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Durbeyfield, Tess’ father Joan Durbeyfield, Tess mother Parson Tringham Liza-Lu, Tess’ younger sister Abraham, Tess’ younger brother Alec d’Urberville Car Darch Nancy Darch Lizzie Darch Mr. Crick, Dairyman Mrs. Crick Jonathan Kail, works at the dairy Marian, dairymaid Izz, dairymaid Retty, dairymaid Rev. Clare, Angel’s father Mrs. Clare, Angel’s mother Jack Dollop Rebecca Brook Mrs. Brook Villagers 1-4 NOTE The play was written to be performed using as little as possible in the way of set and scenery. Costume should also be simple. One actor may play more than one character, and it is also possible for the Chorus to take on character roles. The Chorus is central to the structure of the play, and it’s importance should be highlighted in any production. This dramatization of Tess of the d’Urbervilles had its first production at Weston Road High School in Stafford in 1997. ACT ONE: MAIDEN 1 TESS ENTERS, ALONE. SHE WEARS A SIMPLE, WHITE DRESS. SHE KNEELS CENTRE-STAGE AND SINGS TESS: As I walked out one morning all in the month of May, I saw a man all dressed in black upon the broad highway, Black was his hair, blue were his eyes, and cold as cold could be, "Oh, come away, my love," he said, "Oh, come away with me" CHORUS 1 - 3 ENTER. THEY STAND, ONE ON EACH SIDE OF HER, AND A LITTLE BACK, AND ONE BEHIND, TO FORM A TRIANGLE AROUND HER. ONE OF THEM CARRIES A WILLOW-WAND AND GIVES IT TO TESS. CHORUS 1 : This is how the story begins CHORUS 2: This is where the story begins CHORUS 3: In the village of Marlott, in the Vale of Blackmoor CHORUS 1: Hidden among the high, rolling hills of Wessex CHORUS 2: In the secret heart of that ancient kingdom CHORUS 3: Of tales and ballads, and age-old songs. TESS SINGS TESS: "Who are you, sir?" I said to him, "I fear you do me wrong. "What is your name and country? What place do you belong?" "I am your own true lover, as true as true can be. "Come away with me and be my bride," are the words he said to me. CHORUS 4 - 6 ENTER. THEY TAKE UP THE SAME POSITIONS AS CHORUS 1 - 3. ONE OF THEM CARRIES A BUNCH OF MAYBLOSSOM, AND GIVES IT TO TESS CHORUS 4: And this is Tess. Tess Durbeyfield CHORUS 5: Sitting here weaving a crown of flowers CHORUS 6: The village and valley are her only world CHORUS 4: The endless days, the turning seasons CHORUS 5: Where she lives her life without shadow or shame CHORUS 6: An innocent maid, a pure woman. TESS SINGS TESS: Then he reached out and took my hand, and his touch was icy cold, And as he drew me to him, I felt the year turn old, The sky grew dark, the wind blew sharp, the leaves fell from the tree, "Oh, come with me, my love," he said, "for all eternity." CHORUS 7 - 9 ENTER. THEY TAKE UP THE SAME POSITIONS AS OTHER CHORUS MEMBERS. ONE OF THEM CARRIES A CROWN OF FLOWERS. IT IS PLACED ON HER HEAD. TESS STANDS. CHORUS 7: It's Maytime, and the air is fine and clear CHORUS 8: The sky blue, the valley warm under the sun CHORUS 9: She stands, puts the crown of flowers in her hair CHORUS 7: And with a willow wand in one hand, mayblossom in the other CHORUS 8: Her white dress shining in the midmorning light CHORUS 9: She dances. A FIDDLE TAKES UP THE MELODY, TURNING IT INTO A LIVELY TUNE. VILLAGE GIRLS ENTER AND DANCE. CHORUS MOVE BACK IN TWO GROUPS TO STAND AROUND AND BEHIND THE TWO RAISED AREAS. THEY CLAP ALONG WITH THE MUSIC. THE FIDDLE IS JOINED BY OTHER INSTRUMENTS - FLUTE, DRUM, AND SO ON, AND THE TEMPO INCREASES. FOR A SHORT TIME, TESS THEN RACHEL AND SARAH APPROACH HER TO DANCE. ANGEL ENTERS. HE STANDS TO ONE SIDE, WATCHING. THE DANCE ENDS. THE MAJORITY OF THE DANCERS GO, LEAVING ONLY SARAH AND RACHEL AND TESS TOGETHER. THEY PREPARE THEMSELVES FOR THE NEXT DANCE, BRUSHING DOWN DRESSES, RE- ARRANGING HAIR, AND SO ON. TESS PUTS DOWN THE MAYBLOSSOM AND WILLOW-WAND. ANGEL TURNS AND SPEAKS TO THE AUDIENCE. ANGEL: And that was where I first saw her. I was spending the whitsun holidays walking through the Blackmoor Vale, coming down from Shaston and making for Stourcastle. The sound of music drew me to the village green, and so I stopped to watch for a while...He turns to look at Tess now. There was nothing particularly remarkable about her. Her beauty and freshness were no more than those of the other village girls. But there was something about her...a look...an air of...vulnerability...that seemed to set her apart... DURING THE ABOVE, SARAH, RACHEL AND TESS HAVE NOTICED ANGEL. SARAH NOW APPROACHES HIM SARAH: Are you going to join us in our dancing, sir? ANGEL: I think I might well do... RACHEL: Sarah! You shouldn't be so forward - ! SARAH: I'm not! I'm only saying what he already has on his mind. That's right, isn't, sir? ANGEL: It is - but, there is only one of me - SARAH: One man's better than no man at all, isn't Rachel? Now, sir. You must choose between us. Who'll be your partner? ANGEL: It's not an easy choice - RACHEL: I'll make it for you, then! RACHEL PUSHES PAST SARAH AND TAKES HOLD OF ANGEL. MUSIC STARTS UP AND THEY DANCE. TESS WATCHES ANGEL THROUGHOUT THE DANCE. AFTER A SHORT TIME, SARAH TAKES OVER FROM RACHEL TO DANCE WITH ANGEL. THE DANCE CONTINUES WITH SARAH AND RACHEL ALTERNATELY TAKING ANGEL AS THEIR PARTNER, UNTIL IT ENDS, WITH RACHEL THE FINAL PARTNER. RACHEL: And now you must dance with Tess. She won't ask you herself. ANGEL AND TESS FACE EACH OTHER. IT'S OBVIOUS SHE WANTS HIM TO DANCE WITH HER. ANGEL: The music's finished. RACHEL: Davey can soon strike up another - ANGEL APPROACHES TESS ANGEL: No...I can't stay any longer... SARAH: One more dance won't hurt - HE'S ABOUT TO CHANGE HIS MIND, BUT CHECKS HIMSELF. ANGEL: I'd like to...but I must be going...I'm sorry... HE TURNS AND MOVES AWAY FROM TESS TOWARDS THE SIDE OF THE STAGE. HE SPEAKS TO THE AUDIENCE So I left her, and went on along the lane, away from the village. But at the next rise, I stopped and looked back. And I could see her, a small figure standing alone in the afternoon sunlight. I wished then I had stayed. I wished I'd danced with her. Somehow I felt I'd...let her down. But it couldn't be helped, and I turned away, and by the time I reached the next bend I'd forgotten her. And even when I met her again three years later, I didn't remember seeing her before, or who she was. ANGEL GOES. TESS MOVES A FEW STEPS AFTER HIM, LOOKING TOWARDS WHERE HE HAS GONE. CHORUS 1: But if he had stayed CHORUS 2: If he had stayed and danced with her CHORUS 3: If he'd taken her hand and asked her name CHORUS 4: Who knows what might have happened then? CHORUS 5: Who can tell what the story might have been? CHORUS 6: But there's only one story that we can live CHORUS 7: Only one tale our lives can tell CHORUS 8: The one fixed into us at our very beginning CHORUS 9: And we must live it through to its bitter end. JOHN DURBEYFIELD ENTERS, ACCOMPANIED BY FOUR VILLAGERS. HE'S DRUNK, WAVING A HALF-EMPTY BOTTLE IN THE AIR. THE VILLAGERS ARE MAKING MERRY AT JOHN'S EXPENSE. 1ST VILLAGER: Make way! Make way for John Durbeyfield! 2ND VILLAGER: Bow your knees to my Lord John! 3RD VILLAGER: Lord John d'Urberville! 4TH VILLAGER: Make way for the royal Lord of Kingsbere! TESS: Father - ? JOHN: I got a great family vault! I got knighted forefathers at Kingsbere! TESS: What's going on - ? RACHEL: Looks like he's been down at Rollivers. SARAH: And taken a bit too much for his own good. TESS: That's enough! I won't have you talking about my father like that! JOHN: John d'Urberville, that's me! Lord John d'Urberville of Kingsbere! 1ST VILLAGER: Three cheers for Lord John! THEY CHEER AS JOHN THROWS BACK HIS HEAD AND DRAINS THE BOTTLE. ON THE THIRD CHEER HE FALLS BACKWARD. THE VILLAGERS CATCH HIM AND HEAVE HIM, STAGGERING, BACK ONTO HIS FEET. JOHN: Tess! Daughter! We be of a noble race! TESS: Be quiet, father -! JOHN: It's recorded in the history all about us - TESS: I think I'd best take you home - JOHN: What's my name, Tess? Eh? Tell me! What's my name? Go on! Say it! TESS: John Durbeyfield - JOHN: No! D'Urberville! That's who I am! John d'Urberville! And I've got a whole vault of ancestors to prove it. Hundreds of them, lying in great lead coffins, in coats of mail, and jewels - TESS: This is just foolishness - JOHN: No, it's not! It has been found out to me this very afternoon! 1ST VILLAGER: It's true. Parson Tringham told him. PARSON TRINGHAM ENTERS, SEPARATE TO THE REST, TO DENOTE THAT HIS SCENE WITH JOHN IS PLAYED IN FLASHBACK, AS THE VILLAGERS NARRATE. JOHN STANDS BETWEEN THE VILLAGERS AND TRINGHAM, ENABLING HIM TO TURN REPEATEDLY FROM THE FLASHBACK CONVERSATION TO THE PRESENT ONE. TRINGHAM IS AN EDUCATED MAN, RATHER HAUGHTY, AND A LITTLE AMUSED BY JOHN, AND THE DISCOVERY HE'S MADE ABOUT HIM. 2ND VILLAGER: He was coming home from Shaston and he met the Parson coming the other way - TRINGHAM TAKES A STEP TOWARDS JOHN 3RD VILLAGER: And the Parson says to him - TRINGHAM: Good day to you, Sir John. 4TH VILLAGER: And your father, he stops, and he looks at the Parson, and he says to him - JOHN: What was that you called me? TRINGHAM: I called you Sir John. JOHN: And why might you call me that - ? 1ST VILLAGER: Says John - JOHN: - when I'm just plain Jack Durbeyfield, the haggler? TRINGHAM: I don't mean to offend you, Lord John Durbeyfield - JOHN: There you go again! TRINGHAM: - but it's really only a whim. JOHN: A whim? 2ND VILLAGER: A whim. 3RD VILLAGER: That's what he said. 4TH VILLAGER: A whim. JOHN: And what's the meaning of this here whim? 1ST VILLAGER: Then the parson, he takes a step or two nearer to John, and he looks him up and down, and he says - TRINGHAM: It is on account of a discovery I made some little time ago, when I was hunting up pedigrees for the new county history. Don't you know, John Durbeyfield, that you are the lineal* representative of the ancient and knightly family of the d'Urbervilles, who derive their descent from Sir Pagan d'Urberville, that renowned knight who came from Normandy with William the Conqueror, as appears in the Battle Abbey Roll? 2ND VILLAGER: And Jack Durbeyfield - 3RD VILLAGER: Sir Jack Durbeyfield - 4TH VILLAGER: He looks back at the Parson and he says - JOHN: What's all that mean, then? TRINGHAM: What it means, John Durbeyfield, is this. 1ST VILLAGER: And Parson Tringham steps in closer, and he says to John - TRINGHAM: You are the last living descendant of a once great and noble family - 2ND VILLAGER: - the d'Urbervilles - TRINGHAM: - who once held land and manors all over this part of England - 3RD VILLAGER: - who fought in wars and served with kings - TRINGHAM: - and were at one time wealthy and powerful beyond compare. And that if knighthood were hereditary - 4TH VILLAGER: - which it is isn't - TRINGHAM: - you'd be Sir John now. JOHN TURNS OUT OF THE FLASHBACK, TO THE VILLAGERS AGAIN. JOHN: That's what he said! That's just what Parson Tringham says to me. True as I'm standing here. I got noble ancestors, going back beyond Oliver Grumble's time - back to the Pagan Turks - and they're all lying in the city of Kingsbere - 1ST VILLAGER: City, did you say, John? The city of Kingsbere? JOHN: That's right - 1ST VILLAGER: I've been to Kingsbere, and it's no city. A little one-eyed, blinking sort of place, it is. JOHN GROWS ANGRY. HE SWINGS OUT AT THE VILLAGERS WITH HIS BOTTLE, STAGGERING AMONG THEM. JOHN: It don't matter what the place is! It's where they lie - my ancestors - under the church - rows and rows of them - there ain't a man got grander nor nobler skellintons in all Wessex - HE SWINGS WILDLY WITH HIS BOTTLE, STUMBLES, AND FALLS. TESS RUNS TO HIM. TRINGHAM: To audience, with some irony Not that it will do him any good to know it. There's nothing left of them. Gone down, and gone under. Nothing left but their tombs and their bones. To John, amused Good afternoon, Sir John. TRINGHAM GOES TESS: Father. Are you all right? Have you hurt yourself? 2ND VILLAGER: How are the mighty fallen. And fallen mighty low, as well. 3RD VILLAGER: Arise, Sir John. If you can. JOHN: I'll rise! I'll rise again, you see if I don't - HE TRIES TO GET UP. FALLS BACK. 4TH VILLAGER: To Tess I think you'd best take your noble father home. And lay him to rest in his family vault. VILLAGERS, RACHEL AND SARAH GO, LAUGHING. JOHN CALLS OUT. JOHN: You can laugh - I'm as good as some folks here - and better than most - TESS HELPS HER FATHER TO HIS FEET TESS: All right, father! Quiet, now. That's enough of this nonsense. JOHN: It's not nonsense, Tess. It's true. All of it's true - great folks we've been - and will be again - TESS: All right. I believe you...now, we'd best get you home - JOHN: That's right. Let's get home and tell your mother, and we'll see what she has to say about it - JOAN DURBEYFIELD ENTERS TO THEM. A LIGHTING CHANGE MAY DENOTE THAT WE ARE NOW IN THE DURBEYFIELD HOME JOAN: What do I have to say about it? I'll tell you what I have to say about it. We'll be fools of we don't make something of this, that's what we'll be. ABRAHAM AND LIZA-LU ENTER, EXCITEDLY ABRAHAM: We've got ancestors in grand tombs! LIZA-LU: Our forefolk were all ladies and gentlemen! ABRAHAM: We're going to be ladies and gentlemen, aren't we, Tess? TESS: I don't know - JOAN: Abraham. Liza-Lu. Help your father to his bed. He's had a trying day and it's worn him out. THE TWO CHILDREN HELP THEIR FATHER OFFSTAGE. LIZA-LU: Is it true, father? ABRAHAM: Are we gentlefolk? JOHN: We are - with vaults and crests and 'scutcheons - ABRAHAM: What's a 'scutcheon? JOHN: Don't you know that? It's what all royal gentlefolk have - THEY EXIT TESS: I haven't seen him like that for a long time. When he came along like he did this afternoon, with everybody there, I could've sunk into the ground with shame - JOAN: There's nothing to be ashamed of in your father, Tess. 'Specially now, knowing what kind of blood runs in his veins. And yours too. TESS: There's no meaning to any of that - JOAN: Don't you be so sure. When word of this travels around, it wouldn't surprise me if people didn't come calling on us from all over - TESS: What people? JOAN: Gentlefolk. Our kin - TESS: But the parson said father was the last of the line - JOAN: The last of the line direct. But there may be others. Sure to be. Cousins and what-not. They'll be turning up here, in their carriages and finery - TESS: No, they won't - JOAN: They will! You'll see! We haven't heard the last of this. Not if there's any justice in the world. It's time we had a turn for the better. God knows we've had enough for the worse. You think on it, Tess. Something will come of it all. I'll make certain it does. TESS AND HER MOTHER TURN TO FACE THE AUDIENCE FOR NARRATIVE SECTION AS CHORUS SPEAK. CHORUS 1: And something comes of it, sure enough CHORUS 2: Because if John Durbeyfield hadn't heard that news from Parson Tringham CHORUS 3: And if he hadn't gone and got himself drunk on account of it CHORUS 4: Then he'd have been fit to drive the horse and cart to market next morning JOHN ENTERS AND SPEAKS TO THE AUDIENCE JOHN: bitterly But I wasn't so I didn't, and Tess drove it instead TESS: A long journey, through narrow lanes, in the dark of the early morning CHORUS 5: And if Tess hadn't been so tired that she fell asleep as she was driving CHORUS 6: Then the accident would never have happened JOAN: Looks sharply at Tess Accident? What accident? TESS: Turns to Joan, distressed Prince is dead, mother. I'm sorry - JOHN: Dead? How did it happen? CHORUS 7: She was woken from her sleep by a sudden jolt CHORUS 8: Ahead of her in the dark, she saw the morning mailcart CHORUS 9: With its shaft driven into the horse's chest TESS: Turns back to audience I tried to do something...I jumped down from the cart...and he was standing there, breathing slow and heavy...and with that big wound in his chest...I put my hands over it...I tried to stop the blood...but it just kept coming...she stares down at her hands in horror...all over my hands...all that blood... ABRAHAM ENTERS ABRAHAM: To Joan It's because we live on a blighted star. JOAN: What's that? ABRAHAM: Tess said. She told me we lived on a blighted star. ABRAHAM RUNS TO TESS AND CRIES. TESS HUGS HIM. JOHN: To Abraham Don't say such things. To Tess And you mustn't blame yourself - TESS: But what will we live on, now? It's all my doing. To think I was laughing and dancing only yesterday. To think I was such a fool. JOHN: Things happen as they must. It's done, and there's nothing you can do to help it. JOAN: I wouldn't be so sure. There's never anything so bad happens it can't be turned to some good. And never could your high blood have been found out at a more called-for moment. JOHN: Do you have something in mind? JOAN: I have. It's a project I've been thinking of - JOHN: What project? JOAN: To set Tess on the road to becoming a lady. TESS: What? What's all this about, mother? JOAN: I've heard there's a lady lives out by Trantridge, at the edge of The Chase. She's rich, and she has the name of d'Urberville. JOHN: That's our name. Are you sure -? JOAN: I'm certain of it. D'Urberville's her name, which means she must be a relation of ours. And with this trouble that's come upon us, I think that Tess must go to her and claim kin. ABRAHAM: happy again Tess is going to claim kin with a lady!...Tess is going to become a lady! HE RUNS OFF, EXCITEDLY TESS: I don't think I care to do this, mother - JOAN: You don't care to? Why not? TESS: It isn't right to go begging - JOAN: It's not begging. It's natural for families to ask help of each other in times of trouble - TESS: We don't know that she is our family - JOAN: Her name's d'Urberville, isn't it? And hasn't your father been told that's his name as well? We must be related, and you must go and ask her for help. With your looks and your nature you'll win her round to anything. TESS: I'd rather find some other way. I'll get work - IN FRUSTRATION, JOAN TURNS TO HER HUSBAND. JOAN: Durbeyfield! You must settle this! You're her father. If you say she ought to go, she will. JOHN: Well now. I don't know that I like my children going and making themselves beholden to of themselves to strange kin - JOAN GIVES HIM A WARNING GLANCE JOHN: - but I'm the head of the noblest branch of the family, and I ought to live up to it. It won't do no harm to go and see her, Tess. JOAN: There. Now it's settled. TESS LOOKS AT HER PARENTS, HESITATING, THEN MAKES UP HER MIND TESS: Very well. It was me killed the horse, and I ought to do something. I will go and see her, and introduce myself. And if I decide to ask her for help, that's my business. And that's all there'll be to it, and nothing more. TESS TURNS FROM HER MOTHER AND FATHER, AND APPROACHES THE CHORUS. IN TURN, CHORUS MEMBERS HAND HER CLOAK, A BONNET, AND A BASKET. SHE TAKES THEM AND GOES. AS THIS HAPPENS, JOAN AND JOHN SPEAK TOGETHER. JOAN: There, now. We've set her on her way, and there'll be no going back. This is only the start of it. She's sure to win the lady, and to be taken into her house. And after that, well, one thing will lead to another. JOHN: What do you mean? JOAN: It won't be long before some gentleman sees her, and takes a fancy to her. JOHN: So that's your scheme. I don't know that Tess will have anything to do with something like that. You know what she's like - JOAN: Just you leave her to me, John Durbeyfield. This is a fine chance providence has brought her way, and it's our duty to do all we can to help her to it. JOAN AND JOHN GO. CHORUS LEAVE, INDIVIDUALLY, ON THEIR LINES. CHORUS 1: So she goes on her way, early next morning CHORUS 2: Walking to the hill-town of Shaston CHORUS 3: And taking the van that travels from there to Chaseborough CHORUS 4: And passes by way of Trantridge CHORUS 5: And there she gets out and walks again towards The Chase CHORUS 6: Which is one of the last remaining ancient woodlands of England CHORUS 7: And comes at last in sight of the great, red-brick country house CHORUS 8: Newly-built in a landscape of lawns and gardens CHORUS 9: Her destination, the home of the d'Urbervilles. THE STAGE IS EMPTY 2 ALEC ENTERS. HE SPEAKS TO THE AUDIENCE, GRADUALLY MAKING HIS WAY UP ONTO ONE OF THE RAISED AREAS. ABOUT HALFWAY THROUGH HIS SPEECH, TESS ENTERS, OPPOSITE, AND MAKES HER WAY TOWARDS HIM ALEC: The irony is, of course, that we aren't d'Urbervilles at all. Stoke was my father's name, God rest his soul, and he made his money in the north. How he made it we won't go into now. But, having made it, the old man decided he wanted to settle in the south, set himself up as a country gentleman. The simple name Stoke wouldn't do for that, of course. Far too plain and...business-like. So he did a little research, dug up the name of an old extinct family from the area, and...bought it. So, Simon Stoke became Simon Stoke d'Urberville. And having become that, he passed on, and left me, as his only son and heir, house, estate, property - and name. Not that she's aware of this, of course. And I'm pleased to say she isn't. Otherwise, she would never have come here, and I wouldn't have met such an enchanting creature. TESS STANDS AT THE FOOT OF THE RAISED AREA AND SPEAKS TO ALEC TESS: Excuse me, sir - ALEC: Yes? What can I do for you? TESS: I...I've called to see Mrs. d'Urberville... ALEC: I'm afraid you can't. Mrs. d'Urberville is not well. She's an invalid. TESS: Oh - ALEC: Perhaps I can be of help. I'm her son. What is it you wanted to see her about? TESS: It's difficult... ALEC: Business? Or pleasure. TESS: I can't really say...perhaps I'd just better go... SHE TURNS TO GO ALEC: No - stay. As you've taken all the trouble to come out here, you may as well tell me why. Now. Try again. SHE HESITATES, THEN TURNS BACK, DETERMINED, AND STEPS UP TOWARDS HIM TESS: It was mother asked me to come...to introduce myself...we're of the same family as you... ALEC: Ah. Poor relations. TESS: Yes, sir. ALEC: Stokes? TESS: No, sir. D'Urbervilles. ALEC: Yes, of course. D'Urbervilles. TESS: Our name's worn away to Durbeyfield - but we have proofs that we are d'Urbervilles - ALEC: I'm sure you do. TESS: - and our horse has been killed and mother said I should call on you on account of us being the oldest branch of the family. ALEC: Are you, indeed? I see. So, you've come on a...friendly visit to us? TESS: I suppose I have, yes... ALEC: Then we ought to introduce ourselves. My name's Alec. TESS: I'm Tess... ALEC: Tess d'Urberville - TESS: Durbeyfield, sir - ALEC: Of course. Tess Durbeyfield. And where are you from, Tess? TESS: Down Marlott way, sir - ALEC: Alec, please. TESS: From Marlott...Mr. d'Urberville. ALEC: I'm delighted to meet you, Tess Durbeyfield from Marlott. HE HOLDS OUT HIS HAND. SHE TAKES IT. HE DOES NOT LET GO You said you'd lost your horse. TESS: Yes. He was killed in an accident, and he was our only means of livelihood. And it was my fault, I feel I must do something to make amends for it. ALEC: And so you've come to see us. TESS: Yes. ALEC: To ask for help. TESS: proudly Yes. ALEC: You're very bold. I admire that. I'll have a word with my mother, and see if she can find a position for you here. I make no promises, mind. But I'll do what I can. TESS: Thankyou, sir. ALEC: Alec. I insist. We are cousins. TESS: Alec. ALEC: Good. HE LOOSES HER HAND TESS: I'll be on my way, then... ALEC: Yes. TESS: Goodbye - ALEC: I trust it's not. TESS: Sir? ALEC: I hope we shall be meeting again before long - cousin. TESS: Yes... SHE TURNS, STEPS DOWN FROM THE RAISED AREA, MOVES AWAY, TAKES UP A POSITION AT THE BACK OF THE STAGE, TURNED AWAY FROM THE AUDIENCE. ALEC WATCHES HER GO ALEC: Yes, my beauty, I do hope so indeed. Turns back to the audience But nothing is moved by hope alone. So, to that end, even as she's still within sight, I write a quick letter to her mother and father - HE TAKES OUT A SMALL NOTEPAD AND PENCIL AND WRITES - signed Mrs. d'Urberville - HE TEARS OFF A SHEET, FOLDS IT, PUTS THE NOTEPAD AND PENCIL AWAY - get on my horse, ride down to Marlott, find the Durbeyfield residence - HE STEPS DOWN FROM THE RAISED AREA AS JOAN AND JOHN ENTER, AND HE TURNS AND SPEAKS TO THEM Alec d'Urberville. Pleased to make your acquaintance. JOAN: To Alec The pleasure's ours, sir. ALEC: To audience - deliver the letter - HE HANDS THE LETTER TO JOHN, WHO UNFOLDS AND READS IT JOHN: To Joan It's from Mrs. d'Urberville! ALEC: To audience And it's done, and I'm gone - JOHN: To Alec Thankyou, sir. JOAN: And thank your mother as well. ALEC NODS TO JOAN AND JOHN, THEN TURNS BACK TO THE AUDIENCE ALEC: - and all before Tess has got back home. ALEC GOES. TESS APPROACHES JOAN AND JOHN. JOAN: Tess! I said you'd do it! I knew you'd win her round - TESS: What do you mean? JOHN: Holds up the letter We've had a letter. From Mrs d'Urberville. TESS: What - ? JOAN: She wants you to go and live there, Tess. There's a little fowl-farm she has, and you're to look after it for her. That's right, isn't it, John? JOHN: Waving the letter It's just what it says here - JOAN: But that's not the true meaning of it. It's only a way of bringing you there so she can claim you for her kin and take you into her family. JOHN: She must have taken a liking to you, Tess. TESS: But I didn't see Mrs. d'Urberville. JOAN: You must've seen somebody. TESS: Yes. Her son - JOHN: It was her son brought the letter. TESS: He did say he'd speak to his mother - JOAN: And he has, and this is what's come of it. You've made more than a fair impression on him, Tess. And that's even better. A mighty handsome man, he is - TESS: Mother - JOAN: And you so good-looking yourself, and being his cousin, it wouldn't surprise me if before long - TESS: No! That's enough of that! LIZA-LU AND ABRAHAM ENTER LIZA-LU: Tess! Mother says you're going to live at a grand house. ABRAHAM: And marry a gentleman and become a lady. LIZA-LU: And we'll come and visit you and wear fine clothes. ABRAHAM: And we'll all be ladies and gentlemen. TESS: To her mother What have you been telling them? JOAN: Nothing. Only that you're going to live up at Trantridge - TESS: Well, I'm not. It's kind of her to offer me a place...but I've decided. I won't be going. LIZA-LU: Why not, Tess? You must go. ABRAHAM: We want you to be a lady. LIZA-LU: Why won't you go? TESS: Because...somehow I feel nothing good will come of it... JOAN: You couldn't be more wrong, girl. Nothing but good can come of it! TESS: I'd rather stay here and find other work - JOAN: Tess, you're a fool. This is your chance. Look about you. Look at how we live. Haven't you always wanted more than this? TESS: Yes... JOAN: Then now's your chance! Once you're placed there - TESS: I don't think it would turn out as you're thinking, mother. JOAN: The girl's driving me to distraction! John. Will you make her see sense? JOHN: I'm not so sure about it myself... JOAN: What! JOHN: I don't know as I like the thought of Tess going away from home. JOAN: But she has to! Turns to Tess You owe it to yourself. It isn't often such an opportunity comes to one of our station, and when it does, it's a crime and sin not to take it. You're a lady in blood, and you must now go and claim what's yours by birthright. TESS: Turns to John Father. What should I do? JOHN: As I said - I don't like it. Joan gives John a shove from behind But your mother's right. It is a chance. You must go. JOAN: It's not just for yourself. It's for all of us. TESS CONSIDERS, THEN DECIDES TESS: All right. I'll go. JOHN: It'll be for the best. Great things may come of it. JOAN: Great things will come of it. I know. I've seen it told in the stars. VILLAGERS, RACHEL AND SARAH ENTER. THEY TAKE UP POSITIONS ON EITHER SIDE OF THE STAGE, IN TWO GROUPS OF THREE, GOSSIPING ACROSS TO EACH OTHER. DURING THEIR EXCHANGE, JOAN, JOHN, ABRAHAM AND LIZA-LU FETCH A BEST HAT TO REPLACE THE BONNET, GLOVES, AND A SMALL TRAVELLING-BAG, AND HELP TESS PREPARE FOR HER JOURNEY. RACHEL: You hear about Tess Durbeyfield? She's going to live up at that big house at Trantridge. 1ST VILLAGER: We ain't good enough for her anymore. Going to mix with her new-found kin. 2ND VILLAGER : She's always thought herself a bit above the rest of us. 3RD VILLAGER: Not that she's had call to, with a slack-handed father like Jack Durbeyfield. 4TH VILLAGER: It's not Jack Durbeyfield no more. It's Lord John d'Urberville. 1ST VILLAGER : Them old names don't meaning nothing. There's plenty of families round here can trace themselves back to noble folk. SARAH: It's all her mother's doing. I heard her saying how it's her plan for Tess to marry into the gentry. 2ND VILLAGER: And you know what comes of plans like that. She wants to mind Tess don't come back from Trantridge with more than she took with her. 3RD VILLAGER: And she won't be the first, nor the last. SARAH: I've nothing against the girl. She's got a kind heart and makes a fine figure. RACHEL: I saw her walking out the other day. All in white. So fair, she looked. 4TH VILLAGER: Yes. Just like an innocent lamb on its way to the slaughter. THEY GO. TESS IS READY NOW. JOAN: There, now. You're ready. And doesn't she look handsome? JOHN: She does. Like a real lady. JOAN: That's just what she is. And just what she'll be. TESS: Goodbye, father. JOHN: Goodbye, my love. See that you look after yourself. TESS: I will. JOHN GOES LIZA-LU: Goodbye, Tess. TESS: Embracing her Goodbye, Liza-Lu. ABRAHAM: Won't we ever see you again? TESS: Embracing him Course you will, Abraham. I'll come and visit when I can. LIZA-LU AND ABRAHAM GO JOAN: Well. You'd best be on your way, now. TESS: Yes. Goodbye, mother. SHE TURNS AND BEGINS TO WALK AWAY. JOAN SUDDENLY CALLS OUT. JOAN: Tess! IT'S AS IF JOAN WANTS TO TELL HER SOMETHING SHE SHOULD HAVE TOLD HER BEFORE, BUT REALISES NOW THAT IT'S TOO LATE. SO, SHE JUST SAYS, SIMPLY: Take care. TESS IS ABOUT TO REPLY WHEN ALEC ENTERS TO TESS. ALEC: There's no need for concern, Mrs. Durbeyfield. Tess is in my care, now. JOAN GOES. ALEC SPEAKS TO TESS, DRAWING CLOSE TO HER My charge. My keeping. My sweet maid. HE OFFERS TO TAKE HER BAG. SHE HANDS IT TO HIM. HE TAKES IT, AND CLUTCHES HER HAND. A kiss, cousin. TESS: Sir? ALEC: Let me have a kiss. TESS: Why? ALEC: Why not? We're kinsfolk, aren't we? TESS: Yes - ALEC: There's no harm in it, is there? TESS: I don't know - ALEC: A single, kiss, then. TESS: Sharply No! SHE PULLS AWAY AND TURNS FROM HIM, STILL CLUTCHING HER BAG. SHE PUTS HER BAG DOWN, TAKES OFF HER HAT AND GLOVES, PLACES THE GLOVES IN THE HAT, PUTS THE HAT ON THE BAG. AS SHE SHE'S DOING THIS, CHORUS ENTER ON THEIR LINES TO TAKE UP POSITIONS AROUND THE RAISED AREAS, AND ALEC PROWLS RESTLESSLY AROUND TESS. CHORUS 1: She arrives at Trantridge - ALEC: A kiss, cousin. CHORUS 2: Begins her work on the farm - ALEC: It's not much to ask. CHORUS 3: Her new life begins, and the weeks pass - ALEC: We're kinsfolk, aren't we? CHORUS 4: And wherever she turns, he's always there - ALEC: What harm can there be? CHORUS 5: Sweet-tongued, cajoling - ALEC: One kiss between cousins. CHORUS 6: Pleading, persuading - ALEC: That's all I ask. CHORUS 7: Her handsome master, her own Prince Charming - ALEC: There'll be no harm. CHORUS 8: Desperate to woo her, desperate to win her - ALEC: Nobody will know. CHORUS 9: Determined to have her all for his own. ALEC: Nobody will see. CAR, NANCY AND LIZZIE DARCH ENTER ON THE OPPOSITE SIDE OF THE STAGE, AND WATCH, AS ALEC TAKES TESS BY THE SHOULDERS, AND SWINGS HER ROUND TO HIM. INSTINCTIVELY, ANGRILY, SHE SWINGS ROUND TO SLAP HIS FACE, BUT HE GRABS HER HAND, STOPPING HER. HE STARES AT HER IN FURY, AND IT SEEMS FOR A MOMENT HE MIGHT DO HER SOME TERRIBLE HARM. BUT INSTEAD, HE LEANS FORWARD, AND KISSES HER, VERY GENTLY, ON THE FOREHEAD. HE SMILES, GIVES A LITTLE BOW, TURNS FROM HER, PICKS UP HER BAG, GLOVES AND HAT, AND WALKS OFF. CAR, NANCY AND LIZZIE DARCH SPEAK MOCKINGLY TO TESS CAR: Who does she think she is, then? NANCY: Miss Prim and Proper. LIZZIE: Miss High and Mighty. CAR: Turning her face with a maiden's blush. NANCY: Butter wouldn't melt in her mouth. CAR: Just who does she think - ? NANCY: Who does she think - ? ALL: Who does she think she is? TESS TURNS TO AND APPROACHES THEM TESS: My name's Tess Durbeyfield - CAR: We know who you are. NANCY: But not why you're here. TESS: I thought I'd come into town tonight - LIZZIE: Very good of you to grace us with your presence. TESS: I've seen you before - but I don't know your names - CAR: Car Darch. NANCY: Nancy Darch. LIZZIE: Lizzie Darch. TESS: I'm pleased to meet you. CAR, NANCY AND LIZZIE MOVE AROUND TESS, WEAVING PATHS IN AND OUT, LIKE PREDATORS CIRCLING THEIR PREY. TESS GRADUALLY BECOMES MORE UNNERVED AT THIS UNCALLED-FOR HOSTILITY CAR: You think you're someone, don't you? NANCY: Just 'cos you've caught the Master's eye. LIZZIE: You think you're the gleam in the Master's eye. CAR We've seen that gleam in the Master's eye. NANCY: You really think that you're the first? LIZZIE: You're not the first, and you won't be the last. NANCY: You really think - LIZZIE: You really think - ALL: You really think you're someone. TESS: I don't think anything like that. I've just come here to work. CAR: Do you think that's why you've been brought here? NANCY: That's not why he's brought you here. LIZZIE: We know why he's brought you here. CAR: And it's not from the goodness of his heart. NANCY: That one there hasn't got a heart. LIZZIE: You'll find out why before too long. CAR: And then you'll be singing - NANCY: And then you'll be singing - ALL: We'll hear you singing a different song. MUSIC PLAYS. THE DARCHES SING, WITH THE CHORUS. THE SINGING IS COARSE AND BOISTEROUS. DURING THE SONG, TESS MOVES TOWARDS THE BACK OF THE STAGE, AWAY FROM THE OTHERS, ATTEMPTING TO ESCAPE THEIR ATTENTION ALL: There once was a maid, and a fair maid was she Went to work for the son of a high family And he said to the maid, "You're the fairest I've seen, And just right for working my threshing machine." She was the fairest that he'd ever seen And he taught her to work on his threshing machine "Oh, sir, " says the maid, "of this I'm not sure, For threshing is work that I've not done before." Said he to the maid, "If you'll come with me now And climb up beside me, then I'll show you how." She was the fairest that he'd ever seen And he taught her to work on his threshing machine They threshed all the day, they threshed all the night Till the maid got the hang of the workings all right And when the sun rose on them both the next day The two of them there were still threshing away. She was the fairest that he'd ever seen And he taught her to work on his threshing machine ALEC ENTERS, BRINGING THE SONG TO AN END ALEC: What the devil is all this row about? CAR: Just having a bit of fun, Master. NANCY: You'll allow us a bit of fun in town on a Saturday night. LIZZIE: You're not against having a bit of fun yourself, are you? ALEC: That's enough. It's late. It's time you were going back. There's work to be done tomorrow. CAR: But it's Sunday tomorrow - ALEC: And there's still harvesting to be done, whatever the day of the week it is, and I want you all up early and in the fields. And anyone that isn't can look to someone else to pay their wages. Now, get along, all of you. CAR, LIZZIE AND NANCY MOVE AWAY, BUT DO NOT LEAVE THE STAGE. CHORUS RETURN TO THEIR POSITIONS BY THE RAISED AREAS. ALEC CATCHES SIGHT OF TESS. Tess! You're here as well? TESS: Yes, sir. ALEC: I didn't think these Saturday night frolics were to your taste. NANCY: No. She's too high and mighty for that. TESS: I thought I might come along with them tonight - just to see - but I don't think I shall be coming again - ALEC: Very wise. You'd do best to stay clear of it. It's not for you. LIZZIE: No. It's another kind of frolic he's got in mind for her. TESS: I'll be getting along, now. ALEC: You don't intend to go back with them, surely? It's three miles - TESS: I don't mind the walk - ALEC: But you'll mind the company. And I know a shorter route. TESS: I don't know - ALEC: Please, cousin. Allow me the honour of escorting you home. PAUSE TESS: All right. Thankyou. ALEC HOLDS OUT HIS ARM TO HER. SHE HESITATES, THEN TAKES IT. THEY TURN FROM THE OTHERS CAR: Out of the frying pan, into the fire. NANCY: Straight into the devil's den. LIZZIE: And she can expect to get burned before the night's done. THE THREE GO, LAUGHING. LIGHTS DIM. CHORUS NARRATE AS ALEC AND TESS WALK SLOWLY AROUND ONE OF THE RAISED AREAS AND BACK TO CENTRE STAGE. CHORUS 1: It's a warm September night CHORUS 2: The moon full, the smell of summer fading CHORUS 3: As they leave the road, walk across the shining fields CHORUS 4: Footsteps whispering in the wet grass CHORUS 5: Following a path to dark trees CHORUS 6: The path of her fortune, her destiny's track CHORUS 7: Whose design was fixed at her star's birth. TESS AND ALEC STAND CENTRAL. TESS LOOKS AROUND. TESS: What place is this? ALEC: The Chase. It's the oldest wood in England. Our way lies through here - TESS: moving away from Alec I want to go back - ALEC: Back? Where? TESS: Into the open - to the road - ALEC: The road's miles behind us, now. And I doubt you'd find your way back to it on your own. I'm afraid this is the only path you can take. TESS: angrily You've played me false! ALEC: No, Tess. It's you that have played me false. TESS: What do you mean? ALEC: You show me no favour, no gratitude - TESS: Why should I? ALEC: Didn't I take you in? Didn't I give you employment? TESS: Yes... ALEC: I've done everything I can to help you and your family. Your father has a new horse, your brothers and sisters have toys to play with. You might say I've been your guardian angel. Now, don't I deserve a little thanks in return? TESS: I am grateful - ALEC: Then show it! TESS: How? ALEC: Moving in close to her By not being so...cold towards me. I'm not that hateful to you, am I? TESS: No. You're not hateful. ALEC: And you do like me? TESS: I like you, well enough. ALEC: And, perhaps, you might also come to love me. Tell me, Tess, truthfully. Do you love me, just a little? TESS IS CONFUSED, SHE DOESN'T KNOW HOW TO REPLY TO THIS Let me have a kiss, cousin - TESS: No - ALEC: turns from her, angrily I've had enough of this! For three months, now, you've snubbed me, scorned me - TESS: Scorned you - ? ALEC: Yes! You know how I feel about you! Yet every time I come near you, or try to speak to you, you turn from me, push me away. And I won't stand for it any longer! HE CHANGES HIS TONE ABRUPTLY, SPEAKS KINDLY You're shivering. TESS: It's cold. ALEC: Here. This will keep you warm. HE TAKES OFF HIS COAT, WRAPS IT AROUND HER. HE LIFTS HER FACE TOWARDS HIM Just one kiss, Tess. That's all. We're hidden here. No one can see. One kiss, no more. And who's to know? THE TWO REMAIN STILL, FROZEN, LOOKING AT EACH OTHER, AS THE CHORUS, WHILE SPEAKING, FORM A CIRCLE ABOUT THEM. THEIR VOICES BUILD TO A CRESCENDO CHORUS 1: The trees close about them CHORUS 2: The wood wraps them in its black shadows CHORUS 3: The ancient woodland, of oak, ash and thorn CHORUS 4: Where the owl sweeps down on silent wings CHORUS 5: The fox follows the track of its prey CHORUS 6: The weasel sniffs out the smell of blood CHORUS 1-3: The place of the talon CHORUS 1-6: The place of the claw CHORUS 1-9: The place of hunger, the hunt and the kill. THE CHORUS TURN IN TO FACE TESS AND ALEC. BLACKOUT 3 DURING BLACKOUT, CHORUS AND ALEC LEAVE THE STAGE. A SINGLE LIGHT RISES ON JOAN, STANDING AT THE SIDE OF THE STAGE. SHE SPEAKS TO THE AUDIENCE. AS SHE SPEAKS, LIGHTS RISE SLOWLY TO REVEAL TESS, CENTRAL STARING AHEAD, EXPRESSIONLESS JOAN: When I saw her stand there at the door I knew that something was wrong. I hardly needed for her to tell me what had happened. Of course, anybody else would have got him to marry her, after that. Anybody but her. The girl always had too much pride and too little sense. I had such high hopes when she went up there. Now she's back, with no husband and no future, and her father sick at heart, and me having to scrape and slave. Such hopes, and see what they've come to. The girl should have been more careful if she didn't mean to get him to make her his wife! TESS TURNS ON JOAN TESS: How could I know, mother? I was child when I left here, and I knew nothing. You should have warned me, you should have told me what it was I was going to, but you didn't. You told me nothing! JOAN CANNOT REPLY TO THIS. SHE GOES. ABRAHAM AND LIZA-LU ENTER. LIZA-LU CARRIES A BABY WRAPPED IN A SHAWL. TESS TAKES THE BABY FROM LIZA-LU, AND NURSES IT. VILLAGERS, RACHEL AND SARAH ENTER, TO STAND, AS BEFORE, EITHER SIDE OF THE STAGE. 1ST VILLAGER: It's the old story. 2ND VILLAGER: We've heard it before, and we'll hear it again. RACHEL: A pity it had to happen to her, though. 3RD VILLAGER: It's always the pretty ones. The plain ones are as safe as a church. 4TH VILLAGER: At least there'll be no more of that d'Urberville nonsense. Plain Durbeyfield will have to do for her from now on. 1ST VILLAGER: If she'd have made do with that from the start, maybe she wouldn't have the trouble she's got now. 2ND VILLAGER: It's a lesson to be learned. "Seek and ye shall find." But what you find ain't always what you went looking for. 3RD VILLAGER: It's certain she came back with a bit more than she reckoned on. SARAH: But she's a mindful mother, and seems fond of the child. 4TH VILLAGER: I had a glance at it the other day. It's a weak, sickly thing, and not long for the churchyard. VILLAGERS GO. RACHEL AND SARAH MOVE TO THE BACK OF THE STAGE. ABRAHAM: He's stopped crying, Tess. TESS: Yes. He's quieter now. LIZA-LU: Does that mean he's getting better? TESS: No, Liza-Lu. He's not getting better. And I fear he'll never cry again. ABRAHAM: Oh, Tess - ! ABRAHAM STARTS TO CRY TESS: Don't weep, Abraham. It's a sad world that he was born into, and there should be no sadness in his dying out of it. ABRAHAM: A blighted world? TESS: Yes. A blighted world. LIZA-LU: Isn't there anything we can do? TESS: There's one thing, perhaps. If we can't save his body, at least we can send his poor soul to heaven. LIZA-LU: Do you mean to christen him? TESS: I do. LIZA-LU: But that must be done by the parson. TESS: There isn't time to fetch the parson. We'll have to do it ourselves. And If God has any mercy he won't turn his face from a little child that's done no harm in the world. ABRAHAM: What are you going to name him? TESS: I've thought of that. I'll name him "Sorrow". SHE KNEELS. LIZA-LU AND ABRAHAM KNEEL. TENDERLY, LOVINGLY, TESS TOUCHES THE CHILD'S HEAD AS SHE SPEAKS Sorrow, I baptise thee, in the name of the Father, and of the Son, and of the Holy Ghost. NOW SHE RAISES THE CHILD UP IN HER ARMS. Oh God, accept this child. Heap as much anger as you want upon me, and welcome. But pity my poor baby! SHE LOWERS THE CHILD TO THE FLOOR It's done. It's over. JOHN ENTERS, APART. JOHN: Mercy and pity God might have, but that parson has none. Not allowing the child a Christian burial, putting the poor creature in the ground outside the church walls, among the nettles and the weeds. It was that more than anything broke her heart. He won't see me in his church no more. HE HOLDS OUT HIS HAND TO ABRAHAM AND LIZA-LU. THEY RISE, CROSS TO HIM, AND THE THREE OF THEM GO. RACHEL AND SARAH MOVE TO TESS. RACHEL CARRIES THE CROWN OF FLOWERS WORN BY TESS, SARAH THE WILLOW WAND SHE HELD. AS THEY SPEAK, THEY HAND THE FLOWERS AND WILLOW WAND TO TESS. SARAH: And to think how we danced last year on the green. RACHEL: How we laughed in the sunlight, and it cast no shadow. SARAH: And she with her crown of flowers, her feet stepping on the green earth, in the spring of the year. RACHEL: And placing now those same flowers on the cold earth of her child's grave. SARAH: Her own childhood's grave. RACHEL: As the wind bites. SARAH: And the year turns old. RACHEL AND SARAH GO. TESS PLACES THE FLOWERS AND WILLOW WAND ON THE BODY OF THE CHILD. LIGHTS FADE ON HER SLOWLY TO DARKNESS. END OF ACT ONE ACT TWO: WIFE 1 LIGHTS RISE ON JOAN AND TESS. JOAN STANDS TO ONE SIDE OF THE STAGE. TESS SITS ON ONE OF THE RAISED AREAS, HEAD DOWN. JOAN: For two years she lived on in the village, staying clear of others, keeping herself to herself. The talk about her soon died down, and her misfortune forgotten, but I knew she could never be happy here again, and that in the end it would be best for her to go away. So I wrote to an old friend of mine from the south, near Egdon Heath, and found her a place at Talbothays Dairy House. It was where I grew up as a girl, where my own folk came from. And perhaps there, I thought, in the country of her kin, she could make a new life for herself, and put behind her the sorrow she'd found here. JOAN GOES. TESS STANDS AND TAKES UP A CENTRAL POSITION TOWARDS THE BACK OF THE STAGE, FACING FORWARD, AS CHORUS ENTER ON THEIR LINES, MOVING TO OCCUPY THE SPACES ON AND AROUND THE TWO RAISED AREAS. CHORUS 1: By cart from Marlott to Stourcastle - CHORUS 2: By carrier's van through Abbots Cerne and Flintcombe Ash - CHORUS 3: Between the hills of Bulbarrow and High Stoy, Tess takes the road south - CHORUS 4: Dismounting at Weatherbury, then on foot, by way of Kingsbere - CHORUS 5: Where her ancestors lie in their rags and bones - CHORUS 6: And crossing to the lowlands of Egdon Heath - CHORUS 7: Where, in ancient times, King Lear went mad - CHORUS 8: To reach, at last, her destination - CHORUS 9: The rich, rolling valley of the Great Dairies. TESS WALKS FORWARDS A LITTLE, STOPS, LOOKS UP AND AROUND, SPEAKS. TESS: It's a May evening, the light's deep and soft. Birds are singing, and I can smell the scent of thyme and sweet grass. CHORUS 1: Below her, the whole valley shines CHORUS 2: Lit by the sparkling jewels of the river CHORUS 3: And the breeze carries the gentle voices of the cattle CHORUS 4: Their horns crowned with wreaths of breath CHORUS 5: Udders swinging fat sackfuls of milk CHORUS 6: Big-eyed, warm-tongued, the earth's kind mothers TESS MOVES FURTHER FORWARD, BRINGING HER TO FRONT CENTRE STAGE TESS: And everything's so tender and still, so calm and restful, I feel my heart leap and my spirit rise, and I know that everything's going to be all right, and I walk down towards where the cattle are grazing. CHORUS 7: As the valley opens its green arms CHORUS 8: Welcomes its daughter back to her birthright CHORUS 9: The place of plenty, the place of healing. DAIRYMAN CRICK ENTERS, CARRYING A STACK OF WOODEN BUCKETS. MRS. CRICK IS WITH HIM CRICK: Tess Durbeyfield, is it? TESS: Yes, sir. CRICK: I'm Mr. Crick, the Dairyman here. This is Mrs. Crick. MRS. CRICK: Your mother wrote to me about you. I haven't seen her since we were young women together. I hope she's well, and the rest of your family? TESS: They're very well, thankyou, ma'am. DURING THE FOLLOWING, JONATHAN, MARIAN, IZZ, RETTY AND ANGEL ENTER, TAKING UP THE BUCKETS TO PREPARE FOR MILKING. CRICK: I'm glad to have you here. We've a big herd and it's a busy time just now. TESS: I hope to prove myself useful to you, Mr. Crick. CRICK: As long as you can milk them clean. I don't want any of my cows drying up this time of year. TESS: You've no worry about that. I know the work well enough. MRS. CRICK: You'll be wanting something to eat after your journey - TESS: I'll just take a drink of milk, if I may, before I set to work. MRS. CRICK: You can have that, sure enough. Calls Jonathan! Bring Tess Durbeyfield here a cup of milk. JONATHAN: Yes, Mrs. Crick. HE FILLS A CUP FROM THE PAIL CRICK: It's all well and good if you can swallow it. I can't stomach the stuff myself. JONATHAN BRING THE MILK TO TESS JONATHAN: Here you are, miss. It's still warm. SHE TAKES THE MILK, DRINKS CRICK: This is Jonathan Kail, one of my dairymen. And here we have the maids - Izz Huett, Marian Hardy, and Retty Priddle. THEY NOD TO TESS. MRS. CRICK: You'll be sharing your lodgings with them above the dairy - house. JONATHAN: And fine company you'll be keeping, as well. Retty's a member of the nobility. MRS. CRICK: Now, don't start on at the girl about that again - JONATHAN: It's true, ain't it, Mr. Crick? CRICK: So I've heard tell. JONATHAN: What was your ancestors again? MARIAN: Leave off teasing her, Jonathan - JONATHAN: What was they, Mr. Crick? CRICK: The Paridelles, I think it was - MRS. CRICK: You've no call to go encouraging him, either, Richard. JONATHAN: The Paridelles, that's right, a grand family, and they used to they used to own all the land hereabouts in times gone by - RETTY: And those time are long gone, Jonathan Kail, and it don't signify nothing! Not to me, at any rate. JONATHAN: Only since you heard Mr. Clare saying how he couldn't abide old families - RETTY KICKS JONATHAN IN THE LEG CRICK: No more of that, Retty! IZZ: He only got what was coming to him - MRS. CRICK: She's in the right of it, Richard. It was Jonathan began it. CRICK: All right. Come along, now. Enough of this skylarking. Time to set to work. There's cows to be milked before sunset. IZZ, RETTY, MARIAN, MRS. CRICK AND JONATHAN EXIT. ANGEL FOLLOWS THEM Mr. Clare. You'll be introduced to our new dairymaid? ANGEL APPROACHES TESS ANGEL: Of course. Delighted to meet you, Miss - ? TESS: Durbeyfield. Tess Durbeyfield. ANGEL: Angel Clare. THEY SHAKE HANDS. ANGEL TURNS BACK TO CRICK Well. As Mr. Crick says, there are cows to be milked. If my hands can ever get used to it. CRICK: You will, sir. But you must take it gently. It's the knack, not the strength, that does it. THEY GO. TESS TURNS AND SPEAKS TO THE AUDIENCE TESS: I knew I'd seen him somewhere before, but I didn't know where from. It was only later, when we were working together, that it came to me. That May time at Marlott, three years ago. He was the gentleman who came along and danced with Rachel and Sarah. He danced with them, and he'd have danced with me if he'd stayed...but he didn't. He went away, and although I still remembered him, I could see that he didn't know me, or remember who I was... CHORUS NARRATE. AS THEY DO, ONE GROUP CROSSES THE STAGE TO JOIN THE OTHER GROUP ON AND AROUND A SINGLE RAISED AREA. THEN, IZZ, RETTY AND MARIAN ENTER AND STEP ONTO THE NOW FREE RAISED AREA, AND TESS MOVES ACROSS TO JOIN THEM. FINALLY, ANGEL ENTERS, MOVING TO CENTRE. CHORUS 1: And when the cows have been milked and put in their stalls CHORUS 2: When supper's been eaten and the sun begins to set CHORUS 3: Restless in their room above the milk-house CHORUS 4: The dairymaids gaze out into the dreaming dusk CHORUS 5: Where a lone figure stands in the empty yard CHORUS 6: Face lit by the hazy half-light CHORUS 7: Their hearts' ache CHORUS 8: Their souls' pain CHORUS 9: Their young love's longing. ANGEL TAKES OUT A PENNY WHISTLE AND PLAYS A TUNE. THE DAIRYMAIDS GAZE DOWN LOVINGLY AT HIM. HE STOPS PLAYING, TAKES OUT A BOOK, READS. MARIAN: He's a real gentleman, a parson's son. IZZ: His father's the Reverend Clare from Emminster. RETTY: All his sons are parsons, except for Mr. Clare. MARIAN: He's studying how to be a farmer. IZZ: Clever, he is, and always reading. RETTY: Keeps himself to himself, and never says much to us. MARIAN: Too much taken up with his own thoughts. IZZ: He hardly even knows we're here. RETTY: But he does play the whistle beautiful. TESS: Why should he want to be a farmer? Why isn't he a parson, like his brothers? ANGEL CLOSES HIS BOOK, LOOKS UP, SPEAKS TO THE AUDIENCE ANGEL: Because it was destined for me, and I rebel against destiny. A man must learn to shape his own destiny - even if it brings him into conflict with his parents' desires. LIGHTS DIM A LITTLE ON THE DAIRYMAIDS AND TESS, AS REVEREND AND MRS. CLARE ENTER TO ANGEL IN A FLASHBACK SCENE REV. CLARE: You prefer not take Orders? ANGEL: That's right, father. MRS. CLARE: What do you mean by this, Angel? ANGEL: What I say, mother. I have no desire to follow my brothers into the church. REV. CLARE: I must confess, Angel, this is something of shock - ANGEL: I am sorry for that. I've no wish to distress you - REV. CLARE: Nevertheless you do! MRS. CLARE: Your father has devoted his life to serving the church. And it has always been his earnest desire - our desire - to see all our children do likewise. ANGEL: I know, mother. And I know your devotion to the church springs from a deep and honest love. But it's a love I do not, and cannot share - MRS. CLARE: Angel - ANGEL: - not while I find its creeds too narrow for my own thoughts and desires. REV. CLARE: Too narrow! ANGEL: Yes. REV. CLARE: You think I am narrow! ANGEL: Not you, father - but to my mind, God need not only be sought within the confines of the church - REV. CLARE: Enough of this - ! ANGEL: - but also in the in the life of the natural world, and in the soul of Man - REV. CLARE: - I will not hear it! ANGEL: Then perhaps I was wrong. Perhaps you have grown narrow - MRS. CLARE: Angel! How dare you speak to your father like that! PAUSE ANGEL: I'm sorry. I apologise, father. REV. CLARE: Angel. You are my youngest son, and I can see that I have made that mistake which many parents make with children born to them in their later years. I have been too liberal with you...too indulgent...I planted the seed of this rebellion in you, and now I am reaping its bitter harvest. REVEREND CLARE TURNS AND WALKS OFF MRS. CLARE: What do you intend to do, Angel? ANGEL: I don't know, yet. MRS. CLARE: You have no course in mind? ANGEL: None at all. MRS. CLARE: You know we're not rich - but the money we have managed to save, which was to send you to university - ANGEL: And which is out of the question, now - MRS. CLARE: I'm sure that it can be used to...assist you along whatever path you do eventually decide to take. ANGEL: Thankyou, mother. MRS. CLARE: And I hope and pray, for your sake, it's a path that will lead to to your happiness. MRS. CLARE GOES. ANGEL SPEAKS TO THE AUDIENCE ANGEL: I left home, and went up to London, but I found nothing there - except a rather sordid and short-lived romantic affair, of which the less said the better. Town life was distasteful to me. It was the country I liked, there I felt most at ease and at home. And the thought came to me that I should take up farming - here, perhaps, or even abroad. And the more I considered it, the more I knew I'd found my chosen path. So, I began a course of open-air studies, which concluded in my arriving at Talbothays Dairy, where I was due to stay until the autumn, before leaving to take up my chosen career. LIGHTS RISE ON THE DAIRYMAIDS AGAIN MARIAN: And if he's to be a farmer - IZZ: He'll want himself a wife - RETTY: A man like that must have a wife - MARIAN: And not a gentle-born, fine-bred lady wife - IZZ: Fit only for tea-parties and greeting guests - RETTY: But a good, honest, hard-working farmer's wife - MARIAN: Who can milk cows and churn good butter - IZZ: Who knows the value of the land and the beasts that live off it - RETTY: If he takes a wife, that's the kind of wife he'll take - MARIAN: And each one of us would be that wife - IZZ: If he asked us, we wouldn't think twice - RETTY: We'd be willing and happy to be that wife. ANGEL PLAYS AGAIN. TESS STEPS DOWN FROM THE RAISED AREA AND MOVES TOWARDS ANGEL. HE HEARS HER, STOPS PLAYING. ANGEL: Who's that? TESS: It's just me, sir - ANGEL: turning to her Tess - ? TESS: I'm sorry - ANGEL: Sorry for what? TESS: I didn't mean to disturb you - ANGEL: You didn't - TESS: I just - I heard the music - ANGEL: I'm still learning - TESS: You make a sweet sound - ANGEL: Thankyou. TESS: I'd better go - ANGEL: You don't have to. TESS: It's late, and we must be up early tomorrow. ANGEL: I suppose you're right. Well, then. Goodnight, Tess. TESS: Goodnight, sir. ANGEL: Please, don't call me that. We're all equal here, aren't we? No distinctions of class, no sirs or ma'ams. Just Tess Durbeyfield, and Angel Clare. TESS: Very well. Goodnight....Mr. Clare. SHE GOES. HE LOOKS AFTER HER. THE DAIRYMAIDS SPEAK WITH SAD RESIGNATION MARIAN: What's the use of fooling ourselves? IZZ: If there was a chance for any of us before - RETTY: There's no chance for any of us now - MARIAN: Because from the moment when we first saw how he looked at her - IZZ: And how it was she looked at him - RETTY: And how something, even then, passed between them - MARIAN: We knew there was only one way of it - IZZ: That the two of them were meant to be brought together - RETTY: And, all in all, it was only a matter of time. ALL FREEZE ONSTAGE AS LIGHTS DIM 2 LIGHTS UP BRIGHT. CRICK AND JONATHAN ENTER CARRYING A LARGE BUTTER BARREL AND PADDLE WHICH THEY PLACE CENTRE-STAGE. MRS. CRICK, ACCOMPANIES THEM. JONATHAN TAKES THE PADDLE AND STIRS IT ROUND THE BARREL LABORIOUSLY. TESS ENTERS. SHE JOINS IZZ, MARIAN, RETTY, AND ANGEL, AS THEY GATHER ROUND TO WATCH, AND CHORUS SPEAK CHORUS 1: And time passes, and the days run together - CHORUS 2: The flow of life and the flow of work on the land CHORUS 3: Skimming milk in the cool of the early mornings CHORUS 4: Herding the cattle out to pasture CHORUS 5: The purr of the milk into the pail CHORUS 6: The green heat of the valley CHORUS 7: Hoof-drum, tail-swish CHORUS 8: Slow talk, soft laughter CHORUS 9: The heart's blood warming with the summer's heat. JONATHAN STOPS STIRRING. HE LOOKS INSIDE THE BARREL JONATHAN: The butter's still not taken, Mr. Crick. CRICK: I can't understand it. We haven't had this happen in years. What might be the cause of it, do you think? JONATHAN: There's only one person can divine that for you. Conjurer Trendle, over on Egdon Heath. CRICK: I don't set no store by conjurers and their like - MARIAN: My mother had a wart on her hand that nothing would move, so she went to Conjurer Trendle for a cure, and it was gone within a month. IZZ: It's said he can forecast the weather, as well. JONATHAN: And he makes up love-potions. Perhaps you ought to go and see him for one, Retty. RETTY: I'll be going to see him for a curse to bind your tongue, if you don't shut up! CRICK: That's enough! It's not right to have such pagan talk going on with a parson's son present. ANGEL: Don't mind me. I have an open mind on these matters. In fact, such things quite intrigue me. "There are more things in heaven and earth", you know. MRS. CRICK: There are, Mr. Clare, it's true. And I have heard it said that somebody in the house being in love can be the cause - JONATHAN: We haven't got to look no further than Retty, then! RETTY HITS OUT AT JONATHAN, BUT HE DUCKS AWAY CRICK: You might have found out the reason, Alice. Do you remember that maid we had, years ago? The butter wouldn't churn then. MRS. CRICK: Rebecca Brook, do you mean? CRICK: That's the girl. She was in love - MRS. CRICK: It's true, she was. But It wasn't her being in love that stopped the butter from churning. It was the man she was in love with. MRS. CRICK TELLS HER STORY TO THE OTHERS. Jack Dollop was his name. He was a milker here, and one for the maids, if you take my meaning. He was courting young Rebecca at the time, and she being an innocent maid and knowing nothing of men, he didn't find it hard to turn her head, just as he'd turned the heads of many another before her. JACK AND REBECCA ENTER, TO FRONT CENTRE STAGE. THEY ENACT MRS. CRICK'S STORY. THEIR PERFORMANCE SHOULD BE HIGHLY STYLISED AND MANNERED, AS IN A MELODRAMA OR FARCE. REBECCA: It's all right, isn't it, Jack? JACK: Course it's all right, Becky. REBECCA: You do mean to marry me, don't you? JACK: Haven't I told you so? REBECCA: Shouldn't we wait, then, till we are married? JACK: But who knows when that day will be? And, until it arrives, surely we should seal our true love with a solemn and sacred vow. REBECCA: And is that what it is, Jack? A sacred vow? JACK: There's nothing more sacred, my dear. REBECCA: And...nothing will come of it? JACK: Nothing at all. I give you my word - as I give you my heart. REBECCA: Then I will, Jack! I will! JACK: Oh, my love! Let us delay this vow-taking no longer! HE DRAGS HER OFFSTAGE, HURRIEDLY MRS. CRICK: In short, he deceived her, poor, simple creature that she was. And he'd have gone on deceiving her as well, if nature hadn't taken its course, and brought Becky's folly to the light of day. And if she hadn't had the mother she had. OFFSTAGE, MRS. BROOK SHOUTS, ANGRILY MRS. BROOK: Where is he? Where is the villain! JACK COMES RUNNING ONSTAGE IN A PANIC JACK: Mr. Crick! Mr. Crick! I have to hide! CRICK: Hide? From what? MRS. BROOK BELLOWS, OFF MRS. BROOK: Jack Dollop! Are you in there? JACK: From her! She'll murder me! MRS. BROOK BELLOWS, OFF MRS. BROOK: I have a bone to pick with you, and it ain't a small one, neither! MRS. CRICK: And fearing for his very life, he hid in the only place he thought was safe - the butter barrel. JACK CLIMBS INTO THE BARREL, HIDES, POPS HIS HEAD OUT AGAIN JACK: For mercy's sake, Mr. Crick, don't tell her where I am! MR. CRICK PUSHES HIS HEAD BACK DOWN MRS. CRICK: And only just in time, for the next second, Mrs. Brook came storming in here, wielding the biggest brass-handled umbrella you ever saw, and with Rebecca in tow. MRS. BROOK ENTERS, A FORMIDABLE FIGURE WIELDING A LARGE UMBRELLA, AND FOLLOWED BY A SHAMEFACED AND WEEPING REBECCA MRS. BROOK: To Crick Does Jack Dollop work here? MR. CRICK: He does. Who wants him? MRS. BROOK: I want him. Is he here? MR. CRICK: As you can see - MRS. BROOK: He's hiding. He must be. I'll find him, and when I do I'll claw his face for him! SHE CALLS OUT Jack Dollop! You scoundrel! You lecherous young rapscallion! Where are you? I've got Becky here with me and she's feeling none too happy on account of you. Becky! Let him hear how distressed you are. REBECCA HOWLS, LOUDLY You hear that, Jack Dollop? I'm giving you one last warning, you slack-twisted villain! Come out here this minute and make reparation for the violation you've done, or I promise you, after I've caught you, you'll be nothing more than a sackful of broken bones! MRS. BROOK SEARCHES MRS. CRICK: She searched here. MR. CRICK: And she searched there. MRS. CRICK: She searched high. MR. CRICK: And she searched low. MRS. CRICK: But she couldn't find that Jack Dollop anywhere. MR. CRICK: Until, at last, her eye fell on the butter barrel. MRS. BROOK CREEPS UP THE BARREL, THEN RAISES HER UMBRELLA AND BRINGS IT DOWN WITH A CRASH MRS. BROOK: Jack Dollop! I know you're in there. Come out now and make your promise, and I promise not to raise a hand against you. There's no reply No? Well, then. You've had fair warning! SHE TAKES HOLD OF THE PADDLE AND STIRS IT ROUND INSIDE THE BARREL MRS. CRICK: And she took hold of the paddle and round and round she paddled it, with Jack Dollop hollering and shouting inside. JACK CALLS FROM INSIDE THE CHURN JACK: Stop it! Let me out! I'll be churned into a pulp! Stop! MRS. BROOK: Not till you make amends for ravaging poor Becky's virgin innocence! JACK: Stop paddling, you old witch! MRS. BROOK: Old witch, do you call me? It's mother-in-law you should've been calling these last five months! JACK: Please! Let me out! MRS. BROOK: Do you promise to make it right with her? JACK: I promise. MRS. BROOK: Within the month? JACK: Within a week, if you'll just stop! MRS. BROOK: Then out you come. SHE STOPS PADDLING. JACK CLIMBS OUT. MRS. BROOKS GRABS HIM WITH ONE HAND, AND GRABS HER DAUGHTER WITH THE OTHER MRS. CRICK: And out he came, mazed and dazed and his legs turned to jelly, and Mrs. Brook takes her daughter by hand, and Jack Dollop by another, and she says - MRS. BROOKS CLASPS THEIR HANDS TOGETHER MRS. BROOK: What God hath joined, let no man put asunder. Or he'll have me to deal with! STILL HOLDING ONTO BOTH OF THEM, MRS. BROOK MARCHES THEM OFFSTAGE. MR. CRICK AND JONATHAN CARRY THE BARREL TO THE SIDE OF THE STAGE MRS. CRICK: And he was true to his word and married the girl a week later. Which just goes to show that, contrary to what some folks believe, there is natural justice at work in the world. JONATHAN: Returning I don't know about natural justice. Looks to me like there weren't much in the way of justice for Jack Dollop. MARIAN: What do you mean? It was only natural and fair he should be made to make amends for what he'd done to the maid. JONATHAN: What he'd done to her? Do you mean to say there was no doing on her part? IZZ: Only after she'd been persuaded to with lies and deceits. RETTY: And that's usually the way of it. JONATHAN: To my way of thinking, there's a lot less persuading needs to be done than is let on to, and there's many an innocent man been trapped into marriage by a knowing maid - TESS SUDDENLY TURNS ON JONATHAN FURIOUSLY TESS: And what would you know about it, Jonathan Kail? A woman can be charmed by soft words and empty promises - a woman who might not be much more than a girl, and who knows little of the ways of men - she can be charmed and bewitched into betraying her own self - and it's the man who can walk away afterwards, and the woman left to pay the consequences! ALL STARE AT TESS IN SILENCE. SHE TURNS AND WALKS AWAY FROM THEM, TO STAND SEPARATELY JONATHAN: I didn't mean nothing by it - IZZ: You never do. JONATHAN: I was just saying - RETTY: And it could be that sometimes you just say too much! RETTY, IZZ, MARIAN AND JONATHAN GO MR. CRICK: I hope nothing's the matter with her. MRS. CRICK: I noticed she was looking a bit flushed this morning. She may have been working a bit too hard. MR. CRICK: She's a hard worker, all right. MRS. CRICK: Well, perhaps you can make do without her today, Richard. Give her time to recover her health and her spirits. MR. AND MRS. CRICK GO. ANGEL REMAINS ONSTAGE. HE PLAYS A SLOW TUNE ON HIS WHISTLE. HE STOPS TESS SINGS TO THE TUNE TESS: My love is fair, his eyes are blue He came to me when the moon was new The earth was green, the sun was warm And he laid his head upon my arm ANGEL: You know the song. TESS: Yes. My mother taught it to me when I was a young girl. ANGEL PLAYS AGAIN AND TESS SINGS WITH HIM TESS: Now the moon is full and the year is old The days are short, and the earth is cold And the rain it falls without a sound And my love he lies beneath ground SONG ENDS ANGEL: It's a sad tune. TESS: I like sad songs. To my mind, they're the natural voice of the world. ANGEL HOLDS OUT HIS HAND TO TESS. SHE HESITATES, THEN TAKES IT, AND THEY WALK TOGETHER ACROSS TO THE UNOCCUPIED RAISED AREA, AND SIT TOGETHER. CHORUS NARRATE. CHORUS 1: These are the times when they meet CHORUS 2: In the late summer evenings when the sun is sinking CHORUS 3: Or in the early summer mornings, before the sun's rising CHORUS 4: When the light is soft with pale mists CHORUS 5: The two of them alone in the shining world CHORUS 6: Like the first two ever to walk in that world. ANGEL: Is the world a sad place do you think, Tess? TESS: It seems to be at times. Sad, and fearful. ANGEL: But not at all times. TESS: No. There are other times when you can sense something beyond you, a kind of spirit, in the trees and the hills and the rivers. She loses herself in her vision And this spirit, you know it's part of you as well, and you're part of it. And it never dies, and you'll never die, because it the spirit that moves through all things, and makes them one. SHE RECOVERS HERSELF, TURNS TO ANGEL, A LITTLE EMBARRASSED I suppose you find such thinking foolish. ANGEL: Not at all. I've thought it myself - and felt it. But never so strongly as here, and now. SHE STANDS, MOVES AWAY A LITTLE, LOST IN HER OWN THOUGHTS TESS: When I was a little girl, I used to go out sometimes at night and lie on my back on the grass and look up at the stars. So many of them, all glittering and shining in the dark. And the more I looked at them, the more I saw, going on and on, into forever. And I'd feel myself lift up out of my body, and rise away from the earth, and I'd be out there among them, out among the stars. I was never so happy as I was then. CHORUS 1: And there, in the moon-hazy twilight of the evening CHORUS 2: Or the speckled, pollen-gold twilight of the morning CHORUS 3: She's transformed before his eyes, CHORUS 4: A spirit stepped out of the landscape, shimmering with the holy glow of the season CHORUS 5: Artemis rising from shining earth TESS TURNS TO ANGEL TESS: Who? ANGEL: Artemis - a divinity of ancient Greece - TESS: sharply I'm no - divinity - ANGEL: stands I'm sorry - I've offended you - TESS: No. It's not you. ANGEL: What is it, then? What makes you so sad? If you told me - TESS: There's nothing to tell! she softens a little You know so much. If I knew half as much as you - I dreamed of being a teacher once - but my upbringing was against it. ANGEL: If you want to study I could help you - TESS: No. It's too late for me, now. My life has its course and it must be run. ANGEL: We can change our lives, you know. The more we learn - TESS: Perhaps I don't want to learn more than I've learned already. Except one thing. ANGEL: What? TESS: turns to him, speaks with surprising bitterness Why the sun shines on the just and the unjust alike. But I don't think there's any book written can tell me that. ANGEL MOVES TO HER TO COMFORT HER. HE TURNS HER TO HIM, TAKES HER HANDS. AS HE DOES, RETTY ENTERS, OFF FROM THEM, EYES FIXED ON THEM RETTY: We saw the time they spent together, and we saw how the time drew them closer together. And I couldn't say I'd lost him to her, because he'd never been mine. And I couldn't say I hated her, because there was nothing in her to hate. What he loved about her, we loved as well. And though it felt like the best part of me was being killed, I saw with the others what was plain to see. That he liked Tess Durbeyfield, and loved Tess Durbeyfield, and if he meant to marry anyone, he'd marry Tess Durbeyfield. TESS CRIES OUT, TURNS FROM ANGEL TO RETTY TESS: No! He won't! He can't. You, Retty, but not me! I'm not the one for him. I won't marry him! I can't! CHORUS 6: That's what she says when he finally asks her. TESS: To Angel I can't. CHORUS 7: On a July morning after heavy rain. TESS: To Angel I won't. CHORUS 8: When the fields are wet and the grass is steaming. TESS: To Angel, approaching him I don't want to marry you. I only want to love you. CHORUS 9: And the river's rising and flooding its banks. TESS: I'd rather be yours than anybody's in the world. But I can't marry you. Don't ask me again. Don't say any more. There's no more to be said. SHE GOES. ANGEL REMAINS AS HE IS, LOOKING TOWARDS HER. AS CHORUS SPEAK, THEY MOVE ON THEIR LINES FROM THE RAISED AREA, TO STAND IN SMALL GROUPS ABOUT THE STAGE CHORUS 1: But there is, there's a lot more to be said CHORUS 2: And he does, he does ask her again CHORUS 3: As July passes and August comes CHORUS 4: He waits for her to change her mind CHORUS 5: Because he's certain she'll change her mind CHORUS 6: After all the whole thing's happened so quickly CHORUS 7: She's been taken by surprise, all she needs is time CHORUS 8: But she's the one for him, he knows that for certain CHORUS 9: And he knows that for certain she's sure to change her mind. REVEREND AND MRS. CLARE ENTER, TO THE SIDE OF THE STAGE NEAREST TO ANGEL. ANGEL TURNS TO FACE THEM. THEY SPEAK TO THE AUDIENCE REVEREND: When Angel informed us of his intentions - of asking this girl to marry him - I have to admit that, at first, we were rather taken aback. MRS. CLARE: We had always had it in mind that, when the time came, our son would choose for his partner a young woman more of his own position in society. REVEREND: And this young woman, by his own ready admittance, was not that, but a cottager's daughter, a dairymaid. MRS. CLARE: And yet, when he explained his reasoning to us - how, as a farmer, it would be far more suitable for him to have a wife who understood the work and the life - REVEREND: And when he assured us that she was a most tender, loving, and pure young woman - MRS CLARE: And as our only ambition for Angel was his own welfare and happiness - REVEREND: We really had no alternative but to give him - to give them both, even though we had not yet seen the girl - MRS. CLARE: Our blessing, and our consent. ANGEL CROSSES TO THEM. HIS FATHER SHAKES HIS HAND. HIS MOTHER KISSES HIM. THEY TURN AND GO. ANGEL SPEAKS TO THE AUDIENCE. TESS ENTERS TO STAND, OPPOSITE. ANGEL: As we continued working alongside each other, I learned more about her, and she about me. And I discovered that I had seen her before. That she'd been one of the girls I'd seen dancing on the village green at Marlott three years before. The one I hadn't danced with. She wept she told me. She wept bitterly, and I held her, and her body shook with the weeping. And she kept on saying, "Why didn't you dance with me? You should have danced with me." Over and over, she said it, as if her heart was breaking. JOAN AND JOHN DURBEYFIELD ENTER, TO THE SIDE OF THE STAGE NEAREST TO TESS. TESS TURNS TO FACE THEM. THEY SPEAKS TO THE AUDIENCE JOHN: She wrote to us about him, this Mr. Clare, and how he'd asked her to marry him - JOAN: And I said to myself, thank God she's found someone, and she can put all her misfortunes behind her - JOHN: And what with him being a parson's son and a gentleman, it seemed an act of providence, her being of high blood herself - JOAN: But as for telling him or even breathing a word to him about her past trouble - JOHN: Which was never any fault of hers anyhow - JOAN: Only a fool would do such a thing, I wrote back to her, and she wasn't even to think of it - JOHN: She ain't the first or the highest in the land to have such trouble, and if they don't trumpet theirs why should she trumpet hers - ? JOAN: For, knowing men as I do, it would be the surest way she could find of losing him - JOHN: And would bring shame on herself, and her noble family. THEY GO. TESS TURNS AND SPEAKS TO THE AUDIENCE. TESS: I knew it wasn't right that I should marry him. Not with my past what it was, not with all that had happened to me. But I knew from the minute he asked me, even as I told him no - even when I was trying my hardest to do what was proper and decent - I knew deep down that in the end it had to be. Tess and Angel now approach each other, to centre stage And it happened one time, about the middle of September, when we'd been to take the milk to the station, and we were driving back to the dairy in the cart. He stopped at the top of a hill, and I knew that he was going to ask again, and I knew this time what my answer would be. But even then, despite what mother had written, even then I tried to do what was right. ANGEL TURNS TO TESS ANGEL: You must give me a reason. At least grant me that, won't you? TESS: Yes. She hesitates It's to do with...what I am...my history... ANGEL: Your history? You've told me that - TESS: Not everything. You see I...I'm not a Durbeyfield...I'm a d'Urberville. An old family that's gone to nothing - ANGEL: I've heard of them. What of it? TESS: That's what it's to do with - with my being a d'Urberville - ANGEL: And you know I despise old families - TESS: Yes, but - ANGEL: And you think I'll love you the less for it? TESS: Not just that - ANGEL: What else, then? What else is there to know? PAUSE TESS: Nothing. That's all. There's nothing else. ANGEL: Well, then. I can see I shall have to call you Mistress Theresa d'Urberville from now on - TESS: sharply No! Don't use that name. I hate it! ANGEL: In that case, there's only thing for it. If you hate the name so much, you'll have take a new one. Not Theresa d'Urberville... but Mrs. Angel Clare. PAUSE Will you, Tess? Will you take my name? MARIAN, IZZ AND RETTY ENTER. MARIAN: She's going to marry him. IZZ: Her face shows it. RETTY: To Tess Are you? Are you going to marry him? TESS TURNS TO THEM TESS: Yes. SHE TURNS BACK TO ANGEL Yes, I will. MR. AND MRS. CRICK AND JONATHAN ENTER. CRICK GOES TO ANGEL AND CONGRATULATES HIM MR. CRICK: And I'm truly glad to hear it. I've been watching you two, and I thought you might do such a thing for some time. MRS. CRICK GOES TO TESS MRS. CRICK: From the very first day I saw you I knew you were too good for a dairymaid. Too good and too pretty, and a prize for any man. MARIAN: He chose the best of us, Tess, when he chose you. IZZ: We said it was to be, right from the start. RETTY MOVES TO TESS, SPEAKS TO HER, FIGHTING BACK HER OWN TEARS AND SADNESS RETTY: And we're happy for you - we are, really - and we hope you'll be happy - really, we do - JONATHAN: Don't take on so, Retty. If it's a husband you're looking for, you could do worse than make a match with me. THIS IS TOO MUCH FOR RETTY. SHE SHOOTS HIM A LOOK OF ANGER AND PAIN, THEN RUNS BACK, WEEPING TO HER FRIENDS, WHO COMFORT HER TESS AND ANGEL STAND TOGETHER FOR THE WEDDING. CHORUS 1: And so it's done, and the wedding takes place CHORUS 2: steps forward, places a crown of flowers on Tess' head On a cold, sharp New Year's Day CHORUS 3: In a small village church, where they promise and vow CHORUS 4: steps forward, as the vicar, places their hands together To love and to cherish, to honour and obey CHORUS 5: In sickness and health, till death do they part CHORUS 6: And though there aren't many gathered, those that are gathered CHORUS 7: All agree that they've never, in all their born days CHORUS 8: Seen such a handsome or well-matched couple CHORUS 9: Or a happier groom, or a prettier bride MUSIC PLAYS. ANGEL AND TESS KISS. CHORUS AND OTHERS ONSTAGE COME FORWARD AND CONGRATULATE THEM, MAKING THEIR FAREWELLS, LEAVING. THE LAST TO GO ARE IZZ, MARIAN AND RETTY. ANGEL KISSES IZZ AND MARIAN, BUT WHEN HE COMES TO KISS RETTY SHE CAN'T BEAR IT, AND RUNS OFFSTAGE. AS THIS IS GOING ON, 1ST AND 2ND VILLAGERS ENTER, TO ONE SIDE, AND WATCH. TESS AND ANGEL ARE FINALLY LEFT ALONE, WITH ONLY THE TWO VILLAGERS WATCHING THEM. ANGEL FETCHES A TRAVELLING BAG FROM BEHIND ONE OF THE RAISED AREAS, AND CARRIES IT BACK TOWARDS TESS, AS THE VILLAGERS SPEAK TO EACH OTHER 1ST VILLAGER: They do make a handsome couple. 2ND VILLAGER: They do, it's certain. 1ST VILLAGER: Well-matched, like they said. 2ND VILLAGER: I don't deny it. 1ST VILLAGER: He's a lucky man, to have such a fair-looking maid for a wife. 2ND VILLAGER: Fair-looking she may be, but as to being a maid, I wouldn't be so sure of that - ANGEL TURNS SHARPLY TO 2ND VILLAGER ANGEL: What do you mean by that? 2ND VILLAGER: Sir - ? ANGEL: puts down the bag, approaches 2nd villager You were saying something about my wife - 2ND VILLAGER: Not me - ANGEL: I heard you. And so did she. Now, tell me what you meant by it! 2ND VILLAGER: I meant nothing - ANGEL HITS HIM, KNOCKING HIM DOWN TESS: Angel -! ANGEL: Will you explain yourself now! 1ST VILLAGER HELPS 2ND VILLAGER TO HIS FEET 1ST VILLAGER: There's nothing to explain, sir. He's had a bit too much to drink, that's all. And when that happens, he always lets his tongue run away with him - 2ND VILLAGER: That's right - I meant nothing by it - it was a mistake - I thought she - I thought your wife was somebody else - but I was wrong - ANGEL: Perhaps you'd like to apologise, then. 2ND VILLAGER: Yes, sir...I'm sorry - ANGEL: To my wife. 2ND VILLAGER GOES TO TESS 2ND VILLAGER: I'm sorry, ma'am. I apologise for thinking you were someone else. You were like her from a distance. But now that we're close up, I can see my mistake. 2ND VILLAGER STARES HARD AT TESS. TESS HOLDS HIS GAZE FOR A WHILE, THEN TURNS AWAY ANGEL: Now get out! THE TWO VILLAGERS GO. ANGEL STARES AFTER THEM. TESS REMAINS STILL, STARING AWAY FROM HIM. LIGHTS DIM, ILLUMINATING ONLY ANGEL AND TESS 3 TESS TURNS, STEPS FORWARD, AND SPEAKS TO THE AUDIENCE TESS: We left Talbothays in the late afternoon and travelled south by carriage to Wellbridge. It was cold and grey, and the wind blew sharp from the east. Angel had rented a farmhouse at the village for our honeymoon, and when we arrived there, he told me that it had once been part of a grand manor house - ANGEL: The property and seat of the d'Urbervilles. Welcome, Tess, to your ancestral home! HE PICKS UP THE SUITCASE, WALKS PAST HER TO ONE OF THE RAISED AREAS, PLACES IT DOWN THERE, AND SITS TESS: The place was dark and damp, but we lit the candles and made up the fire, and ate the food that had been left for us. She on the raised area, a little apart from Angel We sat on either side of the fire, and there were shadows around us, a shadow between us. He was gazing into the flames, and the light flickered across his face. And then he lifted his head, and looked towards me. ANGEL: Tess. I have a confession to make. I should have told you before - before we were married - but I was afraid - TESS: You? But - ANGEL: Before I tell you, you must promise me one thing. TESS: What? ANGEL: Will you forgive me? TESS: Of course. Whatever it is - ANGEL: Here it is, then. Say nothing till I've finished. TESS SPEAKS TO THE AUDIENCE. ANGEL SPEAKS TO TESS TESS: Then he told me how, a few years before, he'd lived for a while in London - ANGEL: I was still unsure what direction to take in life, and was in a rather vulnerable state of mind - TESS: And he'd met a woman there - a woman older than himself - and become involved with her - ANGEL: It was foolish - but I was young - and I soon realised what foolishness it was - TESS: And he broke off the affair - ANGEL: And escaped - not greatly the worse for the experience. And I have never repeated the offence. But you see, Tess, I come to you...sullied by the world. A fallen man. Can you forgive me? TESS TURNS TO ANGEL. TESS: There's nothing to forgive. She turns back to the audience And now I knew that, at last, I could make my confession, tell him what I'd kept from him all this time. And I was certain he'd forgive me, because, like me, he'd fallen and knew what it was to be damaged by the world. So I looked into his eyes, and I told him. CHORUS ENTER ON THEIR LINES, TO TAKE UP INDIVIDUAL POSITIONS AROUND THE STAGE CHORUS 1: The whole story from beginning to end CHORUS 2: She tells him it all, leaves nothing out CHORUS 3: Her soft voice speaking those terrible words CHORUS 4: And he listens in silence until she's finished CHORUS 5: And it's all over, and the story's done ANGEL STANDS. ANGEL: Is it true? TESS: Yes. ANGEL: All of it? TESS: Yes - ANGEL: There's nothing more? TESS: I've told you everything - ANGEL: Why didn't you tell me before? TESS: I tried to... ANGEL: But you didn't. TESS: I wanted to - say you forgive me - ANGEL: There was a child - TESS: Yes - ANGEL: And it's dead - but the man - he's still living - TESS: Yes - and I wish he weren't - ANGEL: It would be better if he wasn't - TESS: Say you forgive me, Angel - ANGEL: Is it you? Is it you that's told me this? HE TAKES HOLD OF HER Same hair. Same eyes. Same face. But not the same. TESS: What do you mean? ANGEL: You're not her. Not the woman I loved. Not the woman I married - TESS: I am - I'm the same - ANGEL: No, you're not! HE PUSHES HER AWAY, TURNS FROM HER You'll never be her again. TESS: I don't understand... ANGEL: Something must be done. I must...do something... TESS: Nothing's changed between us. ANGEL: Yes...yes it has...everything - TESS: I forgave you - ANGEL: It's not the same! TESS: she goes to take his hand Angel - ANGEL: he pulls away from her No! Don't touch me! HE MOVES AWAY TESS: Where are you going? ANGEL: I don't blame you. For what happened. It wasn't your fault. I know that. But I can't stay. HE WALKS OFF. SHE CALLS AFTER HIM TESS: Angel! LIGHTS DIM. REST OF CHORUS ENTER ON THEIR LINES. ALL TAKE UP POSITIONS AROUND TESS, CROWDING IN ON HER, MENACING, THREATENING, PHANTOM-LIKE CHORUS 6: But he's gone, and she stands alone CHORUS 7: By the dying fire in the empty room CHORUS 8: And there's no sound at all CHORUS 9 But the sound of the wind CHORUS 1: Rising up from the black of the night CHORUS 2: Sighing round the walls CHORUS 3: Like lost souls CHORUS 4: Like all the long-lost souls of the long-dead d'Urbervilles CHORUS 5: Crowding the window with vampire-faces CHORUS 6: Dead eyes mocking from the grave's deep CHORUS 7: Hungering towards her for her heart's blood CHORUS 8: Each tongue whispering the curse that haunts her CHORUS 9: The name that hangs like a tombstone around her neck ALL CHORUS: D'Urberville...d'Urberville...d'Urberville... THE CHORUS WHISPER THE NAME, OVER AND OVER AGAIN, UNTIL TESS SILENCES THEM WITH A LOUD CRY OF DESPAIR AND DEFIANCE. TESS: No! LIGHTS TO SUDDEN BLACKOUT END OF ACT TWO ACT THREE: SACRIFICE 1 THE VILLAGE OF MARLOTT, A WEEK OR SO AFTER TESS' MARRIAGE TO ANGEL. LIGHTS RISE AS RACHEL AND SARAH ENTER, SPEAKING. SARAH: You saw her? RACHEL: I did. Right here in the village. SARAH: When? RACHEL: Just a few days ago. She was in the lane, making for her mother's cottage - SARAH: Walking, was she? RACHEL: Walking - and it looked like she'd been walking a fair way. SARAH: And she was alone? RACHEL: Alone, with her head down and her hood over her face, but I knew it was her, because she looked up when I spoke her name. THERE'S A FLASHBACK TO THIS MEETING, AS TESS ENTERS, AS DESCRIBED, AND RACHEL TURNS TO HER. Tess. Tess - is it you? TESS STOPS. SHE PULLS BACK HER HOOD TESS: Rachel - RACHEL: It is you. Tess Durbeyfield - but it's not Durbeyfield anymore, is it? TESS: What do you mean? RACHEL: We heard you were married - TESS: Oh...yes...yes, I am married...five days ago... RACHEL: Still not used to it, I suppose. They say he's a gentleman, your husband. TESS: He's a parson's son. RACHEL: He's not with you, though? TESS: No...I've just come to see my mother...I shan't be staying long... RACHEL: Not now you've got somebody to hurry back to. TESS: That's right. RACHEL: Well. I'll let you get on, then. TESS TURNS, MOVES AWAY It's wonderful how things can sometimes fall out. TESS LOOKS BACK TO RACHEL When you think how things were for you, and how they are now. You must count yourself well-favoured. TESS STARES AT RACHEL, THEN PULLS HER HOOD OVER FACE AND MOVES OFF, INTO SHADOW. RACHEL TURNS BACK TO SARAH AND THE TELLING OF HER STORY Such a look she gave me. It went right through me, if you know what I mean. Right through me, like blade of ice. SARAH: It's true what we heard, then. She is married. RACHEL: So it seems. SARAH: And it seems to me we haven't heard the half of it. RACHEL: What do you mean? SARAH: If she is married, and to such a gentleman, what was she doing here alone, and walking? Why wasn't this gentleman of hers with her, and where is he? JOAN ENTERS TO TESS FOR ANOTHER FLASHBACK SCENE, THE MEETING BETWEEN JOAN AND HER MOTHER IN THE DURBEYFIELD HOME JOAN: Gone away? TESS: For a time... JOAN: Married on Tuesday and now it's Saturday and he's gone away! TESS: Yes - JOAN: What for? TESS: On business - JOAN: Business? What kind of business? What kind of husband is it that leaves his wife after five days of marriage, that's what I'd like to know - TESS: He's a good husband, mother - a good man - JOAN: Is he? Your looks and your voice don't seem to say so. There's more to this than you're letting on, Tess. Out with it, now, before your father comes back. Pause You'll tell me sooner or later. So you might as well make it sooner. PAUSE TESS: I told him. JOAN: What? TESS: raising her voice, more firmly I told him about what happened. JOAN: You fool! You little fool! After what I wrote to you? Why? Whatever possessed you - ? TESS: I wanted to do right by him. JOAN: Do right by him? You should've thought of that before you married him. TESS: I know. It was wrong of me. I should never have. But I wanted him so much. And I thought - I thought he might forgive me. JOAN: But he didn't. TESS: No. JOAN: And now you've parted. TESS: Yes. JOAN: For good? TESS: I don't know. JOAN: Where is he? TESS: Gone to look for a farm - he's given me some money - JOAN: Has he, now? TESS: And there's more if I need it. And he said he'd write. He's a good man, mother, and I've wronged him, and you, and I must suffer for it - JOHN, ABRAHAM AND LIZA-LU ENTER. THEY CRY OUT IN EXCITEMENT AND HAPPINESS LIZA-LU: Look! It's Tess! ABRAHAM: Tess is come home! JOHN: Here she is! My girl! The gentleman's wife! LIZA-LU: Is he here, Tess? TESS: No - JOHN: A gentleman's wife, and a gentleman's daughter. Didn't I say it? Didn't I say everything would come out right for her in the end? It's in her blood, you see. JOAN: John - ABRAHAM: Did you come in a carriage? LIZA-LU: When are we going to see him? ABRAHAM: Have you come to stay? Liza-Lu's got your bed, now. JOHN: Where is he, then? Let's see this husband of yours. I want to have a word with him about something - JOAN: He's not here. JOHN: I've been thinking, you see. About your name. I mean, he might be a parson's son, and that's all well and good, but does he know the noble family he's married into? It'd be just like you not to have told him - JOAN: John - JOHN: And it seems to me it might be better if he were to take your name, instead of you his. D'urberville, I mean. His name's too ordinary for you. I'm fixed on it. You'll both take the name of d'Urberville - JOAN: In heaven's name, John, will you stop your rattling and listen! PAUSE Liza-Lu. There's some washing in the tub outside needs wringing. LIZA-LU: Mother - JOAN: Go and do it. And you, Abraham, give her a hand. ABRAHAM: But - JOAN: Go on! Both of you! LIZA-LU AND ABRAHAM GO. JOAN TURNS TO JOHN. Now, John. There's something I have to tell you. THEY FREEZE, AS WE SWITCH BACK TO RACHEL AND SARAH AGAIN. SARAH: And she's gone again, you say? RACHEL: That's right. SARAH: And nobody knows where? RACHEL: No. To join her husband, maybe. SARAH: Maybe. And maybe not. To my mind, there's something more to all this, and one day we'll find out the truth of it. SARAH GOES. RACHEL SPEAKS TO THE AUDIENCE AS SHE DOES, LIGHTS RISE ON TESS RACHEL: But we never did. And that was the last time I ever saw her. And when I next came across her name, it was to read it in the papers, which were full of the terrible thing she'd done. RACHEL GOES. JOHN LOOKS AT TESS, SHAKES HIS HEAD SADLY AND WALKS OFF. JOAN GIVES TESS A HARD LOOK AND FOLLOWS HIM. TESS IS LEFT ALONE. CHORUS ENTER, ON THEIR LINES, TO TAKE UP POSITIONS ON AND AROUND ONE OF THE RAISED AREAS. THEY NARRATE TESS' JOURNEY, FROM MARLOTT TO THE SOUTH CHORUS 1: She travels south and west CHORUS 2: By strange roads, unfamiliar landscapes CHORUS 3: Shunning the places where people might know her CHORUS 4: As winter becomes spring, spring becomes summer CHORUS 5: Working in the dairies around Port-Bredy TESS: And I thought nothing and felt nothing. I gave my body up to the work. As if part of me, the best part, had been cut out, and all that was left was a hollow space, an emptiness at the centre, a numb ache. CHORUS 6: Until the milk-season ends and the weather cools CHORUS 7: And she leaves the dairies to work the land CHORUS 8: Stooping amongst the threshed wheat CHORUS 9: And the cut stubble of the harvest fields TESS: Only sometimes, as I was working, my mind would go back that summer before, and I'd think of him, and see him as I saw him then, and wonder where he was, and what had become of him. I thought he might write to me, and tell me where he was. But if he did, I never received the letter, so I didn't know. TESS HAS MOVED TO SIT ON THE RAISED AREA AMONG THE CHORUS. DOWNSTAGE, IZZ AND MARIAN ENTER, AT TALBOTHAYS DAIRY. MARIAN: You saw him? IZZ: I did. Up at that farmhouse they rented after they were married. MARIAN: So that's where you were. Mr. Crick was in a fury at you going off like you did - IZZ: I don't care about him or his fury. I thought somebody ought to tell them what had happened to poor Retty. MARIAN: It had nothing to do with wanting to see him again, then? IZZ: And what if it was? There was no harm in it. MARIAN: There's harm enough in you losing your work. IZZ: I don't care about that, either. Like I was saying, I went to see them, but she wasn't there. I only saw him, and he was alone. THERE'S A FLASHBACK TO THIS MEETING, AS ANGEL, ENTERS, CARRYING A SMALL SUITCASE, WHICH HE PLACES DOWN. HE LOOKS AROUND. IZZ TURNS FROM MARIAN, APPROACHES ANGEL. Sir? Mr. Clare - ANGEL TURNS ANGEL: Izz. Izz Huett. What are you doing here? IZZ: I came to see you - and Tess - ANGEL: Tess isn't here - we aren't living here, now - I've just come back to collect a few things - IZZ: I hope she's well. ANGEL: She is. IZZ: And you, sir? Are you well? ANGEL: Yes, yes I am, Izz. I'm well enough. IZZ TURNS BACK TO MARIAN IZZ: But I could see he wasn't. There was something troubling him. Like a great sorrow hanging over him - MARIAN: And did you tell him of our sorrow? Did you tell him about Retty? IZZ: No. I never got the chance. When he told me he was going away - MARIAN: Going away? IZZ: That's what he said. Leaving the country, in just a few days time. Going across the sea to South America. PARSON AND MRS. CLARE ENTER TO ANGEL FOR ANOTHER FLASHBACK SCENE OF THE MEETING BETWEEN ANGEL AND HIS PARENTS, IN THE CLARE HOME MRS. CLARE: South America? ANGEL: They're offering land out there on good terms. I thought I'd go and investigate the prospects. PARSON CLARE: And how does your new wife take to the idea of such a journey? ANGEL: She won't be coming with me. Not yet. She's staying at her mother's for the time being. If I decide we should stay, she'll come and join me later. MRS. CLARE: And shall we see her before you go? ANGEL: No. MRS. CLARE: I find this strange. ANGEL: What? MRS. CLARE: That you should be parting from her so soon - and that you don't even bring her here to meet us. Is there something wrong between you? ANGEL: Wrong? No...of course not...what would there be...? PARSON CLARE: We don't know, Angel. But after such a hasty marriage - ANGEL: To tell you the truth - I wanted to...delay your meeting with her until...she was a little more refined and could be a credit to you. MRS. CLARE: You say she is hard-working. ANGEL: Yes. MRS. CLARE: And honest? ANGEL: Yes - MRS. CLARE: And virtuous, and pure? PARSON CLARE: In short, Angel, she is a woman whose history would bear investigation. ANGEL: Of course! MRS. CLARE: Then, I'm sure, Angel, that she is refined enough for us. PARSON AND MRS. CLARE GO. ANGEL LOOKS ACROSS TO WHERE TESS SITS AMONG THE CHORUS. HE SPEAKS TO THE AUDIENCE. ANGEL: If I'd been what I should have been - what I wanted to be - I'd have gone back to her, begged her forgiveness for treating her so harshly. But I couldn't. I couldn't endure what she'd told me. So I left her and I left England and I went to South America. And it was there, after many hardships and a long illness, that I finally came to recognise the pettiness and narrowness of my own soul, and the gentleness and greatness of hers. And it was only then, a year later, that I returned to find her. But by that time, of course, it was too late. HE PICKS UP THE SUITCASE AND GOES. IZZ WATCHES HIM THEN TURNS BACK TO MARIAN MARIAN: They've parted? IZZ: That's what he told me. They'd had some difference, he said, and had decided to part. MARIAN: What difference could it be that's come between them? IZZ: It must have been something great - because he asked me to go with him, to South America. MARIAN: He asked you? I don't believe it - IZZ: It's true, he did! And I almost said yes, but then I thought of Tess, and how nobody could love him more than her. So I refused and walked away from him, and I wished he'd never asked me, because now I don't think I'll ever be happy again. IZZ GOES. MARIAN SPEAKS TO THE AUDIENCE MARIAN: It wasn't long after that we both left the dairy. I found work at poor farm near Chalk Newton, and I wrote to Tess at her home in Marlott, thinking she might be in want of work and friendship. That was in the spring, but I she didn't come here until the following winter. MARIAN MOVES TO ONE SIDE OF THE STAGE. MEMBERS OF THE CHORUS MAKE THEIR WAY FROM THE FIRST RAISED AREA TO THE SECOND, AS THEY NARRATE TESS' FURTHER JOURNEYINGS CHORUS 1: Travelling north and east through the broad uplands CHORUS 2: Face pressed against the driving wind CHORUS 3: Sky dark and heavy above her CHORUS 4: Earth massive and heavy beneath her CHORUS 5: A ragged outcast wandering the world's back TESS STANDS AND SPEAKS TO THE AUDIENCE TESS: With the end of the harvest season, and no work to be had, I'd been forced to live on the money he'd given me, and all that was gone, now. He'd said if I was in need I could go to his father, but I wouldn't do that. I didn't want him to see me as I was now. I didn't want to bring shame on his son. And I was thinking how I could get through the winter, when Marian's letter finally reached me, so I set off at sunrise to walk to Chalk Newton, but the way was long and night found me still on the road. SHE MOVES, WEARILY, ACROSS TO THE SECOND RAISED AREA AS CHORUS NARRATE CHORUS 6: So she enters the wood at the road's side CHORUS 7: Looks for a place of shelter and refuge CHORUS 8: Crawls among the tangle of branches and brambles CHORUS 9: Sleeps there, curled among the year's old leaves. TESS SPEAKS FROM THE SECOND RAISED AREA TESS: And I lay there all night between sleeping and waking, and when the grey light came again, I found a dead bird in the leaves beside me. It had frozen in the cold and its feathers were stiff. And it was so light when I held it in my hands, so light and delicate...I buried it among the leaves then left the wood and went on along the road, and by mid-morning the wind was up and the rain was falling, and I came at last to Flintcombe-Ash Farm. 2 TESS RISES, AND MOVES TO STAND NEAR MARIAN, AS BOTH SPEAK TO THE AUDIENCE MARIAN: And we worked there together in the open fields, cutting swedes out of the iron-hard earth. TESS: Sunrise to sunset, in all weathers - MARIAN: Frozen by the winter wind, faces raw and fingers bleeding - TESS: Soaked to the skin in the icy rain. MARIAN: Hard labour, and for little enough pay. I didn't think she's bear it, but she did. There was a hardness in her eyes hadn't been there before, and I wondered at the change that had come over her, but she never spoke of it, or anything that was past. TESS: Not until one night in the barn after supper, when I spoke of the old, happy times at the Dairy, and asked after the others. MARIAN: And I told her then that Retty was dead. TESS TURNS TO MARIAN TESS: Dead? Retty? How...how did she die? MARIAN: She was drowned. Last year it was, just a few days after you were married. TESS: I didn't know...no one told me... MARIAN: The river was swollen and she tried to cross it and she must have been caught in the current. At least, that's what they said. TESS: What do you mean? MARIAN: It was in the early morning they found her. She'd drowned the night before. Why should she try to cross the river at night? Why should she go there at night - if it wasn't for one thing - ? TESS: What are you saying? MARIAN: I saw how she was. after the wedding. When the two of you drove away, so happy. I heard her weeping at night. When they pulled her from the river I knew the cause of it. TESS: Because he chose me as his wife. Because I married him. Poor Retty. To die for that. If only she'd known. If only she could see me as I am now! MARIAN: Is it true, then? Have you parted? TESS: Yes. It's true. MARIAN: And is the parting...abiding? TESS: At first I told myself not. That I'd wait for him and he'd return. But now...now I believe he will not. It was a senseless marriage we made, and a senseless death Retty died. And I'm to blame for it - MARIAN: No, Tess. Not you - TESS: Nor Angel. There's no blame in him - MARIAN: No. If there's fault to be found, it's not in you or him. TESS: Where, then? Where is the fault? MARIAN: I don't know. In the world itself, perhaps. MARIAN TURNS FROM TESS, LEAVES THE STAGE. TESS MOVES TO FRONT CENTRE OF THE STAGE TESS: I went out to the hilltop, where two roads meet. There was an old stone there, worn by the weather. They said that the stone marked the place where, in old times, a gallows had stood. The day was dark and chill, and I stood there alone, and thought of those who had been hanged there, and of Retty drowned in the river, and of the dead bird I'd found. CHORUS STEP DOWN TO FROM THE RAISED AREAS CHORUS 1: And of all the poor creatures that live in the world CHORUS 2: Whose suffering and sadness makes up the life of the world CHORUS 3: That live and die in the world, without cause or reason CHORUS 4: And the hills and the trees CHORUS 5: The grasses and the stones CHORUS 6: The rivers and streams, do they suffer too? CHORUS 7: Is the wind the voice of the world weeping? CHORUS 8: Call no man or woman happy in the world CHORUS 9: Until their life's over and the suffering's done. TESS: And I knew I'd never be at peace again, until I was as they were now. SHE SITS. ALEC HAS ENTERED, UNSEEN BY TESS. HE IS DRESSED ENTIRELY IN BLACK, AND CARRIES A BIBLE AND A CRUCIFIX. HE SPEAKS TO THE AUDIENCE. ALEC: And that's where I saw her again, out at the crossroads by the gallows-stone, where I came to preach the salvation of the soul. ALEC CLIMBS UP TO THE RAISED AREA AS CHORUS SPEAK AND EXIT INDIVIDUALLY ON THEIR LINES CHORUS 1: The travelling preacher CHORUS 2: The roadside sermoniser CHORUS 3: Standing at the crossroads on a Sunday afternoon CHORUS 4: With his bible and his cross and his jet-black suit CHORUS 5: Speaking to those who gather to hear him CHORUS 6: A ranter CHORUS 7: A raver CHORUS 8: A real holy-roller CHORUS 9: An excellent, fiery Christian man. ALEC PREACHES TO THE AUDIENCE. AT THE SOUND OF HIS VOICE, TESS TURNS TO LOOK AT HIM, RISES, WALKS SLOWLY TOWARDS HIM IN DISBELIEF. ALEC: O! My brothers and my sisters! Which of us is without sin? Who can say, in all honesty and truth, "I have done no wrong"? No one! Not one of us born to mortal flesh. We are all sinners, brothers and sisters, and all doomed to die, and to stand in judgement before the almighty wrath and vengeance of the Lord! But do I set myself apart from you? Am I come to judge and condemn? No! For I too have been a sinner! And I have not only sinned myself but led others into sin. But the word of God brought me to the light of truth. For even he that feels himself most damned is not beyond redemption. Even in the darkest hours of our suffering, we are not beyond the healing power of Christ's holy love! And what is it that Christ asks of us? Only that we should open our hearts to Him, and he will take our suffering from us, and lead us on the road that leads to everlasting joy! TESS IS STANDING BENEATH THE RAISES AREA. SHE SCREAMS OUT. TESS: No. No! I won't believe it! SHE TURNS TO RUN OFF. ALEC CALLS AFTER HER ALEC: Tess! HIS VOICE STOPS HER, AGAINST HER WILL. ALEC COMES DOWN FROM THE RAISED AREA. Tess - wait - it's me - HE STANDS BEHIND HER It's me, Tess. Alec. SLOWLY, SHE TURNS TO HIM TESS: Yes. I see it is. ALEC: Is that all you have to say to me? TESS: What else is there to say? ALEC: You could say...that you're pleased to see me - TESS: But I'm not. ALEC: Surprised, then, at least. TESS: I'd rather I hadn't seen you at all. SHE TURNS TO GO ALEC: Don't go, Tess. HE STEPS ROUND, BLOCKING HER PATH TESS: Let me go - ALEC: Not yet. TESS: What is it you want with me? ALEC: I want...your forgiveness. THEY FREEZE, AS MARIAN ENTERS, TO ONE SIDE OF THE STAGE, AND SPEAKS TO THE AUDIENCE MARIAN: I didn't know who he was, or what he'd been to her. Only that he wouldn't leave her alone, that almost every day he'd be there, waiting for her. And that she'd go to him, as if there was, or had been, something between them. TESS: Ask God for forgiveness, not me. ALEC: And I want...to make amends. TESS: Make amends? ALEC: You've seen me preach. You've heard my words - TESS: You're a fine one with words - ALEC: I'm not who I was. I'm a changed man - TESS: No. You'll always be what you were - ALEC: I know I did you great wrong. And I want to make amends for it. TESS: Nothing you could ever do would make amends for the hurt and the harm you've done to me! SHE TURNS FROM HIM. THEY FREEZE AGAIN AS LIZA-LU ENTERS ON ANOTHER PART OF THE STAGE AND SPEAKS TO THE AUDIENCE LIZA-LU: After father died, we left Marlott and moved down to Kingsbere. His heart was never strong and it had finally given out on him. Tess was living nearby, and when she came to see us, mother knew there was something, and she wouldn't let Tess go until she told her what it was. And at last Tess told her. She was seeing Mr. d'Urberville again. ALEC: I can. I can make amends. I can make you my wife. It's the only way. To put right the wrong we did - TESS: The wrong we did - ? ALEC: I know the fault was more mine than yours. TESS: There was no fault in me at all. ALEC: Wasn't there? Are you so sure? TESS: How can you say that? ALEC: Heaven led me here to you, Tess. Heaven means us to be together - TESS: I can't be your wife. Even if I wanted to. ALEC: Why not? TESS: Because I'm already married. And to a better man than you could ever be. THEY FREEZE, AS MARIAN SPEAKS AGAIN MARIAN: And it troubled me to see her, with that shadow on her face, and the darkness in her eyes. For though I knew she feared him, it was as if she was drawn to him against her will, as if somehow he were drawing the life out of her. ALEC: Let me see him, then. I want to meet him. Where is this husband of yours? TESS: Please let me go - ALEC: I'd like to speak with him. TESS: You can't - ALEC: Where is he? Here? TESS: No - ALEC: Not here? Where, then? TESS: Leave me alone - ALEC: He's not with you? What kind of husband is it leaves his wife alone, and in a place like this - ? TESS: He's a good man - ALEC: And you don't even wear his ring - TESS: It's here, around my neck - ALEC: Why don't you wear his ring? TESS: It's no business of yours - ALEC: He's left you? Is that it? That's right, isn't it? He's left you! TESS: Only for a little while - ALEC: Why? Why has he left you? Because of me? Because he found out about me? TESS: Yes! Yes, he found out. I told him! ALEC: And you thought he'd forgive you. But he didn't. You were a fool to think he would. TESS: He'll come back to me - ALEC: You think so? No. You don't. He won't come back to you, Tess, and you know it. You're alone in the world, and there's no one you can turn to but me. Because you were mine from the first - TESS: No - ALEC: And you'll be mine at the last. THEY FREEZE, AS JOAN ENTERS, NEAR TO LIZA-LU, AND SPEAKS TO THE AUDIENCE JOAN: And I said to her, it must be the way of things, and there's no going against it. Fate's brought him back to you, and by all accounts he's a changed man - and still a rich one. And with your father gone, we have no means of livelihood but yours. Think deep on it, Tess, I told her. He's come back to you and the other hasn't, and you bore his child, and in the eyes of heaven he's your natural husband. ALEC: You agree, then? TESS: Yes. ALEC: We'll leave here tomorrow. Find a more...suitable dwelling place. No one will know us. We'll be as if man and wife. Mr. and Mrs. d'Urberville. TESS: Whatever you wish. ALEC: It's for the best. You'll come to see that. And with time, too, you'll come to be happy - TESS: I've agreed to do what you say, Alec. Isn't that enough? And perhaps there is some justice in it. Perhaps we were meant to be together. If we were, then there's nothing else to be done. But don't expect me to be happy. ALEC HOLDS OUT HIS HAND TO HER. SHE PAUSES, THEN TAKES IT MARIAN: And then one day they were gone, the two of them, without a word and I didn't know where, and I was fearful for her, because when I thought of her it seemed to me that she was walking hand in hand with death. ALEC AND TESS GO. 3 ANGEL ENTERS AND SPEAKS TO MARIAN ANGEL: How long has she been gone? MARIAN: Almost three months. ANGEL: And you've no idea where? MARIAN: No. You should have come for her sooner. ANGEL: I've been looking for her, ever since I came back to England - MARIAN: You should never have left her. ANGEL: I know. MARIAN: She waited for you. She told herself you'd come back. But it was so long. And in the end, she gave up. ANGEL: I've done her great wrong. But I'll put it right, when I find her. MARIAN: If you find her. ANGEL: I will! Isn't there anything else you can tell me? MARIAN: There's a lot I could tell you! But as to where is now, you could ask her mother. She might know. She lives not far from here, now, at Kingsbere. ANGEL GOES TO THANK HER, BUT MARIAN TURNS QUICKLY AND GOES. JOAN AND LIZA-LU TURN TO JOAN: That's right, where my husband's ancestors rest their bones, God rest his soul. He was a fool. But not so big a fool as you. ANGEL: Has she written to you? JOAN: Yes. ANGEL: Do you know where she's living? JOAN: I...I'm not sure... ANGEL: Where did she write from? JOAN: Port Bredy - but I think she's moved from there now - ANGEL: Where to? JOAN: I don't know. And even if I did - LIZA-LU: Sandbourne. JOAN: Liza - LIZA-LU: That's where you'll find her. At Sandbourne. ANGEL: Thankyou - JOAN: But perhaps it's best if you don't go there. ANGEL: Why? JOAN: She's had enough trouble in her life. Let her alone, now. Leave her be. ANGEL: I must go to her - JOAN: forcefully I don't think she'd want you to! LIZA-LU: No. I think she would. I think if she knew you were here, and were looking for her, she'd want for you to go to her. She'd want it more than anything in the world. JOAN: What are you saying, girl? LIZA-LU: The truth, mother. And he knows it. JOAN: Well, perhaps you're both right. Maybe you know her better than I do. For though she's my own daughter, I don't think I've ever known her at all. JOAN GOES. LIZA-LU GIVES A SMILE OF ENCOURAGEMENT, THEN FOLLOWS HER. CHORUS 1-8 ENTER ON THEIR LINES, TAKING UP POSITIONS IN GROUPS OF TWO AROUND THE STAGE CHORUS 1: He takes the coach south to Sandbourne, travels all through the day CHORUS 2: Arrives at night in the seaside town and begins his quest CHORUS 3: Walking the quiet streets, from door to door, each time asking the same question ANGEL: Is there a woman staying here by the name of Durbeyfield? CHORUS 4: Each time receiving the same answer CHORUS 5: I'm sorry, sir. There's no one of that name here. CHORUS 6: But he doesn't give up, he goes on with his search, on and on as the night deepens CHORUS 7: Always asking that same question ANGEL: Is there a woman staying here by the name of Durbeyfield? CHORUS 8: Until, at last, he receives the answer - LANDLADY ENTERS TO ANGEL LANDLADY: Durbeyfield, sir? No, not Durbeyfield. But perhaps you're mistaken. Perhaps you mean d'Urberville. There is a woman staying here by that name. ANGEL: Miss d'Urberville, yes - LANDLADY: No, sir. Not Miss. Mrs. Mrs. d'Urberville. TESS ENTERS. SHE STARES AT ANGEL IN DISBELIEF TESS: Angel? She approaches him Is it you? ANGEL: Yes...I've found you at last... TESS: Found me - ? ANGEL: I've been looking for you - He makes a movement towards her, she flinches back Can you forgive me, Tess? Can you take me back? TESS: Take you back? ANGEL: I want to make amends - TESS: You as well! ANGEL: What do you mean? TESS: Why didn't you come sooner? Why did you wait till now? ANGEL: I'm sorry. I should have done - TESS: But you didn't. ANGEL: No. I didn't realise - TESS: I waited and waited for you, but you didn't come. And I was so worn and weary, and it was all so hard, and I gave up hope, and he said you wouldn't come, he kept on saying you'd never come again and I believed him - ANGEL: I don't understand - TESS: And now it's too late - ANGEL: No - TESS: It is. It's too late. I've gone back to him. ANGEL: Gone back - ? TESS: He's here with me, now. ALEC ENTERS He's won me back. LANDLADY STEPS FORWARD LANDLADY: Will that be all, sir? Are you finished? I'm waiting to lock up, you see. ANGEL: Yes. That's all. Thankyou. I'm quite finished. ANGEL TURNS AND WALKS OFF. TESS STARES WITH LONGING AND DESPAIR AFTER HIM. ALEC WATCHES TESS WITH WRY AMUSEMENT. THE LANDLADY TURNS AND SPEAKS TO THE AUDIENCE. LANDLADY: They seemed a very respectable couple. He was a religious man, and she had all the bearings of a lady. I had no cause for complaint against them, not until that night when the other gentleman, and after he'd gone, I heard...raised voices. ALEC STEPS UP TO TESS ALEC: So he did come back? I must say, it's something of a surprise. He must have been rather keen on you after all. TESS TURNS ON HIM, SNAPS IN FURY TESS: He's my husband! ALEC: No, Tess. I am your true husband, in the eyes of God - TESS: What has God to do with this! What has God to do with me! ALEC: What's this? Anger? Fury? And from my docile little Tess - TESS: He should have danced with me that time - ALEC: What - ? TESS: If he'd have danced with me, things would have been different. I think I knew it even then - ALEC: What is all this? TESS: If we'd danced together then I would never have had to lay eyes on you! Never have been - touched by you - ALEC: You hate my touch, do you, Tess? HE STROKES HER FACE WITH HIS FINGERS. SHE RECOILS FROM HIM TESS: Yes! I hate you, and everything about you! ALEC: Yet you came away with me. And you can't deny I've treated you well. And I see that your family doesn't go without. That's true, isn't' it? TESS: Yes - ALEC: And you wear the expensive clothes I've bought you. And you're content to live with me as my wife - TESS: Yes! But only because - ALEC: What? Because what, Tess? Because part of you likes it? Because you can't help yourself? SHE CRIES OUT AT HIM IN DESPERATION TESS: Let me go to him! He's the better part of me...with him I am... truly myself...only with him...you'll never have joy from me, you know that...you'll never have anything but...this. Please, Alec. I beg you, for both our sakes, let me go to him. ALEC: Is that what you want? TESS: You know it is. Yes! ALEC: mocking Ah, Tess, if only I could. But it's impossible. TESS: You won't? ALEC: I can't. It would be... a blasphemy. In the eyes of heaven, you belong to me. SHE STARES AT HIM, BECOMES SUDDENLY QUIET. TESS: Yours first and last. ALEC: Yes. HE TAKES HER BY THE ARMS, KISSES HER SOFTLY ON HER FOREHEAD, THEN TURNS FROM HER TOWARDS THE AUDIENCE. TESS KEEPS HER EYES ON HIM TESS: And only death will part us. CHORUS 9 ENTERS, CARRYING A KNIFE. TESS WALKS ACROSS, TAKES THE KNIFE, TURNS BACK TO FACE ALEC. AS IF SHE'S BEEN WATCHING ALL THIS, THE LANDLADY TURNS ONCE MORE TO THE AUDIENCE. LANDLADY: If I'd known what was going to happen, I'd have gone up to them. But I didn't know. How could I? I didn't discover it until the next morning, when I saw the door open, and looked inside - and then I saw him lying there, poor man, and I realised what she'd done, and wondered what kind of creature she could be. TESS LOOKS AT HER. LANDLADY STARTS, FEARFULLY, AND GOES. TESS MOVES IN SLOWLY ON ALEC. HE REMAINS THROUGHOUT WITH HIS BACK TO HER TESS: He was standing with his back to me, looking out of the window. There was a knife on the table. I'd been cutting bread with it earlier. I picked it up and went across to him. At any moment I expected him to turn round and take the knife from me and laugh that laugh of his. But he didn't. There was a full moon in the sky. Its light filled the room. And then I knew it was the moon that he was looking at, it was the full moon that held his gaze so long. And I knew that this moment alone was mine, that there would only ever be this one chance, so I took it, and raised the knife, and I struck. TESS SLOWLY RAISES THE KNIFE, CLASPED IN BOTH HANDS, ABOVE ALEC'S HEAD. SHE HOLDS IT THERE FOR A MOMENT, THEN BRINGS IT DOWN BEHIND HIS BACK. HE LOWERS HIS HEAD. CHORUS 9: And it was done. ALEC RAISES HIS HEAD, WALKS OFFSTAGE. CHORUS 9 TAKES THE KNIFE FROM TESS. ANGEL ENTERS, SEES TESS, STOPS. SHE TURNS TO HIM TESS: It's done. ANGEL: Tess - ? TESS: I came looking for you. I saw you walking from the station. I thought I might be too late. ANGEL: What is it? What's happened? TESS: We're free of him, Angel. He won't trouble us anymore. ANGEL: You've left him? TESS: I didn't think I'd have the strength. But then I thought of you, and the wrong he'd done you, and the wrong he did to me those years ago. ANGEL: Won't he come after you? TESS: That's what I feared. He'd never let me go. That's why I knew it must be done. There was no other way to be free of him. ANGEL: What do you mean, Tess? What have you done? TESS: I've killed him. There was a lot of blood. So much blood. I remembered our horse that was killed. That was how it began, and now it's ended. With blood and with blood. But it had to be. It was ordained from the beginning. Heaven directed my hand. ANGEL SPEAKS TO THE AUDIENCE ANGEL: We stood on the road. The sun hadn't long risen, and there was no one else about. I saw her face in the early morning light, I heard the clear tones of her voice. And although at first I could hardly believe it, and I knew what she was telling me was true. TESS TURNS BACK TO ANGEL. TESS: You'll stay with me, now, won't you, Angel? You won't leave me again? ANGEL: No, Tess. I won't leave you again. HE HOLDS OUT HIS HAND TO HER. SHE TAKES IT, AND THEY WALK TOGETHER TOWARDS ONE OF THE RAISED AREAS, WHERE THEY SIT, AS CHORUS NARRATE. CHORUS 1: They leave the highway, travel north across the country CHORUS 2: Keep to hidden lanes and old tracks, walking on through the day CHORUS 3: A warm day in May of clear skies and soft winds, taking them towards evening to an old, empty house CHORUS 4: Set far back among trees, where they rest for the night. TESS: I wish we could stay here forever. This is how we should have been. The two of us together, no shadow between us. But nothing lasts. Spring comes, and summer, and in autumn the flowers die. But when winter's past they come again. Moments are all we have, and in those moments we can be happy. I'm happy now, and I don't fear what's to come. TESS AND RISE, AND MOVE TO CENTRE STAGE CHORUS 5: And going on the next day with the sun's second rising, like creatures cast out and fleeing through the world CHORUS 6: To come at last, with the sun's second sinking, to a wide plain where great stones rise CHORUS 7: A circle of dark stones thrusting up through the earth CHORUS 8: Moon-washed, mist-lit, silent as eternity CHORUS 9: The place of sacrifice, the place of death. TESS: Stonehenge. It was a pagan temple in old times. What did they worship here? ANGEL: The sun, I think. TESS: The sun. It's setting now. But we'll see it rise in the morning. We'll rest here. ANGEL: It's too open. If anyone's following us - TESS: They'll find us wherever we go. I know they'll come for me soon, and I'm ready. Don't be sad for me, Angel. Remember me as I am now. Look after mother, and Abraham. And Liza- Lu. Look after her. There's something of me lives in her, the best of me perhaps. I'll sleep, now. Watch for me, Angel. Wake me when the sun rises. SHE LIES DOWN. ANGEL STANDS APART FROM HER. THE CHORUS SPEAK, GRADUALLY MOVING IN TO STAND AROUND HER, SOME ON THE FLOOR, SOME ON THE TWO RAISED AREAS. CHORUS 1: She sleeps. Night passes. Dawn comes. CHORUS 2: As out of the early morning mist CHORUS 3: Out of the shadows and rags of the dark CHORUS 4: Figures are approaching, figures without faces CHORUS 5: As if the stones themselves were moving CHORUS 6: Encircling her, closing her in, here, where her life's path has always been leading CHORUS 7: Every step she's taken a movement towards it CHORUS 8: And the earth, or whatever spirit moves through the earth CHORUS 9: Has finally decided to give her up. TESS WAKES, RISES, STANDS, CENTRAL. ANGEL: They took her, and she went willingly, and I never saw her again until the trial. LIZA-LU ENTERS ON THE OPPOSITE SIDE TO ANGEL LIZA-LU: Where they charged her with murder in the first degree, and she never said a word in her defence. ANGEL: Nor when they found her guilty, and the judge passed sentence. LIZA-LU: And on a warm, July morning, in the courtyard of the prison, the black flag was raised, and she was hanged. TESS SPEAKS TO THE AUDIENCE TESS: There are times when you can sense something beyond you, a kind of spirit, in the trees and the hills and the rivers. And this spirit, you know it's part of you as well, or you're part of it, and it never dies, and you'll never die, because it's the spirit that moves through all things, and makes them one. CHORUS 1: And out of the sky the morning sun CHORUS 2: Touches her head, a crown of fire CHORUS 3: And the story's over, and the drama's done. LIGHTS FADE SLOWLY TO A SINGLE LIGHT ON TESS. 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