Far From the Madding Crowd

CAINY You’re to come immediately. She insists.

GABRIEL Does she. And what right does she have to insist?

CAINY Please, Gabe. She’s right hot in the face.

GABRIEL Well there’s only one thing I have to say to that.

He writes a note – scene changes back to BATHSHEBA’s cottage.

BATHSHEBA Well?

CAINY gives the note to BATHSHEBA – she reads it.

How dare he? I will not beg a man who’s begged me.

They look at her, surprised. She realizes she’s said too much. MARY-ANN arrives.

MARY-ANN There’s a dozen more dead on the hillside. Is there any news of Gabe?

BATHSHEBA is in a state of collapse.

BATHSHEBA Why does he do this to me when he knows the state I am in! Here.

She writes a note and gives it CAINY. Back in GABRIEL’s cottage, CAINY gives GABRIEL the note. GABRIEL reads.

CAINY It says ‘do not desert me, Gabriel.’

GABRIEL You read it?

CAINY You said I was to practice reading whenever I could.

GABRIEL Cheeky blighter. (Pause)

CAINY Gabe? Please. Bracken’s dead an all. Please come.

GABRIEL All right, I’ll come.

A field at night. BATHSHEBA and co are crowded round a swollen sheep. GABRIEL arrives, silence, they part. He

pops the sheep with his trocar. It deflates – then springs up and goes on its merry way. Amazing!

BATHSHEBA Gabriel? Gabriel! Will you stay on with me?

GABRIEL No, ma’am, I won’t.

BATHSHEBA Please. You’ve turned the farm around. No-one has your knowledge. Without you where would I be?

GABRIEL That is not my concern.

BATHSHEBA What do I need to say to make you stay?

GABRIEL There is nothing you can say; I’ve made up my mind. (He starts to go)

BATHSHEBA I need you. There. I said it. I can’t do it without you and, oh hell… I like you being here. Please stay.

18. The Shearing Supper

All the farm workers are decorating the yard for the party.

JAN You seen the size of ‘em stew pots?

MARY-ANN Joseph Poorgrass, you give me a hand with this.

JOSEPH I’ll do it! Where do you want ‘em?

MARY-ANN She han’t said. Where is the Mistress?

LIDDY She’s gone to see Boldwood’s Leicesters

MARY-ANN Has she indeed. Well I ain’t never heard it called that before.

LIDDY Mary-Ann!

JAN What did I tell you. Matrimony.

MARY-ANN I don’t see why she should take a husband when she’s bold enough to fight her own battles, and don’t want for a home; ‘tis one less for the rest of us.

JOSEPH I believe he k-k-kissed her behind the spear-bed.

GABRIEL That is a lie!

Silence.

MARY-ANN And how dost thou know, shepherd?

GABRIEL Because she told me. There be no wedding bells, she said so herself. So let that be the last spoke of it.

LIDDY Can’t think why it matters so much to you, shepherd.

MARY-ANN Do anyone know of a crooked man, or a lame, or any second-hand fellow would do for me? I don’t needs a perfect one, not being as I am, a pudding face and old as an heifer, but I think such a man would do me more good that toast and ale.

JOSEPH I don’t think you have a p-pudding face.

MATTHEW Old pasty Thatcher ‘on the hill. He’s only got one leg and he cannot see proper but he might do.

JAN He is dead, Matthew. Two year now. She don’t need a perfect un but I think still breathin’ wouldn’t go amiss.

MARY-ANN I don’t know.

LIDDY Maybe you’ll meet a feller tonight – they’ll be coming from all of Weatherbury by the size of the barrels I spied.

MATTHEW And two bushel of biffins, for apple pies.

LIDDY And great puddings in the milking pails, with lumps of fat as big as your thumb! I’ve never seen such splendid lumps in all my life.

JAN Eh, maybe you’ll find a splendid lump to suit you, Mary-Ann.

MARY-ANN Oh yes! Find me a lump, Jan Coggan – and I’ll marry him on the morrow!

BATHSHEBA enters.

BATHSHEBA You getting married, Mary-Ann.

MARY-ANN Not likely. We thought you were off surveying the sows.

BATHSHEBA Oh no. I was making garlands for tonight. Now let me look.

LIDDY What do you think, ma’am?

BATHSHEBA It’s perfect. Exactly what I hoped for – better even. Though I may get lonely up here on my own. Set another seat up next to mine.

LIDDY For who, ma’am?

BATHSHEBA I should like Gabriel to sit with me, if he doesn’t object?

GABRIEL At the top of the table, ma’am?

BATHSHEBA Why not. It is certainly well deserved; there’s quite a thrill at market over Everdene wool. It’s the talk of the town. That’s to your credit Gabriel. Do sit with me.

GABRIEL Well, if you’re sure.

BATHSHEBA I am. Absolutely.

A moment. Then the scene transforms to the shearing supper. A toast, a meal, a song. JOSEPH is just finishing his song. It is interminably long.

Joseph that was… well, what was it?

JAN It was long.

MARY-ANN My ears have burnt right through.

BATHSHEBA It was delightful, truly. Now who’ll play next?

JOSEPH I know a-another.

JAN No!

LIDDY Save our souls.

BATHSHEBA Perhaps someone else might like a turn. Gabriel, will you play next?

GABRIEL If you will sing with me?

BATHSHEBA Oh no, I couldn’t.

ALL Go-on, ma’am.

BATHSHEBA I can’t sing a note.

GABRIEL She sings like an angel.

BATHSHEBA Do I? (Pause) All right then.

JAN What’s it to be?

CAINY The Drunken sailor!

BATHSHEBA No, no. Play The Banks of Allan Water.

GABRIEL plays his flute. She sings. Everyone watches, captivated.

ON THE BANKS OF THE ALLAN WATER,

WHEN THE SWEET SPRINGTIME DID FALL,

WAS THE MILLER’S LOVELY DAUGHTER,

FAIREST OF THEM ALL.

FOR HIS BRIDE, A SOLDIER SOUGHT HER

AND A WINNING TONGUE HAD HE,

FALSE WAS HE.

ON THE BANKS OF THE ALLAN WATER

SO MISLED WAS SHE.

ON THE BANKS OF THE ALLAN WATER WHEN THE AUTUMN SPREAD ITS STORE THERE I SAW THE MILLER’S DAUGHTER BUT SHE SMILED NO MORE,

FOR THE SUMMER, GRIEF HAD BROUGHT HER AND THE SOLDIER, FALSE WAS HE,

ON THE BANKS OF THE ALLAN WATER, LEFT ALONE WAS SHE.

Suddenly she stops – MR. BOLDWOOD has approached and is listening.

Mr. Boldwood. What a pleasant surprise.

BOLDWOOD I hope I’m not intruding.

BATHSHEBA Not at all.

BOLDWOOD You sing – beautifully.

BATHSHEBA I don’t suppose you know the gentleman’s part?

BOLDWOOD Actually I do.

BATHSHEBA Then sing it with me. Gabriel, would you let Mr. Boldwood come and sit there – do move along.

GABRIEL moves but doesn’t start playing again.

Gabriel? Play on.

GABRIEL plays again and BOLDWOOD and BATHSHEBA sing the final verse together.

BATHSHEBA/BOLDWOOD

ON THE BANKS OF THE ALLAN WATER

WHEN THE WINTER SNOW FELL FAST

STILL WAS SEEN THE MILLER’S DAUGHTER

CHILLING BLEW THE BLAST.

BUT THE MILLER’S LOVELY DAUGHTER,

BOTH FROM COLD AND CARE WAS FREE,

ON THE BANKS OF ALLAN WATER,

IN A GRAVE LAY SHE.

Delightful. Who will play next? (To BOLDWOOD)

CAINY Me!

BATHSHEBA I’ve changed a great deal inside the farmhouse, would you like to see?

BOLDWOOD Very much.

BOLDWOOD follows her into the house. GABRIEL watches her go.

LIDDY What did I tell you.

MARY-ANN And to think – he could have had me.

LIDDY Lordy Lord.

JAN Eh – another song!

JOSEPH Let me s… s… sing again.

JAN No. I’d like to go to bed afore January. Mary-Ann, play us a tune. Summat to soothe our heavy bellies.

MARY-ANN And my own lonely heart.

MARY-ANN plays. The others listen. GABRIEL watches the window, distracted. Meanwhile, BATHSHEBA enters the parlour, mid conversation with BOLDWOOD.

BOLDWOOD And have you thought on my offer?

BATHSHEBA Mr. Boldwood. I have thought on it a great deal. I am trying to love you –

BOLDWOOD And?

BATHSHEBA And – well, if I can think in any way that I’d make you a good wife – why then, I think I should like to marry you.

BOLDWOOD Miss Everdene!

BATHSHEBA But I do believe hesitation on such a matter is honourable. I shall not keep you in suspense a moment longer than I need, but might you wait a few weeks? You’re going away – but when you return –

BOLDWOOD Perhaps, you might know by then? By the harvest?

BATHSHEBA By harvest time, I shall have an answer. And I hope, a promise.

BOLDWOOD It is enough. The merest hope is a salve to my soul.

BATHSHEBA Well you may hope. Now I should take my walk around the farm.

BOLDWOOD Dear, sweet Miss Everdene, good night. And thank you.

BATHSHEBA Goodnight.

BOLDWOOD kisses her hand and leaves. The feast disappears and BATHSHEBA, lantern in hand, heads out on her walk…

19. A Midnight Encounter

Darkness. Crickets crying as BATHSHEBA walks through the plantation. Then something tugs at BATHSHEBA’s skirt. She trips over a man in a red uniform.

TROY Upon my soul! Have I hurt you, mate?

BATHSHEBA No, you have not.

TROY Oh. You’re a woman?

BATHSHEBA Yes, Sir.

TROY Or a lady, I should say. Well look at that, we are hitched together!

BATHSHEBA Well unhitch me please.

TROY I would, but I can’t see – so I’m afraid you are my prisoner.

BATHSHEBA Here.

She opens her lantern and he sees her face. And she his. They both stop. BATHSHEBA tries to free herself.

Please undo me.

TROY Thank you for the sight of such a beautiful face.

BATHSHEBA Tis unwillingly shown.

TROY I like you the better for your incivility.

BATHSHEBA Oh, just go on your way please!

TROY What, beauty – and drag you after me? ‘Tis such a tangle.

BATHSHEBA You’re making it worse on purpose to keep me here.

TROY No.

BATHSHEBA I tell you, you have. Let me do it. Really, all this trifling provokes – and –

TROY And?

BATHSHEBA Insults me!

TROY I apologise most humbly Madam.

BATHSHEBA Hold this.

TROY I’ve seen a good many women in my time, but none as beautiful as you. Be offended or like it – I don’t care.

BATHSHEBA Who do you think you are, that can afford to despise opinion?

TROY Sergeant Troy, at your service. I used to live here, before I joined up. But I always come back for haymaking.

BATHSHEBA There, I’m free.

TROY I wish it had been the knot of knots, which there’s no untying.

BATHSHEBA You… you… ugh!

TROY Won’t you tell me your name, beauty?

BATHSHEBA I most certainly shall not. How do you like that? (Exits)

TROY Very, very well indeed. Then I shall find it out myself.

He goes. Meanwhile, BOLDWOOD catches GABRIEL on his way home.

BOLDWOOD Shepherd Oak.

GABRIEL Sir.

BOLDWOOD What a delightful evening.

GABRIEL You seemed to enjoy it.