Into the Woods
ALWAYS TEN STEPS BEHIND–
ALWAYS TEN FEET BELOW–
AND SHE’S JUST OUT OF REACH. / AGONY /
THAT CAN CUT LIKE A KNIFE!
I MUST HAVE HER TO WIFE.
PULL BACK to reveal the PRINCES side by side on a precipice, overlooking the distant castle.
EXT. RAPUNZEL’S TOWER – NIGHT
The BAKER’S WIFE fights her way through a thicket. Her clothes are now ratty, her face scratched – but she approaches the tower with trepidation.
WIFE Rapunzel, Rapunzel? Let your hair down to me. The window at the top of the tower opens and RAPUNZEL sticks out her head looking downward. The WIFE hides to the side.
(DUBIOUS) Is that you at this hour, my Prince?
WIFE (in her best princely
BASS VOICE) Yes. RAPUNZEL thinks about it for a moment, then lowers her hair. The WIFE approaches it gingerly.
WIFE (CONT’D) Excuse me for this. She takes a fist full of hair and gives it a pull. Nothing. She tries once again, this time with more force eliciting a little yelp from RAPUNZEL. Finally, she holds on to the hair and just starts running away from the tower as fast as she can. We hear RAPUNZEL yell as the WIFE succeeds in pulling some of the hair from her head.
EXT. PATHWAY TO THE CASTLE – NIGHT – CONTINUOUS
Cinderella flees the castle.
BAKER (V.O.) As the Baker’s Wife bolted from the tower, the second night of the festival was thrown into chaos when Cinderella once again ran from the Prince. While the BAKER’S WIFE continues to run away from Rapunzel’s tower, in the distance she sees a flutter of gold moving through the moonlit trees. CINDERELLA? She changes course in pursuit. SERIES OF SHOTS with MUSIC CLOSE-UP on CINDERELLA’S SHOES as they make their way through wooded path. ANGLE ON THE WIFE as she races towards them in pursuit. The WIFE catches up with CINDERELLA and tackles her to the ground, CINDERELLA’S slipper falling off. They both dive for the slipper, when an approaching noise catches the WIFE’S attention.
C’S PRINCE (O.S.) Over here! CLOSE-UP on the shoe as CINDERELLA snatches it from the ground. CINDERELLA rushes off. The WIFE stares frozen in horror as the PRINCE’S HORSE races towards her. She lets out a scream and the horse stops short, rearing up. The STEWARD’S horse charges off the path into thickets.
C’S PRINCE (CONT’D) Who is she? Where did she go?
(BOWING) I have no idea, sir.
C’S PRINCE Don’t play the fool, woman!
WIFE I was trying to hold her here for you…
C’S PRINCE I can capture my own damsel, thank you.
WIFE Yes, of course. The STEWARD returns, covered in burrs and looking none too happy.
STEWARD No sign of her, my liege.
C’S PRINCE Well, what are you waiting for? See if you can find her. The STEWARD rides off. The PRINCE pauses. The ultimate seducer, he gives the WIFE the once over.
C’S PRINCE (CONT’D) The woods can be a dangerous place… She nods to him, out of her depth. He gallops off.
EXT. WOODS – TALL TREES – NIGHT
The BAKER searches for MILKY-WHITE along a large PATHWAY, disheveled and exhausted.
BAKER Moo… Moo…… He HEARS sounds off in the distance.
BAKER’S POV The STEPFAMILY’S carriage is passing through a large hollowed opening in the base of a huge tree. We can hear the STEPSISTERS bickering, their blonde hair bobbing animatedly.
ANOTHER ANGLE The BAKER stands in the middle of the pathway, flagging down the carriage. He pulls an ear of corn from his satchel. As the carriage slows, he hops on the sideboard.
BAKER (CONT’D) Please, if you would be so kind, may I compare this ear of corn with your hair? The STEPSISTERS scream.
LUCINDA AND FLORINDA
(OVERLAPPING) Don’t touch us! Get away! How dare you!
STEPMOTHER Mongrel! (to the driver) Carry on! She pushes the BAKER off the carriage and he somersaults backwards into the brush. The CARRIAGE speeds off. Deflated, the BAKER picks himself off the path and sits on what he thinks is a white rock. There is a muffled “Moo…” He jumps up realizing he’s been SITTING on the cow.
BAKER Milky-White! He hears something and hides behind a BUSH. Then, seeing it is his WIFE, he steps out.
BAKER (CONT’D) I thought you were returning home! The WIFE screams in fright. Then she recognizes him.
WIFE Oh! It’s you! And you’ve the cow! She runs to MILKY-WHITE.
(BRAGGADOCIO) Yes. I’ve the cow. We’ve two of the four.
WIFE Three.
BAKER Two.
WIFE Three! She shows him the braid of hair around her neck.
WIFE (CONT’D) Compare this to your corn. He does and it’s a perfect match.
BAKER Where did you find it?
(FALSE MODESTY) I pulled it from a maiden in a tower.
BAKER Three!
WIFE And I almost had the fourth, but she got away.
BAKER We’ve one entire day left. Surely we can locate the slipper by then.
WIFE We? You mean you’re going to let me stay with you?
BAKER Well…perhaps it will take the two of us to have this child.
YOU’VE CHANGED. / YOU’RE DARING. /
YOU’RE DIFFERENT IN THE WOODS. / MORE
SURE, / MORE SHARING. / YOU’RE GETTING
US THROUGH THE WOODS.
IF YOU COULD SEE– / YOU’RE NOT THE MAN
WHO STARTED, / AND MUCH MORE OPEN-
HEARTED / THEN I KNEW / YOU TO BE.
IT TAKES TWO. / I THOUGHT ONE WAS
ENOUGH, / IT’S NOT TRUE: / IT TAKES TWO
OF US. / YOU CAME THROUGH / WHEN THE
JOURNEY WAS ROUGH– / IT TOOK YOU. / IT
TOOK TWO OF US.
IT TAKES CARE, / IT TAKES PATIENCE AND
FEAR AND DESPAIR / TO CHANGE. / THOUGH
YOU SWEAR / TO CHANGE, / WHO CAN TELL IF
YOU DO? / IT TAKES TWO.
He flirts with her. She pulls away, teasing him.
YOU’VE CHANGED. / YOU’RE THRIVING. /
THERE’S SOMETHING ABOUT THE WOODS. /
NOT JUST / SURVIVING, / YOU’RE
BLOSSOMING IN THE WOODS.
AT HOME I’D FEAR / WE’D STAY THE SAME
FOREVER. / AND THEN OUT HERE / YOU’RE
PASSIONATE, CHARMING, CONSIDERATE,
IT TAKES ONE / TO BEGIN, BUT THEN ONCE /
YOU’VE BEGUN, / IT TAKES TWO OF YOU. /
IT’S NO FUN, / BUT WHAT NEEDS TO BE
DONE / YOU CAN DO / WHEN THERE’S TWO OF
YOU.
IF I DARE, / IT’S BECAUSE I’M BECOMING /
AWARE / OF US / AS A PAIR / OF US, / EACH
ACCEPTING A SHARE / OF WHAT’S THERE.
They move towards each other through the trees playfully.
WE’VE CHANGED. / WE’RE STRANGERS. / I’M
MEETING YOU IN THE WOODS. / WHO MINDS /
WHAT DANGERS? / I KNOW WE’LL GET PAST
AND ONCE WE’RE PAST, / LET’S HOPE THE
CHANGES LAST / BEYOND WOODS, / BEYOND
WITCHES AND SLIPPERS AND HOODS, / JUST
THE TWO OF US– / BEYOND LIES, / SAFE AT
HOME WITH OUR BEAUTIFUL PRIZE, / JUST
THE FEW OF US.
IT TAKES TRUST. / IT TAKES JUST / A BIT
MORE AND WE’RE DONE. /
They sit down next to each other at the top of a small hill and slide down to the bottom together.
WE WANT FOUR, /WE HAD NONE. / WE’VE GOT
THREE. / WE NEED ONE. / IT TAKES TWO.
They kiss but their moment of romance is interrupted when a large GOLDEN EGG rolls down the hill between them. The WIFE screams.
JACK (O.S.) Stop it! Stop my egg! The BAKER stops the egg and picks it up. JACK stumbles down the hill.
JACK (CONT’D) Oh, brilliant! My Milky-White. And the owners. And my egg!
BAKER Where did you get this?
JACK From the Giant’s hen! The BAKER’S WIFE examines the egg.
WIFE A golden egg! I’ve never seen a golden egg.
JACK And you can have it. Along with the five gold pieces.
WIFE Five gold pieces?
JACK Now I’m taking my cow. JACK moves to MILKY-WHITE. The distant CHIMES OF MIDNIGHT begin to ring out from the castle.
(OVERLAPPING) (OVERLAPPING) Now, I never said I would But you took the five gold sell. pieces.
WIFE BAKER You took five gold pieces?! I didn’t take, you gave.
WIFE Where are the five gold pieces?
JACK You said I could have my cow!
BAKER WIFE Now I never said you could. I You would take money before a said you might. child?!
BAKER No, no, no – it’s not how it sounds!
(ALARMED) Milky-White…! MILKY-WHITE has begun to shake like a dashboard ornament. She moans, then topples over with a loud thud. Alarmed, JACK runs to the cow and lays his head on the animal’s chest.
(TEARFUL) Milky-White is dead! The BAKER looks up and sees that the SHADOW has now moved a third of the way across the MOON. We hear the WITCH scream:
TWO MIDNIGHTS GONE!
EXT. RAPUNZEL’S TOWER – DAYBREAK
Hidden by a broken piece of WALL — someone or something is watching the R-PRINCE climbing out of the window.
BAKER (V.O.) When dawn broke, the Baker and his Wife had but one day left to reverse the Witch’s curse. As for Rapunzel’s Prince, he returned yet again to the forbidden tower.
With RAPUNZEL smiling down, the R-PRINCE descends her hair. Once he has reached the bottom, she pulls her hair back in and closes the window. ANOTHER ANGLE. We discover that it’s the WITCH who has been watching. She is not happy. The PRINCE mounts his horse and rides off towards a low rose thicket — an easy jump. With a thrust of her stick, the WITCH makes the thicket shoot up before the PRINCE has time to act. His HORSE stops short and he screams as he is thrown over the horse’s head into the thicket. ANGLE ON THE WITCH. She smiles at her handiwork then turns to stare at the top of the tower vindictively.
INT. RAPUNZEL’S TOWER – DAY
The WITCH threatens RAPUNZEL.
WHAT DID I CLEARLY SAY? / CHILDREN MUST
LISTEN.
RAPUNZEL No, no, please!
WHAT WERE YOU NOT TO DO? / CHILDREN
RAPUNZEL No!
AND LEARN. / WHY COULD YOU NOT OBEY? /
CHILDREN SHOULD LISTEN. / WHAT HAVE I
BEEN TO YOU? / WHAT WOULD YOU HAVE ME
BE, / HANDSOME LIKE A PRINCE?
AH, BUT I AM OLD. / I AM UGLY. / I
EMBARRASS YOU.
RAPUNZEL No!
YOU ARE ASHAMED OF ME.
RAPUNZEL No!
YOU ARE ASHAMED. / YOU DON’T
UNDERSTAND.
RAPUNZEL I’m no longer a child. I wish to see the world.
DON’T YOU KNOW WHAT’S OUT THERE IN THE
WORLD? / SOMEONE HAS TO SHIELD YOU FROM
THE WORLD. / STAY WITH ME.
PRINCES WAIT THERE IN THE WORLD, IT’S
TRUE. / PRINCES, YES, BUT WOLVES AND
HUMANS, TOO. / STAY AT HOME. / I AM
HOME. / WHO OUT THERE COULD LOVE YOU
MORE THAN I? / WHAT OUT THERE THAT I
CANNOT SUPPLY? / STAY WITH ME.
STAY WITH ME, / THE WORLD IS DARK AND
WILD. / STAY A CHILD WHILE YOU CAN BE A
CHILD. / WITH ME.
WITCH (CONT’D) I gave you protection and yet you disobeyed me.
RAPUNZEL No!
WITCH Your prince will never lay eyes on you again. He will never lay eyes on anything again!
RAPUNZEL What did you do to him?
WITCH It doesn’t matter because where you’re going, no one will ever see you again. The WITCH lunges at RAPUNZEL with a pair of SHEARS and begins to hack off her hair. The girl lets out a mighty shriek.
EXT. NEAR GRANNY’S HOUSE – ELEPHANT OAKS – DAY
JACK makes his way despondently through the oaks with his
GOLDEN EGG.
He comes across what looks like a WOLF, hunched over on the edge of the brush. He stops… then slowly approaches.
JACK Hey there – nice cape! The figure twists around, pulling a knife.
LRRH Stay away from my cape or I’ll slash you into a thousand bits!
The figure is revealed to be LRRH, in a wolf-skin cape, picking mushrooms for her granny.
JACK Whoa! I don’t want it.
(BEAT) Where did you get it?
LRRH My Granny made it for me from a wolf that attacked us. And she gave me this beautiful knife for protection.
JACK Well, look what I have! A golden egg. He shows her his GOLDEN EGG.
(SUSPICIOUS) Where did you get that egg?
JACK (pointing to the sky) I stole a hen that lays golden eggs from the kingdom of the Giant.
LRRH I don’t believe you.
JACK It’s true. And you should see the Giant’s toy harp. It plays the most beautiful tunes without your even having to touch it.
(SMIRKING) Of course it does. Why don’t you go up to the kingdom right now and bring it back and show me?
JACK I could.
LRRH You could not!
JACK I could!
LRRH You could not, Mr. Liar!
JACK I am not a liar! I’ll get that harp. You’ll see! He runs off.
EXT. BEANSTALK & JACK’S FARMHOUSE – AFTERNOON
To frantic MUSIC, JACK is making his way down to the bottom of the beanstalk with all the speed he can muster. This is made more difficult by the GOLDEN HARP which he has slung over his shoulder.
BAKER (V.O.) Jack took the little girl’s dare and before he knew it, found himself fleeing from a Giant. Suddenly, the BEANSTALK shakes mightily, making JACK hold on for dear life. He looks up to discover the Giant climbing down after him; Jack feverishly picks up speed and jumps the last six feet to the ground. He quickly drops the harp and runs to a large axe embedded in the stump of a tree. JACK swings the AXE striking the BEANSTALK.
EXT. WOODS – PINE FOREST – AFTERNOON
The SWING of the AXE is picked up by the BAKER snapping a branch that’s in his way. The BAKER and his WIFE trudging through the woods.
BAKER We’ve only one day left! I don’t know where to start.
WIFE You can start by buying a new cow with the money you took from the boy.
BAKER Right, where do I buy a cow?
WIFE You go to the next village, you’ll find a cow there.
BAKER What are you going to do?
WIFE I’m going to get the slipper.
BAKER The yellow slipper?
WIFE The GOLDEN slipper!
BAKER Yes. The golden slipper, that’s what I meant. How are you going to get it?
WIFE I have met a maiden with golden slippers these two previous nights.
BAKER You think you could get one?
WIFE Yes, I’m sure of it. I’ll meet you back here.
BAKER Right.
(BEAT) Why are we always separating?
WIFE Because we have to if we’re going to be together… The BAKER and his WIFE start to go off in opposite directions when there is a TREMENDOUS CRASH with the force of an earthquake. The BAKER and his WIFE are knocked off their feet and tumble into a bank of FERNS. They scramble to their feet and look to one another.
WIFE (CONT’D) What is happening?
EXT. JACK’S FARMHOUSE – AFTERNOON
The Giant lies still on the ground.
BAKER (V.O.) The entire kingdom shook when the beanstalk came crashing down, killing the Giant…
EXT. KING’S CASTLE – PALACE STEPS – NIGHT
The MOON is now half covered by SHADOW. DROP DOWN to find CINDERELLA running down the steps; commotion ensues as she is followed by the PRINCE and his retinue.
BAKER (V.O.) …as for Cinderella, she fled from the Prince… again. ANOTHER ANGLE. Suddenly, when CINDERELLA is MID-FLIGHT on the steps, she falters, unable to move. She looks down to see that there is TAR on this step and her shoes are stuck. ANGLE ON THE PRINCE. Smiling as he sees he has finally trapped his prey. We FREEZE the action as CINDERELLA considers the situation.
HE’S A VERY SMART PRINCE, / HE’S A
PRINCE WHO PREPARES. / KNOWING THIS
TIME I’D RUN FROM HIM, / HE SPREAD
PITCH ON THE STAIRS. / AND I’M CAUGHT
UNAWARES. / WELL, IT MEANS THAT HE
CARES– / THIS IS MORE THAN JUST
MALICE. / BETTER STOP AND TAKE STOCK /
WHILE YOU’RE STANDING HERE STUCK / ON
THE STEPS OF THE PALACE.
ALL RIGHT, WHAT DO YOU WANT? / HAVE TO
MAKE A DECISION. / WHY NOT STAY AND BE
CAUGHT? / SHOULD I GIVE THAT A
THOUGHT, / WHAT WOULD BE HIS RESPONSE? /
She turns around to see the PRINCE, frozen in time and staring at her.
BUT THEN WHAT IF HE KNEW / WHO I AM
WHEN I KNOW / THAT I’M NOT WHAT HE
THINKS / THAT HE WANTS?
OR THEN WHAT IF I AM / WHAT A PRINCE
WOULD ENVISION? / BUT THEN HOW CAN YOU
KNOW / WHO YOU ARE TILL YOU KNOW / WHAT
YOU WANT, WHICH I DON’T? / SO THEN
WHICH DO YOU PICK: / WHERE YOU’RE SAFE,
OUT OF SIGHT, / AND YOURSELF, BUT WHERE
EVERYTHING’S WRONG? / OR WHERE
EVERYTHING’S RIGHT / BUT YOU KNOW THAT
YOU’LL NEVER BELONG?
AND WHICHEVER YOU PICK, / DO IT QUICK, /
`CAUSE YOU’RE STARTING TO STICK / TO
THE STEPS OF THE PALACE.
IT’S MY FIRST BIG DECISION, / THE
CHOICE ISN’T EASY TO MAKE. / TO ARRIVE
AT A BALL / IS EXCITING AND ALL– / ONCE
YOU’RE THERE, THOUGH, IT’S SCARY. AND
IT’S FUN TO DECEIVE / WHEN YOU KNOW YOU
CAN LEAVE, / BUT YOU HAVE TO BE WARY.
THERE’S A LOT THAT’S AT STAKE, / BUT
I’VE STALLED LONG ENOUGH, / `CAUSE I’M
STILL STANDING STUCK / IN THE STUFF ON
THESE STEPS…
BETTER RUN ALONG HOME / AND AVOID THE
COLLISION. / THOUGH AT HOME THEY DON’T
CARE, / I’LL BE BETTER OFF THERE / WHERE
THERE’S NOTHING TO CHOOSE, / SO THERE’S
NOTHING TO LOSE. / SO I’LL PRY UP MY
SHOES.
CINDERELLA lifts her feet out of the shoes and moves to a step with no tar. She pulls one shoe from the tar, and as she goes to pry the second shoe, she stops.
WAIT, THOUGH, THINKING IT THROUGH, /
THINGS DON’T HAVE TO COLLIDE– / I KNOW
WHAT MY DECISION IS: / WHICH IS NOT TO
DECIDE. /I’LL JUST LEAVE HIM A CLUE: /
FOR EXAMPLE, A SHOE. / AND THEN SEE
WHAT HE’LL DO.
NOW IT’S HE AND NOT YOU / WHO’LL BE
STUCK WITH A SHOE, / IN A STEW, / IN THE
GOO, / AND I’VE LEARNED SOMETHING,
TOO, / SOMETHING I NEVER KNEW, / ON THE
STEPS OF THE PALACE!
Coming out of the freeze, she quickly leaves one shoe and slips on the other, then dashes off out of sight. The PRINCE picks up the golden shoe from the tar and holds it up triumphantly. He addresses his STEWARD and RETINUE.
C’S PRINCE The ball is over. Send everyone home.
STEWARD And the Princess?
C’S PRINCE She won’t get far with one shoe.
EXT. WOODS – PATHWAY TO THE CASTLE – NIGHT
CLOSE-UP on CINDERELLA’S FEET, awkwardly running with one shoe on, one shoe off. ANOTHER ANGLE. She hears someone close on her trail and looks
CINDERELLA Don’t come any closer to me!
WIFE Please, stop! Just hear me out!
CINDERELLA You have attacked me once before.
WIFE I didn’t attack you. I attacked your shoe. I need it. I have a magic bean in exchange for it. Breathless, CINDERELLA stops. Stands defensively. The WIFE pulls out the bean from her pocket and hands it to her.
CINDERELLA Magic bean? Nonsense! CINDERELLA tosses it over her shoulder, but they don’t see the SPARKS it sets off when it hits the ground and sinks into the earth. She starts to leave.
WIFE Wait, please. I haven’t much time!
(DESPERATE) I need that shoe to have a child.
CINDERELLA That makes no sense!
WIFE Does it make sense that you’re running from a prince? The STEWARD approaches on HORSEBACK.
STEWARD (O.S.) Stop! You there, stop!
CINDERELLA I must go!
WIFE (starts to take off a
SHOE) Take my shoes. You’ll run faster.
HERE– CINDERELLA hands the WIFE her GOLDEN SLIPPER.
WIFE Thank you! Thank you! CINDERELLA dashes off.
ON THE WIFE AND STEWARD.
(SUSPICIOUS) Stop! What is that you have in your hand? The WIFE hides the slipper behind her back. The STEWARD dismounts.
WIFE It’s mine.
STEWARD (gets off horse) Lying will cost you your life! The STEWARD snatches the shoe. The WIFE pushes the Steward and grabs the slipper back.
(DESPERATE) I don’t care if this costs me my life…
STEWARD You will pay for this!
The C-PRINCE rides in (with the other SLIPPER), followed by his RETINUE. The STEWARD takes the opportunity to pull the slipper from the WIFE’S hand as she curtsies.
STEWARD (CONT’D) Sire! I have succeeded in obtaining the other slipper. He holds it up. The WIFE steps forward.
WIFE Please give me the slipper, kind Prince, and all will come to a happy end.
(OVERLAPPING) Step back, peon!
C’S PRINCE Do as she says, Steward. We only need one.
STEWARD Oh… He hands the slipper back to the WIFE. The STEWARD gets onto his horse.
WIFE (to C’S PRINCE) Thank you. Thank you!
(TO STEWARD) We must search immediately for the maiden who fits this slipper.
(SURPRISED) Tonight?
C’S PRINCE This very night! The PRINCE, STEWARD and RETINUE ride off, leaving the WIFE alone. She looks up to the moon and hurries off. We follow the WIFE’S feet as she scurries past the beginnings of a BEANSTALK CURLING UPWARDS from the ground.
BAKER (V.O.) And in her haste, the Baker’s Wife took no notice of a second beanstalk climbing skyward.
EXT. VILLAGE – NIGHT – CONTINUOUS
TRUMPETS sound. The C-PRINCE, the STEWARD and the RETINUE ride through the town, as VILLAGERS open their windows and rush out of their houses.
STEWARD Let it be known that his Royal Highness the Crown Prince will be visiting every house in this village tonight.
INT. CINDERELLA’S HOUSE – KITCHEN – NIGHT – CONTINUOUS
CINDERELLA has only just got back. Grubby again, and wearing her old clothes, she bundles her beautiful dress into a chest.
STEWARD (O.S.) All young maidens are hereby commanded to remain in their home until they are visited by the Royal Guard. CINDERELLA goes to the window and looks out.
EXT. CINDERELLA’S HOUSE – NIGHT – CONTINUOUS
CINDERELLA’S POV: The C-PRINCE and the royal RETINUE arrive in the entry courtyard. BACK ON CINDERELLA. She smiles to herself.
INT. CINDERELLA’S HOUSE – KITCHEN – NIGHT
The entire STEPFAMILY has assembled, in various stages of undress. LUCINDA stands and watches as the STEPMOTHER tries to force FLORINDA’S large foot into the tiny slipper.
BAKER (V.O.) As the Prince anxiously waited, the Stepmother took matters — and Florinda’s foot — into her own hands.
CAREFUL, MY TOE–!
DARLING, I KNOW–
WHAT’LL WE DO?
IT’LL HAVE TO GO. / BUT WHEN YOU’RE HIS
BRIDE, / YOU CAN SIT OR RIDE. / YOU’LL
NEVER NEED TO WALK!
The STEPMOTHER takes a handkerchief and stuffs it into the girl’s mouth and then pulls a large kitchen knife from her pocket and raises it over her foot–
EXT. CINDERELLA’S HOUSE – ENTRY COURTYARD – NIGHT
Standing lanterns have been set up outside the house, bathing the area in light. The STEPFAMILY watches as the STEWARD helps FLORINDA up on to the back of the Prince’s horse. In pain, she grits her teeth in a frozen smile.
BAKER (V.O.) Minus one toe, Florinda mounted the Prince’s horse, unaware of the blood dripping from the slipper. As the STEWARD steps back, he notices a tiny speck of blood on his white glove. He looks up to the PRINCE to show him his hand. The PRINCE looks back to FLORINDA who shrugs sheepishly.
INT. CINDERELLA’S HOUSE – KITCHEN – NIGHT
This time the STEPMOTHER tries to force LUCINDA’S foot into the slipper. FLORINDA looks on with a smirk.
BAKER (V.O.) Lucinda was next.
WHY WON’T IT FIT?
DARLING, BE STILL. / CUT OFF A BIT /
OF THE HEEL AND IT WILL. /
(she pulls out knife)
AND WHEN YOU’RE HIS WIFE / YOU’LL HAVE
SUCH A LIFE, / YOU’LL NEVER NEED TO
WALK!
QUICK SHOTS: FLORINDA’S hand over LUCINDA’S mouth. The KNIFE raised up by the mother. LUCINDA’S eyes in fear as we hear a muffled scream and the “WOOSH” of a knife–
EXT. CINDERELLA’S HOUSE – ENTRY COURTYARD – NIGHT
The PRINCE and STEWARD wait impatiently in the torchlight.
BAKER (V.O.) Minus a heel, Lucinda did her best to swallow the pain. At last, LUCINDA appears, masking her pain with a smile, and limps towards the PRINCE. She is followed by her MOTHER and
SISTER.
STEPMOTHER It’s a perfect fit, Your Highness! LUCINDA winks at the PRINCE flirtatiously, then promptly faints to the ground with a thud. The shoe falls from her foot. The PRINCE nods to the STEWARD who walks over and gingerly picks up the bloody slipper.
C’S PRINCE Have you no other daughters?
STEPMOTHER Only a little stunted kitchen wench, which her late father left behind but she cannot present herself. She is too dirty. Out of the shadows, CINDERELLA appears. The STEWARD hands the slipper to the Prince, who kneels down in front of CINDERELLA and easily slips it on her foot.
C’S PRINCE I would recognize these beautiful eyes anywhere. This is the true bride! The PRINCE sweeps CINDERELLA off her feet and leads her to his horse. The two of them ride off. FLORINDA and LUCINDA watch, not at all happy. Then they hear a CAWING (the sound of birds) overhead. They look up, alarmed. BIRD’S POV. Far below, FLORINDA and LUCINDA cower together, dreading what is to come as the CAMERA rushes towards them.
BAKER (V.O.) As punishment for their cruelty, Cinderella’s birds swooped down upon the Stepsisters… and blinded them. The BIRDS enter the picture frame, more and more, their CAWING rising to a crescendo until their flapping wings are all we see.
EXT. MARSHLAND – NIGHT – CONTINUOUS
RAPUNZEL is alone in a mossy bower on an isolated island in the middle of swamp waters filled with POISONOUS SNAKES. She hums a sad refrain.
BAKER (V.O.) As for Rapunzel, the Witch had banished her to a swamp in the darkest depths of the forest. ANOTHER ANGLE. The R-PRINCE with a ragged scarf wrapped around his now blinded eyes, sits slumped over on his horse as the animal navigates its way through the marshy expanse. The R-PRINCE lifts his head as he hears RAPUNZEL’S singing.
Could it be? The horse, seemingly knowing the way, follows the sound as the R-PRINCE calls her name.
R’S PRINCE Rapunzel? Rapunzel?
ANGLE ON RAPUNZEL
She looks up and cries with delight when she sees her PRINCE across the water.
RAPUNZEL My darling! She jumps into the swamp, fearlessly ignoring the SNAKES, until she reaches terra firma and her man. R-PRINCE falls from his horse onto the ground.
R’S PRINCE Rapunzel? Is it you? RAPUNZEL reaches him and rips off his scarf. She kneels to cradle his face, weeping.
RAPUNZEL How could she do this to you? EXTREME CLOSE-UP: RAPUNZEL’S TEAR falls into the R-PRINCE’S blind eye. The PRINCE’S vision is restored.
(ASTONISHED) Rapunzel!
RAPUNZEL What?
R’S PRINCE I can see you! The two of them embrace. At the same time, we hear MOOING.
EXT. WOODS – TALL TREES – NIGHT
The BAKER is pulling a very obstinate WHITE COW through the woods. He looks up at the MOON which is almost completely covered in SHADOW.
BAKER (to the COW) Come on! We don’t have any time… Then the WIFE rushes in from another direction, carrying the
SLIPPER.
WIFE I’ve found you! (sees the cow) You’ve got the cow!
BAKER You’ve got the slipper!
WIFE We’ve all four! They hug with delight but are quickly startled by the WITCH who appears in the hollow of a tree.
WITCH I see a cow. I see a slipper.
BAKER And the cape as red as blood.
WIFE And the hair as yellow as corn.
BAKER We’ve done it!
WIFE We’ve got them all. But suddenly the WITCH is suspicious.
WITCH Wait a minute!
(BEAT) That cow doesn’t look as white as milk to me.
WIFE Of course she is. A desperate glance at the BAKER. He couldn’t have screwed this up — could he?
WIFE (CONT’D) She has to be! The WITCH walks over and smacks the animal. Flour puffs off its back.
WITCH This cow has been covered with flour!
WIFE (To the BAKER) What? You didn’t get a real white cow? The BAKER turns to the WITCH.
BAKER We had a cow as white as milk. Honestly we did.
WITCH Then where is she?
WIFE She’s dead.
BAKER And we thought you’d prefer a live cow.
WITCH Of course I’d prefer a live cow! So show me the dead cow and I’ll bring her back to life!
EXT. WOODS – COW’S GRAVE – NIGHT
JACK’S MOTHER is madly hurrying through the woods, searching for JACK. She hears HARP MUSIC — and that carries her to JACK, sitting with his harp next to the mound where MILKY-WHITE has been covered with LEAVES.
JACK’S MOTHER Jack! There you are! I’ve been worried sick about you! There’s a dead giant in our backyard!
JACK There is?
JACK’S MOTHER You know there is. You could have been crushed!
JACK But Mother, look. The most beautiful harp.
(CONFLICTED) You’ve stolen too much. She cuffs the back of his head… then hugs him.
JACK’S MOTHER (CONT’D) You could have been killed coming down that plant. The WITCH, the BAKER and the WIFE hurry towards the leafy mound.
WIFE We’re running out of time!
BAKER It’s here…
JACK What’s happening?
BAKER She’s going to bring Milky-White back to life.
(AMAZED) She can do that?
BAKER She’s a witch! She can do anything!
JACK Wow!
WITCH Stand back! They quickly move away, and the WITCH invokes some unintelligible incantation, and with the wave of her cape, the DEAD COW comes back to life, shaking off the leaves. JACK races over to her.
JACK Milky-White. You’re back! I missed you so much! The BAKER looks up at the MOON…only a slither left, the rest covered by SHADOW.
BAKER It’s almost midnight!
WITCH Quiet! Feed the objects to the cow.
WIFE What?
WITCH You heard me! Feed them to the cow! The WIFE and BAKER walk towards the COW and begin feeding it a portion of the ingredients. Not an easy chew for the animal. The WITCH hands them a silver chalice.
WITCH (CONT’D) Fill this!
JACK I’ll do it. She’ll only milk for me. JACK begins milking the cow, the others watching intently, but alas, nothing is coming out.
JACK (CONT’D) Squeeze, pal! You can do it.
He tries harder to no avail. The WITCH goes over and looks into the goblet. Nothing.
WITCH Wrong ingredients. Forget about a child!
WIFE Wait! We followed your instructions. One, the cow is as white as milk. Correct?
WITCH Yes.
WIFE And two, the cape was certainly as red as blood.
WITCH Yes.
WIFE And three, the slipper–
WITCH Yes.
BAKER And four, I compared the hair with this ear of corn.
WIFE I pulled it from a maiden in a tower
WITCH You what?! What were you doing there?
WIFE Well, nothing. I happened to be
WITCH I touched that hair! I told you! I cannot have touched the ingredients!
(MOANING) Nooooo…
JACK The corn! The corn!
BAKER What? JACK grabs the ear of corn out of the BAKER’S hand.
JACK You can use the silky hair of the corn–
WITCH Yes! Pull it from the ear and feed it to the cow. Quickly! The BAKER grabs the ear of corn from JACK, pulls the hair from the corn and feeds it to the cow. JACK begins milking the cow again. We hear the distant CHIMES OF MIDNIGHT begin. Light pours from above bathing them in a growing haze of BLUE LIGHT as the SHADOW finally eclipses the MOON. The COW lets out a BLOODCURDLING MOAN.
WIFE It’s working!
JACK She’s milking! The WITCH grabs the chalice.
WITCH At last! The WITCH drinks the potion. She begins to shake. Blue smoke begins to pour from her and swirl about as if she is trapped inside a cloud. The WIFE lets out a shriek.. The BAKER looks at his WIFE, her belly begins to grow to nine- months-full of pregnancy.
BAKER That was quick! The cloud that has surrounded the WITCH now engulfs the area until a brisk wind blows it away, revealing a beautiful woman standing in the BLUE LIGHT of the FULL MOON. The WITCH has been restored to her former self, and she likes what she sees. The final CHIME OF MIDNIGHT is joined by every other BELL IN THE KINGDOM — a joyous cacophony as we:
