0:00:18 > 0:00:20If it were done when 'tis done,
0:00:20 > 0:00:24then 'twere well it were done quickly,
0:00:24 > 0:00:26if the assassination
0:00:26 > 0:00:32could trammel up the consequence and catch with his surcease success,
0:00:32 > 0:00:36that but this blow might be the be-all and the end-all, here,
0:00:36 > 0:00:40but here, upon this bank and shoal of time, we'd jump the life to come.
0:00:43 > 0:00:45But in these cases,
0:00:45 > 0:00:47we still have judgement here,
0:00:47 > 0:00:51that we but teach bloody instructions, which, being taught,
0:00:51 > 0:00:53return, to plague th'inventor,
0:00:53 > 0:00:58this even-handed justice commends
0:00:58 > 0:01:02the ingredients of our poisoned chalice, to our own lips.
0:01:04 > 0:01:08He's here in double trust.
0:01:08 > 0:01:12First, as I am his kinsman and his subject,
0:01:12 > 0:01:17strong both against the deed, then, as I am his host,
0:01:17 > 0:01:21who should against his murderer shut the door,
0:01:21 > 0:01:25not bear the knife myself.
0:01:27 > 0:01:29Besides...
0:01:30 > 0:01:35This Duncan hath borne his faculties so meek,
0:01:35 > 0:01:39hath been so clear in his great office,
0:01:39 > 0:01:43that his virtues will plead like angels,
0:01:43 > 0:01:49trumpet-tongued, against the deep damnation of his taking-off.
0:01:49 > 0:01:56And pity, like a naked new-born babe,
0:01:56 > 0:02:00striding the blast, or heaven's cherubim,
0:02:00 > 0:02:02horsed upon the sightless couriers of the air,
0:02:02 > 0:02:05shall blow this horrid deed in every eye,
0:02:05 > 0:02:07that tears shall drown the wind.
0:02:09 > 0:02:12I have no spur
0:02:12 > 0:02:17to prick the sides of my intent, but only vaulting ambition,
0:02:17 > 0:02:20which o'erleaps itself and falls on the other.
0:02:20 > 0:02:22- How now? What news? - He has almost supped.
0:02:22 > 0:02:24Why have you left the chamber?
0:02:24 > 0:02:26- Hath he asked for me? - Know you not he has?
0:02:26 > 0:02:29We will proceed no further in this business. He hath honoured me of late,
0:02:29 > 0:02:33and I have bought golden opinions from all sorts of people,
0:02:33 > 0:02:37which would be worn now in their newest gloss, not cast aside so soon.
0:02:37 > 0:02:39Was the hope drunk wherein you dressed yourself?
0:02:39 > 0:02:41Hath it slept since?
0:02:41 > 0:02:45And wakes it now, to look so green and pale at what it did so freely?
0:02:45 > 0:02:48From this time such I account thy love.
0:02:49 > 0:02:53Art thou afeard to be the same in thine own act and valour
0:02:53 > 0:02:55as thou art in desire?
0:02:55 > 0:03:00Wouldst thou have that which thou esteem'st the ornament of life,
0:03:00 > 0:03:02And live a coward in thine own esteem,
0:03:02 > 0:03:04letting "I dare not" wait upon "I would",
0:03:04 > 0:03:07- like the poor cat i'th'adage? - Prithee, peace.
0:03:07 > 0:03:11I dare do all that may become a man. Who dares do more is none.
0:03:11 > 0:03:14What beast was't, then, that made you break this enterprise to me?
0:03:14 > 0:03:18When you durst do it, then you were a man.
0:03:18 > 0:03:24And to be more than what you were, you would be so much more the man.
0:03:25 > 0:03:28Nor time nor place did then adhere,
0:03:28 > 0:03:31and yet you would make both.
0:03:31 > 0:03:33They have made themselves, and that,
0:03:33 > 0:03:36their fitness now does unmake you.
0:03:40 > 0:03:42I have given suck,
0:03:42 > 0:03:46and know how tender 'tis to love the babe that milks me.
0:03:47 > 0:03:50I would, while it was smiling in my face,
0:03:50 > 0:03:53have plucked my nipple from his boneless gums,
0:03:53 > 0:03:56and dash'd the brains out,
0:03:56 > 0:03:59had I so sworn as you have done to this.
0:04:05 > 0:04:06If we should fail?
0:04:08 > 0:04:10We fail!
0:04:10 > 0:04:15But screw your courage to the sticking-place, and we'll not fail.
0:04:16 > 0:04:18When Duncan is asleep,
0:04:18 > 0:04:22whereto the rather shall his day's hard journey soundly invite him,
0:04:22 > 0:04:27his two chamberlains will I with wine and wassail so convince,
0:04:27 > 0:04:32that memory, the warder of the brain, shall be a fume,
0:04:32 > 0:04:35and the receipt of reason a limbeck only.
0:04:35 > 0:04:40When in swinish sleep their drenched natures lies as in a death,
0:04:40 > 0:04:44what cannot you and I perform upon the unguarded Duncan?
0:04:44 > 0:04:47What not put upon his spongy officers,
0:04:47 > 0:04:51who shall bear the guilt of our great quell?
0:04:59 > 0:05:04Bring forth men-children only,
0:05:04 > 0:05:10for thy undaunted mettle should compose nothing but males.
0:05:12 > 0:05:14Will it not be received,
0:05:14 > 0:05:18when we have marked with blood those sleepy two of his own chamber
0:05:18 > 0:05:21and used their very daggers, that they have done it?
0:05:21 > 0:05:22Who dares receive it other,
0:05:22 > 0:05:25as we shall make our griefs and clamour
0:05:25 > 0:05:28- roar upon his death? - I am settled,
0:05:28 > 0:05:32and bend up each corporal agent to this terrible feat.
0:05:36 > 0:05:40Away, and mock the time with fairest show.
0:05:40 > 0:05:44False face must hide what the false heart doth know.
0:05:56 > 0:06:02If it were done when 'tis done, then 'twere well it were done quickly.
0:06:02 > 0:06:07Macbeth starts off as the brightest and best
0:06:07 > 0:06:12and the nearest and the dearest to Duncan
0:06:12 > 0:06:15and then he falls.
0:06:15 > 0:06:17This first soliloquy,
0:06:17 > 0:06:21it reminds me of To Be Or Not To Be in a way,
0:06:21 > 0:06:25it's another of those brilliant Shakespeare should I, shouldn't I?
0:06:27 > 0:06:30If it were done when 'tis done,
0:06:30 > 0:06:34then 'twere well it were done quickly,
0:06:34 > 0:06:38if the...assassination...
0:06:39 > 0:06:41..could trammel up the consequence...
0:06:41 > 0:06:44I would like to ask you, just in that go
0:06:44 > 0:06:48there was a little moment before "assassination".
0:06:48 > 0:06:50It's because it's an odd word to choose
0:06:50 > 0:06:52but he chooses it very carefully.
0:06:52 > 0:06:54This isn't murder.
0:06:54 > 0:06:56Yeah. It's a euphemism. It's a...
0:06:56 > 0:06:59- It's not murder. - It's a nicer word than murder.
0:06:59 > 0:07:02It's an assassination, everybody.
0:07:02 > 0:07:04That's all it is.
0:07:04 > 0:07:07My grandfather did it.
0:07:07 > 0:07:09It's a political move.
0:07:09 > 0:07:12Macbeth's grandfather actually went and did it.
0:07:12 > 0:07:14Killed the king, stole, got the crown
0:07:14 > 0:07:18and then ruled for a long time and was very successful.
0:07:18 > 0:07:21Macbeth's father, on the other hand, was a bit less successful
0:07:21 > 0:07:25and I started getting this picture of Macbeth wanting to be more like his grandfather
0:07:25 > 0:07:28and there is something about the drive of Macbeth
0:07:28 > 0:07:31is about reclaiming the family name
0:07:31 > 0:07:34as being revered and adored.
0:07:34 > 0:07:37If the...assassination...
0:07:40 > 0:07:42could trammel up the consequence
0:07:42 > 0:07:46and catch with his surcease success.
0:07:49 > 0:07:51Is this door open?
0:07:51 > 0:07:54I'm just thinking, place the banquet very firmly in here.
0:07:54 > 0:07:57Come out, shut the door,
0:07:57 > 0:07:59- you had to get out of that room... - Yeah.
0:07:59 > 0:08:05..And just, and just you were going, you were going mental,
0:08:05 > 0:08:09you had to escape and just you had to get your thoughts together
0:08:09 > 0:08:12and so it's probably much, much, much faster, it's probably...
0:08:12 > 0:08:14QUICKLY BEATS HIS CHEST
0:08:23 > 0:08:25If it were done when 'tis done,
0:08:25 > 0:08:27then 'twere well it were done quickly.
0:08:27 > 0:08:29If the...assassination
0:08:29 > 0:08:35could trammel up the consequence and catch with his surcease success.
0:08:35 > 0:08:38It gave him much more...
0:08:39 > 0:08:42..conflict, and much more kind of...
0:08:42 > 0:08:45And vulnerability actually and kind of...
0:08:45 > 0:08:49There was much more crisis somehow in him.
0:08:49 > 0:08:52That but this blow might be the be-all and the end-all, here,
0:08:52 > 0:08:55but here, upon this bank and shoal of time,
0:08:55 > 0:08:57we'd jump the life to come.
0:08:57 > 0:09:00"We'd jump the life to come" means
0:09:00 > 0:09:03if I knew, if I knew that everything would be all right,
0:09:03 > 0:09:05here on earth, after I killed him,
0:09:05 > 0:09:09I would risk what happens to me after.
0:09:09 > 0:09:13He knows if he does go ahead and do it and kills Duncan
0:09:13 > 0:09:17that the outcome will be eternal damnation,
0:09:17 > 0:09:20Purgatory, horrible hell.
0:09:20 > 0:09:22And what he is saying here is,
0:09:22 > 0:09:26if I could just reign as king brilliantly for the rest of my life
0:09:26 > 0:09:28as a result of this blow
0:09:28 > 0:09:32then I will risk what happens to me after, I think.
0:09:32 > 0:09:35But the problem with your reading is,
0:09:35 > 0:09:37if there were no consequences of the murder
0:09:37 > 0:09:41then you wouldn't be risking anything.
0:09:41 > 0:09:44We'd risk the life to come, we wouldn't be risking.
0:09:44 > 0:09:47No, he's talking, he's talking about, what's going to happen here
0:09:47 > 0:09:49because the next line is
0:09:49 > 0:09:55"but in these cases, but in these cases we still have judgement here."
0:09:55 > 0:09:58Somebody is going to kill me for what I've done,
0:09:58 > 0:10:00that's what he's saying.
0:10:00 > 0:10:05If it was only about risking
0:10:05 > 0:10:08what was going to happen after life, then he'd do it.
0:10:08 > 0:10:11- Do you reckon?- If he... Yeah.
0:10:13 > 0:10:17He's here in double trust.
0:10:17 > 0:10:19First, as I am his kinsman and his subject,
0:10:19 > 0:10:22strong both against the deed,
0:10:22 > 0:10:26then, as I am his host,
0:10:26 > 0:10:30who should against his murderer shut the door,
0:10:30 > 0:10:33not...
0:10:35 > 0:10:37..bear the knife myself.
0:10:37 > 0:10:40Just heard the word...
0:10:40 > 0:10:43It's interesting to note how the word murder does creep back in.
0:10:43 > 0:10:46"Should against the murderer shut the door,
0:10:46 > 0:10:48"not bear the knife myself"
0:10:48 > 0:10:51i.e. be the murderer.
0:10:51 > 0:10:55It is deeply wicked to murder a king.
0:10:55 > 0:10:57You're going to be damned.
0:10:57 > 0:11:00It is even more wicked to murder a good king,
0:11:00 > 0:11:02whom everyone knows is good.
0:11:02 > 0:11:07And it is even more wicked to murder that good king when he is sleeping.
0:11:12 > 0:11:15I have no spur
0:11:15 > 0:11:18to prick the sides of my intent,
0:11:18 > 0:11:22but only vaulting ambition.
0:11:25 > 0:11:30Why is ambition, vaulting ambition,
0:11:30 > 0:11:36why is that the term of abuse on yourself at the end?
0:11:36 > 0:11:39Because we're talking about murder.
0:11:39 > 0:11:42- But it's using the word ambition though.- Yeah, I know.
0:11:42 > 0:11:45What's wrong with ambition? It's good to be ambitious.
0:11:45 > 0:11:46Nowadays everybody is told
0:11:46 > 0:11:49if you are not ambitious then somehow you are under achieving.
0:11:49 > 0:11:53No, but it's good to be ambitious, what he is saying is that,
0:11:53 > 0:11:55is that his ambition in this case
0:11:55 > 0:11:59is the only thing that is driving him to kill one of his best friends.
0:11:59 > 0:12:02Yes, but what's wrong with the ambition?
0:12:02 > 0:12:05Well, that's what he is saying, that is the only thing I have
0:12:05 > 0:12:07and it's not good enough, I have no spur.
0:12:07 > 0:12:09It's not, it's not..
0:12:09 > 0:12:13But you could be ambitious to succeed Duncan,
0:12:13 > 0:12:14to be the next in line.
0:12:14 > 0:12:17Yes, he is ambitious to succeed Duncan, that's the thing,
0:12:17 > 0:12:19what he is saying in that moment is,
0:12:19 > 0:12:25is that, that surely isn't enough, in the eyes of God.
0:12:27 > 0:12:30Macbeth achieves complete clarity that he must not do this thing
0:12:30 > 0:12:33of seizing the crown, usurping the crown,
0:12:33 > 0:12:37murdering a sacred king.
0:12:37 > 0:12:39I have no spur...
0:12:41 > 0:12:47..to prick the sides of my intent, but only vaulting ambition,
0:12:47 > 0:12:50which o'erleaps itself and falls on the other.
0:12:55 > 0:12:58I dare do all that may become a man.
0:12:58 > 0:13:01Who dares do more is none.
0:13:01 > 0:13:06What beast was't, then, that made you break this enterprise to me?
0:13:06 > 0:13:08When she finds me, and she's like, "What are you doing?"
0:13:08 > 0:13:10And Macbeth says, er,
0:13:10 > 0:13:13"We are not going to go through with this, I've decided.
0:13:13 > 0:13:15"We're not going to kill him."
0:13:15 > 0:13:17Um, and that...
0:13:17 > 0:13:22And Lady Macbeth has these extraordinary kind of...
0:13:22 > 0:13:25She mounts this extraordinary attack on him,
0:13:25 > 0:13:27everything about him essentially,
0:13:27 > 0:13:31but mainly his manhood.
0:13:31 > 0:13:35When you durst do it, then you were a man.
0:13:37 > 0:13:41"Then you were a man" could be more aggressive,
0:13:41 > 0:13:44then you could instinctively decide to make up.
0:13:44 > 0:13:47Don't we do things, we say horrible things
0:13:47 > 0:13:51and actually bouncing straight off that we go into,
0:13:51 > 0:13:54"No I didn't mean, I didn't mean to hurt you."
0:13:54 > 0:13:59When you durst do it, then you were a man.
0:13:59 > 0:14:02And, to be more than what you were,
0:14:02 > 0:14:06you would be so much more the man.
0:14:07 > 0:14:09One thing that I am definitely going to be looking for
0:14:09 > 0:14:13is the moment when Macbeth stops going,
0:14:13 > 0:14:16"I'm not going to do it, I'm not going to do it" -
0:14:16 > 0:14:21when is the moment of deciding again that he is going to do it.
0:14:23 > 0:14:28Nor time nor place did then adhere, and yet you would make both.
0:14:28 > 0:14:30They have made themselves,
0:14:30 > 0:14:35and that, their fitness, now does unmake you.
0:14:35 > 0:14:39For some reason, in the workshop,
0:14:39 > 0:14:42she got to me with her...
0:14:42 > 0:14:45goading, and I hit her.
0:14:48 > 0:14:49I didn't hit her, like that.
0:14:49 > 0:14:53They have made themselves,
0:14:53 > 0:14:56and that, their fitness, now does unmake you.
0:14:59 > 0:15:01And I thought, "Well, I wonder now,
0:15:01 > 0:15:04"does she, is she going to use...? She will use this then."
0:15:07 > 0:15:09I have given suck,
0:15:09 > 0:15:16and know how tender 'tis to love the babe that milks me.
0:15:16 > 0:15:23What the slap did, was took her to that place.
0:15:23 > 0:15:28Took her to the place where she could realistically,
0:15:28 > 0:15:31very truthfully, very naturally,
0:15:31 > 0:15:36go, "Sod you."
0:15:36 > 0:15:40I would, while it was smiling in my face,
0:15:40 > 0:15:43have plucked my nipple from his boneless gums,
0:15:43 > 0:15:46and dashed the brains out.
0:15:46 > 0:15:49The turning point in the scene is when she brings up the baby,
0:15:49 > 0:15:56she pulls that up and she knows it's a massive trump card.
0:15:56 > 0:15:59Bringing the discussion of this child in
0:15:59 > 0:16:02is strong enough to stop Macbeth from leaving.
0:16:02 > 0:16:05- She tries everything else. - Everything else has failed.
0:16:05 > 0:16:09I would, while it was smiling in my face,
0:16:09 > 0:16:13have plucked my nipple from his boneless gums,
0:16:13 > 0:16:15and dashed the brains out.
0:16:15 > 0:16:19It's not just the horror of her bringing up our baby, our dead baby.
0:16:19 > 0:16:22- It's also...- You're inspired by it. - I am inspired.
0:16:22 > 0:16:27I am going, "Wow, you really are resolved."
0:16:32 > 0:16:35When Duncan is asleep, whereto the rather
0:16:35 > 0:16:38shall his day's hard journey soundly invite him,
0:16:38 > 0:16:43his two chamberlains will I with wine and wassail so convince,
0:16:43 > 0:16:46that memory, the warder of the brain, shall be a fume.
0:16:46 > 0:16:52There's a moment when Duncan is asleep, you've got him back...
0:16:52 > 0:16:54It's the first time in a long time
0:16:54 > 0:16:57that we've absolutely been on the same page.
0:16:57 > 0:17:00And this is now the actual plan,
0:17:00 > 0:17:03we no longer have to persuade, it's kind of to do with the details.
0:17:03 > 0:17:06When in swinish sleep
0:17:06 > 0:17:09their drenched natures lie, as in a death,
0:17:09 > 0:17:13what cannot you and I perform upon the unguarded Duncan?
0:17:13 > 0:17:17What not put upon his spongy officers,
0:17:17 > 0:17:21who shall bear the guilt of our great quell?
0:17:21 > 0:17:25You are still the one going off to stab this man later on tonight.
0:17:25 > 0:17:30With that insight that, after all this fighting,
0:17:30 > 0:17:35it becomes like an even tighter, tighter, sexy conspiracy.
0:17:38 > 0:17:40Who dares receive it other,
0:17:40 > 0:17:44as we shall make our griefs and clamour roar upon his death?
0:17:47 > 0:17:50You know, sometimes people get very, very friendly
0:17:50 > 0:17:53and very, very passionate after a big row.
0:17:53 > 0:17:57Is there anything else you two want to say about that last go?
0:17:57 > 0:17:59For me, it came from he was back, you know, we were...
0:17:59 > 0:18:01It was almost like we were able to...
0:18:01 > 0:18:04I got my baby back. I got my baby back, yes.
0:18:04 > 0:18:07- I mean, as in, my lover.- Yeah.
0:18:07 > 0:18:09I think it is worth giving it one more go.
0:18:09 > 0:18:12I am settled,
0:18:12 > 0:18:18and bend up each corporal agent to this terrible feat.
0:18:21 > 0:18:23Away,
0:18:25 > 0:18:28and mock the time with fairest show.
0:18:28 > 0:18:33False face must hide what the false heart doth know.
0:18:36 > 0:18:40You ended up going off towards the banquet again
0:18:40 > 0:18:46as young lovers who've snuck off for a snog round the corner
0:18:46 > 0:18:51and sort of slightly flushed going back into the public space
0:18:51 > 0:18:55and there is something really strong about that I think.
0:18:55 > 0:19:00She has got him back. They are at their closest.
0:19:00 > 0:19:04Quite simply, that gives us a little view
0:19:04 > 0:19:08into maybe how connected these two people were.
0:19:17 > 0:19:19Hark.
0:19:19 > 0:19:22It was the owl that shrieked,
0:19:22 > 0:19:27the fatal bellman that gives the stern'st goodnight.
0:19:27 > 0:19:28He is about it.
0:19:28 > 0:19:31The doors are open, and the surfeited grooms
0:19:31 > 0:19:34do mock their charge with snores.
0:19:34 > 0:19:36I have drugged their possets,
0:19:36 > 0:19:39that death and nature do contend about them whether they live or die.
0:19:39 > 0:19:43Who's there? What ho?
0:19:43 > 0:19:47Alack, I am afraid they have awaked, and 'tis not done,
0:19:47 > 0:19:50th'attempt and not the deed confounds us.
0:19:50 > 0:19:51SCREAMING
0:19:51 > 0:19:54Hark!
0:19:54 > 0:19:57I laid their daggers ready, he could not miss 'em.
0:19:57 > 0:20:02Had he not resembled my father as he slept, I had done't.
0:20:05 > 0:20:07My husband!
0:20:09 > 0:20:12I have done the deed. Didst thou not hear a noise?
0:20:12 > 0:20:14I heard the owl scream and the crickets cry. Did not you speak?
0:20:14 > 0:20:16- When?- Now!- As I descended?
0:20:16 > 0:20:17Hark!
0:20:18 > 0:20:20Who lies i' the second chamber?
0:20:20 > 0:20:21Donalbain.
0:20:22 > 0:20:24This is a sorry sight.
0:20:24 > 0:20:27A foolish thought, to say a sorry sight.
0:20:27 > 0:20:29There's one did laugh in's sleep, and one cried, "Murder!"
0:20:29 > 0:20:31That they did wake each other, I stood and heard them.
0:20:31 > 0:20:34But they did say their prayers, and addressed them again to sleep.
0:20:34 > 0:20:36There are two lodged together.
0:20:36 > 0:20:38One cried "God bless us" and "Amen" the other,
0:20:38 > 0:20:42as they had seen me with these hangman's hands.
0:20:42 > 0:20:45List'ning their fear, I could not say Amen,
0:20:45 > 0:20:47- when they did say, "God bless us." - Consider it not so deeply.
0:20:47 > 0:20:50But wherefore could not I pronounce 'Amen'?
0:20:50 > 0:20:54I had most need of blessing, and Amen stuck in my throat.
0:20:54 > 0:20:56These deeds must not be thought after these ways,
0:20:56 > 0:20:58so, it will make us mad.
0:20:58 > 0:21:02Methought I heard a voice cry "Sleep no more,
0:21:02 > 0:21:05"Macbeth does murder sleep."
0:21:05 > 0:21:07HE LAUGHS HYSTERICALLY
0:21:07 > 0:21:13The innocent sleep, sleep that knits up the ravelled sleeve of care,
0:21:13 > 0:21:19the death of each day's life, sore labour's bath,
0:21:19 > 0:21:22balm of hurt minds, great nature's second course,
0:21:22 > 0:21:26- chief nourisher in life's feast... - What do you mean?
0:21:26 > 0:21:29Still it cried, "Sleep no more!" to all the house. Glamis hath murdered sleep,
0:21:29 > 0:21:33"and therefore Cawdor shall sleep no more, Macbeth shall sleep no more."
0:21:33 > 0:21:35Who was it that thus cried?
0:21:35 > 0:21:38Why, worthy thane, you do unbend your noble strength
0:21:38 > 0:21:41to think so brainsickly of things.
0:21:41 > 0:21:45Go get some water and wash this filthy witness from your hand.
0:21:47 > 0:21:49Why did you bring these daggers from the place?
0:21:49 > 0:21:51They must lie there.
0:21:51 > 0:21:54- Go carry them and smear the sleepy grooms with blood.- I'll go no more.
0:21:54 > 0:21:57I am afraid to think what I have done. Look on't again I dare not.
0:21:57 > 0:21:59Infirm of purpose! Give me the daggers.
0:21:59 > 0:22:02The sleeping and the dead are but as pictures,
0:22:02 > 0:22:04'tis the eye of childhood that fears a painted devil.
0:22:04 > 0:22:08If he do bleed, I'll gild the faces of the grooms withal,
0:22:08 > 0:22:09for it must seem their guilt.
0:22:11 > 0:22:12DISTANT KNOCKING
0:22:12 > 0:22:14Whence is that knocking?
0:22:14 > 0:22:17HE LAUGHS NERVOUSLY
0:22:17 > 0:22:21How is't with me, when every noise appals me?
0:22:27 > 0:22:31What hands are here?
0:22:31 > 0:22:33Ha?
0:22:33 > 0:22:35They pluck out mine eyes.
0:22:37 > 0:22:42Will all great Neptune's ocean wash this blood clean from my hand?
0:22:44 > 0:22:46No,
0:22:46 > 0:22:52this my hand will rather the multitudinous seas incarnadine,
0:22:52 > 0:22:54making the green one red.
0:22:58 > 0:23:00My hands are of your colour,
0:23:00 > 0:23:02but I shame to wear a heart so white.
0:23:02 > 0:23:04DISTANT KNOCKING
0:23:04 > 0:23:08I hear a knocking at the south entry, retire we to our chamber.
0:23:08 > 0:23:12A little water clears us of this deed, How easy is it, then!
0:23:12 > 0:23:14Your constancy hath left you unattended.
0:23:14 > 0:23:17KNOCKING CONTINUES
0:23:17 > 0:23:19Hark! More knocking.
0:23:19 > 0:23:23Get on your nightgown, lest occasion call us and show us to be watchers.
0:23:24 > 0:23:27Be not lost so poorly in your thoughts.
0:23:28 > 0:23:31To know my deed, 'twere best not know myself.
0:23:32 > 0:23:34Wake Duncan with thy knocking!
0:23:34 > 0:23:36I would thou couldst!
0:23:38 > 0:23:41REPEATED KNOCKING
0:23:51 > 0:23:54My husband!
0:23:55 > 0:23:58I have done the deed.
0:23:58 > 0:24:00We're right at the nub of it
0:24:00 > 0:24:07here, where he has steeled himself
0:24:07 > 0:24:11to the point where he is capable of doing this terrible act,
0:24:11 > 0:24:14which all of us would find very difficult, murder,
0:24:14 > 0:24:19he's consciously closed his eyes to what's wrong about what he's doing
0:24:19 > 0:24:22and he's gone in and he's committed the deed.
0:24:24 > 0:24:25My husband!
0:24:26 > 0:24:28I have done the deed.
0:24:28 > 0:24:33"I have done the deed" is there palpably in front of her.
0:24:35 > 0:24:36Didst thou not hear a noise?
0:24:36 > 0:24:42But very, very quickly it's obvious to her that he has done the deed
0:24:42 > 0:24:45but the fallout is now becoming evident.
0:24:45 > 0:24:48'And he's crumbling, which cannot happen.'
0:24:50 > 0:24:53I had most need of blessing, and Amen stuck in my throat.
0:24:53 > 0:24:56These deeds must not be thought after these ways,
0:24:56 > 0:24:58so, it will make us mad.
0:24:58 > 0:25:02He's terrified, his status has plummeted from being
0:25:02 > 0:25:08the brightest of the bright to being something halting,
0:25:08 > 0:25:12hesitating, stuttering
0:25:12 > 0:25:15and self-hating.
0:25:15 > 0:25:18Can we try...
0:25:18 > 0:25:23both of you maybe major on
0:25:23 > 0:25:26quite how appalling this is
0:25:26 > 0:25:31and quite how terrifying it is to have murdered a king,
0:25:31 > 0:25:34and see what that does.
0:25:34 > 0:25:35Consider it not so deeply.
0:25:35 > 0:25:38But wherefore could not I pronounce Amen?
0:25:38 > 0:25:41I had most need of blessing, and Amen stuck in my throat.
0:25:41 > 0:25:43These deeds must not be thought after these ways,
0:25:43 > 0:25:45so, it will make us mad.
0:25:45 > 0:25:50I was entering into the same hysteria,
0:25:50 > 0:25:52which is something that she can't do.
0:25:52 > 0:25:56What she feels and what she can show, don't tally.
0:25:56 > 0:26:02So let's put you back into your sort of iron maiden of confidence
0:26:02 > 0:26:05that you've got to be in, main thing we're thinking about this time
0:26:05 > 0:26:09is the sort of clash between her super-competency
0:26:09 > 0:26:11and his unravelling.
0:26:11 > 0:26:12Consider it not so deeply.
0:26:12 > 0:26:15But wherefore could not I pronounce Amen?
0:26:15 > 0:26:18I had most need of blessing, and Amen stuck in my throat.
0:26:18 > 0:26:20These deeds must not be thought after these ways,
0:26:20 > 0:26:22so, it will make us mad.
0:26:22 > 0:26:28She starts by trying to support him,
0:26:28 > 0:26:32maintain the front of lover,
0:26:32 > 0:26:36quite maternal lover almost, very supportive lover.
0:26:36 > 0:26:38Still it cried, "Sleep no more" to all the house.
0:26:38 > 0:26:40"Glamis hath murdered sleep,
0:26:40 > 0:26:44"and therefore Cawdor shall sleep no more, Macbeth shall sleep no more."
0:26:47 > 0:26:49Who was it that thus cried?
0:26:51 > 0:26:55Why, worthy thane, you do unbend your noble strength
0:26:55 > 0:26:58to think so brainsickly of things.
0:26:58 > 0:27:03I genuinely felt there that if I don't care for this man now
0:27:03 > 0:27:05he's going to go, and that was me being competent.
0:27:05 > 0:27:11The more competent she tries to be, the more it becomes,
0:27:11 > 0:27:16the more the scene is about, take this seriously.
0:27:16 > 0:27:18Well, it was interesting that, wasn't it?
0:27:18 > 0:27:21It's more, it becomes more about join me,
0:27:21 > 0:27:24I need you to join me in my...
0:27:24 > 0:27:27In how awful this is.
0:27:27 > 0:27:33Eventually the strain of the situation does get to her
0:27:33 > 0:27:39and she starts to blame him and indeed she resents him,
0:27:39 > 0:27:41she's angry, she's impatient.
0:27:41 > 0:27:47Then there's a massive moment, er, where you see that, like a fool,
0:27:47 > 0:27:50he's brought, for the first time you notice, he's brought the daggers,
0:27:50 > 0:27:53from the room, when the whole point is they've got to be left
0:27:53 > 0:27:57with the guards so that they are assumed to have done the killing.
0:27:57 > 0:28:01Go get some water and wash this filthy witness from your hand.
0:28:01 > 0:28:05Why did you bring these daggers from the place?
0:28:05 > 0:28:06They must lie there.
0:28:06 > 0:28:09Go carry them and smear the sleepy grooms with blood.
0:28:09 > 0:28:12Could we try this time, I love you, kiss, I love you, kiss,
0:28:12 > 0:28:16you poor thing, the way we do look after our lovers
0:28:16 > 0:28:19if they're in a terrible state, you don't just go there, there,
0:28:19 > 0:28:22you kiss, you reassure, sensually as well,
0:28:22 > 0:28:25and then let's just say, just as an exercise
0:28:25 > 0:28:31you, you, the realisation about the daggers, damn you,
0:28:31 > 0:28:34goes from, "I love you, I care for you, it's all right, darling"
0:28:34 > 0:28:37to "Damn you!"
0:28:37 > 0:28:42Go get some water and wash this filthy witness from your hand.
0:28:43 > 0:28:47Why did you bring these daggers from the place?
0:28:47 > 0:28:48They must lie there.
0:28:48 > 0:28:51Go carry them and smear the sleepy grooms with blood.
0:28:51 > 0:28:54This is her highest point,
0:28:54 > 0:28:58she'll never be quite so high again,
0:28:58 > 0:29:07she's carried him through the devastating act of murder
0:29:07 > 0:29:11in order to get the crown on her head and on his.
0:29:11 > 0:29:13Give me the daggers.
0:29:13 > 0:29:15Macbeth has constantly been talking about
0:29:15 > 0:29:17we're going to have to pay for this,
0:29:17 > 0:29:20she has always put that out of mind
0:29:20 > 0:29:23and she will pay for it later with her mental collapse.
0:29:23 > 0:29:27The sleeping and the dead are but as pictures,
0:29:27 > 0:29:29'tis the eye of childhood that fears a painted devil.
0:29:29 > 0:29:32If he do bleed, I'll gild the faces of the grooms withal,
0:29:32 > 0:29:35for it must seem their guilt.
0:29:42 > 0:29:45That which hath made them drunk hath made me bold.
0:29:45 > 0:29:49The iambic pentameter. De dum de dum de dum de dum.
0:29:49 > 0:29:52The tum the tum the tum the tum the tum.
0:29:52 > 0:29:55The heartbeat, the de dum, de dum.
0:29:55 > 0:30:01It's how we all, it's how we communicate to each other now.
0:30:01 > 0:30:04And the understood structure here is based on this ten-beat line.
0:30:04 > 0:30:09Ten beats and five, five stresses, er,
0:30:09 > 0:30:11I don't know,
0:30:11 > 0:30:17that WHICH hath MADE them DRUNK hath MADE me BOLD,
0:30:17 > 0:30:20that's a very, very regular line.
0:30:21 > 0:30:26That which hath made them drunk hath made me bold.
0:30:26 > 0:30:30What hath quenched them hath given me fire.
0:30:30 > 0:30:32The truth is
0:30:32 > 0:30:37that we very often speak in iambic pentameters just naturally.
0:30:37 > 0:30:40I'd really LIKE to have a cup of TEA. Right.
0:30:40 > 0:30:44Now, nobody says
0:30:44 > 0:30:48I'd REALLY like to HAVE a cup of TEA. Do they?
0:30:48 > 0:30:53Listening their fear I could not say Amen.
0:30:53 > 0:30:56Listening their fear I could not say Amen.
0:30:56 > 0:30:59Actors, students, you know,
0:30:59 > 0:31:03they go round doing this da dum, da dum, and it's very difficult,
0:31:03 > 0:31:08once you've got it so rigidly in your head, to let go of it.
0:31:08 > 0:31:10Because the truth is, you have to let go of it.
0:31:10 > 0:31:15Whatever, whatever... Of whatever interest it is,
0:31:15 > 0:31:18it is no longer interesting when you can still hear it
0:31:18 > 0:31:21when an actor is saying it. It just gets in the way
0:31:21 > 0:31:26and it stops people from understanding what you are saying.
0:31:26 > 0:31:28Still it cried, "Sleep no more" to all the house.
0:31:28 > 0:31:30"Glamis hath murdered sleep,
0:31:30 > 0:31:34"and therefore Cawdor shall sleep no more, Macbeth shall sleep no more.'
0:31:39 > 0:31:41"I have drugged their possets,
0:31:41 > 0:31:43"that death and nature do contend about them"
0:31:43 > 0:31:46and then you've got the beginning of a short line,
0:31:46 > 0:31:50"Whe-ther they live or die",
0:31:50 > 0:31:53and then there's another short line from Macbeth of,
0:31:53 > 0:31:58"Who's there, what ho", so actually that does make up ten beats,
0:31:58 > 0:32:01so it suggests it probably should - bam - come in,
0:32:01 > 0:32:04and, and flow like a line.
0:32:04 > 0:32:06I have drugged their possets,
0:32:06 > 0:32:09that death and nature do contend about them
0:32:09 > 0:32:11whether they live or die.
0:32:11 > 0:32:13Who's there? What ho?
0:32:14 > 0:32:21There are a lot of shared lines in this scene.
0:32:21 > 0:32:25I have done the deed. Didst thou not hear a noise?
0:32:25 > 0:32:28I heard the owl scream and the crickets cry. Did not you speak?
0:32:28 > 0:32:30- When?- Now!- As I descended?- Ay.
0:32:30 > 0:32:31The sharing of the lines
0:32:31 > 0:32:33in the bloody daggers or post-murder scene...
0:32:36 > 0:32:40..I think allows us to hear
0:32:40 > 0:32:44how urgent the need to communicate is between Macbeth and Lady Macbeth
0:32:44 > 0:32:47at that point, they don't have a great deal of time,
0:32:47 > 0:32:49it's almost as if time is...
0:32:49 > 0:32:53Has escalated, that they, there isn't time for pause,
0:32:53 > 0:32:56they are coming in on each other's lines
0:32:56 > 0:32:58because of panic, rising panic.
0:32:58 > 0:32:59- As I descended?- Ay.
0:32:59 > 0:33:03Hark! Who lies i' the second chamber?
0:33:03 > 0:33:04Donalbain.
0:33:06 > 0:33:07This is a sorry sight.
0:33:07 > 0:33:14In this scene the heartbeat is da-da da-da da-da da-da da-da.
0:33:14 > 0:33:16And yet you are sharing those da-da,
0:33:16 > 0:33:19so you've got da-da da-da da-da da-da.
0:33:19 > 0:33:21I heard the owl scream and the crickets cry. Did not you speak?
0:33:21 > 0:33:23- When?- Now!- As I descended?- Ay.
0:33:23 > 0:33:26Hark! Who lies i' the second chamber?
0:33:26 > 0:33:29- Donalbain.- This is a sorry sight.
0:33:29 > 0:33:31A foolish thought, to say a sorry sight.
0:33:31 > 0:33:34When anybody is in that kind of heightened state,
0:33:34 > 0:33:37people start to talk very, very quickly with each other,
0:33:37 > 0:33:41finish each other's sentences, come in very...
0:33:41 > 0:33:44It's a very heightened way of communicating
0:33:44 > 0:33:47and I think that's what Shakespeare is doing in this scene.
0:33:47 > 0:33:49It ends...
0:33:50 > 0:33:56..with a complete line from
0:33:56 > 0:34:01"a foolish thought to say a sorry sight,"
0:34:01 > 0:34:04with a complete line from you, you're, you're,
0:34:04 > 0:34:06- you're sharing lines...- Uh-huh.
0:34:06 > 0:34:09..in that bump, bump, bump, bump bit,
0:34:09 > 0:34:12and then you almost put a stop to it with
0:34:12 > 0:34:14"let's get back to proper lines."
0:34:14 > 0:34:17- OK.- I mean obviously she's not thinking that but...- Yeah.
0:34:17 > 0:34:20..But it, it marks the moment
0:34:20 > 0:34:25when you're trying to bring it back to, to sanity, to reason.
0:34:25 > 0:34:30I could smell fear on them more clearly
0:34:30 > 0:34:34as their heart rate and their language accelerated.
0:34:34 > 0:34:36My husband!
0:34:37 > 0:34:40I have done the deed. Didst thou not hear a noise?
0:34:40 > 0:34:43I heard the owl scream and the crickets cry. Did not you speak?
0:34:43 > 0:34:45- When?- Now!- As I descended?- Ay.
0:34:45 > 0:34:47Hark! Who lies i' the second chamber?
0:34:47 > 0:34:49Donalbain.
0:34:49 > 0:34:51This is a sorry sight.
0:34:51 > 0:34:53A foolish thought, to say a sorry sight.
0:34:57 > 0:35:00KNOCKING
0:35:00 > 0:35:03Whence is that knocking?
0:35:03 > 0:35:06How is't with me, when every noise appals me?
0:35:08 > 0:35:11Macbeth is obsessed, throughout this scene,
0:35:11 > 0:35:14with the things that he has heard.
0:35:14 > 0:35:15Hark!
0:35:15 > 0:35:20Both Macbeth and Lady Macbeth suddenly stop various times
0:35:20 > 0:35:22to listen to noises,
0:35:22 > 0:35:24they stop in their tracks.
0:35:24 > 0:35:27It adds to the jerky rhythm,
0:35:27 > 0:35:32the unsettling rhythm of the scene that unsettles us as we watch it.
0:35:32 > 0:35:34Hark!
0:35:34 > 0:35:39Who lies i' the second chamber?
0:35:39 > 0:35:40Donalbain.
0:35:40 > 0:35:45Then apparently people are speaking in Macbeth's head
0:35:45 > 0:35:48as he's in the corridors after he's just murdered Duncan.
0:35:48 > 0:35:51There's one did laugh in's sleep, and one cried, "Murder!"
0:35:51 > 0:35:53That they did wake each other, I stood and heard them.
0:35:53 > 0:35:56But they did say their prayers, and addressed them again to sleep.
0:35:56 > 0:35:58Are they, the noises,
0:35:58 > 0:36:02are they words from real people in a bedroom next door,
0:36:02 > 0:36:05are they supernatural noises and so on.
0:36:05 > 0:36:10The business of you hearing voices in the corridor as you come through,
0:36:10 > 0:36:14what's in your brain as you're saying those lines
0:36:14 > 0:36:19or thinking about that, as you come from having stabbed Duncan?
0:36:19 > 0:36:20In my head,
0:36:20 > 0:36:26I am absolutely in a paranoid fear
0:36:26 > 0:36:31that it is either Duncan's spirit revenging
0:36:31 > 0:36:33or coming back to haunt me,
0:36:33 > 0:36:37or it's God, or the devil,
0:36:39 > 0:36:44basically coming and saying, "You are now damned."
0:36:45 > 0:36:50Damned, so "Sleep no more" means sort of everlasting,
0:36:50 > 0:36:53that's the kind of hell that you're imagining.
0:36:53 > 0:36:57It's the beginning of my journey towards eternal damnation.
0:36:57 > 0:36:59One did laugh in's sleep, and one cried, "Murder!"
0:36:59 > 0:37:02That they did wake each other, I stood and heard them.
0:37:02 > 0:37:04But they did say their prayers, and addressed them again to sleep.
0:37:04 > 0:37:06There are two lodged together.
0:37:06 > 0:37:10One cried, "God bless us" and "Amen" the other, as they had seen me.
0:37:14 > 0:37:20He has heard voices, but even the fact that she says to him,
0:37:20 > 0:37:23"There are two people there",
0:37:23 > 0:37:26so, you know, you have only...
0:37:26 > 0:37:30What she's saying is "you have only heard two real people,"
0:37:30 > 0:37:33but the point is, one of them has said, "God bless us",
0:37:33 > 0:37:38one of them has shouted "Amen", one of them has shouted "Murder."
0:37:38 > 0:37:41Lady Macbeth is anxious to make it, "it's all right, it's just normal."
0:37:41 > 0:37:44Although that's not particularly normal, "they were awake!"
0:37:44 > 0:37:47- "Next door while I was doing that," that's alarming too.- Yeah.
0:37:47 > 0:37:50There is no, there is no way of taming this to normal
0:37:50 > 0:37:52because if the, if it was just...
0:37:52 > 0:37:55"It's just two people saying, "God bless us" and "Amen" " -
0:37:55 > 0:37:56- "you mean they were awake?!"- Yes.
0:37:56 > 0:37:58That, that raises the stakes appallingly.
0:37:58 > 0:38:00Every time I come up with something,
0:38:00 > 0:38:05she tries to explain it in a rational, pragmatic way.
0:38:05 > 0:38:11But, but I take it one step further, it's like nothing,
0:38:11 > 0:38:13nothing is going to comfort me.
0:38:13 > 0:38:16OK, all right, so what if it is two people in a chamber,
0:38:16 > 0:38:19then why wasn't I able to say Amen?
0:38:19 > 0:38:20Why could I...
0:38:20 > 0:38:23But I couldn't say amen, why couldn't I then, so it's every time and then,
0:38:23 > 0:38:27and then she says, "Ah, don't worry about it, we shouldn't think about these things",
0:38:27 > 0:38:32and then I'm on to this other voice, this disembodied voice,
0:38:32 > 0:38:33which is telling me not to sleep,
0:38:33 > 0:38:37so it's kind of like I'm continually just ratcheting up
0:38:37 > 0:38:40- the stakes of what I went through. - Of anxiety, yes.
0:38:40 > 0:38:42But wherefore could not I pronounce Amen?
0:38:42 > 0:38:46I had most need of blessing, and Amen stuck in my throat.
0:38:46 > 0:38:49These deeds must not be thought after these ways,
0:38:49 > 0:38:51so, it will make us mad.
0:38:51 > 0:38:55Methought I heard a voice cry, "Sleep no more, Macbeth does murder sleep."
0:38:57 > 0:38:59And then there is the knocking of the door,
0:38:59 > 0:39:05which turns out to be Macduff and Ross arriving to wake up the king,
0:39:05 > 0:39:08as they had promised him,
0:39:08 > 0:39:12but of course it takes on a much more sinister quality
0:39:12 > 0:39:15to Macbeth and Lady Macbeth.
0:39:15 > 0:39:18KNOCKING
0:39:18 > 0:39:21Whence is that knocking?
0:39:21 > 0:39:25How is't with me, when every noise appals me?
0:39:25 > 0:39:28If it was a practical thing of,
0:39:28 > 0:39:31"There is somebody at the door," then that is,
0:39:31 > 0:39:34that is a very practical consideration,
0:39:34 > 0:39:36but he doesn't seem to take that forward into the next line,
0:39:36 > 0:39:38if you know what I mean,
0:39:38 > 0:39:41he goes from... GASPS
0:39:41 > 0:39:45..to "God, I'm getting so, I'm so jumpy."
0:39:47 > 0:39:49My hands are of your colour,
0:39:49 > 0:39:52but I shame to wear a heart so white.
0:39:52 > 0:39:54KNOCKING
0:39:54 > 0:39:58I hear a knocking at the south entry, retire we to our chamber.
0:39:58 > 0:40:02A little water clears us of this deed. How easy is it, then!
0:40:02 > 0:40:05Your constancy hath left you unattended.
0:40:05 > 0:40:08Hark! More knocking.
0:40:08 > 0:40:12Macbeth at that point, in that state of mind, that's God.
0:40:12 > 0:40:16God's at the door. He's coming for me.
0:40:16 > 0:40:18KNOCKING
0:40:18 > 0:40:21Wake Duncan with thy knocking! I would thou couldst!
0:40:21 > 0:40:23KNOCKING
0:40:23 > 0:40:25You are now on the road to hell.
0:40:34 > 0:40:36I have two nights watched with you,
0:40:36 > 0:40:39but can perceive no truth in your report.
0:40:39 > 0:40:44Besides her walking, what, at any time, have you heard her say?
0:40:44 > 0:40:47That, sir, which I will not report after her.
0:40:47 > 0:40:50You may to me, and 'tis most meet you should.
0:40:50 > 0:40:55Neither to you nor anyone, having no witness to confirm my speech.
0:40:55 > 0:40:58How came she by that light?
0:40:58 > 0:41:00Why, it stood by her. She has light by her continually,
0:41:00 > 0:41:02'tis her command.
0:41:02 > 0:41:04You see her eyes are open.
0:41:04 > 0:41:05Ay, but their sense are shut.
0:41:05 > 0:41:07Look how she rubs her hands.
0:41:07 > 0:41:09Yet here's a spot.
0:41:09 > 0:41:13Hark, she speaks. I will set down what comes from her,
0:41:13 > 0:41:16to satisfy my remembrance the more strongly.
0:41:16 > 0:41:19Out, damned spot!
0:41:19 > 0:41:21Out, I say!
0:41:21 > 0:41:25One, two, why then, 'tis time to do it.
0:41:32 > 0:41:36Hell is murky.
0:41:36 > 0:41:39Fie, my lord, fie, a soldier, and afeard?
0:41:39 > 0:41:44What need we fear who knows it, when none can call our power to account?
0:41:44 > 0:41:46Yet who would have thought the old man
0:41:46 > 0:41:48to have had so much blood in him?
0:41:49 > 0:41:52Do you mark that?
0:41:52 > 0:41:56The Thane of Fife had a wife,
0:41:56 > 0:41:57where is she now?
0:41:59 > 0:42:03What, will these hands ne'er be clean?
0:42:03 > 0:42:06No more o'that, my lord, no more o'that,
0:42:06 > 0:42:09you mar all with this starting.
0:42:09 > 0:42:13Go to, go to, you have known what you should not.
0:42:13 > 0:42:17She has spoke what she should not, I am sure of it,
0:42:17 > 0:42:19heaven knows what she has known.
0:42:20 > 0:42:23Here's the smell of the blood still.
0:42:24 > 0:42:29All the perfumes of Arabia will not sweeten this little hand.
0:42:29 > 0:42:36O, O, O!
0:42:36 > 0:42:39What a sigh is there! The heart is sorely charged.
0:42:39 > 0:42:41I would not have such a heart in my bosom
0:42:41 > 0:42:43for the dignity of the whole body.
0:42:43 > 0:42:45Well,
0:42:45 > 0:42:46well, well.
0:42:46 > 0:42:49Pray God it be, sir.
0:42:49 > 0:42:51This disease is beyond my practice.
0:42:51 > 0:42:55Wash your hands, put on your nightgown, look not so pale.
0:42:55 > 0:42:59I tell you yet again, Banquo's buried,
0:43:00 > 0:43:03- he cannot come out on's grave. - Even so?
0:43:03 > 0:43:08To bed, to bed. There's knocking at the gate.
0:43:09 > 0:43:12What's done cannot be undone.
0:43:21 > 0:43:22To bed,
0:43:24 > 0:43:25to bed,
0:43:26 > 0:43:27to bed.
0:43:29 > 0:43:31Will she go now to bed?
0:43:32 > 0:43:33Directly.
0:43:33 > 0:43:36Foul whisp'rings are abroad.
0:43:36 > 0:43:39Unnatural deeds do breed unnatural troubles,
0:43:39 > 0:43:44infected minds to their deaf pillows will discharge their secrets.
0:43:44 > 0:43:48More needs she the divine than the physician. God, God forgive us all!
0:43:48 > 0:43:52Look after her. Remove from her the means of all annoyance,
0:43:52 > 0:43:54and still keep eyes upon her.
0:43:54 > 0:43:59So, goodnight. My mind she has mated, and amazed my sight.
0:43:59 > 0:44:02I think, but dare not speak.
0:44:02 > 0:44:04Goodnight, good doctor.
0:44:21 > 0:44:24What, at any time, have you heard her say?
0:44:24 > 0:44:28That, sir, which I will not report after her.
0:44:28 > 0:44:33Let's try concentrating on the Lady in Waiting
0:44:33 > 0:44:36and on the Doctor,
0:44:36 > 0:44:41to look at what they do about watching this sleepwalking queen.
0:44:42 > 0:44:47Lady Macbeth will probably still be smiling in the daytime to people
0:44:47 > 0:44:52and going through the motions, but we see her at night unconscious,
0:44:52 > 0:44:58completely unconscious, defenceless, revealing her true state of mind.
0:45:01 > 0:45:04You don't necessarily know at the start of the scene what the secret might be.
0:45:04 > 0:45:07The audience do know what the secret might be,
0:45:07 > 0:45:11and we don't know how much you know.
0:45:11 > 0:45:15In the text, the Lady in Waiting says, "Stand close."
0:45:15 > 0:45:18In a sense, for a modern audience stand close would suggest,
0:45:18 > 0:45:19stand close to her,
0:45:19 > 0:45:23but actually what it means in Elizabethan English is
0:45:23 > 0:45:26stand in a close, hidden.
0:45:26 > 0:45:31Um, let's try, first of all, hiding.
0:45:32 > 0:45:35What, at any time, have you heard her say?
0:45:35 > 0:45:38That, sir, which I will not report after her.
0:45:39 > 0:45:42I think the danger for the doctor and gentlewoman is to,
0:45:42 > 0:45:46to act too sharply or to, you know,
0:45:46 > 0:45:48do anything to shock her out of her dream.
0:45:48 > 0:45:50How came she by that light?
0:45:50 > 0:45:53Why, it stood by her.
0:45:53 > 0:45:57She has light by her continually, 'tis her command.
0:45:57 > 0:46:02- You see her eyes are open. - Ay, but their sense are shut.
0:46:02 > 0:46:04When I come in initially
0:46:04 > 0:46:08I accept that I'm sort of in the lower position,
0:46:08 > 0:46:09I accept that, you know, I'm not going to...
0:46:09 > 0:46:11- He can threaten you.- OK.
0:46:11 > 0:46:16You start off weak, because you are quite threatening.
0:46:16 > 0:46:19Are you accusing our king and queen of something?
0:46:19 > 0:46:22What right do you have to know any of these secrets,
0:46:22 > 0:46:25you impertinent junior person?
0:46:26 > 0:46:29I have two nights watched with you,
0:46:29 > 0:46:33but can perceive no truth in your report.
0:46:34 > 0:46:38Besides her walking, what, at any time, have you heard her say?
0:46:38 > 0:46:42That, sir, which I will not report after her.
0:46:42 > 0:46:46You may to me, and 'tis most meet you should.
0:46:46 > 0:46:49Neither to you nor anyone.
0:46:49 > 0:46:53I had to make a sort of conscious decision
0:46:53 > 0:46:57not to see, not to see anyone,
0:46:57 > 0:47:01until there's the line that's delivered to the doctor.
0:47:01 > 0:47:06Fie, my lord, fie, a soldier, and afeard?
0:47:06 > 0:47:10What need we fear who knows it, when none can call our power to account?
0:47:10 > 0:47:13Yet who would have thought the old man
0:47:13 > 0:47:15to have had so much blood in him?
0:47:15 > 0:47:18What about the moment where she does see you?
0:47:18 > 0:47:20Or sees Macbeth in you?
0:47:20 > 0:47:23Like being rushed at by an animal.
0:47:23 > 0:47:30It felt more potentially as if she could lash out at that point.
0:47:30 > 0:47:33Go to, go to, you have known what you should not.
0:47:33 > 0:47:37She has spoke what she should not, I am sure of that.
0:47:37 > 0:47:40Heaven knows what she has known.
0:47:40 > 0:47:41Here's the smell of the blood still.
0:47:41 > 0:47:45It's perfectly clear now that the Macbeths murdered Duncan.
0:47:45 > 0:47:49Go to, go to, you have known what you should not.
0:47:49 > 0:47:52She has spoke what she should not, I am sure of it.
0:47:55 > 0:47:57It's a dangerous time for everybody.
0:47:57 > 0:47:59If someone at a court knows a secret
0:47:59 > 0:48:02that could bring a king and queen down,
0:48:02 > 0:48:04they may be in danger.
0:48:04 > 0:48:10All the perfumes of Arabia will not sweeten this little hand.
0:48:10 > 0:48:14O, O, O!
0:48:14 > 0:48:16This secret is gunpowder, is dangerous,
0:48:16 > 0:48:18they are holding a bomb in their hands.
0:48:18 > 0:48:22Then he suddenly loses status, loses his confidence...
0:48:22 > 0:48:26And then suddenly I become more powerful in the sense that I say,
0:48:26 > 0:48:30"Well, we've got to do something about it, what are we going to do?"
0:48:30 > 0:48:34So you've started off going, "Oh, my God, oh, my God"
0:48:34 > 0:48:36and he's now, "Oh, my God, oh, my God"
0:48:36 > 0:48:39and you're going, "It's too late for oh, my God, oh, my God."
0:48:39 > 0:48:41You are implicated now,
0:48:41 > 0:48:45therefore you have to be my ally and my protector.
0:48:45 > 0:48:49Well, well, well.
0:48:49 > 0:48:51Pray God it be, sir.
0:48:52 > 0:48:57This disease is beyond my practice.
0:48:57 > 0:49:01'The danger for this is that it will become common knowledge.'
0:49:01 > 0:49:06The doctor says in the scene, "Foul whisperings are abroad,"
0:49:06 > 0:49:08so there are rumours of all this stuff that's gone on,
0:49:08 > 0:49:12but this is proof, and proof is always dangerous.
0:49:12 > 0:49:20The English forces are massing, Malcolm is massing with his forces.
0:49:16 > 0:49:20People who are associated with this are going to be in serious trouble.
0:49:20 > 0:49:22Put on your nightgown, look not so pale.
0:49:22 > 0:49:25I tell you yet again, Banquo's buried,
0:49:25 > 0:49:28he cannot come out on's grave.
0:49:28 > 0:49:30Even so?
0:49:30 > 0:49:34To bed, to bed. There's knocking at the gate.
0:49:39 > 0:49:43- How came she by that light? - Why, it stood by her.
0:49:43 > 0:49:47She has light by her continually, 'tis her command.
0:49:47 > 0:49:50I'd like to try the scene in the dark.
0:49:50 > 0:49:53The night is scary from childhood onwards
0:49:53 > 0:49:55and all the rest of it, and this does take place at night.
0:49:55 > 0:50:01Let's disappear down to a very narrow patch of light
0:50:01 > 0:50:05- and just see what that gives us. - We just had like a pool of light
0:50:05 > 0:50:08and we could all sort of go in the light or out of the light
0:50:08 > 0:50:11but always someone had to be in the middle.
0:50:11 > 0:50:14We slightly cheated in that we had one spot coming down
0:50:14 > 0:50:19but the concept was that her world was as extensive as the light
0:50:19 > 0:50:21that the candle would give out.
0:50:23 > 0:50:26I have two nights watched with you,
0:50:26 > 0:50:29but can perceive no truth in your report.
0:50:29 > 0:50:32And you could just see like Chris' face coming in to the light
0:50:32 > 0:50:35and coming out, and it all felt very slightly horror.
0:50:41 > 0:50:43How came she by that light?
0:50:43 > 0:50:45Why, it stood by her.
0:50:45 > 0:50:48She has light by her continually, 'tis her command.
0:50:49 > 0:50:55The dark version made the actors come really close to each other,
0:50:55 > 0:51:00creating a strange intimacy between two people who could see her
0:51:00 > 0:51:01but she couldn't see them.
0:51:01 > 0:51:04You see her eyes are open.
0:51:04 > 0:51:07And if she did see them suddenly for a moment
0:51:07 > 0:51:10- she was seeing something else. - Look how she rubs her hands.
0:51:11 > 0:51:13Yet, here's a spot.
0:51:13 > 0:51:16Hark, she speaks.
0:51:16 > 0:51:19You really felt that once you were in that light you were exposed.
0:51:19 > 0:51:22You really felt how small the space was.
0:51:22 > 0:51:26I will set down what comes from her,
0:51:26 > 0:51:28to satisfy my remembrance the more strongly.
0:51:28 > 0:51:29Out.
0:51:29 > 0:51:32I imagine the Macbeths' castle was massive,
0:51:32 > 0:51:36but that kind of real intimacy
0:51:36 > 0:51:39and that kind of real, "Seriously, this is what's happened,"
0:51:39 > 0:51:44and kind of not wanting anyone to hear you, felt kind of scary.
0:51:44 > 0:51:46Out, I say!
0:51:47 > 0:51:49One, two,
0:51:51 > 0:51:53why then, 'tis time to do't.
0:51:56 > 0:52:01'It really gave me a sense of how small her world may be.'
0:52:01 > 0:52:05It was claustrophobic, the universe became this sphere of light,
0:52:05 > 0:52:12which is why she has light by her because her world is murky, morally,
0:52:12 > 0:52:15and maybe she only wants to be out in the dark
0:52:15 > 0:52:18with this amount of light because
0:52:18 > 0:52:22look how much of the world I don't have to engage with.
0:52:27 > 0:52:30Hell is murky.
0:52:30 > 0:52:35- Hell is so close to me as well. - Yeah, yeah.
0:52:35 > 0:52:39You can't escape from it, with light you can't escape dark.
0:52:39 > 0:52:42Here's the smell of the blood still.
0:52:42 > 0:52:46All the perfumes of Arabia will not sweeten this little hand.
0:52:46 > 0:52:49O, O, O!
0:52:49 > 0:52:52She looked me directly in the eye, which was so...
0:52:52 > 0:52:56I couldn't prepare for that.
0:52:56 > 0:53:01O, O, O!
0:53:01 > 0:53:03There was a bit when you were stood here
0:53:03 > 0:53:06and you were really like so vulnerable
0:53:06 > 0:53:10I just really wanted to embrace you and sshh you to sleep.
0:53:11 > 0:53:15To bed, to bed. There's knocking at the gate.
0:53:21 > 0:53:23Yet here's a spot.
0:53:24 > 0:53:28Out, damned spot! Out!
0:53:28 > 0:53:31'In this particular speech,'
0:53:31 > 0:53:34although she is asleep, we hear what she is seeing,
0:53:34 > 0:53:38what she is hearing, what she is sensing.
0:53:38 > 0:53:41Let's just have a look at the number of times
0:53:41 > 0:53:45you actually use this image of blood.
0:53:45 > 0:53:49Now, if you beat the number of times you use the word
0:53:49 > 0:53:53- or a word that is relating to it. - Relating to blood.
0:53:53 > 0:53:57Here's the smell of the blood still.
0:53:57 > 0:54:00All the perfumes of Arabia will not sweeten this little hand.
0:54:00 > 0:54:02O, O, O!
0:54:02 > 0:54:06'The stamping of the feet is about simplifying.'
0:54:06 > 0:54:08It made me realise how many references there were indeed
0:54:08 > 0:54:14to blood, if I had to stamp my foot to any reference to blood.
0:54:16 > 0:54:20You can sometimes be so busy working out the emotional state
0:54:20 > 0:54:22that you don't see the obvious.
0:54:22 > 0:54:25Yet who would have thought the old man
0:54:25 > 0:54:27to have had so much blood in him?
0:54:27 > 0:54:31'Shakespeare gives us these words over and over again.'
0:54:31 > 0:54:35Blood isn't always referred to as blood.
0:54:35 > 0:54:38Wash your hands, put on your nightgown, look not so pale.
0:54:38 > 0:54:39I tell you yet again...
0:54:39 > 0:54:43'But blood runs throughout the passage.'
0:54:43 > 0:54:46"Wash your hands, put on your nightgown" relates to it in a way...
0:54:46 > 0:54:47It does, oh it does.
0:54:47 > 0:54:53..That I didn't absolutely think of until now.
0:54:53 > 0:54:57Great, let's just try that now using the sense of impetus and change
0:54:57 > 0:55:02that's in the punctuation - in the full stops, commas, anything at all.
0:55:04 > 0:55:07So I'll beat whenever there is punctuation.
0:55:07 > 0:55:09Yet here's a spot.
0:55:09 > 0:55:13Out, damned spot! Out, I say!
0:55:13 > 0:55:15One, two, why...
0:55:15 > 0:55:19'What we are looking at is how we use'
0:55:19 > 0:55:25written punctuation to actually signify a change in thought
0:55:25 > 0:55:28or a development of an idea.
0:55:28 > 0:55:30Fie, my lord, fie, a soldier, and afeard?
0:55:30 > 0:55:36What need we fear who knows it, when none can call our power to account?
0:55:36 > 0:55:38Yet who would have thought the old man
0:55:38 > 0:55:39to have had so much blood in him?
0:55:43 > 0:55:47Try that again now, this time actually shifting,
0:55:47 > 0:55:49moving, see if it makes a difference.
0:55:49 > 0:55:52So if we put these two chairs together.
0:55:52 > 0:55:56Just become very aware of when you are talking to yourself
0:55:56 > 0:56:00and when you are talking to Macbeth.
0:56:00 > 0:56:03She doesn't see the doctor, she doesn't see...
0:56:03 > 0:56:07She sees Macbeth in a ghost-like form.
0:56:07 > 0:56:10Fie, my lord, fie, a soldier, and afeard?
0:56:10 > 0:56:15What need we fear who knows it, when none can call our power to account?
0:56:15 > 0:56:17Yet who would have thought the old man
0:56:17 > 0:56:19to have had so much blood in him?
0:56:19 > 0:56:24They're snippets of scenes she has had with Macbeth,
0:56:27 > 0:56:31interjected with moments she has had on her own.
0:56:31 > 0:56:33Yet who would have thought the old man
0:56:33 > 0:56:36to have had so much blood in him?
0:56:36 > 0:56:41The Thane of Fife had a wife, where is she now?
0:56:41 > 0:56:44No more o'that, my lord, no more o'that,
0:56:44 > 0:56:49no more o'that, my lord, no, no more o'that, my lord, no more of that,
0:56:49 > 0:56:52you mar all with this starting.
0:56:52 > 0:56:55Interesting - how did that feel to you?
0:56:55 > 0:56:58There was a bit where I was,
0:56:58 > 0:57:02it wasn't just a mistake, it was a pull between which it was,
0:57:02 > 0:57:08and it's hard to know if she is remembering herself in that scene
0:57:08 > 0:57:11do you know, remembering how she was,
0:57:11 > 0:57:15a woman who was empowered, talking to Macbeth,
0:57:15 > 0:57:21or if she is the broken woman, remembering the strength in Macbeth.
0:57:21 > 0:57:25Yes, it's interesting though that she says some of the things
0:57:25 > 0:57:28slightly differently, so Shakespeare doesn't give you the exact word,
0:57:28 > 0:57:33again, do you remember what you say in the previous scene
0:57:33 > 0:57:37when here you say, "What's done cannot be undone"?
0:57:38 > 0:57:41- What's done, is done.- Yes.
0:57:43 > 0:57:45What's done cannot be undone.
0:57:47 > 0:57:52So we get the feeling that this, the blood on her hands...
0:57:52 > 0:57:54Will not, will not come off.
0:57:54 > 0:57:59..Will not come off no matter how much she rubs it. What is done?
0:57:59 > 0:58:03The deed. The deed is done because Macbeth says that too.
0:58:03 > 0:58:05- I have done the deed.- Yes, yes.
0:58:05 > 0:58:08The deed suggests that it is final.
0:58:08 > 0:58:13It hasn't repercussions and I think that's what she has hoped for.
0:58:14 > 0:58:18That once the deed is done, that's it. That can be the end.
0:58:18 > 0:58:21They can move on, they can do other things, yes.
0:58:21 > 0:58:25But conscience has to play a part and it undoes her.
0:58:25 > 0:58:29What's done cannot be undone.
0:58:29 > 0:58:33To bed, to bed, to bed.
0:58:45 > 0:58:48Subtitles by Red Bee Media Ltd