GHOST PATROL an opera in four scenes
by
Stuart MacRae with a libretto by
Louise Welsh
Vocal score
Novello & Co. Ltd.
GHOST PATROL an opera in four scenes by Stuart MacRae with a libretto by Louise Welsh
Dramatis Personae: Sam (tenor)
An ex-army sergeant in his thirties, who has fallen on hard times
Alasdair (baritone)
An ex-army captain in his thirties; proprietor of the pub where the action takes place; Vicki’s boyfriend
Vicki (soprano)
An aspiring singer in her late twenties or early thirties; Alasdair’s girlfriend
Setting:
The opera is set in a contemporary British city five years from now. The country is at war in a distant land, but it’s business as usual at home. There are no bombs or armed combat in the streets, but images of the conflict and its victims dominate TV news reports. The opera takes place entirely in the barroom of Alasdair’s chichi gastro-pub. The hostelry is equipped with all the usual comforts, a well-stocked bar flanked by high stools, a flat screen TV, a few tables and chairs and a comfortable looking couch. A vase of spring flowers sits on the bar. A pair of French doors opens out onto a beer garden, where a tree is heavy with blossom. The far wall is decorated with a poster advertising Vicki’s forthcoming performance. It shows Vicki in dress uniform, her cap tipped at a jaunty angle.
Duration: ca. 58’00” Scene 1 ca.14’30” Scene 2 ca. 6’00”
Scene 3 ca. 21’00”
Scene 4 ca. 16’30”
Text © Copyright 2010 Louise Welsh. Extract from “Ode of Remembrance” by Laurence Binyon By permission of The Society of Authors as Literary Representative of the Estate of Laurence Binyon. All Rights Reserved. International Copyright Secured. Stuart MacRae’s Ghost Patrol was co-commissioned by Scottish Opera and Music Theatre Wales. It was first performed on 30 August 2012 at the Traverse Theatre, Edinburgh, conducted by Michael Rafferty and directed by Matthew Richardson.
GHOST PATROL Text: Louise Welsh
Music: Stuart MacRae
Scene 1 [ Lights up on the interior of a pub. It’s closed for the night. The room is almost in darkness. ] 2"
ca. 5"
2"
ca. 5"
2"
ca. 5"
= ca.120 (
= ca.240)
Vicki
Sam 8
Alasdair (High bongo)
2"
= ca.120
( = ca.150)
(
3
= ca.240)
ca. 5" Vlc., Cb.
Pf.
5
(gliss.)
A 9
3
Scorrevole ed agitato ( = ca.104)
3
3
= ca.104
3
6
6
3
3 6
6
3
Vla., Vlc. (trem.)
6 6
12
6
6
6
3
3
3
3
6
3 3
Copyright © 2011 Novello & Co. Ltd.
3
3
3
2 3
3
15
3
3
3
6
6
3
6
6
3 3
6
17
6
3
3
6
3
3
3
6
3
6
3
6
3
19 6
3
3
3
6
3
3
3
6
6
6
3
3
21
3
6
6
6
3
6
3
6
6
6
3
3
23
6
6
3
3
3
3 5
6
5
3 6 6
3
6
25
3
3
6
3
3
6
cresc.
3 3
3
3 3
6
6
6
27
3
6
3
6
6
3 3
[Sam is emptying the till when ALASDAIR enters, turning on the light. Alasdair quickly takes in the scene and a violent tussle commences. The two are well matched and it’s anyone’s guess who will win. ]
B
29
3
3
3
3
6
6
6
3
3
3
5
Tpt., Tbn. (fltg.)
31 3
3
3
6
6
6
6
6
4 33
3
3
3
6
6
36
3
3
3
7
3
3
38
3
7
7 7
7
7
3
marcato
40
7 3
3
3
5
5
5
5
C
3
43
3
3
3
3
5
5
3
m 46
3
=
o
= ca.78
3
3
3
5
49
3
5 3
3
51
6
3
3
6
53
3
cresc.
3
3
3
[ A punch throws the men apart and they see each others’ faces. Their combat shudders to a halt. The two men are still wary, but there is something between them which will not allow the fight to continue. ] 8va
55
(loco)
3
57
3
3
D
3
(dim.)
3
[ Alasdair goes to the gantry and opens a bottle of whisky. He throws the bottle’s cap on the floor, pours two drams, sets the bottle on the counter and takes a seat on the customer side of the bar. Sam joins him, leaving a vacant stool between them. His eyes wander round the room. ] 60
7
E 66
3 3
Meno mosso = ca.60
73
3
[ Sam’s gaze rests for a moment on the photograph of Vicki. ] High Bongo
3
[ The men are both exhausted by the fight.They maintain eye contact as, out of breath, they raise their glasses and drink, without making any toasts. (The pair continue to drink throughout the scene.) ]
79
F
High bongo
Moderato = ca.100
Fl.,Vlns.
stacc.
86
ALASDAIR
Night
man oeuv
res
Ser
geant
Scott?
8
Meno mosso 88
ten.
= ca.90
3
SAM
8
I
have
no
in
rank
Civ
vy
3
street,
sir.
Meno mosso = ca.90
3 3
rall.
90
= ca.90
S. 8
mockingly 3
ALASDAIR
3
So you go
rall.
on Ghost
= ca.90
3
Poco meno mosso = ca.84 provocatively
92 A.
Ser geant?
Poco meno mosso 3
3 3
3
= ca.84
Pa trol,
3
3
3
3
3 3 3 3
3
3
[ Alasdair takes out a pack of cigarettes. He selects one for himself and then offers one to SAM who accepts. Alasdair lights them both up with a bashed Zippo. ]
9
95
3
3
5
3
5
97
G
ALASDAIR
x
Blood y nois 3
3
x
x
x
x
for a ghost.
y
G 3
3
Largo
Poco più mosso
= ca.54 99
SAM
8
= ca.60
parlando
3
strongly
5
If I’d known this place was yours I...
would
have
left
well
a lone.
parlando 6
3
A.
Largo = ca.54
...would have been qui et
er?
Poco più mosso = ca.60
5 3
10
101
[ Alasdair refreshes their glasses. ]
S. 8
.
3
A. Ghost
Pa
trol,
Ghost
Pa trol.
Night
man oeuv res.
3 3 3
3 3
103
[ Sam pushes his glass away and gets to his feet, ready to leave the way he came. ]
3
A. You used
to dream,
Pi첫 mosso = ca.80
3
3
107
m = o
3
3
A. dream
of
leav
ing
Pi첫 mosso 3
m = o
3
= ca.80 3 3
the
fight,
rais
11
H
109
ten.
parlando, dismissively
A. ing
a
fam
i
But you were saf er
H
ly.
in the ar my.
8va
ord.
Meno mosso = ca.60 [ Sam turns to face Alasdair, his expression incredulous. ](to himself) incredulously ten. 111 SAM
8
Saf
er?
Saf
er.
Meno mosso = ca.60 8va
3 3
3
3 3
114
3
116
3 3
3
3
3
I SAM
3
Pi첫 mosso = ca.80 3
Stand
8
I 3 3
3
Pi첫 mosso = ca.80
3
ing
all
12
3
3
118
3
3
S. 8
night
on
a
stag
a
lone
in
8ba
120
3
3
3
3
S. 8
the
dark
and
the
black
feel
loco
3
3
3
8ba
3
122
3
3
3
S. 8
- ing
the cold
on
your
face,
the
weight
cresc.
125 S. 8
of the
kit
(cresc.)
on
your
back.
quasi rall.
molto
13
Pi첫 mosso (Moderato) = ca.100 tenderly
128
J
S. Re
8
cal
Pi첫 mosso (Moderato) = ca.100
7
5
7
5
132
ling
the
soft
ness
of
girls,
J
3
3
S. 8
the
fizz
of
beer
on
your
tongue.
Your 3
5
5 3
5
5
6
3
molto 135 S. 8
ears
fuck ing
strain
ing
for the sound 8va
3 3
of a
cock
ing
14 afraid, almost a whisper
K
138
Poco meccanico = ca.80
S. 8
gun.
roughly, but jaunty— a bit grotesque
ALASDAIR
Head
K
8va
ing out
on
Poco meccanico = ca.80
marcato
142 A. Pat
rol,
pock
ets
packed
with
sweets.
Meno mosso (ma giocoso) = ca.60
144
3
A. Kids
swarm
ing
Meno mosso (ma giocoso) = ca.60 Bass Clar.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
15
146
3
3
3
3
A. the squad
like
a fuck ing
paed
o’s
treat.
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
jaunty 3
148
3
3
3
3
3
3
A. Wait ing for an or
phan
to de
- coy you to
3 3
3
3
3
3
loco
3
rall. 151
3
3
3
3
that
8va
3
3
a bomb
3
3
3
3
3
3
Meno mosso = ca.54
falsetto
3
3
A. blows your brains
to fuck ing
rall.
8va
3
loco
hell
and your bol locks
to
Hong
Kong.
Meno mosso = ca.54 8va
3
3 3
3
3
3
8ba
16
155 SAM
L
8
= ca.66
3
Hear
ing
a
shout
down
the wire:
“The
A.
L
= ca.66 (Strings, sul pont.)
9
9
9
9
9
3
157
3
S. 8
whole
thing
just
kicked
off.”
9
Scream
9
9
9
9
3
158
3
S. 8
ing
9
long
in
9
9 9
8ba
a
9
9
the wag on,
9
17
Più mosso = ca.80
159
3
3
5
3
S. 8
Più mosso
and the
of
fi
cer’s
a
toff,
he
would n’t
= ca.80
cresc.
5
160
5
S. 8
your tow
er
block
but
you
3 3
161 S. 8
fol
low
him
just
5
8ba
last
18
Con moto
(resigned, darkly)
162
rit.
= ca.100
S. 8
the same
cos
or
ders
is
or
ders
is
Con moto rit.
= ca.100 Fl., Cl.
Bsn.
3 3
165
= ca.60
3
(bitterly)
3
S. 8
or
ders
and
war’s
a
blood
y
= ca.60
168
M
3
S. 8
game.
ALASDAIR
3 3
Ly ing on a pave
ment
3
3
3
your face in shat tered glass
your
M 3 3
3
sempre stacc. 3
3
3
19 = ca.50 3
171
3
=
more wistfully
x
A. eye
on
a gun site,
a
gun site on
your
Re
arse.
= ca.50 =
3
3
3 3
174
3 3
3
3
=
= ca.67
A. mem
ber ing
the jobs
moth
er
prayed
you’d =
Cb. (pizz.), Hp.
= ca.67
[ ]
[ ] 3
3
3
3
[ ]
[ ]
Poco meccanico = ca.72
176
3
3
3
3
3
3
A. do.
And
the on
ly prize if you
sur vive
is
a mug
of
Poco meccanico = ca.72 8va
Picc.
3
3
5
3 5
5
3
3
3
5
3
3 3 3
3
8ba
3
3
3
3
3
3
3
3
3
20 [ The men grow physically closer. ]
179
=
S. 8
A. NAA
FI brew. =
8va
6
7
Picc.
6
6
6
6
6
6
6
6
6
6
Tbn. (loco)
6
6
6
7
6
7
8ba
N
(
182
= ca.48)
8
3
=
( = ca.72)
SAM
Know ing
ev’ ry day
might be your
=
last. 3
3
A. A pla toon
N
(
= ca.48)
grow ing up
too
( = ca.72)
5
=
Ob.
Ob., Vla.
5
cresc.
5
5
5
8ba
of vir gins
5
(loco)
3
=
Ob., Vln.
Ob., Cl.
5
6
5
6
5
6
3
3
3
3
21
(
184
= ca.144)
S. 8
Be
ing
one
of
man
y,
an
A. fast. (
Picc.
= ca.144)
Cl.
Tpt.
187
( = ca.108)
S. at
8
om
in
( = ca.108)
a
5
bomb.
3
Picc.
5
3
Ob.
Tpt.
5
3
3
5
3
3
3
5
3
3
3
5 5
3
189
5
3
3
3
S. 8
ALASDAIR
A
rock
3
A
tread
on a
et
in
a
tyre,
Tbn.
5
5 5
5 5
5 5
5
5
5
5 5
5
5 5
5
22
191
3
S. laun
8
cher
read y
to
ex
plode.
A. a
bul let
in
a
gun,
a
Picc.
5
5
5
5
5
5
poco 5
5
5
5
5
5
193 S. A
8
fin
ger
3
A. hun
dred
march
ing
feet,
8va Picc.
3
3
3
3
3
3
3
3
5
5
5 5
5
5
23
196 S. 8
on
a trig ger,
an
edge
3
3
A. march
ing
down a
road.
A
glint on
Picc.
Hp.
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
198 S. 8
on
a
3
blade. 3
3
3
3
A. bay
o
net,
an
or
der
that’s o
beyed.
8va (Picc.)
cresc. Tbn., Vlc.
cresc.
5
cresc.
cresc.
5
5 Vlc., Cb. (pizz.)
5 5
5
5
5
5
5
6
5
6 3
a
24
200
O
S. 8
Fear
was
our
friend
our
friend.
a gainst
the
A. Fear
was
O Picc. 8va
3
dim.
3
3
Tbn.
3
3
3
Tpt.
molto
5
5
6
7
dim. (arco)
6
5
5
3
202 S. 8
en
e
my. 3
3
A. But
we
did
n’t
fight
for coun
try
Cl.
3
5
5
dim.
7
stacc.
3
3
5
5
3
dim.
3
3
dim. 5
25
Meno mosso = ca.92
204
3
S. 8
We
fought
for each oth
er
A. or
for
Meno mosso
Queen,
= ca.92 Cl.
3
3
3
3
3
3
3
3
3
3
3
3
dim.
206 S. 8
Com
rades
and
broth
ers,
Com
rades
and
broth
ers,
A.
3
3
3
3
3
sempre
Ancora meno mosso 209
= ca.80
3
3
3
3
5
P
Calmo
P
Calmo
= ca.60
S. 8
Com
rades
and
broth
ers.
Com
rades
and
broth
ers.
A.
Ancora meno mosso = ca.80 5
5 5
3
= ca.60
[ The mood changes. It takes on a sinister, less exuberant edge. The past has entered the room. ]
26
[ Alasdair moves away from Sam and refills their glasses. Alasdair tries to maintain the jaunty tone, but ultimately cannot resist Sam’s melancholy. ]
Calmo
= ca.40 3
213 freely
= ca.60
S. 8
Broth ers
in
blood.
I
sleep no
more. 3
A. You
Calmo = ca.60
= ca.40
3
espr.
3
Cor. Ang.
marc.
216 S. 8
I
taste
no
thing. 3
3
3
A. miss
218
8
the com
3
Col ours
lack
pa ny...
...the ca ma ra
de rie.
3
lus tre.
freely, relaxed 3
You miss
3
the
ar
my.
3
3
5
3
27
Q 220
Largo dreamily, remembering
= ca.40-48
S. 8
Q
I closemy eyes and see
a
lone ly road,
Largo = ca.40-48
3
8va
223 S. 8
a
pret
ty
girl,
and
far
a
way, Tpt.
8va
sim.
sim.
8va
8va
sim.
226 S. 8
far,
an
old
man. 3
ALASDAIR
You see
no
5
Bsn.
6
thing.
28
228
3
3
S. 8
A
bird
sings
and
I
hear
scream
ing.
marcato, pointedly 3
A. The night
3 Tpt.,Tbn.
3
3
3
Pi첫 mosso
= ca.56
3
230
3
S. 8
Day
dawns,
I smell the
A. is
si lent.
Pi첫 mosso = ca.56 Fl.,Ob.,Cl.
cresc. poco a poco
233
3
S. 8
street
van
smell
of
roast
ing
flesh
3
5
5 5
5
cresc.
5
5
cresc.
5
5
5
5
29 3
234
3
3
S. 8
the
old
man
turns
his
head
and...
(cresc. poco a poco)
6
3
(cresc.)
3
6
R
235
Meno mosso (flexibly)
[ VICKI enters. She’s wrapped in a dressing gown, tousled and sleepy, but still glamorous. ]
[ Alasdair makes an expansive movement with his arm and a glass smashes to the floor. ]
breve
VICKI
3
Wok en by
night mares?
= ca.50 espr.
My
poor
S. 8
ALASDAIR 3
A. E nough!
Meno mosso (flexibly)
R 3
= ca.50
3
breve
sul tasto
breve
30
238 V. A las dair,
still fight
ing
the war
in
[ Vicki makes a noise that is half scream, half gasp. ]
[ Vicki takes in the scene: Sam, the broken window, rifled till and smashed glass. The men are frozen, as if caught in the middle of a criminal act. ]
your
sleep.
[ The spell is broken. Sam looks stunned. Alasdair rushes to Vicki and puts an arm around her. He is back in control. ]
= ca.60
241
3
3
3
3
7
molto
molto
molto
7
[ VICKI’s daze seems more than sleep induced. She touches Alasdair’s cheek. ]
244 VICKI
There’s ALASDAIR
Meet
my
man,
Ser
3 3 3
6 6
3
geant
Sam.
31
agitato
247
[ She takes Alasdair’s hands in hers and recoils. ]
= ca.72
V. blood on your
face.
agitato
And
on your
hands.
= ca.72
softly
energico
3
6
3
[ Alasdair is determinedly bright. ] ALASDAIR 251
Ser
geant Sam.
our
Tpt.
new 3
3
3
3
7
7
7
cresc.
+Vln.
Ob. (full size)
7
cresc.
+Vla. Cl.
3
3
3
cresc.
(non stacc.)
7
7
8ba
[ Alasdair pulls away the throw covering the couch and starts to arrange it into a makeshift bed, using cushion for pillows etc. His movements are economical and efficient. Sam hesitates on the sidelines, torn between the prospect of a bed for the night, the possibility of a job and his embarrassment. ]
S
8va Picc.
3
loco
253
m =
3
6
3
3
poco 3
3
3
man.
+Vln.
3
3
bar
3
o,
= ca.108
32
256
VICKI
3
He
in
broke
but
you
give
him
the
leggero Fl.
3
3
3
3
3
leggero
3
259 V. to
the door. vigorously
ALASDAIR
We
3
3
for
fought
each
oth er,
3 3
3
3
cresc.
262 A. com
4
4
rades
and
5
key
33
265
rall.
T
VICKI
[ This news galvanises Sam. He steps forward, allying himself with Alasdair. ]
Meno mosso = ca.90 softly
In five
years
I
nev er heard his
name.
A. broth
ers.
rall.
268
T
Meno mosso = ca.90
SAM
8
Com
rades
and
broth
ers.
3 3
3 Tbn. (Solo)
271
sonore
marcato
S. 8
We
lived
for
each
oth
er
34
pointedly
274
3
3
3
S. 8
long be fore
he
ev er knew
your name.
ALASDAIR
Cease
fire!
3
3
3
3
[ Alasdair takes hold of Vicki and Sam’s hand and stands between them. He addresses Sam. ]
U
= ca.50 freely, con rubato
Senza misura
277
3 3
A. Vic
ki
makes
2 Cb. o Alasdair
1 BCl., Cb. together
1
2
poco
ad lib. Cb., BCl.
Vlc.
= 40 and
man.
= 50 poco
rall. poco a poco
= ca.45
1
an hon est
Cb. 3 o Vlc. Vary tempo between
U Senza misura
me
(BCl. goes out of sync with Contrabass)
3
poco
ad lib.
35 = ca.40 Bass drum roll
Hp.
près de la table
3
3
8 Alasdair o Hp. plainly
6 Alasdair o Perc.
più
Alasdair o BCl., Vc., Cb.
9
A. with
out
her
I’m
just
a sol
dier
4 Alasdair o Vln.1
who’s lost
his
war.
7 Alasdair o Vla.
= ca.35 = ca.40
Vln.1
x2
Vla.
= ca.35 Vln.2
x2
poco
2
Play boxes 1 and 2 in order first, then repeat in any order. When signalled to stop, complete the motive within the current box, then stop.
*
Play boxes 1, 2 and 3 in order first, then repeat in any order. When signalled to stop, complete the motive within the current box, then stop.
*
* Stop at the end of current motive.
rit.
Bassd drum
278 [ Alasdair turns to Vicki. ]
Alasdair 3 o BCl., Cbsn.
Senza misura
= ca.45
= ca.78 (più mosso) 3
3
3
3
A. Sam
278 Vla.
= ca.45
Cb., Bass drum
is the hard
est man
Senza misura 1 Alasdair o BCl., Cbsn., Hp. in together
to
face an en
Alasdair 2 o Vlc.1,2 Vlc., col legno battuto
( = ca.45) poch. rit.
BCl.,Cbsn.,Cb. 8
Vary upper pitches. Also alternate between upper and lower pitches (i.e. upper only or lower only.
e my.
36
Perc.
sim.
rit.
[ Alasdair steps aside, joining joining Sam and Vicki’s hands. ]
= ca.45
280
molto 3
A. Alasdair 3 o Vlc.1,2
The kind of arse hole you want on your
side.
Alasdair 4 o Vlc.1
Vlc.1,2 (pizz.)
= ca.45
3
poco
281
molto
BCl.,Cbsn,Cb.
dim.
Dolce
( = ca.45) semplice
= ca.60
A. I want you to be good
friends.
Dolce = ca.60 3
[ They let go of each other’s hands suddenly, as if shocked by an electric current, and step apart. ALASDAIR puts an arm around Vicki’s shoulder and leads her towards offstage and bed. Vicki pulls away from him. ] Tranquillo = ca.52 VICKI
V
284
In
V
3
Tranquillo
3
= ca.52
3 3
3
a
gar
ri
37
286
3
V. - son
town
you
meet
man
y
Fl. grazioso
3
3 3
3 3
288
3
V. men,
who
are
ghosts.
They
3
290 V. walk
like
men
and Ob.
talk
and
look
like
men. Fl.
Hp.,Vlc.,Cb. (pizz.)
38
293 V. But the
297
best
part
of
them
is
lost.
W
V. Ghosts
hate
liv
the
ing
and
their
love
is
W 3
3
3
cresc. 3
3
3
300
Con moto
= ca.63
V. cursed.
Con moto
= ca.63
Tpt.
Cbsn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
39
302
optional:
spoken 3
V.
x
x
x
x
x
x
x x
x
x
He’ll steal ev’ ry thing you ev er worked for.
3
5
5
3
X Transition I–II [ Alasdair shrugs his shoulders at Sam in a ‘women, can’t live with them, can’t live without them’ gesture. He leads Vicki off stage. Sam is left standing alone in the dim light of the empty bar. ] 304
306
( = ca.63)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
309
3
3
3
3
espr.
3
3
3
3
3
3
3
3 3
3 3
3
3
3
40
Meno mosso = ca.60
3
313
3
3
3
8ba
Scene 2 Senza misura 1 [ Sam sits down on the couch. He looks up at the ceiling, following the progress of Alasdair and Vicki’s footsteps 1 across their bedroom floor. ]
319
8
2 Sam o Flute = ca.60 SAM regretfully
Scene 2
His
1 Senza misura
= ca.60 ( con rubato
heav
y
Fl.
= ca.48)
Bsn.
Fl.
cresc. poco a poco = ca.60 Cl.
piĂš mosso Bsn.
3 Samo Cl., Vlc. 1,2
4 Samo Bsn. 3
3
3
3
S. 8
stride, (no pause first time) Vlc.1
Vlc.2
her
light er
tread.
He folds
his clothes up on
the chair.
5 Bsn.o Fl., Cl., Vlc. 1,2
41
2 Sam o Ob., Bsn.
1 2
3 Sam o Ob., Bsn.
[ Sam clicks on the bar’s television. the news is on, the war playing out on the screen. Sam turns away from the television. He seems to be ignoring the broadcast, but the TV is a conduit which returns his subconscious to the past. ]
= ca.60
3
S. Her robe
falls
to the floor.
I
sit here
a lone.
Ob.,Bsn.
espr.
= ca.60 3
3
3
3
3
3
Largo = ca.40
4
3
3
S. Too far
to see,
Largo 3
Fl. (Solo)
too far
to know,
veloce e grazioso
= ca.40
3
3
7
3
3
3
S. 8
We meant no sim.
harm.
[ We hear a chorus of newsreaders, who read out the headlines. ]
42
Semplice
A
= ca.69
10
Chorus
*
To
3
day
two
sol
diers
joined the
lists
of
the
fal
len.
of
the
fal
len.
3
To
day
two
sol
joined the
diers
lists
14
Re
la
tives
have been
in
formed
but
names
have
names
have
unis.
Re
la
tives
have been
in
but
formed
Meno mosso = ca.60
B
20
not
yet been
re
leased.
Their names
can not
be
spok
en.
They
not
yet been
re
leased.
Their names
can not
be
spok
en.
They
Meno mosso = ca.60
* This gap may be omitted; it should never be longer than one beat.
B
43
Pi첫 mosso * = ca.72
Chorus
=
are
the
new
ly
dead,
fresh
ly
lost,
are
the
new
ly
dead,
fresh
ly
lost,
= ca.48 24
remembering the past: SAM haunted and increasingly troubled
8
A
lone ly
road,
a
pret
ty
girl,
and
= ca.48
(sempre
= 72)
and
we must
not,
can
not
whis
per,
and
we must
not,
can
not
whis
per,
Doppio movimento = ca.96
27
becoming somewhat panicky
S. 8
far
a
way
an
old
man.
Too
Doppio movimento = ca.96
cresc.
pi첫 pesante
* Independent of conducted tempo
far
to see,
too
44
whis
per
their
names.
Rel
a
tives.
whis
per
their
names.
Rel
a
tives.
31
3
5
more reflective
S. 8
far
to hear,
too far
We meant
to know
cresc.
Rel
a
tives.
Rel
a
tives.
C
35 S. 8
no
harm.
Too
far
to run,
C
sim.
sim.
45
38
3
S. 8
too
far
to stop,
my hand
touch ing
3
3 3
3
8
41
3
S. 8
her
face,
wip
ing
the
tears
cresc. poco a poco
43
3
3
becoming more panicky, almost desperate 3
S. 8
from her face,
try
ing
to smooth
the
cresc.
3
5
5 5
5
46 [ Sam gets up from the couch. The intensity of the flashback is still upon him, but he is shifting from the past into his war-infected present. He knows that the memory of the atrocity will continue to contaminate his life, especially when he is on his own. From here to bar 65 Sam is overwhelmed by what may be an episode of Post-Traumatic Stress Disorder. ] 46
8
fear
from
her
face. cresc.
3
3
3
3
sim.
5
3
cresc. poco a poco
3
5
3
3
3
3
sim.
8va
48
cresc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
8va
50
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
47
8va
52
D
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
8va
54
cresc. poco a poco
[ SAM’s symptoms gradually subside. ]
Senza misura ca.22" 8va
60
bisbigliando gradually introduce rests
dim.
E
Meno mosso = ca.96
65
Chorus
E
= ca.72
Must
not,
can
not
whisp
er
their
names.
Must
not,
can
not
whisp
er
their
names.
Meno mosso = ca.96
= ca.72
48
Chorus
Must
not,
can
not
whisp
er
their
names.
Must
not,
can
not
whisp
er
their
names.
F
71
SAM
8
3
This night
lies
F
76
3
[ SAM collapses back on the couch and the stage fades to black. ]
[ SAM looks up at the ceiling. ] 3
3
S. 8
long er
than that road.
I
G 81
walk
it
a lone.
Transition II窶的II Adagio = ca.54
89
molto
49
H
Meno mosso Con moto
A tempo ( = ca.54) =
96
=
[ Lights up. Some time has passed since that first night and small changes have taken place in the pub. The flower arrangement on the bar is composed of autumnal blooms. The large portrait of Vicki now shows her in combat gear, her mouth set in the same shining smile, her cap tipped at the same jaunty angle as before. Beyond the French windows, the tree in the beer garden sheds russet leaves (this may begin during the previous transition). It’s early evening. Sam springs into business, tying a black apron around his waist, setting to polishing glasses and slicing lemons. ]
Scene 3 Più mosso
Poco più mosso 1
= ca.60
= ca.72
Vlc.,Cb. gliss.
Adagio
Più mosso
= ca.50
5
= ca.60
[ Vicki enters dressed to the nines, ready to entertain the customers. No audience awaits her. Sam starts to mix Vicki a cocktail. ]
8
11
3
3 Hp., Vc., Db. (pizz.)
3
3
3
3
3
3
3
50
A 14
VICKI
8
A
3
3
Si
as a morgue
lent
Allegretto
= ca.90 3
3
poco
Più mosso 17
sotto voce playfully
lunga
3
3
= ca.114
(
=
)
(
=
)
V. af ter the un der tak er’s had his fun.
Allegretto
Più mosso
= ca.114
= ca.90
3
poco
3
3
Meno mosso
Più mosso, poco stringendo
3
3
3
3
( = ca.57)
3
3
3
19
3
= ca.60
S. 8
A road side bomb
sent four
men
home
to
glor
y
Meno mosso ( = ca.57)
Più mosso, poco stringendo
= ca.60
to day.
51
22
3
S. 8
Brave
men.
A
tes ta ment
to
Meno mosso = ca.54 25
our reg
i ment.
Quasi senza tempo
lunga
VICKI
freely, solemnly
3
lunga 3
The
3
To the wo men who weep for them.
3
S. 8
towns
peo ple
mourn.
lunga
Meno mosso
8va
Quasi senza tempo
= ca.54
5
lunga
5
Quasi senza misura (Pi첫 mosso, colla parte)
moto ( ) freely, congliss.
28
( )
V. A
quite freely, unhurried
man who picks up
a
gun
should
ex
S. To the men
who
died
Quasi senza misura
8va
( ) (Pi첫 mosso, colla parte) sim.
accel. (independently)
( )
52
Andante sostenuto
( )
B
3
31
= ca.63 tenderly, with emotion
V. pect
My
to die.
( )
B
8va
fa
ther
was a sol
dier
and
Andante sostenuto = ca.63
3
3
Meno mosso = ca.52
35 V. his
fa
SAM
8
Meno mosso 8va
ther
too. tenderly, with emotion
My
fa
ther was a
= ca.52
5
sol
dier
and
53
Subito più pesante =ca.54
poco agitato 39
ten.
cresc.
V. So
I
al
ways
knew
I’d
nev
er
be
a
cresc. S. 8
his
fa
ther
too.
I
al
ways
knew
I’d
Subito più pesante =ca.54 8va
poco agitato
3
43
emphatically
3
rubato, teneramente
3
V. sol
dier,
or
the moth er
of a
sol
dier,
or
3
3
S. 8
be
a
8va
3
(irregular accents)
sol
the
dier.
54
C
Adagio
allarg.
45
PiĂš mosso
= ca.48
ten.
= ca.60
V. lov
er
of
sol
a
dier.
Nev
er.
S. 8
So
I
al
ways
C 8va
warmly
Adagio 49
= ca.48
V. Nev
er
a
sol
dier.
3
proudly 3
S. 8
knew
Adagio = ca.48
3
I’d
be a sol
dier
like my fa
ther
and his
fath er
be fore
him.
55 [ From here to bar 70, SAM and VICKI are drawn physically closer as their words both chorus and contradict each other. Although they profess different attitudes, they’ve discovered a common background and this pulls them to each other. Whereas before they have been singing to themselves, now they sing to each other. ]
D = ca.60
52 V.
Nev
er
be
a
sol
dier,
S. 8
I’ll
al
ways
be
a
sol
dier,
8va
= ca.60
dim.
Meno mosso = ca.54
57
ten.
V. a
lov
er
of
a
sol
dier.
Nev
er
ten. S. 8
a
sol
dier,
Meno mosso 8va
= ca.54
a
sol
dier.
I’ll
al
56
Pi첫 adagio = ca.50
62 V.
be
a
sol
dier,
be
a
sol
dier,
a
moth
er
of
a
S. 8
ways
a sol
dier,
a
sol
8va
Pi첫 adagio = ca.50
[ Sam and Vicki are standing very close to each other. ]
68 V. sol
dier.
Nev
er.
dier.
Al
ways.
S. 8
(slowly and audibly) etc. 8va
8va
3
5
5
57
72
Awkwardly
E
pensively
(mimicking Alasdair’s manner and singing)
= ca.72
S. 8
Nev
er.
8va
Lov
Awkwardly
E
Tbn.
= ca.72
er roughly
of
a sol
dier.
3
Cb. pizz.
roughly
3
Poco meccanico 75
= ca.80
VICKI
parlando
sarcastically
Our
5
lord
and mas
ter?
S. Where is
A
las
dair?
Poco meccanico = ca.80
77 V. Armed
with
bot tles,
he bat tles
with bank ers,
3 3 3
3
3
3
3
58
79
3
V. mor
tars
of wine,
bar rag es
3
of
beer.
3
3
3
3
3
81 V. A 3 6 12 6
3
12
F 82 V. sol
dier?
No,
(sigh)
F stacc.
5
5
stacc.
5
5
5
5
5
5
5
5
he’s
a
59
84
slightly melodramatic
port.
3
3
V. reck
less
sail
or
3
3
read y
to
3
drown
3
3
3
3 3
3
3
3 3
3
Meno mosso = ca.72 86
[ Vicki covers her face to hide her tears. Sam takes her in his arms to comfort her. ]
more sadly
V. in
whis
ky.
Meno mosso = ca.72 3
3
3
3
3
3
3
89
with passion
SAM
8
He
should
3
6
3
6 3 6 3
6
3
60
90 V.
S. 8
soak
in
your
3
6
3
6
6
3
[ Vicki pulls away from Sam’s embrace. ]
91 V.
S. 8
voice.
espr.
3
3
pochiss.
molto 6
6
espr.
3
3
molto
pochiss.
3
espr. 6
6
3
6
61
92
Meno mosso, tranquillo = ca.66
VICKI
G I
sing.
S. 8
Meno mosso, tranquillo tranquillo = ca.66 6
G
6
dim.
6
6
6
6
dim.
95
allargando
3
= ca.57-60
V. No
one
lis
tens
I
raise my
allargando
3
voice
= ca.57-60
dolce
99
ten.
V. but
laugh
ter
drowns
my
62
(Pi첫 mosso)
H
103
= ca.72
V. song. SAM
8
Some
times
in
(Pi첫 mosso)
H
= ca.72
3
105
8
3
bat
tle
si
lence
3
3
106
3
S. 8
breaks
through the
gun
fire,
3
107
3
108
S. 8
and
bird
song 3
6
3
6
63
S. 8
ris
es 3
3 3
cresc.
6
6
3
3
3
109
3
S. 8
through
the
air.
6
3
3
6
(cresc.)
6
3
3
6
110 S. 8
Your
voice 3
6
eco 3
112
8
is
bird
song 3
6
3
6 6
64
Meno mosso = ca.63
113 S. 8
af
ter
the
rat
tle
of
gun
Meno mosso = ca.63
3
colla voce espr.
6
[ The light drops, suggesting the incoming night, and reflecting [ Sam and Vicki look into each others eyes as if they the patterns of the falling leaves are really seeing each other the first time. Sam puts his beyond the window. ] hand gently on Vicki’s face, their heads move closer. ]
= ca.54
115 S. 8
fire. 8va
= ca.54
3
3
[ Alasdair enters but Vicki and Sam are so focussed on each other, they don’t see him. He stands unnoticed in the shadows helping [ They kiss, and then quickly pull himself to a dram from his hip flask while apart, unsure of themselves. ] he watches the couple. ] 119
8va
Vln., Tbn.
non troppo
sim.
3
65 = ca.60–72
J
[ Alasdair steps from the shadows. ]
SAM
124
8
3
Your
[ Sam and Vicki spring apart, unsure of how much Alasdair has witnessed. ]
voice
is
3
sweet
er
than
bird
song...
ALASDAIR
J
Sweet
= ca.60–72
er
than
8va
pochiss.
pochiss.
Vln.
3
3
pochiss.
freely Vlc.
[ Alasdair’s attitude is determinedly cheery, but there is steel beneath his bluff exterior. ] [ Alasdair helps himself to a drink from the bar. His movements are clumsy and it’s clear he has had several before this. ] Senza misura 128
3
A.
x song. 8va
Senza misura ( = 72, coordinated with Vlc. and Cb.) Vln.
( = 72) Vlc., Cb. pizz.
x
x
x
x x x
x
So pipe up, give us a song!
rall.
bird
66
= ca.72
129 V.
The town grieves—
ev’ ry
shade
down,
ev’ ry cur tain
drawn
= ca.72 8va
Meno mosso = ca.60
133 V.
ALASDAIR 3
3
3
3
3
3
A. Good men
died to day,
but we’re
a live
Meno mosso = ca.60 8va
to day.
The dead will sleep,
we’ll car
67
[ Sam looks at Vicki, unsure of whether he should intervene, but she steps forward, ready to perform. ] 136
3
V. My
heart
is too heav
SAM
8
y.
5
The flags
hang
low.
A. ry on.
Sing!
Sing!
8va
3
[ Vicki looks at Sam when she is singing the opening lines, but her attention shifts to Alasdair for the final, pointed line of each verse. ]
Verse 1
ca.5" G.P.
To be sung with freedom, and a folk-song sensibility. Although plenty of rubato is encouraged, the rhythm and its variants should always retain a strongly dotted character.
Ballad K Con rubato
= ca.60
140
3
V. Out
ca.5" G.P.
Ballad
on a
lone
K Con rubato
= ca.60
ly
high
way walks a
girl
in
a
68
145
white
gown,
she’s
look
ing
for her
broth
er,
but the
poco meno
a tempo
held back
( = ca.60)
more heavily 5
5
150
5
V. sol
diers
shot
him
a tempo
held back Ob.
down.
( = ca.60)
5
5
5
cresc.
154
L
Verse 2
Più rubato
3
V. High
L
on
a
bar
ren
Verse 2
Più rubato
poco
cliff
top stands a
69
158 V. girl
in
a
white
gown,
she’s
search ing
for her
dim. poco
163 V. fa
ther,
but the
sol
him
down.
Verse 3
M
167
diers shot
very quiet and deep
V. Deep
M
Cor Ang.
espr.
3
3
in
a
si
lent
Verse 3
louder
172
[
]
V. val
ley
weeps a
girl
in
a
white
gown,
she’s
70
177
ten.
V. wait
ing
for her
lov
er,
but the
sol
diers
ten.
181 V. shot
him
down.
cresc.
N
186
Verse 4 freely
3
V. Sev
en
years,
N
freely, with a sense of drama
3
189
ten.
V. she’sbeen gone
now,
the
girl
in the
wed
ding gown, ten.
71
193
più espr.
simply
poco
V. some
say
the
fair ies
tookher,
but
I
know,
the
sol diers
dim.
[ Alasdair shakes his head, displeased by the tone of Vicki’s song, but Sam is visibly moved. The men’s varying attitudes are reflected in their recollection of the atrocity they were involved in, though Alasdair’s defences begin to waver towards the end of the scene. Vicki is relegated to the sidelines. She didn’t share their experience and so cannot understand its significance. ]
Più mosso 200
= ca.72–76
poco
V. shot her
Più mosso
down.
= ca.72–76
molto
O 206
Energico = ca.60 ( = ca.90)
=
SAM
8
O
A
Energico = ca.60 ( = ca.90)
=
ly
lone Clar.
3
3
sub.
3
3
3
3
3
72
209 S. 8
road,
a
3
3
3
pret
ty
girl
3
3
3 3
3
3
3 3
211 S. 8
and
an
old
man
far
poco 3
3
3
213 S. 8
a
way.
3
cresc.
3
3 3
3
3
3
3
3
3
73
215
5
S. 8
Too
far
to see,
too
far
to
hear,
Clar.
3
3
3
3
6
6
3
3
217
3
S. 8
too
far
to know 3
3
3
3
3 3
219
P
3
6
3
6
3
3
6
3
3
3
3
meno
S. 8
we
P
3
meant
no
3
harm.
3 3
74
221 S. 8
Too
6
5
3
far
to
3
run,
6
3
5
223 S. 8
too
far
to stop.
3
225
My
6
5
3
S. 8
hand
touch ing
her
wip
face,
ing
the
3 3
3
3
espr.
3
6
75 3
228
3
3
3
3
S. 8
tears
from
her
face,
try
ing
to smooth 3
3
3
3
231 S. 8
the
fear
from
her
face. 3
3
3
5 3
234
3
3
3
espr. poco
Q 238
Q
Pi첫 mosso = ca.120 ALASDAIR
=
= ca.80
A lone
Pi첫 mosso = ca.120
= ca.80 =
ly road,
a pret
ty girl,
76 241 A. a
lone
ly
road,
a
pret
ty
girl,
243
=
A. and hid
ing close
a
young
gun.
=
poco
= ca.120 245
SAM
8
I
saw
the
boy,
a
= ca.120 3
3
3
3
3
3
3
3
247
3
3
3
3
3
S. 8
young
3
boy
3
3
3
3
heard a
3
3
pop and
a
77 249
3
3
S. 8
crack,
saw
him fall
and looked back,
saw
3
3
3
3
3
3
3
3
3
your
251 S. 8
ri
fle
3
3
saw
raised,
a
smile
3
cresc.
3
R
253 S. 8
on
your
face. 3
ALASDAIR
R
I
saw
Vibraphone, Fl.
3
255
3
3
3
A. girl
and a young
gun,
saw yourhand on her
face,
3
3
3
3
cresc.
the
78
257 A. saw
5
his ri ossia: ri
fle
5
5
raised, fle raised,
5
5
5
5
5
cresc.
3
259 A. let
my
3
3
bul
lets
blaze.
3 3
3
262
VICKI 3
Your
A.
war
is
o
ver.
79
265
S
V.
SAM
8
I
S
saw 3
the
3
old
3
3
3
3
3
3
267 S. 8
man,
saw
3
3
3
3
3
him
lift ing his hand,
3
3
3
3
269 S. 8
saw 3
3
3
3
your 3
3
3
3
ri 3
fle 3
3
raised, 3
80
271 S. 8
saw
a
smile
on
your
cresc.
273
5
VICKI
3
O
ver,
your
S. 8
face. 3
6
3
3
3
5 3
Meno mosso = ca.90
275 V. wars
are
o
ver. 3
ALASDAIR
At
Meno mosso = ca.90
81
T
3
279
3
A. home
they turn
the
ra
di o down
when the dead
T Tbn.,Fl.
3 Tbn.
3
3
3
3
3
282 A. are
Our
named.
boys
3
3
285 A. lie
dead
3 3
3
3
3
in
a
box.
82
288
3
A. Ci
vil
ians
look
a
way.
8va
3
6
poco
poco
poco
Meno mosso 291
= ca.84
3
A. They
talk
through
si lence,
they
talk
through
Meno mosso = ca.84
8va
3
3
3
295
3
3
A. si
lence.
8va
trem. rall.
3
3
3
U
83
Sostenuto
= ca.72
298
SAM
8
She
U
Sostenuto
trem
bled, 8va
3
Ob.
like
= ca.72 Hp.
Ob. (loco) poco
poco
Cb. col legno (8ba)
302
8
3
3
blos som
trem
3
3
bles
in
the breeze,
sun 8va
8va
(loco)
(loco)
poco
poco
poco
poco
3
305 S. 8
shine
dap pled
through the leaves,
my
hand 8va
8va
3 poco
poco
3
poco
poco
still
84
Agitato = ca.96
308
V
S. 8
wet
with
her
tears. 3
angrily
ALASDAIR
Rules
Agitato = ca.96
of
V
3
3
312
3
A. con
flict
made by men who nev
er struck a blow.
3
3
3
Meno mosso 316
= ca.72
3
3
A. Sol
diers
Meno mosso = ca.72
molto
dim.
caught
in bat tle
know how it goes:
their
blood
or
85 [ Alasdair puts his hand on the back of Sam’s head drawing his friend’s face close to his in a gesture that is both intimate and dominating. The men’s conjoined
320
3
3
A. ours,
their
blood
or
ours.
We
3 Cor Ang.
espr.
silhouette is reminiscent of the shape of Vicki’s and Sam’s physical closeness during their kiss earlier in the scene. ] 3
325
3
3
A. killed
to live,
killed
to live,
Cb. pizz.
[ Alasdair pushes Sam away and makes a defeated gesture with his hands, that somehow manages to encompass the country and the futility of war. Drink and memories have suddenly sapped his his strength and his shoulders slump. ] 329
3
3
[ Vicki puts her arms around Alasdair in a hug. ]
W
Tranquillo = ca.66
A. all this.
so they can keep
W
Tranquillo
8va
= ca.66
86
rall.
334 VICKI
[ Vicki holds out her hand to Sam and after a moment’s hesitation he grasps it. She sings to Sam over Alasdair’s bowed head. ]
= ca.60
Più largo
3
V. O
ver,
your
8va
wars
are
rall.
o
ver.
= ca.60
Più largo
warmly
teneramente
rall.
Andante 339
= ca.66
ossia:
X
be hind.
V. Leave
Andante = ca.66
your
dead
and your
bat tles
be
hind.
X
(
sempre)
[ Vicki lets go of Sam’s hand and leads Alasdair off stage in a reversal of roles that is nevertheless reminiscent of the end of Scene 1. She looks back 343 at Sam whose expression twists as if he’s in pain. He slumps at a table. ]
5
346
5
5
5
5
5
5
3 3
87
Y
349
poco
poco
3
3
3
3
3
3
351
Fl.,Vln.
3
3
Strings
5
3
poco
poco
poco
poco
poco
poco
Tpt.,Tbn.
Bcl.,Bsn.,Cb.
[ Vicki re-enters the bar. She stands alone looking at Sam. He raises his head and their eyes meet. Sam gets to his feet. The scene ends with the couple staring at each other across the deserted bar room, each unwilling to make the first move. ] tenderly
Largo = ca.40
355
dolce
Z Transition III窶的V
poco marcato
363
5
5
5
88
Scene 4 [ Lights up. It is the morning after the night before. The tree in the beer garden is bare. Alasdair is sitting at one of the tables going over accounts. Although it’s early, a glass of whisky sits next to a half empty bottle beside his ledgers. Sam climbs up from the cellar, wearing a drayman’s apron and carrying a crate of beer. A vase of poppies sits on the bar and both Alasdair and Sam wear red poppies in their lapels. Vicki enters dressed in jeans and a T-shirt. A poppy is stuck in her disarrayed hair and a duster hangs from her back pocket. She looks at Sam. Sexual tension crackles between them. Vicki half-heartedly starts cleaning. Sam descends back down to the cellar. He makes the trip several times, trying to ignore the domestic drama playing out in the bar. ] 3
m o
1 3
= ca.60
3
3
3
poco marc.
3
3
3
sim.
3 Hp., Vc., Db. (pizz.)
3
3
5
3 3
sim.
3
3 Tbn., BCl., CBsn.
6
6 3
6
89
7
Hp., Vc., Db. (pizz.)
6
7
7
6
8
Ob.
cresc.
5
5
6
cresc. 3
7
3 3
poco accel.
= 76
9 (cresc.)
7
(cresc.)
6
6
6
6
5 5
6 5
3
90
A 10
8va
8va
= ca.60
3
3 3
3 3
3
3
(rall.
8ba 8ba 8va
8va
12
3
accel. rall.
) 3
3
3
8ba
16
ALASDAIR
B
quite freely 3
3
The bal ance
is
red.
8va
3
3
3
3
3
8ba
19
3
3
3
3
A. I
pay
in blood, sweat and
tears,
but the scales are weighed
Tam-tam (scrape) Bass drum
3
91
22
3
A. a gainst
me.
8va
3
loco (Cl.)
Cl.
espr., con rubato 3
8
C Andante = ca.69
27
Chorus (prerecorded)
Age
shall not
wear
y
them,
nor
the years
con
Age
shall not
wear
y
them,
nor
the years
con
31
demn.
They
shall
not
grow
old
as
demn.
They
shall
not
grow
old
as
92
Meno mosso
D
34
= ca.60
we.
we. (accel.)
ALASDAIR
I
3
3
ne ver saw a charm ing corpse.
Meno mosso = ca.60
D Bass drum
Cl.
Vlc.
8ba
poco 37
3
3
3
Bombs have a way
of
3
darkly
3
A. blow
ing you to piec es.
The bal ance 8va
3 Bass drum
3
8ba
40
3
3
A. red
Tam-tam
al
ways
red.
Bass drum
is
93
8va
3
loco 43
Cl.
3
3
Kick drum
8ba
E 3
46
Ch.
We
that
are
left
to
grow
old,
will
re
We
that
are
left
to
grow
old,
will
re
E (Cl.)
50
Ch.
mem
mem
ber
ber
them.
At
the
go
ing
them.
At
the
go
ing
ALASDAIR
down
(lag behind beat of tape = ca.52 part and instruments)
Now
I
en
94
53
of
the
sun,
staunch
the
sun,
to
Ch. of
the
sun,
down
of
= ca.52 (lag behind) 3
3
= 60 (in tempo)
3
A. vy
the dead,
vile
as they are,
Vln. 1
57
the
end.
staunch
to
We
will
re
mem
ber
them,
re
mem
ber
them,
re
mem
ber
them,
Ch. the
end. the
staunch
to
end.
the
end.
= 60 (in tempo) A. on
ly
the
dead
95
61
Ch.
re
mem
ber
re
mem
ber
them
age
them
age
them
A. have
will
65
seen
not
will
not
the
of
F
wear
y
nor
will
y re
nor mem
wear
we
end
war.
Vicki, she staggers and falls. Alasdair kills the screen and throws the remote into a far corner. Sam puts down his knife, removes his apron and steps from behind the bar. He helps Vicki to her feet. ]
8va
ber
F Cl.
3
Kick drum
3
8ba
Più agitato = ca.72 70
SAM 3
8
If
death
is look ing for me,
he’ll find me
back
in the ranks.
Più agitato = ca.72
8va
3
3
3
3
3
3
Tpt.
3
96 VICKI 73
3 3
No!
A
new
life
is
wait
ing, 3
3
6
3
75 V. make
peace 3
6
76
6
3
3
3
G
3
V. with
peace,
and
your
G
3
6
leave
6 poco
3
78
poco rit.
= ca.60
poco rit.
= ca.60
V. be hind.
bat tles
97
80
SAM
8
In
the
fog
of
bat tle
ev’
3
sim.
82
3
3
S. 8
ry thing’s clear,
but
here
love
3
(no accents)
3
des troys
3
3
cresc.
84
3
S. 8
lo yal ty.
3
To
mor
row
I’ll
98
86
3
S. 8
be
gone.
3
3 Tpt.
3
3
3
3
3
3
3
3
3
3
3
12
H 3
3
87 VICKI
Death
is
H
con
stant,
but
love
is a trai
poco
poco
89
3
3
V. tor.
I
thought
I’d
be
yours
for e
cresc.
ver.
99
92
poco accel.
= ca.72
3
V.
poco accel.
= ca.72
(no accents)
3
3
5
3
3
held back 94
cresc.
3
= ca.60
Pi첫 mosso
ma dolce
= ca.72
3
3
3
Andante
3
= ca.60
3
V. My
heart
may
have
held back
Pi첫 mosso
= ca.60
= ca.72
no
hon
our,
but
Andante = ca.60
3
3
97
I
3
ossia:
V. I
must hon
our
my
heart.
SAM
8
Death
I poco
dim.
100
100
3
3
S. 8
is
al
ways
wait
ing.
poco
sim.
Tpt.
sim.
102
VICKI
Leave 3
your
dead
Vln. 1
3
3
3
(no accents)
poco
104 V. and
your
bat tles
be
hind.
Tpt.
cresc. 3
poco
3
cresc.
3
3
3
3
poco
3
3
3
101
Appassionato = ca.54 passionately
106 V.
Love spitefully, but with irony
3
You al
a la
is
life!
ALASDAIR
3
ways were
dy kil ler.
Appassionato = ca.54
3
3
110 V. 3 3
A. His
love
is
the kiss 3
3 Tbn.
3
114 A. of
death.
Ob.
Fl.
Bsn., Cb.
Cb.
port.
102
J 117
Lento = ca.66
3
A. A
J
lone ly
road.
A
pret ty
girl.
We should have strode
Lento = ca.66
3
3 3
3
3
3
3
120
3
A. on our way.
She
cast
her
eyes
down to the ground,
you
de
3
6 3
6
3
7:4
124 A. ci
ded to stay,
we
3
3
3
3
should
6 6
have picked up
6
our pace
6
6
6
103 3
3
126 A. you
put
your
hand
on
her
face.
6
6
3
3 3
6
3
K 128
3
SAM
3
To
wipe
3
the
3
3
fear
from
her
face.
3
A. From
K 3
3
3
3
3 Tpt.
3 Tbn.
Poco pi첫 agitato 130
= ca.72 3
3
3
A. be hind
a cor
ner
I
heard
her broth er
call
Poco pi첫 agitato
3
= ca.72
3
3
3
3
3
3 3
3
her,
3
3 3
104
3
132 A. saw
his
3
3
3
3
ri
fle
raised,
3
6
3
6 3
cresc.
3
molto
Meno mosso = ca.66
133 A. let
my
bul
lets
blaze.
Meno mosso = ca.66
5
5
(cresc.)
5
5
5
5
5
5
105 134 A.
6
3
6
3
(Tpt.)
6
L 135
Held back
molto
Lento
= ca.54
= ca.66
3
A. Then
the
man,
an old
6
3
3
6
3
man,
3 3
3
3 Tbn.
3 6 3
137
3 3
3
A. had a
gun
in his hand,
a
gun
in
his 8va
3
3
3
hand.
106 139 A. I
blew
him a
way.
8va
141
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
SAM
From
3 3
3
be hind
3 3
3
a
3
3
cor
ner,
I
heard her
broth
er call her
A. marcato 3
3
3
3
3
3
3 3
3 3
3
8ba
143 S. 8
saw
a
broom
in ALASDAIR
his
hand, 3
It
3
107
145
3
S. 8
3
3
A. was
a
gun.
3 3
3
3
147
M
3
3
S. 8
saw
M 3
3
3
him
3
3
crum
ple
3
and
3
148
land,
3
3
3
3
S. 8
saw
your
ri
fle
raised,
saw
a
Tbn.
3
6
6
6
3 6
108 149
3
S. 8
smile
on
your
face.
I
Ob., Tpt., Vln. 1
5
5
5
3 3
(Tbn.)
3
6
6
6
7
3 3
150 S. 8
saw
5
the
old
man
sim.
6
6 6
3 3
6
sim. 151
3
3
S. 8
with
a
phone
in
his
hand,
ALASDAIR A Ob., Tpt.
Tbn.
3
sim.
sim.
6
6
3
6
6
6
sub.
sub. 6
6
6
6
3
sim. sim.
6
sub.
109 153 S. 8
saw
him
try
ing
to
run,
saw
3
A. gun (Ob., Tpt.)
(Tbn.)
3
6
6
6
3
6 6
6
6
6
3
6
5
155 S. 8
you
aim
ing
your
gun,
(Tbn.)
3
3
6
156 S. 8
then (Tbn.)
3
3
3
6
110
157 S. 8
the
3
girl
3
158 S. 8
was
3
160 S. 8
gone.
111
[ Vicki has moved away from both men now she looks from one to the other, horrified. ]
N
Pi첫 mosso = ca.80
= ca.60
161
3
sub.
163
Flessibile
VICKI stunned (freely)
= ca.74
What have you done? SAM
8
I
fol lowed
espr. Ob.
3
3
Cbsn.
espr.
poco dolce
166
3
3
S. 8
or
ders
I
pulled the trig ger.
6
3
3
3
112
Pi첫 lento 169
= ca.56 3
3
3
3
S. 8
The blood
a round her
head
a
red
ha
lo,
Pi첫 lento = ca.56
Hp., Str. (harm.)
3
3
Fl. Cl.
172
3
S. 8
my
still
wet
with
her
Agitato
O 176
hand
= ca.90
rit.
VICKI
You
killed
her?
3
S. 8
tears.
O
Agitato
rit.
3
= ca.90
Cl.
3 3
3
113
= ca.66 179
ALASDAIR
3
forcefully
port.
3
You took com mand,
her
blood
on your
hands. (Fl.)
8ba
Adagio = ca.54
182 SAM
8
3
Adagio
3
3
3
You raised your gun,
told me
3
to shoot,
= ca.54
con rubato 185
3
3
3
3
3
S. 8
I
did n’t stop
to dis pute.
She
ran
I thought I’d missed her
Fl., Ob., Cl.
3
3
3
114 3
188
3
S. 8
prayed
I’d
missed
her
cresc. Tpt.
3
3
5
cresc. Cb.
5
5
accel.
( = ca.72)
189
sub. 5
6
6
6
6
6
(cresc.) 5
P
6
= ca.60
190 poco
SAM
8
3
She fell
P
3
and I knew
= ca.60
poco
poco
3
3 3
3
I’d hit her,
115
193 S. 8
Christ,
I knew I’d hit her!
cresc.
poco
3
VICKI 195
You ALASDAIR
3
3
killed
Q
= ca.66
her!?
3
cynical and ugly (con rubato)
3
You
Più mosso
killed
3
her!
3
And while he cried
Più mosso
Q
Tpt.
3
3
3 Tbn.
3
= ca.66
3
I
116
Largo rall.
198
= ca.48 3
ossia
SAM
8
A boy with a broom. 3
3
An old man with a phone.
3
A. made up lies
to save
his
arse
Largo rall.
= ca.48
to Sam—imploring, forgiving 201
VICKI
A
con rubato
3
3
3
3
3
new
3
A. Men
with guns
and a cause.
A girl
with tears
in her eyes.
3
cresc.
[ Alasdair lunges for Sam. Sam grabs the knife he was using to cut lemons. The two men start to fight. The action mirrors their first meeting, except that this time Vicki is on the edge of the battle, scared, panicking and unsure of how to stop them. She screams at the men to stop, but they are caught in the fight. ] [ Alasdair twitches with irritation. ]
204
R
V. is wai
ting
R
C.A.
life
117
207
(continues)
3
Tpt. 3
(C.A.)
3
cresc.
3
3
3
3
3
[ Alasdair raises a hand, the knife is in it, we see his arm rise and fall three times. ]
209
3 (C.A.)
3
3
3
3
3
3
6
3
Senza misura 2–3''
(210)
*
(wood)
[ Alasdair throws his knife away and slumps on the floor cradling Sam’s bloody body. ]
2–3''
4–5''
(wood)
molto
Bass drum
3
Hp.
* Randomly and rapidly change between short glissandi and knocking on the body of the instrument.
118
Intenso
[ Vicki screams. ]
S
= ca.48
[ Alasdair holds out a bloody hand to her in supplication. She hesitates, clutching her face in horror. ]
= ca.78
215
3
3
Meno mosso = ca.60
218
=
=
ALASDAIR
weakly
He
Meno mosso = ca.60
poco
=
3
poco
=
molto
3
marcato, con rubato 222
VICKI
But you
killed
T
Molto adagio = ca.38
Ancora meno mosso = ca.33
him.
A. was
We dreamed
my bro ther
T
Molto adagio = ca.38
dim.
Ancora meno mosso = ca.33
119
tornando
al
Con moto
= ca.56
= ca.63
226 A. of
how
tornando
it
would
be
al
the
lunga
war
was
Con moto
= ca.56
3
230
when
= ca.63
Adagio
U
= ca.48
ten.
A. won.
But
the
war
nev er end
ed,
now
U lunga
both
Adagio
ten.
= ca.48
lunga
pi첫
lunga
[ Vicki sinks to her knees close to where the two men are slumped. ] VICKI
234
Dead 3
A. of
us
are
dead.
120
238
3
V. as
the
dead
you
mur
dered,
dead
as
the
Adagio Poco più mosso 241
= ca.54
tenuto
= ca.48 breve
marcato
V
V. he
ex
e
cut
ed, ALASDAIR
All
Adagio Poco più mosso
tenuto
= ca.48
dead. 3
of
3
us…
V
= ca.54
breve
244
= ca.40
rit.
= ca.40
rit.
V.
248
Poco meno mosso
= ca.40
perdendosi
girl