Music analysis
The following is the text posted on our website circa 2001. Many thanks to Bill Wrobel for providing this detailed analysis. Please note that we will be updating this page.The following is a mini-cue rundown of Korngold’s score to “The Prince and the Pauper.” Unfortunately, I did not have sufficient time to examine every cue of this fully orchestrated score held at the Warner Bros Archives at USC, so my analysis will be limited(hence the term “mini” rundown). The film stars Errol Flynn as the dashing soldier of fortune, Miles Hendon. Claude Rains plays the rather villanous Earl of Hertford, and Alan Hale as the Captain of the Guard. The score was orchestrated principally by Hugo Friedhofer, but Milan Roder orchestrated several cues as well.
Erich Wolfgang Korngold
1] “Main Title” Reel 1, pt 1. Poco Maestoso in 2/4 time. 6 pp., 1:38 duration. Key signature of E major(4 sharps).[Note: Of course, for transposing instruments, the sharps are augmented, so that the clarinets and Bb trumpets have 6 sharps, English horn has 5 sharps]. Instrumentation: 3 flutes(piccolo doubling), oboe, English Horn, 2 clarinets, bass clarinet, bassoon, contra bassoon, 4 horns, 3 tpts, Pos, timp., vibe, gong, snare drum, piatti, 2 harps, piano, celeste, 8 violins I, 6 violins II, 4 viole I, 2 viole II, 4 VC I, 2 VC II, 2 CB. In Bar 1, flute II and oboe are sfp on sforzando-marked B(b”)half note tied to(Bar 2, now C time)8th. Fl III and E> H> play b’. Vibe rings between b’-b” half notes(notated like a fingered trem). Bells strike the b’ and b” quarter notes. Most prominently, the divisi violins are sfp rinforzando( > symbol above the note)bowed trem half notes on B an octave apart(b’ & b”)crescendo( < ). After a quarter and dotted 8th rest, the violas/celli begin to play f(forte)the Main Title motif(Prince & Pauper motif, or King/royalty theme). Viole play on b(just below its middle C line located on the middle line of its standard alto clef, while VC I play on the non-standard “K” or “F” tenor clef, while VC II play on the standard bass clef on the B(b)16th. The unison horns & tpts also play the melody line.
So we find B 16th in the grace bar up to(Bar 1)E tenuto quarter. The harps here strum mf the E maj quarter note chord(actual notes B/E/G#/B)arpeggiando(vertical wavy line rolled chord), followed by a quarter rest. The horns/tpts/viole/VC continue the melody line from that E up to B tenuto quarter notes to the combined F# Dom 7/11(added 11th)double-dotted quarter note chord(F#/A#/C#/E/B). The harp is arpeggiando quarter notes on it(actual notes B/C#/E/F#/A#/C#/F#/A#). Horns play B/C#/E/B. Viole play sf on E/F#/A#/C#, etc. Leading up to this, flute I/E H/vlns I play a rising flourish figure of three 32nds B-C#-D# to “5” quintuplet 32nd notes E-F#-G#-A-B to the A# 8th rinforzando note.
The melody line continues with the F# maj(F#/A#/C#)16th sforzando chord(horns play it sustained on A#/C#/F#)to(Bar 3)the E maj 1st inversion(G#/B/E/G# of the vlns)quarter note chord(horns are sustained on it as half notes tied to dotted quarter notes)down to the E maj root position(E/G#/B/E)quarter note chord down to its 2nd inversion B/E/G#/B)double-dotted quarter note chord. Etc. In Bar 3, harp II is rising and falling glissandi on the 2nd & 3rd beats. The piano is descending arpeggiando quarter note chords. Celeste plays rising running figures of “7” then “8” then “9” 32nd notes.
Skipping to :41(end of the first bar on page 4), the vlns & celli continue the melody line development(Vlns I = Line 3, II = Line 2, VC = Line 1 register)of C# to D 8ths marcato to(next bar)four tenuto E quarter notes to(next bar)E quarter to D-C# 8ths to B tenuto quarter to C#-D 8ths to(next bar)three E quarter notes to F rinforzando quarter to(next bar)E quarter to D#/C# 8ths, etc. At :53(start of page 5), three soli violins(largely within Line 3 register0play p a series of half note chords of B/E/B up to C#/F#/C# back to(next bar) B/E/B to D/G/D. ten altri vlns play ponticello bowed trem the same note intervals. Solo viola plays quarter notes E-B-A#-F#, etc. Three other violas play it bowed trem pont. Two lowest violaas play bowed trem pont half notes G# to F# to(next bar)G# to G, etc. Harp I plucks quarter notes E(e, e’)up to B, A# down to F# to(next bar)G# down to E down to B up to E, etc. Harp II is arpeggiando on the 1st & 3rd beats. Clar I plays tenuto quarter notes E up to B, etc. Bass clar is pp playing tenuto half notes “quasi sub-tone.”
At 1:10(start of page 60flute I/EH/celeste play the melody fragment of E half note to 8ths D#-E to F# dotted 8th to D# 16th(all four notes connected by a crossbeam)to(next bar)E half, etc. Here the clar I and viole take over the melody line p espr.
The cue ends with the three celli on E/B/G# whole notes held fermata. Viole are bowed trem on G#/B whole notes held fermata. Six lowest staff vlns play G#/B(b’)bowed trem whole notes p. Flutes play G#/B(b’)whole notes, pp. After a half rest, 8 violins play p G#/B(b”)half notes bowed trem, held fermata. The celeste and harmonics harp I play G#/B.
[2] “A Prince Is Born” Reel 1 pt 2. Allegro in 2/2 time. Scene: London 1537. “It’s a boy!” is exclaimed as prince Edward Tudor of Wales is born.
Three trumpets play the announcement fanfare sf with the C maj(C/E/G)half note triad tied to 8ths, down to the C maj 1st inv(E/G/C)staccato 8th chord(both 8th chords tied by a crossbeam)to new figure of Bb maj 2nd inv(F/Bb/D)staccato 8th chord to the B maj 2nd inv(F#/B/D#)16th chord, etc. The triangle rings on the first two beats. The harp is gliss forte mf on the 4th beat, and the snare drum rolls.
At the end of Bar 3, the vlns/viole play a 32nd note run forte of A-B-C-D-E-F#-G-A to(Bar 4) the E maj(E/G#/B)half note chord ff tied to 8ths. The woodwind play the A quarter to(Bar 4)the E maj combined sound. Also in Bar 4, three horns join in the fanfare. Harp is arpeggiando on E maj(actual notes E/G#/B, E/G#/B). Woodwind play a trill figure on Ab maj(Ab/C/Eb)in Bar 7, etc. In Bar 10, the celebration chimes play forte quarter sforzando notes B to A, B to A, repeated next few bars. Vlns & viole(with flutes)are bowed tremolo half note chords B maj 2nd inv(F#/B/D#/F#)to G min(actual notes G#/B/D#/G#), repeated next few bars. Harp I and celeste are arpeggiando on those chords. Etc etc.
[3] “Tavern & Palace” Reel 1/3. Scene: First the screen shows the baby Prince, but cuts to the Pauper baby, Tom Canty. Music starts with the proclamation: “He will be king!” Cue ends with the pizzicato of the strings.
In Bars 29-33(when the King says, “You drink sparingly, my good Norfolk…A pity, because losing one’s head from wine is so much less than losing it from treason.”). Here the flutes & strings play(in 4/4 time)the G maj 2nd inv(D/G/B)dotted half note chord to the D min(D/F/A)tenuto dotted 8th chord(followed by a 16th rest), cres-desc( < > ). Repeat in Bar 29. Specifically, 6 vlns I play it Line 3 register(Line 2 notation by with the 8va ottava symbol above the notes)while 6 vlns II in the staff below play it Line 2 register. Viole are Line 1(middle C)register; VC play it G(G)/D(d)/B(b); CB plays the G/D dyad.
In Bar 36, vlns play it as root position G maj(G/B/D)half note chord down to the F/A half note dyad. Repeat next bar. Then sustained(tied)G/B/D whole notes in Bar 32 tied to next bar, held fermata(upper semi-circle and enclosed dot symbol above the notes). Viole I staff play the D whole note tied to next bar. Repeat next two bar(held fermata). Viole II staff play G/B to F/A half note dyads. VC I play D(d’)whole note tied to next bar, then repeated(as in Viole I). VC II play D/G to A half notes, etc. CB play G/g to D/d half note dyads. Sordini horns ! & II are unison pp on D whole note tied in Bars 30-33, etc.
Then you hear for the first time the “treason” motif(which is heard later in the “Biscuit & Seal” cue when the Earl of Hertford–played by Claude Rains–is present in the scene). Basically it is a three-note pattern of the trill of two 8th notes to a quarter note.
As the surrogate mother of the King’s child is seen, the vlns & viole play a 32nd note run figure cres < f(notes E/F/G/A, B/C#/D/E)to(Bar 42)the rinf D min 1st inv(F/A/D/F)quarter note chord to the rinf C maj 2nd inv(G/C/E)quarter note chord. Then the fls/obs/cls are trill on the C# min(C#/E/G#).|
As the King is with the baby(commenting on how the weight of royalty will make Edward wish we was born a pauper rather than a prince)the royalty(Prince & Pauper)theme is delicately played(presence of the innocent baby)by the quasi sub-tone clarinets, the staccato notes of the harp, the cleste arpeggiando, strings bowed trem ponticello. Later on page 16(piu mosso misterioso)you see the pauper baby and the low-life dad. The pauper father’s theme is played(see next cue). Finally, the mother of the child soothes the baby(page 18)as you hear the solo violin play the triplet value D quarter note to two C 16ths(all three notes under the “3” bracket triplet value)to three triplet value quarter notes(followed by a half rest). Altri strings play half note chords.
[4] “Tom” Energico in C time. Reel 1/4. Scene: Tom’s cruel dad. Music starts when he says, “I’ll knock them royal ideas out of your head!”
Sordini horns/vlns/viole play the odd, halting or syncopated phrase of staccato 16ths. We find the horns playing rinforzando G 8th in the grace bar to(Bar 1)G 16th staccato(followed by a 16th rest). Then G 8th to 16th staccato(followed by a 16th rest)to the G 8th again(all four notes connected by a crossbeam)to the G#/C# dotted half notes, cres ff. Bassoons play the F#/B dotted quarter notes. Cymbals sound, and the snare drum plays a five-note ruff. Piano/celli/basses play accentuated chords on the 1st, 2nd, and 3rd beats. Piano plays C/Eb/F#/G 8th notes on the 1st beat, G/Bb/C/D# 8ths on the 2nd beat, then I believe the E/G#/A#/B dotted quarter note chord on the 3rd beat(followed by an 8th rest). 12 vlns and viole play the horns’ line. So four top staff violins play forte lowest G to(Bar 1)G/F# 16ths(followed by a 16th rest), repeat, then finally to the C# dotted quarter note. Etc etc.
5] “Tom(continuation)” Reel 2/1. Scene: Tom sneaks back home/ cruel dad steals the book given to Tom by Father Andrew.[Sorry, no added information on this cue]
[6] “The Bench” Reel 2/2. Scene: Sad Tom a the rainy royal courtyard.
[7] “The Prince” Reel 3/1. Scene: The Prince eats and then visits Dad(the King).
Skipping to page 13, when the ten year old Edward says “I think I’d like to play now!” the flute/ob/bassoons(and I believe the bells)play the spritely melody phrase of staccato 8th notes G up to D down to D down to bb(connected by a crossbeam)to next crossbeam figure 8ths of C-Ab-Eb-Ab(rinforzando on the Ab)to(next bar)F up to bb-G-Eb up to the next figure of B-G#-C-A. Sordini tpts play tenuto 8th notes positioned to syncopate the rhythm. So Ab 8th at the end of that first bar on page 13 to(next bar)8th rest, then staccato Bb 8th, 8th rest, Ab 8th note, 8th rest, C 8th(followed by an 8th rest).
The piano and pizz strings also play on that syncopated pattern. So vlns play Line 1 register D/Ab and Line 2 D/Ab to(next bar0an 8th rest, then Lines 1 & 2 Eb/Bb, etc. After that two-bar phrase, the oboes and bells(?)are silent, but the clarinet joins in with the flute for the next two-bar phrase. etc.
[8] “Biscuit and Seal” Reel 3/2. Scene: Music starts when Edward asks, “What was my mother like?” to the King.
When the Royal Seal is brought to the King in the middle of page 4(Bar 15), the fls/obs/bassoons/Pos/pno/strings are put on the D# min key signature(six sharps)while the clarinets/tpts/harp are placed on the Eb min(enharmonic)key sig(six flats). Here the bassoons/harp/piano/CB play a serious & sober version of the Main title(King/Royalty motif). We find the low C# 16th up to(Bar 15)the F staccato rinf 8th(followed by an 8th rest)up to tenuto C# quarter to the B# double-dotted quarter down to the G# 16th to(Bar 16)A# to F# tenuto quarter notes down to the C# double-dotted quarter, etc.
[9] “Prince Goes Back” Reel 3/3. Lento misterioso in C time. Scene: The King gets ill again, and the Earl of Hertford(Claude Rains)is told “Get out!” as well as Edward. The stgs and cls play a three-note low suspense pattern. Vlns play Bb to middle C trill 8th notes to(Bar 2)Bb/Eb tenuto quarter dyad. Repeat. Then in Bar 3, A/D half notes tied to quarter notes. Viole play it as F-F# to(Bar 2)E(natural). VC play it as half arco/half pizz G-G# to(Bar 2)C/G. Cls play G-G# to G. At the end of Bar 2, sord horn II plays p cresc Bb-C 8ths to(Bar 3)rinf D dotted 8th to D 16th to D-D 8ths(all four notes connected by a crossbeam)to the D quarter tenuto note, desc(followed by a quarter rest). Meanwhile, the harp plays pp a 32nd note rising run figure in each bar(G-A-Bb-C-D-Eb-F-G-A-Bb-C-D), etc etc.
10] “The Captain” Allo moderato in 2/4 time. Reel 4/1. Scene: The Capatin of the Guard(Alan Hale)sees Tom Canty. Music seques from the previous cue.
The harp sounds a F half-diminished 7th(F/Ab/Cb/Eb)8th chord arpeggiando(piano joins in as well). Then a rapidly ascending syncopated phrase is played by the violins, then joined by the E H in Bar 2, and by the flutes in Bar 3. So we find vlns playing lowest Ab 16th(followed by a 32nd rest)to Bb 32nd to Cb 16th(with 32nd rest)to Db 32nd(all notes connected by crossbeams)to next rising figure of D 16th, etc. Viole etc play staccato 8th notes, initially col legno(“on the wood”).
In Bar 4(now 4/4 time)the vlns are bowed trem p on Lines 2 & 3 Ab whole note. The small cymbal sounds, etc.
[11] “The Boys Go To Play” Reel 4/2. Scene: Edward takes in Tom before the Capatin could harm him. Delightful little melody played first by the low vlns & viole, then the flute & harp take over(with the bassoons partially)in Bars 4-8.
So we find the flute playing p “leggiero”(lightly)staccato 8th notes Line 1 register A-B-A-D(d”)to(Bar 5)D(d”)quarter to staccato E 8th(followed by an 8th rest). Then E quarter up to A 8th(followed by an 8th rest). Then, in Bar 6, A quarter up to D(d”’)8th(followed by an 8th rest)to D quarter down to E(e”)8th(with 8th rest)to(Bar 7)E quarter to A 8th(8th rest)to A(a”)quarter down to A(a’)8th(with 8th rest)to next bar’s A. Bassoon I plays the passage thru Bar 5. Strings are pizz in Bar 5, then arco in Bar 6, pizz again in Bar 7. The vibe is easily heard after the half rest in Bar 5, resonating the A/A(a/a’)half notes tied to whole notes next bar to 8ths in Bar 7. After an 8th & quarter rest, A/A again as quarters tied to 8ths. The piano plays the E min 7/11(E/G/B/D/A)rhythm; that is, E/A/G quarter notes in the bass clef staff up to the bass & treble quarter notes A/B/D/E, G/B/D/E, repeated. etc.
[12] “Mirror” Reel 4/3. Scene: Music starts when Edward says “Is there any vermin in this?”(referring to Tom’s clothes).On page 15(Bar 57), right after the pretend Prince Edward(Tom in Edward’s clothes)says “Don’t bother me, my lad!” flute II and piccolo and celeste play descending staccato 8th notes(I believe B-A-G#, F#-E-D#-C#)to Bar 58, taken over by flute I/cl I/piano. Then, in Bar 59, the vlns & viole take over, playing initially descending then ascending notes, joined in Bar 60 by the fl/picc(16th notes)and by the harp gliss.
In Bar 61(page 16)”subito lento,” the King/Royalty(M.T.)theme is played by the solo horn as D 16th up to(Bar 61)C up to G tenuto quarter notes to F double-dotted quarter. then repaet with D 16th to next bar. Vlns I play fp the counterpoint melody line of C(c” and c”’)half notes to 8th notes B-C-D-B, repeated next bar. Then, in Bar 63, G(g’ and g”)to 8th notes F-G-Ab-F. Repeat. Altri stgs play the C maj half note chord to D dim to(next bar)C maj to D half dim(D/F/Ab/C). etc.
[13] “Prince Outside The Palace” Reel 4/4. Scene: Edward hides the Royal Seal, and later he is mistaken as the pauper boy and is kicked out of the palace grounds.
[14] “The Next Morning” Reel 5/1.
[15] Reel 5/2. [Note: missing cue] Scene: Prince runs.
[16] “The Pauper Goes To The King” Reel 5/3. Scene: Tom is assumed to be Prince Edward, even by the King! Sostenuto repeat phrases, similar to the Lento piece in the cue “Mirror” Bar 61 on.
[17] “That Is My Son” Reel 5/4. Scene: King proclaims that his son will rule, summoning the court. Then a glorious fanfare is played for four bars from Bar 9.
We hear the tpts proclaiming the A maj 2nd inv(E/A/C#)half note chord tied to 8ths to the A maj 1st inv(C#/E/A)8th staccato chord, then new figure of Bb maj 1st inv(D/F/Bb)8th to the Ab maj 2nd inv(Eb/Ab/C)16th chord to the G min(G/Bb/D)16th back to(Bar 10)the A maj 2nd inv half note chord, etc., finally to the A maj root(A/C#/E). Woodwind play C# 8th to triplet 16ths figure(C# to D-E-F#)to next “7” 16th figure of A-B-C#-D-E-F#-G# to A 8th, subito p < mf. Vlns play Line 2 register C#/E/A/C# half note chord tied to 8ths, etc. Triangle & cymbal sound.
[18] “The King Is Dead” Reel 6/1. In Bar 9, when the King’s last words(“…to face them all..”)is uttered just before he expires, the music is held on the D Dom 7 flat 5th(D/F#/Ab/C). Vlns play C/D dyad(vln I = D, vl II = C)bowed trem whole notes. VC plays Ab/D/F#, horns on F#/C/D, bass clar trill on Ab, cls trill on F#/C, oboe trill on A, etc. Then the bassoons/viole are “piu mosso” playing a rising 32nd note figure up to(Bar 10)the Ab staccato 8th note. Clar I/bass clar/vlns/VC, after a dotted 16th rest, play rinforzando staccato 32nd C note to rinf D 8th tied to D quarter, held fermata. Then a 32nd note descent of the bass clar and celli as the King slumps in death.
[19] “The Dog” Reel 6/2.
[20] “The Church” Reel 6/3.
[21] “Riot”
[21 A] “Insert”
[22] “Dining Scene” Reel 7/2.
[23] “Dining Scene, cont.” Reel 7/3.
[24] “The Crown” Reel 7/4.
[25] “His Majesty” Reel 8/1. Scene: Pass the rose water.
[26] “Exit” Reel 8/2. Scene: Think of raising money.
[27] “The Murder” Reel 8/3. Scene: Murder of Father Andrew by Tom’s father.
[28] “Street Scene” Reel 8/4. Court scene, and Miles knocks on door.

[29] “Cracking Nuts” Reel 8/5.. 1 page. Beggers’ scene.

[30] “Pauper’s Coronation” Reel 9/1.

[31] “Flirt” Reel 9/ 2. [32] “Roberry” Reel 10/1. [33] “The Knife Fight” Allo in C time. Reel 10/2. Key sig of Ab maj/F min(four flats). Orchestrated by Milan Roder. The cymbal is rolled, held fermata. Them 8 vlns, 2 flutes, oboe, clar., bass clarinet play p the rising figure of C(c’, c”)16ths to 32nd notes D/Eb/F/G/Ab/Bb to(Bar 2) a largely pizz dissonant 8th notes(followed by an 8th & quarter rest). Etc. In Bar 5, when someone cries “Murder!” the vlns play rapid 16th note figures of C up to Ab-G-F to next figure of Eb-Db-C-Bb, repeated same bar. Then C-F-Eb-Db, C-Db-C-Bb, Ab-Db-C-Bb, Ab-Bb-Ab-G to(Bar 8)F tenuto quarter note. Etc etc. [34] Reel 10/3. [Note: No cue title. Probably “It’s Him!”] [35] “The Maid and The Ride” Reel 10/4. Miles takes Edward to the forest. [36] “The Prayer” Reel 11/1. Scene: Edward utters a slow prayer as Miles finally rides to the rescue to save Edward from the sword of an assassin. [37-A] “Duel” Reel 11/2. Wonderful Korngoldian cue! On page 3(Bars 9-12), just before the sword duel commences, the dashing Miles theme is played twice in fragmented form. Vlns & viole play a rising 32nd run “10” figure of small octave and Line 1 register rinforzando Ab-Bb-C-Db-Eb-F-G-Ab-B-C to the truncated Miles motif of C# 8th to B-A 16ths figure to stand alone G# 8th, followed by an 8th & quarter rest held fermata. Harp is rising gliss from Ab leading up to the motif. Brass/woodwind/altri stgs add to the motif. In Bar 10, we hear another run of 32nd notes Db-Eb-F-G-Ab-Bb-C-Db-Eb to the next Miles motif fragment figure of G 8th to 16ths F-E to stand alone D 8th. Then vlns I/viole/VC in Bar 11(2/4 time)play rising “7” figure of 32nd notes C#-D-E-F#-G#-A-B. This continues with a “10” figure(played by vlns I & II/viole only)of C#-D-E-F#-G#-A-B-C#-D-E to next bar(key sig of A maj/F# min or three sharps), “piu allegro,” on page 4. For the next two bars, we find an acciaccatura to 8th note pattern. So vlns play Lines 2 & 3 register E# acciaccatura(grace note)to F# rinf staccato 8th down an octave to F# staccato 8th, then B# acciaccatura to C# rinf staccato 8th down to the C# 8th octave lower, sf. In the next bar, repeat the pattern, but octave lower than before. Woodwind/viole/piano join in. In the next bar(Bar 14), the soli vilins begin the first of a four-bar pattern of 16th note motion phrases. We find Line 1 register F#-G#-A-F# in the first figure(connected by two crossbeams)to next figure of G#-A-B-G# to(next bar)A-G#-A-F#, G#-F#-G#-E# to(next bar)F#-G#-A-F#, G#-A-B-G# to(next bar)A-B-C#-A, B#-C#-D#-B#. Viole play staccato 8th notes with a grace note kicking off each bar. So E# acciaccatura to F# 8th down to middle C# 8th up to E# to C#. In the next bar, E# grace to F# 8th down to C# up to G# down to C#, etc. Celli play pizz 8th notes F#-C#-E#-C#, etc. Marimba plays C# 8th notes on the 2nd & 4th(sub)beats. Flute/oboe/bassoon also play grace to 8th notes. For example, flute I plays Line 1 E# grace t F# 8th staccato(followed by an 8th rest)then F# 8th(followed by an 8th rest), etc.

The instrument order is reversed in page 9. Here the fls/picc/oboe/cls take over the rapid 16th note phrase motion figures while the pizz vlns & viole play supporting 8th notes emphasizing the rhythmic beats.

The duel ends on pages 25-27 with the truncated Miles motif restated several times. In Section 32, vlns play Lines 2 & 3 staccato D 8th to C#-B 16th figure to A tenuto A to(next bar)Eb 8th to D-C 16ths to Bb quarter to(next bar)16ths “subito p” tenuto E-D-C#-B, F#-E-D-C# to(next bar)G-F#-E-D, A–G#-F#-E to(next bar on page 26)Lines 3 & 4 B 8th to 16ths A-G# to F# tenuto quarter(repeat nxt bar). Then unison Line 3 B-A-G#-F# 16ths played 4 X(within two bars)), cres to(next bar)rinf ff B 8th to A-G# 16ths to F# rinf quarter tied to half note(held fermata next bar). The tpts are flutter tongued on F# quarter tied to half note next bar. Then the strings play a rising 16th note run figure to the death punctuation notes in the next four bars. For example, vlns I play Line 3 F# down to Line 2 F# 8ths(followed by a quarter rest). Then in the next bar, c”’ down to c” 8ths(followed by a quarter rest)to next bar’s Line 2 F# down to Line 1 F#, C# down to Line 1 C# 8ths to next bar’s unison Line 1 F# rinforzando 8th. [37-B] “Duel, cont.” Miles and Edward. [38] Note: Missing cue, so I have no title.

[39] “Organ” Reel 12/1 [40] Note: Missing cue. [41] “Seal # 1” Reel 12/4. Scene: Hurry to get the seal. [42] “Seal # 2” Reel 12/5. [43] Note: Missing cue. [44] “Epilogue” Reel 13/1. [45] “End Title.”

Completed Monday, February 19, 2001, 11:10 am PST

© Bill Wrobel, Film Score Rundowns