Screenplay by Ian McKellen and Richard Loncraine

Scenes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 

SCENE 2 

EXT. STREETS OF THE CAPITAL - DAY 

Led and followed by an escort of OUTRIDERS, RICHARD'S staff-car drives through some unidentifiable, rubble-filled, war-torn streets of the capital, unnoticed by CITIZENS dourly adjusting to normality. 

SERGEANT RATCLIFFE, RICHARD'S loyal batman, is at the wheel. From the back seat, RICHARD looks straight ahead, expressionless.

scene 2. It was unnecessary to go to the expense of dressing-up London, when the more important point was to have a look at Richard. The simple shot of returning to civilian life took a couple of hours driving round the anonymous official buildings behind Whitehall, London. My car was loaded onto a larger vehicle which also pulled along the camera and crew.
SCENE 3

INT. STAIRCASE - THE PALACE - DAY

A young liveried FOOTMAN carries two of the heavier bags; a middle-aged LADY-IN-WAITING grasps one suitcase-handle in both her hands. LADY ANNE, in mourning black, follows them down the long corridor, banging her bags along the carpet and endangering the Ming vases below the royal portraits, which dominate the walls. This is no longer her home. A new dynasty is taking over.

scene 3 was filmed but RL judged it too confusing among all the other introductions to the principal characters. Lady Anne's first entrance is more effective where Shakespeare has it in the play, just before she meets Richard in scene 22.
SCENE 4 

INT. RICHARD'S VEHICLE - DAY 

RICHARD'S right hand selects an Abdulla from his monogrammed silver cigarette-case and lights up with the ultimate in tasteful 30s lighters.

scene 4. I had remembered from the theatre programmes of my youth "Cigarettes by Abdulla" and made them Richard's preferred brand, not realising that they were no longer in production. Diligently, the property department located the six surviving packets of Abdulla in London and bought one of them intact. Even so, I smoked non-nicotine herbal cigarettes as, for this shot alone, I had to light about twenty, one after the other. The 30s lighter showed its age and regularly refused to spark into life.
SCENE 5 

INT. THE QUEEN'S BATHROOM - THE PALACE -DAY 

Her Majesty, the American-born QUEEN ELIZABETH, has only just moved into the Palace but already looks at home. A LADY-IN-WAITING is trying to get her ready for the evening but the new Queen, in her chic undies, is more interested in her 7-year-old son PRINCE JAMES, who is having his hair washed by his NANNY. The naughty Prince, in nothing but his drawers. flicks water at his mother, who shrieks with laughter.

scene 5 was shot at Richmond Fellowship (built by Halsey Ricardo in 1906). The film shows little of the effect of politics on the general population (cf. the whole national view of Henry IV parts l & 2) - rather it is the backstage story of a powerful Establishment. Hence this domestic introduction of the new Queen and her son off-duty. Although he's not named in the dialogue, we had called him "Prince James" on the cast-list, as confusingly his real name was "Richard."
SCENE 6 

INT. THE KING'S DRESSING-ROOM - THE PALACE - DAY 

The new King, His Majesty KING EDWARD, half-dressed for the Victory Ball, is in skittish mood but he has to take his medicine. He is sitting at a dressing-table, with his VALET standing behind and knotting the white bow-tie. KING EDWARD offers his tongue, on which a nubile NURSE tentatively places two blood-pressure pills. As KING EDWARD swallows them down, with the aid of a tumbler of Scotch-and-soda, the NURSE flinches. The royal hand is working its way steadily up between her thighs beneath her crisp starched frock.

scene 6. This reference to King Edward's lechery in preparation for Richard's accusations in scene 74 seemed unnecessarily confusing for the first time he is seen. It was more important to note his ailing health: cf. Richard's calumny of King Edward at the end of scene 48
SCENE 7 

EXT. RICHARD'S VEHICLE - DAY 

RICHARD'S car crosses a bridge on its way to the Palace, in the distance, situated on the edge of the Thames.

scene 7. This was my last piece of filming, on Sunday morning, 8 October 1995, five weeks after the principal photography was completed. We are on Lambeth Bridge across the Thames.
SCENE 8 

INT. DARK ROOM - CLARENCE'S STUDIO - THE PALACE - DAY 

CLARENCE, RICHARD'S older brother, wearing an apron over his dress-shirt, with bow-tie undone, removes a photograph from the developer and adds it to the row of family photographs pinned above him. He suddenly notices the time, takes off his steel-rimmed bifocals and hurries from the studio.

scene 8. The developing image is of three very different royal brothers - King Edward, Clarence and Richard.
SCENE 9 

INT. CLARENCE'S STUDIO - THE PALACE - DAY

CLARENCE removes his apron, puts on a jacket, leaving his bow-tie undone, and walks across the room to get his Leica camera equipment and hurries out.

SCENE 10 

EXT. COURTYARD - THE PALACE - EVENING

Through the windows of the Palace facade, the chandeliers are being lit, as RICHARD'S car and escort roar into view.

scene 10. The Palace exterior is of St Pancras Chambers, designed by George Gilbert Scott (1868), which until 1935 was the Grand Midland Hotel at the rail terminus for trains going north. It has been removed by film-magic from Euston Road to the south bank of the Thames.
SCENE 11 

INT. THE QUEEN'S QUARTERS - THE PALACE - EVENING 

KING EDWARD. QUEEN ELIZABETH and their son, the 7-year-old PRINCE JAMES, are now dressed to the nines. 15-year-old PRINCESS ELIZABETH, is a little nervous in her first ball-gown. KING EDWARD coughs asthmatically.

CLARENCE, now in evening dress, arrives, with his mother, the DUCHESS OF YORK, on his arm. She is, tiara-to-toe, an Edwardian matriarch and proudly curtsies to her eldest son, KING EDWARD. 

PRINCESS ELIZABETH kisses her uncle and adjusts his ill- knotted white tie. 

scene 11. The Queen's Quarters were found in the fantastically decorated Strawberry Hill House, which in 1748 Horace Walpole converted into a small Gothic castle on the Thames at Twickenham.
They are joined by RICHARD, magnificent in full dress uniform of the army's Commander-in-Chief. The Royal Family is complete, as RICHARD bows to his brother, the King.As Richard approaches the Duchess of York with a friendly greeting, she almost snubs him.
SCENE 12 

EXT. PAN-AM TRANSATLANTIC PLANE - EVENING 

EARL RIVERS, the new Queen's American brother, appears at the exit from the aeroplane, just landed from the USA. He grins at the PAN-AM AIR HOSTESS, who flashes her sexiest smile. In time to the jolly dance music on the soundtrack, the waggish playboy shakes off his jet-lag with a skip-and-a-dance down the stairs of the gangway. 

He ends with a wave to the appreciative AIR HOSTESS, who waves back.

scene 12 was filmed at Shoreham Aerodrome on the same day as scene 99. The airfield at Shoreham is the oldest public licensed airfield in the country still operating (1910). The terminal building was built in 1936. In the play, Queen Elizabeth's Woodville Family are reviled by Richard as provincial outsiders to the metropolitan power-centre. A 30s equivalent was to make them American: witness the British Establishment's outcry in 1936, when King Edward VIII wanted Wallis Simpson to be his queen. 

EARL RIVERS (whose title might be a credible first name) has to be established as an American visitor. An earlier draft had Rivers looking out of the window of his first-class cabin, as the aircraft was coming in to land. From his point of view, the city of the film was spread out below. 

SCENE 13 

INT. GRAND STAIRCASE - THE PALACE - EVENING 

KING EDWARD, QUEEN ELIZABETH, PRINCE JAMES, PRINCESS ELIZABETH, the DUCHESS OF YORK and RICHARD are grouped on the landing of the grand staircase, overlooking the balustrade. 

CLARENCE is on the landing below. He sets the self-timer, and runs up the stairs to join the family group photograph.

END OF CREDITS

scene 13 shows a remnant of the interior grandeur of the old Hotel and a useful shot identifying the new royal family.

SCENES 14-16

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