troubling romeo and juliet: shakespeare's tragedy of

Troubling Romeo and Juliet:Shakespeare's Tragedy of Religious

iolence in Belfast and Beyond

Crystal BrianQuinnipiac University

The Troubles of Romeo and Juliet was produced by Quinnipiac Universityand staged at New Haven’s Long Wharf Theatre in April of 2004. In March of 2005 thestudent ensemble that created the script will travel to Northern Ireland to meet withformer combatants and victims of the Troubles engaged in the difficult and vital workof bridging age-old divides of hatred and violence. These experiences in NorthernIreland will inform a final version of the script, to be produced at the Long WharfTheatre in May, 2005, as the culminating experience in a two-and-a-half-year processof research and creation.

In the fall of 2003 a group of Quinnipiac University students, struck by theever-growing incidences of terrorism, violence, and religious-based conflict aroundthe globe, felt compelled to articulate their concerns through a collaboratively-con-ceived piece of theatre. Students explored faith-driven conflicts—including the Pal-estinian-Israeli conflict in the Middle East—as potential settings for a devised theatreproject. Simultaneously the ensemble read various theatrical texts, searching for aplay that could be effectively adapted to portray the seemingly endless cycle ofreligious violence. Romeo and Juliet, written by Shakespeare in the sixteenth centuryduring a period of intense religious strife and depicting an ancient feud which is bornanew in each succeeding generation, offered potential parallels with many contempo-rary global conflicts. (Indeed, Shakespeare’s tragedy has often been used as a vehiclefor exploring issues of political and cultural conflict.) Ultimately, however, studentsselected one particular cycle of religious violence to furnish an organically viablecontext for Shakespeare’s tragedy—that of the Troubles of Northern Ireland. As inShakespeare’s time, a struggle complicated by economic and social factors locates itsroots in a struggle between the Catholic and Protestant faiths. One may argue,however, that issues of religious identification are not the true source of the conflict,but rather furnish convenient labels masking a profound struggle for economic andpolitical power in the northern counties of Ireland.

“The Troubles,” the name the Northern Irish have given to the politicalconflict between Republicans (predominantly Catholics) and Unionists (predomi-nantly Protestants), has resulted in more than thirty years of unceasing violence and

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the deaths of almost 4000 Irish citizens—combatants, victims, Protestants, Catholics,adults, children—all trapped in the culmination of a struggle which has stained thecountry’s history for hundreds of years. Although Ireland has struggled for centuriesagainst domination by Great Britain, historians generally cite January 30, 1972, “BloodySunday”—the day British soldiers fired upon unarmed protestors in Derry, NorthernIreland—as the beginning of the modern “Troubles.” That infamous day became asymbol for Northern Irishmen—Catholics and Protestants alike—of the senselessloss and horror perpetrated in the name of religious, economic and political freedom.The era of “Bloody Sunday” seemed an appropriate setting for our adaptation.

Drawing on the expertise of faculty in the political science and history de-partments, we immersed ourselves in the historical and political complexities of North-ern Ireland. Students conducted extensive research, focusing on first-hand accountsof those who have suffered during the violence which has torn the tiny country forgenerations.

Gradually, as we read, discussed, watched documentaries, films, IRA recruit-ment videos and other source material, the group formulated primary goals. In order todevise a piece of theatre which would powerfully affect audiences with the need tofind peaceful means for conflict resolution, the ensemble would have to find a way toimpress upon media-desensitized audiences the personal, visceral horrors of deathand destruction created by terrorist acts in the name of religious freedom. Shakespeare’stragedy would draw our audiences with a familiar story; our goal would be to “makestrange” that story by emphasizing the violence of angry men and women focused onvengeance and retribution rather than the love story of Romeo and Juliet. The originalmaterial we would devise—monologues and scenes—would be taken from true ac-counts, but would be fictionalized to a certain extent, the ensemble agreeing thatnames and specifics should be changed out of respect for the victims of violence.

Workshops throughout the fall semester focused on selecting which storiesto dramatize and on determining where and how the original material would be woventhroughout the text of Shakespeare’s play. We extensively cut the source text, alteringcertain plot points in order to make the storyline consistent with our 20th Century,Northern Ireland setting. For example, it was necessary to eliminate Shakespeare’sprince since there was no state authority in Northern Ireland recognized by all sides ofthe conflict. The prince’s action was divided between the Friar and a character wecreated based on a Royal Ulster Constabulary officer. The Friar character became aCatholic priest whose desire to achieve peaceful conflict resolution led him to thedangerous decision to secretly marry a Protestant (Romeo) and a Catholic (Juliet). Webegan by structuring the piece as two distinct stories, Shakespeare’s tragedy and thatof the people of Northern Ireland, with scenes alternating between iambic pentameterand original material. The workshop process eventually led to a much more integratedscript, in which Shakespeare’s characters retained their names and central storylines,but were given “back stories” that revealed how the Northern Irish conflict affectedtheir actions within Shakespeare’s plot. For example, in our text Romeo is a youngProtestant seeking to avoid involvement in the violence, but pressured by his friend,Mercutio, to become a volunteer for a Loyalist paramilitary group. Lady Capulet’s

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bitterness in the scene after Tybalt’s murder is deepened by her memories of theshooting of the innocent citizens of Derry by British soldiers on Bloody Sunday.

The dramaturgical challenge of integrating contemporary Irish language withElizabethan poetry was difficult and ongoing throughout the creative process. Oneunifying element which smoothed stylistic shifts was the Irish accent used by actorsthroughout the text. The accent imbued the contemporary material with a poeticquality that made it seem less jarring when juxtaposed with Shakespeare’s poetry;conversely, when spoken with an Irish brogue, the iambic pentameter assumed arougher, more contemporary feel. Another language-related issue was the question ofwhether contemporary expressions, some of them profane, should be expurgatedfrom the Irish sections of the text since Shakespeare’s Elizabethan bawdy is notperceived by contemporary audiences as profane. After consulting with natives ofNorthern Ireland, the creative team ultimately decided that deleting the profanitieswould seriously undermine the cultural authenticity of the Irish material. Expressionswhich register as profane to American ears are commonplace in Ireland and an integralcomponent of the color and energy of the Irish speech.

The political and social goals of The Troubles of Romeo and Juliet were notlimited to the audience. The piece was also conceived as an experiment in embodiedlearning, a methodology of teaching based on the belief that the imaginative perfor-mance process of identifying with a dramatic character and situation offers powerfulpotential for learning and transformation on multiple levels. If student actors learnedto identify emotionally and intellectually with victims and combatants of the Troubles,the world view of those students would be more deeply impacted than if they studiedNorthern Ireland in a more conventional and objective context. The process of iden-tifying with the realities of the Troubles was a challenging one for student performerssince we were not working in Northern Ireland. However, the fact that a substantialnumber of the cast were of Irish heritage, some with cousins and other family membersstill living in Northern Ireland, was helpful in creating a sense of community with theNorthern Irish. The planned campus visits of Gerry Adams and Betty Williams—twoimportant political figures of Northern Ireland—had been important factors in ourdecision to devise The Troubles of Romeo and Juliet. Adams and Williams sharedexperiences and feelings which helped the students engage with the material in a morevisceral and personal fashion, intensifying students’ understanding—emotional andintellectual—of the community of northern Ireland and the pain caused by the long-lived inability to resolve conflict without violence. Portions of Adams’ and Williams’public addresses, as well as material gathered from small group meetings with thecast, were integrated into the text.

Each ensemble member, assisted by our two production dramaturges, chosethe account which he or she would perform. Selecting the stories with which they feltthe strongest connections enabled the performers to identify intensely with the char-acters devised from our research; the actors imaginatively merged with victim orperpetrator. As with our earlier work with veterans and student interviewers/perform-ers, it was the process of internalizing and expressing the life experience of a realperson in crisis that triggered the transformation of awareness and engagement in theperformer. Through the process of devising and performing the material the student

The Troubles of Romeo and Juliet 55

participants made the conflict personal and real for themselves. The tragedy ofShakespeare’s story became one with the litany of violence and loss expressed throughthe personal tragedies of thousands of men, women and children who have lost theirlives since the Troubles began.

The back-stories of Shakespeare’s characters were devised to include manydifferent perspectives. Mercutio spoke as a member of one of the most violent of theProtestant Loyalist paramilitary groups, the Shankill Butchers; Tybalt became a CatholicIRA officer; the Nurse’s fiancée was executed by Loyalists as she watched; Juliet’sfriend, a Protestant, was beaten to death by Loyalists who mistook her for a Catholic.Each speaker felt justified in his or her hatred of the murderer of a loved one; each felta need for vengeance. And each act of vengeance led to more violence. In imagina-tively identifying with the horrific, and real, experiences on which the character ofMercutio was based, the student playing the role was forced to find the humanity inindefensible acts of violence. To understand in some measure the pain of such acharacter transformed the student’s understanding of the complexities of the tragicimpasse between Loyalists and Republicans, between Protestants and Catholics

Juliet, overcome with fear at the dangerous path on which she has embarked,remembers the story of a Protestant girl, a young mother, who was murdered brutallybecause a group of Protestant Loyalists assumed she was Catholic.

The monologue, drawn from the tragic death of an innocent young woman inBelfast in the mid-seventies, became a touchstone for the performer playing Juliet. Inreliving the senseless violence of Anne’s murder, the actor’s identification with vic-tims of hatred everywhere was complete, the gap between fiction and reality closedby the power of the story.

Was our experience in devising The Troubles of Romeo and Juliet a suc-cess? Although each new version of the text has more cohesively blended our dispar-ate materials, the script has not yet evolved into a seamless whole. Some audiencemembers have been disturbed by the liberties taken with Shakespeare’s original story.And we continue to experiment with a more organic blending of Irish scenes andcharacters with those of Shakespeare. Still, it is clear to those of us involved in thecreation of the production that a process which can viscerally demonstrate to youngpeople the horror and waste of conflict and the increasing urgency for peace is one ofgreat value in a world torn by war, terrorism and alienation. In this sense, The Troublesof Romeo and Juliet was a success, contributing to hunger striker Bobby Sand’svision for a future free of hatred and recrimination, a future when “Our best revengewill be our children’s laughter.”

What world are we livin’ in, where a mother is killedbecause she asks the wrong man to dance? Where a weelittle girl listens to her mother scream while she’s beatento death by drunken animals who hate because it makes’em feel like they’re men. Christ, when are we going to stopkillin’ each other because we’re afraid? (27)

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The Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietBy Crystal Brian, Kevin Daly and Susan Dering

Quinnipiac University

Setting: Northern Ireland, 1970s

Cast:Romeo (Protestant, early 20s, noncombatant)Benvolio (Romeo’s cousin, Protestant, early 20s, Loyalist Paramilitary)Mercutio (Protestant, late 20s, member of Shankill Butchers)Lord Montague (former Loyalist paramilitary combatant)Lady Montague (Romeo’s mother, Protestant)Juliet (Catholic, early 20s)Lord Capulet (Catholic, former IRA volunteer)Lady Capulet (Juliet’s mother, Catholic, a witness of the events of Bloody Sunday)Catherine (Juliet’s cousin, mid 40s, Catholic)Moira (Juliet’s friend, mid 20s, Catholic)Mary (Catholic, early 20s, works for Capulets)Policeman (Royal Ulster Constabulary officer)Balthasar (Protestant, friend of Romeo’s, mid-twenties)Paris (Catholic, late 20’s, friend of Capulet family)The Father (Catholic priest and peace worker in the community)Sam, Greg, Jon (group of Catholic young men intent on joining the IRA)Adam (Protestant, early 30s, loyalist paramilitary)

(NOTE: In the production, a group of Irish musicians—bodhran, fiddle, flute andguitar—create scene transitions as well as under-scoring the action in selected scenes.The dance at the Capulet house is an Irish step-dance. Actors speak with the accentof Northern Ireland, unifying the original Irish material and Shakespeare’s poetry.)

Synopsis

The Troubles of Romeo and Juliet, an adaptation of Shakespeare’s tragedy, is set inNorthern Ireland during the 1970s, the most violent period of The Troubles. Romeo—son of a Protestant family—is deeply troubled by the violence of his society. Romeo’scousin, Benvolio and his close friend, Mercutio, are soldiers in the armed conflict.Mercutio is a member of an infamous Loyalist paramilitary organization, the ShankillButchers, a group known for its use of knives and hatchets in a series of bloodymurders in Belfast. Juliet and her family are Catholics, and Juliet’s cousin, Tybalt, is anIRA volunteer. The play follows the journey of Romeo as he is drawn, against his will,into the seemingly unbreakable cycle of vengeance and hatred that has cost so manyIrish lives. Throughout Shakespeare’s script are woven original scenes and mono-logues drawn from newspaper accounts of acts of senseless violence in NorthernIreland.


The Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietThe Troubles of Romeo and JulietBy Crystal Brian, Kevin Daly and Susan Dering

(A group of young Irish men move down acity street. Everywhere there are stonepolice barricades. The sound of an Irishbodhran, wild, militarisitic, is heardfaintly, growing in tempo and volumethroughout the scene)

S a mI am tough enough.

GregIs that right?

S a mI can fight.

JonMore like you can run.

(The two older boys have a good laugh.)

S a mIf I saw a Montague…I’d cut his throat.

(He pulls out an imaginary knife andbegins acting out his deed.)

Greg

(Looking down the street)It looks like you might have your chance.

S a m What?

(A group of boisterous men is heardoffstage.)

JonHere comes some Montagues. So provehow tough you are.

S a mWe could get in trouble.

GregI knew he was too scared to fight—

S a mI’m not!

Jon(Picking up a rock from the ground)So if you’re not scared—(He hands Sam the rock.)

S a mWhat do you want me to do with this?

JonThrow it at them, fool.

S a mBut I could hit someone—

GregI knew he was too much of a coward. Comeon Jon, let’s go.

(They begin walking away.)

S a m(Torn, he looks down the road, then back athis friends)Wait…I’ll do it.

Greg He won’t.

S a mI will.

(Holding the rock, he pulls his arm back andstares down the road.)

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JonDo it.

(Sam hurls the rock. Almost immediately agroup of boys and men appear.)

AdamWhat the hell! Did you just throw a rock atme?

(Pause. Sam doesn’t know what to do. He isfrozen with fear as he looks back to hisbuddies, who have run off)

AdamAnswer me. Did you just throw a fuckin’ rockat me?(He attacks Sam, viciously knocking him tothe ground.)He’s a goddamn Catholic.

(The gang advances on Sam, kicking andpunching him as he writhes on the ground. Agroup of Irish women enter. Two of themkneel by Sam, protecting him from the gang.Others confront the men, imploring them tostop the attack.)

WomanFor God’s sake, he’s just a boy. And you’redrunk, the lot of you. Stop it, you’ll kill him.

(The man pushes her away as BENVOLIOenters.)

Benvolio(Gun drawn) Leave him be. You know not what you do.

(Tybalt enters, with his gun drawn onBenvolio.)

TybaltOne move. One move and I swear to god—

Benvolio

(Stands frozen, his back to Tybalt, gun at hisside)

You don’t understand. I meant no harm.

Tybalt

And your gun?

(He looks at Sam, beaten on the ground.)

It too meant no harm?

(He waits for a response from Benvolio,but gets none.)

Tell me something. Would you have lefthim on the street? Or would you have hadthe decency to drag his body away beforehis mother found it?

(The thought sends him into a rage and heshoves Benvolio to the ground.)

You Protestant fuck!

(Lord Capulet enters.)

CapuletTybalt!

(Tybalt looks back just long enough forBenvolio to raise his gun. Everyonefreezes. Lord Montague enters. )

Montague

Benvolio! Think this through. Now is notthe time.

CapuletWill you wait until we’ve gone to sleep tofinish your deed?

MontagueWhy? You lookin’ to die?

CapuletHe’s scared. Kill him Tybalt.

(The Father rushes in and throws himselfbetween the two.)

Tempers rise among Catholics and Protes-tants


FatherAre you monsters, you enemies to peace,profaners of this neighbour-stained steel,will you not hear? My God, you men, youbeasts, that quench the fire your perniciousrage with purple fountains issuing fromyour veins, stop this torture and fromthose bloody hands. Throw yourmistemper’d weapons to the ground. Thetime will come when, wreaking terror inour streets, your lives shall pay the forfeitof the peace.

(The men slowly gather up their weaponsand retreat. The Father goes to Sam. Heand the women help the boy up and leadhim off.)

MontagueWhat on earth just happened?

BenvolioAdrienne came screaming that some of ourboys had gotten into a fight. I tried tobreak it up but the bastard drew his gun onme. You saw the rest.

MontagueMy son?

BenvolioHe wasn’t there?

MontagueGood. You should stay low for awhile. I’msure the police will be looking for you.Why don’t you give me that?(Romeo enters as Benvolio handsMontague the gun.)Keep an eye on your cousin. He lives in aworld that doesn’t exist.

(Montague walks off as Romeo enters. Thetwo stop as they pass and look at oneanother. Romeo says nothing. Montagueexits.)

Benvolio Good morning, cousin.

Romeo Is it that?(Benvolio doesn’t answer.) My father couldn’t do his own dirty work?

Benvolio

Your father had nothing to do with whathappened today.

RomeoNo you’re wrong. My father had everythingto do with what happened today.

BenvolioShould he sit back and wait for them to kill usall? At least he’s not a victim.

RomeoYou’re right, he’s not a victim.

BenvolioWhat’s your problem?

RomeoHow many have you killed?

BenvolioFuck off.

RomeoAt what number do they promote you?

BenvolioAre we to pretend they aren’t terrorizing ourneighborhoods?

RomeoWomen, children? Does it even matter?

BenvolioThey hide behind their hoods because they’retoo scared to look their victims in the eye.

RomeoAnd why do you wear a hood? (No answer.)You think I don’t know? You think thiswhole town doesn’t know? They don’trespect you Benvolio. They fear you. There’sa fuckin’ difference.

BenvolioI wasn’t given a choice.

RomeoAnd I was?

BenvolioYou don’t know what it’s like. You live inyour own little world. Those bastardsmurdered my cousin.

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RomeoHe was my friend! And don’t you ever forgetthat. I walked to school every morning withJimmy. And I’ve seen more death than you’llever see from behind your gun, because Iopen my eyes when people die. I don’t turnand run away. I hate them more than you’llever know. But death can find this placewithout my help.

Benvolio(enraged)I was walkin’ there with you, you bastard.

Romeo(quietly)I know.

BenvolioHe didn’t deserve to die.

RomeoI know.

Benvolio(overcome with the memory)He wasn’t just my cousin—he was my bestfriend. We went to the same school. Playedrugby together. Christ, he was funny. No onecould make me laugh like Jimmy. No onecould make me as mad as he could either. Butjust about the time I was ready to kill him,he’d do somethin’ brilliant and all I could dowas laugh. I loved him. Like a brother.

We were seventeen the year he died. It wasJanuary 17, 1980. We were supposed to playin a cup match two days later. Theypostponed the match out of respect. Jimmyhad spent the day in Ballymena, on holiday.He was on the train back to Belfast, about toget off at the next stop, Grangeville Gardensin Finaghry. The train had just passed throughthe Black’s Road tunnel when the bombexploded. A fireball swept through thecarriage, killing three of the passengers—Jimmy, the IRA scum carryin’ a knapsackwith the bomb and a Nigerian immigrant withthree children, an accountant who’d lived inBelfast for ten years.

Two of the bastards had boarded the rearcarriage of the train. Each one had a bomb.They were goin’ to plant the bombs thenleave the train to telephone a warnin’. Butone of the bombs went off prematurely whenthe fella tried to prime it. He was burned to

death, dyin’ instantly in the fireball. Theother was drenched with burnin’ petrol. Heran along the train screamin’ “I’m burnin’,help me.”

When the IRA admitted the bombin’ theysaid: “Unfortunately the unexpected is notsomethin’ we can predict or prevent in thewar situation this country is in. Theconsequences of the unexpected are oftengrave and distressin’, as Thursday night’saccident shows. To all the bereavedfamilies we offer our deepest and heartfeltsympathy.”

Jimmy burned to death. So did the IRAbastard carryin’ the bomb. I hate them forwhat they did to my cousin.(He turns to Romeo.) What am I supposed to do with this hate?

(Lights fade on Benvolio and Romeo.)

(Lights up on Lady Capulet in Juliet’sbedroom.)

Lady Capulet(calling)Catherine? Catherine?(A woman, early 40s, enters.)Where’s my daughter? Call her forth tome.

Catherine God in heaven, I’ve called the girl twicealready. Where is she? Juliet!

Ju l i e t(offstage)How now! Who calls?

CatherineYour mother.

Ju l i e t(entering)Mother, I am here. What is your will?

Lady CapuletThis is the matter: — Catherine, giveleave awhile, we must talk in secret: —Catherine, come back again; I haveremember’d me, thou’s hear our counsel.Thou know’st my daughter’s of a prettyage.


CatherineFaith, I can tell her age unto an hour. An Imight live to see thee married once, I havemy wish.

Lady CapuletMarry, that ‘marry’ is the very theme. Icame to talk of. Tell me, daughter Juliet,how stands your disposition to be married?

Ju l i e tIt is an honour that I dream not of.

Catherine(laughing)An honour!

Lady CapuletWell, think of marriage now; the valiantParis seeks you for his love.

CatherineA man! Oh, Juliet, such a man as all theworld.

Lady CapuletWhat say you? Can you love thegentleman? This night you shall beholdhim at our feast; read o’er the volume ofyoung Paris’ face, and find delight writthere with beauty’s pen; so shall you shareall that he doth possess, by having him,making yourself no less.

Catherine(laughing)No less! nay, bigger; women grow by men.

Lady CapuletSpeak briefly, can you like of Paris’ love?

Ju l i e tI’ll look to like, if looking liking move:but no more deep will I endart mine eyethan your consent gives strength to makeit fly.

(A neighborhood girl enters)

MaryThe guests are come, supper served up, youcalled, my young lady asked for, and everything in extremity. I must hence to wait; Ibeseech you, follow straight.

Lady CapuletWe follow thee.(The girl exits.) Juliet, your man waits.

(Lady Capulet exits. Catherine goes to Juliet.)

CatherineI’m so happy for you, my love. May thegood Lord protect you and give you all thejoy and good fortune you deserve.(She holds Juliet to her tightly, overcome withemotion, then releases her.)Go, sweet, seek happy nights to happy days.

(Juliet exits. Catherine watches her go, thenturns to the audience, matter-of-factly, withgreat humor and strength.)

CatherineMichael and I had known each other since wewere wee little children.But he didn’t have the balls to ask me outuntil we were sixteen. Well, no. I was sixteen.He was eighteen. After two years he proposedto me. Well, no. I wouldn’t call it a proposalexactly. Since I made him do it. He had thiscrazy idea to go traveling around the worldwith his buddies. I wasn’t gonna let him justwalk out of my life was I? I said, “Michael,do you love me?” “Of course” he says. I say,“Michael, if you love me so much. Thenyou’d better propose to me or I’m gonna runoff with your brother.” And then I swear toyou by Christ he gets down on one knee andsays, “Catherine I love you more than therooster and less then the hen, but you’re all Igot and I’ll be dammed if I let my bastardbrother steal that away from me.” Then weboth had a good laugh and he got up andthrew his big arms around me and begantickling me with his beard. He looks me inthe eyes and says “Catherine, so help me god,I’ve never loved anybody more than I loveyou. Will you have me?” Now what’s a goodlittle Catholic girl going to say to that?“Fuck yeah”, I says.

(She laughs deeply at the memory.)

A couple o’ days later Michael took me outto celebrate at his favorite place. The woodsbesides me house! After we were done“celebrating” we went and sat in his car. Ididn’t want to leave him just yet, I don’tknow why. I kept asking him questions aboutour future, how many kids we’d have, what

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their names would be. A car pulled up behindus. I didn’t think anything of it. Figured itwas just my brother pulling up behind us. Ilooked over at Michael and he had gone palewhite, like he’d seen the holy father orsomething. Just then six men surrounded thecar. Well, no. Not men. Men don’t hidebehind hoods. They opened my door first.“Don’t touch her!” Michael screamed. Anarm grabbed me and threw me to the ground.“Don’t move” he whispered then pushed myhead hard against the ground. Michael didn’tscream. He didn’t cry. I hear eleven shotsevery morning when I wake up, and I heareleven shots every night when I go to bed.Alone.

(Lights cross-fade on Catherine, lost in thepast, and come up on Romeo, Mercutio andBenvolio walking down the street in highspirits.)

RomeoAnd what mean we by goin’ to a Catholicparty?

BenvolioLet them measure us by what they will; we’llmeasure them a measure, and be gone.

RomeoGive me a torch: I am not for this ambling;being but heavy, I will bear the light.

MercutioNay, gentle Romeo, we must have you dance.

RomeoNot I, believe me: you have dancing shoeswith nimble soles: I have a soul of lead sostakes me to the ground I cannot move.

MercutioYou are a lover; borrow Cupid’s wings, andsoar with them above a common bound.

RomeoUnder love’s heavy burden do I sink.

MercutioAnd, to sink in it, should you burden love;too great oppression for a tender thing.

RomeoIs love a tender thing? it is too rough, too

rude, too boisterous, and it pricks like thorn.

MercutioIf love be rough with you, be rough withlove; prick love for pricking, and you beatlove down.Give me a case to put my visage in: a visorfor a visor! What care I what curious eyedoth quote deformities? Here are the beetlebrows shall blush for me.

BenvolioCome, knock and enter; and no sooner in,but every man betake him to his legs.

MercutioCome, we burn daylight, ho!

RomeoNay, that’s not so.

MercutioI mean, sir, in delay we waste our lights invain, like lamps by day. Take our goodmeaning, for our judgment sits five timesin that ere once in our five wits.

RomeoAnd we mean well in going to this mask;but ’tis no wit to go.

MercutioWhy, may one ask?

RomeoI dream’d a dream to-night.

MercutioAnd so did I.

RomeoWell, what was yours?

MercutioThat dreamers often lie.

RomeoIn bed asleep, while they do dream thingstrue.

MercutioO, then, I see Queen Mab hath been withyou. She is the fairies’ midwife, and shecomes in shape no bigger than an agate-stone on the fore-finger of an alderman,drawn with a team of little atomies athwartmen’s noses as they lie asleep; Her wagon-


spokes made of long spiders’ legs, thecover of the wings of grasshoppers, thetraces of the smallest spider’s web, thecollars of the moonshine’s watery beams,her whip of cricket’s bone, the lash offilm, her wagoner a small grey-coated gnat,not so big as a round little worm prick’dfrom the lazy finger of a maid; her chariotis an empty hazel-nut made by the joinersquirrel or old grub, time out o’ mind thefairies’ coachmakers. And in this state shegallops night by night through lovers’brains, and then they dream of love; o’ercourtiers’ knees, that dream on court’siesstraight, o’er lawyers’ fingers, who straightdream on fees, o’er ladies ‘ lips, whostraight on kisses dream, which oft theangry Mab with blisters plagues, becausetheir breaths with sweetmeats tainted are:sometime she gallops o’er a courtier’snose, and then dreams he of smelling out asuit; and sometime comes she with a tithe-pig’s tail tickling a parson’s nose as a’ liesasleep, then dreams he of anotherbenefice: sometime she driveth o’er asoldier’s neck, and then dreams he ofcutting foreign throats, of breaches,ambuscadoes, Spanish blades, of healthsfive-fathom deep; and then anon drums inhis ear, at which he starts and wakes, andbeing thus frighted swears a prayer or twoand sleeps again. This is that very Mabthat plats the manes of horses in the night,and bakes the elflocks in foul sluttish hairs,which once untangled, much misfortunebodes: this is the hag, when maids lie ontheir backs, that presses them and learnsthem first to bear, making them women ofgood carriage: this is she—

RomeoPeace, peace, Mercutio, peace! Thoutalk’st of nothing.

MercutioTrue, I talk of dreams, which are thechildren of an idle brain, begot of nothingbut vain fantasy, which is as thin ofsubstance as the air and more inconstantthan the wind, who wooes even now thefrozen bosom of the north, and, beinganger’d, puffs away from thence, turninghis face to the dew-dropping south.

BenvolioThis wind, you talk of, blows us fromourselves; supper is done, and we shall cometoo late.

RomeoI fear, too early: for my mind misgives someconsequence yet hanging in the stars shallbitterly begin his fearful date with this night’srevels and expire the term of a despised lifeclosed in my breast by some vile forfeit ofuntimely death. But He, that hath thesteerage of my course, direct my sail! On,lusty gentlemen.

(Lights fade as Romeo, Mercutio andBenvolio exit. Musical interlude. Lights comeup on party guests Irish step-dancing andcelebrating in Capulet house. Paris andCapulet speak over the noise.)

ParisMy lord, what say you to my suit?

Lord CapuletWoo her, gentle Paris, get her heart, my willto her consent is but a part.(A Capulet relative arrives. Capulet greets theguest.)Welcome, gentleman! You are welcome!Musicians, play. Foot it, girls.

(Romeo, Benvolio and Mercutio, with hoodsof sweat shirts pulled up to hide their faces,enter behind Capulet as he talks to therelative. They quickly join in the dancing.When the song ends, Romeo—who has beenwatching Juliet—turns to one of the partyguests.)

RomeoWhat lady is that?

GuestI know not sir.

RomeoShe doth teach the torches to burn bright!The measure done, I’ll watch her place ofstand, and, touching hers, make blessed myrude hand. Did my heart love till now?forswear it, sight! For I ne’er saw true beautytill this night.

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(Romeo waits for a break in the dance whenParis leaves Juliet to get himself a drink.Romeo quickly takes Paris’ place, dancingand laughing with Juilet. Tybalt watches thecouple closely, exploding with rage when herealizes who Romeo is.)

TybaltThis should be a Montague!(to a young Capulet family member standingnear)Get me my gun!(The boy exits.)Now, by the stock and honour of my kin, tostrike him dead, I hold it not a sin.

Capulet(noticing Tybalt’s fury and moving him awayfrom the crowd)Why, how now, kinsman! Wherefore stormyou so?

TybaltUncle, this is a Montague, our foe, a villain

that is hither come in spite, to scorn at oursolemnity this night.

CapuletYoung Romeo is it?

Tybalt’Tis he, that villain Romeo.

CapuletContent thee, gentle coz, let him alone; Iwould not for the wealth of all the town herein my house do him disparagement: thereforebe patient, take no note of him.

TybaltIt fits, when such a villain is a guest: I’ll notendure him.

CapuletHe shall be endured!

(Capulet moves back to party guests.)

TybaltPatience perforce with wilful choler meetingmakes my flesh tremble in their differentgreeting. I will withdraw: but this intrusionshall now seeming sweet convert to bittergall.

(Tybalt exits. During the exchange betweenCapulet and his nephew, the dance hasended. Romeo takes Juliet’s hand andpulls her with him, through the dancersand off to a private area where the two sit,out of breath and laughing.)

RomeoIf I profane with my unworthiest hand thisholy shrine, the gentle fine is this: my lips,two blushing pilgrims, ready stand tosmooth that rough touch with a tenderkiss.

JULIETGood pilgrim, you do wrong your hand toomuch, which mannerly devotion shows inthis; for saints have hands that pilgrims’hands do touch, and palm to palm is holypalmers’ kiss.

ROMEOHave not saints lips, and holy palmerstoo?

JULIETAy, pilgrim, lips that they must use inprayer.

ROMEOO, then, dear saint, let lips do what handsdo; they pray, grant thou, lest faith turn todespair.

JULIETSaints do not move, though grant forprayers’ sake.

ROMEOThen move not, while my prayer’s effect Itake. Thus from my lips, by yours, my sinis purged.

JULIETThen have my lips the sin that they havetook.

ROMEOSin from thy lips? O trespass sweetlyurged! Give me my sin again.

JULIETYou kiss by the book.

(Catherine notices Romeo and Juliet andquickly crosses to them.)


CATHERINEJuliet, your mother craves a word with you.

(Juliet leaves.)

ROMEOWhat is her mother?

CATHERINEHer mother is the lady of the house. Whatare you thinkin’, you and your friends,comin’ here? Leave now, before any of theothers see you.(As Romeo begins to protest.Fiercely.)Leave the girl alone. Don’t you know theworld of trouble you’ll be bringin’ on her?

(She leaves.)

ROMEOIs she a Capulet? O dear account! my life ismy foe’s debt.

(As Tybalt returns with a group of men,Mercutio and Benvolio rush to Romeo.)

BENVOLIOAway, begone; the sport is at the best.

ROMEOAy, so I fear; the more is my unrest.

(The three exit hurriedly, as Capulet andTybalt watch for a moment. Capulet bidsthe rest of the guests goodnight, then turnsto his his wife and Juliet.)

LORD CAPULET

Come on then, let’s to bed.

(Everyone exits but Juliet, Catherine and ayoung girl, one of the party guests, whosits by herself, listening to the nurse andJuliet.)

JULIET

Come hither, Catherine. What is yondgentleman?

CATHERINE

(Cleaning up the remains of the party.)

I know not.

JULIET

Go ask his name: if he be married. My grave is like tobe my wedding bed.

CATHERINE(stops cleaning and crosses to Juliet)His name is Romeo, and a Montague; son of yourgreat enemy and friend to those who hate our kind.

JULIETMy only love sprung from my only hate! Too earlyseen unknown, and known too late!Prodigious birth of love it is to me, that I must love aloathed enemy.

LADY CAPULET(offstage)Juliet!

CATHERINE(Taking Juliet by the arm.)Come, let’s away; the strangers all are gone.

(Juliet pulls away and crosses back to the door,staring after Romeo.)

CATHERINEJuliet!

(Juliet doesn’t answer. After a moment Catherinesighs, deeply troubled, then gathers up more dishesand exits. Juliet stands, lost in thought. Moirawatches her for a moment, then crosses to the doorand stands beside Juliet on the porch, looking at thenight sky.)

MOIRAIt’s beautiful out tonight.

JULIET(startled, turns to her)Yes. Yes, it is.

MOIRA(after a moment)A year ago tonight it was that Stephen died. A clear,still evenin’. Like this one.

JULIETMoira, I’m sorry. I didn’t realize…

MOIRA(intensely)

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What can you be thinkin’? They hate us. Youknow that. How can you let one of ‘em touchyou like that, knowin’ what they’ve done.

(Juliet is silent.)

MOIRA(Crossing to the edge of the porch, she sits onthe steps, looking out at the night. Withoutemotion.)He had a beautiful voice, my Stephen.Whenever he wrote a new song I was the firstone he’d play it for.. In his room atUniversity. I’d lie there on his bed as heplayed his guitar. I could have listened to himfor the rest of my life.

I was so proud when he played at the peacemeetin’s. He had started a group, Witness forPeace, when he was a student. He nevermissed a rally.

(Juliet listens silently as Moira continues inthe same, matter-of-fact fashion.)

The Shankill Butchers killed him. It was aSaturday night. We’d been to a dance at theQueen’s University student union. There wasa party after. By the time we left, it was twoin the mornin’. Stephen was walkin’ mehome. We’d got to Brown Street, near citycentre, when a car pulled up beside us. I’llnever forget that car—mustard yellow itwas—a Ford Cortina. Four of ‘em jumped out.One pushed me down on the ground. Theother three grabbed Stephen and threw himinto the back of the car. Lyin’ there in thestreet I heard the tires scream as the car racedaway. I got up on me knees in time to see thered tail lights in the distance. I screamed asthey turned the corner. Then there wasnothin’… but blackness.

I found out later they had been drinkin’ allnight at a Loyalist club. When the club closedthey decided to go out and get a Taig. Afterthey put Stephen in the car they stopped at ahouse. One of ‘em ran in to get a gun and anda knife. Then they drove to Glencairn. Theytook my Stephen inside, to the back of a club.They shot him in the head, then cut histhroat with a butcher knife. My sweetStephen, with his beautiful voice…

A week after he died his group held a rally.They planted 1,162 white crosses in the

ground, in memory of the ones who havedied in these Troubles. One of themcrosses, it was for Stephen.

His sisters sang one of his songs at therally. “What Price Peace?” he called it.(She sings.)“What price peace, will it cost us all our lives?And when there’s no one left to die,Will peace come then?What price peace, is it coming, is it gone?Have we had our shareor is it still to come?”

(She holds the last note for a moment,then silence. She stands, turns to look atJuliet, then walks down the porch stepsand off into the night. Juliet standswatching her, then crosses to sit on thesteps where Moira had been. Romeo entersthe street; seeing Juliet on the porch stepshe quickly hides himself.)

ROMEOBut soft! What light through yonderwindow breaks? It is the east, and Juliet isthe sun. It is my lady, it is my love!

JULIETAy me!

ROMEOShe speaks:O, speak again, bright angel!

JULIETO Romeo, Romeo! Deny thy father andrefuse thy name; or, if thou wilt not, be butsworn my love, and I’ll no longer be aCapulet. ’Tis but thy name that is myenemy; thou art thyself, though not aMontague. What’s Montague? It is norhand, nor foot, nor arm, nor face, nor anyother part belonging to a man. O, be someother name! What’s in a name? Thatwhich we call a rose by any other namewould smell as sweet; so Romeo would,were he not Romeo call’d, retain that dearperfection which he owes without thattitle. Romeo, doff thy name, and for thatname which is no part of thee take allmyself.


ROMEOI take thee at thy word:

JULIETWhat man art thou that thus bescreen’d innight so stumblest on my counsel?

ROMEOBy a name I know not how to tell theewho I am: my name, is hateful to myself,because it is an enemy to thee; had I itwritten, I would tear the word.

JULIETMy ears have not yet drunk a hundredwords of that tongue’s utterance, yet Iknow the sound: art thou not Romeo and aMontague?

ROMEONeither, if either thee dislike.

JULIETHow camest thou hither, tell me, andwherefore? The orchard walls are high andhard to climb, this place is death,considering who thou art, if any of mykinsmen find thee here. If they do seethee, they will murder thee.

ROMEOThere lies more peril in thine eye thantwenty of their guns: look thou but sweet,and I am proof against their enmity.

JULIETI would not for the world they saw theehere.

ROMEOI have night’s cloak to hide me from theirsight; and but thou love me, let them findme here: my life were better ended by theirhate, than death prorogued, wanting of thylove.

JULIETDost thou love me? I know thou wilt say‘Ay,’ and I will take thy word: yet if thouswear’st, thou mayst prove false. O gentleRomeo, if thou dost love, pronounce itfaithfully: or if thou think’st I am tooquickly won, I’ll frown and be perverse andsay thee nay, so thou wilt woo; but else,not for the world. In truth, fair Montague,I am too fond, and therefore thou mayst

think my ‘havior light: but trust me,gentleman, I’ll prove more true than thosethat have more cunning to be strange. Ishould have been more strange, I mustconfess, but that thou overheard’st, ere I wasware, my true love’s passion: thereforepardon me, and not impute this yielding tolight love, which the dark night hath sodiscovered.

ROMEOLady, by yonder blessed moon I swear thattips with silver all these fruit-tree tops—

JULIETO, swear not by the moon, the inconstantmoon, that monthly changes in her circledorb, lest that thy love prove likewisevariable.

ROMEO What shall I swear by?

JULIETDo not swear at all; or, if thou wilt, swear bythy gracious self, which is the god of myidolatry, and I’ll believe thee.

ROMEOIf my heart’s dear love—

JULIETWell, do not swear: although I joy in thee, Ihave no joy of this contract to-night: it istoo rash, too unadvised, too sudden; too likethe lightning, which doth cease to be ere onecan say ‘It lightens.’ Good night, good night!As sweet repose and rest come to thy heart asthat within my breast!(she starts to go inside)

ROMEO(blocking the doorway)O, wilt thou leave me so unsatisfied?

JULIET(taken aback)What satisfaction canst thou have to-night?

ROMEO The exchange of thy love’s faithful vow formine.

JULIET(softening)

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I gave thee mine before thou didst request it:and yet I would it were to give again. Mybounty is as boundless as the sea, my love asdeep; the more I give to thee, the more Ihave, for both are infinite.(From inside the house Catherine calls,“Juliet!”)I hear some noise within; dear love, adieu!Anon, Catherine! Sweet Montague, be true.Stay but a little, I will come again.

(Juliet starts to go inside the house, butRomeo moves quickly toward her, pulls her tohim and kisses her. After a moment, sheresponds. Finally, she pushes him away.)

JULIETThree words, dear Romeo, and good nightindeed. If that thy bent of love behonourable, thy purpose marriage, send meword to-morrow, by one that I’ll procure tocome to thee, where and what time thou wiltarrange with the priest to perform the rite;and all my fortunes at thy foot I’ll lay andfollow thee my lord throughout the world.

CATHERINE(offstage)Juliet!

JULIET(calling to Catherine)I come, anon— (to Romeo) But if thoumean’st not well, I do beseech thee—


JULIET(calling to Catherine)By and by, I come.(continuing, to Romeo)—to cease thy suit,and leave me to my grief.

(The two stare at one another for a moment,overwhelmed by the implications of what theyare doing. Finally Romeo breaks the silence.)

ROMEOI will go to the priest.

JULIET(quietly)Then tomorrow will I send for thee.

ROMEOSo thrive my soul—

JULIETA thousand times good night!

ROMEOA thousand times the worse, to want thylight.

(He starts to exit.)

JULIETRomeo! At what o’clock to-morrow shall Isend to thee?

ROMEOAt the hour of nine.

JULIETI will not fail: ’tis twenty years till then. Ihave forgot why I did call thee back.

ROMEOLet me stand here till thou remember it.Forgetting any other home but this.

JULIETTis almost morning; I would have theegone: good night, good night! Parting issuchsweet sorrow, that I shall say good nighttill it be morrow.

(Catherine has comes to the door in timeto hear Romeo and Juliet telling oneanother goodbye. Juliet watches as Romeoleaves. She turns and sees Catherine.)

JULIET(After a moment. With great simplicity andstrength.)I don’t care. I love him.

(Juliet and Catherine stare at one anotherfor a long moment.)

CATHERINE(quietly)Then God help us all.

(Catherine holds Juliet close to her. After amoment Juliet pulls away, and returns tothe porch steps. Catherine stands,listening.)


JULIETShe wasn’t much older than me, thatProtestant girl. Anne, they said her namewas. She had a wee little one, five yearsold. She was raisin’ her on her own.Workin’ two jobs and takin’ care of thatlittle girl. She just wanted a bit o’ fun. Whocould blame her?

She went out after work with hergirlfriends for a few drinks. There was aman she fancied at the club. She asked himto dance. It was a Prod club.

When she left to pick up her daughter agang of UVF fellas followed her. Just as sheand her little one were about to get on theGlengall Street bus, they grabbed her andtook her and the girl to a loyalists’ club onthe Castlereagh Road. One of ‘em gave thelittle girl money for sweets; when she leftthe room, they locked the door. Theypushed Anne in a chair, put a hood overher head and beat her face in with a brick.In the middle of killin’ her they stopped tohave a smoke.

As Anne screamed, her little girl stoodoutside, bangin’ on that locked door andcryin’ “My mama’s in there…”

They hit Anne more than two dozen timeswith that brick before she died.

After they finished with her, they went outfor a drink, then to a disco. Later theydumped her body behind an abandonedhouse on Donegal Avenue in South Belfast.

Early the mornin’ Anne was killed hermother got a telephone call from a mansaid he was takin’ her daughter home,askin’ if that was where she lived. It wasone of those drunken animals, soberin’ upand scared he’d killed the wrong girl. Thedrunken idiots thought she was a Catholic.One of ‘em said the father of her little girlwas a Provo hunger-striker in Long Keshand they all believed it.

They killed her, they orphaned that littlegirl, because they thought she wasCatholic. She wasn’t. She was a Prod.

What world are we livin’ in, where amother is killed because she asks thewrong man to dance? Where a weelittle girl listens to her mother screamwhile she’s beaten to death bydrunken animals who hate because itmakes’ em feel like they’re men.Christ, when are we going to stopkillin’ each because we’re afraid?

(Catherine crosses to Juliet. They sitin silence as the lights fade.)

(Lights come up on the Father in his officereading. There is a knock at the door. Romeosteps into the doorway.)

ROMEOGood morrow Father. May I come in?

FATHER(hesitates)My door is always open.

ROMEOI am alone and I wish no trouble.

FATHERCome in then.

ROMEOI’ll get right to the point. I was at theCapulet house last night—I’m in love withJuliet.And I want you to marry us…today.

FATHERIs that all?(Pause.)You’re wasting your time son. I won’t helpyou construct your own death.

ROMEOI don’t care if I die—

FATHERNeither do I! It’s Juliet I’m protecting. Doyou know what the IRA does to Catholic girlswho get mixed up with Protestant boys? (Noanswer.) If you do love her, then forget her.No good can come of this.

ROMEONo good? That’s the problem with youCatholics, you can’t think for yourselves

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without getting permission from the fuckingpope! (He exits down stairs.) I don’tunderstand you. You stand on your soap boxand preach peace, but you’re too scared ofyour own people to actually do anythingabout it. I came for your help, not yourpermission. (Starts to exit.)

FATHERDo you love her Romeo?(Romeo stops but doesn’t look back.)Then you need to think long and hard aboutwhat you’d be bringin’ her into. Can youprotect her from your own prejudice? It’s herlife you risk. Do you know that?

ROMEOI’ve done nothing wrong but fall in love. Ifthat’s not enough, then nothing is.(He starts to exit.)

FATHERWait.(Romeo stops.)Don’t do anything rash. Get her to my officethis afternoon. It must be done right if itmust be done.(Romeo nods, then starts to exit.)And Romeo—if you ever stand in my officeand curse the pope again, I’ll bury you myselfin God’s green earth. Go. And think aboutwhat I said.

(Romeo exits. Lights cross-fade on Fatherand come up on street as Benvolio andMercutio enter.)

MERCUTIOWhere the devil should this Romeo be? Camehe not home to-night?

BENVOLIONot to his father’s.

BENVOLIOTybalt, the kinsman of old Capulet, hath senta letter to his father’s house.

MERCUTIOA challenge, on my life.

BENVOLIORomeo will answer it.

MERCUTIOAny man that can write may answer a letter.

BENVOLIONay, he will answer the letter’s master,how he dares, being dared.

MERCUTIOAlas poor Romeo! Is he a man toencounter Tybalt?

BENVOLIOWhy, what is Tybalt?(Romeo enters. Benvolio signals Mercutioto change the subject.) Here comes Romeo.

MERCUTIO(ignoring Benvolio)Signior Romeo, bon jour! there’s a Frenchsalutation to your French slop. You gave usthe counterfeit fairly last night.

ROMEOGood morrow to you both. Whatcounterfeit did I give you?

MERCUTIOThe slip, sir, the slip; can you notconceive?

ROMEO(puzzled by the aggression he sensesbehind Mercutio’s joking manner, butattempting to play the game)Pardon, good Mercutio, my business wasgreat; and in such a case as mine a manmay strain courtesy.

MERCUTIOThat’s as much as to say, such a case asyours constrains a man to bow in thehams.

ROMEOMeaning, to court’sy.

MERCUTIOThou hast most kindly hit it.

ROMEOA most courteous exposition.

MERCUTIONay, I am the very pink of courtesy.


ROMEOPink for flower?

MERCUTIORight.

ROMEOWhy, then is my pump well flowered.

(Romeo, pleased at his witticism, slapsMercutio on the back in a friendly fashion.Mercutio responds by shoving back soforcefully that Romeo is knocked offbalance. He stares at his friend inconfusion.)

MERCUTIOWell said: follow me this jest now till thouhast worn out thy pump, that when thesingle sole of it is worn, the jest mayremain after the wearing sole singular.

ROMEOO single-soled jest, solely singular for thesingleness.

MERCUTIO(barely concealing his fury with Romeo)Come between us, good Benvolio; my witsfaint.

ROMEOSwitch and spurs, switch and spurs; or I’llcry a match.

MERCUTIONay, if thy wits run the wild-goose chase, Ihave done, for thou hast more of the wild-goose in one of thy wits than, I am sure, Ihave in my whole five: was I with youthere for the goose?

ROMEOThou wast never with me for anythingwhen thou wast not there for the goose.

MERCUTIOI will bite thee by the ear for that jest.

ROMEONay, good goose, bite not.

MERCUTIO

Thy wit is a very bitter sweeting; it is a mostsharp sauce.

ROMEOAnd is it not well served into a sweet goose?

MERCUTIOO here’s a wit of cheveril that stretches froman inch narrow to an ell broad!

ROMEO(happy to have won the war of wits)I stretch it out for that word ‘broad;’ whichadded to the goose, proves thee far and wide abroad goose.

MERCUTIO(his veneer of self-control shattered byRomeo’s exuberance; furiously)Why, is not this better now than groaning forlove? Now art thou sociable, now art thouRomeo; now art thou what thou art, by art aswell as by nature:for this driveling love is like a great natural,that runs lolling up and down to hide hisbauble in a hole.

(Mercutio advances on Romeo. Benvoliostops him.)

BENVOLIOStop there, stop there.

MERCUTIO(breaking free of Benvolio, he crosses toRomeo, shoving him violently)I can numb myself to anything. That’s thefirst thing they taught us. You find your spoton the wall, create a flame and watch itflicker. Block everything else out. But I don’twant to numb myself to this. I know whereyou were last night! Let me tell yousomething. Every day was a hard day’s workfor me father. He worked seven days a weekto support his wife and five children. He tooka job as a police officer because it was good,honest, hard work and because he took aninterest in the community that he lived in.Not because he gave a damn about thosefuckin’ bastards. He walked out his front doorone day to two masked men with Browningspointed at his face. They didn’t even havethe decency to take him away from his ownhome. They shot him in the throat and thenlike scared little girls they ran. They didn’teven bother to kill him properly. He laythere choking on his own blood for two hours

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until my little sister came home from schoolto find him dead on the front steps. Hedrowned in his own blood.I stood at my father’s grave, and I’ll bedammed if you’re gonna prance around withone of their little sluts!

ROMEOWatch your fuckin’ mouth—

(Romeo attacks Mercutio who wrestles him,pinning him to the ground. The drumming isheard, building in intensity and volume asMercutio continues.)

MERCUTIOThey gave me a browning of my own. Quitesimilar to the one that killed me father. Oneto show those provo bastards we weren’tgoin’ to roll over and die. I waited for one ofthose pricks outside his house as he drove upwith his wife and daughter. And that’s when ithit me. The killing rage. Like a savage animalI ran to his car and grabbed him by the hair,dragged him out of his car kickin’ andscreamin’. Threw him to the ground andbegan stomping on his face. He needed topay. Justice needed to be served. As I kickedthe teeth out of his mouth his wife threwherself on top of him. He could barely move.I kicked her down flat over him and firedthree shots over her shoulder directly into hisface. I turned to see his daughter bouncing upand down a thousand times a second in theback seat of his car. I thought she was gonnabreak her neck on the roof. She was screamin’so loud I thought my ears were gonna bleed.(The drumming stops. In the silence Mercutiostruggles to recover his control, then crossesback to Romeo and helps him up.)It’s time you start acceptin’ the world youlive in.

(Catherine enters. Mercutio quickly covers,acting as if nothing has happened.)

CATHERINEGod ye good morrow, gentlemen.

MERCUTIOGod ye good den, fair gentlewoman.

CATHERINEIs it good den?

MERCUTIO’Tis no less, I tell you, for the bawdy handof the dial is now upon the prick of noon.

(Mercutio and Benvolio exit.)

CATHERINEMarry, farewell! I pray you, what saucymerchant was this that was so full of hisropery?

ROMEOA gentleman that loves to hear himselftalk, and will speak more in a minute thanhe will stand to in a month.

CATHERINEPray you, a word: as I told you, Juliet bademe inquire you out. What she bade me say,I will keep to myself. But first let me tellye, if ye should lead her intoa fool’s paradise, as they say, it were a verygross kind of behavior.(Romeo starts to interrupt; Catherine cutshim off)Try as I might, she’ll not listen to reason.She’s too trustin’. She doesn’t understandthe world we’re livin’ in. She thinks lovewill protect the both of you. I know better.I love her like a sister, so I’m doin’ whatshe asked. But I’m beggin’ you now: leaveher alone. No good can come of you andher.

ROMEO(intensely)You have no call to trust my kind. I knowthat. And I don’t have the words to makeyou believe me. I love her, Catherine. Inever knew what love was until the night Ilaid eyes on Juliet. And nothin’ in thisworld or the one beyond is goin’ to keep usapart.(For a long moment Catherine looks intohis eyes. When she doesn’t answer, hecontinues.)Bid her devise some means to come toshrift this afternoon. And there she shall atFather’s cell be shrived and married.

(Catherine stares at him for a momentlonger, then turns and exits. Romeowatches her go. He turns to leave and seeshis father approaching.)


MONTAGUERomeo!(Romeo stops but says nothing.)I’m not going to let you go through withthis.

ROMEOWhat are you talking about?

MONTAGUEIs this why you’ve been avoiding me?

ROMEOI’m not avoiding you.

(He starts to leave.)

MONTAGUEDo you know what they’ll do to you ifthey find out?

ROMEOFuck the IRA.

MONTAGUEI’m not talking about the IRA. I’m talkingabout our own.(Romeo falters; stares at his father.)I’ve already lost one son. Will you giveyour mother another reason to hate me?You were probably too young to rememberyour brother Colin. Sometimes I try notto think about it. But the harder I try notto think…the more I do. Sometimes I justlet it play out in my mind. Like some sortof punishment. He loved you very much.He was going to teach you to play rugby.I could hear soldiers outside. That wasn’tunusual. A little while later your mothergot startled, she had some sort of darkpremonition. She thought it might be agood idea to get the kids into a centralroom. I told her she was over reacting. Iwas waiting for a commercial. First thing Iheard was the broken glass. Then the gunshot. It was supernatural. I ran to Colin’sroom. I saw him standing in the cornerfrozen. “Don’t move Colin. Everything’llbe all right.” Just then the room lit up withflashes. I was grazed by a bullet and Collinseemed to fall along the wall. I thought hefainted from seeing me bleed, but then Isaw the back of his head was covered withblood and I knew the flashes had beenbullets and that Colin was shot. He wasonly nine years old…nine years old.

ROMEOI do remember, I just haven’t forgiven you.

(Romeo walks away. Montague watches himgo. Lights fade. Lights rise on the Capulet’shouse where Juliet waits for Catherine toreturn.)

JULIETThe clock struck nine when I did sendCatherine; in half an hour she promised toreturn.Perchance she cannot meet him: that’s notso. Now is the sun upon the highmost hill ofthis day’s journey, and from nine till twelve isthree long hours, yet she is not come.(Catherine approaches.)O God, she comes! What news? Hast thoumet with him? O Lord, why look’st thou sad?Though news be sad, yet tell them merrily. Ifgood, thou shamest the music of sweet newsby playing it to me with so sour a face.(Catherine doesn’t answer)Nay, come, I pray thee, speak; please, pleasespeak.(Catherine looks at Juliet, still not speaking.)Is thy news good, or bad? Answer to that; sayeither, and I’ll stay the circumstance: let mebe satisfied, is’t good or bad? What says he ofour marriage? What of that?

(Clearly struggling with her decision,Catherine turns to Juliet, holding her by theshoulders as she looks into her face. Juliet,understanding Catherine’s misgivings, waitssilently for her answer. Catherine finallybreaks her silence.)

CATHERINEHave you got leave to go to confessiontoday?

JULIETI have.

CATHERINEThen hie you hence to Father’s cell. Therestays a husband to make you a wife. Go, I’llto dinner. Hie you to the cell.

JULIETThank you, thank you!

(Juliet exits. Catherine watches her go, thenstands, deep in thought as the lights fade.

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Lights fade up on Romeo and the Father atthe church.)

FATHERSo smile the heavens upon this holy act, thatafter hours with sorrow chide us not!

ROMEOAmen, amen! But come what sorrow can, dothou but close our hands with holy words,then love-devouring death do what he dare; itis enough I may but call her mine.

FATHERThese violent delights have violent ends andin their triumph die, like fire and powder,therefore love moderately; long love doth so;too swift arrives as tardy as too slow.

(Juliet enters. She and Romeo kisspassionately, until the Father separatesthem.)

JULIETGood even to my ghostly confessor.

ROMEOAh, Juliet, if the measure of thy joy beheaped like mine, and that they skill be moreto blazon it, then sweeten with thy breaththis neighbor air.

JULIETThey are but beggars that can count theirwealth. But my true love is grown to suchexcess I cannot sum up sum of half mywealth.

FATHER(Moved by the depth of their love)Come with me, and we will make short work;for, by your leaves, you shall not stay alonetill holy church incorporate two in one.

(Lights fade as they exit. Lights up asBenvolio and Mercutio enter.)

BENVOLIOI pray thee, good Mercutio, let’s retire: theday is hot, the Capulets abroad, and, if wemeet, we shall not scape a brawl.

MERCUTIOThou art like one of those fellows that whenhe enters the confines of a tavern claps mehis sword upon the table and says ‘God sendme no need of thee!’ and by the operation of

the second cup draws it on the drawer,when indeed there is no need.

BENVOLIOAm I like such a fellow?

MERCUTIOCome, come, thou art as hot a Jack in thymood as any, and as soon moved to bemoody, and as soon moody to be moved.

BENVOLIOAnd what to?

MERCUTIONay, and there were two such, we shouldhave none shortly, for one would kill theother. Thou! why, thou wilt quarrel with aman that hath a hair more, or a hair less,in his beard, than thou hast: thou wiltquarrel with a man for cracking nuts,having no other reason but because thouhast hazel eyes: what eye but such an eyewould spy out such a quarrel? Thy head isas fun of quarrels as an egg is full of meat,and yet thy head hath been beaten as addleas an egg for quarrelling: thou hastquarreled with a man for coughing in thestreet, because he hath wakened thy dogthat hath lain asleep in the sun. Didst thounot fall out with a tailor for wearing hisnew doublet before Easter? With anotherfor tying his new shoes with old riband?And yet thou wilt tutor me fromquarrelling!

BENVOLIOAnd I were so apt to quarrel as thou art,any man should buy the fee-simple of mylife for an hour and a quarter.

MERCUTIOThe fee-simple! O simple!

BENVOLIO By my head, here comes Tybalt.

MERCUTIO By my heel, I care not.

(Tybalt enters. Drumming is heard.)

TYBALTGentlemen, good den: a word with one ofyou.


MERCUTIOAnd but one word with one of us? Couple itwith something; make it a word and a blow.

TYBALTYou shall find me apt enough to that sir,and you will give me occasion.

MERCUTIOCould you not take some occasion withoutgiving?

TYBALTMercutio, thou consort’st with Romeo—

MERCUTIO Consort! What, dost thou make usminstrels? And thou make minstrels of us,look to hear nothing but discords.

BENVOLIOWe talk here in the public haunt of men:either withdraw unto some private place,and reason coldly of your grievances, orelse depart; here all eyes gaze on us.

MERCUTIOMen’s eyes were made to look, and letthem gaze; I will not budge for no man’spleasure, I.

(Romeo enters.)

TYBALTWell, peace be with you, sir: here comesmy man.

MERCUTIOBut I’ll be hanged, sir, if he wear yourlivery: marry, go before to field, he’ll beyour follower; your worship in that sensemay call him ‘man.’

TYBALTRomeo, the hate I bear thee can afford nobetter term than this. Thou art a villain.

ROMEOTybalt, the reason that I have to love theedoth much excuse the appertaining rage tosuch a greeting: villain am I none;therefore farewell; I see thou know’st menot.

TYBALTBoy, this shall not excuse the injuries thatthou hast done me.

(Tybalt aims guns at Romeo.)

ROMEO(turns and faces Tybalt)I do protest, I never injured thee, but lovethee better than thou canst devise, till thoushalt know the reason of my love. and so,good Capulet, which name I tender as dearlyas my own, be satisfied.

(Tybalt cocks his gun.)

MERCUTIOO calm, dishonourable, vile submission!

(Mercutio grabs Tybalt’s hand, struggling forthe gun.)

TYBALTWhat wouldst thou have with me?

(The gun drops.)

MERCUTIOGood king of cats, nothing but one of yournine lives.

TYBALTI am for you.

(Tybalt and Mercutio fight. Mercutio knocksTybalt to the ground. Pulling out a knife, hestarts to stab Tybalt. As he draws his armback, Romeo stops him and the knife falls.)

ROMEOGentlemen, for shame, forbear this outrage!

(Tybalt quickly jumps to his feet, runs off)

MERCUTIOIs he gone, and hath nothing?

(Tybalt returns with a group of hooded men.They seize Romeo, Benvolio and Mercutio.Forcing Mercutio to his knees, they place ahood on his head. Tybalt stands behindMercutio and pulls out a gun.)

MERCUTIOAsk for me tomorrow, and you shall find mea grave man. A plague on both your houses!

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(To Romeo) Why the devil came youbetween us?

ROMEOI thought all for the best.

MERCUTIOA plague on both your houses! They havemade worms’ meat of me…

(Tybalt shoots Mercutio in the back of thehead. He pulls off Mercutio’s hood. Then,still holding the gun, he crosses to Benvolioand Romeo, as they struggle on theground. He threatens both with the gun ashe speaks.)

TYBALTI remember my first. Everybody does. Theysay it’s the best and worst at the same time.I was sitting in a pool hall when aninformant approached me. A localelectrician who told me he had spotted auniform hanging in one of the houses heworked. I wanted to check it out for myself.Sure enough, the fuck was working for theCrown and living in my own neighborhood.I got clearance from my superiors almostimmediately. Then I started scouting himalmost every day. I couldn’t believe howcocky he was. Never checked under his car,never changed his routine. He was as goodas dead.

His execution was set for March 14th, justtwo months after my initial conversation inthe pool hall. I was to be driven in on amotorcycle. We were going to park on theside of the road at the entrance to his streetpretending to have a flat tire. When hepassed we would follow him up and do thedeed. After, I was to be brought two blocksover where we would ditch the bike and hopin a car that would take me to a safe houseuntil I could be brought across the border.

Like clockwork he passed us right on timewith his wife in the passenger seat. Heturned left onto his street as he had alwaysdone. As soon as he pulled into his drivewayhe looked in his rearview mirror and saw uspull up. He knew. He forced his wife to theground as he ran out of the car making adramatic attempt for the house. He keptskipping around and waving his umbrella atme like he was in a fuckin’ fencing match. I

just laughed as I calmly stepped off mybike and walked towards him. He fumbledfor the door as I buried three shots in hischest. As he fell I walked up and let offfive more in his face. People talk andpeople die.

I don’t see humans anymore. I see us andthem. We kill you or you kill us. It’s assimple as that.

(Tybalt crosses to Mercutio. He takes out aknife and cuts Mercutio’s throat, whilelooking at Romeo. Then he and the otherProvos exit. Romeo crosses to Mercutio’sbody and kneels beside him.)

ROMEOThis gentleman My very friend, hath gothis mortal hurt In my behalf.—Tybalt,that an hour Hath been my kinsman!

BENVOLIO(crossing to Mercutio’s body)That gallant spirit hath aspired the clouds,Which too untimely here did scorn theearth.

ROMEOThis day’s black fate on more days dothdepend; this but begins the woe others mustend.

(He searches Mercutio’s body until he findsa gun. Tybalt reenters, butcher knife inhand.)

BENVOLIOHere comes the furious Tybalt back again.

ROMEOAlive, in triumph! And Mercutio slain!Away to heaven, respective lenity, andfire-eyed fury be my conduct now!(Hides gun in his jacket.)Now, Tybalt, take the villain back again,that late thou gavest me; for Mercutio’ssoul is but a little way above our heads,staying for thine to keep him company.Either thou, or I, or both, must go withhim.

TYBALT(advancing on Romeo with knife)


Thou, wretched boy, that didst consort himhere, shalt with him hence.

ROMEOThis shall determine that.

(Romeo pulls the gun from his jacket andshoots Tybalt)

BENVOLIORomeo, away, be gone! The citizens areup, and Tybalt slain. Stand not amazed. Itwill by thy death, if thou art taken. Hence,be gone, away!

(Romeo stands frozen, in shock.)

BENVOLIOWhy dost thou stay?

(Romeo exits. A group of men and womenenter.)

MANWhich way ran he that kill’d Mercutio?Tybalt, that murderer, which way ran he?

BENVOLIO There lies that Tybalt.(A police officer of the Royal UlsterConstabulary enters with Lords Montagueand Capulet, their wives and family.)

POLICE OFFICERWhere are the vile beginners of this fray?

LADY CAPULETTybalt, my cousin! O my brother’s child!

POLICE OFFICERBenvolio, who began this bloody fray?

LADY CAPULETHe is a kinsman to the Montague.Affection makes him false, he will notspeak true. I beg for justice, which thoumust give. Romeo slew Tybalt, Romeomust not live.

FATHERRomeo slew him, he slew Mercutio. Whonow the price of his dear blood doth owe?

MONTAGUENot Romeo he was Mercutio’s friend. Hisfault concludes but what the law shouldend, the life of Tybalt.

POLICE OFFICERI will be deaf to pleading and excuses. Nortears nor prayers shall purchase out abuses.Therefore use none. When he’s found, thathour is his last. Bear hence this body andattend our will. Mercy but murders, pardoningthose that kill.

(The police officer exits. Lady Capulet, stillkneeling beside Tybalt’s body, looks at thecrowd. After a moment, she rises, movesaway from the body and speaks to the peoplegathered in the street.)

LADY CAPULETIt was January 30, 1972. Bloody Sunday. Ihad gotten up early that mornin’, went tomass before joinin’ the marchers. It was abeautiful day, clear and crisp. The crowd wasin great spirits. Lots of excitement.Bernadette Devlin and Ivan Cooper rode thelorry drivin’ in front of us as we made ourway down to Free Derry Corner. We weresingin’ “We Shall Overcome.” Ivan and theothers were talkin’ over the loud speaker.“Civil rights for all—no more internmentwithout trial” we shouted. It was an incrediblefeelin’, we were a part of somethin’ powerful.We would stop the pain.

As we turned the corner, part of the crowddidn’t want to turn. They kept goin’ down tothe town center. Ivan jumped down off thelorry to stop ‘em. He yelled at the rest of usto follow the lorry and we did. We followed itdown the street to where it stopped at thecorner of the Rossville Street Flats. We couldhear shootin’ behind us but we thought thesoldiers were shootin’ plastic bullets at thecrowd who were throwin’ rocks and bottles.Bernadette Devlin started shoutin’, “Getdown, they’re shootin’ real bullets.” We ran.It was mad. Everyone tryin’ to find shelter,behind cars, inside the flats. The soldiers—the B-Specials—came up the street. Theywere shootin’ into the crowd. A boy was hitright on the steps at Fahan Street. He wasscreamin’. I could see all the blood on thesteps. So much blood. We were afraid to go tohim. There was shootin’ all around us. Wecouldn’t tell where it was comin’ from. Thenthe man who’d been crouchin’ down next tome stood up and pulled out a handkerchief. Isaid, “What in God’s name are you doin’? Getback down before they shoot us.” He said,

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“Can’t you hear him cryin’ out there? He’sdyin’. I can’t let him die alone.” And heducked down and started to run toward the kidlyin’ on Fahan Street. He took two stepsforward before he fell. The soldiers, they shothim in the head. There was blood all over hisface. Me and a couple of others started tocrawl toward him. We could hear thegunshots, but we kept crawlin’. When I got tohim, I could see the whole top of his head wasgone. I knew he was dead. I started screamin’.I couldn’t ‘stop. My nerves had gone. One ofthe men from the ambulance picked me up.They took me to hospital.

That brave man. He was the fourth personkilled that Sunday in Derry when the Armystarted shootin’ into the crowd of marchers.By the time it was over 13 people were dead.Another died later from his injuries. Allinnocents. I keep rememberin’ the crowd thatmornin’. So much hope. All gone.

(The crowd is still. The lights fade.)

ACT TWO

(Lights fade up on Juliet, waiting forCatherine.)

JULIETCome, gentle night, come, loving, black-brow’d night, give me my Romeo; and, whenhe shall die, take him and cut him out in littlestars, and he will make the face of heaven sofine that all the world will be in love withnight and pay no worship to the garish sun.O, I have bought the mansion of a love, butnot possess’d it, and, though I am sold, notyet enjoy’d. So tedious is this day as is thenight before some festival to an impatientchild that hath new robes and may not wearthem. O, here she comes, and she bringsnews; and every tongue that speaks butRomeo’s name speaks heavenly eloquence.What news?

(Catherine, visibly distraught, doesn’tanswer)

JULIET(frightened)What’s wrong? What in God’s name hashappened?

CATHERINE(sobbing)He’s dead. Shot in the street.

JULIET(shocked and uncomprehending)Can heaven be so envious?

CATHERINERomeo can, though heaven cannot.Whoever would have thought it? Romeo!

JULIETWhat devil art thou, that dost torment methus? This torture should be roar’d indismal hell. Hath Romeo slain himself? Saythou but ‘I,’ and that bare vowel ‘I’ shallpoison more than the death-darting eye ofcockatrice. I am not I, if there be such anI; or those eyes shut, that make theeanswer ‘I.’ If he be slain, say ‘I’; or if not,no. Brief sounds determine of my weal orwoe.

CATHERINEI saw the wound, I saw it with mine eyes.Pale, pale as ashes, all bedaub’d in blood. Ifainted at the sight.

JULIETO, break, my heart! Poor bankrupt, breakat once! To prison eyes, ne’er look onliberty! Vile earth, to earth resign, endmotion here. And thou and Romeo pressone heavy bier!

CATHERINEO Tybalt, Tybalt, the best friend I had! Ocourteous Tybalt! Honest gentleman! Thatever I should live to see thee dead!

JULIETWhat storm is this that blows so contrary?Is Romeo slaughter’d, and is Tybalt dead?My dear-loved cousin and my dearer lord?Then, dreadful trumpet, sound the generaldoom! For who is living, if those two aregone?

CATHERINETybalt is gone, and Romeo has fled. Romeothat kill’d him, he will be executed.


JULIETO God! Did Romeo’s hand shed Tybalt’sblood?

CATHERINEIt did, it did. Alas the day, it did!

JULIETO serpent heart, hid with a flowering face!Beautiful tyrant! Fiend angelical! Justopposite to what thou justly seem’st. Adamned saint, an honourable villain! Wasever book containing such vile matter sofairly bound? O that deceit should dwell insuch a gorgeous palace!

CATHERINEThere’s no trust, no faith, no honesty inmen. These griefs, these woes, thesesorrows make me old. Shame come toRomeo!

JULIETBlister’d be thy tongue for such a wish! Hewas not born to shame! O, what a beastwas I to chide at him!

CATHERINEWill you speak well of him that kill’d yourcousin?

JULIET(sobbing)Shall I speak ill of him that is my husband?‘Romeo is condemned,’ to speak that word,Is father, mother, Tybalt, Romeo, Juliet,all slain, all dead. ‘Romeo is condemned!’There is no end, no limit, measure, bound,in that word’s death; no words can thatwoe sound.(She collapses in her grief for a fewmoments. Then, taking a deep breath tocalm herself, she speaks quietly,reflectively)When Anne died she left a note. “Forgiveme—I love you.” She never finished thenote. I’ve wondered so often how shecould do that—cut her own wrists.When we were growin’ up, she was alwaysthe funny one who kept us goin’, nomatter how bad things got. She couldalways make me laugh. She and her Colinwere a real love match. Neither one evercared a flip for anyone ‘til they met eachother. She’d had the three kids out thatmornin’ shoppin’. I’d done that with her

so many times. I can see ‘em walkin’ along,laughin’ and talkin’, when the car comes‘round that corner. He was just a kid, theProvo drivin’ the car. Danny Lennon hisname was. They shot him, the Britishsoldiers, because he’d tried to kill an Armyofficer. They shot him in the head. As he wasdyin’ he kicked down on the gas pedal andplowed into Anne and the kids. All three of‘em were killed. She was in hospitalunconscious for two weeks. Both of her legswere broken, and her pelvis. The doctors saidthe brain bruisin’ turned her psychotic.(She pauses, lost in her thoughts, thencontinues)She never saw her children buried. I thinkthat’s why she couldn’t accept their deaths.I’d find her sittin’ in her kitchen, starin’ outat the garden. She said she could see ‘emplayin’ out there. She locked herself in aprivate world with her dead babies. (Pause)One mornin’ she cut her wrists with anelectric carvin ‘knife. Her boy found her inthe kitchen when he came home from schoolthat day. She was already dyin’—there wasnothin’ he could do.

Hate killed you, Anne. Now I understand.(to Catherine)Where are my parents?

CATHERINEWeeping and wailing over Tybalt’s corpse.Will you go to them?

JULIET(with terrible resolve)Wash they his wounds with tears. Mine shallbe spent, when theirs are dry, for Romeo’sbanishment. I’ll to my wedding-bed anddeath, not Romeo, take my maidenhead!

CATHERINE(horrified)It’s a mortal sin! Hie to your chamber. I’llfind Romeo to comfort you. I know wellwhere he is. Hark ye, your Romeo will behere at night. I’ll to him; he is hid at theFather’s cell.

JULIETO, find him! And bid him come to take hislast farewell.(Lights fade. Lights up on Father’s cell whereRomeo is hiding. Father enters.)

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ROMEOWhat news? What is my doom? What sorrowcraves acquaintance at my hand that I yetknow not?

FATHERToo familiar is my dear son with such sourcompany. You are sentenced to death. Youmust flee. Soujourn in the south. I shallsignify, from time to time, every good hap toyou that chances here.

ROMEOBanishment! Be merciful, say ‘death;’ forexile hath more terror in his look, muchmore than death. Do not say ‘banishment.’

FATHERBe patient, for the world is broad and wide.

ROMEOThere is no world away from here, butpurgatory, torture, hell itself. Hence-banishedis banish’d from the world, and world’s exileis death. Then banished is death mis-term’d.Calling death banishment, thou cutt’st myhead off with a golden axe, and smilest uponthe stroke that murders me.

FATHERO deadly sin!

ROMEOHeaven is here, where Juliet lives. And everycat and dog and little mouse, every unworthything, live here in heaven and may look onher, but Romeo may not. More validity, morehonourable state, more courtship lives incarrion-flies than Romeo. They may seize onthe white wonder of dear Juliet’s hand andsteal immortal blessing from her lips, whoeven in pure and vestal modesty, still blush, asthinking their own kisses sin. But Romeomay not, he is banished. Flies may do this,but I from this must fly. They are free men,but I am banished. And say’st thou yet thatexile is not death? Hadst thou no gun, nosharp-ground knife, no sudden mean of death,though ne’er so mean, but ‘banished’ to killme? ‘Banished’? O father, the damned usethat word in hell. Howlings attend it. Howhast thou the heart, being a divine, a ghostlyconfessor, a sin-absolver, and my friendprofess’d, to mangle me with that word‘banished’?

FATHERThou fond mad man, hear me but speak aword.

ROMEOO, thou wilt speak again of banishment.

FATHERI’ll give thee armour to keep off thatword, adversity’s sweet milk, philosophy,to comfort thee, though thou art banished.

ROMEOYet ‘banished’? Hang up philosophy!Unless philosophy can make a Juliet,displant a town, it helps not, it prevailsnot. Talk no more.

FATHERO, then I see that madmen have no ears.

ROMEOHow should they, when that wise men haveno eyes?

FATHERLet me dispute with thee of thy estate.

ROMEOThou canst not speak of that thou dostnot feel. Wert thou as young as I, Julietthy love,an hour but married, Tybalt murdered,doting like me and like me banished, thenmightst thou speak.

(There is a knock on the door.)

FATHERGood Romeo, hide thyself.

CATHERINE(offstage)Let me come in. Juliet has sent me.

(Catherine enters)

ROMEOSpakest thou of Juliet? How is it with her?Doth she not think me an old murderer,now I have stain’d the childhood of ourjoy with blood removed but little from herown?


CATHERINEShe says nothing, but weeps and weeps.And now falls on her bed, and then startsup, and Tybalt calls, and then on Romeocries, and then down falls again.

ROMEOAs if that name, shot from the deadly levelof a gun, did murder her; as that name’scursed hand murder’d her kinsman. O, tellme, father, tell me, in what vile part ofthis anatomy doth my name lodge? Tellme, that I may sack the hateful mansion.

FATHERHold thy desperate hand. Thy wild actsdenote the unreasonable fury of a beast.Thou hast amazed me! By my holy order, Ithought thy disposition better temper’d.Hast thou slain Tybalt? Wilt thou slaythyself? And stay thy lady too that lives inthee, by doing damned hate upon thyself?What, rouse thee, man! Thy Juliet is alive,for whose dear sake thou wast but latelydead. There art thou happy. Tybalt wouldkill thee, but thou slew’st Tybalt. There arethou happy too. Go, get thee to thy love,as was decreed. Ascend her chamber henceand comfort her. But look thou stay nottill the watch be set, for then thou canstnot pass to Killarney where thou shalt live,till we can find a time to call thee backwith twenty hundred thousand times morejoy than thou went’st forth inlamentation.(to Catherine)Go before. Commend me to Juliet; and bidher hasten all the house to bed, whichheavy sorrow makes them apt unto.Romeois coming.

CATHERINEO Father, I could have stay’d here all thenight to hear good counsel. O, whatlearning is! I’ll tell Juliet you will come.(gives Romeo a ring)Here, a ring she bid me give you. Makehaste, for it grows very late.

(Catherine exits.)

FATHERGo hence. Good night. And here stands allyour state. Either be gone before the watchbe set, or by the break of day disguisedfrom hence.

(Romeo stands uncertainly.)

FATHER(Urgently)It’s late. Go!

(Romeo and the Father exchange a longlook, then Romeo runs into the street and isgone. Lights fade on the Father as he stands,looking after Romeo and lost in thought.)

(Lights up on Romeo and Juliet in Juliet’sbedroom)

JULIETWilt thou be gone? It is not yet near day. Itwas the nightingale, and not the lark, thatpierced the fearful hollow of thine ear.Nightly she sings on yon pomegranate-tree.Believe me, love, it was the nightingale.

ROMEOIt was the lark, the herald of the morn, nonightingale. Look, love, what envious streaksdo lace the severing clouds in yonder east.Night’s candles are burnt out, and jocund daystands tiptoe on the misty mountain tops. Imust be gone and live, or stay and die.

JULIETYon light is not day-light, I know it, I. It issome meteor that the sun exhales, to be tothee this night a torch-bearer, and light theeon thy way to Killarney. Therefore stay yet.Thou need’st not to be gone.

ROMEO(Flinging his jacket down, he sweeps Julietup in his arms and falls onto the bed withher.)Let me be taken, let me be put to death. I amcontent, so thou wilt have it so. No, that isnot the lark, whose notes do beat the vaultyheaven so high above our heads. I have morecare to stay than will to go. Come, death, andwelcome! Juliet wills it so. How is’t, my soul?Let’s talk. It is not day.

(For a moment Juliet lets herself be lost inthe moment as Romeo kisses her. Then shefrantically pushes him away.)

JULIETIt is, it is! Hie hence, be gone, away! It is thelark that sings so out of tune, straining harsh

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discords and unpleasing sharps. Some say thelark makes sweet division. This doth not so,for she divideth us. Some say the lark andloathed toad change eyes. O, now I wouldthey had changed voices too! Since arm fromarm that voice doth us affray, hunting theehence with hunt’s-up to the day. O, now begone. More light and light it grows.

ROMEOMore light and light. More dark and dark ourwoes!


(Catherine enters.)

CATHERINEYour mother is coming to your room. Theday is broke. Be wary, look about.(She exits.)

JULIETThen, window, let day in, and let life out.

ROMEOOne kiss and I’ll descend.

(Romeo kisses Juliet. She holds onto him indesperation. After a moment, he pulls himselffree and climbs out the window.)

JULIET(Speaking from window to Romeo in street.)Art thou gone so? Love, lord, husband,friend! I must hear from thee every day inthe hour, for in a minute there are manydays. O, by this count I shall be much in yearsere I again behold my Romeo!

ROMEOFarewell! I will omit no opportunity thatmay convey my greetings, love, to thee.

JULIETO think’st thou we shall ever meet again?

ROMEOI doubt it not. And all these woes shall servefor sweet discourses in our time to come.

JULIETO God, I have an ill-divining soul! Methinks Isee thee, now thou art below, as one dead in

the bottom of a tomb. Either my eyesightfails, or thou look’st pale.

ROMEOAnd trust me, love, in my eye so do you.Good-bye.

(Romeo leaves.)

LADY CAPULET(Offstage)Daughter! Are you up?

JULIETMy mother! Is she not down so late, or upso early? What unaccustom’d causeprocures her hither?

(Juliet quickly covers herself in the bed asher mother enters.)

LADY CAPULETWhy, how now, Juliet!

JULIETMother, I am not well.

LADY CAPULETEvermore weeping for your cousin’s death?What, wilt thou wash him from his gravewith tears? And if thou couldst, thoucouldst not make him live. Therefore,have done. Some grief shows much of love.But much of grief shows still some want ofwit.

JULIETYet let me weep for such a feeling loss.

LADY CAPULETWell, girl, thou weep’st not so much for hisdeath, as that the villain lives whichslaughter’d him.

JULIETWhat villain madam?

LADY CAPULETThat same villain, Romeo.

JULIETAy, madam, from the reach of these myhands would none but I might venge mycousin’s death!


LADY CAPULETWe will have vengeance for it, fear thounot. He shall soon keep Tybalt company.And then, I hope, thou wilt be satisfied.

JULIETIndeed, I never shall be satisfied withRomeo, till I behold him—dead—is mypoor heart for a kinsman vex’d. O, howmy heart abhors to hear him named, andcannot come to him. To wreak the love Ibore my cousin upon his body thatslaughter’d him!

LADY CAPULETBut now I’ll tell thee joyful tidings, girl.

JULIETAnd joy comes well in such a needy time.What are they, I beseech your ladyship?

LADY CAPULETWell, well, thou hast a careful father, child.One who, to put thee from thy heaviness,hath sorted out a sudden day of joy, thatthou expect’st not nor I look’d not for.

JULIETMadam, in happy time, what day is that?

LADY CAPULETMarry, my child, early next Thursdaymorn, the gallant, young and noblegentleman,Paris, at Saint Peter’s Church, shallhappily make thee there a joyful bride.

JULIET(shocked)Now, by Saint Peter’s Church and Petertoo, he shall not make me there a joyfulbride.I wonder at this haste, that I must wed erehe, that should be husband, comes to woo.I pray you, tell my lord and father,madam, I will not marry yet. And, when Ido, I swear, It shall be Romeo, whom youknow I hate, rather than Paris. These arenews indeed!

LADY CAPULET(taken aback by Juliet’s rebellious tone)Here comes your father; tell him soyourself, and see how he will take it atyour hands.

(Capulet and Catherine enter.)

CAPULETWhen the sun sets, the air doth drizzle dew.But for the sunset of my brother’s son it rainsdownright. How now, wife! Have youdeliver’d to her our decree?

LADY CAPULETAy, sir. But she will none. She gives youthanks. I would the fool were married to hergrave!

CAPULETSoft! Take me with you, take me with you,wife. How will she none? Doth she not giveus thanks? Is she not proud? Doth she notcount her blest, unworthy as she is, that wehave wrought so worthy a gentleman to beher bridegroom?

JULIETNot proud, you have, but thankful that youhave. Proud can I never be of what I hate.But thankful even for hate, that is meantlove.

CAPULETHow now, how now, chop-logic! What is this?‘Proud,’ and ‘I thank you,’ and ‘I thank younot.’ And yet ‘not proud.’ Mistress minion,you, thank me no thankings, nor, proud meno prouds, but fettle your fine joints ‘gainstThursday next, to go with Paris to SaintPeter’s Church, or I will drag thee on a hurdlethither.

LADY CAPULETWhat, are you mad?

JULIETGood father, I beseech you on my knees, hearme with patience but to speak a word.

CAPULETHang thee, young baggage! Disobedientwretch! I tell thee what. Get thee to churchon Thursday, or never after look me in theface! Speak not, reply not, do not answer me.

CATHERINEGod in heaven bless her! You are to blame torate her so.

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CAPULETO, God

LADY CAPULETYou are too hot.

CAPULETGod’s bread! It makes me mad. Day, night,hour, tide, time, work, play, alone, incompany, still my care hath been to have hermatch’d! As you will not wed, I’ll pardonyou. Graze where you will, you shall nothouse with me. Look to it, think on it, I donot use to jest. Thursday is near. Lay hand onheart, advise. And you be mine, I’ll give youto my friend. And you be not, hang, beg,starve, die in the streets, for, by my soul, I’llne’er acknowledge thee, nor what is mineshall never do thee good. Trust to it, bethinkyou. I’ll not be forsworn!

(Capulet exits.)

JULIET(to her mother, desperately)Is there no pity sitting in the clouds that seesinto the bottom of my grief? O, sweet mymother, cast me not away! Delay thismarriage for a month, a week.Or, if you do not, make the bridal bed in thatdim monument where Tybalt lies.

LADY CAPULETTalk not to me, for I’ll not speak a word. Doas thou wilt, for I have done with thee.

(Lady Capulet exits.)

JULIET(To Catherine)O God! How shall this be prevented? Comfortme, counsel me.(Catherine doesn’t answer.)What say’st thou? Hast thou not a word ofjoy? Some comfort?

CATHERINE(Pause. Quietly.)Faith, here it is. Romeo is gone. And all theworld to nothing that he dares ne’er comeback to challenge you. Or, if he do, it needsmust be by stealth. Then, since the case sostands as now it doth, I think it best youmarried with Paris. He’s one of our own,Juliet. You will be happy in this secondmatch. It’s for the best. Your first is dead. Or

‘twere as good he were, as living here andyou no use of him. It wasn’t meant to be.You must forget. You have to accept theworld you’re livin’ in.

JULIETSpeakest thou from thy heart?

CATHERINEAnd from my soul too or else beshrewthem both.

JULIETAmen!

CATHERINEWhat?

JULIETWell, thou hast comforted me marvelousmuch. Go in and tell my mother I am gone,having displeased my father, to makeconfession and to be absolved.

CATHERINE(greatly relieved, embraces Juliet)I will. This is wisely done.

(Catherine exits.)

JULIET(furiously)Ancient damnation! O most wicked fiend!‘Accept the world I’m livin’ in’?(after a moment; with great resolution)Go, counselor. Thou and my bosomhenceforth shall be twain. I’ll to theFather, to know his remedy. If all else fail,myself have power to die.

(She exits.)

(Lights up on church as Father and Parisenter.)

FATHEROn Thursday, son? The time is very short.

PARISMy father Capulet will have it so. And Iam nothing slow to slack his haste.

FATHERYou say you do not know the lady’s mind.Uneven is the course, I like it not.(He sees Juliet approaching)


Look, sir, here comes the lady towards mycell.

(Juliet enters.)

PARISHappily met, my lady and my wife!

JULIETThat may be, sir, when I may be a wife.

PARISThat may be must be, love, on Thursdaynext.

JULIETWhat must be shall be.

FATHERThat’s a certain text.

PARISCome you to make confession to thisfather?

JULIETTo answer that, I should confess to you.

PARISDo not deny to him that you love me.

JULIETI will confess to you that I love him.

PARISSo will you, I am sure, that you love me.

JULIETIf I do so, it will be of more price beingspoke behind your back than to your face.

PARISPoor soul, thy face is much abused withtears.

JULIETThe tears have got small victory by that,for it was bad enough before their spite.

PARISThou wrong’st it more than tears with thatreport.

JULIETThat is no slander, sir, which is a truth.And what I spoke, I spoke it to my face.

PARISThy face is mine, and thou hast slander’d it.

JULIETIt may be so, for it is not mine own. Are youat leisure, holy father, now? Or shall I cometo you at evening mass?

FATHERMy leisure serves me, pensive daughter, now.My lord, we must entreat the time alone.

PARISGod shield I should disturb devotion! Juliet,on Thursday early will I rouse you. Till then,adieu, and keep this holy kiss.

(Paris kisses Juliet, then exits.)

JULIETO shut the door! And when thou hast done so,come weep with me, past hope, past cure,past help!

FATHERAh, Juliet, I already know thy grief. It strainsme past the compass of my wits.

JULIETTell me not, friar, that thou hear’st of this.Unless thou tell me how I may prevent it.God join’d my heart and Romeo’s, thou ourhands. And ere this hand, by thee to Romeosealed shall be the label to another deed, ormy true heart with treacherous revolt turn toanother, this shall slay them both. Therefore,out of thy long-experienced time give mesome present counsel, or, behold, ‘twixt myextremes and me this bloody knife shall playthe umpire. Be not so long to speak. I long todie if what thou speak’st speak not ofremedy.

FATHERHold, daughter. I do spy a kind of hope whichcraves as desperate an execution as that isdesperate which we would prevent. If, ratherthan to marry Paris, thou hast the strengthof will to slay thyself, then is it likely thouwilt undertake athing like death to chide awaythis shame that copest with death himself toscape from it. And, if thou darest, I’ll givethee remedy.

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JULIETO, bid me leap, rather than marry Paris, fromoff the battlements of yonder tower. Or shutme nightly in a charnel-house, o’er-cover’dquite with dead men’s rattling bones, withreeky shanks and yellow chapless skulls. Orbid me go into a new-made grave and hide mewith a dead man in his shroud, things that, tohear them told, have made me tremble, and Iwill do it without fear or doubt, to live anunstain’d wife to my sweet love.

FATHERHold, then. Go home, be merry, give consentto marry Paris. Wednesday is to-morrow. To-morrow night look that thou lie alone. Takethou this vial, being then in bed, and thisdistilled liquor drink thou off. Whenpresently through all thy veins shall run acold and drowsy humour for no pulse shallkeep his native progress, but surcease. Nowarmth, no breath, shall testify thou livest.The roses in thy lips and cheeks shall fade topaly ashes, thy eyes’ windows fall, like death,when he shuts up the day of life. And in thisborrow’d likeness of shrunk death thou shaltcontinue two and forty hours, and then awakeas from a pleasant sleep. Now, when thebridegroom in the morning comes to rousethee from thy bed, there art thou dead. Then,as the manner of our country is, in thy bestrobes thou shalt be borne to that sameancient vault where all the kindred of theCapulets lie. I will watch thy waking, and thatvery night shall I bear thee hence to Romeo.And this shall free thee from this presentshame, if no inconstant toy nor womanishfear abate thy valour in the acting it.

JULIETGive me, give me! O, tell not me of fear!

FATHERHold. Get you gone, be strong and prosperousin this resolve.

JULIETLove give me strength! And strength shallhelp afford. Farewell, dear father!

(Lights fade as Juliet exits. Lights up onJuliet, alone in her room. Catherine enterswith wedding gown.)

JULIETAy, those attires are best. But, sweet friend, Ipray thee, leave me to myself to-night, for I

have need of many orisons to move theheavens to smile upon my state, which,well thou know’st, is cross, and full of sin.(Juliet and Catherine embrace andCatherine exits. Juliet sinks down on herbed and pulls out the vial from the priest.)What have we done, my love? What awhirlwind of troubles we’ve unleashed.Where will it end?(She stares at the vial, lost in thought.)August 10, 1976. She was drivin’ downDivas Street in Belfast that sunnyafternoon, Her two children were in theback seat. When she heard the rifle fire,she pulled to the side. It was a familiarsound. She could identify the guns. Herfirst instinct was to protect her children.In the next instant the car in front of hercareened out of control, the youngRepublican, Danny Lennon, shot by Britishsoldiers. As he died, his foot pressed downon the accelerator. He drove straight intothat young mother and her three children.Betty stopped her car. She ran to the spotwhere the children lay. Two of them, littleJohn and six-week-old Andrew, werealready dead. She knelt beside eight-year-old Jo Anne—she held her to her body,tryin’ to comfort, as the little girlscreamed, terrified, in agony. She was abeautiful child, with that Irish, red/goldhair, curly, glorious. Thick strands werewrapped around the steerin’ wheel of theIRA volunteer’s car. The child had beenscalped. Betty knelt there in the street,holdin’ that dyin’ babe and she made apromise to that little girl to do everythin’in her power to stop the killin’ of theinnocents. She was so angry on that day.Filled with the rage of that terrible week.Hopin’ her screams could stop the insanity.(Juliet lifts the bottle.)Love. If it isn’t enough, then nothing is.Romeo, I come. This do I drink to thee.(She drinks. After a moment, she slumpsover. Lights fade. Music plays.)

(Lights fade up on Juliet’s room. Catherineenters.)

CATHERINEJuliet…Juliet?(She shakes Juliet on the bed, increasinglypanicked.)Oh my god, Juliet, Juliet…(crying)


Oh, my sweet girl. No…no…No moredeath. Oh, my sweet child…(She kneels by the bed, cradling Juliet’sbody during the following.)

It was the winter of 1972 when I lost meboy. Tommy didn’t get involved in thiscrap. His father died of cancer when he wasonly three years old, leaving me andTommy alone. I did what I had to do toput food on the table and it broke my littleboy’s heart. As soon as Tommy was strongenough to put a sack on his shoulder, hedropped out of school and began workingfull time. I begged him not to. But hewouldn’t hear of it. Just like his father hewas. Stubborn, brave. Right around the turnof the decade money got real tight and theshipping dock laid him off, said they didn’twant no Catholics working there.Working? Nobody wanted us living, letalone working. We lost our home. SoTommy joined the Royal Army. They wereoffering good honest work for a young aman. He saved up and bought me a house inDublin. He even got them to transfer himto compassionate grounds in NorthernIreland so he could come see me everyweekend. Tommy could have had any girlhe wanted. He was a beautiful boy. But hedidn’t care. He just worked and worked andwhen he wasn’t working he came down tovisit his poor mother. He didn’t deservethis. He was fucking Catholic for Christsakes. They’re killin their own people. Helooked so handsome when he got out ofthe car in his uniform. I told him not towear it when he came to visit me. But hewas so proud. He had such a warm smile.And his eyes. His eyes could make hismother melt, he was such sweet boy. Theyjumped out of the car behind him. Tommydidn’t run. He just kept saying, “I’mCatholic. I’m Catholic. I’m Catholic.”They threw my boy to the ground. Theycovered his face. His beautiful face. “I’mCatholic”. I was screaming for them tostop. “Don’t cry mother” Tommy says“It’s gonna be ok” “It’s gonna be ok. I’mCatholic.” Then one of ‘em grabbed himup on his knees. And another put a gun tothe back of my baby’s head. “It’s gonna beok mother… don’t cry”.

(She sobs, holding Juliet, as lights fade.)

(Lights fade up on Romeo, as Balthasarenters.)

ROMEOHow doth my lady? Is my father well? Howfares my Juliet? That I ask again, for nothingcan be ill, if she be well.

BALTHASARO, pardon me for bringing these ill news,since you did leave it for my office.(Pause)She’s dead.(Romeo doesn’t respond)I saw her laid low in her kindred’s fault.

ROMEO(After a moment)Is it even so? (Pause) Then I defy you, stars!

BALTHASARI do beseech you, have patience. Your looksare pale and wild, and do import somemisadventure.

ROMEO(with great effort, controlling his emotions)Thou art deceived. Leave me. Do the thing Ibid you do.(Balthasar hesitates)Get thee gone. I’ll be with thee straight.

(Balthasar exits.)

ROMEOJuliet, I will lie with thee tonight.

(Lights fade. Musical bridge. Lights fade upon Romeo, at crypt, motionless. Paris enters.)

PARISThis is that haughty Montague that murderedmy love’s cousin. What villainous shame doeshe intend now?(Paris moves toward Romeo)Condemned villain, I do apprehend thee.Obey, and go with me, for thou must die.

ROMEOI must indeed, and therefore came I hither. Ibeseech thee, put not another sin upon myhead by urging me to fury. Be gone! Stay not.Live, and hereafter say a madman’s mercybade thee run away.

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PARISI do defy thy conjurations, and apprehendthee for a felon here.

(Paris draws his gun.)

ROMEOWilt thou provoke me? Then have at thee,boy!

(Romeo chokes Paris.)

PARISIf thou be merciful, lay me with Juliet.

(As Paris dies, Balthasar enters, then stops,shocked at the site of Romeo standing overthe body of Paris.)

ROMEO(to Balthasar)Upon thy life I charge thee, whate’er thouhear’st or seest, stand all aloof and do notinterrupt me in my course. If thou, jealous,dost return to pry in what I further intend todo, by heaven, I will tear thee joint by jointand strew this hungry churchyard with thylimbs. The time and my intents are savage-wild, more fierce and unrelenting than emptytigers or the roaring sea.

BALTHASARI will be gone and not trouble you.

ROMEOSo shalt thou show me friendship.

BALTHASAR(pretends to leave, then conceals himself neartomb)For all the same, I’ll hide me hereabout. Hislooks I fear and his intents I doubt.

ROMEO(with Paris’ body)Let me peruse this face. Mercutio’s kinsman,Paris. Oh, give me thy hand, one writ withme in sour misfortune’s book. I’ll bury theein a triumphant grave.(He drags Paris into the tomb, then stops,frozen, at the sight of Juliet’s body.He moves from her to Tybalt. For a momenthe absorbs the horror of it all,then returns to Juliet.)

Oh, my love! My wife! Death that hathsucked the honey of thy breath hath hadno power yet upon thy beauty. Thou arenot conquered.(He touches her face and picks up herhand, kissing the palm.)Juliet, what were we thinking? We neverhad a chance. It wasn’t my fault. I don’tcontrol these feelings. They control me.But I’m going to do the right thing.There’s a lot of bad out there, and I feel itin me. I feel it in my veins and it’s takingme over. I don’t want to pass it on tosomebody else. I want it to end, righthere…right now.(looking at Juliet)Eyes look your last.(He holds her)Arms, take your last embrace. And lips, thedoors of breath, seal with a righteous kiss adateless bargain to engrossing death.(He kisses her.)Here’s to my love.(He puts the gun to his temple, then takesit down and looks at Juliet.)(Composing himself)I said a prayer for us yesterday.(He puts the gun to his temple)God knows who was listening.(he shoots himself)

(Juliet wakes with the gunshot. SeeingRomeo’s body, she begins to scream.)

Ju l i e t(screaming)No….no….God, no………(After a moment, she finds the knife.)I love you.(She plunges knife into her chest,collapsing on top of Romeo.)

(Silence. Then the Father enters. He takesin the scene—Romeo and Juliet dead. Apause.)

FATHERI remember Johnny Bingham’s funeral onthat cold, gray, February mornin’. TheBishop of Down and Dromore, RobinEames, conducted the service. He was tohave married Johnny and his bride twoweeks later. I was so angry that mornin’.Such a senseless killin’. Only cowardswould do such a thing. Johnny joined theRUC for steady work. He wanted to get


married, to start a family. He wasn’t apolitical person. Just a decent young manwantin’ what every man wants. He was onroutine patrol that day when his cartripped a hidden line connected to athousand pound land mine. Johnny and hispartner were killed instantly.(he pauses, remembering)The church that mornin’ was filled withclergy. Protestants, Catholics, all of us sickof the killin’. I’ll never forget the wordsRobin Eames spoke: “Violence judges thosewho practice it. Violence judges those whoreact to it. Violence judges those whoaccept it as inevitable…. “(Pause)My God, what have I done.

(The crowd arrives at the tomb.)

CAPULETWhat should it be, that they so shriekabroad?

LADY CAPULETThe people in the street cry Romeo, someJuliet, and some Paris. And all run withopen outcry toward our monument.

CAPULETOh heavens, wife, look how our daughterbleeds!

FATHER(to Montague)Come, Montague, for thou art early up tosee thy son and heir more early down.

MONTAGUEAlas, Father, my wife is dead tonight. Griefof my son’s exile hath stopped her breath.What further woe conspires against mineage?

FATHERLook and thou shalt see.

MONTAGUEOh thou untaught! What manners is inthis? To press before thy father to agrave?

FATHER(with great pain)What a whirlwind we reap.

We demand justice.We hate because we’re hated.We kill because we’ve been killed.We want our rights. We want retribution.No peace without justice.But if justice must be bought with blood…(He pauses, overwhelmed with sadness)Too many children have died. Too much lifewasted—a mother’s labor spurned.Bobby Sands said, “Our best revenge will beour children’s laughter.” When will we stopinfectin’ children with our poison? We’redestroyin’ our only hope.(speaking to the crowd at the tomb and tothe audience)A gloomin’ peace this mornin’ with it brings.The sun, for sorrow, will not show his head.Go hence, to have more talk of these sadthings.For never was a story of more woeThan this of Juliet and her Romeo.

(As lights fade and music plays, castmembers, one by one, begin a litany ofplaces in the world where religious andsectarian violence have destroyed life.Belfast, Columbine, Chechnya, Iraq, Israel,Palestine, Kenya, Libya, New York City…andon.)

Romeo mourns for Juliet

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Editor’s Note: This script does not retain the original linebreakdowns of Shakespeare’s text. The changes were madeto facilitate a clean layout for the contribution. PLEASENOTE: Any parties interested in producing a staged versionof this script must obtain the permission of the author. Theauthor may be contacted through this publication.

troubling romeo and juliet: shakespeare's tragedy of

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