A long play, probably of Norman origin and now preserved in a manuscript at Tours, represents a merging of the _Elevatio_, the _Quem quaeritis_, and the _Peregrini_[148]. The beginning is imperfect, but it may be conjectured from a fragment belonging to Klosterneuburg in Germany, that only a few lines are lost[149]. Pilate sets a watch before the sepulchre. An angel sends lightning, and the soldiers fall as if dead[150]. Then come the Maries, with _planctus_. There is a scene with the _unguentarius_ or _mercator_, much longer than that at Prague, followed by more _planctus_. After the _Quem quaeritis_, the soldiers announce the event to Pilate. A _planctus_ by the Magdalen leads up to the apparition to her. The Maries return to the disciples. Christ appears to the disciples, then to Thomas, and the _Victimae paschali_ and _Te Deum_ conclude the performance. A fragment of a very similar play, breaking off before the _Quem quaeritis_, belongs to the Benedictbeuern manuscript already mentioned[151]. It is clear from the rubrics that the Tours play, long as it is, was still acted in church, and probably, as the _Te Deum_ suggests, at the Easter Matins[152]. Certainly this was the case with the Benedictbeuern play. In a sense, these plays only mark a further stage in the process of elaboration by which the fuller versions of the _Quem quaeritis_ proper came into being. But the introduction at the beginning and end of motives outside the events of the Easter morning itself points to possibilities of expansion which were presently realized, and which ultimately transformed the whole character of the liturgical drama. All the plays, however, which have so far been mentioned, are strictly plays of the Resurrection. Their action begins after the Burial of Christ, and does not stretch back into the events of the Passion. Nor indeed can the liturgical drama proper be shown to have advanced beyond a very rudimentary representation of the Passion. This began with the _planctus_, akin to those of the _Quem quaeritis_, which express the sorrows of the Virgin and the Maries and St. John around the cross[153]. Such _planctus_ exist both in Latin and the vernacular. The earliest are of the twelfth century. Several of them are in dialogue, in which Christ himself occasionally takes part, and they appear to have been sung in church after Matins on Good Friday[154]. The _planctus_ must be regarded as the starting-point of a drama of the Passion, which presently established itself beside the drama of the Resurrection. This process was mainly outside the churches, but an early and perhaps still liturgical stage of it is to be seen in the _ludus breviter de passione_ which precedes the elaborated _Quem quaeritis_ of the Benedictbeuern manuscript, and was probably treated as a sort of prologue to it. The action extends from the preparation for the Last Supper to the Burial. It is mainly in dumb-show, and the slight dialogue introduced is wholly out of the Vulgate.