Zeffirelli’s

Romeo and Juliet (1968): Analysis of Shooting Script

This is the first time that an original copy of the script used during the shooting of the movie in the summer of 1967 has been the subject
of a scene-by-scene analysis and commentary.

Original scene headers and scene descriptions:
© 1967 Paramount Pictures Corporation

This analysis and commentary:
©2018 Peter Hibbert and the Romeo and Juliet Movie Database
www.romeo-juliet-1968.com


Scene Scene Header Scene Description Commentary
Number
SCENE 1 WALL AND CATHEDRAL An ancient wall, full of cracks and Scene replaced with a voice
SQUARE, VARIOUS PLACES flaked, where innumerable generations over by Laurence Oliver reading
– EXTERIOR GREY, WINDY seem to have left a mark, a message. the Prologue.
DAY In this first image there is just a Camera positioned in the
fleeting glimpse of the red and ochre Piazzale Castel S. Pietro, Verona
of Verona, mingled with the dark - Evening setting sun.
green of moss and damp patches. Here Exterior shot panning L to R
and there large blocks of marble are over the roof tops of Verona
visible under the layers of plaster, Centre of focus: Chiesa di
revealing the Roman origins of the Sant’Anastasis in silhouette.
city.
Then cuts to (panning R to L):
Main back lot – Cinecittà
Studios, Rome: “Cathedral
Square”.

1
SCENE 2 MARKET STREET (WITH The wind drops, the sun begins to
STALLS IN THE MIDDLE) shine again, and colour flows back
LIT BY THE SUN. into the whole scene, as if all the
EXTERIOR DAY. lights had suddenly been turned on…
SCENE 3 CAPULET HOUSE – Tybalt is lying on the bed in the
INTERIOR – DAY shadow, with a fair-haired woman whom
we can only just glimpse, in his
arms.
SCENE 4 MARKET STREET AND OPEN The Capulet servants and the Montague
SPACE AT THE END OF THE servants are fighting – other
STREET – EXTERIOR DAY servants join them on both sides –
the Capulets are about to get the
worst of it, having the market people
against them too.
SCENE 5 CAPULET HOUSE – Members of the family and servants
EXTERIOR DAY are rushing to fetch swords and clubs
from the Capulet armoury
SCENE 6 MONTAGUE HOUSE – Old Montague, with his sword in his
INTERIOR DAY hand, is following a group of armed
members of his family who are rushing
towards the way out. On the
threshold he meets citizens who are
carrying in the old servant, who is
bleeding and unconscious.
Main back lot – Cinecittà
Studios, Rome – “’Cathedral
Square”.
This scene was deleted in its
entirety following
correspondence with the British
Board of Film Censors: see
www.romeo-juliet-1968.com
website for further details.
Main back lot – Cinecittà Studios
– Side street to “’Cathedral
Square”. Later cuts to: Bell
tower of the Palazzo dei
Consoli, Gubbio, Umbria, for the
ringing of the bell.
The courtyard of the Palazzo
Piccolomini, Pienza Tuscany.
Cuts to the Piazza Pio II, Pienza
Via S. Ubaldo, Gubbio, leading
to the Palazzo Ducale, Gubbio.
Cuts to bell tower – Palazzo Dei
Consoli, Gubbio
2
SCENE 7 MARKET STREET AND OPENThe brawl between the servants has
SPACE AT THE END OF THE
now become a real civil war between
STREET – EXTERIOR DAY the factions that harass the town.
SCENE 7/a SHOP IN THE CENTRE – A band of young hooligans (belonging
INTERIOR DAY to the Capulet clan) is turning a
shop upside down, breaking everything
and plundering the goods. The owner,
a fat, energetic man, rebels, not at
all intimidated: but he is soon
overcome by numbers. His young wife
arrives and tries to defend her
husband. The young men hold her so
that she cannot move.
SCENE 7/b SHOP IN THE CAPULET A group of young Montagues pass along
DISTRICT – EXTERIOR DAY the street shouting. They are met
with a shower of articles of all
kinds hurled at them by the Capulets
who are barricaded in the house.
SCENE 7/c AN OPEN SPACE – Half a dozen Capulets stun an
EXTERIOR DAY adversary and throw him into a well.
SCENE 8 TOWER OF THE TOWN HALL A young soldier of the town militia
OR TOWER OF THE CHURCH is desperately ringing the bell of
the Town Hall tower.
Piazza Bargello, Gubbio.
This sub-scene is deleted and
replaced with market stalls
being overturned in the
Cathedral Square, Cinecittà
Studios
Location possibly Gubbio. Bags
of flour are poured out of
windows on to Montagues
running past. Cuts to Piazza
Bargello, Gubbio
Cathedral Square, – Cinecittà
Studios. Replaced by Lord
Capulet and another throwing a
Montague man down some
steps. Riot in Square.
This scene is added instead to
Scene 4. Bell tower – Palazzo
3

SCENE 8/a FROM ABOVE – ROOFS AND Bird’s eye view of the general melee
STREET – EXTERIOR DAY in the streets of the town.
SCENE 9 LITTLE WOOD NEAR THE Deep peace, the rustling leaves,
CITY OF VERONA – contrast with the shouts and din of
EXTERIOR DAY the city, which seems to have
vanished suddenly … Romeo is lying
lazily on the grass… Scene 12.
SCENE 10 STREET IN VERONA – The Prince gallops past at full
EXTERIOR DAY speed, at the head of his armed
guards, amid the thunder of hoofs on
the paving stones.
SCENE 11 CATHEDRAL SQUARE – Close up of the Prince, on horseback,
EXTERIOR DAY surrounded by his armed guard,
speaking vehemently
SCENE 12 LITTLE STREET LEADING Montague anxiously questions
TO THE MONTAGUE’S HOUSE Benvolio, who is plugging a little
AND STREET IN FRONT OF wound on his forehead.
THE MONTAGUE’S HOUSE –
EXTERIOR DAY
Dei Consoli, Gubbio
Replaced with ground level
shots of general melee -
Cathedral Square, – Cinecittà
Studios
Scene deleted in its entirety, but
would have explained why
Romeo has a wild flower in his
hand as he walks the street in
Cathedral Square, Cinecittà
Studios
Cathedral Square, Cinecittà
Studios
The location for the little street
is the Via S. Ubaldo, Gubbio,
leading to the Palazzo Ducale
(used as the Montagues’ house).
Romeo makes his first
appearance walking up the Via
Ducale, which leads to this
location. Benvolio’s wound,
received in the movie during the
riot, has disappeared in this
4

SCENE 13 CAPULETS’ HOUSE,
INTERIOR DAY
SCENE 14 VARIOUS STREETS.
EXTERIOR DAY a perfect simpleton, and partly angry
SCENE 15 CAPULETS’HOUSE.
INTERIOR EVENING
SCENE 16 VARIOUS STREETS AND
CATHEDRAL SQUARE.
EXTERIOR NIGHT.
Capulet and Paris are going up the
stairs, on their way to the upper
floors of the mansion, and pass
through rooms and corridors,
chatting. The tone is friendly,
relaxed.
Peter is in the street, looking like
with himself for not having the
courage to answer his master. He
walks aimlessly on, turning the piece
of paper over in his hands and
soliloquising…
There is a great hustle and bustle in
the Capulets’ house. Noisy
preparations for the feast are at
their height. The Nurse is
superintending the last hasty
touches; in the vast courtyard
musicians pass and servants laden
with trays.
A group of fashionable young-men-
about-town, some of them slightly
tipsy, Romeo, Benvolio, Mercutio, and
two or three others, are present.
scene – a continuity omission.
Location: Interior leading to
first floor of the Palazzo
Piccolomini, Pienza around its
courtyard. The script has
Capulet giving Peter the written
invitation for circulation –
omitted in the movie.
This scene was edited out in its
entirety in the movie. However,
it was filmed, as recorded in the
photo stills (see: “Director’s
Cuts” – www.romeo-juliet-
1968.com)
The hustle and bustle takes
place in the open courtyard to
the Palazzo Piccolomini, Pienza.
The movie editor places it at the
start of Scene 13. The scene of
the Nurse is changed to daytime
in the movie.
The location is Pienza. The
group enter the Piazza Pio II
from the Corso Rossellino.
Across the Piazza is the Palazzo
5

SCENE 17 (OMITTED FROM SCRIPT)
SCENE 18 CAPULETS’ HOUSE –
INTERIOR NIGHT
SCENE 19 COURTYARD OF THE
CAPULET’S HOUSE.
EXTERIOR NIGHT
They are masked; there are also a few Piccolomini, used as the
attendants (Balthazar) with torches, Capulets’ house. The scene
and the two musicians, one with a laters cuts to the Cathedral
large drum. The group is moving Square – Cinecittà Studios – for
vaguely in the direction of the Mercutio’s speech.
Capulets’ house, not yet quite
decided how to behave. They throw
stones, break lanterns, insolent, in
search of amusement. Mercutio takes
a mask from the hands of a companion…
The first image that strikes us at Scene 18-20 are shot in
the feast is a sea of masks: masks of sequence as an interior
all kinds, including the mask of ballroom scene on a sound stage
death. Romeo’s friends, whose faces at Cinecittà Studios. The three
are covered, have already gone in. scenes are shot around the
The late-comers are welcomed by the singing of the ballad ‘What is a
host, who continues to chat to a Youth?” which is not mentioned
cousin, an elderly gentleman. As the in the script
following words are spoken, Romeo
slides the mask down over his face
and passes in front of two old men,
as his friends had done previously.
Juliet is in the courtyard, As above and not as an exterior
breathless. But Romeo follows her; scene
Juliet can only turn round and face
him, at once shy and attracted, with
6
 innocent coquetry.
SCENE 20 CAPULETS HOUSE. From these words, the scene proceeds
INTERIOR/EXTERIOR NIGHT in rapid images, unreal, as in a
growing delirium.
SCENE 21 STREETS NEAR THE … Mercutio and Benvolio.
CAPULETS’ HOUSE, SHOT
FROM ABOVE.
INTERIOR(sic) NIGHT.
SCENE 22 CAPULETS’ HOUSE AND Romeo stops suddenly on reaching the
GARDEN – EXTERIOR NIGHT large oak tree which casts a wide
zone of shadow. Juliet has appeared
at the window. A light, fantastic
image as in a dream. The boy cannot
believe his eye, which are gleaming
in the darkness.
SCENE 23 CONVENT GARDEN OUTSIDE Presentation of Friar Laurence. The
THE WALLS OF VERONA. alchemist friar is finishing filling
EXTERIOR DAY. (DAWN) a basket with certain rare herbs he
collects in a field outside the city
walls, near the convent.
SCENE 24 CATHEDRAL SQUARE. The bells ring out at nine o’clock.
EXTERIOR DAY (SUNNY) It is a fine sunny day; and at the
bottom of the cathedral steps, two
As above, Juliet discover’s
Romeo’s identity.
Location: Via del Municipio,
Artena, Italy
Location: The rear garden of
the Palazzo Borghese, Artena.
The front door of the Palazzo is
situated on the Via del
Muncipio.
Many locations have been
suggested for this scene, but
aerial photography suggests
that it is the Lavello Tower wall
adjacent to the Chiesa di S.
Pietro, Tuscania, Italy. Cuts to:
interior – Chiesa di S. Pietro
Scene changed to: (a) Benvolio
and Mercutio are filmed in the
roofed terrace on the top floor
7

SCENE 25 THE CATHEDRAL –
INTERIOR DAY
SCENE 26 GARDEN AT CAUPLETS’
HOUSE. EXTERIOR DAY anxiously awaiting the return of her
SCENE 27 CAPULETS’ HOUSE.
COURTYARD. EXTERIOR
DAY. THEN INTERIOR ground-floor rooms in the servants’
groups of children, Capulets and
Montagues in miniature, are fighting
with a great uproar, brandishing
wooden swords. The whole square is
bustling with activity. It is the
peak hour for the work of the city.
In contrast with the bustle all
around them, Mercutio and Benvolio
are lying quite motionless on the
steps of the church. Benvolio, who
is studying for examinations,
endeavours to read on of the books he
has with him.
The Nurse piously crosses herself,
and goes and kneels down. Romeo
follows her. The Nurse pretends to
mumbles prayers. Romeo looks at her
questioningly. He, too, is kneeling.
Juliet at the garden-gate is
messenger.
The following scene takes place in
the large courtyard and then the
quarters, ending in the laundry, amid
the washed linen and the fragrance of
of the Palazzo dei Consoli,
Gubbio.
(b) Then cuts to: Cathedral
Square, Cinecittà Studios. The
children part of the scene is
deleted.
Interior - Chiesa di S. Pietro,
Tuscania.
Juliet comes down the steps to
the rear garden of the Palazzo
Borghese, Artena, which can
seen from the Via Giuseppe
Garibaldi.
This scene cuts from the steps
in the rear garden of the Palazzo
Borghese to possibly the
interior of a room with a large
8
 bread just out of the oven. The fireplace in the Palazzo
Nurse drags herself along, pretending Piccolomini, Pienza. [Olivia
to be panting, letting herself fall Hussey was photographed
every now and then on a stool to get wearing the brown dress and
her breath back, and then moving on apron (with Leonard Whiting in
to avoid Juliet who is pursuing her costume) while relaxing with
with questions. drinks in the Piazza Pio II,
Pienza]. The brown dress is
worn only in Scenes 26 & 27. It
is currently on exhibition at the
Juliet House, Verona, Italy.
SCENE 28 CHURCH-SACRISTY. The early hours of the afternoon. Interior of the Chiesa di S.
INTERIOR DAY. Romeo and the Friar are in the Pietro, Tuscania
church. Friar Lawrence is closing
the heavy door. Romeo has in his
hands lillies he has picked in the
garden.

END OF
PART I
PART II PASSAGEWAY IN THE The early hours of the afternoon. It Cathedral Square, Cinecittà
SCENE MARKET AND CATHEDRAL is very hot, and the sunny square is Studios
9(sic) SQUARE. EXTERIOR DAY. slowly beginning to show signs of
[29] life after siesta time. Two figures
cross the square. They are Mercutio
and Benvolio, wandering aimlessly, in
obedience to the former’s
restlessness. Mercutio’s face is
covered with a handkerchief; this

9

SCENE 30 VARIOUS STREETS.
EXTERIOR DAY.
SCENE 31 CAPULETS’ HOUSE.
INTERIOR DAY.
protection from the stifling heat
gives, for the moment, a somewhat
sinister evocation of a shroud.
Benvolio stops; he is tired of
wandering about, he would like to go
home. He tries to convince Mercutio.
Convulsed, sword in hand, Romeo runs The duel with Tybalt is filmed at
along a deserted little street, the junction of the Via Monte
calling upon his invisible enemy at and the Via Appennino, Gubbio.
the top of his voice. Tybalt hears The fig tree in the scene, around
his cries. He seems undecided what which much of the action takes
to do. place, still survives. The scene
later cuts to the Cathedral
Square, Cinecittà Studios.
Juliet at the window: time seems to Interior: Juliet’s bedroom.
be standing still. She peers at the sound stage, Cinecittà Studios
clouds in the sky beyond the
embattled walls and the tall trees in
the garden. She is already
undressed, with only her night-gown
on, and her hair loose on her
shoulders. But the sun is still
high, and it is still many hours till
sunset.

SCENE 32 VARIOUS STREETS. Lady Capulet comes screaming out of Scene deleted
CATHEDRAL SQUARE. the main door of the Capulet House.
EXTERIOR DAY. The news of Tybalt’s death has
chilled her. She is wearing her

10
 indoor clothes and as she runs along
the streets of Verona, her tumbles
down, till it is loose on her back.
The Nurse and other members of the
family try to hold her back in vain.
The cold, dignified woman we knew
gives vent wildly to her grief.

SCENE 33 STREETS. EXTERIOR DAY. Meanwhile, in the cathedral square, Scene deleted
other citizens, equally excited and
emotional, are gathering around
Mercutio’s body: many Montagues
around them.

SCENE 34 STREETS. EXTERIOR DAY. The Capulets, too, are silent. Lady Scene deleted
Capulet has a moment of dismay and
hesitation on seeing Mercutio killed.
A brief moment: she feels that
everyone knows which side is guilty
and responsible; even the most
violent of Capulets are standing with
heads bowed, embarrassed, guilty.

SCENE 35 STREET. EXTERIOR DAY In a corner, Benvolio, stunned, Scene deleted

dejected. A citizen recognizes him.

SCENE 36 COURTYARD OF THE Two streams of yelling people arrive Filmed in the “Courtyard of the
PRINCE’S PALACE. from opposite directions in the Prince’s Palace”, Cinecittà
EXTERIOR DAY. courtyard of the Prince’s palace. Studios, which has two
The corpses of Tybalt and Mercutio entrances, one through which

11

SCENE 37 CAPULETS’ HOUSE.
INTERIOR DAY grief is listening to the Nurse
are laid out on the first steps of
the stairway. Instead of attacking
one another, Capulets and Montagues
about(sic)[ask?]for justice.
In her room, Juliet stunned with
finishing her story. The Nurse is
wringing her hands, in utter despair,
unable to quieten herself.
the Capulets bring Mercutio’s
body, and the other through
which the Montagues bring
Mercutio’s. The well is
modelled on the well in the
Piazza Pio II, Pienza.
Scene deleted

SCENE 38 FRIAR LAWRENCE’S CELL. The Friar pushes open a bolt and goes
INTERIOR EVENING – into the cell. Romeo, who was there,
(DUSK) hidden, jumps up anxiously.
SCENE 39 CAPULETS’ HOUSE Juliet and Romeo on the bed; it is
(JULIET’S ROOM). time to say goodbye, after their
INTERIOR DAWN. first night of love. From the open
window come the first light and the
twittering of birds. SINGING OF
LARKS. The young couple are lying
naked on the bed, two tender shoots
(so like those that the Friar has so
often grafted in his orchard), whom
love and the blessing of the Church
have fused into one.
Sound stage, Cinecittà Studios
Sound stage, Cinecittà Studios.
Correspondence between the
BBFC and Anthony Havelock-
Allen (co-producer) in
December 1967 indicates that
the love scene posed problems
with the film censors, who later
were unable to give the movie a
“U” (Universal) classification. It
eventually received an “A”
(Advisory) classification
(equivalent to PG today). It was

12
 the first time a Shakespearian
movie had been given an “A”
classification.
SCENE 40 GARDEN OF THE CAPULETS’ Romeo on the ground turns round to Balcony, Palazzo Borghese ,
HOUSE, THEN STREETS, blow her a last kiss. Artena
EXTERIOR DAWN

SCENE 41 VERONA STREETS. Romeo passes along the deserted Scene deleted
EXTERIOR DAWN. streets, under the high battlemented
towers. A flight of crows hover in
the sky.

SCENE 42 IN FORT(SIC)[FRONT?] OF Balthalzar is waiting; he is holding Outside the main door of the
THE MONTAGUES’ HOUSE. the harnessed horse by the reins. Palazzo Ducale, Via S. Ubaldo,
EXTERIOR DAWN. Romeo leaps into the saddle, without Gubbio
saying a word to his faithful
servant.

SCENE 43 CITY GATES. EXTERIOR Romeo had galloped out of the gate Scene deleted
DAWN and is disappearing in the direction
of the country. His cloak billows
out in the wind.

SCENE 44 JULIET’S ROOM. INTERIOR Juliet is on the bed, shaken with Sound stage, Cinecittà Studios
DAY sobs, her face hidden in the pillows.
Her mother is standing beside her in
mourning clothes. She tries to
console her somewhat mechanically,
but whenever her hand touches
Juliet’s the girl’s sobs seem to be

13
 redoubled.
SCENE 45 STUDY IN CAPULKETS’ It is the end of a long talk between
HOUSE, CORRIDORS, Juliet’s father and his future son-
STAIRS – INTERIOR DAY in-law.
SCENE 46 JULIET’S BEDROOM. Where Juliet is sobbing on the bed,
INTERIOR DAY. while the Nurse tries to console her.
SCENE 47 CORRIDOR IN CAPULETS’ Lady Capulet stops for a moment in
HOUSE INTERIOR DAY the doorway, without turning round.
SCENE 48 FRIAR LAWRENCE’S CELL. Friar Lawrence and Paris.
INTERIOR DAY
SCENE 49 CAPULETS’ HOUSE. And we see Juliet’s actions (bowing
INTERIOR NIGHT with a smile to her parents, kissed
on the forehead by her mother,
pushing the Nurse out of her room)
taking place as a comment on the
Friar’s words Juliet says her words of
The first half of the scene with
Paris is deleted. The scene
starts with Capulet’s rage at
being told by his wife that Juliet
will refuse to marry Paris.
Sound stage, Cinecittà Studios
Sound stage, Cinecittà Studios
Probably filmed at the Chiesa di
S. Pietro, Tuscania
The dialogue in this scene is
revised and considerably
simplified: the setting is
Capulet’s study; the voice over
by Friar Lawrence is removed;
contrition to her father, then is
kissed by her mother. The
scene then cuts to Juliet’s
bedroom where she drinks from
the vial given to her by Friar
Lawrence
14
SCENE 50 CONVENT. EXTERIOR DAWN TWITTERING OF LARKS. Superimposed on
SCENE 51 CAPULETS’HOUSE.
EXTERIOR. MORNING
SCENE 52 CAPULETS’HOUSE.
EXTERIOR. MORNING
SCENE 53 CEMETRY AND EXTERIOR OF Carried shoulder high, Juliet’s body
the Friar’s voice which continues,
the sounds of dawn: and indistinctly,
in long shot, as in Juliet’s dream,
we see Friar Lawrence at the convent
gate taking leave of the young friar
who will take his letter to Romeo.
The young friar departs riding a
mule.
The Capulets’ house, seen from the
outside, immersed in the rosy light
of morning. A deep, quiet silence,
broken only by the soft twittering of
birds. And suddenly this scene of
serenity and clam is rent by . . . A
TERRIBLE SCREAM OF THE NURSE
The door of Juliet’s room has been
thrown wide open, while the Nurse
rushes out, panting, screaming,
dishevelled.
The scene is probably in the
grounds of the Chiesa di S.
Pietro, Tuscania, with the
Lovello Tower in the
background.
Courtyard of the Palazzo
Piccolomini, Pienza
The action is changed in the
movie with various members of
the Capulet household
appearing in the corridors and
stairs of the Palazzo. The words
“O lamentable day” originally
given to the Nurse in the script
are said by Capulet. Additional
to the script is an extra scene:
exterior – Friar John leading his
mule along a country lane.
The location of the graveyard
15
 JULIET’S TOMB. advances towards the tomb, as far as scenes is uncertain. However,
EXTERIOR DAY the entrance to the underground the graveyard monument are
crypt. the same as those on the NE
wall of the Cathedral Square,
Cinecittà Studios, suggesting
that it is an adjoining back lot.
Cypress trees (as in the
graveyard) can also be seen on
the other side of the wall.
SCENE 54 A PALACE (sic) [place?] The young friar (Friar John), to whom This scene is completely
BETWEEN VERONA AND Friar Lawrence, has entrusted his changed in the movie. The
MANTUA. EXTERIOR DAY. message to Romeo, is riding along on scene, involving Friar John
his mule when an agitated voice calls being delayed by helping a
to him. peasant woman’s dying
husband, is deleted and is
replaced by a shot of Balthazar
on horseback overtaking at
speed Friar John walking with
his mule along a country lane.
SCENE 55 EXTERIOR ROMEO’S HOUSE. Romeo comes out on the balcony of the Scene 55 is replaced with
EXTERIOR SUNSET. MANTUA house where has taken refuge, and Balthazar emerging into a
exclaims pensively to himself . . . vaulted rural building

SCENE 56 STAIRCASE OF ROMEO’S Romeo . . . rushes down the stairs . This scene is preserved.
HOUSE IN MANTUA – . .
INTERIOR SUNSET

SCENE 57 STREET IN FRONT OF . . . And he reappears, running The scene is changed with
ROMEO’S HOUSE IN MANTUA happily towards Balthazar, at the Romeo speaking to Balthazar

16
 doorway. inside the rural vaulted building
SCENE 58 APOTHECARY’S SHOP, Romeo, his faced convulsed, is
MANTUA. EXTERIOR furiously beating with his fists on
SUNSET the shop door.
SCENE 59 APOTHECARY’S SHOP, The old apothecary shuffles across
MANTUA. INTERIOR the shop, muttering to himself, and
SUNSET opens the door warily, his eyes
peering out.
SCENE 60 VARIOUS PLACES BEWTEEN Romeo and Balthazar can be seen at
MANTUA AND VERONA. various points, galloping at top
EXTERIOR SUNSET AND speed towards Verona
THEN EXTERIOR NIGHT
SCENE 61 GRAVEYARD IN VERONA – Paris comes in with flowers
EXTERIOR NIGHT accompanied by a page holding a
torch. They go up to Juliet’s tomb.
SCENE 62 CRYPT OF THE CAPULETS. Romeo begins to climb down into the
INTERIOR NIGHT crypt. Juliet is lying on the
sarcophagus almost in the middle of
the crypt. Scattered all over the
crypt we can see bones, skulls, the
Russell Jackson (2007) indicates
that Leonard Whiting
mentioned in interview that he
has no recollection of the
apothecary scenes having been
filmed.
As above.
This scene is preserved.
The first part of the scene
involving the arrival of Paris
and the duel with Romeo in
which Paris is killed is deleted.
Leonard Whiting in interview
with Russell Jackson (2007)
indicates that it was filmed.
The crypt used in the movie is at
the Chiesa di S. Pietro, Tuscania.
The steps down which Romeo
climbs are to the right of the
crypt. The scene, involving the
17

SCENE 63 GRAVEYARD IN VERONA.
EXTERIOR NIGHT
SCENE 64 CAPULETS’ CRYPT.
INTERIOR NIGHT
SCENE 65 GRAVEYARD IN VERONA.
EXTERIOR NIGHT
dusty remains of those who have been
buried a long time. There is also
Tybalt’s putrified (sic) corpse.
Balthazar, who has almost fallen
asleep at the foot of the wall,
suddenly awaken and frightened on
seeing . . . some one coming forward
with a lit lantern. The boy,
trembling, gets to his feet, leaning
against the wall, while the man
carrying the lantern stops in his
turn, holding it up in the direction
of Balthazar.
Inside the crypt, Juliet slowly opens
her eyes, regaining consciousness . .
. while the Friar climbs down the
stairs and goes up to her.
We can glimpse the men of the watch
making their way in the dark among
the graves, and their voices and the
voices of the page can be heard.
decaying corpses of the
Capulets, was one of the issues
raised by the film censors in
deciding to give the movie an
“A” (Advisory) rather than a “U”
(Universal) classification. See:
“Director’s cuts” at
www.romeo-juliet-1968.com
The dialogue in this scene,
where Balthazar meets Friar
Lawrence, is considerably
shortened from that contained
in the script.
This scene runs into Scene 66
with the deletion of Scene 65.
Deleted.
18
SCENE 66 CAPULETS’ CRYPT. Juliet repeats to the Friar. [“Where Continuing from Scene 64.
INTERIOR NIGHT is my Romeo?”]

SCENE 67 STREETS IN VERONA, THEN One can hear . . . BELLS . . . The Cathedral Square, Cinecittà
THE CATEDRAL SQUARE. bodies of Romeo and Juliet are being Studios.
EXTERIOR DAY carried towards the church. The two
families follow them, side by side in
their grief and silent.

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