5987 lines
190 KiB
Plaintext
5987 lines
190 KiB
Plaintext
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BEAUTY AND THE BEAST
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Written by
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Stephen Chbosky & Evan Spiliotopoulos
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Based on the 1991 Animated Film
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"Beauty and the Beast"
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Screenplay by Linda Woolverton
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August 10, 2016
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1 EXT. CASTLE GROUNDS - NIGHT 1
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A MAGNIFICENT CASTLE. Resplendent, bespeaking great wealth and
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power. The grounds and stonework immaculate.
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NARRATOR (V.O.)
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Once upon a time in the hidden heart of
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France, a handsome young Prince lived in
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a beautiful castle...
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RACK FOCUS to a single RED ROSE clinging to a rose bush on a
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stormy spring night. A WEATHERED HAND plucks the rose.
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NARRATOR (V.O.)
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Although he had everything his heart
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desired, the Prince was selfish and
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unkind.
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2 INT. BALLROOM ENTRANCE - CASTLE - NIGHT 2
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TIGHT ON THE PRINCE being groomed by his servants. (We do not
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see their faces.) A FRENCH MAID paints an exotic animal mask
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on the Prince's face with a feather brush. A TALL VALET drapes
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the Prince with an elaborately bejeweled coat.
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NARRATOR (V.O.)
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He taxed the village to fill his
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castle with the most beautiful
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objects...
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The MAID dusts his wig with powder -
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MAID
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Poof poof...
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- while a MAJORDOMO holds a POCKET WATCH, indicating that they
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are running late.
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MAJORDOMO
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Master, it's time.
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With a haughty wave, the Prince instructs his FOOTMAN to
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bring more light.
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FOOTMAN
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Oui, maître.
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A CANDELABRA is lifted to the preening Prince as he looks at
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himself in an ornate HAND MIRROR.
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NARRATOR (V.O.)
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... and his parties with the most
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beautiful people.
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2.
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3 INT. BALLROOM - CASTLE - NIGHT 3
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The ornate room is filled with BEAUTIFUL PEOPLE from all
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corners of the world, each on display for the Prince's
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pleasure. A circle of eligible maidens bow their heads.
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Seated in a throne chair dominated by a majestic COAT OF
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ARMS, the Prince snaps his fingers impatiently at an ITALIAN
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MAESTRO, who smiles, revealing comically rotten teeth.
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The maestro sits at a harpsichord and motions to his wife, a
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LARGE DIVA holding a TINY BICHON FRISÉ. As the music begins,
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the Prince steps forward.
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The diva fills the room with a voice as big as her frame.
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The Prince performs a ROUNDELAY with several debutantes:
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DIVA
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Oh how divine
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Glamour, music and magic combine
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See the maidens so anxious to shine
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Look for a sign that enhances
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Chances
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She'll be his special one
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5 INT. BALLROOM - CASTLE - NIGHT 5
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The dance speeds up. The Prince connects momentarily with a
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beautiful woman -- but quickly moves on when his eye catches
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someone even more dazzling:
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DIVA
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What a display!
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What a breathtaking thrilling array
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(coos to the dog)
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Every prince, every dog has his day
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Let us sing with passion, gusto
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Fit to bust - oh
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Not a care in the world
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KNOCK KNOCK. The Prince stops. Then a gust of wind blows open
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the windows. Sconces flicker and go dark. The figure enters
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in silhouette, hobbling on a CANE.
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Furious, the Prince grabs a lit candelabra from the Footman.
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He rudely pushes through the crowd, sweeping people from his
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path. He crosses to the windows, finally revealing --
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AN OLD BEGGAR WOMAN shivering from the rain. She looks to the
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Prince with hope and offers him -- A RED ROSE.
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NARRATOR (V.O.)
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Then, one night, an unexpected intruder
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arrived at the castle, seeking shelter
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from the bitter storm. As a gift, she
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offered the Prince a single rose.
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3.
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The PRINCE'S HAND waves her off. The woman begs on her knees.
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The Prince motions to the staff.
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NARRATOR (V.O.)
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Repulsed by her haggard appearance, the
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Prince turned the woman away. But she
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warned him not to be deceived by
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appearances, for beauty is found within.
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The majordomo and footman approach to usher her out. The woman
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lowers her head as if to cry --
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NARRATOR (V.O.)
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And when he dismissed her again, the old
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woman's outward appearance melted away
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to reveal...
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Suddenly, the old woman's cape and hood cocoon. AN ERUPTION OF
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LIGHT as she transforms into...
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NARRATOR (V.O.)
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...a beautiful Enchantress.
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The wind picks up inside the room. Frightened, the Prince
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falls to his knees.
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NARRATOR (V.O.)
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The Prince tried to apologize but it
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was too late. For she had seen that
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there was no love in his heart.
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As the Prince begs for mercy, his body begins to transform.
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His jewelry pops off. His clothing rips as he grows larger.
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NARRATOR (V.O.)
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As punishment, she transformed him
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into a hideous beast...
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The guests scream in horror and flee. But pushing his way
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through the crowd, A YOUNG BOY slips into the ballroom,
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watching in wonder as -- the PRINCE'S SHADOW twists into the
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SHADOW OF A HIDEOUS BEAST.
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The boy's mother frantically follows him inside --
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BOY'S MOTHER
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Chip! Chip! Oh my...
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-- just as the doors slam shut, leaving the staff, the
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entertainers and the dog trapped in the room.
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NARRATOR (V.O.)
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... and placed a powerful spell on the
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castle and all who lived there.
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4.
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5A INT. BALLROOM - CASTLE - NIGHT 5A
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CLOSE ON a portrait of the handsome prince -- as the beast's
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giant paw slashes it.
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6 EXT. CASTLE - NIGHT 6
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Years later, the enchanted castle stands isolated. The
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property is surrounded by an ice hedge. The only sound is the
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grim winter wind. As we move closer:
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NARRATOR (V.O.)
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As days bled into years, the Prince
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and his servants were forgotten by the
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world. For the Enchantress had erased
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all memory of them from the minds of
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the people they loved.
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7 EXT./INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 7
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At the highest window of the west wing, we see THE BEAST. The
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ROSE, already wilting, floats before him. To protect it, the
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beast has covered it with a glass bell jar.
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NARRATOR (V.O.)
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But the rose she had offered was truly
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an enchanted rose. If he could learn to
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love another and earn their love in
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return by the time the last petal fell,
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the spell would be broken. If not, he
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would be doomed to remain a beast for
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all time.
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TIGHT ON THE ROSE -- another petal drops.
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NARRATOR (V.O.)
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As the years passed, he fell into
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despair and lost all hope. For who
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could ever learn to love a beast?
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8 EXT. BELLE'S COTTAGE - MORNING 8
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The front door of a cozy cottage opens to reveal -- BELLE, a
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pure beauty blessed with intelligent, fiercely inquisitive eyes.
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With book in hand, she takes a deep breath of morning air and
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gazes toward the church which peeks above the village rooftops.
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BELLE
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Little town, it's a quiet village
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Every day like the one before
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Little town full of little people
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Waking up to say...
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Belle looks at the clock on the church counting to 8am. Wait
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for it. 3. 2. 1.
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5.
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9 EXT. VILLAGE OF VILLENEUVE - MORNING 9
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On cue, the villagers begin their day. A HOUSEWIFE opens a
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window, nods to a WOMAN shaking out a rug nearby. A BUTCHER
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opens his shop, waves to a COBBLER moving past with his cart.
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VILLAGERS
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Bonjour. Bonjour. Bonjour. Bonjour.
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An old VAGRANT is the only one to notice Belle, smiling at her
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as he's tossed inside a HOLDING TANK by two GENDARMES.
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VAGRANT
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Bonjour.
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Belle weaves between the villagers, making herself invisible.
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She passes a harried BAKER, buys a baguette --
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BELLE
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There goes the baker with his tray like
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always
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The same old bread and rolls to sell
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Belle approaches JEAN, the potter, tending to his MULE.
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BELLE (CONT'D)
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Every morning just the same
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Since the morning that we came
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To this poor provincial town
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JEAN
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Good morning, Belle
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Jean scratches his head, trying to remember something. He
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searches his cart which is loaded with pottery.
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BELLE
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Good morning, Monsieur Jean. Have you
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lost something again?
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JEAN
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I believe I have. Problem is, I can't
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remember what. Well, I'm sure it will
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come to me.
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As she leaves:
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JEAN (CONT'D)
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Where are you off to?
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BELLE
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To return this book to Pere Robert.
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It's about two lovers in fair Verona.
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JEAN
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Sounds boring.
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6.
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Later -- Belle passes SCHOOL BOYS as they march into the school
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house. Their heads turn in unison.
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SCHOOL BOYS
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Look there she goes
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That girl is strange, no question
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The NASTY HEADMASTER ushers them in impatiently.
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NASTY HEADMASTER
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Dazed and distracted, can't you tell?
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As the boys scramble into school, Belle steps on the stones
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over the duck pond -- revealing GIRLS forced into "woman's
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work" chores, washing clothes in the circular laverie.
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They're surrounded by women kneading clothes on barrels.
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WASHER WOMEN
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Never part of any crowd
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`Cause her head's up on some cloud
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LITTLE GIRLS
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No denying she's a funny girl
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That Belle
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A FLIRTATIOUS FARMER approaches a PRETTY FISHMONGER'S WIFE.
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FARMER
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Bonjour, good day, how is your family?
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PRETTY FISHMONGER'S WIFE
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(pointed)
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Bonjour, good day, how is your wife?
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THE FISHMONGER pops up next to his wife, sending the would-be-
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Lothario into retreat. Another fishmonger, the shrewish
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CLOTHILDE, accosts him:
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CLOTHILDE
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I need six eggs
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The FARMER points out the price. Belle moves past.
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CLOTHILDE (CONT'D)
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That's too expensive
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BELLE
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There must be more than this provincial
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life
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10 INT. CHURCH VESTRY - DAY 10
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Belle escapes into the peace and serenity of a country
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church. Jolly PERE ROBERT looks up as she enters.
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7.
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PERE ROBERT
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Well! If it isn't the only bookworm
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in town. So where did you run off to
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this week?
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BELLE
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Two cities in Northern Italy. I
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didn't want to come back.
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Belle hands "Romeo and Juliet" to Pere Robert, who dutifully
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returns it to the shelves of the town's "library": a COUPLE
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DOZEN BOOKS in total. She remains hopeful.
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BELLE (CONT'D)
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Have you got any new places to go?
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PERE ROBERT
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I'm afraid not. But you may reread
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any of the old ones that you'd like.
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BELLE
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Thank you, Pere Robert. Your library
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almost makes our small corner of the
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world feel big.
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He smiles. Belle picks up a new book and smiles back.
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PERE ROBERT
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Bon voyage.
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11 EXT. VILLAGE OF VILLENEUVE - DAY 11
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ANGLE ON BELLE -- nose planted in her book, she walks down
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into the crowded market which is just being set up. Belle
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passes TOM, DICK, and STANLEY - all burly, tough guys.
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TOM, DICK & STANLEY
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Look -- there she goes
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The girl is so peculiar
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Belle buys jam then glides past an APOTHECARY's open cart:
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APOTHECARY
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I wonder if she's feeling well
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Belle ducks under CHEESE SELLERS carrying their trays:
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CHEESE SELLERS
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With a dreamy far-off look
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And her nose stuck in a book
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What a puzzle to the rest of us
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Is Belle
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Behind her, FLORISTS pass with huge bouquets. It's a glorious
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parade but Belle remains oblivious as she continues to read...
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8.
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BELLE
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Oh... isn't this amazing?
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It's my favorite part because you'll see
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Here's where she meets Prince Charming
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But she won't discover that it's him
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`Til chapter three
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Three fashion-crazed VILLAGE LASSES -- all dressed in the same
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style -- pop their heads from the windows of the dress shop.
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Their MOTHER, who is besotted with Belle, heads outside when
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she sees her:
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VILLAGE LASSES' MOTHER
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Now it's no wonder that her name means
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"Beauty"
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Her looks have got no parallel
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Her daughters follow, seething with jealousy:
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VILLAGE LASS #1
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But behind that fair facade
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I'm afraid she's rather odd
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VILLAGE LASSES' MOTHER
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(greets Belle)
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Very different from the rest of us
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VILLAGE LASSES
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She's nothing like the rest of us
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Yes, different from the rest of us
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Belle slips through the crowd.
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VILLAGERS
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Is Belle
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11A EXT. VILLAGE PROMONTORY - DAY 11A
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Looking down on the village is GASTON, a dashingly handsome
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war hero clad in a dazzling gold breastplate. The only thing
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bigger than his muscles is his ego. Strapped on his saddle
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is a musket and the spoils of his hunt: rabbit, fox, and
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fowl. Riding beside him is Gaston's long-suffering aide-de-
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camp and devoted best friend LEFOU.
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Through his spyglass, Gaston spots Belle.
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GASTON
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Look at her, LeFou. My future wife.
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Belle is the most beautiful girl in
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the village. That makes her the best.
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LEFOU
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But she's so well-read, and you're
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so...
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(about to say "not")
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Athletically inclined.
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9.
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|
|
||
|
GASTON
|
||
|
I know. Belle can be as argumentative
|
||
|
as she is beautiful.
|
||
|
|
||
|
LEFOU
|
||
|
Exactly, who needs her, when you've
|
||
|
got us!
|
||
|
|
||
|
GASTON
|
||
|
Yes, but ever since the war I've been
|
||
|
missing something. And she's the only
|
||
|
girl I've met who gives me that sense
|
||
|
of...
|
||
|
|
||
|
LEFOU
|
||
|
Je ne sais quoi?
|
||
|
|
||
|
GASTON
|
||
|
I don't know what that means.
|
||
|
|
||
|
|
||
|
EXT. VILLAGE OF VILLENEUVE - DAY
|
||
|
|
||
|
Gaston and LeFou ride through the village gates. Gaston
|
||
|
motions toward Belle in the village square. Geese flock
|
||
|
around her feet, seeming to follow her.
|
||
|
|
||
|
GASTON
|
||
|
(singing)
|
||
|
Right from the moment when I met her,
|
||
|
saw her
|
||
|
I said she's gorgeous and I fell
|
||
|
Here in town there's only she
|
||
|
Who is beautiful as me
|
||
|
So I'm making plans to woo and marry
|
||
|
Belle
|
||
|
|
||
|
As Gaston passes, the lasses try to catch his eye.
|
||
|
|
||
|
VILLAGE LASSES
|
||
|
Look there he goes, isn't he dreamy
|
||
|
Monsieur Gaston, oh he's so cute
|
||
|
Be still my heart I'm hardly breathing
|
||
|
He's such a tall, dark, strong and
|
||
|
handsome brute
|
||
|
|
||
|
As Gaston dismounts, the lasses get splattered with mud from
|
||
|
his horse's hooves. LeFou shoots them a look, whispers:
|
||
|
|
||
|
LEFOU
|
||
|
It's never gonna happen, ladies.
|
||
|
|
||
|
Noticing Belle crossing the market, Gaston starts off in
|
||
|
pursuit. He grabs flowers from the PERFUME STALL and makes a
|
||
|
bouquet. As they each make their way through the market:
|
||
|
|
||
|
WASHER WOMEN #1, 2, 3 GASTON
|
||
|
Bonjour! Pardon!
|
||
|
10.
|
||
|
|
||
|
|
||
|
BELLE BARMAID
|
||
|
Good day. Mais oui!
|
||
|
|
||
|
TOM HOUSEWIFE #1
|
||
|
You call this bacon? What lovely flowers!
|
||
|
|
||
|
CHEESEMAKER #2 WOOD CARRIER
|
||
|
Some cheese... ...Ten yards!
|
||
|
|
||
|
BREAD BUYER GASTON
|
||
|
...One pound. `Scuse me!
|
||
|
|
||
|
CHEESEMAKER #1 GASTON (CONT'D)
|
||
|
I'll get the knife. Please let me through!
|
||
|
|
||
|
JAM SELLER COBBLER
|
||
|
This bread... Those fish...
|
||
|
|
||
|
JAM SELLER COBBLER (CONT'D)
|
||
|
It's stale! They smell!
|
||
|
|
||
|
BELLE GASTON
|
||
|
There must be more than this Just watch -- I'm going to
|
||
|
provincial life! make Belle my wife!
|
||
|
|
||
|
The image swells to reveal the whole village, singing.
|
||
|
|
||
|
ALL
|
||
|
Look there she goes a girl who's
|
||
|
Strange but special
|
||
|
A most peculiar mademoiselle
|
||
|
It's a pity and a sin
|
||
|
She doesn't quite fit in!
|
||
|
|
||
|
VILLAGE LASSES
|
||
|
But she really is a funny girl
|
||
|
|
||
|
VILLAGE MEN
|
||
|
A beauty but a funny girl
|
||
|
|
||
|
ALL
|
||
|
She really is a funny girl that Belle!
|
||
|
|
||
|
Slightly out of breath, Gaston finally catches up with Belle.
|
||
|
|
||
|
GASTON
|
||
|
Good morning, Belle! Wonderful book you
|
||
|
have there.
|
||
|
|
||
|
BELLE
|
||
|
You've read it?
|
||
|
|
||
|
GASTON
|
||
|
Well, not that one. But, you know.
|
||
|
Books.
|
||
|
(hands her the flowers)
|
||
|
For your dinner table. Shall I join you
|
||
|
this evening?
|
||
|
11.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
Sorry, not tonight.
|
||
|
|
||
|
GASTON
|
||
|
Busy?
|
||
|
|
||
|
BELLE
|
||
|
No.
|
||
|
|
||
|
A mortified smile and Belle is off. LeFou approaches.
|
||
|
|
||
|
LEFOU
|
||
|
So. Moving on?
|
||
|
|
||
|
GASTON
|
||
|
No, LeFou. It's the ones who play
|
||
|
hard to get that are always the
|
||
|
sweetest prey.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
That's what makes Belle so appealing.
|
||
|
She hasn't made a fool of herself just
|
||
|
to gain my favor. What would you call
|
||
|
that?
|
||
|
|
||
|
LEFOU
|
||
|
Dignity?
|
||
|
|
||
|
GASTON
|
||
|
It's outrageously attractive, isn't
|
||
|
it?
|
||
|
|
||
|
Gaston looks at the village lasses standing outside of the
|
||
|
tavern. They all give him the eye. Gaston saunters over.
|
||
|
|
||
|
12 EXT. BELLE'S COTTAGE - DAY 12
|
||
|
|
||
|
Belle hears the tinkle of a sweet MUSIC BOX tune wafting out of
|
||
|
her father's basement workshop.
|
||
|
|
||
|
13 INT. CELLAR WORK ROOM - BELLE'S COTTAGE - DAY 13
|
||
|
|
||
|
Belle descends into to her father's dusty work room. Sunlight
|
||
|
spotlights MAURICE hunched over his workspace. Belle quietly
|
||
|
watches as he sings along with the music box theme.
|
||
|
|
||
|
MAURICE
|
||
|
How does a moment last forever?
|
||
|
How can a story never die?
|
||
|
It is love we must hold on to
|
||
|
Never easy -- but we try
|
||
|
|
||
|
Maurice tinkers with gears on the box, which depicts an artist
|
||
|
in a Parisian garret, painting his wife's portrait as she holds
|
||
|
a red rose above their baby.
|
||
|
12.
|
||
|
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Sometimes our happiness is captured
|
||
|
Somehow a time and place stand still
|
||
|
Love lives on inside our hearts
|
||
|
And always will
|
||
|
(seeing Belle)
|
||
|
Oh, good, Belle, you're back. Can you
|
||
|
please hand me the --
|
||
|
|
||
|
Before he can say the word "screwdriver" it's in his hand.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
And the --
|
||
|
|
||
|
Tweezers. Then Belle hands him a small hammer...
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
No no I don't need --
|
||
|
|
||
|
... just as a spring pops off.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Actually yes, that's exactly what I
|
||
|
need.
|
||
|
|
||
|
He goes back to tinkering. Belle gazes at other music boxes,
|
||
|
each a small work of art, depicting famous landmarks from
|
||
|
around the world.
|
||
|
|
||
|
BELLE
|
||
|
Papa, do you think I'm odd?
|
||
|
|
||
|
MAURICE
|
||
|
My daughter? Odd? Where did you get
|
||
|
an idea like that?
|
||
|
|
||
|
BELLE
|
||
|
I don't know. People talk.
|
||
|
|
||
|
MAURICE
|
||
|
Oh. People. This village may be
|
||
|
small, small-minded even, but small
|
||
|
also means safe.
|
||
|
|
||
|
Maurice can see this line of argument doesn't do much for his
|
||
|
daughter.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Even back in Paris, I knew a girl who
|
||
|
was so different, so daring, so ahead
|
||
|
of her time that people mocked her
|
||
|
until the day they found themselves
|
||
|
imitating her.
|
||
|
|
||
|
BELLE
|
||
|
Just tell me one more thing about her.
|
||
|
13.
|
||
|
|
||
|
|
||
|
Maurice turns to the music box as if to change the subject.
|
||
|
But looking back up to Belle's eagerness, he relents.
|
||
|
|
||
|
MAURICE
|
||
|
Your mother was... fearless.
|
||
|
Fearless.
|
||
|
|
||
|
With that, Maurice closes his music box.
|
||
|
|
||
|
14 EXT. BELLE'S COTTAGE - DAY 14
|
||
|
|
||
|
As Maurice carefully loads his music boxes onto his wagon,
|
||
|
Belle tends to the family's old glue horse, PHILIPPE.
|
||
|
|
||
|
Maurice climbs into the wagon, and smiles down at his
|
||
|
daughter.
|
||
|
|
||
|
MAURICE
|
||
|
What would you like me to bring you from
|
||
|
the market?
|
||
|
|
||
|
BELLE
|
||
|
A rose like the one in the painting.
|
||
|
|
||
|
MAURICE
|
||
|
You ask for that every year.
|
||
|
|
||
|
BELLE
|
||
|
And every year, you bring it.
|
||
|
|
||
|
MAURICE
|
||
|
Then I shall bring you another. You
|
||
|
have my word. Come on, Philippe!
|
||
|
|
||
|
BELLE
|
||
|
I'll see you tomorrow!
|
||
|
|
||
|
MAURICE
|
||
|
Tomorrow! With the rose!
|
||
|
|
||
|
As Maurice rides away, Belle's warmth gives way to concern.
|
||
|
|
||
|
BELLE
|
||
|
(to herself)
|
||
|
Stay safe...
|
||
|
|
||
|
14A INT. BELLE'S COTTAGE - TACKROOM - DAY 14A
|
||
|
|
||
|
Surrounded by design sketches, Belle's workbench features a
|
||
|
small model of her `washing machine' prototype. Belle places
|
||
|
the miniature barrel in position... fastens a rope to a
|
||
|
leather strap... shaves chips off a block of soap... collects
|
||
|
the soap chips in a small sack... and rushes out.
|
||
|
|
||
|
15 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY 15
|
||
|
|
||
|
A young WASHER GIRL watches as --
|
||
|
14.
|
||
|
|
||
|
|
||
|
Belle tosses clothes and some soap chips into an empty BARREL
|
||
|
and rolls it into the fountain! It bobs on its side. Tying the
|
||
|
other end of the strap to the mule's harness, she sets him
|
||
|
walking around the circular laverie...
|
||
|
|
||
|
WASHER GIRL
|
||
|
What are you doing?
|
||
|
|
||
|
BELLE
|
||
|
The laundry.
|
||
|
|
||
|
With a smile, Belle points to the rotating barrel, which now
|
||
|
resembles a very early Whirlpool washing machine. Belle takes
|
||
|
her book and quietly begins to read. After a moment, she looks
|
||
|
up to find the washer girl staring at her, speechless.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Come!
|
||
|
|
||
|
Belle waves for the girl to join her.
|
||
|
|
||
|
16 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY (LATER) 16
|
||
|
|
||
|
The NASTY HEADMASTER emerges from the school house to see --
|
||
|
|
||
|
The barrel is now filled with sudsy clothes. Belle is sitting
|
||
|
with the washer girl. She holds a book open, teaching the girl
|
||
|
to read.
|
||
|
|
||
|
WASHER GIRL
|
||
|
(struggling)
|
||
|
The blue bird flies...
|
||
|
|
||
|
BELLE
|
||
|
...over the dark wood.
|
||
|
|
||
|
NASTY HEADMASTER
|
||
|
What on earth are you doing?
|
||
|
|
||
|
He is joined by the fishmonger CLOTHILDE, outraged.
|
||
|
|
||
|
NASTY HEADMASTER (CONT'D)
|
||
|
Teaching another girl to read? Isn't
|
||
|
one enough?
|
||
|
|
||
|
Belle locks eyes with the headmaster, then turns back to the
|
||
|
girl. The headmaster seethes.
|
||
|
|
||
|
CLOTHILDE
|
||
|
We have to do something.
|
||
|
|
||
|
18 EXT. VILLAGE OF VILLENEUVE - LAVERIE - DAY (LATER) 18
|
||
|
|
||
|
Belle's washing machine is hauled out of the laverie and
|
||
|
dumped onto the ground. She collects her laundry from the
|
||
|
dirt, trying to remain poised before the gawking crowd.
|
||
|
15.
|
||
|
|
||
|
|
||
|
17 EXT. VILLAGE OF VILLENEUVE - DAY (LATER) 17
|
||
|
|
||
|
Gaston shakes his head and laughs, absolutely smitten.
|
||
|
|
||
|
GASTON
|
||
|
You are the wildest, most beautiful
|
||
|
thing I've ever seen. No one deserves
|
||
|
you, but at least I know our children
|
||
|
will be beautiful.
|
||
|
|
||
|
A reverse angle reveals Gaston was addressing his reflection
|
||
|
in a shop window.
|
||
|
|
||
|
LEFOU (O.S.)
|
||
|
Am I catching you at a bad time?
|
||
|
|
||
|
GASTON
|
||
|
What is it, LeFou?
|
||
|
|
||
|
LEFOU
|
||
|
A certain damsel is in distress.
|
||
|
|
||
|
GASTON
|
||
|
Oh well. It's hero time.
|
||
|
(to his reflection)
|
||
|
I'm not done with you yet.
|
||
|
|
||
|
And he's off. LeFou steps up to the mirror.
|
||
|
|
||
|
LEFOU
|
||
|
Me neither.
|
||
|
|
||
|
19 EXT. BELLE'S COTTAGE - DAY (LATER) 19
|
||
|
|
||
|
Gaston follows Belle back to her cottage.
|
||
|
|
||
|
GASTON
|
||
|
Belle! Heard you had a little trouble
|
||
|
with the headmaster. He never liked
|
||
|
me, either. Can I give you a little
|
||
|
advice about the villagers, though?
|
||
|
They're never going to trust the kind
|
||
|
of change we're trying to bring.
|
||
|
|
||
|
Pursuing her into her garden, he trampling cabbages.
|
||
|
|
||
|
BELLE
|
||
|
All I wanted was to teach a child to
|
||
|
read.
|
||
|
|
||
|
GASTON
|
||
|
The only children you should concern
|
||
|
yourself with are... your own.
|
||
|
|
||
|
Belle looks for a way out. She doesn't like where this is
|
||
|
going.
|
||
|
16.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
I'm not ready to have children.
|
||
|
|
||
|
GASTON
|
||
|
Maybe you haven't met the right man.
|
||
|
|
||
|
BELLE
|
||
|
It's a small village, Gaston. I've
|
||
|
met them all.
|
||
|
|
||
|
GASTON
|
||
|
Maybe you should take another look.
|
||
|
Some of us have changed.
|
||
|
|
||
|
She climbs the steps to her cottage door. Gaston follows
|
||
|
close behind.
|
||
|
|
||
|
BELLE
|
||
|
Gaston, we could never make each other
|
||
|
happy. No one can change that much.
|
||
|
|
||
|
GASTON
|
||
|
Belle, do you know what happens to
|
||
|
spinsters in our village after their
|
||
|
fathers die?
|
||
|
|
||
|
Gaston motions to the street, where we find AGATHE, a
|
||
|
spinster, late 30's, dirty and homeless, rattling her cup:
|
||
|
"alms for the poor?"
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
They beg for scraps, like poor Agathe.
|
||
|
This is our world, Belle. For simple
|
||
|
folk like us, it doesn't get any better.
|
||
|
|
||
|
BELLE
|
||
|
I might be a farm girl, but I'm not
|
||
|
simple. I'm sorry, but I will never
|
||
|
marry you, Gaston.
|
||
|
|
||
|
Gaston keeps the gallant smile plastered as she shuts the door
|
||
|
in his face.
|
||
|
|
||
|
20 EXT. BELLE'S COTTAGE - SUNSET 20
|
||
|
|
||
|
Belle watches Gaston leave. She opens the door.
|
||
|
|
||
|
BELLE
|
||
|
Can you imagine? Me, the wife of that
|
||
|
boorish, brainless...
|
||
|
|
||
|
She turns away from the home she thinks she will never
|
||
|
escape.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Madame Gaston, can't you just see it
|
||
|
Madame Gaston, his little wife
|
||
|
No sir, not me, I guarantee it
|
||
|
(MORE)
|
||
|
17.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
I want much more than this
|
||
|
Provincial life...
|
||
|
|
||
|
21 EXT. VILLAGE PROMONTORY - SUNSET 21
|
||
|
|
||
|
Belle races up the hills to the outskirts of town. When she
|
||
|
reaches the highest point, we circle around to reveal the town
|
||
|
spread out beneath her.
|
||
|
|
||
|
BELLE
|
||
|
I want adventure in the great wide
|
||
|
somewhere
|
||
|
I want it more than I can tell
|
||
|
And for once it might be grand
|
||
|
To have someone understand
|
||
|
I want so much more than
|
||
|
They've got planned
|
||
|
|
||
|
As the last rays of light fade we RISE to reveal a forest in the
|
||
|
|
||
|
distance, where the skies begin to rage. A swirling wind and a
|
||
|
streak of...
|
||
|
|
||
|
22 EXT. WOODS - EVENING 22
|
||
|
|
||
|
Lightning. The sky flashes. The wind picks up. Worried,
|
||
|
Maurice urges Philippe on.
|
||
|
|
||
|
MAURICE
|
||
|
The woods are lovely, aren't they
|
||
|
Philippe...? I only wish I recognized
|
||
|
them. Do you know where we are?
|
||
|
Because I don't.
|
||
|
|
||
|
As the woods get darker, a WITHERED TREE that looks like an
|
||
|
ELDERLY PERSON'S CANE is struck by lightning.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Whoa!
|
||
|
|
||
|
The tree splits in two, one half falling into the road,
|
||
|
revealing... a HIDDEN PATH. Philippe whinnies nervously.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Hmm... yes, we can go this way. Walk
|
||
|
on! One path closes, another one
|
||
|
opens.
|
||
|
|
||
|
They leave the blocked road and head down the path. Maurice
|
||
|
looks down to see a light snow cover on the ground. Philippe
|
||
|
snorts.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
It's all right boy, it's just a bit of
|
||
|
snow... in June.
|
||
|
|
||
|
And they descend into --
|
||
|
18.
|
||
|
|
||
|
|
||
|
23 EXT. ENCHANTED WOODS - EVENING 23
|
||
|
|
||
|
We have entered another world. A light, whirling snow
|
||
|
descends on Maurice, dusting his coat. The clippity-clop of
|
||
|
hooves echo in stillness.
|
||
|
|
||
|
Suddenly, A WHITE WOLF roars out of the bushes, barely missing
|
||
|
them. Gaze darting, Maurice notices WHITE WOLVES running on an
|
||
|
icy ledge above him. The wolves keep pace, massing to overrun
|
||
|
him.
|
||
|
|
||
|
MAURICE
|
||
|
Go, Philippe! Hurry!
|
||
|
|
||
|
Maurice urges his horse on, but his rickety cart starts to
|
||
|
buckle. A HARNESS IS LOOSE.
|
||
|
|
||
|
The wolves leap in front of the cart, which comes undone,
|
||
|
tipping over on its side. The chest of music boxes smashes open
|
||
|
on the ground. Maurice is launched up onto a ridge -- and finds
|
||
|
himself face-to-face with the snarling and scarred ALPHA WOLF.
|
||
|
|
||
|
Terrified, Maurice turns and begins sliding down the snowy ridge
|
||
|
|
||
|
-- towards a trio of wolves waiting below.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Philippe!
|
||
|
|
||
|
As Maurice drops from the ridge, Philippe appears beneath him --
|
||
|
|
||
|
and Maurice lands on his back!
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Go! Go!
|
||
|
|
||
|
Philippe rides. PAWS crush twigs -- SLAVERING JAWS -- EYES mad
|
||
|
with hunger -- a gleam of FANGS -- Philippe gallops. Maurice
|
||
|
races toward the CASTLE ICE GATES -- which churn open as the
|
||
|
wolves draw near.
|
||
|
|
||
|
Maurice and Philippe speed through the gates as the wolves skid
|
||
|
to a stop, their HOWLS turning to YELPS OF FEAR.
|
||
|
|
||
|
24 EXT. CASTLE GROUNDS - EVENING 24
|
||
|
|
||
|
Maurice stares in open-mouth awe at THE BEAST'S CASTLE. A grey
|
||
|
edifice seemingly growing out of stone and reaching to troubled
|
||
|
skies. It feels like a place hiding its face from the world.
|
||
|
|
||
|
MAURICE
|
||
|
(to Philippe)
|
||
|
Oh Philippe, you saved my life...
|
||
|
They'll have to get their dinner
|
||
|
somewhere else.
|
||
|
|
||
|
ANGLE ON MAURICE -- as he draws near the castle, he notices a
|
||
|
colonnade filled with WHITE ROSE BUSHES. Just beyond, he sees
|
||
|
the door to the STABLES swinging in the wind. A LAMP has been
|
||
|
lit inside. As if inviting a tired traveler.
|
||
|
19.
|
||
|
|
||
|
|
||
|
Maurice strokes Philippe's neck.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Water, fresh hay. Looks like you're
|
||
|
set, old friend. Rest here...
|
||
|
|
||
|
Warily, Maurice peers out at the intimidating castle.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
While I pay my respects to our unwitting
|
||
|
host... whoever that may be...
|
||
|
|
||
|
He leaves. Philippe stares uneasily at a statue of a horse.
|
||
|
|
||
|
25 EXT. TERRACE - CASTLE - EVENING 25
|
||
|
|
||
|
Cautiously, Maurice approaches the castle door. He gazes up at
|
||
|
a row of TORCHES held by sculpted iron hands. The hands are so
|
||
|
life-like, does a double-take.
|
||
|
|
||
|
MAURICE
|
||
|
Hm.
|
||
|
|
||
|
Then --
|
||
|
|
||
|
26 INT. FOYER - CASTLE - NIGHT 26
|
||
|
|
||
|
-- the DOOR OPENS with a creak. Maurice peers in.
|
||
|
|
||
|
MAURICE
|
||
|
Hello? Anyone home?
|
||
|
|
||
|
Silence. Flashes of lightning illuminate a once-elegant space
|
||
|
now fallen into disrepair.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Forgive me, I don't mean to intrude. I
|
||
|
need shelter from the storm. Hello?
|
||
|
|
||
|
Maurice puts his hat and coat on a COAT RACK at the entrance.
|
||
|
Maurice turns, not seeing the coat rack shake the snow off.
|
||
|
|
||
|
Maurice explores, scanning the room and its FURNITURE --
|
||
|
TABLES, CHAIRS, A FEATHER DUSTER. A MANTLE CLOCK AND
|
||
|
CANDELABRA SIT ON A TABLE. As Maurice passes them, the
|
||
|
candelabra slowly TURNS -- as if watching him. This is
|
||
|
LUMIÈRE, formerly head footman to the Prince.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Must have lost his way in the woods...
|
||
|
|
||
|
The candelabra continues craning -- while the mantle clock
|
||
|
beside it remains rigid. Meet COGSWORTH, every bit the stiff-
|
||
|
upper-lip majordomo.
|
||
|
|
||
|
COGSWORTH
|
||
|
(whispers)
|
||
|
Shut up, you idiot.
|
||
|
20.
|
||
|
|
||
|
|
||
|
Hearing this, Maurice spins -- but sees only an ordinary
|
||
|
candelabra and clock on the table. Curious, he approaches,
|
||
|
leaning down to the clock...
|
||
|
|
||
|
MAURICE
|
||
|
Mm... extraordinary.
|
||
|
|
||
|
He picks up the candelabra, inspecting it.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
This is beautiful...
|
||
|
|
||
|
An echo of eerie harpsichord music makes Maurice turn toward
|
||
|
the ballroom. He places the candelabra back down and exits.
|
||
|
|
||
|
LUMIÈRE
|
||
|
A man of taste.
|
||
|
|
||
|
COGSWORTH
|
||
|
He was talking about me.
|
||
|
|
||
|
26A INT. BALLROOM - CASTLE - NIGHT 26A
|
||
|
|
||
|
Maurice walks through a door into a dark cavernous room. His
|
||
|
eyes adjust to the light and he realizes he's in a VAST
|
||
|
BALLROOM. Once the scene of joy, the ballroom knows only solemn
|
||
|
decay. Suddenly --
|
||
|
|
||
|
CADENZA
|
||
|
Oops!
|
||
|
|
||
|
-- The harpsichord stops playing. Wary, Maurice goes back to --
|
||
|
|
||
|
|
||
|
26B INT. FOYER - CASTLE - NIGHT 26B
|
||
|
|
||
|
Maurice crosses to a crackling fire, speaking to his unseen
|
||
|
host.
|
||
|
|
||
|
MAURICE
|
||
|
Wherever you are, I'm just going to
|
||
|
warm myself by the fire...
|
||
|
|
||
|
Maurice warms his frozen fingers, rubs his hands together to
|
||
|
spread the heat.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
That's better. Oh, much better...
|
||
|
|
||
|
As Maurice turns to warm his backside, he hears the clink of
|
||
|
silverware from an adjoining room.
|
||
|
|
||
|
27 INT. DINING ROOM - CASTLE - NIGHT 27
|
||
|
|
||
|
Maurice enters to find a vast dining room dominated by a
|
||
|
BANQUET TABLE where a meal has been set out.
|
||
|
|
||
|
MAURICE
|
||
|
Oh, thank you!
|
||
|
21.
|
||
|
|
||
|
|
||
|
Famished, Maurice sits, tears off a hunk of bread and devours
|
||
|
it ravenously.
|
||
|
|
||
|
As Maurice looks around for something to wash down the food, a
|
||
|
CUP OF TEA slides into his hand. Maurice calmly gives the cup a
|
||
|
double-take. Meet CHIP, an 8 year-old boy tea cup. He
|
||
|
whispers:
|
||
|
|
||
|
CHIP
|
||
|
Mom said I wasn't supposed to move
|
||
|
because it might be scary. Sorry.
|
||
|
|
||
|
Maurice chews, smiles benevolently.
|
||
|
|
||
|
MAURICE
|
||
|
It's all right.
|
||
|
|
||
|
And bolts from the table.
|
||
|
|
||
|
28 INT. FOYER - CASTLE - NIGHT 28
|
||
|
|
||
|
Like any sane person, Maurice backs toward the door. He bows
|
||
|
and calls into the shadows...
|
||
|
|
||
|
MAURICE
|
||
|
Thank you. Really, I cannot thank you
|
||
|
enough for your hospitality...
|
||
|
(takes his coat and hat)
|
||
|
... And kindness.
|
||
|
|
||
|
A flash of lightning briefly illuminates a BEASTLY SHAPE on the
|
||
|
staircase. At the next flash -- THE SHAPE IS GONE.
|
||
|
|
||
|
29 EXT. CASTLE GROUNDS - NIGHT 29
|
||
|
|
||
|
Maurice rides Philippe away from the castle. He notices the
|
||
|
colonnade filled with rose bushes again.
|
||
|
|
||
|
MAURICE
|
||
|
Roses! Yes...
|
||
|
|
||
|
Maurice dismounts, checking to see that he hasn't been
|
||
|
followed from the castle. He strokes his nervous horse,
|
||
|
leaving him outside as he enters.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Can't go home empty handed... I
|
||
|
promised Belle a rose, didn't I? I
|
||
|
think it's safe...
|
||
|
|
||
|
We catch GLIMPSES of A DARK SHAPE moving atop the colonnade.
|
||
|
A taloned PAW. A swishing TAIL.
|
||
|
|
||
|
Philippe snorts, sensing danger. Maurice spies a single
|
||
|
PERFECT WHITE ROSE among the others.
|
||
|
|
||
|
CLOSE on the beast's EYES. Enraged. Wounded.
|
||
|
22.
|
||
|
|
||
|
|
||
|
Maurice reaches for it.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Ow!
|
||
|
|
||
|
Pricked by a thorn, he pulls his hand back -- then tries
|
||
|
again. He PICKS the rose -- only to hear a booming ROAR from
|
||
|
above.
|
||
|
|
||
|
ANGLE ON MAURICE -- terrified as the dark shape leaps down
|
||
|
from the colonnade. Maurice drops the rose, stumbling and
|
||
|
falling as a DARK SHADOW is cast over him.
|
||
|
|
||
|
Philippe breaks his harness, whinnies in terror and flees,
|
||
|
charging through the castle grounds and out the ice gates.
|
||
|
|
||
|
29A EXT. VILLAGE PROMONTORY - DAY 29A
|
||
|
|
||
|
A first whisper of dawn as Philippe bursts out of the forest.
|
||
|
He thunders down to the village.
|
||
|
|
||
|
30 EXT. BELLE'S COTTAGE - DAY 30
|
||
|
|
||
|
The sun is fresh on the horizon, and Belle is already up. A
|
||
|
whinny disturbs her. She looks up to find Philippe, thirsty
|
||
|
and exhausted.
|
||
|
|
||
|
BELLE
|
||
|
Philippe?
|
||
|
|
||
|
Belle puts strokes the horse's neck as he drinks deeply from the
|
||
|
|
||
|
trough.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
What happened? Where is Papa?!
|
||
|
|
||
|
Belle goes still. Notices Philippe's torn straps and tattered
|
||
|
reins. In dread, her gaze darts to the woods.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Take me to him!
|
||
|
|
||
|
31 EXT. WOODS - DAY 31
|
||
|
|
||
|
Sunlight barely seeps through the thick branches lighting
|
||
|
Belle's way as Philippe gallops past the FALLEN CANE TREE.
|
||
|
|
||
|
32 EXT. ENCHANTED WOODS - DAY 32
|
||
|
|
||
|
Belle races through the enchanted woods, coming upon Maurice's
|
||
|
tipped over wagon. She sees the broken chest and scattered
|
||
|
music boxes.
|
||
|
|
||
|
With a mix of apprehension and determination, Belle sets her
|
||
|
jaw, and continues the gallop until the path brings her to...
|
||
|
23.
|
||
|
|
||
|
|
||
|
32A EXT. TERRACE - CASTLE - DAY 32A
|
||
|
|
||
|
Belle dismounts Philippe. Finding a THICK BRANCH, she wields it
|
||
|
|
||
|
like a club, then bravely crosses to the castle and enters.
|
||
|
|
||
|
33 INT. FOYER - CASTLE - DAY 33
|
||
|
|
||
|
Club held high, ready to defend herself, Belle cautiously eases
|
||
|
the door open and peeks inside.
|
||
|
|
||
|
The atmosphere of the castle presses in on Belle. Creepy DRAGON
|
||
|
|
||
|
STATUES on the staircase seem like they're watching. Eerie
|
||
|
SHADOWS stretch down impossibly long hallways.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Look, Cogsworth. A beautiful girl.
|
||
|
|
||
|
COGSWORTH
|
||
|
I can see it's a girl. I lost my
|
||
|
hands, not my eyes.
|
||
|
|
||
|
LUMIÈRE
|
||
|
But what if she is the one? The one
|
||
|
who will break the spell?
|
||
|
|
||
|
Belle reacts. Quickly moves towards the voices --
|
||
|
|
||
|
BELLE
|
||
|
Who said that? Who's there?
|
||
|
|
||
|
Belle reaches the spot where she heard the voices. No one
|
||
|
there. Only a clock and candelabra. Suddenly, a COUGH echoes
|
||
|
through the castle. Belle grabs the candelabra and climbs a
|
||
|
long staircase. The clock shudders with dread.
|
||
|
|
||
|
34 INT. PRISON TOWER - CASTLE - DAY 34
|
||
|
|
||
|
Belle follows the cough up a labyrinth of stairs until she
|
||
|
reaches the dark prison tower and a GRATED IRON DOOR.
|
||
|
|
||
|
BELLE
|
||
|
Papa!? Is that you?
|
||
|
|
||
|
Belle sees Maurice through a grate in the door. He looks
|
||
|
terribly pale and sick, coughing.
|
||
|
|
||
|
MAURICE (O.S.)
|
||
|
Belle? How did you find me!?
|
||
|
|
||
|
Belle puts the candelabra down and clutches his hands.
|
||
|
|
||
|
BELLE
|
||
|
Oh, your hands are ice. We need to get
|
||
|
you home.
|
||
|
24.
|
||
|
|
||
|
|
||
|
MAURICE
|
||
|
Belle, you must leave here at once.
|
||
|
This castle is alive! Now go, before
|
||
|
he finds you!
|
||
|
|
||
|
BELLE
|
||
|
Who?!
|
||
|
|
||
|
The beast roars. Belle spins quickly, swinging her club to
|
||
|
strike, but the figure jumps onto another staircase. Belle
|
||
|
searches the shadows. The voice circles her.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Who's there? Who are you?
|
||
|
|
||
|
THE BEAST (O.S.)
|
||
|
Who are you?
|
||
|
|
||
|
BELLE
|
||
|
I've come for my father.
|
||
|
|
||
|
THE BEAST (O.S.)
|
||
|
Your father is a thief.
|
||
|
|
||
|
BELLE
|
||
|
Liar!
|
||
|
|
||
|
THE BEAST (O.S.)
|
||
|
HE STOLE A ROSE.
|
||
|
|
||
|
In Belle's wide eyes, we see her guilt.
|
||
|
|
||
|
BELLE
|
||
|
I asked for the rose. Punish me, not
|
||
|
him!
|
||
|
|
||
|
MAURICE
|
||
|
No, he means forever. Apparently
|
||
|
that's what happens around here when
|
||
|
you pick a flower.
|
||
|
|
||
|
BELLE
|
||
|
A life sentence for a rose?
|
||
|
|
||
|
THE BEAST
|
||
|
I received eternal damnation for one.
|
||
|
I'm merely locking him away. Now... do
|
||
|
you still wish to take your father's
|
||
|
place?
|
||
|
|
||
|
BELLE
|
||
|
Come into the light.
|
||
|
|
||
|
The figure remains still. Belle grabs hold of Lumiere and
|
||
|
thrusts the candle forward, illuminating a HIDEOUS HORNED
|
||
|
FACE. Belle's eyes go wide as she clearly sees THE BEAST.
|
||
|
The only part of him that seems human are his eyes. BLUE.
|
||
|
25.
|
||
|
|
||
|
|
||
|
DEEP. SOULFUL. And flicked with pain when he sees Belle's
|
||
|
revulsion.
|
||
|
|
||
|
THE BEAST
|
||
|
CHOOSE!
|
||
|
|
||
|
MAURICE
|
||
|
Belle, I won't let you do this. I
|
||
|
lost your mother. I won't lose you
|
||
|
too. Now go!
|
||
|
|
||
|
Maurice falls into a terrible coughing fit.
|
||
|
|
||
|
BELLE
|
||
|
Alright, Papa. I will leave.
|
||
|
(to the beast)
|
||
|
I need a minute alone with him.
|
||
|
|
||
|
The beast doesn't respond.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Are you so cold-hearted that you won't
|
||
|
allow a daughter to kiss her father
|
||
|
goodbye?
|
||
|
(off his proud grunt)
|
||
|
Forever can spare a minute!
|
||
|
|
||
|
Intrigued by her defiance, the beast moves toward her, reaching
|
||
|
out with his massive paw. Belle closes her eyes, bracing
|
||
|
herself for his retaliation. Instead, she hears -- CLANG.
|
||
|
|
||
|
Belle opens her eyes to find herself eye to eye with the beast's
|
||
|
chest. He has reached high above her head to pull down an iron
|
||
|
lever, unlocking the door.
|
||
|
|
||
|
THE BEAST
|
||
|
When this door closes, it will not open
|
||
|
again.
|
||
|
|
||
|
35 INT. PRISON CELL - CASTLE - CONTINUOUS 35
|
||
|
|
||
|
Belle rushes in and embraces her father.
|
||
|
|
||
|
BELLE
|
||
|
I should have been with you.
|
||
|
|
||
|
MAURICE
|
||
|
Belle, listen to me. It's all right.
|
||
|
Live your life. Forget me.
|
||
|
|
||
|
BELLE
|
||
|
Forget you? Everything I am is because
|
||
|
of you.
|
||
|
|
||
|
MAURICE
|
||
|
I love you, Belle. Don't be afraid.
|
||
|
26.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
I love you too, Papa...
|
||
|
|
||
|
She pulls him close.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
I'm not afraid.
|
||
|
(whispers)
|
||
|
And I will escape, I promise.
|
||
|
|
||
|
MAURICE
|
||
|
What?!
|
||
|
|
||
|
With that, she pivots and swings her father through the door
|
||
|
just as the beast slams it shut. Maurice trips to the ground,
|
||
|
giving the beast a second to turn to Belle. They lock eyes.
|
||
|
|
||
|
THE BEAST
|
||
|
You took his place.
|
||
|
|
||
|
BELLE
|
||
|
He is my father.
|
||
|
|
||
|
THE BEAST
|
||
|
He's a fool. So are you.
|
||
|
|
||
|
The beast turns and drags Maurice away.
|
||
|
|
||
|
BELLE
|
||
|
Don't hurt him!
|
||
|
|
||
|
Through the latticework, Belle sees the beast and her father
|
||
|
disappear down the corridor. She rushes to the window and
|
||
|
watches the beast carry her father down the spiral staircase
|
||
|
of the prison tower.
|
||
|
|
||
|
MAURICE
|
||
|
Belle! I'll come back! I promise!
|
||
|
|
||
|
Once she is alone, Belle cannot help herself. She slumps to
|
||
|
the floor and the tears come. We FADE OUT.
|
||
|
|
||
|
36 OMITTED 36
|
||
|
|
||
|
37 OMITTED 37
|
||
|
|
||
|
38 OMITTED 38
|
||
|
|
||
|
39 INT. CELL - PRISON TOWER - DUSK 39
|
||
|
|
||
|
Belle huddles in the corner. The cell door swings opens.
|
||
|
|
||
|
LUMIÈRE (O.S.)
|
||
|
Forgive my intrusion, mademoiselle,
|
||
|
but I have been sent to escort you to
|
||
|
your room.
|
||
|
27.
|
||
|
|
||
|
|
||
|
Belle wipes her tears and stands. She grabs a small stool,
|
||
|
ready to strike.
|
||
|
|
||
|
BELLE
|
||
|
My room? But I thought --
|
||
|
|
||
|
LUMIÈRE (O.S.)
|
||
|
What? That once this door closes it
|
||
|
will not open again, RARRR? I know, he
|
||
|
gets so dramatic.
|
||
|
|
||
|
Belle bounds out of the cell, raising the stool to hit a grown
|
||
|
man. Instead, she sees... a candelabra wave at her.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
`Allo.
|
||
|
|
||
|
BELLE
|
||
|
AHHH!
|
||
|
|
||
|
Like seeing a mouse, Belle bashes the candelabra. It grunts as
|
||
|
it clatters on the stone floor. The candles extinguished.
|
||
|
|
||
|
WHOOSH -- the first candle relights. WHOOSH -- the second.
|
||
|
Illuminated by the two arm candles, Belle makes out EYES and a
|
||
|
rudimentary "FACE" in the design.
|
||
|
|
||
|
LUMIÈRE
|
||
|
(recovering)
|
||
|
Oh, you are very strong. That's a
|
||
|
great quality!
|
||
|
|
||
|
BELLE
|
||
|
What are you?
|
||
|
|
||
|
The arms light the main candle to reveal a rakish smile.
|
||
|
|
||
|
LUMIÈRE
|
||
|
I am Lumière.
|
||
|
|
||
|
BELLE
|
||
|
And you can talk.
|
||
|
|
||
|
Cogsworth appears, out of breath.
|
||
|
|
||
|
COGSWORTH
|
||
|
Of course he can talk, it's all he
|
||
|
ever does! Now Lumiere, as head of
|
||
|
the household, I demand that you put
|
||
|
her back in the cell at once!
|
||
|
|
||
|
Officially freaked out now, Belle retreats to her cell, in
|
||
|
search of a better weapon.
|
||
|
|
||
|
LUMIÈRE
|
||
|
What do you want to be for the rest of
|
||
|
your life, Cogsworth: a man or a mantle
|
||
|
clock?
|
||
|
28.
|
||
|
|
||
|
|
||
|
They turn back to Belle, re-emerging from the cell.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Ready, miss?
|
||
|
(to Cogsworth)
|
||
|
Trust me.
|
||
|
|
||
|
40 EXT. ROOFTOP WALKWAY - CASTLE - EVENING 40
|
||
|
|
||
|
Holding Lumière, Belle follows Cogsworth across a stone walkway
|
||
|
high above the grounds. Her eyes dart, looking for an escape
|
||
|
route. Instead, she sees how vast the castle and woods are.
|
||
|
|
||
|
LUMIÈRE
|
||
|
You must forgive first impressions, I
|
||
|
hope you are not too startled.
|
||
|
|
||
|
BELLE
|
||
|
Why would I be startled? I'm talking
|
||
|
to a candle.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Candelabra, please. Enormous
|
||
|
difference. But consider me at your
|
||
|
service. The castle is your home now,
|
||
|
so feel free to go anywhere you like --
|
||
|
|
||
|
COGSWORTH
|
||
|
Except the west wing!
|
||
|
|
||
|
Lumière throws him a `would-you-please-shut-up' look.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Which we do not have.
|
||
|
|
||
|
BELLE
|
||
|
Why, what's in the west wing?
|
||
|
|
||
|
LUMIÈRE
|
||
|
Uh... nothing. Storage space. That's
|
||
|
it.
|
||
|
|
||
|
Belle looks back at the spooky tower of the west wing.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
This way, please!
|
||
|
|
||
|
COGSWORTH
|
||
|
To the east wing.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Or as I like to call it, the only
|
||
|
wing! Watch your step s'il vous
|
||
|
plait.
|
||
|
29.
|
||
|
|
||
|
|
||
|
41 INT. CORRIDOR/BELLE'S BEDROOM - CASTLE - EVENING 41
|
||
|
|
||
|
Belle stands outside the bedroom door, anticipating worse
|
||
|
squalor...
|
||
|
|
||
|
LUMIÈRE
|
||
|
Welcome to your new home. It's
|
||
|
modest, but comfortable...
|
||
|
|
||
|
Instead, the door opens to --
|
||
|
|
||
|
42 INT. BELLE'S BEDROOM - CASTLE - EVENING 42
|
||
|
|
||
|
-- the most beautiful, magical room she's ever seen. The entire
|
||
|
|
||
|
ceiling is a painting of white clouds in a blue sky. There is a
|
||
|
LARGE DRESSER and a COMFORTABLE BED. Opulence.
|
||
|
|
||
|
BELLE
|
||
|
It's... beautiful.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Of course. Master wanted you to have
|
||
|
the finest room in the castle.
|
||
|
|
||
|
Lumière leaps onto the bed and - POOF - dust fills the air.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Oh dear! We were not expecting guests.
|
||
|
|
||
|
PLUMETTE, a feather duster, swoops into the room, giving the
|
||
|
surfaces a quick dusting.
|
||
|
|
||
|
PLUMETTE
|
||
|
Enchanté, Mademoiselle! Don't worry,
|
||
|
I'll have this room spotless in no
|
||
|
time!
|
||
|
|
||
|
She lands in the arms of Lumière, whose candles burn a little
|
||
|
hotter once she speaks in her sexy French accent.
|
||
|
|
||
|
PLUMETTE (CONT'D)
|
||
|
(sotto)
|
||
|
This plan of yours is... dangerous.
|
||
|
|
||
|
LUMIÈRE
|
||
|
I would risk anything to kiss you again,
|
||
|
Plumette.
|
||
|
|
||
|
He moves to embrace her, but she stops him.
|
||
|
|
||
|
PLUMETTE
|
||
|
No, my love. I've been burned by you
|
||
|
before. We must be strong.
|
||
|
|
||
|
LUMIÈRE
|
||
|
How can I be strong when you make me so
|
||
|
weak?
|
||
|
30.
|
||
|
|
||
|
|
||
|
Cogsworth clears his throat. Belle backs away from the
|
||
|
strange creatures.
|
||
|
|
||
|
BELLE
|
||
|
Is everything here alive?
|
||
|
(picks up a HAIR BRUSH)
|
||
|
Hello, what's your name?
|
||
|
|
||
|
Cogsworth looks up at her, puzzled.
|
||
|
|
||
|
COGSWORTH
|
||
|
Um... that's a hair brush.
|
||
|
|
||
|
Belle hears a loud SNORE behind her, and turns to see the
|
||
|
DRESSER bursting open with an operatic "laaaaaa!" Belle
|
||
|
shrieks and steps back.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Do not be alarmed, mademoiselle. This
|
||
|
is just your wardrobe. Meet Madame De
|
||
|
Garderobe. A great singer.
|
||
|
|
||
|
COGSWORTH
|
||
|
When she can stay awake.
|
||
|
|
||
|
GARDEROBE
|
||
|
Cogsworth! A diva needs her beauty rrr-
|
||
|
|
||
|
MADAME DE GARDEROBE yawns loudly.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Ah, stay with us, Madame! We have
|
||
|
someone for you to dress!
|
||
|
|
||
|
Garderobe's gilded arms stroke Belle's shoulder and face.
|
||
|
|
||
|
GARDEROBE
|
||
|
Finally. A woman. Pretty eyes.
|
||
|
Proud face. Perfect canvas. Yes! I
|
||
|
will find you something worthy of a
|
||
|
princess.
|
||
|
|
||
|
BELLE
|
||
|
But I'm not a princess.
|
||
|
|
||
|
GARDEROBE
|
||
|
Nonsense! Now, let's see what I've
|
||
|
got in my drawers.
|
||
|
|
||
|
Garderobe's doors open and a few moths fly out.
|
||
|
|
||
|
GARDEROBE (CONT'D)
|
||
|
Oh, how embarrassing.
|
||
|
|
||
|
Garderobe places a large HOOP over Belle's head, and proceeds
|
||
|
to create an outfit using fabric and her pinking-shear hands.
|
||
|
FROUFROU, a piano stool, runs in, barking like a dog.
|
||
|
31.
|
||
|
|
||
|
|
||
|
GARDEROBE (CONT'D)
|
||
|
Come here, Froufrou. Come help mama!
|
||
|
|
||
|
Froufrou tugs at the fabric, helping Garderobe complete the
|
||
|
outfit -- which is garish and too too much, all wrong for
|
||
|
Belle.
|
||
|
|
||
|
GARDEROBE (CONT'D)
|
||
|
Perfetta!
|
||
|
|
||
|
Lumière and Cogsworth put on a game smile.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Mm. Subtle. Understated. I love it!
|
||
|
|
||
|
With a deep bow and a whistle for Froufrou, Lumière drags
|
||
|
Cogsworth out. Plumette and Froufrou follow. Garderobe calls
|
||
|
out after her beloved dog.
|
||
|
|
||
|
GARDEROBE
|
||
|
Froufrou, send my love to the maestro!
|
||
|
|
||
|
The door closes. Belle is alone. Garderobe instantly falls
|
||
|
asleep with a big SNORE. Belle has one beat of... where the
|
||
|
hell am I? She ducks down, then crawls out from underneath
|
||
|
the enormous dress, which remains standing.
|
||
|
|
||
|
Belle looks around the room with one thing in mind: escape.
|
||
|
She quickly moves to the window. Opens it. She looks down
|
||
|
at the 100 foot drop leading to the grounds.
|
||
|
|
||
|
Belle turns back to the room, and gazes at the dress. An
|
||
|
idea taking shape.
|
||
|
|
||
|
43 EXT. COUNTRY INN - NIGHT 43
|
||
|
|
||
|
A LAMPLIGHTER is hard at work outside as we hear fiddle music
|
||
|
coming from the inn.
|
||
|
|
||
|
44 INT. COUNTRY INN - NIGHT 44
|
||
|
|
||
|
Amidst the animal heads, antlers, and drunken villagers, there
|
||
|
is an even sadder sight -- GASTON. He drowns his sorrows in ale
|
||
|
while LEFOU listens.
|
||
|
|
||
|
GASTON
|
||
|
Picture it, LeFou -- a rustic cabin.
|
||
|
My latest kill roasting on the fire.
|
||
|
Adorable children running around us
|
||
|
while my love rubs my tired feet. But
|
||
|
what does Belle say? "I will never
|
||
|
marry you, Gaston."
|
||
|
|
||
|
LEFOU
|
||
|
You know, there are other girls.
|
||
|
|
||
|
The village lasses perk up. "Yes! There are other girls!"
|
||
|
32.
|
||
|
|
||
|
|
||
|
GASTON
|
||
|
A great hunter doesn't waste his time on
|
||
|
rabbits.
|
||
|
|
||
|
The lasses deflate. "Awww!" LeFou decides it's time to cheer
|
||
|
up his best friend/boss. Thus begins "GASTON."
|
||
|
|
||
|
LEFOU
|
||
|
Gosh it disturbs me to see you
|
||
|
Gaston looking so down in the dumps
|
||
|
Every guy here'd love to be you Gaston
|
||
|
Even when taking your lumps
|
||
|
There's no man in town as admired as you
|
||
|
You're everyone's fa-vor-ite guy
|
||
|
Everyone's awed and inspired by you
|
||
|
And it's not very hard to see why
|
||
|
|
||
|
LeFou gives a nod (and a large tip) to the FIDDLE PLAYER in the
|
||
|
corner, who nods back, and begins to play...
|
||
|
|
||
|
LEFOU (CONT'D)
|
||
|
No one's slick as Gaston
|
||
|
No one's quick as Gaston
|
||
|
No one's neck's as incredibly thick as
|
||
|
Gaston
|
||
|
For there's no man in town half as manly
|
||
|
Perfect, a pure paragon!
|
||
|
You can ask any Tom, Dick or Stanley
|
||
|
And they'll tell you whose team they
|
||
|
prefer to be on!
|
||
|
|
||
|
LeFou hops onto the bar, squeezing himself between TOM, DICK,
|
||
|
and STANLEY.
|
||
|
|
||
|
TOM/DICK/STANLEY
|
||
|
Who plays darts like Gaston?
|
||
|
Who breaks hearts like Gaston?
|
||
|
|
||
|
LEFOU
|
||
|
Who's much more than the sum of his
|
||
|
parts like Gaston?
|
||
|
|
||
|
GASTON
|
||
|
(confidence growing)
|
||
|
As a specimen, yes, I'm intimidating
|
||
|
|
||
|
LeFou hails a BARMAID and buys everyone a round of drinks.
|
||
|
The villagers raise their mugs and cheer.
|
||
|
|
||
|
LEFOU/VILLAGERS
|
||
|
My what a guy, that Gaston!
|
||
|
|
||
|
Gaston stands, and clasps LeFou in gratitude...
|
||
|
|
||
|
GASTON
|
||
|
I needed encouragement; thank you, LeFou
|
||
|
33.
|
||
|
|
||
|
|
||
|
LEFOU
|
||
|
Well, there's no one as easy to bolster
|
||
|
as you!
|
||
|
|
||
|
... only to find himself in an uncomfortably tight hug.
|
||
|
|
||
|
LEFOU (CONT'D)
|
||
|
Too much?
|
||
|
|
||
|
GASTON
|
||
|
Yep.
|
||
|
|
||
|
VILLAGERS
|
||
|
No one fights like Gaston
|
||
|
Douses lights like Gaston!
|
||
|
|
||
|
LEFOU
|
||
|
In a wrestling match nobody bites like
|
||
|
Gaston!
|
||
|
|
||
|
LeFou moves his shirt up his arm to show an old wrestling wound -
|
||
|
a nice teeth impression courtesy of Gaston. The villagers gasp.
|
||
|
|
||
|
GASTON
|
||
|
When I hunt, I sneak up with my quiver
|
||
|
And beasts of the field say a prayer
|
||
|
First I carefully aim for the liver
|
||
|
Then I shoot from behind!
|
||
|
|
||
|
Gaston leaps onto the bar, and is handed a huge blunderbuss,
|
||
|
with which he mimes shooting LeFou.
|
||
|
|
||
|
LEFOU
|
||
|
Is that fair?
|
||
|
|
||
|
GASTON
|
||
|
I don't care
|
||
|
|
||
|
And Gaston fires the rifle into the ceiling! Plaster rains
|
||
|
down.
|
||
|
|
||
|
VILLAGERS
|
||
|
No one hits like Gaston
|
||
|
Matches wits like Gaston
|
||
|
|
||
|
LEFOU
|
||
|
In a spitting match nobody spits like
|
||
|
Gaston
|
||
|
|
||
|
GASTON
|
||
|
I'M ESPECIALLY GOOD AT EXPECTORATING!
|
||
|
|
||
|
Gaston spits a big gloppy mess into a spittoon: bullseye! Then,
|
||
|
he moves around the inn, holding court.
|
||
|
|
||
|
VILLAGERS
|
||
|
Ten points for Gaston!
|
||
|
34.
|
||
|
|
||
|
|
||
|
GASTON
|
||
|
When I was a lad I ate four dozen eggs
|
||
|
Ev'ry morning to help me get large
|
||
|
|
||
|
On one shoulder, Gaston lifts a pretty VILLAGE GIRL. On the
|
||
|
other, he lifts LeFou.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
And now that I'm grown I eat five dozen
|
||
|
eggs
|
||
|
So I'm roughly the size of a barge!
|
||
|
|
||
|
The crowd hollers. Gaston jumps on a long table. The table's
|
||
|
height plus his massive frame make him seem 10 feet tall.
|
||
|
|
||
|
He engages in a dance-break sword-fight with several VILLAGE
|
||
|
MEN, besting them all, until he's perfectly positioned beneath a
|
||
|
|
||
|
ceiling mural, mimicking it exactly: Gaston, saber raised,
|
||
|
victorious in battle -- with LeFou swooning at his feet.
|
||
|
|
||
|
LEFOU
|
||
|
Who has brains like Gaston?
|
||
|
Entertains like Gaston?
|
||
|
|
||
|
GASTON
|
||
|
Who can make up these endless
|
||
|
Refrains like Gaston?
|
||
|
|
||
|
Gaston tromps on the table. He arrives at his WALL OF ANIMAL
|
||
|
HEADS and ANTLERS.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
I use antlers in all of my decorating!
|
||
|
|
||
|
ALL
|
||
|
Say it again - who's a man among men?
|
||
|
And let's say it once more
|
||
|
Who's that hero next door?
|
||
|
Who's a super success?
|
||
|
Don't you know? Can't you guess?
|
||
|
Ask his fans and his five hangers-on
|
||
|
There's just one guy in town
|
||
|
Who's got all of it down...
|
||
|
|
||
|
LEFOU
|
||
|
And his name's `G-A-S-T... ' Uh, I
|
||
|
believe there's another `T' in there,
|
||
|
it just occurred to me that I'm
|
||
|
illiterate and I've never actually had
|
||
|
to spell it out loud before...
|
||
|
Gaston!
|
||
|
|
||
|
The villagers cheer as Gaston returns to his seat. Gaston slaps
|
||
|
|
||
|
LeFou on the shoulder, genuinely moved.
|
||
|
|
||
|
GASTON
|
||
|
Ah LeFou, you're the best. How is it
|
||
|
that no girl has snatched you up yet?
|
||
|
35.
|
||
|
|
||
|
|
||
|
LEFOU
|
||
|
I've been told I'm clingy, but I really
|
||
|
don't get it...
|
||
|
|
||
|
Just then, the door flies open to reveal a wild-eyed Maurice.
|
||
|
|
||
|
MAURICE
|
||
|
Help! Somebody help me! We have to
|
||
|
go... not a minute to lose...
|
||
|
|
||
|
TAVERN KEEPER
|
||
|
Whoa. Slow down, Maurice.
|
||
|
|
||
|
MAURICE
|
||
|
He's got Belle... locked in a dungeon!
|
||
|
|
||
|
TAVERN KEEPER
|
||
|
Who's got her?
|
||
|
|
||
|
MAURICE
|
||
|
A beast... a horrible monstrous beast!
|
||
|
|
||
|
The patrons begin to laugh.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
My daughter's life is in danger, why do
|
||
|
you laugh!? His castle is hidden in the
|
||
|
woods. It's already winter there!
|
||
|
|
||
|
JEAN
|
||
|
Winter in June?
|
||
|
|
||
|
CLOTHILDE
|
||
|
Crazy old Maurice.
|
||
|
|
||
|
MAURICE
|
||
|
The beast is real! Do you understand?!
|
||
|
Will no one help me?!
|
||
|
|
||
|
GASTON
|
||
|
(ever the opportunist)
|
||
|
I'll help you, Maurice!
|
||
|
|
||
|
LEFOU
|
||
|
You will?
|
||
|
|
||
|
The villagers murmur in surprise.
|
||
|
|
||
|
GASTON
|
||
|
(winks at LeFou)
|
||
|
Everyone! Stop making fun of this man
|
||
|
at once!
|
||
|
|
||
|
Maurice approaches. So grateful.
|
||
|
|
||
|
MAURICE
|
||
|
Thank you, Captain. Thank you.
|
||
|
36.
|
||
|
|
||
|
|
||
|
GASTON
|
||
|
Don't thank me, Maurice. Lead us to the
|
||
|
beast.
|
||
|
|
||
|
Maurice exits. Gaston follows, gesturing to LeFou.
|
||
|
|
||
|
LEFOU
|
||
|
(finally getting it)
|
||
|
Ohhh.
|
||
|
|
||
|
46 INT. KITCHEN - CASTLE - NIGHT 46
|
||
|
|
||
|
The staff is excited as they scramble to get ready for dinner.
|
||
|
CHIP, the 8 year-old tea cup, rides his saucer around like a
|
||
|
skateboard. He circles his teapot mother MRS. POTTS, a no-
|
||
|
nonsense yet loving governess.
|
||
|
|
||
|
CHIP
|
||
|
Mama, there's a girl in the castle!
|
||
|
|
||
|
MRS. POTTS
|
||
|
Yes, Chip. We know. Slow down.
|
||
|
|
||
|
CHIP
|
||
|
Is she pretty? Is she nice? What
|
||
|
kind of tea does she like?
|
||
|
|
||
|
MRS. POTTS
|
||
|
We'll find out soon enough. Slow down
|
||
|
before you break your handle!
|
||
|
|
||
|
But Chip doesn't slow down. Before Mrs. Potts can chase,
|
||
|
CUISINIÈR, the frustrated French chef-turned-oven, pours hot
|
||
|
water into her to prepare tea.
|
||
|
|
||
|
CUISINIÈR
|
||
|
Heads up, Mrs. Potts!
|
||
|
|
||
|
She flushes and reacts with pleasure as if stepping into a warm
|
||
|
bath.
|
||
|
|
||
|
INT. DINING ROOM - CASTLE - SAME
|
||
|
|
||
|
The beast enters the dining room and sits at one end of a
|
||
|
long dining table. He looks at his place setting, surprised
|
||
|
to find flatware and crystal. Confused, he looks up.
|
||
|
|
||
|
THE BEAST'S POV rises to find another place setting at the
|
||
|
other end of the long table. When he notices the romantic
|
||
|
candles, he swats his own place setting off the table in
|
||
|
anger.
|
||
|
|
||
|
47 INT. KITCHEN - CASTLE - SAME 47
|
||
|
|
||
|
A voice bellowing from the dining room causes Lumiere and
|
||
|
Cogsworth to turn.
|
||
|
37.
|
||
|
|
||
|
|
||
|
THE BEAST (O.S.)
|
||
|
LUMIÈRE!
|
||
|
|
||
|
Cogsworth balks with terror.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Be calm, let me do the talking.
|
||
|
|
||
|
A fuming beast storms in, and looks down at the assembled
|
||
|
staff. Lumière is as good a liar as Cogsworth is not.
|
||
|
|
||
|
THE BEAST
|
||
|
YOU'RE MAKING HER DINNER!?
|
||
|
|
||
|
LUMIÈRE
|
||
|
We thought you might appreciate the
|
||
|
company.
|
||
|
|
||
|
COGSWORTH
|
||
|
Master, I can assure you that I had no
|
||
|
part in this hopeless plan. Preparing
|
||
|
a dinner, designing a gown for her,
|
||
|
giving her a suite in the east wing --
|
||
|
|
||
|
THE BEAST
|
||
|
YOU GAVE HER A BEDROOM!?
|
||
|
|
||
|
Cornered by the beast, Cogsworth has no choice but to...
|
||
|
|
||
|
COGSWORTH
|
||
|
No no, he gave her a bedroom.
|
||
|
|
||
|
LUMIÈRE
|
||
|
That is true. But if the girl is the
|
||
|
one who can break the spell, maybe you
|
||
|
can start by using dinner to charm her.
|
||
|
(turns to Cogsworth)
|
||
|
Good thinking, Cogsworth!
|
||
|
|
||
|
COGSWORTH
|
||
|
What?!
|
||
|
|
||
|
THE BEAST
|
||
|
That's the most ridiculous idea I've
|
||
|
ever heard! "Charm the prisoner."
|
||
|
|
||
|
LUMIÈRE
|
||
|
You must try, master. With every
|
||
|
passing day, we become less human.
|
||
|
|
||
|
THE BEAST
|
||
|
She's the daughter of a common thief.
|
||
|
What kind of person do you think that
|
||
|
makes her?
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh, you can't judge people by who their
|
||
|
father is, now can you?
|
||
|
38.
|
||
|
|
||
|
|
||
|
It's a loaded statement. The staff cringes, ready for his
|
||
|
retaliation. Instead, a grunt, and then --
|
||
|
|
||
|
48 INT. CORRIDOR OUTSIDE BELLE'S BEDROOM - CASTLE - NIGHT 48
|
||
|
|
||
|
KNOCK. KNOCK. The beast stands at Belle's door while his
|
||
|
servants stand by his side to play Cyrano.
|
||
|
|
||
|
THE BEAST
|
||
|
You will join me for dinner! That's not
|
||
|
a request.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Gently, master. The girl lost her
|
||
|
father and her freedom in one day.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Yes. The poor thing is probably in
|
||
|
there, scared to death.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Exactly.
|
||
|
|
||
|
49 INT. BELLE'S CASTLE BEDROOM - CONTINUOUS 49
|
||
|
|
||
|
Actually, Belle has been actively planning her escape. Her
|
||
|
makeshift rope of fabric hangs 50 feet out of the window.
|
||
|
KNOCK. KNOCK.
|
||
|
|
||
|
BELLE
|
||
|
Just a minute.
|
||
|
|
||
|
50 INT. CORRIDOR OUTSIDE BELLE'S BEDROOM - CASTLE - NIGHT 50
|
||
|
|
||
|
The servants react to hearing Belle's voice.
|
||
|
|
||
|
LUMIÈRE
|
||
|
You see, there she is. Now, master,
|
||
|
remember. Be gentle.
|
||
|
|
||
|
MRS. POTTS
|
||
|
...kind...
|
||
|
|
||
|
PLUMETTE
|
||
|
...charming...
|
||
|
|
||
|
COGSWORTH
|
||
|
...sweet...
|
||
|
|
||
|
The words fly as they bury the beast with advice.
|
||
|
|
||
|
LUMIÈRE
|
||
|
And when she opens the door, give her a
|
||
|
dashing debonair smile. Come come --
|
||
|
show me the smile.
|
||
|
|
||
|
The beast flashes the most hideous grin anyone has ever seen.
|
||
|
The staff GASPS in horror.
|
||
|
39.
|
||
|
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Oh mon dieu.
|
||
|
|
||
|
Contorting his mouth, the beast turns back to the door.
|
||
|
|
||
|
THE BEAST
|
||
|
Will you join me for dinner?
|
||
|
|
||
|
We wait a perfect beat and then, cut to...
|
||
|
|
||
|
51 INT. BELLE'S BEDROOM/ INT. CORRIDOR - CONTINUOUS (INTERCUT)
|
||
|
51
|
||
|
|
||
|
Belle moves to the door.
|
||
|
|
||
|
BELLE
|
||
|
You've taken me prisoner and now you
|
||
|
want to have dinner with me? Are you
|
||
|
insane?
|
||
|
|
||
|
The beast's temper rises -- his eyebrows twitch, his tail
|
||
|
thrashes -- recognizing the signs, Plumette inches away --
|
||
|
|
||
|
PLUMETTE
|
||
|
He's losing it...
|
||
|
|
||
|
The beast beats his fist on the door -- WHAM! WHAM! WHAM!
|
||
|
|
||
|
THE BEAST
|
||
|
I told you to come down to dinner.
|
||
|
|
||
|
Belle hits back. WHAM! WHAM! WHAM!
|
||
|
|
||
|
BELLE
|
||
|
And I told you no!
|
||
|
|
||
|
All the banging finally wakes up Madame de Garderobe.
|
||
|
|
||
|
GARDEROBE
|
||
|
WHAT!? WHAT TIME IS IT!?
|
||
|
|
||
|
BELLE
|
||
|
I'd starve before I ever ate with you!
|
||
|
|
||
|
THE BEAST
|
||
|
Well be my guest! Go ahead and starve!
|
||
|
(as he leaves)
|
||
|
If she doesn't eat with me, then she
|
||
|
doesn't eat at all!
|
||
|
|
||
|
The staff hides, terrified, as the beast thunders off.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Idiots!
|
||
|
|
||
|
Once the coast is clear, Cogsworth comes out of hiding with a
|
||
|
sword and puts on a show of bravery.
|
||
|
40.
|
||
|
|
||
|
|
||
|
COGSWORTH
|
||
|
You can't talk to us like that! I
|
||
|
forbid it! I... I...
|
||
|
(to Lumière)
|
||
|
Am I too late? Shame. I was really
|
||
|
going to tell him off this time.
|
||
|
|
||
|
LUMIÈRE
|
||
|
(looks past Cogsworth)
|
||
|
Oh master, you've returned!
|
||
|
|
||
|
Cogsworth shrieks and spins -- only to realize he's been
|
||
|
duped.
|
||
|
|
||
|
COGSWORTH
|
||
|
Oh, very funny.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Eh, I got you there!
|
||
|
|
||
|
|
||
|
52 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 52
|
||
|
|
||
|
Fuming, the beast returns to his lair -- a chamber of shredded
|
||
|
furniture and walls ruined in rage. He paces, muttering. He
|
||
|
grabs a decaying HAND MIRROR.
|
||
|
|
||
|
THE BEAST
|
||
|
Show me the girl.
|
||
|
|
||
|
The mirror lights up and gives him a view of Belle at the
|
||
|
bedroom door. She turns, slides down the wall, and curls her
|
||
|
knees up to her. A look of dread on her face.
|
||
|
|
||
|
Her fear crushes the beast. The mirror magic fades, and he is
|
||
|
left with his own reflection and self-loathing. He lowers the
|
||
|
mirror to reveal the glass jar by the open window.
|
||
|
|
||
|
In the jar, the ENCHANTED ROSE hangs in mid-air. The rose is
|
||
|
wilting. Most of its petals have fallen. Rage evaporating,
|
||
|
replaced by shame, the beast lowers his head...
|
||
|
|
||
|
... as ONE MORE PETAL DROPS.
|
||
|
|
||
|
The image moves inside the jar. We see the beast through the
|
||
|
glass as he leans down, peering in at the petal as it reaches
|
||
|
the bottom and shrivels. As it does, we hear a far off RUMBLE,
|
||
|
as if the foundation of the castle is trembling.
|
||
|
|
||
|
EXT. CASTLE - NIGHT -- DAWN
|
||
|
|
||
|
From a distance, we see stone statuary crack and tumble down
|
||
|
from the castle walls...
|
||
|
|
||
|
53 INT. FOYER - CASTLE - NIGHT 53
|
||
|
|
||
|
The staff is gathered; the beginning of their evening. Lumière
|
||
|
lights the fireplace. He hears the crash of falling debris.
|
||
|
41.
|
||
|
|
||
|
|
||
|
LUMIÈRE
|
||
|
Another petal fell...
|
||
|
|
||
|
PLUMETTE
|
||
|
Lumière, I grew three more feathers!
|
||
|
And I just plucked yesterday.
|
||
|
|
||
|
Lumière moves to help, but his legs stiffen. He holds his flame
|
||
|
to his knee like a heating pad.
|
||
|
|
||
|
LUMIÈRE
|
||
|
I know, darling -- Ow! I'm getting
|
||
|
more metallic every day.
|
||
|
|
||
|
Suddenly, Cogsworth begins making clock sounds.
|
||
|
|
||
|
COGSWORTH
|
||
|
Oh, no! It's -- tick tock! --
|
||
|
happening again -- cuckoo! Pardon me.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Everyone, calm yourselves. We still
|
||
|
have time.
|
||
|
|
||
|
CHIP
|
||
|
Mama, am I ever going to be a boy again?
|
||
|
|
||
|
MRS. POTTS
|
||
|
Yes, Chip. You'll have your days in the
|
||
|
sun again. You just leave it to me.
|
||
|
|
||
|
54 EXT. CASTLE - NIGHT 54
|
||
|
|
||
|
Belle throws her makeshift rope out the bedroom window.
|
||
|
|
||
|
55 INT. BELLE'S BEDROOM - CASTLE - NIGHT 55
|
||
|
|
||
|
Belle looks down -- the rope is about 20 feet off the ground.
|
||
|
Almost there. A KNOCK on the door.
|
||
|
|
||
|
BELLE
|
||
|
I told you to go away.
|
||
|
|
||
|
MRS. POTTS (O.S.)
|
||
|
Don't worry, dear. It's only Mrs.
|
||
|
Potts.
|
||
|
|
||
|
Mrs. Potts bustles in on her cart with Chip.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Oh, aren't you a vision! How lovely
|
||
|
to make your acquaintance.
|
||
|
|
||
|
Belle tries to block her view of the escape rope, but Mrs. Potts
|
||
|
is too sharp.
|
||
|
42.
|
||
|
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
It's a very long journey. Let me fix
|
||
|
you up before you go. I have found
|
||
|
that most troubles seem less troubling
|
||
|
after a bracing cup o' tea.
|
||
|
|
||
|
The tea is poured into Chip, who wheels over to Belle.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Slowly now, Chip.
|
||
|
|
||
|
Belle picks up Chip and brings him up to her mouth. Little
|
||
|
Chip finds himself face-to-face with the most beautiful girl
|
||
|
he has ever seen. She takes a sip.
|
||
|
|
||
|
CHIP
|
||
|
Pleased to meet you! Want to see me do
|
||
|
a trick?
|
||
|
|
||
|
Chip blows a huge bubble in his tea cup. It pops loudly.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Chip.
|
||
|
(to Belle)
|
||
|
That was a very brave thing you did for
|
||
|
your father, dear.
|
||
|
|
||
|
Madame Garderobe's doors swing open.
|
||
|
|
||
|
GARDEROBE
|
||
|
Yes. We all think so.
|
||
|
|
||
|
BELLE
|
||
|
I'm so worried about him. He's never
|
||
|
been on his own.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Cheer up, my poppet. Things will turn
|
||
|
out in the end. You'll feel a lot
|
||
|
better after dinner.
|
||
|
|
||
|
BELLE
|
||
|
But he said, "If she doesn't eat with
|
||
|
me, she doesn't eat at all."
|
||
|
|
||
|
MRS. POTTS
|
||
|
People say a lot of things in anger. It
|
||
|
is our choice whether or not to listen.
|
||
|
Coming?
|
||
|
|
||
|
And Mrs. Potts is out the door. Belle looks to Garderobe.
|
||
|
|
||
|
GARDEROBE
|
||
|
Go.
|
||
|
|
||
|
INT. KITCHEN - CASTLE - NIGHT
|
||
|
|
||
|
The door opens. Lumière races in to the excited staff.
|
||
|
43.
|
||
|
|
||
|
|
||
|
LUMIÈRE
|
||
|
They're coming! Final checks,
|
||
|
everyone, tout de suite!
|
||
|
|
||
|
Cogsworth waddles in after him. Plumette flutters nervously.
|
||
|
|
||
|
COGSWORTH
|
||
|
No, you don't! If the master finds out
|
||
|
you violated his orders and fed her, he
|
||
|
will blame me.
|
||
|
|
||
|
Lumiere jumps up onto the sink, navigating sudsy dishes as
|
||
|
CHAPEAU scrubs them.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Yes, I will make sure of it. But did
|
||
|
you see her stand up to him? I am
|
||
|
telling you, this girl is the one.
|
||
|
They must fall in love if we are to be
|
||
|
human again, and they can't fall in
|
||
|
love if she stays in her room.
|
||
|
(looks at a smudged dish)
|
||
|
Eh, Chapeau, you missed a spot!
|
||
|
|
||
|
Lumière tosses the dish back in the sink, skipping onto a
|
||
|
passing tea trolley. Cogsworth climbs up in pursuit.
|
||
|
|
||
|
COGSWORTH
|
||
|
You know she will never love him.
|
||
|
|
||
|
LUMIÈRE
|
||
|
A broken clock is right two times a
|
||
|
day, mon ami, and this is not one of
|
||
|
those times.
|
||
|
|
||
|
Lumière leaps onto the table, and uprights a champagne glass.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Stand up straight!
|
||
|
(to the room)
|
||
|
It's time to sparkle!
|
||
|
|
||
|
He leaps again, onto CUISINIÈR, and sips a spoonful from a
|
||
|
bubbling pot.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
I have no taste buds, but I can tell
|
||
|
this is exquisite.
|
||
|
|
||
|
CUISINIÈR
|
||
|
Off! Off me while I work! Pepper,
|
||
|
get cracking! Salt, shake a leg!
|
||
|
|
||
|
COGSWORTH
|
||
|
Not so loud! Keep it down!
|
||
|
44.
|
||
|
|
||
|
|
||
|
LUMIÈRE
|
||
|
Of course, of course. But what is
|
||
|
dinner without a little... music?
|
||
|
|
||
|
COGSWORTH
|
||
|
Music?!
|
||
|
|
||
|
57 INT. DINING ROOM - CASTLE - MOMENTS LATER 57
|
||
|
|
||
|
To Cogsworth's horror, Lumière guides an ambulatory HARPSICHORD
|
||
|
into the room. This is CADENZA, our neurotic Italian maestro.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Maestro Cadenza, are you ready?
|
||
|
|
||
|
CADENZA
|
||
|
(coy)
|
||
|
It has been so long since I've
|
||
|
performed! I can barely even remember
|
||
|
how...
|
||
|
|
||
|
But with an abrupt flourish, Cadenza plays show-offy scales
|
||
|
on the ivories until -- PLUNK.
|
||
|
|
||
|
CADENZA (CONT'D)
|
||
|
Another cavity.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Maestro, your wife is upstairs, finding
|
||
|
it harder and harder to stay awake.
|
||
|
She's counting on you to help us break
|
||
|
this curse.
|
||
|
|
||
|
CADENZA
|
||
|
Then, I shall play through the dental
|
||
|
pain!
|
||
|
|
||
|
COGSWORTH
|
||
|
(whispers to Cadenza)
|
||
|
But Maestro. Play quietly. Please.
|
||
|
|
||
|
CADENZA
|
||
|
Quietly? Sotto voce? Of course. Are
|
||
|
there any other tasteless demands you
|
||
|
wish to make upon my artistry?
|
||
|
|
||
|
COGSWORTH
|
||
|
No, that's it.
|
||
|
|
||
|
Mrs. Potts leads Belle to the end of the long dining table.
|
||
|
|
||
|
MRS. POTTS
|
||
|
There you are, dear.
|
||
|
|
||
|
Lumière LEAPS onto the table. Floating at a high window,
|
||
|
Plummette uses a silver platter to turn a shaft of moonlight
|
||
|
into a SPOTLIGHT. As Lumière begins "BE OUR GUEST."
|
||
|
45.
|
||
|
|
||
|
|
||
|
LUMIÈRE
|
||
|
Ma chere, mademoiselle. It is with
|
||
|
deepest pride and greatest pleasure that
|
||
|
we welcome you tonight. And now, we
|
||
|
invite you to relax.
|
||
|
|
||
|
Belle sits down in a chair, which moves in, bringing her
|
||
|
closer to the table. Lumière motions up to Plumette to
|
||
|
steady her shaky spotlight.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Let us pull up a chair... as the dining
|
||
|
room proudly presents...
|
||
|
|
||
|
Cadenza plays a dramatic scale as a table cloth UNFURLS, and
|
||
|
Lumière jumps up and LANDS in a pose. Cadenza ends his scale on
|
||
|
the wrong note. Lumière shoots him a look, Cadenza plays the
|
||
|
right note, and Lumière turns to Belle and smiles.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
... your dinner.
|
||
|
(sings to Belle)
|
||
|
Be our guest, be our guest
|
||
|
|
||
|
The napkins on the place settings rise up and twirl. Chapeau
|
||
|
offers Belle a napkin.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Put our service to the test
|
||
|
Tie your napkin `round your neck, cherie
|
||
|
And we provide the rest!
|
||
|
|
||
|
Spinning quickly, Chapeau presents the following to Belle:
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Soup du jour, hot hors d'oeuvres
|
||
|
Why we only live to serve
|
||
|
Try the grey stuff, it's delicious
|
||
|
|
||
|
Belle reaches out to try it, but it's gone before she can.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Don't believe me? Ask the dishes!
|
||
|
|
||
|
The hors d'oeuvres plates go off, leaving the dinner dishes to
|
||
|
levitate and spin.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
They can sing, they can dance
|
||
|
After all, miss, this is France!
|
||
|
|
||
|
A small guillotine on the table drops, slicing the baguette.
|
||
|
MENUS fly in overhead, buzzing a disgruntled Cogsworth. Belle
|
||
|
reaches up and grabs one.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
And a dinner here is never second best
|
||
|
Go on unfold your menu
|
||
|
(MORE)
|
||
|
46.
|
||
|
|
||
|
LUMIèRE (CONT'D)
|
||
|
Take a glance and then you'll
|
||
|
Be our guest, be our guest
|
||
|
|
||
|
LUMIÈRE AND COGSWORTH
|
||
|
Be our guest!
|
||
|
|
||
|
Cogsworth shushes Lumière, and Lumière jabs him back. One by
|
||
|
one the kitchen doors swing open, presenting:
|
||
|
|
||
|
LUMIÈRE
|
||
|
Beef ragout, cheese souffle,
|
||
|
Pie and pudding en flambé!
|
||
|
|
||
|
The fish pie explodes! A piece of cod hits Cogsworth in the
|
||
|
face, knocking him over.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
We'll prepare and serve with flair
|
||
|
A culinary cabaret!
|
||
|
|
||
|
Flute glasses fill up with champagne and then break into a Bob
|
||
|
Fosse homage. Belle grabs a glass, but Lumière snatches it
|
||
|
before she sips.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
You're alone and you're scared
|
||
|
But the banquet's all prepared!
|
||
|
|
||
|
Lumière coaxes the flatware to its feet.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
No one's gloomy or complaining
|
||
|
While the flatware's entertaining!
|
||
|
|
||
|
The flatware hold out a napkin, into which Lumière jumps, like a
|
||
|
|
||
|
trampoline. He is launched into the air, swinging between
|
||
|
chandeliers a la Cirque du Soleil.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
We tell jokes, I do tricks
|
||
|
With my fellow candlesticks
|
||
|
|
||
|
CHANDELIER CANDLESTICKS
|
||
|
And it's all in perfect taste
|
||
|
That you can bet!
|
||
|
|
||
|
Lumière falls and lands back in the middle of the champagne
|
||
|
flutes. They rise up around him.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Come on and lift your glass
|
||
|
You've won your own free pass
|
||
|
To be our guest
|
||
|
(to Cogsworth)
|
||
|
If you're stressed, it's fine dining we
|
||
|
suggest.
|
||
|
47.
|
||
|
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Oui our guest
|
||
|
Be our guest, be our guest!
|
||
|
|
||
|
Cogsworth steps back as Lumière again takes center stage in a
|
||
|
Martha Graham inspired solo.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Life is so unnerving
|
||
|
For a servant who's not serving
|
||
|
|
||
|
Belle reaches again for food but is stopped by Lumière's
|
||
|
melodramatic histrionics. He wraps himself in a napkin for
|
||
|
the full Martha Graham effect.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
He's not whole
|
||
|
Without a soul to wait upon
|
||
|
|
||
|
Lumière does a `tragic walk' down the table. Reaching the end,
|
||
|
he slides down to the floor on the tablecloth, then gathers it
|
||
|
around his neck and continues on.
|
||
|
|
||
|
Belle tries to stab a bite as the food moves past her, as if on
|
||
|
a conveyer belt. Sliding past her, Cogsworth wobbles.
|
||
|
|
||
|
On the floor, snow swirls around Lumière. We pull out to see
|
||
|
several "ETTES" flinging salt at him to create the effect.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Ah, those good old days when we were
|
||
|
useful
|
||
|
Suddenly, those good old days are gone
|
||
|
|
||
|
Reaching the end of the table, plates dive and spin into neat
|
||
|
piles --
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Too long we've been rusting
|
||
|
Needing so much more than dusting
|
||
|
Needing exercise
|
||
|
A chance to use our skills
|
||
|
|
||
|
-- while Cogsworth lands on Lumière's lap below. Chapeau scoops
|
||
|
|
||
|
them both up and drops them back on the table before Belle.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Most days we just lay around the castle
|
||
|
Flabby, fat and lazy
|
||
|
|
||
|
Lumière playfully pokes Cogsworth in his pot belly -- then
|
||
|
takes a flying leap!
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
You walked in, and oops-a-daisie!
|
||
|
48.
|
||
|
|
||
|
|
||
|
58 INT. KITCHEN - CASTLE - NIGHT 58
|
||
|
|
||
|
Mrs. Potts hops along the edge of the sink basin.
|
||
|
|
||
|
MRS. POTTS
|
||
|
It's a guest, it's a guest!
|
||
|
Sakes alive, and I'll be blessed!
|
||
|
Wine's been poured and thank the Lord
|
||
|
I've had more napkins freshly pressed!
|
||
|
|
||
|
She ascents to the top of a tiered, circular pastry table, as
|
||
|
napkins twirl around her. Desserts appear and circle Mrs.
|
||
|
Potts. Then tea cups enter on the outer circle, moving in
|
||
|
the opposite direction.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
With dessert, she'll want tea
|
||
|
And my dear, that's fine with me!
|
||
|
While the cups do their soft shoeing,
|
||
|
I'll be bubbling, I'll be brewing!
|
||
|
|
||
|
From overhead, a la Busby Berkeley, we reveal desserts, teacups,
|
||
|
napkins, the floor, everything circling in opposing directions.
|
||
|
Mrs. Potts descends, jumping onto her tea trolley -- and notices
|
||
|
a smudge of icing on Chip.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
I'll get warm, piping hot
|
||
|
Heaven's sake, is that a spot?
|
||
|
|
||
|
She quickly steams it off him.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Clean it up, we want the company
|
||
|
impressed!
|
||
|
|
||
|
The trolley rolls through the doors --
|
||
|
|
||
|
59 INT. DINING ROOM - CASTLE - NIGHT 59
|
||
|
|
||
|
-- and up to Belle. Mrs. Potts pours a cup into Chip.
|
||
|
|
||
|
MRS. POTTS
|
||
|
We've got a lot to do --
|
||
|
Is it one lump or two?
|
||
|
For you our guest!
|
||
|
|
||
|
LUMIÈRE
|
||
|
She's our guest!
|
||
|
|
||
|
MRS. POTTS
|
||
|
She's our guest!
|
||
|
|
||
|
Finally, unable to resist, Cogsworth joins in, pushing
|
||
|
Lumière out of the spotlight.
|
||
|
|
||
|
COGSWORTH, LUMIÈRE, MRS. POTTS
|
||
|
She's our guest!
|
||
|
49.
|
||
|
|
||
|
|
||
|
Plumette and her "Ettes" descend on a chandelier, which is
|
||
|
lowered by Lumière. They dance; a Beyoncé homage.
|
||
|
|
||
|
ALL
|
||
|
Be our guest! Be our guest!
|
||
|
Our command is your request!
|
||
|
It's years since we had anybody
|
||
|
Here and we're obsessed!
|
||
|
|
||
|
Lumière ties the chandelier rope around Cogsworth, who falls
|
||
|
over, causing the light to spin. Plumette dives into a massive
|
||
|
punch bowl, leading her "Ettes" into an Esther Williams moment.
|
||
|
|
||
|
ALL (CONT'D)
|
||
|
With your meal, with your ease,
|
||
|
Yes indeed, we aim to please
|
||
|
|
||
|
Splashes from the punch bowl launch us into a "Singin' in the
|
||
|
Rain" moment, with Lumière dancing under the fountain. The
|
||
|
grand finale is pure Bollywood, punctuated by explosions of
|
||
|
candy-colored powders.
|
||
|
|
||
|
ALL (CONT'D)
|
||
|
While the candlelight's still glowing,
|
||
|
Let us help you, we'll keep going --
|
||
|
Course by... COURSE! One by one!
|
||
|
Til you shout "Enough, I'm done!"
|
||
|
Then we'll sing you off to sleep as you
|
||
|
digest
|
||
|
Tonight you'll prop your feet up
|
||
|
But for now let's eat up...
|
||
|
Be our guest! Be our guest!
|
||
|
Be our guest! Please! Be our guest!!
|
||
|
|
||
|
As the table clears itself, whooshing back into the kitchen,
|
||
|
Lumière whirls toward Belle, finally presenting her with --
|
||
|
|
||
|
LUMIÈRE
|
||
|
Pudding?!
|
||
|
|
||
|
Overwhelmed, she laughs.
|
||
|
|
||
|
|
||
|
60 INT. FOYER - CASTLE - NIGHT 60
|
||
|
|
||
|
Mrs. Potts (on her trolley cart) escorts Belle from the dining
|
||
|
room.
|
||
|
|
||
|
BELLE
|
||
|
Surely you're as trapped here as I am.
|
||
|
Don't you ever want to escape?
|
||
|
|
||
|
MRS. POTTS
|
||
|
The master's not as terrible as he
|
||
|
appears. Somewhere deep in his soul,
|
||
|
there's a prince of a fellow, just
|
||
|
waiting to be set free.
|
||
|
50.
|
||
|
|
||
|
|
||
|
Belle takes this in, a valuable piece of the puzzle. She
|
||
|
looks up at the massive staircase.
|
||
|
|
||
|
BELLE
|
||
|
Lumiere mentioned something about the
|
||
|
West Wing...
|
||
|
|
||
|
MRS. POTTS
|
||
|
Never you mind about that. Off to bed
|
||
|
with you, poppet.
|
||
|
|
||
|
BELLE
|
||
|
Good night.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Nighty-night. Straight to bed!
|
||
|
|
||
|
Mrs. Potts moves off as Belle climbs the stairs toward her
|
||
|
room. At the top, she hurries up the staircase leading to
|
||
|
the west wing.
|
||
|
|
||
|
63 INT. STAIRCASE - WEST WING - CASTLE - NIGHT 63
|
||
|
|
||
|
Belle sticks to the shadows. She walks up to a massive wooden
|
||
|
door -- slightly ajar.
|
||
|
|
||
|
64 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 64
|
||
|
|
||
|
Furniture lies in rubble, curtains are shredded -- evidence of
|
||
|
the beast's temper. Wary, Belle investigates when --
|
||
|
|
||
|
SHE GLIMPSES EYES PEERING AT HER OFF TO THE SIDE.
|
||
|
|
||
|
With a start, Belle wheels to find -- the eyes belong to a royal
|
||
|
portrait. The subject seems to be a TEENAGE BOY but his face
|
||
|
has been SLASHED BEYOND RECOGNITION.
|
||
|
|
||
|
Only the eyes survived. Bright blue. Engaging. Resembling the
|
||
|
eyes of THE BEAST. She realizes that this is the "prince of a
|
||
|
fellow" Mrs. Potts was referring to.
|
||
|
|
||
|
Belle leans in to study the painting. A ROYAL FAMILY stands by
|
||
|
the castle. The FATHER's image has been slashed. The QUEEN
|
||
|
remains pristine. Kind. Beautiful.
|
||
|
|
||
|
Belle moves past a large four-poster bed, its faded coverlet
|
||
|
gray with dust, like no one has slept in it for years. On
|
||
|
the floor, she sees a makeshift bed made of straw, torn bits
|
||
|
of fabric and crumpled blankets: the resting place of a
|
||
|
nocturnal carnivore.
|
||
|
|
||
|
Belle turns and sees the glow coming from the GLASS JAR by an
|
||
|
open window leading to the balcony. Inside the jar -- THE
|
||
|
ENCHANTED ROSE.
|
||
|
|
||
|
Mesmerized, Belle approaches the rose. She lifts the jar,
|
||
|
leaving the rose unprotected. She reaches out to touch the
|
||
|
rose. A shadow cuts across Belle's face.
|
||
|
51.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
WHAT ARE YOU DOING HERE!? WHAT DID YOU
|
||
|
DO TO IT!?
|
||
|
|
||
|
The beast bears down on Belle, backing her up. She puts down
|
||
|
the bell jar.
|
||
|
|
||
|
BELLE
|
||
|
Nothing.
|
||
|
|
||
|
THE BEAST
|
||
|
DO YOU REALIZE WHAT YOU COULD HAVE
|
||
|
DONE!? YOU COULD HAVE DAMNED US ALL!
|
||
|
GET OUT! GO!
|
||
|
|
||
|
Belle runs. The beast turns and covers the rose, panicked and
|
||
|
protective.
|
||
|
|
||
|
65,66 INT. FOYER - CASTLE - NIGHT 65,66
|
||
|
|
||
|
Lumière and Cogsworth play chess on an upper landing, with
|
||
|
Froufrou resting between them.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Checkmate. Again.
|
||
|
|
||
|
COGSWORTH
|
||
|
Because you cheated. Again.
|
||
|
|
||
|
Belle appears, racing down the west wing staircase.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Mademoiselle... what are you doing?
|
||
|
|
||
|
BELLE
|
||
|
Getting out of here!
|
||
|
|
||
|
Cogsworth jumps onto the chess board as Lumiere hops to the
|
||
|
floor.
|
||
|
|
||
|
COGSWORTH
|
||
|
Stop!
|
||
|
|
||
|
LUMIÈRE
|
||
|
Go go, Froufrou!
|
||
|
|
||
|
Froufrou jumps up and starts after Belle.
|
||
|
|
||
|
COGSWORTH
|
||
|
Yes Froufrou, stop her!
|
||
|
|
||
|
Belle barrels down the main staircase, Froufrou in close
|
||
|
pursuit.
|
||
|
|
||
|
Mrs. Potts enters from the kitchen, wearing a tea cosy.
|
||
|
|
||
|
MRS. POTTS
|
||
|
You don't want to go out there!
|
||
|
52.
|
||
|
|
||
|
|
||
|
At the top of the stairs, Cogsworth sounds a whistle. In quick
|
||
|
cuts, WINDOWS drop and SHUTTERS close.
|
||
|
|
||
|
Belle hits the bottom of the grand staircase and runs towards
|
||
|
the door -- only to watch it bolt itself locked.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Stop her!
|
||
|
|
||
|
Froufrou runs in front of Belle to block her exit, and growls.
|
||
|
|
||
|
COGSWORTH
|
||
|
Who's a good dog?
|
||
|
|
||
|
Then suddenly, his growls turn to playful yaps, as he stands
|
||
|
on his hind legs and pants playfully.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
What? No, it's not playtime! Bad
|
||
|
dog! Bad dog!
|
||
|
|
||
|
MRS. POTTS
|
||
|
What part of `stop her' don't you
|
||
|
understand, dog?!
|
||
|
|
||
|
Froufrou spins and scrambles outside, scooting through the
|
||
|
low postern door within the great front door. In his
|
||
|
excitement, he's provided Belle with an escape!
|
||
|
|
||
|
Belle snatches her cloak from a bewildered Chapeau, and
|
||
|
shimmies out through this same `doggie door.'
|
||
|
|
||
|
LUMIÈRE
|
||
|
Please, don't go! It's dangerous!
|
||
|
|
||
|
Mrs. Potts rushes forward but it's too late. A look of dread
|
||
|
settles on her face...
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh my...
|
||
|
|
||
|
67 OMITTED 67
|
||
|
|
||
|
68 OMITTED 68
|
||
|
|
||
|
69 EXT. ENCHANTED WOODS - NIGHT 69
|
||
|
|
||
|
HOWL. Philippe's hooves hit the snowy landscape. Belle races
|
||
|
through the woods. She looks back to see if the beast followed
|
||
|
her. She only sees a glimpse of the castle. She thinks she has
|
||
|
escaped. Surely, she has escaped.
|
||
|
|
||
|
WOLVES HOWL NEARBY.
|
||
|
|
||
|
ANGLE ON PHILIPPE'S MUDDY HOOFPRINT -- a WOLF'S PAW smashes down
|
||
|
over the print -- the wolf howls --
|
||
|
53.
|
||
|
|
||
|
|
||
|
ANGLE ON BELLE -- out of the corner of her eye, she sees SHAPES
|
||
|
OF A DOZEN WHITE WOLVES flitting through the trees, closing in
|
||
|
on her.
|
||
|
|
||
|
Belle forges on -- the wolves are not bothering to hide anymore,
|
||
|
they've emerged from the trees to take down their prey --
|
||
|
closing in fast --
|
||
|
|
||
|
-- Belle pushes through the undergrowth to find she has reached
|
||
|
a FROZEN POND. Philippe doesn't hesitate. He gallops onto the
|
||
|
ice, and across the pond. The sound of ice CRACKING under his
|
||
|
hooves is deep and low. And increasing.
|
||
|
|
||
|
Philippe's hooves slide on the ice. The wolves close in.
|
||
|
|
||
|
Philippe makes it across the pond onto land. But before
|
||
|
Belle can feel any relief --
|
||
|
|
||
|
A WOLF'S JAWS snap at Philippe's thigh. Then another. The
|
||
|
horse bucks wildly -- causing Belle to makes a controlled
|
||
|
leap onto a snow bank. She seizes a thick branch and wields
|
||
|
it as a club -- as the wolves surround her, jaws slavering --
|
||
|
|
||
|
Belle swings her club as one wolf lunges at her, its bared
|
||
|
teeth like razors. She beats it away. She turns to confront
|
||
|
another -- it bites the branch clean out of her hands.
|
||
|
|
||
|
Belle turns, looks up -- on a rock promontory, the scarred
|
||
|
ALPHA WOLF is about to take a diving leap onto her. It
|
||
|
jumps, and she flinches -- but just as the wolf is about to
|
||
|
makes its horrible landing --
|
||
|
|
||
|
THE BEAST APPEARS --
|
||
|
|
||
|
-- and catches it in mid-air! With supernatural force, the
|
||
|
beast hurls the wolf across the frozen pond, howling!
|
||
|
|
||
|
All the wolves dive on the beast at once, tearing shreds from
|
||
|
his cloak. He strikes at them -- wolves scurry, yelping --
|
||
|
|
||
|
The oversize ALPHA WOLF climbs onto the beast's back, goes
|
||
|
for his neck. The beast slams together the wolves on his
|
||
|
arms, dropping them -- then reaches back and seizes the
|
||
|
Alpha. WOLF and BEAST snarl inches from each other -- the
|
||
|
beast squeezes --
|
||
|
|
||
|
Then hurls the Alpha into a stone ledge -- CRACK -- knocking him
|
||
|
out. The remaining pack retreats in panic, their yelps echoing
|
||
|
through the trees.
|
||
|
|
||
|
TIGHT ON BELLE -- watching as the beast whimpers in pain. His
|
||
|
shoulders slump. He collapses in the snow. This is her chance.
|
||
|
Belle could run. She looks past Philippe, to the woods -- to
|
||
|
freedom. But then turns back, and slowly approaches the wounded
|
||
|
|
||
|
beast.
|
||
|
|
||
|
Belle covers the beast with her blanket. He stirs. One eye
|
||
|
opens.
|
||
|
54.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
You have to help me... you have to
|
||
|
stand...
|
||
|
|
||
|
CUT TO:
|
||
|
|
||
|
The beast is slumped across Philippe's saddle. As Belle takes
|
||
|
the reins and begins the long walk back to the castle, we RISE
|
||
|
into the sky, where we can see the border that separates the
|
||
|
enchanted woods from the outside world, and...
|
||
|
|
||
|
70 EXT. WOODS - NIGHT 70
|
||
|
|
||
|
WOLVES HOWL. Gaston's carriage moves through the scary woods,
|
||
|
LeFou squeezed in back behind Gaston and Maurice.
|
||
|
|
||
|
MAURICE
|
||
|
No! I'm sure this is the way! Do you
|
||
|
hear those wolves? That means we're
|
||
|
getting very close to the castle.
|
||
|
|
||
|
GASTON
|
||
|
Look, enough is enough. We have to turn
|
||
|
back.
|
||
|
|
||
|
MAURICE
|
||
|
Stop! That's it!
|
||
|
|
||
|
Maurice points up ahead to the WITHERED TREE that looks like an
|
||
|
ELDERLY PERSON'S CANE -- THE TREE IS STANDING AGAIN, the tunnel
|
||
|
of trees now hidden behind it. Maurice hops down from the
|
||
|
wagon.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
That's the tree. I'm sure of it. Of
|
||
|
course, it was downed by lightning at
|
||
|
the time, but now it's been restored
|
||
|
to an upright position, through some
|
||
|
sort of... magic. Or other.
|
||
|
|
||
|
LEFOU
|
||
|
(sotto to Gaston)
|
||
|
You really want to marry into this
|
||
|
family?
|
||
|
|
||
|
MAURICE
|
||
|
So that means the castle is definitely
|
||
|
that way!
|
||
|
|
||
|
An angry Gaston steps out and approaches Maurice.
|
||
|
|
||
|
GASTON
|
||
|
I'm done playing this game of yours.
|
||
|
Where is Belle?
|
||
|
|
||
|
MAURICE
|
||
|
The beast took her!
|
||
|
55.
|
||
|
|
||
|
|
||
|
GASTON
|
||
|
There are no such things as beasts, or
|
||
|
talking teacups, or... magic! But there
|
||
|
are wolves, frostbite, and starvation.
|
||
|
|
||
|
LEFOU
|
||
|
Deep breaths, Gaston. Deep breaths.
|
||
|
|
||
|
GASTON
|
||
|
So why don't we just turn around go back
|
||
|
to Villeneuve? I'm sure Belle is at
|
||
|
home, cooking up a lovely dinner...
|
||
|
|
||
|
MAURICE
|
||
|
If you think I've made all this up,
|
||
|
then why did you offer to help?
|
||
|
|
||
|
GASTON
|
||
|
Because I want to marry your daughter!
|
||
|
Now let's go home.
|
||
|
|
||
|
MAURICE
|
||
|
Belle is not at home! She's with the --
|
||
|
|
||
|
GASTON
|
||
|
IF YOU SAY BEAST ONE MORE TIME, I WILL
|
||
|
FEED YOU TO THE WOLVES!
|
||
|
|
||
|
Gaston holds his fist to strike Maurice across the face.
|
||
|
LeFou runs over to intervene.
|
||
|
|
||
|
LEFOU
|
||
|
GASTON! STOP! Breathe. Think happy
|
||
|
thoughts. Go back to the war. Blood,
|
||
|
explosions, countless widows...
|
||
|
|
||
|
GASTON
|
||
|
Widows...
|
||
|
|
||
|
LEFOU
|
||
|
Yes, yes, that's it, that's it...
|
||
|
|
||
|
LeFou's voice snaps Gaston out of his rage. He puts on that
|
||
|
Gaston smile like a Halloween mask.
|
||
|
|
||
|
GASTON
|
||
|
Please, forgive me, old bean. That's no
|
||
|
way to talk to my future father-in-law,
|
||
|
now is it?
|
||
|
|
||
|
MAURICE
|
||
|
Future father-in-law...? You will never
|
||
|
marry my daughter.
|
||
|
|
||
|
A beat. Without a word, Gaston hits Maurice, knocking him out.
|
||
|
|
||
|
LEFOU
|
||
|
I saw that coming...
|
||
|
56.
|
||
|
|
||
|
|
||
|
70A EXT. REMOTE FOREST ROAD - NIGHT (LATER) 70A
|
||
|
|
||
|
Maurice is now tied to a tree. Gaston secures the knot and
|
||
|
walks to the carriage. Darkness has come over Gaston.
|
||
|
|
||
|
GASTON
|
||
|
If Maurice won't give me his blessing,
|
||
|
then he is in my way. Once the wolves
|
||
|
are finished with him, Belle will have
|
||
|
no one to take care of her but me.
|
||
|
|
||
|
LEFOU
|
||
|
For the sake of exhausting all of our
|
||
|
options, do we maybe want to consider a
|
||
|
less gruesome alternative?
|
||
|
|
||
|
Gaston climbs into the carriage.
|
||
|
|
||
|
GASTON
|
||
|
Are you coming?
|
||
|
|
||
|
LeFou looks back to Maurice, an apology in his eyes. He
|
||
|
climbs into the carriage.
|
||
|
|
||
|
Gaston and LeFou ride off, leaving Maurice to die.
|
||
|
|
||
|
71 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 71
|
||
|
|
||
|
The beast lies in his old human bed. Belle dabs a large gash
|
||
|
on the beast's arm. The beast bares his fangs and lets out a
|
||
|
roar.
|
||
|
|
||
|
THE BEAST
|
||
|
ROOOOAARRRR! Ow! That hurts!
|
||
|
|
||
|
BELLE
|
||
|
If you held still, it wouldn't hurt as
|
||
|
much.
|
||
|
|
||
|
THE BEAST
|
||
|
If you hadn't run away, none of this
|
||
|
would have happened.
|
||
|
|
||
|
BELLE
|
||
|
Well if you hadn't frightened me, I
|
||
|
wouldn't have run away.
|
||
|
|
||
|
The household staff anxiously watches the battle of words.
|
||
|
|
||
|
THE BEAST
|
||
|
Well you shouldn't have been in the
|
||
|
west wing.
|
||
|
|
||
|
BELLE
|
||
|
Well you should learn to control your
|
||
|
temper.
|
||
|
57.
|
||
|
|
||
|
|
||
|
The beast is momentarily silenced. Belle looks down at the
|
||
|
wound she has been dabbing. It's worse than she thought.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Try to get some rest.
|
||
|
|
||
|
The beast's breath slows to a low rumble as his eyes slip
|
||
|
shut.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Thank you, Miss.
|
||
|
|
||
|
LUMIÈRE
|
||
|
We are eternally grateful.
|
||
|
|
||
|
BELLE
|
||
|
Why do you care so much about him?
|
||
|
|
||
|
MRS. POTTS
|
||
|
We've looked after him all his life.
|
||
|
|
||
|
BELLE
|
||
|
But he has cursed you somehow.
|
||
|
(off their silence)
|
||
|
Why? You did nothing.
|
||
|
|
||
|
MRS. POTTS
|
||
|
You're quite right there, dear. You
|
||
|
see, when the master lost his mother,
|
||
|
and his cruel father took that sweet
|
||
|
innocent lad and twisted him up to be
|
||
|
just like him... we did nothing.
|
||
|
|
||
|
Belle notes their shame just as we HEAR the first notes of a
|
||
|
beautiful melody coming from the ballroom downstairs. This is
|
||
|
the beast's lullaby -- "DAYS IN THE SUN."
|
||
|
|
||
|
LUMIÈRE
|
||
|
Let him sleep.
|
||
|
|
||
|
As the staff and Belle exit, the beast stirs. We move from
|
||
|
his face, shivering in a fever dream, to discover --
|
||
|
|
||
|
71A INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 71A
|
||
|
|
||
|
The YOUNG PRINCE gazes down sadly.
|
||
|
|
||
|
YOUNG PRINCE
|
||
|
Days in the sun
|
||
|
When my life has barely begun
|
||
|
|
||
|
We move around to reveal that he is looking at the pale body
|
||
|
of THE QUEEN on her deathbed.
|
||
|
|
||
|
YOUNG PRINCE (CONT'D)
|
||
|
Not until my own life is done
|
||
|
Will I ever leave you
|
||
|
58.
|
||
|
|
||
|
|
||
|
Behind the prince, a figure approaches: his FATHER. Cruelty
|
||
|
written on his face. Placing his large hand on the boy's
|
||
|
shoulder, he pulls him out of the room.
|
||
|
|
||
|
72 INT. CASTLE - BALLROOM/FOYER - NIGHT 72
|
||
|
|
||
|
In the gloomy ballroom, Cadenza plays the beautiful melody.
|
||
|
|
||
|
CADENZA
|
||
|
Will I tremble again
|
||
|
To my dear one's gorgeous refrain?
|
||
|
|
||
|
The melody drifts through the ballroom until we find Lumière and
|
||
|
|
||
|
Plumette, dancing:
|
||
|
|
||
|
LUMIÈRE & PLUMETTE
|
||
|
Will you now forever remain
|
||
|
Out of reach of my arms?
|
||
|
|
||
|
72AA INT. CASTLE - KITCHEN - NIGHT 72AA
|
||
|
|
||
|
Drifting to Mrs. Potts and Chip, as she tucks him into bed in
|
||
|
the cupboard:
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh those days in the sun
|
||
|
What I'd give to relive just one
|
||
|
Undo what's done
|
||
|
And bring back the light
|
||
|
|
||
|
The melody wafts up to:
|
||
|
|
||
|
72A INT. BELLE'S BEDROOM - CASTLE - NIGHT 72A
|
||
|
|
||
|
Madame de Garderobe joins in:
|
||
|
|
||
|
GARDEROBE
|
||
|
O I could sing
|
||
|
Of the pain these dark days bring
|
||
|
The spell we're under
|
||
|
Still it's the wonder of us
|
||
|
I sing of tonight
|
||
|
|
||
|
Belle turns to the window, sings:
|
||
|
|
||
|
BELLE
|
||
|
How in the midst of all this sorrow
|
||
|
Can so much hope and love endure?
|
||
|
I was innocent and certain
|
||
|
Now I'm wiser but unsure
|
||
|
59.
|
||
|
|
||
|
|
||
|
BELLE (CONT'D) GARDEROBE
|
||
|
I can't go back into my Days in the past
|
||
|
childhood Ah those precious days
|
||
|
One that my father made couldn't last
|
||
|
secure Oh - hold me closer
|
||
|
I can feel the change in me
|
||
|
|
||
|
I'm stronger now but still
|
||
|
not free
|
||
|
|
||
|
From the window, we PAN across to the castle, to the horizon -
|
||
|
- where the sun is rising.
|
||
|
|
||
|
72B OMITTED 72B
|
||
|
|
||
|
72C OMITTED 72C
|
||
|
|
||
|
73 INT. BEAST'S LAIR - WEST WING - CASTLE - MORNING 73
|
||
|
|
||
|
The beast's eyes are closed as he feels his mother's hand on
|
||
|
his head one more time. The whole staff looks on:
|
||
|
|
||
|
ALL
|
||
|
Days in the sun
|
||
|
Will return - we must believe
|
||
|
As lovers do
|
||
|
That days in the sun
|
||
|
Will come shining through
|
||
|
|
||
|
The beast opens his eyes weakly, takes in the low light of
|
||
|
sunrise. As his vision adjusts, the silhouetted figure by
|
||
|
his bedside is revealed. Not his mother, but Belle. A smile
|
||
|
forms on his lips, and he closes his eyes again.
|
||
|
|
||
|
In the glass jar, a petal drops as if floating on the melody.
|
||
|
Belle crosses to it.
|
||
|
|
||
|
BELLE
|
||
|
What happens when the last petal falls?
|
||
|
|
||
|
LUMIÈRE
|
||
|
The master remains a beast forever. And
|
||
|
the rest of us become...
|
||
|
|
||
|
MRS. POTTS
|
||
|
Antiques.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Knickknacks.
|
||
|
|
||
|
PLUMETTE
|
||
|
Lightly used houseware.
|
||
|
|
||
|
COGSWORTH
|
||
|
Rubbish. We become rubbish.
|
||
|
|
||
|
BELLE
|
||
|
I want to help you. There must be some
|
||
|
way to lift the curse.
|
||
|
60.
|
||
|
|
||
|
|
||
|
The staff exchange looks.
|
||
|
|
||
|
COGSWORTH
|
||
|
Well, there is one --
|
||
|
|
||
|
Lumière candle-smacks him, leaving a waxy smear on his face.
|
||
|
|
||
|
MRS. POTTS
|
||
|
It's not for you to worry about, lamb.
|
||
|
We've made our bed and we must lie in
|
||
|
it.
|
||
|
|
||
|
The BEAST opens his eyes, he's been listening. The years of
|
||
|
shame and anguish haunt his face as he begins to remember what
|
||
|
it is to be human.
|
||
|
|
||
|
74 EXT. REMOTE FOREST ROAD - MORNING 74
|
||
|
|
||
|
Maurice sleeps. Suddenly, we hear the branches crack around
|
||
|
him. The sound gets closer, and just when we think that wolves
|
||
|
have found Maurice, we see --
|
||
|
|
||
|
A HOODED FIGURE emerges from the woods. The figure looks at
|
||
|
Maurice, his breathing making fog in the cold. Alarmed, the
|
||
|
figure rushes up and pulls down the hood to reveal --
|
||
|
|
||
|
AGATHE. The beggar woman.
|
||
|
|
||
|
75 EXT. AGATHE'S SHELTER - WOODS - DAY 75
|
||
|
|
||
|
Agathe, her arm around Maurice, guides him into a shelter in a
|
||
|
small clearing. Gently, she lays him down and removes her
|
||
|
cloak, spreading it over him for warmth.
|
||
|
|
||
|
She pulls a bundle off her back and rifles through it, removes
|
||
|
herbs, a mortar and pestle, and expertly whips up a concoction
|
||
|
that she brings to Maurice's lips.
|
||
|
|
||
|
AGATHE
|
||
|
Drink.
|
||
|
|
||
|
He blinks, reviving, as he drinks it down.
|
||
|
|
||
|
MAURICE
|
||
|
Thank you... Agathe.
|
||
|
|
||
|
76 INT. BEAST'S LAIR - WEST WING - CASTLE - DAY 76
|
||
|
|
||
|
The beast lies in bed, still bandaged.
|
||
|
|
||
|
BELLE (O.S.)
|
||
|
Love can transpose to form and
|
||
|
dignity. Love looks not with the eyes
|
||
|
but with the mind. And therefore --
|
||
|
|
||
|
He opens his eyes to see that Belle isn't reading, she's
|
||
|
reciting from memory. He joins in --
|
||
|
61.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
And therefore is winged Cupid painted
|
||
|
blind.
|
||
|
|
||
|
Belle looks up, surprised.
|
||
|
|
||
|
BELLE
|
||
|
So you know Shakespeare?
|
||
|
|
||
|
THE BEAST
|
||
|
I had an expensive education.
|
||
|
|
||
|
BELLE
|
||
|
Actually, "Romeo and Juliet" is my
|
||
|
favorite play.
|
||
|
|
||
|
THE BEAST
|
||
|
Why is that not a surprise?
|
||
|
|
||
|
BELLE
|
||
|
Sorry?
|
||
|
|
||
|
THE BEAST
|
||
|
All that heartache and pining and --
|
||
|
(a beastly shudder)
|
||
|
There are so many better things to
|
||
|
read.
|
||
|
|
||
|
BELLE
|
||
|
Like what?
|
||
|
|
||
|
The beast smiles.
|
||
|
|
||
|
77 INT. LIBRARY - CASTLE - DAY 77
|
||
|
|
||
|
The beast has lead Belle into the biggest grandest private
|
||
|
library in all of France. The chamber is vast and lined floor
|
||
|
to ceiling with books.
|
||
|
|
||
|
THE BEAST
|
||
|
Should be something here you can start
|
||
|
with...
|
||
|
|
||
|
He turns to see Belle, speechless.
|
||
|
|
||
|
BELLE
|
||
|
It's wonderful.
|
||
|
|
||
|
THE BEAST
|
||
|
Oh. Yes, I suppose it is... Well, if
|
||
|
you like it so much, then it's yours.
|
||
|
|
||
|
The beast starts to leave. He is stopped by --
|
||
|
|
||
|
BELLE
|
||
|
Have you really read every one of these
|
||
|
books?
|
||
|
62.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
Not all of them. Some are in Greek.
|
||
|
|
||
|
BELLE
|
||
|
Was that a joke? Are you making jokes
|
||
|
now?
|
||
|
|
||
|
THE BEAST
|
||
|
Maybe.
|
||
|
|
||
|
Belle shakes her head but is also charmed. The beast turns
|
||
|
and strides out.
|
||
|
|
||
|
78 INT. DINING ROOM - CASTLE - NIGHT 78
|
||
|
|
||
|
The beast eats at the table, reading a book which sits on a
|
||
|
stand. He looks up to see Belle sit at the other end with three
|
||
|
|
||
|
books. She picks up her spoon and starts to eat. The beast
|
||
|
plants his face in the bowl. Looks up a second later having
|
||
|
inhaled the soup, half of which is dripping from his fur. Belle
|
||
|
|
||
|
attempts a smile. "SOMETHING THERE" begins.
|
||
|
|
||
|
78A EXT. CASTLE GROUNDS - WOODED GLEN - DAY 78A
|
||
|
|
||
|
Belle and the beast cross a stone footbridge. She reads
|
||
|
aloud to the patient, who moves tentatively, favoring a
|
||
|
wounded leg.
|
||
|
|
||
|
BELLE
|
||
|
The air is blue and keen and cold
|
||
|
And in a frozen sheath enrolled
|
||
|
|
||
|
The beast stops. Belle, savoring the words, keeps walking.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Each branch, each twig, each blade of
|
||
|
grass
|
||
|
Seems clad miraculously with glass
|
||
|
|
||
|
Belle notices that she's walking alone. She turns back, sees
|
||
|
the beast staring out soulfully:
|
||
|
|
||
|
BEAST
|
||
|
I feel as if I'm seeing it for the
|
||
|
first time.
|
||
|
|
||
|
As she follows his gaze, we reveal a splendidly desolate
|
||
|
landscape. The very thing Belle has just described, now
|
||
|
spread out before her.
|
||
|
|
||
|
BEAST (CONT'D)
|
||
|
Is there more?
|
||
|
|
||
|
Belle smiles, pleased that for a moment at least he's become
|
||
|
a fan of poetry. She reads:
|
||
|
63.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
But in that solemn silence
|
||
|
Is heard the whisper
|
||
|
Of every sleeping thing:
|
||
|
"Look, look at me
|
||
|
Come wake me up
|
||
|
For still here I be."
|
||
|
|
||
|
Belle meets the beast's eyes. Both suddenly aware of hidden
|
||
|
meanings in the poet's words.
|
||
|
|
||
|
79 EXT. CASTLE GROUNDS - DAY 79
|
||
|
|
||
|
In the fresh snow, Belle brushes Philippe's coat. The beast
|
||
|
looks at Belle -- she nods -- and he pets the horse. Philippe
|
||
|
reacts skittishly, causing the beast to withdraw. Belle takes
|
||
|
his hand and places it on Philippe. Then, as she turns away --
|
||
|
|
||
|
BELLE
|
||
|
There's something sweet and almost
|
||
|
kind
|
||
|
But he was mean and he was coarse and
|
||
|
unrefined
|
||
|
|
||
|
She looks back -- sees the beast petting Philippe.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
And now he's dear and so unsure
|
||
|
I wonder why I didn't see it there
|
||
|
before
|
||
|
|
||
|
Suddenly, a snowball hits the beast. He turns to see Belle
|
||
|
smiling.
|
||
|
|
||
|
The beast builds a huge snowball, and hurls it at Belle. It
|
||
|
knocks her clean off her feet and into the snow. Off the
|
||
|
beast, grinning in delight --
|
||
|
|
||
|
80 OMITTED 80
|
||
|
|
||
|
81 INT. DINING ROOM - CASTLE - NIGHT 81
|
||
|
Belle reads at her end of the long dining table. She looks up
|
||
|
and sees the beast looking at her. "May I?" She nods, goes
|
||
|
back to her book. As he walks the length of the table:
|
||
|
THE BEAST
|
||
|
She glanced this way
|
||
|
I thought I saw
|
||
|
And when we touched
|
||
|
She didn't shudder at my paw
|
||
|
No, it can't be
|
||
|
I'll just ignore
|
||
|
But then she's never looked at me that
|
||
|
way before
|
||
|
|
||
|
The beast sits. He grabs his bowl and slurps down the soup,
|
||
|
then catches himself as he sees Belle watching him.
|
||
|
64.
|
||
|
|
||
|
|
||
|
After a moment, she picks up her bowl and drinks the soup the
|
||
|
same way. The beast smiles. They loudly slurp and laugh
|
||
|
together.
|
||
|
|
||
|
82 INT. BALLROOM - CASTLE / EXT. CASTLE GROUNDS - DAY 82
|
||
|
|
||
|
Plumette and several Ettes remove dust bags from the
|
||
|
chandeliers, as Belle stands on a balcony, sleeves rolled up.
|
||
|
She scrubs a dirty window, causing a beam of sunlight to
|
||
|
strike Cadenza. Meanwhile Chapeau mops the floor, cleaning
|
||
|
off years of grime, revealing the shiny marble underneath.
|
||
|
|
||
|
BELLE
|
||
|
New and a bit alarming
|
||
|
Who'd have ever thought that this
|
||
|
could be?
|
||
|
|
||
|
Through the cleaned windows she sees the beast outside,
|
||
|
walking Philippe -- and talking to him.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
True that he's no Prince Charming
|
||
|
But there's something in him that I
|
||
|
simply didn't see!
|
||
|
|
||
|
83 INT. LIBRARY - CASTLE - DAY 83
|
||
|
|
||
|
Belle stands on a ladder, pulling down book after book, and
|
||
|
handing them to the beast. The staff watches from the corner.
|
||
|
|
||
|
PLUMETTE
|
||
|
Well, who'd have thought?
|
||
|
|
||
|
MRS. POTTS
|
||
|
Well, bless my soul!
|
||
|
|
||
|
COGSWORTH
|
||
|
Well, who'd have known?
|
||
|
|
||
|
LUMIÈRE
|
||
|
Well, who indeed?
|
||
|
|
||
|
The towering stack in the beast's arms teeters until the LIBRARY
|
||
|
TABLE scoots up behind him, allowing him to set the stack down.
|
||
|
The beast nods gratefully, and the wizened GLOBE on the tabletop
|
||
|
nods back. As the staff moves away:
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
And who'd have guessed
|
||
|
They'd come together on their own?
|
||
|
|
||
|
MRS. POTTS
|
||
|
It's so peculiar, wait and see.
|
||
|
|
||
|
ALL
|
||
|
We'll wait and see!
|
||
|
A few days more
|
||
|
(MORE)
|
||
|
65.
|
||
|
|
||
|
ALL (CONT'D)
|
||
|
There may be something there that wasn't
|
||
|
there before.
|
||
|
|
||
|
COGSWORTH
|
||
|
You know, perhaps there's something
|
||
|
there that wasn't there before.
|
||
|
|
||
|
CHIP
|
||
|
What, mama?
|
||
|
|
||
|
MRS. POTTS
|
||
|
There may be something there that wasn't
|
||
|
there before.
|
||
|
|
||
|
CHIP
|
||
|
What is it, what's there?
|
||
|
|
||
|
MRS. POTTS
|
||
|
I'll tell you when you're older.
|
||
|
|
||
|
Chip waits a long beat.
|
||
|
|
||
|
CHIP
|
||
|
Okay, I'm older!
|
||
|
|
||
|
Mrs. Potts laughs.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh Chip, you are a one!
|
||
|
|
||
|
84 EXT. CASTLE GROUNDS - COLONNADE - DAY 84
|
||
|
|
||
|
Sitting in the beautiful rose garden, the beast looks up from
|
||
|
his book as Belle approaches.
|
||
|
|
||
|
BELLE
|
||
|
What are you reading?
|
||
|
|
||
|
THE BEAST
|
||
|
Nothing.
|
||
|
|
||
|
He hides the book but Belle catches the title.
|
||
|
|
||
|
BELLE
|
||
|
Guinevere and Lancelot.
|
||
|
|
||
|
THE BEAST
|
||
|
Well actually, King Arthur and the
|
||
|
Round Table. Knights, and men, and
|
||
|
swords and things...
|
||
|
|
||
|
BELLE
|
||
|
But still... it's a romance.
|
||
|
|
||
|
The beast nods, a bit shyly.
|
||
|
|
||
|
THE BEAST
|
||
|
All right. I felt like a change.
|
||
|
66.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
I never thanked you for saving my life.
|
||
|
|
||
|
THE BEAST
|
||
|
Well I never thanked you... for not
|
||
|
leaving me to be eaten by wolves.
|
||
|
|
||
|
Belle laughs. A quiet charged moment, which ends with the
|
||
|
SHOUTS and LAUGHTER of the servants in the castle. Belle and
|
||
|
the beast can't help but smile.
|
||
|
|
||
|
BELLE
|
||
|
They know how to have a good time.
|
||
|
|
||
|
THE BEAST
|
||
|
Yes. But when I enter the room,
|
||
|
laughter dies.
|
||
|
|
||
|
BELLE
|
||
|
Me, too. The villagers say that I'm a
|
||
|
"funny girl," but I don't think they
|
||
|
mean it as a compliment.
|
||
|
|
||
|
THE BEAST
|
||
|
I'm sorry. Your village sounds
|
||
|
terrible.
|
||
|
|
||
|
BELLE
|
||
|
Almost as lonely as your castle.
|
||
|
|
||
|
He turns to her with a melancholy smile. Then, an idea.
|
||
|
|
||
|
THE BEAST
|
||
|
What do you say we run away?
|
||
|
|
||
|
Belle is surprised by the suggestion.
|
||
|
|
||
|
85 INT. LIBRARY - CASTLE - NIGHT 85
|
||
|
|
||
|
The beast unlocks a desk cabinet. In it, resting on velvet,
|
||
|
its gold-leaf cover faintly glimmering with magic, is a
|
||
|
LEATHER BOUND BOOK covered in a thick layer of dust.
|
||
|
|
||
|
THE BEAST
|
||
|
Another little "gift" from the
|
||
|
Enchantress...
|
||
|
|
||
|
The beast cracks open the book to reveal AN ANTIQUE WORLD
|
||
|
ATLAS. No countries. Just land and sea.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
A book that truly allows you to
|
||
|
escape.
|
||
|
|
||
|
Belle moves closer to find the pen and ink drawing is alive.
|
||
|
Waves lap the beaches. Green trees sway in invisible wind.
|
||
|
67.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
How amazing.
|
||
|
|
||
|
THE BEAST
|
||
|
It was her cruelest trick of all. The
|
||
|
outside world has no place for a
|
||
|
creature like me. But it can for you.
|
||
|
|
||
|
The beast offers his hand and Belle takes it. He gently
|
||
|
moves her hand to the book.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Think of the place you've most wanted
|
||
|
to see. First, see it in your mind's
|
||
|
eye. Now feel it in your heart.
|
||
|
|
||
|
Belle nods -- this isn't a difficult decision. The moment
|
||
|
her hand hits the page, we ENTER it, SPINNING through
|
||
|
celestial flares -- which blur and recombine -- as the lights
|
||
|
of Paris. We descend over the city and into...
|
||
|
|
||
|
86 INT. ARTIST'S GARRET - MONTMARTRE - NIGHT 86
|
||
|
|
||
|
... the top floor of a windmill in Montmartre.
|
||
|
|
||
|
THE BEAST
|
||
|
Where did you take us?
|
||
|
|
||
|
BELLE
|
||
|
Paris.
|
||
|
|
||
|
The beast looks out of a window and sees glittering lights.
|
||
|
|
||
|
THE BEAST
|
||
|
Oh, I love Paris. What would you like
|
||
|
to see first? Notre Dame? The Champs-
|
||
|
Elysées? No? Too touristy?
|
||
|
|
||
|
He turns to find Belle silent. Her eyes brimming with tears.
|
||
|
|
||
|
BELLE
|
||
|
It's so much smaller than I imagined.
|
||
|
|
||
|
The beast watches Belle walk through her childhood home...
|
||
|
the artist's garret that Maurice recreated in his signature
|
||
|
music box. Abandoned years ago, the room is crumbling.
|
||
|
Belle finds the remains of her father's easel. A tarnished
|
||
|
wall mirror. Her own broken crib.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
This is the Paris of my childhood
|
||
|
These were the borders of my life
|
||
|
In this crumbling dusty attic
|
||
|
Where an artist loved his wife
|
||
|
I thought that I would find an answer
|
||
|
Here where his heart has always lived
|
||
|
(MORE)
|
||
|
68.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Now I see it's empty and abandoned
|
||
|
Easy to remember
|
||
|
Harder to move on
|
||
|
Knowing that the Paris of my childhood
|
||
|
Is gone
|
||
|
|
||
|
Belle notices something tucked into a corner of the crib.
|
||
|
She pries it loose. It is a BABY'S RATTLE carved into the
|
||
|
shape of a rose. The beast focuses on it.
|
||
|
|
||
|
THE BEAST
|
||
|
What happened to your mother?
|
||
|
|
||
|
BELLE
|
||
|
That's the only story Papa could never
|
||
|
bring himself to tell. And I knew
|
||
|
better than to ask...
|
||
|
|
||
|
As she speaks, the beast notices something on a chair. The
|
||
|
dark, pointed mask of a plague doctor. He looks up.
|
||
|
|
||
|
THE BEAST
|
||
|
Plague.
|
||
|
|
||
|
The revelation lands on Belle's face. She looks around.
|
||
|
|
||
|
IN QUICK TIGHT SHOTS ---
|
||
|
|
||
|
Belle glimpses what must have happened. A DOCTOR stands in
|
||
|
the doorway, his face covered by the mask.
|
||
|
|
||
|
DOCTOR
|
||
|
You must leave. Now.
|
||
|
|
||
|
A bag is hastily packed, Belle's YOUNGER FATHER (barely seen)
|
||
|
taking only what is necessary. He stops to gaze at Belle's
|
||
|
MOTHER, who lies on her deathbed, surrounded by medicines.
|
||
|
|
||
|
BELLE'S MOTHER
|
||
|
Quickly... before it takes her too...
|
||
|
|
||
|
She closes her eyes, turns away.
|
||
|
|
||
|
Maurice picks up the baby... who drops her beloved rose-
|
||
|
shaped rattle. Belle's mother touches it to her lips as
|
||
|
husband and child disappear.
|
||
|
|
||
|
BACK TO THE PRESENT
|
||
|
|
||
|
Belle stares at the rattle.
|
||
|
|
||
|
THE BEAST
|
||
|
I am sorry I ever called your father a
|
||
|
thief.
|
||
|
|
||
|
Belle lifts her head, her wet eyes look at him.
|
||
|
69.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
Let's go home.
|
||
|
|
||
|
She means the castle. The beast nods, takes her hand.
|
||
|
|
||
|
87 EXT. COUNTRY INN - EVENING 87
|
||
|
|
||
|
Wind and rain dance in front of the inn. MUSIC and DRUNKEN
|
||
|
LAUGHTER inside.
|
||
|
|
||
|
LEFOU
|
||
|
Wow, this is some storm. At least
|
||
|
we're not tied to a tree in the middle
|
||
|
of nowhere, right? You know it's not
|
||
|
too late, we could just go get him...
|
||
|
|
||
|
Gaston doesn't react.
|
||
|
|
||
|
LEFOU (CONT'D)
|
||
|
It's just, every time I close my eyes,
|
||
|
I picture Maurice stranded out there.
|
||
|
And then when I open them, he's --
|
||
|
|
||
|
88 INT. COUNTRY INN - EVENING 88
|
||
|
|
||
|
They enter and see MAURICE surrounded by Pere Robert and Jean
|
||
|
the potter.
|
||
|
|
||
|
LEFOU
|
||
|
(excitedly)
|
||
|
Maurice!
|
||
|
|
||
|
LeFou realizes he shouldn't be happy and tamps down his
|
||
|
smile. Maurice and Gaston lock eyes. Gaston quickly
|
||
|
assesses the situation.
|
||
|
|
||
|
TAVERN KEEPER
|
||
|
Gaston, did you try to kill Maurice?
|
||
|
|
||
|
Just when we think Gaston might run or fight or deny, he smiles
|
||
|
warmly.
|
||
|
|
||
|
GASTON
|
||
|
Oh, Maurice! Thank heavens. I've spent
|
||
|
the last five days trying to find you.
|
||
|
|
||
|
Suddenly, the villagers shift their gaze to Maurice.
|
||
|
|
||
|
MAURICE
|
||
|
No! You tried to kill me! You left
|
||
|
me for the wolves!
|
||
|
|
||
|
GASTON
|
||
|
Maurice, it's one thing to rave about
|
||
|
your delusions. It's another to accuse
|
||
|
me of attempted murder.
|
||
|
70.
|
||
|
|
||
|
|
||
|
Gaston's argument lands. The gentle Maurice feels the room
|
||
|
slipping away from him.
|
||
|
|
||
|
JEAN
|
||
|
Maurice, do you have any proof of what
|
||
|
you're saying?
|
||
|
|
||
|
MAURICE
|
||
|
Ask Agathe! She rescued me!
|
||
|
|
||
|
Before Agathe can speak --
|
||
|
|
||
|
GASTON
|
||
|
Agathe? You'd hang your accusation on
|
||
|
the testimony of a filthy hag?
|
||
|
(to Agathe)
|
||
|
No offense, Agathe.
|
||
|
|
||
|
Agathe raises an eyebrow - but says nothing.
|
||
|
|
||
|
MAURICE
|
||
|
Monsieur LeFou! He was there. He saw
|
||
|
it all.
|
||
|
|
||
|
LEFOU
|
||
|
Me?
|
||
|
|
||
|
GASTON
|
||
|
You're right. Don't take my word for
|
||
|
it.
|
||
|
|
||
|
He puts his arm around LeFou and pulls him close.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
LeFou, my dearest companion, did I,
|
||
|
your oldest friend and most loyal
|
||
|
compatriot, try to kill the father of
|
||
|
the only woman I've ever loved?
|
||
|
|
||
|
All eyes turn to LeFou, who is clearly torn.
|
||
|
|
||
|
LEFOU
|
||
|
It's a complicated question on a
|
||
|
number of accounts, but... no. No, he
|
||
|
did not.
|
||
|
|
||
|
The crowd reacts. Maurice is crestfallen. Gaston has won.
|
||
|
Maurice lunges at Gaston -- who catches his flying fist, easily
|
||
|
subduing him.
|
||
|
|
||
|
GASTON
|
||
|
Maurice, it pains me to say this, but
|
||
|
you've become a danger to yourself and
|
||
|
others. No wonder Belle ran away. You
|
||
|
need help, sir. A place to heal your
|
||
|
troubled mind.
|
||
|
71.
|
||
|
|
||
|
|
||
|
Gaston signals to Tom, Dick, and Stanley -- and Maurice turns to
|
||
|
see them block the exit. Gaston places his large hand on
|
||
|
Maurice's shoulder -- and squeezes. Maurice winces.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
Everything's going to be fine.
|
||
|
|
||
|
89 INT. BEAST'S LAIR - WEST WING - CASTLE - EVENING 89
|
||
|
|
||
|
The beast sits in a tub -- far too small for him. There's
|
||
|
shadow-play on the curtain.
|
||
|
|
||
|
BEAST
|
||
|
I saw her in the ballroom, and I said,
|
||
|
well, you're making this so beautiful,
|
||
|
we should have a dance tonight. I never
|
||
|
thought she'd actually say yes! What
|
||
|
was I thinking?!
|
||
|
|
||
|
LUMIÈRE
|
||
|
No, Master, it's perfect! The rose has
|
||
|
only four petals left. Which means
|
||
|
tonight... you must tell her how you
|
||
|
feel.
|
||
|
|
||
|
The beast stands, appearing above the curtain, sopping wet.
|
||
|
|
||
|
THE BEAST
|
||
|
I feel like a fool. She will never love
|
||
|
me.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Do not be discouraged.
|
||
|
|
||
|
The beast shakes his coat dry like a dog. The spray
|
||
|
extinguishes Lumière's candles.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
She is the one.
|
||
|
|
||
|
THE BEAST
|
||
|
I wish you'd stop saying that!
|
||
|
|
||
|
CUT TO:
|
||
|
|
||
|
The beast plops into his a seat in front of the mirror.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
There is no one.
|
||
|
|
||
|
LUMIÈRE
|
||
|
You care for her, don't you? Well
|
||
|
then, woo her with beautiful music and
|
||
|
romantic candlelight...
|
||
|
|
||
|
PLUMETTE
|
||
|
Yes, and when the moment's just
|
||
|
right...
|
||
|
72.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
But how will I know?
|
||
|
|
||
|
COGSWORTH
|
||
|
You will feel slightly nauseous.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Don't worry, master, you'll do fine.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Just stop being a coward and tell
|
||
|
Belle how you feel. And if you don't,
|
||
|
I promise you'll be drinking cold tea
|
||
|
for the rest of your life.
|
||
|
|
||
|
LUMIÈRE
|
||
|
In the dark.
|
||
|
|
||
|
PLUMETTE
|
||
|
Covered in dust.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Dark and very very dusty.
|
||
|
|
||
|
Off the beast, taking this in --
|
||
|
|
||
|
CUT TO:
|
||
|
|
||
|
89A A brief MONTAGE, as the castle staff give the beast a very
|
||
|
89A
|
||
|
bad makeover.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Start with the hair! Women love nice
|
||
|
hair.
|
||
|
|
||
|
MRS. POTTS
|
||
|
I'll take the fingers and toes!
|
||
|
|
||
|
COGSWORTH
|
||
|
Chapeau, brush those teeth!
|
||
|
|
||
|
Chapeau wields scissors and a brush as Mrs. Potts pours hot
|
||
|
water into Chip. The beast is pushed and pulled, primped and
|
||
|
snipped. His fingers are dipped into Chip, his nails buffed
|
||
|
by Mrs. Potts' steam, as Lumière climbs onto his horns.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Dip dip, snip snip...
|
||
|
|
||
|
Plumette powders the beast's face --
|
||
|
|
||
|
PLUMETTE
|
||
|
Eyes closed, poof poof!
|
||
|
|
||
|
LUMIÈRE
|
||
|
And the pièce de résistance...
|
||
|
73.
|
||
|
|
||
|
|
||
|
Chapeau places one of the Prince's old wigs on the beast.
|
||
|
Plumette pecks his cheek with a beauty mark. The beast spins in
|
||
|
|
||
|
his chair to see himself in the mirror, and -- he's totally
|
||
|
ridiculous. The staff, dejected, takes in its handiwork.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
OK, I can fix this!
|
||
|
|
||
|
90 INT. BELLE'S BEDROOM - CASTLE - EVENING 90
|
||
|
|
||
|
Garderobe finishes dressing Belle.
|
||
|
|
||
|
GARDEROBE
|
||
|
Beautiful. But something is missing.
|
||
|
|
||
|
Garderobe looks up. There's dust around the gilding that glows
|
||
|
in the moonlight. A moment of inspiration.
|
||
|
|
||
|
GARDEROBE (CONT'D)
|
||
|
Ahh, yes. The finishing touch.
|
||
|
|
||
|
Garderobe sweeps her arm, and the gold dust magically whooshes
|
||
|
down, settling on Belle's gown, and completing it.
|
||
|
|
||
|
91 INT. GRAND STAIRCASE - CASTLE - NIGHT 91
|
||
|
|
||
|
Belle is breathtaking as she is revealed on the upper
|
||
|
landing.
|
||
|
|
||
|
Mustering his courage, the beast descends from the west wing.
|
||
|
She gazes over at the beast, who looks resplendent. She sees
|
||
|
him in a new light.
|
||
|
|
||
|
"BEAUTY AND THE BEAST" begins. From the bottom of the
|
||
|
staircase, Mrs. Potts watches with Chip --
|
||
|
|
||
|
MRS. POTTS
|
||
|
Tale as old as time
|
||
|
True as it can be
|
||
|
Barely even friends
|
||
|
Then somebody bends unexpectedly
|
||
|
|
||
|
The beast and Belle meet on the center landing and descend the
|
||
|
staircase. Arm in arm, they enter --
|
||
|
|
||
|
92 INT. BALLROOM - CASTLE - NIGHT 92
|
||
|
|
||
|
-- the absolutely resplendent ballroom. It has been cleaned and
|
||
|
|
||
|
scrubbed to its former glory. The great windows offer a
|
||
|
magnificent view of the starry night.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Just a little change
|
||
|
Small to say the least
|
||
|
Both a little scared
|
||
|
Neither one prepared
|
||
|
Beauty and the Beast
|
||
|
74.
|
||
|
|
||
|
|
||
|
As the music rises, Belle bows. The beast bows in return. She
|
||
|
offers him her hands -- and nervously, he takes them. They
|
||
|
begin to dance, gliding across the ballroom --
|
||
|
|
||
|
CAMERA sweeps up to see CARVED INSTRUMENTAL FIGURES --
|
||
|
VIOLIN, VIOLAS, HARP -- which have come to life and are
|
||
|
playing accompaniment with CADENZA -- sparkling with polish.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Ever just the same
|
||
|
Ever a surprise
|
||
|
Ever as before
|
||
|
Ever just as sure
|
||
|
As the sun will rise
|
||
|
Tale as old as time
|
||
|
Tune as old as song
|
||
|
Bittersweet and strange
|
||
|
Finding you can change
|
||
|
Learning you were wrong
|
||
|
|
||
|
ANGLE ON BEAUTY AND THE BEAST -- in this moment, nothing in the
|
||
|
world exists except each other. Despite his bulk, the beast is
|
||
|
careful, gentle, graceful. The lights in the ballroom grow dim
|
||
|
as he lifts her, spinning. Belle is swept away.
|
||
|
|
||
|
ANGLE ON THE HOUSEHOLD STAFF -- watching in mounting hope and
|
||
|
excitement. On top of Cadenza, Lumière puts an arm around
|
||
|
Cogsworth, pulling him closer.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Certain as the sun
|
||
|
Rising in the East
|
||
|
Tale as old as time
|
||
|
Song as old as rhyme
|
||
|
Beauty and the Beast
|
||
|
|
||
|
The lights come back up as the terrace doors open, allowing
|
||
|
Belle and the beast to step outdoors.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Tale as old as time
|
||
|
Song as old as rhyme
|
||
|
Beauty and the Beast
|
||
|
|
||
|
Chip nuzzles his mother, as Belle and the beast move out to:
|
||
|
|
||
|
93 EXT. TERRACE - CASTLE - NIGHT 93
|
||
|
|
||
|
Belle and the beast stand together under the stars.
|
||
|
|
||
|
THE BEAST
|
||
|
I haven't danced in years. I'd almost
|
||
|
forgotten the feeling.
|
||
|
|
||
|
Mustering his courage --
|
||
|
75.
|
||
|
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
It's foolish, I suppose, for a
|
||
|
creature like me to hope that one day
|
||
|
he might earn your affection.
|
||
|
|
||
|
BELLE
|
||
|
I don't know...
|
||
|
|
||
|
THE BEAST
|
||
|
Really? So you think you could be
|
||
|
happy here?
|
||
|
|
||
|
BELLE
|
||
|
Could anyone be happy if they're not
|
||
|
free?
|
||
|
|
||
|
She gazes wistfully toward the forest.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
My father taught me to dance. I used
|
||
|
to step on his toes a lot.
|
||
|
|
||
|
THE BEAST
|
||
|
You must miss him.
|
||
|
|
||
|
BELLE
|
||
|
Very much.
|
||
|
|
||
|
THE BEAST
|
||
|
(thinks, decides)
|
||
|
Would you like to see him?
|
||
|
|
||
|
94 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 94
|
||
|
|
||
|
Belle stares into the beast's hand mirror.
|
||
|
|
||
|
BELLE
|
||
|
I'd like to see my father.
|
||
|
|
||
|
A glow of magic. When it clears Belle sees Maurice -- being
|
||
|
manhandled in the village square! He looks terrified.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Papa! What are they doing to him?!
|
||
|
|
||
|
The beast reacts to her suffering. A moment of choice.
|
||
|
|
||
|
THE BEAST
|
||
|
(pained)
|
||
|
You must go to him.
|
||
|
|
||
|
BELLE
|
||
|
What did you say?
|
||
|
|
||
|
THE BEAST
|
||
|
You must go to him. No time to waste.
|
||
|
76.
|
||
|
|
||
|
|
||
|
Belle looks at the beast as she has never done before -- with
|
||
|
gratitude and appreciation. She moves to return the mirror.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
No. Keep it with you. And you'll
|
||
|
always have a way to look back on me.
|
||
|
|
||
|
BELLE
|
||
|
Thank you.
|
||
|
|
||
|
She rushes out.
|
||
|
|
||
|
94A INT. FOYER - CASTLE - NIGHT 94A
|
||
|
|
||
|
Belle runs down the grand staircase towards the door. She
|
||
|
stops, seeing Chapeau. He bows to her, silently, sadly.
|
||
|
Choking back tears, she is gone.
|
||
|
|
||
|
Chapeau looks up to the landing, and sees Mrs. Potts standing
|
||
|
there, watching. Heartbroken.
|
||
|
|
||
|
94B INT. BEAST'S LAIR - WEST WING - CASTLE 94B
|
||
|
|
||
|
The beast unclasps his beautiful coat and lets it fall to the
|
||
|
ground. Cogsworth enters, eager for news.
|
||
|
|
||
|
COGSWORTH
|
||
|
Well, master, I may have had my doubts,
|
||
|
but everything is moving like clockwork.
|
||
|
True love really does win the day!
|
||
|
|
||
|
THE BEAST
|
||
|
I let her go.
|
||
|
|
||
|
COGSWORTH
|
||
|
You... WHAT!?
|
||
|
|
||
|
Lumière and Plumette enter behind Cogsworth, followed by Mrs.
|
||
|
Potts.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Master... how could you do that?
|
||
|
|
||
|
THE BEAST
|
||
|
I had to.
|
||
|
|
||
|
COGSWORTH
|
||
|
But why?
|
||
|
|
||
|
The beast doesn't answer.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Because he loves her.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Then why are we not human?
|
||
|
77.
|
||
|
|
||
|
|
||
|
COGSWORTH
|
||
|
(angry)
|
||
|
Because she doesn't love him! And now,
|
||
|
it's too late.
|
||
|
|
||
|
PLUMETTE
|
||
|
But she might still come back --
|
||
|
|
||
|
THE BEAST
|
||
|
No. I've set her free. I'm sorry I
|
||
|
couldn't do the same for all of you.
|
||
|
|
||
|
He turns away, unable to face them.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Now go. Our time is almost past.
|
||
|
|
||
|
The staff retreats. As "EVERMORE" begins, the beast pulls on
|
||
|
a dark cape.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
I was the one who had it all
|
||
|
I was the master of my fate
|
||
|
I never needed anybody in my life
|
||
|
I learned the truth too late
|
||
|
|
||
|
95 INT./EXT. TURRETS - CASTLE - NIGHT 95
|
||
|
|
||
|
He steps onto the balcony of his lair. From his POV, we see
|
||
|
Belle mounting Philippe on the castle grounds below.
|
||
|
|
||
|
THE BEAST
|
||
|
I'll never shake away the pain
|
||
|
I close my eyes but she's still there
|
||
|
I let her steal into my melancholy
|
||
|
heart
|
||
|
It's more than I can bear
|
||
|
|
||
|
Belle sets off and the beast begins to climb the castle
|
||
|
turrets.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Now I know she'll never leave me
|
||
|
Even as she runs away
|
||
|
She will still torment me, calm me,
|
||
|
hurt me, move me come what may
|
||
|
|
||
|
The beast climbs higher and higher, to keep Belle in sight as
|
||
|
she gets further and further away.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Wasting in my lonely tower
|
||
|
Waiting by an open door
|
||
|
I'll fool myself she'll walk right in
|
||
|
And be with me for evermore
|
||
|
|
||
|
The beast climbs, Belle riding, until he reaches the highest
|
||
|
turret of the castle.
|
||
|
78.
|
||
|
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
I rage against the trials of love
|
||
|
I curse the fading of the light
|
||
|
Though she's already flown so far
|
||
|
beyond my reach
|
||
|
She's never out of sight
|
||
|
Now I know she'll never leave me
|
||
|
Even as she fades from view
|
||
|
She will still torment me, be part of
|
||
|
everything I do
|
||
|
Wasting in my lonely tower
|
||
|
Waiting by an open door
|
||
|
I'll fool myself she'll walk right in
|
||
|
And as the long long nights begin
|
||
|
I'll think of all that might have been
|
||
|
Waiting here for evermore
|
||
|
|
||
|
The beast stands at the edge of the turret as Belle finally
|
||
|
disappears through the castle gates.
|
||
|
|
||
|
96 EXT. VILLAGE OF VILLENEUVE - SQUARE - NIGHT 96
|
||
|
|
||
|
A horse-drawn asylum wagon thunders into the square where
|
||
|
Maurice is surrounded by taunting villagers. The eerie
|
||
|
driver, MONSIEUR D'ARQUE, steps out as Tom, Dick and Stanley
|
||
|
throw Maurice into his cage on wheels. Villagers approach
|
||
|
the wagon like 18th century rubberneckers.
|
||
|
|
||
|
Gaston leans into the wagon. The gathering crowd is just loud
|
||
|
enough to mask a private plea to Maurice...
|
||
|
|
||
|
GASTON
|
||
|
Have you ever seen the inside of a mad
|
||
|
house, Maurice? You wouldn't last a
|
||
|
week. Just give me your daughter's
|
||
|
hand, and I'll set you free.
|
||
|
|
||
|
MAURICE
|
||
|
Never.
|
||
|
|
||
|
Gaston clenches his jaw and locks the door with a CLANK.
|
||
|
|
||
|
GASTON
|
||
|
Take him away!
|
||
|
|
||
|
The wagon begins to move. The rubberneckers watch the wagon
|
||
|
until they are silenced by a loud...
|
||
|
|
||
|
BELLE (O.S.)
|
||
|
STOP!
|
||
|
|
||
|
Belle's voice cuts through the crowd. They turn and gape at --
|
||
|
|
||
|
BELLE, DAZZLING, IN HER EVENING GOWN.
|
||
|
|
||
|
The crowd parts before her as she dismounts Philippe and
|
||
|
moves to the wagon. They whisper as she passes --
|
||
|
79.
|
||
|
|
||
|
|
||
|
VILLAGERS
|
||
|
"Belle..." "Where did she come from?"
|
||
|
"Is that Belle..." "Look at that
|
||
|
dress..."
|
||
|
|
||
|
Gaston stares, slack-jawed, unable to believe his eyes. We
|
||
|
linger on the jealous village lasses, the puzzled Jean, the
|
||
|
confused LeFou, the foul-tempered Clothilde, the bewildered
|
||
|
Pere Robert, and in the shadows... Agathe.
|
||
|
|
||
|
Belle fearlessly strides right in front of the wagon. The
|
||
|
horses jump up, startled. Belle runs to the locked door.
|
||
|
|
||
|
MAURICE
|
||
|
Belle? I thought I'd lost you!
|
||
|
|
||
|
Belle sees her father injured on the floor of the wagon.
|
||
|
|
||
|
BELLE
|
||
|
Open this door! He's hurt!
|
||
|
|
||
|
Monsieur d'Arque climbs down to calm her.
|
||
|
|
||
|
MONSIEUR D'ARQUE
|
||
|
I'm afraid we can't do that, miss. But
|
||
|
we'll take very good care of him.
|
||
|
|
||
|
BELLE
|
||
|
My father's not crazy! Gaston...
|
||
|
Tell him!
|
||
|
|
||
|
GASTON
|
||
|
Belle, you know how loyal I am to your
|
||
|
family, but your father has been making
|
||
|
some unbelievable claims.
|
||
|
|
||
|
JEAN
|
||
|
It's true, Belle. He's been raving
|
||
|
about a beast in a castle.
|
||
|
|
||
|
BELLE
|
||
|
I have just come from the castle and
|
||
|
there is a beast!
|
||
|
|
||
|
GASTON
|
||
|
We all admire your devotion to your
|
||
|
father, but you'd say anything to free
|
||
|
him. Your word is hardly proof.
|
||
|
|
||
|
Belle pulls out the magic mirror from her sash.
|
||
|
|
||
|
BELLE
|
||
|
You want proof? SHOW ME THE BEAST!
|
||
|
|
||
|
In the mirror, the beast sits slumped against a turret wall.
|
||
|
The villagers gasp. Gaston's face registers shock.
|
||
|
80.
|
||
|
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
There is your proof!
|
||
|
|
||
|
GASTON
|
||
|
This is sorcery!
|
||
|
|
||
|
Gaston snatches the mirror from Belle and holds it up to the
|
||
|
villagers.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
Look at this beast. Look at his fangs,
|
||
|
his claws.
|
||
|
|
||
|
The villagers recoil in fright.
|
||
|
|
||
|
BELLE
|
||
|
No, don't be afraid. He is gentle and
|
||
|
kind.
|
||
|
|
||
|
GASTON
|
||
|
The monster has put her under a spell!
|
||
|
If I didn't know better, I'd say she
|
||
|
even cared for him.
|
||
|
|
||
|
BELLE
|
||
|
He's not a monster, Gaston. You are.
|
||
|
(appeals to everyone)
|
||
|
The beast would never hurt anyone.
|
||
|
|
||
|
GASTON
|
||
|
I have heard of the effects of dark
|
||
|
magic, but never seen it with my own
|
||
|
eyes before! This is a threat to our
|
||
|
very existence!
|
||
|
|
||
|
Raucous cries of "Gaston Gaston Gaston!" rise. Gaston holds
|
||
|
the mirror up.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
(to the thugs)
|
||
|
We can't have her running off to warn
|
||
|
the beast. Lock her up too.
|
||
|
|
||
|
Tom, Dick and Stanley strong-arm Belle into the wagon with
|
||
|
her father.
|
||
|
|
||
|
BELLE
|
||
|
This isn't over Gaston, you'll see!
|
||
|
|
||
|
LEFOU
|
||
|
Gaston, with all due respect --
|
||
|
|
||
|
GASTON
|
||
|
DO YOU WANT TO BE NEXT? Fetch my
|
||
|
horse.
|
||
|
81.
|
||
|
|
||
|
|
||
|
Gaston hops onto the back of the wagon and addresses the
|
||
|
crowd. The "MOB SONG" begins as we move through the
|
||
|
frightened villagers --
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
That creature will curse us all if we
|
||
|
don't stop him! Well, I say we KILL
|
||
|
THE BEAST!
|
||
|
|
||
|
TOM
|
||
|
We're not safe until he's dead
|
||
|
|
||
|
DICK
|
||
|
He'll come stalking us at night
|
||
|
|
||
|
JEAN
|
||
|
Set to sacrifice our children
|
||
|
To his monstrous appetite!
|
||
|
|
||
|
CLOTHILDE
|
||
|
He'll wreak havoc on our village
|
||
|
If we let him wander free!
|
||
|
|
||
|
GASTON
|
||
|
So it's time to take some action, boys
|
||
|
It's time to follow me!
|
||
|
|
||
|
Gaston grabs a TORCH from a villager and tosses it into a barrel
|
||
|
of pitch. Flames rise to the sky.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
Through the mist, through the wood
|
||
|
Through the darkness and the shadows
|
||
|
It's a nightmare but it's one exciting
|
||
|
ride
|
||
|
|
||
|
Gaston lights Clothilde's torch, then clasps the shoulder of
|
||
|
Monsieur d'Arque, who watches helplessly as his asylum wagon
|
||
|
horses are commandeered by the mob.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
Say a prayer, then we're there
|
||
|
At the drawbridge of a castle
|
||
|
And there's something truly terrible
|
||
|
inside
|
||
|
It's a beast, he's got fangs razor
|
||
|
sharp ones
|
||
|
Massive paws, killer claws for the
|
||
|
feast
|
||
|
Hear him roar, see him foam
|
||
|
But we're not coming home
|
||
|
`Til he's dead, good and dead...
|
||
|
KILL THE BEAST!
|
||
|
|
||
|
Some villagers seize shovels, pitchforks, axes. Some light
|
||
|
torches in the pitch. Others wrench a boar's head PIKE STAFF
|
||
|
from outside the country inn. Pere Robert tries to calm the
|
||
|
frenzy but the force of the mob pushes him back.
|
||
|
82.
|
||
|
|
||
|
|
||
|
MOB
|
||
|
Light your torch, mount your horse!
|
||
|
|
||
|
GASTON
|
||
|
Screw your courage to the sticking place
|
||
|
|
||
|
MOB
|
||
|
We're counting on Gaston to lead the
|
||
|
way
|
||
|
|
||
|
|
||
|
97 EXT. WOODS - NIGHT 97
|
||
|
|
||
|
Gaston and LeFou crash into the woods at a full gallop.
|
||
|
|
||
|
GASTON
|
||
|
Call it war
|
||
|
Call it threat
|
||
|
You can bet they all will follow
|
||
|
For in times like this they'll do just
|
||
|
as I say
|
||
|
|
||
|
LeFou's doubts are growing:
|
||
|
|
||
|
LEFOU
|
||
|
There's a beast
|
||
|
Running wild there's no question
|
||
|
But I fear
|
||
|
The wrong monster's released
|
||
|
|
||
|
MOB
|
||
|
Sally forth, tally ho
|
||
|
Grab your sword, grab your bow
|
||
|
Praise the Lord and here we go!
|
||
|
|
||
|
Gaston holds up the mirror.
|
||
|
|
||
|
GASTON
|
||
|
Show me the castle!
|
||
|
|
||
|
IN THE MIRROR -- Gaston sees the hidden path to the castle.
|
||
|
|
||
|
100 INT. FOYER - CASTLE - NIGHT 100
|
||
|
|
||
|
Plumette's head rests on Lumière's shoulder. Mrs. Potts nuzzles
|
||
|
Chip.
|
||
|
|
||
|
LUMIÈRE
|
||
|
At least he has finally learned to love.
|
||
|
|
||
|
COGSWORTH
|
||
|
A lot of good that does us if she
|
||
|
doesn't love him in return.
|
||
|
|
||
|
MRS. POTTS
|
||
|
No. This is the first time I've had any
|
||
|
real hope she would.
|
||
|
83.
|
||
|
|
||
|
|
||
|
ANGLE ON CHIP -- he hears a distant sound -- the rumble of
|
||
|
MARCHING BOOTS -- puzzled, he hops to the window embrasure --
|
||
|
|
||
|
CHIP
|
||
|
Did you hear that, mama? Is it her!?
|
||
|
Is she coming back?!
|
||
|
|
||
|
The staff and Froufrou jump up, excited, and move to the window.
|
||
|
They see torches in the distance.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Could it be?
|
||
|
|
||
|
They look through the glass, distorted with frost, as the mob
|
||
|
moves through the garden. Lumière warms the windowpane with his
|
||
|
flame to see more clearly.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Sacrebleu! Invaders.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Ruffians!
|
||
|
|
||
|
COGSWORTH
|
||
|
Well, there you go. So much for true
|
||
|
love. Man the barricades, and hold
|
||
|
fast!
|
||
|
|
||
|
They hop down from the embrasure.
|
||
|
|
||
|
102 INT. FOYER - CASTLE - NIGHT 102
|
||
|
|
||
|
Lumière, Cogsworth, Mrs. Potts, Chip, Plumette and Chapeau stand
|
||
|
at the front door, forming a sad barricade.
|
||
|
|
||
|
CASTLE STAFF
|
||
|
Hearts ablaze, banners high
|
||
|
We go marching into battle --
|
||
|
Unafraid although the danger just
|
||
|
increased
|
||
|
|
||
|
CADENZA
|
||
|
Move aside!
|
||
|
|
||
|
Cadenza crab-walks in from the ballroom, standing vertically and
|
||
|
propping himself against the door. The others gather around
|
||
|
him.
|
||
|
|
||
|
103 EXT. TERRACE - CASTLE - NIGHT 103
|
||
|
|
||
|
The mob hauls their boar's head battering ram up to the door.
|
||
|
|
||
|
MOB
|
||
|
Raise the flag, sing the song
|
||
|
Here we come, we're fifty strong
|
||
|
And fifty Frenchmen can't be wrong
|
||
|
Let's kill the beast!
|
||
|
84.
|
||
|
|
||
|
|
||
|
103A INT. FOYER - CASTLE - NIGHT 103A
|
||
|
|
||
|
CRASH! The battering ram breaks through the postern door,
|
||
|
which falls out of the door frame.
|
||
|
|
||
|
COGSWORTH
|
||
|
We need help!
|
||
|
|
||
|
He lopes towards the staircase.
|
||
|
|
||
|
105 INT. ASYLUM WAGON - VILLAGE OF VILLENEUVE - NIGHT 105
|
||
|
|
||
|
Belle gazes out the prison bars, sees d'Arque pacing by the
|
||
|
fountain. She whispers to Maurice --
|
||
|
|
||
|
BELLE
|
||
|
I have to warn the beast --
|
||
|
|
||
|
MAURICE
|
||
|
Warn him? How did you get away from
|
||
|
him?
|
||
|
|
||
|
BELLE
|
||
|
He let me go, papa. He sent me back
|
||
|
to you.
|
||
|
|
||
|
MAURICE
|
||
|
I don't understand.
|
||
|
|
||
|
She holds up the rose-shaped rattle. Maurice recognizes it
|
||
|
immediately.
|
||
|
|
||
|
BELLE
|
||
|
He took me there. I know what
|
||
|
happened to maman.
|
||
|
|
||
|
Maurice takes the rattle. Stunned.
|
||
|
|
||
|
MAURICE
|
||
|
Then you know I had to leave her
|
||
|
there. I had to protect you. I've
|
||
|
always tried to protect you... too
|
||
|
much, perhaps...
|
||
|
|
||
|
He stops, eyes filled with tears.
|
||
|
|
||
|
BELLE
|
||
|
I understand.
|
||
|
|
||
|
She takes his hand and kisses it.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
Will you help me now?
|
||
|
|
||
|
MAURICE
|
||
|
It's dangerous.
|
||
|
85.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
Yes. Yes it is.
|
||
|
|
||
|
Maurice sees the courage and determination in her eyes. And
|
||
|
his own eyes light up with an idea.
|
||
|
|
||
|
MAURICE
|
||
|
Of course I could try to pick the
|
||
|
lock. After all, it's only gears and
|
||
|
springs. But I would need something
|
||
|
long and sharp --
|
||
|
|
||
|
He stops as Belle, a step ahead, removes and hands him one of
|
||
|
her long hairpins.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
Like that. Perfect.
|
||
|
|
||
|
Maurice gets to work.
|
||
|
|
||
|
104 EXT. HIGHEST TURRET - CASTLE - NIGHT 104
|
||
|
|
||
|
Cogsworth hops up the spiral staircase and out onto the
|
||
|
turret. He spots the beast, perched among the gargoyles.
|
||
|
|
||
|
COGSWORTH
|
||
|
Pardon me, master. I'm sorry to
|
||
|
disturb you, but --
|
||
|
|
||
|
THE BEAST
|
||
|
She's not coming back.
|
||
|
|
||
|
COGSWORTH
|
||
|
No... the castle is under attack!
|
||
|
|
||
|
THE BEAST
|
||
|
It doesn't matter now. Just let them
|
||
|
come.
|
||
|
|
||
|
106 EXT. TERRACE - CASTLE - NIGHT 106
|
||
|
|
||
|
The battering ram smashes against the door.
|
||
|
|
||
|
MOB
|
||
|
Kill the beast! Kill the beast!
|
||
|
|
||
|
107 INT. FOYER - CASTLE - NIGHT 107
|
||
|
|
||
|
The door is giving way, the mob is too strong.
|
||
|
|
||
|
MRS. POTTS
|
||
|
This isn't working!
|
||
|
|
||
|
LUMIÈRE
|
||
|
I know what to do.
|
||
|
86.
|
||
|
|
||
|
|
||
|
108 EXT. TERRACE - CASTLE - NIGHT 108
|
||
|
|
||
|
The battering ram smashes again.
|
||
|
|
||
|
MOB
|
||
|
Kill the beast! Kill the beast!
|
||
|
|
||
|
109 INT. FOYER - CASTLE - NIGHT 109
|
||
|
|
||
|
The castle staff has now vanished, their barricade dismantled.
|
||
|
A series of bolts on the door slide open one by one, top to
|
||
|
bottom. The door unlocking itself...
|
||
|
|
||
|
110 EXT. TERRACE - CASTLE - NIGHT 110
|
||
|
|
||
|
The battering ram smashes the door one last time --
|
||
|
|
||
|
MOB
|
||
|
Kill the beast! Kill the beast!
|
||
|
|
||
|
The door swings open easily and the mob tumbles inside, to find:
|
||
|
|
||
|
111 INT. FOYER - CASTLE - NIGHT 111
|
||
|
|
||
|
It's EMPTY. Met by eerie silence, Gaston and the mob cautiously
|
||
|
enter. The door barely hangs on its hinges.
|
||
|
|
||
|
Villagers hold up torches. The flickering light reveals
|
||
|
FURNITURE. Chairs. A coat rack. A feather duster. A
|
||
|
candelabra. A tea pot and teacup. A harpsichord.
|
||
|
|
||
|
LEFOU
|
||
|
Are you not the least bit concerned that
|
||
|
this castle might be haunted?
|
||
|
|
||
|
GASTON
|
||
|
Don't lose your nerve, LeFou.
|
||
|
|
||
|
Gaston looks into the mirror. ANGLE ON LeFou -- he notices
|
||
|
Mrs. Potts. Brings his torch close to study her.
|
||
|
|
||
|
ANGLE ON THE MOB -- among them, Jean the potter stares at the
|
||
|
eerie castle foyer --
|
||
|
|
||
|
JEAN
|
||
|
This place seems familiar... like I've
|
||
|
been here before...
|
||
|
|
||
|
Gaston approaches the west wing stairs. LeFou brings his face
|
||
|
down to the tea pot and teacup.
|
||
|
|
||
|
LEFOU
|
||
|
You must be the talking teacup. And
|
||
|
you must be his grandmother.
|
||
|
|
||
|
Mrs. Potts' EYES open. Furious.
|
||
|
87.
|
||
|
|
||
|
|
||
|
MRS. POTTS
|
||
|
Grand-mother? ATTACK!
|
||
|
|
||
|
LeFou jumps back. ALL HELL BREAKS LOOSE as the furniture comes
|
||
|
alive. Chairs kick the shins of several villagers. Plumette
|
||
|
feathers villagers' faces furiously, causing them to have
|
||
|
sneezing fits. As other villagers funnel in, the "Lend-a-Hand"
|
||
|
lights outside the door bonk several of them on the head.
|
||
|
They're alive after all.
|
||
|
|
||
|
Chapeau spins Gaston around and is about to land a blow when
|
||
|
GASTON GRABS LEFOU and puts him in the line of fire. LeFou
|
||
|
becomes a human punching bag as Cadenza approaches and rears
|
||
|
up on his hind legs. His shadow falls across Gaston, who
|
||
|
dives out of the way -- leaving LeFou exposed.
|
||
|
|
||
|
LEFOU
|
||
|
Gaston!
|
||
|
|
||
|
Cadenza comes crashing down on LeFou, squashing him flat.
|
||
|
Gaston looks down at his friend.
|
||
|
|
||
|
LEFOU (CONT'D)
|
||
|
(weak, muffled)
|
||
|
Gaston... help...
|
||
|
|
||
|
Gaston looks from LeFou to the enchanted mirror, then to the
|
||
|
grand staircase.
|
||
|
|
||
|
GASTON
|
||
|
Sorry, old friend. It's hero time.
|
||
|
|
||
|
Gaston rushes up the staircase. Lefou passes out.
|
||
|
|
||
|
112 INT. VILLAGE OF VILLENEUVE - NIGHT 112
|
||
|
|
||
|
Monsieur d'Arque paces in the square, when he notices the
|
||
|
door to the asylum wagon is ajar. He runs to the wagon and
|
||
|
flings open the doors, only to find it empty. D'Arque slams
|
||
|
the doors shut -- and there's Maurice, smiling beside him.
|
||
|
|
||
|
MAURICE
|
||
|
Hello. Oh, I believe this is yours.
|
||
|
|
||
|
Maurice casually hands the wagon's padlock to Monsieur
|
||
|
d'Arque -- just as Belle rides past on Philippe! As she
|
||
|
charges out of the village gates, she tosses her ball gown to
|
||
|
the ground.
|
||
|
|
||
|
Maurice waves to her proudly, then turns back to d'Arque.
|
||
|
|
||
|
MAURICE (CONT'D)
|
||
|
She's very headstrong. Do you have
|
||
|
children?
|
||
|
|
||
|
Off d'Arque's confusion --
|
||
|
|
||
|
113 OMITTED 113
|
||
|
88.
|
||
|
|
||
|
|
||
|
117 INT. FOYER - CASTLE - NIGHT 117
|
||
|
|
||
|
LeFou, bruised but alive, opens his eyes, sits up -- when
|
||
|
Plumette furiously begins feathering his face.
|
||
|
|
||
|
PLUMETTE
|
||
|
(laughs)
|
||
|
No one to protect you now, eh?!
|
||
|
|
||
|
LeFou swats -- and Plumette flies away, laughing.
|
||
|
|
||
|
119 INT. TURRET STAIRCASE - CASTLE - NIGHT 119
|
||
|
|
||
|
Gaston finds himself at the landing of two staircases.
|
||
|
Unsure which one leads to the beast, he holds up the mirror,
|
||
|
which illuminates the right way. Gaston bounds up them.
|
||
|
|
||
|
120 INT. FOYER - CASTLE - NIGHT 120
|
||
|
|
||
|
Chip rapidly fires saucers at attackers, counting them off as
|
||
|
he dispatches them with glee.
|
||
|
|
||
|
CHIP
|
||
|
One! Two! Three! Four! Five!
|
||
|
|
||
|
Above, Cogsworth looks down from the balcony, a tinhorn
|
||
|
general surveying the battlefield.
|
||
|
|
||
|
COGSWORTH
|
||
|
Good show, Chip my boy!
|
||
|
|
||
|
Just then, a platoon of books arrives on the large table from
|
||
|
the library, battle-ready.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Excellent! The infantry's arrived.
|
||
|
Now go and teach them a lesson!
|
||
|
|
||
|
The books rocket down into the fray, thwacking villager after
|
||
|
villager.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Yes, those are called books, you third-
|
||
|
rate musketeers!
|
||
|
|
||
|
This draws the attention of Tom, Dick and Stanley. Cogsworth
|
||
|
shudders --
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Oh, I'm off!
|
||
|
|
||
|
-- and jumps down from the balustrade, as they bound up the
|
||
|
stairs. They face off against Cogsworth, and he backs up
|
||
|
quickly.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Ah, terribly sorry, pardon me, I'm
|
||
|
just a clock!
|
||
|
89.
|
||
|
|
||
|
|
||
|
Suddenly, Garderobe leaps out, blocking the brutes' path, and
|
||
|
unfurls her fabric, wrapping them up.
|
||
|
|
||
|
GARDEROBE
|
||
|
Yes, that's it... put it on... pretty
|
||
|
little boys!
|
||
|
|
||
|
Tom and Dick look at each other and shriek, horrified at their
|
||
|
girly make-overs. Stanley, however, doesn't seem to mind his
|
||
|
new look. Garderobe cackles.
|
||
|
|
||
|
GARDEROBE (CONT'D)
|
||
|
121 Go! Be free! Be free! Be FREE! 121
|
||
|
|
||
|
122 EXT. WOODS - NIGHT 122
|
||
|
|
||
|
Belle on Philippe. She whips past the withered tree and down
|
||
|
the path toward the castle grounds.
|
||
|
|
||
|
124 OMITTED 124
|
||
|
|
||
|
124A OMITTED 124A
|
||
|
|
||
|
124B OMITTED 124B
|
||
|
|
||
|
126 INT. FOYER - BALCONY - CASTLE - NIGHT 126
|
||
|
|
||
|
From the balcony, Mrs. Potts leaps onto a chandelier --
|
||
|
|
||
|
MRS. POTTS
|
||
|
How do you take your tea?! Piping
|
||
|
hot?! Or boiling?!
|
||
|
|
||
|
-- and douses villagers below with boiling water. She looks
|
||
|
down -- seeing Jean the potter -- and gasps.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Mister Potts?!
|
||
|
|
||
|
Suddenly, Mrs. Potts slips and drops down towards the floor.
|
||
|
Jean the potter looks on in confusion. Chip looks on in
|
||
|
terror.
|
||
|
|
||
|
CHIP
|
||
|
Mama!
|
||
|
|
||
|
But just as she's about to shatter, she is caught by a pair
|
||
|
of human hands. Mrs. Potts gazes up at -- LEFOU, who seems
|
||
|
as surprised as she does.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh! Thank you.
|
||
|
|
||
|
Suddenly, two villagers charge at LeFou from either side.
|
||
|
LeFou ducks, the villagers wallop one another, Mrs. Potts
|
||
|
spits hot water in their faces, and LeFou punches one out to
|
||
|
finish the job.
|
||
|
90.
|
||
|
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Nicely handled!
|
||
|
|
||
|
LEFOU
|
||
|
Well I used to be on Gaston's side,
|
||
|
but we're in a bad place right now.
|
||
|
|
||
|
MRS. POTTS
|
||
|
You're too good for him anyway...
|
||
|
|
||
|
LeFou nods, emotional.
|
||
|
|
||
|
MRS. POTTS (CONT'D)
|
||
|
Shall we get back to it, then?!
|
||
|
|
||
|
Below, Cadenza bucks and rages against villagers, besting
|
||
|
them repeatedly as he plays elaborate trills.
|
||
|
|
||
|
CADENZA
|
||
|
Such sweet music! Ha ha, I'll play
|
||
|
you like a concerto!
|
||
|
|
||
|
Clothilde watches this, and seethes.
|
||
|
|
||
|
CLOTHILDE
|
||
|
(points to Cadenza)
|
||
|
Silence that harpsichord!
|
||
|
|
||
|
Clothilde's cry rallies a group of villagers, who raise their
|
||
|
axes to turn maestro Cadenza into firewood.
|
||
|
|
||
|
GARDEROBE
|
||
|
Maestro!
|
||
|
|
||
|
Cadenza looks up to see her.
|
||
|
|
||
|
CADENZA
|
||
|
Darling! At last!
|
||
|
|
||
|
GARDEROBE
|
||
|
(shock becomes rage)
|
||
|
I'm coming, my love! That's it! The
|
||
|
fat lady is singing!
|
||
|
|
||
|
Garderobe belts out a deafening high note and throws her
|
||
|
massive girth off the balcony, sending Clothilde and the
|
||
|
villagers below scattering. She lands with a graceful THUD.
|
||
|
|
||
|
CADENZA
|
||
|
Bravissima!
|
||
|
|
||
|
Before the villagers can retaliate, Cadenza's "teeth" shoot
|
||
|
out of his mouth like machine gun rounds. BAM BAM BAM!
|
||
|
|
||
|
Lumière runs around with gunpowder trail, creating a line of
|
||
|
firecracker explosions that send villagers scattering.
|
||
|
91.
|
||
|
|
||
|
|
||
|
LUMIÈRE
|
||
|
Watch your toes!
|
||
|
|
||
|
In the chaos, we find Agathe, moving quietly through the
|
||
|
villagers and up the stairs. What is she up to?
|
||
|
|
||
|
As villagers pour out the doors, Lumière and Cogsworth meet
|
||
|
at the base of the stairs.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Bon voyage! Safe trip home!
|
||
|
|
||
|
COGSWORTH
|
||
|
And stay out!
|
||
|
|
||
|
127 EXT. CASTLE GROUNDS - NIGHT 127
|
||
|
|
||
|
Belle rides Philippe towards the castle. She kicks his
|
||
|
flanks and they double their speed.
|
||
|
|
||
|
129 EXT. HIGHEST TURRET - CASTLE - NIGHT 129
|
||
|
|
||
|
Gaston steps slowly up onto the beast's turret. The beast
|
||
|
senses his presence, turns. They lock eyes. Gaston cocks
|
||
|
his pistol.
|
||
|
|
||
|
GASTON
|
||
|
Hello, beast. I am Gaston. Belle sent
|
||
|
me.
|
||
|
|
||
|
130 INT. TURRET STAIRCASE - CASTLE - NIGHT 130
|
||
|
|
||
|
Belle races up the stairs to the turret.
|
||
|
|
||
|
131 EXT. HIGHEST TURRET - CASTLE - NIGHT 131
|
||
|
|
||
|
With no hope left, the beast turns away from Gaston, whose
|
||
|
finger tightens on the trigger.
|
||
|
|
||
|
GASTON
|
||
|
Were you in love with her? Did you
|
||
|
honestly think she'd want you?
|
||
|
|
||
|
He fires. The beast drops over the edge.
|
||
|
|
||
|
On the turret below, his claws make contact with the slanted
|
||
|
rooftop and break his fall. He hugs the rooftop, heaving.
|
||
|
|
||
|
Gaston looks down over the edge of the turret. He pulls his
|
||
|
crossbow and reaches back over his shoulder to draw an arrow
|
||
|
from his quiver -- but there's nothing there.
|
||
|
|
||
|
Gaston spins to see Belle, and his arrows gripped in her
|
||
|
hands.
|
||
|
|
||
|
GASTON (CONT'D)
|
||
|
Belle?
|
||
|
92.
|
||
|
|
||
|
|
||
|
BELLE
|
||
|
Where is he?!
|
||
|
|
||
|
With that, Belle snaps Gaston's arrows over her knee, and
|
||
|
tosses them away. Gaston grabs her arm.
|
||
|
|
||
|
GASTON
|
||
|
When we return to the village, you will
|
||
|
marry me, and the beast's head will hang
|
||
|
on our wall!
|
||
|
|
||
|
BELLE
|
||
|
NEVER.
|
||
|
|
||
|
She pulls away -- and uses this pivot to grab the barrel of
|
||
|
Gaston's pistol. They struggle.
|
||
|
|
||
|
With Gaston on the back foot for a split second, Belle yanks the
|
||
|
|
||
|
pistol hard. Gaston, not letting go, swings with it, and
|
||
|
seeking balance on a loose stone, he drops off the side of the
|
||
|
turret!
|
||
|
|
||
|
Gaston's reflexes are quick. He lets go of the pistol, grabbing
|
||
|
|
||
|
a gargoyle and swinging himself down through a window of the
|
||
|
turret. He lands on the spiral staircase.
|
||
|
|
||
|
Gaston's pistol, in the meantime, clatters down, coming to rest
|
||
|
on the landing of a stone footbridge below.
|
||
|
|
||
|
132 EXT. CASTLE - VARIOUS TURRETS - NIGHT 132
|
||
|
|
||
|
Wounded, the beast climbs around the lower turret. All around
|
||
|
him, turrets quaver and crack. The castle is imploding.
|
||
|
|
||
|
GASTON (O.S.)
|
||
|
I'm coming for you, beast!
|
||
|
|
||
|
Gaston continues down until he reaches the bottom of the
|
||
|
spiral staircase. He drops to a window box below, and jumps
|
||
|
sideways onto another.
|
||
|
|
||
|
The beast makes a second leap, onto another parapet. Tiles
|
||
|
slide away beneath him as he scrambles to hang on.
|
||
|
|
||
|
Belle reaches the landing at the bottom of the spiral staircase,
|
||
|
and leaps down onto another adjacent landing. She looks out,
|
||
|
trying to see the beast through the turrets.
|
||
|
|
||
|
The beast swings around a third parapet and leaps onto another.
|
||
|
He's now as far as he can get from Gaston.
|
||
|
|
||
|
Finally, Belle reaches a point where she can see the beast on
|
||
|
the faraway turret. She screams out as his grip slips.
|
||
|
|
||
|
BELLE
|
||
|
NO!
|
||
|
|
||
|
The beast's head turns.
|
||
|
93.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
Belle?
|
||
|
|
||
|
And he spots her.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
(roars)
|
||
|
BELLE! You came back!
|
||
|
|
||
|
BELLE
|
||
|
I tried to stop them!
|
||
|
|
||
|
THE BEAST
|
||
|
Stay there! I'm coming!
|
||
|
|
||
|
Gaston drops onto the walkway lined with gargoyles, landing
|
||
|
directly between the beast and Belle. He sneers -- the upper
|
||
|
hand is still his. His eyes search for a weapon... he grabs
|
||
|
a stone spire, and breaks it off.
|
||
|
|
||
|
With superhuman agility, the beast makes a giant leap from the
|
||
|
far parapet back toward the central turrets. Back toward Belle.
|
||
|
|
||
|
Belle descends the stairs, finally reaching the beast's lair.
|
||
|
|
||
|
The beast lands on the gargoyle walk and Gaston jumps out,
|
||
|
bringing his club cracking down on the beast's back. The
|
||
|
beast roars in pain. But he pushes past Gaston.
|
||
|
|
||
|
With Gaston landing blow after blow on the beast's back, the
|
||
|
beast staggers down a set of stairs onto the landing of a stone
|
||
|
footbridge (where Gaston's pistol came to rest earlier).
|
||
|
|
||
|
BELLE
|
||
|
Stop! Gaston, no!
|
||
|
|
||
|
Belle watches the beast lumbering across the footbridge -- which
|
||
|
crumbles under each mighty footfall.
|
||
|
|
||
|
The beast reaches the cupola on the far side, directly
|
||
|
parallel to the lair. One giant leap stands between him and
|
||
|
Belle...
|
||
|
|
||
|
Gaston lifts the club to deliver the death blow -- when the
|
||
|
beast snatches it. He yanks the club away and hurls it
|
||
|
against a far wall.
|
||
|
|
||
|
With a snarl, the beast's paw is around Gaston's throat. He
|
||
|
lifts Gaston and swings him out over the edge of the landing.
|
||
|
|
||
|
GASTON
|
||
|
(snivelling)
|
||
|
No. Don't let me go. Please. Don't
|
||
|
hurt me, beast. I'll do anything.
|
||
|
|
||
|
TIGHT ON THE BEAST -- his features twisted with rage and hate --
|
||
|
but he controls himself -- and his anger fades.
|
||
|
94.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
I AM NOT A BEAST.
|
||
|
|
||
|
He sets Gaston down.
|
||
|
|
||
|
THE BEAST (CONT'D)
|
||
|
Go. Get out.
|
||
|
|
||
|
Gaston scrambles to his feet, and the beast lunges, chasing
|
||
|
him away down the outer staircase of the cupola.
|
||
|
|
||
|
133 EXT. BALCONY - CASTLE - NIGHT 133
|
||
|
|
||
|
Belle gazes proudly into the beast's eyes, across the final
|
||
|
chasm that separates them.
|
||
|
|
||
|
134 EXT. CASTLE - CUPOLA - NIGHT 134
|
||
|
|
||
|
The beast has just enough distance for a head start to leap
|
||
|
across to the lair balcony.
|
||
|
|
||
|
BELLE
|
||
|
No! It's too far!
|
||
|
|
||
|
But the beast has already gotten down on all fours. His hind
|
||
|
claws dig into the stone. And then he's off, gaining speed as
|
||
|
he runs on all legs. Belle gasps -- and the beast leaps.
|
||
|
|
||
|
He's airborne, flying over the chasm -- and he just makes it to
|
||
|
the balcony -- landing on all fours! He rises, and smiles.
|
||
|
|
||
|
BOOM! The beast roars in agony. Past him, across the chasm,
|
||
|
Belle spots Gaston on the crumbling walkway, pistol back in
|
||
|
hand. He grins as he reloads for the kill shot -- and as Belle
|
||
|
watches, helpless, he takes aim again -- and fires.
|
||
|
|
||
|
The beast drops -- just as the walkway beneath Gaston
|
||
|
collapses. In an instant, there's nothing beneath his feet,
|
||
|
and he disappears, screaming, in a cascade of stones.
|
||
|
|
||
|
Belle cradles the beast's head. Anguished. He lies there,
|
||
|
breathing heavily. Softly, the beast rests his paw on Belle's
|
||
|
hand. Fading, his eyes look at her with perfect love.
|
||
|
|
||
|
THE BEAST
|
||
|
You came back.
|
||
|
|
||
|
BELLE
|
||
|
Of course I came back. I'll never
|
||
|
leave you again.
|
||
|
|
||
|
THE BEAST
|
||
|
I'm afraid it's my turn to leave.
|
||
|
|
||
|
BELLE
|
||
|
We're together now. It's going to be
|
||
|
fine. You'll see.
|
||
|
95.
|
||
|
|
||
|
|
||
|
THE BEAST
|
||
|
At least I got to see you one last time.
|
||
|
|
||
|
The paw drops as the beast dies in her arms.
|
||
|
|
||
|
BELLE
|
||
|
No... please, no...
|
||
|
|
||
|
135 EXT. TERRACE - CASTLE - NIGHT 135
|
||
|
|
||
|
As villagers stagger away in defeat, Lumière turns to Plumette,
|
||
|
takes her in his arms, about to give her a V-Day kiss.
|
||
|
|
||
|
LUMIÈRE
|
||
|
We did it, Plumette. Victory is ours.
|
||
|
|
||
|
Plumette is silent in Lumière's embrace.
|
||
|
|
||
|
LUMIÈRE (CONT'D)
|
||
|
Plumette...? Oh! My dear Plumette...
|
||
|
|
||
|
Cogsworth helps Lumière lower Plumette to the ground. Opposite
|
||
|
them, Garderobe stands beside Cadenza, reunited at last.
|
||
|
|
||
|
GARDEROBE
|
||
|
Oh, maestro! You were so brave!
|
||
|
Goodbye, my love...
|
||
|
|
||
|
Her arms retract -- as the footlights inside her dim and die.
|
||
|
|
||
|
CADENZA
|
||
|
Darling! No, don't leave me!
|
||
|
|
||
|
Cadenza sobs. We move along the few keys he has left until they
|
||
|
freeze into silence. We TILT UP to the music stand. No hint of
|
||
|
a face. Froufrou emerges from the foyer, pawing at his master
|
||
|
and mistress, then goes still. Nothing more than a piano stool
|
||
|
now.
|
||
|
|
||
|
Mrs. Potts frantically approaches Cogsworth and Lumière.
|
||
|
|
||
|
MRS. POTTS
|
||
|
CHIP! CHIP! Have you seen Chip!? He
|
||
|
ran off! Oh, where is my little boy --
|
||
|
|
||
|
Lumière and Cogsworth watch in horror as Mrs. Potts' face
|
||
|
disappears into the painted ornamentation of the tea pot.
|
||
|
|
||
|
CHIP
|
||
|
Mama!
|
||
|
|
||
|
Lumière turns to Cogsworth, panicked that Chip might see
|
||
|
what's happened.
|
||
|
|
||
|
COGSWORTH
|
||
|
Oh no.
|
||
|
96.
|
||
|
|
||
|
|
||
|
Just as he leaps up, his features fade away and gravity takes
|
||
|
over. The saucer plummets, shattering. But Chapeau catches
|
||
|
Chip in mid-air -- and lovingly places him, inanimate, onto
|
||
|
the trolley cart beside Mrs. Potts.
|
||
|
|
||
|
Chapeau straightens himself nobly, and becomes a coat rack.
|
||
|
All around Cogsworth and Lumière, the staff goes still.
|
||
|
|
||
|
COGSWORTH (CONT'D)
|
||
|
Lumière... I... TICK... can't...
|
||
|
CHIME... speak...
|
||
|
|
||
|
LUMIÈRE
|
||
|
It's all right, Cogsworth.
|
||
|
|
||
|
COGSWORTH
|
||
|
I... can't... TICK... Lumière, my
|
||
|
friend... TOCK... it was an honor to
|
||
|
serve with you.
|
||
|
|
||
|
The only sound Cogsworth makes is `tick tock, tick tock.'
|
||
|
Lumière is alone. Surrounded by objects.
|
||
|
|
||
|
LUMIÈRE
|
||
|
The honor was mine.
|
||
|
|
||
|
Lumière does a final twirl and stiffens. He is a candlestick.
|
||
|
|
||
|
136 INT. BEAST'S LAIR - WEST WING - CASTLE - NIGHT 136
|
||
|
|
||
|
ANGLE ON THE BELL JAR. The final rose petal drops -- just as
|
||
|
a HOODED FIGURE appears. We move up to reveal: AGATHE.
|
||
|
|
||
|
BELLE
|
||
|
(to the beast)
|
||
|
Please, don't leave me. Come back.
|
||
|
|
||
|
TIGHT ON BELLE -- her lips touch the beast's forehead in a
|
||
|
kiss.
|
||
|
|
||
|
BELLE (CONT'D)
|
||
|
I love you.
|
||
|
|
||
|
Hearing these words, Agathe smiles benevolently and places
|
||
|
her hand on the bell jar -- which explodes and releases a
|
||
|
wave of rose petals, whirling into the air.
|
||
|
|
||
|
A golden light begins to emanate from Agathe. It encircles
|
||
|
the beast and he too begins to rise. Belle gets to her feet,
|
||
|
watching as the beast is lifted and enveloped by the swirling
|
||
|
aurora, and then buffeted gently back down to reveal --
|
||
|
|
||
|
THE PRINCE
|
||
|
|
||
|
He lands on his feet and looks down at his hands, his arms,
|
||
|
his chest. He turns -- and sees Belle.
|
||
|
97.
|
||
|
|
||
|
|
||
|
PRINCE
|
||
|
Belle...
|
||
|
|
||
|
Slowly he steps toward her, and she to him.
|
||
|
|
||
|
In silent disbelief, Belle runs her fingers through his hair.
|
||
|
She looks into the Prince's blue eyes. It is him. Tears of
|
||
|
grief turn to tears of joy as they lean in for their first
|
||
|
kiss.
|
||
|
|
||
|
137 EXT. CASTLE - DAWN 137
|
||
|
|
||
|
Magic explodes outwards. And with it, the dawn breaks. The
|
||
|
castle transforms like someone is giving it a wash of gold. The
|
||
|
magic spreads across the balcony as the sun rises on the
|
||
|
terrace, traveling down the castle facade -- creepy stone
|
||
|
gargoyles turn into noble statuary --
|
||
|
|
||
|
138 EXT. TERRACE - CASTLE - DAWN 138
|
||
|
|
||
|
As the light passes over, an upside-down FROUFROU transforms
|
||
|
back into a tiny BICHON FRISE basking in the sun. He leaps up
|
||
|
and chases his tail (still a tassle), then trots over to CHAPEAU
|
||
|
|
||
|
and relieves himself on his leg -- which changes into a human
|
||
|
foot.
|
||
|
|
||
|
Chapeau transforms back into a VALET and shoos the dog away
|
||
|
with his walking stick. As the dog weaves through his legs,
|
||
|
the valet loses his balance and bumps into the trolley cart
|
||
|
holding Mrs. Potts and Chip. It starts to roll toward the
|
||
|
stairs.
|
||
|
|
||
|
The valet backs into Garderobe, who waddles in and out of
|
||
|
sunlight, changing from wardrobe to human to wardrobe again.
|
||
|
Cadenza's face comes alive as he sees the wardrobe falling
|
||
|
onto him. As it crashes, the wardrobe's doors fly open,
|
||
|
sending out a flurry of garments. We follow them back to the
|
||
|
ground, where the human DIVA now lies on top of the human
|
||
|
MAESTRO.
|
||
|
|
||
|
MAESTRO
|
||
|
Oh, Madame.
|
||
|
|
||
|
DIVA
|
||
|
Oh, Maestro.
|
||
|
|
||
|
The maestro smiles his now-toothless grin. She tearfully
|
||
|
embraces him -- as their dog joins in.
|
||
|
|
||
|
The trolley rolls past, taking us to Cogsworth, whose back is
|
||
|
bathed in sunlight. We move around to reveal the pudgy
|
||
|
MAJORDOMO, human except for his moustache, which still
|
||
|
resembles the hands of a clock. He peers through his
|
||
|
monocle, sees --
|
||
|
|
||
|
The French FOOTMAN (formerly Lumière) come into view.
|
||
|
98.
|
||
|
|
||
|
|
||
|
COGSWORTH
|
||
|
Lumière!
|
||
|
|
||
|
LUMIÈRE
|
||
|
Cogsworth, we beat the clock!
|
||
|
|
||
|
COGSWORTH
|
||
|
Mon ami.
|
||
|
|
||
|
They greet each other as a feather floats by, brushing the
|
||
|
footman's nose. They look over to see --
|
||
|
|
||
|
A pile of feathers... from which the footman pulls the
|
||
|
sexiest French MAID in history, her feathers blossoming into
|
||
|
a dress around her.
|
||
|
|
||
|
LUMIÈRE
|
||
|
Plumette... mon amour...
|
||
|
|
||
|
And then, the greatest kiss ever. Their passion ignites a
|
||
|
tiny flame on the footman's head, which the maid pats out.
|
||
|
They turn as they hear --
|
||
|
|
||
|
The trolley SQUEAKING as it nears the steps, about to crash
|
||
|
down. Mrs. Potts and Chip rattle on a tray, which suddenly
|
||
|
jerks to a stop on the precipice. The valet has hooked the
|
||
|
cart with his walking stick, but...
|
||
|
|
||
|
Mrs. Potts and Chip slide down the incline... shoot off the
|
||
|
tray... and start to TRANSFORM IN MID-AIR! They sled to the
|
||
|
bottom of the steps and skid to a halt, fully human again.
|
||
|
CHIP hugs his MOTHER... he finally got her to skate!
|
||
|
|
||
|
MRS. POTTS
|
||
|
Oh, Chip! What did I tell you? Look
|
||
|
at you -- you're a little boy again!
|
||
|
Oh you smell so good!
|
||
|
|
||
|
From the castle grounds, astonished villagers approach,
|
||
|
blinking, as the veil is lifted from their memory.
|
||
|
|
||
|
JEAN
|
||
|
Darling!?
|
||
|
|
||
|
MRS. POTTS
|
||
|
Mr. Potts!
|
||
|
|
||
|
JEAN
|
||
|
Beatrice! Chip! I remember! I do!
|
||
|
|
||
|
They embrace -- a family reunited.
|
||
|
|
||
|
139 OMITTED 139
|
||
|
99.
|
||
|
|
||
|
|
||
|
140 EXT. TERRACE - CASTLE - DAWN 140
|
||
|
|
||
|
A wonderful emotion-filled reunion. STABLE BOYS, KITCHEN
|
||
|
MAIDS, ARTISANS, GROUNDSKEEPERS, GUARDS, and SEAMSTRESSES are
|
||
|
reunited in human form.
|
||
|
|
||
|
Among the happy villagers, we find Cogsworth.
|
||
|
|
||
|
CLOTHILDE (O.S.)
|
||
|
Henry?
|
||
|
|
||
|
He spins to see Clothilde - his wife. Gulp.
|
||
|
|
||
|
COGSWORTH
|
||
|
Oh. DEAR!
|
||
|
|
||
|
She hugs him.
|
||
|
|
||
|
CLOTHILDE
|
||
|
I've been so lonely.
|
||
|
|
||
|
He shuts his eyes tight and whispers to himself:
|
||
|
|
||
|
COGSWORTH
|
||
|
Turn back into a clock... turn back
|
||
|
into a clock...
|
||
|
|
||
|
Lumière and Plumette embrace, then...
|
||
|
|
||
|
PLUMETTE
|
||
|
Lumière, look!
|
||
|
|
||
|
LUMIÈRE
|
||
|
Oh, my Prince!
|
||
|
|
||
|
BELLE AND THE PRINCE emerge. He rushes to Lumiere.
|
||
|
|
||
|
THE PRINCE
|
||
|
Hello, old friend.
|
||
|
|
||
|
Lumiere is taken aback by the warm embrace of his master.
|
||
|
|
||
|
LUMIÈRE
|
||
|
It's so good to see you!
|
||
|
|
||
|
Belle and the Prince are surrounded by the staff. Plumette
|
||
|
curtsies to Belle --
|
||
|
|
||
|
PLUMETTE
|
||
|
You saved our lives, mademoiselle.
|
||
|
|
||
|
-- As Chip runs up and hugs her tight.
|
||
|
|
||
|
CHIP
|
||
|
Belle, it's me! It's Chip!
|
||
|
|
||
|
"BEAUTY AND THE BEAST" starts to play.
|
||
|
100.
|
||
|
|
||
|
|
||
|
141 OMITTED 141
|
||
|
|
||
|
142 INT. BALLROOM - CASTLE - DAY 142
|
||
|
|
||
|
The entire village celebrates as Cadenza -- smiling with
|
||
|
dentures -- plays the harpsichord with his beautiful wife
|
||
|
Garderobe singing.
|
||
|
|
||
|
GARDEROBE
|
||
|
Tale as old as time
|
||
|
Tune as old as song
|
||
|
Bittersweet and strange
|
||
|
Finding you can change
|
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|
Learning you were wrong
|
||
|
|
||
|
We glide past various familiar faces: LeFou; Lumière waltzing
|
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|
with Plumette; Cogsworth with Clothilde; Chip and his father,
|
||
|
Jean the Potter... and finally Mrs. Potts. She beams as she
|
||
|
watches Belle dance with the Prince, then crosses to
|
||
|
acknowledge Maurice, who sits at an easel, sketching the
|
||
|
celebration.
|
||
|
|
||
|
MRS. POTTS
|
||
|
Winter turns to spring
|
||
|
Famine turns to feast
|
||
|
Nature points the way
|
||
|
Nothing left to say
|
||
|
Beauty and the Beast
|
||
|
|
||
|
Belle runs her hand down the Prince's smooth cheek.
|
||
|
|
||
|
BELLE
|
||
|
How would you feel about growing a
|
||
|
beard?
|
||
|
|
||
|
He growls playfully. As they laugh, we PULL OUT to reveal
|
||
|
the ballroom in all its restored splendor.
|
||
|
|
||
|
ALL (V.O.)
|
||
|
Certain as the sun
|
||
|
Rising in the East
|
||
|
Tale as old as time
|
||
|
Song as old as rhyme
|
||
|
Beauty and the Beast
|
||
|
|
||
|
CUT TO:
|
||
|
|
||
|
BLACK.
|
||
|
|
||
|
143 OMITTED. 143
|