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Vocal Score Arrangements, Editing and Vocal Parts: Michael Kosarin Orchestration: William D. Brohn Music Engraving: Miller Music Service Cover Art by Doug Johnson © 1991 Print in Canada MARSHA NORMAN won the 1983 Pulitzer Prize for her play ‘night, Mother. The play also won four Tony nominations, ‘the Dramatists Guild's prestigious Hull-Warriner Award and the Susan Smith Blackbur Prize. A feature film, starring Anne Bancroft and Sissy Spacek, with a screenplay by Ms. Norman, ‘was released in August 1986. ‘night, Mother has been translated into 23 languages and has been performed around the world. Her first play, Getting Out, received the John Gassner Playwriting Medallion, the Newsday Oppenheimer Award and a special citation from the American Theatre Critics Association. Her two one-act plays, Third And Oak: The Laundromat and The Pool Hall premiered at Actors Theatre of Louisville. Her play The Hold-Up was workshopped at ATL as well. Her fist novel, The Fortune Teller, was published in 1987, and the movie rights Ihave been sold to Merv Griffen and Mel Brooks fora film to star ‘Anne Bancroft. ‘Marsha Norman, Four Plays, was published by Theatre ‘Communications Group in 1988. A new play, Sarah And Abraham, premiered at Actors Theatre of Louisville in 1987 and was produced at the George Street Playhouse in the fall of 1991, ‘A New York production for next season is pending. Ms. Norman received a Tony Award and Drama Desk ‘Award for her Broadway musical The Secret Garden. Her latest play is called Loving Daniel Boone, which had its premiere atthe 1992 Actors Theatre of Louisville Humana Festival. She is also ‘writing the book and lyrics for The Red Shoes, with music by Jule Styne. ‘Ms. Norman has worked in television and film, including most recently, Face OfA Stranger, starring Gena Rowlands and ‘Tyne Daly. ‘Ms, Norman has received grants and awards from the National Endowment for the Arts the Rockefeller Foundation ‘and the American Academy and Institute of Letters. She has been playwrightin-residence at the Actors Theatre of Louisville and the Mark Taper Forum in Los Angeles, and she has been elected ‘membership in the American Academy of Achievement. She serves on the boards of the New York Foundation forthe Arts and the Independent Committee for Arts Policy. She isthe recipi cent ofthe Literature Award from the American Academy and Institute of Arts and Letters. LUCY SIMON made her Broadway debut with The Secret Garden for which she received Tony and Drama Desk nomina- tions, the Drama Loge Award, and a Grammy Nomination for the recording of the score. Fanny Hack-about Jones, 2 collaboration with Susan Burkenhead and Erica Jong was produced at the Long Wharf Theater in New Haven. She also contributed songs tothe off-Broadway hit 4...My Name Is Alice. Ms. Simon wrote and produced the songs and soundtrack for the HBO movie The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom. Ms. Simon received two Grammy Awards for her Jn Harmony albums which she wrote and produced, and she recorded two solo albums for RCA Records. Ms. Simon began her professional career at age 16 with her sister Carly as part of ‘The Simon Sisters. She lives in N.Y. with her husband, David Levine and their children, Julia and Jamie. FIRST PERFORMANCE AT THE ST. JAMES THEATRE, NY ON APRIL 25, 1991 WITH THE FOLLOWING CAST: REBECCA LUKER Mary Lennox. IN COLONIAL INDIA, 1906: Fakir. Ayah. Rose (Mary's mother), Captain Albert Lennox (Mary's father) Lieutenant Peter Wright. Lieutenant lan Sha Major Holmes Claire (his wife) REBECCA JUDD Alice (Rose's friend) . NANCY JOHNSTON AT MISSELTHWAITE MANOR, NORTH YORKSHIRE, ENGLAND, 1906: ‘Archibald Craven (Mary's uncle). MANDY PATINKIN Dr. Neville Craven (his brother) . ROBERT WESTENBERG Mrs. Medlock (the housekeeper) BARBARA ROSENBLAT Martha (a chambermaid) .ALISON FRASER Dickon (her brother).. ]OHN CAMERON MITCHELL TOM TONER |OHN BABCOCK .TERESA DeZARN FRANK DiPASQUALE BETSY FRIDAY ALEC TIMERMAN NANCY JOHNSTON ‘Mrs. Winthrop (the headmistress) ALL OTHER PARTS ARE PLAYED BY THE ENSEMBLE Kimberly Mahon substituted for Daisy Eagan for ‘Wednesday matinee and Thursday evening performances in the New York run. SYNOPSIS OF SCENES ACT ONE Opening Scene 1: Mary's Sitting Room ‘Scene 2: The Ballroom Scene 3: In the Maze/The Greenhouse The Edge of the Moor Scene 4: Archibald's Library Scene 5: The Gallery ‘Scene 6: The Hallway Scene 7: Colin's Room Scene 8: On the Grounds/The Door to the Garden ACT TWO Scene 1: The Tea Party Dream/The Other Side of the Door ‘Scene 2: Archibald's Dressing Room Scene 3: Colin's Room ‘Scene 4: The Greenhouse Scene 5: Colin's Room Scene 6: In the Maze/The Garden Scene 7: The Library Scene 8: Mary's Room/Paris, ‘Scene 9: Archibald's Rooms in Paris Scene 10: The Garden <_< INSTRUMENTATION WOODWIND | (Flute/Piccolo/Recorder/Pan Pipes/Penny Whistle) WOODWIND 2. (Oboe/Oboe dAmore/English Horw/Heckelphone) WOODWIND 3 (Clarine/Soprano Sax/Flute/Recorder/Piccolo) WOODWIND 4 (Bassoon/Bass Clarine/Bb Clarinet) ‘TRUMPET/FLUGELHORN ‘TROMBONE/TUBA HORN 1,23 GUITAR (Acoustic, Nylon, Synth Gtr.) DULCIMER/GUITAR, PERCUSSION HARP VIOLINS VIOLA CELLO BASS (& Fender Bass) RENTAL INFORMATION For stock and amateur productions, please contact: ‘SAMUEL FRENCH INC. 45 W. 25th Street New York, New York 10001 (212) 206-8990 nA 13 4 15 15A 16 16a, 7 CONTENTS ACT ONE IHEARD SOMEONE CRYING : IHEARD SOMEONE CRYING -PLAYOFF... MARTHA'S DITTY. ws INDIA STING #1. MEDLOCK BELL #1. IF THAD A FINE WHITE HORS! ‘MEDLOCK BELL #2... WHITE HORSE - PLAYOFF. AGIRL IN THE VALLEY. LILY AND ROSE, ITS AMAZE. INDIA STING #2.. BIG DEAD SNAKE. ‘SHOW ME THE KEY... ‘SKIP, SKIPPED - TRANSITION. ABIT OF EARTH. STORM LILY'S EYES. STORMIL INDIA STING #3. ROUND-SHOULDERED MAN .. BEFORE FINAL STORM. FINAL STORM 8 19 19A 20 208, 21a, 24a 24B 26 27 28 29 30 31 32 3 35 ENTRACTE ssn ‘THE GIRL I MEAN T0 BE... HOUSE ON THE HILL -TRANSITIO? (QUARTET. ‘THERE'S A MAN - TRANSITION... RACE YOU TO THE TOP OF THE MORNING.. ‘MAZE TRANSITION. WICK... RACE YOU/TRANSITIO? THIS IS NICE. CHOLERA CHORDS. COME TO MY GARDEN. TO THE NIGHT GARDEN - TRANSITION ‘COME SPIRIT COME CHARM. 1AM WELL. PROMISE MUSIC. ABIT OF EARTH - REPRIS! MARY'S TANTRUM DISAPPEAR - TRANSITION.... HOLD 01 LETTER SONG.. : WHERE IN THE WORLD. HOW COULD I EVER KNOW?.. TO THE DAY GARDEN FINALE. Bows. EXIT MUSIC... Prelude Poco Maestoso canst) test as Ff an) mvoucn a hae ob bee, oh biG egy $e g I Bro" esses _ =e F eenter Rote (Stgs"-n3 octaves) mf (01991198 ARCDE PUBLISHING LTD. an CALOUGIE MUSIC “A pried by WD MUSIC CORP ‘A Rips Reseed cowie rustys) ee =P (ns (Fndrhodes (Timp) & Poco maestoso os (cir Dut, tinge awwsstgs),_<——_ veg 4 ave, ‘Segue as one to “Opening” Lily 2 Fakir Offstage Children Opening Andantino dlsine Lily: Clus- ters of PP aie “Belt Hary” Pur- ple and golé————— Blan- kets of a ows s PPeesegsstgs) ia] ‘up from the cold —__________ Han) 2 Moderato sam A— 0, gar-mi-yo Ke sah Peslkw2Vatoa) ay Oar may 0 Kay “Sitar and Fate” nos inns ‘Olarinbay P sama 2s AO manctra tans ta yan-tra us ki bie ma ei ‘Ah Oh mahn-tra take tra yahn-tra ooh sky bee-mah- ree on fa Fini Fin Fan moy wo (Troma arty Begins] O ja-du = ke Mau Oh jak doo kay Mow Tomb) A CwwrarTpune uses) mantra tan- ta yan-ta te ‘Malet taht jobn-ta oo sly bee” mah roe (OBiCUTambura") (stgesva) (B (Gl0e = (CUA) =P ID _—- Cue to continue: Albert hand movement ~ 38] Slow Two Offstage Children: mp 39) #2 a Mis- tress Mar - y quite con- trar - y How does your gar - den grow? 14 e Moderato eo (Chole Bell) (00-300) > f Mis = tess Mar = y quite x - y How does your gar - den grow? Far too icc tee ei, #—. of (ing) —— mp she cried, see my rose has died, digit up, o—— i — Faster (Chole Bel (OBS) gp smbura”/Va) Look a- round look around what do you see? Plants in the ground all are blind to thee ap ey 7 4 see ‘CromitpStge) ‘Crom stg) round where will you go? Seeds in the earth cov-ered up with snow. 7 dette (Crom tphStgs) (Aromitptstgs) Faster ae Pre CUE HE ayy LF “tary Va) iv 2 —___—f (wetlBess) = y How does your gar - den grow? = y quite con-trar Mis - tress Mar aw stat) f od she walled, see ris failed, pull it up, Faster ee —— (Choter eld OMe Ste) ee (CTambural S “Buzz DronelVe) ay Pe G5t=9) 20. a Mis - tess Mary quite con-trar How does your gar - owen iy) i — cup (ee08) am fi wy (Chitin) ly fost, Now i's gone, it’s lost dig up, You're x Cpt af crese. molto, , (Cholera Bell) up, You're out, You're up, You're out, You a) br say Ty ) Somber 4 oo dct (Hands up) aa be be =I ——_- impiPianolstgs) (Death knell P = a Iua Shaw/Holmes: Wright/Claire Alice There’s A Girl-I [Warn] Wright: “You'll have 1o leave that picture here, Miss." ‘Marys"No, [will not I'm taking it with me!” Wright:*Irs your pretty mother, sit?” “Mary:“No it isn’. ” 1 {Cue] Wright-"Yes, well, come along then Allegro marcato oo 2 ee cowcwtpe oS- f A (Timp Toni Vet) must seem like a fright - ful dream. cy) play, won't her fath = er play, won't her fath Chie Alice: 15 (Turtable] 6 7 18 There's a who's left a (om, Gr 19 Clsire/Atice (FUCITD) train histo) [Fade on scene] -—< OO? moltorit. — a 25 Women Dreamers. Men Dreamers, The House Upon The Hill [Warning], Mary:“Would 1?" Medlod ut don’ You care about your new home?” ‘Mary!"It doesn matier whether I care or not.” Medlock: "Now in all my years... (music in) , Restlessly 2 I've never seen a child sit’ $0. still or look $0 old.” «y —— A (Late"!Hp) 3 mf — ? ed “Heckel” 7p _ -p —————— _™p ‘Women Dreamers: High on a hill sits a big old house with something wrong in-side it. Spirits Men Dreamers P (psc ins haunt the halls and ‘6 _Women Dreamers: z 8 make no ef- fort now Men Dreamers ue, censsec “RF “R__# [=] Alicelaire: 10 = => Towa ne What will pat their souls to rest and stop their cease - less sigh Fakir ‘Shaw/Albert (scuba) ioe 27 41 Allce/Claie: © RosetAyah: tf Why do they call out child-ren's names and speak Fakir ‘Shaw/Albert! ‘Meighutoimes: (in) Medlock: "Wel, you're right not to care. Why you're being brought to Misselihwaie, I'll ever know. ‘Women Dreamers: uP. 15 (CHecketVta) wa 28 Your uncle isnt going to trouble himself about you, that’s sure and certain. He never troubles himself about anyone.” Messen Dyeemere: 2 mp_NicelChice: Rose/ayahs mp Avd_—ihe Fakin| Shaw/Albert Wright Holmes: OTM) aaccn Mass tet hears the whis-pers on the stair ways dark and stl bal PP (Bs CUns|“Hpsed") i ? 7 bp (taba) ‘Shaw/Albert ‘WrightHolmes: P ? Medlock: “He. huchbact ou se EE enact 9 Alie/Claine: WrightHolmesiFak oo. Bs CUTubalTimprtipscd Ey ‘Mary:"To my mother's sister?” 2s 26 | ‘And a sour young man he was, and got no good of all his money and big place till he were married.” { 1 Late" 800) P i r t t (imp. only-8va) 27 28 2 “Medlock: Her name was Lily. And she was a sweet, pretty thing and he'd have walked ‘he world over to gether a blade of grass that she wanted. —_ > oo Vamp [Nobody though she'd mary him, but mary hi shed Vamp ‘ti and it wasn't for his money either. But then when she died. are ‘Mary:"How did she die?” 34 Medlock:"It made him worse than ever. He travels most ofthe time now. 4185 your Uncle's brother, Dr. Craven. oe He makes al he decisions these days Timp) All Dream mp High on a hill sits a big old house with some - thing wrong in - side Ey sco Up tae) —$——_ PP —————— pp —__~_* vevBass) mp [ee] Some-one died we and some-one’s left a lone andan't a (ass out-Vel only) Wmn/Fla/Albert: 2 ‘Therein the house isa lone - ly man still 2 Asks ing _ what £ Pascy 33 re-mains ty oe WA? S iol sal amount of Haman Voce (in) —— Petr Ct Cety Cet e| Ls PP) (Narimba/Vibes!Via) or Cas) "Is it always so ugly here?” Medlock:"I's the moor Miles and miles of wild land Mary: a 2 p_—__——___—-—-_—_, =—_ ‘yb: sf contnue oe ‘hating gro on at heather andre andro and ohn neo bt id ponies nd shen —————— — —_—— pap aeor = + = 5 5 82 = e = so yb coms Mary:"What is that awful howling sound?” Medlock: “That's the wind blowing through the bushes. sf ————— _2_——$$————_ —<——————————————_ ! od me ee ae areas Boo er hat thy igh far aero here Coc ty cntines Fy ea awa =f ———— we vme darts) Fr F (Bass) 57_Alice/Claire: Rose/Ayah: Mas - ter hears — the whis-pers ways dark and still = ar Shaw/Albert: Wight Holmes: 0. PP cre. (PUCURKodes) =p ——— (EH/tnsiStgs) PP CibalBass) I ~y Rose/Ayah: Spi - its speak of see - ets in me J 4 Yl mB ‘Shaw/Albert' Wright Holmes: (Stg9)_g (F800) etn 7 } ofilice/Clare Rose/Ayah: 44; Shaw/Albert: WrightHolmes/Fakir: ety Sf ee EH Hp) (CURbodes) (bodes only) E ? —__ Craven: “For God's sake, Archie, The girl's parents are dead. She's traveled 6000 miles to be here. The least you can do is greet her." a os 37 Archie: “/ can Neville. I wouldn't know what to say. I'l be ‘Medlock: “Mary Lennox, this is Dr Craven, your uncle's sipsiairs.” ‘ee brother” nf odes) oP r. Mary: “How do you do.” “He doesn't want to see her.” Medlock: "Very good, Doctor” ay (Be) Vamp 70 Segue as one to”Gitl Iria) Holmes Claire 5 Alice Wright Shaw Abert There's A Girl-IT docs seem like a Timp) VelrBass) cone here (Bs cuttm) (@scuveyBass) (otimp) [0] Dark and drat = ty halls Catch her "Towson the «walls halls Catch Ter (eB CU"Celesta"Hecelphone”) . —— ~ Medlock: Well, here you are. This room and the next are 2 3 ——. (ttn) (Hechelphone"Vel) . wcy 5 40 4 i © sshere you'll live. But you must expect that there will be people talk to you. You'l have 0 play about and look after yourself. I But when you're in the house, don't go wandering the halls. Your uncle won'thave it” Mary:"..won' have i.” | oy) __§__——______, 2. i “Bamboo 7) Welles) Rose:“Albert please.” Allbert:"Rose, you and Mary must leave the city until we get this cholera under control.” 25. 26 ar 28 we [Rose:“And what shall do? Wander around the ills, alone with our child, while she stares at me the whole time.” ewe CO 34 36 36. 3 ‘Albert"She's not staring at you, Rose. Mary just wants 10 look at you. Just lik all he rest of us." em > op | rp P wach vamp ft MP ‘Goodnight then.” Mary: "Yes, Ma'am” ea vey [Segue as one to "I Heard Someone Crying"} Holmes/Wright Rose/Ciaire/Alice Offstage voices: h, Fakir Albert, Shaw) I Heard Someone Crying am avery 4 [aa ‘Who tho’ could it be? May-be it was moth-er P celeste" call ~ ing out “Come see” May = be it was fath lone and lost and cold ey) ee é\_ £\ sm b Lily: Ooh. Coping city PP (rr) Soo heard some- one sing - ing— Ciateiay call - ing out to me May - be she's not gone so far a - way as I've been told (u-tate7V0) cua en) Fe | x i Mary: May-be it was someone 1 could find and have a cup of ‘tea May-be it was some- one who could ‘ep _——— cateste” [to.31] = Lily heard some-one ery- ing Though I can’t say who an 22 bring the ten and come find (EH/"Riodes") Someone in this howe with noting lef 0 do Sound-ed like a fairer tet a= — : fa %™%— 3 some- one cry = ing—— May be it was mp AP you. dim. cap ir Many/Archie: Maybe 1 was dream - ing iden growing far be = low ‘Pageting ee ven) PP May-be 1 was dream = ing of a Iife that Twill Archi 1 will 1 was dream - ing of a ‘iife that ———_—____—— fone call Who though could it be SN, Lily: heard some = Mary: know. ‘Some - one is call - ing. ‘Who tho’ could it be? “Archie: Livly where are— you I'm lost without you can't. walk these halls with = out you Me a (Etugettns) V49 inthis house Li-ly where are— you 1 need you T have searched the world but you're not. there fe od a Come and tell me why brought me home d if you're not here, some - one call» ing. Some - one is cry ing Er some = one call - ing— Li ly, where are you, Why can't I find you, = 2 Lily whereare— you I'm lost without you ? May - be it, was you, May was you. Find some trace you've left be - hind you La Licly, where are— you, with out you 1 am = SO =a). yp Jost_<<<$_$_$_$______—— _— ll ————— ————_——! Applause Segue I Heard Someone Crying-Playoff [Applause Segue] 1 2 3 4 (Clock Chimes) mp Slow Segue Martha [Orch tacet] 6. AA Martha’s Ditty Adib 1 2 Me mother asked me, Las- sie, tell me what your Tad mun do—— be - es 4, 4 ty S55 SSS SSS Ss Sst Seas fore he gives his heart a- way, told me dat-lin’ moth-er— There's {Stop on Mary's Entrance] and makes a nest, and all the rest. I 7 v some-thing he mun do,— But I'll say first how he mun look His eyes, they mun be, 100, 55 India Sting #1 [Warn] Martha:“And now th’art up I'll make the bed." [Cue] Martha: “Canna tha" dress thyself, then?” (Finger Cm) 2 mp (Sitar) ———™ (et Medlock Bell #1 [Warn] Mary:“These are nicer than mine.” ‘Martha: “You get these new clothes on then, and wrap up warm and [Cae] run out and play” 1 Kybd-Bell Martha 7 If I Had A Fine White Horse [Warn] Martha:“Maybe you'll run into our Dickon out ther. ‘Maybe heTgive you a ride on his pony. Maybe he'll.” Mary: “Idon' know anything about boys.” Martha: (spoken) Slowly (sw Martha: 2 ly 6H), HL ada fine white, horse take you for a fide 10-day. Jauntily sine I Me oo fine white hae in - side Tl have (0 sy. ‘And emp ~ oy all the cham-ber pts and awe fh bane" ATempo 7 scrub the floors and such But what's there to do on a fine white horse? It seems to me not af (ObtTromiSi—9) much (owtptrtiom) dins60r") take you for a sail to-day. But since 1 hive no wood-en boat in — o (Owrptitom) (Gtricz. Sts) 59 side TM have to stay. _ , And catch and kill the and pluck the chickens for the cook. Gtr iz tgs) af 19 ATempo a what's there fo do on a wood-en boat but sit up straight and look psig ‘And worry our boat would stat to drift and Ships Batt (cuties) (Harpies) ws on amisle of gold Oh dear oh dear- ie me. (opt. spoken) ~~ 28 ATempo = hed a cham-ber-maid ‘Td take you out to play to-day They. say cut there's a maze where oflce you angle Recorder © Wort) ao “Harpsichord” GEHIGH) J. tee there you stay. For cer - tain weld get lost and they'd come lookin’ for our bones eens) Atempo some time late next week And bring us tea and scones, what ifthere's a clan of trolls a campin"aeath atree Or what_—=—sif’—there’s@ pir - ates’ cave Oh be ey ste) vin) 4 Fe = te = (ENICUMnsS Tp) (eHsCUV) of ———$—$—$—$— romiStg9) (sits up) ten__ten (Htpsed1Via) (opt. spoken) 22 20 Atempo wasnt so afraid Td take you out the door to-day, ing bitdsand tales of fairies ‘ee80a) (Dae 3 x mp cowrstgs) _— (rec) eel keep me seared a way. ‘And yes, I pro-mised not to tell what else is there, al-though if ee Dy <_< a UF Es CS (aive glss) (as pti°Gr) (Bass) in the maze you chance to see a gar-den guard-ed by a tree and meet a bird _who speaks t0 thee Then one sie 100) | ==, \—}. ceurtip?s ‘Atempo come and tell my fine white horse and me, sie) (cuties) Applause Segue Medlock Bell #2 Applause Segue from “Fine White Horse” 1 o F (Kybd-Bell) > \ ° longer, more insistent) White Horse-Playoff [Warn] Martha:"Mary Lennox. I thought tha’ might lke 0 Nave a shipping rope to play with. Mary Lennox [Mary turns back around] Marthas “Tha' forgo the rope.” Angrily. 2 wattring eae ; f eo If ings Bs-pizs) wey ‘Segue as one to “A Girl In The Valley” \ Lily/Archie A Girl In The Valley jd (Clock"Hy"1Stg5) poe or ec (i Trom“HpIstgs) ror) om | t mf (Bass) ettBass) ceoterp vay re re Pr Pr eoricy rouicu-ct) (vevBass) (Tom) eo au0w-cn nd. ——— wouldst thou +. = = ———$< 137 {1if3] oro, < —— (Bs civevBass) Op sti 1s dim. poco a poco (apestgs) 4 = Mary: “Are you my Uncle Archibald?” 155, (btinCtee) ies) Slow Segue Lily and Rose [Warning] Mary: “Is this my Aunt Lily inthis plture?” [Cue] Archie: “Yes, see." ‘Andante ma non troppo PP tty) Continue on cus Vamp Archie: "Who dressed you, child?” 19 14 ‘5 covitsegs") (tip iss) 7 Pid mosso (ins "Stgs") (FRAC) ———, mer cw Ed bd ves) PPE (Vs) 87 ad id Cut [i] Fade onsepeat MOP" aa np ed ee Mary Martha Ben Dickon It’s A Maze [Warning] Archie: “This house is haunted, child. Day and night.” [Cue] Mary: “Did my mother have anyother family?” Allegro moderato 3] Io Ss = SSS | Skip, shipped tbe Ind- kes 10 the Mas rs ee sipped the la~ dies while the Mas - ter gs = == = ca === S= a 41 at ecout) “Tip- toe the cham-ber-mald and stole their pests Snip, sipped the gard-aer and cut off their cls — Martha wer pr | ey @ , ————— = re =: =: = ras SSS SSS a oy maces gasgen ‘sa mae of ways any aman can spend. his day roan woe) © - rs z Z SS —= Duty vwivens) ‘maze ths garden sa maze ‘ld man knows how a year it goes How the cold hard ground in the spring comes “round” flow the verve) — andthe fers un fold How an Eng lish Gar den grows, \ Cf t+ ES [m] C7) sty = = == wie SS== a rt a the Tae dies while the Mas-ter ‘Skip, skipped the lads ies t0 the Master's gate, Sip. sipped cwwrrtip" cricket (a fading on exit) nee eS = ‘Tip toed thechamnber-maid who stole their peal ‘Masta Come avlong love, Come fly away, fly arlong Come slong, Fly a way home. ear Tm this garden I's a maze of paths meant to lead. «=s mana stay (o-Dut"y Come a-long love, You've come = Teng way, You've ne) Jef, and then tum ing eft a gain How a soul can find the way (Snare) (OWCIEASSt951"Hp") (Tea) Ws maze, this gar den Ws a mae of ways ols man knows How a year it goes Skipskippedine ld = ies Sip, sipped the Indies Ws amaze of ways cold hard ground in the spring comes “round How'in time it shows How gat Skip, skipped the lad-ies to the Mas- ter's gate, Sip, sipped the la-dies while the Mas-ter Tip toe the cham-ber-maid and stole their pearls | (Solo Vi). .. _ i i a _ _ mf a canvet snipped the gard - ‘ner and cut off their (Tyee, | | India Sting #2 [Warn] Ben: “Maybe he does, but I can’ go losin’ my job on the advice ofa bird, now can I? And the same goes for you.” Mary: "My Uncle Archie sai Ben: "Your Uncle Archie is gone most ofthe time, Missy. [Cue] And who's to say what might happen ifhe weren't here to stop it?” (Finger Cym) mp (Ky 1 *Sitar") ———™ (Let ring) Big Dead Snake Warn] Ben:"That could be a spirit you heard. Sie tke atl ceiling and long hallway to swoop around in.” [Cue] Mary:“tn India once. 4 3 saw a Fakir pull a big dead snake out of a basket and make him dance.” a [Fakir gestures) (Tabla Soto) > fm Dickon Winter's On The Wing Ben *!'m sure you think you've seen just about everthing His excep he inside of that garden and you keep thet vo, you hear me? [Cue Marys..Good day, Ben 1 __Misterioso IN.B. All grace notes are to be played on, not before, the beat. } Dickon: Wioter's on he wing. heres a fine sping mom — 7 cuiprrony {Hei leanthoughthe nigh comes the May 1 ey (CHp*tTrom) “stins) ees aks en fight sweep ia? dark cold sie out to 158, Spring. is bom Comes the diy 1 sy and an Pipes) 2 aeet co» Br (Dram contnac sm) WP (trom) be Stand and an Pipes) (Hp"ttnsVia) ‘And now the ‘sun is climb-in’ high ris-ing fast on through the gloom gone the gray ‘we sun spells the doom of the Win-ter’s reign Ice and chill You'll Seba say wna ‘must re-tire comes the May say Stand and Spring, (Bs gt) ye how! ing gales,— 102] Be off wt goa) 3 ye fros - ty moms Aivye solid streams be- gin Pim ye frozen win-ter-walls— Mist is lift-in” high leav- > bright | Met, ye war See ist) lve air rol tin? clear Yeross the moor comes the May falls ing: And now the 1 ay storm "Il soon be by leav-in’ clear blue sky Soon the sun will shine comes the day say I — = ‘ns contin se) = om (owcutinsy CSegrTpeTOn) Applause Segue Mary 10A Mary's Maze Applause Segue from “Winters on the Wing” Moderato Mary: (Celeste Hp) ooo cory Cora) Dickon: [cutting her of Setar Mars 106 10B Robin Cues {Warming} Dickon: “Well, if somethin’ is sick I take a look ati sure do.” Guei] Dickon: “A penny's worth of seeds for your garden.” 1 2 a Sempre ad lib Na fe 2 2k? (whistle) “Tell her what kind.” Ifyou don't want ‘em I'll.” (He pours the seeds into Mary's hands) 3 4 a x os “Take the seed, girl.” 107 Cues Cue] “He's done nothing but chirp at me since I got here.” 6 “You're a saucy lass." Dickon: *..interferin’ if you're not friendly.” *S0.are you friendly?” Slow segue to “Show Me The Key” Mary/Dickon UW Show Me The Key [Warn] Dickon:“Are you interested in flyin’ perhaps?” Dickon:“1'llranslate into Yorkshire for you, ‘you gt the way of." 1 aim 2 Mane Mane (aa) 2, . 5 [acapella] took thee on for rman not fright thee (Steel Acoustic") Dickon cean-na tho! show me Show me the key Show her the key. ‘mun sit think - i’ thoughts Nowt of the Nowt 0! the sot She'd fair be watch- in’ forthe spring. P ("Bspipes TEHny “0 a and fai |e climb int up F-onrly Be cali) good mom - ing, Rose:"Lily, what are you looking for?” Dickon:"Weil done, Mary.” ti “2 2 a [ere ce, = wa, Lilys" Wai tl you see it Is the most beauiful garden I ever.and nobody knows abou it except Archie, “0 7 “ 113) ‘but the door is so covered over with iy that I can never find it Bo] Oh, wait. Maybe ison the other side.” = 5 EE ast x) VL em) em bP agpipesich Ea (Gerraste) 5F F a een thy - self be both - ered night (ins) -—_. J curt Grr") asi - Tent dream, smell the grow. = in cH by wen = ches rae = Stand-in’ on com the ro. = ses'gainst the wall mf -Hp"IVelBs) babes when first they peck hands if they should fall cup) (CHp"1vetlBs) 76 ~ tha’ likes, ll bring thee seeds or + worms all we SJ) _ J Hp) Gt) causes) coed 116| . thall_ be ~—the ‘first I've found, Tm a lass Dy ccunnsig) ‘That took a graid - ley fan - cy to thee can-na tha show me Fo Ff a Well dost tha’ know ‘Show her the key. ‘Mary:*Where are you going?” me) J 7 cH) J 102. Dickon:"I can’ say. But I'll see you tomorrow sure enough. And if you need me before then im) | BN 104 well, now that you and the Robin is talking, he always knows where Iam.” 00 $<, SS ‘Mary:“But cam’ you help me look forthe key?” ——_—_—_————_, 10 ‘Bickon:"Bur thar’s why I'm leavin,’ Mary. A body can’ finda thing ina crowd.” Mary: Slowly Stand and breathe Hymn) 2 ‘Stoop and feel it ‘Stop and hear it ‘Mary Lennox” (Hp) o ‘Mary:“Oh no! Look what I've. “Tentatively 22 123 124 125 128, © [she crosses] [Bird-on cue] caw 2; bf mace LdiTy mm (08) What was that? Where did it. There it ist It's a key! Ie the key o the garden! 127 Excitedly 18 129 130 [She finds the key!] f ° (GowHaFigici) ‘clit f (Hslses = = = (Tob) & = a found the key tothe garden! Ie was right here! a1The door But where’ the door? 132 ae ‘Martha: “Mary Lennox!” fal Poco maestoso ow carriers TT | TT Slow segue Skip, Skipped-Transition [Warn] “Mary Lennox, we haven’ got time to play hide and seek Mrs. Medlock wants us inthe house lose] “right now” fl 5 Fakit/ayah: er Skip, Skipped the La- dies to the Mas - ters gate, (elt Tee) 5 oom ~ (EVOWTptToWSitar) (BsCUIHn/Tarmboural“Hp) Vo Sip, sipped the La-dies while the Mas-ter ate _—Tip-toed the Cham-ber-Maid and stole their pearls Snip, snipped the gard-ner and cut off their A Bit Of Earth [Warn] Archie: “But you can see she is lonely, Neville Perhaps [should have more conversations with h [Cue] Craven: “I don't think that is wise, Archie..." Pensively Archie ae 2 A bit of tle bit of earth Shell plant some seeds The seeds will grow ‘The flow-ers bloom, But is their boun-ty what she needs. cresc. ¢ accel. (Hin) Orig 124] love a lit-tle bit of earth does she not How can she chance To The cath is ol And does - at know uetin fempo-flowing - te A Tempo: care if one small gitl wants things to grow. a __—————.a—"_"——_ (oe r C4 Sheneeds a fath-et, broth-er, sivter, mother's arms. cuts 27 (Valve comp She needs to dance And learn to work her gifl=ish charms. to She needs a home The on- ly thing she really needs 1 can not Tay aan et 4 —— (EH) s She on TN 7 eet 7 (curs), 2 am J should havea po In ~ stead — she asks poco accel. - inhigy“Hp) a Bl lop A bit the of She should have house with a UEHH (4Stgs) e fun dred rooms per floor. Why can't she ask for a (CHE Hato) (pullback) “Th LF aim — (TimprTon) tea ~ sure Some - thing that mon - ey can buy that won't die aww {pull back) Pr (stim) (Tm A Tempo poco meno. earth She wants a lit- de bit of earth Shel plant some seeds ‘Theseedswill TenTEnz awarT FO P corrrtp? Tie oven Uoom, Ter tomy SEE Ep em i-—! __ 3 4 —_——_—. = (vee) (cue) = corer the ten~ det ros~ es, lilies fair The i- ris 2 2 (Clock a a auc A bit of fall, Her bit of earth will freeze and kill hem — al exnTy wv \ ™P co a Ga ‘Segue as one to “Storm I” ~ Dreamers 13 Storm I Alllegro vivace (opt 800) A (Archie) (cash) Cotta) am 3 eee 1 Holmes Albert Close the shut-ters and lock Brace the windows as (ttm) dpote (yb 1 sfc Thunder) wenn Fakic 7 in it pours. Can = dles only the ones mots =~ oo as Weighvshave Abert 13 a ing in pairs (Clre/AVAyRse: Holmes: [Tos2] 55 GHpgtiss) Looks like the sea in Looks like the sea ima Com- in! a ter-ri-ble, Comin’ a ter-ricble storm cna on mene (ecicuTyo) ree ma 134] os) (ship's Bet) ‘Clw/AVAYIRe®: o 3 © Bran-ches are brovken in half Carried aloft tke a sail akie a Ss Bravrcher are brovken in half Genet aOR ke a sail ___ Alber: | Hotmergate Branches are brovken nal Car-ried a loft like a jax , omit 4fh CresavAy/Rae: Not since Twas a child rave fear Clare/Alice: Imes heard Such a Lf yrs wcnn ‘r)— crmunder GoKyba 1) dim, al fine lie: [oo > © Rosey 1 AlbervFakie Hotmes:| iG a. (cut p) é nip") (Thunder din) aman Wind) Segue as one to “Lily's Eyes” Craven/Archie 14 Lily’s Eyes ly qui-et but now the storm simp-ly rests to strike a gain, (Gtr Rhodes") P cy | ——, wetBass) ing wait - ing 1 think of ber 138 ‘sirange, this Mar- y, «She Teaves the room, yet re = mins; she lingers on Some - thing stirs me 10 think her. 1 think of hee. (Hyver Bass) eath she cassherspell All night we earhersighs. And now a giilhas comewho has her eyes > (FUE Hic on iy 20) Con moto, ‘The git has Li-ly's hazel eyes Those eyes that saw him hap-py long @ - go. en coma) 7 4 eyentat givehimilfeandhopebe'd nev - erknown, How can he sethegilandmiss those ha = zel Ctr) The il has Li-ty’s ha gel eyes, Those eyes that closed and left me alla \(Trom/Bass) na") cn 1 see this. git who has / 7 Poco pitt mosso eyes an easee this ? locki*tp-50a) uget) house seemed bd ‘2 (Flugel) her brav-est knight be-came My b= dy fair wash P (TonlTimp) Lity's ha zel eyes. Those eyes that loved my bro thes — (BrassPiano") e f Frasl & corm) hold her close, eyes that nev-er (Brass"Hp) 14al Appassionato Bras) 4 longed for the day. she'd 445, tun and see me standing. there would 609 J [52] Poco maestoso Shehas Lily's ha zeleyes. Thoseeyes that closed and my Lily's ha zeleyes Those eyes that saw me hap py long a love, a-live and whole in = ger that once 1 dared alive and whole in wy, = erase wor (Timp) Pia mosso Applause Segue Mary, Ayah, Claire 15 Shaw, Alice Rose, Wright ee Storm IT stom ened oe 1.2. 3. a (Play 3x] ight cs d PP seeesten wey Adlib Mary: 5 Someone is cry - ing, Just now 1 heard them — Some- one in this house is ery - | Why wont they tell me, I know theyre ly - ing Someone here is lost or mad P cola voce-ad lib ' Soained ° . (Reclc) P Tempo! (Vel) 3 house, —_———. accel. poco a poco a tpo [more sustained) ded negro vivace Hy, sw wo ‘GTowveuBs) CEH) ~Co e| ("Sitar Alice ea 3s 36 << ——- Albervakir a : an lghuotmes A - fa a ——— accel. e.cresc. poco a poco pl fine 2 fa Eakin Albert aire/Rose: Sf VaMartpschay os) (Png) > (+Ton) Lay, (TowveltBsn) = ul a =o a 2 3 << ——__ —__ > Colin:"Ger out!" 7 A LDF (otp”-aatio slisses) GP (Thunderclap) ———— (timp 15A India Sting #3 Yarn) Goin Ym sh Because gag lary: "You just say that 1 make people eel sorry for you. If ‘you were a nice boy, it might be true vee y:But you're too nasty to die." [Cue] Mary:But you tngercms 1 2 mp SS— (Sitar) ———™ (Let ring) _ Colin: “No, please don’ go.” > 2 via) ‘Ayan colin Mary Round-Shouldered Man alin do go at thatthe storm scares me so that if I went to sleep I’m afraid I might not wake up.” jusic in} Easy one 1 2 3 ite tow." Mary: Mary ase your eyes and | wll do what my Ayah sed to do in India. wil pa your hand and sok it and sng someting og me a ip molto esto wa : Colin: “And Ihave such terrible dreams” ‘Ayako ul “Sitar“) (adi) ooh. Mary: “I have bad dreams too. Last night I dreamed about my father. 70, i je pe 8 Only he had this lump on his back, like your father rs (Be, ‘And wien he wrned around, he was your father” 0 _@ 7 27 156 el 2 2 Colin: «en, 2 that around - should - ered man Some nights 1 th ind ve J ‘moon ~ light z 7 7 z (Clout) 20 3 2 (FU-Hp) that the round should - ered thru the moors feross the hills (weirs) [rs] know font ute —~ (€U“Hp"/" Rhodes") Mary: “It's no wonder you have oar ye Hp Cole — ("Hp hiss) {reo ad dreams. The shadows in this room are so..strange” id 7 cEsinstgs) feeetl 7 (Mark Tee) (Mark Tee) 7 a a 7 o And once = 1 dreamed at the round should - ered vette _— OF ikemnted rs call and we walked 10 pees a bd d (EBs) a —-—_ —_—_* heard (FUE Hav) in the crook (GFUE.Hn) 3 te (Gt17P no") om think you should om | cexmicucetesta") mp im J wa (GT IE Poco meno mosso 105, coven 7 108, 107, Mary: "Colin just realized. pn (Celesta 1 Gps) Segue as one to “Before Final Storm” 16A Before Final Storm [Cue] [Cue] Rose: “What is hat infernal wailing?” Albert: “I should have sent you away ‘ihe ere wes sil time.” (oe amy > —— a etn ("Dal") a P cHipsrstgs9 a __t= (atvetrBs Timp) {Cue} [Cue] Claire ...Leting their sewage run inthe streets.” ‘Alice: “They're servants, darling.” a Segue as one to “Final Storm” Company 17 Final Storm {cue} [iibert: “Mary. Where's Mary?” “Someone find her!..."” ‘Allegro vivace 4 1 a cut 806) “clavinet™ we ‘TubalBass) (al Bitton Roe 7 Ayako ater fl my ‘ble storm Shak- inthe souls of the dead ShakT in the souls of the dead (wes -Gerstgse80a0) ‘tip (TubaiBass) (Tip) AliceClaire the SGN der ~ foot the ASTUTS der - foot {——_—_——— cm FA FG | Alicea: iu Roe f ‘Arak: Not see Twas a chil Fakir: Holmes Not hom Have 1 feated (verbose) Moderate 4 co) 2 Rose: 2 za 24 vats Mis- tess Mar = y Quite con trar = y How does your gar - den grow? Cp" It90) mp np pram P 170) [3] Holmes: ot CHpStge) P (Muted Brass! “Harpi") fim] Quite con tar = y 1+ ris failed Dig it maze of ways How doesyour gar - den grow? aes eee ee Obi's dry she wailed See the Ws 2 maze this garden i's a a (ice! Marina up and out you go. ‘All except Fakir Somethingwrong in - side inTpey (inlTromi"Hp) laierava aa y frost Now ies this gar-den I's gone i's lost Shw/Him/Alice/ Phe thing of ways -meantto lead this gar-den I's a maze a icc mf re sa cers) fi this gar-den 1s ways meant t0 this garden Ts a SF ertarpsiisigs) [ize] co ————— ¢_—___ eige SS ° S= Skipped the lad-ies to the Holmes: ‘Watch Mas sate 5 > 5 - — > a - Mis = tress Mat y Mis = tess Mar = y Alice: a feared ave feared Ayah = Ss Fa = e = i = Di Mis = tess My Mis = tess Mar y Rose: | Some = one oy ing. | pie | Kay. Lig ater - 10 one se. No one Shas - Mis = ess Mey Mis. ess Ma = oy Weight o Skipped the lad = ies tothe Master's gate Holmes: Wate now SS 2 fa ess Mar = y Quite con = tars y How does your gar - den Rose/Ayals Fakir, (+ADbert-offtage) ess Mar - oy Quite con = tar y How — does your gar - den & 5 Phe. (ounding ma) = — (Ting) s aie [Alber siops singing) Albert: Mar. 2 oe ‘grow? gone it's, lost Dig aki ight Shaw Holmes: grow? Mary. 73 ClairfAlice: Ayah wp, FakisWrightShawe e ‘totmes: and out you = go. You're = out you Our you go! 19 \ avwsstptiKybay Lento cantabile-In 4 Pep PP g “ProiStss) 2 croniBs) ooo ie (cure (cue) eres poco a poco tem (Pecic, ———————— 2. qoa a [Curtain Act 1] Entr’acte Poco maestoso 1. (Not too slow) E 3 4 Allegro non troppo es _ ind) (inte 7 (rotate). 2 = = (en) ("Timp") "Bre" = prot) (Via) be corompi8ssts5°) 3 be (tins) [7] Broader mph tee (Wrsiviaio) (ObjHnsiCUVIndVIa) a lum) (cute) te TonrTinpiVeuBS) CHpshet CU) (ObCttins Ving Vy accel poeoa poco > ronivers) Pia mosso 5 (cU"Hpschaitn) 29 (ind Bll hake) (ObICU*Hpachrd") m 32 (Bel Te) 2 34 38 £ ~ (wowrtin/ Va Var"Stg5°) —s mfp cyeseeacel poco poco Hi fine (ToniVelBs! “Pre” = e1B5-Pro") ema yg 2 . ‘Segue as one to “Girl I Mean To Be” Mary 19 The Girl I Mean To Be d= 2) Allegro i) (instar) To-tipschd”) mp (CitinsiB9) Ow» needa whis = per what cy) 4 Gn my (vay esc” cont) ca) wm Pe im F (tha) 1 can whis - per who Like and where = 1 got see them t ee) Ghee) 2 (02) GT can make my (EHniMarinbaVin-trem) (Dut Harpsi"/Bscr) place where 1 can (4"Heckelphone") plans and wri So 1 can read eee a) . ep = cers am on yO ¢ “eran tf fe (Ans perTon) valid) Where 1 can take my aa = cmvevss (oltnslTp0) [Mary runs to Rose and Lily] 2 2 be. (sey) ssynth flashy —— [The cake arrives) (sta (CHarichond?) (aattins Tye) mf af (Hp iartpeicy ‘mp Canvey [g — (Citas) (Pose2) {Lily and Archie] (Sov _———— Hpi), _—— sr ‘molto rit, a Segue as one to “House/Hill-Transition” Shaw 19A House On The Hill-Transition Cue: Neville drops the handkerchief in Colin's lap. Slower mp Wright/Shaw: 2 3 High on a hill sits a big old house with something wrong in-side it Spi - rits_haunt the halls and 5 omer world Flach) (Late"Va) make no ef-fort now ‘And the a SS = = (eHaLutgVa) To bd 4 . —<—<—$—— —— Mas - ter hears the whis~ pers stair - ways dark and still House Up- on The (CUED [Fade on Neville and Archi entrance] >) (Hip) g (Win) YeAlto FD) ee =—> a (Late"1EH0) Craven Rose Archie Quartet [Warn] Archie: "You have things well in hand here." (Craven:“Wellin hand? Haven you heard anything I've just said?” [Cue] Archi "And lastnight. (music in] 1 dreamed I walked through the maze to Lilys garden, ov ft ‘and saw Lily and Mary standing right there in Lilys garden. Chip) Turned away. Why won't he say what he wants Why must he speak in dreams owcutay Ye oun imp) dis - ap- pear, it seems. He should send this haunt - (on, Twas afraid...” Why can’t he see what he wants: To gil far a-way Leave the cu (Muted TytTrom) weirassy o «| Som | om oo ro 15 7 16 1 watched them walk a = — acy _———— 3 Ss : ag ? CHprve ‘grown strong and. bold 196 ‘Then they tuned and asked my par - don ‘Why can't he see what he wants he wants the past undone. Why can't he know what he wants: His cold, (brtpitiny a Jos ~ ing bat-tles won To have me fF EDF If she could dis - ap - pear he'd start hu) cote f r PF cromisa F and live lke py then If she'd cowvey certo ? a7 38, 20 ea is ap ~ pear he could be free pain and a bit like coucn, te (610s) _ rom) Pw Rose:“You cam? marry this Archibald, He's a gloomy, miserable cripple who hides himself away in that horrible house. — rca (0 P. cater) You've said it yourself, he can believe you love him. And neither can I." Lily: "No one is asking for your approval, Rose.” (il2 solo Vins) my zseevt Rose:“Lily if you don ¥ care what happens to you, think about your children. Do'you want your children tobe crippled as well?” Lily:"T will marry him. He's eft tall to me [Now he can havewhat he wants Don't do. this fet-tered he will be Set him free wan- der through the world, Don't do this (CiBrassstge) Archie: i (Vins) “Gtr* +t 4 ee pad | . rt (Hp i they feel, their jour. > ney Knew 1 must wan - der (vera) for- give you seo you live there oe-veh ronibas) PF ‘cer rrom Livy, 1 swear rt Do what you will then (tess 90 ad cerita F p Cut off from pain _________ Cut off from pain 1 elp biem Cut off from pain pear and stat a and live ike ther_men he could be {you must leave Yes, you must leave ever leave Nor eer de- ceive Now you must leave am think - ing ofthe child =n the child Fading out fam think - ing ofthe child = en am think-ing ofthe child - rf, fading out) of the child - ren fam think- ing ofthe child ren [Dialogue] @, Pom =F 1g9 “T shan’ be gone long, perhaps just til the autumn.” Craven: “And Mary?” Archie: “ll write her a note from Paris.” |206| o Craven: "You wouldn' be sending her away, Archie. Only giving her the education she deserves. I fel quite certain that Albert and Rose ‘wouldn't wane the girl to grow up jst wandering around,” Archi ‘Yes, I see. Wel, then..perhaps you should [ook into a few schools. eondor) 101 102. 103, 108 © ‘Someplace she could learn to sing would be pleasant 'l leave ital in your hands, Neville. Now, I'l go look in on Colin and..." tock) 108, 107 108. Craven: "Just see thar you dont wake him." Archie: “In ten years, have I ever awakened the boy?” 10 Craven: *T'll gather the staff so you can say good-bye.” 2 i é ‘Segue as one to “There's a Man-Transition” Albert 20A ‘Shaw Wright Holmes : Alice There’s a Man-Transition Claire Archie:"Oh, for God's sake, Neville Tas Tet me slip away. I'm sorry Vamp t Anda [Cue to continue] (Archie) Tell dhem...Tell them what you always tell them” ce" Harpsichord) mp (Steet acoustic guitar” ple life husband, child and wife — ee) | (EHw"orr) Stand and greet the ‘See what comes — his Theresa erurnyy omy = l210 [ Gye mp man whom noone (Fender Rhodes) that beats 2 a = (owen > (Hp? on Direct Segue to “Race...Morning” Archie 21 Race You To The Top Of The Morning Archie: PD _aitit) A When we left off lastnight, the -~—hid - € - ous dra - gon coucunay by —moon- Tight “He gnashed his teeth and, 6 o breathed his fire, the heath oe . | some - one must save this sweet 7 quaked, drew and lots, (our laa] we trem - bled en, though fear 1 said surely the cost will tied in knots) and be wee, And the rest went to Hp", wey fol- lowed the trail of his smoke tthe. mouth of the bid him come out, yea for - sooth I did shout, “Ye foo! gon, be gone! Orbe - 214! ay 2 A Tempo el 28 ‘And then’ 2 (tng Tom- mated) mp atempo (wscuBs) | * crimpiBs) | 2 20 20 | Ut- fered a charm said to make the worst fiend be- come kind knights of dire plights now di - min ish his sights. Andit worked, andthe ‘dra - gon went ‘And he charged off the cliff howl- ing mad, and he died, and. the (Timp) ace cope ed my ring ‘And then you came a long. and were brave, bold and strong, and in thanks ev = ‘ty night now 1 sing: ee ————— 216 Race you 10 the top of the ome) Run and hide come and find— you. 217 ‘Come sit on my should-ers and ride hills to re - mind— you (Timp) cour land with his peared, —T-must leave you He's scorch - ing. foul dragon's ap- (altorUBsC) «attorUBsch PP fone taunts me He dares me, He haunts me Once a- breath From his lair, 8s Soloarco) SS; (attorUstgs) — ‘cuttarbaPy (enmesch (eBsivep gain we must fight’ 10 the death 1 could sty and in - ins Ton) mp" stead slay your dra - gon, this beast who sits hunched fon your back, could wrench hiem way from your bed off or tear off his Could breathe out my fire on him “til he was dead Or Atempo galCue] Archie Turns upstage a4 5 cmt F in) ¢ Poco pi lento T must leave you in care. of my bro ther, (the. wiz - ard who lives on the poco piit lento oe 1 (elie) va (Welle) [8] Who bas prom= ised (GE) way (vers) keep - ing you (nstTon) het, would want you to it his PP (Timp) he sys, pierce through ‘and grow know that covets) strong. the heart of your moth - ef, each this God iknow that as soon as I can I'll re- turn, so be brave son, and know that I long. 92 Fit lento, poco rubato Race you to the top of the —mom- ing, Come sit on_my_ should - ers and ride. tate? ? Ts ae rl oy, 2 owen ‘poco rubato i an Run and hide ll come and find you. Climb ills toe - mind you ay bay, ote (adtib) (ns BSCUTpIHp") ATempo ~ 103 108 105, 108 107, [He turns} DD [He walks off SS qs Eyal bef enti nt mp (Fade Rds) 7 . 2) : ttn tomated) inpibs) Applause Segue 8 Pt 21 Maze Transition Cue: Applause Segue Brightly ao Aan SSs ap mf oi tgs") Coy, PS He ccuvia) Albert: Come a-long love, come fly a-way, fly a-long, Come a-long, fly a-way home. aonivey Come a-long love, you've come a long way, You've flown all the day, come fy away home.— this gar-den Ws a maze of paths meant to ead $ (PieciOb) dightly) _ (vingviay left and then turn-ing left w-gain's how a soul may find the 1225 Mary/Dickon 22 Wick [Cue] Dickon:"NOW YOU TELL ME EXACTLY WHAT YOU SA 2 ‘ Map col and ray. Therese rye nt 7 Ard Vere’ this clingy kind of haze over everything.” Dickon:"Like a body were in a dream.” “Dulcimer” coc) With loose gray branches looped all around the tres like ropes..or sakes, Mang hemos forge lace ose 2 10 ‘© And dead roots and leaves al angled up ‘on the ground, Dickon:"But did you get a real close Did you scrape away abit ofthe bark 505i 'D COLD.” LOOK AT ANYTHING? ‘and have a real look at anything? Gtr" solo) (Hy soto) is ‘Mary, the srongest roses will fair thrive ifthe soil is rich enough, They'll run all wild and SPREAD ‘on bein” NEGLECTED AND SPREAD Set Tempo (+*Dute*) f el w ively Folk “Oh, Lean tell fa thing is wick or not.” il they're a wonder” Mary: “You mean it might be alive? But how can you tell?” (Hip"1+"Gtr" 806) EPnoiDut) Mary: “Wick! I've heard Ben say wick" 20 Dickon: 21 2 When a thing is wick— has alife a bout it May - be not a life like you and But some-whete there's a se- eret streak of green in = side it, Now come and let me show you what 1 mean (emey Whistle p) apt (lec Pro both hands) 228 thing is wick it has alight = round it ~~F SEI + see. But hid-ing down be-low a spark’s a - sleep in - side it, just. wait-ing for— the right time to be ct CREPE Leap FEET memes ow = clear sway thedead_ parts so the ten-der buds. can form Loo-sen up— the earth and let the a Ei 4 F 4 2 Ett Cuba) (ctntBas) (ee Piano) roots get Let the roots get_warm (E186 Cite) 7 (Pony Whistle 0a) (Bass) - ‘ony When a thing is wick. thas away of know ing whenit’s pis) = (hewvilyacented) = : safe to grow a-gain you will see —_ oy = ough 10 clear away thedead— parts 6 feed it, it will climb up through the earth 2 1231 ‘When there's a pale new — green emmy White 809) (Gtr continues sim) sothe ten-derbuds— can form Let the roots get warm y ow aged (Bas 5) [=] Sombrio ‘Come a mild day Come a watm—_ rain Come # snow = diop— a PW) GFluged) (otiTrom) 4 <2 (oBecy 232! call-in’ all therest tocome and 109 sub mp (4B CUBass) =) is wick— andsomeonecares a-boul- it (Bass) '233]| ‘And comes to workeach day like you and ‘Then have no doubt Will it grow? “pe “te 234| Mary: “Oh, Dickon,Iwantit all 1 be wick! Would you come and look ati with me?” Dickon: “1 come every day, rain or shine, you want me 1. All hat garden needs is for us to come wake itup.” 82 oo Vamp my a % = — Sees Semi Beene Resin ire Septem we Biko Mr ncaa coe™ weet Ep == é nn @scu"Dule"y 4 Tittle chance to grow— little chance to grow— ‘That's how you will know if she is ‘That’s how you will know if she is grow to grect the morn - ing— ‘prow 10 greet the morn - ing— ww PR RF F Free from ground be-low— Free from ground be-low— When a thing— is wick it When a thing is wick it (es) nitating Dickon) (seen) “Dulcimer” Come a warm— rain sc 237 Come a snow - atop all the rest to come, 2 Call-in all of us to come, — all of us to come, _ yd (ia cal int call- world wv ow SD SO |! SS stip lise [Stage business-playful] wh ig in ® = (Stgs-Pretybells’) Ons) —— a =~ at aT > wr OF pro- mise there’s a singlestreak of green be - low, And all yu 74 us) igs iano) thru the dark est night-time, It's. wait - ing for— the right time, When a thru the dark est night-time, It's wait - ing forthe right time, When a om Oe uy © auutagiiy P—__>?_ES Eo Es Cibass) —_— (PW liOncne) nists) 241 Wins) P7 £ Tes 7 IT? fee 0 Y (Fug/Va)__—-——> a 8] Alice 22A Race You/Transition - oe AD e? (CitnsiTom) “Timp) (evowcutin2) picked up his staff and he fol - lowed the tail of his smoke to the mouth of the (owcute2) Cxvarco sigs) (wens) opt. spoken ‘And he bid him come out, yea for- sooth he —did._shout, "Ye foo! pomeraea) eevowcy evowscutin2) aa (on solo-st mute) §] 2B This Is Nice _~ {Cae} Mary: “This ice” {She epent music bos ‘Tempo di music box 1 2 (Kyba 1 solo) [Stop when Mary closes music box] 22C Cholera Chords [Warn] Colin:*1 can't go outside, Mary. I'll take a chill 1 ‘go outside. I get even worse.” ‘Mary: “No you wont. You'll fel better.” [euch Coline"! can Mary. 'm afraid” Very Slowly 1 2 Tambourad (eBerpiez) Be ORsbd2-Piaz stg as —=_———____ 3 —__ 5 = 2 eves) Lil Calin Come To My Garden a [Warn] Colin: You must come back tomorrow affernoon ‘after you're trough working, and have supper with me and tell, ‘me everything you've done.” Mary: "I'd like hat. Goodnight, then.” [Cue] Colin: “Goodnight Mary" {Wary Sree" MO” Andante con moto omy 1 un) inate) P(*Hpstssiark ree) Fy te 1cetesta) P (Cipla) fear) 0 12 10 G00) mp atmo Rest there in my arms piss) see you safe- ly grown Stay there in my gar- den oo —. pe a | 4 2 am > = MH Where love grows fee and 2 é wild, oe Pia mosso (Settling) ' a Colin: Where love grows deep and tue Where LS insiTpe) = nae 2/225 1 ws on) you Where Ill show you My new life will ive see you safe-ly grown and cov. oy rer O° enprcery 1 t wey —__ — = More deliberately o 1 shall see you in your gar ~ den ‘and spring will come and stay 1 shall see you in-my where love grows free and— wild (0 ATempo vit Come cup J oo i252 Atempo or 3] ~e Ol (Balls) Applause segue 23 To The Night Garden-Transition [Applause Segue] Martha: “Oh, I shouldn't be doin’ this. Tin Tike to be sent back 1 the scullry for this ‘and I don' like the sculery. 1 don't kaow anyone who does.” 2 2 PP (test) (EHnl"Ger Tom) “No one will be missin" you at this how” 6 z 8 ‘Martha: “Bue ifi's so dark | cant even sce where I'm goin’, how'm 1 to hope to see what itis once I get there?” o kon: “I can’ say. Perhaps i's only summat you're meant to hea.” Martha:"But all can hear aevny, [Colin and Mary enter] (me) (Goel, —— (BscToWBs) Dickon: “Then perhaps you'd ieme own selftalkin'” Best bestill” GRIT “Hp? esc Mary: “Dickon sth you?” Dian “Ay it Mary al"Hp) sub imp 4 4 { e ‘Martha, are you surprised to see me outside inthe middle ofthe night?” Martha: “That J am, Master Colin. in Typ) P cstgslstgs") Gees ————————— B 7. ‘But just now you looked $0 much lke your mother, it made my heart jump.” cH) P* pocorall. -~ —7 ed “crese. ——— ar ao im Ta Poco maestoso 27) eigevin® a SB * (otipiB=) f "es a secret garden : 4 ‘re the only ones in the world that want it tobe alive.” 34 Ma “1s my moter garden is yew a 2 wave) wr RL air —_ Fy lao a4 pet Dickon: “Ay, Colin. We'll have you walkin’ about Colin: “But how can I? My legs are so weak, I'm afraid to. and diggin’ same as other folk before long.” 35 Segue on cue to “Come Spirit Come Charm” ~ lesz] Company 24 Come Spirit Come Charm Cue: Dickon: “There @ charm inthis garden, COLIN, _ 2 MaryfFakic(Svay 4g tet = —=— Z = SS What kind ofcharm?” Oty =u he Mau and the longer you sty init, the stronger you'll be." Ah Oh ja = doockay Maw (sitar = = o £ (et Te “Tamibouralstgs) aa of mf 2 O° Mantra tan = ts yanctra us ki Ah Mabnirataha ~ — trayahmraooksky ell te) ‘Colin: “Where did you learn thar?” x ‘Marys don't know: Tad even know | knew i.” (Belle) = fr — ys a 6 ” Mane EG EF © ‘Colin: “Maria, do you belive in charms? Martha: “That da, Master Colin and spirits (Continue oncue] Cane ad he Bi Good Ting by whatever name yell i= Marys ° inow ere head nom, Sh o even trom het means © (g*) allel a a 78] Inthree, slowly ad lib ona Za] Quasi tempo (May l260) Fiimosso 34) (lightly) d am (Timp) fs) Lively, in four swe TE Sp S mecttns tenting ‘incor MarthayDickon: “ 45, 4s Pan Pipes) EH) sin ts) TH me cuttatrom = bowels (stacy F vol ing, “cross the sky ‘Speed the fis~ ing) sun, make the ‘Sweep a+ way the storms rumb arpene sitar) (@eCiiTrom{Bass) 52 Unvocation] of ng Cara” Bid the rob ins sing Bid EML-Sitaristge) (Pie Xplo"Sitar?) Atempo Rhythmic & determined 7 [Mary starts to dance] [She moves D. $.] xe Tounplngsound) 8 ES 2 wd dad |i rT Bass-Thump) [She spreads flowers} (Sola vn es 4 4 Fiat [Percussion foot accents Meg Raise] “Home” “Happiness” BA soto 6s es ave EHIStgs) 3 > « : , “st Poco piit mosso (She turns wildly) 70 7 (They applaud} os. ea “ingereoma) cnsteryn SI amy vu. f 7 Ms) wen Pom lp OR t [She x's to Martha] H give you..dance!] 72 bas) 7 a 75 (gliater-b0a) TFET * Fem I an Pipes) 4,4, rogrr ft rr? ro carp) [She x's to Colin) [give you..the moon!) 7 nm 70 Ab (Iptrom) wo (Synth fo) crese. eaccel, ~ tgs) (tis) I I se = Jed raster [Abe Hah Abe Hah tes (Exgpien Drm) ded aster (Gand) (Hand) Ache Heh Ache He AbvheHe-ah Abbe He ay fos Avah/Mary (some Dreamers © [Hand throw Tasha di- ka din = om dik-a-dah on da by -fe Abo he He = ah Ah= he He-ah Anche He-ah An he He ~ ah hee Women: (Drums continu im) sch s = s [Hand throw] ah/Mary/Dreamers: w ‘Tasks di ka dinum dik-odoh Taka di - a dlnum dba dba condo “Tacka di ka dinum dia dks cond skits, o Aivbe He ah Aivhe He = sh Abshetle - ah Alvhe He ah Alrhe Heah Aivbe He ah Aivhe He - ah Atrhe He-ah oman oa AvshMaryDreamers os a » th Atohe Hea Ab th Ashe He-ah Abobe Hes a (otom) ou AxaharyDreamere Mane Je Da dicka de dee di-ka-dah oon de a cowry) i 9 Fi 9 Son ‘Ayal Mary/Dreamers: Doo Ke Ja dicks dickadi ica dicka ta! Anohe He- ah Ah> he He~ ah Fa iz Grass) 2 2 2 - S— Martha/Dickon: 104_O eens 105° e =a Ab (@metBaes) 5 lars eamer (a ib dion chant) an ike Ginsu di-ka-dsh Da di ka de Gee dl-kandahdoon-dee Martha Dickan/Mary (poten Ss = fhe) yd all Martha Dickon Mas sm come cham (tba cym) come sori come charm Come [Heavens open] Rose: AN wa mod ed (CambourtBass) Rose: (An). Betsy: help him get_ well (an) oe Albert help him get well (a) Hotmes..|/—___ Might help him get_well ‘Martha/Dickow/MaryLily: help him get well oewtstgetee) 3 19 mag - i ‘Shaw/atbert o mg - i - Holmes Wright Timothy met Martha/Dickon/Mary/ily ke Sitar Mint Va 8) awweaty ing TomiVed, _— — 276| Dickon: Ayal Fak ("Gong") yo Star Tyron) r r Slowly Slowly ego (8»)- (stg) eww a Tpt Ses") (Tam-Tam choke) a 244 I Am Well Colin: 1 think the spell is working inthe house, 100. Twonights ago, [music in] Slowly when it was bright moonlight, I woke up and felt something fling the room and making everything so splendid. a wd P (Harp) (FUOb/Fins/BrsiBs-tacet) (eva) ‘And pulled the drape from my mother’s pictur, and there she was, her eyes looking right down at me, and something new started flooding trough me, oe [280] ‘making me so proud, so strong..so..tall I shall liveforever and ever! shall find out thousands Ty. hd 19 14 15 16 47 Mame of things. I want “o anything that will ister. Martha: “Mary child ‘give thanks to something, I'm eel do’ a se whe Youve done?" [Music out ‘when Colin falls) Ld yg dant 281 24B Promise Music “Idon' want him to know anything about this, ting 0 be said to him tll | can walk. Do you Ben: “Irs getting 1 bea fulltime job keepin’ track of secrets is gen “Mary, take my hand." “Dickon, Martha.” “You 100, Ben.” [Dickon and Martha put hands in.} {Ben puts hand in.] (nr VeBs cet) ofa . ag aly (Bell Harp") P (Vinita) “Do you swear by the charm inthis garden that not one of you will mention this 10 my father until | am completely well?” Ben: "That! do.” Dickon: “Ay, Colin. Nary a word.” Martha: “Ay, Colin.” Mary: “I promise.” Colin: "GOOD, THEN." A F > __ [Music out} oH ‘Segue to “A Bit of Earth” Reprise Lily Albert A Bit Of Earth-Reprise ‘p83 Inz_ (Warn] Mary:"So, what do you want to see first?” [Gue] Colin:*1 want to see the roses. Warmly-not too slow Rr mf A bit of Earth (Colin) Show me where the roses will be.” (ennBecutp) (AattoFtVt0) my ven — CHP) Bs) sin gle stem be- gins to ‘That bit of ee (altoruvia) the flow- ers bloom be- fore our eyes |}. enmatiory a charms at work, the word is passed, the days are TOo—>>o>— ‘288 Un- fold and grow the wincter’s ———— ——— —— (EHndBsC18bs) Ev izyiriey mpecwnay sven Atempo “Tet Cet Cetr Lebr ™P Harpsichord") ‘287 (tes Ton-mated) ~~, Mary’s Tantrum farm} Winthrop “This i excl the Spe of behavior ear est equipped handle a ‘Cae: Mary: “Thate you “Your schools a “wand ie says I don have 0 80 You'rea Silty rathole ful of brats oany STUPID SCHOOL, HORRIBLE UGLY PIG." ‘AND DIRTY BEL cerry) a {head turn} ot (ClambouraVelIBs) ins) inl" ists Ton) a Y feneh ‘sane te eee yaghnsten agar agian tae eel a «LPT aR aE inetd seri Bi [cookie throw] (cum cowcusitar) 2 a ° —— [Ayah & Fakir hands out] Ss Chand cut) DD eutsegs") esas eyo) ran se cons canoe 2 (stanton) yu “Get out of here. Go away, Winthrop: “Well we have had Go.away, GO AWAY!” yO. CASES OF THIS SEVERITY.” (Foot stomps) inrTon) ary > > Ce] psistay 0 12 [Ayah and Fakir chant ad Iib] sitar") ‘Mary: “Marjaro” [to Winthrop} {to Mediock] 7 "Baarh Me Jaaro” “Choro Mujhe!" a 18 > 10 a [pillow throw} (Steed tb) CHpSivar) = ES (Panjaviry ® [To Craven] [to the air] “Tum Bari Shaltan Ho!” © "Mar Jaaro” a a a [Mary's feet fall to floor] | ~—_ ——= Dr. Craven 27 Disappear-Transition [Warn] Mary:"You don want Colin to get well at all” Cue: [Dr. Craven moves to strike Mary] Allegro 2 (cuvinasVialstgs") (nd-muted) ‘Dr. Craven: “You will eave Saturday week.” (CUE Hntte21B5) (Bscutini) 901 no - thing here that I want she make this claim? i) —— @wscties) (Toal“Hy) it clear what Iwant? have (oviivtay “Warpsichont) ect | fea2] bbe - longed dis + appear Td start, 9 cH (nsi Ton) oor I werBa) 7 ? ‘what you have be- gun 1 don't know just how, but it's not 3_Martha: What you've got to dois. fin- ish >I (o- ver "til you've won When you see thestorm is comin’ See the _light'ning part the skies Ws too late 10 run, (WWsltins/Piano). b in your eyes What you do then ig re~ mem-ber This old thing you heard me Ws the storm, not you, that's bound to blow a way. ? —== (ev) _cTpe Hold on, Hold on to some-one stand-ing by Hold on, a — ie) (Pianol+Brass) Sf ie askhow long or why Child,hold on to what you know is true Hold on "il you "getthrough ——. mp GT OF comPvevba) feel yourheart is poundin’ Far a dowil’s at yourdoor ‘There's place to hide wt) (Clavinet) fro-zen to the floor What you do then is you force your-self 10 wake up and you — Ws this dream not me, Thats bound to go a- way —— Hold on, Holdon the nightwillsoonte_ by. Hold on, Andihinkof some-thing else tory Chilhold ecw npbeme «SE ete : 2 (Piano! sBrass) fn, there's an-gels on their way Hold andhear them Say Child, Oh child And ee (Crom{Pro/VelBass) Goes-n't even mat-ter ifthe dam-ger and the doom comefrom up sbove or down be low— Or 2 icy 2 2 CHprrctr) ‘sub, mp Gtr St) (ruc Heavier see aman who's ragin’ And he's am jealous and he fears. that you've _walkedthrough walls he’s hid be-hind for Sw What you do then is you tell your- self to wait it out, co ‘you Ne Ws this day not you That's 4 ‘molto rhll. ~ Mary 29 Martha —— Archie Letter Song ‘Martha; “You do know how to write, hope. “Cause T won't be muck help to you in that department.” Mary:"A litle. Mardhay*That’s al righ You don’ have much 10 say, do you?” [Cue] (Mary puts pen to paper) Freel ely Faster A Tempo 3 Mary: (tena 2 3 D-E-A-R Un-cle Archie How are you, I'm fine ‘else is too. Please come (oStes!"Stes°) (Recic ra P colla voce mf cacr P Archie Archie: "Home, Ihave no home.” "Tr. a house, child... Justa house” Faster 4 > 6 home. Mar-tha says that you're in Par-is Is that ve-ry far a-way? Do they 8) ee, ov 1 DARN S| one anf (yn P (Rect) [s02 “And I can't get far enough away from it. Faster 4 ATempo ‘Martha: “Now just sign it.” Faster i . ice girls. and boys there, Please come, | eects) | anf ("plzz stg9) ) say that Colin's well now? Should I say that Doe-tor Cra- ven. Ard Streets of Par- is, Ii Sleepless (BsCI") 12 Martha: nights and aimless days (0W/"08") home, then you (Bsr) 13 Poco piti mosso think that what you have is good, Ie’s get it posted on its way. (oposite) mf ete soe ae Bsc") (Pon-eup) can tell him Hel ATempo Pa Ghkind si, Un- cle ArchieHow 1 wish that you could see when you come in-to the girden Please come anf Archie: .can't for- get, eat or sleep or live. an j™ + cee ey EE cast") ‘Martha:“Welt, how about. 2a Martha: "Well, maybe.” 2 2 can't for-give.. (Gtr Stes) CHp"1stgs) (89 ‘Segue as one to “Where In The World” Archie 30 Where In The World Intense driving 4 1 Mary) 2 Archie: v nribistg) os i ainivinsy 2 = inp) eS car - riage, Sill, my BED. mind will not ac - cept that in your grave you must re - main, strang - er’s form and face FUE Hatt) Where can 1 go that you won't find me Why cant I find a place to hide oo (FUE Ha) —— simile my "P (maintain intensity) (BscuveliBs) Why do you want chase me, haunt me step you're there Where Eats) subito mf (Pre) —= (Timp rol) a in the world can 1 live with-out your love a | EH ——— (limp) hhave to meet you, love you Why can't 1 rid you from my mind cow | GEHn/BsCI-S0a) Why did you have to want me, won't you let__-me put my_iife -_(¢"Heckelphone”) ——_—_ EMT _ |? How inthe world tell me, | hind sme cenattasty a5 iy (sie r P be [Distracted by Lily's presence] 2 PLL ris “II at is that you?” Direct Segue to “How Could I Ever Know?" 312 Lily/Archie 31 How Could I Ever Know? Gently 1 Lily: 3 3 4 How could | know I would have 10 leave you? How could I know I would hurt you so? oo PP colla voce 5 3 6 z 8 2 You—werethe one Iwas bom 10 love Oh How couldl ev-er know? How_— could I ev-er me oR BEY bg ge ped I 70 Andante con moto (non rubato) with-out me? we How when Iknow youstill need me so? How— ean Tsay not to dream could 1 ev- [ata] -————— 1 Poco pitt mosso, more freely 23 ime, can you for - give me and hold caporuct eT some new way to love that we're a - par co emma \ ety .t-—. co GT ‘Meno Mosso ‘Meno Masso 20 How — could I know Iwould nev - erhold you? Nev - er again inthis world but Oh : "or PP dolcissimo CHP TStg=) Sure a5 youbreathe Tam there in-side you. How. coun euene yd vier (Trom/Base) (FUE HRs Cowisegs) [4] tempo ma pia mosso 1 How can I hope to go on — with-out you? How can I know where you'd have me go? ! co lage) ng —— (Pianos) How can I bear not fo dream about you? How—— can I letyou go? SS ‘aor rit cattorucy c— om) my ATempo (Flowing 3) altrorucy Cost) Molto passionato Tell me, How, hhow could 1 —— How, how could I know? ig (FUtHnslag)PnoiVel) [s20| rit, poco a poco - ~~ gat - den (Bell Hp"/stgs) Segue as one to “To The Day Garden” Bickon 32 Mi Cotn To The Day Garden Stowly (isteso) d= : 2 a ‘ 808) $$$. <<, << ——= (Pice/*Hp") — £€ ¢ * ° P one ) Ind 2 10 31a De) v" mp wen C3] naga Piesery wa) 5 en Crom VellBass) (ina TomiVet) ‘sas (CUB Dut 75199) arty mop > 4 Dickon:"Colin, look a the lilacs!" (kato) CIptiPnoivtes) (niVelrBass) Vamp ast x) iano | gt Gin [oer] 6g Mary/Colin: A Oo o (verb) spring. tr {Dialogue} Oo oe a C56) 'g29] ier) | f= (ass) (6°Gtr anegsion) ‘sigs [Proceed from any measure on Craven: 100, ‘aa1) “Mary Lennos!"] 101 Vamp [Cut on} Colin:"7 am well” Company 33 Finale (Orch: Willi Albert: (a capella) i PP cus - ters of Mary. Mary: “Here's your ey, ifyou want it back, Sir. You didn’ bury it afterall. I'd never have 5 6 z 2 CHipa) PP (vey ta) feud yo ace “Thad nearly Mary: "shard remanber every sc” ° 10 1 2 Tiree tn very many people a al. 1 shouldbe able 10 remember tre people te asl.” Mary: “Would be one ofthem?* 19 4 15 16 Tr eee (4 Kb tgs) d (vey ‘Archie: “No it isn. Archie: “Mary Lennox, “For as long as you shall © have us, we = are yours cm F Colin and 1, ‘and this is yourhome, and this, my -— lovely child is | } | fary runs to Archie's arm 24 Con forza A (Mary i — Oe pais) inatTpe) mf * accel. — oy S o (weiBs) oe (Cire AlicelJane/ayahe ? ‘ome nes = tled FakivRossPBetey: TinvAtbert: the hill. uve) tasty) SF sigs id [Claire out] ES [Holmes out] core) [Alice out] 7 rest there in my Ving into) ORS [Ayab/Fkr/Shw/Wrt out] [Rose out] (Rose on melody) 29 0 see you safely grown, and — watt — euttsy-————~ wire % Stay herein the gar den a8 days grow long and — mild Albert: MP Hp’) iit dolce wer 8] 33 (CHp"Fender Rhodes") FUCetesta”) (CHip'-Celestatstgs) | (Hins/Br) st \ Curtain Act [To Bows] a) rit. Bows Cue: Lights Up a 2 Con forza in3 3 Hip” slss) imp) 0 ny aD SS _——— fp —$$—— aw o wm wet (Suscym ¢ arvowco, mf (tes) cantabile asia) (Tons TinpVetBs) = ent sary ieee | 1 | GT) es ‘341 Jed sont co (Melody) crasars) “Hs cowwrstgy 4 (“p” glia lib) (ity itia a molto rall. Lively Folk (Hp 1+°Gtr 66) (Shaker) (€ProiDul) Exit Music '3e3] (Elec Pno both hands) ie ——s (@ecutiniBaes) (lec Piano) EHS CUB) (enescuti) 7 tf ~ (Bass) se (WW Bass drome) (CGH continue im) Proven (Bas lis) Con Brio Bsc iano) ¥ mp (Bass) Gowistgs) @wacutinsrTon