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Passion
MUSIC AND LYRICS BY STEPHEN SONDHEIM



TABLE OF CONTENTS
      HAPPINESS
      FIRST LETTER
      SECOND LETTER
      THIRD LETTER
      FOURTH LETTERI READ
      TRANSITION
      GARDEN SEQUENCE
      TRANSITION
      TRIO



HAPPINESS
GIORGIO and Clara's room. Drums. Lights slowly illuminate a bed with two figures
who are making love on it. The man (Giorgio) is astride the woman (Clara).  
Drums crescendo to a climax as GIORGIO emits a soundless cry of orgasm, the
orchestra substituting for his voice as the drums cease.  Music continues,
murmuring underneath as GIORGIO shudders a couple of times and falls into
Clara's arms. A moment, as he lies back.
CLARA
I'm so happy,
I'm afraid I'll die
Here in your arms
What would you do
If I died
Like this -
(She languishes across him)
Right now,
Here in your arms?
That we ever should have met
Is a miracle
GIORGIO
No, inevitable -
CLARA
Then inevitable, yes,
But I confess
It was the look  --
GIORGIO
The look?
CLARA
The sadness in your eyes
That day
When we glanced
At each other in the park
GIORGIO
We were both unhappy
CLARA    
Unhappiness can be seductive
GIORGIO
You pitied me...
BOTH
How quickly pity leads to love
CLARA
All this happiness
Merely from a glance
In the park.
So much happiness
So much love --
GIORGIO    
I thought I knew what love was
CLARA
I wish we might have met so much sooner
I could have given you --
GIORGIO
I thought I knew what love was
CLARA    
-- My youth
GIORGIO
I thought I knew how much I could feel
CLARA
All the time we lost...
GIORGIO
I didn't know what love was.
CLARA
I've never known what love was.
GIORGIO
But now --
CLARA
And now --
BOTH
-- I do.
It's what I feel with you.
The happiness I feel with you.
CLARA
So much happiness --
GIORGIO
You are so beautiful...
CLARA
-- Happiness by chance in a park.
GIORGIO
Not by chance,
By necessity --
CLARA
Surely, this is happiness -
GIORGIO
- by the sadness that we saw in each other.
CLARA
- no one else has ever felt before!
BOTH
Just another love story,
That's what they would claim.
Another simple love story -
Aren't all of them the same?
CLARA
No, but this is more,
we feel more!
BOTH
This is so much more!
(Smiling at each other)
Like every other love story.
Some say happiness
comes and goes.
then this happiness
is a kind of happiness
No one really knows.
GIORGIO
I thought I knew what love was.
CLARA
I'd only heard what love was.
GIORGIO
I thought it was no more than a name for yearning.
CLARA
I thought it was what kindness became.
GIORGIO
I'm learning -
CLARA
I thought where there was love there was shame.
GIORGIO
- that with you -
CLARA
But with you -
BOTH
- there's just happiness.
CLARA
Endless happiness ...
(Music continues underneath as they lie silently next to each other for a long
moment)
(spoken) What?
GIORGIO
(spoken) Not now ...
CLARA
(spoken) Tell me ... please.
GIORGIO
(spoken) I received my orders from headquarters. I've been transferred to the
Fourth Brigade.
CLARA (sad)
(spoken) When?
GIORGIO
(spoken)  I leave in five days.
(CLARA takes this news in, then slowly reaches for her chemise)
(spoken) Clara, don't look so sad.
CLARA
(spoken) You're the one that makes me happy.
GIORGIO
(spoken) We'll make the most of the next four days. I'll steal as much time as I
can. Then after I leave, we'll write to each other ever day. We'll make love
with our words. You'll be with me ever day, Clara.
(She starts to dress while GIORGIO watches her)
CLARA
(spoken) I must go. I'm expected.
GIORGIO
(sung) God, you are so beautiful.
I love to see you in the light,
Clear and beautiful, memorize
Every inch,
every part of you
to take with me.
CLARA
(spoken) Giorgio...
GIORGIO
(sung) Your feet so soft,
As if they'd never touched the ground.
CLARA
(spoken) I must go ...
GIORGIO
(sung) Your skin so white, so pure, so delicate.
Your smell so sweet, your breathe so warm.
I will summon you in my mind,
I'm painting you indelibly on my mind.
CLARA
(sung) Let me go ...
GIORGIO
We must fill every moment.
CLARA
All this happiness ended by a word in the dark.
GIORGIO
Oh my love, oh my darling ...
CLARA
So much happiness wasn't meant to last.
GIORGIO
I am here,
I am with you
I am yours.
CLARA
I never knew what love was.
GIORGIO
Your skin,
your silken hair ...
CLARA
I always thought I didn't deserve it.
GIORGIO
Your breasts, your lips ...
      CLARA
      I didn't know what love was. GIORGIO
      I want you every minute of my life ...

CLARA
I don't know how I'll live when you're gone!
GIORGIO
I will always be here.
CLARA
I don't know how I'll live ...
Giorgio ...
Don't leave me ...
(As they move away from each other, military drums join the orchestra, quietly
at first, then building in intensity to a climax. This time the drums drown the
orchestra, and we segue into a military formation, which takes us into the
Officers' mess hall)
Around the table sit: COLONEL Ricci, a rather taut gentleman, who carries the
weight of his position with authority and ease; Lieutenant Torasso, a man often
given to laughter and opera singing; Major Rizzoli, a sober, straight-arrow
type; Lieutenant Barri, a veterinarian with a love of gambling and not much
else; and DOCTOR Tambourri, a somewhat aloof and distinguished older officer.
As the lights bump up, a Cook (Sergeant Lomabardi) is overseeing the serving of
the meal. Torasso breaks into an aria from "Rigoletto" while the others talk
amongst themselves, ignoring him. After a beat:
COLONEL
(having had enough) (spoken) Thank you Lieutenant.
(TORASSO stops singing)
DOCTOR
(spoken) How was "Rigoletto"?
TORASSO
(spoken) Terrible. These touring companies get no better.
LOMBARDI
(spoken) Nor do you.
TORASSO
(spoken) I sing to lighten the weight of your cooking.
BARRI
(spoken) (examining his plate) Sergeant, what is this?
LOMBARDI
(spoken) It's veal.
BARRI
(spoken) Again? We had veal four days ago. And from the looks of it, it was this
veal.
LOMBARDI
(spoken) Lieutenant Barri, if I hear -
(They are suddenly interrupted by a woman's distant scream upstairs. They pause
momentarily before resuming their conversation, as if nothing unusual had
occurred)
RIZZOLLI
(spoken) Colonel, I've heard a rumor that the King is about to sign a treaty
with the French.
DOCTOR
(spoken) Really?
COLONEL
(spoken) I've heard no such rumor, Major.
DOCTOR
(spoken) Where did you come by this information?
RIZZOLLI
(spoken) (uncomfortable) In town.
COLONEL
(spoken) You can't believe everything you hear in a whorehouse.
RIZZOLLI
(spoken) (serious) That is where Garibaldi got much of his information, sir.
DOCTOR
(spoken) Ah, so that's why you go there!
(GIORGIO enters)
COLONEL
(spoken) Ah, Captain Bachetti. Welcome. We wondered when you were going to
arrive. May I introduce Doctor Tambourri, Major Rizzolli ...
TORASSO
(spoken) Lieutenant Torasso.
BARRI
(spoken) Lieutenant Barri.
LOMBARDI
(spoken) Sergeant LOMBARDI
BARRI
(spoken) Our cook.
COLONEL
(spoken) Come. Come and join us.
(GIORGIO hands a letter to Augenti.)
GIORGIO
(spoken) Could you post this one for me?
(GIORGIO sits; to his right remains an unoccupied chair and place setting)
LOMBARDI
(spoken) You'll have to excuse our rather limited menu, Captain.  It's difficult
to grow vegetables in this mountain soil.
DOCTOR
(spoken) We're a bit isolated here, Captain. Not only from anything green and
edible, but also from life and ideas.
RIZZOLLI
(spoken) I just add vinegar to everything
TORASSO
(spoken) Captain Bachetti, the COLONEL has been telling us of your triumphs
pinning down the Russian infantry.
GIORGIO
(spoken) I'm not sure that my actions worried your attention.
TORASSO
(spoken) Come, come. Didn't you rescue a wounded man in the midst of fire and
then carry him on your horse to camp?
GIORGIO
(spoken) Only to our battalion.
BARRI
(spoken) Say you brought him back to camp! Why settle for being half a hero when
full-fledged is just a white lie away?
(The lights suddenly bump up; music under, agitated. CLARA enters to the side of
the stage, singing from a letter she holds.)



FIRST LETTER
CLARA
Clara ...
 GIORGIO
Clara ...
I cried.
CLARA
I cried.
BOTH
Imagine that, a soldier who cries.
CLARA
I had to hide my eyes, so the others on the train
That carried me away from you would think I was asleep.
(A piano sounds offstage)
GIORGIO
(spoken) Music?
DOCTOR
(spoken) That's Signora Fosca playing.
COLONEL
(spoken) My cousin. I have no family and neither does she. She is in such poor
health, it's a continual worry.
DOCTOR
(spoken) That's her place setting, but she stays in her room most days. Perhaps
soon she'll be well enough to join us for a meal.
RIZZOLLI
(spoken) She eats like a sparrow.
(TORASSO lets out an involuntary laugh, which is immediately stopped by a cold
stare from the Colonel)
TORASSO
(spoken) (sober) My apologies, sir.
(spoken) The comparison has struck me as funny. A sparrow seems to eat more than
Signora Fosca. A pity it is ...
COLONEL (to Giorgio)
(spoken) My cousin loves to read - it's her only passion, really. I can't find
enough books for her.
GIORGIO
(spoken) I also love reading. I've brought a few of my favorite books down.  
Perhaps I could lend them to Signora Fosca, though I can't promise they will
appeal to her.
COLONEL
(spoken) Young man, she's been driven to reading military handbooks. I've no
doubt she will welcome anything in print.
(Private AUGENTI enters and delivers a few letters, one of which goes to
Giorgio)
AUGENTI
(spoken) Post arrived!
RIZZOLLI
(spoken) Hand it round Augenti.
(spoken) (surprised) Nothing for me again? It's been two weeks.
AUGENTI
(spoken) It smells to me as if Captain Bachetti has a letter from an admirer.
(Music under; the lights bump up. CLARA reappears)



SECOND LETTER
CLARA
Giorgio ...
I, too, have cried inside.
BOTH
You must not be ashamed of your tears.
CLARA
I love you for your tears.
BOTH
Your absence only makes my love grow stronger.
And when I cannot bear it any longer -
(We hear another scream come from upstairs. Music stops as GIORGIO rises,
concerned; the others continue to eat, unfazed.)
COLONEL
(spoken) Don't be alarmed. It's my cousin. I am so accustomed to her outbursts
that I forget how unsettling they must be to a newcomer. My apologies for not
warning you.
DOCTOR
(spoken) She's not been having a good day. And a doctor is always expected to
help hurt, even when there is nothing one can possibly do.
TORASSO
(spoken) More lamb please.
DOCTOR (to Lombardi)
(spoken) I've noticed you finally managed to track down some tarragon.
LOMBARDI
(spoken) Yes, I'm glad you approved ...
(Another scream; the COLONEL looks to the Doctor)
COLONEL
(spoken) Doctor.
DOCTOR
(spoken) Excuse me.
(He wearily rises and crosses to the stairs, which he climbs.)
BARRI
(spoken) Sergeant, are there any more carrots?
LOMBARDI
(spoken) Seconds for you, Lieutenant? Can I take that as a compliment?
BARRI
(spoken) No, Sergeant, they're for my horses
(Laughter. TORASSO gives GIORGIO a slap on the back. GIORGIO is not amused.)
COLONEL
(spoken) In time, Captain Bachetti, you too will get used to life amongst us.
(Snare drums; everyone gets up. CLARA enters while the soldiers form to a march.
CLARA sings from another letter, accompanied chiefly by drums and sporadic bugle
calls)



THIRD LETTER
CLARA
Clara, I'm in hell,
GIORGIO
This is hell,
SOLDIERS
Living hell.
CLARA
Living hell.
This godforsaken place -
SOLDIERS
This godforsaken place -
CLARA
This sterile little town, these pompous little men,
GIORGIO
This military madness ...
SOLDIERS
This military madness ...
This military ...
ALL
Uniforms, uniforms ...
GIORGIO
Military madness ...
SOLDIERS
Military madness ...
CLARA AND GIORGIO
My days are spent in maneuvers ...
SOLDIERS
Uniforms, uniforms
CLARA AND GIORGIO
My evenings in discussing the day -
SOLDIERS
This is hell --
CLARA
My nights are spent in thinking of you.
GIORGIO
Don't forget me, CLARA ...
(CLARA exits as the Soldiers march off and the DOCTOR enters)
DOCTOR
(spoken) Good afternoon, Captain.
GIORGIO
(spoken) Doctor.
DOCTOR
(spoken) Your troops seem to be responding well to your command.
GIORGIO
(spoken) Thank you, sir.
DOCTOR
(spoken) How are you enjoying your new post?
GIORGIO
(spoken) (polite) I find everyone most hospitable.
DOCTOR
(spoken) Good. Your company at meals has certainly been a welcome change for me.
GIORGIO
(spoken) Thank you.
DOCTOR
(spoken) I trust the occasional outburst from Colonel Ricci's cousin hasn't
unsettled you today.
GIORGIO
(spoken) No. What exactly is wrong with her?
DOCTOR
(spoken) She is a kind of medical phenomenon, a walking collection of all
possible illnesses. Her diseases are beyond science ...
GIORGIO
(spoken) The screams?
DOCTOR
(spoken) Hysterical convulsions. One might say that her nerve endings are
exposed, where ours are protected by a firm layer of skin.
GIORGIO
(spoken) Is she in danger of succumbing to this illness?
DOCTOR
(spoken) I don't believe so. Her body is so weak, it doesn't have the strength
to produce a mortal disease.
GIORGIO
(spoken) I don't understand
DOCTOR
(spoken) The weak protect themselves. The defensive soldier often lives longer
than the brave one.
GIORGIO
(spoken) Is she young?
DOCTOR
(spoken) Late twenties, I would venture.
GIORGIO
(spoken) Pretty?
DOCTOR
(spoken) That you must decide for yourself.
GIORGIO
(spoken) You don't suppose that she's the Colonel's lover, do you?
DOCTOR
(spoken) Captain Bachetti, it's good to see you enjoy an occasional bit of
gossip.
(GIORGIO is immediately embarrassed)
(spoken) No need for discomfort, Captain. We're all human. Your curiosity is
understandable. No, I'm afraid Signora Fosca's physical state prevents her from
being anyone's lover. Good day.
(He moves off; bugle calls)
GIORGIO
Clara, don't forget me.
Keep me close to you, CLARA ...
(We segue back to the Colonel's dining room; it is morning. RIZZOLLI and BARRI
are finishing their breakfast as GIORGIO joins them and sits.)
RIZZOLLI
(spoken) Late for breakfast, Captain.
GIORGIO
(spoken) I decided to accompany my troops at their morning drill. Before their
weekly maneuvers.
BARRI
(spoken) You're a better officer than I am. I let my sergeant oversee the
morning drill.
LOMBARDI
(Clearing Fosca's place setting)
(spoken) Well, it looks as if Signora Fosca has disappointed us once again.
RIZZOLLI
(spoken) Why keep setting her place?
(Bugle call)
BARRI
(spoken) (rises) Captain Bachetti, I'm afraid you'll have to take breakfast
alone.
GIORGIO
(spoken) We still have dinner to share, gentlemen.
RIZZOLLI
(spoken) Indeed.
BARRI
(spoken) Any chance we might interest you in a game of cards tonight?
GIORGIO
(spoken) No. I'm not a gambling man.
RIZZOLLI
(spoken) The boredom of this place will make a gambler of you yet.
BARRI
(spoken) Good day, Captain.
GIORGIO
(spoken) Gentlemen ...
(RIZZOLLI and BARRI exit. GIORGIO takes out a letter, which he begins to read.
CLARA enters. A shadowy figure - FOSCA - appears at the top of the stairs and
begins slowly descending)



FOURTH LETTER
CLARA
Yesterday I walked through the park
To the place where we met.
Afterwards I sat on the bench
Where we sat all that sultry afternoon.
I thought about our room, our secret room
Where we were happy
And where we shall be happy again
Some day.
I see us in our room, our secret room,
And I don't feel so alone any more ...
(Against her song, the Chopinesque piano music which we heard before begins to
play)
I close my eyes, imagining that you are there,
Imagining your fingers touching mine,
Imagining our room,
The bed, the secrecy, the world outside,
Your mouth on mine ...
(FOSCA descends the last step. She carries some books and approaches her empty
place setting with an uncertain gait. As she turns from the shadows, revealing
herself, we discover that she is an ugly, sickly woman: incredibly thin and
sallow, her face all bones and nose, her hair pulled tightly back. Music holds)
FOSCA
Captain ...
(GIORGIO sees her and is momentarily stunned. CLARA exits. FOSCA gives a
nervous, grotesque smile as the orchestra resumes, playing the piano music.
GIORGIO quickly rises. FOSCA speaks, in rhythm to the music; her voice is lovely
and elegant, but melancholy)



I READ
FOSCA
(spoken) I hope I didn't startle you.
GIORGIO
(spoken) Not at all. Signora Ricci, I'm Captain Bachetti -
FOSCA
(spoken) (simultaneously) - Bachetti.
I know. My cousin has told me all about you.
(sung) I came to thank you for the books.
I would have sooner, but I've been so ill.
GIORGIO
(spoken) Well, now you seem to be feeling more normal.
FOSCA
(spoken) Normal? I hardly think so. Sickness is normal to me as health is to
you. Excuse me. I shouldn't speak of my troubles. I have been going through a
period of deep melancholy. I so enjoyed the novel by Rousseau.
(There is an awkward moment of silence as Adriana enters and pours FOSCA a cup
of coffee. As she leaves, the music becomes low and intense.)
GIORGIO
(spoken) Yes, it's wonderful. It's my favorite, really.
FOSCA
(spoken) The character of Julie is a great mystery.
GIORGIO
(spoken) You should have kept the book longer to meditate over.
FOSCA
(sung) I do not read to think.
I do not read to learn.
I do not read to search for truth
I know the truth, the truth is hardly what I need.
I read to dream.
I read to live.
In other people's lives.
I read about the joys, the world
Dispenses to the fortunate,
And listen for the echoes.

(Fiercely)
I read to live,
To get away from life!
(Calmer)
No, captain, I have no illusions.
I recognize the limits of my dreams.
I know how painful dreams can be
Unless you know they're merely dreams.
(Smiling acridly)
There is a flower which offers nectar at the top,
Delicious nectar at the top and bitter poison underneath.
The butterfly that stays too long and drinks too deep
Is doomed to die.
I read to fly, to skim -
I do not read to swim.
(Bitterly)
I do not dwell on dreams.
I know how soon a dream becomes an expectation
How can I have expectations?
Look at me
No, captain, look at me -
Look at me!
(Exalted)
I do not hope for what I cannot have!
I do not cling to things I cannot keep!
(Tightly)
The more you cling to things, the more you love them,
The more the pain you suffer when they're taken from you ...
(Calming down again)
Ah, but if you have no expectations,
You can never have a disappointment.
(Gives a short laugh; music continues under)
(spoken) Forgive me. I must be mad to chatter on about myself like this to you.
GIORGIO
(spoken) I assure you -
FOSCA
(spoken) No, forgive me, please ...
GIORGIO
(spoken) But truly, there is nothing to forgive -
FOSCA
(sung) Have you explored the town?
It is remote, isn't it?
And provincial, don't you think?
GIORGIO
(spoken) Yes.
FOSCA
(sung) And everything so brown:
The streets, the fields, the river even,
Though there are some lovely gardens.
(spoken) You do like gardens, I hope?
GIORGIO
(spoken) Yes.
FOSCA
Good, I can show you gardens.
And then of course there is the castle.
(spoken) The ruined castle.
GIORGIO
(spoken) Ah.
FOSCA
(spoken) I find it lovely. Probably because it's ruined, I suppose.
GIORGIO
(spoken) I didn't know there was a castle.
FOSCA
(sung) I like to take excursions there -
When I'm in better health.
Perhaps you join me and my cousin
One day ...
GIORGIO
(spoken) That would be delightful. I don't believe I've seen a flower or a
garden since the day I arrived.
(FOSCA suddenly gets up and slowly leaves the room. Confused, GIORGIO rises and,
after she has gone, takes his books and begins to leave. We hear the distant
sound of field drums, muffled, funereal. Fosca, just as unexpectedly, returns,
carrying a small bunch of flowers, which she offers to GIORGIO without a word)
GIORGIO
(spoken) Thank you. How delightful.
FOSCA
(spoken) (Crossing to the window) I'm surprised you haven't seen our wonderful
greenhouse.
GIORGIO
(spoken) Greenhouse?
FOSCA
(spoken) Yes, we haven't had much luck with the vegetables this year. But the
gardenias and petunias are magnificent.
(GIORGIO joins her at the window, as the drums become louder.)
GIORGIO
(spoken) Oh look. There's a funeral procession. I suppose they come here for
flowers to adorn the casket.
(FOSCA stiffens and steps back, drawing her hand to her mouth, her eyes staring)

(spoken) It's good to know that the dead here -
(FOSCA begins to tremble)
(spoken) Signora?
(FOSCA lets out a terrible cry and collapses on the floor. GIORGIO bends over
her.)
(spoken) Doctor! DOCTOR! Help!
(Two female attendants and the DOCTOR rush in and reach her. GIORGIO steps back,
staring helplessly as they carry her off)



TRANSITION
GIORGIO
How can I describe her?
The wretchedness,
God, the wretchedness
And the suffering, the desperation
Of that poor unhappy creature -
The embarrassment, Clara.
Looking at that loneliness,
Listening to all that self-pity ...
(Another formation of Soldiers takes us to the Garden)
SOLDIERS
The town -
It is remote, isn't it?
And provincial, don't you think?
And everything so brown:
The streets, the fields, the river even.
Of course there is the castle,
The ruined castle ...



GARDEN SEQUENCE
(The castle garden: The Colonel, the DOCTOR and FOSCA enter and stroll through
the garden down to Giorgio; music continues underneath. )
DOCTOR
(spoken) Ah, look at how they've let this garden go.
COLONEL
(spoken) This is not Milan, Doctor.
DOCTOR
(spoken) I'm all too well aware of that.
FOSCA
(spoken) I think it's rather beautiful.
DOCTOR
(spoken) For these parts, maybe ...
COLONEL
(spoken) Doctor, may I have a word with you?
DOCTOR
(spoken) Certainly.
COLONEL
(spoken) Captain Bachetti, would you lend my cousin your arm? I wish to have a
word with the Doctor.
GIORGIO
(spoken) Of course.
FOSCA
(spoken) I do know how to walk. My cousin treats me like I'm a child.
GIORGIO
All the while as we strolled,
Clara --
FOSCA
(spoken) I hope I didn't frighten you the other day.
GIORGIO
(spoken) No, not at all.
(sung) I could see you reading my letter.
All the while as we strolled -
FOSCA
(spoken) I'm not afraid of death. I rather think I'd welcome dying. It's
everything that follows that I dread: being shut up in a coffin, smothered in
the earth, turning into dust. These images send me into a state of terror.
GIORGIO
-- All I saw,
-- All I knew.
All that I could think of was you.
(CLARA enters, reading a letter)
FOSCA
Even talking of this makes me ...
(Momentarily, GIORGIO fears she will suffer another attack)
GIORGIO
(spoken) Surely if you are ill, there is every hope you will get better.
CLARA
All that I could think of was you
FOSCA
(spoken) Hope in my case is in rather short supply.
CLARA
How ridiculous -
GIORGIO
(spoken) Well, then one must look to life for whatever pleasures it can offer.
FOSCA
(spoken) And what might they be?
CLARA
To be looking at her
GIORGIO
(spoken) Helping others, for example.
FOSCA
(spoken) Helping others!
CLARA
And be thinking of you.
FOSCA
(spoken) I have worked in poorhouses, Captain.
CLARA
How could anyone
FOSCA
(spoken) I felt no different.
CLARA
So unbeautiful
FOSCA
(spoken) Pity is nothing but passive love.
CLARA
Stir my memory of you?
FOSCA
(spoken) Dead love.
CLARA
To feel a woman's touch
To touch a woman's hand,
Reminded me how much I long to be with you,
How long I've been without you near
And then to hear a woman's voice
To hold a woman's arm
To feel a woman's touch ...
GIORGIO
(spoken) These thoughts are bad for you. You must concentrate on everything
around you that suggests life. These trees, these flowers, the warm smell of the
air -
FOSCA
(spoken) You make it sound so simple Captain. As if a flower or a tree could
somehow make one happy.
CLARA
Perhaps it was the dress, the fragrance of her dress,
The light perfume of silk
That's warm from being in the sun
That mingles with a woman's own perfume
The fragrance of a woman ...
GIORGIO
(spoken) There is no absolute happiness in anyone's life, Signora.  The only
happiness we can be certain of is love.
CLARA
The garden filled with you -
FOSCA
(spoken) Are you speaking of friendship? That kind -
GIORGIO
(spoken) I'm speaking of a superior kind of love -
CLARA
And all that I could do, because of you,
GIORGIO
(spoken) The kind between two people.
CLARA
Was talk of love -
FOSCA
(spoken) Two people ...
GIORGIO
(spoken) Yes.
(GIORGIO sings to FOSCA as CLARA continues to sing the letter)
CLARA AND GIORGIO
- Love that fills every waking moment,
Love that grows every single day,
Love that thinks everything is pure,
Everything is beautiful
Everything is possible
      CLARA
      Love that fuses two into one,
      Where we think the same thoughts,
      Love the same things
      Live as one.
      Feel as one.
      Breathe as one
      Love that shuts away the world
      That envelops my soul,
      That ennobles my life GIORGIO
      Love that fuses two into one,
      Where you think the same thoughts,
      Want the same things
      Live as one.
      Feel as one.
      Breathe as one
      Love that shuts away the world
      That envelops your soul,
      Your life

BOTH
Love that floods
Every living moment,
Love like -
CLARA
- ours
FOSCA
(spoken) Love like -?
GIORGIO
- like wine.
An intoxication.
(spoken) A great blindness, if you will.
FOSCA
(spoken) Yes, I have read about that kind of love. But you speak as one who
lives it.
(Music stops. She stumbles slightly; GIORGIO goes to aid her, but she pulls
herself away)
(spoken) I don't feel well. I must go home.
GIORGIO
(spoken) I'm sorry
FOSCA
(spoken) You can be incredibly cruel, Captain.
GIORGIO
(spoken) Cruel?
FOSCA
To speak to me of love -
To dangle words like
"Happiness"
"Beautiful"
"Superior" -
You can't be that naive.
GIORGIO
(spoken) Forgive me. I have not taken -
FOSCA
You with all your books
Your taste, your sensitivity
I thought you'd understand.
The others - well, they're all alike.
Stupidity is their excuse,
As ugliness is mine,
But what is yours?
I've watched you from my window.
I saw you on the day that you arrived.
Perhaps it was the way you walked
The way you spoke to your men.
I saw that you were different then.
I saw that you were kind and good.
I thought you'd understood.
(Intensely)
They hear drums
You hear music
As do I
Don't you see?
We're the same
We are different,
You and I are different.
They hear only drums.
All the time I watched from my room
I would think of coming downstairs
Thinking we'd meet, thinking you'd look at me
Thinking you'd be repelled by what you saw.
Don't reject me,
Don't deny me, Captain
Understand me, be my friend.
They hear drums, we hear music.
Be my friend ...
(Music under, fading)
GIORGIO
(spoken) (stunned) Yes. Of course. You have my friendship
(FOSCA grabs Giorgio's hand)
FOSCA
(spoken) Thank you, Captain.
GIORGIO
(spoken) Your hand is on fire.
FOSCA
(spoken) It's nothing. I have a fever. I always have fever.
(The COLONEL and DOCTOR approach)
COLONEL
(spoken) Shall we make our way towards the castle?
GIORGIO
(spoken) Signora FOSCA is not feeling well.
(The COLONEL goes to her and takes her arm)
COLONEL
(spoken) I'm terribly sorry, my dear.
FOSCA
(spoken) (looking at Giorgio) I'll be fine now.
COLONEL
(spoken) Of course, but we should head back nonetheless.
(Music resumes as the Colonel, the DOCTOR and FOSCA head off with GIORGIO
trailing behind)
(The dining quarters: CLARA stands at one side of the stage with a letter in
hand, GIORGIO similarly opposite her. )
CLARA
(spoken) My darling, you did as you should. You had no choice.
GIORGIO
(spoken) After all, her cousin is my superior.
CLARA
(spoken) You must think of your career.
GIORGIO
(spoken) But how could I turn from such a desperate soul?
CLARA
(spoken) You showed pity
GIORGIO
(spoken) And yet I have a sinking feeling.
CLARA
(spoken) It is difficult for a man and a woman to be friends.
GIORGIO
(spoken) I sense she wants more from me.
CLARA
(spoken) You must take care to make your intentions clear.
GIORGIO
(spoken) I've opened the door
CLARA
(spoken) Desperation can take its toll
(FOSCA is revealed on the stairs, descending; she also carries a letter)
FOSCA
Three days ...
GIORGIO
(spoken) Should I be cruel to set myself free?
CLARA
(spoken) There is nothing wrong with thinking of oneself.
FOSCA
Three days ...
GIORGIO
(spoken) All I think of is you.
CLARA
(spoken) Keep your distance.
GIORGIO
(spoken) Keep my distance.
CLARA
(spoken) Be unavailable to her.
GIORGIO
(spoken) Unavailable.
CLARA
(spoken) Yes, aloof.
FOSCA
Three days ...
GIORGIO
(spoken) I love you so much.
CLARA
(spoken) I love you more.
FOSCA
Three ...
GIORGIO
(spoken) Forever yours.
FOSCA
... days
CLARA
(spoken) As always.
GIORGIO
(spoken) Giorgio.
CLARA
(spoken) Clara.
(CLARA and GIORGIO exit in opposite directions. FOSCA reads from her letter as
she crosses to the table. The dining hall, with its usual habitués, slowly comes
into place behind her)
FOSCA
(spoken) Giorgio, these past three days have been perhaps the most painful of my
life. I have looked for you everywhere. No matter how poor my health, I have
made my way to the dining room, praying you would be there. You promised me your
friendship, Giorgio. But it is clear to me that your promise was a hollow one. I
wish I could strike you from my mind and my heart. But I cannot. You may
disappear, Giorgio, but I will not.
(She folds the letter and slips it under the napkin at Giorgio's place setting,
then sits. Everyone follows and the scene comes to life.
BARRI
(spoken) ... so I applied for a new pair of horses, but they only had bays or
piebals.
LOMBARDI
(spoken) Piebalds!
TORASSO
(spoken) You certainly don't want piebals.
RIZZOLLI
(spoken) Perhaps you should go to Turin. There's a wonderful stable there -
BARRI
(spoken) No. That stable is no longer reputable
(GIORGIO enters)
TORASSO
(spoken) Ah, Bachetti ...
COLONEL
(spoken) We haven't seen you for three days.
GIORGIO
(spoken) Yes, sir. I decided to accompany my troops on maneuvers.
BARRI
(spoken) Your hard work will show us all up.
GIORGIO
(spoken) Nonsense.
(He sits and as he takes his napkin, the lights elsewhere darken. He discovers
the letter and is about to open it when he looks to Fosca, who returns the look.
He immediately sticks the letter into his pocket. The lights restore as he
begins to help himself to food.)
(spoken) Excuse me, Doctor. Why do you always place that gold coin on the table
at mealtime?
DOCTOR
(spoken) For thirty years, I've done that whenever I dine with other officers.
The first meal where no one talks about horses or women,
(As some of the other officers chime in)
(spoken) I'll surrender my golden coin.
(Laughter)
BARRI
(spoken) Some risk! You'll never lose it!
RIZZOLLI
(spoken) I remember a wager that Lieutenant Barri made once -
(The lights suddenly change. FOSCA grabs Giorgio's hand as he reaches for the
salt; she draws his hand by her side and out of view under the table)
FOSCA (to Giorgio, whispering)
(spoken) I've missed you so much.
GIORGIO
(spoken) Please.
FOSCA
(spoken) You must read my letter.
GIORGIO
(spoken) Let go of my hand. Let go.
(GIORGIO tries to free his hand with no success; the lights restore)
RIZZOLLI
(spoken) Well, of course there was no chance for anyone but him to win.
BARRI
(spoken) No one was forced to bet, Major.
DOCTOR
(spoken) Would you please pass the salt?
(GIORGIO is extremely embarrassed, because he still can't free his hand. FOSCA
passes the salt.)
(spoken) Not hungry, Captain?
GIORGIO
(spoken) Yes, yes.
(He helps himself to some veal with his left hand)
(spoken) Colonel, I've received a letter this morning. I'm urgently required in
Milan. I therefore request a leave of at least five days.
DOCTOR
(spoken) What?
(The table noise suddenly quiets)
COLONEL
(spoken) If you had asked me this in my office, I might have refused. You've
been here only a month ...
GIORGIO
(spoken) I realized that, sir. It's of some importance.
COLONEL
(spoken) When do you want to leave?
GIORGIO
(spoken) As soon as possible.
COLONEL
(spoken) Very well. After all, how can I refuse a guest at my table?
TORASSO
(spoken) By this time tomorrow, Bachetti, you'll probably be in the arms of some
young beauty.
(The table fills once more with conversation as FOSCA lets go of Giorgio's hand
and dissolves into herself. GIORGIO quickly turns from her and continues with
his meal as the lights slowly fade to black. In a ghostly fashion, the Soldiers
perform their drill.)



TRANSITION
AUGENTI, SOLIDER ONE AND SOLDIER TWO
(spoken) All the time I watched from my room...
AUGENTI
(spoken) Thinking we'd meet...
SOLDIER ONE
Thinking you'd look at me ...
SOLDIER TWO
Thinking you'd -
AUGENTI, SOLDIER ONE AND SOLDIER TWO
- be repelled by what you saw.
SOLDIER ONE AND SOLDIER TWO
Don't reject me ...
AUGENTI, RIZZOLLI, BARRI AND TORASSO
Don't deny me ...
AUGENTI, SOLDIER ONE AND SOLDIER TWO
Understand me, be my friend.
ALL
They hear drums,
We hear music
Be my friend ...
(The courtyard: Morning fog covers the stage as military exercises take place.
GIORGIO enters with a suitcase in hand, salutes the Soldiers, then begins to
cross the stage. The formation marches off as FOSCA surprises him out of the
shadow.)
FOSCA
(spoken) When will you be back?
GIORGIO
(spoken) What are you doing up and out at this hour?
FOSCA
(spoken) When will you be back?
GIORGIO
(spoken) You know I have a five-day leave.
FOSCA
(spoken) Will you think about me when you're gone?
GIORGIO
(spoken) I'll think about my work, my superiors, your cousin. That is why I will
think of you.
(He begins to walk away but FOSCA steps in his path)
(spoken) Signora, please. Don't make this difficult.
(He walks further, but she continues to block his path. He raises his hand to
impede her; FOSCA grabs it and presses it to her breast, then throws herself
around him. GIORGIO pushes her away)
(spoken) Let go of me. You don't want someone to see you.
FOSCA
(spoken) What does it matter if they see me? What do I care if the whole world
knows how I feel? I adore you. Is that something I should be ashamed of? Is that
something I should hide?
(He tries once more to escape, but she drops to the ground and wraps herself
around his legs)
(spoken) I'm not a fool. I know you don't feel the same way as I do. But one
loves a dog, an animal. What can I do to get you to love me - a human being like
yourself?
(She begins to weep)
GIORGIO
(spoken) Get up Signora, please.
(He helps her up)
(spoken) Calm down. Calm down, please. I have to leave straight away. I am
touched by your affection. It flatters me greatly. My mind is racing with so
many thoughts ...
FOSCA
(spoken) Tell me your thoughts.
GIORGIO
(spoken) I have to leave straight away.
FOSCA
(spoken) Write me.
GIORGIO
(spoken) Fine. I will write you.
FOSCA
(spoken) Promise.
GIORGIO
(spoken) Yes, I promise.
FOSCA
(spoken) Tomorrow.
GIORGIO
(spoken) Tomorrow. Now, please go. I really don't want anyone to see you here.
FOSCA
(spoken) Bless you.
(She lets go and he races out. Music. FOSCA crosses to her drawing room on one
side of the stage while on the other side GIORGIO and Clara's meeting place
appears. CLARA is in bed. Silently, Giorgio comes to her and embraces her
passionately as she begins to strip off his clothes. AUGENTI enters Fosca's
drawing room with a letter. He hands her the letter, then exits. FOSCA tears
open the letter)



TRIO
FOSCA
I am writing to you, Signora
Just as soon as I've arrived
With a most unhappy heart.

GIORGIO
God, you are so beautiful -
FOSCA
I do not wish to cause you pain -
GIORGIO
As I remember every night -
FOSCA
So please consider what I say -
GIORGIO
Clear and beautiful -
FOSCA
With calm.
GIORGIO
Every night, every day,
Every part of you -
FOSCA
My heart -
CLARA
You feel so good -
FOSCA
My heart belongs -
CLARA
As if you'd never been away -
FOSCA
My heart belongs to someone else.
CLARA
Your breath so warm
Your touch so sure -
GIORGIO
Your skin so delicate ...
CLARA
Your arms so strong ...
FOSCA
I am in love, hopelessly in love -
Hopelessly in love, and I am loved
Hopelessly in turn, Signora.
GIORGIO AND  CLARA
All this happiness -
FOSCA
You and I -
GIORGIO AND  CLARA
Being here with you in the dark.
FOSCA
We're not meant for each other.
GIORGIO AND  CLARA
So much happiness -
FOSCA
If I seemed to imply
Something more -
GIORGIO AND  CLARA
Even more than what I felt before!
FOSCA
I apologize.
GIORGIO AND  CLARA
To feel your touch again -
FOSCA
But since we're forced to be together -
GIORGIO AND  CLARA
When so much time has passed -
FOSCA
Let us try to face the fact.
GIORGIO AND  CLARA
To dream of you and then to be with you again
And have some time at last ...
FOSCA
Let us both behave with tact.
GIORGIO AND  CLARA
How long were we apart -
FOSCA
If this letter seems cold- hearted -
GIORGIO AND  CLARA
A month, a week, a day?
FOSCA
It conceals my own distress.
Nonetheless -
GIORGIO AND  CLARA
To feel your touch again -
FOSCA
We must end what never started.
GIORGIO AND  CLARA
You've never been away.
FOSCA
You must recognize -
CLARA
Still, I've missed you -
FOSCA
There is nothing -
GIORGIO
Hush.
FOSCA
Between us.
CLARA
- so much.
FOSCA
Nothing ...
GIORGIO
Shhh. I'm here now.
FOSCA
Nothing, nothing ...
CLARA
Welcome home ...
(CLARA and GIORGIO embrace passionately as Fosca, stone-faced remains alone in
her drawing room; her attendants ever with a shawl, which they wrap about her,
and a needlepoint frame, which she takes and begins feverishly working at.
Fosca's attendants set the stage for Giorgio's entrance)


PASSION (PART TWO) -- LYRICS



TABLE OF CONTENTS
      TRANSITION
      THREE WEEKS
      I WISH I COULD FORGET YOU
      SOLDIERS' GOSSIP
      FLASHBACK
      SUNRISE LETTER
      IS THIS WHAT YOU CALL LOVE?
      SOLDIERS' GOSSIPTRANSITION
      FORTY DAYS
      LOVING YOU
      TRANSITION
      SOLDIERS' GOSSIP
      FAREWELL LETTER
      NO ONE HAS EVER LOVED ME
      FINALE



TRANSITION
ATTENDANTS
I've watched you from my window
I saw you on the day that you arrived.
Perhaps it was the way you walked.
The way you spoke to your men.
You were different then,
You were kind and good.
I thought you understood ...
(Fosca's drawing room: FOSCA sits doing needlepoint. She appears even sicker
than usual. An attendant goes off and returns with Giorgio. FOSCA greets GIORGIO
with a cold smile and signals the attendant to leave. )
GIORGIO
(spoken) You sent for me.
FOSCA
(spoken) I received your letter and I thank you. I hope we can still shake
hands.
(She extends her hand to him)
GIORGIO
(spoken) Yes, of course. We can certainly be friends.
FOSCA
(spoken) You have no idea how mortified I am.
GIORGIO
(spoken) Mortified?
FOSCA
(spoken) About everything that has happened. My emotions sometimes overpower my
judgement.
GIORGIO
(spoken) I found your affection very flattering.
FOSCA
(spoken) How indulgent you are with me. Did you amuse yourself in Milan?
GIORGIO
(spoken) Very much.
FOSCA
(spoken) Admit that you only took leave to visit my rival.
GIORGIO
(spoken) Your rival? Yes, of course that was the purpose of my visit.
FOSCA
(spoken) Excuse me. I can be very naive sometimes. I should have understood what
you meant by your "urgent need to leave". Will you be going back soon?
GIORGIO
(spoken) Whenever I can. As soon as possible.
FOSCA
(spoken) If you get another leave.
GIORGIO
(spoken) Naturally.
FOSCA
(spoken) Perhaps I should put in a word to my cousin. My help might serve you
well. On the other hand, a negative word...
GIORGIO
(spoken) Place more value on your dignity. Don't offend your pride, Signora.
FOSCA
(spoken) We each deal with our pride as best we can. Do you love this woman very
much?
GIORGIO
(spoken) I wrote to you.
FOSCA
(spoken) Is she beautiful?
GIORGIO
(spoken) As an angel.
FOSCA
(spoken) Then why don't you marry her?
GIORGIO
(spoken) She is already married.
FOSCA
(spoken) And you respect her.
GIORGIO
(spoken) You can't love someone without respecting.
FOSCA
(spoken) That's not true, but it hardly matters. And is your angel also a
mother?
GIORGIO
(spoken) Let's stop torturing each other like this. It's humiliating and
degrading. I find your sarcasm most distasteful.
FOSCA
(spoken) I have many flaws, Captain.
GIORGIO
(spoken) Our situation is well-defined. Let's not discuss this subject again.
FOSCA
(spoken) That is what I would like.
GIORGIO
(spoken) Good. Perhaps we should have no further occasion to speak of ourselves.

FOSCA
(spoken) You may also hope that we do not see each other again.
GIORGIO
(spoken) Yes, that might be very well the best course of action.
FOSCA
(spoken) You may go now, Captain. I have more important things to do.
(GIORGIO clicks his heels and exits. As CLARA walks through, reading a letter.
We segue to the Doctor's office)



THREE WEEKS
CLARA
Three weeks ...
Three weeks ...
SOLDIERS
This is hell,
Living hell ...
CLARA
(spoken) My darling Clara. The last three weeks have been a blessing. Signora
FOSCA has all but disappeared from my life here.
SOLDIERS
Living hell ...
This godforsaken place
CLARA
(spoken) She no longer has her meals with us. Even in her absence I find myself
hating her more and more.
SOLDIERS
This sterile little town
This military madness ...
CLARA
(spoken) I've realized how I've had to temper my feelings towards her. But now
that I'm free, I can feel as I please.
SOLDIERS
Uniforms, uniforms ...
CLARA
(spoken) But you, my Clara -
SOLDIERS
Our days are spent in maneuvers
Our evenings in discussing the day
CLARA
(spoken) You remain in my thoughts
SOLDIERS
Uniforms, uniforms
CLARA
(spoken) - as strong as ever
SOLDIERS (growing louder)
Military madness ...
Military madness ...
(GIORGIO approaches the Doctor, who is at his desk)
GIORGIO
(spoken) Doctor.
DOCTOR
(spoken) Thank you for coming so late, Captain. Signora FOSCA has taken a turn
for the worse. She is mortally ill.
GIORGIO
(spoken) I'm sorry to hear that.
DOCTOR
(spoken) Don't you understand, my boy? It's because of you.
GIORGIO
(spoken) Because of me?
DOCTOR
(spoken) She told me everything. You rejected her love - which doesn't actually
surprise me - and that has increased the gravity of her disease. She is letting
herself die because of you.
GIORGIO
(spoken) Because of me! Letting herself die?
DOCTOR
(spoken) This passion she has developed for you -
GIORGIO
(spoken) Passion for me? Doctor, I hardly know this woman. She threw herself at
me and for no reason. I am sure you will do all you can for her.
DOCTOR
(spoken) A simple act on your part is also required.
GIORGIO
(spoken) I do not wish to get involved.
DOCTOR
(spoken) You are involved. Go and see her.
GIORGIO
(spoken) No! How can I possibly visit Signora Fosca at her sick bed at night?
It's improper. The Colonel would never improve.
DOCTOR
(spoken) You needn't worry about that. I have made all the arrangements.
GIORGIO
(spoken) Does she know about this?
DOCTOR
(spoken) You can't imagine what this has cost her. You're a good-looking young
man. Beauty has a price as has goodness - another quality you embody. Be kind.
Go and see her now.
GIORGIO
(spoken) And if I go, what then? What will she ask of me tomorrow, next week?
DOCTOR
(spoken) I know how difficult this is for you. But she is dying. And all you
have to give her is a few words. Kind words which will make her well. What is
the cost of a few words when a life hangs in the balance? Good night.
(A moment, then GIORGIO exits as the DOCTOR watches)
(Fosca's bedroom: A lone candle lights the stage; we see FOSCA in bed. GIORGIO
tentatively enters the room and stands for a moment before a startled FOSCA sees
him; her hair is in a braid, her high fever giving her face a little color.)
GIORGIO
(spoken) No need to be frightened. It's only me. It's Giorgio.
FOSCA
(spoken) Oh my God! It's really you. I never thought you would come. Of course I
had hoped ... Will you forgive me for having asked?
GIORGIO
(spoken) I am here because I chose to be.
FOSCA
(spoken) Sit down.
(GIORGIO goes to a nearby chair)
(spoken) No, sit here.
(She indicates the bed; GIORGIO stands frozen for a moment)
(spoken) Please.
(He walks to the bed and gingerly perches next to her)
(spoken) Put your feet on the bed.
GIORGIO
(spoken) I am fine, Signora.
FOSCA
(spoken) I want you to be comfortable. Please.
(Reluctantly, he raises his legs onto the bed; she reaches for a candle, which
she raises to his face)
God, you are so beautiful.
Come, let me see you in the light.
No, don't look at me.
Let me look at you.
I feel better in the dark.
GIORGIO
(spoken) Your kindness makes you beautiful.
FOSCA
(spoken) And do you value such beauty?
GIORGIO
(spoken) Yes, of course.
FOSCA
(spoken) How do good hearts beat? Can you distinguish them from the bad? Listen
to my heart, Giorgio.
(FOSCA takes Giorgio's hand and puts it on her heart)
(spoken) It says it loves you.
(She places her hand on his chest)
(spoken) What does your heart say?
GIORGIO
(spoken) It says it loves you.
FOSCA
(spoken) Like a friend?
GIORGIO
(spoken) Tonight, (he hesitates) tonight it loves you as you wish.
FOSCA
(spoken) Thank you, Giorgio. I so wanted to forget you. To think that I could! I
wanted to die without seeing you -
GIORGIO
(spoken) No, I am here to tell you you'd be happier living.
FOSCA
(spoken) That day I was so unpleasant to you -
GIORGIO
(spoken) Please, don't speak of the past. Now that I've come, now that we've
spoken, now you should get some sleep.
FOSCA
(spoken) Will you stay if I do?
GIORGIO
(spoken) Yes. Yes, of course.
FOSCA
(spoken) Will you sleep, too?
GIORGIO
(spoken) If I can.
FOSCA
(spoken) Put your head near mine. Can we dream together?
GIORGIO
(spoken) Yes.
(They close their eyes, as CLARA enters)
CLARA
(spoken) My darling Giorgio.
(spoken) It's three in the morning. I've just arisen from a dream of you, a
dream so real I could swear you were there at my side. I am so used to this,
having you in my dreams night after night. How I wish I could just lie by your
side and watch you sleep. To see you disarmed, at peace. Sometimes I think when
you watch a person sleep there's a transparency that lets you see their soul.
How I long to see yours ...
(CLARA exits. FOSCA wakes up and stares at GIORGIO a moment before he wakes. She
gently reaches out to touch his face.)
FOSCA
(spoken) It is you. I thought I was dreaming. Draw the curtain, please. I want
to see the stars before the daylight takes them away.
(GIORGIO gets up and complies)
FOSCA
(spoken) Do you think there are worlds out there?
GIORGIO
(spoken) (staring into the sky) Yes, I do.
FOSCA
(spoken) Will we visit them one day?
GIORGIO
(spoken) Oh, I hope so. When I was a child I used to dream I could fly - travel
to faraway places.
FOSCA
(spoken) What is a man like you doing in the army, Giorgio?
GIORGIO
(spoken) My father was an officer. It was expected.
FOSCA
(spoken) Call me by my name.
GIORGIO
(spoken) Fosca.
FOSCA
(spoken) Say "Giorgio and Fosca".
GIORGIO
(spoken) Giorgio and Fosca.
FOSCA
(spoken) Say "Fosca and Giorgio"
GIORGIO
(spoken) Fosca and Giorgio.
FOSCA
(spoken) It's music! (Pause) Do you love this woman very much?
GIORGIO
(spoken) Please don't ask me. I've told you how I feel.
FOSCA
(spoken) What is her name?
GIORGIO
(spoken) Clara.
FOSCA
(spoken) Clara.
GIORGIO
(spoken) I should be going. It will be light soon.
FOSCA
(spoken) Will you do me a great favor before you go?
GIORGIO
(spoken) If I can.
FOSCA
(spoken) Would you write a letter for me?
GIORGIO
(spoken) Certainly.
FOSCA
(spoken) You find paper on my desk.
(He goes to her desk and sits, taking up a pen.)
GIORGIO
(spoken) Yes?



I WISH I COULD FORGET YOU
FOSCA
(spoken) My dearest Fosca...
(He stops writing and looks at her, annoyed)
(spoken) Please.
(He resumes writing)
GIORGIO
(spoken) 'My dearest Fosca'
FOSCA
I wish I could forget you.
Erase you from my mind.
But ever since I met you,
I find, I cannot leave the thought of you behind.
That doesn't mean I love you ...
GIORGIO
That doesn't mean I love you ...
FOSCA
I wish that I could love you ...
I know that I've upset you,
I know I've been unkind.
I wanted you to vanish from sight,
But now I see you in a different light.
And though I cannot love you,
I wish that I could love you.
For now I'm seeing love like none I've ever known.
A love as pure as breath, as permanent as death.
Implacable as stone.
A love that, like a knife,
Has cut into a life
I wanted left alone.

A love I may regret,
But one I can't forget.
I don't know how I let you
So far inside my mind,
But there you are and there you will stay
How could I ever wish you away?
I see now I was blind.
And should you die tomorrow,
Another thing I see.
Your love will live in me.
(As the music fades)
(spoken) I remain ... Your Giorgio.
(He signs the letter and blots it)
(spoken) Bring it to me.
(He does)
(spoken) Thank you, Giorgio. It's getting light. You better go. Do you have
sisters?
GIORGIO
(spoken) Yes.
FOSCA
(spoken) Do you kiss them goodbye?
GIORGIO
(spoken) Occasionally.
FOSCA
(spoken) Would you kiss me goodbye the way you do them?
(GIORGIO gives her a peck on the forehead)
(spoken) No, like you kiss her.
(FOSCA suddenly pulls GIORGIO to her and embraces him like a lover. Stunned, he
pulls himself away; agitated)
(spoken) Go now! Go quickly! I'm going to scream!
(GIORGIO runs from the room. There is a moment of calm and then FOSCA lets out
an involuntary scream; blackout)



SOLDIERS' GOSSIP
TORASSO
Did you hear the scream last night?
AUGENTI
Did anybody not?
RIZZOLLI
(spoken) Four-ball in the side.
COOK
She knows how to scream all right.
BARRI
Well, she practises a lot.
AUGENTI
(spoken) Good shot.
RIZZOLLI
(spoken) Six-ball in the corner.
COOK
So that wasn't dying, we assume.
BARRI
No, I think she just fell off her broom.
TORRASSO
Or they hung a mirror in the room or La Signora!
BARRI
La Signora!
AUGENTI
La Signora!
RIZZOLLI
(spoken) Please, a little quiet! Care to play, Captain?
GIORGIO
(spoken) No. Thank you for asking
TORASSO
Just a bit aloof, don't you think?
COOK
Not around the colonel.
RIZZOLLI
Gentlemen, gentlemen...
AUGENTI
Never trust a man who doesn't drink.
TORASSO
And he keeps a journal.
BARRI
(spoken) Eight-ball off the nine.
RIZZOLLI
Maybe, though, he just prefers his books.
COOK
Not as much as he prefers his looks.
TORASSO
Which is why he think he's got his hooks into La Signora --
BARRI
Gentlemen, I'll make a wager: Come the Summer, he'll be major --
RIZZOLLI
I'll say!
ALL
I'll say!
I'll say!



FLASHBACK
COLONEL
(spoken) Captain, I cannot thank you enough. Signora Fosca has always had a
shortage of friends.
FOSCA
(spoken) My dear Giorgio...What a joy to have someone to write to, someone with
whom I can share my past.
COLONEL
(spoken) I was a young man when my parents died, and Fosca's mother and father
welcomed me into their house whenever I was on leave.
(sung) As a child...
FOSCA
As a child...
COLONEL
She was lonely --
FOSCA
I was happy --
COLONEL
Her parents doted on her --
FOSCA
My parents doted on me --
FOSCA AND COLONEL
They said:
MOTHER AND FATHER
Beautiful.
MOTHER
So sensitive.
MOTHER AND FATHER
So beautiful.
FOSCA
They told me to be:
MOTHER
Careful --
COLONEL
Of course --
MOTHER
-- Fosca.
COLONEL
-- To them she was.
FATHER
A girl as beautiful as you are has to --
FOSCA
and so --
FATHER
-- Be careful.
FOSCA
-- I thought that I was beautiful.
FOSCA AND COLONEL
And then I/she reached the age
Where being beautiful
Becomes the most important thing
A woman can be.
COLONEL
An unattractive man -
FOSCA
As long as you're a man.


      You still have opportunities.COLONEL
      -- Can still have opportunities.

MOTHER AND FATHER
Beautiful...
COLONEL AND FOSCA
Whereas, if you're a woman,
You either are a daughter or a wife.
MOTHER AND FATHER
A woman is a flower.
FOSCA AND COLONEL
You marry --
FATHER
-- You're seventeen
COLONEL
-- Or you're a daughter all your life.
MOTHER AND FATHER
Now is the hour...
COLONEL
I'd met this nice young man.
FOSCA
I'd seen this nice young man --
COLONEL
He'd introduced myself --
FOSCA
-- Passing by --
COLONEL
-- At my club.
FOSCA
-- Just below my window.
COLONEL
So --
FOSCA
One day --
COLONEL
-- One evening I invited him --
FOSCA
-- He tipped his hat to me.
COLONEL
-- Home.
(spoken) Count Ludovic --
FOSCA
I must admit that I was flattered --
COLONEL
(spoken) This is my Aunt  Theresa and my Uncle Bruno.
MOTHER
(spoken) A count?
FATHER
(spoken) From where, if I may ask?
LUDOVIC
(spoken) Austria.
FATHER AND MOTHER
Austria...
MOTHER
What a beautiful place.
COLONEL
(spoken) Fosca, we have a visitor!
FOSCA
Imagine my surprise...
COLONEL
(spoken) I'd like you to meet a new friend. Count Ludovic.
FOSCA
(spoken) He was even more handsome up close.
COLONEL
(spoken) I was amazed to see the Count take such an interest in my cousin.
LUDOVIC
If I had known you were here, Signorina --
FOSCA
(spoken) "If (he) had known..." Of course he knew.
LUDOVIC
-- I would have brought you many flowers.
COLONEL
(spoken) If I had known...
LUDOVIC
You do like flowers?
FOSCA
(spoken) Yes.
COLONEL
I should have known.
LUDOVIC
I've seen you at your window.
MOTHER
(spoken) Won't you stay for dinner?
FATHER
(spoken) Do. Yes.
LUDOVIC
I've watched you every day since I arrived.
FOSCA
I had my suspicions.
COLONEL
I had no suspicion.
FOSCA AND COLONEL
I chose not to see.
LUDOVIC
The way you move,
The way you gaze at the sky...
FOSCA
For love had made me blind...
COLONEL
How could I be so blind?
FOSCA
-- Or what I took for love.
COLONEL
(spoken) Within a month, he had asked for her hand.
GIORGIO
(spoken) Signora Fosca has been married?
COLONEL
(spoken) Yes.
FATHER AND MOTHER
Austria...
Count Ludovic of Austria...
FOSCA
I sensed in him a danger,
Deception,
Even violence.
I must admit to some degree
That it excited me.
FATHER AND MOTHER
Austria...
Count Ludovic of Austria...
COLONEL
(spoken)  Once they were married, once he'd received my uncle's sizable dowry,
he traveled a great deal, was unavailable to Fosca.
FOSCA
(spoken) He gambled away the dowry. I was forced to go to my parents to borrow
from what little savings they had left.
COLONEL
(spoken) Then one day, as she was coming from the market...
MISTRESS
(spoken) Excuse me. You're the wife of a Count Ludovic?
FOSCA
(spoken) Yes.
MISTRESS
You fool.
The man's a fraud.
A fake.
The trips he said he had to take abroad.
He took them so that he
Could be
With me.
He calls himself a count,
But he's not.
He's never had a title in his life!
He doesn't have a title,
But he does have a wife
And a child
In Dalmatia.
FOSCA
(spoken) No, you must be mistaken.
MISTRESS
(spoken) Oh, yes.
He only wants to bleed you,
Until the day he doesn't need you.
I warn you he'll abandon you
As he abandoned her
And me,
And countless others, I've no doubt.
I'm telling you, the man was born without
A heart
You fool...
FOSCA
(spoken) I confronted him with this information, and he made no attempt to deny
it.
LUDOVIC
Ah well, at last you know the truth.
Signorina.
But you as well must face the truth.
I've no desire to deceive you any more.
But do admit what you ignore:
We made a bargain, did we not?
And we got
What we bargained for.
You gave me your money, I gave you my looks
And my charm.
And my arm.
I would say that more than balances the books.
Where's the harm?
Now it's through.
If women can sell their looks,
Why can't a man,
If he can?
Besides, the money wasn't even yours.
It belonged to those ridiculous old bores,
Your parents.
Forgive me, my dear
But though you are no beauty, I fear
You are not quite the victim you appear.
Well, let us part by mutual consent.
And be content.
And so good luck and goodbye.
I must go
Oh, and yes, we haven't paid the rent
Since July...
Just so you know...
FOSCA
(spoken) I returned home, to find my parents impoverished and in poor health.
COLONEL
(spoken) Fosca's health failed...
FOSCA
A woman's like a flower...
COLONEL
(spoken) She began to suffer her first convulsions. My aunt and uncle nursed
them as best they could.
FOSCA
A flower's only purpose is to please...
COLONEL
(spoken) I spent months looking for the man.
FOSCA
Beauty is power...
COLONEL
(spoken) By ten, of course, he'd vanished.
FOSCA
Longing a disease...
COLONEL
(spoken) To this day, I dream of finding him and realizing my revenge.
FOSCA
(spoken) My father died not long thereafter.
COLONEL
How could I be so blind?
FOSCA
I couldn't face the world.
      COLONEL
      It took her many months to leave her bed.FOSCA
      It took me months to leave my bed.

COLONEL
(spoken) When her mother died, she had nothing really. No one.
FOSCA
(spoken) And so I went to stay with my cousin, who in some way felt responsible
for my circumstances.
COLONEL
Why could I not admit the truth?
How could I not have seen through the veneer?
I told myself, "As long as she seems happy,
Why interfere?"
Or was I just relieved to know
That somebody would want her for a wife?
In war you know the enemy,
Not always so in life.
The enemy was love --
Selfishness really, but love,
All of us blinded by love
That makes everything seem possible.
You have to pay a consequence
For things that you've denied.
This is the thorn in my side.
MISTRESS
As long as you're a man,
You're what the world will make of you.
MISTRESS AND MOTHER
Whereas if you're a woman,
You're only what it sees.
COLONEL, FATHER AND LUDOVIC
A woman is a flower
Whose purpose is to please.
ALL
Beauty is power,
Longing a disease...



SUNRISE LETTER
CLARA    
Giorgio,
I stand here
Staring at the sunrise,
Thinking how we've never seen a
Sunrise
Together,
Thinking that the sunrise
Only means another day
Without you,
And thinking:
Can our love survive
So much separation,
Keep itself alive,
Much less thrive?
If only  you were here,
If I could feel you touch,
I wouldn't have such fear.
If only we had more than letters
Holding us together,
If we just could hold each other now,
The sunrise then could be
A think that I could see
And merely think,
"How beautiful..."
CLARA AND GIORGIO
Giorgio,
I now sit
Staring at the mirror --
You may not believe it but I swear,
As I stare,
There it is,
Plain as day:
A gray
Hair.
GIORGIO
Of which I was unaware,
Which is more than I can bear,
Which I'm ripping out right now
And am sending on to you
As a milestone of my age,
As a turning of the page...
Perhaps when next we meet,
I'll be a sorry sight.
You won't know who I am.
My hair completely white,
My face
A mass of wrinkles.
What will you feel then,
My Giorgio?
Time is now our enemy...
FOSCA
(spoken) You came a great distance to read her letters.



IS THIS WHAT YOU CALL LOVE?
GIORGIO
Is this what you call love?
This endless and insatiable
Smothering
Pursuit of me,
You think that this is love?
I'm sorry that you're lonely,
I'm sorry that you want me as you do.
I'm sorry that I fail to feel
The way you wish me to feel,
I'm sorry that you're ill,
I'm sorry that you're in pain,
I'm sorry that you aren't beautiful.
But yes, I wish you'd go away
And leave me alone!
Everywhere I turn,
There you are.
This is not love.
But some kind of obsession.
Will you never learn
When too far is too far?
Have you no concern
For what I feel,
What I want?
Love is what you earn,
And return,
When you care for another
So much that the other's
Set free.
Don't you see?
Can't you understand?
Love's not a constant demand,
It's a gift you bestow.
Love isn't sudden surrender,
It's tender and slow.
It must grow.
Yet everywhere I go,
You appear,
Or I know
You are near.
This is not love,
Just a need for possession.
Call it what you will,
This is not love,
This is the reverse
Like a curse,
Something out of control.
I've begun to fear
For my soul...



SOLDIERS' GOSSIP
TORASSO
Both of them were soaked to the skin.
RIZZOLLI
Where had they been?
AUGENTI
On the bluff.
COOK
Were they all alone?
TORASSO
No one knows.
COOK
You don't suppose -- ?
BARRI
Ugh!
RIZZOLLI
Gentlemen, enough!
TORASSO
Still, it would explain Signora's attitude --
AUGENTI
Why she come to every meal.
BARRI
It isn't for the veal.
TORASSO
And it would explain the Colonel's gratitude.
COOK
I hear he calls him "Giorgio" --
RIZZOLLI
But nobody is that brave.
AUGENTI
No, that's cheek.
RIZZOLLI
Nobody is that brave.
COOK
Wouldn't you like to peek?
TORASSO
Ugh!
BARRI    
Gentlemen, I think I'll change my wager.
He'll be major next week.
RIZZOLLI
I'll say!
ALL
I'll say!
I'll say!



TRANSITION
RIZZOLLI
To feel a woman's touch,
To touch a woman's hand,
Reminded me how much I long to be with you.
How long I've been without you near.
And then to hear a woman's voice,
To hold a woman's arm
To feel a woman's touch...



FORTY DAYS
CLARA
Giorgio, darling
Forty days' leave so soon!
Imagine that,
A whole forty days --
Well, forty matinees,
I'll be there to greet the train
That carried you away from me
Because it brings you home.
I'm filling up the room.
Our little room,
With every flower in bloom.
I'll have the fire lit,
The table set,
I'll wear the blue chemise.
And once we're in our room,
Our secret room,
Where I'll be able to care for you,
Kiss you,
Embrace you,
Be there for you....



LOVING YOU
GIORGIO
(spoken) Fosca, you have to face the truth. Please. You have to give me up.
FOSCA
Loving you
Is not a choice,
It's who I am.
Loving you
Is not a choice
And not much reason
To rejoice.
But it gives me purpose,
Gives me voice,
To say to the world:
This is why I live.
You are why I live.
Loving you
Is why I do
The things I do.
Loving you
Is not in my control.
But loving you
I have a goal.
For what's left of my life...
I will live,
And I would die
For you.



TRANSITION
WOMAN
How long were we apart...
MAN
A month, a week, a day?
WOMAN
To feel you touch again...
MAN
You've never been away...



SOLDIERS' GOSSIP
TORASSO
Forty days -- !
COOK
Where does he get all the luck?
TORASSO
Forty days -- !
RIZZOLLI
The man is sick.
TORASSO
But forty days -- !
BARRI
Yes, he's sick of being stuck
In the sticks.
AUGENTI
Who isn't?
TORASSO
In Milan -- !
COOK
He's gone
Because it's getting pretty thick
With the Signora.
RIZZOLLI
Gentlemen --
AUGENTI
He'd better get out quick
From the Signora.
RIZZOLLI
Gentleman --
BARRI
That's not a easy trick with the Signora.
RIZZOLLI
Gentlemen!
You know what I think?
We need another drink!
COOK
(spoken) I'll say.
RIZZOLLI
I'll say!
ALL
I'll say!
I'll say!
I'll say!



FAREWELL LETTER
CLARA
Giorgio ...
Giorgio...
I am writing to you
My angel,
Though not long since you've been gone,
With a most unhappy heart.
Because, in truth, as time goes on,
I think of nothing else but you --
and us.
Oh, my love, my sweet,
You've changed.
I've watched you change
You're not the man I thought I knew.
At time, there past few days together,
I would wonder whether you were here,
Really here with me.
I though, was I naive
To believe
We'd continue year by year?
Is it over forever?
(spoken) When my son is older, when he goes off to school, there is the chance
for us to be together. Will you wait for me, Giorgio? I have to know. We both
have to know.
GIORGIO
Just another love story.
CLARA
No one is to blame.
GIORGIO
A temporary love story.
CLARA
But it needn't end the same.
GIORGIO
I thought we had more.
CLARA
We had more --
GIORGIO
We had something more --
BOTH
-- Than any other love story.
CLARA
All that happiness --
GIORGIO
Is this what you call love?
CLARA
-- We had then --
GIORGIO
This logical and sensible
Practical arrangement --
CLARA
We can have that happiness --
GIORGIO
-- This foregone conclusion --
CLARA
-- Once again!
GIORGIO
-- You think that this is love?
Love isn't so convenient.
Love isn't something scheduled in advance,
Not something guaranteed
You need
For fear it may pass you by.
You have to take a chance.
You can't just try it out.
What's love unless it's
Unconditional?
Love doesn't give a damn about
Tomorrow.
And neither do I!
CLARA
All that happiness --
GIORGIO
It was fine.
CLARA
-- In the past --
GIORGIO
I was yours, you were mine.
CLARA
That was not just happiness,
Love was in that happiness,
That's why it will last.
GIORGIO
Love is more, I want more.
BOTH
I thought I knew what love was --
CLARA
I didn't know that
Love was a complication.
GIORGIO
I do know that it's not a negotiation.
CLARA
We'll take it in our stride.
GIORGIO
What we had --
CLARA    
You decide.
GIORGIO
-- Wasn't bad.
CLARA
We could have everything,
I want you more than anything.
GIORGIO
How sad --
CLARA
To wait is nothing.
We're young, and time is nothing.
GIORGIO
-- That what we have is nothing.
CLARA
Nothing...
BOTH
Nothing...



NO ONE HAS EVER LOVED ME
GIORGIO
(spoken) The letter from Clara...
FOSCA
(spoken) Yes?
GIORGIO
(spoken) It's over. Finished.
FOSCA
(spoken) I'm sorry.
GIORGIO
(spoken) Sorry? I would have thought that you would be pleased.
FOSCA
(spoken) I don't wish to see you sad.
GIORGIO
(spoken) I feel so much...but I'm not really sad.
FOSCA
(spoken) I thought you loved Clara.
GIORGIO
(spoken) I did love Clara. I did. But...
(sung) No one has ever love me
As deeply as you.
No one has truly love me
As you have, Fosca.
Love without reason, love without mercy.
Love without pride or shame.
Love unconcerned
With being returned --
No wisdom, no judgement,
No caution, no blame.
No one has ever known me
As clearly has you
No one has ever shown me
What love could be like until now.
Not pretty or safe or easy,
But more than I ever know.
Love within reason -- that isn't love.
And I've learned that from you...
(spoken) Are you cold?
FOSCA
(spoken) No, I'm afraid.
GIORGIO
(spoken) Of what?
FOSCA
All this happiness,
Coming when there's so little time.
Too much happiness,
More than I can bear.
(spoken) You do love me, don't you?
GIORGIO
(spoken) Yes, I love you.
FOSCA
(spoken) Say it again.
GIORGIO
(spoken) I love you. Be calm. I am yours.



FINALE
BARRI, RIZZOLLI AND TORASSO
The town, it is remote, isn't it?
And provincial --
Don't you think?
      CLARA
      I'm filling up our room,
      Our little room,
      With every flower in bloom.
      I'll have the fire lit
      The table set.
      I'll wear the blue chemise.LUDOVIC
      The time has come to face
      The truth,
      Signorina...

ATTENDANTS
This sterile little town,
These pompous little men.
COOK, AUGENTI AND SOLDIER ONE
This military madness...
ATTENDANTS
Military madness...
COOK, AUGENTI, SOLDIER ONE AND ATTENDANTS
Uniforms, uniforms...
      CLARA
      Imagining your fingers touching mine.
      Imagining our room
      The bed, the secrecy,
      The world outside,
      Your mouth on mine...COLONEL
      An unattractive woman
      Is easily deceived...

(Giorgio reading Fosca's last letter)
GIORGIO
(spoken) My dearest Giorgio. The end is near. The time has come for me to
surrender life gracefully. These past two days since you have left, since we
were together, have been a revelation.
(sung) Now at last
I see what comes
From feeling loved.
Strange, how merely
Feeling loved,
GIORGIO AND FOSCA
You see things clearly.
Things I feared
Like the world itself,
I now love dearly.
I want to live.
Now I want to live.
FOSCA
Just from being loved.
All that pain
I nursed inside
For all those years --
GIORGIO
All that vain
And bitter self-concern --
BOTH
All those tears
And all that pride
Have vanished into air...
FOSCA
I don't want to leave.
GIORGIO
Now that I am loved.
FOSCA
I don't want to leave.
BOTH
Everywhere I turn,
You are there.
FOSCA
Everywhere I look,
Things are different.
BOTH
Everything seems right,
Everything seems possible,
Every moment bursts with feeling.
Why is love so easy to give
And so hard to receive?
FOSCA
But though I want to live,
I now can leave
With what I never knew:
I'm someone to be loved.
GIORGIO
I'm someone to be loved.
FOSCA
And that I learned from you.
ALL
I don't know how I let you
So far inside my mind.
But there you are and there you will stay
How could I ever wish you away?
I see now I was blind.
FOSCA
And should you die tomorrow,
Another thing I see:
GIORGIO
Your love will live in me...
FOSCA
Your love will live in me...
GIORGIO AND GROUP ONE
Your love will live in me...
FOSCA AND GROUP TWO
Your love will live in me...
GIORGIO AND GROUP ONE
Your love will live in me...
FOSCA AND GROUP TWO
Your love will live in me...
GIORGIO AND GROUP ONE
Your love will live in me...
FOSCA AND GROUP TWO
Your love will live in me...
GIORGIO
Your love will live in me...
FOSCA
Your love will live in me...
GIORGIO
Your love will live in me...



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