Sweeney Todd
Screenplay by
John Logan
Music and Lyrics by
Stephen Sondheim
Adapted from the Stage Musical
"Sweeney Todd: The Demon Barber of Fleet Street"
Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Based on a version of "Sweeney Todd"
by Christopher Bond
THIS MATERIAL IS THE PROPERTY OF DREAMWORKS PICTURES
1INT. DARK CHAMBER -- NIGHT
Foreboding organ music is heard...
We are looking down at a rough brick floor ... is it an
alley? ... a cobblestone street? ... a warehouse? a factory?
... we're not sure...
The flickering glow of flame is the only illumination...
The ominous organ music continues as...
From the bottom of the frame...
A dark pool of blood slowly begins to spread ... moving up
the frame, defying gravity ... the flickering flame reflected
in the blood...
Finally, the pool of blood fills the entire frame.
SUDDENLY--
A shrill factory whistle blows--
ENORMOUSLY LOUD -- blood-chilling and spine-shattering --
the whistle is a bizarre combination of sound: a factory
whistle; a hog being slaughtered; a dog snarling; a roaring
inferno; a human scream--
And a man's face appears, upside down, reflected in the pool
of blood.
He is THE GENTLEMAN, a slender dandy in pearl grey gloves and
matching waistcoat. A cold and superior aristocrat.
The camera slowly revolves -- the Gentleman becoming right
side up as--
GENTLEMAN
Attend the tale of Sweeney Todd.
His skin was pale and his eye was odd.
He shaved the faces of gentlemen
Who never thereafter were heard of again.
He trod a path that few have trod,
Did Sweeney Todd,
The Demon Barber of Fleet Street.
We cut from the blood to see the Gentleman standing before
us. Strangely impassive.
We are in an eerie dark chamber, unclear, a low ceiling, a
world of silhouettes and shadows.
Another figure emerges from the miasma of shadows, into the
hellish flickering of flame: THE BANKER. He is large, rotund
and sleek. Impressive muttonchops.
BANKER
He kept a shop in London town,
Of fancy clients and good renown,
And what if none of their souls were saved?
They went to their maker impeccably shaved...
More FIGURES begin to emerge from the shadows, joining the
Gentleman and the Banker as...
BANKER
By Sweeney,
By Sweeney Todd,
The Demon Barber of Fleet Street.
Although prosaic in appearance these figures are, in fact,
GHOSTS.
GHOSTS
Swing your razor wide, Sweeney!
Hold it to the skies!
Freely flows the blood of those
Who moralize!
As they continue, the new figures become more distinct...
THE GENERAL, a tough, leather-skinned military man in a
crimson imperial uniform...
GENERAL
His needs were few, his room was bare:
THE PRIEST, a lean, severe man with pale skin in clerical
attire...
PRIEST
A lavabo and a fancy chair...
THE TOURIST, a small, meek man with glasses in an ill-fitting
suit...
TOURIST
A mug of suds and a leather strop,
An apron, a towel, a pail and a mop...
THE STUDENT, a dashing young man from Oxford with luxurious
long hair...
STUDENT
For neatness he deserves a nod,
Does Sweeney Todd...
GENTLEMAN
The Demon Barber of Fleet Street.
The ghosts are a bit more insinuating now as they move around
this mysterious world...
GHOSTS
(variously)
Inconspicuous Sweeney was,
Quick and quiet and clean `e was.
Back of his smile, under his word,
Sweeney heard music that nobody heard.
Sweeney pondered and Sweeney planned,
Like a perfect machine 'e planned,
Sweeney was smooth, Sweeney was subtle,
Sweeney would blink and rats would scuttle...
The specters are becoming more insistent, their strange
impassivity giving way to accusation as the flickering red
flame becomes an inferno--
GHOSTS
(variously)
Sweeney was smooth, Sweeney was subtle,
Sweeney would blink and rats would scuttle.
Inconspicuous Sweeney was,
Quick and quiet and clean 'e was,
Like a perfect machine 'e was,
Was Sweeney!
Sweeney!
Sweeney!
Sweeeeeneeeeey!
On this explosive note we revolve -- away from the ghostly
Furies--
To discover--
SWEENEY TODD. Standing before us. An unclear figure,
silhouetted in blazing red flames.
We slowly push in on him as:
GHOSTS
Attend the tale of Sweeney Todd.
He served a dark and a vengeful god.
What happened then--
GENTLEMAN
Well, who's to say?
BANKER
And he wouldn't want us to give it away,
GHOSTS
(variously)
Not Sweeney,
Not Sweeney Todd,
The Demon Barber of Fleet Street.
On this note, we push in tight on the figure of Todd...
Music and the clanging of a clock tower bell are heard as we
slowly begin pulling back and are imperceptibly transported
to...
2EXT. SHIP -- THAMES -- ALMOST DAWN
ANTHONY, a young sailor of about 20, is standing at the rail
of a ship. We see the obscure shape of rigging and sails
behind him. The cries of sailors echo.
Behind him stand the GENTLEMAN and the BANKER. They are
looking past Anthony, looking at something. They move away as
Anthony peers through the fog, straining to see...
London.
Gradually, as the ship approaches, the towering spires and
mountainous rooftops of the city begin to stand out in
relief, to emerge through the fog like a tiger creeping
toward its prey.
Music continues as Anthony takes in the dreadful and
magnificent spectacle of the 19th Century metropolis. The
gnarl of rooftops. The labyrinth of streets and alleys. The
black trails of smoke reaching up like skeletal fingers from
a thousand chimneys.
London. Sulfurous London.
Anthony is awestruck.
ANTHONY
I have sailed the world, beheld its wonders
From the Dardanelles
To the mountains of Peru,
But there's no place like London--!
Then--
Sweeney Todd steps to Anthony's side, grimly interrupting--
TODD
No, there's no place like London.
ANTHONY
Mr. Todd...?
TODD
You are young.
Life has been kind to you.
You will learn.
Todd's glares forward, his haunted gaze never leaving the
approaching city.
3EXT. DOCKS -- DAWN
Music continues as Todd stands very still and takes in the
shadowy figures on the docks.
Anthony seems almost lost at his side, overwhelmed by the
scale and aura of the city.
ANTHONY
Lord ... takes your breath away,
doesn't it?
Todd shudders violently, almost snarling.
TODD
There's a hole in the world
Like a great black pit
And the vermin of the world
Inhabit it
And its morals aren't worth
What a pig could spit
And it goes by the name Of London.
At the top of the hole
Sit the privileged few
Making mock of the vermin
In the lower zoo,
Turning beauty into filth and greed.
I too
Have sailed the world, and seen its wonders
For the cruelty of men
Is as wondrous as Peru,
But there's no place like London!
Anthony looks at his friend, mystified by his grim reaction
to the city.
TODD
I beg your indulgence, Anthony ... My
mind is far from easy. In these once
familiar streets I feel shadows
everywhere...
ANTHONY
Shadows...?
TODD
Ghosts.
Anthony looking at him, questioning. Todd continues quietly:
TODD
There was a barber and his wife,
And she was beautiful,
A foolish barber and his wife,
She was his reason and his life,
And she was beautiful,
And she was virtuous.
And he was...
(a breath)
Naive.
Anthony watches, rapt, as Todd remembers...
4EXT. FLOWER MARKET -- FLASHBACK -- DAY
...Fifteen years before.
Todd walks with his beautiful wife LUCY through a crowded
flower market, a colorful explosion of blossoms. Lucy carries
their one-year-old baby, JOHANNA.
Todd is almost unrecognizable to us, content and smiling.
Chatting with his wife. Happy.
TODD (V.O.)
There was another man who saw
That she was beautiful,
A pious vulture of the law,
Who with a gesture of his claw
Removed the barber from his plate.
Then there was nothing but to wait
And she would fall,
So soft,
So young,
So lost,
And oh, so beautiful!
During the above, JUDGE TURPIN, an elderly man with a
saturnine demeanor, eyes Lucy through the luxurious bunches
of flowers. He stalks her, desiring her.
With the Judge is his nefarious creature, BEADLE BAMFORD. The
Beadle is a large man, his florid nature and pink, powdered
face never quite disguising his lethality.
The Judge whispers to the Beadle, indicating Todd. Then the
Beadle and several policemen sweep in and drag Todd off. The
Judge moves in on Lucy like a predator.
And we return to...
5
EXT. DOCKS -- DAWN
Music continues.
ANTHONY
And the lady, sir ... did she succumb?
TODD
Oh, that was many years ago...
I doubt if anyone would know.
A quiet beat.
TODD
I owe you my life, Anthony. If you
hadn't spotted me, I would be lost on
the ocean still ... Thank you.
Todd picks up his duffel bag, preparing to go.
ANTHONY
Will I see you again?
TODD
You might find me, if you like, around
Fleet Street.
ANTHONY
Until then, my friend.
He offers his hand. Todd takes it and shakes.
Then Todd quickly turns and goes.
Anthony stands for a moment, saddened by the mysterious pall
that hangs over his friend.
6 EXT. STREET -- MORNING
Todd strides along, deep in thought. The emotions roiling
within him finally seethe out in a dark mutter:
TODD
There's a hole in the world
Like a great black pit
And it's filled with people
Who are filled with ****
And the vermin of the world
Inhabit it...
He disappears down the street as the music THUNDERS--
7 EXT. LONDON ASSAULT -- DAY
--We ZOOM ahead of Todd -- cutting through the city at
lightning pace down twisting alleys and up crowded boulevards
-- into tunnels and over bridges -- slashing through London
at breakneck speed -- the insane explosion of music sending
us hurtling to--
8 EXT. THE PIE SHOP -- DAY
Fleet Street.
We see the exterior of Mrs. Lovett's pie shop. It is tatty
and unloved by all. Yet it has a strange, ghostly presence to
it. Imposing and dead at the same time.
There is an exterior staircase leading up to a darkened
second floor room with a window overlooking the street.
The music slows and continues as we see Todd, standing in
front of the shop, considering it deeply.
The GENERAL we saw before passes, glancing at Todd. Here and
then gone.
Todd finally strides to the shop and enters...
9 INT. PIE SHOP -- DAY
Behind the dusty counter is...
MRS. LOVETT, a venal, vigorous and slatternly woman in her
40's.
She is currently busy chopping a loathsome mess of suet with
a wicked looking knife, her greasy hair hanging down over her
face.
The moment Todd enters -- and the bell at the door sounds --
her head snaps up and her eyes are on him like a bird of
prey:
MRS. LOVETT
A customer!
Todd is startled, starts to go--
MRS. LOVETT
Wait! What's yer rush?
What's yer hurry?
(She sticks the knife into
the counter)
You gave me such a--
(Wipes her hands on her
apron) )
Fright. I thought you was a ghost.
Half a minute, can'tcher?
Sit!
Sit ye down!
(An order)
Sit!(He obeys)
All I meant is that I
Haven't seen a customer for weeks.
Did you come here for a pie, sir?
(Todd nods. She flicks a
bit of dust off a pie
with a rag)
Do forgive me if me head's a little vague--
Ugh!(She plucks something off
the pie, examines it)
What is that?
But you'd think we had the plague--
(She drops it on the floor
and stamps on it)
From the way that people--
(She flicks something off
the pie with her finger)
Keep avoiding--
(Spotting it moving)
No, you don't!
(She smacks it with her
hand)
Heaven knows I try, sir!
(Lifts her hand, looks at
it)
Tsk!(She wipes it on the edge
of the counter)
But there's no one comes in even to inhale--
Tsk!(She blows the last dust
off the pie as she brings
it to him)
Right you are, sir. Would you like a drop of ale?
(Todd nods)
Mind you, I can't hardly blame them--
(Pouring a tankard of ale)
These are probably the worst pies in London.
I know why nobody cares to take them--
I should know,
I make them.
But good? No,
The worst pies in London--
Even that's polite.
The worst pies in London--
If you doubt it, take a bite.
(He does. It's horrible)
Is that just disgusting?
You have to concede it.
It's nothing but crusting--
Here, drink this, you'll need it--
(She gives him the ale)
The worst pies in London.
During the following, she slams lumps of dough on the counter
and rolls them out, grunting frequently as she goes:
MRS. LOVETT
And no wonder with the price of meat
What it is--
(Grunt)
When you get it.
(Grunt)
Never
(Grunt)
Thought I'd live to see the day
Men'd think it was a treat
Finding poor
(Grunt)
Animals
(Grunt)
Wot are dying in the street.
Mrs. Mooney has a pie shop,
Does a business, but I noticed something weird--
Lately all her neighbors' cats have disappeared.
(Shrugs)
Have to hand it to her--
Wot I calls
Enterprise,
Popping ******* into pies.
Wouldn't do in my shop--
Just the thought of it's enough to make you sick.
And I'm telling you them pussy cats is quick.
(Leans on counter,
exhausted)
No denying times is hard, sir -- Even harder than
The worst pies in London.
Only lard and nothing more--
(As Todd gamely tries
another mouthful)
Is that just revolting?
All greasy and gritty,
It looks like it's molting,
And tastes like--
Well, pity
A woman alone
With limited wind
And the worst pies in London!
(Sighs heavily)
Ah sir,
Times is hard. Times is hard.
She finishes one of the crusts with a flourish as the music
ends.
Todd, meanwhile, is gulping at his ale, trying to wash down
Mrs. Lovett's hideous creation.
MRS. LOVETT
Trust me, dearie, it's going to take
more than ale to wash that taste out.
Come with me and we'll get you a nice
tumbler of gin.
She leads him through the curtains at the back of the pie
shop and into...
10 INT. PARLOR -- DAY
... Her parlor is a wonder of seedy faux-middle class
Victoriana. Little knickknacks, dusty plants and dingy
doilies. There is a threadbare mauve sofa in front of a
comfortable fire.
A faded picture postcard of the seaside hangs on a wall.
She goes to a sideboard and pours him a huge glass of gin as:
MRS. LOVETT
Isn't this homey now? Me cheery
wallpaper was a real bargain too, it
being only partly singed when the
chapel burnt down ....
She hands him the gin. He gulps it down, washing the taste of
her pie out of his mouth.
MRS. LOVETT
There's a good boy, now you sit down
and warm your bones, you look chilled
through.
He sits before the fire:
TODD
Isn't that a room over the shop? If
times are so hard, why don't you rent
it out?
She glances up at the roof, considering the room over them.
MRS. LOVETT
Up there? Oh, no one will go near
it...
She turns to him, something a little intense and probing
about her gaze.
MRS. LOVETT
People think it's haunted.
TODD
Haunted?
She holds his gaze.
MRS. LOVETT
And who's to say they're wrong? ...
You see, years ago, something happened
up there. Something not very nice...
The flickering flame from the fire begins to cast a more
intense red glow on her face...
MRS. LOVETT
There was a barber and his wife,
And he was beautiful,
A proper artist with a knife,
But they transported him for life.
(Sighs)
And he was beautiful...
The music continues as she looks at him, again with that
rather intense gaze:
MRS. LOVETT
Barker, his name was -- Benjamin
Barker.
TODD
Transported? What was his crime?
MRS. LOVETT
(with an edge)
Foolishness.
She turns again to the fire, the red glow bathing her face as
she remembers...
11 INT. BARBER SHOP -- FLASHBACK -- DAY
Lucy is pacing, holding Baby Johanna to her closely. Lucy is
distraught, strained, tears in her eyes.
As Lucy paces we notice the room is full of dead and dying
flowers: dozens of dried bouquets tossed aside and ignored.
MRS. LOVETT (V.O.)
He had this wife, you see,
Pretty little thing,
Silly little nit
Had her chance for the moon on a string--
Poor thing. Poor thing.
Lucy moves to the window, looks out. She sees Judge Turpin
and the Beadle waiting below. The Judge holds yet another
bouquet.
MRS. LOVETT (V.O.)
There was this Judge, you see,
Wanted her like mad,
Every day he'd send her a flower,
But did she come down from her tower?
Sat up there and sobbed by the hour,
Poor fool.
Lucy moves away from the window, sobbing.
MRS. LOVETT (V.O.)
Ah, but there was worse yet to come,
Poor thing.
12 EXT. EXCLUSIVE STREET -- FLASHBACK -- EVENING
The Beadle is leading a nervous Lucy along an exclusive
street of dark stone mansions, grand but somehow menacing.
Lucy is wearing her best dress.
MRS. LOVETT (V.O.)
The Beadle calls on her, all polite,
Poor thing, poor thing.
The Judge, he tells her, is all contrite,
He blames himself for her dreadful plight
She must come straight to his house tonight!
Poor thing, poor thing.
13INT. TURPIN'S MANSION -- BALLROOM -- FLASHBACK -- NIGHT
The Beadle ushers Lucy into a ballroom. She is shocked to see
a fancy-dress ball in progress.
Masked couples swirl around the ballroom, their number
sinisterly multiplied by the distorting mirrors that frame
the room. The hanging chandeliers, draped in red cloth, cast
a disquieting incarnadine glow on the proceedings...
MRS. LOVETT (V.O.)
Of course, when she goes there,
Poor thing, poor thing,
They're having this ball all in masks.
Lucy wanders lost through the swirling dancers, they buffet
her, confusing her...
MRS. LOVETT (V.O.)
There's no one she knows there,
Poor dear, poor thing,
She wanders tormented, and drinks,
Poor thing.
The Judge has repented, she thinks,
Poor thing.
"Oh, where is Judge Turpin?" she asks.
The Beadle finds Lucy again and graciously gives her his arm,
leading her through the party. She is thankful for the
salvation he provides. He brings her to Judge Turpin.
The Judge descends on Lucy, raping her. The other guests
crowd around ravenously, enjoying the spectacle. A feverish
nightmare.
MRS. LOVETT (V.O.)
He was there, all right--
Only not so contrite!
She wasn't no match for such craft, you see,
And everyone thought it so droll.
They figured she had to be daft, you see,
So all of `em stood there and laughed, you see,
Poor soul!
Poor thing!
TODD (V.O.)
NOOOOOOOO...!
Todd's wild howl shatters the memory and tears us back to--
14 INT. PARLOR -- DAY
--Todd is bolting up from the sofa, tormented--
TODD
..... NOOOOOO!
He stands for a terrible beat.
TODD
Would no one have mercy on her?
MRS. LOVETT
So it is you -- Benjamin Barker.
TODD
Where's Lucy?! Where's my wife?!
MRS. LOVETT
She poisoned herself. Arsenic from the
apothecary on the corner. I tried to
stop her but she wouldn't listen to
me. And he's got your daughter.
TODD
He? Judge Turpin?
MRS. LOVETT
Adopted her like his own.
Todd absorbs this sickening news.
TODD
Fifteen years of sweating in a living
hell on a false charge. Fifteen years
dreaming that I might come home to
find a loving wife and child...
A beat as he stares into the fire, madness and purpose
creeping in.
MRS. LOVETT
Well, I can't say the years have been
particularly kind to you, Mr. Barker,
but you still--
TODD
No, not Barker. That man is dead. It's
Todd now. Sweeney Todd ... And he will
have his revenge.
He continues with a chilling and quiet resolve as he stares
with unblinking eyes into the fire:
TODD
Judge Turpin and the Beadle will pay
for what they did.
A beat. He finally turns to her.
TODD
First I must have my shop back.
15EXT. PIE SHOP -- DAY
They emerge from the pie shop. She begins to scale the
exterior staircase to the darkened second floor room. He
hesitates.
MRS. LOVETT
Come along...
She continues up, he slowly follows.
16 INT. BARBER SHOP -- DAY
A macabre shroud of dust and spider's webs. Furniture covered
in sheets. A broken mirror on one wall.
We hear footsteps approaching and then Mrs. Lovett enters.
The door creaks like a living thing.
MRS. LOVETT
Not to worry, a touch of oil will put
that right.
(she turns back to Todd)
... Nothing to be afraid of, love,
come in.
She moves into the room. But Todd hesitates at the door,
looking into the room.
For him this is a truly haunted place.
Meanwhile, she kneels and pries loose a floorboard.
Underneath there is a hidden area. Within that, something
covered with a velvet cloth. She removes it and carefully
unwraps it. Her touch is particularly gentle and respectful.
We discover it is a fine leather case. She looks at it for a
beat. Then turns to him, dusting it off.
TODD
I don't believe it...
He finally steps into the room, drawn toward the case.
MRS. LOVETT
When they came for the girl, I hid
'em. I thought, who knows? Maybe the
silly blighter'll be back again.
Cracked in the head, wasn't I?
Haunting music begins as she opens the case...
And we see it contains a beautiful set of razors.
He stands for a long moment, gazing down at his beloved
razors.
MRS. LOVETT
Those handles is chased silver, ain't
they?
TODD
Silver, yes...
These are my friends,
See how they glisten.
(He picks up a small
razor)
See this one shine,
How he smiles in the light.
My friend, my faithful friend.
(Holding it to his ear,
feeling the edge with his
thumb) )
Speak to me friend,
Whisper, I'll listen.
(Listening)
I know, I know--
You've been locked out of sight
All these years--
Like me, my friend.
Well, I've come home
To find you waiting.
Home,
And we're together,
And we'll do wonders,
Won't we?
Mrs. Lovett leans over him, in her own kind of trance as
well. They now sing simultaneously:
TODD
(Picking out a larger
razor)
You there, my friend,
Come, let me hold you.
Now, with a sigh
You grow warm
In my hand,
My friend,
My clever friend.
(Putting it back)
Rest now, my friends.
Soon I'll unfold you.
Soon you'll know splendors
You never have dreamed
All your days--
MRS. LOVETT
I'm your friend too, Mr. Todd.
If you only knew, Mr. Todd--
Ooh, Mr. Todd,
You're warm
In my hand.
You've come home.
Always had a fondness for you,
I did.
TODD
--My lucky friends.
Till now your shine
Was merely silver.
Friends,
You shall drip rubies,
You'll soon drip precious
Rubies...
MRS. LOVETT
Never you fear, Mr. Todd,
You can move in here, Mr. Todd.
Splendors you never have dreamed
All your days
Will be yours.
I'm your friend.
And you're mine.
Don't they shine beautiful?
Silver's good enough for me,
Mr. T...
The music continues quietly as Todd stares at one of his
razors.
TODD
Leave me now...
She goes. Todd finally picks up his biggest razor and slowly
opens it, looks at it.
TODD
At last my arm is complete again.
And he remains standing. Exalted.
Then--
In the shattered mirror on the wall he suddenly sees--
The distorted reflections of the Gentleman, the Banker, and
the General, looking at him--
GHOSTS
Lift your razor high, Sweeney!
Hear it singing, "Yes!"
Sink it in the rosy skin
Of righteousness!
Todd turns to them...
GHOSTS
(variously)
His voice was soft, his manner mild.
He seldom laughed but he often smiled,
He'd seen how civilized men behave.
He never forgot and he never forgave,
Not Sweeney,
Not Sweeney Todd,
The Demon Barber of Fleet Street.
Todd pulls a sheet off Baby Johanna's cradle. A cloud of dust
rises.
The ghosts disappear in the cloud of dust and Todd stands
alone, staring at the cradle, holding his razor.
17 EXT. EXCLUSIVE STREET -- DAY
Anthony, now out of his sailor's uniform, is walking along
the sidewalk near the Judge's mansion, absorbed in a copy of
Baedeker's London.
He stops, lost, trying to get his bearings, studying his map.
Then an unusual sound emerges through the normal cosmopolitan
bustle. It is the sound of a woman humming. He looks up to
see...
JOHANNA, a 16-year-old girl with golden hair, beautiful and
hauntingly sad. She sits at her window above, behind bars,
humming to herself as she does needlepoint.
Anthony watches her, absolutely mesmerized.
Johanna notices a Bird Seller passing. He carries a long,
wooden pole with little bird cages attached.
JOHANNA
Green finch and linnet bird,
Nightingale, blackbird,
How is it you sing?
How can you jubilate,
Sitting in cages,
Never taking wing?
Outside the sky waits,
Beckoning, beckoning,
Just beyond the bars.
How can you remain,
Staring at the rain,
Maddened by the stars?
How is it you sing
Anything?
How is it you sing?
Then ... she sees Anthony on the sidewalk below.
Music continues. There is a long look between them. Her
intense, melancholy expression moves him.
She continues singing, the strange anguish and yearning of
her words seem intended only for him...
JOHANNA
My cage has many rooms,
Damask and dark.
Nothing there sings,
Not even my lark.
Larks never will, you know,
When they're captive.
Teach me to be more adaptive.
Green finch and linnet bird,
Nightingale, blackbird,
Teach me how to sing.
If I cannot fly,
Let me sing.
Then she turns away quickly, alarmed, when someone enters her
room. She looks terrified.
Below, Anthony is concerned for her. He sees her move from
the window.
He is craning to see better when a BEGGAR WOMAN -- a filthy
tendril of a woman, her foul clothes of rags like a second
skin -- suddenly thrusts her arm up from the curb, imploring:
BEGGAR WOMAN
Alms! ... Alms! ...
For a miserable woman
On a miserable chilly morning...
(Anthony drops a coin into
her hand)
Thank yer, sir, thank yer.
ANTHONY
Ma'am, could tell me whose house this
is?
BEGGAR WOMAN
That's the great Judge Turpin's house
that is.
ANTHONY
And the young lady who resides there?
BEGGAR WOMAN
That's Johanna, his pretty little
ward. Keeps her snug, he does, all
locked up ... So don't you go
trespassing there or it's a good
whipping for you -- or any other young
man with mischief on his mind...
She suddenly leers into a lewd and demented assault:
BEGGAR WOMAN
'Ow would you like a little muff, dear,
A little jig jig
A little bounce around the bush?
Wouldn't you like to push me parsley?
It looks to me, dear,
Like you got plenty there to push.
She grabs at Anthony's crotch -- Anthony starts back -- she
turns away, instantly plaintive again, and appeals to other
pedestrians as she goes:
BEGGAR WOMAN
Alms! ... Alms!...
For a desperate woman...
Anthony considers the mansion. He sees a figure standing at a
window, unclear behind the shutters, watching him.
He sits on a bench outside the mansion and sings quietly:
ANTHONY
I feel you,
Johanna,
I feel you.
I was half convinced I'd waken,
Satisfied enough to dream you.
Happily I was mistaken, Johanna!
I'll steal you,
Johanna,
I'll steal you...
Then the figure disappears from the window above. Anthony
stands, waits. Then the doors to the mansion swing open...
Anthony is expecting Johanna...
But it is Judge Turpin, the predator we met in Todd's
flashback, who steps into the doorway.
He seems a different man now. Paternal and warm, he smiles
and beckons to Anthony.
Anthony hesitates, unsure. The Judge beckons again. Again the
warm smile.
JUDGE
Come in, lad. Come in...
Anthony goes into the mansion.
18 INT. TURPIN'S MANSION -- LIBRARY -- DAY
Judge Turpin leads Anthony into the dark library, filled with
books. Anthony is looking around for Johanna. He is wary,
this is all very strange.
JUDGE
... you were looking for Hyde Park,
you say?
ANTHONY
Yes, it's terribly large on the map
but I keep getting lost...
JUDGE
Sit down, lad, sit down.
Anthony sits, uncomfortable, as the Judge pours two snifters
of brandy.
ANTHONY
It's embarrassing for a sailor to lose
his bearings, but, well, there you
are.
Then...
The large form of the Beadle appears from the shadows. No
introduction is made. Anthony glances to him, uneasy.
JUDGE
A sailor, eh?
ANTHONY
Yes, sir. The "Bountiful" out of
Plymouth.
JUDGE
(handing him a snifter of
brandy)
A sailor must know the ways of the
world, yes? ... Must be practiced in
the ways of the world ... Would you
say you are practiced, boy?
ANTHONY
Sir?
The Judge moves to consider some beautiful volumes, bound in
the richest leather. He runs a finger along the spines of the
books; his large library of pornography.
JUDGE
Oh, yes ... such practices ... the
geishas of Japan ... the concubines of
Siam .. the catamites of Greece ...
the harlots of India ... I have them
all here ... Drawings of them ....
(MORE)
JUDGE (cont'd)
(he turns again to
Anthony)
... All the vile things you've done
with your whores.
Anthony is speechless. The Judge just smiles at him amiably.
JUDGE
Would you like to see?
ANTHONY
(standing)
I think there's been some mistake--
JUDGE
Oh, I think not. You gandered at my
ward, Johanna ... You gandered at her
... Yes, sir, you gandered.
The Beadle moves behind Anthony.
ANTHONY
(glancing nervously back
at the Beadle)
I meant no harm--
JUDGE
Your meaning is immaterial. Mark me:
if I see your face again on this
street, you'll rue the day your *****
of a mother gave you birth.
Anthony is stunned. The Judge proceeds with shocking venom:
JUDGE
My Johanna isn't one of your bloody
cock-chafers! My Johanna is not to be
gandered at!
He nods to the Beadle -- the Beadle instantly grabs Anthony
and brutally hauls him out.
19 EXT. MANSION -- ALLEY -- DAY
The Beadle drags Anthony through a rear door of the mansion
and flings him into a filthy alley.
Anthony pulls himself up. Stunned.
BEADLE
Hyde Park is that way, young sir ... A
right and then a left, then straight
on, you see? ...
(MORE)
BEADLE (cont'd)
(points)
... Over there.
Flustered, Anthony turns to look--
The instant Anthony's back is turned, the Beadle swings his
lethal billyclub and SLAMS him from behind brutally, in the
kidneys -- Anthony's knees buckle--
The Beadle then SLAMS Anthony across the back of the neck --
Anthony falls hard--
The Beadle then uses one dainty foot to roll Anthony over--
Anthony gazes up at him, panting for breath, in agony--
BEADLE
You heard Judge Turpin, little man.
He presses the end of his billyclub into Anthony's forehead,
grinding it hard--
BEADLE
Next time it'll be your pretty brains
all over the pavement.
With that, the Beadle returns to the mansion and slams the
door.
Anthony slowly pulls himself to his knees, doubled over,
coughing up blood.
A long beat as Anthony gets his breath, wiping blood from his
face.
Still doubled over, he sings with burning intensity:
ANTHONY
I'll steal you,
Johanna,
I'll steal you!
Do they think that walls can hide you?
Even now I'm at your window.
I am in the dark beside you,
Buried sweetly in your yellow hair.
He pulls himself up, every movement is agony. He makes his
way down the alley, leaning on the wall for support.
20
EXT. EXCLUSIVE STREET -- DAY
20
The music swells as Anthony emerges from the dark alley into
the bright sunlight. He makes his way along the sidewalk:
ANTHONY
I feel you, Johanna,
And one day I'll steal you.
Till I'm with you then,
I'm with you there,
Sweetly buried in your yellow hair...
The soaring music continues as Anthony stops at a park across
the street from Turpin's mansion, bravely gazing up at
Johanna's window.
21
EXT. STREET LEADING TO ST. DUNSTAN'S MARKETPLACE -- DAY
21
Sweeney Todd and Mrs. Lovett are moving quickly, she
struggles to keep up with his long, loping stride. He carries
his razor case, she carries a shopping basket.
TODD
He's here every Thursday?
MRS. LOVETT
Like clockwork. Eyetalian. All the
rage he is.
TODD
Not for long.
22
EXT. ST. DUNSTAN'S MARKETPLACE DAY
22
They round a corner and move into the bustling marketplace. A
steady mercantile hum as the cries of merchants and wandering
coster-mongers fill the air.
Todd and Mrs. Lovett move toward a hand-drawn caravan
dominating one corner of the marketplace. It is painted like
a Sicilian donkey cart and on its side a sign declaims:
"Signor Adolfo Pirelli -- Haircutter to His Royal Majesty the
King of Naples."
MRS. LOVETT
Oh Mr. T., do you really think you can
do it?
TODD
By tomorrow they'll all be flocking to
me like sheep to be shorn--
He stops abruptly when he sees--
The Beadle casually strolling through the crowd. Todd is
transfixed, his ancient enemy so close.
MRS. LOVETT
(seeing the Beadle,
pulling his arm)
Come along now, dear, he might
recognize you--
TODD
I will do what I have vowed to do ...
(he continues to glare at
the Beadle, his voice
low)
... Come closer, my friend, closer...
Then, TOBY -- a 13-year-old boy, a bit small for his age,
malnourished and consumptively pale -- emerges from Pirelli's
caravan. He bangs on a tin drum, drawing customers.
A crowd begins to gather at the caravan as:
TOBY
Ladies and gentlemen!
May I have your attention, perlease?
Do you wake every morning in shame and despair
To discover your pillow is covered with hair
Wot ought not to be there?
Well, ladies and gentlemen,
From now on you can waken at ease.
You need never again have a worry or care,
I will show you a miracle marvelous rare,
Gentlemen, you are about to see something wot rose
from the dead!
(A woman gasps, he smiles
and wiggles a finger no)
On the top of my head.
He dramatically doffs his cap, revealing mountains of hair
which cascade to his shoulder.
TOBY
'Twas Pirelli's
Miracle Elixir,
That's wot did the trick, sir,
True, sir, true.
Was it quick, sir?
Did it in a tick, sir?
Just like an elixir
Ought to do!
(To a Bald Man)
How about a bottle, mister?
Only costs a penny, guaranteed.
(Pours a drop on the bald
man's head)
Does Pirelli's
Stimulate the growth, sir?
You can have my oath, sir,
'Tis unique.
(Applies the bald man's
hand to the wet spot)
Rub a minute,
Stimulatin', i'n it?
Soon you'll have to thin it
Once a week!
More customers are stepping up and buying bottles.
Todd opens a bottle of the Elixir, takes a whiff. Disgusting.
He smiles to Mrs. Lovett, his plan falling into place.
TODD
(loudly, to Mrs. Lovett)
Pardon me, ma'am, what's that awful stench?
MRS. LOVETT
Are we standing near an open trench?
TODD
(to a woman in the crowd)
Must be standing near an open trench!
The crowd responds to Todd and Mrs. Lovett, looking askance
and sniffing at the bottles. Toby nervously tries to distract
them:
TOBY
Buy Pirelli's Miracle Elixir:
Anything wot's slick, sir,
Soon sprouts curls.
Try Pirelli's!
When they see how thick, sir,
You can have your pick, sir,
Of the girls!
Want to buy a bottle, missus?
TODD
(sniffing bottle of
Elixir)
What is this?
MRS. LOVETT
(sniffing another
customer's bottle)
What is this?
TODD
Smells like piss.
MRS. LOVETT
Smells like -- phew!
TODD
This is piss. Piss with ink.
The music speeds up -- Toby is getting desperate:
TOBY
Let Pirelli's
Activate your roots, sir--
TODD
Keep it off your boots, sir--
Eats right through.
TOBY
Yes, get Pirelli's!
Use a bottle of it!
Ladies seem to love it--
MRS. LOVETT
Flies do too!
Suddenly, the curtains on the caravan are dramatically flung
wide to reveal--
PIRELLI, a flamboyant Italian with a velvet suit, thick wavy
hair and a dazzling smile. Pirelli poses splendidly for a
moment. Then:
PIRELLI
I am Adolfo Pirelli,
Da king of da barbers, da barber of kings,
E buon giorno, good day,
I blow you a kiss!
(he does so)
And I, da so-famous Pirelli,
I wish-a to know-a
Who has-a da nerve-a to say
My elixir is piss!
Who says this?!
TODD
I do.
(Todd moves forward
boldly.)
I am Mr. Sweeney Todd of Fleet Street.
I have opened a bottle of Pirelli's
elixir, and I say to you that it is
nothing but an arrant fraud, concocted
from piss and ink.
The crowd gasps. Pirelli is about to respond, outraged, but
Todd continues--
TODD
And furthermore -- "signor" -- I have
serviced no kings, yet I wager I can
shave a cheek with ten times more
dexterity that any street mountebank.
He snaps open his razor case and holds it up for the crowd to
see, turning to display the wondrous razors:
TODD
You see these razors?
MRS. LOVETT
(to the crowd)
The finest in England.
TODD
(glaring at Pirelli)
I lay them against five pounds you are
no match for me. You hear me, sir?
Either accept my challenge or reveal
yourself as a sham.
MRS. LOVETT
Bravo, bravo.
The crowd is enjoying this now, whispering eagerly about the
bold challenge. In the crowd, we see a quick flash of the
meek TOURIST we saw earlier.
Pirelli studies the razors for a moment and then turns to the
crowd with a confident smile:
PIRELLI
You hear zis foolish man? Watch and
see how he will regret his folly!
Music begins as Todd moves into action, preparing the
challenge:
TODD
Friends, who's for a free shave?
Two men step forward. A plain wooden chair is brought for
Todd as he moves into the boldest part of this plan...
He carefully turns to ... The Beadle.
TODD
Will Beadle Bamford be the judge?
Mrs. Lovett's eyes shoot to Todd, alarmed--
The Beadle moves toward Todd ....
Todd smiles amiably, but quivers internally at being so
dreadfully close to his prey...
Mrs. Lovett watches, concerned. Will the Beadle recognize the
features of Benjamin Barker...?
Apparently not.
The Beadle stops right before Todd and smiles.
BEADLE
Glad, as always, to oblige my friends
and neighbors
(to the crowd)
... Let the challenge commence!
One man sits in Todd's plain chair as the other moves to an
elaborate chair on Pirelli's caravan. Pirelli shakes out a
fancy bib with a flourish and covers his man. Toby prepares
Pirelli's ornate shaving supplies as Todd takes a plain towel
and tucks it around his man's neck.
BEADLE
Ready?
PIRELLI
Ready!
TODD
Ready.
BEADLE
The fastest, smoothest shave is the
winner.
He blows his shrill whistle. Agitated music begins.
Pirelli strops his razor quickly, Todd in a leisurely manner.
Pirelli keeps glancing at Todd in various paranoid ways
throughout, frightened of Todd's progress. He starts whipping
up lather rapidly:
PIRELLI
(while mixing furiously)
Now, signorini, signori,
We mix-a da lather
But first-a you gather
Around, signorini, signori,
You looking a man
Who have had-a da glory
To shave-a da Pope.
Mr. Sweeney-so-smart--
(Splatters the customer
with shaving cream)
Oh, I beg-a you pardon -- 'll
Call me a lie, was-a only a cardinal--
Nope!
It was-a da Pope!
Unexpectedly, Todd still shows no signs of starting to shave
his man. He merely watches Pirelli's performance. Mrs. Lovett
looks at him nervously, wishing he would get on with it.
Pirelli, now feeling he can take his time, sings lyrically as
he lathers and shaves with rhythmic scrapes and elaborate
gestures of wiping the razor.
PIRELLI
To shave-a da face,
To cut-a da hair,
Require da grace
Require da flair,
For if-a you slip,
You nick da skin,
You clip-a da chin,
You rip-a da lip a bit
Beyond-a repair!
Todd strops his razor slowly and deliberately -- shoop,
shoop, shoop -- disconcerting Pirelli and drawing the crowd's
attention.
PIRELLI
To shave-a da face
Or even a part
Widout it-a smart
Require da heart.
Not just-a da flash,
It take-a panache,
It take-a da passion
For da art.
Todd is unconcerned. He just continues to slowly strop his
razor -- shoop, shoop, shoop -- which flusters Pirelli.
PIRELLI
To shave-a da face,
To trim-a da beard,
To make-a da bristle
Clean like a whistle,
Dis is from early infancy
Da talent give to me
By God!
(Crosses himself with his
razor)
It take-a da skill,
It take-a da brains,
It take-a da will
To take-a da pains,
It take-a da pace,
It take-a da graaaaaace...
While Pirelli holds this note elaborately, Todd, with a few
deft strokes, quickly lathers his man's face, shaves him and
signals the Beadle to examine him.
BEADLE
(blowing whistle)
The winner is Todd.
Pirelli deflates.
MRS. LOVETT
(feeling the customer's
cheek)
Smooth as a baby's ****! -- (to Todd) -
- Well done, dear!
The crowd laughs and applauds Todd as Pirelli goes to him:
PIRELLI
(a profound bow)
Sir, I bow to a skill far defter than
my own.
TODD
The five pounds.
Pirelli produces a distinctive chatelaine purse and removes a
five pound note, gives it to Todd:
PIRELLI
Here, sir. And may the good Lord smile
on you --
(a quick stab of a smile)
-- Until we meet again.
He bows his head quickly and then moves away, beckoning to
Toby:
PIRELLI
Come, boy.
TOBY
We're pulling out, sir?
Without warning, Pirelli SLAPS Toby viciously across the face
--Toby almost falls--
PIRELLI
(snarling)
We're pulling out, yes. Quickly.
Mrs. Lovett has observed all of this as she moves away with
Todd, who is making his way inexorably toward the Beadle.
Some eager customers surround Todd, among them is the
TOURIST.
EAGER CUSTOMER
Mr. Todd, sir, do you have an
establishment of your own?
Mrs. Lovett is on him like a hawk:
MRS. LOVETT
He certainly does. Sweeney Todd's
Tonsorial Parlor -- above my meatpie
emporium in Fleet Street.
Todd has led them right to the Beadle:
TODD
I thank you for your honest
adjudication, sir. You are a paragon
of integrity.
BEADLE
Well, I try to do my best for my
friends and neighbors ... Your
establishment is in Fleet Street, you
say?
TODD
Yes, sir.
BEADLE
Then, Mr. Todd, you will surely see me
there before the week is out.
TODD
You will be welcome, Beadle Bamford,
and I guarantee to give you, without a
penny's charge, the closest shave you
will ever know.
Todd and Mrs. Lovett are walking away from the marketplace.
She chatters happily:
MRS. LOVETT
... Like to give me a coronary right
there! What if he had recognized you!
Lord, my heart was beating a mile a
minute, just like a little finch it
was. Aren't those lovely birds now?
Always so twittery and happy...
She continues chattering...
But Todd is not listening.
His eyes dart to the side to see--
The Gentleman is walking next to him, whispering, subtle,
insinuating...
GENTLEMAN
Sweeney pondered and Sweeney planned.
Like a perfect machine 'e planned...
The Banker moves in next to the Gentleman...
BANKER
Barbing the hook, baiting the trap,
Setting it out for the Beadle to snap...
The General joins them...
GENERAL
Slyly courted 'im, Sweeney did,
Set a sort of a scene 'e did...
GENTLEMAN, BANKER AND
GENERAL
Laying the trail, showing the traces,
Letting it lead to higher places...
Sweeney...
The last word echoes ... And then they are gone ...
disappearing from Todd's mind ... swallowed up by the crowd
of pedestrians...
Todd looks to Mrs. Lovett and she continues chattering:
MRS. LOVETT
... Suppose it's just me gentle heart,
but I do hate to see a boy treated
like that, no better than your Aunt
Doreen's dog -- Mr. Todd, are you
listening to me?
TODD
Of course.
But then his eyes dart again -- looking for the specters. He
only sees strangers.
24
INT. JOHANNA'S ROOM -- MORNING
24
Johanna sits, framed by the window, quietly cutting out
silhouettes. Aimless Victorian handicrafts.
But we see there are tears in her eyes.
She steals a glance across the room. We see a small hole in
the wallpaper. Through this hole, the Judge is watching her
from another chamber. Lascivious. Perverse.
Johanna finally stands and casually glances out from between
the shutters at her window. She sees...
Anthony, standing at the park across the street, keeping up
his lonely vigil, gazing up at the mansion.
She watches him for a moment and then makes her decision. She
moves to a table and opens a drawer. Reaches in and removes
something...
25
EXT. TURPIN'S MANSION -- MORNING
25
Anthony sees a figure at the shutters -- then hears a
clinking sound. Metal on pavement.
He quickly moves across the street and looks...
A key, dropped from above.
He looks up to the shutters and smiles, then snatches up the
key and hurries off.
26
INT. JOHANNA'S ROOM -- MORNING
26
Peering through the shutters, Johanna watches him go.
We linger on her face and then dissolve to another face, also
watching...
... Her father.
Todd's face, staring out the window, intense and brooding.
Seething with discontent.
Mrs. Lovett chatters as she moves around behind him:
MRS. LOVETT
... It's not much of a chair, I'll
grant, but it'll serve. Was me poor
Albert's chair. Sat in it all day long
he did, after his leg give out from
the gout, poor dear.
He moves from the window and paces like a caged tiger in the
small barber shop.
Though it has been cleaned, it is still a spartan room. A
tatty parlor chair. A large chest. A few counters with meager
bottles of tonsorial supplies. And his gleaming razors,
always waiting.
TODD
Why doesn't the Beadle come? "Before
the week is out," that's what he said.
MRS. LOVETT
And who says the week's out? It's only
Tuesday.
Todd moves away from her, she pursues, trying to calm and
soothe him...
MRS. LOVETT
Easy now.
Hush, love, hush.
Don't distress yourself,
What's your rush?
Keep your thoughts
Nice and lush.
Wait.
(he continues to pace)
Hush, love, hush.
Think it through.
Once it bubbles,
Then what's to do?
Watch it close.
Let it brew.
Wait.
He does not respond. She dares to move closer...
MRS. LOVETT
I've been thinking, flowers--
Maybe daisies--
To brighten up the room.
Don't you think some flowers,
Pretty daisies,
Might relieve the gloom?
Ah, wait, love, wait.
Todd sourly tosses himself into the chair, he picks up his
largest razor and looks at it intensely:
TODD
(to razor)
And the Judge? When will we get to
him?
MRS. LOVETT
Can't you think of nothing else?
Always broodin' away on yer wrongs
what happened heaven knows how many
years ago...
Don't you know,
Silly man,
Half the fun is to
Plan the plan?
All good things come to
Those who can
Wait.
Her gentle words have calmed him considerably. She moves even
closer. Risks touching him softly...
MRS. LOVETT
Gillyflowers, maybe,
`Stead of daisies...
I don't know, though...
What do you think?
Then Todd tilts the razor in his hand--
SUDDENLY -- the face of the GENTLEMAN -- a flash -- reflected
in the razor--
Then--
A bell rings from outside the shop -- the effect is electric
-- Todd bolts up, senses alert -- Mrs. Lovett spins to the
door--
Todd holds his razor open as he moves strategically toward
the door--
We hear footsteps ascending the stairs outside quickly--
Then--
Anthony enters, breathless--
ANTHONY
Mr. Todd! Thank God I've found you --
(Todd turns, closing the
razor, as Anthony sees
Mrs. Lovett)
... Oh, I'm sorry, excuse me...
MRS. LOVETT
Mrs. Lovett, sir.
ANTHONY
A pleasure, ma'am --
(continues to Todd)
-- You see, there's a girl who needs
my help -- such a sad girl, and
lonely, but beautiful too and--
TODD
Slow down, Anthony.
ANTHONY
(takes a breath)
Yes, I'm sorry ... This girl has a
guardian so tyrannical that he keeps
her locked away. But then this morning
she dropped this ...
(produces the key)
... It must be a sign that Johanna
wants me to help her -- that's her
name, Johanna -- and Turpin that of
her guardian. A judge of some sort...
Todd and Mrs. Lovett exchange a quick glance as Anthony
continues:
ANTHONY
... I've met him, Mr. Todd, and he is -
- unnatural ... Once he goes to court,
I'm going to slip into the house and
release her -- and beg her to come
away with me. Tonight.
MRS. LOVETT
Oh, this is all terribly romantic.
ANTHONY
Yes, but -- you see -- I don't know
anyone in London --
(to Todd)
-- and I need somewhere safe to bring
her till I've hired a coach to take us
to Plymouth.
He looks at Todd deeply:
ANTHONY
If I could keep her here, just for an
hour or two, I would forever be in
your debt.
Todd stares at him, his mind racing to figure out how this
new twist might aid in his plans.
It is Mrs. Lovett who smoothly replies:
MRS. LOVETT
Bring her here, dear.
ANTHONY
Thank you, ma'am ...
(to Todd)
... Mr. Todd?
A beat.
TODD
The girl may come.
ANTHONY
(taking his hand)
Thank you, my friend.
He goes.
MRS. LOVETT
Seems like the fates are favoring you
at last, Mr. T.
(Todd grunts, unhappy)
What is it, love? You'll have her back
before the day is out.
TODD
For a few hours? Before he carries her
off to the other end of England?
MRS. LOVETT
Oh, him? Let him bring her here and
then, since you're so hot for a little
-- (makes a throat-cutting
gesture)
-- that's the throat to slit, dear.
Todd moves again to his post at the window, he stares out,
deep in thought.
Meanwhile, she happily moves around the shop, straightening
things up and trying to make it all a bit more cozy:
MRS. LOVETT
Poor little Johanna. All those years
without a scrap of motherly affection.
Well, we'll soon see to that...
TODD
(alert, sees something)
What's this?
Mrs. Lovett joins him at the window. Below, they see Pirelli
approaching with Toby in tow.
MRS. LOVETT
Look at that face, he's up to
mischief.
TODD
Go -- keep the boy below with you.
She nods and scurries out. We go with her...
28
EXT. PIE SHOP -- DAY
28
... Mrs. Lovett quickly moves down the steps outside the
barber shop to greet Pirelli and Toby as they are about to
ascend.
We see a new sign on the stairs: "Sweeney Todd's Tonsorial
Parlor."
PIRELLI
Signora, is Mr. Todd at home?
MRS. LOVETT
Plying his trade upstairs, don'tcher
know ...
(she stands on the
staircase, blocking their
way, looking at Toby)
(MORE)
MRS. LOVETT (cont'd)
... Would you look at it, now! Don't
look like it's had a kind word since
half past never!
TOBY
Ma'am...?
MRS. LOVETT
(to Pirelli)
You wouldn't mind if I gave him a nice
juicy meat pie, would yer?
PIRELLI
(impatient)
Yes, yes, whatever you like.
Pirelli climbs the stairs, as she takes Toby by the hand and
leads him toward the pie shop door:
MRS. LOVETT
Come with me now. Your teeth is
strong, I hope?
They go into the pie shop.
29
INT. BARBER SHOP -- DAY
29
Todd is standing, arms folded. Waiting. Pirelli enters.
PIRELLI
Mr. Todd.
TODD
Signor Pirelli.
PIRELLI
(reverting to his natural
Irish)
Call me Danny. Daniel Higgins' the
name when it's not professional ...
I'd like me five quid back, if'n ya
don't mind.
TODD
Why?
PIRELLI
Because you entered into our little
wager on false pretenses, me friend
... And so you might remember to be
more forthright in the future, you'll
be handing over half your profits to
me, share and share alike...
Todd shakes his head, amused, and begins to turn away when
Pirelli says:
PIRELLI
... Mr. Benjamin Barker.
Todd freezes.
30
INT. PIE SHOP -- DAY
30
Mrs. Lovett hands Toby one of her grisly pies, he devours
eagerly.
MRS. LOVETT
That's my boy, tuck in.
But her attention is almost entirely on the roof above ...
the muffled voices .... the sound of shoes walking...
Her eyes keep darting up as she chatters distractedly with
Toby:
MRS. LOVETT
Like to see a man with a healthy
appetite. Reminds me of my dear
Albert, like to gorge himself to
bloatation, he did. He didn't have
your nice full head though--
TOBY
To tell the truth --
(he pulls off the wig
which covers his own
short-cropped hair)
-- it gets awful hot.
31
INT. BARBER SHOP -- DAY
31
Pirelli is expansively strolling around the shop, taking it
all in, savoring every second:
PIRELLI
... yes, this will do very nicely ...
You don't remember me. Well, why
should you? I was just a down and out
Irish pug you hired for a couple of
weeks -- sweeping up hair and the like
--
(He picks up one of Todd's
razors)
But I remember these -- And how could
I ever forget you, Benjamin Barker?
(MORE)
PIRELLI (cont'd)
I would sit right there and watch you,
and dream of the day I could be a
proper barber meself ... You might say
you were an inspiration to me.
Todd glares at him.
PIRELLI
So, do we have a deal, or should I run
down the street for me pal Beadle
Bamford? What do you say to that now,
Mr. Sweeney T--?
Without a word of warning--
Like a thunderbolt--
Todd is on him.
He leaps across the shop and brutally grabs Pirelli by the
neck -- violently strangling him -- Pirelli is surprisingly
strong and puts up a desperate struggle -- they thump
awkwardly around the shop--
32
INT. PIE SHOP -- DAY
32
Mrs. Lovett hears the muffled sounds of the struggle above.
She nervously begins to shift and clang some things around as
she cleans the counter, trying to cover the sound,
chattering:
MRS. LOVETT
My my my, always work to be done. ****-
and-span, that's my motto. Cleanliness
is next to whatever-it-is. So, ah, how
did you end up with that dreadful
Eyetalian?
TOBY
(still eating happily)
Got me from the workhouse 'e did. Been
there since I was born. Got no mum,
got nobody. A wasted soul, that's what
I am --
(a sudden, urgent thought)
-- Oh God! He's got an appointment
with his tailor--
He bolts up, clearly terrified of Pirelli--
TOBY
If he's late, he'll blame me--!
MRS. LOVETT
Wait--!
But he is gone--
33
EXT. PIE SHOP -- DAY
33
Toby vaults up the stairs to the barber shop--
34
INT. BARBER SHOP -- DAY
34
Todd is standing calmly when Toby bursts in--
TOBY
Signor, you got an appointment...
He stops when he realizes Pirelli is nowhere to be seen.
TODD
Signor Pirelli has been called away.
You better run after him.
TOBY
Oh no, sir. I better wait for him here
or it'll be a lashing. He's a great
one for the lashings.
He moves past Todd to the large chest and sits--
Only now do we see one of Pirelli's hands protruding from the
chest, dangling limply.
Toby doesn't notice it. Todd at this moment, however, does.
He smiles nervously.
TODD
So, hmmm, Mrs. Lovett gave you a pie,
did she?
TOBY
She's a real lady. Model of all true
Christian virtue.
Then Pirelli's hand ... twitches.
Toby doesn't notice. Todd does, stares at it anxiously.
TODD
That she is ... that she is. But if I
know a growing boy, there's still room
for some more pie, eh?
TOBY
I'd say, sir -- (pats his stomach) --
An aching void.
Pirelli's hand begins to twitch more desperately now,
perilously close to where Toby's hand rests...
TODD
Then why don't you run downstairs and
wait for your master there? There'll
be another pie in it for you, I'm
sure...
Pirelli's hand is twitching closer to Toby's now...
TOBY
No, I should stay here.
TODD
(a sudden inspiration)
I know -- why don't you tell Mrs.
Lovett I said to give you a nice big
tot of gin?
TOBY
(leaps up)
Gin, sir?! Thanking you kindly, sir!
You're a Christian indeed!
He races out happily and clatters down the stairs.
A beat as Todd gets his breath.
Then he goes to the trunk, leans down to open it, the camera
follows him down and up again, when he rises--
The GENTLEMAN is standing right behind him!
Todd turns.
The Gentleman's face is completely impassive. He is not
spectral. He does not disappear. He just stands there.
Todd looks at him.
Then the Gentleman's eyes slowly move to a counter...
Todd follows his look to see...
His largest razor.
A long beat as Todd looks at the razor.
The point of no return.
Todd strides to the razor and he snaps it open with a sharp,
quick flick of his wrist--
Then he moves to the chest and--
With great ferocity he hauls Pirelli up--
Pirelli's eyes snap open--
And Todd SLASHES his throat--
The piercing factory whistle SCREAMS--
Todd remains standing over Pirelli as the painful whistle
echoes into music...
We see that the Gentleman is still standing there, watching
Todd...
GENTLEMAN
His hands were quick, his fingers strong.
It stung a little but not for long.
The dashing Oxford Student is now leaning against a wall,
arms folded, looking at Todd...
STUDENT
And those who thought him a simple clod
Were soon reconsidering under the sod...
The Tourist stands by the window...
TOURIST
Consigned there with a friendly prod
From Sweeney Todd,
The Demon Barber of Fleet Street.
GENTLEMAN, STUDENT AND
TOURIST
See your razor gleam, Sweeney,
Feel how well it fits
As it floats across the throats
Of hypocrites.
The last word echoes to silence as we cut to:
A high-angle shot of the room.
The ghosts are gone.
Todd stands alone over Pirelli's body. Blood dripping from
his razor. Drip. Drip. Drip.
Judge Turpin lurks over the proceedings.
He sits, the personification of power, very high at the
bench. He glares down a wasted wretch of a BOY. The Beadle
stands next to the boy.
JUDGE
This is the second time, sir, that you
have been brought before this bench.
Though it is my earnest wish to ever
temper justice with mercy, your
persistent dedication to a life of
crime is an abomination before God and
man.
He places a black cloth on his head:
JUDGE
I therefore sentence you to hang by
the neck until you are dead and may
the Lord have mercy on your soul.
The wretched boy collapses in sobs. The Beadle is pleased
with the verdict.
The Judge removes the black cloth and tosses it casually on
his desk:
JUDGE
This court is adjourned.
36
EXT. -- STREET -- OUTSIDE THE OLD BAILEY -- DAY
36
The Judge and the Beadle walk away from the impressive
edifices of the Old Bailey.
BEADLE
Thank you, your Honor. Just the
sentence we wanted.
JUDGE
Was he guilty?
BEADLE
Well, if he didn't do it, he's surely
done something to warrant a hanging.
JUDGE
(quietly)
What man has not?
BEADLE
Sir?
JUDGE
No matter -- Come, walk home with me.
I have news for you, my friend. In
order to shield her from the evils of
this world, I have decided to marry my
dear Johanna.
BEADLE
Ah, sir, happy news indeed.
JUDGE
Strange, though, when I offered myself
to her she showed a certain ...
reluctance.
The Beadle proceeds with exquisite and obsequious delicacy:
BEADLE
Excuse me, my lord,
May I request, my lord,
Permission, my lord, to speak?
Forgive me if I suggest, my lord,
You're looking less than your best, my lord,
There's powder upon your vest, my lord.
And stubble upon your cheek,
And ladies, my lord, are weak.
As they round a corner, the Judge feels his chin:
JUDGE
Stubble, you say? Perhaps at times I
am a little overhasty with my morning
ablutions...
BEADLE
(cheerily)
Fret not though, my lord,
I know a place, my lord,
A barber, my lord, of skill.
Thus armed with a shaven face, my lord,
Some eau de cologne to brace my lord
And musk to enhance the chase, my lord,
You'll dazzle the girl until
She bows to your every will.
JUDGE
A barber, eh? Take me to him.
BEADLE
I am honored, my lord. His name is
Todd ... Sweeney Todd. And he is the
very last word in barberin'.
They head off.
37
INT. PIE SHOP -- DAY
37
Mrs. Lovett is pouring Toby a glass of gin, not his first.
He gulps down the gin between ravenous bites of another meat
pie as she nervously glances up to the ceiling, wondering
what the hell is going on up there.
MRS. LOVETT
You ought to slow down a bit, lad.
It'll go to your head.
TOBY
Weaned on the stuff, I was. They used
to give it to us at the workhouse,
so's we could sleep. Not that you'd
ever want to sleep in that place,
ma'am. Not with the things wot happen
in the dark.
MRS. LOVETT
That's nice, dear ... I think I'll
just pop in on Mr. Todd for a tick.
You'll be all right here?
TOBY
Leave the bottle.
She goes.
38
INT. BARBER SHOP -- DAY
38
Mrs. Lovett enters. Todd is methodically cleaning his razor.
MRS. LOVETT
Gawd, the lad is drinking me out of
house and home, how long until Pirelli
gets back?
TODD
He won't be back.
MRS. LOVETT
(instantly suspicious)
Mr. T., you didn't!
He casually points the razor toward the chest.
She lifts the lid and sees Pirelli's body at the bottom of
the chest.
MRS. LOVETT
(spinning on Todd)
You're barking mad! Killing a man wot
done you no harm!
TODD
He recognized me from the old days. He
tried to blackmail me -- half my
earnings.
MRS. LOVETT
(relieved)
Oh well, that's a different matter!
For a moment there I thought you'd
lost your marbles!
She looks into the chest again.
MRS. LOVETT
Ooooh! All that blood! Enough to make
you come all over gooseflesh, ain't
it? Poor bugger. Oh, well.
She starts to close the chest, then has an idea.
She reaches in and rummages around the body. Pulls out
Pirelli's chatelaine purse, then drops the lid of the chest.
MRS. LOVETT
(looking through purse)
Three quid! Well, waste not, want not,
I always say...
(she tucks the purse into
her dress)
... Now what are we going to do about
the boy?
TODD
Send him up.
She stops, looks at him.
MRS. LOVETT
Oh, we don't need to worry about him,
he's a simple thing. I'll pawn him off
with some story.
TODD
(cold)
Send him up, woman.
MRS. LOVETT
(quickly)
Now, Mr. T., surely one's enough for
today. Don't want to indulge yourself,
after all ...
(she busily starts to
straighten up the room)
... 'Sides, I was thinking about
hiring a lad to help around the shop,
me poor knees not being what they used
to be.
Todd sighs and moves to his familiar post at the window:
TODD
Anything you say.
MRS. LOVETT
'Course we'll have to stock up on the
gin, the boy drinks like a Barbary
sailor--
Todd suddenly gasps -- a great, shocking intake of breath as
his whole body tenses like iron--
Mrs. Lovett spins to him--
TODD
The Judge.
Mrs. Lovett hurries to the window--
Below, they can see the Judge and the Beadle approaching.
They see them exchanging a few words and then the Beadle
moves off as the Judge approaches the shop--
Todd whispers, his eyes blazing:
TODD
Justice ... Justice.
Mrs. Lovett gives him a quick kiss and then very quickly
leaves. A beat as Todd prepares himself.
He turns from the window and looks around the shop, shifting
nervously. Now that his great moment of revenge is at hand,
he doesn't quite know what to do with himself.
He snatches up his large razor, coils by the door, ready to
attack. No. He wants to savor this. He quickly moves and puts
the razor down.
Finally he just stands. All his demons settling into a
bizarre sort of calm.
He hears the Judge's footsteps approaching on the stairs.
Then the Judge enters.
JUDGE
Mr. Todd?
Todd slowly turns:
TODD
At your service ... An honor to
receive your patronage, my lord.
JUDGE
You know me, sir?
TODD
(a polite bow)
Who in this wide world is not familiar
with the honored Judge Turpin?
The Judge grunts and glances around the shop:
JUDGE
These premises are hardly
prepossessing and yet the Beadle tells
me you are the most accomplished of
all the barbers in the city.
TODD
That is gracious of him, sir ...
(indicates for the Judge
to sit)
... Sit, if you please, sir. Sit.
The Judge settles into the parlor chair as music begins...
TODD
And what may I do for you today, sir?
A stylish trimming of the hair? A
soothing skin massage?
JUDGE
You see, sir, a man infatuate with love,
Her ardent and eager slave.
So fetch the pomade and pumice stone
And lend me a more seductive tone,
A sprinkling perhaps of French cologne,
But first, sir, I think -- a shave.
TODD
The closest I ever gave.
He whips a sheet over the Judge, then tucks the bib in. The
Judge hums, flicking imaginary dust off the sheet; Todd
whistles gaily.
JUDGE
You're in a merry mood today, Mr.
Todd.
TODD
(mixing lather)
'Tis your delight, sir, catching fire
From one man to the next.
JUDGE
'Tis true, sir, love can still inspire
The blood to pound, the heart leap higher.
BOTH
What more, what more can man require--
JUDGE
Than love, sir?
TODD
More than love, sir.
JUDGE
What, sir?
TODD
Women.
JUDGE
Ah yes, women.
TODD
Pretty women.
The Judge hums jauntily, Todd whistles and starts stropping
his razor rhythmically. He then lathers the Judge's face.
Still whistling, Todd stands back to survey the Judge, who is
now totally relaxed, eyes closed.
Todd goes to his razor and picks it up, sings to it gently:
TODD
Now then, my friend.
Now to your purpose.
Patience, enjoy it.
Revenge can't be taken in haste.
JUDGE
(opening his eyes)
Make haste, and if we wed,
You'll be commended, sir.
TODD
My lord...
(Goes to him)
And who, may it be said,
Is your intended, sir?
JUDGE
My ward.
A shocked tremor through Todd -- as the Judge closes his eyes
again and settles in comfortably...
JUDGE
And pretty as a rosebud.
The music rises...
TODD
Pretty as her mother?
JUDGE
(mildly puzzled)
What? What was that?
TODD
Oh, nothing, sir. Nothing. May we
proceed?
The music builds as he steps behind the Judge-- his razor
ready -- we are sure the great moment has come -- the music
still builds -- Todd finally puts the razor at the Judge's
throat--
Then--
With an easy flick of his wrist, he just begins to shave the
Judge, as:
TODD
Pretty women...
Fascinating...
38
Pretty women
Are a wonder.
Pretty women.
Sitting in the window or
Standing on the stair,
Something in them
Cheers the air.
Pretty women...
JUDGE
Silhouetted...
TODD
Stay within you...
JUDGE
Glancing...
TODD
Stay forever...
JUDGE
Breathing lightly...
TODD
Pretty women...
BOTH
Pretty women!
Blowing out their candles or
Combing out their hair...
They sing simultaneously:
JUDGE
Then they leave...
Even when they leave you
And vanish, they somehow
Can still remain
There with you,
There with you.
TODD
Even when they leave,
They still
Are there.
They're there.
BOTH
Ah,
Pretty women...
TODD
At their mirrors...
JUDGE
In their gardens...
TODD
Letter-writing...
JUDGE
Flower-picking...
TODD
Weather-watching...
BOTH
How they make a man sing!
Proof of heaven
As you're living--
Pretty women, sir!
The music approaches a feverish crescendo as Todd prepares to
finally kill the Judge and they sing simultaneously:
JUDGE
Pretty women, yes!
Pretty women, sir!
Pretty women!
Pretty women, sir!
TODD
Pretty women, here's to
Pretty women, all the
Pretty women--
Just as the music reaches a climax, Todd raises his arm in a
huge arc and is about to slash the Judge's throat when--
Suddenly--
Anthony bursts in--
ANTHONY
Mr. Todd! I've seen Johanna! She said
she'll leave with me tonight--!
The Judge jumps up, away from Todd--
JUDGE
You! -- There is indeed a higher power
to warn me thus in time--
He tears off the sheet as he advances savagely on Anthony:
JUDGE
Johanna elope with you? Deceiving
slut! -- I'll lock her up in some
obscure retreat where neither you nor
any other vile creature shall ever lay
eyes on her again--!
He spins with venom to Todd:
JUDGE
And as for you, barber, it is all too
clear what company you keep. Service
them well and hold their custom -- for
you'll have none of mine.
He strides out.
Todd stands, frozen.
ANTHONY
Mr. Todd -- you have to help me --
I've talked to Johanna and--!
Todd suddenly turns on him with a ferocious ROAR:
TODD
OUT! OUT, I SAY!
Utterly stunned at his friend's ferocity, Anthony backs away,
leaves the shop.
Music begins, very agitated, as Todd stands motionless.
In shock.
His mind cracking apart.
Mrs. Lovett hurries in:
MRS. LOVETT
All this shouting and running about,
what's happened--?
TODD
I had him -- and then--
MRS. LOVETT
The sailor busted in, I know, I saw
them both running down the street and
I said--
Todd interrupts wildly:
TODD
I had him!
His throat was bare
Beneath my hand--!
MRS. LOVETT
There, there, dear. Don't fret--
TODD
(spins on her violently)
No, I had him!
His throat was there,
And he'll never come again!
MRS. LOVETT
Easy now.
Hush, love, hush.
I keep telling you--
TODD
When?!
MRS. LOVETT
What's your rush?
TODD
Why did I wait?
You told me to wait!
Now he'll never come again...
The music becomes ferocious as Todd's wrenching insanity,
always close to the surface, finally explodes:
TODD
There's a hole in the world
Like a great black pit
And it's filled with people
Who are filled with ****
And the vermin of the world
Inhabit it--
But not for long!
He suddenly looks to Mrs. Lovett -- she starts back --
alarmed by the pure madness in his eyes--
TODD
They all deserve to die!
Tell you why, Mrs. Lovett,
Tell you why:
Because in all of the whole human race, Mrs. Lovett
There are two kinds of men and only two.
There's the one staying put
In his proper place
And the one with his foot
In the other one's face--
Look at me, Mrs. Lovett,
Look at you--
He suddenly lurches and grabs Mrs. Lovett tightly--
TODD
No, we all deserve to die!
Even you, Mrs. Lovett,
Even I.
Because the lives of the wicked should be--
(slashes at the air
violently)
Made brief.
For the rest of us, death
Will be a relief--
We all deserve to die!
He clutches her to him very tightly as he suddenly keens, a
howl of pure agony:
TODD
And I'll never see Johanna,
No, I'll never hug my girl to me--
He hurls Mrs. Lovett away from him--
TODD
Finished!
We suddenly slash to--
39
EXT. STREET -- DAY
39
--In Todd's mind.
We are moving with him as he stalks relentlessly, holding his
razor, striding down a busy street like a tiger.
The many pedestrians he passes don't even notice him. He is
invisible to them, a wolf among the sheep, as he beckons--
TODD
All right! You, sir,
How about a shave?
Come and visit
Your good friend, Sweeney--!
Todd continues to stride, beckoning to another man:
TODD
You, sir, too, sir--
Welcome to the grave!
I will have vengeance,
I will have salvation!
41
EXT. ANOTHER STREET -- DAY
41
Todd continues to stride, beckoning to another man:
TODD
Who, sir? You, sir?
No one's in the chair--
Come on, come on,
Sweeney's waiting!
I want you bleeders!
42
EXT. ANOTHER STREET -- DAY
42
Todd continues to stride, beckoning to another man:
TODD
You, sir -- anybody!
Gentlemen, now don't be shy!
Not one man, no,
Nor ten men,
Nor a hundred
Can assuage me--
I will have you!
43
EXT. ANOTHER STREET -- DAY
43
Todd continues to prowl...
TODD
And I will get him back
Even as he gloats.
In the meantime I'll practice
On less honorable throats--
44
EXT. ANOTHER STREET -- DAY
44
Todd suddenly falls to his knees, keening in anguish--
TODD
And my Lucy lies in ashes
And I'll never see my girl again,
But the work waits, I'm alive at last
(a final exalted cry)
And I'm full of JOOOOOOY!!
He raises his razor high on the soaring last note as we pull
back ... our view is suddenly obscured by a strange, frenzied
fluttering of black wings ... We continue to pull back ... We
discover the black wings are pigeons, thousands of them,
flying up in a great cloud...
We continue to pull back to finally discover that Todd is
kneeling in the heart of a church square...
Empty but for him.
As his cry ends we slash back to--
45
INT. BARBER SHOP -- DAY
45
-- Todd is kneeling, sweat pouring through his clothes,
panting for air.
Mrs. Lovett stands, looking down at him intently.
MRS. LOVETT
That's all very well, but what are we
going to do about --
(kicks the chest)
-- the dear departed?
Todd remains kneeling, motionless. She goes to him, firm:
MRS. LOVETT
Listen! Do you hear me? Get a hold of
yourself!
She slaps his cheek -- he looks up at her, barely seeing her.
MRS. LOVETT
Oh, you great useless thing, come on--
She hauls him up and drags him out...
46
INT. PIE SHOP -- DAY
46
She pulls him in.
MRS. LOVETT
Sit down.
He thumps down, still in his own dark world.
She quickly glances around for Toby and then goes into her
parlor...
47
INT. PARLOR -- DAY
47
She discovers Toby is asleep on the sofa before the fire.
She quickly snatches up a bottle of gin from the sideboard
and returns to the pie shop...
48
INT. PIE SHOP DAY
48
She pours Todd a tumbler of gin, hands it to him:
MRS. LOVETT
There, drink it down -- all the way --
that's right ...
(he does so)
... Now, we got a body molderin' away
upstairs, what do you intend we should
do about that?
TODD
Later on, when it's dark, we'll take
him to some secret place and bury him.
MRS. LOVETT
Well, yes, of course, we could do
that. I don't suppose he's got any
relatives going to come poking around
looking for him...
A chord of music. A beat. An idea. He looks at her
uncomprehendingly.
MRS. LOVETT
Well, you know me, sometimes bright
ideas just pop right into my head, and
I keep thinking...
Seems a downright shame...
TODD
Shame?
MRS. LOVETT
Seems an awful waste...
Such a nice plump frame
Wot's-his-name
Has...
Had...
Has...
Nor it can't be traced.
Business needs a lift--
Debts to be erased--
Think of it as thrift,
As a gift...
If you get my drift...
(Todd has no idea what she
is talking about)
No? (She sighs)
Seems an awful waste.
I mean,
With the price of meat what it is,
When you get it,
If you get it--
Todd suddenly understands:
TODD
Ah!
MRS. LOVETT
Good, you got it.
(She warms to the idea)
Take, for instance,
Mrs. Mooney and her pie shop.
Business never better, using only
Pussycats and toast.
And a pussy's good for maybe six or
Seven at the most.
And I'm sure they can't compare
As far as taste--
TODD
Mrs. Lovett,
What a charming notion,
The music builds as they sing simultaneously:
TODD
Eminently practical and yet
Appropriate as always.
Mrs. Lovett, how I've lived without you
All these years I'll never know!
How delectable!
Also undetectable.
How choice!
How rare!
MRS. LOVETT
Well, it does seem a
Waste...
It's an idea...
Think about it...
Lots of other gentlemen'll
Soon be coming for a shave,
Won't they?
Think of
All them
Pies!
A triumphant waltz theme begins:
TODD
For what's the sound of the world out there?
MRS. LOVETT
What, Mr. Todd,
What, Mr. Todd,
What is that sound?
TODD
Those crunching noises pervading the air?
MRS. LOVETT
Yes, Mr. Todd,
Yes, Mr. Todd,
Yes, all around--
TODD
It's man devouring man, my dear,
They sing simultaneously:
TODD
And who are we
To deny it in here?
MRS. LOVETT
Then who are we
To deny it in here?
Music continues under:
TODD
Ah, these are desperate times, Mrs.
Lovett, and desperate measures are
called for.
She goes to the counter and comes back with an imaginary pie:
MRS. LOVETT
Here we are now, hot out of the
oven...
She holds the imaginary pie out to him with a sly and wicked
smile.
TODD
What is that?
MRS. LOVETT
It's priest.
Have a little priest.
TODD
Is it really good?
MRS. LOVETT
Sir, it's too good,
At least.
Then again, they don't commit sins of the flesh,
So it's pretty fresh.
TODD
(looking at it)
Awful lot of fat.
MRS. LOVETT
Only where it sat.
TODD
Haven't you got poet
Or something like that?
MRS. LOVETT
No, you see the trouble with poet
Is, how do you know it's
Deceased?
Try the priest.
TODD
("tasting" it)
Mmm. Heavenly.
MRS. LOVETT
Not as hearty as bishop, perhaps, but
not as bland as curate, either.
Mrs. Lovett presents another imaginary pie:
MRS. LOVETT
Lawyer's rather nice.
TODD
If it's for a price.
MRS. LOVETT
Order something else, though, to follow,
Since no one should swallow
It twice.
TODD
Anything that's lean.
MRS. LOVETT
Well, then, if you're British and loyal,
You might enjoy Royal
Marine.
Anyway, it's clean.
Though, of course, it tastes of wherever it's been.
TODD
(looking past her to
imaginary oven)
Is that squire
On the fire?
MRS. LOVETT
Mercy no, sir,
Look closer,
You'll notice it's grocer.
TODD
Looks thicker.
More like vicar.
MRS. LOVETT
No, it has to be grocer -- it's green.
Todd laughs as the glorious waltz theme returns:
TODD
The history of the world, my love--
MRS. LOVETT
Save a lot of graves,
Do a lot of relatives favors...
TODD
--Is those below serving those up above.
MRS. LOVETT
Everybody shaves,
So there should be plenty of flavors...
TODD
How gratifying for once to know--
BOTH
(indicating barber shop
above)
--That those above will serve those down below!
The music continues under:
MRS. LOVETT
Since marine doesn't appeal to you,
how about rear admiral?
TODD
Too salty. I prefer general.
MRS. LOVETT
With or without his privates? --
"With" is extra.
Todd chortles as Mrs. Lovett offers another pie with a
particular, flamboyant panache:
TODD
What is that?
MRS. LOVETT
It's fop.
Finest in the shop.
Or we have some shepherd's pie peppered
With actual shepherd
On top.
And I've just begun.
Here's a politician -- so oily
It's served with a doily--
Have one?
TODD
Put it on a bun.
(She looks at him
quizzically)
Well, you never know if it's going to run.
MRS. LOVETT
Try the friar.
Fried, it's drier.
TODD
No, the clergy is really
Too coarse and too mealy.
MRS. LOVETT
Then actor--
That's compacter.
TODD
Yes, and always arrives overdone.
(he is suddenly dark and
purposeful)
I'll come again when you
Have Judge on the menu...
The music vamps deliciously as:
MRS. LOVETT
True, we don't have Judge -- yet --
but would you settle for the next best
thing?
TODD
What's that?
She offers him a butcher's cleaver:
MRS. LOVETT
Executioner.
He takes the cleaver, feels the heft of it. Feels good.
Then he picks up her wooden rolling pin, hands it to her, as
the music builds into the triumphant waltz:
TODD
Have charity towards the world, my pet--
MRS. LOVETT
Yes, yes, I know, my love--
TODD
We'll take the customers that we can get.
MRS. LOVETT
High-born and low, my love.
TODD
We'll not discriminate great from small.
No, we'll serve anyone--
MRS. LOVETT
We'll serve anyone--
BOTH
And to anyone
At all!
The music builds to a climax as they joyously brandish their
"weapons. "
49
INT. JOHANNA'S ROOM -- EVENING
49
Small, white hands ... removing some clothes from a drawer
... putting them into a portmanteau ... locking the case...
Johanna, wearing traveling clothes, is packing to leave when
a voice surprises her:
JUDGE
So it's true.
She turns. The Judge stands in the doorway.
JOHANNA
Sir ... A gentlemen knocks before
entering a lady's room.
JUDGE
Indeed he does ... But I see no lady.
He enters, dangerously quiet. And terrifically hurt.
JUDGE
I told myself the sailor was lying ...
I told myself this was a cruel fiction
... That my Johanna would never betray
me. Never hurt me so.
He moves toward her. She stands her ground.
JOHANNA
Sir ... I will leave this place.
JUDGE
I think that only appropriate. Since
you no longer find my company to your
liking, madam, we shall provide you
with new lodgings.
He stands very close to her. Still she holds her ground.
JUDGE
Until this moment I have spared the
rod ... And the ungrateful child has
broken my heart. Now you will learn
discipline...
The large form of the Beadle fills the doorway. She glances
to him, disquieted.
JUDGE
When you have learned to appreciate
what you have, perhaps we shall meet
again. Until then ... Think on your
sins.
He nods to the Beadle -- the Beadle surges forward and grabs
Johanna brutally--
She screams and fights like a tiger -- to no avail--
The Beadle covers her mouth with one of his huge hands and
hauls her out--
50
EXT. TURPIN'S MANSION -- EVENING
50
Anthony is racing toward the front of mansion when he sees--
A hansom cab is just pulling away -- Johanna's terrified face
looking at him through the window--
ANTHONY
JOHANNA!
Anthony sees the Beadle pulling her away from the window as
the carriage clatters off--
Judge Turpin stands on the steps of the mansion -- Anthony
goes to him in a murderous rage:
ANTHONY
Where are you taking her?! Tell me or
I swear by God--!
The Judge spins and roars -- a hellish howl that echoes--
JUDGE
WOULD YOU KILL ME, BOY?! HERE I STAND!
Anthony's eyes burn into the Judge -- but he is no killer.
He turns and races after the hansom cab. It rounds a corner
and is gone.
The Judge watches as Anthony pursues the cab, disappearing
around the corner.
And we fade to...
51
EXT. FLEET STREET -- DAY
51
...The face of the Beggar Woman.
She sits, crouched on her haunches, peering up from under her
few greasy locks of hair.
She is watching something intently. A few pedestrians move
quickly down the sidewalk past her, excited. They chatter
back and forth eagerly...
The Beggar Woman uncoils and follows...
And we finally see what the Beggar Woman has been watching so
intently...
52
EXT. PIE SHOP -- DAY
52
Mrs. Lovett's wretched establishment has been transformed!
She has created a modest outdoor eating garden with tables,
surrounded by glowing Chinese lanterns. A fresh coat of
paint, a few bushes in pots and birds in cages add to the
feeling of upward mobility.
A new sign hangs proudly over the entrance to the pie shop:
"MRS. LOVETT'S WORLD FAMOUS MEAT PIES!" And then in smaller
letters: "LIKE MOTHER USED TO MAKE."
The eating garden is already crowded, the benches at the
tables are filled and other customers stand and mill about.
All eating, eating, eating...
...The most delicious looking meat pies you could ever
imagine. Crispy crust. Thick, luxurious gravy. Tart and tangy
meat.
The customers take great, hungry mouthfuls; the steaming
gravy oozing down greedy faces.
Chomp. Chomp. Chomp.
The Beggar Women stands across the street, ravenously hungry.
She finally gets the nerve to approach when--
Toby -- wearing a spiffy new outfit with apron -- bursts from
the shop and circulates through the customers:
TOBY
Ladies and gentlemen,
May I have your attention, perlease?
Are your nostrils aquiver and tingling as well
At that delicate, luscious ambrosial smell?
Yes they are, I can tell...
He moves through the greedily eating customers in the outdoor
garden and toward the street as:
TOBY
Well, ladies and gentlemen,
That aroma enriching the breeze
Is like nothing compared to its succulent source,
As the gourmets among you will tell you, of course.
He arrives at the street and drums up some more business:
TOBY
Ladies and gentlemen,
You can't imagine the rapture in store--
(Indicating the pie shop)
Just inside of this door!
There you'll sample
Mrs. Lovett's meat pies,
Savory and sweet pies,
As you'll see.
You who eat pies,
Mrs. Lovett's meat pies
Conjure up the treat pies
Used to be!
Just then Mrs. Lovett sweeps from the pie shop with a tray of
hot, steaming pies.
Like her shop, she has been transformed as well. She wears
her somewhat gauche notion of a "fancy dress." Buckets of
decolletage. And her hair has been dyed a rather unique
aubergine color.
MRS. LOVETT
Toby!
TOBY
Coming!
(pushing past a customer)
'Scuse me...
MRS. LOVETT
(indicating a beckoning
customer)
Ale there!
TOBY
Right, mum!
MRS. LOVETT
Quick, now!
The customers suddenly exclaim their joy through awkward
mouthfuls of pie:
CUSTOMERS
God, that's good!
Toby scurries inside to get a jug of ale, whisks back out and
starts filling tankards as Mrs. Lovett circulates grandly.
She is a bundle of activity -- serving pies, collecting
money, giving orders, addressing the patrons individually and
with equal buoyant insincerity:
MRS. LOVETT
Nice to see you, dearie...
How have you been keeping?...
Cor, me bones is weary!
Toby--!
(Indicating a Customer)
One for the gentleman...
Hear the birdies cheeping--
Helps to keep it cheery...
She spots the Beggar Woman approaching and responds with
unusual ferocity:
MRS. LOVETT
Toby!
Throw the old woman out!
CUSTOMERS
God, that's good!
Toby shoos the Beggar Woman away, but she soon comes skulking
back.
MRS. LOVETT
(continuing to customers)
What's your pleasure, dearie?...
No, we don't cut slices...
Cor, me eyes are bleary!...
(As Toby is about to pour
for a drunken customer)
Toby!
None for the gentleman!...
I could up me prices--
I'm a little leery...
Business
Couldn't be better, though--
CUSTOMERS
God, that's good!
MRS. LOVETT
Knock on wood.
She does.
53
INT. BARBER SHOP -- DAY
53
Music continues as Todd works busily. Sawing, drilling,
screwing, hammering. Doing something we cannot see to his
barber chair. Making adjustments, tinkering, building,
feverish. Happy.
54
EXT. PIE SHOP -- DAY
54
Mrs. Lovett continues to circulate:
MRS. LOVETT
What's your pleasure, dearie?
(Spilling ale)
Oops! I beg your pardon!
Just me hands is smeary--
(Spotting a freeloader
trying to sneak out
without paying)
Toby!
Run for the gentleman!
Toby catches him, collects the money, as Mrs. Lovett turns to
another customer:
MRS. LOVETT
Don't you love a garden?
Always makes me teary...
(Looking back at the
freeloader)
Must be one them foreigners--
CUSTOMERS
God, that's good that is delicious!
MRS. LOVETT
What's my secret?
(To a woman)
Frankly, dear -- forgive my candor--
Family secret,
All to do with herbs.
Things like being
Careful with your coriander,
That's what makes the gravy grander--!
The customers are getting more rabid now -- stuffing in the
gorgeous meat pies in great fistfuls--
CUSTOMERS
More hot pies!
More hot!
More pies!
55
INT. BARBER SHOP -- DAY
55
Music continues as Todd makes the final adjustments to his
chair. He stands back. Seems delighted with the results of
his tinkering. The ratty old parlor chair has been
transformed into a sleek, Victorian barber chair -- with
unique refinements.
He leaves the barber shop...
56
EXT. PIE SHOP -- DAY
56
Todd stands at the top of the stairs, watching the street
hungrily. As, below, Mrs. Lovett smiles to another customer:
MRS. LOVETT
Incidentally, dearie,
You know Mrs. Mooney.
Sales've been so dreary--
(She spots the Beggar
Woman again)
Toby!
(Continuing to the
customer, about Mrs.
Mooney)
--Poor thing is penniless.
(Indicating Beggar Woman
to Toby)
What about that loony?
(To the customer as Toby
shoos the Beggar Woman
away again)
Lookin' sort of beery--
Oh, well, got her comeuppance--
(Hawklike, to a rising
customer)
And that'll be thruppence -- and
CUSTOMERS
God that's good that is de have you
MRS. LOVETT
So she should.
CUSTOMERS
Licious ever tasted smell such
Oh my God what more that's pies good!
MRS. LOVETT AND
TOBY
Eat them slow and
Feel the crust, how thin I (she) rolled it!
Eat them slow, 'cos
Every one's a prize!
Eat them slow, 'cos
That's the lot and now we've sold it!
She hangs up a "Sold Out" sign.
MRS. LOVETT AND
TOBY
Come again tomorrow--!
She spots a man in need of a shave approaching:
MRS. LOVETT
Hold it--
CUSTOMERS
More hot pies!
MRS. LOVETT
Bless my eyes--!
She sees the man going up to the barber shop. Todd is still
standing at the top of the stairs. He smiles secretly to Mrs.
Lovett as he ushers the man in.
MRS. LOVETT
Fresh supplies!
The man goes into the barber shop as she happily takes down
the "Sold Out" sign and turns again to the customers:
MRS. LOVETT
How about it, dearie?
(expecting more pies)
Be here in a twinkling!
Just confirms me theory--
Toby--!
God watches over us.
Didn't have an inkling...
Positively eerie...
TOBY
(simultaneous with above)
Is that a pie
Fit for a king,
A wondrous sweet
And most delectable
Thing?
You see, ma'am, why
There is no meat pie--
CUSTOMERS
(simultaneous with above)
Yum!
Yum!
Yum!
Yum! Yum!
Yum!
Mrs. Lovett then spots the Beggar Woman approaching again,
she spins to Toby with truly shocking viciousness:
MRS. LOVETT
Toby!
Throw the old woman out!
Mrs. Lovett watches intently as Toby leads the Beggar Woman
away.
The Customers, meanwhile, are building to a pure frenzy of
mastication -- chewing and gulping and snapping at the
heavenly pies:
CUSTOMERS
God, that's good that is de have you
Licious ever tasted smell such
Oh my God what perfect more that's
Pies such flavor
God, that's good!!
The music comes to a rousing conclusion as Mrs. Lovett stands
at the door to her shop. Triumphant.
57
INT. BARBER SHOP -- NIGHT
57
Todd is alone. He sits in the barber chair, smoking a pipe.
He is holding an old Daguerreotype; creased, stained and
bleached-out.
The image shows his wife, Lucy, smiling and holding Baby
Johanna. The child's features are almost completely obscured
by a stain on the picture.
He looks at it deeply.
Then church bells echo in the distance...
58
EXT. MAYFAIR -- NIGHT
58
... The church bells continue as we discover Anthony,
searching through the streets for Johanna. We see him in long
shot as he moves through the contours of the city.
He starts his search in a luxurious area of wealth. His
journey through the city will take him lower and lower, into
the darkest corners of London.
ANTHONY
I feel you, Johanna,
I feel you.
Do they think that walls can hide you?
Even now I'm at your window.
I am in the dark beside you,
Buried sweetly in your yellow hair,
Johanna...
He continues walking...
59
INT. BARBER SHOP -- NIGHT
59
...Todd gazes quietly at the Daguerreotype:
TODD
Johanna...
And are you beautiful and pale,
With yellow hair, like her?
I'd want you beautiful and pale,
The way I've dreamed you were...
60
EXT. DOCKS -- NIGHT
60
...We see the figure of Anthony, walking along the docks.
TODD (V.O.)
Johanna...
ANTHONY
Johanna...
61
INT. BARBER SHOP -- DAY
61
...Todd shaves a customer. We recognize the customer
instantly: it is the GENTLEMAN.
The Daguerreotype now rest on the counter.
Todd remains wistful, detached, dream-like.
TODD
And if you're beautiful, what then,
With yellow hair, like wheat?
I think we shall not meet again--
(He quietly slits the
Gentleman's throat)
My little dove, my sweet...
...We see the figure of Anthony, walking past hanging
carcasses of the busy meat market.
TODD (V.O.)
Johanna...
ANTHONY
I'll steal you,
Johanna...
63
INT. BARBER SHOP -- DAY
63
...The dead Gentleman is slumped in the chair.
TODD
Goodbye, Johanna,
You're gone, and yet you're mine.
I'm fine, Johanna,
I'm fine!
He pulls a lever on the newly adjusted chair -- the chair
becomes a slide -- and the Gentleman disappears through a
trapdoor in the floor, down a chute -- Todd pulls the lever
again and the chair returns to its normal position.
64
EXT. SLUM -- DAY
64
...We see Anthony moving past a crowded tenement, redolent of
cholera.
ANTHONY
Johanna...
65
INT. BAKEHOUSE STEPS -- DUSK
65
...Music continues as Mrs. Lovett descends a long and very
claustrophobic series of steps down to the bakehouse. She
unbolts and pulls aside a heavy iron door and enters.
We remain outside. A fiery red glow spills out -- the roar of
the oven within is thundering.
66
EXT. FLEET STREET -- DUSK
66
...The Beggar Woman stands on Fleet Street. The hellish
metropolis glows, the smoke from a thousand chimneys creating
a great pall over the city.
BEGGAR WOMAN
(in a demented rage)
Smoke! Smoke!
Sign of the devil! Sign of the devil!
City on fire!
(to disgusted passers-by)
Witch! Witch!
Smell it, sir! An evil smell!
Every night at the vespers bell--
Smoke that comes from the mouth of hell--
City on fire!
City on fire...
(She begins to scuttle
off)
Mischief! Mischief! Mischief...
67
INT. BARBER SHOP -- DUSK
67
...The red glow of sunset fills the shop as Todd ushers in
another customer and prepares to shave him:
TODD
And if I never hear your voice,
My turtledove, my dear,
I still have reason to rejoice:
The way ahead is clear...
68
EXT. ALLEY -- DUSK
68
...We see the figure of Anthony moving down a dark alley.
Shadowy figures lurk along the alley walls.
TODD (V.O.)
Johanna...
ANTHONY
I feel you...
Johanna...
69
INT. BARBER SHOP -- DUSK
69
...Todd continues to prepare to shave the customer:
TODD
And in that darkness when I'm blind
With what I can't forget--
It's always morning in my mind,
My little lamb, my pet...
70
EXT. GRAVEYARD -- DUSK
70
...We see Anthony moving past an lonely graveyard.
TODD (V.O.)
Johanna...
ANTHONY
Johanna...
71
INT. BARBER SHOP -- DUSK
71
TODD
You stay, Johanna...
(He quietly cuts the
customer's throat)
The way I've dreamed you are.
(Todd notices dusk outside
the window)
Oh look, Johanna-,
(Pulls the lever and the
customer disappears)
A star!
(Tossing the customer's
hat down the chute)
A shooting star!
72
EXT. GRAVEYARD -- DUSK
72
...Anthony continues to move past the graveyard.
ANTHONY
Buried sweetly in your yellow hair...
73
INT. BAKEHOUSE STEPS -- DAY
73
...Music continues as Mrs. Lovett emerges from the bakehouse
with a rack of hot pies.
She walks out of frame, up the steps, as we push in on the
crack in the door. The fiery roar of the oven within is
overpowering.
74
EXT. FLEET STREET -- DAY
74
...The Beggar Woman is scuttling madly along Fleet Street.
BEGGAR WOMAN
(pointing to the smoke
over rooftops)
There! There!
Somebody, somebody look up there!
(the passers-by continue
to ignore her)
Didn't I tell you? Smell that air?
City on fire!
She approaches the pie shop, the agitated music matching her
increasing frenzy. She grabs a stunned Toby -- who is
carrying some packages toward the pie shop:
BEGGAR WOMAN
(panicked)
Quick, sir! Run and tell!
Warn 'em all of the witch's spell!
There it is, there it is, the unholy smell!
Tell it to the Beadle and the police as well!
Tell 'em! Tell 'em!
She spots Mrs. Lovett emerging from the pie shop and explodes
in desperation, pointing madly:
BEGGAR WOMAN
Help!!! Fiend!!!
City on fire!!!
Toby pulls away from her, as she begins to scuttle off:
BEGGAR WOMAN
City on fire...
Mischief ... Mischief ... Mischief... Fiend...
She appeals to other pedestrians as she goes:
BEGGAR WOMAN
Alms! ... Alms! ...
Toby turns to consider the horrible black smoke belching from
the chimney of the pie shop. Something about the foul, ebony
smoke troubles him.
75
INT. BARBER SHOP -- DAY
75
...Todd is standing alone, contemplative, slowly and
methodically stropping his razor.
TODD
And though I'll think of you, I guess,
Until the day I die,
I think I miss you less and less
As every day goes by...
76
EXT. LIMEHOUSE -- DAY
76
...We see the figure of Anthony trudging past the sinister
opium dens and depraved taverns of the East End.
TODD (V.O.)
Johanna...
ANTHONY
Johanna...
77
INT. BARBER SHOP -- DAY
77
...Todd completes shaving a customer. The customer's wife and
daughter are waiting.
TODD
And you'd be beautiful and pale,
And look too much like her.
If only angels could prevail,
We'd be the way we were.
Johanna...
The customer pays. With a pleasant smile, Todd ushers them
out..
78
EXT. ASYLUM -- NIGHT
78
...Anthony wanders past the high and impenetrable walls of a
madhouse, the demented souls within can be seen moving about
in silhouette behind barred windows.
ANTHONY
I feel you...
Johanna...
Something makes him stop. He turns to consider the asylum...
79
INT. BARBER SHOP -- MORNING
79
...Todd shaves another customer. A beautiful morning outside
the window.
TODD
Wake up, Johanna!
Another bright red day!
(He slits the customer's
throat)
We learn, Johanna,
To say...
Goodbye...
As the note continues, he pulls the lever and the customer
disappears down the chute...
80
EXT. ASYLUM -- MORNING
80
...Anthony stares up at the asylum.
ANTHONY
I'll steal you...
81
INT. BARBER SHOP -- MORNING
81
...As the music concludes, Todd picks up the faded
Daguerreotype and again sits in his barber chair.
He gazes at the picture, lost in revery.
82
EXT. HAMPSTEAD HEATH -- DAY
82
Mrs. Lovett and Todd rest on a picnic blanket, just like any
other couple out enjoying the fine day.
The remains of a nice picnic lunch are scattered around them
and Toby can be seen flying a kite a bit away.
Mrs. Lovett watches happy couples moving about ... dogs and
kids running hither and yon ... military officers squiring
their ladies ... nurses with prams...
Todd is distinctly ill at ease, brooding, as she chatters:
MRS. LOVETT
... which is not to say we couldn't
get some nice taxidermy animals to
bring a touch of gentility to the
place. You know, a boar's head or
two...
(glancing at the
unresponsive Todd)
Mr. T., are you listening to me?
TODD
Of course.
MRS. LOVETT
Then what did I just say?
TODD
(back in his somber
reflections)
There must be a way to the Judge!
MRS. LOVETT
(snaps)
The bloody old Judge! Always harping
on the bloody old Judge!
(she massages his neck)
We got a nice respectable business
now, money coming in regular and --
since we're careful to pick and choose
-- only strangers and such like wot
won't be missed -- who's going to
catch on?
No response from Todd. She leans across and pecks him on the
cheek:
MRS. LOVETT
Oooh, Mr. Todd--
(Kisses him again)
I'm so happy--
(Again)
I could--
(Again)
Eat you up, I really could!
You know what I'd like to Do, Mr. Todd?
(Kisses him)
What I dream--
(Again)
If the business stays as good,
Where I'd really like to go--
(No response)
In a year or so...
(No response)
Don't you want to know?
TODD
(couldn't care less)
Of course.
MRS. LOVETT
Do you really want to know?
TODD
(forces a pained smile)
Yes, yes, I do, I do.
The music continues as she leans back comfortably, beginning
to imagine a wonderful, domestic future...
MRS. LOVETT
I've always had this dream of living
at the seaside ... I got a picture
postcard from me Aunt Nettie once. Oh,
it seems like such a grand place...
(notes Toby flying his
kite)
And all that fresh aquatic air's bound
to be good for the lad's poxy lungs...
By the sea, Mr. Todd,
That's the life I covet;
By the sea, Mr. Todd,
Ooh, I know you'd love it!
You and me, Mr. T.,
We could be alone
In a house wot we'd almost own
Down by the sea...
TODD
(grumbles)
Anything you say.
MRS. LOVETT
Wouldn't that be smashing?
And we go to...
83
EXT. BEACH -- DAY
83
...In Mrs. Lovett's mind.
She and Todd sit in the exact same positions as in Hampstead
Heath. Only now they are sitting on a beach.
They are wearing what she imagines as fashionable seaside
bathing clothes.
Toby, who is not consumptively pale but overly rosy-cheeked
in her fantasy, is building a sandcastle nearby.
Mrs. Lovett is sitting with her Dream Todd, of course, so he
has a bland smile on his face. Somewhat unnatural.
In fact, there is something vaguely unreal and stilted about
all of this.
MRS. LOVETT (V.O.)
With the sea at our gate,
We'll have kippered herring
Wot have swum to us straight
From the Straits of Bering.
Every night in the kip
When we're through our kippers,
I'll be there slippin' off your
slippers
By the sea...
With the fishies splashing.
By the sea...
Wouldn't that be smashing?
Down by the sea--
TODD (V.O.)
Anything you say,
Anything you say.
Mrs. Lovett strolls with Todd on a boardwalk. Artificially
lovely couples, like rotogravure magazine pictures, move
about.
Toby runs along ahead of them.
MRS. LOVETT (V.O.)
I can see us waking,
The breakers breaking,
The seagulls squawking:
Hoo! Hoo!
I do me baking,
Then I go walking
With yoo-hoo...
(she waves to Toby)
Yoo-hoo...
85
EXT. BOARDWALK -- DAY
85
Mrs. Lovett and Todd recline on comfortable deck chairs,
having tea and scones.
MRS. LOVETT (V.O.)
I'll warm me bones
On the esplanade
Have tea and scones
With me gay young blade...
86
EXT. SEASIDE COTTAGE, PORCH -- DAY
86
Mrs. Lovett's notion of a fashionable little seaside cottage.
Crushing in its bourgeois blandness.
She is making Toby try on a sweater. Todd is writing a
letter.
MRS. LOVETT (V.O.)
Then I'll knit a sweater
While you write a letter...
87
EXT. BEACH -- DAY
87
Back on the beach, she cuddles into Todd:
MRS. LOVETT (V.O.)
(Coyly)
Unless we got better
To do-hoo...
TODD (V.O.)
Anything you say...
88
INT. SEASIDE COTTAGE -- NIGHT
88
Mrs. Lovett and Todd snuggle into bed:
MRS. LOVETT (V.O.)
Think how snug it'll be
Underneath our flannel
When it's just you and me
And the English Channel...
89
INT. SEASIDE COTTAGE -- EVENING
89
Mrs. Lovett and Todd entertain some unnaturally jolly chums.
MRS. LOVETT (V.O.)
In our cozy retreat,
Kept all neat and tidy,
We'll have chums over every Friday...
90
EXT. BEACH -- DAY
90
Back on the beach.
MRS. LOVETT (V.O.)
By the sea...
TODD (V.O.)
Anything you say...
Toby pulls Mrs. Lovett over to examine his little sandcastle
as:
MRS. LOVETT (V.O.)
Don't you love the weather
By the sea?
We'll grow old together
By the seaside,
(Beckons to Todd to join
them)
Hoo! Hoo!
By the beautiful sea!
Music continues as Todd joins them. He kneels with Toby to
help him work on the sandcastle. Mrs. Lovett stands, watching
them, the picture of the doting mother.
MRS. LOVETT (V.O.)
It'll be so quiet
That who'll come by it
Except a seagull?
Hoo! Hoo!
We shouldn't try it,
Though, till it's legal,
For two-hoo!
91
INT. SEASIDE CHAPEL -- DAY
91
Mrs. Lovett and Todd getting married. This being her fantasy,
after all, she wears white. Todd is in a constricting morning
coat with a rakish top hat. Toby, the best man, watches
proudly.
MRS. LOVETT (V.O.)
But a seaside wedding
Could be devised,
Me rumpled bedding
Legitimized.
They exchange vows and kiss.
MRS. LOVETT (V.O.)
My eyelids'll flutter,
I'll turn into butter,
The moment I mutter
"I do-hoo!"
92
INT. SEASIDE COTTAGE -- MORNING
92
Mrs. Lovett is placing a plate of kippers on the table amidst
a proper English breakfast. A guest stands, leaning against a
wall, waiting to eat.
MRS. LOVETT (V.O.)
By the sea, in our nest,
We could share our kippers
With the odd paying guest
From the weekend trippers,
Have a nice sunny suite
For the guest to rest in--
A dark shape quickly moves past the guest -- Todd -- then the
guest slides down the wall -- a splash of blood on the
wallpaper-
MRS. LOVETT (V.O.)
Now and then, you could do the guest in--
93
EXT. BEACH -- SUNSET
93
Back at the beach, Mrs. Lovett, Todd and Toby sit
comfortably. Watching an unnaturally gorgeous sunset.
A picture postcard of a happy family.
MRS. LOVETT (V.O.)
By the sea.
Married nice and proper,
By the sea--
Bring along your chopper
To the seaside,
Hoo! Hoo!
By the beautiful sea!
The music concludes as she throws her arms affectionately
around her two men.
We cut back to--
94
EXT. HAMPSTEAD HEATH -- DAY
94
--Mrs. Lovett is sitting in the exact same position with
Todd. Silence.
Her smiles fades as she considers him. The grim, brooding
reality is so clear next to her lovely dream.
She watches him in silence as we fade to...
95
INT. BARBER SHOP -- MORNING
95
Todd is standing at his usual post, the window, gazing
intently down at Fleet Street.
Mrs. Lovett enters with a tray of food:
MRS. LOVETT
Brought you some breakfast, dear, farm
fresh eggs and a dollop of lovely
clotted cream, only the best for my...
She stops when he realizes he isn't even listening to her.
Her heart sinks seeing him at the window, wearing his
obsession like a cloak.
A beat as she looks at him.
MRS. LOVETT
Mr. T., might I ask you a question?
TODD
(not turning)
Mm?
MRS. LOVETT
What did your Lucy look like?
MRS. LOVETT
You heard me ... (a beat) ... Can't
really remember can you?
TODD
She had yellow hair.
He turns back to the window.
Mrs. Lovett proceeds with great sincerity:
MRS. LOVETT
You've got to leave all this behind
you now. She's gone ... You keep
looking down into the grave, you're
never gonna look up. And life will
just pass right by ... Life is for the
alive, my dear.
He does not answer.
MRS. LOVETT
We could have a life we two ... Maybe
not like I dreamed, maybe not like you
remember ... But we could get by.
He does not answer.
MRS. LOVETT
Come away from the window.
A long beat.
He finally turns from the window. Almost as if to leave his
demons behind...
She smiles quietly and holds out her hand...
She begins to cross to him...
SUDDENLY REVEALING--
The Gentleman!
Standing right behind Mrs. Lovett--
He is glaring at Todd, relentless and accusatory--
Blood pouring from his throat--
A shocking horror movie vision--
Then the bell rings outside the shop ... Todd turns ... the
Gentleman is gone ... we hear footsteps climbing the
stairs...
Mrs. Lovett remains standing, her hand out to him, as--
Anthony enters, absolutely exhausted.
ANTHONY
Mr. Todd ... Mrs. Lovett, ma'am ...
(sinks into a chair) ... Seems I've
not slept in a week -- but it's done--
TODD
What is it, Anthony?
ANTHONY
(bitter)
He has her locked in a madhouse.
Todd's head snaps to Anthony, riveted:
TODD
You've found Johanna?
ANTHONY
For all the good it'll do -- it's
impossible to get to her.
Todd begins pacing, the tiger again, his mind is racing--
TODD
A madhouse ... A madhouse ... Where?
ANTHONY
Fogg's Asylum. But I've circled the
place a dozen times. There's no way
in. It's a fortress.
Anthony fades to a brooding silence as Todd continues pacing,
thinking, thinking. Mrs. Lovett watches him, concerned.
Todd suddenly stops...
We see him settling into an inspired sort of calm, as if he
can finally see the Promised Land.
TODD
(a whisper)
I've got him.
ANTHONY
Mr. Todd?
TODD
(to Anthony)
We've got her ... Where do you suppose
all the wigmakers of London go to
obtain their human hair? Bedlam. They
get their hair from the lunatics at
Bedlam--
ANTHONY
I don't understand--
Todd suddenly grabs Anthony and hauls him up -- holds him
close, forehead to forehead -- his whispered intensity truly
disturbing:
TODD
We shall set you up as a wigmaker in
search of hair -- that will gain you
access -- then you will take her.
ANTHONY
Yes...
TODD
You will not be deterred -- You will
slaughter the world -- To bring her
here.
ANTHONY
Yes.
Mrs. Lovett watches, troubled, as Todd embraces Anthony
closely. He holds him for a long beat.
Then Todd is all action, hurries to get some money and gives
it to Anthony, as:
TODD
Go and outfit yourself properly -- you
are to be a gentlemen wigmaker. When
you return we shall dispatch a letter
to this Mr. Fogg announcing your
arrival. Go -- quickly now!
ANTHONY
(clasping Todd's hand)
Mr. Todd -- how can I ever--?
TODD
Go!
Anthony hurries out.
Todd immediately hurls himself into a chair and begins
writing a letter, his violent scrawl slashing across the
page.
MRS. LOVETT
Dear, I wonder if--
TODD
Fetch the boy.
MRS. LOVETT
Don't you think it's time you--
TODD
Fetch the boy.
Mrs. Lovett goes...
96
EXT. PIE SHOP -- MORNING
96
Mrs. Lovett begins going down the stairs outside the barber
shop.
Then she stops. She stands for a long moment, disturbed that
Todd's demons are again devouring him.
She looks down and sees Toby washing the tables in the
outdoor garden. Toby is serious about his work, vigorously
scrubbing the tables with soap and water.
She watches him for a moment and then continues down the
steps:
MRS. LOVETT
Toby ... Mr. Todd requires you.
TOBY
Yes'm.
He goes up the steps. She just stands, deep in thought.
97
INT. BARBER SHOP -- MORNING
97
Todd is finishing the letter as Toby enters:
TOBY
Mr. T.?
TODD
(still writing)
You know where the Old Bailey is?
TOBY
Oh, yes, sir. Not that I ever--
TODD
(interrupts, folding up
letter)
Take this there and seek out a Judge
Turpin. Repeat that. Repeat that.
TOBY
Go to the Old Bailey. Find Judge
Turpin.
TODD
(handing him letter)
Put this into his hands. Only to him.
Do you understand?
TOBY
Yes, sir, and while I'm out do you
mind if I stop by the grocer and pick
up the--
Todd pounces like a panther--
He suddenly leaps up and grabs Toby by the throat with
shocking brutality--
TODD
DON'T CHATTER, BOY! You are not to
stop! You are not to speak! You are to
deliver this letter! DO YOU
UNDERSTAND?!
Toby is stunned and terrified. It is the first time he has
seen this side of his friend, Mr. Todd.
Todd releases him. Toby races out.
Todd immediately begins pacing like a caged animal, back and
forth, back and forth, whispering to himself neurotically, as
day becomes evening...
101
EXT. PIE SHOP -- EVENING
101
Toby walks back to the pie shop, upset.
He stops when he sees Todd at the window above, unblinking,
gazing like a falcon into the street.
He continues on to Mrs. Lovett, who is clearing up the
remains of a meal in the outdoor garden.
MRS. LOVETT
Where you been, lad? We had quite the
luncheon rush! Me poor bones is ready
to drop...
(She looks at him, notes
his dark expression.)
What is it, Toby?
He sits. She sits next to him.
TOBY
Mr. Todd sent me on an errand ... And
on the way back I went by the
workhouse. And I was thinkin' ... But
for you I would be there now. Or
someplace worse.
A beat.
TOBY
Seems like the Good Lord sent you for
me.
MRS. LOVETT
Oh, love, I feel quite the same way--
TOBY
Hear me out, mum ... You know there's
nothing I wouldn't do for you. Say, if
there was someone around -- someone
bad -- only you didn't know it--
MRS. LOVETT
(concerned)
What is this? What are you talking
about?
TOBY
Nothing's gonna harm you,
Not while I'm around.
Nothing gonna harm you,
No, sir,
Not while I'm around...
MRS. LOVETT
What do you mean, "someone bad"?
TOBY
Demons are prowling
Everywhere
Nowadays.
I'll send 'em howling,
I don't care--
I got ways.
MRS. LOVETT
Darling, hush now, there's no need for
this...
TOBY
No one's gonna hurt you,
No one's gonna dare.
Others can desert you--
Not to worry--
Whistle, I'll be there.
Demons'll charm you
With a smile
For a while,
But in time
Nothing can harm you,
Not while I'm around.
Music continues:
MRS. LOVETT
What is this foolishness now? What are
you talking about?
TOBY
Little things wot I been thinking ...
About Mr. Todd...
Not to worry, not to worry,
I may not be smart but I ain't dumb.
I can do it,
Put me to it,
Show me something I can overcome.
Not to worry, mum.
He leans into her, she puts her arms around him, but her
expression is deeply troubled.
TOBY
Being close and being clever
Ain't like being true,
I don't need to,
I won't never
Hide a thing from you,
Like some.
Music continues as she nervously comforts him:
MRS. LOVETT
Now, Toby dear, haven't we had enough
of this foolish chatter? ...
(MORE)
MRS. LOVETT (cont'd)
(reaching for her purse)
... Here, how about I give you a shiny
new penny and you can fetch us some
nice toffees--?
She pulls Pirelli's chatelaine purse from her dress--
TOBY
That's Signor Pirelli's purse!
MRS. LOVETT
No, no, love -- this is just something
Mr. T. give me for my birthday--
TOBY
See that proves it -- what I been
thinkin'--
(He stands, urgently
pulling her hand)
We gotta go, ma'am, right now -- we
gotta find the Beadle and get the law
here--
She pulls him down to her again, agitated, her mind racing:
MRS. LOVETT
Hush now, Toby, hush ... Here, you
just sit next to me nice and quiet ...
(calming)
... How could you think such a thing
of Mr. Todd, who's been so good to us?
He calms down a bit as she holds him.
And she comes to a painful, dreadful decision.
MRS. LOVETT
Nothing's gonna harm you,
Not while I'm around.
Nothing's gonna harm you, darling,
Not while I'm around.
(He leans into her)
Demons'll charm you
With a smile
For a while,
But in time
Nothing's gonna harm you,
Not while I'm around.
The music continues as she holds him. There are tears in her
eyes. But we see that her gentle song has calmed him.
MRS. LOVETT
(softly)
Funny we should be having this little
chat right now ... 'Cause I was just
thinkin', you know how you've always
fancied coming into the bakehouse with
me to help make the pies?
TOBY
(dreamily)
Yes, ma'am.
She quickly dries her eyes and then turns him to look at her.
MRS. LOVETT
(smiles)
Well ... no time like the present.
102
INT. BAKEHOUSE STEPS -- EVENING
102
Mrs. Lovett leads Toby down the claustrophobic, long stairway
toward the bakehouse.
TOBY
My heart bleeds for you havin' to go
up and down all these stairs!
MRS. LOVETT
Well, that'll be your job now.
TOBY
Yes, ma'am!
She arrives at the heavy iron door to the bakehouse. We can
hear the seismic rumble of the bake oven within.
She unbolts the door and ushers Toby in.
And we finally enter...
103
INT. THE BAKEHOUSE -- EVENING
103
A macabre vision of Hell.
The roof hangs low in this subterranean chamber. The grisly
tools of her trade are scattered about the place: a large,
stained chopping block; a meat grinder; buckets of
questionable viscous liquid; cleavers and bone saws and meat
hooks; wet sewer grates for the blood.
A metal sheet, hinged at the top, has been attached to cover
an opening in the wall: the mouth of the chute from the
barber shop above.
And eeriest of all ... the thundering roar of flame coming
from a large industrial oven against one wall.
Toby takes in the cavernous bakehouse:
TOBY
Coo, quite a stink, ain't there?
She indicates the sewer grates:
MRS. LOVETT
Those grates go right down to the
sewers and the whiffs come up, always
a few rats gone home to Jesus down
there.
TOBY
So -- where do I start?!
She leads him across to the thrumming, fiery oven:
MRS. LOVETT
Now this would be the bake oven ...
Ten dozen at a time. Always be sure
the doors is closed properly, like
this.
TOBY
(trying to remember it
all)
Yes'm, always closed properly.
She leads him to the meat grinder:
MRS. LOVETT
And here's the grinder ...
(demonstrates it)
... You pop in the meat, give it a
good grind and it comes out here.
TOBY
(practicing with the
grinder)
Good grind, comes out there.
MRS. LOVETT
That's my boy. Smoothly, smoothly --
Now I've got to pop upstairs, back in
two shakes, all right?
TOBY
Yes'm.
She begins to go. He stops her with:
TOBY
Do you think I might have a pie while
I wait?
She turns. He is standing at a rack of cooling pies.
MRS. LOVETT
As many as you like, son ... As many
as you like.
She goes and shuts the door behind her.
104
INT. BAKEHOUSE STEPS -- EVENING
104
She leans against the bakehouse door, tormented, gasping for
air. Then she slowly bolts the door.
A120
105
INT. FOGG'S ASYLUM -- EVENING
105
A cacophony of madness. The ragged inmates of the asylum are
slammed together in a series of cramped cells, the low
ceiling pressing down.
We discover Anthony, dressed as a fashionable wigmaker,
walking past the cells with the odious MR. FOGG. Fogg carries
a large pair of scissors.
FOGG
... Oh yes, sir, I agree it would be
to our mutual interest to come to some
arrangement in regard to my poor
children's hair.
He moves to one of the cells and unlocks it:
FOGG
I keep the blondes over here. It was
yellow hair you was looking for, sir?
ANTHONY
Yes.
Fogg goes into the crowded cell -- the inmates, all blonde
women, scurry back, clearly terrified of Fogg. Anthony sees
Johanna, wearing a filthy straitjacket, hunched like a feral
animal, cowering in a corner of the cell.
ANTHONY
(points)
That one has hair the shade I need.
Fogg goes to fetch Johanna, hauls her to Anthony:
FOGG
Come, child. Smile for the gentleman
and you shall have a sweetie.
Johanna's eyes shoot wide when she sees Anthony, but she says
nothing.
FOGG
(prepares scissors)
Now, where shall I cut?
Before Fogg can react -- Anthony pulls a revolver from his
clothing, grabs Johanna and pushes Fogg back into the cell.
He swings the cell door shut, locking Fogg in.
ANTHONY
Not a word, Mr. Fogg, or it will be
your last ... Now, I leave you to the
mercy of your "children."
He grabs Johanna and pulls her away.
Mr. Fogg turns. He is locked in with the blonde inmates. They
slowly begin to advance on him. Menacing. It is likely they
are going to rip him limb from limb...
106
EXT. PIE SHOP -- EVENING
106
Todd and Mrs. Lovett are hurrying down the stairs from the
barber shop, urgent. Todd has a razor.
MRS. LOVETT
... I got him locked in -- but if he
escapes he'll go to the law!
TODD
Then he can't escape.
MRS. LOVETT
Mr. T. -- I don't know -- maybe we
could--
TODD
The Judge will be here soon! I have no
time, woman! Come on--!
They turn a corner and walk straight into--
The Beadle!
MRS. LOVETT
Excuse me, sir! -- You gave me a
fright.
BEADLE
Not my intention, good madam, though I
am here on official business.
(elaborately prepares a
pinch of snuff)
You see, there's been complaints.
About the stink from your chimney.
They say at night, it's something most
foul. Health regulations -- and the
general public welfare, naturally --
being my duty, I'm afraid I'll have to
take a look ...
(inhales the snuff,
Sneezes and daintily
wipes his nose)
... at your bakehouse.
TODD
(smoothly)
Of course ... But first why don't you
come upstairs and let me attend to
you?
BEADLE
Much as I do appreciate tonsorial
adornment, I really ought see to my
"official" obligations first.
TODD
An admirable sentiment -- But I must
ask you, out of professional curiosity
you understand, is that a cream or a
tallow pomade?
BEADLE
(touches his hair)
Oh, not a pomade at all! Me secret is
a touch of ambergris.
TODD
But, sir, hair that delicate requires
a genuine pomade! Come along, let me
show you the difference.
BEADLE
(considering)
Well ... you are the expert in these
matters...
TODD
And we'll finish you off with a nice
facial rub of bay rum.
BEADLE
Oooh, bay rum is bracing.
TODD
And all on the house, for my friend,
Beadle Bamford.
BEADLE
Well, sir, I take that very kindly ...
Lead on.
TODD
(bowing)
I am, sir, entirely at your --
(his eyes flit to Mrs.
Lovett)
-- disposal.
He leads the Beadle away.
Mrs. Lovett allows herself a breath.
107
EXT. PIE SHOP -- EVENING
107
From across the street, we see Todd leading the Beadle up the
stairs to the barber shop, chatting with him easily.
We realize we are seeing the perspective of the Beggar Woman,
hunched across the street, watching them closely.
108
INT. BAKEHOUSE -- EVENING
108
Toby is eating a pie as he slowly wanders around the
bakehouse.
He stops to consider the many stained cleavers and bone saws,
curious.
Then he bites on something hard -- stops -- he reaches into
his mouth and pulls something out. Looks at it:
It is a fingernail.
To be exact, it is the severed tip of a finger.
Toby drops it in horror and starts back--
Suddenly, a loud THUMPING and CLANGING makes him spin,
alarmed--
As --
The bloody body of the Beadle EXPLODES SUDDENLY from the
mouth of the chute--
Toby screams and races to the door--
Pulls at it. Locked. No use. He bangs on the heavy iron door
wildly:
TOBY
MRS. LOVETT! MRS. LOVETT! LET ME OUT!
MRS. LOVETT!
The thundering roar from the bake oven seems to rise to match
his frenzy as--
In panic, Toby races to the sewer grate, yanks it up and
disappears down into the sewers as the shrill factory whistle
SCREAMS and we cut to--
109
INT. BARBER SHOP -- EVENING
109
Todd stands by the chair, his razor high--
His eyes blazing--
His face covered in a spray of blood--
Lost in rapture.
Not for long.
The Gentleman, the Banker, the General move into the frame
with purpose, impatient.
The Gentleman flicks out his handkerchief and begins to clean
the blood off Todd's face -- he is not gentle, the blood
smears--
GENTLEMAN
The engine roared, the motor hissed,
And who could see how the road would twist...?
Meanwhile, the Banker pulls off Todd's stained barber tunic
and hands Todd his jacket--
BANKER
In Sweeney's ledger the entries matched:
A Beadle arrived, and a Beadle dispatched...
Meanwhile, the General is cleaning up the blood on the barber
chair--
GENERAL
To satisfy the hungry god
Of Sweeney Todd...
GENTLEMAN, BANKER AND
GENERAL
The Demon Barber of Fleet...
SUDDENLY -- a sharp cry from across the room -- Todd spins--
OTHER GHOSTS (O.S.)
SWEENEY!
GENTLEMAN, BANKER AND
GENERAL
...Street!
Todd sees that more and more of the ghastly specters are
moving around the room -- multiplying exponentially -- we see
the TOURIST, the STUDENT, the PRIEST and others.
They are more intrusive than they have ever been -- touching
Todd -- eagerly preparing him for the finale of his drama --
GHOSTS
(variously)
Sweeney! Sweeney!
Sweeney! Sweeney! Sweeney!
By now the ghosts are fully Furies, demented and threatening--
GHOSTS
Sweeney!
Sweeeeeeneeeeey...!
The screeching music transforms into a strange symphony of
inarticulate moans and howls and chants, taking us to...
110
INT. SEWERS -- NIGHT
110
GHOSTS (V.O.)
Sweeeeeeeeeeeeeeneeeeeeeeeeeey...
Sweeneysweeneysweeneysweeney...
Todd and Mrs. Lovett are searching for Toby through a
horrible catacomb of decaying sewers. Todd carries a razor.
Their voices echo bizarrely:
MRS. LOVETT
Toby!
Where are you, love?
TODD
Toby!
Where are you, lad?
MRS. LOVETT
Nothing's gonna harm you...
TODD
Toby!
MRS. LOVETT
Not while I'm around...
TODD
Toby!
MRS. LOVETT
Nothing's gonna harm you,
Darling...
TODD
Nothing to be afraid of boy...
MRS. LOVETT
Not while I'm around.
TODD
Toby...
MRS. LOVETT
Demons are prowling everywhere
Nowadays...
TODD
Toby...
Music takes us to...
111
INT. BARBER SHOP -- NIGHT
111
Anthony and Johanna hurry into the barber shop. She is now
dressed as a scruffy boy, a cap hiding her hair. She is
distracted and disturbed.
ANTHONY
Mr. Todd...? No matter. You wait for
him here -- I'll return with the coach
in less than half an hour...
She gently touches Todd's collection of razors...
ANTHONY
Don't worry, darling, in those
clothes, no one will recognize you ...
You're safe now.
She picks up the largest razor, looks at it, an eerie echo of
her father.
JOHANNA
(darkly ironic)
Safe ... So we run away and then all
our dreams come true?
ANTHONY
I hope so...
JOHANNA
I have never had dreams. Only
nightmares.
ANTHONY
Johanna ... When we're free of this
place all the ghosts will go away.
She looks at him very intensely:
JOHANNA
No, Anthony, they never go away.
He gently touches her face.
ANTHONY
I'll be right back to you ... Half an
hour and we'll be free.
He goes.
She turns to the window, watches him go. Her expression is
sad: he will never fully comprehend her depth.
Then she sees the Beggar Woman approaching from across the
street...
112
EXT. PIE SHOP -- NIGHT
112
The Beggar Woman begins climbing the stairs to the barber
shop:
BEGGAR WOMAN
Beadle ... Beadle ...
No good hiding, I saw you!
Are you in there still?
113
INT. BARBER SHOP -- NIGHT
113
Johanna hears the Beggar Woman singing, climbing the stairs.
BEGGAR WOMAN (V.O.)
Beadle ... Beadle...
Johanna looks around urgently, sees the large chest. She
quickly climbs into it and shuts the lid as--
The Beggar Woman enters.
BEGGAR WOMAN
Beadle dear, Beadle...
The room has a strange effect on her, as if she were vaguely
recalling some distant dream. She intones to pretty lullaby
music...
BEGGAR WOMAN
Beadle deedle deedle deedle deedle dumpling,
Beadle, dumpling, Be-deedle dumpling...
SUDDENLY--
Without warning -- like a thunderbolt -- Todd leaps into the
room--
TODD
What are you doing here?!
BEGGAR WOMAN
(clutching at his arm)
Ah, evil is here, sir. The stink of
evil -- from below -- from her! ...
(calling)
... Beadle dear, Beadle!
He looks anxiously out the window for the Judge:
TODD
Be quiet, woman!
BEGGAR WOMAN
(still clutching at him)
She's the Devil's wife! Oh, beware
her, sir. She with no pity ...
(slowing, looking at him
more closely)
...in her heart...
TODD
Out of here! Now!
BEGGAR WOMAN
(really peering at him
now)
Hey, don't I know you, mister?
Todd suddenly sees -- the Judge! -- walking toward the shop--
Todd has no time--!
The music THUNDERS as--
In one brutal motion -- he swings around and grabs his razor -
- fiercely SLASHES her throat -- tosses her in the chair --
pulls the lever -- she slides through the floor--
He pulls the chair back to its normal position just as--
The Judge enters.
JUDGE
Where is she? Where's the girl?
TODD
Below, your Honor. With my neighbor.
Thank heavens the sailor did not
molest her. Thank heavens, too, she
has seen the error of her ways.
JUDGE
She has?
TODD
Oh yes, sir, your lesson was well
learned. She speaks only of you,
longing for forgiveness.
JUDGE
Then she shall have it. She'll be here
soon, you say?
The music builds, the pace increases:
TODD
I think I hear her now.
JUDGE
(excited)
Oh, excellent, my friend!
TODD
Is that her dainty footstep on the stair?
JUDGE
I hear nothing.
TODD
Yes, isn't that her shadow on the
wall?
JUDGE
Where?
TODD
There!
Primping,
Making herself even prettier than usual--
JUDGE
Even prettier...
TODD
If possible.
JUDGE
(blissful)
Ohhhhhhh,
Pretty women!
TODD
Pretty women, yes...
JUDGE
(straightening his coat)
Quickly, sir, a splash of bay rum!
TODD
Sit, sir, sit.
JUDGE
(settling into chair, in
lecherous rapture)
Johanna, Johanna...
Todd gets a towel, puts it carefully around the Judge, moves
to get a bottle of bay rum--
TODD
Pretty women...
JUDGE
Hurry, man!
TODD
Pretty women
Are a wonder...
JUDGE
You're in a merry mood again today,
barber.
TODD
(joyfully)
Pretty women!
JUDGE
What we do for
They sing simultaneously as Todd smoothes bay rum on the
Judge's face and then reaches for his razor:
JUDGE
Pretty women!
Blowing out their candles
Combing out their hair--
Then they leave--
Even when they leave you
And vanish, they somehow
Can still remain
There with you there...
TODD
Pretty women!
Blowing out their candles
Or combing out their hair,
Even when they leave,
They still
Are there,
They're there...
The music builds dangerously as:
JUDGE
How seldom it is one meets a fellow
spirit!
TODD
With fellow tastes -- in women, at
least.
JUDGE
What? What's that?
TODD
The years no doubt have changed me,
sir.
(MORE)
TODD (cont'd)
But then, I suppose the face of a
barber -- the face of a prisoner in
the dock -- is not particularly
memorable.
JUDGE
(a horrified realization)
Benjamin Barker!
TODD
BENJAMIN BARKER!
The factory whistle screams a steady, terrible blast as--
Todd brutally SLASHES the Judge's throat--
Severing his jugular--
The spray of blood drenches Todd--
He pulls the lever and sends the body tumbling out of sight
down the chute.
The music continues...
As Todd stands for a long moment, blood dripping from his
face, exalted.
Then he sinks to his knees, overcome.
The music stops.
A long beat of silence.
Then Todd looks at his razor deeply:
TODD
Rest now, my friend,
Rest now forever,
Sleep now the untroubled
Sleep of the angels.
Then silence as he reverently sets the razor on the floor and
looks at it.
We focus on his face.
His quest is completed.
His demons silenced.
The ghosts are gone.
It's done.
He just kneels there. No reason to move. No purpose in life.
Then...
A sound from the chest. A slight thump.
His eyes dart to the chest.
He slowly picks up his razor and moves to the chest. Then
suddenly WRENCHES it open and HAULS out Johanna--
TODD
(darkly)
Come for a shave, have you, lad?
JOHANNA
No -- I...
He tosses her in the chair, throws back his arm, his razor
ready--
TODD
Surely, yes! Everyone needs a good
shave--!
SUDDENLY -- A PIERCING SCREAM ECHOES UP FROM THE CHUTE --
Mrs. Lovett's voice -- screaming to raise the dead--
Todd rivets Johanna, pointing the razor at her, a lethal
warning:
TODD
Forget my face.
He spins and bolts out of the shop, leaving her sitting in
the chair--
114
INT. BAKEHOUSE -- NIGHT
114
Mrs. Lovett is standing in horror by the mouth of the chute.
The Judge, still barely alive, clutches at her skirt--
She tries to wrench herself away from his vise-like grip--
MRS. LOVETT
Die! Die! God in heaven -- die!
The Judge's fingers finally relax their grip; he is dead.
Panting, Mrs. Lovett, backs away from him and for the first
time notices the body of the Beggar Woman.
MRS. LOVETT
You! Can it be? Have all the demons of
Hell come to torment me?!
She grabs the Beggar Woman and starts dragging her quickly
toward the oven as Todd races in:
TODD
Why did you scream? Does the Judge
live still?
MRS. LOVETT
He was clutching, holding on to my
dress, but he's finished now...
She continues quickly dragging the Beggar Woman toward the
oven.
TODD
Leave them to me. Open the doors.
He waves her toward the oven--
MRS. LOVETT
No! Don't touch her!
TODD
Open the doors!
He shoves her toward the oven and leans over to pick up the
Beggar Woman's body--
TODD
What's the matter with you? It's only
a silly old beggar--
Then -- Mrs. Lovett opens the oven doors--
The thundering roar from the oven crashes through the room as
the fiery light slashes across the floor--
Clearly illuminating the face of the Beggar Woman.
A chord of music as Todd realizes who she is. Music continues
and builds as:
TODD
Oh no! ... Oh God ... "Don't I know
you?" she said ...
He looks up to Mrs. Lovett:
TODD
You knew she lived. From the moment
that I came into your shop you knew my
Lucy lived!
MRS. LOVETT
I was only thinking of you!
TODD
(looking down again)
Lucy...
MRS. LOVETT
Your Lucy! A crazy hag picking bones
and rotten spuds out of alley ashcans!
Would you have wanted to know she
ended up like that?
TODD
(looking up)
You lied to me...
MRS. LOVETT
(desperately)
No, no, not lied at all.
No, I never lied.
TODD
(to Beggar Woman)
Lucy...
MRS. LOVETT
Said she took the poison -- she did --
Never said that she died --
Poor thing,
She lived--
TODD
I've come home again...
MRS. LOVETT
But it left her weak in the head,
All she did for months was just lie there in bed--
TODD
Lucy...
MRS. LOVETT
Should've been in hospital,
Wound up in Bedlam instead,
Poor thing!
TODD
Oh, my God...
MRS. LOVETT
Better you should think she was dead.
(passionately)
Yes, I lied 'cos I love you!
TODD
Lucy...
MRS. LOVETT
I'd be twice the wife she was!
I love you!
Could that thing have cared for you
Like me?
TODD
(a harrowing keen)
WHAT HAVE I DONE?!
Todd's eyes suddenly snap up to Mrs. Lovett -- as the
glorious "Little Priest" waltz theme returns--
TODD
Mrs. Lovett,
You're a bloody wonder,
Eminently practical and yet
Appropriate as always,
As you've said repeatedly,
There's little point in dwelling on the past.
He steps toward her, she steps back, unsure, as they sing
simultaneously:
TODD
No, come here, my love...
Not a thing to fear,
My love...
What's dead
Is dead.
MRS. LOVETT
Do you mean it?
Everything I did I swear I thought
Was only for the best,
Believe me!
(a heartbreaking plea)
Can we still be
Married?
Todd steps toward her darkly.
She knows she is doomed.
But steps into his arms anyway for a final, triumphant waltz:
TODD
The history of the world, my pet--
MRS. LOVETT
(through tears)
Oh, Mr. Todd,
Ooh, Mr. Todd,
Leave it to me...
TODD
Is learn forgiveness and try to forget.
MRS. LOVETT
(the lost dream)
By the sea, Mr. Todd,
We'll be comfy-cozy,
By the sea, Mr. Todd,
Where there's no one nosy...
He waltzes her toward the roaring oven.
She offers no resistance, fully aware of what's coming.
The blazing, thundering inferno of the oven makes it seem
they are the damned, dancing through Hell.
TODD
And life is for the alive, my dear,
So let's keep living it--!
BOTH
Just keep living it,
Really living it--!
The music reaches a thundering crescendo as--
He flings her into the oven and slams the doors--
We hear her screaming. And banging on the oven doors.
Todd sinks to his knees and covers his ears desperately as
the banging and screaming and music finally fade to silence.
Then he slowly drags himself across the floor to the Beggar
Woman.
He cradles her head in his arms.
TODD
There was a barber and his wife,
And she was beautiful.
A foolish barber and his wife,
She was his reason and his life.
And she was beautiful.
And she was virtuous.
And he was...
Todd folds himself over his dead wife.
The only sound his deep, anguished sobs.
A long beat.
Then he becomes aware of something. He looks over to see....
Toby -- staring at him from the open sewer grate. He has seen
everything.
Todd watches as Toby silently pulls himself up. Todd gently
sets Lucy down and then, still kneeling, turns to face Toby.
A long beat as they look at each other.
Then Toby slowly moves and carefully picks up Todd's razor.
Todd looks at him.
Then slowly unbuttons his collar and exposes his neck.
He bends his head back, offering his naked throat.
Toby slowly goes to him and methodically slits his throat.
Todd continues to gaze up at Toby as we hear the lonely sound
of wind escaping from his severed wind pipe.
Then Toby turns and leaves the bakehouse.
Todd leans forward, dying.
We cut to his point-of-view:
The rough brick floor...
From the bottom of the frame...
A dark pool of blood slowly begins to spread ... moving up
the frame ... the fiery glow from the bake oven reflected in
the blood...
Finally, the pool of blood fills the entire frame.
We realize this is the first image we saw in the story.
Todd's perspective. Todd's blood. As he dies.
As before, the Gentleman's face appears, reflected in the
pool of blood...
GENTLEMAN
Attend the tale of Sweeney Todd,
His skin was pale and his eye was odd.
The Banker emerges from the shadows of the bakehouse...
BANKER
He shaved the faces of gentlemen
Who never thereafter were heard of again.
The General emerges ... and the Tourist ... and the Priest
... and the Student...
GHOSTS
(variously)
He trod a path that few have trod,
Did Sweeney Todd,
The Demon Barber of Fleet Street.
Then a new ghost ... a face we recognize ... the Beggar
Woman...
BEGGAR WOMAN
He kept a shop in London town,
Of fancy clients and good renown.
She is joined by the Judge...
JUDGE
And what if none of their souls were saved?
They went to their maker impeccably shaved.
BEGGAR WOMAN, JUDGE AND
GHOSTS
By Sweeney,
By Sweeney Todd,
The Demon Barber of Fleet Street.
The Beadle and Pirelli join the ghosts...
PIRELLI AND
BEADLE
Swing your razor wide, Sweeney!
Hold it to the skies!
Freely flows the blood of those
Who moralize!
The ghosts move around the bakehouse, considering the meat
grinder and stained cleavers and chopping block...
GHOSTS
(variously)
His needs are few, his room is bare.
He hardly uses his fancy chair.
The more he bleeds, the more he lives.
He never forgets and he never forgives.
Perhaps today you gave a nod
To Sweeney Todd.
The Demon Barber of Fleet Street.
Hunting like predators, we begin to move urgently through the
ghosts. Their long shadows tower bizarrely against the walls
and ceiling of the bakehouse. The fiery red roar of the bake
oven builds in intensity...
GHOSTS
(variously)
Sweeney wishes the world away,
Sweeney's weeping for yesterday,
Hugging the blade, waiting the years,
Hearing the music that nobody hears.
Sweeney waits in the parlor hall,
Sweeney leans on the office wall.
No one can help, nothing can hide you--
Isn't that Sweeney there beside you?
Sweeney wishes the world away,
Sweeney's weeping for yesterday,
Is Sweeney!
There he is, it's Sweeney!
Sweeney! Sweeney!
We tear through them with increasing frenzy -- cutting
quickly, vertiginous angles -- as the music builds--
GHOSTS
(variously)
There! There! There! There!
There! There! There!
(almost a scream now)
There!
They move away--
Revealing--
Todd and Mrs. Lovett. Facing each other.
We circle them:
GHOSTS
Attend the tale of Sweeney Todd!
He served a dark and a hungry god!
TODD
(sharply to Mrs. Lovett)
To seek revenge may lead to hell.
MRS. LOVETT
(coldly to him)
But everyone does it, if seldom as well--
TODD AND
MRS. LOVETT
--As Sweeney...
GHOSTS
As Sweeney Todd...
The Demon Barber of Fleet...
The ghosts begin to disappear ... fading into the shadows of
the bakehouse ... leaving Todd and Mrs. Lovett alone...
GHOSTS
... Street!
The febrile music continues as Todd and Mrs. Lovett stand
alone, continuing to glare at each other.
Finally she gives him a grim little smile and disappears into
the darkness.
He stands alone.
And we cut to--
A series of images from earlier in our story, cut to the music --
Todd's life flashing before his eyes --
The images building as the music races toward its conclusion--
Todd singing -- slashing -- smiling -- striding--
The final crash of music at the final image:
Todd kneeling, hunched over the pool of blood on the
bakehouse floor.
He falls...
Into the blood.
Dead.
Snap to black.
The End