If three bells ring in the Tower of Bray ...
Ding dong!
MRS. LOVETT (Another “inspiration”): Oh yes, of course! Mr. Todd’s gone down to Wapping. Won’t be back for hours. And he’ll be ever so sorry to miss you. Why, just the other day he was saying, “If only the Beadle would grace my tonsorial parlor I’d give him a most stylish haircut, the daintiest shave — all for nothing.” So why don’t you drop in some other time and take advantage of his offer?
BEADLE: Well, that’s real friendly of him.
(Immovable, he starts to sing another verse)
If four bells ring in the Tower of—
MRS. LOVETT: Just how many bells are there?
BEADLE: Twelve.
(Resumes singing)
Ding dong!
MRS. LOVETT (Resigned):
Ding dong!
TOBIAS:
Ding dong!
BEADLE:
Ding dong!
BEADLE, MRS. LOVETT and TOBIAS:
Then lovers must pray! ...
(During this, TODD enters, reacts on seeing the BEADLE)
MRS. LOVETT (With a huge smile of relief): Back already! Look who’s here, Mr. T., on some foolish complaint about the bakehouse or something. He wants the key and I told him you had it. But ...
(Coquettishly, to the BEADLE)
... there’s no hurry, is there, sir? Why don’t you run upstairs with Mr. Todd and let him fix you up nice and pretty — there’ll be plenty of time for the bakehouse later.
BEADLE (Considering): Well ... tell me, Mr. Todd, do you pomade the hair? I dearly love a pomaded head.
MRS. LOVETT: Pomade? Of course! And a nice facial rub with bay rum too. All for free!
BEADLE (To TODD): Well, sir, I take that very kindly.
TODD (Bowing to the BEADLE): I am, sir, entirely at your — disposal.
(The two men exit. MRS. LOVETT hesitates, then speaks)
MRS. LOVETT: Let’s hope he can do it quietly. But just to be on the safe side, I’ll provide a little musical send-off.
(She goes to the harmonium, sits down on the stool and starts playing and singing a loud verse of “Polly Plunkett” which continues distantly during the following. In the bakehouse, TOBIAS stands by the grinding machine eating a pie. He feels something on his tongue, puts a finger in his mouth and pulls the something out, holding it up for inspection)
TOBIAS: An ‘air! Black as a rook. Now that ain’t Mrs. Lovett’s ’air. Oh, well, some old black cow probably.
(He continues to eat. He bites on something else, takes it out of his mouth, looks at it)
Coo, bit of fingernail! Clumsy. Ugh!
(He drops the pie. Bored, he starts around the room, inspecting. He peers at an unidentifiable hole in the wall — the chute. He is baffed by it. As he does so, we hear a strange, shambling, shuffling sound as if a heavy object is falling inside the wall. TOBIAS spins around just as the bloody body of the BEADLE comes trundling out of the mouth of the chute. TOBIAS screams)
No! Oh no!
(He dashes to the door, tries the handle; it is locked. He starts beating on it)
Mrs. Lovett! Mrs. Lovett! Let me out! Let me out!
(Wildly he tries to break down the door. It is too solid for him. Whimpering, he stands paralyzed. Then he sees the open trap door leading to the cellar steps. He runs and disappears down them. In the parlor, MRS. LOVETT continues to sing and play. After a suitable period, she stops)
MRS. LOVETT:
... With a row dow diddle dow day.
(As she gets up from the harmonium, TODD hurries in)
TODD: It’s done.
MRS. LOVETT: Not yet it isn’t! The boy, he’s guessed.
TODD: Guessed what?
MRS. LOVETT: About Pirelli. Since you weren’t here, I locked him in the bakehouse. He’s been yelling to wake the dead. We’ve got to look after him.
TODD (Fiercely): But the Judge is coming. I’ve arranged it.
MRS. LOVETT: You — worrying about the bloody Judge at a time like this!
(Grabbing his arm and pulling him toward the door)
Come on.
(The scene blacks out. Members of the company appear and sing)
COMPANY (Variously):
The engine roared, the motor hissed,
And who could see how the road would twist?
In Sweeney’s ledger the entries matched:
A Beadle arrived, and a Beadle dispatched
To satisfy the hungry god
Of Sweeney Todd,
ALL:
The Demon Barber of Fleet ...
Sweeney!
... Street.
Sweeney! Sweeney!
Sweeney! Sweeney! Sweeney!
Sweeney!
Sweeeeeneeeeey!
(And as they sing the name, they transform themselves into the inmates of Fogg’s Asylum, which is now revealed: a huge stone wall and a heavy iron door. Behind the wall, the ragged inmates are crawling, lolling, capering, giggling, shrieking. In the center of them sits JOHANNA, her long yellow hair tumbling about her)
INMATES (Intoning, chattering, screaming):
Sweeeeeeeeeeeeeeneeeeeeeeeeeeey . . .
Sweeneysweeneysweeneysweeney . . .
(These moans and humming noises continue under the following, occasionally interrupted by little mad birdlike outbursts of song. MR. FOGG enters with ANTHONY in his wigmaker’s disguise. He carries a huge pair of scissors. Behind them is the asylum wall)
FOGG: Just this way, sir.
ANTHONY: You do me honor, Mr. Fogg.
FOGG: I agree it would be to our mutual interest to come to some arrangement in regard to my poor children’s hair.
ANTHONY: Your — children?
FOGG: We are one happy family here, sir, and all my patients are my children, to be corrected when they’re naughty, and rewarded with a sweetie when they’re good. But to our business.
(As they enter the inside of the asylum, lights come up behind the scrim wall revealing the shadows of the inmates. MR. FOGG, as in a shadow play, grabs one female by the hair, pulling her head up for ANTHONY’s inspection)
Here is a charming yellow, a little dull in tone perhaps, but you can soon restore its natural gleam.
(He drops the head, moves to a man and grabs his head up by the hair)
Now here! A fine texture for a man and, as you must know, sir, there is always a discount on the hair of a male.
(ANTHONY has been looking around and has spotted JOHANNA)
ANTHONY: This one here has hair the shade I seek.
FOGG: Poor child. She needs so much correction. She sings all day and night and leaves the other inmates sleepless.
(He goes to JOHANNA and tugs her, indignantly struggling. across the floor toward ANTHONY, by the hair)
Come, child. Smile for the gentleman and you shall have a sweetie.
(He brandishes the scissors)
Now, where shall I cut?
JOHANNA (Sees ANTHONY) : Anthony!
ANTHONY: Johanna!
FOGG: What is this? What is this?
ANTHONY (Drawing his pistol): Unhand her!
FOGG: Why you — !
(Clutching the scissors, he moves resolutely toward ANTHONY. ANTHONY backs away a few steps, but FOGG keeps coming)
ANTHONY: Stop, Mr. Fogg, or I’ll fire.
FOGG: Fire, and I will stop.
ANTHONY: I cannot shoot.
(Losing his nerve, ANTHONY drops the gun which JOHANNA catches in mid-air. FOGG moves toward ANTHONY, raising the scissors. JOHANNA, holding the gun with both hands, shoots FOGG, who falls. She drops the gun and together she and ANTHONY run out. Compelled by the energy released by FOGG’S death, the lunatics tear down the wall and rush out of the asylum, spilling with euphoric excitement onto the street)
LUNATICS (In three contrapuntal groups):
City on fire!
Rats in the grass
And the lunatics yelling in the streets!
It’s the end of the world! Yes!
/> City on fire!
Hunchbacks dancing!
Stirrings in the ground
And the whirring of giant wings!
Watch out!
Look!
Blotting out the moonlight,
Thick black rain falling on the
City on fire!
City on fire!
City on fire!
(During this, police whistles sound. ANTHONY and JOHANNA are still visible hurrying away, ANTHONY systematically disposing of the wigmaker’s costume, tossing the hat off here, the cloak off there, etc. Throughout, JOHANNA is excited and chatty. At one point, ANTHONY stops briefly to reconnoiter nervously)
JOHANNA:
Will we be married on Sunday?
That’s what you promised,
Married on Sunday!
(Pensively)
That was last August ...
(He looks at her unbelievingly)
Kiss me!
(He drags her off as the lunatics reappear, this time in two groups)
LUNATICS:
City on fire!
Rats in the streets
And the lunatics yelling at the moon!
It’s the end of the world! Yes!
City on fire!
Hunchbacks kissing!
Stirrings in the graves
And the screaming of giant winds!
Watch out! Look!
Crawling on the chimneys,
Great black crows screeching at the
City on fire!
City on fire!
City on fire!
(As they run off, lights come up on the bakehouse. TODD, holding a lantern, and MRS. LOVETT enter, looking around for TOBIAS)
MRS. LOVETT (Sings):
Toby!
Where are you, love?
TODD:
Toby!
Where are you, lad?
MRS. LOVETT:
Nothing’s gonna harm you ...
TODD:
Toby!
MRS. LOVETT:
Not while I’m around ...
TODD (Opening trap door, peering down):
Toby!
MRS. LOVETT:
Where are you hiding?
Nothing’s gonna harm you,
Darling ...
TODD:
Nothing to be afraid of, boy ...
(Closes the trap door, peers into the darkness)
MRS. LOVETT:
Not while I’m around.
TODD:
Toby ...
MRS. LOVETT (She and TODD move upstage, where their voices echo):
Demons are prowling everywhere
Nowadays ...
TODD:
Toby...
(They wander off as the lunatics run on)
LUNATICS:
City on fire!
Rats in the streets
And the lunatics yelling at the moon!
It’s the end of the world! Yes!
(Lights go down on them and come up on the BEGGAR WOMAN, peering off through the darkness as if at the pieshop)
BEGGAR WOMAN:
Beadle! ... Beadle! ...
No good hiding, I saw you!
Are you in there still,
Beadle? ... Beadle? ...
Get her, but watch it!
She’s a wicked one, she’ll deceive you
With her fancy gowns
And her fancy airs
And her —
(Suddenly shrieking)
Mischief! Mischief!
Devil’s work!
(Quietly calling again)
Where are you, Beadle?
Beadle ...
(As she shuffles off toward the pieshop, lights dim on her and come up on the lunatics)
LUNATICS:
City on fire!
Rats in the streets
And the lunatics yelling at the moon!
It’s the end of the world! Good!
City on fire!
Hunchbacks kissing!
Stirrings in the graves
And the screaming of giant winds!
Watch out! Look!
Crawling on the chimneys,
Great black crows screeching at the
City on fire! ...
(Light comes up on the tonsorial parlor. It is empty for a moment, then ANTHONY and JOHANNA, who is now dressed in a sailor’s uniform, enter; music under)
ANTHONY Mr. Todd?
JOHANNA: No one here. Where is this Mr. Todd?
ANTHONY: No matter. He’ll be back in a moment, for I trust him as I trust my right arm. Wait for him here — I’ll return with the coach in less than half an hour.
JOHANNA: But they are after us still. What if they trace us here? Oh, Anthony, please let me come with you.
ANTHONY: No, my darling, there is no safety for you on the street.
JOHANNA: But dressed in these sailor’s clothes, who’s to know it is I?
ANTHONY: No, the risk is too great.
(As she turns away pouting, he sings)
Ah, miss,
Look at me, look at me, miss, oh,
Look at me please, oh,
Favor me, favor me with your glance.
Ah, miss,
Soon we’ll be, soon we’ll be gone
And sailing the seas
And happily, happily wed
In France.
(She looks at him and smiles)
BOTH:
And we’ll sail the world
And see its wonders
From the pearls of Spain
To the rubies of Tibet —
JOHANNA: ANTHONY:
And then home. And then come home to London. Some day. (They kiss)
Some day.
ANTHONY (Starting out): And I’ll be back before those lips have time to lose that smile.
(He rushes off. Music continues under. JOHANNA paces. She sees the barber chair, starts to move toward it. During this, the BEGGAR WOMAN can be seen below approaching the pieshop. A factory whistle blows. JOHANNA gasps, startled, then goes to the chair. She sits in it. Her hand moves to inspect the lever, but before she touches it, the BEGGAR WOMAN approaches, calling)
BEGGAR WOMAN:
Beadle! ...
Beadle!
Where are you?
Beadle, dear!
Beadle!
JOHANNA (Simultaneously, jumping up): Someone calling the Beadle! I knew it!
(JOHANNA looks wildly around, sees the chest, runs to it and clambers in, closing the lid just as the BEGGAR WOMAN comes shuffling on)
BEGGAR WOMAN (Vacantly):
Beadle deedle deedle deedle deedle dumpling,
Beadle dumpling, Be-deedle dumpling ...
(Whimpers, growls lasciviously, dimly surveys the room. She sees the chest, feels it; screams and wails. She mimes opening a window, then clutches an imaginary baby to her; pats and rocks it, cradles it and smiles. Lullaby music begins underneath)
And why should you weep then, my jo, my jing?
Ohh...
Your father’s at tea with the Swedish king.
He’ll bring you the moon on a silver string.
Ohh...
Ohh...
Quickly to sleep then, my jo, my jing,
He’ll bring you a shoe and a wedding ring.
Sing here again, home again,
Come again spring.
He’ll be coming soon now
To kiss you, my jo, my jing,
Bringing you the moon
And a shoe and a wedding ring.
He’ll be coming here again,
Home again ...
(Without warning, leaping in like a thunderbolt, TODD appears, the razor in his hand; music continues)
TODD: You! What are you doing here?
BEGGAR WOMAN (Clutching his arm): Ah, evil is here, sir. The stink of evil — from below — from her!
(Calling)
Beadle dear, Beadle!
TODD (Looking anxiously out the window for the JUDGE): Out of here, woman.
/> BEGGAR WOMAN (Still clutching his arm): She’s the Devil’s wife! Oh, beware her, sir. Beware of her. She with no pity ... in her heart.
TODD: Out, I say!
BEGGAR WOMAN (Peering dimly at him, sings):
Hey, don’t I know you, mister?
(On the street the JUDGE approaches the tonsorial parlor)
TODD (Seeing him): The Judge. I have no time.
(He turns on the BEGGAR WOMAN, slits her throat, puts her in the chair and releases her down the chute. The JUDGE enters the room. Music continues under)
JUDGE: Where is she? Where is the girl?
TODD: Below, your Honor. In the care of my neighbor, Mrs. Lovett. Thank heavens the sailor did not molest her. Thank heavens too, she has seen the error of her ways.
JUDGE: She has?
TODD: Oh yes, your lesson was well learned, sir. She speaks only of you, longing for forgiveness.
JUDGE: And she shall have it. She’ll be here soon, you say?
TODD (Sings):
I think I hear her now.
JUDGE: Oh, excellent, my friend!
TODD:
Is that her dainty footstep on the stair?
JUDGE (Listening): I hear nothing.
TODD:
Yes, isn’t that her shadow on the wall?
JUDGE: Where?
TODD (Points): There!
( The JUDGE looks, getting excited)
Primping,
Making herself even prettier than usual —
JUDGE (Sings):
Even prettier ...
Four by Sondheim Page 35