anything like this! What should we do! (etc.)
(The SILHOUETTE of the CAPTAIN enters.)
CAPTAIN
This is your captain speaking. We've seem to have hit a bit of a rough patch, but just
some storm and mist. Nothin' to get excited about. Not like we're going to hit any
icebergs or -(Crash!)
CAPTAIN (cont'd)
This is your captain speaking. Seems we've just hit an iceberg -(Chaos erupts. PASSENGERS and CREW scream in horror.)
Abandon ship!
PASSENGER 1
(There is further cracking followed by a monstrous gurgle as the ship sinks.
A moment of silence.
The fog clears. MILDRED alone floats amid debris.)
MILDRED
Hello? Is anyone alive? Can anyone hear me?
(A small shipping boat silently creeps up behind MILDRED, sailed by a
CREEPY SEAMAN.)
Havin' trouble, miss?
SEAMAN
MILDRED
Thank God! I need passage to Paris. Or London. Whatever's closer.
SEAMAN
That would be London. An' sixty-three shillings would be the fare.
8.
MILDRED
I don't think you understand. I'm shipwrecked. I -- I think everyone just died. Perhaps we
could make other arrangements?
No shillings, no shipping.
SEAMAN
MILDRED
Fine. I'll take another boat or... Look, there's land! And smoke! Someone there will
help me!
SEAMAN
(laughing)
You have no idea where you are, do you?
Why? Where am I?
MILDRED
(The SEAMAN laughs maniacally as he sails off.)
MILDRED (cont'd)
Bloody hell!
(MILDRED swims to shore, where she finds more wreckage. Shivering, she
finds a cloak and wraps herself. She finds a box of soggy matches. She tries
to light them.)
Come on. Come on!
MILDRED (cont'd)
(There is a rustling behind her.)
MILDRED (cont'd)
Who's there?
(MILDRED spots a young boy, FLEA, watching her.)
MILDRED (cont'd)
You there! Boy! I need your help...
(A match successfully lights. FLEA looks at the match in fascination, then
horror.)
FLEA
Witch!!!
(FLEA runs off.)
MILDRED
(aside)
It's as if he's never seen a match before. What is this place? Denmark? No, no. Too far
away. Wales?
(more)
9.
MILDRED (cont'd)
No, that's the other direction entirely. Certainly not France or England. That only leaves (Bagpipes blare. A SHEEP runs by. There is the growing din of a MOB.)
MILDRED (cont'd)
No, no, no, no, no, no, no! Oh bloody hell... it's Scotland.
(A mob of angry TOWNSPEOPLE -- including WENDY, WILMA, WART,
SEAMUS, RUSSELL, CHARLIE, BANNY, and FLEA -- rush in bearing torches,
a large wooden stake, and rope.)
There's the witch! Grab her!
WENDY
(MILDRED is quickly bound and tied to a stake that is hammered in the
ground.)
TOWNSPEOPLE
(ad lib)
I got her! Thought ya could cast your spells on us, did ya? You're not getting our sheep!
Nor our wool! Hand me the rope! Bring that stake! (etc.)
WENDY
You'll rue the day ya came to Glamis you witch!
Read her the decree!
WILMA
TOWNSPEOPLE
(ad lib)
Read it to her! Read it! Cummoan! Where's it at?
RUSSELL
(reading)
By decree of his majesty: as witches have cast black magic and cursed our land, great
riches shall be bestowed for each and every witch burnt at the stake and delivered to the
king!
(The TOWNSPEOPLE cheer and move their torches to the stake.)
TOWNSPEOPLE
Burn the witch! Burn the witch! Burn the witch! (etc.)
(THUNDER. It begins to rain.)
TOWNSPEOPLE (cont'd)
(ad lib)
What? Not now! Again? Boggin' rain! Crivvens! (etc.)
10.
WENDY
Cummoan. Let's go home. We can burn'er tomorrow.
(The TOWNSPEOPLE exit.
MILDRED hangs from the stake dispirited for what for her must seem like an
eternity.
Then, suddenly, a waltz escapes her lips. She sings without words, and when
her song is finished, she hangs helplessly in the storm.)
SCENE: A SNORING WITCH
(The sun breaks through the darkness, and we hear the baa of SHEEP.
MILDRED, still on the stake, sleeps against spectacular backdrop of rolling
green.
JACQUIE -- a sheep -- runs in, investigates MILDRED, and then indignantly
continues off stage.
MACKLIN, a handsome but odd young man, runs on stage, flustered,
completely oblivious to MILDRED's presence. He carries two other sheep,
DILLON and MELBA.)
Jacquie?! Jacquie?!
MACKLIN
(Out of breath, MACKLIN puts MELBA and DILLON down.)
Wait here you two. I mean it!
MACKLIN (cont'd)
(MACKLIN runs off stage. MELBA and DILLON wander off. MACKLIN
returns, carrying JACQUIE.)
Bad Jacquie! Bad! Bad!
Baaaaa.
MACKLIN (cont'd)
JACQUIE
MACKLIN
Don't get sassy with me! This is the third time you've wandered aff! How many times do
I have to tell ya: wander aff and you're gonna get eaten by a Grendl, and and I'm gonna
lose my job. The Lady's already said, if I lose one more sheep...
(sees the DILLON and MELBA are
gone)
Help ma boab. Melba!? Dillon!?
11.
(MACKLIN charges forward, but JACQUIE grabs his hair with her teeth and
pulls.)
MACKLIN (cont'd)
Ahh! Jacquie! My hair! Cummoan! Let go ya goon!
(MACKLIN wrestles with JACQUIE. With difficulty he gets her to the
ground.)
That's it. I can't do it any more.
MACKLIN (cont'd)
(MACKLIN sets JACQUIE free.)
MACKLIN (cont'd)
Shoo! Go on! You're free! Go be tatties fer a Grendl!
(JACQUIE begins to run off. But, seeing that MACKLIN isn't chasing her, she
stops.
Meanwhile, MACKLIN sits resigned, his face in his hands.
Slowly, MELBA and DILLON return. The SHEEP sit just out of MACKLIN's
reach, sunning and scratching themselves indifferently.)
MACKLIN (cont'd)
Crivvens! You're worse than children.
(MILDRED begins to snore.)
MACKLIN (cont'd)
Would you look at that! It's the witch they caught last night! I've never seen a real witch
before.
(looking MILDRED over nervously)
It's funny. I always imagined witches to be unpleasant as boot. But this one's bonny.
Bonny face, bonny hair, bonny nose, bonny lips, bonny chin, bonny-(MILDRED lets out a great big snore. MACKLIN and the SHEEP jump back.)
MACKLIN (cont'd)
And holy Grendl! She snores like a beast! I guess that's how you know she's really a
witch.
Still, it's a shame they're gonna burn her. I've always felt it's wrong to burn anyone, witch
or not, and... Jacquie, I'm going to say something, and it's gonna sound crazy, but do ya
think maybe we should untie her?
(more)
12.
MACKLIN (cont'd)
I mean do we know that she's actually hurt anyone or cast any black magic? Maybe she's
not a bad witch at all. And, maybe that's why we're here. Why you ran out into the field
and I why chased ya. So we could to save her -- so we could save this innocent witch's
life!
(JACQUIE looks doubtful.)
MACKLIN (cont'd)
You're right, Jacquie. We better know for sure.
(MACKLIN kneels. As he prays, JACQUIE looks around for who he is talking
to.)
MACKLIN (cont'd)
Oh heavens, universe, powers that be. In your mighty wisdom, I, your humble Macklin,
ask ya: were we sent here to save this witch? Please, give us a sign.
(to JACQUIE)
Now we wait.
(They wait.)
MACKLIN (cont'd)
Oh, look, Jacquie! It's a lil' martlet! Landed right on her head -(JACQUIE growls at the martlet. MACKLIN holds JACQUIE back.)
MACKLIN (cont'd)
No, no, Jacquie. Oh, and look, it's leaving its blessin'.
(MILDRED snores with a wide open mouth.)
MACKLIN (cont'd)
That's not a good place to leave a blessin'. But it's a blessing nonetheless. Let's untie her!
(JACQUIE vehemently shakes her head and tries to pull MACKLIN back, but
MACKLIN, headstrong, unties MILDRED.)
Wake up little witch!
MACKLIN (cont'd)
(tapping MILDRED on the cheek)
(Awakening, MILDRED screams and then spits out the bird dropping.
MILDRED swats MACKLIN away.)
MILDRED
What are you doing? Get your hands off me!
13.
Don't ya want to be rescued?
MACKLIN
MILDRED
Rescued!? Oh dear God. It wasn't a dream, was it?... Yes, yes I want to be rescued! I've
got to get out of here. Tell me, do you have a boat?
A boat? Can't say I --
MACKLIN
MILDRED
No, of course not. How about money for a boat? How much was it?... Sixty-three
shillings!
'Fraid I don't --
MACKLIN
(checking his empty pockets)
MILDRED
Never mind. I'll walk. I mean, Scotland's just land isn't it? And how far could it possibly
be? Just point the way to London!
Well, um....
MACKLIN
(turning about)
MILDRED
Are you really this useless?! Can't you see I need help!?
(recollecting)
Oh, dear God. This is really happening. Isn't it? My boat to France, it hit an iceberg and
sank. And I washed up here, was nearly crucified on a stake, and now, I'm trapped,
trapped here in Scotland, trapped the pit of the Earth with you!
(MILDRED collapses and cries. JACQUIE growls. MACKLIN pulls
JACQUIE back.)
MACKLIN
(gently)
It could be worse, you know. Ya could've died in that shipwreck. But ya didn't. Ya
survived. And if the heavens kept ya alive, believe me, there's got to be a reason.
Now we'll get ya to London, or France, or wherever you're needin' to go. I promise. But
first ya've got to calm doon so I can help ya.
(MACKLIN reaches out his hand.)
Will ya let me do that?
14.
(MILDRED takes a deep breath and looks at the vast expanse of land all
around her.
She looks at MACKLIN, and, having no other choice, takes his hand.)
MACKLIN (cont'd)
There ya go. The name's Macklin. Now let's get ya cleaned 'n fed.
(MILDRED takes MACKLIN's hand. The begin to walk through the green,
green hills, with the sheep nipping at MILDRED's heels.)
Stay back! Stay back!
MILDRED
(warning the sheep)
SCENE: FORGIVENESS
(They arrive at MACKLIN's very humble home.)
MACKLIN
Here we are, home sweet home. Now make yerself comf'terbl, and I'll be right back.
(MACKLIN dashes off, leaving MILDRED alone with the sheep.
(MILDRED inspects the home, looking at the dirty pots and eventually sitting
on a bail of hay.
The door bursts open -- it is the TOWNSPEOPLE RUSSELL points at
MILDRED.)
RUSSELL
There she is!
(MILDRED screams as the TOWNSPEOPLE rush in followed by MACKLIN.)
Don't come any closer!
MILDRED
(holding a chamber pot threateningly)
Well, I'll be! She is British!
WILMA
(MILDRED screams as the TOWNSPEOPLE rush in followed by MACKLIN.)
15.
MACKLIN
It's all right, Mildred. They're not here to hurt ya. They're here to apologize. Isn't that
right?
(The TOWNSPEOPLE hang their heads.)
WENDY
My lady... I think I speak fer all of us, when I say we're deeply ashamed an' embarrassed
fer what we've done te ya. The king doubles our taxes if we don't come up with any
witches, and we're not used to havin' strangers in these swamps. So, well, it was 'n honest
mistake.
I'm so sorry!!!
WART
(embracing MILDRED, wailing)
MILDRED
There there?
(WENDY nudges RUSSELL forward.)
RUSSELL
(handing MILDRED a sack)
We wanted te make it te ya, so we've taken a collection. 'Fraid it's only a couple a pence.
Not enough to get ya te France -But we'll think of somethin'.
MACKLIN
(BANNY enters.)
BANNY
Perhaps I can help. The name's Banny, the town butcher. I hear you're an educated
woman, and so I have a proposition fer ya. The king's shut down all our schools, wantin'
our children te work the land. But I want somethin' better for m'boy. So, if you might
teach'm how to read. I can afford to pay a shillin' a lesson.
(The TOWNSPEOPLE murmur. This is clearly a lot of money for them.)
A shilling a lesson?
What d'ya say, Mildred?
Can ya ever fergive us!?
MILDRED
MACKLIN
WART
16.
MILDRED
I don't know... I've never had anyone be so kind to me. So terriby, terribly awful, and
then so terribly, terribly kind. Well, water under the viaduct, I say. Yes, yes! All is
forgiven!
(to BANNY)
And you, send your son my way!
(The TOWNSPEOPLE cheer. BANNY, the TOWNSPEOPLE, and MACKLIN
exit.)
SCENE: THE LESSON
As MILDRED prepares the house for the lesson, her FATHER enters.)
FATHER
Well, things seem to be looking up.
MILDRED
No thanks to you. You knew my ship was going to sink, didn't you? You could have at
least told me. I'd've take the next one. No matter, I'm going to buy my own ticket. I'm
earning my own money as a teacher.
You, a teacher?
FATHER
MILDRED
Try not to sound so amused. You don't think I can do it?
FATHER
It's just, patience has never been one of your... virtues.
(FLEA enters, watching MILDRED, then, seeing the box of matches, snatches
it.)
MILDRED
(carrying a chamber pot out of the main
room)
How hard could it be?! You open a book, correct a few of those awful vowel sounds -(FLEA lights a match.)
MILDRED (cont'd)
(startled)
Oh, bloody hell! What are you doing in here?
I'm here for m'lesson!
FLEA
17.
MILDRED
Didn't anyone teach you to knock? And it was you who called me a witch! You know, I
have half a mind to cast a spell on you!
(FLEA holds out the burning match as if to defend himself. MILDRED grabs a
broom. They scuttle about.)
FLEA
I'm not afraid o' you. I ken you're not a witch!
(MILDRED's FATHER exits, smirking.)
MILDRED
(wiggling her fingers)
How can you be so sure?
FLEA
Cleanin' the hoose, carryin' a chamber pot? That's the whole point of black magic -- so
you don't have to do those sorts o' things. Wish I knew it. Then I wouldn't have to spend
m'days haulin' sheep.
MILDRED
Is that what you do all day -- haul sheep?
FLEA
Yes, my Lady. Haul'm fae shepherd tae sheerer, sheerer tae butcher, butcher tae tanner,
tanner tae grinder, then take what's left deep oot into the hills, where it rots into an awful
pink mist that can cover the land.
MILDRED
And what does your mother think of all this?
FLEA
Haven't got a mother. Well, I do, but she's rest in' in the hills. My father says that's all ya
can ask for, tae live a good life and then rest in peace. But I do wonder -- why'd she have
the start resting so early?
MILDRED
I see... well... I sometimes wonder the same thing about mine.
(beat)
Perhaps we should start again. Why don't you tell me your name?
Flea, m'Lady.
FLEA
18.
MILDRED
Flea... That's an odd name. No matter. Did you bring the shilling?
(FLEA hands MILDRED a coin. MILDRED pulls out a book and sits at a
table. MILDRED pats the bench next to her and FLEA joins her.)
MILDRED (cont'd)
Good. Now, I've salvaged the only book I could from the wreckage. It's called "The
Prince" and it's by an Italian fellow.
Is it a fairy tale?
FLEA
(suspicious)
MILDRED
No.
Does it have a happy ending?
FLEA
MILDRED
It does not.
FLEA
Good.
MILDRED
I think we're going to get along just fine. Now, let's begin.
(opening the book)
Each of these are letters, and each one has a sound. This one is pronounced "ahhh".
FLEA
(guttural Scottish)
"Ahhhh."
MILDRED
We'll work on it. Now, let's continue...
SHIFT TO:
(Time passes. As MILDRED teaches, outside MELBA and DILLON run
through falling leaves before exiting. MACKLIN enters carrying JACQUIE,
looking for the other SHEEP who have run off.)
Melba!? Dillon!?
MACKLIN
19.
FLEA
(stumping)
But coming to the other point—where a leading citizen becomes the prince of his
country...
(MACKLIN hears FLEA through the window, stopping and listening.)
MILDRED
Country! Country! Open up your vowel!
FLEA
...country -- not by wickedness or any intolerable violence, but by the favour of his fellow
citizens—this may be called a civil principality.
MACKLIN
(to JACQUIE)
Would ya look at that! Flea's readin', 'n all by'm self. And in just two months. That
Mildred's an amazin' woman, isn't she, Jacquie? It's like she knows everythin' aboot
everythin'. An' more than' that, she's been like a mother to lit'l Flea.. You know what?
She deserves somethin' special for all she's done, an' I know jus' the thing!
(MACKLIN dashes off.
Inside, there is knock on the door. MILDRED answers. It is MACKLIN, who
approaches MILDRED with his arm behind his back. MACKLIN whips out a
bouquet... of stems. He turns to see DILLION and MELBA munching behind
him.)
Oh, you guys!
MACKLIN (cont'd)
MILDRED
Well, I suppose it is the thought that counts.
(MILDRED places the stems in a chamber pot, arranging them, humming.
MILDRED's FATHER enters.)
Are you humming?
I suppose I am.
Well that's unexpected.
FATHER
MILDRED
FATHER
20.
MILDRED
(to her FATHER)
All right I'll admit it: Scotland isn't quite the disaster I expected it to be. The people are
kind, and the air is pure, not like that soot they call air in London. And, truth be told, I
rather enjoy being needed. As a teacher. As a friend. I've never felt quite so... valued
before.
So you'll be staying then?
FATHER
MILDRED
(beat, then...)
Oh, good heavens, no. Don't misunderstand. I'm sure it would be a lovely, but I'm meant
for this. I'm meant for so much more. I have a life just waiting for me in France. And
look, Father, I've just collected my sixty-third shilling. I can buy my ticket.
FATHER
Mildred --
MILDRED
Don't try to talk me out of it. It was you who once told me I was destined for greatness,
and nothing's going to keep me from that.
When you will go?
FATHER
MILDRED
Tonight.
(MILDRED's FATHER nods and exits.)
SCENE: DEPARTURE
(FLEA has fallen asleep at the table, and MACKLIN in his chair. MILDRED
looks at them fondly.)
MACKLIN
(in his sleep, between lights snores)
Oh Jacquie. Jacquie, Jacquie, Jacquie.
(MILDRED takes a deep breath, exhales, grabs her luggage, pulls over her
hood and sneaks off.
Suddenly, bagpipes blare, and the KING'S MEN ride in, led by ANGUS and
ROSS.)
Taxes! Time to pay your taxes!
ANGUS
21.
(The TOWNSPEOPLE emerge and pay up.)
KING'S MEN
(ad lib)
Wake up! Come on, oot of the house! By
the King's orders. Pay up! Stuart
McDougal? Thirteen shillin's! Looks like
somebody didn't pay last time! Oh, you'll
pay, you'll pay. (etc.)
TOWNSPEOPLE
(ad lib)
Taxes!? At this hour! But we just paid ya!
I don't have it. Ya already took my money!
By heavens above, have mercy! I'm
lookin', I'm lookin'!
(MILDRED walks faster, but she is stopped by ROSS.)
ROSS
Never seen the likes of you before. What's your name?
MILDRED
What does it matter? I'm not from here, and I'm leaving. Now, if you'll excuse -ROSS
Well I'll be. Angus! We've got ourselves a Sassanach! One who I'll bet hasn't paid any
taxes.
ANGUS
A Sassanach, eh? Perhaps she doesn't know in Scotland everyone pays taxes, and that
there are penalties for not payin'. Hefty penalties.
(The KING'S MEN surround MILDRED threateningly.)
ROSS
(taking MILDRED's purse)
What's this?
Give that back!
It's full of shillings!
This'll do nicely!
I've worked too hard for that!
MILDRED
ROSS
ANGUS
MILDRED
(The KING'S MEN toss the purse among them as MILDRED lunges for it.)
Somebody! Stop them!
MILDRED (cont'd)
22.
(MILDRED catches hold of the purse and ends in a near wrestling match with
ANGUS. The KING'S MEN pull her back.)
ANGUS
You're lucky you're pretty, my Lady. Let's go, then. To Fife!
(The bagpipes blare and ANGUS, ROSS, and the KING'S MEN exit.)
MILDRED
Come back here! You can't just take what's not yours! That's my ticket!
(beat)
Oh, dear, this is poetic justice, isn't it?
(The TOWNSPEOPLE crowd around MILDRED.)
WILMA
My lady! What were ya thinkin'? They could've put ya in jail for that!
WART
We have a terrible king, my Lady. Takes everything we've got. Not just our money, but
our pride too. And when we try to stand up to'm 'n 'is men, 'e knocks us back doon.
But don't let it get to ya. Ya gotta keep goin'. Ya can start savin' again tomorrow.
(WART pats MILDRED on the back and the TOWNSPEOPLE exit.)
SCENE: THE WALTZ
(Alone and dejected, MILDRED begins to hum her waltz.
MACKLIN enters, out of breath.)
MACKLIN
Mildred! Mildred! I came as soon as I heard! Are you all right?
MILDRED
As all right as one in my position can be I suppose.
(MACKLIN sits beside MILDRED.)
MILDRED (cont'd)
I suppose you're angry I tried to leave without saying goodbye.
23.
MACKLIN
Ah'm no. I knew you'd be leavin' soon. I was countin' yer shillin's. Truth be told, I was
gonna snatch a few of'm so you'd stay a wee bit longer. But I knew that wouldn't'a been
right.
If ya don't mind my askin', what's in France that you've got to get there so bad? Is there
someone waitin' fer ya?
MILDRED
(startled)
What? No!? I mean, how could there be? It's just that ever since I was a little girl, I
knew France was where I belonged. The fashion, the music, the dancing -MACKLIN
You like dancin', eh?
Of course I like dancing.
MILDRED
(MACKLIN stands and reaches out his hand.)
What -- what are you doing?
MILDRED (cont'd)
MACKLIN
I'm askin' ya te dance.
MILDRED
You can dance?
MACKLIN
Where do ya think ya are? Greenland!? Of course I ken. Well, come on, there's no point
in just sittin' there lookin' sour.
I don't think --
MILDRED
(gesturing)
(MACKLIN unexpectedly pulls MILDRED up by her hand.)
MACKLIN
Ready?
It seems I have no choice.
MILDRED
(MACKLIN hums a tune, and they dance -- wildly.)
MILDRED (cont'd)
Oh dear. Oh my! What are you doing!? Stop! Stop!
24.
(MACKLIN dips MILDRED.)
Somethin' wrong?
MACKLIN
MILDRED
You don't dance like that! You dance like this! One, two, three. One, two, three.
MACKLIN
Oh, you want me to dance like a Sassanach. Why didn't you say so?
(MACKLIN begins to dance with MILDRED gracefully.)
MILDRED
Oh my. You really can dance. And you're quite graceful. Really, that's... unexpected.
MACKLIN
My Lady. Anno Scotland's the last place on Earth you wanna be. But, if ya don't mind my
sayin', ya light up the place. An' for as long as you're here, I don't mind havin' ya.
(They continue to dance.
MILDRED's FATHER enters.)
MILDRED
(to her FATHER)
What are you smiling at?
He seems to like you.
FATHER
MILDRED
Of course he likes me. Look at him, that dopey grin. Those soft, brown eyes. Those are
the eyes of a man who's fallen for you, like all the strength has been sapped right out of
him. So unbecoming of a man -FATHER
And yet you're afraid to return his gaze. Why is that?
MILDRED
Because, I have a future, in France! I, I can't possibly stay here and fall for a Scot!
So you're falling for him, then?
FATHER
25.
MILDRED
I don't know. My heart... is palpitating. I'm... I'm warm. And when I catch his eyes, it's
... it's as if nothing else exists. Is that normal?
FATHER
Could be. That's how I felt when I met your mother.
MILDRED
My God. I'm falling for him. No. No! This is not what I had planned. I'm to go to
France, and then what would I do? Take him with me? That's like taking a puppy to the
royal ball. You just don't do that sort of thing.
(looking at MACKLIN)
And yet...
(turning to her FATHER)
I don't know what to do.
FATHER
What I did worked out pretty well.
And what was that?
I followed my heart.
MILDRED
FATHER
SCENE: THE NUPTIALS
(MACKLIN embraces MILDRED. The scene changes to a wedding, with a
SQUAD OF BAGPIPERS, the TOWNSPEOPLE, SHEEP, a PRIEST, and
MACKLIN and MILDRED at the altar.
The PRIEST speaks with an unintelligibly thick Scottish accent -- though
everyone except MILDRED seems to understand him.)
PRIEST
(unintelligible Scottish)
We have gathered here today to join this lad and this lassie in wedded matrimony. So, let
us make haste not waste. Do you, dear lassie, take this shepherd to be your lawf'ly wedded
husband?
(MILDRED is unaware it is her turn to speak. MACKLIN gestures. Confused,
MILDRED gestures back.
MACKLIN mouths "I do". MILDRED shakes her head, befuddled.)
MILDRED
I do? Oh! I do! I most definitely do!
26.
PRIEST
And do you, laddie, take this lass to be your lawf'ly wedded wife?
I do -- with all my heart 'n soul.
MACKLIN
PRIEST
Then, by the power trusted in me, I now pronounce ya...
(suddenly intelligible)
Lord and Lady... MacBeth!
(THUNDER.
EVERYONE looks around.)
You may now kiss the bride.
PRIEST (cont'd)
(MACKLIN dips MILDRED, kissing her, and the TOWNSPEOPLE quickly
forget the thunder and applaud. The BAGPIPE SQUAD plays.)
MILDRED
(to the audience)
Lovely wedding, isn't it? I'm so glad you're here for this. Isn't Macklin just dashing?
Yes, I know in some way I'm surrendering my destiny, and I hope that doesn't disappoint
you. But, in a way, I feel as if I've chosen my own destiny -- Scotland with Macklin,
rather than France alone.
Who ya talking to, Millie?
Oh, you know, just --
MACKLIN
MILDRED
MACKLIN
Well too bad for them! 'Cause it's our weddin' night, and I'm keepin' ya all to myself!
(MACKLIN picks up MILDRED.)
MILDRED
(laughing)
What are you doing? Macklin!!!!
(MACKLIN carries MILDRED offstage. In time, the GUESTS follow.)
SCENE: WEDDED BLISS
(A darkened stage.
27.
Cutting through the blackness, we hear MILDRED's mighty snore.
MACKLIN lights and candle, revealing MACKLIN and JACQUIE in bed,
watching the sleeping MILDRED.)
MACKLIN
(to JACQUIE)
Crivvens! It never stops! I haven't had a good night's sleep since I married 'er. And
when I don't get my sleep, you know how I get Jacquie.
(JACQUIE nods.)
MACKLIN (cont'd)
All cranky.
(JACQUIE imitates MACKLIN's crankiness.)
MACKLIN (cont'd)
Can't think straight and I'm ah'mno myself. Well, Ah'mno gonna take it any more. You
hear me, Jacquie? Not any more. Mildred!
(MACKLIN taps MILDRED. The snoring continues.)
MACKLIN (cont'd)
Uh, Mildred?
(JACQUIE baas and taps MILDRED with her hoof. The snoring continues.
MACKLIN and JACQUIE tap MILDRED harder and harder. MILDRED wakes
up, screaming and jumping out of bed.)
MILDRED
What in God's name are you doing!?
Ya were snorin'.
MACKLIN
MILDRED
Of course I was snoring! What's that beast doing in our bed?
MACKLIN
What beast? Oh, ya mean Jacquie!?
Fleas, Macklin, fleas!
MILDRED
(Shooing)
Out, out, out! You... mongrel! Get!
(MACKLIN grabs JACQUIE in the doorway.)
28.
MACKLIN
I won't have ya talking to Jacquie like that!
MILDRED
This is my bedroom, and I'll talk to Jacquie how I wish.
Either Jacquie stays, or I go!
MACKLIN
MILDRED
Then have a good night sleeping with the sheep.
MACKLIN
I think I will.
(MACKLIN takes a pillow and heads out.)
MILDRED
Macklin! Come back here, I didn't -(MACKLIN slams the door. He opens it again, snatches the horseshoe above
the frame, and exits again. MILDRED sighs.)
MILDRED (cont'd)
(Turning to the audience)
Of course, the thing about being young in and in love is just that. You're young, and
you're in love. And with time, both of those things change. It's not that the love goes
away entirely. Certainly not. It's just that it has a different quality about it, and other
things begin to bubble up.
Trivial things, like sheep in the bed, or say a mother-in-law.
SCENE: MOTHER
(There is a pounding at the door. MILDRED answers. ALDRINA, a wiry
woman to whom the years have not been kind, walks in, out of breath and
carrying a suitcase.)
ALDRINA
So this is the new castle. Here, take this. I'm movin' in.
(ALDRINA hands MILDRED her suitcase.)
Have we met?
(MACKLIN enters.)
MILDRED
29.
MACKLIN
Mum!
Mackie, m'boy!
ALDRINA
(MACKLIN and ALDRINA embrace.)
MACKLIN
I thought ya were carin' for Aunt Ilsa in the Highlands.
I was. May she rest in peace.
Then she's passed.
ALDRINA
MACKLIN
ALDRINA
Passed? No! She's unbearable! May she rest in peace, I'm through with'er. Oh, but look
at ya. Yer gettin' fat!
MACKLIN
That I am, thanks to Mildred. Mum, I'd like you to meet my wife. Isn't she lovely?
ALDRINA
(realizing MILDRED is not a servant)
Oh, yer Mildred?! Well... Well, well, well. She's not all that bonny.
Macklin, be a dear 'n take these te my room, so Mildred 'n me can 'ave a lit'l chat.
(MACKLIN takes the luggage from MILDRED.)
An' what room is that?
I think --
MACKLIN
MILDRED
ALDRINA
(cutting MILDRED off)
Why, whatever's next te the Lord and Lady's!
Right!
MACKLIN
(MACKLIN dashes off.)
MILDRED
I'm sorry -- we seem to have gotten off to a bad start. Please --
30.
ALDRINA
Hawd yer wheesht! I got somethin' te say te ya, and I'm just gonna come out 'n say it:
You're not good enough fer'm.
MILDRED
Pardon me?
ALDRINA
You're not good enough fer my boy, Macklin. 'e's a good boy, 'e is. Sometimes 'e hears
voices, sees omens -- but 'e can't do no wrong. Never has, never will. 'Less some washed
up tail leads'm astray!
I don't think --
MILDRED
ALDRINA
Ya may be British, but fer all I know yer a hoor and thief.
Oh, I had such high hopes fer'm, te marry a good Scottish lass. If weren't away carin' for
my ailin' sister, I'd 'a put a stop te this weddin'. But Aye! What's done is done... An I'm
tellin' ya: do anythin' to hurt m'boy, I'll put ya back on the stake myself. Is that clear?
...I don't know what to say to that.
MILDRED
(MACKLIN returns.)
MACKLIN
There ya are -- gettin' along I hope?
ALDRINA
Oh, yes, Mildred was just showin' me 'round the cas'l. Cold and draughty, just the way I
like it. Now whit'r'ye callin' the place?
Castle Bartholomew.
After my father.
MACKLIN
MILDRED
ALDRINA
Well I've got a better name. "Castle Inverness", after my mother's pet goat. Now, may she
rest in peace!
SCENE: THE CROW
MILDRED
(to the audience)
Yes, a mother-in-law will test a marriage.
(more)
31.
MILDRED (cont'd)
But as much as I'd like to blame her, that isn't what's broken ours. And nor can I say it's
that times are difficult. On the contrary, Macklin and I have become quite well off.
You see, while Scotland is poor, it has abundance of one thing: sheep. And once you sheer
the wool, cut up the meat, and grind the bones, what you're left with is mounds and
mounds of rotting sheep tallow. And it just so happens that my father was a candlemaker
and tallow is what you use to make candles. And so, I followed in my father's footsteps,
and Macklin and began to I sell our Glamis Sheep Tallow Candles all across the continent.
Of course, the King's Men tried to take it all away, but I told them: tax everything, you'll
have nothing more to tax. And, so we've worked out an arrangement that's left us with... a
small fortune. It's how we bought this castle.
Though, in a strange way, our success has been part of the problem.
(There is a CRASH as MACKLIN drops a crate of candles.)
MILDRED (cont'd)
That's the third crate you've dropped this week!
(inspecting the pink candles.)
And look, you've forgotten to add the lavender. These will mist up something terrible.
(Mildred lights the candle. Pink mist
emanates.)
See?! We can't sell these.
(MILDRED starts to clean up. MACKLIN doesn't budge.)
I'm leavin', Mildred.
MACKLIN
MILDRED
Leaving? What do you mean leaving?
I've joined the army.
MACKLIN
MILDRED
Don't be silly. Who'd want you in their army?
(MACKLIN hands MILDRED his enlistment papers.)
MILDRED (cont'd)
Oh my God. You have. This must be a mistake! There's a war brewing with Norway, and
there's rebellions breaking out all over the country.
(more)
32.
MILDRED (cont'd)
You could end up in a real battle. It's not safe. Go! Go back and tell them you can't
come.
MACKLIN
Can't. That'd be treason. I'd be hung.
MILDRED
But why? We don't need the money.
MACKLIN
'Cause the heavens're tellin' me its time to spread my wings.
And how did they tell you that?
MILDRED
MACKLIN
This morn' there was a crow on the doorstep -Not the birds again.
MILDRED
MACKLIN
-- lookin' me in right the eye, with its wings oot like this -MILDRED
Enough with the omens! Every day you're seeing something, the birds, the clouds, the
pine cones, all telling you something. It's all in your head! And now it's getting you into
trouble.
MACKLIN
But it makes sense, Millie. My whole life, people've said I'd never amount to much, an'
here I am, at my age, bein' supported by my wife.
MILDRED
Is that what this is about? This is our business, Macklin. We built it together.
MACKLIN
You know that's not true. This is all your doin'. I have to make something of myself. On
my own. And starting tonight I will. Just for signing up they're makin' me a thane -Thane of Glamis. Just you wait. I'll make ya proud.
(MACKLIN exits.)
MILDRED
But I don't even want to be proud...
33.
SCENE: HEARTBREAK
MILDRED
(to the audience)
Well, needless to say, I began to see a lot less of Macklin. And it began to get a quite
lonely in our castle with just the sheep and his mother around.
(JACQUIE nudges MILDRED.)
MILDRED (cont'd)
(to JACQUIE)
No, no. Go away. I'll feed you later.
(to the audience)
But, if there was one constant in my life, it was Flea. Sweet, little, adorable Flea.
If you'll remember, he learned to read in two months. And after that he was voracious,
reading everything I could get my hands on. Plato, Aristotle, St. Augustine, Thucydides,
all the great writers up through Copernicus.
FLEA
(reading, in a flawless British accent)
Finally we shall place the Sun himself at the centre of the universe. All this is suggested
by the systematic procession of events and the harmony of the whole universe, if we only
face the facts, as they say, "with both eyes open."
(looking up)
This is revolutionary! But who's going to believe it? Everyone here swears Scotland is
the centre of everything. Oh, Aunt Mildred, I feel as if my eyes have been opened truly
for the first time.
MILDRED
(to FLEA)
As they have, Flea. As they have. Now carry on, page twenty-seven!
(to the audience)
And, in a strange way, if Macklin is my soul mate, Flea's become my... intellectual
companion, as handsome and as educated as any man in Oxford. This... this is the only
thing that keeps me going, educating this impressionable young mind. Really, it's become
the favourite part of my day.
Only, the problem with children is that, after a while, they become remarkably unchildlike. They become taller and... more disagreeable. And whereas you were once the
center of their world, you shift, as Copernicus might say, to a more distant orbit.
(more)
34.
MILDRED (cont'd)
Recently, Flea's started coming to his lessons later and later and then missing them all
together. So, like a good Aunt, I've decided to to find out why.
(MILDRED goes out and looks for FLEA, followed by JACQUIE.
FLEA appears -- he is now an exceedingly handsome young man.
MILDRED spots him and follows clandestinely, watching as FLEA meets a
young woman, HILLARY.)
FLEA
You've come.
HILLARY
I had to come. Your shouting nearly woke my aunts.
Then you've gotten away?
FLEA
HILLARY
For the moment. And you've escaped yours?
(FLEA clasps HILLARY's hand.)
I do believe I have.
FLEA
(looking around)
HILLARY
Is she really as dreadful as you say?
FLEA
Oh, no, she's not entirely dreadful, just... overbearing, perhaps. She wouldn't, for example,
want me here with you.
HILLARY
Nor mine with you. The things my aunts say of yours -- I'm ashamed.
FLEA
No need to be ashamed. If your aunts are anything like mine, they're full of sinful fancies.
But these fancies are... bubbles of air, talk and bluster, harmless without deed. Ignore
them, and they will vanish. They always do.
Come. I do not care what your aunts have said. All I care is that about is you and me.
Right here, right now.
(They kiss... a serious kiss.
35.
MILDRED tries to hide herself and walk away. JACQUIE nudges MILDRED
for food.)
No, no, not now!
MILDRED
(to JACQUIE)
(JACQUIE begins to bleat.)
MILDRED (cont'd)
What are you doing? Stop that! Stop! Here, here. Eat this.
Aunt Mildred? Is that you?
FLEA
(Motioning for HILLARY to wait, FLEA goes to MILDRED, )
MILDRED
Flea! I was just... taking the sheep for a walk before our lesson.
FLEA
Aunt Mildred, you were spying on me!
MILDRED
Spying!? Me?... All right I was. But you! You were... with...
Her name's Hillary.
FLEA
MILDRED
Oh, Hillary, is it? And does Hillary know about Emma? Or Susan? Or that Laura,
perhaps?
FLEA
This one's different, you must believe me.
MILDRED
And is Hillary why you've been missing lessons?
FLEA
Please, Aunt Mildred. This is why I didn't tell you. I knew you'd be...
Be what? Jealous?
No!
MILDRED
FLEA
36.
MILDRED
Well, I'm not jealous. Disappointed? Yes. You're a very attractive young man, Flea.
And, this one, well, she -- she's so... plain. At least the rest were attractive.
FLEA
Plain can be beautiful. She's a beautiful woman.
MILDRED
Yes, well, what do I know? I'm just bubbles of air, aren't I?
FLEA
I didn't mean it like that.
(beat)
Aunt Mildred, I need to tell you something. Hillary and I are going to Perth.
MILDRED
Perth!? Whatever for? There's a rebellion in Perth!
Which is why we're going.
That's absurd!
FLEA
MILDRED
FLEA
To join them, and to take a stand against our king!
MILDRED
A stand and you'll be crushed, just like they were in Midloathian!
FLEA
Which is why we must fight! To put an end to our King's brutality!
MILDRED
Your father and Macklin will never allow it.
They're not going to know.
And why is that?
FLEA
MILDRED
FLEA
Because you're not going to tell them.
And why wouldn't I?
MILDRED
37.
FLEA
Because you know what we're doing is right. You know we are backward because of our
king, his taxes, brutality, tyranny. You know this country will not get better until we stop
being afraid of our Machiavellian prince, and that it must be those of us fortunate enough
to have had an education to lead the way.
All these years you've taught me. You've taught me too well. And now I cannot close my
eyes.
We'll be back soon, Aunt Mildred.
(FLEA hugs MILDRED, and then runs off with HILLARY.
JACQUIE sits by MILDRED, scratching and licking herself.
Beat. Then...)
MILDRED
Here we are, Jacquie. The two men of our lives, off to find whatever it is they're looking
for. While here we are. Abandoned, here, in Scotland. Is to be my life? This... this isn't
what I had planned at all.
(While MILDRED speaks, JACQUIE crouches as if hunting and then chases
after another sheep.)
MILDRED (cont'd)
I had it all planned out to go to France, you know. And I could have made it, eventually.
I'd had a destiny there. A destiny written in the stars, calling my name. But no! I gave i t
up. For what? For love?! I've given the best years of my life to this country! And in
return, it seems I'm alone, abandoned, with nothing left but to wither away.
(turning to see JACQUIE gone)
Bloody hell. Even the sheep are leaving me.
(MILDRED'S FATHER enters.)
FATHER
Not everyone has left you, Milded.
Father --
MILDRED
FATHER
(indicating the audience)
Your audience is still there.
38.
MILDRED
But do they care. Look at what's become of me. There's nothing left -FATHER
Listen to me. Your story is not over. It is still within you to bring great change upon this
world. Tremendous change, good or bad. You must know that. You must believe that.
MILDRED
But how? I suppose this where you disappear before I can figure out what the hell it is
you're trying to tell me.
(MILDRED looks up to see her FATHER gone.)
MILDRED (cont'd)
Yes, yes it is.
SCENE: INVASION
(Suddenly, there is an ominous BLARING OF BAGPIPES.
MEN begin to run across the stage, passing MILDRED.)
MEN
(ad lib)
Hurry! To the dunes! Can you see them? Fae the top of the hill ya can! (etc.)
(ALDRINA comes by.)
Whit's aw the racket?
ALDRINA
(The BLARING repeats. MILDRED stops one of the men, CHARLIE.)
You there, what's going on?
MILDRED
CHARLIE
Norway. They've landed three ships, not a mile up shore.
Norway? Whatever for?
MILDRED
CHARLIE
They're invadin'! Just like they did in Perth and the Highlands. The Glamis army's
reportin', hoping tae hawd'm aff 'til the King's Men get here.
(The BAGPIPES blare again.)
39.
Sorry, my Lady, I've got tae go!
CHARLIE (cont'd)
(CHARLIE dashes off.)
ALDRINA
The Glamis Army? That doesn't mean Macklin, does it!?
MILDRED
Of course it does. Macklin and all other husbands who can hardly wield a butter knife
much less a sword. I knew this would happen. I knew it! The king's been goading for a
war since I arrived. I tried to keep Macklin out of the army, but you -- you encouraged
him. I wouldn't be surprised if it was you who put the crow on the doorstep.
ALDRINA
So what if it was? 'e 'ad te get oot! You were smotherin'm.
MILDRED
Oh, I knew it! You manipulative, conniving -- ahhh! I'll deal with you later. Right now,
we've got to get Macklin out of there. Come with me -(MILDRED and ALDRINA start off.)
SCENE: THE BATTLE
(A trill of drums and group of GLAMIS SOLDIERS is revealed. The
SOLDIERS stand at attention in their kilts, frumpy but obedient.
A second trill, another group.
A third trill, a third group.
A fourth trill, and MACKLIN is revealed in a uniform that doesn't quite fit.
One arm cradles his helmet and the other drags a sword that is too heavy for
him.
BANNY, their commander, paces.)
BANNY
Stand in line, gentlemen. The Norwegians are preparin' to pillage our land, thinkin' it's'n
easy pick. But they've got another thing comin'. Now we need to hold'm off 'til the King's
Men arrive. So when I yell charge, ya charge, and make sure those Scandinavian sissies
never leave the shore. Is that understood?
(MACKLIN holds out his right hand. It begins to shake, audibly rattling his
metal armour.)
40.
Everything aaricht, Macklin?
BANNY (cont'd)
(MACKLIN grabs his right hand with his left to calm it. This works for
momentarily, but then his left arm begins to rattle, followed by the rest of his
body.)
SHIFT TO:
(MILDRED and ALDRINA run toward the shore.)
ALDRINA
Mildred, please, slow doon! My heart's gonna give oot!
MILDRED
Oh! For goodness sake! Don't stop now!
(A group of WIVES, including WENDY, WILMA, and WART are revealed.)
WENDY
Mildred!
MILDRED
Our husbands -- are they out there?
WENDY
There's the Norwegian ships, and there's our husbands by the dunes. My Seamus's down
there.
ALDRINA
(out of breath)
Your Seamus!? My Macklin! I don't think'e's ever used a sword.
Nor my Charlie!
Nor my Russell!
WILMA
WART
MILDRED
Has anyone's husband used a sword?!
(Silence.
Then uproar.)
WIVES
(ad lib)
They're aw doomed! Our husbands'll be slaughtered! Oh Franklin, oh Franklin! My poor
Patrick! (etc.)
41.
WILMA
(above the din)
Oh Charlie! I don't want ya to come hame, but I don't want ya to die!!!
WENDY
Stop it! Aw of ya! Pull yourselves together! It's the king who's got our husbands into this
mess, so it's now up to us to get'm oot of it. Now we just need to think of a plan.
(Silence, then...)
MILDRED
The candles! That's it! Ladies, I have a plan. Come with me!
(The WOMEN follow MILDRED off stage. ALDRINA, still out of breath,
gasps.)
SHIFT TO:
(A cannon booms and bagpipes blare.)
That's it, gentlemen! Charge!
BANNY
(MACKLIN puts on his helmet. The SOLDIERS begin to move forward.
BANNY and MACKLIN hold back a moment.)
BANNY (cont'd)
Macklin, I can't thank you enough for all you've done for lil' Flea over the years. It's a
debt I can never repay. I'll see ya on the other side!
(BANNY pats MACKLIN on the back and charges into battle. However, the
force from BANNY's pat knocks MACKLIN's visor shut.
MACKLIN waves his hand in front of his eyes.
He cannot see.
MACKLIN frantically tries to lift his visor, but cannot. It is stuck.)
SHIFT TO:
(Outskirts of the dunes. MILDRED lights candles, handing them out to
ALDRINA, WENDY, WILMA, WART, and the other WIVES. The candles
emanate pink mist.)
42.
MILDRED
Ladies, quick as you can. Pass these around and surround the battlefield. When there's
enough smoke, run in and grab your husbands!
That's yer plan?
Do you have a better one?
WENDY
MILDRED
(MILDRED hands her duty off to WART and looks out at the battlefield.)
MILDRED (cont'd)
There's Macklin. What's he doing?... Oh dear God! He can't see!
SHIFT TO:
(MACKLIN is now alone. Blinded, MACKLIN hears a CRASH to his right. He
spins.
MACKLIN hears a CRASH to his left. He spins again.
MACKLIN collapses to his knees and then, shaking, begins to pray. As he
does, pink smoke begins to drift into the battlefield.)
MACKLIN
Oh spirits, heavens. It's lookin' like I might not make it through this. An' if that's what
you've got planned, then so be it.
But... truth is, ah'mno ready to go. You see, I'm realizin' I married the most amazin'
woman in the world. Only, I haven't been payin' her much attention lately, 'leavin her to
join the army. And I don't want it to end like this. Anno I've been wrong. And if ya let
me live, I'll never leave her side again. I promise. Just give me a sign!
(MILDRED approaches MACKLIN under the cover of the smoke.)
MILDRED
What's he doing? Praying?
(calling)
Macklin! It's me! I'm coming to take you home!
MACKLIN
What's that? It's the voice of an angel tellin' me I'm gonna be comin' home! Heaven
almighty, I'm gonna make it!
43.
(Pulling himself together, MACKLIN feels the ground for his sword, picking it
up by the wrong end.
MACKLIN charges ahead, screaming. Suddenly, he stops, listens, changes
directions, and charges off stage.)
Macklin! No! Come back!
MILDRED
SHIFT TO:
(On the battlefield, the GLAMIS SOLDIERS in their kilts battle the
NORWEGIAN SOLDIERS in their Viking helmets. As the pink mist from the
candles rolls in, the SOLDIERS begin to cough.
Centre stage, MACKLIN appears, dramatically silhouetted by the mist.
MACKLIN's mad, blinded swinging clobbers -- but doesn't kill -- NORDS and
SCOTS alike.)
Oh! Ah! Uh! (etc.)
SOLDIERS
(A GROUP OF NORWEGIANS points to MACKLIN. They shout and charge,
but, disoriented by the mist, get knocked silly by MACKLIN and his sword.
The NORWEGIANS cry out and run off to their ships, coughing. One carries
away a SHEEP.)
SHEEP
Baaaaaaa!
(The smoke clears, and a diminutive MACKLIN revealed, standing alone and,
unbeknownst to him, victorious.)
SCENE: THE HERO
(MACKLIN stands poised for more attackers. BANNY and TWO GLAMIS
SOLDIERS emerge from hiding.)
Macklin?
BANNY
(MACKLIN screams and swings again, just missing BANNY. The TWO
GLAMIS SOLDIERS jump back.)
BANNY (cont'd)
It's all right, Macklin. It's just me. Banny. We're safe now. The Nords're gone.
44.
(BANNY and the TWO GLAMIS SOLDIERS help MACKLIN remove his
helmet.)
Mildred! Where's my Mildred!?
I'm sure she's -I've got to find my Mildred!
MACKLIN
BANNY
MACKLIN
(MILDRED emerges. MACKLIN rushes to embrace her,(
MACKLIN (cont'd)
Millie! Oh, I was thinkin' I'd never see ya again! Listen, anno I've not been a good
husband to ya, runnin' off to the army and neglectin' ya. But I promise ya, things're gonna
change, Millie -- I promise!... If you'll have me back.
MILDRED
Have you back? I never let you go. How could I? You're all I have. And perhaps, in a
way, perhaps that makes us inseparable.
MACKLIN
Then by the heavens above, I'm luckiest man on this Earth.
(RUSSELL, the remaining SOLDIERS, and the WOMEN emerge.)
RUSSELL
There he is, laddies! Let's hear it! Three cheers for Macklin MacBeth, hero of Scotland!
Hip hip!
SOLDIERS
Hoorah!
CHARLIE
Hip hip!
SOLDIERS
Hoorah!
CHARLIE
Hip hip!
SOLDIERS
Hoorah!
(The SOLDIERS and WOMEN cheer. Confetti flies.)
What's all this fuss aboot?
MACKLIN
45.
RUSSELL
Don't you know, Macklin? You're a hero!
MACKLIN
I am? Ya mean all this shoutin's fer me?
BANNY
You drove back the Nords single-handedly.
MACKLIN
I did?
With a little help.
WENDY
(holding her handle)
CHARLIE
(ignoring WENDY)
It was like you were possessed by the heavens themselves.
MACKLIN
Crivvens! I... I didn' know what was happenin' -- my helmet was stuck'n I couldn't see, an'
I was jus' swingin'! But Millie -- it's like a hand was guidin' mine! What'd'ya call it?
Divine intervention -- that's what it was! An' all this shoutin'. It shouldn't be fer me. It
should be fer the heavens!
(to the SOLDIERS and WOMEN)
All o' ya! Stop! Stop! This wasn't my doin'! We should be kneelin' and prayin' and
thankin'-MILDRED
Macklin! Please! Listen to me. I know you like to thank the heavens for all the
wonderful things they do, but this moment here is a gift. And not for for us, but for them.
For once in their lives, they have something to celebrate -- and, be it luck or the grace of
the Gods, it came through you. They need this moment, and they need a hero. You must
not take this away from them. Or me.
So, raise your hand... and wave.
(MILDRED waves, and, after a moment, MACKLIN does, awkwardly, as well.
The TOWNSPEOPLE cheer even more, lifting up MACKLIN and parading him
on their shoulders.)
MILDRED (cont'd)
What are you doing with my hus-- Oh!
(The TOWNSPEOPLE lift MILDRED upon their shoulders beside MACKLIN.
After a moment, JACQUIE is lifted between them as well.)
46.
JACQUIE
Baaaaa!
SCENE: A KING AND HIS THANE
(As the parade continues, elsewhere lights come up on the throne room of
Castle Dunsinane.
KING DUNCAN -- an aged, sinister king -- and several of his KING'S MEN
are revealed.
TERRANCE, one of the KING'S MEN, stands before DUNCAN. He wears a
Viking outfit with a helmet, but, during the course of his conversation, changes
into Scottish attire with a kilt.)
DUNCAN
Now explain to me again how a band of impoverished shepherds in -- what's the name of
the place?
Glamis, your majesty.
ANGUS
DUNCAN
-- Glamis defeated my men, the King's men?
TERRENCE
They had a secret weapon, your majesty! A ferocious beast! A Grendl even!
DUNCAN
A Grendl by the name of Macklin MacBeth?
Macklin MacBeth?
Know'm?
I collect 'is taxes!
TERRENCE
DUNCAN
TERRENCE
(beat)
But he's and idjeet! A dunderheed! That was him? Crivvens! It must've been the mist,
givin' us halluciantions. An arm swingin', a leg thrashin'!
DUNCAN
Enough! You were supposed to rough'm up. Make'm feel they need their king to
protect'm. Not let'm win, and certainly not give'm a hero! Do you know how dangerous
that is, a hero?
(more)
47.
DUNCAN (cont'd)
And now people're shoutin' 'is name from Midloathian to Orkney, sayin' a mightier man
never walked the Earth!
But that's not true --
TERRENCE
DUNCAN
What damn difference does it make!? It's what people believe, Terrence! And now
there're whispers, whispers among the rebels that maybe this MacBeth should be king
instead of me! Now do ya see what a mess you've made!?
(TERRENCE cowers.)
ANGUS
Would you like me to take care of this MacBeth, sire?
DUNCAN
(beat, considering)
No. Not yet. Let's play along. The people want a hero? We'll give it to'm... for now.
Very good plan, your majesty.
TERRENCE
DUNCAN
(indicating Terrence)
As for this one.... get rid of him.
(The GUARDS grab TERRENCE and take him away.)
TERRENCE
(as he's dragged off)
Wait! Where are you taking me! We can fix this, your majesty! I beg of you!
DUNCAN
You've disappointed me for the last time, Terrence!
Your majesty!
TERRENCE
DUNCAN
(to ANGUS)
I should never have made him Thane of Cawdor. Now about this MacBeth, you say his
wife is a Sasanach who makes candles? Delightful.
SCENE: EDGE OF GREATNESS
(Focus returns to MACKLIN, MILDRED, and JACQUIE, still paraded by the
TOWNSPEOPLE.
48.
Suddenly, the caravan abruptly halted by a HOODED FIGURE that steps in
front of the caravan.)
(ad lib)
Whoah! Hold on! Stop! (etc.)
SOLDIERS
MILDRED
Why have we stopped?
SOLDIER
Just a peasant... I think!
HOODED FIGURE
Please! Let 'n old lady speak! I say -(kneeling)
All hail MacBeth! Thane o' Glamis an' defeater of Norway!
(The TOWNSPEOPLE cheer.)
HOODED FIGURE (cont'd)
He who 'as done what our king 'n all my years 'as not!
(The TOWNSPEOPLE cheer again, slightly confused.)
HOODED FIGURE (cont'd)
(pointing at MACKLIN)
I say, it is he who ought te be king hereafter!
SOLDIERS & WIVES
(chaos, ad lib)
What did 'e say? 'e called 'm King of Scotland! That's treason! Ya don't say!
MACKLIN
Ahmno the king!
HOODED FIGURE
Well, ya should be! You're ten times the man our king is... I say, hail King MacBeth!
Who's with me?
Hail King MacBeth!
Hail King MacBeth! (etc.)
TOWNSPEOPLE
(a few nervously joining in)
Hail King MacBeth!
Hail King MacBeth! (etc.)
What is this?
MILDRED
(MILDRED pulls the HOODED FIGURE aside, removing her hood -- it is
ALDRINA.)
49.
MILDRED (cont'd)
Aldrina! I should've known you'd be behind something like this! What on Earth do you
think you're doing?!
ALDRINA
This whole country's in revolt, ready t'make someeone else their king. An' seein' as
Macklin's a big hero now, an' people're already talkin' boot it, why shouldn't it be'm?!
MILDRED
Because the king is still very much the king, and when he hears word of this, he'll have us
all by our throats! Or have you forgotten what happened in Perth? Hundreds dead! They
say the streets were flowing with blood!
ALDRINA
Ah, there ya go again, always tryin' to hold m'Mackie back!
MILDRED
Hold him back?! I'm trying save him! Give me a moment. I need to sort this out.
(MILDRED steps away from ALDRINA, and then turns toward the audience.)
MILDRED (cont'd)
(to the audience)
Imagine. Macklin, rebelling against the king. He wouldn't last a day! And! Even if he
were -- by some impossible miracle -- to survive and become the next king, what would he
do then? He can't manage a flock of sheep. What would he do with a whole country?
And yet, perhaps Aldrina has a point. The king is old and growing ever more unpopular.
He's bound to fall eventually, to someone more celebrated by the people. And when he
does, I mean why shouldn't it be Macklin? So Macklin's not vengeful, cunning, or
ruthless. He is patient, kind, and gentle -- qualities this country so desperately desires.
And, as for the brutal task of actually governing a country, for that he has me, and...
...my God. It suddenly makes sense... My whole life. The loss of my parents, a childhood
on the streets, acquiring a ticket to France, only to have my boat sink and spend the better
part of the twenty years in this God forsaken place. Because all this time, I was being
groomed, groomed by destiny to be queen! And not just any queen, mind you, but the
queen, who raises Scotland up from the ashes for a renaissance of arts and culture that
rival -- no surpass -- those of Italy, England, and France.
This... this is my destiny. It's been in front of me all this time, and I didn't see it.
(more)
50.
MILDRED (cont'd)
But you, you knew, didn't you? That's why you've been watching me, my entire life! And
yet you've never said a word. So coy of you to wait until the time has come.
Still, I am not queen yet, and in Aldrina's hands, this -- this could be a disaster! I must
take matters into my own hands. I must act. To secure my destiny. And so, I pray.
(kneeling)
Heavens, heavens above, to you who tend upon mortal thoughts. To you I say, unsex me
here! Fill me from the crown to the toe with your direst cruelty. Thicken my blood, stifle
my remorse, and come to my breast taking my milk for gall. Blanket me in your darkness
so that I may see your will be done.
(The spell in MILDRED's mind bubbles to a climax and then begins to
simmer.)
MILDRED (cont'd)
Ladies and gentlemen, you have gathered here to bear witness as I lay claim to my destiny
as Queen of Scotland.
Rest assured. You have not come in vain.
(Blackout.)
END OF ACT ONE.
51.
ACT TWO
SCENE: THE SPOT
(Spotlight. Drum roll. Enter...
...JACQUIE, who plops in the light, sunning, scratching, and licking herself
inappropriately.
MELBA pokes his head into the spot. He tries to sun himself, but the spot is
not big enough for two. MELBA tries to nudge JACQUIE out with his rump.
JACQUIE growls.
They compromise, each taking half the spot. Suddenly, DILLON sticks his
head in between them. He then spins around, his butt facing the audience,
sunning his rear and wagging his tail.
JACQUIE and MELBA ignore this until DILLON emits a long, squeaky, gust of
wind. JACQUIE and MELBA open their eyes wide and begin to gag. DILLON
kicks his hind legs and then turns to sun himself centre stage.
MILDRED enters, speaking to someone in the wings.)
MILDRED
I beg your pardon? The sheep are doing what?
(turning to see the sheep)
Oh, good heavens!
(chasing away the sheep)
Shoo! Go on, get out of here! Get! Get!
(smelling the air)
Oh dear. Move the light! Move the light!
(The spot -- and MILDRED -- relocate.)
SCENE: MAN ABOVE SHEEP
MILDRED
(to the audience)
I'm incredibly sorry about that. Sometimes I have to remind the sheep this is my story,
not theirs. In any case, I see you've returned. Did you enjoy your break?
(pointing to someone in the audience)
I know you did. Now where were we? Oh yes...
Due to an expected turn of events, my husband has become the hero of Scotland, and the
favorite among the people to become the new king.
(more)
52.
MILDRED (cont'd)
This, of course, puts me in line to be queen of Scotland, fulfilling a prophecy foretold to
me by my father, and is the reason for which all of you have come here tonight. There
are, of course, details to be worked out, before Macklin and I can ascend to the throne,
namely a king who is very much alive and would slaughter his whole country before
giving up the throne.
But, if there's one thing I'm good at, it's just that -- working out the details. Now, shall
we?
(MILDRED claps her hands and around her, the scene from the end of ACT
ONE is recreated: the TOWNSPEOPLE surround MACKLIN, some chanting
for him to be king. ALDRINA looks on in delight.
Suddenly, bagpipes blare. The KING'S MEN ride in, led by ANGUS. Those
who are kneeling rise.)
ANGUS
What's going on here? I trust y'all know bowin' to any man other than yer king is an act of
treason punishable by death.
MILDRED
Pleaes your guard -- we were just celebrating our recent victory over Norway. And we
were kneeling in honour of our great King Duncan who inspired our victory.
ANGUS
I know you. You're the Sassanach, married to the MacBeth. An' which one o' these men is
yer husband?
Here. Right here.
MILDRED
(pulling MACKLIN forward)
ANGUS
So this is the hero. Have ya heard the rumours that there those who would like to see you
as their new king?
I'd be lyin' if I said I hadn't.
MACKLIN
MILDRED
Please, my husband is clearly innocent -I'll be the judge of that.
ANGUS
(to MACKLIN)
And what do you have to say about these rumours?
I'd say --
MACKLIN
53.
Go on, Macklin.
I'd say it's not up to them.
MILDRED
MACKLIN
ANGUS
Oh?
MACKLIN
(slow and steady)
That's not the way it works. The universe's, it's got 'n order to it. A way it's meant to be,
'n a way it's always been. An that's heavens above king, king above man, man above
sheep, and, well, sheep above the grass. An' so it's the heavens that pick the king, not the
people. An' the heavens've chosen Duncan. If there's to be a new king, well, that's fer the
heavens to decide.
(turning to the TOWNSPEOPLE and
then his MOTHER)
Not us.
ANGUS
(handing MACKLIN a scroll)
Very well said, an' a good thing too, because the king's sent ya this.
MILDRED
What is it?
ANGUS
It's a proclamation, makin' yer husband the new Thane of Cawdor.
(The SOLDIERS and WOMEN murmur.)
WENDY
Thane of Cawdor? That's the King's right hand thane!
What 'appened to the last one?
WILMA
ANGUS
Executed for treason. But now we've got a better one, don't ya think?
(starts to leave)
Oh, an' I almost forgot -- the king says to prepare a feast, my Lord and Lady, 'cause he's
coming to your castle to make it official tonight!
(The TOWNSPEOPLE gasp.)
See you then. My Lord, my Lady.
ANGUS (cont'd)
54.
(ANGUS and the KING'S MEN depart.
ALDRINA approaches MACKLIN. MILDRED watches.)
ALDRINA
Oh, Mackie! That was such a clever thing ya said te that guard!
I jus' said what I felt.
Sure ya did, Mackie. Sure ya did.
MACKLIN
ALDRINA
SCENE: A BIGGER CROW
(WENDY, WILMA, and WART go to MILDRED who appears in a daze.)
WILMA
Image that! The king, comin' te yer castle, tonight!
WENDY
'e's scared, 'e is! That's why 'e's makin' yer husband Thane of Cawdor. Better to have'm as
'n ally 'stead of 'n enemy!
WART
Oh, an' to think, Mildred, ya were almost Queen of Scotland!
(beat)
Ya alright, there, Mildred?
MILDRED
Ladies, would you consider us... friends?
Well, I'm yer friend, Mildred.
WART
WILMA
(pointing to MILDRED then WENDY)
An' I like you more than I like 'er.
WENDY
Mildred, we've known ya since the day ya came to Scotland.
WILMA
Never mind us tyin' ya te the stake -MILDRED
What if I told you I was resolved to become Queen of Scotland by any means necessary?
55.
WART
Mildred!
WILMA
I knew it! You're joinin' the rebellion, aren't ya?
MILDRED
No -- absolutely not! Rebellions -- they're messy. I was think of something with more of
a... woman's touch.
What exactly are ya thinkin'?
WENDY
MILDRED
I certainly can't divulged the details... Except to say that by this time tomorrow, my
husband, Macklin, will have been offered crown of Scotland. Of this I can assure you!
However, what I cannot guarantee is that when the crown is offered that Macklin will
accept. In fact, I rather suspect he will not. "Heavens above king", "man above sheep" -all that nonsense he truly believes. Macklin never does anything anyone asks of him,
unless it's the heavens doing the asking. And that's how Aldrina got Macklin to join the
army, by putting a crow on our doorstep.
And this is where you come in. I need someone to be my "crows" as it were, and persuade
my husband that he is to be the next King of Scotland. Do this, and I will make you maids
of my court at Dunsinane.
Or have I, from the looks of it, overestimated our friendship?
WENDY
Mildred...
What do ya wan' us te do?!
WILMA
(WENDY, WILMA, and WART step into their own pool of light where they find
three burlap bags, from which they pull out witch costumes. They try them on
and fight over the best pieces.)
MILDRED
(to the audience)
The three of you shall appear to my husband as apparitions from the heavens. You will
proclaim him MacBeth, Thane of Glamis; MacBeth, Thane of Cawdor; and MacBeth,
King hereafter. Tell him that he is to be king and then our godson, Flea, after him -- an
heir in my own likeness. And that this is the will of the heavens.
56.
(WENDY, WILMA, and WART "play" as witches, pretending to cast spells on
each other. Suddenly, MACKLIN and BANNY enter.)
BANNY
So fair and foul a day I have not seen.
MACKLIN
(pointing to WENDY, WILMA, and
WART)
Banny, look!
(In the background, WENDY, WILMA, and WART give their prophecy to
MACKLIN and BANNY. As they do, MILDRED addresses the audience.)
MILDRED
(to the audience)
I know you're judging me. For deceiving my husband, and I can't say I blame you.
But consider this. In all our seventeen years of marriage, I have never spoken a dishonest
word to him. Rather, I've been unduly blunt. It's just my character. He knows that. So, I
only deceive him now because it's for his own good. For our good. For the good of the
country.
He will make a wonderful king, as will Flea after him. And I promise you, I will see him
through this every step of the way.
(The prophecy has finished. WENDY, WILMA, WART, and BANNY disappear
into the darkness.)
Mildred! Mildred!
MACKLIN
(calling out, terrified)
(MACKLIN wails.)
MILDRED
There you are, I've been looking all over for you!
(MACKLIN bear hugs MILDRED.)
MILDRED (cont'd)
What's happened? You're as pale as a ghost!
MACKLIN
By the heavens almighty, Mildred, I'm gonna be king!
57.
SCENE: A GOOD PLOT
MILDRED
(to the audience)
And there you have it, Macklin is convinced it is his destiny to be king, and even I
couldn't convince him otherwise.
Though he does remains blissfully unaware of how this ascension shall come about. No
point in involving him in a murder. Did I not mention that there was going to be a
murder? Oh, don't look so surprised. I've never claimed to be an innocent woman, and,
while I've never before considered the likes of murder, I'm quite capable. After all, the
king isn't just going to die on his own, now, is he? And, speaking of the king, lest we
forget, he comes tonight!
(MILDRED claps her hands, and the castle becomes a whirlwind of
preparation. The CHEFS cook, the PORTER and the SERVANTS set the table
and the candelabras.
MELBA -- the sheep -- walks through the castle, watching the preparation. In
the kitchen he is denied, in the dining room he is shoved, in the entrance he is
kicked. He walks off angry and disparaged.)
SHIFT TO:
(MILDRED'S dressing chamber. MILDRED primps, dressed in a flashy gown.
FLEA stands in the door.)
FLEA
You as look lovely as the day you came to Scotland.
Oh, Flea!
MILDRED
(MILDRED runs and embraces FLEA.)
MILDRED (cont'd)
I'm so glad you've made it. I wasn't sure you'd even gotten the invitation -FLEA
I must confess, I'm here as a bit of a spy. It's broken the people's hearts that Macklin is
joining with the king.
MILDRED
Well, to be fair, Macklin can do more good on the court than we could leading a fruitless
rebellion. Oh, you have no idea how much I've worried you about. Tell me, will Hillary
be joining?
58.
FLEA
Aye.
MILDRED
Splendid. Though it's a pity tonight she and I won't have time to talk. Perhaps when this
is all said and done -Aunt Mildred, what's going on?
Whatever do you mean?
FLEA
MILDRED
FLEA
Oh, I don't know. Witches in the swamp. A prophecy that Uncle Macklin is to become
king, and then that I'm to be king after him. The peculiarity of it all has the redolence of
Aunt Mildred all over it.
MILDRED
Yes, well, while I do enjoy a good plot, I unfortunately know little more about this
"prophecy" than you.
FLEA
Why don't I believe you? You're up to something.
MILDRED
Listen to me. I don't care you if believe me or not. I'm just going along with it because
don't want to rile Macklin's nerves. You know how he gets, and with the King coming.
I'm not going to let him out of my sight. Speaking of which, would you to keep an eye on
Aldrina. I am terrified she'll do something undignified.
FLEA
Fine. Of course. Don't think giving me little tasks is going to make me any less
suspicious -MILDRED
Look at you. Such a handsome young man. You know, I'll always make sure you're well
taken care of you. You know that?
(There is a crash of pans off stage.)
MILDRED (cont'd)
Good heavens. You want a feast prepared, you have to do it yourself. I'll see you
downstairs.
(MILDRED exits.)
59.
SCENE: A KING'S WELCOME
(With time running out, MILDRED enters the dining hall intercepting a
dispute between the CHEF and the PORTER. Around her, everything is
frenetic, but pulls together just in time for...
...a pounding at the door.
Silence.
The PORTER answers the door, and MILDRED, ALDRINA, BANNY, FLEA,
and HILLARY greet DUNCAN, MALCOLM, DONALBAIN, ROSS, ANGUS, and
their ATTENDANTS.)
MILDRED
You majesty! Welcome! Welcome to our humble home!
DUNCAN
My dearest Lady. What you've done with the place... It's delightful. Not like the last Lady
of Glamis. She had no sense of style. But you... you...
(Duncan growls. MALCOLM and DONALBAIN bow before MILDRED.)
DUNCAN (cont'd)
Oh, and my sons. Malcolm, Donalbain.
My Lady, it smells delicious.
MALCOLM
DONALBAIN
Like chestnut! I bet we're having roast pheasant with chestnut!
(ALDRINA peers.)
ALDRINA
Oh! You're majesty! You're doin' a good thing makin' my boy Thane 'a Cawdor!
Who's this?
That would be the mother.
DUNCAN
MILDRED
ALDRINA
There's so much I have te tell ya about m'boy --
60.
FLEA
(intercepting, leading ALDRINA away)
And there will be plenty of time during dinner.
DUNCAN
But where is our hero and host? Why doesn't he greet us?
MILDRED
He will greet you with a heart warmer than mine in the dining hall. Right this way your
majesty. Porter!
(The PORTER leads the GUESTS to the dining hall. MILDRED starts off to
her chamber when there is another knock at the door.
MILDRED answers. It is WENDY, WILMA and WART.)
Hello, Mildred.
What are you doing here?
We're here for the banquet!
What? No! You're not invited.
But I thought --
WENDY
MILDRED
WILMA
MILDRED
WART
MILDRED
Listen, I'm very grateful, and you will all get your due. But tonight everything must go
according to plan. My plan. And that means no unexpected guests. Now if you'll excuse
me.
(MILDRED forces the door shut and rushes to her chamber.)
SCENE: THE JITTERS
(MACKLIN'S chamber. MACKLIN sits, white as a ghost, sweating profusely.
JACQUIE sits at his feet.)
MACKLIN
Oh Jacquie, Jacquie, Jacquie. Oh, Jacquie, Jacquie, Jacquie. You're lucky te be a sheep.
No one expects a thing from you. No heavens, no mothers, no wives, no tryin' te make
you king, make you a traitor to yer own country.
(more)
61.
MACKLIN (cont'd)
No, you're just a sheep. An' all you have te do is graze on the green, green grass. That's
all anyone ever asks of ya. Oh, how I wish could'a been born like you, Jacquie.
(MILDRED enters.)
MILDRED
What are you up here mumbling to the sheep for!?
Has he asked for me?
MACKLIN
MILDRED
Don't you know he has? You've got to come -- now. It's starting to look suspicious.
MACKLIN
I can't do it. I can't look'm in the eye, not knowin' what the sisters've told me. It's like I'm
stealin' the throne right away from him' an' his kids. Like I'm a traitor.
MILDRED
No, no, no. You can't do this. Listen to me. You haven't done anything wrong. All
you've done is borne witness prophecy that probably isn't even true. And even if it is, it
could be years, decades even before it plays out. And then, the king might even give you
the throne of his own accord.
(cleaning Macklin up with a towel)
All that matters now is that you, the hero of Scotland, go down there, have some pheasant,
and be your normal, awkward self. And no matter what happens -- and I mean whatever
happens -- I will be there with every step of the way. Do you understand?
(taking MACKLIN's hand.)
Now come on.
SCENE: DINNER
(The Dining Hall. DUNCAN and ANGUS stand in a corner.)
You have the bottle?
DUNCAN
(whispering)
(ANGUS pulls out a wine bottle.)
DUNCAN (cont'd)
And you're sure it's strong enough.
62.
Strong enough for an ox.
ANGUS
DUNCAN
Good.
(MILDRED leads MACKLIN into the Dining Hall.)
There he is! Our hero and host!
DUNCAN (cont'd)
(The GUESTS applaud. MACKLIN stammers, shaking.)
Y-your majesty...
MACKLIN
DUNCAN
What's the matter? Sheep got your tongue?
MILDRED
He is deeply humbled by your presence, your majesty.
DUNCAN
Well, well, well. Fearsome as a Grendl in battle, but meek as a lamb before his king. Let
that be a lesson for ya all.
(The GUESTS chuckle.)
I -- I...
MACKLIN
DUNCAN
It's all right. I'll do the talkin'.
(to the GUESTS)
Lords, lassies. These are tryin' times. There're uprisin's in the North, foreigners invadin',
and Norway tryin' to overtake us. They've sent their best men, best ships, and were led,
I'm sorry to say, by one of our own, Terrence, Thane of Cawdor and a traitor!
GUESTS
(ad lib)
That Terrence! What a traitor! I never liked the looks of'm. What's this country comin'
to? (etc.)
DUNCAN
(scanning the crowd)
Sometimes ya don't know who ya can trust. There's always someone ready to tear apart
what you fought so hard to keep together.
But also, Norway's been turned back from Scotland.
(more)
63.
DUNCAN (cont'd)
How fast we saw their masts sail away, sail away, for they finally realized they cannot
defeat that which is the spirit of the Scots. And today, no spirit was bigger than that of
this soldier right here, Macklin MacBeth. Scotland's magic dagger!
(The GUESTS cheer.)
DUNCAN (cont'd)
It's in the darkest of days that ya learn a man's true bein'. And we've learned this man -down to his soul -- is made from the sternest of stuff, a hero who stands with his king.
GUESTS
Here! Here!
DUNCAN
And so, it's with great pleasure that I proclaim you, Macklin MacBeth, the new Thane of
Cawdor!
(The GUESTS cheer again.)
DUNCAN (cont'd)
(grabbing MACKLIN's jaw)
Just look at this face. This, this here's a champion.
MILDRED
(to the audience)
Something is amiss. Call it a woman's intuition, but I do not like the way the King is
looking at my husband. What is it?
DUNCAN
MacBeth, today you've done your duty, savin' this great country, but I've got a favor te ask
of ya.
(handing MACKLIN a knife)
An' that's te give the auld bird what he's got comin'!
(DUNCAN hands MACKLIN a very large knife.)
MACKLIN
Huh?
(The GUESTS chuckle some more. A SERVANT unveils the cooked pheasant.)
ALDRINA
Cummoan, Mackie, give'm the knife.
(Looking to MILDRED who nods, MACKLIN, gathers his will, and cuts into
the bird.)
Bawwwwwk! You've cut me!
MALCOM
64.
(MALCOM and DONALBAIN snicker. MACKLIN is frustrated.)
DUNCAN
Malcom!...
Please. Continue.
(to MACKLIN)
(MACKLIN slices the pheasant again.)
DONALBAIN
Bawwwwwk! You've cut me again!
MALCOLM
Murderer!
(MACKLIN drops the knife. MALCOM and DONALBAIN snicker.)
DUNCAN
(losing his calm)
Enough! I've had it with the two of you! You wanna be king some day? Act like it! Or
I'll see to it neither one of ya inherit my throne!
It was just a joke.
MALCOLM
DUNCAN
My Lord, my Lady. I hope you'll pardon my children. They seem to have shaken our
good host. Anno what'll help. Angus! Pour this man a bevvy!
(ANGUS pours wine into MACKLIN's chalice.)
MILDRED
(to the audience)
My God, it's the wine -- it's not from our dungeon.
DUNCAN
A toast! To the thane of Glamis, Thane of Cawdor, and conqueror of Norway! To
MacBeth!
GUESTS
To MacBeth!
(As the GUESTS raise their glasses, MILDRED stealthily swaps her chalice
with MACKLIN's. MACKLIN lifts the chalice before him and drinks.
DUNCAN nudges the chalice.)
Drink up! Drink up!
DUNCAN
65.
(MACKLIN finishes, bottoms up, and the GUESTS cheer.
Beat.
Macklin puts his hand to his mouth. A chuckle emerges as the alcohol goes to
MACKLIN's head. MACKLIN begins to sing.)
MACKLIN
OH HERE WE BE A DRINKIN'
DRINKIN' OUR SCOTTISH WINE
(The GUESTS cheer -- they know this song.)
MACKLIN (cont'd)
FINDIN' THE COURAGE TO FACE OUR FEARS
AND FOR SPEAKIN' THE TRUTH...
MACKLIN & BANNY (cont'd)
EACH DAY AS TIME GOES BY
WE'RE GROWIN OLD 'N FRAIL
BUT IN THY CUP, YOU'LL FIND -- DRINK UP -(MACKLIN drinks BANNY'S wine)
THE VIGOR OF OUR YOUTH
ALL GUESTS
OH THE BROGUE SO BRINY
AND THE BOTTLE SHINY
ANOTHER SIP
HIP HIP!
HIP HIP!
'TIL THE MEMORIES SLIP AWAY
(The GUESTS sing, dance, eat, drink and make merriment.
DUNCAN and ANGUS stare at MACKLIN in awe and then begin to argue.
MELBA -- the sheep -- walks in. MILDRED spots him.)
MILDRED
Here, Melba. It's all right. Come here. I have a treat for you.
(MELBA approaches MILDRED suspiciously. MILDRED offers him a drink
from the chalice. MELBA sips cautiously and then laps away.)
There you go. Isn't that nice?
MILDRED (cont'd)
66.
(MELBA considers the flavour for a moment then falls over dead.)
MILDRED (cont'd)
Oh dear God.
(Aghast, MILDRED scans for MACKLIN in the crowd, making sure he is safe.
Then, she drags MELBA's body behind a curtain in the hallway.
MILDRED tries to make her way to the kitchen. But as she does, WENDY,
WILMA, and WART rise up and peer through a window. FLEA spots this,
subtly gesturing to MILDRED. MILDRED slams the shutters. The GUESTS
turn their heads.)
MILDRED (cont'd)
Draughty in here.
(The GUESTS go back to their merriment, but the WENDY, WILMA, and
WART appear again in other windows. A cat and mouse game ensues as
MILDRED closes all the shutters.
Alas, WART peers through a window, making eye contact with FLEA.)
(yelling)
Witch!!!
FLEA
(WART quickly disappears. The merriment stops, and chaos erupts.)
FLEA (cont'd)
There -- in the window. A woman at least. I don't know why I supposed it might be a
witch.
(ANGUS and the ATTENDANTS push open the closed shutters, peering
outward.)
Nothing, sire.
Are you sure you saw someone?
I am. I swear --
ANGUS
HILLARY
FLEA
ANGUS
Most likely a peasant snoopin' aboot.
(pointing at attendants)
(more)
67.
ANGUS (cont'd)
But I want you, you, and you to stand guard outside just in case.
(THREE GUARDS exit.)
MILDRED
Well, I hope this fright hasn't ruined the evening.
DUNCAN
What's an night' withoot lil' adventure?! I say, let the merriment continue!
(DUNCAN claps his hands, and it does. MILDRED finally escapes into the
kitchen.)
SCENE: A BOILED CHESTNUT
MILDRED
(to the audience)
The bastard. The imp. Trying to murder my husband! I suppose I of all people should
have seen it coming. Well, his majesty is not the only one with a surprise tonight.
(MILDRED goes to a bubbling pot, from which she extracts a single boiled
chestnut.
She delicately places it on a tray, garnishes it, and salts it. She starts to the
dining hall, but notices her hand trembling.)
MILDRED (cont'd)
Oh dear, it's never done that before. No matter.
(MILDRED sets down the tray and picks up a chalice of wine.)
Wait, not that one.
MILDRED (cont'd)
(MILDRED pours herself a fresh chalice.)
MILDRED (cont'd)
Let the wine that has made them drunk make me bold.
(MILDRED downs the wine. She holds out her hand, which, after a moment,
stops trembling.)
There. It's time.
MILDRED (cont'd)
68.
SCENE: THE GAZE
(Picking up the tray, MILDRED goes back out to the soiree, approaching
DUNCAN who sits drunk in a corner.)
Your majesty.
What's this?
MILDRED
DUNCAN
MILDRED
A boiled Moldovian chestnut. It's an English tradition, served to the guest of honour. You
don't want to know what I went through to get one.
DUNCAN
(suspicious)
A Moldovian chestnut? I've never heard of such a thing!
(beat)
Delightful!
(DUNCAN reaches for the nut but then begins to caress one of MILDRED's
hands.)
DUNCAN (cont'd)
Such lovely hands you have. Do you know whose they remind me of? My mother's.
Queen of Scotland. She was a murderer and a sneak. But you have to be to queen you
know. Cunning, ruthless. But no one ever suspected her, no, because she was a woman
and so lovely. She used to sit me on her lap and feed me chestnuts. Oh, how I miss her.
(Hums for a bit, gazing into
MILDRED's eyes.)
And she had such lovely hands. Just like yours, Mildred. Just like yours.
(Rattled, MILDRED's hand begins to shake and she drops the tray with the
chestnut.)
MILDRED
Oh dear. Please excuse me. I don't know what came over me, your majesty.
DUNCAN
Oh, it's all right. I wasn't in the mood for a chestnut anyway.
(MILDRED composes herself and then exits.
After a moment, DILLON enters. He sniffs the chestnut, looks around, and
then gobbles it up.
69.
He considers its flavour for a moment before falling over dead.
DUNCAN gazes over to see the deceased SHEEP but hardly seems to notice.)
SCENE: A PLAN UNRAVELLING
(MACKLIN finds MILDRED slumped and shaking in a hallway.)
MACKLIN
Mildred? What are you doing over here? What's happened to ya?
MILDRED
He knows, Macklin, he knows! It isn't possible. Yet... he does! We'll both be killed.
Dead by morning. Unless we get out of here. We've got to leave right now!
What are ya bletherin' aboot?
MACKLIN
MILDRED
The king knows I tried to murder him. Don't look at me like that! He's already tried to
murder you! Oh my God! There's a sheep out there dead. Must've eaten the chestnut.
We've got to get rid of it!
(In a tizzy, MILDRED gets up. MACKLIN stops her.)
MACKLIN
I'll get the sheep. You stay here. Understand?
(MACKLIN returns to the dining hall where he quietly finds DILLON.)
MACKLIN (cont'd)
Ah, Dillon...
(Suddenly, MACKLIN, unseen, hears DUNCAN speaking to ANGUS.)
DUNCAN
I don't understand how he's still alive. That was enough poison for ten men! No matter.
We'll kill him in his sleep. Put a dagger through his heart if you have to. And his wife,
that wretched Sassanach, have her killed too. But make sure her death is slow and painful.
Is that clear?
Yes your majesty.
ANGUS
70.
(MACKLIN drags the dead sheep into the hallway.)
MACKLIN
You were right. That son of a bitch is going to murder us.
MILDRED
I've failed you, Macklin. Failed you.
(MACKLIN cradles MILDRED.)
MACKLIN
No ya haven't. Ya promised you'd stand by my side. You have. Now I'm gonna stand by
yours. I want ya to go to our chamber'n lock the door. And don't let anyone in but me.
Can ya do that? I said, can ya do that?
(MILDRED nods.)
MACKLIN (cont'd)
Good. Now everythin's gonna be all right.
(MACKLIN pulls back the curtain to hide DILLON, and MELBA's body falls
out.)
MACKLIN (cont'd)
Crivvens!
DUNCAN
(clapping his hands)
Stop the music! Stop! Stop!
(the music stops)
It's been a splendid evening. But the time has come for me to retire. But for the rest of
you, the night remains young. Carry on! Carry on!
(DUNCAN exits.)
SCENE: THE BALCONY
(FLEA leads HILLARY onto a balcony.)
Oh, a balcony!
(giddy)
HILLARY
(peering down, excited)
Are we looking for the witches? Is that why we're here?
FLEA
The witches can wait. I want to tell you something.
Tell me what?
HILLARY
71.
It's very serious.
FLEA
HILLARY
So tell me!
FLEA
I want to tell you... that I love you.
HILLARY
Well, anno that. You've told me that.
FLEA
But have I told you why?
(gathering the words)
I love you because... you're gentle. Because you're soft. And intelligent, though you don't
let on. And for how you call me by my full name.
HILLARY
Fleance.
FLEA
And most of all, I love you because there's not an ounce of bitterness or spite within you.
(kneeling)
And so I'm asking: Hillary MacDuff, will you marry me?
(Beat.)
HILLARY
Yes, yes! Of course, I'll marry you. I will marry you.
FLEA
And you're not just saying that because I'm to be king?
HILLARY
I'm saying yes in spite of that! You'd make a terrible king, Fleance.
FLEA
Then let me not be king. Let us marry and leave this backwards place, as go far away as
we can. Paris, Rome, Arabia.
HILLARY
I will follow you to the ends of the Earth. Now I beg of you, give me thy lips.
And you thine!
FLEA
(They kiss. BANNY enters.)
72.
BANNY
(turning to exit)
Oh, heavens to Betsy! I'll just be going! -FLEA
No, father, wait. I have some news. Hillary and I have just decided to get married.... If
you approve.
BANNY
Approve!? How could I not! It's absolutely barry! A Banquo and a MacDuff in
matrimony.
(BANNY embraces FLEA and
HILLARY.)
But what's in a name? I can't imagine my son marrying a more perfect lass. Oh, if only
your mother could've been here for this.
HILLARY
But we haven't talked to my father yet, so -BANNY
Oh, anno.
(BANNY covers his mouth to show he'll keep the secret. He giggles.
A noise. MACKLIN emerges.)
Am I interuptin''?
MACKLIN
BANNY
Oh, we were just, you know, talking. Thought you'd gone to bed.
MACKLIN
Actually, was hoping ya might spare a thought.
Oh. Aye. Flea? Hillary?
Goodnight Uncle Macklin.
BANNY
FLEA
HILLARY
Goodnight!
(FLEA departs.)
BANNY
You look troubled... Is it the witches? You know I've been thinkin', and we shoudn't pay
any --
73.
It's not the witches.
MACKLIN
(beat)
It's his majesty. Anno he's been good to me. He has, makin' me his right hand thane. Me!
But, you know, there's some who'd say he's not such a good king. Cause of how he treats
his people.
(Beat.)
Aye, some would say that.
BANNY
MACKLIN
Would you?
BANNY
Isnae my place to say. But a seeking oot batles with Norway, slaughterin' 'is own people.
That can't be good. I don't worry so much for myself, Macklin, but for the young. I worry
for their future.
(beat.)
Nay. I will not speak ill of his majesty, especially when he is the guest of honour. Come,
we should both get some sleep. The night bewitches us both.
MACKLIN
Aye, in a bit.
(Banny exits.
MACKLIN speaks to the heavens. As he does, JACQUIE enters, watching
him.)
MACKLIN (cont'd)
(talking to the heavens)
Ya know, I didn't ask for this.
All my life, I've followed your signs, read your omens, respected your rules of nature.
Paid attention to the birds, the wind, the leaves, the sky. Done everythin' you've asked
withoot question.
So forgive me if I'm askin' -- just this once. Isn't there anythin' else I can do? Walk a
thousand miles, cross the sea, slay a Grendl. Anythin'! Please, give me another option.
Just this once. I beg of ya -(MACKLIN waits for an answer.)
Bloody answer me!!!
MACKLIN (cont'd)
74.
(Silence. MACKLIN is in dispair. And then... something changes within him.)
MACKLIN (cont'd)
And there it is. A sign. A dagger, in front of me, pointing the way.
(JACQUIE looks inquisitively for the dagger. She does not see it.
JACQUIE follows MACKLIN as he slowly drifts into the castle, takes a dagger
from a wooden box, passes two sleeping guards, and begins ever so slowly to
proceed up the stairs, a candle in one hand and a dagger in the other.)
SCENE: THE STEPS
(MILDRED watches from her chamber doorway.)
MILDRED
He's actually going through with it. My husband, a dagger in his hand, going up the stairs.
Step by step. I suspect he'll turn back. And yet... he does not.
Is this my Macklin? No, it cannot be. My Macklin jumps at his own shadow, is bullied by
sheep. He could not do what this man is doing. And yet, unless my eyes deceive me,
there he is, ascending, step by step. Could it be he's changed? No, people don't change.
They just portray themselves differently from time to time. And yet here we are, after all
these years, our roles reversed. Me, hiding in the shadows, while he climbs his way to
greatness. I dare say... I'm proud.
He could still trip up. And knowing him, he will. I must go to him. And yet... I cannot
bring myself to intervene. For, as great as the risk may be, does he not deserves the
chance to realize his own greatness?
Macklin. Go. Plunge your dagger and come back safe to me. And in your arms I will be
intertwined, with the man I married but never knew.
(MACKLIN blows out his candle and enters DUNCAN's chamber.
JACQUIE dashes in after him.)
75.
SCENE: THE THIRD SHEEP
(Thunder and rain can be heard approaching as MACKLIN stands in the
doorway with JACQUIE unseen behind him.
Slowly, MACKLIN makes his way to the the bed. He raises his dagger, pulls
back the covers, and ... no one is there.
Heart racing, MACKLIN looks around.
In the corner of the room, DUNCAN lights a candle. He sits calmly in a
chair.)
Looking for me, MacBeth?
Your majesty! I... I was just...
DUNCAN
MACKLIN
DUNCAN
No need to explain. You're not the first to try and murder me in my sleep.
(MACKLIN hides the dagger behind his back.)
DUNCAN (cont'd)
Though I have to say I'm surprised. I was expectin' that hoor of a wife of yours or even
one of my sons. But you?
(chuckling, amused)
Didn't think you had it in ya.
M-Mildred's not a hoor!
MACKLIN
DUNCAN
Ah, yes, under the Sassanach's spell. Macklin, come here.
(DUNCAN pats the chair next to him.)
You and I have something to talk aboot. It's all right. I'm unarmed.
(MACKLIN hesitates and then begins to move towards DUNCAN. JACQUIE
pulls back on MACKLIN's kilt with her teeth but to no avail.
MACKLIN sits.)
DUNCAN (cont'd)
I hate to tell ya this. But that battle you won wasn't a real battle.
MACKLIN
Of course it was! I was there! I saw the ships, and --
76.
DUNCAN
Those were my ships, MacBeth. And those were my soldiers wearin' costmes, shoutin'
their mince. The whole thing was... an act. There is no war. Norway's not invadin' and
never was.
MACKLIN
But if those were your men, that would mean -- that would mean ya attacked your own
country. And why would ya -DUNCAN
Fear, MacBeth, fear! Witches, Norwegians, any villain the people need. So long as
they're fightin' an enemy, they're not fightin' you.
Do you know what Scotland was like before I was king? Before you were born. It was
Scot fighting Scot, clan against clan, endless battle and bloodshed. But since I've been
king, there's been forty-six years of relative peace and stability. Forty-six!
But not everyone is grateful for that. No, there are those who'd undo it all. And I'm afraid
you've gotten mixed up in all that.
But you -- you're not a murderer, MacBeth, are ya? You don't want to be any part of this.
No, what you want is to give your dagger to me... and forget this ever happened.
(JACQUIE vehemently shakes her head "no", pulling on MACKLIN's sleeve.)
Come now, MacBeth.
DUNCAN (cont'd)
(standing)
(MACKLIN stands and begins to hand over his dagger.)
DUNCAN (cont'd)
That's right. Give the dagger to me.
(JACQUIE backs up, charges, and head butts MACKLIN, plunging
MACKLIN's daggar into DUNCAN's chest.)
DUNCAN (cont'd)
Oh my god! Oh my god! Your bloody sheep stabbed me!
MACKLIN
I'm so sorry! She didn't mean it! Bad Jacquie! Bad! Bad!
My heart! It's pierced!
DUNCAN
77.
(Blood begins to spurt from DUNCAN's chest. MACKLIN tries to cover the
wound with a pillow.
DUNCAN wails.)
So this is how it ends.
DUNCAN (cont'd)
(DUNCAN's wail becomes a gasp.
Then a chortle.
Then full out laughter.)
Your majesty?
MACKLIN
DUNCAN
Where's my quill? Get me my quill, dammit!
(MACKLIN fumbles but brings over a quill and parchment.)
DUNCAN (cont'd)
(writing)
"I hereby proclaim, my last will and testament, that upon my death, the title of King of
Scotland shall be conferred upon..."
What's your middle name?
MACKLIN
Matthew.
DUNCAN
...conferred upon Macklin Matthew MacBeth!
(maniacal laughter)
They wanted you as king? Well, now they've got it! Scotland's gonna go doon in ruins
under you! And they'll be longing' for the good ol' days of Donald Delivarious Duncan the
third!!!! So long Scotland and good riddance!!!
(DUNCAN coughs up one last spat of blood and then goes limp in MACKLIN's
arms.
Standing in a shaft of moonlight from the clearing storm, MACKLIN drops
DUNCAN's bloodied corpse, covering his mouth so as to silence his own
scream.)
SCENE: TALLOW
(The MACBETH's sleeping chamber. MILDRED paces.)
78.
MILDRED
(to the audience)
How long has it been? Twenty minutes? Forty? An hour? I don't suppose you're keeping
track. No, of course not. What do you do but sit and watch?
Still, something should have happened by now. Some call, some cry. What if Macklin's
failed? Or what if he's dead? Dead on the floor. I should never have let him go. Never -never!
(There is a thunder of footsteps. MACKLIN enters, glossy eyed and covered in
blood, closing the door behind him. MILDRED and MACKLIN stare at each
other.
JACQUIE scratches at the chamber door wanting in.)
MILDRED (cont'd)
Is it done?
MACKLIN
Aye.
Then he's dead?
MILDRED
MACKLIN
Yes!
(MILDRED approaches MACKLIN and in the candlelight sees the blood.)
You're covered in blood. Come.
MILDRED
(MILDRED leads MACKLIN to a chair. She pours a basin of water, and
begins to wipe MACKLIN down.)
MACKLIN
Mildred -- I heard a voice. As I stood there. A voice sayin' "MacBeth hath murdered
sleep."
MILDRED
You've always heard voices. It was nothing.
MACKLIN
Why would it say that? That I murdered sleep?
(MACKLIN moans and begins to shake uncontrollably.)
I need you to hold still!
MILDRED
(JACQUIE walks in, sits, and watches.)
79.
MILDRED (cont'd)
Remember our first candle? How to make it we reached with our bare hands into the
sheep tallow? We we covered. And, that's all this is, Macklin. Tallow. Nothing more,
nothing less.
(taking a fresh cloth and pitcher of
water)
And little water cleans it right up, just as before.
(ALDRINA enters, silent and unseen. She gazes, puzzled then horrified.)
MILDRED (cont'd)
(holding up MACKLIN's clean hand.)
See? It's as if nothing's happened. Now let's clean up the rest of you.
(There is a sudden pounding on a distant door.)
MILDRED (cont'd)
Now who in bloody hell could that be?
(Still unnoticed, ALDRINA exits, followed by JACQUIE.)
SCENE: PORTER'S SCENE
(The knocking continues. In a distant room, PORTER awakens, still
intoxicated. His old sheep TILLY awakens beside him.)
PORTER
Hell an' damnation! Who's that a-knockin' at this God forsaken hour?
(getting out of bed)
You know, Tilly, I sometimes imagine this castle to be hell. I do.
(grabbing his keys)
And I'm the gatekeeper, letting all the sinners in.
(more pounding)
Let's see. Who might this one be? Anno. It's the shepherd, who's spent his life beatin' his
sheep.
(TILLY shivers.)
PORTER (cont'd)
Let's open the gate and beat him 'til 'e mutters not a peep.
(TILLY is giddy. More knocking.)
80.
PORTER (cont'd)
And this? Aye, it's the butcher, who minced each sheep with a jagged stone.
(TILLY winces.)
PORTER (cont'd)
Wel'll welcome him in, 'n carve out his vitals doon to the bone.
(TILLY coos.)
PORTER (cont'd)
And now? The master of the castle, who's feasted on mutton every night?
(TILLY shivers, howls, and cries.)
PORTER (cont'd)
I say! He'll be our feast. With sauces and gravies. We'll get fat on him, bite by bite!
(The PORTER and TILLY laugh maniacally.
The knocking continues.)
PORTER (cont'd)
Beelzebub have mercy! S'pose I should answer that.
SCENE: WHODUNNIT
(The PORTER answers the castle door. MACDUFF and LENNOX -- who may
or may not evoke a Scottish Sherlock Holmes and Mr. Watson -- enter.
LENNOX carries a quill and scroll. MACDUFF wears his bagpipes.
MACDUFF cradles his hand, sore from knocking.)
MACDUFF
Michty me! Took you long enough!
And a good morn to you to.
PORTER
MACDUFF
This man is drunk. Lennox, take a note.
(LENNOX does. MILDRED enters with MACKLIN.)
MacDuff, Lennox!
MILDRED
81.
MACDUFF
My Lady. My Lord.
MILDRED
We weren't expecting anyone at this hour. It is four in the morning.
MACDUFF
We've had a difficult journey. The owls screeched, the wind howled, and some say the
Earth did shake.
Bad omens. Made us late.
LENNOX
MACDUFF
But we've made it. And the king specifically requested he be awakened immediately upon
our arrival -- do you mind?
MILDRED
Oh... no... By all means. Up the stairs, first chamber on your right.
(MACDUFF heads off, and LENNOX glares at MILDRED and MACKLIN who
starts to shake.)
What's wrong with him?
He doesn't wake so easily --
LENNOX
MILDRED
(JACQUIE enters.)
Is that blood on that sheep?
LENNOX
MILDRED
What!? She must have gotten into the wine.
(Chasing JACQUIE away)
Bad Jacquie! Bad!!!
Oh horror!!! Horror!!!
MACDUFF
(off stage)
(clamouring onto the stage, blowing his
bagpipes -- poorly)
My Lady! There's been a terrible tragedy! Everyone to the hall!!!
(blows his pipes again)
(The GUESTS begin emerge into the dining hall dressed in their sleeping
gowns.)
82.
GUESTS
(ad lib)
Is everything all right? What's going on? I dinnieken. Can't be good. Do ya know time is
it? Is that MacDuff and Lennox? (etc.)
(HILLARY goes to MACDUFF.)
HILLARY
Father! You're here! What's happening?
MACDUFF
(noting his audience coming in)
Come here, my darling. What I'm about to say -- it isnae suitable for a woman's ears. But
I must tell you anyway. The King, my good people, is dead!
GUESTS
(ad lib)
What!? Dead? Who? The king! Crivvens! It can't be! What's going on? He says the
king is dead. No!
But that's not possible!
MILDRED
MACDUFF
I'm sorry my Lady. But it is. The king's panbread. Stiff. Popped his clogs. Fallen off his
perch. Joined the choir invisible. Ridden the pale horse. Given up the ghost. Handed in
his dinner pail. And is now playing solitaire with the worms.
GUEST
But how!?
Stabbed in the heart!
MACDUFF
(The GUESTS gasp.)
MACDUFF (cont'd)
And, as the windows are locked and the blood fresh, the killer is most likely still here, in
this very castle!
GUESTS
(ad lib)
What? Here? I can't be! In this room! Heaven help us!
Was it you?
No! Was it you?
DONALBAIN
MALCOLM
83.
DONALBAIN
No!
MACDUFF
Nobody leaves until Lennox here has talked to each end every last one of you. Now come
round!
(The GUESTS all gather around LENNOX and MACDUFF... except MILDRED
and MACKLIN who stand apart.)
MILDRED
See, everything is all right. We're not even suspect.
The heavens. They know.
MACKLIN
MILDRED
Come now, the heavens want you to be king, remember?
Not like this.
He was going to murder us!
MACKLIN
MILDRED
MACKLIN
'Cause you tried to murder him! I listened to my head, and not my heart. All along my
heart was tellin' me not to do it. And now the king is dead because of me. Dead! Bleedin'
oot his heart!
Is everything all right over there?
Yes, everything's fine!
I've got to make things right.
Macklin!
'Fess up to what I've done.
Absolutely not!
MACDUFF
MILDRED
MACKLIN
MILDRED
MACKLIN
MILDRED
MACKLIN
So the heavens can start to put things in their place.
I won't let you do this! Macklin!
MILDRED
84.
(MACKLIN pulls away from MILDRED, marching toward MACDUFF, where
GUARDS have seized the PORTER. MILDRED follows.
Nearby, a pair of arms discreetly pulls TILLY out the window.)
MACKLIN
(to the GUARDS)
Let'm go. I said let'm go!
Stop! Don't listen to him!
MILDRED
MACKLIN
I'm the murderer, not him! Did it with my
own two hands! After dinner, I went to his
chamber, sat beside him, and plunged a
dagger in his heart. Because I thought he
was a terrible king.
MILDRED (cont'd)
He doesn't know what he's saying. He is
innocent! I was with him the whole night!
... We were put up to it. We were
threatened!
MILDRED (cont'd)
(screaming)
Macklin!
(Beat.)
MACDUFF
I guess that's it then. We have a confession.
(GUARDS seize MACKLIN. The GUESTS are in an uproar...)
GUESTS
(ad lib)
Macklin MacBeth!? The hero!? I don't believe it! I knew it was him! Oh how dreadful!
What is this country coming to!? (etc.)
(...and then there is an ominous pounding at the door.
Silence.)
Mind if I get that?
PORTER
(The GUARDS release the PORTER who then answers the door. A CLOAKED
FIGURE enters.)
85.
Unhand that man!
CLOAKED FIGURE
(bellowing)
And why should we do that?
Because am ur the murderer!
MACDUFF
CLOAKED FIGURE
(Ripping off her cloak, the FIGURE is revealed to be ALDRINA, carrying a
dagger and drenched in fresh blood.)
GUESTS
(ad lib)
Oh! She has a dagger! Get back! Look at aw the blood! It's his mother! (etc.)
Mother! What are you doing!?
MACKLIN
ALDRINA
(pinching MACKLIN's cheek)
Such a good son 'e is, Macklin, sacrificin' 'imself fer me! But I can't let'm do it. Not this
time. The people, they need tae ken the truth. I loved Donald. Back when he was a
prince. Gave'm the best years a my life. But'e turned his back on me and married a hoor.
Well, Donald, ya son'a a bitch, after aw these years ya finally got what was comin'!
Aldrina MacBeth's 'ad 'er revenge!
MACDUFF
(to MACKLIN)
I guess we're going to have to take her.
(to the GUARDS)
Guards!
GUESTS
(ad lib)
I don't believe it! I sat next to 'er! I knew somethin' wasn't right with her! What a
tragedy! Stay away from her! Heaven help us! (etc.)
(Several GUARDS lead a cackling ALDRINA to the door. Other GUARDS hold
MACKLIN back.)
MACKLIN
You can't do this! You gotta let her go! Mother! Mother!
ALDRINA
(looking MILDRED in the eye)
Nothin's too good for my son.
86.
(The bloodied GHOST OF DUNCAN enters, and the scene shifts to a ballet.
MACKLIN -- the only one who can see DUNCAN -- looks on, aghast.
DUNCAN affixes a piece of parchment to JACQUIE's blood-sticky wool, and
nudges JACQUIE toward LENNOX. LENNOX discovers the parchment and
takes it, then MACDUFF takes the parchment from him.
As DUNCAN helps himself to leftovers and goblets of wine, MACDUFF makes
an announcement about the parchment. Chaos erupts. MALCOLM,
DONALBAIN, and ANGUS argue with MACDUFF, grabbing at the parchment,
but the GUARDS carry MALCOLM, DONALBAIN, and ANGUS away.
DUNCAN merrily waves good-bye.
Soon, the crowd is kneeling down before a bewildered MACKLIN and
MILDRED. DUNCAN winks and gestures OK! to MACKLIN.)
SCENE: LETTING THE DUST SETTLE
(As the scene fades away, MILDRED comes down centre and sits, unnerved.)
MILDRED
You'll pardon me if I sit for a moment. I'll admit that didn't go quite as planned. But you
know what they say: all's well that ends well, and, well, here we are. That moment of
glory, when I become queen. The whole reason you've come here tonight. Now just
moments away.
(calling off stage)
Can I get some water out here? My throat's a bit dry.
(A servant brings MILDRED a goblet of water and then exits.)
MILDRED (cont'd)
Though it was looking close for a moment. If Aldrina hadn't stepped in... Say what you
will about that woman -- God knows I have -- but her love for her son...
They've put her in prison, but we'll get her out as soon as the dust settles. That's what I
keep telling Macklin. Just let the dust settle.
(SERVANTS approach MILDRED with a dress and partition.)
MILDRED (cont'd)
It's time then, is it? All right.
(to the audience)
Excuse me.
87.
(Bagpipes blare. Behind the partition, SERVANTS transform MILDRED into a
queen.
MACKLIN is led out on stage, an expressionless king.
MILDRED emerges from behind the partition in complete queen regalia,
joining Macklin.)
MILDRED (cont'd)
Have you seen Flea or Banny? I can't imagine they'd miss our coronation. He's our heir.
You there. Guard. I want you to find the Banquo's and make sure they are in attendance.
Is that understood?
Yes, my Lady.
Well, here we go.
GUARD
MILDRED
(MILDRED and MACKLIN step forward to be crowned.)
SCENE: THE SECOND WEDDING
(Elsewhere, a wedding is revealed: FLEA and HILLARY join hands before a
PRIEST and BANNY.
PRIEST
Do you Flea take this lass to be your wedded wife?
For as long as I shall live.
FLEA
PRIEST
And do you take this lad to be your husband?
'Til death do we part.
HILLARY
PRIEST
Then I now pronounce ya husband and wife. You may now kiss the bride.
(HILLARY and FLEA kiss. The sound of horses approaching. A GUARD
enters.)
You there. Come with me.
GUARD
FLEA
I'm sorry. I'm afraid we're just about to board our boat.
88.
And I'm afraid not.
GUARD
SCENE: FUNDING FOR THE ARTS
(We return to the coronation, already in progress.)
MILDRED
This is a new day for Scotland. For we have tremendous plans: education, arts,
agriculture, openness of discourse... dictionaries. Together, we shall make Scotland the
shining star of Europe. And it all begins now.
(Applause.)
MILDRED (cont'd)
And so, for your entertainment, I'm proud to present our first artist in residence, Douglas
MacDougalham and his singing septet!
(More applause.
DOUGLAS appears with seven miserable looking SHEEP who wince as
DOUGLAS pulls out a mallet.
DOUGLAS begins to strike the SHEEP one at a time with his mallet, and the
SHEEP each baa out a painful, out of tune note. The melody: Baa Baa Black
Sheep.
MILDRED's smile turns to horror.)
MILDRED (cont'd)
(to the audience)
Well, as they say, Rome wasn't built in a day.
(MILDRED'S FATHER enters, sitting beside her.)
MILDRED (cont'd)
Oh, it's you. Where have you been?
You haven't wanted to see me.
FATHER
MILDRED
Is that so? Then why are you here now?
To help you finish your story.
FATHER
MILDRED
What more is there? I'm queen, transforming Scotland.
89.
That's not how this ends.
FATHER
MILDRED
It's all they need to know. It's all they want to know.
(A SERVANT hands MILDRED a note.)
MILDRED (cont'd)
Oh, look, it's a note of congratulation from the queen of Norway.
FATHER
You owe them the truth. Shall I tell them then?
(DOUGLASS finishes his last note, and the sheep, instead of baaing, expels
flatulence and leaves a dropping. A SERVERANT sweeps it up. Polite
applause.)
You wouldn't dare.
MILDRED
(MILDRED's FATHER turns to the audience.)
MILDRED (cont'd)
No, wait. They're my audience. I'll tell them.
SCENE: THE MADNESS OF MACKLIN MACBETH
(All fades away except MILDRED. MILDRED'S FATHER lingers briefly,
though, to make sure MILDRED begins.)
MILDRED
What my father here is referring to is... Macklin.
(MACKLIN is revealed, sitting on the edge of his bed, his back to the
audience.)
MILDRED (cont'd)
...Something is wrong. He's not... himself. You see, he's not sleeping. He hasn't in
months. And just when I think I've gotten him to bed, I wake to find him staring at our
chamber door.
(DUNCAN appears in the doorway, beckoning MACKLIN forward. MACKLIN
moans and then reluctantly heeds DUNCAN's command, beginning a long,
slow procession to the throne room door.)
90.
MILDRED (cont'd)
And sometimes, when he thinks he's alone, I hear him talking to himself... saying horrible
things. Terrible, terrible things.
MACKLIN
The heavens -- they're not right with what I've done. And now they're gonna come fer me,
jus' like I came fer you.
(DUNCAN appears in the doorway. )
MACKLIN (cont'd)
It's only right. But I can't stand the not knowin'... how it's gonna happen. 'Cause the
heavens, they don't tell ya that.
(to DUNCAN)
But you -- you know, don't ya!? Tell me -- tell me who's commin'! As your King I
command you, tell me who's comin'!
(DUNCAN beckons MACKLIN forward. MACKLIN obeys, starting a long,
slow processing toward the throne room door under the remainder of the
scene. DUNCAN whispers in MACKLIN's ear as they walk. MACKLIN begins
to moan.)
MILDRED
And now, ... Well... people have begun to disappear. All across the country. It's created
quite a stir. The thanes are accusing each other. Battles have broken out among them,
and, while it seems like it would not be possible, I fear Macklin is involved. I try to ask
him about it, but he won't talk to me. He won't even look at me. He looks through me as
if I don't exist. I feel as if even the castle staff have begun to turn on me.
I had to do something. For the sake of our relationship, and our commitment to this
country. And so, I told Macklin:
(to MACKLIN)
Enough of this brooding. I have arranged a dinner party whether you like it or not, with
all our old friends and with Banny and Flea the guests of honour.
(to the audience)
I hoped that would snap him out of it.
Banny and Flea?
MACKLIN
(DUNCAN looks over his shoulder, and a memory WENDY, WILMA, and
WART as apparitions appears.)
All hail, Banny!
WENDY
91.
WILMA
Banny!
WART
Banny!
Lesser than MacBeth, but greater!
Not so happy, yet much happier!
WENDY
WILMA
WILMA (cont'd)
You'll never be king, but you're son'll be.
MACKLIN
It's him. It's m'godson! Please, say it's anyone but him. Please! Not him!
(MACKLIN moans and then disappears into darkness.)
MILDRED
And here we are now. The guests are arriving, dinner's being served, and I dare say
Macklin looks almost happy, relaxed, for the first time in months. Only, Banny and Flea,
our guests of honor, are not here. It's not like them to be late, and... there's Macklin.
Talking to three women in the corner. I don't know them. Is that blood on their faces?
They begin to argue.
I ask Macklin, "What is going on?" And he says, "The boy lives! We've Scotched the
snake but not killed it." What boy? What have you done? And then I realize, the blood is
Banny's. And the boy is Flea.
(MACKLIN appears again.)
Witches! I must see the witches!
MACKLIN
(MACKLIN enters the throne room, slamming the door behind him.)
MILDRED
(pounding on the door)
Macklin! Open this door at once! I demand you let me in! If you harm a hair on that
boy's head -Hail!
Hail!
WENDY (OFF STAGE)
WILMA (OFF STAGE)
92.
WART (OFF STAGE)
Hail!
(Bagpipes blare. MILDRED hears men shout. Troops march. DUNCAN
laughs.
MILDRED's FATHER returns, watching.)
MILDRED
Macklin, please -- You are not well!!! You don't know what you're doing! Listen to me.
There are no witches. There never were. It was all... all a fabrication, everything you
saw! You must believe me! Please!
He's just on the other side of the door, Father, and I can't get to him. For God's sake!
Open this door!
(pounding)
Macklin!!!
(Blackout. In the darkness, DUNCAN's laughter rings.)
SCENE: THE VILLAIN
(Darkness. MILDRED and her FATHER appear in a dim pool of light.)
Open your eyes, Mildred.
I cannot bear to look.
I've got your hand.
FATHER
MILDRED
FATHER
(In another pool of light, out of MILDRED's reach, FLEA is revealed, bloodied
but standing.)
MILDRED
(relieved)
There's Flea.... He's alive! Oh thank God! I don't know how -- but there he is -(The pool of light grows, and we see that FLEA is rocking the body of
HILLARY.)
...cradling the body of his wife.
(beat)
Macklin! What have you --
MILDRED (cont'd)
93.
(In a third pool of light, MACKLIN is revealed, being slain by MACDUFF in
revenge. MACDUFF exits.)
MILDRED (cont'd)
Macklin!
(The light begins to flicker -- the glow of a burning castle.)
MILDRED (cont'd)
This...
This is not happening. This is not how my story ends. This is supposed to be the story of
a poor English girl, who overcomes adversity to lifts Scotland up from the ashes! Not...
this.
(looking to FLEA)
That boy. He could have been my son. Could have been?! He practically was! I wanted
to give him everything. But instead... It's all be taken away.
His wife dead, her mother, dead, God knows how many others. Dead, dead, dead. All
because of Macklin's madness!
No, that's not right, is it? Macklin wasn't mad by nature, was he? No, he was led to
madness. By a lack of sleep. By violence he did not want to commit. By a deceit...
...by me.
I am the murderer, Flea! I am the murderer! This... all of this... is because of me.
And all this time, I stood here thinking I was the hero. But instead I've been the villain.
And this is what I've wrought. And for what?
A grandiose sense of self importance.
And now I'll go down in history a stain of blood upon this blessed, beautiful country, to
which they'll say out, out damn spot.
(MILDRED collapses. She is embraced by her FATHER.)
SCENE: THE DREAM
(MACKLIN begins to wail, not quite dead. MILDRED rushes to MACKLIN's
side.)
I'm here, Macklin. I'm here.
MILDRED
94.
MACKLIN
Oh, Mildred, I -- I've done something awful. I've murdered Flea. And a lot of other
people too. What've I done!? What've I done!?
(MACKLIN continues to wail. MILDRED looks to her father and then makes
her decision.)
MILDRED
What? Don't be absurd. I've just talked to Flea!
MACKLIN
Then you've got to protect'm! I've sent my guards after'm!
MILDRED
What guards?
The royal guards --
MACKLIN
MILDRED
Who do you think you are? King of Scotland? We don't have any guards.
MACKLIN
(beat of confusion, then...)
And now I'm bleedin'. I think I'm dyin'!
MILDRED
Listen to me! Now Hush! Hush! You're not bleeding, you're not dying, and you haven't
murdered anyone. You must listen to me. You're just having a bad dream.
A dream? A dream!?
MACKLIN
MILDRED
Yes, a terrible dream. But that's all it is, a dream. And any minute now you're going to
wake up, in our bed, in our Castle Inverness. I've just come up from boiling some tallow
in the cellar for our candles. And now I'm sitting beside you, gazing at the sheep outside
the window.
Here, take my hands.
(MACKLIN does.)
MILDRED (cont'd)
There you go. It's a beautiful day today. Can you feel the breeze?
(MACKLIN nods. SHEEP baa off stage.)
95.
MILDRED (cont'd)
Oh, and do you hear the sheep? They're having quite a rumpus, probably trampling my
vegetable garden, having their own little Shangri-la. Don't you laugh.
(MILDRED and MACKLIN stare into each other's eyes for a moment.)
MACKLIN
That day... That day I saved ya from the stake, Mildred. That was the luckiest day of my
life.
(A long moment. And then...)
MACKLIN (cont'd)
I think, I think I wanna wake up now.
(Beat.)
MILDRED
Then all you have to do is close your eyes and wake up.
(MACKLIN closes his eyes.
Beat.
MILDRED beckons over a servant.)
The King, my Lady, is dead.
SERVANT
(MILDRED motions for the SERVANT to say no more.
A BIRD cries as its shadow crosses the stage.
Soon, the moment has passed.)
SCENE: THE ONSLAUGHT OF DUNSINANE
(Outside the castle. WILMA has climbed a lookout tower.)
Wilma, what'd'ya see?
WENDY
WILMA
The thanes! Comin' from all directions. There's Aberdeenshire in the North, Argyll in the
West. And Midlothian and Fife comin' from the South and East! All comin' to take the
castle!
96.
WENDY
It's gonna be a blood bath! Thane against thane! Cummoan! Let's get oot of here while
we still can!
(WENDY, WILMA, and WART run stage left, but stop cold as they see an army
approaching.)
WENDY (cont'd)
Other way!
(They try running stage right... upstage... then downstage... but in every
direction they are blocked by an oncoming army.)
WENDY (cont'd)
Too late!
(WENDY, WILMA, and WART cower as the sound of the oncoming armies
reaches a fever pitch.
A HORN blares -- unlike anything heard so far -- and masts appear in the
background. There is the sound of a thousand footsteps stamping in unison.
Any army of NORWEGIAN SOLDIERS marches across the stage.)
What's happened?
WILMA
WENDY
Bloody hell! Scotland's just been taken over... by Norway!
SCENE: IN THE MOMENT
(The NORWEGIAN SOLDIERS disperse and are replaced by NORWEGIAN
MAGISTRATES with quills and clipboards, barking orders in Norwegian.
NORWEGIAN GUARDS lead MILDRED back on stage.)
MILDRED
For heaven's sake, take your hands off me.
(A GUARD yells in Norwegian.)
MILDRED (cont'd)
Look, I'll do whatever you want. But you're going to have to speak English.
(The GUARD continues to yell.)
97.
MILDRED (cont'd)
No! I don't understand what you're saying. At least the Scottish bastardisation of the
language was somewhat intelligible.
(The GUARD points to an open jail cell.)
Oh, I see. Very well.
MILDRED (cont'd)
(MILDRED marches into the jail cell. The GUARD shuts the door and
departs. A FIGURE sits in the cell, looking out the window.)
MILDRED (cont'd)
(to the audience)
Well, that's gratitude for you. You personally tip off the Norse queen that Scotland is ripe
for the taking, and this is what you get in return.
But you have to hand it to the Nords. As expected, they orchestrated the whole takeover
without spilling a single drop of blood. Bruised egos, yes. Spilled blood, no. So efficient.
(The FIGURE turns around. It is ALDRINA.)
ALDRINA
Is that you talkin' t'yourself again Mildred?
MILDRED
Oh -- Aldrina. I see they've put you in here too.
ALDRINA
Those Nords thought my Inverness prison was a lil' too cosy.
(Beat.)
MILDRED
Aldrina... I feel there is so much I need to say.
ALDRINA
Ah, haud uer wheesht! Please! If I don't hear another word fae ya for the rest'a my life
it'll be too soon.
(Beat. Then, seeing MILDRED's
misery...)
Look, Millie. We've all done things. Terrible things. An' we've aw suffered fer it. But
what's done 's done. An' I'm auld. I could sit here 'n stew, but at this point I'd rather just
look oot the window.
MILDRED
I guess Scotland hasn't changed all that much.
98.
(Out the window, SHEEP run by wearing Viking hats.)
MILDRED (cont'd)
Well, maybe a little bit.
Oh look! It's Jacquie! Hello Jacquie! It's me! Mildred! Remember me?... Maybe not.
Look at them, having such a good time. So in the moment. You know, Aldrina -ALDRINA
(covering her ears)
Eh!
(MILDRED pulls ALDRINA's hands away from her ears.)
MILDRED
Just let me say one thing. My story, is over. I know that. And I make no pretence at
deserving forgiveness, and or even asking for it. And yet, here I am. Still alive. And... I
don't know what to do with myself. That's all.
(ALDRINA and MILDRED share a quiet moment.
MILDRED looks to the jail door.)
ALDRINA
Millie, look! They've forgotten to lock our cell...
(Beat.)
MILDRED
Can you walk?
ALDRINA
I can. But where to?
I don't know! Come on!
(thrilled)
MILDRED
(MILDRED takes ALDRINA's hand and they walk.)
MILDRED (cont'd)
(to the audience)
The present moment. It's really quite magnificent. Just knowing you're alive -- whether
you're happy or sad or lost in the wild. And yet we spend so much of lives completely
unaware that it's right in front of us. At least until it's too late.
But it's not for you. Look, look around you! I beg of you. Lights! Bring up the lights!
(The house lights come up.)
99.
MILDRED (cont'd)
Here it is. The present moment, all around us. Please, while you still can, take a moment,
and just be. Right here, right now.
(MILDRED exits, leaving the audience with a moment of silence.)
END OF PLAY.