Into the Woods
script used with courtesy of IMSDb
Screenplay by
James Lapine
Music and Lyrics by
Stephen Sondheim
Grey clouds of an early morning sky.
BAKER (V.O.) Once upon a time, in a far off kingdom, there lay a small village at the edge of the woods…
Suddenly, the WELL-WORN BOOT of Cinderella steps into the frame and lands on what we thought was the sky, but in fact is simply its reflection in a puddle of water. A strong CHORD accents the splash and we begin a musical vamp.
EXT. CINDERELLA’S HOUSE – DAYBREAK
CLOSE-UP on CINDERELLA’S dirty hand as it reaches down to gather kindling.
BAKER (V.O.) And in this village…
CLOSE-UP on a bead of sweat as it trickles from her brow, the same hand entering the frame to wipe it.
BAKER (V.O.) … lived a young maiden…
ANGLE on CINDERELLA A pretty (and filthy) young woman, who finishes mopping her brow and trudges towards the back of a large house, the kindling under her arm.
MORE THAN JEWELS…
EXT. JACK’S FARMHOUSE – DAY
CLOSE-UP on JACK’S calloused hands as he pulls on a rope.
BAKER (V.O.) … a care-free young lad…
ANGLE ON JACK
A spaced-out twelve year-old who is trying to pull his bony cow MILKY-WHITE towards his dilapidated cottage.
INT. BAKER’S COTTAGE – DAY
CLOSE-UP on a ball of dough. The BAKER’S thick hand pounds it.
BAKER (V.O.) … and a childless baker…
ANGLE ON THE BAKER AND HIS WIFE
Hard-working and honest, he is kneading the dough which she then takes and puts in the oven.
BAKER (V.O.) … with his Wife– “
MORE THAN THE MOON…
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
CINDERELLA scrubs a huge pot.
THE KING IS GIVING A FESTIVAL.
INT. BAKER’S COTTAGE – DAY
The WIFE rolls the dough as the BAKER stokes the hot oven.
INT. JACK’S FARMHOUSE – DAY
Inside the tiny cottage, the COW stands bewildered as JACK tries to milk her without success.
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
I WISH TO GO TO THE FESTIVAL–
INT. BAKER’S COTTAGE – DAY
MORE THAN RICHES…
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
— AND THE BALL…
INT. JACK’S FARMHOUSE – DAY
I WISH MY COW WOULD GIVE US SOME MILK.
INT. BAKER’S COTTAGE – DAY
The WIFE lifts a heavy sack of flour.
MORE THAN ANYTHING… The BAKER takes bread from the oven.
I WISH WE HAD A CHILD.
INT. JACK’S FARMHOUSE – DAY
Now leaning his shoulder against the cow for more leverage as he squeezes her udders.
PLEASE, PAL.
INT. BAKER’S COTTAGE – DAY
I WANT A CHILD.
INT. JACK’S FARMHOUSE – DAY
SQUEEZE, PAL…
INT. CINDERELLA’S HOUSE/JACK’S HOUSE/BAKER’S COTTAGE – DAY
She is now scrubbing the floor in front of a large fireplace.
I WISH TO GO TO THE FESTIVAL.
JACK BAKER /WIFE
I WISH YOU’D GIVE US SOME I WISH WE MIGHT HAVE A CHILD.
MILK / OR EVEN CHEESE…
CINDERELLA’S STEPMOTHER moves towards her threateningly.
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
CINDERELLA’S STEPMOTHER dressed in a robe, her blonde hair rolled in rags, carries herself with an air of disgust; like a medieval Orange County housewife.
YOU WISH TO GO TO THE FESTIVAL?
BAKER (V.O) The poor girl’s parents had died– Her two daughters, also blonde, FLORINDA and LUCINDA, appear on the stairwell. They’re junior versions of Mom.
YOU, CINDERELLA, THE FESTIVAL? / YOU
WISH TO GO TO THE FESTIVAL?
FLORINDA and LUCINDA move to join their MOTHER.
FLORINDA LUCINDA (overlapping) WHAT, YOU WISH TO GO TO THE
WHAT, YOU, CINDERELLA? THE FESTIVAL?
FESTIVAL? THE FESTIVAL?
THE FESTIVAL?! / THE KING’S FESTIVAL!??
BAKER (V.O.) And now she lived with her stepmother…
THE FESTIVAL?!!!
BAKER (V.O.) …who had two daughters of her own. CINDERELLA rises and shyly retreats, but the STEPSISTERS sweep around her menacingly.
FLORINDA (grabbing her hand)
LOOK AT YOUR NAILS!
LUCINDA (pulling on her)
LOOK AT YOUR DRESS!
PEOPLE WOULD LAUGH AT YOU!
STEPMOTHER /STEPSISTERS /CINDERELLA
SHE /YOU /I STILL WANT(S) / WISH TO GO
THE FESTIVAL– / AND DANCE BEFORE THE
PRINCE?!
They roar in derision.
BAKER (V.O.) All three were beautiful of face, but vile and black of heart.
EXT. JACK’S FARMHOUSE – DAY
JACK’S MOTHER, bedraggled, takes in the laundry.
BAKER (V.O.) The young lad had no father, and his
BAKER (V.O.) Well, she was at her wit’s end–
I WISH MY SON WERE NOT A FOOL. / I WISH
MY HOUSE WAS NOT A MESS. / I WISH THE
COW WAS FULL OF MILK. / I WISH THE
WALLS WERE FULL OF GOLD– / I WISH A
LOT OF THINGS.
INT. JACK’S FARMHOUSE – DAY – CONTINUOUS
JACK’S MOTHER enters the house and stops dead in her tracks when she sees the cow.
JACK’S MOTHER What in heaven’s name are you doing with the cow inside the house?
JACK I thought if he was nice and warm he might produce some milk.
JACK’S MOTHER It’s a she! How many times must I tell you? Only shes can give milk!
INT. BAKER’S COTTAGE – DAY
The BAKER and his WIFE are scurrying about the kitchen.
BAKER (V.O.) And then there was a hungry little girl who always wore a red cape… The BAKER turns to see a small hand rise up and snatch one of the BUNS off the counter.
BAKER Hey! The BAKER swiftly comes around the counter where a small, plump young girl in a red cape, LITTLE RED RIDING HOOD studies the goodies.
I WISH. / IT’S NOT FOR ME, / IT’S FOR MY
GRANNY IN THE WOODS. / A LOAF OF BREAD,
PLEASE, / TO BRING MY POOR OLD HUNGRY /
GRANNY IN THE WOODS… / JUST A LOAF OF
BREAD, PLEASE.
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
The STEPSISTERS are still laughing at CINDERELLA. The STEPMOTHER looks around the room and sees a large bowl of lentils. She walks over, picks it up and violently flings the bowl towards CINDERELLA strewing the beans across the room and into the fireplace.
(CHEERY) Cinderella, if you can pick up these lentils, and finish your chores in time, then you may go to the ball with us. (to her DAUGHTERS) Come along, ladies…
STEPSISTERS Yes, Mother. They sweep out of the room giggling. BACK ON CINDERELLA. She stands forlornly, studying the mess that awaits her. She closes her eyes and begins to gently sway as if going into a trance.
COME LITTLE BIRDS, / DOWN FROM THE
EAVES / AND THE LEAVES, / OVER FIELDS, /
OUT OF CASTLES AND PONDS… / AHHHHH…
INT. JACK’S FARMHOUSE – DAY
JACK is trying to milk the COW as his MOTHER looks on dubiously.
NO, SQUEEZE, PAL …
JACK’S MOTHER hears the loud squalling of birds and runs to the window, sticking her head out.
JACK’S MOTHER’S POV
Birds flying en masse over their house.
EXT. CINDERELLA’S HOUSE – DAY
We see the BIRDS swarming and flying down the chimney.
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
CINDERELLA opens her eyes to greet the birds that now surround her.
QUICK, LITTLE BIRDS, / FLICK THROUGH
THE ASHES. / PICK AND PECK, BUT
SWIFTLY, / SIFT THROUGH THE ASHES. /
INTO THE POT…
The BIRDS spread out and begin their task.
EXT. JACK’S FARMHOUSE – DAY
JACK sits atop MILKY-WHITE as if she were a horse, his arm WHIRLING as he releases a sling and sends a STONE hurtling towards a TIN CUP on top of the door frame. There is a loud
“CLANG”.
JACK Bullseye! JACK’S MOTHER was just exiting the house. The CUP falls down, narrowly missing her.
JACK’S MOTHER What are you doing? Stop your pretending! She grabs JACK’S sling and pulls him away from the COW.
JACK’S MOTHER (CONT’D) Now listen to me well, son. Milky-White must be taken to market.
JACK Mother, no– he’s the best cow in the
JACK’S MOTHER Was. She’s been dry for weeks. We’ve no food or money and no choice but to sell her.
JACK But Milky-White is my best friend!
JACK’S MOTHER Look at her!
THERE ARE BUGS ON HER DUGS. / THERE ARE
FLIES IN HER EYES. / THERE’S A LUMP ON
HER RUMP / BIG ENOUGH TO BE A HUMP!
WE’VE NO TIME TO SIT AND DITHER / WHILE
HER WITHERS WITHER WITH HER– / AND NO
ONE KEEPS A COW FOR A FRIEND!
Sometimes I wonder what’s in that head of yours.
INT. BAKER’S COTTAGE – DAY
LRRH gives the BAKER a coin as his WIFE looks on adoringly. She loves having the little girl here. The Baker, not so much.
INTO THE WOODS, IT’S TIME TO GO, / I
HATE TO LEAVE, I HAVE TO, THOUGH. /
INTO THE WOODS– IT’S TIME, AND SO / I
MUST BEGIN MY JOURNEY.
INTO THE WOODS AND THROUGH THE TREES /
TO WHERE I AM EXPECTED, MA’AM, / INTO
THE WOODS TO GRANDMOTHER’S HOUSE…
She shoves the entire bun into her mouth.
LRRH (CONT’D) (with her mouth full)
INTO THE WOODS TO GRANDMOTHER’S
HOUSE…
WIFE You’re certain of your way? As LRRH sings, she begins to help herself to all the buns she can lay her hands on.
THE WAY IS CLEAR, / THE LIGHT IS GOOD, /
I HAVE NO FEAR, / NOR NO ONE SHOULD. /
THE WOODS ARE JUST TREES, / THE TREES
ARE JUST WOOD. /
(to the Wife)
I SORT OF HATE TO ASK IT, / BUT DO YOU
HAVE A BASKET?
The WIFE reaches for a basket, while the BAKER tries to wrest away a bun or two from the girl.
BAKER I don’t suppose you’re planning on buying any of these? The WIFE gives the BAKER a look, then hands LRRH a basket.
WIFE Now, don’t stray and be late!
BAKER And you might save some of those sweets for Granny.
EXT. THE VILLAGE – DAY – MOMENTS LATER
The BAKER, and his WIFE are in front of their shop, watching as LRRH skips down the lane.
INTO THE WOODS AND DOWN THE DELL, / THE
PATH IS STRAIGHT, I KNOW IT WELL. /
INTO THE WOODS, AND WHO CAN TELL /
WHAT’S WAITING ON THE JOURNEY? / INTO
THE WOODS TO BRING SOME BREAD / TO
GRANNY WHO IS SICK IN BED. / NEVER CAN
TELL WHAT LIES AHEAD, / FOR ALL THAT I
KNOW, SHE’S ALREADY DEAD.
Her path takes her through an ancient GRAVEYARD and on towards the forest’s edge.
BUT INTO THE WOODS, / INTO THE WOODS, /
INTO THE WOODS / TO GRANDMOTHER’S
HOUSE / AND HOME BEFORE DARK!
INT. CINDERELLA’S HOUSE – KITCHEN – DAY
The BIRDS are dropping the last of the lentils into the pot.
LUCINDA (O.S.) Cinderella!
FLORINDA (O.S.) Get up here!
FLY BIRDS, / BACK TO THE SKY, /
The BIRDS begin to make their way out through the fireplace and windows as CINDERELLA sings her incantation.
LUCINDA (O.S.) We are waiting!
THE FIELDS / AND THE–
INT. CINDERELLA’S HOUSE – DRESSING ROOM – DAY
A room of mirrors. LUCINDA and FLORINDA, dressed in their ball gowns, study themselves side by side, reflected over and over. CINDERELLA enters through a mirrored door, breaking the image.
HURRY UP AND DO MY HAIR, CINDERELLA!
FLORINDA pulls at one of LUCINDA’S bows.
ARE YOU REALLY WEARING THAT?
LUCINDA grabs CINDERELLA.
LUCINDA (pointing to her
HERE, I FOUND A LITTLE TEAR,
CINDERELLA!
LUCINDA eyes FLORINDA’S hair.
CAN’T YOU HIDE IT WITH A HAT?
CINDERELLA grabs a stool and brings it next to FLORINDA.
YOU LOOK BEAUTIFUL.
She stands on the stool and begins fixing FLORINDA’S hair.
FLORINDA I know.
LUCINDA She means me.
FLORINDA No, she didn’t! The two STEPSISTERS bicker as CINDERELLA brushes and twists their hair into tight curls:
MOTHER SAID BE GOOD, / FATHER SAID BE
NICE, / THAT WAS ALWAYS THEIR ADVICE. /
SO BE NICE, CINDERELLA, / GOOD,
CINDERELLA, / NICE GOOD GOOD NICE–
FLORINDA Tighter! CINDERELLA obliges and becomes more aggressive with the hair styling, her emotions building as she thinks to herself:
WHAT’S THE GOOD OF BEING GOOD / IF
EVERYONE IS BLIND / ALWAYS LEAVING YOU
BEHIND? / NEVER MIND, CINDERELLA, / KIND
CINDERELLA– / NICE GOOD NICE KIND GOOD
NICE– FLORINDA screams, bringing CINDERELLA back to reality.
FLORINDA Ow! Not that tight! Clod! She reels around and smacks CINDERELLA who stands stunned. The STEPSISTERS giggle and snort.
INT. BAKER’S COTTAGE – DAY – LATER
The BAKER and his WIFE are cleaning up after their day’s work. There is an unexpected knock at the door. They stare at one another momentarily.
BAKER Who might that be?
(CALLING OUT) We’ve sold our last loaf of bread! The BAKER opens the window a crack to see who is at the door.
(ALARMED) It’s the Witch from next door! The DOOR pops off its frame and goes flying across the room in a giant puff of smoke. The BAKER and his WIFE scream and cower in a corner. As the fog clears, we see the WITCH for the first time and she’s not a pretty sight. MICE and other vermin drop from beneath her cape and scatter through the cottage.
WIFE We have no bread.
WITCH I don’t want your bread.
BAKER Then what is it you wish?
WITCH It’s not what I wish. It’s what you wish. She moves towards the WIFE as the BAKER tries unsuccessfully to protect her. She points her gross finger towards her belly.
WITCH (CONT’D) Nothing cooking in that belly now, is there? And there will never be… She looks away.
WITCH (CONT’D) Unless you do exactly as I say. In three days’ time, a Blue Moon will appear. Only then can the curse be undone.
WIFE What curse?
WITCH The one I placed on this house!
BAKER What are you talking about?
WITCH In the past, when you were no more than a babe, your father brought his young wife and you to this cottage. They were a lovely couple. But not lovely neighbors. You see, your mother was with child and she developed an unusual appetite. She admired my beautiful garden and she told your father that what she wanted, more than anything in the world was–
GREENS, GREENS, AND NOTHING BUT
GREENS: / PARSLEY, PEPPERS, CABBAGES
AND CELERY. / ASPARAGUS AND WATERCRESS
AND / FIDDLEFERNS AND LETTUCE–! / HE
SAID, “ALL RIGHT,” / BUT IT WASN’T,
QUITE, / `CAUSE I CAUGHT HIM / IN THE
AUTUMN / IN MY GARDEN ONE NIGHT!
EXT. WITCH’S GARDEN – NIGHT – FLASHBACK
WITCH’S POV In the moonlight, we see the BAKER’S FATHER, wearing a hunting jacket, scale over the WITCH’S wall and into her garden. From behind a wooden trellis, she WATCHES him as he gathers her greens:
HE WAS ROBBING ME, / RAPING ME, /
ROOTING THROUGH MY RUTABAGA, / RAIDING
INT. BAKER’S COTTAGE – DAY – PRESENT
AND / RIPPING UP THE RAMPION / (MY
CHAMPION! / MY FAVORITE!)
I SHOULD HAVE LAID A SPELL ON HIM
RIGHT THERE– / I COULD HAVE TURNED HIM
INTO STONE / OR A DOG OR A CHAIR… /
BUT I LET HIM HAVE THE RAMPION / I’D
LOTS TO SPARE.
EXT. WITCH’S GARDEN – NIGHT – FLASHBACK
Again, only seeing the WITCH from behind, she confronts the BAKER’S FATHER as he sheepishly holds the stolen vegetables.
IN RETURN, HOWEVER, / I SAID, “FAIR IS
FAIR: / YOU CAN LET ME HAVE THE BABY /
THAT YOUR WIFE WILL BEAR,
INT. BAKER’S COTTAGE – DAY – PRESENT
AND WE’LL CALL IT SQUARE.”
BAKER I had a brother?
WITCH No. But you had a sister.
BAKER Where is she?
WITCH She’s mine now and you’ll never find her! Small price to pay for what else your father stole from me. It cost me my youth, my beauty. My mother warned me she would punish me with the curse of ugliness if I ever lost them.
WIFE Lost what?
(IMPATIENT) The beans!
BAKER/WIFE Beans?
THE SPECIAL BEANS!
EXT. WITCH’S GARDEN – NIGHT – FLASHBACK
The BAKER’S FATHER steals the WITCH’S beans and pockets them.
I LET HIM GO, / I DIDN’T KNOW / HE’D
STOLEN MY BEANS!
WITCH’S POV – the BAKER’S FATHER scales his way back over the garden wall.
I WAS WATCHING HIM CRAWL / BACK OVER
THE WALL, / WHEN BANG! CRASH! / THE
LIGHTNING FLASH! /
Lights suddenly illuminate the BAKER’S FATHER as if it was a flash from the Hiroshima blast. A look of horror crosses his face.
BAKER’S FATHER’S POV
Light illuminates the WITCH as she walks back towards her house. Suddenly her youthful hands morph before our eyes into those of an aged hag. The CAMERA PANS UP to find her withered face.
INT. BAKER’S COTTAGE – DAY – PRESENT
A LIGHTNING FLASH rips through the Baker’s cottage.
WELL, THAT’S ANOTHER STORY– / NEVER
MIND. / ANYWAY, AT LAST / THE BIG DAY
CAME / AND I MADE MY CLAIM. / “OH, DON’T
TAKE AWAY THE BABY,” / THEY SHRIEKED
AND SCREECHED, /
INT. BAKER’S COTTAGE – NIGHT – FLASHBACK
We see the WITCH’S gross hands snatch the baby from a cradle.
BUT I DID, AND I HID HER / WHERE SHE’LL
NEVER BE REACHED.
INT. BAKER’S COTTAGE – DAY – PRESENT
AND YOUR FATHER CRIED / AND YOUR MOTHER
DIED, / WHEN FOR EXTRA MEASURE– / I
ADMIT IT WAS A PLEASURE– / I SAID,
“SORRY, I’M STILL NOT MOLLIFIED.” / AND
I LAID A LITTLE SPELL ON THEM– / YOU
TOO, SON– / THAT YOUR FAMILY TREE /
WOULD ALWAYS BE / A BARREN ONE…
The WIFE falls into the BAKER’S arms, weeping.
BAKER How could you do that to me?
WITCH And when your mother died, your father deserted you. Your father was no father — so why should you be?
BAKER (to his WIFE) I’m so sorry…
NOW THERE’S NO MORE FUSS / AND THERE’S
NO MORE SCENES / AND MY GARDEN THRIVES –
/ YOU SHOULD SEE MY NECTARINES! / BUT
I’M TELLING YOU THE SAME / I TELL KINGS
AND QUEENS: The WITCH grabs some magical looking beans from a SMALL SATCHEL she carries across her body. She displays them.
DON’T EVER NEVER EVER / MESS AROUND
WITH MY GREENS! / ESPECIALLY THE BEANS.
EXT. JACK’S FARMHOUSE – DAY
JACK with his cow stands outside with his MOTHER.
JACK Why do I have to go to the next village?
JACK’S MOTHER Because everyone in this village knows the cow hasn’t given a drop of milk in weeks.
JACK But that’s cheating.
JACK’S MOTHER We’re starving, Jack. Don’t you understand that? You’re not to take less than five pounds for her. Are you listening to me?
(HE’S NOT) Yes.
JACK’S MOTHER How much are you to ask?
JACK No more than five pounds. She grabs his ear and squeezes it hard.
JACK’S MOTHER JACK
Less! Than five. … than five!
She lets go and puts the COW’S leash in his hand and pushes him down the road towards the woods.
INTO THE WOODS, THE TIME IS NOW. / WE
HAVE TO LIVE, I DON’T CARE HOW. / INTO
THE WOODS TO SELL THE COW, / YOU MUST
BEGIN THE JOURNEY. / STRAIGHT THROUGH
THE WOODS AND DON’T DELAY, / WE HAVE TO
FACE / THE MARKETPLACE. / INTO THE WOODS
TO JOURNEY’S END–
INTO THE WOODS TO SELL A FRIEND–
INT. BAKER’S COTTAGE – DAY – CONTINUOUS
The WITCH, the BAKER, the BAKER’S WIFE.
YOU WISH TO HAVE THE CURSE REVERSED?
The BAKER and his WIFE nod.
I’LL NEED A CERTAIN POTION FIRST.
The WITCH intently turns on them.
GO TO THE WOOD AND BRING ME BACK / ONE:
THE COW AS WHITE AS MILK, / TWO: THE
CAPE AS RED AS BLOOD, / THREE: THE HAIR
AS YELLOW AS CORN, / FOUR: THE SLIPPER
AS PURE AS GOLD. / BRING ME THESE
BEFORE THE CHIME / OF MIDNIGHT IN THREE
DAYS’ TIME, / `TIS THEN THE BLUE MOON
REAPPEARS, / WHICH COMES BUT ONCE EACH
HUNDRED YEARS. / BRING THEM AND I
GUARANTEE, / A CHILD AS PERFECT AS
CHILD CAN BE.
(SHE EXPLODES) Go to the wood! The WITCH flings her arms and a hundred-mile wind throws the couple and all of their belongings across the room as she disappears in a cloud of smoke — or is it flour?
EXT. CINDERELLA’S HOUSE – ENTRY COURTYARD – DAY
An open-air carriage and horses wait in the courtyard. The STEPMOTHER, dressed to the nines, sweeps out of the house and impatiently calls over her shoulder.
STEPMOTHER Ladies. Our carriage awaits! CINDERELLA darts out of the house holding out the bowl of lentils to her STEPMOTHER.
NOW MAY I GO TO THE FESTIVAL?
STEPMOTHER The Festival! DARLING, THOSE NAILS!/
DARLING, THOSE CLOTHES! / LENTILS ARE
ONE THING, BUT / DARLING, WITH THOSE, /
YOU’D MAKE US THE FOOLS OF THE
FESTIVAL / AND MORTIFY THE PRINCE!
CINDERELLA The festival lasts three nights. Surely you can let me be there for one of them.
STEPMOTHER The King is trying to find his son a wife — not a scullery maid! We must be gone!
As the STEPMOTHER climbs into the carriage, the STEPSISTERS race by in their fancy attire, whooshing past CINDERELLA excitedly. As CINDERELLA watches from the doorway, the carriage leaves through the gate.
INT. BAKER’S COTTAGE – DAY
The BAKER is trying to clean up the mess when his WIFE races downstairs holding his FATHER’S HUNTING JACKET. She hands it to the BAKER.
WIFE Here. Take this…
BAKER I’m not wearing that.
WIFE Why?
BAKER It was my father’s. You heard what she said. This is all his fault. The BAKER throws the jacket to the ground.
BAKER (CONT’D) I want nothing to do with him! The WIFE sees that BEANS have spilled out of the pocket.
WIFE Look! She picks them up.
WIFE (CONT’D) Beans. The Witch’s beans! We’ll take them with us.
(REALIZING) We? Wait a minute! You’re not coming. It’s not safe out there. The BAKER puts a hunting knife in his belt.
WIFE I can help you.
BAKER No. I can do this on my own.
THE SPELL IS ON MY HOUSE. / NO, NO, THE SPELL IS ON OUR
ONLY I CAN LIFT THE SPELL, / HOUSE. / WE MUST LIFT THE
THE SPELL IS ON MY HOUSE. SPELL TOGETHER, / THE SPELL IS
ON OUR HOUSE.
BAKER (CONT’D) Now tell me. What am I to return with?
WIFE You don’t remember?!
THE COW AS WHITE AS MILK, / THE CAPE AS
RED AS BLOOD, / THE HAIR AS YELLOW AS
CORN, / THE SLIPPER AS PURE AS GOLD.
THE COW AS WHITE AS MILK, / THE CAPE AS
RED AS BLOOD, / THE HAIR AS YELLOW AS
CORN, / THE SLIPPER AS PURE AS GOLD…
EXT. CINDERELLA’S HOUSE – ENTRY COURTYARD – DAY
As CINDERELLA approaches the gate, an old GROUNDSKEEPER closes and locks it.
I STILL WISH TO GO TO THE FESTIVAL, /
BUT HOW AM I EVER TO GET TO THE
FESTIVAL?
EXT. THE VILLAGE/CINDERELLA’S HOUSE – DAY
With the cottage behind him, the BAKER appears dressed for his journey. His WIFE hurries towards him with his satchel and places it around his neck. He proceeds down the cobblestone lane, his WIFE walking next to him. CINDERELLA looks through the bars, watching the CARRIAGE disappear down the road.
THE COW AS WHITE AS MILK, / THE CAPE AS
RED AS BLOOD, / THE HAIR AS YELLOW AS
CORN…
WIFE CINDERELLA (prompting him) I KNOW — I’LL VISIT MOTHER’S
THE SLIPPER… GRAVE, / THE GRAVE AT THE
WILLOW TREE, / AND TELL HER I
JUST WANT TO GO TO THE KING’S
FESTIVAL…
BAKER (CONT’D) WIFE
THE SLIPPER AS PURE AS THE HAIR!
GOLD… / THE COW, THE CAPE /
THE SLIPPER AS PURE AS
GOLD…
EXT. CINDERELLA’S HOUSE/EXT. VILLAGE – DAY – INTERCUT
CINDERELLA has thrown a shawl around herself and is heading out the back of the house. She places a ladder against the stone wall and begins to climb. The BAKER and his WIFE leave the village and begin moving towards the woods.
INTO THE WOODS, IT’S TIME TO GO, / IT
MAY BE ALL IN VAIN, YOU (I) KNOW. /
INTO THE WOODS– BUT EVEN SO, / I HAVE
TO TAKE THE JOURNEY.
INTO THE WOODS / THE PATH IS STRAIGHT, /
YOU KNOW IT WELL,
BUT WHO CAN TELL–?
WIFE (giving him a little
INTO THE WOODS TO LIFT THE SPELL–
EXT. CINDERELLA’S HOUSE – DAY
CINDERELLA climbs over the wall.
INTO THE WOODS TO VISIT MOTHER–
EXT. DIRT ROAD BY JACK’S FARMHOUSE – DAY
JACK’S MOTHER watches from the distance as JACK leads MILKY- WHITE up the path.
JACK’S MOTHER (calling after him)
INTO THE WOODS TO SELL THE COW–
TO GET THE MONEY!–
EXT. CINDERELLA’S HOUSE – OTHER SIDE OF THE WALL – DAY
CINDERELLA drops down from the wall and runs off.
TO GO THE FESTIVAL–
EXT. WOODS – NATURAL ARCHWAY/STREAM – DAY
LRRH enters an archway that frames the entrance into the woods.
INTO THE WOODS TO GRANDMOTHER’S
HOUSE… / INTO THE WOODS TO
GRANDMOTHER’S HOUSE…
crossing a stream; and LRRH weaving her way down a gully.
CINDERELLA /BAKER /LRRH
THE WAY IS CLEAR, / THE LIGHT IS GOOD. /
I HAVE NO FEAR, / NOR NO ONE SHOULD. /
THE WOODS ARE JUST TREES, / THE TREES
ARE JUST WOOD. / NO NEED TO BE AFRAID
THERE– All THREE of them stop with sudden trepidation.
THERE’S SOMETHING IN THE GLADE THERE.
The BAKER walks deeper into the woods.
EXT. DIRT ROAD BY JACK’S FARMHOUSE – DAY
The carriage carrying the STEPFAMILY crosses a small country bridge, then passes JACK’S MOTHER. One of the wheels turns in a puddle and splashes her with mud.
INTO THE WOODS WITHOUT DELAY, / BUT
CAREFUL NOT TO LOSE THE WAY. / INTO THE
WOODS, WHO KNOWS WHAT MAY / BE LURKING
ON THE JOURNEY?
EXT. WOODS – NATURAL ARCHWAY – DAY
JACK enters the archway into the woods with his COW.
INTO THE WOODS TO GET THE THING /
THAT MAKES IT WORTH THE JOURNEYING.
EXT. WOODS – DAY
VARIOUS ANGLES on each of our CHARACTERS in different woodland surrounds.
TO SEE THE KING–
TO SELL THE COW–
TO MAKE THE POTION–
QUICK INTERCUTS between the characters:
TO SEE– / TO SELL– / TO GET– / TO
BRING / TO MAKE– / TO LIFT– / TO GO TO
THE FESTIVAL–!
The CAMERA slowly rises through the trees as the vast forest swallows up our intrepid travellers.
INTO THE WOODS! / INTO THE WOODS! / INTO
THE WOODS, / THEN OUT OF THE WOODS, /
AND HOME BEFORE DARK!
EXT. CINDERELLA’S MOTHER’S GRAVE – DAY
A large willow tree stands tall.
BAKER (V.O.) Deep within the woods, Cinderella had planted a branch at the grave of her mother. And she visited there so often, and wept so much, that her tears watered it until it had become a magnificent tree. CINDERELLA kneels in prayer.
I WISH… She begins to cry.
MUSIC.
In the reflection, CINDERELLA sees the tree slowly twist and turn taking on the shape of her MOTHER, who looks down upon her.
C’S MOTHER What is it that you wish, child? CINDERELLA looks up to see her MOTHER in the tree.
DO YOU KNOW WHAT YOU WISH? / ARE YOU
CERTAIN WHAT YOU WISH / IS WHAT YOU
WANT? / IF YOU KNOW WHAT YOU WANT, /
THEN MAKE A WISH– / ASK THE TREE, / AND
YOU SHALL HAVE YOUR WISH.
CINDERELLA closes her eyes and makes her wish.
ANOTHER ANGLE The wind now blowing the willow tree, its LEAVES begin to rain down on CINDERELLA, turning gold and silver as they swirl around her, transforming her clothes into a beautiful gown. CINDERELLA looks down to see that she is now wearing a pair of shoes literally made of gold leaf. When she looks back up, the tree has now returned to its former shape.
CINDERELLA Thank you, Mother. She dashes into the woods.
EXT. WOODS – FLOWERED PATH – DAY
LRRH walks along the path.
BAKER (V.O.) On her path to Granny’s, the little girl suddenly found herself in a very unusual part of the wood.
WOLF’S POV Branches and leaves rush by in a blur. Suddenly, the CAMERA stops, and in the distance we see LRRH strolling down a path of exotic flowers as she munches on a treat. We hear HEAVY BREATHING. The CAMERA continues stalking its prey, moving closer towards LRRH through the brush. ANGLE on LRRH, as she continues walking and eating.
WOLF (O.S.) Good day, young lady. She turns around and what she sees – through a CHILD’S EYES – is a super-slick, good-looking guy. What she doesn’t notice is his curiously low hairline, something of a snout, and a tail peeking from his waistcoat.
LRRH Good day, Mr. Wolf.
WOLF Whither away so hurriedly?
LRRH To my Grandmother’s.
WOLF And what might be in your basket?
LRRH It’s bread for Grandmother so she’ll have something good to make her strong.
WOLF And where might your Grandmother live?
(POINTING) A quarter of a league further in the woods; her house stands inside a great oak tree. She continues on the path. The WOLF looks after her longingly.
MMMMH… / UNHH… / LOOK AT THAT
FLESH, / PINK AND PLUMP. / HELLO, LITTLE
GIRL… / TENDER AND FRESH, / NOT ONE
LUMP. / HELLO, LITTLE GIRL… / THIS
ONE’S ESPECIALLY LUSH, / DELICIOUS…
With inhuman speed, he manages to suddenly be back in front of the girl on the path.
HELLO, LITTLE GIRL, / WHAT’S YOUR
RUSH? / YOU’RE MISSING ALL THE
FLOWERS. / THE SUN WON’T SET FOR
HOURS, / TAKE YOUR TIME.
MOTHER SAID, / “STRAIGHT AHEAD,” / NOT
TO DELAY / OR BE MISLED.
She continues moving forward, he slithers around her. This WOLF has some smooth moves.
BUT SLOW, LITTLE GIRL, / HARK! AND HUSH-
/ THE BIRDS ARE SINGING SWEETLY. /
YOU’LL MISS THE BIRDS COMPLETELY, /
YOU’RE TRAVELLING SO FLEETLY.
He drops behind again, thinking to himself.
GRANDMOTHER FIRST, / THEN MISS
PLUMP… / WHAT A DELECTABLE COUPLE. /
UTTER PERFECTION: / ONE BRITTLE, ONE
SUPPLE– Racing ahead and then darting out from a tree.
