Sweeney Todd
EXT. MAYFAIR — NIGHT
58 … The church bells continue as we discover Anthony, searching through the streets for Johanna. We see him in long shot as he moves through the contours of the city. He starts his search in a luxurious area of wealth. His journey through the city will take him lower and lower, into the darkest corners of London.
ANTHONY I feel you, Johanna, I feel you. Do they think that walls can hide you? Even now I’m at your window. I am in the dark beside you, Buried sweetly in your yellow hair, Johanna… He continues walking… 59
INT. BARBER SHOP — NIGHT
59 …Todd gazes quietly at the Daguerreotype:
TODD Johanna… And are you beautiful and pale, With yellow hair, like her? I’d want you beautiful and pale, The way I’ve dreamed you were… 60
EXT. DOCKS — NIGHT
60 …We see the figure of Anthony, walking along the docks.
TODD (V.O.) Johanna…
ANTHONY Johanna… 61
INT. BARBER SHOP — DAY
61 …Todd shaves a customer. We recognize the customer instantly: it is the GENTLEMAN. The Daguerreotype now rest on the counter. Todd remains wistful, detached, dream-like.
TODD And if you’re beautiful, what then, With yellow hair, like wheat? I think we shall not meet again– (He quietly slits the Gentleman’s throat) My little dove, my sweet… …We see the figure of Anthony, walking past hanging carcasses of the busy meat market.
TODD (V.O.) Johanna…
ANTHONY I’ll steal you, Johanna… 63
INT. BARBER SHOP — DAY
63 …The dead Gentleman is slumped in the chair.
TODD Goodbye, Johanna, You’re gone, and yet you’re mine. I’m fine, Johanna, I’m fine! He pulls a lever on the newly adjusted chair — the chair becomes a slide — and the Gentleman disappears through a trapdoor in the floor, down a chute — Todd pulls the lever again and the chair returns to its normal position. 64
EXT. SLUM — DAY
64 …We see Anthony moving past a crowded tenement, redolent of cholera.
ANTHONY Johanna… 65
INT. BAKEHOUSE STEPS — DUSK
65 …Music continues as Mrs. Lovett descends a long and very claustrophobic series of steps down to the bakehouse. She unbolts and pulls aside a heavy iron door and enters. We remain outside. A fiery red glow spills out — the roar of the oven within is thundering. 66
EXT. FLEET STREET — DUSK
66 …The Beggar Woman stands on Fleet Street. The hellish metropolis glows, the smoke from a thousand chimneys creating a great pall over the city.
BEGGAR WOMAN Smoke! Smoke! Sign of the devil! Sign of the devil! City on fire! Witch! Witch! Smell it, sir! An evil smell! Every night at the vespers bell– Smoke that comes from the mouth of hell– City on fire! City on fire… (She begins to scuttle off) Mischief! Mischief! Mischief… 67
INT. BARBER SHOP — DUSK
67 …The red glow of sunset fills the shop as Todd ushers in another customer and prepares to shave him:
TODD And if I never hear your voice, My turtledove, my dear, I still have reason to rejoice: The way ahead is clear… 68
EXT. ALLEY — DUSK
68 …We see the figure of Anthony moving down a dark alley. Shadowy figures lurk along the alley walls.
TODD (V.O.) Johanna…
ANTHONY I feel you… Johanna… 69
INT. BARBER SHOP — DUSK
69 …Todd continues to prepare to shave the customer:
TODD And in that darkness when I’m blind With what I can’t forget– It’s always morning in my mind, My little lamb, my pet… 70
EXT. GRAVEYARD — DUSK
70 …We see Anthony moving past an lonely graveyard.
TODD (V.O.) Johanna…
ANTHONY Johanna… 71
INT. BARBER SHOP — DUSK
71
TODD You stay, Johanna… (He quietly cuts the customer’s throat) The way I’ve dreamed you are. (Todd notices dusk outside the window) Oh look, Johanna-, (Pulls the lever and the customer disappears) A star! (Tossing the customer’s hat down the chute) A shooting star! 72
EXT. GRAVEYARD — DUSK
72 …Anthony continues to move past the graveyard.
ANTHONY Buried sweetly in your yellow hair… 73
INT. BAKEHOUSE STEPS — DAY
73 …Music continues as Mrs. Lovett emerges from the bakehouse with a rack of hot pies. She walks out of frame, up the steps, as we push in on the crack in the door. The fiery roar of the oven within is overpowering. 74
EXT. FLEET STREET — DAY
74 …The Beggar Woman is scuttling madly along Fleet Street.
BEGGAR WOMAN (pointing to the smoke over rooftops) There! There! Somebody, somebody look up there! (the passers-by continue to ignore her) Didn’t I tell you? Smell that air? City on fire! She approaches the pie shop, the agitated music matching her increasing frenzy. She grabs a stunned Toby — who is carrying some packages toward the pie shop:
BEGGAR WOMAN Quick, sir! Run and tell! Warn ’em all of the witch’s spell! There it is, there it is, the unholy smell! Tell it to the Beadle and the police as well! Tell ’em! Tell ’em! She spots Mrs. Lovett emerging from the pie shop and explodes in desperation, pointing madly:
BEGGAR WOMAN Help!!! Fiend!!! City on fire!!! Toby pulls away from her, as she begins to scuttle off:
BEGGAR WOMAN City on fire… Mischief … Mischief … Mischief… Fiend… She appeals to other pedestrians as she goes:
BEGGAR WOMAN Alms! … Alms! … Toby turns to consider the horrible black smoke belching from the chimney of the pie shop. Something about the foul, ebony smoke troubles him. 75
INT. BARBER SHOP — DAY
75 …Todd is standing alone, contemplative, slowly and methodically stropping his razor.
TODD And though I’ll think of you, I guess, Until the day I die, I think I miss you less and less As every day goes by… 76
EXT. LIMEHOUSE — DAY
76 …We see the figure of Anthony trudging past the sinister opium dens and depraved taverns of the East End.
TODD (V.O.) Johanna…
ANTHONY Johanna…
77
INT. BARBER SHOP — DAY
77 …Todd completes shaving a customer. The customer’s wife and daughter are waiting.
TODD And you’d be beautiful and pale, And look too much like her. If only angels could prevail, We’d be the way we were. Johanna… The customer pays. With a pleasant smile, Todd ushers them out.. 78
EXT. ASYLUM — NIGHT
78 …Anthony wanders past the high and impenetrable walls of a madhouse, the demented souls within can be seen moving about in silhouette behind barred windows.
ANTHONY I feel you… Johanna… Something makes him stop. He turns to consider the asylum… 79
INT. BARBER SHOP — MORNING
79 …Todd shaves another customer. A beautiful morning outside the window.
TODD Wake up, Johanna! Another bright red day! (He slits the customer’s throat) We learn, Johanna, To say… Goodbye… As the note continues, he pulls the lever and the customer disappears down the chute… 80
EXT. ASYLUM — MORNING
80 …Anthony stares up at the asylum.
ANTHONY I’ll steal you…
81
INT. BARBER SHOP — MORNING
81 …As the music concludes, Todd picks up the faded Daguerreotype and again sits in his barber chair. He gazes at the picture, lost in revery. 82
EXT. HAMPSTEAD HEATH — DAY
82 Mrs. Lovett and Todd rest on a picnic blanket, just like any other couple out enjoying the fine day. The remains of a nice picnic lunch are scattered around them and Toby can be seen flying a kite a bit away. Mrs. Lovett watches happy couples moving about … dogs and kids running hither and yon … military officers squiring their ladies … nurses with prams… Todd is distinctly ill at ease, brooding, as she chatters:
MRS. LOVETT … which is not to say we couldn’t get some nice taxidermy animals to bring a touch of gentility to the place. You know, a boar’s head or two… (glancing at the unresponsive Todd) Mr. T., are you listening to me?
TODD Of course.
MRS. LOVETT Then what did I just say?
TODD (back in his somber reflections) There must be a way to the Judge!
MRS. LOVETT The bloody old Judge! Always harping on the bloody old Judge! We got a nice respectable business now, money coming in regular and — since we’re careful to pick and choose — only strangers and such like wot won’t be missed — who’s going to catch on? No response from Todd. She leans across and pecks him on the cheek:
MRS. LOVETT Oooh, Mr. Todd– I’m so happy– I could– Eat you up, I really could! You know what I’d like to Do, Mr. Todd? What I dream– If the business stays as good, Where I’d really like to go– In a year or so… Don’t you want to know?
TODD Of course.
MRS. LOVETT Do you really want to know?
TODD Yes, yes, I do, I do. The music continues as she leans back comfortably, beginning to imagine a wonderful, domestic future…
MRS. LOVETT I’ve always had this dream of living at the seaside … I got a picture postcard from me Aunt Nettie once. Oh, it seems like such a grand place… (notes Toby flying his kite) And all that fresh aquatic air’s bound to be good for the lad’s poxy lungs… By the sea, Mr. Todd, That’s the life I covet; By the sea, Mr. Todd, Ooh, I know you’d love it! You and me, Mr. T., We could be alone In a house wot we’d almost own Down by the sea…
TODD Anything you say.
MRS. LOVETT Wouldn’t that be smashing? And we go to… 83
EXT. BEACH — DAY
83 …In Mrs. Lovett’s mind. She and Todd sit in the exact same positions as in Hampstead Heath. Only now they are sitting on a beach. They are wearing what she imagines as fashionable seaside bathing clothes. Toby, who is not consumptively pale but overly rosy-cheeked in her fantasy, is building a sandcastle nearby. Mrs. Lovett is sitting with her Dream Todd, of course, so he has a bland smile on his face. Somewhat unnatural. In fact, there is something vaguely unreal and stilted about all of this.
MRS. LOVETT (V.O.) With the sea at our gate, We’ll have kippered herring Wot have swum to us straight From the Straits of Bering. Every night in the kip When we’re through our kippers, I’ll be there slippin’ off your slippers By the sea… With the fishies splashing. By the sea… Wouldn’t that be smashing? Down by the sea–
TODD (V.O.) Anything you say, Anything you say.
Mrs. Lovett strolls with Todd on a boardwalk. Artificially lovely couples, like rotogravure magazine pictures, move about. Toby runs along ahead of them.
MRS. LOVETT (V.O.) I can see us waking, The breakers breaking, The seagulls squawking: Hoo! Hoo! I do me baking, Then I go walking With yoo-hoo… 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.) 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 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 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 I’ve got him.
ANTHONY Mr. Todd?
TODD 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 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 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 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 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? …
MRS. LOVETT (cont’d) … 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 … … 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. 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 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 Yes, ma’am. She quickly dries her eyes and then turns him to look at her.
MRS. LOVETT 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 … … 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 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 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 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 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 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 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
