LipreTTo Vocat Book BRiGADoon Book and Lyrics by Music by Alan Jay Lerner Frederick Loewe Original dances created by Agnes DeMille NOTICE: DO NOT DEFACE! Should you find it necessary to mark cues oF cuts, use a soft blac lead pencil ony NOT FOR SALE This book is rented forthe period specified in your contract It remains roperty of PLEASE RETURN ALL MATERIALSTO: | MTI MUSIC LIBRARY 31A INDUSTRIAL PARK ROAD. ‘Mose Tacaras beremuaons NEW HARTFORD, CT 06057 211 Wie: Sh Serese New York NY 10019 (ain) 54-4606 Book, Music and Lyrics — Copyright © 1947 by Alan Jay Lerner and Frederick Loewe. Orchestra arrangements — Copyright © 1977 by Alan Jay Lemer and Frederick LoeweCAST OF CHARACTERS (1) ANDREW MacLAREN @) ANGUS MacGUFFIE (@) ARCHIE BEATON (#) CHARLIE DALRYMPLE* (6) FIONA MacLAREN* (6 FRANK (7) HARRY BEATON (8) JANE ASHTON, (9) JEAN MacLAREN (10) JEFF DOUGLAS (11) KATE * Principal Vocal Pats Father of Fiona & Jean, a hearty soul in his late fifties. He isa bit pompous and has a loud and gruff voice. Midle thirties, sells eggs, milk and cream in MacConnachy Square with Meg, (Opt Baritone voice. Nor-singing if solo lines in #22-CHASE are given to MacGREGOR) Ackind looking Scot about 50, sells wool, plaids, et, ‘Asandy-haired youth in his twenties, he is betrothed to Jean, Graceful and altogether lovely, she is about twenty-two or three, She is bright, hhas a gentle sense of humor and is, completely frank to the point of being, often quite disarming, New York, a bartender. Archie's son, about 24, slender and extremely sensitive looking, (Dancer) Now York, she isin her late twenties, chick, very attractive, though perhaps little severe; engaged to Tommy. Attractive, shy and diffident, she is about eighteen. She is betrothed to Charlie Dalrymple. (Dancer) About 35, retiring and good natured A friend of Jean's.(12) MEG BROCKIE* (03) MR. LUNDIE (14) STUART DALRYMPLE* (15) TOMMY ALBRIGHT* MAGGIE ANDERSON ‘SANDY DEAN* MacGREGOR* FISHMONGER ‘SWORD DANCERS BAGPIPERS ‘TOWNSFOLK OF BRIGADOON With Angus, she sells milk and cream in ‘MacConnachy Square. ‘A quaint Scottish school master in his late fifties. Wears glasses and a red Tam OShanter. He is kind, his manner entirely benign, and he speaks with litle trace of ‘emotion. He isthe "Dominic" of Brigadoon. His "accent" is pronounced Dut he is always intlligabl. Sells woolen clothes in MacConnachy Square. (Chorus, solo tenor voice.) About 30 years old, medium height, virile looking, with an attractive but sensitive face, Has a "yearnin’ for Harry Beaton Bass voice, ells candy in MacConnachy Square. (now-speaking) Sells salted meat in MacConnachy Square. (Chorus, solo baritone voice, non-speaking. Opt. may take ANGUS) solo lines in #22-CHASE) (Non-speaking. Girl dancer in "Bonnie Jean Ballet’) ‘Two men (non-speaking) ‘Two men (non-speaking) Singers -24 Dancers -20Prologue Scene I: Scene 2: Scene 3: Seene 4: Scene 5: Scene 6: ACTIWo Seene I: Scene 2: Scene 3: Scene 4: SYNOPSIS OF SCENES LUmbe. (la front of scrim) [A FOREST IN THE HIGHLANDS OF SCOTLAND, ‘About five in the morning. (Ful stage) INTERLUDE AROAD IN THE TOWN OF BRIGADOON, Dawa changing to dy. (In one) MacCONNACHY SQUARE, BRIGADOON, ‘About nine the sime morning, (Fll stage) ‘THE BROCKIE OPEN SHED. (& small ince in the center of shallow stage) st past noon THE HacLAREN HOUSE. Midafernoon. (Ful sage) ‘OUTSIDE THE HOUSE OF MR. LUNDIE. Immediacely folowing. (In one) ‘OUTSIDE THE KIRK OF BRIGADOON, Dusk. (Full age) ‘A FOREST INSIDE BRIGADOON. Immediacely following. (Full stage) ROAD IN BRIGADOON. (Same as Act Scene I = Interlude) Immediately following. (In one) THEGLEN, A short while later (Full stage) [ABARIN NEW YORK CITY. (A srl inset DSR. in one with sri as backing masking te Act, Scene I forest) Four months later, te afternoon, ‘THE FOREST. (Game as Act Scone 1) ‘Three nights acer. (Full sage) ‘+ © © The time of “Brigadoon’ is May of this year * * +‘Act One 1. Introduction 2. Prologue i 3. Brigadoon. 4. Vendors’ Cals 5, Down On MacConnachy Square. 6. Waitin’ For My Dearie, Vl Go Home With Bonnie Jean. 7a, Dance (Bonnie Jean), ‘The Heather on The Hill... 8a, Rain Scene 8b. Change of Scene. 9. The Love of My Life. 9a. Change of Scene. 10. Jeatne’s Packin’ Up. 11, Come To Me, Bend To Me. ii 11a, Dance, 12, Almost Like Being tn Love. 13, Bible Seene. 14, Change of Scene 15, End of Lundie Scene Entrance ofthe Clans... 17, Wedding Ceremony (Incidental). 18, Wedding Dance. 19, Sword Dance & Ree 20. End of Act One, | | | 1 | | | | Orehestea. cHorus. ‘cous. CHORUS. .CHORUS, SANDY, MEG, STUART & MacGREGOR, FIONA & GIRLS. CHARLIE & CHORUS, Orchestra JTOMMY & FIONA. cuorws. Orchestra, MEG. Orchestra rts, ‘CHARLIE, (Orchestra with CHARLIE, FIONA & TOMMY. Orchestea Orchestra ‘chorus. Orchestra, sn Orchestra STUART & CHORUS, cHorus. Orcheste.ActTwo 21, Entr‘acte Orchestra 22. The Chase. TOMMY, STUART, ANGUS & MEN. 22a. Change of Scene Orchestra 25, There But For You Go I ‘TOMMY. 24. Glen Scene Opening Orchestra 24a, My Mother's Weddin’ Day. MEG & CHORUS, 24b.Dance, Orchestra 25. The Funeral Orchestra 26, From This Day On. FIONA & TOMMY, 26a, Farewell Music CHORUS, 27. Change of Scene. Orchestra 28, Reprises. FIONA, CHARLIE, TOMMY & CHORUS. 29. Change of Scene. Orchestra. 30. Finale cHoRUS, 31. Exit Music Orchestra 16 16 82 88 85 7 @ 92 93 95 100 108 107 108PROLOGUE srt is up, the muse fades dove Near the end ofthe introduction, when the house and @ SINGING CHORUS is heer. cHoRuS sible, behind serim) ‘ONCE IN THE HIGHLANDS, THE HIGHLANDS OF SCOTLAND, DEEP IN THE NIGHT ON A MURKY BRAE: THERE IN THE HIGHLANDS, THE HIGHLANDS OF SCOTLAND, TWO WEARY HUNTERS LOST THEIR WAY. AND THIS IS WHAT HAPPENED, THE STRANGE THING THAT HAPPENED ‘TO TWO WEARY HUNTERS WHO LOST THEIR WAY, (The musi fades gradually ou, irs off lights, take out scrims, and the play begins)Baicavoon ACT ONE Scene 1 ‘A FOREST IN THE HIGHLANDS OF SCOTLAND. TIME: About five inthe morning. ‘The forest is dipped in the deep gray that comes between night and morning. As the scene progresses, the gray lightens in shade. AT RISE: TOMMY ALBRIGHT and JEFF DOUGLAS are discovered on stage, on leps cut into a large outcrop of racks. There isa rustic wooden bridge leading from the rock of UL. Backirop pictures a distant fertile valley. TOMMY is about thirty. HE is of medivon height, virile looking, with an attractive but sensitive face. HE is dressed in a trench coat JEFF is about thirtyfive. HE is retiring, and good-natured primarily because he doesn't care. HEE is also wearing a trench coat At Ukis moment, JEFF is seated on what appears tobe a rucksack on rock, second stp. {n JEFE's hand is an open map. Next to HIM are lying tw rife. TOMMY is landing above, looking at map TOMMY (Standing behind JEFF. Taking map) Here! Let me see that map. (Points to spot on map. X DR) Here's Auchintou JEFF (Seated on rock steps) ‘As remember, that should be on the left, and I don’t remember, TOMMY Itis (Points to another spot) ‘And here's Braemar. JEFF ‘Should be on the right. TOMMY Itis. Now where the hell are we? JEFF What's in the middle?TOMMY Nothing. JEFF ‘That's where we are, TOMMY Innothing? JEFF Yes. And fora fellow with my potentialities, this is an ideal location. We'll find our way out when the sun comes up. (Lights build stowly) TOMMY (% LC putting the map in HIS pooket) AA fine couple of game hunters we are. We come all the way over here from New ‘York, and the first night out we get lost. JEFF Maybe we took the high zoad instead of the ow road. (Taking a flak from HIS inside pocet) Would you likea drink? TOMMY No, thanks, JEFF Good, That leaves more for me. (HE umserews the top) TOMMY (X to JEFF) Didn't you tell me you were going to cut down on that stuff? JEFF ‘Yes, I did. But I'ma terrible liar, Besides it doesn’t pay. I remember one time Iwas going with a wonderful girl and she used to plead with me and plead with me t0 give it up. So one day I did. Then we discovered we had nothing more to talk about so we broke up, TOMMY (Os not really fisting to HIM) ‘There's something about this forest that gives me te feeling of being ina cathedral (Pulls tg from the ridge)JERF Well ifwe were know where the exit was. TOMMY (Sriting. X o JEFF) You don't believe in anything, do you? JEFF Of course Id. TOMMY Really? What? JEFF Practically anything I can understand; you know, anything that’s real to me. Like ‘things I can touch, taste, hear, see, smell, and Adicates the ask) swallow. TOMMY (RO) What about the things you don't understand? JEFF | dismiss them. (Drinks) TOMMY ‘That makes everything very easy, doesnt it? JEFF Comfortable isthe word, TOMMY (Turns back to JEFE) envy you, Jeff JEFF Why? TOMMY (Xt Rend of rock) You seem to be very satisfied. JEFF Tam. Aren't you?Bricapoon TOMMY No, I'm not JEFF ‘That's the silliest thing I've every heard. You've gota fine job and you're engaged 0 2 fine girl, and you're lot ina fine forest. What more do you want? TOMMY (0 to rock sits beside JEFF) {don’t knov, But something seems wrong, especially about Jane and me. And that makes everything seem wrong. Look how I postpone getting married, Ijust can't ‘get myself to that alta. JEFF | don’t know what could be wrong about i. She's young, attractive, fits smack into ‘your niche in life; and on top ofthat she loves you. And just the proper amount, 0. TOMMY What's the proper amount? JERF Enough to make you happy and not enough to embarrass your friends, TOMMY It looks ideal, doesn’tit? But why don’t [see if? I must be lacking somewhere. JEFF [Now don’t start talking yourself into an inferiority. You don't deserve it TOMMY What do you mean? JEFF ‘Well, most of my friends who have inferiority complexes, are absolutely ight. ‘They’er not as good at everyone else. But someone like you who. (At this moment the distant hum of voices is heard offstage. They are humming "BRIGADOON”) TOMMY (Rise) Wait a minute, (EFF is silent) Do you hear that? (to LofO)JEFF Ub-huht TOMMY cht (The OFFSTAGE VOICES slowly, very slowly become more audible. They are heard under the following sequel CHORUS (@ cappetia) BRIGADOON, BRIGADOON, BLOOMING UNDER SABLE SKI BRIGADOON, BRIGADOON, THERE MY HEART FOREVER LIES, LET THE WORLD GROW COLD AROUND Us, LET THE HEAVENS CRY ABOVE! (Orchestra tu i, oices tact for last vo lines) [BRIGADOON, BRIGADOON, IN THY VALLEY THERE'LL BE LOVE) TOMMY Pointing out) Look over there! JEFF (Rise) Te looks like a village. TOMMY (% up on rock) Ris, JEFF But I thought you said there were no towns listed on the map around here TOMMY I did. (Points) Look. See where that village is? There's a peculiar heavy fog all around iJEFF (X up on rock) ‘And there's no mist in the valley TOMMY Only around the village, Let's walk over to it. It can't be very far from here. Come on! (Lights dim fast) JEFF ‘Wait til Rand MeNally hears about t (EFF follows TOMMY across the bridge as the music swells andthe Curtains close)INTERLUDE The scene is A ROAD IN THE TOWN OF BRIGADOON. Curtains open revealing a painted drop depicting the {fields beyond ana hills inthe distance ill of « country road with The gray of dawn is gradually changing into day. FIGURES are seen coming along th oad. THEY are in simple Scottish peasant garb. Some are carrying baskets, some of ‘he he jugs of ae on their shoulders, and some have long sticks with ment and/or {sh hanging from them. The music continues under. The various vices enter soli until the last phrase, sung tutti ensemble MAN (BASS) (Calling of) COME ALL TO THE SQUARE! GIRL (SOPRANO) cop THE MARKET SQUARE! GIRL (ALTO) o THE MARKET FAIR! MAN (BARITONE) (Enter R, X to LC. Carrying meat) SALTED MEAT I'M SELLIN’ THERE! AT THE FAIR, LADDIE! (MAGGIE enters R, X to L, tums and beckons to R, TWO YOUTHS enter R, X to MAGGIE, and exit) MAN (BASS) COME YE TO THE FAIRY MAN (TENOR) (Offstage) ALE FOR SALE OR BARTER THERE! AP'THE SQUARE, LADDIE!Beicavoow GIRL (ALTO) ALE FOR SALE OR BARTER THERE! [AT THE SQUARE, LADDIE! GIRL (SOPRANO) (COME ALL YE DOWN! GIRL (ALTO) YE, IN THE TOWN! MAN (BARITONE) (COME YE FROM THE HILLS! MAN (TENOR) WOOL 'N’ CLOTH I'M SELLIN’ THERE! AT THE SQUARE, LADDIE! GIRL (ALTO) (COME YE FROM THE MILLS! GIRL (SOPRANO) COME ALLE THERE! GIRL (ALTO) COME ALL YE THERE! MAN (TENOR) COME YE 10 THE FAIR! ALL (The several voices tuti) (COME YE, ALLYE EV'RWHERE TOTHE FAIR! (The drop rises, lights continue to build, and we open upon Scene 2~ FULL STAGE)=10- Barcapoon ACT ONE Scene 2 THE SQUARE OF BRIGADOON — MacConmachy Square, Physical, this isan eighteenth century looking community. It woas the custom in Scotland then fora fair tobe eld once a week, AL these firs, the townsfolk engaged in ‘utual buying, selling and bartering. This, then, isthe activity of the moment. The ‘buying, however, is done from a series of booths and carts. The booths are not unlike ‘contest booths at our amusement parks. The carts are equipped with square rigging fom which merchandise can be displayed. They are brought on during the song. Backdrop pictures the village square with thatched huts in prospective. There isa low ‘wall LC with a small stepped rock platform below it. SR there isthe front ofa thatched ‘hut with a door and widow. DSR is a mk and cream booth presided over by a middle-thirted Scot named ANCUS ‘MacGUIFFIE. USL of C is the candy booth operated by SANDY DEAN. DSL. isa ‘weaving booth covered with wo, plaids and the like. This booth is operated by a kind looking Seot about fifty, named ARCHIE BEATON and ARCHIE’s son HARRY BEATON. HARRY is about twenty-four. HE is slender, extremely sensitive ooking lad. HE enters with the TOWNSFOLK, carrying a book. STUART, MacGREGOR, ‘and MAGGIE are also present TIME: The time is about nine in the morning. AT RISE: Groups of three and four are filling the stage. Most ofthe WOMEN carry baskets and trays of lowers and vegetables. ALL are singing. As the song continues, the stage fils till it becomes a beehive of activity. TOWNSFOLK (Singing) COME YE FROM THE HILLS! COME YE FROM THE MILLS! COME YE IN THE GLEN, COME YE BAIRN, ‘COME YE MEN! (Lights fut up) COME YE PROM THE LOOM! COME FROM PAIL AN’ BROOM! HEAR YE EV'RYWHERE, DON'T YE KEN(TOWNSFOLK) THERES A FAIR DOWN ON MacCONNACHY SQUARE? SANDY (With tray of peppermint sticks) NOW ALL OF YE COME TO SANDY HERE, ‘COME OVER TO SANDY'S BOOTH. ''M SELLIN’ THE SWEETEST CANDY HERE ‘THAT EVER SHOOK LOOSE A TOOTH. EAT IT MYSELF AN’ THERE'S NO DOUBT “TIS CREAMY AN’ GOOD AN’ THICK. ‘SO, LADIES, ! HOPE YELL BUY ME OUT, ‘TIS MAKIN’ ME KIND ’ SICK. GIRLS COME YE FROM THE LOOM! (COME FROM PAIL AN’ BROOM! HEAR YE EV'RYWHERE! DON’T YEKEN THERES A FAIR CHORUS (MEN) CHORUS (WOMEN) oH COME come YEFROMTHELOOM YE YEFROMTHELOOM FROMTHE LOOM (OH COME coME ‘YEFROM THE FROM PAILAN’ BROOM PAIL AN’ BROOM (OH HEAR YE HEAR PEOPLE, HEAR YE YE EV'RYWHERE: EV'RYWHERE: ALL (S-A-T-B) DON’T YE KEN THERES A FAIR DOWN ON MacCONNACHY SQUARE? (Orchestra 16 bars during which MEG enters) MacGREGOR ‘SALTED MEAT I'M SELLIN’ THERE AT THE FAIR, LADDIE! VENDORS (GIRLS & MEN) come ALLYE THERE YE IN THE SQUARE ‘THE MARKET FAIR ‘THE MARKET FAIR= ia = BRicavoow SEVERAL VENDORS (GIRLS & MEN) (COME ALL YE THERE! GIRL VENDOR (SOPRANO) STUART DARYMPLE ALE FOR SALE OR BARTER THERE. WOOLEN CLOTHES I'M SELLIN’ THERE AT THE FAIR, LADDIE! AT THE FAIR, LADDIE! SEVERAL VENDORS (GIRLS & MEN) COME ALL YE THERE ALL (S-A-T-B) ‘COME YE, TO THE FAIR ‘TO THE FAIR! MEG (With cups) MSELLIN' A BIT OF MILK AN’ CREAM. COME SIP IT AN’ YE WILL VOW ‘THAT THIS 1S THE FINEST MILK AN’ CREAM ‘THAT EVER CAME OUT ACOW, ‘THOUGH FINEST IT 15, THE PRICE 1S SMALL. ‘WITH MILK AN’ THE CREAM ALACK! ‘THERE'S NOTHIN’ TO DO BUT SELL IT ALL. ‘THE COW WINNA TAKE IT BACK. (Orchestra 8 measures during which ANGUS sees MEG flirting and rushes HER of right. Now the full chorus sings. GIRLS sing the melody that was sung by MEG and SANDY. The MEN sing the main theme) ALL MEN ALL GIRLS coME ALLOF YE DOWN YE FROM IN THE HILLS, FROM THE HILLS! AN’ ALL OF YE IN THE GLEN come COME ALL OF YE DOWN YE FROM IN THE MILLS! FROM THE MILLS! AN’ ALL OF YE BAIRNS AN’ MEN, come ‘COME ALL OF YE FROM YE FROM THE WEAVIN' LOOM! IN THEGLEN. (COME ALL OF YE TO THE SQUARE! ‘COME COME ALL OF YE FROM YE BAIR, THE PAIL AN’ BROOM! (COME YE MEN! COME ALL OF YE TO THE FAIR!Bricapoon Sia ERE (ALL MEN) {ALL GIRLS) on COME come ‘YE FROM THE LOOM YE ‘YE FROM THE LOOM! FROM THE LOOM! (OH COME. ‘COME YEFROM THE FROM PAILAN' BROOM! PAILAN’ BROOM! OH HEAR YE HEAR PEOPLE, HEAR YE YE EVRYWHERE EVRYWHERE, ALL (S-A-T-B) DON’T YE KEN THERE'S A FAIR DOWN ON MacCONNACHY SQUARE? (Footlights dim out and the stage empties abit. MEG & ANGUS have returnei to their milk and cream booth, the rest continue their shopping. HARRY BEATON sits himself on a stool next to HIS father’s booth and begins to read. GIRL places a stoo! RC, A few SHOPPERS gather around ARCHIE's booth DSL.1s ARCHIE calls) ARCHIE Woolens! Plaids! (To HARRY as HARRY rises and takes the stool HE has been sitting on from above the ‘oth tothe front ofthe booth, sets it down, sits and rends) ‘Come, Harry. Put down your book an’ help your father. (HARRY looks up and sullen closes the book) ‘Ye may even get to like the weavin’ business (ARCHIE Xes to booth) HARRY (Rising and standing next to ARCHIE) Tl never like the weavin’ business, Father. An’ ye know it wel, ARCHIE ‘Try lad, Tell Angus MacGutfie we need some eggs. I'll give ‘im enough wool for a ‘pair of trousers for enough eggs for our dinner (HARRY, who has picked up a piece of loth 1 show, throws it down and walks across the stage to ANGUS’ milk and cream booth. ARCHIE addresses one ofthe women around HIS booth.-u- Bricanoow ‘MR. ANDREW MacLAREN and his two daughters FIONA end JEAN, enter USL and ‘move down toward ARCHIE's booth. MR, MacLAREN is a hardy oul in his late [iftes. HE is abit pompous and has a loud and gruf voice. FIONA is about twenty-too or three, As we become acquainted with her we dscvver ‘SHE is bright, has a gente sense of humor and is completely frank and direct, to @ point that soften quite disarming. SHE is graceful and altogether lovely, JEAN is about eighteen, SHE is also attractive but obviously shy and diffdent. SHE seldom stands ‘lone. SHE is either clinging to HER father or FIONA. As they make their way thru the shoppers, they nod "good morning” to which the TOWNSFOLK nod and bid thers _gend morning in response, FIONA is carrying a basket; MR. MacLAREN lage piece Of parchonent) ARCHIE ‘Good momin’ to ye, Mr. MacLaren. MR. MacLAREN Good day, Archie. (HE stands a moment looking over the parchment) ARCHIE ‘An’ good mornin’ to your two bonnie daughters. (HARRY Xes fo RC stops and stares at JEAN) FIONA (Beginning to rummage through the cloth on ARCHIE's booth) Good mornin’, Mr. Beaton. ARCHIE What would ye be lookin’ for, Miss Fiona? FIONA ‘A.waistcoat for my father for the weddin’ ARCHIE Why, of course! Ye an’ young Charlie Dalrymple are gettin’ married this evenin’, aren't ye, Miss Jean? (HARRY exits R) JEAN (Sighing) ‘Ay, Me. Beaton ARCHIE Will if ye had to choose some one other than my son Harry, I'm glad ‘tis a lad as fine as Charlie, Ay Ye Ay. Fa at Fr aE 4 raBxicapoon ~ 45 JEAN ‘Ay, Mr Beaton, ARCHIE ‘Ye mus’ be happy asa lark in the glen. JEAN ‘Ay, Mr. Beaton. FIONA (Smiling) ‘As ye see, Mr. Beaton, Jean is a wee bit short af words today. JEAN Father says I shouldna talk too much. He says when I speak I sound so happy that he finds it annoyin’. ARCHIE Is that what ye said, Mr. MacLaren? MR. MacLAREN [Ah I did, Archie, besides when a lass gets married... she mus’ get used to listenin’ and not talking, ARCHIE | dinna think Charlie'l have trouble with Miss Jean here. She's a good maiden MR. MacLAREN Archie, all maidens are good. So then tell me where all the bad wives come from, (CHE walks C, up to platform. FIONA and JEAN go back fo rummaging) Friends! (Comes up to rock platform UC. HARRY enters SR1. EVERYONE turns his attention to MR. MacLAREN) Mr. Lundie has written upon this parchment afew reminders. (Shows parchment) He asked me to hang it in the public square where ye ll can see it. an’ be reminded. TOWNSFOLK ay! MR. MacLAREN ‘This is the second day of our blessing. An’ this is to remind ye of the obligations we have so gratefully accepted.ae BRicavoon TOWNSFOLK ayl (ALL start to disperse) MR. MacLAREN ‘An’ so I shall hang it in the square. a [old Mr, Lundie I would. (HIE coals USR and tack the parchment on side of hut high up right back. A few ‘Sather around and read it. HE pauses and engages in quiet conversation with citizens ‘9s FIONA turns back to ARCHIE's booth) ARCHIE (Cood-humoraly, to FIONA) Your father likes to take change o” things, doesn't he, Miss Fiona! (HARRY crosses telow stool, SC, to JEAN) FIONA (Smiling) ‘Ay! Expecially after everything's been done. (SHE picks up a swatch of loth) Would ye have a waistcoat of this that would fit ‘iw? ARCHIE | think so, Miss Fiona, (HE starts to Took thr stock in the booth) JEAN (Turning arcund) Hello, Harry HARRY Hello, Jean JEAN (A litte seconscously) How are ye today? HARRY How do ye expect me to be? This is your weddin’ day, isn't it? JEAN (Putting HER hand on HARRY’s arm) Vm truly sorry, HarryBricavoon HARRY (Pulling HIS arm away, Xes DL to stool near ARCHIE’s booth) Well dinna be. Ifanybody’s goin’ to pity me, let it be me; trapped forever without yer this (Sis facing JEAN) peasant village ARCHIE What did Angus say, Hazy? HARRY forgot. FIONA Hello, Hary HARRY Hello, Fiona (To JEAN) Iku isn’t fair for Charlie Dalrymple to be weddin’ ye, Jean, He's got everythin’; school in Edinburgh an’ now ye. An’ I got nothin’ ARCHIE Harry, here, take this material to the house an’ see if there's a we HARRY (udicating HIS father who is holding out the material) Nothin’ but to be doin’ this all my ite (HE rises takes material, turns and Xes toward R) ARCHIE ‘An’ why dinna ye pay attention to Maggie Anderson. Ye know she has a yearnin’ for ye. HARRY ‘Ay, Father! (HE exits DR. JEAN turns to FIONA elmost in tears) JEAN ‘Oh, Fiona, I feel so sorry for “im. FIONA (Kes DR looks after HARRY) know, darlin’-1- Baicavoon JEAN (X to ARCHIE’s booth L) Mr Beaton, ye dinna hate me for not lovin’ Harry, do ye? ARCHIE No, Miss Jean. “Tis not your fault. I sometimes think thatthe only woman that ‘could have loved Harry was his mother, rest her sou MR. MacLAREN (Coming down. Going to JEAN, arm around HER to lead HER off) Come, Jean. Ye are going to stay with your father today. (EAN takes HIS arm; to FIONA) ‘An’, Fiona, ye'l be certain to buy everythin’ that’s needed forthe weddin’ supper, FIONA Xo | will, Father. MR. MacLAREN Remember, jus’ what's needed, My aim on this occasion is to be hospitable—not philanthropic. Come, Jean (JEAN and MR. MacLAREN exit up left) FIONA (Catling over to ARCHIE) ‘Yell sond the waistcoat to the house, Mr, Beaton? ARCHIE ‘Ay, Miss Fiona, (ARCHIE moves from booth, takes stool from LC and places it and the other alongside US end of HIS booth. FIONA is heading towards the milk and cream booth R- MEG and ANGUS behind it) MEG Good momin’, Fiona FIONA (AER booth) Hello, Meg, jug cream, please. (During the fllowing, MEG hands HER the jug, FIONA puts it in HER basket and hands MEG a coin)MEG Mr. MacGulfie will be pleased tis alas buyin’ for a change. FIONA why? MEG When the lads come shoppin’, they look so handsome Idlinna like to ask ‘em for FIONA But ye'll never make a profit doin’ that MEG No! But Imake a lot o friends. (Starts leving the booth and coming around to FIONA) Is this for the weddin’ tonight? FIONA ay MEG Fiona, when are ye goin’ to think about marriage for yourself? (During the following three speeches, everyone exits except 8 Singing Girls, MEC FIONA, ARCHIE & ANGUS, who chats with another Vendor UR) FIONA (Oh, when 1 find someone who makes me think of it MEG [Any ye've never found anyone up till now who make ye think of i? FIONA (MEG and FIONA X to stool DR, FIONA sits) No, Ye see, I inna want to jus’ get married. Then ic begins under) I think ye should only do it when ye an’ your lad want to stay together fiercely an’ getting married is the only way ye can do it that’s proper. (Puts basket down) MEG (Standing L of FIONA) ‘Thats an unusual idea, Fiona-20- Barcapoon (ARCHIE sits at HIS booth) (sings) FIONA MANY A LASSIE AS EV'RYONE KNOWS “LL, TRY TO BE MARRIED BEFORE TWENTY-FIVE. SO SHE'LL AGREE TO MOST ANY PROPOSAL, ALL HE MUS’ BE IS A MAN AN’ ALIVE. THOLD A DREAM AN’ THERE'S NO COMPROMISIN’; KNOW THERE'S ONE CERTAIN LADDIE FOR ME. ONE DAY HE'LL COME WALKIN’ O'ER THE HORIZON; BUT SHOULD HE NOT THEN AN OLD MAID I'LL BE. (GIRLS group behind HER) Rise) FOOLISH YE MAY SAY. FOOLISH I WILL STAY. WAITIN’ FOR MY DEARIE AN’ HAPPY AMT ‘TO HOLD MY HEART TILL HE COMES STROLLIN’ BY. WHEN HE COMES, MY DEARIE, (GHE steps forward) (Xs 1) ‘ONE LOOK AN’ I'LL KNOW ‘THAT HE'S THE DEARIE I'VE BEEN WANTIN’ SO. ‘THOUGH ILL LIVE FORTY LIVES TTILLTHE DAY HE ARRIVES TLLNOT EVER, EVER GRIEVE. FOR MY HOPES WILL BE HIGH ‘THAT HE'LL COME STROLLIN’ By; FOR YE SEE, | BELIEVE THAT ‘THERE'S A LADDIE WEARY ‘AN’ WANDERIN’ FREE WHO'S WAITIN’ FOR HIS DEARIE: MEIBsicavoow -21- (MEG sits on the stool, R EIGHT GIRLS have surrounded FIONA and now sing with HER as SHE repeats the horus) GIRL (ALTO) (%es to FIONA) WHAT DO YE DO WHILE YE'RE WAITIN’ AROUND FOR YOUR LAD TO COME YOUR WAY? FIONA, WELL, WHEN NO ONE IS LOOKIN’ YE KNEEL ON THE GROUND, |AN' YE PRAY “AN’ PRAY AND PRAY! GIRL (SOPRANO) (Step out) BUT WHEN LASSIES SIT AN’ HAVE NO MEN (OH, HOW LONG BECOMES THE NIGHT, FIONA BUT I FEAR THE NIGHT IS LONGER WHEN ‘THE LAD'S NOT RIGHT. (Comes down to C) WAITIN’ FOR MY DEARIE IS SWEETER TO ME ‘THAN WOOIN’ ANY LADDIE ON THE LEA. GIRLS DREAMIN’ OF YOUR DEARIE AN’ IDLIN’ THE DAY FIONA THATS HOW LAM AN’ HOW I'LL EVER STAY, (FIONA Xes L, & GIRLS move close to MEG) FIONA, GIRLS THOUGH ILL LIVE FORTY LIVES AH, AH, TILL THE DAY HE ARRIVES AHL, AH, LLNOT EVER, EVER GRIEVE. EVER, EVER GRIEVE, FOR MY HOPES WILL BE HIGH AM, AH, ‘THAT HE'LL COME STROLLIN’ BY: AH, AH, FOR YE SEE, I BELIEVE. YE SEE, BELIEVEaa Beicavoon FIONA & GIRLS THAT ‘THERE'S A LADDIE WEARY ‘AN’ WANDERIN’ FREE WHO'S WAITIN’ FOR HIS DEARLE: FIONA MEI (As the conclusion of the song FIONA picks up HER basket to get along. TOMMY snd JEFF enter~stil wearing trench cons, from UL. THEY walk DC slowly, looking ‘at everyone and everything in amazement and curiosity. OTHER TOWNSPEOPLE enter along with SANDY, STUART & MacGREGOR. EVERYONE stares back at TOMMY & JEFF. There is an aokward moment of silence. Then -) TOMMY Hello! (A fezo murmur a reserved “hello” in response) JEFF (% to ARCHIE’s booth DSL. After another pause) Could you tell us where we ate? ARCHIE Of course we can tell ye. Ye'e in Brigadoon, TOMMY (Collowing JEFF) Brigadoon? ARCHIE Ay, TOMMY ‘That's funny. There's no town called Brigadoon on the map. ARCHIE | shouldna be surprised. JEFF You mean you know it isn’t on the map? ARCHIE Ay.JEFF Wsallitle snobbish of you, don't you think? (FIONA Xes upstage) TOMMY Why isn’t it on the map? ARCHIE For good an’ sound reasons. JEFF (X DC to MEG, to HER) What are you all dressed up for? Is this the day you take pictures for postcards? MEG (Rises) We're not dressed up, JEFF ‘You mean you always go around with all those clothes on? MEG No. TOMMY (A litte impatiently. Xes to L of EFF) Now come on, Somebody. What's going on here? What is this? MEG ‘We're havin’ a fair. TOMMY ‘Ont (Seeing the cream booth R) Is that milk you're selling there? (HE Xes tothe booth) ANGUS, ay! TOMMY (Can I buy some? I'm thirsty: We've been walking all night. ANGUS Tl have to see your money firstee Barcanoon TOMMY What? (HE stops, then shrugs and tosses ANGUS a coin, ANGUS takes it and before TOMMY can move any nearer the booth, a GROUP gathers quickly around ANGUS, ‘examining the coin, Exclamations of “Oh” and “Ah” and “Look atthe date” and “Nineteen hundred and—"" come from all the GROUP) JEFF (TOMMY Xes to JEFF C. As HE and TOMMY look at each other in amazement) ‘What did you give him, a hunk of uranium? (FIONA Xes to cream booth behind TOMMY and JEFP) TOMMY Justa shilling. What a loony layout this is! ANGUS, (Xes to TOMMY. Handing TOMMY the coin) “Tis very interestin, st, but it does me no good. TOMMY (A tite irritate ‘What do you mean it does you no good? Sell me something and it will, ANGUS Yeu sorry, but I canna sell ye anythin’. However, if yee thitsty, I'l give ye some milk TOMMY Never mind. I don't want any favors, MEG (Xes to TOMMY) | see from the coin ye're from England, TOMMY No, we'te from America, MEG ‘Ye're Americans? JEFF Lam. He's from Georgia (Takes TOMMY by the arm) Come on, boy.FIONA, (es downstage fast coming fo them quickly. ANGUS returns to HIS booth) No! Wait! Please! (TOMMY and JEFF turn to HER) ‘We dinna mean to act so strangely. We've jus’ a wee bit taken aback, People dinna come here very often TOMMY lean understand why. You people stare at us as if we'd just dropped in from another world (At this MEG begins to giggle. TOMMY looks at HER) Does that amuse you? MEG (Stil gigging) Ay. Very much, FIONA Quiet, Meg. JEFF (indicating MEG) Obviously the daughter of two first cousins. FIONA If ye've been walkin’ all night, ye mus’ be tired an’ hungry. Winna ye like some food to cat an’ pethaps.a place to lie down afore ye start back? TOMMY ‘That's very nice of you. Thank you. FIONA Good. (SHE holds out HER hand to TOMMY) (Oh! _My name is Fiona MacLaren. TOMMY (Taking HER hand) Vm Tommy Albright. (THEY took at each other for a moment) ‘And this is Jeff Douglaseae Baicavoon FIONA (Withdrawing HER hand) How do ye do, sir? MEG (Enthusiastially ~ slapping JEFF on the shoulder Ym Meg Brockie! JERE lad you're happy about it FIONA ‘There's alittle tavern on the next street where ye can get some food. MEG (Quickly taking JEFF's arm) Til take ye toi. TOMMY Go ahead, Jo. 1 call the inn fist (HE looks aroumd HIM as JEFF and MEG start of lef) ARCHIE (As they pass HIS booth) Excuse me sir, but is Miss Meg goin’ to take care of ye, Sit? JEFF [think so. Why? ARCHIE Well, Thave some plaid trousers here an’ after ye leave the tavern if Miss Meg should take ye some place to rest an’ ye should happen to rip your own om a thistle, I'd be ‘more than pleased to replace them for ye. JEFF ‘Thanks, old man, but I don’t expect to get stuck. ARCHIE (Chucingy Ye-dinna know it, Iaddie, but ye're stuck now. MEG Ye tend to your sellin’, Mr, Beaton. (ARCHIE goes back to HIS booth. MEG and JEFF exit lft. TOMMY, who has been ranting around, returns to FIONA, SC)Baicavoon = 27 - TOMMY What a place! Is there a phone around here? FIONA Aphone? TOMMY Yes FIONA 1 dinna think we have one. TOMMY ‘No phone? FIONA Noy sit, TOMMY ‘Tell me, What's so strange about this place? (CHARLIE DALRYMPLE enters UR. HE is « sandy haired youth in his early ‘hoonties. HE greets the feo around HIM as HE comes in) FIONA Nothin’, si. Ye're the one who's strange. ANGUS (Calling upstage to CHARLIE. CHARLIE Xes to boot R) Charlie! Here's a bottle o claret. Have a dram o' good Iuck with me. FIONA Well, the merry bridegroom himself! TOMMY Bridegroom? FIONA Ay! CHARLIE (% to FIONA) Good mornin’, dali’ (Kisses HER on the foreheud) FIONA He's marryin’ my sister this even= 28 5 Baicavoow TOMMY ont CHARLIE (To TOMMY) Good mornin’, sit TOMMY Good morning. FIONA Charlie, this is Tommy Albright. He jus’ happened ina litte while ago, CHARLIE What? Ob! Why, of course. Welcome to ye, sit. TOMMY Thanks. Welcome to you. (ANGUS walks crowd with a jug and a couple of glasses HE has taken from under HIS booth and hands one to CHARLIE) ANGUS Here's your dram, Charlie. CHARLIE (Moves right) ‘Thank ye, Angus. ANGUS (Between FIONA and CHARLIE. To TOMMY) ‘An’ how about ye, sir? Some claret? (After handing TOMMY the wine, ANGUS stands DI. of HIM) TOMMY (As HE takes the ofered glass) Thanks. CHARLIE (Raising HIS glass) [think I'l drink this one to Mr. Forsythe. Ijus' hope he knows how grateful fam to “im for postponing’ the miracle for me. TOMMY (To FIONA) ‘The what?FIONA, shi CHARLIE ‘An’ may God bless me this evenin’ as much as I would bless Him if were He an’ He were Charles Dalrymple. (HE deinks) TOMMY What did you say about postponin’ a miracle? CHARLIE (Oh! “Tis a toast we have here. FIONA ‘Take it down. 1'l explain it to ye sometime. TOMMY (Drinks) Say, that's wonderful (Te ANGUS) May Ihave another? ANGUS “That was a weddin’ gesture, siz. From now on, ‘ts for sale oly. (ANGUS takes the glass from TOMMY and Xes DR) FIONA | mus! buy some claret and ale forthe supper. Come with me an’ ye can have some TOMMY Fine. (FIONA moves to exit UR and TOMMY fellows) ARCHIE (Calling after TOMMY & FIONA) ‘Woolens! Plaids! (TOMMY and FIONA exit USL. ANGUS collects the glass from CHARLIE, puts it ‘with bottle and second glass in HIS booth) ANGUS, He's an odd lad, isn’t he? (Looking after TOMMY)- Beicapoow CHARLIE (too) Ay. He has a peculiar accent. ANGUS wonder what American women mus’ be like. CHARLIE (%es down to ANGUS) I dinna wonder about women any more, Angus. I'm not allowed to ANGUS Why, that’s right, Charlie. Ye're through withthe lasses for good aren't ye? (The music begins softy as ARCHIE sits at HIS booth, ANGUS moves behind HIS booth, and TOWNSFOLK regroup) CHARLIE (Sings) USED TO BE A ROVIN' LAD AROVIN’ AN’ WANDERIN’ LIFE I HAD. (ON ANY LASS I'D FROWN, WHO WOULD TRY To TIE ME DOWN. BUT THEN ONE DAY ISAW A MAID WHO HELD OUT HER HAND AN’ I STAYED AN’ STAYED. AN’ NOW, ACROSS THE GREEN, 'LLGO HOME WITH BONNIE JEAN TOWNSFOLK (CHORUS $-A-T-B) GO HOME, GO HOME, GO HOME WITH BONNIE JEAN! GO HOME, GO HOME, CHARLIE VLLGO HOME WITH BONNIE JEAN! TUSED TO HAVE A HUNDRED FRIENDS BUT WHEN WE ARE WEDDED THE FRIENDSHIP ENDS, THEY NEVER COME TO CALL, 50 FAREWELL TO ONE AN’ ALL(CHARLIE) PAREWELL TO ALL THE LADS I KNEW; LL SEE THEM AGAIN WHEN THEY'RE MARRIED TOO. FOR SOON, ACROSS THE GREEN, LLGO HOME WITH BONNIE JEAN. TOWNSFOLK GO HOME, GO HOME, GO HOME WITH BONNIE JEAN! GO HOME, GO HOME, CHARLIE FLLGO HOME WITH BONNIE JEAN! IN EDINBURGH I USED TO KNOW ALLASS WITH AN AIR AN' HER NAME WAS JO; AN’ EVRY NIGHT AT TEN I WOULD MEET HER IN THE GLEN. BUT NOW I'LL NOTSEE HER AGAIN; [SPECIALLY NOT IN THE GLEN ATTEN, OK NOW ACROSS THE GREEN, YLLGO HOME WITH BONNIE JEAN. TOWNSFOLK GO HOME, GO HOME, GO HOME WITH BONNIE JEAN! GO HOME, GO HOME, CHARLIE VLLGO HOME WITH BONNIE JEAN! HELLO TO MARRIED MEN I'VE KNOWN; LLSOON HAVE A WIFE AN’ LEAVE YOURS ALONE, [A BONNIE WIFE INDEED, AN’ SHE'S ALL I'LL EVER NEED. WITH BONNIE JEAN MY DAYS WILL FLY; AN’ LOVE HER I WILL TILL THE DAY I DIE, THAT'S WHY, ACROSS THE GREEN, YLLGO HOME WITH BONNIE JEAN! TOWNSFOLK GO HOME, GO HOME, Go HOME WITH BONNIE JEAN! GO HOME, GO HOME,-42- Bricavoow CHARLIE & TOWNSFOLK PLL/HE'LL GO HOME WITH BONNIE JEAN! (The musie reaches a climax and stops ‘The SINGERS including ANGUS & ARCHIE leeve the stage; as THEY leave THEY ral of the too booths and strike carts and remaining furniture to clear for dance, CHARLIE, SANDY and ANOTHER BOY place 3 stools DL, pour wine and sit) (MAGGIE starts to dance for the boys. SHE is joined by other DANCERS. Lights build up and suddenly HARRY enters SR, seeing MAGGIE; calls to HER’) HARRY Hey, Maggie! (BONNIE JEAN BALLET. MAGGIE centers HER attention on HARRY, and THEY start the Bonnie Jean Ballet, assisted by the DANCERS. During dance « FISHMONGER appears and dances with HARRY until chased off by MAGCIE. As the Ballet reaches a climax, the LIGHTS are built up to full. End of ballet the DANCERS wxit. HARRY and MAGGIE bow ond exit R (CHARLIE, SANDY & THE OTHER BOY rise. FIONA and TOMMY enter UL, X to C) FIONA Charlie, ye winna forget to come over this afternoon an’ sign the family Bible? CHARLIE (About to follow MAGGIE and HARRY, turn to FIONA) No, darlin’, IM be over, (To TOMMY) hope, sir, yell stay forthe weddin’ supper. TOMMY ‘Thanks, but I won't be here that long, CHARLIE Tis a pity FIONA (As CHARLIE moves to go) What are we goin’ to do all day, Charlie?0 Bxicavoox CHARLIE Rest, dearie, rest. (CHARLIE exits R. SANDY places a stool LC, then exits L with HIS own stool. THE OTHER BOY follows HIM off aking the 3d stool. Lights dim. The attention falls on TOMMY and FIONA) TOMMY (Smiting) He's a nice ki. FIONA Ay. Hes that. ( to stool, LC which was set by SANDY after dance) ‘TOMMY W's wonderfully refreshing to see a fellow so enthusiastic about getting married FIONA (Gits stool, arranging contents of HER basket, takes outa laf of brea) Itis 90 unusual? TOMMY [think itis. Look at me, I'm not bubbling over like Charlie. And next month I'm facing the minister. FIONA Ye're gettin’ married? TOMMY Yes FIONA ont TOMMY Oh-what? FIONA I'm very surprised, Somehow ye dinna look like the sort of lad who would want to settle down, TOMMY 1 didn't say that. I just sad I was getting married. FIONA If ye fel that way about it, why are ye? = 49 -— ae = Bricavoon TOMMY Because the girl wants to. , FIONA 1s that reason enough? . (FIONA hands TOMMY bread) TOMMY Sure, I don't know how it is in the Highlands, but in my neighborhood if you've ‘been going with a woman for a while and she decides she wants to get married, you'd better agree right away and save yourself a lot of trouble, FIONA Why? TOMMY Because if you don't, she'll ether torment you so you'll marry her for relief, or she'll ‘be so sweet about it you'll fel guilty and your conscience will make you dai. FIONA mus’ say it dinna sound like ye love her very much TOMMY Te doesn't docs it? FIONA ‘An’ italso sounds like a very peculiar land ye come from. TOMMY Well, believe me, lass’ this isn't the usual hamlet off the highway either. What was that business about Chaelie and the man whe postponed the miracle? FIONA Oh that, (Thinks « moment, puts basket on ground. Rise, X to SL) Ymsony. Tcanna say. TOMMY (ot knowing what todo with the loaf of bread, HE Xes with it to FIONA) But you said you'd tell me later, FIONA iknow. But canna say. TOMMY That's fine. You know, if I stick around this place long enough I'l probably discover that everybody in its slightly nutty. I that possible?FIONA Jeanna TOMMY Why not? (HE holds out bread to HER) FIONA, Because I dinna know what ‘natty’ means. TOMMY fe means slightly insane. FIONA (Turning on HIM suddenly and taking bread from TOMMY) ‘Well, then Ican assure ye we'te al far from insane. We're a most blessed group of people. An’ I never realize how fortunate we are until [ meet someone from the outside —I mean a stranger to Brigadoon. I dinna know anythin’ about ye, but from the little ye've said, everythin’ ye think—I think differently about, an’ I'm also quite certain that what I think is much more. (SHE begins to calm down, moves DR) well. pleasant. An’ now I'm sorry Isaid all chat, but ye angered me when ye called us insane TOMMY (Quite surprised and abit sheepish at the outburst) Hy, you don't like me very much, clo you? FIONA ‘That's the odd part (X to TOMMY) ike ye very much, Tus’ dinna like anythin’ ye say. TOMMY (After a moment) Fiona, FIONA, ay? TOMMY If stuck around here today, would you take me to the wedding this evening? FIONA Why do ye suddenly want to go?ae Bricavoow TOMMY (mitating HER) Tanna say, FIONA Well, then, I'l take ye. An’ Il be highly pleased ye'l be there. TOMMY You will? Why? FIONA Because of what I jus told ye. [ike ye very much. TOMMY (Amused and alittle bewildered) ‘That's right. You did say that, didn’t you? FIONA (ing tothe stool LC) Now I'll show ye some place where ye can lie down art rest. (SHE kneels beside the basket) TOMMY ‘What are you going to do? FIONA (Puts the laf of bread in basket) Gather some heather for the weddin’ TOMMY Where do you do that? FIONA (On the hill—where the heather i. TOMMY (X to FIONA) May I go with you? FIONA (Rising, picking up basket) No. I'l do it much faster alone. (Xing R. The music begins)Bricavoon 37 TOMMY (Coming close to HER, HE takes basket pus it on ground beside the stool) won't bother you, Really. Maybe I'm the ane who's slightly nutty, but. (FIONA walks away from HIM. Dim lights) (Sings) CAN'T WE TWO GO WALKIN’ TOGETHER (OUT BEYOND THE VALLEY OF TREES? (OUT WHERE THERE'S A HILLSIDE OF HEATHER (CURTSEYIN’ GENTLY IN THE BREEZE, (FIONA Xes, picks up basket turns to exit L) ‘THAT'S WHAT ID LIKE TO DO: (TOMMY Xes to FIONA takes the basket, and puts it down by stool again) ‘SEE THE HEATHER BUT WITH YOU. "THE MIST OF MAY IS INTHE GLOAMIN'; AND ALL THE CLOUDS ARE HOLDIN’ STILL, ‘SO TAKE MY HAND AND LET'S GO ROAMIN' (romay xR) THROUGH THE HEATHER ON THE HILL, (Stop C. FIONA XU to basket. TOMMY Xes R) ‘THE MORNIN’ DEW IS BLINKIN’ YONDER; THERE'S LAZY MUSIC IN THE RILL; AND ALL I WANT TO DO IS WANDER ‘THROUGH THE HEATHER ON THE HILL. (FIONA Xes to TOMMY — takes HIS hand) ‘THERE MAY BE OTHER DAYS AS RICH AND RARE. (BOTH XL) ‘THERE MAY BE OTHER SPRINGS AS FULL AND FAIR, BUT THEY WON'T BE THE SAME—THEY'LL COME AND GO; FOR THIS I KNOW: (FIONA in HIS arms)= 36 = Bricavoon (rommy) ‘THAT WHEN THE MIST IS IN THE GLOAMR AND ALL THE CLOUDS ARE HOLDIN’ STILL, IF YOU'RE NOT THERE I WON'T GO ROAMIN’ THROUGH THE HEATHER ON THE HILL; ‘THE HEATHER ON THE HILL, (The music continues under) FIONA (A litte dsconcerted, X beyond TOMMY) Yesee. Ye can say nice things when ye want to. TOMMY almost sounded like I was making love to you, didn’t i? FIONA Oh! There's a difference between makin’ love an’ jus’ bein’ sentimental because vye're tired TOMMY Is that what I was being sentimental because I'm tired? FIONA Thelieve so. But tis very agreeable. (sings) ‘THE MIST OF MAY IS IN THE GLOAMIN'; [AND ALL THE CLOUDS ARE HOLDIN’ STILL. (Puts hands to check then extends them out) ‘SO TAKE MY HAND AND WE'LL GO ROAMIN’ ‘THROUGH THE HEATHER ON THE HILL. (SHE breaks from HIM, Xing R) ‘THE MORNIN’ DEW IS BLINKIN’ YONDER; ‘THERE'S LAZY MUSIC IN THE RILL; [AN' ‘TIS A LOVELY TIME TO WANDER THROUGH THE HEATHER ON THE HILL, "THERE MAY BE OTHER DAYS AS RICH AN’ RARE. ‘THERE MAY BE OTHER SPRINGS AS FULL AN’ FAIR, BUT THEY WON'T BE THE SAME THEY'LL COME AN’ GO, TOMMY & FIONA. FOR THIS KNOW;(HE Xes to HER, THEY X LC) (TOMMY & FIONA) THAT WHEN THE MIST IS IN THE GLOAMIN' AND ALL THE CLOUDS ARE HOLDIN' STILL; IF YOU'RE NOT THERE I WON'T GO ROAMIN’ THROUGH THE HEATHER ON THE HILL; ‘THE HEATHER ON THE HILL. (The music stops and TOMMY and FIONA stand looking at each othe for a moment. Lights dim. Lightning flashes and thunder rumbles. This i cue for renewed activity on stage HARRY and MAGGIE enter from stage L and X to C, as JEAN and HER father enter from stage R and hurry across the stage. JEAN accidentally drops HER handkerchief, HARRY's attention is dracon axony from MAGGIE. JEAN recovers HER handkerchief and rejoins FER father and THEY hurry of HARRY follows JEAN with HIS eyes until THEY disappeor then HE wanders off inthe opposite direction. Deserted HARRY, MAGGIE follows HIM off stage. The TOWNSFOLK roll onthe weseing booth and seek shelter as OTHERS huddle under umbrellas. ARCHIE collects the stool {rom DL, puts it on HIS booth, STUART, MacGREGOR, SANDY also enter. TOWNSFOLK appear with loaded baskets. The music hits into) (Orchestra underscore then CHORUS Reprise: MacConnachy Square) (Lightning) TOMMY What's that? FIONA We have a storm here every now an’ then. Ill get my basket an’ we'll be of (FIONA crosses to get HER basket and returns fo TOMMY. Hand in hand THEY exit slowly and the TOWNSFOLK sing) TOWNSFOLK (CHORUS S-A-T-B) GO BACK TO THE HILLS! GO BACK TO THE MILLS (The storm is over, sun comes out, lights up fest, umbrellas are lowered) (COME YE IN THE GLEN (COME YE BAIRN. ‘COME YE MEN.- 40 Baicapoow ALL MEN ALL WOMEN come ALLOF YE DOWN YE FROM IN THE HILLS, FROM THE HILLS! AN’ ALL OF YEIN THE GLEN! COME COME ALL OF YE DOWN YE FROM IN THE MILLS! FROM THE MILLS! AN’ ALL OF YE BAIRNS AN’ MEN. HEAR, OH HEAR YE HEAR PEOPLE, HEAR YE YE EVRYWHERE .V"RYWHERE ALL (S-A-T-B) DON'T YE KEN THERE'S A FAIR DOWN ON MACCONNACHY SQUARE? (The music reaches a climax and the Curtains close fast. Music attaca:)ACT ONE Scene 3 THE BROCKIE OPEN SHED. 1 a small inset inthe center of the stage with the ‘countryside painted on the surrounding drop. There isa rather peculiar looking cot US L of C, peculiar in that it looks like a rectangular mound. It is draped to the flor. DSR of C there isa simple, wooden arm rocking chair. TIME: Just past noon. AT RISE: JEFF and MEG are discovered on stage. JEFF is standing looking straight ‘ut in front of HIM, MEG is seated on cot, Curtains open medium fast. Scone change music out for dialogue JEFF It’s a very picturesque view ofthe glen MEG Thank ye JEFF What for? MEG Why, for likin’ where I've brought ye, It makes me very happy. JEFF You get happy very easily, don't you? MEG ay JEFF (Comes front R of C After giving HER a quizzial look) T haven't been in an open shed like this since I was a boy; which at this point seems a ‘good two thousand years ago. MEG (Rise— Xes to JEFF) ‘Ye mean ye're tired? JEFF “Ay, lassie’ I'm tired. That's why you brought me here, isn’t it? So could take a nap. MEG | shouldna think a long walk would fatigue a young lad like ye.sas Baicavoon JEFF A young lad? MEG Ay! Ye're very young. JEFF That is either a deliberate lie or wishful thinking, (Xes to cot, front of MEG) Tam ancient, decrepit and disintegrating rapidly. MEG ay? (QEFF walks up and sits on the cot. It is hard. HE tries to bounce but it doesn't give) JEFF ‘What's under here—a rock garden? MEG My father used to sleep on it JEFF ‘That was his second mistake. MEG [He an’ my mother met in this shed. Ye see, my mother was a gypsy. JEFF Uh-huh! MEG ‘An’ one day she was walkin’ past this shed and she saw my father asleep on the cot. ‘She liked his looks an’ she was a wee bit tired anyhow, 50 she took off her shoes, sat in the rockin’ chair an’ waited for “im to wake up. An’ it wasn't long after that that I was born. JEFF ‘That's one ofthe sweetest bedtime stories Ive ever heard (CE tes back— bumps head again) MEG (Sits on cot) Ye're sure ye're comfortable? JEFF Very(MEG leans over and stares down at HIM. There is a moment of silence. Then JEFF looks up and sees HER) EFF) ‘Thank you very much. (Pause) You've been more than kind. its up) [And now if you want to round out your generosity, buzz of MEG (Slapping JEFF) Ye're a braw an’ handsome lad. JEFF You should see me when I'm rested. I'm almost robust. MEG | jus’ hate to leave ye, JEFF You'd better. When I sleep I make al sorts of odd notses. MEG Who told ye? (Rise) Do ye havea wife? JEFF (Raising himselfon HIS elbows) No, but I was engaged once, MEG (Quick ‘What happened to the lass ye were engaged to? JEFF ‘She fll in love with a Russian, (Staying up) MEG A Russian? JEFF Yes. -43--44- Beicapoon MEG Russia isin Europe, isn’t? JEFF Yes, more and more. MEG (tystified) ont JEFF t's not far from here. You just erass the Channel and tur left (HE lies back on HIS side) MEG (Again slaps JEFF) Ay, ye'rea winnin’ lad. A right winnin’ lad JEFF (umping up) ‘Now, fook, lass, I'm not sure what you're after; but I don’t want to. I want to goto sep. MEG But dinna ye see? I'm highly attracted to ye. JEFF ‘Thank you very much. When I wake up well discuss the whole problem. And believe me, you have a prablem, (Sits ~ turns aony quickly to avoid another slap and wags finger at MEG) MEG An’ when I ook at ye lyin’ on the cot I fee litle tadpoles jumpin’ on my spine, JEFF (its up) ‘That's about as repulsive an idea as I've heard in years, You know, ifsex were a hobby you'd be a collector's item, MEG But I've been waitin’ so long JEFF (Firmly but politely) GotMEG (Rising and walking away) Oh, ye men are all alike! JEFF I should certainly hope so, MEG ‘Yee all brutes. Ye get what ye want from a lass an them tis farew JEFF Get what I want? I can’t even get you to go away. MEG That's what I'm referin’to. [thought ye were interested in me an’ that’s why ye let sme take ye here! Ye misled met JEFF ‘You certainly have one bell ofan imagination. Can you think of one good reason. why I a strange man, should be interested in you, a strange woman, and at this hour of the day? MEG. Of course Team. Because ye're lad an’ I'm a lass JEFF With that philosophy, you must have had a provocative career. MEG ‘Ay, I've had a great many heartbreaks, (The musi begins under) JEFF [ don't doubs it tal (HE sits back on the cot) MEG (Sings) AT SIXTEEN YEARS I WAS BLUE AND SAD, THEN FATHER SAID ISHOULD FIND A LAD. 50 I SET OUT TO BECOME A WIFE, AN’ FOUND THE REAL LOVE OF MY LIFE, (EEF leans on left elbow)== Beicavoow (MEG) HIS NAME IT WAS CHRIS AN" THE LAST WAS MACGILL. MET HIM ONE NIGHT PICKIN’ FLOW'RS ON THE HILL. HE HAD LOTS OF CHARM AN’ A CERTAIN KIND O’ TOUCH, AN’ A CERTAIN KIND 0’ EAGERNESS THAT PLEASED ME VERY MUCH, ‘SO THERE ‘NEATH THE MOON WHERE ROMANCE OFTEN SPRINGS, GAVE HIM My HEART—AN’ A FEW OTHER THINGS, IDON'T KNOW HOW LONG THAT ISTAYED UP ON THE HILL BUT THE MOON HAD DISAPPEARED ANISO HAD CHRISTOPHER MACGILL, SOI WENT HOME AN’ THOUGHT I'D DIE; (EEF lies back) ‘TILL FATHER SAID: MAKE ANOTHER TRY. 50 OUT I WENT TO BECOME A WIFE, AN’ FOUND THE REAL LOVE OF MY LIFE, HE CAME FROM THE LOWLANDS, THE LOWLANDS SAID HE; SAW HIM AN’ KNEW HE WAS PERFECT FOR ME. JUS' ONE THING THAT PUZZLED ME AN’ IT ALWAYS WILL, WAS HE TOLD ME HE HAD HEARD ABOUT ME FROM HIS FRIEND MACGILL. WE QUICK FELL.IN LOVE AN’ WENT DOWN BY THE CREEK; ‘THE NEXT DAY HE SAID HE'D BE BACK IN A WEEK. AN’ THOUGHT HE WOULD, FOR NOW HOW WAS I TO KNOW ‘THAT OF ALL THE LOWLAND LADDIES ‘THERE WAS NEVER ONE AS LOW! TOLD MY FATHER THE AWFUL TRUTH, HE SAID: WHAT DIFFRENCE? YE'VE GOT YOUR YOUTH, $0 OUT I WENT MAD TO BE A WIFE, AN’ FOUND THE REAL LOVE OF MY LIFE, (OH, HE WAS A POET, A RHYMER WAS HE, HE READ ME SOME VERSE HE HAD WRITTEN FOR ME. HE SAID THEY WOULD MOVE ME THESE POEMS FROM HIS PEN; AN’ HOW RIGHT HE WAS BECAUSE ‘THEY MOVED ME RIGHT INTO THE GLEN. WE STAYED TILL THE DAWN CAME AN’ LIGHTED THE SKY. ‘THEN 1 SHOOK HIS HAND AN I BID HIM GOODBYE.(MEG) I NEVER WENT BACK FOR WHAT I HAD HEARD WAS TRUE THAT A POET ONLY WRITES ABOUT THE THINGS E CANNOT DO. MY PASAID: LOOK OUT FOR MEN WHO THINK, ‘YE'LL BE MORE CERTAIN WITH MEN WHO DRINK ‘90 OUT I WENT TO BECOME A WIFE, AN’ FOUND THE REAL LOVE OF MY LIFE, (OH, HE WAS A SOLDIER, A FINE HIGHLAND SON. HE TOLD ME ABOUT ALL THE BATTLES HE'D WON, HE WASTED HIS TIME TELLIN’ ME ABOUT HIS MIGHT, FOR ONE LOOK AT HIM DECIDED ME TO NOT PUT UP A FIGHT. \WE SKIRMISHED FOR HOURS THAT NIGHT IN THE GLEN, |AN' I FOUND THE SWORD HAS MORE MIGHT THAN THE FEN, BUT WHEN I WAS DROWSIN’ I SNORED TO MY DISMAY, AN’ HE THOUGHT IT WAS A BUGLE AN’ GOT UP AN’ MARCHED AWAY. NOW PASAID: DAUGHTER, THERE MUST BE ONE ‘SOMEONE WHO'S TRUE OR TOO OLD TO RUN, SO 'MSTILL LOOKIN’ TO BE A WIFE AN’ FIND THE REAL LOVE OF MY LIFE, (The music renches a climax, stops, and then begins the same melody over again. MEG turns around to JEFF. SHE walks over and looks down at HIM, HE is obviously asleep, SHE pushes HIM a bit but HE doesn’t stir. SHE stands looking dow at HIM. {fora moment, then walks downstage abit, takes off HER shoes, sits inthe rocking chr ‘and begins to rock with a smile on HER face as the Curtains rapidly close)-48- Baicapoow ACT ONE Scene 4 THE MacLAREN HOUSE. It isa sparsely furnished living room. OJf ULC on the rear wall isa large window through which can be seen the surrounding countryside [Next 10 the window C isthe front door. This door isin two sections 50 the top half can be opened independently, next to the door isa table URC. DSL is a door leading to JEAN’s room. The door opens off raised balustraded platform (balcony) and thee are steps UL. heading up to the platform. USR is another door leading to another room USL against the platform wall, two stools. DSR is. settle and a large, open, wooden crate, almost like a crude trunk, There are fixtures for candles on the wall DSR above @ Fireplace. TIME: About four in the afternoon. AT RISE: Curtains open fast. The musi, attaca from the Scene Change, is playing ‘and a group of GIRLS are lined up across the stage from JEAN's door let tothe packing crate. THEY are passing bits ofemsinine Scotish clothing from the room lf, dawn the Tine, to the GIRL next to the crate, wh then deposits said bits inthe erate, In other ‘words, they are packing the hard tay. As THEY pass, THEY sing. Accidentally, a red union suit i passed along. When discovered itis passed back tothe girl with the clothes basket GIRLS JEANIE'S PACKIN’ UP! JEANIE'S MOVIN’ OUT! JEANIE'S PACKIN’ UP! JEANIE'S MOVIN’ OUT! PACK ALL HER CLOTHES; TONIGHT AWAY SHE GOES! JEANIE'S PACKIN’ UP! JEANIE'S MOVIN’ OUT! JEANIE'S PACKIN’ UP! JEANIE'S MOVIN’ OUT! THE TOWN ALL KNOWS TONIGHT AWAY SHE GOES! WHAT WITH ALL THE CLOTHES, ALL THE THESE AN’ THOSE,(GIRLS) WHY DO YE SUPPOSE JEANNIE NEVER FROZE? HANKIES FOR HER NOSE! RIBBONS FOR HER BOWS! COTTON FOR HER HOSE! ‘SLIPPERS FOR HER TOES. PACK ALL HER CLOTHES, TONIGHT AWAY SHE GOES (Orchestra vamp until GIRI. appears at JEANNIE's door) IRL Psst! PSST! GIRLS (As THEY continue packing) JEANNIE'S PACKIN’ UP! JEANNIE'S MOVIN’ OUT! JEANNIE'S PACKIN’ UP! JEANNIE'S MOVIN’ OUT: fe PACK ALL HER CLOTHES; TONIGHT AWAY SHE GIRL (Shricking as an unmentionable piece of clothing is passed) EEK! GIRLS JEANNIE'S PACKIN’ UP! JEANNIE'S MOVIN’ OUT! JEANNIE'S PACKIN’ UP! JEANNIE'S MOVIN’ OUT! ‘THE TOWN ALL KNOWS ‘TONIGHT AWAY SHE (Drumm rim shot as last GIRL slams the crate shut. CHARLIE appears atthe door) CHARLIE Hit GIRLS Challe!- 50 - Bricavoow CHARLIE (Entering) ‘Ay! Charles MacPherson Dalrymple! Tonight the founder of a new clan, Where's Jean? GIRL (Lets call her “KATE") Upstairs (CHARLIE moves to stairs L. 3 GIRLS sit on the settle by the large crate MR. MacLAREN enters from R carrying a large Bible) MR. MacLAREN ‘Ay now, Charlie, ye're not supposed to see Jeanie afore the weddin’. It brings bad luck. CHARLIE Really, sit? MR. MacLAREN Here isthe Bible. Take it an sign it right under the name of my dear departed wife (CHARLIE tates the Bible and exits right as HARRY BEATON is seen coming up the road, There isa knock atthe door) (x DLC) Come in. (The door opens and HARRY enters carrying a waistcoat. HARRY (X to MacLAREN) Here, Mr. MacLaren. I've... 've brought your waisteoat. (HE hinds it to MR. MacLAREN) MR. MacLAREN ‘Thank ye, Harry. Tis good to see ye, (HE holds out HIS hand for HARRY to shake. HARRY stands for a moment looking over the room, then looks at MR. MacLAREN’s outstretched hand, doesn’t take i and turns to 30) Wait a minute, lad HARRY (Turning back) What for? Yen) a a What Teou Tao? lean an’ in ty Yel Ant placc Wall « le @ « My Ont «Bricapoon == MR. MacLAREN Why dinna ye take my hand? I'm not your enemy. HARRY Ye... ye may not mean tobe, but ye are. An’ so is everyone else in this town! (HE moves again to g0) MR. MacLAREN (Holding HIM lightly bythe arm) ‘What i it,lad? Why do ye go about hating everybody? HARRY (Not bitterly at first, but almost pathetically) couldn get through this day of seein’ her marry someone elseif I dinna. What can Ido? What could anyone do but hate when ye realize your life dinna mean a damn? Tcanna leave here. eanna go to the University an’ make somethin’ of myself fan’ Icanna have Jean. So there's nothin’ left to do but hate every thin, an’ everybody in this cursed town! MR. MacLAREN ‘Yell never find any peace by hatin’, lad. Tt only shuts ye off more from the world, [An this is only a cursed town if ye make itso, To the reet of us, this is a blessed place, HARRY ‘Wall, ye can keep it. (HE exits, CHARLIE returns from the room R carrying the Bible As HE speaks, HE Teaves it open on top ofthe crate) (CHARLIE Well all done! (Puts Bible on crate) Who was that? MR. MacLAREN (Simply) My waistcoat came, CHARLIE Oh! Jeanie! JEAN (oftage) Charlie, please go away. Iwant to come out.m= Bricavoon MR. MacLAREN Dinna obey her lad. Ye'l spoil her (HE exits R KATE starts to the bedroom, carrying a piece of lingerie over HER shoulder; as SHE passes CHARLIE, HE slips it away from HER, holding it up in front of HIM) (Mistle) CHARLIE Tan hardly wait for the wedding, (Music begins) Jeanie! Charlie please go away (KATE recove JEAN the lingerie and runs into the bedroom. CHARLIE tun i ‘then pauses atthe balcony under JEAN'S door and calls up to HER) Jeanie! CHARLIE (he tights dim) (Sings) BECAUSE THEY'VE TOLD ME ICANT BEHOLD YE TILL WEDDIN’ MUSIC STARTS PLAYIN’ ‘TO EASE MY LONGIN THERE'S NOTHIN’ WRONG IN| MESTANDIN’ OUT HERE AN’ SAYIN COME TO ME, BEND TO ME, KISS MEGOOD DAY! DARLIN, MY DARLIN’, “TIS ALL CAN SAY, JUS’ COME TO ME, BEND TO ME, KISS ME GOOD DAY! GGIE ME YOUR LIPS AN’ DON'T TAKE THEM AWAY. JEAN (A litle more pleadingly) Charlie, please go away (CHARLIE crosses tothe steps, puts ome foot ont nn and sings sfily:)Bricavoon = 13 - CHARLIE (COME, DEARIE, NEAR ME SO YE CAN HEAR ME, VE GOT TO WHISPER THIS SOFTLY. FOR THOUGH IM BURNIN’ 10 SHOUT MY YEARNIN' ‘THE WORDS COME TIPTOEIN’ OFF ME. (O11, COME TO ME, BEND TO ME, KISS ME GOOD DAY! DARLIN’, MY DARLIN’, TIS ALL CANSAY, JUS’ COME TO ME, BEND TO ME, KISS ME GOOD DAY! GGIE ME YOUR LIPS AN’ DON'T TAKE THEM AWAY! (HE starts for the bedroom door. KATE enters and stops HIM) (Sings COM TO ME, BEND TO ME, KISS. (KATE leads HO to the font dor. HIE exits dn he rond. JEAN enters an lok round to make certain HE's gone. Lights come up and the musi continues, There 0 DANCE for JEAN and the CIRLS with JEAN anticipating the joys of mariage and sormnos of leaving HER father's house, At the conclusion, the GIRLS exit out the door UUSC, JEAN continues dancing a te hear CHARLIE sing) (offstage) BECAUSE THEY'VE TOLD ME I CAN'T BEHOLD YE. TILL WEDDIN’ MUSIC STARTS PLAYIN ‘TO EASE MY LONGIN’ ‘THERE'S NOTHIN’ WRONG IN ME STANDIN’ OUT HERE AN’ SAYIN": ‘COME TO ME, BEND TO ME, KISS ME GOOD DAY! DARLIN’, MY DARLIN, "IS ALLICAN SAY, JUS’ COME TO ME, BEND TO ME, KISS ME GOOD DAY! GGIE ME YOUR LIPS AN’ DON'T TAKE THEM AWAY. (Cights dim slowly. [As JEAN is about fo st on trunk, TOMMY and FIONA are seen coming past the ‘window and then entering the house, THEY are laughing and talking. FIONA is carrying an arf of heather)FIONA Jean! Aren't ye goin’ to greet our guest? JEAN Greetin’st TOMMY Greetings! JEAN Fiona, where have ye been? (¥ to stars) ‘Ye know Ieanna dress without ye. FIONA, (Putting HER heather on th table URC) Ye mean ‘tis time for ye to dress? JEAN Ay! So, come! (SHE exits FIONA Ye see, knew we were out far too long, TOMMY know but I'm not sorry. FIONA Wait for me. Ishan’t be but afew minutes. (SHE starts to exit L) TOMMY Fiona! (FIONA stops and turns. HE Xes and without saying a word takes HER in HIS arms and kisses HER. SHE exits L, Then JEFF is seen passing above the window and looking in the hatch) JEFF (Hanging over lower half of the front door) ‘Good morning, ladle. TOMMY Hill Where've you been? Bo wi ™ Ne ee bh ¥= 4a = JEFF (Looking around appraisingly) ‘This is very nice, You should have seen the apartment I got —complete with a built in lassie TOMMY ‘Come on in. (HE opens the door. JEFF enters, HE is sporting a new pair of trousers, not brilliant plaid, but obviously new, TOMMY looks a the trousers) ‘What the hell happened to you? JEFF ‘Thistes TOMMY What? JEFF Never mind, It's professional secret. Mine will be ready before we leave aR ‘And another thing, disregard all that rubbish about Scottish frugality. Their generosity is overpowering, TOMMY (Follows JEFF) ‘Wall, how do you feel? JEFF (As if the thought just dawned on HIM) ‘Surprizingly well! How about you? TOMMY (With incredible enthusiasm) | never felt better in my life! JEFF (Eyeing HIM with sudden interest) You, too? (its onthe settle)ings) «pq TOMMY MAYBE THE SUN GAVE ME THE POW'R, FOR I COULD SWIM LOCH LOMOND AND BE HOME IN HALF AN HOUR. MAYBE THE AIR GAVE ME THE DRIVE, FOR I'M ALL AGLOW AND ALIVE! WHAT A DAY THIS HAS BEEN! WHAT A RARE MOOD I’M IN! WHY, IT'S ALMOST LIKE BEING IN LOVE! THERE'S A SMILE ON MY FACE FOR THE WHOLE HUMAN RACE! WHY, IT'S ALMOST LIKE BEING IN LOVE! ALL THE MUSIC OF LIFE SEEMS TO BE LIKE A BELL THAT IS RINGING FOR ME! AND PROM THE WAY THAT I FEEL WHEN THAT BELL STARTS TO PEAL, I WOULD SWEAR I WAS FALLING, . TCOULD SWEAR I WAS FALLING, I'S ALMOST LIKE BEING IN LOVE. r WHEN WE WALKED UP THE BRAE, FIONA i (Enters L singing) NOT A WORD DID WE SAY, IT WAS... ALMOST LIKE BEIN’ IN LOVE. (TOMMY Xes to HER) BUT YOUR ARM LINK’D IN MINE MADE THE WORLD KIND 0” FINE zz (oTH x DC) TOMMY TT WAS... ALMOST LIKE BEING IN LOVE!= FIONA (Breaks and Xes L) ALL THE MUSIC OF LIFE SEEMS TO BE TOMMY LIKE A BELL THAT IS RINGING FOR ME FIONA & TOMMY AND FROM THE WAY THAT I FEEL WHEN THAT BELL STARTS TO PEA’ FIONA 1 WOULD SWEAR I WAS FALLIN’ TOMMY 1 COULD SWEAR I WAS FALLING, BOTH T'S ALMOST LIKE BEING IN LOVE! (The musi stops) FIONA (Xing to stairs) Hand me that bundle of heather, Tommy! TOMMY Right, darling. JEFF Darling? (TOMMY Xes ard hand it to HER) FIONA Thank ye, dearie. (SHE takes it and exits to JEAN’s room) JEFF (Rising) Well, when do we start back? cued b (Orchestra, 3 “misterioso" underscore phrases low)=i = Bricanoon TOMMY (Xing to the crate) ‘There's no hurry. Let's stay for the wedding. Afterall, how often do you. (Music. HE stops himself as HIS eyes fall onthe open Bible that is lying on the crate HE picks it up and looks at it, HE looks at JEFF quickly in bewilderment and then looks back atthe Bible again) JEFF What's the matter? TOMMY {must bea little touched. Listen to this—Married: Elizabeth Lang to Andrew MacLaren. July second, seventeen nineteen, (tse out) JEFF What's so amazing? People used to get marred then TOMMY Wait a minutet (Reading, Rise— XC) Childe: (Music) Fiona, born October tenth, seventeen twenty-two; Jean, born April eight, seventeen twenty-cight JEFF well TOMMY Censely) ‘But Fiona is twenty-four, and she's gota sstr six years younger named Jean JEFF well TOMMY Bat those are the two sisters inthis Bible. (Music out) JEFF Ridiculous, theyre probably just named after them. TOMMY Jean's getting married today. Did you know that?JEFF Yes. TOMMY Do you know the name of the guy she's marrying? JEFF ‘They told me atthe tavern. Someone named Dalrymple. TOMMY ‘Wall, get this (Reading) Married: (Music) Jean MacLaren to Charles MacPherson Dalrymple, May twenty-fourth, seventeen forty-six. (either says a word for @ moment) Now, what do you say? JEFF ‘Congratulations! TOMMY Waitt (Piecing it together) [No Brigadoon on the map. No phones in the whole town, Thanks to Mr. Somebody for doing something about a miracle. (Music out) [And one or two other things that I passed over when I was out with Fiona this afternoon, JEFF (Xt TOMMY) ‘That hyperthyroid I was with never heard of Haig and Haig, TOMMY don’t understand it. I'm beginning to feel alittle like a damn fool. JEFF ‘What are you getting so worked up about? If it makes them happy to disregard two ‘hundred years of human bingbang, let ‘em. TOMMY But I've just spent the most wonderful day of my life; and now I run into something like this, It doesn’t make sense to me.= 60 - Barcanoon JEFF It does to me, Itjust means that batty people relax you. TOMMY ‘She's not batty. She can't be! (Calls of Fiona! (To JEFF) ‘There must be a logical explanation. Even logical enough for you. (calls) Fiona! ~ JEFF “They don’t have to explain anything to me. I don’t care. FIONA (Entering. Leaves HER soar on balustrade) What, Tommy? TOMMY (Come here FIONA ‘Tommy, what is it? TOMMY (Showing HER the Bible) Is this your name herein this Bible? FIONA Ay! An why..? (SHE stops herself then, thoughtfully) ont JEFF Someone seems to have loused up your books. TOMMY ‘Well, come on, What does it all mean? Is there an explanation or isn’t there? FIONA, Ay, there is. But [canna tell ye TOMMY ‘Wall, is there anybody who can? I'd like to know. Ye He al wFIONA Ye have to speak with the dominie TOMMY ‘The who? FIONA (Our school master, Mr. Lundie. TOMMY Where does he live? JEFF Down the road, in a tre. Re LEP TA TEER I FIONA live in a tree, Mr. Douglas. Mr. Lundie is a great man, (ToTOMMY. X to JEFF) All right, Tommy. I'l take ye to ‘im, Thadna wanted to ‘cause Twas hopin’ we ‘could have this day together He doesn TOMMY What's that got to do with it? FIONA Tis goin’ to be so hard for ye to believe what ye'l hear. Yell think there is somethin’ wrong with us an’ yell leave. I know it TOMMY (Puts Bile on a stool L) Maybe I will and maybe I won't. Come on, Je (Handing FIONA HER scarf, TOMMY and FIONA start out the door) JEFF Isit informal, or should I wear my three-corned hat? TOMMY Come on, I sid? (Offstage CHORUS, singing on an open syllable joins orchestra and the music swells as THEY start for the door as the Curtains close fest)— 42 = Bricavoon ACT ONE Scene 5 OUTSIDE THE HOUSE OF MR. LUNDIE. TIME: Immediately following. AT RISE: Curtains open during last measures of choral musi. The scene is shallow. Backirop revealed is ofthe exterior of MR, LLINDIE’s house with a distant view of the surrounding country. MR. LUINDIE is seated on the porch reading. HE sits on a bench ab L of C. There isa milestone sent Rof C. MR. LUNDIE is a quaint Scottish school master in HIS late fifties. ‘Though HIS eyes have a genuine kindness and HIS ‘manner is entirely benign, HE speaks with litle trace of emotion. HE wears ‘metal framed glasses. On the bench isa red tam o'shanter. FIONA, TOMMY and JEFF enter and walk towards the house. FIONA Good day, Me. Lunde. MR. LUNDIE ising) Why, hello, Fiona, What a pleasant surprise. FIONA, Mr Lundie. I'd like ye to meet Mr. Tommy Albright and Mr: Jeff Douglas. MR. LUNDIE (Holding out HIS hand) ‘Good afternoon, gentlemen, (HE studies them both carefully) TOMMY (eying tobe polite) How do you do, sir? (HE shakes HIS hana) JEFF Good afternoon, MR. LUNDIE (After a moment of loking at them) Where do ye gentlemen come from? TOMMY, We're from New York un Yer Iv Ay nN oBaicavoon - 4 - MR. LUNDIE (As if to himself but saying it distinctly) ‘We're from New York. JEFF Uh—huht TOMMY Yes. New York. MR. LUNDIE (Simply) heard ye FIONA Mr. Lundie, Twas wonderin’ if ye'd be good enough to tell these gentlemen about Brigadoon. They've heard an’ seen a good deal an’ they're very perplexed indeed. TOMMY Perplexed is right. FIONA 1 would very much lke im, I mean them, to know MR. LUNDIE (Stating HIS eco) Twwould very much like him I mean them, to know. FIONA ays MR. LUNDIE (After a moment) ‘Winna ye be seated, gentlemen? (FIONA sits atthe R end ofthe bench, TOMMY sits on top part of milestone. JEFF, not finding a seat, stands L of the milestone) ‘Are ye stayin’, Fiona? FIONA If Lmay, sit. Fd love to hear i all again. MR. LUNDIE Of course, (Gits a Lend of bench)- 64 - Baicavoow TOMMY From what I gather, nobody can talk about anything around here but you, Is that right? MR. LUNDIE No, that’s wrong. Mr. Forsythe could have told ye, TOMMY Forsythe. I've heard about him. But I didn't meet him, MR. LUNDIE Likely not. 1 think he's dead, JEFF ‘That would stand in the way, I suppose. MR. LUNDIE [Let me warn ye afore I begin that what I'm goin’ to tell ye, ye winna believe, TOMMY It’ all right. I've already been warned. Why won't I believe i? MR. LUNDIE Because what happened in Brigadoon was a miracle, an’ most folk dinna believe in miracles. Miracles require faith, an’ faith seems to be as dead a... JEFF Me. Forsythe? MR. LUNDIE ‘Ay. Now if an outsider who chanced to come to Brigadoon were to hear the tale from the lips of someone in town, he'd think the poor lass or lad was daft. An’ that ‘would lead to many unpleasant an’ humiliatin’ things forthe lass or laddie, Now wouldna it? TOMMY | suppose so MR. LUNDIE | suppose so. So, only Ican talk about the miracle to strangers, JEFF (With a touch of sarcasm) ‘And you don't imagine anybody would think you're crazy? MR. LUNDIE ‘Ye might very well. But it winna hurt me. I'd jus’ pity ye. Now this miracle happened... e's see. what's today? 1 t 1 tBaicanoon =o FIONA Friday. MR. LUNDIE Friday. That means it happened exactly two hundred years ago. Two hundred years ago the Highlands of Scotland were plagued with witches, wicked sorcerers who ‘were takin’ the Scottish folk away from the teachin's of God an’ puttin’ the devil in their souls. They were indeed horrible destructive women. I dinna suppose ye have such women in your world, TOMMY Witches? JEFF Yes, we still have them. (Puts fot on milestone) We pronounce it differently. MR. LUNDIE ‘Uh—huht It dinna matter they were not real sorcerers, because ye an’ I know there fs-no-such thing, But their influence was very real indeed. Now here in Brigadoon ‘we had an old minister ofthe kirk named Mr Forsythe. An’ a good man he was. FIONA ‘The kindest man in Scotland. (EFF sits on the lower part ofthe milestone) MR. LUNDIE believe he was. No man ever loved his parish as did Mr Forsythe. But he was _growin’ old, an’ it grieved him to think that one day soon he would leave all those so dear to him. But most ofall, he worried about the witches. They hana visited Brigadoon yet, but he knew there was a band of them comin’ our way. So he began to wonder if there wasn't somethin’ hee could do to protect the folk of his parish not only from them, but from all the evils that might come to Brigadoon from the outside world after he died, FIONA What a kind man! MR. LUNDIE He spent many days walkin’ through the glen, thinkin’ (Rises and Xes to LC) ‘An’ if ye had passed his house any hour ofthe night, ye would have seen the ‘candles lit an’ Mr. Forsythe sittin’ in his chair, thinkin’ (%es toward JEFF) ‘Then one day he came to me an’ told me he had decided to ask God for a miracle- 66 Bricavoon FIONA (Touching HER eye) “This partis so nice I could ry thinkin’ about it MR. LUNDIE (ts to JEFF) He consulted with me about it because he knew I have a highly logical mind, an’ he figured as long as he was goin’ to ask for a miracle, it might as well bea wellorganized miracle, So for many days I walked through the glen with him, an’ for many nights Isat with him by candle-light. Finally, Mr Forsythe decided what be was goin’ to pray for. An’ on an early Wednesday morn right after midnight, Me. Forsythe went out toa hill beyond Brigadoon an’ made his prayer to God. There in the hush ofa sleepin’ world he asked God that night to make Brigadoon an’ all the people in it vanish into the Highland mist. Vanish, but not for always. It would all return jus’ as it were for one day every hundred years. The people would go on leadin’ their customary lives; but each morn when they awakened it would be a hundred years later. (HE pauses) ‘An’ when we awoke the next day it was a hundred years late. ‘TOMMY (Half ohispering) My God! MR. LUNDIE Ye see, in this way Mr. Forsythe figured there would be no change in the lives of the people. They jus’ wouldna be in any century long enough to be touched by it TOMMY (Quite shaken) ‘You mean... you mean you go to bed at night and when you get up the next morn i's hundred years later? MR. LUNDIE ay. TOMMY ‘Then every day is a hundred years later? MR. LUNDIE Ay. JEFF (What happened to the minister? serene B n tBricanoow ~ #7 = MR. LUNDIE (ing back to bench) ‘We never saw him again! Ye see he realized that to ask for such a miracle, some sacrifice would have to be made, an’ he wanted to be the one to make it. Now what ‘would be the greatest sacrifice he could offer? It was to be separated afore his ime from the ones he loved. So that's why he went out to a hill beyond Brigadoon. Were the miracle granted, he would never see Brigadoon again. TOMMY ‘And allthis happened two hundred years ago. MR. LUNDIE ‘Ay, lad. Which, ye see, is only two days ago to us. He had intended to ask for the ‘miracle on Tuesday. (Sits bench) But Charles Dalrymple was in school in Edinburgh an’ was not expected back till ‘Tuesday late. Mr. Forsythe, not wantin’ anythin’ to go wrong with the weddlin’, postponed prayin’ tll Charlie got back FIONA ‘Wasn't that sweet of him? TOMMY Let me ask you something, Suppose somebody around here gets fed up and wants to eave. Then what? MR. LUNDIE He canna leave JEFF (Rises) ‘You mean I've got to stay here now? MR. LUNDIE 'No, no, lad. But accordin’ to Mr. Forsythe's contract with God, if anyone of Brigadoon leaves, the enchantment is broken for al. TOMMY And..? MR. LUNDIE “That night when the people go to sleep, Brigadoon will disappear forever. TOMMY (After a moment) Look, I'm not saying I believe all this, but just for argument’ sake, suppose a stranger like... well. me came to Brigadoon and wanted to stay. Could he?MR. LUNDIE Ay, lad, he could. Mr. Forsythe provided for that JEFF Hie didn’t miss a trick, did he? MR. LUNDIE No, lad, he dinna, A stranger can stay if he loves someone here ~ not jus’ Brigacloon, ‘mind ye—but some one in Brigadoon enough (FIONA & TOMMY look at each other) to want to give up everythin’ an’ stay with that one person, Which is how it should ‘be. ‘Cause ater al, lad, if ye love someone deeply, anythin’ is possible. FIONA (Cooking at TOMMY) think I like that part the best. MR. LUNDIE (Rise, looks from TOMMY to FIONA; after a pause) ‘Shouldna ye be thinkin’ about changin’ forthe weddin’? FIONA uemping up) Ay Thad. (To TOMMY, lite fearfully) ‘Tommy, will see ye later? TOMMY (Rises) Yes, Pl be here. FIONA (Expressively) ‘Thank ye, Tommy. TOMMY | think I want to stick around and see if ths place evaporates like you say. FIONA (XL stops and turns) mus’ hurry now. Thank ye, Mr. Lundie. (SHE exits 1)Baicavoon (CHORUS sings on an open syllable, no lyric, underscoring the following dialogue) MR. LUNDIE She's a dear lass. (A distant choir is heard) TOMMY Vm finding that out (%es to Lof MR. LUNDIE) ‘Tell me, Mr. Lundie, you're all perfectly happy living herein this little town? MR. LUNDIE (Of course, lad, Afterall, sunshine can peep through a small hole, TOMMY But at night when you go to sleep, what’ it like? MR. LUNDIE (Looking of) Well, for me, ‘ts like bein’ carried on shadowy arms to some far off cloud an’ there 1 loat sill mornin! (@ack to TOMMY) ‘An’ yet, sometimes I think I hear strange voices, TOMMY Voices? MR. LUNDIE |Ay. They say no words Ican remember. But they’re voices filled with a fearful longi’ an’ often they seem to be callin’ me back. I've pondered it when I'm awake; an’ [think—Thave a feelin’ I'm hearin’ the outside world. There mus’ be lots of folk out there who'd like a Brigadoon. (The CHOIR swells and then chimes are heard) Oh! “Tis the weddin’ time. (The chimes and CHOIR grow louder. TOMMY and JEFF in mixed awe and bewilderment move slowly to lve, MR. LUNDIE picks up HIS tam o'shanter and ‘motions for THEM to follow HIM, And as THEY start off L, the Curtains close)ACT ONE Scene 6 (OUTSIDE THE KIRK OF BRIGADOON. ‘The backeoth revels a churchyard with tombs anda section in ruin of what was once perhaps a large church, with alow fence, running along the rear ofthe stage, separating it fom the present churchyard. Beyond the fonce ean be seen part ofthe town. A piece ofthe ruin in the form ofan arched window stands SR and forms an arbor. The steps and entrance tothe present kirk, apparently a much smaller building ‘ture the original, are SL. The kirk entrance and the arbor are brightly decorated with flowers. SL, on an angle veering toward C isthe facade ofthe kirk. There are practical ‘steps lending to it. MR. LLINDIE is standing at LC, a few paces from the steps TIME: Dusk ofthat day. AT RISE: Music—we hear a short introduction then the curtain rises. The stage gradually fils with the TOWNSFOLK who are dressed in their wedding finery. ‘As THEY enter, THEY announce their clan. (Onder apetrnc) wa 1~MacLAREN ~ enter DR, in pairs, as the Curtains open. X information to C, boro fo MR. LUINDIE and move smartly backwards UC where they signal the next 2MacGUIFFIE — enter UR, with ANGUS, in pairs. THEY X to L, puss bend LUNDIE and take up position DL. 3~DALRYMPLE ~ enter UR, with STUART, X and take up positon against arbor R 4ANDERSON* ~ enter DL. with MAGGIE. 5~MacLEOD — enter UL, march DLC, X and group DR. 6~BEATON ~enter UR, with ARCHIE, and group UR. [MEG enters ater BEATONS, Xee and stands DL. SANDY & MacGREGOR enter sand stand DR. (The music continues and there isa short sort of ceremonial dance by all the TOWNSFOLK. At the conclusion, the music fades down. The music stops completely {fora moment as MR. LUNDIE moves onto the kirk steps, turns and says:) * In Published vocal score the name “MacMilon” is substituted.MR. LUNDIE (Standing on steps of kirk) ‘Ther’ gon tobe awed = (As usc tarts thre fuzz of excltemet fom al who quickly mix nd form themselves into two long, closely packed but irregular groups on either side ofthe stage. ‘They are completely silent by the time JEAN & MacLAREN enter, CHARLIE enters DL and stands L of MR. LUNDIE. A member of the DALRYMPLE clan crosses and stands DL of CHARLIE, in the capacity of Best Man. TOMMY & JEFF enter DR. MEG sees JEFF and edges HER way through the crowd to R, and stands near HIM. JEAN & MacLAREN enter from the kirk, JEAN carries a wedding bouguet, ‘MacLAREN leads JEAN to R of MR, LUNDIE, then stands DR of JEAN, FIONA enters UL, Xes above the wedding group and stands L of MacLAREN, JEAN hands HER bouquet to FIONA, then stands with CHARLIE below MR. LUNDIE. ‘The music continues as LUNDIE speaks:) ERS MR, LUNDIE We have no minister in Brigadoon now. In most villages this would be a calamitous thing. But we know ‘isa blessin’, When there is no minister present i is perfectly proper accordin’ to the laws of Scotland for two people to be wed by sincere mutual consent, There need be nothin’ in writin’ (The TOWNSFOLK start humming “Brigadoon sftly)** + In Published vocal score and vocl/chorus book, this number for orchestra underscoring only, If voice are used, hum with same divisi #30 “FINALE.” All that’s necessary isthe promise of love as long as ye both are on earth. (HE pauses for a moment) Go ahead, lad CHARLIE (Holding hands) I shall love ye til die, An’ I make all effort to be a good husband to ye, JEAN An’. an’ s0 much will I ry. to bea fine..an’.. an’ lovin’ wife.(CHARLIE slips the wedding ring on JEAN’s finger. THEY lok at enc othe uncomfortably) MR. LUNDIE Well is her ld (THEY bss gingery) Mr Forsythe, Tknov, would have ike tobe here. But i ye both be good an true to each other then ye canna help but ive inthe Grace of God. An’ Me: Forsythe =z could have asked no more than that CHARLIE (afer slight pause Are we married now, Me Lunde? MR. LUNDIE Are we married now Mr. Lundie, Ay lad Ye're marred (The TOWNSEOLK gather quickly around them shaking hands, Kissin, et. Al done {wit ofcourse, FIONA Xes quickly D to TOMMY. TOMMY has ben so completely moved by the ceremony tha it almost loks a fata had come to HIS eye. When FIONA comes o HIM, SHE is almost in tars herself and comes right nto HIS arms MR. LUNDIE exits into the kirk) FIONA Iwas a nice weddin’, wasn’t it? (HE takes HER in HIS arms) STUART DALRYMPLE (Leading a oot) The bride! TOWNSFOLK (Chanting) Huch-hit Huch-hit Huctshit STUART DALRYMPLE The bride! TOWNSFOLK Huch-hit(Suddenty the WEDDING MUSIC starts and CHARLIE and JEAN begin WEDDING DANCE. EVERYBODY joins in and TOMMY is circled. HE steps back ‘with FIONA towatch. MacLAREN exits UL. The wedding dance is interrupted then by the appearance of HARRY BEATON who comes on holding two swords high. HE places them on the ground and the music changes to the tempo of a SWORD DANCE. TOWNSPEOPLE group R, L, and C. CHARLIE & JEAN stand DR) LS (HARRY starts the dance, then as TWO OTHER MEN join HIM) MEN GO, MEN! SPIN LIKE A DERVISH IN A STEAMIN’ WIND! SPIN “TILL YE'RE NOTHIN’ BUT A SCREAMIN’ WIND! ciRis HUCH-HI MEN SPIN LIKE A DERVISH IN A STEAMIN’ WIND! GIRLS HUCH-HIL MEN SPIN “TILL YE'RE NOTHIN’ BUT A SCREAMIN’ WIND! co cIRLs HUCH-HI MEN SPIN LIKE A DERVISH IN A STEAMIN’ WIND! GIRLS HUCH-HI! MEN, SPIN “TILL YE'RE NOTHIN’ BUT A SCREAMIN’ WIND! (26 bars, Dance continues) ALL (5-4: DINNA TOUCH THE SWORD! WATCH IT AS YE SPIN! B)a MEN ‘SPIN “TILL YE'RE NOTHIN’ BUT A SCREAMIN’ WIND! (Nouw the whole tow is doing the Reel) TOWNSFOLK (S-A-T~B) HUCH-HI HUCH-HI! ABI AH (16 bars, Dance) AHI AHI HEY MEN! GO MEN! LEAP, MEN! LIKE A SPARK! HEY MEN! GO MEN! LEAP, MEN! LIKE A SPARK! (HARRY approaches JEAN and asks HER to Dance, THEY do, 16 bars. Some TOWNSFOLK dance and form a circle around JEAN & HARRY) ant FASTER, FASTER, (O'ER THE SWORD! (HARRY and JEAN twirl, then HARRY suddenly stops and kisses HER violently) ant FASTER, FASTER, (O'ER THE SWORDE SPIN YEAN' GO LIKE THESNOW FLYING O'ER THE SEA SPIN YE AN’ GO LIKE THE SNOW FLYING O'ER THE SEA! AHI "ROUND AN' ‘ROUND AGAIN! Ant "ROUND AN’ ‘ROUND AGAIN! Gove! Gove! %(usc & Dance stop suddenly. The CROWD parts and JEAN is sen lying on the ‘floor sobbing with HARRY hovering ever HER. TWO MEN DR hold CHARLIE and prevent HIM from running at HARRY. JEAN slowly rises and runs to CHARLIE. {A fight starts between HARRY anid one ofthe men. HARRY picks up a sword with ‘ove hand and pulls HIS dirk from HIS stocking withthe other and moves around toward the crowd, menacingiy. TOMMY comes forward with a shawl wrapped around HIS arm, and as one of the men knocks the sword from HARRY’s hand, TOMMY successfully wrenches the dirk from HIM and knocks HARRY to the grow, TOMMY kicks the dirk away and as HE goes quickly to pick it up, FIONA runs to HIM) FIONA ‘Tommy! ‘Tommy! (TOMMY, HIS eyes fixed on HARRY, doesn't reply to HER. HARRY slowly rises {and looks over at JEAN) HARRY (Simply) All I’ve done isto want ye too much, (HE walks slowly t0 the side of the stage and then suddenly turns back tothe CROWD. ‘THEY ALL hold thelr positions, as if not knowing what HE is going to do next) {rm leavin’ Brigadoon an ts the end ofall of ws. The mirach (HE runs off DL) (Chere isa sudden stunned moment, Then EVERYONE realizes the import of HIS Teawing and springs into action. Cries of “We mus’ stop ‘im’ fll the stage. ALL the (MEN and most ofthe WOMEN surge fortoard to run after HIM, including TOMMY, who motions to JEFF to follow HIM and exits with the others as the Curtain falls) END OF ACT ONE