king's speech dialogue

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• The King's Speech

King George VI: If I am King, where is my power? Can I form a government? Levy a tax? Declare a war? No! And yet I am the seat of all authority because they think that when I speak, I speak for them. But I can't speak.

King George VI: Is the nation ready for two minutes of radio silence?

King George VI: Waiting for me to... commence a conversation, one can wait rather a long wait.

Queen Elizabeth: [to Winston Churchill, on the hold that Wallis Simpson seems to have on Edward VIII] Apparently she has certain skills - acquired at an establishment in Shanghai.

Lionel Logue: [to King George VI, upon his learning that Logue has no formal credentials] It's true, I'm not a doctor. And yes, I acted. A bit. Well...I recited in pubs, I taught elocution in schools. When the Great War came, all our soldiers were returning to Australia from the front, a lot of them shell-shocked, unable to speak. Somebody said, "Lionel, you're very good at all this speech stuff, you think you could possibly help these poor buggers?" I did muscle therapy, exercises, relaxation, but I knew I had to go deeper. Those poor young blokes cried out in fear. No one was listening to them. My job was to give them faith in their own voice, and let them know a friend was listening.

Lionel Logue: My castle, my rules.

Dr. Blandine Bentham: Cigarette smoking calms the nerves and gives you confidence.

Queen Elizabeth: [Using the name "Mrs. Johnson"] My husband, well... he's required to speak publicly.

Lionel Logue: Perhaps he should change jobs.

Queen Elizabeth: He can't.

Lionel Logue: Indentured servitude?

Queen Elizabeth: Something like that.

Lionel Logue: What was your earliest memory?

King George VI: What on earth do you mean?

Lionel Logue: Your first recollection.

King George VI: I'm not... here to discuss... personal matters.

Lionel Logue: Why are you here then?

King George VI: BECAUSE I BLOODY WELL STAMMER!

Lionel Logue: You have a bit of a temper.

King George VI: One of... m-my many faults.

Lionel Logue: Do you know any jokes?

King George VI: ...Timing isn't my strong suit.

King George VI: [Logue is sitting on the coronation throne] Get up! Y-you can't sit there! GET UP!

Lionel Logue: Why not? It's a chair.

King George VI: T-that... that is not "a chair", that is Saint Edward's chair.

Lionel Logue: People have carved their names on it.

King George: Y-y-you...

Lionel Logue: It's held in place by a large rock.

King George: Th-that is the S-stone of Scone you are t-trivializing...

Lionel Logue: I don't care how many royal arseholes have sat in this chair.

King George VI: L-listen to me... listen to me!

Lionel Logue: Listen to you? By what right?

King George VI: By divine right, if you must. I am your king!

Lionel Logue: No, you're not. You just told me you didn't want it.

King George VI: L-listen to me...

Lionel Logue: Why should I waste my time listening to you?

King George VI: Because I have a right to be heard! I have a voice!

Lionel Logue: [pause] Yes, you do. [stands] You have such perserverance, Bertie. You're the bravest man I know. You'll make a bloody good king.

Princess Elizabeth: [watching a clip of Hitler speaking] What's he saying?

King George VI: I don't know but... he seems to be saying it rather well.

[As he is talking to King George VI, Lionel hears his wife returning home]

Lionel Logue: Myrtle!

King George VI: It's all right.

[Lionel moves to the corner of the room, while Elizabeth calmly continues to sip her tea]

Lionel Logue: [Motioning] Bertie, over here.

King George VI: Are you all right, Logue?

Lionel Logue: Yes.

King George VI: [getting up and moving to Logue's corner] Well, shouldn't we go through? What is it?

'[Myrtle Logue enters the living room, and looks into Lionel's study. Not seeing them, she turns round, and is confronted with the sight of Queen Elizabeth sitting at her table]

Myrtle Logue: [lost for words] You're... You're..!

Queen Elizabeth: It's "Your Majesty" the first time. After that, it's "ma'am." As in "ham." Not "mum" as in "palm."

Lionel Logue: I haven't told her about us. Sit down, relax.

[In the living room]

Queen Elizabeth: I'm told that your husband calls my husband "Bertie," and my husband calls your husband "Lionel." I trust you won't call me "Liz?"

Myrtle Logue: [nervously curtsying] Your majesty, you may call me "Mrs. Logue," ma'am.

Queen Elizabeth: [holding out her hand to shake] Very nice to meet you, Mrs. Logue.

[In the office]

King George VI: Logue, we can't stay here all day.

Lionel Logue: Yes we can. I have to choose the right moment.

King George VI: Logue, you're being a coward.

Lionel Logue: You're damn right.

King George VI: [Getting up and opening the door] Get out there, man!

Lionel Logue: [leaving the office] Hello, Myrtle, darling. You're early. I believe you two have met. But I don't think you know... King George VI.

King George VI: It's very nice to meet you.

Myrtle Logue: [nervously curtsying again] Will their Majesties be staying to dinner?

Queen Elizabeth: [seeing her unease] We would love to, such a treat, but alas... a previous engagement. What a pity.

Lionel Logue: [as George is lighting up a cigarette] Please don't do that.

King George VI: I'm sorry?

Lionel Logue: I believe sucking smoke into your lungs, well, it'll kill you.

King George VI: My physicians say it relaxes the throat.

Lionel Logue: They're idiots.

King George VI: They've all been knighted.

Lionel Logue: Makes it official, then.

King George VI: David, I've been trying to see you

King Edward VIII: I've been terribly busy.

King George VI: Doing what?

King Edward VIII: Kinging.

King George VI: Really? Kinging... is a precarious business these days. Where's the Russian Tsar, Where's... cousin Wilhelm?

King Edward VIII: Ugh, you're being dreary.

King George VI: Is Kinging laying off... 80... staff and buying more pearls for Wallis while people are marching across Europe singing The Red Flag?

King Edward VIII: Stop your worrying, Herr Hitler will sort them out.

King George VI: And who will sort out Herr Hitler?

King Edward VIII: Where's the bloody '23?

King George VI: AND YOU PUT THAT WOMAN IN OUR MOTHER'S SUITE!

King Edward VIII: Mama's not still in the bed, is she?

King George VI: That's not funny.

King Edward VIII: Here it is, Wallis likes the very best.

King George VI: I don't care what... woman you carry on with at night as long as you... show up for duty in the morning.

King Edward VIII: Wallis is not just some woman I'm carrying on with, we intend to marry.

King George VI: [pause] Excuse me?

King Edward VIII: She's filing a petition for divorce.

King George VI: Good God... can't you just give her a nice house and a title?

King Edward VIII: I'm not having her as my mistress.

King George VI: The Church doesn't recognize divorce and you are the... head of the Church

King Edward VIII: Haven't I any rights?

King George VI: Many privileges.

King Edward VIII: Not the same thing. Your beloved common man may marry for love, why not me?

King George VI: If you were... a common man on what basis could you... possibly claim to be king?

King Edward VIII: Sounds like you've studied our wretched constitution.

King George VI: Sounds like you haven't.

King Edward VIII: That's what this is about, brushing up. Hence the elocution lessons, thats the scoop around town.

King George VI: I'm trying to...

King Edward VIII: Yearning for a larger audience, are we B-B-B-B-Bertie?

King George VI: [pause] Don't...

King Edward VIII: What's that? I'm sorry, I... younger brother trying to push older brother off the throne, p-p-p-p-positively medieval.

King George VI: All that work down the drain. My own brother, I couldn't say a single word to him in reply.

Lionel Logue: Why do you stammer so much more with David than you ever do with me?

King George VI: 'Cos you're b... bloody well paid to listen.

Lionel Logue: Bertie, I'm not a geisha girl.

King George VI: St... stop trying to be so bloody clever.

Lionel Logue: What is it about David that stops you speaking?

King George VI: What is it about you that bloody well makes you want to go on about it the whole bloody time?

Lionel Logue: Vulgar, but fluent; you don't stammer when you swear.

King George VI: Oh, bugger off!

Lionel Logue': Is that the best you can do?

King George VI: Well... bloody bugger to you, you beastly bastard.

Lionel Logue: Oh, a public school prig could do better than that.

King George VI: Sh*t. Sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t, sh*t!

Lionel Logue: Yes!

King George VI: Sh*t!

Lionel Logue: Defecation flows trippingly from the tongue!

King George VI: Because I'm angry!

Lionel Logue: Do you know the f-word?

King George VI: F... f... fornication?

Lionel Logue: [exasperated] Oh, Bertie!

King George VI: F***. F***! F***, f***, f*** and f***! F***, f*** and bugger! Bugger, bugger, buggerty buggerty buggerty, f***, f***, arse!

Lionel Logue: Yes...

King George VI: Balls, balls...

Lionel Logue: You see, not a hesitation!

King George VI: ...f***ity, sh*t, sh*t, f*** and willy. Willy, sh*t and f*** and... tits.

King George VI: In this... grave hour f*** f*** f*** perhaps the most fateful in our history bugger sh*t sh*t [ to the tune of "Swanee River" ] I send to every household of my... you see "P" is always difficult, even when I'm singing.

Lionel Logue: Bounce onto it. "apeoples".

King George VI: ape... apeoples, Household of my apeoples both at home and overseas,

Lionel Logue: Beautiful.

King George VI: this message [ to the tune of "Camptown Races"] doo dah, Spoken with the same depth of feeling doo dah day for each one of you, as if i were able to sh*t F*** Bugger cross your threshold and speak to you...

Lionel Logue: In your head now, I have a right to be bloody well heard.

King George VI: bloody well heard, bloody well heard, bloody well heard, Bloody Well Heard, BLOODY WELL HEARD MYSELF!

Lionel Logue: Now waltz, move, get continuous motion.

King George VI: [ to the tune of Tchaikovsky's "Sleeping Beauty Waltz"] For the second time in the lives of most of us we are at...

Lionel Logue': We are, take a pause.

King George VI:  : Lionel, I can't do this.

Lionel Logue: Bertie, you can do it. Have a look at the last paragraph.

Queen Elizabeth: Bertie, Its time.

Lionel Logue: You still stammered a bit on the w.

King George VI: Well, I had to throw in a couple so they would know it was me.

It takes leadership to confront a nation's fear. It takes friendship to conquer your own.

When God couldn't save The King, The Queen turned to someone who could.

Find your voice.

[Bertie is lying on the floor.]

Lionel Logue: Take a nice deep breath, expand the chest, put your hands onto your ribs, deeper... how do you feel?

King George VI: Full of hot air.

Lionel Logue: Isn't that what public speaking's all about?

[Bertie is lying on the floor, with Elizabeth sitting on his stomach.]

Lionel Logue: Deep breath, and up comes Her Royal Highness... and slowly exhale, and down comes Her Royal Highness...

Elizabeth: You all right, Bertie?

King George VI: Yes.

Elizabeth: It's actually quite good fun.

[As King George VI finishes his first speech as King in response to the declaration of war on Nazi Germany, having delivered it unexpectedly well]

Archbishop of Canterbury: Your Majesty, I am... speechless!

King George Vi: We're not a family, we're a firm.

King George Vi: In this grave... hour... perhaps the most fateful in our history, I send... to every household of my... a-peoples, both at home... and overseas... this message... spoken with the same depth of feeling for each one of you as if I were able to cross... your threshold and speak to you... myself. For the second time in the lives of most of us, we are at... at war. Over and over again, we have tried to find... a peaceful way out of the differences between ourselves and those who are now... our enemies. But it has been... in vain. We have been forced into a conflict, for we are called to meet the challenge of a principle, which, if it were to prevail, would be fatal to any civilised order... in the world. Such a principle, stripped of all... disguise, is surely the mere... primitive doctrine that might... is right. For the sake of all that we ourselves hold dear, it is unthinkable that we should refuse to meet... the challenge. It is to this... high purpose that I now... call my people, at home, and my people across... the seas, who will make our cause their own. I ask them to stand calm, and firm, and united in this time of trial. The task will be hard. There may be dark days ahead, and war... can no longer be... confined... to the battlefield. But we can only do the right... as we see the right, and reverently... commit our cause... to God. If one and all we keep resolutely faithful... to it, then... with God's help, we shall... prevail.

Queen Elizabeth: [to Bertie] You know, I refused your first two marriage proposals not because I didn't love you, but because I couldn't bear the idea of a royal life. Couldn't bear the idea of a life of tours, duty, and... well, a life that really no longer to be my own. But then I thought, 'he stammers so beautifully, they'll leave us alone.'

Lionel Logue: I can't show you a certificate. There was no training then. Everything I know, I know from experience, and that war was some experience. My plaque says, "L. Logue, Speech Defects", not "Doctor". There are no letters after my name.

King George V: In the past, all a king had to do was look respectable in uniform and not fall off his horse. Now we must invade people's homes and ingratiate ourselves with them. This family's been reduced to those lowest, basest of all creatures. We've become actors.

King George V: [on Edward] I told him straight, no divorced person can ever be received at court! He said, it made him "sublimely happy." [scoffs] I imagine that was because she was sleeping with him. "I give you my word" - this is what he said - "I give you my word, we've never had immoral relations." Stared square into his father's face, and lied. When I'm dead, that boy will ruin himself, this family, and this nation within twelve months.

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The King's Speech

The King's Speech is a 2010 film about King George VI of Britain, his impromptu ascension to the throne, and the speech therapist who helped the unsure monarch become worthy of it.

• 1 King George VI
• 2 Queen Elizabeth
• 3 Lionel Logue
• 4 King George V
• 5 Dr. Blandine Bentham
• 9 External links

King George VI

• If I am King, where is my power? Can I form a government? Levy a tax? Declare a war? No! And yet I am the seat of all authority because they think that when I speak, I speak for them. But I can't speak.
• Is the nation ready for two minutes of radio silence?
• Waiting for me to... commence a conversation, one can wait rather a long wait.
• We're not a family, we're a firm.
• In this grave... hour... perhaps the most fateful in our history, I send... to every household of my... a-peoples, both at home... and overseas... this message... spoken with the same depth of feeling for each one of you as if I were able to cross... your threshold and speak to you... myself. For the second time in the lives of most of us, we are at... at war. Over and over again, we have tried to find... a peaceful way out of the differences between ourselves and those who are now... our enemies. But it has been... in vain. We have been forced into a conflict, for we are called to meet the challenge of a principle, which, if it were to prevail, would be fatal to any civilised order... in the world. Such a principle, stripped of all... disguise, is surely the mere... primitive doctrine that might... is right. For the sake of all that we ourselves hold dear, it is unthinkable that we should refuse to meet... the challenge. It is to this... high purpose that I now... call my people, at home, and my people across... the seas, who will make our cause their own. I ask them to stand calm, and firm, and united in this time of trial. The task will be hard. There may be dark days ahead, and war... can no longer be... confined... to the battlefield. But we can only do the right... as we see the right, and reverently... commit our cause... to God. If one and all we keep resolutely faithful... to it, then... with God's help, we shall... prevail.

Queen Elizabeth

• [to Winston Churchill, on the hold that Wallis Simpson seems to have on Edward VIII] Apparently she has certain skills - acquired at an establishment in Shanghai.
• [to Bertie] You know, I refused your first two marriage proposals not because I didn't love you, but because I couldn't bear the idea of a royal life. Couldn't bear the idea of a life of tours, duty, and... well, a life that really no longer to be my own. But then I thought, 'he stammers so beautifully, they'll leave us alone.'

Lionel Logue

• [to King George VI, upon his learning that Logue has no formal credentials] It's true, I'm not a doctor. And yes, I acted. A bit. Well...I recited in pubs, I taught elocution in schools. When the Great War came, all our soldiers were returning to Australia from the front, a lot of them shell-shocked, unable to speak. Somebody said, "Lionel, you're very good at all this speech stuff, you think you could possibly help these poor buggers?" I did muscle therapy, exercises, relaxation, but I knew I had to go deeper. Those poor young blokes cried out in fear. No one was listening to them. My job was to give them faith in their own voice, and let them know a friend was listening.
• My castle, my rules.
• I can't show you a certificate. There was no training then. Everything I know, I know from experience, and that war was some experience. My plaque says, "L. Logue, Speech Defects", not "Doctor". There are no letters after my name.

King George V

• In the past, all a king had to do was look respectable in uniform and not fall off his horse. Now we must invade people's homes and ingratiate ourselves with them. This family's been reduced to those lowest, basest of all creatures. We've become actors .
• [on Edward] I told him straight, no divorced person can ever be received at court! He said, it made him "sublimely happy." [scoffs] I imagine that was because she was sleeping with him. "I give you my word" - this is what he said - "I give you my word, we've never had immoral relations." Stared square into his father's face, and lied . When I'm dead, that boy will ruin himself, this family, and this nation within twelve months.

Dr. Blandine Bentham

• Cigarette smoking calms the nerves and gives you confidence.
• It takes leadership to confront a nation's fear. It takes friendship to conquer your own.
• When God couldn't save The King, The Queen turned to someone who could.
• Find your voice.
• Colin Firth - Albert Frederick Arthur George, afterwards King George VI
• Helena Bonham Carter - Elizabeth Bowes-Lyon , afterwards Queen Elizabeth
• Geoffrey Rush - Lionel Logue
• Guy Pearce - Edward, Duke of Windsor, afterwards King Edward VIII
• Michael Gambon - King George V
• Timothy Spall - Winston Churchill
• Jennifer Ehle - Myrtle Logue
• Derek Jacobi - Cosmo Gordon Lang ( Archbishop of Canterbury )
• Anthony Andrews - Stanley Baldwin
• Eve Best - Wallis Simpson
• Freya Wilson - Princess Elizabeth
• Ramona Marquez - Princess Margaret
• Claire Bloom - Queen Mary

External links

• Official website
• The King's Speech quotes at the Internet Movie Database
• The King's Speech at Rotten Tomatoes

• Biographical films
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• Drama films
• Films based on true stories
• Films set in London
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• The King's Speech

“The King's Speech” quotes

“- Lionel Logue: Please, call me Lionel. - King George VI: No, I... prefer Doctor. - Lionel Logue: I prefer Lionel. What'll I call you? - King George VI: Your Royal Highness. And... Sir... after that. - Lionel Logue: How about Bertie? - King George VI: Only my family uses that. - Lionel Logue: Perfect. Here , it's better if we're equals. - King...” (continue) (continue reading) Geoffrey Rush - Lionel Logue Colin Firth - King George VI

“ Kiss the book, sign the oath, and you're king. Easy.” Geoffrey Rush - Lionel Logue

“- Lionel Logue: Oh, surely a prince 's brain knows what its mouth's doing? - King George VI: You're not well acquainted with royal princes, are you?” Geoffrey Rush - Lionel Logue Colin Firth - King George V

“- King George VI: I'm not going to sit here warbling. - Lionel Logue: You can with me. - King George VI: Because you're peculiar. - Lionel Logue: I take that as a compliment.” Colin Firth - King George VI Geoffrey Rush - Lionel Logue

“- King Edward VIII: Haven't I any rights? - King George VI: Many privileges. - King Edward VIII: Not the same thing.” Guy Pearce - King Edward VIII Colin Firth - King George VI

“- Lionel Logue: You still stammered on the 'W'. - King George VI: Well, I had to throw in a few so they knew it was me.” Geoffrey Rush - Lionel Logue Colin Firth - King George VI

“There may be dark days ahead, and war can no longer be confined to the battlefield, but we can only do the right as we see the right, and reverently commit our cause to God. If one and all we keep resolutely faithful to it, then, with God's help, we shall prevail.” Colin Firth - King George VI

“You know, ih... if I'm a... a King, where's my power ? Can I... can I form a government? Can I... can I l-levy a tax , declare a... a war? No! And yet I am the seat of all authority. Why? Because... the nation believes that when I s... I speak, I speak for them, but I can't speak.” Colin Firth - King George VI

“I'm very much afraid, sir, that your greatest test is yet to come.” Anthony Andrews - Stanley Baldwin

- Lionel Logue: Well, we need to have your hubby pop by. Tuesday would be good. He can give me his personal details, I'll make a frank appraisal, and then we'll take it from there. - Queen Elizabeth: Doctor, forgive me,I don't have a "hubby," we don't "pop," and nor do we ever talk about our private lives. No, you must come to us. - Lionel Logue... (continue) (continue reading) Geoffrey Rush - Lionel Logue Helena Bonham Carter - Queen Elizabeth

“- King George VI: Logue, we can't stay here all day. - Lionel Logue: I need to wait for the right moment. - King George VI: Logue, you're being a coward . - Lionel Logue: You're damn right.” Colin Firth - King George VI Geoffrey Rush - Lionel Logue

“You have such perseverance, Bertie. You're the bravest man I know. You'll make a bloody good king.” Geoffrey Rush - Lionel Logue

“- King George VI: Listen to me. - Lionel Logue: Listen to you? By what right? - King George VI: By divine right, if you must. I am your king. - Lionel Logue: No, you're not. You told me so yourself. You said you didn't want it. Why should I waste my time listening? - King George VI: Because I have a right to be heard. I have a voice. - Lionel...” (continue) (continue reading) Colin Firth - King George VI Geoffrey Rush - Lionel Logue

“Waiting for me to... commence a conversation, one can wait rather a long wait.” Colin Firth - King George VI

“- Lionel Logue: What are friends for? - King George VI: I wouldn't know.” Geoffrey Rush - Lionel Logue Colin Firth - King George VI

“- Lilibet: Papa, what's he saying? - King George VI: I don't know but he seems to be saying it rather well.” Colin Firth - King George VI

“- Lionel Logue: Long pauses are good: they add solemnity to great occasions . - King George VI: Then I'm the solemnest king who ever lived.” Geoffrey Rush - Lionel Logue Colin Firth - King George VI

“- Queen Elizabeth: My husband is required to speak publicly. - Lionel Logue: Perhaps he should change jobs . - Queen Elizabeth: He can't. - Lionel Logue: Indentured servitude ? - Queen Elizabeth: Something of that nature, yes.” Helena Bonham Carter - Queen Elizabeth Geoffrey Rush - Lionel Logue

“In the past, all a King had to do was look respectable in uniform and not fall off his horse. Now we must invade people's homes and ingratiate ourselves with them. This family's been reduced to those lowest, basest of all creatures. We've become actors!” Sir Michael Gambon - King George V

“Over and over again we have tried to find a peaceful way out of the differences between ourselves and those who are now our enemies , but it has been in vain. We have been forced into a conflict , for we are called to meet the challenge of a principle, which, if it were to prevail, would be fatal to any civilized order in the world.” Colin Firth - King George VI

“- Lionel Logue: Would I lie to a prince of the realm to win twelve pennies? - King George VI: I have no idea what an Australian might do for that sort of money .” Geoffrey Rush - Lionel Logue Colin Firth - King George VI

“- Lionel Logue: This fellow could really be somebody great. He's fighting me. - Myrtle Logue: Perhaps he doesn't want to be great. Perhaps that's what you want.” Geoffrey Rush - Lionel Logue Jennifer Ehle - Myrtle Logue

“Logue, however this turns out, I don't know how to thank you for what you've done.” Colin Firth - King George VI

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The King’s Speech

Perhaps you have seen the Oscar winning film, now you can view the original transcript of the King’s Speech, which was sent to Scotland Yard in 1939, announcing that Britain was going to war…

Ben Johnson

Perhaps you have seen the award winning film – which was nominated for 12 Oscars – now you can view the original transcript of the King’s Speech, which was sent to Scotland Yard in 1939, announcing that Britain was going to war.

The transcript – which was broadcast to the nation on 3 September 1939 – can be viewed free at the Metropolitan Police’ Historical Collection – along with hundreds of other documents, artefacts and images detailing the history of policing since 1829.

The King’s Speech – starring Colin Firth – tells the inspiring story of George VI who overcomes his stammer as he reluctantly takes the throne when his brother, Edward VIII abdicates in 1936 over his plans to marry twice divorced Wallis Simpson.

A series of announcements by the King and Prime Minister were broadcast to the country asking police for their help in getting people to follow air raid precautions and wear gas masks. A war cabinet was also formed and people were asked to stand firm and resolute in the battle ahead.

In his first speech, on 3 September 1939 , King George VI said: “In this grave hour, perhaps the most fateful in our history, for the second time in the lives of most of us we are at war. Over and over again we have tried to find a peaceful way out of the differences between ourselves and those who are now our enemies. But it has been in vain. The task will be hard. There may be dark days ahead and war is no longer confined to the battlefield.”

The new king quickly won the respect of his ministers and his people and his hard work and conscientious manner eventually brought him respect in his war torn country.

Neil Paterson, Manager of the Historical Collection said: “The Met is in such a unique position to have a rich history of documents, photos and images dating back to 1829. We are very proud of our Collection – which is free to see – and people from all over the world regularly come to view it.”

View the transcript below of the King’s speech:

The Historical Collection is based at Empress State Building, Empress Approach, Lillie Road, London, SW6 1TR, London, from 10am – 4pm weekdays.

Published: 25th December 2014.

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The King's Speech

2010 · Film

The King's Speech tells the story of the man who became King George VI, the father of Queen Elizabeth II. After his brother abdicates, George ('Bertie') reluctantly assumes the throne. Plagued by a dreaded stutter and considered unfit to be king, Bertie engages the help of an unorthodox speech therapist named Lionel Logue. Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.

David Seidler

• The Weinstein Company

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The King's Speech

In advanced film writing.

The King's Speech is a historical drama film that portrays the true story of King George VI's struggle to overcome his speech impediment with the help of an unorthodox speech therapist, Lionel Logue. This narrative not only explores themes of personal struggle and triumph but also addresses the pressures of leadership during a tumultuous time in history, connecting deeply to character development and emotional resonance in award-winning screenplays.

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• Advanced Film Writing - 9.1 Case Studies of Award-Winning Screenplays

5 Must Know Facts For Your Next Test

• The King's Speech won four Academy Awards, including Best Picture, Best Director for Tom Hooper, and Best Actor for Colin Firth's portrayal of King George VI.
• The film highlights the relationship between King George VI and Lionel Logue, showcasing their evolving dynamic as they work together to address the king's stammer.
• The screenplay, written by David Seidler, was inspired by his own childhood struggles with stuttering, adding an authentic touch to the story.
• The film's narrative effectively utilizes flashbacks and powerful dialogue to illustrate the emotional weight of the king's public speaking challenges.
• The King's Speech emphasizes the importance of friendship and support systems in overcoming personal obstacles, particularly in high-pressure roles such as leadership.

Review Questions

• King George VI starts as a reluctant leader plagued by self-doubt and fear due to his speech impediment. As he works with Lionel Logue, he gradually gains confidence and learns to embrace his role as king. This evolution is central to the film's emotional impact, illustrating how personal growth can lead to fulfilling one's responsibilities amidst adversity.
• In The King's Speech, dialogue is pivotal for revealing both King George VI's vulnerabilities and Lionel Logue's unconventional methods. The conversations illustrate not just the king's struggle with his speech but also his deepening trust in Logue. This use of dialogue enriches their relationship and highlights the film's central theme: overcoming obstacles through communication and connection.
• The King's Speech encapsulates themes of leadership by showcasing King George VI's journey from insecurity to acceptance of his royal duties against the backdrop of impending war. It illustrates that effective leadership often comes with personal battles, emphasizing that vulnerability can coexist with strength. This duality enhances the historical context of the film, making it a poignant reflection on the burdens leaders carry during crises.

Related terms

Character Arc : The transformation or inner journey of a character over the course of a story, often marked by personal challenges and growth.

Dialogue : The written conversation between characters in a screenplay, which reveals their personalities, motivations, and relationships.

Historical Drama : A genre of film or literature that fictionalizes historical events or figures to tell a compelling story while remaining anchored in factual context.

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Read Martin Luther King Jr.'s 'I Have a Dream' speech in its entirety

Civil rights leader Martin Luther King Jr. addresses the crowd at the Lincoln Memorial in Washington, D.C., where he gave his "I Have a Dream" speech on Aug. 28, 1963, as part of the March on Washington. AFP via Getty Images hide caption

Civil rights leader Martin Luther King Jr. addresses the crowd at the Lincoln Memorial in Washington, D.C., where he gave his "I Have a Dream" speech on Aug. 28, 1963, as part of the March on Washington.

Monday marks Martin Luther King, Jr. Day. Below is a transcript of his celebrated "I Have a Dream" speech, delivered on Aug. 28, 1963, on the steps of the Lincoln Memorial. NPR's Talk of the Nation aired the speech in 2010 — listen to that broadcast at the audio link above.

Martin Luther King Jr. and other civil rights leaders gather before a rally at the Lincoln Memorial on Aug. 28, 1963, in Washington. National Archives/Hulton Archive via Getty Images hide caption

Rev. Martin Luther King Jr.: Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.

But 100 years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later the Negro is still languished in the corners of American society and finds himself in exile in his own land. And so we've come here today to dramatize a shameful condition. In a sense we've come to our nation's capital to cash a check.

Code Switch

The power of martin luther king jr.'s anger.

When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men — yes, Black men as well as white men — would be guaranteed the unalienable rights of life, liberty and the pursuit of happiness.

It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked insufficient funds.

But we refuse to believe that the bank of justice is bankrupt.

Martin Luther King is not your mascot

We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so we've come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.

We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism.

Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God's children.

Civil rights protesters march from the Washington Monument to the Lincoln Memorial for the March on Washington on Aug. 28, 1963. Kurt Severin/Three Lions/Hulton Archive/Getty Images hide caption

It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. 1963 is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual.

There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place, we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.

Throughline

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We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again, we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny.

And they have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone. And as we walk, we must make the pledge that we shall always march ahead. We cannot turn back.

There are those who are asking the devotees of civil rights, when will you be satisfied? We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities.

We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating: for whites only.

We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote.

No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters, and righteousness like a mighty stream.

How The Voting Rights Act Came To Be And How It's Changed

I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our Northern cities, knowing that somehow this situation can and will be changed.

Let us not wallow in the valley of despair, I say to you today, my friends.

So even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created equal.

People clap and sing along to a freedom song between speeches at the March on Washington for Jobs and Freedom in 1963. Express Newspapers via Getty Images hide caption

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today.

I have a dream that one day down in Alabama with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification, one day right down in Alabama little Black boys and Black girls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today.

I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.

Nikole Hannah-Jones on the power of collective memory

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This is our hope. This is the faith that I go back to the South with. With this faith, we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.

This will be the day when all of God's children will be able to sing with new meaning: My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrims' pride, from every mountainside, let freedom ring.

And if America is to be a great nation, this must become true. And so let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania. Let freedom ring from the snowcapped Rockies of Colorado. Let freedom ring from the curvaceous slopes of California. But not only that, let freedom ring from Stone Mountain of Georgia. Let freedom ring from Lookout Mountain of Tennessee. Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.

And when this happens, and when we allow freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, Black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual: Free at last. Free at last. Thank God almighty, we are free at last.

Correction Jan. 15, 2024

A previous version of this transcript included the line, "We have also come to his hallowed spot to remind America of the fierce urgency of now." The correct wording is "We have also come to this hallowed spot to remind America of the fierce urgency of now."

The rain in Sp…Sp…Sp…

Colin Firth and Helena Bonham Carter.

“The King’s Speech” tells the story of a man compelled to speak to the world with a stammer. It must be painful enough for one who stammers to speak to another person. To face a radio microphone and know the British Empire is listening must be terrifying. At the time of the speech mentioned in this title, a quarter of the Earth’s population was in the Empire, and of course much of North America, Europe, Africa and Asia would be listening — and with particular attention, Germany.

The king was George VI. The year was 1939. Britain was entering into war with Germany. His listeners required firmness, clarity and resolve, not stammers punctuated with tortured silences. This was a man who never wanted to be king. After the death of his father, the throne was to pass to his brother Edward. But Edward renounced the throne “in order to marry the woman I love,” and the duty fell to Prince Albert, who had struggled with his speech from an early age.

In “The King’s Speech,” director Tom Hooper opens on Albert ( Colin Firth ), attempting to open the British Empire Exhibition in 1925. Before a crowded arena and a radio audience, he seizes up in agony in efforts to make the words come out right. His father, George V ( Michael Gambon ), has always considered “Bertie” superior to Edward ( Guy Pearce ), but mourns the introduction of radio and newsreels, which require a monarch to be seen and heard on public occasions.

At that 1925 speech, we see Bertie’s wife, Elizabeth (Helena Bonham Carter), her face filled with sympathy. As it becomes clear that Edward’s obsession with Wallis Simpson (Eve Best) is incurable, she realizes her Bertie may face more public humiliation. He sees various speech therapists, one of whom tries the old marbles-in-the-mouth routine first recommended by Demosthenes. Nothing works, and then she seeks out a failed Australian actor named Lionel Logue ( Geoffrey Rush ), who has set up a speech therapy practice.

Logue doesn’t realize at first who is consulting him. And one of the subjects of the film is Logue’s attitude toward royalty, which I suspect is not untypical of Australians; he suggests to Albert that they get on a first-name basis. Albert has been raised within the bell jar of the monarchy and objects to such treatment, not because he has an elevated opinion of himself but because, well, it just isn’t done. But Logue realizes that if he is to become the king’s therapist, he must first become his friend.

If the British monarchy is good for nothing else, it’s superb at producing the subjects of films. “The King’s Speech,” rich in period detail and meticulous class distinctions, largely sidesteps the story that loomed over this whole period, Edward’s startling decision to give up the crown to marry a woman who was already divorced three times. Indeed, the Duke and Duchess of Windsor (as they became) would occupy an inexplicable volume of attention for years, considering they had no significance after the Duke’s abdication. The unsavory thing is that Wallis Simpson considered herself worthy of such a sacrifice from the man she allegedly loved. This film finds a more interesting story about better people; Americans, who aren’t always expert on British royalty, may not necessarily realize that Albert and wife Elizabeth were the parents of Queen Elizabeth II. God knows what Edward might have fathered.

Director Tom Hooper makes an interesting decision with his sets and visuals. The movie is largely shot in interiors, and most of those spaces are long and narrow. That’s unusual in historical dramas, which emphasize sweep and majesty and so on. Here we have long corridors, a deep and narrow master control room for the BBC, rooms that seem peculiarly oblong. I suspect he may be evoking the narrow, constricting walls of Albert’s throat as he struggles to get words out.

The film largely involves the actors Colin Firth, formal and decent, and Geoffrey Rush, large and expansive, in psychological struggle. Helena Bonham Carter, who can be merciless (as in the “Harry Potter” films), is here filled with mercy, tact and love for her husband; this is the woman who became the much-loved Queen Mother of our lifetimes, dying in 2002 at 101. As the men have a struggle of wills, she tries to smooth things (and raise her girls Elizabeth and Margaret). And in the wider sphere, Hitler takes power, war comes closer, Mrs. Simpson wreaks havoc, and the dreaded day approaches when Bertie, as George VI, will have to speak to the world and declare war.

Hooper’s handling of that fraught scene is masterful. Firth internalizes his tension and keeps the required stiff upper lip, but his staff and household are terrified on his behalf as he marches toward a microphone as if it is a guillotine. It is the one scene in the film that must work, and it does, and its emotional impact is surprisingly strong. At the end, what we have here is a superior historical drama and a powerful personal one. And two opposites who remain friends for the rest of their lives.

Note: The R rating refers to Logue’s use of vulgarity. It is utterly inexplicable. This is an excellent film for teenagers.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The True Story Behind "The King's Speech"

"The King's Speech" is a 2010 dramatic biographical film, recounting the friendship between King George VI of England and his Australian speech therapist, Lionel Logue. The film also covers Edward VIII's 1936 abdication, and George VI's subsequent coronation and shouldering of responsibility during World War II. George VI ultimately must conquer his stammer to assist and guide Britain during the war.

As a film, "The King's Speech" takes a few liberties with the historical timeline and in regards to simplifying certain characters. One element historians took particular umbrage with was the depiction of Winston Churchill . However, overall it is fairly faithful to the historical record. For one thing, George VI really did have a speech impediment since the age of eight, and Lionel Logue did work with him for several years. They did stay friends until they both died. Certain scenes, such as George VI's coronation, were praised for their accurate recapturing of the feel of the 1930s.

The main concept the film changed was simply adding drama to certain scenes, such as the speech announcing war with Germany towards the end. It also condensed the historical timeline significantly, shortening events. This was mostly done for the sake of keeping the narrative moving. Overall, however, " The King's Speech " is a fairly accurate, heartwarming rendering of George VI and Lionel Logue's friendship.

Prince Albert had a stutter as a child

Prince Albert, later George VI, developed a stutter when he was eight that he carried through to his early adult life. His parents were not terribly affectionate with him, and he was susceptible to tears and tantrums – traits he also carried through his adult years, writes Biography . Given that many of his public duties required speeches, Albert needed to – and worked tirelessly – to fix his stammer with multiple doctors and therapists, writes Stuttering Help . He wasn't successful with any speech therapies until he worked with elocutionist and informal speech therapist Lionel Logue, beginning in the 1920s.

When Logue saw the then-Duke of York give a speech, he said to his son, "He's too old for me to manage a complete cure. But I could very nearly do it. I'm sure of that." (via Stuttering Help ). He was right, and his positive attitude helped the duke recover from previous failures that had made him believe the problem caused him to be mentally deficient instead of simply physically injured. Despite how long they worked together, the duke's speech issues had more to do with how held his jaw and pronounced words; the result was that his stammer was mainly cleared up in a matter of months as opposed to years.

Lionel Logue was a self-taught speech therapist

Lionel Logue was an Australian speech therapist who, not being formally trained, used methods he had discovered and created on his own. He worked as an elocutionist first, but fell into helping Australian World War I veterans with speech defects, writes The ASHA Leader . No one else was doing what he was with the veterans, and speech therapy and audiology programs didn't even get off the ground until the 1940s (via UNC Health Sciences Library ). Logue was even a founder of the College of Speech Therapists.

Just before World War I, Logue worked a variety of jobs as a teacher of elocution and drama, theater manager, and reciter of Shakespeare and Dickens (via Speech Language Therapy's Caroline Bowen, a speech language pathologist ). Logue worked with patients on their speech, but also on confidence and the self-belief that they could accomplish what they set out to do. He was empathetic with his patients, and learned from each case he worked on. Logue originally tried out as an actor, and as a result, his manner was somewhere between a teacher and an artist. He was serious about his life's work and resolved to avoid cheapening it by writing a book about his efforts with the king.

Logue began working with Prince Albert in 1926

Elizabeth, the Duchess of York, first encouraged her husband to work with Lionel Logue, though the meeting as depicted in the film between Elizabeth and Logue likely didn't happen (via Logue and Conradi's "The King's Speech" ). Logue thus began working with the Duke of York in October 1926, soon after he opened his London practice on Harley Street. Logue first diagnosed the Duke with, according to CNN , acute nervous tension and the habit of closing the throat, which caused him to clip words out.

Logue met with him daily for the next two or three months (in advance of a visit to Australia), and his stammer was gone (for the most part) within that time frame; it didn't take years of treatment (via Speech Language Therapy ). Unlike in the film, in reality, the Duke and Logue weren't necessarily aiming for complete fluency. However, they did continue to work together for the next two decades, mainly on the royal's speeches.

Logue worked with Albert for over 15 years

Though the film condenses the timeline to make it seem as though everything takes place over just a few years, Logue and Albert worked together for decades (via CNN ). "The King's Speech" begins in 1925 with the close of the British Empire Exhibition, which would be historically accurate, but time simply speeds by until the film depicts the abdication of Edward VIII in 1936 and later the outbreak of war in 1939 in just a few hours; it doesn't really feel as though a decade and a half have passed.

Regardless, Logue and the duke worked together on speeches even after the duke had mostly mastered his stammer. Lionel Logue's methods were unorthodox and primarily self-taught. He never specifically said what course of treatment he worked on with the duke, saying, according to The ASHA Leader : "...on the matter of Speech Defects, when so much depends on the temperament and individuality, a case can always be produced that can prove you are wrong. That is why I won't write a book." Much of the ideas for the therapy sessions depicted in the film come from Logue's diaries (though plenty of the dialogue was invented), which were inherited by his grandson Mark. They were used in the film, though the director only saw them late in the film's production.

Any sort of therapy is inherently individual, not to mention personal (via Psychiatric Times ). It's no wonder that Logue decided to avoid writing about his work.

Wallis Simpson was a more complex person than the film indicates

King Edward VIII was crowned in January 1936 and abdicated in December of the same year in order to marry Wallis Simpson , who had been twice divorced (via History ). His younger brother was proclaimed king the next day. The film is sympathetic to George VI and Elizabeth, and Wallis Simpson is cast as a vaguely Nazi-supporting villain; there is little depth to her character. However, her life and motivations were shrouded in rumors from the British upper classes and the media.

The upper classes, who learned about the Edward-Wallis romance before the British media, in particular saw her as an uncouth American divorcee, and had a hard time figuring out why Edward wanted to be with her. When the media did find out, in December 1936, she was both ruined and revered by them, according to History Extra . However, after moving overseas more-or-less permanently she faded from the spotlight. Her unfortunate reputation from the nobles stuck with her.

Ultimately, George VI didn't allow his brother and sister-in-law, who had moved to France, to be productive for the royal family; they asked multiple times for jobs and were denied (via History Extra ). Awful rumors followed Wallis Simpson even past her death in the 1980s, including one that stated she would do anything to become queen of England. Though it's clear both on and off screen that she and Elizabeth disliked each other, Wallis was more than a king-stealing villain.

Churchill was actually opposed to Edward VIII's abdication

One major element of the film that historians had trouble with is Churchill's abrupt support of George VI, writes Daily History . In real life, he encouraged Edward VIII not to abdicate in 1936, and remained a supporter of the royal, believing something could be worked out without having to resort to abdication. George VI and Elizabeth didn't fully support Churchill later in life due to his actions during the abdication. However, Churchill was later knighted by Elizabeth II (via Biography ).

This element is likely written as such for the film due to the writers having a hard time writing someone as beloved as Churchill with actual flaws. The writers of "Saving Mr. Banks" had a similar issue with Walt Disney and his flaws. As a result, it is one of the only concrete historical aspects that left historians scratching their heads in confusion. Everything else that is changed in the film is mainly done for the sake of adaptation, drama, and the good of the narrative. This change seems to be for the sake of preserving Churchill's reputation. Considering the film's lead-up of events to World War II, and Churchill's role in Britain's survival, it isn't that surprising.

King George VI's coronation was less fraught than the film depicts

Logue worked with George VI on his coronation speech in 1937. Five days afterward, the king wrote a heartfelt thank you letter for the assistance (via Tatler ), attributing the success to Logue's "expert supervision and unfailing patience." Just as in the film, Logue and his wife are seated in the royal box, so high up that Myrtle Logue needed to use opera glasses in order to see, writes CNN .

However, by this time, the king had mostly mastered his speech impediment, and the dramatic scene in the film with Logue and St. Edward's chair is likely fictional. It was written for the sake of the narrative of George VI realizing he does have a voice. Reality isn't necessarily so cinematic, and after weeks of working on the speech with Logue, George VI delivered it flawlessly. Regardless, according to Daily History , the film accurately conveys the atmosphere of the 1930s and the coronation of a new king. In reality, the king and Logue likely didn't have the same miscommunication as they do in the film, and it is doubly heartwarming that Logue and his wife were seated with the royal family, just because of the services Logue had rendered the new king.

Logue was more deferential to his royal patient

Geoffrey Rush's portrayal is much more animated than Logue likely was in reality. Logue certainly addressed Prince Albert respectfully, and the scenes of swearing in Logue's office are likely invented. Logue also never referred to the prince by a nickname, much less one used exclusively by the family. They were friends in real life, but their relationship was more realistically distant.

According to CNN , the letters Logue wrote to the king are addressed to "Your Royal Highness". On the other hand, the king signed his letters with his first name, indicating a measure of friendship between the two men. Logue also apparently allowed George VI to set treatment goals due to his position. Though they did end up being friends, Logue never forgot who exactly his patient was, and treated him accordingly (via Daily History ). Historical films always add heart-to-heart speeches between people which probably never actually happened but work for the sake of drama and the narrative. "The King's Speech" is no exception.

The speech announcing war with Germany was less dramatic

Lionel Logue further assisted George VI during the 1939 speech when he announced Britain was at war with Germany. However, Logue wasn't actually in the room with him, as the film depicts, and only wrote notes on places for the king to pause to collect himself when speaking or on which words to stress, according to CNN . Keep in mind that by this point in time, 13 years after meeting Logue, the king had essentially mastered his stammer. George VI also stood to give the speech, though photographs show him in full military uniform and sitting down.

Lionel Logue's diaries also answered a previously unknown question about the speech that was added to the film. George VI stammered on some of the W's in the speech, and according to a comment he made to Logue, it was so the people would recognize him, writes CNN .

The film turns the event into a climactic event, as a culmination of the years of work the king and Logue have put into his affliction – and which the audience has just watched on screen for the past two hours. Also, though it is unlikely the information was revealed at this exact time in real life, the character of Winston Churchill tells the king just before this speech that he, too, was a stammerer as a child, writes The Lancet . This element is true, though it is positioned for the sake of cinematic drama.

George and Logue's friendship didn't fracture over credentials

In the film, coronation preparations pause when the archbishop of Canterbury, Cosmo Lang, mentions that Logue doesn't have any formal training. Not having known this beforehand, George VI becomes outraged and only calms after Logue provokes him into speaking without stammering, causing him to realize that he actually can speak accurately. This entire element is invented for the film, presumably for the sake of drama (and humor).

By this point, the two men had known each other for over a decade and were friends. Though their relationship was primarily professional, in scouting out Logue's help, the king must have understood his credentials and it didn't bother him; after all, he worked with Logue, voluntarily, for decades (via Daily History ). Logue's formality likely kept their friendship professional enough that they probably had few personal disagreements.

Logue and the king wrote letters back and forth for years; the earlier letters were signed "Albert" and the later letters "George" by the king, according to CNN , indicating a measure of friendship that was likely meted out to few people. When Logue asked the king in 1948 if he would serve as patron of the College of Speech Therapists, George VI immediately agreed and it became known as the Royal College of Speech Therapy, writes The ASHA Leader .

The film has an obvious pro-George VI bias

Due to being written from a historical perspective, "The King's Speech" supports George VI, Logue, Elizabeth, and even Winston Churchill as characters and historical figures much more than it does George V, Edward VIII, or Wallis Simpson. The film has an agenda and a narrative it set out to tell: the story of how George VI overcame his stammer and led a nation successfully through a war.

According to The Gazette , the film's textual inclusion of Logue's appointment as a Member of the Royal Victorian Order is accurate. The king appreciated his services enough to reward him with a title for them, and this element certainly adds to the theme of friendship the film is so fond of.

In another interesting example of bias, however, the film omits Edward VIII's Nazi sympathies entirely, though Simpson is written to seem like an outsider to the royals. This was likely done for the sake of Edward's surviving family, though it was a slightly odd omission considering the context of the film. Edward isn't cast as a villain, however, he doesn't quite seem to realize what he's forcing his brother to step into. Though he immediately supports George, Edward doesn't seem to comprehend the royal family's – and the film's – endless demand of duty.

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The King's Speech

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• Shakespeare’s Henry V
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The King's Speech tells the story of King George VI (Bertie) who reluctantly assumed the throne after his brother abdicated. Plagued by a dreaded stutter and considered unfit to be king, he engages the help of an unorthodox speech therapist named Lionel Logue. Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country through war.

A special schools' preview screening of The King's Speech , followed by a Q&A session with the film's director Tom Hooper and lead actor Colin Firth, was held in London in December 2010. This site features audio files from the event alongside a curriculum-linked study guide for English and Media at Key Stage 4 (11-16). Together, these resources offer engaging content to enrich study of this film and related topics.

(MUSIC STARTS)

TEXT: MOMENTUM PICTURES

QUEEN ELIZABETH: My husband is, um, well he’s required to speak publicly.

KING GEORGE VI: I have received…the (STAMMERS)…the…the

LIONEL LOGUE: Perhaps he should change jobs

QUEEN ELIZABETH: He can’t. And what if my husband were the Duke of York?

LIONEL LOGUE: Forgive me your…

QUEEN ELIZABETH: Royal Highness.

LIONEL LOGUE: Royal Highness.

TEXT: BASED ON THE INCREDIBLE TRUE STORY

QUEEN ELIZABETH: My husband has seen everyone, to no avail.

DR. BLANDINE BENTHAM: Annunciate!

LIONEL LOGUE: He hasn’t seen me.

LIONEL LOGUE: Who was your earliest memory?

KING GEORGE VI: I’m not here to discuss personal matters.

LIONEL LOGUE: Why are you here then?

KING GEORGE VI: (SHOUTS) Because I bloody well stammer!

LIONEL LOGUE: Do you know any jokes?

KING GEORGE VI: Timing isn’t my strong suit.

LIONEL LOGUE: (LAUGHS)

QUEEN ELIZABETH: Your methods are unorthodox and controversial.

(LIONEL LOGUE AND KING GEORGE VI SHAKE THEIR HEADS WHILE MAKING ‘AHHH’ SOUNDS)

LIONEL LOGUE: Up comes her Royal Highness

QUEEN ELIZABETH: It’s actually quite good fun.

TEXT: WHEN ABDICATION THREATENED THE THRONE

KING GEORGE VI: My brother is infatuated with a woman who has been married twice… Wallace Simpson.

TEXT: AND THE WORLD WENT TO WAR

(TELEVISION PLAYS A CLIP OF HITLER GIVING A SPEECH)

TEXT: A RELUCTANT PRINCE WOULD BECOME KING

KING GEORGE VI: (CRYING) I’m not a King! I’m a Naval Officer.

(SIRENS SOUND OUT IN THE STREET)

KING GEORGE VI: The nation believes that when I speak, I speak for them. Well I can’t speak.

LIONEL LOGUE: Why should I waste my time listening?

KING GEORGE VI: (SHOUTS) Because I have a voice!

LIONEL LOGUE: Yes you do.

TEXT: ACADEMY AWARD® NOMINEE // COLIN FIRTH

TEXT: ACADEMY AWARD® WINNER // GEOFFREY RUSH

TEXT: ACADEMY AWARD® NOMINEE // HELENA BONHAM CARTER

QUEEN ELIZABETH: It’s time

LIONEL LOGUE: Your first wartime speech

TEXT: SOME MEN ARE BORN GREAT

KING GEORGE VI: However this turns out I don’t know how to thank you for what you’ve done.

TEXT: OTHERS HAVE GREATNESS THRUST UPON THEM

TEXT: THE KING’S SPEECH

TEXT: REVIEWS

TEXT: CREDITS

END OF TRAILER

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The King's Speech

The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer.

• David Seidler
• Colin Firth
• Geoffrey Rush
• Helena Bonham Carter
• 834 User reviews
• 487 Critic reviews
• 88 Metascore
• 109 wins & 206 nominations total

Top cast 67

• King George VI

• Lionel Logue

• Queen Elizabeth

• Archbishop Cosmo Lang

• Private Secretary

• BBC Radio Announcer

• Robert Wood

• BBC Technician

• Dr. Blandine Bentham

• Laurie Logue

• Myrtle Logue

• Valentine Logue
• Anthony Logue

• Princess Elizabeth

• Princess Margaret

• Theatre Director
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Nine weeks before filming began, Lionel Logue's grandson, Mark Logue , discovered a large box in his attic that contained his grandfather's personal papers. The box held Lionel Logue's diary, his appointment book, notes from his speech therapy sessions with King George VI , and over 100 personal letters to Logue from the King. It also contained what is believed to be the actual copy of the speech used by George VI in his 1939 radio broadcast announcing the declaration of war with Germany. Mark Logue turned his grandfather's papers, letters, and diary over to director Tom Hooper and screenwriter David Seidler , who used them to flesh out the relationship between Logue and the King. Geoffrey Rush and Colin Firth also read through the material for insight into their characters. The exchange in this movie between Logue and King George VI following his radio speech ("You still stammered on the 'W'." / "Well, I had to throw in a few so they knew it was me.") was taken directly from Logue's diary. Firth insisted that it should be included in the movie.
• Goofs In the final speech, King George VI has one blue eye and one brown eye. Colin Firth had lost a contact lens.

King George VI : All that... work... down the drain. My own... b... brother, I couldn't say a single w-word to him in reply.

Lionel Logue : Why do you stammer so much more with David than you ever do with me?

King George VI : 'Cos you're b... bloody well paid to listen.

Lionel Logue : Bertie, I'm not a geisha girl.

King George VI : Stop trying to be so bloody clever.

Lionel Logue : What is it about David that stops you speaking?

King George VI : What is it about you that bloody well makes you want to go on about it the whole bloody time?

Lionel Logue : Vulgar, but fluent; you don't stammer when you swear.

King George VI : Oh, bugger off!

Lionel Logue : Is that the best you can do?

King George VI : [like an elocution lesson] Well... bloody bugger to you, you beastly bastard.

Lionel Logue : Oh, a public school prig could do better than that.

King George VI : Shit. Shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit!

Lionel Logue : Yes!

King George VI : Shit!

Lionel Logue : Defecation flows trippingly from the tongue!

King George VI : Because I'm angry!

Lionel Logue : Do you know the f-word?

King George VI : F... f... fornication?

Lionel Logue : Oh, Bertie.

King George VI : Fuck. Fuck! Fuck, fuck, fuck and fuck! Fuck, fuck and bugger! Bugger, bugger, buggerty buggerty buggerty, fuck, fuck, arse!

Lionel Logue : Yes...

King George VI : Balls, balls...

Lionel Logue : ...you see, not a hesitation!

King George VI : ...fuckity, shit, shit, fuck and willy. Willy, shit and fuck and... tits.

• Crazy credits In the end credit roll, Philip Clements is listed twice as Assistant Sound Editor.
• Connections Featured in Breakfast: Episode dated 22 October 2010 (2010)
• Soundtracks Le nozze di Figaro Overture Written by Wolfgang Amadeus Mozart [During the first therapy session when King's voice is being recorded]

User reviews 834

• Nov 5, 2010
• Just what time frame are we talking about here?
• What causes Bertie's stammer?
• Why couldn't King Edward marry Wallis Simpson?
• December 25, 2010 (United States)
• United States
• United Kingdom
• Official Site
• El Discurso del Rey
• Elland Road Football Stadium, Elland Road, Beeston, Leeds, West Yorkshire, England, UK (as Wembley Stadium at start of film)
• The Weinstein Company
• UK Film Council
• Momentum Pictures
• See more company credits at IMDbPro
• $15,000,000 (estimated)
• $138,797,449
• Nov 28, 2010
• $472,088,310

Technical specs

• Runtime 1 hour 58 minutes
• Dolby Digital

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The King’s Speech

SYNOPSIS: "The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it."  Synopsis Source: IMDB.com

Story Dynamics

8 of the 12 essential questions

Main Character Resolve: Change Main Character Growth: Stop Main Character Approach: Be-er Main Character Mental Sex: Male Story Driver: Decision Story Limit: Optionlock Story Outcome: Success Story Judgment: Good

Overall Story Throughline

Keeping the Kingdom Calm in Troubled Times

Overall Story Throughline: Psychology Overall Story Concern: Being Overall Story Issue: Ability vs. Desire Overall Story Problem: Non-Accurate Overall Story Solution: Accurate Overall Story Symptom: Cause Overall Story Response: Effect Overall Story Catalyst: Desire Overall Story Inhibitor: Skill Overall Story Benchmark: Becoming Overall Story Signpost 1: Becoming Overall Story Signpost 2: Conceptualizing Overall Story Signpost 3: Being Overall Story Signpost 4: Conceiving

Main Character Throughline

Bertie/King Henry VI

Main Character Throughline: Mind Main Character Concern: Preconscious Main Character Issue: Worry vs. Confidence Main Character Problem: Non-Accurate Main Character Solution: Accurate Main Character Symptom: Process Main Character Response: Result Main Character Unique Ability: Worry Main Character Critical Flaw: Security Main Character Benchmark: Subconscious Main Character Signpost 1: Conscious Main Character Signpost 2: Subconscious Main Character Signpost 3: Memory Main Character Signpost 4: Preconscious

Influence Character Throughline

Lionel Logue

Influence Character Throughline: Universe Influence Character Concern: Progress Influence Character Issue: Threat vs. Security Influence Character Problem: Process Influence Character Solution: Result Influence Character Symptom: Cause Influence Character Response: Effect Influence Character Unique Ability: Threat Influence Character Critical Flaw: Confidence Influence Character Benchmark: Future Influence Character Signpost 1: Progress Influence Character Signpost 2: Future Influence Character Signpost 3: Present Influence Character Signpost 4: Past

Relationship Story Throughline

Relationship Story Throughline: Physics Relationship Story Concern: Doing Relationship Story Issue: Skill vs. Experience Relationship Story Problem: Test Relationship Story Solution: Trust Relationship Story Symptom: Cause Relationship Story Response: Effect Relationship Story Catalyst: Experience Relationship Story Inhibitor: Ability Relationship Story Benchmark: Obtaining Relationship Story Signpost 1: Understanding Relationship Story Signpost 2: Doing Relationship Story Signpost 3: Obtaining Relationship Story Signpost 4: Learning

Addditional Story Points

Key Structural Appreciations

Overall Story Goal: Being Overall Story Consequence: Doing Overall Story Cost: Progress Overall Story Dividend: Preconscious Overall Story Requirements: Becoming Overall Story Prerequisites: Obtaining Overall Story Preconditions: Future Overall Story Forewarnings: Subconscious

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Watch CBS News

The story behind "The King's Speech"

February 20, 2011 / 11:46 PM EST / CBS News

With 12 Oscar nominations, "The King's Speech" is among the most nominated films of all time. It's based on the true story of George VI, the father of the present queen of England. George VI was a man who, in the 1930s, desperately did not want to be king. He was afflicted nearly all his life by a crippling stammer which stood to rob Britain of a commanding voice at the very moment that Hitler rose to threaten Europe.

"The King's Speech" came, seemingly out of nowhere to become the film to beat on Oscar night. And Colin Firth is now the odds-on favorite to win best actor for his critically acclaimed portrayal of George VI.

The hidden letters behind "The King's Speech" What's it like to hold history in your hands? Scott Pelley had that chance, reporting on the Oscar-nominated film "The King's Speech." Hear from Colin Firth and Mark Logue, whose grandfather's friendship with a king made history.

Segment: "The King's Speech Extra: The real King George Extra: Colin Firth, King and Queen Extra: Firth's Oscar-nominated roles Extra: Firth's "bland" looks Pictures: Colin Firth on "60 Minutes"

When correspondent Scott Pelley asked Firth if he liked being king, Firth said, "I think it's hard to think of anything worse, really. I mean, I wouldn't change places with this man. And I would be very surprised if anybody watching the film would change places with this man."

"It's a perfect storm of catastrophic misfortunes for a man who does not want the limelight, who does not want to be heard publicly, who does not want to expose this humiliating impediment that he's spent his life battling," Firth explained. "He's actually fighting his own private war. He'd rather have been facing machine gun fire than have to face the microphone."

The microphone hung like a noose for the king, who was a stutterer from the age of 8. He was never meant to be king. But in 1936 his older brother gave up the throne to marry Wallace Simpson, a divorced American. Suddenly George VI and his wife Elizabeth reigned over an empire that was home to 25 percent of the world's population.

And like the George of over 1,000 years before, he had a dragon to slay: radio.

"When I looked at images of him or I listened to him, you do see that physical struggle," Firth said of the king's public speeches. "His eyes close, and you see him try to gather himself. And it's heartbreaking."

Among those listening was a 7-yr.-old British boy who, like the king, had a wealth of words but could not get them out.

"I was a profound stutterer. I started stuttering just before my third birthday. I didn't rid myself of it until I was 16. But my parents would encourage me to listen to the king's speeches during the war. And I thought, 'Wow if he can do that, there is hope for me.' So he became my childhood hero," David Seidler, who wrote the movie, told Pelley.

Seidler had grown up with the story, but he didn't want to tell the tale until he had permission from the late king's widow, known as The Queen Mother.

Seidler had sent a letter to her. "And finally, an answer came and it said, 'Dear Mr. Seidler, please, not during my lifetime the memory of these events is still too painful.' If the Queen Mum says wait to an Englishman, an Englishman waits. But, I didn't think I'd have to wait that long," he explained.

Asked why, Seidler said, "Well, she was a very elderly lady. Twenty five years later, just shy of her 102nd birthday, she finally left this realm."

After the Queen Mother's death in 2002, Seidler went to work. He found the theme of the story in the clash between his royal highness and an Australian commoner who became the king's salvation, an unknown speech therapist named Lionel Logue.

"The words that keep coming up when you hear about Lionel Logue are 'charisma' and 'confidence.' He would never say, 'I can fix your stuttering.' He would say, 'You can get a handle on your stuttering. I know you can succeed,'" Seidler said.

Geoffrey Rush plays Logue, an unorthodox therapist and a royal pain.

They say you can't make this stuff up, and in much of the film that's true. Seidler could not have imagined his work would lead to a discovery that would rewrite history. Researchers for the film tracked down Lionel Logue's grandson Mark, because the movie needed family photos to get the clothing right.

Mark Logue not only had pictures, he also had some diaries.

Produced by Ruth Streeter His grandfather's diaries were up in the attic in boxes that the family had nearly forgotten. When Logue hauled them down for the movie, he discovered more than 100 letters between the therapist and his king.

"'My dear Logue, thank you so much for sending me the books for my birthday, which are most acceptable.' That's so British isn't it. 'Yours very sincerely, Albert,'" Logue read from one of the letters.

"As you read through all these letters between your grandfather and the king, what did it tell you about the relationship between these two men?" Pelley asked.

"It's not the relationship between a doctor and his patient, it's a relationship between friends," Logue said.

We met Logue at the same address where his grandfather treated the king. And among the hundreds of pages of documents were Logue's first observations of George VI.

"Probably the most startling thing was the king's appointment card," Logue told Pelley. "It described in detail the king's stammer, which we hadn't seen anywhere else. And it also described in detail the intensity with the appointments."

The king saw Lionel Logue every day for an hour, including weekends.

"You know, he was so committed. I think he decided 'This is it. I have to overcome this stammer, and this is my chance,'" Mark Logue told Pelley.

In the film, the king throws himself into crazy therapies. But in truth, Logue didn't record his methods. The scenes are based on Seidler's experience and ideas of the actors.

"We threw in stuff that we knew. I mean, somebody had told me that the only way to release that muscle," actor Geoffrey Rush said of one of the speech exercises he did in the movie. "And of course, little did I realize that the particular lens they were using on that shot made me look like a Galapagos tortoise."

While the treatments spring from imagination, the actors read Logue's diaries and letters to bring realism to everything else.

"The line at the end, I found reading the diaries in bed one night, 'cause this is what I used to do every night, when Logue says 'You still stammered on the 'W'," Firth said.

The line was used in the movie.

"It shows that these men had a sense of humor. It showed that there was wit. It showed there was self mockery and it just showed a kind of buoyancy of spirit between them. The fact that he spoke on a desk standing upright in this little hidden room is something we found in the diaries as well," Firth told Pelley.

"In reality he had to stand up to speak, he had to have the window open," Firth said. "And he had to have his jacket off."

"And that wonderful, specific little eccentric observation that came from reality," Firth added.

One of the most remarkable things to come out of the Logue attic was a copy of what maybe the most important speech the king ever made - the speech that gave the movie its name. This was the moment when King George VI had to tell his people that for the second time in a generation they were at war with Germany. The stakes were enormous. The leader of the empire could not stumble over these words.

Mark Logue has the original copy of "the speech," typed out on Buckingham Palace stationary.

"What are all of these marks? All these vertical lines? What do they mean?" Pelley asked, looking over the documents.

"They're deliberate pauses so that the king would be able to sort of attack the next word without hesitation," Logue said. "He's replacing some words, he's crossing them out and suggesting another word that the King would find easier to pronounce."

"Here's a line that he's changed, 'We've tried to find a peaceful way out of the differences between my government.' He's changed that from, 'my government,' to, 'the differences between ourselves and those who would be our enemies,'" Pelley said.

"You know, I'm curious. Have either of you snuck into a theater and watched the film with a regular audience?" Pelley asked Firth and Rush.

"No, the only time I've ever snuck in to watch my own film I got quite nervous about it, because I just thought it be embarrassing to be seen doing that, so I pulled my collar up, and the hat down, over my eyes, and you know, snuck in as if I was going into a porn cinema, or something and went up the stairs, crept in, sidled in, to sit at the back, and I was the only person in the cinema. That's how well the film was doing," Firth remembered.

Now, it's a lot harder for Firth to go unnoticed. Recently he was immortalized with a star on Hollywood's Walk of Fame and brought along his Italian wife Livia.

They've been married 14 years and have two sons. With "The King's Speech," we realized Firth is one of the most familiar actors that we know almost nothing about. So we took him back to his home town Alresford in Hampshire, outside London. He's the son of college professors, but Firth dropped out of high school to go to acting school.

"But you don't have a Hampshire accent," Pelley pointed out.

"No. My accent has changed over the years, as a matter of survival. So until I was about 10, 'I used to talk like that,'" Firth replied, mimicking the local accent. "I remember it might have been on this street, actually, where I think the conversation went something like, 'Oy, you want to fight?' And I said, 'No, I don't.' 'Why not?' 'Well, 'cause you'll win.' 'No, I won't.' 'Well, will I win then?' 'Well, you might not.' And so, you know, we went trying to process the logic. And I thought, 'Have we dealt with it now?"

"Do we still have to fight?" Pelley asked.

"Do we actually have to do the practical now? We've done the theory," Firth replied.

He wanted us to see his first stage. It turned out to be the yard of his elementary school where he told stories from his own imagination.

"And at lunch times on the field up here, the crowd would gather and demand the story. They'd all sit 'round and say, 'No, we want the next bit,'" Firth remembered.

Firth told Pelley he found his calling for acting at the age of 14.

Asked what happened then, he told Pelley, "I used to go to drama classes up the road here on Saturday mornings. And one day I just had this epiphany. It was I can do this. I want to do this."

He has done 42 films in 26 years, most of them the polar opposite of "The King's Speech," like "Mamma Mia!"

"How hard was it to get you to do the scene for the closing credits?" Pelley asked, referring to Firth doing a musical number in an outrageous, Abba-inspired outfit.

"I think that's the reason I did the film," Firth joked.

"You have no shame?" Pelley asked.

"I'm sorry. That's if one thing has come out of '60 Minutes' here, it's we have discovered, we've unveiled the fact that Colin Firth has no shame. I am such a drag queen. It's one of my primary driving forces in life. If you cannot dangle a spandex suit and a little bit of mascara in front of me and not just have me go weak at the knees," Firth joked.

From queen to king, Firth is an actor of amazing range who now has his best shot at this first Oscar.

Like George VI himself, this movie wasn't meant to be king. "The King's Speech" was made for under $15 million. But now the movie, the director, the screenwriter David Seidler, who made it happen, and all the principal actors are in the running for Academy Awards. It would be Geoffrey Rush's second Oscar.

"What advice to you have for this man who may very likely win the Oscar this year?" Pelley asked Rush.

"Well enjoy it. It isn't the end of anything because you will go on and do a couple more flops probably, you might even sneak into another film in which no one is in the house," Rush joked.

But on Oscar night, stammering King George may have the last word. A lot of movies are based on true stories. But "The King's Speech" has reclaimed history.

More from CBS News

Search IMSDb Alphabetical Genre Sponsor TV Transcripts International Latest Comments Written by David Seidler A shimmering surface of cold water - held in an immense, free standing, white enamelled bathtub with gilded lion's legs - bulges in SLOW MOTION to the chords of Handel's "Trumpet Volunteer". A head emerges. White gloved hands, in livery, rush to envelope the surfacing naked wet body in white towels. The ritual continues with crisp military precision. CLOSE ON the Royal Coat Of Arms stamped in gold: lion and unicorn embrace a shield divided into four quarters with harp, thistle, and more lions denoting England, Ireland, Scotland and Wales. The shield is surmounted by a crown. This emblem is on a cuff-link fastened on a starched white shirt. Trousers, pressed to a knife-edge, are held for stockinged feet and gartered legs to be inserted. Mirror-polished boots are laced tight. Jacket, held ready. Arms, shoulders, chest received. Glistening medals attached to front of jacket create a dazzling field of ribbons and medallions. Epaulets, edged with gold braid tassels, are adjusted. Polished buttons are fastened. Multi-coloured collar clasped shut. White ostrich feathers, topping a tri-corner hat, are fluffed and placed upon brilliantined hair. PAN DOWN to the handsome features of Albert, Duke of York, known to his family as BERTIE. He's in his late thirties, the second son of King George V, the reigning King of England. He conveys a sensitivity which appears in conflict with the manner in which he's been bedecked. Reflected in a full length mirror, Bertie tells himself: TKS/Seidler/09/17/08 3. You look like a Christmas tree. He smiles wanly. THE ROYAL STANDARD flaps atop a gleaming chrome grill. Liveried footmen open the doors of a stately Austin Princess. Bertie exits York House with his young wife - ELIZABETH - considered by all to be one of the loveliest women in the land, truly an English rose. Golden Labradors and Corgis appear from all directions, weaving between them, barking boisterously, creating a happy chaos. Elizabeth and Bertie glance upwards and wave. Two little girls, LILIBET and MARGARET ROSE, aged eight and four, wave back from their nursery window. Bertie nervously lights a cigarette. Elizabeth pats his hand. Buck up, Bertie. The BBC said it wouldn't rain. BERTIE'S POV - Speaker's Corner with its assortment of orators, prophets, protestors, and onlookers gathered around soapboxs, agreeing, disagreeing, shouting comments. Others carry placards, sing protest songs. A miners' strike is the focus of the day. A large, rather untidy workingman with a florid rosacea nose spots the passing Austin and stares at the occupants. REVERSE ANGLE - Bertie's face stares back. The first drops splatter against the glass. Elizabeth sighs. Never trust the wireless. Bertie's face is obliterated by the increasingly heavy downpour, which segues into a GARGLING sound. TKS/Seidler/09/17/08 4. A gentleman in a tuxedo, carnation in boutonniere, is gargling while a TECHNICIAN holds a porcelain bowl and a towel at the ready. The man in the tuxedo is a BBC NEWS READER. He expectorates discreetly into the bowl, wipes his mouth fastidiously, and signals to ANOTHER TECHNICIAN who produces an atomizer. The Reader opens his mouth, squeezes the rubber bulb, and sprays his inner throat. Now, he's ready. He looks to the control room. The FLOOR MANAGER begins a count-down: five... four... three... two... Ladies and Gentlemen: good afternoon. This is the BBC National and World Programmes taking you to Wembley Stadium. He speaks in flawless pear-shaped tones. There's no higher creature in the vocal world. ELEVATED SHOT looking down on a sea of dripping black umbrellas hiding the spectators from view. Bertie and Elizabeth takes their places in a row of gilded chairs with the other dignitaries. They are: KING GEORGE V - a barrel-chested man with Naval beard and uniform, accompanied by his wife. QUEEN MARY - an elegant but icy grande dame. DR COSMO LANG - a tall, unctuous, churchman with a high, domed, balding head, and a perpetual expression of moral superiority. WINSTON CHURCHILL - a politician of sixty, as portly as Lang is lean. They are bantering rivals in ambition. STANLEY BALDWIN - the Prime Minister of the day. Heavy-browed. His hair, as always, parted down the middle. NEVILLE CHAMBERLAIN - Chancellor of the Exchequer. Tall, thin, lugubrious, with the expression of a quizzical chicken hawk. A BBC technician places a huge imposing microphone suspended on springs next to the stadium equipment. It looks frightening, even to us. Bertie's shoulders brace as though expecting a blow. Elizabeth sees his terror. TKS/Seidler/09/17/08 5. Why wasn't he told? Ten million people listening around the world, Mam. Possibly more. (as though Bertie didn't exist) His brother, and father, have been broadcasting since last year. The King, growing impatient, hisses: Get on with it. Show what you're made of! Bertie moves forward diffidently, without an ounce of confidence, knowing deep within he's doomed. His stomach knots, chest muscles contract, constricting his breath. Luh-luh-lords, la-la-ladies, gen-tell-men. It is a shock to realize this is a man with a profound stutter. A man who cannot speak in public. Lang whispers to Churchill. When Lang whispers, everyone can hear. I wouldn't miss His Highness' maiden voyage for all the world. And on such an important occasion. Lang really is a piece of work. For ease of reading, Bertie's stutter is not indicated from this point on in the script. No doubt you wish the Prince Of Wales was standing before you today. POV - a sea of dripping umbrellas. No response. This is going to be a torment for him, and his audience. A glowing dial on the face of a studio radio. Everyone listening intently. TKS/Seidler/09/17/08 6. (stuttering profoundly) Be that as it may...my brother David is attending to other duties in the furthest parts of this vast Empire... The radio falls silent. Eyes widen in concern. Bertie stands frozen, his mouth agape, jaw muscles locked. He knows he's considered by all, especially himself, unfit for public life. Elizabeth is devastated. Just needs more practice. TRACKING SHOT - rain splatters on brass plaques denoting Dr This or Dr That, specialists in various maladies. Halt at a plaque that reads: LIONEL LOGUE, SPEECH SPECIALIST. Umbrella stand, coat rack, wooden waiting bench: that's all. The door is flung open and Elizabeth enters, drenched, her hat decorated with white silk roses, now limp. A veil covers her features. She waits. Coughs. No response. Calls imperiously: Are you there? From behind a door: In the lav. Princess Elizabeth is not used to this sort of thing. She's further appalled by the loud gurgling of a toilet being flushed, and startled by the entrance of - LIONEL LOGUE. He's in his forties, tall, with piercing eyes and charismatic features. His demeanor is friendly, but professional. The accent, although Australian, is not heavy, he is after all a speech therapist. TKS/Seidler/09/17/08 7. "How poor are they that have not patience! What wound did ever heal but by degrees?" Pardon? Iago...world's greatest villain. Just wants to be bad. Sorry, no receptionist. He offers to shake hands. She doesn't take it, even though she's gloved. (with sang froid) I'd be more comfortable in your office. That's for clients. Where's Mister J? He doesn't know I'm here. That's not a promising start. My husband's seen everyone. They were all useless. He's given up hope. A bit premature. Because he hasn't seen you? Lionel doesn't disgree. You're very sure of yourself. I'm sure of anyone who wants to be cured. Of course my husband wants to be cured! His position requires public speaking upon occasion. A torment. I fear the requirement may grow more frequent. He should change jobs. TKS/Seidler/09/17/08 8. He can't. Indentured servitude? Something of that nature. Well, have your `hubby' pop by and give his personal history. I'll make a frank appraisal. Doctor... Logue tries to object but she over-rides. ...I do not have a "hubby". We never talk about our private lives. Nor do we `pop'. You must come to us. Sorry, this is my game, played on my turf, by my rules. The lady lifts her veil. Perhaps you'll make an exception? He recognizes her instantly, and is clearly impressed, yet refuses to be intimidated. I thought the appointment was for "Johnson"? A name used during the Great War, when the Navy didn't wish the enemy to know His Royal Highness was aboard. I'm considered the enemy? You will be, should you continue to be un- obliging. TKS/Seidler/09/17/08 9. For my method to succeed there must be mutual trust, complete honesty, and total equality. That process takes place in my consultation room. No exceptions. In which case... (re-lowering her veil) I should have kept my pledge. I promised my husband I'd stop seeking "The Great Cure." I've wasted your time. And mine. She exits, closing the door firmly behind her. Bloody hell, I buggered that. WACK! The sound of something solid meeting leather. A foot kicks a ball. Lionel is returning home from work. He's a well-known fixture locally. Some lads are playing footie. One of them passes the ball to Lionel who, despite briefcase and rolled brolly, dribbles skillfully before passing the ball and entering a modest brownstone. As Lionel mounts the stairs he's set upon by three sturdy boys - VALENTINE, IAN, and PETER - with handkerchiefs tied around the lower portions of their faces and armed with broomstick swords. Stand and deliver! (falling into the game) `ow dares molest...Jack The Ripper?! The boys scream with delight and a sword fight ensues - Lionel using his brolly. Beware, Highwaymen, or I'll run yee through. We're Swagmen, not Highwaymen, Dad. TKS/Seidler/09/17/08 10. Oh. (then) Beware, jolly Swagmen, I'll skewer yer gizzards. Lionel wife - MYRTLE - appears at the head of the stairs; a sweet-faced, down-to-earth woman. You'll all hang from the gallows if you don't come for tea. Boys, I think we'd best go up. Logue, Myrtle, and the boys are finishing at the table. Had a visit from a lady today. Another spoiled silly? May we be excused? You must stay, bored stupid, listening to your parents' inane conversation. (grinning) Thanks, dad! And mum. And mum! They start to leave. Take your plates. The boys grabs their plates and exit. After a moment... No wonder about the silly. You're so good at what you do. TKS/Seidler/09/17/08 11. At what I do. (then, deliberately being `theatrical') Twas a Lady with a capital L. Oh, Lionel, that'd get us home in grand style wouldn't it?! She came on behalf of her husband. Which is not the proper way. I told her I was fully booked. Myrtle is clearly disappointed She was...too high and mighty. Know what I mean. She does. There's an unspoken code between them. We wouldn't want that. Covers her letdown. Hard to feel sorry for that sort. Silence, then: Had a call. Wish me luck? Course, Lionel. Loads and loads. Elizabeth, fashionably attired for an evening-out, is curled on a bearskin rug reading "Peter Pan" to the girls. "Mr. and Mrs. Darling and Nana rushed into the nursery too late. The birds were flown." Bertie enters, handsome in a tuxedo. Elizabeth closes the book. Tomorrow, Chapter IV, `The Flight'. TKS/Seidler/09/17/08 12. The two little girls clap with joy. Oh, to fly away! Weren't they lucky. Within his family, Bertie's stutter is virtually absent. One would have to learn to fly properly of course. Now a Daddy story! Can I be a penguin instead? He drops to his knees and waddles. In his tux he looks like a penguin. The girls giggle, but are undeterred. The horsie story, please. Ah well. Called upon to perform, the stutter returns slightly. But the two girls listen raptly, ignoring their father's minor impediment, and it fades. Once upon a time there were two horsies. A white horse that went clip clop clip clop through Hyde Park. And a black horse that went clip clop clip clop through Hyde Park. They met in the middle of Hyde Park. The white horse said "neigh". The black horse said, "neigh". The white horse continued on, clip clop clip clop through Hyde Park. The black horse continued on, clip clop clip clop through Hyde Park. And that's the end of the story. Now off to bed. As the girls exit: A silly story really. But Father tells it rather well. The girls have gone. TKS/Seidler/09/17/08 13. David called. He said come round to The Fort on Friday and stay for dinner. Will she be there? I suppose. Seriously? Seriously, she'll be there. I think I meant... is David serious? About our coming? About her! A married American? Twice divorced? He can't be. She can. Movements behind a curtain. Now? From the auditorium: Now! Someone pushes through a gap. Its Lionel. "Now..." Falters, begins again. TKS/Seidler/09/17/08 14. "Now is the winter of our discontent Made glorious summer by this sun of York..." His elocution is crisp and flawless. His acting, however, is unconvincing. "And all the clouds that lour'd upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths..." (interrupts crisply) Thank you. Beautiful diction...but I don't hear the cries of a deformed creature yearning to be King. Lionel struggles to maintain a semblance of dignity. What do you suggest? Continue to do whatever you do, and hope it gives you a great deal of satisfaction. Crushed, Lionel retreats behind the curtain. Cold and austere mausoleum illuminated by floodlights. On the parade ground, Grenadier Guards in red coats and black bearskin busbies drill stiffly like toy soldiers. Viewing stands are beginning to fill. The King's voice is heard: Stride boldly up to the bloody thing, stare it square in the eye, and talk to it as you would to any decent Englishman. The King's study resembles a naval captain's cabin. Both men are uniformed for a state occasion. Bertie regards the BBC microphone as though it were an alien. TKS/Seidler/09/17/08 15. I d-d-don't thu-thu-think I c-c-can. In the presence of his father, Bertie's stuttering returns in full form, his breathing short and shallow, the muscles in spasms. Show who's in command. If you don't, this devilish device will change everything. Used to be, all a King had to do was look reasonable in uniform and not fall off his horse. Now we must creep cap in hand into people's homes that smell of boiled cabbage, and speak nicely to them. We're reduced to that lowest, basest of all creatures...we've become...actors! Don't give me a look of defeated pathos. This is a family crisis! Father, we're not a family, we're a firm. His father shoots Bertie a surprised look. Does the lad have a brain after all? We're the oldest, most successful, corporation in the world and sitting on thrones is our business! But any moment now we may be out of work. Your brother came to me the other day, livid a certain lady has been refused an invitation to my Silver Jubilee. I pointed out she wasn't a lady and most definitely wasn't his wife. What did David say? She made him sublimely happy. I said: that was probably because she was sleeping with him. "I give you my word we've never had immoral relations." "As my son, as Prince of Wales, as my heir, do you solemnly swear your friendship with this woman is an absolutely clean one?" "I do", he said. "Look me in the eye," I said. "On my honour" he said. Stared straight at his father... and lied. Oh my brother... TKS/Seidler/09/17/08 16. When I'm dead that boy will ruin himself, this family, and this nation, within twelve months. Who'll pick up the pieces? David's friend, Oswald Mosley? His black-shirt British Union of Fascists are marching through London. Hitler terrorizing half of Europe, Stalin the other half. Who'll stand between us, the jackboots, and the proletarian abyss? You? A red light attached to the mike begins a series of warning blinks. What're you going to say? The usual guff. The Archbishop writes it. My people love to hear me say it. Spoken fluently, of course. They're interrupted by the entrance of the BBC News Reader and Technicians. That's the chap who taught me how to use this contraption. You touch your chin with your thumb and the `thing' with the end of your little finger. Splendid fellow. SQUISH. Assisted by the Technicians, the News Reader sprays his throat. Good evening, ladies and gentlemen, this is the BBC, broadcasting direct from Buckingham Palace upon the occasion of the Royal Silver Jubilee. His Majesty: King George the Fifth. (to the mike) "I can only say to you, my very very dear people, that the Queen and I thank you from the depths of our hearts for all the loyalty and - may I say so? - the love with which this day and always you have surrounded us. I dedicate myself anew to your service for all the years that may still be given to me." The News Reader, terribly moved, whispers to his Technicians: TKS/Seidler/09/17/08 17. That's how a King speaks. (adds with splendid false modesty) I showed HM how to do it. The edge of the crowd is visible. One can sense a vast sea of humanity. When the glass doors of the upper balcony open the murmur becomes a ROAR. When the King steps out, it becomes tumultuous. The King is joined by Queen Mary and the Archbishop of Canterbury, other Royals, and dignitaries. The noise is deafening. The King beckons impatiently for someone still inside to join them. It's Bertie, with Elizabeth. They didn't come to see us, Father. Pretend. Where's David? Bedding his American whore. Come, join the fun! (aside to Elizabeth) You'll have to do a lot more of this. I'm sending him to the Midlands. With all the factory noise they won't hear a word he says. The King goes back to waving. Elizabeth is stunned at the prospect. The ROAR of the crowd segues into the ROAR of machinery. Huge industrial wheels whir in neutral. WORKERS are lined up dutifully to hear the visiting Royal. Bertie's lips move, but with the noise he cannot be heard. Elizabeth watches in relief. Then a FOREMAN, trying to be helpful, signals. The machinery halts, the factory falls silent. TKS/Seidler/09/17/08 18. At first the momentum of speaking without being heard carries Bertie forward. What's needed is cooperation... Hearing his own voice reverberate through the cavernous factory brings Bertie's stutter back in full form. ...buh-buh-between the cuh-cuh-classses... One of the workers sullenly pulls a chain, releasing a blast from a steam whistle that drowns Bertie out. THE ROYAL STANDARD fluttering. Elizabeth and Bertie in the back. Is this necessary? You know perfectly well. As they pass a corner news stand, the headline chalkboard reads: Neglects to tell them what must be done, how its to be done, and who's to do it. David has `the touch'. They adore him. As the Austin halts for lights, people stare to see who's inside. Some point. I'll wager they're saying: There's the useless one who can't speak. Bertie and Elizabeth enter. She explains in a whisper: TKS/Seidler/09/17/08 19. There's no receptionist. Elizabeth glances nervously at the lavatory door. (loudly) The Johnsons. From the inner office. Not finished yet. Elizabeth is relieved its not coming from the lav. How'd you find this physician? (poker-faced) Classifieds; next to "Saucy model, Shepherd's Market". Bertie smiles despite his mood. Comes highly recommended. Charges substantial fees in order to help the poor. (realizes) Oh dear, perhaps he's a Bolshevik?! I'm not sure I want to see this fellow. I'm not sure he wants to see you. The consultation room door opens and a working class young woman - ANNA - comes out; then realizes with a gasp who they are. She retreats rapidly back into the consulting room. Perhaps this was a mistake. After an uncomfortable moment, Anna returns, attempting to be properly formal, and stutters: You can go in now, "Mr. Johnson". I'm not actually Mr ... TKS/Seidler/09/17/08 20. (whispers, terrified) I know. (then to Elizabeth) Dr Logue says... Lionel! Lionel says...wait here if you wish. Or, it being a pleasant day, take a stroll. (to the consultation room) Was that alright? Bloody marvellous. (choking up) Thank you...Lionel. Anna flees quickly. Mr. Johnson, do come in. The Yorks look at each other. A totally different universe from the Spartan waiting area. A world of books - piles of them spilling everywhere. Two slightly shabby, but comfortable armchairs. Well-worn Turkish rug. Hotplate and two chipped mugs. Model airplanes hanging from the ceiling. Recording apparatus. The walls are pearl grey and smoky blue. My wife's favorite colours. Here, in a doctor's office, Bertie's stutter returns. Glad we have something in common. Bertie's head bangs into one of the models. My lads build them. Make yourself comfortable. TKS/Seidler/09/17/08 21. Please... What? You're too close. Five paces is the rule of thumb. That might be difficult in this office. Bertie perches uneasily on the edge of an armchair. Nice girl, Anna. Worried she wouldn't find a husband if she couldn't speak. Tried to convince her men will find her even more attractive as a silent partner. The perfect woman. Sorry, bad Australian joke. Why'd your wife change her mind and ask for an appointment? I can't discuss that. What can we talk about? That's better. When speaking with a Royal one waits for the Royal to start the conversation and chose the topic. Your joking. That won't work here. I admit if one waits for me to start a conversation one can wait a rather long time. Silence. They stare at each other. You call this making me comfortable? You call this being forthcoming? Aren't you interested in treating me? TKS/Seidler/09/17/08 22. Only if you're interested in being cured. More silence. Cuppa tea? No thank you. I need one. Turns on the hot plate. Any idea what you're letting yourself in for? Apparently a great deal of rudeness, Doctor Logue. Call me Lionel. I prefer Doctor. I prefer Lionel. My family calls me far worse. What shall I call you? The Duke of York is appropriate. Oh please. Your Royal Highness then. Much more informal. Prince Albert? Or Frederick? Arthur? George? I've lots of names to choose from. How about Bertie? TKS/Seidler/09/17/08 23. (flushes) Only my family uses that. That's what I'll call you then. We must be true equals. If we were equal I wouldn't be here, I'd be at home with my family and no-one would give a damn. Bertie starts to light a cigarette from a silver case. Don't do that. Bertie gives him an astonished look. Sucking smoke into your lungs will kill you. My physicians say it's good for stuttering, relaxes the throat. They're idiots. They've all been knighted. Makes it official then. House rules: no smoking. I thought here we're "equal". As a monarchist I thought you'd appreciate these are my digs and here I rule. No smoking. What was your earliest memory? I beg your pardon? First recollection of the world? TKS/Seidler/09/17/08 24. (stutter growing in intensity) I'm not here to discuss personal matters. Why're you here then? (exploding) Because I bloody well stutter! And you bloody well can't fix it!!! Temper. One of my numerous faults. Do you stutter when you think? Don't be ridiculous. One of my many faults. How about when you talk to yourself? I don't talk to myself! Come on, everyone natters to themselves once in a while, Bertie. Stop calling me that! Shan't call you anything else. Then we shan't speak! Silence. The jug has boiled. Lionel makes himself a cup of tea. Must I pay for this? Loads. Now: when you talk to yourself, do you stutter? TKS/Seidler/09/17/08 25. Of course not! Proving your impediment isn't a permanent internal fixture. When I give a speech...I bloody stutter!!! Bet you a bob you can read flawlessly, right here, right now. (bitterly) Easy money. You're on. See your shilling then. Royals don't carry money. How convenient. Logue fishes a coin from his pocket and puts it on the table. I'll stake you. Pay me back next time. If there is a next time. Correct, I haven't agreed to take you on. During this, Logue has uncovered a piece of apparatus, a recording device with earphones. He sets a blank disc onto the turntable and positions a microphone, then hands Bertie an open book. Bertie glares at it defiantly. I certainly can't read The Bard. `Easy money'. Bertie reads, stuttering badly and getting worse. "To be or not to be, That is the question. Whether it is wiser..." There! TKS/Seidler/09/17/08 26. Reaches for the coin. Not so fast. I proved I can't read. You proved you can't listen. Hands Bertie a pair of heavily padded earphones. Bertie doesn't want to take them. A princely bob is at stake. Bertie reluctantly puts on the earphones. Logue turns a dial. LOUD MUSIC is heard. Bertie takes off the earphones. The music stops. You're playing music. I'm aware. How can I hear what I'm saying?! Bertie, you're Royal. Surely a prince's brain knows what its mouth is doing? You're not well acquainted with Royal princes, are you? I want to demonstrate that when you can't hear your voice, you don't stutter, thus proving your impediment is not innate. Rubbish. Bertie replaces the earphones. Again, the LOUD MUSIC. His lips move as he reads, but all that can be heard is the music. Finished reading the passage he takes off the earphones and the music ceases. He reaches for the coin, but Logue snatches it. I was terrible. TKS/Seidler/09/17/08 27. Flawless. I know how I sound! Would I lie to a prince of the realm to win twelve-pence? I've no idea what an Australian might do for that sort of money. Logue puts the record in a brown paper dust jacket and hands it to Bertie. Souvenir of our first and presumably last encounter. Bertie glances at the record. POV - the label: HMV His Master's Voice. Elizabeth, trying to be gracious, has been cooling her heels with a working class MOTHER and her young son WILLIE. I'm finished with your husband. I'm finished with Doctor Logue! Lionel. They exit curtly. Was that...? Certainly not. How's it going, mate? William isn't trying hard enough. Willie? TKS/Seidler/09/17/08 28. Ddddddoooing ggggggggood. Why am I not surprised? The Yorks are being driven home. As they pass Speakers' Corner, Oswald Mosley's blackshirt British Union of Fascists are out in full force. The bloody man did parlour tricks and cheated me out of a shilling. In fury he rolls down the window and is about to throw away the record. Elizabeth stops him. They'll see. He quickly rolls up the window. The sound of an approaching aircraft engine. A grass strip cut into the moors. Bertie waits beside a shooting break, the stiff breeze whipping his coat, as a small plane lands and taxis. The cockpit canopy slides back and the pilot leaps out, removing his leather helmet and goggles, revealing hair gleaming like gold, perfect teeth flashing a dentist's smile. This is - DAVID - the Prince of Wales, Prince Charming, the media's darling, a sun god descended from the skies accustomed to being worshipped by all. (teasing with a false stutter) Hello, B-b-bertie. B-b-been waiting long? Three days. Where've you been? Bertie stutters badly in the presence of his brother. I was busy. So was I. Elizabeth has pneumonia. TKS/Seidler/09/17/08 29. She'll recover. Bertie shoots him a look. Father won't. David drives. Badly. He's doing this on purpose. Dying?! Some sod tipped him off Wallis is getting a quickie divorce and we're going to make our marriage a fait accompli. As an act of pure spite, Father's trying to depart prematurely in order to complicate matters. The break almost careens off the lane. You believe that? Wallis explained it. She's terribly clever. The King is propped up in bed, wrapped in his favorite faded Tibetan dressing gown, hooked to an oxygen tank. He's surrounded by his wife, Queen Mary, his two eldest sons, his Secretary - CLIVE WIGRAM - his personal physician - DR DAWSON, and a NURSE. Wigram presents a tray with papers and pen. The Instruments Of Succession, Your Majesty. The King is so feeble he can barely make his mark. Glares at David. You're next? God help us. TKS/Seidler/09/17/08 30. He waves them out of the room, but beckons Wigram to come close, and whispers something in his ear. At the appropriate moment, Your Majesty. The King nods. Clear soup is being served at the immense table. Places set for five, but only Bertie and his mother are seated. The clinking of silver and china. Finally: I want my jewelry divided equally. Elizabeth gets first choice. She's not greedy. May I remind you, you're not the one who's dying, Mother. Where are the others? Lord Wigram and Dr Dawson are making arrangements. What sort of arrangements? They didn't say. And David? Fetch him. David, hunched over a table, appears to be sobbing. He doesn't hear Bertie's discreet knock. Seeing his brother crying, Bertie is deeply moved, puts a comforting hand on his shoulder. David pulls away as though touched by a leper and covers the receiver in his hand. I'm on with Wallis! (as though Bertie didn't exist) TKS/Seidler/09/17/08 31. I know, darling, a talk, even a lovely long talk, is a poor substitute for holding tight and making drowsy. Nor making our own drowsies either, as we've had to do far too often lately. (kisses the phone) Til then, sweet love. (hangs up) Wally misses me terribly Mother says you're late for supper. David glares at a clock. Clocks set five minutes in advance, so as not to be late. When I'm King I shall set them back! Bertie and David enter to find Wigram and Dawson with their mother. Lord Wigram has requested permission to order the coffin. Nobody wants to take responsibility. The Queen looks to David. He nods. They're interrupted by a BUTLER. The Archbishop of Canterbury. Who the hell invited him?! Nobody. Don't swear. Somebody should bloody well dis-invite him. Father swears. That would be rash. You're not your father. TKS/Seidler/09/17/08 32. His Grace can be a persistent enemy. We need friends. David knows he's referring to the Simpson affair. Show the toad in. Lang is already sweeping towards them. Whatever can I contribute in this dreadful hour?! The men are huddled, with cigars and port, composing a news release. Bertie acts as secretary. "Tranquilly"? "Serenely"? Peacefully. The others nod. "The King's life is moving peacefully to its..." "Termination"? Close. "...to its close." As a man of letters you're heaven-sent to assist in the editing of our press communique. Lang beams. I'll telephone this through to the BBC and alert The Times to hold the morning edition. The problem is...if we're to keep to schedule...time is running out. The clock is approaching midnight. TKS/Seidler/09/17/08 33. Is my father late for death? We wouldn't want the news delivered by the disreputable afternoon press, would we? The brothers look at him. He expains: Who knows what sensational side issues those tabloids might report. Perhaps a peaceful termination? All eyes on David. The nurse looks aghast as Dr Dawson administers an injection. Three quarters of a gram of morphia and a gram of cocaine injected into the distended jugular vein. No! that's... You may leave. She does so, sobbing. Everyone watches silently as the King's breathing slows, the twitching jugular subsides, then all movement ceases. Dawson takes the pulse, and consults his watch. David sets the hand of the room's big clock back by five minutes. Time of expiration, 11:55 pm. On schedule. Queen Mary curtsies in homage to the new King, taking her eldest son's hand and kissing it. When she looks up...her eyes are chilling. Long live the King. TKS/Seidler/09/17/08 34. Bertie, in despair and grief, has been describing to Elizabeth what happened. The look in mother's eyes, it was...ghastly. He notices something on his desk, the record Logue made. POV: the label - His Master's Voice - stares up at him. He releases his emotions in an outburst of anger. What's this bloody thing doing here?! Bertie... The man was a total fraud! He picks up the record and is about to smash it against the edge of his desk, then realizes the mess that would make and tosses it into a waste paper basket. Then changes his mind. Would you like to hear? Not particularly. Well I think you should. You should know what goes on. Telling me he could help me read flawlessly. Lying bastard! Listen to this babble! Bertie takes the record from the trash and walks to a Victrola stand, lifts the arm, places the steel needle, expecting to hear his stuttering voice. Instead, what he hears is flawless and flowing: "To be, or not to be, - that is the question: - Whether `tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?" (the needle sticks) TKS/Seidler/09/17/08 35. "...sea of troubles, and by opposing end them? And by opposing end them? And by opposing..." Bertie lifts the needle. He and his wife stare at each other; there are tears in her eyes. The ROAR OF A HUGE delirious crowd is heard, growing in volume. The roar becomes chillingly recognizable: "Zeig Heil! Zeig Heil! Zeig Heil!" Hitler, giving one of his mass rally speeches, continues. The brass numbers 10 appears on the blackness. It is: The black front door of the Prime Minister's residence. The Fuhrer's tirade continues as CAMERA moves through the door into 10 Downing Street itself. CAMERA explores the dwelling, during which Hitler grows louder and more shrill, until: The glowing light of an illuminated dial of a radio, listened to by Churchill and Baldwin. They wear black armbands. Turn that devil off! The hysteria stops. If only one could do that so easily in real life. Chamberlain thinks that Hitler can be reasoned with. Neville is an old woman. TKS/Seidler/09/17/08 36. That's the direction its going, Winston. You're out of step. We'll see who trips and falls. Enough pleasantries. I've asked you here because you seem to be the only sensible member of the King's camp. Nice of you to say so, Stanley. Is he willing to be reasonable? Depends on the definition. (bluntly) Has he seen the light? He has. Baldwin brightens. Our Monarch basks in the warming rays of a celestial orb. Her name is Wally. Baldwin's face clouds once again. A headline screams: HITLER RATTLES SABRE. Lionel is at his desk reading the newspaper as his sons sprawl on the floor building a model airplane. Dad? Mmmm? Time for a Shake, dad. TKS/Seidler/09/17/08 37. (pleased) You sure? Shake! Shake! Shake! Clearly this is a much loved ritual. Lionel disappears into a closet. Bet its the Scottish Play. Othello! Perhaps something with Falstaff? Ominous thumps within the closet. "Art thou afeard?" Caliban! Lionel lumbers out of the closet, a pillow stuffed into his jacket to create a monstrous hunchback. His acting, performed just for his children, is quite magical. "Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not. Sometimes a thousand twanging instruments Will hum about mine ears; and sometimes voices, That, if then I had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open, and show riches Ready to drop upon me; that, when I waked, I cried to dream again." The lads are enthralled. The DOOR BELL RINGS. Lionel is not expecting anyone. The Austin Princess waits at the curb. Bertie is at the door. He rings the BELL again. TKS/Seidler/09/17/08 38. Doctor Logue? Lionel is stunned, covers: Must be a tradesman. Off you go, lads. Mum should be home from work. The boys gather their things, deposit the model plane on a chair, stow the building materials in a box, and exit the back way. Lionel goes to the door, but doesn't open it. Logue...? Logue, expressionless, doesn't respond. Bertie is torn: part of him wants to flee, yet he desperately needs to be let in. He knows what must be done. This is a huge step for him. Lionel...it's Bertie. The door opens. My condolences. I didn't expect you. Thank you. I didn't expect to be here. May I come in? No. What? My wife doesn't think it's a good idea. Your wife? Myrtle. TKS/Seidler/09/17/08 39. Myrtle? Myrtle's never met me. I've never met Myrtle. May we discuss Myrtle in private? Its not proper talking about our women on the street. Lonel gives him a look, but lets him him. As they enter Bertie notices: What happened to your shoulder? Lionel hastily removes the pillow, tosses it away. Sore back. What's your Myrtle got to do with me? Elizabeth doesn't much care for you either, but here I am. That woman has style. Which is why she dislikes you. You're far too familiar. (referring to the consultation room) May we discuss this properly? They enter: You look dreadful. Another example of exactly the sort of thing you don't say to a Royal. And you're too close. But you're not Royal in this room. TKS/Seidler/09/17/08 40. Which is precisely why Elizabeth dislikes you. He starts to sit. Not there! CRUNCH. A model airplane was nestling in the armchair. Curtis bi-plane, now a Curtis mono-wing. Oh I say, I'm terribly sorry. Tell your lads I'll buy a new one. Lionel takes out the box of model building gear the boys left. You don't have any money. I'll fix it. So, Bertie, what brings you here? Your father's death? Bertie is silent. Mine lay rigid, fists clenched angrily at his sides, daring the Reaper: take me, you bastard! What was he angry about? I was a great disappointment. Thought he'd be proud of you. So did I. A man of stature? A clerk. Oh. (pause) TKS/Seidler/09/17/08 41. I was informed, after the fact, my father's last words were: "Bertie has more guts than the rest of his brothers put together." (pause) Couldn't say that to my face. (then) Your mother? Coughed herself to death when I was young. Oh. I remember going to the theatre with her. Not real theatre...traveling players. I've been to Australia. Not where I lived. (blurts) My brother. That's why I'm here. What's he done? Can't say. I'm going home now. You must undersand, I can't puh-puh-puh... His jaw and throat muscles constrict. Try singing it. Pardon? Know any songs? "Swanee River". TKS/Seidler/09/17/08 42. Very modern. Happens to be my favorite. Sing it. Certainly not. (fascinated by the plane repairs) May I help? Always wanted to build models. Father wouldn't allow it. I had to collect stamps. He collected stamps. Only if you sing. Goes like this... (sings) "Way down upon the..." I know the words! (sings) "Way down upon the Swanee River. ..." Etcetera. You didn't stutter. Of course I didn't stutter, I was singing! One doesn't stutter when one sings! (realises) ) Oh... (then) Well I can't waltz around on State occasions warbling! You can with me. That's because you're peculiar. I take that as a compliment. Cut some struts from the balsa. Sorry, hard to show you what to do at five paces. Would you like a cup of tea? No. Yes. Thank you. TKS/Seidler/09/17/08 43. Lionel fires up the hot plate. You were about to sing an aria concerning your brother. I'm not crooning to the tune of "Swanee River!" Try "Camptown Races" then. (sings) "The Arch of C, he said to me, doo-dah doo- dah..." That sort of thing. I can't talk, or sing, about your future King, doo-dah, doo-dah... My future King? He's your future King too. Did that cause friction? Knowing he'd grow up to be King, but you wouldn't. Certainly not. I've always looked up to David. Water's boiling. Lionel makes the pot. Two lumps or one? Bertie, a bit abashed, holds up three fingers. I've a sweet tooth. To tell the truth... Always preferable. (referring to plane wing) Cover it with tissue. ...it was a relief. Knowing I wouldn't be King. Why's that? Lionel hands him a mug of tea. Bertie realizes it's chipped and possibly none too clean. TKS/Seidler/09/17/08 44. I wouldn't have to give speeches! Reaches into his jacket for his cigarette case. No smoking. What's the age difference? While Logue isn't looking, Bertie surreptitiously wipes the rim of the mug with his handkerchief. Eighteen months. But for eighteen months you would've been King?! We didn't think about it that way, doctor. (sings) Doo-dah doo-dah. (then) David and I were very close. As you said: eighteen months. As brothers! How close? Young bucks... You know. I don't, or I wouldn't ask. Did you go after the same girls? Upon occasion. Princess Elizabeth? (flares) What an extraordinarily rude thing to say! (quickly under control) David did try to be her beau at one point. Before I met her. She wouldn't have him. TKS/Seidler/09/17/08 45. Not like my father...he and his brother, when they were young, kept a girl in St John's Wood and shared her on alternate nights. An uncomfortable silence. Too much has been said. Now dope the other wing. Did David tease you? They all did. "Buh-buh-buh-Bertie". Father encouraged it. "Spit it out, boy!" Thought it would make me stop. Is this necessary?! Otherwise the paint will eat through the tissue. I mean the damn questions! Mandatory. Tell me more about your storybook childhood. What was your earliest memory? You asked that before. This time I'd like an answer. Being born. How can you remember that? December 14th. I don't understand. "Mausoleum Day". Prince Albert departed on that date. I was named Bertie to placate Great Grandmamma Victoria. In return, she hated me because it reminded her of her grief. (stutter growing in intensity) TKS/Seidler/09/17/08 46. Let's stick to medical history please. I'm naturally left handed, which was considered inappropriate. And? I was punished. Now I'm right handed. Anything else? Bandy legs. Also considered inappropriate. Lionel waits. Metal splints were made...worn night and day...very painful. Now I have straight legs. This is so...tawdry! I need your services as a Speech Therapist, not Grand Inquisitor. Are you available? Or will it be: "Myrtle says no?" You sound angry. Yes, I told you, I have a temper. Angry at me, or at your brother? Bertie remains stubbornly silent. Then blurts: He's fallen in love! How dreadful. With the wrong sort of woman! What's wrong with her? She's American. Some of them must be lovable. TKS/Seidler/09/17/08 47. This one's divorced. Twice. Mrs Wallis Simpson of Baltimore. I want David to be happy, but the family, the Church, the nation, won't have it. Can't they fornicate privately like adults? If only! David used to prefer married women because there was no possible attachment. But now... "Queen Wallis of Baltimore"? Please. Does sound a bit iffy. I made a smudge! Touch it up. You want me to beg for help? I advise you never to beg. Especially if you might be King. Don't say that! I see. For reasons you cannot disclose, fearing ramifications you will not explain, you feel sufficiently anxious to embark upon a course of therapy in which you have no faith? You already owe me a shilling. Bertie takes a coin out of his pocket, hesitates, then offers it to Logue. I brought it along. You won, fair and square. I'll pay you generously. Lionel pockets the coin. TKS/Seidler/09/17/08 48. I'll continue to ask questions. That's what I was afraid of. (admires the plane) Nice job. Bertie sees Lionel glance at his watch. You've someone waiting? I do now. I'd apologize to them in person, but... You don't wish to be seen? Slip out the back way. After the funeral...it may be even more difficult. To remain unobserved. You're having second thoughts. Bertie's silence is confirmation. I ask too many questions? Perhaps the wrong sort. (writes an address) We live in South Kensington, small apartment, but no one would see you. (added incentive) Lots of planes. You know, Lionel, you're the first ordinary Englishman... Australian. TKS/Seidler/09/17/08 49. ...I've ever really talked to. Sometimes, when I ride through the streets and see a `bloke' I'm struck by how little I know of his life, and how little he knows of mine. Cuts both ways. As Bertie is about to leave, Lionel requests casually: And if you decide to come, bring the Duchess. She might be helpful. She might. If I asked. Very nicely. (at back door) And how will Myrtle take to our coming into your home? Not sure. She isn't speaking to me. (pause) Wants to go home. (pause) After the funeral then? Bertie doesn't answer. Exits. Logue is left holding the plane. He goes to the waiting room door. How're you doing, Willie? (speaking for her son) Still can't say a sentence. Willie? Iiiiiii'm much bbbbbbbetter. Well done. A drum roll is heard. Thrum. Another... Thrum! Thrum! Funereal bagpipes wail, joining the measured drum-rolls. TKS/Seidler/09/17/08 50. On the balcony of the Castle, decorated with black bunting, is a huge BBC microphone, and arrayed in front of it a row of uniformed dignitaries wearing Naval hats of the Napoleonic Wars, replete with ostrich feathers. One of the dignitaries reads a declaration: Whereas it has pleased Almighty God to call to His mercy our late Sovereign, King George the Fifth of blessed and glorious memory... During this, INTERCUT to the REVERSE ANGLE, showing a massive military parade, mainly Navy personnel, wending its way through the main street of Windsor towards the Castle, accompanying a gun carriage on which rides the King's coffin, draped with the Royal standard, on which rests the Royal Crown topped by a Maltese Cross. David is seen - very serious. ...that the High and Mighty Prince Edward Albert Christian George Andrew Patrick David is now become our only lawful King. Canons are fired. Startled by the salute, a large flock of blackbirds rise up and streak across the wintery sky. A MURMUR, then a shocked GASP, as the gun carriage transverses a tram track and tilts precipitously. Suddenly the Royal Crown tumbles and falls, knocking off the Maltese Cross. Oh bloody Hell! A bad omen, Your Grace? The Archbishop and Churchill are watching the events from the shadows at one end of the balcony. Below - a scramble to restore the Cross to the Crown, and replace both atop the coffin. Don't be disingenuous. For our late King's crown to fall from his coffin is not a fortuitous portent. What ever is going to happen next? TKS/Seidler/09/17/08 51. Is that be the motto of the new reign? Indeed, will there actually be "a new reign"? Winston! I'm deeply shocked. You don't look it. My function requires me to appear serene. That may be increasingly difficult to maintain. I've been informed by no less an authority than the Prime Minister that our populace has no objection to Royal fornication, but will never tolerate adultery. Well, since we cannot acquire a new populace, perhaps we need a new King? My turn to be profoundly shocked. Neither look the slightest traumatized. Scoff, Churchill! Go on... scoff! But you more than others know full well we'll soon be under siege from the forces of darkness. The winds of war...a gathering storm? Oh, you do have a way with words. And who would you suggest to rally the troops, the nation, the Empire, the world? INTERCUT to Bertie in the funeral cortege, looking frail and pale. A man who cannot speak? In Nuremberg stadium, Herr Hitler mesmerizes millions, whilst the Duke of York cannot successfully order fish and chips. TKS/Seidler/09/17/08 52. Would you prefer the next brother? INTERCUT to Henry, the Duke of Gloucester. A bi-sexual former drug addict? The unwashed moralistic populace will adore that! The youngest, perhaps? INTERCUT to George, the Duke of Kent. Now there's dimness. I must admit...unburdened with brain. Thus we're left with David, the rightful heir, who speaks beautifully, even if he talks nonsense. Below, the coffin is entering the Chapel. Come, let us bury one king, before we attempt to bring another to his knees. They exit. Re-establishing shot. The Royal standard flies bravely. Bertie waits at a table with a group of immaculately attired courtiers and dignitaries. This is the Coronation Committee. The chair at the head of the table is empty, everyone waiting for its occupant. He finally arrives. David. He gestures for Bertie to come into the corridor, but deliberately leaves the door open so the committee can hear snatches of Bertie's ensuing humiliation. TKS/Seidler/09/17/08 53. David has a habit of constantly fingering his tie. Hear you're taking elocution lessons, lad. Pardon? Diction. Speechifying. That's the word around Town. Merely trying to overcome my dreadful impediment... I'm the brother who speaks. Or do you wish to have a go? Good lord no! I hope to... Replace me? Well...today's your chance. He thrusts a document into Bertie's hands, then pokes his head into the conference room. My brother will read the Coronation Plans. (whispers urgently) I'm not prepared! (whispers back) As a Boy Scout...and you are one, aren't you, very much a Boy Scout...you must always be prepared. Nice and loud, so everyone can hear. Bertie looks at the pages, his throat constricts, his chest tightens and his hands begin to shake. I...I...I thu-thu-think we should tuh-tuh- table the document. He attempts to return it to David, but his brother won't accept. TKS/Seidler/09/17/08 54. Tell the others how Mrs Simpson is to be accommodated in a special alcove above the altar. Now I'll be off. See you at Balmoral this weekend, Buh-buh-Bertie. In the room, they are appalled. Bertie stands frozen and shattered. The lion rampant flutters on the bonnet of the Austin. Inside, Bertie, wearing a black armband, gestures for the driver to stop. Pulling his homburg over his brow, Bertie wraps his scarf around the lower portion of his face. Then catches his reflection in the rearview mirror. Tells his driver: Wait down the road. Not wanting to draw attention to his destination, Bertie has disembarked several buildings away from Logue's address. He makes his way hurriedly. WACK. A soccer football hits him on the back. He wheels around. The group of local lads look at him unabashed. Kick it `ere, aye, Guv? Bertie kicks it. A fine high shot. Nice one. They go back to their game. Bertie rings Logue's bell. A brief pause. Bertie glances nervously, hoping not to be recognized. Lionel opens the door. To be honest, wasn't sure whether to expect you. I wasn't sure either. TKS/Seidler/09/17/08 55. Something happened? Bertie stares at his mentor. Nods. (as they enter, referring to his hat and scarf) Do I look like a spy? With a toothache. They disappear inside. Bertie has to pick his way through discarded toys and sporting equipment, explaining to Logue: I was totally unable to speak. You seldom stutter with me anymore. (referring to the mess) The boys are a bit untidy. Because you're paid to listen! Like a verbal geisha girl? Bertie looks around the cluttered, but pleasant room: comfortable furniture a bit battered by the boys, antimacassars to hide the wear spots on the arms, family photos everywhere, well-used Turkish rug on the floor. Home. What more does a man need,eh? Lionel stares, unsure if he's being patronized. Coming from a man who's lived all his life in castles and palaces. TKS/Seidler/09/17/08 56. Somebody has to live in them. Somebody does. Ushers Bertie into his study. Bertie stands shattered, lost in his painful memory. I couldn't say anything! You could've refused. Don't you know any rude words? What a bloody stupid question! I just said one. Bloody. Bloodybloodybloody! Perhaps a touch more vulgar? Certainly not. To prove you know how. Bugger! A public school prig could do better. Well bloody bugger to you, you beastly bastard! Hardly robust. Shit then. Shit, shit, shit! See how defecation flows trippingly from the tongue? You don't stutter when you swear. TKS/Seidler/09/17/08 57. Because I'm angry! Get angry more often. Do you know the f- word? Fornication? Oh Bertie... Fuck. Fuck, fuck, fuck! Bravissimo! Now a resounding chorus of... Bloody, bloody. bloody! Shit, shit, shit! Bugger, bugger, bugger! Fuck, fuck, fuck! A pounding on the wall. We have children...! (whispers) This is your fault! Sorry, pet! Won't happen again! I should hope not! Apologies, Mrs. Logue. First time I've heard you laugh. Royals aren't allowed emotions in public. Which explains a lot. Bertie is in no mood to be provoked. TKS/Seidler/09/17/08 58. What do you want me to do, dammit!? Stage my next public appearance as an obscene operetta?! Your next public appearance should be very well rehearsed. Without thinking, Lionel instinctively reaches out to pat Bertie supportively on the shoulder. Bertie pulls back in offended shock. All the warning signals instilled in him are going off. Don't take liberties! You're a dangerous man, Logue. Who sent you? Anyone in mind? The lurking shadows. Courtiers and peers...the whole panoply of a class which once ruled the nation which once ruled the world, afraid of losing their last vestige of privilege if the monarchy is further debased. Your wife was the one who sought me out. Because, dear sweet deluded woman, she believes in me! But you don't share her belief? Why come here? I'm beginning to ask myself that very same question. Your sailing close to the edge, don't push me, Doctor Logue. Lionel. I came here because I was taught from childhood to serve a purpose, and that purpose is to serve. Duty is our sole justification for privilege. TKS/Seidler/09/17/08 59. I came here because I was under the illusion you might help me perform that function! Not to worry. They say the King can do no wrong. He can bugger things up! And I am not the King. Mrs. Simpson is seeking a divorce. The Coronation is set for the 12th of May. Her decree becomes final on the 27th of April. That gives them two weeks to marry and put this issue to rest. And if Mr Baldwin stops them? That would be a tragedy. I pray to The Almighty they succeed. I'll do anything within my power to keep my brother on the throne. Does that include debasing yourself? If necessary! Your brother knew perfectly well by giving you a document without warning... Are you saying he wanted me to fail? Are you insisting he didn't? In the future we can parse any document into manageable phrases. You can sing them, swear them, rehearse them til you get the rhythm and flow; that, combined with your growing confidence... Bertie doesn't want to hear. Growing confidence? Growing dread!!! You're a wicked man, Lionel Logue, trying to get me to thrust myself forward as an alternative to my brother. Trying to get me to commit treason! TKS/Seidler/09/17/08 60. Trying to get you to realize you need not be governed by fear. Again, why did you seek me out? To take polite elocution lessons so you could attend posh tea parties?! How dare you! I'm the brother of a King...the son of a King...back through untold centuries. You presume to instruct me on my duty? A jumped-up jackeroo from the outback? The disappointing son of an embittered clerk! You're a monster, Doctor Logue. I'm going to Balmoral to spend a pleasant country weekend with my beloved brother. And these sessions are over! Closed curtains. Someone fumbles behind it. Now? Lionel pushes his way through the gap in the curtain. A PROVINCIAL DIRECTOR replies from a seat in the auditorium. (Not the same Director as in the earlier audition scene.) Were you told? We aren't for London. Playing the provinces. Outer Mongolia? Available, are we? Nothing prevents. I believe that's called "desperate for a part!" Previous experience? Australia. You have played the provinces. Righto! Let's hear what you can do. TKS/Seidler/09/17/08 61. Caliban? Make him deformed. Audiences like that. Of course. (rallies himself) "Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not." As magical as Lionel was when he performed for his boys, here he's stiff and painfully stilted. "Sometimes a thousand twanging instruments Will hum about mine ears; and sometimes voices..." (interrupts) Thank you! Don't abandon your day job. Next! Logue bows his head. Lionel enters and sits dejectedly at the table. Myrtle and the boys eat in silence. Finally: You may leave. Haven't finished yet, Dad. (realizes) Oh! Right! Thanks, Dad. Thanks, Mum. They exit. Myrtle knows something has happened. Lionel? Lionel takes five slim folders out of his jacket pocket and puts them on the table in front of Myrtle. She studies them, stunned. TKS/Seidler/09/17/08 62. Tickets? Home? First class. A long pause as Myrtle digests this. What about your... Willie's a problem...not much progress. The others have been referred. What'll you do when we get home? Try not to act the toff. Teach perhaps. You could... No! I'm not good enough! You gave it a try, Lionel. Yes, I had a go. Thanks to your patience. (grief overwhelms him) I just bloody well wasn't good enough! (studying the tickets) Oh Lionel! This must've cost you. CHOP! CHOP! CHOP! The sound of an axe. A woodsman's axe CHOPS into the thick trunk of a massive tree. Nearby, a bulldozer cuts into the green turf and rich soil. The felling and earth removal are being watched by Churchill and Lang from a distant terrace. In the background a jazz band in white tuxedos syncopates pertly. TKS/Seidler/09/17/08 63. Five hundred year old oaks! Part of the hill! Removed to improve the view! How ever does she do it? Inside the ballroom, seem through open French doors, an afternoon dance is being held. Churchill and Lang look in. At the epicenter, a dashing couple: David, the very picture of insouciance, and clinging to his arm, dripping in jewelry, a rather small, angular, dark haired woman, with a high brow and square jaw - MRS WALLIS SIMPSON. Her most attractive physical feature is her back, displayed fully by a dress that plunges to her nates. Surrounded by their entourage, they are the apex of chic. Watching from the sidelines: Erotic sexual techniques beyond polite imagination? I realize of course, that may be outside your personal experience. Winston exchanges his empty champagne flute for a full one from the tray of a passing footman. You've the Devil in you today. If anyone should know, it would be Your Grace. All aspects of mankind are within my venue. Did you know, HM has trouble with his glands? Churchill almost chokes on his champagne. I'd not appreciated Your Grace was so well versed concerning things testicular! They were severely damaged by the measles when HM and his brother were naval cadets. TKS/Seidler/09/17/08 64. A veritable encyclopedic font of scatological information. Apparently it affects the quality, although not the quantity, of HM's endeavors. And the brother? Unscathed. Two daughters. I shepherd my flock in all matters, Winston, including multiplication. They make their way inside. In the distance an Austin Princess can be seen making its way up the stately tree-line avenue. Bertie and Elizabeth are dressed for the party. We must try to be pleasant. Your father not dead six months, and That Woman throws, "A garden potty." P-o-t-t-y. She's sleeping in your mother's bedroom. And I know perfectly well she calls me `the Dowdy Duchess", and "Cookie". At the buffet table Churchill helps himself copiously. Has it occurred to you, as it has only occurred to me, that a Monarch with a gland problem, who realizes he cannot produce issue, might not wish to be King...? knowing his lack of issue may well become a major issue indeed. A dazzling concept...beautifully phrased. A FOOTMAN announces: TKS/Seidler/09/17/08 65. Their Royal Highnesses the Duke and Duchess of York. Wallis sweeps forward to greet them, but Elizabeth sails past, announcing to no one in particular: I came at the invitation of the King. David turns and bows formally. Elizabeth cursties in return. Wallis quickly returns to David, taking him forcefully onto the dance floor. The Yorks go in the other direction. To the side, Churchill and Lang watch David and Wallis do a brisk Turkey Trot. According to the F.B.I.... she is, after all, one of their citizens...our Monarch does not possess exclusive rights to Mrs. Simpson's sexual favours. Hitler's Ambassador, Count von Ribbentrop, has been sending her 17 carnations every day...one for each time they've slept together. Good Lord, Winston, we must see to it this Empress of the Night does not become Queen of England! Vividly put. Churchill has spotted Elizabeth in a side room. Allow me to test new waters. Churchill makes his way to Elizabeth, who is standing in front of a portrait of George IV. I don't need to be told I behaved badly. On the contrary, Mam. Court etiquette decrees royalty must be greeted by the official host. In this case: the King. You behaved impeccably. As always. TKS/Seidler/09/17/08 66. (referring to the painting) A relative? Distant. (referring again to the painting) You're well aware, of course, George IV's wife, Mrs. Fitzherbert, was very common indeed...and previously married. She signed an agreement that she could never become Queen, and their children could not be Royal. A rather sensible morganatic arrangement. That was a very long time ago. You're stirring with a rather large spoon, Winston. Keep in mind, I'm also a distant relative of Lady Macbeth. I would disremember at my peril. David is coming briskly down the corridor, struggling to open a champagne bottle, followed by Bertie determined to catch up. Elizabeth and Churchill leave the brothers alone. David... Wally wants more champagne. I have to fetch it. She prefers that. Been trying to see you... Been terribly busy. Doing what? Being King. TKS/Seidler/09/17/08 67. Where did you get that American accent? David...Father's not dead six months, yet you've put Mrs. Simpson in the suite used by our mother? Mama's not still in bed, is she? That isn't funny. Ssssssorry, d-d-dear b-b-oy! Please. No more of that. A moment of silent confrontation. David backs down. Sort of. Didn't realize you cared. This could end in disaster. This will end splendidly. With Wallis as my wife. Whatever will she call herself? Queen of England, I suspect. Kings do marry. Empress of India. The whole bag of tricks. David! The upper classes are terrified anything which clouds the monarchy makes their situation more dangerous. Hunger marchers are singing the "Red Flag" in front of Westminster...demanding a republic...I've seen them... Herr Hitler will sort that out. Who'll sort out Chancellor Hitler? TKS/Seidler/09/17/08 68. He's much maligned. By the Jews, according to Wallis. And she's very clever about politics. The man's a monster! Our position must remain clear. Why's that, old chap? We are a German family! Didn't bother anyone during WWI. And Kaiser Willie was our uncle. Because we took an English name! Windsor. Because we are England. We are the heart and soul of this nation. That must never change. Are you already in charge? I'm trying to warn you. Am I being threatened? David, your role is to consult and to be advised. Sounds like you've studied our wretched constitution. Sounds like you haven't. I won't be a lackey to an unwashed politician like Stanley Baldwin! He's your Prime Minister. And I'm his King! TKS/Seidler/09/17/08 69. If you refuse to listen to our Government, they have no choice but to resign. I'll form another. There's Winston. He'd love to be P.M. We'll create a King's Party. To fight a general election in which your marriage is the only topic? I'd risk anything and everything for Wallis. Don't I have rights? Privileges. Not the same thing. No. Yet an ordinary man may marry for love. We're not ordinary men, David! We were bred to be profiles on a coin. If you were ordinary, on what basis could you possibly claim to be King?! What's the point then? Just to look posh? You know...your speech is much improved tonight. Hardly a hesitation. Yearning for a larger audience, are we? Don't say such a thing! Is my young brother trying to push me off the throne? Sounds positively medieval. I beg of you, don't do this to my wife, my daughters, to me. TKS/Seidler/09/17/08 70. The politicians will give in. See you at my Coronation...Bertie. The champagne cork finally POPS. He strides off. Establishing shot of the Prime Minister's residence. Nice of you to invite me to your digs, Stanley. Baldwin and Churchill are alone together. No love lost between these two men. As you may have guessed... Churchill is silent. Balwin waits, then: ...I intend to resign. The Royal scandal has weakened my position considerably. Churchill, on the edge of his seat, can't suppress an anticipatory grin. Baldwin takes pleasure in deflating it. No need to volunteer your services, Winston. Neville Chamberlain will take my place, once this Royal matter is settled. As Chancellor of the Exchequer he already lives next door. My opportunity to redecorate will come soon enough, Stanley. Will it? Well, enough chit-chat. The question of a morganatic marriage, as a possible solution, has been put to the Dominion Prime Ministers. After all, HM is their King too. Baldwin has a sheath of telegrams in hand. TKS/Seidler/09/17/08 71. Australia: no. David feels there aren't that many people in Australia. Canada: no. Union of South Africa: an inappropriate marriage would create a permanent wound. The Irish Free State: states it is not really their affair, and, bluntly, our English King may marry any whore he wants, they'll be well out of it. Bloody Irish. New Zealand...wavers. Ah, the Kiwis! Being rather remote, they've not even heard of Mrs Simpson. Hardly a winning hand. Silence. This is not about true love, Winston. This is about who's in charge. Does the King do what he wants, or what his people want him to do? Does the King own his nation, or does the nation own their Monarch? He won't budge. Nor will we. Winston Churchill is incongruously inspecting a rocking horse. Unable to resist, he sits on it gingerly, rocking back and forth lost in a reverie. Eyes closed he extends his right arm as though holding a cavalry saber. Bertie enters startling him. Don't dismount. TKS/Seidler/09/17/08 72. Good of you to see me at this late hour. Thought you were in David's camp? I was. (takes a piece of paper from his pocket and reads) "I am now free to tell you how I was jockeyed out of the Throne." Good Lord! My brother wrote that? Wallis wrote it for him. I'll burn it. I fear your brother is like the child in a fairy story, given everything in the world, but they forgot his soul. Quite happy to bring his nation to the brink of civil war just as we face global conflict. We're not coming to that?! Oh, there'll be war, alright. (takes out another piece of paper) Your brother held conversations with the Duke of Saxe-Coburg, your cousin, a ranking member of the Nazi party. I have the Scotland Yard intercept: "Who is King here? Baldwin or I? I myself wish to talk with Hitler, and will do so here or in Germany." I doubt England is ready to return to absolute monarchy. Surely his motives are misunderstood? "If I don't get my way, when the war comes, Hitler will crush everyone, including the Americans. The British may not want me as their King, but I'll soon be back as their leader." His intent seems crystal clear. Winston?! Don't take him seriously! TKS/Seidler/09/17/08 73. Mugs for his cancelled Coronation will soon be on clearance sale. You're willing to go along with this?! Changing horses in mid-stream is a perilous maneuver!!! Depends how badly the horse you're on stumbles. It's not too late, Winston, you could form a government on his behalf. I must decline. Reluctantly. The rocking horse CRACKS. Churchill gets to his feet. Sorry. (starts to exit, then) I've written a new speech for him. I don't want to hear it! Ever! It does have a rather nice turn of phrase. It is December 11th, 1936. If practical use the actual recorded broadcast (truncated). In London, Birmingham, Edinburgh, country hamlets and cathedral towns...the streets are deserted. Stragglers hurry indoors to be near: At long last I am able to say a few words of my own. Until now it has not been constitutionally possible for me to speak. A few hours ago I discharged my last duty as King and Emperor. TKS/Seidler/09/17/08 74. Bertie and Elizabeth listening to the radio with the two princesses royal sitting at their parents' feet. Bertie battles his emotions. Now that I have been succeeded by my brother, the Duke of York, my first words must be to declare my allegiance to him. (whispers) Daddy, who broke our rocking horse? (whispers) A giant. Elizabeth holds a finger to her lips: shush. This has been made less difficult to me by the sure knowledge that my brother has one matchless blessing, enjoyed by so many of you, and not bestowed on me -- a happy home with his wife and children. The glow of a radio dial. Lionel and Myrtle sit in armchairs, the radio on a side-table between them. I have found it impossible to carry the heavy burden of responsibility and to discharge my duties as King as I would wish to do without the help and support of the woman I love. Lionel gets up to turn it off as David's voice concludes: We all have a new King. I wish him and you, his people, happiness and prosperity with all my heart. God bless you all! God save the King! Logue strokes Myrtle's hair. I too "married the woman I love." TKS/Seidler/09/17/08 75. You married a shop girl. A wonderful lass. Someone I can talk to heart to heart. Using simple words and short sentences. I'm very ordinary. That's why we're suited. I'm just an ordinary bloke. Ordinary? You're a man with wild dreams, Lionel. Mine are so very small. A job, a husband, a home. Raising our sons. That's all I ever wanted. Me too. Is that why, every day, you've spent hours with a man who's about to be King? That relationship is now past tense. Yet, for as long as you could, you did what you wanted. I wanted to be a great actor. That's what I wanted. And failing that... I certainly failed! A great healer. Always...'great'. Where does a shop girl fit in? Very snugly, into my heart! Always have, always will. TKS/Seidler/09/17/08 76. Trouble is, Lionel, when you say that, I still believe it. The Royal standard on a gleaming car's bonnet. Bertie stands uneasily in the uniform of an Admiral of the Fleet as the driver opens the door. Bertie realizes its a Rolls. Where's the Austin? The Palace changed it, Your Highness. I liked the Austin. So did I, sir. The two girls wave from their open playroom window, and call: You look like a chicken. A rooster. He waves, and gets in. A formal voice announces: His Majesty will address the Accession Council and take his oath. Bertie looks at himself in a full length mirror, making last minute adjustments to his uniform. Staring at his reflection: How did this happen to you? TKS/Seidler/09/17/08 77. Bertie walks to the podium like a man to the gallows faced with an array of the Privy Councillors, members of the House of Lords, the Lord Mayor of the City of London, the Aldermen of the City of London and the High Commissioners of the Commonwealth countries. All the old symptoms reappear: the tightening of the neck muscles, the protruding Adam's apple, the jaw locking. My Lords, members of the Accession Council, I meet you today in circumstances which are without parallel in the history of our Country... Its going to be a terrible performance. He bows his head in humility. And shame. Elizabeth is playing quietly with her daughters when the door opens and Bertie appears, still in full regalia, straight from the Accession Council. He holds his arm out, expecting them to run to him for a hug and kiss, his solace after the ordeal. They remain where they are. Daddy's home. They curtsy formally. Your Majesty. Bertie is devastated. Elizabeth takes him quickly out into the corridor. I don't want to lose you. How could you possibly? Being what we both dread most. TKS/Seidler/09/17/08 78. Dear, dear, man, I refused your first two marriage proposals because, as much as I loved you, I couldn't abide the thought of living in the Royal gilded cage. Then I realized...you stuttered so beautifully...they'd leave you alone. She takes his face in her hands tenderly. If I must be Queen, I will be a good Queen. The wife of a very great King indeed. (then) You know what you must do. Logue is working with Anna. She's reading smoothly and with great intensity. "Had I the heavens' embroidered cloths Enwrought with golden and silver light, The bbb..." Gets stuck. We haven't much more time together. Give it a go. The doorbell RINGS. Logue is annoyed. There weren't any more appointments today. The bell RINGS again. He yells: Piss off! (gently) Anna? "The blue and the dim and the dark cloths Of night and light and the half-light..." The door opens and Bertie enters the waiting area. Hearing Anna he stops outside the consultation room and listens. TKS/Seidler/09/17/08 79. "I would spread the cloths under your feet, But I, being poor, have only my dreams. I have spread my dreams under your feet; Tread softly because you tread on my dreams." Silence. (softly) Read it to him. If he doesn't profess his love, he's not a man. Anna nods earnestly. Thank you...Lionel. She exits via the Waiting Room and almost runs into Bertie. On recognizing him, she bobs her head. That was lovely. Don't take any guff. Can I tell my Harold that's what you said? I'd be honoured. She dashes off. Logue comes to the door of the Waiting Room, in effect blocking Bertie's way in. Johnson, isn't it? Have you an appointment? Want me to beg? I told you, Kings don't beg. I believe this time a bit of begging might be required. Elizabeth says I must eat humble crow. Its "crow" or "humble pie". Take your pick. TKS/Seidler/09/17/08 80. (gathering resolve) I was frightened and took refuge in being `Royal'. What I said was unforgivable. And... And? (blurts out) What's the one essential thing a King must do? He must believe he is King. How can I possibly do that? For pity sake, Lionel, I beg you: get me through! I'll pay you another shilling. What're friends for? Logue steps aside, letting Bertie in. I wouldn't know. The double bed is piled high with clothing, a suitcase at its foot. Myrtle is sorting. She hears Lionel enter behind her. At first, she doesn't turn. Lionel remains silent. I've got the boys sorting their things. Your office will be a chore... Realizing something is amiss, she turns, and knows instantly what Lionel's going to tell her. Her hand goes to her mouth to stifle her emotions. Bertie is with visitors: Churchill and Lang. There's a slight but discernible change in his demeanor. We asked to see Your Highness because there's the urgent question of what to call your brother. Aside from the obvious. Bertie is not pleased with His Grace's joke, but lets it pass. TKS/Seidler/09/17/08 81. What do you suggest? Mr. Edward Windsor? All he deserves. What has my brother given up on his abdication, other than the throne? They look at each other, unsure. Wouldn't it be a good idea to find out before coming to me? He cannot be Mister, as he was born the son of a Duke. Which makes him a Lord at the very least. Very well, Lord E.W. it is. And as a Lord of the realm, he's entitled to be elected to the House of Commons. Heading a King's Party. Unacceptable! So you prefer he takes a seat in the House of Lords? Again, on behalf of a King's Party? Is that acceptable? Certainly not. But if he's made a Royal Duke, and called His Royal Highness, he cannot stand for Parliament. Nor may he speak or vote in the House of Lords. (realizing) Oh I say... The Duke of Windsor it is. Gentlemen. He exits abruptly. Churchill and Lang gather their things stunned. TKS/Seidler/09/17/08 82. Not exactly a dummy, is he? Myrtle is in the shop window, arranging handbags, luggage, and briefcases. In the store Myrtle can be seen dressing the window, while in his glass office the OWNER, a portly bald gentleman with a Dickensian air, is deep in concerned conversation with a man in trench-coat. The Owner keeps glancing worriedly in Myrtle's direction. The two men nod, shake hands. The fellow in the trench-coat leaves. The owner beckons another shop-girl over and whispers something to her. She heads towards Myrtle. "Let's go gathering hearty heather with the gay brigade of grand dragons." A wall divides the study from the living area, allowing the action in both spaces to be viewed. IN THE PARLOUR: Elizabeth waits, ill at ease. Splendid. Here's another. "She sifted seven thick-stalked thistles through strong thick sieves." At home, twenty-five times, in rapid succession. Those are my hardest sounds. Lionel gives him a look. Oh. Shall we invite your wife in now? TKS/Seidler/09/17/08 83. Logue goes to the door and starts to open it. He shuts it quickly. I wasn't expecting Myrtle for several hours! IN THE PARLOUR: Myrtle has entered, definitely unhappy. Seeing Elizabeth, she's even less happy, and flabbergasted. Milady? "Your Majesty", the first time. After that, "Ma'am". Not Malm as in Palm, Mam as in ham. I'm informed your husband calls my husband Bertie and my husband calls your husband Lionel. I trust, however, you won't attempt to call me Liz. IN THE STUDY: Lionel stands listening, ear to the door. How're they getting on? As to be expected. IN THE PARLOUR: Myrtle announces: You may call me "Madam Logue". Myrtle's at a loss knowing what to do with a Duchess. May I offer you a cup of tea, Ma'am? Thank you, Madame Logue, but I'm waiting to be summoned. Silence. You don't like my husband. That's what I was told. I was told the same. TKS/Seidler/09/17/08 84. Do we remain in hiding? I'm not going out there! What do you dislike about my Lionel? I don't wish my husband to be demeaned. What don't you like about mine? I don't want my Lionel getting hurt. There's only one thing can save him now: success. IN THE STUDY: the men are growing increasingly nervous. We're being cowards. Of course. We're sensible men. You should go in. Me? You. Why me?! You're the Royal. Being a monarchist, I recognize these are your digs. Therefore: here you rule. Therefore: you go in. Urged by Bertie, Logue opens the door. IN THE PARLOUR: Logue enters, pretending total innocence and surprise, followed by Bertie, also trying to keep the pretense. TKS/Seidler/09/17/08 85. Oh! Hello, Lady Elizabeth! Oh! Hello, Myrtle darling! What a pleasant surprise. Myrtle stares at him and takes her revenge. Will the Yorks be staying for dinner? Logue and Bertie look panic-stricken. Elizabeth comes to the rescue. A previous engagement. Some other time, love. Logue ushers Elizabeth into the study, giving Myrtle a nervous little wave. She glares and exits. Glad you had a chance to meet Myrtle. Bertie stifles a snort. Elizabeth glares at him. (to Elizabeth) Good of you to come. Harley Street is far too public. What is my function here? For me to show you how to pitch in. Oh dear, I may not be a `pitch in' type. Piece of cake. (to Bertie) Please assume a supine position on the floor. What?! Firm support is needed. TKS/Seidler/09/17/08 86. Bertie dutifully lies on the floor. Breathe deeply...expand your chest... now your stomach...deep into the diaphragm. Splendid. How do you feel? Full of hot air. Well on your way to becoming a qualified political speaker. Again... Bertie inhales deeply. ... and hold. Now, Princess Elizabeth, be so kind as to sit on your husband's stomach. Good grief. Gently of course. Elizabeth sits gingerly on Bertie's stomach, asking solicitously: Are you alright, Bertie? Bertie nods. Now exhale slowly...down goes Princess Elizabeth...inhale slowly...nothing rushed, expanding your chest fully, extending the column of air til it hits the diaphragm...and...up comes Princess Elizabeth. Exhale...down goes Princess Elizabeth...inhale...up comes Princess Elizabeth. You get the idea. Doesn't have to be Princess Elizabeth of course, but I thought you'd prefer your wife to one of the staff. Now comes the fun part. There's actually more? Bertie springs to his feet while Logue opens a window. TKS/Seidler/09/17/08 87. You will now shout the vowel sounds, all five of them, as loudly as possible, each to last no less than 15 seconds. There's poor coordination between your larynx and diaphragm. Princess Elizabeth, you can be the official timer. Vowel sounds? Shouted at an open window? On a public street? Anyone who can stand at an open window vibrating loudly in full view of the world can learn to give a public speech. They can also be considered quite dotty. Don't even contemplate it! Sorry, dear, doctor's orders. Aaaaaaaaaaaaaaaaaaa... (stops) She's right, those two chaps are staring at me. They're always looking at you. (startled) You're followed? Royal scrutiny, Doctor, best get used to it. ...aaaaaaaaaaaaaaaayyyyyyyyyyy... ...eeeeeeeeeeeeeeeeee... (to Elizabeth) Are you timing this? iiiiiiiiiiiiiiiiiiiiiiii... ooooooooooooooooooooooooo... uuuuuuuuuuu. The family eat in tense silence TKS/Seidler/09/17/08 88. May we be excused? No. The unhappy meal continues. (mumbles) We don't want to hear you fight. We're not fighting. Your mother isn't talking. You wish me to speak my mind? Boys, leave. Thank you, Dad! Thank you, Mum! They exit hurriedly. Lionel...without warning, I arrive home to find the Queen in my parlour. A Duchess, she hasn't been crowned yet. Lionel, don't quibble! What'd you think of her? Does it matter!? She's the Queen and he's the King forgodsake! What're they doing here?! Why'd you come home so early? Lionel... They came for help. TKS/Seidler/09/17/08 89. What role are you auditioning for now? Royal saviour?! Who's going to help us?! This will bring us down, Lionel. You know it will. When that poor chap first walked into my office, he was a slim, quiet man with tired eyes and all the outward symptoms of the person upon whom a habitual speech defect has set the sign. You saw him today; once more there was hope. You're not listening to me! She gets up angrily and starts carrying dishes to the kitchen. He follows her back and forth. Myrtle, I love you. You say that, but you don't listen when I say, in so many ways, how desperately I want to go home, how I never, ever, intended to stay here. This was to be a holiday trip to see `Mother England', and you turned it into quite something else. What happened, Lionel? We went to Wembley Stadium, next thing...you'd cashed in our tickets. He's silent. Very well, I shan't talk of this ever again. I will, as always, be supportive of your endeavours. Myrtle... I don't deserve a wonderful woman like you. How right you are. But why'd you come home so early? Lionel...I was let go. TKS/Seidler/09/17/08 90. He's stunned. Inquiries were made...Mr Falkoff wouldn't say who...afterwards it was: `With your hubby treating a personage that high and mighty, you won't be needing employment with us, will you, Mrs Logue?' (anguished) Why?! They're frightened, Lionel. Of what seems so far above them. I sympathize. I'm frightened too. Oh, Myrtle. My love... Establishing shot of this architectural icon. Winston, you do read the newspapers? A massive cavern of stone statuary and stained glass. The center piece of this particular section is the throne of Edward the Confessor. Scaffolding is in the process of being erected to supply lighting for the Coronation. Archbishop Lang and Churchill inspect it with satisfaction. Only the vulgar ones. Churchill pours two nips of whiskey into metal cups nested in a hip flask. To our new King. Let's sincerely hope. They look at each other in silence. Is this a `slightly pregnant pause'? TKS/Seidler/09/17/08 91. They say he is dim. Demonstrably untrue. They say he has epilepsy. Patently erroneous. Fragile, prone to illness... Some correctness in that. ...and will die prematurely. They predict he'll be unable to complete the Coronation. What do you propose? Shorten the ceremony? Or no ceremony at all? My idea exactly! I believed so. But what we need is a pageant of pomp and pomposity to impress the world. What we need, and what we'll get, may be two rather different things. Did you hear his pathetic attempt at the Accession Council? He'll never be able to speak in public. So, we plonk a tinsel crown on his head and lock him in a closet? Who then will spiritually lead this great nation into war? Who will address the far flung corners of the Empire, rallying all to our defense? Well... The Head of our Church? Is that what you have in mind? TKS/Seidler/09/17/08 92. Would it be such a calamity? Best ask our new King. Bertie has entered with Logue. Lang spins around. Your Majesty. Excuse me, sir, duty calls. He exits quickly. Cosmo continues nervously as they walk through the Abbey, the Archbishop pointing out the preparations in progress, particularly a booth for broadcasters. Is this the scene of the crime? What a peculiar thing to say. Referring to my assault upon the ears of the listeners. Ah, yes, wireless is indeed a Pandora's Box. I have, however, categorically said no to the BBC's new "radio-with-pictures" gadget. Imagine, the unwashed viewing us as we blow our noses or scratch our bottoms. Radio with pictures?! It is called..."television". Happily, with a transmission range of only fifteen miles this "TV" thing has no future. We shall, however, be forced to permit cinema; the product of which I shall personally edit. That'll keep you busy, removing all my stops and starts. Unless of course you'd prefer a quiet ceremony? TKS/Seidler/09/17/08 93. What exactly do you mean? Something...discreet...private. We could pre-record an edited version to be broadcast to the world. Or even find an actor with a similar voice. Logue has arrived and comes out of the shadows. A King based upon deception? Cosmo takes Bertie aside. If your gentleman from Security would give us space, we could discuss this in private. You mean my bodyguard,"Crusher?" Giving Lionel a scathing look, Lang continues speaking to Bertie confidentially. Fret not. As I assured our nation in my recent broadcast: "When his people listen to their new Monarch they will note an occasional momentary hesitation in his speech. But to those who hear it, it need cause no sort of embarrassment, for it causes none to him who speaks." You see, I've paved the way. But should you wish to avoid further stress... Why not paint him pink and cover him with sequins? Pardon?! If you wish to call attention to his anxiety. Does your bodyguard know to whom he's speaking? He certainly doesn't know his place! TKS/Seidler/09/17/08 94. Doctor Lionel Logue, my speech therapist. Therapist?! I'd no idea! Had I known Your Majesty was seeking assistance I would've made my own recommendation. Dr. Logue is to be present at the Coronation. Impossibly to find room. Even for a Doctor. Just Lionel. Behind the chair of Edward the Confessor. The Royal Box!? Your Family will be seated there. Which makes it most suitable. Perhaps I might be able to add a very small stool. Two comfortable chairs. One for Madam Logue. She's a close friend of my wife. The Queen. I'll have someone attend to it. And now, if you don't mind, we need the premises. My dear fellow, this is Westminster Abbey! The Church must make preparations. So must Bertie. Bertie?! We do not call the King: "Bertie"! TKS/Seidler/09/17/08 95. I do. During waking hours we'll need the facilities. It'll be a closed set. No observers. Those are my wishes, Your Grace. Lang nods curtly and exits. You've made a dangerous enemy. Wouldn't want him as a friend. And don't ever call me Bertie in public. A moment of confrontation. Lionel knows he's overstepped. Tell me... I sense one of your dreadful questions on the horizon. Do you really want to be King? Knew it! I haven't any choice. You can be a wounded King who stumbles through his Coronation. Or, as the Arch of C so archly suggests, no Coronation at all. Always a choice. What's this, you wait til Westminster Abbey, then ambush me? I'm simply asking questions... which you seem unable to answer. I'm a sacrificial lamb being led to slaughter! Damn you! TKS/Seidler/09/17/08 96. Quite possibly. But at least I know what I want. You haven't the foggiest. (explodes) His words reverberate through the empty abbey. That's quite different. Let's get down to work then, shall we? Bertie glares at him. As soon as you and Elizabeth enter the West door, you'll be greeted with the hymn "I Was Glad When They Said Unto Me." You won't actually be that glad, because they sing it for a great long time. Bertie follows Logue deep into the bowels of the `Abbey'. You'll then show yourself to the various sides of the Abbey as the Archbishop announces four times in a loud voice, "Sirs, I here present unto you..." Have you decided your name for when you become King? For when you become a different person? George. Like your father? Like my father. Not Albert? Given the current situation...too Germanic. "Sirs, I here present unto you, GEORGE, your undoubted King!" TKS/Seidler/09/17/08 97. "George, your undoubted King!" echoes through the Abby. Lang is on the phone. The door is open. While talking he watches the work preparations. On the phone he tells someone: I've made inquiries. Logue enters and sits at the table. Myrtle serves him. A bit dry. Tried to keep it warm. Mmm... Kedgeree! Lovely. You look done in. I've news for you. You're coming to the Coronation. I've news for you. I'm not! You must. Stand in the rain hoping for a glimpse? Royal Box. You and I. Stunned silence, then. Lionel...I'd need a new dress. Rather thought you might. Valentine calls from the next room: TKS/Seidler/09/17/08 98. Dad! Phone! For you! Won't be a sec. He exits. Myrtle waits. Looks at herself, bemused, reflected in a glass-fronted cabinet. Even does a curtsey. The last of the preparation crew are being scurried out by Lang. He gives a final, satisfied, look at the cavernous space, like a director preparing the stage for a final scene. He quotes Shakespeare, extremely pleased with himself: "The play's the thing, wherein I'll catch the conscience of a King." He exits. THE CAMERA explores various elements: The Throne of Edward the Confessor. Beneath it, a large rough-hewn stone: The Stone Of Scone. Leaning against the Throne, a huge sword, set there for the next Coronation rehearsal. Majestic stained glass windows of saints, kings, and martyrs. Rows of pews, worn with centuries of use. Graves of the mighty: kings, poets, and statesmen. This Abbey holds the history of a nation. Footsteps resonate. Lionel enters. Trips over one of the gravestones. Bertie? Blast! Stepped on Lord Byron. Bertie...? Lights snap on skewering Lionel. Bertie steps into view wearing a coat against the night chill of the stone cathedral. This is not a rehearsal, "Doctor" Logue. TKS/Seidler/09/17/08 99. Ah, the Star Chamber inquisition. I wondered when that would happen. And I'd promised Myrtle a new frock. (barely controlled) "Just call me Lionel"! Never did you call yourself `Doctor'. We did that for you. No diploma, no training, no credentials. Just a great deal of nerve. Want to hear my side of the story? There isn't a "your-side-of-the-story". This is my story. And you've ruined it! Its not just the Coronation, terrifying enough, its the radio speech to millions afterwards, and the speech after that, and for the rest of my failed miserable life! (softly) Wembley Stadium... You dare remind me?! I was there. Then you knew from the start I was hopeless?! My son, Valentine, asked, "Could you help that poor man?" I replied, "He's too old for me to manage a complete cure, but I could very nearly do it, I'm sure of that." Lying bastard! I knew I could help you. You refuse to believe? In you?! TKS/Seidler/09/17/08 100. In yourself. Who the hell do you think you are?! A failed actor. Actor? Father wanted me to be a doctor, but I couldn't cut flesh. So I worked in the mines, recited in pubs... An actor?! When the war came, by the time I was ready to be shipped out, the first casualties were limping home. Poor buggers, broken in bone and spirit. `Lionel, you're good with your mouth, see if you can help these poor sods.' The shell-shocked were the saddest. Most stuttered profoundly. Far worse than you. Muscle therapy helped somewhat, but I found I had to go deeper, as you might well imagine. I know nothing of those poor men! I think you do. They had cried out, and the universe had not listened. So they'd lost faith in their voice. My job was to make them shout in righteous anger: "I have the right to be heard!" I suppose that helped them, did it? Make inquiries. Inquiries have been made! No credentials. But a lot of success. No training was given. TKS/Seidler/09/17/08 101. Not in Western Australia, not at that time. I simply knew what to do. When the war was over I kept being a therapist to earn a living. When the lads were old enough, I thought, "Alright Lionel, you've always wanted to be an actor, one last go." I pretended it was our trip home to Mother England, the Great Australian Pilgrimage. To Harley Street?! Cashed in our return tickets. I had three months rent. So you set yourself up on Harley Street as an actor? Harley Street, don't you know, is for doctors! The plaque says, `L. Logue. Speech Specialist'. No mention of a medical degree. No mention of any degree. Some of the diggers I'd helped had come to England. They made referrals. My practice flourished. My acting, however, did not. Well enough to deceive me. Lock me in the Tower. I would if I could! What crime? You've saddled this nation in its moment of peril with a voiceless King. Destroyed the happiness of my family...all for the sake of ensnaring a star client you knew you couldn't possibly assist! Lionel sits down on the chair of Edward the Confessor. Leaning against it is the great two-handed sword of St. George. What're you doing? Get up! TKS/Seidler/09/17/08 102. I'm tired. You can't sit there! Why not? It's a chair. It's the Chair of Edward The Confessor! The throne upon which every King for six and a half centuries has been crowned. It's falling apart. People have carved their initials into it. Needs a stone to keep from blowing away. That's the Stone of Scone! The Stone of Destiny that was once Jacob's pillow. You believe such ballocks I don't care how many royal backsides have sat on it, it's a building block with handles attached. You're just like me, an actor with tawdry stage props you choose to believe are real. Listen to me... ! Listen to you?! By what right? Divine right, if you must! I'm your King!!! Noooo you're not! Told me so yourself. Said you didn't want it. So why should I listen to a poor stuttering bloke who can't put one word after another? Why waste my time listening to you? Because I have a right to be heard! Heard as what?! A man! I HAVE A VOICE!!! TKS/Seidler/09/17/08 103. (quietly) Well then...you're cured. Stop trying to squirm off the hook. Bertie, you'll make a bloody good king. And you know it. Bertie stares at him. A familiar voice is heard from the shadows. Your Majesty? The Archbishop of Canterbury. You'll be relieved to learn I've found a replacement specialist. Impeccable credentials. There's a long silence. That won't be necessary. The matter's already been settled. For your own well-being. What did you say? Your Majesty's function is to consult...and to be advised. You didn't consult, but you've just been advised. Now I advise you, so listen carefully. ...in this personal matter I will make my own decision. May I remind you, you do not place the crown upon your own head. And may I remind you, it is my head upon which the crown is placed! TKS/Seidler/09/17/08 104. This will end badly. Lang turns on his heel. Lionel ignores what has just happened. In hushed tones the BBC commentator paints a picture for the world, as you stand at the altar divested of your robes. Trumpets echo through the Abbey. The incessant rain clears miraculously as a shaft of sun streams through the stained-glass window catching your golden tunic and bathing you in light like a mediaeval knight. And you are King! The faint CLICKING WHIR of a film projector is heard. On the screen: archive footage of the Coronation, capturing the pomp and ceremony. Cigar smoke rises up. The voices of Churchill and Lang can be heard. I was much moved There were tears in my eyes too, Your Grace, particularly when I saw you and the Dean of Westminster cannoning into each other. That's been edited. More tears when our new Monarch started towards his throne, only to be brought to an abrupt halt owing to one of the Bishops treading on his robe. To the world, all went splendidly. Amidst a vitrine of glittering jewels, bobbing tiaras, and heaving bosoms. The footage freezes momentarily. TKS/Seidler/09/17/08 105. Now, Winston, I have something which will bring tears to your eyes. The archive footage continues, but it is not of the Coronation. David and Wallis visiting the Fuhrer in Germany: Hitler gallantly kissing Mrs Simpson's hand while Goring and the Duke of Windsor beam; David giving the Nazi salute. FREEZE FRAME. The lights come on. For once, Churchill is speechless. There's no doubt: David is planning a comeback. And will succeed if our King continues to falter. Though Bertie miraculously survived the Coronation he continues to stumble very badly indeed. Soon he must broadcast to the world. Hitler will be listening. David will be listening. Stalin and Roosevelt will be listening. Everyone will be listening. God help us. (stuttering very badly) "In this grave hour... " Bertie and Logue are rehearsing. "In this grave hour... " Sorry. Try again. "In this grave hour... " Turn the halts into pauses, during which you say to yourself, "God save the King". I say that all the time, but apparently no one's listening. Use the silence. Long pauses add solemnity to great occasions. Then I'm the solemnest king who ever lived. Lionel, I can't do this! TKS/Seidler/09/17/08 106. Logue tries to protest, Bertie over-rides. If I am to be King...where is my power? May I form a Government on my own, appoint or dismiss a Prime Minister, chose an Ambassador, levy a tax or declare a war? None of these things. Yet I am the seat of all authority. Why? Because the Nation believes when I speak, I speak for them. Yet I cannot speak! Logue totally ignores the outburst. Take it from the top. "In this grave hour..." (hesitates, then) "In this grave hour, p-p-perhaps..." Go on... The letter`P' is always difficult. Get a running start, put the words all together. `Perhaps-the-most-fateful...' "In this grave hour...perhaps-the-most- fateful...in our history..." Beaut. "... I send to every household of my peoples...both at home and overseas..." Doo-dah, doo-dah. "...this message... " Five miles long... TKS/Seidler/09/17/08 107. "...spoken with the same depth of feeling for each one of you... as if I were able..." In your head, now: "Bugger, bugger, bugger! Damn, damn, damn! All those bloody blighters are going to have to listen to me!" Can you dance? What? Helps relax the body. (goes to record player) Waltz? I prefer pipes. Thought you might. (starts a bagpipe record of "Scotland The Brave") Dance with me. One, two, one-two-three- four. One, two, one- two-three-four. "For the second time..." one-two-three-four "... in the lives of most of us..." one, two, one-two-three- four "... we are at war." Three, four. Dancing at arm's length with Logue, Bertie repeats: "For the second time... in the lives of most of us... we are at war." One-two- three. (continues on) "Over and over again... we have tried to find a peaceful way... out of the differences... between ourselves... and those who are now our enemies." Bugger, bugger, bugger! Fuck, fuck, fuck! You'll be ready. (pause) The shilling you won... still have it? Of course. TKS/Seidler/09/17/08 108. Bertie holds out his hand, demandingly. Somewhat hurt, Lionel hands it over. I'll return it. Bertie leaves with the shilling, exiting the back way. Logue opens the waiting room door. Willie! Where's your mum? (stuttering painfully) She had to work. You've been waiting here, alone, all this time? Willie nods again. Then, haltingly: I heard the King. Did you? He sang. And shouted rude words. He did. Willie beams. Would you like to sing, dance, and shout rude words? I would! Why am I not surprised? The dreaded BBC microphone. The room has been transformed into an ad hoc broadcasting studio for this all-important occasion. TKS/Seidler/09/17/08 109. The BBC News Reader and Floor Manager are there, along with a small cluster of technicians putting finishing touches to their equipment. Think he'll manage? I've heard he may not even show. The Floor Manager tries to warn him with his eyes. Bertie has entered with Elizabeth and Logue. The Reader wishes he could sink into the floor. Bertie says nothing, but approaches the looming microphone, while Logue and Elizabeth watch nervously. `Walk up to the bloody thing boldly, stare it square in the eye, man to man.' (placating) If you'll be so kind, to let me show you... I already know. My father taught me. He spreads the fingers of one hand, touches the apparatus with the little finger, thumb to chin. The Reader scurries off and tells the others. His father taught him. I taught his father. (testing the microphone) Bugger bugger bugger...bloody bloody bloody... Bertie, do make sure that's not switched on! You're going to be splendid. And if you're not? They'll bloody well have to listen to me anyway. Right? TKS/Seidler/09/17/08 110. Bloody right. Lang and Churchill have entered. Elizabeth forces herself to greet them graciously. Mr. Prime Minister, Your Grace, how kind of you to join us. Wouldn't miss this for the world. (to Churchill) Congratulations. Neville didn't last long, did he? Talking to Hitler. My tenure will be shorter, if the King fails tonight. Bertie and Logue speak privately. No matter how this turns out, I wish to thank you. For asking such dreadful questions. What can I do in recompense? (lighty...yet seriously) I've always wanted to be knighted. Sorry. That would raise too many questions. (pause, then) Understood. Bertie takes something from his pocket. Your shilling. Told you I'd give it back. Keep it for good luck. No, you won this, fair and square. The object is a silver medal. Bertie pins it to Logue's jacket. TKS/Seidler/09/17/08 111. Made from the melted coin. Designed it myself, hope you like it, Lionel old friend. May I call you that? My greatest honour, Bertie. (then) One final question. Oh dear. Do you believe you're King? A very long pause. Almost. The red light on the microphone starts to blink. Logue joins the others. The Reader is at a smaller microphone near the ad hoc `broadcast booth. Five, four, three, two... Good evening, this is the BBC National and World programme, broadcasting from Buckingham Palace. His Majesty, the King. During this, Bertie's hands begin to shake, the pages of his speech rattle like dry leaves, his throat muscles constrict, the Adam's apple bulges, his lips tighten...all the old symptoms reappear. Several seconds have elapsed since the Reader finished. It seems an eternity. Elizabeth grasps the sides of her chair with white knuckles. Lang's eyes roll heavenward. Churchill studies the situation, ready to leap into the breach. Bertie and Logue stare at each other. Logue smiles, perfectly calm, totally confident in the man he's worked with. His confidence is contagious. Bertie takes a deep breath and lets it out slowly. His hands grow steady, his throat muscles relax...all the things he's practiced. TKS/Seidler/09/17/08 112. The luminous dial of a wireless. Unbearable silence. Then: In this grave hour, perhaps the most fateful in our history, I send to every household of my peoples, both at home and overseas... This is being listened to by Myrtle and the boys. The boys look at their mum. Suddenly they explode with cheers as the radio address continues: In homes, pubs (where we see the man with the rosacea nose), clubs, hotels, boarding houses, factories, mines, prisons, a shearing shed in New Zealand, cattle station in Australia, sites in India, South Africa, loci around the Commonwealth and Empire. China. Japan. The Kremlin. The White House. Hitler's mountain top wolf den. The South of France (where David and Wallis listen dolefully.) During this, the address continues, with dramatic pauses to be sure, but no real hesitations. ...this message spoken with the same depth of feeling for each one of you as if I were able to cross your threshold and speak to you myself. For the second time in the lives of most of us we are at war. For we are called, with our allies, to meet the challenge of a principle which, if it were to prevail, would be fatal to any civilized order in the world. It is the principle which permits a State, in the selfish pursuit of power, to disregard its treaties and its solemn pledges; which sanctions the use of force, or threat of force, against the sovereignty and independence of other States. Such a principle, stripped of all disguise, is surely the mere primitive doctrine that might is right, and if this principle were established throughout the world, the freedom of our own country and of the whole British Commonwealth of Nations would be in danger. TKS/Seidler/09/17/08 113. But far more than this - the peoples of the world would be kept in the bondage of fear, and all hopes of settled peace and of the security of justice and liberty among nations would be ended. This is the ultimate issue which confronts us. End the montage with a return to the exterior of Buckingham Palace. Outside, stand solemn crowds, listening to the speech on loudspeakers. PAN THEIR FACES, the faces of England, stalwart and resolved. For the sake of all that we ourselves hold dear, and of the world's order and peace, it is unthinkable that we should refuse to meet the challenge. It is to this high purpose that I now call my people at home and my peoples across the seas, who will make our cause their own. I ask them to stand calm, firm, and united in this time of trial. The task will be hard. There may be dark days ahead, and war can no longer be confined to the battlefield. But we can only do the right as we see the right, and reverently commit our cause to God. The two girls listen to their father on the radio. If one and all we keep resolutely faithful to it, ready for whatever service or sacrifice it may demand, then, with God's help, we shall prevail. Lilibet's expression tells it all - she can hear it, her father is truly King. Bertie, in his quiet way is totally in command, and utterly magnificent. Everyone in the room is awed as he concludes: TKS/Seidler/09/17/08 114. We may all find a message of encouragement in the lines which, in my closing words, I would like to say to you: `I said to the man who stood at the Gate of the Year, "Give me a light that I may tread safely into the unknown." And he replied, "Go out into the darkness, and put your hand into the Hand of God. That shall be to you better than light, and safer than a known way.'" May the Almighty Hand guide and uphold us all. IN THE AD HOC `CONTROL BOOTH' AREA - the Manager makes a `cut' gesture to Bertie, he's off the air, the red light on the microphone goes out. The Manager points, and the red light on the Reader's microphone goes on. This concludes the BBC broadcast of the King's Speech. Another `cut' gesture from the Floor Manager, the red light goes out and the transmission is concluded. The Floor Manager looks to the Reader. (softly) He wasn't perfect. (barely controlling his tears) Not perfect... But by God... He moved me. AT THE MAIN BBC MICROPHONE - Bertie waits for the verdict of his peers. Churchill first: Couldn't have said it better myself. The ultimate compliment. Lang next. I'm speechless. (softly) Thank God. She goes to Bertie and kisses him tenderly on the cheek, takes his hand, then Logue's. TKS/Seidler/09/17/08 115. Well done, Bertie. Well done... (for the first time) ...Lionel. Well done. She leaves the two men together. I always called you Bertie. Today, I call you King. He offers his hand. But instead of taking it, Bertie takes him by the shoulders and gives him a hug. This is a long way from the five pace rule. The last barrier has fallen. Scroll: :    :    King's Speech, The (United Kingdom, 2010) The King's Speech delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy. Unless you count Hitler, who is seen from afar, the narrative is villain-free, allowing the focus to be on the internal and interpersonal struggles of the characters - a more rewarding approach than when a bad guy is invented to fill the need for a conventional conflict. Even though it is set against the backdrop of mid-20th century British royalty, there are no barriers to mainstream accessibility. The wealth of acting mined by director Tom Hooper may represent the best ensemble not only of this year but of the last several years. Big and small, there are some astounding performances here. The film opens in 1925. The man who will become King George VI (Colin Firth) is now merely Prince Albert. His official title is the Duke of York and, because he's the second son of King George V (Michael Gambon), he is not expected to ascend to the throne because that role will fall to his older brother, Prince Edward (Guy Pearce). A life away from the relentless attention of Buckingham Palace is suitable for Albert and his wife, Elizabeth (Helena Bonham Carter), who do not desire to be king and queen. And there's another issue: royalty in the age of radio presents a unique challenge for Albert, who is afflicted with a stammer that hampers his ability to speak publically (and, at times, privately). In an attempt to be free of this impediment, he visits Lionel Logue (Geoffrey Rush), a speech therapist known for unorthodox methods. Logue's importance in Albert's life escalates when circumstances conspire to make him the king of England at a time when the storm clouds of World War II are gathering on the horizon. Although The King's Speech is primarily a drama and can be seen as a buddy movie and an instance of the underdog triumphant, there are plenty of humorous moments. None of the comedy is overdone or out-of-place. One can easily imagine, for example, the amusing awkwardness that would affect a middle-class wife upon discovering the Duchess of York sitting at her modest dining room table. The King's Speech is as positive and life-affirming as any recent movie. Like a sports figure who overcomes incredible odds to score the winning points, King George VI is presented as a man who, through sheer force of will and because of the trust he places in Lionel, is able to surmount the obstacle that blocks his path. Too frequently, we leave movies largely unmoved by the experience; The King's Speech sends viewers home with smiles on their faces and lilts in their hearts. Rarely have we observed so many fantastic performances in one movie. First and foremost is Colin Firth who may win the Oscar (and, if he doesn't, he should). Perhaps the best way to describe the way Firth inhabits the character is to recall Helen Mirren's astounding turn in The Queen . It's the same sort of thing - a man who sheds his skin and crawls inside that of another so fully that we believe in the character. Geoffrey Rush, with his hangdog face, is the perfect foil for Firth. Rush gives Lionel a false bravado to cover his inner uncertainty about serving such a distinguished client. Beneath the seemingly confident exterior, we see the softer, gentler man. Firth and Rush share strong chemistry, which is critical in any buddy film, irrespective of how offbeat it may be. There's also no shortage of chemistry between Firth and Helena Bonham Carter, whose Elizabeth is a delight. She's sharp-witted and whip-smart but capable of great caring and humanity. The secondary cast is populated by notable names giving sterling performances. There's Timothy Spall, whose interpretation of Winston Churchill is more than an exercise in mimicry. Derek Jacobi, who played a famous stammerer as the title character in I, Claudius , is the cranky and propriety-conscious Archbishop Lang. The royal family is filled out by Michael Gambon as George V, Claire Bloom as his wife, Queen Mary, and Guy Pearce as Edward, whose infatuation with a twice-divorced American woman creates problems for his reign. Finally, Jennifer Ehle's participation as Lionel's wife allows her an opportunity to be reunited with her Pride and Prejudice co-star, Firth. This is the first time they have shared the screen since that monumental mini-series. The final scene, which gives the movie its title, represents not only the climax of the story but the moment in which all the elements come together - Firth and Rush's acting; the classical strains of the score; the stark simplicity of the production design (the room in which the speech is given is functional and unadorned). Hooper orchestrates everything with flawless diction in his cinematic language. The microphone looms not merely as an aid to voice amplification and recording, but as an implacable enemy - the faceless foe George VI must defeat by exorcising his own personal demons. It's an amazing moment. The MPAA, in its infinite wisdom, has chosen to saddle The King's Speech with an R rating, believing there are too many "fucks." Jack Nicholson got away with 2.5 gratuitous "fucks" in How Do You Know, but that inferior picture survived with a PG-13. Admittedly, there are more than 2.5 "fucks" in The King's Speech (as are there in this now R-rated review), but they are anything but gratuitous. They serve a purpose within the context of speech therapy. The MPAA has once again shown its narrow-mindedness. Those "fucks" are the only reason this is R-rated. There's no sex or violence, just one word spoken a few too many times. The King's Speech is everything a good movie should be. When the two hour running time expires, many will wish there were more minutes to come. With its deceptively complex drama, skillful direction and polished screenplay, and top-notch acting, The King's Speech illustrates by example how disappointingly lacking so many recent would-be dramas have been. This is a deeply human story that touches the heart and inspires the audience not only in relation to the characters and their circumstances but as a reminder that, in the dreary muddle of 2010's mediocrity, a motion picture like this can still make it to theaters. Comments Add Comment Cider House Rules, The (1999) Citizen Kane (1941) War Zone, The (1999) Hole in My Heart, A (2005) Neon Demon, The (2016) Showgirls (1995) Pride & Prejudice (1996) English Patient, The (1996) Bridget Jones' Diary (2001) Then She Found Me (2008) Circle of Friends (1995) Last Legion, The (2007) Paradise Road (1997) Ides of March, The (2011) Backbeat (1969) Greatest, The (2010) Pride and Glory (2008) Harry Potter and the Order of the Phoenix (2007) Good Shepherd, The (2006) Harry Potter and the Deathly Hallows Part 2 (2011) Toys (1992) Sleepy Hollow (1999) Amazing Grace (2007) Competitions Three types of conflict: the king’s speech. By Michael Schilf · November 9, 2011 Conflict arises in three basic ways: (1) physical conflict is often the most visual and can be as simple as trying to cross a raging river or defending a high kick to the head; (2) interpersonal conflict grows out of relationships with other characters within the story, fuelled by antagonists as well as the supporting cast; and (3) inner conflict is the inner thoughts, desires, or even personality defects that cause a character to take action (or not), often creating conscious (or unconscious) self-destruction. The King’s Speech , which won multiple Oscars, including Best Picture at the 83 rd Academy Awards, as well as critical and commercial box office success, is a great example to illustrate these conflict types. The film tells the story of the man who became King George VI, who was considered unfit to be a king (inner conflict) due to a severe stammer (physical conflict), and subsequently forced to employ the help of an unorthodox speech therapist (interpersonal conflict). As is the case with most dramas, often it’s not the what , but the who that makes the story, but even if a story has richly developed and unforgettable characters, it will only survive when different kinds of conflict are skilfully injected throughout, ideally in every single scene. To illustrate further, let’s take a detailed look at how veteran screenwriter David Seidler incorporates all three types of conflict when stuttering prince George “Bertie” (Colin Firth) and speech therapist Lionel Logue (Geoffrey Rush) first meet. Physical Conflict The obvious physical conflict throughout the film is Bertie’s stammer; however, there are ways to incorporate quite simple physical conflict in a scene to bring out information that propels the plot forward or reveals character. For Bertie, this occurs with an elevator. Upon arrival in Lionel Logue’s building, Bertie struggles with the elevator gate, which becomes an minor obstacle between Bertie and his goal. Although the conflict is simple (Bertie must figure out how to close the gate, so he and his wife can take it up to Logue’s flat), it is still a physical obstacle that reveals something about Bertie’s character: INT. GROUND FLOOR ENTRANCE, 146 HARLEY STREET The Yorks enter the tiny elevator. Bertie shuts the inner gate. (indicating outer gate) No, darling, shut that one first. Bertie gets the gates closed and Elizabeth presses the button. How did you find this…physician? Classifieds, next to a “French model, Shepherds Market”. Bertie tries to smile despite his mood, but doesn’t make a job of it. He comes highly recommended. Charges substantial fees to help the poor. (realizes) Oh dear, perhaps he’s a Bolshevick?! And with this little slice of physical conflict, not only do we see Bertie’s frustration with needing direction from his wife in order to operate the elevator, but we also understand his doubting disapproval of the man they are there to meet. His question “How did you find this… physician?” also gives Elizabeth a chance to deliver some backstory: the “classifieds and “help the poor” information give the feeling of someone not well known to the upper classes. Without that elevator fumble, the scene is in danger of feeling flat. Bertie is not particularly happy about going to see a therapist in the first place, so the first impressions so far are not good. {movremote}http://p.tsl.thescriptlab.netdna-cdn.com/vod/tsl.thescriptlab/the-kings-speech-1.mov{/movremote} Interpersonal Conflict Bertie has many interpersonal conflicts to deal with during the course of the film: his father’s sternness, his brother’s flouting of the rules, even the British public and their expectations of him, but none of them are in the same class as his speech therapist Lionel Logue. Bertie is a reluctant patient when he arrives, and all he wants is to learn how to stop stammering, yet when he enters, he is barraged by a brass Australian who not only sees Bertie as his equal, but also seems more intent in finding out about Bertie’s private life than in treating him: Aren’t you going to start treating me Dr. Logue? Only if you’re interested in being treated. Please, call me Lionel. I prefer Doctor. I prefer Lionel. What’ll I call you? Your Royal Highness, then Sir after that. A bit formal for here. What about your name? Prince Albert Frederick Arthur George? How about Bertie? Only my family uses that. Perfect. In here, it’s better if we’re equals. If we were equal I wouldn’t be here. I’d be at home with my wife and no-one would give a damn. Bertie starts to light a cigarette from a silver case. Don’t do that. Bertie gives him an astonished look. I’m sorry? Sucking smoke into your lungs will kill you. My physicians say it relaxes the throat. They’re idiots. They’ve all been knighted. Makes it official then. My ‘castle’, my rules. What was your earliest memory? What on earth do you mean? First recollection? (stammer growing in intensity) I’m not here to discuss my private matters. Why’re you here then? (exploding – stammer free) Because I bloody well stammer! One of my many faults. {movremote}http://p.tsl.thescriptlab.netdna-cdn.com/vod/tsl.thescriptlab/the-kings-speech-2.mov{/movremote} Inner Conflict Inner conflict is one of the most difficult things to show in a screenplay because the obstacles are within. While it’s entirely possible to write a functional screenplay that only has physical conflict and interpersonal conflict, incorporating inner conflict applies added layers of complexity to the story. In The King’s Speech , Bertie is a reluctant patient partly because he struggles to cope with the pressures of the monarchy. Combine that lofty expectation with the desire to be a good prince for his country along with a crippling lack of self-confidence, Bertie can’t help but feel a bit hopeless, and his first encounter with Lionel makes him feel even worse. After a few minutes of formal, and then informal pleasantries, Lionel sets him on an unorthodox task, recording Bertie’s speech while forcing him to read aloud while his voice is drowned out by music, the goal of course is to prove Bertie can speak without stuttering. But the physical obstacle of the music sets off Bertie’s deep seeded self-doubt: You’re playing music. How can I hear what I’m saying?! Surely a Prince’s brain knows what its mouth is doing? You’re not well acquainted with Royal Princes, are you? Bertie’s response to Lionel’s comment about a “Prince’s brain“ is a clear example that Bertie suffers from a lack of self-worth. He simply doesn’t believe in himself, as his question-response is a bit of dry self-loathing that confirms that he doesn’t know what his mouth is doing. But his lack of confidence comes into view even more as the scene continues: Bertie replaces the earphones. Again, the LOUD MUSIC. His mouth moves as he reads, but all that can be heard is the music. Finished, Bertie takes off the earphones and the music ceases. Bertie reaches for the coins, but Logue snatches them. Hopeless. Hopeless! You were sublime. Would I lie to a prince of the realm to win twelve-pence? I’ve no idea what an Australian might do for that sort of money. Shall I play it? If you prefer, we’ll just get on to the questions. Thank you Doctor, I don’t feel this is for me. He heads for the door. Logue puts the record in a brown paper dust jacket and hands it to Bertie. Sir? The recording is free. Please keep it as a souvenir? Lionel opens the door for Bertie and closes it behind him. Even though Bertie cannot hear the results and Lionel describes his speech as “sublime”, Bertie still assumes he has failed and moments later, he quits. It’s clear to us that Lionel didn’t fail Bertie; instead, it is Bertie who failed himself due to his own insecurities. {movremote}http://p.tsl.thescriptlab.netdna-cdn.com/vod/tsl.thescriptlab/the-kings-speech-3.mov{/movremote} Download Free Trending Scripts The Wolf Of Wall Street Mr. and Mrs. Smith The Terminator Breaking Bad The Shining True Detective Next Related Article Improve Your Writing Through Acting Patrick Kirkland · November 5, 2011 Recent Articles Script collection: supernatural horrors that still send shivers. 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How The King Rewrites Shakespeare’s Most Famous Dialogue Frustrated writers in search of more confidence would do well to study the example of Joel Edgerton and David Michôd. For their Henry V film The King , currently streaming on Netflix , the pair borrowed most of the plot, characters, and big moments from Shakespeare’s trio of plays about the monarch, but chose to jettison the Bard’s famous verse in favor of dialogue of their own creation. Edgerton and Michôd aren’t the first to rewrite Shakespeare — millennials will recall 10 Things I Hate About You kicked off a wave of adaptations that brought Shakespearean plots to American high schools, efforts that were generally more successful with comedies ( She’s the Man ) than tragedies ( O ). There the change in scenery freed filmmakers from the burden of direct adaptation; in keeping so much the same, the people behind The King have made each departure feel even more glaring. Besides the language, they’ve also changed the fates of a few supporting players, and given the story new themes. Timothée Chalamet’s Hal is now a noble pacifist who disdains war and imperialism, which is kind of like turning Romeo into an incel. Instead of iambic pentameter, characters in The King speak in what we might call Game of Thrones English, a blend of short staccato sentences, stentorian pronouncements, a few old-timey phrasings, and frequent cursing. How does it compare to the original? We’ve taken excerpts from a few scenes that directly line up with Shakespeare’s own, to see. (All quotations from the plays courtesy the Open Source Shakespeare project.) Henry IV confronts Hotspur over Scottish prisoners Both The King and Henry IV, Part 1 begin with a showdown between our hero’s royal father and the future outlaw Harry “Hotspur” Percy. After putting down an army of Scottish rebels, Hotspur has taken prisoners, and won’t transfer them to the crown unless Henry IV ransoms his relative, Mortimer, from the Welsh rebel Owen Glendower. The older Henry believes Mortimer is secretly in league with the Welsh, and demands young Hotspur give him the prisoners at once. Here’s how it goes down in Act I, Scene 3 (condensed slightly for length): HENRY IV Why, yet he doth deny his prisoners,  But with proviso and exception,  That we at our own charge shall ransom straight  His brother-in-law, the foolish Mortimer […] Shall our coffers, then,  Be emptied to redeem a traitor home?  Shall we but treason? and indent with fears,  When they have lost and forfeited themselves?  No, on the barren mountains let him starve;  For I shall never hold that man my friend  Whose tongue shall ask me for one penny cost  To ransom home revolted Mortimer. HOTSPUR Revolted Mortimer!  He never did fall off, my sovereign liege,  But by the chance of war; to prove that true  Needs no more but one tongue for all those wounds,  Those mouthed wounds, which valiantly he took  When on the gentle Severn’s sedgy bank,  In single opposition, hand to hand,  He did confound the best part of an hour  In changing hardiment with great Glendower… HENRY IV Thou dost belie him, Percy, thou dost belie him; He never did encounter with Glendower: I tell thee, He durst as well have met the devil alone As Owen Glendower for an enemy. Art thou not ashamed? But, sirrah, henceforth Let me not hear you speak of Mortimer: Send me your prisoners with the speediest means, Or you shall hear in such a kind from me As will displease you… In The King , this exchange is broken up into a more traditional conversation between a bunch of characters, but here are the key portions (again, condensed slightly): HENRY IV I refuse to pay Mortimer’s ransom because I refuse to believe him a prisoner. I rather believe Mortimer a traitor. He has joined the Welsh rebels. He has betrayed England, and is now an enemy of mine, and therefore of yours. You agree with my précis , young Hotspur? HOTSPUR No, your grace. I believe yours to be the ramblings of a crazy old demon. Yours are the ramblings of an old man so saturated with malice and mistrust that he no longer knows up from down, can no longer see beyond the walls of his own monstrous schloss . My family have served you. We aided you in your ascension and still we fight for you. Cousin Mortimer has fought for you. And yet now, whilst you slobber over that chicken’s wing, he shivers in a western prison awaiting mutilation at the hands of Welsh witches… HENRY IV Chickens can’t fly. But I’ve seen one eke enough wing-flap to clear a fence. Then it’s free. But then so too are the foxes. You are right, young Percy, I owe you much. I owe your family still more. But if the Scottish traitors you’ve taken prisoner are not brought to me as speedily as they might travel, I will hang you by your fucking neck. Has this been heard, young Percy? Hotspur fights Prince Hal Hotspur, what a character! His death forms the climax of Henry IV, Part I , but in The King it comes only a few scenes in. In both cases, he perishes at the hands of the future Henry V, whose dose of battlefield glory signifies his evolution from drunken young wastrel to capable ruler. In Shakespeare, the fight scene takes place in Act V, Scene 4, as the two men find each other on the battlefield at Shrewsbury and get into a bit of a debate over their shared first name: HOTSPUR If I mistake not, thou art Harry Monmouth. HENRY V Thou speak’st as if I would deny my name. HOTSPUR My name is Harry Percy. HENRY V Why, then I see A very valiant rebel of the name. I am the Prince of Wales; and think not, Percy, To share with me in glory any more: Two stars keep not their motion in one sphere; Nor can one England brook a double reign, Of Harry Percy and the Prince of Wales. HOTSPUR Nor shall it, Harry; for the hour is come To end the one of us; and would to God Thy name in arms were now as great as mine! […] [ They fight. ] In The King , a battle is about to begin, but Prince Henry proposes a duel instead, as a way to save the lives of the other men in both armies. What a guy! HOTSPUR Why is the little dog barking? Where be the big dog? [ Enter Henry V ] HENRY V It will be done. HOTSPUR And here I am with the whoring fool. HENRY V This fight need not be had, Percy. My father will soon be dead. Your grievances will die with him. HOTSPUR Don’t be afraid of our small contest, young Hal. I promise to finish it quickly. Come on. Your father is plague to England. Come for me, big dog! [ They fight. ] The death of Henry IV Henry IV spends most of Henry IV, Part 2 slowly dying and being visited by the ghost of Richard II, the guy he deposed. Despite killing Hotspur and proving himself a real man, Prince Henry’s relationship with the king hasn’t gotten much better. But when he hears his father is close to death, he decides to pay the man one final visit. In Act IV, Scene 3, he sees the dying king and monologues about embracing his new destiny: HENRY V Why doth the crown lie there upon his pillow, Being so troublesome a bedfellow? O polish’d perturbation! golden care! That keep’st the ports of slumber open wide To many a watchful night! Sleep with it now! Yet not so sound and half so deeply sweet As he whose brow with homely biggen bound Snores out the watch of night. O majesty! When thou dost pinch thy bearer, thou dost sit Like a rich armour worn in heat of day That scald’st with safety. By his gates of breath There lies a downy feather which stirs not. Did he suspire, that light and weightless down Perforce must move. My gracious lord! my father! This sleep is sound indeed; this is a sleep That from this golden rigol hath divorc’d So many English kings. Thy due from me Is tears and heavy sorrows of the blood Which nature, love, and filial tenderness, Shall, O dear father, pay thee plenteously. My due from thee is this imperial crown, Which, as immediate from thy place and blood, Derives itself to me. [ Putting on the crown. ] In the play, Henry IV eventually awakes, and father and son share a final reconciliation. In The King , that moment is much shorter, and slightly different: [ Enter Henry V ] HENRY V You feel this cold? Wrench. [ He tears the sheets from his father’s bed. ] HENRY IV Hal. Hal. You must be king. I know not what I have done. Prince Henry becomes king With the death of his father, Henry is now king of England, and he takes a moment to address his father’s councilors. Here’s the flowery speech he gives them in Act V, Scene 2 of Henry IV Part 2 : HENRY V This new and gorgeous garment, majesty, Sits not so easy on me as you think. Brothers, you mix your sadness with some fear. This is the English, not the Turkish court; Not Amurath an Amurath succeeds, But Harry Harry. Yet be sad, good brothers, For, by my faith, it very well becomes you. Sorrow so royally in you appears That I will deeply put the fashion on, And wear it in my heart. Why, then, be sad; But entertain no more of it, good brothers, Than a joint burden laid upon us all. For me, by heaven, I bid you be assur’d, I’ll be your father and your brother too; Let me but bear your love, I’ll bear your cares. Yet weep that Harry’s dead, and so will I; But Harry lives that shall convert those tears By number into hours of happiness. When you’re fitting three Shakespeare plays into one two-hour movie, you’ve gotta make cuts somewhere, so The King speeds through Henry IV, Part 2 . Its version of the above monologue comes roughly 30 seconds after Henry has stormed into the king’s bedchamber. HENRY V You know not what will become of you. So, I offer you this. The most blessed reprieve. The most dreadful misery. You shall suffer the indignity of serving me, the wayward son you so revile. But know now you will be watched over by an altogether different king. A gift of tennis balls Both versions of the story include a scene where the Dauphin of France taunts Henry by sending him a gift of tennis balls. In Henry V , the young king immediately takes it as a challenge, and vows to cross the Channel and press his claim to the French throne. Here’s his speech from Act I, Scene 2 (again, slightly condensed): HENRY V We are glad the Dauphin is so pleasant with us;  His present and your pains we thank you for:  When we have march’d our rackets to these balls,  We will, in France, by God’s grace, play a set  Shall strike his father’s crown into the hazard.  Tell him he hath made a match with such a wrangler  That all the courts of France will be disturb’d  With chaces. And we understand him well […] But tell the Dauphin I will keep my state,  Be like a king and show my sail of greatness  When I do rouse me in my throne of France:  For that I have laid by my majesty  And plodded like a man for working-days,  But I will rise there with so full a glory  That I will dazzle all the eyes of France,  Yea, strike the Dauphin blind to look on us.  And tell the pleasant prince this mock of his  Hath turn’d his balls to gun-stones; and his soul  Shall stand sore charged for the wasteful vengeance  […]  So get you hence in peace; and tell the Dauphin  His jest will savour but of shallow wit,  When thousands weep more than did laugh at it.  Convey them with safe conduct. Fare you well. By contrast, the enlightened Henry of The King does not care about claiming the French throne, and so does not consider a gift of sporting equipment adequate pretext for invading France. HENRY V A ball. There is no accompanying message from the Dauphin? COURTIER No, my liege. HENRY V I shall keep this gift. This one is sent only for me. For the boy I once was.  [ Later ] CHIEF JUSTICE The ball is an insult to you and to your kingdom. You must respond.  HENRY V Remember where as prince I whiled and how I spent my days? CHIEF JUSTICE You spent them in considered privation. HENRY V Drinking, clowning. So is there not some truth in this jest? If the Dauphin wants from me a paroxysm, why give it to him? CHIEF JUSTICE  It would not be a show of foul temper for you to respond forcefully to an insult such as that. It would be a show of strength. HENRY V I appreciate your umbrage, William. But my strength does not lie in my flapping up and down at the slightest barb like some unholy mechanical bird. Arresting Cambridge and Grey But because this is the story of Henry V, you can’t just write out the part where he invades France. Both stories also have to shoehorn in the Southampton Plot, where a few of Henry’s advisers plotted to put his distant relative on the throne, got found out, and were executed shortly before the king set sail. In the play, Henry tricks the advisers into pressing for a harsh sentence against those who have spoken out against the king, then presents them with letters proving their guilt. Having just argued against mercy, the men can’t demand it for themselves: HENRY V And now to our French causes: Who are the late commissioners? EARL OF CAMBRIDGE I one, my lord: Your highness bade me ask for it to-day. LORD SCROOP So did you me, my liege. SIR THOMAS GREY And I, my royal sovereign. HENRY V Then, Richard Earl of Cambridge, there is yours; There yours, Lord Scroop of Masham; and, sir knight, Grey of Northumberland, this same is yours: Read them; and know, I know your worthiness. My Lord of Westmoreland, and uncle Exeter, We will aboard to night. Why, how now, gentlemen! What see you in those papers that you lose So much complexion? Look ye, how they change! Their cheeks are paper. Why, what read you there That hath so cowarded and chased your blood Out of appearance? EARL OF CAMBRIDGE I do confess my fault; And do submit me to your highness’ mercy. SIR THOMAS GREY [ with Scroop ] To which we all appeal. HENRY V The mercy that was quick in us but late, By your own counsel is suppress’d and kill’d: You must not dare, for shame, to talk of mercy; For your own reasons turn into your bosoms, As dogs upon their masters, worrying you. Henry continues with another longer speech, but nobody’s got time for that in a Netflix movie. Edgerton and Michôd dispense with the letter shenanigans and get straight to the point: HENRY V As of today, we are at war with France. Twice I have given her the benefit of my doubt. This third affront will not be left unchecked. And so, in order to flush these French rats from their nests, I will have it communicated to them that we are now at war. My lord Grey, Cambridge, I would ask you to deliver this message to France, given your … familiarity with its recipient. But I believe in the morning you’ll be otherwise engaged. EARL OF CAMBRIDGE Pray how, my liege? HENRY V Tomorrow you will have your heads cut off.  St. Crispin’s Day Finally, the oratory you’ve been waiting for ever since you clicked into this post. With The King skipping the battle at Harfleur that gives us the “Once more unto the breach” speech, Henry’s famous pre-battle monologue at Agincourt is the filmmakers’ big chance to put their own spin on Shakespeare’s most stirring language. If you’ve forgotten it, here it is (in full), from Act IV, Scene 3: EARL OF WESTMORELAND  O that we now had here But one ten thousand of those men in England That do no work to-day! HENRY V What’s he that wishes so? My cousin Westmoreland? No, my fair cousin:  If we are mark’d to die, we are enow  To do our country loss; and if to live,  The fewer men, the greater share of honour.  God’s will! I pray thee, wish not one man more.  By Jove, I am not covetous for gold,  Nor care I who doth feed upon my cost;  It yearns me not if men my garments wear;  Such outward things dwell not in my desires:  But if it be a sin to covet honour,  I am the most offending soul alive.  No, faith, my coz, wish not a man from England:  God’s peace! I would not lose so great an honour  As one man more, methinks, would share from me  For the best hope I have. O, do not wish one more!  Rather proclaim it, Westmoreland, through my host,  That he which hath no stomach to this fight,  Let him depart; his passport shall be made  And crowns for convoy put into his purse:  We would not die in that man’s company  That fears his fellowship to die with us.  This day is called the feast of Crispian:  He that outlives this day, and comes safe home,  Will stand a tip-toe when the day is named,  And rouse him at the name of Crispian.  He that shall live this day, and see old age,  Will yearly on the vigil feast his neighbours,  And say ‘To-morrow is Saint Crispian:’  Then will he strip his sleeve and show his scars.  And say ‘These wounds I had on Crispin’s day.’  Old men forget: yet all shall be forgot,  But he’ll remember with advantages  What feats he did that day: then shall our names.  Familiar in his mouth as household words  Harry the king, Bedford and Exeter,  Warwick and Talbot, Salisbury and Gloucester,  Be in their flowing cups freshly remember’d.  This story shall the good man teach his son;  And Crispin Crispian shall ne’er go by,  From this day to the ending of the world,  But we in it shall be remember’d;  We few, we happy few, we band of brothers;  For he to-day that sheds his blood with me  Shall be my brother; be he ne’er so vile,  This day shall gentle his condition:  And gentlemen in England now a-bed  Shall think themselves accursed they were not here,  And hold their manhoods cheap whiles any speaks  That fought with us upon Saint Crispin’s day. There was absolutely no way The King was going to be able to top this. But at least they gave it a try! Here’s what Michôd comes up with: HENRY V You expect of me a speech? I have only one to give. It is the same one I’d give were we not standing on the brim of a battlefield. It is the same one I’d give were we to meet in the street by chance. I have only ever hoped for one thing: to see this kingdom united under this English crown. All men are born to die. We know it. We carry it with us always. If your day be today, so be it. Mine will be tomorrow. Or mine today and yours tomorrow. It matters not. What matters is that you know in your hearts that today you are that kingdom united. You are England, each and every one of you. England is you. And it is the space between you. Fight not for yourselves. Fight for that space. Fill that space. Make it tissue. Make it mass. Make it impenetrable. Make it yours! Make it England! Make it England! Great men to it, captains, lords. Great men to it! Henry meets Katharine of Valois Out of respect to Shakespeare’s genius pacing, The King decides to join the Bard in following up the super-exciting battle of Agincourt with a very talky scene of Henry flirting with his future French wife, Katharine. Except … she doesn’t speak English! What is a horny king to do, except try to woo her anyway, with the assistance of Alice, a lady-in-waiting. Here’s a portion of their exchange from Act V, Scene 2: HENRY V Fair Katharine, and most fair, Will you vouchsafe to teach a soldier terms Such as will enter at a lady’s ear And plead his love-suit to her gentle heart? KATHARINE Your majesty shall mock at me; I cannot speak your England. HENRY V O fair Katharine, if you will love me soundly with your French heart, I will be glad to hear you confess it brokenly with your English tongue. Do you like me, Kate? KATHARINE Pardonnez-moi, I cannot tell vat is ‘like me.’ HENRY V An angel is like you, Kate, and you are like an angel. KATHARINE Que dit-il? que je suis semblable a les anges? [ What is he saying? That I resemble an angel? ] ALICE Oui, vraiment, sauf votre grace, ainsi dit-il. [ Yes, that’s what he’s saying. ] HENRY V I said so, dear Katharine; and I must not blush to affirm it. KATHARINE O bon Dieu! les langues des hommes sont pleines de tromperies. [ Oh God! The language of men is full of deception. ] HENRY V What says she, fair one? that the tongues of men are full of deceits? ALICE Oui, dat de tongues of de mans is be full of deceits: dat is de princess. HENRY V The princess is the better Englishwoman. I’ faith, Kate, my wooing is fit for thy understanding: I am glad thou canst speak no better English; for, if thou couldst, thou wouldst find me such a plain king that thou wouldst think I had sold my farm to buy my crown. I know no ways to mince it in love, but directly to say ‘I love you:’ then if you urge me farther than to say ‘do you in faith?’ I wear out my suit. Give me your answer; i’ faith, do: and so clap hands and a bargain: how say you, lady? KATHARINE Sauf votre honneur, me understand vell. The scene in the play goes on for quite some time after that, but I’ll spare you more blocks of text. The King , funnily enough, treats Henry and Katharine’s little language games with a lot more reverence than it does the rest of Henry V , but it also throws in a twist! Katharine is not just a very progressive 15th-century noblewoman who believes “all monarchy is illegitimate,” she also helps Henry wake up to the real enemy: KATHARINE [ In French ] Please sit, your majesty. HENRY V [ In French ] You are beautiful. KATHARINE Merci . HENRY V [ In French ] I will no longer speak French. We must speak English. KATHARINE [ In French ] I cannot speak English.  HENRY V [ In French ] You will learn. KATHARINE [ In French ] I wonder then, how our union might proceed in the meantime.  HENRY V There is much I wonder about a great many things. KATHARINE Indeed there must be for you to contemplate marriage to a woman about whom you know so little. I will not submit to you. You must earn my respect.  HENRY V I understand that.  KATHARINE Do you? HENRY V I do. KATHARINE Do you feel a sense of achievement?  HENRY V In what regard? KATHARINE In any regard. HENRY V I have achieved that which my father never could. I have united this kingdom in common cause.  KATHARINE You have achieved momentary respite. A unity forged under false pretense will never be a unity that prevails.  HENRY V How, pray, have my endeavors been forged falsely? As it turns out, in this telling, Henry is a nice, peaceful chap who really didn’t want to commit war crimes — he was just tricked into invading France by his evil counselors! While this twist bears heavy similarities to actual medieval propaganda , I suspect the filmmakers’ intent had more to do with drama than history. As the movie’s Falstaff, having evaded the fate Shakespeare gave him, says on the eve of Agincourt: “Either I die here, or I die over a bottle in Eastcheap. I think this makes for a much better story.” I’ll leave it up to you to decide whether that’s true or not. shakespeare henry iv part 1 henry iv part 2 Most Viewed Stories Ron Howard Has Finally Lost His Mind Cinematrix No. 167: September 9, 2024 All the Winners (and EGOTs) of the Creative Arts Emmys The Perfect Couple Goes Way Harder Than the Book The Secret Lives of Mormon Wives , Exposed Industry Recap: Love and War The Double Dishonesty of Chimp Crazy Editor’s Picks Most Popular What is your email. This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us. Sign In To Continue Reading Create your free account. Password must be at least 8 characters and contain: Lower case letters (a-z) Upper case letters (A-Z) Numbers (0-9) Special Characters (!@#$%^&*) As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime. 202 IMAGES The King's Speech: Amazon.fr: Colin Firth, Geoffrey Rush, Helena Bonham The King’s Speech review King's Speech in full: Historic moment for Charles as he delivers The King's Speech now available On Demand! The King's Speech Trailer The King's Speech VIDEO official-king 's speech and The King's Speech Exercise Unpacking the Kings's Speech Speeches: My Response to the King's Speech COMMENTS The King's Speech Quotes The King's Speech is a 2010 film about King George VI of Britain, his impromptu ascension to the throne, and the speech therapist who helped the unsure monarch become worthy of it. The King's Speech Screenplay » ... PDF The King's Speech DS.pdf King George VI made Lionel Logue a Commander of the Royal Victorian Order in 1944. This high honour from a grateful King made Lionel part of the only order of chivalry that specifically rewards acts of personal service to the Monarch. Lionel was with the King for every wartime speech. The King's Speech The King's Speech is a 2010 film about King George VI of Britain, his impromptu ascension to the throne, and the speech therapist who helped the unsure monarch become worthy of it. ... Dialogue [edit] Elizabeth Bowes-Lyon, Duchess of York: [Using the name "Mrs. Johnson"] ... "The King's Speech" quotes Perhaps that's what you want.". Geoffrey Rush - Lionel Logue. "Logue, however this turns out, I don't know how to thank you for what you've done.". Colin Firth - King George VI. The King's Speech quotes: the most famous and inspiring quotes from The King's Speech. The best movie quotes, movie lines and film phrases by Movie Quotes .com. The King's Speech Transcript for King George VI The King's Speech Transcript for King George VI "The King's Speech" (2010) Movie Speech from The King's Speech The King's Speech (2010) The King's Speech: Directed by Tom Hooper. With Colin Firth, Helena Bonham Carter, Derek Jacobi, Robert Portal. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The King's Speech (2010) 2010 · Film. The King's Speech tells the story of the man who became King George VI, the father of Queen Elizabeth II. After his brother abdicates, George ('Bertie') reluctantly assumes the throne. Plagued by a dreaded stutter and considered unfit to be king, Bertie engages the help of an unorthodox speech therapist named Lionel Logue. The King's Speech The King's Speech The King's Speech In The King's Speech, dialogue is pivotal for revealing both King George VI's vulnerabilities and Lionel Logue's unconventional methods. The conversations illustrate not just the king's struggle with his speech but also his deepening trust in Logue. This use of dialogue enriches their relationship and highlights the film's central theme ... Transcript of Martin Luther King's 'I Have a Dream' speech : NPR Transcript of Martin Luther King's 'I Have a Dream' speech The rain in Sp…Sp…Sp… movie review (2010) Drama. 118 minutes ‧ R ‧ 2010. Roger Ebert. December 15, 2010. 4 min read. Colin Firth and Helena Bonham Carter. "The King's Speech" tells the story of a man compelled to speak to the world with a stammer. It must be painful enough for one who stammers to speak to another person. To face a radio microphone and know the British Empire ... Three Lessons Learned From The King's Speech Firth and Rush in 'The King's Speech' Yesterday, I thoroughly enjoyed watching The King's Speech. What a feel-good film, what superb dialogues, what a highlight for public speaking fans around the globe. A public speaking trainer myself - I was especially amused to see the training methods of the Australian speech therapist, Lionel Logue (Geoffrey Rush). […] Film Review: The King's Speech Sheila Kogan. Jan 6, 2011. As I was watching The King's Speech written by David Seidler, it occurred to me that the script was based on the familiar rules that we all learn as beginners. We all learn that drama is conflict and that our main character should conquer some obstacle. Ok, so this main character doesn't have to slay a dragon or ... The True Story Behind "The King's Speech" "The King's Speech" is a 2010 dramatic biographical film, recounting the friendship between King George VI of England and his Australian speech therapist, Lionel Logue. ... Much of the ideas for the therapy sessions depicted in the film come from Logue's diaries (though plenty of the dialogue was invented), which were inherited by his grandson ... The King's Speech The King's Speech. The King's Speech tells the story of King George VI (Bertie) who reluctantly assumed the throne after his brother abdicated. Plagued by a dreaded stutter and considered unfit to be king, he engages the help of an unorthodox speech therapist named Lionel Logue. Through a set of unexpected techniques, and as a result of an ... The King's Speech (2010) The King's Speech: Directed by Tom Hooper. With Colin Firth, Helena Bonham Carter, Derek Jacobi, Robert Portal. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The King's Speech The King's Speech. Storyform. SYNOPSIS: "The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it." Synopsis Source: IMDB.com. The story behind "The King's Speech" With 12 Oscar nominations, "The King's Speech" is among the most nominated films of all time. It's based on the true story of George VI, the father of the present queen of England. George VI was a ... The Internet Movie Script Database (IMSDb) THE KING'S SPEECH Written by David Seidler OPEN ON: 1 INT. BATHROOM, YORK HOUSE, LONDON - DAY (MID-1930'S) 1 A shimmering surface of cold water - held in an immense, free standing, white enamelled bathtub with gilded lion's legs - bulges in SLOW MOTION to the chords of Handel's "Trumpet Volunteer". A head emerges. ... King's Speech, The The King's Speech delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy. Unless you count Hitler, who is seen from afar, the narrative is villain-free, allowing the focus to be on the internal and interpersonal struggles of the characters - a more rewarding approach than when a bad ... Three Types of Conflict: The King's Speech The King's Speech, which won multiple Oscars, including Best Picture at the 83 rd Academy Awards, as well as critical and commercial box office success, is a great example to illustrate these conflict types. The film tells the story of the man who became King George VI, who was considered unfit to be a king (inner conflict) due to a severe ... How Netflix's 'The King' Re-Writes Shakespeare's Dialogue How Netflix's 'The King' Re-Writes Shakespeare's Dialogue assignment essay homework paper phd report resume review speech thesis