corpse bride - tenders.procurement.gov.ge

Corpse Bride

Combined Continuity Spotting/Subtitle List

(CCSL)

"TIM BURTON'S CORPSE BRIDE"

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P/1 SPOTTING/SUBTITLE LIST

TITLE # START END TOTAL TITLECOMBINED CONTINUITY

START MEASURING 0.00 AT START MARK IN ACADEMY LEADER.

11.15

FADE IN: SCENE 1 - WARNER BROS. LOGO:

WB WARNER BROS. PICTURES A Time Warner Company

LOGO FADES OUT.

24.08

FADE IN: SCENE 2 - INT. VICTOR'S ROOM - DAY - MS - LOOKING DOWN AT A DESK AS THE HANDS OF A YOUNG MAN NAMED VICTOR VAN DORT ENTER R., OPENING A SKETCHBOOK TO A PAIR OF BLANK PAGES. MT #1 FADES IN: WARNER BROS PICTURES PRESENTS MT #1 FADES OUT.

35.04

DISSOLVE TO: SCENE 3 - MFS - A FRAMED PHOTOGRAPH ON THE WALL SHOWS YOUNG VICTOR AND A DOG NAMED SCRAPS. MT #2 FADES IN:

A TIM BURTON LAIKA ENTERTAINMENT

PRODUCTION MT #2 FADES OUT. CAMERA TILTS DOWN, MOVING ON A QUILL IN AN INK JAR ON THE DESK. VICTOR (ARM) ENTERS R., LIFTS THE QUILL AND EXITS R.

45.06

LABORATORY: 0.00 AT START MARK

45.06 = 1ST SCENE END

69.08 = 2ND SCENE END

74.09 = 3RD SCENE END

(Flat)


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SCENE 4 - MCS - LOOKING DOWN AT THE SKETCHBOOK PAGE AS VICTOR (HAND) ENTERS R.FG., DRAWING WITH THE QUILL. MT #3 FADES IN:

JOHNNY DEPP MT #3 HOLDS OVER DISSOLVE.

50.00

DISSOLVE TO: SCENE 5 - MCS - LOOKING DOWN AT THE SKETCHBOOK PAGE AS VICTOR (ARM) DRAWS WITH THE QUILL. MT #3 FADES OUT. MT #4 FADES IN:

HELENA BONHAM CARTER MT #4 HOLDS OVER DISSOLVES.

54.14

DISSOLVE TO: SCENE 6 - MCS - LOOKING DOWN AT THE SKETCHBOOK PAGE AS VICTOR (HAND) ENTERS L., DRAWING.

56.14

DISSOLVE TO: SCENE 7 - MCS - LOOKING DOWN AT THE SKETCHBOOK PAGE AS VICTOR (HAND) ENTERS R., DRAWING A CIRCLE INSIDE A BUTTERFLY'S WING. MT #4 FADES OUT. MT #5 FADES IN:

EMILY WATSON MT #5 HOLDS OVER DISSOLVE.

62.06


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DISSOLVE TO: SCENE 8 - MFS - LOOKING DOWN AT THE DRAWING OF A BUTTERFLY ON THE SKETCHBOOK PAGE AS CAMERA ZOOMS OUT. MT #5 FADES OUT. MT #6 FADES IN:

ALBERT FINNEY MT #6 HOLDS OVER CUT. VICTOR (HAND) ENTERS R.FG., DRAWING ON THE SKETCH.

69.08

SCENE 9 - MS - PAST THE SKETCHBOOK, FG., TO VICTOR, REACHING L. AS HE PUTS THE DOWN THE QUILL. MT #7 FADES OUT. MT #7 FADES IN:

JOANNA LUMLEY MT #7 HOLDS OVER CUTS.

74.09

SCENE 10 - MFS - PAST THE SKETCHBOOK, FG., TO A BUTTERFLY UNDER A GLASS BELL JAR.

77.10

SCENE 11 - FS - ACROSS THE ROOM TO VICTOR, SEATED AT THE DESK, CLOSING THE SKETCHBOOK AS THE BUTTERFLY FLUTTERS ABOUT INSIDE THE GLASS BELL JAR. A BED IS R. MT #7 FADES OUT. MT #8 FADES IN:

CHRISTOPHER LEE MT #8 FADES OUT. VICTOR STRAIGHTENS.

86.05


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SCENE 12 - EXT. VICTOR'S ROOM - DAY - MS - THROUGH THE WINDOWS TO VICTOR, OPENING THEM. CAMERA TILTS DOWN AS VICTOR CROUCHES BY THE BUTTERFLY INSIDE THE GLASS BELL JAR, FG

94.14

SCENE 13 - INT. VICTOR'S ROOM - DAY - MFS - VICTOR, LIFTING THE GLASS BELL JAR AS THE BUTTERFLY FLIES ABOUT THE ROOM. MT #9 FADES IN:

TIM BURTON'S Corpse Bride

MT #9 FADES OUT. THE BUTTERFLY FLIES BG. THROUGH THE WINDOW AS CAMERA TRAVELS IN WITH IT, MOVING OFF VICTOR. THE BUTTERFLY FLIES BG. OVER THE TOWN SQUARE, MOVING PAST BUILDINGS. CAMERA TRAVELS IN WITH IT. MT #10 FADES IN: RICHARD E. GRANT TRACEY ULLMAN

PAUL WHITEHOUSE MT #10 FADES OUT. THE BUTTERFLY FLIES DOWN, MOVING PAST A ROOF AND A BUILDING AS CAMERA TRAVELS DOWN. MT #11 FADES IN: MICHAEL GOUGH ENN REITEL

JANE HORROCKS MT #11 FADES OUT. CAMERA CONTINUES TO TRAVEL DOWN WITH THE BUTTERFLY, MOVING PAST A CLOCK SIGN TO REVEAL A CLOCKMAKER, R., SWEEPING THE SIDEWALK IN FRONT OF A CLOCK SHOP WITH PENDULUM CLOCKS IN THE WINDOWS.

1-1 96.08 103.14 7.06 NARRATIVE TITLE MAIN TITLE Tim Burton's Corpse Bride


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SCENE 13 - (CONTINUED) MT #12 FADES IN: ORIGINAL CHARACTERS CREATED BY

TIM BURTON AND CARLOS GRANGEL MT #12 FADES OUT.

140.07

SCENE 14 - MFS - THE CLOCKMAKER (LEGS), SWEEPING THE BROOM AS THE BUTTERFLY FLIES R. CAMERA TRAVELS R. WITH THE BUTTERFLY, MOVING ACROSS THE TOWN SQUARE. MT #13 FADES IN: SCORE AND SONGS BY

DANNY ELFMAN MT #13 FADES OUT. MAYHEW (off) (coughs) CAMERA CONTINUES TO TRAVEL R. TO INCLUDE MAYHEW (LEGS), A WORKER (LEGS) AND A CAT, STANDING BY A TABLE AND A BUCKET OF FISH. MT #14 FADES IN: EDITED BY JONATHAN LUCAS

CHRIS LEBENZON, A.C.E. MT #14 FADES OUT. CAMERA TILTS UP ON MAYHEW, PASSING FISH TO THE WORKER, WHO CHOPS OFF THEIR HEADS. MAYHEW SMOKES A PIPE AND WEARS AN APRON THAT READS:

VAN DORT'S FISH

MT #15 FADES IN:

PRODUCTION DESIGNED BY ALEX McDOWELL

MT #15 FADES OUT.

LABORATORY: PLEASE NOTE THAT THE FOLLOWING TITLES OVERLAP WITH THE OPENING CREDIT SEQUENCE. CHECK YOUR PRINT FOR PROPER POSITIONING OF THESE TITLES. 1-2 164.13 169.00 4.03 NARRATIVE TITLE (ON APRON) (OPTIONAL) VAN DORT'S FISH (VAN DORT : family surname and

business name) (FISH : fish shop – fish

merchants)


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SCENE 14 - (CONTINUED) THE BUTTERFLY FLIES FG. AS CAMERA DOLLIES BACK AND RACKS FOCUS. TWO MEN ENTER R. AND L., THEN BOW FORMALLY. MT #16 FADES IN:

DIRECTOR OF PHOTOGRAPHY PETE KOZACHIK

MT #16 FADES OUT. MEN (indistinct greetings) THE TWO MEN EXIT L. AND R. TO REVEAL A MAN NAMED BARKIS BITTERN, STEPPING FG. TOWN CRIER (off) Hear ye, hear ye...

184.04

SCENE 15 - MFS - A STATUE OF A SOLDIER ON A HORSE AS THE TWO CRIER ENTERS L., STEPPING R., RINGING A BELL. THE BUTTERFLY ENTERS L., FLYING R. TOWN CRIER ...ten minutes to go till Van Dort's wedding rehearsal! BARKIS ENTERS L.FG., STEPPING BG. AS THE TOWN CRIER EXITS R. MT #17 FADES IN: EXECUTIVE PRODUCERS

JEFFREY AUERBACH JOE RANFT MT #17 HOLDS OVER CUT.

191.07

1-3 181.15 184.04/ 2.05 TOWN CRIER TO GROUP Here ye, here ye... (Here ye : Archaic exclamation

of a 19th century town crier, who walked the streets to tell residents the news)

1-4 /184.08 191.07/ 6.15 TOWN CRIER TO GROUP ...ten minutes to go till Van Dort's

wedding rehearsal! (Van Dort's wedding rehearsal :

refers to the rehearsal for the planned wedding of Victor Van Dort to his fiancée Victoria Everglot)


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SCENE 16 - MS - BARKIS STEPS R. AND STOPS AS HE SWATS HIS HAND AT THE BUTTERFLY, ENTERING UPPER FRAME. BARKIS (grunts as he swats butterfly) MT #17 FADES OUT. MAYHEW (off) (coughs - continues under following scenes and dialogue)

199.09

SCENE 17 - MFS - A HORSE-DRAWN CARRIAGE AS MATHEW CLIMBS UP ONTO THE DRIVER'S SEAT. A SIGN ON THE CARRIAGE READS:

VAN DORT'S FISH

IN CANS MT #18 FADES IN: SCREENPLAY BY JOHN AUGUST AND

CAROLINE THOMPSON AND PAMELA PETTLER MT #18 HOLDS OVER CUT. MATHEW SNAPS THE REIGNS. THE HORSE-DRAWN CARRIAGE MOVES R.

205.09


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SCENE 18 - MFS - THE HORSE-DRAWN CARRIAGE MOVES BG. AND R. AS CAMERA PANS R. AND TRAVELS IN WITH IT. MT #18 FADES OUT. MT #19 FADES IN: PRODUCED BY TIM BURTON

ALLISON ABBATE MT #19 FADES OUT. THE HORSE-DRAWN CARRIAGE CONTINUES BG., MOVING PAST AN OLDER WOMAN WITH A WALKER AND A BOY WITH A DOG. OLDER WOMAN Ooh! Watch it!

220.04

SCENE 19 - EXT. VAN DORT MANSION - DAY - FS - HIGH ANGLE - LOOKING DOWN AT MAYHEW, STOPPING THE HORSE-DRAWN CARRIAGE BY THE FRONT STAIRCASE OF THE VAN DORT'S MANSION. BARKIS LOOKS ON, L.BG.

223.15

SCENE 20 - MFS - LOW ANGLE - LOOKING UP AT VICTOR INSIDE HIS ROOM'S WINDOW, REACTING AS HE LOOKS DOWN AT THE O.S. CARRIAGE. MT #20 FADES IN:

DIRECTED BY MIKE JOHNSON TIM BURTON

MT #20 HOLDS OVER CUT.

226.07

1-5 215.12 217.14 2.02 EVERGLOT AUNT TO MAYHEW Watch it! (Colloquial warning)


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SCENE 21 - MFS - THE CARRIAGE WITH A FISH SIGN ON ITS ROOF. MT #20 FADES OUT. CAMERA CRANES UP TO REVEAL THE VAN DORT'S MANSION AS THE DOOR OPENS TO REVEAL VICTOR'S PARENTS NAMED NELL AND WILLIAM, STEPPING THROUGH THE DOORWAY. NELL (singing) 'It’s a beautiful day WILLIAM (singing) (overlapping) 'It’s a rather nice day

234.09

SCENE 22 - MFS - NELL, HOLDING A FAN AS WILLIAM HOLDS A MINK STOLL. NELL (singing) 'A day for a glorious wedding NELL STEPS R. AS WILLIAM DRAPES THE MINK STOLL ONTO HER SHOULDERS. WILLIAM (singing) 'A rehearsal, my dear, to be perfectly clear NELL (singing) 'A rehearsal for a glorious wedding NELL AND WILLIAM STEP R. AS THE DESCEND THE STAIRCASE. CAMERA PANS R. TO INCLUDE MAYHEW, WAITING BY THE CARRIAGE. WILLIAM (singing) 'Assuming nothing happens that we don’t really...

250.02

1-6 /226.08 230.07 3.15 NARRATIVE TITLE (ON CARRIAGE) (OPTIONAL) VAN DORT'S FISH 1-7 230.11 234.09/ 3.14 NELL, THEN WILLIAM (singing) ITAL -'It’s a beautiful day -'It’s a rather nice day (Note humorous contrast of Nell's

exuberant outlook and William's more cautious and conservative one)

(rather nice : colloquial emphatic)

1-8 /234.13 238.02 3.05 NELL (singing) ITAL 'A day for a glorious wedding 1-9 238.10 242.06 3.12 WILLIAM TO NELL (singing) ITAL 'A rehearsal, my dear, to be perfectly

clear (A rehearsal : I.e., 'It is only

a wedding rehearsal, not the actual wedding')

(my dear : term of endearment – note that 'dear' rhymes with 'clear')

1-10 242.10 246.12 4.02 NELL TO WILLIAM (singing) ITAL 'A rehearsal for a glorious wedding 1-11 247.00 250.02/ 3.02 WILLIAM TO NELL (singing) ITAL 'Assuming nothing happens that we don’t

really know (know : i.e., 'anticipate' –

rhymes with 'show' and 'go')


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SCENE 23 - MFS - LOOKING DOWN AT A PUDDLE AT THE BOTTOM OF THE STAIRCASE, SHOWING A REFLECTION OF NELL. WILLIAM (off) (singing) '...know NELL (singing) 'That nothing... CAMERA TILTS UP ON NELL, LOOKING R. AT O.S. MAYHEW. NELL (singing) '...unexpected interferes with the...

253.14

SCENE 24 - MS - MAYHEW LIFTS THE APRON STRAP. NELL (off) (singing) '...show NELL & WILLIAM (off) (singing in unison) 'And that’s...

255.11

SCENE 25 - MFS - PAST A CARRIAGE WHEEL, R.FG., TO MAYHEW, PUTTING HIS APRON DOWN ONTO THE PUDDLE AS NELL AND WILLIAM LOOK ON. NELL & WILLIAM (singing in unison) '...why everything Every last little thing Every...

259.06

SCENE 26 - MS - MAYHEW REACTS AS NELL ENTERS L., KNOCKING AWAY HIS CAP AND REPLACING IT WITH A TOP HAT. NELL (on) & WILLIAM (off) '...single, tiny, microscopic little thing Must go NELL STEPS FG. AS SHE SPINS.

265.05

1-12 /250.06 253.14/ 3.08 NELL (singing) ITAL 'That nothing unexpected interferes

with the show (show : refers to the elaborate

wedding) 1-13 254.12 259.05/ 4.09 NELL & WILLIAM (singing) ITAL (over scene end) 'And that’s why everything Every last little thing (last little thing : colloquial

emphatic for 'even the smallest detail')

1-14 /259.09 265.04/ 5.11 NELL & WILLIAM (singing) ITAL (over scene end) Every single, tiny, microscopic little

thing Must go (single...thing : colloquial

emphatic for 'even the smallest detail')

(go : i.e., 'occur' – 'happen')


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SCENE 27 - MFS - LOW ANGLE - NELL STEPS BG. AS SHE ROLLS UP THE FISH SIGN SHADE ON THE CARRIAGE, L. NELL IS OBSCURED BEHIND THE CARRIAGE. NELL (singing) 'According to plan

268.05

SCENE 28 - MFS - WILLIAM ROLLS UP A SECOND FISH SIGN SHADE ON THE CARRIAGE, R. WILLIAM (singing) (overlapping) 'Our son will be married

270.12

SCENE 29 - MFS - NELL STEPS R. AND BEGINS TO EXIT AS SHE ROLLS UP A THIRD FISH SIGN SHADE ON THE CARRIAGE. NELL (singing) 'According to...

272.08

SCENE 30 - MFS - LOW ANGLE - LOOKING UP AT A FISH SIGN SHADE ROLLING UP. NELL (off) (singing) '...plan WILLIAM (off) (overlapping) (singing) 'Our family...

274.03

1-15 266.07 268.05/ 1.14 NELL (singing) ITAL 'According to plan 1-16 /268.09 270.12/ 2.03 WILLIAM (singing) ITAL 'Our son will be married (married : rhymes with

'carried') 1-17 /271.00 272.08/ 1.08 NELL (singing) ITAL 'According to plan


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SCENE 31 - MFS - THE HORSE CHEWS ON SOME HAY AS NELL ENTERS L. AND WILLIAM ENTERS R. WILLIAM (singing) '...carried NELL & WILLIAM (singing in unison) 'Elevated to the heights of society NELL AND WILLIAM STEP L. AND EXIT.

280.02

SCENE 32 - MFS - NELL AND WILLIAM ENTER R. AS THEY DANCE, MOVING PAST THE HORSE-DRAWN CARRIAGE. CAMERA TRAVELS L. WITH THEM. NELL (singing) 'To the costume balls WILLIAM (singing) (overlapping) 'In the hallowed halls NELL AND WILLIAM STOP BY THE CARRIAGE DOOR. NELL (singing) (overlapping) 'Rubbing elbows with the finest

287.13

SCENE 33 - FS - PAST BARKIS, L.FG., TO WILLIAM, BOWING AS NELL LOOKS ON BY THE CARRIAGE. WILLIAM (singing) 'Having crumpets with Her Highness NELL & WILLIAM (singing in unison) 'We'll be there, we'll be seen Having tea with the Queen We'll forget...

297.09

1-18 /272.12 274.03/ 1.07 WILLIAM (singing) ITAL 'Our family carried 1-19 /274.07 278.12 4.05 NELL & WILLIAM (singing) ITAL 'Elevated to the heights of society (Note that the Van Dorts, being

fish merchants, are in the middle class and socially inferior to aristocrats and the wealthy – Implying that once their son marries into the Everglot family, the Van Dort family's social status will be greatly improved)

1-20 280.09 284.09 4.00 NELL, THEN WILLIAM (singing) ITAL -'To the costume balls -'In the hallowed halls (balls : rhymes with 'halls') (hallowed halls : colloquial

reference to the interior of large and stately homes)

1-21 284.13 287.13/ 3.00 NELL (singing) ITAL 'Rubbing elbows with the finest (Rubbing elbows with :

Colloquial for 'Mingling with' – 'Socializing with')

(the finest : refers to important and accomplished people in society – note partial rhyme with 'Highness')

1-22 /288.01 292.03 4.02 WILLIAM (singing) ITAL 'Having crumpets with Her Highness (crumpets : small round bread,

often served toasted and with tea in England)

(Her Highness : implies, 'the Queen of England')

1-23 292.07 297.08/ 5.01 NELL & WILLIAM (singing) ITAL 'We'll be there, we'll be seen Having tea with the Queen (seen : rhymes with 'Queen' and

'been')


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SCENE 34 - MFS - PAST MAYHEW, L.FG., TO NELL, STEPPING FG. AS SHE SPINS AND STOPS. NELL (on) & WILLIAM (off) (singing) '...everything That we've ever, ever been'

302.03

SCENE 35 - MS - NELL (LEG & SKIRT) STEPS ONTO THE CARRIAGE'S STEP, CAUSING IT TO DIP DOWN FROM THE WEIGHT.

303.13

SCENE 36 - MS - PAST NELL (TORSO), R.FG., TO MAYHEW, REACTING. WILLIAM (off) Oh!

305.15

SCENE 37 - MS - PAST NELL (TORSO), L.FG., TO WILLIAM, REACTING. WILLIAM Oh! Oh! NELL (face off) (overlapping) Blimey! (grunts) It's my dress is caught. MAYHEW (off) (overlapping) (grunts)

308.14

1-24 /297.12 302.03/ 4.07 NELL & WILLIAM (singing) ITAL We'll forget everything That we've ever, ever been' (forget...been : i.e., 'forget

our past ordinary existence' – 'become members of high society')

1-25 /306.00 308.12/ 2.12 NELL TO WILLIAM Blimey! It's my dress that's caught. (Blimey : British colloquial

exclamation – from the British colloquial exclamation ‘Cor blimey’, a contraction of ‘God blind me’)


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SCENE 38 - MFS - PAST MAYHEW, L.FG., TO NELL WEDGED INSIDE THE CARRIAGE DOORWAY AS HE PUSHES HER. WILLIAM ENTERS R., PUSHING NELL. MAYHEW Beggin' your pardon, ma'am. WILLIAM Come on, dear. Here we go. NELL (face off) (overlapping) It's not, it's not me. It's my dress is caught. MAYHEW (overlapping) (grunts)

315.11

SCENE 39 - INT. CARRIAGE - DAY - MFS - NELL WEDGED INSIDE THE DOORWAY AS THE CARRIAGE ROCKS. MAYHEW (off) (coughs - continues under following scenes and dialogue) NELL Where is Victor? We might be late! WILLIAM (off) (overlapping) Push! (grunts)

320.03

1-26 /309.00 311.05 2.05 MAYHEW TO NELL Beggin' your pardon, ma'am. (Beggin' your pardon : British

colloquial exclamation when a mistake has been made)

1-27 311.09 315.11/ 4.02 WILLIAM TO NELL, THEN NELL TO WILLIAM -Come on, dear. Her we go. -Not me. It's my dress that's caught. (Note that Nell cannot fit into

the carriage because she is too fat, but claims that her dress is snagged and keeping her from getting in)

1-28 /315.15 320.03/ 4.04 NELL TO WILLIAM Where is Victor? We might be late! (Victor : Refers to her son

Victor Van Dort, the bridegroom) 1-29 (OUT) AND 1-30


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SCENE 40 - INT. EVERGLOT DRAWING ROOM - DAY - MFS - THROUGH A PAIR OF OPERA GLASSES TO THE HORSE-DRAWN CARRIAGE. THE OPERA GLASSES MOVE LOWER FRAME AND EXIT TO REVEAL A WINDOW WITH THE HORSE-DRAWN CARRIAGE, BG. IN SOFT FOCUS. CAMERA DOLLIES BACK ON THE WINDOW TO REVEAL MAUDELINE AND FINIS EVERGLOT. MAUDELINE Fish merchants! (singing) 'It's a terrible day FINIS (overlapping) (singing) 'Now don't be that way MAUDELINE (singing) 'It's a terrible day for a wedding

339.04

SCENE 41 - MFS - FINIS STEPS DOWN FROM A TABLETOP AS MAUDELINE LOOKS ON. FINIS (singing) 'It's a sad, sad state of affairs we're in MAUDELINE (singing) 'That has led to this ominous wedding

349.01

SCENE 42 - MS - HIGH ANGLE - LOOKING DOWN AT FINIS. FINIS (singing) 'How could our family have come to this

352.09

SCENE 43 - MFS - LOW ANGLE - LOOKING UP AT MAUDELINE. MAUDELINE (on) & FINIS (off) (singing in unison) 'To marry off our daughter to the Nouveau Riche MAUDELINE (singing) 'They're so...

358.03

1-31 327.07 330.07 3.00 MAUDELINE TO FINIS Fish merchants! (Derogatory reference to the Van

Dorts, who sell fish for a living) 1-32 331.00 333.06 2.06 MAUDELINE (singing) ITAL 'It's a terrible day (Implying that she is unhappy that

her daughter Victoria Everglot is marrying Victor Van Dort)

(day : rhymes with 'way') 1-33 333.10 335.06 1.12 FINIS TO MAUDELINE (singing) ITAL 'Now don't be that way (be that way : i.e., 'have that

attitude' – 'be negative and unhappy')

1-34 335.10 339.04/ 3.10 MAUDELINE (singing) ITAL 'It's a terrible day for a wedding 1-35 /339.08 343.15 4.07 FINIS (singing) ITAL 'It's a sad, sad state of affairs we're

in (state of affairs : i.e.,

'situation') 1-36 344.03 349.01/ 4.14 MAUDELINE (singing) ITAL 'That has led to this ominous wedding 1-37 /349.05 352.09/ 3.04 FINIS (singing) ITAL 'How could our family have come to this (have come to this : i.e., 'have

reached this sad and unfortunate circumstance')

1-38 /352.13 357.04 4.07 MAUDELINE & FINIS (singing) ITAL 'To marry off our daughter to the

Nouveau Riche (marry off : i.e., 'agree to the

marriage of') (to the Nouveau Riche :

colloquial for 'into a family that has newly acquired wealth' – refers to the Van Dorts - from French)

(Implying that the Everglots are aristocrats, but penniless, which is the only reason they have agreed to Victoria's marriage to Victor Van Dort)


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SCENE 44 - MS - HIGH ANGLE - LOOKING DOWN AT FINIS. MAUDELINE (off) (singing) '...common FINIS (overlapping) (singing) 'So coarse

359.13

SCENE 45 - MFS - LOW ANGLE - LOOKING UP AT MAUDELINE. MAUDELINE (overlapping) (singing) 'Oh, it couldn't be worse

362.01

SCENE 46 - MS - HIGH ANGLE - LOOKING DOWN AT FINIS. FINIS (singing) 'Couldn't be worse? I'm afraid I disagree FINIS STEPS R. FINIS (singing) 'They could...

366.10

SCENE 47 - MFS - FINIS ENTERS L.FG., SPINNING AS HE MOVES TOWARD THE WALL SAFE AND OPENS IT TO REVEAL COBWEBS. FINIS (singing) '...be land-rich, bankrupt aristocracy MAUDELINE ENTERS R. FINIS (singing) 'Without a penny to their name Just like you...

374.06

1-39 357.08 359.13/ 2.05 MAUDELINE, THEN FINIS (singing) ITAL (over scene end) -'They're so common -'So coarse (common : i.e., 'uncouth' –

'unsophisticated') (coarse : colloquial for

'inferior and vulgar' – 'lacking in refinement' – rhymes with 'worse')

1-40 /360.01 362.01/ 2.00 MAUDELINE (singing) ITAL 'Oh, it couldn't be worse 1-41 /362.05 366.09/ 4.04 FINIS TO MAUDELINE (singing) ITAL 'Couldn't be worse? I'm afraid I

disagree (I'm afraid : Colloquial

emphatic exclamation) (disagree : rhymes with

'aristocracy' and 'me') 1-42 /366.13 372.07 5.10 FINIS TO MAUDELINE (singing) ITAL They could be land-rich, bankrupt

aristocracy Without a penny to their name

(land-rich : possessing a large amount of land and property)

(Without...name : Colloquial for 'With no money at all' – 'Very poor')

1-43 372.11 377.10 4.15 FINIS TO MAUDELINE (singing) ITAL (over scene end) 'Just like you...and me


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SCENE 48 - MFS - THROUGH THE SAFE DOORWAY TO FINIS AND MAUDELINE AS SHE TRACES HER FINGER ON THE DUST. CAMERA DOLLIES BACK. FINIS (singing) ...and me MAUDELINE Oh, dear. A MAID NAMED HILDEGARD ENTERS R., DUSTING AWAY THE COBWEBS WITH A FEATHER DUSTER. MAUDELINE AND FINIS STEPS BACKWARD, MOVING BG. INTO SOFT FOCUS. MAUDELINE & FINIS (singing in unison) 'And that's why everything, every last little thing Every...

386.09

SCENE 49 - MFS - MAUDELINE CLOSES THE SAFE DOOR AS THE MAID STEPS L. AND EXITS. FINIS LOOKS ON. MAUDELINE & FINIS (singing in unison) '...single, tiny, microscopic... FINIS STEPS R. AND EXITS AS A BUTLER NAMED EMIL ENTERS L.FG., HANGING A FRAMED PORTRAIT OF FINIS OVER THE WALL SAFE. MAUDELINE (on) & FINIS (off) '...little thing... MAUDELINE STEPS R. AND EXITS AS THE BUTLER SPINS THE PORTRAIT OF FINIS. CAMERA DOLLIES IN ON THE PORTRAIT OF FINIS. MAUDELINE (off) & FINIS (off) (singing) '...must go

391.10

1-44 377.14 380.09 2.11 MAUDELINE Oh, dear. 1-45 381.06 385.12 4.06 MAUDELINE & FINIS (singing) ITAL 'And that's why everything, every last

little thing 1-46 386.00 392.15 6.15 MAUDELINE & FINIS (singing) ITAL (over scene end) Every single, tiny, microscopic little

thing must go


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DISSOLVE TO: SCENE 50 - INT. EVERGLOT CORRIDOR - DAY - MCS - A PORTRAIT OF AN EVERGLOT BABY. CAMERA DOLLIES BACK AS MAUDELINE AND FINIS ENTER R., STEPPING L. MAUDELINE (singing) 'According to plan FINIS (overlapping) (singing) 'Our daughter will wed

401.01

SCENE 51 - FS - HIGH ANGLE - LOOKING DOWN AT MAUDELINE AND FINIS, STEPPING L. AS THEY MOVE PAST A ROW OF EVERGLOT FAMILY MEMBER PORTRAITS. CAMERA DOLLIES L. EMIL ENTERS R., STRAIGHTENING A PORTRAIT, R.BG. MAUDELINE (singing) 'According to plan FINIS (singing) 'Our family led MAUDELINE & FINIS (singing in unison) 'From the depths of deepest poverty

414.00

SCENE 52 - MFS - FINIS AND MAUDELINE STEP L., MOVING PAST THE ROW OF PORTRAITS. CAMERA DOLLIES L. WITH THEM TO INCLUDE A PORTRAIT OF THEIR DAUGHTER NAMED VICTORIA. MAUDELINE (singing) 'To the noble realm FINIS (overlapping) (singing) 'Of our ancestry MAUDELINE AND FINIS STOP BY THE PORTRAIT OF VICTORIA.

1-47 396.07 401.01/ 4.10 MAUDELINE, THEN FINIS (singing) ITAL -'According to plan -'Our daughter will wed (wed : rhymes with 'led') 1-48 /401.05 405.06 4.01 MAUDELINE, THEN FINIS (singing) ITAL -'According to plan -'Our family led (led : i.e., 'taken' – 'relieved

from') 1-49 405.10 411.06 5.12 MAUDELINE & FINIS (singing) ITAL 'From the depths of deepest poverty (the depths...poverty : i.e.,

'extreme poverty' – note that 'poverty' rhymes with 'ancestry')

1-50 /414.03 418.14 4.11 MAUDELINE, THEN FINIS (singing) ITAL -'To the noble realm -'Of our ancestry (I.e., 'To be returned to the

wealth') (ancestry : i.e., 'ancestors' –

'family')


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SCENE 52 - (CONTINUED) MAUDELINE & FINIS (singing in unison) 'And who would have guessed in a million years That our daughter with...

425.06

SCENE 53 - MS - FINIS BY THE PORTRAIT OF VICTORIA, L. MAUDELINE (off) & FINIS (on) (singing in unison) '...a face FINIS (singing) 'Of an otter in disgrace

428.09

SCENE 54 - MFS - MAUDELINE AND FINIS BY THE PORTRAIT OF VICTORIA. MAUDELINE & FINIS (singing in unison) 'Would provide our ticket To our rightful place CAMERA DOLLIES IN ON THE PORTRAIT OF VICTORIA AS MAUDELINE AND FINIS EXIT L. AND R.

437.04

DISSOLVE TO: SCENE 55 - INT. VICTORIA'S ROOM - DAY - MS - A MIRROR SHOWS A REFLECTION OF VICTORIA, SEATED AS HILDEGARD'S REFLECTION PULLS ON THE LACES OF VICTORIA'S CORSET. VICTORIA (gasps) (grunts) CAMERA DOLLIES BACK ON THE MIRROR TO INCLUDE VICTORIA AND HILDEGARD, L.FG. VICTORIA Oh, Hildegarde. What if Victor and I don't...

1-51 419.02 423.12 4.10 MAUDELINE & FINIS (singing) ITAL 'And who would have guessed in a

million years (who...years : colloquial

emphatic for 'no one would ever have guessed')

1-52 424.00 428.09/ 4.09 MAUDELINE & FINIS, THEN FINIS (singing) ITAL (over scene end) -'That our daughter with a face -'Of an otter in disgrace (face : rhymes with 'disgrace'

and 'place') (our daughter...disgrace :

implying that Victoria is very ugly – note that Victoria is attractive, not ugly)

1-53 /428.13 434.06 5.09 MAUDELINE & FINIS (singing) ITAL 'Would provide our ticket To a rightful place (ticket : slang for

'opportunity' – 'means of going or getting to')

(a rightful place : i.e., 'our rightful wealthy status')

1-54 445.09 452.04 6.11 VICTORIA TO HILDEGARDE Oh, Hildegarde. What if Victor and I

don't... like each other? (Hildegarde : note that she is

Victoria's elderly maid) (Implying that the bride and groom

do not know each other well)


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SCENE 55 - (CONTINUED) HILDEGARD PULLS ON THE CORSET'S LACES. VICTORIA ...(gasps) like each other? MAUDELINE (off) (laughs)

454.07

SCENE 56 - MFS - LOW ANGLE - LOOKING UP AT MAUDELINE AND FINIS INSIDE THE DOORWAY. MAUDELINE As if that has anything to do with marriage. Do you suppose your father and I like each other?

464.04

SCENE 57 - MS - PAST VICTORIA, L.FG., TO THE MIRROR, SHOWING VICTORIA'S REFLECTION. VICTORIA Surely you must, a little?

466.13

SCENE 58 - MFS - LOW ANGLE - LOOKING UP AT MAUDELINE AND FINIS INSIDE THE DOORWAY. MAUDELINE & FINIS (in unison) Of course not. MAUDELINE Get those corsets laced properly.

473.02

SCENE 59 - MS - MAUDELINE STEPS L. THROUGH THE DOORWAY. MAUDELINE I can hear you speak without gasping.

477.11

1-55 /454.08 458.08 4.00 MAUDELINE TO VICTORIA As if that has anything to do with

marriage. (that : refers to liking or

loving a spouse) 1-56 458.12 464.04/ 5.08 MAUDELINE TO VICTORIA Do you suppose your father and I like

each other? 1-57 /464.08 466.13/ 2.05 VICTORIA TO MAUDELINE & FINIS Surely you must, a little? (Surely : Colloquial emphatic) 1-58 467.13 470.00 2.03 MAUDELINE & FINIS TO VICTORIA Of course not. 1-59 470.04 473.02/ 2.14 MAUDELINE TO VICTORIA Get those corsets laced properly. (those corsets : refers to

Victoria's corset that Hildegarde is lacing)

1-60 /473.06 477.11/ 4.05 MAUDELINE TO VICTORIA I can hear you speak without gasping. (Implies that a properly laced

corset is so tight that a woman must gasp for air when she talks)


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SCENE 60 - EXT. TOWN SQUARE - DAY - FS - MAYHEW, WAITING ON THE HORSE-DRAWN CARRIAGE AS VICTOR EMERGES FROM THE MANSION AS HE RUNS AND BOARDS THE CARRIAGE. MAYHEW SNAPS THE REIGNS. MAYHEW (coughs - continues under following scenes and dialogue) THE HORSE-DRAWN CARRIAGE MOVES L.FG. AND BEGINS TO EXIT L. AS CAMERA PANS L. ON THE CARRIAGE'S WINDOW TO REVEAL VICTOR INSIDE IT.

486.15

SCENE 61 - INT. CARRIAGE - DAY - MFS - WILLIAM AND NELL, SEATED. WILLIAM You've certainly hooked a winner this time, Victor. NELL (overlapping) Now all you have to do is reel her in!

494.01

SCENE 62 - MFS - VICTOR, SEATED. VICTOR I'm already reeling, Mother. Shouldn't Victoria Everglot be marrying a...Lord or something?

501.08

SCENE 63 - MFS - NELL AND WILLIAM, SEATED. NELL Oh, nonsense! We're every bit as good as the Everglots. I always knew I deserved better than a fish merchant's life. VICTOR (off) (overlapping) But--

513.09

1-61 /487.00 490.09 3.09 WILLIAM TO VICTOR You've certainly hooked a winner this

time, Victor. (hooked a winner : note double

meaning – [1] slang for 'chosen a lovely young woman to marry' and [2] refers to hooking a fish on a fishing line)

1-62 490.13 494.01/ 3.04 NELL TO VICTOR Now all you have to do is reel her in! (reel her in : note double

meaning – [1] i.e., 'marry her' – 'complete the wedding service' and [2] refers to reeling in a hooked fish)

1-63 /494.05 496.13 2.08 VICTOR TO NELL I'm already reeling, Mother. (reeling : note double meaning –

[1] colloquial for 'feeling dazed and surprised' – implying that he feels fortunate, and [2] refers to reeling in a fish)

1-64 497.01 501.08/ 4.07 VICTORIA TO NELL Shouldn't Victoria Everglot be marrying

a...Lord or something? (Lord : i.e., 'man with the

title of "Lord"' - refers to a member of the British aristocracy)

(or something : colloquial emphatic for 'or someone of that stature' – 'or a man of similar noble background')

1-65 /501.12 506.13 5.01 NELL TO VICTOR Nonsense! We're every bit as good as

the Everglots. (every bit : colloquial

emphatic) 1-66 507.01 513.06/ 6.05 NELL TO VICTOR I always knew I deserved better than a

fish merchant's life.


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SCENE 64 - MFS - VICTOR, SEATED. VICTOR But I've never even spoken to her.

517.04

SCENE 65 - MFS - NELL AND WILLIAM, SEATED. NELL Well, at least we have that in our favor. MAYHEW (off) (overlapping) (coughs – continues under following scenes and dialogue)

521.07

SCENE 66 - MFS - PAST WILLIAM, R.FG., AND NELL, L.FG., TO VICTOR, SEATED, REACTING. MAYHEW'S SHADOW IS IN THE CARRIAGE WINDOW, BG. NELL (face off) Mayhew! Silence that blasted coughing.

527.11

SCENE 67 - INT. EVERGLOT MANSION - DAY - FS - EMIL DUSTS THE BANISTER RAIL AND DESCENDS A STAIRCASE AS MAUDELINE AND FINIS STOP AT THE TOP OF THE STAIRCASE. CAMERA CRANES DOWN. EMIL (hums – continues under following scenes)

533.03

SCENE 68 - MFS - PAST THE BANISTER RAIL, FG., TO EMIL, STEPPING R. AS HE DUSTS IT AND EXITS R.

535.09

1-67 /513.10 517.04/ 3.10 VICTOR TO NELL But I've never even spoken to her. (Refers to Victoria) 1-68 /517.08 521.07/ 3.15 NELL TO VICTOR Well, at least we have that in our

favor. (Implying that Victoria might not

agree to marry Victor if she knew him well)

1-69 523.03 527.11/ 4.08 NELL TO MAYHEW Mayhew! Silence that blasted coughing. (Silence : I.e., 'Stop') (that : i.e., 'your') (blasted : colloquial emphatic –

euphemism for a vulgar emphatic)


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SCENE 69 - MFS - LOOKING UP AT MAUDELINE AND FINIS AT THE TOP OF THE STAIRCASE. MAUDELINE Marriage is a partnership, a little... MAUDELINE PATS FINIS' HEAD. MAUDELINE ...tit for tat.

541.03

SCENE 70 - MS - MAUDELINE. MAUDELINE You'd think a lifetime watching us... (singing) 'Might have taught her that

549.14

SCENE 71 - FS - LOW ANGLE - LOOKING UP AT MAUDELINE AND FINIS AT THE TOP OF THE STAIRCASE. MAUDELINE (singing) 'Might have taught her that MAUDELINE AND FINIS STEP FG., DESCENDING THE STAIRCASE. MAUDELINE (singing) Everything must be perfect FINIS (overlapping) (singing) 'Everything must be perfect 'Everything must be perfect

559.05

SCENE 72 - EXT. EVERGLOT MANSION - DAY - MS - WILLIAM AND NELL ENTER L., ASCENDING THE MANSION'S STAIRCASE. VICTOR ENTERS L., FOLLOWING. MAUDELINE, FINIS, NELL & WILLIAM (singing in unison) 'Perfect That's why everything...

562.01

1-70 /535.10 541.03/ 5.09 MAUDELINE TO FINIS Marriage is a partnership, a little tit

for tat. (a little : i.e., 'and it

requires a little') (tit for tat : colloquial for

'repayment in kind, as for an injury' – 'reciprocity and cooperation')

1-71 542.01 545.15 3.14 MAUDELINE TO FINIS You'd think a lifetime watching us... (us : refers to herself and her

husband Finis) 1-72 546.03 549.14/ 3.11 MAUDELINE TO FINIS (singing) ITAL 'Might have taught her that 1-73 /550.02 555.02 5.00 MAUDELINE, THEN FINIS (singing) ITAL -'Might have taught her that -'Everything must be perfect 1-74 555.06 559.05/ 3.15 FINIS & MAUDELINE (singing) ITAL 'Everything must be perfect Everything must be perfect 1-75 /559.09 562.01/ 2.08 NELL & WILLIAM (singing) ITAL That's why everything


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SCENE 73 - INT. EVERGLOT MANSION - DAY - MFS - MAUDELINE AND FINIS STEP L. AS THEY DESCEND THE STAIRCASE. CAMERA DOLLIES L. MAUDELINE, FINIS, NELL & WILLIAM (singing in unison) '...every last little thing

564.07

SCENE 74 - EXT. EVERGLOT MANSION - DAY - MS - VICTOR REACTS AS NELL (ARMS) STRAIGHTENS HIS HAIR AND BRUSHES OFF HIS SHOULDERS, THEN PULLS HIM EXITING R. MAUDELINE (off), FINIS (off), NELL (face off) & WILLIAM (off) 'Every single, tiny, microscopic little thing... VICTOR (overlapping) (grunts)

568.00

SCENE 75 - INT. EVERGLOT MANSION - DAY - MFS - MAUDELINE AND FINIS STEP DOWN TO THE BOTTOM OF THE STAIRCASE. MAUDELINE (on), FINIS (on), NELL (off) & WILLIAM (off) (singing) '...must go

570.15

SCENE 76 - EXT. EVERGLOT MANSION - DAY - MFS - NELL PULLS THE DOORBELL ROPE AS WILLIAM LOOKS ON. MAUDELINE (off), FINIS (off), MAUDELINE (on) & WILLIAM (on) (singing) 'According to pla-...

573.07

1-76 /562.05 564.07/ 2.02 MAUDELINE & FINIS (singing) ITAL 'Every last little thing 1-77 /564.11 570.12/ 6.01 GROUP (singing) ITAL (over scene end) 'Every single, tiny, microscopic little

thing must go 1-78 /571.00 573.07/ 2.07 GROUP (singing) ITAL 'According to plan


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SCENE 77 - INT. EVERGLOT MANSION - DAY - MFS - MAUDELINE AND FINIS. MAUDELINE (on), FINIS (on), NELL (off) & WILLIAM (off) (singing) '...-n CAMERA TILTS DOWN AND TRAVELS BACK ON THE ROOM'S TILE FLOOR.

576.11

DISSOLVE TO: SCENE 78 - MFS - LOOKING DOWN AT THE FLOOR AS CAMERA TRAVELS IN AND TILTS UP ON EMIL, OPENING THE FRONT DOOR. EMIL EXITS R. WITH THE DOOR TO REVEAL NELL, LOOKING AT VICTOR AS WILLIAM LOOKS ON. NELL (face off) Look at the way you're standing, look-looking like you got... VICTOR (overlapping) (grunts)

584.01

SCENE 79 - MFS - MAUDELINE AND FINIS AT THE BOTTOM OF THE STAIRCASE, LOOKING AT THE O.S. DOORWAY. NELL (off) ...rickets or something. (continues indistinct under following scene)

586.01

SCENE 80 - MFS - THROUGH THE DOORWAY TO NELL, REACTING AS SHE LOOKS AT O.S. FINIS AND O.S. MAUDELINE. WILLIAM AND VICTOR LOOK ON. NELL Oh. (laughs)

592.02

1-79 580.07 582.10 2.03 NELL TO VICTOR Look at the way you're standing. 1-79A 582.14 586.01/ 3.03 NELL TO VICTOR (over scene end) You look like you've got rickets or

something.


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SCENE 81 - MFS - EMIL, HOLDING THE DOOR AS NELL AND WILLIAM ENTER L., STEPPING R. THROUGH THE DOORWAY. PEOPLE (off) (low and indistinct chatter – continues under following scenes and dialogue) NELL Oh. NELL AND WILLIAM EXIT R. AS VICTOR ENTERS L., STEPPING R. THROUGH THE DOORWAY. NELL (off) Oh, my goodness. Oh, such grandeur! Such impeccable...

606.02

SCENE 82 - MS - EMIL, HOLDING THE DOOR AS HE LOOKS R. NELL (off) ...taste!

607.11

SCENE 83 - FS - HIGH ANGLE - LOOKING DOWN AT NELL, WILLIAM AND VICTOR BY THE DOORWAY, L.BG. A PIANO IS L. NELL Oh, beautiful, isn't it?

609.14

SCENE 84 - MS - EMIL, HOLDING THE DOOR. EMIL (scornful chuckle)

611.14

1-80 599.02 606.02/ 7.00 NELL TO MAUDELINE & FINIS Oh, my goodness. Oh, such grandeur!

Such impeccable taste! (my goodness : colloquial

exclamation of awe or wonder) (Note that she reacts to the

Everglot's lavish home) 1-81 /607.12 609.14/ 2.02 NELL TO WILLIAM Oh, beautiful, ain't it? (ain't it : colloquial emphatic)


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SCENE 85 - FS - HIGH ANGLE - LOOKING DOWN AT NELL, WILLIAM AND VICTOR BY THE DOORWAY AS EMIL CLOSES THE DOOR, L.BG. A PIANO IS L. WILLIAM It's not as big as our place, dear.

616.06

SCENE 86 - MFS - WILLIAM AND NELL STEP FG. AS VICTOR FOLLOWS. EMIL STEPS R.FG. AND EXITS. WILLIAM (mumbling) Mm, yeah, a little bit shabby, you know. It isn't-- NELL SWINGS HER FAN, HITTING WILLIAM'S CHEST. NELL Shut up. Ah!

625.03

SCENE 87 - MFS - MAUDELINE AND FINIS AT THE BOTTOM OF THE STAIRCASE. EMIL (off) Lord and Lady Everglot...

629.09

SCENE 88 - FS - ACROSS THE ROOM TO WILLIAM AND NELL, STEPPING R. TOWARD EMIL AND STOPPING AS MAUDELINE AND FINIS LOOK ON, R. VICTOR ENTERS L. EMIL ...Mr. and Mrs. Van Dort.

635.05

1-82 614.00 616.06/ 2.06 WILLIAM TO NELL It's not as big as our place, dear. (place : i.e., 'home') (Here meant facetiously) (dear : term of endearment) 1-83 620.00 623.03 3.03 WILLIAM TO NELL Yeah, a little bit shabby, you know.

It isn't-- (shabby : colloquial for

'dilapidated' – 'worn-out and threadbare')

(Here meant facetiously) 1-84 623.07 625.03/ 1.12 NELL TO WILLIAM Shut up. 1-85 /625.07 629.09/ 4.02 EMIL TO GROUP Lord and Lady Everglot... 1-86 /629.13 635.05/ 5.08 EMIL TO GROUP ...Mr. and Mrs. Van Dort.


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SCENE 89 - MFS - WILLIAM AND NELL. VICTOR LOOKS ON BEHIND THEM. WILLIAM Why, you must be Miss Victoria. WILLIAM TAKES OFF HIS TOP HAT. WILLIAM (chuckles)

639.05

SCENE 90 - MS - LOW ANGLE - MAUDELINE REACTS. WILLIAM (off) Yes, I must say...

641.15

SCENE 91 - MFS - WILLIAM AND NELL. VICTOR LOOKS ON BEHIND THEM. WILLIAM ...you don't look a day over twenty. NELL SWINGS HER FAN, HITTING WILLIAM. WILLIAM No.

645.05

SCENE 92 - MS - LOW ANGLE - MAUDELINE REACTS. WILLIAM (off) (chuckling) Yes. Hm. (chuckles) MAUDELINE LOOKS R. AT O.S. FINIS. MAUDELINE Smile, darling...

650.07

1-87 /635.09 639.05/ 3.12 WILLIAM TO MAUDELINE Why, you must be Miss Victoria. 1-88 640.07 645.05/ 4.14 WILLIAM TO MAUDELINE (over scene end) Yes, I must say, you don't look a day

over 20. No. Yes. (don't...20 : i.e., 'appear to

be no more than 20 years old') (Note that he addresses Mrs.

Everglot as though she is her daughter Victoria, attempting to ingratiate himself and flatter her)

1-89 648.03 652.09 4.06 MAUDELINE TO FINIS (over scene end) Smile, darling, smile. (Implying that she and Finis must

force themselves to smile and be polite to the Van Dorts, who are so uncouth)


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SCENE 93 - MS - HIGH ANGLE - LOOKING DOWN AT FINIS. MAUDELINE (off) ...smile. Uh? FINIS ATTEMPTS TO SMILE. FINIS (grunts as he tries to smile) Well, hello. What a pleasure. Welcome to our home.

666.00

SCENE 94 - MFS - NELL REACTS AS WILLIAM LOOKS ON. VICTOR LOOKS ON BEHIND THEM. NELL (chuckles) Thank you. MAUDELINE (off) We will be...

669.10

SCENE 95 - MS - LOW ANGLE - MAUDELINE. MAUDELINE ...taking tea in the west drawing room. MAUDELINE STEPS R. AND EXITS.

675.14

SCENE 96 - FS - PAST THE PIANO, R.FG., TO FINIS AND MAUDELINE, STEPPING R. AS WILLIAM AND NELL ENTER L., FOLLOWING. MAUDELINE Oh, do come this way, it's just through there. NELL Oh, I love what you've done with the place.

683.07

1-90 659.04 666.00/ 6.12 FINIS TO GROUP Well, hello. What a pleasure. Welcome

to our home. 1-91 667.01 668.09 1.08 NELL TO FINIS Thank you. 1-92 668.13 674.00 5.03 MAUDELINE TO GROUP (over scene end) We'll be taking tea in the west drawing

room. (taking tea : refers to the

British custom of drinking tea with sweets or other food in the afternoon)

(drawing room : refers to a large room in large or stately homes where guests are entertained – more common in the 19th century)

1-93 /675.15 680.10 4.11 MAUDELINE TO GROUP Do come this way, it's just through

there. (Do : Colloquial emphatic) 1-94 680.14 687.15/ 7.01 NELL TO MAUDELINE (over scene end) Oh, I love what you've done with the

place. Who is your decorator? (what...place : refers to the

house décor)


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SCENE 97 - MS - VICTOR STEPS FG. AS HE REACTS. NELL (off) Who is your decorator? WILLIAM (off) Nice tiles...

687.15

SCENE 98 - MFS - PAST THE PIANO'S PROPPED UP COVER, FG., TO VICTOR, STEPPING R. WILLIAM (off) ...shame about the drapes. NELL (off) Oh, my husband says such foolish things! (chuckles) Ignore him. WILLIAM (off) (chuckles) Ah, yes, (chuckles) it's usually best. WILLIAM, NELL, MAUDELINE, & FINIS (off) (low and indistinct chatter – continues under following scene)

702.06

SCENE 99 - MFS - PAST VICTOR, L.FG., AND ACROSS THE ROOM TO A DOOR CLOSING, CAUSING DARKNESS IN BG.

705.10

SCENE 100 - MFS - PAST THE PIANO'S PROPPED UP COVER, FG., TO VICTOR, PLAYING A NOTE ON THE KEYBOARD.

709.09

SCENE 101 - MCS - LOOKING DOWN AT VICTOR (HAND), PLAYING THE PIANO'S KEYBOARD.

715.15

SCENE 102 - MFS - VICTOR STOPS PLAYING THE PIANO.

720.01

1-95 /688.03 690.09 2.06 WILLIAM TO NELL Nice tiles, shame about the drapes. (shame...drapes : humorously

implying that he dislikes the window drapes)

1-96 690.13 695.12 4.15 NELL TO GROUP Oh, my husband says such foolish

things! Ignore him. 1-96A 696.00 699.08 3.08 WILLIAM TO GROUP Oh, yes. It's usually best.


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SCENE 103 - MFS - PAST VICTOR, L.FG., TO THE DARK CORRIDOR.

722.06

SCENE 104 - MFS - VICTOR, PLAYING THE O.S. PIANO.

725.11

SCENE 105 - FS - ACROSS THE ROOM TO VICTOR, PLAYING THE PIANO AND SITTING ON THE PIANO'S BENCH. CAMERA DOLLIES IN.

742.07

SCENE 106 - MFS - VICTOR, SEATED, PLAYING THE PIANO. CAMERA DOLLIES R. IN A CIRCLE. CAMERA CRANES UP ON THE STAIRCASE, MOVING OFF VICTOR AND THE PIANO.

765.10

DISSOLVE TO: SCENE 107 - INT. VICTORIA'S ROOM - DAY - MFS - ACROSS THE FLOOR TO VICTORIA, SEATED AT THE VANITY. CAMERA DOLLIES IN AND TILTS UP AS VICTORIA REACTS TO THE SOUND OF PIANO MUSIC. VICTORIA (gasps)

783.06

SCENE 108 - INT. EVERGLOT MANSION - FS - PAST THE BANISTER RAILING, FG., TO VICTORIA, EMERGING AND STEPPING FG.

792.12

SCENE 109 - FS - HIGH ANGLE - HIGH ANGLE - PAST THE STAIRCASE, FG., TO VICTOR, PLAYING THE PIANO. VICTORIA ENTERS R.FG. AND DESCENDS THE STAIRCASE.

801.06


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SCENE 110 - MS - PAST THE PIANO, FG., TO VICTOR, PLAYING IT. CAMERA PANS L. AS VICTORIA ENTERS L.BG., STEPPING FG.

818.15

SCENE 111 - MFS - PAST VICTOR, L.FG., THE PIANO AS HE PLAYS IT. VICTORIA ENTERS R.FG. AS VICTOR LOOKS AT HER AND REACTS. VICTOR Oh! (grunts)

827.03

SCENE 112 - MFS - PAST VICTORIA, R.FG., TO VICTOR, STRAIGHTENING AT THE PIANO AS HE KNOCKS OVER THE PIANO'S BENCH.

830.03

SCENE 113 - MS - VICTOR ENTERS L., GRABBING THE VASE ON THE PIANO. VICTOR Oh, do forgive me.

833.10

SCENE 114 - MFS - VICTORIA. VICTORIA You play beautifully.

837.02

SCENE 115 - MFS - VICTOR BY THE PIANO. VICTOR (stammering) I-I-I do apologize, Miss Everglot. How rude of me to...mm-well.

846.02

1-97 832.02 833.10/ 1.08 VICTOR TO VICTORIA Oh, do forgive me. (Note that Victor is alone playing

the Everglot's piano when Victoria enters to listen)

1-98 834.07 837.02/ 2.11 VICTORIA TO VICTOR You play beautifully. 1-99 /837.06 843.01 5.11 VICTOR TO VICTORIA I do apologize, Miss Everglot. How

rude of me to... 1-100 843.05 845.04 1.15 VICTOR TO VICTORIA ...well.


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SCENE 116 - MFS - PAST VICTORIA, R.FG., TO VICTOR, CROUCHING AND LIFTING THE PIANO'S BENCH. VICTOR Excuse me.

851.01

SCENE 117 - MFS - VICTORIA. VICTORIA Mother won't let me near the piano.

854.03

SCENE 118 - MFS - VICTOR BRUSHES OFF THE TOP OF THE PIANO BENCH AND STOPS AS HE REACTS. VICTORIA (off) Music...

855.15

SCENE 119 - MFS - VICTORIA. VICTORIA ...is improper for a young lady. Too passionate...

861.11

SCENE 120 - MFS - VICTOR STRAIGHTENS AS CAMERA TILTS UP, MOVING OFF THE PIANO'S BENCH. VICTORIA (off) ...she says. VICTOR If I...may ask, (stammering) M-M-Miss...Everglot, where is your ch-chaperone?

873.15

1-101 /846.05 848.00 1.11 VICTOR TO VICTORIA Excuse me. 1-102 851.09 854.03/ 2.10 VICTORIA TO VICTOR Mother won't let me near the piano. 1-103 855.04 861.11/ 6.07 VICTORIA TO VICTOR (over scene end) Music is improper for a young lady.

Too passionate, she says. 1-104 863.00 869.00 6.00 VICTOR TO VICTORIA If I may ask, Miss Everglot... (If...ask : Colloquial

exclamation to ask permission for what may be considered an offensive or intrusive question)

1-105 870.13 873.15/ 3.02 VICTOR TO VICTORIA ...where is your chaperone? (chaperone : implying that they

should not be alone together without a chaperone to assure propriety)


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SCENE 121 - MFS - VICTORIA. VICTORIA Perhaps, in...in view of the circumstances... VICTORIA STEPS FG. AS CAMERA DOLLIES BACK TO INCLUDE VICTOR, L.FG. VICTORIA ...you could call me Victoria. VICTOR (face off) (nervous chuckle)

886.10

SCENE 122 - MFS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR Yes, of course, well. (takes breath) Victoria.

892.06

SCENE 123 - MFS - PAST VICTOR, L.FG., TO VICTORIA. VICTORIA Yes...Victor?

895.12

SCENE 124 - MFS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR T-Tomorrow we are to be...m-.... M-m-m-m-m....

906.00

SCENE 125 - MFS - PAST VICTOR, L.FG., TO VICTORIA. VICTORIA Married. VICTOR (face off) Yes.

909.01

1-106 874.11 881.03 6.08 VICTORIA TO VICTOR Perhaps, in view of the

circumstances... (in...circumstances : colloquial

for 'given the circumstances' – refers to their pending marriage)

1-107 882.01 886.03 4.02 VICTORIA TO VICTOR ...you could call me Victoria. 1-108 887.00 889.06 2.06 VICTOR TO VICTORIA Yes, of course. 1-109 890.12 892.06/ 1.10 VICTOR TO VICTORIA Victoria. 1-110 /892.10 895.03 2.09 VICTORIA TO VICTOR Yes...Victor? 1-111 897.10 903.00 5.06 VICTOR TO VICTORIA Tomorrow we are to be...m-m-m-m-m.... 1-112 906.12 908.15/ 2.03 VICTORIA TO VICTOR Married.


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SCENE 126 - MFS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR (chuckles) M-m-m-married.

912.14

SCENE 127 - MFS - PAST VICTOR, L.FG., TO VICTORIA. VICTORIA Since I was a child, I...I've dreamt of my wedding day.

920.00

SCENE 128 - MFS - VICTORIA SITS AT THE PIANO AS VICTOR LOOKS ON, L. VICTORIA (face off) I always hoped to find someone I was deeply in love with.

926.07

SCENE 129 - MS - VICTORIA, SEATED BY THE PIANO. VICTORIA Someone to spend the rest of my life with. Silly, isn't it?

934.03

1-113 /909.03 912.15 3.12 VICTOR TO VICTORIA Yes. M-m-m-married. 1-114 915.03 920.00/ 4.13 VICTORIA TO VICTOR Since I was a child, I've dreamt of my

wedding day. 1-115 922.03 926.07/ 4.04 VICTORIA TO VICTOR I always hoped to find someone I was

deeply in love with. 1-116 927.03 931.07 4.04 VICTORIA TO VICTOR Someone to spend the rest of my life

with. 1-117 932.06 934.03/ 1.13 VICTORIA TO VICTOR Silly, isn't it?


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SCENE 130 - MS - VICTOR. VICTOR Yes, silly. (chuckles) No! VICTOR MOVES R. AND LEANS AGAINST THE PIANO AS CAMERA PANS R. TO INCLUDE VICTORIA, SEATED. VICTOR No, not at all, no. VICTOR KNOCKS OVER THE PIANO'S VASE AND JASMINE TWIG. VICTORIA (gasps) VICTOR Oh!

942.06

SCENE 131 - MS - PAST VICTORIA, L.FG., TAKING THE JASMINE TWIG, TO VICTOR (ARMS), STRAIGHTENING THE VASE. VICTOR (face off) Oh, dear! VICTORIA EXITS L. AS CAMERA PANS L. ON VICTOR (TORSO). VICTOR (face off) I'm sorry. CAMERA TILTS UP ON VICTOR AND VICTORIA AS SHE SMELLS THE JASMINE AND OFFERS IT TO VICTOR, WHO TAKES IT. MAUDELINE EMERGES IN BG. AS CAMERA RACKS FOCUS ON HER. MAUDELINE What impropriety is this?!

959.05

SCENE 132 - MS - LOW ANGLE - MAUDELINE. MAUDELINE You shouldn't be alone together!

962.09

1-118 /934.07 936.07 2.00 VICTOR TO VICTORIA Yes, silly. 1-119 937.07 941.05 3.14 VICTOR TO VICTORIA No! No, not at all, no. (not at all : colloquial

emphatic) 1-120 942.12 946.06 3.10 VICTOR TO VICTORIA Oh, dear! I'm sorry. (Note that Victor apologizes for

knocking over a vase) 1-121 955.06 959.05/ 3.15 MAUDELINE TO VICTOR & VICTORIA What impropriety is this?! (Note that she enters and reacts

to finding Victoria alone with Victor)

1-122 /959.09 962.09/ 3.00 MAUDELINE TO VICTOR & VICTORIA You shouldn't be alone together!


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SCENE 133 - MFS - PAST VICTOR (TORSO), L.FG., TO VICTORIA. MAUDELINE (off) Here it is, one minute...

964.15

SCENE 134 - MS - LOW ANGLE - MAUDELINE. MAUDELINE ...before five, and you're not at the rehearsal.

969.10

SCENE 135 - FS - PAST MAUDELINE, R.FG., TO VICTOR AND VICTORIA AT THE PIANO. MAUDELINE Pastor Galswells is waiting. MAUDELINE STEPS R.FG. MAUDELINE Come at... MAUDELINE EXITS R.FG. MAUDELINE (off) ...once. SCENE FADES TO BLACK BG.

Three hours later... PASTOR GALSWELLS (voice over) Master Van Dort, from the beginning. Again.

984.14

1-123 /962.13 969.10/ 6.13 MAUDELINE TO VICTOR & VICTORIA (over scene end) Here it is, one minute before five, and

you're not at the rehearsal. (Here it is : I.e., 'The time is

now') (one...five : i.e., '4:59 p.m.'

– '16:59 hours') 1-124 970.02 974.00 3.14 MAUDELINE TO VICTOR & VICTORIA Pastor Galswells is waiting. (Pastor : Title and term of

address to a Christian minister) 1-125 974.04 977.00 2.12 MAUDELINE TO VICTOR & VICTORIA Come at once. 1-126 977.06 983.14 6.08 PASTOR GALSWELLS TO VICTOR (voice over) ITAL Master Van Dort, from the beginning.

Again. (Master : British colloquial

term of address to a man – I.e., 'Mister')

(from the beginning : i.e., 'begin again')

LABORATORY: THE FOLLOWING NARRATIVE TITLE #1-127 OVERLAPS WITH TITLES #1-126 AND #1-128. IF YOU ARE USING A TEXTED PRINT, NARRATIVE TITLE #1-127 IS TO APPEAR AS HIGH AS POSSIBLE TO AVOID DOUBLE-PRINTING, AND TITLES #1-126 AND #1-128 ARE TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF YOU ARE USING A TEXTLESS PRINT, NARRATIVE TITLE #1-127 IS TO APPEAR IN THE CENTER OF THE FRAME AND TITLES #1-126 AND #1-128 ARE TO APPEAR IN THE NORMAL SUBTITLE POSITION. PLEASE CHECK YOUR PRINT FOR PROPER POSITIONING OF THESE TITLES. 1-127 978.01 985.09 7.08 NARRATIVE TITLE Three hours later... (Note that they have been

rehearsing the wedding ceremony for three hours)


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FADE IN: SCENE 136 - INT. EVERGLOT DRAWING ROOM - DAY - A WINDOW AS CAMERA CRANES DOWN, MOVING ON PASTOR GALSWELLS' HAT. PASTOR GALSWELLS (off) (reading) "With this hand I will lift your sorrows... CAMERA CONTINUES TO CRANE DOWN ON PASTOR GALSWELLS, HOLDING AN OPEN BIBLE BEHIND A TABLE WITH VICTOR IN L.FG. AND VICTORIA R.FG. PASTOR GALSWELLS (reading) "...your cup will never empty, for I will be your wine. CAMERA DOLLIES BACK TO INCLUDE WILLIAM AND NELL, L.FG. AND MAUDELINE AND FINIS, R.FG. PASTOR GALSWELLS (reading) "With this candle I will light your way in darkness. With this ring I ask you to be mine."

1020.04

SCENE 137 - MFS - PASTOR GALSWELLS, HOLDING THE OPEN BIBLE. PASTOR GALSWELLS Let's try it again. VICTOR (off) (overlapping) Yes.

1024.06

1-128 985.06 991.13 6.07 PASTOR GALSWELLS TO VICTOR "With this hand I will lift your

sorrows... (lift : i.e., 'lighten' –

'relieve') 1-129 993.13 1001.05 7.08 PASTOR GALSWELLS TO VICTOR ...your cup will never empty, for I

will be your wine. (wine : rhymes with 'mine') 1-130 1003.01 1010.07 7.06 PASTOR GALSWELLS TO VICTOR With this candle I will light your way

in darkness... 1-131 1012.06 1018.06 6.00 PASTOR GALSWELLS TO VICTOR ...with this ring I ask you to be

mine." (ring : refers to Victoria's

wedding ring) 1-132 1021.11 1024.06/ 2.11 PASTOR GALSWELLS TO VICTOR Let's try it again. (try it : i.e., 'try repeating

your vows again') 1-133 /1024.10 1026.07 1.13 VICTOR TO PASTOR GALSWELLS Yes. Yes, sir.


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SCENE 138 - MFS - PAST A LIT CANDLE, L.FG., TO VICTOR AND VICTORIA, HOLDING UNLIT CANDLES. NELL LOOKS ON, R.BG. MAUDELINE LOOKS ON, L.BG. VICTOR Yes, sir. "With this candle... VICTOR ATTEMPTS TO LIGHT THE CANDLE. VICTOR "...this candle... VICTOR ATTEMPTS TO LIGHT THE CANDLE. VICTOR "...this candle." PASTOR GALSWELLS (off) (clears throat) VICTOR (grunts) NELL Shall I...

1043.08

SCENE 139 - MFS - PAST VICTORIA, R.FG., TO VICTOR, LOOKING FG. OVER HIS SHOULDER AS PASTOR GALSWELLS LOOKS ON. NELL (off) ...get up there and do it for him? WILLIAM (off) (overlapping) Don't get all...

1046.01

1-134 1026.11 1030.05 3.10 VICTOR TO VICTORIA "With this candle... 1-135 1033.14 1036.10 2.12 VICTOR TO VICTORIA ...this candle... 1-136 1038.15 1041.05 2.06 VICTOR TO HIMSELF ...this candle." 1-137 /1043.09 1046.01/ 2.08 NELL TO WILLIAM Shall I get up there and do it for him? (up there : refers to the front

of the church) (do it for him : i.e., 'repeat

his wedding vows for him')


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SCENE 140 - MFS - WILLIAM AND NELL, SEATED. WILLIAM ...a-flutter, dear. FINIS (off) (sighs) CAMERA PANS L. ON THE ROOM, MOVING ON MAUDELINE AMD FINIS, SEATED, REACTING.

1051.11

SCENE 141 - MS - PAST THE LIT CANDLE, L.FG., TO VICTOR, HOLDING HIS UNLIT CANDLE AS VICTORIA LOOKS ON. NELL LOOKS ON, R.BG. MAUDELINE LOOKS ON, L.BG. PASTOR GALSWELLS (off) (clears throat - continues under following scene)

1052.14

SCENE 142 - MFS - PASTOR GALSWELLS, HOLDING THE OPEN BIBLE.

1054.03

SCENE 143 - MS - PAST THE LIT CANDLE, L.FG., TO VICTOR, REACTING AS HE HOLDS HIS LIT CANDLE. VICTORIA LOOKS ON. NELL LOOKS ON, R.BG. MAUDELINE LOOKS ON, L.BG. VICTOR (chuckles) "With this candle...." (sighs) VICTOR BLOWS OUT THE CANDLE. FINIS (off) (moans) MAUDELINE Oh! NELL (overlapping) Oh. PASTOR GALSWELLS (off) Continue!

1065.01

1-138 /1046.05 1048.08 2.03 WILLIAM TO NELL Don't get all a-flutter, dear. (get...a-flutter : colloquial

for 'become flustered or upset') 1-139 1057.04 1060.13 3.09 VICTOR TO VICTORIA "With this candle...." 1-140 1063.05 1065.01/ 1.12 PASTOR GALSWELLS TO VICTOR Continue!


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SCENE 144 - MS - PASTOR GALSWELLS, REACTING TO THE SOUND OF THE DOORBELL.

1068.00

SCENE 145 - MFS - PAST FINIS, L.FG., TO MAUDELINE, SEATED. EMIL LOOKS ON, BG. FINIS (grunts) Get the door, Emil. PASTOR GALSWELLS (off) Let's just...

1073.08

SCENE 146 - MFS - PASTOR GALSWELLS, HOLDING THE OPEN BIBLE. PASTOR GALSWELLS ...pick it up at the candle bit.

1078.01

SCENE 147 - MS - FINIS, SEATED AS EMIL ENTERS R., STEPS L. AND HALTS, HOLDING A CALLING CARD. EMIL A Lord Barkis...

1083.14

SCENE 148 - MS - HIGH ANGLE - LOOKING DOWN AT FINIS (ARM), TAKING THE CALLING CARD FROM EMIL (TORSO). THE CALLING CARD READS:

LORD BARKIS BITTERN

EMIL (face off) ...sir. FINIS (face off) Hm?

1087.05

1-141 1068.12 1071.06 2.10 FINIS TO EMIL Get the door, Emil. (Get : I.e., 'Answer') (Note that Emil is the Everglot's

butler) 1-142 1072.11 1077.14/ 5.03 PASTOR GALSWELLS TO GROUP (over scene end) Let's just pick it up at the candle

bit. (pick it up at : i.e., 'resume

rehearsing the wedding from') (the candle bit : slang for 'at

the words "With this candle"') 1-143 1081.01 1083.14/ 2.13 EMIL TO FINIS A Lord Barkis, sir. (Note that Emil announces the

visitor, who enters) 1-144 /1084.02 1087.05/ 3.03 NARRATIVE TITLE (ON CALLING CARD) LORD BARKIS BITTERN


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SCENE 149 - MFS - FINIS, HOLDING THE CALLING CARD AS EMIL STEPS R. AND EXITS. BARKIS ENTERS R., STEPPING L. FINIS Hm. BARKIS I haven't a head for dates. Apparently, I'm a day early for the ceremony. MAUDELINE (ARM) ENTERS R., GRABBING THE CALLING CARD.

1098.12

SCENE 150 - MS - MAUDELINE, LOOKING AT THE CALLING CARD AS FINIS ENTERS L. FINIS Is he from your side of the family? MAUDELINE I can't recall. MAUDELINE LOOKS L. AT O.S. EMIL. MAUDELINE Emil, a seat for Lord Barkis!

1110.15

SCENE 151 - MFS - PAST MAUDELINE, R.FG., TO FINIS, SEATED AS BARKIS LOOKS ON, L. EMIL ENTERS R.BG., MOVING A CHAIR UNDER BARKIS AS HE SITS. EMIL RUNS R. AND EXITS.

1116.06

SCENE 152 - MFS - VICTORIA AND VICTOR, LOOKING FG. OVER THEIR SHOULDERS AS PASTOR GALSWELLS LOOKS ON, R.

1118.02

1-145 1090.09 1094.05 3.12 BARKIS TO GROUP I haven't a head for dates. (haven't...dates : colloquial

for 'do not accurately remember appointment dates')

1-146 1094.09 1098.12/ 4.03 BARKIS TO GROUP Apparently, I'm a day early for the

ceremony. (I'm a day early for : i.e., 'I

have arrived for the wedding one day prior to')

1-147 1100.11 1104.05 3.10 FINIS TO MAUDELINE Is he from your side of the family? (Note humorous implication that

they do not know who this visitor is, but cannot admit it to anyone)

1-148 1104.09 1106.13 2.04 MAUDELINE TO FINIS I can't recall. 1-149 1107.01 1110.15/ 3.14 MAUDELINE TO EMIL Emil, a seat for Lord Barkis! (a seat : i.e., 'find')


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SCENE 153 - MS - BARKIS, SEATED. BARKIS Do carry on.

1121.11

SCENE 154 - MFS - VICTORIA AND VICTOR, LOOKING FG. OVER THEIR SHOULDERS AS PASTOR GALSWELLS LOOKS ON, R. PASTOR GALSWELLS Let's try it again, shall...

1126.03

SCENE 155 - MFS - PAST FINIS, L.FG., TO MAUDELINE, SEATED. PASTOR GALSWELLS (off) ...we, Master Van Dort?

1130.00

SCENE 156 - MFS - PAST THE OPEN BIBLE, R.FG., TO VICTORIA AND VICTOR AS SHE LIGHTS HIS CANDLE. WILLIAM AND NELL LOOK ON, BG. VICTOR Yes. Yes, sir. Certainly.

1134.09

SCENE 157 - MFS - PASTOR GALSWELLS. PASTOR GALSWELLS Right.

1136.09

SCENE 158 - MFS - PAST THE CANDLE, R.FG., TO VICTOR AND VICTORIA, HOLDING LIT CANDLES. VICTOR Right. VICTOR FLIPS THE CANDLE INTO HIS RIGHT HAND. VICTOR Oh! Right! "With...

1142.05

1-150 1119.04 1121.11/ 2.07 BARKIS TO GROUP Do carry on. (Colloquial emphatic for 'Continue

with the rehearsal.') 1-151 1122.15 1129.00 6.01 PASTOR GALSWELLS TO VICTOR (over scene end) Let's try it again, shall we, Master

Van Dort? 1-152 1130.05 1134.06 4.01 VICTOR TO PASTOR GALSWELLS Yes. Yes, sir. Certainly. 1-153 /1134.10 1136.09/ 1.15 PASTOR GALSWELLS TO VICTOR Right. (I.e., 'Hold the candle in your

right hand.' 1-154 /1136.13 1141.05 4.08 VICTOR TO PASTOR GALSWELLS Right. Ow! Right! (Right : Colloquial exclamation

of agreement) (Right! : I.e., 'Now I realize

you referred to holding the candle in my right hand!')


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SCENE 159 - MFS - PAST VICTOR, L.FG., TO PASTOR GALSWELLS, STANDING BEHIND THE TABLE. VICTOR (face off) ...this...this.... PASTOR GALSWELLS Hand.

1147.11

SCENE 160 - MFS - PAST THE TABLE WITH THE CANDLE AND CHALICE ATOP IT, FG., TO VICTOR AND VICTORIA, HOLDING THE LIT CANDLES. WILLIAM AND NELL LOOK ON, R.BG. FINIS AND MAUDELINE LOOK ON, L.BG. BARKIS LOOKS ON, BG. VICTOR "With this hand... VICTOR GRASPS VICTORIA'S HAND AS THEY STEP FG. VICTOR ...I.... With--" VICTOR BUMPS INTO THE TABLE. VICTOR (grunting) Ah! NELL & WILLIAM (sighing) Oh. PASTOR GALSWELLS (off) (overlapping) Three...

1156.03

SCENE 161 - MFS - LOW ANGLE - LOOKING UP AT PASTOR GALSWELLS. PASTOR GALSWELLS ...steps, three!

1158.07

1-155 1141.09 1145.03 3.10 VICTOR TO VICTORIA (over scene end) "With this...this...." 1-156 1145.07 1147.11/ 2.04 PASTOR GALSWELLS TO VICTOR Hand. (Note that he prompts Victor) 1-157 /1147.15 1152.01 4.02 VICTOR TO VICTORIA "With this hand...I.... With--" 1-158 1155.03 1158.04/ 3.01 PASTOR GALSWELLS TO VICTOR (over scene end) Three steps, three! (Three : I.e., 'You must only

take') (Note that Victor took a different

number of steps than Victoria did)


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SCENE 162 - MS - VICTORIA REACTS. PASTOR GALSWELLS (off) Can you not count? VICTORIA (overlapping) (gasps) PASTOR GALSWELLS (off) Do you not wish...

1161.10

SCENE 163 - MS - LOW ANGLE - LOOKING UP AT PASTOR GALSWELLS. PASTOR GALSWELLS ...to be married, Master Van Dort?

1165.06

SCENE 164 - MFS - PAST THE CANDLE, R.FG., TO VICTOR AND VICTORIA. NELL AND WILLIAM LOOK ON, R.BG. VICTOR No! No.

1166.11

SCENE 165 - MS - PAST VICTOR (TORSO), R.FG., TO VICTORIA. VICTORIA You do not?

1168.03

1-159 /1158.08 1161.06/ 2.14 PASTOR GALSWELLS TO VICTOR Can you not count? 1-160 /1161.10 1165.06/ 3.12 PASTOR GALSWELLS TO VICTOR Do you not wish to be married, Master

Van Dort? (Note implication that the various

mishaps during the rehearsal are omens or evidence that Victor does not really want to marry Victoria)

1-161 /1165.10 1166.11/ 1.01 VICTOR TO PASTOR GALSWELLS No! No. (Note double meaning – [1] I.e.,

'No, that is not my feeling.' – 'No, that is not true. I have no aversion to marrying Victoria.' and [2] I.e., 'No, I do not want to marry Victoria.')

1-162 /1166.15 1168.04/ 1.05 VICTORIA TO VICTOR You do not?


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SCENE 166 - MS - PAST VICTORIA, L.FG., TO VICTOR. VICTOR No-no! I meant, no, I do not not wish to be married. That is, I want very much to-- PASTOR GALSWELLS' STAFF ENTERS R., HITTING VICTOR'S HEAD. VICTOR Ow! (grunts) VICTORIA (face off) (overlapping) (gasps)

1178.04

SCENE 167 - MS - PASTOR GALSWELLS, HOLDING HIS STAFF. PASTOR GALSWELLS (overlapping) Pay attention! Have you even remembered to bring the ring?

1184.15

SCENE 168 - MFS - PAST THE LIT CANDLE TO VICTOR, REACHING INSIDE HIS POCKET AS VICTORIA LOOKS ON VICTOR The ring? Yes.

1187.00

SCENE 169 - MS - NELL AND WILLIAM, SEATED AS HE WINKS AND SIGNALS WITH A THUMB UP. VICTOR (off) Of, course. WILLIAM (clicks tongue)

1189.02

1-163 /1168.08 1174.06 5.14 VICTOR TO VICTORIA No! I meant, no, I do not not wish to

be married. (I do not not wish to be married

: I.e., 'I have no wish not to be married' – 'I am not averse to being married')

1-164 1174.10 1178.04/ 3.10 VICTOR TO VICTORIA That is, I want very much to-- (That is : Colloquial emphatic

exclamation – I.e., 'That is to say' – 'In other words')

1-165 /1178.08 1184.15/ 6.07 PASTOR GALSWELLS TO VICTOR Pay attention! Have you even

remembered to bring the ring? (ring : refers to Victoria's

wedding ring) 1-166 /1185.03 1189.02/ 3.15 VICTOR TO PASTOR GALSWELLS (over scene end) The ring? Yes. Of, course.


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SCENE 170 - MS - VICTOR STEPS R. AS HE HOLDS THE LIT CANDLE AND THE RING. CAMERA ZOOMS IN ON VICTOR, MOVING OFF VICTORIA. VICTOR Hm. (grunts) VICTOR SQUEEZES THE RING WHICH FLIES L. AND EXITS. NELL (off) (overlapping) (crying) Oh! VICTOR RUNS L. AND EXITS.

1194.03

SCENE 171 - MS - VICTORIA, HOLDING HER LIT CANDLE. PASTOR GALSWELLS (off) Dropping... MAUDELINE (off) (overlapping) Oh...

1195.04

SCENE 172 - FS - VICTOR, KNEELING AS THE RING BOUNCES, MOVING FG. VICTORIA AND PASTOR GALSWELLS LOOK ON. CAMERA DOLLIES BACK WITH THE RING. PASTOR GALSWELLS ...the ring! MAUDELINE (off) (overlapping) ...no! He's dropped the ring! VICTOR (overlapping) (grunts) Oh! VICTOR STRAIGHTENS AND RUNS FG. PASTOR GALSWELLS (face off) (overlapping) This boy...

1198.10

1-167 /1194.04 1197.06 3.02 PASTOR GALSWELLS TO GROUP (over scene end) Dropping the ring!


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SCENE 173 - MFS - PASTOR GALSWELLS. PASTOR GALSWELLS ...doesn't want to get married. NELL (off) (overlapping) (moans) MAUDELINE (off) (overlapping) How...

1201.06

SCENE 174 - MS - THE RING ROLLS L., MOVING UNDER MAUDELINE'S SKIRT. VICTOR ENTERS R., DIVING ONTO THE FLOOR AS HE REACHES UNDER MAUDELINE'S SKIRT. MAUDELINE (off) ...disgraceful! VICTOR (overlapping) (grunts)

1203.11

SCENE 175 - MS - MAUDELINE, SEATED, REACTING. VICTOR (off) (whispering) Excuse me. MAUDELINE (overlapping) (gasps) VICTOR STRAIGHTENS IN R.FG., HOLDING THE RING. VICTOR Got it! MAUDELINE LOOKS DOWN. MAUDELINE Oh. Oh! FINIS (off) Oh. MAUDELINE Oh! VICTOR Oh.

1-168 1198.03 1201.06/ 3.03 PASTOR GALSWELLS TO GROUP (over scene end) This boy doesn't want to get married. 1-169 /1201.10 1203.11/ 2.01 MAUDELINE TO GROUP How disgraceful! 1-170 1204.03 1207.06 3.03 VICTOR TO MAUDELINE, THEN TO GROUP Excuse me. Got it! (Note that Victor retrieves the

ring)


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SCENE 175 - (CONTINUED) FINIS (off) (overlapping) (grunts)

1209.13

SCENE 176 - MS - MAUDELINE (LEGS), KICKING AWAY VICTOR'S CANDLE WITH THE BOTTOM OF HER SKIRT AFLAME. WILLIAM (off) Oh! MAUDELINE (face off) (overlapping) Oh!

1211.04

SCENE 177 - FS - FINIS LEAPS OUT OF HIS CHAIR AS MAUDELINE REACTS WITH HER SKIRT AFLAME. VICTOR LOOKS ON, R. MAUDELINE (yelling in fear) Ah, ah, ah, ah, ah! Ooh! FINIS PUSHES VICTOR AS VICTORIA ENTERS L.FG. FINIS (overlapping) Out of the way, you ninny!

1215.10

SCENE 178 - MFS - PAST MAUDELINE (SKIRT), L.FG., TO FINIS, STAMPING HIS FEET AS VICTOR LOOKS ON, L.BG. VICTORIA LOOKS ON, R.BG. MAUDELINE (face off) (gasping) Oh! Oh! (yells and gasps under following scenes and dialogue) CAMERA TILTS DOWN ON FINIS (LEGS), STAMPING HIS FEET TOWARD THE FLAMES ON MAUDELINE'S SKIRT. WILLIAM (off) Oh, oh, dear! Oh, my!

1218.05

1-171 1212.01 1215.10/ 3.09 FINIS TO VICTOR Out of the way, you ninny! (ninny : colloquial for 'fool' –

'simpleton') (Note that he is trying to help

extinguish the fire)


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SCENE 179 - MFS - PAST VICTORIA, L.FG., TO FINIS, STAMPING HIS LAGS AS MAUDELINE REACTS. NELL LOOKS ON, R. WILLIAM (off) Giddy on, there's a woman... FINIS (face off) (overlapping) (grunts and groans - continues under following scenes and dialogue)

1219.10

SCENE 180 - MS - FINIS (LEGS), STAMPING HIS FEET ON THE FLAMES ON MAUDELINE'S SKIRT. WILLIAM (off) ...on fire!

1220.14

SCENE 181 - MFS - PAST VICTORIA, L.FG., TO FINIS, STAMPING HIS LEGS AS MAUDELINE REACTS. NELL LOOKS ON, R. WILLIAM (off) Help! Emergency!

1222.07

SCENE 182 - MS - VICTORIA REACTS. WILLIAM (off) Oh...

1223.14

SCENE 183 - MFS - VICTOR REACTS AS EMIL PUSHES HIS BACK, STEPS R. AND EXITS. WILLIAM (off) ...my! EMIL (grunts)

1225.09

1-172 1216.12 1222.07/ 5.11 WILLIAM TO GROUP (over scene ends) Oh, dear! Oh, my! Giddy on, there's a

woman on fire! Help! Emergency! (Giddy on : Colloquial

exclamation)


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SCENE 184 - MFS - PAST MAUDELINE, L.FG., TO NELL, WAVING HER FAN AS WILLIAM LOOKS ON. EMIL ENTERS L. AND LOOKS ON. NELL Oh, I hope it doesn't stain!

1228.00

SCENE 185 - MFS - PAST NELL (ARM), WAVING THE FAN, R.FG., TO MAUDELINE AND FINIS. MAUDELINE Stop fanning it...

1230.15

SCENE 186 - MFS - PAST THE TABLE, FG., TO PASTOR GALSWELLS, CLOSING THE BIBLE AS HE REACTS. MAUDELINE (off) ...you fool! (gasps and groans - continues under following scenes and dialogue) NELL (off) (overlapping) Oh, o-open a window!

1235.04

SCENE 187 - MFS - PAST VICTORIA, L.FG., TO FINIS, STAMPING HIS LEGS AS MAUDELINE REACTS. NELL AND WILLIAM LOOK ON, R. EMIL RUNS R. AND EXITS. CAMERA TILTS DOWN TO INCLUDE THE FLAMES ON MAUDELINE'S SKIRT. NELL (face off) Oh!

1237.11

1-173 /1225.10 1228.00/ 2.06 NELL TO MAUDELINE I hope it doesn't stain! (Refers to the fire discoloring

her dress) 1-174 /1228.04 1232.01 3.13 MAUDELINE TO NELL (over scene end) Stop fanning it, you fool! (Stop fanning it : Note that

Nell uses her fan in an attempt to extinguish the flames)

1-175 1232.05 1234.12 2.07 NELL TO GROUP Open a window!


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1AB (52)



SCENE 188 - MS - NELL. NELL Get a bucket, get a bucket! CAMERA PANS R., MOVING ON WILLIAM. WILLIAM (overlapping) Uh, I'm on my way, dear. Yes. Oh, dear! WILLIAM RUNS R. AND EXITS AS BARKIS (ARM) ENTERS R., HOLDING THE CHALICE OF WINE AND SPILLING IT LOWER FRAME.

1245.11

SCENE 189 - MFS - LOOKING DOWN AT MAUDELINE (LEGS), KICKING AT THE FLAMES ON HER SKIRT AS THE WINE FALLS ATOP THEM, EXTINGUISHING THE FIRE. MAUDELINE (face off) Ooh.

1248.00

SCENE 190 - MS - BARKIS, TOSSES THE CHALICE, FLYING L.BG. EMIL (ARM) ENTERS L.BG., CATCHING THE CHALICE ON A TRAY.

1251.12

SCENE 191 - MFS - FINIS, MAUDELINE AND NELL, REACTING.

1253.00

SCENE 192 - MS - BARKIS REACTS AS EMIL ENTERS L.BG., HOLDING THE CHALICE ON THE TRAY.

1255.07

SCENE 193 - MFS - FINIS, MAUDELINE AND NELL, REACTING.

1256.10

1-176 /1237.12 1240.06 2.10 NELL TO WILLIAM Get a bucket, get a bucket! (Implying, 'Get a bucket of water

to extinguish the fire!') 1-177 1240.10 1244.13 4.03 WILLIAM TO NELL I'm on my way, dear. Yes. Oh, dear!


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SCENE 194 - MFS - PAST MAUDELINE, L.FG., AND FINIS, R.FG., TO PASTOR GALSWELLS, EXTENDING HIS ARMS AS EMIL, BARKIS AND WILLIAM LOOK ON. PASTOR GALSWELLS Enough! This wedding cannot take place until he has properly prepared.

1267.01

SCENE 195 - MFS - VICTOR REACTS. PASTOR GALSWELLS (off) Young man...

1269.05

SCENE 196 - MS - PASTOR GALSWELLS STEPS FG. AS HE POINTS HIS FINGER AT O.S. VICTOR. PASTOR GALSWELLS ...learn your vows.

1276.15

SCENE 197 - MFS - PAST PASTOR GALSWELLS (ARM), R.FG., TO VICTOR, REACTING.

1279.08

SCENE 198 - MS - FINIS AND MAUDELINE, LOOKING AT O.S. VICTOR.

1281.10

SCENE 199 - MS - WILLIAM AND NELL, LOOKING AT O.S. VICTOR.

1283.02

1-178 /1256.11 1258.05 1.10 PASTOR GALSWELLS TO GROUP Enough! (Enough : Colloquial exclamation

to end something, especially something that has become frustrating or annoying)

1-179 1258.09 1265.11 7.02 PASTOR GALSWELLS TO GROUP This wedding cannot take place until he

has properly prepared. (he : refers to Victor) 1-180 /1269.06 1276.11 7.05 PASTOR GALSWELLS TO VICTOR Young man, learn your vows. (learn your vows : i.e.,

'memorize your wedding vows')


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SCENE 200 - MFS - PAST PASTOR GALSWELLS (ARM), R.FG., TO VICTOR, STEPPING BACKWARD TOWARD THE DOOR AND BUMPING INTO IT. CAMERA PANS L., MOVING OFF PASTOR GALSWELLS (ARM). VICTOR (grunts) VICTOR OPENS THE DOOR RUNS BG. THROUGH THE DOORWAY AND IS OBSCURED.

1295.14

EXHIBITION FOOTAGE: 1283.15

END OF REEL 1AB

FINAL

LAST FRAME OF PICTURE IS 1295.14

END OF REEL 1AB

REVISED FINAL 9/05/05


2AB

2AB (1)




11.15

SCENE 1 - INT. EVERGLOT DRAWING ROOM - DAY - MFS - PAST VICTORIA, R.FG., TO BARKIS. BARKIS Well, he's quite the catch, isn't he? CAMERA DOLLIES INTO MCS ON VICTORIA, REACTING.

29.02

DISSOLVE TO: SCENE 2 - EXT. VILLAGE FOOTBRIDGE - NIGHT - MS - LOOKING DOWN AT VICTOR (HANDS), HOLDING THE JASMINE. CAMERA TILTS UP ON VICTOR, LIFTING AND LOOKING AT THE JASMINE. VICTOR (sighs)

42.02

SCENE 3 - MFS - VICTOR, LEANING AGAINST THE BRIDGE. THE TOWN GATE IS BG. VICTOR Oh, Victoria. She must think I'm such a fool. This day couldn't get any worse. TOWN CRIER (off) Hear ye... THE TOWN CRIER EMERGES INSIDE THE TOWN GATE, RINGING HIS BELL, BG. TOWN CRIER ...hear ye, rehearsal in ruins as Van Dort boy causes chaos! VICTOR (overlapping) Huh?

61.02





(Flat)

2-1 13.15 20.00 6.01 BARKIS TO VICTORIA Well, he's quite the catch, isn't he? (quite : colloquial emphatic) (the catch : colloquial

reference to a desired mate or lover)

(Here meant facetiously) 2-2 42.11 48.09 5.14 VICTOR TO HIMSELF Oh, Victoria. She must think I'm such

a fool. (Note that Victor is alone after

the rehearsal) 2-3 49.09 52.00 2.07 VICTOR TO HIMSELF This day couldn't get any worse. 2-4 52.04 54.13 2.09 TOWN CRIER TO GROUP Hear ye, hear ye... 2-5 55.01 61.02/ 6.01 TOWN CRIER TO GROUP ...rehearsal in ruins as Van Dort boy

causes chaos! (Van Dort boy : refers to

Victor)


2AB

2AB (2)



SCENE 4 - EXT. TOWN GATE - NIGHT - MS - THE TOWN CRIER, RINGING HIS BELL. TOWN CRIER Fishy fiancé could be canned!

68.12

SCENE 5 - EXT. VILLAGE FOOTBRIDGE - NIGHT - MFS - VICTOR, LEANING AGAINST THE BRIDGE. THE TOWN CRIER RINGS THE BELL, L.BG. IN SOFT FOCUS. TOWN CRIER Everglots all fired up as Van Dort disaster ruins... VICTOR (overlapping) (sighs)

74.14

SCENE 6 - FS - ACROSS THE ROAD, L.FG., TO VICTOR, STEPPING BG. ACROSS THE BRIDGE. TOWN CRIER (off) ...rehearsal!

79.02

DISSOLVE TO: SCENE 7 - EXT. DARK WOODS - NIGHT - MS - VICTOR STEPS FG. AS CAMERA DOLLIES BACK. SOME TREES ARE BG. VICTOR It really shouldn't be all that difficult. It's just a few simple vows. VICTOR STOPS AS CAMERA HOLDS. VICTOR "With this hand, I will take your wine." (grunts) No.

95.12

2-6 63.03 67.13 4.10 TOWN CRIER TO GROUP Fishy fiancé could be canned! (Fishy : Note double meaning –

[1] Colloquial for 'Fraudulent' – 'Deceptive' and [2] Note that the Van Dorts sell fish for a living)

(Fishy fiancé : Refers to Victor)

(canned : note double meaning – [1] colloquial for 'fired from a job' and [2] refers to food, such as fish, being preserved in a tin can)

2-7 /68.14 74.14/ 6.00 TOWN CRIER TO GROUP Everglots all fired up as Van Dort

disaster ruins rehearsal! (all fired up : note double

meaning – [1] colloquial for 'very angry' and [2] refers to Maudeline's dress catching fire at the rehearsal)

2-8 80.02 87.07 7.05 VICTOR TO HIMSELF It really shouldn't be all that

difficult. It's just a few simple vows.

(Refers to memorizing and correctly repeating his wedding vows)

2-9 87.11 92.14 5.03 VICTOR TO HIMSELF "With this hand, I will take your

wine." (Note that Victor is alone in the

forest, practicing the wedding vows)

2-10 93.14 95.12 1.14 VICTOR TO HIMSELF No.


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2AB (3)



DISSOLVE TO: SCENE 8 - FS - HIGH ANGLE - PAST TWO TREES, L.FG., TO VICTOR, STEPPING R. VICTOR "With this hand...

99.06

SCENE 9 - MS - VICTOR CUPS HIS HANDS BY HIS CHEST. VICTOR ...I will cup your--" VICTOR STEPS R. VICTOR Oh, goodness, no.

105.11

SCENE 10 - FS - PAST THE TWO TREES, L.FG., TO VICTOR, STEPPING R.

108.00

DISSOLVE TO: SCENE 11 - MFS - A DARK TREE TRUNK. VICTOR (off) "With... VICTOR EMERGES, STEPPING R. AS CAMERA DOLLIES R., MOVING PAST A TREE, FG. VICTOR ...this..." "With this...." VICTOR STOPS AS CAMERA DOLLIES R. TO INCLUDE A TREE WITH SEVERAL CROWS ON ITS BRANCHES. VICTOR "With this candle, I will.... I will...."

123.14

2-11 97.14 99.06/ 1.08 VICTOR TO HIMSELF "With this hand... 2-12 100.12 103.04 2.08 VICTOR TO HIMSELF ...I will cup your f--" (cup your f-- : implying play on

'cop a feel' - colloquial for 'fondle a woman's breast')

2-13 103.08 105.11/ 2.03 VICTOR TO HIMSELF Oh, goodness, no. (Colloquial exclamation of dismay

- I.e., 'Oh, that is not proper or appropriate.')

2-14 108.06 111.13 3.07 VICTOR TO HIMSELF "With...this...." 2-15 112.06 114.14 2.08 VICTOR TO HIMSELF "With this...." 2-16 115.02 119.00 3.14 VICTOR TO HIMSELF "With this candle, I will.... 2-17 121.11 123.07 1.12 VICTOR TO HIMSELF I will...."


2AB

2AB (4)



SCENE 12 - MS - VICTOR. VICTOR I will set your mother on fire. VICTOR SITS ON A FALLEN TREE AS CAMERA TILTS DOWN. VICTOR Oh, it's no use. VICTOR REACHES INSIDE HIS POCKET AND PULLS OUT THE JASMINE AND THE RING.

138.00

SCENE 13 - MS - VICTOR (ARM), HOLDING THE JASMINE AND THE RING IN HIS PALM.

140.01

SCENE 14 - MS - VICTOR LIFTS THE JASMINE AND SMELLS IT. VICTOR (smells)

151.04

SCENE 15 - MFS - LOW ANGLE - VICTOR STRAIGHTENS AS HE HOLDS UP THE RING AND PUTS THE JASMINE INSIDE HIS POCKET. VICTOR "With this hand, I will lift your sorrows.

159.04

SCENE 16 - MFS - PAST A DARK TREE TRUNK, L.FG., TO VICTOR. VICTOR "Your cup will never empty, for I will be your wine." VICTOR TOSSES THE KEY UP AND CATCHES IT.

167.11

2-18 125.01 127.15 2.14 VICTOR TO HIMSELF I will set your mother on fire. (Note that Victor humorously

combines the wedding vow reference to lighting a candle and his accidentally burning Victoria's mother's dress with the candle)

2-19 130.15 133.15 3.00 VICTOR TO HIMSELF Oh, it's no use. (it's no use : colloquial

exclamation of discouragement or defeat)

2-20 152.04 159.04/ 7.00 VICTOR TO HIMSELF "With this hand, I will lift your

sorrows. (Note that Victor regains his

confidence and recites the vows correctly)

2-21 /159.08 166.03 6.11 VICTOR TO HIMSELF "Your cup will never empty, for I will

be your wine."


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2AB (5)



SCENE 17 - MCS - VICTOR LOOKS R.FG. AT AN O.S. TREE BRANCH. VICTOR Ah, Mrs. Everglot.

170.15

SCENE 18 - MFS - THE BARE TREE BRANCH AS VICTOR ENTERS L.FG., GRASPING IT AS IF IT WERE A HAND. VICTOR You look ravishing this evening. VICTOR STEPS L. AND EXITS.

176.04

SCENE 19 - MFS - A TREE STUMP AS VICTOR ENTERS R. AND HOLDS HIS HAND CUPPED BY HIS EAR. VICTOR What's that, Mr. Everglot? Call you "Dad"? If you insist, sir. VICTOR STEPS R. AND EXITS.

184.02

SCENE 20 - MS - PAST A TREE BOUGH, FG., TO VICTOR, ENTERING L. AS HE SNAPS OFF A TWIG. VICTOR "With this candle... VICTOR HOLDS THE TWIG AGAINST A SECOND TWIG AS IF LIGHTING THE CANDLE. VICTOR ...I will light your way in darkness.

191.02

2-22 168.08 170.15/ 2.07 VICTOR AS IF TO MAUDELINE Ah, Mrs. Everglot. (Note that Victor is alone,

pretending what he would say if he was confident and sophisticated)

2-23 171.14 175.04 3.06 VICTOR AS IF TO MAUDELINE You look ravishing this evening. (ravishing : i.e., 'beautiful' –

'lovely') 2-24 176.09 183.12 7.03 VICTOR AS IF TO FINIS What's that, Mr. Everglot? Call you

"Dad"? If you insist, sir. (What's that : I.e., 'What did

you just say') (Call you "Dad" : I.e., 'Address

you by the colloquial term Dad' – Note that Mr. Everglot will be his father-in-law when Victor marries Victoria)

2-25 184.09 191.02/ 6.09 VICTOR TO HIMSELF "With this candle, I will light your

way in darkness.


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2AB (6)



SCENE 21 - MCS - VICTOR (HAND) ENTERS LOWER FRAME, HOLDING THE RING. VICTOR (face off) "With this ring...

194.10

SCENE 22 - MFS - PAST A SKELETAL HAND THAT LOOKS LIKE A TREE ROOT, L.FG., TO VICTOR, KNEELING. VICTOR "...I ask you to be mine."

199.02

SCENE 23 - CS - VICTOR (HAND) PUTS THE RING ONTO THE SKELETAL HAND/TREE ROOT.

201.05

SCENE 24 - MS - PAST THE SKELETAL HAND/TREE ROOT, L.FG., TO VICTOR, REACTING.

204.05

SCENE 25 - MCS - THE SKELETAL HAND/TREE ROOT WITH THE RING ON THE FINGER.

207.09

SCENE 26 - MS - PAST THE SKELETAL HAND/TREE ROOT, L.FG., TO VICTOR, REACTING AS THE WIND BLOWS AND AN O.S. CROW CAWS. VICTOR LOOKS BG. OVER HIS SHOULDER AS THE SKELETAL HAND MOVES AND SOME LEAVES BLOW, MOVING R.

212.12

SCENE 27 - MFS - HIGH ANGLE - VICTOR, KNEELING AS HE LOOKS FG. OVER HIS SHOULDER.

215.13

2-26 191.14 194.08/ 2.10 VICTOR TO HIMSELF "With this ring... 2-27 195.09 199.02/ 3.09 VICTOR TO HIMSELF ...I ask you to be mine."


2AB

2AB (7)



SCENE 28 - MFS - LOW ANGLE - VICTOR'S POV - LOOKING UP AT SEVERAL TREES WITH A GROUP OF CROWS ON THEIR BRANCHES.

220.12

SCENE 29 - MFS - HIGH ANGLE - LOOKING DOWN AT VICTOR, REACTING AS THE SKELETAL HAND GRABS HIS WRIST. VICTOR (gasps)

221.14

SCENE 30 - MS - THE SKELETAL ARM, PULLING VICTOR'S ARM.

222.09

SCENE 31 - MFS - THE SKELETAL HAND RETRACTS INSIDE A HOLE IN THE SNOW, PULLING VICTOR'S ARM AS VICTOR ENTERS R., FALLING ONTO THE SNOW. VICTOR (grunts) Huh?

224.13

SCENE 32 - MFS - LOW ANGLE - LOOKING UP AT THE GROUP OF CROWS, FLYING FG. FROM THE TREE BRANCHES.

226.15

SCENE 33 - MFS - VICTOR STRAIGHTENS, MOVING R. AS HE PULLS OUT THE SKELETAL HAND HOLDING HIS WRIST. SOME CROW SHADOWS MOVE ON THE SNOW. VICTOR (grunts – continues under following scenes)

228.06

SCENE 34 - MFS - THE SKELETAL ARM, HOLDING VICTOR'S ARM.

230.14


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2AB (8)



SCENE 35 - MFS - PAST A SNOW BANK, FG., TO VICTOR, PULLING HIS ARM AS THE SKELETAL ARM HOLDS HIS WRIST. SEVERAL CROWS FLY ABOUT IN BG.

232.10

SCENE 36 - MS - VICTOR, STRUGGLING AS HE PULLS HIS ARM. SEVERAL CROWS FLY ABOUT IN BG.

234.15

SCENE 37 - MS - THE SKELETAL ARM, PULLING VICTOR'S ARM.

237.08

SCENE 38 - MFS - PAST THE SNOW BANK, FG., TO VICTOR, FALLING BG. WITH THE SKELETAL ARM AS IT SEVERS FROM THE GROUND. VICTOR (pants) (grunts) (yells - continues under following scenes)

239.05

SCENE 39 - FS - VICTOR FALLS ONTO HIS BACK.

240.15

SCENE 40 - MS - VICTOR SITS UP AND LIFTS THE SKELETAL ARM CLINGING TO HIS WRIST. VICTOR (gasps)

243.13

SCENE 41 - MS - THE SKELETAL ARM, CLENCHING AND GRASPING AROUND VICTOR'S WRIST.

245.05


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2AB (9)



SCENE 42 - MS - VICTOR, SHAKES HIS ARM, SHAKING THE SKELETAL ARM. VICTOR (yells) VICTOR TOSSES THE SKELETAL ARM, EXITING UPPER FRAME. VICTOR (gasps) (pants - continues under following scenes)

249.02

SCENE 43 - MFS - ACROSS THE SNOW TO VICTOR, SEATED ON THE GROUND AS THE SKELETAL ARM FALLS IN FG. CAMERA DOLLIES IN, MOVING OFF THE SKELETAL ARM AS THE GROUND BEGINS TO MOVE IN L.BG. VICTOR Hm?

254.04

SCENE 44 - MFS - HIGH ANGLE - LOOKING DOWN AT THE FROZEN GROUND BREAKING APART AS A TREE ROOT FALLS OVER.

257.04

SCENE 45 - MFS - VICTOR REACTS AS CAMERA DOLLIES INTO MCS. VICTOR (gasps)

259.08

SCENE 46 - MFS - ACROSS THE FROZEN GROUND TO CORPSE BRIDE, EMERGING FROM A HOLE AND GRABBING THE GROUND IN FG.

264.09

SCENE 47 - MFS - PAST CORPSE BRIDE, RISING IN L.FG., TO VICTOR, SEATED ON THE GROUND.

268.06


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2AB (10)



SCENE 48 - MCS - VICTOR REACTS.

269.13

SCENE 49 - MFS - CORPSE BRIDE, RISING OUT OF THE HOLE AS CAMERA DOLLIES BACK TO INCLUDE VICTOR, R.FG.

276.01

SCENE 50 - MS - CORPSE BRIDE LIFTS HER VEIL TO REVEAL HER FACE. CORPSE BRIDE I do!

282.13

SCENE 51 - MFS - PAST CORPSE BRIDE, L.FG., TO VICTOR, CRAWLING BACKWARD, MOVING BG. VICTOR (gasps) VICTOR STRAIGHTENS, RUNNING R.BG. VICTOR (grunts)

287.11

SCENE 52 - MFS - THE SKELETAL ARM, LYING ON THE GROUND AS VICTOR (LEGS) CROSSES R. AND EXITS. THE SKELETAL ARM CRAWLS R. AS CORPSE BRIDE (LEGS) ENTERS L., GRABBING IT AS SHE RUNS R. AND EXITS.

297.00

2-28 281.02 282.13/ 1.11 CORPSE BRIDE TO VICTOR I do! (Note that this is a bride's final

vow in a wedding ceremony) (Note implication that the Corpse

Bride now considers herself to be married to Victor, and chases him as he tries to escape)

2-29 (OUT)


2AB

2AB (11)



SCENE 53 - FS - LOOKING UP AT A HILL AS VICTOR RUNS OVER THE CREST AND FALLS, MOVING R. VICTOR (grunts) Oh-oh! VICTOR LANDS ON THE GROUND AND CRASHES AGAINST A HEADSTONE AS CAMERA PANS R. VICTOR LOOKS L. OVER HIS SHOULDER. VICTOR (gasps)

304.00

SCENE 54 - FS - LOW ANGLE - LOOKING UP AT THE HILL AS CORPSE BRIDE STEPS ATOP IT AND STOPS.

306.12

SCENE 55 - MFS - VICTOR STRAIGHTENS AS HE BACKS AGAINST THE HEADSTONE. VICTOR (pants - continues under following scenes)

310.05

SCENE 56 - FS - LOOKING UP AT THE HILL AS CORPSE BRIDE STEPS DOWN IT.

312.07

SCENE 57 - MFS - VICTOR FALLS OVER THE HEADSTONE, RUNS R. AND EXITS.

315.09


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2AB (12)



SCENE 58 - MFS - VICTOR RUNS R. AS CAMERA DOLLIES R. WITH HIM, MOVING PAST TREES. VICTOR CRASHES AGAINST A TREE TRUNK, HITTING HIS EYE. VICTOR (grunts) VICTOR STEPS AWAY FROM THE TREE TRUNK. VICTOR (groans)

320.02

SCENE 59 - MS - VICTOR, COVERING HIS EYE WITH HIS HAND AND LOOKING FG. AT O.S. CORPSE BRIDE. VICTOR (grunts) (gasps)

325.05

SCENE 60 - MFS - VICTOR'S POV - DOUBLE VISION EFFECT - CORPSE BRIDE, STEPPING FG.

327.14

SCENE 61 - MS - VICTOR RUNS BG. AND CRASHES AGAINST THE TREE TRUNK. VICTOR (grunts) VICTOR RUNS R. AND EXITS.

332.09

SCENE 62 - FS - VICTOR RUNS R. DOWN A HILL AND SLIDES ABOUT A FROZEN CREEK. CAMERA DOLLIES R. VICTOR (face off) Whoa! (grunts and pants – continues under following scenes)

338.01


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2AB (13)



SCENE 63 - MFS - VICTOR (LEGS), RUNNING IN PLACE ON THE ICE. CAMERA TILTS UP ON VICTOR, LOOKING L. OVER HIS SHOULDER.

342.14

SCENE 64 - MFS - CORPSE BRIDE STEPS FG.

345.02

SCENE 65 - MFS - VICTOR RUNS BG. ACROSS THE FROZEN CREEK AND A GRAVEYARD, THEN EXITS R.BG. VICTOR (gasps, grunts, and pants – continues under following scene) CORPSE BRIDE ENTERS L.FG., STEPPING BG.

354.00

SCENE 66 - MS - VICTOR RUNS BG. AS CAMERA DOLLIES IN WITH HIM, MOVING TOWARD TREE BRANCHES. VICTOR (grunts and pants – continues under following scenes)

356.05

SCENE 67 - MS - VICTOR RUNS R. AND BECOMES TANGLED AND CAUGHT IN THE TREE BRANCHES AS CAMERA DOLLIES R. WITH HIM. VICTOR STRUGGLES, THEN MOVES R. AND EXITS AS HIS CLOTHING TEARS.

364.15


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SCENE 68 - FS - VICTOR ENTERS L.FG., RUNNING BG. TOWARD THE BRIDGE. CAMERA DOLLIES IN WITH HIM AS SEVERAL CROWS ENTER FG., FLYING BG. VICTOR CROUCHES ON THE BRIDGE. VICTOR (face off) (groans) THE CROWS CONTINUE BG. TOWARD THE NIGHT SKY AS CAMERA TILTS UP ON THEM. THE CROWS EXIT UPPER FRAME. VICTOR RE-ENTERS LOWER FRAME, STRAIGHTENING. VICTOR LOOKS FG. AND REACTS. VICTOR (sighs) (pants – continues under following scenes)

384.09

SCENE 69 - MFS - VICTOR'S POV - PAST THE BRIDGE WALL, L.FG., TO THE ROAD. CAMERA PANS R., MOVING ON THE OTHER BRIDGE WALL, R.FG. CAMERA TILTS UP AND PANS L. ON A CHURCH. CAMERA TILTS DOWN ON THE BRIDGE WALL.

391.01

SCENE 70 - MS - VICTOR REACTS. VICTOR (sighs) (pants - continues under following scenes and dialogue)

394.10

SCENE 71 - MFS - VICTOR STEPS BACKWARD, MOVING R.FG. CAMERA PANS R. TO INCLUDE CORPSE BRIDE AS VICTOR STOPS IN L.FG.

401.08

SCENE 72 - FS - ACROSS THE BRIDGE TO VICTOR AND CORPSE BRIDE AS SHE STEPS TOWARD HIM AND THE GROUP OF CROWS FLY OVERHEAD.

410.08


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SCENE 73 - MFS - VICTOR REACTS AS CORPSE BRIDE GRASPS HIS SHOULDERS. CAMERA DOLLIES R. IN A CIRCLE ON THEM AS CROWS FLY ABOUT. CORPSE BRIDE (face off) You (on) may kiss the bride. CORPSE BRIDE KISSES VICTOR AS SCENE FADES TO BLACK.

431.04

FADE IN: SCENE 74 - INT. LAND OF THE DEAD PUB - NIGHT - VICTOR'S POV - DEAD PIPE SMOKER AND CORPSE BRIDE, LOOKING FG. A CORPSE AND A SKELETON LOOK ON, BG. SINGERS (over speaker) (sing – continues under following scenes and dialogue) PUB PATRONS (off) (low and indistinct chatter and laughter - continues under following scenes and dialogue) DEAD PIPE SMOKER A new arrival! CORPSE BRIDE CROUCHES IN R.FG. CORPSE BRIDE (overlapping) He must have fainted.

435.07

SCENE 75 - MS - PAST CORPSE BRIDE, L.FG., TO VICTOR, LYING ON THE FLOOR. CORPSE BRIDE (face off) Are you all right? VICTOR (overlapping) What.... What happened?

439.14

2-30 416.00 420.02 4.02 CORPSE BRIDE TO VICTOR You may kiss the bride. (the bride : i.e., 'me') (Note that this is a minister's

final direction to a groom at a wedding, indicating that the service is complete and the couple are legally married)

2-31 430.13 433.02 2.05 DEAD PIPE SMOKER TO GROUP A new arrival! (Note that Victor is in the Land

of the Dead with the Corpse Bride, where all of the skeletal inhabitants are dead)

(Refers to Victor) 2-32 433.06 435.07/ 2.01 CORPSE BRIDE TO DEAD PIPE SMOKER He must have fainted. 2-33 /435.11 437.12 2.01 CORPSE BRIDE TO VICTOR Are you all right? 2-34 438.00 439.14/ 1.14 VICTOR TO CORPSE BRIDE What happened?


2AB

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SCENE 76 - MFS - VICTOR'S POV - DEAD PIPE SMOKER CROUCHES IN L.FG. AS CORPSE BRIDE STRAIGHTENS. DEAD PIPE SMOKER By Jove, man, looks like we got...

442.07

SCENE 77 - MCS - VICTOR, LYING ON THE FLOOR, REACTING. DEAD PIPE SMOKER (off) ...ourselves a breather!

443.12

SCENE 78 - MS - DEAD PIPE SMOKER REACTS AS MRS. PLUM ENTERS L., PUSHING HIM, EXITING L. CORPSE BRIDE LOOKS ON, R.BG. MRS. PLUM LOOKS FG. AT O.S. VICTOR. MRS. PLUM (chuckling) Ooh! Does he have a dead brother? SKELETON BOY ENTERS R., POKING O.S. VICTOR WITH A STICK. SKELETON BOY He's still soft.

449.11

SCENE 79 - MFS - PAST SKELETON BOY, L.FG., TO VICTOR, STRAIGHTENING BY A BAR COUNTER. CAMERA TILTS UP WITH HIM, MOVING OFF SKELETON BOY. VICTOR (grunts) Whoa.

453.15

SCENE 80 - MFS - LOW ANGLE - GENERAL BONESAPART WITH A SWORD IN HIS CHEST, HOLDING A MUG. GENERAL BONESAPART A toast, then.

455.08

2-35 /440.02 443.12/ 3.10 DEAD PIPE SMOKER TO GROUP (over scene end) By Jove, man, looks like we got

ourselves a breather! (By Jove : British colloquial

exclamation) (we got ourselves : i.e., 'here

is') (a breather : slang for 'a

living human being' – 'a man who is still alive and breathing')

2-36 444.02 447.06 3.04 MRS. PLUM TO GROUP Does he have a dead brother? (Humorously implying that she

seeks a romantic partner, if he is dead, not living)

2-37 447.10 449.11/ 2.01 SKELETON BOY TO GROUP He's still soft. (Refers to Victor's flesh, as

compared to the corpses' hard bones)

2-38 /454.00 455.08/ 1.08 DEAD DWARF GENERAL TO GROUP A toast, then. (A toast : I.e., 'Let's drink a

toast') (then : colloquial exclamation)


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SCENE 81 - MFS - GENERAL BONESAPART AND DEAD CANNONBALL GENERAL TOAST THEIR MUGS. GENERAL BONESAPART DRINKS FROM HIS MUG AS DEAD CANNONBALL GENERAL PULLS THE SWORD FROM GENERAL BONESAPART'S CHEST, THEN USES THE MUG TO CATCH GENERAL BONESAPART'S DRINK FLOWING OUT. GENERAL BONESAPART (drinks) DEAD CANNONBALL GENERAL DRINKS AS THE DRINK FLOWS DOWN THROUGH THE CANNONBALL HOLE IN HIS CHEST. DEAD CANNONBALL GENERAL (drinks)

464.15

SCENE 82 - MS - GENERAL BONESAPART, HOLDING THE MUG. GENERAL BONESAPART To the newlyweds. DEAD CANNONBALL GENERAL (ARM) ENTERS R., PUSHING THE SWORD THROUGH GENERAL BONESAPART'S CHEST.

467.09

SCENE 83 - MCS - PAST CORPSE BRIDE, L.FG., TO VICTOR. VICTOR Newlyweds?!

469.11

SCENE 84 - MS - CORPSE BRIDE STEPS R., MOVING PAST VICTOR, REACTING. CORPSE BRIDE Oh! In the woods, you said your vows so per-...

476.08

2-39 /465.00 467.09/ 2.09 DEAD DWARF GENERAL TO GROUP To the newlyweds. (Note that this is a toast –

Refers to Victor and the Corpse Bride)

2-40 /467.13 469.11/ 1.14 VICTOR TO CORPSE BRIDE Newlyweds?! (Note that Victor reacts in shock

and surprise) 2-41 471.00 476.08/ 5.08 CORPSE BRIDE TO VICTOR In the woods, you said your vows so

perfectly.


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SCENE 85 - MCS - PAST VICTOR (TORSO), L.FG., TO CORPSE BRIDE (HAND), WEARING VICTOR'S RING. CORPSE BRIDE (face off) ...-fectly. VICTOR (face off) I did?

478.06

SCENE 86 - MS - PAST VICTOR, L.FG., TO CORPSE BRIDE AS SEVERAL CORPSES AND SKELETONS LOOK ON, BG. VICTOR LOOKS L.FG. VICTOR I did. CAMERA TILTS DOWN AS VICTOR HITS HIS HEAD ONTO A TABLETOP. VICTOR Wake up! Wake up! Wake up! PAUL THE HEAD WAITER (off) (in French) Bonjour! VICTOR LOOKS FG.

488.12

SCENE 87 - MFS - VICTOR'S POV - ACROSS THE TABLE TO A GROUP OF SKELETONS, REACTING AS KITCHEN STAFF KNIVES CARRIES A SEVERED HEAD NAMED PAUL THE HEAD WAITER AND PUTS HIM DOWN ONTO THE TABLE. PAUL THE HEAD WAITER Coming through, coming through! (grunts) PAUL THE HEAD WAITER MOVES FG. AS SEVERAL BEETLES CARRY HIM ON THE TABLE. PAUL THE HEAD WAITER My name is Paul, I am the head waiter. (chuckles)

498.01

2-42 /476.12 478.06/ 1.10 VICTOR TO CORPSE BRIDE I did? 2-43 480.08 482.06 1.14 VICTOR TO HIMSELF I did. 2-44 482.10 485.11 3.01 VICTOR TO HIMSELF Wake up! Wake up! Wake up! (Note that he is trying to wake

himself up from what he hopes is only a bad dream)

FRENCH TRANSLATORS, PLEASE OMIT TITLE #2-45. 2-45 485.15 488.12/ 2.13 PAUL THE HEAD WAITER TO GROUP ITAL (in French) Bonjour! (French for 'Hello!' - 'Good

day!' - to appear in ITALICS) 2-46 /489.00 493.01 4.01 PAUL THE HEAD WAITER TO GROUP Coming through, coming through! 2-47 494.00 498.01/ 4.01 PAUL THE HEAD WAITER TO VICTOR My name is Paul, I'm the head waiter. (the head waiter : note double

meaning – [1] i.e., 'the waiter in charge' and [2] humorously refers to Paul having only a head and no body)


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SCENE 88 - MS - VICTOR STRAIGHTENS AS CORPSE BRIDE LOOKS ON, R. VICTOR (gasps)

499.07

SCENE 89 - FS - PAUL THE HEAD WAITER ON THE TABLE AS THE BEETLES CARRY HIM. TWO BEETLES RUN FG. AND EXIT. PAUL THE HEAD WAITER I will be creating your wedding feast.

503.07

SCENE 90 - MS - VICTOR REACTS AS CORPSE BRIDE LOOKS ON. CAMERA DOLLIES INTO MCS ON CORPSE BRIDE AS HER EYEBALL FLIES OUT OF ITS EYE SOCKET TO REVEAL A MAGGOT PUSHING IT. MAGGOT Wedding feast! I'm salivating.

508.03

SCENE 91 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR (gasps)

509.00

SCENE 92 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE, HOLDING HER HAND OVER HER EYE SOCKET. CORPSE BRIDE (chuckles) Maggots. (laughs)

511.08

SCENE 93 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR, STEPPING BACKWARD, MOVING BG. VICTOR Oh!

512.02

2-48 /499.08 503.07/ 3.15 PAUL THE HEAD WAITER TO VICTOR & CORPSE BRIDE I will be creating your wedding feast. (creating : i.e., 'cooking and

serving') 2-49 504.10 508.03/ 3.09 MAGGOT TO HIMSELF Wedding feast! I'm salivating. (salivating : i.e., 'ready to

eat') (Note that the Maggot crawls out

of the Corpse Bride's skull) 2-50 509.10 511.08/ 1.14 CORPSE BRIDE TO VICTOR Maggots.


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SCENE 94 - MFS - VICTOR STEPS BACKWARD, BUMPING AGAINST A PUB PATRON AS CORPSE BRIDE LOOKS ON, R. PUB PATRON Hey! VICTOR (overlapping) (gasps) (pants) VICTOR STEPS BACKWARD, MOVING FG.

514.11

SCENE 95 - MFS - VICTOR STEPS BACKWARD, MOVING BG. AS A GROUP OF SKELETONS LOOK ON. VICTOR Just keep away! VICTOR FALLS AND GRABS GENERAL BONESAPART, STANDING ON A TABLE, BG. GENERAL BONESAPART Ooh!

517.02

SCENE 96 - MFS - A SKELETON, MAKING A POOL SHOT AS A SECOND SKELETON LOOKS ON. THEY LOOK FG. AT O.S. VICTOR.

519.03

SCENE 97 - MS - DEAD PIPE SMOKER AND DEAD CANNONBALL GENERAL, REACTING.

520.08

SCENE 98 - MS - VICTOR ENTERS LOWER FRAME, STRAIGHTENING. VICTOR (sighs)

522.06

SCENE 99 - MS - DEAD PIPE SMOKER AND DEAD CANNONBALL GENERAL, LOOKING FG. AT O.S. VICTOR.

523.07

2-51 /514.13 517.02/ 2.05 VICTOR TO CORPSE BRIDE Just keep away! (keep away : i.e., 'stay away

from me')


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SCENE 100 - MS - VICTOR LOOKS L. AT O.S. GENERAL BONESAPART.

524.06

SCENE 101 - MS - VICTOR (ARM) ENTERS R., GRABBING GENERAL BONESAPART'S SWORD HANDLE.

525.00

SCENE 102 - MFS - PAST A SKELETON, L.FG., TO VICTOR, HOLDING THE SWORD HANDLE AS HE LIFTS AND WIELDS GENERAL BONESAPART. GENERAL BONESAPART (face off) (grunts) VICTOR (overlapping) (grunts) I've got a... PUB PATRONS (off) (gasp – continues under following scenes and dialogue)

527.11

SCENE 103 - MFS - PAST GENERAL BONESAPART, R.FG., TO VICTOR, PARTIALLY OBSCURED AND HOLDING HIM BY THE SWORD HANDLE. A SKELETON LOOKS ON, L.BG. VICTOR (face off) I've got a... VICTOR EMERGES AND LOOKS AT GENERAL BONESAPART. VICTOR ...dwarf. VICTOR SWINGS GENERAL BONESAPART AS THE SKELETON EXITS L. VICTOR And I'm not afraid to use him.

533.07

2-52 526.03 527.11/ 1.08 VICTOR TO GROUP I've got a... (Note that Victor grabs the handle

of the sword that is imbedded in the Dead Dwarf General, thinking he can pull it out and use the sword to defend himself. But the sword doesn't come out and Victor lifts the Dead Dwarf General still impaled on the sword)

2-53 /527.15 533.07/ 5.08 VICTOR TO GROUP I've got a... dwarf. And I'm not

afraid to use him. (use him : i.e., 'use the sword,

even with the Dead Dwarf General impaled on it')


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SCENE 104 - MCS - VICTOR. VICTOR I want some questions. Now! GENERAL BONESAPART (off) "An-...

537.05

SCENE 105 - MCS - GENERAL BONESAPART. GENERAL BONESAPART "...-swers." I think you mean answers.

540.10

SCENE 106 - MCS - VICTOR. VICTOR Thank you, yes, answers. VICTOR LOOKS FG. AT THE O.S. GROUP. VICTOR I need answers!

544.03

SCENE 107 - MFS - CORPSE BRIDE REACTS AS PAUL THE HEAD WAITER LOOKS ON FROM A BAR COUNTER, L. VICTOR (off) What's going on here?

546.06

SCENE 108 - MFS - THE TWO SKELETONS BY THE POOL TABLE. VICTOR (off) Where am I?

548.04

SCENE 109 - MFS - VICTOR, HOLDING GENERAL BONESAPART BY HIS SWORD HANDLE. VICTOR Who are you?

550.03

2-54 /533.11 537.02/ 3.07 VICTOR TO GROUP I want some questions. Now! (questions : note that in

confusion and fear, he misspeaks) 2-55 /537.06 540.10/ 3.04 DEAD DWARF GENERAL TO VICTOR "Answers." I think you mean answers. (mean : i.e., 'meant to say') 2-56 /540.14 544.00/ 3.02 VICTOR TO DEAD DWARF GENERAL Thank you, yes, answers. 2-57 /544.04 548.04/ 4.00 VICTOR TO GROUP (over scene ends) I need answers! What's going on here?

Where am I? 2-58 /548.08 550.03/ 1.11 VICTOR TO CORPSE BRIDE Who are you?


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SCENE 110 - MFS - CORPSE BRIDE AS PAUL THE HEAD WAITER LOOKS ON FROM THE BAR COUNTER. SOME CORPSES AND SKELETONS LOOK ON, L.BG. CORPSE BRIDE Well...that's kind of a long story. BONEJANGLES (off) What a story it... CAMERA PANS L. ON THE PUB, MOVING ON BONEJANGLES AS A LIGHT ILLUMINATES HIM. HE IS WEARING A BOWLER HAT AND HAS ONE EYE. BONEJANGLES ...is! A tragic tale of romance, passion... CAMERA DOLLIES INTO MS ON BONEJANGLES. BONEJANGLES ...and murder most foul.

568.03

SCENE 111 - MFS - VICTOR, HOLDING GENERAL BONESAPART BY HIS SWORD HANDLE. GENERAL BONESAPART This is gonna be good. VICTOR Oh! VICTOR DROPS THE SWORD HANDLE, CAUSING GENERAL BONESAPART TO FALL LOWER FRAME AND EXIT.

571.12

2-59 550.09 555.08 4.15 CORPSE BRIDE TO VICTOR Well...that's kind of a long story. (kind of : colloquial emphatic) (long story : i.e., 'complicated

and involved story') 2-60 556.02 559.10 3.08 BONEJANGLES TO VICTOR What a story it is! (Colloquial emphatic for 'It is a

very exciting and tragic story.') 2-61 559.14 565.04 5.06 BONEJANGLES TO VICTOR A tragic tale of romance, passion... 2-62 565.08 568.03/ 2.11 BONEJANGLES TO VICTOR ...and murder most foul. (most foul : colloquial emphatic

for 'very gruesome and cold-hearted')

2-63 /568.07 571.03 2.12 DEAD DWARF GENERAL TO VICTOR This is gonna be good. (good : i.e., 'a good story')


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SCENE 112 - MFS - BONEJANGLES ROLLS THE EYE IN HIS SKULL INTO THE OTHER EYE SOCKET. BONEJANGLES Hit it, boys. BONEJANGLES STEPS L. ON A STAGE AS CAMERA DOLLIES BACK AND L. TO INCLUDE A ROW OF SKELETONES, DANCING AS HE RAPS ON THEIR SKULLS. CAMERA CONTINUES TO DOLLY BACK TO INCLUDE A SKELETONE, PLAYING THE PIANO, R.FG. BONEJANGLES RUNS R.

592.01

SCENE 113 - MS - BONEJANGLES, PERFORMING AS THREE SKELETONES DANCE, BG. BONEJANGLES (singing) 'Hey, give me a listen, you corpses of cheer

597.13

SCENE 114 - MS - BONEJANGLES, EMBRACING THE SHOULDER OF A SKELETONE. BONEJANGLES (singing) 'At least those of you who still got an ear BONEJANGLES SPINS THE SKELETONE'S SKULL AROUND. BONEJANGLES (singing) 'I’ll tell you a story, make a skeleton cry Of our...

607.04

SCENE 115 - MFS - PAST A CORPSE, R.FG., AND A SKELETON, L.FG., TO GENERAL BONESAPART AND SEVERAL SKELETONS, LOOKING FG. CAMERA DOLLIES IN, MOVING INTO MS ON CORPSE BRIDE. BONEJANGLES (off) (singing) '...own jubiliciously lovely Corpse Bride

612.02

2-64 574.03 576.12 2.09 BONEJANGLES TO SKELETONES Hit it, boys. (Hit it : Slang command to

musicians to begin performing music)

2-65 /592.04 597.12/ 5.08 BONEJANGLES (singing) ITAL Hey, give me a listen, you corpses of

cheer (give me a listen : i.e.,

'listen to me') (cheer : rhymes with 'ear') 2-66 /598.00 602.05 4.05 BONEJANGLES (singing) ITAL At least those of you who still got an

ear (who...ear : humorous reference

to their being skeletons who no longer have ears)

2-67 602.09 607.04/ 4.11 BONEJANGLES (singing) ITAL I’ll tell you a story, make a skeleton

cry (make...cry : colloquial for

'that is sad enough to make anyone, even skeletons, cry' – note that 'cry' rhymes with 'Bride')

2-68 /607.08 612.02/ 4.10 BONEJANGLES (singing) ITAL Of our own jubiliciously lovely Corpse

Bride (jubiliciously : made-up slang

emphatic – note combination of 'jubilant' and 'deliciously')


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SCENE 116 - MFS - THREE SKELETONES, PERFORMING AS BONEJANGLES ENTERS LOWER FRAME, STRAIGHTENING IN FG. SKELETONES (singing) 'Die, die, we all pass away But don't wear a frown...

617.07

SCENE 117 - MFS - VICTOR REACTS AS GENERAL BONESAPART AND DEAD CANNONBALL GENERAL SWAY. SKELETONES (singing) '...cause it's really okay BONEJANGLES ENTERS L.FG., DANCING IN FG. SKELETONES (singing) 'You might try and hide and you might try and pray But we all end up the remains of the day BONEJANGLES (overlapping) (laughs) BONEJANGLES (singing) (in unison with Skeletones) 'You might try and hide and you might try and pray But we all end up the remains of the day BONEJANGLES MOVES L. AND EXITS. VICTOR STEPS BG. AS DEAD CANNONBALL GENERAL GRABS AND HOLDS HIM. BONEJANGLES (off) (laughs - continues under following scenes and dialogue)

629.13

2-69 /612.06 615.12 3.06 SKELETONES (singing) ITAL Die, die, we all pass away (Note that this is the song's

chorus) (pass away : colloquial for

'die') 2-70 616.00 620.00 4.00 SKELETONES (singing) ITAL (over scene end) But don’t wear a frown, 'cause it's

really okay (wear a frown : i.e., 'frown' –

'be sad') (okay : rhymes with 'pray' –

'day') 2-71 620.04 624.09 4.05 SKELETONES & BONEJANGLES (singing) ITAL You might try and hide and you might

try and pray 2-72 624.13 629.13/ 5.00 SKELETONES & BONEJANGLES (singing) ITAL But we all end up the remains of the

day (the remains of the day : refers

to being dead, a corpse)


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SCENE 118 - MFS - THREE SKELETONES, DANCING ON THE STAGE AS BONEJANGLES LOOKS ON, L. SKELETONES (singing) (overlapping) 'Yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah BONEJANGLES (overlapping) That's right.

637.00

SCENE 119 - MS - BONEJANGLES ENTERS R., PERFORMING. BONEJANGLES (singing) (overlapping) 'Well...

638.05

SCENE 120 - MFS - BONEJANGLES STEPS R. ON THE STAGE AS SEVERAL SKELETONES EXIT TO REVEAL CORPSE BRIDE. CAMERA DOLLIES INTO MS. BONEJANGLES (singing) '...our girl was a beauty known for miles around When a mysterious... CAMERA PANS L. ON THE WALL, MOVING ON A SHADOW OF CORPSE BRIDE AND BARKIS. BONEJANGLES (off) (singing) '...stranger came into town He was plenty good-lookin’ but down on his cash THE SHADOW OF BARKIS KISSES CORPSE BRIDE'S HAND. BARKIS (overlapping) (kisses) BONEJANGLES (off) (singing) 'And our poor little baby, she fell hard and... CAMERA PANS R. AND TILTS DOWN ON BONEJANGLES, HOLDING CORPSE BRIDE AS SHE FALLS INTO HIS ARMS.

2-73 631.03 633.11 2.08 BONEJANGLES TO GROUP That's right. 2-74 /638.06 642.10 4.04 BONEJANGLES (singing) ITAL Well our girl was a beauty known for

miles around (our girl : refers to the Corpse

Bride before she died) (known...around : i.e., 'well-

known by everyone' – note that 'around' rhymes with 'town')

2-75 642.14 647.00 4.02 BONEJANGLES (singing) ITAL When a mysterious stranger came into

town 2-76 647.04 651.11 4.07 BONEJANGLES (singing) ITAL He was plenty good-lookin’ but down on

his cash (plenty : colloquial emphatic) (down on his cash : i.e.,

'without money' – 'poor' – note that 'cash' rhymes with 'fast')

2-77 651.15 656.03 4.04 BONEJANGLES (singing) ITAL And our poor little baby, she fell hard

and fast (poor little baby : i.e.,

'unfortunate girl') (fell...fast : colloquial

emphatic for 'fell deeply in love with him')


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SCENE 120 - (CONTINUED) BONEJANGLES (singing) '...fast BONEJANGLES PERFORMS AND MOVES FG. INTO MCS AS CORPSE BRIDE STRAIGHTENS AND LOOKS ON, R. BONEJANGLES (singing) 'So when her daddy said no, she just couldn’t cope So our lovers came up with a plan to elope

664.12

SCENE 121 - MFS - VICTOR REACTS AS A CORPSE BRIDE ENTERS L. AND A SKELETON ENTERS R., SWAYING WITH HIM. BONEJANGLES (off) & SKELETONES (off) (singing) 'Die, die, we all pass away But don’t wear a frown, cause it's really okay

673.12

SCENE 122 - MFS - THE CORPSE CHEF, HOLDING A TRAY WITH PAUL THE HEAD WAITER ON IT. BONEJANGLES (off) & SKELETONES (off) (singing) 'You might try and hide...

676.01

SCENE 123 - MFS - LOW ANGLE - PAST GENERAL BONESAPART, R.FG., TO DEAD CANNONBALL GENERAL. BONEJANGLES (off) & SKELETONES (off) (singing) '...and you might try and pray

678.06

2-78 656.07 660.10 4.03 BONEJANGLES (singing) ITAL When her daddy said no, she just

couldn’t cope (said no : i.e., 'refused

permission for her to marry him') (cope : i.e., 'accept her

father's refusal' – rhymes with 'elope')

2-79 660.14 664.12/ 3.14 BONEJANGLES (singing) ITAL So our lovers came up with a plan to

elope (came up with : i.e., 'devised') 2-80 665.09 669.07 3.14 BONEJANGLES & SKELETONES (singing) ITAL Die, die, we all pass away 2-81 669.11 673.12/ 4.01 BONEJANGLES & SKELETONES (singing) ITAL But don’t wear a frown, 'cause it's

really okay 2-82 /674.00 678.06/ 4.06 BONEJANGLES & SKELETONES (singing) ITAL (over scene end) You might try and hide and you might

try and pray


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SCENE 124 - MFS - PAST THE BARE COUNTER, FG., TO BONEJANGLES, STEPPING R. CAMERA PANS R. TO INCLUDE CORPSE CHEF, HOLDING THE TRAY WITH PAUL THE HEAD WAITER ON IT. BONEJANGLES (on) & SKELETONES (off) (singing) 'But we all end up the remains of the day BONEJANGLES PUTS HIS HAT ON PAUL THE HEAD WAITER. SKELETONES (singing) (overlapping) 'Yeah...

683.15

SCENE 125 - MFS - THREE SKELETONES, STRAIGHTENING AS THEY PERFORM. SKELETONES (singing) '...yeah, yeah, yeah, yeah

688.01

SCENE 126 - MFS - BONEJANGLES, LYING ON THE BAR COUNTER AS CAMERA DOLLIES BACK TO INCLUDE KITCHEN STAFF KNIVES, HOLDING PAUL THE HEAD WAITER ON THE TRAY. SKELETONES (off) (singing) 'Yeah, yeah, yeah, yeah, yeah BONEJANGLES KICKS THE TRAY, CAUSING PAUL THE HEAD WAITER TO FLY UPPER FRAME AND EXIT. BONEJANGLES (overlapping) Woo!

692.08

2-83 /678.10 683.15/ 5.05 BONEJANGLES & SKELETONES (singing) ITAL But we all end up the remains of the

day


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SCENE 127 - FS - PAUL THE HEAD WAITER FALLS AS CAMERA TILTS DOWN TO INCLUDE BONEJANGLES. PAUL THE HEAD WAITER ROLLS OVER BONEJANGLES' ARMS AND EXITS L. SKELETONES (off) (singing) 'Yeah, yeah, yeah, yeah, yeah Yeah, yeah... BONEJANGLES (overlapping) Da-di-dam-di-dom (sings scat under following scenes)

697.13

SCENE 128 - MFS - BONEJANGLES, SPINNING. SKELETONES (singing) '...yeah, yeah CAMERA DOLLIES INTO CS ON THE DARKNESS OF BONEJANGLES' EYE SOCKET.

704.02

SCENE 129 - MFS - THREE SKELETONES EMERGE FROM A SHADOW AS THEY STEP FG. BONEJANGLES (off) Oh. That's right. ONE SKELETON LEAPS R. AND PERFORMS A HANDSTAND AND FORMS A BASS AS A SECOND SKELETON PLAYS IT. BONEJANGLES (off) Ah, okay. Oh, yeah. CAMERA DOLLIES INTO MS ON THE SECOND SKELETON AS A THIRD SKELETON (ARMS) ENTERS L., GRABBING AND REMOVING HIS SPINE. THE SECOND SKELETON FALLS LOWER FRAME AND EXITS. BONEJANGLES (off) Come on, boys...

715.11

2-84 708.11 710.12 2.01 BONEJANGLES TO SKELETONES That's right. 2-85 711.11 713.07 1.12 BONEJANGLES TO SKELETONES Okay. 2-86 713.11 717.02 3.07 BONEJANGLES TO SKELETONES Oh, yeah. Come on, boys, pick it up. (pick it up : i.e., 'continue

playing the song')


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SCENE 130 - MFS - THE SECOND SKELETON'S TORSO AND SKULL ENTER UPPER FRAME, FALLING ONTO THE STAGE. BONEJANGLES (off) ...pick it up. CAMERA DOLLIES BACK ON THE THIRD SKELETON, PLAYING THE SPINE AS IF IT WERE A SAXOPHONE. BONEJANGLES (off) Yeah. CAMERA DOLLIES IN AS THE THIRD SKELETON EXITS R.FG. AND THE SECOND SKELETON EXITS L.FG.

719.02

SCENE 131 - MFS - CAMERA DOLLIES BACK ON BONEJANGLES, PLAYING A SKELETON AS IF HE WERE A XYLOPHONE. THE SECOND SKELETON ENTERS L., CHASING HIS LEGS, MOVING IN A CIRCLE AROUND THEM. BONEJANGLES Like it. Okay, Chauncy, take it. THE SECOND SKELETON GRABS HIS LEGS AND PLAYS THEM AS IF THEY WERE A GUITAR. CAMERA DOLLIES INTO MS AS BONEJANGLES EXITS L. CAMERA PANS R. ON A SKELETON, PLAYING A TROMBONE. BONEJANGLES (off) Aw! Yeah! Woo! Oh, yes, yes, yes. SKELETONES (off) (singing) (overlapping) 'Hey, hey, hey CAMERA DOLLIES IN ON THE TROMBONE HORN'S DARKNESS.

734.04

2-87 719.05 722.12 3.07 BONEJANGLES TO SKELETONES Yeah. Like it. 2-88 723.00 726.02 3.02 BONEJANGLES TO GUITAR-PLAYING SKELETONE Okay, Chauncy, take it.


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SCENE 132 - MFS - VICTOR STEPS BG. AND REACTS AS BONEJANGLES ENTERS R. BONEJANGLES Yeah! (laughs) BONEJANGLES DANCES AS HE PUSHES AND PULLS VICTOR. VICTOR (gasps) SKELETONES (off) (singing) (overlapping) 'Yeah, yeah, yeah, yeah, yeah Go, go, go, go, go Yeah BONEJANGLES (overlapping) Yeah! Go, go, go, go, go! BONEJANGLES EXITS R. AS VICTOR EXITS L.

745.03

SCENE 133 - MFS - A ROW OF SKELETONES ENTER LOWER FRAME, EXCHANGING SKULLS AS CAMERA DOLLIES L. ON THE LAST SKELETONE, KICKING THE SKULL, EXITING L. BONEJANGLES (off) (overlapping) Oh! (chuckles)

753.13

SCENE 134 - MS - THE SKULL ENTERS R., FALLING ONTO A HEADLESS SKELETONE. CAMERA PANS L. TO INCLUDE VICTOR AND A SECOND SKELETONE, DANCING WITH HIM. BONEJANGLES (off) Oh, that's nice. CAMERA DOLLIES INTO MCS ON VICTOR AS THE SKELETONES GRAB HIS HEAD AND PULL HIM LOWER FRAME. SCENE FADES TO BLACK.

758.13

2-89 741.03 745.04 4.01 SKELETONES (singing) ITAL Go, go, go, go, go Yeah 2-90 /754.00 756.15 2.15 BONEJANGLES TO SKELETONES Oh, that's nice.


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SCENE 135 - MFS - THE DARKNESS OF BONEJANGLES' EYE SOCKET AS CAMERA DOLLIES BACK INTO MS ON BONEJANGLES, PERFORMING. BONEJANGLES Yeah! (singing) 'So they conjured up a plan to meet late at night

763.13

SCENE 136 - MFS - BONEJANGLES, PERFORMING AS CAMERA DOLLIES L. TO INCLUDE CORPSE BRIDE. BONEJANGLES (singing) 'They told not a soul, kept the whole thing tight Now, her mother’s wedding dress...

769.14

SCENE 137 - MFS - BONEJANGLES CROUCHES AS PULLS THE WEDDING DRESS OVER HIS SKULL. BONEJANGLES (singing) '...fit like a glove You don’t need much when you’re really in love BONEJANGLES MOVES L. BEHIND CORPSE BRIDE (TORSO) AND EMERGES AS CAMERA DOLLIES L. BONEJANGLES (singing) 'Except for a few things, or so I’m told BONEJANGLES MOVES R. BEHIND CORPSE BRIDE (TORSO) AND EMERGES AS CAMERA DOLLIES R. BONEJANGLES (singing) 'Like the family jewels and a satchel of gold

783.11

2-91 /758.14 763.13/ 4.15 BONEJANGLES (singing) ITAL So they conjured up a plan to meet late

at night (they : refers to the lovers -

the mysterious stranger and the Corpse Bride)

(conjured up : i.e., 'devised' – 'agreed on')

(night : rhymes with 'tight') 2-92 /764.01 767.09 3.08 BONEJANGLES (singing) ITAL She told not a soul, kept the whole

thing tight (not a soul : colloquial

emphatic for 'no one') (tight : slang for 'secret') 2-93 767.13 771.15 4.02 BONEJANGLES (singing) ITAL Her mother’s wedding dress fit like a

glove (fit like a glove : colloquial

emphatic for 'fit her perfectly' – note that 'glove' rhymes with 'love')

2-94 772.03 775.09 3.06 BONEJANGLES (singing) ITAL You don’t need much when you’re really

in love 2-95 775.13 779.09 3.12 BONEJANGLES (singing) ITAL Except for a few things, or so I’m told (a few things : i.e., 'some

valuable things') (told : rhymes with 'gold') 2-96 779.13 783.11/ 3.14 BONEJANGLES (singing) ITAL Like the family jewels and a satchel of

gold (family jewels : refers to all

of the gems and jewels belonging to the Corpse Bride's family)

(satchel : i.e., 'carrying case' – 'hand bag')

(Like...gold : Implying that the Corpse Bride was taking these valuables with her when she eloped)


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SCENE 138 - FS - THE STAGE WALL AS A SHADOW OF CORPSE BRIDE WAITS BY A SHADOW OF A TREE. BONEJANGLES (off) (singing) 'Then next to the graveyard by the old oak tree On a dark foggy night at a quarter to three

791.05

SCENE 139 - MS - BONEJANGLES, PERFORMING. BONEJANGLES (singing) 'She was ready to go, but where was he? BONEJANGLES MOVES LOWER FRAME AND EXITS.

797.08

SCENE 140 - MS - VICTOR REACTS AS KITCHEN STAFF KNIVES ENTERS L. KITCHEN STAFF KNIVES (overlapping) And then?

798.14

SCENE 141 - MS - BONEJANGLES. BONEJANGLES (singing) 'She waited

801.11

SCENE 142 - MS - VICTOR REACTS AS MRS. PLUM ENTERS R. KITCHEN STAFF KNIVES LOOKS ON. KITCHEN STAFF KNIVES & MRS. PLUM And then?

802.14

2-97 /783.15 787.11 3.12 BONEJANGLES (singing) ITAL Then next to the graveyard by the old

oak tree (tree : rhymes with 'three' and

'he') 2-98 787.15 791.05/ 3.06 BONEJANGLES (singing) ITAL On a dark foggy night at a quarter to

three (a quarter to three : i.e.,

'2:45 a.m.' – '02:45 hours') 2-99 /791.09 796.12 5.03 BONEJANGLES (singing) ITAL She was ready to go, but where was he? (ready to go : i.e., 'waiting') (where was he : i.e., 'the

stranger was not there' – 'her lover had not arrived for the rendezvous')

2-100 /797.09 798.15/ 1.06 KITCHEN STAFF KNIVES TO BONEJANGLES ITAL And then? 2-101 799.14 801.11/ 1.13 BONEJANGLES (singing) ITAL She waited 2-102 /801.15 802.14/ 0.15 KITCHEN STAFF KNIVES & MRS. PLUM ITAL TO BONEJANGLES And then?


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SCENE 143 - MS - BONEJANGLES. BONEJANGLES (singing) (overlapping) 'There in the shadows, was it her man?

805.13

SCENE 144 - MFS - VICTOR REACTS AS KITCHEN STAFF MAGGOT ENTERS L. KITCHEN STAFF KNIVES AND MRS. PLUM LOOK ON. KITCHEN STAFF KNIVES, MRS. PLUM & KITCHEN STAFF MAGGOT And then?

807.07

SCENE 145 - MS - BONEJANGLES. BONEJANGLES (singing) 'Her little heart beat so loud

810.11

SCENE 146 - MS - VICTOR REACTS AS MRS. PLUM LIFTS THE TRAY WITH PAUL THE HEAD WAITER ON IT. KITCHEN STAFF KNIVES AND KITCHEN STAFF MAGGOT LOOK ON. KITCHEN STAFF KNIVES, MRS. PLUM, KITCHEN STAFF MAGGOT & PAUL THE HEAD WAITER (overlapping) And then?

812.13

2-103 /803.02 805.13/ 2.11 BONEJANGLES (singing) ITAL There in the shadows, was it her man? (man : lover – betrothed) 2-104 /806.01 807.07/ 1.06 KITCHEN STAFF KNIVES, MRS. PLUM & ITAL KITCHEN STAFF MAGGOT TO BONEJANGLES And then? 2-105 /807.11 810.11/ 3.00 BONEJANGLES (singing) ITAL Her little heart beat so loud (little : colloquial emphatic) 2-106 /810.15 812.13/ 1.14 KITCHEN STAFF KNIVES, MRS. PLUM, ITAL KITCHEN STAFF MAGGOT & PAUL THE HEAD WAITER TO BONEJANGLES And then?


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SCENE 147 - MFS - THE STAGE WALL SHOWS A SHADOW OF CORPSE BRIDE, WAITING A BARKIS' SHADOW EMERGES L., REACHING TOWARD HER. BARKIS (voice over) (laughs – continues under following scene and dialogue) BONEJANGLES (off) (singing) 'And then, baby, everything went black CORPSE BRIDE (overlapping) (screams) SCENE FADES TO BLACK.

819.00

FADE IN: SCENE 148 - INT. LAND OF THE DEAD PUB - NIGHT - MFS - PAST A SKELETON PIANO PLAYER, R.FG., TO BONEJANGLES, LYING ATOP THE PIANO. BONEJANGLES (singing) 'Now when she opened her eyes, she was dead as dust Her jewels were missing and her heart was bust BONEJANGLES STRAIGHTENS AND EXITS R.

829.01

SCENE 149 - MFS - VICTOR REACTS AS BONEJANGLES ENTERS FG., STEPPING BACKWARD, MOVING BG. TOWARD HIM. A GROUP OF SKELETONS AND CORPSES LOOK ON. BONEJANGLES (singing) 'So she made a vow lying under that tree That she’d wait for her true love to come set her free SKELETONES (singing) (overlapping) 'Oh, oh, oh, oh Oh, oh, oh, oh

837.10

2-107 813.09 818.11 5.02 BONEJANGLES (singing) ITAL And then, baby, everything went black (baby : term of endearment) (everything went black : note

implication that she was knocked unconscious by her lover)

2-108 819.13 824.09 4.12 BONEJANGLES (singing) ITAL 'Now when she opened her eyes, she was

dead as dust (Now : I.e., 'After that' –

'Later') (as dust : colloquial emphatic –

note that 'dust' rhymes with 'bust')

2-109 824.13 829.01/ 4.04 BONEJANGLES (singing) ITAL Her jewels were missing and her heart

was bust (missing : i.e., 'stolen') (bust : i.e., 'broken') 2-110 /829.05 833.02 3.13 BONEJANGLES (singing) ITAL So she made a vow lying under that tree (tree : rhymes with 'free') 2-111 833.06 837.10/ 4.04 BONEJANGLES (singing) ITAL That she’d wait for her true love to

come set her free (set her free : i.e., 'release

her from death')


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SCENE 150 - MS - CORPSE BRIDE EXTENDS HER HAND. SEVERAL SKELETONS LOOK ON, BG. BONEJANGLES (off) (singing) 'Always waiting for someone to ask for her hand...

842.02

SCENE 151 - MS - VICTOR REACTS AS BONEJANGLES LOOKS ON. BONEJANGLES (singing) '...ooh Then out of the blue... BONEJANGLES PUSHES VICTOR, EXITING L.FG.

844.12

SCENE 152 - MFS - CORPSE BRIDE, EXTENDING HER HAND AS VICTOR ENTERS R.FG., FALLING BG. A GROUP OF SKELETONS LOOK ON, BG. BONEJANGLES (off) (singing) '...comes this groovy young man CORPSE BRIDE AND VICTOR DANCE IN A CIRCLE. BONEJANGLES (off) (singing) 'Who vows...

848.04

SCENE 153 - MS - VICTOR, MOVING L. AS HE DANCES WITH O.S. CORPSE BRIDE. CAMERA PANS L. BONEJANGLES (off) (singing) '...forever, to... VICTOR (overlapping) (gasps) SKELETONES (off) (overlapping) (singing) 'Oh, yeah Oh, yeah

850.00

2-112 /837.14 842.02/ 4.04 BONEJANGLES (singing) ITAL Always waiting for someone to ask for

her hand (someone : i.e., 'a man' – 'a

lover') (hand : rhymes with 'man') 2-113 /842.06 848.01/ 5.11 BONEJANGLES (singing) ITAL (over scene end) Then out of the blue comes this groovy

young man (out of the blue : colloquial

for 'unexpectedly') (comes : i.e., 'came') (this...man : refers to Victor –

note that 'groovy' is slang for 'pleasing' – 'wonderful')


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SCENE 154 - MS - CORPSE BRIDE, MOVING L. AS SHE DANCES WITH O.S. VICTOR. CAMERA PANS L. BONEJANGLES (off) (singing) '...be by her side

851.12

SCENE 155 - MS - VICTOR (ARMS) FALLS R. AS HE PULLS APART CORPSE BRIDE'S ARM BONE. BONEJANGLES (off) (singing) 'And that’s...

852.12

SCENE 156 - MFS - VICTOR, HOLDING CORPSE BRIDE'S ARM AND FALLING BG. AS TWO SKELETONES STOP HIM. BONEJANGLES (off) (singing) '...the story of our Corpse... SKELETONES (off) (overlapping) (singing) 'Oh, yeah Oh, yeah SKELETONES (off) (overlapping) (singing) 'Die, die, we all pass away

860.10

SCENE 157 - MFS - BONEJANGLES, PERFORMING. BONEJANGLES (singing) '...Bride' CAMERA DOLLIES BACK TO INCLUDE A GROUP OF SKELETONES, FG. AS BONEJANGLES FALLS OFF THE STAGE. SKELETONES (face off) (singing) 'But don’t wear a frown, cause it's...

863.10

2-114 /848.05 851.12/ 3.07 BONEJANGLES (singing) ITAL (over scene end) Who vows forever, to be by her side (Refers to Victor repeating the

wedding vows near the Corpse Bride's grave – Note that 'side' rhymes with 'Bride')

2-115 /852.00 857.12 5.12 BONEJANGLES (singing) ITAL (over scene end) And that’s the story of our Corpse

Bride 2-116 858.00 860.10/ 2.10 SKELETONES (singing) ITAL Die, die, we all pass away 2-117 /860.14 865.13/ 4.15 SKELETONES (singing) ITAL (over scene end) But don’t wear a frown, 'cause it's

really okay


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SCENE 158 - MFS - HIGH ANGLE - LOOKING DOWN AT A GROUP OF SKELETONES, CATCHING BONEJANGLES AS HE FALLS ATOP THEM. SKELETONES (singing) '...really okay You might...

866.00

SCENE 159 - MFS - VICTOR REACTS AND STEPS BG. AS TWO SKELETONES PERFORM. SKELETONES (singing) '...try and hide and you might try and pray But we all end... BONEJANGLES (overlapping) (singing) 'You might try and pray But we all end...

871.14

SCENE 160 - MS - CORPSE BRIDE LOOKS L. OVER HER SHOULDER. SEVERAL SKELETONES PERFORM, R.BG. SKELETONS (off) (singing) '...up the remains... BONEJANGLES (off) (singing) '...up the...

873.03

SCENE 161 - MFS - LOW ANGLE - VICTOR STEPS BG. AS HE ASCENDS THE PUB STAIRCASE. SKELETONES (off) (singing) '...of the... BONEJANGLES (off) (singing) '...remains of...

874.04

2-118 /866.01 869.12 3.11 SKELETONES (singing) ITAL You might try and hide and you might

try and pray 2-119 870.00 874.04/ 4.04 SKELETONES (singing) ITAL (over scene ends) But we all end up the remains of the

day


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SCENE 162 - MCS - BONEJANGLES, PERFORMING. SKELETONES (off) (singing) '...day' BONEJANGLES (singing) '...the (sings scat - continues under following scenes and dialogue)

876.04

SCENE 163 - MFS - LOW ANGLE - LOOKING UP AT THE STAIRCASE AS VICTOR STEPS THROUGH THE PUB'S SWINGING DOORS AND IS OBSCURED.

878.02

SCENE 164 - MCS - BONEJANGLES PERFORMS AND TIPS HIS HAT. BONEJANGLES (singing) 'Yeah' SCENE FADES TO BLACK. BONEJANGLES (voice over) (laughs)

880.14

2-120 879.00 880.14 1.14 BONEJANGLES (singing) ITAL Yeah


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FADE IN: SCENE 165 - INT. UNDER THE TOWN SQUARE - NIGHT - MFS - A LAYER OF DIRT AND PLANT ROOTS AS CAMERA CRANES UP, MOVING PAST THE BRICKS OF THE STREET TO REVEAL THE TOWN SQUARE AND MAYHEW (LEGS). MAYHEW (face off) (coughs) CAMERA CONTINUES TO CRANE UP ON MAYHEW, LIGHTING HIS PIPE BY THE HORSE-DRAWN CARRIAGE. CAMERA CONTINUES TO CRANE UP ON THE HORSE-DRAWN CARRIAGE TO REVEAL VICTORIA INSIDE THE WINDOW OF THE EVERGLOT MANSION. CAMERA DOLLIES IN TOWARD VICTORIA, MOVING OFF THE HORSE-DRAWN CARRIAGE. MAYHEW (off) (coughs) MAUDELINE (off) Victoria, come away from the...

900.08

SCENE 166 - INT. EVERGLOT MANSION - NIGHT - MS - VICTORIA BY THE WINDOW. MAUDELINE (off) ...window.

903.00

SCENE 167 - FS - FINIS AND MAUDELINE, SEATED ON A COUCH BY A FIREPLACE AS VICTORIA STEPS L. TOWARD THEM. NELL (off) Oh, I'm sure he'll be back... CAMERA DOLLIES L. TO INCLUDE NELL AND WILLIAM, SEATED ON A SECOND COUCH, L. NELL ...shortly. He's terrified of the dark.

910.02

2-121 898.05 902.04 3.15 MAUDELINE TO VICTORIA (over scene end) Victoria, come away from the window. (Note that the Van Dorts are with

the Everglots in their mansion) 2-122 904.03 910.02/ 5.15 NELL TO GROUP I'm sure he'll be back shortly. He's

terrified of the dark. (Refers to Victor) (be back shortly : i.e., 'soon

return here')


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SCENE 168 - MFS - NELL AND WILLIAM, HOLDING CUPS AND SAUCERS. NELL In fact, when he was a boy, he used to wet his combinations regularly, didn't he, William? THERE IS THE SOUND OF A DOOR KNOCK.

918.10

SCENE 169 - MFS - FINIS AND MAUDELINE, SEATED ON THE COUCH AS VICTORIA LOOKS ON, R. FINIS Enter!

920.10

SCENE 170 - MFS - THE DOORS OPEN TO REVEAL BARKIS, STEPPING FG. THROUGH THE DOORWAY.

924.14

SCENE 171 - MS - FINIS AND MAUDELINE, SEATED ON THE COUCH AS VICTORIA LOOKS ON, R. MAUDELINE (gasps) Ah, Lord Barkis! VICTORIA (overlapping) (sighs) MAUDELINE I trust the room is to your liking.

932.10

2-123 /910.06 916.06 6.00 NELL TO GROUP In fact, when he was a boy, he used to

wet his combinations regularly... (In fact : Colloquial emphatic) (wet his combinations :

colloquial for 'urinate in his pants')

2-124 916.10 918.10/ 2.00 NELL TO WILLIAM ...didn't he, William? 2-125 /918.14 920.10/ 1.12 FINIS TO BARKIS Enter! (Note that he responds to a knock

on the door) 2-126 925.11 932.10/ 6.15 MAUDELINE TO BARKIS Ah, Lord Barkis! I trust the room is

to your liking. (Note that Barkis enters) (I trust : Colloquial

exclamation – I.e., 'I hope that') (the room : refers to the

bedroom Barkis has been given to sleep in at the mansion)


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SCENE 172 - MFS - BARKIS STEPS R.FG. AS CAMERA DOLLIES BACK AND R. BARKIS Thank you, you are a most gracious hostess. Which is why it pains me to be the bearer of... BARKIS STOPS AS CAMERA DOLLIES R. TO INCLUDE FINIS, SEATED IN R.FG. BARKIS ...such...

945.03

SCENE 173 - MCS - PAST BARKIS, L.FG., TO FINIS. BARKIS (face off) ...bad news.

947.11

SCENE 174 - MCS - PAST FINIS, R.FG., TO BARKIS, SNAPPING HIS FINGERS.

949.06

SCENE 175 - MFS - THE TOWN CRIER STEPS FG. THROUGH THE DOORWAY, HOLDING HIS BELL.

953.00

SCENE 176 - MFS - BARKIS, LOOKING FG. AT THE O.S. TOWN CRIER AS FINIS AND MAUDELINE LOOK ON, SEATED ON THE COUCH. BARKIS Would you care to repeat tonight's...

956.12

2-127 /932.14 938.00 5.02 BARKIS TO MAUDELINE Thank you, you are a most gracious

hostess. 2-128 938.04 945.00/ 6.12 BARKIS TO GROUP Which is why it pains me to be the

bearer of... (pains me : i.e., 'causes me

emotional pain' – 'upsets me') (the bearer of : i.e., 'the

person to bring you') 2-128A /945.04 947.11/ 2.07 BARKIS TO GROUP ...such bad news. 2-129 953.14 959.10 5.12 BARKIS TO TOWN CRIER (over scene end) Would you care to repeat tonight's

headline for us? (Note that Barkis summons the Town

Crier into the room)


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SCENE 177 - MS - THE TOWN CRIER. BARKIS (off) ...headline for us? THE TOWN CRIER RINGS THE BELL. TOWN CRIER Hear ye...

960.08

SCENE 178 - MFS - BARKIS REACTS AS MAUDELINE AND FINIS LOOK ON, SEATED ON THE COUCH. TOWN CRIER (off) ...hear ye!

962.09

SCENE 179 - MS - THE TOWN CRIER, RINGING THE BELL. TOWN CRIER Victor Van Dort seen this night...

966.08

SCENE 180 - MFS - WILLIAM AND NELL, SEATED ON THE COUCH AS THEIR CUPS SHAKE. TOWN CRIER (off) ...on the bridge in the arms of a mystery woman!

969.12

SCENE 181 - MFS - BARKIS REACTS AS MAUDELINE AND FINIS LOOK ON, SEATED ON THE COUCH, HOLDING CUPS THAT SHAKE. TOWN CRIER The dark-haired temptress...

972.06

2-130 959.14 962.09/ 2.11 TOWN CRIER TO GROUP (over scene end) Hear ye, hear ye! 2-131 963.07 969.12/ 6.05 TOWN CRIER TO GROUP (over scene end) Victor Van Dort seen this night on the

bridge in the arms of a mystery woman! (a mystery woman : i.e., 'an

unknown woman' – refers to the Corpse Bride)


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SCENE 182 - MS - THE TOWN CRIER, RINGING THE BELL. TOWN CRIER ...and Master Van Dort slipped away into the night! THE TOWN CRIER STOPS RINGING HIS BELL. TOWN CRIER And now, the weather. Scattered showers follow-- BARKIS (off) (interrupting) Enough!

980.08

SCENE 183 - MFS - BARKIS AS MAUDELINE AND FINIS LOOK ON, SEATED ON THE COUCH. BARKIS That will be all.

983.11

SCENE 184 - FS - PAST THE TOWN CRIER, L.FG., TO BARKIS, REACTING AS FINIS, MAUDELINE AND VICTORIA LOOK ON. THE TOWN CRIER STEPS L. AND EXITS TO REVEAL WILLIAM AND NELL, SEATED ON THE COUCH, L. FINIS Hm. NELL Mystery woman?

989.14

SCENE 185 - MS - PAST BARKIS, R.FG., TO NELL AND WILLIAM, SEATED ON THE COUCH. NELL He doesn't even know any women! BARKIS STEPS L. BARKIS Or so you thought. BARKIS EXITS L.

997.13

2-132 /970.00 977.02 7.02 TOWN CRIER TO GROUP (over scene end) The dark-haired temptress and Master

Van Dort slipped away into the night! (temptress : refers to a

seductive woman or lover) (slipped...night : i.e., 'left

together' – 'went somewhere together in the dark')

2-133 977.06 979.07 2.01 TOWN CRIER TO GROUP And now, the weather. Scattered

showers-- (now : i.e., 'now I will give

you a report of') (Humorously implying that the Town

Crier also gives people weather reports)

2-134 979.11 983.11/ 4.00 BARKIS TO TOWN CRIER (over scene end) Enough! That will be all. (Enough : I.e., 'That is

sufficient') (That...all : Dismissal of

someone, as of a servant – I.e., 'You may leave now')

2-135 988.02 993.03 5.01 NELL TO GROUP (over scene end) Mystery woman? He doesn't even know

any women! 2-136 993.07 996.13 3.06 BARKIS TO NELL Or so you thought. (thought : i.e., 'assumed' –

'believed')


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SCENE 186 - MFS - BARKIS STEPS INSIDE THE DOORWAY AND STOPS. BARKIS Do call for me if you need my assistance...

1001.11

SCENE 187 - MFS - PAST THE COUCH, FG., TO VICTORIA, REACTING.

1003.08

SCENE 188 - MCS - THROUGH THE DOORWAY TO BARKIS. BARKIS ...in any way. BARKIS CLOSES THE DOORS, OBSCURING HIMSELF.

1008.04

SCENE 189 - MFS - PAST THE COUCH, FG., TO VICTORIA, REACTING. MAUDELINE (off) Good...

1009.08

SCENE 190 - MFS - FINIS AND MAUDELINE, SEATED ON THE COUCH. MAUDELINE ...heavens, Finis, what should we do? MAUDELINE STRAIGHTENS, STEPS R. AND EXITS. CAMERA DOLLIES INTO MS ON FINIS TO INCLUDE VICTORIA, R.BG. FINIS Fetch me musket!

1015.11

2-137 /997.14 1001.11/ 3.13 BARKIS TO GROUP Do call for me if you need my

assistance... 2-138 /1003.09 1006.03 2.10 BARKIS TO GROUP ...in any way. 2-139 /1009.09 1013.03 3.10 MAUDELINE TO FINIS Good heavens, Finis, what should we do? (Good heavens : Colloquial

exclamation) 2-140 1013.07 1015.11/ 2.04 FINIS TO EMIL Fetch me musket! (me : my) (musket : old style of rifle)


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SCENE 191 - MFS - NELL AND WILLIAM, SEATED ON THE COUCH. NELL Oh, William, do something! WILLIAM STRAIGHTENS. WILLIAM (overlapping) Um, the town...

1019.00

SCENE 192 - MFS - PAST FINIS, R.FG., TO EMIL, GIVING HIM THE MUSKET. WILLIAM ENTERS L., GRABBING THE MUSKET. WILLIAM ...crier probably just had a slow news day. You know how it is, you need a little something to cry about. FINIS (overlapping) (grunts) WILLIAM STEPS L. AND EXITS. FINIS Regardless... FINIS STEPS DOWN FROM THE COUCH.

1028.07

SCENE 193 - MS - FINIS. EMIL (TORSO) IS L.BG. FINIS ...we are one groom short for the wedding tomorrow.

1033.09

SCENE 194 - MS - PAST FINIS, R.FG., TO WILLIAM, PUTTING THE MUSKET ATOP THE MANTEL. FINIS Not to mention the financial implications.

1038.09

2-141 /1015.15 1018.13/ 2.14 NELL TO WILLIAM William, do something! (do something : i.e., 'take some

appropriate action') 2-142 /1019.01 1023.00 3.15 WILLIAM TO FINIS The town crier probably just had a slow

news day. (had...day : i.e., 'a day

without any news or significant events to report' – implying that is the reason for his reporting on Victor's activities – note humorous comparison to modern journalism and news reports)

2-143 1023.04 1026.05 3.01 WILLIAM TO FINIS You know how it is, you need a little

something to cry about. (how it is : i.e., 'the

situation' – 'what is involved') (you...about : i.e., 'a town

crier has to have news to loudly tell people' – note that 'cry' here means to 'tell loudly' – 'shout out')

2-144 1026.09 1028.07/ 1.14 FINIS TO WILLIAM Regardless... (Colloquial dismissal – I.e.,

'Even so' – 'No matter what the situation')

2-145 /1028.11 1033.09/ 4.14 FINIS TO WILLIAM ...we are one groom short for the

wedding tomorrow. (we...for : i.e., 'there will be

no groom at' – 'Victor cannot be found to attend')

2-146 1034.00 1038.09/ 4.09 FINIS TO HIMSELF Not to mention the financial

implications. (Not to mention : Colloquial

emphatic – I.e., 'And there are also')

(Refers to the financial basis of the poor aristocrats' daughter marrying the wealthier fish sellers' son)


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SCENE 195 - MS - MAUDELINE. MAUDELINE A most scandalous embarrassment for us all. NELL ENTERS R.BG. NELL (overlapping) Oh, give us a chance to find him. WILLIAM ENTERS R.BG. NELL We beg of...

1047.09

SCENE 196 - MFS - VICTORIA REACTS. NELL (off) ...you. Just...

1049.04

SCENE 197 - MFS - PAST MAUDELINE, L.FG., TO NELL AND WILLIAM. NELL ...give us until dawn. MAUDELINE Very well. Till dawn. SCENE FADES TO BLACK. CORPSE BRIDE (voice over) Victor, darling...

1057.02

2-147 /1038.13 1043.02 4.05 MAUDELINE TO GROUP A most scandalous embarrassment for us

all. 2-148 1043.06 1047.09/ 4.03 NELL TO MAUDELINE Give us a chance to find him. We beg

of you. 2-149 /1047.13 1050.12 2.15 NELL TO MAUDELINE (over scene end) Just give us until dawn. 2-150 1051.00 1054.03 3.03 MAUDELINE TO NELL Very well. Till dawn.


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FADE IN: SCENE 198 - INT. LAND OF DEAD TOWN SQUARE - NIGHT - MFS- ACROSS THE SQUARE TO CORPSE BRIDE, STEPPING FG. AS A SKELETON STEPS L. AND EXITS. THREE DEAD DENIZENS SOCIALIZE, R.BG. AS SKELETON BOY PUSHES A TOY, RUNS R. AND EXITS. CORPSE BRIDE ...where are you? DEAD DENIZENS (overlapping) (low and indistinct chatter - continues under following scenes and dialogue) MAGGOT (off) If you ask me, your boyfriend is kind of jumpy. CORPSE BRIDE STOPS IN MS. CORPSE BRIDE He's not my boyfriend, he's my husband. CORPSE BRIDE Victor, where have you gone? CORPSE BRIDE'S EYEBALL POPS OUT OF ITS SOCKET TO REVEAL MAGGOT. MAGGOT (chuckles) I'll keep an eye out for him.

1077.10

SCENE 199 - MS - PAST THE BASE OF A STATUE, TIPPED IN R.FG., TO VICTOR, EMERGING AS HE LOOKS FG. CORPSE BRIDE (off) Victor?

1079.13

SCENE 200 - MFS - LOW ANGLE - LOOKING UP AT A STATUE OF A HORSE SKELETON AS VICTOR STEPS FG. FROM THE STATUE BASE.

1085.03

2-151 1055.07 1060.05 4.14 CORPSE BRIDE TO VICTOR Victor, darling, where are you? (Note that the Corpse Bride chases

Victor through the Land of the Dead)

2-152 1061.07 1066.11 5.04 MAGGOT TO CORPSE BRIDE If you ask me, your boyfriend is kind

of jumpy. (If you ask me : Colloquial

emphatic exclamation) (jumpy : slang for 'nervous' –

'tense') 2-153 1066.15 1070.12 3.13 CORPSE BRIDE TO MAGGOT He's not my boyfriend, he's my husband. 2-154 1071.00 1074.15 3.15 CORPSE BRIDE TO VICTOR Victor, where have you gone? 2-155 1075.05 1077.10/ 2.05 MAGGOT TO CORPSE BRIDE I'll keep an eye out for you. (Note double meaning – [1]

Colloquial for 'I will search for him for you.' and [2] Note that Corpse Bride's eye pops out as Maggot pushes it)

2-156 1078.07 1079.13/ 1.06 CORPSE BRIDE TO VICTOR Victor?


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SCENE 201 - MS - CORPSE BRIDE AS MAGGOT LOOKS ON FROM HER EYE SOCKET. MAGGOT (gasps) There he goes...

1087.09

SCENE 202 - FS - PAST MAGGOT, FG., AND THROUGH THE EYE SOCKET TO VICTOR ON A WALKWAY AS CAMERA PANS L. MAGGOT (face off) ...there he goes! MAGGOT LOOKS L.FG. AS VICTOR RUNS R. AND EXITS. MAGGOT He's, he's getting away! Quick, quick...

1092.14

SCENE 203 - MS - CORPSE BRIDE LIFTS HER EYEBALL AS MAGGOT LOOKS ON FROM HER EYE SOCKET. MAGGOT ...after him! CORPSE BRIDE PUTS HER EYEBALL INSIDE THE EYE SOCKET, OBSCURING MAGGOT. CORPSE BRIDE Victor! CORPSE BRIDE STEPS R.

1096.02

2-157 1086.05 1092.01/ 5.12 MAGGOT TO CORPSE BRIDE (over scene end) There he goes, there he goes! He's,

he's getting away! (Refers to Victor) 2-158 /1092.05 1094.05 2.00 MAGGOT TO CORPSE BRIDE Quick, quick, after him! (after : i.e., 'chase' –

'follow') 2-159 1094.09 1096.02/ 1.09 CORPSE BRIDE TO VICTOR Victor!


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SCENE 204 - MFS - PAST A BARREL OF ARMS, R.FG., TO VICTOR, RUNNING R. AS A SKELETON SHOPKEEPER LOOKS ON BY A SHOP DOORWAY. A SIGN ON THE SHOP READS:

2ND HAND SHOPPE VICTOR EXITS R. AS CORPSE BRIDE ENTERS L.FG. AND LOOKS AROUND. THE ARMS IN THE BARREL POINT THEIR FINGERS AT O.S. VICTOR. CORPSE BRIDE STEPS R. CORPSE BRIDE Thank you.

1106.01

SCENE 205 - INT. COFFIN SHOP - NIGHT - FS - PAST A COFFIN, R.FG., TO VICTOR, RUNNING THROUGH THE DOORWAY AND STOPPING. VICTOR (gasps and pants) CORPSE BRIDE (off) Victor! CAMERA DOLLIES BACK ON VICTOR TO REVEAL ROWS OF COFFINS, LEANING AGAINST THE WALL, R. AND L. CORPSE BRIDE (off) Where are...

1111.04

SCENE 206 - MS - VICTOR ENTERS L. AS HE STOPS BY A COFFIN AND REACTS. CORPSE BRIDE (off) ...you? VICTOR LIES INSIDE AN UPRIGHT COFFIN AS HE CROSSES HIS ARMS AND CLOSES HIS EYES. CORPSE BRIDE ENTERS L., STEPPING R. CORPSE BRIDE Victor? CORPSE BRIDE EXITS R.

2-160 /1096.06 1099.07 3.01 NARRATIVE TITLE (ON SIGN) (OPTIONAL) 2ND HAND SHOPPE (2ND : Second) (2ND Hand : Note double meaning

– [1] Colloquial for 'Used Goods' and [2] Refers to a box of disembodied hands)

(SHOPPE : Old English variation of 'Shop')

2-161 1104.04 1106.01/ 1.13 CORPSE BRIDE TO HANDS Thank you. (Note that she thanks the

disembodied hands pointing the direction Victor has run)

2-162 1107.08 1111.04/ 3.12 CORPSE BRIDE TO VICTOR Victor! Where are you? 2-163 1115.10 1117.10 2.00 CORPSE BRIDE TO VICTOR Victor?


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SCENE 206 - (CONTINUED) CORPSE BRIDE (off) Where...

1119.09

SCENE 207 - MCS - VICTOR, LYING IN THE COFFIN AS A BLACK WIDOW SPIDER DANGLES DOWN FROM A STRAND OF WEB, L. CORPSE BRIDE (off) ...have you gone?! VICTOR OPENS HIS EYES AND LOOKS R.

1122.07

SCENE 208 - MFS - THE BLACK WIDOW SPIDER. BLACK WIDOW SPIDER Married, huh? I'm a...

1125.00

SCENE 209 - MCS - PAST THE BLACK WIDOW SPIDER, L.FG., TO VICTOR INSIDE THE COFFIN, REACTING. BLACK WIDOW SPIDER ...widow. VICTOR (gasps in fear) VICTOR SWATS THE BLACK WIDOW SPIDER, EXITING L. VICTOR RUNS L. AND EXITS AS THE BLACK WIDOW SPIDER RE-ENTERS L., SWINGING ON HER WEB STRAND. BLACK WIDOW SPIDER Oh, how rude. THE BLACK WIDOW SPIDER SWINGS L. AS CAMERA PANS L. TO RE-INCLUDE VICTOR, RUNNING BG. THROUGH THE DOORWAY. BLACK WIDOW SPIDER He went that way!

1131.00

2-164 /1119.10 1122.07/ 2.13 CORPSE BRIDE TO VICTOR Where have you gone?! 2-165 1122.12 1125.00/ 2.04 BLACK WIDOW SPIDER TO VICTOR Married, huh? I'm a widow. 2-166 1126.08 1128.11 2.03 BLACK WIDOW SPIDER TO VICTOR How rude. (How rude : Refers to Victor's

fearful response to the spider) 2-167 1128.15 1131.00/ 2.01 BLACK WIDOW SPIDER TO CORPSE BRIDE He went that way!


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SCENE 210 - MCS - CORPSE BRIDE STEPS R.BG. AND STOPS AS SHE LOOKS L.FG. OVER HER SHOULDER AND REACTS.

1132.14

SCENE 211 - EXT. LAND OF THE DEAD TOWN SQUARE - NIGHT - FS - HIGH ANGLE - LOOKING DOWN AT A WALKWAY INTERSECTION AS VICTOR RUNS R. BETWEEN SHOP BUILDINGS AND STOPS. CORPSE BRIDE (off) Victor!

1136.01

SCENE 212 - MCS - VICTOR REACTS AS HE LOOKS FG. VICTOR (gasps)

1137.12

SCENE 213 - FS - PAST VICTOR (LEGS), FG., AND THROUGH THE PASSAGEWAY TO CORPSE BRIDE, BG. IN SOFT FOCUS. CORPSE BRIDE Victor, darling! VICTOR (LEGS) RUNS R. AND EXITS.

1140.10

SCENE 214 - FS - ACROSS THE WALKWAY TO A SWEEPER MAN, SWEEPING A BROOM AS VICTOR ENTERS UPPER FRAME, RUNNING BG. A SKELETON LOOKS ON, LEANING AGAINST THE WALL, L. VICTOR STOPS AND GRABS THE SWEEPER MAN. VICTOR Please! There's been a mistake. SWEEPER MAN Huh?

1145.12

2-168 1133.10 1135.11 2.01 CORPSE BRIDE TO VICTOR Victor! 2-169 1138.02 1140.10/ 2.08 CORPSE BRIDE TO VICTOR Victor, darling! (darling : term of endearment) 2-170 1143.01 1145.12/ 2.11 VICTOR TO ZOMBIE SHOPKEEPER Please! There's been a mistake.


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SCENE 215 - MCS - PAST SWEEPER MAN, R.FG., TO VICTOR, SHAKING HIM. VICTOR I'm not dead!

1147.00

SCENE 216 - MCS - PAST VICTOR, L.FG., TO SWEEPER MAN, SHAKING AS HIS HEAD FALLS OFF. SWEEPER MAN (grunts)

1149.01

SCENE 217 - FS - ACROSS THE WALKWAY TO VICTOR, HOLDING SWEEPER MAN AS SWEEPER MAN'S HEAD FALLS ONTO THE WALKWAY. A SKELETON LOOKS ON, L. VICTOR Whoa! VICTOR RUNS BG. AND IS OBSCURED.

1153.02

SCENE 218 - MFS - HALF MAN STEPS FG. AS VICTOR ENTERS R.FG. AND STOPS. HALF MAN Excuse me. HALF MAN AND VICTOR BLOCK EACH OTHER AS THEY ATTEMPT TO PASS. HALF MAN Excuse me!

1158.04

SCENE 219 - MFS - HALF MAN SPLITS HIS BODY IN HALF TO REVEAL VICTOR. HALF MAN Excuse me. VICTOR (gasps)

1161.05

2-171 /1146.00 1149.01/ 3.01 VICTOR TO ZOMBIE SHOPKEEPER (over scene end) I'm not dead! 2-172 1154.01 1155.12 1.11 HALF MAN TO VICTOR Excuse me. 2-173 1156.12 1158.04/ 1.08 HALF MAN TO VICTOR Excuse me! 2-174 1159.13 1161.05/ 1.08 HALF MAN TO VICTOR Excuse me.


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SCENE 220 - MFS - VICTOR REACTS AND MOVES BETWEEN BOTH PARTS OF HALF MAN STEPPING R., MOVING PAST HIM. HALF MAN Thank you. VICTOR RUNS BG. AS HALF MAN BEGINS TO EXIT R.FG.

1165.06

SCENE 221 - MFS - PAST A WALL, FG., TO VICTOR, RUNNING L. AS CAMERA DOLLIES L. CORPSE BRIDE (off) Victor.

1168.06

SCENE 222 - MFS - VICTOR RUNS FG. INTO MS AND STOPS. VICTOR (pants) Dead end. (pants - continues under following scenes and dialogue)

1172.09

SCENE 223 - MFS - PAST VICTOR, R.FG., TO A WALL. CORPSE BRIDE (off) Victor! Hello!

1178.08

SCENE 224 - FS - HIGH ANGLE - LOOKING DOWN AT VICTOR, SCALING THE WALL AS HE CLIMBS FG. CAMERA TRAVELS BACK ON THE WALL.

1183.05

2-175 1162.08 1164.07 1.15 HALF MAN TO VICTOR Thank you. 2-176 /1165.07 1167.15 2.08 CORPSE BRIDE TO VICTOR Victor. 2-177 1170.14 1172.09/ 1.11 VICTOR TO HIMSELF Dead end. (Note double meaning – [1] Refers

to a passage with no exit – Here, a wall, and [2] Refers to Victor's being in the Land of the Dead with no way to escape)

2-178 1172.15 1176.13 3.14 CORPSE BRIDE TO VICTOR Victor! Hello!


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SCENE 225 - EXT. LAND OF THE DEAD LOOKOUT POINT - NIGHT - MS - PAST RAILS, FG., TO VICTOR, CLIMBING UP AND GRABBING THEM. VICTOR (grunts) (gasps) VICTOR REACHES L. AND GRABS CORPSE BRIDE'S LEG AS CAMERA PANS L.

1190.00

SCENE 226 - MFS - LOW ANGLE - LOOKING UP AT CORPSE BRIDE, HOLDING THE RAIL. CAMERA DOLLIES INTO MS. VICTOR (off) (pants - continues under following scenes and dialogue) CORPSE BRIDE You could have used the stairs, silly.

1193.00

SCENE 227 - MS - PAST THE RAIL, L.FG., TO VICTOR, REACTING AS CORPSE BRIDE (ARM) GRABS HIS ARM. VICTOR Oh! VICTOR RISES AND EXITS UPPER FRAME AS CORPSE BRIDE (ARM) LIFTS HIM. VICTOR (face off) Agh!

1196.10

SCENE 228 - FS - PAST A STAIRCASE, L.FG., TO CORPSE BRIDE, LOWERING VICTOR ONTO A LOOKOUT POINT. THE LAND OF THE DEAD TOWN IS R.BG. CORPSE BRIDE (chuckles) Oh, isn't the view beautiful? It takes my breath away. Mm.

1206.03

2-179 1190.11 1193.00/ 2.05 CORPSE BRIDE TO VICTOR You could have used the stairs, silly. (Note that Victor made an arduous

climb to escape Corpse Bride, only to discover her at the top of the wall, waiting for him. He has no escape)

(silly : term of address to someone who has acted in a foolish or silly manner)

2-180 1198.05 1204.12 6.07 CORPSE BRIDE TO VICTOR Isn't the view beautiful? It takes my

breath away. (the view : refers to a scenic

vista of the Land of the Dead) (takes my breath away : note

double meaning – [1] colloquial for 'is awe-inspiring to me' and [2] literally, 'makes it impossible for me to breathe')


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SCENE 229 - MFS - CORPSE BRIDE STEPS L.FG. AS VICTOR LOOKS ON, R.BG. CORPSE BRIDE Well, it would if I had any. (chuckles) CORPSE BRIDE EXITS L.FG.

1212.01

SCENE 230 - MS - VICTOR REACTS. CORPSE BRIDE (off) Isn't it romantic?

1216.08

SCENE 231 - MFS - CORPSE BRIDE SITS ON A BENCH, THEN PATS THE BENCH WOOD. VICTOR ENTERS R.FG. AS HE STEPS BG, AND SITS BESIDE HER. VICTOR (sighs)

1226.09

SCENE 232 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR Look, I am terribly sorry about what's happened to you and I'd like to help, but I really need to get home.

1236.13

SCENE 233 - MS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE This is your home now.

1239.07

SCENE 234 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR But I don't even know your name.

1241.13

2-181 /1206.04 1209.07 3.03 CORPSE BRIDE TO VICTOR Well, it would if I had any. (if I had any : refers to her

being a corpse who has no lungs or ability to breathe)

2-182 /1212.05 1215.09 3.04 CORPSE BRIDE TO VICTOR Isn't it romantic? 2-183 /1226.10 1233.11 7.01 VICTOR TO CORPSE BRIDE Look, I am terribly sorry about what's

happened to you and I'd like to help... (terribly : colloquial emphatic) 2-184 1233.15 1236.13/ 2.14 VICTOR TO CORPSE BRIDE ...but I really need to get home. (get home : i.e., 'return to my

human life') 2-185 /1237.01 1239.07/ 2.06 CORPSE BRIDE TO VICTOR This is your home now. 2-186 /1239.11 1241.13/ 2.02 VICTOR TO CORPSE BRIDE But I don't even know your name.


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SCENE 235 - MCS - CORPSE BRIDE REACTS. MAGGOT (off) Well, that's a great way to start a marriage. CORPSE BRIDE REACTS AS GRASPS HER HEAD. CORPSE BRIDE (whispering) Shut up! CORPSE BRIDE LOWERS HER ARMS. CORPSE BRIDE Mm.

1250.14

SCENE 236 - MS - VICTOR REACTS.

1252.06

SCENE 237 - MS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE It's Emily. VICTOR Emily. CORPSE BRIDE Oh, I almost forgot.

1259.04

SCENE 238 - MFS - CORPSE BRIDE, SEATED, REACHING DOWN AND LIFTING A GIFT-WRAPPED BOX AS VICTOR LOOKS ON. CORPSE BRIDE I have something for you.

1263.05

SCENE 239 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE (whispering) It's a wedding present.

1267.06

2-187 1243.09 1247.07 3.14 MAGGOT TO CORPSE BRIDE Well, that's a great way to start a

marriage. (Here meant facetiously) 2-188 1247.11 1249.09 1.14 CORPSE BRIDE TO MAGGOT Shut up! 2-189 /1252.09 1254.12 2.03 CORPSE BRIDE TO VICTOR It's Emily. 2-190 1255.05 1257.01 1.12 VICTOR TO CORPSE BRIDE Emily. 2-191 1257.05 1262.08 5.03 CORPSE BRIDE TO VICTOR (over scene end) Oh, I almost forgot. I have something

for you. (something : i.e., 'a gift') 2-192 1264.08 1267.06/ 2.14 CORPSE BRIDE TO VICTOR It's a wedding present.


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SCENE 240 - MFS - VICTOR AND CORPSE BRIDE, SEATED ON THE BENCH AS HE LIFTS THE GIFT-WRAPPED BOX AND SHAKES IT. CORPSE BRIDE (gasps)

1273.13

SCENE 241 - MS - PAST VICTOR, L.FG., LOWERING THE GIFT-WRAPPED BOX TO CORPSE BRIDE. CORPSE BRIDE Hm.

1277.04

SCENE 242 - MS - VICTOR (ARMS) LIFTS THE LID OFF THE GIFT-WRAPPED BOX.

1279.15

SCENE 243 - MFS - VICTOR, LOOKING DOWN AT THE OPEN GIFT-WRAPPED BOX ON HIS LAP AS CORPSE BRIDE LOOKS ON. VICTOR (gasps) VICTOR LIFTS A BONE FROM THE GIFT-WRAPPED BOX. VICTOR Thank you. THE BOX BEGINS TO SHAKE AS VICTOR TOSSES THE BONE DOWN INSIDE IT.

1292.04

SCENE 244 - MFS - THE GIFT-WRAPPED BOX JUMPS OFF VICTOR'S LAP AND FALLS ONTO THE WALKWAY, CAUSING BONES TO SCATTER AND SPILL OUT. VICTOR (face off) (gasps)

1295.03

2-193 1287.02 1288.13 1.11 VICTOR TO CORPSE BRIDE Thank you. 2-194 1321.15 1323.12/ 1.13 VICTOR TO DOG Scraps? (Name of Victor's childhood pet

dog, who is dead) (Implying that Corpse Bridge found

Scraps' skeleton in the Land of the Dead, collected its bones, and has now given them all to Victor)


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SCENE 245 - FS - PAST VICTOR, R.FG., AND CORPSE BRIDE, L.FG., TO THE BONES, LYING ON THE WALKWAY.

1297.15

SCENE 246 - MCS - VICTOR REACTS AS HE LOOKS AT THE O.S. BONES.

1299.12

SCENE 247 - MFS - PAST VICTOR, R.FG., AND CORPSE BRIDE, L.FG., TO THE BONES ASSEMBLING THEMSELVES AND FORMING SKELETAL SCRAPS, WHO BARKS.

1304.00

SCENE 248 - MCS - VICTOR REACTS AS HE LOOKS AT O.S. SKELETAL SCRAPS.

1305.14

SCENE 249 - FS - VICTOR AND CORPSE BRIDE, SEATED ON THE BENCH AS SKELETAL SCRAPS ENTERS L.FG., RUNNING BG., CARRYING HIS COLLAR IN HIS MOUTH. SKELETAL SCRAPS SITS BY VICTOR.

1311.09

SCENE 250 - MS - PAST VICTOR (ARM), R.FG., TO SKELETAL SCRAPS, HOLDING THE COLLAR IN HIS MOUTH. VICTOR (HAND) TAKES THE COLLAR AND EXITS R.FG.

1317.03

SCENE 251 - MS - VICTOR LOOKS AT THE COLLAR. VICTOR Scraps?

1323.12


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SCENE 252 - FS - SKELETAL SCRAPS BARKS.

1325.11

SCENE 253 - MS - VICTOR, SEATED, REACTING. VICTOR Scraps!

1328.10

SCENE 254 - FS - SKELETAL SCRAPS BARKS, THEN LEAPS R.FG. VICTOR (off) My dog Scraps!

1331.12

SCENE 255 - MFS - VICTOR REACTS AS SKELETAL SCRAPS LEAPS ONTO HIS LAP. CORPSE BRIDE LOOKS ON, SEATED R. CORPSE BRIDE (chuckles) VICTOR PUTS THE COLLAR ONTO SKELETAL SCRAPS' NECK. VICTOR Oh, Scraps, what a good boy! SKELETAL SCRAPS LEAPS L. AND EXITS.

1340.14

2-195 1327.07 1328.10/ 1.03 VICTOR TO DOG Scraps! 2-196 1330.00 1331.12/ 1.12 VICTOR TO DOG My dog Scraps! 2-197 1336.09 1340.11/ 4.02 VICTOR TO DOG Oh, Scraps, what a good boy! (good boy : colloquial

exclamation to an obedient pet dog)


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SCENE 256 - FS - SKELETAL SCRAPS ENTERS R.FG., RUNS BG. AND STOPS AS HE LOOKS FG. AT O.S. VICTOR. CORPSE BRIDE (off) I knew you'd be happy to see him. VICTOR (off) Who's my good boy? Sit! Sit, Scraps, sit! SKELETAL SCRAPS SITS. CORPSE BRIDE (off) (laughs) VICTOR (off) (overlapping) Good boy, Scraps.

1352.08

SCENE 257 - MS - VICTOR, GESTURING WITH HIS FINGER. VICTOR Roll over!

1354.10

SCENE 258 - FS - SKELETAL SCRAPS ROLLS OVER ON THE WALKWAY, THEN LEAPS ABOUT AND BARKS. VICTOR (off) Roll over! Good boy, Scraps.

1358.10

SCENE 259 - MS - VICTOR. VICTOR Play dead.

1360.11

SCENE 260 - FS - LOOKING DOWN AT SKELETAL SCRAPS, WHINING AND REACTING.

1363.00

2-198 /1340.15 1344.05 3.06 CORPSE BRIDE TO VICTOR I knew you'd be happy to see him. 2-199 1344.09 1350.12 6.03 VICTOR TO DOG Who's my good boy? Sit! Sit, Scraps,

sit! (Sit : Command to a pet dog) 2-200 1351.00 1352.08/ 1.08 VICTOR TO DOG Good boy, Scraps. 2-201 1352.15 1354.10/ 1.11 VICTOR TO DOG Roll over! (Command to a pet dog to lie on

its back and roll over, a performing trick or game to play with a pet)

2-202 /1354.14 1358.10/ 3.12 VICTOR TO DOG Roll over! Good boy, Scraps. 2-203 1359.03 1360.11/ 1.08 VICTOR TO DOG Play dead. (Note double meaning – [1] Command

to a dog to lie very still, as if dead, a performing trick or game to play with a pet, and [2] Humorous play on Scraps already being dead)


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SCENE 261 - MFS - CORPSE BRIDE AND VICTOR, SEATED. VICTOR Sorry. SKELETAL SCRAPS ENTERS L. AS HE LEAPS ONTO CORPSE BRIDE'S LAP. CORPSE BRIDE (laughs) Oh, what a cutie. VICTOR You should have seen him with fur. CORPSE BRIDE (laughs)

1372.12

SCENE 262 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR AS SKELETAL SCRAPS LOOKS ON. VICTOR Mother never approved of Scraps jumping up like this. But then again, she never approved of anything.

1382.13

SCENE 263 - MS - PAST VICTOR AND SKELETAL SCRAPS, L.FG., TO CORPSE BRIDE. CORPSE BRIDE Do you think she would have approved of me?

1386.03

SCENE 264 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR AS SKELETAL SCRAPS LOOKS ON. VICTOR (chuckles) You're lucky you'll never have to meet her. Well, actually...

1396.11

2-204 /1363.04 1365.01 1.13 VICTOR TO CORPSE BRIDE Sorry. 2-205 1366.03 1368.12 2.09 CORPSE BRIDE TO DOG Oh, what a cutie. (what a : colloquial emphatic) (cutie : variation of 'cute' -

i.e., 'cute dog') 2-206 1369.00 1372.00 3.00 VICTOR TO CORPSE BRIDE You should have seen him with fur. (You...him : I.e., 'He was even

more attractive') (with fur : i.e., 'when he was

alive and had flesh and fur') 2-207 1373.04 1377.07 4.03 VICTOR TO CORPSE BRIDE Mother never approved of Scraps jumping

up like this. 2-208 1377.11 1382.13/ 5.02 VICTOR TO CORPSE BRIDE But then again, she never approved of

anything. (then again : colloquial

emphatic) (anything : i.e., 'anything I

did or wanted') 2-209 /1383.01 1386.03/ 3.02 CORPSE BRIDE TO VICTOR Do you think she would have approved of

me? 2-210 1387.15 1391.05 3.06 VICTOR TO CORPSE BRIDE You're lucky you'll never have to meet

her. 2-211 1394.11 1396.11/ 2.00 VICTOR TO CORPSE BRIDE Well, actually...


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SCENE 265 - MFS - VICTOR AND CORPSE BRIDE, SEATED AS HE LOWERS SKELETAL SCRAPS, EXITING LOWER FRAME. VICTOR ...now that you mention it, I think you should. CORPSE BRIDE Hm. VICTOR In fact... CORPSE BRIDE STRAIGHTENS AND STEPS R. VICTOR (face off) ...since we're, you know... VICTOR EXITS R.

1409.05

SCENE 266 - MFS - VICTOR STEPS R.FG. AS CORPSE BRIDE LOOKS ON, SEATED IN BG. VICTOR ...m-m-married, you should definitely meet her. CORPSE BRIDE Mm-hm. VICTOR And my father too. We should go and see them right now. CORPSE BRIDE STRAIGHTENS AND STEPS FG. CORPSE BRIDE Oh, what a fantastic idea! Where are they buried?

1424.01

2-212 1398.15 1404.11 5.12 VICTOR TO CORPSE BRIDE ...now that you mention it, I think you

should. (now...it : colloquial emphatic

exclamation) (should : i.e., 'should meet my

mother') 2-213 1404.15 1409.05/ 4.06 VICTOR TO CORPSE BRIDE In fact, since we're, you know... (you know : colloquial emphatic) 2-214 1410.11 1415.03 4.08 VICTOR TO CORPSE BRIDE ...married, you should definitely meet

her. (definitely : colloquial

emphatic) 2-215 1415.07 1419.09 4.02 VICTOR TO CORPSE BRIDE And my father too. We should go and

see them right now. (see them : i.e., 'visit them') 2-216 1419.13 1424.01/ 4.04 CORPSE BRIDE TO VICTOR What a fantastic idea! Where are they

buried? (Note that she assumes that

Victor's parents are dead, and somewhere in the Land of the Dead where she can visit them)


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SCENE 267 - MS - PAST CORPSE BRIDE, L.FG., TO VICTOR. VICTOR Oh. VICTOR LOOKS BG. CORPSE BRIDE What? What is...

1428.03

SCENE 268 - MS - PAST VICTOR, R.FG., TO CORPSE BRIDE. CORPSE BRIDE ...it? VICTOR They're not from around here. CORPSE BRIDE Where are they? VICTOR POINTS UPPER FRAME. CORPSE BRIDE (gasps) Oh, they're still alive. VICTOR I'm afraid so. CORPSE BRIDE Oh, well, that is a problem.

1441.10

SCENE 269 - MFS - LOW ANGLE - PAST SKELETAL SCRAPS, L.FG., BARKING, TO CORPSE BRIDE AND VICTOR. CORPSE BRIDE What's that, Scraps?

1443.15

SCENE 270 - FS - LOOKING DOWN AT SKELETAL SCRAPS, BARKING.

1445.07

2-217 1427.01 1429.06 2.05 CORPSE BRIDE TO VICTOR (over scene end) What? What is it? 2-218 1429.10 1432.00 2.06 VICTOR TO CORPSE BRIDE They're not from around here. (Note double meaning – [1] I.e.,

'My parents are not dead.' – 'My parents are living humans.' and [2] Colloquial for 'They live elsewhere.' – 'They are from a different location.')

2-219 1432.04 1434.07 2.03 CORPSE BRIDE TO VICTOR Where are they? 2-220 1435.12 1438.08 2.12 CORPSE BRIDE TO VICTOR Oh, they're still alive. 2-221 1438.12 1441.10/ 2.14 VICTOR TO CORPSE BRIDE, THEN CORPSE BRIDE TO VICTOR -I'm afraid so. -Well, that is a problem. (I'm...so : Exclamation of

reluctant agreement) (that...problem : implying that

Corpse Bride cannot visit the human world)

2-222 1442.07 1443.15/ 1.08 CORPSE BRIDE TO DOG What's that, Scraps? (What's that : I.e., 'What did

you say') (Note implication that Corpse

Bride can understand Scraps' non-verbal communication because they are both dead)


2AB

2AB (65)



SCENE 271 - MFS - PAST SKELETAL SCRAPS, L.FG., TO CORPSE BRIDE, CROUCHING AS VICTOR LOOKS ON, R.BG. CORPSE BRIDE Oh, no, we couldn't possibly.

1448.14

SCENE 272 - FS - LOOKING DOWN AT SKELETAL SCRAPS, BARKING.

1451.08

SCENE 273 - MFS - PAST SKELETAL SCRAPS, L.FG., TO CORPSE BRIDE, CROUCHED AS VICTOR LOOKS ON, R.BG. CORPSE BRIDE Oh, well... CORPSE BRIDE STRAIGHTENS. CORPSE BRIDE ...if you put it like that. VICTOR What?

1457.06

SCENE 274 - MS - PAST VICTOR, R.FG., TO CORPSE BRIDE. CORPSE BRIDE Elder Gutknecht.

1460.04

SCENE 275 - MS - PAST CORPSE BRIDE, L.FG., TO VICTOR, REACTING. O.S. LIGHTNING FLASHES.

1463.03

SCENE 276 - EXT. LAND OF THE DEAD TOWN - NIGHT - FS - LOW ANGLE - PAST A ROW OF BUILDINGS, FG., TO ELDER GUTKNECHT'S TOWER. CAMERA DOLLIES IN AS O.S. LIGHTNING FLASHES.

1471.13

2-223 1446.01 1448.14/ 2.13 CORPSE BRIDE TO DOG No, we couldn't possibly. (possibly : colloquial emphatic) 2-224 /1451.11 1455.08 3.13 CORPSE BRIDE TO DOG Well, if you put it like that. (if : i.e., 'since') (put it like that : i.e.,

'explain it that way' – 'make that demand')

2-225 1455.12 1457.06/ 1.10 VICTOR TO CORPSE BRIDE What? 2-226 1458.00 1460.04/ 2.04 CORPSE BRIDE TO VICTOR Elder Gutknecht. (I.e., 'We must pay a visit to' –

'We must seek the assistance of') (Elder Gutknecht : Refers to a

sorcerer who is also a dead skeleton)


2AB

2AB (66)



SCENE 277 - INT. ELDER GUTKNECHT'S STUDY - NIGHT - MFS - SKELETAL SCRAPS RUNS L., ASCENDING THE STAIRCASE AS CORPSE BRIDE FOLLOWS, WALKING. CORPSE BRIDE (whispering) Shh, Scraps! SKELETAL SCRAPS STEPS BG. ACROSS THE STUDY AND EXITS R. AS CORPSE BRIDE STEPS L. AND LOOKS BG. CAMERA CRANES DOWN AND TILTS UP TO REVEAL THE STUDY WITH PILES OF BOOKS, BG. CORPSE BRIDE (face off) Elder Gutknecht! VICTOR ENTERS R.FG. CORPSE BRIDE Are you there?

1482.08

SCENE 278 - MFS - CORPSE BRIDE STEPS R.FG. AND EXITS AS VICTOR STOPS BY THE STAIRCASE AND LOOKS FG.

1486.10

SCENE 279 - MFS - PAST A PILE OF BOOKS, L.FG., TO CORPSE BRIDE, STEPPING FG. AS VICTOR EMERGES, FOLLOWING. CORPSE BRIDE Hello? Is anyone home? CORPSE BRIDE STOPS AS VICTOR HALTS BESIDE HER.

1492.08

2-227 1473.13 1476.00 2.03 CORPSE BRIDE TO DOG Shh, Scraps! 2-228 1476.04 1482.01 5.13 CORPSE BRIDE TO ELDER GUTKNECHT Elder Gutknecht! Are you there? (Note that they enter Elder

Gutknecht's residence) 2-229 1487.03 1491.09 4.06 CORPSE BRIDE TO ELDER GUTKNECHT Hello? Is anyone home?


2AB

2AB (67)



SCENE 280 - MFS - PAST A PILE OF BOOKS, L.FG., TO CORPSE BRIDE, STEPPING BG. AS VICTOR KNOCKS OVER THE BOOKS. SEVERAL CROWS LOOK ON, PERCHED ON FROM THE STUDY'S DOME STRUCTURE FRAME, R. CORPSE BRIDE (face off) (overlapping) Hello? THE FALLING BOOKS CAUSE THE CROWS TO FLY FG.

1498.10

SCENE 281 - MFS - SEVERAL CROWS FLY AWAY FROM A LANTERN AND EXIT AS IT SWINGS.

1501.11

SCENE 282 - MFS - PAST A PILE OF BOOKS, R.FG., TO THE SHADOW OF ELDER GUTKNECHT'S ARM ON THE WALL, MOVING R.

1503.10

SCENE 283 - FS - SKELETAL SCRAPS BARKS.

1505.02

SCENE 284 - MS - ELDER GUTKNECHT (HAND) STOPS AND CATCHES THE LANTERN AS IT SWINGS FG.

1506.05

SCENE 285 - MS - VICTOR REACTS AS HE LOOKS AT O.S. ELDER GUTKNECHT. VICTOR (gasps)

1508.02

2-230 /1492.12 1494.11 1.15 CORPSE BRIDE TO ELDER GUTKNECHT Hello?


2AB

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SCENE 286 - MFS - PAST ELDER GUTKNECHT (ARM), R.FG., TO THE LANTERN, DANGLING. CAMERA TILTS DOWN ON ELDER GUTKNECHT, SEATED AT A DESK WITH A CROW PERCHED ON THE DESKTOP, L. ELDER GUTKNECHT (coughs) (moans) CORPSE BRIDE (off) (overlapping) There you are! ELDER GUTKNECHT Wha-- ELDER GUTKNECHT PUTS ON A PAIR OF EYEGLASSES. ELDER GUTKNECHT (chuckling) Oh, my dear. There you are. (chuckles - continues under following scene and dialogue)

1519.03

SCENE 287 - FS - HIGH ANGLE - PAST ELDER GUTKNECHT, R.FG., TO CORPSE BRIDE AND VICTOR. CORPSE BRIDE I brought my husband, Victor.

1523.01

SCENE 288 - MFS - LOW ANGLE - LOOKING UP AT ELDER GUTKNECHT, SEATED AT THE DESK AS THE CROW LOOKS ON. ELDER GUTKNECHT What's that? Husband? ELDER GUTKNECHT SCRATCHES HIS SKULL.

1527.10


END OF REEL 2AB

FINAL

2-231 1512.05 1514.14 2.09 CORPSE BRIDE TO ELDER GUTKNECHT There you are! (Colloquial exclamation when

finding a person one has been searching for)

2-232 1515.13 1519.03/ 3.06 ELDER GUTKNECHT TO CORPSE BRIDE Oh, my dear. There you are. (my dear : term of endearment) (Note that Elder Gutknecht wakes

up and reacts) 2-233 /1519.07 1523.01/ 3.10 CORPSE BRIDE TO ELDER GUTKNECHT I brought my husband, Victor. 2-234 /1523.05 1527.10/ 4.05 ELDER GUTKNECHT TO CORPSE BRIDE What's that? Husband? (What's that : Colloquial

exclamation of disbelief or confusion)


END OF REEL 2AB

REVISED FINAL 09/05/05


3AB

3AB (1)




11.15

SCENE 1 - INT. ELDER GUTKNECHT'S STUDY - NIGHT - MFS - HIGH ANGLE - LOOKING DOWN AT VICTOR, LOOKING FG. AT O.S. ELDER GUTKNECHT AS CORPSE BRIDE LOOKS ON. VICTOR Pleasure to meet you, sir. ELDER GUTKNECHT (off) (grunts) CORPSE BRIDE We need to go up, upstairs? To visit the Land of the...

22.12

SCENE 2 - MFS - LOW ANGLE - ELDER GUTKNECHT, SEATED AT THE DESK AS THE CROW LOOKS ON. CORPSE BRIDE (off) ...Living. ELDER GUTKNECHT Land of the Living? (grunts)

29.01

SCENE 3 - MS - CORPSE BRIDE AND VICTOR, REACTING. ELDER GUTKNECHT (off) Oh...

31.03

SCENE 4 - FS - PAST PILES OF BOOKS, FG., TO ELDER GUTKNECHT. ELDER GUTKNECHT ...my dear.

33.15





(Flat)

3-1 12.06 15.15 3.09 VICTOR TO ELDER GUTKNECHT Pleasure to meet you, sir. 3-2 16.15 22.11/ 5.12 CORPSE BRIDE TO ELDER GUTKNECHT We need to go up, upstairs? To visit

the Land of the Living. (up; upstairs; Land of the Living

: refers to where the humans live, implying that it is overhead, that the Land of the Dead is beneath the earth's surface)

3-3 23.14 26.14 3.00 ELDER GUTKNECHT TO CORPSE BRIDE Land of the Living? 3-4 /31.05 33.13/ 2.08 ELDER GUTKNECHT TO CORPSE BRIDE Oh, my dear. (my dear : term of endearment)


3AB

3AB (2)



SCENE 5 - MS - CORPSE BRIDE AS VICTOR LOOKS ON. CORPSE BRIDE Please, Elder Gutknecht. ELDER GUTKNECHT (off) (overlapping) Now...

36.03

SCENE 6 - MFS - PAST THE PILE OF BOOKS, FG., TO ELDER GUTKNECHT, STEPPING R. AS HE DESCENDS. ELDER GUTKNECHT ...why go up there when people are dying to get down...

40.11

SCENE 7 - MFS - PAST ELDER GUTKNECHT (LEGS), STEPPING L. IN FG., TO CORPSE BRIDE AND VICTOR. ELDER GUTKNECHT (face off) ...here? ELDER GUTKNECHT (LEGS) EXITS L. VICTOR Sir, I beg you to help.

44.04

SCENE 8 - MS - VICTOR. VICTOR It means so much to me--

47.02

SCENE 9 - MS - CORPSE BRIDE REACTS AS SHE LOOKS AT O.S. VICTOR.

48.08

SCENE 10 - MS - VICTOR. VICTOR Us.

50.00

3-5 /34.01 36.02/ 2.01 CORPSE BRIDE TO ELDER GUTKNECHT Please, Elder Gutknecht. 3-6 /36.06 40.11/ 4.05 ELDER GUTKNECHT TO CORPSE BRIDE Now why go up there when people are

dying to get down here? (dying...here : note double

meaning – [1] colloquial for 'eager to come here' and [2] literally, 'have to die in order to come to the Land of the Dead')

3-7 42.07 47.01/ 4.10 VICTOR TO ELDER GUTKNECHT (over scene end) Sir, I beg you to help. It means so

much to me-- 3-8 /48.09 50.00/ 1.07 VICTOR TO ELDER GUTKNECHT Us.


3AB

3AB (3)



SCENE 11 - MS - ELDER GUTKNECHT SCRATCHES HIS SKULL. ELDER GUTKNECHT I don't know, it's, it’s just not natural. CORPSE BRIDE (TORSO) ENTERS L.FG., GRASPING HIS HAND. CORPSE BRIDE (face off) Please, Elder Gutknecht.

58.00

SCENE 12 - MS - CORPSE BRIDE, LOOKING FG. AT O.S. ELDER GUTKNECHT AS VICTOR LOOKS ON, R.BG. CORPSE BRIDE Surely there must be something you can do.

62.03

SCENE 13 - MS - PAST CORPSE BRIDE, L.FG., TO ELDER GUTKNECHT. ELDER GUTKNECHT Mm. Let me see what I can do. ELDER GUTKNECHT STEPS FG. ELDER GUTKNECHT Where did I put that book?

73.14

SCENE 14 - MFS - PAST A BOOK SHELVES, FG., TO A CABINET DOOR, OPENING TO REVEAL ELDER GUTKNECHT, RUMMAGING THROUGH THE BOOKS AND CLOSING THE DOORS.

80.05

SCENE 15 - MFS - ELDER GUTKNECHT OPENS A DRAWER AS A GROUP OF CROWS FLY OUT OF IT.

83.10

3-9 /50.04 55.00 4.12 ELDER GUTKNECHT TO VICTOR I don't know, it’s just not natural. 3-10 55.04 57.13/ 2.09 CORPSE BRIDE TO ELDER GUTKNECHT Please, Elder Gutknecht. 3-11 /58.01 62.03/ 4.02 CORPSE BRIDE TO ELDER GUTKNECHT Surely there must be something you can

do. (Surely : Colloquial emphatic

exclamation) 3-12 65.01 69.00 3.15 ELDER GUTKNECHT TO CORPSE BRIDE Let me see what I can do. 3-13 69.15 73.13/ 3.14 ELDER GUTKNECHT TO HIMSELF Where did I put that book? (that book : implying that it is

a book of magic spells and potions)


3AB

3AB (4)



SCENE 16 - MS - VICTOR AND CORPSE BRIDE, REACTING. ELDER GUTKNECHT (off) I left it here some-..

85.13

SCENE 17 - MFS - PAST SOME PILES OF BOOKS, FG., TO ELDER GUTKNECHT, TOSSING BOOKS L. OVER HIS SHOULDER. ELDER GUTKNECHT ...where....

88.05

SCENE 18 - FS - LOOKING DOWN AT SKELETAL SCRAPS, REACTING AS BOOKS ENTER L., FALLING ONTO THE FLOOR. SKELETAL SCRAPS RUNS L. AND EXITS.

91.07

SCENE 19 - MS - ELDER GUTKNECHT BY A BOOKSHELF AS HE PULLS OUT A RED BOOK. ELDER GUTKNECHT Ah, there's the one. ELDER GUTKNECHT HOLDS THE RED BOOK AND BLOWS ON THE COVER, CAUSING DUST TO FLY UP. ELDER GUTKNECHT (blows)

97.12

DISSOLVE TO: SCENE 20 - INT. ELDER GUTKNECHT'S STUDY - MOMENTS LATER - MS - PAST AN OPEN BOOK ON THE DESK, FG., TO ELDER GUTKNECHT, STRAIGHTENING AS HE HOLDS THE RED BOOK AND SEVERAL BOTTLES. THE CROW LOOKS ON, L. CAMERA DOLLIES BACK AND CRANES DOWN TO INCLUDE VICTOR AND CORPSE BRIDE, L.FG. ELDER GUTKNECHT Um....

106.10

3-14 /83.11 85.13/ 2.02 ELDER GUTKNECHT TO HIMSELF I left it here somewhere. 3-15 /91.09 95.04 3.11 ELDER GUTKNECHT TO HIMSELF Ah, there's the one. (the one : i.e., 'the book I

need' – 'the book I'm looking for')


3AB

3AB (5)



SCENE 21 - MS - LOOKING DOWN AT THE RED BOOK AS ELDER GUTKNECHT (HAND) OPENS IT TO REVEAL SKELETON DRAWINGS AND POISON RECIPES.

110.07

SCENE 22 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, TURNING THE PAGES OF THE RED BOOK AS THE CROW LOOKS ON. ELDER GUTKNECHT (mumbles and moans) I have it.

117.03

SCENE 23 - MCS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE, REACTING. CORPSE BRIDE (gasps)

118.13

SCENE 24 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, LOOKING AT THE RED BOOK AS THE CROW LOOKS ON. ELDER GUTKNECHT A Ukrainian haunting spell. Just the thing for these quick trips.

126.01

SCENE 25 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AND VICTOR. CORPSE BRIDE (whispering) I'm so glad you thought of this. VICTOR (sighs) Me too.

132.10

3-16 115.11 117.03/ 1.08 ELDER GUTKNECHT TO CORPSE BRIDE I have it. (I.e., 'I have the solution to

your problem.' – 'I know what to do to help you.')

3-17 /118.14 126.01/ 7.03 ELDER GUTKNECHT TO CORPSE BRIDE A Ukrainian haunting spell. Just the

thing for these quick trips. (haunting spell : implying that

it is a spell to enable someone dead to haunt someone living)

(Just the thing : Colloquial for 'It is exactly what is needed')

(these quick trips : i.e., 'a short visit to the Land of the Living')

3-18 127.01 130.11 3.10 CORPSE BRIDE TO VICTOR I'm so glad you thought of this. (Refers to inviting her to meet

his living parents) 3-19 130.15 132.10/ 1.11 VICTOR TO CORPSE BRIDE Me too.


3AB

3AB (6)



SCENE 26 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, WHO LIFTS THE LID OF A CUP, THEN PULLS THE CORK FROM A BOTTLE WITH HIS MOUTH AND SPITS IT OUT, EXITING R. ELDER GUTKNECHT POURS LIQUID INTO THE CUP. ELDER GUTKNECHT (inhales) (mumbles – continues under following scenes)

138.03

SCENE 27 - MS - VICTOR AND CORPSE BRIDE REACT.

138.03

SCENE 28 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, TAKING A PINCH OF POWDER FROM A JAR AS THE CROW LOOKS ON. ELDER GUTKNECHT Aaah.

146.01

SCENE 29 - MFS - PAST ELDER GUTKNECHT (ARM) AS HE SPRINKLES POWDER INTO THE CUP, R.FG., TO CORPSE BRIDE AND VICTOR. ELDER GUTKNECHT (face off) Mm. (mumbles - continues under following scene)

147.14

SCENE 30 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, PLUCKING A FEATHER FROM THE CROW.

151.11

SCENE 31 - MFS - PAST ELDER GUTKNECHT (ARM) AS HE LOWERS THE FEATHER INTO THE CUP, R.FG., TO CORPSE BRIDE AND VICTOR. ELDER GUTKNECHT (face off) (mumbling) Uh.

155.11


3AB

3AB (7)



SCENE 32 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, REACTING AS THE CUP EMITS A PUFF OF RED SMOKE. THE CROW LOOKS ON. ELDER GUTKNECHT (coughs)

160.15

SCENE 33 - MFS - ELDER GUTKNECHT (HAND) ENTERS R.FG., LIFTING THE CUP AS VICTOR AND CORPSE BRIDE LOOK ON, L.BG. CAMERA DOLLIES IN ON CORPSE BRIDE AND VICTOR, REACTING.

165.10

SCENE 34 - MS - LOW ANGLE - LOOKING UP AT ELDER GUTKNECHT, DRINKING THE CONCOCTION FROM THE CUP. ELDER GUTKNECHT (sips drink) Now, then... (burps) where were we?

174.00

SCENE 35 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AND VICTOR. CORPSE BRIDE The Ukrainian haunting spell? ELDER GUTKNECHT (off) Aaah.

180.03

SCENE 36 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, GRABBING THE CROW.

183.01

SCENE 37 - MFS - SKELETAL SCRAPS, SEATED, AND CRAWLING UNDER AN OPEN BOOK AS HE REACTS.

185.06

3-20 168.00 170.00 2.00 ELDER GUTKNECHT TO CORPSE BRIDE & VICTOR Now, then... 3-21 172.00 174.00/ 2.00 ELDER GUTKNECHT TO CORPSE BRIDE & VICTOR ...where were we? (Note that he mixed a potion, but

drank it himself) (where were we : i.e., 'what do

I need to do for you' – 'what was I doing previously that I should now resume')

3-22 176.01 179.12 3.11 CORPSE BRIDE TO ELDER GUTKNECHT The Ukrainian haunting spell?


3AB

3AB (8)



SCENE 38 - MFS - PAST THE DESK, FG., TO ELDER GUTKNECHT, SQUEEZING THE CROW, CAUSING HER TO LAY AN EGG. THE CROW FLIES UPPER FRAME AND EXITS.

188.06

SCENE 39 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AND VICTOR.

191.10

SCENE 40 - MFS - LOW ANGLE - PAST THE DESK, FG., TO ELDER GUTKNECHT, LIFTING THE EGG. ELDER GUTKNECHT Ah, here we have it. Ready?

197.01

SCENE 41 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AND VICTOR. ELDER GUTKNECHT (off) Just remember...

199.02

SCENE 42 - MS - LOW ANGLE - LOOKING UP AT ELDER GUTKNECHT. ELDER GUTKNECHT ...when you want to come back, say: "Hopscotch."

203.03

SCENE 43 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AS VICTOR LOOKS ON. CORPSE BRIDE Hopscotch?

204.14

3-23 /191.13 197.01/ 5.04 ELDER GUTKNECHT TO CORPSE BRIDE & VICTOR Ah, here we have it. Ready? (Note that he casts a spell over

them both) 3-24 /197.05 203.00/ 5.11 ELDER GUTKNECHT TO CORPSE BRIDE & VICTOR (over scene end) Just remember, when you want to come

back, say: "Hopscotch." (come back : i.e., 'return to

the Land of the Dead') (Hopscotch : note that this is

the name of a game in which children skip or jump onto numbered squares drawn on the ground)

3-25 /203.04 204.14/ 1.10 CORPSE BRIDE TO ELDER GUTKNECHT Hopscotch?


3AB

3AB (9)



SCENE 44 - MFS - LOW ANGLE - PAST CORPSE BRIDE AND VICTOR, L.FG., TO ELDER GUTKNECHT, CRACKING THE EGG. ELDER GUTKNECHT That's it. ELDER GUTKNECHT OPENS THE EGG AND POURS OUT A MAGICAL CLOUD THAT DESCENDS.

209.04

SCENE 45 - MFS - CORPSE BRIDE AND VICTOR, REACTING AS THE MAGICAL CLOUD DESCENDS OVER THEM, CAUSING THE BACKGROUND TO CHANGE. THE CLOUD MOVES LOWER FRAME AND EXITS TO REVEAL CORPSE BRIDE AND VICTOR, STANDING IN THE DARK WOODS. CAMERA DOLLIES BACK. CORPSE BRIDE Oh!

227.14

SCENE 46 - MCS - CORPSE BRIDE, LOOKING R.FG. CORPSE BRIDE I spent so long in the darkness...

235.10

SCENE 47 - FS - LOW ANGLE - PAST CORPSE BRIDE AND VICTOR, L.FG., TO THE TREES WITH THE FULL MOON ABOVE IN THE SKY. CORPSE BRIDE (face off) ...I'd almost forgotten how beautiful the moonlight is.

241.11

SCENE 48 - MFS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE AND VICTOR AS A BUTTERFLY ENTERS L, FLYING R. CORPSE BRIDE (chuckles)

249.01

3-26 /205.02 207.02 2.00 ELDER GUTKNECHT TO CORPSE BRIDE That's it. (I.e., 'That's correct.' – 'That

is the code word to activate the spell.')

3-27 232.07 235.10/ 3.03 CORPSE BRIDE TO VICTOR I spent so long in the darkness... 3-28 /235.14 241.10/ 5.12 CORPSE BRIDE TO VICTOR ...I'd almost forgotten how beautiful

the moonlight is. (Note that she reacts to being in

the Land of the Living)


3AB

3AB (10)



SCENE 49 - FS - LOW ANGLE - PAST SEVERAL TREES, FG., TO THE FULL MOON IN THE SKY AS THE BUTTERFLY ENTERS L., FLYING R.

253.09

SCENE 50 - MCS - CORPSE BRIDE. CORPSE BRIDE (takes deep breath)

256.02

SCENE 51 - FS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE, DANCING ABOUT THE SNOW AS VICTOR LOOKS ON. CORPSE BRIDE (laughs – continues under following scenes and dialogue)

264.15

SCENE 52 - MS - VICTOR REACTS AS CORPSE BRIDE STEPS L., THEN STEPS R. BEHIND HIM AND EXITS.

274.07

SCENE 53 - MFS - PAST VICTOR, L.FG., TO CORPSE BRIDE, DANCING R. IN BG. VICTOR (sighs) CORPSE BRIDE GETS HER FOOT CAUGHT UNDER A TREE'S ROOT. CORPSE BRIDE FALLS ONTO THE SNOW AS HER LEG SEVERS FROM HER BODY. CORPSE BRIDE (grunts)

282.03

SCENE 54 - MS - CORPSE BRIDE SITS UP AND LIFTS HER VEIL TO REVEAL MAGGOT IN HER EAR. MAGGOT Psst! Hey, I think you dropped something.

287.04

3-29 284.00 287.04/ 3.04 MAGGOT TO CORPSE BRIDE Hey, I think you dropped something. (dropped something : note double

meaning – [1] i.e., 'dropped a personal possession' and [2] i.e., 'knocked off one of your leg bones')


3AB

3AB (11)



SCENE 55 - MFS - CORPSE BRIDE ENTERS R. AS SHE GRASPS HER LEG STUCK UNDER THE TREE'S ROOT. CORPSE BRIDE (gasps - continues under following scenes)

289.09

SCENE 56 - FS - PAST VICTOR, L.FG., TO CORPSE BRIDE, STRAIGHTENING.

290.14

SCENE 57 - MS - CORPSE BRIDE'S ARM ATTACHES HER LEG TO HER KNEE.

292.03

SCENE 58 - MCS - VICTOR REACTS AS HE LOOKS AT O.S. CORPSE BRIDE.

294.00

SCENE 59 - MFS - CORPSE BRIDE, LOOKING FG. AT O.S. VICTOR. CORPSE BRIDE (chuckles) CORPSE BRIDE STEPS R. AND EXITS.

298.02


300.06

SCENE 61 - MFS - CORPSE BRIDE STEPS R. AROUND A TREE TRUNK, THEN STEPS L.FG.

306.06


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3AB (12)



SCENE 62 - MS - VICTOR REACTS AS CORPSE BRIDE ENTERS R., STEPPING L. AS SHE MOVES BEHIND HIM. CORPSE BRIDE (singing) La-la-la, la-la-la. CORPSE BRIDE EXITS L.

312.14

SCENE 63 - MFS - CORPSE BRIDE DANCES IN A CIRCLE AROUND VICTOR, WHO GRASPS HER SHOULDERS. CORPSE BRIDE (hums) VICTOR Hold on, hold on. CORPSE BRIDE SITS ON A HEADSTONE. VICTOR I think...

322.14

SCENE 64 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR ...I should prepare Mother and Father for the big news.

329.15

SCENE 65 - MS - PAST VICTOR, L.FG., TO CORPSE BRIDE. VICTOR (face off) I'll go ahead and you...

333.05

SCENE 66 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR ...wait here.

336.12

3-30 316.00 318.05 2.05 VICTOR TO CORPSE BRIDE Hold on, hold on. (Hold on : I.e., 'Wait') 3-31 321.06 327.13 6.07 VICTOR TO CORPSE BRIDE (over scene end) I think I should prepare Mother and

Father for the big news. (for the big news : i.e., 'for

the news that I am married to you')

3-32 330.07 333.05/ 2.14 VICTOR TO CORPSE BRIDE I'll go ahead and you... (go ahead : i.e., 'go to my

parents first' – 'precede you and speak to my parents alone')

3-33 334.08 336.12/ 2.04 VICTOR TO CORPSE BRIDE ...wait here.


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SCENE 67 - MS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE Perfect. VICTOR STEPS R. AND STOPS. VICTOR I won't be long. Stay right here. I'll be right back. VICTOR RUNS R. AND EXITS. CORPSE BRIDE Okay. VICTOR RE-ENTERS R. VICTOR No peeking. CORPSE BRIDE (chuckles - continues under following scene) VICTOR STEPS R. AND EXITS.

354.03

SCENE 68 - MFS - PAST VICTOR, R.FG., STEPPING FG., TO CORPSE BRIDE, SEATED ON THE HEADSTONE. VICTOR (gasps) VICTOR STEPS R.FG. AND EXITS.

360.04

SCENE 69 - FS - VICTOR RUNS BG., PASSING SOME TREES. THE TOWN IS BG. CAMERA CRANES UP, MOVING ON SEVERAL CROWS PERCHED ON BRANCHES, FG.

369.15

SCENE 70 - EXT. TOWN SQUARE - NIGHT - FS - PAST SEVERAL CROWS AT THE EDGE OF A ROOF, FG., TO THE EVERGLOT MANSION AS VICTOR EMERGES R., RUNNING L.

374.03

3-34 337.11 339.06 1.11 CORPSE BRIDE TO VICTOR Perfect. 3-35 339.10 341.15 2.05 VICTOR TO CORPSE BRIDE I won't be long. 3-36 342.13 347.02 4.05 VICTOR TO CORPSE BRIDE Stay right here. I'll be right back. 3-37 347.06 349.00 1.10 CORPSE BRIDE TO VICTOR Okay. 3-38 350.14 353.00 2.02 VICTOR TO CORPSE BRIDE No peeking. (I.e., 'Do not watch me.')


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SCENE 71 - FS - VICTOR RUNS BG. AS HE ASCENDS THE STAIRCASE AND STEPS TOWARD THE EVERGLOT MANSION DOORS.

377.14

SCENE 72 - MS - VICTOR ENTERS R. AS HE STEPS L. TO THE DOOR AND BRUSHES OFF HIS SUIT JACKET. VICTOR (sighs) FINIS (off) Hm. If ever I see that Van Dort boy, I'll... VICTOR (overlapping) (gasps)

387.14

SCENE 73 - INT. EVERGLOT MANSION - NIGHT - MFS - PAST MAUDELINE (TORSO), L.FG., TO FINIS, LOCKING A LATCH ON THE DOOR. FINIS ...strangle him with my bare hands. MAUDELINE (face off) Your... CAMERA DOLLIES BACK ON FINIS AND MAUDELINE BY THE DOOR AS SHE LOCKS AN UPPER DOOR LATCH. MAUDELINE ...hands are too fat, and his neck is too thin. MAUDELINE STEPS L.FG. MAUDELINE You'll have to use a rope. FINIS (groaning) Mm-mm.

402.07

3-39 382.04 387.13/ 5.09 FINIS TO MAUDELINE If ever I see that Van Dort boy... 3-40 /388.01 391.13 3.12 FINIS TO MAUDELINE ...I'll strangle him with my bare

hands. (strangle...hands : note double

meaning – [1] colloquial for 'punish him' – 'seek retaliation' and [2] literally, 'strangle and kill him myself')

3-41 392.01 397.07 5.06 MAUDELINE TO FINIS Your hands are too fat, and his neck is

too thin. 3-42 398.10 401.12 3.02 MAUDELINE TO FINIS You'll have to use a rope.


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SCENE 74 - EXT. EVERGLOT MANSION - NIGHT - MS - VICTOR BY THE DOOR AS HE STEPS BACKWARD, MOVING R. VICTOR (gasps)

408.02

SCENE 75 - MFS - PAST A WALL OF THE MANSION, L.FG., TO VICTOR, EMERGING AND LOOKING AROUND.

412.04

SCENE 76 - EXT. DARK WOODS - NIGHT - MFS - A TREE TRUNK AS CAMERA DOLLIES R. TO REVEAL CORPSE BRIDE, SEATED ON THE HEADSTONE. CORPSE BRIDE (sighs) MAGGOT (off) This is the voice of your conscience. CAMERA DOLLIES INTO MS ON CORPSE BRIDE, KNOCKING THE SIDE OF HER HEAD WITH HER HAND. MAGGOT (off) Listen to what I say. I have a bad feeling about that boy. You know he is no g-- MAGGOT FLIES R. FROM HER EAR AND EXITS.

430.12

SCENE 77 - FS - MAGGOT ENTERS L., FALLING INTO A HOLE IN THE SNOW. MAGGOT EMERGES AND STRAIGHTENS INSIDE THE HOLE. CORPSE BRIDE (off) Go chew someone else's ear for a while. MAGGOT (overlapping) (sighs)

437.07

3-43 416.14 424.04 7.06 MAGGOT TO CORPSE BRIDE This is the voice of your conscience.

Listen to what I say. 3-44 424.08 430.12/ 6.04 MAGGOT TO CORPSE BRIDE I have a bad feeling about that boy.

You know he is no g-- (have...about : i.e., 'do not

trust') (that boy : refers to Victor) 3-45 433.15 437.07/ 3.08 CORPSE BRIDE TO MAGGOT Go chew someone else's ear for a while. (chew : note double meaning –

[1] i.e., 'gnaw into' and [2] slang for 'talk excessively into')


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SCENE 78 - MFS - LOW ANGLE - LOOKING UP AT CORPSE BRIDE, SEATED ON THE HEADSTONE. CORPSE BRIDE Victor has gone to see his parents, just like he said.

443.05

SCENE 79 - MFS - MAGGOT, SITTING INSIDE THE HOLE. MAGGOT (sighs) If I hadn't just been sitting in it, I would say that you'd lost your mind!

450.01

SCENE 80 - MFS - LOW ANGLE - LOOKING UP AT CORPSE BRIDE, SEATED ON THE HEADSTONE. CORPSE BRIDE I'm sure he has a perfectly good reason...for taking so long. MAGGOT (off) (chuckles)

457.00

SCENE 81 - FS - PAST CORPSE BRIDE, L.FG., TO MAGGOT INSIDE THE HOLE IN THE SNOW. MAGGOT I am sure he does. Why don't you go ask him?

462.01

SCENE 82 - MFS - LOW ANGLE - LOOKING UP AT CORPSE BRIDE, SEATED ON THE HEADSTONE. CORPSE BRIDE All right, I will. MAGGOT (off) After all...

464.15

3-46 /437.11 443.05/ 5.10 CORPSE BRIDE TO MAGGOT Victor has gone to see his parents,

just like he said. 3-47 444.01 450.01/ 6.00 MAGGOT TO CORPSE BRIDE If I hadn't just been sitting in it, I

would say that you'd lost your mind! (in it : i.e., 'in your skull') (you'd...mind : note double

meaning – [1] i.e., 'lost your brain, making your skull empty' and [2] colloquial for 'gone crazy to be so trusting of him')

3-48 /450.05 456.15/ 6.10 CORPSE BRIDE TO MAGGOT I'm sure he has a perfectly good

reason...for taking so long. (i.e., 'to return here') 3-49 /457.03 462.01/ 4.14 MAGGOT TO CORPSE BRIDE I am sure he does. Why don't you go

ask him? 3-50 /462.05 464.15 2.10 CORPSE BRIDE TO MAGGOT All right, I will.


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SCENE 83 - FS - MAGGOT CRAWLS L. ON THE SNOW AS CAMERA PANS L. TO INCLUDE VICTOR'S FOOTPRINTS IN THE SNOW. MAGGOT ...he couldn't get far with those cold feet.

471.13

SCENE 84 - EXT. EVERGLOT MANSION - NIGHT - MFS - PAST A POSTS, R.FG., TO VICTOR, STEPPING FG. TOWARD A SECOND POST. CAMERA DOLLIES IN AS VICTOR STOPS BY THE SECOND POST. CAMERA CRANES UP, MOVING PAST THE VINES ON THE POST TO REVEAL A BALCONY WITH VICTORIA'S BALCONY DOOR WINDOWS, BG. VICTOR (off) (grunts and pants – continues under following scenes)

489.01

SCENE 85 - INT. VICTORIA'S ROOM - NIGHT - MFS - VICTORIA, SEATED, SEWING A QUILT. OUTSIDE THE WINDOW, VICTOR EMERGES AS HE CLIMBS OVER THE RAILING AND FALLS ONTO THE BALCONY. VICTOR (yells) VICTORIA (gasps) OUTSIDE THE WINDOW, VICTOR STRAIGHTENS, STEPS FG. AND RAPS HIS HAND ON THE GLASS. VICTORIA (gasps)

509.12

3-51 465.10 470.15 5.05 MAGGOT TO CORPSE BRIDE After all, he couldn't get far with

those cold feet. (After all : Colloquial emphatic

exclamation) (cold feet : note double meaning

- [1] colloquial for 'reluctance to marry' and [2] refers to having cold feet in winter)


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SCENE 86 - MS - VICTORIA, SEATED AS SHE LOOKS R. OVER HER SHOULDER. VICTORIA (gasps) VICTORIA STRAIGHTENS AND STEPS R. IN FG.

516.00

SCENE 87 - MFS - THROUGH THE BALCONY DOOR WINDOWS TO VICTOR. VICTORIA ENTERS L.FG., STEPS BG. AND OPENS THE BALCONY DOOR. VICTOR STEPS THROUGH THE DOORWAY AND CLOSES THE BALCONY DOOR. VICTOR (pants) (sighs) (pants) Victoria!

530.07

SCENE 88 - MCS - VICTORIA. VICTORIA Victor? I'm so happy to see you!

534.10

SCENE 89 - FS - PAST A COUCH, R.FG., TO A FIRE IN THE FIREPLACE. VICTORIA ENTERS R.FG., STEPPING BG. AS VICTOR FOLLOWS, HOLDING HER HAND. VICTORIA (face off) Come by the fire. VICTORIA SITS ON THE COUCH. VICTORIA Where have you been? VICTOR SITS ON A STOOL, L. VICTORIA (stammers) Are you all right?

540.14

3-52 528.11 530.07/ 1.12 VICTOR TO VICTORIA Victoria! (Note that Victor has climbed up

to Victoria's room) 3-53 /530.11 534.10/ 3.15 VICTORIA TO VICTOR Victor? I'm so happy to see you! 3-54 /534.14 540.14/ 6.00 VICTORIA TO VICTOR Come by the fire. Where have you been?

Are you all right?


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SCENE 90 - MCS - VICTOR. VICTOR I...I.... Oh, dear. (sighs)

547.08

SCENE 91 - MFS - VICTOR, SEATED ON THE STOOL, REACTING AS VICTORIA, SEATED ON THE COUCH, TOUCHES HIS HAND. THE FIRE IS BG. VICTORIA You're as cold as death. What's happened to you? VICTORIA LOOKS AT VICTOR'S TORN COAT. VICTORIA Your coat!

554.09

SCENE 92 - MS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR Victoria, I confess. This morning, I was terrified of marriage.

568.04

SCENE 93 - MFS - PAST VICTOR, L.FG., TO VICTORIA, SEATED ON THE COUCH. VICTOR (face off) But then on...

571.08

SCENE 94 - MS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR ...meeting you, I felt I should be with you always.

576.11

3-55 544.07 546.10 2.03 VICTOR TO VICTORIA Oh, dear. 3-56 /547.11 552.10 4.15 VICTORIA TO VICTOR You're as cold as death. What's

happened to you? (as cold as death : note double

meaning – [1] colloquial emphatic for 'very cold' and [2] i.e., 'as cold as someone who has been with dead people')

3-57 552.14 554.09/ 1.11 VICTORIA TO VICTOR Your coat! (Refers to his disheveled

appearance) 3-58 557.03 561.11 4.08 VICTOR TO VICTORIA Victoria, I confess. 3-59 563.12 568.04/ 4.08 VICTOR TO VICTORIA This morning, I was terrified of

marriage. 3-60 570.09 576.11/ 6.02 VICTOR TO VICTORIA (over scene end) But then on meeting you, I felt I

should be with you always. (on meeting you : i.e., 'when I

met you for the first time') (I should : i.e., 'I wanted to'

– 'I knew I was meant to') (be...always : i.e., 'marry you'

– 'live with you for the rest of my life')


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SCENE 95 - MS - PAST VICTOR, L.FG., TO VICTORIA. VICTOR (face off) And...that our wedding...

580.13

SCENE 96 - MS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR ...could not come soon enough.

583.14

SCENE 97 - MS - PAST VICTOR, L.FG., TO VICTORIA, REACTING. VICTORIA Ah!

587.08

SCENE 98 - MFS - VICTORIA AND VICTOR, SEATED. THE FIRE IS BG. VICTORIA Victor, I feel the same. VICTORIA AND VICTOR MOVE TOWARD EACH OTHER AS IF TO KISS.

596.11

SCENE 99 - MS - PAST VICTORIA, R.FG., TO VICTOR, REACTING AS HE LOOKS FG. VICTOR (yelling) Oh!

599.01

3-61 579.00 583.14/ 4.14 VICTOR TO VICTORIA (over scene end) And that our wedding could not come

soon enough. 3-62 588.03 592.15 4.12 VICTORIA TO VICTOR Victor, I feel the same.


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SCENE 100 - MS - VICTORIA REACTS. OUTSIDE THE WINDOW, CORPSE BRIDE CLIMBS OVER THE BALCONY RAIL, BG. VICTORIA (gasps) VICTORIA BEGINS TO LOOK BG. AS VICTOR (ARM) ENTERS L.FG., GRABBING AND HOLDING HER FACE. VICTOR (face off) Victoria, I see-, I see-...

604.13

SCENE 101 - MS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR ...I seem to find myself married.

607.09

SCENE 102 - MS - PAST VICTOR (ARMS), L.FG., TO VICTORIA, REACTING. OUTSIDE THE WINDOW, CORPSE BRIDE LOOKS ON, R.BG.

608.14

SCENE 103 - MS - PAST VICTORIA, R.FG., TO VICTOR. VICTOR And you should know it's unexpected. THE O.S. BALCONY DOOR OPENS AS VICTORIA LOOKS FG. OVER HER SHOULDER. VICTORIA (gasps)

615.01

SCENE 104 - MFS - CORPSE BRIDE STEPS FG. THROUGH THE BALCONY DOORWAY WITH THE VEIL COVERING HER FACE.

617.03

3-63 600.14 604.13/ 3.15 VICTOR TO VICTORIA Victoria, I seem.... 3-64 /605.01 607.09/ 2.08 VICTOR TO VICTORIA I seem to find myself married. (I seem to find myself : i.e.,

'I seem to be already' – 'I am, to my great surprise, apparently')

3-65 /609.01 612.08 3.07 VICTOR TO VICTORIA And you should know it's unexpected.


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SCENE 105 - MFS - VICTOR AND VICTORIA STRAIGHTEN AND REACT AS THEY LOOK FG. AT O.S. CORPSE BRIDE. CORPSE BRIDE (off) (very low) Well, I couldn't (in normal tone) wait, darling, I...

619.09

SCENE 106 - MS - CORPSE BRIDE STEPS FG. AS SHE LIFTS HER VEIL. CORPSE BRIDE ...just wanted to meet-- CORPSE BRIDE LOOKS FG. AT O.S. VICTORIA. CORPSE BRIDE Oh.

622.08

SCENE 107 - MS - VICTORIA REACTS. VICTORIA (gasps)

623.13


625.01

SCENE 109 - MS - VICTORIA, REACTING AS SHE LOOKS AT O.S. CORPSE BRIDE.

626.06

SCENE 110 - MFS - PAST VICTORIA, R.FG., TO VICTOR AND CORPSE BRIDE AS SHE GRASPS HIS ARM. CORPSE BRIDE Darling? Who's this?

630.10

3-66 618.05 622.08/ 4.03 CORPSE BRIDE TO VICTOR (over scene end) I couldn't wait, darling, I just wanted

to meet-- (Note that Corpse Bride enters

Victoria's room, having followed Victor's footprints)

3-67 /626.09 630.07/ 3.14 CORPSE BRIDE TO VICTOR Darling? Who's this? (Refers to Victoria)


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SCENE 111 - MS - VICTORIA, LOOKING AT O.S. VICTOR. VICTORIA Who is she?

631.13

SCENE 112 - MFS - PAST VICTORIA, R.FG., TO VICTOR AND CORPSE BRIDE. CORPSE BRIDE I'm...

633.10

SCENE 113 - MFS - CORPSE BRIDE (ARM) ENTERS L., DISPLAYING VICTOR'S RING ON HER FINGER. CORPSE BRIDE (face off) ...his wife.

636.00

SCENE 114 - MCS - VICTOR REACTS.

637.05

SCENE 115 - MCS - VICTORIA REACTS. VICTORIA Victor?

639.07

SCENE 116 - MS - VICTOR. VICTOR Victoria, wait. You don't understand.

642.00

3-68 /630.11 631.13/ 1.02 VICTORIA TO VICTOR Who is she? (Refers to Corpse Bride) 3-69 632.07 635.14/ 3.07 CORPSE BRIDE TO VICTORIA (over scene end) I'm his wife. 3-70 637.15 639.07/ 1.08 VICTORIA TO VICTOR Victor? 3-71 /639.11 642.00/ 2.05 VICTOR TO VICTORIA Victoria, wait. You don't understand. (wait : colloquial plea for

understanding)


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SCENE 117 - MFS - VICTOR AND CORPSE BRIDE AS HE LIFTS HER ARM AND SHAKES HER SKELETAL HAND. VICTOR She's dead. Look. CORPSE BRIDE (gasps) CORPSE BRIDE PULLS HER HAND AWAY, THEN STEPS L. AND EXITS.

647.07

SCENE 118 - MS - CORPSE BRIDE ENTERS R. AS SHE STEPS L., THEN STOPS AND LOOKS FG. CORPSE BRIDE Hopscotch. O.S. LIGHTNING FLASHES.

653.08

SCENE 119 - BLACK FRAMES.

653.11

SCENE 120 - MFS - VICTOR AND VICTORIA REACTING AS CORPSE BRIDE (ARM) ENTERS L.FG., GRABBING VICTOR'S ARM. VICTOR Agh! CORPSE BRIDE (ARM) PULLS VICTOR, EXITING L.FG. VICTORIA (gasps)

656.14

SCENE 121 - MFS - VICTOR AND CORPSE BRIDE, MOVING BG. THROUGH THE BALCONY DOORWAY AS THE GROUP OF CROWS FLY ABOUT, BG. VICTOR No! No!

659.08

3-72 642.10 645.14 3.04 VICTOR TO VICTORIA She's dead. Look. 3-73 651.07 653.08/ 2.01 CORPSE BRIDE TO HERSELF Hopscotch. (Note that with this code word,

Corpse Bride and Victor disappear and return to the Land of the Living)


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SCENE 122 - FS - PAST VICTOR (ARM), L.FG., TO VICTORIA, REACTING. CAMERA TRAVELS BACK WITH VICTOR (ARM), MOVING FG. THROUGH THE BALCONY DOORWAY AND OVER THE BALCONY RAIL. VICTOR (face off) Victoria! THE GROUP OF CROWS ENTER AND FLY ABOUT, OBSCURING THE SCENE.

665.00

SCENE 123 - INT. ELDER GUTKNECHT'S STUDY - NIGHT - MS - THE GROUP OF CROWS FLY ABOUT AND EXIT TO REVEAL CORPSE BRIDE, LOOKING FG. AT O.S. VICTOR.

669.01

SCENE 124 - MFS - CORPSE BRIDE PUSHES VICTOR, MOVING BACKWARD R. ELDER GUTKNECHT LOOKS ON BEHIND THE DESK, BG. CORPSE BRIDE You lied to me! Just to get back to that other woman!

676.04

SCENE 125 - MFS - PAST CORPSE BRIDE, L.FG., TO VICTOR. VICTOR Don't you understand? You're the other woman.

680.14

SCENE 126 - MFS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE No! You're married to me! CORPSE BRIDE BEGINS TO WEEP. CORPSE BRIDE (sobbing) She's the other woman!

687.15

3-74 657.10 660.11 3.01 VICTOR TO VICTORIA (over scene end) No! Victoria! 3-75 /669.04 672.02 2.14 CORPSE BRIDE TO VICTOR You lied to me! (Note that they have returned to

Elder Gutknecht's house in the Land of the Dead)

(Refers to Victor saying he wanted her to meet his parents)

3-76 672.07 676.04/ 3.13 CORPSE BRIDE TO VICTOR Just to get back to that other woman! (to get back to : i.e., 'in

order to find a way to return to the Land of the Living and')

(that other woman : note double meaning – [1] i.e., 'that woman Victoria' and [2] colloquial reference to a mistress or lover)

3-77 /676.08 680.14/ 4.06 VICTOR TO CORPSE BRIDE Don't you understand? You're the other

woman. (You're...woman : I.e., 'I love

Victoria and should be married to her, not you.' – 'You are the one who is interfering and breaking up a relationship.')

3-78 /681.02 687.15/ 6.13 CORPSE BRIDE TO VICTOR No! You're married to me! She's the

other woman!


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SCENE 127 - MFS - PAST CORPSE BRIDE, L.FG., WEEPING, TO VICTOR. CORPSE BRIDE (sobs - continues under following scenes and dialogue) VICTOR Uh.... ELDER GUTKNECHT (off) (coughs)

693.02

SCENE 128 - MFS - LOW ANGLE - LOOKING UP AT ELDER GUTKNECHT BEHIND THE DESK. ELDER GUTKNECHT She's got a point.

694.14

SCENE 129 - MFS - PAST CORPSE BRIDE, L.FG., WEEPING, TO VICTOR. CORPSE BRIDE (sobbing) And I thought, (sobs) I thought this was all going so well! (sobs – continues under following scenes and dialogue) CORPSE BRIDE REACTS AS HER EYE POPS OUT OF ITS SOCKET, FALLS LOWER FRAME AND EXITS.

705.12

SCENE 130 - MFS - THE LOOKING DOWN AT CORPSE BRIDE'S LEGS AS THE EYEBALL HITS THE FLOOR AND ROLLS R. CAMERA PANS R. WITH IT.

709.01

SCENE 131 - MS - VICTOR LOOKS DOWN AT THE O.S. EYEBALL.

711.07

3-79 /693.03 694.14/ 1.11 ELDER GUTKNECHT TO VICTOR She's got a point. (I.e., 'Technically, she is

correct.') 3-80 697.00 703.12 6.12 CORPSE BRIDE TO VICTOR And I thought, I thought this was all

going so well! (this...well : i.e., 'my

relationship with Victor was progressing well')


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SCENE 132 - MFS - CORPSE BRIDE'S EYEBALL ROLLS R. AND STOPS BY VICTOR'S LEGS AS VICTOR'S ARM ENTERS, LIFTING IT.

714.10

SCENE 133 - MFS - PAST CORPSE BRIDE, L.FG., TO VICTOR, LIFTING CORPSE BRIDE'S EYEBALL AND STEPPING FG. VICTOR Look, I'm sorry, but... VICTOR WIPES OFF THE EYEBALL ON HIS LAPEL. VICTOR ...this just can't work. CORPSE BRIDE GRABS THE EYEBALL FROM VICTOR. CORPSE BRIDE Why not? (sniffs) It's my eye, isn't it? (sniffs) CORPSE BRIDE PUTS HER EYE BACK IN ITS SOCKET. VICTOR No. Your eye is...

736.02

SCENE 134 - MFS - PAST VICTOR, R.FG., TO CORPSE BRIDE, FACING BG. VICTOR ...lovely. VICTOR STEPS R.FG.

739.12

3-81 718.02 722.03 4.01 VICTOR TO CORPSE BRIDE Look, I'm sorry, but... 3-82 723.03 725.08 2.05 VICTOR TO CORPSE BRIDE ...this just can't work. (i.e., 'our relationship cannot

succeed' – 'for us to stay married is impossible')

3-83 725.12 728.02 2.06 CORPSE BRIDE TO VICTOR Why not? 3-84 729.15 733.04 3.05 CORPSE BRIDE TO VICTOR It's my eye, isn't it? (Note that she has one eye that

sometimes falls out of her head) 3-85 733.08 736.02/ 2.10 VICTOR TO CORPSE BRIDE No. Your eye is... 3-86 738.00 739.12/ 1.12 VICTOR TO CORPSE BRIDE ...lovely.


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SCENE 135 - FS - ACROSS THE STUDY TO VICTOR, STEPPING R. AS CORPSE BRIDE LOOKS ON, L. ELDER GUTKNECHT LOOKS ON FROM THE DESK, BG. VICTOR Listen, (face off) under different circumstances, well... VICTOR STOPS. VICTOR ...who knows?

747.15

SCENE 136 - MS - VICTOR. VICTOR But we're just too different. I mean, you're dead.

754.12

SCENE 137 - MS - CORPSE BRIDE, WEEPING. CORPSE BRIDE (sobbing) Oh, you should have thought about that before you asked me to marry you.

758.15

SCENE 138 - MS - VICTOR. VICTOR Why can't you understand? It was a mistake. I would never marry you.

764.04

SCENE 139 - MS - CORPSE BRIDE REACTS.

766.01


768.05

3-87 741.00 747.00 6.00 VICTOR TO CORPSE BRIDE Listen, under different circumstances,

well...who knows? (who knows : implying that

perhaps they might have loved each other and legitimately married)

3-88 748.05 754.10/ 6.05 VICTOR TO CORPSE BRIDE But we're just too different. I mean,

you're dead. (we're...different : i.e., 'I am

alive and you are dead') 3-89 /754.14 758.15/ 4.01 CORPSE BRIDE TO You should have thought about that

before you asked me to marry you. (thought about that : i.e.,

'considered those differences') 3-90 /759.03 764.04/ 5.01 VICTOR TO CORPSE BRIDE Why can't you understand? It was a

mistake. I would never marry you. (It...mistake : I.e., 'My saying

wedding vows to you was accidental')

(I would never : I.e., 'I would never voluntarily')


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SCENE 141 - MS - CORPSE BRIDE STEPS L. CORPSE BRIDE (sighs)

772.01

SCENE 142 - MFS - ACROSS THE ROOM TO VICTOR, REACTING AS CORPSE BRIDE STEPS R. IN FG. AND EXITS.

776.05


778.07

SCENE 144 - FS - CORPSE BRIDE STEPS BG. TOWARD THE STUDY'S STAIRCASE.

783.05

SCENE 145 - MFS - VICTOR REACTS.

785.11

SCENE 146 - MFS - ACROSS THE ROOM TO CORPSE BRIDE, MOVING L. AS SHE DESCENDS THE STAIRCASE AND IS OBSCURED.

791.11

SCENE 147 - MS - VICTOR REACTS. VICTOR (sighs)

795.09


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SCENE 148 - EXT. LAND OF THE DEAD ALLEY - NIGHT - MFS - PAST A COBWEB, L.FG., TO CORPSE BRIDE, EMERGING BEHIND A WALL AND STEPPING R. AS SHE HOLDS A BOUQUET OF DEAD FLOWERS. CAMERA DOLLIES R. WITH HER AS SHE TOSSES DOWN HER VEIL AND STOPS BY A COFFIN THAT HAD BEEN CONVERTED INTO A CHAISE LOUNGE. CORPSE BRIDE SITS ON THE CHAISE.

810.00

SCENE 149 - MFS - LOW ANGLE - CORPSE BRIDE, SEATED, PULLING A ROSE FROM HER BOUQUET OF DEAD FLOWERS. CORPSE BRIDE Roses for eternal love. CORPSE BRIDE TOSSES DOWN THE ROSE AND PULLS OUT A LILY. CORPSE BRIDE Lilies for sweetness. CORPSE BRIDE TOSSES DOWN THE LILY AND LOOKS AT THE BOUQUET OF DEAD FLOWERS. CORPSE BRIDE (sighs) Baby's breath.

826.06

SCENE 150 - FS - ACROSS THE ALLEY TO CORPSE BRIDE, SEATED, TOSSING DOWN THE BOUQUET. CORPSE BRIDE (grunts) SKELETAL SCRAPS ENTERS L.FG. AND STOPS AS HE SNIFFS THE BOUQUET OF DEAD FLOWERS.

833.04

3-91 810.12 815.01 4.05 CORPSE BRIDE TO HERSELF Roses for eternal love. (for : i.e., 'symbolize' –

'represent') 3-92 816.04 820.07 4.03 CORPSE BRIDE TO HERSELF Lilies for sweetness. 3-93 824.02 826.06/ 2.04 CORPSE BRIDE TO HERSELF Baby's breath. (Any of several plants of the

genus Gypsophila, having numerous small, white flowers)


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SCENE 151 - MS - CORPSE BRIDE, SEATED AS BLACK WIDOW SPIDER ENTERS UPPER FRAME, DANGLING FROM HER A WEB STRAND, L. BLACK WIDOW SPIDER Why so blue? CORPSE BRIDE Maybe he's right. Maybe we are too different. MAGGOT (off) Maybe he should have his head examined. CORPSE BRIDE PICKS THE MAGGOT OUT OF HER EAR AND HOLDS HIM UPSIDE DOWN. MAGGOT (grunts) (grunting) Oh.

848.09

SCENE 152 - MS - MAGGOT, DANGLING UPSIDE DOWN. MAGGOT I could do it.

851.08

SCENE 153 - MS - CORPSE BRIDE, HOLDING MAGGOT. BLACK WIDOW SPIDER LOOKS ON, L. CORPSE BRIDE Well, perhaps he does belong with her...Little Miss Living. With her rosy cheeks and beating heart.

862.13

SCENE 154 - MS - BLACK WIDOW SPIDER. BLACK WIDOW SPIDER Oh, those girls are ten a penny. You've got so much more! You've got.... (stammers) You've got.... You've got a wonderful personality.

877.01

3-94 835.00 837.07 2.07 BLACK WIDOW SPIDER TO CORPSE BRIDE Why so blue? (Colloquial for 'Why are you

feeling so sad?' - note humorous reference to Corpse Bride's blue hair and skin)

3-95 837.11 842.04 4.09 CORPSE BRIDE TO BLACK WIDOW SPIDER Maybe he's right. Maybe we are too

different. 3-96 842.08 846.10 4.02 MAGGOT TO CORPSE BRIDE Maybe he should have his head examined. (he...examined : note double

meaning – [1] colloquial for 'he should reconsider and change his mind' and [2] i.e., 'a maggot should crawl inside his skull')

3-97 849.01 851.05/ 2.04 MAGGOT TO CORPSE BRIDE I could do it. 3-98 /851.09 856.14 5.05 CORPSE BRIDE TO MAGGOT & BLACK WIDOW SPIDER Well, perhaps he does belong with

her...Little Miss Living. (Little Miss Living : nickname

for Victoria, who is alive) 3-99 857.02 862.13/ 5.11 CORPSE BRIDE TO BLACK WIDOW SPIDER & MAGGOT With her rosy cheeks and beating heart. (beating : i.e., 'living' –

'alive') 3-100 /863.01 869.04 6.03 BLACK WIDOW SPIDER TO CORPSE BRIDE Oh, those girls are ten a penny.

You've got so much more! (are ten a penny : i.e., 'cost

one penny for ten girls' - colloquial for 'are plentiful')

(so much more : i.e., 'so many more good and worthy qualities')

3-101 869.08 873.01 3.09 BLACK WIDOW SPIDER TO CORPSE BRIDE You've got.... You've got.... 3-102 873.05 877.01/ 3.12 BLACK WIDOW SPIDER TO CORPSE BRIDE You've got a wonderful personality. (Note that this is typically a

quality praised in women who are unattractive)


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SCENE 155 - MS - CORPSE BRIDE, HOLDING MAGGOT AS BLACK WIDOW SPIDER LOOKS ON, L.

884.11

SCENE 156 - MS - BLACK WIDOW SPIDER, HOLDING A LEG TO HER LIP AS SHE THINKS.

887.06

SCENE 157 - MFS - MAGGOT, DANGLING UPSIDE DOWN. MAGGOT (singing) 'What does that wispy little brat have that you don’t have double?

894.05

SCENE 158 - MS - BLACK WIDOW SPIDER. BLACK WIDOW SPIDER (singing) 'She can’t hold a candle to the beauty of your smile

900.00

SCENE 159 - MS - CORPSE BRIDE PUTS MAGGOT ONTO THE BACK OF THE CHAISE, L. BLACK WIDOW SPIDER LOOKS ON, DANGLING L. CORPSE BRIDE How about a pulse? MAGGOT (singing) 'Overrated by a mile BLACK WIDOW SPIDER (singing) 'Overvalued MAGGOT (singing) 'Overblown

906.09

3-103 /887.09 894.05/ 6.12 MAGGOT TO CORPSE BRIDE (singing) ITAL 'What does that wispy little brat have

that you don’t have double? (wispy : colloquial for 'thin' –

'slim') (little : colloquial emphatic) (brat : colloquial for 'spoiled

child') (double : i.e., 'in double the

quantity' – 'twice as much of') 3-104 /894.09 900.00/ 5.07 BLACK WIDOW SPIDER TO CORPSE BRIDE ITAL (singing) 'She can’t hold a candle to the beauty

of your smile (hold a candle to : colloquial

for 'compete with' – 'match') (smile : rhymes with 'mile') 3-105 /900.04 901.15 1.11 CORPSE BRIDE TO BLACK WIDOW SPIDER How about a pulse? (How about : I.e., 'She has') 3-106 902.03 904.04 2.01 MAGGOT (singing) ITAL 'Overrated by a mile (by a mile : colloquial emphatic

– i.e., 'greatly') (I.e., 'Being alive is a virtue

that is') 3-107 904.08 906.06/ 1.14 BLACK WIDOW SPIDER (singing) ITAL 'Overvalued


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SCENE 160 - FS - MAGGOT, SITTING ON THE BACK OF CHAISE AS BLACK WIDOW SPIDER DESCENDS AND STANDS BESIDE HIM. MAGGOT & BLACK WIDOW SPIDER (singing) 'If he only knew the you that we know

912.13

SCENE 161 - MS - CORPSE BRIDE REACTS AS BLACK WIDOW SPIDER CRAWLS R. BEHIND HER AND EMERGES, CRAWLING R. ON THE ARM OF THE CHAISE. MAGGOT LOOKS ON, L. CORPSE BRIDE (sighs) CAMERA PANS R. AND TILTS DOWN ON BLACK WIDOW SPIDER, STOPPING BY CORPSE BRIDE (ARM), WEARING VICTOR'S RING. BLACK WIDOW SPIDER (singing) 'And that silly little creature isn't wearing his ring MAGGOT EMERGES BEHIND CORPSE BRIDE'S ARM, STRAIGHTENING. MAGGOT (singing) 'And she doesn't play piano, or dance, or sing BLACK WIDOW SPIDER (singing) (overlapping) 'Or dance

924.05

SCENE 162 - MS - MAGGOT AND BLACK WIDOW SPIDER. MAGGOT & BLACK WIDOW SPIDER (singing) 'No, she doesn't compare

927.03

3-108 /906.10 912.13/ 6.03 MAGGOT, THEN MAGGOT & ITAL BLACK WIDOW SPIDER (singing) -'Overblown -'If he only knew the you that we know (Overblown : I.e., 'Being alive

is a virtue that is valued to excess' - Rhymes with 'know')

(the you...know : i.e., 'you as well as we know you' – 'you well enough to recognize your true qualities and virtues')

3-109 914.07 919.01 4.10 BLACK WIDOW SPIDER (singing) ITAL 'And that silly little creature isn't

wearing his ring (silly little creature :

disparaging reference to Victoria) (ring : rhymes with 'sing') 3-110 919.05 924.05/ 5.00 MAGGOT (singing) ITAL 'And she doesn't play piano, or dance,

or sing 3-111 /924.09 927.03/ 2.10 MAGGOT & BLACK WIDOW SPIDER (singing) ITAL 'No, she doesn't compare (compare : i.e., 'compare

favorably to you' – rhymes with 'air' and 'cares')


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SCENE 163 - MS - CORPSE BRIDE TURNS AND LOOKS L. CAMERA PANS L. WITH HER. CORPSE BRIDE (singing) 'But she still breathes air MAGGOT AND BLACK WIDOW SPIDER EMERGE, CLIMBING ONTO THE BACK OF THE CHAISE. MAGGOT & BLACK WIDOW SPIDER (singing) 'Who cares? MAGGOT (singing) 'Unimportant BLACK WIDOW SPIDER (singing) 'Overrated

933.00

SCENE 164 - MFS - MAGGOT AND BLACK WIDOW SPIDER. MAGGOT (singing) 'Overblown MAGGOT & BLACK WIDOW SPIDER (singing) 'If only he could see how special you can be If he only knew the you that we know'

945.09

SCENE 165 - MS - PAST BLACK WIDOW SPIDER AND MAGGOT, L.FG., TO CORPSE BRIDE, SEATED ON THE CHAISE, REACTING. CORPSE BRIDE STRAIGHTENS AND EXITS R.

953.13

SCENE 166 - MFS - CORPSE BRIDE STEPS R. CORPSE BRIDE (singing) 'If I touch a burning candle, I can feel no pain

962.09

3-112 /927.07 930.13 3.06 CORPSE BRIDE, THEN BLACK WIDOW SPIDER ITAL & MAGGOT (singing) -'But she still breathes air -'Who cares? (breathes air : i.e., 'is

alive') (Who cares : Colloquial

exclamation of indifference or dismissal)

3-113 931.01 933.00/ 1.15 MAGGOT, THEN BLACK WIDOW SPIDER ITAL (singing) -'Unimportant -'Overrated 3-114 /933.04 934.13 1.09 MAGGOT (singing) ITAL 'Overblown 3-115 935.01 939.12 4.11 MAGGOT & BLACK WIDOW SPIDER (singing) ITAL 'If only he could see how special you

can be (see : rhymes with 'be') (special : i.e., 'unique' –

'lovable') 3-116 940.00 945.09/ 5.09 MAGGOT & BLACK WIDOW SPIDER (singing) ITAL 'If he only knew the you that we know' 3-117 954.04 961.07 7.03 CORPSE BRIDE (singing) ITAL 'If I touch a burning candle, I can

feel no pain (pain : rhymes with 'same')


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SCENE 167 - FS - ACROSS THE ALLEY TO CORPSE BRIDE, STEPPING L. AS SKELETAL SCRAPS LOOKS ON, R. CORPSE BRIDE (singing) 'If you cut me with a knife, it’s still the same

968.06

SCENE 168 - FS - MAGGOT AND BLACK WIDOW SPIDER, REACTING AS CORPSE BRIDE (TORSO) STEPS L. AND EXITS.

970.12

SCENE 169 - FS - ACROSS THE ALLEY TO CORPSE BRIDE, STEPPING L.BG. SKELETAL SCRAPS LOOKS ON, R. BLACK WIDOW SPIDER AND MAGGOT LOOK ON, BG. CORPSE BRIDE (face off) (singing) 'And I know her heart is beating And I know...

977.07

SCENE 170 - MS - CORPSE BRIDE ENTERS R. AS SHE LEANS HER HEAD AGAINST THE RED DOOR. CORPSE BRIDE (singing) '...that I am dead Yet the pain here that I feel, Try and tell me it’s not real And it seems that I still have a tear to shed' CORPSE BRIDE CROUCHES DOWN.

997.02

SCENE 171 - MFS - CORPSE BRIDE SITS AGAINST THE RED DOOR. BLACK WIDOW SPIDER ENTERS UPPER FRAME, DANGLING FROM THE WEB AS SHE CARRIES MAGGOT.

1002.15

3-118 /962.12 968.06/ 5.10 CORPSE BRIDE (singing) ITAL 'If you cut me with a knife, it’s still

the same (it's...same : i.e., 'I am not

cut' – 'I have no flesh to be cut or injured')

3-119 971.02 976.02 5.00 CORPSE BRIDE (singing) ITAL 'And I know her heart is beating (her : refers to Victoria) 3-120 /977.08 980.07 2.15 CORPSE BRIDE (singing) ITAL 'And I know that I am dead (dead : rhymes with 'shed') 3-121 980.11 984.12 4.01 CORPSE BRIDE (singing) ITAL 'Yet the pain here that I feel (pain here that I feel : refers

to her feelings of rejection) (feel : rhymes with 'real) 3-122 985.00 989.08 4.08 CORPSE BRIDE (singing) ITAL 'Try and tell me it’s not real (try...real : i.e., 'it is real'

– 'you cannot claim that I don't feel it')

3-123 989.12 996.06 6.10 CORPSE BRIDE (singing) ITAL And it seems that I still have a tear

to shed' (still...shed : i.e., 'am still

able to cry' – 'still weep in sadness')


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SCENE 172 - MS - CORPSE BRIDE REACTS AS BLACK WIDOW SPIDER AND MAGGOT LOOK ON, DANGLING R. MAGGOT (singing) 'The sole redeeming feature from that little creature is that she’s alive

1010.06

SCENE 173 - MFS - BLACK WIDOW SPIDER, DANGLING AS SHE HOLDS MAGGOT. BLACK WIDOW SPIDER (singing) 'Overrated MAGGOT (singing) 'Overblown BLACK WIDOW SPIDER (singing) 'Everybody knows that’s just a temporary...

1017.00

SCENE 174 - MFS - SKELETAL SCRAPS, HOLDING THE BOUQUET OF DEAD FLOWERS. BLACK WIDOW SPIDER (off) (singing) '...state Which is cured...

1019.03

SCENE 175 - MFS - CORPSE BRIDE, SEATED BY THE RED DOOR AS BLACK WIDOW SPIDER AND MAGGOT LOOK ON. SKELETAL SCRAPS ENTERS R., HOLDING THE BOUQUET OF DEAD FLOWERS. BLACK WIDOW SPIDER (singing) ...very quickly when we meet our fate

1022.15

3-124 1003.05 1010.06/ 7.01 MAGGOT (singing) ITAL 'The sole redeeming feature from that

little creature is that she’s alive (feature : i.e., 'personal

quality' – rhymes with 'creature') 3-125 /1010.10 1013.02 2.08 BLACK WIDOW SPIDER, THEN MAGGOT ITAL (singing) -'Overrated -'Overblown 3 -126 1013.06 1018.04 4.14 BLACK WIDOW SPIDER (singing) ITAL (over scene end) 'Everybody knows that’s just a

temporary state (that's...state : i.e., 'that

humans are alive only a short time' – 'that everyone dies')

(state : rhymes with 'fate') 3-127 1018.08 1022.15/ 4.07 BLACK WIDOW SPIDER (singing) ITAL (over scene end) 'Which is cured very quickly when we

meet our fate (is cured : i.e., 'ends') (meet our fate : colloquial for

'die')


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SCENE 176 - FS - PAST CORPSE BRIDE, L.FG., TO SKELETAL SCRAPS, DROPPING THE BOUQUET OF DEAD FLOWERS. MAGGOT (off) (singing) 'Who cares BLACK WIDOW SPIDER (off) (singing) 'Unimportant MAGGOT (off) (singing) 'Overrated BLACK WIDOW SPIDER (off) (singing) 'Overblown

1027.13

SCENE 177 - MFS - BLACK WIDOW SPIDER, DANGLING AS SHE HOLDS MAGGOT. MAGGOT & BLACK WIDOW SPIDER (singing) 'If only he could see how special you can be

1032.15

SCENE 178 - MS - CORPSE BRIDE REACTS AS BLACK WIDOW SPIDER AND MAGGOT LOOK ON, DANGLING R. MAGGOT & BLACK WIDOW SPIDER (singing) 'If he only knew the you that we know CORPSE BRIDE PULLS BLACK WIDOW SPIDER'S LEG, THEN RELEASES IT, CAUSING BLACK WIDOW SPIDER AND MAGGOT TO FLY UPPER FRAME AND EXIT. CORPSE BRIDE STRAIGHTENS, STEPS R. AND EXITS.

1042.15

3-128 /1023.03 1025.10 2.07 MAGGOT, THEN BLACK WIDOW SPIDER ITAL (singing) -'Who cares -'Unimportant 3-129 1025.14 1027.13/ 1.15 MAGGOT, THEN BLACK WIDOW SPIDER ITAL (singing) -'Overrated -'Overblown 3-130 /1028.01 1032.15/ 4.14 MAGGOT & BLACK WIDOW SPIDER (singing) ITAL 'If only he could see how special you

can be 3-131 /1033.03 1039.05 6.02 MAGGOT & BLACK WIDOW SPIDER (singing) ITAL 'If he only knew the you that we know'


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SCENE 179 - MFS - CORPSE BRIDE STEPS R.BG. AND SITS ON THE CHAISE. BLACK WIDOW SPIDER AND MAGGOT ENTER L.FG. CORPSE BRIDE (singing) 'If I touch a burning candle, I can feel no pain

1055.13

SCENE 180 - MS - MAGGOT AND BLACK WIDOW SPIDER, REACTING. CORPSE BRIDE (off) (singing) 'In the ice or in the sun, it's all the same

1064.00

SCENE 181 - FS - HIGH ANGLE - LOOKING DOWN AT CORPSE BRIDE, LYING ON THE CHAISE. CAMERA CRANES DOWN INTO MS. CORPSE BRIDE (singing) 'Yet I feel my heart is aching Though it doesn't beat, it's breaking And the pain here that I feel Try and tell me it's not real (sniffs) I know that I am dead

1087.12

SCENE 182 - MCS - CORPSE BRIDE, LYING ON THE CHAISE AS SHE CLOSES HER EYES AND WEEPS TEARS. CORPSE BRIDE (singing) 'Yet it seems that I still have some tears to shed'

1098.04

SCENE 183 - MFS - MAGGOT AND BLACK WIDOW SPIDER, REACTING AS CORPSE BRIDE'S TEAR FALLS BETWEEN THEM. MAGGOT (sighs)

1106.10

3-132 1048.00 1055.05 7.05 CORPSE BRIDE (singing) ITAL 'If I touch a burning candle, I can

feel no pain (pain : rhymes with 'same') 3-133 1056.05 1062.12 6.07 CORPSE BRIDE (singing) ITAL 'In the ice or in the sun, it's all the

same (I.e., 'I do not feel either cold

or warmth') 3-134 1065.00 1069.12 4.12 CORPSE BRIDE (singing) ITAL 'Yet I feel my heart is aching (aching : rhymes with

'breaking') 3-135 1070.00 1073.15 3.15 CORPSE BRIDE (singing) ITAL 'Though it doesn't beat, it's breaking (Though : I.e., 'Even though' –

'Although') (it...breaking : i.e., 'I don't

have a beating heart, I am still heartbroken and sad')

3-136 1074.03 1078.08 4.05 CORPSE BRIDE (singing) ITAL 'And the pain here that I feel 3-137 1078.12 1082.07 3.11 CORPSE BRIDE (singing) ITAL 'Try and tell me it's not real 3-138 1083.08 1087.11/ 4.03 CORPSE BRIDE (singing) ITAL 'I know that I am dead (dead : rhymes with 'shed') 3-139 1089.00 1095.01 6.01 CORPSE BRIDE (singing) ITAL 'Yet it seems that I still have some

tears to shed'


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SCENE 184 - EXT. TOWN SQUARE - NIGHT - FS - ACROSS THE STREET TO THE EVERGLOT MANSION WITH LIGHT INSIDE VICTORIA'S BALCONY DOORS. VICTORIA (voice over) It's true, Mother!

1112.00

SCENE 185 - MFS - MAUDELINE AND HILDEGARDE, SEATED AS VICTORIA ENTERS R.FG., STEPPING L. CAMERA PANS L. WITH VICTORIA, MOVING OFF MAUDELINE AND HILDEGARDE. VICTORIA Victor is married to a dead woman. VICTOR STOPS AS CAMERA HOLDS. VICTORIA I saw her! A corpse! Standing right here with Victor.

1123.13

SCENE 186 - MFS - MAUDELINE, SEATED ON THE COUCH AS HILDEGARDE LOOKS ON. MAUDELINE Victor was in your room?

1126.06

SCENE 187 - MS - VICTORIA STEPS R.FG. AS CAMERA PANS R. VICTORIA I have to help him!

1128.11

SCENE 188 - MFS - MAUDELINE, SEATED AS VICTORIA ENTERS L.FG. MAUDELINE The scandal! HILDEGARDE ENTERS R. AND STEPS L., PULLING VICTORIA WITH HER. CAMERA PANS L. WITH THEM, MOVING OFF MAUDELINE.

3-140 1109.03 1112.00/ 2.13 VICTORIA TO MAUDELINE (voice over) ITAL It's true, Mother! 3-141 /1112.04 1116.05 4.01 VICTORIA TO MAUDELINE Victor is married to a dead woman. 3-142 1116.09 1123.12/ 7.03 VICTORIA TO MAUDELINE I saw her! A corpse! Standing right

here with Victor. 3-143 /1124.00 1126.06/ 2.06 MAUDELINE TO VICTORIA Victor was in your room? 3-144 /1126.10 1128.11/ 2.01 VICTORIA TO MAUDELINE I have to help him! 3-145 /1128.15 1131.03 2.04 MAUDELINE TO VICTORIA The scandal!


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SCENE 188 - (CONTINUED) HILDEGARDE Oh, come sit in your chair, dearie, you're shaking like a leaf. HILDEGARDE AND VICTORIA HALT. MAUDELINE RE-ENTERS R., STEPPING L. HILDEGARDE Let Hilde fetch you a blanket. MAUDELINE Fetch her a straightjacket, she's completely mad! MAUDELINE STEPS L. AND EXITS. MAUDELINE (off) Come, Hildegarde. HILDEGARDE STEPS L. AND EXITS.

1150.02

SCENE 189 - MFS - THROUGH THE DOORWAY TO MAUDELINE, LIFTING A KEY AS HILDEGARDE STEPS BG. MAUDELINE CLOSES THE DOOR, OBSCURING THEM.

1155.11

SCENE 190 - MS - THE DOORKNOB AND KEYHOLE AS IT LOCKS.

1158.03

SCENE 191 - FS - PAST A CHAIR, L.FG., TO VICTORIA, STEPPING BACKWARD, MOVING BG. OUTSIDE THE WINDOW, RAIN FALLS AS O.S. LIGHTNING FLASHES.

1166.13

SCENE 192 - EXT. EVERGLOT MANSION/BALCONY - NIGHT - MFS - THROUGH THE BALCONY DOOR WINDOWS TO VICTORIA, OPENING THE BALCONY DOOR.

1175.03

3-146 1131.07 1137.02 5.11 HILDEGARDE TO VICTORIA Come sit in your chair, dearie, you're

shaking like a leaf. (dearie : variation of 'dear', a

term of endearment) (shaking...leaf : i.e.,

'trembling') 3-147 1137.06 1140.07 3.01 HILDEGARDE TO VICTORIA Let Hilde fetch you a blanket. (Hilde : short for 'Hildegarde'

– i.e., 'me') (fetch : colloquial for 'get' –

'bring') 3-148 1140.11 1146.02 5.07 MAUDELINE TO HILDEGARDE Fetch her a straightjacket, she's

completely mad! (Fetch...straightjacket : I.e.,

'Put her in a straightjacket' – 'Treat her for insanity' – Note that a 'straightjacket' is a long-sleeved jacket-like garment used to bind the arms tightly against the body as a means of restraining a violent psychiatric patient)

(mad : colloquial for 'insane') 3-149 1146.06 1149.00 2.10 MAUDELINE TO HILDEGARDE Come, Hildegarde.


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SCENE 193 - MFS - VICTORIA ENTERS L., STEPPING R. TO THE BALCONY RAIL AS RAIN FALLS. VICTORIA (gasps)

1181.10

SCENE 194 - EXT. EVERGLOT MANSION - NIGHT - FS - LOW ANGLE - LOOKING UP AT BALCONY AS THE QUILT DRAPES OVER THE RAIL. VICTORIA EMERGES, CLIMBING OVER THE RAIL AND DOWN THE QUILT. VICTORIA (face off) (gasps) (grunts) Oh!

1195.04

SCENE 195 - MS - VICTORIA, DANGLING FROM THE QUILT AS IT BEGINS TO TEAR. THE QUILT'S STITCHING TEARS APART AND DANGLES FROM A THREAD AS VICTORIA MOVES LOWER FRAME, EXITING. VICTORIA (face off) (gasps)

1198.13

SCENE 196 - MFS - VICTORIA, DANGLING FROM THE QUILT. CAMERA CRANES DOWN ON VICTORIA (LEGS) AND A WINDOW WITH FINIS INSIDE IT. MAUDELINE (off) Finis, come to bed at once.

1203.03

SCENE 197 - MFS - LOW ANGLE - LOOKING UP AT VICTORIA, DANGLING FROM THE QUILT.

1205.09

3-150 /1198.14 1203.03/ 4.05 MAUDELINE TO FINIS Finis, come to bed at once.


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SCENE 198 - MFS - PAST VICTORIA (LEGS), DANGLING IN FG., AND THROUGH THE WINDOW TO FINIS. FINIS (yawns) (grunts) (yawns – continues under following scenes and dialogue) VICTORIA (face off) (gasps)

1207.11

SCENE 199 - MFS - LOOKING UP AT THE TORN QUILT, DANGLING FROM A THREAD AS IT TEARS.

1208.12

SCENE 200 - MFS - VICTORIA, DANGLING FROM THE QUILT AS SHE REACTS. VICTORIA (gasps) (grunts)

1209.09

SCENE 201 - MFS - PAST VICTORIA (LEGS), DANGLING IN FG., AND THROUGH THE WINDOW TO FINIS, TURNING AND FACING BG.

1211.04

SCENE 202 - MFS - LOOKING UP AT THE TORN QUILT AS IT TEARS APART AND FALLS LOWER FRAME. VICTORIA (off) (yells - continues under following scene)

1212.08

SCENE 203 - FS - PAST A POST, L.FG., TO VICTORIA, LANDING ON THE PORCH BY THE WINDOW. INSIDE THE WINDOW, FINIS STEPS BG. VICTORIA (grunts)

1214.07


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SCENE 204 - MS - VICTORIA STRAIGHTENS AND MOVES THE QUILT OVER HER HEAD, THEN STEPS R. AND EXITS.

1218.15

SCENE 205 - FS - PAST A POST, L.FG., TO VICTORIA, STEPPING BG. ON THE PORCH.

1223.02

DISSOLVE TO: SCENE 206 - EXT. FIELD - NIGHT - FS - ACROSS THE STREAM AND A FIELD TO VICTORIA, STEPPING ACROSS A FOOTBRIDGE AS RAIN FALLS. THE CHURCH IS L.BG.

1227.04

DISSOLVE TO: SCENE 207 - EXT. CHURCH - NIGHT - FS - VICTORIA ASCENDS THE CHURCH STAIRCASE AND STOPS BY THE DOOR AS RAIL FALLS. VICTORIA KNOCKS ON THE DOOR WITH THE KNOCKER.

1234.01

SCENE 208 - INT. CHURCH - NIGHT - MFS - PAST A PEW, L.FG., AND THROUGH THE AISLE OF PEWS TO PASTOR GALSWELLS, EMERGING AND STEPPING FG. AS HE HOLDS A CANDLESTICK. PASTOR GALSWELLS What in heaven's name?

1238.12

SCENE 209 - EXT, CHURCH - NIGHT - MS - PAST VICTORIA, R.FG., TO THE DOOR AS SHE KNOCKS THE KNOCKER.

1242.06

3-151 1234.07 1238.12/ 4.05 PASTOR GALSWELLS TO HIMSELF What in heaven's name? (Colloquial exclamation of

surprise or alarm) (Note that he reacts to Victoria's

knocking on the door)


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SCENE 210 - INT. CHURCH - NIGHT - MFS - PAST A PEW, L.FG., AND THROUGH THE AISLE OF PEWS TO PASTOR GALSWELLS, STEPPING FG. AS HE HOLDS A CANDLESTICK. PASTOR GALSWELLS Who could that be...

1244.10

SCENE 211 - MS - THE DOOR OPENS TO REVEAL VICTORIA, LOWERING THE QUILT. PASTOR GALSWELLS (off) ...at this hour? Miss Everglot.

1251.04

SCENE 212 - EXT. CHURCH - NIGHT - MS - PAST VICTORIA, R.FG., AND THROUGH THE DOORWAY TO PASTOR GALSWELLS. PASTOR GALSWELLS What are you doing here? You should be at home, prostrate with grief.

1258.06

SCENE 213 - INT. CHURCH - NIGHT - MS - THROUGH THE DOORWAY TO VICTORIA. VICTORIA Pastor Galswells, (pants) I have to ask you something.

1262.11

3-152 /1242.09 1247.01 4.08 PASTOR GALSWELLS TO HIMSELF (over scene end) Who could that be at this hour? (at this hour : note that it is

late at night) 3-153 1249.08 1251.04/ 1.12 PASTOR GALSWELLS TO VICTORIA Miss Everglot. 3-154 1252.00 1258.04/ 6.04 PASTOR GALSWELLS TO VICTORIA What are you doing here? You should be

at home, prostrate with grief. (prostrate : i.e., 'overcome') 3-155 /1258.08 1262.11/ 4.03 VICTORIA TO PASTOR GALSWELLS Pastor Galswells, I have to ask you

something.


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SCENE 214 - EXT. CHURCH - NIGHT - MS - PAST VICTORIA, R.FG., AND THROUGH THE DOORWAY TO PASTOR GALSWELLS. PASTOR GALSWELLS This is most irregular. VICTORIA STEPS BG. THROUGH THE DOORWAY. VICTORIA (face off) (overlapping) Please, I beg of you.

1268.01

SCENE 215 - INT. CHURCH - NIGHT - MFS - VICTORIA STEPS L. AS PASTOR GALSWELLS STEPS BACKWARD, MOVING L. INTO THE AISLE OF PEWS. CAMERA PANS L. WITH THEM. VICTORIA You are the only one in the village who knows of what awaits beyond the grave. PASTOR GALSWELLS AND VICTORIA STOP. PASTOR GALSWELLS A grim topic for a bride-to-be.

1279.06

SCENE 216 - MS - PAST PASTOR GALSWELLS (TORSO), L.FG., TO VICTORIA. VICTORIA It is a bride I fear...which is why I must know: Can the living marry the dead?

1290.00

SCENE 217 - MS - PAST VICTORIA, R.FG., TO PASTOR GALSWELLS, REACTING AS O.S. LIGHTNING FLASHES. PASTOR GALSWELLS What on earth are you speaking about?

1295.12

3-156 /1262.15 1268.00/ 5.01 PASTOR GALSWELLS TO VICTORIA, THEN VICTORIA TO PASTOR GALSWELLS -This is most irregular. -Please, I beg of you. (irregular : i.e., 'unusual' –

'strange') 3-157 /1268.04 1274.07 6.03 VICTORIA TO PASTOR GALSWELLS You are the only one in the village who

knows of what awaits beyond the grave. (knows...grave : i.e., 'knows

what happens when we die' – 'knows about the afterlife')

3-158 1274.11 1279.06/ 4.11 PASTOR GALSWELLS TO VICTORIA A grim topic for a bride-to-be. (bride-to-be : colloquial

reference to a woman who will soon marry)

3-159 /1279.10 1287.00 7.06 VICTORIA TO PASTOR GALSWELLS It is a bride I fear...which is why I

must know: (It is...fear : I.e., 'I am in

fear of another bride' – 'I fear the Corpse Bride')

3-160 1287.13 1290.00/ 2.03 VICTORIA TO PASTOR GALSWELLS Can the living marry the dead? 3-161 1291.11 1295.12/ 4.01 PASTOR GALSWELLS TO VICTORIA What on earth are you speaking about? (on earth : colloquial emphatic) (speaking : i.e., 'talking' –

'asking me')


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SCENE 218 - MS - VICTORIA. VICTORIA Please, it's Victor. He's married to a corpse.

1300.07

SCENE 219 - MS - PAST VICTORIA, R.FG., TO PASTOR GALSWELLS. VICTORIA (face off) He has a corpse bride!

1304.07

SCENE 220 - MS - VICTORIA. VICTORIA There must be some way to undo what's been done.

1310.04

SCENE 221 - MS - PAST VICTORIA, R.FG., TO PASTOR GALSWELLS. PASTOR GALSWELLS Mm. I believe I know the thing to do.

1318.05

SCENE 222 - MS - PAST PASTOR GALSWELLS (ARMS), L.FG., HOLDING THE CANDLESTICK, TO VICTORIA, REACTING. PASTOR GALSWELLS (face off) Come with me. PASTOR GALSWELLS FINGERS PUTS OUT THE CANDLE FLAME, CAUSING DARKNESS. SCENE FADES TO BLACK.

1322.08

3-162 /1296.00 1300.07/ 4.07 VICTORIA TO PASTOR GALSWELLS Please, it's Victor. He's married to a

corpse. (it's Victor : i.e., 'I am

worried about Victor' – 'Victor is the one who has married a dead woman')

3-163 /1300.11 1304.07/ 3.12 VICTORIA TO PASTOR GALSWELLS He has a corpse bride! 3-164 1304.14 1310.04/ 5.06 VICTORIA TO PASTOR GALSWELLS There must be some way to undo what's

been done. (undo...done : i.e., 'end that

marriage') 3-165 1313.13 1318.05/ 4.08 PASTOR GALSWELLS TO VICTORIA I believe I know the thing to do. (I know...do : note double

meaning – [1] i.e., 'I know how to help you and Victor' and [2] i.e., 'I must return you to your parents')

3-166 1319.04 1321.04 2.00 PASTOR GALSWELLS TO VICTORIA Come with me.


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FADE IN: SCENE 223 - INT. EVERGLOT MANSION - NIGHT - MS - THE DOOR OPENS TO REVEAL PASTOR GALSWELLS, HOLDING VICTORIA, STRUGGLING. VICTORIA (grunts – continues under following scenes and dialogue) MAUDELINE (off) Victoria?!

1327.06

SCENE 224 - MFS - THROUGH THE DOORWAY TO MAUDELINE. MAUDELINE Where are your corsets? PASTOR GALSWELLS (off) (overlapping) She's...

1329.05

SCENE 225 - MFS - THROUGH THE DOORWAY TO PASTOR GALSWELLS, HOLDING VICTORIA, WHO STRUGGLES. PASTOR GALSWELLS ...speaking in tongues. Of unholy alliances. VICTORIA (overlapping) (grunts and pants) PASTOR GALSWELLS Her mind has come undone, I fear. VICTORIA It's not true! PASTOR GALSWELLS PUSHES VICTORIA, STEPPING FG. THROUGH THE DOORWAY.

3-167 1325.07 1327.06/ 1.15 MAUDELINE TO VICTORIA Victoria?! (Note that Pastor Galswells

returns Victoria to the Everglot mansion)

3-168 /1327.10 1329.05/ 1.11 MAUDELINE TO VICTORIA Where are your corsets? (Where are : I.e., 'You are not

wearing') 3-169 /1329.09 1335.00 5.07 PASTOR GALSWELLS TO MAUDELINE She's speaking in tongues. Of unholy

alliances. (speaking in tongues : refers to

speaking in strange or unfamiliar foreign languages – i.e., 'she is talking nonsense')

(unholy alliances : refers to the dead marrying the living, a wicked or evil union)

3-170 1335.04 1338.06 3.02 PASTOR GALSWELLS TO MAUDELINE Her mind has come undone, I fear. (Her...undone : Colloquial for

'She has gone insane') (I fear : colloquial emphatic

exclamation) 3-171 1338.10 1342.03/ 3.09 VICTORIA TO PASTOR GALSWELLS It's not true! Let me go! Let me go!


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SCENE 225 - (CONTINUED) VICTORIA Let me go! VICTORIA EXITS R.FG. VICTORIA (face off) Let me...

1342.03

SCENE 226 - EXT. EVERGLOT MANSION - NIGHT - MFS - PAST PASTOR GALSWELLS (TORSO), L.FG., AND THROUGH THE DOORWAY TO MAUDELINE, HOLDING VICTORIA AS FINIS LOOKS ON. VICTORIA ...go! MAUDELINE Thank you, Pastor Galswells, thank you so very much.

1348.08

SCENE 227 - INT. EVERGLOT MANSION - NIGHT - MS - PAST VICTORIA, R.FG., TO MAUDELINE, CLOSING THE DOOR. VICTORIA STEPS R. AND EXITS AS MAUDELINE HOLDS THE QUILT. MAUDELINE Take her to her room! VICTORIA (off) No, I'm...

1353.08

SCENE 228 - MS - VICTORIA, LOOKING FG. AS EMIL GRABS HER FROM BEHIND. HILDEGARDE STEPS R. IN BG. AS FINIS LOOKS ON, L.BG. VICTORIA ...telling the truth! EMIL STEPS BG., PULLING VICTORIA. EMIL (grunts - continues under following scenes and dialogue)

3-172 1342.14 1348.08/ 5.10 MAUDELINE TO PASTOR GALSWELLS Thank you, Pastor Galswells, thank you

so very much. 3-173 1350.07 1353.06/ 2.15 MAUDELINE TO EMIL & HILDEGARDE Take her to her room! (Note that she addresses Emil and

Hildegarde) 3-174 /1353.10 1356.04 2.10 VICTORIA TO MAUDELINE No, I'm telling the truth!


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SCENE 228 - (CONTINUED) VICTORIA Victor needs my help! HILDEGARDE GRASPS VICTORIA'S ARM AND STEPS BG. PULLING HER WITH EMIL. VICTORIA Hildegarde, you believe me, don't you?

1363.00

SCENE 229 - MFS - PAST VICTORIA, R.FG., STRUGGLING, TO FINIS. VICTORIA Mother, Father, please. VICTORIA EXITS R. AS O.S. EMIL AND O.S. HILDEGARDE PULL HER. MAUDELINE (off) (overlapping) Seal the...

1366.13

SCENE 230 - MFS - MAUDELINE STEPS R.FG. AND BEGINS TO EXIT. MAUDELINE ...doors and bar the windows. See to it that she doesn't escape again!

1374.10

SCENE 231 - FS - ACROSS THE ROOM TO MAUDELINE, STEPPING R. TOWARD THE STAIRCASE AS EMIL AND HILDEGARDE ASCEND, PULLING VICTORIA WITH THEM. FINIS IS BY THE FIREPLACE, BG. VICTORIA He needs our help! Oh, let me go! EMIL, HILDEGARDE AND VICTORIA EXIT R. VICTORIA (off) Let me go!

3-175 1356.08 1359.09 3.01 VICTORIA TO MAUDELINE Victor needs my help! 3-176 1359.13 1363.00/ 3.03 VICTORIA TO HILDEGARDE Hildegarde, you believe me, don't you? 3-177 /1363.04 1366.12/ 3.08 VICTORIA TO MAUDELINE & FINIS Mother, Father, please. 3-178 /1367.00 1374.06/ 7.06 MAUDELINE TO EMIL & HILDEGARDE Seal the doors and bar the windows.

See to it that she doesn't escape again!

(See to it : Colloquial for 'Make sure' – 'Be certain')

3-179 /1374.13 1381.06 6.09 VICTORIA TO GROUP He needs our help! Oh, let me go! Let

me go!


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SCENE 231 - (CONTINUED) CAMERA PANS L. TO INCLUDE BARKIS BY A WALL, L.FG. MAUDELINE Will the mortification never cease?

1387.12

SCENE 232 - MFS - PAST FINIS, R.FG., TO MAUDELINE, STEPPING FG. MAUDELINE It will be years before we can show ourselves in public again. MAUDELINE STOPS. MAUDELINE What shall we do? FINIS We shall continue as planned, with or without Vincent. MAUDELINE Victor. FINIS Whatever. BARKIS EMERGES IN BG. BARKIS For that boy to toss aside a young woman like Victoria...

1410.01

SCENE 233 - MFS - BARKIS. BARKIS ...it's positively criminal. BARKIS STEPS FG. INTO MS. BARKIS Why, if I had a woman like your daughter on my arm, I would lavish her with riches befitting royalty.

1428.10

3-180 1381.10 1386.09 4.15 MAUDELINE TO FINIS Will the mortification never cease? (the mortification : i.e., 'our

embarrassment due to Victoria') 3-181 /1387.15 1393.00 5.01 MAUDELINE TO FINIS It will be years before we can show

ourselves in public again. (show...public : i.e., 'face

others socially without embarrassment')

3-182 1393.04 1395.01 1.13 MAUDELINE TO FINIS What shall we do? 3-183 1395.05 1400.08 5.03 FINIS TO MAUDELINE We shall continue as planned, with or

without Vincent. (Refers to Victoria getting

married) (Vincent : note that Finis gets

Victor's name wrong, confirming his disinterest in him or his welfare)

3-184 1400.12 1402.04 1.08 MAUDELINE TO FINIS Victor. 3-185 1402.08 1404.07 1.15 FINIS TO MAUDELINE Whatever. (Colloquial dismissal) 3-186 1404.11 1410.01/ 5.06 BARKIS TO MAUDELINE & FINIS For that boy to toss aside a young

woman like Victoria... (that boy : refers to Victor) (toss aside : i.e., 'reject' –

'refuse to marry') 3-187 1411.12 1415.04 3.08 BARKIS TO MAUDELINE & FINIS ...it's positively criminal. (positively : colloquial

emphatic) (criminal : i.e., 'wrong' –

'unjust') 3-188 1415.08 1421.06 5.14 BARKIS TO MAUDELINE & FINIS Why, if I had a woman like your

daughter on my arm... (on my arm : implies, 'as my

wife' – 'as my companion in life') 3-189 1421.10 1428.09/ 6.15 BARKIS TO MAUDELINE & FINIS ...I would lavish her with riches

befitting royalty. (befitting : i.e., 'suited to' –

'appropriate for') (royalty : i.e., 'someone who is

very wealthy and powerful')


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SCENE 234 - FS - PAST BARKIS, R.FG., TO MAUDELINE AND FINIS. MAUDELINE Your lady wife is a most fortunate woman. BARKIS (face off) Alas, I am not married.

1438.15

SCENE 235 - MS - BARKIS. BARKIS I was betrothed some years ago, but...tragedy snatched my young bride away. When one lives alone, wealth counts for naught.

1454.08

SCENE 236 - MFS - PAST FINIS, L.FG., TO MAUDELINE, REACTING. MAUDELINE Oh.

1459.01

SCENE 237 - INT. VICTORIA'S ROOM - NIGHT - MFS - THE LOCKED DOOR AS VICTORIA ENTERS R.FG., JAMMING A FIRE POKER IN THE DOOR CRACK. VICTORIA (face off) (grunts)

1461.09

SCENE 238 - MFS - VICTORIA, JABBING THE FIRE POKER AT THE O.S. DOOR. THE BALCONY DOOR HAS BEEN BOARDED UP IN L.BG. VICTORIA (pants) (grunts) VICTORIA LIFT THE FIRE POKER. THERE IS THE SOUND OF THE DOOR UNLOCKING. VICTORIA Ooh!

1465.01

3-190 /1428.13 1434.04 5.07 MAUDELINE TO BARKIS Your lady wife is a most fortunate

woman. (lady wife : colloquial

reference to the wife of a Lord, who is properly addressed as 'Lady')

3-191 1434.08 1438.09 4.01 BARKIS TO MAUDELINE Alas, I am not married. (Alas : Colloquial exclamation

of regret) 3-192 /1439.02 1442.13 3.11 BARKIS TO MAUDELINE I was betrothed some years ago, but... (betrothed : i.e., 'engaged') 3-193 1443.10 1448.10 5.00 BARKIS TO MAUDELINE ...tragedy snatched my young bride

away. (implying that she tragically

died) 3-194 1448.14 1454.08/ 5.10 BARKIS TO MAUDELINE & FINIS When one lives alone, wealth counts for

naught. (counts for naught : colloquial

for 'is meaningless' – 'has no true value')


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SCENE 239 - MFS - PAST VICTORIA, HIDING THE FIRE POKER BEHIND HER BACK, R.FG., TO THE DOOR, OPENING TO REVEAL FINIS, STEPPING FG. AS MAUDELINE FOLLOWS. FINIS Marvelous news, Victoria, there'll be a wedding after all.

1472.08

SCENE 240 - MS - VICTORIA REACTS. VICTORIA You found him?

1474.11

SCENE 241 - MFS - PAST VICTORIA, L.FG., TO FINIS AND MAUDELINE. MAUDELINE Make haste, my dear, our relatives will arrive at any moment.

1480.02

SCENE 242 - FS - PAST MAUDELINE, L.FG., TO VICTORIA. MAUDELINE We must have you looking presentable for Lord Barkis. VICTORIA (gasps) VICTORIA DROPS THE OBSCURED FIRE POKER.

1486.14

SCENE 243 - MS - VICTORIA REACTS. VICTORIA Lord Barkis?

1490.08

3-195 1466.10 1472.08/ 5.14 FINIS TO VICTORIA Marvelous news, Victoria, there'll be a

wedding after all. (there'll be a wedding : note

double meaning – [1] i.e., 'you will marry Victor' and [2] i.e., 'you will marry Lord Barkis')

(after all : colloquial emphatic exclamation)

3-196 /1472.12 1474.11/ 1.15 VICTORIA TO FINIS You found him? (Refers to Victor) 3-197 /1474.15 1480.02/ 5.03 MAUDELINE TO VICTORIA Make haste, my dear, our relatives will

arrive at any moment. 3-198 /1480.06 1486.09 6.03 MAUDELINE TO VICTORIA We must have you looking presentable

for Lord Barkis. (Make haste : Colloquial for

'Hurry') (my dear : term of endearment) (presentable : i.e.,

'attractive') 3-199 1488.15 1490.08/ 1.09 VICTORIA TO MAUDELINE Lord Barkis?


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SCENE 244 - MFS - PAST VICTORIA, L.FG., TO MAUDELINE AND FINIS. MAUDELINE He will make a fine husband. FINIS Aye, a fortuitous turn of events indeed. MAUDELINE A far better prospect this time.

1501.15

SCENE 245 - MFS - VICTORIA STEPS FG. AS CAMERA DOLLIES BACK. VICTORIA But I do not love him. You cannot make me do this. VICTORIA STOPS AS CAMERA DOLLIES BACK TO INCLUDE FINIS, L.FG. FINIS We must. VICTORIA Please, I beg of you! There must be another way.

1514.11

SCENE 246 - MS - FINIS. FINIS Without your marriage to Lord Barkis, we shall be forced penniless into the street. We are destitute!

1524.04

SCENE 247 - MFS - PAST FINIS, L.FG., TO VICTORIA. VICTORIA But, Victor....

1527.07

3-200 /1490.12 1493.07 2.11 MAUDELINE TO VICTORIA He will make a fine husband. 3-201 1493.11 1498.02 4.07 FINIS TO VICTORIA Aye, a fortuitous turn of events

indeed. (Aye : Archaic affirmative –

I.e., 'Yes') (fortuitous : i.e., 'fortunate'

– 'beneficial') (turn of events : refers to Lord

Barkis wanting to marry Victoria) (indeed : colloquial emphatic) 3-202 1498.06 1501.15/ 3.09 MAUDELINE TO VICTORIA A far better prospect this time. (far : colloquial emphatic –

i.e., 'much') (better prospect : i.e.,

'advantageous potential husband') 3-203 1502.08 1507.13 5.05 VICTORIA TO MAUDELINE & FINIS But I do not love him. You cannot make

me do this. (do this : i.e., 'marry Lord

Barkis') 3-204 1508.01 1512.04 4.03 FINIS TO VICTORIA, THEN VICTORIA TO FINIS & MAUDELINE -We must. -Please, I beg of you! 3-205 1512.08 1514.11/ 2.03 VICTORIA TO FINIS There must be another way. (another way : i.e., 'a

different solution to our family's financial problems')

3-206 /1514.15 1521.14 6.15 FINIS TO VICTORIA Without your marriage to Lord Barkis,

we shall be forced penniless into the street.

3-207 1522.02 1524.04/ 2.02 FINIS TO VICTORIA We are destitute! 3-208 1524.13 1527.07/ 2.10 VICTORIA TO FINIS But, Victor....


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SCENE 248 - MFS - PAST VICTORIA, FG., TO FINIS AND MAUDELINE. MAUDELINE Victor Van Dort has gone, child. FINIS STEPS L.FG. AS MAUDELINE STEPS R.FG. AND EXITS. FINIS You shall marry Lord Barkis tomorrow. FINIS EXITS L.FG. CAMERA DOLLIES BACK ON VICTORIA, REACTING.

1540.02

SCENE 249 - MFS - TILTED ANGLE - THROUGH THE DOORWAY TO FINIS AND MAUDELINE. FINIS & MAUDELINE According to plan. FINIS CLOSES THE DOOR, OBSCURING THEM.

1545.00

SCENE 250 - INT. EVERGLOT MANSION/HALLWAY - NIGHT - MFS - FINIS AND MAUDELINE ENTER L., STEPPING R. AS THEY MOVE PAST TWO EVERGLOT PORTRAITS. BARKIS ENTERS R.FG. AS THEY EXIT R. BARKIS STEPS L. AND BEGINS TO EXIT. BARKIS (laughs - continues under following scenes)

1568.06

SCENE 251 - FS - HIGH ANGLE - LOOKING DOWN AT BARKIS, STEPPING L., MOVING PAST THE PORTRAITS OF EVERGLOT FAMILY MEMBERS. CAMERA DOLLIES L.

1574.09

3-209 1527.14 1531.10 3.12 MAUDELINE TO VICTORIA Victor Van Dort has gone, child. (has gone : i.e., 'has left you

and will not return') (child : term of address to a

daughter) 3-210 1531.14 1536.03 4.05 FINIS TO VICTORIA You shall marry Lord Barkis tomorrow. 3-211 /1540.04 1544.05 4.01 FINIS & MAUDELINE TO VICTORIA According to plan. (See title #1-15)


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SCENE 252 - MFS - THREE EVERGLOT FAMILY MEMBER PORTRAITS AS BARKIS' SHADOW MOVES L. ON THE WALL. CAMERA DOLLIES L.

1581.14

SCENE 253 - FS - HIGH ANGLE - LOOKING DOWN AT BARKIS, STEPPING L. AND STOPPING BY THE PORTRAIT OF VICTORIA. CAMERA DOLLIES IN. BARKIS Oh, my dear...don't you look at me that way. You have only to suffer this union until death do us part. And that will come sooner than you think. BARKIS STEPS FG., OBSCURING THE SCENE. SCENE FADES TO BLACK.

1606.10

SCENE 254 - EXT. VILLAGE ROAD - NIGHT - FS - THE HORSE-DRAWN CARRIAGE MOVES BG. TOWARD THE BRIDGE AS CAMERA DOLLIES R. A SIGN ON THE BACK OF THE CARRIAGE HAS A DRAWING OF VICTOR ON IT AND READS:

HAVE YOU SEEN ME? Victor Van Dort

Hair: Brown Eyes: Brown

Clothes: Brown CONTACT HIS MOTHER

MAYHEW (off) (coughs - continues under following scenes and dialogue) NELL (off) Oh, it's almost dawn! Where could he be?! THE TOWN CRIER ENTERS R.FG., STEPS L. AND STOPS IN L.FG. AS HE RINGS HIS BELL. THE HORSE-DRAWN CARRIAGE MOVES BG. OVER THE BRIDGE.

3-212 1586.15 1592.06 5.07 BARKIS AS IF TO VICTORIA Oh, my dear...don't you look at me that

way. (my dear : note that he

addresses a painting of Victoria) (look...way : refers to

Victoria's sad expression in the painting)

3-213 1592.10 1599.00 6.06 BARKIS AS IF TO VICTORIA You have only to suffer this union

until death do us part. (suffer this union : i.e.,

'remain married to me' – 'endure our marriage')

(until...part : note double meaning – [1] refers to the wedding vows – i.e., 'for the rest of our married life' – 'until we both die of natural causes' and [2] i.e., 'until I kill you')

3-214 1599.10 1604.14 5.04 BARKIS AS IF TO VICTORIA And that will come sooner than you

think. (Implying that his intention is to

kill Victoria once she is his wife, and as her widower obtain the wealth he assumes the Everglots possess)

3-215 1607.09 1609.12 2.03 NELL TO WILLIAM Oh, it's almost dawn! 3-216 1610.00 1612.13 2.13 NELL TO WILLIAM Where could he be?


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SCENE 254 - (CONTINUED) TOWN CRIER Victor Van Dort elopes with corpse! Heartbroken bride to wed wealthy...

1622.07

SCENE 255 - INT. CARRIAGE - NIGHT - MFS - NELL AND WILLIAM, SEATED. CAMERA TRAVELS BACK WITH THE CARRIAGE. TOWN CRIER (off) ...newcomer! NELL Wealthy newcomer? It cannot be. WILLIAM (overlapping) (grunts) (stammers)

1627.13

SCENE 256 - MS - WILLIAM, SEATED IN THE CARRIAGE. WILLIAM Did he say corpse?

1630.11

SCENE 257 - MS - NELL, SEATED. NELL Oh, don't be ridiculous. What corpse would marry our Victor? MAYHEW (off) (coughs – continues under following scenes and dialogue) NELL Oh! NELL LOOKS UPPER FRAME. NELL Mayhew!

1640.08

3-217 1613.01 1617.14 4.13 TOWN CRIER TO GROUP Victor Van Dort elopes with corpse! 3-218 1618.02 1622.07/ 4.05 TOWN CRIER TO GROUP Heartbroken bride to wed wealthy

newcomer! (Heartbroken bride : Refers to

Victoria) (wealthy newcomer : refers to

Lord Barkis) 3-219 1623.11 1627.13/ 4.02 NELL TO WILLIAM Wealthy newcomer? It cannot be. (be : i.e., 'be true') 3-220 1628.07 1630.11/ 2.04 WILLIAM TO NELL Did he say corpse? 3-221 /1630.15 1637.04 6.05 NELL TO WILLIAM Oh, don't be ridiculous. What corpse

would marry our Victor?


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SCENE 258 - MFS - NELL, RAPPING HER UMBRELLA AT THE CEILING AS WILLIAM LOOKS ON. NELL Silence that blasted coughing!

1645.15


END OF REEL 3AB

FINAL

3-222 1639.05 1645.01 5.12 NELL TO MAYHEW (over scene end) Mayhew! Silence that blasted coughing!


END OF REEL 3AB

FINAL


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11.15

SCENE 1 - EXT. VILLAGE ROAD - NIGHT - MS - MAYHEW, SEATED, SPITTING OUT HIS PIPE AS HE DRIVES THE CARRIAGE. CAMERA TRAVELS R. WITH THE HORSE-DRAWN CARRIAGE. MAYHEW (coughs and wheezes - continues under following scenes)

21.05

SCENE 2 - INT. CARRIAGE - NIGHT - MFS - NELL AND WILLIAM, SEATED AS SHE LOOKS UPPER FRAME.

23.14

SCENE 3 - EXT. VILLAGE ROAD - NIGHT - MFS - MAYHEW, SEATED, GASPING FOR BREATH HE DRIVES THE CARRIAGE. CAMERA TRAVELS R. WITH THE HORSE-DRAWN CARRIAGE. MAYHEW (gasps – continues under following scene) MAYHEW COLLAPSES AND FALLS R. AND BEGINS TO EXIT.

32.08

SCENE 4 - INT. CARRIAGE - NIGHT - MFS - NELL AND WILLIAM, SEATED AS THE CARRIAGE ROCKS ABOUT. WILLIAM Ooh!

36.08





(Flat)


4AB

4AB (2)



SCENE 5 - EXT. VILLAGE ROAD - NIGHT - MFS - PAST MAYHEW (LEGS), LYING UPRIGHT IN FG., TO THE HORSE-DRAWN CARRIAGE, MOVING BG. NELL (off) Mayhew, are you trying to kill us? I think he's trying to kill us! MAYHEW (face off) (overlapping) (coughs) MAYHEW (LEGS) FALLS LOWER FRAME AND EXITS AS HE DIES. SCENE FADES TO BLACK.

44.06

FADE IN: SCENE 6 - EXT. LAND OF THE DEAD PUB - NIGHT - MFS - PAST A SIGN, L.FG., TO THE PUB ENTRANCE. THE SIGN READS:

THE BALL & SOCKET

CAMERA CRANES DOWN, MOVING OFF THE SIGN AS SKELETAL SCRAPS ENTERS R., STEPPING BG., CARRYING CORPSE BRIDE'S BOUQUET OF FLOWERS IN HIS MOUTH. VICTOR ENTERS R., FOLLOWING. SKELETAL SCRAPS STOPS AND LOWERS THE BOUQUET OF FLOWERS AS VICTOR HALTS IN L.FG.

64.08

SCENE 7 - MS - TILTED ANGLE - VICTOR. VICTOR (sighs)

68.11

4-1 /36.10 40.09 3.15 NELL AS IF TO MAYHEW Mayhew, are you trying to kill us? (Note that Mayhew has died and

fallen off the carriage, which jerks as it runs over his body)

4-2 40.13 44.07 3.10 NELL TO WILLIAM I think he's trying to kill us! 4-3 44.12 46.12 2.00 NARRATIVE TITLE (ON SIGN) THE BALL & SOCKET (Note double meaning – [1] British

tavern name, and [2] Refers to the shoulder and knee joints in a body)


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SCENE 8 - MFS - VICTOR, L.FG., GRABS THE BOUQUET OF FLOWERS AS SKELETAL SCRAPS LOOKS ON. VICTOR STEPS BG. TOWARD THE PUB DOORWAY. VICTOR (face off) (sighs)

73.13

SCENE 9 - INT. LAND OF THE DEAD PUB - NIGHT - MFS - A BALCONY AS CAMERA CRANES DOWN TO REVEAL EMPTY TABLES AND CHAIRS ON IT. THERE IS THE SOUND OF A PIANO. CAMERA CONTINUES TO CRANE DOWN TO REVEAL CORPSE BRIDE, PLAYING THE PIANO ON THE MAIN FLOOR. VICTOR ENTERS L.FG., HOLDING THE BOUQUET OF FLOWERS.

88.07

SCENE 10 - MS - PAST THE PIANO KEYBOARD, FG., TO CORPSE BRIDE (TORSO), PLAYING IT. CAMERA TILTS UP ON CORPSE BRIDE AS VICTOR ENTERS R.BG., STEPPING L. AS HE HOLDS THE BOUQUET OF FLOWERS. VICTOR I...think you dropped this. CORPSE BRIDE CONTINUES TO PLAY THE PIANO AS VICTOR LOWERS THE BOUQUET OF FLOWERS.

116.08

SCENE 11 - MFS - PAST VICTOR, L.FG., TO CORPSE BRIDE, PLAYING THE PIANO. VICTOR (sighs) I'm sorry.

125.10

4-4 106.12 109.08 2.12 VICTOR TO CORPSE BRIDE I think you dropped this. (Refers to Corpse Bride's bridal

bouquet) 4-5 123.01 125.02 2.01 VICTOR TO CORPSE BRIDE I'm sorry.


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SCENE 12 - MFS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR I'm sorry I lied to you about wanting to see my parents. It's just this whole day hasn't gone quite... (sighs) well... (sighs) VICTOR SITS AT THE PIANO.

140.14

SCENE 13 - MFS - PAST VICTOR, L.FG., TO CORPSE BRIDE, SEATED AT THE PIANO AS SHE PLAYS IT. VICTOR ...according to plan.

147.09

SCENE 14 - MFS - PAST THE PIANO, FG., TO CORPSE BRIDE, PLAYING IT AS VICTOR BEGINS TO PLAY NOTES ON THE KEYBOARD. CORPSE BRIDE STOPS PLAYING AND REACTS.

156.13

SCENE 15 - MFS - PAST VICTOR AS HE STOPS PLAYING THE PIANO, L.FG., TO CORPSE BRIDE AS SHE BEGINS TO PLAY THE PIANO.

165.07

SCENE 16 - MFS - PAST THE PIANO, FG., TO CORPSE BRIDE, REACTING AS VICTOR PLAYS THE PIANO. THEY BEGIN TO PLAY A DUET TOGETHER.

183.05

SCENE 17 - MS - VICTOR (ARMS), PLAYING THE PIANO.

187.14

SCENE 18 - MFS - PAST THE PIANO, FG., TO VICTOR, PLAYING IT AS CORPSE BRIDE LOOKS ON.

194.14

4-6 /125.11 131.05 5.10 VICTOR TO CORPSE BRIDE I'm sorry I lied to you about wanting

to see my parents. 4-7 131.15 137.00 5.01 VICTOR TO CORPSE BRIDE It's just this whole day hasn't gone

quite...well... (It's just : Colloquial emphatic

exclamation) (well : colloquial exclamation) 4-8 142.00 144.08 2.08 VICTOR TO CORPSE BRIDE ...according to plan. (See title #1-15)


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SCENE 19 - MS - VICTOR (ARMS), PLAYING THE PIANO.

200.12

SCENE 20 - MFS - PAST THE PIANO, FG., TO VICTOR, PLAYING IT AS CORPSE BRIDE LOOKS ON AND REACTS.

209.02

SCENE 21 - MS - PAST VICTOR (ARM), L.FG., TO CORPSE BRIDE (ARMS) AS THEY PLAY THE PIANO. CAMERA PANS L. AND TILTS UP ON VICTOR, L.FG., AS CORPSE BRIDE LOOKS AT HIM.

218.03

SCENE 22 - MCS - VICTOR SMILES AS HE PLAYS THE O.S. PIANO.

220.14

SCENE 23 - MS - CORPSE BRIDE, PLAYING THE O.S. PIANO.

225.09

SCENE 24 - MS - CORPSE BRIDE (ARMS), PLAYING THE PIANO AS HER HAND BREAKS OFF AND MOVES R. ACROSS THE KEYBOARD.

228.15

SCENE 25 - MCS - CORPSE BRIDE REACTS AS SHE LOOKS AT HER O.S. HAND. CORPSE BRIDE (gasps)

230.03

SCENE 26 - MCS - VICTOR (HAND) ON THE KEYBOARD AS CORPSE BRIDE'S HAND ENTERS L. AND DANCES ON THE KEYS.

234.02


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SCENE 27 - MFS - VICTOR, SEATED, REACTING AS CORPSE BRIDE'S HAND CRAWLS UP HIS ARM AND ACROSS HIS SHOULDERS. CORPSE BRIDE (off) (laughs) VICTOR (overlapping) (chuckles) VICTOR GRASPS CORPSE BRIDE'S HAND.

242.10

SCENE 28 - MS - CORPSE BRIDE. CORPSE BRIDE Pardon my enthusiasm.

245.05

SCENE 29 - MFS - VICTOR, HOLDING CORPSE BRIDE'S HAND AS CORPSE BRIDE LOOKS ON. VICTOR I like your enthusiasm. VICTOR LIFTS CORPSE BRIDE'S ARM AND ATTACHES CORPSE BRIDE'S HAND TO IT. THERE IS THE SOUND OF A BELL AS CORPSE BRIDE AND VICTOR LOOK BG. OVER THEIR SHOULDERS.

245.08

SCENE 30 - MS - KITCHEN STAFF MAGGOT, RINGING A BELL. DEAD DENIZENS (off) (low and indistinct chatter - continues under following scenes and dialogue) CAMERA DOLLIES BACK TO INCLUDE MRS. PLUM. MRS. PLUM New arrival!

257.04

4-9 /242.12 245.04/ 2.08 CORPSE BRIDE TO VICTOR Pardon my enthusiasm. (Refers to her disembodied hand

running playfully over Victor's shoulder)

4-10 /245.08 248.12 3.04 VICTOR TO CORPSE BRIDE I like your enthusiasm. 4-11 255.11 260.02 4.07 MRS. PLUM TO GROUP (over scene end) New arrival! New arrival! (Refers to Mayhew, who has just

died and now arrives in the Land of the Dead)


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SCENE 31 - MFS - BONEJANGLES STEPS THROUGH A DOORWAY AND EXITS R.FG. AS A SKELETONE FOLLOWS AND EXITS L.FG. MRS. PLUM (off) New arrival! BONEJANGLES & SKELETONES (overlapping) (overlapping exclamations of excitement - continues under following scenes and dialogue)

262.02

SCENE 32 - MFS - LOW ANGLE - PAST THE BANISTER RAIL, L.FG., TO THE STAIRCASE AS THREE SKELETONES DESCEND, MOVING L.

266.00

SCENE 33 - FS - ACROSS THE BAR COUNTER TO PAUL THE HEAD WAITER, MOVING FG. AS THE BEETLES CARRY HIM AND SEVERAL BEETLES FOLLOW. PAUL THE HEAD WAITER Hurry up, boys, (in French) vite, vite! THE BEETLES HALT AS THEY HOLD PAUL THE HEAD WAITER. PAUL THE HEAD WAITER (in French) Bonjour! Bienvenue! Drinks for everyone!

275.03

SCENE 34 - MS - HALF MAN LOOKS FG. AS A CORPSE LOOKS ON. PAUL THE HEAD WAITER (off) Another pint, sir? HALF MAN SPLITS APART. HALF MAN Oh, no-no-no, just a half.

279.08

4-12 /266.02 268.14 2.12 PAUL THE HEAD WAITER TO BEETLES Hurry up, boys, vite, vite! (vite : French for 'quickly') (vite, vite! : to appear in

ITALICS) 4-13 269.02 275.02/ 6.00 PAUL THE HEAD WAITER TO GROUP Bonjour! Bienvenue! Drinks for

everyone! (Bonjour! Bienvenue! : French

for 'Hello! Welcome!' - to appear in ITALICS)

4-14 /275.06 277.02 1.12 PAUL THE HEAD WAITER TO HALF MAN Another pint, sir? (pint : common British liquid

measure – refers to a serving of ale or beer in a tavern)

4-15 277.06 279.07/ 2.01 HALF MAN TO PAUL THE HEAD WAITER Oh, no-no-no, just a half. (just a half : note double

meaning – [1] i.e., 'only give me a half-pint' and [2] humorous play on his being a man split in two halves)


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SCENE 35 - FS - PAUL THE HEAD WAITER ATOP THE BAR COUNTER AS HE LOOKS R. AND WHISTLES. PAUL THE HEAD WAITER (whistles)

281.13

SCENE 36 - FS - SEVERAL BEETLES LIFT A MUG, STEP L. AND EXIT.

284.09

SCENE 37 - FS - PAST A CORPSE, L.FG., TO THE BEETLES AND MUG, CRASHING AGAINST PAUL THE HEAD WAITER, WHO TOPPLES OVER ONTO THE BAR COUNTER. PAUL THE HEAD WAITER (grunts) A SKELETON ENTERS R.FG. PAUL THE HEAD WAITER It is impossible to get good help anymore! MRS. PLUM (off) (overlapping) Welcoming...

292.04

SCENE 38 - MFS - PAST DEAD MALE #1 AND DEAD MALE #2, FG., TO MRS. PLUM, STEPPING FG. AND SHE PUSHES THEM, EXITING R. AND L. MRS. PLUM ...Committee, coming through! Coming through! DEAD MALE #1 (face off) (overlapping) (grunts) DEAD MALE #2 (face off) (overlapping) (grunts) CAMERA DOLLIES BACK TO INCLUDE MAYHEW (TORSO), R.FG. AS MRS. PLUM STOPS AND GRASPS HIS HAND.

4-16 288.05 292.02/ 3.13 PAUL THE HEAD WAITER TO GROUP It is impossible to get good help

anymore! (get good help : colloquial for

'hire efficient servants and waiters')

(anymore : colloquial emphatic) (Note that this is a stereotypical

complaint of rich people about their servants)

4-17 /292.06 296.03 3.13 MRS. PLUM TO GROUP Welcoming Committee, coming through!

Coming through! (Welcoming Committee : Refers to

a group of people designated to welcome newcomers, as when someone moves into a community)

(coming through : note that Mrs. Plum pushes her way through the crowd)


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SCENE 38 - (CONTINUED) MRS. PLUM My name's Plum. Miss Plum. DEAD DENIZENS (off) (overlapping) (overlapping laughter and cries of "Whoa!" – continues under following scenes and dialogue)

302.01

SCENE 39 - MFS - VICTOR AND CORPSE BRIDE, SEATED AT THE PIANO AS HE LOOK AT O.S. MAYHEW. VICTOR Mayhew?

304.01

SCENE 40 - MFS - PAST MAYHEW, R.FG., TO MRS. PLUM, DROPPING HIS HAND.

305.14

SCENE 41 - MFS - VICTOR STRAIGHTENS AND STEPS R.FG. AS CORPSE BRIDE LOOKS ON, SEATED AT THE PIANO. VICTOR (face off) Mayhew! VICTOR EXITS R.FG.

307.15

SCENE 42 - MFS - A SKELETON STEPS R. AND EXITS AS MAYHEW TURNS AND LOOKS FG., REVEALING MAYHEW'S BLUE CORPSE FACE. VICTOR (off) How nice to see you--

309.15

SCENE 43 - MS - VICTOR REACTS. VICTOR (gasps)

311.06

4-18 296.07 301.15/ 5.08 MRS. PLUM TO MAYHEW My name's Plum. Miss Plum. (Note that she introduces herself

to Mayhew, the new arrival) (Miss : Note implication that

she wants Mayhew to know she is unmarried and therefore available as a romantic partner)

4-19 302.07 304.00/ 1.09 VICTOR TO HIMSELF Mayhew? 4-20 306.03 309.15/ 3.12 VICTOR TO MAYHEW (over scene end) Mayhew! How nice to see you-- (Note that Victor stops himself

when he realizes Mayhew has died, since he is now here in the Land of the Dead)


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SCENE 44 - MS - MAYHEW, LOOKING FG.

313.01

SCENE 45 - MS - VICTOR. VICTOR I'm so sorry. MAYHEW (off) Oh...

315.14

SCENE 46 - MS - MAYHEW. MRS. PLUM LOOKS ON, L.BG. MAYHEW ...yeah. Actually, I, uh, I feel great. (exhales) (sighs)

324.12

SCENE 47 - FS - SEVERAL BEETLES LIFT A BOTTLE OF POISON AND POUR IT INTO A MUG AS PAUL THE HEAD WAITER LOOKS ON, L. PAUL THE HEAD WAITER Hurry up, boys! Can you not see the gentleman is parched? SEVERAL BEETLES STEP R. ON THE BAR COUNTER, CARRYING THE MUG. CAMERA DOLLIES R. TO INCLUDE VICTOR (TORSO), R.

330.11

SCENE 48 - MS - PAST THE BAR COUNTER, L.FG., TO MAYHEW, TAKING THE MUG AS SEVERAL BEETLES ENTER L.FG., CARRYING IT. CAMERA TILTS UP ON MAYHEW, DRINKING FROM THE MUG. VICTOR (off) Mayhew, I have to get back.

336.09

4-21 /313.03 315.11/ 2.08 VICTOR TO MAYHEW I'm so sorry. (i.e., 'that you have died.') 4-22 /315.15 321.01 5.02 MAYHEW TO VICTOR Oh, yeah. Actually, I feel great. 4-23 /324.15 330.10/ 5.11 PAUL THE HEAD WAITER TO BEETLES Hurry up, boys! Can you not see the

gentleman is parched? (Can you not see : Colloquial

emphatic – I.e., 'Can't you observe that')

(the gentleman : refers to Mayhew)

(parched : colloquial for 'thirsty' – i.e., 'wanting alcohol to drink')

4-24 332.01 336.04 4.03 VICTOR TO MAYHEW Mayhew, I have to get back. (get back : i.e., 'return to the

Land of the Living')


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SCENE 49 - MS - VICTOR. VICTOR They all must be worried sick. How is everyone? MAYHEW (off) Well, (grunts)

342.00

SCENE 50 - MFS - VICTOR AND MAYHEW AT THE BAR COUNTER. SEVERAL SKELETONS DRINK IN L.BG. MAYHEW ...they're still wondering where you slipped off to. Oh, and, uh, Miss Victoria....

350.06

SCENE 51 - MS - PAST MAYHEW, R.FG., TO VICTOR. VICTOR Yes? Yes, how is she?

353.00

SCENE 52 - MS - PAST VICTOR, L.FG., TO MAYHEW, HOLDING THE MUG. MAYHEW Uh, well, (grunts) she's getting married this evening.

357.10

SCENE 53 - MS - PAST MAYHEW, R.FG., TO VICTOR. VICTOR What?! Married to who?

360.14

SCENE 54 - MFS - PAST VICTOR (TORSO), L.FG., TO MAYHEW. MAYHEW Some newcomer, Lord Somebody-or-other. A SKELETON ENTERS R.FG.

366.10

4-25 /336.11 341.05 4.10 VICTOR TO MAYHEW They all must be worried sick. How is

everyone? (They all : Refers to his

parents and the other humans) (worried sick : colloquial

emphatic for 'very worried about me')

4-26 /342.02 346.11 4.09 MAYHEW TO VICTOR Well, they're still wondering where you

slipped off to. (slipped off to : colloquial for

'went') 4-27 346.15 350.04/ 3.05 MAYHEW TO VICTOR Oh, and, Miss Victoria.... 4-28 /350.08 352.14/ 2.06 VICTOR TO MAYHEW Yes? Yes, how is she? 4-29 353.08 357.09/ 4.01 MAYHEW TO VICTOR Well, she's getting married this

evening. 4-30 /357.13 360.13/ 3.00 VICTOR TO MAYHEW What?! Married to who? 4-31 /361.01 366.08/ 5.07 MAYHEW TO VICTOR Some newcomer, Lord Somebody-or-other. (Lord...other : refers to Lord

Barkis) (Somebody-or-other : Colloquial

expression when one does not remember somebody's surname)


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SCENE 55 - MS - VICTOR REACTS AS THE SKELETON STEPS BG. VICTOR But that's impossible!

368.14

SCENE 56 - MFS - MAYHEW, HOLDING THE MUG. SOME SKELETONS MILL ABOUT, BG. MAYHEW Yeah, with you gone and all, uh.... I guess they didn't want to waste the cake. (chuckles)

378.12

SCENE 57 - MS - VICTOR. VICTOR (sighs) But how could she?

382.05

SCENE 58 - MFS - MAYHEW, LEANING AGAINST THE BAR COUNTER AS A DRUNKEN SKELETON EMBRACES HIS SHOULDER AND LIFTS A MUG. DRUNKEN SKELETON (slurring) Women, you can't live with them...

386.14

SCENE 59 - MCS - VICTOR. DRUNKEN SKELETON (off) ...you...

388.03

SCENE 60 - MFS - MAYHEW REACTS AS THE DRUNKEN SKELETON LOOKS ON, HOLDING THE MUG. DRUNKEN SKELETON ...can't live with-- (hiccups) THE DRUNKEN SKELETON FALLS, MOVING BG.

390.09

4-32 /366.12 368.13/ 2.01 VICTOR TO MAYHEW But that's impossible! 4-33 /369.01 376.07 7.06 MAYHEW TO VICTOR Yeah, with you gone and all.... I

guess they didn't want to waste the cake.

(and all : colloquial emphatic) (they...cake : humorously

implying that Victoria is marrying Lord Barkis in order not to waste the wedding cake made for her previously planned marriage to Victor)

4-34 380.12 382.04/ 1.08 VICTOR TO MAYHEW How could she? (I.e., 'How could she be capable

of marrying him?' – 'How could she have forgotten me so quickly?')

4-35 /382.08 386.13/ 4.05 DRUNKEN SKELETON TO VICTOR & MAYHEW Women, you can't live with them... (you...with : note colloquial

maxim 'you can't live with them, you can't live without them', conveying the frustration and confusion men experience in trying to understand and live with women)

4-36 /388.05 390.08/ 2.03 DRUNKEN SKELETON TO VICTOR & MAYHEW ...you can't live with--


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SCENE 61 - MCS - VICTOR REACTS AS THE O.S. DRUNKEN SKELETON FALLS ON THE FLOOR. DRUNKEN SKELETON (grunts)

392.11

SCENE 62 - MFS - MAYHEW REACTS. MAYHEW Time to...pick up the pieces and, uh, you know, move on, I suppose. DRUNKEN SKELETON (off) Oi!

402.09

SCENE 63 - MFS - HIGH ANGLE - PAST MAYHEW, TIPPED IN L.FG., TO THE DRUNKEN SKELETON, LYING IN PIECES ON THE FLOOR. DRUNKEN SKELETON Speaking of picking up the pieces?

406.00

SCENE 64 - MFS - VICTOR STEPS R. AND EXITS AS MAYHEW LOOKS ON, R.FG. A SKELETON AND PAUL THE HEAD WAITER LOOK ON, L.BG. DEAD DENIZENS (off) (laugh – continues under following scene)

410.14

SCENE 65 - MFS - CORPSE BRIDE, SEATED AT THE PIANO AS VICTOR (TORSO) CROSSES R. IN FG. CORPSE BRIDE Victor? VICTOR (TORSO) EXITS R. CORPSE BRIDE Where are you going?

416.13

4-37 393.07 400.13 7.06 MAYHEW TO Time to pick up the pieces and, you

know, move on, I suppose. (pick up the pieces : note

double meaning – [1] colloquial for 'recover emotionally and resume living one's life' and [2] literally, 'pick up your bones')

(move on : i.e., 'resume life') 4-38 401.04 405.14/ 4.10 DRUNKEN SKELETON TO VICTOR & MAYHEW (over scene end) Oi! Speaking of picking up the pieces? (Speaking of : Colloquial

emphatic exclamation when changing the subject to one that has just been mentioned)

(picking up the pieces : refers to picking up his bones)

(Note that the Drunken Skeleton falls and his bones scatter on the floor)

4-39 /411.00 415.14 4.14 CORPSE BRIDE TO VICTOR Victor? Where are you going? (Note that Victor runs out)


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SCENE 66 - INT. VICTORIA'S ROOM - DAY - MFS - A VEIL DROPS LOWER FRAME AND EXITS TO REVEAL VICTORIA, R.FG., WEARING A WEDDING GOWN AND LOOKING BG. AT A MIRROR, SHOWING VICTORIA AND HILDEGARDE'S REFLECTIONS. HILDEGARDE Miss Victoria, we must leave for the church now. HILDEGARDE ENTERS R.FG., STEPS L. AND STOPS IN L.FG. VICTORIA Yesterday, I thought my wedding would be happy. (sobs) Now I feel like I'm caught in the tide, pulled out to sea.

440.02

SCENE 67 - MS - HILDEGARDE. HILDEGARDE The sea leads to many places, dearie.

446.13

SCENE 68 - MCS - VICTORIA REACTS AS HILDEGARDE (HAND) GRASPS HER CHIN. HILDEGARDE (face off) Maybe you'll land somewhere better. HILDEGARDE (HAND) MOVES LOWER FRAME AND EXITS.

453.15

SCENE 69 - FS - ACROSS THE ROOM TO VICTORIA, LOOKING BG. AT THE MIRROR AS HILDEGARDE STEPS R. AND EXITS.

461.04

4-40 420.14 428.04 7.06 HILDEGARDE TO VICTORIA Miss Victoria, we must leave for the

church now. (i.e., 'for your wedding to Lord

Barkis') 4-41 428.08 433.11 5.03 VICTORIA TO HILDEGARDE Yesterday, I thought my wedding would

be happy. 4-42 434.04 440.00/ 5.12 VICTORIA TO HILDEGARDE Now I feel like I'm caught in the tide,

pulled out to sea. (caught...sea : note double

meaning – [1] colloquial for 'involved in events I cannot stop or control, which may harm me' and [2] literally, 'caught in an ebb tide and being pulled offshore into the ocean')

4-43 440.07 445.13 5.06 HILDEGARDE TO VICTORIA The sea leads to many places, dearie. (The sea...places : Note double

meaning – [1] Colloquial for 'There are many possible outcomes in life' and [2] Refers to the vastness of the ocean, and the uncertainty of tides and currents)

4-44 447.02 451.10 4.08 HILDEGARDE TO VICTORIA Maybe you'll land somewhere better. (land somewhere better : note

double meaning – [1] i.e., 'have a better life married to Lord Barkis than you would have married to Victor' and [2] i.e., 'wash ashore in a better location')


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MATCH DISSOLVE TO: SCENE 70 - INT. CHURCH - DAY - FS - ACROSS THE ROOM TO VICTORIA AND BARKIS, LOOKING BG. AS HE HOLDS A LIT CANDLE. PASTOR GALSWELLS LOOKS ON BEHIND AN ALTAR. BARKIS (face off) "With this candle, I will light your way in darkness. BARKIS LOWERS THE LIT CANDLE ONTO THE ALTAR.

468.10

SCENE 71 - MS - BARKIS LOOKS FG. OVER HIS SHOULDER. FINIS (off) (clears throat)

470.05

SCENE 72 - MS - FINIS, SEATED, HOLDING HIS POCKET WATCH AS HE GESTURES, INDICATING "HURRY UP". SEVERAL WEDDING GUESTS LOOK ON, SEATED IN THE PEWS, BG.

473.07

SCENE 73 - MS - BARKIS NODS, THEN LOOKS BG. AT O.S. PASTOR GALSWELLS.

476.08

SCENE 74 - MFS - PAST THE LIT CANDLE, R.FG., TO BARKIS AND VICTORIA. BARKIS "With this ring, I ask you to be mine." BARKIS LIFTS VICTORIA'S HAND AND PUTS A RING ON HER FINGER. CAMERA DOLLIES IN ON VICTORIA, CLOSING HER EYES AS BARKIS MOVES R. AND EXITS.

491.02

4-45 461.01 468.00 6.15 BARKIS TO VICTORIA "With this candle, I will light your

way in darkness. (Note that he repeats the wedding

vows from the first wedding – see title #1-130)

4-46 477.01 484.07 7.06 BARKIS TO VICTORIA With this ring, I ask you to be mine."


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SCENE 75 - MFS - PAST EMPTY PEWS, L.FG., AND A GROUP OF WEDDING GUESTS IN THE PEWS, R.FG., TO VICTORIA AND BARKIS BY PASTOR GALSWELLS, BG. CAMERA DOLLIES BACK. PASTOR GALSWELLS I now pronounce you man and wife. HILDEGARDE (off) (sobs) CAMERA CONTINUES TO DOLLY BACK ON HILDEGARDE, SEATED ON A PEW, WEEPING AS SHE HOLDS A HANDKERCHIEF. HILDEGARDE Oh, oh, dear. (blows nose)

505.11

SCENE 76 - EXT. LAND OF THE DEAD ALLEY - NIGHT - FS - PAST ROWS OF COFFINS, FG., AND THROUGH THE ALLEYWAY TO VICTOR, SEATED INSIDE AN UPRIGHT COFFIN, HOLDING THE SPRIG OF JASMINE. THE PUB KITCHEN IS BEHIND HIM. CAMERA DOLLIES IN AND HOLDS WITH A COFFIN IN R.FG. VICTOR (sighs)

521.05

SCENE 77 - MS - VICTOR, HOLDING THE SPRIG OF JASMINE. VICTOR I'm too late.

529.12

SCENE 78 - MCS - VICTOR (HAND) DROPS THE SPRIG OF JASMINE, EXITING LOWER FRAME.

532.06

SCENE 79 - MFS - THE SPRIG OF JASMINE FALLS ONTO THE ALLEY.

534.08

4-47 /491.05 497.08 6.03 PASTOR GALSWELLS TO BARKIS & VICTORIA I now pronounce you man and wife. (Note that this is the conclusion

of the official wedding service) (pronounce you : i.e., 'declare

you to be') (man and wife : i.e.,

'officially married') 4-48 499.01 502.04 3.03 HILDEGARDE TO HERSELF Oh, oh, dear. 4-49 526.00 528.09 2.09 VICTOR TO HIMSELF I'm too late. (Refers to stopping Victoria's

marriage to Lord Barkis, which is now complete)


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SCENE 80 - MFS - VICTOR, SEATED, REACTING. CORPSE BRIDE (off) Oh, Mrs. Plum, what am I to do? He just walked off... VICTOR STRAIGHTENS. CORPSE BRIDE (off) ...without...

541.13

SCENE 81 - INT. LAND OF THE DEAD PUB/KITCHEN - NIGHT - MS - THROUGH THE CRACKED DOORWAY TO VICTOR, OPENING THE DOOR. CORPSE BRIDE (off) ...saying a word. Are all men like...

545.10

SCENE 82 - FS - ACROSS THE ROOM TO MRS. PLUM, CLEANING A FORK AS CORPSE BRIDE LOOKS ON, R. KITCHEN STAFF KNIVES COOKS AT A POT, BG. CAMERA DOLLIES IN. CORPSE BRIDE ...this? MRS. PLUM Well, I'm afraid none of them are very bright. They get...

550.13

SCENE 83 - MFS - PAST MRS. PLUM, L.FG., TO KITCHEN STAFF KNIVES . MRS. PLUM ...something stuck in their heads and you can't do a thing with them. MRS. PLUM GRABS A KNIFE AND PULLS IT OUT OF KITCHEN STAFF KNIVES' HEAD. KITCHEN STAFF KNIVES (groans)

4-50 535.05 539.02 3.13 CORPSE BRIDE TO MRS. PLUM Mrs. Plum, what am I to do? (what...do : i.e., 'what can I

do' – refers to Victor) 4-51 539.06 545.09/ 6.03 CORPSE BRIDE TO MRS. PLUM (over scene end) He just walked off without saying a

word. Are all men like this? (walked off : i.e., 'went away'

– 'left') 4-52 /545.13 550.11/ 4.14 MRS. PLUM TO CORPSE BRIDE Well, I'm afraid none of them are very

bright. (bright : i.e., 'intelligent' –

'smart') 4-53 /550.15 556.09 5.10 MRS. PLUM TO CORPSE BRIDE They get something stuck in their heads

and you can't do a thing with them. (get...heads : colloquial for

'get an idea' – 'become determined to do something')

(you...them : colloquial for 'women cannot dissuade them')


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SCENE 83 - (CONTINUED) KITCHEN STAFF KNIVES STEPS R. AND EXITS AS MRS. PLUM CLEANS THE KNIFE WITH A RAG.

558.10

SCENE 84 - MFS - PAST CORPSE BRIDE, L.FG., TO ELDER GUTKNECHT, STEPPING THROUGH THE KITCHEN DOORWAY, HOLDING THE OPEN RED BOOK WITH MAGGOT ON ONE OF THE PAGES. KITCHEN STAFF KNIVES AND MRS. PLUM WALK IN L.BG. ELDER GUTKNECHT My dear, we have to talk. MAGGOT L-Let me tell her...

563.14

SCENE 85 - MFS - MAGGOT, SITTING ON A PAGE. MAGGOT ...please. L-Let me tell her. (laughs)

568.01

SCENE 86 - MS - CORPSE BRIDE. CORPSE BRIDE What?

569.05

SCENE 87 - MCS - ELDER GUTKNECHT. 1 ELDER GUTKNECHT There is a complication with your marriage.

574.02

SCENE 88 - MS - CORPSE BRIDE. CORPSE BRIDE I don't understand.

577.02

4-54 /558.12 562.06 3.10 ELDER GUTKNECHT TO CORPSE BRIDE My dear, we have to talk. (Implying that he has some

important information for Corpse Bride about her marriage to Victor)

4-55 562.10 567.07 4.13 MAGGOT TO ELDER GUTKNECHT (over scene end) Let me tell her, please. Let me tell

her. 4-56 /568.02 569.05/ 1.03 CORPSE BRIDE TO ELDER GUTKNECHT & MAGGOT What? 4-57 /569.09 574.00/ 4.07 ELDER GUTKNECHT TO CORPSE BRIDE There is a complication with your

marriage. 4-58 574.12 577.01/ 2.05 CORPSE BRIDE TO ELDER GUTKNECHT I don't understand.


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SCENE 89 - MCS - ELDER GUTKNECHT. ELDER GUTKNECHT The vows are binding only until death do you part.

584.01

SCENE 90 - MS - CORPSE BRIDE. CORPSE BRIDE What are you saying?

586.09

SCENE 91 - MCS - ELDER GUTKNECHT. ELDER GUTKNECHT Death has already parted you.

591.12

SCENE 92 - MS - CORPSE BRIDE REACTS. CORPSE BRIDE (gasps) If he finds out, he'll leave! There must be something you can do.

599.10

SCENE 93 - MFS - PAST CORPSE BRIDE (TORSO), L.FG., TO ELDER GUTKNECHT BY THE OPEN BOOK ON THE TABLE AS MAGGOT LOOKS ON FROM A PAGE. ELDER GUTKNECHT Well, there is one way. MAGGOT (overlapping) Oh...

604.01

SCENE 94 - FS - MAGGOT UNDER PAGES OF THE RED BOOK. MAGGOT ...please, please, let me tell her.

607.02

4-59 /577.05 584.00/ 6.11 ELDER GUTKNECHT TO CORPSE BRIDE The vows are binding only until death

do you part. (until...part : see title #3-

213) 4-60 /584.04 586.08/ 2.04 CORPSE BRIDE TO ELDER GUTKNECHT What are you saying? 4-61 587.08 591.11/ 4.03 ELDER GUTKNECHT TO CORPSE BRIDE Death has already parted you. (I.e., 'You are already dead.') 4-62 593.07 596.03 2.12 CORPSE BRIDE TO HERSELF If he finds out, he'll leave! (I.e., 'If Victor learns that our

marriage is not binding, he will abandon me and leave the Land of the Dead!')

4-63 596.07 599.09/ 3.02 CORPSE BRIDE TO ELDER GUTKNECHT There must be something you can do. (i.e., 'to remedy this situation') 4-64 600.01 603.14/ 3.13 ELDER GUTKNECHT TO CORPSE BRIDE Well, there is one way. 4-65 /604.02 607.01/ 2.15 MAGGOT TO ELDER GUTKNECHT Oh, please, please, let me tell her.


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SCENE 95 - MCS - ELDER GUTKNECHT. ELDER GUTKNECHT It requires the greatest sacrifice. MAGGOT (off) (overlapping) (chuckles)

611.15

SCENE 96 - MCS - CORPSE BRIDE REACTS. MAGGOT (off) Go on...

613.11

SCENE 97 - FS - MAGGOT UNDER PAGES OF THE RED BOOK. MAGGOT ...get to the good part!

616.04

SCENE 98 - MS - CORPSE BRIDE. CORPSE BRIDE What is it? MAGGOT (off) (overlapping) (laughs)

617.14

SCENE 99 - FS - MAGGOT UNDER PAGES OF THE RED BOOK. MAGGOT We have to kill him!

620.13

SCENE 100 - MS - CORPSE BRIDE. CORPSE BRIDE What?!

622.03

4-66 607.08 611.14/ 4.06 ELDER GUTKNECHT TO CORPSE BRIDE It requires the greatest sacrifice. 4-67 612.13 616.03/ 3.06 MAGGOT TO ELDER GUTKNECHT (over scene end) Go on, get to the good part! (Go on : Colloquial exclamation

of encouragement to continue) (get to : slang for 'tell her') (the good part : i.e., 'the

details' – 'the interesting part') 4-68 /616.07 617.13/ 1.06 CORPSE BRIDE TO MAGGOT What is it? 4-69 /618.01 620.12/ 2.11 MAGGOT TO CORPSE BRIDE We have to kill him! 4-70 /621.00 622.03/ 1.03 CORPSE BRIDE TO MAGGOT What?!


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SCENE 101 - MCS - THROUGH THE CRACKED DOORWAY TO VICTOR, REACTING. VICTOR (gasps) ELDER GUTKNECHT (off) Victor would have...

624.08

SCENE 102 - MFS - PAST CORPSE BRIDE (TORSO), L.FG., TO ELDER GUTKNECHT BY THE OPEN BOOK ON THE TABLE AS MAGGOT LOOKS ON FROM A PAGE. ELDER GUTKNECHT ...to give up the life he had forever. ELDER GUTKNECHT TURNS PAGES IN THE RED BOOK. ELDER GUTKNECHT He would need to repeat his vows in the Land of the Living and...

635.14

SCENE 103 - FS - THE PAGE MOVES L. AND EXITS TO REVEAL MAGGOT, CRAWLING ON A PAGE WITH A DRAWING OF A POISON BOTTLE ON IT. ELDER GUTKNECHT (off) ...drink from the Wine of Ages. MAGGOT (overlapping) (pants) (laughs)

641.01

4-71 622.15 629.02 6.03 ELDER GUTKNECHT TO CORPSE BRIDE (over scene end) Victor would have to give up the life

he had forever. (give...forever : i.e., 'become

dead') 4-72 630.03 635.11/ 5.08 ELDER GUTKNECHT TO CORPSE BRIDE He would need to repeat his vows in the

Land of the Living... 4-73 /635.15 641.00/ 5.01 ELDER GUTKNECHT TO CORPSE BRIDE ...and drink from the Wine of Ages. (the Wine of Ages : in the Land

of the Dead, refers to a powerful potion that is poison)


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SCENE 104 - MFS - PAST AN ARCHWAY, L.FG., TO CORPSE BRIDE, REACTING. ELDER GUTKNECHT LOOKS ON BEHIND THE TABLE, BG. CORPSE BRIDE (gasps) Poison! ELDER GUTKNECHT STEPS FG. ELDER GUTKNECHT This would stop his heart forever. Only then would he be free to give it to you.

654.07

SCENE 105 - MCS - THROUGH THE CRACKED DOORWAY TO VICTOR, REACTING AS HE STEPS BACKWARD, MOVING BG. VICTOR (gasps)

658.06

SCENE 106 - MFS - PAST THE RED BOOK ON THE TABLE, R.FG., TO ELDER GUTKNECHT AND CORPSE BRIDE. CORPSE BRIDE I could never ask him. CORPSE BRIDE KNEELS. VICTOR ENTERS L.FG. VICTOR (face off) You don't...

666.15

SCENE 107 - MS - CORPSE BRIDE, KNEELING. VICTOR (off) ...have to. CORPSE BRIDE (gasps)

669.05

4-74 642.02 644.06 2.04 CORPSE BRIDE TO ELDER GUTKNECHT Poison! 4-75 644.10 649.02 4.08 ELDER GUTKNECHT TO CORPSE BRIDE This would stop his heart forever. (stop...forever : note double

meaning – [1] i.e., 'kill him' and [2] i.e., 'stop his loving any other woman')

4-76 649.06 654.06/ 5.00 ELDER GUTKNECHT TO CORPSE BRIDE Only then would he be free to give it

to you. (give it to you : i.e., 'give

his heart to you' – 'love and remain willingly married to you')

4-77 658.15 662.12 3.13 CORPSE BRIDE TO ELDER GUTKNECHT I could never ask him. (ask him : i.e., 'expect him to

be willing to die for me') 4-78 /667.00 669.04/ 2.04 VICTOR TO CORPSE BRIDE You don't have to. (Note that Victor has been

eavesdropping)


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SCENE 108 - MFS - PAST CORPSE BRIDE, R.FG., TO VICTOR, STEPPING FG. AND STOPPING AS ELDER GUTKNECHT LOOKS ON, L.BG. VICTOR I'll do it.

675.00

SCENE 109 - MS - PAST VICTOR (TORSO), R.FG., TO ELDER GUTKNECHT. ELDER GUTKNECHT My boy, if you choose this path, you may never return to the world above. Do you understand?

687.03

SCENE 110 - MFS - PAST ELDER GUTKNECHT, R.FG., TO VICTOR, GRASPING CORPSE BRIDE'S HAND AS CORPSE BRIDE LOOKS ON, KNEELING L. VICTOR (sighs) VICTOR LIFTS CORPSE BRIDE, WHO STRAIGHTENS. VICTOR I do.

695.07

SCENE 111 - EXT. LAND OF THE DEAD SQUARE - NIGHT - MFS - PAST A GROUP OF DEAD DENIZENS, FG., TO VICTOR AND CORPSE BRIDE ATOP THE STATUE BASE. DEAD DENIZENS (face off) (low and indistinct chatter - continues under following scenes and dialogue) VICTOR Gather 'round. Gather 'round, everybody.

700.02

4-79 673.05 674.15/ 1.10 VICTOR TO CORPSE BRIDE I'll do it. (I.e., 'I will drink the Wine of

Ages.') 4-80 675.10 679.14 4.04 ELDER GUTKNECHT TO VICTOR My boy, if you choose this path... (My boy : Colloquial term of

address to a younger man) (choose this path : colloquial

for 'choose this course of action')

4-81 680.02 684.07 4.05 ELDER GUTKNECHT TO VICTOR ...you may never return to the world

above. (the world above : refers to the

Land of the Living – 'resume your normal life' – 'stay alive')

4-82 684.11 687.02/ 2.07 ELDER GUTKNECHT TO VICTOR Do you understand? 4-83 692.05 694.02 1.13 VICTOR TO ELDER GUTKNECHT I do. 4-84 /695.09 700.01/ 4.08 VICTOR TO GROUP Gather 'round. Gather 'round,

everybody. ('round : around) (Note that he addresses the

creatures in the Land of the Dead)


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SCENE 112 - MS - PAST SKELETON BOY, R.FG., TO SKELETON GIRL. SKELETON BOY LOOKS R.FG. SKELETON BOY Huh?

702.02

SCENE 113 - MFS - DEAD CANNONBALL GENERAL, LOOKING FG. AS GENERAL BONESAPART LOOKS ON BEHIND HIM AND MOVES R. SEVERAL DEAD DENIZENS LOOK ON, BG. GENERAL BONESAPART (grunts)

704.13

SCENE 114 - MFS - KITCHEN STAFF MAGGOT, LOOKING R. AS KITCHEN STAFF KNIVES STEPS L.FG. AND STOPS WITH HIS EYEBALL DANGLING FROM HIS OPTIC NERVE. VICTOR (off) We decided to...

707.04

SCENE 115 - MFS - PAST VICTOR, R.FG., AND CORPSE BRIDE, L.FG., TO THE GROUP OF DEAD DENIZENS. VICTOR (face off) ...do this thing properly. So grab what you can...

711.09

SCENE 116 - MFS - LOW ANGLE - LOOKING UP AT VICTOR WITH CORPSE BRIDE SEATED ON THE HORSE STATUE SKELETON. VICTOR ...and follow us. We're moving this wedding party upstairs.

717.09

4-85 705.11 709.09 3.14 VICTOR TO GROUP (over scene end) We decided to do this thing properly. (We : Refers to himself and

Corpse Bride) (do this thing properly : i.e.,

'become properly married') 4-86 709.13 713.05 3.08 VICTOR TO GROUP (over scene end) So grab what you can and follow us. (grab : i.e., 'bring' – 'take') 4-87 713.09 717.09/ 4.00 VICTOR TO GROUP We're moving this wedding party

upstairs. (upstairs : note double meaning

– [1] refers to the Land of the Living, and [2] i.e., 'to the upstairs floor in the house')


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SCENE 117 - MFS - FEMALE ZOMBIE PIGEON AS A FEMALE ZOMBIE FLOWERS LOOKS ON. FEMALE ZOMBIE PIGEON Upstairs?

719.14

SCENE 118 - MCS - A CORPSE REACTS. FEMALE ZOMBIE PIGEON (off) I didn't know we had an...

721.13

SCENE 119 - MFS - FEMALE ZOMBIE PIGEON AND FEMALE ZOMBIE FLOWERS. FEMALE ZOMBIE PIGEON ...upstairs. FEMALE ZOMBIE FLOWERS APPLAUDS. FEMALE ZOMBIE FLOWERS Woo-hoo!

724.01

SCENE 120 - FS - SKELETON BOY AND SKELETON GIRL AS SKELETAL SCRAPS LOOKS ON. SKELETON BOY Sounds creepy. SKELETON GIRL Let's go! SKELETON GIRL RUNS L. AND EXITS AS SKELETON BOY AND SKELETAL SCRAPS FOLLOW.

728.02

4-88 /717.13 721.13/ 4.00 FEMALE ZOMBIE PIGEON TO GROUP (over scene end) Upstairs? I didn't know we had an

upstairs. 4-89 /724.02 725.10 1.08 SKELETON BOY TO SKELETON GIRL Sounds creepy. (creepy : colloquial for

'repulsive' – 'fearful') 4-90 725.14 727.13 1.15 SKELETON GIRL TO SKELETON BOY Let's go!


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SCENE 121 - MFS - HALF MAN STEPS FG. AND SPLITS APART AS THE GROUP OF DEAD DENIZENS MILL ABOUT AND BEGIN TO EXIT FG. VICTOR AND CORPSE BRIDE LOOK ON ATOP THE STATUE BASE, BG. GROUP CHORUS (singing) 'Wedding, a wedding, we're going to have a wedding HALF MAN EXITS FG. AS A SKELETON ON A UNICYCLE FOLLOWS AND EXITS L.FG. VICTOR LEAPS DOWN FROM THE STATUE.

734.07

SCENE 122 - MS - VICTOR LEAPS DOWN, STRAIGHTENS AND STEPS R.FG. GROUP CHORUS (off) (singing) 'A wedding, a wedding, we're going to have a wedding BLACK WIDOW SPIDER ENTERS UPPER FRAME, DANGLING FROM A STRAND OF WEB. BLACK WIDOW SPIDER (overlapping) Hold on, Victor. VICTOR STOPS.

740.10

SCENE 123 - MFS - BLACK WIDOW SPIDER, DANGLING FROM HER O.S. WEB. BLACK WIDOW SPIDER You can't-- You can't get married looking like that. BLACK WIDOW SPIDER WHISTLES.

745.11

4-91 728.10 734.05/ 5.11 GROUP CHORUS (singing) ITAL Wedding, a wedding, we're going to have

a wedding 4-92 737.07 739.13 2.06 BLACK WIDOW SPIDER TO VICTOR Hold on, Victor. (Hold on : Colloquial for

'Wait') 4-93 /740.12 745.09/ 4.13 BLACK WIDOW SPIDER TO VICTOR You can't get married looking like

that. (like that : refers to his

disheveled appearance)


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SCENE 124 - MFS - VICTOR, REACTING AS SEVERAL BLACK WIDOW SPIDERS ENTER UPPER FRAME, DESCENDING ON THEIR WEBS. SPIDER CHORUS (singing) 'The spiders think you’re very cute, But goodness knows you need a suit VICTOR (overlapping) (gasps) VICTOR EXTENDS HIS ARMS AS THE BLACK WIDOW SPIDERS MOVE ONTO THEM.

750.14

SCENE 125 - MCS - VICTOR (ARM) AS THREE BLACK WIDOW SPIDERS ENTER L., CRAWL R. AND EXIT. SPIDER CHORUS (singing) 'But have no fears, we’re quite adept, We’ll have you looking Lovely, lovely, lovely...

756.15

SCENE 126 - MFS - VICTOR, FIDGETING AS THE BLACK WIDOW SPIDERS CRAWL ABOUT HIS SUIT. SPIDER CHORUS (singing) ...lovely, lovely, lovely, lovely, lovely yet VICTOR (overlapping) (laughs – continues under following scenes and dialogue)

760.12

4-94 /745.13 750.13/ 5.00 SPIDER CHORUS (singing) ITAL The spiders think you’re very cute, but

goodness knows you need a suit (cute : rhymes with 'suit') (suit : men's suit of clothes) 4-95 /751.01 756.15/ 5.14 SPIDER CHORUS (singing) ITAL But have no fears, we’re quite adept,

we’ll have you looking Lovely, lovely (have no fears : colloquial for

'don't worry') (adept : rhymes with 'yet') 4-96 /757.03 760.11/ 3.08 SPIDER CHORUS (singing) ITAL Lovely, lovely, lovely, lovely, lovely

yet


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SCENE 127 - MS - VICTOR (ARM) AS TWO BLACK WIDOW SPIDERS SEW A TEAR ON THE SLEEVE. A BLACK WIDOW SPIDER STEPS R. CAMERA PANS R. ON VICTOR, REACTING AS THE BLACK WIDOW SPIDER STOPS AND ASSISTS A SECOND BLACK WIDOW SPIDER, SEWING THE SLEEVE, R. SPIDER CHORUS (singing) 'A little stitch, a little tuck, Some tender loving care A little thread will fix you up and we’ve got plenty as you see

771.11

SCENE 128 - MCS - BLACK WIDOW SPIDER, PASSING A THREAD. SPIDER CHORUS (singing) 'And personally guarantee our quality repairs

777.00

SCENE 129 - FS - THREE BLACK WIDOW SPIDERS, RISING AND CROUCHING ON VICTOR'S ARM. SPIDER CHORUS (singing) 'A little here, to fix the mess We’re...

779.12

SCENE 130 - MFS - THREE DANGLING BLACK WIDOW SPIDERS, PULLING A THREAD. SPIDER CHORUS (singing) '...going to do our...

781.03

SCENE 131 - CS - THE TEAR OF VICTOR'S SUIT JACKET CLOSES. SPIDER CHORUS (off) (singing) '...very best When...

782.06

4-97 762.01 766.11 4.10 SPIDER CHORUS (singing) ITAL A little stitch, a little tuck, some

tender loving care (little stitch; little tuck;

little thread : refers to sewing clothes by stitching, tucking the fabric and sewing with thread)

(tender loving care : colloquial emphatic – note that 'care' rhymes with 'repairs')

4-98 766.15 771.11/ 4.12 SPIDER CHORUS (singing) ITAL A little thread will fix you up and

we’ve got plenty as you see (fix you up : colloquial for

'make you a nice suit of clothes' – 'have you looking well-dressed')

(as you see : colloquial emphatic – note that 'see' rhymes with 'guarantee')

4-99 /771.15 776.15/ 5.00 SPIDER CHORUS (singing) ITAL And personally guarantee our quality

repairs 4-100 /777.03 779.08/ 2.05 SPIDER CHORUS (singing) ITAL A little here, to fix the mess (the mess : refers to his messy

appearance – rhymes with 'best') 4-101 /779.12 782.06/ 2.10 SPIDER CHORUS (singing) ITAL (over scene end) We’re going to do our very best


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SCENE 132 - MCS - A BLACK WIDOW SPIDER BITES THE THREAD, SEVERING IT IN HALF. SPIDER CHORUS (off) (singing) ...everybody sees...

783.11

SCENE 133 - MS - VICTOR, SPINNING IN A CIRCLE AS THE BLACK WIDOW SPIDERS MOVE UPPER FRAME AND EXIT. SPIDER CHORUS (singing) ...you they will all be quite impressed VICTOR LOOKS AT HIS FIXED SUIT AS CAMERA DOLLIES BACK INTO MFS TO INCLUDE SCISSORHEAD AND MALE ZOMBIE VINES, R.FG. AND L.FG. SPIDER CHORUS (singing) 'They will all be quite impressed SCISSORHEAD & MALE ZOMBIE VINES (singing) 'A wedding, we're going to have...

795.07

SCENE 134 - INT. LAND OF THE DEAD PUB/KITCHEN - NIGHT - MS - MRS. PLUM, HOLDING A DRAWING OF A WEDDING CAKE. SCISSORHEAD & MALE ZOMBIE VINES (off) (singing) ...a MRS. PLUM (singing) 'A wedding cake is no mistake...

797.15

4-102 /782.10 787.01 4.07 SPIDER CHORUS (singing) ITAL (over scene end) When everybody sees you they will all

be quite impressed 4-103 787.05 792.10 5.05 SPIDER CHORUS (singing) ITAL They will all be quite impressed 4-104 793.00 795.06/ 2.06 SCISSORHEAD & MALE ZOMBIE VINES ITAL (singing) A wedding, we're going to have a 4-105 /795.10 800.02 4.08 MRS. PLUM (singing) ITAL (over scene end) A wedding cake is no mistake, it must

be quite sublime (cake : rhymes with 'mistake') (no mistake : i.e., 'necessary

at a wedding') (sublime : rhymes with 'time')


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SCENE 135 - MFS - LOW ANGLE - PAST A POST, FG., TO MRS. PLUM, STIRRING IT WITH A LADLE AS KITCHEN STAFF KNIVES AND KITCHEN STAFF MAGGOT LOOK ON. MRS. PLUM (singing) '...it must be quite sublime KITCHEN STAFF MAGGOT (singing) 'We're missing something KITCHEN STAFF KNIVES LIFTS A JUG AND POURS DUST INTO THE POT. KITCHEN STAFF KNIVES (singing) 'Try some dust MRS. PLUM (singing) 'I wish I had more time

805.07

SCENE 136 - MFS - PAST THE LIP OF THE POT, FG., TO KITCHEN STAFF MAGGOT AND KITCHEN STAFF KNIVES. KITCHEN STAFF MAGGOT (singing) 'Perhaps there's something I can do These bones might help a bit KITCHEN STAFF MAGGOT LIFTS SOME BONES, HITTING KITCHEN STAFF KNIVES' BACK AND CAUSING KITCHEN STAFF KNIVES' NOSE TO FALL OFF. KITCHEN STAFF KNIVES (grunts)

810.01

SCENE 137 - MS - LOOKING DOWN AT KITCHEN STAFF KNIVES' NOSE IN THE CAKE BATTER AS A SPOON ENTERS L., LIFTING THE NOSE OUT. KITCHEN STAFF KNIVES (off) (grunting) Oh, my nose.

811.15

4-106 800.06 803.00 2.10 KITCHEN STAFF MAGGOT, THEN KITCHEN ITAL STAFF KNIVES (singing) -We're missing something -Try some dust (missing something : i.e.,

'omitting some important ingredient')

(some dust : i.e., 'putting some dust into the cake')

4-107 803.04 805.06/ 2.02 MRS. PLUM (singing) ITAL I wish I had more time 4-108 /805.10 810.00/ 4.06 KITCHEN STAFF MAGGOT (singing) ITAL Perhaps there's something I can do

These bones might help a bit 4-109 /810.04 813.00/ 2.12 KITCHEN STAFF KNIVES TO KITCHEN STAFF (over scene end) MAGGOT, THEN KITCHEN STAFF MAGGOT TO KITCHEN STAFF KNIVES -Oh, my nose. -Sorry. (Note that his nose falls off)


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SCENE 138 - MS - PAST THE LIP OF THE POT, FG., TO KITCHEN STAFF MAGGOT AND KITCHEN STAFF KNIVES. KITCHEN STAFF MAGGOT Sorry.

813.01

SCENE 139 - MS - MRS. PLUM, HOLDING THE SPOON WITH KITCHEN STAFF KNIVES' NOSE ON IT. MRS. PLUM Wait a minute, that's it! Voi-...

815.03

SCENE 140 - MS - PAST THE LIP OF THE POT, FG., TO KITCHEN STAFF MAGGOT AND KITCHEN STAFF KNIVES. MRS. PLUM (off) ...-là! KITCHEN STAFF KNIVES (singing) 'A little of that KITCHEN STAFF MAGGOT (singing) 'A little of this

817.09

SCENE 141 - MFS - PAST THE LIP OF THE POT, FG., TO MRS. PLUM, KITCHEN STAFF MAGGOT AND KITCHEN STAFF KNIVES. MRS. PLUM, KITCHEN STAFF MAGGOT & KITCHEN STAFF KNIVES (singing) 'The perfect cake is hard to miss A wedding, a wedding, we're going to have KITCHEN STAFF KNIVES (singing) 'A wedding

826.04

4-110 /813.04 815.11 2.07 MRS. PLUM TO (singing) ITAL (over scene end) Wait a minute, that's it! Voilà! (minute : rhymes with 'it') (that's it : colloquial

exclamation of approval) (Voilà : French for 'There!' –

Exclamation of satisfaction - to appear in REGULAR TYPEFACE)

4-111 815.15 817.09/ 1.10 KITCHEN STAFF KNIVES, THEN KITCHEN ITAL STAFF MAGGOT (SINGING) -A little of that -A little of this (Refers to ingredients in a cake) (this : rhymes with 'miss') 4-112 /817.13 823.13 6.00 GROUP (singing) ITAL The perfect cake is hard to miss A wedding, a wedding, we're going to

have 4-113 824.01 826.03/ 2.02 KITCHEN STAFF #1 (singing) ITAL A wedding'


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SCENE 142 - EXT. LAND OF THE DEAD SQUARE - NIGHT - MFS - LOOKING UP AT DEAD CANNONBALL GENERAL, SEATED ON THE HORSE STATUE SKELETON, HOLDING A SWORD. SOLDIER CHORUS (overlapping) (singing) 'Huzzah...

827.09

SCENE 143 - MS - DEAD CANNONBALL GENERAL, HOLDING HIS SWORD. SOLDIER CHORUS (singing) ...huzzah...

828.15

SCENE 144 - MFS - ACROSS THE WALKWAY TO GENERAL BONESAPART, MARCHING R. AS SEVERAL SKELETONS FOLLOW. GENERAL BONESAPART EXITS R. SOLDIER CHORUS (singing) '...we're going to have a wedding Hooray, a wedding, hooray

833.01

SCENE 145 - FS - PAST DEAD CANNONBALL GENERAL, L.FG., TO GENERAL BONESAPART AND THE SKELETONS, DANCING ON THE SQUARE. SOLDIER CHORUS (singing) 'Let's all give out a cheer 'cause the bride is getting married Today

843.05

SCENE 146 - MS - SEVERAL SKELETONS (ARMS), LIFTING TWO SWORDS, AN UMBRELLA, A SHOVEL, AND AN OAR. GROUP CHORUS (off) (singing) (overlapping) 'Hooray

844.05

4-114 /826.07 828.14/ 2.07 SOLDIER CHORUS (singing) ITAL (over scene end) Huzzah, huzzah (Huzzah : Variation of 'Hooray') 4-115 /829.02 832.15/ 3.13 SOLDIER CHORUS (singing) ITAL We're going to have a wedding, a

wedding 4-116 /833.03 840.09 7.06 SOLDIER CHORUS (singing) ITAL Let's all give out a cheer 'cause the

bride is getting married Today


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SCENE 147 - MFS - PAST DEAD CANNONBALL GENERAL, L.FG., TO A ROW OF SKELETONS, MARCHING R. SOLDIER CHORUS (singing) 'One thing you can surely say is we will stand beside

848.15

SCENE 148 - MS - SEVERAL SKELETONS, SEATED IN A BOAT AS THEY ROW OARS. VICTOR LOOKS ON. CAMERA ZOOMS OUT TO REVEAL GENERAL BONESAPART AT THE BOW. SOLDIER CHORUS (singing) 'Until the end we will defend our one and only bride

853.09

SCENE 149 - MFS - DEAD CANNONBALL GENERAL AS A SKELETON SOLDIER LOOKS ON, L.BG. SOLDIER CHORUS (singing) 'Our bride-to-be...

855.02

SCENE 150 - MS - GENERAL BONESAPART, HOLDING A SWORD AS SEVERAL SKELETON SOLDIERS LOOK ON, BG. SOLDIER CHORUS (singing) 'Our bride-to-be...

856.03

SCENE 151 - MFS - VICTOR REACTS AS GENERAL BONESAPART AND DEAD CANNONBALL GENERAL STEP TOWARD HIM AND STOP. SOLDIER CHORUS (singing) 'Our lovely Corpse Bride SOLDIER CHORUS (singing) 'Huzzah!

859.08

4-117 /844.06 848.14/ 4.08 SOLDIER CHORUS (singing) ITAL One thing you can surely say is we will

stand beside (stand beside : i.e., 'give our

support to the Corpse Bride' – 'participate in the Corpse Bride's wedding' – note that 'beside' rhymes with 'bride')

4-118 /849.02 853.08/ 4.06 SOLDIER CHORUS (singing) ITAL Until the end we will defend our one

and only bride (Until the end : Colloquial for

'Forever' – 'Always' – note that 'end' rhymes with 'defend')

(one and only : colloquial emphatic)

4-119 /853.12 858.07 4.11 SOLDIER CHORUS (singing) ITAL (over scene ends) Our bride-to-be, Our bride-to-be, Our

lovely Corpse Bride (bride-to-be : see title #3-158)


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SCENE 152 - MFS - THREE SKELETON SOLDIERS, CHEERING. SOLDIER CHORUS (singing) 'Hooray!

860.08

SCENE 153 - MS - A SKELETON SOLDIER, CHEERING. SOLDIER CHORUS (singing) 'Huzzah!

861.09

SCENE 154 - MFS - VICTOR REACTS BY GENERAL BONESAPART AND DEAD CANNONBALL GENERAL. TWO SKELETONS LOOK ON, BG. SOLDIER CHORUS (singing) 'Hooray! Our bride is getting married today

867.06

SCENE 155 - MS - PAST GENERAL BONESAPART, L.FG., TO A SKELETON, LOOKING R. SKELETON Oh, there she is. GROUP (overlapping) (overlapping exclamations of "Here she comes!", and exclamations of awe - continues under following scenes and dialogue)

871.06

SCENE 156 - MFS - VICTOR, DEAD CANNONBALL GENERAL AND GENERAL BONESAPART LOOK R. AS TWO SKELETONS LOOK ON. FEMALE ZOMBIE PIGEON AND FEMALE ZOMBIE FLOWERS ENTER L., CROSSING R. IN FG.

875.07

4-120 858.11 861.09/ 2.14 SOLDIER CHORUS (singing) ITAL (over scene ends) Huzzah! Hooray! Huzzah! Hooray! 4-121 /861.13 867.00 5.03 SOLDIER CHORUS (singing) ITAL Our bride is getting married today (Hooray : Rhymes with 'today') 4-122 868.12 871.05/ 2.09 SKELETON TO GROUP Oh, there she is.


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SCENE 157 - FS - CORPSE BRIDE DESCENDS FG. ON A STAIRCASE AS CAMERA DOLLIES L., THEN BACK WITH HER TO INCLUDE SEVERAL FEMALE ZOMBIES, R.FG. AND L.FG. SPIDER CHORUS (off) (singing) 'Oh, the bride is here She's waited for this day for many a year FEMALE ZOMBIES (off) (overlapping) (overlapping sighs – continues under following scenes)

891.08

SCENE 158 - MS - PAST A FEMALE ZOMBIE, L.FG., TO MAYHEW, REACTING AS PAUL THE HEAD WAITER LEAPS UP AND FALLS LOWER FRAME. MAYHEW LIFTS PAUL THE HEAD WAITER ONTO MAYHEW'S BACK. SPIDER CHORUS (singing) 'For this day, for this day, our hopes and our pride PAUL THE HEAD WAITER (overlapping) (grunts) Ooh!

897.03

SCENE 159 - FS - A BLACK WIDOW SPIDER, DANGLING FROM A WEB AS SHE PULLS A THREAD. SPIDER CHORUS (singing) 'The bride is here...

899.12

4-123 881.09 886.10 5.01 SPIDER CHORUS (singing) ITAL Oh, the bride is here (bride : rhymes with 'pride') (here : rhymes with 'year') 4-124 886.14 891.05/ 4.07 SPIDER CHORUS (singing) ITAL She’s waited for this day for many a

year (many a year : colloquial for 'a

long time' – 'many years') 4-125 /891.09 897.02/ 5.09 SPIDER CHORUS (singing) ITAL For this day, for this day, our hopes

and our pride 4-126 /897.06 904.00 6.10 SPIDER CHORUS (singing) ITAL (over scene end) The bride is here, here comes the bride


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SCENE 160 - MS - CORPSE BRIDE REACTS AS THE VEIL IS LOWERED ONTO HER HEAD. CAMERA DOLLIES BACK AS CORPSE BRIDE DANCES AND SPINS ABOUT. SPIDER CHORUS (off) (singing) '...here comes the bride FEMALE CHORUS (overlapping) (singing) (echoing) 'Oh-oh-oh-oh-oh-oh, here comes the bride Here comes the bride

908.14

SCENE 161 - MCS - A ROW OF SKELETONS, SWAYING AS CAMERA DOLLIES R. TO REVEAL MAGGOT, SITTING ATOP A SKULL. SPIDER CHORUS & FEMALE CHORUS (singing) 'For this...

914.05

SCENE 162 - MS - MAGGOT BEGINS TO WEEP AS HE HOLDS A HANDKERCHIEF. SPIDER CHORUS & FEMALE CHORUS (singing) '...day, for this day, will last forever And all... MAGGOT (overlapping) (sobs) (blows nose)

920.13

SCENE 163 - MFS - MAYHEW, VICTOR AND A CORPSE, SWAYING. SPIDER & FEMALE CHORUS (off) (singing) '...of her friends will work together

925.03

4-127 913.05 918.15 5.10 SPIDER & FEMALE CHORUS (singing) ITAL (over scene end) For this day, for this day, will last

forever (For this day : I.e., 'Because

the memory of this day' – 'Because the marriage made today')

4-128 919.03 925.02/ 5.15 SPIDER & FEMALE CHORUS (singing) ITAL (over scene end) And all of her friends, will work

together


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SCENE 164 - MFS - CORPSE BRIDE REACTS AS SEVERAL FEMALE ZOMBIES STEP L., MOVING AROUND HER. SPIDER & FEMALE CHORUS (singing) 'To make it the perfect day she’s always dreamed

931.00

SCENE 165 - MS - CORPSE BRIDE REACTS AS THREE FEMALE ZOMBIES LOOK ON. SPIDER & FEMALE CHORUS (singing) 'Our hopes and our pride...

933.13

SCENE 166 - MCS - VICTOR REACTS AS SCISSORHEAD (HAND) ENTERS R. SPIDER & FEMALE CHORUS (off) (singing) '...our...

934.15

SCENE 167 - MFS - VICTOR REACTS AS SCISSORHEAD CLIPS A TUFT OF HAIR. MRS. PLUM LOOKS ON, L. SPIDER & FEMALE CHORUS (off) (singing) '...Bride, our lovely Bride. MRS. PLUM ESCORTS VICTOR AND EXITS L. AS SCISSORHEAD AS SEVERAL SKELETONS FOLLOW.

940.10

SCENE 168 - MS - CORPSE BRIDE REACTS AS THREE FEMALE ZOMBIES STEP R., ESCORTING HER.

942.13

4-129 /925.06 931.00/ 5.10 SPIDER & FEMALE CHORUS (singing) ITAL To make it the perfect day she’s always

dreamed (dreamed : rhymes with 'seen') 4-130 /931.04 938.07 7.03 SPIDER & FEMALE CHORUS (singing) ITAL (over scene ends) Our hopes and our pride, our Bride, our

lovely Bride'


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SCENE 169 - MFS - THE WEDDING CAKE AS CAMERA CRANES UP TO REVEAL MRS. PLUM, PUTTING THE GROOM FIGURINE NEXT TO THE BRIDE FIGURINE AT THE TOP. GROUP CHORUS (singing) 'We’re going to have a party like no one has ever seen

947.03

SCENE 170 - FS - SEVERAL SKELETONS LIFT THE WEDDING CAKE AND STEP FG. AS A SKELETON PULLS MRS. PLUM ON A ROLLING LADDER, L.BG. GROUP CHORUS (singing) 'The living in the land above will not know where they've been

953.00

SCENE 171 - INT. BARBERSHOP - NIGHT - MFS - SKELETON BOY SHINES THE SHOES OF DEAD PIPE SMOKER (LEGS), SEATED. GROUP CHORUS (singing) 'The land above CAMERA TILTS UP ON DEAD PIPE SMOKER, SEATED IN A CHAIR AS SCISSORHEAD WIPES A RAG ON HIS SKULL. GROUP CHORUS (singing) 'The party of...

957.09

4-131 /942.15 947.02/ 4.03 GROUP CHORUS (singing) ITAL We’re going to have a party like

nobody's ever seen (like...seen : colloquial

superlative – i.e., 'better than any other party')

4-132 /947.06 952.15/ 5.09 GROUP CHORUS (singing) ITAL The living in the land above don’t know

where we’ve been (the land above : refers to the

Land of the Living) 4-133 /953.03 957.08/ 4.05 GROUP CHORUS (singing) ITAL The land above The party of the Bride


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SCENE 172 - INT. PUB - NIGHT - MFS - SKELETONE #1 OPENS A COFFIN AS A SKELETONE #2 ENTERS R., HOLDING A TROMBONE. SKELETONE #1 PULLS APART SKELETON #2 AND PUTS HIS UPPER HALF INSIDE THE COFFIN. GROUP CHORUS (singing) '...the Bride SKELETONE #1 LIFTS THE COFFIN, STEPS L. AND EXITS AS SKELETONE #2'S LEGS FOLLOW. GROUP CHORUS & PAUL THE HEAD WAITER (singing) 'Here...

964.03

SCENE 173 - MFS - PAUL THE HEAD WAITER ATOP A TRAY AS KITCHEN STAFF KNIVES (ARM) HOLDS IT. GROUP CHORUS & PAUL THE HEAD WAITER (singing) '...comes the bride

968.00

SCENE 174 - MFS - KITCHEN STAFF KNIVES STEPS L. AND EXITS, CARRYING PAUL THE HEAD WAITER ON THE TRAY. BONEJANGLES AND SEVERAL SKELETONES ENTER R., FOLLOWING. GROUP CHORUS & PAUL THE HEAD WAITER (singing) 'On her glorious day of days A SKELETONE (TORSO) CROSSES L. IN FG. GROUP CHORUS (singing) 'Up...

974.07

4-134 /964.04 971.10 7.06 GROUP CHORUS (singing) ITAL (over scene end) Here comes the bride On her glorious day of days (day of days : colloquial

emphatic – i.e., 'most important day')


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WIPE TO: SCENE 175 - EXT. LAND OF THE DEAD TOWN SQUARE - NIGHT - A SKELETON (TORSO) STEPS L. AND EXITS TO REVEAL MAGGOT, CRAWLING L. ON THE WALKWAY AS SKELETON (LEGS) CROSS L. GROUP CHORUS (face off) (singing) '...to the Land of the Living to cele-... MAGGOT (overlapping) (grunts – continues under following scenes) BLACK WIDOW SPIDER ENTERS UPPER FRAME AS SHE DANGLES FROM A WEB, GRABS MAGGOT AND EXITS UPPER FRAME WITH HIM.

983.10

SCENE 176 - MFS - BONEJANGLES STEPS FG. AND EXITS AS A GROUP OF SKELETONS FOLLOW. BEHIND THEM, THE WEDDING CAKE MOVES FG. AS SEVERAL SKELETONS CARRY IT. GROUP CHORUS (singing) '...-brate SCENE FADES TO BLACK.

993.04

SCENE 177 - INT. EVERGLOT DINING ROOM - NIGHT - MFS - THE DOOR OPENS TO REVEAL HILDEGARDE, CARRYING A SMALL WEDDING CAKE ON A TRAY. HILDEGARDE (sobbing) Oh! Oh, dear. (mumbles and sobs - continues under following scenes and dialogue) HILDEGARDE STEPS L.FG. AND EXITS AS THE DINING ROOM DOOR CLOSES.

1000.04

4-135 /975.02 982.09 7.07 GROUP CHORUS (singing) ITAL Up to the Land of the Living to

celebrate 4-136 996.04 999.13 3.09 HILDEGARDE TO HERSELF Oh! Oh, dear.


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SCENE 178 - FS - ACROSS THE DINING ROOM TO A GROUP OF WEDDING GUESTS, SEATED AT THE DINING TABLE AS FINIS AND MAUDELINE LOOK ON. BARKIS AND VICTORIA ARE SEATED AT THE HEAD TABLE, L.

1004.12

SCENE 179 - MS - A MALE WEDDING GUEST, SEATED AS HE SLEEPS. MALE WEDDING GUEST (snores – continues under following scenes and dialogue)

1007.12

SCENE 180 - MFS - PAST TWO WEDDING GUESTS, R.FG. AND L.FG., TO A WEDDING GUEST COUPLE, SEATED.

1011.00

SCENE 181 - MS - PAST THE TABLE, FG., TO WIDOW MUNCH, POKING THE SMALL COOKED CHICKEN ON HER PLATE.

1015.08

SCENE 182 - MS - PAST THE TABLE, FG., TO FINIS AND MAUDELINE, SEATED. THERE IS THE SOUND A GLASS BEING TAPPED. BARKIS (off) Quiet...

1017.08


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SCENE 183 - MFS - ACROSS THE TABLE AND PAST THE WEDDING GUESTS, FG., TO BARKIS AT THE END OF THE TABLE AS VICTORIA LOOKS ON, SEATED. MAUDELINE AND FINIS LOOK ON, R.BG. BARKIS ...down now, everyone. THE MALE WEDDING GUEST AWAKENS, SEATED IN R.FG. MALE WEDDING GUEST (overlapping) (gasps) (moans)

1022.10

SCENE 184 - MS - PAST THE TABLE, FG., TO FINIS AND MAUDELINE, SEATED. BARKIS (off) Mm-hm.

1024.12

SCENE 185 - MS - A FEMALE WEDDING GUEST REACTS.

1026.11

SCENE 186 - MS - SIR HUMPFRIED, SEATED.

1028.10

SCENE 187 - MFS - ACROSS THE TABLE AND PAST THE WEDDING GUESTS, FG., TO BARKIS AT THE END OF THE TABLE AS VICTORIA LOOKS ON, SEATED. MAUDELINE AND FINIS LOOK ON, R.BG. BARKIS Thank you. (clears throat) CAMERA DOLLIES IN ACROSS THE TABLE, MOVING PAST THE WEDDING GUESTS. BARKIS Elegant, cultured, radiant.... Victoria has found a husband with all these qualities and more.

4-137 /1017.09 1021.03 3.10 BARKIS TO GROUP Quiet down now, everyone. 4-138 /1028.11 1030.07 1.12 BARKIS TO GROUP Thank you. 4-139 1032.10 1039.01 6.07 BARKIS TO GROUP Elegant, cultured, radiant.... (Note double meaning – [1] Refers

to the qualities of the bride, and [2] Refers to his own qualities)

(cultured : i.e., 'refined and well-educated')

(radiant : i.e., 'looking happy')

4-140 1040.04 1044.05 4.01 BARKIS TO GROUP Victoria has found a husband... 4-141 1044.09 1049.13 5.04 BARKIS TO GROUP ...with all these qualities and more.


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SCENE 187 - (CONTINUED) CAMERA CONTINUES TO DOLLY IN ON BARKIS AND VICTORIA. BARKIS Serendipity brought us together and no force on earth could tear us apart. A GREEN FLAME FLASHES IN BG. AS VICTORIA AND BARKIS REACT. BARKIS & VICTORIA Oh!

1063.11

SCENE 188 - MS - PAST A FEMALE WEDDING GUEST, L.FG., TO A MALE WEDDING GUEST WITH MUSTACHE AND A MALE WEDDING GUEST, SEATED, REACTING AS THE O.S. GREEN LIGHT GLOWS. SIR HUMPFRIED Hm?

1066.02

SCENE 189 - MFS - PAST THE TABLE, FG., TO EVERGLOT AUNT, WIDOW MUNCH AND TWO WEDDING GUESTS, SEATED, REACTING AS THE O.S. GREEN LIGHT GLOWS.

1068.02

SCENE 190 - MS - SIR HUMPFRIED, SEATED, REACTING.

1070.01

SCENE 191 - MS - A FEMALE WEDDING GUEST, REACTING.

1072.02

SCENE 192 - MS - A MALE WEDDING GUEST LOOKS AROUND.

1073.12

4-142 1051.02 1055.02 4.00 BARKIS TO GROUP Serendipity brought us together... 4-143 1055.06 1061.08 6.02 BARKIS TO GROUP ...and no force on earth could tear us

apart. (tear us apart : i.e., 'separate

us')


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SCENE 193 - MS - PAST THE TABLE, FG., TO FINIS AND MAUDELINE, SEATED, REACTING AS SKELETONS EMERGE FROM THE SHADOWS, BG.

1078.15

SCENE 194 - MFS - PAST THE TABLE, FG., TO WIDOW MUNCH, EVERGLOT AUNT AND A MALE WEDDING GUEST, SEATED, REACTING. WIDOW MUNCH (gasps)

1080.14

SCENE 195 - MS - PAST THE TABLE, FG., TO FINIS AND MAUDELINE, REACTING AS BONEJANGLES AND TWO SKELETONS EMERGE BEHIND THEM.

1084.08

SCENE 196 - MFS - PAST THE TABLE, FG., TO WIDOW MUNCH, EVERGLOT AUNT AND A MALE WEDDING GUEST, SEATED, REACTING.

1085.11

SCENE 197 - MS - PAST THE TABLE, FG., TO FINIS AND MAUDELINE, SEATED AS BONEJANGLES AND THE TWO SKELETONS LOOK ON BEHIND THEM. BONEJANGLES' EYES FALLS OUT OF HIS SKULL AND INTO FINIS' SOUP BOWL.

1089.03

SCENE 198 - MS - PAST FINIS (TORSO), L.FG., TO THE SOUP BOWL WITH BONEJANGLES' EYE IN IT.

1091.01


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SCENE 199 - MCS - FINIS LIFTS HIS SPOON WITH BONEJANGLES' EYE ON IT. FINIS There's an eye in me soup.

1096.12

SCENE 200 - MFS - PAST THE TABLE, FG., TO EVERGLOT AUNT, WIDOW MUNCH AND A MALE WEDDING GUEST, SEATED, REACTING. CAMERA DOLLIES IN ON THE WIDOW MUNCH. WIDOW MUNCH (yells)

1098.09

SCENE 201 - MFS - PAST THE TABLE, FG., TO SEVERAL WEDDING GUESTS, REACTING AS THE TABLE OVERTURNS, KNOCKING A ROTUND WOMAN OVER IN HER CHAIR. A WEDDING GUEST (TORSO) CROSSES L. IN FG. WEDDING GUESTS (overlapping) (yells and overlapping exclamations of fear, including, "Oh, my God!" - continues under following scenes and dialogue) DEAD DENIZENS (off) (overlapping) (low and indistinct chatter and yells - continues under following scenes and dialogue)

1101.05

SCENE 202 - MFS - TWO WEDDING GUESTS CROSS R. AND L. AS TWO SKELETONS LOOK ON, BG.

1102.13

SCENE 203 - MFS - SIR HUMPFRIED RUNS FG. AND OBSCURES THE SCENE.

1104.08

4-144 1094.00 1096.11/ 2.11 FINIS TO GROUP There's an eye in me soup. (Note that one of the dead

creatures drops an eye in his soup)

(Note that the humans react as the creatures from the Land of the Dead join the wedding party in the Everglots' mansion)


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SCENE 204 - MFS - BARKIS REACTS AS VICTORIA LOOKS ON, SEATED L. BARKIS (gasping) Oh! (gasps)

1106.10

SCENE 205 - MS - A SKELETON WITH TOP HAT ENTERS LOWER FRAME, STRAIGHTENING. SKELETON WITH TOP HAT (yells)

1108.05

SCENE 206 - MS - WIDOW MUNCH, STEPPING BACKWARD, MOVING BG., HITTING GENERAL BONESAPART'S OBSCURED SWORD. WIDOW MUNCH (gasps) (yells) WIDOW MUNCH MOVES R.FG. TO REVEAL GENERAL BONESAPART, L.BG. GENERAL BONESAPART Oh, sorry!

1113.05

SCENE 207 - MFS - BARKIS PUSHES VICTORIA, MOVING R. BARKIS Oh! (grunts – continues under following scenes) BARKIS DIVES LOWER FRAME AND EXITS.

1115.07

SCENE 208 - MS - VICTORIA REACTS AS SHE LOOKS DOWN.

1117.01

SCENE 209 - MFS - PAST VICTORIA (TORSO), L.FG., TO BARKIS (TORSO & LEGS), CRAWLING UNDER THE TABLE.

1119.00

4-145 1111.12 1113.04/ 1.08 DEAD DWARF GENERAL TO WIDOW MUNCH Sorry!


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SCENE 210 - MFS - LOW ANGLE - MAUDELINE ATOP A CHAIR, REACTING AS O.S. SKELETAL SCRAPS BARKS. CAMERA TILTS DOWN AND PANS R. ON SKELETAL SCRAPS ON THE FLOOR, BARKING.

1123.11

SCENE 211 - MS - FINIS. A SKELETON CROSSES L. IN BG. FINIS Fetch me musket!

1125.11

SCENE 212 - MS - EMIL OPENS A DOOR, HOLDING A CAP. EMIL Fetch your own musket. I'm off! EMIL PUTS ON THE CAP AND STEPS R. THROUGH THE DOORWAY. PAUL THE HEAD WAITER (off) Coming...

1129.02

SCENE 213 - MFS - ROTUND WOMAN, REACTING. PAUL THE HEAD WAITER (off) ...through! ROTUND WOMAN (overlapping) (gasps) CAMERA TILTS DOWN TO REVEAL PAUL THE HEAD WAITER, EMERGING FROM UNDER THE ROTUND'S WOMAN'S SKIRT AS THE BEETLES CARRY HIM. PAUL THE HEAD WAITER Coming through! PAUL THE HEAD WAITER EXITS R.FG.

1132.12

4-146 /1123.12 1125.11/ 1.15 FINIS TO EMIL Fetch me musket! (See title #2-140) 4-147 /1125.15 1129.01/ 3.02 EMIL TO FINIS Fetch your own musket. I'm off! (off : i.e., 'leaving this

house') 4-148 /1129.05 1132.11/ 3.06 PAUL THE HEAD WAITER TO GROUP Coming through! Coming through!


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SCENE 214 - MS - BARKIS, SEATED UNDER THE TABLE, HOLDING HIS HAND OVER HIS EYES. SKELETON BOY & SKELETON GIRL (off) (laugh - continues under following scenes and dialogue) BARKIS MOVES HIS HANDS AS LOOKS L. CAMERA PANS L. TO INCLUDE SKELETON BOY AND SKELETON GIRL. BARKIS Ah!

1137.06

SCENE 215 - MFS - TILTED ANGLE - SIR HUMPFRIED REACTS WITH MAGGOT ON HIS ARM. MAGGOT Excuse me, you don't know me, but I used to... SIR HUMPFRIED (overlapping) Hm? (gasps)

1141.13

SCENE 216 - FS - MAGGOT ON SIR HUMPFRIED'S ARM. MAGGOT ...live in your dead mother.

1144.12

SCENE 217 - MS - SIR HUMPFRIED REACTS AND RUNS R. WITH MAGGOT ON HIS ARM. SIR HUMPFRIED (yells)

1145.15

4-149 /1137.07 1144.10/ 7.03 MAGGOT TO SIR HUMPFRIED (over scene end) Excuse me, you don't know me, but I

used to live in your dead mother.


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SCENE 218 - MFS - ROTUND WOMAN RUNS L.FG. AND EXITS AS BONEJANGLES ENTERS R. ROTUND WOMAN (yells – continues under following scenes and dialogue) BONEJANGLES Hey, hey, hold on, there!

1149.02

SCENE 219 - MFS - ROTUND WOMAN RUNS BG. AS A SKELETON LOOKS ON, L.BG. BONEJANGLES (off) I love a...

1151.01

SCENE 220 - MS - BONEJANGLES. TWO WEDDING GUESTS CROSS L. IN BG. BONEJANGLES ...woman with meat on her bones. (chuckles) BONEJANGLES RUNS L. AND BEGINS TO EXIT.

1155.02

SCENE 221 - MFS - ACROSS THE ROOM TO ROTUND WOMAN, A MALE WEDDING GUEST AND HILDEGARDE, RUNNING BG. TOWARD THE DOORWAY AS A WEDDING GUEST CROSSES L. IN FG.

1156.13

SCENE 222 - FS - LOW ANGLE - LOOKING UP AT FINIS AND MAUDELINE ON THE STAIRCASE AS SKELETONS AND A WEDDING GUEST CROSS IN FG. MAUDELINE Finis, who invited these people?

1160.14

4-150 1146.10 1149.01/ 2.07 BONEJANGLES TO FEMALE CHURCH CROWD Hey, hey, hold on, there! (hold on, there : colloquial

exclamation – i.e., 'wait' – 'do not run away')

4-151 /1151.02 1155.01/ 3.15 BONEJANGLES TO HIMSELF I love a woman with meat on her bones. (with...bones : note double

meaning – [1] colloquial for 'who is overweight' and [2] i.e., 'with flesh' – 'who is alive and more than a bony skeleton')

4-152 OUT 4-153 /1157.01 1160.13/ 3.12 MAUDELINE TO FINIS Finis, who invited these people?


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SCENE 223 - FS - HIGH ANGLE - LOOKING DOWN AT A FEMALE WEDDING GUEST, MOVING BETWEEN TWO SKELETONS WITH TOP HATS AT THE BOTTOM OF A STAIRCASE AS A SKELETON AND WEDDING GUEST RUN R. AND EXIT. SKELETAL SCRAPS ENTERS L., RUNNING R. AS A PLATE ENTERS L., SHATTERING ON THE FLOOR. MAUDELINE (off) They must be from your side of the family. FEMALE WEDDING GUEST (overlapping) (yells)

1165.08

SCENE 224 - MFS - PAST FINIS, L.FG., TO MAUDELINE. FINIS Certainly not. Why, if my Grandfather Everglot could see this, he'd be turning in his grave. EVERGLOT ANCESTOR (off) Finis! FINIS LOOKS BG. OVER HIS SHOULDER.

1177.02

SCENE 225 - MFS - A PORTRAIT OF AN EVERGLOT ANCESTOR ON THE WALL. CAMERA DOLLIES BACK AS THE SKELETON OF THE EVERGLOT ANCESTOR ENTERS R., HOLDING A GLASS. EVERGLOT ANCESTOR Where do you keep the spirits?

1182.09

4-154 1162.00 1165.07/ 3.07 MAUDELINE TO FINIS They must be from your side of the

family. (these people : refers to the

dead creatures) 4-155 /1165.11 1167.05 1.10 FINIS TO MAUDELINE Certainly not. 4-156 1167.09 1173.14 6.05 FINIS TO MAUDELINE Why, if my Grandfather Everglot could

see this, he'd be turning in his grave. (turning in his grave : note

double meaning – [1] colloquial for 'very dismayed and upset' and [2] literally, 'rolling over inside his coffin')

4-157 1174.02 1175.12 1.10 EVERGLOT ANCESTOR TO FINIS Finis! 4-158 1179.03 1182.09/ 3.06 EVERGLOT ANCESTOR TO FINIS Where do you keep the spirits? (spirits : note double meaning –

[1] colloquial for 'alcohol' and [2] refers to the spirits of the dead)


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SCENE 226 - MFS - FINIS AND MAUDELINE, REACTING. MAUDELINE & FINIS (yell - continues under following scenes and dialogue) MAUDELINE AND FINIS RUN R.FG. AND EXIT.

1186.00

SCENE 227 - FS - MAUDELINE AND FINIS ENTER L.FG., RUNNING BG. ACROSS THE CORRIDOR. MAUDELINE & FINIS (face off) (pant) THE EVERGLOT ANCESTOR ENTERS R.FG.

1190.01

SCENE 228 - EXT. EVERGLOT MANSION - NIGHT - MFS - A GROUP OF SKELETONS AND WEDDING GUESTS RUN FG. THROUGH THE MANSION DOORWAY AND DESCEND THE STAIRCASE AS CAMERA ZOOMS BACK. A SKELETON RUNS FG. AND OBSCURES THE SCENE.

1195.04

SCENE 229 - MFS - A MAN (TORSO) CROSSES R. IN FG. TO REVEAL THE TOWN CRIER, HOLDING HIS BELL AS A SKELETON RUNS R. IN BG. AND EXITS. TOWN CRIER In other news... CAMERA DOLLIES INTO MS ON THE TOWN CRIER, RINGING HIS BELL. TOWN CRIER ...(yelling) the dead walk the earth!

1200.06

4-159 /1195.07 1200.04/ 4.13 TOWN CRIER TO GROUP In other news, the dead walk the earth! (Refers to the creatures from the

Land of the Dead coming to the Land of the Living)


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SCENE 230 - MFS - LOW ANGLE - LOOKING UP AT THE MANSION'S UPPER FLOOR WINDOW AS A PAIR OF SHUTTERS OPEN TO REVEAL A MAID. MAID (yells) CAMERA TILTS DOWN ON A WEDDING GUEST RUNNING THROUGH THE MANSION DOORWAY AND EXITING L. AS SEVERAL SKELETONS FOLLOW.

1205.04

SCENE 231 - EXT. TOWN SQUARE - NIGHT - MFS - VAN DORT'S MALE EMPLOYEE AND A GREENGROCER, REACTING AS SHADOWS OF SKELETONS MOVE ON THEM. CAMERA DOLLIES IN.

1208.14

SCENE 232 - MFS - EVERGLOT AUNT, SWINGING HER WALKER. EVERGLOT AUNT Get back! Don't...

1211.08

SCENE 233 - MFS - PAST EVERGLOT AUNT'S WALKER, L.FG., TO DEAD PIPE SMOKER AND SEVERAL SKELETONS, REACTING. EVERGLOT AUNT (off) ...try and sneak up on me!

1214.11

SCENE 234 - MFS - EVERGLOT AUNT, SWINGING HER WALKER. EVERGLOT AUNT Get back!

1217.02

SCENE 235 - MS - PAST EVERGLOT AUNT'S WALKER, L.FG., TO DEAD PIPE SMOKER AS SEVERAL SKELETONS, REACTING.

1218.15

4-160 /1208.15 1214.06 5.07 EVERGLOT AUNT TO GROUP (over scene end) Get back! Don't try to sneak up on me! (Get back : i.e., 'Stay back' –

'Do not advance') 4-161 /1214.12 1216.10 1.14 EVERGLOT AUNT TO GROUP Get back!


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SCENE 236 - MFS - EVERGLOT AUNT, HOLDING THE WALKER. EVERGLOT AUNT Oh, I'll give you such a wallop....

1222.00

SCENE 237 - MFS - A NANNY NAMED SOLANGE, REACTING AS A SOLEMN VILLAGE BOY AND TWO VILLAGERS LOOK ON BEHIND HER. CAMERA DOLLIES IN. SOLANGE (gasps)

1225.02

SCENE 238 - MS - PAST SOLANGE'S SKIRT TO THE SOLEMN VILLAGE BOY, HIDING BEHIND IT. SOLEMN VILLAGE BOY (face off) (fearfully) Oh! (grunts in fear under following scenes and dialogue)

1227.14

SCENE 239 - MFS - SCISSORHEAD STEPS FG. AS MAYHEW FOLLOWS. A GROUP OF ZOMBIES LOOK ON, BG. SCISSORHEAD & ZOMBIES (grunt - continues under following scenes and dialogue)

1232.05

SCENE 240 - MS - PAST SOLANGE'S SKIRT TO THE SOLEMN VILLAGE BOY, LOWERING IT AS HE LOOKS FG. THE SOLEMN VILLAGE BOY STEPS L.FG. AND EXITS AS CAMERA TILTS UP ON SOLANGE AND THE TWO VILLAGERS. SOLANGE No!

1241.02

4-162 /1219.00 1221.15/ 2.15 EVERGLOT AUNT TO GROUP I'll give you such a wallop.... (wallop : colloquial for 'hit' –

'blow') 4-163 1239.05 1241.01/ 1.12 SOLANGE TO SOLEMN VILLAGE BOY No!


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SCENE 241 - MFS - THE SOLEMN VILLAGE BOY STEPS BG. TOWARD SCISSORHEAD AS MAYHEW LOOKS ON. A GROUP OF ZOMBIES LOOK ON, BG. SCISSORHEAD Yeah! (grunts and chuckles - continues under following scenes and dialogue)

1243.07

SCENE 242 - MS - THE GREENGROCER REACTS. GREENGROCER (gasps)

1244.12

SCENE 243 - MCS - A MALE WEDDING GUEST, REACTING AS HE LOOKS AT THE O.S. SOLEMN VILLAGE BOY. MALE WEDDING GUEST (gasps)

1246.04

SCENE 244 - MFS - HIGH ANGLE - PAST SCISSORHEAD (TORSO), L.FG., TO THE SOLEMN VILLAGE BOY, STEPPING FG. AND STOPPING.

1251.02

SCENE 245 - MFS - LOW ANGLE - PAST THE SOLEMN VILLAGE BOY, R.FG., TO SCISSORHEAD, CROUCHING. SCISSORHEAD (grunts)

1256.10

4-164 /1241.05 1243.06/ 2.01 SCISSORHEAD TO SOLEMN VILLAGE BOY Yeah!


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SCENE 246 - MS - SOLEMN VILLAGE BOY REACTS AS SCISSORHEAD (ARMS) ENTERS L.FG., LIFTING HIM AND EXITING UPPER FRAME. SOLANGE, GREENGROCER, VAN DORT'S MALE EMPLOYEE AND SEVERAL VILLAGERS LOOK ON, BG. IN SOFT FOCUS. VILLAGERS (gasp)

1259.14

SCENE 247 - MS - PAST SOLEMN VILLAGE BOY, R.FG., TO SCISSORHEAD, HOLDING HIM. SCISSORHEAD (moans)

1262.11

SCENE 248 - MCS - SOLEMN VILLAGE BOY, LOOKING FG. AS SCISSORHEAD (ARMS) HOLDS HIM UP. SOLANGE, GREENGROCER, VAN DORT'S MALE EMPLOYEE AND SEVERAL VILLAGERS LOOK ON, BG. IN SOFT FOCUS. SOLEMN VILLAGE BOY Grandpa?

1266.10

SCENE 249 - MFS - SCISSORHEAD EMBRACES SOLEMN VILLAGE BOY. A GROUP OF ZOMBIES LOOK ON, BG. SCISSORHEAD (moans) VILLAGERS & ZOMBIES (overlapping) Oh-...

1271.00

4-165 1265.01 1266.09/ 1.08 SOLEMN VILLAGE BOY TO SCISSORHEAD Grandpa? (Note that he recognizes one of

the dead creatures as his grandfather and greets him)


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SCENE 250 - MFS - VAN DORT'S MALE EMPLOYEE AND THE GREEN GROCER REACT. VILLAGERS & ZOMBIES (off) ...-h! VAN DORT'S MALE EMPLOYEE (overlapping) Huh?

1273.00

SCENE 251 - MFS - EVERGLOT AUNT, SWINGING HER WALKER AS SHE HITS DEAD PIPE SMOKER. EVERGLOT AUNT Bounder! DEAD PIPE SMOKER (overlapping) Sweetie pie.... EVERGLOT AUNT (overlapping) M-Monster! DEAD PIPE SMOKER (overlapping) Buttercup....

1278.00

SCENE 252 - MS - DEAD PIPE SMOKER, REACTING AS EVERGLOT AUNT'S WALKER EXITS L.FG. EVERGLOT AUNT (off) Cad! DEAD PIPE SMOKER Gertrude!

1280.14

SCENE 253 - MS - PAST DEAD PIPE SMOKER, R.FG., TO EVERGLOT AUNT, LOWERING HER WALKER. EVERGLOT AUNT Alfred? Oh! You've been dead for fifteen years!

1290.12

4-166 /1273.01 1275.05 2.04 EVERGLOT AUNT TO DEAD PIPE SMOKER, THEN DEAD PIPE SMOKER TO EVERGLOT AUNT -Bounder! -Sweetie pie.... (Bounder : British slang for

'Cad! – 'Unscrupulous, ill-bred man')

(Sweetie pie : Variation of 'Sweetheart', a term of endearment)

4-167 1275.09 1277.13/ 2.04 EVERGLOT AUNT TO DEAD PIPE SMOKER, THEN DEAD PIPE SMOKER TO EVERGLOT AUNT -Monster! -Buttercup.... (Buttercup : Term of endearment) 4-168 /1278.01 1280.13/ 2.12 EVERGLOT AUNT TO DEAD PIPE SMOKER, THEN DEAD PIPE SMOKER TO EVERGLOT AUNT -Cad! -Gertrude! 4-169 1281.09 1283.15 2.06 EVERGLOT AUNT TO DEAD PIPE SMOKER Alfred? (Note that she recognizes the dead

creature as a former lover) 4-170 1286.07 1290.11/ 4.04 EVERGLOT AUNT TO DEAD PIPE SMOKER You've been dead for 15 years!


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SCENE 254 - MS - PAST EVERGLOT AUNT, L.FG., TO DEAD PIPE SMOKER. DEAD PIPE SMOKER Frankly, my dear... DEAD PIPE SMOKER GRABS EVERGLOT AUNT AND DIPS HER LOW AS CAMERA DOLLIES BACK. DEAD PIPE SMOKER ...I don't give a damned. VILLAGERS & DEAD DENIZENS (off) (overlapping) Oh!

1296.13

SCENE 255 - MFS - THE GREEN GROCER ENTERS R. AS A FEMALE ZOMBIE FLOWERS ENTERS L., EMBRACING HIM. GREENGROCER Ethel! VILLAGERS & DEAD DENIZENS (off) (overlapping) (low and indistinct chatter and exclamations of joy - continues under following scenes and dialogue) FEMALE ZOMBIE FLOWERS Oh!

1298.13

SCENE 256 - MFS - MAYHEW STEPS R. AND SHAKES HANDS WITH VAN DORT'S MALE EMPLOYEE.

1302.07

SCENE 257 - FS - A DOG AND SKELETAL SCRAPS, SNIFFING EACH OTHER'S NOSES AND REAR ENDS.

1307.04

4-171 /1290.15 1296.10/ 5.11 DEAD PIPE SMOKER TO EVERGLOT AUNT Frankly, my dear, I don't give a

damned. (I don't...damned : note double

meaning – [1] humorous play on 'I don't give a damn', a vulgar dismissal and [2] note that the dead in hell are 'the damned')

(Note play on the famous line by the character Rhett Butler to his wife Scarlet O'Hara in the 1939 movie (from novel) "Gone with the Wind": 'Frankly, my dear, I don't give a damn')

4-172 /1296.14 1298.08 1.10 GREENGROCER TO FEMALE ZOMBIE FLOWERS Ethel!


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SCENE 258 - INT. EVERGLOT MANSION/DINING ROOM - NIGHT - PAST OVERTURNED CHAIRS, FG., AND ACROSS THE ROOM TO VICTORIA, SEATED AT THE HEAD TABLE.

1312.02

SCENE 259 - MFS - PAST THE TABLE, FG., TO VICTORIA, REACTING AS BARKIS EMERGES BEHIND IT AND STRAIGHTENS. BARKIS (panting) Wait! That's it. BARKIS STEPS R. BARKIS We're going to take whatever money we can and get out of here!

1323.04

SCENE 260 - MS - VICTORIA, SEATED AT THE TABLE. VICTORIA Money? What money?

1327.02

SCENE 261 - MS - LOW ANGLE - BARKIS. BARKIS Your dowry. It's my right!

1330.15

SCENE 262 - MS - VICTORIA, SEATED AT THE TABLE. VICTORIA But my parents don't have any money. I-I-It's my marriage to you that will save them from the poorhouse.

1341.08

4-173 1315.00 1317.12 2.12 BARKIS TO VICTORIA Wait! That's it. (That's it : Colloquial

exclamation of exasperation) 4-174 1318.00 1323.03/ 5.03 BARKIS TO VICTORIA We're going to take whatever money we

can and get out of here! (whatever money we can : refers

to the Everglots' money) (Refers to himself and Victoria) 4-175 1323.10 1327.01/ 3.07 VICTORIA TO BARKIS Money? What money? 4-176 /1327.05 1330.15/ 3.10 BARKIS TO VICTORIA Your dowry. It's my right! (It's my right : I.e., 'Your

dowry is rightfully mine, as your husband')

4-177 /1331.03 1334.10 3.07 VICTORIA TO BARKIS But my parents don't have any money. 4-178 1334.14 1341.05/ 6.07 VICTORIA TO BARKIS It's my marriage to you that will save

them from the poorhouse. (save...poorhouse : colloquial

for 'give them money' – 'allow them to have your money' – note that the 'poorhouse' in 19th century Britain was a home for the poor and homeless)


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SCENE 263 - MS - LOW ANGLE - BARKIS REACTS. BARKIS The-the poorhouse?!

1344.14

SCENE 264 - MS - BARKIS GRABS VICTORIA AS SHE ENTERS L. BARKIS You're lying. It isn't true! Tell me that you're lying! VICTORIA Did things not go according to your plan, Lord Barkis?

1357.05

SCENE 265 - MFS - PAST THE TABLE, FG., TO VICTORIA, PUSHING BARKIS AWAY FROM HER. VICTORIA Well, then, perhaps in disappointment we are perfectly matched. VICTORIA STEPS L.

1364.12

SCENE 266 - MS - LOW ANGLE - BARKIS REACTS.

1367.01

SCENE 267 - FS - PAST BARKIS, L.FG., AND ACROSS THE ROOM TO VICTORIA, STEPPING BG. THROUGH A CORRIDOR AND OBSCURING HERSELF.

1371.07

4-179 /1341.09 1344.13/ 3.04 BARKIS TO VICTORIA The poorhouse?! (I.e., 'Your parents are poor?!') 4-180 1345.10 1351.02 5.08 BARKIS TO VICTORIA You're lying. It isn't true! Tell me

that you're lying! 4-181 1351.06 1357.03/ 5.13 VICTORIA TO BARKIS Did things not go according to your

plan, Lord Barkis? (Did...plan : I.e., 'Did you

expect to become rich by marrying me' – 'Has your plan to become rich been thwarted')

4-182 /1357.07 1364.11/ 7.04 VICTORIA TO BARKIS Well, then, perhaps in disappointment

we are perfectly matched. (Well, then : Colloquial

exclamation) (in...matched : i.e., 'you and I

are now experiencing disappointment in our marriage')


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SCENE 268 - MS - LOW ANGLE - BARKIS REACTS AS CAMERA DOLLIES INTO MCS. BARKIS (grunts in anger)

1376.07


END OF REEL 4AB

FINAL


END OF REEL 4AB

FINAL


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11.15

SCENE 1 - EXT. EVERGLOT MANSION - NIGHT - MFS - LOOKING UP AT THE MANSION'S STAIRCASE AS VICTORIA STEPS FG. AND STOPS. VILLAGERS & DEAD DENIZENS (off) (low and indistinct chatter - continues under following scenes and dialogue) VICTORIA LOOKS R.FG. VICTORIA (gasps)

14.01

SCENE 2 - MFS - DEAD PIPE SMOKER AND EVERGLOT AUNT STEP R. AS HE EMITS HEART-SHAPED SMOKE RINGS. SOME DEAD DENIZENS STEP R. IN BG.

17.10

SCENE 3 - MFS - VICTORIA REACTS AS DEAD PIPE SMOKER AND EVERGLOT AUNT STEP L. AND EXIT. SOLEMN VILLAGE BOY AND SCISSORHEAD ENTER R.

20.00

SCENE 4 - FS - PAUL THE HEAD WAITER, MOVING R. AND EXITING AS THE BEETLES CARRY HIM. A DOG AND SKELETAL SCRAPS FOLLOW.

23.00

SCENE 5 - MFS - VICTORIA LOOKS L. AS A DEAD DENIZEN STEPS L.FG. AND EXITS.

25.05





(Flat)


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SCENE 6 - MFS - VICTORIA, R.FG., STEPS BG., FOLLOWING THE GROUP OF DEAD DENIZENS AND THE WEDDING CAKE, MOVING BG. THROUGH THE TOWN GATEWAY. CAMERA CRANES UP ON THE TOWN GATE TO REVEAL THE CHURCH, L.BG. PASTOR GALSWELLS (off) Be gone, ye demons from Hell!

32.10

SCENE 7 - EXT. CHURCH - NIGHT - FS - LOW ANGLE - PASTOR GALSWELLS, STANDING IN FRONT OF THE CHURCH DOORS, HOLDING HIS STAFF AS TWO SKELETONS ENTER R.FG. AND L.FG. PASTOR GALSWELLS Back to the void from whence you...

36.12

SCENE 8 - MFS - SEVERAL DEAD DENIZENS STEP FG. AND STOP. PASTOR GALSWELLS (off) ...came!

39.00

SCENE 9 - MFS - PAST PASTOR GALSWELLS, R.FG., TO BONEJANGLES AND THE GROUP OF DEAD DENIZENS. PASTOR GALSWELLS You shall not enter here.

41.15

SCENE 10 - MFS - LOW ANGLE - PASTOR GALSWELLS, HOLDING HIS STAFF. PASTOR GALSWELLS Back!

43.10

SCENE 11 - MCS - BONEJANGLES AND A DEAD DENIZEN, LOOKING AT EACH OTHER.

45.00

5-1 28.06 32.10/ 4.04 PASTOR GALSWELLS TO GROUP Be gone, ye demons from Hell! (Be gone : Old English

exclamation to banish or dismiss someone)

(ye : Old English for 'you', plural)

(demons from Hell : refers to the creatures from the Land of the Dead)

5-2 33.02 39.00/ 5.14 PASTOR GALSWELLS TO GROUP (over scene end) Back to the void from whence you came! (Back : I.e., 'Go back' –

'Return') (the void...came : refers to the

Land of the Dead, the unknown afterlife)

5-3 /39.04 41.15/ 2.11 PASTOR GALSWELLS TO GROUP You shall not enter here. (I.e., 'You will not be permitted

to come into this church.') 5-4 /42.03 45.14/ 3.11 PASTOR GALSWELLS TO GROUP (over scene ends) Back, back!


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SCENE 12 - MS - LOW ANGLE - PASTOR GALSWELLS, HOLDING THE STAFF. PASTOR GALSWELLS Back!

46.01

SCENE 13 - MFS - A ZOMBIE, LOOKING FG. AS THE GREENGROCER LOOKS ON. A GROUP OF DEAD DENIZENS LOOK ON, BG. ZOMBIE Keep it down, we're in a church!

48.15

SCENE 14 - MFS - PASTOR GALSWELLS, REACTING AS THE GREENGROCER STEPS R. AND EXITS. A ZOMBIE WITH BOWLER HAT AND SEVERAL SKELETONS STEP R. IN BG. ZOMBIE WITH BOWLER HAT Evening. PASTOR GALSWELLS DROPS HIS STAFF.

53.12

SCENE 15 - INT. CHURCH - NIGHT - FS - PAST THE DEAD DENIZENS IN THE PEWS, R.FG. AND L.FG., TO VICTOR AND ELDER GUTKNECHT BY AN ALTAR, BG. THERE IS THE SOUND OF AN ORGAN PLAYING "THE WEDDING MARCH". THE DEAD DENIZENS LOOK FG. OVER THEIR SHOULDERS.

68.05

SCENE 16 - MFS - SKELETON BOY AND SKELETON GIRL STEP R., TOSSING FLOWER PETALS AS CORPSE BRIDE (LEGS) FOLLOWS. CAMERA DOLLIES R., THEN TILTS UP ON CORPSE BRIDE, STEPPING FG. AS SHE HOLDS HER BOUQUET.

80.03

5-5 /46.02 48.15/ 2.13 ZOMBIE TO PASTOR GALSWELLS Keep it down, we're in a church! (Keep it down : Slang for 'Be

quieter' – 'Don't be so loud') (Note that a church is a place

where people are expected to be reverent and quiet)

5-6 49.13 51.14 2.01 ZOMBIE WITH BOWLER HAT TO PASTOR GALSWELLS Evening. (I.e., 'Good evening.') 5-7 (OUT)


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SCENE 17 - MFS - VICTOR, WAITING AT THE ALTAR AS ELDER GUTKNECHT UNCORKS THE POISON WINE OF AGES BOTTLE. CAMERA DOLLIES IN.

84.10

SCENE 18 - MFS - PAST THE DEAD DENIZENS, FG., TO CORPSE BRIDE, STEPPING L., THEN BG. THROUGH THE AISLE. CAMERA DOLLIES R. AND CRANES UP TO INCLUDE VICTOR AND ELDER GUTKNECHT AT THE ALTAR, BG.

101.04

SCENE 19 - MFS - PAST VICTOR, L.FG., TO CORPSE BRIDE, STEPPING FG. AS SHE GRASPS HIS HAND. ELDER GUTKNECHT (off) Dearly beloved...

108.15

SCENE 20 - MFS - PAST VICTOR, TIPPED IN R.FG., AND CORPSE BRIDE, TIPPED IN L.FG., TO ELDER GUTKNECHT BEHIND THE ALTAR. ELDER GUTKNECHT ...and departed...

110.14

SCENE 21 - MFS - VICTOR AND CORPSE BRIDE, LOOKING FG. AT O.S. ELDER GUTKNECHT. ELDER GUTKNECHT (off) ...we are gathered here today to join this man and this corpse...

116.03

SCENE 22 - EXT. CHURCH - NIGHT - FS - VICTORIA STEPS BG. TOWARD THE CHURCH DOORWAY. ELDER GUTKNECHT (off) ...in marriage.

119.11

5-8 107.07 110.11/ 3.04 ELDER GUTKNECHT TO GROUP (over scene end) Dearly beloved and departed... (Note variations to the

traditional first line of a Christian wedding service)

(Dearly beloved : Colloquial term of address to all the people attending a wedding)

(and departed : colloquial for 'the dead' – 'the creatures who are dead')

5-9 /110.15 118.05 7.06 ELDER GUTKNECHT TO GROUP (over scene end) ...we are gathered here today to join

this man and this corpse in marriage. (join : i.e., 'join by

marriage') (this man : refers to Victor) (this corpse : refers to Corpse

Bride)


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SCENE 23 - INT. CHURCH - NIGHT - MFS - VICTORIA STEPS THROUGH THE DOORWAY AND STOPS AS SHE LOOKS AT O.S. VICTOR. VICTORIA (gasps)

121.14

SCENE 24 - FS - VICTORIA'S POV - THROUGH THE AISLE OF PEWS TO VICTOR AND CORPSE BRIDE AT THE ALTAR AS ELDER GUTKNECHT LOOKS ON.

124.07

SCENE 25 - MFS - VICTORIA. VICTORIA Victor?

126.07

SCENE 26 - MFS - A SKELETON, SEATED IN A PEW AS HE LOOKS FG. OVER HIS SHOULDER AND HOLDS A FINGER OVER HIS MOUTH. SKELETON Shh!

128.05

SCENE 27 - MFS - VICTORIA. VICTORIA (gasps)

129.10

SCENE 28 - MFS - PAST VICTOR, TIPPED IN R.FG., AND CORPSE BRIDE, TIPPED IN L.FG., TO ELDER GUTKNECHT BEHIND THE ALTAR. ELDER GUTKNECHT Living first.

132.13

5-10 124.12 126.04/ 1.08 VICTORIA TO HERSELF Victor? (Note that Victoria enters and

watches the ceremony) 5-11 130.08 132.10/ 2.02 ELDER GUTKNECHT TO GROUP Living first. (Living first : Implying, 'The

living bridegroom will say his wedding vows first, before the dead bride says hers')


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SCENE 29 - FS - PAST VICTORIA, L.FG., TO THE DEAD DENIZENS IN THE PEWS, LOOKING BG. AT VICTOR AND CORPSE BRIDE AT THE ALTAR AS ELDER GUTKNECHT LOOKS ON, VICTOR "With this hand...

138.04

SCENE 30 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTORIA STEPS L. IN BG. VICTOR ...I will lift your sorrows."

143.02

SCENE 31 - MS - PAST THE ALTAR, FG., TO VICTOR (TORSO), LIFTING THE CHALICE. VICTOR (face off) "Your cup will never... CAMERA TILTS UP ON VICTOR, HOLDING THE CHALICE AS CORPSE BRIDE LOOKS ON, R.FG. VICTORIA LOOKS ON, L.BG. IN SOFT FOCUS. VICTOR ...empty...for I will be your wine."

152.12

SCENE 32 - MFS - PAST VICTOR, TIPPED IN R.FG., AND CORPSE BRIDE, TIPPED IN L.FG., TO ELDER GUTKNECHT BEHIND THE ALTAR, LOOKING AT CORPSE BRIDE. ELDER GUTKNECHT Now, you.

156.00

SCENE 33 - MS - PAST VICTOR, L.FG., HOLDING THE CHALICE, TO CORPSE BRIDE, REACTING.

159.01

5-12 135.09 138.01/ 2.08 VICTOR TO CORPSE BRIDE With this hand... (See original vows, starting title

#1-128) 5-13 139.06 142.15/ 3.09 VICTOR TO CORPSE BRIDE ...I will lift your sorrows. 5-14 145.07 148.13 3.06 VICTOR TO CORPSE BRIDE Your cup will never empty... 5-15 149.07 152.09/ 3.02 VICTOR TO CORPSE BRIDE ...for I will be your wine. 5-16 154.02 155.14/ 1.12 ELDER GUTKNECHT TO CORPSE BRIDE Now, you. (I.e., 'Now you must say your

wedding vows.')


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5AB (7)



SCENE 34 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR, REACTING.

162.01

SCENE 35 - MS - PAST VICTOR, L.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. CORPSE BRIDE "With this hand, I will lift your sorrows."

170.09

SCENE 36 - MS - PAST THE ALTAR, FG., TO CORPSE BRIDE, LIFTING THE POISON WINE OF AGES BOTTLE. CORPSE BRIDE (face off) "Your cup... CAMERA TILTS UP ON CORPSE BRIDE, HOLDING THE POISON WINE OF AGES BOTTLE AS VICTOR LOOKS ON, L.FG. CORPSE BRIDE ...will never empty...

178.03


179.15

SCENE 38 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE, HOLDING THE POISON WINE OF AGES BOTTLE AS SHE POURS POISON WINE OF AGES INTO THE CHALICE. CORPSE BRIDE ...for I will be... CORPSE BRIDE LOOKS R.FG. AT O.S. VICTORIA AND REACTS. CORPSE BRIDE (gasps)

185.13

5-17 163.14 170.04 6.06 CORPSE BRIDE TO VICTOR With this hand, I will lift your

sorrows. 5-18 172.12 176.15 4.03 CORPSE BRIDE TO VICTOR Your cup will never empty... 5-19 /180.00 182.10 2.10 CORPSE BRIDE TO VICTOR ...for I will be...


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5AB (8)



SCENE 39 - MS - PAST A POST, L.FG., TO VICTORIA, REACTING. VICTORIA (gasps)

188.10

SCENE 40 - MCS - PAST VICTOR, L.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. CORPSE BRIDE ...I will be....

194.03


196.11

SCENE 42 - MS - PAST THE ALTAR, FG., TO ELDER GUTKNECHT. ELDER GUTKNECHT Go on, my dear.

199.08

SCENE 43 - MCS - PAST VICTOR, L.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. CORPSE BRIDE "Your cup...will never empty...for I will be....

213.06

SCENE 44 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR. VICTOR (sighs) "I will be your wine." VICTOR LIFTS THE CHALICE TOWARD HIS LIPS.

219.14

5-20 191.09 193.12 2.03 CORPSE BRIDE TO VICTOR ...I will be.... 5-21 197.02 199.08/ 2.06 ELDER GUTKNECHT TO CORPSE BRIDE Go on, my dear. (Go on : I.e., 'Continue your

vows') 5-22 200.06 202.08 2.02 CORPSE BRIDE TO VICTOR Your cup... 5-23 204.02 206.15 2.13 CORPSE BRIDE TO VICTOR ...will never empty... 5-24 210.07 213.05/ 2.14 CORPSE BRIDE TO VICTOR ...for I will be.... (Note that she is unable to

continue) 5-25 216.10 219.14/ 3.04 VICTOR TO CORPSE BRIDE I will be your wine. (Note that he prompts Corpse

Bride)


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SCENE 45 - MCS - PAST VICTOR, L.FG., LIFTING THE CHALICE, TO CORPSE BRIDE, GRASPING AND HOLDING THE CHALICE AS SHE STOPS HIM.

223.01

SCENE 46 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR, REACTING AS SHE LOWERS THE CHALICE.

226.04

SCENE 47 - MFS - DEAD PIPE SMOKER, EVERGLOT AUNT AND SEVERAL DEAD DENIZENS, SEATED IN THE PEWS. DEAD PIPE SMOKER She's having second thoughts! DEAD DENIZENS & VILLAGERS (off) (overlapping) (overlapping gasps and low and indistinct chatter)

229.04

SCENE 48 - MFS - PAST THE POST, L.FG., TO VICTORIA, LOOKING FG.

231.07

SCENE 49 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE (sighs) I can't!

235.08

5-26 /226.06 229.04/ 2.14 DEAD PIPE SMOKER TO EVERGLOT AUNT She's having second thoughts! (second thoughts : colloquial

for 'doubts about getting married')

(Refers to Corpse Bride) 5-27 233.13 235.08/ 1.11 CORPSE BRIDE TO VICTOR I can't! (I.e., 'I cannot marry Victor!')


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SCENE 50 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR, REACTING. VICTORIA LOOKS ON, L.BG. IN SOFT FOCUS. VICTOR What's wrong? VICTOR LOOKS BG. OVER HIS SHOULDER AS CORPSE BRIDE GRASPS HIS CHEEK AND STOPS HIM. VICTOR (grunts)

240.13

SCENE 51 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE This is wrong. I was a bride. My dreams were taken from me. Well, now...now I've stolen them from someone else. I love you, Vic-...

265.00

SCENE 52 - MCS - PAST CORPSE BRIDE, R.FG., TO VICTOR. CORPSE BRIDE (face off) ...-tor.

268.08

SCENE 53 - MCS - PAST VICTOR, L.FG., TO CORPSE BRIDE. CORPSE BRIDE But you're not mine.

273.00

SCENE 54 - MFS - VICTOR REACTS AS CORPSE BRIDE EXTENDS HER HAND AND LOOKS AT O.S. VICTORIA. VICTOR LOOKS L.

278.10

SCENE 55 - MFS - PAST THE POST, L.FG., TO VICTORIA, REACTING.

280.08

5-28 236.08 238.12 2.04 VICTOR TO CORPSE BRIDE What's wrong? (I.e., 'What is bothering you?' –

'What has upset you?') 5-29 /240.15 243.09 2.10 CORPSE BRIDE TO VICTOR This is wrong. (I.e., 'Marrying you is the wrong

thing to do.' – 'It is not right or just for me to marry you.')

5-30 246.00 248.11 2.11 CORPSE BRIDE TO VICTOR I was a bride. 5-31 249.09 253.03 3.10 CORPSE BRIDE TO VICTOR My dreams were taken from me. (dreams : i.e., 'dreams of the

future' – 'plans to live a happy married life')

(were...me : i.e., 'were denied me, because I was murdered')

5-32 254.13 261.01 6.04 CORPSE BRIDE TO VICTOR Well, now...now I've stolen them from

someone else. (stolen...else : i.e.,

'destroyed Victor's dreams of a happy future with Victoria')

5-33 263.02 265.00/ 1.14 CORPSE BRIDE TO VICTOR I love you, Victor. 5-34 269.05 272.08 3.03 CORPSE BRIDE TO VICTOR But you're not mine. (not mine : i.e., 'not a man I

may rightfully love and marry')


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SCENE 56 - MFS - VICTOR AND CORPSE BRIDE. VICTOR Victoria!

282.10

SCENE 57 - MFS - PAST THE POST, L.FG., TO VICTORIA, STEPPING FG.

287.12

SCENE 58 - MFS - BONEJANGLES, HILDEGARDE, TWO VILLAGERS AND A GROUP OF DEAD DENIZENS, SEATED IN THE PEWS, REACTING. DEAD DENIZENS & VILLAGERS (gasp) (low and indistinct chatter - continues under following scenes and dialogue)

290.10

SCENE 59 - MFS - VICTOR AND CORPSE BRIDE REACT AS VICTORIA ENTERS L.FG. AND GRASPS CORPSE BRIDE'S HAND.

296.01

SCENE 60 - MS - CORPSE BRIDE (TORSO) AND VICTORIA (TORSO), HOLDING HANDS WITH VICTOR (TORSO) BEHIND THEM. CORPSE BRIDE LIFTS VICTOR'S HAND AND PUTS IT ATOP VICTORIA'S HAND. CAMERA TILTS UP ON VICTOR AND VICTORIA, REACTING AS CORPSE BRIDE LOOKS ON, R.FG. BARKIS (off) Oh, how VICTOR AND VICTORIA LOOK BG. OVER THEIR SHOULDERS. BARKIS (off) ...touch-...

307.07

5-35 /280.09 282.10/ 2.01 VICTOR TO VICTORIA Victoria! 5-36 305.02 307.07/ 2.05 BARKIS TO GROUP Oh, how touching. (how touching : colloquial

emphatic for 'that is very sweet and endearing' – here meant facetiously)


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SCENE 61 - MS - BARKIS STEPS FG. THROUGH THE DOORWAY AND STOPS. BARKIS ...-ing. (sniffs) I always cry at weddings. DEAD DENIZENS & VILLAGERS (off) (overlapping) (gasps and overlapping, indistinct exclamations)

314.00

SCENE 62 - MFS - VICTORIA REACTS AS VICTOR AND CORPSE BRIDE LOOK ON. VICTORIA (gasps)

315.02

SCENE 63 - MS - BARKIS, EXTENDING HIS ARMS. BARKIS Our...

316.05

SCENE 64 - MFS - VICTOR, VICTORIA AND CORPSE BRIDE, REACTING. BARKIS (off) ...young lovers...

318.00

SCENE 65 - MFS - PAST HILDEGARDE, R.FG., TO BARKIS, STEPPING FG. THROUGH THE AISLE AS A GROUP OF DEAD DENIZENS LOOK ON, SEATED IN THE PEWS, L. CAMERA DOLLIES IN, MOVING OFF HILDEGARDE. BARKIS ...together at last. Surely now they can live happily ever after.

328.10

5-37 310.00 314.00/ 4.00 BARKIS TO GROUP I always cry at weddings. 5-38 /316.06 321.10 5.04 BARKIS TO GROUP (over scene end) Our young lovers together at last. (Our young lovers : Refers to

Victor and Victoria) (together at last : i.e.,

'finally united') 5-39 322.14 328.10/ 5.12 BARKIS TO GROUP Surely now they can live happily ever

after. (Surely : Colloquial emphatic

exclamation) (live...after : colloquial

reference to a couple living a happy life together)


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SCENE 66 - MFS - VICTORIA, VICTOR AND CORPSE BRIDE REACT AS BARKIS ENTERS R.FG. BARKIS (face off) But you forget... BARKIS GRABS VICTORIA'S ARM AND PULLS HER. BARKIS (face off) ...she's still...

334.03

SCENE 67 - MS - BARKIS, PULLING VICTORIA, ENTERING L. BARKIS ...my wife! VICTORIA, DEAD DENIZENS & VILLAGERS (overlapping) (gasping: "Oh!" – continues under following scenes and dialogue) VICTORIA (grunts) BARKIS And I'll not leave here empty-handed!

340.05

SCENE 68 - MCS - CORPSE BRIDE REACTS AS SHE LOOKS AT O.S. BARKIS. CORPSE BRIDE You?

344.01

SCENE 69 - MCS - BARKIS REACTS AS VICTORIA LOOKS ON. BARKIS Ah....

346.11

SCENE 70 - MCS - CORPSE BRIDE REACTS.

348.05

5-40 330.06 336.01 5.11 BARKIS TO GROUP (over scene end) But you forget...she's still my wife! (still my wife : i.e., 'legally

married to me') 5-41 336.05 340.05/ 4.00 BARKIS TO GROUP And I will not leave here empty-handed! (empty-handed : note double

meaning – [1] i.e., 'without my bride, Victoria' and [2] i.e., 'without something valuable')

5-42 342.06 344.01/ 1.11 CORPSE BRIDE TO BARKIS You? (Note that Corpse Bride recognizes

Lord Barkis as the fiancé who murdered her)


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SCENE 71 - MCS - BARKIS, LOOKING FG. AT O.S. CORPSE BRIDE AS VICTORIA LOOKS ON. BARKIS Emily?

350.11

SCENE 72 - MCS - CORPSE BRIDE. CORPSE BRIDE You!

352.12

SCENE 73 - MCS - BARKIS AS VICTORIA LOOKS ON. BARKIS But, but...I left you.

357.08

SCENE 74 - MCS - CORPSE BRIDE. CORPSE BRIDE (whispering) For dead.

360.13

SCENE 75 - MFS - DEAD PIPE SMOKER, EVERGLOT AUNT AND A GROUP OF DEAD DENIZENS AND VILLAGERS, SEATED IN THE PEWS, REACTING AS DEAD PIPE SMOKER'S JAW FALLS OFF. DEAD DENIZENS & VILLAGERS (gasps and low and indistinct murmurs – continues under following scenes and dialogue) DEAD PIPE SMOKER (grunts) BARKIS (off) This...

363.10

SCENE 76 - MCS - CORPSE BRIDE. BARKIS (off) ...woman is obviously delusional.

365.12

5-43 /348.06 350.08/ 2.02 BARKIS TO CORPSE BRIDE Emily? 5-44 /350.12 352.09/ 1.13 CORPSE BRIDE TO BARKIS You! 5-45 /352.13 357.06/ 4.09 BARKIS TO CORPSE BRIDE But, but...I left you. (I left you : note double

meaning – [1] i.e., 'I jilted you and did not marry you' and [2] i.e., 'I murdered you and left your body, believing you were dead')

5-46 358.15 360.10/ 1.11 CORPSE BRIDE TO BARKIS For dead. (I.e., 'You left me for dead.' –

'You murdered me and abandoned my body because you thought I was dead.')

5-47 /363.11 365.12/ 2.01 BARKIS TO GROUP This woman is obviously delusional. (delusional : i.e., 'having

delusions' – 'mentally disturbed and imagining things that never happened')


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SCENE 77 - MS - MRS. PLUM, REACTING. MRS. PLUM (muttering) Ooh.

367.09

SCENE 78 - FS - SKELETAL SCRAPS, GROWLING.

368.12

SCENE 79 - MFS - BARKIS STEPS BACKWARD, MOVING BG. AS HE PULLS VICTORIA WITH HIM. DEAD PIPE SMOKER AND SEVERAL DEAD DENIZENS STRAIGHTEN, L. VICTORIA (gasps and pants - continues under following scenes and dialogue) BARKIS (grunts)

372.00

SCENE 80 - MCS - PAST VICTORIA, R.FG., TO BARKIS, HOLDING HER AS HE REACHES OVER HIS SHOULDER.

373.07

SCENE 81 - MFS - PAST VICTORIA, R.FG., TO BARKIS, GRASPING THE SWORD IN GENERAL BONESAPART.

375.03

SCENE 82 - MS - GENERAL BONESAPART, REACTING AS BARKIS (ARM) DRAWS THE SWORD FROM HIS CHEST AND EXITS R. GENERAL BONESAPART (yells)

376.10


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SCENE 83 - MFS - BARKIS, HOLDING VICTORIA AS HE LIFTS THE SWORD UNDER HER CHIN. GENERAL BONESAPART LOOKS ON, L. A GROUP OF DEAD DENIZENS LOOK ON, BG. DEAD DENIZENS & VILLAGERS (gasping) Oh! BARKIS (overlapping) Sorry to cut things short...

379.00

SCENE 84 - MCS - BARKIS, HOLDING VICTORIA AND THE SWORD UNDER HER CHIN. BARKIS ...but we must be on our way.

382.04

SCENE 85 - MS - VICTOR STEPS FG. AS CORPSE BRIDE LOOKS ON, L.BG. VICTOR Take your hands off her.

386.01

SCENE 86 - MS - LOW ANGLE - LOOKING UP AT BARKIS, HOLDING THE SWORD AT VICTORIA AS VICTOR ENTERS R.FG. DEAD DENIZENS & VILLAGERS (off) (gasps and low and indistinct murmurs – continues under following scenes and dialogue) BARKIS Do I have to kill you, too? BARKIS REACTS IN PAIN. BARKIS (yells in pain)

392.14

SCENE 87 - MS - SKELETAL SCRAPS, BITING BARKIS' LEG.

394.07

5-48 /376.11 382.01/ 5.06 BARKIS TO GROUP (over scene end) Sorry to cut things short, but we must

be on our way. (cut things short : note double

meaning – [1] colloquial for 'bring the occasion to an abrupt halt' – 'end this event suddenly' and [2] refers to cutting with a sword)

5-49 /382.05 386.01/ 3.12 VICTOR TO BARKIS Take your hands off her. (Note that Lord Barkis is holding

Victoria, to force her to leave with him)

5-50 387.08 390.15 3.07 BARKIS TO VICTOR Do I have to kill you, too?


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SCENE 88 - MFS - BARKIS, HOLDING THE SWORD AS HE KICKS SKELETAL SCRAPS, EXITING L. VICTORIA LOOKS ON. DEAD DENIZENS & VILLAGERS (off) (laugh) VICTORIA RUNS R. AND BEGINS TO EXIT. MRS. PLUM (off) Vic-..

397.06

SCENE 89 - MFS - KITCHEN STAFF KNIVES, REACTING AS MRS. PLUM PULLS A FORK OUT OF HIS BACK. MRS. PLUM ...-tor, cat-... MRS. PLUM THROWS THE FORK, EXITING R.

399.02

SCENE 90 - MFS - PAST VICTOR, R.FG., TO CORPSE BRIDE AND VICTORIA, REACTING AS HE CATCHES THE FORK. MRS. PLUM (off) ...-ch! VICTOR Oh! (sighs)

402.01

SCENE 91 - MS - PAST KITCHEN STAFF KNIVES (TORSO), R.FG., TO MRS. PLUM. MRS. PLUM Sorry.

403.04

5-51 /397.07 399.02/ 1.11 MRS. PLUM TO VICTOR Victor, catch! (Note that she intends to throw

him a sword to fight Lord Barkis, but throws him a fork instead)

5-52 /402.02 403.04/ 1.02 MRS. PLUM TO VICTOR Sorry. (Refers to throwing him the fork,

which is not a useful weapon)


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SCENE 92 - MS - LOW ANGLE - BARKIS RUNS R., WIELDING THE SWORD. BARKIS (yells - continues under following scene)

404.09

SCENE 93 - MFS - BARKIS ENTERS L.FG., SWINGING THE SWORD AS VICTOR BLOCKS WITH THE FORK. CAMERA PANS R., MOVING OFF CORPSE BRIDE AND VICTORIA, L.BG. BARKIS (grunts - continues under following scenes and dialogue) DEAD DENIZENS & VILLAGERS (off) (overlapping) (low and indistinct chatter and exclamations of surprise and fear - continues under following scenes and dialogue) BARKIS SWINGS THE SWORD AND BUMPS AGAINST THE ALTAR, MISSING VICTOR.

408.11

SCENE 94 - MS - PAST THE ALTAR, FG., TO ELDER GUTKNECHT, GRABBING THE CUP AND SETTING IT UPRIGHT AS THE ALTAR ROCKS. ELDER GUTKNECHT Oh!

409.15

SCENE 95 - MS - BARKIS RUNS L. AND BEGINS TO EXIT.

410.11

SCENE 96 - MFS - CORPSE BRIDE AND VICTORIA, REACTING AS VICTOR STEPS BACKWARD,. MOVING L. AS BARKIS ENTERS R., SWINGS HIS SWORD, HITTING THE FORK. BARKIS STEPS L. AND EXITS.

412.15


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SCENE 97 - FS - LOOKING DOWN AT BARKIS, SWINGING THE SWORD AS VICTOR BACKS AGAINST A POST. VICTORIA AND CORPSE BRIDE LOOK ON, R.

415.01

SCENE 98 - MS - BARKIS, R.FG., SWINGING THE SWORD AT VICTOR, MISSING. VICTOR (face off) (grunts – continues under following scenes and dialogue) VICTOR STEPS BG. AROUND THE POST AS BARKIS STEPS BG.

417.11

SCENE 99 - MFS - VICTOR (ARM), STABBING THE FORK INTO BARKIS' REAR END. BARKIS (face off) Ooh!

418.06

SCENE 100 - MS - BARKIS REACTS IN PAIN, THEN SWINGS THE SWORD.

419.15

SCENE 101 - MFS - KITCHEN STAFF MAGGOT, HOLDING THE TRAY WITH PAUL THE HEAD WAITER ATOP IT, LEAPING UP AS BARKIS' SWORD MISSES HIM. BARKIS' SWORD EXITS R. AS PAUL THE HEAD WAITER LANDS ATOP THE TRAY AND KITCHEN STAFF MAGGOT'S CHEF'S HAT SEVERS AND FALLS OFF. PAUL THE HEAD WAITER (in French) Oh, sacrebleu!

423.06

FRENCH TRANSLATORS, PLEASE OMIT TITLE #5-53. 5-53 /420.00 423.04/ 3.04 PAUL THE HEAD WAITER TO HIMSELF ITAL (in French) (OPTIONAL) Sacrebleu! (French expletive - to appear in

ITALICS)


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SCENE 102 - FS - PAST TWO SKELETONS, R.FG., TO BARKIS, SWINGING THE SWORD AS VICTOR BLOCKS WITH THE FORK. CAMERA DOLLIES L. TO INCLUDE HALF MAN, L.BG.

425.10

SCENE 103 - MS - PAST BARKIS, R.FG., TO VICTOR, BLOCKING THE SWORD WITH THE FORK AS HALF MAN LOOKS ON. HALF MAN I say! You're not playing fair, sir! VICTOR (overlapping) (grunts – continues under following scenes and dialogue)

428.15

SCENE 104 - MFS - HALF MAN SPLITS APART AS BARKIS SWINGS THE SWORD DOWN, MISSING HIM. VICTOR RUNS R. AND EXITS. BARKIS Huh? BARKIS RUNS R. AND EXITS. BARKIS (off) (grunts – continues under following scenes and dialogue)

431.11

SCENE 105 - MS - VICTOR, DUCKING BY A PEW. VICTOR Oh! (grunts – continues under following scenes and dialogue)

432.08

SCENE 106 - MFS - BARKIS, SWINGING THE SWORD, IMBEDDING IN THE PEW AS VICTOR DUCKS.

434.11

5-53A 426.04 429.00/ 2.12 HALF MAN TO BARKIS I say! You're not playing fair, sir! (I say : British colloquial

exclamation) (Note that Barkis wields a sword

while Victor defends himself with a fork)


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SCENE 107 - MFS - PAST THE PEW, R.FG., TO BARKIS, PULLING THE SWORD OUT.

436.11

SCENE 108 - MS - VICTOR STRAIGHTENS, WIELDING AND SWINGING THE FORK.

437.14

SCENE 109 - MFS - PAST VICTOR, L.FG., TO BARKIS, REACTING AS THE FORK TEARS HIS JACKET. DEAD DENIZENS & VILLAGERS (off) (gasp - continues under following scenes and dialogue)

439.00

SCENE 110 - MCS - BARKIS LOOKS DOWN.

440.03

SCENE 111 - MS - BARKIS (TORSO), WEARING THE TORN JACKET.

441.10

SCENE 112 - MCS - VICTOR. VICTOR Oop.

442.15

SCENE 113 - MCS - BARKIS, SWINGING THE SWORD.

445.00

SCENE 114 - MS - PAST BARKIS (ARMS), SWINGING THE SWORD TO VICTOR, BLOCKING WITH THE FORK AS THEY LOCK. TWO SKELETONS LOOK ON, BG. DEAD DENIZENS & VILLAGERS (off) (gasp)

446.10


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SCENE 115 - MCS - LOW ANGLE - BARKIS, HOLDING THE O.S. LOCKED SWORD.

448.09

SCENE 116 - MS - PAST BARKIS (ARMS), R.FG., HOLDING THE SWORD, TO VICTOR, DUCKING LOWER FRAME AND EXITING. VICTOR (grunts)

450.07

SCENE 117 - MS - VICTOR CROUCHES AND SITS UNDER A PEW AS HE HOLDS THE FORK. BARKIS' SWORD TIP EMERGES, BREAKING A HOLE IN THE PEW. VICTOR (pants) Ooh!

453.14

SCENE 118 - MFS - LOW ANGLE - BARKIS, JABBING THE SWORD. BARKIS (grunts)

455.03

SCENE 119 - MS - VICTOR, SEATED UNDER THE PEW AS BARKIS' SWORD TIP EMERGES, BREAKING THROUGH THE HOLE. VICTOR Oh-oh! BARKIS' SWORD TIP MOVES UP THROUGH THE HOLE AND EXITS AS VICTOR JABS THE FORK UP.

457.15

SCENE 120 - MS - BARKIS (LEGS) ON THE PEW AS VICTOR'S FORK MOVES THROUGH THE HOLE, STABBING BARKIS' FOOT.

458.07


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SCENE 121 - MCS - LOW ANGLE - LOOKING UP AT BARKIS, FALLING. BARKIS (yells in pain)

459.06

SCENE 122 - MFS - PAST CORPSE BRIDE AND VICTORIA, R.FG., TO BARKIS, FALLING BEHIND THE PEWS AS THEY TIP OVER. VICTORIA & CORPSE BRIDE (face off) Oh!

463.10

SCENE 123 - MS - VICTOR ENTERS LOWER FRAME, STRAIGHTENING AND RUNNING BG. AS HE HOLDS THE FORK. VICTOR (pants)

465.09

SCENE 124 - MS - BARKIS ENTERS LOWER FRAME, STRAIGHTENING AND SWINGING THE SWORD. BARKIS (grunts)

467.02

SCENE 125 - MFS - PAST BARKIS, L.FG., TO VICTOR AS THE SWORD KNOCKS THE FORK OUT OF VICTOR'S HAND. BARKIS KICKS VICTOR, EXITING R. BARKIS & VICTOR (grunt, pant and yell - continues under following scene)

469.06

SCENE 126 - MFS - VICTOR FALLS ONTO HIS BACK ON THE FLOOR AS BARKIS (TORSO) ENTERS L.FG., HOLDING THE SWORD.

472.02


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SCENE 127 - MCS - LOW ANGLE - LOOKING UP AT BARKIS, REACTING.

473.05

SCENE 128 - MCS - PAST BARKIS' SWORD, L.FG., TO VICTOR, REACTING. VICTOR (exhales)

474.02

SCENE 129 - MS - LOW ANGLE - LOOKING UP AT VICTORIA AND CORPSE BRIDE, REACTING. VICTORIA & CORPSE BRIDE (gasp) CORPSE BRIDE STEPS R.FG. AND BEGINS TO EXIT.

475.13

SCENE 130 - MCS - VICTOR REACTS AS BARKIS' SWORD EXITS L.

477.09

SCENE 131 - MFS - LOW ANGLE - BARKIS, MOVING FG. INTO MS AS HE STABS THE SWORD. BARKIS (grunts)

478.12

SCENE 132 - MCS - VICTOR REACTS. VICTOR (gasps)

479.08

SCENE 133 - MCS - VICTORIA REACTS. VICTORIA (gasps)

480.05


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SCENE 134 - MFS - LOW ANGLE - BARKIS STRAIGHTENS, LIFTING HIS HAND WITHOUT THE SWORD. BARKIS (gasps)

482.00

SCENE 135 - MCS - CORPSE BRIDE, LOOKING FG. AT O.S. BARKIS. CAMERA DOLLIES BACK ON CORPSE BRIDE TO INCLUDE BARKIS, L.FG. AND VICTOR, R.BG. CORPSE BRIDE DRAWS THE SWORD FROM HER CHEST.

490.08

SCENE 136 - MFS - PAST CORPSE BRIDE, R.FG., HOLDING THE SWORD, TO BARKIS. BARKIS Touché, my dear.

495.09

SCENE 137 - MCS - CORPSE BRIDE. CORPSE BRIDE Get out.

498.07

SCENE 138 - MFS - PAST CORPSE BRIDE, R.FG., HOLDING THE SWORD, TO BARKIS, STEPPING R. AS VICTOR AND VICTORIA STEP R.BG. CAMERA PANS R. BARKIS Oh, I'm leaving.

502.08

SCENE 139 - MCS - CORPSE BRIDE REACTS AS CAMERA DOLLIES L. ON HER. BARKIS (off) (chuckles – continues under following scenes)

507.03

5-54 492.09 495.09/ 3.00 BARKIS TO CORPSE BRIDE Touché, my dear. (Touché : in French - used to

acknowledge a hit by an opponent in fencing – here acknowledging that Corpse Bride holds a sword on Lord Barkis, implying that she has won their confrontation - to appear in ITALICS)

(Note that he addresses Corpse Bride)

5-55 496.06 498.07/ 2.01 CORPSE BRIDE TO BARKIS Get out. (I.e., 'Go away from here.' –

'Leave immediately.') 5-56 499.00 502.08/ 3.08 BARKIS TO CORPSE BRIDE Oh, I'm leaving.


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SCENE 140 - MFS - PAST CORPSE BRIDE (ARM), L.FG., HOLDING THE SWORD, TO BARKIS, STEPPING R. TO THE ALTAR. CAMERA PANS R. TO INCLUDE THE CHALICE AS BARKIS LIFTS IT. CORPSE BRIDE (ARM) EXITS L.FG. BARKIS But first, a toast. To Emily.

515.00

SCENE 141 - MS - PAST BARKIS, R.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. BARKIS Always the bridesmaid, never the bride.

521.14

SCENE 142 - MFS - BARKIS, HOLDING THE CHALICE, A STAINED GLASS WINDOW IS L.BG. BARKIS Tell me, my dear, can a heart still break once it's stopped beating? Hm?

532.11

SCENE 143 - MS - PAST BARKIS, R.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. BARKIS (chuckles - continues under following scenes and dialogue)

535.11

SCENE 144 - FS - MAGGOT CRAWLS ACROSS THE ARM OF A PEW AS ELDER GUTKNECHT (HAND) ENTERS L., STOPPING HIM. MAGGOT You let me at him, let me at him! No, don't, don't hold me back. ELDER GUTKNECHT (face off) (overlapping) Wait!

540.12

5-57 510.12 515.00/ 4.04 BARKIS TO GROUP But first, a toast. To Emily. (a toast : i.e., 'I will make a

toast') (Emily : refers to Corpse Bride) 5-58 /515.04 521.06 6.02 BARKIS TO GROUP Always the bridesmaid, never the bride. (Colloquial reference to a woman

who is often an attendant at other women's weddings, but who never gets married herself, implying that she is an undesirable woman to take as a wife)

(Note reference to her being murdered by Barkis before her first planned wedding, and now giving up Victor before their wedding was completed)

5-59 522.05 524.14 2.09 BARKIS TO CORPSE BRIDE Tell me, my dear... (Tell me : Colloquial emphatic

exclamation) 5-60 525.02 531.03 6.01 BARKIS TO CORPSE BRIDE ...can a heart still break once it's

stopped beating? (heart...beating : note double

meaning – [1] i.e., 'can a dead person still feel rejection and heartbreak' and [2] i.e., 'can the physical heart of a dead person still beat, as if they are still alive')

5-61 /535.12 540.09/ 4.13 MAGGOT TO ELDER GUTKNECHT Let me at him, let me at him! No,

don't hold me back. (Let me at him : Colloquial for

'Let me fight him' – 'Do not stop me from attacking and fighting him')

(Refers to Lord Barkis) 5-62 /540.13 542.05 1.08 ELDER GUTKNECHT TO GROUP Wait!


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SCENE 145 - MFS - ELDER GUTKNECHT, HOLDING OUTSTRETCHED ARMS AS HE HOLDS BACK MAGGOT, MRS. PLUM, MAYHEW, DEAD PIPE SMOKER AND A SKELETON. CAMERA DOLLIES IN. DEAD DENIZENS (off) (low and indistinct murmurs of anger – continues under following scenes and dialogue) ELDER GUTKNECHT We must abide by their rules. We are amongst the living.

551.10

SCENE 146 - MS - PAST BARKIS, R.FG., HOLDING THE CHALICE, TO CORPSE BRIDE. BARKIS Well said.

554.11

SCENE 147 - MFS - BARKIS LIFTS THE CHALICE AND DRINKS THE POISON WINE OF AGES. THE STAINED GLASS WINDOW IS L.BG. BARKIS Mm. (chuckles) (sips and swallows) (grunts) BARKIS TOSSES THE CHALICE, EXITING R. BARKIS STEPS L.

566.11

SCENE 148 - MS - CORPSE BRIDE REACTS.

569.01

SCENE 149 - FS - BARKIS STEPS BG. TOWARD A DOOR, THEN BEGINS TO CONVULSE. BARKIS (face off) (grunts and chokes – continues under following scenes and dialogue) BARKIS LEANS AGAINST THE DOOR.

576.09

5-63 542.09 546.07 3.14 ELDER GUTKNECHT TO GROUP We must abide by their rules. (We : Refers to the creatures

from the Land of the Dead) (abide by their rules : i.e.,

'conduct ourselves the way living humans do')

5-64 546.11 551.10/ 4.15 ELDER GUTKNECHT TO GROUP We are amongst the living. (amongst the living : note

double meaning – [1] archaic for 'among the humans living on earth' – 'with people who are alive' and [2] i.e., 'with Lord Barkis, who is alive')

5-65 /551.14 554.11/ 2.13 BARKIS TO ELDER GUTKNECHT Well said. (Colloquial exclamation of

approval or agreement with someone's wise or articulate statement)


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SCENE 150 - MFS - PAST ELDER GUTKNECHT (HAND), FG., TO MAGGOT. MAGGOT (chuckles) Not anymore.

581.08

SCENE 151 - MS - BARKIS, LOOKING BG. BARKIS (face off) (gasps) BARKIS LOOKS FG. OVER HIS SHOULDER TO REVEAL HIS CORPSE BLUE FACE AS HE LOOKS AT THE O.S. DEAD DENIZENS. BARKIS (grunts)

586.08

SCENE 152 - MFS - ELDER GUTKNECHT. MRS. PLUM, MAYHEW, DEAD PIPE SMOKER AND SEVERAL DEAD DENIZENS LOOK ON, BG. ELDER GUTKNECHT Yep, you're right. He's all yours. DEAD DENIZENS & VILLAGERS (overlapping) (low and indistinct chatter and laughter - continues under following scenes and dialogue) MAYHEW AND MRS. PLUM STEP FG.

591.02

SCENE 153 - FS - MAGGOT, SITTING ON THE ARM OF THE PEW.

592.07

SCENE 154 - MFS - GENERAL BONESAPART STEPS FG., HOLDING HIS SWORD. GENERAL BONESAPART (laughs)

594.00

5-66 578.00 581.08/ 3.08 MAGGOT TO ELDER GUTKNECHT Not anymore. (I.e., 'Lord Barkis is not alive

anymore.' – Note that Lord Barkis drank the Wine of Ages, a poison, and died)

5-67 /586.09 591.02/ 4.09 ELDER GUTKNECHT TO MAGGOT Yep, you're right. He's all yours. (He's all yours : I.e., 'Lord

Barkis is now dead and you may take him to the Land of the Dead')


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SCENE 155 - MFS - BARKIS GRABS AND PULLS AT THE DOOR HANDLE AS SHADOWS OF DEAD DENIZENS MOVE OVER HIM. CAMERA DOLLIES INTO MS. BARKIS (gasps) (yells - continues under following scenes and dialogue) THE GROUP OF DEAD DENIZENS ENTER FG., PUSHING BARKIS THROUGH THE DOORWAY AS THE DOOR OPENS.

601.01

SCENE 156 - MFS - THE DEAD DENIZENS STEP FG. AND EXIT TO REVEAL VICTOR, VICTORIA AND CORPSE BRIDE, LOOKING FG.

605.02

SCENE 157 - MFS - THROUGH THE DOORWAY TO MRS. PLUM, HOLDING A FORK AS SHE BEGINS TO CLOSE THE DOOR. CAMERA DOLLIES INTO MS. MRS. PLUM New arrival. MRS. PLUM CLOSES THE DOOR, OBSCURING HERSELF.

612.05

SCENE 158 - MCS - ELDER GUTKNECHT (HAND) PUTS THE CORK IN THE POISON WINE OF AGES BOTTLE. CAMERA DOLLIES BACK INTO MFS ON ELDER GUTKNECHT, LIFTING THE CHALICE ONTO THE ALTAR.

618.01

SCENE 159 - MS - VICTOR REACTS AS VICTORIA EMBRACES HIS CHEST. VICTORIA Oh, Victor, I never thought I'd see you again.

628.01

5-68 607.15 610.15 3.00 MRS. PLUM TO GROUP New arrival. (Refers to Lord Barkis entering

the Land of the Dead) 5-69 621.03 626.01 4.14 VICTORIA TO VICTOR Oh, Victor, I never thought I'd see you

again.


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SCENE 160 - MCS - CORPSE BRIDE REACTS.

631.11

SCENE 161 - MFS - CORPSE BRIDE STEPS R.FG. AS VICTOR AND VICTORIA LOOK ON.

637.08

SCENE 162 - MS - VICTOR AND VICTORIA REACT AS THEY LOOKS AT O.S. CORPSE BRIDE. VICTOR Wait. I made a promise. VICTOR STEPS FG.

644.15

SCENE 163 - MS - CORPSE BRIDE STEPS BG. AND STOPS. VICTOR ENTERS L.FG. AS CORPSE BRIDE LOOKS AT HIM. CORPSE BRIDE You kept your promise.

653.09

SCENE 164 - MS - PAST CORPSE BRIDE, R.FG., TO VICTOR. CORPSE BRIDE (face off) You set me free.

659.10

SCENE 165 - MFS - LOW ANGLE - PAST VICTOR (TORSO), L.FG., TO CORPSE BRIDE, TAKING OFF VICTOR'S RING.

664.13

SCENE 166 - MCS - CORPSE BRIDE'S HANDS PUTS VICTOR'S RING ONTO VICTOR'S PALM AND CLOSES HIS FINGERS OVER IT.

671.12

5-70 638.00 639.12 1.12 VICTOR TO CORPSE BRIDE Wait. 5-71 641.04 644.00 2.12 VICTOR TO CORPSE BRIDE I made a promise. (made a promise : refers to the

vows he spoke to Corpse Bride) 5-72 648.13 652.04 3.07 CORPSE BRIDE TO VICTOR You kept your promise. 5-73 /653.10 656.08 2.14 CORPSE BRIDE TO VICTOR You set me free. (set me free : i.e., 'liberated

me' – 'helped me regain my freedom')


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SCENE 167 - MFS - LOW ANGLE - PAST VICTOR (TORSO), L.FG., TO CORPSE BRIDE. CORPSE BRIDE Now I can do the same for you.

679.08

SCENE 168 - MS - VICTOR REACTS AS CORPSE BRIDE STEPS R.FG. AND EXITS.

689.00

SCENE 169 - MFS - CORPSE BRIDE STEPS R., HOLDING THE BOUQUET AS CAMERA DOLLIES R. WITH HER.

696.07

SCENE 170 - MFS - LOW ANGLE - CORPSE BRIDE STEPS R. TOWARD THE DOORWAY AS CAMERA DOLLIES R. TO INCLUDE THE FULL MOON IN THE SKY, R.BG.

701.08

SCENE 171 - MCS - PAST WIDOW MUNCH, R.FG., TO VICTOR AND VICTORIA, LOOKING FG. MAGGOT CRAWLS UP ONTO WIDOW MUNCH'S SHOULDER AND LOOKS ON.

707.03

SCENE 172 - MFS - LOW ANGLE - CORPSE BRIDE STOPS INSIDE THE DOORWAY, THEN LOOKS L. OVER HER SHOULDER. THE FULL MOON IS IN THE SKY, R.BG.

713.15

SCENE 173 - FS - PAST HILDEGARDE, L.FG., TO WIDOW MUNCH IN THE AISLE AS VICTOR AND VICTORIA LOOK ON, BG. A MALE WEDDING GUEST LOOKS ON, R.BG.

718.02

5-74 673.05 677.01 3.12 CORPSE BRIDE TO VICTOR Now I can do the same for you. (Refers to allowing Victor to be

with Victoria)


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SCENE 174 - MFS - LOW ANGLE - CORPSE BRIDE INSIDE THE DOORWAY AS SHE TOSSES THE BOUQUET OVER HER SHOULDER, FLYING L. THE FULL MOON IS IN THE SKY, R.BG.

726.10

SCENE 175 - FS - THE BOUQUET FLIES L. AND EXITS.

728.02

SCENE 176 - MS - HIGH ANGLE - LOOKING DOWN AT WIDOW MUNCH, CATCHING THE BOUQUET AS MAGGOT LOOKS ON ATOP HER SHOULDER. WIDOW MUNCH (gasps) Oh! WIDOW MUNCH LOOKS L. AT MAGGOT. WIDOW MUNCH (gasps)

732.10

SCENE 177 - FS - MAGGOT ON WIDOW MUNCH'S SHOULDER. MAGGOT (chuckles)

736.02

SCENE 178 - MS - WIDOW MUNCH, REACTING AND THROWING THE BOUQUET UPPER FRAME AS SHE LOOKS AT MAGGOT ON HER SHOULDER. WIDOW MUNCH (gasping) Oh!

737.12

SCENE 179 - MFS - VICTORIA, CATCHING THE BOUQUET, ENTERING R. AS VICTOR LOOKS ON.

748.12


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SCENE 180 - MS - LOW ANGLE - CORPSE BRIDE REACTS AS SHE LOOKS AT O.S. VICTORIA.

753.07

SCENE 181 - EXT. CHURCH - NIGHT - FS - CORPSE BRIDE STEPS THROUGH THE DOORWAY AND STOPS. CAMERA DOLLIES INTO MCS AS CORPSE BRIDE TRANSFORMS INTO A GROUP OF FLUTTERING BUTTERFLIES. CORPSE BRIDE (sighs) CAMERA CRANES UP AND TRAVELS BACK WITH THE GROUP OF BUTTERFLIES, FLYING FG. VICTOR AND VICTORIA EMERGE INSIDE THE CHURCH DOORWAY, BG.

784.01

SCENE 182 - MFS - VICTOR AND VICTORIA, LOOKING UPPER FRAME.

790.02


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SCENE 183 - MFS - LOW ANGLE - PAST VICTOR AND VICTORIA, EMBRACING IN FG., TO THE GROUP OF BUTTERFLIES, FLYING BG. TOWARD THE FULL MOON IN THE SKY. CAMERA TRAVELS IN, MOVING OFF VICTOR AND VICTORIA, R. AND THE CHURCH'S ARCHED DOORWAY, L. SCENE FADES TO BLACK BG. END CREDIT ROLL-UP BEGINS: GROUP CHORUS (voice over) (singing) 'Yeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah Yeah, yeah, yeah, yeah, yeah'

ART DIRECTOR NELSON LOWRY ASSOCIATE PRODUCERS TRACY SHAW DEREK FREY PRODUCTION MANAGER HARRY LINDEN 1ST ASSISTANT DIRECTOR EZRA J. SUMNER CASTING MICHELLE GUISH

CAST VICTOR VAN DORT JOHNNY DEPP CORPSE BRIDE HELENA BONHAM CARTER VICTORIA EVERGLOT EMILY WATSON NELL VAN DORT/HILDEGARDE TRACEY ULLMAN WILLIAM VAN DORT/MAYHEW/ PAUL THE HEAD WAITER PAUL WHITEHOUSE MAUDELINE EVERGLOT JOANNA LUMLEY FINIS EVERGLOT ALBERT FINNEY BARKIS BITTERN RICHARD E. GRANT PASTOR GALSWELLS CHRISTOPHER LEE ELDER GUTKNECHT MICHAEL GOUGH BLACK WIDOW SPIDER/MRS. PLUM JANE HORROCKS MAGGOT/TOWN CRIER ENN REITEL GENERAL BONESAPART DEEP ROY BONEJANGLES DANNY ELFMAN EMIL STEPHEN BALLANTYNE SOLEMN VILLAGE BOY LISA KAY

ANIMATION ANIMATION SUPERVISOR ANTHONY SCOTT

ANIMATORS PHIL DALE BRIAN DEMOSKOFF DREW LIGHTFOOT CHARLOTTE WORSAAE PETE DODD JO CHALKLEY MARK WARING ANTHONY FARQUHAR-SMITH MALCOLM LAMONT CHRIS STENNER BRAD SCHIFF TIM WATTS JASON STALMAN BRIAN HANSEN MATT PALMER CHRIS TICHBORNE TIM ALLEN TOBIAS FOURACRE TREY THOMAS JENS JONATHAN GULLIKSEN ANTONY ELWORTHY MIKE COTTEE STEFANO CASSINI CHRIS TOOTELL STAFF ASSISTANTS CAROLINE HAMANN OLIVER SMYTH 2D ANIMATORS MICHAEL SCHLINGMANN JORIS VAN HULZEN

STORY HEAD OF STORY JEFFREY LYNCH

STORYBOARD ARTISTS CHRIS BUTLER PATRICK COLLINS DEAN ROBERTS SHARON SMITH DAVID STOTEN TIM WATTS


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SCENE 183 - (CONTINUED)

ADDITIONAL STORYBOARD ARTISTS ALEX HILLKURTZ ANDREAS VON ANDRIAN ALBERTO MIELGO BRENDAN HOUGHTON MIKE CACHUELA MATT JONES

KAZ

STAFF ASSISTANT EMILY MANTELL CHARACTER DESIGNERS JORDI GRANGEL CARLES BURGES HUY VU

ART DEPARTMENT ART DEPARTMENT SUPERVISOR RODDY MACDONALD SET CONSTRUCTION PRODUCTION MANAGER JON MINCHIN LEAD PAINTERS FRANCESCA MAXWELL KATY CLARKE

PAINTERS TONY TRAVIS LAURA TREEN DANIELLE MULLINS

MODELLERS ANDY BAKER JAMES BARR STEVIE BETTLES ALICE BIRD MICK CHIPPINGTON MARK CORDORY CHARLES FLETCHER MIKE GOULD ANDREW HOWARD GREEN MARK GUNNING NICOLA HATCH CHRIS HEPPLE VALMA HIBLEN PENNY HOWARTH BARRY JONES OLIVER JONES CLARE KINROSS AMY MABIRE IAN MACCABE THECLA MALLINSON MARTIN MATTINGLEY CATHY MAZE STEVE MCCLURE CORMAC MCKEE ANGELA PANG WENDY PAYNE GAVIN RICHARDS STEVEN RILEY WILL SUMPTER HILARY UTTING SARAH WELLS TERRY WHITEHOUSE DAN WRIGHT ILLUSTRATORS CHRIS BAKER NEIL ROSS RESEARCHER PRISCILLA ELLIOTT DRAUGHTSMEN POPPY LUARD HANNAH MOSELEY GRAPHIC DESIGNER PAUL MCBRIDE CHARACTER COLORIST ANNIE ELVIN VISUAL DEVELOPMENT ARTISTS SIMÓN VARELA SEAN MATHIESEN LUC DESMARCHELIER STAFF ASSISTANTS CONOR O'GORMAN SAM PAGE KATY MOORE KOZACHIK

CAMERA DEPARTMENT

LIGHTING CAMERAMEN MELISSA BYERS JAMIE DANIELS STUART GALLOWAY MALCOLM HADLEY SIMON JACOBS JAMES LEWIS SIMON PAUL GRAHAM PETTIT PETER SORG

MARK STEWART CAMERA ASSISTANTS

RUPERT DAVIES MATT DAY CHRISTOPHE LEIGNEL BETH MACDONALD MARK NUTKINS GEOFF ROBBINS MARK SWAFFIELD CAROLINE WILSON MOCO SUPERVISOR ANDY BOWMAN MOCO TECHNICIAN ROBERTA TROUTON

LIGHTING CHIEF LIGHTING TECHNICIAN CLIVE SCOTT

ASSISTANT CHIEF LIGHTING TECHNICIANS DEAN FORD GARY WELCH AARON WALTERS DAVID GENGE ROBERT COLLINS TOM GUY ANDY GREEN ADAM MASLOWSKI EDGAR ALBERTO

PUPPETS MADE BY

MACKINNON AND SAUNDERS IAN MACKINNON PETER SAUNDERS


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PROJECT SUPERVISOR KAT ALIOSHIN LEAD SCULPTOR LEAD PAINT LEAD ARMATURE NOEL BAKER NICK ROBERSON GEORGINA HAYNS LEAD COSTUMES LEAD FOAM LEAD MOULD MICHELLE SCATTERGOOD BETHAN JONES BRIDGET SMITH LEAD FABRICATION LEAD SILICONE CHRISTINE KEOGH MARK THOMPSON

PUPPET MODELLERS MIKE ASQUITH EMILY AUSTEN COLIN BATTY CHRIS BOOTH FIONA BUNTING CARRIE CLARKE RUTH CURTIS MARK EVANS ANTHONY FALLOWS ANGELA FRANKHAM BEN GREENWOOD GRAEME HALL ANNE HALL JOE HOLMAN REBECCA HUNT CLARE JONES YEE-MEE LI COLIN MACKINNON ROBBIE MANNING SPENCER MARSDEN RICHARD MILES SARA MULLOCK MEGUMI OGO CORDELIA O'NEILL REBECCA REDHEAD GARETH RICHARDS SUSAN ROBSON JEREMY RYDER KEVIN SCILLITOE NICK SMALLEY RAMSDALE NEIL SUTCLIFFE STUART SUTCLIFFE AMANDA THOMAS EMMA TRIMBLE JOHN TURNBULL JUSTIN VIRDI CHRISTINE WALKER SIMON WHITE DAVID WHITING

ON SET PUPPET FABRICATION PUPPET FABRICATION SUPERVISOR GRAHAM G. MAIDEN PUPPET COORDINATOR LIBBY WATSON

PUPPET MODELLERS FIONA BARTY RICHARD BLAKEY DEBORAH COOK NIGEL CORNFORD GEORGIE EVERARD MICHELE GELORMINI JONATHAN GRIMSHAW MAGGIE HADEN JANET KNECHTEL THALIA LANE ANDY LEE LARA LODATO SHANNON O'NEILL RICHARD PICKERSGILL CAROLINE WALLACE

ADAM WRIGHT PAINTERS

ASTRIG AKSERALIAN JAMIE CARRUTHERS LUCY GRANNON ANGELA KIELY RICHARD JEFFERS JUNIOR MODELLERS GARY CHERRINGTON JOSEPH NOWAKOWSKI PUPPET WRANGLER DAN PASCALL JUNIOR PUPPET WRANGLER TREVOR POULSUM LEAD MODEL RIGGER ANDY GENT MODEL RIGGERS GARY FAULKNER DENIS RUSSO ARMATURES MERRICK CHENEY

PRODUCTION ASSISTANT TO PRODUCER JULES COLLINGS ASSISTANT TO DIRECTOR MARK MILLER PRODUCTION COORDINATORS VICTORIA BUGS HARTLEY FLEUR JAGO ANIMATION COORDINATOR PORTIA WILSON 2ND AD MIKE COLLEY 3RD AD JOE BARLOW ASSISTANT PRODUCTION COORDINATORS CHARLOTTE OWEN MICHELLE FRASER PRODUCTION COORDINATORS US SARAH FEELEY DALE A. SMITH

STAFF ASSISTANTS LUCY BRAITHWAITE ANDREA CARTER SHERRY COLLINS JOANNE EVANS EMMA LO GATTO MOLLY GILBERT JOANNE HUGHES TIM HUTTON MELANIE JONES NATHAN KERRY BEN MANTLE CHARLOTTE PATTEN KARYNA SANDER PAUL SPICER SIMON TATUM


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ACCOUNTS PRODUCTION ACCOUNTANT JEFFREY BROOM ASSISTANT PRODUCTION ACCOUNTANTS JEFFREY BRUCE JAMES BROOM

CASTING CASTING ASSOCIATE GABY KESTER US CASTING CONSULTANT RUTH LAMBERT

EDITORIAL 1ST ASSISTANT EDITORS RALPH FOSTER EMMA GAFFNEY CLAUS WEHLISCH 2ND ASSISTANT EDITOR CLAIRE DODGSON VFX EDITOR WILLIAM CAMPBELL ASSISTANT VFX EDITOR ALED ROBINSON DIGITAL CONFORM EDITOR THOMAS URBYE ASSISTANT EDITORS CARLOS DOMEQUE RICHARD OVERALL TRACK READER JANE HODGE

SOUND SOUND DESIGNERS MARTIN CANTWELL STEVE BOEDDEKER SUPERVISING SOUND EDITOR EDDY JOSEPH, MPSE DIALOGUE EDITORS TONY CURRIE COLIN RITCHIE, MPSE FOLEY SUPERVISOR HARRY BARNES FOLEY EDITOR SIMON CHASE ASSISTANT SOUND EDITOR DAVE MACKIE FOLEY MIXER PHILLIP BARRETT FOLEY ARTISTS PAUL HANK IAN WAGGOT PRODUCTION MIXERS SANDY BUCHANAN PAUL LANGWADE RUPERT COULSON RE-RECORDING MIXERS MICHAEL SEMANICK MIKE PRESTWOOD SMITH CHRIS BURDON MIX TECHS VINCENT COSSON DOUG COOPER PHILLIP MARK FREUDENFELD STEVE HANCOCK

SCORING SUPERVISING ORCHESTRATOR STEVE BARTEK ORCHESTRATIONS EDGARDO SIMONE DAVID SLONAKER SCORE CONDUCTED BY NICK INGMAN SCORE RECORDED AND MIXED BY DENNIS SANDS SUPERVISING MUSIC PROGRAMMER MARC MANN SCORE PROGRAMMER JAKE JACKSON MUSIC EDITORS MIKE HIGHAM SHIE ROZOW, MPSE ASSISTANT MUSIC EDITOR SAM SOUTHWICK

VFX VFX SUPERVISOR PETE KOZACHIK VFX CONSULTANT CHRIS WATTS DIGITAL GRADE SUPERVISOR BEGOÑA LOPEZ TECHNICAL SUPPORT STEWART ANDERSON MARTYN GEORGE SIDDIQUI NICK CANNON ROLAND WATSON


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DAVID LLOYD MARTIN WEAVER

IT DIGITAL SYSTEMS SUPERVISOR MARTIN PELHAM DIGITAL SYSTEMS ADMINISTRATOR JOSHUA MCABBAN DATA WRANGLERS RUPERT DAVIES MARTIN PENGELLY-PHILLIPS SARAH THOMPSON STAFF ASSISTANT CAROLINE ROWLANDS

POST PRODUCTION POST PRODUCTION SUPERVISOR JESSIE THIELE POST PRODUCTION COORDINATOR KATIE REYNOLDS ASSISTANT POST PRODUCTION COORDINATOR HOLLY THORNTON STAFF ASSISTANT NATASHA WESTLAKE

VISUAL EFFECTS BY THE MOVING PICTURE COMPANY

VFX SUPERVISOR JESSICA NORMAN CG SUPERVISOR PETER MUYZERS VISUAL EFFECTS PRODUCERS GIL JAMES LOREA HOYE VISUAL EFFECTS COORDINATOR JAMES PROSSER VFX EXECUTIVE PRODUCERS MICHAEL ELSON MARTIN HOBBS COMPOSITING SUPERVISORS SHEILA GORMAN DOUG LARMOUR

CG TEAM

PHILIP BORG ISABEL CODY ANDRE DE SOUZA ANDY FRASER NICOLAS SECK ROXANNE NEWSHAM NEIL ROCHE ALEXANDER SEAMAN MOHAMED 'MO' SOBHY PENN STEVENS JOERN WEISSPFENNIG

COMPOSITING TEAM

MURRAY BARBER JOLENE MCCAFFREY KIRSTY LAMB JUDY BARR ANDRE BRIZARD DELPHINE BURATTI LORAINE "LOLLY" COOPER VINCE GOODSELL KIM GORDON NIC HODGKINSON TOM KIMBERLEY NATALIE MACDONALD PHIL MAN SALIMA NEEDHAM DYLAN OWEN SCOTT PRITCHARD NORBERT RUF JIM RUSSELL DAVID SCOTT KIM STEVENSON MIQUEL UBEDA

ROTO/PREP TEAM GIUSEPPE TAGLIAVINI SERENA LAM QIAN HAN KAY HODDY SCOTT TAYLOR

DIGITAL FILM MASTERING BY THE MOVING PICTURE COMPANY

COLORIST MAX HORTON

SCORE AND SONGS PRODUCED BY DANNY ELFMAN

SOUNDTRACK ALBUM ON

WARNER SUNSET/WARNER BROS. RECORDS

"ACCORDING TO PLAN" MUSIC BY DANNY ELFMAN

LYRICS BY JOHN AUGUST AND DANNY ELFMAN PRODUCED BY DANNY ELFMAN

PERFORMED BY ALBERT FINNEY, JOANNA LUMLEY, TRACEY ULLMAN AND PAUL WHITEHOUSE

"REMAINS OF THE DAY" MUSIC AND LYRICS BY DANNY ELFMAN ADDITIONAL LYRICS BY JOHN AUGUST

PRODUCED BY DANNY ELFMAN PERFORMED BY DANNY ELFMAN, JANE HORROCKS, PAUL BAKER, ALISON JIEAR AND GARY MARTIN

"TEARS TO SHED"

MUSIC AND LYRICS BY DANNY ELFMAN ADDITIONAL LYRICS BY JOHN AUGUST

PRODUCED BY DANNY ELFMAN


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SCENE 183 - (CONTINUED) END CREDIT ROLL-UP ENDS. NARRATIVE TITLE FADES IN:

IN MEMORY OF JOE RANFT

NARRATIVE TITLE FADES OUT. ET #1 FADES IN:

A PATALEX II PRODUCTIONS

PRODUCTION ET #1 FADES OUT.

1140.06

PERFORMED BY HELENA BONHAM CARTER, JANE HORROCKS AND ENN REITEL

"TANNHAUSER: PILGRIM'S CHORUS" WRITTEN BY RICHARD WAGNER PERFORMED BY SIMON PRESTON

COURTESY OF DECCA MUSIC GROUP LIMITED UNDER LICENSE FROM UNIVERSAL MUSIC ENTERPRISES

"THE WEDDING SONG" MUSIC AND LYRICS BY DANNY ELFMAN

PRODUCED BY DANNY ELFMAN PERFORMED BY DANNY ELFMAN, JANE HORROCKS, PAUL BAKER, ALISON JIEAR AND GARY MARTIN

"TARA THEME"

WRITTEN BY MAX STEINER PRODUCTION CONSULTANTS POSTER PICTURES

MADE AT 3 MILLS STUDIOS, LONDON, ENGLAND

PRINT BY TECHNICOLOR ®

KODAK MOTION PICTURE PRODUCTS

FUJIFILM MOTION PICTURE PRODUCTS

DOLBY DIGITAL EX (LOGO) DTS DIGITAL (LOGO) SDDS (LOGO)

APPROVED #42021 (EMBLEM) MOTION PICTURE ASSOCIATION OF AMERICA

THIS MOTION PICTURE

© 2005 PATALEX II PRODUCTIONS LIMITED STORY AND SCREENPLAY

© 2005 WARNER BROS. ENTERTAINMENT INC. ORIGINAL SCORE

© 2005 WARNER-BARHAM MUSIC, LLC

ALL MATERIAL IS PROTECTED BY COPYRIGHT LAWS OF THE UNITED STATES AND ALL COUNTRIES THROUGHOUT THE WORLD. ALL RIGHTS RESERVED. COUNTRY OF FIRST PUBLICATION:

UNITED STATES OF AMERICA. PATALEX II PRODUCTIONS IS THE AUTHOR OF THIS MOTION PICTURE FOR PURPOSES OF COPYRIGHT AND OTHER LAWS. ANY UNAUTHORIZED EXHIBITION, DISTRIBUTION, OR

COPYING OF THIS FILM OR ANY PART THEREOF (INCLUDING SOUNDTRACK) IS AN INFRINGEMENT OF THE RELEVANT COPYRIGHT AND WILL SUBJECT THE

INFRINGER TO SEVERE CIVIL AND CRIMINAL PENALTIES.

THE STORY, ALL NAMES, CHARACTERS AND INCIDENTS PORTRAYED IN THIS PRODUCTION ARE FICTITIOUS. NO IDENTIFICATION WITH ACTUAL PERSONS, PLACES, BUILDINGS AND PRODUCTS

IS INTENDED OR SHOULD BE INFERRED.

5-75 1121.05 1128.05 7.00 NARRATIVE TITLE IN MEMORY OF JOE RANFT (Note that this is the film's

dedication)


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FADE IN: SCENE 184 - WARNER BROS. LOGO:

Distributed by

WB WARNER BROS. PICTURES A Time Warner Company www.warnerbros.com

LOGO FADES OUT.

1149.06


END OF REEL 5AB

END OF FILM

FINAL


END OF REEL 5AB

END OF FILM

FINAL

corpse bride - tenders.procurement.gov.ge

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