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THE SECRET GARDEN
Book and Lyrics by Marsha Norman
Music by Lucy Simon
based on the novel by Frances Hodgson Burnett
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Book Copyright © 1992, 1993 by Marsha Norman
Lyrics Copyright © 1992 by ABCDE Publishers, Ltd. (ASCAP)

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An orchestration consisting of:
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Keyboard 1
Keyboard 2
Woodwind 1 (Flute, Piccolo, Recorders, Clarinet, Pan pipes)
Woodwind 2 (Oboe, English horn)
Woodwind 3 (Clarinet, Bass clarinet)
Trumpet
Trombone
Horn 1
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Violin 1
Violin 2
Viola Cello
Bass
Percussion
20 Chorus books

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Printed in the U.S.A.
ISBN 057369361 7








IMPORTANT BILLING AND CREDIT REQUIREMENTS

All producers of THE SECRET GARDEN must give credit to the Authors of the
Work in all programs distributed in connection with performances of the
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(name of producer)
presents

THE SECRET GARDEN

Book and Lyrics by Marsha Norman

Music by Lucy Simon

based on the novel by Frances Hodgson Burnett

In addition, on the first page of all programs, producers of the Play must
also list the following credits:

"Original Broadway Production Produced by: Heidi Landesman Rick Steiner,
Frederic H. Mayerson, Elizabeth Williams Jujamcyn Theaters/TV ASAHI and
Dodger Productions"

"Originally produced by the Virginia Stage Company, Charles Towers,
Artistic Director"

ST. JAMES THEATRE
A JUJANCYN THEATRE

JAMES H. SINGER ROCCO LANDESMAN
CHAIRMAN PRESIDENT

PAUL LIRIN JACK VIERTEL
PRODUCING DIRECTOR CREATIVE DIRECTOR

Heldi Landesman

Rick Steiner, Frederic H. Mayerson Elizabeth Williams,
JuJamcyn Theaters /TV ASAHI and Dodger Productions

THE SECRET GARDEN
Book and Lyrics by Music by
Marsha Norman Lucy Simon
based on the novel by Frances Hodgson Burnett

with

in alphabetical order
John Babcock Daisy Eagan Alison Fraser
Rebecca Luker John Cameron Mitchell Mandy Patlnkin
Barbara Rosenblat Tom Toner Robert Westenberg

Michael De Vries Paul Jackel Nancy Johnston
Rebecca Judd Kimberly Mahon Peter Marlnos
Patricia Phillips Peter Samuel Drew Taylor Kay Waibye

Teresa De Zarn Frank Di Pasquale Betsy Friday Alec Timerman

Scenery by Costumes by Lighting by
Heidi Landesman Theoni V. Aidredge Tharon Musser


Orchestrations by Musical Direction and Dance Sound by
Vocal Arrangements Arrangements by
William D. Brohn Michael Kosarin Jeanine Levenson Otts Munderloh

Choreography by
Michael Lichtefeld

Casting Production Stage Manager Musical Coordinator Hair and Makeup Design
by
Wendy Ettinger Perry Cine John Miller Robert DiNiro

General Management Production Manager Press Representation
David Strong Warner, Inc. Peter Fulbright Adrian
Bryan-Brown

Directed by
Susan H. Schulman

Senior Associate Producer
Greg C. Mosher

Associate Producers
Rhoda Mayerson, Dentsu Inc. New York, Dorothy and Wendell Cherry,
Margo Lion, 126 Second Ave. Corp., Playhouse Square Center

Originally produced by Virginia Stage Company, Charles Towers, Artistic
Director.
The Producers and Theatre management are members or The League of American
Theaters and Producers, Inc.
The Producers Wish to express their appreciation to Theatre Development
Fund for its support of this production.
Cast

Lily REBECCA LUKER
Mary Lennox DAISY EAGAN
Mary Lennox (Wed. Mats, and Thurs. Eves.) KIMBERLY MAIION

IN COLONIAL INDIA, 1906:
Fakir PETER MAR1NOS
Ayah PATRICIA PHILLIPS
Rose (Mary's mother) KAY WALBYE
Captain Albert Lennox (Mary's father) MICHAEL De VRIES
Lieutenant Peter Wright DREW TAYLOR
Lieutenant Ian Shaw PAUL JACKEL
Major Holmes PETER SAMUEL
Claire (his wife) REBECCA JUDD
Alice (Rose's friend) NANCY JOHNSTON

AT MISSELTHWA1TE MANOR, NORTH YORKSHIRE, ENGLAND, 1906:
Archibald Craven (Mary's uncle) MANDY PATINKIN
Dr. Neville Craven (his brother) ROBERT WESTENBERG
Mrs. Medlock (the housekeeper) BARBARA ROSENBLAT
Martha (a chambermaid) ALISON FRASER
Dickon (her brother) JOHN CAMERON MITCHELL
Ben (the gardener) TOM TONER
Colin JOHN BABCOCK
Jane TERESA Dc ZARN
William FRANK DiPASQUALE
Betsy BETSY FRIDAY
Timothy ALEC TIMERMAN
Mrs. Winthrop (the headmistress) NANCY JOHNSTON


ALL OTHER PARTS ARE PLAYED BY THE ENSEMBLE
UNDERSTUDIES
Understudies never substitute for listed players unless a specific
announcement
for the appearance is made at the time of the performance.

Alternate for Mary Lennox - KIMBERLY MAHON
Standby for Archibald Craven - GREG ZERKLE

For Lily - TERESA Dc ZARN, NANCY JOHNSTON; for Mary Lennox - MELODY KAY;
for Archibald Craven -MICHAEL De VRIES. PETER SAMUEL; for Dr. Neville
Craven - MICHAEL Dc VRIES, PAUL JACKEL; for Mrs. Medlock - REBECCA JUDD,
JANE SEAMAN; for Martha -BETSY FRIDAY, JENNIFER SMITH; for Dickon KEVIN
LIGON, ALEC TIMERMAN; for Ben -BILL NOLTE, DREW TAYLOR; for Colin -JOEL E.
CHAIKEN; for Rose - TERESA Dc ZARN, BETSY FRIDAY; for Captain Albert
Lennox-PAUL JACKEL, GREG ZERKLE; for Fakir-KEVIN LIGON, ALEC TIMERMAN; for
Ayah - REBECCA JUDD, JENNIFER SMITH; for Lieutenant Peter Wright-FRANK
DIPASQUALE, BILL NOLTE; for Lieutenant Ian Shaw-KEVIN LIGON, ALEC TIMERMAN;
for Major Holmes-FRANK DiPASQUALE, BILL NOLTE; for Claire-BETSY FRIDAY,
JANE SEAMAN; for Alice-BETSY FRIDAY, JENNIFER SMITH; for Mrs. Winthrop -
REBECCA JUDD, JENNIFER SMITH.

SWINGS: KEVIN LIGON, BILL NOLTE, JANE SEAMAN, JENNIFER SMITH



SYNOPSIS OF SCENES

ACT I


Opening:


"Opening Dream" Lily, Fakir, Mary & Company
India

"There's a Girl" Company
The Library at Misselthwaite Manor
A Train Platform in Yorkshire
The Door to Misselthwaite Manor

"The House Upon the Hill" Company
Mary's Room The Gallery

"I Heard Someone Crying" Mary, Archibald, Lily &
Company

Scene 1: Mary's Sitting Room
"A Fine White Horse" Martha

Scene 2: The Ballroom
"A Girl in the Valley" Lily, Archibald & Dancers

Scene 3: In the Maze/The Greenhouse
"It's a Maze Ben, Mary, Dickon &
Martha
The Edge of the Moor
"Winter's on the Wing" Dickon
'Show Me the Key" Mary & Dickon

Scene 4: Archibald's Library
"A Bit of Earth" Archibald

Scene 5: The Gallery
"Storm I" Company
"Lily's Eyes" Archibald & Neville

Scene 6: The Hallway
"Storm II" Mary & Company

Scene 7: Colin's Room
"Round-Shouldered Man" Colin

Scene 8: On the Grounds / The Door to the Garden
"Final Storm" Company











SYNOPSIS OF SCENES

ACT II


Scene I: The Tea Party Dream / The Other Side of the Door
"The Girl I Mean to Be Mary & Company

Scene 2: Archibald's Dressing Room
"Quartet" Archibald, Neville, Rose & Lily

Scene 3: Colin's Room
"Race You to the Top of the Morning" Archibald

Scene 4: The Greenhouse
"Wick" Dickon & Mary

Scene 5: Colin's Room
"Come to My Garden" Lily & Colin

Scene 6: In the Maze / The Garden
"Come Spirit, Come Charm" Mary, Martha, Dickon,
Fakir, Ayah, Lily & Company
"A Bit of Earth" (reprise) Lily, Rose & Albert

Scene 7: The Library
"Disappear" Neville

Scene 8: Mary's Room / Paris
"Hold On" Martha
"Letter Song" Mary & Martha

Scene 9: Archibald's Rooms in Paris
"Where in the World" Archibald
"How Could I Ever Know" Lily & Archibald

Scene 10: The Garden
Finale Company



CHARACTERS

LILY - Mary's aunt, Mr. Craven's wife, now dead.
MARY LENNOX - a ten-year-old girl.
MRS. MEDLOCK - Mr. Craven's housekeeper.
DR. NEVILLE CRAVEN - Mr. Craven's brother.
MARTHA - a housemaid.
ARCHIBALD CRAVEN - Mary's uncle, and lord of Misselthwaite Manor.
BEN WEATHERSTAFF - head gardener.
DICKON - Martha's brother.
COLIN CRAVEN - Archibald Craven's ten-year-old son.
MRS. WINTHROP - headmistress.


*DREAMERS:
ROSE LENNOX - Mary's mother.
CAPTAIN ALBERT LENNOX - Mary's father.
ALICE - Rose's friend.
LIEUTENANT WRIGHT - officer in Mary's father's unit.
LIEUTENANT SHAW - fellow officer.
MAJOR SHELLEY - officer.
MRS. SHELLEY - Major Shelley's wife. MAJOR HOLMES - officer.
CLAIRE HOLMES - Major Holmes' wife.
FAKIR
AYAH - Mary's Indian nanny.


*These characters, referred to collectively as the Dreamers, are people
from Mary's life in India, who haunt her until she finds her new life in
the course of this story. They are free to sing directly to us, appearing
and disappearing at will.


TIME & PLACE

1906. Colonial India and
Misselthwaite Manor, North Yorkshire, England.




MARSHA NORMAN received the Tony Award for The Secret Garden. She is the
Pulitzer Prize-winning author of 'night, Mother. For that play, she also
received the coveted Hull-Warriner Award and the Susan Smith Blackburn
Prize. Her first play, Getting Out, received the Gassner Medallion and the
Newsday Oppenheimer yard. Her other plays include Third and Oak, The
Laundromat, The Pool Hall, Sarah and Abraham, Loving Daniel Boone. She has
also published a novel, The
Fortune Teller. Though The Secret Garden is Marsha Norman's first musical,
she grew up studying piano, and Later played her way through college,
serving as accompanist for a dance group and pianist for student musical
productions. She has received grants from the national Endowment, the
Rockefeller Foundation and the American Academy and Institute of Arts and
Letters. Ms. Norman is the Treasurer of the Council of the Dramatists
GuiId.

LUCY SIMON makes her Broadway debut with The Secret Garden for which she
received a Tony Award nomination. Fanny Hackabout Jones, a collaboration
with Erica Long and Susan Birkenhead was produced at the Long Wharf Theatre
in New Haven. Ms. Simon also contributed songs to the Off-Broadway Hit A
... My Name Is Alice. In addition to her musical theatre work, Vs. Simon
has won two Grammy Awards for her In Harmony albums which she wrote and
produced, and has recorded two solo albums for RCA Records. Ms. Simon began
her professional singing, composing and recording career at age 16, with
her sister Carly, as part of the Simon Sisters. She lives in New York with
her husband David Levine and their children, Julie and James.

THE SECRET GARDEN
ACT I
PROLOGUE

[MUSIC CUE #1: PRELUDE]

Behind a scrim, a beautiful young WOMAN, dressed in white, sits in the
branch of a large old tree.
MARY LENNOX, a ten-year-old girl, is seen playing with a Victorian doll's
house.

[MUSIC CUE #2: OPENING]


LILY
(As LILY sings, MARY hums.)
CLUSTERS OF CROCUS,
PURPLE AND GOLD.
BLANKETS OF PANSIES,
UP FROM THE COLD. LILIES AND IRIS,
SAFE FROM THE CHILL.
SAFE IN MY GARDEN,
SNOWDROPS SO STILL.

(An Indian FAKIR appears and begins to chant.)

FAKIR
AH...
A'O JADU KE MAUSAM.
A'O GARMIYO KE DIN.
A'O MANTRA TANTRA YANTRA,
US KI BIMARI, HATA '0

AH...
A'O JADU KE MAUSAM.
A'O GARMIYO KE DIN.
A'O MANTRA TANTRA YANTRA,
US KI BIMARI, HATA' 0.

(Mary's father, ALBERT, enters, carries her to an ornate
Victorian bed, center stage, and kisses her goodnight.
As she goes to sleep, he steps back and English
COUPLES appear, as if in a dream, around the bed.

At ALBERT'S salute, the COUPLES begin to play
DROP THE HANDKERCHIEF using a red
handkerchief. Those present include: ROSE, Mary's
mother, a beautiful woman who seems to be flirting
with all the men, ALBERT, Mary's father, ALICE,
Rose's friend, two lieutenants, WRIGHT and SHAW,
serving the Raj in colonial India, MAJOR HOLMES
and his wife, CLAIRE, and a FAKIR, and Mary's AYAH.

The echo of children's voices is heard.)

CHILDREN'S VOICES
MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?
NOT SO WELL, SHE SAID,
SEE THE LILY'S DEAD.PULL IT UP AND OUT YOU GO.

(As the game proceeds, we realize the players
are not merely eliminated from the game, but have,
in fact, died of the cholera in Colonial India. One by
one, they take out red handkerchiefs and dab at their
faces and necks.)

CHILDREN'S VOICES

MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?
FAR TOO HOT, SHE CRIED,
SEE MY ROSE HAS DIED.
DIG IT UP, AND OUT YOU GO.

LOOK AROUND, LOOK AROUND, WHAT DO YOU SEE?
PLANTS IN THE GROUND, ALL ARE BLIND TO THEE.
WALK AROUND, WALK AROUND, WHERE WILL YOU GO
SEEDS IN THE EARTH, COVERED UP WITH SNOW.

MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?
OH IT'S DRY, SHE WAILED, SEE THE IRIS FAILED,
PULL IT UP, AND OUT YOU GO.

MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?
HAD AN EARLY FROST, NOW IT'S GONE, IT'S LOST.
DIG IT UP, YOU'RE OUT, YOU'RE UP, YOU'RE OUT
YOU'RE UP, YOU'RE OUT, YOU GO…

(Finally, when no one is left alive, MARY awakes,
as if from a terrible dream, and then falls back,
as mosquito netting drops down over the bed.)


— INDIA —

(The next morning, MARY sits on her bed, looking
at a small photograph in a frame, and humming
"Clusters of Crocus." LT. WRIGHT enters, his mouth
covered with a handkerchief. He hears the humming
and discovers MARY.)

LIEUTENANT WRIGHT
(Calling to someone offstage.)
Major. There's a girl in here

MAJOR HOLMES
(As he enters.)
Do you mean alive?

MARY
My name is Mary Lennox. Where has everyone gone?
Where's my Ayah?

(The MAJOR takes note of the girl, then looks around
the room, careful of what he touches, as though
everything might be contaminated.)
LIEUTENANT WRIGHT
We've searched the servants' bungalow as well sir.
It's just one blacksnake and this girl.

MARY
Why has no one come for me?

MAJOR HOLMES
I'm afraid there's no one left, Miss.

LIEUTENANT WRIGHT
Bloody miracle she escaped the cholera, though God knows how.
She was drinkin' the same water they was.

MARY
But where are my mother and father?

MAJOR HOLMES
I'm sorry, Miss.

LIEUTENANT WRIGHT
Where shall I take the girl, sir? Our orders are to burn anything that
might be contaminated.

MAJOR HOLMES
To Governor's house for now. I believe there's an uncle, somewhere.

LIEUTENANT WRIGHT
Yes, sir. You'll have to leave that picture here, miss.

MARY
No, I will not! I'm taking it with me.

LIEUTENANT WRIGHT
It's your pretty mother, is it?

MARY
No, it isn't.

LIEUTENANT WRIGHT
Yes, well. Come along then.



[MUSIC CUE #3: THERE'S A GIRL-I]

(MARY takes the small framed photo and puts it in he pocket.
As they leave, the ornate dollhouse bursts into flames.)



LIEUTENANT SHAW

CAN IT BE A DREAM?
SURELY IT MUST SEEM
LIKE A FRIGHTFUL DREAM.
HOW CAN THIS BE TRUE?

LIEUTENANT WRIGHT and MAJOR HOLMES
WON'T HER MOTHER COME,
COME WAKE HER UP TO PLAY?
WON'T HER FATHER SAY,
HERE'S A ROSE FOR YOU?

CLAIRE, ALICE, HOLMES and WRIGHT
THERE'S A GIRL WHOM NO ONE SEES.
THERE'S A GIRL WHO'S LEFT ALONE.
THERE'S A HEART THAT BEATS IN SILENCE FOR
THE LIFE SHE'S NEVER KNOWN.
FOR THE LIFE SHE'S NEVER KNOWN.


— A TRAIN PLATFORM IN YORKSHIRE —


(MAJOR SHELLEY and his wife arrive with MARY.)

MRS. SHELLEY
She's such a sour young thing. Perhaps if Rose had spent more time in the
nursery, Mary might have learned some of her mother's pretty ways.

(ROSE enters.)

MAJOR SHELLEY
What a nightmare it must have been for the girl. To wander up to bed in
the middle of a party, then wake up the next morning with them all dead.

(MRS. MEDLOCK approaches.)

MRS. MEDLOCK
Good evening, Major. I'm Mr. Craven's housekeeper. Is this the girl?

(ALBERT appears)

MAJOR SHELLEY
Yes ma'am. And here's her papers and the death certificates and all.
Her father was captain in my regiment and a fine man he was, too. We're all
very sorry…

MRS. MEDLOCK
Thank you, Major.

MAJOR HOLMES
Yes ma'am. A pleasant journey to you, ma’am.

MRS. MEDLOCK
(Turns to MARY.)
Well, now. I suppose you'd like to know something
about where you are going.

MARY
Would I.

MRS. MEDLOCK
But don't you care about your new home?

MARY
It doesn't matter whether I care or not.

MRS. MEDLOCK
Now in all my years,
[MUSIC CUE #4: THE HOUSE UPON THE HILL]

I've never seen a child sit so still or look so old.

DREAMERS
HIGH ON A HILL SITS A BIG OLD HOUSE
WITH SOMETHING WRONG INSIDE IT.
SPIRITS HAUNT THE HALLS
AND MAKE NO EFFORT NOW TO HIDE IT.

WHAT WILL PUT THEIR SOULS TO REST
AND STOP THEIR CEASELESS SIGHING?
WHY DO THEY CALL OUT CHILDREN'S NAMES
AND SPEAK OF ONE WHO'S CRYING?

(MRS. MEDLOCK continues talking, DREAMERS sing "OHH" under
dialogue.)

MRS. MEDLOCK
Well, you're right not to care. Why you're being brought to Misselthwaite
I'll never know. Your uncle isn't going to trouble himself about you,
that's sure and certain. He never troubles himself about anyone.

DREAMERS
AND THE MASTER HEARS THE WHISPERS
ON THE STAIRWAYS DARK AND STILL,
AND THE SPIRITS SPEAK OF SECRETS
IN THE HOUSE UPON THE HILL.

MRS. MEDLOCK
He's a hunchback, you see. And a sour young man he was,
and got no good of all his money and big place till he were married.

(LILY appears in a shaft of light.)

MARY
To my mother's sister?

MRS. MEDLOCK
Her name was Lily. And she was a sweet, pretty thing and he'd have
walked the world over to get her a blade of grass that she wanted.
Nobody thought she'd marry him, but marry him she did, and it wasn't f
or his money either. But then when she died

MARY
How did she die?

MRS. MEDLOCK
It made him worse than ever. He travels most of the time now. It's his
brother, Dr. Craven, who makes all the decisions these days.

DREAMERS
HIGH ON A HILL SITS A BIG OLD HOUSE
WITH SOMETHING WRONG INSIDE IT.
SOMEONE DIED AND SOMEONE'S LEFT
ALONE AND CAN'T ABIDE IT.
DREAMERS
THERE IN THE HOUSE LIVES A LONELY
MAN STILL HAUNTED BY HER BEAUTY.
ASKING WHAT A LIFE CAN BE WHERE
WHERE NAUGHT REMAINS BUT DUTY.

(DREAMERS sing "OOH" under dialogue.)

MARY
Is it always so ugly here?

MRS. MEDLOCK
It's the moor. Miles and miles of wild land that nothing grows on but
heather and gorse and broom, and nothing lives on but wild ponies and
sheep.

MARY
What is that awful howling sound?

MRS. MEDLOCK
That's the wind, blowing through the bushes. They call it wuthering, that
sound. But look there, that tiny light far across there. That'll be the
gate it will.

DREAMERS
AND THE MASTER HEARS THE WHISPERS
ON THE STAIRWAYS DARK AND STILL.
AND THE SPIRITS SPEAK OF SECRETS
IN THE HOUSE UPON THE HILL.

— THE DOOR TO MISSELTHWAITE MANOR —


(ARCHIBALD and DR. CRAVEN meet just inside the door,
ARCHIBALD carrying a book,
DR. CRAVEN carrying a large candelabra.)

DR. CRAVEN
For God's sake, Archie. The girl's parents are dead. She's traveled six
thousand miles to get here. You are her guardian. The least you can do is
be here to greet her.

ARCHIBALD
I can't, Neville. I wouldn't know what to say. (Patting the book.) I'll be
upstairs.

(ARCHIBALD exits, and the door opens and MARY and MRS. MEDLOCK
enter.)

MRS. MEDLOCK
Mary Lennox, this is Dr. Craven, your uncle's brother.

MARY
How do you do.

DR. CRAVEN
(To MRS. MEDLOCK)
You're to take her to her room. He doesn't want to see her.

MRS. MEDLOCK
Very good, Doctor.

(MARY and MRS. MEDLOCK go into the house and up the stairs,
as the DREAMERS appear and sing.)
[MUSIC CUE #5: THERE'S A GIRL]

MAJOR HOLMES and CLAIRE.
CAN IT BE A DREAM?
SURELY IT DOES SEEM
LIKE A FRIGHTFUL DREAM,
NO ONE HERE SHE KNOWS.

ALICE, LIEUTENANTS WRIGHT and SHAW.
SHADOWS ON THE WALLS,
DARK AND DRAFTY HALLS,
CATCH HER IF SHE FALLS,
STILL NO FEAR SHE SHOWS.

— MARY'S ROOM —

MRS. MEDLOCK
Well, here you are. This room and the next are where you'll live. But you
mustn't expect that there will be people to talk to you. You'll have to
play about and look after
yourself. But when you're in the house, don't go wandering the halls. Your
uncle won't have it.

MARY
(As though asleep or in shock.) ... won't have it.

(ROSE and ALBERT appear.)

ROSE
Albert, please

ALBERT
Rose, I really must send you and Mary away until we get this cholera under
control.

ROSE
And what shall I do? Wander around the hills, alone with our child, while
she stares at me
the whole time.

ALBERT
She's not staring at you, Rose. Mary just wants to look at you Just like
all the rest of us.


MRS. MEDLOCK
(Goes to the door.)
Goodnight, then.

MARY
Yes, ma'am.

(MRS. MEDLOCK exits.)

ALBERT.
THERE'S A GIRL WHOM NO ONE SEES.
THERE'S A GIRL WHO'S LEFT ALONE.
THERE'S A HEART THAT BEATS IN SILENCE FOR
THE LIFE SHE'S NEVER KNOWN.


[MUSIC CUE #6:1 HEARD SOMEONE CRYING]


(LILY appears, and ALBERT extends his arm to her, as if asking
her to take care of MARY

But MARY can't sleep. She hears someone crying, picks up a candle
and walks out into the
house. As she sings, she sees someone rounding a corner and
follows him. As she moves
through the corridors, she continues to get glimpses of shadows,
or ghosts from her past.
LILY follows her.)

LILY
OOO...

MARY
I HEARD SOMEONE CRYING.
WHO THO' COULD IT BE?
MAYBE IT WAS MOTHER
CALLING OUT, COME SEE
MAYBE IT WAS FATHER,
ALL ALONE, AND LOST AND COLD.
I HEARD SOMEONE CRYING.
MAYBE IT WAS ME

(MARY picks up a candle and goes into the gallery. ARCHIBALD
appears in another part
of the gallery with his candle.)

ARCHIBALD
I HEARD SOMEONE SINGING.
WHO THO' COULD IT BE?
MAYBE IT WAS LILY,
CALLING OUT TO ME.
MAYBE SHE'S NOT GONE
SO FAR AWAY AS I'VE BEEN TOLD.
I HEARD SOMEONE SINGING.
MAYBE IT WAS SHE.

(Now MARY comes out of her hiding place, as ARCHIBALD moves into
another part of the house.)

MARY LILY
MAYBE IT WAS SOMEONE I COULD OOO……
FIND AND HAVE A CUP OF TEA.
MAYBE IT WAS SOMEONE WHO
COULD BRING THE TEA AND COME FIND ME.

LILY
I HEARD SOMEONE CRYING.
THO I CAN'T SAY WHO.
SOMEONE IN THIS HOUSE
WITH NOTHING LEFT TO DO.
SOUNDED LIKE A FATHER,
LEFT ALONE, HIS LOVE GROWN COLD.
I HEARD SOMEONE CRYING.
MAYBE IT WAS YOU.

(MARY holds her candle up to a large portrait of LILY.)

ARCHIBALD & MARY
MAYBE I WAS DREAMING OF A GARDEN
GROWING FAR BELOW
MAYBE I WAS DREAMING OF A LIFE THAT I WILL
NEVER KNOW


MARY/LILY ARCHIBALD
I HEARD SOMEONE LILY, WHERE ARE
CALLING. YOU, I'M LOST
WITHOUT YOU

WHO THO' COULD IT I CAN'T WALK THESE
BE? HALLS WITHOUT YOU


MARY LILY ARCHIBALD
SOMEONE IN OOO… LILY, WHERE
THIS HOUSE ARE YOU, I
NEED YOU
WHOM NO OOO… I HAVE
ONE SEEMS SEARCHED
TO SEE THE WORLD
BUT
YOU'RE
NOT THERE

SOMEONE NO OOO… COME AND
ONE TELL ME
SEEMED TO WHY YOU
HEAR EXCEPT OOO… BROUGHT ME
FOR ME HOME IF
YOU'RE
NOT HERE,

MARY/LILY ARCHIBALD DREAMERS
I HEARD MY LILY, WHERE
SOMEONE ARE YOU,
CALLING
I'M LOST
WITHOUT YOU
SOMEONE IS LILY, WHERE LILY…
CRYING ARE YOU
LILY, WHY AH…
CAN'T I FIND
YOU


MAYBE IT FIND SOME
WAS YOU TRACE
YOU'VE LEFT
BEHIND YOU
MAYBE ME LILY, WHERE
ARE YOU
WITHOUT YOU, I
AM LOST
I AM LOST I AM LOST I AM
LOST


(ARCHIBALD and MARY blow out their candles.)


[MUSIC CUE #6A: I HEARD SOMEONE CRYING-playoff]


SCENE 1
— MARY'S SITTING ROOM —


MARTHA, a sturdy Yorkshire girl, enters carrying a breakfast tray
and a skipping rope.

[MUSIC CUE #6AA: MARTHA'S DITTY]

MARTHA
ME MOTHER ASKED ME, LASSIE, TELL ME WHAT
YOUR LAD MUN DO
BEFORE YOU GIVE YOUR HEART AWAY, AND
MAKES A NEST, AND ALL THE REST.
I TOLD ME DARLIN' MOTHER THERE'S
SOMETHING HE MUN DO,
BUT I'LL SAY FIRST HOW HE MUN LOOK HIS
EYES, THEY BE MUN, TOO.

MARY
Are you my servant?

(Mary's AYAH appears.)

MARTHA
Well there, Mary Lennox. Me name is MARTHA
And now tha'rt up, I'll make tha' bed

MARY
Aren't you going to dress me first?

MARTHA
Canna tha' dress thyself, then?


[MUSIC CUE #6B: INDIA STING #1]


MARY
In India, my Ayah dressed me.

MARTHA
Well then, it'll do tha' good to wait on thysel' a bit. Tis fair a wonder
grand folks
children don't turn out fair fools, bein' washed and took out to walk like
they was puppies.

MARY
What is this language you speak?

MARTHA
Well, of course, you've not heard any Yorkshire, livin' in India, have ye?
Mrs. Medlock said I'd have to be careful or you wouldn't understand what I
was sayin'.
But I didn't know what to expect from you either. When I heard you was
comin' from Bombay,
I thought you'd be a solid brown, I did. But you're not brown at all. More
yellow, I'd say.

(MARY's hands fly up to her eyes, as she bursts into tears and
doesn't want MARTHA to see it.)

MARTHA
Eh, now lassie, I didn't know you'd be so easy vexed. I'll help you on with
your
clothes this time, if you like. You just pretend you're back in India, and
I'm your servant, and
you just give me that little yellow foot.

MARY
I'm quite all right. Thank you.

MARTHA
Look there. Out the window. It's the moor, it is. Like a dull purple sea
this morning.
Do you like it?

MARY
I hate it.

MARTHA
Ah, you wait 'til spring, then. For the moor is fair covered in gorse and
heather,
and there's such a lot of fresh air. My brother Dickon goes off and plays
on the moor for hours.
He's got a pony that's made friends with him, and birds and sheep and such
as eats right out of
his hand.

MARY
(Has been examining the closet.)
These are not my clothes.

MARTHA
Ay, miss, your Uncle…

MARY
(Interrupting her to keep her from talking on and on.)
These are nicer than mine.

MARTHA
You get these new clothes on then, and wrap up warm and
[MUSIC CUE #6C: MEDLOCK BELL#1] run out and play.
That'll give you stomach for your porridge.

MARY
Mrs. Medlock told me there's nothing out there but a big old park.

MARTHA
Well, maybe you'll run into our Dickon out there. Maybe he'll give you a
ride on his pony.
Maybe he'll…

MARY
I don't know anything about boys.

(MARTHA sighs, and proceeds to dress MARY as she sings:)


[MUSIC CUE #7: IF I HAD A FINE WHITE HORSE]

MARTHA
IF I HAD A FINE WHITE HORSE,
I'D TAKE YOU FOR A RIDE TODAY.
BUT SINCE I HAVE NO FINE WHITE HORSE
INSIDE I'LL HAVE TO STAY,
AND EMPTY ALL THE CHAMBER POTS
AND SCRUB THE FLOORS AND SUCH.
BUT WHAT'S THERE TO DO ON A FINE WHITE
HORSE?
IT SEEMS TO ME NOT MUCH.

MARTHA
IF I HAD A WOODEN BOAT,
I'D TAKE YOU FOR A SAIL TODAY.
BUT SINCE I HAVE NO WOODEN BOAT
INSIDE I'LL HAVE TO STAY
AND CATCH AND KILL THE MICE,
AND PLUCK THE CHICKENS FOR THE COOK

BUT WHAT'S THERE TO DO ON A WOODEN BOAT,
BUT SIT UP STRAIGHT AND LOOK?

AND WORRY OUR BOAT WILL START TO DRIFT
AND FLOAT US OUT TO SEA…
AND LAND US ON AN ISLE OF GOLD,
OH DEAR, OH DEARIE ME…

IF I HAD A CHAMBER MAID,
I'D TAKE YOU OUT TO PLAY TODAY.
THEY SAY OUT THERE'S A MAZE WHERE
ONCE YOU ENTER, THERE YOU STAY.
FOR CERTAIN WE'D GET LOST AND THEY'D
COME LOOMN' FOR OUR BONES.
AND FIND US SOMETIME LATE NEXT WEEK
AND BRING US TEA AND SCONES.

BUT WHAT IF THERE'S A CLAN OF
TROLLS A CAMPIN' NEATH A TREE?
OR WHAT IF THERE'S A PIRATES' CAVE,
OH DEAR OH DEAR OH DEARIE ME…

IF I WASN'T SO AFRAID,
I'D TAKE YOU OUT THE DOOR TODAY.
BUT TALKING BIRDS AND TALES OF FAIRIES
KEEP ME SCARED AWAY.
AND YES, I PROMISED NOT TO TELL WHAT
ELSE IS THERE, ALTHOUGH…
IF IN THE MAZE YOU CHANCE TO SEE
A GARDEN GUARDED BY A TREE,
AND MEET A BIRD THAT SPEAKS TO THEE…
THEN COME AND TELL MY FINE WHITE HORSE
AND ME

[MUSIC CUE #7A: MEDLOCK BELL #2]

(MARY is all dressed now. MARTHA hears a BELL ringing.)


MARTHA
Oh, now there's Mrs. Medlock's bell, and I've got all this to clean up
first. Can you
find your way out yourself? It's down the stairs, past the ballroom...

MARY
I'll find it.

MARTHA
(Picks up the skipping rope.)
Mary Lennox. I thought tha' might like to have a skipping rope to play
with.

(MARY takes the skipping rope and throws it down.)

MARTHA
Mary Lennox.

(MARY turns back to face her.)

MARTHA
Tha' forgot tha' rope.


[MUSIC CUE #7B: WHITE HORSE-playoff]

(MARY grabs the rope and exits.)






SCENE 2
— THE BALLROOM —


[MUSIC CUE #8: A GIRL IN THE VALLEY]


ROSE, and other DREAMERS enter dancing a waltz. Something about
them
seems like a memory. ARCHIBALD stands stage right, as though
remembering
these scenes. LILY dances alone.

LILY
A MAN WHO CAME TO MY VALLEY,
A MAN I HARDLY KNEW.
A MAN WHO CAME TO MY GARDEN
GREW TO LOVE ME.


ARCHIBALD
(Begins to move into the scene as he sings.)
A GIRL I SAW IN A VALLEY,
A GIRL I HARDLY KNEW.
A GIRL AT WORK IN A GARDEN,
GREW TO LOVE ME.

(ARCHIBALD begins to dance now too, the MUSIC drawing them
together.)

LILY
FROM THE GATE, HE
CALLED OUT SO KINDLY,
"LASS WOULDST Thou 'LOW ME
REST HERE, I'VE RIDDEN QUITE FAR."

ARCHIBALD

"SHARE MY TEA," SHE
BADE ME SO GENTLY,
OATCAKES AND CREAM,
SWEET PLUMS IN A JAR.

LILY
AND EVERY DAY TO MY GARDEN,
THIS MAN, WHO MIGHT HE BE,
CAME BEARING BASKETS OF ROSES,
FOR HE LOVED ME.

ARCHIBALD

ALL I OWN, I'D GIVE ---

LILY
---JUST A GARDEN

ARCHIBALD

ALL I WOULD ASK IS NEVER TO ---

LILY
---NEVER TO LEAVE

LILY and ARCHIBALD
SAY YOU'LL HAVE ME
SAFE YOU WILL KEPP ME
WHERE YOU WOULD LEAD ME
THERE

THERE I WOULD, THERE I WOULD
THERE I WOULD GO…

LILY ARCHIBALD
A MAN
WHO CAME TO MY A GIRL WHO CAME TO
VALLEY MY VALLEY
A MAN A
I HARDLY KNEW GIRL I HARDLY KNEW
A MAN WHO GAVE ME A GIRL WHO GAVE ME
A GARDEN A GARDEN
GREW TO LOVE ME GREW TO LOVE ME


(They waltz. They are so happy, so deeply in love. And suddenly,
MARY enters.
The MUSIC stops, and LILY and the other dancers disappear.)

MARY
Are you my Uncle Archibald?

ARCHIBALD
Who's that?

MARY
It's Mary Lennox, sir. Are you my Uncle Archibald?

ARCHIBALD
(Tries to regain his composure.)
Yes, I am. Good morning, child.

MARY
Are you going to be my father now?

ARCHIBALD
I am your guardian. Though I am a poor one for any child. I offer you…

(MARY pulls the photograph she brought with her from India out of
her pocket. LILY enters.)

MARY
Is this my Aunt Lily, in this picture?

ARCHIBALD
(Looks at it quickly, this is hard for him.)
Yes it is. Where did you get that?

MARY
It was on my dresser, in India. Maybe Mother put it there. I don't know.


(ROSE appears, as though at a ball, and wanders over to talk to
LILY.)

ARCHIBALD
Your mother and my Lily ...
(She grabs the photo back from him.)
Please excuse me.
(He notices her coat.)
Who dressed you, child?

MARY
Martha tried to, sir.

ARCHIBALD
Yes, I see.
(He bends over and attempts to button her coat.)

[MUSIC CUE #8A: LILY AND ROSE]

ROSE
Lily, you've been dancing with that gloomy Archibald all evening!

LILY
He's just shy, Rose. I think Archie has the tenderest heart I've ever
known.

ROSE
Silly Lily. Have you been so busy looking into his eyes,
that you've missed the hump on his back?
(ROSE laughs and they exit.)

ARCHIBALD
(Turning to leave.)
I do hope you'll enjoy the gardens.

MARY
But I want to know what happens to dead people.

(He stops. Death is a subject he cannot resist.)

ARCHIBALD
Yes. Well. Quite natural that you should wonder that. (A moment.) We bury
them.
We put their things away, we remember things they said. We… talk to them,
sometimes ...
in our minds, of course…

MARY
Can they hear us?

ARCHIBALD
(And now he seems angry at himself.)
And then one morning, when we think we're over them at last, we find
ourselves
in the ballroom, knowing full well we have been here all night, and we draw
the
painful conclusion that we have been dancing with them again.

MARY
I don't understand.

ARCHIBALD
Nor will you ever. They're not gone, you see. Just dead.

MARY
Is my Aunt Lily a ghost now?

ARCHIBALD
(He stops.)
Why, have you heard her?

MARY
I heard someone crying in the house last night. But I don't know anything
about ghosts.
Is my father a ghost now? Does everyone who dies become a ghost?

ARCHIBALD
They're only a ghost if someone alive is still holding onto them.

MARY
Maybe what I heard was Mother, telling me to be nice so you'll keep me.

(Now, perceiving her fear, he attempts to reassure her.)

ARCHIBALD
The house is haunted, child. Day and night. But it is yours to live in as
long as
I am master here. I offer you my deepest sympathies on your arrival.

(Then he walks away. But when he is gone, MARY calls after him.)

MARY
Did my mother have any other family?

(MARY exits.)

[MUSIC CUE #9: IT'S A MAZE]


SCENE 3
IN THE MAZE


BEN WEATHERSTAFF, the gardener, is at work.
MARY is wandering in the gardens.

MARY
SKIP, SKIPPED THE LADIES
TO THE MASTER'S GATE.
SIP, SIPPED THE LADIES
WHILE THE MASTER ATE.
TIP-TOED THE CHAMBERMAID
AND STOLE THEIR PEARLS.
SNIP, SNIPPED THE GARDENER
AND CUT OFF THEIR CURLS.

MARTHA

IT'S A MAZE, THIS GARDEN,
IT'S A MAZE OF WAYS
ANY MAN CAN SPEND HIS DAY
IT'S A MAZE, THIS GARDEN,
IT'S A MAZE OF PATHS
BUT A SOUL CAN FIND THE WAY.

BEN
FOR AN OLD MAN KNOWS
HOW A YEAR IT GOES,
HOW THE COLD HARD GROUND
IN THE SPRING COMES ROUND
HOW THE SEEDS TAKE HOLD,
AND THE FERNS UNFOLD
HOW AN ENGLISH GARDEN GROWS.

(MARY is learning to skip rope, and singing.)

MARY
SKIP, SKIPPED THE LADIES
TO THE MASTER'S GATE.
SIP, SIPPED THE LADIES
WHILE THE MASTER ATE.


DICKON. BEN MARTHA MARY
COME TIPTOED
ALONG, THE
LOVE CHAMBERMAID
COME FLY AND STOLE
AWAY THEIR
PEARLS
FLY ALONG SNIP,
SNIPPED
THE GAR-
DENER
COME AND CUT
ALONG OFF
FLY AWAY THEIR
HOME. CURLS

DICKON. BEN MARTHA MARY

IT'S A
COME MAZE THIS
ALONG, GARDEN
LOVE
YOU'VE IT'S A MAZE
COME
A LONG OF PATHS
WAY
YOU'VE MEANT TO
FLOWN LEAD
ALL THE A MAN
DAY,
COME FLY ASTRAY
AWAY TAKE A
HOME. LEFT AND
THEN
TURNING
LEFT
AGAIN
HOW A
SOUL
CAN
FIND
THE WAY

FOR AN OLD IT'S A MAZE
MAN THIS
KNOWS, GARDEN
HOW A IT'S AMAZE
YEAR IT OF WAYS
GOES

COME FLY HOW THE
AWAY COLD HARD IT'S A MAZE
HOME GROUND OF WAYS
COME FLY IN THE
SPRING
COMES
ROUND
AWAY HOW IN
HOME
TIME IT SKIP,
SHOWS SKIPPED
HOW A THE LADIES
COME GARDEN TAKE SIP, SIPPED
ALONG
LOVE GROWS, A LEFT THE LADIES
COME FLY HOW AN AND THEN SKIP
AWAY ENGLISH
FLY AWAY GARDEN IT'S A SIP
HOME GROWS. MAZE SKIP
IT'S A MAZE


— THE GREENHOUSE —


MARY
SKIP, SKIPPED THE LADIES TO THE MASTER'S GATE.
SIP, SIPPED THE LADIES WHILE THE MASTER ATE.
TIP-TOED THE CHAMBERMAID AND STOLE THEIR PEARLS.
SNIP, SNIPPED THE GARDENER AND CUT OFF THEIR CURLS.

(MARY enters the greenhouse carrying her skipping rope. Spoken.)

Good morning, BEN


BEN
Back again today, are you? What have you been doin' out there?

MARY
Just wandering around. I don't have anybody to play with and nothing to do.

BEN
Dickon's here. Why don't you go talk to him? I saw him myself not five
minutes ago,
conjurin' with that stick of his.

MARY
I haven't met Dickon. I'm not sure he even exists. I think you and Martha
just made
him up.

BEN
Well, then, I'll give you a spade if you want to dig a little hole
somewhere.

MARY
A little hole for what?

BEN
You and me are a good bit alike. We're neither of us good looking, and
we're both
as sour as we look.

(There is a moment.)

MARY
I saw that robin again today.

BEN
Well, of course you did. There never was his like for bein' meddlesome.
He's the real
head gardener around here. Chirpin' at me to come see some bush needs
prunin'.

MARY
I know where he lives too. It's that walled garden with the tall hedge all
around it, and
no door, and that funny tree growing out over the top of the wall. I think
that tree is the same
one my Aunt Lily is sitting in, in this picture.

(MARY pulls the photo out to show him. He is so moved by the
picture, he doesn't say anything.)

MARY
Am I right?

BEN
That's the one, missy. That it is. That was Miss Lily's garden.

MARY
Her garden? But I want to see it. Can you show me the door?

BEN
No I can't. When she died, your Uncle Archibald locked the door, said
nobody was ever to go in that garden again, and buried the key. And now the
ivy's grown up over the door such that I don't even know where it is now.

MARY
But aren't you worried that the garden is all dead with nobody taking care
of it?

BEN
Of course I am. But if I so much as set foot in there…

MARY
Maybe the real reason the robin is chirping at you is he wants you to climb
over his
garden wall and work on it.

BEN
Maybe he does, but I can't go losin' my job on the advice of a bird, now
can I? And the same goes for you.

MARY
My Uncle Archie said…

BEN
Your Uncle Archie is gone most of the time, missy, and who's to say what
might happen
if he weren't here to stop it.

(She thinks a moment. [MUSIC CUE # 9A. INDIA STING #2] The FAKIR
appears.)

MARY
Do you believe in spirits?

BEN
Old place like this there's more of them than there are of us.

MARY
I heard that crying in the house again last night.

BEN
That could well be a spirit you heard. They like a tall ceiling and a long
hallway to swoop around in.

MARY
In India, once, [MUSIC CUE # 9B: BIG DEAD SNAKE] I saw a spirit pull a big
dead
snake right up out of a basket and make him dance.

BEN
I'm sure you think you've seen just about everything, Missy, except the
inside of that
garden ... and you keep it that way. You hear me?

(MARY hears the sound of the ROBIN.)

MARY
Good day, BEN.

[MUSIC CUE #10: WINTER'S ON THE WING]

(MARY leaves the greenhouses led by the sound of the ROBIN.)


— THE EDGE OF THE MOOR —

(DICKON is revealed in another part of the garden. He looks above
him,
as though he has just released a wild bird into the sky.)

DICKON (Sings.)
WINTER'S ON THE WING,
HERE'S A FINE SPRING MORN,
COMIN' CLEAN THROUGH THE NIGHT,
COME THE MAY ... I SAY
WINTER'S TAKIN' FLIGHT,
SWEEPIN' DARK COLD AIR
OUT TO SEA, SPRING IS BORN,
COMES THE DAY ... I SAY

AND YOU'LL BE HERE TO SEE IT.
STAND AND BREATHE IT ALL THE DAY.
STOOP AND FEEL IT, STOP AND HEAR IT,
SPRING, I SAY.

I SAY BE GONE, YE HOWLING GALES,
BE OFF YE FROSTY MORNS.
ALL YE SOLID STREAMS BEGIN TO THAW.
MELT, YE WATERFALLS, PART YE FROZEN WINTERWALLS
SEE ... SEE NOW IT'S STARTING…

AND YOU'LL BE HERE TO SEE IT.
STAND AND BREATHE IT ALL THE DAY.
STOOP AND FEEL IT, STOP AND HEAR IT,
SPRING, I SAY.

AND NOW THE SUN IS CLIMB IN' HIGH,
RISING FAST, ON FIRE,
GLARING DOWN THROUGH THE GLOOM,
GONE THE GRAY, I SAY
THE SUN SPELLS THE DOOM
OF THE WINTER'S REIGN.
ICE AND CHILL MUST RETIRE,
COMES THE MAY, SAY I.

AND YOU'LL BE HERE TO SEE IT.
STAND AND BREATHE IT ALL THE DAY.
STOOP AND FEEL IT, STOP AND HEAR IT.
SPRING, I SAY.

AND NOW THE MIST IS LIFTIN' HIGH
LEAVIN' BRIGHT BLUE AIR,
ROLLIN' CLEAR 'CROSS THE MOOR,
COMES THE MAY, I SAY,
THE STORM'LL SOON BE BY
LEAVIN' CLEAR BLUE SKY.
SOON THE SUN WILL SHINE.
COMES THE DAY, SAY I

AND YOU'LL BE HERE TO SEE IT.
STAND AND BREATHE IT ALL THE DAY.
STOP AND FEEL IT, STOP AND HEAR IT,
SPRING, I SAY.

[MUSIC CUE #1OA: MARY'S MAZE]

(MARY enters, skipping rather proficiently now, and singing a
section of "It's a Maze" on "Ia."
DICKON appears from behind a topiary.)

DICKON
Hello there, MARY

MARY
Who are you?

DICKON
I'm Martha's brother, Dickon. I hope I didn't fright thee.

MARY
But what are you doing here?

DICKON
I did fright thee. I'm sorry.

MARY
But why haven't I seen you before?

DICKON
A body has to move gentle and speak low when wild things is about.

MARY
You mean you're here all the time?

DICKON
Well, if somethin' is sick I take a look at it, sure I do. And find the
ponies that wander
off and the eggs that roll out of the nests, but look here. Me mother's
sent you a penny's worth of
seeds for your garden.


[MUSIC CUE # 1OB: ROBIN CUES]

(A ROBIN whistle is heard.)

DICKON
There's columbine and poppies by the handful.

MARY
I don't have a garden.

DICKON
But don't you want one? One of your own, I mean.

(MARY isn't sure she wants to talk to him, but his spell is
beginning to work on her.)

DICKON
Come and look at your seeds, why don't you? Well, if you don't want 'em,
I'll…

(She approaches quickly now, and he pours the seeds in her hand.
The ROBIN is heard again.)

MARY
I want to go in that garden. Where the robin lives.

DICKON
I wasn't sure you'd seen him.

MARY
Seen him? He's done nothing but chirp at me ever since I got here.

(The ROBIN whistles.)

DICKON
Well, you have to understand, he's makin' his nest. And he can't afford to
have
you interferin' if you're not friendly.

(The ROBIN whistles again. DICKON takes Mary's skipping rope and
begins to play with it.)

MARY
How do you know that?

DICKON
Because we were just talkin' about you, how do you think?

MARY
He was talking too, or just you?

DICKON
What he thinks, is that you're lookin' for a nest yourself,
only it looks to him like your nest would have to be pretty big.

MARY
Have you ever been in there?

DICKON
It's not mine to go into, Mary. But it might be yours,
I can't say. He's been keepin' it safe for somebody, that much I know.

MARY
He has?

DICKON
Same way as the ivy grown up to hide the door. But maybe the robin is
waitin' to
hear why you want to go in there, exactly. Bein' as he's got the safest
nestin' spot
in all England, he's wise to be wary.

MARY
Can you tell him I'm friendly?

DICKON
I could, but what if you wanted to tell him something else and I wasn't
here.
Be much quicker if you learned to talk to him yourself.

MARY
But what could I say that he would understand?

DICKON
Well I wouldn't mention you were an egg-eater, if you know what I mean.
But are you interested in flyin' perhaps? Or bugs?

MARY
I'm afraid not.

DICKON
Well, then just tell him about yourself, and I'll translate
into Yorkshire for you 'til you get the way of it.

[MUSIC CUE #11: SHOW ME THE KEY]

(The ROBIN trills.)

MARY
I...

DICKON
SHE...

MARY
I'M A GIRL…

DICKON
SHE IS A LASS,
AS TOOK A GRAIDLEY FANCY TO THEE.
DOST THA' FEAR?

MARY
THA' MUN NOT FEAR.

DICKON
SHE'S TOOK THEE ON
FOR LIKE TO VEX THEE.
NOWT O' THE SOART.

MARY
NOWT O' THE SOART.

DICKON
SHE KNOWS FAIR WELL
SHE MUN NOT FRIGHT THEE.

MARY
CANNA THA' SHOW ME

DICKON
FAIR BETTER TO KNOW HER

MARY
SHOW ME THA' KEY.

DICKON
SHOW HER THA' KEY.

(The ROBIN trills again.)

DICKON
SHE'S A LASS AND THA ART' RIGHT,
AS NEEDS A SPOT WHERE SHE CAN REST IN.

MARY
I MUN SIT, WHERE I'LL NOT BE
SO THINKIN' THOUGHTS OR FEEL A GUEST IN.

DICKON
NOWT O' THE SOART.

MARY
NOWT O' THE SOART.

DICKON
SEE'D FAIR BE WATCHIN' FOR THE SPRING.

MARY
I'LL NOT BE CLIMBIN UP, I'LL ONLY BE CALLIN'
GOOD MORNING, AND FAIR LOW I'LL SING.

DICKON
Well done, Mary.

(The ROBIN trills again, and LILY and ROSE wander into the maze.)

ROSE
Lily, what are you looking for?

LILY
Wait 'til you see it. It's the most beautiful garden I ever ... and nobody
knows about
it except Archie, but the door is so covered over with ivy that I can never
find it. Oh, wait,
maybe it's on this other side.

MARY
I'LL ONLY WALK AROUND AS LIKE TO SEE IT FOR MYSEL’.
IF THA' CANST 'LOW ME VISIT I'LL SPEAK LOW E'EN TO THYSEL'.
THA'LL NOT BE POTHERED NIGHT AND DAY BY WENCHES RACIN' ROUND.
I'LL BUT SEEM A SILENT DREAM, STANDIN' ON THE SECRET GROUND.

I'D BUT SMELL THE GROWIN' THINGS, COUNT
THE ROSES 'GAINST THE WALL.
HEAR THY BABES WHEN FIRST THEY PECK,
STRETCH MY HAND IF THEY SHOULD FALL.

OR IF THA' LIKES, I'LL BRING THEE SEEDS OR
WORMS ALL IN A MOUND.
FOR IF THA'LL HAVE ME FOR A FRIEND…
THA'LL BE THE FIRST I'VE FOUND.

MARY
I'M A LASS.

DICKON
A TRUSTY LASS.

MARY
THAT TOOK A GRAIDLEY FANCY TO THEE.
CANNA THA' SHOW ME-

DICKON
FAIR WELL DOST THA' KNOW HER…

MARY
SHOW ME THA' KEY.

MARY and DICKON
SHOW ME (HER) THA' KEY.

DICKON
Well, then. I'm off, then.

MARY
But where are you going?

DICKON
I can't say. But I'll see you tomorrow sure enough. And if you need me
before then,
well, now that you and robin is talking, he always knows where I am.

MARY
But can't you help me look for the key?

DICKON
But that's why I'm leavin', Mary.
A body can't find a thing in a crowd.

MARY
All right, then. Bye.

DICKON
(Stands behind her and sings.)
AND YOU'LL BE HERE TO SEE IT.
STAND AND BREATHE IT ALL THE DAY.
STOOP AND FEEL IT, STOP AND HEAR IT,
SPRING ... I SAY.

(DICKON hangs the skipping rope around one of the topiaries and
exits.)

MARTHA
(Calling from offstage.)
Mary Lennox!

(MARY starts to leave, but the ROBIN stops her with a trill,
reminding her, perhaps, to take
her skipping rope. MARY pulls the rope off the topiary and hears
a metallic CLINK.)

MARY
Oh, no. Look what I've

(Something has fallen into the leaves at her feet.)

MARY
What was that?
(She bends over to pick it up, brushing away the leaves where it
is now buried.)
Where did it ...
(She searches for it.)
There it is!
(She picks it up.)
It's a key! It's the key to the garden! I found the key to the garden! It
was right here!
(She looks up at the robin.)
But the door! Where is the door?
(She hears MARTHA calling her.)

MARTHA
(From offstage.)
Mary Lennox!

MARY
(Puts the key in her pocket quickly and runs toward the house.)
Coming!

MARTHA
(Enters, looking for MARY.)
Mary Lennox! We haven't got time to play hide and seek
now. Mrs. Medlock wants us in the house right now!

[MUSIC CUE #11A: SKIP, SKIPPED-TRANSITION]
Mary!

(MARTHA exits, looking for MARY.)

AYAH and FAKIR
SKIP, SKIPPED THE LADIES TO THE MASTER'S GATE.
SIP, SIPPED THE LADIES WHILE THE MASTER ATE.
TIP-TOED THE CHAMBERMAID AND STOLE THEIR PEARLS.
SNIP, SNIPPED THE GARDENER AND CUT OFF THEIR CURLS.

SCENE 4
— ARCHIBALD'S LIBRARY —


DR. CRAVEN is seated at the desk, as ARCHIBALD enters, wearing a
heavy raincoat.

ARCHIBALD
Will this rain never stop?

DR. CRAVEN
Archie, I'm so pleased. I've finally located a suitable school for young
MARY

ARCHIBALD
A school?

DR. CRAVEN
She needs the company of other children. Particularly after a tragedy such
as this.

ARCHIBALD
But she's practically just arrived, Neville. Does she want to leave?

DR. CRAVEN
This is no house for a child. What will she have to do here? Wander the
halls?

ARCHIBALD
As I do, you mean? What a wretched house this is. Father should have given
Misselthwaite to you, Neville, not me.

DR. CRAVEN
You are the elder brother, Archie. That would never have occurred to him.
But if you continue to feel you cannot live here, then leave. You were
happy once before. I
n Paris. You're still a young man. There is no reason…

ARCHIBALD
I can't leave, Neville.

DR. CRAVEN
But what good does it do to sit by the boy's bed, night after night, hoping
for
a miracle?

ARCHIBALD
They have been known to happen.

DR. CRAVEN
When Lily died, I gave up my practice to care for the…

ARCHIBALD
You've been completely faithful, Neville. I am deeply grateful.

DR. CRAVEN
But I did not give up my responsibility to you, Archie. I cannot allow you
to
waste your life waiting for the inevitable end. I cannot.

ARCHIBALD
I am not wasting my life, Neville. This is my life now.

(MRS. MEDLOCK enters, with MARY.)

MRS. MEDLOCK
Beg pardon, sir, you sent for young MARY

ARCHIBALD
Yes, child. Come in. Perhaps we can manage to have a moment
before the storm carries us away. Take a chair.

MARY
(Takes a seat.)
Thank you, sir.

(And then ARCHIBALD realizes he has no idea what he intended to
say to MARY.)

ARCHIBALD
Are you well? Do they take good care of you?

MARY
Yes, sir. Thank you, sir.

ARCHIBALD
I'm sorry it's been so long since we've spoken. It's just I keep forgetting
you.
(Another pause.)
I intended to find you a school to go to or…

MARY
Oh no, Please don't send me away!

ARCHIBALD
No, of course not. But perhaps you would enjoy a governess, considering
that
you've had a chance to look around now and know there's nothing for you to
do. What do you
say to that?

MARY
Please don't make me have a governess, sir. There's everything for me to do
here.
There are so many gardens to walk around in, and so much to learn about
them. Martha gave
me a skipping rope, and Dickon gave me some seeds and…

(ALBERT appears upstage IN THE PAST.)

ALBERT
And here's a rose for you, Mary…

ARCHIBALD
Yes, all right then…

ALBERT
Happy birthday, darling.

(LILY enters.)

ARCHIBALD
Play outside if you like, but is there anything you need?
Would you like some toys, or books or dolls perhaps?

MARY
Might I…

ARCHIBALD
Speak up, child.

MARY
Might I have a bit of earth, sir?

ARCHIBALD
A bit of earth?

MARY
To plant seeds in, yes sir. A garden.

(ARCHIBALD is clearly moved by this request.
This is exactly the way Lily used to talk. NEVILLE is alarmed.)

ARCHIBALD
Do you care about gardens so much, then?

MARY
I didn't know about them in India. I was always ill and tired
and it was too hot. I sometimes played at making little flower beds,
sticking things in the sand But here, I might
have a real garden if you would allow it, sir.

ARCHIBALD
Are you sure there's nothing else?

MARY
No, sir.

ARCHIBALD
All right, then. You may have your earth. Take as much earth as you want.

MARY
Thank you very much, sir.

(He tries to indicate that MARY may leave the room.
But she mistakes his gesture for a wave, and waves back)

DR. CRAVEN
You may leave child.

(MARY leaves the room, and after a moment ARCHIBALD turns to DR.
CRAVEN)

ARCHIBALD
It's much worse being back this time. The dreams are much more vivid.
And I hear things. In the halls.

DR. CRAVEN
It's the girl, Archie.

ARCHIBALD
Do you mean Mary? But I never see her.

DR. CRAVEN
Because you can't see her, Archie, because she reminds you of Lily.

ARCHIBALD
You can't be serious.

DR. CRAVEN
I can see the resemblance, myself. Although Lily's hair
was more ... You were very kind to take the girl in, Archie,
but in your state, it's simply too much.
If you allow the girl to stay here, to grow up here,
I have no doubt your dreams, to say
the very least, will get even worse.

ARCHIBALD
But you can see the girl is lonely, Neville.
Perhaps I should have more conversations with her.

DR. CRAVEN
I don't think that is wise, Archie.

[MUSIC CUE #12: A BIT OF EARTH]

ARCHIBALD
A bit of earth…

DR. CRAVEN
Until you are ready to send her to a school…

ARCHIBALD DR. CRAVEN
SHE WANTS A LITTLE It is my professional
advice
BIT OF EARTH. that you continue to obey
your
SHE'LL PLANT SOME natural instincts and avoid
SEEDS. her.

ARCHIBALD
THE SEEDS WILL GROW.

DR. CRAVEN
Archie…

ARCHIBALD
THE FLOWERS BLOOM.
BUT IS THEIR BOUNTY WHAT SHE NEEDS?

DR. CRAVEN
If I could have your signature on these leases.

ARCHIBALD
HOW CAN SHE CHANCE (DR CRAVEN exits.)
TO LOVE A LITTLE BIT OF EARTH?
DOES SHE NOT KNOW?
THE EARTH IS OLD, AND DOESN'T CARE IF
ONE SMALL GIRL WANTS THINGS TO GROW.

SHE NEEDS A FRIEND.
SHE NEEDS A FATHER, BROTHER, SISTER, MOTHER'S ARMS.
SHE NEEDS TO LAUGH,
SHE NEEDS TO DANCE AND LEARN TO WORK HER GIRLISH CHARMS.

SHE NEEDS A HOME.
THE ONLY THING SHE REALLY NEEDS I CANNOT GIVE.
INSTEAD SHE ASKS, A BIT OF EARTH, TO MAKE IT LIVE.

ARCHIBALD
SHE SHOULD HAVE A PONY.
GALLOP CROSS THE MOOR.
SHE SHOULD HAVE A DOLL'S HOUSE,
WITH A HUNDRED ROOMS PER FLOOR.
WHY CAN'T SHE ASK FOR A TREASURE?
SOMETHING THAT MONEY CAN BUY,
THAT WON'T DIE. WHEN
I'D GIVE HER THE WORLD,
SHE ASKS, INSTEAD…
FOR SOME EARTH.

A BIT OF EARTH
SHE WANTS A LITTLE BIT OF EARTH.
SHE'LL PLANT SOME SEEDS.
THE SEEDS WILL GROW.
THE FLOWERS BLOOM, THEIR BEAUTY
JUST THE THING SHE NEEDS…

SHE'LL GROW TO LOVE THE TENDER ROSES,
LILIES FAIR,
THE IRIS TALL.
AND THEN IN FALL,
HER BIT OF EARTH
WILL FREEZE AND KILL THEM ALL,
A BIT OF EARTH, A BIT OF EARTH,

(And with a crash of THUNDER and a stroke of LIGHTNING, the storm
hits.)


SCENE 5
— MISSELTHWAITE MANOR IN THE GALLERY —


[MUSIC CUE #13: STORM I]

LARGE PORTRAITS of LILY loom in the air,
as the DREAMERS circle around ARCHIBALD, and sing.

MAJOR HOLMES
CLOSE THE SHUTTERS AND LOCK THE DOORS.

ALBERT
BRACE THE WINDOWS AS IN IT POURS.

FAKIR
CANDLES ONLY THE ONES YOU CARRY,

LIEUTENANT SHAW
WATCH NOW -

LIEUTENANT WRIGHT
CAREFUL THE STAIRS,

WRIGHT AND SHAW
WORKING IN PAIRS,

ALBERT
FARES WELL THE HOUSE THAT'S READY…

DREAMERS
COMIN' A TERRIBLE STORM.
LOOKS LIKE THE SEA IN A GALE.
BRANCHES ARE BROKEN IN HALF.
CARRIED ALOFT LIKE A SAIL.
NOT SINCE I WAS A CHILD, HAVE I
HEARD SUCH A HORRIBLE WAIL.

AH...

(There is a LULL in the storm, and DR. CRAVEN stands thinking
about the other storm he knows is brewing.)

[MUSIC CUE #14: LILY'S EYES]

DR. CRAVEN
STRANGELY QUIET, BUT NOW THE STORM
SIMPLY RESTS TO STRIKE AGAIN.
STANDING, WAITING, I THINK OF HER,
I THINK OF HER…

(ARCHIBALD, is also looking at a portrait of Lily.)

ARCHIBALD
STRANGE, THIS MARY, SHE LEAVES THE ROOM,
YET REMAINS, SHE LINGERS ON.
SOMETHING STIRS ME TO THINK OF HER,
I THINK OF HER…

DR. CRAVEN
FROM DEATH SHE CASTS HER SPELL.

ALL NIGHT WE HEAR HER SIGHS.
AND NOW A GIRL HAS COME
WHO HAS HER EYES.

SHE HAS HER EYES, THE GIRL HAS LILY'S HAZEL EYES.
THOSE EYES THAT SAW HIM HAPPY LONG AGO.
THOSE EYES THAT GAVE HIM LIFE AND HOPE HE'D NEVER KNOWN.
HOW CAN HE SEE THE GIRL AND MISS THOSE HAZEL EYES.

ARCHIBALD
SHE HAS HER EYES, THE GIRL HAS LILY'S HAZEL EYES.
THOSE EYES THAT CLOSED AND LEFT ME ALL ALONE.
THOSE EYES I FEEL WILL NEVER EVER LET ME GO,
HOW CAN I SEE THIS GIRL WHO HAS HER HAZEL EYES.

IN LILY'S EYES, A CASTLE
THIS HOUSE SEEMED TO BE.
AND I HER BRAVEST KNIGHT BECAME,
MY LADY FAIR WAS SHE.

DR. CRAVEN
(Angry and hurt.)
SHE HAS HER EYES, SHE HAS MY LILY'S HAZEL EYES.
THOSE EYES THAT LOVED MY BROTHER, NEVER ME.
THOSE EYES THAT NEVER SAW ME, NEVER KNEW I LONGED
TO HOLD HER CLOSE, TO LIVE AT LAST IN LILY'S EYES.

ARCHIBALD
IMAGINE ME, A LOVER…

DR. CRAVEN
I LONGED FOR THE DAY
SHE'D TURN AND SEE ME STANDING THERE -

ARCHIBALD and CRAVEN
WOULD GOD HAD LET HER STAY.

DR. CRAVEN ARCHIBALD
SHE HAS HER EYES, SHE HAS HER EYES,
SHE HAS LILY'S MY LILY'S HAZEL
HAZEL EYES. EYES
THOSE EYES THAT
SAW ME
THOSE EYES THAT HAPPY LONG AGO.
FIRST I LOVED SO
HOW CAN HOW CAN
I NOW FORGET I NOW FORGET
THAT I DARED TO BE THAT ONCE I DARED
TO BE…
IN LOVE, N LOVE,
ALIVE, AND WHOLE ALIVE AND WHOLE
IN LILY'S EYES IN LILY'S EYES
IN LILY'S EYES… IN LILY'S EYES…


SCENE 6
— THE HALLWAY —


[MUSIC CUE #15: STORM II]


MARY enters the gallery, holding a candle.
MARTHA, LILY and the DREAMERS also wander the gallery.

MARY
SOMEONE IS CRYING, JUST NOW I HEARD THEM.
SOMEONE IN THIS HOUSE IS CRYING.
WHY WON'T THEY TELL ME, I KNOW THEY'RE LYING?
SOMEONE HERE IS LOST OR MAD.
I MUST TRY TO FIND THEM,
BEG THEM STOP SO I CAN SLEEP.

I HEARD SOMEONE CRYING.
WHO THO' COULD IT BE?
SOMEONE IN THIS HOUSE,
WHOM NO ONE SEES TO SEE.
SOMEONE NO ONE SEEMS TO
HEAR EXCEPT FOR ME…
I HEARD SOMEONE CRYING…

MARY and AYAH
I HEARD SOMEONE CRYING…

DREAMERS
AH ............................

(MARY walks through the halls. There is a terrible THUNDERCLAP,
and the DREAMERS lead MARY to a room she hasn't seen before.)


SCENE 7
— COLIN'S ROOM —


A GHOSTLY FORM lies on a bed, screaming. MARY is terrified.

COLIN
Get out!

MARY
Who are you?

COLIN
Who are you? Are you a ghost?

MARY
No I am not. I am Mary Lennox. Archibald Craven is my uncle.

COLIN
How do I know you're not a ghost?

MARY
I'll pinch you if you like. That will show you how real I am. Who are you?

COLIN
I am COLIN
Mr. Craven is my father. I see no one and no one sees me.
Including my father. I am going to die.

MARY
How do you know?

COLIN
Because I hear everybody whispering about it. If I live, I may be a
hunchback,
but I shan't live.

MARY
Well, I've seen lots of dead people, and you don't look like any of them.

COLIN
Dead people! Where did you come from?

MARY
From India. My parents died there of the cholera. But I don't know what
happened
to them after that. Perhaps they burned them, I don't know.

COLIN
My mother died when I was born. That's why my father hates me.

MARY
He hates the garden too.

COLIN
What garden?

MARY
(Wishes she hadn't said anything about the garden.)
Just a garden your mother liked.
Have you always been in this bed?

COLIN
Sometimes I have been taken to places at the seaside, but I won't stay
because
people stare at me. And one time a grand doctor came from London, and said
to take off
this iron thing Dr. Craven made me wear, and keep me out in the fresh air.
But I hate fresh air,
and I won't be taken out.

MARY
If you don't like people to see you, do you want me to go away?

COLIN
Yes, but I want you to come back first thing tomorrow morning and tell me
all about India.
In the books my father sends me, I've read that elephants can swim. Have
you ever seen them swim?
They seem altogether too large to be swimmers, unless maybe they use their
ears to…

MARY
I can't come talk to you in the morning. I have to go outside and look for
something with Dickon.

COLIN
Who's Dickon?

MARY
He's Martha's brother. He's my friend.

(Suddenly, COLIN's despotic temperament flares.)

COLIN
If you go outside with that Dickon instead of coming here to talk to me,
I'll send him away.

MARY
You can't send Dickon away!

COLIN
I can do whatever I want. If I were to live, this entire place would belong
to me someday.
And they all know that.

MARY
You little Rajah! If you send Dickon away, I'll never come into this room
again.

COLIN
I'll make you. They'll drag you in here.

MARY
I won't even look at you. I'll stare at the floor.

COLIN
You are a selfish thing.

MARY
You're more selfish than I am. You're the most selfish boy I ever saw.

COLIN
I'm selfish because I'm dying.

MARY
You just say that to make people feel sorry for you. If you were a nice boy
it might be true,
but you're too nasty to die!


(MARY turns and stomps away toward the door. [MUSIC CUE #15A:
INDIA STING #3]
The AYAH appears.)

COLIN
No, please don't go.

(She stops.)

COLIN
It's just that the storm scares me so that if I went to sleep, I'm afraid I
might not wake up.


[MUSIC CUE #16: ROUND-SHOULDERED MAN]

MARY
Then close your eyes, and I will do what my Ayah used to do in India.
I will pat your hand and stroke it and sing something quite low.

(The AYAH begins to hum.)

COLIN
And I have such terrible dreams.

MARY
I have bad dreams too. Last night I dreamed about my father. Only he had
this lump on
his back, like your father. And then, when he turned around, he was your
father.

COLIN
SOME NIGHTS I DREAM
THAT A ROUND-SHOULDERED MAN
COMES IN MY ROOM
ON A BEAM OF MOONLIGHT.
HE NEVER SAYS WHAT HE WANTS,
HE JUST SITS WITH A BOOK IN HIS HANDS.

AND THEN I DREAM
THAT THE ROUND-SHOULDERED MAN
TAKES ME OFF ON A RIDE
THROUGH THE MOORS BY MOONLIGHT.
HE NEVER SAYS, WHERE WE'LL GO
WE JUST RIDE 'CROSS THE HILLS TILL DAWN.

AND SOME NIGHT I'M GOING TO ASK HIM,
IS THE NIGHT SKY BLACK OR BLUE?
I KNOW THE ANSWER'S IN HIS BOOK
OF ALL THAT'S GOOD AND TRUE.

MARY
It's no wonder you have bad dreams. The shadows in this room are so
strange.

COLIN
AND ONCE I DREAMED
THAT THE ROUND-SHOULDERED MAN
TOOK MY HAND AND WE WALKED
TO A SECRET GARDEN.
I HEARD MY FATHER SPEAK MY NAME
AS WE SAT IN THE CROOK OF A BROKEN TREE.


COLIN MARY

AND SOME NIGHT I'M AND SOME NIGHT I
GOING TO ASK HIM THINK YOU
SHOULD ASK HIM

COLIN and MARY
HOW THE OLD MOON TURNS TO NEW

COLIN
I KNOW THE ANSWER'S IN HIS BOOK
OF ALL THAT'S GOOD AND TRUE

COLIN and MARY
I'M SURE THE ANSWER'S IN HIS BOOK
OF ALL THAT'S GOOD AND TRUE.

MARY
Colin, I just realized ... We're cousins.

(Suddenly, MEDLOCK and DR. CRAVEN enter. DR. CRAVEN goes to the
boy.
MEDLOCK grabs MARY.)

MRS. MEDLOCK
Mary Lennox!

(MRS. MEDLOCK pulls MARY away from the bed.)

DR. CRAVEN
(Preparing an injection.)
I was afraid of something like this.

COLIN
No! Not. I don't want an..

DR. CRAVEN
He must have his rest. If she's been...

MARY
But I've never seen him before!

DR. CRAVEN
… how can I hope to succeed with him if my orders are not followed.

MRS. MEDLOCK
I've told her to stay in her room, but she refuses to obey.

COLIN
Get away from me! Don't touch me! Not

(ROSE appears.)

ROSE
Albert!

MARY
I only wanted him to stop crying.


(As DR. CRAVEN wrestles with COLIN, MRS. MEDLOCK takes MARY
firmly in hand
and walks her to the door. ALBERT appears.)

ROSE
What is that infernal wailing?

[MUSIC CUE #16A: BEFORE FINAL STORM]

ALBERT
It's the servants, Rose.

MRS. MEDLOCK
Now, you listen to me, Mary Lennox.

ALBERT
The cholera. It's quite bad.

MAJOR HOLMES
Ten thousand dead at last count.

MRS. MEDLOCK
Do you see what you've done?

ALBERT
I should have sent you away while there was still time.

MRS. MEDLOCK
You are never to see Colin again.

MARY
But why?

(And now other DREAMERS appear, as MARY begins to remember
exactly
what happened at that dinner party.)

CLAIRE
It's exactly what they deserve. Letting their sewage run in the streets.

MRS. MEDLOCK
The one rule you were given here you have violated.

LIEUTENANT WRIGHT
But how are we to get around with all the dead in frigging flames?

COLIN
No!

(DR. CRAVEN gives COLIN a shot.)

ALICE
They're servants, darling. There are millions of them.

MRS. MEDLOCK
Do not to speak to her, doctor?

DR. CRAVEN
No!

LIEUTENANT SHAW
I wonder if I might have a glass of water.

(COLIN collapses back on the bed.)

MARY
But why didn't you tell me he was here?

ROSE
I'm very warm, Albert.

MRS. MEDLOCK
Because I was ordered not to. And I obey my orders because I want to keep
my place here
and I advise you to do the same.

ALBERT
Mary! Where is Mary?

MRS. MEDLOCK
Do you understand?

ALBERT
Someone. Find her.

[MUSIC CUE #17: FINAL STORM]

There's a child…

(There is another violent stroke of LIGHTNING and MARY runs out
of the room
and down the hail in absolute terror.)


SCENE 8
— THE MAZE —

MARY rushes outside and into the maze.

DREAMERS
COMIN' A TERRIBLE STORM.
SHAKIN' THE SOULS OF THE DEAD.
QUAKIN' THE FLOOR UNDERFOOT,
SHAKIN' THE ROOF OVER HEAD.
NOT SINCE I WAS A CHILD, HAVE I
FEARED…

(There is a crash of THUNDER, and the DREAMERS appear, distressed
and confused.
Finally, MARY remembers what really happened the night her
parents died. She approaches
each one of them, but as they dab their faces with the red
handkerchiefs, she knows they
cannot help her.)

ROSE
MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?

AYAH
NOT SO WELL, SHE SAID, SEE THE LILY'S DEAD.
DIG IT UP, YOU'RE OUT, YOU GO.

MAJOR HOLMES
MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?

LIEUTENANT SHAW
FAR TOO HOT, SHE CRIED, SEE MY ROSE HAS DIED.
DIG IT UP AND OUT YOU GO.

(MARY runs wildly, trying to find anyone, anything. But the
faster she runs, the more terrified
she becomes. The DREAMERS cannot see her now, she is desperately
alone.)

ALICE
MISTRESS MARY, QUITE CONTRARY,
HOW DOES YOUR GARDEN GROW?

CLAIRE DREAMERS
OH IT'S DRY, SHE WAILED IT'S A MAZE THIS GARDEN
SEE THE IRIS FAILED IT'S A MAZE OF WAYS…
DIG IT UP AND OUT
YOU GO

FAKIR DREAMERS
MISTRESS MARY, SOMETHING WRONG
QUITE CONTRARY, INSIDE IT.
HOW DOES YOUR IT'S A MAZE THIS
GARDEN, GARDEN
GROW? IT'S AMAZE OF WAYS…

WRIGHT WOMEN DREAMERS
HAD AN EARLY FROST, HIGH ON A HILL…
NOW IT'S GONE IT'S SOMETHING WRONG
LOST, INSIDE IT…
DIG IT UP AND OUT, YOU GO…

DREAMERS (In a round.)
IT'S A MAZE THIS GARDEN,
IT'S A MAZE OF WAYS,
MEANT TO LEAD A SOUL ASTRAY.

IT'S A MAZE THIS GARDEN,
IT'S A MAZE OF WAYS,

IT'S A MAZE THIS GARDEN,
IT'S A MAZE OF WAYS,
MEANT TO LEAD A SOUL ASTRAY.

(THE DREAMERS form a circle as in the opening dream.
MARY runs round and round it, looking for a way in.)

CLAIRE ALICE AYAH ROSE
MISTRESS NOT SINCE I MAR..
CRYING...
MARY WAS A
CHILD
MISTRESS HAVE I
MARY FEARED
MISTRESS HAVE I MISTRESS SOMEONE
MARY FEARED MARY CRYING
MISTRESS MISTRESS
MARY MARY

FAKIR ALBERT SHAW
JA... FOR HER MOTHER MISTRESS MARY
DU... THERE'S A GIRL MISTRESS MARY
KE… WHO NO ONE MISTRESS MARY
SEES... NO ONE MISTRESS MARY

WRIGHT HOLMES
SKIPPED THE LADIES WATCH NOW …
TO THE MASTER'S GATE WATCH NOW…
SKIPPED THE LADIES WATCH NOW…
TO THE MASTER'S GATE

DREAMERS (ALBERT)
MISTRESS MARY QUITE CONTRARY
HOW DOES YOUR GARDEN GROW
HAD AN EARLY FROST
NOW IT'S GONE, IT'S LOST
DIG IT UP, AND OUT (Mary !)
YOU GO, YOU'RE OUT, YOU GO, (Mary...!)
OUT, YOU GO!

(MARY looks up and sees her father, the last person alive to
think of her. He kneels, opening his arms and heart to her, and
She runs into his arms. And the other DREAMERS disappear from the
stage. As MIST fills the stage, LILY appears. ALBERT smiles,
shows MARY that LILY is waiting for her, and indicates to MARY
that she should go with LILY now. Never looking back, MARY walks
toward LILY'S open arms. LILY steps aside, showing MARY the door
in the wall behind her. The door to the Secret Garden. MARY wipes
her eyes, takes out the key, puts it into the lock, and starts to
open the door.)



END OF ACT I
ACT II

[MUSIC CUE #18: ENTR'ACTE]

SCENE 1
— THE OTHER SIDE OF THE DOOR THE TEA PARTY DREAM —

[MUSIC CUE #19: THE GIRL I MEAN TO BE]

A large tea party celebrating Mary's birthday is in progress.
Everyone is there, ARCHIBALD, LILY,
ROSE, ALBERT, DICKON, MARTHA, and the DREAMERS, the living and
the dead, exactly as
MARY would like to see them. A PHOTOGRAPHER stages pictures, a
cake is presented, and
EVERYONE is serenely happy.

MARY
I NEED A PLACE WHERE I CAN GO,
WHERE I CAN WHISPER WHAT I KNOW,
WHERE I CAN WHISPER WHO I LIKE,
AND WHERE I GO TO SEE THEM.

I NEED A PLACE WHERE I CAN HIDE,
WHERE NO ONE SEES MY LIFE, INSIDE,
WHERE I CAN MAKE MY PLANS AND WRITE THEM DOWN
SO I CAN READ THEM.

A PLACE WHERE I CAN BID MY HEART
BE STILL, AND IT WILL MIND ME.
A PLACE WHERE I CAN GO WHEN I AM LOST,
AND THERE I’LL FIND ME.

I NEED A PLACE TO SPEND THE DAY,
WHERE NO ONE SAYS TO GO OR STAY,
WHERE I CAN TAKE MY PEN AND DRAW
THE GIRL I MEAN TO BE.

(Suddenly, from nowhere, COLIN is rolled downstage in his
wheelchair by MRS. MEDLOCK
DR. CRAVEN, drops a red handkerchief in his lap. [MUSIC CUE #19A:
HOUSE ON THE
HILL-Transition] The mood turns dark and the DREAMERS sing.)


LIEUTENANTS WRIGHT and SHAW
HIGH ON A HILL SITS A BIG OLD HOUSE
WITH SOMETHING WRONG INSIDE IT.
SPIRITS HAUNT THE HALLS
AND MAKE NO EFFORT NOW TO HIDE IT.

AND THE MASTER HEARS THE WHISPERS
ON THE STAIRWAYS DARK AND STILL.
AND THE SPIRITS SPEAK OF SECRETS IN THE HOUSE UPON THE HILL.


SCENE TWO
— ARCHIBALD'S DRESSING ROOM —

DR. CRAVEN comes into ARCHIBALD'S dressing room. ARCHIBALD enters
and starts to pack.

DR. CRAVEN
Archie, you must tell me what we are to do with Mary. She goes where she
wants to go,
and does what she wants to do. I cannot hope to succeed with Colin's
treatment if she
is allowed to sneak into his room and disturb him. You must send her away
before she
undoes everything we have tried to do.

ARCHIBALD
I can't send her away, Neville. She has no one on the earth but me.
Can't you keep her outside? She likes the gardens, I believe.

DR. CRAVEN
What are you doing, Archie?

ARCHIBALD
I'm leaving, Neville. You have things well in hand here.

DR. CRAVEN
Well in hand? Haven't you heard anything I've just said?

ARCHIBALD
And last night, [MUSIC CUE #20: QUARTET] I dreamed I walked through the
maze to Lily's garden,
and saw Lily and Mary standing there. Mary, standing right there in Lily's
garden. I turned away…
I couldn't watch ... I was afraid.

DR. CRAVEN
WHY WON'T HE SAY WHAT HE WANTS,
WHY MUST HE SPEAK IN DREAMS?
WHY CAN'T HE SEE WHAT HE WANTS?
TO DISAPPEAR, IT SEEMS.

HE SHOULD SEND THIS HAUNTED GIRL FAR AWAY,
LEAVE THE HOUSE AND LANDS TO ME ....

(ARCHIBALD continues his dream, IN SONG.)

ARCHIBALD
I WATCHED THEM WALK AROUND THE GARDEN
SHE STOOD TALL, GROWN STRONG AND BOLD
THEN THEY TURNED, AND ASKED MY PARDON
I COULDN'T SPEAK, MY HEART GROWN COLD.

DR. CRAVEN
WHY CAN'T HE SEE WHAT HE WANTS?
HE WANTS THE PAST UNDONE.
WHY CAN'T HE KNOW WHAT HE WANTS?
HIS LOSING BATTLES WON.
TO HAVE NEVER LOVED HER, NEVER KNOWN,
HOW COMPLETE A LOSS CAN BE.

IF SHE COULD DISAPPEAR HE'D START AGAIN,
AND LIVE LIKE OTHER MEN. HE COULD BE HAPPY THEN.

IF SHE WOULD DISAPPEAR HE COULD BE FREE,
CUT OFF FROM PAIN AND LOSS, A BIT LIKE ME.

(LILY and ROSE appear.)

ROSE
You can't marry this Archibald. He's a gloomy miserable cripple
who hides himself away in that horrible house. You've said it yourself,
he can't believe you love him. And neither can I!

LILY
No one is asking for your approval, Rose.

ROSE
If you don't care what happens to you, think about your children.
Do you want your children to be crippled as well?

LILY
I will marry him.


(QUARTET)

DR. CRAVEN ROSE.
I CAN ARRANGE
WHAT HE WANTS. DON'T DO THIS.
HE'S LEFT IT ALL
TO ME. DON'T WED HIM.
NOW HE CAN HAVE
WHAT HE WANTS. DON'T BED HIM.
UNFETTERED
HE WILL BE. DON'T DO THIS.
SET HIM FREE SET HIM FREE…

TO WANDER
THROUGH THE THROUGH THE
WORLD WORLD
LET HIM GO HIS LET HIM GO HIS
LONELY WAY. LONELY WAY.


ARCHIBALD LILY
AND THEN I LONGED
TO JOIN THEM, KNOW
THE PEACE THEY FEEL, NOW THAT I LOVE HIM
THEIR JOURNEY DONE
THEN I WOKE, ONCE I WILL LIVE FOR HIM
MORE WITHOUT HER,
KNEW I MUST LIVE JUST TO LOVE HIM.
WANDER ON AND…

ROSE
ON I GO. I WON'T
FORGIVE YOU,
WON'T SEE YOU
LIVE THERE.
LIFE TO FIND LILY, I SWEAR,
I'LL NEVER SEE YOU.


DR. CRAVEN ROSE ARCHIBALD LILY
JUST TO DO WHAT YOU
DISAPPEAR WILL
IS TO BE FREE, THEN, I'LL
CUT OFF CUT OFF CUT OFF FROM NEVER LEAVE
FROM PAIN FROM PAIN HIM
PAIN
CUT OFF
FROM PAIN
I'LL HELP HIM CUT OFF CUT OFF FROM CUT
OFF
FROM PAIN FROM PAIN
PAIN
DISAPPEAR NOW YOU DISAPPEAR
HOW CAN I
MUST LEAVE
AND START LEAVE HIM
HIM?
AGAIN,

AND LIVE LIKE YES, YOU I'LL NEVER
MUST LEAVE HIM
LEAVE HIM.
OTHER MEN, YOU MUST LEAVE LOSS
NOR E'ER
BELIEVE DECEIVE
ME. HIM

HE COULD BE
HAPPY THEN LILY BEHIND ME
ROSE, I
PROMISE. PROMISED.
JUST TO NOW YOU LIVE UNSEEN, NEVER TO
DISAPPEAR MUST LEAVE
HIM
LEAVE
HIM
IS TO BE FREE. YOU MUST NO, I WON'T
BELIEVE DISAPPEAR LEAVE
HIM
ME.
DISAPPEAR I AM DISAPPEAR
I AM
THINKING THINKING

ROSE/LILY.
OF THE CHILDREN
I AM THINKING OF THE CHILDREN
I AM THINKING OF THE CHILDREN

(LILY and ROSE exit.)

ARCHIBALD
I shan't be gone long. Perhaps just t’l the autumn.

DR. CRAVEN
And Mary?

ARCHIBALD
I'll write her a note from Paris.

DR. CRAVEN
You wouldn't be sending Mary away, Archie. Only giving her the
education she deserves. I feel quite certain that Albert and Rose
wouldn't want the girl to grow up just wandering around.


ARCHIBALD
Yes, I see. Well, then ... perhaps you should look into a few schools.
Someplace she could learn to sing would be pleasant. I'll leave it all in
your hands, Neville.
Now, I'll go look in on Colin and...

DR. CRAVEN
Just see you don't wake him.

ARCHIBALD
In ten years have I ever awakened the boy?

DR. CRAVEN
I'll gather the staff so you can say good-bye.

ARCHIBALD
Oh, for God's sake, Neville. Just let me slip away.
(Then realizing he has been too sharp.)
I'm sorry. [MUSIC CUE #20A: THERE'S A MAN Transition]
Tell them ...
(And then he can't handle it.)
Tell them whatever you always tell them.

(ARCHIBALD leaves and DR. CRAVEN is left standing there. The
DREAMERS enter.)

ALBERT
AND A MAN CAN DREAM
OF A SIMPLE LIFE,
HUSBAND, CHILD AND WIFE,
LOVE AND FAITH ALL ROUND.

HOLMES
THEN A MAN MUST WAKE,
STAND AND GREET THE DAY,
SEE WHAT COMES HIS WAY,
FEET UPON THE GROUND.

ALICE AND CLAIRE
THERE'S A MAN WHOM NO ONE SEES.
THERE'S A MAN WHO LIVES ALONE.
THERE'S A HEART THAT BEATS IN SILENCE FOR
THE LIFE HE'S NEVER KNOWN.


SCENE 3
— COLIN'S ROOM —

ARCHIBALD enters, sits down beside Colin's bed, and opens a large
book.
His shoulder casts a rounded shadow on the walls.

[MUSIC DUE #21: RACE YOU TO THE TOP FO THE MORNING]

ARCHIBALD
Now, let's see ....

WHEN WE LEFT OFF LAST NIGHT,
THE HIDEOUS DRAGON HAD CARRIED THE MAID TO HIS CAVE BY MOONLIGHT.
HE GNASHED HIS TEETH, AND BREATHED HIS FIRE,
THE HEATH QUAKED, AND WE TREMBLED IN FEAR.

I SAID, "SOMEONE MUST SAVE THIS SWEET RAVEN HAIRED MAIDEN,
THOUGH SURELY THE COST WILL BE STEEP.
SO WE LADS ALL DREW LOTS, OUR INSIDES TIED IN KNOTS,
AND I WON AND THE REST WENT TO SLEEP.

SO I PICKED UP MY STAFF,
AND I FOLLOWED THE TRAIL OF HIS SMOKE TO THE MOUTH OF THE CAVE.
AND I BID HIM COME OUT, "YEA FORSOOTH," I DID SHOUT,
"YE FOOL DRAGON BE GONE OR BEHAVE."

AND THEN UNDER MY BREATH,
I UTTERED A CHARM SAID TO MAKE THE WORST FIEND BECOME KIND.
"KNAVES AND KNIGHTS OF DIRE PLIGHTS NOW DIMINISH HIS SIGHTS,"
AND IT WORKED AND THE DRAGON WENT BLIND.

AND HE CHARGED OFF THE CLIFF
HOWLING MAD AND HE DIED AND THE MAIDEN ACCEPTED MY RING.
AND THEN YOU CAME ALONG, AND WERE BRAVE, BOLD AND STRONG,
AND IN THANKS EVERY NIGHT NOW I SING…

RACE YOU TO THE TOP OF THE MORNING.
COME AND SIT ON MY SHOULDERS AND RIDE.
RUN AND HIDE, I'LL COME AND FIND YOU,
CLIMB HILLS TO REMIND YOU, I LOVE YOU,
MY BOY AT MY SIDE.

NOW ANOTHER FOUL DRAGON'S APPEARED, I MUST LEAVE YOU.
HE'S SCORCHING OUR LAND WITH HIS BREATH.
FROM HIS LAIR, THIS ONE TAUNTS ME, HE DARES ME, HE HAUNTS ME.
ONCE AGAIN, WE MUST FIGHT TO THE DEATH.

WOULD TO GOD I COULD STAY AND INSTEAD SLAY YOUR EVIL DRAGON,
THIS BEAST WHO SITS HUNCHED ON YOUR BACK.
WOULD GOD I COULD WRENCH HIM AWAY FROM YOUR BED,
OR CUT OFF OR TEAR OFF HIS TERRIBLE HEAD,
COULD BREATHE OUT MY FIRE ON HIM TIL HE WAS DEAD,
OR BEG HIM TO SPARE YOU AND TAKE ME INSTEAD.

AS IT IS, I MUST LEAVE YOU IN CARE OF MY BROTHER,
THE WIZARD WHO LIVES ON THE HILL.
WHO HAS PROMISED HIS ART WILL SOON PIERCE THROUGH THE HEART
OF THIS DRAGON THAT'S KEEPING YOU ILL.

ARCHIBALD
AND I KNOW THAT YOUR MOTHER, GOD BLESS HER,
W' WANT YOU TO DO AS HE SAYS AND GROW STRONG.
AND YOU KNOW THAT AS SOON AS I CAN I'LL RETURN,
SO BE BRAVE SON, AND KNOW THAT I LONG…

TO RACE YOU TO THE TOP OF THE MORNING.
COME AND SIT ON MY SHOULDERS AND RIDE.
RUN AND HIDE, I'LL COME FIND YOU,
CLIMB HILLS TO REMIND YOU, I LOVE YOU,
I LOVE YOU ....
MY BOY AT MY SIDE.

(ARCHIBALD stands and exits. [MUSIC CUE # 21A. MAZE TRANSITION]
ROSE and ALBERT appear, as the scene changes to the gardens.)

ALBERT
COME ALONG LOVE, COME FLY AWAY,
FLY ALONG, COME ALONG, FLY AWAY HOME.
COME ALONG, LOVE, YOU'VE COME A LONG WAY,
YOU'VE FLOWN ALL THE DAY,
COME FLY AWAY HOME.

ROSE
IT'S A MAZE THIS GARDEN,
IT'S A MAZE OF PATHS,
MEANT TO LEAD A MAN ASTRAY.

ALBERT and ROSE
TAKE A LEFT AND THEN
TURNING LEFT AGAIN'S
HOW A SOUL MAY FIND THE WAY.



SCENE 4
— IN THE GREENHOUSE —



MARY enters the greenhouse and sits down on a bench. DICKON
enters.

DICKON
Ay op. Hello there, MARY

MARY
(Clearly unhappy.)
Ay op. Hello there.

DICKON
But why are you in such a bad temper, Mary? Are ye weary of lookin' for the
key?

MARY
No, no. I found the key.

DICKON
You did?

(SHE shows it to him.)

DICKON
So I see. You're weary of lookin' for the door.

MARY
I'm not weary, Dickon, I found the door too. The garden is dead.

DICKON
No.

MARY
It is. It's all dead.

DICKON
A lot of things what looks dead is just bidin' their time.
Now you tell me exactly what you saw.

[MUSIC CUE #22: WICK]

MARY
It's cold and gray. The trees are gray, the earth is gray.
And there's this clingy kind of haze over everything.

DICKON
Like a body were in a dream.

MARY
It's the most forgotten place I've ever seen. With loose gray branches
looped all around the trees like ropes
or snakes, and dead roots and leaves all tangled up on the ground. So still
and cold.

DICKON
But did you take a look real close look at anything? Did you scrape away a
bit of the bark and have a real look
at anything? Mary, the strongest roses will fair thrive on bein' neglected,
if the soil is rich enough. They'll run all
wild, and spread and spread til they're a wonder.

MARY
You mean it might be alive? But how can we tell?

DICKON
Oh, I can tell if a thing is wick.

MARY
(Now truly excited.)
Wick! I've heard Ben say Wick.

DICKON
WHEN A THING IS WICK IT HAS A LIFE ABOUT IT.
MAYBE NOT A LIFE LIKE YOU AND ME.
BUT SOMEWHERE THERE'S A SECRET STREAK OF GREEN INSIDE IT,
NOW COME AND LET ME SHOW YOU WHAT I MEAN.
WHEN A THING IS WICK IT HAS A LIGHT AROUND IT.
MAYBE NOT A LIGHT THAT YOU CAN SEE.
BUT HIDING DOWN BELOW A SPARK'S ASLEEP INSIDE IT,
JUST WAITING FOR THE RIGHT TIME TO BE SEEN.
YOU CLEAR AWAY THE DEAD PARTS
SO THE TENDER BUDS CAN FORM.
LOOSEN UP THE EARTH AND
LET THE ROOTS GET WARM.
LET THE ROOTS GET WARM.

WHEN A THING IS WICK, IT HAS A WAY OF KNOWING
WHEN IT'S SAFE TO GROW AGAIN, YOU WILL SEE.
WHEN THERE'S SUN AND WATER SWEET ENOUGH TO FEED IT,
IT WILL CLIMB UP THROUGH THE EARTH A PALE NEW GREEN.

YOU CLEAR AWAY THE DEAD PARTS
SO THE TENDER BUDS CAN FORM.
LOOSEN UP THE EARTH AND
LET THE ROOTS GET WARM.
LET THE ROOTS GET WARM.

COME A MILD DAY.
COME A WARM RAIN.
COME A SNOWDROP A COMIN' UP.
COME A LILY, COME A LILAC.
COME TO CALL, CALLIN ALL OF US TO COME AND
SEE...

MARY
WHEN A THING IS WICK, AND SOMEONE CARES ABOUT IT,
AND COMES TO WORK EACH DAY, LIKE YOU AND ME,

(Spoken.) Will it grow?

DICKON
(Spoken.) It will.

MARY
THEN HAVE NO DOUBT ABOUT IT,
WE'LL HAVE THE GRANDEST GARDEN EVER SEEN.

MARY
Oh, Dickon, I want it all to be wick! Would you come and look at it with
me?

DICKON
I'll come every day, rain or shine, if y want me to. All that garden needs
is us to come wake up.

MARY
But Dickon, what if we save the garden at then Uncle Archie takes it back,
or Colin wants it?

DICKON
Ay, what a miracle that would be. Gettin’ a poor crippled boy to see his
mother’s garden.

DICKON and MARY
YOU GIVE A LIVING THING
A LITTLE CHANCE TO GROW.
THAT'S HOW YOU WILL KNOW IF SHE IS WICK, SHE'LL GROW.

SO GROW TO GREET THE MORNING.
FREE FROM GROUND BELOW.
WHEN A THING IS WICK, IT HAS A WILL TO GROW AND GROW.

MARY
COME A MILD DAY.
COME A WARM RAIN.
COME A SHOWDROP, A COMIN' UP.
COME A LILY, COME A LILAC.
COME TO CALL,
CALLIN' ALL THE REST TO COME

DICKON and MARY
CALLIN' ALL OF US TO COME,
CALLIN' ALL THE WORLD TO COME ...

(DICKON and MARY hear the chirp of the ROBIN and quickly gather
plants from the greenhouse.)

DICKON
I PROMISE THERE'S A SECRET STREAK OF GREEN BELOW.

DICKON AND MARY
AND ALL THROUGH THE DARKEST NIGHTTIME,
IT'S WAITING FOR THE RIGHT TIME.
WHEN A THING IS WICK, IT WILL GROW.

(They exit.)

[MUSIC CUE # 22A: RACE YOU/Transition]

(ALICE appears and sings, as the scene changes.)

ALICE
SO HE PICKED UP HIS STAFF,
AND HE FOLLOWED THE TRAIL OF THE SMOKE TO THE MOUTH OF THE CAVE.
AND HE BID HIM COME OUT,
"YEA, FORSOOTH," HE DID SHOUT, "
YE FOOL DRAGON, BEGONE OR BEHAVE."



SCENE 5
— COLIN'S ROOM —


COLIN is throwing a terrible tantrum. MARTHA and a NURSE are
trying to calm him.

COLIN
Stop looking at me! I hate you! You're horrible and ugly, under that
haystack you call your hair!

MARTHA
Master Colin, please. Nurse's only tryin' to

COLIN
If she won't close her eyes when she's in my presence, then I will have her
fired.
(To the NURSE.) Go away! Go away! Go away!

MARTHA
Master Colin, please. Nurse's only tryin' to bring you your supper.

MRS. MEDLOCK
(Entering.)
Martha! What is going on in here!

MARY
(Enters.)
Isn't anybody going to stop that boy...?

MRS. MEDLOCK
(As she sees MARY.)
She is not to go near him, Martha. Those are the doctor's direct orders.

MARTHA
What can it hurt, Mum? He likes Mary. Let her have a go at it.

MRS. MEDLOCK
No, Martha
(And without waiting for approval, MARY runs over to the bed.)

MARY
Colin Craven, you stop that screaming!

COLIN
Get away from me!

MARY
I hate you! Everybody hates you! You will scream yourself to death in a
minute
and I wish you would!

COLIN
Get out of my house!

MARY
I won't! You stop!

COLIN
I can't stop! I felt a lump on my back. I'm going to die!

MARY
There is nothing the matter with your horrid back!

COLIN
I'm going to have a lump on my back like my father and die!

MARY
Martha! Come here and show me his back this minute.

MARTHA
I can't, Mary. He won't let me.

COLIN
Show her the lump!

(Now Martha pulls aside Colin's covers and bedclothes.)

COLIN
Now feel it!

(MARY feels his back.)

COLIN
There!

MARY
Where?

COLIN
Right there!

MARY
No! There's not a single lump there. Except backbone lumps
and they're supposed to be there.
(And now she turns her own back to him.)
See. I have them too.

(MARY grabs his hand and puts it on her back. And then places his
hand
on his own back for comparison.)

MARY
See? There's no lump.

COLIN
(Quietly.) It's not there.

MARY
No, it's not.

COLIN
(Sits up a little straighter. Looking slightly pleased.)
It's not there.

MARY
You were just mad at me for not coming back when I said I would.

(He doesn't answer.)
Weren't you.

COLIN
Maybe.

MARY
(Calmly.)
You were and you know it.

MARTHA
I'll leave you two alone, I think.

(And she leaves.)

(MARY opens a music box, determined not to speak to him until he
apologizes.)

MARY
This is nice.

[MUSIC CUE # 22B: THIS IS NICE]

COLIN
(Relents.)
I'm sorry I said all those things about sending Dickon away. I was just so
angry
when you wanted to be with him instead of me. And then when you didn't come
back like you said you would…

MARY
I was always coming back, Colin. I'm as lonely as you are. I was just late,
that's all.
It just took me longer than I thought because…

COLIN
Because what?

MARY
(Takes a moment. )
Will you promise not to tell if I tell you?

COLIN
I never had a secret before, except that I wasn't going to grow up.

MARY
I found your mother's garden.

COLIN
Do you mean a secret garden? I've dreamed about a secret garden.

MARY
It's been locked up out there, just like you've been locked up in here, for
ten years.
Your father doesn't want anybody in it. Only I found the key. And the other
night,
after Dr. Craven and Mrs. Medlock found us here together, I ran out into
the storm,
and found the door. And now Dickon and I are working on it every day, and
you can come too and…

COLIN
What does it look like?

MARY
Well, right now, there's this tangle of vines all over everything because
nobody's been
taking care of it, but Dickon says if we cut away all the dead wood,
there'll be fountains
of roses by summer.

COLIN
I never wanted to see anything like I want to see that garden.

MARY
You must see it. But they must never know where we're going or Ben says
Dr. Craven will send me away.

COLIN
No, Mary

MARY
(Going on.)
Maybe William can take you outside in your wheelchair. Then, when nobody's
looking, Dickon could push you through the maze to the garden.

COLIN
I can't go outside, Mary I'll take a chill if I go. I'll get even worse.

MARY
No, you won't. You'll feel better.

COLIN
I can't, Mary. I'm afraid.

[MUSIC CUE # 22C: CHOLERA CHORD]

(LIEUTENANT WRIGHT and MAJOR HOLMES appear.)

COLIN
I've been in this bed for so long. And I don't want to die.

LIEUTENANT WRIGHT
Just one blacksnake and this girl.

MAJOR HOLMES
I'm afraid there's no one left. Sorry, miss.

COLIN
I want to grow up, Mary. So I can't get sick. I'd like to see the garden,
really I would, but I can't.

(LIEUTENANT WRIGHT and MAJOR HOLMES exit.)

MARY
All right, then. We'll just keep working on it til you're ready to see it.
And whenever that is, you just tell me, and I'll get William to…

COLIN
You must come back tomorrow afternoon after you're through working,
and have supper with me and tell me everything you've done.

MARY
I'd like that. Goodnight, then.

COLIN
Goodnight, MARY




[MUSIC CUE # 23: COME TO MY GARDEN]

(MARY leaves and LILY appears from behind Colin' s bed and
sings.)

LILY
COME TO MY GARDEN,
NESTLED IN THE HILL.
THERE I'LL KEEP YOU SAFE BESIDE ME.

COME TO MY GARDEN,
REST THERE IN MY ARMS,
THERE I'LL SEE YOU SAFELY GROWN AND ON
YOUR WAY.

STAY THERE IN MY GARDEN,
WHERE LOVES GROW FREE AND WILD.
COME TO MY GARDEN,
COME, SWEET CHILD.

COLIN
LIFT ME UP, AND LEAD ME TO THE GARDEN,
WHERE LIFE BEGINS A NEW.
WHERE I'LL FIND YOU,
AND I'LL FIND YOU LOVE ME TOO.

COLIN LILY
LIFT ME UP, AND LEAD COME TO MY GARDEN.
ME TO THE GARDEN
WHERE LOVE GROWS REST THERE IS MY
DEEP AND TRUE. ARMS.

WHERE I'LL TELL YOU THERE I'LL
WHERE I'LL SHOW YOU SEE YOU
MY NEW LIFE, I WILL SAFELY GROWN AND
LIVE FOR YOU. ON YOUR WAY

I SHALL SEE YOU IN I SHALL SEE YOU IN
YOUR GARDEN MY GARDEN
AND SPRING WILL WHERE LOVE GROWS
COME AND STAY. FREE AND WILD
LIFT ME UP AND LEAD COME TO MY GARDEN.
ME TO THE
GARDEN.
COME, SWEET DAY. COME SWEET DAY ...


(LILY embraces COLIN and night closes in around them.)


SCENE 6
— IN THE MAZE - THE GARDEN —


By lantern light, DICKON and MARTHA are seen moving through the
gardens.

MARTHA
Oh, I shouldn't be doin' this. I'm like to be sent back to the scullery for
this,
and I don't like the scullery, Dickon. I don't know anyone who does.

[MUSIC CUE # 23A: TO THE NIGHT GARDEN Transition]

DICKON
No one'll be missin' you at this hour.

MARTHA
But if it's so dark, I can't even see where I'm goin', how'm I to hope to
see
what it is once I get there?

DICKON
I can't say. Perhaps it's only somethin' you're meant to hear.

MARTHA
But all I can hear is me own self talkin',

DICKON
Then perhaps, y'd best be still.

(MARY appears, pushing COLIN in his wheelchair.)

MARY
Dickon, is that you?

DICKON
Aye, it is, Mary. And Martha, too.

(MARTHA is overcome, seeing COLIN outside.)

MARTHA
Ay' dear lad.

COLIN
Martha, are you surprised to see me outside in the middle of the night?

MARTHA
That I am, Master Colin, but just now, you looked so much like your mother,
it made my heart jump.

MARY
Martha, come look!

(And with that, DICKON takes over from MARY and wheels COLIN
into:)


— THE GARDEN —

COLIN
It's my mother's garden. It is.

MARY
It's a secret garden. And we're the only ones in the world that want it to
be alive.

DICKON
Ay, Colin. We'll have you walkin' about and diggin' same as other folk
before long.

COLIN
But how can I? My legs are so weak, I'm afraid to

DICKON
(Tracing a circle on the ground.)
There's a charm in this garden, Colin.

[MUSIC CUE # 24: COME SPIRIT COME CHARM]

And the longer you stay in it, the stronger you'll be.

COLIN
What kind of a charm?

(Suddenly, the FAKIR and the AYAH appear, and MARY begins to
intone an Indian charm.)


MARY and FAKIR.
A' O JADU KE MAUSAM.
A' O GARMIYO KB DIN.
A' O MANTRA TANTRA YANTRA.
US KI BIRARI HATA'O.

COLIN
(Stares at her in amazement.)
Where did you learn that?

MARY
I don't know. I didn't even know I knew it.

COLIN
Martha, do you believe in spells and charms?

MARTHA
That I do, Master Colin, and spirits and the Big Good Thing by whatever
name you call it.

MARY
(As surprised as anyone by this.)
Now I know where I heard it. I even know what it means.

COLIN
Go on, then.

(MARY does the INDIAN hand language as she speaks.)

MARY
COME SPIRIT, COME CHARM.
COME DAYS THAT ARE WARM.
COME MAGICAL SPELL.
COME HELP HIM GET WELL.

(And then DICKON translates Mary's words into a Yorkshire
sounding tune.)

DICKON
COME SPIRIT, COME CHARM.
COME DAYS THAT ARE WARM.
COME MAGICAL SPELL.
COME HELP HIM GET WELL.

(And MARTHA picks up the Yorkshire version and sings:)


MARTHA
COME SPIRIT, COME CHARM.
COME DAYS THAT ARE WARM.
COME MAGICAL SPELL.
COME HELP HIM GET WELL.

(And then the FAKIR and the AYAH chant, as MARTHA and DICKON
sing.)

MARTHA, AYAH, FAKIR &
DICKON, LILY, & MARY
DREAMERS

SPIRITS FAR ABOVE A' O JADU KB
CHARMS ALOFT ON MAUSAM.
HIGH
SWEEP AWAY THE A' O GARMIYO
STORMS, RUMBLING 'CROSS KE DIN. MAU-
THE SKY.
SPEED THE RISING SAM
SUN,
MAKE THE BREEZE TO KE DIN
BLOW.

BID THE ROBINS SING, A' 0.
BID THE ROSES GROW.

(MARY begins to dance. COLIN, DICKON and MARTHA applaud. Then
MARY dances to them,
inviting them to join her. Suddenly, a wilder spirit takes over,
as MARY begins to whirl around.)

AYAH, MARY, FAKIR, OFFSTAGE WOMEN
AH… AH… AH… AH…

AYAH FAKIR CHANT II DREAMER
MARY/DRM SHAW WOMEN
AH-HE HE-AH
AH-HE HE-
AH
AH… AH-HE HE-AH AH…
AH-HE HE-
AH
(Clap Clap) … AH-HE HE-AH
AH-HE HE-
AH
…. AH-HE HE- AH AH…
AH-HE HE
AH
OON-DA OON- AH-HE HE- AH
DE AR-HE HE
AR

AYAH FAKIR CHANT II DREAMER
MARY/DRM SHAW WOMEN
TAKA DIKA AH AH-HE HE-AH
AH…
DINUM AH-HE HE-
DIKA DAH AH
OON-DAOON- … AH-HE HE-AH
…
DE AH-HE HE-
AH
TAKA DIKA … AH-HE HE-AH
AH
DINUM AH-HE HE-
DIKA KAH AH

TAKA DIKA … AH-HE HE – AH (Scream)
DINUM AH-HE HE-
DIKA DIKA AH AH - HE
OON-DA HE-AH
TAKA DIKA …. AH-HE HE - AH
DINUM AH-HE HE-
DIKA DIKA AH AH-HE
OON-DA HE-AH

DA DEE AH-HE HE-AH AH…
AH-HE HE-
AH
DOON DIN AH… AH-HE HE-AH
AH-HE HE-
AH
DA DEE DOON …. AH-HE HE-AH
DIN AH-HE HE-
AH

DA DEE DOON … AH-HE HE-AH
DIN AH-HE HE-

JADOO DA DEE HEH… AH-HEHE-AH
DIKA DAH AH-HE HE-
AH
JADOO DA DEE YAH! AH-HE HE-AH
DIKA DAH AH-HE HE-
AH
DA DIKA HEH… AH-HE HE-AH JA
DADEE DIKA AH-HE HE-
DAH OONDE AH
JA DIKA DIKA YAH! AH-HE HE-AH
DOO
DIKA DIKA AH-HE HE-
DIKA TA! AH
(Scream) (Scream) KE

MARTHA & DICKON
AH ...........

ALL
AH .................

DREAMERS
OONDA OONDEE
TAKA DIKA DINUM DIKA DAH
DA DIKA DA DEE DIKA DAH DOON DEE

MARTHA/DICKON/MARY
(Spoken while DREAMERS ad-lib Indian Chants.)
Come Spirit, Come Charm
Come Spirit, Come Charm
Come Spirit, Come Spirit

MARTHA, DREAMERS AYAH, FAKIR
DICKON,
MARY/LILY
COME SPIRIT, AH… AH…
COME CHARM
COME DAYS
THAT ARE
WARM
COME MAGICAL COME MAGICAL ........
SPELL SPELL
COME HELP HIM COME HELP HIM .........
GET WELL GET WELL

ALL
COME SPIRIT, COME CHARM
COME DAYS THAT ARE WARM
COME MAGICAL SPELL
COME HELP HIM GET WELL

DREAMERS DREAMERS LILY, ROSE, AYAH,
MARY, FAKIR
MARTHA,
DICKON

COME SPIRIT, COME SPIRIT, COME COME JA-DU
KE...
COME COME
CHARM CHARM
COME DAYS COME DAYS SPIRIT COME
THAT ARE THAT ARE
WARM WARM
COME COME COME COME MAU
SAM…
MAGICAL MAGICAL
SPELL SPELL
COME HELP COME HELP SPIRIT COME
…
HIM GET HIM GET
WELL WELL

COME COME COME SPIRIT, COME COME
GARMI-YO
COME
CHARM
SPIRIT COME COME DAYS SPIRIT COME
CHARM THAT ARE
WARM
COME COME COME KE-DIN
MAGICAL MAGICAL MAGICAL
SPELL SPELL SPELL

ALL
COME HELP HIM GET WELL




(COLIN stands.)

COLIN
Mary!

MARTHA
Bless you, child.

MARY
Colin. It worked!

(MARY runs up to steady him.)

COLIN
I think the spell is working in the house too.

(A moment.)

Two nights ago, [MUSIC CUE # 24A: I AM WELL] when it was bright moonlight,
I woke up and felt something filling the room and making everything so
splendid.
And I pulled the drape from my mother's picture, and there she was, her
eyes
looking right down at me, and something new started flooding through me,
making
me so proud, so strong ... so ... tall.
(A moment.)
I shall live forever and ever! I shall
find out thousands of things.
(He takes another step.)
I want to give thanks to something,
to anything that will listen.
(And another step.)
I'm well!

MARTHA
Mary, child, do you see what you've done?

(But as MARY helps COLIN take his first steps, COLIN falls.
COLIN then sees BEN, who has heard their voices and come to
investigate.)

COLIN
Who is that man? Go away!

(MARY and DICKON help COLIN back into his chair.)

MARY
Colin, it's Ben Weatherstaff, who tends the gardens.

COLIN
Weatherstaff! Do you know who I am?

BEN
(Ben Approaches.)

You're young Master Colin, the poor cripple, but Lord knows how you got out
here.

COLIN
I'm not crippled!

BEN
Then what have you been doing, hidin' out and lenin' folk think you were a
cripple. And half-witted!

COLIN
Half-witted!

(MARY laughs, and COLIN gives her a stern look.)

COLIN
Come here. I want to talk to you. And don't you dare say a word about this.

BEN
I'm your servant, as long as I live, young master.

COLIN
Did you know my mother?

BEN
That I did. I was her right-hand, round the gardens. Even now, I'm only
kept on
Because she liked me. She said to me once, "Ben, if I'm ever ill or if I go
away,
you must take care of my roses."
(A moment.)
When she did go away, the orders was no one was to come in here.
But I come anyway, 'til my back stopped me, about two year ago.

COLIN
I want to know how she died.

BEN
(After a moment.)
She was sittin' right there, on that branch. And it broke and that started
her laborin' with you, only the fall had hurt her back. Still she clung
onto life
'til you were born and then she put you in your father's arms and died.

COLIN
Is that why he hates me?

BEN
I'm sure he doesn't hate you, lad.

MARY
He doesn't even know you. Wait 'til he finds out you can stand.

COLIN
I don't want him to know anything about this. I don't want anything said to
him
'til I can walk. Do you promise?

BEN
It's gettin' to be a full time job, keepin' track of all the secrets around
here.

COLIN
This is a serious matter. Mary, take my hand.
(He extends his hand.)
Dickon.
(DICKON takes Colin's other hand.)
Martha. You too, BEN
(And they form a circle around him.)

COLIN
Do you swear by the charm in this garden, that not one of you will mention
this
to my father until I am completely well?

(And they swear. More or less in unison.)

BEN
That I do.

DICKON
Ay, Colin. Nary a word.

MARTHA
Ay Colin.

MARY
I promise.

COLIN
Good, then.

(And he releases their hands.)

MARY
So what do you want to see first?

COLIN
I want to see the roses. [MUSIC CUE # 25: A BIT OF EARTH - REPRISE]
Show me where the roses will be.

(And as they go off to look at the roses, ALBERT, LILY and ROSE
appear.)

LILY ROSE ALBERT
A BIT OF EARTH
A BIT OF EARTH A DROP OF DEW
A BIT OF EARTH A SINGLE STEM
BEGINS
BEGINS TO TO RISE
RISE
THAT BIT OF EARTH
IS PUSHED AWAY
THE FLOWERS BLOOM
BEFORE OUR EYES
BEFORE OUR EYES BEFORE OUR EYES
FOR IN THE EARTH
A CHARM'S AT WORK
THE WORD IS PASSED

THE DAYS ARE WARM
THE DAYS ARE WARM
THE DAYS ARE WARM UNFOLD AND GROW
THE WINTER'S PAST
WE'RE FREE WE'RE FREE
FROM HARM FROM HARM
WE'RE FREE FROM HARM
A BIT OF EARTH A BIT OF EARTH A BIT OF EARTH
A BIT OF EARTH A BIT OF EARTH A BIT OF EARTH

SCENE 7
— THE LIBRARY —


DR. CRAVEN and MRS. MEDLOCK are in the library awaiting the
arrival of the headmistress from
the school they have selected for MARY. DR. CRAVEN is in an
uncharacteristically good humor.

DR. CRAVEN
Well, Mrs. Medlock. What a fine morning this has turned out to be.

MRS. MEDLOCK
Yes, doctor.

DR. CRAVEN
I trust this headmistress will be quite impressed, riding cross the moor on
such a day.
Perhaps she could even join me for tea I daresay she might relish a bit of
civilized conversation,
living as she does, in the company of spinsters and orphaned girls.

(MRS. MEDLOCK is somewhat offended by that remark, but doesn't
remark on it.)

MRS. MEDLOCK
I'm sure she would be quite flattered by your attention, sir.

(JANE, a housemaid, appears with MRS. WINTHROP.)

JANE
Beg pardon, doctor. It's Mrs. Winthrop, sir.

(JANE exits.)

DR. CRAVEN
Yes, Madam. Come in. Do come in. Please.

MRS. WINTHROP
Good day, Doctor.

DR. CRAVEN
And this is our housekeeper, Mrs. Medlock.


MRS. WINTHROP
How do you do?

DR. CRAVEN
I trust you had a pleasant journey.

MRS. WINTHROP
Actually, not. I have always found scenery, by itself, to be quite
tiresome.

DR. CRAVEN
Well, then, you will be relieved to find we have contrived to keep all the
scenery outdoors. Won't you sit down.
(Taking the forms from his jacket.)
I've completed all the forms you sent us, and I think you'll see my brother
has included a contribution to the
school's building fund. You didn't request it, of course, but as I told my
brother, I'm sure you're in the planning
stages of something or other.
(Then to MRS. MEDLOCK)
Mrs. Medlock, will you see what's keeping Mary?

(MARY enters, followed by FAKIR and AYAH.)

MARY
I'm right here, sir.

DR. CRAVEN
Quite right. Here's our girl.
(Making the intro.)
Mary Lennox, this is Mrs. Winthrop, of the Abeerdeen School for Girls.

MRS. WINTHROP
Good morning, Mary.

MARY
I don't want to go to a school.

MRS. WINTHROP
Oh, but you do. A useless child never knows her worth, we say.

MARY
My Uncle Archibald said…

DR. CRAVEN
Perhaps if you would tell Mary a little about the school, she'd see she
there is no reason to be…

MRS. WINTHROP
Certainly. And let me say from the start that you are not on trial here.
The Board of Trustees has accepted your application.

DR. CRAVEN
Oh ... That's good news, indeed.

MARY
I won't go. You can't make me!

(MARY throws a cookie on the floor.)

DR. CRAVEN
Mary Lennox!

MRS. WINTHROP
That's all right, doctor. This is exactly the type of behavior we are best
equipped to handle.

[MUSIC CUE # 26: MARY'S TANTRUM]

MARY
My Uncle Archibald is the only one who says where I'm going to go and he
says
I don't have to go to any stupid school!

DR. CRAVEN
She's just frightened, I'm sure. Children are quite often depressed after a
tragedy
such as she has suffered.

(MRS. WINTHROP forces MARY to pick up the cookie.)

MRS. WINTHROP
Of course, doctor. Perhaps she would enjoy seeing some photographs of the
girls at their work.
I've brought several samples of the fine lace for which our girls are so…

MARY
I hate you! You're a horrible, ugly pig

DR. CRAVEN
That's quite enough, young lady!

MARY
Your school is a filthy rat hole full of brats and dirty beds. And all
anybody
really does there is scrub floors!
(She takes a breath.)
I hope you get hit by a lorry on the way home and your ugly head rolls off
in a ditch and gets eaten by maggots!
(Another breath.)
I hate you! I hate you! I hate you! And if I'm sent off with you, I'm going
to
bite your arm and you're going to die! Get out of here!
(She throws a chair.)
Go away! Go away! Go away!

MRS. WINTHROP
Well, we have had one or two cases of this severity.

(MARY stamps on MRS. WINTHROP'S foot.)

DR. CRAVEN
Mary Lennox!

(MARY launches into a full-blown tantrum, cursing in Hindi as the
AYAH and
the FAKIR make menacing signs and native droning sounds upstage.)

MARY
[Translation]
Mar jaa>o [Die]
Baarh me jaa>o [Go drown yourself in the flood]
Chhoro mujhe! [Leave me alone]
Turn barii shaitaan ho! [You're a big devil]
Marjaa>o! [Die!]

(MARY finishes by whirling around and falling to the floor,
feigning unconsciousness.
MRS. WINTHROP picks up her purse and papers.)

MRS. WINTHROP
Doctor, what you have here, is a medical problem.

(MRS. WINTHROP exits. FAKIR and AYAH follow and with MARY feeling
quite proud
of herself, DR. CRAVEN looks down at the girl.)

DR. CRAVEN
I'll speak with Mary alone, Medlock.


MARY
(Gets up and curses him again.)

Chhoro mujhe! I'm going outside.

DR. CRAVEN
(Grabbing her.)

You're going wherever I send you, young lady, and right this moment it's
into that chair.

MARY
Uncle Archibald said I didn't have to go to a school.

DR. CRAVEN
Oh for God's sake. He doesn't care about you. All he wants is never to see
you again.
Why do you think he left without even saying goodbye to you?

MARY
Maybe he was in a hurry.

DR. CRAVEN
You drove him away. You remind him of his wife.

MARY
I look like my Aunt Lily?

DR. CRAVEN
Now it is my task to find you a suitable place to go so that my brother can
return. The next school I will
contact will send no representative. Your bags will be packed and you will
leave Saturday week.

MARY
But I can't leave now. Colin needs me.

DR. CRAVEN
The last thing the boy needs is you. Another month of trying to keep up
with you
and we'll have to put him in hospital, or worse.

MARY
No, you won't. He's much better.

DR. CRAVEN
You have no idea how ill he is. When Colin was born, the midwife didn't
expect him to
live a week. But I, have kept the boy alive for ten years. Only now, thanks
to you, he
is in grave danger of relapse.

MARY
But you haven't seen how

DR. CRAVEN
Do you want him in hospital? Do you want him to die?

MARY
To die?

DR. CRAVEN
Yes! To die. If Colin is too active at this stage in his recovery, if you
push him to take
his first step too soon, before his heart is strong enough, he will not
survive it. Do you
understand, Mary? Colin's very life is in your hands.

(And suddenly, LIEUTENANT WRIGHT and MAJOR HOLMES appear.)

DR. CRAVEN
One moment, he would be chatting away, and the next moment,
he would sink to the ground and die.

MARY
And die?

DR. CRAVEN
Yes! You have choices in your life. Colin does not. I will not see the boy
in hospital for the rest of his life,
or dead before his life even begins. You must go, and go you will. Now that
is all I have to say to you.

(MARY cannot answer. But she doesn't leave.)

DR. CRAVEN
Why are you standing here? Are you quite amused to learn of your power?

MARY
I didn't do anything. You locked him in his room.

DR. CRAVEN
You may go.

MARY
You don't want Colin to get well at all. You want him to die so you can
have this house.

(Suddenly, almost out of control, DR. CRAVEN raises his arm, as
though to hit MARY

[MUSIC CUE #27: DISAPPEAR - TRANSITION]

Then he stops himself.)

DR. CRAVEN
(Screaming.)
You will leave Saturday week!

(MARY runs from the room, and DR. CRAVEN sings.)

DR. CRAVEN

THERE'S NOTHING HERE THAT I WANT.
HOW DARE SHE MAKE THIS CLAIM?
ISN'T IT CLEAR WHAT I WANT?
TO SERVE HAS BEEN MY AIM.

STILL, I HAVE TO WONDER WHO I'D BE,
IF IT ALL BELONGED TO ME.

IF THEY'D ALL DISAPPEAR,
I'D START AGAIN.
I COULD BE HAPPY THEN,
I'D LIVE LIKE OTHER MEN.

IF THEY'D ALL DISAPPEAR,
I COULD BE FREE.
CUT OFF FROM PAIN AND LOSS,
AT LAST, I'D BE.


SCENE 8
— MARY'S ROOM —


As MARTHA packs some of Mary's clothes, she tries to comfort the
girl.

MARTHA
Mary, you had nothing to do with your uncle's leaving. It weren't you
child. Your uncle
liked you, I know he did. Didn't he tell you you could have a garden?
Didn't he send
you clothes and bring you books? Well, didn't he?

MARY
But Colin's going to die and it's all my fault.

MARTHA
And what have you done for Colin except get him goin' outside every day,
and get him eatin' his
food and gettin' him believin' he can get strong again? I think you were
just what Colin needed.

MARY
But you're not a doctor, Martha. Will you tell him I'm sorry. I mean, after
I'm gone,
will you tell him I didn't mean to hurt him, that I didn't want to go?

MARTHA
I think you better tell him that yourself.

MARY
I can't, Martha. He'll just get mad and start acting all high and mighty.
And then Dr. Craven might send him away, too.

MARTHA
You're talkin' like you're already gone, Mary.

MARY
I am gone, Martha. I wish I were a ghost.

MARTHA
No ghost [MUSIC CUE #28: HOLD ON] could do what you've done in this house,
Mary.

(Singing.)

WHAT YOU'VE GOT TO DO IS FINISH WHAT YOU HAVE BEGUN.
I DON'T KNOW JUST HOW, BUT IT'S NOT OVER TH. YOU'VE WON.

WHEN YOU SEE THE STORM IS COMIN',
SEE THE LIGHTNING PART THE SKIES.
IT'S TOO LATE TO RUN,
THERE'S TERROR IN YOUR EYES.
WHAT YOU DO THEN IS REMEMBER THIS OLD THING YOU HEARD ME SAY,
IT'S THIS STORM, NOT YOU, THAT'S BOUND TO BLOW AWAY.

HOLD ON,
HOLD ON TO SOMEONE STANDIN' BY.
HOLD ON,
DON'T EVEN ASK HOW LONG OR WHY.
CHILD, HOLD ON TO WHAT YOU KNOW IS TRUE,
HOLD ON TIL YOU GET THROUGH.
CHILD OH CHILD ....
HOLD ON.

MARTHA
WHEN YOU FEEL YOUR HEART IS POUNDIN',
FEAR A DEVIL'S AT YOUR DOOR.
THERE'S NO PLACE TO HIDE,
YOU'RE FROZEN TO THE FLOOR.
WHAT YOU DO THEN IS YOU FORCE YOURSELF

TO WAKE UP AND YOU SAY,
IT'S THIS DREAM NOT ME
THAT'S BOUND TO GO AWAY.

HOLD ON,
HOLD ON THE NIGHT WILL SOON BE BY.
HOLD ON,
UNTIL THERE'S NOTHIN' LEFT TO TRY.
CHILD, HOLD ON, THERE'S ANGELS ON THEIR WAY.
HOLD ON AND HEAR THEM SAY,
CHILD OH CHILD .....

AND IT DOESN'T EVEN MATTER,
IF THE DANGER AND THE DOOM
COME FROM UP ABOVE, OR DOWN BELOW,
OR JUST COME FLYIN' AT YOU
FROM ACROSS THE ROOM.

WHEN YOU SEE A MAN WHO'S RAGIN',
AND HE'S JEALOUS AND HE FEARS
THAT YOU'VE WALKED THROUGH WALLS
HE'S HID BEHIND FOR YEARS,
WHAT YOU DO THEN IS YOU TELL YOURSELF
TO WAIT IT OUT, YOU SAY,
IT'S THIS DAY, NOT ME, THAT'S
BOUND TO GO AWAY.

CHILD, HOLD ON…
IT'S THIS DAY, NOT YOU
THAT'S BOUND TO GO AWAY.

MARY
What do you think I should do?

MARTHA
I think you should find a pen and paper and write to your uncle in Paris
and tell him to
come home. I think you should let Colin's father say whether he likes him
standin' or not.

MARY
But why would he listen to me? And what if the letter didn't get to him in
time?

MARTHA
I'm sure your uncle will send for you as soon as he sees what you've done
for the boy.
(Getting the paper.)
Now here's some paper, and here's a pen. You do know how to write, I hope.
'Cause I won't be much help to you in that department.

MARY
A little.

MARTHA
That's all right. You don't have much to say, do you.

(MARY begins to write.)

[MUSIC CUE #29: LETTER SONG]

MARY
D-E-A-R …..
………..UNCLE ARCHIE,

(ARCHIBALD appears in PARIS, reading the letter.)

MARY
HOW ARE YOU? I'M FINE.
EVERYBODY ELSE IS TOO.
PLEASE COME HOME.

ARCHIBALD
Home, I have no home.

MARY
MARTHA SAYS THAT YOU'RE IN PARIS
IS THAT VERY FAR AWAY?

ARCHIBALD
It's a house, child. Just a house.

MARY
DO THEY HAVE NICE GIRLS AND BOYS THERE?

ARCHIBALD
And I can't get far enough away from it.

MARY
PLEASE COME HOME.

MARTHA
Now just sign it…

(MARY looks up a moment, wondering what else she should put in
the letter.)

MARY
SHOULD I SAY THAT COLIN'S WELL NOW?

ARCHIBALD

-STREETS OF PARIS LIKE A MAZE.

MARY
SHOULD I SAY THAT DOCTOR CRAVEN

ARCHIBALD

-SLEEPLESS NIGHTS AND AIMLESS DAYS.

MARTHA
I THINK THAT WHAT YOU HAVE IS GOOD.
LET'S GET IT POSTED, ON ITS WAY.
HE'LL RUSH HOME, THEN YOU CAN TELL
HIM ALL THE REST YOU HAVE TO SAY.

MARY ARCHIBALD
OH KIND SIR,
UNCLE ARCHIE ... CAN'T FORGET,
HOW I WISH THAT CAN'T EAT OR SLEEP
YOU COULD SEE OR LIVE
WHEN YOU COME
INTO THE GARDEN
PLEASE, COME HOME … CAN'T FORGIVE…

MARY
YOURS TRULY?

MARTHA
Well, maybe…

MARY
SINCERELY?

MARTHA
Well, how about…

MARY
YOUR FRIEND, MARY



SCENE 9
— PARIS —


[MUSIC CUE #30: WHERE IN THE WORLD]

THE STAGE is empty except for a cloudy backdrop. ARCHIBALD stands
alone.

ARCHIBALD
NOW I SEE YOU IN THE WINDOW OF A CARRIAGE, THEN A TRAIN.
STILL MY MIND WILL NOT ACCEPT THAT IN YOUR GRAVE YOU MUST REMAIN.
NOW I HEAR YOUR VOICE, THEN TURN AND SEE A STRANGER'S FORM AND FACE.
MUST I WANDER ON TORMENTED PLACE TO PLACE TO PLACE TO PLACE.

WHERE CAN I GO THAT YOU WON'T FIND ME?
WHY CAN'T I FIND A PLACE TO HIDE?
WHY DO YOU WANT TO CHASE ME, HAUNT ME?
EVERY STEP YOU'RE THERE BESIDE ME.

WHERE IN THE WORLD, TELL ME WHERE IN THE WORLD
CAN I LIVE WITHOUT YOUR LOVE?
WHERE ON THE EARTH, TELL ME WHERE ON THE EARTH
CAN I STAY NOW THAT YOU ARE GONE?

WHY DID I HAVE TO MEET YOU, LOVE YOU?
WHY CAN'T I RID YOU FROM MY MIND?
WHY DID YOU HAVE TO WANT ME, WON'T YOU
LET ME PUT MY LIFE BEHIND ME?

HOW IN THE WORLD, TELL ME, HOW IN THE WORLD
CAN I LIVE WITHOUT YOUR LOVE?
WHY ON THE EARTH, TELL ME, WHY ON THE EARTH
SHOULD I STAY NOW THAT YOU ARE GONE?
NOW... THAT YOU ARE ....

(Suddenly, LILY appears.)

ARCHIBALD
Lily? Is that you?

[MUSIC CUE #31: HOW COULD I EVER KNOW?]

LILY
HOW COULD I KNOW I WOULD HAVE TO LEAVE YOU?
HOW COULD I KNOW I WOULD HURT YOU SO?
YOU WERE THE ONE I WAS BORN TO LOVE.
OH, HOW COULD I EVER KNOW?
HOW COULD I EVER KNOW?

(ARCHIBALD walks over to sit down at his desk.)

LILY
HOW CAN I SAY TO GO ON WITHOUT ME?
HOW WHEN I KNOW YOU STILL NEED ME SO?
HOW CAN I SAY NOT TO DREAM ABOUT ME?
HOW COULD I EVER KNOW?
HOW COULD I EVER KNOW?


LILY
FORGIVE ME,
CAN YOU FORGIVE ME?
AND HOLD ME IN YOUR HEART.
AND FIND SOME NEW WAY TO LOVE ME,
NOW THAT WE'RE APART ....

(She approaches him, and finally moves to touch him, her hands
caressing his shoulders.)

HOW COULD I KNOW I WOULD NEVER HOL YOU?
NEVER AGAIN IN THIS WORLD, BUT OH,
SURE AS YOU BREATHE, I AM THERE INSIDEYOU.
HOW... COULD I EVER KNOW?
HOW COULD I EVER ...?

ARCHIBALD
(He turns to sing directly to her.)

HOW CAN I HOPE TO GO ON WITHOUT YOU?
HOW CAN I KNOW WHERE YOU'D HAVE ME GO?
HOW CAN I BEAR NOT TO DREAM ABOUT YOU?
HOW CAN I LET YOU GO?

LILY
HOW COULD I EVER KNOW?

(The music picks up the melody from the waltz in the first act.)

ARCHIBALD

ALL I NEED IS-

LILY
-IS THERE IN THE GARDEN

ARCHIBALD

ALL I WOULD ASK IS-

LILY
IS CARE FOR THE CHILD OF-

LILY and ARCHIBALD
-OUR LOVE.

LILY
COME, GO WITH ME.
SAFE I WILL KEEP YOU.

ARCHIBALD

WHERE YOU WOULD LEAD ME,
THERE I WOULD,

LILY
THERE I WOULD, THERE WE WOULD

ARCHIBALD and LILY.
THERE WE WILL GO ....

(ARCHIBALD stands as LILY pulls him to her. They embrace and
sing,
their forgiveness complete, their love gloriously renewed and
real.)

ARCHIBALD AND LILY
HOW, HOW COULD I KNOW.
TELL ME HOW, HOW COULD I KNOW.
EVER TO KNOW YOU WILL NEVER LEAVE ME.
HOW COULD WE EVER KNOW?

ARCHIBALD LILY
HOW COULD I EVER KNOW? COME TO MY GARDEN

(LILY takes ARCHIBALD by the hand and leads him offstage.)

[MUSIC CUE # 32: TO THE DAY GARDEN]


SCENE 10
— THE DAY GARDEN —


It is morning. VOICES are heard from offstage.

COLIN
Mary! What is it?

(DICKON and MARTHA appear.)

DICKON
Mary! Come quickly! Mary. Wail til you see it!

(MARY wheels COLIN into the garden.)

COLIN
Mary, what is it?

MARY
It's spring!

COLIN
But where did it come from?

DICKON
From all our hard work, where do you think?

COLIN
Everything is so ... Look at it!

MARY
But where's Ben? He has to see what's happened.

MARTHA
I'll go and fetch him. (MARTHA exits to look for BEN)

DICKON
Colin, look at the lilacs ....

(DICKON wheels COLIN round and round in the wheelchair.)

DICKON
COME SPIRIT, COME CHARM.
COME DAYS THAT ARE WARM.
COME GATHER AND SING,
AND WELCOME THE SPRING.

MARY and COLIN DICKON
COME
COME SPIRIT, COME
COME CHARM, COME
SPIRIT, COME CHARM DAYS THAT ARE
WARM

MARY, COLIN and DICKON
COME GATHER AND SING
AND WELCOME THE SPRING

COLIN
Mary, look at the roses!

MARY
There are fountains of them!

COLIN
Mary, Mary, quite contrary, How does your garden grow?

(MARY grabs DICKON's staff and taunts COLIN in return.)

MARY
I'm not contrary. You take that back.

COLIN
You make me!

(DICKON wheels COLIN offstage, chased by MARY.)

MARY
(Unseen.)
I will! I've got you, Colin CRAVEN


(And suddenly, LILY leads ARCHIBALD and DR. CRAVEN into the
garden.)

DR. CRAVEN
Archie, why didn't you cable us you were coming.

ARCHIBALD
I didn't know, myself, Neville.

(DR. CRAVEN hears the sounds from inside the garden: the CHILDREN
shrieking with delight.)

DR. CRAVEN
What on earth is all that noise?

COLIN
(Unseen.)
Oh no you don't. I'm lots faster than you. Here we come!

(COLIN pushes MARY, who is now in the chair, into the garden.)

MARY
Colin Craven, not so fast!

DR. CRAVEN
Mary Lennox!

(COLIN stops as he sees his father and DR. CRAVEN)

COLIN
Father!
(ARCHIBALD can't believe what he sees.)

COLIN
Look at me!
(Crosses slowly to his father.)
I'm well!

ARCHIBALD
(Clasps the boy to him.)

Oh, Colin, my fine brave boy. Can you ever forgive me?

COLIN
It was the garden that did it, Father, and Mary and Dickon, and some kind
of ... charm
that came right out of the ground.

ARCHIBALD
Neville, were you hoping to surprise me with this news?

DR. CRAVEN
I knew they were looking better, but I had no idea they were…

COLIN
We didn't want you to know. We were afraid you wouldn't let us come to the
garden if you knew.

DR. CRAVEN
But how did you-

COLIN
William carried me down the stairs until-

DR. CRAVEN
But what have you eaten? You haven't touched the food we've sent to your
rooms for weeks.

COLIN
Martha sent us food, we ate in the garden. We ate enough for ten children.

ARCHIBALD
You did, did you.

COLIN
Oatcakes and roasted eggs and fresh milk and-

DR. CRAVEN
It was all terribly confusing. After all these years, to-

ARCHIBALD
It was confusing, Neville. Why don't you take my flat in Paris and stay as
long as you like.
And when you return, perhaps you will allow me to help you re-establish
your practice,
in town if you like, so you can resume your own life, free of the enormous
burden you have
carried on our behalf.

DR. CRAVEN
Thank you, Archie.

MARY
(To Archibald)
And will you stay home with us?

ARCHIBALD
Colin, Colin. Look at you.

COLIN
It was Ben that kept the garden, alive, Father, until we could get here.

BEN
I knew it was against your orders, sir, but-

ARCHIBALD
As I remember, it was Lily who ordered you to take care of this garden,
Ben. Well done.

BEN
Thank you, sir.

COLIN
And it was Dickon who-

ARCHIBALD
Yes. I can imagine. Dickon if there is every anything we can-

MARTHA
(Interrupts him.)
Sir. What is to become of our Mary?

[MUSIC CUE #33: FINALE]

ARCHIBALD
Why, Mary

ALBERT
CLUSTERS OF CROCUS...

MARY
Here's your key, if you want it back, sir. You didn't bury it after all.
I'd have never found it if you…

ARCHIBALD
I had nearly forgotten you in all this.

MARY
(Bravely.)
It's hard to remember everybody, sir.

ARCHIBALD
No it isn't. Three isn't very many people at all.
I should be able to remember three people quite easily.

MARY
(Carefully.)
Would I be one of them?

ARCHIBALD
Mary Lennox, for as long as you will have us, we are yours, Colin and I.
And this is your home. And this, my lovely child...
(He opens his arms.)
is your garden.

(MARY rushes into his embrace and he holds her close as DICKON
and MARTHA
clasp hands.THE DREAMERS approach, singing, then take their leave
of MARY,
one by one.)



DREAMERS
COME TO MY GARDEN,
NESTLED IN THE HILL.
THERE I'LL KEEP YOU SAFE
BESIDE ME.
COME TO MY GARDEN.
REST THERE IN MY ARMS.

THERE I'LL SEE YOU
SAFELY GROWN AND ON YOUR WAY

(ROSE exits.)

LILY AND ALBERT
STAY HERE IN THE GARDEN,
AS DAYS GROW LONG AND MILD.

(ALBERT exits. Then finally, MARY, COLIN, stand together, with
ARCHIBALD
kneeling between them, as LILY sings.)

LILY
COME TO THE GARDEN.
COME, SWEET CHILD.

(LILY blows them a final kiss. We hear a single GLISSANDO and she
disappears.)




THE END
THE SECRET GARDEN

COSTUME PLOT

Mary Lennox Lily
#1 #1
Off-white muslin nightgown w/lace Lavender organza & chiffon tea
Off-white leather slippers dress w/floral neckline
#2 Mauve organza petticoat
Black on black woven print challis Mauve hose
dress/w taffeta and lace collar and Off-white high-button shoes
cuffs Pearl necklace w/pearl medallion
Black hose Pearl drop earrings
2 pc. white cotton knit knicker & #2
camisole 3/4 Coral floral chiffon garden
Black high-top shoes dress
Black wool coat w/cape; deep purple Yellow/pink cotton floral apron
velvet trim Crepe de chine petticoat
Black taffeta & deep purple velvet Dusty pink straw hat w/ribbon
muff Cameo
Black velvet hat w/ribbon trim Pearl earrings
#3 Low-heeled, off-white high-button
Light rust print challis dress shoes
w/off-white lace trim White hose
Black hose #3
Rose & gray wool plaid coat w/woven Lavender/gray silk, silver lace net
braid trim ball gown w/glass & sequin
Knitted cap w/pom-pom embroidery
Knitted scarf Gray organza petticoat w/silver
Brown high-top shoes lace
#4 Ribbon & floral hair ornament
White pique nightgown w/eyelet trim Amethyst & crystal drop necklace
Persimmon wool knit cardigan Crystal drop earrings
Off-white leather slippers Gray hose
#5 Lavender silk slipper w/bow
Bottle green challis dress w/collar #4
Black hose White cotton & lace afternoon dress
Black high-top shoes w/lavender silk unders
#6 White batiste petticoat
Embroidered white cotton batiste White straw hat w/veil
dress wilt, blue silk unders White hose
White hose Off-white high-button shoes
White high-top shoes Broach
White straw hat w/flowers & ribbon Pearl earrings
#7 White lace gloves
White percale nightgown w/lace
neckline & border Rose
Olive green knit cardigan #1
#8 Sequin embroidered organza & peach
Purple linen houndstooth dress silk ball gown
w/lace insets Ivory organza petticoat
Pink floral pinafore w/ruffle Ivory silk 16-button gloves
Black hose Black high-top shoes Peach hose
#9 Dusty rose brocade slipper w/rose
Peach chiffon floral dress w/lace ornament
Mint green chiffon pinafore w/peach Floral headdress w/feather
taffeta sash, silk nosegays Cameo earrings
White hose Pearl, crystal, & cameo necklace
Straw hat w/pink ribbon Lace shawl
White high-top shoes Lace edged lawn handkerchief
#2
3/4 Dusty rose print chiffon garden Pale gold brocade slippers
dress Ivory satin 16-button gloves
Crepe de chine petticoat Pearl cluster & drop earrings
Yellow/peach & slate blue cotton Topaz crystal & pearl necklace
floral apron Floral & crystal hair ornament
Straw hat w/horsehair & ribbon trim Lace shawl
Pettipoint broach #2
Pearl earrings White eyelet & lace inserted
Low-heeled, ivory high-button shoes batiste afternoon dress w/light
Ivory hose pink silk unders
#3 White cotton batiste petticoat
White eyelet, long-sleeved, White hose
afternoon dress w/coral silk unders Ivory high-button shoes
White cotton batiste petticoat white straw hat w/veil & flowers
White lace gloves Lace gloves
White hose Pearl earrings
Ivory high-button shoes Pearl necklace
White straw hat w/veil & cherry Pearl bracelet
blossoms Broach
Pearl earrings
Broach
Pearl necklace Ayah
#1
Alice Off-white silk saree
#1 Silk short-sleeved top
Embroidered organza & lavender silk Silk pongee pants
ball gown w/floral trim Hat w/saree border
Ivory organza petticoat Gold & pearl drop earrings
Lavender floral, feather headdress India print canvas slippers
Ivory satin 16-button gloves #2
Ivory hose White silk saree w/pink & gold
Lavender brocade slippers bullion border
Lavender glass & pearl necklace White silk w/gold bullion short
Pearl & gold earrings sleeve top
Lace shawl White silk w/gold bullion pants
Floral fan Hat w/pink & gold bullion border
#2 Gold & pearl drop earrings
White eyelet afternoon dress White & gold brocade slippers
w/yellow silk unders
White cotton batiste petticoat Mrs. Medlock
White hose #1
Ivory high-button shoes Black wool coat w/high collar
Pale yellow straw hat w/horsehair Lace & pleated
trim black wool cape
Crochet lace gloves Black leather gloves
Broach Black felt hat w/bow Black hose
Pearl earrings Black leather & suede high-button
Necklace shoes
White lawn parasol w/battenburg #2
lace, yellow silk lining Charcoal gray wool dress w/white
pique collar, cuffs
Claire Gray cotton petticoat
#1 Black hose
Embroidered organza & net, Black leather & suede high-button
pink/gold silk ball gown shoes
Ivory organza petticoat Black & maroon crocheted wool shawl
Lt. peach hose Pendant watch
Black onyx & gold drop earrings Black hose
#3 Black laced boots
Green/gray paisley woven shawl Lt. tan cotton pinafore
#4
White eyelet afternoon dress Maids
w/coffee silk unders Gray wool gabardine dress w/pique
White cotton batiste petticoat collar & cuffs
White cotton gloves Ivory cotton petticoat
Ivory straw hat w/flowers White & gray stripe bib apron
Enameled broach w/lace insert
Antique gold drop earrings Black hose
White hose Black Gigi boots
Ivory high-button shoes White on white plaid cotton dust
#5 cap w/lace
Slate blue challis & lace blouse
Charcoal gray wool skirt
Gray cotton petticoat Mrs. Shelley
Black hose Plum velvet coat w/3 cord
Black leather & suede high-button embroidery
shoes Lambs wool & plum velvet muff
Pewter drop earrings Gray leather gloves
Broach Plum velvet hat
Eyeglass on chain Black hose
Gray/green paisley woven shawl Black Gigi boots
#6 Gold, amethyst drop earrings
Mauve print blouse w/tucking
Dark taupe striped wool skirt Female Dancers
w/belt #1
Tan cotton petticoat Gray/green organza, pink & silver
Black hose net, sequin embroidered ball gown
Black leather & suede high-button w/net drape
shoes Pearl gray organza petticoat
Beige woven shawl Long satin glove
Broach Gray hose
Drop earrings Gray green brocade slipper w/sequin
trim
Martha Crystal & floral hair ornaments
#1 Pink crystal necklace
Gray, blue & black wool plaid dress Pink crystal earrings
w/lace collar & cuffs #2
Natural cotton petticoat Blue organza, blush & silver lace,
Lt. tan cotton pinafore sequin embroidered ball gown w/net
Black hose drape
Black laced boots Pearl gray organza petticoat Long
Oatmeal wool sweater satin gloves
#2 Gray hose
Beige stripe dress w/lace collar & Slate blue brocade slipper
cuffs Lt. amethyst & crystal necklace
Lt. beige cotton petticoat Lt. amethyst & crystal earrings
Dove gray shadow stripe cotton Floral hair ornaments
pinafore w/lace
White hose Mrs. Winthrop
Tan laced boots Straw hat Taupe green wool suit w/taupe
#3 velvet collar & trim
Green & taupe plaid dress w/crochet Gray & white stripe blouse w/bow
lace collar Black hose
Natural cotton petticoat Lt. gray cotton petticoat
Black Gigi boots Enameled cufflinks
Tortoise shell glasses Gold watch & watch chain
Silver pin Green/taupe tapestry brocade tie
Silver drop earrings Brown & green silk suspenders
Stripe taffeta parasol Brown hose
Taupe leather gloves Brown Wellingtons
Black purse Olive wool Inverness coat
Olive felt hat Walking stick
Nurse #4
Dark charcoal & white stripe dress 4-button single-breasted white wool
w/white collar & cuffs sack coat
Off-white cotton petticoat Single-breasted white wool w/blue
White lawn pinafore w/buckle pinstripe vest
White lawn cap w/ruffle White wool w/blue pinstripe
Black hose trousers
Black Gigi boots Lt. blue cotton shirt w/white club
collar & French cuffs
Archibald Craven Gold cufflinks G
#1 old watch & chain
Brown herringbone wool frock coat Lt. yellow chavet silk tie
w/faille lapels Mother of pearl stick pin
Matching trousers White socks
Brown double-breasted wool vest Oyster leather plain cap toe
w/green wool notched collar brogues
Cream on cream stripe shirt Straw boater w/yellow/blue ribbon
w/detachable collar, French cuffs #5
Gold cufflinks Brown wool check single-breasted
Watch, watch chain vest & trousers
Silver taupe & deep rust paisley Tan & fawn stripe cotton shirt
cravat w/neckband & French cuffs
Stick pin Burgundy, ochre, dk. taupe wool
Brown hose challis brocade dressing gown
Brown Wellingtons w/notched lapel
Olive wool Inverness coat Burgundy & gold cord belt w/tassels
Olive felt hat Brown socks
Brown silk suspenders Brown Wellingtons
#2 Gold watch & chain
Maroon & olive woven paisley Gold cuff links
double-breasted smoking jacket #6
w/fringed sash Pale loden gray 3 pc. sack suit,
Brown herringbone wool trousers single-breasted vest w/notched
Brown double-breasted wool vest lapel
w/green wool notched collar Off-white cotton shirt w/detachable
Cream on cream stripe shirt straight point collar w/pin, French
w/detachable collar, French cuffs cuff
Gold cufflinks Loden tie w/gold tan figure
Watch & watch chain Gold stick pin
Silver taupe & deep rust paisley Gold cuff links
cravat Gold collar pin
Stick pin Gold watch & chain
Brown hose Brown Wellingtons Loden socks
#3 Green taupe high laced shoes
2 pc. brown stripe sack Gray silk suspenders
single-breasted suit
Olive single-breasted vest Dr. Craven
Ivory cotton shirt w/detachable #1
straight point collar, French cuff 3 pc. charcoal gray glen plain
single-breasted sack suit, w/ Silver stick pin
single-breasted vest w/notched Silver watch w/watch chain
collar Black socks Black Wellingtons
Blue/white stripe shirt w/white Pewter metal frame glasses
cotton detachable stand collar Dk gray/blue cable knit wool
French cuffs cardigan w/shawl collar
Purple/navy floral brocade tie #5
Gray silk suspenders Off-white w/gray pinstripe silk
Silver stick pin Norfolk jacket
Silver & enamel cuff links Off-white silk herringbone
Silver watch & watch chain double-breasted vest & trousers
Black socks Lt. blue & white stripe cotton
Black high-top shoes shirt w/straight point collar,
Pewter metal frame glasses French cuffs
#2 Lt. blue silk tie
Charcoal gray glen plaid vest & Off-white silk suspenders
trousers Enamel cufflinks Silver stick pin
Blue/white stripe shirt w/white Silver watch & watch chain
cotton detachable stand collar; White socks
French cuff Champagne leather Wellingtons
Purple/navy floral brocade tie Straw boater w/2-tone blue ribbon
Gray silk suspenders #6
Silver stick pin Silver & enamel 3 pc. L. gray Glen plain
cuff links single-breasted suit w/single
Silver watch & watch chain breasted vest w/ notched lapel
Black socks Lt. gray stripe cotton shirt
Black high-top shoes w/straight point collar & French
Pewter metal frame glasses cuffs
Forest green & pumpkin wool challis Lt. gray /blue silk tie w/diamond
brocade dressing gown w/forest pattern
green satin shawl w/2-tone cord Gray silk suspenders
trim Silver cuff links
#3 Dk. charcoal wool flannel Silver stick pin
double-breasted frock coat; vest Silver watch & watch chain
w/black braid trim Black socks
Black/white check wool trousers Black laced high-tops
White cotton w/blue shadow stripe Pewter metal frame glasses
shirt w/detachable club collar,
French cuffs Captain Albert Lennox
Black w/cream & purple figure silk #1
cravat Honey wool twill British army
Black silk suspenders uniform coat w/off-white, gold
Silver cuff links braid
Silver stick pin Matching trousers w/gold/off-white
Silver watch w/watch chain side stripe
Black socks Faded rose silk sash w/tassels & 3
Black Wellingtons medals
Pewter metal frame glasses White leather sword belt w/gold
#4 buckle
Dk. charcoal wool flannel vest Captains' insignia
w/black braid trim Tan socks
Black & white check wool trousers Honey brown high-top boots
White cotton w/blue shadow stripe White gloves
shirt w/detachable club collar, Tan suspenders
French cuffs #2
Purple silk tie Lt. cream wool gabardine British
Black silk suspenders army uniform coat w/off-white &
gold buckle
Matching trousers with Lieutenants' insignia
gold/off-white side stripe Cream suspenders
White leather sword belt w/gold Tan socks
buckle Honey brown high-top boots
Captains' insignia White cotton gloves
White socks #2 Lt. cream wool gabardine British
Ivory leather Wellingtons patrol jacket w/matching braid &
White cotton gloves buttons
White suspenders Matching wool trousers
White suspenders
Major Holmes Lieutenants' insignia
#1 White socks
Honey wool twill British Army Ivory leather Wellingtons
uniform coat w/off-white & gold White cotton gloves
trim White forage cap w/gold trim
Matching trousers w/gold &
off-white side stripe Lt. Wright
Peach/beige silk sash w/tassel #1
White leather sword belt w/gold Honey wool twill British army dress
buckle uniform coat w/offwhite & gold trim
Majors' insignia Matching wool trousers w/gold &
Cream suspenders off-white side stripe
Tan socks Peach/beige silk sash w/tassels
Honey brown high-top boots White leather sword belt w/gold
White cotton gloves buckle
#2 Lieutenants' insignia
Four-pocket khaki drill w/off-white Cream suspenders
trim Tan socks
Matching wool trousers Honey brown high-top boots
Brown belt White cotton gloves
Majors' insignia #2
Khaki socks Four-pocket khaki drill w/off-white
Dk. brown Wellington trim
Khaki helmet w/off-white band Matching wool trousers
#3 Brown belt
Lt. cream gabardine British army Lieutenants' insignia
dress uniform coat w/off-white & Khaki socks
gold trim Dk. brown Wellingtons
Matching wool trousers w/gold & Khaki helmet w/off-white band
off-white side stripe #3
White leather sword belt w/gold Lt. cream wool gabardine British
buckles patrol jacket w/matching braid &
Majors' insignia buttons
White suspenders Matching wool trousers
White socks White suspenders
Ivory leather Wellingtons Lieutenants' insignia
White cotton gloves White socks
Ivory leather Wellingtons
Lt. Shaw White cotton gloves
#1 White forage cap w/gold trim
Honey wool twill British army dress
uniform coat w/offwhite & gold trim Fakir
Matching wool trousers w/gold & #1
off-white side stripe Tan, cream & peach woven silk coat
Peach/beige silk sash w/tassels w/bumt peach, brown, cream cotton
White leather sword belt w/gold sash
Peach silk trousers Dickon
Black, red, blue, gold, cream #1
patterned stripe drape Gray, black & white cotton flannel
Tan cotton turban plaid shirt w/collar band
Cream leather slippers Off-white knitted underwear top
#2 Green/gold cotton print neck scarf
Peachy tan & cream floral saree Sheepskin long vest
silk coat w/peach silk sash Aged tan linen trousers
White on white woven silk trousers Maroon suspenders
W Maroon knitted puttee's
hite/gold saree silk drape Brown laced shoes
White/peach silk turban Brown/green wool cap
Peach & gold brocade slippers Walking stick
#2
Extra Fakirs Yellow/cream raw silk Brick, It. blue on white stripe
coats w/wooden buttons cotton shirt w/neck band
Tan/white raw silk sash Honey & ivory linen plaid vest
Raw silk trousers w/braid trim
Wool felt hat Olive canvas slippers Off-white linen trousers
Oatmeal knit puttee's
Ben Off-white suspenders
#1 White socks
Heathered olive plaid wool rustic Taupe high top laced shoes
coat Taupe/off white tweed cap
Olive, tan & maroon plaid wool #3
challis peasant shirt w/collar band Pale olive & black cotton plaid
Stained tan canvas trousers shirt w/collar band
Old leather apron Taupe/brown wool vest w/collar
Leather suspenders Aged tan linen trousers
Green knitted scarf Maroon suspenders
Knitted cap Wool gloves Maroon knitted puttee's
Lt. green & gold print handkerchief Brown laced up shoes
Brown socks Brown/green wool cap
Brown high-top shoes
#2 Colin
Oatmeal pebbled linen coat #1
Gray & brick on white tattersall Cream w/blue pinstripe oxford cloth
cotton peasant shirt w/point collar night shirt w/white cotton collar
Brown plaid ribbon tie #2
Oatmeal herringbone linen trousers Ivory wool gabardine sailor suit
White leather apron w/lt. blue/white cord and trim
Off-white suspenders Matching knickers
Panama hat w/brown band White hose
Off-white socks White high-top shoes
Natural desert boots White straw hat
#3 White suspenders
Brick/tan plaid cotton peasant #3
shirt w/collar band Blue/gold on white tattersall
Loden & gray green houndstooth long cotton night shirt w/white cotton
wool vest w/patch pockets collar
Dirty tan canvas trousers Beige/ivory wool blanket
Leather suspenders #4
Knitted cap Off-white gabardine shawl collar
Lt. green & gold print handkerchief jacket w/mint green/white stripe
Brown socks trim
Brown high-top shoes Pink/white cotton pinstripe shirt
w/Eaton collar
Peach silk taffeta bow Mint green
silk houndstooth knickers
White hose
White suspenders
White high-top shoes
Natural straw hat w/gray/green
ribbon edge

Major Shelley
Navy melton double-breasted British
army great coat
Navy forage cap w/gold trim
Black leather riding boots
Black leather gloves


Porter
Black/gray wool herringbone coach
jacket
Gray & mauve knitted wood scarf
Dark taupe w/multi color flecked
wool knickers
Dark over the knee hose
Black laced high-tops
Dark wool tweed cap

Mate Waltzers
Slate gray wool gabardine 2 pc..
tail suit w/peaked lapel
Ice gray & silver brocade vest
w/collar
White pique front cotton shirt
w/detachable wing collars
White pique square end bow tie
White suspenders
Pearl gray studs & cuff links
Gray hose
Gray leather pumps w/grosgrain bow
White cotton gloves

Butlers
Gray wool flannel swallow tail coat
w/brown velvet upper collar
Matching trousers
Black & tan cotton stripe
single-breasted vest
White pique front cotton shirt
w/detachable stand collar
Black barathea four in hand tie
Pewter cuff links
Black suspenders
White cotton gloves
Black socks
Black Wellingtons

THE SECRET GARDEN

PROPERTY PLOT

ACT I topiary)
Peacock topiary (Wright/Fakir)
I-0p Swan topiary (Holmes)
Small framed photograph of Lily Greenhouse w/bench & table
(Mary) Greenhouse w/2 tables Robin topiary
Red, weighted man's handkerchief (Shaw)
(Fakir) Owl topiary (Albert)
7 Red silk man's handkerchiefs Bench
(Fakir, Shaw & Alice; Wright,
Holmes, Claire) I-4
Riding crop (Wright) Decanter of water, glass,
Candelabra (Neville) documents, globe w/monkey, books,
Candle holder (Archie) Blotter, inkwell, fountain pen,
Mary's doll & dress (Betsy) leases, architectural plans,
Mary's passport & visa (Shelley) unfolded documents, ruler, compass
2Red silk man's handkerchiefs Long stem red rose (Albert)
(Albert & Ayah) Archie desk (William/Timothy
Japanese fan (Alice) on/off)
Luggage checks (Timothy) Side chair (Betsy on/off)
Torch candle (William) Desk chair (Jane on/off)
India bed w/pillow (onstage) Armchair, side table, bust & loose
Mary's settee (turntable on/off) books
Mary's trunk w/coat, scarf, hat,
shoes, socks I-5
Ottoman (Jane (TIT off) Armchair, side table, bust & loose
Doll's house w/doll attached Cart books
with luggage Hall bench (Betsy-Fakir off)
Mary's tea table (Turntable on/off)
Rocking horse (William) I-6
Plastic garden key/candle (Mary)
I-1 Candle (Martha)
Mary's doll & dress (Betsy) Hall bench (Betsy-Fakir off)
Breakfast tray (bowl of porridge, 2
spoons, tea cup/saucer, creamer, I-7
sugar bowl, napkin (Martha) Wheelchair w/blanket (Betsy on/off)
Jump rope (long length) (Martha) Doctor's bag (w/syringe, vial)
Mary's settee (Turntable on/off) (Neville)
Mary's trunk w/coat, scarf, hat, 2 Large pillows, 2 laced pillows &
shoes, socks (Timothy (Tff off) support pillows
Ottoman (Jane (T/T off) Red picture book, 2 books; music
Mary's tea table (Turntable on/off) box
Rocking horse (William) Colin's bed (William/Timothy)

I-2 I-8
Lily's picture (Mary) J 5 Red silk man's handkerchiefs
ump rope (short length) (Mary) (Holmes/Claire/Alice/Faldr/Shaw)
3 Red silk man's handkerchiefs
I-3 (Ayah/Rose/Wright)
Jump rope (short length) (Mary) Robin topiary (Jane)
Lily's picture (Mary) Owl topiary (William)
Pots, spritzer, small clippers (on Swan topiary (Betsy)
planter) Peacock topiary (Timothy)
Dickon's stick (Dickon)
Wheelbarrow (w/pots), clippers, ACT II
pruners, 2 sacks of dirt, small
trowel (Ben) II-1
Metal key to garden door (on Robin Picnic basket (Rose/Lily)
2 Cups/saucers/spoons (Rose/Lily) Dickon’s stick (Dickon)
Small pink book (Lily) Outdoor lantern (Ben)
Wicker tray w/tea pot & 2 Wheelchair w/blanket (Mary/Colin)
cups/saucers/spoons/creamer & sugar
(Archie/Albert)
White rose (Archie) II-7
Red rose (Albert) Parasol (Winthrop)
White blindfold (man's hanky) Leather folder w/lace hanky
(Mary) (Winthrop)
2 Badminton rackets (Martha & Ayah) Binoculars/leather folder
Camera on tripod w/off-white cape w/documents & signed check
(Holmes) Tea service (2
Flash for camera (Holmes) pots/cups/saucers/spoons/plate of
Parasol (Alice) cookies one of which can be
Red weighted man's handkerchief thrown/sugar bowl/pitcher of milk)
(Neville) Archie desk & chair (T/T on/off)
Wicker wheelchair (Medlock) 2 Side chairs (one must be thrown)
Large birthday cake w/candles (Ben) (T/T on/off)
Wicker tea cart (Fakir off) Tea table (T/T on/off)
2 Wicker chairs (Albert/Ayah off) Armchair w/pillow (T/T on/off)

II-2 II-8
3 Books/Lily photo/music Tablet w/stationery/fountain pen
box/cylinders/Lily's scarf Shaving 3 Books
kit (Archie) Open suitcase w/3 pieces of
Brushes/brush case/collars/collar clothes/doll
box/trunk key Letter (Archie)
Drawer w/books/periodicals/3 other Shroud/short jump rope (on
books rockinghorse)
Table (Jane/Betsy T1F off) Mary's settee (TI!' on/off)
Chaise (William/Timothy T/T off) Tea table (TI!' on/off)
Steamer trunk Ottoman (TI!' on/off)
Rocking horse (William)
II-3
Large story book (Betsy) II-9
Japanese fan (Alice) Lily photo/Lily scarf/3
Colin bed w/o side tables books/pen/inkwell
(William/Timothy on/off) Paris desk/backless chair/luggage
Bedroom chair (Betsy on/off) stand w/suitcase

II-4 II-10
Plastic garden key (Mary) Wheelchair (Mary/Colin)
Dickon’s stick (Dickon) Dickon' s stick (Dickon)
10 pots Robin (Alice/Shaw) Plastic garden key (Mary)
Swan topiary (Holmes)
Greenhouse w/bench & table
Greenhouse w/2 tables
Peacock topiary (Fakir/Wright)
Owl topiary (Claire)

II-5
Dinner tray (Betsy)
Music box Colin’s bed w/SR table
(William)

II-6
Outdoor lantern (Martha)
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