- PERUSAL PACK -

Music by MATT CONNER

Lyrics adapted from the writings of
EDGAR ALLAN POE
Book by GRACE BARNES

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1/8/13
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 CHARACTERS

Edgar: The Poet. Ranging in age from 17 to death at 40

Virginia: Aged 13. Edgar's bride

Muddy: Virginia's mother and Edgar's surrogate mother

Elmira: A southern belle. Ranging in age from 17 to 40

A Whore: Edgar's fantasy

Mother: Edgar's mother

 1

(Darkness. We hear a clock chime, then faint music coming from

somewhere. A light comes up on EDGAR. Bells chime
throughout)

1. "Maelstrom #1"

EDGAR
(Sings)
FROM CHILDHOOD'S HOUR I HAVE NOT BEEN
AS OTHERS WERE I HAVE NOT SEEN
AS OTHERS SAW I COULD NOT BRING

l
MY PASSIONS FROM A COMMON SPRING.

sa
(We see that EDGAR is dishevelled, staggering slightly. He
moves out into a street in Baltimore)

n
ruEDGAR (CONT'D)
FROM THE SAME SOURCE I HAVE NOT TAKEN

io
MY SORROW I COULD NOT AWAKEN
MY HEART TO JOY AT THE SAME TONE
Pe
AND ALL I LOVED I LOVED ALONE.

ct
(EDGAR sinks to his knees as from the gloom around him FIVE
WOMEN appear, slowly advancing on EDGAR. One WOMAN
steps forward from the rest. She sings to EDGAR, circling him)

du
W

EDGAR (CONT'D)
ALONE…

VIRGINIA
o
TR

HERE THE SLEDGES OF THE BELLS.

SILVER BELLS
pr

EDGAR
ALONE

WHORE
r

My knight.
fo

ELMIRA
WHAT A WORLD OF MERRIMENT
THEIR MELODY FORETELLS

MUDDY
ot

Edgar.

ELMIRA AND VIRGINIA

HOW THEY TINKLE, TINKLE, TINKLE
N

IN THE ICY AIR OF NIGHT!

 2

MOTHER
WHILE THE STARS THAT OVERSPRINKLE

VIRGINIA
Eddie.

MUDDY
ALL THE HEAVENS SEEM TO TWINKLE

EDGAR
Sweetheart.

l
sa
MOTHER AND MUDDY
WITH A CRYSTALINE DELIGHT.

n
WHORE

ru
KEEPING TIME, TIME, TIME.
IN A SORT OF RUNIC RHYME

io
TO THE TINTINABULATION
THAT SO MUSIC'LY SWELLS
Pe

ct
MOTHER
My boy. My own darling boy.

WOMEN
FROM THE BELLS

du
W

BELLS
BELLS, BELLS, BELLS, BELLS, BELLS
FROM THE JINGLING AND THE TINKLING OF THE BELLS
o
TR

2. "Conqueror Worm"
pr
WHORE
LO! 'TIS A GALA NIGHT
WITHIN THE LONESOME LATTER YEARS!

MUDDY
r

AN ANGEL THRONG, BEWINGED, BEDIGHT

IN VEILS, AND DROWNED IN TEARS,
fo

VIRGINIA
SIT IN A THEATRE, TO SEE
A PLAY OF HOPES AND FEARS
ot

MOTHER
WHILE THE ORCHESTRA BREATHES FITFULLY
THE MUSIC OF THE SPHERES…
N

(EDGAR stands, surrounded by the women, as they set the

maelstrom in motion. As ELMIRA sings, the other women sing
"Ah")
 3

ELMIRA
THAT MOTLEY DRAMA – OH, BE SURE
IT SHALL NOT BE FORGOT!
WITH ITS PHANTOM CHASED FOR EVERMORE,
BY A CROWD THAT SEIZE IT NOT,
THROUGH A CIRCLE THAT EVER RETURNETH IN
TO THE SELF SAME SPOT,
AND MUCH OF MADNESS, AND MORE OF SIN,
AND HORROR THE SOUL OF THE PLOT.

l
(EDGAR is at the centre of this whirlwind, trying to write but

sa
unable to escape the WOMEN)

WHORE

n
LO! 'TIS A GALA NIGHT

ru
WITHIN THE LONESOME LATTER YEARS!

io
WHORE MUDDY
AN ANGEL THRONG, BEWINGED, LO! 'TIS A GALA NIGHT
Pe
BEDIGHT IN VEILS, AND DROWNED WITHIN THE LONESOME

ct
IN TEARS! LATTER YEARS!

WHORE AND MOTHER MUDDY

LO! 'TIS A GALA NIGHT AN ANGEL THRONG, BEWINGED,
WITHIN THE LONESOME

du
BEDIGHT IN VEILS, AND
W

LATTER YEARS! DROWNED IN TEARS!

WHORE AND MOTHER MUDDY, VIRGINIA, AND ELMIRA

o
AN ANGEL THRONG, BEWINGED, LO! 'TIS A GALA NIGHT
TR

BEDIGHT IN VEILS, AND DROWNED WITHIN THE LONESOME

IN TEARS!
pr
LATTER YEARS!

WOMEN
SIT IN A THEATRE,
SIT IN A THEATRE TO SEE
A PLAY OF HOPES AND FEARS …
r
fo

EDGAR
NOT LONG AGO, THE WRITER OF THESE LINES,
IN THE MAD PRIDE OF INTELLECTUALITY;

(As EDGAR sings, the women sing "Ooh")

ot

EDGAR (CONT'D)
MAINTAINED THE "POWER OF WORDS" DENIED THAT EVER
A THOUGHT AROSE WITHIN THE HUMAN BRAIN
N

BEYOND THE UTTERANCE OF THE HUMAN TONGUE:

 4

MUDDY AND WHORE VIRGINIA

OF THE HUMAN HEAR THE SLEDGES OF THE BELLS

MUDDY, WHORE, AND MOTHER

OF THE HUMAN

EDGAR
TONGUE

MUDDY AND WHORE VIRGINIA

OF THE HUMAN HEAR THE SLEDGES OF THE BELLS

l
sa
MUDDY, WHORE, MOTHER, AND EDGAR
OF THE HUMAN

n
WOMEN
SIT IN A THEATRE,
ru
SIT IN A THEATRE TO SEE

io
A PLAY OF HOPES
Pe
EDGAR

ct
AND FEARS

VIRGINIA
PLAY OF HOPES

du
W

VIRGINIA AND POE

AND FEARS

MUDDY
o
TR

DROWNED IN TEARS
pr
EDGAR ELMIRA
FEARS 'LO, TIS A GALA MOTHER
NIGHT PLAYS OF HOPES

AND FEARS WITHIN THESE AND FEARS

r

LONESOME
fo

ELMIRA WHORE
LATTER YEARS… DROWNED IN…

(At the end of the song the WOMEN back away from EDGAR
ot

leaving him alone, curled up on the ground. The WHORE sees

him and moves down towards him)

2A. "Annabel Lee" (Underscore 1)

N
 5

WHORE
For the heart whose woes are legion, 'Tis a peaceful soothing region –

(EDGAR stirs)

WHORE (CONT'D)
For the spirit that walks in shadow, 'Tis – oh, 'tis an Eldorado.
(Kneels beside him, cradles his head)

EDGAR
Is that where I am…?

l
sa
WHORE
The Mountains of the Moon…

n
EDGAR
Eldorado...
ru

io
(WHORE smiles at him)
Pe
WHORE

ct
Perhaps.

EDGAR
Do I… live?

du
W

WHORE
Out of time. Out of space…

EDGAR
o
TR

Do I dream?
pr
WHORE
You have been happy in a dream.

EDGAR
I have.
r

(Kisses her)
And I am happy now.
fo

(VIRGINIA appears – a distant memory. She sings:)

VIRGINIA
IT WAS MANY AND MANY A YEAR AGO
ot

IN A KINGDOM BY THE SEA…

(WHORE helps EDGAR to his feet)

N
 6

WHORE
(Overlapping with VIRGINIA)
By each spot the most unholy,
In each nook most melancholy ….

(EDGAR kisses the WHORE with rising passion)

VIRGINIA
THAT A MAIDEN THERE LIVED WHOM YOU MAY KNOW
BY THE NAME OF ANNABEL LEE

l
WHORE

sa
There the traveller meets aghast, Sheeted memories of the past…
(WHORE turns him to face VIRGINIA.

n
EDGAR stares)

ruVIRGINIA

io
AND THIS MAIDEN SHE LIVED WITH NO OTHER THOUGHT
THAN TO LOVE AND BE LOVED
Pe

ct
EDGAR
By me.

VIRGINIA
You're being wicked, Eddie…

du
W

(WHORE disappears into the trees.

EDGAR is staring at VIRGINIA)

o
TR

EDGAR
pr
I cannot be pure without you.

(MOTHER laughs. VIRGINIA should be an ethereal presence –

we should not be sure if she is there, or in EDGAR'S mind)
r

VIRGINIA
You're being wicked, Eddie…
fo

EDGAR
I cannot be pure without you.

VIRGINIA
ot

(Laughs)
Do not pretend you were pure when I was here. I knew you were not.

EDGAR
N

But I did try… Then.

 7

VIRGINIA
Just not very hard.

EDGAR
I would give my own life to have you back.

VIRGINIA
But you'd be dead. What would be the point of that?
(Begins to move back into the shadows)

EDGAR

l
To hold you. To brush your hair, play our games.

sa
VIRGINIA
Write me a story, Eddie….

n
No!
ru EDGAR

io
VIRGINIA
Pe
About blood, and death, and beautiful maidens buried alive screaming to be released …

ct
VIRGINIA
Make me shiver, Eddie. Thrill me…

EDGAR

du
W

Virginia, stop!

(And she is gone. We hear the echo of her singing)

o
TR

VIRGINIA
AND THIS MAIDEN SHE LIVED WITH NO OTHER THOUGHT
pr
THAN TO LOVE…

ELMIRA
You said you'd write.
r

VIRGINIA
AND BE LOVED…
fo

(EDGAR stares, then gathers his thoughts)

3. "Eldorado"
ot

EDGAR
I spent a lifetime writing.

ELMIRA
N

Letters. You said you'd write to me.

 8

EDGAR
I did.

ELMIRA
I waited…

EDGAR
You never replied…

ELMIRA
Then I grew tired and married a man who kept his promises.

l
sa
EDGAR
I hope you're happy.

n
ELMIRA
He died.
ru

io
(MOTHER appears in the scene)
Pe
MOTHER

ct
My boy. My own darling boy…

EDGAR
Everybody dies.

du
W

MOTHER
How could I, when you cling to me so. You have kept me alive, Edgar.

(EDGAR turns to MOTHER and stares.

o
TR

ELMIRA leaves)
pr

EDGAR
I miss you.

MOTHER
r

You miss your idea of me. You never really knew me…
fo

EDGAR
I knew you. I know you.

MOTHER
You know your fantasy. That is not reality.
ot

EDGAR
Reality does not exist…
N

MOTHER
Interesting…
 9

EDGAR
Not in this life. The real world exists… Out of this time. This space.

MOTHER
Is that what you seek in your poems? Unreality?

EDGAR
I seek… peace. From this fever in my brain.

MOTHER
(Laughs)

l
So dramatic. You get that from me.

sa
EDGAR
You gave me a heavy heart. An empty soul.

n
ru
Oh, Edgar. You do so embrace melodrama.
MOTHER

io
EDGAR
Pe
Perhaps you did bequeath me something then.

ct
MOTHER
Your greatest creation is yourself. I like that.
(Lightly kisses the top of EDGAR'S head and moves away)
You really should have been an actor. You have my talent ….

du
W

EDGAR
Stay! Mother…
o
TR

MOTHER
Find me…
pr

(From another part of the stage the WHORE begins to sing. She
sings to EDGAR and as she does, MOTHER disappears.
EDGAR is drawn to the WHORE, entranced by her song)
r

WHORE
GAILY BEDIGHT,
fo

A GALLANT KNIGHT,
IN SUNSHINE AND IN SHADOW,
HAD JOURNEYED LONG,
SINGING A SONG,
IN SEARCH OF EL DORADO.
ot

BUT HE GREW OLD

THIS KNIGHT SO BOLD
AND O'ER HIS HEART A SHADOW
N

FELL AS HE FOUND
MORE
 10

WHORE (CONT'D)
NO SPOT OF GROUND
THAT LOOKED LIKE ELDORADO
(Speaks:)
What do you seek? With your pen and your fevered scribblings? What is there for you over the
mountains of the moon?

(EDGAR laughs)

EDGAR
You. Or another like you.

l
sa
(The WHORE smiles and takes his hand, places it on her breast)

WHORE

n
Ride boldly ride…

ru EDGAR

io
I seek pleasure…
Pe
WHORE

ct
Oh, I can give you that.

EDGAR
I seek… someone.

du
W

WHORE
(Kisses him)
I'll be whoever you want.
o
TR

EDGAR
Women have a habit of leaving me. Will you stay?
pr

WHORE
I'll stay as long as you're paying.

EDGAR
r

You would not stay because… you like me? Or because you think I may need someone?
fo

WHORE
I'll stay if you're paying.

EDGAR
Or because I am melancholic. In need of comfort. I am… Alone in a dark street …Which has no
ot

lamp to light the way out.

N
 11

WHORE
I'll show you the light.
(Sings)
"OVER THE MOUNTAINS
OF THE MOON,
DOWN THE VALLEY OF THE SHADOW,
RIDE, BOLDLY RIDE,"
THE SHADE REPLIED,
"IF YOU SEEK FOR ELDORADO!"
(Speaks)
Are you sick?

l
sa
EDGAR
I have a fever in my brain. I hear voices, see lights…

n
WHORE

ru
That's a fever from too much whisky.

io
(WHORE moves away but EDGAR grabs her wrist viciously)
Pe
EDGAR

ct
You mock me? You dare?

(The WHORE stops, sensing a potentially dangerous situation.

She kisses him slowly)

du
W

WHORE
I tease, 'tis all …

(EDGAR relaxes, enjoying her caress)

o
TR

WHORE
pr
You seek pleasure…

EDGAR
I demand it.
r

WHORE
It comes at a price.
fo

(EDGAR opens his wallet and throws coins to the ground.

The WHORE picks it up, smiling)

ot

WHORE (CONT'D)
Whom would you like me to be?

EDGAR
N

All of them.
MORE
 12

(EDGAR puts his hand to her cheek – not violently, but there
should be something menacing about the gesture)

EDGAR (CONT'D)
Now… ride, boldly ride.

(The WHORE kisses him, then sings:)

WHORE
AND, AS HIS STRENGTH
FAILED HIM AT LENGTH

l
HE MET A PILGRIM SHADOW

sa
"SHADOW" SAID HE,
"WHERE CAN IT BE
THIS LAND OF ELDORADO?"

n
ru
(The WHORE is, by now, straddling EDGAR, riding him. In the
shadows we see MOTHER watching.

io
EDGAR sees her and cries out, reaching to her)
Pe

ct
WHORE (CONT'D)
"OVER THE MOUNTAINS
OF THE MOON,

MOTHER

du WHORE
W

"OVER THE MOUNTAINS, DOWN THE VALLEY

OF THE MOON, OF SHADOW
DOWN THE VALLEY RIDE, BOLDLY RIDE,"
o
OF SHADOW THE SHADE REPLIED.
TR

RIDE, BOLDLY RIDE," "IF YOU SEEK FOR EL –

THE SHADE REPLIED. IF YOU SEEK FOR EL –
pr

MOTHER AND WHORE

IF YOU SEEK FOR ELDORADO!"

(As the WHORE brushes herself off and leaves, MOTHER sings
r

softly – unaccompanied, watching EDGAR)

fo

EDGAR
I do. I do seek it.

MOTHER
ot

You will not find it in her.

EDGAR
Will I find it in you?
N

MOTHER
I am dead, Edgar. And you can barely remember my face.
 13

EDGAR
That is not true!

MOTHER
Nor my voice. My scent. The sound of my petticoats trailing on the floor.

EDGAR
I look for you... In everything. Everyone.

MOTHER

l
But you will not find me. Because you cannot remember what it is you are looking for.

sa
EDGAR
I was a child…

n
ru MOTHER
And you cling to your youth, don't you Edgar? You look at it through the wrong end of a

io
telescope; — you keep it distant so the details cannot correct you.
Pe
(A light on another part of the stage picks out the young

ct
ELMIRA – aged about thirteen — on her front porch. She slowly
unfolds a sheet of paper)

ELMIRA
Edgar!

du
W

MOTHER
And you are expert in blurring details.
o
TR

ELMIRA
You are so clever. To be able to write poems… I could never do that.
pr

(EDGAR turns and sees ELMIRA)

EDGAR
They are just words.
r

MOTHER
fo

Instead of savouring what you have, you dwell on what could have been.

EDGAR
Mother, please!
ot

ELMIRA
Beautiful words. Haunting.

EDGAR
N

Elmira…
 14

MOTHER
It will be your undoing, Edgar…

(ELMIRA reads the title on the page)

ELMIRA
Alone?

MOTHER
As he likes it.

l
(EDGAR is moving towards ELMIRA, away from MOTHER

sa
who retreats into the darkness. He assumes the character of a
much younger man – a boy of twelve. ELMIRA reads:)

n
ELMIRA

ru
From childhood's hour I have not been
As others were – I have not seen

io
As others saw – I could not bring
My passions from a common spring.
Pe
From the same source I have not taken

ct
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I lov'd, I lov'd alone.
(Stops reading, looks at him; speaks)
Edgar, that is so sad.

du
W

EDGAR
It is not quite complete.
(Recites)
o
TR

Then – in my childhood – in the dawn

Of a most stormy life – was drawn
pr
From ev'ry depth of good and ill
The mystery which binds me still.

(ELMIRA is gazing at him in wonder.

r

EDGAR becomes self conscious)

fo

EDGAR (CONT'D)
There will be more. I just… Have not found the words.

ELMIRA
Do you really feel so alone?
ot

EDGAR
I do.
N

ELMIRA
Why?
 15

EDGAR
My mother died. I have no father.

ELMIRA
You have your guardian. He must love you.

(EDGAR remains silent)

ELMIRA (CONT'D)
And now…You have me. Living right next door. We can be… special friends. Can't we?

l
EDGAR

sa
I have not known many friends.

ELMIRA

n
Well, now you will. And you can write for me – will you do that?

ru EDGAR

io
If you will permit it.
Pe
ELMIRA

ct
Permit it? I would be… honored. Mr Poe.

(EDGAR smiles)

ELMIRA (CONT'D)

du
W

And when your poems are published and you are known right across America, then I can say…
Alone? Yes, I know that work. Quite well, actually. It was written for me.

EDGAR
o
TR

What would you have me write for you, Elmira? Ask – make any request – and I will conjure
words into a poem for you.
pr

ELMIRA
Write about your mother.

(A beat)
r

EDGAR
fo

Why?

ELMIRA
Then I can know her – as you know mine. If we are to be special friends, I need to know
everything about you.
ot

EDGAR
My mother … was born of an English noble family – as was my father. If they had lived I expect
we would have returned to England.
N

(In the distance somewhere we hear MOTHER laughing)

 16

ELMIRA
Where you would have been Lord Edgar Poe.

EDGAR
In time… Yes.

ELMIRA
How exciting. I have never met a Lord.

EDGAR
Elmira, you like my poems, don't you?

l
sa
ELMIRA
Like them? They speak to me. They say things that… I thought existed only in my head.

n
EDGAR
You understand, then?
ru

io
ELMIRA
You write of… something beyond. A yearning.
Pe

ct
EDGAR
Yes. Yes! That is how I would describe it. I believe, that there is… More than this. That this is
not reality. This is… less than that. We seek – though we do not know what for. We search for…
a different version of this life. This truth.

du
(EDGAR stops, slightly embarrassed at this outburst.
W

ELMIRA smiles at him)

ELMIRA
o
TR

It makes sense when you say it.

pr
EDGAR
Does it?

ELMIRA
It does to me.
r

EDGAR
fo

Sometimes, my brain…Feels out of control. I cannot tell it what to do. You must excuse me…

ELMIRA
There is no need. I understand.
ot

(MOTHER moves back into the scene.

ELMIRA hands back the sheet of paper to EDGAR)

N

ELMIRA (CONT'D)
You are not alone, Edgar Poe.
 17

(EDGAR takes the paper from ELMIRA)

EDGAR
I will finish this tonight. No matter how late – I will slip over here and leave it on this porch for
you. You will read it through the morning dew.

(ELMIRA smiles at him and retreats into the dark.

EDGAR turns and comes face to face with MOTHER)

MOTHER

l
English nobility? Your imagination, Edgar.

sa
EDGAR
She would not be impressed by a bit part actress.

n
(Laughs)
ru MOTHER

io
You cannot hate me. You try, but you cannot.
Pe
EDGAR

ct
I hate you for leaving.

MOTHER
If I had stayed, what would you write about?

du
(A pause. MOTHER moves up to EDGAR and takes the poem
W

from his hands)

Did you think you would find me in her?

EDGAR
o
TR

I was young.
pr
MOTHER
Again, refuge in youth.

EDGAR
She was my first love…
r

MOTHER
fo

The past is not as interesting as you would rewrite it, Edgar. She left.

EDGAR
They all leave.
ot

MOTHER
You are not easy to be around.

(EDGAR laughs bitterly)

N

EDGAR
You died because I was difficult to live with?
 18

MOTHER
You have an uncanny ability to relate everything back to you.

EDGAR
I am talking of you, Mother.

MOTHER
Edgar, you never talk or think of anything without placing yourself at it's centre. People grow
weary of your demands for attention. Your obsession with self.

l
EDGAR

sa
I am a poet – we have a tendency to examine our souls.

MOTHER

n
You indulge your weaknesses.

(A pause)
ru

io
EDGAR
Pe
(Quietly)

ct
Yes. I will grant you that.

MOTHER
And indulgence is your greatest failing. If my mother had not died, if my step father had loved
me, if I had been rich…

du
W

EDGAR
Enough!
o
TR

MOTHER
You whine. You complain. You borrow money and gamble it away in a whorehouse. You snipe
pr
at other writers…

EDGAR
Are you here purely to condemn me?
r

MOTHER
No, Edgar. I am here to love you.
fo

(EDGAR laughs)

EDGAR
A touch late for that, is it not?
ot

MOTHER
I was never so far from your thoughts that I could stop loving you.
N

EDGAR
I looked for you.
 19

MOTHER
In the eyes of whores.

4. "Evening Star"

EDGAR
I heard you.

MOTHER
Yes, you did.

l
EDGAR

sa
When I could not sleep for the torment of voices, apparitions… there in the dark… I heard you.

MOTHER

n
You called me.
(Sings:)
ru
'TWAS NOONTIDE OF SUMMER,

io
AND MIDTIME OF NIGHT,
AND STARS, IN THEIR ORBITS,
Pe
SHONE PALE, THROUGH THE LIGHT.

ct
OF THE BRIGHTER, COLD MOON.
'MID PLANETS HER SLAVES,
HERSELF IN THE HEAVENS,

HER BEAM ON THE WAVES.

du
W

I GAZED AWHILE
ON HER COLD SMILE
TOO COLD – TOO COLD FOR ME
THERE PASSED, AS A SHROUD,
o
TR

A FLEECY CLOUD,
AND I TURNED AWAY TO THEE,
pr
PROUD EVENING STAR,
IN THY GLORY AFAR
AND DEARER THY BEAM SHALL BE;
FOR JOY TO MY HEART
IS THE PROUD PART
r

THOU BEAREST IN HEAVEN AT NIGHT,

AND MORE I ADMIRE
fo

THY DISTANT FIRE,

THAN THAT COLDER, LOWLY LIGHT.

(EDGAR is lying still in her arms, almost asleep. She kisses his
head tenderly)
ot

5. "To One In Paradise"

EDGAR
N

I so longed for you. I searched so hard…

 20

MOTHER
You longed for your image of me.

(A light finds VIRGINIA, sitting at a table with a draughts

board)

MOTHER
You would have done better to let me go.
(Sees VIRGINIA)
To let us all go.

l
EDGAR

sa
You did not love me enough.

MOTHER

n
Who could, Edgar?

ru
(EDGAR moves away from MOTHER, drawn to VIRGINIA)

io
EDGAR
Pe
She could. She did.

ct
MOTHER
A child of thirteen does not love – she plays at it.

EDGAR

du
W

She loved. And our love would have grown. If only she…

MOTHER
If only… If. Your favorite words. You cannot rewrite your future, Edgar…
o
TR

(EDGAR begins to sing to VIRGINIA:)

pr

EDGAR
THOU WAST ALL TO ME, LOVE,
FOR WHICH MY SOUL DID PINE
r

MOTHER
Nor your past. And reliving it only brings heartache…
fo

(EDGAR is focused on VIRGINIA, no longer hearing

MOTHER)

EDGAR
ot

A GREEN ISLE IN THE SEA, LOVE,

A FOUNTAIN AND A SHRINE,
ALL WREATHED WITH FAIRY FRUITS AND FLOWERS,
AND ALL THE FLOWERS WERE MINE.
N
 21

EDGAR WOMEN
THOU WAST ALL TO
ME, LOVE, THOU WAS ALL TO
FOR WHICH MY SOUL ME, LOVE
DID PINE FOR WHICH MY SOUL
A GREEN ISLE IN THE DID PINE
SEA, LOVE IN A GREEN ISLE

ALL
A FOUNTAIN AND A SHRINE,

l
ALL WREATHED WITH FAIRY FRUITS AND FLOWERS,

sa
AND ALL THE FLOWERS WERE MINE.

EDGAR
WERE MINE

n
ru
VIRGINIA

io
AND ALL OF MY DAYS ARE TRANCES

EDGAR
Pe
AND ALL MY NIGHTLY DREAMS

ct
VIRGINIA AND EDGAR
AND WHERE THY DARK EYE GLANCES

du
AND WHERE THY FOOTSTEP GLEAMS
IN WHAT ETHEREAL DANCES,
W

BY WHAT ETERNAL STREAMS.

(EDGAR is back at his desk. He writes whilst VIRGINIA moves

o
the chequers around the board)
TR

VIRGINIA
pr

It is no fun playing chequers by yourself.

(Pause)
Eddie…

EDGAR
r

I'm working.
fo

VIRGINIA
Always working.

(He smiles at her)

ot

EDGAR
Because you inspire me, Virginia.
N

VIRGINIA
Am I your muse?
 22

EDGAR
In a sense, yes.

(VIRGINIA moves to him)

VIRGINIA
And is it my youth or my beauty that inspires you more?

(EDGAR laughs)

VIRGINIA (CONT'D)

l
What? Neither of those?

sa
EDGAR
Your passion for my writing. That thrills me and stirs me to create more. To please you.

n
(Shyly)
ru VIRGINIA

io
Am I… beautiful, Eddie?
Pe
EDGAR

ct
Oh God, yes, my sweet Sissy.

VIRGINIA
Am I too young?

du
W

EDGAR
No.

VIRGINIA
o
TR

Will people talk?

pr
EDGAR
Let them.

(EDGAR puts his hand to VIRGINIA'S cheek and draws her in

to kiss him. At the last moment, she turns her head so he kisses
r

her cheek. She gently removes his hand from her cheek)
fo

EDGAR VIRGINIA
THOU WAST THAT ALL TO
ME, LOVE, THOU WAS THAT ALL TO
FOR WHICH MY SOUL ME, LOVE
DID PINE FOR WHICH MY SOUL
ot

A GREEN ISLE IN THE DID PINE

SEA, LOVE IN A GREEN ISLE
N

EDGAR AND VIRGINIA

A FOUNTAIN AND A SHRINE
ALL WREATHED WITH FAIRY FRUITS AND FLOWERS
 23

EDGAR
AND ALL OF THE FLOWERS WERE MINE.

(During the song MUDDY has entered and is sitting at the table
with the checker board)

MUDDY
It is your move, Virginia.

VIRGINIA

l
(To EDGAR)

sa
I fear you will expend all your passion on your writing and there will be none left for me.

EDGAR

n
I will keep back the tiniest morsel…

ru VIRGINIA

io
A morsel…
Pe
EDGAR

ct
And secret it away, just for you. When you tell me you desire it, you may have it.

(MUDDY is doing her best to ignore this conversation)

VIRGINIA

du
W

On our wedding night?

MUDDY
Virginia.
o
TR

EDGAR
pr
If you are ready. If not, I can wait.

VIRGINIA
Everyone whispers those words - "wedding night". And if they're girls, they giggle into their
handkerchiefs. Men catch each others eye and they smile slyly, with recognition. I've seen it.
r

What is so special about the wedding night?

fo

MUDDY
(Briskly)
You'll find out soon enough. Virginia, are you playing?

VIRGINIA
ot

Eddie

(EDGAR smiles at her and takes her hand – not quite sure what
to say)
N

VIRGINIA (CONT'D)
Sleeping in the same bed as the person you love most… That is not so scandalous. Is it?
 24

(For a fleeting second, EDGAR catches MUDDY'S eyes on him)

EDGAR
No.

VIRGINIA
Then why is it spoken of in hushed tones – as if it should not be discussed.

EDGAR
Perhaps… people fear such intimacy.

l
sa
VIRGINIA
I do not fear it. I believe we'll share our dreams. We'll have the same vision but two different
parts of it. Then when we wake, we'll fit them together like a puzzle and you can twist it

n
altogether into a story. Just for me.

ru EDGAR

io
I like that.
Pe
(MUDDY has moved up to EDGAR's writing desk and she

ct
stands there now, breaking the bond between EDGAR and
VIRGINIA)

MUDDY

du
If you do not wish to play chequers, Virginia, I'll put them away and we can play cards instead.
W

That is more to your liking, Edgar, is it not?

EDGAR
Muddy, please…
o
TR

MUDDY
pr
Not in front of the child?

EDGAR
I… must go out.
r

VIRGINIA
Again?
fo

EDGAR
Business.

VIRGINIA
ot

You writers. You hold your meetings when the rest of the world has gone to bed.

(EDGAR is uncomfortable under MUDDY'S scrutiny)

N

EDGAR
(To VIRGINIA)
I'm sorry.
 25

VIRGINIA
Promise me we will play tomorrow.

EDGAR
I do.

VIRGINIA
And you will let me win.

EDGAR

l
No, I do not promise that.

sa
(Hugs VIRGINIA)

VIRGINIA

n
You will leave me with a story.

ru MUDDY

io
You are too old for bedtime stories.
Pe
VIRGINIA

ct
Not the ones Eddie tells.

MUDDY
You'll have nightmares.

du
W

VIRGINIA
I like nightmares. They thrill me. They thrill you, too…

EDGAR
o
TR

Yes.
pr
VIRGINIA
That's why we'll dream the same dreams. We'll be terrified, and trembling, and excited…
together.

(EDGAR looks at her, then suddenly kisses her on the mouth

r

passionately. VIRGINIA instinctively pulls back but EDGAR

holds her head firmly until she gives in to the kiss. MUDDY
fo

turns away. When EDGAR finally breaks the kiss, VIRGINIA is

left slightly breathless, eyes shining)

EDGAR
There is a man who seeks revenge on another man.
ot

VIRGINIA
Why?
N
 26

EDGAR
Because the second man has stolen the first man's lover. So he tracks him down, befriends him
and plies him with drink. He promises him the finest wine in the country, but to taste it, they must
return to the first man's house.

VIRGINIA
He does not suspect?

EDGAR
On the contrary – the second man is flattered by this gracious invitation and accepts, without
hesitation.

l
sa
VIRGINIA
What happens when they get there?

n
EDGAR

ru
He follows his host down to the dark, damp, candlelit cellar where they drink their fill. So much
so, that the second man passes out, cold. Which is what the first had intended.

io
(There is silence. VIRGINIA cannot bear the suspense)
Pe

ct
VIRGINIA
What does he do?

(EDGAR smiles, teasing)

du
W

EDGAR
What do you think?

VIRGINIA
o
TR

Stabs him.
pr
(EDGAR shakes his head)

VIRGINIA (CONT'D)
Decapitates him.
r

EDGAR
What do you think, Muddy?
fo

MUDDY
I'm sure I have no idea. My mind does not think as yours.

VIRGINIA
ot

What does he do, Eddie?!

EDGAR
An hour later, a sound… wakes the victim. It is absolutely black, total darkness. He cannot see…
N

but he can… hear…

 27

VIRGINIA
Hear what?

EDGAR
The sound of a stonemason's tool, smoothing cement between stones.

MUDDY
For heaven's sake …

(EDGAR and VIRGINIA are almost unaware of MUDDY'S

presence by now)

l
sa
EDGAR
The man gets to his feet. He stumbles, and feels for the door… but there is only a wall. Then a
second and a third wall beside. Then a fourth.

n
Where is the door?
ru VIRGINIA

io
EDGAR
Pe
No door. No window. Four walls.

ct
(VIRGINIA shivers)

VIRGINIA
Oh, Eddie…

du
W

(EDGAR looks at her curiously. She is breathless with

excitement)
o
TR

VIRGINIA
More. Tell me more.
pr

(EDGAR takes her hand)

EDGAR
And still he can hear the stonemason, smoothing cement. He calls out. He screams!
r

(VIRGINIA is staring at EDGAR, completely transfixed)

fo

EDGAR
And he hears – at least, he thinks he does – a low chuckle, as the last brick slides into place.

VIRGINIA
ot

Horrible.

MUDDY
Please go to bed, Virginia.
N
 28

VIRGINIA
That is not the end.
(To EDGAR)
Is it?

(EDGAR realises the story is arousing her. He kisses her mouth,

gently. She puts her hand to his head, pulls his mouth back to
hers and kisses him passionately)

EDGAR
The house was kept empty for three days, to ensure no one would hear the agonised screams of

l
the desperate man. Feel the vibrations as he clawed and pounded the four walls.

sa
VIRGINIA
And no light, no air…

n
ru EDGAR
In due course, the avenger brought his beautiful young bride to the house she would now call

io
home …
Pe
(VIRGINIA moans softly as her hand caresses her breast)

ct
EDGAR
And he took her to a new room, directly above the wine cellar. Built specially for the occasion
and furnished with only a bed… it was in this room they spent their wedding night, and dreamed

du
the same dreams. Whilst beneath them, the rats gnawed on rotting flesh.
W

(VIRGINIA stares in EDGAR'S eyes. She shivers then sighs)

VIRGINIA
o
TR

Oh, Eddie…
pr
(EDGAR cups her face in his hands)

EDGAR
Soon.
r

(VIRGINIA runs her hands over his body)

fo

VIRGINIA
One more.

EDGAR
No. Darkness is too addictive for one so young. And you must remain my dawn.
ot

(EDGAR steps away from her)

VIRGINIA
N

Until we are married. Then I'll be your sunset too.

(VIRGINIA is flushed, slightly flustered)

 29

MUDDY
Virginia… Enough.

(VIRGINIA crosses to MUDDY, embraces her)

VIRGINIA
Did you like the story, Mother?

MUDDY
No, I did not.

l
sa
VIRGINIA
If it gives you nightmares, waken me and I will sing to you.

n
(MUDDY smiles and strokes VIRGINIA'S hair)

ru MUDDY

io
Is it not a Mother's task to soothe away the horrors of her child's night?
Pe
VIRGINIA

ct
But I have no night time horrors.

MUDDY
(Looking at EDGAR)
Not yet.

du
W

VIRGINIA
Goodnight, mother.
o
TR

MUDDY
Goodnight, my darling child.
pr

VIRGINIA
Edgar says he cannot remember a time when he had a mother. I've told him he can share mine.
You will be mother to us both.
r

(MUDDY holds VIRGINIA but stays silent. VIRGINIA EXITS.

EDGAR smiles brightly at MUDDY)
fo

EDGAR
Mother, —

(MUDDY turns away. EDGAR snaps)

ot

EDGAR
— you agreed to this.
N

MUDDY
If I must, I said. I did not bless it.
 30

EDGAR
She is my life.

MUDDY
She is a child.

EDGAR
Not so.

MUDDY
She is also your first cousin.

l
sa
(EDGAR sighs, impatiently)

EDGAR

n
We have had this conversation…

ru MUDDY

io
She is one more thing for you to be addicted to. You are not able to stand back and merely look,
are you Edgar? You have to possess everything.
Pe

ct
EDGAR
I love her. I cannot envisage my life with Virginia not in it.

MUDDY
And you are her… Evening star.

du
W

(From the trees, we hear MOTHER laughing)

MUDDY (CONT'D)
o
TR

I cannot change that.

pr
EDGAR
Then bless us, Muddy. Share our joy.

MUDDY
When you came to us, you frightened me. I did not know if you would pull her into her your
r

darkness, or allow her to pull you out.

fo

EDGAR
She has saved me, it is true.

MUDDY
No. You still have your demons. They are more distant than usual, for now, but they will return
ot

when you call on them. And when you set foot back into that tunnel, that street with no light, I
know it is your intention to take her with you. But she cannot survive the dark as you can. She is
too good. Leave her be, Edgar. Leave her be.
N

(MUDDY EXITS, leaving EDGAR alone. VIRGINIA appears

dressed in her wedding gown. EDGAR stares at her, transfixed.
 31

MUDDY, ELMIRA, MOTHER and the WHORE are all present

onstage, holding elements of VIRGINIA'S trousseau)

7 & 8 "Bridal Ballad"

VIRGINIA
THE RING IS ON MY HAND,
AND THE WREATH IS ON MY BROW;
SATINS AND JEWELS GRAND
ARE ALL AT MY COMMAND
AND I AM HAPPY NOW.

l
sa
AND THUS THE WORDS WERE SPOKEN,
AND THIS THE PLIGHTED VOW,
AND THOUGH MY FAITH BE BROKEN,

n
AND THOUGH MY HEART BE BROKEN,

ru MUDDY

io
Be gentle, Edgar.
Pe
EDGAR AND VIRGINIA

ct
BEHOLD THE GOLDEN TOKEN

EDGAR
THAT PROVES

du
W

VIRGINIA
THAT PROVES

EDGAR AND VIRGINIA

o
TR

ME HAPPY NOW!
pr
(ELMIRA, MOTHER, AND WHORE sing "Ooo")

WHORE MOTHER
AND I AM HAPPY
NOW AND I AM HAPPY
r

ELMIRA MOTHER AND WHORE

fo

AND I AM HAPPY NOW

NOW

WHORE
ot

HAPPY NOW

MOTHER
HAPPY NOW
N

ELMIRA
HAPPY NOW
 32

ELMIRA, MOTHER, AND WHORE

HAPPY NOW, HAPPY NOW…

(As ELMIRA, MOTHER, and WHORE have sung the above as

underscoring to the following scene)

VIRGINIA
Please do not be sad, mother. I am the happiest I have ever been.

MUDDY

l
Yes. I see that.

sa
VIRGINIA
You have heard me say so many times that I could not live without Edgar. Well, now I will not

n
have to. He is mine.

ru MUDDY

io
And you are his.
Pe
VIRGINIA

ct
And tonight I will sleep in his bed, with him right there beside me. What dreams do you think I
will have?

MUDDY
Bloody ones.

du
W

VIRGINIA
I may not sleep at all. I may lie awake and count his breaths. Or I may plead for a wedding night
story…
o
TR

MUDDY
pr
Then you most definitely will not sleep.

(EDGAR moves to VIRGINIA holding out his arms)

WOMEN
r

And I am happy now…

fo

EDGAR
My bride…

(VIRGINIA runs into his arms and he kisses her.

ot

EDGAR kisses VIRGINIA, gently at first but with growing

passion. MUDDY watches)

MUDDY
N

HAPPY NOW…
 33

(VIRGINIA breaks the kiss and looks up at EDGAR. She smiles

and runs her hand through his hair)

VIRGINIA
Tell me a story, husband. Scare me…

(EDGAR begins to tell a story to VIRGINIA – using it as a

means of seduction)

EDGAR
Looking upwards at the ceiling of my prison, I observed the painted figure of Time. He held – not

l
the scythe, as is commonly represented – but a huge pendulum, such as we see on antique clocks.

sa
As I watched, it appeared to be in motion – its sweep brief and, of course, slow…

(VIRGINIA'S head goes back as he kisses her neck. The

n
WHORE is watching)

ru WOMEN

io
(Note: In this 1st verse, WOMEN may sing, "Ooh")
GAILY BEDIGHT,
Pe
A GALLANT KNIGHT,

ct
IN SUNSHINE AND IN SHADOW,
HAD JOURNEYED LONG,
SINGING A SONG,
IN SEARCH OF ELDORADO.

du
W

(For a brief moment we hear EDGAR murmuring in

VIRGINIA'S ear as he removes her dress)

EDGAR
o
TR

The arc of the pendulum increased and I observed with horror that it was descending. A crescent
of glittering steel, keen as a razor… Designed to cross the region of my heart. Down, relentlessly
pr
down, three inches from my chest… I shrunk at each vibration…

(VIRGINIA sighs deeply. As the WHORE sings, we see

EDGAR make urgent love to VIRGINIA)
r

WHORE
"OVER THE MOUNTAINS
fo

OF THE MOON,
DOWN THE VALLEY OF THE SHADOW,
RIDE, BOLDLY RIDE,"
THE SHADE REPLIED,
"IF YOU SEEK FOR ELDORADO!"
ot

(MOTHER laughs as the song ends and we see ELMIRA reading

another poem. It is about three years on from when we last saw
her)
N
 34

ELMIRA
(Reciting)
Thou wouldst be loved? Then let not thy heart
From its present pathway part not!
Being everything which now thou art,
Be nothing which thou art not.
So with the world thy gentle ways,
Thy grace, thy more than beauty,
Shall be an endless theme of praise,
And love – a simple duty.
(To EDGAR)

l
It is exquisite, Edgar.

sa
EDGAR
I am… Pleased with it.

n
ru ELMIRA
Perhaps if I showed this to father as proof of your serious intention to make your name as a

io
writer, he may become more kindly disposed to you.
Pe
EDGAR

ct
Elmira, if I were elected President your father would continue to despise me, and say I was not fit
for his daughter.

ELMIRA
(Giggles)

du
W

He only thinks he hates you. All fathers think that of their daughters' first beau.

EDGAR
Is that what I am?
o
TR

ELMIRA
pr
Other girls at school write to boys they know from home. Sometimes they call them their
sweethearts.

EDGAR
Do you… call me that? When you speak about me?
r

(ELMIRA is blushing, suddenly shy)

fo

ELMIRA
I do. Sometimes.

(EDGAR smiles, suddenly the shy schoolboy)

ot

EDGAR
I like that.
N
 35

ELMIRA
I tell them how you write. I read them your poems. And I tell them…
(Stops, then takes his hand)
That you are all alone in the world – except for your guardian…

EDGAR
Who dislikes me only slightly less than your father…

ELMIRA
I tell them how… When we are older, I will see to it that you are never alone. For you will have
me.

l
sa
EDGAR
If your father approves.

n
ELMIRA
Even if he does not.
ru

io
EDGAR
It seems to me, my writing makes things happen. Look, I write of love and here you are.
Pe
(Raises her hand to his lips.)

ct
ELMIRA
He will see you.

EDGAR

du
W

I care not. You give me courage, Elmira.

ELMIRA
And your letters keep me alive. You paint such pictures with your words. You take me to magic,
o
TR

enchanted places. Waking dreams.

pr
EDGAR
What I write to you is what I see when I picture you. It is light and colour and ….shining with
possibilities.

ELMIRA
r

I know, Edgar. I understand you.

fo

EDGAR
And it does not frighten you?

ELMIRA
It makes me… Complete. You make me whole.
ot

MORE

9. "Fairyland"
N
 36

ELMIRA (CONT'D)
(Sings)
DIM VALES – AND SHADOWY FLOODS
AND CLOUDY –LOOKING WOODS,
WHOSE FORMS WE CAN'T DISCOVER
FOR THE TEARS THAT DRIP ALL OVER.
HUGE MOONS THAT WAX AND WANE
AGAIN – AGAIN – AGAIN –
EVERY MOMENT OF THE NIGHT
FOREVER CHANGING PLACES
AND THEY PUT OUT THE STAR-LIGHT

l
WITH THE BREATH FROM THEIR PALE FACES.

sa
EDGAR
ABOUT TWELVE BY THE MOON-DIAL

n
ONE MORE FILMY THAN THE REST

ru
(A KIND WHICH, UPON TRIAL,
THEY HAVE FOUND TO BE THE BEST)

io
ELMIRA
Pe
COMES DOWN – STILL DOWN – AND DOWN

ct
WITH ITS CENTRE ON THE CROWN

EDGAR
OF A MOUNTAIN'S EMINENCE
WHILE ITS WIDE CIRCUMFERENCE

du
W

IN EASY DRAPERY FALLS

ELMIRA
OVER HAMLETS, OVER HALLS,
o
TR

EDGAR AND ELMIRA

pr
WHEREVER THEY MAY BE
O'ER THE STRANGE WOOD – O'ER THE SEA
OVER SPIRITS ON THE WING
OVER EVERY DROWSY THING
AND BURIES THEM UP QUITE
r

IN A LABYRINTH OF LIGHT
AND THEN, HOW DEEP! OH DEEP!
fo

ELMIRA
IS THE PASSION OF THEIR SLEEP.

(There is the sound of a distant bell, a clock chiming.

ot

ELMIRA turns towards the sound, realising the time)

EDGAR
N

I will always wait for you there. No matter how long.

 37

ELMIRA
And I will find you, Edgar. I promise.

(EDGAR begins to leave)

ELMIRA (CONT'D)
Write to me!

EDGAR
Every day.

l
(ELMIRA has gone.

sa
MOTHER , who has been watching this, picks up the paper with
the poem on it)

n
ru MOTHER
"And love, a simple duty". You do not believe love is simple. You believe it is unattainable –

io
another fantasy.
Pe
(EDGAR moves to her and snatches the paper from her hand.

ct
MOTHER smiles.

EDGAR pours himself a drink)

du
W

MOTHER (CONT'D)
Tell me, I'm curious. What do you know of love?

EDGAR
o
TR

Very little. Thanks to you – who removed hers at such an early age.
pr
MOTHER
Love always disappears – does it not? It fades away – like youth. Beauty. You enjoy it for a time
– the idea of it. But you have not the strength to resist other… temptations. Even as a child you
were greedy.
r

(EDGAR looks at the glass in his hand and places it slowly on

the desk. He sits and picks up his pen)
fo

MOTHER
That is why love leaves you. Because it knows it will never be enough.

EDGAR
ot

If you please… I am trying to work.

MOTHER
Are you? Or are you trying to hide?
N

EDGAR
From what?
 38

MOTHER
(Laughs)
From yourself, Edgar. From that place in your mind that urges you to write such sinister tales of
dread. What sort of brain would produce this melancholia?

EDGAR
Those works are highly rated…

MOTHER
Not by the critics.

l
sa
(Silence. EDGAR glares and deliberately picks up the glass and
swallows the contents in one)

n
MOTHER (CONT'D)
You have to be drunk to write?
ru

io
EDGAR
I have to be drunk to be rid of you.
Pe

ct
MOTHER
It was you who summoned me. It is you who seeks me. Endlessly. In every glass, every card
table, every whore's eyes…

EDGAR

du
W

I am working!

(MOTHER crosses to EDGAR at his desk)

o
TR

MOTHER
You think you can escape life by scribbling fantasies?
pr

EDGAR
No. I think I can improve on it.

MOTHER
r

Are you God, now, Edgar? That you can shape lives, determine fate?
fo

EDGAR
That is not what I said.

MOTHER
You think you can change your future through storytelling?
ot

EDGAR
You are but a voice in my head…
N
 39

VIRGINIA
(Reading)
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.

MOTHER
You chose your future many moons ago…

l
sa
EDGAR
… a persistent voice – but no more than that.

n
MOTHER

ru
You have already written your ending. You cannot change it.

io
VIRGINIA
Is this about me, Eddie? Am I your Annabel Lee?
Pe

ct
EDGAR
I have asked you not to read my work until it is finished.

VIRGINIA
What happens to her?

du
W

EDGAR
Why do you ignore that?
o
TR

VIRGINIA
Does she fall in love? Does she sacrifice herself to love?
pr

EDGAR
How can I complete anything with these constant interruptions?

VIRGINIA
r

Don't be such a grouch, Eddie. You were never like this before.
fo

EDGAR
(Icily)
Before what?

VIRGINIA
ot

(Hesitates)
Then… Before we were married.

(Silence)
N

VIRGINIA (CONT'D)
I think… I do not make you as happy as you thought I would.
 40

EDGAR
(Sighs)
You make part of me happy.

VIRGINIA
But that is not enough. Is it?

(EDGAR does not respond)

VIRGINIA (CONT'D)

l
Muddy says… you are someone who will never fully be satisfied. That you cannot help but look

sa
elsewhere.

(EDGAR pours another drink)

n
Is that true, Eddie?
ru VIRGINIA (CONT'D)

io
(Pause)
Pe

ct
EDGAR
Yes.

(VIRGINIA laughs lightly)

du
W

VIRGINIA
How strange. I cannot imagine needing more than I have now. I cannot forsee myself loving
anyone the way I love you. Am I your greatest love, Eddie?
o
TR

EDGAR
Am I yours?
pr

VIRGINIA
Of course. After Mother.

(EDGAR almost smiles. He crosses to her and strokes her hair)

r

EDGAR
fo

Yes, Virginia – my darling Sissy – you are my greatest love. After Mother.
(Kisses VIRGINIA'S forehead lightly then moves away)
And now I have to work or the three of us will die starving in a gutter.

VIRGINIA
ot

Edgar?

(EDGAR sighs impatiently, waits)

N

VIRGINIA (CONT'D)
Why do you drink all the time?
 41

EDGAR
Because I like it.

VIRGINIA
When you are drunk you talk in ways…

EDGAR
I? Drunk?

VIRGINIA
Every night.

l
sa
EDGAR
You have never seen a man truly drunk – you are a child.

n
VIRGINIA

ru
You talk in ways which… frighten me.

io
EDGAR
I thought you liked being frightened.
Pe

ct
VIRGINIA
This is different, Eddie. You talk as a madman: – you rant, with such terrible rage…

EDGAR
Would you like a story, Virginia?

du
W

VIRGINIA
What?
o
TR

EDGAR
I have to go out…
pr

VIRGINIA
You are never here!

EDGAR
r

… would you like a story before I go?

fo

VIRGINIA
There are too many stories…

EDGAR
It will thrill you – you like being thrilled, I know that.
ot

VIRGINIA
You are losing reality, Eddie.
N

EDGAR
There is no such thing as reality!
 42

VIRGINIA
I'm real! And I'm here…

EDGAR
A story.

VIRGINIA
No.

(VIRGINIA moves to leave but EDGAR grabs her)

l
EDGAR

sa
It is the only thing I can do for you that no one else can. I can make you shiver with my words. I
can make your eyes open wide with delight. With shock.

n
VIRGINIA

Stop it!
(Moving away)
ru

io
EDGAR
Pe
My stories make you cry out…"more". You find them impossible to resist.

ct
VIRGINIA
There is no light anymore. You live in darkness…

EDGAR

du
W

So when I say "would you like a story, Virginia?" Even when you suspect you should not… you
always answer – with rising pleasure – "yes". Don't you, my sweet Sissy?

(VIRGINIA stares at him)

o
TR

VIRGINIA
pr
Yes.

EDGAR
(Smiles)
Of course you do.
r

(EDGAR leads VIRGINIA to the chair. She sits. He hovers over

fo

her telling his tale)

EDGAR
The country was in the grip of the Red Death. No plague had ever been so fatal, or so hideous:–
blood seeped out of every pore whilst the unfortunate victim screamed and writhed in agony. But
ot

the Prince of the land – Prospero – was untouched. He summoned one thousand of his trusted
friends and fled with them to a hidden castle where they welded shut the iron gates.

(VIRGINIA watches EDGAR warily.

N
 43

The other WOMEN appear in some representation of ballgowns,

masks. They waltz, but the music seems somehow distorted.
Perhaps we hear them humming, or whispering)

EDGAR (CONT'D)
After six months – while the pestilence continued to ravage the land outwith the fortress walls -
Prospero decided to entertain his guests with a magnificent masked ball.

(WOMEN laugh. We hear a clock ticking somewhere. As the

story continues, it gets louder)

l
EDGAR (CONT'D)

sa
There were seven palace apartments, each a different colour, and in the last – the room with no
light, with black walls and scarlet windows – there stood a gigantic clock of ebony. It's pendulum
swung with foreboding and when the clock struck the hour of twelve, there appeared a masked

n
figure.

ru
(We hear chimes. The WOMEN have stopped dancing and are

io
all watching VIRGINIA)
Pe
VIRGINIA

ct
A ghost?

EDGAR
His costume was…The Red Death.

du
W

VIRGINIA
Eddie, stop…

EDGAR
o
TR

The Prince chased the figure through the apartments – the blue, purple, green – until, in the
chamber with the scarlet windows and no light, the figure turned to face him.
pr

(VIRGINIA begins to cough into her handkerchief)

EDGAR (CONT'D)
Prospero raised his dagger… but screamed out as it flew from his hand. Then with a cry unlike
r

any other, he fell dead to the floor. And one by one, the revellers in the fortified castle of Prince
Prospero died, there, in the black room with scarlet windows.
fo

(VIRGINIA's coughing is more pronounced)

EDGAR (CONT'D)
And the life of the ebony clock went out that night. And the music ceased. And Darkness and
ot

Decay and the Red Death held dominion over all.

(VIRGINIA opens the handkerchief revealing dark bloodstains.

She holds it out to EDGAR)
N

VIRGINIA
This is reality, Eddie. And it is more terrifying than all your stories.
 44

10A. "Muddy's Alone"

(We hear MUDDY singing)

MUDDY
FROM CHILDHOOD'S HOUR I HAVE NOT BEEN
AS OTHERS WERE I HAVE NOT SEEN
AS OTHERS SAW I COULD NOT BRING
MY PASSION FROM A COMMON SPRING.
FROM THE SAME SOURCE I HAVE NOT TAKEN

l
MY SORROW I COULD NOT AWAKEN

sa
MY HEART TO JOY AT THE SAME TONE
AND ALL I LOVED, I LOVED ALONE.

n
(MOTHER laughs)

ru EDGAR

io
No. NO!
Pe
11. "Annabel Lee"

ct
VIRGINIA
IT WAS MANY AND MANY A YEAR AGO,
IN A KINGDOM BY THE SEA,

du
THAT A MAIDEN THERE LIVED WHOM YOU MAY KNOW
W

BY THE NAME OF ANNABEL LEE;

AND THIS MAIDEN SHE LIVED WITH NO OTHER THOUGHT
THAN TO LOVE AND BE LOVED BY ME.
o
TR

ELMIRA AND MOTHER

I WAS A CHILD AND SHE WAS A CHILD
pr
IN THIS KINGDOM BY THE SEA:
BUT WE LOVED WITH A LOVE THAT WAS MORE THAN LOVE
I AND MY ANNABEL LEE;
WITH A LOVE THAT THE WINGED SERAPHS OF HEAVEN
COVETED HER AND ME.
r

ELMIRA, MOTHER, AND WHORE

fo

AND THIS WAS THE REASON THAT, LONG AGO

IN THIS KINGDOM BY THE SEA,
A WIND BLEW OUT OF A CLOUD, CHILLING
MY BEAUTIFUL ANNABEL LEE;
ot

SO THAT HER HIGH-BORN KINSMAN CAME

AND BORE HER AWAY FROM ME,
TO SHUT HER UP IN A SEPULCHRE
IN THIS KINGDOM BY THE SEA.
N

MUDDY
THE ANGELS, NOT HALF SO HAPPY IN HEAVEN,
 45

WOMEN (EXCEPT MUDDY)

OOH…

MUDDY
WENT ENVYING HER AND ME

WHORE
(AND ME)

MOTHER

l
(AND ME)

sa
MUDDY
YES! THAT WAS THE REASON (AS ALL MEN KNOW,

n
IN THIS KINGDOM BY THE SEA)

ru
WOMEN (EXCEPT MUDDY)

io
OOH…
Pe
MUDDY

ct
THAT THE WIND CAME OUT OF THE CLOUD BY NIGHT,
CHILLING AND KILLING MY ANNABEL LEE.

EDGAR

du
BUT OUR LOVE IT WAS STRONGER BY FAR THAN THE LOVE
W

OF THOSE WHO WERE OLDER THAN WE

ELMIRA, MOTHER, AND WHORE

OF MANY FAR WISER THAN WE
o
TR

EDGAR
AND NEITHER THE ANGELS IN HEAVEN ABOVE,
pr
NOR THE DEMONS DOWN UNDER THE SEA,
CAN EVER DISSEVER MY SOUL FROM THE SOUL
OF THE BEAUTIFUL

EDGAR, ELMIRA, MOTHER, AND WHORE

r

ANNABEL LEE.
fo

ELMIRA, MOTHER, AND WHORE EDGAR

FOR THE MOON NEVER BEAMS OF THE BEAUTIFUL
WITHOUT BRINGING ME DREAMS ANNABEL LEE…
AND THE STARS NEVER RISE,
BUT I FEEL THE BRIGHT EYES OF THE BEAUTIFUL
ot

AND SO, ALL THE NIGHTTIDE ANNABEL LEE…

I LIE DOWN BY HER SIDE
OF MY DARLING, MY DARLING
N

MY LIFE AND MY BRIDE

 46

(The WOMEN retreat into shadows, leaving only EDGAR and

VIRGINIA. They stand beside the grave)

EDGAR
IN THE SEPULCHRE THERE BY THE SEA,
IN HER TOMB BY THE SOUNDING SEA.
IT WAS MANY AND MANY A YEAR AGO,
IN A KINGDOM BY THE SEA,
THAT A MAIDEN THERE LIVED WHOM YOU MAY KNOW
BY THE NAME OF ANNABEL LEE;
AND THIS MAIDEN SHE LIVED WITH NO OTHER THOUGHT

l
THAN TO LOVE AND BE LOVED BY ME.

sa
VIRGINIA EDGAR
THE RING IS ON MY HAND I WAS A CHILD

n
AND SHE WAS A CHILD

ru
AND THE WREATH IS ON MY BROW

io
IN THE KINGDOM
SATINS AND JEWELS GRAND BY THE SEA
ARE ALL AT MY COMMAND BUT WE
Pe
LOVED WITH A LOVE

ct
AND I AM HAPPY NOW THAT WAS MORE THAN LOVE I AND

EDGAR
MY ANNABEL LEE.

du
W

(VIRGINIA EXITS leaving EDGAR alone.

MUDDY ENTERS and moves to EDGAR)

o
TR

EDGAR
Everything I have, leaves. Everything I touch, I ruin.
pr

MUDDY
Why is this about you, Edgar?

EDGAR
r

I loved her.
fo

MUDDY
I was her Mother!

EDGAR
ot

She made me whole.

MUDDY
She amused you for a short while. But the game is over – fold up the chequer board and lock it
N

away.
 47

EDGAR
I will never write again.

MUDDY
You will. You cannot survive without it.

EDGAR
She inspired me. She…
(His voice breaks and he stops.

They stand in silence for a few moments)

l
sa
EDGAR (CONT'D)
Muddy, what will we do?

n
MUDDY

Go on.
(Shrugs)
ru

io
EDGAR
Pe
Without her?

ct
MUDDY
This is what people do, Edgar. They go on with life, despite it.

EDGAR

du
W

I cannot live without Virginia.

MUDDY
You can. But I expect you will choose not to. You will find that place without light that attracts
o
TR

you so, and you will go there gladly. But I will not come with you, and at least now you cannot
take her there either.
pr

EDGAR
I wrote her destiny…

MUDDY
r

You did not.

fo

EDGAR
Perhaps I secretly wished it. Did I, Muddy?

(MUDDY takes his face in her hands and speaks to him firmly)
ot

MUDDY
Listen to me. I will not pander to your self indulgence. If you wish to wallow in self pity and
misery, then do so. But do not make me hear it.
(She drops her hands)
N

She was my child. My adored child. I knew her from her first breath. Do not insult me by
speaking of your sorrow.
(Moves away)
 48

EDGAR
Mother!

MUDDY
I am not your mother! I was hers, and hers alone. And "mother" is a word I shall never hear
addressed to me again.

12. "To My Mother"

MUDDY (CONT'D)

l
(Sings:)

sa
BECAUSE I FEEL THAT, IN THE HEAVENS ABOVE,
THE ANGELS, WHISPERING TO ONE ANOTHER,
CAN FIND, AMONG THEIR BURNING TERMS OF LOVE,

n
NONE SO DEVOTIONAL AS THAT OF "MOTHER",

ru EDGAR

io
THEREFORE BY THAT DEAR NAME I LONG HAVE CALLED YOU,
YOU WHO ARE MORE THAN MOTHER UNTO ME,
Pe
AND FILL MY HEART OF HEARTS, WHERE DEATH INSTALLED YOU,

ct
IN SETTING MY VIRGINIA'S SPIRIT FREE,
MY MOTHER – MY OWN MOTHER,
MY MOTHER – MY OWN MOTHER,
WHO DIED EARLY, WAS BUT THE MOTHER OF MYSELF; BUT YOU
ARE MOTHER TO THE ONE I LOVED SO DEARLY,

du
W

AND THUS ARE DEARER THAT THE MOTHER I KNEW

THE MOTHER I KNEW

EDGAR MUDDY
o
TR

PROUD EVENING STAR,

MY MOTHER, IN THY GLORY AFAR
pr
MY OWN MOTHER AND DEARER THY BEAM SHALL BE;
MY MOTHER, FOR JOY TO MY HEART
MY OWN MOTHER IS THE PROUD PART
THOU BEAREST IN HEAVEN AT NIGHT,
r

MOTHER
fo

(Appears out of the shadows)

PROUD EVENING STAR…

EDGAR
THEREFORE BY THAT NAME I LONG HAVE CALLED YOU
ot

MUDDY
YOUR MOTHER
N

EDGAR MOTHER
YOU WHO ARE MORE THAN
MOTHER UNTO ME PROUD EVENING STAR,
 49

EDGAR
AND FILL MY HEART OF HEARTS

EDGAR MUDDY MOTHER

WHERE DEATH PROUD EVENING
INSTALLED YOU YOUR MOTHER STAR

EDGAR
IN SETTING MY VIRGINIA'S SPIRIT FREE

l
EDGAR, MOTHER, AND MUDDY

sa
AND MORE I ADMIRE
THY DISTANT FIRE,

n
MUDDY

ru
THAN THAT COLDER, LOWLY LIGHT…

io
EDGAR
MY MOTHER…
Pe

ct
MOTHER
PROUD EVENING STAR…

EDGAR
MY OWN MOTHER

du
W

MUDDY
THAT COLDER LOWLY LIGHT
o
TR

MOTHER
MY
pr

MUDDY
MY

EDGAR, MOTHER, AND MUDDY

r

PROUD EVENING STAR

fo

(When the song ends, MUDDY and MOTHER disappear into

the shadows.

EDGAR falls to his knees, shattered. He sprawls on the floor –

possibly drunk, possibly exhausted. He fishes a hip flask from
ot

his pocket and swigs from it until it is finished. He turns

suddenly and sees the WHORE standing there)
N

EDGAR
What do you want?
 50

WHORE
A story.

EDGAR
I do not write anymore.

(We glimpse VIRGINIA – or we think we do. Perhaps we just

hear her, somewhere)

VIRGINIA
Tell me a story, Eddie.

l
sa
(EDGAR whirls round trying to see her)

WHORE

n
What harm could a little tale at bedtime do?

ru EDGAR

io
I write of death.
Pe
WHORE

ct
Death is life.

EDGAR
No…

du
W

VIRGINIA
We'll dream the same dreams.

(EDGAR cries out in anguish)

o
TR

EDGAR
pr
Stop!

(The WHORE strokes his head)

WHORE
r

Sshh. It's only a story.

fo

EDGAR
Stories become real.

(WHORE hands him her hip flask and he gulps the whisky)
ot

WHORE
Write for me.

EDGAR
N

I cannot.
 51

WHORE
(Kisses EDGAR)
But you will.

EDGAR
(Stares)
Will I?

WHORE
What are you if you do not write? It's the only proof of your existence.

l
EDGAR

sa
But… I write… of cruelty. Darkness...

EDGAR

n
Of things that… only a person with a sick mind could envisage…

ru WHORE

io
I'm seduced already.
Pe
EDGAR

ct
Of death. Of blood. Of a waking nightmare.

VIRGINIA
I like nightmares.

du
W

(The WHORE helps EDGAR to his feet and leads him to his
writing desk)

EDGAR
o
TR

I prey on their deepest fears. What normal person would do that?

pr
WHORE
Oh… many. Though none with such style as you.

(EDGAR sits in the chair at his desk.

r

The WHORE takes a fresh sheet on paper and lays it in front of

him. She holds out his pen to him)
fo

WHORE
Are you frightened?

EDGAR
ot

Yes.

VIRGINIA
Being frightened makes me shiver…
N
 52

(The WHORE kisses his lips. He does not respond. She kisses
him again, more passionately, running her hands through his
hair)

WHORE
Does fear thrill you?

EDGAR
Yes. Oh God, yes.

VIRGINIA

l
Scare me, Eddie.

sa
MORE

(The WHORE is kissing EDGAR'S neck – he moans softly)

n
Again and again and again…
ru VIRGINIA (CONT'D)

io
(EDGAR kisses the WHORE – almost violently. We suddenly
Pe
see MUDDY there, watching)

ct
MUDDY
I'm leaving, Edgar.

du
(EDGAR stops as if slapped. He hurriedly gets to his feet)
W

EDGAR
Muddy…… I was…
(Does not know how to continue)
o
TR

MUDDY
pr
Whoring.

(MOTHER laughs.

EDGAR shrugs, embarrassed)

r

EDGAR
fo

A man has needs.

MUDDY
Some more than most.
ot

(EDGAR snaps)

EDGAR
Must you always judge me so? May I not live my life the way I choose?
N

MUDDY
You do, Edgar. You always have – even when she was alive…
 53

EDGAR
We will not speak of her.

(There is a pause)

MUDDY
I do not judge you. But there is another way to live.

EDGAR
Not for me.

l
sa
MUDDY
You look sick. Are you?

n
EDGAR

ru
I hear voices. A cacophony in my head.

io
(MUDDY sighs and moves to him)
Pe
MUDDY

ct
Eddie… I do love you. But you must fight those voices, that world, or it will consume you.

(EDGAR does not respond)

MUDDY

du
W

Perhaps you want to be consumed.

EDGAR
I cannot live only in your world. There is another dimension that I seek.
o
TR

MUDDY
pr
That is an excuse. You use it to escape reality.

EDGAR
It is my reality. I seek…More.
r

MUDDY
You will not find it in a whisky bottle. Or in whores.
fo

EDGAR
They bring it closer. These voices I hear – they comfort me. They urge me to be brave. If I turn
away from my quest – then what has my life been for?
ot

13. "The Poetic Principal"

(MUDDY is silent)
N

EDGAR (CONT'D)
Virginia understood.
 54

MUDDY
Well… I do not.

EDGAR
IN THE BLUE DISTANCE OF THE MOUNTAINS,
IN THE GROUPING OF CLOUDS,
IN THE TWINKLING OF HALF HIDDEN BROOKS,
HE PERCEIVES IT IN THE SONGS OF BIRDS,
IN THE SIGHING OF THE NIGHT WIND,
IN THE SURF THAT COMPLAINS TO THE SHORE,
IN THE FRESH BREATH OF THE WOODS,

l
IN THE SCENT OF THE VIOLET.

sa
(Speaks)
Do you see? Do you?

n
14. "Silence"

ru
ELMIRA

io
("Silence")
THERE IS A TWO FOLD SILENCE – SEA AND SHORE –
Pe
BODY AND SOUL …

ct
EDGAR
Yes! That is it!

(ELMIRA moves towards EDGAR)

du
W

ELMIRA
THERE ARE SOME QUALITIES – SOME INCORPORATE THINGS,
THAT HAVE A DOUBLE LIFE, WHICH THUS IS MADE
o
TR

A TYPE OF TWIN ENTITY WHICH SPRINGS

FROM MATTER AND LIGHT, EVINCED IN SOLID AND SHADE.
pr

EDGAR
I know you.

ELMIRA
r

THERE IS A TWO FOLD SILENCE – SEA AND SHORE – BODY AND SOUL
HIS NAME'S "NO MORE".
fo

THERE IS A TWO FOLD SILENCE – SEA AND SHORE –

BODY AND SOUL:

ELMIRA EDGAR
THERE ARE SOME QUALITIES IN THE
ot

SOME INCORP'RATE THINGS BLUE DISTANCE

THEY HAVE A DOUBLE LIFE IN THE
WHICH THUS IS MADE GROUPING OF CLOUDS
A TYPE OF TWIN ENTITY IN THE
N

WHICH SPRINGS TWINKLING OF HALF-HIDDEN BROOKS

FROM MATTER AND LIGHT IN THE
EVINCED IN A SOLID SHADE SCENT OF THE VIOLET
 55

ELMIRA
THERE IS A TWO FOLD SILENCE – SEA AND SHORE – BODY AND SOUL
HIS NAME'S "NO MORE".

ELMIRA EDGAR
THERE IS A TWO FOLD NO
SILENCE – SEA AND SHORE – MORE…
BODY AND SOUL:

ELMIRA

l
ONE DWELLS IN LONELY PLACES,

sa
NEWLY WITH GRASS O'ERGROWN; SOME SOLEMN GRACES,
SOME HUMAN MEMORIES AND TEARFUL LORE,
RENDER HIM TERRORLESS: HIS NAME'S

n
ru ELMIRA AND EDGAR

io
"NO MORE"

(The other WOMEN EXIT, leaving ELMIRA and EDGAR

Pe
alone)

ct
14A. "Silence" (Underscore and Reprise)

EDGAR
Elmira?

du
W

ELMIRA
Mr Poe.
o
TR

EDGAR
Was I not Edgar to you once?
pr

ELMIRA
Many years ago. Now you are Mr Poe, the famed poet and novelist.

EDGAR
r

I am still Edgar. The boy who…

fo

ELMIRA
The boy who…?

(EDGAR stares. He takes her hand and kisses it)

ot

EDGAR
Elmira.
N

ELMIRA
Edgar.
 56

EDGAR
I remember you as beautiful. I was not wrong.

ELMIRA
I am nearly forty.

EDGAR
Impossible.

ELMIRA
A relic – from one of your tales of horror.

l
sa
(EDGAR is staring at her in wonder)

EDGAR

n
No. You are phrases from one of my poems. Words of love.

ru ELMIRA

io
When you said you would write to me…
Pe
EDGAR

ct
I did! As I promised.

ELMIRA
I waited. Every day I watched for the delivery boy, hoping. Wishing. But no word.

du
W

EDGAR
I wrote reams to you…

ELMIRA
o
TR

Edgar… He stole them. My father took your letters in the hope that I would forget you.
pr
EDGAR
But you did not.

ELMIRA
I did think you had forgotten me.
r

EDGAR
fo

Never. You were my first love.

ELMIRA
You said you would wait for me. In a place beyond the dark. A place of light and color and…
ot

EDGAR
… shining with possibilities. I did wait.

ELMIRA
N

And I promised I would find you there.

MORE
 57

(They stare at each other)

ELMIRA (CONT'D)
I am a widow, Edgar. With a fine house and a wide veranda where you can sip cool drinks and
watch the world go by. Does that sound inviting?

EDGAR
It does.

(ELMIRA smiles and moves as if to EXIT.

l
EDGAR stops her)

sa
EDGAR (CONT'D)
Elmira… I am no longer the boy you knew.

n
Nor I the girl.
ru ELMIRA

io
EDGAR
Pe
I have… seen things, done things which… I believe I have a black soul, Elmira.

ct
ELMIRA
I do not believe that.

EDGAR

du
W

The dark is where I feel at home.

ELMIRA
We have each been on our own journey. Made our own path. But there is no place you can go that
o
TR

you cannot leave.

pr
EDGAR
What if I am not able to?

ELMIRA
Have you ever tried?
r

(Moves back to EDGAR)

fo

ELMIRA
You were the first boy I loved. Could you not also be the last man?
(Sing)
THERE IS A TWO FOLD SILENCE – SEA AND SHORE
BODY AND SOUL. ONE DWELLS IN LONELY PLACES,
ot

NEWLY WITH GRASS O'ERGROWN:SOME SOLEMN GRACES,

SOME HUMAN MEMORIES AND TEARFUL LORE,
RENDER HIM TERRORLESS: HIS NAME'S "NO MORE".
N

(The WHORE appears and smiles at EDGAR)

 58

WHORE
Found something new?

(In the shadows we can see VIRGINIA and MOTHER looming)

VIRGINIA
What of me, Eddie?

MOTHER
What of your work?

l
EDGAR

sa
My work…

ELMIRA

n
Of course, I've read everything you've ever written. Even your articles criticising other poets.
Such venom, Edgar…
ru

io
WHORE
She can't take you where I can.
Pe

ct
EDGAR
(To ELMIRA)
It is beautiful here.

MUDDY

du
W

You destroy beauty – you cannot help yourself.

ELMIRA
This is my fairyland – as you wrote it.
o
TR

MOTHER
pr
Happy endings are the death of artists.

ELMIRA
It is a lovely spot, isn't it? I always liked Richmond.
r

WHORE
Dull, dull, dull…
fo

ELMIRA
There are blackberry bushes behind the house. The children used to pick the berries and I would
make jam.
ot

MOTHER
Oh, Edgar…

ELMIRA
N

Do you like blackberry jam?

 59

EDGAR
I do.

VIRGINIA
You do not!

ELMIRA
My husband had this veranda built to please me. I thought that when I was old and widowed… I
could sit out here and watch people getting on with their lives. That would reassure me that I was
not truly alone.

l
EDGAR

sa
I have always been alone.

VIRGINIA

n
Not true!

ru EDGAR

io
I have always felt alone.
Pe
MOTHER

ct
That is how you wished it to be.

ELMIRA
Of course I never imagined that I would have need of this window onto the world so soon in my
life.

du
W

MUDDY
She has goodness in her soul. Leave her be, Edgar.
o
TR

EDGAR
(To ELMIRA)
pr
I am sorry for your loss, Elmira.

ELMIRA
Our lives have had a certain symmetry, have they not?
r

EDGAR
They have.
fo

(Smiles)
I cannot quite believe it is you. And I am here.

ELMIRA
What would it take to make you believe it?
ot

VIRGINIA
(Sadly)
She is beautiful though. More beautiful than me, Eddie?
N

ELMIRA
I found all your letters when my father died. I wept more for the loss of you than for him.
 60

EDGAR
You did not lose me. I loved you, Elmira.

MUDDY
Let her be…

EDGAR
Twenty years ago…

ELMIRA

l
I do not believe that real love… Ever dies.

sa
(EDGAR is about to sit next to ELMIRA.

n
VIRGINIA quickly moves up to the veranda)

ru VIRGINIA

io
No, Eddie!
(Shouts)
Pe
Eddie!

ct
(EDGAR turns, thinking he hears something. He stares at
VIRGINIA.

VIRGINIA smiles)

du
W

VIRGINIA (CONT'D)
It's bedtime. Time for a story.
o
TR

WHORE
Of darkness. Fantasy.
pr

ELMIRA
I knew as a girl that you would be the great writer you said you would. And when I finally read
those letters…
r

(The WHORE stands right in front of EDGAR)

fo

WHORE
I can take you to the light.

ELMIRA
… I remembered your soul.
ot

(Smiles at EDGAR.

EDGAR is becoming distracted by the WOMEN as they become

more real to him. He tries to focus on ELMIRA)
N

EDGAR
I may have written enough.
 61

MOTHER
Never.

EDGAR
I find… My writing is a little too real for me now. It takes me from this world.

ELMIRA
Perhaps I can bring you back to it.

(As ELMIRA speaks, we hear the whispers from the WOMEN

l
in the trees)

sa
MOTHER
She will never be me!

n
The Mountains of the Moon.
ru WHORE

io
MUDDY
Pe
You destroyed my girl…

ct
VIRGINIA
I still see you, Eddie.

MOTHER

du
W

I did not give you life for you to watch it pass by.

MUDDY
My darling girl…
o
TR

VIRGINIA
pr
Can you see me?

WHORE
El Dorado.
r

VIRGINIA
A story. The Red Death.
fo

MUDDY
Leave her be!

15. "The Raven"

ot

ELMIRA
"Now, when storms of Fate O'ercast, Darkly my Present and my Past, Let my Future radiant
shine, With sweet hopes of thee and thine! My soul, lest it should truant be, Thy grace did guide
N

to thine and thee" When that was published Edgar, I read it, and imagined you had written it for
me.
 62

MOTHER
Write, Edgar. For me.

EDGAR
ONCE UPON A MIDNIGHT DREARY, WHILE I PONDERED, WEAK AND WEARY,
OVER MANY A QUAINT AND CURIOUS VOLUME OF FORGOTTEN LORE
WHILE I NODDED, NEARLY NAPPING, SUDDENLY THERE CAME A TAPPING,
AS OF SOMEONE GENTLY RAPPING, RAPPING AT MY CHAMBER DOOR.
"'TIS SOME VISITOR", I MUTTERED, "TAPPING AT MY CHAMBER DOOR.
ONLY THIS, AND NOTHING MORE."
MORE

l
EDGAR (CONT'D)

sa
AH, DISTINCTLY I REMEMBER IT WAS IN THE BLEAK DECEMBER,
AND EACH SEPARATE DYING EMBER WROUGHT IT'S GHOST UPON THE FLOOR.
EAGERLY I WISHED THE MORROW;- VAINLY I HAD SOUGHT TO BORROW

n
FROM MY BOOKS SURCEASE OF SORROW – SORROW FOR THE LOST LENORE

ru
FOR THE RARE AND RADIANT MAIDEN WHOM THE ANGELS NAME LENORE
NAMELESS HERE FOR EVERMORE

io
AND THE SILKEN SAD UNCERTAIN RUSTLING OF EACH PURPLE CURTAIN
THRILLED ME, FILLED ME WITH FANTASTIC TERRORS NEVER FELT BEFORE;
Pe
SO THAT NOW, TO STILL THE BEATING OF MY HEART, I STOOD REPEATING:

ct
"TIS SOME VISITOR ENTREATING ENTRANCE AT MY CHAMBER DOOR
SOME LATE VISITOR ENTREATING ENTRANCE AT MY CHAMBER DOOR;
THIS IT IS AND NOTHING MORE."

du
PRESENTLY MY SOUL GREW STRONGER; HESITATING THEN NO LONGER
W

"SIR" SAID I, "OR MADAM, TRULY YOUR FORGIVENESS I IMPLORE;

BUT THE FACT IS I WAS NAPPING, AND SO GENTLY YOU CAME RAPPING,
AND SO FAINTLY YOU CAME TAPPING, TAPPING AT MY CHAMBER DOOR,
THAT I SCARCE WAS SURE I HEARD YOU" – HERE I OPENED WIDE THE DOOR,
o
DARKNESS THERE AND NOTHING MORE.
TR

DEEP INTO THE DARKNESS PEERING, LONG I STOOD THERE WONDERING,

pr
FEARING,
DOUBTING, DREAMING DREAMS NO MORTAL EVER DARED TO DREAM BEFORE;
BUT THE SILENCE WAS UNBROKEN, AND THE STILLNESS GAVE NO TOKEN,
AND THE ONLY WORD THERE SPOKEN WAS THE WHISPERED WORD
"LENORE, LENORE, LENORE"
r

ELMIRA
fo

OO-OO

EDGAR
BACK INTO THE CHAMBER TURNING
ot

ELMIRA
OO-OO

EDGAR
ALL MY SOUL WITHIN ME
N

EDGAR AND WHORE

BURNING, BURNING
 63

VIRGINIA
AH-AH

EDGAR
BUT THE RAVEN STILL BEGUILING

VIRGINIA
AH-AH

EDGAR
ALL MY SAD SOUL INTO

l
sa
EDGAR AND MUDDY
SMILING, SMILING

WOMEN

n
NEVERMORE! NEVERMORE!

ru

io
(As EDGAR sings, the WOMEN vocalise on, "oooh")

EDGAR
Pe
"PROPHET!" SAID I, "THING OF EVIL! PROPHET STILL, IF BIRD OR DEVIL!

ct
BY THAT HEAVEN THAT BENDS ABOVE US, BY THAT GOD WE BOTH ADORE
TELL THIS SOUL WITH SORROW LADEN IF, WITHIN THE DISTANT AIDENN,
IT SHALL CLASP A SAINTED MAIDEN WHOM THE ANGELS NAME LENORE
CLASP A RARE AND RADIANT MAIDEN WHOM THE ANGELS NAME LENORE."
QUOTH THE RAVEN,

du
W

WOMEN
"NEVERMORE"
o
(As EDGAR sings, the WOMEN vocalise on, "aahh")
TR

EDGAR
pr
"BE THAT WORD OUR SIGN OF PARTING, BIRD OR FIEND!" I SHRIEKED
UPSTARTING
"GET THEE BACK INTO THE TEMPEST AND THE NIGHT'S PLUTONIAN SHORE

VIRGINIA
r

(NEVERMORE)
fo

ELMIRA
(NEVERMORE)

EDGAR
LEAVE NO BLACK PLUME AS A TOKEN OF THAT LIE THY SOUL HATH SPOKEN!
LEAVE MY LONELINESS UNBROKEN – QUIT THE BUST ABOVE MY DOOR!
ot

VIRGINIA
(NEVERMORE)
N

ELMIRA
(NEVERMORE)
 64

EDGAR
TAKE THY BEAK FROM OUT MY HEART, AND TAKE THY FORM FROM OFF MY
DOOR!"

VIRGINIA
(NEVERMORE)

ELMIRA
(NEVERMORE)

EDGAR
QUOTH THE RAVEN.

l
sa
EDGAR AND WOMEN
"NEVERMORE"

(As EDGAR sings, the WOMEN vocalise on, "aaah")

n
ru EDGAR

io
AND THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING
ON THE PALLID BUST OF PALLAS JUST ABOVE MY CHAMBER DOOR;
Pe
EDGAR AND WOMEN

ct
AND HIS EYES HAVE ALL THE SEEMING OF A DEMON'S THAT IS DREAMING,
AND THE LAMP-LIGHT O'ER HIM STREAMING THROWS HIS SHADOW ON THE
FLOOR;

du
EDGAR
AND MY SOUL FROM OUT THAT SHADOW THAT LIES FLOATING ON THE FLOOR
W

SHALL BE LIFTED

(As the song reaches its climax, the word "nevermore" is sung
o
and spoken in furious repetition until EDGAR and the WOMEN
TR

join for a final iteration of :)

pr
EDGAR AND WOMEN
NEVERMORE!

(When the song ends, EDGAR is on the floor surrounded by his

writing. ELMIRA is staring at EDGAR)
r

ELMIRA
fo

My God. Edgar…You need peace.

EDGAR
That would be the death of me.
ot

ELMIRA
You're delirious – it is the heat. Come sit, I will fetch lemonade.

EDGAR
N

Lemonade??
 65

(ELMIRA tries to lead him back up to the verandah but he

shakes her off)

ELMIRA
What is it?

(No response)

ELMIRA (CONT'D)
What?

l
EDGAR

sa
(Quietly)
You will destroy me.

n
(ELMIRA laughs nervously)

ru ELMIRA

io
I fear the sun has affected your mind.
Pe
EDGAR

ct
I have never had such clarity.

ELMIRA
Edgar…

du
W

EDGAR
You want to live in my world?

ELMIRA
o
TR

I want to save you from it.

pr
(EDGAR laughs loudly, bitterly)

EDGAR
I am beyond redemption!
r

ELMIRA
Why are you angry?
fo

EDGAR
Blackberry jam!

ELMIRA
ot

You are not making sense.

EDGAR
It is too sweet. As is lemonade! I drink whisky, Elmira. I play cards in darkened dens. I seek out
N

whores…
 66

ELMIRA
Stop this…

EDGAR
It is the truth!

ELMIRA
Edgar, circumstances have turned you into someone you were never meant to be…

EDGAR
It is who I am.

l
sa
ELMIRA
No. It is what you have chosen to become…

n
EDGAR
It is where I feel at home.
ru

io
ELMIRA
… And now you have another choice. To walk away and start anew.
Pe

ct
EDGAR
Elmira… I like my world.

ELMIRA
You do not. You drink to escape it.

du
W

EDGAR
I drink to heighten its pleasures…
o
TR

ELMIRA
I remember that loving, gentle boy. He is still there, waiting for you to find him again.
pr

EDGAR
"From childhood's hour I have not been,
As others were I have not seen,
As others saw I could not bring,
r

My passions from a common spring."

You remember those words?
fo

ELMIRA
Let me help you, please.

EDGAR
ot

And all I loved, I loved alone.

(Takes ELMIRA'S hand gently)
You were my first love.
N

ELMIRA
Stop destroying yourself. Stop writing if that's what it takes.
 67

(There is an audible gasp from the women on the fringes. They

begin to hum quietly, growing loudly. It should feel menacing.

We hear the ticking again)

EDGAR
How would I live if I did not write?

ELMIRA
In peace.

l
(A clock chimes.

sa
EDGAR moves away from her)

n
ELMIRA (CONT'D)
Wait!
ru

io
EDGAR
I am due in Baltimore.
Pe

ct
ELMIRA
You will come back?

(EDGAR stares at her, affected by her unconditional love. He

backs away)

du
W

ELMIRA (CONT'D)
Write to me!
o
TR

(EDGAR shakes his head)

pr
ELMIRA (CONT'D)
Every day – as you promised. Write to me …

(But she has already gone from his mind. EDGAR stumbles, see
MUDDY)
r

EDGAR
fo

Everyone leaves.

MUDDY
You want them to. Go to your world, Edgar. You were right, your reality is different to mine, and
I will never truly understand it. Perhaps Virginia did… who knows?
ot

VIRGINIA
(Sung)
HEAR THE SLEDGES OF THE BELLS… SILVER BELLS
N

EDGAR
You will not come with me?
 68

MUDDY
I do like to see the sun.

(EDGAR falls. The WHORE cradles him)

WHORE
No more running.

MOTHER
No more searching.

l
sa
MUDDY
Goodbye, Edgar.

n
ELMIRA
Alone.
ru

io
VIRGINIA
Sleep, Eddie. Dream our dreams.
Pe

ct
(EDGAR is looking at the WHORE)

EDGAR
Are you my El Dorado?

du
W

WHORE
The mountains of the moon.

EDGAR
o
TR

The valley of the shadow.

pr
16. "Dreamland"

WHORE
I'll be whatever you want me to be.
(Sings:)
r

FOR THE HEART WHOSE WOES ARE LEGION

'TIS A PEACEFUL, SOOTHING REGION
fo

BOTTOMLESS VALES AND BOUNDLESS FLOODS,

AND CHASMS, AND CAVES, AND TITAN WOODS,
FOR THE HEART WHOSE WOES ARE LEGION
'TIS A PEACEFUL, SOOTHING REGION
MOUNTAINS TOPPLING EVERMORE
ot

INTO SEAS WITHOUT A SHORE;

SEAS THAT RESTLESSLY ASPIRE,
SURGING, UNTO SKIES, SURGING, UNTO SKIES OF FIRE.
BY A ROUTE OBSCURE AND LONELY
N

HAUNTED BY ILL ANGELS ONLY,

WHERE AN EIDOLON, NAMED NIGHT
MORE
 69

WHORE (CONT'D)
ON A BLACK THRONE REIGNS UPRIGHT
I HAVE REACHED THESE LANDS BUT NEWLY
FROM AN ULTIMATE DIM THULE
FROME A WILD WEIRD CLIME THAT LIETH, SUBLIME,
OUT OF SPACE – OUT OF TIME.

BY THE LAKES THAT THUS OUTSPREAD

THEIR LONE WATERS, LONE AND DEAD,
THEIR SAD WATERS, SAD AND CHILLY
WITH THE SNOWS OF THE LOLLING LILY,

l
(The WHORE tenderly lays him down and moves away,

sa
watching as EDGAR dies)

WHORE (CONT'D)

n
BY A ROUTE OBSCURE AND LONELY,

ru
HAUNTED BY ILL ANGELS ONLY,
FROM A WILD WEIRD CLIME THAT LIETH, SUBLIME,

io
OUT OF SPACE, OUT OF TIME.
OUT OF SPACE, OUT OF TIME, OUT OF TIME.
Pe

ct
(From out of the shadows the other WOMEN appear)

17. "Maelstrom #3"

EDGAR

du
W

FROM CHILDHOOD'S HOUR I HAVE NOT BEEN

AS OTHERS WERE – I HAVE NOT SEEN
AS OTHERS SAW – I COULD NOT BRING
MY PASSIONS FROM A COMMON SPRING.
o
TR

FROM THE SAME SOURCE…

I HAVE NOT TAKEN
pr
MY SORROW; I COULD NOT AWAKEN
MY HEART TO JOY AT THE SAME TONE;
AND ALL I LOV'D, I LOV'D… ALONE.

VIRGINIA
r

ANNABEL LEE
fo

MOTHER
PROUD EVENING STAR…

ELMIRA
NEVERMORE…
ot

WHORE
OUT OF TIME…
N
 70

WOMEN
AND THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING
ON THE PALLID BUST OF PALLAS JUST ABOVE MY CHAMBER DOOR;
AND HIS EYES HAVE ALL THE SEEMING OF A DEMON’S THAT IS
DREAMING,
AND THE LAMP-LIGHT O’ER HIM STREAMING THROWS HIS SHADOW ON
THE FLOOR;

MUDDY
AND THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING

l
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING

sa
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING

n
THE RAVEN NEVER FLITTING, STILL IS SITTING, STILL IS SITTING

ru
STILL IS SITTING, STILL IS SITTING
STILL IS SITTING, STILL IS SITTING

io
EDGAR
Pe
(Singing with MUDDY'S verse above)

ct
FROM CHILDHOOD'S HOUR I HAVE NOT BEEN
AS OTHERS WERE – I HAVE NOT SEEN
AS OTHERS SAW – I COULD NOT BRING
MY PASSIONS FROM A COMMON SPRING.
FROM THE SAME SOURCE…

du
W

I HAVE NOT TAKEN

MY SORROW; I COULD NOT AWAKEN
MY HEART TO JOY AT THE SAME TONE;
AND ALL I LOV'D, I LOV'D…
o
TR

VIRGINIA
pr
(Singing with MUDDY'S verse above)
ANNABEL LEE
ANNABEL LEE
ANNABEL LEE
ANNABEL LEE
r

ANNABEL LEE
ANNABEL LEE
fo

ANNABEL LEE

WHORE
(Singing with MUDDY'S verse above)
OUT OF SPACE
ot

OUT OF TIME
OUT OF SPACE
OUT OF TIME
N
 71

ELMIRA
(Singing with MUDDY'S verse above)
NEVERMORE
NEVERMORE
NEVERMORE
NEVERMORE
NEVERMORE
NEVERMORE
NEVERMORE

MOTHER

l
(Singing with MUDDY'S verse above)

sa
PROUD EVENING STAR
PROUD EVENING STAR
PROUD EVENING STAR

n
(Speaks:)
ru EDGAR

io
Alone.
(MOTHER moves up to EDGAR, wraps the scarf she has been
Pe
knitting around his neck as one by one, the other WOMEN bid a

ct
silent farewell to EDGAR then disappear)

18. "Dreams"

MOTHER

du
W

OH! THAT MY YOUNG LIFE WERE A LASTING DREAM!

MY SPIRIT NOT AWAKENING TILL THE BEAM
OF AN ETERNITY SHOULD BRING THE MORROW.
YES! THOUGH THAT LONG DREAM WERE OF HOPELESS SORROW,
o
TR

'TWERE BETTER THAN THE COLD REALITY

OF WAKING LIFE, TO HIM WHOSE HEART MUST BE,
pr
AND HATH BEEN STILL, UPON THE LOVELY EARTH,
A CHAOS OF DEEP PASSION, FROM HIS BIRTH.
BUT SHOULD IT BE – THAT DREAM ETERNALLY
CONTINUING – AS DREAMS HAVE BEEN TO ME…
(MOTHER kisses his hand.
r

EDGAR smiles, strangely at peace. As he sings MOTHER

fo

moves upstage into the shadows and stands, watching:)

EDGAR
IN MY YOUNG BOYHOOD – SHOULD IT BE THUS GIVEN,
'TWERE FOLLY STILL TO HOPE FOR HIGHER HEAVEN.
ot

FOR I HAVE REVELLED WHEN THE SUN WAS BRIGHT

IN THE SUMMER SKY, IN DREAMS OF LIVING LIGHT
AND LOVELINESS, HAVE LEFT MY VERY HEART
INCLIMES OF MY IMAGINING APART
N

FROM MINE OWN HOME, WITH BEINGS THAT HAVE BEEN

OF MINE OWN THOUGHT – WHAT MORE COULD I HAVE SEEN?
MORE
 72

EDGAR (CONT'D)
'TWAS ONCE – AND ONLY ONCE – AND THE WILD HOUR
FROM MY REMEMBRANCE SHALL NOT PASS – SOME POWER
OR SPELL HAD BOUND ME – 'TWAS THE CHILLY WIND
CAME O'ER ME IN THE NIGHT, AND LEFT BEHIND
IT'S IMAGE ON MY SPIRIT – OR THE MOON
SHONE ON MY SLUMBERS IN HER LOFTY NOON
TOO COLDLY – OR THE STARS – HOWE'ER IT WAS
THAT DREAM WAS AS THAT NIGHT-WIND – LET IT PASS.
I HAVE BEEN HAPPY, THOUGH IN A DREAM.
I HAVE BEEN HAPPY – AND I LOVE THE THEME:

l
DREAMS! IN THEIR VIVID COLOURING OF LIFE

sa
AS IN THAT FLEETING, SHADOWY, MISTY STRIFE.
(EDGAR turns to MOTHER, smiling. He moves upstage
towards her outstretched hand.

n
ru
Lights fade to black)

io
Pe

ct
du
W

o
TR

r pr
fo
ot
N
 - VOCAL BOOK -

l
sa

n
ru

io
Music by MATT CONNER
Lyrics adapted from the writings of
Pe

ct
EDGAR ALLAN POE
Book by GRACE BARNES
du
W

o
TR

pr

570 Seventh Avenue, Suite 2100

New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
r

www.theatricalrights.com
fo

Like us! Follow us!

ot

www.facebook.com/TheatricalRightsWorldwide @theatricalright

The materials contained herein are copyrighted by the authors, are not for sale, and may only be used
N

for the single specifically licensed live theatrical production for which they were originally provided.
Any other use, transfer, reproduction or duplication including print, electronic or digital media
is strictly prohibited by law.
1/8/13
 TR
N W
ot
fo Pe
r pr
ru
sa
o du l
ct
io
n
VOCAL -1- N ever mor e

1
Maelstrom 1

(Audible gasp from WOMEN)

bb 4 U U U U 3
& b b bb 4 ∑ ∑ ∑ ∑ 4
1

U
5
b bbbbbbb C
Delicately, like a music box

& b b b b b 43
3 12
∑

l
sa
5-7 8 9-20

21
b
& b bbbbb C

n
Flowing
4
ru

io
21-24

b j j
& b bbbbb Œ
Pe
œ œ œ œ œ œ œ œ œ œ. œ Jœ œ œ œ. œ œ œ œ
EDGAR:
25

ct
J J J J
From child - hood's hour I have not been as oth - ers were I have not seen

29
b
& b bbbbb œ œ œ œ œ. œ œ œ
J J
œ œ
du
œ œ œJ œ œ œ. œ œ œ œ
J
W

J J J J
as oth - ers saw I could not bring my pas - sions from a com - mon spring.
o
œ œ œ œ œ œ
TR

b œ œ œ œ œ. œ œ œ Œ œ œ œ œœ œ œ
& b bbbbb Œ œ J J J
33
pr

From the same source I have not ta - ken my sor - row, I could not a - wak - en

b œ œ œ œ œ œ œ œ œ œ . œ œ . œ bbbbbb
& b bbbbb Œ œ œ œ œ œ œœ œ
Rit.

J J J J J J
37
r
fo

my heart to joy at the same tone, and all I loved I loved a-

41
b w w
& b bbbb œ
A tempo

∑ Ó Œ
ot

lone. A-

b b b b b (EDGAR:)
w w ∑ Ó Œ œ
& b
45
N

lone A-

b œ œ œ œ œ œ
& b bbbb Œ nw ∑ œ œ ˙.
VIRGINIA:

Hear the sled - ges of the bells Sil - ver bells!

VOCAL -2- #1 Maelstrom 1
49
b b b b (EDGAR:)
W: "My knight."

& b w
b w ∑ ∑
MU: "Edgar".

lone

b œ
& b bbbb Œ œ œ œ nœ œ œ œ œ œ œ œ œ œ ˙. œ œ
ELMIRA: ELMIRA AND VIRGINIA:

What a world of merr - i - ment their me - lo - dy fore - tells! How they

b œ œ
& b bbbb œ œ œ œ œ œ n˙. œ ˙. œ w
53

l
tink - le, tink - le, tink - le in the i - cy air of night!

sa
57
b
& b bbbb
V: "Eddie."

œ œ œ œ œ œ
MOTHER: MUDDY:

œ œ œ œ œ œ œ œ œ œ

n
ru

io
While the stars that o - ver - sprink - le all the hea - vens, seem to twink - le

E: "Sweetheart."

b
& b bbbb Ó nœ nw ˙
Pe
Œ œ œ œ œ œ œ
MUDDY AND MOTHER:
61 WHORE:

ct
nœ nœ
with a crys - tal - line de - light; Keep - ing

65
b
& b bbbb ˙ du ‰
W

˙ ˙. œ œ nœ œ œ œ œ j
˙ œ œ œ
o
time, time, time, in a sort of Ru - nic rhyme, to the tin -
TR

MO: "My boy.

b
& b bbbb
pr

Œ œ œ
3 My own darling boy." ALL WOMEN:
69

w œ
œ œ œ œ ˙ œ œ œ œ œ œ
tin - ab - u - la - tion that so mus - ic - 'ly swells from the
r

73
b
& b bbbb w w ww ww n www n www
fo

bells, bells, bells, bells,

b n wwww ww ww ˙˙
& b b b b b n www
ot

79
n www ww ww ˙˙ n œœ n œœ
bells, bells, bells From the
N

85
b
& b b b b b n œœ n œœ œœ œœ n œœ œœ œœ œœœ n n www www ˙˙
˙ Ó ∑
jing - ling and the tink - ling of the bells Segue
VOCAL -3- N ever mor e

2
Conqueror Worm

bb
Driving with a steady pulse

& b b bb C
2
1-2

l
sa
b
& b bbbb w ˙. ‰ œj
3 WHORE:

w œ œ œ œ œ œ

n
Lo! 'tis a ga - la night With-

ru

io
b
& b bbbb ˙ . œ œ œ ‰ j
MUDDY:

œ œ œ œ
7

œ œ ˙ œ œ œ œ
Pe

ct
in the lone - some lat - ter years! An an - gel

b
& b bbbb ‰ œj
du w ˙.
11

˙. œ œ ˙. œ
W

throng, be - winged, be - dight In

o
TR

b
& b bbbb w œ
3

œ œ
VIRGINIA:

œ œ
15

œ w ˙ œ
pr

veils, and drowned in tears, Sit in a

bb b b b ∫ œ 3 j j
r

& b œ œ ˙ œ. œ œ. œ œ œ œ œ ˙. œ œ
19 MOTHER:

œ
fo

the - a - tre, to see a play of hopes and fears, while the

b
& b bbbb ∫ œ œ œ ˙ w œ œ œ œ. œ œ œ œ œ
ot

3
23

J J nœ.
or - ches - tra breathes fit - ful - ly the mus - ic of the
N

b
& b bbbb
27 2
w w 29-30
spheres.
VOCAL -4- #2 Conqueror Worm

j œ ‰ œ œ œ œj j
31
b j j
& b bbbb Œ œ œ œ œ œ œ œ Jœ œJ œ œJ œ œ œJ œ ‰ œ œ
(ELMIRA:)

J J
That mot - ley dra - ma - oh, be sure It shall not be for - got! With its

b b b b Œ ‰ œj œ j j
VIRGINIA/MOTHER

b Œ ‰ œj œj œ . Œ ‰ œœ œœ œœ .. Œ ‰ œj œj œ .
MUDDY/WHORE:

& b œ œ œœ œœ œ œ œ. œ œ œ.
Ah Ah Ah Ah

j
b
& b bbbb œ œ
j
œ ‰ œj œj œ œ œ œ œ œ . œ Jœ œ œJ ˙. œ œ #
3

œ
35

l
sa
Phan - tom chased for ev - er - more, By a crowd that seize it not, Through a

j j j j #
b
& b bbbb Œ ‰ œœ œœ œœ .. Œ ‰ œj œj œ . Œ ‰ œœ œœ œœ .. Œ ‰ œj œj œ .
œ œ œ. œ œ œ.

n
Ah
ru Ah Ah Ah

io
39
# œ œ œ œ œ œ œ œ œ œ ˙ ˙ Œ j œ œ ‰ œJ
& œ œ œ œ J
J J J J
Pe

ct
cir - cle that ev - er re - turn - eth in - to the self - same spot, And

# j j j j
& Œ ‰ œœ œœ œœ .. Œ ‰ œœj œœj œ . Œ ‰ œœ œœ œœ .. Œ ‰ j j
œœ œœ œœ ..
œ.
du
W

Ah Ah Ah Ah

# œ 3
‰ œj
o
œ œ œ œ œ Œ œ œ œ ‰ œJ Jœ œ .
3

& œ œ œ
TR

œ œ œ
43

œ
pr

much of Mad - ness, and more of Sin, and Hor - ror the soul of the

# j j j j
& Œ ‰ œœ œœ œœ .. Œ ‰ œœj œœj œ . Œ ‰ œœ œœ œœ .. Œ ‰ œœj œœj œ .
œ. œ.
r

Ah Ah Ah Ah
fo

47
# w w w w
& ∑
plot.
ot

#
& ww œ˙ œ œ˙˙ œ œ˙ œ
w ˙ www ˙ œ˙˙ œ ww
w
N

Ah Ah Ah

#
& œ˙˙ œ b b b b b 44
# www n ww
52

œ˙˙ œ w
Ah
VOCAL -5- #2 Conqueror Worm
55
b
Steady 4

& b b b b 44 j
WHORE:

œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ
Lo, 'tis a ga - la night with - in the lone - some lat - ter years! An

bb
&bbb j
57 MUDDY:

œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ
Lo, 'tis a ga - la night with - in the lone - some lat - ter years! An

bb
&bbb
(WHORE:)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

l
sa
an - gel throng, be - winged, be - dight in veils, and drowned in tears.

b
& b bbb œ

n
59

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
ru

io
an - gel throng, be - winged, be - dight in veils, and drowned in tears.

b
& b bbb œ j
+MOTHER:

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ
Pe
œ œ œ œ œ œ œ.

ct
Lo, 'tis a ga - la night with - in the lone - some lat - ter years! An

61

& bbbb
+VIRGINIA, ELMIRA:

b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
du œœ œœ œœ œœ œœ ˙˙
W

Lo, 'tis a ga - la night with - in the lone - some lat - ter years!

bb
o
&bbb œ
TR

œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
pr

an - gel throng, be - winged, be - dight in veils, and drowned in tears.

63
bb œœ œœ œœ
VIRGINIA, ELMIRA, MOTHER:

&bbb Ó œ œ œ nœ œ Ó Ó œœ œœ œ œ
3

nœ œœ
3

œ œ
r
fo

Sit in a the - a - tre Sit in a the - a - tre, to

b
& b bbb Ó Ó Ó
MUDDY, WHORE:
3 3

œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
ot

Sit in a the - a - tre Sit in a the - a - tre, to

bb
& b b b ww ˙˙ œœ œœ œœ œœ ˙˙ ˙˙ ˙˙ b
67
N

see a play of hopes and

b
& b bbb w n˙ ˙˙ ˙˙ œ œœ ˙˙ ˙˙
b
œ
see a play of hopes and
VOCAL -6- #2 Conqueror Worm
71
2
& b ww ww
73-74
fears
2
&b w
?
w

˙.
fears

˙. œ œ œ œ œ œ
?
b Œ œ œ œ œ ‰ J œ œ œ
75 EDGAR:

Not long a - go the wri - ter of these lines in the

? b œ. œ ˙ œ œ œ œ œ œ œ œ œ ˙. Œ

l
˙.
79

sa
mad pride of in - tel - lect - u - al - i - ty

n
&b w w w w
83 WOMEN:

ru

io
oo oo

œ ˙. œ œ œ œ œ
?b Œ œ œ œ œ œ œ. œ ‰ œJ œ
Pe
(EDGAR:)

ct
Main - tained the pow - er of words de - nied that ev - er a

&b w w ˙. Œ
87

du w
W

oo oo

?b œ œ œ œ œ œ œ œ œ œ ˙ w ˙.
Œ
o
TR

thought a - rose with - in the hu - man brain

pr

&b w w w w
91

oo oo

œ œ œ œ ˙. œ œ. œ œ œ
œ œ œ œ œ œ œ
r

? J
b Œ
fo

Be - yond the ut - ter - ance of the hu - man

&b Œ œ œ œ œ œ œ nw bbbbb
VIRGINIA:
95
ot

Hear the sled - ges of the bells

j j bbbbb
MUDDY,

&b œœœ ...

N

œœœ œœœ œœœ œœœ

WHORE: +MOTHER:

œœ œœ œœ œœ œœ ..
Of the hu - man of the hu - man

? ˙. Œ ∑ bbbbb
b
(EDGAR:)

tongue.
VOCAL -7- #2 Conqueror Worm

bbbb œ
97

Œ œ œ œ œ œ w
VIRGINIA, ELMIRA:

& b
Hear the sled - ges of the bells

j
bbbb j
MUDDY,

œœ .. œœœ œœœ œœœ œœœ œœœ ...

WHORE: +MOTHER:

& b œœ œœ œœ œœ
of the hu - man of the hu - man

? bb b w œ œ œ œ œ.
bb
(EDGAR:)

J
tongue Of the hu - man

l
œœœ œœœ œœœ

sa
b b b b ÓWOMEN: œ œœ œœ n œœœ œœœ œœœ œœœ œœœ œœœ
n œœœ œœ Ó Ó
3

& b œœ œ œ
99 3

n
Sit in a the - a - tre Sit in a the - a - tre to

b w
& b b b b ww
n ˙˙˙ ru ˙˙˙ œœ œœ œœ œœœ œœœ " Œ

io
œœ œœ œœ œ Ó
103
Pe
see a play of hopes

ct
˙
? bb b ∑ ∑ ∑ Œ "Œ
EDGAR:

bb

du and
W

bbbb ∑ ∑ ∑ œ œ
MUDDY:

& b œ
107

œ
o
TR

Drowned in

b
& b bbb ∑ œ w w
pr
VIRGINIA:

œ œ œ
play of hopes and fears

? bb b w ˙. œ w w
(ELMIRA:)

bb
r
fo

fears and fears

b
& b bbb w w œ œ
WHORE:

œ œ œ œ
MOTHER:

œ œ
111
ot

tears play of hopes and fears Drowned in

b j j
& b bbb œ œ œ œ œ œ œ œ œ œ ˙
ELMIRA:

œ œ œ œ œ œ ˙.
N

Lo! 'tis a ga - la night with - in these lone - some lat - ter years!

? bb w ˙. œ w w
bbb
fears and fears Segue as one
VOCAL - 8 - N ever mor e

2a
Annabel Lee (Underscore 1)

bb4
Vamp

& b b 4 .. ..
(Vocal last X only)

∑ Ó Œ
1 VIRGINIA:

œ œ
It was

l
b
& b bb œ œ œ œ œ œ œ œ

sa
œ œ ˙ œ œ œ ˙.
3

œ œ œ œ œ œ

n
ma - ny and ma - ny a year a - go in a king - dom by the sea, that a

b ru

io
& b bb œ œ œ j j j
œ œ œ œ n˙.
7

œ œ œ œ œ œ. œ œ œ nœ œ œ
Pe

ct
mai - den there lived whom you may know by the name of An - na - bel Lee. And this

b
& b b b œj œ
j 3

œ œ w w
11

œ nœ nœ
œ œ œ œ
du
W

mai - den she lived with no oth - er thought than to love

b U
& b bb Ó
o
TR

w w
15

nœ œ n˙ ˙
pr

and be loved - by me.

19
b
& b bb
16
r

19-34
fo

35
b
& b b b ..
Vamp
4
.. .. ∑ Ó Œ ..
(Vocal last X only)

œ œ
ot

35-38
And this

41
b "
N

& b b b œj œ œ œ
j 3
Ó
œ œ œ œ œ nœ nœ w nœ œ nw
Segue
mai - den she lived with no oth - er thought than to love and be loved
VOCAL -9- N ever mor e

3
Eldorado

Moderato MOTHER: "My boy. My own darling boy."

EDGAR: "Stay! Mother..."

bb 4
& b b b 4 .. .. .. ..
4 4
Vamp (cont. on cue) Vamp (cont. on cue)

1-4 5-8

l
9
b
& b bbb

sa
Œ ‰ j
WHORE:

œ w œ ˙. œ ˙. œ œ
œ. œ. œ œ

n
Gai - ly be - dight, a gal - lant knight in sun - shine

ru

io
b
& b bbb ˙ . Œ w œ. œ.
14

œ œ œ ˙. ˙. œ. œ œ
œ.
Pe

ct
and in sha - dow, had jour - neyed long, sing - ing a

b
& b bbb ˙ . 43
20

œ ˙. œ œ w ˙.
du œ œ œ œ ˙. w
W

song in search of El - do - ra - do.

o
26
q»q
b
TR

& b b b b 43
2
pr

26-27

b
& b bbb ˙. Œ j j Œ j œ j
28
r

œ œ œ ˙ œ
˙ œ œ œ
fo

But he grew old this knight so bold and o'er his

b
& b bbb ˙ ‰ j j ˙. œ. j
33

œ œ œ œ œ œ œ œ œ œ
ot

˙. œ.
heart a sha - dow fell as he found no spot of
N

bb
&bbb ‰ j j ‰ Œ
39

˙ œ œ œ œ ˙ œ œ œ œ œ ˙.
ground - that looked like El - do - ra - do.
VOCAL - 10 - #3 Eldorado

44
b bbb
& b b b b .. ..
14 2
(Dialogue)

44-57 58-59

60
b
WHORE: "I'll show you the light."

& b b .. ..
Vamp (cont. on cue)
2
60-61

62
b j j
&bb œ œ ˙ œ œ. œ ˙ Œ Œ j

l
œ œ. œ. œ

sa
O - ver the moun - tains of the moon, down the

n
b j ‰ œj
& b b œj œ œ œ œ Œ œ. œ œ œ ˙
67

œ œ ˙ ru ˙

io
val - ley of the sha - dow, "Ride, bold - ly ride," the
Pe
b

ct
&bb œ œ. j ˙ Œ œ œ
72

œ œ œ œ ˙ œ œ œ ˙ ˙.

du
shade re - plied, "If you seek for El - do - ra - do!"
W

78

bbb
20
(Dialogue)

&
o
78-97
TR

U
pr

b
& b b .. ..
Rit.
2
∑ ∑ b
98-99
r

102 Freely

j j ‰ œj œ . j
& b .. ˙. .. œ œ. ˙. œ œ
(Vocal last X only)
fo

œ. œ œ œ ˙
œ
And as his strength failed him at length he met a pil - grim

j
ot

&b œ œ ˙ Œ ¿ ¿ . ‰ œj ˙. ˙ œ œ ˙ ˙ œ œ
108

˙ œ œ
sha - dow. "Sha - dow," said he, "Where can it be this land of
N

&b ˙ ˙ œ œ ˙ œ œ Œ
115

œ ˙ œ œ ˙ œ œ œ ˙ ˙
El, this land of El, this land of El - do - ra - do?"
VOCAL - 11 - #3 Eldorado

122 Vamp

j j
& b .. œ ˙ .. œ œ. œ ˙.
(Vocal last X only)

œ. œ
œ
"O - ver the moun - tains of the moon,

j j j
&b Œ œ œ œ œ œ Œ ˙ œ œ œ œ ˙
126
WHORE:

œ. œ œ œ ˙ ˙
down the val - ley of the sha - dow Ride, bold - ly ride."

j j j j j
&b œ ˙ œ œ. œ ˙. Œ

l
œ œ œ
MOTHER:

œ œ œ œ œ
œ . œ.

sa
"O - ver the moun - tains of the moon, down the val - ley of the

n
j j
&b ‰ œ œ œ
j
˙ ru œ œ œ œ

io
œ ˙ ˙
132

œ œ ˙ œ œ
Pe
the shade re - plied. "If you seek for El - if you seek for

ct
&b œ œ ˙ Œ ˙ œ œ œ œ ˙ ‰ œj œj œ œ
j
˙

du
sha - dow Ride, bold - ly ride." the shade re-
W

44
&b ˙
Flowing

˙ œ œ
137

œ œ ˙ œ œ œ œ ˙. w
o
TR

El - if you seek for El - do - ra - do."

pr

44
&b ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙. w
Segue
plied. "If you seek for El - do - ra - do."
r
fo
ot
N
VOCAL - 12 - N ever mor e

3a
Not Long Ago (Underscore)
TACET

l
sa

n
ru

io
Pe

ct
N ever mor e

3b

du
Alone (Underscore)
W

TACET
o
TR

r pr
fo
ot
N
VOCAL - 13 - N ever mor e

4
Evening Star

#4 U U
MOTHER: "In the eyes of whores." Andante

‰ œ œ
3
& 4 ∑ ∑ Ó Œ
1 MOTHER:

3-5
'Twas the

l
7
# œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œj

sa
& J
noon - tide of sum - mer and mid - time of night, and stars in their or - bits shone

n
#
œ œ œ œ œ ru œ œ œ œ œ œ œ œ œ œ œ

io
& J J
10
Pe
pale through the light of the bright - er cold moon - mid-

ct
# œ œ œ œ œ. œ œ œ œ œ ‰ œj ˙
& J J ‰ œ œ œ œ
12

J
plan - ets her slaves. Her - self in the heav - ens,

du her beams on the waves.

W

# œ œ œ œ. œ œ œ œ œ
& ‰ J J œ œ ≈ œ
15

J J R
o
TR

I gazed a - while on her cold smile, too

pr

# ˙ œ œ œ œ œ œ œ œ. œ
& ‰ J œ œ œ œ ˙ J
17

J
r

cold - too cold for me. There passed as a shroud a

fo

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
& J œ œ œ
20

J J
flee - cy cloud, and I turned a - way to thee.
ot

# œ œ œ
23

& Œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
N

Proud eve - ning star in thy glo - ry a - far and dear - er thy

# j œ œ œ. œ œ œ œ œ œ. œ œ. œ œ.
& œ œ œ œ J J
26

J
beam shall be, for joy to my heart is the proud
VOCAL - 14 - #4 Evening Star

# j œ œ œ œ ‰ œ
& œ. œ œ œ œ œ œ œ J
29

part thou bear - est in heav'n at night. And

# œ œ œ œ 2 œ œ œ 4 w
& J œ œ œ 4 œ. 4
31

J J
more I ad - mire thy dis - tant fire

l
# Œ

sa
& œ œ œ œ œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ œ œ œ œ
J J
34

n
than that cold - er low - ly light then that cold - er

ru

io
œ œ œ œ œ
# œ œ. œ œ.
43
Rit.

& œ œ œ œJ œ œ. ‰ œ J
J
37
Pe

ct
low - ly light than that cold - er low - ly

œ ˙ ˙.
du
˙. ˙.
40
#3 œ
& 4 .. ..
W

light. Segue
o
TR

r pr
fo
ot
N
VOCAL - 15 - N ever mor e

5
To One In Paradise

# ## 3
Delicately Vamp

& # 4 .. ..
4 4
1-4 5-8

l
####
9

nœ

sa
œ œ ˙ œ œ œ œ
EDGAR:

& œ œ ˙ œ ˙. œ

n
Thou wast that all to me, love, For which my soul did

##
& # # ˙.
ru
MOTHER: "Nor your past. And reliving it brings only heartache."

io
œ Œ œ œ œ ˙ œ œ œ
œ œ ˙
15

˙ œ
Pe

ct
pine. A green isle in the sea, love, A

####
21

& œ n˙ œ nœ œ œ
nœ nœ œ ˙ œ ˙. ˙
du
W

foun - tain and a shrine, All wreathed with fai - ry

##
& ## ˙ nœ ˙ j 3
o
œ œ. œ ˙.
27

œ nœ nœ œ
TR

pr
32-34

fruits and flowers, And all the flo - wers were mine.

####
35 WOMEN:

& ∑ ∑ œ œ œ ˙ œ ˙ œ ˙.
r

Thou wast that all to me, love,

fo

##
& ## œ œ œ ˙ œ ˙ œ ˙. œ œ œ nœ œ œ
Thou wast that all to me, love, For which my soul did
ot

#### nœ œ œ ˙. ˙.
& œ œ œ œ ‰ œ œ
41

J ˙ œ
N

For which my soul did pine in a green isle, A

#### ˙ . œ Œ œ œ
& œ œ œ ˙ œ œ ˙ œ ˙ œ
pine. A green isle in the sea, love, A
VOCAL - 16 - #5 To One In Paradise

####
47

& œ n˙ œ nœ œ œ ˙ nœ
nœ nœ œ ˙ œ ˙. ˙
foun - tain and a shrine, All wreathed with fai - ry fruits and

#### œ ˙ œ ˙ œ ˙ œ
& nœ nœ œ ˙ œ ˙. ˙
foun - tain and a shrine, All wreathed with fai - ry fruits and

#### nœ œ œ nœ n˙. ˙ #
˙ œ œ œ ˙. ˙
VIRGINIA:

& œ nœ œ
54

l
flowers, And all the flo - wers were mine, were mine. And

#### ˙.

sa
˙ œ ˙ œ œ œ œ ˙. ˙ œ ˙ œ #
&

n
flowers, And all the flo - wers were mine, were mine. were

61
# œ ru

io
& œ œ ˙ œ ˙ œ œ ˙ Œ ∑ ∑
Pe

ct
all of my days are tran - ces,

# ˙. ˙. œ œ œ œ œ
& ∑ Œ Œ œ œ
mine.

du And all my night - ly

W

# œ œ ˙
& ∑ Œ Œ œ œ œ ˙ œ œ ˙ œ
67
o
TR

are where thy dark eye glan - ces, And

# ˙. ˙ œ œ ˙
œ œ ˙ œ œ œ
pr

& œ ˙
dreams are where thy dark eye glan - ces, And

# œ œ
r

& œ œ ˙ œ ˙ œ œ œ
73

œ ˙
fo

where thy foot - step gleams In what eth-

# ˙ œ ˙ œ ˙. ˙ œ
& œ ˙
ot

where thy foot - step gleams In what eth-

# U ####
Rit.

& ˙ œ ˙ œ œ ˙ œ œ œ ˙ œ
78
N

œ
er - eal dan - ces, by what e - ter - nal

# œ Uœ ####
& ˙ œ ˙
˙ œ ˙ œ ˙
er - eal dan - ces, by what e - ter - nal
VOCAL - 17 - #5 To One In Paradise

####
83 Expressively
18
& ˙. ˙. ˙. ˙. 87-104
streams.

#### ˙. ˙. ˙. ˙. 18
&
streams.

#### .
Vamp

& .
4 ..

l
105-108

sa
####
109

∑ ∑ œ
VIRGINIA:

& œ œ ˙ œ ˙ œ ˙.

n
ru

io
Thou wast that all to me, love,

##
& ## œ œ œ nœ œ
EDGAR:

œ ˙ œ ˙ œ ˙. œ œ œ
Pe

ct
Thou wast that all to me, love, For which my soul did

##
& ## œ nœ œ œ ˙. ˙.
œ œ
du
œ ‰ œ œ
115

J ˙ œ
W

For which my soul did pine in a green isle, A

####
˙. œ Œ œ œ œ œ œ ˙
o
& œ œ ˙ œ ˙ œ
TR

pr
pine A green isle in the sea, love, A

####
Rit.

& ˙ œ n˙ œ nœ œ œ
121

nœ nœ œ œ ˙. ˙
r
fo

foun - tain and a shrine, All wreathed with fai - ry

#### œ ˙ œ ˙ œ
& œ ˙
nœ nœ œ ˙. ˙
foun - tain and a shrine, All wreathed with fai - ry
ot

#### ˙ nœ
U̇ U U
Colla voce

& Œ ∑ ∑ ∑ ∑
127
N

fruits and flowers,

# ## ˙ œ U̇ œ U̇ U̇.
& # nœ . œ œ œ œ œ ˙.
delicately

J
Segue
fruits and flowers, And all of the flo - wers were mine.
VOCAL - 18 - N ever mor e

5a
Annabel Lee (Underscore 2)
TACET

l
sa

n
ru

io
Pe

ct
N ever mor e

du
Amontillado (Underscore)
W

TACET
o
TR

r pr
fo
ot
N
VOCAL - 19 - N ever mor e

7
Bridal Ballad 1

##4
Gently

& # 4 .. ∑ .. Œ ‰. r
VIRGINIA:
1

œ œ œ œ œ œ œ
œ ˙.
The ring is on my hand,

##

l
& # Œ ‰ œ œ œ œ œ œ œ
j
œ œ. œ. œ œ œ ≈

sa
4

œ œ œ ˙ œ œ
and the wreath is on my brow sat - ins and je - wels grand are all

n
### j
7

& œ.
j
œ œ. œ ru œ œ ˙. œ Œ œ
3

œ œ

io
at my com - mand. And I am
Pe
##

ct
& # œ œ ˙. Œ ‰ j
œ œ œ œ ˙.
10

œ œ œ œ

du
hap - py now. And thus the words were spo - ken,

##
W

& # Œ ‰ œj Œ ‰ œj œ œ œ œ œ
13

œ œ œ œ œ œ œ ˙.
o
and this the pligh - ted vow, and though my faith be
TR

### œ ˙. Œ ‰ j
œ
pr

& œ œ œ œ œ œ
16

œ œ ˙.
bro - ken, and though my heart be bro - ken,
19
### j
Œ ‰ Œ Ó Œ
r

& œ œ œ œ œ
VIRGINIA:

œ #œ œ ˙ œ
fo

Be - hold the gold - en to - ken that

### Œ ‰ # Jœ œ œ œ œ #œ œ #œ ˙ œ w
&
EDGAR:
ot

Be - hold the gold - en to - ken that proves

,
###
Rit.
2
& ∑
œ #œ #˙.
22
N

#˙. œ 24-25

,
proves me hap - py now!

### ˙.
2
∑
& œ #œ œ ˙.
Segue
me hap - py now!
VOCAL - 20 - N ever mor e

8
Bridal Ballad 2

Vamp

& 44
Moderato

∑ .. Ó Œ .. j j œ
(Vocal last X only) ELMIRA:
1

œ œ œ. œ œ œ ˙. œ œ œ. œ œ
Oo

& 44 ∑ .. Ó Œ .. j j
MOTHER, WHORE:

œ. œ œ œ œœ
œ œ ˙. œ œ œœ .. œœ œœ

l
sa
Oo

Ó #œ œ œ ˙ ˙. ‰ œj œ.
j j
3

& w #˙ œ œ. œ
6

n
Oo
ru Oo

io
& w Ó # ˙˙ .. ‰ œj œ. j j
3

w œœ œœ œœ ˙˙ ˙˙ œ œ. œ
Pe

ct
Oo Oo

j
& Œ ∑ Ó Œ œ œ œ. œ œ bœ ˙. Œ
(ELMIRA:)

˙.
11

du
W

and I am hap - py now

& Œ Ó Œ j ∑
œ. œ œ œ
(MOTHER:)

˙. œ œ w
o
TR

and I am hap - py now

pr

& j Ó Œ œ
(WHORE:)

˙. œ œ œ. œ œ œ w w œ
and I am hap - py now now hap - py
r

& ∑ Ó Œ œ œ ˙. œ œ œ œ
˙.
16
fo

hap - py now, hap - py now, hap - py

œ #œ Œ Ó Œ
MOTHER:

& ˙. # œœ # œœ # œœ # œœ
(WHORE:) MOTHER, WHORE:

˙. ˙˙ ..
ot

now. hap - py now hap - py now hap - py

N

Rit.

& w Ó Œ ∑ ∑
20 MUDDY:

œ œ w
now, hap - py now.

& w ∑ ∑ ∑ ∑
w
now
Segue
VOCAL - 21 - N ever mor e

8a
Eldorado Reprise
VIRGINIA: "Tell me a story, husband. Scare me."

& 43
2
j
WOMEN:

œ ˙. œ ˙ œ
1-2
œ œ. œ œ
Gai - ly be - dight, a gal - lant knight in

& Œ
˙.
7

˙ œ œ ˙ œ œ œ ˙ œ

l
˙ œ œ

sa
sun - shine and in sha - dow, had jour - neyed long,

& œ. j bbbbb
13

n
œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ ˙ ˙.
ru

io
sing - ing a song in search of El - do - ra - do.

19
bb
& b b b .. .. j
2
Vamp
j
Pe
œ œ ˙ œ œ. œ ˙.

ct
19-20
œ œ.
"O - ver the moun - tains of the moon,

b
25

& b bbb Œ
œ
j j j
œ œ œ œ œ œ œ ˙ ˙
du Œ ˙ œ œ œ œ ˙
W

œ.
down the val - ley of the sha - dow. Ride, bold - ly ride."
o
b
& b bbb ‰ j j j
TR

œ œ œ
31

œ ˙ œ œ ˙ œ œ ˙ œ œ
pr

The shade re - plied. "If you seek for El - do-

35
b
& b bbb
2
œ œ ˙ ˙.
r

37-38
Segue
ra - do."
fo
ot

N ever mor e

8b
ElmiraÕs Letter
N

TACET
VOCAL - 22 - N ever mor e

9
Fairy-land
ELMIRA: "It makes me complete."

bb 4
Adagio Vamp

&bbb4 ∑ .. Ó Œ ‰ ..
(Vocal last X only)

j
1 ELMIRA:

œ
Dim
3
bb
&bbb œ œ œ œ œ
‰ j
œ œ œ œ
‰ j
3

˙ ˙. œ ˙ œ œ œ ˙ œ

l
sa
vales and sha - dow - y floods and cloud - y look - ing woods, whose

bb
&bbb ˙ œ œ œ œ ‰ œ œ œ œ œ œ œ ˙.
7

œ œ ˙ œ œ ˙

n
form we can't dis -
ru
co - ver for the tears that drip all o - ver.

io
b
& b bbb ‰ œ
j
œ œ œ œ œ œ
11

œ œ œ œ œ œ œ œ ˙
Pe

ct
Huge moons that wax and wane a - gain, a - gain, a - gain

bb
&bbb ‰ œ œ œ œ œ œ œ œ œ œ œ j
13

œ œ œ œ œ œ œ œ.
Ev - 'ry mo - ment of the night for - e

du - ver chang - ing pla - ces,

W

b
& b b b b ‰ œj œ œ œ œ œ œ œ ‰ Œ
15 (ELMIRA:)

œ œ œ œ œ œ œ œ œ ˙
o
TR

and they put out the star - light with the breath from their pale fa - ces.

b
& b bbb ∑ ∑ Ó Œ ‰
pr
EDGAR:

œ œ
A - bout
18
b
& b bbb ˙.
r

˙. œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ
fo

twelve by the moon - dial, one more film - y than the rest, a

b
& b bbb
22

˙ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ w
ot

kind which u - pon tri - al they have found to be the best.

b
& b bbb ‰ œ
ELMIRA:

œ œ œ œ œ œ
26

œ œ œ œ œ œ œ œ œ œ œ
N

Comes down, still down and down with its cen - ter on the crown.

b
& b bbb ‰ ‰ œ œ œ
28 EDGAR:

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Of a moun - tains em - i - nence while its wide cir - cum - fer - ence
VOCAL - 23 - #9 Fairy-land

b
& b bbb ∑ ‰ C
30 ELMIRA:

œ œ œ œ œ œ œ œ ˙.
o - ver ham - lets - o - ver halls.

b
& b bbb ‰ j ∑ ∑ C
(EDGAR:)

œ œ œ œ œ œ
in ea - sy drap - 'ry falls

33
bb j j
&bbbC Œ œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ œ œ ˙ œ œ
33

l
Where - e - ver they may be.

sa
O'er the strange wood, o'er the sea,
sea. o - ver

bb
&bbbC Πj
œ œ œ œ œ
j
œ œ ˙.
Œ œ œ œ œ œ œ œ ˙ œ œ

n
Where - e - ver they may be. O'er the strange wood, o'er the sea, o - ver

ru

io
b
& b bbb œ œ œ œ œ ˙ Œ œ ˙ Œ œ
37

œ œ œ œ œ œ
Pe

ct
spi - rits on the wing, o - ver ev - 'ry drow - sy thing and

b
& b bbb œ œ œ œ œ Œ
œ ˙ Œ œ
˙ œ œ œ œ œ œ

du
W

spi - rits on the wing, o - ver ev - 'ry drow - sy thing and

b
& b bbb œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ
41
o
TR

bur - ies them up quite in a la - by - rinth of

pr

b
& b bbb œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ
bur - ies them up quite in a la - by - rinth of
r

U
bbbb Ó
fo

Rit.

b œ œ ˙ œ
Freely
& œ ˙ ˙ ˙.
44

œ ˙ ˙ œ œ
light and then how deep oh, deep is the

b U
& b bbb œ œ ˙ œ œ ˙
Ó Œ
ot

œ ˙ ˙ ˙ ˙.
light and then how deep oh, deep
N

ELMIRA: "... And I will find you, Edgar... I promise."

bbbb
A tempo Vamp and Fade On Cue

& b œ 44 ∑ .. 2 ..
49
(ELMIRA:)

œ œ œ w 52-53
pas - sion of their sleep.
VOCAL - 24 - N ever mor e

9a
Bridal Ballad (Underscore 1)
TACET

l
sa

n
ru

io
Pe

ct
N ever mor e

10
Red Death
du
W

TACET
o
TR

r pr
fo
ot
N
VOCAL - 25 - N ever mor e

10a
Muddy’s Alone

VIRGINIA: "This is reality, Edgar."

Adagio
Vamp (Vocal last X only)
4
& 4 .. Πj j j j j j j j j ..
1 MUDDY:

œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ
From child - hood's hour I have not been as oth - ers were. I have not seen

l
sa
5

& j j j j
œ œ œ œ œ. œ œ œ œ œ œ œ œ.

n
as oth - ers saw.

ru I could not bring my pas - sions

io
& j j j j œ j
œ.
8

œ œ œ œ œ œ œ œ.
Pe
œ. œ œ œ œ œ œ œ

ct
from a com - mon spring. From the same source I have not ta - ken my sor - row

j
du j j j
W

& œ œ. œ œ œ
12

œ œ œ œ œ. œ œ œ œ
I could not a - wa - ken my heart to joy at the same tone,
o
TR

pr

‰ œj b b b b
Poco accel.

& œ. j j j j ˙.
15

œ œ œ œ œ. œ œ œ w
and all I loved I loved a - lone. A-
r

19
fo

b
& b bb w
2
w
21-22
Segue
lone.
ot
N
VOCAL - 26 - N ever mor e

11
Annabel Lee

bb4
Adagio

& b b 4 .. ∑ Ó Œ ‰ ..
1
VIRGINIA:

œ œ
It was

l
sa
3
b
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ

n
ma - ny and ma - ny a year

ru a - go in a king - dom by the sea, that a

io
b
& b bb œ œ œ
Pe
œ œ œ œ œ œ œ nœ nœ.
5

œ œ œ œ œ œ. œ œ

ct
mai - den there lived whom you may know by the name of An - na - bel Lee. And this

b
du
W

& b bb œ œ Œ nœ œ œ
3

œ œ w ˙.
7

œ œ œ œ œ nœ nœ œ
o
mai - den she lived with no oth - er thought than to love and be loved by me.
TR

pr

11
b
& b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
ELMIRA, MOTHER:

œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ
I was a child and she was a child in this king - dom by the sea: but we
r
fo

b
& b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ
13

n œœ
ot

loved with a love that was more than love I and my An - na - bel Lee; With a

r
bbbb Ó Œ ‰. œ
N

œœ œœ œœ œœ œœ œœ œœ œœ n œ œ œ œ œ ˙.
3 +WHORE:

& n ˙˙
3

˙
15

œ œ œ œ œ ˙.
love that the wing - ed ser - aphs of heav - en cov - et - ed her and me. And
VOCAL - 27 - #11 Annabel Lee
19
b
& b b b œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ ...
3 3

œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ
œ J
this was the reas - on that long a - go, in this king - dom by the sea, a

b
& b bb œ œœ œœ œœ œœ œœœ œœœ œœœ œœœ ≈ œ œ œ
3 3

n œœœ œœœ œœœ œœœ œœ œœ œœœ

21 3 3

wind blew out of a cloud, chill - ing my beau - ti - ful An - na - bel Lee; So that her

b œœ œœ œœ œœ
& b b b œœœ œœœ œœœ œœœ œœœ œœ
œ œ œ œ œ
œœœ œœœ ... j
23

l
sa
high - born kins - man came and bore her a - way from me, to

b
& b bb œœ œœ
œ
œœœ œœœ œœ œœ œœ œœ œœœ œœœ 46 n œœ œœ œœ œœœ ˙˙ ... ‰. r 44
25 ELMIRA:

œ œ œ œ œ œ œ - ˙ œ

n
shut her up in a
ru
sep - ul - chre in this king - dom by the sea. The

io
27
b
& b b b 44 œj œ . Œ ‰ j
3

œ. œ œ œ œ œ œ œ œ œ œ œ. œ
(ELMIRA:)

œ œ œ œ œ œ œ
Pe

ct
an - gels, not half so hap - py in heav - en, went en - vy - ing her and

b
& b b b 44 ∑ Ó Œ ‰ œ œ ˙ Ó
WOMEN (EXCEPT MUDDY):

du
W

Ooh

b
& b bb ˙ . Œ œ œ. œ œ œ œ
j
œ œ œ œ œ œ
30

œ œ œ œ
o
TR

me Yes! - that was the rea - son (as all men know, in this
pr

b ‰
(and me)

& b bb Œ ‰ œj n ˙ œ œ ww ∑
MOTHER:
WHORE:

(and me)

b
r

& b b b œj œ . œ.
j ‰ œ œ œ œ œ œ œ 46
33

œ ˙. nœ nœ œ œ œ
fo

king - dom by the sea) That the wind came out of the cloud by night,

b
& b bb ∑ œ œ œ 46
WOMEN (EXCEPT MUDDY):

œ œ nœ
ot

Ooh

bb6 j 4 .
&bb 4 œ œ œ œ œ œ œ œ œ. œ œ œ œ Œ
3
N

4 ˙
36 3 3

chill - ing and kill - ing my An - na - bel Lee.

b
& b b b 46 ∑ 44 Ó Œ œ œ
POE:

But our
VOCAL - 28 - #11 Annabel Lee
38

bbbb ∑ Œ ‰ j œ œ œ œ œ œ
3 3

& œ b œœ œœ œœ œœ œœ œœ
ELMIRA, MOTHER, WHORE:

of ma - ny far wis - er than

b r
& b bb œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. ≈ œ
(POE:) 3 3

love it was strong - er by far than the love of those who were old - er than we - and

bb
& b b ˙˙ Ó ∑ ∑
40

l
we

sa
bb r
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ . œJ œ œ œ œ œ ˙ ‰. œ
3

n
neith -er the an - gels in heav - en a - bove, nor the de - mons down un - der the sea, can

ru

io
bbbb œœœ œœ œœ œ 12
3

& ∑ Œ ‰ œ œ 8
43

œ œ n œœ
Pe

ct
An - na - bel Lee For the

b
& b bb œ œ œ œ œ œ œ Œ 12
3 3

œ œ œ. 8
3 3

œ œ œ œ œ œ œ œ nœ
ev - er dis - sev - er my soul from the soul of the

du
beau - ti - ful An - na - bel Lee.
W

45
b
& b b b 12
8 œ œ œ œ œ œ j œœœ œœœ œœœ œœ œœ œœ œœ œœ œœj œ
œ œ œ nœ œ œ œ œ œ œ œ œ n œœ œœœ œœœ
o
TR

moon nev-er beams, with -out bring -ing me dreams - And the stars nev -er rise, but I feel the bright eyes - And so,
pr

b œ œ œ
& b b b 12
8 Œ. Œ œ œ œ œ œ œ œ nœ œ. ‰ œ œ œ œ œ
of the beau - ti - ful An-na - bel Lee of the beau - ti - ful An-na-bel
r

bb b b œœœ œœœ œœœ œœ œœ œœ œœ œœ œœj œ œœ œ œ œœ œ œ œœ œ œj nUœœ

fo

47

& œ œ œ œ œ œ n œœ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ ‰
œ œ
all the night - tide, I lie down by her side - of my dar - ling - my dar - ling - my life and my bride,

bb ˙. ˙. U
ot

&bb Ó. Œ. ‰
œ œ
Lee In the
N

Freely

bb œ 4
&bb œ œ œ
(POE:)

œ œ. œ 4 œ. œ
49

œ œ œ œ œ œ
sep - ul - chre there by the sea, in her tomb by the sound - ing
VOCAL - 29 - #11 Annabel Lee
51

bbbb œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ.
A tempo

& ˙. ‰ œ œ œ œ
sea. It was man - y and man - y a year a - go in a king - dom by the sea, that a

b œ.
& b bb œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
54

mai - den there lived whom you may know by the name of An - na - bel Lee. And this

bb œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ
&bb w
56

l
sa
maid - en she lived with no oth - er thought than to love and be loved by me.

bb ‰. r
&bb Œ

n
59 VIRGINIA:

œ œ œ œ œ œ œ
ru œ ˙.

io
The ring is on my hand,

b
& b bb ∑ œ œ œ œ. œ œ œ œ œ
(POE:)
Pe

ct
I was a child and she was a child

61
bb
&bb Œ ‰
œ œ œ œ œ œ œ œ
j
œ.
du œ. œ œ œ
W

and the wreath is on my brow, sat - ins and

b
& b bb œ œ œ
o
∑ ‰ œ œ œ œ œ
TR

pr

in this king - dom by the sea

bb j
&bb ‰ j
œ. œ œ.
œ ˙.
63

œ œ œ œ œ œ œ
˙
r
fo

jewels, grand are all at my com - mand.

bb
&bb w Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ œ

but we loved with a love that was more than love

ot

U
bbbb ∑ ∑ ∑
Rit.

& ˙
3

œ œ ˙.
66

œ œ œ
N

And I am hap - py now.

b ˙ ˙ w U
& b bb ∑ Ó ‰ Jœ œ œ œ w
I and my An - na - bel Lee.
VOCAL - 30 - N ever mor e

12
To My Mother

MUDDY: "And "mother's" a word I shall never hear addressed to me again."

Moderato
b4 2
‰. r
&b 4
(freely)

œ œ. œ œ œ ˙
MUDDY:

1-2
œ œ œ œ. œ œ œ
Be - cause I feel that in the heav - en's a - bove

l
& b ‰ . œr œ œ œ œ œ. œ œ œ œ œ
Œ ‰ j
5

œ œ

sa
œ œ œ œ œ œ œ œ
the an - gels whis - per - ing to one a - noth - er can find a - mong their

n
b U
&b ˙ ru Œ ‰ j
œ œ œ œ œ œ œ œ œ ˙
8

œ œ œ œ œ œ

io
burn - ing terms of love none so de - vo - tion - al as that of
Pe
11

bb ‰ œ œ œ œ œ œ. œ

ct
Slow 4
œ œ œ œ œ œ.
EDGAR:

& J
œ œ ˙ J J
"Moth - er." There - fore by that dear name I long have called you.

b
& b ‰ œJ œ œ . œ . œ œ œ œ œ œ œ œ. œ
du œ œ œ œ œ œ œ œ œ
W

J
14

J
You who are more than mo - ther un - to me and fill my heart of hearts, where Death
o
TR

b œ j œ œ œ œ. œ œ.
&b Œ ‰ œ œ. ‰ œ. œ œ œ J J
17

J
pr

in - stalled you in set - ting my Vir - gin - ia's spir - it

20
b w œ œ œ œ œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ
&b Ó
r
fo

free. My mo - ther my own mo - ther My mo - ther my own

b j œ œ œ œ œ œ œ œ œ œ œ œ œ. ˙
& b œ œ. ˙ ‰ J
25
ot

mo - ther who died ear - ly was but the mo - ther of my - self

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
&b ‰ œ œ œ œ œ
28
N

but you are the mo - ther to the one I loved so dear - ly,

b œ œ
& b ‰ œJ œ œ œ œ œ . œ œ œ œ. œ œ. ˙ Ó Œ ‰ œ œ œ.
30

J J
and thus are dear - er than the mo - ther I knew the mo - ther I
VOCAL - 31 - #12 To My Mother

œ
34
b œ
&b w Ó œ œ. œ œ œ
EDGAR: 3

J
knew My mo - ther my own

b
&b Œ œ œ œ œ œ œ œ œ œ œ
MUDDY:

œ œ œ œ œ œ œ
œ œ. œ
Proud eve - ning star in thy glo - ry a - far and dear - er thy

b œ œ œ œ œ
3

&b œ œ œ Œ œ œ œ œ œ ˙ Œ
37 3

l
mo - ther My mo - ther my own mo - ther

sa
b j j
&b j
œ œ œ œ œ. œ
J
œ œ œ œ œ. œ œ. œ œ.
œ œ

n
beam shall be for

ru joy to my heart is the proud

io
b bbbbb
&b j
40 (MUDDY:)

œ. œ œ œ œ œ œ œ œ œ œ ˙
Pe

ct
part thou bear - est in heav'n at night

b bbbbb
&b ∑ Œ œ œ œ
MOTHER:

du Proud eve - ning

W

42
b b b ‰ EDGAR:
œ œ œ œ œ œ. œ œ
b
& b J J
œ œ œ œ œ J œ. ‰ œJ œ œ . œ . J
o
TR

There - fore by that dear name I long have called you. You who are more than
pr

bb
&bbb ∑ Ó Œ œ œ œ œ ˙.
MUDDY: 3

Your moth - er

bb ∑
&bbb w
r

w
MOTHER:
fo

star

bbb œ œ œ œ œ œ œ . œ œ œ œ œ œ œ
b
& b J œ œ œ Œ ‰ Jœ œ œ.
45

J
ot

mo - ther un - to me and fill my heart of hearts, where Death in - stalled you

b
& b bbb w ∑ Ó Œ œ œ
3
N

Your

b
& b bbb Œ œ œ œ w œ
œ œ œ
Proud eve - ning star Proud eve - ning
VOCAL - 32 - #12 To My Mother

b œ. œ œ œ œ. œ œ.
& b bbb ‰ œ œ œ J J
48

in set - ting my Vir - gin - ia's spir - it

b
& b bbb œ œ ˙. w
moth - er

b
& b bbb w w
star

l
sa
bb b ˙ . œ œ œ œ œ. œ 24 œ œ œ 44
EDGAR:

& bb ‰ J J J J
50

n
b
& b bbb Ó
free. and

ru more I ad - mire thy

j
dis - tant

24 œœj
fire

œœ 44

io
Œ ‰ j œ œœ
œ œ œ. œ
MUDDY, MOTHER

œ J
Pe
and more I ad - mire thy dis - tant fire

ct
b w œ œ
& b b b b 44
3

∑ Ó Œ
53

du
W

My

b j
& b b b b 44 ww Œ œ œ œ œ œ œ œ œ œ œj œ .
MUDDY:

œ
o
TR

than that cold - er low - ly light

pr

56
b œ œ ˙ œ
& b bbb Œ Ó Œ œ œ œ ˙ Œ ∑
3
r

mo - ther My own mo - ther

fo

b j
& b bbb Œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œj œ
MOTHER: MUDDY:

œ w .
Proud eve - ning star than that cold - er low - ly light
ot

bb œ œ w w
&bbb ∑ Œ œ
60
N

proud eve - ning star

bb œœ œœ
&bbb Œ œœ œœ œœ ww ww
MOTHER: + MUDDY:

˙
My My proud eve - ning star
VOCAL - 33 - #12 To My Mother

#
64
b
& b b b b .. .. # #
3X
4
64-67

##
68

.. b b b b b b
3X

& # ..
4
68-71

l
72

sa
b
& b b b b b .. ..
Vamp Rit. and fade on cue
4
72-75

n
ru

io
Pe

ct
du
W

N ever mor e

12a
o
TR

Bridal Ballad (Underscore 2)

pr
TACET
r
fo
ot
N
VOCAL - 34 - N ever mor e

13
The Poetic Principle

EDGAR: "Then what has my life been for?

Andante
4 4
&4
1-4

l
sa
5

& Œ ‰ œ œ œ œ œ œ. œ œ ˙.
POE:

n
In the blue dis - tance of mount - ains,

ru

io
& Œ ‰ œ œ œj œ œ
J
œ œ.
J
œ Œ Œ ‰ œ œ œ œ œ œ œ
7
Pe

ct
in the group - ing of clouds, in the twink - ling of half

10

& œ œ œ ˙ Œ Œ œ œ œ œ œ œ
du œ œ
J
œ
J
œ
J œ.
W

hid - den brooks, he per - ceives it in the songs of birds,

o
TR

œ œ œ
13

& Œ ‰ œ œ œ œ œ. œ œ ˙ J œ œ œ œ. œ œ
pr

in the sigh - ing of the night wind, in the surf that com - plains to the
r

& ˙. Œ Œ ‰ œ œ œ œ œ œ œ œ œ ˙ œ œ
fo

16

shore, in the fresh breath of the woods, in the

ot

œ œ U
& œ. œ œ. J œ ˙ ∑ ∑
19

J
N

Segue
scent of the vio - let,
VOCAL - 35 - Nevermore

14
Silence

b
& b b 44 Ó j
Freely Colla voce
≈ ‰
ELMIRA:

œ
1

œ œ œ œ œ œ œ œ œ
There is a two - fold si - lence, sea and

l
EDGAR: "Yes! That is it!"

b bbbb

sa
&bb œ œ. œ œ œ œ œ œ ∑
3

œ w

n
shore, bo - dy and soul

ru

io
6
b
& b bb ‰ ‰. r
Gently

j ‰
œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ. œ
Pe

ct
There are some qual - i - ties some in - corp - 'rate things that have a dou - ble life which

b
& b bb ‰. r
du œ œ. œ œ œ œ œ œ
3 3

˙.
9

œ œ œ œ œ œ œ œ œ œ œ. œ
W

thus is made. A type of twin en - ti - ty which springs from mat - ter and light
o
U
TR

EDGAR: "I know you."

b
& b bb Œ ‰. r ≈ b
3

œ œ. œ œ œ œ
12

œ œ œ œ ˙ nœ
pr

e - vinced in sol - id and shade. There is a two - fold

14

‰ j
&b œ
r

œ œ œ œ œ œ. œ œ œ œ œ œ
œ
fo

si - lence, sea and shore, bo - dy and soul

&b Ó ‰ j ≈
ot

œ œ. œ œ œ œ œ
16

œ œ œ. œ
his name's no more. There is a two - fold
N

‰ j Ó ##
&b œ œ œ œ œ œ œ. œ œ œ œ œ œ ˙
18

œ
si - lence, sea and shore, bo - dy and soul
VOCAL - 36 - #14 Silence
21
#
& # ‰ j ‰
ELMIRA:

œ œ œ œ œ œ œ œ œ œ œ ˙
There are some qual - i - ties some in - corp - 'rate things

# œ œ œ œ. œ ˙.
& # Œ ‰ œ œ œ œ
EDGAR:

In the blue dis - tance of moun - tains,

# r
& # ‰. œ œ œ œ œ œ œ. œ œ œ œ ˙.
23

l
sa
that have a dou - ble life which thus is made.

# j œ œ œ. œ
& # Œ ‰ œ œ œ œ J J Œ

n
ru

io
in the group - ing of clouds,
Pe
# r œ œ. œ œ œ œ œ

ct
& # ‰. œ œ
3 3

œ œ œ œ.
25

œ œ œ œ
A type of twin en - ti - ty which springs from mat - ter and light

#
& # Œ ‰ œ œ œ œ œ œ œ œ œ œ
du ˙ œ œ
W

in the twink - ling of half - hid - den brooks, in the

o
TR

U ####
pr

# r
& # Œ ‰. œ œ. œ œ œ œ ≈ œ œ œ œ #œ #
3

˙
27

e - vinced in sol - id and shade. There is a two - fold

## œ . œ Uœ ####
r

œ œ. œ œ Ó
& J J #
fo

scent of the vio - let

ot

####
29
œ œ œ
A tempo

& # œ œ œ ‰ œ œ œ œ œ. œ œ œ
J
N

si - lence, sea and shore, bo - dy and soul

#### ∑ ∑
& #
VOCAL - 37 - #14 Silence

##
& # ## Ó ‰ œ œ œ œ. œ œ. ≈ œ œ œ œ œ
31

J
his name's no more. There is a two - fold

## ˙
& # ## ∑ Ó
No

#### œ œ œ œ œ œ œ œ
& # œ œ œ ‰ œ œ œ. ˙ Ó
33

l
sa
si - lence, sea and shore, bo - dy and soul

## w ˙
& # ## Ó ∑

n
more
ru

io
####
36

# ‰ œj œ
Pe
& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ

ct
One dwells in lone - ly pla - ces new - ly with grass o'er - grown some sol - emn gra - ces.

####
& # ∑
du ∑
W

o
TR

####
Rit.

# ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ
3

&
pr

œ
38

Some hu - man me - mor - ies and tear - ful lore ren - der him terr - or - less. His name's no

#### ∑ Ó Œ ‰ œ œ
& #
3
r
fo

No

##
& # ##
2
w w
40
ot

42-43
more.

## w
& # ## w 2
N

Segue
more
VOCAL - 38 - N ever mor e

14a
Silence (Underscore and Reprise)

# ## 4
& # #4 bbbbb
8
1-8

l
b bb
& b bbb
8

sa
9-16

n
17
b
&b ru 8

io
17-24
Pe
25
b

ct
6
&b b
25-30

31 Vamp

du
ELMIRA: "Could you not also be the last man?"
W

& b .. ..
3
Ó ≈
(Vocal last X only)
ELMIRA:

31-33
œ œ œ œ œ
o
There is a two - fold
TR

35
j
pr

&b œ œ œ ‰ œ œ œ œ. œ œ œ œ œ œ ˙ Ó
œ
si - lence - sea and shore - bo - dy and soul
r

38

& b ‰ œj œ
fo

œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
One dwells in lone - ly pla - ces new - ly with grass o'er - grown some sol - emn gra - ces.

bbb
Molto rit. Freely
ot

&b ≈ ‰ b
3

œ
40

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Some hu - man me - mo - ries and tear - ful lore ren - der him ter - ror - less. His name's no
N

42

bbbb
Moderato
2
& w w
44-45 Segue
more.
VOCAL - 39 - N ever mor e

14b
Fairy-land (Underscore)
TACET

l
sa

n
ru

io
Pe

ct
du
W

o
TR

r pr
fo
ot
N
VOCAL - 40 - N ever mor e

15
The Raven

EDGAR: "Now when, storms of fate..."

bb 4
Agitato

& b b bb 4
2
1-2

l
3 Vamp (Vocal last X only)
bb j j œ œ œj œj œ .
& b b b b .. Œ œ œ œ œ œ j .. Œ j œ

sa
œ œ œ.
EDGAR:

œ œ œ œ œ œ J J
Once up - on a mid - night drea - ry, while I pond - ered, weak and wea - ry,

n
b
& b bbbb Œ
ru
j j j j

io
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
7

œ œ œ œ œ ˙
Pe
o - ver ma - ny a quaint and cur - i - ous vol - ume of for - got - ten lore,

ct
b œ œ œj œj œ .
& b bbbb Œ j j j Œ œ
œ œ œ œ œ.
11

œ œ œ œ œ œ œ œ œ J
while I nod - ded, near - ly nap - ping,

du
sud - den - ly there came a tap - ping,
W

b j j
& b b b b b œj œ œ œ œ œ
j j j j j
œ œ œ œ œ. œ œ œj œj œ œj j j
œ œ œ œ œ œ
15
o
TR

as of some one gent - ly rap - ping, rap - ping at my cham - ber door. "'Tis some
pr

b j
& b bbbb œ œ ˙ ‰ œj j
œ œ. œ œ. j
œ œ j j j Œ œ œ
19

œ œ œ œ œ
r

vis - i - tor," I mut - tered, "tap - ping at my cham - ber door On - ly

fo

bb #
& b b bb œ œ œ ˙ .
3
Œ ‰ j
23 3

œ œ œ œ w
26-28
this, and noth - ing more."
ot

29
# j j j j
Slightly faster

& Œ j Œ œ œ œ œ œ œ.
nœ œ œ œ œ œ œ œ œ œ. œ œ œ œ J
N

Ah, dis - tinct - ly I re - mem - ber it was in the bleak De - cem - ber,

# j j j j j j j j j
& œ œ œ œ œ œ œ œ œ œ œ. œ œ j j
33

œ œ œ œ œ œ œ ˙
and each sep - 'rate dy - ing em - ber wrought its ghost u - pon the floor.
VOCAL - 41 - #15 The Raven

# Œ j j j Œ œ œ œ j j
& œ œ œ. œ œ œ.
37

œ œ œ œ œ œ œ œ œ œ œ J
Ea - ger - ly I wished the mor - row, vain - ly I had sought to bor - row

# j j j j j j
& œ œ œ œ œ œ œ œ œ œ œ. œ œ œj œj j j j
œ œ œ œ œ œ
41

œ œ
from my books sur - cease of sor - row, sor - row for the lost Le - nore For the

# j j j j
& ˙. œ œ œ œ œ œ œ œ œ œ œ
45

œ œ œ œ

l
sa
rare and ra - di - ant mai - den whom the an - gels name Le - nore

# Œ Œ ‰
& j
3

œ œ œ œ œ
48

œ ˙. œ œ œ œ

n
Name - less
ru
here for ev - er

io
51
#
WOMEN (Whispering): "Nevermore..."
7
& w
Pe

ct
52-58
more.

# Œ
59

j j j j œ œ œ j j
& œ œ œ. œ œ œ.
œ œ œ œ œ œ œ œ
du
œ œ œ œ J J
W

And the silk - en sad un - cer - tain rust - ling of each pur - ple cur - tain

# j j j j j j j
o
& œ œ œ œ œ œ œ œ œ. œ œ œ œ.
63

œ œ œ œ œ
TR

œ
pr
thrilled me filled me with fan - tas - tic ter - rors nev - er felt be - fore;

# Œ j j j j œ œ œ j j
& œ œ œ. œ œ œ.
67

œ œ œ œ œ œ œ œ œ œ œ œ J J
r

So that now, to still the beat - ing of my heart, I stood re - peat - ing,
fo

# j j j j j Œ
& œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
71

œ œ œ œ œ
"'Tis some vis - i - tor en - treat - ing en - trance at my cham - ber door Some late
ot

# j
& œ œ ˙ ‰ œj œ œ œ œ œ.
j
œ œ j j j Œ œ œ
75

œ œ œ œ œ
N

vis - i - tor en - treat - ing en - trance at my cham - ber door, This it

#
& Œ ‰ j ∑ bbbb
3

œ œ œ ˙.
79

œ œ œ œ w
is, and noth - ing more."
VOCAL - 42 - #15 The Raven

83
b j j œ œ œ.
& b bb Œ n œ œ œ œ œ
j
œ œ œ œ œ. Œ œ œ œ œ
œ œ œ
J J J
Pre - sent - ly my soul grew strong - er; hes - i - ta - ting then no long - er,

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b bb J J J J œ œ œ œ œ w
87

J J
"Sir," said I, "or Ma - dam, tru - ly your for - give - ness I im - plore;

bb j j j œ œ œ.
&bb Œ œ œ œ œ œ œ œ œ œ œ. Œ œ œ œ œ œ œ œ
91

J J J

l
But the fact is I was nap - ping, and so gent - ly you came rap - ping,

sa
b œ œ œ œ œ œ œ œ œ œ œ. œ œ
& b bb J J J J J J œ œ
J J œ œ œ œ œ ˙
95

J J J

n
and so faint - ly you came tap - ping, tap - ping at my cham - ber door,

b œ œ œ
& b bb J
œ œ œ ru
œ œ œ œ œ. œ œ œ œ œ
œ œ œ œJ ‰ œ Jœ

io
J J J J J J J
99

J J J J
Pe
that I scarce was sure I heard you, here I o - pened wide the door; Dark - ness

ct
b w ###
& b bb Œ j w ∑
œ œ.
103

##
there, and noth - ing

du
more.

œ œ œ.
W

107
j œ œ œ
& # Œ #œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
J J J J J
o
TR

Deep in - to the dark - ness peer - ing, long I stood there wond - 'ring, fear - ing,

### œ j œ œ œj œj œ . j j j bbbbbb
œ œ œ œ œ œ œ œ œ œ œ œ œ œj ˙
pr

&
111

J J
doubt -ing, dream - ing dreams no mor - tals ev - er dared to dream be - fore;
115
b œ
& b bbbb Œ b œ b œ n œ b œ nœ œ œ œ Œ nœ œ œ œ œ nœ œ œ .
r

J
fo

But the si - lence was un - bro - ken, and the still - ness gave no to - ken,

b
& b bbbb
œ œ nœ œ œ œ
J
œ œ nœ œ œ .
J
œ œ nœ œ œ œ
J
˙ Œ ‰ œJ
119

J J J J
ot

and the on - ly word there spo - ken was the whis - pered word, "Le-

b w ˙ œ w ˙ œ
& b bbbb Œ Œ
123
N

nore! Le - nore! Le-

bb w w w U " bbbb
& b b bb ∑ ∑ b
127

nore!"
VOCAL - 43 - #15 The Raven
132

bbbb
Reflectively
4
˙ œ
ELMIRA: 3

& b œ œ
132-135
oo

b
& b bbb Œ ‰ œ œ œ œ œ œ œ œ œ ˙. ∑
137 EDGAR:

Back in - to the cham - ber turn - ing,

b b b (ELMIRA:) ∑
& bb w ˙ œ
3

œ œ

l
oo

sa
b
& b bbb Œ ‰ œ œ œ œ œ œ w w w w
140

n
all my soul with - in me burn - ing, burn - ing,

b
& b bbb ru WHORE:

˙. œ ˙. œ

io
w w w
burn - ing burn - ing
Pe

ct
b
& b bbb
145
∑ Œ ‰ œ œ œ œ œ œ œ œ œ œ ˙.

du
but the Rav - en still be - guil - ing

b
& b bbb ˙ ∑
VIRGINIA:

œ
3
W

œ œ w
ah
o
TR

b
& b bbb ∑ Œ ‰ œ œ œ œ œ œ w w
148
pr

all my sad soul in - to smil - ing,

bb
&bbb ˙ œ œ œ
3

˙. œ
MUDDY:

w w
r

ah smil - ing
fo

b
& b bbb w w ∑ ∑ ∑ ∑
152

smil - ing
ot

b
& b bbb ˙. œ w ˙. œ œ ∑
WOMEN:

w w
N

smil - ing Nev - er - more,

162
b
& b bbb w œ œ
Tempo I¼

˙ w w b nw w
(WOMEN:)
158

Nev - er - more
VOCAL - 44 - #15 The Raven

164

j j j j j
&b Œ j Œ œ œ œ œ œ œ.
EDGAR:

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
"Pro - phet!" said I, "thing of e - vil pro - phet still, if bird or de - vil!

&b w ˙. œ w ˙. œ
WOMEN:

oo oo

œ j j j j
&b œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙
168

l
By that heav - en that bends a - bove us by that God we both a - dore

sa
œ
&b w ˙. ˙. œ œ w

n
oo oo

&b Œ j ru j j j œ
j j
œ œ
j j
œ œ œ.

io
172

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
Pe
Tell this soul with sor - row la - den if, with - in the dis - tant Aid - enn,

ct
&b w ˙. œ w ˙. œ
oo oo

du j j
W

&b œ
176
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. Œ
J J J J
o
TR

it shall clasp a saint - ed mai - den whom the an - gels name Le - nore

&b w ˙. œ ˙. œ œ w
pr

oo oo

œ œ j j
& b œ œ œ œJ œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ
180
r
fo

Clasp a rare and ra - di - ant mai - den whom the an - gels name Le - nore." Quoth the

&b w ˙. œ ˙. œ œ w
ot

oo oo

&b œ ˙. ∑ ∑ ∑ bbbbbb
184
N

Rav - en,

œ œœ
&b ∑ Ó œ œ
ww
w
ww
w bbbbbb
"Nev - er - more."
VOCAL - 45 - #15 The Raven

188
b
& b bbbb Œ bœ œ œ œ œ j j j
œ œ œ œ œ. œ œ œ
j
œ œ œ
J
œ œ œ œ œ.
J J J
"Be that word our sign in part - ing, bird or fiend," I shrieked, up - start - ing

bb
& b b b b b b www ˙˙˙ ... b œœœ www ˙ww. œ
ah ah

bb œ œ œ œœ œ œœ œ œœ œ œ œ
& b b bb J J J J œ œ œœœ ˙.
192

l
"Get thee back in - to the temp - est and the Night's Plu - ton - i - an shore!

sa
bb w ˙w. œ j j
& b b b b ww ˙w. œ œ wwœ œ œ ˙
V.: E.:

w w w

n
ah ah (Nev - er - more),

b
& b bbbb j j ru j j j j
œ œ œ œ œ œJ œ œ œ œ œ.

io
œ œ œ œ œ.
196

œ œ œ œ œ œ J J J
Pe
Leave no black plume as a to - ken of that lie thy soul hath spo - ken!

ct
b
& b bbbb www ˙˙˙ ... b œœœ www ˙w.
w
œ
ah ah

du
W

b œ œ œ œ œ. œ œ œ œœ j j
& b bbbb
œ œ œ œœ œ œ œ œ œJ œ Œ
J J J J J
200

J
o
TR

Leave my lone - li - ness un - bro - ken! Quit the bust a - bove my door!

b ˙w. œ j j
& b bbbb ww ˙ww. œ œ wwwœ œ œ ˙
pr
V.: E.:

w w
ah ah (Nev - er - more),

bb œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œj j
& b b bb J J J J J œ œ œJ œ œ œ
r

204

J
fo

Take thy beak from out my heart, and take thy form from off my door!" Quoth the

b ˙w. œ j j
& b b b b b www ˙ww. œ œ wwwœ œ œ ˙
V.: E.:

w
ot

ah ah (Nev - er - more),

b ˙. w ˙ œ œ #
& b bbbb œ Ó œ œ Œ
208
N

Rav - en, "Nev - er - more." And the

b œ œœ ww ww #
& b b b b b www Ó œ w w
ah Nev - er - more
VOCAL - 46 - #15 The Raven

212
# nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
Rav - en, nev - er flit - ting, still is sit - ting, still is sit - ting on the pal - lid bust of Pal - las just a-

# n n ww ˙˙ ˙˙ ww
& nw ˙ ˙ w
ah ah

l
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

sa
&
215

bove my cham - ber door; And his eyes have all the seem - ing of a de - mon's that is dream - ing, and the

n
# ˙˙
& ˙ Œ œ œ ru œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

io
WOMEN:

And his eyes have all the seem - ing of a de - mon's that is dream - ing, and the
Pe

ct
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
du
218
W

lamp - light o'er the stream - ing throws his sha - dow on the floor; And my soul from out that sha - dow that lies

#
o
Πww
TR

& œ œ œ œ œ œ œ œ œ œ œ œ œ w
pr

lamp - light o'er the stream - ing throws his sha - dow on the floor; ah

# œ
r

&
221
œ œ œ œ œ œ œ œ ˙. ∑
fo

float - ing on the floor shall be lift - ed

# ˙ ˙˙˙ ww
& ˙˙ w Ó Œ œ œ
ot

ah nev - er-
N
VOCAL - 47 - #15 The Raven

224
# Œ ˙. ˙. œ œ w ˙. Œ
&
nev - er - more,

#
"Nevermore" "Nevermore" "Nevermore" "Nevermore" "Nevermore" "Nevermore"

& w ˙ Œ œ œ w ˙ Œ œ œ
more, nev - er - more, nev - er-

l
# w ˙. œ w ˙. Œ

sa
&
228

nev - er - more,

n
#
& w
"Nevermore" "Nevermore"

˙ ru
"Nevermore"

Œ œ œ
"Nevermore"

w
"Nevermore"

˙.
"Nevermore"

io
Pe
more, nev - er - more,

ct
# w ˙. œ œ ˙.
& w
du Œ
232
W

nev - er - more,

# ˙˙ ˙˙˙ ww ˙˙ ..
o
∑ ˙ w ˙. Œ
TR

&
pr

nev - er - more,

# w ˙ ˙ w ˙ U
r

& Ó ∑
236
fo

nev - er - more!

# www ˙˙ ˙˙˙ ww ˙˙ U
˙˙ ww ˙˙ Ó ∑
& ˙
ot

nev - er - more!
N
VOCAL - 48 - N ever mor e

15a
Maelstrom 2

3
Delicately like a music box
12
&4
1-12

l
13

sa
.. 44
Vamp Rit. 2nd X only

& ..
4

n
13-16

ru

io
17

& 44 ..
Vamp (continue on cue)
4 ..
Pe

ct
17-20

21

& Œ œ
du
∑
VIRGINIA:

œ œ œ œ œ #w
œ œ ˙.
W

Hear the sled - ges of the bells Sil - ver bells.

o
TR

Vamp Rit. last X only

& .. ..
4
pr

25-28
Segue
r
fo
ot
N
VOCAL - 49 - N ever mor e

16
Dream-land

EDGAR: "Are you my Eldorado?"

##3
Gently in 3

& # 4 .. ..
8
Safety
∑ Œ Œ ‰
WHORE:

1-8 œ œ
For the

l
###
11

sa
2
& ˙ œ œ œ œ ˙. ˙.
˙. 16-17

n
heart whose woes are le - gion

ru

io
### Œ Œ ‰ Œ
&
18

˙ œ œ œ œ ˙.
œ œ ˙. ˙
Pe

ct
'tis a peace - ful, sooth - ing re - gion.

###
Slightly faster

& ˙. ˙. ˙ œ
du œ
24

œ œ œ ˙ ˙.
œ œ œ
W

Bot - tom - less vales and bound - less floods

o
TR

### Œ Œ ‰
& j ˙. ˙. ˙ œ
31
pr

œ œ œ œ
and cha - sms and caves and

### 3
r

& œ ˙. Œ Œ ‰
36

œ œ œ ˙
œ œ
fo

39-41
Ti - tan woods. For the

##
43

& # ˙
2
ot

œ œ œ œ ˙. ˙. ˙. 48-49
heart whose woes are le - gion
N

## nnn C
& # Œ Œ ‰ Œ ∑
50

œ œ ˙ œ œ œ œ ˙. ˙. ˙
'tis a peace - ful, sooth - ing re - gion.
VOCAL - 50 - #16 Dream-land
57 Flowing

&C Ó w
Ó œ œ œ
œ œ œ œ œ œ œ œ ˙
Moun - tains topp - ling ev - er - more in - to seas

& œ Œ ‰ j
œ
62

œ œ œ œ œ w œ œ œ œ œ ˙
with - out a shore; Seas that rest - less - ly

l
Œ ‰ œj œ j
& œ œ. œ ˙
66

sa
˙. œ œ w
a - spire, sur - ging, un - to

n
j ru j ‰ j

io
& w œ œ œ œ. œ ˙ œ œ ˙
71

œ. w ˙. œ
Pe
skies, sur - ging, un - to skies of

ct
4
& w w w w
77 81-84

du
W

fire;
o
85
TR

& Œ w œ. j
œ œ œ œ ˙. œ w œ ˙
pr

By a route ob - scure and lone - ly, haunt - ed

& Œ œ œ œ œ Œ œ œ ˙.
r

90

w ˙ œ œ w w
fo

by ill an - gels on - ly, where an Ei - do - lon,

& Ó œ w w w w
96
ot

œ
named Night,
N

& Œ ˙.
101

œ œ œ œ œ œ œ œ ˙ w
on a black throne reigns up - right,
VOCAL - 51 - #16 Dream-land
105

& Πw
œ œ œ œ ˙. œ w
I have reached these lands but new - ly

& ˙. Œ ‰ j
œ œ
109

œ œ œ œ œ œ œ œ ˙ ˙
from an ul - ti - mate dim Thule from a

l
& ˙ j j j œ
113

œ œ œ

sa
œ œ. œ œ œ œ ˙.
œ œ ˙
wild weird clime that li - eth, sub - lime, out of -

n
ru Œ

io
& w w w œ œ
117

œ
Pe
space out of -

ct
& ˙. ∑
121

œ w w
du
W

- time.
o
125

j
TR

& Œ œ œ œ œ ˙ ˙ œ. j
œ ˙ œ. œ œ œ
pr

By the lakes that thus out - spread their lone

& œ j œ œ. j j
œ. œ
r

129

œ ˙ œ œ œ ˙ œ. œ œ
fo

wa - ters, lone and dead, Their sad

& œ j ‰ j
œ ˙ œ. œ œ œ œ œ
133
ot

œ œ ˙ ˙ œ œ
wa - ters, sad and chil - ly with the
N

##
& Œ
˙. œ œ œ #œ
137

w w œ
snows of the lol - ling
VOCAL - 52 - #16 Dream-land
141
#
& # œ œ œ ˙ w w ˙ ˙ œ œ œ ˙ w
li - ly. ah

#
& #
2
147-148

#
149

& # Πw w
œ œ œ œ ˙. œ

l
sa
By a route ob - scure and lone - ly,

#
& # œ. j Œ w Œ œ œ
153

œ ˙ œ œ œ œ ˙

n
haunt - ed
ru
by ill an - gels on - ly. From a

io
# j
& # ˙ œ œ j j ˙.
‰ œ œ
157

œ œ. œ œ œ œ œ œ œ.
Pe

ct
wild weird clime that li - eth, sub - lime, out of -

# j
& # œ. œ ˙ w w Œ ‰ œj œ œ
161

du
W

- space out of

# j
& # œ. œ ˙ w w Œ ‰ œj œ œ
o
165
TR

pr
time out of

# j
& # ˙ Œ ‰ œ œ œ
169

˙ w w
r

space out of
fo

#
& # œ œ ˙ Œ ‰ œj œ œ w w
173

w w
time out of
ot

## 2 3
& 4
179

w w w w 183-184
N

time

185
#
& # 43
Slowly
4
185-188 Segue
VOCAL - 53 - N ever mor e

17
Maelstrom 3

& C .. ..
4
1-4

œ œ œ œ œ œ œ. j œ œ œ œ j
& Œ œ œ œ œ œ œ œ œ œ
EDGAR:

J J J

l
sa
From child - hood's hour I have not been as oth - ers were. I have not seen

& Œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ. œ œ œ œ
9

J J J J J J

n
as oth - ers saw. I could
ru not bring my pass - ions from a com - mon spring.

io
œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Œ œ œ œ œ œ œ œ
& ΠJ J J
13
Pe

ct
From the same source I have not tak - en my sor - row, I could not a - wak - en

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
& ΠJ J J J J
17

du
W

my heart to joy at the same tone and all I loved I loved a-

œ. œ œ
& ˙. Œ œ w w
VIRGINIA:

J
21
o
TR

lone. An - na - bel Lee

∑ ∑ Ó
pr

& ˙ #˙
MOTHER:

˙
Proud eve - ning
VIRGINIA, ELMIRA,

& Œ œ bœ ˙ w ∑ Ó Œ
ELMIRA:
r

25 MOTHER, MUDDY, WHORE:

œ œ
fo

Nev - er - more And the

& w ˙ Ó
WHORE:

˙ w ˙
ot

star - out of time

29 (VIRGINIA, ELMIRA, MOTHER,

&
MUDDY, WHORE)

œ œ œ œ œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ
N

Ra - ven, nev - er flit - ting, still is sit - ting, still is sit - ting on the pal - lid bust of Pal - las just a-

& œ œ œ œ œ œ œ
32

œœ œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
bove my cham - ber door, And his eyes have all the seem - ing of a de - mon's that is dream - ing, and the
VOCAL - 54 - #17 Maelstrom 3

& # # œœ Œ bbbbb
35

œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ # # œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ

bbbbb
lamp - light o'er him stream - ing throws his shad - ow on the floor.

& ∑
MUDDY:

œ œ
And the

j
37
b œ œ œ œ œ œ
& b bbb Œ œ œ J œ œ. œ œ œ œ
EDGAR:

J
From child - hood's hour I have not been as oth - ers were.

b
& b bbb œ œ œ œ œ œ œ œ

l
œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
MUDDY:

sa
ra - ven, nev - er flit - ting still is sit - ting, still is sit - ting. The ra - ven, nev - er flit - ting still is

œ. œ œ
bbbb œ

n
& b ∑ J w
VIRGINIA:

ru

io
An - na - bel Lee

b
& b bbb ∑ ˙ w
WHORE:

˙
Pe

ct
Out of space

b
& b bbb ∑ ∑ Œ œ bœ ˙
ELMIRA:

du
W

Nev - er - more

b
& b bbb ∑ ∑ Ó ˙
MOTHER:
o
TR

Proud

bb œ œ
pr
40

&bbb œ œ œ œ œ œ Œ œ œ œ œ œ œ
J œ
J J J
bb
I have not seen as oth - ers saw. I could not bring

&bbb œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ
J
r
fo

sit - ting, still is sit - ting. The ra - ven, nev - er flit - ting still is sit - ting, still is sit - ting. The

b b œ. œ œ œ w œ. œ œ œ
&bbb J J
ot

bbbb
An - na - bel Lee An - na - bel

& b w w ˙ ˙

bb
N

Out of

&bbb w Œ œ bœ ˙ w

bbbb
Nev - er - more

& b ˙ ˙ w w
eve - ning star
VOCAL - 55 - #17 Maelstrom 3

bb œ ##
&bbb œ œ œ œ œ œ œ. œ œ œ
J
43

J J J J
my pass - ions from a com - mon spring.

bb ##
&bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ
J
ra - ven, nev - er flit - ting still is sit - ting, still is sit - ting. The

bb œ. œ œ œ ##
&bbb w J

l
Lee An - na - bel

bb ##
&bbb w

sa
w

n
time

bb bœ ##
&bbb Œ œ ˙
ru w

io
Nev - er - more

bb ˙ ##
&bbb Ó ˙
Pe
˙

ct
Proud eve - ning

du
W

## œ œ œ œ œ œ œ œ œ œ
45

Œ œ J J œ. œ œ œ Œ
& J
o
TR

From the same source I have not tak - en my sor - row,

#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
pr

J
ra - ven, nev - er flit - ting still is sit - ting, still is sit - ting. The ra - ven, nev - er flit - ting still is

# w œ. œ œ œ
& # J w
r
fo

Lee An - na - bel Lee

#
& # ∑ ˙ ˙ w
ot

Out of space

#
& # Œ œ nœ ˙ w Œ œ nœ ˙
N

Nev - er - more Nev - er - more

#
& # w w Ó ˙
star Proud
VOCAL - 56 - #17 Maelstrom 3

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& ΠJ J
48

I could not a - wak - en my heart to joy at the same tone

#
& # œ œ œ œ œ œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sit - ting, still is sit - ting. The ra - ven, nev - er flit - ting still is sit - ting, still is sit - ting, still is

## œ . œ œ œ w œ. œ œ œ
& J J

l
An - na - bel Lee An - na - bel

#
& # w

sa
w ˙ ˙
Out of

n
#
& # w ru Œ œ nœ ˙ w

io
Nev - er - more

# w w
& # ˙ ˙
Pe

ct
eve - ning star

du
W

## œ œ œ œ œ œ œ. œ œ "Œ "Alone"

& J J J
51
o
TR

and all I loved I loved

#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ "Œ
pr

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time

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VOCAL - 57 - N ever mor e

18
Dreams

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MOTHER:

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Oh! that
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my young life were a last - ing dream! My spir - it not a - wak-

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ter - ni - ty should bring the mor - row. Yes! tho' that long dream were

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whose heart must be, And hath been still, u - pon the love - ly earth,

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tin - u - ing - as dreams have been to me
VOCAL - 58 - #18 Dreams
34A

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In the sum - mer sky, in dreams of liv - light

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From my re - mem - brance shall not pass some power
VOCAL - 59 - #18 Dreams

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Or spell had bound me 'twas the chil - ly wind

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85-87
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 - SCORE SAMPLER -

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Music by MATT CONNER
Lyrics adapted from the writings of
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EDGAR ALLAN POE
Book by GRACE BARNES
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570 Seventh Avenue, Suite 2100

New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
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www.theatricalrights.com
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Like us! Follow us!

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www.facebook.com/TheatricalRightsWorldwide @theatricalright

The materials contained herein are copyrighted by the authors, are not for sale, and may only be used
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for the single specifically licensed live theatrical production for which they were originally provided.
Any other use, transfer, reproduction or duplication including print, electronic or digital media
is strictly prohibited by law.
1/8/13
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REHEARSAL PIANO-VOCAL N ever mor e

4
Evening Star

MOTHER: "In the eyes of whores."

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plan - ets her slaves. Her - self in the heav - ens, her beams on the waves.

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I gazed a - while on her cold smile, too cold - too cold for

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turned a - way to thee.

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REHEARSAL PIANO-VOCAL #4 Evening Star

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23

Œ œ œ œ œ œ œ œ œ œ œ œ
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Proud eve - ning star in thy glo - ry a - far

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joy to my heart is the proud

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more I ad - mire thy dis - tant fire

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Segue
REHEARSAL PIANO-VOCAL N ever mor e

11
Annabel Lee

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1 VIRGINIA:

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It was

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REHEARSAL PIANO-VOCAL #11 Annabel Lee

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nœ œ œ œ ˙.
and be loved by me.

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REHEARSAL PIANO-VOCAL #11 Annabel Lee
19
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REHEARSAL PIANO-VOCAL #11 Annabel Lee
27
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an - gels, not half so hap - py in heav - en, went en - vy - ing her and

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WOMEN (EXCEPT ELMIRA):

&bb 4 ∑ Ó Œ ‰ œ œ ˙ Ó

? b b b 44 œœœœ œœœœ œœœœ œœœœ .... œ œœœœ

oo

œœœœ œœœœ œœœœ .... œ œœœœ œœœœ œœœœ œœœœ .... œ

b
F

l
? b b b 44
b

sa
˙. œ œ ˙. œ œ ˙. œ œ
˙. œ œ ˙. œ œ ˙. œ œ

n
bb ru j

io
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30

˙. œ œ. œ œ œ œ œ œ œ œ œ œ œ œœ œ
Pe
Yes! - that was the rea - son (as all men know, in this

ct
me

b ‰
(and me)

& b bb Œ ‰ œj n ˙ œ œ ww ∑
MOTHER:
WHORE:

œ œ
(and me)

œ œ œ œ œ œ
? b b b n n œœœœ œ œœ œ œ œ œ œ œœœ œ œœœ œ œœ œ œœœ œ œ du œœœœ œœœœ œœœœ œœœœ .... œ
W

b
o
TR

? bb b j j
b œ. œ œ. œ
˙ œ. nœ œ nœ w
pr

˙ œ. nœ œ nœ œ. œ œ. œ w

b
& b bb œ j ‰
33
r

œ œ œ. œ ˙. nœ nœ
fo

king - dom by the sea) That the

bbbb ∑ œ œ
WOMEN (EXCEPT ELMIRA):

&
ot

Oo

? b b b œœœœ œœœœ œœœœ œœœœ .... œ n œœœ œ œœœ ..

. œ œœ œ œ œ œ œ œ œ
N

? bb b
b j j j
œ. œ œ. œ œ. œ nœ. nœ œ œ
œ. œ œ. œ œ. œ nœ. nœ œ œ
REHEARSAL PIANO-VOCAL #11 Annabel Lee

j 3
bbbb 6
4 œ œ œ œ œ œ œ œ œ. œ œ œ œ 44
35

&
3 3

œ œ œ œ œ œ œ œ œ œ
wind came out of the cloud by night, chill - ing and kill - ing my An - na - bel

bb 6 4
&bb œ œ œ nœ 4 ∑ 4

? b b b œœœ œ œœ œœœ œ œ œ œ œ œ œ œœœ œ œœ œ 6

4 œ œ œ œœ œ œ œœœœ
3 3

œœœœ œœœœ œ œœœœ .. œ 44

b &
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f

l
? bb b 46 œ œj 44

sa
j j j
3 3

b œ bœ œ œ bœ.
bœ œ nœ œ œ. œ
œ bœ bœ œ nœ œ œ œ œ bœ. œ œ. œ

n
b ru 38

io
& b b b 44 ˙ . Œ ∑
37
Pe

ct
Lee.

b
& b b b 44 Ó Œ œ œ œ œ œ œ œ œ œ œ. œ
3

œ œ
EDGAR:

But our love it was strong - er

du by far than the love of

W

b
& b b b 44 œ
n œœœ
˙˙ ..
˙˙ ..
‰. r
œ œ
œ
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œ.
œ
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œ
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o
TR

? b b b 44 œ œ œ œ bœ œ œ
b j œ œ bœ
pr

œ. œ œ œ
œ. œ œ loco

b
& b bb Œ
r

‰ j œ œ œ œ œ œ Ó
3 3

˙˙
39

œ b œœ œœ œœ œœ œœ œœ
ELMIRA, MOTHER, WHORE:

˙
fo

of ma - ny far wis - er than we

b r
& b bb œ œ œ œ œ œ œ. ≈œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
ot

those who were old - er than we - and neith - er the an - gels in heav - en a - bove, nor the

bb œœ b œœ ... œœ œœ œœ œœ œœ ..
& b b œœ ... œ œ œ œ œ œ œ. œ ‰. r œ œ
N

œ œ b œœ œ œœ b œ
œ œ œ 3
œ
œ œ œ

? bb b œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ
b œ œ bœ œ bœ
REHEARSAL PIANO-VOCAL N ever mor e

15
The Raven

ELMIRA: Now when storms of Fate...

bb 4
Agitato

& b b b b 4 œœ ∑
1

œœ œœ œœ œœ œœ œœ œœ
P
? bbb4 ∑ ∑
bbb 4

l
sa
3 Vamp EDGAR:

b j j
& b b b b b .. Œ

n
j .. Œ j œ
(Vocal last X only)

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ J
ru

io
Once u - pon a mid - night drea - ry, while I pond - ered, weak

b
& b b b b b .. œœ œœ œœ œœ œœ œœ œœ œœ ∑ .. œ œ œ œ œ œ œ œ
Pe
œ œ œ œ œ œ œ œ

ct
? b b b .. Œ Ó ∑ .. Œ Ó
bbb œ œ
œ
du œ
W

b j j j
& b b b b b œJ œ Œ j
6

œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
o
TR

pr
and wea - ry, o - ver ma - ny a quaint and cur - i - ous vol-

b
& b bbbb ∑ œœ œœ œœ œœ œœ œœ œœ œœ ∑

? bbb ∑ Œ Ó ∑
bbb
r

œ
fo

b
& b bbbb œ j j
9

œ ˙ œ œ œ œ œ ˙
ot

- ume of for - got - ten lore,

b
& b b b b b œœ œœ œœ œœ œœ œœ œœ œœ ∑
N

? bbb Œ Ó ∑
bbb œ
œ
REHEARSAL PIANO-VOCAL
#15 The Raven

b
& b bbbb Œ j j j Œ œ
11

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
while I nod - ded, near - ly nap - ping, sud - den - ly there came

b
& b b b b b œœ œœ œœ œœ œœ œœ œœ œœ ∑ œœ œœ œœ œœ œœ œœ œœ œœ
? bbb Œ Ó ∑ Œ Ó
bbb
œ œ
œ œ
b j j j j j j j j j
& b b b b b œJ œ
14

œ œ œ. œ œ œ œ œ œ œ œ œ œ œ.

l
sa
a tap - ping, as of some one gent - ly rap - ping,

b
& b bbbb ∑ œœ œœ œœ œœ œœ œœ œœ œœ ∑

n
? bbb
bbb ∑ ru Œ Ó ∑

io
œ
œ
Pe
b
& b b b b b œj j j j

ct
j j
17

œ œ œ œ œ œ œ œ œ œ œ
rap - ping at my cham - ber door. "'Tis some

b
& b b b b b œœ œœ œœ œœ œœ œœ œœ œœ
du ∑
W

? bbb Œ Ó ∑
bbb œ
o
TR

œ
pr

b ‰ œj j j j
& b bbbb œ œ ˙ j j j
19

œ œ. œ œ. œ œ œ œ œ œ
vis - i - tor," I mut - tered, "tap - ping at my cham - ber door

b
& b b b b b œœ œœ œœ œœ œœ œœ œœ œœ ∑
r

œœ œœ œœ œœ œœ œœ œœ œœ
fo

? bb b b Œ Ó ∑ Œ Ó
bb œ œ
œ œ
ot

b
& b bbbb œ Œ Œ ‰
22

j
3

œ œ œ œ œ ˙. œ
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N

On - ly this, and noth - ing

b
& b bbbb ∑ œœ œœ œœ œœ œœ œœ œœ œœ ∑

? bb b b ∑ Œ Ó
bb œ w
œ
REHEARSAL PIANO-VOCAL
#15 The Raven

b #
& b bbbb ∑ ∑ ∑
25

w
more."

b #
& b bbbb œœ œœ œœ œœ œœ œœ œœ œœ ∑ œœ œœ œœ œœ œœ œœ œœ œœ ∑

? bb b b Œ Ó ∑ ∑ Ó Œ #
bb œ nœ
œ

l
sa
29
# j j
Slightly faster

& Œ j œ œ
nœ œ œ œ œ œ œ œ.

n
Ah, dis - tinct - ly I re - mem - ber

# ru Ó ‰ n œœ ..

io
& n n œœ œœ # œœ œœ œœ œœ œœ œœ
F
Pe
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ct
nœ nœ
nœ nœ

du
W

# Πj j j j
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31

& œ œ œ J œ œ œ. œ œ œ œ œ œ
o
TR

it was in the bleak De - cem - ber, and each sep - 'rate dy-

#
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& œœ œœ œœ œœ œœ œœ œœ œœ ∑ œœ œœ œœ œœ œœ œœ œœ œœ

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r

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fo

34
# j j j j j j j j j
& œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙
ot

- ing em - ber wrought its ghost u - pon the floor.

# Ó Œ
N

& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

?# Ó Œ ‰ j Œ Ó Ó Œ ‰ j
œ œ œ
œ œ
REHEARSAL PIANO-VOCAL
#15 The Raven

# Œ j j j Œ œ
37

& œ œ œ œ œ œ œ œ œ œ. œ œ œ œ
Ea - ger - ly I wished the mor - row, vain - ly I had sought

#
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ n œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ

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œ nœ œ

l
sa
# œ j j j j j j j
œ
40

& J œ œ œ. œ œ œ œ œ œ œ œ œ œ œ.

n
# Ó
to bor - row

ru
from my books sur - cease of sor - row,

io
& ‰ œœ .. œœ œœ ∑
œœ œœ œœ œœ œœ œœ
Pe
?# Ó

ct
Œ Œ Ó ∑
œ œ
œ œ

du
W

43
# j j j j j j
& œ œ œ œ œ œ œ œ œ œ œ
œ
o
TR

sor - row for the lost Le - nore For the

#
pr

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Ó

?# Œ Ó ∑
r

œ
œ
fo

# j j
j j
45

& ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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rare and ra - di - ant mai - den whom the an - gels name Le - nore

#
N

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Ó œœ œœ œœ œœ œœ œœ œœ œœ

?# Œ Ó ∑ Œ Ó
œ œ
œ œ
REHEARSAL PIANO-VOCAL
#15 The Raven

48
# Œ Œ ‰
& j
3

œ œ œ œ œ œ ˙. œ
œ œ œ
Name - less here for ev - er

# ∑ ∑
& œœ œœ œœ œœ œœ œœ œœ œœ
?# ∑ Œ Œ &
œ œ w
51 œ
# WOMEN (Whispering): "Nevermore..."
∑ ∑ ∑
& w

l
sa
œ œ œ œ œ œ œ œ
more.

# œ œ œ œ w
&

n
P
# w Ó ru œ œ ˙ w

io
& w œ œ
Pe
#

ct
∑ ∑ ∑ ∑
55

&
# œ œ œ œ œ w
w œ #œ œ
&
du
W

# ˙ w ?
& œ œ ˙ w
#œ œ
o
TR

# Œ
59

j j j j œ
pr

& œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ J
And the silk - en sad un - cer - tain rust - ling of each pur-

#
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
r

F
fo

?# Œ Ó Ó Œ Œ Ó
œ nœ œ
œ nœ œ
# j j
ot

& œJ œ
62

œ œ œ. œ œ œ œ
- ple cur - tain thrilled me filled me
N

#
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
?# Ó Œ Œ Ó
œ œ
œ œ