Page 1

AndrĂŠ Previn

BRIEF ENCOUNTER Libretto:

John Caird Full Score from the G. Schirmer Rental Library date of printing ______________

G. Schirmer, Inc. New York, NY


André Previn

BRIEF ENCOUNTER Libretto:

John Caird Based upon the Play, “Still Life” by Noel Coward Copyright N.C. Avantales A.G. Also based upon the Screenplay for the film, “Brief Encounter” Screenplay by Noel Coward Copyright N.C. Avantales A.G. Commissioned by the Houston Grand Opera Premiered by the Houston Grand Opera in May 2009

G. Schirmer, Inc. New York, NY


CAST Laura Jesson......................................Mezzo-Soprano Alec Harvey................................................Baritone Fred Jesson...................................................Baritone Myrtle Bagot.............................................Contralto Albert Godby.....................................................Bass Dolly Messiter.............................................Soprano Stanley.........................................................Baritone Beryl.............................................................Soprano Doctor Graves.............................................Baritone Mary Norton................................................Soprano Mrs. Rolandson............................................Soprano Non-singing roles Maitre d’Hotel Waiter at the Royal Hotel Waitress in the Kardomah Café Porters at the Station

CONTENTS Prologue......................................................................................................................1 ACT I Scene 1: The Station Refreshment Room..................................................................5 Scene 2: A Train Compartment...............................................................................53 Scene 3: The Jessons’ Sitting Room.........................................................................71 Scene 4: The Station Refreshment Room................................................................97 Scene 5: A Milford Street........................................................................................109 Scene 6: The Kardomah Café..................................................................................127 Scene 7: Eden Lock..................................................................................................149 Scene 8: The Station Refreshment Room and Platform.........................................156 Scene 9: The Jessons’ Sitting Room........................................................................201 Scene 10: Outside the Station.................................................................................239 Scene 11: The Station Refreshment Room and Platform.......................................242 Scene 12: The Boathouse.........................................................................................261 Scene 13: The Jessons’ Bedroom...............................................................................287 Entr’acte....................................................................................................................310 ACT II Scene 1: Outside the Hospital.................................................................................313 Scene 2: The Royal Hotel........................................................................................322 Scene 3: Eden Lock..................................................................................................341 Scene 4: The Station Platform................................................................................349 Scene 5: The Jessons’ Sitting Room........................................................................360 Scene 6: The Station Refreshment Room...............................................................369 Scene 7: The Jessons’ Sitting Room and Eden Lock...............................................413 Scene 8: The Station Refreshment Room...............................................................421 Scene 9: The Jessons’ Sitting Room........................................................................456


Instrumentation Pit 3 Flutes (3rd doubling on Piccolo) 2 Oboes (2nd doubling on English Horn) 2 Clarinets in B= Bass Clarinet 2 Bassoons 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani 2 Percussion Celesta Harp Strings

On Stage in Act I, Scene 6 Piano Trio (vn/vc/pf)

duration is a full evening


BRIEF ENCOUNTER Act I, Prologue

John Caird

AndrĂŠ Previn

Andantino amabile 1 2 Flute (Piccolo)

Flute

3

1 Oboe (English Horn)

Clarinet in B

English Horn

2

1 2

Bass Clarinet

Bassoon

1 2

1 2 Horn in F 3 4 1 2 Trumpet in C 3

Trombone

1 2

Bass Trombone Tuba

Timpani

1 Percussion 2

Celesta

Harp

(A clock chimes in the darkness. The music starts.) (Lights slowly up on Laura sitting alone, her eyes closed. She breathes deeply, and then opens her eyes. She looks around and the light spreads to reveal her surroundings. She is sitting at a table in a station refreshment room. At one side of the room is a counter where Alec has just been served with two cups of tea. He carries the teas across the room and sits on the other side of the table from Laura.) (They look at each other for a few moments but say nothing. Then Laura breaks her gaze from his and reaches for her cup of tea. She starts to raise it to her lips, but her hands shake and she stops in mid-action. Alec rises to help her, but she glances at him and shakes her head. He sits back in his

chair. Laura carefully puts her cup back on the table. She then draws a deep breath and looks over at Alec once more. He looks back at her, his face drawn.) (A bell rings in the distance, and a loudspeaker makes a muffled announcement. Alec looks at his watch and then up at the station clock on the wall in front of him. Laura looks at him intently. He shakes his head.) (Albert comes in from the platform. He crosses to the counter behind which Myrtle and her assistant, Beryl, are standing. Myrtle is a buxom and imposing widow. Beryl is pretty but a little dim. As Albert talks to Myrtle, Alec and Laura sit in silence, lost in their thoughts.)

Andantino amabile I Violin

div.

unis.

unis.

div.

II div.

unis.

div.

unis.

Viola div.

unis.

Violoncello div.

Contrabass

Copyright Š 2009 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY


2

Act I–Prologue

10 1 2 Fl. Flute

3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

1 solo

I div.

Vn.

unis.

II

1 sola

Va. div.

1 solo

Vc.

unis.

Cb.

div.


3

Act I–Prologue

18 1 2 Fl. 3

Ob.

1 English Horn

E.H.

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

Hn. in F

1 2

3

3

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

tutti

I Vn.

1 solo

tutti

II

tutte

Va.

tutti div.

Vc.

3

1 solo

Cb.

unis.

tutti

3


4

Act I–Prologue

24

1.

rit.

solo

1 2 Fl. 3

Ob.

1

E.H.

2

Cl. in B

1 2

to Oboe

Bs.Cl. 1. a2

Bn.

1 2

3

2.

1 2 Hn. in F

4.

3 4

2., to Harmon mute, stem fully extended

1., solo (open)

1 2 2., with Harmon mute

Tpt. in C

to Harmon mute, stem fully extended

with Harmon mute

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp. Vibraphone, fast motor

1

Glockenspiel

Perc. 2

Cel.

Hp.

bisbig.

rit. 1 solo

I Vn.

1 solo

II 1 sola

Va. 1 solo

Vc.

Cb.


5

Scene 1: The Station Refreshment Room Not too slow 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

2.

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Myrtle Bagot:

M.B. Albert Godby:

Well,

well!

Mis

ter

God

3

A.G. Hul

3

lo— Hul lo— Hul lo!

Not too slow I Vn. II tutte, pizz.

arco

Va. tutti, pizz.

(pizz.)

Vc. pizz.

Cb.

arco

pizz.

by.


6

Act I–Scene 1

8 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1.

2.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Myrtle pours Albert a cup of tea.)

(bridling)

M.B. Quite the strang

er,

are

you not?

I won dered

A.G. Ah,

yes.

I could n’t get in.

Not yes ter day.

tutti, pizz.

I tutti div. pizz.

Vn. II

pizz.

Va. (non div.) (pizz.)

non div.

Vc. (pizz.)

Cb.

arco

pizz.

unis.

what could pos si bly


7

Act I–Scene 1

16 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 1. to straight mute

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(very frigid)

M.B. have de tained you.

A date!

In deed!

A.G. Yes, well, I had a date. I

had to rush off

as soon

as my shift was done.

I Vn. II arco

Va. div.

Vc.

Cb.

unis.


8

Act I–Scene 1

23 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

2.

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B.

A.G. A chap I know

is get ting wed,

so we had to have a

bit of

I Vn. II

Va. (pizz.)

div.

Vc.

arco

Cb.

pizz.

a par ty.

On ly nat u ral.


9

Act I–Scene 1

31 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 2.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. Ver

y nat u ral.

I’m sure I’ve no

A.G. What’s up with you to

day?

div. (pizz.)

I

div. (pizz.)

Vn. II

pizz.

Va.

(div., pizz.)

Vc.

(pizz.)

Cb.

i dea

to

what you are re fer ring.


10

Act I–Scene 1

37 1 2 Fl. 3

1 Oboe

Ob. 2 (1.)

Cl. in B

2.

1 2

Bs.Cl.

1.

Bn.

1 2

1. Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

2.

2. to straight mute

3.

3. to straight mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Beryl: Ber. (Myrtle:)

Mis ses Ba got?

Mis ses Ba got?

Mis ses Ba got!

M.B. (with a twinkle)

Ber yl!

Don’t gawp!

Put some coal

in the stove

and hur ry up a bout it!

A.G. A lit tle bit un friend ly, would

n’t

you

say?

I Vn. II arco

Va. (div., pizz.)

Vc. (pizz.)

Cb.

unis.


11

Act I–Scene 1

44 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

(1.)

Bn.

2.

1 2

(1.)

Hn. in F

1 2 3 4 1., with straight mute

Tpt. in C

1 2

3 1., with straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Beryl disappears into the background. Myrtle busies herself with her chores behind the counter. Albert waves his emply teacup in the air. Myrtle fixes Albert with a steely look.)

M.B. Now,

Mis ter God

by,

I

can’t stand

here

in id le gos sip all day.

A.G.

I Vn. II pizz.

Va. (pizz.)

arco

pizz.

arco

pizz.

Vc. (pizz.)

Cb.


12

Act I–Scene 1

51 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4 2. with straight mute

1 2 Tpt. in C

with straight mute

3 2. with straight mute

Tbn.

1 2 3. with straight mute

remove mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. Ac

counts

must be done

and reck on ings made.

Well,

(Albert:)

A.G. Are n’t you go ing to of fer me an

I Vn. II (pizz.)

Va.

Vc.

Cb.

oth er cup of tea?

Mis ter God by,

if it’s just a cup of tea,


13

Act I–Scene 1

58

a2

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. you can have one

and

wel come.

Ber

yl

will take care

of you.

A.G. I’d rath er you took care of

I Vn. II

Va. div. (pizz.)

Vc. (pizz.)

Cb.

me.


14

Act I–Scene 1

65

a2

1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

1. remove mute

1 2 Tpt. in C

(straight mute)

3 (straight mutes) 2. remove mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Triangle

1 Perc.

Snare Drum

2

Cel.

Hp.

(Myrtle gives Albert a significant look.)

M.B. Time

and

tide

wait

for

no

man,

Mis ter

God by.

Time

and tide.

Time and tide.

unis., arco

I

unis., arco

Vn. II

Va.

Vc.

Cb.


15

Act I–Scene 1

72 1 2 7

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(As Myrtle disappears into the back room of the bar, Albert turns and surveys the refreshment room where Alec and Laura are still sitting silently at their table.)

I Vn. II

Va.

Vc.

Cb.

(Suddenly, Dolly Messiter comes into the room laden with packages and bags. She sees Laura from across the room.)


16

Act I–Scene 1

78 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

a2

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

sur la table

Hp.

(Dolly makes a beeline for Laura’s table. As she starts chatting, Albert takes a furled-up newspaper from his pocket and starts to read.)

Dolly Messiter:

(approximate pitches)

3

Lau ra, my dear!

What a

3

love ly sur prise!

I’ve shopped un til I’m drop ping!

Laura Jesson: (dazed)

Dol ly...

I Vn. II

arco

Va. unis., arco, sul pont.

Vc. sempre pizz.

Cb.

My

feet are near ly fall ing off. My throat’s com plete ly parched.

I

near ly had a cup of tea at


17

Act I–Scene 1

84 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F 3 4 2. (straight mute)

Tpt. in C

1 2

3

Tbn.

2., open

2. to straight mute

open

3. to straight mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura and Alec look at her in mute misery as she rattles on, dumping her parcels down next to their table.)

D.M. Spin del’s in

the mar ket,

but

sud den

ly

was ter

ri

fied I’d

miss my

u su al

train.

I’m

I Vn. II

Va. ord.

Vc.

Cb.

al ways miss ing trains and

be

ing late for meals,

and


18

Act I–Scene 1

89 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (2., straight mute)

2. remove mute

(straight mute)

remove mute

1 2 Tpt. in C 3 with straight mutes

Tbn.

1 2 gliss. 3. with straight mute

Bs.Tbn. Tba. gliss.

Timp.

1 Perc. 2

Cel.

Hp.

sur la table, secco

D.M. Bob gets dis

a

gree

a

ble for

days and days on end.

He’s been

get ting his

dread ful, split ting

I Vn. II

Va. sul pont.

Vc. (pizz.)

Cb.

arco, sul pont.

head aches once a gain,

and he

won’t

see

a

doc tor, though I


19

Act I–Scene 1

rit.

94 1 2 Fl.

to Piccolo

3

1 Ob. 2

2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 open

1 2 Tpt. in C

open

3 2.

Tbn.

1 2 (3.)

3. remove mute

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

ord.

(Dolly flops herself down.)

D.M. bul

ly

him

no

end.

Oh

dear.

How do you do...

Laura:

This is Doc tor

Har vey.

Alec Harvey:

How do you do!

rit. I Vn. II

Va. div., pizz.

unis., arco

Vc. pizz.

Cb.

arco


20

Act I–Scene 1

101

Poco meno

Picc.

Fl.

1 2

1 Ob. 2 (1.)

1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vibraphone, very soft mallets slow motor

1 Perc. 2

Cel.

Hp.

(Dolly sizes up Alec for a brief moment before starting in again.)

D.M. Would you be

Poco meno I Vn. II

Va.

Vc.

Cb.

a per

fect

dear

and pop and get

my cup

of

tea?


21

Act I–Scene 1

108 Picc.

Fl.

1 2

1 Ob. 2

2.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Dolly offers Alec money, but he waves it away as he moves over to the counter.)

(Dolly waxes conspiratorial.)

D.M. I

don’t think

I could drag

my bones

all

the

way

to the

coun

ter.

Here...

Lau

ra,

my

Alec:

No, please...

I Vn.

div.

II pizz.

arco, non div.

Va. div.

Vc.

pizz.

Cb.

dear,

what a


22

Act I–Scene 1

116 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. nice

look

ing

man.

Who on

earth

can

he

be?

You’re a

ver

y dark horse.

I

shall

tel

I Vn. II pizz.

Va. pizz.

Vc. (pizz.)

Cb.

arco

e phone Fred,

just

see

if

I


23

Act I–Scene 1

125 Picc. 1.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

2.

1 2

2.

1.

1 2 Hn. in F

4.

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura tries to conjure up a smile but doesn’t quite manage it. She glances instead at Alec, coming back from the counter with Dolly’s tea.) 3

D.M. don’t,

and make a

bit of

mis

chief.

What

luck!

You know you look

fright ful ly well, my dear.

pizz.

I Vn.

unis., pizz.

II arco

Va.

pizz.

Vc.

Cb.

I


24

Act I–Scene 1

132 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. do wish

I Vn. II

Va. (pizz.)

Vc. (pizz.)

Cb.

I’d known

you

were

com ing to

day.

We

could have

come to

geth

er

and

had

a

good

gos

sip.

I

a


25

Act I–Scene 1

136 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1. 2.

Bn.

Hn. in F

1 2

1 2 3.

3 4 1 2 Tpt. in C 3

1. (straight mute)

Tbn.

1 2 (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec puts the cup of tea in front of Dolly. Dolly carries on without drawing breath.)

(There is the sound of a bell on the platform and a distant loudspeaker announces the train for Churley.)

D.M. bom

i

nate

shop ping

by

my

self...

Oh,

thank you

ver

y much.

Laura:

There’s your train.

I Vn. II

Va. arco

Vc.

Cb.


26

Act I–Scene 1

141 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(2.)

Bn.

2.

1 2

stopped

1 2 Hn. in F

stopped

3 4

Tpt. in C

1 2

3 (straight mutes)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. Are n’t you

Alec:

Yes,

com

ing

with

us?

I know.

No...

I Vn. II sul pont.

Va. sul pont.

Vc. (pizz.)

Cb.

arco

I

go

3

in

the


27

Act I–Scene 1

145 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(2.)

Bn.

Hn. in F

1.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. Oh,

I

see.

Laura:

Doc tor Har vey

A.H. op

po site

di

rec

tion.

arco, martellato

I Vn.

arco, martellato

II ord.

Va. ord.

Vc.

Cb.

is

go ing out

to


28

Act I–Scene 1

149 Picc. a2

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(stopped)

open

(stopped)

open

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 remove mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(We hear the sound of Alec’s train approaching.)

D.M. How

thrill ing.

L.J. Af

ri

ca next week.

ord.

I Vn.

ord.

II

Va.

Vc.

Cb.


29

Act I–Scene 1

153 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. Yes,

Alec:

I

I Vn. II

Va.

Vc.

Cb.

must

go.

you

must.

Good

Good

bye.

bye.


30

Act I–Scene 1

157 Picc.

Fl.

1 2

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

2.

1 2 Tpt. in C 3 open

Tbn.

1 2 3. open 3.

Bs.Tbn. Tba.

Timp.

1 Large Suspended Cymbal

Perc. 2

Cel.

Hp.

(Alec shakes hands with Dolly, looks at Laura swiftly once and then, passing behind her, he gives her shoulder a little squeeze. The train is heard rumbling into the station. Alec leaves the tea-room and goes out onto the platform. Laura gazes after him as he disappears into the smoke and steam of the platform. As Dolly chatters on, Laura turns back and stares out blankly into the auditorium, her inner thoughts a mystery to us, but their music slowly rising over Dolly’s chat.) Dolly:

3

He’ll have to

I Vn.

martellato

II

martellato

Va.

Vc.

Cb.

run

3

or he’ll miss the train.


31

Act I–Scene 1

162 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. He’s

got

to

get

right

3

o ver the bridge

to

plat form

one.

martellato

I Vn.

3

II div.

Va. pizz.

Vc.

Cb.

div., arco

3

unis.


32

Act I–Scene 1

166 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

6

3

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. Talk ing of

I Vn. II

Va.

Vc.

Cb.

miss ing a

train, my

dear...

That

aw

ful bridge at

Broad

ham

Junc tion,

you have to go

traips ing

up

one

side

a

long

the

top

and


33

Act I–Scene 1

170 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3.

3 4 1 2 Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Dolly starts to apply lipstick to her chattering mouth.)

D.M. down

the

oth

er

and

all

the

way

3

o ver to plat form three.

I Vn. II

Va. (div.)

Vc.

Cb.


34

Act I–Scene 1

174

Piccolo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

5

Cel.

5

5

5

5

5

5

5

5

5

5

5

5

5

Hp.

D.M. Just

last week I’d been

o ver to

talk

to

Bob’s

so lic i tor.

Such

a trek

I Vn.

div., pizz.

II

Va.

Vc.

Cb.

just to re

new

the

lease

5 5

of

the house.


35

Act I–Scene 1

178 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

2.

1 2

3

3

Tpt. in C

cresc.

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(spoken)

D.M. And I got to the

I Vn. II

Va.

Vc.

Cb.

sta

tion

ex

act ly a

min

ute

be

fore

the

train

was

due

to

leave.

My dear, I flew. Through the gate and over the


36

Act I–Scene 1

182 Picc.

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

3

Bs.Cl.

Bn.

1 2

3

1 2 Hn. in F

3

3 4 (2.)

1 2 Tpt. in C 3

a2

Tbn.

1 2

3

3

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura closes her eyes, shutting out Dolly’s voice, her music rising more and more intensely.)

D.M. bridge

before

I

saw

the

train

was

waiting

at

platform

five.

3

I Vn.

unis., arco

3 3

II

3

Va. (div.)

Vc.

div.

Cb.

3


37

Act I–Scene 1

187 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

2.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Tbn. Tba.

Timp. cresc. Xylophone

1 3

3

Perc. 2

Cel.

Hp.

(sung)

D.M. 3

And I’d bought a

I

3

3

shade

for the lamp

in the hall

at

3

3

3

Hack ett and Dicks.

3

An e nor mous thing

3

II

3

3

3

3

3

3

3

3

3

3

3

3 3

3

Va.

3 3

o ver it.

3

3 3

see

3

3 3

3

3

ly

3

3

Vn.

I could hard

3

3

3

3

(div.,) pizz.

arco

unis., pizz.

div., arco

3

3

3

3

3

Vc. 3

3

3

3

3

3

3

3

3

3

3

3

3

Cb. 3


38

Act I–Scene 1

191 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

3

D.M. 3

Nev er the less, I

had to go

3

o ver the bridge a

gain

in a ter ri ble frizz.

I

Laura:

I

I Vn. II

Va.

Vc.

Cb.

can not bear.

near ly knocked a wom an for six.

With the shade,

I

mean.


39

Act I–Scene 1

196 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 to mutes

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The station bell rings, and we hear the distant sound of a train approaching. Dolly turns to Laura.)

(Laura looks blankly ahead of her, as Dolly gets up and moves to the counter.)

D.M. By the time I got home,

3

it was bat tered to bits.

Is that our train? non div. non vib.

I Vn.

non vib.

II non vib.

Va.

non div. non vib.

Vc. non vib.

Cb.

Can you tell me

is this the train

for Ketch worth?


40

Act I–Scene 1

202 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

2.

1.

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3. with mute

4. with mute

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Marimba

1 Perc. 2

Cel.

Hp.

D.M. Laura: (to herself)

Oh yes, the boat train.

(to herself)

The ex press.

Myrtle: (spoken)

The boat train.

No, that’s the express.

I Vn. II

Va.

Vc. unis.

Cb.

div.

unis.

This one does n’t stop here


41

Act I–Scene 1

208 Picc.

Fl.

1 2

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 (4.)

remove mutes

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Mar.)

1 Perc. 2

Cel.

Hp.

(As the sound of the train grows louder, Laura suddenly jumps to her feet and, unseen by Myrtle and Dolly, rushes blindly out onto the platform.)

D.M. does it? (sung)

M.B. This one does n’t stop.

6

6

6

6

I Vn. II

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

pizz.

Cb.


42

Act I–Scene 1

212

to Flute

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

6

6

6

6

6

6

6

6

1 2

Bs.Cl.

a2

Bn.

1 2 6

6

6

6

a2

1 2 Hn. in F

open

a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Lg. Sus. Cym., rubber mallets

Perc. 2

Cel.

gliss.

DCB EFGA

Hp.

6

6

6

6

6

6

6

6

6

6

6

6

div.

I Vn.

div.

II

div.

Va.

div.

Vc. 6

6

6

6

div.

arco

Cb. 6

6

6

6

(The express train goes through with a deafening roar, the smoke and steam from the train completely obscuring Laura from our view.)


43

Act I–Scene 1

216 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2

3 1. to straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The sound of the train dies away.) Dolly:

Have you

a

ny choc ’late? Myrtle:

Milk or plain?

I Vn.

unis.

II

unis.

Va. unis.

Vc.

Cb.


44

Act I–Scene 1

222 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Dolly turns away from the counter to talk to Laura.)

D.M. Plain, I think.

No, milk.

No, plain.

Oh,

give me one of both.

Oh!

M.B. One milk,

one

plain. div.

I Vn.

div.

II

div.

Va.

Vc.

Cb.

Where on

earth

has she gone?


45

Act I–Scene 1

228 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1., solo

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Then the noise of the train suddenly diminishes and starts to die away into the distance. Laura walks unsteadily back into the restaurant room.)

(Albert looks up from his newspaper.)

D.M. My dear! My dear!

Albert:

I did n’t see

her

You quite

dis ap peared!

go. unis.

I Vn.

unis.

II unis.

Va.

Vc. unis.

Cb.


46

Act I–Scene 1

235 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 (4.)

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

C A

A

D.M. Laura:

What is

I want ed to see

the ex press go through.

Are you ill?

Just

I Vn. II

Va.

Vc. pizz.

Cb.

the mat ter,

3

a

lit

tle faint.


47

Act I–Scene 1

241 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura goes over to the table and Dolly helps her into a chair. The station bell sounds again and the loudspeaker announces the arrival of the Ketchworth train. Dolly moves to the counter.) 3

3

D.M. Have you

a ny

bran dy?

But sure ly if some one is feel ing

L.J. Here’s our train.

Myrtle:

It’s af ter ho urs.

I Vn. II

Va. div.

Vc. arco

Cb.


48

Act I–Scene 1

247

1.

1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

2.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. ill.

A

lit

tle sip

of

bran dy

will buck you up.

Please...

L.J. 3

Real ly, I’m fine.

M.B. Af ter

I Vn. II div.

unis., pizz.

Va. unis., pizz.

Vc.

Cb.

hours

is

af

ter

hours.


49

Act I–Scene 1

253

1.

1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

2.

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D B G

Hp.

l.v.

(Dolly pays and takes the brandy back to Laura at the table. Laura gulps down the brandy and then walks shakily out of the refreshment room towards the platform. Dolly gathers up her things and follows. Myrtle and Albert watch them go.)

(Myrtle exchanges a look with Albert before relenting.)

D.M. How much?

M.B. Oh, ver y well.

Ten pence.

Bran dy at tea time

I Vn.

cresc.

II cresc.

arco

Va. cresc. div. (pizz.)

unis., arco

Vc. cresc.

Cb.

will


50

Act I–Scene 1

259 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1. (2.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A

M.B. nev

er

do.

Bran

Albert:

She seemed a

lit

tle

shak

I Vn. II

Va. sul pont.

Vc. 1 solo, pizz.

Cb.

ord.

y,

poor dear.

dy

at

tea time


51

Act I–Scene 1

264 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 1. with straight mute

Tbn.

remove mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

sur la table

M.B. is

the

slip

p’ry slope.

Bran

A.G. That’s

a

bit

strong

I Vn. II

Va. div.

Vc. (1 solo, pizz.)

Cb.

is

n’t

it?

dy

at

tea time?


52

Act I–Scene 1

268 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Tubular Bell

1 Perc. 2

Cel.

Hp.

M.B. A

wom an

her age?

Bran dy

at

tea time?

A

ban

don

all

hope.

A.G. She was n’t old,

was

she?

div.

I Vn.

div.

II div.

Va.

(div.)

div.

Vc. (1 solo, pizz.)

tutti arco

Cb.

segue


Scene 2: A Train Compartment 1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 2. to straight mute

Tpt. in C

1 2 to straight mute

3

Tbn.

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(A train compartment. Laura and Dolly are sitting opposite each other. Dolly is talking and Laura is looking out of the window, scarcely listening to her. The train has already gathered speed and the irregular rhythm of wheels on tracks and points can be clearly made out under the music.) unis.

I Vn.

unis.

II

Va.

Vc.

Cb.

53


54

Act I–Scene 2

7

Lightly

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Dolly:

3

3

He

was

ver y

nice

look

ing.

That chap. Your friend,

Doc tor what ev er his name

was.

Laura:

Who?

Yes, he’s a nice crea ture.

Lightly I Vn.

div.

unis. 3

3

3

3

II

(div.)

unis.

Va.

unis.

div.

7

unis.

Vc. 3

pizz.

Cb.

3

div.


55

Act I–Scene 2

13

1.

2.

1 2 Fl.

Flute

3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura smiles at Dolly, but remains lost in her own thoughts.)

D.M. Have

4

you known him long?

I’ve al ways had a pas sion for

L.J. No,

3

not

ver

y long.

I hard ly know him,

real ly.

3

I Vn.

3

3

div.

II div.

Va. unis.

Vc.

Cb.


56

Act I–Scene 2

19

(2.)

(2.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(Laura’s voice rises above Dolly’s chatter.) ad lib.

D.M. the med i

4

4

cal pro fes sion.

Not that I’m neu rot ic

4

a bout it.

Not like some wom en

I could men tion.

Re

mem

ber

Ma

ry

Norton

when

she

L.J. I

I (div.)

Vn.

unis.

div.

unis.

II (div.)

unis.

Va.

Vc. div.

arco

Cb.

wish

I could trust

you

had

that


57

Act I–Scene 2

24 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 4.

3.

3 4

Tpt. in C

1 2 with straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

3

3

Hp.

D.M. jaundice.

The

way

she

behaved

with

that

doctor

chap

of

hers.

Absolutely

scandalous!

L.J. I

wish

you were

wise.

I

wish...

I

wish...

I Vn. II

Va. (div. a2)

Vc. div.

Cb.

unis.


58

Act I–Scene 2

29 1 2 Fl. 3

1 Ob. 2

a2

Cl. in B

1 2 dolce

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F

(3.)

3 4

Tpt. in C

1 2

3 1. open

Tbn.

to straight mutes

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. So, your doc tor friend is off to dark est Af ri ca?

Is

he

mar ried?

L.J. Yes.

I Vn. II

Va.

Vc.

Cb.

Yes.

An

y chil dren?


59

Act I–Scene 2

35 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. And

are

they go ing

with him?

The

wife

and the

boys?

L.J. Yes,

two young boys.

He’s ver

y

proud of them.

Yes.

div.

I Vn.

div.

II div.

Va. (div.)

Vc.

Cb.

Yes,

they


60

Act I–Scene 2

44 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

2.

(1.)

1 2 Hn. in F

a2

3 4 2. with straight mute

1 2 Tpt. in C

(with straight mute)

3

with straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. A girl I knew, this is years ago now, went tearing off to Africa

without

a

second

thought.

Her

husband

was

in

bridges— or was it hydroponics?

L.J. are.

(div.)

unis., pizz.

I Vn.

(div.)

unis., pizz.

II

unis.

pizz.

Va.

(div.)

Vc.

Cb.

2 soli, pizz.

tutti, div. pizz.


61

Act I–Scene 2

51 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(2.)

1 2 Hn. in F 3 4 2. remove mute

Tpt. in C

1 2 remove mute

3

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. An y way she picked up

a

trop

i

cal

dis

ease.

Was it

ber

i

ber

i?

No,

it

was n’t ber

i

ber

i—

L.J. I

wish

you’d stop

talk

ing.

Talk

ing

and

pry

ing

and

try ing

to find things out.

arco

I Vn.

arco

II div., arco

Va. unis.

arco

Vc. pizz.

Cb.

arco

I wish

you were


62

Act I–Scene 2

58 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 (straight mutes)

Tbn.

1 2 (3. straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(While Dolly chatters on, Laura’s voice rises above her.)

D.M. It was thing a ma gog—

ma lar

i a.

And the so cial life there

L.J. dead.

No,

that was

sil

ly

and un kind.

But

I

wish you’d

stop

talk ing.

I Vn. II (div.)

Va. div.

Vc. pizz.

Cb.


63

Act I–Scene 2

65 1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1.

1 2

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2 (3.)

3. remove mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

D.M. is

a night mare,

ap par ent ly.

Fright ful ly pro vin cial

and

nou veau riche...

What’s the mat ter, dear?

Are you feel ing ill

a gain?

L.J. Oh... Dol ly.

I Vn. II unis.

Va.

Vc.

Cb.

No, just a lit tle


64

Act I–Scene 2

72 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4 2. open

1 2 Tpt. in C

open

3

(straight mutes) remove mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. I won’t say

L.J. diz zy.

I think I’ll close my eyes.

Just for

a mo ment.

pizz.

I Vn.

pizz.

II pizz.

Va. 2 soli, pizz.

Vc.

Cb.

an oth er word.

Have a

lit tle sleep, and you’ll feel

much

bet ter.


65

Act I–Scene 2

rall.

78

a tempo

1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

a2

1 2

Bs.Cl.

Bn.

1 2

3

1 2 Hn. in F 3 4

Tpt. in C

1 2 3 open

Tbn.

1 2 3. open

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

DC B EF GA

Hp.

G

(Laura closes her eyes and the lights fade on Dolly.)

D.M. I’ll wake you up when

we pass the ca nal.

L.J. Thanks, Dol ly.

rall.

a tempo arco

I espr.

Vn.

arco

II

arco

espr.

Va. espr.

tutti arco

3

Vc.

3 3

espr. (pizz.)

Cb.

arco


66

Act I–Scene 2

85 1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

a2

1 2 3

3

Bs.Cl.

a2

Bn.

2.

1 2 3

3

1.

a2

3.

a2

2.

1 2 Hn. in F 3 4

1.

a2

1 2 Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp. Glock.

1 Perc. 2

Cel.

D C B E F G A

Hp.

I Vn. II

Va.

Vc. 3

3

pizz.

Cb.

arco


67

Act I–Scene 2

1.

91 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

(2.)

Bn.

1.

1 2

(2.)

1.

(1.)

1.

1 2 Hn. in F

lontano 3.

3 4 (1.)

lontano 2.

1 2 Tpt. in C 3

1.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

Lg. Sus. Cym.

2

Cel.

Hp.

Laura:

L.J. 3

This

pain

can’t

last.

One day this

mis

’ry

will

be

3

a

mem o

ry.

This pain can’t

last.

Not

I Vn. II

Va.

Vc. 3

Cb.


68

Act I–Scene 2

99

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(1.)

1 2 Hn. in F

(3.)

3 4 1.

Tpt. in C

1 2

3 2.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. 3

3

e

ven

life

it

self.

Will there come a

time

when

I

can

say,

“All this

was

mad

ness?”

I 7

Vn. II 7

Va.

Vc.

Cb.


69

Act I–Scene 2

104 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

a2

1 2

Bs.Cl.

Bn.

a2

1 2

1 2 Hn. in F 3 4 a2

1 2 Tpt. in C 3

1. 2.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

Small Sus. Cym.

2

Cel.

Hp.

L.J. 3

No

let

that time nev

er

be.

I

non div.

I

Vn.

non div.

II

Va. div.

Vc. non div.

Cb.

unis.

want

to

re


70

Act I–Scene 2

110

a2

1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

1 2

Bs.Cl. (a2)

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 2.

Tpt. in C

a2: to straight mutes

1 2 to straight mute

3 (2.)

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D F A

F

L.J. mem

ber

al

ways,

al

ways,

to

the end

of

my

days.

I Vn. II

Va. div.

Vc.

Cb.


71

Scene 3: The Jessons’ Sitting Room Slowly 1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The scene changes to the Jessons’ library/sitting-room. There is a fireplace with a clock on the mantle-piece that can be heard ticking whenever there is a silence. Fred is sitting by the fire, doing a crossword puzzle.) Fred Jesson:

F.J. Sev

Slowly I Vn. II

Va.

Vc.

Cb.

en a

cross.

“Time pass ing in cor


72

Act I–Scene 3

6 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F.J. rect con ver sa tion

I Vn. II

Va.

Vc.

Cb.

by the sound of it.”

Two words, four and four.

“In cor rect con ver sa tion by the sound...

...by the sound of it.”

If “con ver sa tion”

is “talk”


73

Act I–Scene 3

11 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(He fills in the answer.)

F.J. or “tock”

by the sound of it,

then “cor rect” would be

“tick.”

So pass ing time is...

“Tick Tock.”

pizz.

I Vn.

pizz.

II pizz.

Va. unis., pizz.

Vc. pizz.

Cb.

Ve ry clev er, that.


74

Act I–Scene 3

16

1.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura emerges from the darkness upstage.)

(Fred smiles at her but there is concern in his eyes.)

(He watches her for a moment. She looks up and smiles at him.)

Laura:

L.J. Yes, dear.

Just a

lit

tle.

Chil dren a sleep?

F.J. 3

Lau ra?

arco

A

div.

lit tle bit late to night?

unis.

I Vn.

arco

II arco

Va. div., arco

unis.

Vc. arco

Cb.


75

Act I–Scene 3

22 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. As

al

ways.

F.J. Bob bie’s a sleep,

Mar ga ret is read ing.

As

al ways.

She’ll

div.

I Vn.

div.

II div.

Va. (non div.)

Vc.

Cb.

div.

unis. div.

unis.

fall

a sleep

be fore

too

long.


76

Act I–Scene 3

28 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

gliss.

D C B E F G A

Hp.

(Laura’s eyes suddenly fill with tears.)

(Laura is breathless.)

L.J. Oh, Fred.

Noth ing,

F.J. My dear, what’s the mat ter?

unis.

I Vn.

unis.

div.

unis.

II

Va.

unis.

Vc.

Cb.

div.

1 solo

noth ing.


77

Act I–Scene 3

34 1 2 Fl. 3

1 Ob. 2

(1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C

Hp.

L.J. Real ly, and tru

ly,

it’s noth

ing.

I

had

a

lit

F.J. Tell me please.

I Vn. II

Va. (1 solo)

Vc.

Cb.

tutti, div.

tle faint

ing

spell at Mil

ford


78

Act I–Scene 3

40 1 2 Fl. 3

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. 3

Sta

tion.

Yes.

F.J. A faint ing spell...?

I Vn. II

Va. unis.

Vc.

Cb.

div.

Quite id

i

ot

ic.

Dol ly was there.

Dol ly

3

Mes si

ter.

She


79

Act I–Scene 3

a little slower

46

a tempo

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred makes to go.) 3

L.J. talked and talked and talked and talked.

3

I want ed to stran gle her.

Still,

she meant to be kind.

No,

Fred,

F.J. 3

I’d bet ter call Doc tor Graves.

a little slower

a tempo div.

unis.

I Vn.

pizz.

div., arco

unis.

div.

unis.

II

pizz.

arco

Va. unis., pizz. div., arco

Vc. pizz. arco

Cb.

unis.

real ly.


80

Act I–Scene 3

52 1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F

(Fred looks at Laura for a moment then sits her in a comfortable chair by the fire.)

L.J. Real ly,

it was noth ing.

I’ll be

fine.

F.J. But a

faint ing spell...

Sit

by the fire

I Vn. II div.

Va.

Vc.

Cb.

unis.

and don’t

move a mus cle.


81

Act I–Scene 3

59 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D E F G A

Hp.

(Fred moves back to his chair.)

F

B F

(Laura forces a smile.)

L.J. What a strange i dea you have

F.J.

3

Com plete ly

re

lax.

You can help me with the cross word.

div.

I Vn.

div.

II div.

Va. div. a2

Vc.

Cb.


82

Act I–Scene 3

66 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc. 2

Cel.

Hp.

(She closes her eyes. Ho goes back to his crossword. Without looking up he addresses Laura.)

L.J. of

re

lax

a

tion.

I

F.J.

3

3

You’re a

am?

po et

ic

soul.

Help me with this...

It’s Keats:

unis.

I Vn.

unis.

II unis.

Va. unis.

Vc.

Cb.

div.


83

Act I–Scene 3

72 1 2 Fl. 3 solo

1 Ob.

to English Horn

2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(2.)

stopped

(4.)

stopped

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

Hp.

(Laura thinks for a moment.)

L.J. (spoken)

F.J. “When I

be hold u pon the

night starred face

Huge cloud y sym bols of

a

high—”

I Vn. II pizz.

Va.

unis., pizz.

Vc.

pizz.

Cb.

some thing.

Sev en let ters.


84

Act I–Scene 3

78

1.

1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. (stopped)

open

3. (stopped)

open

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

(harmonics sound where written)

Hp.

L.J. “Ro mance,”

I think. Yes,

I’m al most sure.

“Huge cloud y sym bols of

a

high ro mance.”

(sung)

F.J. “Ro mance.”

div., non vib.

I Vn.

non vib.

II arco

Va. arco

Vc. arco

Cb.


85

Act I–Scene 3

85 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 with straight mutes

1 2 Tpt. in C

with straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Clock chime (please do not substitute Glock.)

1 Perc. 2

Cel.

Hp.

(A clock chimes the hour, echoing the opening of the opera. Lights dim on Fred and intensify on Laura.)

L.J. (spoken)

F.J. That’s right.

I Vn. II

Va.

Vc.

Cb.

It fits in with de lir

i

um.

And Ba lu chi stan.

Fred,

Fred,

dear

Fred...

There’s so much that I


86

Act I–Scene 3

92 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 1. remove mute

Tpt. in C

1 2

3 2.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. want to say to you.

If

div.

I Vn.

div.

II

Va. div.

Vc.

Cb.

on

ly

it

were some one

el

se’s

sto

ry.

You’re the

on

ly

man

in

the world


87

Act I–Scene 3

96

1.

a2

1 2 Fl. 3

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

lontano

4.

3 4 lontano 1. open

1 2 dolce

Tpt. in C 3

2.

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. with the wis

unis.

I Vn.

unis.

II

Va.

Vc.

Cb.

dom

and the gen tle ness

to

un der stand.

And you’re the on

ly man in the

world that

I

can

nev er, nev

er tell,


88

Act I–Scene 3

102

(1.)

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

3 (2.)

Tbn.

1 2 (Tuba)

3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. e ven if

I wait ed

’til the end of our days,

I Vn. II

Va. 1 solo

Vc.

Cb.

when both of

us are old,

and I told you then,

you would be hurt,

so hurt to know.


89

Act I–Scene 3

108 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

1.

Hn. in F

2.

1 2 4.

3 4 1.

1. to straight mute

1 2 Tpt. in C 3

Tbn.

1 2 (3.)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(She shuts her eyes and breathes in deeply, tightening her fist against her chest.)

L.J. And, oh, how could I hurt you?

Nev er for get.

Nev er for get.

3

I’m a hap pi ly mar ried wom an.

0

I 3

Vn. 0

II 3

Va. (1 solo)

Vc. div.

Cb.

gli altri


90

Act I–Scene 3

114 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2 sub.

Bs.Cl.

2.

Bn.

1 2

1.

2.

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3 2.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B E

Hp.

L.J. 3

You are my hus band.

3

Our chil dren are sleep ing up stairs in their beds.

div. unis.

I sub. div.

Vn.

unis.

II sub.

Va. sub. (1 solo)

Vc.

Cb.

tutti unis.

This is my life.

This is my home.

The whole of my world.


91

Act I–Scene 3

120 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (2.)

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4 with straight mutes

remove mutes

with straight mute

remove mute

1 2 Tpt. in C 3

(2.)

Tbn.

1.

1 2 3.

Bs.Tbn. Tba.

Timp. Vib.

1 Perc. 2

Cel.

Hp.

L.J. 3

This is e nough.

No,

no.

This

was

e

nough.

Oh,

Fred—

I Vn. II

Va.

(arco)

Vc.

pizz.

Cb.

Fred—

dear

Fred...


92

Act I–Scene 3

127 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

3

Bn.

1 2 3

3

3

3

3

2.

Hn. in F

2.

1 2 3 4 open

1 2 Tpt. in C

open

3

Tbn.

1 2 3.

Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. I’ve been such

a

fool.

I’ve

3

been such a

3

fool.

I’ve

fall

en

in

love.

I Vn. II div.

Va. div.

unis. 3

Vc. arco

Cb.


93

Act I–Scene 3

133

a2

1 2 Fl. 3

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

a2

1 2

2.

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B D E

Hp.

L.J. 3

How could that hap pen

to an

or di nar y wom an

like

me?

I nev er i mag ined

div.

I Vn.

div.

II unis.

Va. div.

Vc.

Cb.

unis.

div.

3

such vi o lent feel ing


94

Act I–Scene 3

139 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. 3

could rage in the hearts

(div.)

of

or

di nar y peo ple

like

us.

How

unis.

I sub.

Vn.

unis.

II sub. div.

Va. sub. unis.

Vc. sub.

Cb.

could I

know

on that


95

Act I–Scene 3 1.

145 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

a2

1 2

Bs.Cl.

1.

Bn.

2.

1 2

2.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. or

di nar

y day

in

an

or

di nar

y place, the most

or

di nar

y place

in the

world,

that

my

life

div.

I Vn. II

unis.

Va.

Vc.

Cb.

div.

would be

changed

for


96

Act I–Scene 3

151 1 2 dim.

Fl. 3

dim.

Ob.

1 dim.

E.H. dim.

Cl. in B

1 2 dim.

Bs.Cl. dim.

Bn.

1 2

1.

a2

2.

3.

a2

4.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

A

Hp.

L.J. ev

er,

for

ev

er,

by an or

di nar y

man

like

him?

unis.

I Vn. II unis.

Va.

Vc. div.

Cb.

div.

unis.


97

Scene 4: The Station Refreshment Room

a2

1 2 Fl. to Piccolo

3

Ob.

1

E.H. a2

Cl. in B

1.

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3 to straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(As the lights change to reveal the refreshment room at Milford Junction Station, we follow Alec as he walks across the room to the tea counter. Laura crosses from the previous scene and sits at a table, a cup of tea in front of her. She gets a book from her handbag and starts to read. A number of small parcels lie on the floor beside her chair. Alec turns from the counter upstage, a cup of tea in his hand, and walks past Laura’s table. She glances up at him before returning to her book. He doesn’t notice her at all. He sits down at a separate table a few yards away. Myrtle Bagot and Beryl are both behind the counter. Albert Godby is lolling against it, sipping a cup of tea.)

(Albert purses his lips and sips his tea. A muffled announcement out on the platform makes Laura look up at the station clock and then glance at her watch. As she gathers up her parcels and moves out onto the platform, we hear the sound of the approaching train. Laura stands on the platform and the express rushes through in front of her, the lights from its windows flashing across her face. Suddenly Laura flinches and puts a hand to her face as a piece of grit gets lodged in her eye. She takes out a handkerchief and rubs her eye for a moment, then moves back into the refreshment room.) Laura:

L.J. Please,

I Vn. II

Va.

Vc.

unis.

Cb.

a glass of

wa ter.

There’s some thing in my

eye.


98

Act I–Scene 4

7 Picc. 1.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

E

(Myrtle hands Laura a glass of water, and Laura bathes her eye. Albert and Myrtle watch her. On the other side of the refreshment room, Alec has overheard their conversation. He finishes his cup of tea and waits to see if the water will do the trick.)

L.J. Please don’t trou ble.

Myrtle:

M.B. I’ll have a

I Vn. II

Va.

Vc.

Cb.

look

if

you like.

The

wa ter will do

it.


99

Act I–Scene 4

13 Picc.

Fl.

1 2

Ob.

1

E.H. 2.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. A man I know lost the

Albert:

sight of an

eye

from a

lit tle bit of grit

in

it.

A.G. Lit tle bit of coal dust,

I

should n’t won der.

Nas ty,

I Vn. II poco sul pont.

Va.

div., pizz.

Vc.

Cb.

unis., arco, poco sul pont.

ver y, ver

y


100

Act I–Scene 4

19 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B E F

Hp.

(Alec approaches the counter.) Laura:

L.J. I’m

a

fraid

not,

no.

No,

M.B. Bet ter?

Alec:

A.H. May I help you?

A.G. nas ty.

I Vn. II ord.

Va. ord.

div.

Vc. ord.

Cb.

no, please.


101

Act I–Scene 4

26 Picc.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

F

Hp.

L.J. It’s

on

ly some thing in my

eye.

M.B. Pull down your eye lid

as

far as

it

’ll

go.

A.G. Then

pizz.

I Vn.

pizz.

II pizz.

Va. unis., pizz.

Vc. pizz.

Cb.

blow your nose.


102

Act I–Scene 4

32 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F A

(Laura turns into the light. Alec puts his hands to her face and looks closely at her eye. For a moment they look like lovers.)

L.J. It’s ver

Alec:

Please let me look.

I

hap pen to

be

a

doc

tor.

y kind of you.

Turn a round

to

the light. arco

I Vn.

div., arco

II

arco

Va. div., arco

Vc.

Cb.


103

Act I–Scene 4

38 Picc.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura looks up.)

(Alec takes Laura’s handkerchief from her, twists a corner of it into a point and (Laura looks down.) flicks the point deftly across her eye.)

(Laura blinks and takes a deep breath.)

L.J. Oh dear,

what a

re lief.

Ag

o

niz ing.

A.H. Look up.

Look down. I can see it.

Keep still.

There.

A

pizz.

arco

unis., pizz.

arco

pizz.

arco

unis.

div., pizz.

arco

arco

pizz.

arco

I Vn. II

Va.

Vc.

Cb.

lit tle


104

Act I–Scene 4

45

Piccolo

to Flute

Picc. 2.

Fl.

1 2

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec shows Laura the offending grit as he gives her back her hendkerchief.)

(A bell sounds on the platform and a muffled announcement can be heard. Everyone moves and talks at once.) 3

L.J. It was when the ex press went through. Thank you ver y much

in deed.

A.H. bit

of grit.

Not at all.

I Vn. II

Va. non div.

Vc.

non div.

Cb.


105

Act I–Scene 4

1.

50 1 2

3

Fl. 3

Ob.

1

E.H. Cl. in B

1 2

Bs.Cl. a2

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C F

Hp.

(Myrtle looks at him seductively before going back behind the counter. Albert grins and goes out onto the platform.) 3

L.J. 3

How luck y for me

Myrtle:

Come

in

lat

er, Mis

ter God

by.

You can have an oth

er

cup...

A.H. That’s my train.

Albert:

Whoops!

There we go.

I

must run.

I Vn. II

pizz.

arco

Va. unis., pizz. div.

unis., arco

Vc.

div.

Cb.

unis.

that you


106

Act I–Scene 4

55 1 2

(1.)

2.

a2

3

Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4 with straight mutes

remove mutes

1 2 Tpt. in C

with straight mute

remove mute

1. with straight mute

2. with straight mute

3

Tbn.

remove mutes

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. 3

hap pened to be

here.

Nev er mind.

You did,

and I’m most grate

ful.

A.H. 3

An y one could have done it.

I Vn. II

Va.

Vc.

Cb.

Not at all.

Good bye.


107

Act I–Scene 4 1.

63 1 2 Fl. 3

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Sm. Sus. Cym.

2

Cel.

G

Hp.

(Alec follows Albert out onto the platform. Laura turns to the audience as the lights fade on the refreshment room.)

L.J. Good bye.

That’s how it all be gan.

In an or

di na ry

place

on an or di nar y day.

div., non vib.

vib.

unis.

div., non vib.

vib.

unis.

non vib.

vib.

unis., non vib.

vib.

I Vn. II

Va.

div.

Vc.

Cb.


108

Act I–Scene 4

poco rall.

70 1 2 Fl. Flute

to Piccolo

3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 open

1 2 Tpt. in C

open

3

1. open

Tbn.

2. open

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

(Sus. Cym.)

2

Cel.

Hp.

L.J. When an

or

di nar

y

man

div.

I Vn. II

Va.

Vc.

Cb.

took a

lit

tle bit

of

grit

from my

eye.

poco rall. unis.


109

Scene 5: A Milford Street Gaily Picc. 1.

Fl.

1 2

1 Oboe

Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

2.

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2

3 to straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Trgl.

1 Perc. 2

Cel.

Hp.

(Laura sings partly to Fred who is still visible doing his crossword puzzle, unaware of her attention, and partly to the audience.)

Gaily

pizz.

I Vn.

pizz.

II

Va. pizz.

Vc. pizz.

Cb.


110

Act I–Scene 5

7 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(2.)

Bn.

Hn. in F

1.

1 2

1 2 3 4 with straight mutes

remove mutes

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

It was a Thurs day.

All my Thurs days were the same.

The train to

Mil ford for the shops.

(pizz.)

I Vn.

(pizz.)

II

pizz.

Va.

(pizz.)

Vc. (pizz.)

Cb.


111

Act I–Scene 5

14

Piccolo

Picc. 1.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4 1. open

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Butch er,

bak er, gro cer, bank.

Lunch a

lone or with a

friend

at the Kar do mah Ca fé.

arco

I

Vn.

arco

II

arco

Va.

arco

Vc. (pizz.)

Cb.


112

Act I–Scene 5

19 Picc.

a2

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

Hn. in F

1 2

1 2 3 4 2. open

1.

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Glock.

1 Perc. 2

Cel.

Hp.

pizz.

I

pizz.

Vn. II

pizz.

Va. pizz.

Vc. (pizz.)

Cb.


113

Act I–Scene 5

24

to Flute

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2)

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

Laura:

Af ter noon a long the

riv

er.

Wil low, wa ter, weir, and lock.

I Vn.

div.

unis.

div.

unis.

II

Va.

Vc.

Cb.

Or,


114

Act I–Scene 5

1.

30 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

(S.D.)

2

Cel.

Hp.

L.J. if

it rained, a mat i née

at the Pa lais Roy ale.

Next Thurs day

came.

(pizz.)

I Vn.

(pizz.)

II

(pizz.)

Va. (pizz.)

arco

div., pizz.

arco

pizz.

Vc.

Cb.


115

Act I–Scene 5

36 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1. to straight mute

1 2

3 with straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. All my Thurs days were the same.

Shop ping

in the

I Vn. II

Va. unis.

Vc.

Cb.

Mil ford

High Street.

Bak er, gro cer,

li brar y books,


116

Act I–Scene 5

43

1.

1 2 Fl.

Flute

3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. tooth brush es

for

the

chil dren

at Boots

the Chem ist.

Re ser ving your

birth day pres

ent.

The clock

arco

I Vn.

arco

II arco

div.

unis.

Va. div., arco

unis.

Vc.

(pizz.)

Cb.

non div. arco

ba


117

Act I–Scene 5

50 1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D B E F G

Hp.

L.J. rom e ter ther mom e ter set

gleam ing in the

win dow at

Rob son and

Spink.

All

I Vn. II

Va. div. a2

Vc.

Cb.

my

Thurs days...


118

Act I–Scene 5

58

rall.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

l.v.

Hp.

(Alec passes Laura moving rather quickly. He recognizes her, turns back and raises his hat.)

L.J. ...were the

same.

Alec:

Good morn ing.

Good morn ing.

The eye is fine.

How’s the eye?

rall. div.

I Vn.

div.

II div.

Va.

Vc.

Cb.

It was kind of you to take the

trou ble.

No


119

Act I–Scene 5

66 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They stand in silence for a few moments. Alec looks up.)

L.J. Yes,

the

sky looks light er.

A.H. trou ble at

all.

It’s clear ing

up,

I think.

Well,

unis.

I Vn.

unis.

II unis.

Va.

Vc. pizz.

Cb.

I must be

get ting a long

to


120

Act I–Scene 5

72 1 2 Fl. 3

1 Ob. 2

(2.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. And

A.H. the

I Vn. II

Va.

Vc. (pizz.)

Cb.

hos

pi

tal.

I

must

be

get ting a

3

long to the

gro

cers.


121

Act I–Scene 5

77

1.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura watches as Alec walks off down the street.)

L.J. Good bye.

A.H. What ex

I Vn. II

Va.

(div.)

Vc.

arco

Cb.

cit

ing lives we

lead.

Good bye.


122

Act I–Scene 5

82

(1.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B E F G

Hp.

(Laura turns back to the audience and continues to sing, but quieter now, gentler.)

L.J. All

my Thurs days were the

same.

Noth

ing

dif

f’rent.

Same

rou

tine.

I Vn. II

div.

Va. unis.

Vc.

Cb.

unis.


123

Act I–Scene 5

88 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Gro cer,

I Vn. II

Va.

Vc.

Cb.

drap er,

mar ket

stall,

a

brief

en

coun

ter

on

the

pave

ment

just

out

side

the

old

town

hall.


124

Act I–Scene 5

94 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

1.

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The lights start to change around Laura as time passes.)

L.J. An oth er Thurs day came.

I Vn. II

Va.

Vc.

Cb.

A

Thurs

day

that

was

not

the

same.

The train to Mil ford for the


125

Act I–Scene 5

rall.

100

Slower

1 2 Fl.

to Piccolo

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. shops.

Butch er, bak er

gro cer, bank,

lunch a lone with

out

a friend.

At the Kar do mah Ca

rall. I Vn. II

Va.

Vc.

Cb.

Slower


126

Act I–Scene 5

105

Fast

Piccolo

to Flute

Picc.

1.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1. with straight mute

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Xyl.

1 Perc.

Trgl.

2

Cel.

D F

Hp.

L.J. fé.

Fast I Vn. II

pizz.

Va.

pizz.

Vc.

pizz.

Cb.


127

Scene 6: The Kardomah Café 1. solo

1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2 solo

Bs.Cl. 1. solo

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

1 2 Tpt. in C

to straight mute

3 to straight mutes

Tbn.

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura sits at a table on her own in the Kardomah Café. In the corner of the café, a Ladies Trio starts to assemble, though they have not started to play yet. Alec comes into the café and looks around for somewhere to sit. There are no vacant tables. He notices Laura sitting alone and comes over to join her.)

Laura:

3

L.J. Good morn ing.

I Alec:

A.H. Good morn ing.

I Vn. II

arco

Va. arco

Vc. arco

Cb.

Are you a lone?


128

Act I–Scene 6

8

1.

3

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(He looks around the café.)

(Laura moves her bag from the empty chair, and Alec drapes his coat over the back of it.)

L.J. am.

Not at all.

Please join

me.

A.H. Would you mind ver y much

if

I shared your ta ble?

It’s ver y full.

We have n’t been prop er ly in tro

I Vn. II

Va.

div.

Vc.

Cb.

unis.

div.

unis.


129

Act I–Scene 6

15

a2

1 2 Fl.

Flute

3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

a2

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They shake hands across the table.)

(Alec sits down opposite Laura.)

L.J. How do you do?

I’m Lau ra Jes son.

Mis ses.

A.H. duced.

My name is Al ec

Har vey.

Mis ses

div.

I Vn.

div.

II div.

Va. div. a2

Vc.

Cb.

or Miss?

You’re a doc tor.

I think you said that


130

Act I–Scene 6

22

1.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio: Loud and Awful

Onstage Trio

Vn.

Vc.

Pno.

(The trio in the corner suddenly starts to play, very loudly. Laura starts and they both turn to listen. The players aren’t very good, though the best of them, the cellist, plays with great enthusiasm.)

L.J. day.

A.H. I

am.

Though no thing spe cial.

A hum ble

G.

P.

in the

vil lage of

unis.

I Vn.

unis.

II unis.

Va. (div. a2) (div.)

Vc.

Cb.

Chur

ley.


Act I–Scene 6

29 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3

1 2

Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

(Alec and Laura turn back to each other and laugh. A waitress arrives at the table to take their order as the trio continues to play, the music drowning out their words. The waitress scribbles on her pad and leaves as the trio starts on a quieter passage. They continue to play, underpinning the music of the rest of the scene, and occasionally rising above it.)

I Vn. II

Va.

Vc.

Cb.

131


132

Act I–Scene 6

39 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2 solo

Bs.Cl.

(1.) solo

1.

2.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

L.J. They’re dread ful, are n’t they?

But we should n’t laugh.

A.H. There should be

laws

a gainst play ing like that.

Do

pizz.

arco

pizz.

arco

pizz.

arco

I Vn. II

Va.

unis., pizz.

Vc.

Cb.

arco

you

play the pi a no?


133

Act I–Scene 6

44 1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2

Bs.Cl. 1. solo (2.)

1 2

Bn.

1.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3

1 2

Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

L.J. I was forced as a child.

It

put me off for life.

A.H. I

can’t

be lieve you do.

So

I Vn. II

Va. pizz.

arco

Vc. pizz.

Cb.

arco

you did n’t keep it


134

Act I–Scene 6

49 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. 1.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

(A short silence between them as the trio plays louder. Then...)

L.J. Not at all,

I’m a fraid!

My

hus band is n’t mu si cal.

A.H. up?

Nei ther is my wife. pizz.

I Vn.

pizz.

II pizz.

Va. pizz.

Vc. pizz.

Cb.


135

Act I–Scene 6

55

1.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3

1 2

Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D G

Hp.

Onstage Trio

Vn.

Vc.

Pno.

L.J. How

did

you know

that

I

did n’t play the

pi a

no?

I might have been a

ge

nius, a vir

tu

o

so.

A.H. You’re far too un com pli cat ed,

I Vn. II arco

pizz.

arco

Va. div. a2, arco

Vc. (pizz.)

Cb.

(div.)

unis., pizz.

arco


136

Act I–Scene 6

61 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3

1 2

Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

3

L.J. But

is that a good

thing?

It sounds rath er dull.

A.H. far

too sane.

No, be lieve me, arco

I Vn.

div., arco

II

Va.

Vc. (pizz.)

Cb.

san

i

ty

is

ex

cel lent,


137

Act I–Scene 6

67

1.

1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl.

2.

1 2

Bn.

2.

1 2

Hn. in F

4.

3.

3 4

1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

(She smiles at him. For a moment she is lost for words.)

L.J. Do you come

A.H.

3

and, try as you might,

here

ev ’ry Thurs

day?

3

you could nev er be dull!

Ev ’ry Thurs div.

unis.

I (div.)

Vn.

unis.

II div.

unis.

Va. div. unis.

Vc. arco

Cb.

pizz.

day


138

Act I–Scene 6

74

(1.)

1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. (1.) 2.

1 2

Bn.

1 2

Hn. in F

(3.)

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

A.H. same rou tine,

all

day

at the

hos pi

tal.

Some times half the night as well

when the wards are bus

y.

A friend of mine called Ste phen Lynn,

I Vn. II

Va. div.

unis.

(div. a2)

Vc. (pizz.) arco

Cb.


139

Act I–Scene 6

81 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. 1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

C

Onstage Trio

Vn.

Vc.

Pno.

A.H. the chief phy si cian

here,

goes to

Lon don ev ’ry Thurs day,

and

I take

his

place.

He has

I Vn. II div.

unis.

Va. div.

Vc. pizz.

Cb.

unis.

a

flat

here

in town


140

Act I–Scene 6

88

1.

1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. 1 2

Bn.

1.

1 2 Hn. in F

3.

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

Laura:

L.J. Do I what?

Yes.

A.H. and

I spend the night there.

Do you?

Come here ev ’ry Thurs day. 1 solo

I Vn.

1 solo

II 1 sola

Va. 1 solo

Vc. arco

Cb.

Yes, I

do.

I


141

Act I–Scene 6

94

1.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3

1 2

Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

(Another short silence between them while the trio plays.)

L.J. come to Mil ford for the shops. Butch er, ba ker, gro cer, bank.

I Vn. II

Va.

Vc.

Cb.

Per haps a walk a long the

riv er

in the af ter noon.


142

Act I–Scene 6

101

1.

1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl.

1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

Laura:

L.J. Yes.

I

thought you had to

A.H. Will you walk

by the

riv er

this af ter noon?

Ex

tra or di nar y!

So will I! (1 solo)

I Vn. II

Va.

Vc.

Cb.


143

Act I–Scene 6

(1.)

109 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1 2

Bn.

a2

1 2

Hn. in F

a2

3 4 fltg., with straight mutes

1 2

Tpt. in C

fltg., with straight mute

3 fltg., with straight mutes

1 2

Tbn.

3., fltg., with straight mute 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

L.J. work all day

at the hos pi tal.

Cer tain ly

I can.

A.H. Can you keep a

se cret?

I killed two pa tients by

ac ci dent this morn ing,

and ma tron’s ver y cross.

tutti, div.

I Vn.

tutti, div.

(1 solo)

II tutte, div.

(1 sola)

unis.

Va. (1 solo) tutti

Vc.

Cb.

div.


144

Act I–Scene 6

116 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. a2

1 2

Bn.

(a2)

1 2 Hn. in F

(a2)

3 4 (straight mutes)

1 2

Tpt. in C

(straight mute)

remove mute

3 (straight mutes) remove mutes

2. open

3. remove mute

open

1 2

Tbn.

(3. straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Onstage Trio

Vn.

Vc.

Pno.

(Laura laughs, her eyes shining.)

A.H. 3

So,

I dare n’t go back.

But se ri ous ly...

I

(div.)

I Vn.

(div.)

II

Va. (div.)

Vc.

Cb.

unis. 6

6

fin ished my work

ear

ly this morn ing.

Would you mind ver y

much

if

I came a long?


145

Act I–Scene 6

repeat until cue

122 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. 1 2

Bn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 1 2

Tbn. Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Vn.

Onstage Trio

sempre dim.

Vc. sempre dim.

sempre dim.

Pno.

(Laura smiles back at him, not knowing what to say.) unis.

I Vn.

unis.

II

Va.

Vc.

Cb.

(The lights intensify on Laura as she turns to the audience, the music of the trio slowly fading under the music of the scene. Alec puts on his coat and helps Laura on with hers.)

repeat until cue


146

Act I–Scene 6

132 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

DC B E FG A

B F

Hp.

L.J. I

had no

pre

mo

ni

tion

then.

Why should I?

6

I dim.

6

6

Vn. II dim.

6

Va. dim.

Vc. pizz.

Cb.

6 6

6

6


147

Act I–Scene 6

138 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

l.v.

Hp.

(As Laura sings, the scene changes around them.)

L.J. We

6

laughed.

We

talked.

Why should we not?

It

all seemed so

nat

u

ral,

in no cent.

We had our lunch.

div.

6

I Vn.

div.

II div.

unis.

Va. div.

Vc.

Cb.

unis.


148

Act I–Scene 6

poco meno 144

1.

1 2 Fl. 3

1 Ob.

to English Horn

2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C G A

Hp.

L.J. We split the bill,

of course.

poco meno unis.

I Vn.

unis.

al sord.

II al sord.

Va.

Vc.

Cb.


149

Scene 7: Eden Lock a2

1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2 dolce

Hn. in F

1 2 3 4 (straight mutes)

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec and Laura walk together in a sunny, watery light.) Laura:

L.J. We walked to geth er

up the riv er,

just as

con sord. al sord.

I con sord.

Vn. II con sord.

Va. con sord. al sord.

Vc. pizz.

Cb.

I

do

when

I’m

a lone.

We passed the weir

and the

old

nun ner y wall,


150

Act I–Scene 7

7

poco rall.

(a2)

a tempo

1 2 Fl. 3

Ob.

1

E.H. 2.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1.

1 2

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3 1., open

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They stand looking down the river.)

L.J. and crossed the bridge

(sord.)

at

E

den

Lock,

here...

poco rall.

We stood a while

a tempo

I (sord.)

Vn. II

(sord.)

Va.

Vc. (pizz.)

Cb.

in

si lence,


151

Act I–Scene 7 1.

13 1 2 Fl.

3

Ob.

1

E.H.

(2.)

Cl. in B

(2.)

1 2

Bs.Cl. (1.)

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

a2

a2

a2

a2

a2

a2

2.

1 2

3 1.

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc. 2

Cel.

Hp.

(A few moments pass.)

(A few more moments pass.)

L.J. look ing,

breath ing,

think

ing.

Do you feel guilt y?

Alec:

A.H. Beau ti ful. via sord.

I

Vn.

via sord.

II

via sord.

Va. (sord.)

via sord.

Vc. arco

Cb.


152

Act I–Scene 7

1.

20 1 2 Fl. 3

Ob.

1 to Oboe

E.H. (2.)

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

sempre

1 2 Hn. in F 3 4 sempre

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

D A

Hp.

(Another moment.)

L.J. I

do.

I

don’t know.

What’s she like,

A.H. Guilt y?

Why should we?

How aw f’ly nice

you

are. 1 solo

senza sord.

I

Vn.

senza sord.

2 soli

II

1 sola senza sord.

Va.

div., senza sord.

Vc.

Cb.

your wife?


153

Act I–Scene 7

26 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

1 2

Bn.

1 2

Hn. in F

3 4 1. (straight mute)

(2. straight mute)

1 2 Tpt. in C 3

1 2

Tbn.

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

Hp.

L.J. How

fun ny!

I thought she would be fair.

Fred?

A.H. Ma de leine?

Small,

dark,

rath er

del i cate.

What’s he like,

(1 solo)

I

Vn. II

(2 soli)

(1 sola)

Va. (div.)

Vc.

div.

Cb.

your hus band?

Me di um height,


154

Act I–Scene 7

32

2.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

1 2

2.

Hn. in F

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They stand in silence for a while, the light changing around them, but very slightly. Suddenly Laura shivers.)

L.J. brown

hair,

kind,

un

e

mo tion al,

not

del i cate

at

all.

Did

A.H. You

said that proud ly. tutti

I Vn.

tutti, unis.

II

tutte

Va.

(div.)

Vc.

unis.

Cb.

unis.

I?


155

Act I–Scene 7

38

(2.)

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(2.)

1 2 Hn. in F

(4.)

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. It’s get ting chill y.

Bet ter get back,

or

we’ll

miss our trains.

A.H. Yes, it’s cloud ing o

ver.

In deed.

div., pizz.

I Vn.

div., pizz.

II

pizz.

Va.

Vc. div., pizz.

Cb.


156

Scene 8: The Station Refreshment Room and Platform 1 2

Fl. 3

1 Ob. 2 3

Cl. in B

1 2

3

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

Tpt. in C

1 2

3 1. to straight mute 2. to cup mute

Tbn.

1 2 3. to cup mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B E

Hp.

E A

(They move away as the scene changes back to the station refreshment room. As they cross to the tea counter, Alec puts his hand under Laura’s arm, guiding her to a table.) Laura:

L.J. We walked back to the

unis., arco

I Vn.

unis., arco

II arco

Va.

Vc. unis., pizz.

Cb.

sta tion.

He put his hand

3

un der my arm.


157

Act I–Scene 8

8 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl. (2.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura stops at the table and Alec carries on over to the counter, where he orders two cups of tea.)

(Myrtle is at the counter. She pours two cups of tea for Alec. Beryl is just behind Myrtle, drying crockery with a towel. Stanley, a young porter, is leaning against the counter. Alec takes the cups of tea over to Laura’s table.)

L.J. I hard ly no ticed it.

Why

would I?

Myrtle:

M.B. Well,

Stanley:

I told him straight:

Stan. What hap pened then,

Mis ses

Ba got?

pizz.

arco

I Vn.

pizz.

II

pizz.

arco

pizz.

arco

Va. non div.

div.

Vc.

arco

Cb.

pizz.


158

Act I–Scene 8

15 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 2. with cup mute

Tbn.

1 2 3. with cup mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. “Mis ter Ba got,” I said

(I

nev er called him Gil bert—

I hat ed the name),

“This mar riage lark is all

I Vn.

(pizz.)

II

Va. unis., pizz.

Vc.

non div. (pizz.)

Cb.

ver y fine for you...

But what do

I get out of it?


159

Act I–Scene 8

21 1 2 Fl. 3

1 Ob.

Oboe

2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

(2., cup mute)

2. remove mute

(3., cup mute)

3. remove mute

1 2

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

Hp.

M.B. All

day and ev ’ry day

I

have to be your

cook,

your

house

keep er,

your char la dy

all

rolled in to

one.

And

pizz.

arco

(pizz.)

arco

I Vn. II pizz.

Va. (pizz.)

Vc. (pizz.)

Cb.


160

Act I–Scene 8

Faster

29 1 2

6

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 (straight mutes)

Tpt. in C

1 2

3 2. open

Tbn.

1. with straight mute

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. all

night,

ev ’ry night your sweet and

lov

ing

wife.”

I said:

“Oh

dear,

Faster div.

I Vn. II

1 sola arco

Va.

div., arco

le altre

unis. (arco)

Vc.

arco

Cb.

pizz.

no,

Mis ter

Ba got, I don’t think

so.


161

Act I–Scene 8

37 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

Bn.

Hn. in F

1 2

1 2 3 4 a2

1 2 Tpt. in C

open

to straight mute

3 (1.)

Tbn.

1.

2.

1 2 3. open

Bs.Tbn. Tba.

Timp. S.D.

1 Perc.

Wood Block

2

Cel.

Hp.

M.B. There are just as

good fish in the

sea,”

I

told

him, “as

ev

er came

out of

it.”

And I packed my box

es,

and

I

left

him

then and there.

I Vn. II

Va. div.

unis.

Vc. arco

Cb.


162

Act I–Scene 8

G.P. A little slower

46 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

Tpt. in C

1 2 with straight mute

3 (1. straight mute)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

B

Hp.

M.B. Nev

Beryl:

er...

I went to my sis ter’s

in

Folke stone for a while.

Then a friend of mine and I

Ber. And you nev er went back?

G.P.

A little slower unis.

I Vn. II

tutte, div.

Va.

div.

Vc.

Cb.

unis.

ran a


163

Act I–Scene 8

53 1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

a2

remove mutes

remove mute

3 (1.)

Tbn.

remove mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Bass Drum

2

Cel.

F A

Hp.

(The focus changes to Alec and Laura sitting quietly at their table, sipping their tea.) 3

M.B. tea shop

in Hythe.

Dead

as

a

door

nail

with in

three years. Beryl: (spoken)

Ber. Stanley: (spoken)

Stan. What happened to your husband?

I Vn.

pizz., non div.

II pizz., non div.

Va. div., pizz. unis.

Vc.

pizz.

Cb.

Well, I

nev er.


164

Act I–Scene 8

60 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib.

1 Perc. 2

Cel.

Hp.

G

Laura:

L.J. Is tea

6

bad

for

you?

Worse than cof fee

I

mean?

6

I 6

Vn.

arco

6

II

arco

Va. unis., arco

Vc. (pizz.)

Cb.

6 6


165

Act I–Scene 8

67 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Why

Alec:

A.H.

3

Is this a pro fes sion al

3

in ter view?

I

warn

you

my

fee

3

is

a

guin ea.

I

6

div.

II 6

Va.

Vc.

Cb.

doc

tor?

That’s a long

div.

Vn.

did you be come a


166

Act I–Scene 8

74 1 2 Fl. 3

1 Ob.

poco

2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

C

non arp.

(Alec pauses for a moment, looking at her, then smiles.)

L.J. Tell me.

All

doc tors should have

i

deals,

sure

ly.

A.H. 3

sto

ry.

3

3

Per haps I’m a bit of an

i

de al ist.

unis.

I unis.

Vn. II

non div.

Va.

non vib.

Vc.

arco, non vib.

Cb.


167

Act I–Scene 8 1.

81 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Or their work would be

un

bear a

ble,

would n’t

it?

A.H. You’re en cour ag ing

div.

I div.

Vn. II

(non div.)

Va.

Vc.

Cb.

me

to

talk

shop?


168

Act I–Scene 8

88

accel. 1.

1 2 Fl. 3

1 Ob.

to English Horn

2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Why should n’t you

talk

shop?

It’s what you

like

the

most,

is

n’t

it?

A.H. Yes,

it

is.

accel. unis.

I Vn.

unis.

II

Va. div. a2

Vc.

Cb.


169

Act I–Scene 8

95 1 2 Fl. 3

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D G

Hp.

A.H. 3

I’m

ter ri

bly

am bi

tious.

But

not

for

my

self.

3

I Vn. 3

II

3

Va. div., pizz.

Vc. pizz.

Cb.

unis.

div.

sim.

unis.

div., arco


170

Act I–Scene 8

100

1.

(1.)

a2

1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec studies her for a moment, smiling.) Laura:

L.J. What souls are those?

I

A.H. For

the souls

in my

care.

The souls that can’t af ford to pay.

I Vn. II

Va. (div.)

unis.

Vc. (pizz.)

Cb.

arco

see.


171

Act I–Scene 8

106 1 2

(a2)

Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H. 3

3

Doc tors have dreams—

div.

I Vn.

div.

II div.

Va. div.

Vc.

Cb.

es

pe cial ly

when they’re young.

Pri

vate

dreams.

It’s the best


172

Act I–Scene 8

114 1 2 Fl. 3

Ob.

1

English Horn

E.H. 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H. 3

part

of

them.

But the dreams get for

got

ten,

(div.)

unis., non vib.

(div.)

unis., non vib.

spe cial ized,

pro fes sion al,

un til they fade

I Vn. II

(div.)

unis.

non vib.

(div.)

unis.

non vib.

Va.

Vc.

Cb.

div.

a


173

Act I–Scene 8

rall.

122

a tempo

1 2 Fl. 3

Ob.

1 to Oboe

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H. way...

How can one stop that

hap pen ing?

rall.

Doc

a tempo

I Vn. II

Va. unis.

div.

Vc.

pizz.

Cb.

3

tors

need

pas

sion


174

Act I–Scene 8

128 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

E F G

Hp.

A.H. 3

3

like

writ

ers

and

paint

ers,

com

pos

I Vn. II

Va. (div.)

unis.

Vc. arco

Cb.

div.

ers

and

po

ets,

a


175

Act I–Scene 8

133 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

gliss.

Hp.

A.H. 3

sense

of

vo

ca

tion

a

I Vn. II

Va. unis.

Vc.

Cb.

div.

de vo

tion

to the


176

Act I–Scene 8

138 1 2 Fl. 3

1 Ob. 2 (a2)

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

cresc. poco a poco

3 4 cresc. poco a poco

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura nods.)

A.H. 3

work,

deep

ly

root

3

3

ed,

3

un

sen

3

3

ti

men

tal,

the de

sire

to do

good.

I cresc. poco a poco

Vn. II

cresc. poco a poco III

Va. cresc. poco a poco (div.)

unis.

Vc. cresc. poco a poco

Cb.

To pre


177

Act I–Scene 8

145 1 2 Fl. 3

1 Ob. Oboe

2

a2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1.

1 2 (cresc.)

Hn. in F

3.

(3.)

3 4 open

(cresc.)

1 2 Tpt. in C

open

3 1. open 2.

Tbn.

1 2 cresc. poco a poco 3.

Bs.Tbn. Tba. cresc. poco a poco

Timp.

1 Perc. 2

Cel.

Hp.

A.H. 3

vent

a

I

3

3

dis

ease

would be

fif

ty times

bet

ter

than

find ing

3

(cresc.)

Vn. II

3

(cresc.)

Va. (cresc.)

3

Vc. (cresc.)

Cb. cresc.

3

a

cure.


178

Act I–Scene 8

151 1 2 Fl. 3

1 3

Ob. 2

3

a2

Cl. in B

1 2 3

Bs.Cl. 3

a2

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 a2

2. to straight mute

1 2 3

Tpt. in C

to straight mutes

3 3

a2 to straight mutes

Tbn.

1 2

3

Bs.Tbn. Tba.

Timp. Vib. (slow motor)

1 Perc.

Crash Cymbals

2

Cel.

F

Hp.

Laura:

3

L.J. You

sud den

ly

look

so

young.

A.H. 3

That

I

is

my

dream.

Do I?

3

Vn. II

3

Va. 3

Vc. div.

3

non div.

3

Cb.

non div.


179

Act I–Scene 8

158

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

Hp.

3

Al

3

most

like

a

lit

tle

boy.

I

What made

you

say

don’t

that?

1 solo

I Vn.

1 solo

II

1 sola

Va.

1 solo, arco unis., pizz. (non div.)

Vc.

Cb.

know—

yes,

I

do.


180

Act I–Scene 8

165

(1.)

1 2 Fl. 3

1 Ob. 2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2 3 2. with straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(A bell sounds out on the platform. Neither of them moves.) (with panic in her voice)

L.J. No,

no,

I

could

n’t

real

ly.

There’s your

gently

train.

You

must

n’t

miss

it.

(spoken)

(sung)

Yes.

No.

A.H. Tell

(1 solo)

me.

I

tutti II

non vib.

I

tutti II

non div.

I

Vn.

(1 solo)

II

(1 sola)

tutte, non vib.

Va. (1 solo)

non vib.

tutti, vib.

III

I

div., non vib.

Vc.

non vib.

Cb.


181

Act I–Scene 8

Meno mosso

rall.

173 1 2 Fl. 3

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 (straight mutes)

Tbn.

1 2

Tuba

3. to straight mute

Bs.Tbn. Tba. 3.

Timp.

Anvil or Brake Drum

1 Perc.

B.D.

2

Cel.

C

Hp.

L.J. It’s

rall.

Meno mosso

I Vn. II

Va. 1 solo

Vc.

pizz.

Cb.

div.


182

Act I–Scene 8

179 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

1 2

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F

L.J. been so

ver y

nice.

I’ve en

joyed my self e nor mous ly.

Alec:

A.H. I’m so

I Vn. II

Va. (1 solo)

Vc. (div., pizz.)

Cb.

tutti, non div.

glad—

so have

I.

I

a

pol o gise for bor ing


183

Act I–Scene 8

187 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (2.)

Bn.

1 2

(1.)

1 2 Hn. in F 3 4 1. (open)

Tpt. in C

1 2

3 (straight mutes)

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I

feel so

dull and stu pid

not to

have dreams of my

own.

A.H. 3

you with all my

pro

fes sion al dreams.

Shall I

div.

I Vn.

div.

II

Va. div.

Vc. unis.

Cb.

arco


184

Act I–Scene 8

196

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. sim. soli

Bn.

Hn. in F

2.

1 2

1 2 3 4 2. (straight mute)

Tpt. in C

1 2

3 1. (straight mute)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

C

(They both react to the sound of a train approaching.)

L.J. There’s

your

train.

A.H. 3

see you

a

gain?

(div.)

unis.

(div.)

unis.

I Vn. II

Va. (div.)

Vc.

Cb.

sim.

3

You’ll have

to

run.

It’s


185

Act I–Scene 8

202 1 2 Fl. 3

1 Ob. 2

1 Cl. in B 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

1. (open)

2. (straight mute)

1 2 Tpt. in C

(straight mute)

3 1. (straight mute)

2. (straight mute)

Tbn.

1 2 3. (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D A

Hp.

very brightly

3

L.J. all

the way

o

ver

on

plat

form

three.

Of course!

A.H. 3

Shall

I

see

you

a

gain?

I Vn. II div.

Va.

unis. 3

3

3

3

3

3

3

3

Vc.

Cb. 3

3

3

3

3

3

3

3


186

Act I–Scene 8

208 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2 sub.

(2.)

1 2 Hn. in F

sub. (4.)

3 4 sub. 2. (straight mute)

Tpt. in C

1. (open)

1 2 sub. (straight mute)

3

(2. straight mute)

(1. straight mute)

Tbn.

1 2 3. (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. You must come

to Ketch worth

3

for tea.

Come on a Sun day.

We’d

be

de

light ed.

intensely

A.H. Please—

I sub.

Vn. II

sub. (div.)

unis.

div.

Va. sub. div. a2

Vc. sub.

Cb. sub.

please.


187

Act I–Scene 8

213

1.

1 2 Fl. 3

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (1.)

2. (straight mute)

2. remove mute

(straight mute)

remove mute

1 2 Tpt. in C 3

(straight mutes) remove mutes

Tbn.

1 2 (3. straight mute)

remove mute

Bs.Tbn. Tba.

Timp.

1 Perc.

Sm. Sus. Cym.

2

Cel.

D

Hp.

(The train is heard drawing to a standstill.)

L.J. What

is

it?

No,

A.H. Next Thurs day.

I Vn. II

Va. (div. a2)

Vc.

Cb.

The

same time.


188

Act I–Scene 8

219 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

E A

(Alec gets up from the table.)

(Alec takes Laura’s hand.) breathlessly

L.J. 3

I

can’t

pos

si

3

bly.

You’ll miss your train.

Run.

A.H. 3

Please,

I

ask you most hum bly.

All right...

I Vn. II (div.)

Va. (div.)

Vc.

Cb.

unis.

I’ll

be


189

Act I–Scene 8 1.

227 1 2 Fl. 3

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

open

1 2 Tpt. in C open

3

open

Tbn.

2.

1 2 open

Bs.Tbn. Tba.

Timp.

Crash Cymbals

1 Perc.

(Sm. Sus. Cym.)

2

Cel.

DC B E F GA

Hp.

(Alec runs upstage onto the platform. Laura turns to the audience, smiling with joy.)

L.J. there.

A.H. 3

Thank you, my

dear.

I Vn. II unis.

Va.

Vc.

Cb.

gl.

gl.


190

Act I–Scene 8

233 1 2 Fl.

to Piccolo

3

1 Ob. 2

Cl. in B

1 2 3

Bs.Cl.

1.

Bn.

a2

1 2

3

2.

1 2 Hn. in F 3 4

2. to straight mute

1. solo

1. to straight mute

1 2 Tpt. in C

to straight mute

3 2.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

G

Hp.

I Vn. II

Va. 6

Vc. 6

pizz.

Cb.

arco


191

Act I–Scene 8

238 Picc. 1.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

Bn.

1 2

(2.)

Hn. in F

1 2 4.

3 4

Tpt. in C

1 2

3 (2.)

Tbn.

to straight mutes

1 2 (3.)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. 3

I

watched

his

train

leav

I Vn.

pizz.

II

Va. sim. non div.

Vc.

pizz.

Cb.

ing

the


192

Act I–Scene 8

Piccolo solo

244 Picc.

Fl.

1 2

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. 3

sta

tion.

The

lit

tle red

tail

light

van ished in the dark ness.

I

I Vn.

(pizz.)

arco

II

Va. dim. poco a poco (non div.)

Vc. dim. poco a poco div., arco

Cb. dim. poco a poco

mag ine,

i

mag ine,


193

Act I–Scene 8

251 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 with straight mutes

1 2 Tpt. in C

with straight mute

3

1. with straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Glock.

2

Cel.

Hp.

3

L.J. 3

just

for

a

mo ment, i

mag

ine.

He’s ar riv ing at

I Vn. II

Va. pizz.

Vc. pizz.

Cb.

Chur

ley,

giv ing up his tick et,

walk ing through the streets—


194

Act I–Scene 8

meno mosso

257

a tempo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 2. remove mute

1 2 Tpt. in C

remove mute

3 (1.)

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib.

1 Perc. 2

Cel.

D C B E F G A

Hp.

L.J. latch key in

his pock et—

o

pen ing the door.

Ma de leine

in

the hall to meet him.

Ma de leine

meno mosso

up stairs in

a tempo

I Vn. II

Va.

(pizz.)

div.

unis., arco

Vc.

(pizz.)

Cb.

arco

div.

her room


195

Act I–Scene 8

263

rall.

vib.

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

(harmonics sound where written)

Hp.

L.J. not

feel ing well.

small, dark,

and

rath er del

i cate

Ma de leine.

3

What does he

say?

I

mag

ine,

i

rall. 1 solo

tutti

1 sola

tutte

I Vn. II

Va.

(div.)

Vc.

Cb.

1 solo

tutti, div.

unis.

mag

ine.


196

Act I–Scene 8

270

a tempo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

pedal gl.

Hp.

pedal gl.

C

C

pedal gl.

C

C

C

L.J. “I

met

such

a

nice

wom

an

in

the

Kar

do

mah.

We

a tempo pizz.

I

Vn.

pizz.

II

1 sola

Va. pizz.

Vc.

Cb.

div.

unis.

div.

unis.

div.

had


197

Act I–Scene 8

277 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1. (straight mute)

Tpt. in C

1. remove mute

1 2

3 1. (straight mute)

2. (straight mute)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. lunch

to

geth

er

and

walked

by

the

riv

er.

I

arco

I Vn.

arco

II (1 sola)

tutte

Va. unis., arco

Vc.

Cb.

div.

mag

ine.


198

Act I–Scene 8

284 Picc.

Fl.

1 2

1 3

Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 open

remove mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp. secco

1 Perc.

Sm. Sus. Cym., wood stick

2 secco

Cel.

Hp.

(The music rises as she comes out of her reverie.)

L.J. No,

3

3

he won’t say that.

I

I Vn. II unis.

Va.

Vc.

Cb.

knew,

I

knew be yond a

sha dow

of

doubt

he

would

n’t

say

a


199

Act I–Scene 8

291 Picc.

a2

Fl.

1 2

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

1 2 Hn. in F 3 4 a2, open

1 2 Tpt. in C

open

3 a2

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

(Sm. Sus. Cym.)

2

Cel.

D B F

Hp.

(The sound of a train approaching from a distance.) 3

3

L.J. word.

That was the div.

I Vn.

div.

II

Va. 1 solo

tutti

Vc. div.

Cb.

mo

ment

the first

mo ment of


200

Act I–Scene 8

297 Picc. 3

a2

Fl.

1 2

3

1 3

Ob. 2 3

a2

Cl. in B

15

1 2

Bs.Cl.

a2

Bn.

1 2 15

a2

1 2 Hn. in F

a2

3 4

1 2 Tpt. in C 3

a2

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp. Xyl.

1 3

Lg. Sus. Cym., rubber mallets

Perc.

Sm. Sus. Cym.

2

Cel.

Hp.

(The express train rushes through the station, the smoke and steam blowing across the stage obscuring Laura from the audience.) 3

L.J. 3

dan

ger.

Dan

ger

so

fear

ful

it

swept

o

ver unis.

(div.)

15

(div.)

15

I

unis.

Vn. II

Va. 15 15

Vc.

(div.)

Cb.

pizz., unis.

me!


201

Scene 9: The Jessons’ Sitting Room to Flute

Picc.

Fl.

1 2 1 to English Horn

Ob. 2

2.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

with mutes

to mutes

remove mutes

1 2 Hn. in F

3. with mute

3. to mute

3. remove mute

3 4 with straight mutes

2.

1 2 Tpt. in C

with straight mute

3 with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(The Jessons’ library/drawing room. Fred is standing by the fireplace, looking down at Dr. Graves, who is sitting, writing out a prescription. Fred looks up as Laura emerges from the darkness.)

(Fred crosses to her, his face a mask of worry and strain. Laura notices Dr. Graves.) Laura:

L.J. Fred,

Fred:

what’s the mat ter?

F.J. Is that

you

Lau ra?

It’s all right.

I Vn. II

Va. div. a2

Vc. arco

Cb.

Keep calm.

Don’t be up set.


202

Act I–Scene 9

7 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

3

3

1 2 3

3

Bs.Cl.

Bn.

1 2

1. open

2. open

Hn. in F

3. open

4. open

3

3

3

3 4

3

3

3

1 2

to Harmon mutes

Tpt. in C

1 2 to Harmon mute

3 1.

Tbn.

remove mutes

2. open

3. remove mute

3. open

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

(Laura gasps and puts her hand to her mouth.)

L.J. What is it?

What’s wrong? 3

F.J. It’s Bob bie.

He was knocked down

3

by a car

I Vn. II 3

Va. 3

(div.)

Vc.

Cb.

3

on his way

home from school.


203

Act I–Scene 9

1.

12 1 2

3

3

Fl. 3

Ob.

1 3

3

E.H.

Cl. in B

3

1 2

3

3

3

a2

3

3

3

3

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Bob bie...

F.J. It’s

not

se ri ous.

He was grazed

by the bump er

and banged

his

head

on the

kerb.

3

3

He’s a lit tle con cussed.

Doc tor Graves has patched him

I Vn. II

Va.

unis.

Vc.

div.

Cb.


204

Act I–Scene 9

17 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura drops her things on a chair and rushes from the room. Doctor Graves calls after her.)

F.J.

3

up.

He’s sleep ing it off.

Mar ga ret’s with him.

You are sure?

Doctor Graves:

Dr. G. He’ll be right as

I Vn. II

Va.

Vc.

unis.

Cb.

rain

Mis ses Jes son.

Just a few

hours.


205

Act I–Scene 9

23

1.

1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

(1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Dr. Graves holds the prescription up in front of him.)

Dr. G. 3

Quite sure.

I Vn. II

Va.

Vc.

Cb.

3

A luck y es cape.

Now, his arm is

bad

ly bruised,

so

when the

sed a tive wears off,


206

Act I–Scene 9

28

1.

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Doctor Graves and Fred leave the room. Laura comes from upstairs. She is agitated but in control.)

(Graves gives the prescription to Fred.)

Dr. G. this is for

the pain.

But

on ly

if he needs it.

I must be on my way.

No

rest for the wick ed.

Fred:

F.J. I

see.

Of course.

I Vn. II

div., pizz.

Va. div., pizz.

Vc. pizz.

Cb.

I’ll

see you out.


207

Act I–Scene 9

34 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

solo

B E F G

Hp.

(We hear Fred’s and the Doctor’s voices from offstage.)

(Fred comes back in, pulling on a coat.) Laura:

L.J. Oh, Fred.

Yes.

F.J.

3

3

Good night, Doc tor,

and thank you.

He’s go ing to be fine.

Dr. G. Good night. 3

I Vn. II 1 sola, arco

tutte arco

Va. 1 solo, arco

Vc.

Cb.

No.

tutti, div., arco

You must n’t wor ry.

I’m go ing to run to the chem ist


208

Act I–Scene 9

41

1.

1 2 Fl.

Flute

to Piccolo

3

Ob.

1 English Horn 3

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D CB E FG A

Hp.

(Fred folds the prescription carefully and puts it in his pocket.) 3

L.J. Yes.

F.J.

3

for Bob bie’s pills

be fore they close.

Yes.

Of course.

3

In case he needs them.

You’ll be

all right?

div.

I Vn. II div.

Va. (div.)

Vc. arco

Cb.

1 solo

You go.

I’ll

be fine.


209

Act I–Scene 9

48 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

3

3

Timp.

1 Perc. 2

Cel.

Hp.

(As soon as Fred has gone Laura gives in to her agitation.)

L.J. I

F.J. 3

Five min utes.

No more.

I Vn. II

Va. unis.

Vc. 6

tutti

Cb.

6

mag ine,

i mag ine,


210

Act I–Scene 9

53 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Harmon mutes (stems fully extended)

1 2 Tpt. in C

Harmon mute (stem fully extended)

3

1. open

Tbn.

to straight mutes

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

Hp.

3

3

L.J. if

he was...

...bad ly hurt.

Oh God,

it would have been my fault.

My fault.

This is unis.

I Vn.

pizz.

II

unis., pizz.

Va.

pizz. 6

Vc.

Cb.

6

a pun ish ment.


211

Act I–Scene 9

59 Picc. 1.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura paces the room for a few moments and then sits in one of the chairs by the fire. The clock chimes. The lights fade on the room and intensify on her.)

L.J. No,

no,

not a pun ish ment.

A warn ing,

a ter ri ble, sin is ter warn ing.

I Vn.

arco

II arco

Va. arco

div.

Vc. 6

Cb.

6

unis.


212

Act I–Scene 9

65

rit.

a tempo

Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. An hour

rit.

lat

er

ev

’ry thing was

nor mal.

Bob bie was

laugh ing,

en

joy

ing

a tempo

I Vn. II

Va.

Vc. pizz.

Cb.

non div., arco

the

dra

ma.


213

Act I–Scene 9

74 Picc. 1.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2 sub.

Bs.Cl. 1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc.

Sm. Triangle

2

Cel.

Hp.

L.J. Mar ga

I Vn. II

Va.

Vc.

Cb.

ret was wish ing

she was the one


214

Act I–Scene 9

82 Picc. 1.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D

non arp.

(As the lights come up on the room again, Fred is pouring after-dinner drinks at a side table. He hands a drink to Laura.)

L.J. to get knocked o ver.

Do you

re mem

ber how re lieved

we were.

We spent the whole eve ning plan ning his fu

I Vn. II

Va.

Vc. pizz.

Cb.

ture.


215

Act I–Scene 9

89 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

1 2

1 2 Hn. in F 3 4 with straight mutes

2. remove mute

with straight mute

remove mute

1 2 Tpt. in C 3 (straight mutes)

Tbn.

1 2 3. (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. He’s far too young to

Fred:

F.J. It’s

I Vn. II

Va.

Vc. arco

Cb.

a good life,

the

Na

vy.

de


216

Act I–Scene 9 Piccolo

96 Picc.

Fl.

1 2

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 (straight mutes)

Tbn.

a2

remove mutes

1 2 (3. straight mute)

remove mute

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

B E

Hp.

L.J. cide.

A wife in

F.J. A good and health y life:

I Vn. II

Va.

Vc.

Cb.

the air,

the sea,

the serv ice

to the

na

tion.

ev ’ry port,


217

Act I–Scene 9

102

poco rall. to Flute

Picc. 1.

Fl.

1 2

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3 open

Tbn.

1 2

3. open

Bs.Tbn. Tba.

Timp.

1 Perc.

(S.D.)

2

Cel.

G

Hp.

F

L.J. the beard,

the booze,

the par rot on the

shoul

der.

And what a bout us?

F.J. That’s

a rath er Vic to ri an view,

my dear.

Us?

poco rall. I Vn. II

Va.

pizz.

Vc.

Cb.

div. a2, arco


218

Act I–Scene 9

109

1.

1 2 Fl. 3

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. We’d nev er

see him!

He’d be gone for months

or

years at

a

time.

If there’s an oth

er

war...

He’s

F.J. Non sense!

Lau ra...

I Vn. II

Va. unis. (div. a2)

Vc.

Cb.

our on

ly son.


219

Act I–Scene 9

115 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 2.

Bn.

a2

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I should like to

be

there

while he’s grow ing up.

Fred...

F.J. All right old girl,

stick him in

an

of

fice

for the rest of

his life.

See him off

ev ’ry day

pizz.

I Vn.

pizz.

II div., pizz.

Va. pizz.

Vc.

Cb.

div.


220

Act I–Scene 9

1.

121 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 1. (straight mute)

1. remove mute

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. You’re ver y

an noy

F.J. on the eight

fif ty five

with

a

great

big

kiss.

(pizz.)

I Vn.

(div., pizz.)

unis.

(div., pizz.)

unis.

arco

non div.

(pizz.)

II

Va.

(pizz.)

div., arco

Vc.

pizz.

Cb.

(pizz.)

arco

ing.You know per fect ly

well

I should


221

Act I–Scene 9

127 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura rises and goes to her work-basket as Fred settles down by the fire with his crossword. She takes some sewing from the basket and goes back to her chair. The clock strikes the hour. Fred counts squares on his crossword puzzle. Laura sews.)

L.J. hate

that.

F.J. Fine.

Fine.

We’ll do

div., arco unis.

it your way.

What

ev

er that

is. div.

unis.

I espr.

Vn.

div., arco

unis.

div.

unis.

II espr. div.

unis.

Va. espr. unis.

Vc. espr. 1 solo

Cb.

(Laura looks up and watches him for a moment.)


222

Act I–Scene 9

Slower

135 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D B F

Hp.

(Fred doesn’t look up.)

(No response.)

L.J. Fred?

I

had lunch to day

with a strange

man

at the Kar

do mah Ca

fé.

F.J. Yes?

Slower I Vn.

div.

II

Va.

Vc.

Cb.


223

Act I–Scene 9

143 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred replies abstractly as he fills in a word on his puzzle.)

L.J. We walked by the

riv

er.

He’s aw f’ly nice.

He’s a

doc

tor.

Oh dear.

F.J. Good for you.

A

1 solo

I Vn.

1 solo

II div.

1 sola

Va. div.

Vc. tutti

Cb.

1 solo

ver

y

no ble

pro

fes

sion.


224

Act I–Scene 9

150 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1.

1 2 Hn. in F

3.

3. to mute

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Yes, dear.

F.J. “My king dom for

I Vn. II

Va.

Vc.

Cb.

a horse.”

Ri chard the Third said

that,

did n’t he?

I

wish he had n’t.

It

spoils

ev

’ry thing.


225

Act I–Scene 9

156 1. 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2 dolce

Bs.Cl. 1.

Bn.

1 2

to mutes

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I thought, per haps,

we might ask

him

o

ver

for din ner

one eve ning.

F.J. By all means.

Who?

(1 solo)

pizz.

arco

(1 solo)

pizz.

arco

(1 sola)

pizz.

(1 solo)

pizz.

I Vn. II

Va.

Vc. 1 solo

Cb.

pizz.


226

Act I–Scene 9

163

1.

1 2 Fl. 3

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C

Hp.

L.J. Doc tor Har vey.

The man I had lunch with.

You’re nev er

here

for

lunch.

F.J. Must it

be din ner?

1 solo (1 solo)

I gli altri

Vn.

(1 solo)

tutti

II tutte arco

Va. 1 solo tutti arco

Vc. gli altri 1 solo, arco

Cb.

Ex act ly.


227

Act I–Scene 9

169 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

with mutes

remove mutes

1 2 Hn. in F

3. with mute

3. remove mute

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(A moment’s pause, then Laura starts to laugh, almost hysterically.)

L.J. Noth ing, noth ing.

Fred, Fred, Dear Fred.

F.J. What is

it?

I real ly can’t see tutti

I Vn. II 1 sola

Va. tutti, div.

unis.

Vc.

(1 solo) II

Cb. gli altri

div.

what’s so ter ri bly


228

Act I–Scene 9

176 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. No,

no.

It’s all right my dar ling.

I’m laugh ing at

me

not

you.

I’m an ab so lute

F.J. fun ny.

I Vn. II

tutte

Va.

unis. div. a2

Vc. tutti

Cb.

fool.

I get in a state


229

Act I–Scene 9

183 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

a2

1 2

open

1 2 Hn. in F

3. open

3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. a bout

noth ing.

I know, I know.

F.J. You do,

you do.

I

told you to

night

when you came through the door,

I Vn. II

Va. unis.

Vc.

Cb.

he was fine.


230

Act I–Scene 9

189

rall.

a tempo

1.

1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

3.

3 4 1. open

Tpt. in C

1 2

3

Tbn.

1 2 (3.)

Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

DCB E FGA

Hp.

(Laura keeps laughing. Fred shakes his head in bemusement and goes back to his puzzle. The lights intensify on both of them, the room around them fading away into the darkness. Fred and Laura sing together, both unaware of each other’s attention.)

L.J. I

see that now.

I

1 solo

real

ly

rall.

do.

a tempo

I Vn. II 1 sola

(1 sola)

Va. 1 solo

Vc. 1 solo, pizz.

Cb.


231

Act I–Scene 9

196 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F.J. As the years go

by,

I Vn. II (1 sola)

Va. 1 solo

Vc. (1 solo, pizz.)

Cb.

she grows more beau ti ful,

more of

a mys ter

y,

im pos si ble to


232

Act I–Scene 9

202

1.

1 2 Fl. 3

Ob.

1 to Oboe

E.H. 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

2.

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C F G

Hp.

Laura:

L.J. This is my

life:

to keep my chil dren safe,

to love my hus band

just as

he

de

serves.

F.J. know.

What made her choose me

tutti

I Vn. II

tutte

Va.

tutti, div.

unis.

Vc. tutti arco

Cb.

pizz.

all those


233

Act I–Scene 9

208 1 2 Fl. 3

1 3

Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

a2

1.

1 2 3

1 2 Hn. in F

4.

3.

3 4 3

a2 2. open

1 2 Tpt. in C

open

3

1.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

3

D C E G

Hp.

3

L.J. Who de

ci ded

I should be

the

luck

Who de

ci ded

I should be

the

luck

F.J.

3

i

est

wom

an

in

the

world?

in

the

world?

3

years a

go?

i

est

man

I più

Vn. II

più

Va. più

Vc. 3

più arco

Cb. più

pizz.


234

Act I–Scene 9

7

214 1 2

7

Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

(1.)

Bn.

a2

1 2

a2

1 2 Hn. in F

a2

3.

3 4

Tpt. in C

1 2

3 2.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

I Vn. II

Va.

Vc.

(pizz.)

Cb.

arco


235

Act I–Scene 9

7

218 1 2

7

Fl. 3

1 Ob.

Oboe

2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2)

1 2

3

Hn. in F

(a2)

3 4

Tpt. in C

3

1 2

3 (2.)

Tbn.

1 2 (3.)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C E G

Hp.

Laura:

3

L.J. I

Fred:

must love him

and

on

ly

him.

F.J. I

I Vn. II

Va.

Vc.

Cb.

have no

clue

and

no

3

way to

know.

On ly

that I

love her,


236

Act I–Scene 9

224 1 2

3

Fl. Flute

3 3

1 Ob. 2

Cl. in B

1 2

3

Bs.Cl.

1. 2.

Bn.

Hn. in F

2.

1 2

3

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. 3

How could I wish for

a

bet ter

man?

Who could com pare

How could I wish for

a

bet ter

wom an?

Who could com pare

with

him?

This

is

with

her?

This

is

my mys

ter

my mys

ter

F.J. 3

that

I

love her so.

3

3

I 3

Vn.

3

3

3

3

3

3

II

Va. 1 solo

Vc. div.

Cb.


237

Act I–Scene 9

231 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. y,

im

pos

si

ble

to

know.

I

must love him

and on

ly him.

F.J. y,

How

can

I know

her?

I

have no clue

I Vn. II

Va.

tutti, div.

Vc.

unis.

Cb.

and


238

Act I–Scene 9

237 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(As the duet draws to a close, the lights fade on Fred and Laura.)

L.J. And trust that love

will

grow.

that

I

My

love

will

grow,

will

grow.

F.J. no

3

way

to

know.

On

ly

love

her,

that

I Vn. II div.

Va.

Vc.

Cb.

I

love

her

so.


239

Scene 10: Outside the Station 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Outside the station. Laura is holding two or three parcels. She looks up and down the street and then at her watch.) Laura:

3

L.J. 3

I

sat in the ca fé

1 solo

I 3

Vn.

1 solo

II 1 sola

Va. 3

3

1 solo

Vc.

Cb.

wait ing,

wait ing,

but

he did n’t turn up.

I


240

Act I–Scene 10

9 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B E

Hp.

(She looks up and down the street.)

L.J. 3

passed by the hos pi tal,

3

3

won d’ring, won d’ring

what could have hap pened?

I

walked by the riv er,

(1 solo)

I

3 3

Vn.

(1 solo)

II

(1 sola)

Va.

(1 solo)

Vc.

Cb.

3

think ing,

think ing


241

Act I–Scene 10

17 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. I

have to

see him just once

more,

if

on ly to tell

tutti, div.

unis.

tutti, div.

unis.

tutte, div.

unis.

tutti, div.

unis.

him

we must

nev er,

nev

er

see

one an

oth

er

a

I

Vn. II

non div.

div.

Va.

Vc.

Cb.

non div.

div.

gain.


242

Scene 11: The Station Refreshment Room and Platform 1 2

Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4 1. with straight mute

to straight mutes

Tpt. in C

1 2 to straight mute

3 to straight mutes

Tbn.

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Later that afternoon. The station refreshment room. Laura moves to a table and puts her packages on the floor beside her. Myrtle is sweeping the floor in front of the counter. She bends over to brush the sweepings into a dustpan. Albert enters from upstage, notices Myrtle’s vulnerable position and tiptoes up behind her. Laura watches him, smiling. Albert gives Myrtle a playful smack. Laura looks away, struggling not to laugh. Myrtle rises, outraged.) Myrtle:

M.B. Al bert God by,

how

dare

you?

I’ll trou ble you to keep your hands to your self.

Albert:

A.G. Could n’t re

I Vn. II

pizz. (unis.) arco

Va.

(unis.)

Vc. pizz.

Cb.

sist it!


243

Act I–Scene 11

7 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4 2. with straight mute

1 2 Tpt. in C

with straight mute

3

with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. The lib er ty!

A.G. You’re mag nif i

cent

when you’re

an gry.

Just

pizz.

I

Vn.

pizz.

II

pizz.

Va.

pizz.

Vc.

Cb.

like

an

a

veng ing

an

gel.

Af ter last Mon day

I


244

Act I–Scene 11

13 1 2 Fl. 3

1 Ob. 2 (1.)

Cl. in B

1 2

Bs.Cl.

1.

Bn.

a2

1 2

3

3

3

3

1 2 3

Hn. in F 3 4

3

(straight mutes)

1 2 Tpt. in C

(straight mute)

3

1. (straight mute)

Tbn.

1 2 3. (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. This

is a Thurs day, and I’m on du

ty.

You ought to

be

a

shamed.

A.G. did

n’t

think you’d mind

a

friend

ly

slap.

I Vn. II

Va.

Vc. arco

Cb.

non div.


245

Act I–Scene 11

18

1.

1 2 Fl. 3

1 6

Ob. 2

1.

Cl. in B

1 2 6 3

Bs.Cl.

Bn.

3

1 2

1 2 Hn. in F

3.

3 4

1 2 Tpt. in C 3

Tbn.

1 2

Tuba

Bs.Tbn. Tba.

Timp.

1 Perc.

B.D.

2

Cel.

Hp.

(Myrtle puts a cup of tea on the counter in front of him.)

M.B. Drink your tea

I beg your par don.

and

A.G. It’s your fault

an

y way.

Bend ing o ver like that.

It should n’t be al lowed.

I Vn. II

Va. (pizz.)

Vc.

Cb.

be


246

Act I–Scene 11

23 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

3

3

1 2 3 4 (straight mutes)

1 2 Tpt. in C

(straight mute)

3

(straight mutes)

Tbn.

1 2 3. (straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Albert grabs her arm across the counter.)

(Albert glances over at Laura and tips her a wink.) (spoken)

M.B. have your self.

I’ll

do

no such thing. The

la dy might

see us.

Al bert! Stop it!

A.G. Come on sweet heart, give us a kiss.

(pizz.)

I Vn.

(pizz.)

II (pizz.)

Va. (pizz.)

Vc. pizz.

Cb.

Go on, just a quick one. She won’t mind.


247

Act I–Scene 11

29 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 remove mutes

Tpt. in C

1 2 remove mute

3 open

remove mutes

Tbn.

1 2 3. remove mute

3. open

Bs.Tbn. Tba.

Timp. Xyl.

1 Perc.

Sm. Sus. Cym. (wood sticks)

2

Cel.

7

C F

Hp.

7

(There is a brief struggle. As Myrtle pulls away from him, Albert upsets a neat pile of Banbury cakes on the counter beside him.)

M.B. Now look what you’ve done!

arco

I 7

7

Vn.

arco

II 7

7

arco

7

Va. 7

div. a2

arco

pizz.

Vc. 7

7

div., pizz. arco

Cb.

You’ve up set

me Ban bur ys


248

Act I–Scene 11

33 1 2 Fl. 3

1 Ob.

to English Horn

2

a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 1. open

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

B.D.

2

Cel.

Hp.

(Stanley enters from the platform, having seen the attempted kiss.) 3

M.B. all

o

ver the floor.

Stanley: (spoken)

Stan. Just in time—or born in the vestry!

I 3

Vn. II

3

Va. unis., arco

Vc. unis., arco

Cb.

You shut your mouth and help Mis ter God by

pick up them cakes.

The

nerve!


249

Act I–Scene 11

38 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

I Vn. II

Va.

div. (arco)

unis.

pizz.

arco

Vc.

Cb.


250

Act I–Scene 11

43 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

gliss.

Hp.

I Vn. II

Va.

(div.)

Vc.

Cb.

unis.


251

Act I–Scene 11

Fast

48 1 2 Fl. 3

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(There is the sound of a train arriving. Laura looks up and checks her watch against the clock. She gathers her things together and goes out on the platform, looking up and down in search of Alec. Suddenly Alec rushes onto the platform from outside the station. He looks around wildly before spotting Laura. He runs up to her, gasping for breath. They speak to each other very quickly, repeatedly looking up at the train waiting behind them.) Alec:

A.H. My dear,

Fast

div.

6

6

6

I

6

Vn. 6

II

div.

6

6

6 6

Va. 6

6

div.

Vc. 6

Cb.

6

unis. 6

my dear,

I’m sor ry.

I’m so sor ry.


252

Act I–Scene 11

53 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. Quick,

there’s your train.

You must n’t miss your train.

A.H. 3

I could n’t let you know—

we had an e mer gen cy.

(div.)

The sur geon at the hos pi tal

need ed

me there.

unis.

I (div.)

Vn.

unis.

II div.

Va. div.

Vc.

Cb.

(div. a2)

unis.


253

Act I–Scene 11

59 1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Of course,

of course, it

real ly does n’t mat ter.

No,

real

ly...

A.H. I

I Vn. II

Va. unis.

Vc.

Cb.

near ly sent a mes sage to the ca

fé,

but I thought they’d shout your name out

and make a scene.


254

Act I–Scene 11

65

a2

3

1 2 Fl. 3

Ob.

1 3

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1. solo

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

(A whistle sounds on the platform behind them together with a blast of steam and smoke. The sound of another train comes from the opposite direction.)

L.J. quick ly, quick ly,

and there’s

my train.

How ab surd you

A.H. 3

I’m so re lieved

to be

a ble to ex plain.

I thought I would n’t see you

ev er

a gain.

I Vn. II

Va.

Vc. 3

Cb.


255

Act I–Scene 11

72

1.

1 2 Fl.

to Piccolo

3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., fast motor

1 Perc. 2

Cel.

Hp.

(Alec disappears in the steam and smoke. Laura turns back to the audience. She closes her eyes for a moment, deeply relieved, then takes a breath and goes off to board her train.)

(Alec runs towards the train, turning at the last minute.)

L.J. are.

Of

course. Next

Thurs day.

A.H. Next

Thurs day?

pizz., non div.

6

I 6

1 solo, arco

6

6

dolce

Vn.

pizz., non div.

6

II 6

6

6

dolce pizz.

6

arco

Va. 6

dolce pizz.

Vc. 6

6

div., arco

dolce div.

Cb.


256

Act I–Scene 11

77 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2 solo

Bs.Cl. 1. solo

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A

(Albert and Myrtle appear on the platform. Myrtle has a handbag on her arm and is pulling on a pair of gloves.) Myrtle:

M.B. Ev

’ry Thurs day,

reg u lar as clock work.

Ro me

o

and Ju

liet.

Albert:

A.G. What? (1 solo)

I Vn. II div.

Va.

Vc.

Cb.

Oh, them.

Think they’ll ev er get


257

Act I–Scene 11

82 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec nods sagely. Myrtle waits.)

M.B. Not

a chance. Not

them.

3

I know I

am.

A.G. on the same bless ed train?

You’re

prob a bly right.

tutti

I arco

Vn. II

Va. unis.

Vc. unis.

Cb.


258

Act I–Scene 11

87 Picc.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

3 1.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

F

M.B. I can’t say you won’t

Don’t be so sau cy.

...is sauce for the gan der...

A.G. So,

will

I

see you lat er?

Say you will then.

What’s sauce

for the goose...

...is sauce for the gan der...

I Vn.

pizz.

div.

unis.

II div., pizz.

unis.

Va. div. a2, pizz.

Vc.

pizz.

Cb.

unis., arco


259

Act I–Scene 11

93

Piccolo

to Flute

Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1 2

Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. ...I know, Mis ter God by.

Mis ter God by!

What a turn of phrase!

A.G. So you goose me, and I’ll gan der you.

Your place or mine?

arco

pizz.

I arco

Vn.

pizz.

II arco

pizz.

Va. pizz.

Vc. arco

Cb.


260

Act I–Scene 11

slower

99 1 2 Fl. 3

Ob.

1 to Oboe

E.H. 1. solo

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. My place, eight o’ clock.

And don’t

for get to

shave.

A.G. Eight o’ clock it

is

then.

slower arco

I Vn.

arco

II arco

Va. arco

Vc.

Cb.


261

Scene 12: The Boathouse 1 2 Fl. 3

1 Ob.

to English Horn

2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura and Alec are in an old boathouse by the river. Alec is sitting in a large borrowed overcoat. His trousers are drying in front of a small portable stove. On top of the stove is a steaming kettle. Laura is kneeling by the stove laying out Alec’s shoes and socks to dry.)

I Vn. II

div.

unis.

Va.

div.

unis.

Vc.

non div.

Cb.

div.


262

Act I–Scene 12

10 1 2 Flute

Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2)

1 2 Hn. in F

(a2)

3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. The Brit ish

have

al ways been nice to mad

peo ple.

The boat man thinks we’re

I Vn. II

Va. unis.

Vc.

div.

Cb.

dot ty,

but

on ly look how sweet he’s been:


263

Act I–Scene 12

18 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. an

o

ver coat,

a mug of

tea “and thou

be side me

in

the

wil der ness.”

be side me

in

the

wil der ness.”

“And wil der ness were

pa

ra dise

e

now.”

a

e

now.”

A.H. “...and thou

“...par

div.

I Vn.

div.

II

Va.

Vc. unis.

Cb.

dise


264

Act I–Scene 12

24 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

3

3

L.J. You real

ly

are

mad.

It

was

on

ly

a

hat.

A.H. I know.

I Vn. II

Va.

Vc.

Cb.

It

was your hat.


265

Act I–Scene 12

30 1 2 Fl. 3

Ob.

1

E.H. 1., solo

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. Look at

you

now,

ri

dic

u

lous man.

And you did get the hat.

A.H. I

I Vn.

div.

unis.

II div.

Va.

Vc.

Cb.

unis.

did

n’t

try

to

fall

in.


266

Act I–Scene 12

35 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Hp.

Laura:

(Silence between them.)

L.J. I’m ver

y grate ful,

so is

the hat.

I Vn.

div.

II div.

Va.

Vc.

Cb.

unis.

div.


267

Act I–Scene 12

42

a2

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 2.

Bn.

1 2

1.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

B

L.J. When I

was a

child

we lived by the

sea,

a

cot tage

on

the

I Vn.

unis.

II (div.)

Va.

div.

Vc. pizz.

Cb.

unis.

cliffs

in

Corn

wall.


268

Act I–Scene 12

47 1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

(1.)

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Sus. Cym., soft

2

Cel.

Hp.

B F ,A

C A

G

L.J. On

hot sum mer

nights

my

sis

ter and

I

would lie wide a

wake

in

the

dark

I Vn. II div.

Va. (div.)

Vc. arco

Cb.

unis.

ness.


269

Act I–Scene 12

52 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

3

L.J. Climb through the

win

dow,

creep from the

house,

and walk down the

cliff

to

the

cove.

I Vn. II

Va. unis.

Vc.

Cb.

div.


270

Act I–Scene 12

57

1.

1 2 Fl. 3

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D ,B G

Hp.

L.J.

I 3

3 3

Vn. II 3

3 3

div.

Va. (div.)

Vc.

Cb.

unis.


271

Act I–Scene 12

64 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2 Bs.Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B F ,G

Hp.

L.J. The

I Vn. II unis.

Va.

Vc.

Cb.

sea

had carved

a

hol

low pool,

deep

and clear

and

cold,


272

Act I–Scene 12

69 1 2 Fl.

7

7

7

3

1 Ob.

Oboe

2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(2.)

1 2 Hn. in F

(4.)

3 4 with st. mute

Tpt. in C

1., remove mute

1 2 with st. mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

(Sus. Cym.)

2

Cel.

Hp.

3

3

3

L.J. We’d jump and swim

and dive deep down,

the

salt

sting ing our

eyes,

then

sit

I Vn. II div.

Va.

Vc.

Cb.

on

the rocks with the


273

Act I–Scene 12

74 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1.

1 2 Hn. in F 3 4 1., open

Tpt. in C

1 2

3

Tbn.

1 2 Bs.Tbn.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C E ,G

Hp.

3

3

3

3

L.J. sea

at

our feet

and watch

I Vn. II unis.

Va.

Vc. unis.

Cb.

for

shoot

ing

stars.

We were dread ful

ly

cold

but

full

of

ad

ven

ture.


274

Act I–Scene 12

80

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B ,D E ,F

Hp.

3

L.J. Hearts

rac ing

in

tense

ly

a

live,

I

I Vn. II

Va. 1 solo

Vc. div.

Cb.

nev

er would have dared

to

go

on

my own,


275

Act I–Scene 12

86

a2

3

1 2 Fl. 3

3

1 Ob. 2 3

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D

3

3

L.J. but

shar ing

the

dan

ger

made

it

seem

right.

I

nev er

felt that way

a

gain.

I Vn. II

Va. (1 solo)

Vc. unis.

Cb.

tutti


276

Act I–Scene 12

93 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

A

Hp.

(Silence)

L.J. Not

I Vn.

div.

II div.

Va.

Vc. div.

Cb.

un

til

now.


277

Act I–Scene 12

102

1. solo

1 2 Fl.

to Piccolo

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., very soft mallets

1 Perc. 2

Cel.

Hp.

L.J. Yes.

Yes,

I

do.

Yes,

A.H. 3

You know what’s hap pened

don’t you?

I’ve fall en in love with you.

div.

I Vn.

div.

II

Va.

div. a2

Vc.

Cb.

I

know.


278

Act I–Scene 12

108 Picc. 1. solo

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(in a whisper)

L.J. What

A.H. Tell me,

my

dear,

hon est ly tell

me

if what I be lieve

unis.

is

true.

div.

I Vn.

unis.

II div.

Va. 1 solo

Vc.

Cb.

gli altri, div.

unis.

div.

do you be

lieve?


279

Act I–Scene 12

115 Picc. (1. solo)

Fl.

1 2 solo

1

3

Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1.

1 2

1. solo

Hn. in F

1 2 3 4 with straight mutes

1 2 Tpt. in C

with straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib.

1 Perc. 2

Cel.

Hp.

L.J. It can’t be true...

A.H.

3

That it’s the same, the same with you.

3

You’ve fall en in love with me, too.

Why?

I Vn. II div.

Va.

(1 solo)

Vc.

Cb.

(gli altri, div.)


280

Act I–Scene 12

122 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 lontano

3 4 lontano

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They stand silently looking at each other. Alec makes a slight movement towards Laura. She pulls away from him.) 3

L.J. 3

I know you so lit tle.

It’s

true.

A.H. But it’s true

all the same.

1 solo

I Vn. II unis.

Va. div. a2

Vc.

Cb.

No,

no. Please for get what we


281

Act I–Scene 12

129 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. said.

We must.

It can’t be.

How man y times have you and I

A.H.

met?

Four?

3

Five?

How man y times?

3

No,

not yet.

Too late.

We

know

now

we both of us know.

tutti

I Vn.

unis.

II

Va. unis.

Vc.

Cb.

div.


282

Act I–Scene 12

137 Picc. 1.

Fl.

1 2

3

1 Ob. 2 3

Cl. in B

a2

3

1 2 3

Bs.Cl. 3

2.

Bn.

1 2

a2

1 2 Hn. in F

3.

a2

3 4 1. (straight mute)

Tpt. in C

1 2 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

C F A

(Laura looks directly at Alec.)

3

L.J. Ten times a day.

A.H.

3

How man y times since last week

3

did you

de cide

3

nev er to see me a gain?

So did I.

I

Vn.

unis.

II

Va. 3

Vc.

Cb.

6 6


283

Act I–Scene 12

144 Picc. (1.)

Fl.

1 2 sub.

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2 dolce

Hn. in F

1 2 3 4

Tpt. in C

1 2

3 to straight mutes

Tbn.

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Al ec...

Please don’t.

A.H.

3

I love you,

your wide eyes,

the way you

smile,

laugh at my jokes.

I can’t pre tend

1 solo

1 solo

I sub.

Vn.

div.

gli altri unis.

II sub. 1 sola

Va. sub. 1 solo

Vc.

Cb.

3


284

Act I–Scene 12

151 Picc. 1.

Fl.

1 2 espr.

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

1 2 Tpt. in C

(straight mute)

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

gl.

D C B E F G A

Hp.

L.J. I must pre

tend

it

is n’t

true

and so must you.

A.H. it

is

n’t

true.

Nei

ther

can

you.

(1 solo) IV

I espr.

Vn.

1 solo

II (1 sola)

Va. espr. (1 solo)

Vc. 1 solo

Cb.

tutti


285

Act I–Scene 12

157 Picc.

Fl.

1 2 1

Ob. 2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

3

cresc.

3

cresc.

3 4

Tpt. in C

1 2

3 with straight mutes

open remove mutes

Tbn.

1 2 cresc. 3. with straight mute

3. remove mute

open

Bs.Tbn. Tba. cresc.

Timp. Vib., slow motor

1 Perc. 2

Cel.

D C B E F G A

Hp.

(Laura bursts into tears.) 3

L.J. Nei ther of us

is free to

love.

We have too far to fall.

There is time

if we con trol our selves.

There’s time.

There’s time...

A.H.

3

There’s no time at tutti 3

I

3

3

Vn.

tutti 3

non div.

II

3

3

tutte

(1 sola)

3

3

Va.

tutti 3

Vc. 3

Cb. 3

3


286

Act I–Scene 12

164

Piccolo

Picc. 3

a2

Fl.

a2

a2

1 2

3

3

3

3

1 3

3

Ob. 2 3

3

a2

Cl. in B

1 2

a2 3

3

Bs.Cl.

Bn.

1 2

a2

1 2 (cresc.)

Hn. in F

a2

3 4 (cresc.) 2. (straight mutes)

2.

1 2 Tpt. in C

(straight mute)

3

a2

Tbn.

1 2 (cresc.)

Bs.Tbn. Tba. (cresc.)

Timp. Xyl.

Vib.

1 Perc.

Lg. Sus. Cym. (Timp. mallets)

2

Cel.

D C B E F G A

Hp.

(Alec takes Laura in his arms, and they kiss passionately.)

A.H. all.

I Vn. II

Va. non div.

Vc.

Cb.


287

Scene 13: The Jessons’ Bedroom Picc.

Fl.

1 2 solo

1 Ob. 2 1. solo

Cl. in B

2.

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 remove mutes

Tpt. in C

1 2 remove mute

3 2.

Tbn.

to straight mutes

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(As the lights change from the previous scene, Laura crosses to a dressing table in her bedroom. She sits making up her face in the mirror as Fred appears in the room behind her. Laura is tense and apprehensive.) Laura:

L.J. Hul lo, dear. Fred:

F.J. Good eve ning Mis ses Jes son.

I Vn. II

Va.

Vc. div.

Cb.

Had a good day?


288

Act I–Scene 13

8 Picc. a2

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(very casually)

L.J. Love ly.

Butch er, bak er, gro cer, bank,

Kar

do mah lunch

and ma ti née

at the

Pa lais Roy ale.

F.J. What did you do?

All

pizz.

I Vn.

pizz.

II pizz.

Va. pizz.

Vc. unis., pizz.

Cb.

a


289

Act I–Scene 13

14 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura answers in a sudden rush, rather like the way Dolly speaks in Scene 1.)

(Laura suddenly panics.)

L.J. Yes.

No.

Not

quite.

Well,

I went to the pic tures

on my own,

but

F.J. lone?

Not quite?

arco

I Vn.

arco

II div., arco

Va. arco

Vc.

Cb.

unis.

Mar

y

Nor ton joined me for lunch.


290

Act I–Scene 13

21 Picc.

1.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. She

want ed to

go

to the pic tures, too,

but

she

had to have tea

at

her

in law’s house,

I Vn. II

Va.

Vc. arco

Cb.

so

I

walked her

to

the


291

Act I–Scene 13

26

to Flute

Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred looks at her for a brief moment.)

L.J. bus

and went

to

the

pic tures on

my own.

Fred:

F.J. I have n’t seen

I Vn. II

Va. non div.

Vc. pizz.

Cb.

Mar y

for

a

ges.

How’s she look ing?


292

Act I–Scene 13

32 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

E

(Laura powders her face. Fred stands behind her, his hands on her shoulders, and talks to her in the mirror.)

L.J. She’s look ing ver

y well.

Per haps a

lit tle fat ter.

You go down. I’ll be there

F.J. You’re beau ti

I Vn. II

Va. div.

Vc.

Cb.

unis.

ful

e

nough

with out that slap,

and I want my din ner.


293

Act I–Scene 13

38 1 2 Fl. Flute

3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

Hn. in F

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred kisses Laura on the top of her head and leaves the room. Laura closes her eyes in misery.)

L.J. in

a mo ment.

That was the lie,

the

first ev er

non div.

I Vn. II

Va.

Vc. arco

Cb.

lie

of our life

to

geth er.


294

Act I–Scene 13

45 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

3

L.J. From

this

day

’til the

day

we

die,

there

will

nev

er

be

a

time

when

I

I Vn. II

Va. div.

unis.

div.

unis.

Vc.

Cb.

can

say

I

nev

er

told you

a

lie.


295

Act I–Scene 13

52 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3 remove mutes

Tbn.

1 2 3. remove mute

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

(There is a telephone on a side table. Laura sits down by the phone and quietly lifts the receiver. She dials a number and waits while the phone rings at the other end, looking round at the door.) 3

3

L.J. Hul lo?

Mar y?

I know it’s been an age.

Lis ten my dear, will

I Vn. II

Va.

Vc.

pizz.

Cb.


296

Act I–Scene 13

60

1.

2.

1 2 Fl. 3

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4 1., open

2., open

1 2 Tpt. in C

open

3 1.

open

Tbn.

a2

1 2 3. open

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(As she talks on, the music rises, drowning out her words. Her face is over-animated, her chatter punctuated by forced laughter.)

(Laura laughs forcefully.) 3

L.J. you be a saint

and back me up

in

a

wick ed lit tle lie?

div.

It’s

aw

ful.

My life de pends on

unis.

I Vn. II

Va. div.

Vc. (pizz.)

Cb.

arco

it.


297

Act I–Scene 13

66 1 2 Fl. to Piccolo

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F 3 4 1.

1.

1 2 Tpt. in C

to straight mute

3

1.

Tbn.

to straight mutes

1 2 3.

3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc.

B.D.

2

Cel.

G

Hp.

B

D C B E F G A

(l.v.)

(As she hangs up the phone, Laura’s face is suddenly drained of expression. She returns to the dressing-table and looks at herself in the mirror. She takes a deep breath.)

L.J. 3

This is the face

I Vn. II

Va.

unis.

Vc.

Cb.

div.

of

a

wom an who lies.

This is the mouth,


298

Act I–Scene 13

73 Picc. 1.

Fl.

1 2

1 Ob.

to English Horn

2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1. solo

Hn. in F

1 2 3 4 with straight mutes

to straight mutes

1 2 Tpt. in C

with straight mute

3

2. with straight mute

1. with straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. these are the eyes,

I Vn. II

Va. (div.)

Vc.

Cb.

these are the lips

that kissed the lips

of

a

man

who

lies

to the

wom

an he mar ried,

but now

de

nies.


Act I–Scene 13

80 Picc. (1.)

Fl.

1 2

Ob.

1

3

3

3

3

E.H.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

1 2

2.

1.

1 2 Hn. in F

3

3 4 2.

Tpt. in C

1 2

3

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B

Hp.

I Vn. II

Va. unis.

Vc.

pizz.

Cb.

299


300

Act I–Scene 13

86 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3.

3 4 (straight mutes) remove mutes

1 2 Tpt. in C

(straight mute)

remove mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

3

L.J. How can I bear

to

watch these eyes

star ing,

star ing,

dar ing me

I Vn. II pizz.

Va. non div.

Vc.

(pizz.)

Cb.

arco

to

tell

more


301

Act I–Scene 13

91 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

6

a2

6

1 2 Hn. in F 3 4

open

a2

1 2 Tpt. in C

open

3

Tbn.

remove mutes

open

3. remove mute

3. open

1 2

3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura looks away for a moment, unable to sustain the contact. There is a wedding photograph on her dressing table. She picks it up and examimes it closely.)

L.J. lies?

I Vn. II arco

Va.

div.

Vc.

Cb.

unis.


302

Act I–Scene 13 Piccolo

97 Picc.

1.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

soli

(a2)

1 2 Hn. in F

(a2)

3 4

2.

to straight mutes

1 2 Tpt. in C

to straight mute

3 1. to straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Tamtam

2

Cel.

Hp.

A

div.

I Vn.

div.

II

Va.

Vc. div.

Cb.


303

Act I–Scene 13

105 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

6

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

F

Hp.

D E A

Laura:

L.J. Here

unis.

I Vn.

unis.

II

Va.

Vc.

Cb.

is

a bride

on the

steps

of

a church,

the

bride

groom be side

her,


304

Act I–Scene 13

111 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 with straight mutes

1 2 Tpt. in C

with straight mute

3

1. with straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. hap

3

py and proud.

Min utes be fore this pic ture was ta

ken,

she swore to love him

I Vn. II div.

unis.

Va.

Vc. (div.)

Cb.

unis.

from

this

day

for ward,

for bet ter,

for


305

Act I–Scene 13

117 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

2

1 2

Bs.Cl. 1.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 remove mutes

1 2 Tpt. in C

remove mute

3 (1.)

Tbn.

1. remove mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. 3

worse,

for

rich

er,

for

poor

er,

in

sick

ness

and

in

health,

I Vn. II

Va.

div. a2

Vc.

unis.

Cb.

to

love,

to

cher ish,


306

Act I–Scene 13

125 Picc. a2

Fl.

1 2

Ob.

1 3

English Horn

E.H. 3

a2

Cl. in B

1 2

3 3

3

3

3

a2 3

3

3

3

Bs.Cl.

(1.)

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 2. open

1. open

1 2 Tpt. in C

open

3

1. open

Tbn.

1 2

Bs.Tbn. Tba.

Timp. 3

Xyl.

3

1 Perc.

Sm. Sus. Cym.

2

Cel.

D C B E F G A

Hp.

E

(Laura puts the photograph back on the dressing table. She looks back at her reflection in the mirror and sees herself as if for the first time.)

(Laura stops for a moment and looks up.)

L.J. 3

and

3

o

bey

’til death

’til death us

do

part.

I Vn. II

Va. 3

unis.

3

3

3

Vc. 3

Cb. 3

3


307

Act I–Scene 13

132 Picc. (a2)

Fl.

1 2

Ob.

1

a2

3

E.H.

(a2)

Cl. in B

1 2

3

Bs.Cl.

a2

(a2)

Bn.

Hn. in F

1.

1 2

1 2 3 4 1.

1 2 Tpt. in C 3 a2

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Chimes

1 Perc. 2

Cel.

Hp.

D

l.v.

L.J. 3

This was the face of a div.

I div.

Vn.

unis.

II div.

unis.

Va. 3

div.

Vc. div.

Cb.

unis.

wom an who lied


308

Act I–Scene 13

139 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

3

3

3

3

3

3

3

3

Bs.Cl. (1.)

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The music rises again as Laura stares at her reflection with mounting fear.)

L.J. 3

to cher ish a truth

that burnt in side

of

a love

she be lieved

could

not

be de nied.

I Vn. II

Va. unis.

Vc.

Cb.


309

Act I–Scene 13 solo

146 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D

Hp.

(The lights fade on Laura.) 3

3

3

L.J. This is

the

face

of

a wom an who died.

I Vn. II

Va.

Vc.

Cb.

End of Act I


310

Entr’acte 1 2

Fl. Flute

3

1 Ob. Oboe

to English Horn

2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

div.

div.

unis.

div.

unis.

unis.

I Vn.

div.

unis.

div.

unis.

II

div.

Va.

div.

unis.

div.

unis.

div. a2

Vc.

div.

Cb.

unis.


Entr’acte

11 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

I Vn. II

unis.

Va.

unis.

Vc. non div.

Cb.

div.

311


312

Entr’acte

20 1 2 Fl.

to Piccolo

3

Ob.

1

E.H. a2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1 2

Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Curtain

(Lights slowly up on Alec, standing alone, his eyes closed. He breathes deeply, then opens his eyes. He looks around and the light spreads to reveal his surroundings.)

I Vn. II

Va. unis.

non div.

div.

Vc.

Cb.

attacca


313

Act II Scene 1: Outside the Hospital Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The street outside the hospital. Alec is waiting for Laura. He looks up and down the street and then sneaks a look at his watch. Music. Low, urgent, driving. Alec’s heart beating.) Alec:

A.H. Five

I Vn. II

Va. unis.

Vc.

Cb.

min utes.

Five

more

min utes.


314

Act II–Scene 1

Piccolo

6 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

A.H. She’ll be

here.

She

must

be

here.

Six

3

3

3

3

I

Vn. II

Va. div., pizz.

Vc. pizz.

Cb.

days.

Six

days

wait ing


315

Act II–Scene 1

10

to Flute

Picc.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H. with out her eyes,

her

shin ing eyes.

All my Thurs days are the same— dream ing, yearn ing, plan ning, fear ing,

I Vn. II

Va. unis., arco

Vc. arco

Cb.

pray ing

for Lau

ra

to

be


316

Act II–Scene 1

15 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec glances at his watch again.)

A.H. here.

Four

more

I sempre

Vn. II

sempre

Va.

Vc. sempre

Cb.

min utes

Please

be

here.

Five weeks.

Five short weeks

since

we

met,

since


317

Act II–Scene 1

21 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

3

1 2

Bs.Cl.

1.

Bn.

a2

1 2

a2

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2

3 2.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H.

3

first

we

met.

Sev

en

hours,

sev

en

long

hours

to

I Vn. II

Va.

div.

Vc.

Cb.

be with her,

to

love

her,

and

then


318

Act II–Scene 1

27 1 2 Fl. 3

Ob.

1

E.H.

2

Cl. in B

1 2

Bs.Cl.

1.

(a2)

Bn.

1 2

(a2)

1 2 Hn. in F

(a2)

to mutes

3 4

1 2 Tpt. in C 3

Tbn.

1 2 (3.)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H. 3

nev

er

3

the

same,

nev er the same a

gain.

How to tell her?

1 solo

I Vn.

1 solo

II

1 sola

Va. unis.

Vc.

Cb.

1 solo

If

I tell her.

Walk ing by the riv

er,

sit ting at the ta

ble,


319

Act II–Scene 1

34 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

1 2

1. solo (open)

1 2 Hn. in F

with mutes

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec thinks for a moment.)

(Another glance at the watch.)

A.H.

3

wait ing at the sta

tion. Where?

(1 solo)

No,

not there,

Nev er a gain,

nev er the same a gain.

Three min utes.

Three more min utes,

tutti, div. unis.

I

tutti, div.

Vn.

(1 solo)

unis.

II

(1 sola)

tutte

Va.

tutti (1 solo)

Vc.

1 solo

Cb.

tutti

pizz.


320

Act II–Scene 1

meno mosso

41

1. solo

1 2 Fl. 3

Ob.

1

E.H. 1. solo

Cl. in B

1 2

Bs.Cl.

2.

Bn.

1 2

(1.)

1 2 Hn. in F

remove mutes

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura appears, walking quickly towards Alec. He turns to her. She comes up to him and stands very close.) Laura:

L.J. Hul lo.

A.H. she’ll be here.

She’s here.

Hul lo.

I thought you would n’t come. 1 solo

meno mosso

tutti

I

Vn.

al sord.

II

Va.

div.

Vc. arco

Cb.

con sord.


321

Act II–Scene 1

49

1.

1 2 Fl.

Flute

3

Ob.

1 English Horn

to Oboe

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

D C B E F G A

(The music rises as Alec extends an arm to Laura. She slips her arm into his, and they walk off together. As they circle the stage, the scene transforms itself...)

L.J. I

A.H. 3

I’ve been think ing

all week

did n’t mean to come, but here

I

3

that you would n’t come.

I Vn.

via sord.

II

Va. (div.)

Vc.

Cb.

am.


322

Scene 2: The Royal Hotel 1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F

3. open

3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3 to straight mutes

Tbn.

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc.

Glock.

2

Cel.

Hp.

(The inside of the Hotel Royal. A maitre d’hotel supervises the setting up of two or three tables, a very smart waiter in attendance. Alec and Laura enter and are escorted to a table by the maitre d’. Alec whispers to the maitre d’, who nods and smiles. The lights intensify on Laura as she turns to the audience. Her face is glowing.)

I Vn. II

Va. unis.

Vc.

pizz.

Cb.


323

Act II–Scene 2

9

1.

1 2

3

Fl. 3

1 Ob. 2 a2

Cl. in B

1.

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

G

D

D

D

(As Laura and Alec sit down, the waiter brings a bottle of champagne to the table, which the maitre d’ opens with a flourish.) Laura:

3

3

3

3

L.J. He

took me to lunch at the Roy al Ho tel.

I Vn.

senza sord.

II

Va.

Vc. arco

Cb.

I had n’t been there for years and years.

He or dered cham pagne.


324

Act II–Scene 2

17 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 4. open

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Unseen by Alec and Laura, two more guests seat themselves at a table in a corner of the room. These are Mary Norton and Mrs. Rolandson.)

(Alec and Laura toast each other and drink.)

L.J. 3

3

I pro tes ted, of course.

We talked

Alec:

and laughed.

Or di nar y. Eas

A.H. You’re on ly mid dle aged

once!

I Vn. II

Va. non div.

Vc. pizz.

Cb.

y.


325

Act II–Scene 2

24 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc. 2

Cel.

Hp.

D

(Alec gets up and pulls back Laura’s chair for her. She walks down towards the audience as Alec crosses to the maitre d’ to settle the bill.)

L.J. But how could it be me?

How could it be him?

He was charm ing,

and clev er,

and fun ny,

and sweet,

I Vn. ( )

II pizz.

Va.

Vc.

Cb.

and he


326

Act II–Scene 2

31

1.

1 2 6

Fl.

6

3

1 Ob. 2 (1.)

Cl. in B

a2

2.

1 2 leggiero

Bs.Cl.

1.

Bn.

1 2

(2.)

1 2 Hn. in F

(4.)

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

B A

E

Hp.

3

L.J. made me feel the same.

I was the same.

I

want ed to feel like that for

ev

er.

I

want ed him to feel it

I Vn.

pizz.

II arco

pizz.

Va. pizz.

Vc. (pizz.)

Cb.

too,

to

want

me

as I


327

Act II–Scene 2

38

a2

1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2 3 with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Mary Norton and Mrs. Rolandson have got up from their table upstage and hurry up to Laura.)

L.J. want ed him.

Mary Norton:

M.N. 3

Lau

ra!

It was you

af ter all.

Her

Mrs. Rolandson:

M.R. Mis ses Jes son.

3

I

3

said

it

was her.

6

3

6

3

6

3

6

6

3

6

3

6

3

6

I Vn.

arco 3

II

div. (pizz.)

Va. (pizz.)

Vc. (pizz.)

Cb.

mi

o

ne knew you right a way,


328

Act II–Scene 2

42 1 2 Fl. 3

1 Ob. Oboe

2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F

3.

3 4

1. with straight mute

Tpt. in C

2. with straight mute

1 2 with straight mute

3 (straight mutes)

Tbn.

1 2 (3. straight mute)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura shakes hands with them both.)

M.N. but you know

how

fright ful ly blind

I

am.

I peered

M.R. 3

Blind as

a

bat.

I Vn. II (div.)

unis. col legno battuto

Va. col legno battuto

Vc. col legno battuto

Cb.

and peered

but could n’t be sure.


329

Act II–Scene 2

47 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

2.

1 2

1 2 3 4 2. remove mute

Tpt. in C

1 2 remove mute

3 remove mutes

Tbn.

1 2 (3.)

3. remove mute

Bs.Tbn. Tba.

Timp.

1 Perc.

Med. Trgl.

2

Cel.

Hp.

(Laura looks around for Alec, but he is still with the maitre d’.) Laura:

L.J. I

nev er e ven saw you.

How dread ful. It must

be

the cham pagne.

I’m

3

not used to cham pagne for lunch or for din ner.

But Al ec in sist ed.

M.N. Cham pagne.

M.R. Cham pagne.

6

6

6

6

6

6

6

6

I

Vn. II

ord.

pizz.

div., ord.

pizz.

Va.

Vc. pizz.

Cb.


330

Act II–Scene 2

Slower 53 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1. (straight mute)

1. remove mute

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

(Laura is panicking inside but manages to look Mary in the eye and brazen it out.)

L.J. Al ec Har vey.

Sure ly Ma ry,

you re mem ber the Har veys.

3

I’ve known them for years. hesitantly

M.N. Al ec who, dear?

I don’t think I’ve ev er.

M.R. Al ec

who?

Slower I Vn. II arco

Va. arco (div.)

Vc. arco

Cb.


331

Act II–Scene 2

59 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2. open

1. open

4. open

3. open

1 2 Hn. in F 3 4 open

Tpt. in C

a2

1 2 open

3 1. open

Tbn.

2. open

1 2 3. open

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

L.J. 3

He’ll be here in a mo ment.

3

Peer at him close ly.

You’re sure to re mem ber him.

He’s a dear.

M.R. He looked ver y charm ing

3

and ver y at ten tive.

pizz.

I Vn.

pizz.

II

pizz.

Va.

pizz.

unis.

Vc. pizz.

Cb.

A ver y nice man,


332

Act II–Scene 2

65 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 3

Bs.Cl.

Bn.

Hn. in F

a2

1 2

1 2 3 4

Tpt. in C

1 2

3 1.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec joins the group downstage.) 3

L.J. and

a

3

ver y good doc tor.

Al ec, my dear, you re mem ber Mis ses Nor ton.

Mary:

M.N. It’s

Alec: (spoken)

A.H. I’m arco

I

Vn.

arco

II

Va.

Vc.

Cb.

a fraid I...

no use,

Lau

ra.


333

Act II–Scene 2

70 1 2 Fl. 3

1 Ob. 2 1. solo

Cl. in B

1 2

3

6

Bs.Cl.

(a2)

Bn.

Hn. in F

1 2

1 2 3 4 1 2

Tpt. in C 3 (1.)

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. How ab surd.

I was sure

he and Ma de leine were there when you

dined with us

late

last

year.

M.N. We’ve nev er met be fore in

our lives.

pizz.

arco

pizz.

arco

(pizz.)

arco

I

Vn. II

Va.

div. (pizz.)

arco

unis., pizz.

Vc. arco

Cb.

pizz.

3

6


334

Act II–Scene 2

75 1 2 Fl. 3

1 Ob. 2 (1. solo)

Cl. in B

1 2

6

6

solo

6

6

6

Bs.Cl. a2

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

a2

Tbn.

1 2 (3.)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F

(Mary shakes her head in bemusement while Alec pretends to see the funny side of Laura’s forgetfulness. Laura glances at Mrs. Rolandson.)

(Alec shakes Mrs. Rolandson’s hand.)

(There is a distinct and uncomfortable pause as no one can think of anything to say. Then...)

L.J. I’m so sor ry. Al ec, dear,

this is Mis ses Ro land son.

Mrs. Rolandson: (spoken, overlapping)

(sung)

M.R. Alec: (spoken)

How do you do?

A.H. How do you do?

I Vn. II

Va.

Vc. (pizz.)

Cb.

Hor rid weath er, is n’t it?


335

Act II–Scene 2

80 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

2.

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Another uncomfortable pause, more agonising than the last, with Laura desperately trying to think of something to say.) Mary:

M.N. We real ly must be go ing.

M.R. But we can’t ex pect spring all the year round,

can we?

A.H. Yes.

No.

No, we can’t.

I Vn. II

Va.

Vc. (pizz.)

Cb.

I’m

off to see the in laws.


336

Act II–Scene 2

86 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(Mary shakes Laura’s hand.) Laura:

L.J. Good bye.

M.N. Her mi o ne is join ingme.

Good bye,Doc tor Har vey.

Good bye, good bye, Mis ses Jes son.

Good bye, my dear.

M.R. Mor al sup port!

A.H. Good bye.

I Vn. II

Va. arco

Vc. (pizz.)

Cb.

arco

div.

I


337

Act II–Scene 2

90

1.

2.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (1.)

Tpt. in C

1 2

3 1.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C G

Hp.

(Mary and Mrs. Rolandson leave, Mrs. Rolandson looking back at Laura as she goes. Laura takes a deep breath. Alec, too, is a little shaken.)

L.J. That was aw

ful,

aw

ful!

M.N. do so en vy you

and your cham pagne.

M.R. Cham pagne.

A.H. Nev er mind.

I Vn. II

Va. unis.

Vc.

Cb.

unis. div.


338

Act II–Scene 2

97

2.

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura looks away and speaks quietly, under her breath.)

L.J. They were watch ing us,

watch ing us

all through lunch.

They’re my friends.

Our friends.

A.H. For get

it.

I know,

I Vn. II div.

Va.

Vc. pizz.

Cb.

al sord.

I know.


339

Act II–Scene 2

Slower

105 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

2.

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Slower L.J. Cham pagne.

A.H. It was n’t ver y

clev er,

es pe ci ally the

cham pagne.

We’ll walk up the riv er

I Vn. II

Va. al sord.

Vc.

(pizz.)

Cb.

al sord.

and clear our heads,

the two of us

a lone,

just

as we should be.


340

Act II–Scene 2

112

2.

1 2 Fl.

to Piccolo

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

2.

1 2

1 2 Hn. in F 3 4 1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

DCB EFGA

Hp.

al sord.

I Vn.

al sord.

II

Va.

Vc. arco, con sord.

Cb.


341

Scene 3: Eden Lock Picc.

Fl.

1 2

1 Ob. 2 2.

Cl. in B

6

1 2

6

6

6

Bs.Cl.

3

2.

Bn.

3

3

3

3

3

3

3

1.

3

3

3

3

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. 3

3

3

1 Perc.

Lg. Sus. Cym., soft mallets

2

Cel.

Hp.

(Alec and Laura stand on the bridge over Eden Lock. The music is driving and churning. Laura looks around her.)

I Vn. II unis., con sord.

6

6

Va. con sord. 6

6

6

6

Vc. 6

6

(con sord.)

Cb. 3

3

3

3

3

3

3

3

3

3

3

3


342

Act II–Scene 3

4 Picc.

Fl.

1 2

1 Ob. 2 (2.)

Cl. in B

1. 6

1 2

6

6

6

6

6

Bs.Cl. (1.)

Bn.

3

3

3

3

2.

3

3

3

3

3

3

3

3

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. 3

3

3

1 Perc.

(Lg. Sus. Cym.)

2

Cel.

3

Hp.

3

3

Laura:

L.J. 3

We

stood on

the bridge

at

E

den

Lock,

the

I Vn.

con sord. 6

6

6

6

II

(con sord.) 6

6

Va. 6

6

6

6

(con sord.)

Vc. 6

3

6

3

3

3

3

3

3

3

3

3

3

3

(con sord.)

Cb. 3

3

3

3

3

3

3

3


343

Act II–Scene 3

7 Picc.

Fl.

1 2

1 Ob. 2 2.

Cl. in B

6

6

6

6

1 2

Bs.Cl.

3

1.

Bn.

3

3

3

3

3

3

1 2 3

3

stopped a2

1 2 Hn. in F

stopped a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D A

Hp.

3

3

3

3

L.J. riv

er

3

teem ing with Au

con sord. 6

tumn

rain,

clouds

6

6

6

rac

3

ing

a bove

our heads,

6

I

Vn.

pizz.

arco

II

pizz.

Va. 3

3

3 3

3

Vc. 3

3

Cb. 3

3

3

3

3

pizz.

3

3


344

Act II–Scene 3

10 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

2.

1 2

Bs.Cl.

Bn.

1 2

(stopped)

1 2 Hn. in F

(stopped)

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

3

3

3

3

3

3

3

3

3

3

3

3

L.J. wa

ter

roar

ing

be

neath

our

feet.

via sord.

I Vn. II

(pizz.)

Va. 3

Vc. (pizz.)

Cb.

3

3

3


345

Act II–Scene 3

Slower

12 Picc. fltg.

Fl.

1 2 1

Ob. 2 Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(stopped)

1. open

1 2 Hn. in F

(stopped)

3 4

Tpt. in C

1 2 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

l.v.

(Laura shivers. Alec puts his arm around her. He raises his voice to be heard over the roar of the water.)

L.J. No.

Alec:

No.

A.H. Are you cold?

Slower

senza sord.

I Vn.

via sord.

senza sord.

II arco, senza sord. via sord.

Va.

div., senza sord. via sord.

Vc.

via sord.

Cb.

arco, senza sord.

Hap py?

Tell me,

please,

I have to know.


346

Act II–Scene 3

16

Piccolo

Picc. 3

a2

Fl.

1 2 3

1 3

Ob. 2

3

Cl. in B

1 2

Bs.Cl.

Bn.

1 2 a2 2. open

1 2 Hn. in F

3. open

4. open

a2

3 4 1.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

gl.

D C B E F G A

Hp.

gl.

L.J. Tell

you...

Yes,

it’s true.

A.H. It’s the same for you

as

it

is for me.

The

o ver whelm ing need

I

have

to

be

with

you.

I

3 10

Vn. II 3 10

Va. 3

(div.)

unis.

Vc. 3

Cb.


347

Act II–Scene 3

20 Picc. 3

a2

Fl.

1 2 3

1 3

Ob. 2

3

Cl. in B

a2

3

1 2

3

3

Bs.Cl.

a2

Bn.

1 2 3

3

3

(a2)

1 2 Hn. in F

(a2)

3 4 (1.)

1. to straight mute

3

2.

1 2 Tpt. in C 3

a2

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp. Glock.

1 Perc.

Crash Cymbals

B.D.

2

Cel.

gl.

Hp.

(Laura cries and Alec puts his arms more closely around her. The music rises again.)

D C B E F G A

(Laura looks down at the river churning away below them.)

L.J. 3

I stood on a ship

I

3

at the

edge of the world,

3

Vn. II 3

Va. 3

Vc. 3

Cb.

3


348

Act II–Scene 3

25

to Flute

Picc.

Fl.

1 2 1

Ob. 2 Cl. in B

1 2 3

Bs.Cl.

a2

Bn.

1 2

3

3

3

1 2 Hn. in F

4.

3 4 1. with straight mute

1. remove mute

3

1 2

1. open

Tpt. in C 3

Tbn.

1 2 3

Bs.Tbn. Tba.

3

(optional 8ba)

Timp. (Glock.)

B.D. 3

1 Perc.

Tamtam

2

Cel.

Hp.

(The lights fade on them as the scene changes.) 3

3

L.J. 3

3

the deck plung ing be neath my

feet,

thun der

roar ing

o ver my

head,

and I fell

with the

o cean in to the sky.

I Vn. II

Va. 3

3

3

3

Vc.

Cb.


349

Scene 4: The Station Platform 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3

2.

Tbn.

1 2

3.

Bs.Tbn. Tba.

Timp. Mar.

1 Perc.

S.D., brush

2

Cel.

D C B E F G A

Hp.

ĂŠtouffĂŠ

(The station platform. Alec and Laura stand waiting together. The sound of a train approaching.) Laura:

L.J. 3

This is your train. I

I

Vn.

I

II

div., col legno battuto

unis., pizz.

Va.

div., col legno battuto

unis., pizz.

Vc. div., pizz.

Cb.


350

Act II–Scene 4

8 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 2. with straight mute

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

A

Hp.

(Alec speaks without looking at Laura.)

L.J. The flat?

Alec:

A.H.

3

I’m not

I Vn. II (pizz.)

Va.

div. (pizz.)

Vc.

(div., pizz.)

Cb.

go ing to take

it.

I’m

go ing to the flat.

To

Ste phen’s flat.

I

have the keys.


351

Act II–Scene 4

16 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

6

6

6

6

6

6

6

6

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

6

6

6

6

Cel.

6

6

6

Hp.

3

L.J. A lec...

No.

A lec, I can’t.

A.H. He won’t be back

’til late.

Come with me.

Come with me.

I Vn.

div.

II arco

Va. arco (div.)

Vc.

arco (div.)

Cb.

unis.

3

I must go home.

6


352

Act II–Scene 4

22 1 2 Fl. Flute

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 1. with straight mute

1 2 Tpt. in C

with straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Sm. Sus. Cym., rubber mallets

2 molto

Cel.

Hp.

D C B E F G A

D

(Alec takes out a little notebook and writes in it.)

L.J. I

must go home.

No,

no.

I won’t be there.

A.H. I’m

go ing to the

flat.

3

I’ll wait for you there.

Here’s the ad dress.

I’ll

wait for you.

I’ll div.

I Vn.

unis.

div.

II div.

Va.

unis.

Vc.

Cb.

div.

wait for you


353

Act II–Scene 4

29 1 2 Fl. to Piccolo

3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

3

1 2 Hn. in F

3

3 4 a2

Tpt. in C

1.

1 2

3

with straight mutes

to straight mutes

Tbn.

1 2 3. to straight mute

3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc.

(Sm. Sus. Cym.)

2

Cel.

Hp.

(Alec tears a page out of the book. Laura turns and looks at him. He speaks tenderly.)

A.H.

3

wheth er

or not.

If

I Vn. II

unis.

Va.

Vc.

Cb.

you de cide

not to come,

then I’ll know you need ed

time to find your heart.


354

Act II–Scene 4

37

Rapid and nervous

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2 sim.

stopped

a2

1 2 sim.

Hn. in F

stopped

a2

3 4 sim.

a2

1 2 Tpt. in C 3 2.

Tbn.

1 2

3.

Bs.Tbn. Tba.

Timp.

1 Perc.

2 Tom-toms

S.D.

2

Cel.

Hp.

(Alec tucks the page of the notebook into Laura’s handbag. She doesn’t move. He turns and quickly goes without looking back. Laura watches him go, then turns back, moving towards the edge of the platform. She looks at her watch and then up at the station clock. She peers down the track and then walks up and

down the platform, agitated. She stops as she hears a train approaching. The train gets closer and closer, finally arriving in a cloud of smoke and steam, the window-lights slowly flashing across Laura’s face.)

Rapid and nervous unis.

div.

unis.

div.

I Vn. II

Va.

unis.

pizz.

arco

pizz. arco

Vc.

div.

Cb.

unis., pizz.


355

Act II–Scene 4

accel. 44

Piccolo

Picc.

Fl.

3

1 2

3

1 3

Ob.

to English Horn

3

2

Cl. in B

1 2 solo

Bs.Cl.

Bn.

1 2

3

(a2)

1 2 Hn. in F

3

(a2)

3 4

3

1. solo

1 2

remove mutes

3

3

Tpt. in C

remove mute

3 3

remove mutes

Tbn.

1 2

3

remove mute

Bs.Tbn. Tba. 3

Timp. Xyl.

1 Perc.

3

(S.D.)

2 3

Cel.

Hp.

(The train stops. Laura picks up her things and moves toward the train. A guard’s whistle blows, and the engine blasts a hiss of steam onto the platform. Laura suddenly stops, undecided. We hear banging doors and whistles, and the train slowly pulls out of the station, Laura standing stock-still, watching it go.

As the sound of the train recedes into the distance, Laura turns and moves to a phone box on the platform. She picks up the receiver and holds it against her chest, breathing deeply, composing herself. She dials, waits, and when the phone is answered, she puts money into the slot.)

accel. unis.

I 3

Vn.

unis.

II 3

Va. 3

pizz.

Vc. 3

arco

Cb.

3

div., arco


356

Act II–Scene 4

52 Picc. 1.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

open

1 2 Hn. in F

open

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. 3

Fred? Is that you?

3

It’s me,

3

Lau ra.

Ev ’ry thing’s fine,

I

Vn. II

0

pizz.

0

Va.

unis., pizz.

Vc.

pizz.

Cb.

but I

shan’t be home in time for


357

Act II–Scene 4

59 Picc. 1.

Fl.

1 2

Ob.

1

English Horn

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura looks round, imagining her story as she tells it.) louder

L.J. din ner.

I Vn. II

Va.

Vc.

Cb.

I’m with Miss Lew is,

the li brar i an

la dy.

I can’t ex plain,

be cause she’s here

right out

side the tel e phone box.


358

Act II–Scene 4

65 Picc. 1.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

a2

(1.)

Bn.

1 2

1 2 Hn. in F 3 4

open

to straight mutes

open

to straight mute

open

to straight mutes

1 2 Tpt. in C 3

Tbn.

1 2 3. open

3. to straight mute

Bs.Tbn. Tba.

Timp.

Chimes

1 Perc.

Lg. Sus. Cym., rubber mallets

B.D.

2

Cel.

Hp.

(As she talks on, the music rises, drowning out her words. As Laura hangs up the phone, lights come up on Fred, the telephone receiver still in his hand. He looks perplexed. Laura turns back onto the platform. She is shaking.)

L.J. Her moth er’s ill,

I Vn. II

arco

Va. arco

Vc. arco

Cb.

and she’s got her self in an aw ful state.


359

Act II–Scene 4

71 Picc.

Fl.

1 2

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura takes a breath, turns and walks quickly out of the station as the lights change to...)

L.J. Eas

y

to

lie

when

you know

that you’re trust ed.

So

non vib.

I Vn.

div., non vib.

II

Va.

Vc.

Cb.

eas y,

so

de grad ing.


360

Scene 5: The Jessons’ Sitting Room Slower

Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4 with straight mutes

1 2 Tpt. in C

with straight mute

3

with straight mutes

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F

(...the Jessons’ sitting room. Fred hangs up the phone and sits down in his accustomed armchair by the fire. The clock on the mantle is just audible. Fred glances at the crossword.)

(Fred looks over at Laura’s empty chair.)

Fred:

F.J. Four teen down.

Six

let ters,sec ond let ter “G...”

Does n’t make sense...

Lau ra,

Slower non vib.

I Vn.

unis., non vib.

II non vib.

Va. div., non vib.

Vc. non vib.

Cb.

you’ve gone a

long, long way a way.

Where are you?

I fear I know.


361

Act II–Scene 5

8 Picc.

Fl.

1 2

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

1. remove mute

1 2 Tpt. in C

(straight mute)

3

Tbn.

(straight mutes)

remove mutes

3. (straight mute)

3. remove mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Woodblocks, Xyl. mallets

2

Cel.

C F

Hp.

(The clock ticks on the mantle. Fred consults his crossword again.)

F.J. But

I can’t bear...

I can’t bear to be

lieve it.

Five a cross,

I Vn.

pizz.

II

div., pizz.

Va. unis.

Vc.

Cb.

eight

let ters.

Twelve

down,


362

Act II–Scene 5

15 Picc. 1. solo

Fl.

1 2 7

7

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 open

Tbn.

1 2 3. open

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

F.J. third let ter “D.”

Noth ing makes sense.

What wasthat?

On ly the clock.

Lau ra

I Vn.

arco

II

unis. (pizz.)

Va.

Vc.

Cb.

div., arco


363

Act II–Scene 5

21 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

G

(Silence. Fred holds his breath for a moment, controlling his feelings.)

F.J. with out

you

there’s noth ing.

No words,

no mu sic,

no clock,

no time.

I must not fear

I Vn. II unis.

div.

Va.

div.

Vc. div.

Cb.

unis.


364

Act II–Scene 5

28 Picc.

1.

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2 dolce

1.

1 2 Hn. in F

dolce

3 4

Tpt. in C

1 2

3 1.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

A

Hp.

C A

E

F.J. or let the emp ti ness

I Vn. II (div.)

Va.

Vc.

Cb.

grow in side me.

If

I should lose

you,

if you should lose your self,

if the chil dren lose their


365

Act II–Scene 5

34 Picc. a2

Fl.

1 2 3

1 Ob. 2 a2

Cl. in B

1 2

3

Bs.Cl.

(1.) a2

Bn.

1 2

(1.)

1 2 Hn. in F

3.

3 4 1. open

1 2 Tpt. in C

5

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F.J. 3

moth er,

and I

my

wife,

my

life would

be

noth ing.

This

is

what

I

know.

gl.

I

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vn. gl.

II

unis.

Va. unis.

Vc.

Cb.


366

Act II–Scene 5

39 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(a2)

Bn.

Hn. in F

1. solo

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F.J. But

if

I

lose my

faith

in you,

my love is worth

noth ing,

your love for me

1 solo

tutti, div.

1 solo

tutti, div.

I Vn. II

1 sola

tutte, div.

Va.

1 solo 1 solo

Vc.

Cb.

tutti, div.


367

Act II–Scene 5

46 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

F.J. on

ly

a mem o

ry.

This

is

what

I

know.

unis.

I Vn.

unis.

II unis.

Va. unis.

Vc.

Cb.

I

must not lose my faith.

I

will trust

you

Lau

ra.


368

Act II–Scene 5

53 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The light fades on Fred, and come up on...)

(The clock ticks on the mantle.)

F.J.

3 3

Trust ing

in

si

lence,

si

lence and kind

3

3

ness,

si

lence and watch ful

ness,

si

lence and

hope.

al sord.

I Vn.

al sord.

II

Va. 4 soli

Vc.

Cb.


369

Scene 6: The Station Refreshment Room Picc. 1.

Fl.

1 2

1 Ob. Oboe

2 1.

Cl. in B

1 2

6

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3 to straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(...the station refreshment room. It is nearly closing time, and the room is only half lit. Beryl is behind the counter draping muslin cloths over the crockery and cake-stands.) con sord.

I Vn.

con sord.

II al sord.

Va. al sord.

Vc.

Cb.

6


370

Act II–Scene 6

9 Picc.

Fl.

1 2

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Stanley appears through a door upstage.) Beryl:

3

Ber. You made me jump!

Stanley:

Near ly.

I’ve got to get home.

Stan. Hal lo!

Near ly done?

See you round the back? con sord.

I Vn.

con sord.

II

con sord.

Va. con sord.

Vc.

Cb.


371

Act II–Scene 6

17 Picc.

Fl.

1 2

1 Ob. 2 1.

(2.)

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Stanley goes out. Beryl continues with her work, but now more hurriedly. Laura comes in through the outside door and approaches the counter. She looks pale and desperate.)

(Beryl thinks for a very brief moment.)

Ber. Moth er

’ll

be wait ing.

Yeah,

all

right.

Stan. C’ mon,

what’s fif teen min utes?

I Vn. II

Va. div.

Vc. pizz.

Cb.


372

Act II–Scene 6

24 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Beryl draws off a measure of brandy and puts the glass on the counter.) Laura:

L.J. A glass of bran dy,

please.

I

see

you are, but...

sullenly

Thank you.

Ber. We’re

(con sord.)

I Vn.

(con sord.)

II

div. (con sord.)

Va. (div., con sord.)

Vc.

Cb.

unis.

clos ing.

Three Star?

Ten

pence, please.


373

Act II–Scene 6

30 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura pays for the brandy.)

(Beryl heaves a sigh of frustration.)

L.J. Do

you have some pa

per

and an en ve lope?

Please,

I Vn. II

Va.

unis.

Vc.

Cb.

it’s im

por

tant.


374

Act II–Scene 6

37 Picc. a2

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

a2

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Beryl disappears for a moment and returns with paper and an envelope. Laura takes them to one of the tables and settles down to write a letter. Beryl watches her for a few moments.)

(Beryl waits for a few seconds longer then slips out the same way Stanley went. Laura falters in her writing, then breaks down and buries her face in her hands. Alec enters in a feverish rush.) Laura:

L.J. Yes, I know.

Ber. We’re clos ing

in

a

mo ment.

Well, fif teen min utes.

(con sord.)

non div.

via sord.

(con sord.)

non div.

via sord.

I Vn. II (con sord.)

div.

via sord.

Va. div. (con sord.)

via sord.

Vc. arco

Cb.


375

Act II–Scene 6

Stormy 43 Picc.

a2

Fl.

1 2

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

1.

1 2 Hn. in F

3.

3 4 a2, with straight mutes

Tpt. in C

1 2

3 a2, with straight mutes

Tbn.

1 2 3. (open)

Bs.Tbn. Tba.

Timp. S.D.

1 Perc. 2

Cel.

Hp.

(Alec enters in a feverish rush. He looks hopelessly around for a moment before seeing her.)

Stormy senza sord.

I

Vn.

senza sord.

II

unis., senza sord.

Va. unis., senza sord.

Vc.

Cb.


376

Act II–Scene 6

47 Picc. (a2)

Fl.

1 2

1 Ob.

to English Horn

2

(a2)

Cl. in B

a2

1 2

Bs.Cl.

(a2)

Bn.

Hn. in F

1 2

1 2 3 4 (a2, straight mutes)

Tpt. in C

1 2

3 (a2, straight mutes)

Tbn.

1 2 (open)

3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc.

Sm. Sus. Cym.

2

Cel.

Hp.

Laura:

L.J. Please

Alec:

go

a

way.

A.H. Thank God,

my

dar ling.

I

I Vn. II

Va.

div.

Vc.

non div.

Cb.

can’t

let

you

go.


377

Act II–Scene 6

52 Picc.

Fl.

1 2

Ob.

1 English Horn

E.H.

a2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Alec sits down beside Laura.) with great force

L.J. You must.

I

A.H.

3

Not like this.

I Vn. II

Va.

Vc.

Cb.

How

can you be

so

cruel,

so dread ful ly cruel?

feel

ut

ter

ly

de grad

ed.


378

Act II–Scene 6

58 Picc.

Fl.

1 2

Ob.

1

E.H. 1.

Cl. in B

2.

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

C F G

Hp.

A.H. It

I Vn. II

Va.

Vc. div.

Cb.

was

an

ac

ci

dent.

He came back ear

ly.

He does n’t know

you.


379

Act II–Scene 6

64 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

1 2 Tpt. in C

(straight mute)

3

(straight mutes)

Tbn.

1 2 3. with straight mute

Bs.Tbn. Tba.

Timp. Xyl.

1 Perc. 2

Cel.

C B

Hp.

Laura:

L.J. I

A.H. He nev er saw

you.

I Vn. II pizz.

Va. unis., pizz.

Vc.

unis., pizz.

Cb.

heard

your

voic

es

in the

oth

er

room.

I crept

down the stairs

like a


380

Act II–Scene 6

70 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

S.D.

2

Cel.

E A

Hp.

L.J. pros

ti tute.

He laughed, I’m sure.

A.H. Don’t say

I Vn. II

div., arco

Va.

div., arco

Vc.

arco

Cb.

unis.

that.

Don’t think that.

Both of you laughed

and


381

Act II–Scene 6

75 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 a2

1 2 Tpt. in C 3

1. (straight mute)

Tbn.

2. (straight mute)

2. remove mute 1.

3. (straight mute)

remove mute

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Med. Sus. Cym.

2

Cel.

Hp.

L.J. talked me o ver like men

of the world.

That’s me.

A.H. 3

Not

I Vn. II unis.

Va. div.

Vc.

Cb.

you.

We on ly

spoke

of

a

name less

wom

an,

3

3

a wom an who does n’t ex ist.


382

Act II–Scene 6

82 Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4 remove mutes

open

remove mute

open

1 2 Tpt. in C 3 1. remove mute 2. open

(1.)

Tbn.

1. open

1 2 3. open

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc.

(Med. Sus. Cym.)

2

Cel.

Hp.

D

L.J. 3

That’s who I am.

Why not

A.H. No,

I Vn. II

Va.

Vc.

Cb.

no.

tell him?

3

Tell him the truth.

You and I

are lov ers,

shame ful, se cret lov ers,

with

no where else

to

go,


383

Act II–Scene 6

89

solo

to Flute

Picc.

Fl.

1 2

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3 (1.)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. us

ing

his

flat

like

a

broth

el,

ter

ri

fied

of

be

ing found out.

A.H. Lau

ra...

Lau ra,

I cresc.

Vn. II

cresc.

Va. cresc. (div.)

Vc. cresc.

Cb. cresc.

stop!


384

Act II–Scene 6

94 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

a2

Bn.

a2

1 2

a2

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2 3 2.

Tbn.

a2

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

DCB EFGA

Hp.

gl.

L.J. It’s true, don’t you see?

A.H. It’s not true.

We know the truth.

You and I

are

I (cresc.)

Vn. II

(cresc.)

Va. (cresc.) (div.)

Vc. (cresc.)

Cb. (cresc.)

unis.

div.

unis.

lov ers,


385

Act II–Scene 6

101 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2)

1 2 Hn. in F

(a2)

3 4 (open)

1 2 Tpt. in C 3

1.

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. 3

Oth

A.H. deep, a

I Vn. II

Va.

Vc.

Cb.

bid

ing

lov

ers,

and

noth

ing

else

mat

ters.

er things mat

ter.

Self re spect

mat ters,


386

Act II–Scene 6

107 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2 to straight mute

3 1.

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A

L.J. and

de

cen

cy

and

trust.

I

can’t go

on.

I

can’t go

on.

A.H. Could you real

I Vn. II

Va.

Vc.

Cb.

ly

say

good bye,


387

Act II–Scene 6

113 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 2. to straight mute

1 2 Tpt. in C 3 to straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

very forcefully

L.J. 3

Yes!

If

on ly you would

help

me.

A.H. not

see

me

an

y

7

6

6

more?

IV 3

I 7

Vn.

7

6

6

IV 3

II 7

III

Va. 6

6

7

3

7

Vc. 7

7

div.

Cb.


388

Act II–Scene 6

118 1 2 Fl. 3

Ob.

1

E.H.

2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

E

(Alec looks at her for a few moments, unsure of what to say. When he sings, it is with the utmost simplicity and sincerity...)

(...and then with great force—matching Laura’s.)

A.H. I

love you,

Lau

ra.

I

shall love you al

ways,

till the

end of

my

life.

And all the

I

Vn. II

Va.

div. a2

unis.

Vc.

unis.

Cb.

pizz.

arco


389

Act II–Scene 6

126

1.

a2

1 2 Fl. 3

Ob.

1

E.H. cresc. 2.

Cl. in B

1 2 cresc.

Bs.Cl. cresc.

Bn.

a2

1 2

a2

1 2 Hn. in F

a2

3 4 1.

1. to straight mute

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc. 2

Cel.

Hp.

A.H. shame

the world

can force

up on us

can nev er change the truth

of

what

I

feel.

But now

I Vn. II

pizz.

Va. pizz.

Vc. pizz.

Cb.

arco

I know


390

Act II–Scene 6

132 1 2 Fl.

Flute

3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1. straight mute

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H.

3

this

I Vn. II

Va.

Vc.

Cb.

is the be gin ning of

the

end,

not

the end

of

me

lov ing you,

but the

end

of

our

be

ing

to

geth

er.


391

Act II–Scene 6

138 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

A

Hp.

(Alec reaches out a hand and touches her face. She looks back at him, exhausted, drained of all emotion.) Laura:

L.J. Ver y well.

Not quite

yet.

A.H. But not yet,

please,

not quite yet.

I

Vn. II

div.

Va. arco

Vc.

arco

Cb.

div.

unis.


392

Act II–Scene 6

145 1 2 Fl. 3

Ob.

1 to Oboe

E.H.

1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A.H.

3

3

This is the face of the wom an

I love.

This is the mouth.

These are the eyes.

How can I bear

div.

I Vn.

div.

unis.

II div.

Va.

div.

Vc.

(div.)

Cb.

unis.

unis.

to leave these eyes,


393

Act II–Scene 6

152 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F

3.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

E

(Alec turns away from Laura.)

(A train bell sounds on the platform and a muffled announcement, scarcely audible. Beryl enters from upstage, slightly dishevelled, her lipstick smudged.)

Laura: faintly

L.J. A way?

Please, not quite yet.

A.H. griev ing,

griev ing, but I

must.

I know I

must.

I’m

3

go ing a way.

Not yet. 1 solo

I Vn.

1 solo

II

div.

unis.

1 sola

Va. 1 solo

Vc. 1 solo

Cb.

tutti


394

Act II–Scene 6

159 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

Hp.

(Alec takes a bank note out of his wallet and gives it to her. Stanley has appeared upstage behind her.)

Beryl: Ber. I’m a fraid it’s clos ing time.

I shall have to lock up.

I Vn. II tutte pizz.

tutti pizz.

Vc.

tutti pizz.

Cb.

div.

div.

unis.

unis.

div.unis.

div.

unis.


395

Act II–Scene 6

168 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Mar.)

1 Perc. 2

Cel.

C

Hp.

F

(Beryl looks round at Stanley, who smiles back at her.)

Ber. Ten more min utes, then.

I’ll switch off the lights ’case some one

Alec:

A.H. Thank

I Vn. II

Va.

Vc.

Cb.

you.

thinks we’re o pen.


396

Act II–Scene 6

175 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Beryl goes behind the counter and turns out the lights before exiting upstage with Stanley. The room is now lit from a shaft of light coming in from the platform. Alec returns to Laura at the table.)

Ber. You won’t touch noth ing?

A.H. Please do.

Not a thing. tutti

I Vn. II

arco

div.

unis.

Va.

div., arco unis.

3

Vc. 3

arco

Cb.

div.


397

Act II–Scene 6

182 1 2 Fl. 3

1 Ob.

Oboe

2

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. Where?

A.H.

3

Prom ise

me.

I Vn. II unis.

div.

Va. 3

Vc. 3

Cb.

3

How ev er un hap py you are,

unis.

3

you’ll meet me next Thurs day.

At

E den Lock.

In the af ter noon.


398

Act II–Scene 6

188 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

1 2 Hn. in F 3 4 with straight mutes

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

L.J. 3

I prom ise.

A bout

go ing a way?

Where are you go

A.H. 3

Two o’ clock.

I

want to ex plain.

Yes. 1 solo

div.

I gli altri, unis.

Vn.

div.

unis.

II 1 sola div.

Va. le altre, unis.

Vc.

Cb.

ing?

Where can you go?


399

Act II–Scene 6

194 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C F

Hp.

(Alec looks at Laura for a moment, hesitating, then commits himself to telling her.)

A.H. 3

I’ve

tutti

I Vn. II tutte

Va.

Vc.

pizz.

Cb.

been of fered a

job.

I

was

n’t go

ing

to

tell

you.


400

Act II–Scene 6

200 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1.

Hn. in F

1 2 3 4 (straight mutes)

Tpt. in C

1 2

3 straight mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. Where?

A.H. I

was n’t go ing

to

take

it.

But

now

I can see

I have no choice.

A long way a

1 solo

I Vn. II 1 sola

Va.

Vc. arco

Cb.

way.


401

Act II–Scene 6

207 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

1 2 Hn. in F 3 4

1 2 Tpt. in C

with straight mute

3 2.

1.

Tbn.

1 2 (open)

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. Al ec...

You don’t need to

go,

not so far a

3

way

so far a

A.H. South Af ri ca.

My broth er lives out there, tutti

I Vn. II

Va.

Vc.

Cb.

a doc tor, like me.

He’s o pen ing a

hos pi tal,


402

Act II–Scene 6

215 1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. way,

don’t go for

me.

If you want

if you want to

go

op por tun

ty

then you

A.H.

must

go.

Ev ’ry thing you’ve dreamed of...

3

and he wants me with

him.

It’s a per fect

i

to

prac tice my craft.

Ev ’ry thing

I Vn. II tutte

Va. div.

Vc.

Cb.

I’ve

dreamed of


403

Act II–Scene 6

222 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

1.

Tbn.

2.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I

un der stand.

A.H. since I

was a

boy.

I have n’t told

I Vn. II

Va. unis.

Vc.

Cb.

an

y one.

Not e ven Ma de

leine.

I could n’t bear the


404

Act II–Scene 6

Più mosso

230

1.

1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

1 2

1 2 Hn. in F 3 4 (straight mutes)

Tpt. in C

1 2 (straight mute)

3 (2.) (straight mutes)

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura looks away, her eyes filling with tears.) 3

L.J. I can not bear the thought

of los ing you.

When will you go?

That’s ver y soon.

A.H. thought

of los ing you.

In

two weeks’ time.

Ver y soon.

Più mosso I Vn. II

Va. div. a2

Vc.

Cb.

Tell me to say.


405

Act II–Scene 6

238 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 a2

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E FGA

Hp.

3

L.J. Your broth er needs you,

and you want to go.

A.H. 3

All you have to do

3

is tell me to stay,

and I’ll stay here with you.

I’ll

I Vn. II non div.

Va. non div.

(div. a2)

Vc. div.

Cb.

unis.

do


406

Act II–Scene 6

244 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (a2)

Bn.

1 2

3

(a2)

3

(a2)

3

1 2 Hn. in F 3 4 a2

Tpt. in C

1 2

3 remove mutes

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Glock.

1 Perc.

B.D.

2

Cel.

8va

8va

8va

8va

D C B E F G A

Hp.

(The bell on the platform rings, and the loudspeaker announces the train for Ketchworth.)

(Laura gets up from the table and moves out onto the platform. Alec follows.)

L.J. That’s

un kind of

you,

my dar ling.

That’s my train...

A.H. 3

what

ev er you say. non div.

I

Vn.

non div.

II

non div.

Va. (non div.)

div.

unis.

Vc. 3

Cb.


407

Act II–Scene 6

251 1 2 Fl. 3

1 Ob.

to English Horn

2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura stops and looks back at Alec.)

L.J. I’m not an gry.

I’m noth ing.

Just

ti red.

A.H. 3

You’re an gry with me?

I Vn. II

Va. unis. 4 soli

tutti, div.

Vc. 3

div.

Cb.


408

Act II–Scene 6

1.

258 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D

3

L.J. For give you for

what?

A.H. For

I Vn. II

Va.

Vc.

1 solo

Cb.

give

me.

For

ev

’ry thing.


409

Act II–Scene 6 1.

265 1 2 Fl. 3

Ob.

1

English Horn

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

B F

Hp.

B F

A.H. 3

For give me

for meet

ing you,

for

tak ing the piece of grit

from your eye.

I Vn. II

Va. div.

Vc. tutti, unis.

Cb.

(div. a2)


410

Act II–Scene 6

271 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

slow motor

1 Perc. 2

Cel.

B E

Hp.

A.H. For give me

for

lov

ing you,

for

caus ing you such mis er

y and pain.

I Vn. II

Va.

(div.)

div. a3, pizz.

Vc.

pizz.

Cb.


411

Act II–Scene 6

277

1.

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2 sub.

Bs.Cl. sub.

Bn.

1 2 sub.

Hn. in F

1 2 3.

3 4

Tpt. in C

1 2

3 open

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

Vib.

1 Perc. 2

Cel.

C F

Hp.

C G

Laura:

L.J. For give me

for

meet

ing you,

for

3

hav ing a piece of grit

in my

eye.

For

give me,

for

give me

for lov ing you,

A.H. For give me

I sub.

Vn. II

sub. pizz.

arco

Va. unis., arco

Vc. 3

Cb.

for lov ing you,


412

Act II–Scene 6 1.

283 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

(straight mutes)

1 2 Tpt. in C

(straight mute)

3 2.

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., fast motor

motor off

1 Perc. 2

Cel.

C G

Hp.

G

sur la table

C

normale

(We hear the sound of a train arriving as the lights fade on the scene.)

L.J. for caus ing you such

mis

er

y

and

pain.

for caus ing you such

mis

er

y

and

pain.

I

will for give you

if

you

will

for

give

me.

A.H.

I Vn. II

Va.

Vc. arco

Cb.


413

Scene 7: The Jessons’ Sitting Room and Eden Lock 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

C B E G

Hp.

(Laura moves back to her chair in the Jessons’ sitting room. She picks up some sewing from the basket beside her chair and holds it in her lap. Fred sits in the other chair. He is reading a book. He is very aware of Laura, but shows no sign of it to her. The clock ticks on the mantle.

(Laura looks down at the sewing in her lap as if trying to make sense of it. She makes a few stitches but suddenly stops, distracted. Fred glances up from his book for a moment, but she doesn’t notice. The lights intensify on Laura as she sings her thoughts. Her expression remains detached, as if she was in a trance.)

Laura:

L.J. A

wom an

is

sit ting

in

a

qui et room.

How long

I Vn. II

Va. div.

Vc.

Cb.

unis.

has she been there?


414

Act II–Scene 7

7 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

L.J. Hours

and

years.

A

I Vn. II

Va. div.

Vc. div.

Cb.

unis.

man

is with her,

read ing

a

book.


415

Act II–Scene 7

13 1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. How

long

has he been there?

Al

ways.

The wom an is wait ing

to

see

her

lov er

be fore she parts from him

al sord.

I Vn. II div.

unis.

Va.

Vc.

div.

Cb.


416

Act II–Scene 7

19 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred sings very gently to himself, scarcely looking up from his book.)

L.J. 3

for

ev

er.

How can it

be

the man

does n’t know

that thewom an he mar ried

is

a

strang er? Fred:

F.J. Lau ra,

I Vn.

al sord.

II al sord.

Va. unis.

Vc.

unis.

Cb.

al sord.

Lau ra,

Lau ra.


417

Act II–Scene 7

26 1 2 Fl. 3

Ob.

1 to Oboe

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Fred stays in focus at the side of the stage as Laura moves to join Alec at Eden Lock.) (Alec and Laura stand on the bridge over the lock. Laura stares ahead of her blankly. Alec looks down the river, surveying the scene.)

(Laura doesn’t react. Alec closes his eyes. They stand for a long time in silence.) Fred:

F.J. As the

Alec:

days go

by

A.H. It’s calm to

day. con sord.

I Vn.

con sord.

II con sord.

Va. 4 soli

tutti al sord.

tutti, div., con sord.

Vc.

con sord.

Cb.


418

Act II–Scene 7

32 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. I want to

F.J. You grow a

way from me.

Lau

A.H. Lau ra

my dear

I

(con sord.)

I Vn.

(con sord.)

II (con sord.)

Va. (div., con sord.)

Vc. (con sord.)

Cb.

love

you

with all my heart, with all my

soul.

ra

die,

if


419

Act II–Scene 7

38 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2 dolce

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. on

ly

I could die.

Yes,

I know.

I want to

be

re mem bered too.

F.J. I want to

A.H. If you died,

you’d for get me.

I want to

be

re mem bered.

1 solo

I gli altri

Vn. II

Va.

1 solo

Vc. gli altri, div.

Cb.

gli altri, unis.

be

re mem bered


420

Act II–Scene 7

44 1 2 Fl. 3

1 Oboe

Ob. 2

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

1. solo

Hn. in F

1.

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(They stand together in silence as the lights fade on the scene.)

L.J. Al

ways,

al

ways,

Al

ways,

Al

ways

3

to

the

end

3

of

my

days.

F.J. To

A.H.

(1 solo) (con sord.)

Al

ways

3

to

3

the

end

of

my

days.

tutti, div.

I div.

Vn.

(con sord.)

II (con sord.)

Va. (1 solo) (con sord.)

Vc. (con sord.)

Cb.

tutti, div.

be

re

mem bered

al ways,

al

ways.


421

Scene 8: The Station Refreshment Room 1 2 Fl. 3

1 Ob. 2 2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 remove mutes

Tpt. in C

1 2 remove mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(Myrtle is busy behind the counter. Albert sits on a stool at the counter watching her. He gently waves his empty tea cup at her. She studiously avoids noticing him. Laura and Alec are sitting in silence at their accustomed table, two cups of tea in front of them. Everything is exactly as it was in the first scene.) Myrtle:

M.B. Well,

Albert:

A.G. Are n’t you go ing to of fer me an

via sord.

I Vn.

via sord.

II via sord.

Va. via sord.

Vc. via sord.

Cb.

oth er cup of tea?

Mis ter God by,

if it’s just a cup of tea,


422

Act II–Scene 8

7

a2

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 open

1 2 Tpt. in C

open

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

M.B. you can have one

and

wel come.

Ber

yl

will take care

of you.

A.G. I’d rath er you took care of

I Vn. II

Va. div., senza sord.

Vc. senza sord.

Cb.

me.


423

Act II–Scene 8

14

a2

1 2 Fl. 3

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2 to straight mute

3 1. to straight mute

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Trgl.

1 Perc.

S.D.

2

Cel.

Hp.

(Myrtle gives Albert a significant look.)

M.B. Time

and tide

wait

for

no

man,

Mis ter

God by.

Time

and tide.

Time and tide.

unis., senza sord.

I

unis., senza sord.

Vn. II

Va.

Vc.

Cb.


424

Act II–Scene 8

21 1 2 7

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(As Myrtle disappears into the back room of the bar, Albert turns and surveys the refreshment room where Alec and Laura are still sitting silently at their table.)

I Vn. II

Va.

Vc.

Cb.

(Suddenly, Dolly Messiter comes into the room laden with packages and bags. She sees Laura from across the room.)


425

Act II–Scene 8

27 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

a2

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

sur la table

Hp.

(Dolly makes a beeline for Laura’s table. As she starts chatting, Albert takes a furled-up newspaper from his pocket and starts to read.) Laura: (dazed)

L.J. Dol

Dolly:

ly...

D.M. 3

Lau ra, my dear!

3

What a

love ly sur prise!

I’ve shopped un

til

I Vn. II

senza sord.

Va.

unis., sul pont.

Vc.

pizz.

Cb.

I’m drop ping!

My

feet are near ly

fall ing off. My throat’s com plete ly parched.

I


426

Act II–Scene 8

32 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

Hn. in F

1 2 3 4 2. with straight mute

1 2 Tpt. in C 3 2.

Tbn.

2. to straight mute

1 2 3. to straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura and Alec look at her in mute misery as she rattles on, dumping her parcels down next to their table.)

D.M. near ly

had

a

cup

of

tea

at

Spin dle’s in

the mar ket,

but

sud den

ly

was ter

ri

fied I’d

miss my

I’m

u su al train.

I Vn. II

Va. ord.

Vc. (pizz.)

Cb.

al ways miss ing trains and


427

Act II–Scene 8

37 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (2.)

1 2 Tpt. in C

with straight mute

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

sur la table, secco

D.M. be

ing late for meals,

and

Bob gets dis

a

gree

a

ble for

days and days on end.

He’s been

get ting his

I Vn. II

Va. sul pont.

Vc. arco, sul pont.

Cb.

dread ful, split ting

head aches once

a gain,

and he


428

Act II–Scene 8

rit.

42 1 2 Fl.

to Piccolo

3

1 Ob. 2

2.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 (straight mutes)

1 2 Tpt. in C

(straight mute)

3 with straight mutes 2.

Tbn.

1 2 gl.

gl.

3. with straight mute

Bs.Tbn. Tba.

3. remove mute

gl.

gl.

Timp.

1 Perc.

S.D.

2

Cel.

Hp.

normale

(Dolly flops herself down.) Laura:

L.J. This is Doc tor

D.M. won’t

see

a

doc tor, though I

bul

ly

him

no

end.

Oh

dear.

rit. I Vn. II

Va. div., pizz.

unis., arco

Vc. pizz.

Cb.

arco


429

Act II–Scene 8

Poco meno

48 Picc.

Fl.

1 2

1 Ob. 2 1. solo

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., very soft mallets, slow motor

1 Perc. 2

Cel.

Hp.

(Dolly sizes up Alec for a brief moment before starting in again.)

L.J. Har vey.

D.M. How do you do...

Would you be

Alec:

A.H. How do you do!

Poco meno I Vn. II

Va.

Vc.

Cb.

a per

fect

dear

and pop and


430

Act II–Scene 8

55 Picc.

Fl.

1 2

1 Ob. 2

2.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. get

my cup

of

tea?

I

don’t think

I could drag

my

bones

all

the

way

to the

count

I Vn. II pizz.

Va. div.

Vc.

Cb.

er.


431

Act II–Scene 8

61 Picc.

Fl.

1 2

1 Ob. 2 (2.)

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Dolly offers him money, but he waves it away as he moves over to the counter.)

(Dolly waxes conspiratorial.)

D.M. Here...

Lau

ra,

my

dear,

what a

nice look

ing

man.

Who on

earth can

he

be?

You’re a

ver y dark horse.

Alec:

A.H. No, please...

I Vn.

div.

II pizz.

arco

Va. unis., pizz.

Vc.

pizz.

Cb.

I

shall


432

Act II–Scene 8

71 Picc. 1.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2 Tuba

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A

(Laura tries to conjure up a smile but doesn’t quite manage it. She glances instead at Alec, coming back from the counter with Dolly’s tea.)

D.M. tel e phone Fred

just

see

if

I

don’t

and make a bit of

mis

chief.

What

luck!

pizz.

I Vn.

unis., pizz.

II

(pizz.)

Va.

arco

Vc. (pizz.)

Cb.

pizz.

You know you look


433

Act II–Scene 8

80 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 2.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

3

D.M. fright ful ly well, my dear.

I Vn. II arco

Va.

Vc.

Cb.

I

do wish

I’d known

you were

com ing to

day.

We could have come to geth er

and had

a

good

gos sip.

I

a


434

Act II–Scene 8

85 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3.

3 4 (straight mutes)

remove mutes

1 2 Tpt. in C

(straight mute) remove mute

3

1. straight mute

Tbn.

1 2 2. straight mute

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

A

(Alec puts the cup of tea in front of Dolly. Dolly carries on without drawing breath.)

(There is the sound of a bell on the platform and a distant loudspeaker announces the train for Churley.) Laura:

L.J. There’s your train.

D.M. bom

i

nate

shop ping

by

my

self...

Oh,

thank you

ver

y much.

I Vn. II

Va. (pizz.)

Vc. (pizz.)

Cb.

arco


435

Act II–Scene 8

90 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

1 2

stopped

1 2 Hn. in F

stopped

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. Are n’t you com ing with

Alec:

us?

A.H. 3

Yes,

I know.

No...

I Vn. II sul pont.

Va. sul pont.

Vc. arco

Cb.

I

go

in

the

op

po site

di rec

tion.


436

Act II–Scene 8

95 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl. 1.

Bn.

1 2

stopped

1 2 Hn. in F

stopped

3 4

Tpt. in C

1 2

3 (straight mutes)

Tbn.

remove mutes

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. Doc tor Har vey

D.M. Oh,

I

see.

arco, martellato

I

Vn.

arco, martellato

II ord.

Va. ord.

Vc.

Cb.

is

go

ing out

to

Af

ri

ca next week.


437

Act II–Scene 8

99 Picc. a2

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(We hear the sound of Alec’s train approaching.)

D.M. How thrill ing.

Alec:

A.H. I

I Vn. II

Va.

Vc.

Cb.

must

go.


438

Act II–Scene 8

103 Picc.

Fl.

1 2 1

Ob. 2 Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

a2, open

1 2 marc.

Hn. in F

a2, open

3 4 marc.

1. open marc.

2. open

1 2 Tpt. in C

open

3

open

Tbn.

1 2 3. open

Bs.Tbn. Tba.

Timp. Xyl.

marc.

1

Perc.

Crash Cymbals

Lg. Sus. Cym.

2

Cel.

DCB EFG A

Hp.

(Alec shakes hands with Dolly, looks at Laura swiftly once and then, passing behind her, he gives her shoulder a little squeeze.) 3

L.J. Yes,

you

must.

Good

A.H. Good

I Vn. II

Va.

Vc.

Cb.

bye.

bye.


439

Act II–Scene 8

108 Picc.

Fl.

1 2 1

Ob. 2

a2

Cl. in B

1 2

Bs.Cl.

a2

Bn.

1 2

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

Vib., hard mallets

1

Perc.

Lg. Sus. Cym.

2

Cel.

Hp.

(The train is heard rumbling into the station. Alec leaves the tea room and goes out onto the platform. Laura gazes after him as he disappears into the smoke and steam of the platform.) 3

3

L.J. 3

The touch of his hand,

3

a mo ment of time

fro zen.

Then he walked a

I Vn. II

Va.

Vc. div.

Cb.

way

out of my


440

Act II–Scene 8

115 Picc.

Fl.

1 2

1 Ob. 2

a2

Cl. in B

1 2

Bs.Cl. a2

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc.

(Lg. Sus. Cym.)

Sm. Sus. Cym.

2

Cel.

Hp.

(As Dolly chatters on, Laura turns her back and stares out blankly into the auditorium. The music slowly rises over Dolly’s chat.)

L.J. life

for

ev

er.

Dolly:

D.M. 3

He’ll have to run

3

or he’ll miss the train.

He’s

I Vn.

martellato

II

martellato

Va. pizz.

Vc. unis.

Cb.

got

to

get

right


441

Act II–Scene 8

120 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

(a2)

Bn.

1 2

1 2 Hn. in F 3 4

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Chimes

1 Perc. 2

Cel.

Hp.

L.J. 3

Lis ten,

D.M. 3

o ver the bridge

to

plat form

one.

I 3

Vn. II div.

3

Va. div., arco

Vc. div.

Cb.

lis ten for the sound of

his

train


442

Act II–Scene 8

125 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

2.

1 2 Hn. in F

4.

3 4 1.

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. leav ing.

D.M. Talk ing of

I Vn. II

(div.)

unis.

(div.)

unis.

Va.

Vc. unis., pizz.

Cb.

miss ing a

train

my

dear...


443

Act II–Scene 8

129 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

6

3

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

D.M. That

I Vn. II

Va.

Vc.

Cb.

aw

ful bridge at

Broad

ham

Junc tion,

you have to go

traips ing

up

one

side,

a

long

the

top,

and

down the

oth

er,

and

all

the


444

Act II–Scene 8

133 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

2.

Bn.

Hn. in F

1 2

1 2 3.

3 4 1 2 Tpt. in C 3

to straight mutes

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(A whistle blows as Alec’s train rumbles out of the station.) Laura:

L.J. I

D.M. way

3

o ver to plat form three.

I Vn. II

Va. div.

Vc.

arco

Cb.

pizz.

mag ine

he

did n’t

go.


445

Act II–Scene 8

138

Piccolo

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

with straight mutes

Tbn.

remove mutes

1 2

Bs.Tbn. Tba.

Timp. Xyl.

1 Perc. 2

5

Cel.

5

5

5

5

5

Hp.

(Dolly starts to apply lipstick to her chattering mouth.)

L.J. 3

He could n’t go.

He’s com ing back,

3

all the way o ver from plat form

one.

D.M. Just last week I’d been o ver to

I Vn. II

Va.

Vc.

Cb.

talk

to

Bob’s

5 5

so lic i tor.


446

Act II–Scene 8

144 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 1.

Tpt. in C

1 2

3

3

cresc.

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

5

Cel.

5

5

5

5

5

5 5

Hp.

D.M. Such

a

trek

I

div., pizz.

Vn. II

Va.

Vc.

Cb.

just to re

new

the

lease

of

the house.

And I got to the

sta

tion

ex

act ly a

min

ute

be

fore

the


447

Act II–Scene 8

148 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1. solo

1 2 Hn. in F 3 4 1.

2.

1 2 Tpt. in C 3

open

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. Please,

I

beg you, please come back to me.

spoken

D.M. train was

due

to

leave.

My dear, I flew. Through the gate and over the bridge before I saw the

I Vn.

unis., arco

II

Va.

unis.

Vc.

arco

Cb.


448

Act II–Scene 8

153 Picc.

Fl.

1 2

1 Ob. 2 a2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 2.

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Glock.

1 3

Perc.

3

B.D.

2

Cel.

D C B EF GA

Hp.

3

3

L.J. 3

To

see him

a

gain,

just

for

an

in

stant.

3

Just once

D.M. train

was

waiting

at

platform

five.

I 3

3

3

3

3

Vn. II 3

div.

Va. div.

Vc.

Cb.

more.


449

Act II–Scene 8

159 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4 to straight mutes

Tpt. in C

1 2

3 2.

Tbn.

1 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bs.Tbn. Tba.

Timp.

Xyl.

1 3

3

Perc. 2

Cel.

Hp.

(sung)

D.M. 3

And I’d bought a

3

3

I

shade

for the lamp in the hall

at

3

3

3

Hack ett and Dicks.

3

An e nor mous thing,

3

3

II

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

Va.

3 3

o ver it.

3

3

unis. 3

see

3 3

3

3

ly

3

3

Vn. 3

I could hard

3

3

3

3

pizz.

arco

pizz.

div., arco

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

Cb. 3


450

Act II–Scene 8

163 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2 3.

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

Laura:

L.J. 3

I

3

can not bear...

D.M. 3

Nev er the less, I

I Vn. II

Va.

Vc.

Cb.

had to go

3

o ver the bridge a

gain

in a ter ri ble

frizz.

I

near ly knocked a wom an for six.

With the shade

I

mean.


451

Act II–Scene 8

168 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 to mutes

3 4 a2, with straight mutes

remove mutes

1 2 Tpt. in C 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., motor off

1 Perc. 2

Cel.

Hp.

(The station bell rings, and we hear the distant sound of a train approaching. Dolly turns to Laura.)

(Laura looks blankly ahead of her, as Dolly gets up and moves to the counter.)

L.J. I

can not bear to feel this pain.

D.M. By the time I got home,

3

it was bat tered to bits.

Is that our train?

non vib.

I Vn.

non vib.

II

sul pont.

ord.

non vib.

Va.

div., sul pont.

ord.

unis., non div., non vib.

Vc. unis., non div., non vib.

Cb.

Can you tell me,


452

Act II–Scene 8

174 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

2.

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3. muted

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Mar.

1 Perc. 2

Cel.

Hp.

(to herself)

L.J. The ex press.

D.M. is

this the train

for Ketch worth?

Myrtle: spoken

M.B. No, that is the express.

I Vn. II

Va. (non div.)

Vc.

Cb.

Oh yes, the boat train.


453

Act II–Scene 8

180 Picc.

Fl.

1 2

1 Ob. 2 1.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 4. muted

remove mutes

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Mar.)

1 Perc. 2

Cel.

Hp.

(As the sound of the train grows louder, Laura suddenly jumps to her feet and, unseen by Myrtle and Dolly, rushes blindly out onto the platform.) (to herself)

L.J. The boat train.

D.M. This one does n’t stop here,

does it?

(sung)

M.B. This one does n’t stop.

I Vn. II

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

pizz.

Cb.


454

Act II–Scene 8

185 Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

6

6

6

6

6

6

6

6

1 2

Bs.Cl.

a2

Bn.

1 2 6

6

6

6

a2

1 2 Hn. in F

open

3 4 open

Tpt. in C

1 2 3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

Lg. Sus. Cym., rubber mallets

2

Cel.

DCB EFGA

Hp.

(The express goes through with a deafening roar. The smoke and steam from the train obscure Laura for a brief moment. As it clears we see her again swaying on the edge of the platform, the lights from the express streaking past her face.) 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

div.

I Vn. II

div.

div.

Va.

div.

Vc. 6

6

6

6

div. (pizz.)

arco

Cb. 6

6

6

6

a2


455

Act II–Scene 8

188

to Flute

Picc.

Fl.

1 2

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 sub.

Hn. in F

a2

3 4 sub.

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc.

(Lg. Sus. Cym.)

2

Cel.

Hp.

(Suddenly, the lights stop and the sound of the train dies away into the distance.)

I Vn. II

Va.

Vc.

Cb.


456

Scene 9: The Jessons’ Sitting Room 1 2

Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The Jessons’ sitting room. Fred sits quietly in his chair. The clock ticks on the mantle.) Laura:

L.J. Fred,

unis.

I 6

Vn.

unis.

II 6

unis.

6

Va. 6

unis.

6

6

Vc. 6

unis.

Cb. 6

6

6

Fred,

oh

Fred,

I

meant to

do

it.

I

real

ly meant to

do

it.


457

Act II–Scene 9

6 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I

stood there

trem

6

non div.

I 6

Vn.

6

6 6

non div.

II 6

div.

6

6

unis.

Va. non div.

Vc. div.

Cb.

non div.

bling,

right

on

the edge.


458

Act II–Scene 9

10 1 2 Fl. 3

1 Ob. 2

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

L.J. I

could

n’t

I

could

n’t

do

it.

IV 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

I feroce

Vn.

IV

II feroce

Va. feroce unis.

Vc. feroce

Cb.


459

Act II–Scene 9

14 1 2 Fl.

Flute

3

1 Ob.

to English Horn

2

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura sits.)

L.J. Then,

just in time,

I stepped back.

Was it

you

that stopped me?

3

You and the chil dren?

No.

I Vn.

div.

II

Va.

Vc.

Cb.


460

Act II–Scene 9

21

1.

1 2

3

Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

1.

Bn.

1 2

open

2.

3

open

4.

3

1 2 Hn. in F 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Glock.

1 Perc. 2

Cel.

E A

Hp.

L.J. 3

No,

it was n’t.

I had no thoughts at

all.

No thoughts. For you.

For them.

For him.

Just the de sire,

I

Vn.

(div.)

unis.

II

div.

unis.

Va. div.

Vc.

Cb.

3

the

o

ver whelm ing de sire,


461

Act II–Scene 9

27

Slower

rall. (1.)

1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl. 1. solo

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(The lights change as Laura moves back to her chair in the library. Fred is sitting quietly in his chair. The clock ticks on the mantle. Laura and Fred are both very still. Laura stares into space, and Fred watches her very closely.) 3

L.J. not to

be un hap py

an y more.

Fred:

F.J. Lau ra!

Slower

rall. I Vn. II

Va. unis.

Vc.

Cb.


462

Act II–Scene 9

34

1.

1 2 Fl. 3

Ob.

1

E.H. 1.

Cl. in B

1 2

Bs.Cl. 1.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(She doesn’t answer. He moves over to her chair, kneels down beside her and touches her hand. Laura turns her head slowly and looks at him.) (spoken)

L.J. Yes?

F.J. Lau ra!

3

What ev er your dream was,

it was n’t ver y hap

I Vn. II div.

Va. 1 solo

Vc. 2 soli

Cb.

py,


463

Act II–Scene 9

40 1 2 Fl. 3

Ob.

1 English Horn

E.H.

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(sung)

L.J. No.

Yes, my dear.

Yes,

you

al

ways

help.

F.J. was it?

Is there some thing I can

1 solo

I Vn.

1 solo

II

1 sola

Va.

Vc.

Cb.

do

to help?

Lau ra, you’ve been a long, long


464

Act II–Scene 9

47

a2

1 2 3

Fl. 3

Ob.

1 3

E.H.

1.

Cl. in B

1 2 3

Bs.Cl.

Bn.

1 2

a2

1 2 Hn. in F

a2

3 4 1. solo

Tpt. in C

1 2 lontano

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

D C B E F G A

Hp.

(Fred moves in closer to her and quietly rests his face against her hand.)

(Laura looks down at him, tears in her eyes.)

L.J. 3

Yes.

A long way

F.J.

a

way.

a

way.

3

way

a

way.

A long way

Thank you,

3

Thank you for com ing back to

me.

tutti div. (1 solo)

unis.

I 3

tutti div.

Vn.

(1 solo)

unis.

II 3

(1 sola)

tutte

div.

(1 solo)

tutti

div.

Va.

Vc.

tutti

Cb.


465

Act II–Scene 9

54 1 2 Fl. 3

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl.

Bn.

1 2

(a2)

1 2 Hn. in F 3 4

Tpt. in C

3

(a2) 3

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. Vib., slow motor

1 Perc. 2

Cel.

D B E F

Hp.

(Fred looks up at her, not daring to understand.)

(Fred nods in mute agreement as Alec’s voice echoes in the darkness.)

L.J. I want to

be

re

mem bered

al

ways,

al

ways. Alec:

A.H. Al

I Vn. II

Va. unis.

Vc.

Cb.

ways,


466

Act II–Scene 9

62 1 2 Fl. 3

Ob.

1

E.H.

Cl. in B

1 2

Bs.Cl.

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

Hp.

(Laura looks up as Alec’s voice fades farther and farther away.)

L.J. Al

ways

to

the

ways,

al

ways,

end

of

my

days.

dim.

A.H. al

ways,

al

ways,

al

ways,

al

ways,

al

ways,

al

al

I Vn. II

Va. 1 solo

Vc. 1 solo

Cb.

ways,

al

ways.


467

Act II–Scene 9

71 1 2 Fl. 3

Ob.

1

E.H. 1. solo

Cl. in B

1 2

dim.

Bs.Cl.

dim.

Bn.

Hn. in F

1. solo

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp.

1 Perc. 2

Cel.

Hp.

(Laura holds Fred closely to her.)

L.J. I

want to

I dim.

Vn. II

dim. 1 sola

Va. tutti

Vc.

Cb.

be

re

mem bered

to the end

of

my

days.


468

Act II–Scene 9

78 1 2 Fl. 3

Ob.

1

E.H. (1.)

Cl. in B

1 2

Bs.Cl. (1.)

Bn.

Hn. in F

1 2

1 2 3 4

Tpt. in C

1 2

3

Tbn.

1 2

Bs.Tbn. Tba.

Timp. (Vib.)

1 Perc. 2

Cel.

B

Hp.

(harmonics written where sounding)

(Lights slowly fade on Laura, Fred, and Alec.)

L.J.

div.

I

Vn.

div.

II unis.

tutte, div.

Va. div.

Vc.

tutti div.

Cb.

End of Opera

Previn BRIEF ENCOUNTER  

Opera and Music Theatre; score; G. Schirmer; musicsalesclassical.com; 37207

Read more
Read more
Similar to
Popular now
Just for you