AndrĂŠ Previn
BRIEF ENCOUNTER Libretto:
John Caird Full Score from the G. Schirmer Rental Library date of printing ______________
G. Schirmer, Inc. New York, NY
André Previn
BRIEF ENCOUNTER Libretto:
John Caird Based upon the Play, “Still Life” by Noel Coward Copyright N.C. Avantales A.G. Also based upon the Screenplay for the film, “Brief Encounter” Screenplay by Noel Coward Copyright N.C. Avantales A.G. Commissioned by the Houston Grand Opera Premiered by the Houston Grand Opera in May 2009
G. Schirmer, Inc. New York, NY
CAST Laura Jesson......................................Mezzo-Soprano Alec Harvey................................................Baritone Fred Jesson...................................................Baritone Myrtle Bagot.............................................Contralto Albert Godby.....................................................Bass Dolly Messiter.............................................Soprano Stanley.........................................................Baritone Beryl.............................................................Soprano Doctor Graves.............................................Baritone Mary Norton................................................Soprano Mrs. Rolandson............................................Soprano Non-singing roles Maitre d’Hotel Waiter at the Royal Hotel Waitress in the Kardomah Café Porters at the Station
CONTENTS Prologue......................................................................................................................1 ACT I Scene 1: The Station Refreshment Room..................................................................5 Scene 2: A Train Compartment...............................................................................53 Scene 3: The Jessons’ Sitting Room.........................................................................71 Scene 4: The Station Refreshment Room................................................................97 Scene 5: A Milford Street........................................................................................109 Scene 6: The Kardomah Café..................................................................................127 Scene 7: Eden Lock..................................................................................................149 Scene 8: The Station Refreshment Room and Platform.........................................156 Scene 9: The Jessons’ Sitting Room........................................................................201 Scene 10: Outside the Station.................................................................................239 Scene 11: The Station Refreshment Room and Platform.......................................242 Scene 12: The Boathouse.........................................................................................261 Scene 13: The Jessons’ Bedroom...............................................................................287 Entr’acte....................................................................................................................310 ACT II Scene 1: Outside the Hospital.................................................................................313 Scene 2: The Royal Hotel........................................................................................322 Scene 3: Eden Lock..................................................................................................341 Scene 4: The Station Platform................................................................................349 Scene 5: The Jessons’ Sitting Room........................................................................360 Scene 6: The Station Refreshment Room...............................................................369 Scene 7: The Jessons’ Sitting Room and Eden Lock...............................................413 Scene 8: The Station Refreshment Room...............................................................421 Scene 9: The Jessons’ Sitting Room........................................................................456
Instrumentation Pit 3 Flutes (3rd doubling on Piccolo) 2 Oboes (2nd doubling on English Horn) 2 Clarinets in B= Bass Clarinet 2 Bassoons 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani 2 Percussion Celesta Harp Strings
On Stage in Act I, Scene 6 Piano Trio (vn/vc/pf)
duration is a full evening
BRIEF ENCOUNTER Act I, Prologue
John Caird
AndrĂŠ Previn
Andantino amabile 1 2 Flute (Piccolo)
Flute
3
1 Oboe (English Horn)
Clarinet in B
English Horn
2
1 2
Bass Clarinet
Bassoon
1 2
1 2 Horn in F 3 4 1 2 Trumpet in C 3
Trombone
1 2
Bass Trombone Tuba
Timpani
1 Percussion 2
Celesta
Harp
(A clock chimes in the darkness. The music starts.) (Lights slowly up on Laura sitting alone, her eyes closed. She breathes deeply, and then opens her eyes. She looks around and the light spreads to reveal her surroundings. She is sitting at a table in a station refreshment room. At one side of the room is a counter where Alec has just been served with two cups of tea. He carries the teas across the room and sits on the other side of the table from Laura.) (They look at each other for a few moments but say nothing. Then Laura breaks her gaze from his and reaches for her cup of tea. She starts to raise it to her lips, but her hands shake and she stops in mid-action. Alec rises to help her, but she glances at him and shakes her head. He sits back in his
chair. Laura carefully puts her cup back on the table. She then draws a deep breath and looks over at Alec once more. He looks back at her, his face drawn.) (A bell rings in the distance, and a loudspeaker makes a muffled announcement. Alec looks at his watch and then up at the station clock on the wall in front of him. Laura looks at him intently. He shakes his head.) (Albert comes in from the platform. He crosses to the counter behind which Myrtle and her assistant, Beryl, are standing. Myrtle is a buxom and imposing widow. Beryl is pretty but a little dim. As Albert talks to Myrtle, Alec and Laura sit in silence, lost in their thoughts.)
Andantino amabile I Violin
div.
unis.
unis.
div.
II div.
unis.
div.
unis.
Viola div.
unis.
Violoncello div.
Contrabass
Copyright Š 2009 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2
Act I–Prologue
10 1 2 Fl. Flute
3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
1 solo
I div.
Vn.
unis.
II
1 sola
Va. div.
1 solo
Vc.
unis.
Cb.
div.
3
Act I–Prologue
18 1 2 Fl. 3
Ob.
1 English Horn
E.H.
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
Hn. in F
1 2
3
3
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
tutti
I Vn.
1 solo
tutti
II
tutte
Va.
tutti div.
Vc.
3
1 solo
Cb.
unis.
tutti
3
4
Act I–Prologue
24
1.
rit.
solo
1 2 Fl. 3
Ob.
1
E.H.
2
Cl. in B
1 2
to Oboe
Bs.Cl. 1. a2
Bn.
1 2
3
2.
1 2 Hn. in F
4.
3 4
2., to Harmon mute, stem fully extended
1., solo (open)
1 2 2., with Harmon mute
Tpt. in C
to Harmon mute, stem fully extended
with Harmon mute
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp. Vibraphone, fast motor
1
Glockenspiel
Perc. 2
Cel.
Hp.
bisbig.
rit. 1 solo
I Vn.
1 solo
II 1 sola
Va. 1 solo
Vc.
Cb.
5
Scene 1: The Station Refreshment Room Not too slow 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
2.
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Myrtle Bagot:
M.B. Albert Godby:
Well,
well!
Mis
ter
God
3
A.G. Hul
3
lo— Hul lo— Hul lo!
Not too slow I Vn. II tutte, pizz.
arco
Va. tutti, pizz.
(pizz.)
Vc. pizz.
Cb.
arco
pizz.
by.
6
Act I–Scene 1
8 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1.
2.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Myrtle pours Albert a cup of tea.)
(bridling)
M.B. Quite the strang
er,
are
you not?
I won dered
A.G. Ah,
yes.
I could n’t get in.
Not yes ter day.
tutti, pizz.
I tutti div. pizz.
Vn. II
pizz.
Va. (non div.) (pizz.)
non div.
Vc. (pizz.)
Cb.
arco
pizz.
unis.
what could pos si bly
7
Act I–Scene 1
16 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 1. to straight mute
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(very frigid)
M.B. have de tained you.
A date!
In deed!
A.G. Yes, well, I had a date. I
had to rush off
as soon
as my shift was done.
I Vn. II arco
Va. div.
Vc.
Cb.
unis.
8
Act I–Scene 1
23 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
2.
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B.
A.G. A chap I know
is get ting wed,
so we had to have a
bit of
I Vn. II
Va. (pizz.)
div.
Vc.
arco
Cb.
pizz.
a par ty.
On ly nat u ral.
9
Act I–Scene 1
31 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 2.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. Ver
y nat u ral.
I’m sure I’ve no
A.G. What’s up with you to
day?
div. (pizz.)
I
div. (pizz.)
Vn. II
pizz.
Va.
(div., pizz.)
Vc.
(pizz.)
Cb.
i dea
to
what you are re fer ring.
10
Act I–Scene 1
37 1 2 Fl. 3
1 Oboe
Ob. 2 (1.)
Cl. in B
2.
1 2
Bs.Cl.
1.
Bn.
1 2
1. Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
2.
2. to straight mute
3.
3. to straight mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Beryl: Ber. (Myrtle:)
Mis ses Ba got?
Mis ses Ba got?
Mis ses Ba got!
M.B. (with a twinkle)
Ber yl!
Don’t gawp!
Put some coal
in the stove
and hur ry up a bout it!
A.G. A lit tle bit un friend ly, would
n’t
you
say?
I Vn. II arco
Va. (div., pizz.)
Vc. (pizz.)
Cb.
unis.
11
Act I–Scene 1
44 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
(1.)
Bn.
2.
1 2
(1.)
Hn. in F
1 2 3 4 1., with straight mute
Tpt. in C
1 2
3 1., with straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Beryl disappears into the background. Myrtle busies herself with her chores behind the counter. Albert waves his emply teacup in the air. Myrtle fixes Albert with a steely look.)
M.B. Now,
Mis ter God
by,
I
can’t stand
here
in id le gos sip all day.
A.G.
I Vn. II pizz.
Va. (pizz.)
arco
pizz.
arco
pizz.
Vc. (pizz.)
Cb.
12
Act I–Scene 1
51 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4 2. with straight mute
1 2 Tpt. in C
with straight mute
3 2. with straight mute
Tbn.
1 2 3. with straight mute
remove mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. Ac
counts
must be done
and reck on ings made.
Well,
(Albert:)
A.G. Are n’t you go ing to of fer me an
I Vn. II (pizz.)
Va.
Vc.
Cb.
oth er cup of tea?
Mis ter God by,
if it’s just a cup of tea,
13
Act I–Scene 1
58
a2
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. you can have one
and
wel come.
Ber
yl
will take care
of you.
A.G. I’d rath er you took care of
I Vn. II
Va. div. (pizz.)
Vc. (pizz.)
Cb.
me.
14
Act I–Scene 1
65
a2
1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
1. remove mute
1 2 Tpt. in C
(straight mute)
3 (straight mutes) 2. remove mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Triangle
1 Perc.
Snare Drum
2
Cel.
Hp.
(Myrtle gives Albert a significant look.)
M.B. Time
and
tide
wait
for
no
man,
Mis ter
God by.
Time
and tide.
Time and tide.
unis., arco
I
unis., arco
Vn. II
Va.
Vc.
Cb.
15
Act I–Scene 1
72 1 2 7
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(As Myrtle disappears into the back room of the bar, Albert turns and surveys the refreshment room where Alec and Laura are still sitting silently at their table.)
I Vn. II
Va.
Vc.
Cb.
(Suddenly, Dolly Messiter comes into the room laden with packages and bags. She sees Laura from across the room.)
16
Act I–Scene 1
78 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
a2
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
sur la table
Hp.
(Dolly makes a beeline for Laura’s table. As she starts chatting, Albert takes a furled-up newspaper from his pocket and starts to read.)
Dolly Messiter:
(approximate pitches)
3
Lau ra, my dear!
What a
3
love ly sur prise!
I’ve shopped un til I’m drop ping!
Laura Jesson: (dazed)
Dol ly...
I Vn. II
arco
Va. unis., arco, sul pont.
Vc. sempre pizz.
Cb.
My
feet are near ly fall ing off. My throat’s com plete ly parched.
I
near ly had a cup of tea at
17
Act I–Scene 1
84 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F 3 4 2. (straight mute)
Tpt. in C
1 2
3
Tbn.
2., open
2. to straight mute
open
3. to straight mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura and Alec look at her in mute misery as she rattles on, dumping her parcels down next to their table.)
D.M. Spin del’s in
the mar ket,
but
sud den
ly
was ter
ri
fied I’d
miss my
u su al
train.
I’m
I Vn. II
Va. ord.
Vc.
Cb.
al ways miss ing trains and
be
ing late for meals,
and
18
Act I–Scene 1
89 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (2., straight mute)
2. remove mute
(straight mute)
remove mute
1 2 Tpt. in C 3 with straight mutes
Tbn.
1 2 gliss. 3. with straight mute
Bs.Tbn. Tba. gliss.
Timp.
1 Perc. 2
Cel.
Hp.
sur la table, secco
D.M. Bob gets dis
a
gree
a
ble for
days and days on end.
He’s been
get ting his
dread ful, split ting
I Vn. II
Va. sul pont.
Vc. (pizz.)
Cb.
arco, sul pont.
head aches once a gain,
and he
won’t
see
a
doc tor, though I
19
Act I–Scene 1
rit.
94 1 2 Fl.
to Piccolo
3
1 Ob. 2
2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 open
1 2 Tpt. in C
open
3 2.
Tbn.
1 2 (3.)
3. remove mute
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
ord.
(Dolly flops herself down.)
D.M. bul
ly
him
no
end.
Oh
dear.
How do you do...
Laura:
This is Doc tor
Har vey.
Alec Harvey:
How do you do!
rit. I Vn. II
Va. div., pizz.
unis., arco
Vc. pizz.
Cb.
arco
20
Act I–Scene 1
101
Poco meno
Picc.
Fl.
1 2
1 Ob. 2 (1.)
1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vibraphone, very soft mallets slow motor
1 Perc. 2
Cel.
Hp.
(Dolly sizes up Alec for a brief moment before starting in again.)
D.M. Would you be
Poco meno I Vn. II
Va.
Vc.
Cb.
a per
fect
dear
and pop and get
my cup
of
tea?
21
Act I–Scene 1
108 Picc.
Fl.
1 2
1 Ob. 2
2.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Dolly offers Alec money, but he waves it away as he moves over to the counter.)
(Dolly waxes conspiratorial.)
D.M. I
don’t think
I could drag
my bones
all
the
way
to the
coun
ter.
Here...
Lau
ra,
my
Alec:
No, please...
I Vn.
div.
II pizz.
arco, non div.
Va. div.
Vc.
pizz.
Cb.
dear,
what a
22
Act I–Scene 1
116 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. nice
look
ing
man.
Who on
earth
can
he
be?
You’re a
ver
y dark horse.
I
shall
tel
I Vn. II pizz.
Va. pizz.
Vc. (pizz.)
Cb.
arco
e phone Fred,
just
see
if
I
23
Act I–Scene 1
125 Picc. 1.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
2.
1 2
2.
1.
1 2 Hn. in F
4.
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura tries to conjure up a smile but doesn’t quite manage it. She glances instead at Alec, coming back from the counter with Dolly’s tea.) 3
D.M. don’t,
and make a
bit of
mis
chief.
What
luck!
You know you look
fright ful ly well, my dear.
pizz.
I Vn.
unis., pizz.
II arco
Va.
pizz.
Vc.
Cb.
I
24
Act I–Scene 1
132 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. do wish
I Vn. II
Va. (pizz.)
Vc. (pizz.)
Cb.
I’d known
you
were
com ing to
day.
We
could have
come to
geth
er
and
had
a
good
gos
sip.
I
a
25
Act I–Scene 1
136 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1. 2.
Bn.
Hn. in F
1 2
1 2 3.
3 4 1 2 Tpt. in C 3
1. (straight mute)
Tbn.
1 2 (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec puts the cup of tea in front of Dolly. Dolly carries on without drawing breath.)
(There is the sound of a bell on the platform and a distant loudspeaker announces the train for Churley.)
D.M. bom
i
nate
shop ping
by
my
self...
Oh,
thank you
ver
y much.
Laura:
There’s your train.
I Vn. II
Va. arco
Vc.
Cb.
26
Act I–Scene 1
141 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(2.)
Bn.
2.
1 2
stopped
1 2 Hn. in F
stopped
3 4
Tpt. in C
1 2
3 (straight mutes)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. Are n’t you
Alec:
Yes,
com
ing
with
us?
I know.
No...
I Vn. II sul pont.
Va. sul pont.
Vc. (pizz.)
Cb.
arco
I
go
3
in
the
27
Act I–Scene 1
145 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(2.)
Bn.
Hn. in F
1.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. Oh,
I
see.
Laura:
Doc tor Har vey
A.H. op
po site
di
rec
tion.
arco, martellato
I Vn.
arco, martellato
II ord.
Va. ord.
Vc.
Cb.
is
go ing out
to
28
Act I–Scene 1
149 Picc. a2
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(stopped)
open
(stopped)
open
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 remove mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(We hear the sound of Alec’s train approaching.)
D.M. How
thrill ing.
L.J. Af
ri
ca next week.
ord.
I Vn.
ord.
II
Va.
Vc.
Cb.
29
Act I–Scene 1
153 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. Yes,
Alec:
I
I Vn. II
Va.
Vc.
Cb.
must
go.
you
must.
Good
Good
bye.
bye.
30
Act I–Scene 1
157 Picc.
Fl.
1 2
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
2.
1 2 Tpt. in C 3 open
Tbn.
1 2 3. open 3.
Bs.Tbn. Tba.
Timp.
1 Large Suspended Cymbal
Perc. 2
Cel.
Hp.
(Alec shakes hands with Dolly, looks at Laura swiftly once and then, passing behind her, he gives her shoulder a little squeeze. The train is heard rumbling into the station. Alec leaves the tea-room and goes out onto the platform. Laura gazes after him as he disappears into the smoke and steam of the platform. As Dolly chatters on, Laura turns back and stares out blankly into the auditorium, her inner thoughts a mystery to us, but their music slowly rising over Dolly’s chat.) Dolly:
3
He’ll have to
I Vn.
martellato
II
martellato
Va.
Vc.
Cb.
run
3
or he’ll miss the train.
31
Act I–Scene 1
162 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. He’s
got
to
get
right
3
o ver the bridge
to
plat form
one.
martellato
I Vn.
3
II div.
Va. pizz.
Vc.
Cb.
div., arco
3
unis.
32
Act I–Scene 1
166 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
6
3
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. Talk ing of
I Vn. II
Va.
Vc.
Cb.
miss ing a
train, my
dear...
That
aw
ful bridge at
Broad
ham
Junc tion,
you have to go
traips ing
up
one
side
a
long
the
top
and
33
Act I–Scene 1
170 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3.
3 4 1 2 Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Dolly starts to apply lipstick to her chattering mouth.)
D.M. down
the
oth
er
and
all
the
way
3
o ver to plat form three.
I Vn. II
Va. (div.)
Vc.
Cb.
34
Act I–Scene 1
174
Piccolo
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
5
Cel.
5
5
5
5
5
5
5
5
5
5
5
5
5
Hp.
D.M. Just
last week I’d been
o ver to
talk
to
Bob’s
so lic i tor.
Such
a trek
I Vn.
div., pizz.
II
Va.
Vc.
Cb.
just to re
new
the
lease
5 5
of
the house.
35
Act I–Scene 1
178 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
2.
1 2
3
3
Tpt. in C
cresc.
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(spoken)
D.M. And I got to the
I Vn. II
Va.
Vc.
Cb.
sta
tion
ex
act ly a
min
ute
be
fore
the
train
was
due
to
leave.
My dear, I flew. Through the gate and over the
36
Act I–Scene 1
182 Picc.
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
3
Bs.Cl.
Bn.
1 2
3
1 2 Hn. in F
3
3 4 (2.)
1 2 Tpt. in C 3
a2
Tbn.
1 2
3
3
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura closes her eyes, shutting out Dolly’s voice, her music rising more and more intensely.)
D.M. bridge
before
I
saw
the
train
was
waiting
at
platform
five.
3
I Vn.
unis., arco
3 3
II
3
Va. (div.)
Vc.
div.
Cb.
3
37
Act I–Scene 1
187 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
2.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Tbn. Tba.
Timp. cresc. Xylophone
1 3
3
Perc. 2
Cel.
Hp.
(sung)
D.M. 3
And I’d bought a
I
3
3
shade
for the lamp
in the hall
at
3
3
3
Hack ett and Dicks.
3
An e nor mous thing
3
II
3
3
3
3
3
3
3
3
3
3
3
3 3
3
Va.
3 3
o ver it.
3
3 3
see
3
3 3
3
3
ly
3
3
Vn.
I could hard
3
3
3
3
(div.,) pizz.
arco
unis., pizz.
div., arco
3
3
3
3
3
Vc. 3
3
3
3
3
3
3
3
3
3
3
3
3
Cb. 3
38
Act I–Scene 1
191 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
3
D.M. 3
Nev er the less, I
had to go
3
o ver the bridge a
gain
in a ter ri ble frizz.
I
Laura:
I
I Vn. II
Va.
Vc.
Cb.
can not bear.
near ly knocked a wom an for six.
With the shade,
I
mean.
39
Act I–Scene 1
196 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 to mutes
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The station bell rings, and we hear the distant sound of a train approaching. Dolly turns to Laura.)
(Laura looks blankly ahead of her, as Dolly gets up and moves to the counter.)
D.M. By the time I got home,
3
it was bat tered to bits.
Is that our train? non div. non vib.
I Vn.
non vib.
II non vib.
Va.
non div. non vib.
Vc. non vib.
Cb.
Can you tell me
is this the train
for Ketch worth?
40
Act I–Scene 1
202 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
2.
1.
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3. with mute
4. with mute
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Marimba
1 Perc. 2
Cel.
Hp.
D.M. Laura: (to herself)
Oh yes, the boat train.
(to herself)
The ex press.
Myrtle: (spoken)
The boat train.
No, that’s the express.
I Vn. II
Va.
Vc. unis.
Cb.
div.
unis.
This one does n’t stop here
41
Act I–Scene 1
208 Picc.
Fl.
1 2
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 (4.)
remove mutes
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Mar.)
1 Perc. 2
Cel.
Hp.
(As the sound of the train grows louder, Laura suddenly jumps to her feet and, unseen by Myrtle and Dolly, rushes blindly out onto the platform.)
D.M. does it? (sung)
M.B. This one does n’t stop.
6
6
6
6
I Vn. II
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Va.
Vc.
pizz.
Cb.
42
Act I–Scene 1
212
to Flute
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
6
6
6
6
6
6
6
6
1 2
Bs.Cl.
a2
Bn.
1 2 6
6
6
6
a2
1 2 Hn. in F
open
a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Lg. Sus. Cym., rubber mallets
Perc. 2
Cel.
gliss.
DCB EFGA
Hp.
6
6
6
6
6
6
6
6
6
6
6
6
div.
I Vn.
div.
II
div.
Va.
div.
Vc. 6
6
6
6
div.
arco
Cb. 6
6
6
6
(The express train goes through with a deafening roar, the smoke and steam from the train completely obscuring Laura from our view.)
43
Act I–Scene 1
216 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2
3 1. to straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The sound of the train dies away.) Dolly:
Have you
a
ny choc ’late? Myrtle:
Milk or plain?
I Vn.
unis.
II
unis.
Va. unis.
Vc.
Cb.
44
Act I–Scene 1
222 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Dolly turns away from the counter to talk to Laura.)
D.M. Plain, I think.
No, milk.
No, plain.
Oh,
give me one of both.
Oh!
M.B. One milk,
one
plain. div.
I Vn.
div.
II
div.
Va.
Vc.
Cb.
Where on
earth
has she gone?
45
Act I–Scene 1
228 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1., solo
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Then the noise of the train suddenly diminishes and starts to die away into the distance. Laura walks unsteadily back into the restaurant room.)
(Albert looks up from his newspaper.)
D.M. My dear! My dear!
Albert:
I did n’t see
her
You quite
dis ap peared!
go. unis.
I Vn.
unis.
II unis.
Va.
Vc. unis.
Cb.
46
Act I–Scene 1
235 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 (4.)
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
C A
A
D.M. Laura:
What is
I want ed to see
the ex press go through.
Are you ill?
Just
I Vn. II
Va.
Vc. pizz.
Cb.
the mat ter,
3
a
lit
tle faint.
47
Act I–Scene 1
241 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura goes over to the table and Dolly helps her into a chair. The station bell sounds again and the loudspeaker announces the arrival of the Ketchworth train. Dolly moves to the counter.) 3
3
D.M. Have you
a ny
bran dy?
But sure ly if some one is feel ing
L.J. Here’s our train.
Myrtle:
It’s af ter ho urs.
I Vn. II
Va. div.
Vc. arco
Cb.
48
Act I–Scene 1
247
1.
1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
2.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. ill.
A
lit
tle sip
of
bran dy
will buck you up.
Please...
L.J. 3
Real ly, I’m fine.
M.B. Af ter
I Vn. II div.
unis., pizz.
Va. unis., pizz.
Vc.
Cb.
hours
is
af
ter
hours.
49
Act I–Scene 1
253
1.
1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
2.
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D B G
Hp.
l.v.
(Dolly pays and takes the brandy back to Laura at the table. Laura gulps down the brandy and then walks shakily out of the refreshment room towards the platform. Dolly gathers up her things and follows. Myrtle and Albert watch them go.)
(Myrtle exchanges a look with Albert before relenting.)
D.M. How much?
M.B. Oh, ver y well.
Ten pence.
Bran dy at tea time
I Vn.
cresc.
II cresc.
arco
Va. cresc. div. (pizz.)
unis., arco
Vc. cresc.
Cb.
will
50
Act I–Scene 1
259 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1. (2.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A
M.B. nev
er
do.
Bran
Albert:
She seemed a
lit
tle
shak
I Vn. II
Va. sul pont.
Vc. 1 solo, pizz.
Cb.
ord.
y,
poor dear.
dy
at
tea time
51
Act I–Scene 1
264 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 1. with straight mute
Tbn.
remove mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
sur la table
M.B. is
the
slip
p’ry slope.
Bran
A.G. That’s
a
bit
strong
I Vn. II
Va. div.
Vc. (1 solo, pizz.)
Cb.
is
n’t
it?
dy
at
tea time?
52
Act I–Scene 1
268 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Tubular Bell
1 Perc. 2
Cel.
Hp.
M.B. A
wom an
her age?
Bran dy
at
tea time?
A
ban
don
all
hope.
A.G. She was n’t old,
was
she?
div.
I Vn.
div.
II div.
Va.
(div.)
div.
Vc. (1 solo, pizz.)
tutti arco
Cb.
segue
Scene 2: A Train Compartment 1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 2. to straight mute
Tpt. in C
1 2 to straight mute
3
Tbn.
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(A train compartment. Laura and Dolly are sitting opposite each other. Dolly is talking and Laura is looking out of the window, scarcely listening to her. The train has already gathered speed and the irregular rhythm of wheels on tracks and points can be clearly made out under the music.) unis.
I Vn.
unis.
II
Va.
Vc.
Cb.
53
54
Act I–Scene 2
7
Lightly
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Dolly:
3
3
He
was
ver y
nice
look
ing.
That chap. Your friend,
Doc tor what ev er his name
was.
Laura:
Who?
Yes, he’s a nice crea ture.
Lightly I Vn.
div.
unis. 3
3
3
3
II
(div.)
unis.
Va.
unis.
div.
7
unis.
Vc. 3
pizz.
Cb.
3
div.
55
Act I–Scene 2
13
1.
2.
1 2 Fl.
Flute
3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura smiles at Dolly, but remains lost in her own thoughts.)
D.M. Have
4
you known him long?
I’ve al ways had a pas sion for
L.J. No,
3
not
ver
y long.
I hard ly know him,
real ly.
3
I Vn.
3
3
div.
II div.
Va. unis.
Vc.
Cb.
56
Act I–Scene 2
19
(2.)
(2.)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(Laura’s voice rises above Dolly’s chatter.) ad lib.
D.M. the med i
4
4
cal pro fes sion.
Not that I’m neu rot ic
4
a bout it.
Not like some wom en
I could men tion.
Re
mem
ber
Ma
ry
Norton
when
she
L.J. I
I (div.)
Vn.
unis.
div.
unis.
II (div.)
unis.
Va.
Vc. div.
arco
Cb.
wish
I could trust
you
had
that
57
Act I–Scene 2
24 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 4.
3.
3 4
Tpt. in C
1 2 with straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
3
3
Hp.
D.M. jaundice.
The
way
she
behaved
with
that
doctor
chap
of
hers.
Absolutely
scandalous!
L.J. I
wish
you were
wise.
I
wish...
I
wish...
I Vn. II
Va. (div. a2)
Vc. div.
Cb.
unis.
58
Act I–Scene 2
29 1 2 Fl. 3
1 Ob. 2
a2
Cl. in B
1 2 dolce
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F
(3.)
3 4
Tpt. in C
1 2
3 1. open
Tbn.
to straight mutes
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. So, your doc tor friend is off to dark est Af ri ca?
Is
he
mar ried?
L.J. Yes.
I Vn. II
Va.
Vc.
Cb.
Yes.
An
y chil dren?
59
Act I–Scene 2
35 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. And
are
they go ing
with him?
The
wife
and the
boys?
L.J. Yes,
two young boys.
He’s ver
y
proud of them.
Yes.
div.
I Vn.
div.
II div.
Va. (div.)
Vc.
Cb.
Yes,
they
60
Act I–Scene 2
44 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
2.
(1.)
1 2 Hn. in F
a2
3 4 2. with straight mute
1 2 Tpt. in C
(with straight mute)
3
with straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. A girl I knew, this is years ago now, went tearing off to Africa
without
a
second
thought.
Her
husband
was
in
bridges— or was it hydroponics?
L.J. are.
(div.)
unis., pizz.
I Vn.
(div.)
unis., pizz.
II
unis.
pizz.
Va.
(div.)
Vc.
Cb.
2 soli, pizz.
tutti, div. pizz.
61
Act I–Scene 2
51 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(2.)
1 2 Hn. in F 3 4 2. remove mute
Tpt. in C
1 2 remove mute
3
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. An y way she picked up
a
trop
i
cal
dis
ease.
Was it
ber
i
ber
i?
No,
it
was n’t ber
i
ber
i—
L.J. I
wish
you’d stop
talk
ing.
Talk
ing
and
pry
ing
and
try ing
to find things out.
arco
I Vn.
arco
II div., arco
Va. unis.
arco
Vc. pizz.
Cb.
arco
I wish
you were
62
Act I–Scene 2
58 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 (straight mutes)
Tbn.
1 2 (3. straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(While Dolly chatters on, Laura’s voice rises above her.)
D.M. It was thing a ma gog—
ma lar
i a.
And the so cial life there
L.J. dead.
No,
that was
sil
ly
and un kind.
But
I
wish you’d
stop
talk ing.
I Vn. II (div.)
Va. div.
Vc. pizz.
Cb.
63
Act I–Scene 2
65 1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1.
1 2
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2 (3.)
3. remove mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
D.M. is
a night mare,
ap par ent ly.
Fright ful ly pro vin cial
and
nou veau riche...
What’s the mat ter, dear?
Are you feel ing ill
a gain?
L.J. Oh... Dol ly.
I Vn. II unis.
Va.
Vc.
Cb.
No, just a lit tle
64
Act I–Scene 2
72 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4 2. open
1 2 Tpt. in C
open
3
(straight mutes) remove mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. I won’t say
L.J. diz zy.
I think I’ll close my eyes.
Just for
a mo ment.
pizz.
I Vn.
pizz.
II pizz.
Va. 2 soli, pizz.
Vc.
Cb.
an oth er word.
Have a
lit tle sleep, and you’ll feel
much
bet ter.
65
Act I–Scene 2
rall.
78
a tempo
1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
a2
1 2
Bs.Cl.
Bn.
1 2
3
1 2 Hn. in F 3 4
Tpt. in C
1 2 3 open
Tbn.
1 2 3. open
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
DC B EF GA
Hp.
G
(Laura closes her eyes and the lights fade on Dolly.)
D.M. I’ll wake you up when
we pass the ca nal.
L.J. Thanks, Dol ly.
rall.
a tempo arco
I espr.
Vn.
arco
II
arco
espr.
Va. espr.
tutti arco
3
Vc.
3 3
espr. (pizz.)
Cb.
arco
66
Act I–Scene 2
85 1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
a2
1 2 3
3
Bs.Cl.
a2
Bn.
2.
1 2 3
3
1.
a2
3.
a2
2.
1 2 Hn. in F 3 4
1.
a2
1 2 Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp. Glock.
1 Perc. 2
Cel.
D C B E F G A
Hp.
I Vn. II
Va.
Vc. 3
3
pizz.
Cb.
arco
67
Act I–Scene 2
1.
91 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
(2.)
Bn.
1.
1 2
(2.)
1.
(1.)
1.
1 2 Hn. in F
lontano 3.
3 4 (1.)
lontano 2.
1 2 Tpt. in C 3
1.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
Lg. Sus. Cym.
2
Cel.
Hp.
Laura:
L.J. 3
This
pain
can’t
last.
One day this
mis
’ry
will
be
3
a
mem o
ry.
This pain can’t
last.
Not
I Vn. II
Va.
Vc. 3
Cb.
68
Act I–Scene 2
99
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(1.)
1 2 Hn. in F
(3.)
3 4 1.
Tpt. in C
1 2
3 2.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. 3
3
e
ven
life
it
self.
Will there come a
time
when
I
can
say,
“All this
was
mad
ness?”
I 7
Vn. II 7
Va.
Vc.
Cb.
69
Act I–Scene 2
104 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
a2
1 2
Bs.Cl.
Bn.
a2
1 2
1 2 Hn. in F 3 4 a2
1 2 Tpt. in C 3
1. 2.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
Small Sus. Cym.
2
Cel.
Hp.
L.J. 3
No
let
that time nev
er
be.
I
non div.
I
Vn.
non div.
II
Va. div.
Vc. non div.
Cb.
unis.
want
to
re
70
Act I–Scene 2
110
a2
1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
1 2
Bs.Cl. (a2)
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 2.
Tpt. in C
a2: to straight mutes
1 2 to straight mute
3 (2.)
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D F A
F
L.J. mem
ber
al
ways,
al
ways,
to
the end
of
my
days.
I Vn. II
Va. div.
Vc.
Cb.
71
Scene 3: The Jessons’ Sitting Room Slowly 1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The scene changes to the Jessons’ library/sitting-room. There is a fireplace with a clock on the mantle-piece that can be heard ticking whenever there is a silence. Fred is sitting by the fire, doing a crossword puzzle.) Fred Jesson:
F.J. Sev
Slowly I Vn. II
Va.
Vc.
Cb.
en a
cross.
“Time pass ing in cor
72
Act I–Scene 3
6 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F.J. rect con ver sa tion
I Vn. II
Va.
Vc.
Cb.
by the sound of it.”
Two words, four and four.
“In cor rect con ver sa tion by the sound...
...by the sound of it.”
If “con ver sa tion”
is “talk”
73
Act I–Scene 3
11 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(He fills in the answer.)
F.J. or “tock”
by the sound of it,
then “cor rect” would be
“tick.”
So pass ing time is...
“Tick Tock.”
pizz.
I Vn.
pizz.
II pizz.
Va. unis., pizz.
Vc. pizz.
Cb.
Ve ry clev er, that.
74
Act I–Scene 3
16
1.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura emerges from the darkness upstage.)
(Fred smiles at her but there is concern in his eyes.)
(He watches her for a moment. She looks up and smiles at him.)
Laura:
L.J. Yes, dear.
Just a
lit
tle.
Chil dren a sleep?
F.J. 3
Lau ra?
arco
A
div.
lit tle bit late to night?
unis.
I Vn.
arco
II arco
Va. div., arco
unis.
Vc. arco
Cb.
75
Act I–Scene 3
22 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. As
al
ways.
F.J. Bob bie’s a sleep,
Mar ga ret is read ing.
As
al ways.
She’ll
div.
I Vn.
div.
II div.
Va. (non div.)
Vc.
Cb.
div.
unis. div.
unis.
fall
a sleep
be fore
too
long.
76
Act I–Scene 3
28 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
gliss.
D C B E F G A
Hp.
(Laura’s eyes suddenly fill with tears.)
(Laura is breathless.)
L.J. Oh, Fred.
Noth ing,
F.J. My dear, what’s the mat ter?
unis.
I Vn.
unis.
div.
unis.
II
Va.
unis.
Vc.
Cb.
div.
1 solo
noth ing.
77
Act I–Scene 3
34 1 2 Fl. 3
1 Ob. 2
(1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C
Hp.
L.J. Real ly, and tru
ly,
it’s noth
ing.
I
had
a
lit
F.J. Tell me please.
I Vn. II
Va. (1 solo)
Vc.
Cb.
tutti, div.
tle faint
ing
spell at Mil
ford
78
Act I–Scene 3
40 1 2 Fl. 3
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. 3
Sta
tion.
Yes.
F.J. A faint ing spell...?
I Vn. II
Va. unis.
Vc.
Cb.
div.
Quite id
i
ot
ic.
Dol ly was there.
Dol ly
3
Mes si
ter.
She
79
Act I–Scene 3
a little slower
46
a tempo
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred makes to go.) 3
L.J. talked and talked and talked and talked.
3
I want ed to stran gle her.
Still,
she meant to be kind.
No,
Fred,
F.J. 3
I’d bet ter call Doc tor Graves.
a little slower
a tempo div.
unis.
I Vn.
pizz.
div., arco
unis.
div.
unis.
II
pizz.
arco
Va. unis., pizz. div., arco
Vc. pizz. arco
Cb.
unis.
real ly.
80
Act I–Scene 3
52 1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F
(Fred looks at Laura for a moment then sits her in a comfortable chair by the fire.)
L.J. Real ly,
it was noth ing.
I’ll be
fine.
F.J. But a
faint ing spell...
Sit
by the fire
I Vn. II div.
Va.
Vc.
Cb.
unis.
and don’t
move a mus cle.
81
Act I–Scene 3
59 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D E F G A
Hp.
(Fred moves back to his chair.)
F
B F
(Laura forces a smile.)
L.J. What a strange i dea you have
F.J.
3
Com plete ly
re
lax.
You can help me with the cross word.
div.
I Vn.
div.
II div.
Va. div. a2
Vc.
Cb.
82
Act I–Scene 3
66 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc. 2
Cel.
Hp.
(She closes her eyes. Ho goes back to his crossword. Without looking up he addresses Laura.)
L.J. of
re
lax
a
tion.
I
F.J.
3
3
You’re a
am?
po et
ic
soul.
Help me with this...
It’s Keats:
unis.
I Vn.
unis.
II unis.
Va. unis.
Vc.
Cb.
div.
83
Act I–Scene 3
72 1 2 Fl. 3 solo
1 Ob.
to English Horn
2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(2.)
stopped
(4.)
stopped
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
Hp.
(Laura thinks for a moment.)
L.J. (spoken)
F.J. “When I
be hold u pon the
night starred face
Huge cloud y sym bols of
a
high—”
I Vn. II pizz.
Va.
unis., pizz.
Vc.
pizz.
Cb.
some thing.
Sev en let ters.
84
Act I–Scene 3
78
1.
1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1. (stopped)
open
3. (stopped)
open
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
(harmonics sound where written)
Hp.
L.J. “Ro mance,”
I think. Yes,
I’m al most sure.
“Huge cloud y sym bols of
a
high ro mance.”
(sung)
F.J. “Ro mance.”
div., non vib.
I Vn.
non vib.
II arco
Va. arco
Vc. arco
Cb.
85
Act I–Scene 3
85 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 with straight mutes
1 2 Tpt. in C
with straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Clock chime (please do not substitute Glock.)
1 Perc. 2
Cel.
Hp.
(A clock chimes the hour, echoing the opening of the opera. Lights dim on Fred and intensify on Laura.)
L.J. (spoken)
F.J. That’s right.
I Vn. II
Va.
Vc.
Cb.
It fits in with de lir
i
um.
And Ba lu chi stan.
Fred,
Fred,
dear
Fred...
There’s so much that I
86
Act I–Scene 3
92 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 1. remove mute
Tpt. in C
1 2
3 2.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. want to say to you.
If
div.
I Vn.
div.
II
Va. div.
Vc.
Cb.
on
ly
it
were some one
el
se’s
sto
ry.
You’re the
on
ly
man
in
the world
87
Act I–Scene 3
96
1.
a2
1 2 Fl. 3
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
lontano
4.
3 4 lontano 1. open
1 2 dolce
Tpt. in C 3
2.
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. with the wis
unis.
I Vn.
unis.
II
Va.
Vc.
Cb.
dom
and the gen tle ness
to
un der stand.
And you’re the on
ly man in the
world that
I
can
nev er, nev
er tell,
88
Act I–Scene 3
102
(1.)
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
3 (2.)
Tbn.
1 2 (Tuba)
3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. e ven if
I wait ed
’til the end of our days,
I Vn. II
Va. 1 solo
Vc.
Cb.
when both of
us are old,
and I told you then,
you would be hurt,
so hurt to know.
89
Act I–Scene 3
108 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
1.
Hn. in F
2.
1 2 4.
3 4 1.
1. to straight mute
1 2 Tpt. in C 3
Tbn.
1 2 (3.)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(She shuts her eyes and breathes in deeply, tightening her fist against her chest.)
L.J. And, oh, how could I hurt you?
Nev er for get.
Nev er for get.
3
I’m a hap pi ly mar ried wom an.
0
I 3
Vn. 0
II 3
Va. (1 solo)
Vc. div.
Cb.
gli altri
90
Act I–Scene 3
114 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2 sub.
Bs.Cl.
2.
Bn.
1 2
1.
2.
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3 2.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B E
Hp.
L.J. 3
You are my hus band.
3
Our chil dren are sleep ing up stairs in their beds.
div. unis.
I sub. div.
Vn.
unis.
II sub.
Va. sub. (1 solo)
Vc.
Cb.
tutti unis.
This is my life.
This is my home.
The whole of my world.
91
Act I–Scene 3
120 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. (2.)
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4 with straight mutes
remove mutes
with straight mute
remove mute
1 2 Tpt. in C 3
(2.)
Tbn.
1.
1 2 3.
Bs.Tbn. Tba.
Timp. Vib.
1 Perc. 2
Cel.
Hp.
L.J. 3
This is e nough.
No,
no.
This
was
e
nough.
Oh,
Fred—
I Vn. II
Va.
(arco)
Vc.
pizz.
Cb.
Fred—
dear
Fred...
92
Act I–Scene 3
127 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
3
Bn.
1 2 3
3
3
3
3
2.
Hn. in F
2.
1 2 3 4 open
1 2 Tpt. in C
open
3
Tbn.
1 2 3.
Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. I’ve been such
a
fool.
I’ve
3
been such a
3
fool.
I’ve
fall
en
in
love.
I Vn. II div.
Va. div.
unis. 3
Vc. arco
Cb.
93
Act I–Scene 3
133
a2
1 2 Fl. 3
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
a2
1 2
2.
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B D E
Hp.
L.J. 3
How could that hap pen
to an
or di nar y wom an
like
me?
I nev er i mag ined
div.
I Vn.
div.
II unis.
Va. div.
Vc.
Cb.
unis.
div.
3
such vi o lent feel ing
94
Act I–Scene 3
139 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. 3
could rage in the hearts
(div.)
of
or
di nar y peo ple
like
us.
How
unis.
I sub.
Vn.
unis.
II sub. div.
Va. sub. unis.
Vc. sub.
Cb.
could I
know
on that
95
Act I–Scene 3 1.
145 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
a2
1 2
Bs.Cl.
1.
Bn.
2.
1 2
2.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. or
di nar
y day
in
an
or
di nar
y place, the most
or
di nar
y place
in the
world,
that
my
life
div.
I Vn. II
unis.
Va.
Vc.
Cb.
div.
would be
changed
for
96
Act I–Scene 3
151 1 2 dim.
Fl. 3
dim.
Ob.
1 dim.
E.H. dim.
Cl. in B
1 2 dim.
Bs.Cl. dim.
Bn.
1 2
1.
a2
2.
3.
a2
4.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
A
Hp.
L.J. ev
er,
for
ev
er,
by an or
di nar y
man
like
him?
unis.
I Vn. II unis.
Va.
Vc. div.
Cb.
div.
unis.
97
Scene 4: The Station Refreshment Room
a2
1 2 Fl. to Piccolo
3
Ob.
1
E.H. a2
Cl. in B
1.
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3 to straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(As the lights change to reveal the refreshment room at Milford Junction Station, we follow Alec as he walks across the room to the tea counter. Laura crosses from the previous scene and sits at a table, a cup of tea in front of her. She gets a book from her handbag and starts to read. A number of small parcels lie on the floor beside her chair. Alec turns from the counter upstage, a cup of tea in his hand, and walks past Laura’s table. She glances up at him before returning to her book. He doesn’t notice her at all. He sits down at a separate table a few yards away. Myrtle Bagot and Beryl are both behind the counter. Albert Godby is lolling against it, sipping a cup of tea.)
(Albert purses his lips and sips his tea. A muffled announcement out on the platform makes Laura look up at the station clock and then glance at her watch. As she gathers up her parcels and moves out onto the platform, we hear the sound of the approaching train. Laura stands on the platform and the express rushes through in front of her, the lights from its windows flashing across her face. Suddenly Laura flinches and puts a hand to her face as a piece of grit gets lodged in her eye. She takes out a handkerchief and rubs her eye for a moment, then moves back into the refreshment room.) Laura:
L.J. Please,
I Vn. II
Va.
Vc.
unis.
Cb.
a glass of
wa ter.
There’s some thing in my
eye.
98
Act I–Scene 4
7 Picc. 1.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
E
(Myrtle hands Laura a glass of water, and Laura bathes her eye. Albert and Myrtle watch her. On the other side of the refreshment room, Alec has overheard their conversation. He finishes his cup of tea and waits to see if the water will do the trick.)
L.J. Please don’t trou ble.
Myrtle:
M.B. I’ll have a
I Vn. II
Va.
Vc.
Cb.
look
if
you like.
The
wa ter will do
it.
99
Act I–Scene 4
13 Picc.
Fl.
1 2
Ob.
1
E.H. 2.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. A man I know lost the
Albert:
sight of an
eye
from a
lit tle bit of grit
in
it.
A.G. Lit tle bit of coal dust,
I
should n’t won der.
Nas ty,
I Vn. II poco sul pont.
Va.
div., pizz.
Vc.
Cb.
unis., arco, poco sul pont.
ver y, ver
y
100
Act I–Scene 4
19 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B E F
Hp.
(Alec approaches the counter.) Laura:
L.J. I’m
a
fraid
not,
no.
No,
M.B. Bet ter?
Alec:
A.H. May I help you?
A.G. nas ty.
I Vn. II ord.
Va. ord.
div.
Vc. ord.
Cb.
no, please.
101
Act I–Scene 4
26 Picc.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
F
Hp.
L.J. It’s
on
ly some thing in my
eye.
M.B. Pull down your eye lid
as
far as
it
’ll
go.
A.G. Then
pizz.
I Vn.
pizz.
II pizz.
Va. unis., pizz.
Vc. pizz.
Cb.
blow your nose.
102
Act I–Scene 4
32 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F A
(Laura turns into the light. Alec puts his hands to her face and looks closely at her eye. For a moment they look like lovers.)
L.J. It’s ver
Alec:
Please let me look.
I
hap pen to
be
a
doc
tor.
y kind of you.
Turn a round
to
the light. arco
I Vn.
div., arco
II
arco
Va. div., arco
Vc.
Cb.
103
Act I–Scene 4
38 Picc.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura looks up.)
(Alec takes Laura’s handkerchief from her, twists a corner of it into a point and (Laura looks down.) flicks the point deftly across her eye.)
(Laura blinks and takes a deep breath.)
L.J. Oh dear,
what a
re lief.
Ag
o
niz ing.
A.H. Look up.
Look down. I can see it.
Keep still.
There.
A
pizz.
arco
unis., pizz.
arco
pizz.
arco
unis.
div., pizz.
arco
arco
pizz.
arco
I Vn. II
Va.
Vc.
Cb.
lit tle
104
Act I–Scene 4
45
Piccolo
to Flute
Picc. 2.
Fl.
1 2
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec shows Laura the offending grit as he gives her back her hendkerchief.)
(A bell sounds on the platform and a muffled announcement can be heard. Everyone moves and talks at once.) 3
L.J. It was when the ex press went through. Thank you ver y much
in deed.
A.H. bit
of grit.
Not at all.
I Vn. II
Va. non div.
Vc.
non div.
Cb.
105
Act I–Scene 4
1.
50 1 2
3
Fl. 3
Ob.
1
E.H. Cl. in B
1 2
Bs.Cl. a2
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C F
Hp.
(Myrtle looks at him seductively before going back behind the counter. Albert grins and goes out onto the platform.) 3
L.J. 3
How luck y for me
Myrtle:
Come
in
lat
er, Mis
ter God
by.
You can have an oth
er
cup...
A.H. That’s my train.
Albert:
Whoops!
There we go.
I
must run.
I Vn. II
pizz.
arco
Va. unis., pizz. div.
unis., arco
Vc.
div.
Cb.
unis.
that you
106
Act I–Scene 4
55 1 2
(1.)
2.
a2
3
Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4 with straight mutes
remove mutes
1 2 Tpt. in C
with straight mute
remove mute
1. with straight mute
2. with straight mute
3
Tbn.
remove mutes
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. 3
hap pened to be
here.
Nev er mind.
You did,
and I’m most grate
ful.
A.H. 3
An y one could have done it.
I Vn. II
Va.
Vc.
Cb.
Not at all.
Good bye.
107
Act I–Scene 4 1.
63 1 2 Fl. 3
Ob.
1 to Oboe
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Sm. Sus. Cym.
2
Cel.
G
Hp.
(Alec follows Albert out onto the platform. Laura turns to the audience as the lights fade on the refreshment room.)
L.J. Good bye.
That’s how it all be gan.
In an or
di na ry
place
on an or di nar y day.
div., non vib.
vib.
unis.
div., non vib.
vib.
unis.
non vib.
vib.
unis., non vib.
vib.
I Vn. II
Va.
div.
Vc.
Cb.
108
Act I–Scene 4
poco rall.
70 1 2 Fl. Flute
to Piccolo
3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 open
1 2 Tpt. in C
open
3
1. open
Tbn.
2. open
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
(Sus. Cym.)
2
Cel.
Hp.
L.J. When an
or
di nar
y
man
div.
I Vn. II
Va.
Vc.
Cb.
took a
lit
tle bit
of
grit
from my
eye.
poco rall. unis.
109
Scene 5: A Milford Street Gaily Picc. 1.
Fl.
1 2
1 Oboe
Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
2.
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2
3 to straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Trgl.
1 Perc. 2
Cel.
Hp.
(Laura sings partly to Fred who is still visible doing his crossword puzzle, unaware of her attention, and partly to the audience.)
Gaily
pizz.
I Vn.
pizz.
II
Va. pizz.
Vc. pizz.
Cb.
110
Act I–Scene 5
7 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(2.)
Bn.
Hn. in F
1.
1 2
1 2 3 4 with straight mutes
remove mutes
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
It was a Thurs day.
All my Thurs days were the same.
The train to
Mil ford for the shops.
(pizz.)
I Vn.
(pizz.)
II
pizz.
Va.
(pizz.)
Vc. (pizz.)
Cb.
111
Act I–Scene 5
14
Piccolo
Picc. 1.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4 1. open
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Butch er,
bak er, gro cer, bank.
Lunch a
lone or with a
friend
at the Kar do mah Ca fé.
arco
I
Vn.
arco
II
arco
Va.
arco
Vc. (pizz.)
Cb.
112
Act I–Scene 5
19 Picc.
a2
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
Hn. in F
1 2
1 2 3 4 2. open
1.
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Glock.
1 Perc. 2
Cel.
Hp.
pizz.
I
pizz.
Vn. II
pizz.
Va. pizz.
Vc. (pizz.)
Cb.
113
Act I–Scene 5
24
to Flute
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(a2)
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
Laura:
Af ter noon a long the
riv
er.
Wil low, wa ter, weir, and lock.
I Vn.
div.
unis.
div.
unis.
II
Va.
Vc.
Cb.
Or,
114
Act I–Scene 5
1.
30 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
(S.D.)
2
Cel.
Hp.
L.J. if
it rained, a mat i née
at the Pa lais Roy ale.
Next Thurs day
came.
(pizz.)
I Vn.
(pizz.)
II
(pizz.)
Va. (pizz.)
arco
div., pizz.
arco
pizz.
Vc.
Cb.
115
Act I–Scene 5
36 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1. to straight mute
1 2
3 with straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. All my Thurs days were the same.
Shop ping
in the
I Vn. II
Va. unis.
Vc.
Cb.
Mil ford
High Street.
Bak er, gro cer,
li brar y books,
116
Act I–Scene 5
43
1.
1 2 Fl.
Flute
3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. tooth brush es
for
the
chil dren
at Boots
the Chem ist.
Re ser ving your
birth day pres
ent.
The clock
arco
I Vn.
arco
II arco
div.
unis.
Va. div., arco
unis.
Vc.
(pizz.)
Cb.
non div. arco
ba
117
Act I–Scene 5
50 1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D B E F G
Hp.
L.J. rom e ter ther mom e ter set
gleam ing in the
win dow at
Rob son and
Spink.
All
I Vn. II
Va. div. a2
Vc.
Cb.
my
Thurs days...
118
Act I–Scene 5
58
rall.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
l.v.
Hp.
(Alec passes Laura moving rather quickly. He recognizes her, turns back and raises his hat.)
L.J. ...were the
same.
Alec:
Good morn ing.
Good morn ing.
The eye is fine.
How’s the eye?
rall. div.
I Vn.
div.
II div.
Va.
Vc.
Cb.
It was kind of you to take the
trou ble.
No
119
Act I–Scene 5
66 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They stand in silence for a few moments. Alec looks up.)
L.J. Yes,
the
sky looks light er.
A.H. trou ble at
all.
It’s clear ing
up,
I think.
Well,
unis.
I Vn.
unis.
II unis.
Va.
Vc. pizz.
Cb.
I must be
get ting a long
to
120
Act I–Scene 5
72 1 2 Fl. 3
1 Ob. 2
(2.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. And
A.H. the
I Vn. II
Va.
Vc. (pizz.)
Cb.
hos
pi
tal.
I
must
be
get ting a
3
long to the
gro
cers.
121
Act I–Scene 5
77
1.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura watches as Alec walks off down the street.)
L.J. Good bye.
A.H. What ex
I Vn. II
Va.
(div.)
Vc.
arco
Cb.
cit
ing lives we
lead.
Good bye.
122
Act I–Scene 5
82
(1.)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B E F G
Hp.
(Laura turns back to the audience and continues to sing, but quieter now, gentler.)
L.J. All
my Thurs days were the
same.
Noth
ing
dif
f’rent.
Same
rou
tine.
I Vn. II
div.
Va. unis.
Vc.
Cb.
unis.
123
Act I–Scene 5
88 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Gro cer,
I Vn. II
Va.
Vc.
Cb.
drap er,
mar ket
stall,
a
brief
en
coun
ter
on
the
pave
ment
just
out
side
the
old
town
hall.
124
Act I–Scene 5
94 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
1.
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The lights start to change around Laura as time passes.)
L.J. An oth er Thurs day came.
I Vn. II
Va.
Vc.
Cb.
A
Thurs
day
that
was
not
the
same.
The train to Mil ford for the
125
Act I–Scene 5
rall.
100
Slower
1 2 Fl.
to Piccolo
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. shops.
Butch er, bak er
gro cer, bank,
lunch a lone with
out
a friend.
At the Kar do mah Ca
rall. I Vn. II
Va.
Vc.
Cb.
Slower
126
Act I–Scene 5
105
Fast
Piccolo
to Flute
Picc.
1.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1. with straight mute
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Xyl.
1 Perc.
Trgl.
2
Cel.
D F
Hp.
L.J. fé.
Fast I Vn. II
pizz.
Va.
pizz.
Vc.
pizz.
Cb.
127
Scene 6: The Kardomah Café 1. solo
1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2 solo
Bs.Cl. 1. solo
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
1 2 Tpt. in C
to straight mute
3 to straight mutes
Tbn.
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura sits at a table on her own in the Kardomah Café. In the corner of the café, a Ladies Trio starts to assemble, though they have not started to play yet. Alec comes into the café and looks around for somewhere to sit. There are no vacant tables. He notices Laura sitting alone and comes over to join her.)
Laura:
3
L.J. Good morn ing.
I Alec:
A.H. Good morn ing.
I Vn. II
arco
Va. arco
Vc. arco
Cb.
Are you a lone?
128
Act I–Scene 6
8
1.
3
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(He looks around the café.)
(Laura moves her bag from the empty chair, and Alec drapes his coat over the back of it.)
L.J. am.
Not at all.
Please join
me.
A.H. Would you mind ver y much
if
I shared your ta ble?
It’s ver y full.
We have n’t been prop er ly in tro
I Vn. II
Va.
div.
Vc.
Cb.
unis.
div.
unis.
129
Act I–Scene 6
15
a2
1 2 Fl.
Flute
3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
a2
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They shake hands across the table.)
(Alec sits down opposite Laura.)
L.J. How do you do?
I’m Lau ra Jes son.
Mis ses.
A.H. duced.
My name is Al ec
Har vey.
Mis ses
div.
I Vn.
div.
II div.
Va. div. a2
Vc.
Cb.
or Miss?
You’re a doc tor.
I think you said that
130
Act I–Scene 6
22
1.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio: Loud and Awful
Onstage Trio
Vn.
Vc.
Pno.
(The trio in the corner suddenly starts to play, very loudly. Laura starts and they both turn to listen. The players aren’t very good, though the best of them, the cellist, plays with great enthusiasm.)
L.J. day.
A.H. I
am.
Though no thing spe cial.
A hum ble
G.
P.
in the
vil lage of
unis.
I Vn.
unis.
II unis.
Va. (div. a2) (div.)
Vc.
Cb.
Chur
ley.
Act I–Scene 6
29 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
(Alec and Laura turn back to each other and laugh. A waitress arrives at the table to take their order as the trio continues to play, the music drowning out their words. The waitress scribbles on her pad and leaves as the trio starts on a quieter passage. They continue to play, underpinning the music of the rest of the scene, and occasionally rising above it.)
I Vn. II
Va.
Vc.
Cb.
131
132
Act I–Scene 6
39 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2 solo
Bs.Cl.
(1.) solo
1.
2.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
L.J. They’re dread ful, are n’t they?
But we should n’t laugh.
A.H. There should be
laws
a gainst play ing like that.
Do
pizz.
arco
pizz.
arco
pizz.
arco
I Vn. II
Va.
unis., pizz.
Vc.
Cb.
arco
you
play the pi a no?
133
Act I–Scene 6
44 1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2
Bs.Cl. 1. solo (2.)
1 2
Bn.
1.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
L.J. I was forced as a child.
It
put me off for life.
A.H. I
can’t
be lieve you do.
So
I Vn. II
Va. pizz.
arco
Vc. pizz.
Cb.
arco
you did n’t keep it
134
Act I–Scene 6
49 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. 1.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
(A short silence between them as the trio plays louder. Then...)
L.J. Not at all,
I’m a fraid!
My
hus band is n’t mu si cal.
A.H. up?
Nei ther is my wife. pizz.
I Vn.
pizz.
II pizz.
Va. pizz.
Vc. pizz.
Cb.
135
Act I–Scene 6
55
1.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D G
Hp.
Onstage Trio
Vn.
Vc.
Pno.
L.J. How
did
you know
that
I
did n’t play the
pi a
no?
I might have been a
ge
nius, a vir
tu
o
so.
A.H. You’re far too un com pli cat ed,
I Vn. II arco
pizz.
arco
Va. div. a2, arco
Vc. (pizz.)
Cb.
(div.)
unis., pizz.
arco
136
Act I–Scene 6
61 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
3
L.J. But
is that a good
thing?
It sounds rath er dull.
A.H. far
too sane.
No, be lieve me, arco
I Vn.
div., arco
II
Va.
Vc. (pizz.)
Cb.
san
i
ty
is
ex
cel lent,
137
Act I–Scene 6
67
1.
1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl.
2.
1 2
Bn.
2.
1 2
Hn. in F
4.
3.
3 4
1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
(She smiles at him. For a moment she is lost for words.)
L.J. Do you come
A.H.
3
and, try as you might,
here
ev ’ry Thurs
day?
3
you could nev er be dull!
Ev ’ry Thurs div.
unis.
I (div.)
Vn.
unis.
II div.
unis.
Va. div. unis.
Vc. arco
Cb.
pizz.
day
138
Act I–Scene 6
74
(1.)
1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. (1.) 2.
1 2
Bn.
1 2
Hn. in F
(3.)
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
A.H. same rou tine,
all
day
at the
hos pi
tal.
Some times half the night as well
when the wards are bus
y.
A friend of mine called Ste phen Lynn,
I Vn. II
Va. div.
unis.
(div. a2)
Vc. (pizz.) arco
Cb.
139
Act I–Scene 6
81 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. 1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
C
Onstage Trio
Vn.
Vc.
Pno.
A.H. the chief phy si cian
here,
goes to
Lon don ev ’ry Thurs day,
and
I take
his
place.
He has
I Vn. II div.
unis.
Va. div.
Vc. pizz.
Cb.
unis.
a
flat
here
in town
140
Act I–Scene 6
88
1.
1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. 1 2
Bn.
1.
1 2 Hn. in F
3.
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
Laura:
L.J. Do I what?
Yes.
A.H. and
I spend the night there.
Do you?
Come here ev ’ry Thurs day. 1 solo
I Vn.
1 solo
II 1 sola
Va. 1 solo
Vc. arco
Cb.
Yes, I
do.
I
141
Act I–Scene 6
94
1.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3
1 2
Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
(Another short silence between them while the trio plays.)
L.J. come to Mil ford for the shops. Butch er, ba ker, gro cer, bank.
I Vn. II
Va.
Vc.
Cb.
Per haps a walk a long the
riv er
in the af ter noon.
142
Act I–Scene 6
101
1.
1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl.
1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
Laura:
L.J. Yes.
I
thought you had to
A.H. Will you walk
by the
riv er
this af ter noon?
Ex
tra or di nar y!
So will I! (1 solo)
I Vn. II
Va.
Vc.
Cb.
143
Act I–Scene 6
(1.)
109 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1 2
Bn.
a2
1 2
Hn. in F
a2
3 4 fltg., with straight mutes
1 2
Tpt. in C
fltg., with straight mute
3 fltg., with straight mutes
1 2
Tbn.
3., fltg., with straight mute 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
L.J. work all day
at the hos pi tal.
Cer tain ly
I can.
A.H. Can you keep a
se cret?
I killed two pa tients by
ac ci dent this morn ing,
and ma tron’s ver y cross.
tutti, div.
I Vn.
tutti, div.
(1 solo)
II tutte, div.
(1 sola)
unis.
Va. (1 solo) tutti
Vc.
Cb.
div.
144
Act I–Scene 6
116 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. a2
1 2
Bn.
(a2)
1 2 Hn. in F
(a2)
3 4 (straight mutes)
1 2
Tpt. in C
(straight mute)
remove mute
3 (straight mutes) remove mutes
2. open
3. remove mute
open
1 2
Tbn.
(3. straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Onstage Trio
Vn.
Vc.
Pno.
(Laura laughs, her eyes shining.)
A.H. 3
So,
I dare n’t go back.
But se ri ous ly...
I
(div.)
I Vn.
(div.)
II
Va. (div.)
Vc.
Cb.
unis. 6
6
fin ished my work
ear
ly this morn ing.
Would you mind ver y
much
if
I came a long?
145
Act I–Scene 6
repeat until cue
122 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. 1 2
Bn.
1 2
Hn. in F
3 4 1 2
Tpt. in C
3 1 2
Tbn. Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Vn.
Onstage Trio
sempre dim.
Vc. sempre dim.
sempre dim.
Pno.
(Laura smiles back at him, not knowing what to say.) unis.
I Vn.
unis.
II
Va.
Vc.
Cb.
(The lights intensify on Laura as she turns to the audience, the music of the trio slowly fading under the music of the scene. Alec puts on his coat and helps Laura on with hers.)
repeat until cue
146
Act I–Scene 6
132 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
DC B E FG A
B F
Hp.
L.J. I
had no
pre
mo
ni
tion
then.
Why should I?
6
I dim.
6
6
Vn. II dim.
6
Va. dim.
Vc. pizz.
Cb.
6 6
6
6
147
Act I–Scene 6
138 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
l.v.
Hp.
(As Laura sings, the scene changes around them.)
L.J. We
6
laughed.
We
talked.
Why should we not?
It
all seemed so
nat
u
ral,
in no cent.
We had our lunch.
div.
6
I Vn.
div.
II div.
unis.
Va. div.
Vc.
Cb.
unis.
148
Act I–Scene 6
poco meno 144
1.
1 2 Fl. 3
1 Ob.
to English Horn
2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C G A
Hp.
L.J. We split the bill,
of course.
poco meno unis.
I Vn.
unis.
al sord.
II al sord.
Va.
Vc.
Cb.
149
Scene 7: Eden Lock a2
1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2 dolce
Hn. in F
1 2 3 4 (straight mutes)
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec and Laura walk together in a sunny, watery light.) Laura:
L.J. We walked to geth er
up the riv er,
just as
con sord. al sord.
I con sord.
Vn. II con sord.
Va. con sord. al sord.
Vc. pizz.
Cb.
I
do
when
I’m
a lone.
We passed the weir
and the
old
nun ner y wall,
150
Act I–Scene 7
7
poco rall.
(a2)
a tempo
1 2 Fl. 3
Ob.
1
E.H. 2.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1.
1 2
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3 1., open
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They stand looking down the river.)
L.J. and crossed the bridge
(sord.)
at
E
den
Lock,
here...
poco rall.
We stood a while
a tempo
I (sord.)
Vn. II
(sord.)
Va.
Vc. (pizz.)
Cb.
in
si lence,
151
Act I–Scene 7 1.
13 1 2 Fl.
3
Ob.
1
E.H.
(2.)
Cl. in B
(2.)
1 2
Bs.Cl. (1.)
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
a2
a2
a2
a2
a2
a2
2.
1 2
3 1.
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc. 2
Cel.
Hp.
(A few moments pass.)
(A few more moments pass.)
L.J. look ing,
breath ing,
think
ing.
Do you feel guilt y?
Alec:
A.H. Beau ti ful. via sord.
I
Vn.
via sord.
II
via sord.
Va. (sord.)
via sord.
Vc. arco
Cb.
152
Act I–Scene 7
1.
20 1 2 Fl. 3
Ob.
1 to Oboe
E.H. (2.)
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
sempre
1 2 Hn. in F 3 4 sempre
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
D A
Hp.
(Another moment.)
L.J. I
do.
I
don’t know.
What’s she like,
A.H. Guilt y?
Why should we?
How aw f’ly nice
you
are. 1 solo
senza sord.
I
Vn.
senza sord.
2 soli
II
1 sola senza sord.
Va.
div., senza sord.
Vc.
Cb.
your wife?
153
Act I–Scene 7
26 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
1 2
Bn.
1 2
Hn. in F
3 4 1. (straight mute)
(2. straight mute)
1 2 Tpt. in C 3
1 2
Tbn.
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
Hp.
L.J. How
fun ny!
I thought she would be fair.
Fred?
A.H. Ma de leine?
Small,
dark,
rath er
del i cate.
What’s he like,
(1 solo)
I
Vn. II
(2 soli)
(1 sola)
Va. (div.)
Vc.
div.
Cb.
your hus band?
Me di um height,
154
Act I–Scene 7
32
2.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
1 2
2.
Hn. in F
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They stand in silence for a while, the light changing around them, but very slightly. Suddenly Laura shivers.)
L.J. brown
hair,
kind,
un
e
mo tion al,
not
del i cate
at
all.
Did
A.H. You
said that proud ly. tutti
I Vn.
tutti, unis.
II
tutte
Va.
(div.)
Vc.
unis.
Cb.
unis.
I?
155
Act I–Scene 7
38
(2.)
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(2.)
1 2 Hn. in F
(4.)
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. It’s get ting chill y.
Bet ter get back,
or
we’ll
miss our trains.
A.H. Yes, it’s cloud ing o
ver.
In deed.
div., pizz.
I Vn.
div., pizz.
II
pizz.
Va.
Vc. div., pizz.
Cb.
156
Scene 8: The Station Refreshment Room and Platform 1 2
Fl. 3
1 Ob. 2 3
Cl. in B
1 2
3
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
Tpt. in C
1 2
3 1. to straight mute 2. to cup mute
Tbn.
1 2 3. to cup mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B E
Hp.
E A
(They move away as the scene changes back to the station refreshment room. As they cross to the tea counter, Alec puts his hand under Laura’s arm, guiding her to a table.) Laura:
L.J. We walked back to the
unis., arco
I Vn.
unis., arco
II arco
Va.
Vc. unis., pizz.
Cb.
sta tion.
He put his hand
3
un der my arm.
157
Act I–Scene 8
8 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl. (2.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura stops at the table and Alec carries on over to the counter, where he orders two cups of tea.)
(Myrtle is at the counter. She pours two cups of tea for Alec. Beryl is just behind Myrtle, drying crockery with a towel. Stanley, a young porter, is leaning against the counter. Alec takes the cups of tea over to Laura’s table.)
L.J. I hard ly no ticed it.
Why
would I?
Myrtle:
M.B. Well,
Stanley:
I told him straight:
Stan. What hap pened then,
Mis ses
Ba got?
pizz.
arco
I Vn.
pizz.
II
pizz.
arco
pizz.
arco
Va. non div.
div.
Vc.
arco
Cb.
pizz.
158
Act I–Scene 8
15 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 2. with cup mute
Tbn.
1 2 3. with cup mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. “Mis ter Ba got,” I said
(I
nev er called him Gil bert—
I hat ed the name),
“This mar riage lark is all
I Vn.
(pizz.)
II
Va. unis., pizz.
Vc.
non div. (pizz.)
Cb.
ver y fine for you...
But what do
I get out of it?
159
Act I–Scene 8
21 1 2 Fl. 3
1 Ob.
Oboe
2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
(2., cup mute)
2. remove mute
(3., cup mute)
3. remove mute
1 2
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
Hp.
M.B. All
day and ev ’ry day
I
have to be your
cook,
your
house
keep er,
your char la dy
all
rolled in to
one.
And
pizz.
arco
(pizz.)
arco
I Vn. II pizz.
Va. (pizz.)
Vc. (pizz.)
Cb.
160
Act I–Scene 8
Faster
29 1 2
6
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 (straight mutes)
Tpt. in C
1 2
3 2. open
Tbn.
1. with straight mute
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. all
night,
ev ’ry night your sweet and
lov
ing
wife.”
I said:
“Oh
dear,
Faster div.
I Vn. II
1 sola arco
Va.
div., arco
le altre
unis. (arco)
Vc.
arco
Cb.
pizz.
no,
Mis ter
Ba got, I don’t think
so.
161
Act I–Scene 8
37 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
Bn.
Hn. in F
1 2
1 2 3 4 a2
1 2 Tpt. in C
open
to straight mute
3 (1.)
Tbn.
1.
2.
1 2 3. open
Bs.Tbn. Tba.
Timp. S.D.
1 Perc.
Wood Block
2
Cel.
Hp.
M.B. There are just as
good fish in the
sea,”
I
told
him, “as
ev
er came
out of
it.”
And I packed my box
es,
and
I
left
him
then and there.
I Vn. II
Va. div.
unis.
Vc. arco
Cb.
162
Act I–Scene 8
G.P. A little slower
46 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
Tpt. in C
1 2 with straight mute
3 (1. straight mute)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
B
Hp.
M.B. Nev
Beryl:
er...
I went to my sis ter’s
in
Folke stone for a while.
Then a friend of mine and I
Ber. And you nev er went back?
G.P.
A little slower unis.
I Vn. II
tutte, div.
Va.
div.
Vc.
Cb.
unis.
ran a
163
Act I–Scene 8
53 1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
a2
remove mutes
remove mute
3 (1.)
Tbn.
remove mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Bass Drum
2
Cel.
F A
Hp.
(The focus changes to Alec and Laura sitting quietly at their table, sipping their tea.) 3
M.B. tea shop
in Hythe.
Dead
as
a
door
nail
with in
three years. Beryl: (spoken)
Ber. Stanley: (spoken)
Stan. What happened to your husband?
I Vn.
pizz., non div.
II pizz., non div.
Va. div., pizz. unis.
Vc.
pizz.
Cb.
Well, I
nev er.
164
Act I–Scene 8
60 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib.
1 Perc. 2
Cel.
Hp.
G
Laura:
L.J. Is tea
6
bad
for
you?
Worse than cof fee
I
mean?
6
I 6
Vn.
arco
6
II
arco
Va. unis., arco
Vc. (pizz.)
Cb.
6 6
165
Act I–Scene 8
67 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Why
Alec:
A.H.
3
Is this a pro fes sion al
3
in ter view?
I
warn
you
my
fee
3
is
a
guin ea.
I
6
div.
II 6
Va.
Vc.
Cb.
doc
tor?
That’s a long
div.
Vn.
did you be come a
166
Act I–Scene 8
74 1 2 Fl. 3
1 Ob.
poco
2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
C
non arp.
(Alec pauses for a moment, looking at her, then smiles.)
L.J. Tell me.
All
doc tors should have
i
deals,
sure
ly.
A.H. 3
sto
ry.
3
3
Per haps I’m a bit of an
i
de al ist.
unis.
I unis.
Vn. II
non div.
Va.
non vib.
Vc.
arco, non vib.
Cb.
167
Act I–Scene 8 1.
81 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Or their work would be
un
bear a
ble,
would n’t
it?
A.H. You’re en cour ag ing
div.
I div.
Vn. II
(non div.)
Va.
Vc.
Cb.
me
to
talk
shop?
168
Act I–Scene 8
88
accel. 1.
1 2 Fl. 3
1 Ob.
to English Horn
2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Why should n’t you
talk
shop?
It’s what you
like
the
most,
is
n’t
it?
A.H. Yes,
it
is.
accel. unis.
I Vn.
unis.
II
Va. div. a2
Vc.
Cb.
169
Act I–Scene 8
95 1 2 Fl. 3
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D G
Hp.
A.H. 3
I’m
ter ri
bly
am bi
tious.
But
not
for
my
self.
3
I Vn. 3
II
3
Va. div., pizz.
Vc. pizz.
Cb.
unis.
div.
sim.
unis.
div., arco
170
Act I–Scene 8
100
1.
(1.)
a2
1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec studies her for a moment, smiling.) Laura:
L.J. What souls are those?
I
A.H. For
the souls
in my
care.
The souls that can’t af ford to pay.
I Vn. II
Va. (div.)
unis.
Vc. (pizz.)
Cb.
arco
see.
171
Act I–Scene 8
106 1 2
(a2)
Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H. 3
3
Doc tors have dreams—
div.
I Vn.
div.
II div.
Va. div.
Vc.
Cb.
es
pe cial ly
when they’re young.
Pri
vate
dreams.
It’s the best
172
Act I–Scene 8
114 1 2 Fl. 3
Ob.
1
English Horn
E.H. 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H. 3
part
of
them.
But the dreams get for
got
ten,
(div.)
unis., non vib.
(div.)
unis., non vib.
spe cial ized,
pro fes sion al,
un til they fade
I Vn. II
(div.)
unis.
non vib.
(div.)
unis.
non vib.
Va.
Vc.
Cb.
div.
a
173
Act I–Scene 8
rall.
122
a tempo
1 2 Fl. 3
Ob.
1 to Oboe
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H. way...
How can one stop that
hap pen ing?
rall.
Doc
a tempo
I Vn. II
Va. unis.
div.
Vc.
pizz.
Cb.
3
tors
need
pas
sion
174
Act I–Scene 8
128 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
E F G
Hp.
A.H. 3
3
like
writ
ers
and
paint
ers,
com
pos
I Vn. II
Va. (div.)
unis.
Vc. arco
Cb.
div.
ers
and
po
ets,
a
175
Act I–Scene 8
133 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
gliss.
Hp.
A.H. 3
sense
of
vo
ca
tion
a
I Vn. II
Va. unis.
Vc.
Cb.
div.
de vo
tion
to the
176
Act I–Scene 8
138 1 2 Fl. 3
1 Ob. 2 (a2)
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
cresc. poco a poco
3 4 cresc. poco a poco
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura nods.)
A.H. 3
work,
deep
ly
root
3
3
ed,
3
un
sen
3
3
ti
men
tal,
the de
sire
to do
good.
I cresc. poco a poco
Vn. II
cresc. poco a poco III
Va. cresc. poco a poco (div.)
unis.
Vc. cresc. poco a poco
Cb.
To pre
177
Act I–Scene 8
145 1 2 Fl. 3
1 Ob. Oboe
2
a2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1.
1 2 (cresc.)
Hn. in F
3.
(3.)
3 4 open
(cresc.)
1 2 Tpt. in C
open
3 1. open 2.
Tbn.
1 2 cresc. poco a poco 3.
Bs.Tbn. Tba. cresc. poco a poco
Timp.
1 Perc. 2
Cel.
Hp.
A.H. 3
vent
a
I
3
3
dis
ease
would be
fif
ty times
bet
ter
than
find ing
3
(cresc.)
Vn. II
3
(cresc.)
Va. (cresc.)
3
Vc. (cresc.)
Cb. cresc.
3
a
cure.
178
Act I–Scene 8
151 1 2 Fl. 3
1 3
Ob. 2
3
a2
Cl. in B
1 2 3
Bs.Cl. 3
a2
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 a2
2. to straight mute
1 2 3
Tpt. in C
to straight mutes
3 3
a2 to straight mutes
Tbn.
1 2
3
Bs.Tbn. Tba.
Timp. Vib. (slow motor)
1 Perc.
Crash Cymbals
2
Cel.
F
Hp.
Laura:
3
L.J. You
sud den
ly
look
so
young.
A.H. 3
That
I
is
my
dream.
Do I?
3
Vn. II
3
Va. 3
Vc. div.
3
non div.
3
Cb.
non div.
179
Act I–Scene 8
158
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
Hp.
3
Al
3
most
like
a
lit
tle
boy.
I
What made
you
say
don’t
that?
1 solo
I Vn.
1 solo
II
1 sola
Va.
1 solo, arco unis., pizz. (non div.)
Vc.
Cb.
know—
yes,
I
do.
180
Act I–Scene 8
165
(1.)
1 2 Fl. 3
1 Ob. 2 Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2 3 2. with straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(A bell sounds out on the platform. Neither of them moves.) (with panic in her voice)
L.J. No,
no,
I
could
n’t
real
ly.
There’s your
gently
train.
You
must
n’t
miss
it.
(spoken)
(sung)
Yes.
No.
A.H. Tell
(1 solo)
me.
I
tutti II
non vib.
I
tutti II
non div.
I
Vn.
(1 solo)
II
(1 sola)
tutte, non vib.
Va. (1 solo)
non vib.
tutti, vib.
III
I
div., non vib.
Vc.
non vib.
Cb.
181
Act I–Scene 8
Meno mosso
rall.
173 1 2 Fl. 3
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 (straight mutes)
Tbn.
1 2
Tuba
3. to straight mute
Bs.Tbn. Tba. 3.
Timp.
Anvil or Brake Drum
1 Perc.
B.D.
2
Cel.
C
Hp.
L.J. It’s
rall.
Meno mosso
I Vn. II
Va. 1 solo
Vc.
pizz.
Cb.
div.
182
Act I–Scene 8
179 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
1 2
1.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F
L.J. been so
ver y
nice.
I’ve en
joyed my self e nor mous ly.
Alec:
A.H. I’m so
I Vn. II
Va. (1 solo)
Vc. (div., pizz.)
Cb.
tutti, non div.
glad—
so have
I.
I
a
pol o gise for bor ing
183
Act I–Scene 8
187 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (2.)
Bn.
1 2
(1.)
1 2 Hn. in F 3 4 1. (open)
Tpt. in C
1 2
3 (straight mutes)
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I
feel so
dull and stu pid
not to
have dreams of my
own.
A.H. 3
you with all my
pro
fes sion al dreams.
Shall I
div.
I Vn.
div.
II
Va. div.
Vc. unis.
Cb.
arco
184
Act I–Scene 8
196
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. sim. soli
Bn.
Hn. in F
2.
1 2
1 2 3 4 2. (straight mute)
Tpt. in C
1 2
3 1. (straight mute)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
C
(They both react to the sound of a train approaching.)
L.J. There’s
your
train.
A.H. 3
see you
a
gain?
(div.)
unis.
(div.)
unis.
I Vn. II
Va. (div.)
Vc.
Cb.
sim.
3
You’ll have
to
run.
It’s
185
Act I–Scene 8
202 1 2 Fl. 3
1 Ob. 2
1 Cl. in B 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
1. (open)
2. (straight mute)
1 2 Tpt. in C
(straight mute)
3 1. (straight mute)
2. (straight mute)
Tbn.
1 2 3. (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D A
Hp.
very brightly
3
L.J. all
the way
o
ver
on
plat
form
three.
Of course!
A.H. 3
Shall
I
see
you
a
gain?
I Vn. II div.
Va.
unis. 3
3
3
3
3
3
3
3
Vc.
Cb. 3
3
3
3
3
3
3
3
186
Act I–Scene 8
208 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2 sub.
(2.)
1 2 Hn. in F
sub. (4.)
3 4 sub. 2. (straight mute)
Tpt. in C
1. (open)
1 2 sub. (straight mute)
3
(2. straight mute)
(1. straight mute)
Tbn.
1 2 3. (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. You must come
to Ketch worth
3
for tea.
Come on a Sun day.
We’d
be
de
light ed.
intensely
A.H. Please—
I sub.
Vn. II
sub. (div.)
unis.
div.
Va. sub. div. a2
Vc. sub.
Cb. sub.
please.
187
Act I–Scene 8
213
1.
1 2 Fl. 3
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (1.)
2. (straight mute)
2. remove mute
(straight mute)
remove mute
1 2 Tpt. in C 3
(straight mutes) remove mutes
Tbn.
1 2 (3. straight mute)
remove mute
Bs.Tbn. Tba.
Timp.
1 Perc.
Sm. Sus. Cym.
2
Cel.
D
Hp.
(The train is heard drawing to a standstill.)
L.J. What
is
it?
No,
A.H. Next Thurs day.
I Vn. II
Va. (div. a2)
Vc.
Cb.
The
same time.
188
Act I–Scene 8
219 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
E A
(Alec gets up from the table.)
(Alec takes Laura’s hand.) breathlessly
L.J. 3
I
can’t
pos
si
3
bly.
You’ll miss your train.
Run.
A.H. 3
Please,
I
ask you most hum bly.
All right...
I Vn. II (div.)
Va. (div.)
Vc.
Cb.
unis.
I’ll
be
189
Act I–Scene 8 1.
227 1 2 Fl. 3
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
open
1 2 Tpt. in C open
3
open
Tbn.
2.
1 2 open
Bs.Tbn. Tba.
Timp.
Crash Cymbals
1 Perc.
(Sm. Sus. Cym.)
2
Cel.
DC B E F GA
Hp.
(Alec runs upstage onto the platform. Laura turns to the audience, smiling with joy.)
L.J. there.
A.H. 3
Thank you, my
dear.
I Vn. II unis.
Va.
Vc.
Cb.
gl.
gl.
190
Act I–Scene 8
233 1 2 Fl.
to Piccolo
3
1 Ob. 2
Cl. in B
1 2 3
Bs.Cl.
1.
Bn.
a2
1 2
3
2.
1 2 Hn. in F 3 4
2. to straight mute
1. solo
1. to straight mute
1 2 Tpt. in C
to straight mute
3 2.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
G
Hp.
I Vn. II
Va. 6
Vc. 6
pizz.
Cb.
arco
191
Act I–Scene 8
238 Picc. 1.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (a2)
Bn.
1 2
(2.)
Hn. in F
1 2 4.
3 4
Tpt. in C
1 2
3 (2.)
Tbn.
to straight mutes
1 2 (3.)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. 3
I
watched
his
train
leav
I Vn.
pizz.
II
Va. sim. non div.
Vc.
pizz.
Cb.
ing
the
192
Act I–Scene 8
Piccolo solo
244 Picc.
Fl.
1 2
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. 3
sta
tion.
The
lit
tle red
tail
light
van ished in the dark ness.
I
I Vn.
(pizz.)
arco
II
Va. dim. poco a poco (non div.)
Vc. dim. poco a poco div., arco
Cb. dim. poco a poco
mag ine,
i
mag ine,
193
Act I–Scene 8
251 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 with straight mutes
1 2 Tpt. in C
with straight mute
3
1. with straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Glock.
2
Cel.
Hp.
3
L.J. 3
just
for
a
mo ment, i
mag
ine.
He’s ar riv ing at
I Vn. II
Va. pizz.
Vc. pizz.
Cb.
Chur
ley,
giv ing up his tick et,
walk ing through the streets—
194
Act I–Scene 8
meno mosso
257
a tempo
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 2. remove mute
1 2 Tpt. in C
remove mute
3 (1.)
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib.
1 Perc. 2
Cel.
D C B E F G A
Hp.
L.J. latch key in
his pock et—
o
pen ing the door.
Ma de leine
in
the hall to meet him.
Ma de leine
meno mosso
up stairs in
a tempo
I Vn. II
Va.
(pizz.)
div.
unis., arco
Vc.
(pizz.)
Cb.
arco
div.
her room
195
Act I–Scene 8
263
rall.
vib.
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
(harmonics sound where written)
Hp.
L.J. not
feel ing well.
small, dark,
and
rath er del
i cate
Ma de leine.
3
What does he
say?
I
mag
ine,
i
rall. 1 solo
tutti
1 sola
tutte
I Vn. II
Va.
(div.)
Vc.
Cb.
1 solo
tutti, div.
unis.
mag
ine.
196
Act I–Scene 8
270
a tempo
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
pedal gl.
Hp.
pedal gl.
C
C
pedal gl.
C
C
C
L.J. “I
met
such
a
nice
wom
an
in
the
Kar
do
mah.
We
a tempo pizz.
I
Vn.
pizz.
II
1 sola
Va. pizz.
Vc.
Cb.
div.
unis.
div.
unis.
div.
had
197
Act I–Scene 8
277 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1. (straight mute)
Tpt. in C
1. remove mute
1 2
3 1. (straight mute)
2. (straight mute)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. lunch
to
geth
er
and
walked
by
the
riv
er.
I
arco
I Vn.
arco
II (1 sola)
tutte
Va. unis., arco
Vc.
Cb.
div.
mag
ine.
198
Act I–Scene 8
284 Picc.
Fl.
1 2
1 3
Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 open
remove mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp. secco
1 Perc.
Sm. Sus. Cym., wood stick
2 secco
Cel.
Hp.
(The music rises as she comes out of her reverie.)
L.J. No,
3
3
he won’t say that.
I
I Vn. II unis.
Va.
Vc.
Cb.
knew,
I
knew be yond a
sha dow
of
doubt
he
would
n’t
say
a
199
Act I–Scene 8
291 Picc.
a2
Fl.
1 2
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
1 2 Hn. in F 3 4 a2, open
1 2 Tpt. in C
open
3 a2
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
(Sm. Sus. Cym.)
2
Cel.
D B F
Hp.
(The sound of a train approaching from a distance.) 3
3
L.J. word.
That was the div.
I Vn.
div.
II
Va. 1 solo
tutti
Vc. div.
Cb.
mo
ment
the first
mo ment of
200
Act I–Scene 8
297 Picc. 3
a2
Fl.
1 2
3
1 3
Ob. 2 3
a2
Cl. in B
15
1 2
Bs.Cl.
a2
Bn.
1 2 15
a2
1 2 Hn. in F
a2
3 4
1 2 Tpt. in C 3
a2
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp. Xyl.
1 3
Lg. Sus. Cym., rubber mallets
Perc.
Sm. Sus. Cym.
2
Cel.
Hp.
(The express train rushes through the station, the smoke and steam blowing across the stage obscuring Laura from the audience.) 3
L.J. 3
dan
ger.
Dan
ger
so
fear
ful
it
swept
o
ver unis.
(div.)
15
(div.)
15
I
unis.
Vn. II
Va. 15 15
Vc.
(div.)
Cb.
pizz., unis.
me!
201
Scene 9: The Jessons’ Sitting Room to Flute
Picc.
Fl.
1 2 1 to English Horn
Ob. 2
2.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
with mutes
to mutes
remove mutes
1 2 Hn. in F
3. with mute
3. to mute
3. remove mute
3 4 with straight mutes
2.
1 2 Tpt. in C
with straight mute
3 with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(The Jessons’ library/drawing room. Fred is standing by the fireplace, looking down at Dr. Graves, who is sitting, writing out a prescription. Fred looks up as Laura emerges from the darkness.)
(Fred crosses to her, his face a mask of worry and strain. Laura notices Dr. Graves.) Laura:
L.J. Fred,
Fred:
what’s the mat ter?
F.J. Is that
you
Lau ra?
It’s all right.
I Vn. II
Va. div. a2
Vc. arco
Cb.
Keep calm.
Don’t be up set.
202
Act I–Scene 9
7 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
3
3
1 2 3
3
Bs.Cl.
Bn.
1 2
1. open
2. open
Hn. in F
3. open
4. open
3
3
3
3 4
3
3
3
1 2
to Harmon mutes
Tpt. in C
1 2 to Harmon mute
3 1.
Tbn.
remove mutes
2. open
3. remove mute
3. open
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
(Laura gasps and puts her hand to her mouth.)
L.J. What is it?
What’s wrong? 3
F.J. It’s Bob bie.
He was knocked down
3
by a car
I Vn. II 3
Va. 3
(div.)
Vc.
Cb.
3
on his way
home from school.
203
Act I–Scene 9
1.
12 1 2
3
3
Fl. 3
Ob.
1 3
3
E.H.
Cl. in B
3
1 2
3
3
3
a2
3
3
3
3
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Bob bie...
F.J. It’s
not
se ri ous.
He was grazed
by the bump er
and banged
his
head
on the
kerb.
3
3
He’s a lit tle con cussed.
Doc tor Graves has patched him
I Vn. II
Va.
unis.
Vc.
div.
Cb.
204
Act I–Scene 9
17 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura drops her things on a chair and rushes from the room. Doctor Graves calls after her.)
F.J.
3
up.
He’s sleep ing it off.
Mar ga ret’s with him.
You are sure?
Doctor Graves:
Dr. G. He’ll be right as
I Vn. II
Va.
Vc.
unis.
Cb.
rain
Mis ses Jes son.
Just a few
hours.
205
Act I–Scene 9
23
1.
1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
(1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Dr. Graves holds the prescription up in front of him.)
Dr. G. 3
Quite sure.
I Vn. II
Va.
Vc.
Cb.
3
A luck y es cape.
Now, his arm is
bad
ly bruised,
so
when the
sed a tive wears off,
206
Act I–Scene 9
28
1.
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Doctor Graves and Fred leave the room. Laura comes from upstairs. She is agitated but in control.)
(Graves gives the prescription to Fred.)
Dr. G. this is for
the pain.
But
on ly
if he needs it.
I must be on my way.
No
rest for the wick ed.
Fred:
F.J. I
see.
Of course.
I Vn. II
div., pizz.
Va. div., pizz.
Vc. pizz.
Cb.
I’ll
see you out.
207
Act I–Scene 9
34 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
solo
B E F G
Hp.
(We hear Fred’s and the Doctor’s voices from offstage.)
(Fred comes back in, pulling on a coat.) Laura:
L.J. Oh, Fred.
Yes.
F.J.
3
3
Good night, Doc tor,
and thank you.
He’s go ing to be fine.
Dr. G. Good night. 3
I Vn. II 1 sola, arco
tutte arco
Va. 1 solo, arco
Vc.
Cb.
No.
tutti, div., arco
You must n’t wor ry.
I’m go ing to run to the chem ist
208
Act I–Scene 9
41
1.
1 2 Fl.
Flute
to Piccolo
3
Ob.
1 English Horn 3
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D CB E FG A
Hp.
(Fred folds the prescription carefully and puts it in his pocket.) 3
L.J. Yes.
F.J.
3
for Bob bie’s pills
be fore they close.
Yes.
Of course.
3
In case he needs them.
You’ll be
all right?
div.
I Vn. II div.
Va. (div.)
Vc. arco
Cb.
1 solo
You go.
I’ll
be fine.
209
Act I–Scene 9
48 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
3
3
Timp.
1 Perc. 2
Cel.
Hp.
(As soon as Fred has gone Laura gives in to her agitation.)
L.J. I
F.J. 3
Five min utes.
No more.
I Vn. II
Va. unis.
Vc. 6
tutti
Cb.
6
mag ine,
i mag ine,
210
Act I–Scene 9
53 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Harmon mutes (stems fully extended)
1 2 Tpt. in C
Harmon mute (stem fully extended)
3
1. open
Tbn.
to straight mutes
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
Hp.
3
3
L.J. if
he was...
...bad ly hurt.
Oh God,
it would have been my fault.
My fault.
This is unis.
I Vn.
pizz.
II
unis., pizz.
Va.
pizz. 6
Vc.
Cb.
6
a pun ish ment.
211
Act I–Scene 9
59 Picc. 1.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura paces the room for a few moments and then sits in one of the chairs by the fire. The clock chimes. The lights fade on the room and intensify on her.)
L.J. No,
no,
not a pun ish ment.
A warn ing,
a ter ri ble, sin is ter warn ing.
I Vn.
arco
II arco
Va. arco
div.
Vc. 6
Cb.
6
unis.
212
Act I–Scene 9
65
rit.
a tempo
Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. An hour
rit.
lat
er
ev
’ry thing was
nor mal.
Bob bie was
laugh ing,
en
joy
ing
a tempo
I Vn. II
Va.
Vc. pizz.
Cb.
non div., arco
the
dra
ma.
213
Act I–Scene 9
74 Picc. 1.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2 sub.
Bs.Cl. 1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc.
Sm. Triangle
2
Cel.
Hp.
L.J. Mar ga
I Vn. II
Va.
Vc.
Cb.
ret was wish ing
she was the one
214
Act I–Scene 9
82 Picc. 1.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D
non arp.
(As the lights come up on the room again, Fred is pouring after-dinner drinks at a side table. He hands a drink to Laura.)
L.J. to get knocked o ver.
Do you
re mem
ber how re lieved
we were.
We spent the whole eve ning plan ning his fu
I Vn. II
Va.
Vc. pizz.
Cb.
ture.
215
Act I–Scene 9
89 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
1 2
1 2 Hn. in F 3 4 with straight mutes
2. remove mute
with straight mute
remove mute
1 2 Tpt. in C 3 (straight mutes)
Tbn.
1 2 3. (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. He’s far too young to
Fred:
F.J. It’s
I Vn. II
Va.
Vc. arco
Cb.
a good life,
the
Na
vy.
de
216
Act I–Scene 9 Piccolo
96 Picc.
Fl.
1 2
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 (straight mutes)
Tbn.
a2
remove mutes
1 2 (3. straight mute)
remove mute
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
B E
Hp.
L.J. cide.
A wife in
F.J. A good and health y life:
I Vn. II
Va.
Vc.
Cb.
the air,
the sea,
the serv ice
to the
na
tion.
ev ’ry port,
217
Act I–Scene 9
102
poco rall. to Flute
Picc. 1.
Fl.
1 2
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3 open
Tbn.
1 2
3. open
Bs.Tbn. Tba.
Timp.
1 Perc.
(S.D.)
2
Cel.
G
Hp.
F
L.J. the beard,
the booze,
the par rot on the
shoul
der.
And what a bout us?
F.J. That’s
a rath er Vic to ri an view,
my dear.
Us?
poco rall. I Vn. II
Va.
pizz.
Vc.
Cb.
div. a2, arco
218
Act I–Scene 9
109
1.
1 2 Fl. 3
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. We’d nev er
see him!
He’d be gone for months
or
years at
a
time.
If there’s an oth
er
war...
He’s
F.J. Non sense!
Lau ra...
I Vn. II
Va. unis. (div. a2)
Vc.
Cb.
our on
ly son.
219
Act I–Scene 9
115 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 2.
Bn.
a2
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I should like to
be
there
while he’s grow ing up.
Fred...
F.J. All right old girl,
stick him in
an
of
fice
for the rest of
his life.
See him off
ev ’ry day
pizz.
I Vn.
pizz.
II div., pizz.
Va. pizz.
Vc.
Cb.
div.
220
Act I–Scene 9
1.
121 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 1. (straight mute)
1. remove mute
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. You’re ver y
an noy
F.J. on the eight
fif ty five
with
a
great
big
kiss.
(pizz.)
I Vn.
(div., pizz.)
unis.
(div., pizz.)
unis.
arco
non div.
(pizz.)
II
Va.
(pizz.)
div., arco
Vc.
pizz.
Cb.
(pizz.)
arco
ing.You know per fect ly
well
I should
221
Act I–Scene 9
127 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura rises and goes to her work-basket as Fred settles down by the fire with his crossword. She takes some sewing from the basket and goes back to her chair. The clock strikes the hour. Fred counts squares on his crossword puzzle. Laura sews.)
L.J. hate
that.
F.J. Fine.
Fine.
We’ll do
div., arco unis.
it your way.
What
ev
er that
is. div.
unis.
I espr.
Vn.
div., arco
unis.
div.
unis.
II espr. div.
unis.
Va. espr. unis.
Vc. espr. 1 solo
Cb.
(Laura looks up and watches him for a moment.)
222
Act I–Scene 9
Slower
135 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D B F
Hp.
(Fred doesn’t look up.)
(No response.)
L.J. Fred?
I
had lunch to day
with a strange
man
at the Kar
do mah Ca
fé.
F.J. Yes?
Slower I Vn.
div.
II
Va.
Vc.
Cb.
223
Act I–Scene 9
143 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred replies abstractly as he fills in a word on his puzzle.)
L.J. We walked by the
riv
er.
He’s aw f’ly nice.
He’s a
doc
tor.
Oh dear.
F.J. Good for you.
A
1 solo
I Vn.
1 solo
II div.
1 sola
Va. div.
Vc. tutti
Cb.
1 solo
ver
y
no ble
pro
fes
sion.
224
Act I–Scene 9
150 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1.
1 2 Hn. in F
3.
3. to mute
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Yes, dear.
F.J. “My king dom for
I Vn. II
Va.
Vc.
Cb.
a horse.”
Ri chard the Third said
that,
did n’t he?
I
wish he had n’t.
It
spoils
ev
’ry thing.
225
Act I–Scene 9
156 1. 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2 dolce
Bs.Cl. 1.
Bn.
1 2
to mutes
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I thought, per haps,
we might ask
him
o
ver
for din ner
one eve ning.
F.J. By all means.
Who?
(1 solo)
pizz.
arco
(1 solo)
pizz.
arco
(1 sola)
pizz.
(1 solo)
pizz.
I Vn. II
Va.
Vc. 1 solo
Cb.
pizz.
226
Act I–Scene 9
163
1.
1 2 Fl. 3
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C
Hp.
L.J. Doc tor Har vey.
The man I had lunch with.
You’re nev er
here
for
lunch.
F.J. Must it
be din ner?
1 solo (1 solo)
I gli altri
Vn.
(1 solo)
tutti
II tutte arco
Va. 1 solo tutti arco
Vc. gli altri 1 solo, arco
Cb.
Ex act ly.
227
Act I–Scene 9
169 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
with mutes
remove mutes
1 2 Hn. in F
3. with mute
3. remove mute
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(A moment’s pause, then Laura starts to laugh, almost hysterically.)
L.J. Noth ing, noth ing.
Fred, Fred, Dear Fred.
F.J. What is
it?
I real ly can’t see tutti
I Vn. II 1 sola
Va. tutti, div.
unis.
Vc.
(1 solo) II
Cb. gli altri
div.
what’s so ter ri bly
228
Act I–Scene 9
176 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. No,
no.
It’s all right my dar ling.
I’m laugh ing at
me
not
you.
I’m an ab so lute
F.J. fun ny.
I Vn. II
tutte
Va.
unis. div. a2
Vc. tutti
Cb.
fool.
I get in a state
229
Act I–Scene 9
183 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
a2
1 2
open
1 2 Hn. in F
3. open
3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. a bout
noth ing.
I know, I know.
F.J. You do,
you do.
I
told you to
night
when you came through the door,
I Vn. II
Va. unis.
Vc.
Cb.
he was fine.
230
Act I–Scene 9
189
rall.
a tempo
1.
1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
3.
3 4 1. open
Tpt. in C
1 2
3
Tbn.
1 2 (3.)
Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
DCB E FGA
Hp.
(Laura keeps laughing. Fred shakes his head in bemusement and goes back to his puzzle. The lights intensify on both of them, the room around them fading away into the darkness. Fred and Laura sing together, both unaware of each other’s attention.)
L.J. I
see that now.
I
1 solo
real
ly
rall.
do.
a tempo
I Vn. II 1 sola
(1 sola)
Va. 1 solo
Vc. 1 solo, pizz.
Cb.
231
Act I–Scene 9
196 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F.J. As the years go
by,
I Vn. II (1 sola)
Va. 1 solo
Vc. (1 solo, pizz.)
Cb.
she grows more beau ti ful,
more of
a mys ter
y,
im pos si ble to
232
Act I–Scene 9
202
1.
1 2 Fl. 3
Ob.
1 to Oboe
E.H. 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
2.
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C F G
Hp.
Laura:
L.J. This is my
life:
to keep my chil dren safe,
to love my hus band
just as
he
de
serves.
F.J. know.
What made her choose me
tutti
I Vn. II
tutte
Va.
tutti, div.
unis.
Vc. tutti arco
Cb.
pizz.
all those
233
Act I–Scene 9
208 1 2 Fl. 3
1 3
Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
a2
1.
1 2 3
1 2 Hn. in F
4.
3.
3 4 3
a2 2. open
1 2 Tpt. in C
open
3
1.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
3
D C E G
Hp.
3
L.J. Who de
ci ded
I should be
the
luck
Who de
ci ded
I should be
the
luck
F.J.
3
i
est
wom
an
in
the
world?
in
the
world?
3
years a
go?
i
est
man
I più
Vn. II
più
Va. più
Vc. 3
più arco
Cb. più
pizz.
234
Act I–Scene 9
7
214 1 2
7
Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
(1.)
Bn.
a2
1 2
a2
1 2 Hn. in F
a2
3.
3 4
Tpt. in C
1 2
3 2.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
I Vn. II
Va.
Vc.
(pizz.)
Cb.
arco
235
Act I–Scene 9
7
218 1 2
7
Fl. 3
1 Ob.
Oboe
2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(a2)
1 2
3
Hn. in F
(a2)
3 4
Tpt. in C
3
1 2
3 (2.)
Tbn.
1 2 (3.)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C E G
Hp.
Laura:
3
L.J. I
Fred:
must love him
and
on
ly
him.
F.J. I
I Vn. II
Va.
Vc.
Cb.
have no
clue
and
no
3
way to
know.
On ly
that I
love her,
236
Act I–Scene 9
224 1 2
3
Fl. Flute
3 3
1 Ob. 2
Cl. in B
1 2
3
Bs.Cl.
1. 2.
Bn.
Hn. in F
2.
1 2
3
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. 3
How could I wish for
a
bet ter
man?
Who could com pare
How could I wish for
a
bet ter
wom an?
Who could com pare
with
him?
This
is
with
her?
This
is
my mys
ter
my mys
ter
F.J. 3
that
I
love her so.
3
3
I 3
Vn.
3
3
3
3
3
3
II
Va. 1 solo
Vc. div.
Cb.
237
Act I–Scene 9
231 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. y,
im
pos
si
ble
to
know.
I
must love him
and on
ly him.
F.J. y,
How
can
I know
her?
I
have no clue
I Vn. II
Va.
tutti, div.
Vc.
unis.
Cb.
and
238
Act I–Scene 9
237 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
1.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(As the duet draws to a close, the lights fade on Fred and Laura.)
L.J. And trust that love
will
grow.
that
I
My
love
will
grow,
will
grow.
F.J. no
3
way
to
know.
On
ly
love
her,
that
I Vn. II div.
Va.
Vc.
Cb.
I
love
her
so.
239
Scene 10: Outside the Station 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Outside the station. Laura is holding two or three parcels. She looks up and down the street and then at her watch.) Laura:
3
L.J. 3
I
sat in the ca fé
1 solo
I 3
Vn.
1 solo
II 1 sola
Va. 3
3
1 solo
Vc.
Cb.
wait ing,
wait ing,
but
he did n’t turn up.
I
240
Act I–Scene 10
9 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B E
Hp.
(She looks up and down the street.)
L.J. 3
passed by the hos pi tal,
3
3
won d’ring, won d’ring
what could have hap pened?
I
walked by the riv er,
(1 solo)
I
3 3
Vn.
(1 solo)
II
(1 sola)
Va.
(1 solo)
Vc.
Cb.
3
think ing,
think ing
241
Act I–Scene 10
17 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. I
have to
see him just once
more,
if
on ly to tell
tutti, div.
unis.
tutti, div.
unis.
tutte, div.
unis.
tutti, div.
unis.
him
we must
nev er,
nev
er
see
one an
oth
er
a
I
Vn. II
non div.
div.
Va.
Vc.
Cb.
non div.
div.
gain.
242
Scene 11: The Station Refreshment Room and Platform 1 2
Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4 1. with straight mute
to straight mutes
Tpt. in C
1 2 to straight mute
3 to straight mutes
Tbn.
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Later that afternoon. The station refreshment room. Laura moves to a table and puts her packages on the floor beside her. Myrtle is sweeping the floor in front of the counter. She bends over to brush the sweepings into a dustpan. Albert enters from upstage, notices Myrtle’s vulnerable position and tiptoes up behind her. Laura watches him, smiling. Albert gives Myrtle a playful smack. Laura looks away, struggling not to laugh. Myrtle rises, outraged.) Myrtle:
M.B. Al bert God by,
how
dare
you?
I’ll trou ble you to keep your hands to your self.
Albert:
A.G. Could n’t re
I Vn. II
pizz. (unis.) arco
Va.
(unis.)
Vc. pizz.
Cb.
sist it!
243
Act I–Scene 11
7 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4 2. with straight mute
1 2 Tpt. in C
with straight mute
3
with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. The lib er ty!
A.G. You’re mag nif i
cent
when you’re
an gry.
Just
pizz.
I
Vn.
pizz.
II
pizz.
Va.
pizz.
Vc.
Cb.
like
an
a
veng ing
an
gel.
Af ter last Mon day
I
244
Act I–Scene 11
13 1 2 Fl. 3
1 Ob. 2 (1.)
Cl. in B
1 2
Bs.Cl.
1.
Bn.
a2
1 2
3
3
3
3
1 2 3
Hn. in F 3 4
3
(straight mutes)
1 2 Tpt. in C
(straight mute)
3
1. (straight mute)
Tbn.
1 2 3. (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. This
is a Thurs day, and I’m on du
ty.
You ought to
be
a
shamed.
A.G. did
n’t
think you’d mind
a
friend
ly
slap.
I Vn. II
Va.
Vc. arco
Cb.
non div.
245
Act I–Scene 11
18
1.
1 2 Fl. 3
1 6
Ob. 2
1.
Cl. in B
1 2 6 3
Bs.Cl.
Bn.
3
1 2
1 2 Hn. in F
3.
3 4
1 2 Tpt. in C 3
Tbn.
1 2
Tuba
Bs.Tbn. Tba.
Timp.
1 Perc.
B.D.
2
Cel.
Hp.
(Myrtle puts a cup of tea on the counter in front of him.)
M.B. Drink your tea
I beg your par don.
and
A.G. It’s your fault
an
y way.
Bend ing o ver like that.
It should n’t be al lowed.
I Vn. II
Va. (pizz.)
Vc.
Cb.
be
246
Act I–Scene 11
23 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
3
3
1 2 3 4 (straight mutes)
1 2 Tpt. in C
(straight mute)
3
(straight mutes)
Tbn.
1 2 3. (straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Albert grabs her arm across the counter.)
(Albert glances over at Laura and tips her a wink.) (spoken)
M.B. have your self.
I’ll
do
no such thing. The
la dy might
see us.
Al bert! Stop it!
A.G. Come on sweet heart, give us a kiss.
(pizz.)
I Vn.
(pizz.)
II (pizz.)
Va. (pizz.)
Vc. pizz.
Cb.
Go on, just a quick one. She won’t mind.
247
Act I–Scene 11
29 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 remove mutes
Tpt. in C
1 2 remove mute
3 open
remove mutes
Tbn.
1 2 3. remove mute
3. open
Bs.Tbn. Tba.
Timp. Xyl.
1 Perc.
Sm. Sus. Cym. (wood sticks)
2
Cel.
7
C F
Hp.
7
(There is a brief struggle. As Myrtle pulls away from him, Albert upsets a neat pile of Banbury cakes on the counter beside him.)
M.B. Now look what you’ve done!
arco
I 7
7
Vn.
arco
II 7
7
arco
7
Va. 7
div. a2
arco
pizz.
Vc. 7
7
div., pizz. arco
Cb.
You’ve up set
me Ban bur ys
248
Act I–Scene 11
33 1 2 Fl. 3
1 Ob.
to English Horn
2
a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 1. open
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
B.D.
2
Cel.
Hp.
(Stanley enters from the platform, having seen the attempted kiss.) 3
M.B. all
o
ver the floor.
Stanley: (spoken)
Stan. Just in time—or born in the vestry!
I 3
Vn. II
3
Va. unis., arco
Vc. unis., arco
Cb.
You shut your mouth and help Mis ter God by
pick up them cakes.
The
nerve!
249
Act I–Scene 11
38 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
I Vn. II
Va.
div. (arco)
unis.
pizz.
arco
Vc.
Cb.
250
Act I–Scene 11
43 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
gliss.
Hp.
I Vn. II
Va.
(div.)
Vc.
Cb.
unis.
251
Act I–Scene 11
Fast
48 1 2 Fl. 3
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(There is the sound of a train arriving. Laura looks up and checks her watch against the clock. She gathers her things together and goes out on the platform, looking up and down in search of Alec. Suddenly Alec rushes onto the platform from outside the station. He looks around wildly before spotting Laura. He runs up to her, gasping for breath. They speak to each other very quickly, repeatedly looking up at the train waiting behind them.) Alec:
A.H. My dear,
Fast
div.
6
6
6
I
6
Vn. 6
II
div.
6
6
6 6
Va. 6
6
div.
Vc. 6
Cb.
6
unis. 6
my dear,
I’m sor ry.
I’m so sor ry.
252
Act I–Scene 11
53 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. Quick,
there’s your train.
You must n’t miss your train.
A.H. 3
I could n’t let you know—
we had an e mer gen cy.
(div.)
The sur geon at the hos pi tal
need ed
me there.
unis.
I (div.)
Vn.
unis.
II div.
Va. div.
Vc.
Cb.
(div. a2)
unis.
253
Act I–Scene 11
59 1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Of course,
of course, it
real ly does n’t mat ter.
No,
real
ly...
A.H. I
I Vn. II
Va. unis.
Vc.
Cb.
near ly sent a mes sage to the ca
fé,
but I thought they’d shout your name out
and make a scene.
254
Act I–Scene 11
65
a2
3
1 2 Fl. 3
Ob.
1 3
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1. solo
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
(A whistle sounds on the platform behind them together with a blast of steam and smoke. The sound of another train comes from the opposite direction.)
L.J. quick ly, quick ly,
and there’s
my train.
How ab surd you
A.H. 3
I’m so re lieved
to be
a ble to ex plain.
I thought I would n’t see you
ev er
a gain.
I Vn. II
Va.
Vc. 3
Cb.
255
Act I–Scene 11
72
1.
1 2 Fl.
to Piccolo
3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., fast motor
1 Perc. 2
Cel.
Hp.
(Alec disappears in the steam and smoke. Laura turns back to the audience. She closes her eyes for a moment, deeply relieved, then takes a breath and goes off to board her train.)
(Alec runs towards the train, turning at the last minute.)
L.J. are.
Of
course. Next
Thurs day.
A.H. Next
Thurs day?
pizz., non div.
6
I 6
1 solo, arco
6
6
dolce
Vn.
pizz., non div.
6
II 6
6
6
dolce pizz.
6
arco
Va. 6
dolce pizz.
Vc. 6
6
div., arco
dolce div.
Cb.
256
Act I–Scene 11
77 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2 solo
Bs.Cl. 1. solo
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A
(Albert and Myrtle appear on the platform. Myrtle has a handbag on her arm and is pulling on a pair of gloves.) Myrtle:
M.B. Ev
’ry Thurs day,
reg u lar as clock work.
Ro me
o
and Ju
liet.
Albert:
A.G. What? (1 solo)
I Vn. II div.
Va.
Vc.
Cb.
Oh, them.
Think they’ll ev er get
257
Act I–Scene 11
82 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec nods sagely. Myrtle waits.)
M.B. Not
a chance. Not
them.
3
I know I
am.
A.G. on the same bless ed train?
You’re
prob a bly right.
tutti
I arco
Vn. II
Va. unis.
Vc. unis.
Cb.
258
Act I–Scene 11
87 Picc.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
3 1.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
F
M.B. I can’t say you won’t
Don’t be so sau cy.
...is sauce for the gan der...
A.G. So,
will
I
see you lat er?
Say you will then.
What’s sauce
for the goose...
...is sauce for the gan der...
I Vn.
pizz.
div.
unis.
II div., pizz.
unis.
Va. div. a2, pizz.
Vc.
pizz.
Cb.
unis., arco
259
Act I–Scene 11
93
Piccolo
to Flute
Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1 2
Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. ...I know, Mis ter God by.
Mis ter God by!
What a turn of phrase!
A.G. So you goose me, and I’ll gan der you.
Your place or mine?
arco
pizz.
I arco
Vn.
pizz.
II arco
pizz.
Va. pizz.
Vc. arco
Cb.
260
Act I–Scene 11
slower
99 1 2 Fl. 3
Ob.
1 to Oboe
E.H. 1. solo
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. My place, eight o’ clock.
And don’t
for get to
shave.
A.G. Eight o’ clock it
is
then.
slower arco
I Vn.
arco
II arco
Va. arco
Vc.
Cb.
261
Scene 12: The Boathouse 1 2 Fl. 3
1 Ob.
to English Horn
2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura and Alec are in an old boathouse by the river. Alec is sitting in a large borrowed overcoat. His trousers are drying in front of a small portable stove. On top of the stove is a steaming kettle. Laura is kneeling by the stove laying out Alec’s shoes and socks to dry.)
I Vn. II
div.
unis.
Va.
div.
unis.
Vc.
non div.
Cb.
div.
262
Act I–Scene 12
10 1 2 Flute
Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(a2)
1 2 Hn. in F
(a2)
3 4
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. The Brit ish
have
al ways been nice to mad
peo ple.
The boat man thinks we’re
I Vn. II
Va. unis.
Vc.
div.
Cb.
dot ty,
but
on ly look how sweet he’s been:
263
Act I–Scene 12
18 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. an
o
ver coat,
a mug of
tea “and thou
be side me
in
the
wil der ness.”
be side me
in
the
wil der ness.”
“And wil der ness were
pa
ra dise
e
now.”
a
e
now.”
A.H. “...and thou
“...par
div.
I Vn.
div.
II
Va.
Vc. unis.
Cb.
dise
264
Act I–Scene 12
24 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
3
3
L.J. You real
ly
are
mad.
It
was
on
ly
a
hat.
A.H. I know.
I Vn. II
Va.
Vc.
Cb.
It
was your hat.
265
Act I–Scene 12
30 1 2 Fl. 3
Ob.
1
E.H. 1., solo
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. Look at
you
now,
ri
dic
u
lous man.
And you did get the hat.
A.H. I
I Vn.
div.
unis.
II div.
Va.
Vc.
Cb.
unis.
did
n’t
try
to
fall
in.
266
Act I–Scene 12
35 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Hp.
Laura:
(Silence between them.)
L.J. I’m ver
y grate ful,
so is
the hat.
I Vn.
div.
II div.
Va.
Vc.
Cb.
unis.
div.
267
Act I–Scene 12
42
a2
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 2.
Bn.
1 2
1.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
B
L.J. When I
was a
child
we lived by the
sea,
a
cot tage
on
the
I Vn.
unis.
II (div.)
Va.
div.
Vc. pizz.
Cb.
unis.
cliffs
in
Corn
wall.
268
Act I–Scene 12
47 1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
(1.)
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Sus. Cym., soft
2
Cel.
Hp.
B F ,A
C A
G
L.J. On
hot sum mer
nights
my
sis
ter and
I
would lie wide a
wake
in
the
dark
I Vn. II div.
Va. (div.)
Vc. arco
Cb.
unis.
ness.
269
Act I–Scene 12
52 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
3
L.J. Climb through the
win
dow,
creep from the
house,
and walk down the
cliff
to
the
cove.
I Vn. II
Va. unis.
Vc.
Cb.
div.
270
Act I–Scene 12
57
1.
1 2 Fl. 3
Ob.
1 to Oboe
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D ,B G
Hp.
L.J.
I 3
3 3
Vn. II 3
3 3
div.
Va. (div.)
Vc.
Cb.
unis.
271
Act I–Scene 12
64 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2 Bs.Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B F ,G
Hp.
L.J. The
I Vn. II unis.
Va.
Vc.
Cb.
sea
had carved
a
hol
low pool,
deep
and clear
and
cold,
272
Act I–Scene 12
69 1 2 Fl.
7
7
7
3
1 Ob.
Oboe
2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(2.)
1 2 Hn. in F
(4.)
3 4 with st. mute
Tpt. in C
1., remove mute
1 2 with st. mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
(Sus. Cym.)
2
Cel.
Hp.
3
3
3
L.J. We’d jump and swim
and dive deep down,
the
salt
sting ing our
eyes,
then
sit
I Vn. II div.
Va.
Vc.
Cb.
on
the rocks with the
273
Act I–Scene 12
74 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1.
1 2 Hn. in F 3 4 1., open
Tpt. in C
1 2
3
Tbn.
1 2 Bs.Tbn.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C E ,G
Hp.
3
3
3
3
L.J. sea
at
our feet
and watch
I Vn. II unis.
Va.
Vc. unis.
Cb.
for
shoot
ing
stars.
We were dread ful
ly
cold
but
full
of
ad
ven
ture.
274
Act I–Scene 12
80
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B ,D E ,F
Hp.
3
L.J. Hearts
rac ing
in
tense
ly
a
live,
I
I Vn. II
Va. 1 solo
Vc. div.
Cb.
nev
er would have dared
to
go
on
my own,
275
Act I–Scene 12
86
a2
3
1 2 Fl. 3
3
1 Ob. 2 3
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D
3
3
L.J. but
shar ing
the
dan
ger
made
it
seem
right.
I
nev er
felt that way
a
gain.
I Vn. II
Va. (1 solo)
Vc. unis.
Cb.
tutti
276
Act I–Scene 12
93 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
A
Hp.
(Silence)
L.J. Not
I Vn.
div.
II div.
Va.
Vc. div.
Cb.
un
til
now.
277
Act I–Scene 12
102
1. solo
1 2 Fl.
to Piccolo
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., very soft mallets
1 Perc. 2
Cel.
Hp.
L.J. Yes.
Yes,
I
do.
Yes,
A.H. 3
You know what’s hap pened
don’t you?
I’ve fall en in love with you.
div.
I Vn.
div.
II
Va.
div. a2
Vc.
Cb.
I
know.
278
Act I–Scene 12
108 Picc. 1. solo
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(in a whisper)
L.J. What
A.H. Tell me,
my
dear,
hon est ly tell
me
if what I be lieve
unis.
is
true.
div.
I Vn.
unis.
II div.
Va. 1 solo
Vc.
Cb.
gli altri, div.
unis.
div.
do you be
lieve?
279
Act I–Scene 12
115 Picc. (1. solo)
Fl.
1 2 solo
1
3
Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1.
1 2
1. solo
Hn. in F
1 2 3 4 with straight mutes
1 2 Tpt. in C
with straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib.
1 Perc. 2
Cel.
Hp.
L.J. It can’t be true...
A.H.
3
That it’s the same, the same with you.
3
You’ve fall en in love with me, too.
Why?
I Vn. II div.
Va.
(1 solo)
Vc.
Cb.
(gli altri, div.)
280
Act I–Scene 12
122 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 lontano
3 4 lontano
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They stand silently looking at each other. Alec makes a slight movement towards Laura. She pulls away from him.) 3
L.J. 3
I know you so lit tle.
It’s
true.
A.H. But it’s true
all the same.
1 solo
I Vn. II unis.
Va. div. a2
Vc.
Cb.
No,
no. Please for get what we
281
Act I–Scene 12
129 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. said.
We must.
It can’t be.
How man y times have you and I
A.H.
met?
Four?
3
Five?
How man y times?
3
No,
not yet.
Too late.
We
know
now
we both of us know.
tutti
I Vn.
unis.
II
Va. unis.
Vc.
Cb.
div.
282
Act I–Scene 12
137 Picc. 1.
Fl.
1 2
3
1 Ob. 2 3
Cl. in B
a2
3
1 2 3
Bs.Cl. 3
2.
Bn.
1 2
a2
1 2 Hn. in F
3.
a2
3 4 1. (straight mute)
Tpt. in C
1 2 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
C F A
(Laura looks directly at Alec.)
3
L.J. Ten times a day.
A.H.
3
How man y times since last week
3
did you
de cide
3
nev er to see me a gain?
So did I.
I
Vn.
unis.
II
Va. 3
Vc.
Cb.
6 6
283
Act I–Scene 12
144 Picc. (1.)
Fl.
1 2 sub.
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2 dolce
Hn. in F
1 2 3 4
Tpt. in C
1 2
3 to straight mutes
Tbn.
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Al ec...
Please don’t.
A.H.
3
I love you,
your wide eyes,
the way you
smile,
laugh at my jokes.
I can’t pre tend
1 solo
1 solo
I sub.
Vn.
div.
gli altri unis.
II sub. 1 sola
Va. sub. 1 solo
Vc.
Cb.
3
284
Act I–Scene 12
151 Picc. 1.
Fl.
1 2 espr.
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
1 2 Tpt. in C
(straight mute)
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
gl.
D C B E F G A
Hp.
L.J. I must pre
tend
it
is n’t
true
and so must you.
A.H. it
is
n’t
true.
Nei
ther
can
you.
(1 solo) IV
I espr.
Vn.
1 solo
II (1 sola)
Va. espr. (1 solo)
Vc. 1 solo
Cb.
tutti
285
Act I–Scene 12
157 Picc.
Fl.
1 2 1
Ob. 2 Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
3
cresc.
3
cresc.
3 4
Tpt. in C
1 2
3 with straight mutes
open remove mutes
Tbn.
1 2 cresc. 3. with straight mute
3. remove mute
open
Bs.Tbn. Tba. cresc.
Timp. Vib., slow motor
1 Perc. 2
Cel.
D C B E F G A
Hp.
(Laura bursts into tears.) 3
L.J. Nei ther of us
is free to
love.
We have too far to fall.
There is time
if we con trol our selves.
There’s time.
There’s time...
A.H.
3
There’s no time at tutti 3
I
3
3
Vn.
tutti 3
non div.
II
3
3
tutte
(1 sola)
3
3
Va.
tutti 3
Vc. 3
Cb. 3
3
286
Act I–Scene 12
164
Piccolo
Picc. 3
a2
Fl.
a2
a2
1 2
3
3
3
3
1 3
3
Ob. 2 3
3
a2
Cl. in B
1 2
a2 3
3
Bs.Cl.
Bn.
1 2
a2
1 2 (cresc.)
Hn. in F
a2
3 4 (cresc.) 2. (straight mutes)
2.
1 2 Tpt. in C
(straight mute)
3
a2
Tbn.
1 2 (cresc.)
Bs.Tbn. Tba. (cresc.)
Timp. Xyl.
Vib.
1 Perc.
Lg. Sus. Cym. (Timp. mallets)
2
Cel.
D C B E F G A
Hp.
(Alec takes Laura in his arms, and they kiss passionately.)
A.H. all.
I Vn. II
Va. non div.
Vc.
Cb.
287
Scene 13: The Jessons’ Bedroom Picc.
Fl.
1 2 solo
1 Ob. 2 1. solo
Cl. in B
2.
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 remove mutes
Tpt. in C
1 2 remove mute
3 2.
Tbn.
to straight mutes
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(As the lights change from the previous scene, Laura crosses to a dressing table in her bedroom. She sits making up her face in the mirror as Fred appears in the room behind her. Laura is tense and apprehensive.) Laura:
L.J. Hul lo, dear. Fred:
F.J. Good eve ning Mis ses Jes son.
I Vn. II
Va.
Vc. div.
Cb.
Had a good day?
288
Act I–Scene 13
8 Picc. a2
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(very casually)
L.J. Love ly.
Butch er, bak er, gro cer, bank,
Kar
do mah lunch
and ma ti née
at the
Pa lais Roy ale.
F.J. What did you do?
All
pizz.
I Vn.
pizz.
II pizz.
Va. pizz.
Vc. unis., pizz.
Cb.
a
289
Act I–Scene 13
14 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura answers in a sudden rush, rather like the way Dolly speaks in Scene 1.)
(Laura suddenly panics.)
L.J. Yes.
No.
Not
quite.
Well,
I went to the pic tures
on my own,
but
F.J. lone?
Not quite?
arco
I Vn.
arco
II div., arco
Va. arco
Vc.
Cb.
unis.
Mar
y
Nor ton joined me for lunch.
290
Act I–Scene 13
21 Picc.
1.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. She
want ed to
go
to the pic tures, too,
but
she
had to have tea
at
her
in law’s house,
I Vn. II
Va.
Vc. arco
Cb.
so
I
walked her
to
the
291
Act I–Scene 13
26
to Flute
Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred looks at her for a brief moment.)
L.J. bus
and went
to
the
pic tures on
my own.
Fred:
F.J. I have n’t seen
I Vn. II
Va. non div.
Vc. pizz.
Cb.
Mar y
for
a
ges.
How’s she look ing?
292
Act I–Scene 13
32 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
E
(Laura powders her face. Fred stands behind her, his hands on her shoulders, and talks to her in the mirror.)
L.J. She’s look ing ver
y well.
Per haps a
lit tle fat ter.
You go down. I’ll be there
F.J. You’re beau ti
I Vn. II
Va. div.
Vc.
Cb.
unis.
ful
e
nough
with out that slap,
and I want my din ner.
293
Act I–Scene 13
38 1 2 Fl. Flute
3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
Hn. in F
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred kisses Laura on the top of her head and leaves the room. Laura closes her eyes in misery.)
L.J. in
a mo ment.
That was the lie,
the
first ev er
non div.
I Vn. II
Va.
Vc. arco
Cb.
lie
of our life
to
geth er.
294
Act I–Scene 13
45 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
3
L.J. From
this
day
’til the
day
we
die,
there
will
nev
er
be
a
time
when
I
I Vn. II
Va. div.
unis.
div.
unis.
Vc.
Cb.
can
say
I
nev
er
told you
a
lie.
295
Act I–Scene 13
52 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3 remove mutes
Tbn.
1 2 3. remove mute
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
(There is a telephone on a side table. Laura sits down by the phone and quietly lifts the receiver. She dials a number and waits while the phone rings at the other end, looking round at the door.) 3
3
L.J. Hul lo?
Mar y?
I know it’s been an age.
Lis ten my dear, will
I Vn. II
Va.
Vc.
pizz.
Cb.
296
Act I–Scene 13
60
1.
2.
1 2 Fl. 3
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4 1., open
2., open
1 2 Tpt. in C
open
3 1.
open
Tbn.
a2
1 2 3. open
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(As she talks on, the music rises, drowning out her words. Her face is over-animated, her chatter punctuated by forced laughter.)
(Laura laughs forcefully.) 3
L.J. you be a saint
and back me up
in
a
wick ed lit tle lie?
div.
It’s
aw
ful.
My life de pends on
unis.
I Vn. II
Va. div.
Vc. (pizz.)
Cb.
arco
it.
297
Act I–Scene 13
66 1 2 Fl. to Piccolo
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F 3 4 1.
1.
1 2 Tpt. in C
to straight mute
3
1.
Tbn.
to straight mutes
1 2 3.
3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc.
B.D.
2
Cel.
G
Hp.
B
D C B E F G A
(l.v.)
(As she hangs up the phone, Laura’s face is suddenly drained of expression. She returns to the dressing-table and looks at herself in the mirror. She takes a deep breath.)
L.J. 3
This is the face
I Vn. II
Va.
unis.
Vc.
Cb.
div.
of
a
wom an who lies.
This is the mouth,
298
Act I–Scene 13
73 Picc. 1.
Fl.
1 2
1 Ob.
to English Horn
2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1. solo
Hn. in F
1 2 3 4 with straight mutes
to straight mutes
1 2 Tpt. in C
with straight mute
3
2. with straight mute
1. with straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. these are the eyes,
I Vn. II
Va. (div.)
Vc.
Cb.
these are the lips
that kissed the lips
of
a
man
who
lies
to the
wom
an he mar ried,
but now
de
nies.
Act I–Scene 13
80 Picc. (1.)
Fl.
1 2
Ob.
1
3
3
3
3
E.H.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
1 2
2.
1.
1 2 Hn. in F
3
3 4 2.
Tpt. in C
1 2
3
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B
Hp.
I Vn. II
Va. unis.
Vc.
pizz.
Cb.
299
300
Act I–Scene 13
86 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3.
3 4 (straight mutes) remove mutes
1 2 Tpt. in C
(straight mute)
remove mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
3
L.J. How can I bear
to
watch these eyes
star ing,
star ing,
dar ing me
I Vn. II pizz.
Va. non div.
Vc.
(pizz.)
Cb.
arco
to
tell
more
301
Act I–Scene 13
91 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
6
a2
6
1 2 Hn. in F 3 4
open
a2
1 2 Tpt. in C
open
3
Tbn.
remove mutes
open
3. remove mute
3. open
1 2
3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura looks away for a moment, unable to sustain the contact. There is a wedding photograph on her dressing table. She picks it up and examimes it closely.)
L.J. lies?
I Vn. II arco
Va.
div.
Vc.
Cb.
unis.
302
Act I–Scene 13 Piccolo
97 Picc.
1.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
soli
(a2)
1 2 Hn. in F
(a2)
3 4
2.
to straight mutes
1 2 Tpt. in C
to straight mute
3 1. to straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Tamtam
2
Cel.
Hp.
A
div.
I Vn.
div.
II
Va.
Vc. div.
Cb.
303
Act I–Scene 13
105 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
6
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
F
Hp.
D E A
Laura:
L.J. Here
unis.
I Vn.
unis.
II
Va.
Vc.
Cb.
is
a bride
on the
steps
of
a church,
the
bride
groom be side
her,
304
Act I–Scene 13
111 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 with straight mutes
1 2 Tpt. in C
with straight mute
3
1. with straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. hap
3
py and proud.
Min utes be fore this pic ture was ta
ken,
she swore to love him
I Vn. II div.
unis.
Va.
Vc. (div.)
Cb.
unis.
from
this
day
for ward,
for bet ter,
for
305
Act I–Scene 13
117 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
2
1 2
Bs.Cl. 1.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 remove mutes
1 2 Tpt. in C
remove mute
3 (1.)
Tbn.
1. remove mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. 3
worse,
for
rich
er,
for
poor
er,
in
sick
ness
and
in
health,
I Vn. II
Va.
div. a2
Vc.
unis.
Cb.
to
love,
to
cher ish,
306
Act I–Scene 13
125 Picc. a2
Fl.
1 2
Ob.
1 3
English Horn
E.H. 3
a2
Cl. in B
1 2
3 3
3
3
3
a2 3
3
3
3
Bs.Cl.
(1.)
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 2. open
1. open
1 2 Tpt. in C
open
3
1. open
Tbn.
1 2
Bs.Tbn. Tba.
Timp. 3
Xyl.
3
1 Perc.
Sm. Sus. Cym.
2
Cel.
D C B E F G A
Hp.
E
(Laura puts the photograph back on the dressing table. She looks back at her reflection in the mirror and sees herself as if for the first time.)
(Laura stops for a moment and looks up.)
L.J. 3
and
3
o
bey
’til death
’til death us
do
part.
I Vn. II
Va. 3
unis.
3
3
3
Vc. 3
Cb. 3
3
307
Act I–Scene 13
132 Picc. (a2)
Fl.
1 2
Ob.
1
a2
3
E.H.
(a2)
Cl. in B
1 2
3
Bs.Cl.
a2
(a2)
Bn.
Hn. in F
1.
1 2
1 2 3 4 1.
1 2 Tpt. in C 3 a2
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Chimes
1 Perc. 2
Cel.
Hp.
D
l.v.
L.J. 3
This was the face of a div.
I div.
Vn.
unis.
II div.
unis.
Va. 3
div.
Vc. div.
Cb.
unis.
wom an who lied
308
Act I–Scene 13
139 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
3
3
3
3
3
3
3
3
Bs.Cl. (1.)
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The music rises again as Laura stares at her reflection with mounting fear.)
L.J. 3
to cher ish a truth
that burnt in side
of
a love
she be lieved
could
not
be de nied.
I Vn. II
Va. unis.
Vc.
Cb.
309
Act I–Scene 13 solo
146 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D
Hp.
(The lights fade on Laura.) 3
3
3
L.J. This is
the
face
of
a wom an who died.
I Vn. II
Va.
Vc.
Cb.
End of Act I
310
Entr’acte 1 2
Fl. Flute
3
1 Ob. Oboe
to English Horn
2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
div.
div.
unis.
div.
unis.
unis.
I Vn.
div.
unis.
div.
unis.
II
div.
Va.
div.
unis.
div.
unis.
div. a2
Vc.
div.
Cb.
unis.
Entr’acte
11 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
I Vn. II
unis.
Va.
unis.
Vc. non div.
Cb.
div.
311
312
Entr’acte
20 1 2 Fl.
to Piccolo
3
Ob.
1
E.H. a2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1 2
Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Curtain
(Lights slowly up on Alec, standing alone, his eyes closed. He breathes deeply, then opens his eyes. He looks around and the light spreads to reveal his surroundings.)
I Vn. II
Va. unis.
non div.
div.
Vc.
Cb.
attacca
313
Act II Scene 1: Outside the Hospital Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The street outside the hospital. Alec is waiting for Laura. He looks up and down the street and then sneaks a look at his watch. Music. Low, urgent, driving. Alec’s heart beating.) Alec:
A.H. Five
I Vn. II
Va. unis.
Vc.
Cb.
min utes.
Five
more
min utes.
314
Act II–Scene 1
Piccolo
6 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
A.H. She’ll be
here.
She
must
be
here.
Six
3
3
3
3
I
Vn. II
Va. div., pizz.
Vc. pizz.
Cb.
days.
Six
days
wait ing
315
Act II–Scene 1
10
to Flute
Picc.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H. with out her eyes,
her
shin ing eyes.
All my Thurs days are the same— dream ing, yearn ing, plan ning, fear ing,
I Vn. II
Va. unis., arco
Vc. arco
Cb.
pray ing
for Lau
ra
to
be
316
Act II–Scene 1
15 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec glances at his watch again.)
A.H. here.
Four
more
I sempre
Vn. II
sempre
Va.
Vc. sempre
Cb.
min utes
Please
be
here.
Five weeks.
Five short weeks
since
we
met,
since
317
Act II–Scene 1
21 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
3
1 2
Bs.Cl.
1.
Bn.
a2
1 2
a2
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2
3 2.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H.
3
first
we
met.
Sev
en
hours,
sev
en
long
hours
to
I Vn. II
Va.
div.
Vc.
Cb.
be with her,
to
love
her,
and
then
318
Act II–Scene 1
27 1 2 Fl. 3
Ob.
1
E.H.
2
Cl. in B
1 2
Bs.Cl.
1.
(a2)
Bn.
1 2
(a2)
1 2 Hn. in F
(a2)
to mutes
3 4
1 2 Tpt. in C 3
Tbn.
1 2 (3.)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H. 3
nev
er
3
the
same,
nev er the same a
gain.
How to tell her?
1 solo
I Vn.
1 solo
II
1 sola
Va. unis.
Vc.
Cb.
1 solo
If
I tell her.
Walk ing by the riv
er,
sit ting at the ta
ble,
319
Act II–Scene 1
34 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
1 2
1. solo (open)
1 2 Hn. in F
with mutes
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec thinks for a moment.)
(Another glance at the watch.)
A.H.
3
wait ing at the sta
tion. Where?
(1 solo)
No,
not there,
Nev er a gain,
nev er the same a gain.
Three min utes.
Three more min utes,
tutti, div. unis.
I
tutti, div.
Vn.
(1 solo)
unis.
II
(1 sola)
tutte
Va.
tutti (1 solo)
Vc.
1 solo
Cb.
tutti
pizz.
320
Act II–Scene 1
meno mosso
41
1. solo
1 2 Fl. 3
Ob.
1
E.H. 1. solo
Cl. in B
1 2
Bs.Cl.
2.
Bn.
1 2
(1.)
1 2 Hn. in F
remove mutes
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura appears, walking quickly towards Alec. He turns to her. She comes up to him and stands very close.) Laura:
L.J. Hul lo.
A.H. she’ll be here.
She’s here.
Hul lo.
I thought you would n’t come. 1 solo
meno mosso
tutti
I
Vn.
al sord.
II
Va.
div.
Vc. arco
Cb.
con sord.
321
Act II–Scene 1
49
1.
1 2 Fl.
Flute
3
Ob.
1 English Horn
to Oboe
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
D C B E F G A
(The music rises as Alec extends an arm to Laura. She slips her arm into his, and they walk off together. As they circle the stage, the scene transforms itself...)
L.J. I
A.H. 3
I’ve been think ing
all week
did n’t mean to come, but here
I
3
that you would n’t come.
I Vn.
via sord.
II
Va. (div.)
Vc.
Cb.
am.
322
Scene 2: The Royal Hotel 1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F
3. open
3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3 to straight mutes
Tbn.
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc.
Glock.
2
Cel.
Hp.
(The inside of the Hotel Royal. A maitre d’hotel supervises the setting up of two or three tables, a very smart waiter in attendance. Alec and Laura enter and are escorted to a table by the maitre d’. Alec whispers to the maitre d’, who nods and smiles. The lights intensify on Laura as she turns to the audience. Her face is glowing.)
I Vn. II
Va. unis.
Vc.
pizz.
Cb.
323
Act II–Scene 2
9
1.
1 2
3
Fl. 3
1 Ob. 2 a2
Cl. in B
1.
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
G
D
D
D
(As Laura and Alec sit down, the waiter brings a bottle of champagne to the table, which the maitre d’ opens with a flourish.) Laura:
3
3
3
3
L.J. He
took me to lunch at the Roy al Ho tel.
I Vn.
senza sord.
II
Va.
Vc. arco
Cb.
I had n’t been there for years and years.
He or dered cham pagne.
324
Act II–Scene 2
17 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 4. open
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Unseen by Alec and Laura, two more guests seat themselves at a table in a corner of the room. These are Mary Norton and Mrs. Rolandson.)
(Alec and Laura toast each other and drink.)
L.J. 3
3
I pro tes ted, of course.
We talked
Alec:
and laughed.
Or di nar y. Eas
A.H. You’re on ly mid dle aged
once!
I Vn. II
Va. non div.
Vc. pizz.
Cb.
y.
325
Act II–Scene 2
24 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc. 2
Cel.
Hp.
D
(Alec gets up and pulls back Laura’s chair for her. She walks down towards the audience as Alec crosses to the maitre d’ to settle the bill.)
L.J. But how could it be me?
How could it be him?
He was charm ing,
and clev er,
and fun ny,
and sweet,
I Vn. ( )
II pizz.
Va.
Vc.
Cb.
and he
326
Act II–Scene 2
31
1.
1 2 6
Fl.
6
3
1 Ob. 2 (1.)
Cl. in B
a2
2.
1 2 leggiero
Bs.Cl.
1.
Bn.
1 2
(2.)
1 2 Hn. in F
(4.)
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
B A
E
Hp.
3
L.J. made me feel the same.
I was the same.
I
want ed to feel like that for
ev
er.
I
want ed him to feel it
I Vn.
pizz.
II arco
pizz.
Va. pizz.
Vc. (pizz.)
Cb.
too,
to
want
me
as I
327
Act II–Scene 2
38
a2
1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2 3 with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Mary Norton and Mrs. Rolandson have got up from their table upstage and hurry up to Laura.)
L.J. want ed him.
Mary Norton:
M.N. 3
Lau
ra!
It was you
af ter all.
Her
Mrs. Rolandson:
M.R. Mis ses Jes son.
3
I
3
said
it
was her.
6
3
6
3
6
3
6
6
3
6
3
6
3
6
I Vn.
arco 3
II
div. (pizz.)
Va. (pizz.)
Vc. (pizz.)
Cb.
mi
o
ne knew you right a way,
328
Act II–Scene 2
42 1 2 Fl. 3
1 Ob. Oboe
2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F
3.
3 4
1. with straight mute
Tpt. in C
2. with straight mute
1 2 with straight mute
3 (straight mutes)
Tbn.
1 2 (3. straight mute)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura shakes hands with them both.)
M.N. but you know
how
fright ful ly blind
I
am.
I peered
M.R. 3
Blind as
a
bat.
I Vn. II (div.)
unis. col legno battuto
Va. col legno battuto
Vc. col legno battuto
Cb.
and peered
but could n’t be sure.
329
Act II–Scene 2
47 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
2.
1 2
1 2 3 4 2. remove mute
Tpt. in C
1 2 remove mute
3 remove mutes
Tbn.
1 2 (3.)
3. remove mute
Bs.Tbn. Tba.
Timp.
1 Perc.
Med. Trgl.
2
Cel.
Hp.
(Laura looks around for Alec, but he is still with the maitre d’.) Laura:
L.J. I
nev er e ven saw you.
How dread ful. It must
be
the cham pagne.
I’m
3
not used to cham pagne for lunch or for din ner.
But Al ec in sist ed.
M.N. Cham pagne.
M.R. Cham pagne.
6
6
6
6
6
6
6
6
I
Vn. II
ord.
pizz.
div., ord.
pizz.
Va.
Vc. pizz.
Cb.
330
Act II–Scene 2
Slower 53 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1. (straight mute)
1. remove mute
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
(Laura is panicking inside but manages to look Mary in the eye and brazen it out.)
L.J. Al ec Har vey.
Sure ly Ma ry,
you re mem ber the Har veys.
3
I’ve known them for years. hesitantly
M.N. Al ec who, dear?
I don’t think I’ve ev er.
M.R. Al ec
who?
Slower I Vn. II arco
Va. arco (div.)
Vc. arco
Cb.
331
Act II–Scene 2
59 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2. open
1. open
4. open
3. open
1 2 Hn. in F 3 4 open
Tpt. in C
a2
1 2 open
3 1. open
Tbn.
2. open
1 2 3. open
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
L.J. 3
He’ll be here in a mo ment.
3
Peer at him close ly.
You’re sure to re mem ber him.
He’s a dear.
M.R. He looked ver y charm ing
3
and ver y at ten tive.
pizz.
I Vn.
pizz.
II
pizz.
Va.
pizz.
unis.
Vc. pizz.
Cb.
A ver y nice man,
332
Act II–Scene 2
65 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 3
Bs.Cl.
Bn.
Hn. in F
a2
1 2
1 2 3 4
Tpt. in C
1 2
3 1.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec joins the group downstage.) 3
L.J. and
a
3
ver y good doc tor.
Al ec, my dear, you re mem ber Mis ses Nor ton.
Mary:
M.N. It’s
Alec: (spoken)
A.H. I’m arco
I
Vn.
arco
II
Va.
Vc.
Cb.
a fraid I...
no use,
Lau
ra.
333
Act II–Scene 2
70 1 2 Fl. 3
1 Ob. 2 1. solo
Cl. in B
1 2
3
6
Bs.Cl.
(a2)
Bn.
Hn. in F
1 2
1 2 3 4 1 2
Tpt. in C 3 (1.)
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. How ab surd.
I was sure
he and Ma de leine were there when you
dined with us
late
last
year.
M.N. We’ve nev er met be fore in
our lives.
pizz.
arco
pizz.
arco
(pizz.)
arco
I
Vn. II
Va.
div. (pizz.)
arco
unis., pizz.
Vc. arco
Cb.
pizz.
3
6
334
Act II–Scene 2
75 1 2 Fl. 3
1 Ob. 2 (1. solo)
Cl. in B
1 2
6
6
solo
6
6
6
Bs.Cl. a2
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
a2
Tbn.
1 2 (3.)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F
(Mary shakes her head in bemusement while Alec pretends to see the funny side of Laura’s forgetfulness. Laura glances at Mrs. Rolandson.)
(Alec shakes Mrs. Rolandson’s hand.)
(There is a distinct and uncomfortable pause as no one can think of anything to say. Then...)
L.J. I’m so sor ry. Al ec, dear,
this is Mis ses Ro land son.
Mrs. Rolandson: (spoken, overlapping)
(sung)
M.R. Alec: (spoken)
How do you do?
A.H. How do you do?
I Vn. II
Va.
Vc. (pizz.)
Cb.
Hor rid weath er, is n’t it?
335
Act II–Scene 2
80 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
2.
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Another uncomfortable pause, more agonising than the last, with Laura desperately trying to think of something to say.) Mary:
M.N. We real ly must be go ing.
M.R. But we can’t ex pect spring all the year round,
can we?
A.H. Yes.
No.
No, we can’t.
I Vn. II
Va.
Vc. (pizz.)
Cb.
I’m
off to see the in laws.
336
Act II–Scene 2
86 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(Mary shakes Laura’s hand.) Laura:
L.J. Good bye.
M.N. Her mi o ne is join ingme.
Good bye,Doc tor Har vey.
Good bye, good bye, Mis ses Jes son.
Good bye, my dear.
M.R. Mor al sup port!
A.H. Good bye.
I Vn. II
Va. arco
Vc. (pizz.)
Cb.
arco
div.
I
337
Act II–Scene 2
90
1.
2.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (1.)
Tpt. in C
1 2
3 1.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C G
Hp.
(Mary and Mrs. Rolandson leave, Mrs. Rolandson looking back at Laura as she goes. Laura takes a deep breath. Alec, too, is a little shaken.)
L.J. That was aw
ful,
aw
ful!
M.N. do so en vy you
and your cham pagne.
M.R. Cham pagne.
A.H. Nev er mind.
I Vn. II
Va. unis.
Vc.
Cb.
unis. div.
338
Act II–Scene 2
97
2.
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura looks away and speaks quietly, under her breath.)
L.J. They were watch ing us,
watch ing us
all through lunch.
They’re my friends.
Our friends.
A.H. For get
it.
I know,
I Vn. II div.
Va.
Vc. pizz.
Cb.
al sord.
I know.
339
Act II–Scene 2
Slower
105 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
2.
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Slower L.J. Cham pagne.
A.H. It was n’t ver y
clev er,
es pe ci ally the
cham pagne.
We’ll walk up the riv er
I Vn. II
Va. al sord.
Vc.
(pizz.)
Cb.
al sord.
and clear our heads,
the two of us
a lone,
just
as we should be.
340
Act II–Scene 2
112
2.
1 2 Fl.
to Piccolo
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
2.
1 2
1 2 Hn. in F 3 4 1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
DCB EFGA
Hp.
al sord.
I Vn.
al sord.
II
Va.
Vc. arco, con sord.
Cb.
341
Scene 3: Eden Lock Picc.
Fl.
1 2
1 Ob. 2 2.
Cl. in B
6
1 2
6
6
6
Bs.Cl.
3
2.
Bn.
3
3
3
3
3
3
3
1.
3
3
3
3
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. 3
3
3
1 Perc.
Lg. Sus. Cym., soft mallets
2
Cel.
Hp.
(Alec and Laura stand on the bridge over Eden Lock. The music is driving and churning. Laura looks around her.)
I Vn. II unis., con sord.
6
6
Va. con sord. 6
6
6
6
Vc. 6
6
(con sord.)
Cb. 3
3
3
3
3
3
3
3
3
3
3
3
342
Act II–Scene 3
4 Picc.
Fl.
1 2
1 Ob. 2 (2.)
Cl. in B
1. 6
1 2
6
6
6
6
6
Bs.Cl. (1.)
Bn.
3
3
3
3
2.
3
3
3
3
3
3
3
3
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. 3
3
3
1 Perc.
(Lg. Sus. Cym.)
2
Cel.
3
Hp.
3
3
Laura:
L.J. 3
We
stood on
the bridge
at
E
den
Lock,
the
I Vn.
con sord. 6
6
6
6
II
(con sord.) 6
6
Va. 6
6
6
6
(con sord.)
Vc. 6
3
6
3
3
3
3
3
3
3
3
3
3
3
(con sord.)
Cb. 3
3
3
3
3
3
3
3
343
Act II–Scene 3
7 Picc.
Fl.
1 2
1 Ob. 2 2.
Cl. in B
6
6
6
6
1 2
Bs.Cl.
3
1.
Bn.
3
3
3
3
3
3
1 2 3
3
stopped a2
1 2 Hn. in F
stopped a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D A
Hp.
3
3
3
3
L.J. riv
er
3
teem ing with Au
con sord. 6
tumn
rain,
clouds
6
6
6
rac
3
ing
a bove
our heads,
6
I
Vn.
pizz.
arco
II
pizz.
Va. 3
3
3 3
3
Vc. 3
3
Cb. 3
3
3
3
3
pizz.
3
3
344
Act II–Scene 3
10 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
2.
1 2
Bs.Cl.
Bn.
1 2
(stopped)
1 2 Hn. in F
(stopped)
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
3
3
3
3
3
3
3
3
3
3
3
3
L.J. wa
ter
roar
ing
be
neath
our
feet.
via sord.
I Vn. II
(pizz.)
Va. 3
Vc. (pizz.)
Cb.
3
3
3
345
Act II–Scene 3
Slower
12 Picc. fltg.
Fl.
1 2 1
Ob. 2 Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(stopped)
1. open
1 2 Hn. in F
(stopped)
3 4
Tpt. in C
1 2 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
l.v.
(Laura shivers. Alec puts his arm around her. He raises his voice to be heard over the roar of the water.)
L.J. No.
Alec:
No.
A.H. Are you cold?
Slower
senza sord.
I Vn.
via sord.
senza sord.
II arco, senza sord. via sord.
Va.
div., senza sord. via sord.
Vc.
via sord.
Cb.
arco, senza sord.
Hap py?
Tell me,
please,
I have to know.
346
Act II–Scene 3
16
Piccolo
Picc. 3
a2
Fl.
1 2 3
1 3
Ob. 2
3
Cl. in B
1 2
Bs.Cl.
Bn.
1 2 a2 2. open
1 2 Hn. in F
3. open
4. open
a2
3 4 1.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
gl.
D C B E F G A
Hp.
gl.
L.J. Tell
you...
Yes,
it’s true.
A.H. It’s the same for you
as
it
is for me.
The
o ver whelm ing need
I
have
to
be
with
you.
I
3 10
Vn. II 3 10
Va. 3
(div.)
unis.
Vc. 3
Cb.
347
Act II–Scene 3
20 Picc. 3
a2
Fl.
1 2 3
1 3
Ob. 2
3
Cl. in B
a2
3
1 2
3
3
Bs.Cl.
a2
Bn.
1 2 3
3
3
(a2)
1 2 Hn. in F
(a2)
3 4 (1.)
1. to straight mute
3
2.
1 2 Tpt. in C 3
a2
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp. Glock.
1 Perc.
Crash Cymbals
B.D.
2
Cel.
gl.
Hp.
(Laura cries and Alec puts his arms more closely around her. The music rises again.)
D C B E F G A
(Laura looks down at the river churning away below them.)
L.J. 3
I stood on a ship
I
3
at the
edge of the world,
3
Vn. II 3
Va. 3
Vc. 3
Cb.
3
348
Act II–Scene 3
25
to Flute
Picc.
Fl.
1 2 1
Ob. 2 Cl. in B
1 2 3
Bs.Cl.
a2
Bn.
1 2
3
3
3
1 2 Hn. in F
4.
3 4 1. with straight mute
1. remove mute
3
1 2
1. open
Tpt. in C 3
Tbn.
1 2 3
Bs.Tbn. Tba.
3
(optional 8ba)
Timp. (Glock.)
B.D. 3
1 Perc.
Tamtam
2
Cel.
Hp.
(The lights fade on them as the scene changes.) 3
3
L.J. 3
3
the deck plung ing be neath my
feet,
thun der
roar ing
o ver my
head,
and I fell
with the
o cean in to the sky.
I Vn. II
Va. 3
3
3
3
Vc.
Cb.
349
Scene 4: The Station Platform 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3
2.
Tbn.
1 2
3.
Bs.Tbn. Tba.
Timp. Mar.
1 Perc.
S.D., brush
2
Cel.
D C B E F G A
Hp.
ĂŠtouffĂŠ
(The station platform. Alec and Laura stand waiting together. The sound of a train approaching.) Laura:
L.J. 3
This is your train. I
I
Vn.
I
II
div., col legno battuto
unis., pizz.
Va.
div., col legno battuto
unis., pizz.
Vc. div., pizz.
Cb.
350
Act II–Scene 4
8 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 2. with straight mute
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
A
Hp.
(Alec speaks without looking at Laura.)
L.J. The flat?
Alec:
A.H.
3
I’m not
I Vn. II (pizz.)
Va.
div. (pizz.)
Vc.
(div., pizz.)
Cb.
go ing to take
it.
I’m
go ing to the flat.
To
Ste phen’s flat.
I
have the keys.
351
Act II–Scene 4
16 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
6
6
6
6
6
6
6
6
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
6
6
6
6
Cel.
6
6
6
Hp.
3
L.J. A lec...
No.
A lec, I can’t.
A.H. He won’t be back
’til late.
Come with me.
Come with me.
I Vn.
div.
II arco
Va. arco (div.)
Vc.
arco (div.)
Cb.
unis.
3
I must go home.
6
352
Act II–Scene 4
22 1 2 Fl. Flute
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 1. with straight mute
1 2 Tpt. in C
with straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Sm. Sus. Cym., rubber mallets
2 molto
Cel.
Hp.
D C B E F G A
D
(Alec takes out a little notebook and writes in it.)
L.J. I
must go home.
No,
no.
I won’t be there.
A.H. I’m
go ing to the
flat.
3
I’ll wait for you there.
Here’s the ad dress.
I’ll
wait for you.
I’ll div.
I Vn.
unis.
div.
II div.
Va.
unis.
Vc.
Cb.
div.
wait for you
353
Act II–Scene 4
29 1 2 Fl. to Piccolo
3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
3
1 2 Hn. in F
3
3 4 a2
Tpt. in C
1.
1 2
3
with straight mutes
to straight mutes
Tbn.
1 2 3. to straight mute
3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc.
(Sm. Sus. Cym.)
2
Cel.
Hp.
(Alec tears a page out of the book. Laura turns and looks at him. He speaks tenderly.)
A.H.
3
wheth er
or not.
If
I Vn. II
unis.
Va.
Vc.
Cb.
you de cide
not to come,
then I’ll know you need ed
time to find your heart.
354
Act II–Scene 4
37
Rapid and nervous
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2 sim.
stopped
a2
1 2 sim.
Hn. in F
stopped
a2
3 4 sim.
a2
1 2 Tpt. in C 3 2.
Tbn.
1 2
3.
Bs.Tbn. Tba.
Timp.
1 Perc.
2 Tom-toms
S.D.
2
Cel.
Hp.
(Alec tucks the page of the notebook into Laura’s handbag. She doesn’t move. He turns and quickly goes without looking back. Laura watches him go, then turns back, moving towards the edge of the platform. She looks at her watch and then up at the station clock. She peers down the track and then walks up and
down the platform, agitated. She stops as she hears a train approaching. The train gets closer and closer, finally arriving in a cloud of smoke and steam, the window-lights slowly flashing across Laura’s face.)
Rapid and nervous unis.
div.
unis.
div.
I Vn. II
Va.
unis.
pizz.
arco
pizz. arco
Vc.
div.
Cb.
unis., pizz.
355
Act II–Scene 4
accel. 44
Piccolo
Picc.
Fl.
3
1 2
3
1 3
Ob.
to English Horn
3
2
Cl. in B
1 2 solo
Bs.Cl.
Bn.
1 2
3
(a2)
1 2 Hn. in F
3
(a2)
3 4
3
1. solo
1 2
remove mutes
3
3
Tpt. in C
remove mute
3 3
remove mutes
Tbn.
1 2
3
remove mute
Bs.Tbn. Tba. 3
Timp. Xyl.
1 Perc.
3
(S.D.)
2 3
Cel.
Hp.
(The train stops. Laura picks up her things and moves toward the train. A guard’s whistle blows, and the engine blasts a hiss of steam onto the platform. Laura suddenly stops, undecided. We hear banging doors and whistles, and the train slowly pulls out of the station, Laura standing stock-still, watching it go.
As the sound of the train recedes into the distance, Laura turns and moves to a phone box on the platform. She picks up the receiver and holds it against her chest, breathing deeply, composing herself. She dials, waits, and when the phone is answered, she puts money into the slot.)
accel. unis.
I 3
Vn.
unis.
II 3
Va. 3
pizz.
Vc. 3
arco
Cb.
3
div., arco
356
Act II–Scene 4
52 Picc. 1.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
open
1 2 Hn. in F
open
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. 3
Fred? Is that you?
3
It’s me,
3
Lau ra.
Ev ’ry thing’s fine,
I
Vn. II
0
pizz.
0
Va.
unis., pizz.
Vc.
pizz.
Cb.
but I
shan’t be home in time for
357
Act II–Scene 4
59 Picc. 1.
Fl.
1 2
Ob.
1
English Horn
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura looks round, imagining her story as she tells it.) louder
L.J. din ner.
I Vn. II
Va.
Vc.
Cb.
I’m with Miss Lew is,
the li brar i an
la dy.
I can’t ex plain,
be cause she’s here
right out
side the tel e phone box.
358
Act II–Scene 4
65 Picc. 1.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
a2
(1.)
Bn.
1 2
1 2 Hn. in F 3 4
open
to straight mutes
open
to straight mute
open
to straight mutes
1 2 Tpt. in C 3
Tbn.
1 2 3. open
3. to straight mute
Bs.Tbn. Tba.
Timp.
Chimes
1 Perc.
Lg. Sus. Cym., rubber mallets
B.D.
2
Cel.
Hp.
(As she talks on, the music rises, drowning out her words. As Laura hangs up the phone, lights come up on Fred, the telephone receiver still in his hand. He looks perplexed. Laura turns back onto the platform. She is shaking.)
L.J. Her moth er’s ill,
I Vn. II
arco
Va. arco
Vc. arco
Cb.
and she’s got her self in an aw ful state.
359
Act II–Scene 4
71 Picc.
Fl.
1 2
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura takes a breath, turns and walks quickly out of the station as the lights change to...)
L.J. Eas
y
to
lie
when
you know
that you’re trust ed.
So
non vib.
I Vn.
div., non vib.
II
Va.
Vc.
Cb.
eas y,
so
de grad ing.
360
Scene 5: The Jessons’ Sitting Room Slower
Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4 with straight mutes
1 2 Tpt. in C
with straight mute
3
with straight mutes
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F
(...the Jessons’ sitting room. Fred hangs up the phone and sits down in his accustomed armchair by the fire. The clock on the mantle is just audible. Fred glances at the crossword.)
(Fred looks over at Laura’s empty chair.)
Fred:
F.J. Four teen down.
Six
let ters,sec ond let ter “G...”
Does n’t make sense...
Lau ra,
Slower non vib.
I Vn.
unis., non vib.
II non vib.
Va. div., non vib.
Vc. non vib.
Cb.
you’ve gone a
long, long way a way.
Where are you?
I fear I know.
361
Act II–Scene 5
8 Picc.
Fl.
1 2
Ob.
1 to Oboe
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
1. remove mute
1 2 Tpt. in C
(straight mute)
3
Tbn.
(straight mutes)
remove mutes
3. (straight mute)
3. remove mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Woodblocks, Xyl. mallets
2
Cel.
C F
Hp.
(The clock ticks on the mantle. Fred consults his crossword again.)
F.J. But
I can’t bear...
I can’t bear to be
lieve it.
Five a cross,
I Vn.
pizz.
II
div., pizz.
Va. unis.
Vc.
Cb.
eight
let ters.
Twelve
down,
362
Act II–Scene 5
15 Picc. 1. solo
Fl.
1 2 7
7
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3 open
Tbn.
1 2 3. open
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
F.J. third let ter “D.”
Noth ing makes sense.
What wasthat?
On ly the clock.
Lau ra
I Vn.
arco
II
unis. (pizz.)
Va.
Vc.
Cb.
div., arco
363
Act II–Scene 5
21 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
G
(Silence. Fred holds his breath for a moment, controlling his feelings.)
F.J. with out
you
there’s noth ing.
No words,
no mu sic,
no clock,
no time.
I must not fear
I Vn. II unis.
div.
Va.
div.
Vc. div.
Cb.
unis.
364
Act II–Scene 5
28 Picc.
1.
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2 dolce
1.
1 2 Hn. in F
dolce
3 4
Tpt. in C
1 2
3 1.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
A
Hp.
C A
E
F.J. or let the emp ti ness
I Vn. II (div.)
Va.
Vc.
Cb.
grow in side me.
If
I should lose
you,
if you should lose your self,
if the chil dren lose their
365
Act II–Scene 5
34 Picc. a2
Fl.
1 2 3
1 Ob. 2 a2
Cl. in B
1 2
3
Bs.Cl.
(1.) a2
Bn.
1 2
(1.)
1 2 Hn. in F
3.
3 4 1. open
1 2 Tpt. in C
5
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F.J. 3
moth er,
and I
my
wife,
my
life would
be
noth ing.
This
is
what
I
know.
gl.
I
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vn. gl.
II
unis.
Va. unis.
Vc.
Cb.
366
Act II–Scene 5
39 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(a2)
Bn.
Hn. in F
1. solo
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F.J. But
if
I
lose my
faith
in you,
my love is worth
noth ing,
your love for me
1 solo
tutti, div.
1 solo
tutti, div.
I Vn. II
1 sola
tutte, div.
Va.
1 solo 1 solo
Vc.
Cb.
tutti, div.
367
Act II–Scene 5
46 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
F.J. on
ly
a mem o
ry.
This
is
what
I
know.
unis.
I Vn.
unis.
II unis.
Va. unis.
Vc.
Cb.
I
must not lose my faith.
I
will trust
you
Lau
ra.
368
Act II–Scene 5
53 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The light fades on Fred, and come up on...)
(The clock ticks on the mantle.)
F.J.
3 3
Trust ing
in
si
lence,
si
lence and kind
3
3
ness,
si
lence and watch ful
ness,
si
lence and
hope.
al sord.
I Vn.
al sord.
II
Va. 4 soli
Vc.
Cb.
369
Scene 6: The Station Refreshment Room Picc. 1.
Fl.
1 2
1 Ob. Oboe
2 1.
Cl. in B
1 2
6
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3 to straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(...the station refreshment room. It is nearly closing time, and the room is only half lit. Beryl is behind the counter draping muslin cloths over the crockery and cake-stands.) con sord.
I Vn.
con sord.
II al sord.
Va. al sord.
Vc.
Cb.
6
370
Act II–Scene 6
9 Picc.
Fl.
1 2
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Stanley appears through a door upstage.) Beryl:
3
Ber. You made me jump!
Stanley:
Near ly.
I’ve got to get home.
Stan. Hal lo!
Near ly done?
See you round the back? con sord.
I Vn.
con sord.
II
con sord.
Va. con sord.
Vc.
Cb.
371
Act II–Scene 6
17 Picc.
Fl.
1 2
1 Ob. 2 1.
(2.)
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Stanley goes out. Beryl continues with her work, but now more hurriedly. Laura comes in through the outside door and approaches the counter. She looks pale and desperate.)
(Beryl thinks for a very brief moment.)
Ber. Moth er
’ll
be wait ing.
Yeah,
all
right.
Stan. C’ mon,
what’s fif teen min utes?
I Vn. II
Va. div.
Vc. pizz.
Cb.
372
Act II–Scene 6
24 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Beryl draws off a measure of brandy and puts the glass on the counter.) Laura:
L.J. A glass of bran dy,
please.
I
see
you are, but...
sullenly
Thank you.
Ber. We’re
(con sord.)
I Vn.
(con sord.)
II
div. (con sord.)
Va. (div., con sord.)
Vc.
Cb.
unis.
clos ing.
Three Star?
Ten
pence, please.
373
Act II–Scene 6
30 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura pays for the brandy.)
(Beryl heaves a sigh of frustration.)
L.J. Do
you have some pa
per
and an en ve lope?
Please,
I Vn. II
Va.
unis.
Vc.
Cb.
it’s im
por
tant.
374
Act II–Scene 6
37 Picc. a2
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
a2
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Beryl disappears for a moment and returns with paper and an envelope. Laura takes them to one of the tables and settles down to write a letter. Beryl watches her for a few moments.)
(Beryl waits for a few seconds longer then slips out the same way Stanley went. Laura falters in her writing, then breaks down and buries her face in her hands. Alec enters in a feverish rush.) Laura:
L.J. Yes, I know.
Ber. We’re clos ing
in
a
mo ment.
Well, fif teen min utes.
(con sord.)
non div.
via sord.
(con sord.)
non div.
via sord.
I Vn. II (con sord.)
div.
via sord.
Va. div. (con sord.)
via sord.
Vc. arco
Cb.
375
Act II–Scene 6
Stormy 43 Picc.
a2
Fl.
1 2
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
1.
1 2 Hn. in F
3.
3 4 a2, with straight mutes
Tpt. in C
1 2
3 a2, with straight mutes
Tbn.
1 2 3. (open)
Bs.Tbn. Tba.
Timp. S.D.
1 Perc. 2
Cel.
Hp.
(Alec enters in a feverish rush. He looks hopelessly around for a moment before seeing her.)
Stormy senza sord.
I
Vn.
senza sord.
II
unis., senza sord.
Va. unis., senza sord.
Vc.
Cb.
376
Act II–Scene 6
47 Picc. (a2)
Fl.
1 2
1 Ob.
to English Horn
2
(a2)
Cl. in B
a2
1 2
Bs.Cl.
(a2)
Bn.
Hn. in F
1 2
1 2 3 4 (a2, straight mutes)
Tpt. in C
1 2
3 (a2, straight mutes)
Tbn.
1 2 (open)
3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc.
Sm. Sus. Cym.
2
Cel.
Hp.
Laura:
L.J. Please
Alec:
go
a
way.
A.H. Thank God,
my
dar ling.
I
I Vn. II
Va.
div.
Vc.
non div.
Cb.
can’t
let
you
go.
377
Act II–Scene 6
52 Picc.
Fl.
1 2
Ob.
1 English Horn
E.H.
a2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Alec sits down beside Laura.) with great force
L.J. You must.
I
A.H.
3
Not like this.
I Vn. II
Va.
Vc.
Cb.
How
can you be
so
cruel,
so dread ful ly cruel?
feel
ut
ter
ly
de grad
ed.
378
Act II–Scene 6
58 Picc.
Fl.
1 2
Ob.
1
E.H. 1.
Cl. in B
2.
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
C F G
Hp.
A.H. It
I Vn. II
Va.
Vc. div.
Cb.
was
an
ac
ci
dent.
He came back ear
ly.
He does n’t know
you.
379
Act II–Scene 6
64 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
1 2 Tpt. in C
(straight mute)
3
(straight mutes)
Tbn.
1 2 3. with straight mute
Bs.Tbn. Tba.
Timp. Xyl.
1 Perc. 2
Cel.
C B
Hp.
Laura:
L.J. I
A.H. He nev er saw
you.
I Vn. II pizz.
Va. unis., pizz.
Vc.
unis., pizz.
Cb.
heard
your
voic
es
in the
oth
er
room.
I crept
down the stairs
like a
380
Act II–Scene 6
70 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
S.D.
2
Cel.
E A
Hp.
L.J. pros
ti tute.
He laughed, I’m sure.
A.H. Don’t say
I Vn. II
div., arco
Va.
div., arco
Vc.
arco
Cb.
unis.
that.
Don’t think that.
Both of you laughed
and
381
Act II–Scene 6
75 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 a2
1 2 Tpt. in C 3
1. (straight mute)
Tbn.
2. (straight mute)
2. remove mute 1.
3. (straight mute)
remove mute
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Med. Sus. Cym.
2
Cel.
Hp.
L.J. talked me o ver like men
of the world.
That’s me.
A.H. 3
Not
I Vn. II unis.
Va. div.
Vc.
Cb.
you.
We on ly
spoke
of
a
name less
wom
an,
3
3
a wom an who does n’t ex ist.
382
Act II–Scene 6
82 Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4 remove mutes
open
remove mute
open
1 2 Tpt. in C 3 1. remove mute 2. open
(1.)
Tbn.
1. open
1 2 3. open
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc.
(Med. Sus. Cym.)
2
Cel.
Hp.
D
L.J. 3
That’s who I am.
Why not
A.H. No,
I Vn. II
Va.
Vc.
Cb.
no.
tell him?
3
Tell him the truth.
You and I
are lov ers,
shame ful, se cret lov ers,
with
no where else
to
go,
383
Act II–Scene 6
89
solo
to Flute
Picc.
Fl.
1 2
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3 (1.)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. us
ing
his
flat
like
a
broth
el,
ter
ri
fied
of
be
ing found out.
A.H. Lau
ra...
Lau ra,
I cresc.
Vn. II
cresc.
Va. cresc. (div.)
Vc. cresc.
Cb. cresc.
stop!
384
Act II–Scene 6
94 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
a2
Bn.
a2
1 2
a2
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2 3 2.
Tbn.
a2
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
DCB EFGA
Hp.
gl.
L.J. It’s true, don’t you see?
A.H. It’s not true.
We know the truth.
You and I
are
I (cresc.)
Vn. II
(cresc.)
Va. (cresc.) (div.)
Vc. (cresc.)
Cb. (cresc.)
unis.
div.
unis.
lov ers,
385
Act II–Scene 6
101 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(a2)
1 2 Hn. in F
(a2)
3 4 (open)
1 2 Tpt. in C 3
1.
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. 3
Oth
A.H. deep, a
I Vn. II
Va.
Vc.
Cb.
bid
ing
lov
ers,
and
noth
ing
else
mat
ters.
er things mat
ter.
Self re spect
mat ters,
386
Act II–Scene 6
107 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2 to straight mute
3 1.
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A
L.J. and
de
cen
cy
and
trust.
I
can’t go
on.
I
can’t go
on.
A.H. Could you real
I Vn. II
Va.
Vc.
Cb.
ly
say
good bye,
387
Act II–Scene 6
113 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 2. to straight mute
1 2 Tpt. in C 3 to straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
very forcefully
L.J. 3
Yes!
If
on ly you would
help
me.
A.H. not
see
me
an
y
7
6
6
more?
IV 3
I 7
Vn.
7
6
6
IV 3
II 7
III
Va. 6
6
7
3
7
Vc. 7
7
div.
Cb.
388
Act II–Scene 6
118 1 2 Fl. 3
Ob.
1
E.H.
2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
E
(Alec looks at her for a few moments, unsure of what to say. When he sings, it is with the utmost simplicity and sincerity...)
(...and then with great force—matching Laura’s.)
A.H. I
love you,
Lau
ra.
I
shall love you al
ways,
till the
end of
my
life.
And all the
I
Vn. II
Va.
div. a2
unis.
Vc.
unis.
Cb.
pizz.
arco
389
Act II–Scene 6
126
1.
a2
1 2 Fl. 3
Ob.
1
E.H. cresc. 2.
Cl. in B
1 2 cresc.
Bs.Cl. cresc.
Bn.
a2
1 2
a2
1 2 Hn. in F
a2
3 4 1.
1. to straight mute
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc. 2
Cel.
Hp.
A.H. shame
the world
can force
up on us
can nev er change the truth
of
what
I
feel.
But now
I Vn. II
pizz.
Va. pizz.
Vc. pizz.
Cb.
arco
I know
390
Act II–Scene 6
132 1 2 Fl.
Flute
3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1. straight mute
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H.
3
this
I Vn. II
Va.
Vc.
Cb.
is the be gin ning of
the
end,
not
the end
of
me
lov ing you,
but the
end
of
our
be
ing
to
geth
er.
391
Act II–Scene 6
138 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
A
Hp.
(Alec reaches out a hand and touches her face. She looks back at him, exhausted, drained of all emotion.) Laura:
L.J. Ver y well.
Not quite
yet.
A.H. But not yet,
please,
not quite yet.
I
Vn. II
div.
Va. arco
Vc.
arco
Cb.
div.
unis.
392
Act II–Scene 6
145 1 2 Fl. 3
Ob.
1 to Oboe
E.H.
1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A.H.
3
3
This is the face of the wom an
I love.
This is the mouth.
These are the eyes.
How can I bear
div.
I Vn.
div.
unis.
II div.
Va.
div.
Vc.
(div.)
Cb.
unis.
unis.
to leave these eyes,
393
Act II–Scene 6
152 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F
3.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
E
(Alec turns away from Laura.)
(A train bell sounds on the platform and a muffled announcement, scarcely audible. Beryl enters from upstage, slightly dishevelled, her lipstick smudged.)
Laura: faintly
L.J. A way?
Please, not quite yet.
A.H. griev ing,
griev ing, but I
must.
I know I
must.
I’m
3
go ing a way.
Not yet. 1 solo
I Vn.
1 solo
II
div.
unis.
1 sola
Va. 1 solo
Vc. 1 solo
Cb.
tutti
394
Act II–Scene 6
159 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
Hp.
(Alec takes a bank note out of his wallet and gives it to her. Stanley has appeared upstage behind her.)
Beryl: Ber. I’m a fraid it’s clos ing time.
I shall have to lock up.
I Vn. II tutte pizz.
tutti pizz.
Vc.
tutti pizz.
Cb.
div.
div.
unis.
unis.
div.unis.
div.
unis.
395
Act II–Scene 6
168 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Mar.)
1 Perc. 2
Cel.
C
Hp.
F
(Beryl looks round at Stanley, who smiles back at her.)
Ber. Ten more min utes, then.
I’ll switch off the lights ’case some one
Alec:
A.H. Thank
I Vn. II
Va.
Vc.
Cb.
you.
thinks we’re o pen.
396
Act II–Scene 6
175 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Beryl goes behind the counter and turns out the lights before exiting upstage with Stanley. The room is now lit from a shaft of light coming in from the platform. Alec returns to Laura at the table.)
Ber. You won’t touch noth ing?
A.H. Please do.
Not a thing. tutti
I Vn. II
arco
div.
unis.
Va.
div., arco unis.
3
Vc. 3
arco
Cb.
div.
397
Act II–Scene 6
182 1 2 Fl. 3
1 Ob.
Oboe
2
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. Where?
A.H.
3
Prom ise
me.
I Vn. II unis.
div.
Va. 3
Vc. 3
Cb.
3
How ev er un hap py you are,
unis.
3
you’ll meet me next Thurs day.
At
E den Lock.
In the af ter noon.
398
Act II–Scene 6
188 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
1 2 Hn. in F 3 4 with straight mutes
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
L.J. 3
I prom ise.
A bout
go ing a way?
Where are you go
A.H. 3
Two o’ clock.
I
want to ex plain.
Yes. 1 solo
div.
I gli altri, unis.
Vn.
div.
unis.
II 1 sola div.
Va. le altre, unis.
Vc.
Cb.
ing?
Where can you go?
399
Act II–Scene 6
194 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C F
Hp.
(Alec looks at Laura for a moment, hesitating, then commits himself to telling her.)
A.H. 3
I’ve
tutti
I Vn. II tutte
Va.
Vc.
pizz.
Cb.
been of fered a
job.
I
was
n’t go
ing
to
tell
you.
400
Act II–Scene 6
200 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1.
Hn. in F
1 2 3 4 (straight mutes)
Tpt. in C
1 2
3 straight mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. Where?
A.H. I
was n’t go ing
to
take
it.
But
now
I can see
I have no choice.
A long way a
1 solo
I Vn. II 1 sola
Va.
Vc. arco
Cb.
way.
401
Act II–Scene 6
207 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
1 2 Hn. in F 3 4
1 2 Tpt. in C
with straight mute
3 2.
1.
Tbn.
1 2 (open)
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. Al ec...
You don’t need to
go,
not so far a
3
way
so far a
A.H. South Af ri ca.
My broth er lives out there, tutti
I Vn. II
Va.
Vc.
Cb.
a doc tor, like me.
He’s o pen ing a
hos pi tal,
402
Act II–Scene 6
215 1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. way,
don’t go for
me.
If you want
if you want to
go
op por tun
ty
then you
A.H.
must
go.
Ev ’ry thing you’ve dreamed of...
3
and he wants me with
him.
It’s a per fect
i
to
prac tice my craft.
Ev ’ry thing
I Vn. II tutte
Va. div.
Vc.
Cb.
I’ve
dreamed of
403
Act II–Scene 6
222 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
1.
Tbn.
2.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I
un der stand.
A.H. since I
was a
boy.
I have n’t told
I Vn. II
Va. unis.
Vc.
Cb.
an
y one.
Not e ven Ma de
leine.
I could n’t bear the
404
Act II–Scene 6
Più mosso
230
1.
1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
1 2
1 2 Hn. in F 3 4 (straight mutes)
Tpt. in C
1 2 (straight mute)
3 (2.) (straight mutes)
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura looks away, her eyes filling with tears.) 3
L.J. I can not bear the thought
of los ing you.
When will you go?
That’s ver y soon.
A.H. thought
of los ing you.
In
two weeks’ time.
Ver y soon.
Più mosso I Vn. II
Va. div. a2
Vc.
Cb.
Tell me to say.
405
Act II–Scene 6
238 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 a2
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E FGA
Hp.
3
L.J. Your broth er needs you,
and you want to go.
A.H. 3
All you have to do
3
is tell me to stay,
and I’ll stay here with you.
I’ll
I Vn. II non div.
Va. non div.
(div. a2)
Vc. div.
Cb.
unis.
do
406
Act II–Scene 6
244 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (a2)
Bn.
1 2
3
(a2)
3
(a2)
3
1 2 Hn. in F 3 4 a2
Tpt. in C
1 2
3 remove mutes
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Glock.
1 Perc.
B.D.
2
Cel.
8va
8va
8va
8va
D C B E F G A
Hp.
(The bell on the platform rings, and the loudspeaker announces the train for Ketchworth.)
(Laura gets up from the table and moves out onto the platform. Alec follows.)
L.J. That’s
un kind of
you,
my dar ling.
That’s my train...
A.H. 3
what
ev er you say. non div.
I
Vn.
non div.
II
non div.
Va. (non div.)
div.
unis.
Vc. 3
Cb.
407
Act II–Scene 6
251 1 2 Fl. 3
1 Ob.
to English Horn
2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura stops and looks back at Alec.)
L.J. I’m not an gry.
I’m noth ing.
Just
ti red.
A.H. 3
You’re an gry with me?
I Vn. II
Va. unis. 4 soli
tutti, div.
Vc. 3
div.
Cb.
408
Act II–Scene 6
1.
258 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D
3
L.J. For give you for
what?
A.H. For
I Vn. II
Va.
Vc.
1 solo
Cb.
give
me.
For
ev
’ry thing.
409
Act II–Scene 6 1.
265 1 2 Fl. 3
Ob.
1
English Horn
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
B F
Hp.
B F
A.H. 3
For give me
for meet
ing you,
for
tak ing the piece of grit
from your eye.
I Vn. II
Va. div.
Vc. tutti, unis.
Cb.
(div. a2)
410
Act II–Scene 6
271 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
slow motor
1 Perc. 2
Cel.
B E
Hp.
A.H. For give me
for
lov
ing you,
for
caus ing you such mis er
y and pain.
I Vn. II
Va.
(div.)
div. a3, pizz.
Vc.
pizz.
Cb.
411
Act II–Scene 6
277
1.
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2 sub.
Bs.Cl. sub.
Bn.
1 2 sub.
Hn. in F
1 2 3.
3 4
Tpt. in C
1 2
3 open
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
Vib.
1 Perc. 2
Cel.
C F
Hp.
C G
Laura:
L.J. For give me
for
meet
ing you,
for
3
hav ing a piece of grit
in my
eye.
For
give me,
for
give me
for lov ing you,
A.H. For give me
I sub.
Vn. II
sub. pizz.
arco
Va. unis., arco
Vc. 3
Cb.
for lov ing you,
412
Act II–Scene 6 1.
283 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
(straight mutes)
1 2 Tpt. in C
(straight mute)
3 2.
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., fast motor
motor off
1 Perc. 2
Cel.
C G
Hp.
G
sur la table
C
normale
(We hear the sound of a train arriving as the lights fade on the scene.)
L.J. for caus ing you such
mis
er
y
and
pain.
for caus ing you such
mis
er
y
and
pain.
I
will for give you
if
you
will
for
give
me.
A.H.
I Vn. II
Va.
Vc. arco
Cb.
413
Scene 7: The Jessons’ Sitting Room and Eden Lock 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
C B E G
Hp.
(Laura moves back to her chair in the Jessons’ sitting room. She picks up some sewing from the basket beside her chair and holds it in her lap. Fred sits in the other chair. He is reading a book. He is very aware of Laura, but shows no sign of it to her. The clock ticks on the mantle.
(Laura looks down at the sewing in her lap as if trying to make sense of it. She makes a few stitches but suddenly stops, distracted. Fred glances up from his book for a moment, but she doesn’t notice. The lights intensify on Laura as she sings her thoughts. Her expression remains detached, as if she was in a trance.)
Laura:
L.J. A
wom an
is
sit ting
in
a
qui et room.
How long
I Vn. II
Va. div.
Vc.
Cb.
unis.
has she been there?
414
Act II–Scene 7
7 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
L.J. Hours
and
years.
A
I Vn. II
Va. div.
Vc. div.
Cb.
unis.
man
is with her,
read ing
a
book.
415
Act II–Scene 7
13 1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. How
long
has he been there?
Al
ways.
The wom an is wait ing
to
see
her
lov er
be fore she parts from him
al sord.
I Vn. II div.
unis.
Va.
Vc.
div.
Cb.
416
Act II–Scene 7
19 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred sings very gently to himself, scarcely looking up from his book.)
L.J. 3
for
ev
er.
How can it
be
the man
does n’t know
that thewom an he mar ried
is
a
strang er? Fred:
F.J. Lau ra,
I Vn.
al sord.
II al sord.
Va. unis.
Vc.
unis.
Cb.
al sord.
Lau ra,
Lau ra.
417
Act II–Scene 7
26 1 2 Fl. 3
Ob.
1 to Oboe
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Fred stays in focus at the side of the stage as Laura moves to join Alec at Eden Lock.) (Alec and Laura stand on the bridge over the lock. Laura stares ahead of her blankly. Alec looks down the river, surveying the scene.)
(Laura doesn’t react. Alec closes his eyes. They stand for a long time in silence.) Fred:
F.J. As the
Alec:
days go
by
A.H. It’s calm to
day. con sord.
I Vn.
con sord.
II con sord.
Va. 4 soli
tutti al sord.
tutti, div., con sord.
Vc.
con sord.
Cb.
418
Act II–Scene 7
32 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. I want to
F.J. You grow a
way from me.
Lau
A.H. Lau ra
my dear
I
(con sord.)
I Vn.
(con sord.)
II (con sord.)
Va. (div., con sord.)
Vc. (con sord.)
Cb.
love
you
with all my heart, with all my
soul.
ra
die,
if
419
Act II–Scene 7
38 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2 dolce
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. on
ly
I could die.
Yes,
I know.
I want to
be
re mem bered too.
F.J. I want to
A.H. If you died,
you’d for get me.
I want to
be
re mem bered.
1 solo
I gli altri
Vn. II
Va.
1 solo
Vc. gli altri, div.
Cb.
gli altri, unis.
be
re mem bered
420
Act II–Scene 7
44 1 2 Fl. 3
1 Oboe
Ob. 2
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
1. solo
Hn. in F
1.
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(They stand together in silence as the lights fade on the scene.)
L.J. Al
ways,
al
ways,
Al
ways,
Al
ways
3
to
the
end
3
of
my
days.
F.J. To
A.H.
(1 solo) (con sord.)
Al
ways
3
to
3
the
end
of
my
days.
tutti, div.
I div.
Vn.
(con sord.)
II (con sord.)
Va. (1 solo) (con sord.)
Vc. (con sord.)
Cb.
tutti, div.
be
re
mem bered
al ways,
al
ways.
421
Scene 8: The Station Refreshment Room 1 2 Fl. 3
1 Ob. 2 2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 remove mutes
Tpt. in C
1 2 remove mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(Myrtle is busy behind the counter. Albert sits on a stool at the counter watching her. He gently waves his empty tea cup at her. She studiously avoids noticing him. Laura and Alec are sitting in silence at their accustomed table, two cups of tea in front of them. Everything is exactly as it was in the first scene.) Myrtle:
M.B. Well,
Albert:
A.G. Are n’t you go ing to of fer me an
via sord.
I Vn.
via sord.
II via sord.
Va. via sord.
Vc. via sord.
Cb.
oth er cup of tea?
Mis ter God by,
if it’s just a cup of tea,
422
Act II–Scene 8
7
a2
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 open
1 2 Tpt. in C
open
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
M.B. you can have one
and
wel come.
Ber
yl
will take care
of you.
A.G. I’d rath er you took care of
I Vn. II
Va. div., senza sord.
Vc. senza sord.
Cb.
me.
423
Act II–Scene 8
14
a2
1 2 Fl. 3
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2 to straight mute
3 1. to straight mute
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Trgl.
1 Perc.
S.D.
2
Cel.
Hp.
(Myrtle gives Albert a significant look.)
M.B. Time
and tide
wait
for
no
man,
Mis ter
God by.
Time
and tide.
Time and tide.
unis., senza sord.
I
unis., senza sord.
Vn. II
Va.
Vc.
Cb.
424
Act II–Scene 8
21 1 2 7
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(As Myrtle disappears into the back room of the bar, Albert turns and surveys the refreshment room where Alec and Laura are still sitting silently at their table.)
I Vn. II
Va.
Vc.
Cb.
(Suddenly, Dolly Messiter comes into the room laden with packages and bags. She sees Laura from across the room.)
425
Act II–Scene 8
27 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
a2
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
sur la table
Hp.
(Dolly makes a beeline for Laura’s table. As she starts chatting, Albert takes a furled-up newspaper from his pocket and starts to read.) Laura: (dazed)
L.J. Dol
Dolly:
ly...
D.M. 3
Lau ra, my dear!
3
What a
love ly sur prise!
I’ve shopped un
til
I Vn. II
senza sord.
Va.
unis., sul pont.
Vc.
pizz.
Cb.
I’m drop ping!
My
feet are near ly
fall ing off. My throat’s com plete ly parched.
I
426
Act II–Scene 8
32 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
Hn. in F
1 2 3 4 2. with straight mute
1 2 Tpt. in C 3 2.
Tbn.
2. to straight mute
1 2 3. to straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura and Alec look at her in mute misery as she rattles on, dumping her parcels down next to their table.)
D.M. near ly
had
a
cup
of
tea
at
Spin dle’s in
the mar ket,
but
sud den
ly
was ter
ri
fied I’d
miss my
I’m
u su al train.
I Vn. II
Va. ord.
Vc. (pizz.)
Cb.
al ways miss ing trains and
427
Act II–Scene 8
37 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (2.)
1 2 Tpt. in C
with straight mute
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
sur la table, secco
D.M. be
ing late for meals,
and
Bob gets dis
a
gree
a
ble for
days and days on end.
He’s been
get ting his
I Vn. II
Va. sul pont.
Vc. arco, sul pont.
Cb.
dread ful, split ting
head aches once
a gain,
and he
428
Act II–Scene 8
rit.
42 1 2 Fl.
to Piccolo
3
1 Ob. 2
2.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 (straight mutes)
1 2 Tpt. in C
(straight mute)
3 with straight mutes 2.
Tbn.
1 2 gl.
gl.
3. with straight mute
Bs.Tbn. Tba.
3. remove mute
gl.
gl.
Timp.
1 Perc.
S.D.
2
Cel.
Hp.
normale
(Dolly flops herself down.) Laura:
L.J. This is Doc tor
D.M. won’t
see
a
doc tor, though I
bul
ly
him
no
end.
Oh
dear.
rit. I Vn. II
Va. div., pizz.
unis., arco
Vc. pizz.
Cb.
arco
429
Act II–Scene 8
Poco meno
48 Picc.
Fl.
1 2
1 Ob. 2 1. solo
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., very soft mallets, slow motor
1 Perc. 2
Cel.
Hp.
(Dolly sizes up Alec for a brief moment before starting in again.)
L.J. Har vey.
D.M. How do you do...
Would you be
Alec:
A.H. How do you do!
Poco meno I Vn. II
Va.
Vc.
Cb.
a per
fect
dear
and pop and
430
Act II–Scene 8
55 Picc.
Fl.
1 2
1 Ob. 2
2.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. get
my cup
of
tea?
I
don’t think
I could drag
my
bones
all
the
way
to the
count
I Vn. II pizz.
Va. div.
Vc.
Cb.
er.
431
Act II–Scene 8
61 Picc.
Fl.
1 2
1 Ob. 2 (2.)
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Dolly offers him money, but he waves it away as he moves over to the counter.)
(Dolly waxes conspiratorial.)
D.M. Here...
Lau
ra,
my
dear,
what a
nice look
ing
man.
Who on
earth can
he
be?
You’re a
ver y dark horse.
Alec:
A.H. No, please...
I Vn.
div.
II pizz.
arco
Va. unis., pizz.
Vc.
pizz.
Cb.
I
shall
432
Act II–Scene 8
71 Picc. 1.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2 Tuba
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A
(Laura tries to conjure up a smile but doesn’t quite manage it. She glances instead at Alec, coming back from the counter with Dolly’s tea.)
D.M. tel e phone Fred
just
see
if
I
don’t
and make a bit of
mis
chief.
What
luck!
pizz.
I Vn.
unis., pizz.
II
(pizz.)
Va.
arco
Vc. (pizz.)
Cb.
pizz.
You know you look
433
Act II–Scene 8
80 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 2.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
3
D.M. fright ful ly well, my dear.
I Vn. II arco
Va.
Vc.
Cb.
I
do wish
I’d known
you were
com ing to
day.
We could have come to geth er
and had
a
good
gos sip.
I
a
434
Act II–Scene 8
85 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3.
3 4 (straight mutes)
remove mutes
1 2 Tpt. in C
(straight mute) remove mute
3
1. straight mute
Tbn.
1 2 2. straight mute
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
A
(Alec puts the cup of tea in front of Dolly. Dolly carries on without drawing breath.)
(There is the sound of a bell on the platform and a distant loudspeaker announces the train for Churley.) Laura:
L.J. There’s your train.
D.M. bom
i
nate
shop ping
by
my
self...
Oh,
thank you
ver
y much.
I Vn. II
Va. (pizz.)
Vc. (pizz.)
Cb.
arco
435
Act II–Scene 8
90 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
1 2
stopped
1 2 Hn. in F
stopped
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. Are n’t you com ing with
Alec:
us?
A.H. 3
Yes,
I know.
No...
I Vn. II sul pont.
Va. sul pont.
Vc. arco
Cb.
I
go
in
the
op
po site
di rec
tion.
436
Act II–Scene 8
95 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl. 1.
Bn.
1 2
stopped
1 2 Hn. in F
stopped
3 4
Tpt. in C
1 2
3 (straight mutes)
Tbn.
remove mutes
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. Doc tor Har vey
D.M. Oh,
I
see.
arco, martellato
I
Vn.
arco, martellato
II ord.
Va. ord.
Vc.
Cb.
is
go
ing out
to
Af
ri
ca next week.
437
Act II–Scene 8
99 Picc. a2
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(We hear the sound of Alec’s train approaching.)
D.M. How thrill ing.
Alec:
A.H. I
I Vn. II
Va.
Vc.
Cb.
must
go.
438
Act II–Scene 8
103 Picc.
Fl.
1 2 1
Ob. 2 Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
a2, open
1 2 marc.
Hn. in F
a2, open
3 4 marc.
1. open marc.
2. open
1 2 Tpt. in C
open
3
open
Tbn.
1 2 3. open
Bs.Tbn. Tba.
Timp. Xyl.
marc.
1
Perc.
Crash Cymbals
Lg. Sus. Cym.
2
Cel.
DCB EFG A
Hp.
(Alec shakes hands with Dolly, looks at Laura swiftly once and then, passing behind her, he gives her shoulder a little squeeze.) 3
L.J. Yes,
you
must.
Good
A.H. Good
I Vn. II
Va.
Vc.
Cb.
bye.
bye.
439
Act II–Scene 8
108 Picc.
Fl.
1 2 1
Ob. 2
a2
Cl. in B
1 2
Bs.Cl.
a2
Bn.
1 2
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
Vib., hard mallets
1
Perc.
Lg. Sus. Cym.
2
Cel.
Hp.
(The train is heard rumbling into the station. Alec leaves the tea room and goes out onto the platform. Laura gazes after him as he disappears into the smoke and steam of the platform.) 3
3
L.J. 3
The touch of his hand,
3
a mo ment of time
fro zen.
Then he walked a
I Vn. II
Va.
Vc. div.
Cb.
way
out of my
440
Act II–Scene 8
115 Picc.
Fl.
1 2
1 Ob. 2
a2
Cl. in B
1 2
Bs.Cl. a2
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc.
(Lg. Sus. Cym.)
Sm. Sus. Cym.
2
Cel.
Hp.
(As Dolly chatters on, Laura turns her back and stares out blankly into the auditorium. The music slowly rises over Dolly’s chat.)
L.J. life
for
ev
er.
Dolly:
D.M. 3
He’ll have to run
3
or he’ll miss the train.
He’s
I Vn.
martellato
II
martellato
Va. pizz.
Vc. unis.
Cb.
got
to
get
right
441
Act II–Scene 8
120 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
(a2)
Bn.
1 2
1 2 Hn. in F 3 4
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Chimes
1 Perc. 2
Cel.
Hp.
L.J. 3
Lis ten,
D.M. 3
o ver the bridge
to
plat form
one.
I 3
Vn. II div.
3
Va. div., arco
Vc. div.
Cb.
lis ten for the sound of
his
train
442
Act II–Scene 8
125 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
2.
1 2 Hn. in F
4.
3 4 1.
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. leav ing.
D.M. Talk ing of
I Vn. II
(div.)
unis.
(div.)
unis.
Va.
Vc. unis., pizz.
Cb.
miss ing a
train
my
dear...
443
Act II–Scene 8
129 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
6
3
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
D.M. That
I Vn. II
Va.
Vc.
Cb.
aw
ful bridge at
Broad
ham
Junc tion,
you have to go
traips ing
up
one
side,
a
long
the
top,
and
down the
oth
er,
and
all
the
444
Act II–Scene 8
133 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
2.
Bn.
Hn. in F
1 2
1 2 3.
3 4 1 2 Tpt. in C 3
to straight mutes
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(A whistle blows as Alec’s train rumbles out of the station.) Laura:
L.J. I
D.M. way
3
o ver to plat form three.
I Vn. II
Va. div.
Vc.
arco
Cb.
pizz.
mag ine
he
did n’t
go.
445
Act II–Scene 8
138
Piccolo
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
with straight mutes
Tbn.
remove mutes
1 2
Bs.Tbn. Tba.
Timp. Xyl.
1 Perc. 2
5
Cel.
5
5
5
5
5
Hp.
(Dolly starts to apply lipstick to her chattering mouth.)
L.J. 3
He could n’t go.
He’s com ing back,
3
all the way o ver from plat form
one.
D.M. Just last week I’d been o ver to
I Vn. II
Va.
Vc.
Cb.
talk
to
Bob’s
5 5
so lic i tor.
446
Act II–Scene 8
144 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 1.
Tpt. in C
1 2
3
3
cresc.
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
5
Cel.
5
5
5
5
5
5 5
Hp.
D.M. Such
a
trek
I
div., pizz.
Vn. II
Va.
Vc.
Cb.
just to re
new
the
lease
of
the house.
And I got to the
sta
tion
ex
act ly a
min
ute
be
fore
the
447
Act II–Scene 8
148 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1. solo
1 2 Hn. in F 3 4 1.
2.
1 2 Tpt. in C 3
open
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. Please,
I
beg you, please come back to me.
spoken
D.M. train was
due
to
leave.
My dear, I flew. Through the gate and over the bridge before I saw the
I Vn.
unis., arco
II
Va.
unis.
Vc.
arco
Cb.
448
Act II–Scene 8
153 Picc.
Fl.
1 2
1 Ob. 2 a2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 2.
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Glock.
1 3
Perc.
3
B.D.
2
Cel.
D C B EF GA
Hp.
3
3
L.J. 3
To
see him
a
gain,
just
for
an
in
stant.
3
Just once
D.M. train
was
waiting
at
platform
five.
I 3
3
3
3
3
Vn. II 3
div.
Va. div.
Vc.
Cb.
more.
449
Act II–Scene 8
159 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4 to straight mutes
Tpt. in C
1 2
3 2.
Tbn.
1 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs.Tbn. Tba.
Timp.
Xyl.
1 3
3
Perc. 2
Cel.
Hp.
(sung)
D.M. 3
And I’d bought a
3
3
I
shade
for the lamp in the hall
at
3
3
3
Hack ett and Dicks.
3
An e nor mous thing,
3
3
II
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
Va.
3 3
o ver it.
3
3
unis. 3
see
3 3
3
3
ly
3
3
Vn. 3
I could hard
3
3
3
3
pizz.
arco
pizz.
div., arco
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
Cb. 3
450
Act II–Scene 8
163 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2 3.
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
Laura:
L.J. 3
I
3
can not bear...
D.M. 3
Nev er the less, I
I Vn. II
Va.
Vc.
Cb.
had to go
3
o ver the bridge a
gain
in a ter ri ble
frizz.
I
near ly knocked a wom an for six.
With the shade
I
mean.
451
Act II–Scene 8
168 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 to mutes
3 4 a2, with straight mutes
remove mutes
1 2 Tpt. in C 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., motor off
1 Perc. 2
Cel.
Hp.
(The station bell rings, and we hear the distant sound of a train approaching. Dolly turns to Laura.)
(Laura looks blankly ahead of her, as Dolly gets up and moves to the counter.)
L.J. I
can not bear to feel this pain.
D.M. By the time I got home,
3
it was bat tered to bits.
Is that our train?
non vib.
I Vn.
non vib.
II
sul pont.
ord.
non vib.
Va.
div., sul pont.
ord.
unis., non div., non vib.
Vc. unis., non div., non vib.
Cb.
Can you tell me,
452
Act II–Scene 8
174 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
2.
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3. muted
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Mar.
1 Perc. 2
Cel.
Hp.
(to herself)
L.J. The ex press.
D.M. is
this the train
for Ketch worth?
Myrtle: spoken
M.B. No, that is the express.
I Vn. II
Va. (non div.)
Vc.
Cb.
Oh yes, the boat train.
453
Act II–Scene 8
180 Picc.
Fl.
1 2
1 Ob. 2 1.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 4. muted
remove mutes
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Mar.)
1 Perc. 2
Cel.
Hp.
(As the sound of the train grows louder, Laura suddenly jumps to her feet and, unseen by Myrtle and Dolly, rushes blindly out onto the platform.) (to herself)
L.J. The boat train.
D.M. This one does n’t stop here,
does it?
(sung)
M.B. This one does n’t stop.
I Vn. II
6
6
6
6
6
6
6
6
6
6
Va.
Vc.
pizz.
Cb.
454
Act II–Scene 8
185 Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
6
6
6
6
6
6
6
6
1 2
Bs.Cl.
a2
Bn.
1 2 6
6
6
6
a2
1 2 Hn. in F
open
3 4 open
Tpt. in C
1 2 3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
Lg. Sus. Cym., rubber mallets
2
Cel.
DCB EFGA
Hp.
(The express goes through with a deafening roar. The smoke and steam from the train obscure Laura for a brief moment. As it clears we see her again swaying on the edge of the platform, the lights from the express streaking past her face.) 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
div.
I Vn. II
div.
div.
Va.
div.
Vc. 6
6
6
6
div. (pizz.)
arco
Cb. 6
6
6
6
a2
455
Act II–Scene 8
188
to Flute
Picc.
Fl.
1 2
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 sub.
Hn. in F
a2
3 4 sub.
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc.
(Lg. Sus. Cym.)
2
Cel.
Hp.
(Suddenly, the lights stop and the sound of the train dies away into the distance.)
I Vn. II
Va.
Vc.
Cb.
456
Scene 9: The Jessons’ Sitting Room 1 2
Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The Jessons’ sitting room. Fred sits quietly in his chair. The clock ticks on the mantle.) Laura:
L.J. Fred,
unis.
I 6
Vn.
unis.
II 6
unis.
6
Va. 6
unis.
6
6
Vc. 6
unis.
Cb. 6
6
6
Fred,
oh
Fred,
I
meant to
do
it.
I
real
ly meant to
do
it.
457
Act II–Scene 9
6 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I
stood there
trem
6
non div.
I 6
Vn.
6
6 6
non div.
II 6
div.
6
6
unis.
Va. non div.
Vc. div.
Cb.
non div.
bling,
right
on
the edge.
458
Act II–Scene 9
10 1 2 Fl. 3
1 Ob. 2
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
L.J. I
could
n’t
I
could
n’t
do
it.
IV 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
I feroce
Vn.
IV
II feroce
Va. feroce unis.
Vc. feroce
Cb.
459
Act II–Scene 9
14 1 2 Fl.
Flute
3
1 Ob.
to English Horn
2
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura sits.)
L.J. Then,
just in time,
I stepped back.
Was it
you
that stopped me?
3
You and the chil dren?
No.
I Vn.
div.
II
Va.
Vc.
Cb.
460
Act II–Scene 9
21
1.
1 2
3
Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
1.
Bn.
1 2
open
2.
3
open
4.
3
1 2 Hn. in F 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Glock.
1 Perc. 2
Cel.
E A
Hp.
L.J. 3
No,
it was n’t.
I had no thoughts at
all.
No thoughts. For you.
For them.
For him.
Just the de sire,
I
Vn.
(div.)
unis.
II
div.
unis.
Va. div.
Vc.
Cb.
3
the
o
ver whelm ing de sire,
461
Act II–Scene 9
27
Slower
rall. (1.)
1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl. 1. solo
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(The lights change as Laura moves back to her chair in the library. Fred is sitting quietly in his chair. The clock ticks on the mantle. Laura and Fred are both very still. Laura stares into space, and Fred watches her very closely.) 3
L.J. not to
be un hap py
an y more.
Fred:
F.J. Lau ra!
Slower
rall. I Vn. II
Va. unis.
Vc.
Cb.
462
Act II–Scene 9
34
1.
1 2 Fl. 3
Ob.
1
E.H. 1.
Cl. in B
1 2
Bs.Cl. 1.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(She doesn’t answer. He moves over to her chair, kneels down beside her and touches her hand. Laura turns her head slowly and looks at him.) (spoken)
L.J. Yes?
F.J. Lau ra!
3
What ev er your dream was,
it was n’t ver y hap
I Vn. II div.
Va. 1 solo
Vc. 2 soli
Cb.
py,
463
Act II–Scene 9
40 1 2 Fl. 3
Ob.
1 English Horn
E.H.
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(sung)
L.J. No.
Yes, my dear.
Yes,
you
al
ways
help.
F.J. was it?
Is there some thing I can
1 solo
I Vn.
1 solo
II
1 sola
Va.
Vc.
Cb.
do
to help?
Lau ra, you’ve been a long, long
464
Act II–Scene 9
47
a2
1 2 3
Fl. 3
Ob.
1 3
E.H.
1.
Cl. in B
1 2 3
Bs.Cl.
Bn.
1 2
a2
1 2 Hn. in F
a2
3 4 1. solo
Tpt. in C
1 2 lontano
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
D C B E F G A
Hp.
(Fred moves in closer to her and quietly rests his face against her hand.)
(Laura looks down at him, tears in her eyes.)
L.J. 3
Yes.
A long way
F.J.
a
way.
a
way.
3
way
a
way.
A long way
Thank you,
3
Thank you for com ing back to
me.
tutti div. (1 solo)
unis.
I 3
tutti div.
Vn.
(1 solo)
unis.
II 3
(1 sola)
tutte
div.
(1 solo)
tutti
div.
Va.
Vc.
tutti
Cb.
465
Act II–Scene 9
54 1 2 Fl. 3
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl.
Bn.
1 2
(a2)
1 2 Hn. in F 3 4
Tpt. in C
3
(a2) 3
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. Vib., slow motor
1 Perc. 2
Cel.
D B E F
Hp.
(Fred looks up at her, not daring to understand.)
(Fred nods in mute agreement as Alec’s voice echoes in the darkness.)
L.J. I want to
be
re
mem bered
al
ways,
al
ways. Alec:
A.H. Al
I Vn. II
Va. unis.
Vc.
Cb.
ways,
466
Act II–Scene 9
62 1 2 Fl. 3
Ob.
1
E.H.
Cl. in B
1 2
Bs.Cl.
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
Hp.
(Laura looks up as Alec’s voice fades farther and farther away.)
L.J. Al
ways
to
the
ways,
al
ways,
end
of
my
days.
dim.
A.H. al
ways,
al
ways,
al
ways,
al
ways,
al
ways,
al
al
I Vn. II
Va. 1 solo
Vc. 1 solo
Cb.
ways,
al
ways.
467
Act II–Scene 9
71 1 2 Fl. 3
Ob.
1
E.H. 1. solo
Cl. in B
1 2
dim.
Bs.Cl.
dim.
Bn.
Hn. in F
1. solo
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp.
1 Perc. 2
Cel.
Hp.
(Laura holds Fred closely to her.)
L.J. I
want to
I dim.
Vn. II
dim. 1 sola
Va. tutti
Vc.
Cb.
be
re
mem bered
to the end
of
my
days.
468
Act II–Scene 9
78 1 2 Fl. 3
Ob.
1
E.H. (1.)
Cl. in B
1 2
Bs.Cl. (1.)
Bn.
Hn. in F
1 2
1 2 3 4
Tpt. in C
1 2
3
Tbn.
1 2
Bs.Tbn. Tba.
Timp. (Vib.)
1 Perc. 2
Cel.
B
Hp.
(harmonics written where sounding)
(Lights slowly fade on Laura, Fred, and Alec.)
L.J.
div.
I
Vn.
div.
II unis.
tutte, div.
Va. div.
Vc.
tutti div.
Cb.
End of Opera