39c9fc154b2cc4030d2732fab674fc246eb28aed
movie
http://www.imsdb.com/scripts/Sweeney-Todd-The-Demon-Barber-of-Fleet-Street.html
SWEENEY TODD :
. The End
 In 1846, Benjamin Barker, a barber, arrives in London, accompanied by sailor Anthony Hope. Fifteen years earlier, he was falsely convicted and sentenced to penal transportation by the corrupt Judge Turpin, who lusted after Barker's wife Lucy. Barker adopts the alias "Sweeney Todd" and returns to his old Fleet Street shop, situated above Mrs. Nellie Lovett's meat pie shop. He learns that Turpin raped Lucy, who then poisoned herself with arsenic. The couple's daughter, Johanna, is now Turpin's ward, and is the object of Turpin's lust. Todd vows revenge, and re-opens his barber shop after Mrs. Lovett returns his straight razors to him. Anthony becomes enamored with Johanna, but is caught by Turpin and driven away by his corrupt associate, Beadle Bamford.
Todd denounces faux-Italian barber Adolfo Pirelli's hair tonic as a fraudulent mix and humiliates him in a public shaving contest. A few days later, Pirelli arrives at Todd's shop, with his boy assistant Tobias Ragg. Mrs. Lovett keeps Toby occupied while Pirelli identifies himself as Todd's former assistant, Davy Collins, and threatens to reveal Todd's secret unless Todd gives him half his earnings. Todd kills Collins to protect his secret, and hides his body in a trunk.
After receiving advice from Bamford, Turpin, intending marriage to Johanna, visits Todd's shop for grooming. Todd shaves Turpin, preparing to slit his throat; they are interrupted by Anthony, who reveals his plan to elope with Johanna before noticing Turpin. Turpin leaves enraged and Todd vents his rage by killing customers while waiting for another chance to kill Turpin, and Mrs. Lovett bakes the victims into pies. Todd rigs his barber's chair with a pedal-operated mechanism that deposits his victims through a trap door into Mrs. Lovett's basement bake-house. Anthony searches for Johanna, whom Turpin has sent to an insane asylum upon discovering her plans to elope with Anthony.
The barbering and pie-making businesses prosper, and Mrs. Lovett takes Toby as her assistant. Mrs. Lovett tells an uninterested Todd of her plans to marry him and move to the seaside. Anthony discovers Johanna's whereabouts and poses as a wig-maker's apprentice to rescue her. Todd has Toby deliver a letter to Turpin, telling him where Johanna will be brought when Anthony frees her. Toby has become wary of Todd and tells Mrs. Lovett of his suspicion.
Bamford arrives at the pie shop, informing Mrs. Lovett that neighbors have been complaining of the stink from her chimney. He is distracted by Todd's offer of a free grooming and is murdered by Todd. Mrs. Lovett informs Todd of Toby's suspicions, and the pair search for Toby, whom Mrs. Lovett has locked in the bake-house. He has hidden himself in the sewers after seeing Bamford's body drop into the room from the trap door above, as well as finding a human toe in a pie. Anthony brings Johanna, disguised as a sailor, to the shop, and has her wait there while he leaves to find a coach.
A beggar woman enters the shop in search of Bamford. She recognizes Todd, but upon hearing Turpin's voice, Todd kills her and sends her through the trap door. As Turpin enters, Todd explains that Johanna had repented and offers a free shave; when Turpin finally recognizes Todd as Benjamin Barker, Todd stabs him several times before cutting his throat. Upon seeing Johanna, Todd prepares to slit her throat as well, not recognizing her as his daughter. Hearing Mrs. Lovett scream in horror as a dying Turpin grabs her dress, Todd instead spares Johanna's life.
Todd discovers that the beggar woman was his wife Lucy, whom he believed to be dead, and that Mrs. Lovett misled him about her death. Todd pretends to forgive her and dances with her before hurling her into the bake-house oven, then cradles his wife's dead body in his arms. Toby climbs from the sewers and Todd allows Toby to slit his throat with his own razor. He leaves the basement as Todd bleeds to death over his dead wife.
In 1846 , Benjamin Barker , a barber , arrives in London , accompanied by sailor Anthony Hope . Fifteen years earlier , he was falsely convicted and sentenced to penal transportation by the corrupt Judge Turpin , who lusted after Barker s wife Lucy . Barker adopts the alias Sweeney Todd and returns to his old Fleet Street shop , situated above Mrs. Nellie Lovett s meat pie shop . He learns that Turpin raped Lucy , who then poisoned herself with arsenic . The couple s daughter , Johanna , is now Turpin s ward , and is the object of Turpin s lust . Todd vows revenge , and re-opens his barber shop after Mrs. Lovett returns his straight razors to him . Anthony becomes enamored with Johanna , but is caught by Turpin and driven away by his corrupt associate , Beadle Bamford . Todd denounces faux-Italian barber Adolfo Pirelli s hair tonic as a fraudulent mix and humiliates him in a public shaving contest . A few days later , Pirelli arrives at Todd s shop , with his boy assistant Tobias Ragg . Mrs. Lovett keeps Toby occupied while Pirelli identifies himself as Todd s former assistant , Davy Collins , and threatens to reveal Todd s secret unless Todd gives him half his earnings . Todd kills Collins to protect his secret , and hides his body in a trunk . After receiving advice from Bamford , Turpin , intending marriage to Johanna , visits Todd s shop for grooming . Todd shaves Turpin , preparing to slit his throat ; they are interrupted by Anthony , who reveals his plan to elope with Johanna before noticing Turpin . Turpin leaves enraged and Todd vents his rage by killing customers while waiting for another chance to kill Turpin , and Mrs. Lovett bakes the victims into pies . Todd rigs his barber s chair with a pedal-operated mechanism that deposits his victims through a trap door into Mrs. Lovett s basement bake-house . Anthony searches for Johanna , whom Turpin has sent to an insane asylum upon discovering her plans to elope with Anthony . The barbering and pie-making businesses prosper , and Mrs. Lovett takes Toby as her assistant . Mrs. Lovett tells an uninterested Todd of her plans to marry him and move to the seaside . Anthony discovers Johanna s whereabouts and poses as a wig-maker s apprentice to rescue her . Todd has Toby deliver a letter to Turpin , telling him where Johanna will be brought when Anthony frees her . Toby has become wary of Todd and tells Mrs. Lovett of his suspicion . Bamford arrives at the pie shop , informing Mrs. Lovett that neighbors have been complaining of the stink from her chimney . He is distracted by Todd s offer of a free grooming and is murdered by Todd . Mrs. Lovett informs Todd of Toby s suspicions , and the pair search for Toby , whom Mrs. Lovett has locked in the bake-house . He has hidden himself in the sewers after seeing Bamford s body drop into the room from the trap door above , as well as finding a human toe in a pie . Anthony brings Johanna , disguised as a sailor , to the shop , and has her wait there while he leaves to find a coach . A beggar woman enters the shop in search of Bamford . She recognizes Todd , but upon hearing Turpin s voice , Todd kills her and sends her through the trap door . As Turpin enters , Todd explains that Johanna had repented and offers a free shave ; when Turpin finally recognizes Todd as Benjamin Barker , Todd stabs him several times before cutting his throat . Upon seeing Johanna , Todd prepares to slit her throat as well , not recognizing her as his daughter . Hearing Mrs. Lovett scream in horror as a dying Turpin grabs her dress , Todd instead spares Johanna s life . Todd discovers that the beggar woman was his wife Lucy , whom he believed to be dead , and that Mrs. Lovett misled him about her death . Todd pretends to forgive her and dances with her before hurling her into the bake-house oven , then cradles his wife s dead body in his arms . Toby climbs from the sewers and Todd allows Toby to slit his throat with his own razor . He leaves the basement as Todd bleeds to death over his dead wife .
http://en.wikipedia.org/wiki/Sweeney_Todd:_The_Demon_Barber_of_Fleet_Street_(2007_film)
Sweeney Todd: The Demon Barber of Fleet Street (2007 film)
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<b>            SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
</b>



                            Written 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






                                               18th DECEMBER, 2006
<b>                                                                   PAGE 1.
</b>


<b>1   INT. DARK CHAMBER -- NIGHT                                     1
</b>
    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.

<b>    SUDDENLY--
</b>
    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--

<b>                           GENTLEMAN
</b>                 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.


<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 2.
</b><b>1   CONTINUED:                                                     1
</b>
    Another figure emerges from the miasma of shadows, into the
    hellish flickering of flame: THE BANKER. He is large, rotund
    and sleek. Impressive muttonchops.

<b>                           BANKER
</b>                 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...

<b>                           BANKER
</b>                 By Sweeney,
                 By Sweeney Todd,
                 The Demon Barber of Fleet Street.

    Although prosaic in appearance these figures are, in fact,
<b>    GHOSTS.
</b>
<b>                           GHOSTS
</b>                 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...

<b>                           GENERAL
</b>                 His needs were few, his room was bare:

    THE PRIEST, a lean, severe man with pale skin in clerical
    attire...

<b>                           PRIEST
</b>                 A lavabo and a fancy chair...

    THE TOURIST, a small, meek man with glasses in an ill-fitting
    suit...

<b>                           TOURIST
</b>                 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...




<b>                                                          (CONTINUED)
</b><b>                                                                 PAGE 3.
</b><b>1   CONTINUED: (2)                                               1
</b>
<b>                        STUDENT
</b>              For neatness he deserves a nod,
              Does Sweeney Todd...

<b>                        GENTLEMAN
</b>              The Demon Barber of Fleet Street.

    The ghosts are a bit more insinuating now as they move around
    this mysterious world...

<b>                        GHOSTS
</b>                  (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--

<b>                        GHOSTS
</b>                  (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:

<b>                        GHOSTS
</b>              Attend the tale of Sweeney Todd.
              He served a dark and a vengeful god.
              What happened then--



<b>                                                      (CONTINUED)
</b><b>                                                                   PAGE 4.
</b><b>1   CONTINUED: (3)                                                1
</b>
<b>                        GENTLEMAN
</b>              Well, who's to say?

<b>                        BANKER
</b>              And he wouldn't want us to give it away,

<b>                        GHOSTS
</b>                  (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...

<b>2   EXT. SHIP -- THAMES -- ALMOST DAWN                             2
</b>
    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.

<b>                        ANTHONY
</b>              I have sailed the world, beheld its wonders
              From the Dardanelles
              To the mountains of Peru,
              But there's no place like London--!

    Then--


<b>                                                         (CONTINUED)
</b><b>                                                                  PAGE 5.
</b><b>2   CONTINUED:                                                    2
</b>


    Sweeney Todd steps to Anthony's side, grimly interrupting--

<b>                           TODD
</b>                 No, there's no place like London.

<b>                           ANTHONY
</b>                 Mr. Todd...?

<b>                           TODD
</b>                 You are young.
                 Life has been kind to you.
                 You will learn.

    Todd's glares forward, his haunted gaze never leaving the
    approaching city.

<b>3   EXT. DOCKS -- DAWN                                             3
</b>
    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.

<b>                           ANTHONY
</b>                 Lord ... takes your breath away,
                 doesn't it?

    Todd shudders violently, almost snarling.

<b>                            TODD
</b>                 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.

<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 6.
</b><b>3   CONTINUED:                                                    3
</b>
<b>                           TODD
</b>                 I beg your indulgence, Anthony ... My
                 mind is far from easy. In these once
                 familiar streets I feel shadows
                 everywhere...

<b>                           ANTHONY
</b>                 Shadows...?

<b>                           TODD
</b>                 Ghosts.

    Anthony looking at him, questioning. Todd continues quietly:

<b>                           TODD
</b>                 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...

<b>4   EXT. FLOWER MARKET -- FLASHBACK -- DAY                         4
</b>
    ...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.

<b>                           TODD (V.O.)
</b>                 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!




<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 7.
</b><b>4   CONTINUED:                                                    4
</b>
    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...

<b>5   EXT. DOCKS -- DAWN                                             5
</b>
    Music continues.

<b>                           ANTHONY
</b>                 And the lady, sir ... did she succumb?

<b>                           TODD
</b>                 Oh, that was many years ago...
                 I doubt if anyone would know.

    A quiet beat.

<b>                           TODD
</b>                 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.

<b>                           ANTHONY
</b>                 Will I see you again?
<b>                           TODD
</b>                 You might find me, if you like, around
                 Fleet Street.

<b>                           ANTHONY
</b>                 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.
<b>                                                                   PAGE 8.
</b>


<b>6   EXT. STREET -- MORNING                                         6
</b>
    Todd strides along, deep in thought. The emotions roiling
    within him finally seethe out in a dark mutter:

<b>                        TODD
</b>              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--

<b>7   EXT. LONDON ASSAULT -- DAY                                     7
</b>
    --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--

<b>8   EXT. THE PIE SHOP -- DAY                                       8
</b>
    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...

<b>9   INT. PIE SHOP -- DAY                                           9
</b>
    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.


<b>                                                      (CONTINUED)
</b><b>                                                                   PAGE 9.
</b><b>9   CONTINUED:                                                    9
</b>
    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:

<b>                           MRS. LOVETT
</b>                 A customer!

    Todd is startled, starts to go--

<b>                             MRS. LOVETT
</b>                 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--

<b>                                                         (CONTINUED)
</b><b>                                                                  PAGE 10.
</b><b>9   CONTINUED: (2)                                                9
</b>
              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:

<b>                        MRS. LOVETT
</b>              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.

<b>                                                      (CONTINUED)
</b><b>                                                                   PAGE 11.
</b><b>9    CONTINUED: (3)                                                9
</b>
               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.

<b>                         MRS. LOVETT
</b>               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...

<b>10   INT. PARLOR -- DAY                                            10
</b>     ... 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:

<b>                         MRS. LOVETT
</b>               Isn't this homey now? Me cheery
               wallpaper was a real bargain too, it
               being only partly singed when the
               chapel burnt down ....



<b>                                                       (CONTINUED)
</b><b>                                                                    PAGE 12.
</b><b>10   CONTINUED:                                                    10
</b>
     She hands him the gin. He gulps it down, washing the taste of
     her pie out of his mouth.

<b>                            MRS. LOVETT
</b>                  There's a good boy, now you sit down
                  and warm your bones, you look chilled
                  through.

     He sits before the fire:

<b>                            TODD
</b>                  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.

<b>                            MRS. LOVETT
</b>                  Up there? Oh, no one will go near
                  it...

     She turns to him, something a little intense and probing
     about her gaze.

<b>                            MRS. LOVETT
</b>                  People think it's haunted.

<b>                             TODD
</b>                  Haunted?

     She holds his gaze.

<b>                            MRS. LOVETT
</b>                  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...

<b>                            MRS. LOVETT
</b>                  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:




<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 13.
</b><b>10   CONTINUED: (2)                                               10
</b>
<b>                         MRS. LOVETT
</b>               Barker, his name was -- Benjamin
               Barker.

<b>                         TODD
</b>               Transported? What was his crime?

<b>                         MRS. LOVETT
</b>                   (with an edge)
               Foolishness.

     She turns again to the fire, the red glow bathing her face as
     she remembers...

<b>11   INT. BARBER SHOP -- FLASHBACK -- DAY                          11
</b>
     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.

<b>                         MRS. LOVETT (V.O.)
</b>               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.

<b>                          MRS. LOVETT (V.O.)
</b>               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.

<b>                         MRS. LOVETT (V.O.)
</b>               Ah, but there was worse yet to come,
               Poor thing.
<b>                                                                   PAGE 14.
</b>


<b>12   EXT. EXCLUSIVE STREET -- FLASHBACK -- EVENING                 12
</b>
     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.

<b>                         MRS. LOVETT (V.O.)
</b>               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.

<b>13   INT. TURPIN'S MANSION -- BALLROOM -- FLASHBACK -- NIGHT       13
</b>
     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...

<b>                         MRS. LOVETT (V.O.)
</b>               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...

<b>                         MRS. LOVETT (V.O.)
</b>               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.

<b>                         MRS. LOVETT (V.O.)
</b>               He was there, all right--
               Only not so contrite!
               She wasn't no match for such craft, you see,

<b>                                                        (CONTINUED)
</b><b>                                                                    PAGE 15.
</b><b>13   CONTINUED:                                                     13
</b>
                  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!

<b>                            TODD (V.O.)
</b><b>                  NOOOOOOOO...!
</b>
     Todd's wild howl shatters the memory and tears us back to--

<b>14   INT. PARLOR -- DAY                                             14
</b>
     --Todd is bolting up from the sofa, tormented--

<b>                            TODD
</b><b>                  ..... NOOOOOO!
</b>
     He stands for a terrible beat.

<b>                            TODD
</b>                  Would no one have mercy on her?

<b>                            MRS. LOVETT
</b>                  So it is you -- Benjamin Barker.

<b>                            TODD
</b>                  Where's Lucy?! Where's my wife?!

<b>                            MRS. LOVETT
</b>                  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.

<b>                            TODD
</b>                  He? Judge Turpin?

<b>                            MRS. LOVETT
</b>                  Adopted her like his own.

     Todd absorbs this sickening news.

<b>                            TODD
</b>                  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.



<b>                                                           (CONTINUED)
</b><b>                                                                    PAGE 16.
</b><b>14   CONTINUED:                                                    14
</b>
<b>                            MRS. LOVETT
</b>                  Well, I can't say the years have been
                  particularly kind to you, Mr. Barker,
                  but you still--

<b>                            TODD
</b>                  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:

<b>                            TODD
</b>                  Judge Turpin and the Beadle will pay
                  for what they did.

     A beat. He finally turns to her.

<b>                            TODD
</b>                  First I must have my shop back.

<b>15   EXT. PIE SHOP -- DAY                                           15
</b>
     They emerge from the pie shop. She begins to scale the
     exterior staircase to the darkened second floor room. He
     hesitates.

<b>                            MRS. LOVETT
</b>                  Come along...

     She continues up, he slowly follows.

<b>16   INT. BARBER SHOP -- DAY                                        16
</b>
     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.

<b>                            MRS. LOVETT
</b>                  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.


<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 17.
</b><b>16   CONTINUED:                                                   16
</b>
     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.

<b>                            TODD
</b>                  I don't believe it...

     He finally steps into the room, drawn toward the case.

<b>                            MRS. LOVETT
</b>                  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.

<b>                            MRS. LOVETT
</b>                  Those handles is chased silver, ain't
                  they?

<b>                            TODD
</b>                  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.

<b>                                                          (CONTINUED)
</b><b>                                                                PAGE 18.
</b><b>16   CONTINUED: (2)                                             16
</b>
               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:

<b>                         TODD
</b>                   (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--

<b>                         MRS. LOVETT
</b>               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.
<b>                         TODD
</b>               --My lucky friends.
               Till now your shine
               Was merely silver.
               Friends,
               You shall drip rubies,
               You'll soon drip precious
               Rubies...

<b>                         MRS. LOVETT
</b>               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.

<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 19.
</b><b>16   CONTINUED: (3)                                              16
</b>
               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.

<b>                         TODD
</b>               Leave me now...

     She goes. Todd finally picks up his biggest razor and slowly
     opens it, looks at it.

<b>                         TODD
</b>               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--

<b>                         GHOSTS
</b>               Lift your razor high, Sweeney!
               Hear it singing, "Yes!"
               Sink it in the rosy skin
               Of righteousness!

     Todd turns to them...

<b>                         GHOSTS
</b>                   (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.
<b>                                                                   PAGE 20.
</b>


<b>17   EXT. EXCLUSIVE STREET -- DAY                                  17
</b>
     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.

<b>                         JOHANNA
</b>               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...

<b>                         JOHANNA
</b>               My cage has many rooms,
               Damask and dark.
               Nothing there sings,
               Not even my lark.
               Larks never will, you know,
               When they're captive.

<b>                                                        (CONTINUED)
</b><b>                                                                     PAGE 21.
</b><b>17   CONTINUED:                                                     17
</b>
                  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:

<b>                            BEGGAR WOMAN
</b>                  Alms! ... Alms! ...
                  For a miserable woman
                  On a miserable chilly morning...
                      (Anthony drops a coin into
                       her hand)
                  Thank yer, sir, thank yer.

<b>                            ANTHONY
</b>                  Ma'am, could tell me whose house this
                  is?

<b>                            BEGGAR WOMAN
</b>                  That's the great Judge Turpin's house
                  that is.

<b>                            ANTHONY
</b>                  And the young lady who resides there?
<b>                            BEGGAR WOMAN
</b>                  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:

<b>                            BEGGAR WOMAN
</b>                  '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?


<b>                                                            (CONTINUED)
</b><b>                                                                   PAGE 22.
</b><b>17   CONTINUED: (2)                                               17
</b>
               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:

<b>                         BEGGAR WOMAN
</b>               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:

<b>                         ANTHONY
</b>               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.

<b>                         JUDGE
</b>               Come in, lad. Come in...

     Anthony goes into the mansion.

<b>18   INT. TURPIN'S MANSION -- LIBRARY -- DAY                       18
</b>
     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.



<b>                                                       (CONTINUED)
</b><b>                                                                    PAGE 23.
</b><b>18   CONTINUED:                                                    18
</b>
<b>                            JUDGE
</b>                  ... you were looking for Hyde Park,
                  you say?

<b>                            ANTHONY
</b>                  Yes, it's terribly large on the map
                  but I keep getting lost...

<b>                            JUDGE
</b>                  Sit down, lad, sit down.

     Anthony sits, uncomfortable, as the Judge pours two snifters
     of brandy.

<b>                            ANTHONY
</b>                  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.

<b>                            JUDGE
</b>                  A sailor, eh?

<b>                            ANTHONY
</b>                  Yes, sir. The "Bountiful" out of
                  Plymouth.

<b>                            JUDGE
</b>                      (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?

<b>                            ANTHONY
</b>                  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.

<b>                            JUDGE
</b>                  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 ....
<b>                            (MORE)
</b>
<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 24.
</b><b>18   CONTINUED: (2)                                             18
</b>                         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.

<b>                         JUDGE
</b>               Would you like to see?

<b>                         ANTHONY
</b>                   (standing)
               I think there's been some mistake--

<b>                         JUDGE
</b>               Oh, I think not. You gandered at my
               ward, Johanna ... You gandered at her
               ... Yes, sir, you gandered.

     The Beadle moves behind Anthony.

<b>                         ANTHONY
</b>                   (glancing nervously back
                    at the Beadle)
               I meant no harm--

<b>                         JUDGE
</b>               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:

<b>                         JUDGE
</b>               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.

<b>19   EXT. MANSION -- ALLEY -- DAY                                  19
</b>
     The Beadle drags Anthony through a rear door of the mansion
     and flings him into a filthy alley.

     Anthony pulls himself up. Stunned.

<b>                         BEADLE
</b>               Hyde Park is that way, young sir ... A
               right and then a left, then straight
               on, you see? ...
<b>                         (MORE)
</b><b>                                                        (CONTINUED)
</b><b>                                                                    PAGE 25.
</b><b>19   CONTINUED:                                                    19
</b>                            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--

<b>                            BEADLE
</b>                  You heard Judge Turpin, little man.

     He presses the end of his billyclub into Anthony's forehead,
     grinding it hard--

<b>                            BEADLE
</b>                  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:
<b>                            ANTHONY
</b>                  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.

<b>20   EXT. EXCLUSIVE STREET -- DAY                                   20
</b>
     The music swells as Anthony emerges from the dark alley into
     the bright sunlight. He makes his way along the sidewalk:


<b>                                                           (CONTINUED)
</b><b>                                                                    PAGE 26.
</b><b>20   CONTINUED:                                                    20
</b>
<b>                            ANTHONY
</b>                  I feel you, Johanna,
                  And one day I'll steal you.
                  Till I'm with you then,
                  I'm with you there,
                  Sweetly buried in your yellow hair...

     The soaring music continues as Anthony stops at a park across
     the street from Turpin's mansion, bravely gazing up at
     Johanna's window.

<b>21   EXT. STREET LEADING TO ST. DUNSTAN'S MARKETPLACE -- DAY        21
</b>
     Sweeney Todd and Mrs. Lovett are moving quickly, she
     struggles to keep up with his long, loping stride. He carries
     his razor case, she carries a shopping basket.

<b>                            TODD
</b>                  He's here every Thursday?

<b>                            MRS. LOVETT
</b>                  Like clockwork. Eyetalian. All the
                  rage he is.

<b>                            TODD
</b>                  Not for long.

<b>22   EXT. ST. DUNSTAN'S MARKETPLACE            DAY                  22
</b>
     They round a corner and move into the bustling marketplace. A
     steady mercantile hum as the cries of merchants and wandering
     coster-mongers fill the air.

     Todd and Mrs. Lovett move toward a hand-drawn caravan
     dominating one corner of the marketplace. It is painted like
     a Sicilian donkey cart and on its side a sign declaims:
     "Signor Adolfo Pirelli -- Haircutter to His Royal Majesty the
     King of Naples."

<b>                            MRS. LOVETT
</b>                  Oh Mr. T., do you really think you can
                  do it?

<b>                            TODD
</b>                  By tomorrow they'll all be flocking to
                  me like sheep to be shorn--

     He stops abruptly when he sees--

     The Beadle casually strolling through the crowd. Todd is
     transfixed, his ancient enemy so close.



<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 27.
</b><b>22   CONTINUED:                                                   22
</b>
<b>                            MRS. LOVETT
</b>                      (seeing the Beadle,
                       pulling his arm)
                  Come along now, dear, he might
                  recognize you--

<b>                            TODD
</b>                  I will do what I have vowed to do ...
                      (he continues to glare at
                       the Beadle, his voice
                       low)
                  ... Come closer, my friend, closer...

     Then, TOBY -- a 13-year-old boy, a bit small for his age,
     malnourished and consumptively pale -- emerges from Pirelli's
     caravan. He bangs on a tin drum, drawing customers.

     A crowd begins to gather at the caravan as:

<b>                            TOBY
</b>                  Ladies and gentlemen!
                  May I have your attention, perlease?
                  Do you wake every morning in shame and despair
                  To discover your pillow is covered with hair
                  Wot ought not to be there?
                  Well, ladies and gentlemen,
                  From now on you can waken at ease.
                  You need never again have a worry or care,
                  I will show you a miracle marvelous rare,
                  Gentlemen, you are about to see something wot rose
                  from the dead!
                      (A woman gasps, he smiles
                       and wiggles a finger no)
                  On the top of my head.

     He dramatically doffs his cap, revealing mountains of hair
     which cascade to his shoulder.

<b>                            TOBY
</b>                  'Twas Pirelli's
                  Miracle Elixir,
                  That's wot did the trick, sir,
                  True, sir, true.
                  Was it quick, sir?
                  Did it in a tick, sir?
                  Just like an elixir
                  Ought to do!
                      (To a Bald Man)
                  How about a bottle, mister?
                  Only costs a penny, guaranteed.
                      (Pours a drop on the bald
                       man's head)
                  Does Pirelli's

<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 28.
</b><b>22   CONTINUED: (2)                                               22
</b>
               Stimulate the growth, sir?
               You can have my oath, sir,
               'Tis unique.
                   (Applies the bald man's
                    hand to the wet spot)
               Rub a minute,
               Stimulatin', i'n it?
               Soon you'll have to thin it
               Once a week!

     More customers are stepping up and buying bottles.

     Todd opens a bottle of the Elixir, takes a whiff. Disgusting.
     He smiles to Mrs. Lovett, his plan falling into place.

<b>                         TODD
</b>                   (loudly, to Mrs. Lovett)
               Pardon me, ma'am, what's that awful stench?

<b>                         MRS. LOVETT
</b>               Are we standing near an open trench?

<b>                         TODD
</b>                   (to a woman in the crowd)
               Must be standing near an open trench!

     The crowd responds to Todd and Mrs. Lovett, looking askance
     and sniffing at the bottles. Toby nervously tries to distract
     them:

<b>                         TOBY
</b>               Buy Pirelli's Miracle Elixir:
               Anything wot's slick, sir,
               Soon sprouts curls.
               Try Pirelli's!
               When they see how thick, sir,
               You can have your pick, sir,
               Of the girls!

               Want to buy a bottle, missus?

<b>                         TODD
</b>                   (sniffing bottle of
                    Elixir)
               What is this?

<b>                         MRS. LOVETT
</b>                   (sniffing another
                    customer's bottle)
               What is this?

<b>                         TODD
</b>               Smells like piss.

<b>                                                          (CONTINUED)
</b><b>                                                                  PAGE 29.
</b><b>22   CONTINUED: (3)                                              22
</b>
<b>                         MRS. LOVETT
</b>               Smells like -- phew!

<b>                         TODD
</b>               This is piss. Piss with ink.

     The music speeds up -- Toby is getting desperate:

<b>                         TOBY
</b>               Let Pirelli's
               Activate your roots, sir--

<b>                         TODD
</b>               Keep it off your boots, sir--
               Eats right through.

<b>                         TOBY
</b>               Yes, get Pirelli's!
               Use a bottle of it!
               Ladies seem to love it--

<b>                         MRS. LOVETT
</b>               Flies do too!

     Suddenly, the curtains on the caravan are dramatically flung
     wide to reveal--

     PIRELLI, a flamboyant Italian with a velvet suit, thick wavy
     hair and a dazzling smile. Pirelli poses splendidly for a
     moment. Then:

<b>                         PIRELLI
</b>               I am Adolfo Pirelli,
               Da king of da barbers, da barber of kings,
               E buon giorno, good day,
               I blow you a kiss!
                   (he does so)
               And I, da so-famous Pirelli,
               I wish-a to know-a
               Who has-a da nerve-a to say
               My elixir is piss!
               Who says this?!

<b>                          TODD
</b>               I do.
                   (Todd moves forward
                     boldly.)
               I am Mr. Sweeney Todd of Fleet Street.
               I have opened a bottle of Pirelli's
               elixir, and I say to you that it is
               nothing but an arrant fraud, concocted
               from piss and ink.


<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 30.
</b><b>22   CONTINUED: (4)                                              22
</b>
     The crowd gasps. Pirelli is about to respond, outraged, but
     Todd continues--

<b>                         TODD
</b>               And furthermore --   "signor" -- I have
               serviced no kings,   yet I wager I can
               shave a cheek with   ten times more
               dexterity that any   street mountebank.

     He snaps open his razor case and holds it up for the crowd to
     see, turning to display the wondrous razors:

<b>                         TODD
</b>               You see these razors?

<b>                         MRS. LOVETT
</b>                   (to the crowd)
               The finest in England.

<b>                         TODD
</b>                   (glaring at Pirelli)
               I lay them against five pounds you are
               no match for me. You hear me, sir?
               Either accept my challenge or reveal
               yourself as a sham.

<b>                         MRS. LOVETT
</b>               Bravo, bravo.

     The crowd is enjoying this now, whispering eagerly about the
     bold challenge. In the crowd, we see a quick flash of the
     meek TOURIST we saw earlier.

     Pirelli studies the razors for a moment and then turns to the
     crowd with a confident smile:
<b>                         PIRELLI
</b>               You hear zis foolish man? Watch and
               see how he will regret his folly!

     Music begins as Todd moves into action, preparing the
     challenge:

<b>                         TODD
</b>               Friends, who's for a free shave?

     Two men step forward. A plain wooden chair is brought for
     Todd as he moves into the boldest part of this plan...

     He carefully turns to ... The Beadle.

<b>                         TODD
</b>               Will Beadle Bamford be the judge?

<b>                                                         (CONTINUED)
</b><b>                                                                PAGE 31.
</b><b>22   CONTINUED: (5)                                            22
</b>
     Mrs. Lovett's eyes shoot to Todd, alarmed--

     The Beadle moves toward Todd ....

     Todd smiles amiably, but quivers internally at being so
     dreadfully close to his prey...

     Mrs. Lovett watches, concerned. Will the Beadle recognize the
     features of Benjamin Barker...?

     Apparently not.

     The Beadle stops right before Todd and smiles.

<b>                         BEADLE
</b>               Glad, as always, to oblige my friends
               and neighbors
                   (to the crowd)
               ... Let the challenge commence!

     One man sits in Todd's plain chair as the other moves to an
     elaborate chair on Pirelli's caravan. Pirelli shakes out a
     fancy bib with a flourish and covers his man. Toby prepares
     Pirelli's ornate shaving supplies as Todd takes a plain towel
     and tucks it around his man's neck.

<b>                         BEADLE
</b>               Ready?

<b>                         PIRELLI
</b>               Ready!

<b>                         TODD
</b>               Ready.

<b>                         BEADLE
</b>               The fastest, smoothest shave is the
               winner.

     He blows his shrill whistle. Agitated music begins.

     Pirelli strops his razor quickly, Todd in a leisurely manner.
     Pirelli keeps glancing at Todd in various paranoid ways
     throughout, frightened of Todd's progress. He starts whipping
     up lather rapidly:

<b>                         PIRELLI
</b>                   (while mixing furiously)
               Now, signorini, signori,
               We mix-a da lather
               But first-a you gather
               Around, signorini, signori,
               You looking a man

<b>                                                       (CONTINUED)
</b><b>                                                                  PAGE 32.
</b><b>22   CONTINUED: (6)                                               22
</b>
               Who have had-a da glory
               To shave-a da Pope.
               Mr. Sweeney-so-smart--
                   (Splatters the customer
                     with shaving cream)
               Oh, I beg-a you pardon -- 'll
               Call me a lie, was-a only a cardinal--
               Nope!
               It was-a da Pope!

     Unexpectedly, Todd still shows no signs of starting to shave
     his man. He merely watches Pirelli's performance. Mrs. Lovett
     looks at him nervously, wishing he would get on with it.

     Pirelli, now feeling he can take his time, sings lyrically as
     he lathers and shaves with rhythmic scrapes and elaborate
     gestures of wiping the razor.

<b>                         PIRELLI
</b>               To shave-a da face,
               To cut-a da hair,
               Require da grace
               Require da flair,
               For if-a you slip,
               You nick da skin,
               You clip-a da chin,
               You rip-a da lip a bit
               Beyond-a repair!

     Todd strops his razor slowly and deliberately -- shoop,
     shoop, shoop -- disconcerting Pirelli and drawing the crowd's
     attention.

<b>                         PIRELLI
</b>               To shave-a da face
               Or even a part
               Widout it-a smart
               Require da heart.
               Not just-a da flash,
               It take-a panache,
               It take-a da passion
               For da art.

     Todd is unconcerned. He just continues to slowly strop his
     razor -- shoop, shoop, shoop -- which flusters Pirelli.

<b>                         PIRELLI
</b>               To shave-a da face,
               To trim-a da beard,
               To make-a da bristle
               Clean like a whistle,
               Dis is from early infancy
               Da talent give to me

<b>                                                        (CONTINUED)
</b><b>                                                                  PAGE 33.
</b><b>22   CONTINUED: (7)                                               22
</b>
               By God!
                   (Crosses   himself with his
                    razor)
               It take-a da   skill,
               It take-a da   brains,
               It take-a da   will
               To take-a da   pains,
               It take-a da   pace,
               It take-a da   graaaaaace...

     While Pirelli holds this note elaborately, Todd, with a few
     deft strokes, quickly lathers his man's face, shaves him and
     signals the Beadle to examine him.

<b>                         BEADLE
</b>                   (blowing whistle)
               The winner is Todd.

     Pirelli deflates.

<b>                         MRS. LOVETT
</b>                   (feeling the customer's
                    cheek)
               Smooth as a baby's arse! -- (to Todd) -
               - Well done, dear!

     The crowd laughs and applauds Todd as Pirelli goes to him:

<b>                         PIRELLI
</b>                   (a profound bow)
               Sir, I bow to a skill far defter than
               my own.

<b>                         TODD
</b>               The five pounds.
     Pirelli produces a distinctive chatelaine purse and removes a
     five pound note, gives it to Todd:

<b>                         PIRELLI
</b>               Here, sir. And may the good Lord smile
               on you --
                   (a quick stab of a smile)
               -- Until we meet again.

     He bows his head quickly and then moves away, beckoning to
     Toby:

<b>                            PIRELLI
</b>               Come, boy.

<b>                         TOBY
</b>               We're pulling out, sir?

<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 34.
</b><b>22   CONTINUED: (8)                                            22
</b>
     Without warning, Pirelli SLAPS Toby viciously across the face
     --Toby almost falls--

<b>                         PIRELLI
</b>                   (snarling)
               We're pulling out, yes. Quickly.

     Mrs. Lovett has observed all of this as she moves away with
     Todd, who is making his way inexorably toward the Beadle.

     Some eager customers surround Todd, among them is the
<b>     TOURIST.
</b>
<b>                         EAGER CUSTOMER
</b>               Mr. Todd, sir, do you have an
               establishment of your own?

     Mrs. Lovett is on him like a hawk:

<b>                         MRS. LOVETT
</b>               He certainly does. Sweeney Todd's
               Tonsorial Parlor -- above my meatpie
               emporium in Fleet Street.

     Todd has led them right to the Beadle:

<b>                         TODD
</b>               I thank you for your honest
               adjudication, sir. You are a paragon
               of integrity.

<b>                         BEADLE
</b>               Well, I try to do my best for my
               friends and neighbors ... Your
               establishment is in Fleet Street, you
               say?
<b>                           TODD
</b>               Yes, sir.

<b>                         BEADLE
</b>               Then, Mr. Todd, you will surely see me
               there before the week is out.

<b>                         TODD
</b>               You will be welcome, Beadle Bamford,
               and I guarantee to give you, without a
               penny's charge, the closest shave you
               will ever know.
<b>                                                                   PAGE 35.
</b>


<b>23   EXT. STREET -- DAY                                            23
</b>
     Todd and Mrs. Lovett are walking away from the marketplace.
     She chatters happily:

<b>                         MRS. LOVETT
</b>               ... Like to give me a coronary right
               there! What if he had recognized you!
               Lord, my heart was beating a mile a
               minute, just like a little finch it
               was. Aren't those lovely birds now?
               Always so twittery and happy...

     She continues chattering...

     But Todd is not listening.

     His eyes dart to the side to see--

     The Gentleman is walking next to him, whispering, subtle,
     insinuating...

<b>                         GENTLEMAN
</b>               Sweeney pondered and Sweeney planned.
               Like a perfect machine 'e planned...

     The Banker moves in next to the Gentleman...

<b>                         BANKER
</b>               Barbing the hook, baiting the trap,
               Setting it out for the Beadle to snap...

     The General joins them...

<b>                         GENERAL
</b>               Slyly courted 'im, Sweeney did,
               Set a sort of a scene 'e did...

<b>                          GENTLEMAN, BANKER AND GENERAL
</b>               Laying the trail, showing the traces,
               Letting it lead to higher places...
               Sweeney...

     The last word echoes ... And then they are gone ...
     disappearing from Todd's mind ... swallowed up by the crowd
     of pedestrians...

     Todd looks to Mrs. Lovett and she continues chattering:




<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 36.
</b><b>23   CONTINUED:                                                23
</b>
<b>                            MRS. LOVETT
</b>                  ... Suppose it's just me gentle heart,
                  but I do hate to see a boy treated
                  like that, no better than your Aunt
                  Doreen's dog -- Mr. Todd, are you
                  listening to me?

<b>                               TODD
</b>                  Of course.

     But then his eyes dart again -- looking for the specters. He
     only sees strangers.

<b>24   INT. JOHANNA'S ROOM -- MORNING                                24
</b>
     Johanna sits, framed by the window, quietly cutting out
     silhouettes. Aimless Victorian handicrafts.

     But we see there are tears in her eyes.

     She steals a glance across the room. We see a small hole in
     the wallpaper. Through this hole, the Judge is watching her
     from another chamber. Lascivious. Perverse.

     Johanna finally stands and casually glances out from between
     the shutters at her window. She sees...

     Anthony, standing at the park across the street, keeping up
     his lonely vigil, gazing up at the mansion.

     She watches him for a moment and then makes her decision. She
     moves to a table and opens a drawer. Reaches in and removes
     something...

<b>25   EXT. TURPIN'S MANSION -- MORNING                              25
</b>     Anthony sees a figure at the shutters -- then hears a
     clinking sound. Metal on pavement.

     He quickly moves across the street and looks...

     A key, dropped from above.

     He looks up to the shutters and smiles, then snatches up the
     key and hurries off.

<b>26   INT. JOHANNA'S ROOM -- MORNING                                26
</b>
     Peering through the shutters, Johanna watches him go.

     We linger on her face and then dissolve to another face, also
     watching...
<b>                                                                  PAGE 37.
</b>


<b>27   INT. BARBER SHOP -- MORNING                                  27
</b>
     ... Her father.

     Todd's face, staring out the window, intense and brooding.
     Seething with discontent.

     Mrs. Lovett chatters as she moves around behind him:

<b>                         MRS. LOVETT
</b>               ... It's not much of a chair, I'll
               grant, but it'll serve. Was me poor
               Albert's chair. Sat in it all day long
               he did, after his leg give out from
               the gout, poor dear.

     He moves from the window and paces like a caged tiger in the
     small barber shop.

     Though it has been cleaned, it is still a spartan room. A
     tatty parlor chair. A large chest. A few counters with meager
     bottles of tonsorial supplies. And his gleaming razors,
     always waiting.

<b>                         TODD
</b>               Why doesn't the Beadle come? "Before
               the week is out," that's what he said.

<b>                         MRS. LOVETT
</b>               And who says the week's out? It's only
               Tuesday.

     Todd moves away from her, she pursues, trying to calm and
     soothe him...

<b>                         MRS. LOVETT
</b>               Easy now.
               Hush, love, hush.
               Don't distress yourself,
               What's your rush?
               Keep your thoughts
               Nice and lush.
               Wait.
                   (he continues to pace)
               Hush, love, hush.
               Think it through.
               Once it bubbles,
               Then what's to do?
               Watch it close.
               Let it brew.
               Wait.

     He does not respond. She dares to move closer...

<b>                                                        (CONTINUED)
</b><b>                                                                  PAGE 38.
</b><b>27   CONTINUED:                                                   27
</b>
<b>                            MRS. LOVETT
</b>                  I've been thinking, flowers--
                  Maybe daisies--
                  To brighten up the room.
                  Don't you think some flowers,
                  Pretty daisies,
                  Might relieve the gloom?
                  Ah, wait, love, wait.

     Todd sourly tosses himself into the chair, he picks up his
     largest razor and looks at it intensely:

<b>                             TODD
</b>                       (to razor)
                  And the Judge? When will we get to
                  him?

<b>                            MRS. LOVETT
</b>                  Can't you think of nothing else?
                  Always broodin' away on yer wrongs
                  what happened heaven knows how many
                  years ago...


                  Don't you know,
                  Silly man,
                  Half the fun is to
                  Plan the plan?
                  All good things come to
                  Those who can
                  Wait.

     Her gentle words have calmed him considerably. She moves even
     closer. Risks touching him softly...

<b>                            MRS. LOVETT
</b>                  Gillyflowers, maybe,
                  `Stead of daisies...
                  I don't know, though...
                  What do you think?


     Then Todd tilts the razor in his hand--

     SUDDENLY -- the face of the GENTLEMAN -- a flash -- reflected
     in the razor--

     Then--

     A bell rings from outside the shop -- the effect is electric
     -- Todd bolts up, senses alert -- Mrs. Lovett spins to the
     door--


<b>                                                        (CONTINUED)
</b><b>                                                                  PAGE 39.
</b><b>27   CONTINUED: (2)                                               27
</b>
     Todd holds his razor open as he moves strategically toward
     the door--

     We hear footsteps ascending the stairs outside quickly--

     Then--

     Anthony enters, breathless--

<b>                         ANTHONY
</b>               Mr. Todd! Thank God I've found you --
                   (Todd turns, closing the
                    razor, as Anthony sees
                    Mrs. Lovett)
               ... Oh, I'm sorry, excuse me...

<b>                         MRS. LOVETT
</b>               Mrs. Lovett, sir.

<b>                         ANTHONY
</b>               A pleasure, ma'am --
                   (continues to Todd)
               -- You see, there's a girl who needs
               my help -- such a sad girl, and
               lonely, but beautiful too and--

<b>                         TODD
</b>               Slow down, Anthony.

<b>                         ANTHONY
</b>                   (takes a breath)
               Yes, I'm sorry ... This girl has a
               guardian so tyrannical that he keeps
               her locked away. But then this morning
               she dropped this ...
                   (produces the key)
               ... It must be a sign that Johanna
               wants me to help her -- that's her
               name, Johanna -- and Turpin that of
               her guardian. A judge of some sort...

     Todd and Mrs. Lovett exchange a quick glance as Anthony
     continues:

<b>                         ANTHONY
</b>               ... I've met him, Mr. Todd, and he is -
               - unnatural ... Once he goes to court,
               I'm going to slip into the house and
               release her -- and beg her to come
               away with me. Tonight.

<b>                         MRS. LOVETT
</b>               Oh, this is all terribly romantic.

<b>                                                         (CONTINUED)
</b><b>                                                                  PAGE 40.
</b><b>27   CONTINUED: (3)                                               27
</b>
<b>                          ANTHONY
</b>                Yes, but -- you see -- I don't know
                anyone in London --
                    (to Todd)
                -- and I need somewhere safe to bring
                her till I've hired a coach to take us
                to Plymouth.

     He looks at Todd deeply:

<b>                           ANTHONY
</b>                If I could keep her here, just for an
                hour or two, I would forever be in
                your debt.

     Todd stares at him, his mind racing to figure out how this
     new twist might aid in his plans.

     It is Mrs. Lovett who smoothly replies:

<b>                          MRS. LOVETT
</b>                Bring her here, dear.

<b>                          ANTHONY
</b>                Thank you, ma'am ...
                    (to Todd)
                ... Mr. Todd?

     A beat.

<b>                          TODD
</b>                The girl may come.

<b>                          ANTHONY
</b>                    (taking his hand)
                Thank you, my friend.
     He goes.

<b>                          MRS. LOVETT
</b>                Seems like the fates are favoring you
                at last, Mr. T.
                    (Todd grunts, unhappy)
                What is it, love? You'll have her back
                before the day is out.

<b>                          TODD
</b>                For a few hours? Before he carries her
                off to the other end of England?




<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 41.
</b><b>27   CONTINUED: (4)                                               27
</b>
<b>                         MRS. LOVETT
</b>               Oh, him? Let him bring her here and
               then, since you're so hot for a little
<b>               --
</b>                   (makes a throat-cutting
                    gesture)
               -- that's the throat to slit, dear.

     Todd moves again to his post at the window, he stares out,
     deep in thought.

     Meanwhile, she happily moves around the shop, straightening
     things up and trying to make it all a bit more cozy:

<b>                         MRS. LOVETT
</b>               Poor little Johanna. All those years
               without a scrap of motherly affection.
               Well, we'll soon see to that...

<b>                         TODD
</b>                   (alert, sees something)
               What's this?

     Mrs. Lovett joins him at the window. Below, they see Pirelli
     approaching with Toby in tow.

<b>                         MRS. LOVETT
</b>               Look at that face, he's up to
               mischief.

<b>                         TODD
</b>               Go -- keep the boy below with you.

     She nods and scurries out. We go with her...

<b>28   EXT. PIE SHOP -- DAY                                          28
</b>     ... Mrs. Lovett quickly moves down the steps outside the
     barber shop to greet Pirelli and Toby as they are about to
     ascend.

     We see a new sign on the stairs: "Sweeney Todd's Tonsorial
     Parlor."

<b>                         PIRELLI
</b>               Signora, is Mr. Todd at home?

<b>                         MRS. LOVETT
</b>               Plying his trade upstairs, don'tcher
               know ...
                   (she stands on the
                    staircase, blocking their
                    way, looking at Toby)
<b>                         (MORE)
</b><b>                                                        (CONTINUED)
</b><b>                                                                    PAGE 42.
</b><b>28   CONTINUED:                                                    28
</b>                            MRS. LOVETT (cont'd)
                  ... Would you look at it, now! Don't
                  look like it's had a kind word since
                  half past never!

<b>                              TOBY
</b>                  Ma'am...?

<b>                            MRS. LOVETT
</b>                      (to Pirelli)
                  You wouldn't mind if I gave him a nice
                  juicy meat pie, would yer?

<b>                            PIRELLI
</b>                      (impatient)
                  Yes, yes, whatever you like.

     Pirelli climbs the stairs, as she takes Toby by the hand and
     leads him toward the pie shop door:

<b>                            MRS. LOVETT
</b>                  Come with me now. Your teeth is
                  strong, I hope?

     They go into the pie shop.

<b>29   INT. BARBER SHOP -- DAY                                        29
</b>
     Todd is standing, arms folded. Waiting. Pirelli enters.

<b>                              PIRELLI
</b>                  Mr. Todd.

<b>                            TODD
</b>                  Signor Pirelli.

<b>                            PIRELLI
</b>                      (reverting to his natural
                       Irish)
                  Call me Danny. Daniel Higgins' the
                  name when it's not professional ...
                  I'd like me five quid back, if'n ya
                  don't mind.

<b>                              TODD
</b>                  Why?

<b>                            PIRELLI
</b>                  Because you entered into our little
                  wager on false pretenses, me friend
                  ... And so you might remember to be
                  more forthright in the future, you'll
                  be handing over half your profits to
                  me, share and share alike...

<b>                                                           (CONTINUED)
</b><b>                                                                    PAGE 43.
</b><b>29   CONTINUED:                                                    29
</b>
     Todd shakes his head, amused, and begins to turn away when
     Pirelli says:

<b>                            PIRELLI
</b>                  ... Mr. Benjamin Barker.

     Todd freezes.

<b>30   INT. PIE SHOP -- DAY                                           30
</b>
     Mrs. Lovett hands Toby one of her grisly pies, he devours
     eagerly.

<b>                            MRS. LOVETT
</b>                  That's my boy, tuck in.

     But her attention is almost entirely on the roof above ...
     the muffled voices .... the sound of shoes walking...

     Her eyes keep darting up as she chatters distractedly with
     Toby:

<b>                            MRS. LOVETT
</b>                  Like to see a man with a healthy
                  appetite. Reminds me of my dear
                  Albert, like to gorge himself to
                  bloatation, he did. He didn't have
                  your nice full head though--

<b>                            TOBY
</b>                  To tell the truth --
                      (he pulls off the wig
                       which covers his own
                       short-cropped hair)
                  -- it gets awful hot.
<b>31   INT. BARBER SHOP -- DAY                                        31
</b>
     Pirelli is expansively strolling around the shop, taking it
     all in, savoring every second:

<b>                            PIRELLI
</b>                  ... yes, this will do very nicely ...
                  You don't remember me. Well, why
                  should you? I was just a down and out
                  Irish pug you hired for a couple of
                  weeks -- sweeping up hair and the like
<b>                  --
</b>                      (He picks up one of Todd's
                       razors)
                  But I remember these -- And how could
                  I ever forget you, Benjamin Barker?
<b>                            (MORE)
</b>
<b>                                                           (CONTINUED)
</b><b>                                                                     PAGE 44.
</b><b>31   CONTINUED:                                                     31
</b>                            PIRELLI (cont'd)
                  I would sit right there and watch you,
                  and dream of the day I could be a
                  proper barber meself ... You might say
                  you were an inspiration to me.

     Todd glares at him.

<b>                            PIRELLI
</b>                  So, do we have a deal, or should I run
                  down the street for me pal Beadle
                  Bamford? What do you say to that now,
                  Mr. Sweeney T--?

     Without a word of warning--

     Like a thunderbolt--

     Todd is on him.

     He leaps across the shop and brutally grabs Pirelli by the
     neck -- violently strangling him -- Pirelli is surprisingly
     strong and puts up a desperate struggle -- they thump
     awkwardly around the shop--

<b>32   INT. PIE SHOP -- DAY                                            32
</b>
     Mrs. Lovett hears the muffled sounds of the struggle above.
     She nervously begins to shift and clang some things around as
     she cleans the counter, trying to cover the sound,
     chattering:

<b>                             MRS. LOVETT
</b>                  My my my, always work to be done. Spic-
                  and-span, that's my motto. Cleanliness
                  is next to whatever-it-is. So, ah, how
                  did you end up with that dreadful
                  Eyetalian?

<b>                            TOBY
</b>                      (still eating happily)
                  Got me from the workhouse 'e did. Been
                  there since I was born. Got no mum,
                  got nobody. A wasted soul, that's what
                  I am --
                      (a sudden, urgent thought)
                  -- Oh God! He's got an appointment
                  with his tailor--

     He bolts up, clearly terrified of Pirelli--

<b>                            TOBY
</b>                  If he's late, he'll blame me--!


<b>                                                            (CONTINUED)
</b><b>                                                                    PAGE 45.
</b><b>32   CONTINUED:                                                    32
</b>
<b>                            MRS. LOVETT
</b>                  Wait--!

     But he is gone--

<b>33   EXT. PIE SHOP -- DAY                                           33
</b>
     Toby vaults up the stairs to the barber shop--

<b>34   INT. BARBER SHOP -- DAY                                        34
</b>
     Todd is standing calmly when Toby bursts in--

<b>                            TOBY
</b>                  Signor, you got an appointment...

     He stops when he realizes Pirelli is nowhere to be seen.

<b>                            TODD
</b>                  Signor Pirelli has been called away.
                  You better run after him.

<b>                            TOBY
</b>                  Oh no, sir. I better wait for him here
                  or it'll be a lashing. He's a great
                  one for the lashings.

     He moves past Todd to the large chest and sits--

     Only now do we see one of Pirelli's hands protruding from the
     chest, dangling limply.

     Toby doesn't notice it. Todd at this moment, however, does.
     He smiles nervously.

<b>                            TODD
</b>                  So, hmmm, Mrs. Lovett gave you a pie,
                  did she?

<b>                            TOBY
</b>                  She's a real lady. Model of all true
                  Christian virtue.

     Then Pirelli's hand ... twitches.

     Toby doesn't notice. Todd does, stares at it anxiously.

<b>                            TODD
</b>                  That she is ... that she is. But if I
                  know a growing boy, there's still room
                  for some more pie, eh?



<b>                                                           (CONTINUED)
</b><b>                                                                    PAGE 46.
</b><b>34   CONTINUED:                                                    34
</b>
<b>                            TOBY
</b>                  I'd say, sir -- (pats his stomach) --
                  An aching void.

     Pirelli's hand begins to twitch more desperately now,
     perilously close to where Toby's hand rests...

<b>                            TODD
</b>                  Then why don't you run downstairs and
                  wait for your master there? There'll
                  be another pie in it for you, I'm
                  sure...

     Pirelli's hand is twitching closer to Toby's now...

<b>                            TOBY
</b>                  No, I should stay here.

<b>                              TODD
</b>                      (a   sudden inspiration)
                  I know   -- why don't you tell Mrs.
                  Lovett   I said to give you a nice big
                  tot of   gin?

<b>                            TOBY
</b>                      (leaps up)
                  Gin, sir?! Thanking you kindly, sir!
                  You're a Christian indeed!

     He races out happily and clatters down the stairs.

     A beat as Todd gets his breath.

     Then he goes to the trunk, leans down to open it, the camera
     follows him down and up again, when he rises--
     The GENTLEMAN is standing right behind him!

     Todd turns.

     The Gentleman's face is completely impassive. He is not
     spectral. He does not disappear. He just stands there.

     Todd looks at him.

     Then the Gentleman's eyes slowly move to a counter...

     Todd follows his look to see...

     His largest razor.

     A long beat as Todd looks at the razor.


<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 47.
</b><b>34   CONTINUED: (2)                                               34
</b>
     The point of no return.

     Todd strides to the razor and he snaps it open with a sharp,
     quick flick of his wrist--

     Then he moves to the chest and--

     With great ferocity he hauls Pirelli up--

     Pirelli's eyes snap open--

     And Todd SLASHES his throat--

     The piercing factory whistle SCREAMS--

     Todd remains standing over Pirelli as the painful whistle
     echoes into music...

     We see that the Gentleman is still standing there, watching
     Todd...

<b>                         GENTLEMAN
</b>               His hands were quick, his fingers strong.
               It stung a little but not for long.

     The dashing Oxford Student is now leaning against a wall,
     arms folded, looking at Todd...

<b>                         STUDENT
</b>               And those who thought him a simple clod
               Were soon reconsidering under the sod...

     The Tourist stands by the window...

<b>                         TOURIST
</b>               Consigned there with a friendly prod
               From Sweeney Todd,
               The Demon Barber of Fleet Street.

<b>                         GENTLEMAN, STUDENT AND TOURIST
</b>               See your razor gleam, Sweeney,
               Feel how well it fits
               As it floats across the throats
               Of hypocrites.

     The last word echoes to silence as we cut to:

     A high-angle shot of the room.

     The ghosts are gone.

     Todd stands alone over Pirelli's body. Blood dripping from
     his razor. Drip. Drip. Drip.
<b>                                                                   PAGE 48.
</b>


<b>35   INT. OLD BAILEY -- DAY                                        35
</b>
     Judge Turpin lurks over the proceedings.

     He sits, the personification of power, very high at the
     bench. He glares down a wasted wretch of a BOY. The Beadle
     stands next to the boy.

<b>                         JUDGE
</b>               This is the second time, sir, that you
               have been brought before this bench.
               Though it is my earnest wish to ever
               temper justice with mercy, your
               persistent dedication to a life of
               crime is an abomination before God and
               man.

     He places a black cloth on his head:

<b>                         JUDGE
</b>               I therefore sentence you to hang by
               the neck until you are dead and may
               the Lord have mercy on your soul.

     The wretched boy collapses in sobs. The Beadle is pleased
     with the verdict.

     The Judge removes the black cloth and tosses it casually on
     his desk:

<b>                         JUDGE
</b>               This court is adjourned.

<b>36   EXT. -- STREET -- OUTSIDE THE OLD BAILEY -- DAY               36
</b>
     The Judge and the Beadle walk away from the impressive
     edifices of the Old Bailey.

<b>                         BEADLE
</b>               Thank you, your Honor. Just the
               sentence we wanted.

<b>                         JUDGE
</b>               Was he guilty?

<b>                         BEADLE
</b>               Well, if he didn't do it, he's surely
               done something to warrant a hanging.

<b>                         JUDGE
</b>                   (quietly)
               What man has not?


<b>                                                        (CONTINUED)
</b><b>                                                                     PAGE 49.
</b><b>36   CONTINUED:                                                     36
</b>
<b>                            BEADLE
</b>                  Sir?

<b>                            JUDGE
</b>                  No matter -- Come, walk home with me.
                  I have news for you, my friend. In
                  order to shield her from the evils of
                  this world, I have decided to marry my
                  dear Johanna.

<b>                            BEADLE
</b>                  Ah, sir, happy news indeed.

<b>                            JUDGE
</b>                  Strange, though, when I offered myself
                  to her she showed a certain ...
                  reluctance.

     The Beadle proceeds with exquisite and obsequious delicacy:

<b>                            BEADLE
</b>                  Excuse me, my lord,
                  May I request, my lord,
                  Permission, my lord, to speak?
                  Forgive me if I suggest, my lord,
                  You're looking less than your best, my lord,
                  There's powder upon your vest, my lord.
                  And stubble upon your cheek,
                  And ladies, my lord, are weak.

     As they round a corner, the Judge feels his chin:

<b>                            JUDGE
</b>                  Stubble, you say? Perhaps at times I
                  am a little overhasty with my morning
                  ablutions...
<b>                            BEADLE
</b>                      (cheerily)
                  Fret not though, my lord,
                  I know a place, my lord,
                  A barber, my lord, of skill.
                  Thus armed with a shaven face, my lord,
                  Some eau de cologne to brace my lord
                  And musk to enhance the chase, my lord,
                  You'll dazzle the girl until
                  She bows to your every will.

<b>                            JUDGE
</b>                  A barber, eh? Take me to him.




<b>                                                            (CONTINUED)
</b><b>                                                                   PAGE 50.
</b><b>36   CONTINUED: (2)                                               36
</b>
<b>                           BEADLE
</b>                 I am honored, my lord. His name is
                 Todd ... Sweeney Todd. And he is the
                 very last word in barberin'.

     They head off.

<b>37   INT. PIE SHOP -- DAY                                          37
</b>
     Mrs. Lovett is pouring Toby a glass of gin, not his first.

     He gulps down the gin between ravenous bites of another meat
     pie as she nervously glances up to the ceiling, wondering
     what the hell is going on up there.

<b>                           MRS. LOVETT
</b>                 You ought to slow down a bit, lad.
                 It'll go to your head.

<b>                           TOBY
</b>                 Weaned on the stuff, I was. They used
                 to give it to us at the workhouse,
                 so's we could sleep. Not that you'd
                 ever want to sleep in that place,
                 ma'am. Not with the things wot happen
                 in the dark.

<b>                           MRS. LOVETT
</b>                 That's nice, dear ... I think I'll
                 just pop in on Mr. Todd for a tick.
                 You'll be all right here?

<b>                           TOBY
</b>                 Leave the bottle.

     She goes.
<b>38   INT. BARBER SHOP -- DAY                                       38
</b>
     Mrs. Lovett enters. Todd is methodically cleaning his razor.

<b>                            MRS. LOVETT
</b>                 Gawd, the lad is drinking me out of
                 house and home, how long until Pirelli
                 gets back?

<b>                           TODD
</b>                 He won't be back.

<b>                           MRS. LOVETT
</b>                     (instantly suspicious)
                 Mr. T., you didn't!


<b>                                                          (CONTINUED)
</b><b>                                                                    PAGE 51.
</b><b>38   CONTINUED:                                                    38
</b>
     He casually points the razor toward the chest.

     She lifts the lid and sees Pirelli's body at the bottom of
     the chest.

<b>                            MRS. LOVETT
</b>                      (spinning on Todd)
                  You're barking mad! Killing a man wot
                  done you no harm!

<b>                            TODD
</b>                  He recognized me from the old days. He
                  tried to blackmail me -- half my
                  earnings.

<b>                            MRS. LOVETT
</b>                      (relieved)
                  Oh well, that's a different matter!
                  For a moment there I thought you'd
                  lost your marbles!

     She looks into the chest again.

<b>                            MRS. LOVETT
</b>                  Ooooh! All that blood! Enough to make
                  you come all over gooseflesh, ain't
                  it? Poor bugger. Oh, well.

     She starts to close the chest, then has an idea.

     She reaches in and rummages around the body. Pulls out
     Pirelli's chatelaine purse, then drops the lid of the chest.

<b>                            MRS. LOVETT
</b>                      (looking through purse)
                  Three quid! Well, waste not, want not,
                  I always say...
                      (she tucks the purse into
                       her dress)
                  ... Now what are we going to do about
                  the boy?

<b>                            TODD
</b>                  Send him up.

     She stops, looks at him.

<b>                            MRS. LOVETT
</b>                  Oh, we don't need to worry about him,
                  he's a simple thing. I'll pawn him off
                  with some story.



<b>                                                           (CONTINUED)
</b><b>                                                                 PAGE 52.
</b><b>38   CONTINUED: (2)                                              38
</b>
<b>                          TODD
</b>                   (cold)
               Send him up, woman.

<b>                         MRS. LOVETT
</b>                   (quickly)
               Now, Mr. T., surely one's enough for
               today. Don't want to indulge yourself,
               after all ...
                   (she busily starts to
                    straighten up the room)
               ... 'Sides, I was thinking about
               hiring a lad to help around the shop,
               me poor knees not being what they used
               to be.

     Todd sighs and moves to his familiar post at the window:

<b>                         TODD
</b>               Anything you say.

<b>                         MRS. LOVETT
</b>               'Course we'll have to stock up on the
               gin, the boy drinks like a Barbary
               sailor--

     Todd suddenly gasps -- a great, shocking intake of breath as
     his whole body tenses like iron--

     Mrs. Lovett spins to him--

<b>                            TODD
</b>               The Judge.

     Mrs. Lovett hurries to the window--
     Below, they can see the Judge and the Beadle approaching.
     They see them exchanging a few words and then the Beadle
     moves off as the Judge approaches the shop--

     Todd whispers, his eyes blazing:

<b>                         TODD
</b>               Justice ... Justice.

     Mrs. Lovett gives him a quick kiss and then very quickly
     leaves. A beat as Todd prepares himself.

     He turns from the window and looks around the shop, shifting
     nervously. Now that his great moment of revenge is at hand,
     he doesn't quite know what to do with himself.



<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 53.
</b><b>38   CONTINUED: (3)                                               38
</b>
     He snatches up his large razor, coils by the door, ready to
     attack. No. He wants to savor this. He quickly moves and puts
     the razor down.

     Finally he just stands. All his demons settling into a
     bizarre sort of calm.

     He hears the Judge's footsteps approaching on the stairs.
     Then the Judge enters.

<b>                           JUDGE
</b>               Mr. Todd?

     Todd slowly turns:

<b>                         TODD
</b>               At your service ... An honor to
               receive your patronage, my lord.

<b>                         JUDGE
</b>               You know me, sir?

<b>                         TODD
</b>                   (a polite bow)
               Who in this wide world is not familiar
               with the honored Judge Turpin?

     The Judge grunts and glances around the shop:

<b>                         JUDGE
</b>               These premises are hardly
               prepossessing and yet the Beadle tells
               me you are the most accomplished of
               all the barbers in the city.

<b>                         TODD
</b>               That is gracious of him, sir ...
                   (indicates for the Judge
                    to sit)
                ... Sit, if you please, sir. Sit.

     The Judge settles into the parlor chair as music begins...

<b>                         TODD
</b>               And what may I do for you today, sir?
               A stylish trimming of the hair? A
               soothing skin massage?

<b>                         JUDGE
</b>               You see, sir, a man infatuate with love,
               Her ardent and eager slave.
               So fetch the pomade and pumice stone
               And lend me a more seductive tone,

<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 54.
</b><b>38   CONTINUED: (4)                                              38
</b>
               A sprinkling perhaps of French cologne,
               But first, sir, I think -- a shave.

<b>                         TODD
</b>               The closest I ever gave.

     He whips a sheet over the Judge, then tucks the bib in. The
     Judge hums, flicking imaginary dust off the sheet; Todd
     whistles gaily.

<b>                         JUDGE
</b>               You're in a merry mood today, Mr.
               Todd.

<b>                         TODD
</b>                   (mixing lather)
               'Tis your delight, sir, catching fire
               From one man to the next.

<b>                         JUDGE
</b>               'Tis true, sir, love can still inspire
               The blood to pound, the heart leap higher.

<b>                         BOTH
</b>               What more, what more can man require--

<b>                         JUDGE
</b>               Than love, sir?

<b>                         TODD
</b>               More than love, sir.

<b>                            JUDGE
</b>               What, sir?

<b>                            TODD
</b>               Women.

<b>                         JUDGE
</b>               Ah yes, women.

<b>                         TODD
</b>               Pretty women.

     The Judge hums jauntily, Todd whistles and starts stropping
     his razor rhythmically. He then lathers the Judge's face.

     Still whistling, Todd stands back to survey the Judge, who is
     now totally relaxed, eyes closed.

     Todd goes to his razor and picks it up, sings to it gently:



<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 55.
</b><b>38   CONTINUED: (5)                                            38
</b>
<b>                         TODD
</b>               Now then, my friend.
               Now to your purpose.
               Patience, enjoy it.
               Revenge can't be taken in haste.

<b>                         JUDGE
</b>                   (opening his eyes)
               Make haste, and if we wed,
               You'll be commended, sir.

<b>                          TODD
</b>               My lord...
                   (Goes to him)
               And who, may it be said,
               Is your intended, sir?

<b>                          JUDGE
</b>               My ward.

     A shocked tremor through Todd -- as the Judge closes his eyes
     again and settles in comfortably...

<b>                         JUDGE
</b>               And pretty as a rosebud.

     The music rises...

<b>                         TODD
</b>               Pretty as her mother?

<b>                         JUDGE
</b>                   (mildly puzzled)
               What? What was that?

<b>                         TODD
</b>               Oh, nothing, sir. Nothing. May we
               proceed?

     The music builds as he steps behind the Judge-- his razor
     ready -- we are sure the great moment has come -- the music
     still builds -- Todd finally puts the razor at the Judge's
     throat--

     Then--

     With an easy flick of his wrist, he just begins to shave the
     Judge, as:

<b>                         TODD
</b>               Pretty women...
               Fascinating...
               Sipping coffee, Dancing...

<b>                                                       (CONTINUED)
</b><b>                                                       PAGE 56.
</b><b>38   CONTINUED: (6)                                   38
</b>
               Pretty women
               Are a wonder.
               Pretty women.

               Sitting in the window or
               Standing on the stair,
               Something in them
               Cheers the air.

               Pretty women...

<b>                         JUDGE
</b>               Silhouetted...

<b>                         TODD
</b>               Stay within you...

<b>                         JUDGE
</b>               Glancing...

<b>                         TODD
</b>               Stay forever...

<b>                         JUDGE
</b>               Breathing lightly...

<b>                         TODD
</b>               Pretty women...

<b>                         BOTH
</b>               Pretty women!
               Blowing out their candles or
               Combing out their hair...

     They sing simultaneously:
<b>                         JUDGE
</b>               Then they leave...
               Even when they leave you
               And vanish, they somehow
               Can still remain
               There with you,
               There with you.

<b>                          TODD
</b>               Even when they leave,
               They still
               Are there.
               They're there.

<b>                         BOTH
</b>               Ah,
               Pretty women...

<b>                                              (CONTINUED)
</b><b>                                                                    PAGE 57.
</b><b>38   CONTINUED: (7)                                                38
</b>
<b>                            TODD
</b>                  At their mirrors...

<b>                            JUDGE
</b>                  In their gardens...

<b>                            TODD
</b>                  Letter-writing...

<b>                            JUDGE
</b>                  Flower-picking...

<b>                            TODD
</b>                  Weather-watching...

<b>                            BOTH
</b>                  How they make a man sing!
                  Proof of heaven
                  As you're living--
                  Pretty women, sir!

     The music approaches a feverish crescendo as Todd prepares to
     finally kill the Judge and they sing simultaneously:

<b>                              JUDGE
</b>                  Pretty   women, yes!
                  Pretty   women, sir!
                  Pretty   women!
                  Pretty   women, sir!

<b>                            TODD
</b>                  Pretty women, here's to
                  Pretty women, all the
                  Pretty women--

     Just as the music reaches a climax, Todd raises his arm in a
     huge arc and is about to slash the Judge's throat when--

     Suddenly--

     Anthony bursts in--

<b>                            ANTHONY
</b>                  Mr. Todd! I've seen Johanna! She said
                  she'll leave with me tonight--!

     The Judge jumps up, away from Todd--

<b>                            JUDGE
</b>                  You! -- There is indeed a higher power
                  to warn me thus in time--

     He tears off the sheet as he advances savagely on Anthony:

<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 58.
</b><b>38   CONTINUED: (8)                                               38
</b>
<b>                           JUDGE
</b>                 Johanna elope with you? Deceiving
                 slut! -- I'll lock her up in some
                 obscure retreat where neither you nor
                 any other vile creature shall ever lay
                 eyes on her again--!

     He spins with venom to Todd:

<b>                           JUDGE
</b>                 And as for you, barber, it is all too
                 clear what company you keep. Service
                 them well and hold their custom -- for
                 you'll have none of mine.

     He strides out.

     Todd stands, frozen.

<b>                           ANTHONY
</b>                 Mr. Todd -- you have to help me --
                 I've talked to Johanna and--!

     Todd suddenly turns on him with a ferocious ROAR:

<b>                           TODD
</b><b>                 OUT! OUT, I SAY!
</b>
     Utterly stunned at his friend's ferocity, Anthony backs away,
     leaves the shop.

     Music begins, very agitated, as Todd stands motionless.

     In shock.

     His mind cracking apart.
     Mrs. Lovett hurries in:

<b>                           MRS. LOVETT
</b>                 All this shouting and running about,
                 what's happened--?

<b>                           TODD
</b>                 I had him -- and then--

<b>                           MRS. LOVETT
</b>                 The sailor busted in, I know, I saw
                 them both running down the street and
                 I said--

     Todd interrupts wildly:


<b>                                                          (CONTINUED)
</b><b>                                                                 PAGE 59.
</b><b>38   CONTINUED: (9)                                              38
</b>
<b>                          TODD
</b>               I had him!
               His throat was bare
               Beneath my hand--!

<b>                         MRS. LOVETT
</b>               There, there, dear. Don't fret--

<b>                         TODD
</b>                   (spins on her violently)
               No, I had him!
               His throat was there,
               And he'll never come again!

<b>                         MRS. LOVETT
</b>               Easy now.
               Hush, love, hush.
               I keep telling you--

<b>                         TODD
</b>               When?!

<b>                         MRS. LOVETT
</b>               What's your rush?

<b>                         TODD
</b>               Why did I wait?
               You told me to wait!
               Now he'll never come again...

     The music becomes ferocious as Todd's wrenching insanity,
     always close to the surface, finally explodes:

<b>                         TODD
</b>               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--
               But not for long!

     He suddenly looks to Mrs. Lovett -- she starts back --
     alarmed by the pure madness in his eyes--

<b>                         TODD
</b>               They all deserve to die!
               Tell you why, Mrs. Lovett,
               Tell you why:
               Because in all of the whole human race, Mrs. Lovett
               There are two kinds of men and only two.
               There's the one staying put
               In his proper place

<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 60.
</b><b>38   CONTINUED: (10)                                           38
</b>
               And the one with his foot
               In the other one's face--
               Look at me, Mrs. Lovett,
               Look at you--

     He suddenly lurches and grabs Mrs. Lovett tightly--

<b>                         TODD
</b>               No, we all deserve to die!
               Even you, Mrs. Lovett,
               Even I.
               Because the lives of the wicked should be--
                   (slashes at the air
                    violently)
               Made brief.
               For the rest of us, death
               Will be a relief--
               We all deserve to die!

     He clutches her to him very tightly as he suddenly keens, a
     howl of pure agony:

<b>                         TODD
</b>               And I'll never see Johanna,
               No, I'll never hug my girl to me--

     He hurls Mrs. Lovett away from him--

<b>                           TODD
</b>               Finished!

     We suddenly slash to--

<b>39   EXT. STREET -- DAY                                            39
</b>
     --In Todd's mind.
     We are moving with him as he stalks relentlessly, holding his
     razor, striding down a busy street like a tiger.

     The many pedestrians he passes don't even notice him. He is
     invisible to them, a wolf among the sheep, as he beckons--



<b>                         TODD
</b>               All right! You, sir,
               How about a shave?
               Come and visit
               Your good friend, Sweeney--!
<b>                                                                PAGE 61.
</b>


<b>40   EXT. ANOTHER STREET -- DAY                                 40
</b>
     Todd continues to stride, beckoning to another man:

<b>                         TODD
</b>               You, sir, too, sir--
               Welcome to the grave!
               I will have vengeance,
               I will have salvation!

<b>41   EXT. ANOTHER STREET -- DAY                                 41
</b>
     Todd continues to stride, beckoning to another man:

<b>                         TODD
</b>               Who, sir? You, sir?
               No one's in the chair--
               Come on, come on,
               Sweeney's waiting!
               I want you bleeders!

<b>42   EXT. ANOTHER STREET -- DAY                                 42
</b>
     Todd continues to stride, beckoning to another man:

<b>                         TODD
</b>               You, sir -- anybody!
               Gentlemen, now don't be shy!
               Not one man, no,
               Nor ten men,
               Nor a hundred
               Can assuage me--
               I will have you!

<b>43   EXT. ANOTHER STREET -- DAY                                 43
</b>     Todd continues to prowl...

<b>                         TODD
</b>               And I will get him back
               Even as he gloats.
               In the meantime I'll practice
               On less honorable throats--

<b>44   EXT. ANOTHER STREET -- DAY                                 44
</b>
     Todd suddenly falls to his knees, keening in anguish--

<b>                         TODD
</b>               And my Lucy lies in ashes
               And I'll never see my girl again,
               But the work waits, I'm alive at last


<b>                                                       (CONTINUED)
</b><b>                                                                  PAGE 62.
</b><b>44   CONTINUED:                                                   44
</b>
                      (a final exalted cry)
                  And I'm full of JOOOOOOY!!

     He raises his razor high on the soaring last note as we pull
     back ... our view is suddenly obscured by a strange, frenzied
     fluttering of black wings ... We continue to pull back ... We
     discover the black wings are pigeons, thousands of them,
     flying up in a great cloud...

     We continue to pull back to finally discover that Todd is
     kneeling in the heart of a church square...

     Empty but for him.

     As his cry ends we slash back to--

<b>45   INT. BARBER SHOP -- DAY                                      45
</b>
     -- Todd is kneeling, sweat pouring through his clothes,
     panting for air.

     Mrs. Lovett stands, looking down at him intently.

<b>                            MRS. LOVETT
</b>                  That's all very well, but what are we
                  going to do about --
                      (kicks the chest)
                  -- the dear departed?

     Todd remains kneeling, motionless. She goes to him, firm:

<b>                            MRS. LOVETT
</b>                  Listen! Do you hear me? Get a hold of
                  yourself!

     She slaps his cheek -- he looks up at her, barely seeing her.
<b>                            MRS. LOVETT
</b>                  Oh, you great useless thing, come on--

     She hauls him up and drags him out...

<b>46   INT. PIE SHOP -- DAY                                         46
</b>
     She pulls him in.

<b>                              MRS. LOVETT
</b>                  Sit down.

     He thumps down, still in his own dark world.

     She quickly glances around for Toby and then goes into her
     parlor...
<b>                                                                   PAGE 63.
</b>


<b>47   INT. PARLOR -- DAY                                            47
</b>
     She discovers Toby is asleep on the sofa before the fire.

     She quickly snatches up a bottle of gin from the sideboard
     and returns to the pie shop...

<b>48   INT. PIE SHOP DAY                                             48
</b>
     She pours Todd a tumbler of gin, hands it to him:

<b>                         MRS. LOVETT
</b>               There, drink it down -- all the way --
               that's right ...
                   (he does so)
               ... Now, we got a body molderin' away
               upstairs, what do you intend we should
               do about that?

<b>                         TODD
</b>               Later on, when it's dark, we'll take
               him to some secret place and bury him.

<b>                         MRS. LOVETT
</b>               Well, yes, of course, we could do
               that. I don't suppose he's got any
               relatives going to come poking around
               looking for him...

     A chord of music. A beat. An idea. He looks at her
     uncomprehendingly.

<b>                         MRS. LOVETT
</b>               Well, you know me, sometimes bright
               ideas just pop right into my head, and
               I keep thinking...
               Seems a downright shame...

<b>                          TODD
</b>               Shame?

<b>                         MRS. LOVETT
</b>               Seems an awful waste...
               Such a nice plump frame
               Wot's-his-name
               Has...
               Had...
               Has...
               Nor it can't be traced.
               Business needs a lift--
               Debts to be erased--
               Think of it as thrift,

<b>                                                          (CONTINUED)
</b><b>                                                                     PAGE 64.
</b><b>48   CONTINUED:                                                     48
</b>
                  As a gift...
                  If you get my drift...
                      (Todd has no idea what she
                       is talking about)
                  No?
                      (She sighs)
                  Seems an awful waste.
                  I mean,
                  With the price of meat what it is,
                  When you get it,
                  If you get it--

     Todd suddenly understands:

<b>                            TODD
</b>                  Ah!

<b>                            MRS. LOVETT
</b>                  Good, you got it.
                      (She warms to the idea)
                  Take, for instance,
                  Mrs. Mooney and her pie shop.
                  Business never better, using only
                  Pussycats and toast.
                  And a pussy's good for maybe six or
                  Seven at the most.
                  And I'm sure they can't compare
                  As far as taste--

<b>                            TODD
</b>                  Mrs. Lovett,
                  What a charming notion,

     The music builds as they sing simultaneously:

<b>                            TODD
</b>                  Eminently practical and yet
                  Appropriate as always.
                  Mrs. Lovett, how I've lived without you
                  All these years I'll never know!
                  How delectable!
                  Also undetectable.

                  How choice!
                  How rare!

<b>                            MRS. LOVETT
</b>                  Well, it does seem a
                  Waste...
                  It's an idea...
                  Think about it...
                  Lots of other gentlemen'll
                  Soon be coming for a shave,

<b>                                                            (CONTINUED)
</b><b>                                                                PAGE 65.
</b><b>48   CONTINUED: (2)                                            48
</b>
               Won't they?
               Think of
               All them
               Pies!

     A triumphant waltz theme begins:

<b>                         TODD
</b>               For what's the sound of the world out there?

<b>                         MRS. LOVETT
</b>               What, Mr. Todd,
               What, Mr. Todd,
               What is that sound?

<b>                         TODD
</b>               Those crunching noises pervading the air?

<b>                         MRS. LOVETT
</b>               Yes, Mr. Todd,
               Yes, Mr. Todd,
               Yes, all around--

<b>                         TODD
</b>               It's man devouring man, my dear,

     They sing simultaneously:

<b>                         TODD
</b>               And who are we
               To deny it in here?

<b>                         MRS. LOVETT
</b>               Then who are we
               To deny it in here?
     Music continues under:

<b>                         TODD
</b>               Ah, these are desperate times, Mrs.
               Lovett, and desperate measures are
               called for.

     She goes to the counter and comes back with an imaginary pie:

<b>                         MRS. LOVETT
</b>               Here we are now, hot out of the
               oven...

     She holds the imaginary pie out to him with a sly and wicked
     smile.



<b>                                                       (CONTINUED)
</b><b>                                                                  PAGE 66.
</b><b>48   CONTINUED: (3)                                               48
</b>
<b>                         TODD
</b>               What is that?

<b>                         MRS. LOVETT
</b>               It's priest.
               Have a little priest.

<b>                         TODD
</b>               Is it really good?

<b>                         MRS. LOVETT
</b>               Sir, it's too good,
               At least.
               Then again, they don't commit sins of the flesh,
               So it's pretty fresh.

<b>                         TODD
</b>                   (looking at it)
               Awful lot of fat.

<b>                         MRS. LOVETT
</b>               Only where it sat.

<b>                         TODD
</b>               Haven't you got poet
               Or something like that?

<b>                         MRS. LOVETT
</b>               No, you see the trouble with poet
               Is, how do you know it's
               Deceased?
               Try the priest.

<b>                         TODD
</b>                   ("tasting" it)
               Mmm. Heavenly.

<b>                         MRS. LOVETT
</b>               Not as hearty as bishop, perhaps, but
               not as bland as curate, either.

     Mrs. Lovett presents another imaginary pie:

<b>                         MRS. LOVETT
</b>               Lawyer's rather nice.


<b>                         TODD
</b>               If it's for a price.




<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 67.
</b><b>48   CONTINUED: (4)                                               48
</b>
<b>                         MRS. LOVETT
</b>               Order something else, though, to follow,
               Since no one should swallow
               It twice.

<b>                         TODD
</b>               Anything that's lean.

<b>                         MRS. LOVETT
</b>               Well, then, if you're British and loyal,
               You might enjoy Royal
               Marine.
               Anyway, it's clean.
               Though, of course, it tastes of wherever it's been.

<b>                         TODD
</b>                   (looking past her to
                    imaginary oven)
               Is that squire
               On the fire?

<b>                         MRS. LOVETT
</b>               Mercy no, sir,
               Look closer,
               You'll notice it's grocer.

<b>                         TODD
</b>               Looks thicker.
               More like vicar.

<b>                         MRS. LOVETT
</b>               No, it has to be grocer -- it's green.

     Todd laughs as the glorious waltz theme returns:

<b>                         TODD
</b>               The history of the world, my love--

<b>                         MRS. LOVETT
</b>               Save a lot of graves,
               Do a lot of relatives favors...

<b>                         TODD
</b>               --Is those below serving those up above.

<b>                         MRS. LOVETT
</b>               Everybody shaves,
               So there should be plenty of flavors...

<b>                         TODD
</b>               How gratifying for once to know--



<b>                                                          (CONTINUED)
</b><b>                                                                  PAGE 68.
</b><b>48   CONTINUED: (5)                                              48
</b>
<b>                         BOTH
</b>                   (indicating barber shop
                    above)
               --That those above will serve those down below!

     The music continues under:

<b>                         MRS. LOVETT
</b>               Since marine doesn't appeal to you,
               how about rear admiral?

<b>                         TODD
</b>               Too salty. I prefer general.

<b>                         MRS. LOVETT
</b>               With or without his privates? --
               "With" is extra.

     Todd chortles as Mrs. Lovett offers another pie with a
     particular, flamboyant panache:

<b>                         TODD
</b>               What is that?

<b>                         MRS. LOVETT
</b>               It's fop.
               Finest in the shop.
               Or we have some shepherd's pie peppered
               With actual shepherd
               On top.
               And I've just begun.
               Here's a politician -- so oily
               It's served with a doily--
               Have one?

<b>                         TODD
</b>               Put it on a bun.
                   (She looks at him
                    quizzically)
               Well, you never know if it's going to run.

<b>                         MRS. LOVETT
</b>               Try the friar.
               Fried, it's drier.

<b>                         TODD
</b>               No, the clergy is really
               Too coarse and too mealy.

<b>                         MRS. LOVETT
</b>               Then actor--
               That's compacter.


<b>                                                         (CONTINUED)
</b><b>                                                                PAGE 69.
</b><b>48   CONTINUED: (6)                                            48
</b>
<b>                         TODD
</b>               Yes, and always arrives overdone.
                   (he is suddenly dark and
                    purposeful)
               I'll come again when you
               Have Judge on the menu...

     The music vamps deliciously as:

<b>                         MRS. LOVETT
</b>               True, we don't have Judge -- yet --
               but would you settle for the next best
               thing?

<b>                         TODD
</b>               What's that?

     She offers him a butcher's cleaver:

<b>                         MRS. LOVETT
</b>               Executioner.

     He takes the cleaver, feels the heft of it. Feels good.

     Then he picks up her wooden rolling pin, hands it to her, as
     the music builds into the triumphant waltz:

<b>                         TODD
</b>               Have charity towards the world, my pet--

<b>                         MRS. LOVETT
</b>               Yes, yes, I know, my love--

<b>                         TODD
</b>               We'll take the customers that we can get.
<b>                         MRS. LOVETT
</b>               High-born and low, my love.

<b>                         TODD
</b>               We'll not discriminate great from small.
               No, we'll serve anyone--

<b>                         MRS. LOVETT
</b>               We'll serve anyone--

<b>                         BOTH
</b>               And to anyone
               At all!

     The music builds to a climax as they joyously brandish their
     "weapons. "
<b>                                                                   PAGE 70.
</b>


<b>49   INT. JOHANNA'S ROOM -- EVENING                                49
</b>
     Small, white hands ... removing some clothes from a drawer
     ... putting them into a portmanteau ... locking the case...

     Johanna, wearing traveling clothes, is packing to leave when
     a voice surprises her:

<b>                         JUDGE
</b>               So it's true.

     She turns. The Judge stands in the doorway.

<b>                         JOHANNA
</b>               Sir ... A gentlemen knocks before
               entering a lady's room.

<b>                         JUDGE
</b>               Indeed he does ... But I see no lady.

     He enters, dangerously quiet. And terrifically hurt.

<b>                         JUDGE
</b>               I told myself the sailor was lying ...
               I told myself this was a cruel fiction
               ... That my Johanna would never betray
               me. Never hurt me so.

     He moves toward her. She stands her ground.

<b>                         JOHANNA
</b>               Sir ... I will leave this place.

<b>                         JUDGE
</b>               I think that only appropriate. Since
               you no longer find my company to your
               liking, madam, we shall provide you
               with new lodgings.

     He stands very close to her. Still she holds her ground.

<b>                         JUDGE
</b>               Until this moment I have spared the
               rod ... And the ungrateful child has
               broken my heart. Now you will learn
               discipline...

     The large form of the Beadle fills the doorway. She glances
     to him, disquieted.




<b>                                                        (CONTINUED)
</b><b>                                                                    PAGE 71.
</b><b>49   CONTINUED:                                                    49
</b>
<b>                            JUDGE
</b>                  When you have learned to appreciate
                  what you have, perhaps we shall meet
                  again. Until then ... Think on your
                  sins.

     He nods to the Beadle -- the Beadle surges forward and grabs
     Johanna brutally--

     She screams and fights like a tiger -- to no avail--

     The Beadle covers her mouth with one of his huge hands and
     hauls her out--

<b>50   EXT. TURPIN'S MANSION -- EVENING                               50
</b>
     Anthony is racing toward the front of mansion when he sees--

     A hansom cab is just pulling away -- Johanna's terrified face
     looking at him through the window--

<b>                             ANTHONY
</b><b>                  JOHANNA!
</b>
     Anthony sees the Beadle pulling her away from the window as
     the carriage clatters off--

     Judge Turpin stands on the steps of the mansion -- Anthony
     goes to him in a murderous rage:

<b>                            ANTHONY
</b>                  Where are you taking her?! Tell me or
                  I swear by God--!

     The Judge spins and roars -- a hellish howl that echoes--
<b>                            JUDGE
</b><b>                  WOULD YOU KILL ME, BOY?! HERE I STAND!
</b>
     Anthony's eyes burn into the Judge -- but he is no killer.

     He turns and races after the hansom cab. It rounds a corner
     and is gone.

     The Judge watches as Anthony pursues the cab, disappearing
     around the corner.

     And we fade to...

<b>51   EXT. FLEET STREET -- DAY                                       51
</b>
     ...The face of the Beggar Woman.


<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 72.
</b><b>51   CONTINUED:                                                    51
</b>
     She sits, crouched on her haunches, peering up from under her
     few greasy locks of hair.

     She is watching something intently. A few pedestrians move
     quickly down the sidewalk past her, excited. They chatter
     back and forth eagerly...

     The Beggar Woman uncoils and follows...

     And we finally see what the Beggar Woman has been watching so
     intently...

<b>52   EXT. PIE SHOP -- DAY                                          52
</b>
     Mrs. Lovett's wretched establishment has been transformed!

     She has created a modest outdoor eating garden with tables,
     surrounded by glowing Chinese lanterns. A fresh coat of
     paint, a few bushes in pots and birds in cages add to the
     feeling of upward mobility.

     A new sign hangs proudly over the entrance to the pie shop:
     "MRS. LOVETT'S WORLD FAMOUS MEAT PIES!" And then in smaller
     letters: "LIKE MOTHER USED TO MAKE."

     The eating garden is already crowded, the benches at the
     tables are filled and other customers stand and mill about.

     All eating, eating, eating...

     ...The most delicious looking meat pies you could ever
     imagine. Crispy crust. Thick, luxurious gravy. Tart and tangy
     meat.

     The customers take great, hungry mouthfuls; the steaming
     gravy oozing down greedy faces.
     Chomp. Chomp. Chomp.

     The Beggar Women stands across the street, ravenously hungry.
     She finally gets the nerve to approach when--

     Toby -- wearing a spiffy new outfit with apron -- bursts from
     the shop and circulates through the customers:

<b>                            TOBY
</b>                  Ladies and gentlemen,
                  May I have your attention, perlease?
                  Are your nostrils aquiver and tingling as well
                  At that delicate, luscious ambrosial smell?
                  Yes they are, I can tell...



<b>                                                          (CONTINUED)
</b><b>                                                                      PAGE 73.
</b><b>52   CONTINUED:                                                      52
</b>
     He moves through the greedily eating customers in the outdoor
     garden and toward the street as:

<b>                            TOBY
</b>                  Well, ladies and gentlemen,
                  That aroma enriching the breeze
                  Is like nothing compared to its succulent source,
                  As the gourmets among you will tell you, of course.

     He arrives at the street and drums up some more business:

<b>                            TOBY
</b>                  Ladies and gentlemen,
                  You can't imagine the rapture in store--
                      (Indicating the pie shop)
                  Just inside of this door!
                  There you'll sample
                  Mrs. Lovett's meat pies,
                  Savory and sweet pies,
                  As you'll see.
                  You who eat pies,
                  Mrs. Lovett's meat pies
                  Conjure up the treat pies
                  Used to be!

     Just then Mrs. Lovett sweeps from the pie shop with a tray of
     hot, steaming pies.

     Like her shop, she has been transformed as well. She wears
     her somewhat gauche notion of a "fancy dress." Buckets of
     decolletage. And her hair has been dyed a rather unique
     aubergine color.

<b>                            MRS. LOVETT
</b>                  Toby!
<b>                            TOBY
</b>                  Coming!
                      (pushing past a customer)
                  'Scuse me...

<b>                             MRS. LOVETT
</b>                      (indicating a beckoning
                       customer)
                  Ale there!

<b>                            TOBY
</b>                  Right, mum!

<b>                            MRS. LOVETT
</b>                  Quick, now!



<b>                                                             (CONTINUED)
</b><b>                                                                PAGE 74.
</b><b>52   CONTINUED: (2)                                             52
</b>
     The customers suddenly exclaim their joy through awkward
     mouthfuls of pie:

<b>                         CUSTOMERS
</b>               God, that's good!

     Toby scurries inside to get a jug of ale, whisks back out and
     starts filling tankards as Mrs. Lovett circulates grandly.

     She is a bundle of activity -- serving pies, collecting
     money, giving orders, addressing the patrons individually and
     with equal buoyant insincerity:

<b>                         MRS. LOVETT
</b>               Nice to see you, dearie...
               How have you been keeping?...
               Cor, me bones is weary!
               Toby--!
                   (Indicating a Customer)
               One for the gentleman...
               Hear the birdies cheeping--
               Helps to keep it cheery...

     She spots the Beggar Woman approaching and responds with
     unusual ferocity:

<b>                         MRS. LOVETT
</b>               Toby!
               Throw the old woman out!

<b>                         CUSTOMERS
</b>               God, that's good!

     Toby shoos the Beggar Woman away, but she soon comes skulking
     back.
<b>                          MRS. LOVETT
</b>                   (continuing to customers)
               What's your pleasure, dearie?...
               No, we don't cut slices...
               Cor, me eyes are bleary!...
                   (As Toby is about to pour
                     for a drunken customer)
               Toby!
               None for the gentleman!...
               I could up me prices--
               I'm a little leery...
               Business
               Couldn't be better, though--

<b>                         CUSTOMERS
</b>               God, that's good!


<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 75.
</b><b>52   CONTINUED: (3)                                               52
</b>
<b>                           MRS. LOVETT
</b>                 Knock on wood.

     She does.

<b>53   INT. BARBER SHOP -- DAY                                       53
</b>
     Music continues as Todd works busily. Sawing, drilling,
     screwing, hammering. Doing something we cannot see to his
     barber chair. Making adjustments, tinkering, building,
     feverish. Happy.

<b>54   EXT. PIE SHOP -- DAY                                          54
</b>
     Mrs. Lovett continues to circulate:

<b>                            MRS. LOVETT
</b>                 What's your pleasure, dearie?
                     (Spilling ale)
                 Oops! I beg your pardon!
                 Just me hands is smeary--
                     (Spotting a freeloader
                       trying to sneak out
                       without paying)
                 Toby!
                 Run for the gentleman!

     Toby catches him, collects the money, as Mrs. Lovett turns to
     another customer:

<b>                           MRS. LOVETT
</b>                 Don't you love a garden?
                 Always makes me teary...
                     (Looking back at the
                      freeloader)
                 Must be one them foreigners--
<b>                           CUSTOMERS
</b>                 God, that's good that is delicious!

<b>                           MRS. LOVETT
</b>                 What's my secret?
                     (To a woman)
                 Frankly, dear -- forgive my candor--
                 Family secret,
                 All to do with herbs.
                 Things like being
                 Careful with your coriander,
                 That's what makes the gravy grander--!

     The customers are getting more rabid now -- stuffing in the
     gorgeous meat pies in great fistfuls--


<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 76.
</b><b>54   CONTINUED:                                                   54
</b>
<b>                             CUSTOMERS
</b>                  More hot pies!
                  More hot!
                  More pies!

<b>55   INT. BARBER SHOP -- DAY                                       55
</b>
     Music continues as Todd makes the final adjustments to his
     chair. He stands back. Seems delighted with the results of
     his tinkering. The ratty old parlor chair has been
     transformed into a sleek, Victorian barber chair -- with
     unique refinements.

     He leaves the barber shop...

<b>56   EXT. PIE SHOP -- DAY                                          56
</b>
     Todd stands at the top of the stairs, watching the street
     hungrily. As, below, Mrs. Lovett smiles to another customer:

<b>                             MRS. LOVETT
</b>                  Incidentally, dearie,
                  You know Mrs. Mooney.
                  Sales've been so dreary--
                      (She spots the Beggar
                        Woman again)
                  Toby!
                      (Continuing to the
                        customer, about Mrs.
                        Mooney)
                  --Poor thing is penniless.
                      (Indicating Beggar Woman
                        to Toby)
                  What about that loony?
                      (To the customer as Toby
                        shoos the Beggar Woman
                        away again)
                  Lookin' sort of beery--
                  Oh, well, got her comeuppance--
                      (Hawklike, to a rising
                        customer)
                  And that'll be thruppence -- and

<b>                            CUSTOMERS
</b>                  God that's good that is de have you

<b>                            MRS. LOVETT
</b>                  So she should.

<b>                            CUSTOMERS
</b>                  Licious ever tasted smell such
                  Oh my God what more that's pies good!


<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 77.
</b><b>56   CONTINUED:                                                   56
</b>
<b>                            MRS. LOVETT AND TOBY
</b>                  Eat them slow and
                  Feel the crust, how thin I (she) rolled it!
                  Eat them slow, 'cos
                  Every one's a prize!
                  Eat them slow, 'cos
                  That's the lot and now we've sold it!

     She hangs up a "Sold Out" sign.

<b>                            MRS. LOVETT AND TOBY
</b>                  Come again tomorrow--!

     She spots a man in need of a shave approaching:

<b>                              MRS. LOVETT
</b>                  Hold it--

<b>                            CUSTOMERS
</b>                  More hot pies!

<b>                            MRS. LOVETT
</b>                  Bless my eyes--!

     She sees the man going up to the barber shop. Todd is still
     standing at the top of the stairs. He smiles secretly to Mrs.
     Lovett as he ushers the man in.

<b>                            MRS. LOVETT
</b>                  Fresh supplies!

     The man goes into the barber shop as she happily takes down
     the "Sold Out" sign and turns again to the customers:

<b>                            MRS. LOVETT
</b>                  How about it, dearie?
                      (expecting more pies)
                  Be here in a twinkling!
                  Just confirms me theory--
                  Toby--!
                  God watches over us.
                  Didn't have an inkling...
                  Positively eerie...

<b>                            TOBY
</b>                      (simultaneous with above)
                  Is that a pie
                  Fit for a king,
                  A wondrous sweet
                  And most delectable
                  Thing?
                  You see, ma'am, why
                  There is no meat pie--

<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 78.
</b><b>56   CONTINUED: (2)                                               56
</b>
<b>                            CUSTOMERS
</b>                      (simultaneous with above)
               Yum!
               Yum!
               Yum!
               Yum! Yum!
               Yum!

     Mrs. Lovett then spots the Beggar Woman approaching again,
     she spins to Toby with truly shocking viciousness:

<b>                         MRS. LOVETT
</b>               Toby!
               Throw the old woman out!

     Mrs. Lovett watches intently as Toby leads the Beggar Woman
     away.

     The Customers, meanwhile, are building to a pure frenzy of
     mastication -- chewing and gulping and snapping at the
     heavenly pies:

<b>                         CUSTOMERS
</b>               God, that's good that is de have you
               Licious ever tasted smell such
               Oh my God what perfect more that's
               Pies such flavor
               God, that's good!!

     The music comes to a rousing conclusion as Mrs. Lovett stands
     at the door to her shop. Triumphant.

<b>57   INT. BARBER SHOP -- NIGHT                                     57
</b>
     Todd is alone. He sits in the barber chair, smoking a pipe.
     He is holding an old Daguerreotype; creased, stained and
     bleached-out.

     The image shows his wife, Lucy, smiling and holding Baby
     Johanna. The child's features are almost completely obscured
     by a stain on the picture.

     He looks at it deeply.

     Then church bells echo in the distance...

<b>58   EXT. MAYFAIR -- NIGHT                                         58
</b>
     ... 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.


<b>                                                       (CONTINUED)
</b><b>                                                                 PAGE 79.
</b><b>58   CONTINUED:                                                  58
</b>
     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.

<b>                             ANTHONY
</b>                  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...

<b>59   INT. BARBER SHOP -- NIGHT                                   59
</b>
     ...Todd gazes quietly at the Daguerreotype:

<b>                               TODD
</b>                  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...

<b>60   EXT. DOCKS -- NIGHT                                         60
</b>
     ...We see the figure of Anthony, walking along the docks.

<b>                               TODD (V.O.)
</b>                  Johanna...

<b>                               ANTHONY
</b>                  Johanna...
<b>61   INT. BARBER SHOP -- DAY                                     61
</b>
     ...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.

<b>                            TODD
</b>                  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...
<b>                                                                   PAGE 80.
</b>


<b>62   EXT. SPITALFIELDS MARKET -- DAY                               62
</b>
     ...We see the figure of Anthony, walking past hanging
     carcasses of the busy meat market.

<b>                            TODD (V.O.)
</b>               Johanna...

<b>                          ANTHONY
</b>               I'll steal you,
               Johanna...

<b>63   INT. BARBER SHOP -- DAY                                       63
</b>
     ...The dead Gentleman is slumped in the chair.

<b>                         TODD
</b>               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.

<b>64   EXT. SLUM -- DAY                                              64
</b>
     ...We see Anthony moving past a crowded tenement, redolent of
     cholera.

<b>                            ANTHONY
</b>               Johanna...

<b>65   INT. BAKEHOUSE STEPS -- DUSK                                  65
</b>     ...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.

<b>66   EXT. FLEET STREET -- DUSK                                     66
</b>
     ...The Beggar Woman stands on Fleet Street. The hellish
     metropolis glows, the smoke from a thousand chimneys creating
     a great pall over the city.

<b>                         BEGGAR WOMAN
</b>                   (in a demented rage)
               Smoke! Smoke!

<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 81.
</b><b>66   CONTINUED:                                                   66
</b>
                  Sign of the devil! Sign of the devil!
                  City on fire!
                      (to disgusted passers-by)
                  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...

<b>67   INT. BARBER SHOP -- DUSK                                      67
</b>
     ...The red glow of sunset fills the shop as Todd ushers in
     another customer and prepares to shave him:

<b>                            TODD
</b>                  And if I never hear your voice,
                  My turtledove, my dear,
                  I still have reason to rejoice:
                  The way ahead is clear...

<b>68   EXT. ALLEY -- DUSK                                            68
</b>
     ...We see the figure of Anthony moving down a dark alley.
     Shadowy figures lurk along the alley walls.

<b>                               TODD (V.O.)
</b>                  Johanna...

<b>                             ANTHONY
</b>                  I feel you...
                  Johanna...
<b>69   INT. BARBER SHOP -- DUSK                                      69
</b>
     ...Todd continues to prepare to shave the customer:

<b>                            TODD
</b>                  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...

<b>70   EXT. GRAVEYARD -- DUSK                                        70
</b>
     ...We see Anthony moving past an lonely graveyard.

<b>                               TODD (V.O.)
</b>                  Johanna...


<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 82.
</b><b>70   CONTINUED:                                                   70
</b>
<b>                               ANTHONY
</b>                  Johanna...

<b>71   INT. BARBER SHOP -- DUSK                                      71
</b>
<b>                            TODD
</b>                  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!

<b>72   EXT. GRAVEYARD -- DUSK                                        72
</b>
     ...Anthony continues to move past the graveyard.

<b>                            ANTHONY
</b>                  Buried sweetly in your yellow hair...

<b>73   INT. BAKEHOUSE STEPS -- DAY                                   73
</b>
     ...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.
<b>74   EXT. FLEET STREET -- DAY                                      74
</b>
     ...The Beggar Woman is scuttling madly along Fleet Street.

<b>                            BEGGAR WOMAN
</b>                      (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:

<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 83.
</b><b>74   CONTINUED:                                                    74
</b>
<b>                            BEGGAR WOMAN
</b>                      (panicked)
                  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:

<b>                            BEGGAR WOMAN
</b>                  Help!!! Fiend!!!
                  City on fire!!!

     Toby pulls away from her, as she begins to scuttle off:

<b>                            BEGGAR WOMAN
</b>                  City on fire...
                  Mischief ... Mischief ... Mischief... Fiend...

     She appeals to other pedestrians as she goes:

<b>                            BEGGAR WOMAN
</b>                  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.

<b>75   INT. BARBER SHOP -- DAY                                       75
</b>
     ...Todd is standing alone, contemplative, slowly and
     methodically stropping his razor.

<b>                            TODD
</b>                  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...

<b>76   EXT. LIMEHOUSE -- DAY                                         76
</b>
     ...We see the figure of Anthony trudging past the sinister
     opium dens and depraved taverns of the East End.

<b>                               TODD (V.O.)
</b>                  Johanna...

<b>                               ANTHONY
</b>                  Johanna...
<b>                                                                  PAGE 84.
</b>


<b>77   INT. BARBER SHOP -- DAY                                      77
</b>
     ...Todd completes shaving a customer. The customer's wife and
     daughter are waiting.

<b>                          TODD
</b>               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..

<b>78   EXT. ASYLUM -- NIGHT                                         78
</b>
     ...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.

<b>                          ANTHONY
</b>               I feel you...
               Johanna...

     Something makes him stop. He turns to consider the asylum...

<b>79   INT. BARBER SHOP -- MORNING                                  79
</b>
     ...Todd shaves another customer. A beautiful morning outside
     the window.

<b>                          TODD
</b>               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...

<b>80   EXT. ASYLUM -- MORNING                                       80
</b>
     ...Anthony stares up at the asylum.

<b>                         ANTHONY
</b>               I'll steal you...
<b>                                                                   PAGE 85.
</b>


<b>81   INT. BARBER SHOP -- MORNING                                   81
</b>
     ...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.

<b>82   EXT. HAMPSTEAD HEATH -- DAY                                   82
</b>
     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:

<b>                         MRS. LOVETT
</b>               ... 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?

<b>                            TODD
</b>               Of course.

<b>                         MRS. LOVETT
</b>               Then what did I just say?
<b>                         TODD
</b>                   (back in his somber
                    reflections)
               There must be a way to the Judge!

<b>                         MRS. LOVETT
</b>                   (snaps)
               The bloody old Judge! Always harping
               on the bloody old Judge!
                   (she massages his neck)
               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?

<b>                                                          (CONTINUED)
</b><b>                                                                     PAGE 86.
</b><b>82   CONTINUED:                                                     82
</b>
     No response from Todd. She leans across and pecks him on the
     cheek:

<b>                            MRS. LOVETT
</b>                  Oooh, Mr. Todd--
                      (Kisses him again)
                  I'm so happy--
                      (Again)
                  I could--
                      (Again)
                  Eat you up, I really could!
                  You know what I'd like to Do, Mr. Todd?
                      (Kisses him)
                  What I dream--
                      (Again)
                  If the business stays as good,
                  Where I'd really like to go--
                      (No response)
                  In a year or so...
                      (No response)
                  Don't you want to know?

<b>                             TODD
</b>                      (couldn't care less)
                  Of course.

<b>                            MRS. LOVETT
</b>                  Do you really want to know?

<b>                            TODD
</b>                      (forces a pained smile)
                  Yes, yes, I do, I do.

     The music continues as she leans back comfortably, beginning
     to imagine a wonderful, domestic future...
<b>                             MRS. LOVETT
</b>                  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


<b>                                                            (CONTINUED)
</b><b>                                                                   PAGE 87.
</b><b>82   CONTINUED: (2)                                              82
</b>
               In a house wot we'd almost own
               Down by the sea...

<b>                         TODD
</b>                   (grumbles)
               Anything you say.

<b>                         MRS. LOVETT
</b>               Wouldn't that be smashing?

     And we go to...

<b>83   EXT. BEACH -- DAY                                             83
</b>
     ...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.

<b>                         MRS. LOVETT (V.O.)
</b>               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--

<b>                         TODD (V.O.)
</b>               Anything you say,
               Anything you say.
<b>                                                                  PAGE 88.
</b>


<b>84   EXT. BOARDWALK -- DAY                                        84
</b>
     Mrs. Lovett strolls with Todd on a boardwalk. Artificially
     lovely couples, like rotogravure magazine pictures, move
     about.

     Toby runs along ahead of them.

<b>                          MRS. LOVETT (V.O.)
</b>               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...

<b>85   EXT. BOARDWALK -- DAY                                        85
</b>
     Mrs. Lovett and Todd recline on comfortable deck chairs,
     having tea and scones.

<b>                         MRS. LOVETT (V.O.)
</b>               I'll warm me bones
               On the esplanade
               Have tea and scones
               With me gay young blade...

<b>86   EXT. SEASIDE COTTAGE, PORCH -- DAY                           86
</b>
     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.

<b>                         MRS. LOVETT (V.O.)
</b>               Then I'll knit a sweater
               While you write a letter...

<b>87   EXT. BEACH -- DAY                                            87
</b>
     Back on the beach, she cuddles into Todd:

<b>                         MRS. LOVETT (V.O.)
</b>                   (Coyly)
               Unless we got better
               To do-hoo...

<b>                         TODD (V.O.)
</b>               Anything you say...
<b>                                                                PAGE 89.
</b>


<b>88   INT. SEASIDE COTTAGE -- NIGHT                              88
</b>
     Mrs. Lovett and Todd snuggle into bed:

<b>                         MRS. LOVETT (V.O.)
</b>               Think how snug it'll be
               Underneath our flannel
               When it's just you and me
               And the English Channel...

<b>89   INT. SEASIDE COTTAGE -- EVENING                            89
</b>
     Mrs. Lovett and Todd entertain some unnaturally jolly chums.

<b>                         MRS. LOVETT (V.O.)
</b>               In our cozy retreat,
               Kept all neat and tidy,
               We'll have chums over every Friday...

<b>90   EXT. BEACH -- DAY                                          90
</b>
     Back on the beach.

<b>                         MRS. LOVETT (V.O.)
</b>               By the sea...

<b>                         TODD (V.O.)
</b>               Anything you say...

     Toby pulls Mrs. Lovett over to examine his little sandcastle
     as:

<b>                          MRS. LOVETT (V.O.)
</b>               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.

<b>                         MRS. LOVETT (V.O.)
</b>               It'll be so quiet
               That who'll come by it
               Except a seagull?
               Hoo! Hoo!
               We shouldn't try it,


<b>                                                       (CONTINUED)
</b><b>                                                                   PAGE 90.
</b><b>90   CONTINUED:                                                   90
</b>
                  Though, till it's legal,
                  For two-hoo!

<b>91   INT. SEASIDE CHAPEL -- DAY                                    91
</b>
     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.

<b>                            MRS. LOVETT (V.O.)
</b>                  But a seaside wedding
                  Could be devised,
                  Me rumpled bedding
                  Legitimized.

     They exchange vows and kiss.

<b>                            MRS. LOVETT (V.O.)
</b>                  My eyelids'll flutter,
                  I'll turn into butter,
                  The moment I mutter
                  "I do-hoo!"

<b>92   INT. SEASIDE COTTAGE -- MORNING                               92
</b>
     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.

<b>                            MRS. LOVETT (V.O.)
</b>                  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-

<b>                            MRS. LOVETT (V.O.)
</b>                  Now and then, you could do the guest in--

<b>93   EXT. BEACH -- SUNSET                                          93
</b>
     Back at the beach, Mrs. Lovett, Todd and Toby sit
     comfortably. Watching an unnaturally gorgeous sunset.

     A picture postcard of a happy family.



<b>                                                          (CONTINUED)
</b><b>                                                                    PAGE 91.
</b><b>93   CONTINUED:                                                    93
</b>
<b>                            MRS. LOVETT (V.O.)
</b>                  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--

<b>94   EXT. HAMPSTEAD HEATH -- DAY                                    94
</b>
     --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...

<b>95   INT. BARBER SHOP -- MORNING                                    95
</b>
     Todd is standing at his usual post, the window, gazing
     intently down at Fleet Street.

     Mrs. Lovett enters with a tray of food:

<b>                            MRS. LOVETT
</b>                  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.

<b>                            MRS. LOVETT
</b>                  Mr. T., might I ask you a question?

<b>                              TODD
</b>                        (not turning)
                  Mm?

<b>                            MRS. LOVETT
</b>                  What did your Lucy look like?

     He turns to her.

<b>                                                           (CONTINUED)
</b><b>                                                                    PAGE 92.
</b><b>95   CONTINUED:                                                    95
</b>
<b>                            MRS. LOVETT
</b>                  You heard me ... (a beat) ... Can't
                  really remember can you?

<b>                            TODD
</b>                  She had yellow hair.

     He turns back to the window.

     Mrs. Lovett proceeds with great sincerity:

<b>                            MRS. LOVETT
</b>                  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.

<b>                            MRS. LOVETT
</b>                  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.

<b>                            MRS. LOVETT
</b>                  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...

<b>     SUDDENLY REVEALING--
</b>
     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--



<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 93.
</b><b>95   CONTINUED: (2)                                              95
</b>
     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.

<b>                         ANTHONY
</b>               Mr. Todd ... Mrs. Lovett, ma'am ...
               (sinks into a chair) ... Seems I've
               not slept in a week -- but it's done--

<b>                         TODD
</b>               What is it, Anthony?

<b>                         ANTHONY
</b>                   (bitter)
               He has her locked in a madhouse.

     Todd's head snaps to Anthony, riveted:

<b>                         TODD
</b>               You've found Johanna?

<b>                         ANTHONY
</b>               For all the good it'll do -- it's
               impossible to get to her.

     Todd begins pacing, the tiger again, his mind is racing--

<b>                         TODD
</b>               A madhouse ... A madhouse ... Where?

<b>                         ANTHONY
</b>               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.

<b>                         TODD
</b>                   (a whisper)
               I've got him.

<b>                           ANTHONY
</b>               Mr. Todd?

<b>                                                        (CONTINUED)
</b><b>                                                                 PAGE 94.
</b><b>95   CONTINUED: (3)                                             95
</b>
<b>                         TODD
</b>                   (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--

<b>                         ANTHONY
</b>               I don't understand--

     Todd suddenly grabs Anthony and hauls him up -- holds him
     close, forehead to forehead -- his whispered intensity truly
     disturbing:

<b>                         TODD
</b>               We shall set you up as a wigmaker in
               search of hair -- that will gain you
               access -- then you will take her.

<b>                            ANTHONY
</b>               Yes...

<b>                         TODD
</b>               You will not be deterred -- You will
               slaughter the world -- To bring her
               here.

<b>                            ANTHONY
</b>               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:
<b>                         TODD
</b>               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!

<b>                         ANTHONY
</b>                   (clasping Todd's hand)
               Mr. Todd -- how can I ever--?

<b>                            TODD
</b>               Go!

     Anthony hurries out.


<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 95.
</b><b>95   CONTINUED: (4)                                               95
</b>
     Todd immediately hurls himself into a chair and begins
     writing a letter, his violent scrawl slashing across the
     page.

<b>                         MRS. LOVETT
</b>               Dear, I wonder if--

<b>                         TODD
</b>               Fetch the boy.

<b>                         MRS. LOVETT
</b>               Don't you think it's time you--

<b>                         TODD
</b>               Fetch the boy.

     Mrs. Lovett goes...

<b>96   EXT. PIE SHOP -- MORNING                                      96
</b>
     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:

<b>                         MRS. LOVETT
</b>               Toby ... Mr. Todd requires you.
<b>                           TOBY
</b>               Yes'm.

     He goes up the steps. She just stands, deep in thought.

<b>97   INT. BARBER SHOP -- MORNING                                   97
</b>
     Todd is finishing the letter as Toby enters:

<b>                           TOBY
</b>               Mr. T.?

<b>                         TODD
</b>                   (still writing)
               You know where the Old Bailey is?



<b>                                                       (CONTINUED)
</b><b>                                                                     PAGE 96.
</b><b>97    CONTINUED:                                                    97
</b>
<b>                             TOBY
</b>                   Oh, yes, sir. Not that I ever--

<b>                             TODD
</b>                       (interrupts, folding up
                        letter)
                   Take this there and seek out a Judge
                   Turpin. Repeat that. Repeat that.

<b>                             TOBY
</b>                   Go to the Old Bailey. Find Judge
                   Turpin.

<b>                             TODD
</b>                       (handing him letter)
                   Put this into his hands. Only to him.
                   Do you understand?

<b>                             TOBY
</b>                   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--

<b>                             TODD
</b>                   DON'T CHATTER, BOY! You are not to
                   stop! You are not to speak! You are to
                   deliver this letter! DO YOU
<b>                   UNDERSTAND?!
</b>
      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...

<b>101   EXT. PIE SHOP -- EVENING                                      101
</b>
      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.


<b>                                                            (CONTINUED)
</b><b>                                                                     PAGE 97.
</b><b>101   CONTINUED:                                                   101
</b>
<b>                              MRS. LOVETT
</b>                   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.

<b>                             TOBY
</b>                   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.

<b>                             TOBY
</b>                   Seems like the Good Lord sent you for
                   me.

<b>                             MRS. LOVETT
</b>                   Oh, love, I feel quite the same way--

<b>                             TOBY
</b>                   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--

<b>                             MRS. LOVETT
</b>                       (concerned)
                   What is this? What are you talking
                   about?
<b>                             TOBY
</b>                   Nothing's gonna harm you,
                   Not while I'm around.
                   Nothing gonna harm you,
                   No, sir,
                   Not while I'm around...

<b>                             MRS. LOVETT
</b>                   What do you mean, "someone bad"?

<b>                              TOBY
</b>                   Demons are prowling
                   Everywhere
                   Nowadays.
                   I'll send 'em howling,


<b>                                                            (CONTINUED)
</b><b>                                                                  PAGE 98.
</b><b>101   CONTINUED: (2)                                             101
</b>
                I don't care--
                I got ways.

<b>                          MRS. LOVETT
</b>                Darling, hush now, there's no need for
                this...

<b>                          TOBY
</b>                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:

<b>                          MRS. LOVETT
</b>                What is this foolishness now? What are
                you talking about?

<b>                          TOBY
</b>                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.

<b>                           TOBY
</b>                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:

<b>                          MRS. LOVETT
</b>                Now, Toby dear, haven't we had enough
                of this foolish chatter? ...
<b>                          (MORE)
</b><b>                                                         (CONTINUED)
</b><b>                                                                    PAGE 99.
</b><b>101   CONTINUED: (3)                                            101
</b>                          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--

<b>                          TOBY
</b>                That's Signor Pirelli's purse!

<b>                          MRS. LOVETT
</b>                No, no, love -- this is just something
                Mr. T. give me for my birthday--

<b>                           TOBY
</b>                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:

<b>                          MRS. LOVETT
</b>                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.
<b>                          MRS. LOVETT
</b>                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.



<b>                                                         (CONTINUED)
</b><b>                                                                 PAGE 100.
</b><b>101   CONTINUED: (4)                                            101
</b>
<b>                          MRS. LOVETT
</b>                    (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?

<b>                          TOBY
</b>                    (dreamily)
                Yes, ma'am.

      She quickly dries her eyes and then turns him to look at her.

<b>                          MRS. LOVETT
</b>                    (smiles)
                Well ... no time like the present.

<b>102   INT. BAKEHOUSE STEPS -- EVENING                            102
</b>
      Mrs. Lovett leads Toby down the claustrophobic, long stairway
      toward the bakehouse.

<b>                          TOBY
</b>                My heart bleeds for you havin' to go
                up and down all these stairs!

<b>                          MRS. LOVETT
</b>                Well, that'll be your job now.

<b>                          TOBY
</b>                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...

<b>103   INT. THE BAKEHOUSE -- EVENING                              103
</b>
      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.

<b>                                                         (CONTINUED)
</b><b>                                                                   PAGE 101.
</b><b>103   CONTINUED:                                                  103
</b>
      And eeriest of all ... the thundering roar of flame coming
      from a large industrial oven against one wall.

      Toby takes in the cavernous bakehouse:

<b>                             TOBY
</b>                   Coo, quite a stink, ain't there?

      She indicates the sewer grates:

<b>                             MRS. LOVETT
</b>                   Those grates go right down to the
                   sewers and the whiffs come up, always
                   a few rats gone home to Jesus down
                   there.

<b>                             TOBY
</b>                   So -- where do I start?!

      She leads him across to the thrumming, fiery oven:

<b>                             MRS. LOVETT
</b>                   Now this would be the bake oven ...
                   Ten dozen at a time. Always be sure
                   the doors is closed properly, like
                   this.

<b>                             TOBY
</b>                       (trying to remember it
                        all)
                   Yes'm, always closed properly.

      She leads him to the meat grinder:

<b>                             MRS. LOVETT
</b>                   And here's the grinder ...
                       (demonstrates it)
                   ... You pop in the meat, give it a
                   good grind and it comes out here.

<b>                             TOBY
</b>                       (practicing with the
                        grinder)
                   Good grind, comes out there.

<b>                             MRS. LOVETT
</b>                   That's my boy. Smoothly, smoothly --
                   Now I've got to pop upstairs, back in
                   two shakes, all right?

<b>                             TOBY
</b>                   Yes'm.


<b>                                                           (CONTINUED)
</b><b>                                                                  PAGE 102.
</b><b>103    CONTINUED: (2)                                            103
</b>
       She begins to go. He stops her with:

<b>                           TOBY
</b>                 Do you think I might have a pie while
                 I wait?

       She turns. He is standing at a rack of cooling pies.

<b>                           MRS. LOVETT
</b>                 As many as you like, son ... As many
                 as you like.

       She goes and shuts the door behind her.

<b>104    INT. BAKEHOUSE STEPS -- EVENING                            104
</b>
       She leans against the bakehouse door, tormented, gasping for
       air. Then she slowly bolts the door.

<b>A120
</b><b> 105   INT. FOGG'S ASYLUM -- EVENING                              105
</b>
       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.

<b>                           FOGG
</b>                 ... 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:
<b>                           FOGG
</b>                 I keep the blondes over here. It was
                 yellow hair you was looking for, sir?

<b>                           ANTHONY
</b>                 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.

<b>                           ANTHONY
</b>                     (points)
                 That one has hair the shade I need.


<b>                                                          (CONTINUED)
</b><b>                                                                    PAGE 103.
</b><b>105   CONTINUED:                                                   105
</b>
      Fogg goes to fetch Johanna, hauls her to Anthony:

<b>                             FOGG
</b>                   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.

<b>                             FOGG
</b>                       (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.

<b>                             ANTHONY
</b>                   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...

<b>106   EXT. PIE SHOP -- EVENING                                      106
</b>
      Todd and Mrs. Lovett are hurrying down the stairs from the
      barber shop, urgent. Todd has a razor.

<b>                             MRS. LOVETT
</b>                   ... I got him locked in -- but if he
                   escapes he'll go to the law!
<b>                             TODD
</b>                   Then he can't escape.


<b>                             MRS. LOVETT
</b>                   Mr. T. -- I don't know -- maybe we
                   could--

<b>                             TODD
</b>                   The Judge will be here soon! I have no
                   time, woman! Come on--!

      They turn a corner and walk straight into--

      The Beadle!


<b>                                                            (CONTINUED)
</b><b>                                                                    PAGE 104.
</b><b>106   CONTINUED:                                                   106
</b>
<b>                             MRS. LOVETT
</b>                   Excuse me, sir! -- You gave me a
                   fright.

<b>                             BEADLE
</b>                   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.

<b>                              TODD
</b>                        (smoothly)
                   Of course ... But first why don't you
                   come upstairs and let me attend to
                   you?

<b>                             BEADLE
</b>                   Much as I do appreciate tonsorial
                   adornment, I really ought see to my
                   "official" obligations first.

<b>                             TODD
</b>                   An admirable sentiment -- But I must
                   ask you, out of professional curiosity
                   you understand, is that a cream or a
                   tallow pomade?

<b>                             BEADLE
</b>                       (touches his hair)
                   Oh, not a pomade at all! Me secret is
                   a touch of ambergris.

<b>                             TODD
</b>                   But, sir, hair that delicate requires
                   a genuine pomade! Come along, let me
                   show you the difference.

<b>                              BEADLE
</b>                       (considering)
                   Well ... you are the expert in these
                   matters...


<b>                                                            (CONTINUED)
</b><b>                                                                 PAGE 105.
</b><b>106   CONTINUED: (2)                                            106
</b>
<b>                          TODD
</b>                And we'll finish you off with a nice
                facial rub of bay rum.

<b>                          BEADLE
</b>                Oooh, bay rum is bracing.

<b>                          TODD
</b>                And all on the house, for my friend,
                Beadle Bamford.

<b>                          BEADLE
</b>                Well, sir, I take that very kindly ...
                Lead on.

<b>                          TODD
</b>                    (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.

<b>107   EXT. PIE SHOP -- EVENING                                   107
</b>
      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.

<b>108   INT. BAKEHOUSE -- EVENING                                  108
</b>      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--

<b>                                                         (CONTINUED)
</b><b>                                                                     PAGE 106.
</b><b>108   CONTINUED:                                                    108
</b>
      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:

<b>                             TOBY
</b><b>                   MRS. LOVETT! MRS. LOVETT! LET ME OUT!
</b><b>                   MRS. LOVETT!
</b>
      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--

<b>109   INT. BARBER SHOP -- EVENING                                   109
</b>
      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--

<b>                             GENTLEMAN
</b>                   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--

<b>                             BANKER
</b>                   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--

<b>                                                           (CONTINUED)
</b><b>                                                                        PAGE 107.
</b><b>109   CONTINUED:                                                       109
</b>
<b>                             GENERAL
</b>                   To satisfy the hungry god
                   Of Sweeney Todd...

<b>                             GENTLEMAN, BANKER AND GENERAL
</b>                   The Demon Barber of Fleet...

      SUDDENLY -- a sharp cry from across the room -- Todd spins--

<b>                                OTHER GHOSTS (O.S.)
</b><b>                   SWEENEY!
</b>
<b>                                GENTLEMAN, BANKER AND GENERAL
</b>                   ...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 --

<b>                             GHOSTS
</b>                       (variously)
                   Sweeney! Sweeney!
                   Sweeney! Sweeney! Sweeney!

      By now the ghosts are fully Furies, demented and threatening--

<b>                             GHOSTS
</b>                   Sweeney!
                   Sweeeeeeneeeeey...!

      The screeching music transforms into a strange symphony of
      inarticulate moans and howls and chants, taking us to...
<b>110   INT. SEWERS -- NIGHT                                              110
</b>
<b>                             GHOSTS (V.O.)
</b>                   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:

<b>                             MRS. LOVETT
</b>                   Toby!
                   Where are you, love?

<b>                             TODD
</b>                   Toby!
                   Where are you, lad?

<b>                                                                (CONTINUED)
</b><b>                                                                    PAGE 108.
</b><b>110   CONTINUED:                                                   110
</b>
<b>                             MRS. LOVETT
</b>                   Nothing's gonna harm you...

<b>                             TODD
</b>                   Toby!

<b>                             MRS. LOVETT
</b>                   Not while I'm around...

<b>                             TODD
</b>                   Toby!

<b>                              MRS. LOVETT
</b>                   Nothing's gonna harm you,
                   Darling...

<b>                             TODD
</b>                   Nothing to be afraid of boy...

<b>                             MRS. LOVETT
</b>                   Not while I'm around.

<b>                             TODD
</b>                   Toby...

<b>                             MRS. LOVETT
</b>                   Demons are prowling everywhere
                   Nowadays...

<b>                             TODD
</b>                   Toby...

      Music takes us to...

<b>111   INT. BARBER SHOP -- NIGHT                                     111
</b>      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.

<b>                             ANTHONY
</b>                   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...

<b>                             ANTHONY
</b>                   Don't worry, darling, in those
                   clothes, no one will recognize you ...
                   You're safe now.



<b>                                                            (CONTINUED)
</b><b>                                                                   PAGE 109.
</b><b>111   CONTINUED:                                                  111
</b>
      She picks up the largest razor, looks at it, an eerie echo of
      her father.

<b>                             JOHANNA
</b>                       (darkly ironic)
                   Safe ... So we run away and then all
                   our dreams come true?

<b>                             ANTHONY
</b>                   I hope so...

<b>                             JOHANNA
</b>                   I have never had dreams. Only
                   nightmares.

<b>                             ANTHONY
</b>                   Johanna ... When we're free of this
                   place all the ghosts will go away.

      She looks at him very intensely:

<b>                             JOHANNA
</b>                   No, Anthony, they never go away.

      He gently touches her face.

<b>                             ANTHONY
</b>                   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...

<b>112   EXT. PIE SHOP -- NIGHT                                       112
</b>
      The Beggar Woman begins climbing the stairs to the barber
      shop:

<b>                             BEGGAR WOMAN
</b>                   Beadle ... Beadle ...
                   No good hiding, I saw you!
                   Are you in there still?

<b>113   INT. BARBER SHOP -- NIGHT                                    113
</b>
      Johanna hears the Beggar Woman singing, climbing the stairs.



<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 110.
</b><b>113   CONTINUED:                                                  113
</b>
<b>                             BEGGAR WOMAN (V.O.)
</b>                   Beadle ... Beadle...

      Johanna looks around urgently, sees the large chest. She
      quickly climbs into it and shuts the lid as--

      The Beggar Woman enters.

<b>                             BEGGAR WOMAN
</b>                   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...

<b>                             BEGGAR WOMAN
</b>                   Beadle deedle deedle deedle deedle dumpling,
                   Beadle, dumpling, Be-deedle dumpling...

<b>      SUDDENLY--
</b>
      Without warning -- like a thunderbolt -- Todd leaps into the
      room--

<b>                             TODD
</b>                   What are you doing here?!

<b>                             BEGGAR WOMAN
</b>                       (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:
<b>                             TODD
</b>                   Be quiet, woman!

<b>                             BEGGAR WOMAN
</b>                       (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...

<b>                             TODD
</b>                   Out of here! Now!




<b>                                                           (CONTINUED)
</b><b>                                                                  PAGE 111.
</b><b>113   CONTINUED: (2)                                             113
</b>
<b>                          BEGGAR WOMAN
</b>                    (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.

<b>                          JUDGE
</b>                Where is she? Where's the girl?

<b>                          TODD
</b>                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.

<b>                           JUDGE
</b>                She has?

<b>                          TODD
</b>                Oh yes, sir, your lesson was well
                learned. She speaks only of you,
                longing for forgiveness.

<b>                          JUDGE
</b>                Then she shall have it. She'll be here
                soon, you say?

      The music builds, the pace increases:

<b>                          TODD
</b>                I think I hear her now.

<b>                          JUDGE
</b>                    (excited)
                Oh, excellent, my friend!

<b>                          TODD
</b>                Is that her dainty footstep on the stair?

<b>                          JUDGE
</b>                I hear nothing.

<b>                                                         (CONTINUED)
</b><b>                                                                PAGE 112.
</b><b>113   CONTINUED: (3)                                           113
</b>
<b>                          TODD
</b>                Yes, isn't that her shadow on the
                wall?

<b>                          JUDGE
</b>                Where?

<b>                          TODD
</b>                There!
                Primping,
                Making herself even prettier than usual--

<b>                          JUDGE
</b>                Even prettier...

<b>                          TODD
</b>                If possible.

<b>                          JUDGE
</b>                    (blissful)
                Ohhhhhhh,
                Pretty women!

<b>                          TODD
</b>                Pretty women, yes...

<b>                          JUDGE
</b>                    (straightening his coat)
                Quickly, sir, a splash of bay rum!

<b>                          TODD
</b>                Sit, sir, sit.

<b>                          JUDGE
</b>                    (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--

<b>                          TODD
</b>                Pretty women...

<b>                          JUDGE
</b>                Hurry, man!

<b>                          TODD
</b>                Pretty women
                Are a wonder...




<b>                                                        (CONTINUED)
</b><b>                                                                  PAGE 113.
</b><b>113   CONTINUED: (4)                                             113
</b>
<b>                          JUDGE
</b>                You're in a merry mood again today,
                barber.

<b>                          TODD
</b>                    (joyfully)
                Pretty women!

<b>                          JUDGE
</b>                What we do for

      They sing simultaneously as Todd smoothes bay rum on the
      Judge's face and then reaches for his razor:

<b>                          JUDGE
</b>                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...

<b>                          TODD
</b>                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:

<b>                          JUDGE
</b>                How seldom it is one meets a fellow
                spirit!

<b>                          TODD
</b>                With fellow tastes -- in women, at
                least.

<b>                          JUDGE
</b>                What? What's that?

<b>                          TODD
</b>                The years no doubt have changed me,
                sir.
<b>                          (MORE)
</b>
<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 114.
</b><b>113   CONTINUED: (5)                                              113
</b>                           TODD (cont'd)
                But then, I suppose the face of a
                barber -- the face of a prisoner in
                the dock -- is not particularly
                memorable.

<b>                          JUDGE
</b>                    (a horrified realization)
                Benjamin Barker!

<b>                          TODD
</b><b>                BENJAMIN BARKER!
</b>
      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:
<b>                          TODD
</b>                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.


<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 115.
</b><b>113   CONTINUED: (6)                                              113
</b>
      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--

<b>                             TODD
</b>                       (darkly)
                   Come for a shave, have you, lad?

<b>                                JOHANNA
</b>                   No -- I...

      He tosses her in the chair, throws back his arm, his razor
      ready--

<b>                             TODD
</b>                   Surely, yes! Everyone needs a good
                   shave--!

<b>      SUDDENLY -- A PIERCING SCREAM ECHOES UP FROM THE CHUTE --
</b>      Mrs. Lovett's voice -- screaming to raise the dead--

      Todd rivets Johanna, pointing the razor at her, a lethal
      warning:

<b>                             TODD
</b>                   Forget my face.
      He spins and bolts out of the shop, leaving her sitting in
      the chair--

<b>114   INT. BAKEHOUSE -- NIGHT                                      114
</b>
      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--

<b>                             MRS. LOVETT
</b>                   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.

<b>                                                        (CONTINUED)
</b><b>                                                                    PAGE 116.
</b><b>114   CONTINUED:                                                   114
</b>
<b>                             MRS. LOVETT
</b>                   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:

<b>                             TODD
</b>                   Why did you scream? Does the Judge
                   live still?

<b>                             MRS. LOVETT
</b>                   He was clutching, holding on to my
                   dress, but he's finished now...

      She continues quickly dragging the Beggar Woman toward the
      oven.

<b>                             TODD
</b>                   Leave them to me. Open the doors.

      He waves her toward the oven--

<b>                             MRS. LOVETT
</b>                   No! Don't touch her!

<b>                             TODD
</b>                   Open the doors!

      He shoves her toward the oven and leans over to pick up the
      Beggar Woman's body--

<b>                             TODD
</b>                   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:

<b>                             TODD
</b>                   Oh no! ... Oh God ... "Don't I know
                   you?" she said ...

      He looks up to Mrs. Lovett:



<b>                                                            (CONTINUED)
</b><b>                                                                PAGE 117.
</b><b>114   CONTINUED: (2)                                           114
</b>
<b>                         TODD
</b>               You knew she lived. From the moment
               that I came into your shop you knew my
               Lucy lived!

<b>                         MRS. LOVETT
</b>               I was only thinking of you!

<b>                         TODD
</b>                   (looking down again)
               Lucy...

<b>                         MRS. LOVETT
</b>               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?

<b>                         TODD
</b>                   (looking up)
               You lied to me...

<b>                         MRS. LOVETT
</b>                   (desperately)
               No, no, not lied at all.
               No, I never lied.

<b>                         TODD
</b>                   (to Beggar Woman)
               Lucy...

<b>                         MRS. LOVETT
</b>               Said she took the poison -- she did --
               Never said that she died --
               Poor thing,
               She lived--
<b>                         TODD
</b>               I've come home again...

<b>                         MRS. LOVETT
</b>               But it left her weak in the head,
               All she did for months was just lie there in bed--

<b>                         TODD
</b>               Lucy...

<b>                         MRS. LOVETT
</b>               Should've been in hospital,
               Wound up in Bedlam instead,
               Poor thing!



<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 118.
</b><b>114   CONTINUED: (3)                                              114
</b>
<b>                          TODD
</b>                Oh, my God...

<b>                          MRS. LOVETT
</b>                Better you should think she was dead.
                    (passionately)
                Yes, I lied 'cos I love you!

<b>                          TODD
</b>                Lucy...

<b>                          MRS. LOVETT
</b>                I'd be twice the wife she was!
                I love you!
                Could that thing have cared for you
                Like me?

<b>                          TODD
</b>                    (a harrowing keen)
<b>                WHAT HAVE I DONE?!
</b>
      Todd's eyes suddenly snap up to Mrs. Lovett -- as the
      glorious "Little Priest" waltz theme returns--

<b>                          TODD
</b>                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:

<b>                           TODD
</b>                No, come here, my love...
                Not a thing to fear,
                My love...
                What's dead
                Is dead.

<b>                          MRS. LOVETT
</b>                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.


<b>                                                        (CONTINUED)
</b><b>                                                                   PAGE 119.
</b><b>114   CONTINUED: (4)                                              114
</b>
      She knows she is doomed.

      But steps into his arms anyway for a final, triumphant waltz:

<b>                          TODD
</b>                The history of the world, my pet--

<b>                          MRS. LOVETT
</b>                    (through tears)
                Oh, Mr. Todd,
                Ooh, Mr. Todd,
                Leave it to me...

<b>                          TODD
</b>                Is learn forgiveness and try to forget.

<b>                          MRS. LOVETT
</b>                    (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.

<b>                          TODD
</b>                And life is for the alive, my dear,
                So let's keep living it--!

<b>                          BOTH
</b>                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.



<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 120.
</b><b>114   CONTINUED: (5)                                              114
</b>
<b>                          TODD
</b>                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...


<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 121.
</b><b>114   CONTINUED: (6)                                              114
</b>
      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...

<b>                          GENTLEMAN
</b>                Attend the tale of Sweeney Todd,
                His skin was pale and his eye was odd.

      The Banker emerges from the shadows of the bakehouse...

<b>                          BANKER
</b>                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...

<b>                          GHOSTS
</b>                    (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...

<b>                          BEGGAR WOMAN
</b>                He kept a shop in London town,
                Of fancy clients and good renown.

      She is joined by the Judge...
<b>                          JUDGE
</b>                And what if none of their souls were saved?
                They went to their maker impeccably shaved.

<b>                          BEGGAR WOMAN, JUDGE AND GHOSTS
</b>                By Sweeney,
                By Sweeney Todd,
                The Demon Barber of Fleet Street.

      The Beadle and Pirelli join the ghosts...

<b>                          PIRELLI AND BEADLE
</b>                Swing your razor wide, Sweeney!
                Hold it to the skies!
                Freely flows the blood of those
                Who moralize!


<b>                                                           (CONTINUED)
</b><b>                                                                   PAGE 122.
</b><b>114   CONTINUED: (7)                                             114
</b>
      The ghosts move around the bakehouse, considering the meat
      grinder and stained cleavers and chopping block...

<b>                          GHOSTS
</b>                    (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...

<b>                          GHOSTS
</b>                    (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--
<b>                          GHOSTS
</b>                    (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:



<b>                                                          (CONTINUED)
</b><b>                                                                   PAGE 123.
</b><b>114   CONTINUED: (8)                                              114
</b>
<b>                          GHOSTS
</b>                Attend the tale of Sweeney Todd!
                He served a dark and a hungry god!

<b>                          TODD
</b>                    (sharply to Mrs. Lovett)
                To seek revenge may lead to hell.

<b>                          MRS. LOVETT
</b>                    (coldly to him)
                But everyone does it, if seldom as well--

<b>                          TODD AND MRS. LOVETT
</b>                --As Sweeney...

<b>                          GHOSTS
</b>                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...

<b>                          GHOSTS
</b>                ... 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.

<b>                                                          (CONTINUED)
</b><b>                                  PAGE 124.
</b><b>114   CONTINUED: (9)             114
</b>
      Snap to black.

                       The End
</pre><br>
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	<td><h1>Sweeney Todd: The Demon Barber of Fleet Street</h1><br><br>
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How does Lucy die?
How does Lucy die ?
Todd kills her
Todd kills her
She poisons herself with arsenic.
She poisons herself with arsenic .