Sweeney Todd

This is the theatrical version of the movie, not the script for the movie itself!!

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 shit
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 pussies 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 bitch
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.

Leave a Reply

Your email address will not be published.

Leave the field below empty!

This site uses Akismet to reduce spam. Learn how your comment data is processed.