Original subtitles

(upbeat orchestral music)

(gentle orchestral music)

(dog barking)

(gentle orchestral music)

- How long have you been in London?

- Well, about a fortnight.

- Where are you from?

- Dublin.

- Planning to stay long?

- I don't know.

And London's not what I thought it would be.

- Do you have any relatives here?

- No, only in Dublin.

My mother.

- Well, what are you planning to do here, lad?

- Oh, I don't know.

- You wouldn't know of any jobs going, would you?

- Ajob.

What kind of a job?

- Oh, I can do anything with these.

- Say, that's a beautiful ring you've got there.

- Ah, it is that.

My mother gave it to me when my father died.

- It's a ruby, ain't it?

- Aye, that it is.

It's my pride and joy.

It used to belong to my great-grandfather.

- Would you be interested in selling it?

- No I would not. (chuckles)

- Well, I'll wait a week.

You'll get desperate and you'll think it over.

- 1 hope I never see that day.

- People get lost in a city like London.

- I'm beginning to find that out.

- Where are you living?

- I've got a room in the East End.

- Why don't you go home?

- Well, I should.

But I don't think I will.

- Why not?

- Well, I told my mother,

I was coming here to make my fortune,

and she doesn't even know where I live yet.

- Oh.

Would you hold this for me, lad?

- Yeah.

What'd you do that for?

- What?

- Close the curtains like that.

- The sun was in my eyes.

- Oh.

(whistles)

Oh, the towel's too hot.

Hey man, the towel's too hot.

(man groans)

(dramatic orchestral music)

(knock on door)

- Well, hello Johnny.

How are you?

How is your mother?

(cheerful piano music)

- Good morning Mrs. Spool.

I'll be with you in a minute.

Just putting out a few pies.

Now then, what'll it be?

- My sister Casey is coming down from Manchester.

- Oh.

- I only see her about once a year.

So I'm going to need two shepherd pies.

- Large or small?

- Oh, the large I think.

She's bringing her husband with her.

And he eats like a horse.

- Will you be wanting any bread?

- No, I don't think so.

I'm rather getting far too fat.

And we'll cover my eating for a while. (chuckles)

(paper rustles)

- Did you hear about Mrs. Biclorie?

- You mean about her husband?

- Oh then you have heard.

- Well, you can't drink like that

and expect to keep on going.

- I think it was his heart.

- Not with the way they fought.

She probably pushed him down the stairs.

She had quite a temper you know.

- No, I didn't know.

- Well, she had.

By the by, how is Mr. Lovett?

- Oh, same as ever.

(cheerful piano music)

- I don't know how you manage to run this place

and take care of him.

- Johanna is a great help.

- Where is Johanna?

- Well, she's in the basement with Tobias.

- How old is Tobias?

- About 28, why?

- Oh nothing, just curious.

- You don't like Tobias, do you?

- What makes you say that?

- Your attitude towards him.

- Well I'm not the only one

with a particular dislike for him.

- He's a good worker.

- That's all that matters then, isn't it?

- Good morning, Mrs. Spool.

- Johannal!

My, we do look nice today.

Is that a new dress?

- No, I just put some new ruching around the neck.

Do you like it?

- It's quite becoming.

Well, give my best to your husband, Maggie.

Johanna.

Good day.

(cheerful piano music)

(door slams)

- Nosy old biddy.

You want anything to get around this neighborhood

you just spill it to Mrs. Spool.

She'll spin it into a yarn a mile long.

- What was it this time?

- Tobias.

- What about him?

- That she doesn't like him.

- Nobody does.

- Including you?

- I didn't say that.

- You implied it.

- Did 1?

Would you like me to do the floor?

I haven't done it since last Thursday.

- No, leave it for the weekend.

Johanna, try to get along with Tobias.

- 1 do try.

- Try harder.

(bell rings)

Oh now what does he want?

- He hasn't rung all morning.

- Oh well, you better go and see what he wants.

And Johanna, don't be all afternoon up there.

(cheerful piano music)

(door slams)

- I'd like one beef and kidney pie,

a half a loaf of bread,

and one of those cherry tarts.

- I'm afraid I can't give you half a loaf.

- I cannot see why.

- I discontinued that practice.

- Without a notice?

- That's right.

- My dear Mrs. Lovett,

do you realize you're upsetting the weekly balance

of a great many of your necessary customers

by not announcing such a move?

The least you could have done,

is to have put a sign in the window a fortnight in advance.

- (chuckles) My dear Miss Keen,

if I spent my waking hours

painting signs announcing my every move,

there'd be no time left to bake tarts.

In any case you come out ahead financially

buying a whole loaf.

- It seems I have no choice.

Believe me, I would rather take my business elsewhere,

but since no one in the neighborhood of five miles

can bake as delicious a pie as yours,

you win.

- [Mrs. Lovett] Oh, what a nice compliment.

- It wasn't meant as one Mrs. Lovett,

it's the simple truth.

I have a pressing tea engagement,

and I shall be late

if we don't transact our business immediately.

- Then good day to you Miss Keen.

- And a good day to you.

(items clink)

(cheerful piano music)

(door slams)

- Tobias!

(wood creaks)

(cheerful piano music)

(sighs)

- Come on up.

(grunts)

There we go.

(upbeat orchestral music)

That's right love.

Carry on.

(upbeat orchestral music)

(pillow thuds)

(upbeat orchestral music)

Yes?

- [Mr. Lovett] Ready.

(pillow thuds)

(upbeat orchestral music)

- Come on.

There we go.

That's right.

Ready?

(grunts)

That's right.

One, two, three, up. (heaves)

(heaves)

(soft orchestral music)

- (pants) You must get awfully sick and tired of helping me.

- Nonsense.

- No, it isn't nonsense.

You do more than your share.

Much more than you're paid for.

She should be taking care of me instead of you.

- I like taking care of you.

- Oh, it's kind of you to say that.

- It isn't kindness.

It's the truth.

- Jarvis is a very lucky man.

- Why?

- Stop fishing.

It doesn't become you.

- (laughs) You know me too well.

- I should after three years.

- Three years?

That long?

My, how time flies.

- I would have thought each one of those years

would seem like three.

- Are you that unhappy?

- It's so frustrating

not being able to do one's share of the work.

- It wasn't your fault.

- Oh yes it was.

I was trying to save a few shillings

by going up the ladder to fix that sign,

and now look at me.

A shell of a man.

(soft orchestral music)

Have you heard from Jarvis?

- He's coming home.

- Oh, that is good news.

When's this?

- Today.

- And you didn't tell me.

- We're going to get married.

- Have you told Maggie?

- No.

That's why I haven't told anyone yet.

- You could have told me.

- I don't know why I didn't.

Oh, I'm so happy.

I feel as if I could burst at the seams.

- He's very lucky.

- No, I'm the lucky one.

I've no one else but him.

- What about me?

- Oh, and you of course.

- When did you last see Jarvis?

- Five months ago.

Five months of working and waiting,

and wanting.

- You'll always be waiting if you marry Jarvis.

- I know, but I can't expect him to give up the sea.

- He just might for you.

- Time will tell.

- It always has.

- Let me make you some tea.

- I was just going to suggest that.

- How are you feeling today?

- Much better, thank you.

- You are lying to me.

- How can you tell?

- I know you too well.

(sighs) I wish there was some other way

of getting your blood pressure down.

Couldn't we use leeches instead?

- Maggie says the doctor says, this is the best.

- Give me your hands.

There must be some other way besides cutting the skin.

(ominous music)

- Johanna.

Mrs. Lovett wants you.

- [Johanna] Ooh you startled me.

- She has to go out.

She wants you to take over the shop.

- I'll bring you up some tea.

(ominous music)

(items clink)

(ominous music)

(items clink)

(ominous music)

- Mr. Lovett.

(ominous music)

(Mr. Lovett groans)

A bit more.

(dramatic orchestral music)

(hums)

- There's a new batch of pies in the oven,

so give them 20 minutes.

Don't you leave the shop.

Get Tobias to get them out when they're ready.

Now, I shall be gone for the rest of the afternoon,

so I expect you to take charge.

Put all the pies from yesterday in the front row,

and don't let anybody poke their fingers about.

Oh, and keep count on that pad,

the one next to the scales.

And you better watch Tobias,

make sure he does a good afternoon's work.

And if I'm not back by the time you go,

you lock up and go out the back way.

- Mrs. Lovett.

- Yes dear, what is it?

- Do you think I could close 15 minutes early?

- Whatever for?

- Well, Jarvis is arriving today.

- Oh my dear, why didn't you tell me?

- I don't know.

- (laughs) I don't suppose 15 minutes

will lead us into bankruptcy.

Yes, of course you can.

And have a good time.

(door slams)

(door slams)

- I want my money back.

- I beg your pardon?

- I want my money back.

- Why Miss Keen?

What's wrong?

- This!

- What is it?

- Are you blind?

Goats hair, black hair.

- Where did you get it?

- Well, it certainly isn't mine.

- No, it doesn't seem to match.

- It isn't a laughing matter.

- I didn't think it was.

- It came out of one of your pies I bought not one hour ago.

- Are you sure?

- Well, really!

Where is Mrs. Lovett?

I demand to see Mrs. Lovett.

- I'm afraid she's gone out for the afternoon.

- Well really!

- Yes, you already said that.

- Don't be impertinent young lady.

I see no point in furthering this discussion.

I demand my money back.

If I don't receive it,

I should take my business elsewhere,

and persuade the whole neighborhood to do likewise.

Do I make myself clear?

- Very.

How much was it?

- Sixpence.

It was a large one.

- I'm truly sorry this happened.

- I should think you should be.

Will you keep it or shall I?

- What?

- The hair dear girl, the hair.

- Oh, I think I should,

it's proof for Mrs. Lovett.

- Very well, good day.

(door slams)

(hums)

- Oh damn!

(upbeat music)

- Tobias here?

- May I ask who's calling?

- Tell him it's Rosie.

- He's busy at the moment.

May I take a message?

- You tell him to get his ass up here.

I ain't waiting on the likes of him.

- I'm afraid I can't do that.

- And why not?

- Mrs. Lovett wouldn't like it.

- You tell Mrs. Lovett to shove off.

- Look Rosie, I think you'd better leave.

- Take your bloody hands off me!

Who the hell do you think you are?

I ain't nobody you know.

- I think you'd better go.

- Not till I see Tobias!

(upbeat music)

- Please leave.

- You take a message to him.

You tell him if he's not at my place tonight,

he'll be in lots of trouble.

- Is there anything I can do to help?

- You mind your own bloody business!

You tell him what I said, you hear?

(upbeat orchestral music)

- Oh I've missed you so much.

- Shh, don't talk.

Just let me look at you!

- Let's go.

- I can't.

I can't leave the shop.

- To hell with the shop!

Let's go.

- You know I can't.

- Ooh I've missed you so much, if you only,

(gentle orchestral music)

- Oh I've lain awake at night,

dreaming of being in your arms.

- My love.

(gentle orchestral music)

- There'll be nobody in for a while.

Let's go in the back.

(gentle orchestral music)

- Have you missed me?

- Need you ask?

(gentle orchestral music)

- God I've missed you so much!

(gentle orchestral music)

- I've thought about you so much,

the sea,

that I couldn't have you to myself.

(gentle orchestral music)

(sighs)

(gentle orchestral music)

(ominous music)

(jovial piano music)

J I love sweetie and I miss her &

J We walked daily and then we used to cry J

- Where the hell have you been?

You begged me for a new number.

You say you'll do anything for a new number.

I gave you a new number,

and then what do you do?

You don't even show up?

- Well, I couldn't help it.

- But where the hell were you?

- I had business to take care of.

- You've got no business outside of the theater.

Now I told you that when I engaged you.

I told you,

once that curtain goes up, nobody leaves here.

- Well, I didn't think.

- You never think.

That's the trouble.

I've been too good to you.

I give somebody a good turn, and this is what I get for it.

- You've been good to me?

I think it's bloody well the other way around.

You've been smelling around me since I came here.

I don't think anybody else would stay with you.

They'd stay with you for but a fortnight

before they'd leave.

- Now, well now.

You mustn't be like that.

- Keep your bloody hands off me!

(upbeat piano music)

I've been here for over a year now,

and I ain't got any time off.

If it weren't for me,

you wouldn't have an audience out there.

- Yeah, well now, calm down.

You know I got a lot of worries to fear.

Well I mean, business ain't so good.

And I got a lot of salaries to pay.

Ah, it ain't so bad.

I mean, we only do five shows a night,

and then only 45 minutes a show,

now, that ain't so bad.

- Stop it Mr. Fisk,

or I'll start crying.

- Well not Mr Fisk,

it's Abraham.

Call me Abraham.

- I told you to keep your hands off me!

- Now what's the matter?

- What's the matter?

You told me you'd leave your wife,

three months ago.

You told me I'd get top billing.

You told me I'd get a two pound a week raise.

You told me you'd buy me new costumes and pay for them.

And I worked all during Christmas and Easter week.

And every other place was closed.

- Oh now, calm down.

When do you want your two pounds?

- It ain't enough now.

(upbeat piano music)

- What do you mean?

- I mean, I want more money.

- How much more?

- Four pounds a week.

And my name goes up top tomorrow.

- Why, that's highway robbery!

- Well, like hell it is.

I ought to have charged you

for all the times I was nice to you.

There ain't anybody else in this town

who'd be as nice to you as I was.

Not even one of them Waterfront tarts,

not even if you paid double for it.

You dirty old man.

- Oh well now,

that's not very nice.

- But you're not a very nice person.

- You are breaking my heart.

- You ain't got a heart.

You've got a toughens where your heart should be.

- My Anna, that really hurt.

- If I dropped one of them sand bags on it,

it wouldn't hurt, you dirty bastard.

- Ah no.

What do you want my maiden?

- I just want you to stick to your word.

I want all those things you promised me.

And I want them by the end of the week

or you can get yourself another singer.

- You wouldn't do that to me.

- Wouldn't I though.

- Where would you go?

- But will be telling you.

But all I've got to tell you,

is I've had it up to here.

I ain't fooling around no more.

- Don't be mean to me.

- I mean to say,

fooling around till I gets what I want.

- What I'm I supposed to do now?

- Why don't you pay one of your Waterfront tarts,

who can afford you.

- Well, that's hitting below the belt.

- Ain't that where you usually hit?

(upbeat piano music)

- What about the new number?

- What about it?

- Well, you're going to do it tonight in the show.

- Oh, I don't think so.

- Why not?

- Well, because I'm not going to do it,

till I get new costumes.

- Why not?

- 'Cause I told you, I ain't fooling around anymore,

and I mean it.

- Damn you!

- Don't start up with me Ab.

- Who the hell do you think you are?

You are nothing but a snort nosed little nobody

that I picked up out of the gutter.

You didn't even have a place to flop.

- Filthy bastard!

You've done bloody well by me.

- You've been nothing but a headache to me.

And I've been damn good to you by now.

- Like hell you have!

- Yes I have.

I've been damn good to you,

and I'm damn tired of you telling me what to do.

- Get yourself another girlfriend then.

- What was that?

- I said get yourself another girl.

(upbeat piano music)

- No I can't do that.

- Why?

- You know why.

- Tell me why.

Come one, tell me.

- Right now?

- Right now!

(audience applauds)

- I can't.

- Bloody well better.

(soft piano music)

Look at me.

(soft piano music)

Look at mel!

(soft piano music)

Now tell me.

(soft piano music)

- I adore you.

- Say it again.

- I adore you.

- How much?

- With all my soul.

(soft piano music)

- Open it.

(soft piano music)

Now get out of here.

(soft piano music)

- You'll do the new number?

- Next show.

- Well, you better hurry,

you're on in one minute.

- Well, get the hell out of here then.

(crowd applauds)

(upbeat piano music)

(soft piano music)

Oh, did you see the show?

- No.

- Why not?

- Well, you know I can't get out whenever I want to.

- Well you should have,

it's my new number.

- Well, how did it go?

- Well, it was alright.

What are you doing here this time of day?

- I came to see you.

- What for?

- You know what for.

- Well, we don't have much time.

- Well, we can make time.

Can't we, make time?

- Where were you the other morning?

I waited till half two for you.

- Well, but I couldn't get out.

- What are we going to do about her?

- Who?

- Now stop playing games with me Sweeney.

You know bloody well who I mean.

Your wife Becky.

- Oh, well I've been talking to her.

- About us?

- Well now, what the hell do you think

I've been talking to her about?

- Did you tell her about us?

- You know, you've got a one track mind,

you can only think of one thing at a time Anna.

- Well, I could say the same thing about you.

Now, what are we going to do about her?

- Don't you worry about her.

You let me take care of it.

- Well, I'm not making any plans until then.

(upbeat piano music)

- Meaning?

- Meaning I'm not making any long range plans

till you get rid of her.

- Well, I love you.

You know that, don't you?

- I know that.

- Did you miss me?

- You mean the other night?

- Did you miss me?

- Of course.

You've spoiled me.

You know that, don't you?

- Spoiled?

- No other man comes close, it's you.

- That's the only way I like it.

- Sometimes you're too rough on me.

- You like it that way, don't you?

(man singing)

- I'm afraid we'll go too far.

- Not too far in my soul.

- I'm afraid.

- Afraid of what?

- Afraid we'll go beyond the limit.

- You let me worry about that.

- Don't make me too low.

- There is no low,

when two people become one.

Haven't I shown you that?

- I love you so much.

- You are mine.

And always will be mine.

- I know that.

- You're mine, do you understand?

- Yes I know, I love you.

- Show me your love.

(gentle music)

- What the hell is he doing back here?

- Don't you knock?

- Since when do I do knock?

- Well, it is my dressing room.

You could knock.

- This is my theater and I'll come in any way I like.

He's not supposed to be back here.

Tell him to get out of here.

- It's your theater,

you tell him.

Get the hell out of here.

- Get your hands off me.

I'll leave when my lady tells me to go.

- (laughs) Lady?

Lady?

I don't see no lady.

Unless you're referring to that piece of trash there.

- What did you say?

- You heard me!

- Let me hear you again.

- Why you filthy little bitch!

All this time,

I've been believing the things you was telling me,

you was carrying on with him behind my back

in my own theater.

- You've got no hold on me.

- You apologize to her.

- Apologize?

Here I spit on you.

- You son of a bitch!

- No!

No!

(thud)

- But I am, urgh!

Get out of here!

- I won't get out! - I mean that.

- You must apologize.

- Hey!

What is going on here?

We can hear you all the way to the stalls.

- Let me go!

- Okay, I can't stop it!

Stop it!

What the hell is the matter with you Ab?

Don't you know we got a show going on?

What the hell are you doing back here?

- Get him out of here!

- Look mister,

I'd be getting out of here.

- I won't go until he apologizes.

- I ain't apologizing to nobody in my own place,

let alone this little slut.

- You've got a big mouth.

(both yelling)

- I said stop it!

Both of you, stop it!

- I'd say you better get out of here.

- I ain't getting out of my own dressing room.

- It's my dressing room remember?

- Not for long it ain't.

- Now listen you two,

I've had enough of this.

Fight, fight fight!

Day, after day, after day!

It's bad enough being here without you two carrying on.

Look mister,

why don't you go?

- I ain't going till he apologizes to the lady.

- You know--

- Okay, will you apologize?

- You know what you are.

A whore!

(thud)

Why you--

(all yelling)

- Let go!

Now stop it!

Stop it!

- OQut of my dressing room you dirty bastard!

- Alright Anna.

This is it.

I've had it with you.

I am going.

But I ain't putting up with any more of your schemes.

You've been scheming and bleeding me dry for over a year.

You ain't much of a singer.

And you ain't much of a lady.

And for you mister,

if you're not out of here in 10 minutes,

I'm calling a copa.

I've given you one week's notice Anna.

If I find you here one week from tonight,

so help me God,

I'll break your bloody little neck.

(someone laughs)

Take her mister.

She's all yours with my blessing.

And God help you.

(upbeat folk music)

- Are you alright darling?

You're sure now?

Can I get you something?

How about some of them pills?

I still got a couple of them on my dressing table.

- No, thank you Corky.

- You're sure now?

And now, don't worry about Ab.

I'll fix it up.

This isn't the first fight you two have had.

- I think this is it though Corky.

- Well, if things don't work out,

we can always go to friend Ginger's.

You know, I've got a grand new idea

for a new act for both of us.

You remember the act you used to do on the swing?

But I thought I'd get myself up as Little Bo Pepe,

we'd use all the music from the second act,

and the first thing I would do would be--

- Oh Corky please,

can't we talk about this later?

- Ah, of course darling.

I'm sorry.

I shouldn't talk too much.

But as I always say,

God takes care of them that take care over themselves.

And a man worth his salt--

- Corky!

- Alright darling.

I'm sorry, I'm going.

I'll do my drag first.

You can do the second act.

That'll give you 10 more minutes together.

God loves you.

(upbeat folk music)

(audience applauds)

- Not now.

- Why not?

- Because this isn't the time.

- I want it now.

- Can't we walit till later?

- I want it now.

- Please Sweeney.

(soft folk music)

(soft piano music)

- Where are you Sweeney,

you lying son of a bitch!

You liar!

- I told you to shut up.

- Oh, I know you're carrying on with this other woman,

don't tell me those days are all gone.

I'm not stupid you know.

- Becky, your mind is going through so much drink.

You've been drinking so much that your brains are pickled.

- (sobs) I wouldn't drink so much

if you were home once in a while.

For God's sake Sweeney,

can't you see how much I love you?

Please Sweeney.

Please, please love me back. (sobs) (coughs)

- Chest blockage.

Why don't you change that robe?

You've had the same robe on for six months now.

And I don't even have a decent clean shirt in that--

(screams)

And you,

You, you drunken slut,

you can't stay sober long enough to keep this place clean.

It looks like a pig sty.

How can anybody live in it?

- Please Sweeney, please. (sobs)

- Please what?

Beg.

I want you to beg.

- Please Sweeney.

- Don't touch me.

- Who is she?

- What is your right to know?

- (sobs) Who is she?

- I want her,

not a pig like you.

- Please Sweeney, please! (sobs)

- You make me sick.

- No, I will not let you go!

- Let me go by. - No!

- Do you know what's gonna happen to you if you don't?

Let me!

- Please don't, please, please. (sobs)

- You're asking for it. (pants)

- You bitch!

(thud)

(dramatic orchestral music)

(Becky screams)

(thud)

(dramatic orchestral music)

(Becky screams)

(thud)

(dramatic orchestral music)

(robe tears)

(Sweeney pants)

(dramatic orchestral music)

(gentle piano music)

- I have a surprise for you.

- I don't need anything more.

- It's to show my love.

- You already have.

- No, this is something I got you when I was in China.

- What is it?

- It's a gift, with all my love.

(gentle piano music)

- Won't you tell me what it is.

- (chuckles) It's a surprise.

- You already said that.

- I don't want you to know what it is,

until I give it to you.

(gentle piano music)

I love you.

- I love you first.

(gentle piano music)

- Have you told them?

- No.

- Why not?

- They've been so good to me.

- But you must tell them.

- I don't know what I would have done without them.

- You've more than paid for your keep by working here.

- I wouldn't have had a place to stay,

or food, or anything,

if it wasn't for them.

- It's not easy being on your own.

I feel terrible about telling them I'm going to leave.

- But you must.

You are mine now.

And I'll take care of you for the rest of your life.

- Oh God.

(gentle piano music)

- I've got work to do.

(gentle piano music)

- What time is it?

- About 4:30.

- I'll meet you back here in an hour and 15 minutes.

- Good.

I've got to go and get a shave and a hair cut.

So I'll meet you back here.

(door squeaks)

Alright Mrs. Williams?

- (laughs) You sound funny.

- I beg your pardon?

- The Mrs.

- I'll show you how funny it IS once we're married.

- Talk more.

Talk more talk.

(gentle piano music)

- I saw you.

- I beg your pardon?

- I saw you and him.

- Have you finished in the cellar?

- Did you hear what I said?

- I heard you, and I'm going to ignore what you've said.

Now, you better get back to work or I'll tell Mrs. Lovett.

- Not if I tell her first.

- Are you threatening me?

- If the shoe fits, wear it.

- You're not very smart Tobias.

- I suppose you think you're so smart.

- Tobias, why can't we be friends?

- Oh, I'd like to be friends with you.

- Not that kind of friends.

- I don't want any other kind.

- I think you'd better go downstairs

and get on with some work.

- You can't talk to me like that!

Whom the hell do you think you are?

You think you're so high and mighty, don't you?

Well, let me tell you one thing missy,

I'm gonna have you whether you like it or not.

(thud)

(ominous music)

- I'm by the front door,

and if you so much as come one step more,

I'll scream and bring out the neighbors down at the shop.

Now, do I make myself clear?

Oh, and one other thing while we are still speaking,

your little friend was here.

- Rosie?

- She ain't so rosy you know.

- You ain't got no right to talk about her.

After what I've seen.

- Don't worry Tobias,

I won't tell, if you won't tell.

Is it a bargain?

(suspenseful music)

- Alright.

- Shake?

(suspenseful music)

- Shake.

(screams)

- No!

No!

Let me go! (screams)

Oh stop it! (screams)

(dramatic orchestral music)

(gentle flute music)

- (exclaims) Beautiful my darling.

Absolutely beautiful.

- That's why I bought it.

- Of course I've seen better.

- Oh of course.

- And how much are you asking?

- They are not for sale.

- I'll give you 900 pounds and it's a steal.

- (scoffs) I almost paid that much for them.

- 1,000 pounds and this fine gold watch here.

Well, it runs,

if you've ironed it.

It's a deal?

- Look I told you when I came in

I'm not interested in selling.

- 1,100 pounds.

- No.

- You drive a hard bargain.

My final offer,

1,200 pounds, and any ring off the top shelf.

It's a deal?

- Look, I told you when I came in,

(chuckles) I only wanted you to have a look at them.

- Well, what are you going to do with them?

- They're for my intended.

- Ah, she's a lucky girl. (laughs)

- Well, 1,500 pounds.

- (chuckles) Whoa!

If you're offering that much,

they must be worth twice as much.

- My guy listen,

listen,

it's very dangerous to carry them around.

Somebody would murder you for pearls like that.

Do you know how many people have disappeared

during the last year?

- You wouldn't be threatening me, would you?

- Me?

A businessman like me?

I should threaten you?

Listen my friend,

it's good advice I am giving you.

Don't carry them around.

Put them away.

- (chuckles) Look, I appreciate your very good advice.

But in exactly

45 minutes from now,

there'll be around the neck of the most beautiful girl

in Finsbury.

- Finsbury?

Do I know her?

- It's Johanna Jeffrey.

- And a pretty girl.

You should ravish her, she a lucky girl.

My wife should be so lucky, (chuckles) if I had a wife.

But, go now.

(gentle flute music)

If I look at those pearls again,

I shall cry.

But Mister,

be careful, huh.

(gentle flute music)

(ominous music)

(dog barks)

(ominous music)

- I don't understand.

- I don't understand myself.

All I know is that something is going on that isn't right.

- Well, what is it?

- I wish I knew.

- I think I better make you some tea.

- You don't believe me, do you?

- I didn't say that.

- When are you getting married to Jarvis?

- We haven't set a date yet.

- I think you should get away as soon as possible.

- Why?

- Because it isn't safe for you here.

- I can't leave without knowing the reason why.

- Maggie hates me.

She'd like to get rid of me.

Do you believe that?

- Well, I haven't heard her say anything

that could possibly make you think that.

- Oh, you don't know her.

- I think I better make you some tea.

- Oh don't go.

- She'll be wondering where I am!

- Could you and Jarvis come later this evening to see me?

- If you want.

- Maggie is going out.

She'll be gone till 11.00.

What time can you come?

- Would 8.00 be alright?

- No later than.

- I still don't understand.

- When you and Jarvis come this evening,

I'll try and explain better.

- [Maggie] Johanna.

- I better go.

- No, don't make any tea.

You better stay down there until she leaves.

(ominous music)

(heaves)

(ominous music)

(butcher blade thuds) (groans)

(dramatic orchestral music)

(butcher blade thuds)

(dramatic orchestral music)

(thud)

(dramatic orchestral music)

(butcher blade thuds)

(dramatic orchestral music)

- You don't know what you're letting yourself in for lad.

- You sound like a cynic.

- Well, I'm a man who's had experience.

- (chuckles) I gather you are married then.

- Two years of sheer hell.

- Well, what did you marry her for?

- That's a good question.

First of all,

I got tired of roaming around and tired of eating out,

and tired of paying for it every time I wanted to piss.

So one day,

I noticed a lovely piece of fluff,

working behind a candy counter in the Soho area.

Takes her out a few times,

I likes what I sees,

so I marries her.

And everything is fine, for a few months.

- Then what happened?

- Well,

(scissors clink)

I came home one night,

I smelled something on her breath.

She never did smell too good to begin with.

(Jarvis laughs)

But I didn't say nothing.

But I did keep watch.

And sure enough, she was drinking regular.

And you know before we were married,

she was an alpine.

- Are you still married to her?

- Like I said,

two years of sheer hell.

- Well, can't you get a divorce?

- No I can't.

- But why not?

- Well, she says it's religion,

but I know it ain't.

She knows she's got a good thing in me

with the business and all.

So every night, she sups it up.

And every night, I wander home when I please.

I think we've got a good thing going for the two of us.

- My Joanna won't be like that.

- You want a wager?

- You are a cynic, aren't you?

- Listen lad, let me give you a piece of good advice.

That very first day you're married,

don't let her have her own way.

You say no, and do it your own way.

(items clink)

Train her for a few months.

Tell her you love her at least twice a day.

Remember lad,

women work in cycles.

Three-day cycles.

Now at the end of the three days,

when she's very happy,

you do something to upset her, before she does.

(Jarvis laughs)

Women can't stand happiness

for more than three days at a time.

It drives them wild.

So you have to know when to upset things before they do.

And then, you forgive them,

you screw them,

you tell them you love them,

and you watch out for the next three days.

(Jarvis chuckles)

Did you say Johanna?

- That's right.

- The Johanna that works for Mrs. Lovett?

- That's right.

- Well, she's a very pretty girl.

- (sighs) Yes, I know.

- When are you getting married?

- Haven't set the date yet.

We've got to set it tonight.

- I hope you two will be very happy.

- Thank you.

Ooh, would you like to see what I've got

for an engagement present?

- Yes I would.

- Oh, they are beautiful.

I have never seen pearls like that.

Where did you get them?

- China.

- Well, I'd be very careful showing them around

if I were you lad.

- You're the second person that said that.

(door squeaks)

(door slams)

(ominous music)

(whistles)

(ominous music)

(Jarvis whistles)

(ominous music)

(chair squeaks)

(dramatic orchestral music)

(gentle flute music)

- Well, I hope this is getting bidden off.

If business goes on the way it is,

we're going to have to take on more help.

- Mrs. Lovett.

- Yes dear.

- May I talk to you about something very important?

- Oh yes of course!

- I hardly know how to tell you this.

- Oh come on, what is it?

- I'm afraid I won't be able to work for you anymore.

- I beg your pardon?

- Jarvis and I are getting married

and we'll be going away together soon.

- Well, when will this be?

(door squeaks)

(door slams)

We'll talk about it later.

(gentle piano music)

Good day to you Mr. Busker.

- Good day.

I want a pie.

- Your usual?

- Yes.

- Johanna, would you get me a cup of tea please.

(gentle piano music)

It's going to cost you a little more.

- Why?

- You know very well why.

- How much more?

- Two shillings.

- That's highway robbery!

- Not when you consider the source.

- Do I get the part I want? (chuckles)

- Don't you always.

- Yes! Yes!

- How is your sister?

- Same.

- I never see her anymore.

- She, she never goes out much in daylight.

- Do you want a pie for her?

- Yes, if she can have the part she wants.

- Well, what's that?

Really.

Very well Mr. Busker,

I'll have it ready for you tomorrow morning.

That will be half a crotch.

- Oh sorry.

- And good day to you Mr. Busker.

- [Mr. Busker] Good day.

(door slams)

- What a strange man!

- Really?

I hadn't noticed.

(gentle piano music)

- I feel terrible about leaving you.

- When are you going?

- I don't know.

(cutlery clinks)

- I think the least you could do is to tell me when.

- Well that's just it, I don't know.

You see Jarvis was supposed to meet me here last night

at closing time.

And he never turned up.

I've been worried sick about it.

I haven't slept a wink all night.

- Hey, is he usually on time?

- Yes.

- You're sure you understood him correctly?

- (sobs) Yes.

- Hey, now, now, now,

none of that.

He probably went out last night and got drunk.

He's been at sea a long time,

and marriage is a big step for a man.

Look like a woman. (chuckles)

Don't you worry, he'll turn up.

(bell rings)

- Oh, I'll go and see what he wants.

- No.

I'd rather you didn't.

(soft piano music)

I think that as you are leaving,

it would be better if you didn't go up again.

It's time Tobias learned to take care of him anyway.

(soft piano music)

- It's really no trouble at all.

- No, I'd rather you didn't.

By the way,

you didn't come by here late last night, did you?

- Why?

- I just wondered.

That doorbell rang about eight o'clock.

Mr. Lovett was asleep,

and I didn't answer because I didn't know who it was.

It wasn't you, was it?

- No.

- I guess I'll miss him when he's gone.

- Who?

- Mr. Lovett.

- Is he going away?

- You have to know dearie?

- No.

- Of course he's going to stay with my sister in Portsmouth.

And what with business going the way it is,

I really can't manage him and it.

- Strange, he never told me.

- Is there any reason why he should?

- Not really.

- He'll be leaving this evening.

(door squeaks)

(door slams)

- [Mail Man] Is there a Miss Johanna Jeffrey at all please?

- Yes, here she is.

- [Mail Man] I have a letter from Mr. Williams.

- (gasps) Jarvis!

(paper rustles)

Oh, thank God.

- Is everything alright?

- Oh yes, yes.

- There you are.

You see, I told you it would be.

What are you standing there for?

- [Mail Man] (indistinct) you know.

I operate across London.

- Very well then.

Very well.

- Mrs. Lovett, may I.

- Of course you may.

Where is he meeting you?

- At my place.

- Well get going, go, go.

And I can take care of everything.

Shoo, shoo, shoo!

(soft piano music)

- Give me a break.

- You had too many already.

- Like I care liar.

So what are you gonna do about it?

- About what?

- Oh, you don't play games with me Tobias.

I am tired of it.

- I think I deserve someone else.

- That would suit you fine, wouldn't it?

Little old Rosie ain't letting you go.

You had the pleasure, you pay the piper.

- Ah, ain't we poetic.

- Listen Raggs,

you ain't getting out of it.

Little old Rosie ain't gonna let you go.

- You think you're so smart, don't you?

- I am a whole lot smarter than you give me credit for.

- Suppose I did leave, what would you do?

- I ain't gonna tell you that.

But if I were you, I'd stay with Little old Rosie.

- Suppose I arranged to get rid of it?

- I don't wanna get rid of it.

- Well I do.

- Well that's too bad honey.

'Cause that babe's staying right where it is.

'Cause that's the only hold I have over you.

Rosie I can set down.

- So that's it, is it?

- That's it.

- I think I better make other plans.

- That's a good idea Tobias.

You make sure those plans include Little old Rosie.

- But they don't include you.

- What do you mean?

- You heard me, I said they don't include you.

- How are you gonna get out of it?

- I got ways.

- What ways?

- Wouldn't you like to know.

- Listen, I ain't gonna play games with you.

I mean every word I say.

You had the upper hand before.

And now it's the other way around.

And once you give the woman the upper hand,

from then on honey, you've had it.

- Rosie?

- Yes.

- We can work things out.

- Now you are talking like my little old boo boo.

(soft violin music)

You are all mine Tobias.

No other woman is going to have you.

We're meant for each other,

you know that.

- Yeah, I know that.

(soft violin music)

Rosie?

- Yeah.

- How long have we known each other?

- About a year.

Why?

- I was just thinking.

- About what?

- It's about time we went for a holiday together.

Just the two of us.

Just you and me.

You'd like that, wouldn't you?

- Do you mean it?

Do you really mean it?

Where would we go?

- Aberdeen.

- That's where my mom lives now.

- Yeah, we could go and see her for a couple of days.

Then we go on traveling.

You'd like that, wouldn't you?

(soft violin music)

- I ain't seen her for a couple of years.

When will we go?

- Monday.

- But that's in a couple of days time.

I don't think I can get off work.

- Of course you can.

You've had days off before.

Remember that time we went to Manchester?

- I don't know.

- I know you wanna go, don't you?

- Yeah.

- Alright then.

I'll tell you what we'll do.

(soft violin music)

You write a note to Mr. Simkins, where you work.

Tell him you got to go and see your mother.

And the best thing for you to do is not to go into work.

I'll take the note to him.

Tell him you're sick.

That your mother sent word she needs you.

And then everything will be alright.

- Will you help me write one tomorrow?

I am not so good at writing.

- You ain't none too good at a lot of things.

But you knows I loves you.

Should we write that note now?

- Why?

- 'Cause I won't be able to help you tomorrow.

I got to help Mrs. Lovett all I can.

So that I can go with you.

(soft violin music)

- What should I say?

- Write, going to see my mom.

(soft violin music)

Come on then.

To,

(pen clinks)

(soft violin music)

Be back December.

(soft violin music)

Now sign it, Rosie.

(soft violin music)

(Rosie laughs)

(soft violin music)

I'm hungry.

You got any bread in the house?

(soft violin music)

- You're about to be getting hungry,

just as I am getting all excited.

- You got some bread and cheese, don't you?

- Oh alright.

(sighs)

(shoe thuds)

- Urgh.

(shoe thuds)

Oh make me a cheese sandwich, would you love.

- I feel just like a restaurant.

- (sighs) You know I always get hungry before sex.

- With most guys it's the other way round.

- I ain't most guys.

(soft violin music)

You taunted me,

just remember that.

(soft violin music)

I want you to remember this moment Rosie.

I want you to remember this for the rest of your life.

(dramatic orchestral music)

(soft piano music)

(door slams)

- I can't understand why she keeps him.

- Who are you talking about now?

- Mrs. Lovett.

I can't understand why she keeps him.

- It's really none of your business, is it?

- I should think it is my business and everybody else's.

The whole neighborhood has to go and do business with her.

- Just because you don't like to buy a slice,

is no reason for you to speak for everyone else.

- What do you know?

You don't go in there.

I do.

You don't have to speak for the whole neighborhood,

I do.

You don't know people.

- Beth you have a big mouth.

You talk too much.

- It would be alright if you said it though, wouldn't it?

- Serve the meal.

Just shut up and serve the meal.

- And another thing.

(cutlery clinks)

She doesn't take care of that invalid husband of her's

the way she should.

(cutlery clinks)

Well I found Mrs. Lovett--

- You do exactly the same as she does.

I'm hungry.

- You know what Mrs. Maclaury said?

(cutlery clinks)

I was in the chemist this afternoon,

she had the nerve to tell Mrs. Keen,

(cutlery clinks)

you know the one with the 14 cats--

- Beth for God's sake,

stop gossiping and serve the meal.

I'm hungry.

- Well, I'm only telling you what happened.

If I didn't talk to you,

you'd think I was annoyed with you.

- Beth.

- Alright, alright, alright.

I'm going.

(soft orchestral music)

You got to assist Maryanne today?

She obviously been married,

she came down to London for the month of July.

I thought you said you wouldn't mind,

as long as she didn't bring that stupid sister of her's.

Damn!

- What's wrong now?

- [Beth] Burned my finger on the stove.

- Be more careful.

(soft orchestral music)

- Did you know that Maryanne's mother

had an incurable disease?

The doctor said she's only got three months to live.

Did you know that she probably got--

- Place,

cut.

(Beth sighs)

(soft folk music)

(ominous music)

- It's funny.

(ominous music)

Won't cut.

(ominous music)

(dramatic orchestral music)

(upbeat rock music)

- How did you get here?

- Through the cellar.

- Did anyone see you?

- No.

- Well, I should hope not.

All I need is another scene with Fisk.

- Did you lock the door?

- I always do since that last scene we had.

- So you decided to stay with him, did you?

- Well, what is that supposed to mean?

- Well you take it any way you like.

- That's all I need.

I was damn hired for five shows everyday,

and then you come with a chip on your shoulder.

What's the matter?

- Oh, it's Becky.

- What about her?

- She won't go along with this.

- I could have told you that months ago.

Now what are you gonna do?

- Well, what do you want me to do about it?

- You know the way I want it,

no divorce, no me.

- Listen, why can't we just keep on

the way we've been doing?

- Because I don't want it the way it was.

- What do you mean by that?

- Sweeney,

I want you all,

or nothing.

(soft rock music)

- What about Fisk?

I thought you were through here?

- Well he sort of had a change of heart.

- Hmm, with your help of course.

- Well, Fisk isn't a stupid man you know.

He knows all those people don't come here to see him.

And he gave me new costumes,

and top billing,

and four pounds a week raise.

So I'm doing pretty well since you asked.

- But what about us?

- What about us?

- You tell me.

- Alright.

And I'll tell you.

I ain't interested in no other man, only you.

And I'll take you,

anywhere I get you.

With Becky, or without her.

I'm a very fair girl.

So I'll give you four days to get rid of her.

And if you don't,

I will.

- What do you mean by that?

- I mean that if you don't tell her in four days, I will.

- No.

- Four days.

That's all you get.

- I don't like people to threaten me.

- 1 ain't people.

- No, no, no.

You ain't.

You are more than that.

- Now that's the way I love to hear you talk.

- Does Fisk know about my wife?

- Of course not.

- Are you sure?

- That's all I needed, another complication with him.

- Have you had any more fights lately?

- Every day.

- Good.

- What do you mean good?

- Oh well you see,

I don't like to see you two get along well.

It makes me jealous.

- (chuckles) I love you when you're jealous Sweeney.

- How much time do you have before the show?

- About a half hour.

- Then we have a little time.

- Well, we have a little time.

(man singing)

(audience applauds)

- Do you ever think of doing any acting?

- Well, I always wanted to be an actress.

- Oh, you'd be very good at it.

- Do you think so?

- But of course.

You're acting around me all the time.

- That ain't so.

- Ohyesitis.

You can't fool me,

I know you too well.

- Well, that's true.

You do know me very well.

It's not good for a man to know all a woman's tricks.

- Well, I've been around a lot of women.

- (chuckles) You could fool me.

- You know what?

You'd make a very good Desdemona.

- Do I know her?

- Haven't you ever heard of Shakespeare?

- Everyone has heard of Shakespeare.

- Hey, listen to me.

Shakespeare wrote this play called Othello.

And in the play there's a girl.

And while I was reading it, I was imagining you in the part.

- Ah, is she pretty?

- Just like you.

- What happens to her?

- Well, in the play,

she is married to this big black man.

And she is unfaithful,

or at least he thinks she is.

- Shakespeare wrote that?

- That's right.

- Then what happens?

- Well, one night he was so jealous,

that he went into her bed chamber while she was asleep.

- Did she wake up?

- No.

She was just lying there dreaming,

or probably scheming.

- Oh, I like it.

Did she have any lines?

- And he made love to her while she was asleep.

- Ooh, I didn't know Shakespeare wrote things like that.

(chuckles) I'd like to play Desdemona.

Do you think I could?

- You could do anything you set your mind to.

(man singing)

You wouldn't really tell Becky about us, would you?

- Of course I would.

- Oh.

Well then Desdemona has this big scene

where she pleads for her life.

But you are not ready for that, are you?

(groans)

(dramatic orchestral music)

(man singing)

J The folks were up they left me there J

J The nextday [was up J

J Was the smell of my plate rising with the heat

J' But none the veil that we &

(knock on door)

- [Mr. Fisk] Anna.

(pants)

(knock on door)

Anna!

Why don't you answer me?

J And you can smell him coming J

(groans)

(thud)

(dramatic orchestral music)

(gentle violin music)

- Hand me my robe Sweeney.

- This one?

- Please.

(gentle violin music)

- I've been thinking.

- What about?

- Going away.

- You might be right.

- I know I am right.

- Where would we go?

- Australia.

Canada.

Maybe America.

- I'd like that.

- I think we should.

- Hmm, we can't leave without straightening out

one or two things first.

- Meaning?

- Your wife.

- Oh yes.

Well, I've been giving that some thought.

- And have you reached a conclusion?

- Yes.

I think,

I think we should do the same thing we did to your husband.

- It wouldn't work.

- Why not?

- It would seem mighty strange if my husband and your wife

decided to move at almost the same time.

- But Maggie, there's no other way.

- Oh yes there is.

- Now you listen to this.

You know Becky has a reputation for drinking.

People also know that she has a terrible temper.

Suppose you could get her into such a fit of jealousy

that she followed you out of your flat

up to the roof of the building.

- You know she's daft enough to go for that.

- Of course she is.

You can wrap her around your little finger.

- But Maggie, Maggie there is one problem.

- What's that?

- Supposing the police think I pushed her off the roof?

- They wouldn't, if you came downstairs,

and was seen by a witness.

- Tobias.

- Or me.

- And the other would?

- Push her off.

- Maggie, you're my kind of a girl. (laughs)

- (laughs) I know that.

How much money have we got saved?

- 20,000 pounds.

- We could live for the rest of our lives on that.

- Or start a new business.

- No, thank you.

Too risky.

(ominous music)

258 people disappearing like that.

You're lucky never to have been caught.

- Lucky, hell careful.

- 258 was worth 20,000.

- (chuckles) Beggars, thieves, prostitutes.

Scum of the earth.

We did a good thing getting rid of them.

You notice they don't hang around here anymore, don't you?

- No, we've been lucky.

And I've got a feeling it's about to run out,

and you must have had that feeling too.

Otherwise you'd never have suggested going away.

- Anyone seems suspicious about Mr. Lovett?

- No.

They won't either.

That letter arrived from where he's gone now,

and no one will suspect it's not his handwriting.

(soft violin music)

(sighs)

(soft violin music)

- You are a clever girl Maggie.

- I'd need to be to join up with you.

- In more ways than one.

- You know the digging which I admire most.

You are cunning for your--

(both laugh)

- Look what I've got.

And they're yours once,

- Becky is gone.

- You read my mind.

- After all these years I should.

- Oh, well read it now.

(soft violin music)

(both laugh)

(soft violin music)

- Oh Sweeney.

- Maggie.

Maggie.

What are you going to tell Joanna?

- No, she's getting married.

She'll be going away soon.

- No, no, it's not that simple.

- What do you mean?

- She'll be wondering what happened to her boyfriend.

- That's right.

What are we going to do?

- Well, let's see.

Couldn't she get a letter from Dover,

asking her to meet him there?

- It might work.

- Have you disposed of him?

- He's in the cellar.

- Dead?

- No.

- Why not, you fool?

- I didn't have time.

Things are happening so fast.

But listen Maggie,

he's bound and gagged.

Don't worry about him.

He can't get away.

- He's alive, he's dangerous!

- Oh, he'll end up on the shelf tomorrow.

(bell rings)

- Who is it?

- I don't know.

- [Becky] Sweeney!

Sweeney!

I know you're up there,

I saw you go in.

Sweeney, Goddammit!

Answer me!

- You let her in, I'll hide.

(ominous music)

(Becky yells)

(stairs creak)

- You son of a bitch,

I knew it was you all along.

Where is he?

(Maggie pants)

Where is he?

- He isn't here.

- Don't lie to me slut.

I saw him come in.

- He isn't here.

- I saw him.

- He went out through this door about 15 minutes ago.

- 1 don't believe you.

- Why should I bother to lie to you?

Look, it's very late,

and I am very tired.

And if you don't mind I'd like to go to sleep now.

- What was he doing here?

- It was a business proposition.

- I'll bet.

- You don't believe me, ask him.

- What kind of proposition?

- He's interested in buying this building.

He wanted to know if I'd be interested in going partners

in purchasing the building.

It's been for sale for almost a year now.

You know that.

- You think you're very smart, don't you?

- I don't know what you mean.

- (sighs) I ain't so dumb you know.

I've known for a long time it's been someone.

But I didn't suspect it was you.

- I don't know what you mean.

- I know more than that too.

- What do you mean?

- You and him, you're in a lot of trouble.

- What are you getting at?

- That cellar of yours.

- When were you in my cellar?

- Two nights ago.

- So?

- So, I've seen a lot of things

the police would like to know.

- Are you threatening me?

- Unless I get my Sweeney back.

- I think you're out of your mind!

- Well, let's see who's out of their mind!

(Becky screams)

(dramatic orchestral music)

- I killed Rosie.

- You what?

- I killed Rosie.

- What did you do that for?

- She was gonna tell.

- About us?

- No, about being pregnant.

- Yours?

- Yeah.

- Why didn't you tell us?

- 1 didn't know till a little while ago.

- Where did this happen?

- At her place.

- The police will find out.

- I want money.

- What for?

- To go away with.

- I'll give you 50 pounds.

- I want more.

- How much more?

- 5,000 more.

- You get out of here!

- I want 5,000 quid.

- Or else?

- I'll tell the police you did it.

- They wouldn't believe you.

- They would if I brought them here.

- You thieving son of a bitch!

(thud)

- Now, stop it Sweeney!

Listen to me the two of you.

I don't see any reason why Tobias shouldn't have his 5,000.

Do you Sweeney?

(ominous music)

- Of course Maggie.

Anything you say.

- Then why don't you go and get it for him.

- Alright.

(ominous music)

- In the meantime, Tobias will make my meat pie for me,

won't you dear?

- Alright.

- Oven's hot.

- Sure thing.

- And be careful of the hair.

There was that hank of hair

found in one of the last pies.

You mustn't get careless Tobias.

We have work to do.

(ominous music)

(dramatic orchestral music)

- When did you buy it?

- Today.

- About what time?

- Early this morning.

- Nothing like this has ever happened before?

- I think I'm gonna be sick.

- Nobody's been near that pie since you bought it,

have they?

- Look, she brought the pie onto the table.

The crust was intact.

I saw her cut it.

- Well, aren't you going to do something about it?

At least go over there and see what's going on.

- You can't just barge into a person's place of business

without more than firearms.

- Johanna what are you doing here?

- You know this young lady Miss?

- Yes she works at Mrs. Lovett's.

- Do you Miss?

- Yes.

But I don't see the connection between that,

and the disappearance of my fiance.

- Where did he last go?

- The barber shop down the road.

- Sweeney Todd's?

- Yes.

- Seems strange though,

the people who were last seen at Sweeney Todd's.

- What about the pie?

- I think it would be a good idea

if we all went to Mrs Lovett's.

- Good idea.

I don't understand this.

(suspenseful music)

- Oh my God!

Oh my God!

This is terrible.

- What is it Miss Keen?

- Oh I didn't believe it until I looked at it myself

on a jar.

Oh that poor child.

- What are you talking about?

- Mrs. Lovett's house.

Their basement is covered with blood! (cries)

I didn't believe him until he showed me.

- Who showed you?

- My sister's little boy Johnny.

He came screaming back to us terrified about 15 minutes ago.

He said he'd been playing at Mrs. Lovett's backyard.

He was throwing a ball against the wall,

when it fell between the bars of the window.

Well, the window was all boarded up.

And he reached to get the ball,

and the board gave way.

And he looked inside.

He came screaming back, he was terrified.

It was someone's body he'd seen. (cries)

At first, we didn't believe him.

His story was so bizarre.

We decided to take a look.

So the three of us went along there with him.

He pointed to the board,

I looked inside,

and there was Sweeney Todd, and Mrs Lovett,

chopping up Becky.

(gags)

(dramatic orchestral music)

- I asked you a question.

Come here.

(dramatic orchestral music)

(groans)

(dramatic orchestral music)

(groans)

(dramatic orchestral music)

(Tobias groans)

(dramatic orchestral music)

(Sweeney screams)

(dramatic orchestral music)

- No, no, no.

My Sweeney!

Oh my goodness! (wails)

My Sweeney. (wails)

(dramatic orchestral music)

(Mrs Lovett screams)

(dramatic orchestral music)

(gentle orchestral music)

(knock on door)

- Who is it?

- [Mrs. Dooley] It's Mrs Dooley.

- Just a minute.

(gentle orchestral music)

Come in Mrs. Dooley.

- I'm so happy for you my dear.

- Oh thank you.

- This is my Fiance Jarvis.

- How do you do?

- Very well.

- My, what a handsome young man.

You'll have beautiful babies.

- (laughs) Oh it's a little soon for that dear.

- Oh it's never too soon for little ones.

- Did you hear that?

- When are you getting married?

- Tomorrow afternoon.

- Where?

- At St. Ann's Church.

- May the Lord live with you for the rest of your lives.

Where are you going to live?

- I've got a chance to go to America.

So we're going to go there and live.

- Won't that be exciting.

It's such a new country.

But you be careful now.

They've got Indians there.

I've heard tales.

There is cannibals.

I hear a tale, they cut your hair off and eat you up.

- Please Mrs Dooley.

- What's wrong?

- You are forgetting.

- Forgetting (gasps)

Oh, I am sorry.

Me and my big mouth.

Trust me to put the fault in it,

and you are just getting over.

Let's change the subject.

I've made something for you.

- Ah, though you shouldn't have.

- It's from me to you.

(cheerful orchestral music)

Kidney pie.

(cheerful orchestral music)