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
