Wrinkle in Time 2 acts vrs. (Full Orchestral) perusal score by ECS Publishing Group

It is a dark and stormy night. In her attic bedroom, Meg Murry sits huddled at the foot of the bed. She watches the trees tossing in the frenzied lashings of the wind outside the large arced window. She is fifteen. She runs her fingers through the tangled mess of hair. She pushes her glasses into place. The full moon rips through scudding clouds. All is reflected in an old fulllength mirror off to the side of the bed.

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The storm continues and the Wind Chorus goes on. The kitchen, warm and simple. Cocoa simmers in a pan on the stove. Charles Wallace, a small boy, sits at the table with his mug and eats a sandwich, his feet dangling in a constant ﬁdget. Meg enters.

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Whatsit wiggles her boot in Mrs. Murry's direction.

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The ﬁrst boot safely away, the second boot suddenly pops off. Mrs. Murry staggers back and Mrs. Whatsit falls over backwards, still in the chair on her back, feet up, one hand clutching the half-eaten sandwich, the other the empty cocoa mug.

MRS. MURRY

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They enter the house and ﬁnd themselves in a sort of kitchen with a large ﬁreplace and a big black pot boiling in it: a small, old woman sits in a rocker jabbing at a sheet with a needle and thread. She wears enormous, thick

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The silver glint of the biting autumn evening in the orchard, near the stargazing rock. The moon is full and the sky is clear, punctured by stars.

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For Meg, the tesseract is a loud and brutal collapse of all reality. The light of the moon and stars goes out. There is still the sound of leaves, and a terrifying rushing.

Light, sound are breathtaking. All feeling is gone. Meg no longer exists. It is interminable and excruciating.

50 seconds continue Tesseract 1

Out of an otherworldly suspension we see:

Charles?

7 seconds

÷ 28 seconds

Sound and light change again. The heart can be felt, beating rapidly, and tingling in the limbs. And movement: the rotation of the earth, the lying on moving water, the pulse of the swells, the inexorable tug of the moon. ÷ 15 seconds

Charles Wallace appears, standing indignantly, hands on hips.

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And they begin to giggle in

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Mrs. Whatsit's plump little body begins to shimmer, to quiver, to shift. The wild colors of her clothes become muted, whitened. The pudding-bag shape stretches, lengthens, merges. And now before the children is a creature more beautiful than Meg had ever imagined, and the beauty lay far more than the outward description. What had been Mrs. Whatsit is now a marble-white body with powerful ﬂanks, like and yet unlike a horse. From the magniﬁcently modeled back springs a nobly formed torso, arms, and a head with a perfection of dignity and virtue, an exaltation of joy such as Meg had never seen. No, she thought, it's not like a Greek centaur. Not in the least.

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They lift and move through the air, up over the fertile fields and across the great plateau of granite-like monoliths, over a garden more beautiful than anything in a dream. In it are creatures like Mrs. Whatsit, some lying among the flowers, some flying in what seems a kind of dance. They are making music that comes not only from their throats but from the movement of the great wings as well.

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All light is gone now except for the few stars remaining. Emptiness. A horrifying void. Sound also has been obliterated. Even a vibration that might have been sound.

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We feel the children being pressed into two-dimensional beings. Their lungs are unable to expand, their brains unable to think, their hearts beat in a knife-like, sideways movement. We see the paper doll thoughts: Oh, dear! We can't stop here! This is a two-dimensional planet!

The children arrive as they did on Uriel: Charles Wallace with immediate grace; Calvin bit by bit; and Meg with difﬁculty, shattering through the wall of glass. They are standing on a

rocky plain. All is fog-bound. Barely distinguishable is the mouth of a cave, opening out of a hill of stone.

materialize.

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They tesser to Camazotz, a planet behind the Dark Thing. There is a squeal of terror and anger, the Darkness convulsing from the penetration. The journey is interrupted by a feeling of coldness that deepens and swirls about them -- a strange kind of tangible darkness that wants to digest them like some beast of prey. But the by-now-familiar tingling returns to them and they push through the hardness into day. The convulsion dies away.

The children arrive on a hill that could easily be a hill on Earth. There are the familiar trees: birches, pines and maples, as they might look on a warm autumn day. There is a large patch of goldenrod-like ﬂowers. Off in the distance are the smokestacks of a town. There is nothing strange, different or frightening at all in the landscape. Projected behind them, the Ladies are seen as if through water. Three beams of light move independently, addressing each child.

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CHARLES

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A residential street in Camazotz: one child emerges from a house and begins to bounce his ball. Three more children emerge from another door and begin to skip rope. They begin the sing-song of play to the skipping of the

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More children have emerged with their families, and they begin to bounce their balls and skip with their ropes. The tableau is complete: identical houses, identical families outside them. Identical children playing in perfect rhythm together.

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One child drops his ball. The Chorus stops abruptly. Charles Wallace fetches the ball and returns it to the child. With both their hands upon the toy, Charles begins to "listen."

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The children are drawn to the center of Camazotz: The colossal, granite-like ediﬁce of CENTRAL central intelligence. Meg, Charles Wallace and Calvin enter still hand in hand, and stand under the massive archway marked CENTRAL central intelligence.

Subito q = 60

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Subito q = 60

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Celeste

Calvin takes Charles Wallace by the shoulders.

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A rearranging of atoms. We are within the Transparent Column: Meg is holding her father. Wearingthe glasses, Meg can see through the black void, but Mr. Murry, unkempt, bearded, without his glasses, remains in the profound darkness of his prison, groping, trying to comprehend what he cannot see.

The point-of-view is now reversed: we see Calvin and Charles Wallace projected behind them, watching.

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She removes the glasses, plunging

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A rearranging of atoms. Point-of-view reversed again, we see Meg and Mr. Murry still wearing Mrs. Who's glasses, as they complete their leap from the Transparent Column. Calvin awaits them. He is shaking with concentration from holding off the implacable force of IT.

Charles Wallace sits above them on the lap of The Man With Red Eyes. The absorption complete, he now sings with his own voice.

WALLACE

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IT begins to oppress them with the

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Blinded by inexperience, Mr. Murry stumbles through the tesseract - painfully tumbling Meg and Calvin through space and time. The Dark Thing mauls them, claws at them, threatens to tear them apart. The pulse of IT has continued through the tesseract, but once through the Dark Thing, it dissipates down into the frozen, intermittent pulse of Meg's heart.

14 seconds

Calvin and Mr. Murry kneel around Meg, who lies in a ﬁeld of brown grass. Everything around them is grey and brown: the grass, the sky, the spare trees in the distance, even the few patches of wildfowers.

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A ﬁgure approaches them. It is tall and the same grey-brown color of the landscape. It has four arms with tentacles at each end. Its head also has tentacles where there would be ears and a nose, and two soft indentations where the eyes would be.

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With music more tangible than form or sight, Aunt Beast and the Chorus sing Meg into a dream. We see what Meg dreams above her: the music travels with her, sweeps her aloft, moving her in glory among the stars and among the panorama of the unseen. She is healed by the dream: the icy claws of the Dark Thing are removed from her heart; and she understands the unseen; and she knows what she must do.

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The Ladies appear above. They are shimmering and insubstantial. They wear diaphonous robes. They are different, no longer the caricatures they played as a game back home. They are deadly serious. The three beams of light are also present, directing their attention to each individual. Meg, Calvin, Mr. Murry and Aunt Beast are gathered together beneath them.

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Mr. Murry's ﬁnger slides along his nose, as if he were pushing up his glasses.