日瓦戈医生1

Doctor Zhivago
SYDNEY MASTER - 11-5-2010 (rev/clean)

1
ACT ONE
PROLOGUE - MOSCOW, WINTER
(Tolling bells at curtain rise; a
CHORUS of elegant MUSCOVITES stands in
black fur-trimmed coats with their
SERVANTS dressed in French fashion.)
(Musical Sequence: “TWO WORLDS”)
MUSCOVITES
AH-AH-AH-AH-AH-AH
AH-AH-AH-AH-AH-AH
EVER SINCE THE ANCIENT RIDERS
CROSSED THE GREAT DIVIDE,
RUSSIA IS A LAND WHERE
JOY AND SORROW COINCIDE.
TWO WORLDS,
OF THE PLOUGH AND THE SWORD.
TWO WORLDS,
OF THE SERF AND THE LORD.
TWO WORLDS,
SELF-CONTAINED AND DISCREET
AND NEVER THE TWO SHALL MEET.
(The MUSCOVITES join...)
SCENE 1-A - GRAVEYARD
(... a PRIEST, ACOLYTE and the Gromeko
family. ANNA, ALEX, and their daughter
TONIA, aged 10 surround a coffin with a
candle on it. Also present are VIKTOR
KOMAROVSKY and YURII ZHIVAGO, age 9.
The ACOLYTE passes YURII a bundle of dry
straw. KOMAROVSKY nudges him to hold
the straw in the candle flame. YURII
obeys. The straw smoulders.)
PRIEST
May his soul rise up and find peace in the world above.
(Over his father’s grave, YURII
sings to the rising smoke.)
Doctor Zhivago

2
YOUNG YURII
WHY HAVE YOU LEFT ME ALONE IN THE WORLD?
WHERE DO YOU GO WHEN YOU DIE?
PAPA, DON’T FLOAT AWAY
LIKE A LEAF ON THE WIND
LOST IN A COLD WHITE SKY.
MUSCOVITES
(holding lit candles)
TWO WORLDS
OF THE FLESH ON THE EARTH.
TWO WORLDS
OF THE SOUL IN REBIRTH.
TWO WORLDS
LIKE THE SMOKE FROM A FLAME
WE RETURN FROM WHERE WE CAME.
KOMAROVSKY
Poor child; imagine being born a Zhivago, Zhivago factories,
Zhivago estates, a Zhivago bank, even a Zhivago tiepin - and to
be left without a kopek all thanks to his father’s dissolute
ways...
ALEX
Counselor Komarovsky, if I may. We always been close with the
Zhivago family. We can take the boy in.
KOMAROVSKY
(approaching Yurii)
The Gromekos are offering you a home, Yurii Andreievich. You’re
a very lucky young man YOUNG YURII
(pulling away)
Leave me alone.
(YURII clings to the coffin. ALEX
signals his daughter TONIA.)
ALEX
Tonia.
YOUNG TONIA
(approaching YURII)
You can live with us, Yurii Andreievich. Come.
(She takes his hand and leads him
offstage with GROMEKOS, PRIEST and
ACOLYTE. KOMAROVSKY stays behind.)
Doctor Zhivago

3
MUSCOVITES
SOME ARE BLESSED WITH HELPING HANDS
AND PATRONS THEY CAN TRUST.
SOME CONDEMNED TO POVERTY
WILL TURN TO WHOM THEY MUST.
TWO WORLDS,
THE PROFANE AND THE PURE.
TWO WORLDS,
ONE IS BRASH, ONE DEMURE.
TWO WORLDS,
OF THE WOLF AND HIS PREY,
AND THE WOLF
ALWAYS GETS HIS WAY.
(MUSCOVITES exit and the graveyard
transforms to a poorer one. A WOMAN
appears there with her daughter,
YOUNG LARA. The WOMAN is weeping
into a handkerchief as KOMAROVSKY
crosses to them.)
PROJECTION: “ONE YEAR LATER”

SCENE 1-B: GRAVEYARD, FUNERAL OF LARA’S FATHER
(KOMAROVSKY stands beside a sobbing
MRS GUISHAR. YOUNG LARA is on the
other side of him.)
KOMAROVSKY
We all mourn your recent loss, Mrs Guishar, but rest assured
I’ll see to it that your husband’s investments are handled as he
would have wished.
MRS GUISHAR
(leaning weakly against him)
You’re too good to us, Counselor Komarovsky.
(KOMAROVSKY puts his other arm
around LARA’s back; she registers
dis-comfort as he steers them off.)
SCENE 10C: (SPLIT STAGE) GROMEKO HOUSE & DRESS SHOP
(Intercut scenes: TONIA tip-toes in
on YURII holding a present.)
Doctor Zhivago

4
THE GROMEKOS
YOUNG TONIA
Happy Birthday, Yuroshka!
YOUNG YURII
(delighted)
You should wait til tonight.
YOUNG TONIA
(she holds a notebook.)
Close your eyes.
(He obeys.)
You make the teachers angry scribbling poems in your textbooks.
This will keep you out of trouble.
THE DRESS SHOP
YOUNG LARA, MRS. GUISHAR and
KOMAROVSKY examine the space [with
a sign “For Rent.”] LARA, in her
school-girl uniform with high socks
studies a dressmaker’s dummy. MRS.
GUISHAR gazes around the space.)
KOMAROVSKY
The owner agreed to offer a very low rent, and with your
daughter’s help - she’s a hard worker, I understand - the two of
you should make a great success of a dress shop like this.
MRS GUISHAR
How will we ever repay your kindnesses - Victor.
KOMAROVSKY
Shall we view the upstairs rooms -- ?
(turning to YOUNG LARA)
Your sock is slipping down, Lara.
(He leads MRS GUISHAR upstairs.
THE GROMEKOS
YOUNG TONIA hands YURII a
notebook.)
YOUNG TONIA
HERE IS A BOOK OF YOUR
THOUGHTS AND YOUR DREAMS.
YOUNG YURII
WHERE ARE THE WORDS?
Doctor Zhivago

5
YOUNG TONIA
IN YOU.
SIMPLY WRITE FROM THE HEART,
THAT’S HOW ALL POETS START
TOLSTOY WAS TWELVE ONCE, TOO.
THE DRESS SHOP
(YOUNG LARA works at a dress-form,
addressing it as a confidante.)
YOUNG LARA
SOMETIMES I WISH
I COULD BE MORE LIKE YOU,
NOTHING TO FEEL INSIDE.
NOBODY KNOWS WHAT IT’S LIKE TO BE ME,
OR WHAT I HAVE TO HIDE...
(She poses like the dummy)
YOUNG YURII
I WATCH THE EVENING STAR APPEAR
AND I CAN HEAR THE WORDS WITHIN ME.
HERE IN THE NIGHT
(The children are joined by ADULT
VERSIONS of each... TONIA a welldressed young lady; LARA a sexually
precocious 16-year old still in her
school uniform; and YURII, in his
20s, a medical school graduate.)
LARA
ALL OF MOSCOW IN SIGHT,
WHAT WILL MY FUTURE BE?
YOUNG TONIA
YOUNG LARA
YOUNG YURII & YURII
YOUNG TONIA & TONIA
YOUNG LARA & LARA
WHAT WILL IT BE?
Doctor Zhivago

6
YURII
(alone)
SCENE 1- C: GROMEKO HOUSE
(TONIA stands beside YURII holding a
framed diploma)
TONIA
We’ll put this over your desk where everyone can see: “Doctor of
Medicine: Yurii Andreyevich Zhivago.”
YURII
What would I have done without you and your family. I can’t
imagine a life without you.
TONIA
Why would you ever have to; this is your home.
YURII
HOW CAN I EVER EXPRESS HOW I FEEL,
MY SENSE OF IMMENSE SATISFACTION.
A USEFUL CAREER, A LICENSE TO HEAL,
A WAY TO REPAY WHAT I’VE BEEN GIVEN.
WORKING FOR THE GOOD OF ALL,
FINDING MY ROLE,
PURPOSE AND GOAL.
TONIA
THAT’S WHAT OUR LIVES ARE FOR.
BOTH
HOW COULD WE ASK FOR MORE?
(TONIA folds herself into his arms.)
(MUSIC UNDERSCORES.)
SCENE 1-D: THE DRESS SHOP
(PASHA enters to where LARA sews.
He holds pamphlets, and a hastily
wrapped bundle.)
LARA
Pasha! What’s wrong?
PASHA
The strike is on for tonight. Hide this. If you hear I’ve been
arrested throw it in the river.
Doctor Zhivago

7
LARA
When will I see you again?
PASHA
(with a shy smile)
Very soon. I’m a cat; nine lives!!!
(PASHA slips away and MUSCOVITES
outside sing through LARA’S
actions... she conceals the bundle
up the hollow at the bottom of the
tailor’s dummy.
(The MUSCOVITE CHORUS appears
between the two worlds of the
GROMEKO HOUSE and the DRESS SHOP)
MUSCOVITES
STATELY WINTER PALACES
THE CZAR BEQUEATHS HIS HEIR,
OPPOSITE THE BEGGARS’ QUARTERS
‘CROSS THE COBBLED SQUARE.
TWO WORLDS,
ONE OF POWER AND PRIDE.
TWO WORLDS,
ONE OF JUSTICE DENIED.
TWO WORLDS,
AND A BRIDGE IN-BETWEEN
WHERE THE NEED FOR REFORM IS SEEN...
(During this, across the stage, the
GROMEKO balcony forms and YURII
appears “above the street” donning
formal wear as he watches the
street and hears a CROWD chanting.
TWO STUDENTS race across the stage;
a feeling of impending violence.)
SCENE 1-E: BALCONY OF GROMEKO HOUSE
(YURII watches TWO COSSACKS race by
in pursuit of STUDENTS, and hears
gunfire in the distance. TONIA
hurries out to YURII.)
TONIA
What are you doing out here, you’re not finished dressing for
tonight.
YURII
They’ve sent Cossacks to the protest. There’s going to be
trouble.
(MORE)
Doctor Zhivago

8
YURII (cont'd)
(MARKEL, an old family servant comes
out onto the balcony with them.)
MARKEL
Come inside, young master, it’s too dangerous out there.
YURII
Bring me my bag, Markel. They’ll need help in the square..
TONIA
No, Yura, don’t leave the house tonight, everyone’s expecting us
downstairs.
(But YURII is gone and we are
inside...)
SCENE 1-F: THE DRESS SHOP
(KOMAROVSKY is pulling off LARA’s
silk stocking, making love to her.)
LARA
No, Victor, I can’t do this any more.
KOMAROVSKY
Why not? Is that ridiculous student agitator of yours putting
ideas in your head?
LARA
Who told you about him?
KOMAROVSKY
The police are my friends. That boy’s not your kind, Lara; you
need someone who allows you be your true self, a sensualist like
me, your body aching for pleasure...
(She slaps him. He grabs her wrist.)
LARA
Leave me alone.
KOMAROVSKY
Of course... until tomorrow night!
(KOMAROVSKY sweeps past her on the
way out, knocking over her tailor’s
dummy as a provocation. LARA sets
the dummy upright and the bundle
falls out. She grabs a corner of
it. The bundle unravels and a
revolver falls out.
LARA picks it up and turns to the
door where KOMAROVSKY exited.
(MORE)
Doctor Zhivago

9
KOMAROVSKY (cont'd)
She grabs the coat off the dummy,
tucks the revolver up the sleeve
and races out into the street.)
SCENE 1-G: THE STREET OUTSIDE THE GROMEKOS

(Distant gunfire and rioting. YURII
rushes into the street, MARKEL in
tow, with his medical bag.)
YURII
Tell Tonia I’ll be back for the announcement.
(Shaking his head, MARKEL goes
inside just as TWO COSSACKS chase a
protester off.)
(PASHA, helping an INJURED
PROTESTOR, spots Yurii with his
medical bag.)
PASHA
Can you patch him up?
(PASHA leaves the PROTESTOR with
YURII and hurries away. YURII opens
his bag to get out instruments.)
YURII
It doesn't look bad, hold still a moment -(KOMAROVSKY crosses to the Gromekos,
dressed for the party.)
KOMAROVSKY
You’ll be better off inside, Zhivago. The streets are unsafe.
(KOMAROVSKY hurries towards the
GROMEKOs. Gunfire. The CHORUS has
been slowly assembling in the
background with chairs, forming the
space into a Grand Ballroom.)
(It is still the street when LARA
races on in pursuit of KOMAROVSKY
and passes YURII - a brief look
between them and then - she exits.
The INJURED PROTESTOR exits, MARKEL
takes YURII’s medical bag, leaving
YURII to face the CHORUS. They shed
their dark clothes and are
transformed into GUESTS at the
GROMEKO’s party as the sing:)
Doctor Zhivago

10
MUSCOVITES
TWO WORLDS,
OF THE NEW AND THE OLD.
TWO WORLDS,
OF THE MEEK AND THE BOLD.
TWO WORLDS,
AND THE GRAVEST OF FIGHTS
THROUGH THE COLDEST OF DAYS
AND THE DARKEST OF NIGHTS.
TWO WORLDS,
OF REDEMPTION OR SIN.
TWO WORLDS.
EVER FASTER THEY SPIN.
TWO WORLDS:
PASSION AND PRIDE
WHO CAN PREDICT
WHAT THE FATES WILL DECIDE
WHEN TWO WORLDS COLLIDE!
(YURII “walks into the ballroom”
where TONIA awaits, and we are
“magically” in:)
SCENE 2 - A GRAND ROOM IN THE GROMEKO HOME
(ALEX GROMEKO addresses the excited
GUESTS.)
ALEX
Friends, family, well-wishers, welcome... What a blessing that
on this night, with the streets in such turmoil, we can all
safely gaher here to celebrate a long-awaited announcement ANNA
(she can’t contain it)
Our daughter is marrying Yurii Andreyevich.
ALEX
(fondly) Thank you dear.
ANNA
A doctor!
ALEX
If I may call on Moscow’s esteemed Counsellor at Law and our
dear friend, Viktor Komarovsky to toast this joyous union, as
only he knows how; Viktor!
(MORE)
Doctor Zhivago

11
(Song:
ALEX (cont'd)
“KOMAROVSKY’S TOAST”)
KOMAROVSKY
LOVELY LITTLE TONIA,
LOOK AT HOW YOU’VE GROWN.
MARRYING THIS DOCTOR...
AND A “POET” AS HE’S KNOWN.
(Lifts glass in a toast)
TO WOMEN AND MARRIAGE:
THAT CIVILIZING FORCE!
MAY ALL GO WELL.
IF IT GOES TO HELL,
SEE ME FOR THE DIVORCE!
(Laughter from the GUESTS)
ZA VAS!
GUESTS
(Lifting glasses)
TO YOU!
KOMAROVSKY
AND A BOND THAT’S EVER TRUE.
LUBOV!
GUESTS
TO LOVE!
KOMAROVSKY
WHICH A MAN CAN NEVER HAVE TOO MUCH OF.
ALEX
CARRY ON OUR BLOODLINE,
ANNA
CIVIL AND DISCREET.
KOMAROVSKY
SO UNLIKE THE RABBLE
WREAKING HAVOC IN THE STREET.
REMEMBER, DEAR CHILDREN,
AS DOWN THE PATH YOU START:
THE ONLY REVOLUTION
IS THE ONE INSIDE YOUR HEART.
GUESTS
Ah!!
Doctor Zhivago

12
KOMAROVSKY
(speaks) And now, if our happy couple will lead the mazurka!
(The music turns suddenly to a
formal dance; TONIA and YURII bow
to one anther and come together in
a dance. ALL sigh and watch them, a
lovely couple. KOMAROVSKY takes the
hand of an attractive YOUNG LADY,
and soon the whole room is dancing;
a stately answer to the agitation
we saw moments ago outside)
(LARA GUISHAR enters in a thick
overcoat, trailing the cold and
snow as she weaves among guests,
searching...)
LARA
(to a YOUNG RAKE)
Where can I find Viktor Komarovsky?
YOUNG RAKE
In the corner, playing cards with Prosecutor Kornakov-LARA
(abruptly)
Dance with me.
(LARA sweeps him into a dance towards
where KOMAROVSKY plays cards with
SEVERAL MOSCOW GRANDEES.)
YOUNG RAKE
I’ve never seen you before, are you a friend of Counsellor
Komarovsky... ?
(LARA dances until she’s standing
directly before KOMAROVSKY.)
LARA
I should have done this long ago.
(She pulls Pasha’s revolver from her
muff and fires at KOMAROVSKY. The
MAN beside him grasps his hand in
pain. A beat - then pandemonium.)
CROWD
(Ad lib, screams and shouts of panic)
Assassin!!!
KORNAKOV
(the wounded man)
Someone stop her!!!
Doctor Zhivago

13
KOMAROVSKY
(controlling the room.)
Everyone stay calm please, there’s no danger, it was an accident.
CROWD
(Ad lib, shouts of panic)
KORNAKOV
Call the police, arrest that woman!!
KOMAROVSKY
No!
(to others)
Tell the musicians to keep playing.
(Urgently instructing nearby men)
Take her upstairs. We need a doctor for Prosecutor Kornakov.
(TWO MEN take LARA to a room off the
Grand Hall.
The scene shifts; the Conservatory.)
SCENE 2-B: GROMEKO CONSERVATORY
(YURII leads KORNAKOV to an alcove
where he keeps his medical bag.
While tending KORNAKOV’S hand,
YURII watches LARA through an open
door to the Ballroom.)
KORNAKOV
These revolutionists have only one answer to every problem:
BANG!!! “You don’t agree with me, BANG.” “You don’t like my
boots; BANG!” Bang. Problem solved!”
YURII
She doesn’t look like a radical to me.
KORNAKOV
Anyone at a university’s a radical. I say arrest them all at
graduation and ship them to a labor camp.
(YURII watches LARA framed in a doorway
to the main hall as he bandages the
wounded man, KORNAKOV.)
Doctor Zhivago

14
(Song: “WHO IS SHE?”)

YURII
A GIRL WALKS IN
SHE SHOOTS A GUN
WHO IS SHE?
SHE DOESN’T CRY,
SHE DOESN’T RUN.
WHO IS SHE?
WHAT CLOUDS HER PRETTY FACE WITH HATE?
WHAT BROUGHT HER TO THIS FEVERED STATE
TO SHOOT A ROYAL MAGISTRATE?
WHO IS SHE?
(KOMAROVSKY crosses to the Two Men
who have LARA between them.)
KOMAROVSKY
Let me handle this. We don’t want to involve our hosts in a scandal.
(The TWO MEN exit, leaving LARA with
KOMAROVSKY. He is furious.)
You damn fool, you know what you just did?
LARA
I shot the wrong man.
KOMAROVSKY
Enough childish drama, Lara. I’ll meet you at the dress shop
tomorrow, we’ll talk it over -LARA
Come near me and I’ll shoot you again -- and next time my hand
won’t shake.
(A standoff. YURII, tying KORNAKOV’S
bandage, can’t hear their argument.)
YURII
SHE SEEMS TO KNOW HIM FAR TOO WELL...
WHY WOULD SHE?
AS IF SHE HOLDS HIM IN SOME SPELL...
WHY SHOULD SHE?
TOO YOUNG TO NEED A MAN LIKE THAT,
A CRASS, CONNIVING BUREAUCRAT
UNLESS -- IS THIS A LOVER’S SPAT?
HOW COULD SHE?
KOMAROVSKY
We belong together, Lara; stop fighting what you are.
(She spits at his feet, spins and starts
off. YURII is mesmerized by her passion.)
Doctor Zhivago

15
YURII
THE BLAZE IN HER EYES...
A STORM ON THE RISE,
DEFIANT AND DARING!
HOW WONDROUS THE THRILL
TO FOLLOW YOUR WILL
WITHOUT EVEN CARING...
(LARA rushes in, looking for an exit.
She encounters YURII packing his
supplies, and starts past him.)
Stay a moment. I want to ask you something.
(LARA is puzzled, as is YURII who has
no idea what he wants to say. At that
moment KOMAROVSKY rushes in.)
KOMAROVSKY
Lara!
(LARA breaks from YURII’s gaze and
hurries out. KORNAKOV sees all.)
Prosecutor Kornakov, I trust you can arrange to have the police
kept out of this business?
KORNAKOV
Viktor, my friend, we all enjoy our little private amusements, but
stick to women you can control.
(Kornakov exits.)
YURII
A CRIMINAL EVADES ARREST.
HOW DOES SHE?
SHE FLEES THE SCENE
AND NONE PROTEST.
WHO WAS SHE?
THE ORCHESTRA RESUMES THE BEAT.
THE SERVANTS POUR CHATEAU LAFITE.
SHE FADES INTO A WINTER STREET,
AND NO ONE SEEMS TO CARE.
WHO IS SHE?
WAS SHE EVER THERE?
(YURII confronts KOMAROVSKY)
It was you she meant to shoot, wasn’t it!?
KOMAROVSKY
Young Zhivago, some advice: you’ve enjoyed a fine start in
society; doctor; poet! and now it appears you’ve won the heart
of the Gromeko daughter. Bravo. But you bring little else to the
world besides a once-illustrious name. You need far more than
that before you’re entitled to know another gentleman’s private
business.
Doctor Zhivago

16
YURII
I heard enough lectures in medical school; I don’t need another
from you.
KOMAROVSKY
I’m a useful friend to have, Zhivago. And a very dangerous enemy.
Come, they’ll miss us.
(KOMAROVSKY exits. YURII approaches the
window. LARA is on the street outside,
huddled in her coat, hurrying away.)
SCENE 2-C: THE STREET - OUTSIDE THE CONSERVATORY
(Following her, YURII hurries outside
and looks to where LARA vanished.)
YURII
THE BRANCHES OF THE MOONLIT TREES
CONCEAL HER.
YET SOMEHOW IN A SUDDEN BREEZE
I FEEL HER...
THAT TOUCH OF DANGER IN THE AIR
INVISIBLE BUT EVERYWHERE,
THEN GONE THE MOMENT THAT IT’S THERE,
A SHADOW ON THE SNOW...
THE DRAMA HAS PAST
IT’S QUIET AT LAST.
NO STORM IN THE MAKING.
SO WHY DO I STAND
STILL CLENCHING MY HANDS
TO STOP THEM FROM SHAKING?
WHO IS SHE...? WHO IS SHE...?
(TONIA, from inside the Conservatory,
spots YURII and comes out to him.)
TONIA
Yurii? They’re asking for you inside.
(TONIA returns to the house, uneasy.
YURII stares down the snowy street
where LARA disappeared.)
YURII
WHO IS SHE...?
Doctor Zhivago

17
SCENE 3-A: A RUSSIAN ORTHODOX CATHEDRAL - TWO YEARS LATER

(Rain outside; early spring.
LARA enters in a simple wedding gown with
flowers in her hair. Joined by STUDENTS,
PASHA ANTIPOV enters from the opposite
side. An ORTHODOX PRIEST appears center
facing LARA and PASHA. He chants.)
(Song: “WEDDING VOWS”)
PRIEST
HAVE YOU, PAVEL ANTIPOV,
PROMISED YOURSELF TO ANY OTHER WOMAN?
PASHA
I AM PROMISED TO HER ALONE, FATHER.
PRIEST
HAVE YOU, LARISSA GUISHAR,
PROMISED YOURSELF TO ANY OTHER MAN?
LARA
I AM PROMISED TO HIM ALONE, FATHER.
PRIEST
BLESSED SHALL YOU BE AS HUSBAND AND WIFE.
(PASHA slides a ring on LARA’S finger)
ALL
IT IS BITTER, MAKE IT SWEET.
FLAVOR IT WITH HONEY.
IT IS BITTER, MAKE IT SWEET. IT IS BITTER, MAKE IT SWEET.
MAKE IT LAST ALL NIGHT.
FLAVOR IT WITH HONEY.
IT IS BITTER, MAKE IT SWEET.
MAKE IT LAST ALL NIGHT...
SCENE 3-B; A TAVERN IN THE STUDENT QUARTER
(Students seated on benches, drink. In
the street beyond an open conservatory
door at the rear, a STUDENT stands
guard in the rain.)
PASHA
It’s hard to believe in these two short years since the rail
strike how the tide of history is already turning in our favor.
But we mustn’t relax. When Lara and I leave tomorrow to continue
our work in the Ural Mountains, you must re-double your efforts
here in Moscow to keep the flame of revolution burning -
Doctor Zhivago

18
TUSIA
(interrupting, tipsy)
Friend Pasha, enough speeches! We all know you’re a deep
thinker, a great leader, an exemplary Marxist, but how can it be
that on the day of your wedding we still don’t know the answer
to the burning question of our times - “which of us is the
better dancer?”
(General razzing... “dance, dance!”
Pasha grins with a sudden shy radiance.)
PASHA
You know what the peasants say? “Good Dancer, Bad Lover.”
TUSIA’S FIANCÉE
So a bad dancer like him should be good with a woman.
(turns to TUSIA.)
What happened?
STUDENTS
(Ooh, insult! Laughter)
PASHA
Let her teach you, friend Tusia. And be ready to study love day
and night. And day and night... (all chant “and day, and night)
STUDENTS
(More good-natured razzing)
(TWO COSSACKS patrol outside and the
STUDENT (guard) whistles a warning.
The COSSACK look in on the party
suspiciously, then enter with a
swagger, checking the company. No
one speaks. PASHA holds out a
bottle of vodka.
PASHA
Za vas!
(Each COSSACK drinks, and hands the
bottle back to PASHA)
COSSAK
Za vas.
(The COSSACKS leave. The awkward
silence is broken by a STUDENT)
STUDENT
I have a gift for the bride and groom!
(Relieved, the STUDENTS immediately
resume their celebration)
Doctor Zhivago

19
TOLYA
So do I...
(Students press forward with gifts)
Pashenka, we’re starting to miss you already, and your train
doesn’t even leave till morning. But maybe when you’re away from
Moscow you’ll miss us, too. So... we’ve brought you something to
remember us by.
(He hands LARA a large book.)
LARA
(reads cover of book)
“Great Palaces of Moscow.” Look Pasha...
PASHA
(joking)
Palaces? For a revolutionist? Is this gift, Tolya, or punishment
for leaving Moscow? You might as well give a horse a whip to
beat himself, or give a fish a pan to cook himself in.
LARA
(tsk! tsk!)
Pashenka, stop... it’s sweet, it’s... very thoughtful. No truly
it’s...it’s...
(Song: “IT’S A GODSEND”)
PASHA
IT’S A GENTLE GIFT,
SENTIMENTAL GIFT
YET A GIFT OF GREAT GOOD TASTE,
FOR I CANNOT THINK OF ANYTHING WE’D RATHER SEE
IN THE WILDS OF THE FROZEN WASTE...
(Wryly, shows everyone pictures.)
...THAN THE PICTURE OF RUSSIAN PROTOCOL:
THE CZAR IN HIS MARBLE BILLIARD HALL.
THE CZARINA HOSTING A COSTUME BALL
AS WORKERS MARCH FOR BREAD.
A BIT GROTESQUE...THOUGH PICTURESQUE.
AND PRECISELY WHY WE FLED!
STUDENTS
Hoorah!
PASHA
NO ORDINARY GIFT WE RECEIVE HERE!
IT’S A GODSEND!
STUDENTS
IT’S A GODSEND!
Doctor Zhivago

20
PASHA
TO REMIND US OF THE DECADENCE WE LEAVE HERE,
IT’S A GODSEND!
STUDENTS
MY SUBVERSIVE FRIEND!
PASHA
WHEN WE’RE SHIV’RING IN THE COLD
WITH OUR BODIES TURNING BLUE
AND THE FIRE IS DWINDLING
AND WE’RE LOW ON KINDLING
WHEN WE NEED TO LIGHT THE STOVE TO COOK,
IT’S A GODSEND -- THIS BOOK!
STUDENTS
(ad lib)
Gifts! Gifts. More gifts. (etc)
TUSIA
(handing PASHA a gift)
This one’s from us.
PASHA
(with veiled irony)
A sewing kit, just what Lara wanted!
TUSIA’S FINACÉE
It’s not for Lara!
(All chime in “For Pasha!”)
TUSIA
We expect women to work in the factories and fields, so we men
should learn to sew our own clothes.
(TUSIA’s fiancée takes his hand in
solidarity)
PASHA
(imitating his forthright manner)
Thank you, Modern Tusia. In the name of Workers everywhere, I vow
I’ll learn to sew and cook and launder my own clothes... and Lara’s!
LARA
(chiding)
Pasha!!
PASHA
AN IMPRESSIVE GIFT,
YOUR PROGRESSIVE GIFT,
FOR IT PROVES THAT TIMES ADVANCE.
NOW A MAN CAN DO WHAT A WOMAN CAN --
Doctor Zhivago

21
TUSIA’S FIANCÉE
WHEN A WOMAN WEARS THE PANTS!
STUDENTS
TO BEGIN WITH SHE’LL LAY THE SCHOOLHOUSE BRICKS
WITH A FRESH NEW BATCH OF CEMENT SHE’LL MIX!
PASHA
THEN SHE’LL PATCH THE ROOF I DECLINE TO FIX,
WHILE I READ MARX AND NAP.
BUT TO BE FAIR,
I’LL DO MY SHARE...
I’LL CROCHET A SLEEPING CAP!
STUDENTS
(Women cheer; Men groan)
PASHA
NO ORDINARY GIFT YOU IMPART HERE.
IT’S A GODSEND!
STUDENTS
IT’S A GODSEND!
PASHA
TRUE EQUALITY FOR RUSSIA HAS TO START HERE.
WOMEN
IT’S A GODSEND,
WHEN A MAN CAN “MEND!”
MEN
Huhn!!
(Dance: “THE BARYNYA”)
(Students heap gifts: shovel, blanket,
lamp, a giant sausage decorated like
the storied appendage of Catherine the
Great’s horse. PASHA and TUSIA duel in
dance, the classic Cossack Barynya, in
which PASHA finally triumphs with a
dazzling display, rising with a
flourish to give LARA a proud hug as he
drinks a shot of vodka.
By the end of the dance, PASHA and LARA
have a huge pile of gifts.)
PASHA
Comrades, enough! We can’t possibly bring all this with us to
Yuriatin.
Doctor Zhivago

22
STUDENTS
Speech!
Speech!
PASHA
No, no, no... well, alright.

NOW, I KNOW YOU AWAIT SOME GREAT RIPOSTE
BUT I’LL SPEAK MY HEART AND PROPOSE A TOAST.
TO THE SINGLE GIFT THAT MEANS THE MOST:
THE GIFT YOU CANNOT SEE.
MY SENSE OF PRIDE
THIS PERFECT BRIDE
CHOSE TO CHANGE THE WORLD WITH ME.
STUDENTS
Ahhhhh.
NO ORDINARY GIFT DO THEY GIVE US.
PASHA
IT’S A GODSEND!
STUDENTS
IT’S A GODSEND!
ALL WE SACRIFICE FOR THOSE WHO OUTLIVE US -PASHA
IT’S A GODSEND!
STUDENTS
FOR A WORTHY END!
PASHA
IF INDEED THERE IS A GOD
WHICH I’M NOT TOO CERTAIN OF,
YOU’RE THE PROOF EMPIRICAL.
A MODERN MIRACLE.
PASHA & STUDENTS
THE STARS SMILE DOWN
FROM HEAVEN ABOVE...
STUDENTS
FOR THE GODSEND IS LOVE!
(The Students seat the happy couple
on benches and lift them overhead.)
HEY, HEY, HEY, HEY, HEY, HEY,
HEY, HEY, HEY, HEY, HEY, HEY!
Doctor Zhivago

23
SCENE 4-A: LARA AND PASHA’S ROOM

(A bed; LARA and PASHA stand at the
threshold of their wedding night.)
LARA
Oh, Pasha, isn’t this the best day that’s ever been?
(suddenly shy)
Shall I get ready?
We should talk first.
PASHA
(also shy)
Sit.
LARA
Oh, Pasha, not the serious face tonight, everything is finally
perfect!
PASHA
(awkwardly forging ahead)
I’m looked up to in so many ways... people seem to think I know
all sorts of things about... and maybe you do, too - After all,
I am well educated, but in certain areas... matters a man might
be expected to know about on his wedding night, I’m afraid I’m
as innocent as you...
(Lara rises, agitated.)
Are you...disappointed?
LARA
(quickly)
You’ll never disappoint me, Pasha Antipov. And I promise, I’ll
try and be the best wife on earth for you.
PASHA
Darling Lara, if our marriage is half as perfect as you, I’m the
luckiest man in Russia. I want us to be equal in all things;
no bourgeois secrets and games, we’ll keep nothing from each
other, ever, let’s make a vow.
LARA
Why not just be grateful for our luck in finding each other?
PASHA
But we must base our life together on absolute trust, and that
can only happen if we open our hearts completely. Why do you
look away?
LARA
Hold me, Pasha...
Doctor Zhivago

24
What is it, poor mouse?
PASHA
You look pale.
(The unavoidable moment is here.)
LARA
How stupid to think I could pretend the past never happened.
Alright, I’ll tell you everything, but only if you make me one
promise.
PASHA
We shouldn’t bargain over the truth, Lara.
LARA
Promise me, Pashenka, promise that when I’m done, if you have
the smallest doubt you can accept me as I am, you’ll consider
our marriage annulled.
PASHA
Nothing that happened before this night could change the way I
feel about you, you must know that.
LARA
Shhhh, Pasha; promise.
PASHA
(worried)
Very well.
LARA
Remember that new years night - the railway strike; there was a
scandal; a girl shot the Chief Magistrate of Moscow, then vanished?
That gun you gave me - I never threw it away.
(Pasha understands immediately.)
(Song: “WHEN THE MUSIC PLAYED”)
I WAS YOUNG. I WAS POOR.
LIFE WAS HARSH AND UNSURE
BUT A FATHERLESS GIRL CAN’T COMPLAIN.
THEN MY FATE CHANGED BY CHANCE
WITH AN INNOCENT DANCE
WITH A MAN WHO WAS OLDER
AND RICHER AND BOLDER.
A MAN WITH A TASTE FOR CHAMPAGNE,
AND GIRLS LIKE ME,
TOO BLINDED TO SEE...
Doctor Zhivago

25
BUT WHEN THE MUSIC PLAYED

THE WORLD WOULD FADE AWAY.
AND I’D SAIL ‘CROSS THE FLOOR,
CARING LESS,
WANTING MORE.
WHEN THE MUSIC PLAYED,
SOMEHOW MY SOUL OBEYED.
HEAVEN WOULD BE WHISPERING MY NAME
WHEN THE MUSIC PLAYED.
(Lights change. KOMAROVSKY appears behind
veiled gauze, spectral. He approaches
the bed and sits beside Lara.)
SO I GAVE AND HE TOOK.
WITH A WORD, WITH A LOOK,
I WAS CAPTURED INSIDE OF HIS GAME.
THERE I WAS STILL A GIRL
IN THE DEVIL’S OWN WORLD,
BUT A GIRL WHO WAS OLDER
AND WISER AND COLDER,
A GIRL WHO FELT HUNGER...AND SHAME
YES, I SERVED LIKE A SLAVE.
SINS I’LL TAKE TO MY GRAVE...
BUT WHEN THE MUSIC PLAYED
THE WORLD WOULD FADE AWAY,
AND I’D SAIL ’CROSS THE FLOOR
CARING LESS,
WANTING MORE.
WHEN THE MUSIC PLAYED,
SOMEHOW MY SOUL OBEYED.
HEAVEN ONLY KNOWS WHAT I BECAME
WHEN THE MUSIC PLAYED.
(Komarovsky puts his hand on Lara’s
shoulder, then rises and leaves her
abruptly.)
AND I HATED HIM...
AND I WANTED HIM...
AND I MET WITH HIM MORE THAN I SHOULD.
AND IT FRIGHTENED ME,
HOW HE’D HOLD ME, LIKE HE OWNED ME.
I SAID: “STAY AWAY,”
BUT HE WOULDN’T.
OH GOD, “STAY AWAY...”
AND I COULDN’T.
I HAD TO END IT, I HAD TO LIVE...
CAN YOU FORGIVE ME?
PUT THE PAIN ASIDE.
PUT THE PAST AWAY.
LOOK INTO MY EYES...
Doctor Zhivago

26
...AND LET THE MUSIC PLAY.

YESTERDAYS FADE AWAY
TO A WORLD WE RESTORE,
WANTING LESS,
CARING MORE.
LET THE MUSIC PLAY
FOR WHO WE ARE TODAY.
LET ME HEAR YOU WHISPERING MY NAME
WHEN THE MUSIC PLAYS.
LARA (cont’d)
(PASHA turns his back on her.)
Pasha, I’m so sorry. Please say something? Am I forgiven?
(PASHA starts to touch her cheek. She
reaches for his hand. He pulls it away.)
PASHA
Forgiveness is not enough for what that bourgeois bastard did to you.
(He dashes out. Frozen in shock for a
moment, Lara finally runs to the door.)
LARA
Pasha!!!
(She races after him into the rainy night.)
SCENE 4B: STREET OUTSIDE LARA’S ROOM
LARA
Pavel!!!
Pashenka!!!
(Thunder. She gathers her coat tight
around her. YURII steps from the
shadows holding an umbrella.)
YURII
He went across the square.

LARA
(startled)
Who are you?
YURII
(a reminder)
A New Year’s party. Two years ago. The Gromeko house?
LARA
(understanding at once; tensely)
What do you want?
Doctor Zhivago

27
YURII
(thinks a moment, then:)
I don’t know. (then, blurting:) I do know, but - (then:) I
thought there was something you could tell me, but now that I’m
here...
LARA
You’re a soldier?
YURII
Medical Corps. Germans attacked our western border. The Tsar’s
army needs doctors.
LARA
(not sure what to say)
I’ll pray for your safe return... soldier.
(She starts to leave.)
YURII
(suddenly, without thought.)
Was it Viktor Komarovsky you meant to shoot - !?
LARA
(turning away abruptly)
If you’ll excuse me -YURII
(with sudden urgency)
No, please... he killed my father. Not literally... he was our
family lawyer; encouraged all Father’s weaknesses; gambling,
drinking, women. I thought perhaps Komarovsky took advantage of you
like he did my -LARA
(interrupting, firmly)
It’s the past. It’s over.
YURII
So it was him you were after, I knew it. When I was ordered
to the front I realized that if I never returned, the thing
I’d regret most is never having known... never having found
you to ask what it’s like to be in the grip of a passion - the
way you were that night - a passion so overwhelming that the
rest of life suddenly feels -- unimportant.
LARA
(stops him)
-- I’m sorry to disappoint you, soldier, but I’m not in the
habit of shooting people who wrong me.
YURII
Of course not. What did I imagine you’d say? I must seem
ridiculous to you.
Doctor Zhivago

28
LARA
(amused) I think more -- unexpected.
YURII
Please forgive my presumption... Miss Guishar.
LARA
“Antipova’s my name now. I married this afternoon.
YURII
I wish you every happiness.
LARA
Is there a name I can remember you by?
Yurii.
YURII
Yurii Andreievich Zhivago.
LARA
A Zhivago! Truly?
YURII
As you put it, that’s the past. It’s the past.
and a soldier now; nothing more.
I’m a doctor
LARA
God keep you safe, Doctor Yurii Zhivago.
(then:)
I have to find my husband.
YURII
A TOUCH OF DANGER IN THE AIR,
INVISIBLE BUT EVERYWHERE...
WHO IS SHE...?
(The scene changes.)
SCENE 5-A: THE TRAIN STATION
(MARKEL pulls a hand-cart of
baggage, joining YURII in his
uniform.
TONIA is right behind, holding baby
Sasha. Then comes her father, ALEX.
Distant explosions underscore this
moment, growing louder and closer.
ANNA rushes on with a small
packet.)
Doctor Zhivago

29
ANNA
You must wear extra socks in the trenches, the cold and damp are
bad for your heart!!!
YURII
I’m bringing far too much already, Nana.
TONIA
Take the socks, Yurii.
(YURII hands them to MARKEL. A
closer explosion: BOOM!!!)
ALEX
Always remember; we beat back Napoleon’s army a hundred years
ago. It cost us millions of lives, but the French learned a
lesson, and these Germans will learn it once again; the Czar’s
armies are unconquerable, our spirit is too mighty, our blood
too rich...
TONIA
(to YURII, holding up the baby)
Kiss Sasha.
(to the baby)
Say “good-bye dada.”
(KOMAROVSKY hurries on stage.)
KOMAROVSKY
Thank Heaven, I thought I’d missed you!
(hands him a medal)
This Imperial Cross was presented to your father by the Czar
himself for valiant service in the last war; he’d want you to
have it.
(YURII examines it a moment, then
hands it back.)
YURII
If it found its way into your hands, I’m sure that’s where it
should stay.
(curtly)
Hurry, Markel, we’ll miss the train.
(BOOM! BOOM! Cannon fire as he takes
MARKEL side, speaking quietly)
I can’t possibly bring all this to the front. Wait til I’m on
board, then take it home.
(offers money)
Look after my family, Markel.
Doctor Zhivago

30
MARKEL
(hugging YURII powerfully)
God grant you a year more on earth for every life you save, master!
(MARKEL pulls the cart off. TONIA races
back on.)
TONIA
Yurochka, wait! Hold me.
(YURII embraces her)
I had a terrible dream that you went away and never returned.
Please be careful. And write me long letters about everything
that happens so I can see it as if I was there with you.
YURII
Wherever they send me, I’ll take a moment each night to go
outside... you do the same - that will be our time together.
(Song: “WATCH THE MOON”)
YURII (cont'd)
WATCH THE MOON
AND THINK OF ME.
LET THE NIGHTS
PASS QUICKLY BY.
UNTIL THE DAY
THAT I RETURN
YOU’LL WATCH THE MOON
AND SO WILL I.
(YURII leaves. TONIA stays behind.)
TONIA
WHEN THE WINDS
REFUSE TO DIE,
WHEN THE DARK
IS EVERYWHERE,
BEHIND A VEIL
OF SILVER CLOUDS,
BEHOLD THE MOON
AND I’LL BE THERE.
(YURII reappears at the war front.
He now wears a doctor’s lab coat)
Doctor Zhivago

31
YURII & TONIA

FROM THE START
OF EACH GRAY MORNING
ON THROUGH AFTERNOON,
WHOLE LIFETIMES GO BY
BUT WHEN DUSK
DARKENS THE SKY...
I’LL WATCH THE MOON
AND THINK OF SPRING,
SIMPLER DAYS
WITH TIME TO SPARE.
UNTIL THE DAY
YOU’RE IN MY ARMS
I’LL WATCH THE MOON,
AND KNOW YOU’RE THERE.
TONIA
I’LL WATCH THE MOON
AND KNOW YOU’RE THERE...
(TONIA fades away. A scene shift.)
SCENE 5B: BATTLEFIELD - BY AN INFIRMARY TENT
(Music continues; time has passed.
YURII reads a letter. Muffled
explosions.)
NURSE
We can postpone the operation ‘til morning, sir...you haven’t
slept for three days.
YURII
Tell me when he’s ready...I’ll be fine, thank you.
(The NURSE leaves.)
BY DAYLIGHT I CAN PLAINLY SEE
THE SAVAGERY OF WAR.
BUT ALL THAT NUMBS AND DEADENS ME,
THE MOON HAS SEEN BEFORE.
IT FLOATS ABOVE THE BATTLEFIELD
IMPASSIVE AND IMMUNE
TO ROWS OF MEN THE BATTLE FELLED,
THEIR OPEN EYES COMPELLED...
TO WATCH THE MOON
WITHOUT A CLUE
WHY THEY LIE DEAD
AND I SURVIVE.
I PRAY TO GOD
I’LL MAKE IT THROUGH,
AND LIVE TO LEARN
WHY I’M ALIVE.
Doctor Zhivago

32
(YURII enters the Tent.)

SCENE 6: THE BATTLE FRONT
(RUSSIAN SOLDIERS enter at a crouch
and take up positions.)
SOLDIERS
HOLD THIS GROUND FOR THE TSAR!
HOLD THIS GROUND FOR THE TSAR!
LOOKOUT
(with binoculars sweeping the battlefield)
It’s dead quiet, sir, not a German stirring.
GINTS
(Checking his watch, he addresses his men
as the LOOKOUT exits.)
This is it, men, the attack in on. Charge directly at the German
lines, the more we surprise them, the fewer we’ll lose. Don’t
let anything stop you.
LIBERIUS
Not even a bullet?
GINTS
There weren’t enough rifles to go round, so if a man straight
ahead of you goes down, you can take his; but if he falls to the
side don’t break ranks; always straight ahead, like the Tsar was
watching.
YANKO
(to LIBERIUS, sotto voce)
All they gave me’s a hand grenade. It’s so rusty the pin won’t
come out.
LIBERIUS
(to YANKO, sotto voce)
Put it between your teeth and twist. You get a better grip that way.
LOOKOUT
(re-enters quickly)
They’re ready all down the line.

Doctor Zhivago

33
(Song: “FORWARD MARCH FOR THE TSAR”)

GINTS
FORWARD MARCH FOR THE TSAR!
SHOW THE COWARD KRAUT WHO WE ARE!
AND WITH GOD ON OUR SIDE
WE WILL WIN THE FIGHT,
SEND THE KAISER FLEEING
TO BERLIN IN FRIGHT!
GINTS & SOLDIERS
ON THROUGH WIND, RAIN AND COLD!
NO MORE FEARSOME SIGHT TO BEHOLD
THAN A STEADFAST HUSSAR
WITH A SHARP SCIMITAR
MARCHING FORWARD! FORWARD!
FORWARD FOR THE TSAR!
GINTS
This it men; make your peace with God.
LIBERIUS
(to YANKO)
Stay close, we’ll find us a nice shell hole to hide in ‘til the
shooting stops. Might even get lucky and find you boots that fit
if the right man goes down.
(introducing himself)
I’m called Liberius.
YANKO
Yanko.
GINTS
HEAR MY PRAYER, OH LORD, I BEG OF YOU.
I HAVE NO ONE ELSE TO SAY THIS TO.
WHEN THEY TURN TO ME
WITH WEARY EYES
FOR THE WILL TO FIGHT
WITH NO SUPPLIES,
HELP ME HIDE MY FEAR
OR WE WON’T SURVIVE.
LORD ABOVE,
HELP ME KEEP THESE BOYS ALIVE.
LIBERIUS
WITH A BROKEN GUN AND ONE GRENADE,
I DON’T CARE WHO DIES IF I GET PAID.
GOD I PRAY YOU TAKE
THE NEW RECRUITS
SO THAT I CAN FIND
A GUN THAT SHOOTS WORTH A DAMN!
Doctor Zhivago

34
SOLDIER 1
IF I DON’T GET HOME TO TELL MY WIFE,
MAY MY LOVED ONES KNOW I GAVE MY LIFE...
SOLDIER 2
FOR THE TSAR, ALL FOR THE TSAR.
LIBERIUS
GUN THAT SHOOTS,
BETTER BOOTS.
GUN THAT SHOOTS,
BETTER BOOTS.
SOLDIERS 2 & 3
LEAD ME SAFE THROUGH FLAME AND POISON GAS,
IF I LIVE TO SEE THIS LONG NIGHT PASS...
SOLDIER 4
FOR THE TSAR I PRAY WE WIN THE DAY.
SOLDIERS 4 & 5
LEAD ME SAFE THROUGH FLAME AND POISON GAS,
IF I LIVE TO SEE THIS LONG NIGHT PASS...
LIBERIUS, SOLD 4 & 6
LEAD ME SAFE THROUGH FLAME AND DANGER,
I’M JUST FIGHTING FOR MY OWN ASS.
SOLDIER 1
NERVES OF IRON AND BALLS OF BRASS!
GINTS
FOR THE TSAR I PRAY FOR VICTORY.
LET ME LEAD MY MEN COURAGEOUSLY...
YANKO
LORD, IF I SHOULD FALL ON THE FIELD OF WAR
WHO WILL KNOW WHERE I AM LYING?
WILL THEY LEAVE ME HERE ‘TIL THE APRIL THAW?
WILL THERE BE A NAME UPON MY GRAVE
HELP ME HIDE MY FEAR AS THE BULLETS FLY,
SHOW THE OTHER SOLDIERS I AM TRYING.
AND I ONLY PRAY IF I HAVE TO DIE
LET KATARINA KNOW THAT I WAS BRAVE.
ALL EXCEPT YANKO
FORWARD, FORWARD...!
(The prayer ends; time to attack.)
GINTS & SOLDIERS
MARCHING FORWARD! FORWARD!
FORWARD! FOR THE TSAR...!!!
Doctor Zhivago

35
(Music continues - and GINTS gives the

order. ALL climb out of the trench and
attack. Last out, right behind Liberius,
is YANKO. A single gunshot. He spins and
teeters in place... then falls from sight,
as the GUNFIRE of battle begins and grows
to a deafening roar. Then suddenly it’s
quiet. We’re in:)
SCENE 7: INSIDE FIELD INFIRMARY TENT
(YURII does paperwork at his corner
desk. Cots are visible behind a
curtain. A NURSE leads in a WOMAN in
heavy overcoat and fur hood.)
NURSE
Your cot’s in back.
Doctor’s busy.
(pointing)
You start first thing in the morning; sign in.
(The NURSE starts out, then turns back.)

We ask for three trained doctors and what do they send: one
volunteer nurse; typical!
(She exits. The Woman throws back her hood;
LARA! She approaches YURII from behind.)
LARA
Larissa Antipova reporting for duty...
YURII
(too busy to register)
- One moment please.
(The voice - he turns, recognizes
LARA but isn’t sure if she’s aware.
He acts formal)
You’re the new volunteer?!
LARA
(recognizing YURII, but also unsure)
I’ve been helping out along the front line. They said you needed
- a nurse here.
YURII
(finally unable to restrain himself)
What on earth are you doing here?
Doctor Zhivago

36
LARA
(flustered)
I’m - looking for my husband, Pasha Antipov. He was serving here
when he disappeared in a German ambush. Reports say some men
survived the attack.
YURII
Don’t believe reports, it’s mostly propaganda to keep the Tsar
happy, not that he cares what’s happening at the front. If your
husband’s alive, wait for him at home, that’s where most
deserters head.
LARA
(irritated)
My husband volunteered; he’s not a deserter.
YURII
(knowing he went too far)
Forgive me; I’m sure he served bravely.
LARA
(waving it off)
It’s alright, everyone thinks the same thing. The truth is, it
was never entirely right between us. He wanted a reason to
leave, defending the motherland was a noble excuse! My husband
always acts on principle.
(pause, flustered)
This isn’t your business. I’ve embarrassed you.
YURII
I embarrassed you once, if memory serves. Shall we call it even,
Nurse Antipova?
(A sudden intense feeling paralyzes them,
then they try to regain equilibrium.)
LARA
I can start right away if you need some rest.
YURII
I have work to finish; medical reports. But thank you.
LARA
‘Til the morning, then.
(She starts away, turns back to say
something and catches him staring at her.)
YURII
(embarrassed, formal)
Is there a problem?
(LARA’s expression is suddenly mischievous)
Doctor Zhivago

37
LARA
Your medical reports... is it possible I read one of them in a
poetry journal in Moscow? Or could there be another Y.A.
Zhivago who wrote “Waiting In the Rain?”
YURII
(serious)
Please don’t mention my poetry to anyone here. They’d think it
frivolous, and they’d be right. Verses are no use in times like
this; Russia needs scientists - engineers, doctors, serious men.
LARA
Poetry isn’t “serious”?
YURII
It’s not... useful.
LARA
You know that everyone’s talking about your poem; how you show
Russia standing between the past and the future, waiting for her
greatness to be discovered, what a gift to make readers feel
such love for their land!
YURII
My subject was Russia, but what I saw when I wrote was a woman
standing by a bridge, in the rain.
LARA
A woman?!
YURII
The poem is about her.
LARA
She must be a remarkable woman to make you feel so much.
YURII
She is.
LARA
(suddenly realizing; overwhelmed)
You have work to finish, I should go.
(Sudden explosions. Several WOUNDED
SOLDIERS wake. LARA rallies and starts to
check patients. YURII does the same.
Explosions... YANKO, a boy, wanders in
with a blanket at his abdomen.)
YANKO
(feeble but polite)
I think I’m hurt.
Doctor Zhivago

38
(He lets the blanket fall. His abdomen is

bloody. LARA lifts the blanket. They bring
Yanko to the operating table.)
LARA
Hold this against your stomach, soldier.
It’s not too bad.
Gently.
YANKO
I don’t feel any pain.
(They lay him down. An emergency - nearby
patients raise themselves to see.)
YURII
If he goes into shock we’ll lose him.
LARA
Start working, I’ll keep him awake.
(YURII begins moving the blanket
away.)
Try and relax, soldier.
Tell me your name.

YANKO
I’m called Yanko.

LARA
What village are you from, Yanko?
YANKO
Varchovoy, where old Yegor’s field ends. You can see our church
from three hills away.
YURII
I have to move this metal without puncturing his aorta...
(he gives Lara a look that says “this
is hopeless, but...”; then, to Yanko)
Listen, son; this may hurt badly, but that’s a good sign, it
means you haven’t gone into shock.
LARA
(distracting Yanko)
Do you have a sweetheart waiting back home?
YANKO
There’s Katarina. But I haven’t told her how I feel. When I try
the words stick in my throat.
LARA
Don’t wait. The moment you recover, tell her everything.
YURII
Hold him tightly!
Doctor Zhivago

39
(YURII reaches in and gently

...tugs!!!)
YANKO
(a heart-rending scream)
ARRRRRHHHH!
(YANKO sits up rigid, then falls
back unconscious. YURII holds up a
piece of metal in his forceps. LARA
feels YANKO’S forehead. A pause.
Against all odds, Yanko survived.)
LARA
His pulse is steady.
YURII
(with a look of wonder at Lara.)
A miracle.
(Underscoring for: A World Unspoken
begins as the stage shifts to...)
SCENE 8A: A STUDY IN THE GROMEKO HOUSE
(Tonia reads a letter from Yurii
aloud to Alex and Anna.))
TONIA
(she reads a letter)
“Dearest Tonyechka, the war grinds on with unimaginable carnage.
We can barely keep up with the flow of wounded, but every time
despair might overwhelm us, something comes along to renew our
hope. A volunteer nurse arrived - Antipova’s her name - her
quiet goodness and industry have had a miraculous effect on
everyone’s spirit...
(She passes the letter to Anna and
Alex as the music begins...)
(Song: “SOMETHING IN THE AIR”)
TONIA (cont'd)
EACH LETTER THAT ARRIVES
PROVES TO ME YOU’RE STILL ALIVE.
IT HELPS, OH GOD, IT HELPS.
YOUR THOUGHTS ARE ALL SO CLEAR,
YET I CAN’T SEEM TO HEAR
THE MAN I KNEW SO WELL.
I LONG TO BE NEAR YOU,
NOT JUST TO HEAR YOU
SPEAKING THE WORDS OF A STRANGER...
Doctor Zhivago

40
...FOR SOMETHING IN THE AIR HAS CHANGED.

ALL’S FAMILIAR YET NOTHING’S THE SAME.
SUDDENLY I’M LIKE A LEAF THAT BLOWS,
AND SOMEHOW KNOWS
A STORM IS RISING...
(Lights remains on TONIA reading
YURII’s letter, as lights rise
elsewhere on...)
SCENE 8B: THE RUSSIAN FRONT, A LAUNDRY TENT
(Inside the tent LARA irons the
division laundry. Behind her, weary
NURSES relax, drink tea, smoke
cigarettes. YURII approaches LARA.)
LARA
Is there any more news from Petrograd?
YURII
They say a whole army division refused orders to come to the
front and fight. They’ve joined with students and workers to
demand a voice in the government. If this goes on the Tsar could
lose control of his army by the end of winter.
(Yurii/Lara overlap)
LARA
Yurii Andreievich, do you realize what’s happening? This is the
start of the Revolution we all dreamed of!
YURII
Yes, something stirring, you can feel it, voices everywhere; as
if even the trees, the wind, the fields and houses were
whispering their dreams aloud, the heart of Russia bursting to
speak finally what it was forced to keep locked in silence.
LARA
(excited)
That’s exactly the feeling, yes... !
(She sings:)
A TREMBLING IN THE GRASS...
YURII
A SHATTERING OF GLASS...
(TONIA joins in from her location)
YURII, LARA & TONIA
A WAVE THAT SEEMS TO BUILD.
Doctor Zhivago

41
YURII
A VISION TAKING HOLD,
ORIGINAL AND BOLD...
ALL THREE
A VOICE THAT CAN’T BE STILLED...
TONIA
IT’S RESTLESS AND PACING...
YURII & LARA
BREATHLESSLY RACING
DEEP INTO UNCHARTED WATERS...
ALL THREE
... FOR SOMETHING IN THE AIR HAS CHANGED.
TONIA
SOMETHING TROUBLING I STILL CAN’T EXPLAIN...
YURII & LARA
ALL WE HAVE DREAMED OF IS HERE AT LAST.
ALL THREE
HOW FIERCE AND FAST
THE TIDE IS TURNING...
YURII
... RIPPING OFF THE ROOFTOPS!
LARA
WHISTLING THROUGH THE VALLEYS...!
TONIA
ECHOING IN ALLEYS...
ALL THREE
IT’S A FORCE OF NATURE REAL AND TRUE,
AS CLOSE AS I AM HERE TO YOU...
(YURII moves closer to Lara.)
YURII
(Excited, Yurii moves to LARA)
Everything on earth has a hidden desire, something it longs for.
If we’re lucky enough to find it, but too afraid to speak our
desire out loud because the world thinks it wrong, or forbidden (Both are still. YURII reaches for
LARA.)
LARA
Yurii Andreievich, no!
Doctor Zhivago

42
YURII
Too much silence kills us.
(Another pause. Lara starts; she burned a
hole through the sheet she’s ironing.)
LARA
Now look what I’ve done!
(YURII moves to help.)
- just leave it, I’ll manage.
YURII
(suddenly aware of what happened)
I’m sorry, I distracted you...
(returns to his desk)
Go on with your work, Nurse Antipova.
(As YURII and LARA separate, and
lights on TONIA fade, the NURSES
sing. Perhaps one reads a
NEWSPAPER, one a letter of news
from home; ALL sense a change in
the air.)
NURSES
SOMETHING IN THE AIR HAS CHANGED.
IN AN INSTANT THE WORLD REARRANGED.
SOMETHING ELECTRIC EMBRACING YOU,
ALIVE AND NEW,
OUT OF THE BLUE.
WHERE WILL IT LEAD US?
WE HAVE NO NOTION WHERE...
WE ONLY KNOW
THERE’S SOMETHING IN THE AIR...
(The ORCHESTRA swells, playing the
theme as the NURSES experience the
almost visceral feeling of imminent
change... until the air is rent by
loud explosions.)
SCENE 9; A RAIL SIDING NEAR THE FRONT LINE
(SOLDIERS enter in panic and confusion.
Gints tries to push them off a rail car
they’re trying to mount.)
SOLDIER ONE
Germans broke through our northern line, we’re done for...
SOLDIER TWO
We have no orders to retreat...
Doctor Zhivago

43
SOLDIER ONE
To hell with orders, there’s the supply train, take command of
it and move out -
Evacuate the lines!!!
SOLDIER THREE
(various)
Retreat!!! Retreat!!!
Retreat!!!
(A QUARTERMASTER tries to block them)

SOLDIER FOUR
The Third Infantry’s wiped out.
SOLDIER THREE
The dead are ten deep out there...
GINTS
The line’s holding; there’s only a small breach, we can regroup
and counter-attack; you want the Krauts to think we’re cowards?!
ON THROUGH WIND
RAIN AND COLD!
NO MORE FEARSOME
SIGHT TO BEHOLD...
GINTS & SOLDIERS
... THAN A STEADFAST HUSSAR
MARCHING FORWARD!
FORWARD!
FORWARD FOR THE TSAR!
(They reluctantly re-form ranks a few
at a time, joining the chant, returning
to battle as YURII and LARA enter with
NURSES carrying medical supplies for
evacuation.)
(The QUARTERMASTER supervises the train
loading as YURII and LARA attempt to
step on board.)
YURII
(presenting orders)
We were assigned a rail car to evacuate the wounded.
(The QUARTERMASTER “examines” the
orders, then hands them back.)
QUARTERMASTER
News to me.
Doctor Zhivago

44
YURII
We can’t leave these men behind to die. Are you refusing a
written command?
(The QUARTERMASTER shrugs.)
We’ll have to look further back.
(YURII and the NURSE start to go. LARA
removes something from her pocket and
approaches the QUARTERMASTER.)
LARA
Listen, brother. Be on the lookout for these counterfeit rubles;
some men tried to pass them off for a place on the sick list.
QUARTERMASTER
(inspecting the notes)
There’s nothing wrong with this money!
LARA
If you try spending it and get caught, don’t point a finger at
me.
(The QUARTERMASTER catches on. He looks
cagey. Lara gives him more money.)
Now where’d you say we could put the wounded?
QUARTERMASTER
(points off down the train)
There’s an empty car third back from the engine.
YURII
(to the NURSE)
Load the wounded, start with the most severe cases.
NURSE
Yes, sir...
YURII
I don’t know what we’d have done without you Nurse Antipova.
(lost for words)
I’m sorry you never found your husband.
(pause)
What will you do now?
LARA
Travel with the wounded till we find a hospital with room for
them well behind the lines. Then... home.
(clarifying)
Yuriatin.
YURII
Yuriatin?
Doctor Zhivago

45
LARA
I was born there, in the Ural Mountains. They held my old
teaching job open. And I can volunteer at the clinic and the
library, there’s always work to be done. And you?
YURII
Moscow. Won’t it be strange, returning to our old life?
LARA
(looking on the bright side)
There is no old life now, the revolution swept it away; only
greatness lies ahead for Russia.
YURII
It might not be so simple. (then:) If only there was a way to
know you were safe, that someone was looking after you.
LARA
I’ve managed on my own for a long time. Never worry on my
account.
YURII
How can I not?
(searching for words)
The time we’ve spent together, these talks of ours, I’ll never
forget a moment LARA
Yes. How lucky that we found each other’s company.
(Both want to say more; to kiss)
YURII
I thought I’d never see you again after we spoke that night in
the rain. I wanted to go back and stop time, to live that moment
over and over, without a past or a future... (confused) I’m
talking nonsense.
(almost breaking)
How will we suvive without... (stops himself)
LARA
(with dread, and yearning)
Say goodbye, Yurii Andreievich.
(They stand frozen. A sudden series of
explosions. Soldiers flee across the
stage.)
SOLDIER
The Huns broke through.
(YANKO enters wobbling, with a bad
chest wound. YURII and LARA see him.)
Doctor Zhivago

46
YURII
Yanko...!!!
YANKO
You patched me up so smart, now I’ve gone and made a mess of it.
(YANKO sinks to his knees and topples.
They rush to his side. LARA checks YANKO
for vital signs. Yurii closes his eyes.)
YURII
He turned fifteen last week. Lied to get in the army, he told me.
LARA
Yanko...poor child.
(LARA finds a letter tucked under
his tunic. She reads the envelope)
LARA (cont'd)
“If you find this letter, please send it to Katarina in the
village of Varchovoy.”
(She shows YURII the letter.)
(Song: “NOW”)
YURII
“Dear Katarina...”
(reading letter)
...I’M LYING IN THIS TENT
AND THERE’S NOT MUCH LIGHT
AND I CANNOT WRITE FOR LONG
BUT THESE WORDS I’VE NEVER SAID
KEEP HAUNTING ME
AND I KNOW THEY CAN’T BE WRONG.
AND I’M STILL A LITTLE SHY
TO SPEAK MY MIND
BUT THE TRUTH JUST WON’T STAY DOWN.
FOR HERE IN THE NIGHT
THERE’S NO WRONG AND NO RIGHT.
THERE IS ONLY THE DARK.
I’M ALONE WITH MY HEART...
AND NOW...
I NEED TO TELL YOU NOW
I NEED TO TELL YOU HOW
YOU MAKE ME FEEL.
YOU’RE LIKE A SONG.
I SING YOU ALL DAY LONG.
A MELODY SO STRONG
AND SWEET AND REAL.
AND I DON’T KNOW
IF YOU’LL EVER FEEL THIS WAY
Doctor Zhivago

47
BUT I HAVE TO SAY

WHAT I HAVE TO SAY
I LOVE YOU.
AND I NEED TO TELL YOU NOW.
(LARA takes the letter, reads it aloud)
LARA
I WONDER IF YOU KNEW
EVERY TIME WE MET
I WAS TREMBLING INSIDE.
I LONGED TO TAKE YOUR HAND
FOR WE STOOD SO CLOSE
BUT THE DISTANCE SEEMED SO WIDE.
I WAS WAITING FOR A TIME,
A TURN, A SIGN,
AS THE DAYS KEPT RUSHING BY
AND IT ALL WENT SO FAST,
THE MOMENT HAD PASSED
AND I KNOW THAT YOU’RE GONE
BUT THE HUNGER LIVES ON...
AND NOW...
I NEED TO TELL YOU NOW.
I NEED TO TELL YOU HOW
YOU MAKE ME FEEL.
THERE’S ONLY NOW.
WHAT POINT IS THERE TO WAIT?
TOMORROW IS TOO LATE.
I CAN’T CONCEAL
THAT I MAY NOT EVER HAVE ANOTHER DAY
SO I HAVE TO SAY WHAT I HAVE TO SAY.
I LOVE YOU,
YURII
MY ARMS ARE EMPTY
LARA
BUT YOU’RE STILL HERE
BOTH
LIKE A MIRAGE THAT WILL DISAPPEAR.
(They break free of the letter, and
sing to each other.)
NOW, THE ONLY TIME IS NOW.
A TIME TO TELL YOU HOW
I NEED YOU NEAR.
I BREATHE YOU IN.
I FEEL YOU ON MY SKIN.
YOU MELT AWAY THE COLD
AND PAIN AND FEAR.
AND THERE MAY NOT EVER BE ANOTHER DAY
BUT I KNOW MY LIFE CAN’T END THIS WAY
I LOVE YOU...
Doctor Zhivago

48
YURII
LARA
I NEED TO TELL YOU
BOTH
I NEED TO TELL YOU NOW.
(They kiss suddenly then, with a supreme
effort, LARA turns away to leave.
Explosions rend the air. Music.
SOLDIERS flood on from the direction of
“battle”. LIBERIUS leads a group.)
LIBERIUS
Everyone on board, it’s all over.
SOLDIER 1
Leave what you can’t carry...
SOLDIER 2
They’re firing on the camp, everyone move out...
(LARA’s gone, but YURII remains. GINTS
jumps on the train, acting as a
barricade for the other SOLDIERS, as he
tries to lead them back to battle.)
GINTS
Back, men, reinforcements are on the way from Petrograd - one
more day and we can hold the line.
(Reprise: “FORWARD MARCH FOR THE TSAR”)
GINTS
FORWARD MARCH FOR THE CZAR
OR BE HUNG
FOR THE TRAITORS YOU ARE!
AND WITH GOD ON OUR SIDE,
WE WILL WIN THE FIGHT!
SEND THE KAISER FLEEING
TO BERLIN IN FRIGHT!
MARCHING FORWARD!
FORWARD!
FORWARD..!
I order you forward!
(MORE)
SOLDIERS
Go rot in hell!
Hang you, hang the army!
And hang the Czar!
Where was God when
we needed him?
When Our Brothers were
turned into canon fodder?
Retreat! Retreat!
Retreat and damn the Czar!
I don’t need the honor
of dying for my country!
I leave that honor to you!
Die gloriously!
I’ll die in my bed!
Doctor Zhivago

49
GINTS (cont'd)
(A BLOODIED SOLDIER raises his gun
and shoots GINTS casually. GINTS
falls like a rag onto the train.
Sudden silence as they realize they
killed an officer.)
(Song: “BLOOD ON THE SNOW”
BLOODIED SOLDIER
BLOOD ON THE SNOW,
THE BLOOD OF MY BROTHERS
SPILLED FOR A WAR
THERE IS NO PURPOSE FOR.
I WILL LAY DOWN MY GUN
THOUGH SOME CALL IT TREASON.
BLOODIED SOLDIER & SOLDIER 2
WHY SHOULD I DIE
WHEN I DON’T HAVE A REASON?
ONE MORE DEATH
MEANS NOTHING TO ANYONE.
BLOODIED SOLDIER & SOLDIERS
HOMEWARD I GO,
A SOLDIER NO LONGER
WEARY BUT STRONGER
MY DAYS ON THE BATTLEFIELD ARE DONE.
(LIBERIUS steps forward and sees his
trench friend, YANKO, laying dead
on the train from his war wound.
With a mixture of sadness and
furious defiance, LIBERIUS applies
his handkerchief to YANKO’s wound,
soaking it in his blood. Then he
fashions the bloody handkerchief
into a red armband which he knots
and slips onto his arm.)
LIBERIUS
FAREWELL, MY FRIEND.
YOU’RE NOT FORGOTTEN.
YOUR BLOOD WILL BRING US UNITY.
(Entering NURSES
armbands out of
of the wounded,
as more join in
fashion more
the bloody sheets
and distribute them
the rising chorus.)
LIBERIUS & OTHERS

WE WILL ARISE, DEMAND OUR FREEDOM,
STANDING IN SOLIDARITY!
LIBERIUS
NOW WE ARE THE PEOPLE’S ARMY!
Doctor Zhivago

50
SOLDIERS & NURSES

NOW WE ARE THE PEOPLE’S ARMY!
(All put on red armbands stained in
blood, singing in counterpoint:)
SOLDIERS & NURSES
BLOOD ON THE SNOW
THE BLOOD OF OUR BROTHERS
SPILLED FOR A WAR
COMRADES, LAY DOWN YOUR GUNS
TO FIGHT IN A NEW WAY.
RED SUN AGLOW,
IT’S THE DAWN OF A NEW DAY!
PEACE AND BREAD
AND FREE LAND FOR EVERYONE!
PEACE AND BREAD
HOMEWARD I GO,
A SOLDIER NO LONGER.
WISER AND STRONGER,
THE FIGHT FOR THE FUTURE HAS BEGUN!
LIBERIUS & OTHERS

FAREWELL, MY FRIEND.
YOU’RE NOT FORGOTTEN.
YOUR BLOOD
WILL BRING US UNITY!
WE WILL ARISE,
DEMAND OUR FREEDOM
STANDING
IN SOLIDARITY!
NOW WE ARE
THE PEOPLE’S ARMY!
NOW WE ARE
HOMEWARD I GO,
SOLDIER NO LONGER.
WISER,
THE FUTURE’S BEGUN!
(Soldiers and Nurses help each other on
to the train, defiantly. Once aboard,
the train begins to pull away.)
ALL
FLAME OF FREEDOM!
BLAZE ACROSS THE PLAIN TO THE HORIZON!
BLOOD ON THE SNOW
THE BLOOD OF OUR BROTHERS
SPILLED FOR A WAR
COMRADES, LAY DOWN YOUR GUNS
TO FIGHT IN A NEW WAY.
RED SUN AGLOW,
IT’S THE DAWN OF A NEW DAY!
PEACE AND BREAD
PEACE AND BREAD
HOMEWARD I GO,
A SOLDIER NO LONGER.
WISER AND STRONGER,
THE FIGHT FOR THE FUTURE HAS BEGUN!
NOW WE ARE
NOW WE ARE
HOMEWARD I GO,
SOLDIER NO LONGER.
WISER,
THE FUTURE’S BEGUN!
(YURII watches the train pull out filled

with Nurses and Soldiers and the bodies
of GINTS and YANKO. The scene has changed
around YURII to become the abandoned
Grand Hall of the Gromeko House.)
Doctor Zhivago

51
SCENE 10A: GROMEKO HOUSE -- GRAND HALL

(The “Grand Hall” -- last seen in the
opening -- looks abandoned; sheets cover
furniture stacked against walls.
YURII stands alone in a worn coat, a duck
over his shoulder and a duffel bag.)
Hello?
YURII
(calling)
Markel? Nana? Tonia?
(A tiny sinister man appears; SHULYGIN.)
Who are you?

SHULYGIN
No, comrade, the question is; who are you?
identification?
May we see
(GULYOBOVA, large and placid, enters.)

YURII
This is my house, my family owns it.
(TONIA bustles in with SASHA. She
holds a small net bag.)
GULYOBOVA
Comrade Zhivago, you have an unauthorized visitor.
(TONIA doesn’t recognize YURII)
YURII
Tonia?
TONIA
Oh dear god, I’m dreaming!!! Yurii...
(They embrace hungrily, speaking over
each other, forgetting everyone else.)
You’re so thin, poor love, what did they do to you?
YURII
Where is everyone, what are these strangers doing here?
(Tonia now remembers their situation.)
TONIA
This is Comrade Shulygin and Comrade Gulyobova. They’ve honored
us by choosing our home for the Workers Agricultural Research
Institute of Russia; and both of them watch over it...
YURII
They took our house?!
Doctor Zhivago

52
TONIA
(with meaning)
We were generously allocated the entire top floor.
YURII
What, the attic?
(Now TONIA turns to SASHA.)
TONIA
Look who’s home, Sasha!
(YURII kneels and opens his arms to
SASHA, who TONIA brings to him. )
YURII
(approaching his son)
Come, son, let your father hold you.
SASHA
(slaps YURII’s face)
I don’t know you.
(SASHA
runs off. TONIA, distraught,

is about to follow him but
SHULYGIN’s voice stops her.)
SHULYGIN
(eyes YURII’S bag)
Will the Comrade kindly explain what he’s carrying over his shoulder?
YURII
A hunter I met on the train home gave it to me.
SHULYGIN
It’s a duck!!!
TONIA
We haven’t seen fresh meat in Moscow for months!
(showing her reticule)
I found a half loaf of bread today...we can welcome you with a
feast!
GULYOBOVA
Leave the bird with us, comrade. We’ll determine the fairest
division of the meat, and deliver your share to you.
YURII
My share?
TONIA
(suddenly careful)
Yurii, give her the duck. They’ll bring us the correct portion.
Doctor Zhivago

53
GULYOBOVA
The days of bourgeois ownership are over, Comrade. The new
order is built on logic; logic says many are hungry, this bird
will feed many.
(She extends her hand for the bird.)
YURII
You can’t just take it away, it was a gift, it belongs to my
family.
(Song: “THE PERFECT WORLD”)
SHULYGIN
YOURS IS NOT TO SAY
WHAT IS YOURS, WHAT IS NOT.
GULYOBOVA
WHAT IS WHAT IS THE SAY OF THE PEOPLE.
YURII
What’s going on here, Tonia?
GULYOBOVA
WE HAVE BEEN ASSIGNED TO DECIDE -SHULYGIN
TO DIVIDE -GULYOBOVA
WHAT YOU NEED TO SUBSIST -SHULYGIN
JUST ENOUGH TO EXIST.
BOTH
EVERYONE WILL HAVE EVERYTHING THEY NEED.
SHULYGIN
EVERYONE THE SAME.
ANY MORE WOULD BE GREED!
GULYOBOVA
EVERYONE HAS GOT
A PORTION OF THE POT.
IF JUST A LITTLE
IS THE MOST WE’VE GOT,
SHULYGIN
FEED
THE NEEDY!
THE NEEDY!
NOT TO BE SELFISH.
BOTH
GETTING JUST A LITTLE IS A LOT!
YURII
But this is completely mad.
Doctor Zhivago

54
(TONIA gives GULYOBOVA the bird and leads

YURII upstairs to their assigned rooms.)
GULYOBOVA & SHULYGIN & COMMUNISTS
IN THE PERFECT WORLD,
THE SYSTEM HAS TO RUN
FOR THE GOOD OF ALL, NOT SOME.
WE ALL MUST THINK AS ONE
IF PERFECTION IS TO COME
IN THE PERFECT WORLD.
SCENE 10B - UPSTAIRS IN THE GROMEKO’S ATTIC
(YURII joins TONIA, ANNA, ALEX, SASHA
and MARKEL. They sit around a small
table with benches. SASHA is now a
young child. All that remains from the
days past is ANNA’s chair. Tiny glasses
of vodka have been poured.)
ANNA
God blessed us and brought our dear Yurii home alive.
ALEX
Home being two rooms in an attic; welcome to the future, my boy.
MARKEL
Let me kiss your hand, master...
TONIA
“No more hand-kissing, Markel.”
(NADIA, an old school friend enters
from downstairs with her gift.)
NADIA
I’ve brought a log for the fire...
(YURII goes to hug her. She extends
her hand formally for a shake.)
YURII
Dear Nadia, do you know if they’ve held open my position at All
Saints?
NADIA
It’s now called The February Revolution Hospital, or simply
“Medical Unit 12.”
YURII
Medical Unit 12, how poetic, I’d never have thought of it!
Doctor Zhivago

55
NADIA
YOURS IS NOT TO ”THINK,”
TO “REVIEW” OR “OPINE”
BUT TO HEW TO THE LINE OF THE PARTY.
YURII
Why so formal, dear friend.
TONIA
PATRONIZING WORDS CAN OFFEND.
ALEX
SUCH AS “FRIEND.”
ANNA
“FRIEND” IS BAD.
NADIA
SAY “COMRADE.”
ALEX
AND OF COURSE -ALL
“LENINGRAD!”
(SHULYGIN and GULYOBOVA Enter from
downstairs to join the family)
NADIA/GULYOBOVA/SHULYGIN
EVERYONE BELONGS
TO A SINGLE CLASS.
BOURGEOIS DAYS ARE DONE!
WHEN THE BREAD IS LATE,
THEN EVERYONE MUST WAIT.
TONIA/ALEX/ANNA/SASHA
WE ARE ONE SINGLE CLASS!
WHEN THE BREAD’S LATE
WE ALL WAIT!
SASHA
NO ONE IS STARVING
IN THE CLASS-LESS STATE.
NADIA/GULYOBOVA/SHULYGIN
EVERYONE HAS SOMETHING
ON THEIR PLATE!
EVERYONE HAS SOMETHING

ON THEIR PLATE!
(SHULYGIN and GULYOBOVA present the

family with a cube of duck the size
of a cigarette pack.)
Your portion, Comrades.
SHULYGIN
Eat well!!
Doctor Zhivago

56
ALL
THE PAST WILL BE REDRESSED
BY THE PARTY WHICH WE SERVE.
THE PEOPLE WILL BE BLESSED
WITH THE FUTURE THEY DESERVE
SCENE 10C: THE HOSPITAL
(YURII appears in a medical coat,
facing a MEDICAL COMMITTEE. They
critique his report.)
(The choreography on stage turns ALL
secondary characters machine-like,
moving as automatons.)
COMMITTEE MEMBER 2
Comrade Doctor, we’ve studied your report on Medical Unit 12’s
recent performance...
COMMITTEE MEMBER 1
Why do you claim that patients are “dying of Typhoid Fever in
greater numbers than ever before.”
COMMITTEE MEMBER 3
-- an obvious falsehood; just look how many empty beds there are
in unit 12.
COMMITTEE MEMBER 4
-- How can beds be empty unless people are being cured COMMITTEE MEMBER 1
WHY DO YOU WRITE OF “QUARANTINES.”
COMMITTEE MEMBER 2
“NO ANTISEPTICS.”
COMMITTEE MEMBER 3
“NO VACCINES.”
ENTIRE COMMITTEE
FACT: THE END
WILL JUSTIFY THE MEANS
AS WE BUILD THE PERFECT WORLD.
(They tear his report in half. All form
a moving wall to exclude YURII.)
GULYOBOVA
ONE MANIFESTO
Doctor Zhivago

57
SHULYGIN
AND NO DISSENT.
NADIA
ALL AGREE.
MEDICAL COMMITTEE
ALL WILL BE
ALL
EQUALLY CONTENT
COMMITTEE MEMBERS
THE WORKER AT HIS FORGE
GULYOBOVA/SHULYGIN/NADIA
THE PEASANT AT HIS PLOUGH
COMMITTEE/GULYOBOVA/SHULYGIN/NADIA
THE HAMMER AND THE SICKLE,
UNITED NOW.
ALL
AS A BRIGHT NEW DAY
OF FREEDOM IS UNFURLED
IN THE FLAG OF THE FUTURE!
(The Family, Medical Committee and
Members of the Party more grotesquely
mechanical in their choreography humorous and frightening at once while THREE MEN in
doctor’s whites are
put in blindfolds by soldiers.
ALL (cont'd)
IN THE PERFECT WORLD
ALL WORKERS WILL ARISE
IN A DREAM OF MARX FULFILLED!
REVOLUTION WON,
WE LIFT A NATIONS EYES
TO THE FUTURE WE WILL BUILD
IN THE PERFECT WORLD!
IN THE PERFECT WORLD!
THE PERFECT WORLD!
(The DOCTORS fall at the end of ropes,
hung. NADIA screams. BLACK OUT.)
Doctor Zhivago

58
SCENE 11; A FOOTBRIDGE NEAR THE HOSPITAL

(Figures in patched coats scour misty
streets in search of goods to barter.)
EGG MAN
Two fresh eggs warm from the hen.
KOMAROVSKY
I’ll give you a thousand kopeks for each of them.
BIEDERMEIER MAN
Money’s not worth the paper it’s printed on, I’ll give you this
Biedermeier chest for one egg.
EGG MAN
What good’s a chest when I’ve nothing to put in it.
(YURII walks home. A Man approaches him.)
KOMAROVSKY
You’d better watch your back, my friend.
YURII
Komarovsky?
KOMAROVSKY
The authorities fear your poetry, they can’t tell where you
sympathies lie. They’re saying the country might be better off
without your verse whispering in the pubic ear.
YURII
How is it any of your business?
KOMAROVSKY
May as well stick together. We’re the same now in their eyes;
bourgeois parasites.
(Reprise: “KOMAROVSKY’S TOAST”)
HOW COULD THIS HAVE HAPPENED?
MOSCOW UP IN SMOKE.
EVERYTHING WE CHERISHED,
SHATTERED, NOW A SORDID JOKE.
THE LAUGHTER. THE MUSIC.
THE CAVIAR, THE CREAM...
AND THE GIRLS IN WHITE
BY CANDLELIGHT.
ALL A DISTANT DREAM.
YURII
Stay away from me, Komarovsky.
Doctor Zhivago

59
KOMAROVSKY
Why is it you so distrust me, Zhivago? People never seem to
understand, I’m helpful by nature when I’ve nothing to lose.
But somehow everything I do causes resentment - I’ve been
slandered, vilified, insulted -- even shot at once -(then:)
That’s right, you were there, I remember now!
YURII
You’re drunk.
KOMAROVSKY
That young lady married, you know. Pity about her husband killed in the war. It seems she’s a
dangerous woman to know.
YURII
Stay away from me, Komarovsky.
KOMAROVSKY
(Offers some eggs. YURII moves to refuse.)
Take the eggs; feed your family.
(YURII takes the eggs)
What times we live in, eh, Zhivago. Watch your back.
(KOMAROVSKY reels off down the street.)
SCENE 12A: GROMEKOS’ ATTIC
(Two small rooms. ALEX brings ANNA a
cup of broth. She naps in a chair with
a warming rug on her lap. YURII works
at his desk in the next room. TONIA
sets the table for dinner. SASHA sleeps
next to YURII as he works.)
ALEX
Wake up, my dear. Drink some broth.
ANNA
(sipping, in a reverie)
It used to take two whole days to ride around our estate, remember?
The river was ours, the forests. Even the sunshine belonged to us.
(shivers)
Why am I so cold?
ALEX
(to TONIA)
Put a fresh log on the fire.
TONIA
We used the last one this afternoon, Papa.
Doctor Zhivago

60
(TONIA goes into the next room. YURII

looks up as she enters.)
YURII
Dinner’s ready?
TONIA
My poor darling, you look so unhappy.
YURII
Everyone in Moscow’s unhappy; except the scoundrels in charge.
TONIA
Shhh, not so loud, they’ll hear us downstairs!
(a fond moment)
We used to press our ears to the floorboards and listen to the
grown-ups talking below, remember?
(She rubs his shoulders affectionately.)
YURII
Brother and sister, that’s what we were; here in our two little
rooms that felt like an entire universe. Now it feels like a
prison.
TONIA
Talk to me, Yurochka, why so sad - it’s not like you to lose
heart so completely.
YURII
(almost speaks, then says instead)
Wake Sasha.
Let’s eat.
(He goes to the next room. TONIA
collects SASHA.)
ALEX
(taking his seat)
Tonight we once again re-enact The Great Mystery of the Workers
Revolution; we each have a fork!
(holds up a fork)
We each have a plate.
(holds up a plate)
But where did the food go?!
(As ALEX chuckles at his gallows humor,
YURII tends to ANNA, stroking her hand.)
YURII
We need more wood for the fire, Nana must be kept warm.
(He takes his coat off a peg. TONIA
enters with SASHA, who whimpers softly.)
Doctor Zhivago

61
TONIA
You can’t go out now, you need to eat something.
YURII
(outburst)
Everyone needs to eat something. Everyone needs to live, and
breathe, and speak his own thoughts, but no one is allowed to
any more in this wretched city.
(All turn to him. He catches himself.)
Forgive me...I wanted only to keep my family safe and
comfortable, but I can’t even keep them from starvation.
ANNA
A whole forest...fresh game...
ALEX
(explains)
She reliving her childhood, back on the old Kruger Estate.
YURII
Yes, she used to tell us stories about it. What do you think became
of the old place?
ALEX
Rotting into the ground no doubt - like everything else in
Russia since the glorious workers took charge!
TONIA
(someone might be listening!)
Shh, papa.
ANNA
The estate is where it’s always been. Some things never change,
thank Heaven.
YURII
(after a moment)
Why couldn’t we go there? Live quietly, no one to spy on us we’d grow our own food, I’d have
peace of mind to write - a
medical history, translations; something, anything to show for
all these lost years.
TONIA
Could we really live there, mama, would the peasants let us?
ALEX
(overjoyed)
We were good to our people, I’m sure they’d make us welcome.
YURII
It’s decided then! First thing tomorrow I’ll arrange for us to
board a train before anyone hears our plan.
(MORE)
Doctor Zhivago

62
YURII (cont'd)
(to SASHA)
In the meantime, not a peep. They’d arrest us all if word got out.
(YURII puts his hand to SASHA’s

cheek. SASHA puts his hand on his
father’s. The months of hardship
have brought them close.)
ANNA
Papa can wire ahead for the overseer to meet us at the station
in Yuriatin and take us into the mountains by cart.
YURII
(the name hits him)
Yuriatin?
ALEX
Less than half a day from the estate, and the roads are decent.
(Music. YURII immediately makes the
leap; it’s LARA’S village.)
YURII
(suddenly reluctant)
Yuriatin! I didn’t know! Isn’t that a very long way for Nana to
travel in her condition?
TONIA
She can make the journey, can’t you Nana? I think it’s a
wonderful idea!
YURII
No! The countryside’s unsafe. Even the Red Army’s out of control
brigands, their men take orders from no one TONIA
(puzzled by his behavior)
But a moment ago you said YURII
(calming a little)
I’m saying we can’t just uproot and move ourselves to Yuriatin
without careful planning and preparation.
TONIA
I don’t understand...
YURII
Serve dinner, I’ll find us some firewood.
(YURII hurries into the street with his
umbrella. THUNDER. SASHA remains on
stage for YURII’s walk; a reminder of
the family YURII must protect.
Doctor Zhivago

63
Through the song, young lovers pass,

pulling coats tight to stay dry in the
rain.)
SCENE 12B: STREETS OF MOSCOW
(Song: “YURII’S DECISION”)
YURII
WHY OF ALL THE PLACES IN THE WORLD?
WHO OF ALL THE PEOPLE TO BE LIVING THERE!
DASHING ALL THE CAREFUL PLANS
OF A CONSCIENTIOUS MAN
WHO TRIED TO LEAVE THINGS AS THEY WERE.
AFTER EVERY TOUCH WE NEVER FELT...
AFTER EVERY WORD WE LEFT UNSPOKEN...
WHY IS HEAVEN TESTING ME?
IS IT CHANCE OR DESTINY
THAT THIS ROAD LEADS ONLY TO HER.
NIGHT AFTER NIGHT THIS FIRE BURNS
HOWEVER I HIDE, WHEREVER I TURN...
(As if seeing an unseen LARA)
YOU ARE ALWAYS THERE,
BEYOND THE DARK
LIGHTING MY EXISTENCE.
YOU, MY SECRET PRAYER.
MY MIDNIGHT SUN
GROWING IN THE DISTANCE
DARING ME TO DREAM,
BLAZING FROM AFAR.
ONE STAR TO GUIDE ME THROUGH
AND LIGHT THE WAY
TO THE EDGE OF TIME WITH YOU...
THE EDGE OF TIME,
OUR PERFECT PLACE.
LEAVE THE PAST BEHIND US.
FAR BEYOND THESE WALLS
WHERE FEAR DISSOLVES
AND THE WORLD CAN’T FIND US.
THERE BEYOND THE LINE
WHERE THE EARTH MEETS SKY,
WHERE I CAN KNOW A LOVE
I NEVER KNEW
ON THE EDGE OF TIME WITH...
(HE snaps out of his reverie)
Stop, this is weakness, dreams; everything you swore you’d
resist.
Doctor Zhivago

64
YURII (cont’d)
ALL MY LIFE,
I HAVE TRIED TO LIVE WITH HONOR,
AS A SON IN A PROUD AND NOBLE LINE.
TO BE TRUE TO MY WORD,
STAND MY GROUND UNDETERRED,
AND LIVE UP TO THE NAME THAT IS MINE.
FOR THE SAKE OF MY FAMILY’S SURVIVAL,
I WOULD GO TO THE FURTHEST OF EXTREMES,
FOR A MAN IS DEFINED
BY THE STRENGTH OF HIS MIND.
BY THE SUM OF HIS DEEDS,
NOT HIS HOPES, NOT HIS DREAMS!
(YURII crosses to the street lamp where he
and LARA first met. He holds his umbrella,
as he did at their first meeting.)
YURII (cont'd)
LEAVE THE STARS IN THE SKY.
LET THE NIGHT FIRES DIE.
HIDE THE SUN IN A CLOUD OF GRAY.
AND IF EVER I SHOULD MEET HER
ON A VILLAGE STREET,
I’LL VERY CALMLY TURN
AND WALK THE OTHER WAY.
(YURII sees a young COUPLE kissing under
the street lamp where he first met LARA. He
pushes them back with his words.)
YURII (cont’d)
Remember the life you’ve made. Remember your name.
I AM YURII ANDREIEVICH ZHIVAGO!
I WILL NOT LEAVE A LEGACY OF SHAME.
FOR A MAN IS DEFINED
BY THE STRENGTH OF HIS MIND,
BY THE TRUTH THAT HE SPEAKS,
AND THE VOWS THAT HE KEEPS,
AND BY GOD, WHEN I DIE
LET MY SON KNOW THAT I
WAS A MAN WHO LIVED UP TO HIS NAME!
A MAN WHO LIVED UP TO HIS NAME!
(YURII has arrived home, crossing to
SASHA who is quietly reading at the
small table. They embrace, and we
are back in the Gromeko’s Attic.)
Doctor Zhivago

65
SCENE 13A: GROMEKOS’ ATTIC

(The stage darkens; ALEX and TONIA
reappear. A candle flame pierces
the black. The candle glow lights
SASHA. TONIA and ALEX, gathered
behind YURII. Each is enormous
under layers of clothing.
ALEX drapes a black piece of cloth
over ANNA’S chair, and kisses it.)
ALEX
Good-bye, my dear. It’s as well God spared you this journey.
Heaven knows what’s waiting for us.
(TONIA slips one more coat on SASHA.)
SASHA
Please, let me carry it, mama...
TONIA
Only small bundles, Sasha... we can’t look like we’re fleeing or
we’ll be arrested before we reach the station.
(SASHA takes the coat. ZHIVAGO
checks out the window.)
YURII
The street’s clear.
(The adults sit on a bench by the
door.)
Sasha, sit.
It’s time to say good-bye to our home.

SASHA
(adamant)
I don’t want to!

TONIA
We may never see this place again, darling.
YURII
(understanding)
Let him say goodbye his own way.
(The adults sit in silence, eyes
closed. SASHA looks out the window.
He holds a toy.)
Doctor Zhivago

66
(Song: “IN THIS HOUSE”)

SASHA
HOUSE, DON’T BE FRIGHTENED.
I WON’T SAY GOODBYE.
I’LL BE BACK TO SEE YOU SOON.
YOU DON’T HAVE TO CRY.
HOUSE, DON’T BE LONELY.
STAY HERE AND HAVE FUN.
HERE’S MY BOAT TO PLAY WITH.
IT’S MY FAVORITE ONE.
ALEX
IN THS HOUSE
RELATIVES WOULD GATHER.
THROUGH THESE DOORS,
LAUGHTER FILLED THE HALLS.
IN THESE ROOMS
LIVE WITH CONVERSATION
SILENCE FALLS.
IN THIS HALL
I’D HEAR NANA’S FOOTSTEPS,
VELVET SHOES
DANCING DOWN THE STAIR.
BY THIS CROSS
WE READ OUR FAMILY BIBLE
PRAYER BY PRAYER.
TONIA
IN THIS BED
I HAVE HELD MY HUSBAND.
IN THIS CHAIR
I HAVE NURSED A SON.
IN THIS ROOM
MEMORIES SURROUND ME
ONE BY ONE.
TONIA & ALEX
I WILL TOUCH YOU
ONE MORE TIME.
I’LL BREATHE YOU IN,
AND TAKE YOU WITH ME.
YURII
ON THESE SHELVES,
THERE WILL STILL BE BOOKS.
TONIA
IN THIS VASE,
LILACS STILL WILL BLOOM.
Doctor Zhivago

67
YURII & TONIA & ALEX

IN MY MIND,
THIS HOUSE WILL LIVE WITHIN ME...
ROOM BY ROOM.
(MARKEL enters in shock, showing a
newspaper.)
MARKEL
The Reds just killed them, sir; the Tsar and his whole family - dead.
ALEX
(taking the paper, with anguish)
Dear God, that we should live to see such a day!
(enraged)
The Csar’s Whites will hunt down these cowards and drench the
Red flags of their revolution in their own treacherous blood!
TONIA
Is it all clear downstairs?
MARKEL
I gave the caretakers vodka. They’re celebrating, can you
imagine?! This is the end of civilization, isn’t it, sir...
(As the Family follows him out, SASHA
runs to ANNA’S chair and, clings to it.
TONIA guides him gently away.)
TONIA
Come, darling.
13B: STAIRCASE & VESTIBULE
(By candlelight, the Family winds
downstairs. They turn and “take in” the
barren room where holidays once filled
the house with joy. Then they
leave.YURII lingers a moment. SHULYGIN
staggers in drunkenly. YURII freezes.)
SHULYGIN
What are you doing out of your assigned area, Comrade?
YURII
I was called to help an injured worker.
SHULYGIN
(drunk beyond thought)
Good! All valid workers must be injured validly, pass on, pass on...
(SHULYGIN motions YURII out with a
gesture, “That’s a valid reason!!!”)
Doctor Zhivago

68
SCENE 13C: STREETS OF MOSCOW

(The Family turns back to the house
one last time, this dark ghost of
its old self.)
YURII
IN MY HEART,
MOSCOW IS A YOUNG GIRL
BRIGHT WITH HOPE,
EAGER EYES AGLEAM.
YURII & TONIA & ALEX
LIVE IN ME,
AND WE WILL BUILD A NEW LIFE
DREAM BY DREAM.
(Walking to the train station, YURII
and his Family are joined by Other
Families also layered with clothes,
fleeing Moscow.)
HUSBAND
IN THIS CHURCH,
YOU AND I WERE MARRIED.
WIFE
ON THESE TREES,
AS CHILDREN WE WOULD CLIMB.
OTHERS
IN THIS SQUARE
WE HEARD THE BELLS OF EASTER,
CHIME BY CHIME BY...
FAMILIES
DOWN THESE LANES
I WOULD GO TO MARKET.
IN THESE EAVES
STARLINGS WOULD APPEAR.
THROUGH THE DAYS
THE SEASONS TUMBLED BY US
SPRING BY SPRING,
YEAR BY YEAR.
I WILL TOUCH YOU ONE MORE TIME,
I’LL BREATHE YOU IN
AND TAKE YOU WITH ME.
(COMMUNISTS enter. A Train appears.)
Doctor Zhivago

69
COMMUNISTS
BLOOD ON THE SNOW,
THE BLOOD OF THE MARTYRS
SPILLED FOR THE SAKE
OF A NEW WORLD WE MAKE!
COMRADE WORKERS UNITE
TO FIGHT IN A NEW WAY,
RED SUN AGLOW
AT THE DAWN OF A NEW DAY!
FAMILIES
DOWN THESE LANES
WOULD GO TO MARKET.
IN THESE EAVES
STARLINGS WOULD APPEAR.
THROUGH THE DAYS
THE SEASONS TUMBLED BY US
YEAR BY
YEAR BY YEAR.
(Families board the crowded train.

Communists wave red flags above.)
COMMUNISTS
PEACE AND BREAD
PEACE AND BREAD
FAMILIES
IN MY HEART
MOSCOW IS A YOUNG GIRL
BRIGHT WITH HOPE
EAGER EYES AGLEAM.
(The Crowded Train pulls out of the

station, receding into white smoke as
Communists rally in the foreground.)
COMMUNISTS
MASSES ARISE,
IN BONDAGE NO LONGER!
GROW EVER STRONGER!
THE SOUL OF A NATION
WE REDEEM!
FAMILIES
LIVE IN ME,
AND WE WILL BUILD A NEW LIFE
DREAM BY DREAM
BY DREAM BY DREAM.
BY DREAM!
(MARKEL watches as families board the

train. Communists wave flags - joined by
PASHA ANTIPOV - and as KOMAROVSKY enters
to wryly observe the spectacle, Markel is
left behind watching the train depart;
the Reds now ascendant in Moscow.)
END OF ACT ONE

Doctor Zhivago

日瓦戈医生1

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Doctor Zhivago

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

PROJECTION: “ONE YEAR LATER”

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SCENE 1-G: THE STREET OUTSIDE THE GROMEKOS

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

(Song: “WHO IS SHE?”)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SCENE 3-A: A RUSSIAN ORTHODOX CATHEDRAL - TWO YEARS LATER

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

No, no, no... well, alright.

SYDNEY MASTER - 11-5-2010 (rev/clean)

SCENE 4-A: LARA AND PASHA’S ROOM

We should talk first.

SYDNEY MASTER - 11-5-2010 (rev/clean)

What is it, poor mouse?

SYDNEY MASTER - 11-5-2010 (rev/clean)

BUT WHEN THE MUSIC PLAYED

SYDNEY MASTER - 11-5-2010 (rev/clean)

...AND LET THE MUSIC PLAY.

He went across the square.

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

YURII & TONIA

SYDNEY MASTER - 11-5-2010 (rev/clean)

(YURII enters the Tent.)

They’re ready all down the line.

SYDNEY MASTER - 11-5-2010 (rev/clean)

(Song: “FORWARD MARCH FOR THE TSAR”)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

(Music continues - and GINTS gives the

(The NURSE starts out, then turns back.)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

SYDNEY MASTER - 11-5-2010 (rev/clean)

(He lets the blanket fall. His abdomen is

Tell me your name.

I’m called Yanko.

SYDNEY MASTER - 11-5-2010 (rev/clean)

(YURII reaches in and gently

SYDNEY MASTER - 11-5-2010 (rev/clean)

...FOR SOMETHING IN THE AIR HAS CHANGED.