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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