Now must your conscience my acquittance seal,
And you must put me in your heart for friend,
Sith you have heard, and with a knowing ear,
That he which hath your noble father slain
Pursu’d my life.
Now must your conscience my acquittance seal, and you must put me in your heart for friend; sith you have heard, and with a knowing ear, that he which hath your noble father slain pursued my life.
Hamlet killed your father. He's a danger to all of us. We need to kill him.
hamlet killed your father we must kill him
It well appears. But tell me
Why you proceeded not against these feats,
So crimeful and so capital in nature,
As by your safety, wisdom, all things else,
You mainly were stirr’d up.
I will do 't. But tell me first of what you charge me withal.
I'll do it. What's the plan?
what's the plan
O, for two special reasons,
Which may to you, perhaps, seem much unsinew’d,
But yet to me they are strong. The Queen his mother
Lives almost by his looks; and for myself,—
My virtue or my plague, be it either which,—
She’s so conjunctive to my life and soul,
That, as the star moves not but in his sphere,
I could not but by her. The other motive,
Why to a public count I might not go,
Is the great love the general gender bear him,
Who, dipping all his faults in their affection,
Would like the spring that turneth wood to stone,
Convert his gyves to graces; so that my arrows,
Too slightly timber’d for so loud a wind,
Would have reverted to my bow again,
And not where I had aim’d them.
I'll touch my point with this contagion, that, if I gall him slightly, it may be death. And, for that purpose, I'll anoint my sword.
We'll poison a sword. If it even scratches him, he'll die.
poison sword scratch death
And so have I a noble father lost,
A sister driven into desperate terms,
Whose worth, if praises may go back again,
Stood challenger on mount of all the age
For her perfections. But my revenge will come.
I will do 't: and, for that purpose, I'll anoint my sword.
I agree. Let's do this.
agreed
Break not your sleeps for that. You must not think
That we are made of stuff so flat and dull
That we can let our beard be shook with danger,
And think it pastime. You shortly shall hear more.
I lov’d your father, and we love ourself,
And that, I hope, will teach you to imagine—
I will do 't: And, for that purpose, I'll anoint my sword. But, soft! let's not shame the practice with a second death: I'll poison the goblet too. If he by chance escape your venomous stuck, our purpose may yet hold there.
And I'll poison the wine. If the sword doesn't kill him, the drink will.
poison wine backup plan he won't escape
Letters, my lord, from Hamlet.
This to your Majesty; this to the Queen.
Letters, my lord, from Hamlet. This one for your Majesty, this one for the Queen.
My lord, letters from Hamlet. One for you, one for the Queen.
letters from hamlet
From Hamlet! Who brought them?
From Hamlet? Who brought them?
From Hamlet? Who delivered them?
from hamlet
Sailors, my lord, they say; I saw them not.
They were given me by Claudio. He receiv’d them
Of him that brought them.
Sailors, my lord, they say. I didn't see them myself. Claudio gave them to me, and he received them from whoever brought them.
Sailors, supposedly. I didn't see them. Claudio gave them to me.
sailors i didn't see them
Laertes, you shall hear them.
Leave us.
Laertes, you'll listen to these. Leave us.
Laertes, stay. Everyone else out.
everyone leave
Gertrude's account of Ophelia's drowning is one of the most debated passages in the play because of what it implies about Gertrude's presence. The description is too detailed, too visually precise, for secondhand knowledge — she saw the willow, the garlands, the floating. She names the flowers: crow-flowers (fairness), nettles (stung into madness), daisies (dissembled love), long purples (also known by a cruder name suggesting male sexuality — this is Ophelia's flower, chosen with unconscious precision by a young woman destroyed partly by a man). And yet Gertrude says Ophelia fell and floated and sang and was dragged down — and does not say that she jumped in after her, or called for help, or ran for someone who could. The speech does not say Gertrude watched and did nothing. But it could mean that. It might mean that Gertrude, herself half-drowned in complicity and guilt, stood at the bank and watched the beautiful ruined young woman float past singing, and could not move. The speech is gorgeous and the question under it is terrible.
Know you the hand?
Do you know the handwriting?
Do you know his handwriting?
is this his hand
’Tis Hamlet’s character. ‘Naked!’
And in a postscript here he says ‘alone.’
Can you advise me?
It is Hamlet's. And he's asking your permission to come back to Denmark. He writes that he has some business with you, but he's coming back, and coming fast.
It's his handwriting. And he's saying he's coming back to Denmark. Soon.
it's him he's coming back
I am lost in it, my lord. But let him come,
It warms the very sickness in my heart
That I shall live and tell him to his teeth,
‘Thus diest thou.’
What does he want, what do you think?
What does he want?
what does he want
If it be so, Laertes,—
As how should it be so? How otherwise?—
Will you be rul’d by me?
Here's the advantage, Laertes: if he comes back and you know how good he's become with the sword, you won't have trouble killing him. But if that seems uncertain to you, I have another plan. I can poison the tip of your sword, and even a scratch will kill him. If both plans fail, we'll have poison ready to put in his drink.
Look—if he comes back, you can challenge him. You know how good he's gotten with a sword. But if you're worried, I have a backup plan. We can poison the tip of your sword. Even a scratch kills him. And if that doesn't work, we'll poison his drink.
he's coming back you can kill him challenge him poison your sword poison his drink
Ay, my lord;
So you will not o’errule me to a peace.
I'll do it. But I'll anoint my sword with poison. I bought some poison from a mountebank that's so deadly, if I dip a knife in it, nothing can save the person who's scratched. I'll poison my sword.
I'll do it. I already have poison—I bought it from a dealer. It's deadly. Even a scratch and the man's dead.
i have poison deadly one scratch and he dies
To thine own peace. If he be now return’d,
As checking at his voyage, and that he means
No more to undertake it, I will work him
To an exploit, now ripe in my device,
Under the which he shall not choose but fall;
And for his death no wind shall breathe,
But even his mother shall uncharge the practice
And call it accident.
Let's set this up. When you have a chance to challenge him—say it's because he spoke ill of you in Denmark. Ask him to choose swords with you, and pick one without a button on the tip, so the poison can do its work.
Here's how we do it. When the moment's right, challenge him. Say he insulted you. Make it about honor, so he'll agree. Choose swords without the buttons—that's how the poison works.
challenge him for honor choose swords without buttons let the poison work
My lord, I will be rul’d;
The rather if you could devise it so
That I might be the organ.
I'll get poison—a drink that's supposed to be famous for its power. I'll put poison in it. When you're wounded and tired, I'll offer him a drink, and that will complete the deed.
I'll get a drink with poison in it. When he's tired and bleeding, I'll offer it to him. That finishes it.
poison in a drink for when he's tired finish him
It falls right.
You have been talk’d of since your travel much,
And that in Hamlet’s hearing, for a quality
Wherein they say you shine. Your sum of parts
Did not together pluck such envy from him
As did that one, and that, in my regard,
Of the unworthiest siege.
O, for England's sake, I do agree! But I'll poison my sword tip again just to be sure.
Agreed. I'll poison my sword again—make sure it's deadly.
i agree i'll poison it twice
What part is that, my lord?
I'll do the same with the poison. And if this plan doesn't work, nothing will.
I'll make sure the poison's strong. This will work.
this will work
A very riband in the cap of youth,
Yet needful too, for youth no less becomes
The light and careless livery that it wears
Than settled age his sables and his weeds,
Importing health and graveness. Two months since
Here was a gentleman of Normandy,—
I’ve seen myself, and serv’d against, the French,
And they can well on horseback, but this gallant
Had witchcraft in’t. He grew unto his seat,
And to such wondrous doing brought his horse,
As had he been incorps’d and demi-natur’d
With the brave beast. So far he topp’d my thought
That I in forgery of shapes and tricks,
Come short of what he did.
But let's do this quickly. The time is right. Hamlet is still grieving about Polonius, and Laertes is angry. This will look natural. And we need to move now, before his mood changes or news comes from England that might complicate things.
But we need to move fast. Hamlet's still upset about Polonius. Laertes is angry. It all looks natural right now. We have to do this before something changes.
move fast hamlet is grieving laertes is angry it looks natural
A Norman was’t?
I had another thought. Remember, if Hamlet learns what happened to Polonius—that you, Laertes, are here, that you're angry—he might come to you on his own to make peace. If he does, that's another chance.
Actually, if Hamlet hears you're here and angry, he might come to apologize. That's another moment we can use.
if he comes to apologize we kill him then
A Norman.
You're right. Let's put this in motion.
All right. Let's do it.
let's do this
Upon my life, Lamord.
But wait—what if something has happened? What if Hamlet is dead?
But what if something went wrong? What if he's already dead?
what if he's dead
The very same.
He can't be. But if he were, we'd hear about it.
He's not. We'd know.
we'd know
I know him well. He is the brooch indeed
And gem of all the nation.
You're right. We need to keep this between us.
You're right. No one can know.
keep it secret
He made confession of you,
And gave you such a masterly report
For art and exercise in your defence,
And for your rapier most especially,
That he cried out ’twould be a sight indeed
If one could match you. The scrimers of their nation
He swore had neither motion, guard, nor eye,
If you oppos’d them. Sir, this report of his
Did Hamlet so envenom with his envy
That he could nothing do but wish and beg
Your sudden coming o’er to play with him.
Now, out of this,—
Come. Let's go prepare. We need to be ready when he arrives.
Let's go get ready. He could arrive anytime.
let's prepare he's coming
Claudius and Laertes's fencing-match scheme is Shakespeare's most carefully engineered plot device — and it is careful to the point of excess. The poisoned sword is the primary weapon. The poisoned cup is the backup in case the sword fails. If Hamlet drinks at any point, he dies. If he is scratched, he dies. If he somehow wins and is unscratched and drinks nothing — but that cannot happen because Laertes won't let it. The plan has no failure mode except betrayal. What Shakespeare knows, and what Claudius does not, is that over-engineering a death trap in a play means the playwright can spring it on anyone. The poisoned cup does not care about intentions. It sits there, available, beautiful, full of death — and Gertrude drinks from it because she is celebrating what she thinks is her son's success. The trap is too good and catches the wrong person. This is the logic of hubris in Shakespearean tragedy: the more perfectly a villain designs a death, the more certainly it will rebound.
What out of this, my lord?
Go.
Go.
go
Laertes, was your father dear to you?
Or are you like the painting of a sorrow,
A face without a heart?
[They exit]
[They exit]
Why ask you this?
One more thing. When Hamlet arrives back, I need you both to watch him carefully.
Actually, watch him when he gets back. Don't let him out of your sight.
watch him
Not that I think you did not love your father,
But that I know love is begun by time,
And that I see, in passages of proof,
Time qualifies the spark and fire of it.
There lives within the very flame of love
A kind of wick or snuff that will abate it;
And nothing is at a like goodness still,
For goodness, growing to a pleurisy,
Dies in his own too much. That we would do,
We should do when we would; for this ‘would’ changes,
And hath abatements and delays as many
As there are tongues, are hands, are accidents;
And then this ‘should’ is like a spendthrift sigh
That hurts by easing. But to the quick o’ th’ulcer:
Hamlet comes back: what would you undertake
To show yourself your father’s son in deed,
More than in words?
We will.
We will.
yes
To cut his throat i’ th’ church.
Good. Now go prepare the swords.
Good. Get the swords ready.
prepare
No place, indeed, should murder sanctuarize;
Revenge should have no bounds. But good Laertes,
Will you do this, keep close within your chamber.
Hamlet return’d shall know you are come home:
We’ll put on those shall praise your excellence,
And set a double varnish on the fame
The Frenchman gave you, bring you in fine together
And wager on your heads. He, being remiss,
Most generous, and free from all contriving,
Will not peruse the foils; so that with ease,
Or with a little shuffling, you may choose
A sword unbated, and in a pass of practice,
Requite him for your father.
I will.
I will.
yes
I will do’t.
And for that purpose I’ll anoint my sword.
I bought an unction of a mountebank
So mortal that, but dip a knife in it,
Where it draws blood no cataplasm so rare,
Collected from all simples that have virtue
Under the moon, can save the thing from death
This is but scratch’d withal. I’ll touch my point
With this contagion, that if I gall him slightly,
It may be death.
This plot will work. I can feel it.
This will work.
this will work
Let’s further think of this,
Weigh what convenience both of time and means
May fit us to our shape. If this should fail,
And that our drift look through our bad performance.
’Twere better not assay’d. Therefore this project
Should have a back or second, that might hold
If this did blast in proof. Soft, let me see.
We’ll make a solemn wager on your cunnings,—
I ha’t! When in your motion you are hot and dry,
As make your bouts more violent to that end,
And that he calls for drink, I’ll have prepar’d him
A chalice for the nonce; whereon but sipping,
If he by chance escape your venom’d stuck,
Our purpose may hold there.
And when he drinks, he's dead.
One drink and he's dead.
one drink and he's dead
One woe doth tread upon another’s heel,
So fast they follow. Your sister’s drown’d, Laertes.
Gertrude, there's news.
Gertrude, listen.
gertrude
Drown’d! O, where?
What news?
What is it?
what news
There is a willow grows aslant a brook,
That shows his hoary leaves in the glassy stream.
There with fantastic garlands did she make
Of crow-flowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do dead men’s fingers call them.
There on the pendant boughs her coronet weeds
Clamb’ring to hang, an envious sliver broke,
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide,
And mermaid-like, awhile they bore her up,
Which time she chaunted snatches of old tunes,
As one incapable of her own distress,
Or like a creature native and indued
Unto that element. But long it could not be
Till that her garments, heavy with their drink,
Pull’d the poor wretch from her melodious lay
To muddy death.
Hamlet has killed Polonius, and Laertes knows. He's here, and he's angry.
Hamlet killed Polonius. Laertes is here and furious.
hamlet killed polonius laertes is here
Alas, then she is drown’d?
Oh God, what now?
What now?
what now
Drown’d, drown’d.
Don't worry. We'll use this. We'll tell Laertes that Hamlet did it, and that Hamlet is the real enemy. Laertes will help us.
Don't worry. Laertes will help us now. He wants Hamlet dead.
laertes will help us
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears. But yet
It is our trick; nature her custom holds,
Let shame say what it will. When these are gone,
The woman will be out. Adieu, my lord,
I have a speech of fire, that fain would blaze,
But that this folly douts it.
I hope so.
I hope.
i hope
Let’s follow, Gertrude;
How much I had to do to calm his rage!
Now fear I this will give it start again;
Therefore let’s follow.
Trust me, this will work.
It will work.
it will
The Reckoning
This is the scene where the trap is built and then the death that changes everything intervenes. Claudius and Laertes together are more dangerous than either separately: Laertes has the righteous fury of a bereaved son, Claudius has the cold competence of a professional villain. They design the perfect murder — a public accident, a poisoned blade, a backup plan (the poisoned cup) in case the sword fails. It is meticulous. And then Gertrude enters. Her account of Ophelia's death is one of the greatest set-piece descriptions in all of Shakespeare — the willow speech is not narrated from horror or grief but from a strange, suspended, painterly attention, as if she watched every detail and could not move. Laertes has been trying not to cry through this entire scene; Ophelia's death breaks him. The trap is set, the bait is in place, and Ophelia is dead. Everything is in position for the finale.
If this happened today…
Two men plan a murder together — one cold-blooded, one consumed by genuine grief. They go over every detail of the setup: the weapon, the backup, the timing, the witnesses. Then the phone rings. The man they both loved — differently, insufficiently — has been found in a river. The cold one pauses, then continues planning. The one with grief finally cries.