Giant-lv.pdf

LIBRETTO-VOCAL

NOT FOR SALE PROPERTY OF

www.rnh.com

5/20/2014

______________________________________________ IMPORTANT WARNING! DO NOT affix inserts into this material by any means whatsoever including staples, tape, paste or glue. Make marks lightly in black pencil only and erase thoroughly before returning. Charges will be assessed for all unerased, damaged, missing and overdue material per the signed License Agreement relating to this rental material.

GIANT Book by SYBILLE PEARSON Music and Lyrics by MICHAEL JOHN LACHIUSA Based on the Novel By EDNA FERBER Orchestrations by BRUCE COUGHLIN Additional Orchestrations by LARRY HOCHMAN Originally produced at Signature Theatre, Arlington, Virginia, May 2009 Eric Schaeffer, Artistic Director / Maggie Boland, Managing Director Original New York Production by The Public Theater, New York Oskar Eustis, Artistic Director / Patrick Willingham, Executive Director Produced by Dallas Theatre Center, Dallas, Texas 2011-2012 Kevin Moriarty, Artistic Director / Heather M. Kitcher, Managing Director GIANT was originally commissioned and developed by Signature Theatre through the generous support of THE TED AND MARY JO SHEN CHARITABLE GIFT FUND

www.rnh.com GIANT Copyright © 2012 Michael John LaChiusa and Sybille Pearson. Music & Lyrics by Michael John LaChiusa Copyright © 2012 by Fiddleback Music Publishing Co., Inc. International Copyright Secured. All Rights Reserved. Used by Permission.

COPYRIGHT WARNING Professionals and amateurs are hereby advised that this material is fully protected by copyright in the United States of America and throughout the world. All rights, including performance of any kind or nature by professionals or amateurs, recitation, lecturing, public reading, radio or television broadcast, cable television, videotape, audio recording, motion pictures and rights of translation into foreign languages are strictly reserved. Any performance, copying (including photocopying), arranging, adapting, inserting or storing in a retrieval system, transmitting in any forms or by any means whatsoever, including mechanical or electronic, or any portion of this material without the prior written consent of the copyright owners is an infringement of copyright thereby entitling the copyright owners to injunctive and other relief to the full extent of the law.

(R&H.5/20/2014.RS)

CHARACTERS Bick (Jordan) Benedict, a cattle rancher and heir to Reata Leslie Lynnton, his wife Polo Guerra, a vaquero Lupe, in charge of the Big House Dimodeo, Analita’s father Pinkie Snyth, a ranch hand Mike McCormack, a lobbyist Miquel Obregon, a vaquero Luz Benedict, Bick’s older sister Jett Rink, a mechanic Deluvina, Angel’s mother Vashti Hake Adarene Morley Bawley Benedict, Bick’s uncle Lil Luz, Bick and Leslie’s daughter Jordy Jr., Bick and Leslie’s son. Lord Karfrey Lady Karfrey (Leigh), Leslie’s sister Angel Obregon Jr. Juana Guerra Benedict Bobby Dietz Jr. Analita Other Roles to be doubled: Heidi (to double Lady Karfrey, Jett’s Wife, and others) Mrs. Lynnton (to double Adarene, and others) Angel Obregon Sr. (to double Angel Obregon Jr.) Bob Dietz (to double Bobby Dietz Jr.) Analita Sr. (to double Analita) Marine Senator Representative Jett’s Wife Hotel Manager Mariachi Singer Cowboys, Vaqueros, Wedding Guests, Hotel Staff (Bellboys, Porters, Waiters, etc.)

MUSICAL SYNOPSIS ACT ONE AURELIA DOLORES ........................................................................................ Polo, Lupe & Full Cast A BBQ at Reata Ranch’s Division One, South Texas – 1925 DID SPRING COME TO TEXAS? ............................................................................ Bick & Ensemble The Library in the Lynnton House, Virginia – 1920s YOUR TEXAS ................................................................................................................... Bick & Leslie Reata Ranch – 1925 NO TIME FOR SURPRISES ............................................................................................................ Luz PRIVATE PROPERTY ......................................................................................................................Jett A Sun-Baked Road/Deluvina’s House OUTSIDE YOUR WINDOW ............................................................................................. Jett & Leslie The Music Room of The Big House, Reata Ranch HE WANTED A GIRL .................................................................................................... Vashti & Bick The BBQ The Water Tower HEARTBREAK COUNTRY ............................................................................................. Bick & Leslie A Hallway in The Big House RUEGA POR NOSOTROS .......................................................................................... Lupe & Servants Luz’s Room LOOK BACK/LOOK AHEAD ......................................................... Bawley, Bick, Leslie & Company The Patio of a Dallas Hotel – 1941 Leslie and Bick’s Hotel Room TOPSY TURVY................................................................................................................ Leslie & Bick The Patio WHEN TO BLUFF ........................................................................................................... Jett & Lil Luz ONE DAY ............................................................................................................................. Jett & Men MY TEXAS ................................................... Bick, Vashti, Pinkie, Adarene, Mike, Leslie & Company A STRANGER .............................................................................................................................. Leslie The Family Meeting ACT ONE FINALE................................................................................ Bick, Jett, Bawley & Company

ACT TWO The Water Tower – 1943 OUR MORNINGS ............................................................................................................... Bick & Luz Outside of Polo’s House –1944 JUMP ........................................................................................................... Angel, Lil Luz & Bobby Jr. THERE IS A CHILD ....................................................................................................... Juana & Jordy A Wedding Party – 5 months later UN BESO, BESO! .......................................................... Polo, Lupe, Angel, Analita, Luz & Company A Funeral Cortege – 1945 Bawley’s Campsite in the Mountains PLACE IN THE WORLD .............................................................................................. Bawley & Bick Conquistador Hotel – 1952 Benedict Hotel Suite MIDNIGHT BLUES ...................................................................................................... Vashti & Leslie The Hotel Grand Ballroom THE DOG IS GONNA BARK........................................................................................................... Jett JUANA’S PRAYER........................................................................................................................ Juana Southwest Texas Desert – December 31, 1952 THE DESERT ................................................................................................................... Bick & Leslie Section one of Reata – later on the same day AURELIA DOLORES (REPRISE)/ACT TWO FINALE ............................. Jordy, Juana & Ensemble

TRANSLATION FORMATTING NOTE

Spanish lyrics and dialogue must be sung and spoken in Spanish. x x

Spanish dialogue and lyrics appears in italics. English translation appears in [italics and brackets] separated by a vertical line.

Example #1 POLO ME DISTE TUS FLORES, AURELIA DOLORES. ME CANTASTE LAS CANCIONES DE UNA PALOMA EN LUTO. FUISTE LA TIERRA, AURELIA DOLORES. LA TIERRA DE LA ANGUSTIA ABSOLUTA. ETONCES UN DÍA TE PERDÍ. UN NEUVO HOMBRE TE ROBO LEJOS DE MÍ.

[You gave me your flowers, Aurelia Dolores. You sang to me the songs of the mourning dove. You were the land, Aurelia Dolores: The land of absolute heartbreak. Then one day, I lost you. Another man stole you away from me.]

Example #2 DELUVINA Mi esposo es Angel. Angel Obregon. El trabaja en [My husband is Angel. Angel Obregon. He works Reata. on Reata.]

I–1 ACT I (POLO, a Mexican-American man, a vaquero, aged 50, is revealed. He plays a guitar.) MUSIC 1: AURELIA DOLORES POLO [You gave me your flowers, Aurelia Dolores. You sang to me the songs of the mourning dove. You were the land, Aurelia Dolores: The land of absolute heartbreak. Then one day, I lost you. Another man stole you away from me.]

ME DISTE TUS FLORES, AURELIA DOLORES. ME CANTASTE LAS CANCIONES DE UNA PALOMA EN LUTO. FUISTE LA TIERRA, AURELIA DOLORES. LA TIERRA DE LA ANGUSTIA ABSOLUTA. ETONCES UN DÍA TE PERDÍ. UN NEUVO HOMBRE TE ROBO LEJOS DE MÍ.

(A Southwest Texas desert. It is few minutes before sunrise, December 31,1952. It’s still dark and chilly. A married couple, in the 50’s, BICK and LESLIE are revealed. BICK sits on a crate. Pink, yellow, blue streaked light rises over the desert, It leaves long shadows across the mountains. There is a palpable tension between BICK and LESLIE.) LESLIE Twenty-seven years and all I know about you is what you need: Your land. Your ranch. Besides being your wife, I don't know what I am to you. BICK You don’t know. LESLIE I don’t. (Pause) We’re going back. (LESLIE exits.) POLO ¿LE DAS TUS FLORES, AURELIA DOLORES? ¿LE CANTAS LAS CANCIONES DE UNA PALOMA EN LUTO? ¿NO SABE EL QUE NADIE TE PUEDE POSEER? DONDE HAY AMOR HAY DOLOR…

[Do you give him your flowers, Aurelia Dolores? Do you sing to him the songs of the mourning dove? Does he know that no one can possess you? Where there is love, there is pain.]

(The desert begins to disappear. As POLO sings, BICK returns to a time many years ago: South Texas in 1925. A BBQ. It’s one o’clock on the one day of spring when the brush country is in full bloom. BICK, PINKIE, BOB DIETZ, SR. (Anglo cowboys) POLO, ANGEL (Mexican-American vaqueros) MIKE (a lobbyist) and the ensemble have been waiting for the guest of honor, BICK’S

I–2 new wife, Leslie. A water tower is at one side of the stage overlooking the brush country of the Reata Ranch’s Division One.) DÍOS TE SALVE LUNA HERMOSA1 DÍOS TE SALVE LUZ DEL DÍA! DÍOS TE SALVE SOL Y ESTRELLAS! Y DÍOS TE SALVE, AURELIA DOLORES! DÍOS TE SALVE, AURELIA DOLORES!

[God save you, beautiful moon! God save you, sunlight! God save you, sun and stars! And God save you, Aurelia Dolores! God save you, Aurelia Dolores!]

(As the BBQ is created, LUPE and the entire COMPANY join in the song:) DÍOS TE SALVE LUNA HERMOSA! DÍOS TE SALVE LUZ DEL DÍA! DÍOS TE SALVE SOL Y ESTRELLAS! Y DÍOS TE SALVE, AURELIA DOLORES! DÍOS TE SALVE, AURELIA DOLORES! MUSIC 2: DID SPRING COME TO TEXAS? BICK Where are you, Leslie? Where the hell’s my bride? (BICK climbs the water tower.) PINKIE When the hell we gonna eat at this here BBQ? BICK You ain’t touching the grub till she gets here. BOB How long you been hitched, Bick? (BICK climbs down from the tower.) BICK Twelve days ago Saturday, May 9th, 1925 at noon! BOB Now you’re married you got to learn how to wait. MIKE Wait for’em and on’em. BICK I'VE WAITED OUT THE DROUGHT. WAITED OUT THE LONG WINTER. WAITED OUT THE RAINS. WAITED OUT THE BLUE NORTHERS. WAITED FOR THE BRUSH TO GROW SO THICK

I–3 THAT A SNAKE'S GOTTA CLIMB OUT TO SEE; WAITED FOR THE SEASON TO FIN’LLY STICK— IS IT HERE? DID IT STICK? TELL ME BOYS THAT IT'S JUST GOTTA BE: DID SPRING COME TO TEXAS? ARE THE BIRDS GOIN’ LOCO? DID SPRING COME TO TEXAS? DID THE MESQUITE AND THE LAUREL AND THE WILD CHERRY AND THE GUAJILLO BURST OUT RIGHT AFTER THE RAINS AND POWDER THE PRAIRIE GRASS WHITE? DID SPRING COME TO TEXAS? I ASK YOU: PINKIE Shit right! BICK That’s right! You ready to rope, Pinkie? PINKIE I’m ready to rope! COWBOYS Get Luz. Get your sister. Luz’ll teach the kid how to rope. PINKIE A woman teach me?! BICK My sister Luz had bossed a herd up the trail when she was 16. Polo taught her. PINKIE A Mexican! BICK Polo taught me. He’s the best roper on this land. VAQUEROS De muéstre-le, Polo! (etc. ad lib)

COWBOYS Crack it, Pinkie! Do your thing! (etc.) PINKIE

I can lick a whole cow pen of greasers. BICK (grabbing Pinkie by the arm:) Name of my ranch is what, Pinkie?

I–4 PINKIE Reata. BICK Reata means what, Pinkie? PINKIE Rope. BICK Without a rope there’d be no ranches. It’s our life-line, it’s the name of my ranch and it’s my land you’re standing on. My vaqueros are never called greasers, Pinkie. Now where's that woman?! I'VE WAITED PLENTY TIMES. WAITED FOR EACH CHRISTMAS MORNING. WAITED FOR MY FIRST GUN. WAITED FOR MY FIRST PONY. WAITED FOR THE WOMAN I'D MAKE MY WIFE, KNOWIN’ I'D FIND HER SOMEHOW. WAITED FOR THAT WOMAN ALL MY LIFE; TELL ME BOYS HOW’S IT WORK THAT I STILL GOTTA WAIT FOR HER NOW? DID SPRING COME TO TEXAS? AM I JUST GOIN' LOCO? MY GIRL'S COME TO TEXAS. AND THE MESQUITE AND THE LAUREL AND THE WILD CHERRY AND THE GUAJILLO SEEMED TO HAVE BLOSSOMED FOR HER. AND I'VE GOTTA SWALLOW MY PRIDE. I’VE WAITED FOR THE GREENIN’ FOR THE ROUND-UP FOR THE ROPIN’ FOR THE BRANDIN’ FOR THE RANCHERS ’N THE COWBOYS TO RIDE! SPRING CAME TO TEXAS AND I’M STILL WAITIN’ FOR MY BRIDE! BOBBY SR. Car’s comin’, Bick. ‘Bout ten miles down the way. Looks like the Chrysler. MUSIC 3: VIRGINIA BICK That’s her! With Luz and the girls. MIKE The Austin papers wrote you up as a whirlwind courtship.

I–5 BICK Has to be a reason it’s called falling in love, not walking in love. MIKE I’m still walking that-a-way. BICK Three weeks ago I was in Virginia knocking on her father’s door to buy My Mystery, a little racing filly, a beaut. Her father asked me to dinner. I sat next to Leslie. Later she was going off to some hunt ball with a man in a red coat. THE MOMENT THAT I SAW HER IN VIRGINIA, AFTER DINNER BY THE WINDOW, IN THE MOONLIGHT I KNEW THAT AS SURE AS SPRING COMES TO TEXAS— I’D MAKE THAT GIRL MY BRIDE… (BICK steps into his memory of that night. The BBQ men disappear.) (LESLIE LYNNTON appears, standing by an upstairs window of the library in the Lynnton house in Virginia, in a pool of moonlight. It’s about 9:30 PM, a full moon has just risen. LESLIE is dressed in an elegant 1920’s evening dress. BICK crosses to her and looks out the window.) BICK How green Virginia is. LESLIE Isn’t it green in Texas? BICK How far west have you been? LESLIE Kansas City, once, with Daddy. BICK Kansas City! That’s east. (A silence. Then Bick sings a bit of a folk tune:) “OLD DUNNY WAS A ROCKY OUTLAW WHO HAD GROWN SO AWFULLY WILD. HE COULD PAW THE WHITE RIGHT OUTTA THE MOON EV’RY JUMP FOR A MILE…” What’s got into me? Better blame it on the moon. LESLIE I was created under one.

I–6 BICK Your mother would tell you that? LESLIE New Years Eve, Papa’d sing “Shine on Harvest Moon” to Mama who’d blush to match her pink champagne. I counted backwards, nine months from my birthday, and stopped at a Harvest moon. BICK I was born under a Comanche Moon. LESLIE An Indian moon? BICK September’s full moon when Comanche raids took place. LESLIE We both may be susceptible to full moons. (THEY share a good silence between themselves.) BICK There’s a stillness about you. Like the stillness in the Rockies. LESLIE Yes? BICK My granddad taught me to ride mountains there. The one’s near Reata are too easy to ride into. LESLIE Daddy took me to the Pyrenees. I remember the air the most. It was like meeting an amazing new person I’d no idea existed. I thought, “I’ve enjoyed a perfect exhilaration. I am glad to the brink of fear”. BICK Emerson. LESLIE You read Emerson. BICK At Harvard. (Indicating room:) You read a lot. LESLIE Yes. It’s daddy’s library. That’s his chair. When I was little nobody was supposed to sit in it. BICK You did.

I–7 LESLIE You were at Harvard, Jordan. BICK Two years. Strange to hear you call me Jordan. No one does except my sister, Luz. She’s a lot older. My mother died when I was five. Luz brought me up. Not only was she a mother to me, she’s a crack shot, got nerves of steel. She can night guard a herd of cattle through a midnight thunderstorm. Those cows don’t dare to stampede. She runs Reata when I’m gone. I got two other sisters but they don’t live in my country. LESLIE They don’t live in the States? BICK Don’t live in Texas. All ‘Texians’ call their state their country. LESLIE I like your name. Jordan Benedict. BICK I was little, I couldn’t say Benedict. Nearest I got was Bick. It stuck. LESLIE Our names all start with L. Leslie, Lacey and Leigh Lyntonn. Leigh’s in London, she married a Lord. It’s what mother wanted. I hate calling cards. MUSIC 4: YOUR TEXAS SOMEBODY ELSE MAY SPEND HER LIFE IN SEARCH OF THE PERFECT BUTTER KNIFE TO PAIR WITH THE PROPER FORK AND PROPER SPOON. DON’T LAUGH, BUT I’D RATHER READ ROUSSEAU. AND EMERSON, CARLYLE AND THOREAU; RIGHT HERE IN MY FATHER’S CHAIR I’VE READ THE SORT OF IDEAS THAT CLOUD MY HEAD WITH DAYDREAMS. BIG AND SMALL. I HAVE DAYDREAMS. DON’T WE ALL? WHEN I READ THOREAU, I SMILED HE SAID, “ALL GOOD THINGS ARE FREE AND WILD.” YOUR TEXAS. NOW, I DON’T KNOW YOUR TEXAS. BUT EVEN SO, I IMAGINE THAT A MAN CAN BE MORE INDEPENDENT, WILD AND FREE IN TEXAS. THE LAST FRONTIER IS TEXAS. AND UNLIKE HERE

I–8 THERE’S A GREAT UNKNOWN JUST WAITING THERE FOR THOSE WHO WISH TO DREAM AND DARE YOUR TEXAS. BICK BIG AS ALL NEW ENGLAND PLUS NEW JERSEY AND NEW YORK, PENNSYLVANNIA, OHIO— LESLIE YOUR TEXAS… BICK MOUNTAIN RANGES, SWEEPING BEACHES, CANYONS, RIVERS, PLAINS— AND CENTURY PLANTS THAT BLOSSOM EV’RY TWENTY YEARS. LESLIE IMAGINE. BICK IMAGINE. LESLIE IMAGINE: BLOSSOMING AT FORTY. BLOSSOMING AT SIXTY. BLOSSOMING AT EIGHTY. THAT’S HOW I WANT TO LIVE… Imagine a place in the wilderness, unspoiled by politics, where people are truly equal. THESE KINDS OF IDEAS, DON’T LAUGH, THEY GIVE ME DAYDREAMS, WILD AND NEW. I’LL HAVE DAYDREAMS THANKS TO YOU. AND TONIGHT, I’LL DREAM SOME MORE OF A PLACE I’VE NEVER BEEN BEFORE: REATA. YOUR COUNTRY. YOUR TEXAS… SOMEBODY ELSE MAY SPEND HER LIFE IN SEARCH OF THE PERFECT BUTTER KNIFE. NOT I. NOT I.

I–9 (MRS. LYNNTON appears and calls to Leslie.) MRS. LYNNTON Leslie. Count Rorik’s been waiting patiently to escort you to the Hunt Ball. Rudeness is not one of the graces, sugar. LESLIE The invitation offered at dinner’s still good. BICK I came to buy a horse and didn’t bring a red coat. But thank you once again. LESLIE Are you going back to Washington or are you staying the night? BICK Your mother set me up in the little room next door. I need one more look at “My Mystery”. Till Morning. LESLIE Till morning. (LESLIE exits.) MUSIC 4A: DID SPRING COME TO TEXAS (REPRISE) MRS. LYNNTON Her father says Leslie has something that “transcends beauty” but I can’t see it myself… (SHE exits. Lights isolate BICK.) BICK IMAGINE… WAITED FOR THE WOMAN I’D MAKE MY WIFE. HOPIN’ I’D FIND HER SOMEHOW. WAITED FOR THAT WOMAN ALL MY LIFE..! I’m getting married. (Morning, three weeks ago. BICK, on the phone in Virginia. LUZ, on the phone in Texas.) LUZ Sweet baby boy! BICK She said ‘yes’! I’m getting married, sister of mine, I’m going to get married! (After a silent beat:)

I – 10 LUZ Well, that’s just fine, Jordan. It’s time. It’s good for business. (She continues:) BICK Business? LUZ I always liked that gal, Vashti Hake. Vashti’s gonna make a great wife. BICK Vashti Hake? LUZ I’m gonna throw a barbeque to celebrate the union of Hake Ranch and Reata. BICK It’s not Vashti Hake! It’s Leslie, Leslie Lynnton, the daughter of the doctor who owns the race horse. I’m here at his house and ran into a surprise. Met his daughter and fell hard. Fell in love and she said yes. The gal said yes. I’m marrying her, Leslie, Leslie Lynnton, we’re getting married. Aren’t you saying anything? LUZ (SHE is doing nothing:) I’m writing out the order for hundred miles of wire, Jordan. It’s got to get to Mitchell’s before noon. BICK And my getting married? LUZ You don’t need permission. BICK Not permission. Can’t imagine my wedding without your being there. LUZ When you planning to go back to Virginia to get married? BICK To come home and come back here again in a month, two months? What for! Might as well do it now and be back for round up. LUZ Round-up’s in three weeks. This ain’t time for talking. Call when you know when the wedding’s to be. I’ll come East. (SHE hangs up.) Reata and Hake Ranch was gonna be one. MUSIC 5: NO TIME FOR SURPRISES

I – 11 (SHE issues orders and dispenses duties to the SERVANTS. The lights indicate the passage of time till Bick and Leslie arrive at Reata.) LUZ (CONT’D) Lupe. (LUPE enters.) Mr. Benedict’s getting married. Get his gear out of his room and put it in Father’s suite. LUPE Sí, Senora. (LUPE exits.) LUZ (to herself) ORDERS TO GET DONE. DON'T FORGET THE FLOUR. DON'T YOU DARE SIT DOWN. NOT THE TIME FOR FEELIN'. DON'T FORGET THE COFFEE. DON'T FORGET THE WIRE. NO TIME FOR SURPRISES. (DIMEDEO enters.) LUZ (CONT’D) (Handing a list to DIMEDEO:) Bring it to McKenney’s, get there before he takes his siesta, you’d think he was ninety instead of sixty. Harina, café, sal, puerco salado y frijoles, by Thursday. I’ve a round-up in two weeks and boys to feed. (DIMEDEO exits.) LUZ (CONT’D) (to herself) FELT ALL THIS BEFORE. LIGHT'NIN’ STORM INSIDE ME. CREEPIN’ UP MY SPINE. HEAD ALL FULL OF FEELIN’. GOTTA WAIT IT OUT, LUZ. BEEN THROUGH THIS BEFORE, GIRL. MAMA'S DEATH AND GRANDPA'S. ALL OF THEM SURPRISES— JORDAN, JORDAN! MAMA'S SWEET SURPRISE UNPLANNED. THERE YOU WERE, A BABY-KID WHO LOVED THE LAND THE WAY I DID; BOTH OF US WAS PROMISED TO THE LAND. TOGETHER, WE WAS PROMISED TO THE LAND…

I – 12 (JETT RINK enters. HE is a sexy, twenty-year-old mechanic.) JETT Madama. LUZ Jett. Gonna need the trucks ready for hard work before Mr. Benedict comes back next week . This time you tell me what you’re doing to them before you do it. You turn those trucks into supercharged racing cars again, this time you’re gone. JETT Yes, Maam. I’ll check the backlash in the gears, look at the main bearings, grind down the... LUZ You know I don’t know the names of what’s inside cars. And listen, Lupe told me the Mexicans don’t want you by their quarters at night. Don’t want you near their daughters. JETT Don’t want their candy. I like ‘em older. LUZ Go do them trucks! JETT They say a car’s like a highly strung woman. Beats me. Always a reason a car breaks down. Madama. (HE exits.) LUZ (to herself) CAN’T STAMPEDE THE HERD WHAT DID GRANDPA TELL YOU? IF YOU GOTTA SPIT, RIDE A MILE TO SPIT -I GOTTA KEEP A NIGHTGUARD. I KNOW HOW TO NIGHTGUARD! GUARD AGAINST SURPRISES! TELL ME WHY YOU DID IT! JORDAN! You were suppose to marry Vashti—Hake Ranch and Reata was to become one! NOW THAT AIN'T GONNA HAPPEN. THAT AIN'T GONNA HAPPEN! THAT AIN'T GONNA HAPPEN! Say it once more and get it out of your head: THAT AIN'T GONNA HAPPEN! And that's the dry truth.

I – 13

NO TIME FOR SURPRISES. (BICK and LESLIE enter the Big House.) BICK Luz! LUZ My boy. Jordan. BICK I got two calling me Jordan now. LUZ Let me look at you. Sweet boy. (LUZ spits on her finger to plaster down an unruly lock of his hair.) Grandpa kept a jar of bear oil to hold his hair down. Nine and a half cents a pound. How good it is to see you home. (SHE holds her hand out:) Howdy Miss Lynnton. BICK Don’t go roweling Leslie first thing. This is Mrs. Jordan Benedict. My sister, Luz. LESLIE I’m so sorry you couldn’t come to the wedding. I do hope you’re feeling— LUZ When an illness is over it’s over. LESLIE I’m glad you’re better. My father’s sending the pictures. (LUPE, DIMODEO, and SERVANTS enter quietly.) LESLIE Everything was beautiful, even with no time to get it done. BICK Whirlwind courtship. LUZ Only whirlwind I’ve known destroyed twelve acres of good timber. LESLIE It’s been fast. It’s been amazing. . After meeting Jordan, I stayed up all night and read about Texas. Truth be told I knew more about the history of Siena, Italy than the State of Texas. I never knew the Spanish came here first, then the French. Then you were a Republic, then a Confederate state.

I – 14 (Pointing to flags:) The six flags of Texas!... Who knew you grew grapefruit here? And cows! Never knew the Spanish brought them here. (To the SERVANTS) Why didn’t someone tell me when the Mexicans got free from Spain, this land was your home? LUZ Sure did a lot of reading. (LESLIE crosses to the SERVANTS. JETT enters, unseen by the others.) LESLIE Boun giorno. BICK Buenas dias. (Introducing LUPE and DIMODEO:) Lupe’s in charge of the girls in the Big House. Dimodeo you’ve met. He picked us— LESLIE Yes, you were at the station. What a beautiful name. What eyelashes! I wish I had them— BICK (sharply:) Leslie. (BICK sees JETT. The SERVANTS exit. ) BICK Why the hell weren’t you at the station? JETT (Referring to LUZ) It was her doing, not me…. BICK I wired you to be at the station— (HE continues:) JETT She told me— BICK And I expect you to be there. JETT You hauling one way and Madama another, tell me who’s boss around here and I’ll do like they say. BICK Get the truck and pick up the luggage at the station.

I – 15 JETT You bet. LUZ Bick’s goes to Father’s Suite and Mrs. Benedict will be across the hall in Mother’s Suite. JETT You bet. (To LESLIE:) Ma’am. (HE exits, but doesn’t really leave. HE finds another corner to lurk in.) BICK We’re married, sis. We’ll have those two big front connecting rooms. LESLIE Who was that boy? MUSIC 6: PRIVATE PROPERTY BICK One of Luz’s strays. LUZ Bick and Jett are forever wrangling. BICK (To LUZ:) He can’t be trusted with animals, he’s got a grudge against the world, he doesn’t belong on a ranch! (To LESLIE:) Time to show you our room. LUZ The phone line needs looking into. BICK A cow’s rubbing against the wire somewhere. Tell Bob. LUZ Bob’s been. Don’t worry ‘bout your lovely wife, I’ll show her my house. BICK Will you excuse me, Leslie. LESLIE I want you to show me the house.

I – 16 BICK I didn’t marry a clinging vine. I married the sweetest, strongest gal who’s got to be tired as hell right now. I’ll be back the minute I’m able. (BICK kisses her. LUZ observes, uncomfortably. JETT steps from the shadows.) JETT RICH GIRL SMILE AND THOSE RICH GIRL CLOTHES. RICH GIRL EYES LOOKIN’ DOWN HER NOSE. BRAND NEW CHASSIS THAT SHE IS. DON’T YOU TOUCH THE GIRL IS HIS PRIVATE PROPERTY. (BICK exits. LESLIE follows LUZ upstairs.) JETT SOMETHING 'BOUT HER MAKES YOU WANNA TAKE HER BY THE ARM, TAKE HER OUTTA THE SUN, GET HER SOMETHING TO DRINK THAT'S COOL. NEVER FELT THIS WAY 'BOUT A GIRL BEFORE; LOOKS AS LIGHT AS FALLIN' SNOW, MAKES ME WANNA GO REACH UP, PULL HER DOWN, FEEL HER SOFT, SWEET, COOL, HOT— (Upstairs, Light reveal LESLIE at her bedroom window, undressing.) DON’T GO: STAY BY THE WINDOW. CAN’T YOU FEEL ME LOOKIN’ AT YOU? DON’T GO: STAY BY THE WINDOW. I CAN FEEL YOU LOOKIN’ AT ME, TOO. (The lights on LESLIE fade.) IT'S ALL THERE ON THE RICH GIRL'S FACE: SHE OWNS YOU. BROTHER, KNOW YOUR PLACE. PRETTY PICTURE THAT'S FOR SURE. DON'T YOU TOUCH 'CUZ SHE AIN'T YOUR PRIVATE PROPERTY. (The LIGHTS change to morning light. LUZ drinks coffee, while making up the day’s work list.)

I – 17 LESLIE Good morning. LUZ Mornin’. LESLIE Where’s Jordan? I’m going to make him some eggs, Benedict. LUZ He’s workin’. Cook takes care of the kitchen. Saved some steak and beans for you. LESLIE But we’re supposed to have breakfast together. LUZ Me and Jordan pow-wow about the day’s work at Five AM, daily. LESLIE He’s gone? LUZ We start the day at five and work til supper. That’s ranch life. The girls will be here at twelve for the Barbeque. We leave the minute they come. Lupe. (LUPE enters.) LUZ After you eat, Lupe will take you to the library. I can’t run this place without her. (To LUPE:) Acompañala a la biblioteca. (LUPE exits.) There’re some Readers Digests up there. Don’t know how old they are but they’re good magazines, you don’t have to read a whole book. LESLIE I’m going for a walk. (SHE crosses to exit.) LUZ People don’t walk in Texas. Only Mexicans. If you want to ride, one of the boys’ll saddle you a nice gentle riding pony. LESLIE I’ll speak to my husband about it later in the morning. LUZ Honey, this is a two and half million acre ranch. Jordan’s been gone weeks. He’s got to catch up if he’s ever going to. Now honey, you just do some sewing or something. H’m?

I – 18 LESLIE I walk in the mornings, daily. MUSIC 7: LOST (LESLIE crosses away, onto a sun-baked road. As time passes the sun gets brighter, hotter and SHE finds herself fighting heatstroke, becoming more and more lost in this unfamiliar land. A group of MEXICANS, workers on Reata observe her.) ENSEMBLE LOST…. LOST…. LOST…. (A baby’s cry is heard and gets louder.) (LESLIE enters DELUVINA’s house. ANGEL JR’S mother, DELUVINA, appears. SHE holds her baby. The child and mother are in distress.) LESLIE Excuse me. I wonder if I can be…. (of any help) DELUVINA Lo siento Senora. Que quieres? Quienes usted? [I’m sorry, madam. What do you want? Who are you?] LESLIE Mi chiamo, Leslie Benedict. DELUVINA La Senora Benedict. Soy la Senora Obregon. LESLIE I heard your baby. DELUVINA Mi hijo esta llorando, hace mucho tiempo y no [My son’s been crying for a long time. He won’t para. stop.] LESLIE I’m sorry—I don’t understand—Do you know my husband? Mr. Benedict? DELUVINA Mi esposo es Angel. Angel Obregon. El trabaja en [My husband is Angel. Angel Obregon. He works Reata. on Reata.] LESLIE Would you like….?

I – 19 (DELUVINA gives LESLIE her baby) DELUVINA Le doy leche—yo camino con él—nada le hace [I give him milk—I walk with him—nothing makes parar! him stop!] LESLIE He’s not hot. No is caldo… He stopped. It could be colic. They cry and cry but not sick. (SHE gives the baby back to DELUVINA. He stops crying.) He’s a beautiful boy. I’ll come back tomorrow. I’ll see you tomorrow. Which way is Reata? Sí, estamos Reata.

DELUVINA [Yes. We are Reata.] LESLIE

This is part of Reata? DELUVINA Sí. Reata. LESLIE CHILDREN WHO LIVE IN A HOVEL… PEOPLE WHO WORK FOR REATA… NO RUNNING WATER, NO PLUMBING, NO FLOOR: ONLY ROTTEN WOOD AND STONES: A HOUSE MY HUSBAND OWNS… YOUR TEXAS I’M LOST, SO LOST IN YOUR TEXAS…. SOMEONE TELL ME WHAT I'VE DONE. TELL ME WHAT I'VE DONE… (LESLIE dazed, over-come by the heat and sun sits on a discarded fruit crate, behind her is a hovel, a shack. JETT enters.) JETT Found ya. That hat’s no damn good. You make your own shade out here. (HE takes off his Stetson, brushes it off and holds it out to LESLIE:) You need to put this on. (LESLIE takes the hat and holds it.) LESLIE You work at the ranch. JETT Jett Rink. (Referring to hat:) Not going to be any help in your hand and you look like you need help.

I – 20 LESLIE (Putting on his hat:) I’m lost. JETT You gotta get a drink in you. Nothing in it but soda pop. (HE opens the bottle.) You ain’t used to this sun. Can’t go out on this land if you don’t got something to drink with you. LESLIE Thank you. (Hiccups.) Excuse me. (Hiccups again.) Excuse me. Oh god. JETT That’s hiccups. That ain’t sun stroke. Sit down rest yourself a minute. You shouldn’t be alone here. (HE dusts off the crate:) This time of year the rattlers start to stir ‘round, snakes hear though the ground and come out when the sun’s good and hot, looking for good to eat hopping around. Shoes like those can make a rattler want to bite. Rest yourself. LESLIE That hovel. Those shacks. This is all Reata, too? JETT You bet. Benedicts own the town, own those shacks. (He points to a shack.) That dump’s like the one Luz gave us when my Paw got killed. LESLIE Your Pa was killed? JETT Anyone tries to cut across your husband’s land that don’t belong, they disappear. This is private property. My Paw lost his job and went hunting in there for a bird for us to eat. Never turned up again after he went in. LESLIE Maybe he went away. People don’t mean to but… JETT He didn’t have the smarts to disappear on his own. MUSIC 8: OUTSIDE YOUR WINDOW (HE points to his car:) In a few minutes I’ll take you home. That’s my car. A lot of things around here ain’t what they look.

I – 21 PEOPLE SEE MY CAR THEY GO, THAT’S A PILE A JUNK THERE, BROTHER. THAT’S HOW PEOPLE ARE: THEY DON’T LOOK BENEATH THE HOOD. PEOPLE LOOK AT ME THEY THINK, HE’S HIS PA: A NO-GOOD SINNER. I AIN’T MY PA WITH NO AMBITION. I GOTTA DIF’FRENT DISPOSITION. UNDERNEATH MY NAILS, YA SEE GREASE ’N GRIME FROM YEARS A WORKIN’ WHEN A ENGINE FAILS, YA COUNT ON ME TO FIX HER UP. NEVER BEEN TO SCHOOL, BUT I’M QUICK TO LEARN, CUZ HERE I HAD-TA. MAY NOT LOOK MUCH, THE CAR I’M DRIVIN’; THAT THERE IS PROOF OF TRUE SURVIVIN’. OUTSIDE YOUR WINDOW, LOOKS A DARK ‘N TROUBLE DAY. BUT YA’D NEVER KNOW THE SUN IS JUS’ A STEP BEYOND THE GRAY. OUTSIDE YOUR WINDOW SEE A STRANGER PASSIN’ BY: ARE YA QUICK TO JUDGE ON HIS LOOKS ALONE? WOULD YA BE THE ONE THROWIN’ THAT FIRS’ STONE? LESLIE No. JETT ALL I KNOW IS THIS: SOME THINGS CAN’T BE KNOWN ‘TIL THEY GIT KNOWN. LESLIE A man named Thoreau said: That if you’re a man…or a woman… if you’re walking in the direction of your dreams, working to live the life you imagine, you’ll end up with it. JETT I AM THAT MAN. I MAY NOT SEEM IT. AIN’T FOUND MY DREAM; BUT ‘LEAST I DREAM IT. LESLIE OUTSIDE YOUR WINDOW…

I – 22 My father gave me books to read to open up my mind, to make me imagine places I’d never known. JETT A different life. LESLIE Yes. Looking out the window of his library, I’d see China, the English Moors, new frontiers. JETT Like Texas? Like Reata? LESLIE (looking to the shacks, troubled:) Reata… JETT OUTSIDE YOUR WINDOW LOOKS A DARK ‘N TROUBLE DAY BUT THE WEATHER CHANGES QUICK HERE; SOON THAT TROUBLE BLOWS AWAY. LESLIE OUTSIDE YOUR WINDOW THERE’S SO MUCH YOU CAN’T PREDICT. JETT LOOK BENEATH THE HOOD. WHATCHA THINK IS BAD MAYBE SOMETHIN’ GOOD. PEOPLE MAY BE BLIND. WHEN THEY QUICK TO JUDGE DON’TCHA PAY NO MIND. OUTSIDE YOUR WINDOW YA NEVER KNOW WHO OR WHAT YA’LL FIND… (A moment between LESLIE and JETT. Then:) LESLIE I am late. May I have that ride back to the house? JETT After you. (LESLIE crosses to the car. JETT hisses expertly just like a rattler.) JETT Walk back to me slowly. (LESLIE, frightened, runs into his arms, closing her eyes.)

I – 23 LESLIE It’s gone? JETT You’re fine. (LESLIE steps out of Jett’s embrace.) LESLIE It really is time to go. JETT You bet. LESLIE There wasn’t a snake. JETT They move fast. (Blackout.) (LESLIE and JETT enter the Big House. LUZ, dressed for the BBQ, stands impatiently in the music room. Three young women, ADARENE, HEIDI, and VASHTI, who is holding a fiddle, have been waiting nearly an hour for Leslie.) LUZ You’re late. LESLIE I’m sorry. LUZ (To JETT:) Get the two cars. We’re leaving now. (To the WOMEN:) This is Leslie. That’s a boy’s name hereabouts, but she’s Bick’s legal wife just the same. (Introducing the WOMEN to LESLIE:) This is Adarene Morely. Vashti Hake. Heidi Mueller. (To HEIDI combing her hair:) Heidi, You’re going to fix it again when we get there. Vashti. Your fiddle. We’ve left. LESLIE I’m filthy from these dusty roads. I need to change my clothes. LUZ We’ve no time for that. (SHE continues to exit.)

I – 24 LESLIE I’m so sorry I kept you waiting. I’m afraid I have to change. LUZ Get ready fast. Bick’s expecting you. (SHE exits.) LESLIE If you’d like to come up—? HEIDI Can we see your things? Your trousseau? (mispronounced) LESLIE Yes. ADARENE Vashti? VASHTI I’ll be right up. (ADARENE, HEIDI AND LESLIE exit.) MUSIC 9: HE WANTED A GIRL VASHTI HE WANTED A GIRL WHO HATES DUSTY ROADS. HE WANTED A GIRL WHO CRIES PORCELAIN TEARS. HE WANTED A GIRL WHO'’LL PUT LOCKS ON THE DOOR TO PROTECT ALL THOSE GEMSTONES SHE’S GOT IN HER EARS. BUT I AM A GIRL WHO LIKES DUSTY ROADS. CUZ I AM A GIRL WHO ENJOYS THE OUTSIDE. YEAH, I WAS THAT GIRL WHO WOULD KEEP UP WITH HIM AND COULD FOLLOW HIM ANYWHERE HE CHOSE TO RIDE. AND WE WOULD RIDE! BARREL-ASSIN’ THROUGH THE GULLIES. PITCHIN' TENT ‘N CHEWIN' JERKY.

I – 25 SHOWIN' OFF OUR SCRATCHES AND FAVORITE SCARS. TEACHIN' ME TO HOLD MY BOURBON. COAXIN' ME TO PLAY MY FIDDLE MAKIN' UP SONGS, SINGIN' 'EM TO THE STARS! (BICK appears, his face lit by campfire. VASHTI and BICK sing a made-up song:) BICK “OLE DAN WAS A FUNNY MAN—” VASHTI “WASHED HIS FACE IN A FRYIN' PAN.” BICK “COMBED HIS HAIR WITH A WAGON WHEEL—” VASHTI “WHEEL—” BICK “WHEEL—” VASHTI “WHEEL—” BICK: (topping her pitch-wise) “WHEEL…!” VASHTI & BICK “N DIED WITH A TOOTHPICK IN HIS HEEL….” (BICK vanishes—laughing.) VASHTI WE'D LAUGH OURSELVES TO SLEEP. THAT'S SOMETHIN’ I CAN KEEP. THAT'S SOMETHIN’ I CAN KEEP IN MY HEART… BUT HEARTS DON'T DRESS UP IN FANCY NEW CLOTHES. HEARTS DON'T WEAR JEWELS OR PUT LOCKS ON THE DOOR. HEARTS ARE JUS’ DRUMS THAT GO BEATIN' WITH WANTIN' AND HE WAS THE ONE THAT MY HEART WANTED FOR… HE WANTED A GIRL

I – 26 WHO HATES DUSTY ROADS. HE FOUND HIM A GIRL WHO HATES DUSTY ROADS. THEIR HEARTS WAS MEANT TO FIT. SO I'LL BE THE FIDDLE-PLAYIN' BOURBON-DRINKIN' GIRL WHO'LL LEARN TO LIVE WITH IT… (VASHTI picks up her fiddle case to exit as LESLIE, ADARENE AND HEIDI re-enter the music room. LESLIE wears a new dress.) ADARENE Girl, even with a map, you can get lost in Texas. Texas is a Spanish word tejas we put an ‘x’ in it. B E X A R, a county spelled with an ‘x’, we call it Bare. And the letter “Q” as known in other languages doesn’t exist in Texas at all. It’s pronounced KahWah so the gal who lives with a king is a… HEIDI KWane. ADARENE You got to take Texas the way Texas takes bourbon, honey. Straight. It goes down easier. LESLIE (To VASHTI:) And you are? VASHTI (in a whisper) Vashti Hake. HEIDI Why are you whispering? VASHTI (loudly) Caught a frog. LESLIE Do you live nearby? VASHTI Our ranches touch. We’re eighty miles that way. LESLIE Eighty miles! VASHTI Eighty miles is nothing here. The Hakes and the Benedicts have been in and out of each others house forever. Luz could’ve been my mother.

I – 27 HEIDI If I imagined that, I’d lie myself on a train track. LESLIE How could that be? VASHTI My Dad loved her. I know because Uncle Alben told me and he’s the only one who tells me the truth. ADARENE And?? VASHTI Luz was in love with him too, when she was young, for when he asked her to marry him, she said ‘yes’ right away. Together they’d have had the biggest ranch anywhere in the world. That’s what the Benedicts and my family have always wanted. But she wanted them to live in this house, wouldn’t live in ours, wouldn’t leave Reata. (LUZ enters hallway. SHE waits outside, eavesdropping.) HEIDI She’ll never now. She’s as old as two trees. VASHTI She’s fifty, two years younger than Dad. ADARENE Can you imagine her a girl? Can you imagine her having fun? LESLIE Never. She was born fifty. (LUZ enters.) LUZ When I was a girl my fun was eating son of a bitch stew with the boys on the trail. I wasn’t a Four H girl learning the mysteries of canning. I was roping chickens, rabbits, anything that moved till they let me rope calves. By the time I was fourteen I was catching wild mustangs and breaking them in…which I still can do. (To LESLIE:) Your spoiled little Eastern filly sure needs some breaking in. (Referring to Leslie:) You don’t carry the blood of Texas. Vashti’s the only one of you who belongs on a ranch. She knows what a rancher needs, knows the way he likes his steak, knows the music he likes. She learned to play the fiddle for Jordan. Play it. Play Old Dunny. He loves that one. Go on, girl, play it! VASHTI I can’t. (She turns her face away and begins to cry).

I – 28 LUZ (To LESLIE) You did this! You’re coming here did this. Adarene, you’ll be in the Buick with me. You go in the Chrysler with her. I’m hungry. LESLIE The four of us can fit in a Chrysler. Would be a shame not to continue our new friendship. You can go in the Buick with Jett. LUZ You need friends. It’ll give you something to do during the day. (JETT enters) JETT Madama. LUZ I’m not taking any car. I’m riding there. (JETT and LUZ exit.) ADARENE You got spunk. You don’t need the blood of Texas. Our families have been around for three generations and we’re as different as strawberries and potatoes. Texas has got enough room for a vegetable loving spunky book reading girl like you. LESLIE I’ll bring your fiddle to you tomorrow. We’ll get to know each other. Let’s get to this picnic. HEIDI & ADARENE Picnic! VASHTI Barbeque. I’ll show you everything you need to know. MUSIC 10: BBQ (DID SPRING COME TO TEXAS REPRISE) (The Music Room disappears. BICK, the COWBOYS, the VAQUEROS, the BBQ appears around the WOMEN.) LESLIE I’m so sorry, Jordan. Everything that could happen in a morning happened. (TO ALL) Please excuse me. I’m so… (BICK kisses her.) BICK You’re here, that’s what counts.

I – 29 (To the WOMEN:) Hello Ladies. HEIDI Hiya, Bick. ADARENE Congratulations. BICK Thanks. Where’s Luz? LESLIE She’s riding here. BICK Riding? Leslie, my most lovely bride, this is Mike McCormack, our man in Washington. Best dinner guest you’d want except when he gets on the topic of oil. MIKE My pleasure.

LESLIE Nice to meet you.

MIKE Next Friday we got an appointment with Humble Oil. BICK As my grandpa said. I dig for water, cuz cattle don’t drink oil.” (HE crosses to BOB.) MIKE Friday at four. BICK Leslie, Bob Dietz. The foreman of Division One. His father was foreman before him. (To BOB:) His wife’s having a baby. Bobby Junior, next foreman of Division One. BOB Pleased to meet ya. LESLIE To meet you too. BICK Pinkie Snyth, he works on the Hake Ranch. LESLIE Hello.

PINKIE Ma’am.

I – 30 BICK Vashti, I hear you pa’s sick and couldn’t come. (VASHTI crosses to PINKIE and takes his hand.) VASHTI He isn’t sick. He’s sulking. He’ll get over it, cause there’s more than one bride and bridegroom at this barbeque. Mott Snyth and I were married yesterday. HEIDI A cowhand! My Lord! (A silence.) LESLIE A toast. (SHE holds her glass high:) It’s wonderful to come to Texas a new bride and find there’s a bride even newer living on the next ranch. We brides are going to stick together. (Only LESLIE and ADARENE toast.) ADARENE & LESLIE To Vashti and Pinkie. (An uncomfortable beat. BICK reluctantly signals the others to toast, which they do.) BICK (calls:) Polo. (POLO and the VAQUEROS cross to BICK and LESLIE.) Polo’s the Caporal of the vaqueros. Taught me to rope. Taught Luz. Polo’s practically part of the family, when he was a boy he used to sleep outside my father’s door. (POLO gives LESLIE a horsehair quirt, a short whip with a handle.) En nombre de todos los vaqueros de Reata, un grand honor conocerla. He hecho esto especialmente para Usted Senora Benedict.”

POLO [I speak for all the vaqueros of Reata that it is a grand honor to meet you. I have made this for you, Mrs. Benedict.]

BICK It’s a quirt. He made it for you. He’s very honored to meet you. LESLIE Grazie… gracias, thank you, I’ll treasure it and it’s an honor to meet you and tomorrow I’m learning Spanish. BICK Miguel Obregon, a top vaquero. His brother, Angel.

I – 31 LESLIE How do you do. ANGEL SR. Un placer haberla conocido. [I am honored to meet you.]

MIGUEL Buenos dias, Senora.

LESLIE (To ANGEL SR.:) Do you have a new baby? Si, un niño. Angel Segundo. (HE holds up two fingers.) Varoncito.

ANGEL [Yes, a boy. Angel the second.] [A boy.]

LESLIE Please tell him I came to his house and met his wife— BICK His wife? LESLIE And I’ll be in to see her tomorrow. BICK What the hell have you been doing? LESLIE I went for a walk to town— BICK You walked to town! Where the hell’s Luz? How the hell can she let you walk into town! Everybody go eat, get yourselves some grub. (HE leads LESLIE to the tower.) Can you climb in those? Can you climb that water tower? LESLIE I can climb the Alps. (LESLIE and BICK climb up the water tower. The GUESTS exit.) ADARENE (To MIKE:) Have anything stronger than ice tea? MIKE The constitution may say it’s dry in the whole of the U S of A, Adarene. (HE pulls out a flask.)

I – 32 VASHTI Bourbon. MIKE The natural waters of Texas. (MIKE, ADARENE, VASHTI, and PINKIE exit.) (LESLIE and BICK are alone on stage, up on the platform of the water tower.) BICK One night of reading don’t mean you know a thing about Texas. Ranch owners’ daughters don’t marry cowhands no matter what the damn storybooks say. And making a fuss over a Mexican boy’s eyelashes, we don’t do that here. What the hell were you doing walking to town? LESLIE I’ve never had to report to anyone what I was doing— (SHE continues:) BICK (over-lap:) I’m not asking you to report— LESLIE Except my parents, that stopped when I was twelve. BICK This is Texas brush country, that’s ‘life or death’ out there, you don’t strike out on your own walking! Didn’t Luz tell you that? LESLIE In Virginia no one puts you in a house where you can’t do anything except what someone’s sister says. BICK Then what I say. LESLIE If you wanted a Texas girl… (SHE continues:) BICK (Over-lap:) I didn’t want a Texas— LESLIE You should’ve married Vashti because you were supposed to have married her. BICK Supposed to? I’m the King of England?

I – 33 LESLIE You act like it. BICK Honey, you just got to learn how you behave in Texas— LESLIE Behave! BICK You don’t walk into a Mexican’s house— LESLIE Why not? BICK (Over-lap:) You don’t walk in without being asked. They prize their dignity. LESLIE There’s no dignity in a house like that! Why do your workers live like that? BICK There isn’t a ranch in the whole Southwest looks after their Mexicans better than we do. Polo and Angel’s family have been with us since the beginning. They’d give their lives for Reata and I’d trust mine to them. If Angel’s wife wants to live in town, in one of those houses, and not here, that’s her right. LESLIE But you own those houses. You own that town. (An uneasy silent moment; LESLIE speaks more about them and her new life than about the land SHE refers to.) LESLIE (CONT’D) That is an unreachable horizon. I’ve never seen such an emptiness. BICK That’s genuine freedom out there. You don’t like it. LESLIE No, it’s different than I thought it would be. BICK If you aren’t square with me, nothing we’ve got will have a chance. LESLIE I’m frightened. MUSIC 11: HEARTBREAK COUNTRY

I – 34 I’m frightened for the first time in my life. BICK Damn my snapping at you! Damn I’m sorry. Damn me. LESLIE No, no, you don’t have to say that— BICK I don’t ever want to frighten you. I don’t ever mean us to quarrel. I never wanted to and never would have married anyone else. I DIDN'T TELL THE TRUTH THE MOMENT THAT I WED YOU. THAT I HAD ANOTHER LOVE; I NEVER ASKED IF YOU COULD LOVE THE LAND WITH ME, TOO. YOU DON'T HAVE TO ANSWER YET. I WOULD NEVER FORCE YOUR HAND. WOULDN'T EVER DO THAT. LESLIE, PROMISE… HEARTBREAK COUNTRY: THAT THEY CALL HER; LAND BELOW AND SKY ABOVE. IN MY BLOOD I'VE GOT THIS COUNTRY: MEMORIES OF THOSE BEFORE ME. AND TO HONOR THOSE BEFORE ME, HEARTBREAK COUNTRY HAS MY LOVE. (LESLIE takes his hand.) HEARTBREAK COUNTRY, ALL AROUND US. HEARTBREAK COUNTRY, HARD AND MEAN. IN MY BONES I'VE GOT THIS COUNTRY. LET ME SHARE IT; LET ME GIVE YOU ALL THIS COUNTRY I'VE BEEN GIVEN, ALL YOU SEE AND HAVEN'T SEEN.

I – 35 LESLIE SHOW ME, JORDAN. EVERYTHING THERE IS TO SEE… BICK ANIMALS A-PLENTY: WHITE-TAIL DEER AND ANTI-SOCIAL BADGERS. GOT WILD PIGS AND FIERCE LITTLE BOBCATS. THE PANTHERS ARE GONE FROM THESE PARTS BUT THERE’S PLENTY OF COYOTE WITH PLENTY OF SMARTS AND CATTLE…! That’s a cherry-red bull, a house on legs! Wait a year and you’ll see a new breed. For I’m the Kashmir Kid, breeding the cream of our stock to that big Kashmir-Hereford bull, there’s never been anything like that in the world. It’ll be the first purely American breed. LESLIE HEARTBREAK COUNTRY— BICK AND IT'S CHANGIN’. BARBED-WIRE FENCES, TRUCKS AND CARS. IN MY HEART ARE THOSE BEFORE ME. MEN WITH COURAGE, TRUE SURVIVORS. THINGS MAY CHANGE BUT IN MY HEART I'M FREE AND STEADFAST AS THE STARS… The irony is, darlin', that as things get easier, it's harder to be a good steward to the land. THE HAWK WILL TAKE CARE OF ITSELF BUT ONLY IF WE TAKE CARE OF THE LAND. LESLIE THE HAWK WILL TAKE CARE OF ITSELF BUT ONLY IF WE… WE… I'LL LEARN TO LOVE THIS LAND. I SWEAR I'LL STAND BESIDE YOU. YOU HAVE TO GIVE ME TIME. JUST GIVE ME PATIENCE AND THE CHANCE TO LEARN WHAT YOU KNOW. KNOW THAT I WILL MAKE MISTAKES— DON’T BE ANGRY WHEN I DO—

I – 36

BICK I WOULD NEVER FORCE YOUR HAND— LESLIE WAIT FOR ME TO LEARN THIS HEARTBREAK COUNTRY CRUEL AND VIOLENT. SO MUCH NEW TO UNDERSTAND. GIVE ME TIME TO KNOW THIS COUNTRY. BICK I'LL GIVE YOU TIME— LESLIE GIVE ME TIME AND WHILE YOU'RE WAITING, LOVE ME, LOVE, AND JUST BE PATIENT; LOVE ME JUST AS HARD AS YOU LOVE THIS LAND. BICK I’LL LOVE YOU JUST AS HARD AS I LOVE

LESLIE LOVE ME JUST AS HARD AS YOU LOVE THIS LAND.

THIS LAND.

(BICK kisses LESLIE hard. JETT enters running. HE’s distraught.) JETT Bick, Bick, it’s Luz…. (HE continues:) BICK Luz…? JETT She rode like a bat out of hell. She was mad, bet me she could ride faster than any girl in a car. She put her saddle on that racehorse. She kept up with me for— LESLIE (over-lapping:) She can’t put a western saddle on… BICK (over-lapping:) Shush – Where’s Luz? Where’s Luz?!

I – 37 JETT The horse fell, broke its leg. Luz hit her head. Her eyes won’t open. We need a doctor. (MIQUEL OBERON enters carrying LUZ’s body. POLO is beside him.) Señor…No necesita un medico. Lo siento. La Señora Benedict está muerta.

POLO [Señor…you do not need a doctor. I’m so sorry. Señora Benedict is dead.]

(BICK takes Luz’s body from Polo. HE holds her to him.) (LUPE lights a candle. A sequence of actions occurs in the Big House as time passes. LUZ’S coffin rests on a stand next to an over-sized wreath of flowers held up by an easel. BICK exits the house carrying a shotgun.) MUSIC 12: RUEGA POR NOSOTROS MADRE DEL DOLOR: RUEGA POR NOSOTROS. PALOMA DE LOS SUSPIROS; OCÉANO DE LA AMARGURA; COMPAÑERA DE LOS PERDIDOS. ESPEJO DE PACIENCIA—

LUPE [Mother of Sorrow Pray for us. Dove of sighs. Ocean of bitterness. Companion of the lost. Mirror of patience—]

(Off: a Gunshot) RUEGA POR NOSOTROS.

[Pray for us.]

(LUPE and two SERVANTS continue to pray quietly under the scene. BICK enters the hallway. LESLIE, dressed now in black, has been waiting for him.) BICK Horse that’s lamed for life, it isn’t the life she wants. LESLIE Come be with me. Come to our room. (JETT enters.) BICK What the hell are you doing here? JETT I came to pay respects. Sorry about your horse. BICK You put Luz up to it, you son of a bitch… (He continues:)

I – 38 JETT You Benedict’s do what you want… BICK She’d never ride a race horse into the brush… JETT You never take the blame for what you do… BICK Wouldn’t put a Western saddle on a filly… JETT You kill’em first then blame’em for dying on your land! BICK Get out of my house. Get off my land. JETT The scrap of Reata I live on is my land. Luz gave it to me when my Pa was killed. (To LESLIE:) Sorry about her passing. (To BICK) She was like a mother to me. (HE exits.) LESLIE You need to eat, to sleep… BICK I should never have bought that horse. (HE exits into Luz’s room.) AHORA Y EN LA HORA DE NUESTRA MUERTE…

LUPE & THE SERVANTS [Now and in the hour of our death…]

(UNCLE BAWLEY enters the hallway, carrying his gear. HE is a bear of a man in his fifty’s. HE wears a well tailored suit and black boots, with a handkerchief in his breast pocket and another in his hand which HE uses to wipe the tears that fill his eyes. HE sees LESLIE, who is filled with emotions.) BAWLEY You’re Leslie. Bick sent your picture, which looks like you, which is highly unusual these days. Pardon me. (HE wipes the tears off his eyes.) I’m Bick’s Uncle Bawley. I’m the family hermit. I run the Holgado Division of Reata up in the Davis Mountains. No people around for a good amount of miles, no visitors allowed. Pardon me.

I – 39 (HE wipes his eyes.) LESLIE I’m so sorry. Luz must’ve meant so much to you. BAWLEY Don’t pay this no mind. I ain’t bawling. It stops after I’m inside for a bit. It’s what they call an allergy. Took me better than 40 years to find out. LESLIE An allergy? BAWLEY That’s right. I’m allergic to cattle. Makes my eyes water quarts. All my life a cowman and the whole Benedict family first and last for a hundred years or nearly, then a kid in Johns Hopkins finds out I’m allergic to cows. LESLIE (SHE laughs:) Forgive me. I’m sorry. (Her laughter grows.) BAWLEY It’s funny. LESLIE I haven’t laughed like this since I’ve been here. Oh please forgive me. (Tears flow. HE gives her his breast pocket handkerchief.) I’m a mess of emotions. BAWLEY Don’t let the good folk iron them out. My real name’s Baldwin. Baldwin Benedict. Then this comes along and that cinched it. I was Bawley Benedict. I had to fist fight my way through school. I was fullback and heavy weight boxer. LESLIE Would you like to go to the parlor? BAWLEY Didn’t come for the guests. You can take me to Bick. (LESLIE points to Luz’s room:) LESLIE (Letting her many emotions out:) He’s in Luz’s room. Made it a shrine. He sleeps in there. He should never have come to Virginia. I should never have come here! MUSIC 12A: UNDERSCORE (BAWLEY AND LESLIE)

I – 40

BAWLEY He was five when he lost his mother. Didn’t say a word for months. Luz gave that little boy back his life. We’re going in. (BAWLEY gently takes LESLIE’S arm and they enter Luz’s room. BICK has turned the room into a shrine: Luz’s clothes are laid out; her saddle displayed. BICK is in deep mourning.) BAWLEY Bick. BICK (not moving) Uncle Bawley. BAWLEY (Referring to Luz’s saddle:) Saddle was made by “Tio Sam” Myres. Grandpa gave it to her for her tenth birthday. Your father’s horse at the time was named “Midnight”. She named hers, “Five Minutes Ahead of Midnight”. (To BICK:) Let’s get out of here, son. BICK I’ll see you in the parlor. BAWLEY It’s hard. Death’s a hard business. Hard for you. Hard for your wife and hard for me. After my mother died, I couldn’t hear anything around me except her voice. (BICK makes a gesture that THEY should leave.) BICK Will you excuse me. MUSIC 13: LOOK BACK/LOOK AHEAD BAWLEY I SEE’EM, TOO, BOY. I HEAR’EM, TOO, BICK. SOMETIMES I HEAR’EM CALL’IN ME; THEY HAUNT ME ALL NIGHT LONG. ALL THEM MEMORIES COME CLOSE AND SAY: BAWLEY, LOOK BACK: LOOK AT ALL THEM BENEDICTS SINGIN’ THEIR SIREN SONG. The dead ain’t finished with us. The voices of our past are dying to be heard again.

I – 41 (The ENSEMBLE is heard—ghosts of the Benedicts:) ENSEMBLE LOOK BACK. LOOK BACK. KEEP ME ALIVE. LOOK BACK. REMEMBER WHAT I SAID. REMEMBER WHAT I PROMISED. REMEMBER WHAT I WANTED YOU TO DO. I'M HERE. RIGHT HERE. REMEMBER YOUR PROMISE, TOO. LOOK BACK. LOOK BACK. KEEP ME ALIVE WITH YOU. BAWLEY LOOK AHEAD, MY CHILDREN LOOK AHEAD. DON'T LOOK BACK, MY CHILDREN, LOOK AHEAD. SAY TO THE GHOSTS BEHIND YOU: THANK YOU, MA'AM, YOU DONE ME GOOD. BROUGHT ME TO LIFE, RAISED ME WELL, BUT NOW'S THE TIME THAT I SHOULD LOOK AHEAD; KEEP FORWARD; DON'T YOU STRAY. YOU GOT ALL THOSE TOMORROWS UP THE WAY. YOU CAN'T SEE TOMORROW LOOKIN’ OVER YOUR SHOULDER; SAY: THANK YOU MAMA, THANK YOU PAPA, THANK YOU, SISTER, THANK YOU, ALL BUT WHAT'S DEAD IS DEAD. LOOK AHEAD, MY CHILDREN LOOK AHEAD... (LUZ has appeared, joining the GHOSTS. THEY beckon to BICK.) ENSEMBLE REMEMBER WHAT I SAID! REMEMBER WHAT I PROMISED! REMEMBER WHAT I WANTED YOU TO DO! LOOK BACK! LOOK BACK! LOOK BACK!

I – 42

BICK It’s not the time or place for this. Luz is… BAWLEY I AIN’T SAYIN’ DON’T REMEMBER HER. I AIN’T SAYIN’ DON’T YOU GRIEVE. BUT DON’T LET HER STOP YOU FROM BELIEVIN’ IN WHAT YOU BELIEVE. TALK ABOUT HER. WRITE BOOKS ABOUT HER. REMEMBER HER PLEASURES AND MISTAKES. BUT TELL HER GIT AND GIT GONE NOW FOR BOTH YOUR SAKES. The Queen is dead. Long live the Queen. It’s your turn now. Today this becomes yours. Your sisters don’t want it, they just want the money. The new king and queen of Reata. (To LESLIE:) What is it you want to do tomorrow? (As LESLIE sings, one by one the GHOSTS begin disappear: the past replaced by the future.) LESLIE I WANT TO GO INTO THE KITCHEN AND MAKE A MERINGUE. I WANT CHILDREN, WHO'LL PLAY THE PIANO; I WANT A HOUSE THAT WE’LL BUILD TOGETHER. ONE I'LL NEVER WANT TO LEAVE. (To BAWLEY:) AND I WANT TO VISIT YOU. ON YOUR MOUNTAIN SOMEDAY. BAWLEY I'll consider that. (To BICK:) What do you want? What do you want to look ahead to? BICK I want to breed cattle that’ll feed the world. BAWLEY Yes. (As BICK sings, only LUZ is left on stage.) BICK I WANT A SON TO PASS THE RANCH TO. (To LESLIE:) I WANT A DAUGHTER TO MAKE YOU SMILE. I WANT TO EAT THAT MERINGUE YOU'LL BAKE ME. I WANT TO MAKE YOU A HOUSE

I – 43 YOU'LL NEVER WANT TO LEAVE— LESLIE WHAT'S DONE IS DONE. BICK WHAT'S DEAD IS DEAD. (LUZ vanishes.) BAWLEY Pull yourselves up tall. Go greet your guests. There are a lot of folks waiting for you. LOOK AHEAD, MY CHILDREN, LOOK AHEAD. (As BAWLEY speaks, the future is created around LESLIE and BICK, transforming into the patio of a Dallas Hotel: A sign flies in proclaiming: “BICK BENEDICT: 1941 CATTLEMAN OF THE YEAR.” Garlands of electric stars descend. A bright, Boogie-woogie intro is heard. The Patio of a Dallas Hotel comes to life. A dance band plays a popular 1941 Texas song ‘Rochelle.”) MUSIC 14: DANCE MUSIC (“ROCHELLE”) (16-year-old JORDY, JR reads a book. 15-year-old LIL LUZ crosses to an unopened champagne bottle sitting in an iced cooler. VASHTI, her drink on a table, joins in on the chorus of the song, as SHE dances a Texas two-step with PINKIE. LORD KARFREY dances with LADY KARFREY, Leslie’s sister, visiting from London. ADARENE, MIKE, and other GUESTS enjoy drinks and hors d’oeuvres, served by Mexican SERVANTS.) VASHTI “WHERE’D YOU GO, ROCHELLE, WHERE’D YOU GO? DON’T YOU KNOW ROCHELLE I MISS YOU SO…” (MIKE brings LORD KARFREY to VASHTI and PINKIE:) MIKE Excuse me barging in, Vashti. (To PINKIE:) Before things get hectic tonight, I’d like you and Lord Karfrey to get to know each other. PINKIE You’re Leslie’s…? LORD KARFREY Sister’s husband. I’m here with Her Majesty’s Government with the hopes we can find a way towards an Anglo-American Petroleum Agreement. PINKIE I got my first well in ’30. Like they say, a few oil wells make ranching a fine business.

I – 44 LORD KARFREY The entire Japanese foray into Indonesia and Southeast Asia’s for oil. PINKIE We don’t need theirs. MIKE (To LORD KARFREY:) Be assured, we’ll sell oil to your country, what we don’t want is your war with the Germans--PINKIE Bail out the British again! Excuse my French, but you’re going to have to save your own asses this time. Come have a drink with me tomorrow at the Petroleum Club. VASHTI (SHE pulls PINKIE back into dance:) Pinkie. (VASHTI and PINKIE do an elaborate turn. LADY KARFEY turns away and addresses MIKE.) LADY KARFREY Are you a part of my sister’s cow people? MIKE In my way. I lobby for them. LADY KARFREY I’ve never understood what a lobbyist does. MIKE Any discussion of lobbying begins with this point. It’s legal. VASHTI “WHERE’D YOU GO, ROCHELLE, WHERE’D YOU GO? DON’T YOU KNOW, ROCHELLE, I MISS YOU SO…” (LESLIE and BICK enter. A BELLBOY crosses to take LESLIE’s shopping bags. Another BELLBOY approaches BICK.) BELLBOY Mr. Benedict. (HE hands BICK a letter.) Gracias. Por favor, pongalos en Suite Uno y nos traen una botella de agua helado, por favor.

LESLIE [Thank you, please take these to Suite One and bring us a bottle of ice water, please.]

(BICK exits with the letter as LESLIE crosses to VASHTI and PINKIE. LESLIE speaks softly to them:)

I – 45 LESLIE Champagne here on the patio at 6:30. VASHTI It’s okay. He’s gone. LESLIE (To the exiting LADY KARFREY:) We’re back here at 6:30, Leigh, for a surprise toast to the cattleman of the year before we go to the Gala. LADY KARFEY How lovely. (LADY AND LORD KARFREY exit.) LESLIE (To ADARENE:) Lew coming? ADARENE The NRA’s got him stuck in Washington. MIKE (To ADARENE) How about a swing around the dance floor? ADARENE How lovely. (They join VASHTI and PINKIE, dancing.) MUSIC 14A: DANCE MUSIC/TRANSITION (LESLIE crosses to LIL LUZ who holds a champagne bottle in one hand and her penknife in the other, trying to see the best way to open a champagne bottle.) LESLIE Luz! LIL LUZ I know how. Dad showed me. LESLIE Showed you or you watched him? Did he say you can open it? LIL LUZ I’m just opening it. I don’t want to drink it.

I – 46 LESLIE I didn’t give you permission, nor did he. There’re things you got to wait for in life, Luz. Put it back. I’m going up to change. (LIL LUZ puts the champagne bottle back in the cooler.) LIL LUZ You didn’t wait to get married, mom. LESLIE Wear a dress tonight and leave the penknife in the room. LIL LUZ Going swimming, Jordy? JORDY (with a stammer) Wanna go up and finish this. LESLIE Don’t think of going to Daddy about opening champagne. It’s his big night. We’re going to rest. We need to… (She stops herself) We need some privacy. (The CHILDREN exit their separate ways. As the party continues, the scene shifts to LESLIE and BICK’S hotel room.) (BICK sits on the bed reading the letter he received. LESLIE sits beside BICK so he can unzip her dress.) LESLIE Mother said everything’s topsy-turvy when girls are fifteen till they’re twenty-one. She’d say, “We’ll get to know each other again, Leslie, when you’re grown”. BICK You’re grown. LESLIE I spent summer nights doing what I wanted, read every book I could find in the library about love, sitting in my father’s chair. BICK You’re too old to be thinking about your daddy’s chair. (LESLIE gets up to change clothes.) LESLIE Keeping his chair in my mind’s much like you keeping Luz’s room untouched.

I – 47 BICK We don’t even live in that house. I built you your own house. LESLIE I was in love with my father just as you were in love with your sister. BICK That’s ugly talk. LESLIE That’s Freud. BICK You come in looking for an argument?... (HE continues:) LESLIE (over-lapping:) It’s not arguing, it’s talking… BICK I’m not looking for arguments. (Referring to letter:) I got enough to handle in here. LESLIE What is it? BICK “ Hi, Bick, it’s your little sister, Maudie Lou. Sorry we can’t be with you tonight. We’re docked in Monaco. Ain’t it the cutest country!” Small talk and smaller talk till the last line: “Just letting you know we’ll be back for the family meeting and my vote will be to lease our land for oil”. The family’s gonna let the oil companies dig on our land. LESLIE Bawley won’t. BICK He won’t, but the rest were money eaters from the start. LESLIE Trains changed this country. Maybe it’s oil’s time. BICK Oil’s already changed Texas. It got us through the depression, but now it’s got our friends living in cities, soon we’ll be the last living our life ranching. And if another war’s coming, you can bet your bottom dollar, it’ll be unpatriotic if you don’t let the oil companies drill more, and more, wherever they want. Nothing here’s ever going to be the same. Hard work, vision, love of this land’ll be something remembered from the past.

I – 48 LESLIE You’ll never forget. That’s why you’re “Cattleman Of The Year”. BICK Come on… LESLIE What if…what if this, in some unknown way, opened up something for us we don’t even know about… BICK Honey… LESLIE Jordy’ll be off to college. Luz’ll be on her way soon. Maybe it’s our time, maybe we don’t have to be King and Queen for another 16 years, maybe, we can be part of these changing times. BICK You’re already part of it. You got Benedict a new school. A poetry club. Now, a library, darlin’. LESLIE But I’ve changed nothing. Mexicans can’t join the club— (She continues:) BICK (over-lapping:) I’ve heard this. LESLIE —can’t go to the school. And won’t be wanted in the library. BICK That’s the law. LESLIE You’re the law in Benedict. BICK You’re Mrs. Benedict. Not some prohibitionist with a hatchet. MUSIC 15: TOPSY-TURVY LESLIE What if we didn’t have to be Mr. and Mrs. Benedict. Just for a week. Even a day. JORDAN, JORDAN… LET'S GO TOPSY-TURVY. LET'S LET LOOSE: TOPSY-TURVY. LET'S FLY TO

I – 49 NEW YORK CITY AND GET LOST IN THE CROWD. BICK More shoppin’? LESLIE JUMP RIGHT INTO CHAOS AND NOT CARE WHO IS LISTENING WHEN I'M IN THE SUBWAY AND SCREAMING, “I LOVE YOU!” OUT LOUD. BICK THAT’S NOT NORMAL. LESLIE WE'LL LOOK AT THE PAINTINGS AT THE MET. AND GO TO THE OTHER MET, TOO. WE'LL HEAR OPERA THAT'S NOT OP’RY. EAT FOOD THAT AIN'T BEANS AND IF YOU WANT TO SEE ANIMALS WE'LL HEAD FOR THE ZOO. BICK YOU NEED SOME LOVIN’. LESLIE NO ONE'LL KNOW ME. NO ONE'LL KNOW YOU. BICK You need some lovin’ now. LESLIE LET'S GO TOPSY-TURVY. TOGETHER: TOPSY-TURVY WE'LL FLY OFF INTO SOME GREAT UNKNOWN. BUT I CAN'T GO TOPSY-TURVY ALONE. BICK YOU CAN SEE VAN GOGH IN DALLAS. YOU GET THE NEW YORKER IN THE MAIL. YOU WANNA GO SHOPPIN'?

I – 50

LESLIE IT’S NOT ABOUT SHOPPING— BICK THERE'S HOUSTON OR AUSTIN. LESLIE JORDAN… BICK BUT NEW YORK? THAT'S A NO-SALE. LESLIE WHAT I’M TRYING TO SAY IS: THERE’S MORE THAN ENOUGH MONEY, MORE THAN ENOUGH LAND. WE’RE THE “LUCKY PEOPLE” ON THE EARTH. WITH POSSIBILITIES. HERE’S OUR CHANCE TO CHANGE OUR LIVES. TOGETHER, LET’S FIND SOME GREAT UNKNOWN. DARLING: COME AWAY WITH ME. JORDAN: THOUGH I NEED TO I CAN’T GO TOPSY-TURVY ALONE. (LESLIE waits a response. BICK pats her hand.) BICK Where’d you say we were to be at 6:30? LESLIE The patio. BICK Don’t have to dress up? LESLIE No. (BICK picks up the letter and crosses to exit.) BICK I gotta to talk to Mike. Told him I’ll meet him in the bar. LESLIE Jordan.

I – 51 (SHE hands him a package:) I ordered this small telescope for you. (HE opens package.) It’s small enough to take in your pack but powerful enough to see the stars. I saw it in Jordy’s “Popular Astronomy”. BICK You telling me to retire? LESLIE No. BICK —You telling me to sell oil? Retire and spend the night looking at the stars? And here I was feeling romantic. Give it to Jordy. (BICK exits. LESLIE lies on the bed. Lights.) (The scene shifts back to the hotel patio.) (LIL LUZ is fiddling with the bottles of champagne. JETT, a fresh drink in hand, steps out of the shadows.) JETT You got two jacks, a ten, nine, eight. Would you break your pair to draw for a straight? LIL LUZ How much in the pot? JETT How ’bout that! Let’s say it’s a dime. LIL LUZ I don’t play for dimes. JETT A dime means a thousand, lil lady. LIL LUZ You a friend of my father’s? JETT In the old days, but ain’t as old as him. LIL LUZ How’d you know I play poker? JETT I read minds.

I – 52 MUSIC 16: WHEN TO BLUFF/ONE DAY LIL LUZ Sure. JETT Then there’s those cards stickin’ out your back pocket. (LIL LUZ pushes the cards deeper into her back pocket.) You look like maybe you might be a player someday. Depends if you know how to touch, taste, hear, smell and see? LIL LUZ Everybody got five senses. JETT But does everybody got the taste for the game? GOT THE FEEL FOR THE CARDS? EYES THAT DON'T MISS A THING? Do you see how their fingers move the chips… If a player bets, then looks back at his hand when you reach for your chips, he’s probably bluffing. Do you read the pulse beats in their necks? CAN YOU SMELL WHO'S WEAK? CAN YOU SMELL WHO'S STRONG? Can your ears pick up the takin’ in of a breath that’ll give away what the guy across the table has hidin’ in the hole. DO YOU GOT THE FIVE SENSES IT TAKES TO BE A PLAYER? LIL LUZ SURE DO. JETT WHEN THE STAKES ARE HIGH DO YOU PLAY WITHOUT FEAR? DO YOU THROW ONE BY OR WILL YOU CRY INTO YOUR BEER? CAN YOU TOSS AWAY A STRONG HAND WHEN YOU SMELL THAT YOU'’VE BEEN BEAT? CAN YOU SIT IN YOUR CHAIR FOR A LONG TIME? CAN YOU SURVIVE THE HEAT? CAN YOU COUNT THE CARDS KNOWING WHEN ENOUGH'S ENOUGH? YOU NEED 'GATOR BLOOD, LITTLE LADY--DO YOU KNOW WHEN TO BLUFF?

I – 53 LIL LUZ SURE DO. SURE DO. JETT Even when you know it all, Luz Benedict, there's something no one can give you. Luck. And I'm a lucky man. I'd rather be lucky than smart cause a lot of smart people ain't eatin' regular. LIL LUZ I DON'T KNOW ABOUT CARDS. BUT I KNOW ABOUT DANGER. AND I GOT 'GATOR BLOOD. I AIN’T SCARED ABOUT NOTHIN’. I'M A BRONCO RIDER FLYIN', FLYIN', FLYIN' ON EARTH. I BEAT NINE OTHER COWBOYS ROPIN' AND TYIN', I AIN’T LYIN' SIR, I KNOW MY WORTH. I'LL BE IN THE RODEO WHEN I'M SEVENTEEN. ‘N MARK MY WORDS I'LL BE THE BEST TRICK RIDER THIS COUNTRY'S EVER SEEN! DO THE BACK DRAG: HANGIN' OUT OVER THE HORSE'S RUMP; DO THE SUICIDE DRAG: HEAD DOWN UNDER THE HORSES HOOVES AND WATCH MY MAMA JUMP! WHEN I CAN'T DO SOMETHIN’ I JUST LEARN TO DO IT, YOU SEE? LUCK WON'T GIVE ME WHAT I WANT FROM THE WORLD SO I'M GIVIN' IT TO ME. YEAH, I PLAY FOR KEEPS. I'M THE GIRL WHO'S GOT THE STUFF! I GOT 'GATOR BLOOD. I KNOW HOW TO FLY. AND I KNOW WHEN TO BLUFF. JETT YOU'RE SOME LITTLE LADY. LIL LUZ Got a match? (JETT throws her a box of matches.) LIL LUZ I'M NO ‘LITTLE LADY.’

I – 54 ’N I AIN'T "LITTLE LUZ." I'm Luz Benedict. (SHE lights a match by striking it on the seat of her jeans and lights JETT’S cigarette.) JETT When you were born the papers said your name’s Claire. (SHE throws back the matches.) LIL LUZ You believe everything you read in the papers? JETT Yes ma’am. LIL LUZ It was Claire, which means light in French, that’s what mom named me, but dad got in a habit of calling me Luz, was the name of his sister. It also means light. JETT She was something. LIL LUZ You knew my aunt? JETT Since I was this high. Got to know Madama, that’s what I called her. When my Pa died Luz gave me and Ma some land to live on. There was no water on it, no dirt to grow a turnip in, nothing on it, Luz thought, except us. LIL LUZ That’s a terrible story. JETT But didn’t I tell you, Luz Benedict, there’s something no one can give you and that’s luck. ONE DAY. CHORUS (MEN) DUST. JETT WENT DIGGIN' INTO THAT NOTHIN'— MEN ROCK. JETT DIDN'T FIND NO NASTY TURNIPS—

I – 55 MEN DIG. JETT BUT I KEP’ ON DIGGIN' AND I DUG— MEN DOWN. DOWN. DEEP. JETT ’N DUG— MEN ACHE. SWEAT. BLOOD. JETT ‘N DUG— MEN SPIT. SHAKE. BOY. JETT & MEN WANT IT! FIND IT! CHASE IT! JETT LESLIE— JETT & MEN BURN UP! BREAK DOWN! DOWN! DOWN! DOWN! DOWN! JETT THEN THE WELL BLEW IN— BLOWIN’ OVER THE DERRICK MORE THAN TWICE AS HIGH! DARK, GREEN COLOR TURNIN' INTO GOLD AS IT FELL FROM THE SKY! BREAKIN' UP AT THE TOP OPENIN' UP LIKE A WOMAN 'FORE FALLIN' TO EARTH AND FALLIN' ON ME! AND I TOUCHED. MEN TOUCH! JETT SMELLED! MEN TASTE!

I – 56 JETT SAW! MEN AND THEN I HEARD IT— JETT ROAR…! THAT DAY— UP FROM OUTTA THAT NOTHIN'— MEN PRIVATE PROPERTY… JETT COME A FIFTY MILLION BARREL FIELD CRUDE AND LIGHT AND SWEET. YOU KNOW WHAT THE ODDS ARE? THE ODDS YOU GOTTA BEAT? THE ODDS ARE ONE IN NINE-HUNDRED AND SIXTY-NINE. I'M MISTER ONE IN NINE-HUNDERED AND SIXTY-NINE. WITH A FIFTY MILLION BARREL FIELD RIGHT BENEATH MY FEET. IT'S A GAME PLAYED WILD ‘CEPT YOUR HOLE CARD NOW IS OIL IT'S A GAMBLE, CHILD. NO TELLIN' WHAT'S THERE IN THE SOIL. NO SCIENTIST CAN TELL YOU IF THERE'S OIL DOWN IN THAT HOLE. GOTTA CHASE THE GAME AND HOPE. THAT YOU STRIKE AND RIDE THE ROLL. GOTTA CHASE THE OIL AND GAL, THE GAME IS PRETTY ROUGH. GOTTA HAVE GATOR BLOOD. GOTTA BE BLESSED WITH LUCK. GOTTA KNOW WHAT’S YOURS. GOTTA KNOW WHEN TO BLUFF. LIL LUZ My father says oil is the slickest dirtiest business there is. JETT You bet. One day I’ll be drillin’ on Reata. LIL LUZ He’ll tell you “Never”. JETT He may be bluffing.

I – 57 LIL LUZ My dad’s straight up. JETT And you Luz Benedict? You bluffing when you said you knew how to open champagne? Or you scared of openin’ it fore your pretty maw says you can? LIL LUZ I can open it whenever I want to. JETT I call that a bluff. (LUZ pulls the cork out of the bottle. The champagne spills over JETT and the floor.) JETT Ain’t that something, (HE crosses to exit:) Tell your maw you were talkin’ to Jett Rink. Tell her I got something for her. (ADARENE enters first. Behind her are LORD KARFREY, LADY KARFREY, VASHTI, PINKIE, BICK, MIKE, BOBBY SR and a WAITER carrying a tray of filled champagne glasses. They have come from the bar.) ADARENE Jett? JETT How about that. (HE exits.) (LIL LUZ stands staring at the mess she’s made. LESLIE enters. The dialogue over-laps.) LESLIE You opened it. LIL LUZ (over-lapping:) Man bet me I wouldn’t do it. He said— BICK (over-lapping:) What are you doing opening champagne? LESLIE (To LIL LUZ:) I don’t care what he said. Clean it up. VASHTI (Signaling a Mexican WAITER:) That’s what they got servants for.

I – 58 LESLIE (To LIL LUZ:) You clean this up. BICK (To LESLIE:) Honey, what is this? (LIL LUZ takes rags from the Servants and wipes up the floor.) LESLIE (To BICK and the OTHERS:) It was to have been a quiet family and friends toast to you before the Gala tonight. Let’s have some. (ALL get glasses of champagne.) To our cattleman of the year. For all the years we’ve known you. THE GUESTS To Bick! BICK (Toasting LESLIE:) The best hostess in Texas. VASHTI (To the KARFREYS:) Be sure to come to our suite ‘fore you get dressed for tonight. I’ve got mantillas, buckskin jackets, Vaquero costumes, paste on mustaches, goatees, whatever you need for the Gala. LADY KARFREY (To LORD KARFREY:) Would you go as that Army man in a girdle? VASHTI Who?

LORD KARFREY Wouldn’t think of it.

LADY KARFREY The article in the Book Review where they revealed that the Commander of the Alamo…? PINKIE William Barrett Travis, ma’am. LADY KARFREY They say Travis was gaga from drinking mercury, a treatment for venereal disease and Houston wore a girdle. And was an opium addict. PINKIE There’re people who’d rewrite the Ten Commandments if they knew how to chisel stone! VASHTI Honey—

I – 59 PINKIE For the Alamo, ma’am, with no disrespect, ma’am, is American history not English. And a English dead beat snake blooded tea drinking red minded Commie professor who wrote that article ought to be told that if you can get killed in Texas cause your pig roots up someone’s garden, he better hide in hell, ‘fore if he ever steps foot in Texas it’ll be— BICK Take a deep breath, feller. (To LADY KARFREY:) With all due respect, you need to read more than a book review. The story of the Alamo is the history of ordinary men, who given a choice, chose to give their lives for Texas. Hell every child in Texas can remember the first song we learned in school. MUSIC 17: MY TEXAS (BICK starts the song. At different lines ADARENE, PINKIE, VASHTI, MIKE, AND THE OTHER GUESTS join in:) "THIS IS MY TEXAS! MY DEAREST TEXAS! AND I PROMISE TO LOVE HER TILL I DIE. I'LL REMEMBER THOSE DAYS OF GLORY; I'LL LIVE TO TELL THE STORY OF MIGHTY TEXAS AND THE JOY OF DAYS-GONE-BY!" (JORDY JR. enters.) PINKIE This boy knows the Shrine where Texas independence was born. He knows the high price you got to pay for freedom. It’s been over a hundred years since our people suffered many wrongs at the hands of the Mexicans, cruelest people history’s ever known. For it was at the Alamo, ma’am, where man made the ultimate sacrifice. VASHTI WE’RE TALKIN' 'BOUT THE SEIGE OF THE ALAMO WHEN A HUNDRED-NINETY TEXANS WAS FACIN' THEIR DOOM. A COUPLA THOUSAND MEXICANS SURROUNDED THEIR FORT AND THEIR TEXAS HEARTS WAS FILLED WITH DREADFUL GLOOM. PINKIE SO TRAVIS DRAWS A LINE IN THE SAND SAYS: “CHOOSE WHICH SIDE YOU'RE ON. ARE YOU WITH US OR AGAINST US? VICTORY OR DEATH!”

I – 60 VASHTI AND COME THAT CHILLY DAWN AFTER GIVIN' 'EM A CHOICE TO STAY OR LEAVE, TRAVIS BEHELD A WONDROUS SIGHT: PINKIE & VASHTI NOT ONE TEXAN CHOSE TO LEAVE. NOT ONE TEXAN CHOSE NOT TO FIGHT! VASHTI ('CEPT FOR ONE COWARD WHO GOD KEPT ALIVE SO'S HE COULD TELL THE STORY OF HOW ONE HUNDRED AND EIGHTY-NINE TEXANS DIED FOR OUR FREEDOM.) JORDY JR. Nine of those Texans had Mexican names. BICK Jordy! PINKIE & VASHTI WE GOT STORIES! TIME TO COME ‘N SIT BY THE FIRE! WE GOT STORIES WE GOTTA SHARE! SACRED SYMBOLS WE CAN’T LET GO OF; WE WANNA SHOW YA HOW MUCH WE CARE! JORDY JR. The Mexicans didn’t come here as immigrants. It was their land. We came as immigrants. PINKIE AND VASHTI WE GOT STORIES— JORDY JR. We came for cheap land; we fought for Texas cause if you did you got free land. PINKIE & VASHTI TIME TO COME AND SIT BY THE FIRE— JORDY JR. When America went to war with Mexico, it was a land grab. All the Benedicts gave the Mexicans was 5 cents an acre. (BICK grabs JORDY’S arm, hurting him.) BICK That’s more than enough.

I – 61 LESLIE Jordan. JORDY You don’t say it’s history when it’s full of lies. BICK If you can’t apologize, I strongly suggest you go. Now. (HE lets go of JORDY. As JORDY exits, LESLIE crosses away from BICK.) BICK Weren't we singing our song? "THIS IS MY TEXAS. MY DEAREST TEXAS. AND I PROMISE TO LOVE HER TILL I DIE.” (VASHTI, PINKIE and the OTHERS, save for LESLIE, join in:) BICK, VASHTI, PINKIE & ENSEMBLE “I'LL REMEMBER THOSE DAYS OF GLORY I'LL LIVE TO TELL THE STORY OF MIGHTY TEXAS AND THE JOY OF DAYS-GONE-BY! THIS IS MY TEXAS! MY DEAREST TEXAS! AND I PROMISE TO LOVE HER TILL I DIE! I’LL REMEMBER THOSE DAYS OF GLORY; I’LL LIVE TO TELL THE STORY OF MIGHTY TEXAS AND THE JOY OF DAYS-GONE…” (LESLIE has stepped away from the group. She’s lost in her thoughts:) LESLIE DAYS GONE. MONTHS GONE. YEARS GONE. IN YOUR TEXAS. I DO NOT WANT YOUR TEXAS. WHERE YOU HURT MY SON AND I NEVER SAY A WORD; WHERE I’VE BECOME THIS OTHER PERSON, A PERSON I DESPISE IN YOUR TEXAS. I’LL NEVER LOVE YOUR TEXAS! I’LL NEVER LEARN TO SING ABOUT YOUR LAND AND ALL YOUR VALUES, AND YOUR BIGOTRY AND NARROW MINDS—

I – 62 LYING TO YOURSELVES ABOUT YOUR TEXAS…! VASHTI Whyn’t we take a break before dressing and head to the bar. Right, Mott, we’re buying. PINKIE Right, honey. BICK You got a moment, Mike? (BICK exits into the hotel. MIKE follows. The REST exit to the bar.) ADARENE Leslie? LESLIE Soon. (ADARENE exits. JETT enters. LESLIE, deep in her own thoughts, is unaware of him.) JETT Mrs. Benedict. (LESLIE is not sure who HE is.) Jett Rink. I ain’t... I am not the same. (HE points to his car parked beyond the patio) Nor’s my car. LESLIE May I have one. (HE gives her a cigarette and holds out a match.) LESLIE Yes. (SHE fails to get the cigarette lit.) I’m not a smoker. Sorry. JETT You always give up like that? May I ask you somethin’? LESLIE Yes. JETT What’s Endiv? LESLIE End of?

I – 63 JETT E. N. D. I. V. E. LESLIE Endive? JETT Yeah. LESLIE A vegetable. JETT Only as good as the stock it’s cooked in. LESLIE How do you know that? JETT Can’t wake any morning without reading about you in the paper. MUSIC 18: UNDERSCORE (LESLIE AND JETT) LESLIE I wish I’d had something more important to say. JETT Story had a picture of you in your garden. Maybe the sun was in your eyes for you looked like you were far away, maybe being somewhere else. Maybe that place, Italy, where your Paw took you. What were the other countries? LESLIE France, England, Spain. JETT That’s right. Damn right! And you said, ‘Nothin’ makes you happier than travelin’. Happier cause you like new things? LESLIE I miss Italy. I miss Siena. I made my father come back and back to a statue of St. Jerome who looks as though he’s hearing music, his face carved in marble. JETT I’ve never seen something like that. LESLIE (remembering wistfully) OUTSIDE YOUR WINDOW…

I – 64 When you travel you learn things about yourself. When you travel, you feel new. I want to be someone new… JETT I’m new and I ain’t, I haven’t taken a step outta Texas. Got a corporation, ‘nough money to go places. Soon gonna have me a lotta time to travel. Before I met you, I never wanted to see the world. You got me wanting to. You got me wanting to learn. And I have. Been learning since I saw you last. (JETT takes a small jewelry box out of his pocket. In it is a pin in the shape of the earth with emeralds standing in for France, Italy, England, and Spain. BICK enters unseen by them.) JETT (CONT’D) I had this made for you. It’s the world. The emeralds, your favorite stone, are for where you’ve been. France, Italy, England, Spain. Lotta room for more stones. LESLIE I can’t take this. JETT This is nothin’. I’m gonna give you everything. BICK Son of a bitch. (BICK punches JETT) BICK You talk to my wife again, I’m going to kill you… (JETT hits BICK hard.) LESLIE No more. JETT We’ll save our fighting for the family meeting. (HE crosses to exit:) MUSIC 19: ACT ONE FINALE BICK You ain’t going to be there. JETT I been invited. It’s my company that’s looking to lease. (HE continues:) BICK You’re lying.

I – 65 JETT You don’t see it, do you? I’m the one that’s fine. You and the rest of the stinkin’ Benedicts, you’re gonna end up needing a hell of a lot from me. BICK (to LESLIE) I’m all right. (BICK exits, followed by LELSIE.) (JETT crosses into the family meeting. A table with piles of contracts appears. BAWLEY is behind it, conducting the meeting. The family is the audience. Like a chameleon, JETT changes into an ‘understanding friend’ of the family as he speaks directly to them:) JETT I know. I know how it is on Reata. Your land’s worth millions but nobody’s got ready cash. You’re pinched for money ‘cause Bick needs money for his critters, his experiments. (BICK reenters.) BICK Why the hell’s he here?! He’s a dog, a dog who hates everything we stand for… (HE continues:) BAWLEY (over-lapping:) Family meetings are to be conducted with parliamentary exactitude… BICK (over-lapping:) —He doesn’t belong here. BAWLEY (over-lapping:) The meeting’s officially started… BICK (over-lapping:) Who the hell invited him? BAWLEY As a Texas Ranger I’m suppose to keep law and order. One speaker at a time. And that speaker, no matter who the hell he is, gets to speak till he’s finished. Mr. Rink. JETT (To the “family”:) OUTSIDE YOUR WINDOW TIMES IS CHANGIN’, CHANGIN’ FAST. WHY PUT YOUR STOCK IN CATTLE? WHY INVEST IN WHAT IS PAST? OUTSIDE YOUR WINDOW

I – 66 YOU GOT GOLD BENEATH YOUR FEET. PUT YOUR STOCK IN OIL. NOT IN CATTLE FEED. MILLIONS EVERY MONTH. MONEY GUARANTEED. SOMEONE WHO KNOWS OIL, THAT’S THE MAN YOU NEED. I’M THE MAN YOU NEED. (LESLIE, JORDY JR. and LIL LUZ enter.) JETT I’M THE MAN YOU NEED. Oil’s the backbone of our economy. A vote for oil is a vote for America. Thank you. Thank you for listening. BICK (To the “family’:) We’re not afraid of change. We’re searching for new grasses to hold the soil, improving the breed. Oil maybe the backbone of our economy but we’re feeding America. (The ENSEMBLE is heard: the Benedict ancestors.) ENSEMBLE HEARTBREAK COUNTRY THAT THEY CALL HER. BICK Reata is a cattle ranch. THIS LAND IS CATTLE LAND. BENEATH OUR FEET: OUR HISTORY; OUR FAMILY’S LEGACY. ENSEMBLE LAND BELOW AND SKY ABOVE. BICK YOU MAY GET RICH FROM OIL, BUT IT'S OUR LEGACY WE'LL LOSE. A HUNDRED YEARS OF WORK AND SACRIFICE. ENSEMBLE IN MY BLOOD I’VE GOT THIS COUNTRY… BICK Our great grandparents didn’t go through droughts, dust—our parents through the winter of 1919 for themselves.

I – 67 ENSEMBLE MEMORIES OF THOSE BEFORE ME… BICK REATA WAS CREATED FOR THEIR CHILDREN. AND THEIR CHILDREN’S CHILDREN. ENSEMBLE THE HAWK WILL TAKE CARE OF ITSELF BUT ONLY IF WE TAKE CARE OF THE LAND. BICK May our children have the strength to take care of it. May we have the strength to vote to protect this land. BAWLEY (addressing the “family”) How many for leasing the land? (HE counts the “votes.”) Nineteen. How many against leasing the land? (BICK and BAWLEY raise their hands.) Two. The majority votes for leasing to Jett Rink. Meeting adjourned. BICK IN MY HEART ARE THOSE BEFORE ME. MEN WITH COURAGE, TRUE SURVIVORS… (LESLIE crosses to BICK. BICK picks up the contracts and crosses away. Lights.) END OF ACT ONE

II – 68

ACT II (1943. Evening. The Water Tower. Quiet—save for the distant, monotonous sound of oil pumps. BICK enters.) BICK Even here you smell oil. Everywhere! The house, the garden, the god damn tomatoes. (HE climbs a rung or two of the ladder and stops:) Rigs lit up like new stars in the sky. Outside the bedroom window, up down, up down, like a bird going loco over its feed. (LUZ enters with two just made cups of coffee. It is 5AM of a morning twenty years ago.) LUZ Then get some durn curtains and put them up. MUSIC 20: OUR MORNINGS/THAT THING (SHE crosses to the bench.) BICK I like night coming in through a window. (SHE gives him a shrug.) You never saw it change the sky, never sat at your own dinner table with Rink’s oil boys and his politicians talking about water rights. That’s what you gotta do now. LUZ (laughs) Ain’t I lucky. (BICK joins LUZ at the bench.) BICK Ain’t you. I MISS OUR MORNINGS. BEFORE THE DAWN WOULD BREAK. I MISS OUR TIME BEFORE REATA AND THE WORLD CAME AWAKE. I MISS OUR COFFEE. AND SITTIN' STILL WITH YOU. ONLY THE BIRDS OUTSIDE WOULD HAVE THE GUMPTION TO DISTURB OUR FIVE A.M.'S BEFORE OUR DAILY TALK OF BICK & LUZ WHAT'S GOTTA BE DONE BEFORE THE END OF THE DAY. WHAT HAPPENS NEXT MONTH

II – 69 IF THE RAINS DON'T COME AS PLANNED. WHICH HAND'S WORKIN' HARD ENOUGH AND WHICH HAND IS NOT. WHAT'S COSTIN' US MONEY. WHO'S WATCHIN' OUR LAND. BICK I'D WANT A STORY. ONE FROM OUR GRANDPA'S TIME. LUZ That was a time when the grass was belly deep to a horse. A time ‘fore windmills and wells, when the drought come in, the bull frogs by the creek were three years old before they could swim. BICK Grandpa couldn’t swim because his horse could. LUZ That’s right and when he came into the kitchen in the morning with one pant’s leg in his boot and the other out, it was time to clear the room. BICK HE HAD A TEMPER. LUZ LIKE ALL YOU BENEDICT MEN. BICK The time he told the lawyer he didn’t know dung from wild honey. LUZ ENOUGH OF STORIES. HERE'S WHAT'S GOTTA BE DONE BEFORE THE END OF THE DAY… (SHE writes out the list of today’s work.) BICK What did he say when he saw me? The day I was born. LUZ He said that kid looks just like my grand daddy after the horse kicked him and knocked his teeth out. God almighty this kid’s sure as hell a Benedict. BICK No, my Dad. What he say when he first saw me? You never told me. LUZ Should’ve asked me when I was alive.

II – 70 (SHE returns to her list making.) BICK I got a boy now too. I’m a father now too. LUZ You like it? BICK Only someone who’s never had children can ask ‘do you like it.’ LUZ I brought you up and both your sisters. BICK You and me, we look like we belong to the same family, don’t we? LUZ What kind of question’s that! BICK My son, he sure as hell doesn’t look like a Benedict. LUZ He’s yours? BICK What damn fool question is that! LUZ Sit down. You’re going to spill that coffee all over yourself. BICK WHAT'S THAT THING? WHAT'S THAT THING YOU CAN'T HELP BUT RECOGNIZE? AS CLEAR AS THE SHAPE OF HIS NOSE OR LIPS OR COLOR OF HIS EYES. THAT THING YOU KNOW RIGHT AWAY. THAT THING THAT MAKES YOU SAY: THAT'S MY SON. THAT’S MY SON. HE WAS BORN WITH A BRUISE ON HIS EAR JUST LIKE A BRAND. I SWORE I'D PROTECT EV’RY HAIR ON HIS HEAD THAT I CRADLED IN MY HAND. I'D TEACH HIM ALL I KNOW AND PROUDLY I WOULD GO: THAT'S MY SON. MY SON.

II – 71 HE TURNED THREE. TIME TO PUT HIM ON HIS HORSE. A SOFT-MOUTHED ROAN AS GENTLE AS A LAMB. HE SCREAMED LIKE A BANSHEE TILL HIS MOTHER TOOK HIM OFF. AND I SAID TO MYSELF: WELL DAMN. DAMN. WHO'S THIS BOY? WHO'S THIS BOY WHO BY ALL ACCOUNTS IS MINE? WHO LEARNED HOW TO READ BY THE TIME HE WAS SIX. EV’RY WORD GETS INSIDE OF HIS HEAD AND STICKS. HE KNOWS WHO ALEXANDER IS. AND WHERE THE HELL MOUNT ETNA IS. HE KNOWS WHAT MAKES A BULLFROG JUMP. KNOWS WHY THE PLANETS SPIN AROUND. WORKS AS HARD AS ANY RANCHHAND. RIDES A HORSE FINE, DOES HIS CHORES. HE MINDS HIS MOTHER, KNOWS HIS MANNERS. TELL HIM THAT HE'S DONE WELL, HE GOES, "THANK YOU, POPPA, THANK YOU, POPPA.” AND HE LOOKS DOWN AT HIS BOOTS. "THANK YOU, POPPA, THANK YOU, POPPA.” WORK IS DONE, AND OFF HE GOES. RIDIN' BACK TO HIS BOOKS. "THANK YOU, POPPA…" NEVER: "POPPA, CAN I STAY OUT AND RIDE TILL THE MOON COMES OUT? POPPA TELL ME ALL THAT YOU KNOW. LET ME RIDE THE STALLION. SHOW ME HOW TO DO IT. TAKE ME WHEREVER YOU GO. TAKE ME WHEREVER…" BUT NO. He heads back to his books. Dickens. Jules Verne. Sinclair Lewis. LUZ He'll be a Bolshie by the time he's fifteen. BICK He's seventeen and already there!

II – 72 IT BEATS ME. IT BEATS ME AND I HAVEN'T GOT A CLUE. DO I FORCE HIM TO WANT ALL THE THINGS I WANT? IS THAT WHAT FATHERS DO? DOES HE HAVE TO LIKE WHAT I LIKE? DOES HE HAVE TO KNOW WHAT I KNOW? DOES HE HAVE TO DO WHAT I DO? DOES HE HAVE TO BE LIKE I AM? BEATS ME. CUZ WHEN ALL IS SAID AND DONE, THE TRUTH IS: HE'S MY SON. MY SON. Now my daughter, Luz, yeah, named after you. She’s Benedict blood from the day she was born. Sixteen now and seeing Bobby Dietz’s son. When she was a baby, she’d climb on me as though I were a bronc to be tamed. You should hear her… “POPPA CAN I STAY OUT AND RIDE TILL THE MOON COMES OUT? POPPA TELL ME ALL THAT YOU KNOW. LET ME RIDE THE STALLION. SHOW ME HOW TO DO IT. TAKE ME WHEREVER YOU GO." THAT'S THAT THING. THAT'S THAT THING YOU CAN'T HELP BUT RECOGNIZE. AS CLEAR AS THE SHAPE OF HER NOSE AND LIPS AND COLOR OF HER EYES. THAT THING YOU KNOW RIGHT AWAY. THAT THING THAT MAKES YOU SAY: THAT'S MY CHILD. THAT'S MY CHILD. THAT'S MY CHILD… BEATS ME. Damn. Oil’s getting into my brain, Luz. Making me tired. LUZ LOOK BACK. BICK I MISS OUR MORNINGS— LUZ LOOK BACK. BICK BEFORE THE DAWN WOULD BREAK.

II – 73 LUZ KEEP ME ALIVE LOOK BACK. BICK I MISS OUR TIME BEFORE REATA AND THE WORLD CAME AWAKE. LUZ I'M HERE. BICK I MISS OUR COFFEE. LUZ RIGHT HERE. BICK AND SITTIN’ STILL WITH YOU. ONLY THE BIRDS OUTSIDE WOULD HAVE THE GUMPTION TO DISTURB OUR FIVE A.M.'S, BICK & LUZ BEFORE OUR DAILY TALK OF WHAT'S GOTTA BE DONE BEFORE THE END OF THE DAY. WHAT HAPPENS NEXT MONTH IF THE RAINS DON'T COME AS PLANNED. WHICH HAND'S WORKIN' HARD ENOUGH AND WHICH HAND IS NOT. WHAT'S COSTIN' US MONEY. WHO’S WATCHIN’ OUR LAND… (LUZ exits in one direction, BICK in another. Lights change.) (Lights reveal LIL LUZ, JORDY JR. and BOBBY JR. who have been waiting by the anacuna tree outside of POLO’s house. JUANA tends to POLO, now an elderly man. It’s five-thirty on a hot Texas Saturday afternoon, 1944. ANGEL OBREGON Jr., an 18-year- old Mexican-American, enters. On his head is a ‘zoot suit’ hat. HE speaks to Jordy:) ANGEL It’s time, J. Let’s go. JORDY I’m going to Analita’s with you? ANGEL You stay outside. I say: ‘May I marry your daughter’. He says: ‘Si, you may marry my daughter’. You knock on the door and take him for a ride on your motorbike.

II – 74 JORDY Why would I be there? I’m going to the movies. (POLO enters. HE is now an elderly man with Alzheimer’s. HE is walked to the tree by his 16year-old granddaughter, JUANA, who carries his guitar.) ANGEL He’s gonna put me in the red chair next to his chair and tell me how your mother say he have beautiful eye lashes, how your mother find me crying as a baby, then a story about everyone in his family which is five hundred people for four hundred years! JUANA He tells his stories. (SHE continues:) ANGEL Juana— JUANA So you can keep them for him. ANGEL He looks at the clock on the wall when he talks. He only stops when it’s too late for Analita to go out and walk with me. (To JORDY:) I won’t get to see her alone before I go to camp, Army camp, to fight, to die for your country. I may never see her again! You’d let that happen to a friend? To your good friend. Tu amigo major. JORDY You’re coming back after basic to marry her. You’re going to see more of her then than you ever saw of her. ANGEL No one here knows love! JUANA (To POLO:) ¿Quieres algo beber?

[Want something to drink?]

(POLO doesn’t respond) (JUANA exits. JORDY refers to her as HE speaks to LIL LUZ.) JORDY Ask her. (LIL LUZ pretends she doesn’t understand.) Ask her to the movies! It’s already five thirty. LIL LUZ You sayin’ if we want to get to the movies we should go soon? (To BOBBY:) We’re seeing “The Body Snatcher.”

II – 75 BOBBY Boris Karloff! LIL LUZ It’s playing with “A Lady Takes A Chance”. BOBBY Yeah. LIL LUZ Yeah. (JUANA enters with a glass of water for POLO.) JORDY (To JUANA:) It could break the record today. JUANA What’s the record? JORDAN Hundred twenty at Seymour. August 12. In ’36. ANGEL You want to her to go to the movies. You know he want you to go to the movies. You talk about how hot it is. (HE continues:) LIL LUZ (over-lap:) Yahoo! ANGEL (To BOBBY:) Bobby, you say you like Boris Karloff. You don’t say I want to go with you cause maybe I like you. (HE continues:) BOBBY (over-lap:) What do you know. ANGEL (To LIL LUZ:) You gonna to see a movie about a lady taking a chance, you don’t take one. LIL LUZ Wanna ride the new bull? ANGEL Anybody can ride the new bull but do you play checkers?

II – 76 LIL LUZ Checkers? (SHE makes pretend jumps with her hand.) Like checkers. MUSIC 21: JUMP ANGEL Checkers is life. Checkers is love. To play, you gotta make moves. I figure I been getting three moves in my life. (HE jumps.) Being born. (HE jumps again.) Being a vaquero. (HE jumps again.) Being dead. I BEEN LOOKIN' TO MOVE SINCE I LEARNED HOWTA WALK. I BEEN LOOKIN' TO MOVE SINCE I LEARNED HOWTA TALK. I BEEN LOOKIN' FOR WHAT IS MINE; ALWAYS TOLD: “DON'T CROSS THAT LINE. DON'T STEP OUTTA YOUR BOX, BOY, DON'TCHA DARE”. WELL, I BEEN LOOKIN' TO JUMP— OUTTA MY SQUARE! I WANT A ZOOT SUIT: DRAPE SHAPE. RUFF CUFF. CAN’T WEAR NO ZOOT SUIT HERE. GO FIND A HOT SPOT: FINE DINE. PUFF STUFF. GET OUT OF BENDICT FREE AND CLEAR! I BEEN LOOKIN’ TO LIVE SINCE I LEARNED THERE WAS MORE. I BEEN LOOKIN’ TO LIVE LIKE I AIN’T LIVED BEFORE. PACKIN’ GROC’RIES? LIFE AIN’T THAT. ALL I GOT TO SHOW FOR THAT’S THIS HAT. I KNOW I GOT A LIFE TO LIVE SOMEWHERE. SO I’M GONNA JUMP! JUMP! JUMP! OUTTA MY SQUARE! Well, I'm makin' my jump! (HE shows them his draft induction card.) Angel Obergon Jr. Private in the United States Army! Paratrooper’s toughest to get in and stay in. I'm goin' to be one. They got pants like a pachinco's! You fight for your country, your wife gets forty dollars a month! And if I get killed overseas, Analita hits the jackpot. She gets ten thousand dollars! Viva President Roosevelt!

II – 77 LIL LUZ IF I TOOK THE JUMPS MY MOTHER'S PLANNED, I'D BE IN FINISHIN’ SCHOOL IN SWITZERLAND. CAN'T GO NOW ON ACCOUNT OF THE WAR. WHO NEEDS SCHOOL? WHAT GOOD'S IT FOR? GONNA BREED CATTLE LIKE MY DAD DOES A NEW BREED THAT LIVES OFF THE SAND. TANK LIKE A CAMEL LIVIN' OFF-A CACTUS ‘N TASTES LIKE MY MOTHER'S CHATEAUBRIAND! I'LL MAKE MY OWN JUMP. I’M TAKIN’ A JOB IN THE AIRPLANE FACTORY. I’LL MAKE MY OWN JUMP. MY OWN JUMP. BE A WORLD-CLASS PILOT—WAIT AND SEE. LEARN WHAT MAKES THOSE BABIES RUN. AND BEFORE THIS WAR GETS DONE I'LL BE FLYIN’ ACROSS THE WORLD ON MY OWN! I'LL MAKE MY OWN JUMP— (SHE jumps away from BOBBY.) ALONE. BOBBY You don't have to go to finishing school in Switzerland. Someday you'll finish us all. LIL LUZ Depends how you mean it. BOBBY Depends how you do it. I'm makin' my moves usin' all I know. Gettin' me a ranch— LIL LUZ —Like Reata. BOBBY Big stuff is old stuff now. Wouldn't have it for a gift. LIL LUZ Don't worry 'bout it. We're never goin' to sell it or give it away. BOBBY My first move's to bring back mesquite— LIL LUZ You gone nuts?

II – 78 BOBBY Mesquite grows nine tenths underground. A hundred stringy roots holding onto the soil down below. Your dad's big new bulldozing machine's gonna give the next wind a free sweep. BIGNESS AND GREATNESS AIN'T THE SAME. SOMETHINGS YOU AIN'T S'POSETA TAME. IN SCHOOL WE BEEN LEARNIN’ ‘BOUT WHAT THESE SCIENTISTS HAVE FIGURED OUT: THAT THERE'S THIS ATOM—TINY THING: BUT LORDY, WHEN YOU PULL ITS STRING, THE WHOLE WORLD MIGHT COME CRASHIN' DOWN— ARMEGGEDON COME TO TOWN— ALL I'M SAYIN' IS YOU GOTTA TAKE CARE WHEN YOU JUMP! JUMP OUTTA YOUR SQUARE. ANGEL [What do you say, Jordy?”

¿Lo que dices, Jordy? ONE LITTLE JUMP CAN TAKE YOU ANYWHERE!

BOBBY ANYWHERE! ANGEL ONE LITTLE JUMP AND YOU'RE FLYIN' THROUGH THE AIR! LIL LUZ FLYIN’ THROUGH THE AIR! ANGEL WHAT'S LIVIN' IF YOU NEVER MAKE A DARE? ANGEL, LIL LUZ & BOBBY JR. GOTTA JUMP! JUMP! JUMP! JUMP! OUTTA YOUR SQUARE! ANGEL It’s time. Time to move. Now! (HE tosses the hat to Jordy.) Take care of my hat, J. He’ll kick me out of the house if he sees it. (HE starts to exit.)

II – 79 LIL LUZ Angel. (SHE tosses him her bike keys.) Take my keys. Tell Dimodeo to take my bike for a long ride. JORDY You going without saying goodbye? ANGEL Come tonight. My ma’s making me a big feast ‘fore I gotta eat gringo food. Gonna stay up and talk till I get on the seven AM to Fort Keane. JORDY I’ll be there. (ANGEL puts his hat on Jordy’s head.) ANGEL Hola, gangster. (To ALL:) Start remembering how to dance cause I’ll be seeing ya at my wedding. (HE exits.) BOBBY Looks like you gotta get on my bike if you wanna get to the movies. LIL LUZ I’ll drive back. You drive there. BOBBY You’re going to have to hold onto me cause I’m driving. There and back. LIL LUZ Guess I’ll have to. Vámonos muchachos. (THEY exit.) JORDY (To JUANA:) Would you like to go to the movies with me? JUANA I’d like to but I— JORDY I always sit in the balcony. I won’t sit in whites only. JUANA I watch over Don Polo. He thinks he watches me but he needs now someone to watch him.

II – 80 JORDY Can I watch you? Watch him with you. JUANA Please. JORDY (To POLO:) Soy Jordy. Jordy Benedict. Su aprendíz. Usted me ha enseñado como enlazar. (To JUANA:) He taught me how to rope. He doesn’t know me.

[It’s Jordy. Jordy Benedict. The kid you taught. You taught me how to rope.]

JUANA I don’t know what he knows anymore. He walks to this tree every morning. He doesn’t speak. He still sings. But only one song. JORDY Maybe he’ll sing it to me. Polo. JUANA You say Don Polo. He’s much older than you. ¿Don Polo, me cataría la cancíon?

JORDY [Don Polo, will you sing me the song?]

(POLO doesn’t respond. JORDY looks up at the tree.) JORDY Why that tree? JUANA It’s an anacua. JORDY Anacua. JUANA You call them trash trees. You don’t plant them. But this tree does everything. The little berries fall down and feed the chickens, the leaves give you the coolest place to sit and, when they have flowers, it looks like a cloud and smells beautiful. When the teacher calls us trash, I say I’m an anacua. I can make food for my children. I can— JORDY Look beautiful. (SHE blushes.) I stopped you. JUANA It’s okay. There’s a song a girl I know sings all the time. “La vida no vale nada” Life isn’t worth anything. I don’t think like that. Cause I’m going to make my moves. I’m gonna be a teacher.

II – 81 MUSIC 22: THERE IS A CHILD JORDY I think it’s wrong that you can only teach in Mexican schools. JUANA I only want to teach in Mexican schools. MY FATHER SAID TO MY MOTHER WHEN I WAS A CHILD: ‘BEST THING NOT TO GIVE HER IS AMBITION.’ 'BEST THING NOT TO GIVE HER IS WHAT SHE CAN'T ACHIEVE.’ WHAT THEIR FATHERS TELL THEM, LITTLE GIRLS BELIEVE. MY SISTER, WHO IS OLDER. SHE SAID, ‘TRUST ME, CHILD. ALL HE SAYS, YOU LISTEN TO, BUT NOT THAT.’ SHE TAUGHT ME ENGLISH SO THAT WHEN I WENT TO SCHOOL THE TEACHERS WOULD NOT PUNISH ME OR TREAT ME LIKE A FOOL AND SIT ME IN MY SQUARE AND TIE MY HAND TO THE CHAIR… MY SISTER TAUGHT ME ALL THE "WH" WORDS: SIMPLE THING TO DO: (Putting her lips to the back of her hand:) “WHAT” “WHERE” “WHEN” “WHY” “WHO.” You try. Feel your breath. JORDY What. Where. When. Why. Who. JUANA IF YOU DON'T SPEAK ENGLISH ALL YOUR LIFE YOUR HANDS ARE TIED. IF YOU CAN'T ASK QUESTIONS THEN TO YOU, THE WORLD'S DENIED. THERE IS A CHILD WHO'S NOT AWARE THERE'S A WORLD OUTSIDE HIS LITTLE SQUARE. HE MUST BE SHOWN HOW BEAUTIFUL THE SQUARE HE'S GIVEN IS; AND THAT HE CAN GET OUT OF IT AND SEE THE WORLD IS HIS.

II – 82 I'LL TEACH MY LITTLE ONES HOW TO MOVE AND JUMP. I'LL TEACH MY LITTLE ONES NOT TO FEEL DEFEAT. IF WE TAKE THE BEST OF WHERE WE COME FROM AND THE BEST OF WHAT WE ARE WE'LL HAVE SOMETHING THAT NO ONE CAN BEAT. THERE IS A CHILD WHO'LL FIND HIS PLACE. HE WON'T HAVE TO HIDE OR LIE ABOUT HIS RACE. I'LL TEACH THAT CHILD HOW BEAUTIFUL THE FUTURE OUGHT TO BE. AND THEN ONE DAY MY CHILD WILL SAY: "YO SOY MEXICANO! YO SOY AMERICANO! THE WORLD IS KNOWN TO ME!” “WHAT” “WHERE” “WHEN” “WHY” “WHO.” “WHAT” “WHERE” “WHEN” “WHY”… (JORDY suddenly takes her hand, surprising them both. When JORDY speaks, his stammer is more pronounced.) JORDY My moves are all laid out for me. I’m going back to Boston next month for one more year. Benedicts only go to Harvard for two years. I’ll be 18 in September. If the war’s still on, I’d be drafted, but I won’t cause the country needs beef. So what I’ll be doing next summer is coming back here to be the next in line to run the ranch. JUANA You don’t want that. What do you want? JORDY I know what I don’t want. JUANA Your father know you don’t want it? MUSIC 23: UN BESO, BESO! (JORDY shakes his head. POLO begins to sing. JORDY crosses to him.) POLO ME DISTE TUS FLORES AURELIA DOLORES; ME CANTASTE LAS CANCIONES DE UNA PALOMA EN LUTO…

II – 83

(The scene changes to ANGEL JR. and ANALITA’S wedding party five months later. The ENSEMBLE (parents, guests) LESLIE and BICK are watching the traditional first dance: The bride, ANALITA, dances with her father, DIMODEO. The groom, ANGEL JR., who is in his paratrooper uniform, dances with his mother, DELUVINA. LUPE sings:) LUPE ANTES DE QUE’L DÍA SEA DEMASIADO VIEJO PARA RECORRER; ANTES DE QUE’L SOL PIERDA SUS DIENTES Y NO PUEDE COMER; ANTES DE QUE LAS NUBES CUBREN LA LUNA; ANTES DE LA CASCADA DE LLUVÍA; UN BESO, BESO, HIJO! UN BESO, BESO, HIJA! LA FELICIDAD ES TUYA HOY!

[Before the day grows too old to walk, Before the sun loses his teeth and can’t chew, Before the clouds cover the moon, Before the deluge of rain, A kiss, son! A kiss, daughter! Happiness is yours today!]

LUPE & GUESTS ANTES DE QUE LAS NUBES CUBREN LA LUNA, ANTES DE QUE LA CASCADA DE LLUVÍA: UN BESO, BESO, HIJO! UN BESO, BESO, HIJA! LA FELICIDAD ES TUYA HOY! ANGEL Those who catch have to kiss or our wedding will turn bad, like the evil eye is on us. Who want that for Analita and me? Even if you want that for us, you must kiss, for who catches the flower and the garter will be the next to marry. (ANALITA tosses her bouquet. ANGEL tosses a garter. JUANA catches the flowers. JORDY catches the garter.) ANALITA NOW BEFORE THE CLOUDS COME. ANGEL NOW WHILE THERE'S SUNSHINE, BOTH NOW BEFORE THE RAIN FALLS, WASHING IT AWAY: ANGEL KISS HER, KISS HER, JORDY! ANALITA GO ON AND KISS HIM, JUANA! ANALITA & WOMEN KISS HIM, KISS HIM, JUANA!

II – 84

ANGEL & MEN GO ON AND KISS HER JORDY! ANGEL, ANALITA & GUESTS KISS HIM! KISS HER! KISS HIM! KISS HER!

LUPE NOW!

ALL UN BESO! BESO! BESO! BESO! (LUZ enters, unseen by all except BICK. SHE speaks to BICK:) LUZ WHAT ARE YOU? A FOOL? YOU JUS’ GONNA STAND THERE. LET HIM KISS THAT GIRL? YOU FORGET YOUR NAME, BOY? THAT AIN'T GONNA HAPPEN! ANGEL Play checkers, Jordy! Besala! Besala! LUZ LOOK AT THAT. DON'T YOU TELL ME THAT THAT DON'T TROUBLE YOU. LET HIM KISS A MEXICAN? THAT AIN'T WHAT FATHERS DO. HE HAS TO LIKE WHAT YOU LIKE. HE HAS TO DO WHAT YOU SAY. HE HAS TO BE ONE OF US. HE'S GOT THE BENEDICT BLOOD. IT DON'T BEAT ME. ’CUZ WHEN ALL IS SAID AND DONE: HE'S YOUR SON. HE'S YOUR SON. He ain't kissin' any, ain’t marryin' any Mexican girl. THAT AIN'T GONNA HAPPEN. DON'T YOU LET IT HAPPEN! DON'T YOU LET IT HAPPEN! Hear it once more and get it in your head: THIS AIN'T GONNA HAPPEN… (JORDY and JUANA kiss. The GUESTS cheer. LUZ vanishes. BICK exits the party. ANGEL goes to comfort JORDY; ANALITA to JUANA.)

II – 85 ANGEL & ANALITA CHECKERS IS LIFE! CHECKERS IS LOVE! GOTTA MAKE MOVES TO PLAY! IF YOU SIT WHERE YOU ARE THEN YOU'LL NEVER GO FAR! IT'S TIME TO MAKE OUR JUMP TODAY! ANGEL, ANALITA, & ENSEMBLE NOW BEFORE THE CLOUDS COME, NOW WHILE THERE'S SUNSHINE NOW BEFORE THE RAIN FALLS WASHING IT AWAY! ANGEL I got a seven a.m. to Fort Keane in the morning. (To the wedding party:) Ay te watcho! ALL NOW BEFORE THE CLOUDS COME, NOW WHILE THERE'S SUNSHINE NOW BEFORE THE RAIN FALLS WASHING IT AWAY! UN BESO, BESO, BESO! UN BESO, BESO, BESO! (As ANGEL crosses to exit, the joyousness of the wedding transforms into a funeral cortege, 1945. It is a dry, windy Texas day. A MARINE and his ESCORT enter, carrying a folded flag. The MARINE cites the heroic conduct of ANGEL JR. and his death, his words translated into Spanish by DIMODEO, to DELUVINA.) MARINE The Congressional Medal of Honor…

DIMODEO La Medalla Congressional de Honor…

Private First Class Angel Obregon… Privado Primero Clase, Angel Obregon… Conspicuous gallantry above and beyond the call of duty… Sobre y más álla los obligaciones… Undaunted, miraculously reaching the position… Climbed to the top…. Alcanzo la posicíon milagrosamente… His Heroic conduct… Conducta heroica… Saved the lives of many comrades…. (The MARINE hands the flag to ANALITA.)

II – 86

ANALITA Angel…Tú miso, mama, dio su vida para salvar las [Angel…your son, mama, gave his life to save the vidas de sus compaĖeros… lives of his companions.] (The CORTEGE exits. JORDY caresses JUANA’s cheek, then crosses to BICK and LESLIE.) BICK We’re driving home. JORDY When I go back to Boston tonight, I’m staying on at college. I’m going for four years. BICK (To LESLIE:) You knew this? LESLIE Jordy feels— BICK I didn’t ask you to speak for him. Asked if you knew this. LESLIE Yes. JORDY When I get my degree, I’m going to go on to Columbia P and S. BICK P and S? JORDY Physicians and Surgeons School. BICK Going to be a New York doctor. JORDY No. I wanna work with Doctor Guerra at his clinic over in Vientecito. BICK Guerra! Why he’s a— JORDY His practice is only Mexican. That’s what I want. I don’t want to run Reata. BICK (To LESLIE:) You two talk about this too?

II – 87 LESLIE Jordy’s been writing me how he— JORDY This is mine to talk about, mom. LESLIE It is. BICK I won’t send you a cent if you go on with this. JORDY Haven’t touched the money you’ve been giving me. It’s in the bank in Boston waiting for you. BICK What? JORDY I couldn’t touch it because I didn’t tell you any of this. BICK (To LESLIE:) You went and gave him money. LESLIE No. BICK Who then? He couldn’t pay for Harvard on his own. Who god damn then? JORDY Uncle Bawley. BICK Bawley? LESLIE I asked him so don’t blame him for it. BICK The three of you. Jesus, the three of you! LESLIE Jordan,please don’t get— JORDY Mom! (LESLIE crosses away.) You know I was never any good around here.

II – 88 (HE stammers:) I never will be. Any man on Reata can do the job better than me. BICK (Imitates the stammer:) Never wi- wi- will be. JORDY I wanna also tell you, Juana and I— BICK I have heard enough! JORDY We’re going to get married. BICK I said I heard enough! You never had what it takes to be my son. (JORDY exits. BICK speaks to LESLIE:) Now you got him. MUSIC 23A: TRANSITION (TO BAWLEY’S CABIN) (BICK now enters BAWLEY’S campsite in the mountains. BAWLEY sits on a stump of a tree. We are mid-scene of a tense meeting. BICK has flown up for the day.) BICK Next time you and Jordy get together, tell him every inch of our land was bought, paid for. Tell him how lonely this land was when your Grandfather came here with no laws to guide him but a code of conduct, a code of life. For survival. Everyday something threatens to break you out here. That’s why loyalty’s demanded. Loyalty. I’m not dumb enough to expect loyalty from anyone but family. Never did I question that. I was dead wrong. BAWLEY Damn right. Loyalty without questions is about the dumbest thing a man can do. BICK I’ll take my loyal son of a bitch ways out of your sight. (HE crosses to exit.) BAWLEY You bought it all, didn’t you? BICK I bought nothing. I believe in what I said. BAWLEY I’m old. I haven’t time left for your walking out and then someday walking back.

II – 89 BICK I’m not here to listen to excuses. BAWLEY I ain’t got any. Neither do you, son. You never had a chance. BICK For what? BAWLEY They knocked the imagination out of you. They had to. You were the Benedict son. BICK So were you. BAWLEY Wasn’t the only son and I had a mother. BICK Luz was as good a mother to me as any mother that lived. BAWLEY Did she say, “Come on over to the piano, darlin’. Let’s see what you find”. MUSIC 24: PLACE IN THE WORLD/LOOK AHEAD (REPRISE) BICK Hell no. BAWLEY MY FINGERS FOUND “THE FARMER IN THE DELL” THEN THEY FOUND A SONG MY MA WOULD SING. I WASN'T ANY MOZART BUT IT SEEMED THAT I GOT BORN WITH FINGERS THAT COULD PLAY MOST ANYTHING. THE COOLNESS OF THE IV'RY; THE MAGIC IN A CHORD; THE OPENIN' OF FLOODGATES; THE SENSE OF MOVIN' TOWARD: I FOUND MY PLACE IN THE WORLD PRACTICED DAY AND NIGHT. YEAH, I FOUND MY PLACE IN THE WORLD. FELT SAFE; FELT RIGHT. Day came when Ma couldn't teach me anything new. I wanted to go to Europe, study with Leschinsky in Vienna. Ma gave me that too. The Maestro wanted nothing to do with you if you couldn't play a pair of Czerny études with perfect control. I made damn sure I could. HE TAUGHT ME THAT FOR PERFECTION, YOU GO TO ANY LENGTH.

II – 90 HE TAUGHT ME THAT TRUE PIANISSIMO IS NOT THE RESULT OF WEAKNESS BUT OF STRENGTH. FIFTY-SOME-ODD YEARS AND I HOLD THAT TEACHIN’ DEAR. THAT'S A CODE OF CONDUCT, SON USEFUL EVEN HERE, IN TEXAS. I was told to come home. I caught the boat from Le Havre so I could be in Paris for New Year's Eve. New Year's Eve of 1899. I met Claude Debussey at the Café de Flore that night. I gave him the last of my allowance. We made cocktails out of three liquors: yellow, green, and red. They stayed in layers in the glass. EIGHTEEN YEARS OF AGE AND DRUNK AS SIN. EIGHTEEN YEARS OF AGE AND FULL OF JOY. I DIDN'T WANT TO LEAVE, BUT THEN, I DIDN'T HAVE A CHOICE THE BENEDICTS WAS CALLIN’ HOME THEIR BOY. THE SUN CAME UP THAT MORNIN’. AND I WATCHED IT RISE. THEN WENT DOWN TO THE HARBOR AND COVERED UP MY EYES. I LOST MY PLACE IN THE WORLD. FAREWELL BEFORE HELLO. YEAH, I LOST MY PLACE IN THE WORLD. HAD TO LET GO. BICK You still play? BAWLEY Whole family was at the train station when I got in. A big rumpus. The whole family. You thought I wanted to run a faro wheel or marry a Mexican. PA GOT AFTER ME—YOUR FATHER,TOO MADE ME RIDE AND MADE ME ROPE AND BRAND. AND BY THE TIME THEY'RE THROUGH WITH ME, WELL, NOTHIN'S QUITE THE SAME; ESPECIALLY THE FINGERS ON MY HAND. NO MORE THE COOLNESS OF THE IV'RY. OR THE MAGIC IN A CHORD. NO MORE PARIS NEW YEARS. NO MORE MOVIN' TOWARD. I FOUND MY PLACE IN THE WORLD MORE GRAY THAN WHITE AND BLACK. IF YOU FIND YOUR PLACE IN THE WORLD DON'T DARE LOOK BACK… BAWLEY Takes a lot of courage to say no to the patriarch. Your son's got more courage than I ever had.

II – 91 BICK LOOK AHEAD. LOOK AHEAD. DON'T LOOK BACK MY CHILDREN, LOOK AHEAD. BICK YOU CAN’T SEE TOMORROW LOOKIN' OVER YOUR SHOULDER. SAY: BAWLEY THANK YOU, MAMA, THANK YOU, PAPA, BICK THANK YOU, SISTER, BOTH THANK YOU, ALL, BUT WHAT'S DONE IS DONE. LOOK AHEAD. BICK LOOK AHEAD. BAWLEY You able to stay a couple a days? BICK Can. BAWLEY I could use company. (The stage changes around Bawley and Bick into Jett Rink’s CONQUISTADOR HOTEL. It is 1952. HOTEL SERVANTS wear livery initialed JR.) (A MARIACHI BAND plays, serenading guests:) MUSIC 25: THE CONQUISTADOR (MARIACHI BAND) MARIACHI BAND “LA NOCHE QUE ME CASA NO PUDO DORMIR ME UN RATO. POR EXTRAR TODA LA NOCHE CORRIENDO DETRA DE UN GATO. MEDIJISTE QUE FUE UN GATO EL QUE ENTRO POR TU BALCON. YOU NO VISTO GATO PRIETO

II – 92 CON SOMBRERO Y PANTALON…” (Two “Capital Hill Men”, a SENATOR and a REPRESENTATIVE cross the lobby on the way to their rooms. The HOTEL MANAGER approaches them, handing them each a complimentary bottle of Bourbon.) HOTEL MANAGER Senator Stevens. Congressman Mitchell. Welcome to Jett’s Rink’s Hotel Conquistator. Mr. Rink’s speech will be at eight tonight. Enjoy your stay. REPRESENTATIVE Thanks. SENATOR What’s the name of that Society of Jett’s again? HOTEL MANAGER The Blue Lacey Society, sir. REPRESENTATIVE How much you giving to Jett’s Society? SENATOR Five thousand. REPRESENTATIVE (Shakes his head) I got an election campaign this year. SENATOR Without Rink behind you, you ain’t going to be re-elected. REPRESENTATIVE Five thousand. SENATOR That’s cheap, son. (JETT enters and speaks to the Capitol Hill Men.) JETT (To the MEN:) Hold up, Fellas. Got somethin’ might interest you… (HE crosses to LIL LUZ:) You sure grown up, Luz Benedict. Been waiting to personally welcome you to my hotel. What’d ya think of my airport? Makes anything they got East look like a prairie hole, don’t it. LIL LUZ Left my plane at the old airport.

II – 93 JETT What kind you got, you don’t mind leaving it in that dirt? LUZ A de Havilland. JETT Got to take you over to see mine. A Lockheed Constellation. (HE looks at the Hotel Manager) LIL LUZ Hear her R3350s makes her prone to engine failure. JETT I’ll tell that to President Eisenhower. We got the same plane. (The HOTEL MANAGER gives JETT a bottle of champagne tied with a bow. JETT offers it to LIL LUZ.) Some champagne for old times. Maybe we can drink this one. How about tonight after my speech? LIL LUZ Excuse me. (LIL LUZ crosses away from him to the HOTEL MANAGER. JETT goes to the Capitol Hill MEN.) JETT Gentlemen, let’s talk in the bar. (HE and the Capitol Hill MEN exit.) HOTEL MANAGER (to LIL LUZ:) You and your parents are in the Coronado Penthouse Suite. (Gives her a key) LIL LUZ Thank you. (LESLIE and JUANA enter.) LESLIE Luz when you fly that plane of yours, I don’t breathe until I know you’ve landed. LIL LUZ Mom. (To JUANA) I’ll go to check-in with you. JUANA Then come to my room.

II – 94 (The HOTEL MANAGER crosses to LESLIE.) HOTEL MANAGER Mrs. Benedict. We think your daughter-in-law, Mrs. Benedict, would be more comfortable in another hotel. MUSIC 25A: TRANSITION (TO THE BENEDICT SUITE) (The scene changes to the Benedict Hotel Suite. VASHTI and ADARENE are drinking. It is 6:00PM. LESLIE enters, upset and angry:) LESLIE And I did nothing, I did nothing but stand there. I didn’t want to come here. Bick didn’t want to. He’s got to be here if anything’s going to be done about their damn oil polluting our water. He’s off with the Chairman of Jett’s company. Luz left and Jordy is going to pick up Juana. They’re leaving too. (VASHTI gives LESLIE a drink.) ADARENE You were going to close down this hotel? LESLIE I didn’t even tell Jordan. I did nothing! All these years, I’ve thought, “I’m a visitor here. What happens is not my doing”. I can’t say that to myself anymore. I’m part of this. ADARENE Him not allowing her in the hotel is legal. You work side ways here if you want something changed. There’ll be something in this place the Health Department’s interested in. LESLIE That doesn’t change a thing. ADARENE When you can’t change a thing, you do what you can. You can stand around saying, ‘I lost my values today’. Nothing’s warmer, cozier, than being privileged and feeling powerless, giving up and go shopping to find some dead animal to hang around you. But even when you’re up against a thing as over-whelming as Texas law, you can’t give in! Figure out how to close this place cause Texas is going to creep along not changing until it has to and I’ll be dead by then! I’m so sorry. (Picks up pillow from floor:) J R. Says it all doesn’t it. Just rich. VASHTI Whether Bick likes having a Mexican daughter-in-law or not, he wouldn’t let anyone talk to her like that. Why’nt you tell him? LESLIE I tell myself it’s cause of his blood pressure. It’s high. Doctor said I should help him not to get upset. That’s become my excuse for not saying anything. Amazing how easy it can be to not talk to the man who’s in your bed.

II – 95 VASHTI How easy it is to not make love to the man who’s in your bed. LESLIE You and Pinkie— VASHTI Damn right, we always had a good time. We’re as happy now as two ducks in Death Valley. (SHE walks around putting liquor into their glasses.) I’m going to be a grandma. LESLIE (overlapping) How wonderful! ADARENE (overlapping) Oh, Vashti! MUSIC 26: MIDNIGHT BLUES VASHTI And don’t tell me congratulations, even though I can’t wait to see it, cause Pinkie can’t make love to grandma, is not going to be making love to grandma. Gives him a creepy feeling. He thinks it’s time we had separate rooms like his grandma and grandpa. I’m not ready for that, but when you’re turning fifty it’s not so easy to get a man to do what you want. Am I or am I not in a lousy mood? UNCLE ALBEN HAD FRENCH PLAYIN' CARDS WITH THESE PICTURES OF MEN IN THEIR SOCKS AND THEIR WILLIES ALL STIFF WATCHIN' GIRLS WITH NO CLOTHES ON CAVORTIN' ABOUT WELL, I FOUND 'EM (OF COURSE) ONE DAY SNOOPIN' AROUND UNCLE ALBEN HE TELLS ME THAT THEY WAS HIS CURE FOR THE MIDNIGHT BLUES. YOU CAN BE SURE THAT A RANCH GIRL KNOWS THE FACTS OF LIFE THOUGH NOT WHAT TO FEEL ABOUT THE FACTS OF LIFE. SHE'S TOLD WHEN SHE GETS MARRIED, AS EV’RY WOMAN SHOULD, THAT ONCE A WOMAN'S MARRIED IT'S ALL RIGHT TO FEEL GOOD. WELL, I'M MARRIED AND GRANDMA'S NOT S'POSEDTA FEEL GOOD?—HELL! I GOT MARRIED SO SOMEONE WOULD BE IN MY BED WHEN THE BLUES CAME ALONG; HADTA TEACH HIM TO TAKE 'EM AWAY,

II – 96 HADTA TEACH HIM, THAT'S RIGHT—AND WHAT FOR? SO THAT HE CAN GO OFF, TAKE HIS MONEY AND FIND SOMEONE ELSE HE CAN PLAY WITH WHEN HE NEEDS A CURE FOR HIS MIDNIGHT BLUES. WHICH I'LL ENDURE 'CUZ THIS GRANDMA MIGHT GO OUT SOME NIGHT AND FIND HER A COWBOY, YOUNG AND TALL AND TIGHT WHO'LL MAKE THIS OLE GIRL QUIVER AND HELP ME TO FORGET MY WRINKLES AND MY LIVER OH, BUT AFTERWARDS, YOU BET, I'M GOIN' HOME TO THAT MAN I DIDN'T MEAN TO CHOOSE. BUT WHO'S SOMEHOW THE ONLY MAN WHO'S GONNA CURE MY MIDNIGHT BLUES… LESLIE I WANTED TO BE BLOSSOMING AT FORTY. BLOSSOMING AT SIXTY. BLOSSOMING AT EIGHTY. THAT’S HOW I WANTED TO LIVE… THE VERY THINGS ABOUT HIM THAT I LOVE ARE NOW THE VERY THINGS I HATE. THE SMELL OF POWER THAT HE CARRIES WITH HIM STILL CAN AWE AND FASCINATE. BUT ALL THAT POWER CAN BE HARD AND CRUEL. I'VE LEARNED THE DANGER IT CAN BE. AND THOUGH THAT POWER STILL CAN MAKE ME MELT, IT'S HURTING HIM AND HARMING ME. MAKES ME WANT HIM TO CHANGE WHICH HE WON'T. MAKES ME WISH I COULD LEAVE BUT I DON'T. WE LIVE IN A SILENCE THAT NO ONE'S SEEN. HOST AND HIS HOSTESS, AND KING AND QUEEN. AND AT THE END OF OUR BUSY DAYS SOMEHOW WE MANAGE DEVISING WAYS TO CHOOSE DIFFERENT HOURS TO GO TO BED SO WE DON'T HAVE TO TALK SO THAT NOTHING'S SAID AT ALL.. AND AFTER MIDNIGHT IF WE DO MAKE LOVE A HAND WILL WAKE YOU JUST ENOUGH. JUST ENOUGH TO MAKE LOVE, BUT NOT ENOUGH TO SPEAK. JUST ENOUGH TO MAKE LOVE, BUT NOT ENOUGH TO SPEAK.

II – 97 ADARENE Something to cheer us up. I heard Heidi thought her husband, number five not fitting husband, was playing around when he said he was at the club playing pinochle. She hid in the trunk of their Caddy and he was, he picked up another woman and went riding ’round with her. She could hear every word they said. What made her maddest was every time the woman mentioned Heidi’s name, she called her “Old Nuts and Bolts’ and they’d laugh. Heidi sued him for divorce after spending four days recovering from carbon monoxide poisoning. She won the case. Is getting ten thousand a week alimony…! I want to say this, not make it the night, not have you give me your reactions. I know it’s selfish of me but that’s how I want it. There. It runs on my mother’s side of the family. She died from it. Granny too. I let it go too long before I went to see about it. They’re cutting it out day after New Years but it’s in my blood now. I got to keep telling myself I’m not dying tomorrow. I want to go hear some opera in Milan. I want to lose myself in some voluptuous tragedies. Better than sex. I never was blown away by sex, with Lew or anyone, nor with a woman. (To LESLIE:) What I’d like from you is for you to forgive me for yelling at you before. I can’t much take talk about not fulfilling your life for I guess I feel it too strongly. (To VASHTI:) I’d like you to pour me another glass cause I don’t want to get up, I just want to stay like this. (LESLIE sits beside ADARENE. WOMEN toast each other.)

VASHTI pours bourbon in all their glasses. The THREE

MUSIC 27: FANFARE (A fanfare. The Hotel Grand Ballroom. JETT walks down the red carpet to the edge of the stage. HE is dressed in an expensive tuxedo. HANK and DAVIS, two bodyguards accompany him. JETT’S WIFE, a Leslie look-alike, walks behind him. JETT looks out at the audience that includes SPECIAL GUESTS. HE speaks to them:) JETT Ain’t I blest. A lot of you know, I came from a poor family. My father had to work since he was eight. He was uneducated but he taught me what it is to have values; the need for hard work, vision, and a love for this land. That’s what got me where I am. When I started in ’31, I po-boyed my first well down. Twenty one years later, I’m drillin’ in my new frontier Alaska. And tonight, I’m standin’ in front of you the owner of the biggest hotel in Texas, my Hotel Conquistador. A true American story. (To a GUEST, who is the Vice President) An honor, sir. (To AUDIENCE MEMBER sitting next to the VP:) You’re sittin’ next to Cactus Jack Garner, our Vice President. How about that! And ain’t there just too many of you Congressional Reps to single you out. Oil well depreciation! One of the finest laws ever passed in Washington! (HE sees BICK:) And how about that twenty seven and a half percent exemption on oil, Bick! Fetched you some little knick knacks on your ranch, didn’t it? (To AUDIENCE:) Yes, we got royalty here, folks. Sitting up there are the King and Queen of Southwest Texas, my old friend Bick Benedict and his lady wife. Let me introduce you’all to my Wife.

II – 98 (HE points out the LESLIE LOOK-A-LIKE on stage:) Last year’s Miss Texas, the beautiful Annalee Wilkens. Took my wife to Italy, England, Spain and France for our honeymoon. Next time that Frenchie headwaiter better find some goddam tobasco sauce. But we’re here, folks, to talk about The Blue Lacy Society. (To AUDIENCE:) A Blue Lacy’s a dog, a Texas original, and the name of my Society. MUSIC 28: THE DOG IS GONNA BARK This dog’s watchin’ every American who’s forgotten what it means to be an American, every politician raisin’ our taxes, every union bustin’ up American business, every Park’s Department takin’ your land and makin’ it theirs. We’re protecting the values Paw taught me. I pray you and I have the strength to protect this land. THEY CALL IT A COLD WAR, THIS WAR THAT WE'RE IN NOW. BUT YOU ‘N I KNOW THAT IT'S GONNA GET HOT. ‘N IF WE DON'T WAKE UP WE'RE ALL GONNA BURN UP ‘N KEEPIN' OUR GUARD UP IS ALL THAT WE GOT. When they had that revolution in Mexico, we should’ve gone in, taken it over, taught ‘em democracy, spared ourselves much suffer’n and not to mention payin’ for border protection. You gotta watch ‘em. THE ENEMY’S A SNAKE. HE MEANS TO DO YA HARM. SO WHO'S GONNA GIVE YA WARNIN AND SOUND THE ALARM? THE DOG IS GONNA BARK THE DOG IS GONNA BITE THE DOG IS GONNA CHALLENGE THAT SNAKE TO A FIGHT. YA CAN'T GO ON LIVIN' YOUR LIVES IN THE DARK; THOSE DAYS ARE OVER. THE DOG IS GONNA— I KNOW THIS A-RAB STUDIED AT U. OF T. YOUNG GUY. RED SHEIKH SNEAKY S.O.B. FIRST HE WORKED FOR TEXACO THEN HE WORKED FOR ME THEN WENT BACK TO A-RABIA NOW HE'S ASKIN' ‘AT WE PAY MORE FOR A-RAB OIL

II – 99 WANTS TO JACK THE PRICES HIGH. THAT'S OUR BUS'NESS, THAT AIN'T HIS. ‘N THAT AIN'T GONNA FLY. THE DOG IS GONNA BARK. YOU BET YOUR ASS HE WILL. HE’S GONNA CHASE AND CORNER YOU AND THEN HE’S GONNA KILL. HE'LL SNIFF YA OUT ‘N CORNER YA. YOU'LL BE AN EASY MARK: COMMIE! TRAITOR! THE DOG IS GONNA BARK! (JORDY JR. rushes into the ballroom.) JORDY JR. Don’t listen to him. They disrespect my wife. You son of a bitch. You disrespect my wife! That’s my wife!— JETT GREASER! ARAB! JORDY JR. They should burn this shit house down! JETT GOTTA WAKE UP! GOTTA STEP TO! THE DOG—! (JETT snaps his fingers for the BODYGUARDS as JORDY runs to Jett. The BODYGUARDS attack JORDY and beat him brutally.) (The LIGHTS change. JUANA is revealed, praying in church.) MUSIC 29: JUANA’S PRAYER JUANA WHEN I'M FILLED WITH ANGER, SHOW ME HOW TO TALK TO YOU. WHEN I'M SCARED AND FRIGHTENED, SHOW ME HOW TO TALK TO YOU. (JETT exits with the guards, leaving JORDY unconscious. LESLIE and BICK run up to the stage, followed by PINKIE, VASHTI and ADARENE. BICK goes to JORDY.) BICK Son…I’m here.

II – 100 (With PINKIE’s help, BICK carefully picks up JORDY and carries him off, followed by LESLIE.) JUANA GIVE ME PEACE AND LET ME GIVE IT TO MY CHILD. PASS IT THROUGH MY BLOOD AND BREATH. (BICK carries JORDY off, followed by LESLIE and the others.) GIVE ME PEACE DON'T LET MY HEARTBEAT WAKE MY CHILD. FILL HER DREAMS WITH HOPE AND LIFE, NOT DEATH. I KNOW I CAN'T PROMISE SAFETY FROM A WORLD OF HATE. IF THERE IS A GOOD WORLD, I KNOW THAT THAT WORLD MUST WAIT BUT GIVE HER PEACE AND LET HER KNOW SHE HAS OUR LOVE. WE WILL KEEP HER SAFE SOMEHOW. GIVE US PEACE AND TELL ME WHAT TO PROMISE HER. TELL ME WHAT TO PROMISE HER FOR NOW. (The scene changes around JUANA: the desert scene as at the top of the play is revealed.) WHEN I'M FILLED WITH ANGER SHOW ME HOW TO TALK TO YOU. SHOW ME HOW TO TALK TO YOU. SHOW ME HOW TO TALK TO YOU… (JUANA exits. Lights reveal a Southwest Texas desert. It is few minutes before sunrise, December 31,1952. It’s still dark and chilly. BICK enters. HE sits on a crate. Pink, yellow, blue streaked light rises over the desert, It leaves long shadows across the mountains. LESLIE enters. SHE is dressed in jeans, a sweater, desert boots. SHE watches BICK before speaking. There’s a palpable tension between them.) LESLIE Penny. (HE looks up, not understanding what she means.) For your thoughts. BICK The desert’s an indifferent place. Doesn’t give a damn if I’m here or not here. Makes no sense but knowing that gives me a feeling of peace. Can see it doesn’t for you. (HE picks up his crate.) We’re not staying.

II – 101 LESLIE I’m not driving back like this. BICK This isn’t a place for talking. LESLIE No talking. No lovemaking. Why’d you bring me? BICK I never took anyone here before. I thought we could get away from ourselves here. LESLIE By you being outside and me being in the cabin? BICK I’ve been coming here since I’m 17 looking for the desert to tell me things, give me answers, You go to enough Sunday School you expect that. What I found was deserts ask more questions than they answer. Figuring that out made me able to lose myself, get loose of myself for a while here. LESLIE From me too. BICK Maybe it’s how I say things. You never understand me. LESLIE Maybe I want answers. BICK We’re driving back. LESLIE I can’t. I can’t get in the car, go back, get in a tub and wash the sand off me, put on the right clothes for whatever we’ve left undone at home. I can’t go back to being a hostess for things I don’t believe in. (SHE looks at him for a response.) BICK I heard you. LESLIE I can’t go back to being Reata’s wife. When I said yes, I said yes to being yours. BICK I hear you. LESLIE You’re as self-preserving as that cactus. Nothing changes you.

II – 102 BICK I’ve changed. God damn changed too much and I don’t like what I see in myself. What I’m telling you, what I’m saying is, you’ve a right to look for something new. LESLIE If you want me to leave you, you say that to me. You don’t say I’d be better off with someone new because that’s for me to tell you, not you to tell me. BICK I said it cause I want you happy. LESLIE Happy’s for teenagers! BICK What the hell do you want from me! LESLIE Twenty-seven years and all I know about you is what you need: Your land. Your ranch. Besides being your wife, I don't know what I am to you. BICK You don’t know. LESLIE I don’t. (After a beat of silence:) We’re going back. (SHE crosses to exit.) MUSIC 30: THE DESERT BICK Leslie… (The sunrise places long shadows on the mountains. It’s an amazing mixture of colors. BICK’s thoughts don't come out easily:) BICK I NEED YOU. YOU. PRIMARY AS THE SUN COMIN' UP. SIMPLE AS BREATHIN'. SIMPLE AS AIR. I NEED YOU. YOU. THAT DOESN'T MEAN I KNOW HOW TO BE WHAT YOU AND OUR CHILDREN NEED ME TO BE.

II – 103 HELP ME LEARN SOMEHOW. THE ONLY THING I KNOW IN THIS MOMENT, HERE AND NOW IS I NEED YOU. USED TO WAKE UP OWNIN’ THE MORNING. EV’RYTHING WOULD BE CLEAR. SAW IN THE LIGHT WHAT HAD TO BE DONE. NEVER DREAMED I’D FIND MYSELF HERE. NEVER DREAMED I'D SEE A MORNING LIKE THIS. NEVER LOOKED TO DREAMS TO SHOW ME WHERE I'M HEADED. NEVER LOOKED TO STARS TO TELL ME WHAT TO DO. DEPENDIN' ON MYSELF WAS THE PRIDE OF MY LIFE AND MADE EV’RYTHING CLEAR. BUT THEN I NEVER KNEW, DEPENDIN' ON MYSELF WOULD SOMEDAY COST ME YOU. YOU. I NEED YOU. YOU. PRIMARY AS THE SUN COMIN' UP. SIMPLE AS BREATHIN' SIMPLE AS AIR. YOU… LESLIE IT'S NOT ANOTHER MAN I WANT. IT’S YOU I WANT AND ALWAYS WILL. BUT I HAVE KNOWN YOU HALF MY LIFE. AND YOU'RE A STRANGER TO ME STILL. UNDER ONE ROOF WE LIVE IN TWO FOREIGN LANDS. EXCEPT FOR LATE IN THE NIGHT I FEEL THE TOUCH OF YOUR HANDS. YOU ARE NO STRANGER IN OUR BED. BUT YOU BECOME ONE IN THE DAWN. IT'S HARD TO HOLD ON TO THE NIGHT, BICK. IT'S HARD TO HOLD ON. BICK You called me Bick.

II – 104 LESLIE It’s your name. BICK My father was so proud of the name Jordan he spent a summer interviewing half of Texas looking for the best manager for Reata so he could put me and the family name on the next election returns. LESLIE I didn’t know that. BICK He had the pull, could make me State Senator, then Governor Jordan Benedict. Why not President, he’d say. But I called myself Bick and didn’t want what Dad wanted for me….Guess I’ve got something in common with my son. He wants his mornings his way. Maybe it’s time. LESLIE Don’t stop. BICK MAYBE IT'S TIME NOW, TIME FOR THE YOUNG TO RUN THE MORNING. I didn’t tell you young Bobby came over. Had coffee, explained to me what a modern ranch has to be. Then he said, just as polite as he can be, “Thank you, Mister Benedict for the offer of the job but Reata’s not the place for a young man like me.” NOT A PLACE FOR MY SON. NOT A PLACE FOR YOU. BUT IT’S ONLY THE PLACE FOR ME. THAT’S NOT WHAT YOU’RE WANTIN’ TO HEAR. THAT’S NOT WHAT YOU’D HAVE ME SAY. LESLIE I want you to keep talking to me. BICK I don’t know if I can keep the land like grandpa wanted. I don’t have the strength anymore. I don’t have the fight, at night I listen to my heart tickin’ off the days. LESLIE How do you see the days ahead? BICK I’ve no idea. LESLIE We never dreamed together of what it will be like getting old. BICK Who the hell wants to dream that?

II – 105 LESLIE Why can you only dream about having children, what kind of house you want to have? Why can’t you dream about the next twenty years? It’s New Year’s Eve tonight. Everybody dreams ahead then. BICK You mean resolutions and they always get broken. LESLIE I mean crazy daydreams, the kind that may never happen but that we’ve never told each other. BICK I’m not one of your authors. I’m not a man that knows how to do this. LESLIE Surprise me. BICK IF I MAKE IT TO SEVENTY… I WANT TO MEET THE FOREMAN RIGHT AT SIX. GET THE COFFEE GROUND UP. JOIN THE ROUND UP. WORK THE WHOLE DAMN DAY. IF I MAKE IT TO SEVENTY I WANT TO SEE MY SON AT SUPPERTIME. WANT TO HAVE HIM TEASE ME WHEN HE SEES ME, NOT GET STIFF AND WONDER IF THERE'S THINGS HE SHOULDN'T SAY. SATURDAYS, I WANT TO TEACH MY GRANDKIDS HOW TO RIDE. I WON'T LEAVE THIS LAND AND I WON'T BE KICKED ASIDE. WON'T BE LIVIN' LIKE SOME EXILED KING ON A RIVIERA BEACH. IF I WANT THE SAND, I’VE GOT THE SAND HERE, WITHIN REACH. IF I MAKE IT TO SEVENTY I WANT TO DRIVE UP HERE AND MAKE MY PEACE. TELL THE MOON I'M GOIN' SOON; I'M NOT AFRAID TO DIE. I'M NOT FEARFUL OF DYIN’, NO, I KNOW THE LAND WILL BE PROTECTED NOW. MY KIDS’LL STAND AND FIGHT FOR ME AND YOU'LL BE SITTIN' RIGHT BY ME SHAKIN' YOUR HEAD, SAYIN', "HE'LL NEVER CHANGE" BUT KNOW THIS, CERTAIN TRUE THAT IF I'M TO MAKE IT TO SEVENTY, I NEED YOU. YOU…

II – 106

(BICK has never said this before:) When I die, my land’s going to be a park, protected, not dug up for more oil or turned into golf courses. Hell, Palm Springs used to be a wide spot in the road a couple of years ago. Money’s going to do anything it takes to stop me. It’ll be the fight of my life for oil’s going to call the shots for a long time. And you’re what I need to make all that happen. That’s my daydream. LESLIE I’m closing down the cemetery in Benedict— BICK What? Where are we going to be buried? LESLIE In one that buries Mexicans. Angel’s family drives three hours when they want to go to his grave. I’m going to get the top lawyer in the county. Lew Morley’s going to find something illegal they’re doing. Fudging their taxes, something’s going to close them down. After that, I’m pouring the oil money into new equipment for Jordy’s clinic, and for Juana’s school. IF I MAKE TO SEVENTY I'LL BE SITTING IN A HUGE AUDITORIUM IN A HUGE TEXAS UNIVERSITY WATCHING MY GRANDCHILD GRADUATING. SHE'LL BE RECEIVING HER PHD IN RUSSIAN LITERATURE—WHY NOT? I'LL BE SITTING IN A ROW FILLED WITH ALL KINDS OF PEOPLE— ALL KINDS OF PEOPLE—ALL OF US THERE, WATCHING OUR CHILDREN THROW THEIR CAPS IN THE AIR OR WHATEVER THEY DO. AND NOT ONE OF THEM IS EVEN FAINTLY AWARE THEY'RE STANDING IN SOMEONE'S DAYDREAM! SOMEONE'S DAYDREAM… BICK I'M NOT IN THAT DREAM. LESLIE We’re beyond hoping we can make each other what we want. I DON'T WANT FALSE HOPES. I JUST WANT US TO KEEP TALKING. BICK The morning light makes that weed look like a flower. We’re making love in this light. Do you know that?

II – 107 LESLIE About all I know. (THEY walk towards the cabin [no holding hands, no kisses] as the lights pick up JORDY and JUANA walking hand in hand towards the water tower of Section One of Reata. It is later on the same day, Dec. 31, 1952. JUANA is very pregnant. JORDY points to the top of the tower.) JORDY Up there. I’ve got something to show you. (JUANA looks up at the tower.) Damn, I didn’t think. Can you climb? I didn’t think. I forgot. (JUANA climbs the ladder.) JUANA Doctor! I can climb! Who gets your lemons for your tea? From a tree. JORDY I’m right in back of you. JUANA (At the top:) Ay! Si! It’s like having your own mountain standing up here! JORDY I went through the ranch’s books, the records of the land this morning. (HE moves her head to face a certain position.) JUANA What you doing? JORDY Keep looking straight, past the oil rigs, follow my finger, look as far, as far as you can see, you’ll see something that looks like a big dot. I did this with a compass and a map this morning. You see a big dot? JUANA I think so. JORDY That dot’s a mesa, by that mesa was your family’s ranch. That is Aurelia Dolores. MUSIC 31: AURELIA DOLORES (REPRISE) JUANA Even if it’s a dot, it’s real. It’s my family’s dot, my family’s home. (HE takes a piece of paper out of his pocket and clears his throat.)

II – 108 JORDY Okay. All right. I’m no Polo. But you have to sing this, I mean, it’s a song. Polo’s song. I put it into English for you (HE refers to the baby:) And her. “YOU GAVE ME YOUR FLOWERS, AURELIA DOLORES. YOU GAVE ME ALL THE TENDER MUSIC OF THE SONGBIRDS EACH MORNING. THE LAND WAS YOUR BODY, AURELIA DOLORES. SO BEAUTIFUL AND ABSOLUTE IN ALL YOUR HEARTBREAK AND LOVE. THEN ONE DAY ANOTHER MAN SAW WHAT I ALONE COULD SEE; AND HE WANTED YOU AND SO HE STOLE YOU AWAY FROM ME. DO YOU GIVE HIM YOUR FLOWERS, AURELIA DOLORES? DO YOU GIVE HIM ALL THE TENDER MUSIC OF THE SONGBIRDS EACH MORNING? AND DOES HE KNOW NO ONE CAN OWN YOU? YOU ARE FREE. DONDE HAY AMOR, HAY DOLOR…” (JORDY wipes and kisses the tears off her face.) MUSIC 32: ACT TWO FINALE Hell I’m just making you cry. JUANA Promise, promise you make me cry like this forever. I’ve been so scared, Jordy. JORDY About the baby? JUANA No. All things seemed clear as the air once. Clear, what was good, clear, what was evil. After they hurt you, all I feel in the air now is fear. It’s evil to want people afraid and want to keep them afraid. JORDY Should we move back east? JUANA You want to live there?

II – 109 JORDY I was glad to be away from dad but I’m not much for big cities, I kept wanting to ride out on the land, this land. If I’d come here 200 years ago, I’d have fallen in love with this land too. It’s not easy to love. Dad calls it heartbreak country. JUANA Going to tell your father some day how you love it? JORDY Hope some day I can. JUANA I want to live in this land. Want to stay. Right where we are, by the clinic, by my school. JORDY Luz is gonna run this. She’s got to tell Bobby. She’s never going to leave here. HEARTBREAK COUNTRY THAT THEY CALL HER. LAND BELOW AND SKY ABOVE. IN MY BLOOD I'VE GOT THIS COUNTRY. MEMORIES OF THOSE BEFORE ME. AND TO HONOR THOSE BEFORE ME, HEARTBREAK COUNTRY HAS MY LOVE. JUANA IN OUR CHILD ARE THOSE BEFORE US. JORDY IN OUR CHILD THE PAST AND FUTURE. JUANA & JORDY THINGS WILL CHANGE BUT IN OUR HEARTS THIS HEARTBREAK COUNTRY WILL BE HOME. COMPANY DIOS TE SALVE, MOONLIGHT AND DAYLIGHT! DIOS TE SALVE, MOUNTAINS AND RIVERS! DIOS TE SALVE, STARS IN THE HEAVENS!

II – 110 DIOS TE SALVE, AURELIA DOLORES! (The entire COMPANY. THEY look out toward an unreachable horizon.) THE END MUSIC 33: BOWS AND EXIT MUSIC

TABLE OF CONTENTS ACT ONE 1. Aurelia Dolores .................................................................................................. Polo, Company ....... 1 2. Did Spring Come To Texas ........................................................................... Polo, Bick, Pinkie ....... 8 3. Virginia ............................................................................................................................... Bick ..... 11 4. Your Texas ............................................................................................................... Leslie, Bick ..... 12 4A. Did Spring Come To Texas? (Reprise) ............................................................................... Bick ..... 15 5. No Time For Surprises .......................................................................................................... Luz ..... 16 6. Private Property .................................................................................................................... Jett ..... 18 7. Lost .................................................................................................................. Mexicans, Leslie ..... 20 8. Outside Your Window ............................................................................................... Jett, Leslie ..... 21 9. He Wanted A Girl ................................................................................................... Vashti, Bick ..... 24 10. BBQ ........................................................................................................................ Instrumental ..... 27 11. Heartbreak Country .................................................................................................. Bick, Leslie ..... 28 12. Ruega Por Nosotros ...................................................................... Lupe, Two Mexican Women ..... 33 12A. Underscore (Bawley and Leslie) ............................................................................. Instrumental ..... 36 13. Look Back/Look Ahead ........................................................... Bawley, Leslie, Bick, Ensemble ..... 37 14. Dance Music (“Rochelle”) ................................................................................................Vashti ..... 43 14A. Dance Music Transition .......................................................................................... Instrumental ..... 44 15. Topsy-Turvy ............................................................................................................ Leslie, Bick ..... 45 16. When To Bluff/One Day .......................................................................................... Jett, Lil Luz ..... 48 17. My Texas ............................ Bick, Vashti, Pinkie, Adarene, Mike, Jordie Jr., Leslie, Company ..... 54 18. Underscore (Leslie And Jett) ............................................................................................ Leslie ..... 60 19. Act One Finale ........................................................................................... Jett, Bick, Company ..... 61 20. 21. 22. 23. 23A. 24. 25. 25A. 26. 27. 28. 29. 30. 31. 32. 33.

ACT TWO Our Mornings/That Thing ........................................................................................... Bick, Luz ..... 65 Jump .............................................................................................. Angel Jr., Lil Luz, Bobby Jr. ..... 72 There Is A Child................................................................................................................. Juana ..... 76 Un Beso, Beso! ..................................................... Polo, Lupe, Angel Jr., Lupe, Company, Luz ..... 79 Transition (To Bawley’s Cabin) ............................................................................. Instrumental ..... 87 Place In The World/Look Ahead (Reprise) .......................................................... Bawley, Bick ..... 88 The Conquistador (Mariachi Band) ..............................................................................Mariachi ..... 91 Scene Change .......................................................................................................... Instrumental ..... 91 Midnight Blues...................................................................................................... Vashti, Leslie ..... 92 Fanfare .................................................................................................................... Instrumental ..... 95 The Dog Is Gonna Bark ........................................................................................................ Jett ..... 96 Juana’s Prayer .................................................................................................................... Juana ..... 98 The Desert ................................................................................................................ Bick, Leslie ... 100 Aurelia Dolores (Reprise) ............................................................................................ Jordy, Jr. ... 106 Act Two Finale ................................................................................. Jordy Jr., Juana, Company ... 107 Bows & Exit Music .................................................................................... Instrumental (Tacet) ... 109

28.

APPENDIX The Dog Is Gonna Bark (alternate: 4/4 time signature at m. 25) ......................................... Jett ..... 96

Giant

Vocal

1

AURELIA DOLORES (Polo, Company)

Music & Lyrics by Michael John LaChiusa Orchestration by Bruce Coughlin Additional orchestration by Larry Hochman

# & 44

Freely

A

∑

3

3

j œ

or sim.

# & œ 1

#

œ.

dis - te

j œ

œ

tus

flor

& |. P

œ

j œ

#

es,

Au

can-tas - te las can ci

o

nes

& |. 12

|.

#

& œ is

# & |.

-

j œ

œ

te

la

tier

G

# & œ

16

œ

tier - ra

de

# & |.

G-6305/802/13-u

œ

œ

li a

Do

l'an - gus - ti

œ.

ra,

-

˙

lo

œ 3œ œ œ

œ.

d'un-a pa lo

ma

rés

j œ œ

˙

en

to.

lu

Au

j œ

li

a

Do

C

|.

˙

œ

a

ab - so - lu

œ

|.

œ Œ

–1–

œ œ ˙ -

|.

œ

œ.

lo

rés

Û

| œ

ta. Em

|

‰ j œ

Fu -

|.

œ œ.

re

Me

˙

Fill Ad lib. D

|.

œ.

j œ

|.

Am

j œ

‰

˙

|.

|

œ

j œ

Œ

G

G

Û

œ

G

-

C

‰

34 ˙

œ

j œ œ

|.

œ.

Œ

POLO:

3

re

˙

j œ

œ

|.

˙

G

œ jœ

œ

C

œ

#

œ

œ. œ œ.

|.

G

œ

3

œ & œ œ œ œ œ

6

œ

œ

œ.

C

Me

Onstage Gtr. cue thru m. 28 - Ad lib Intro

# & 44 œ œ œ œ œ œ œ

34 Œ

∑

B

(Solo vocal w/Onstage Guitar)

Œ

j œ

La

‰ œj En -

|. Emily Grishman Music Preparation 212-768-2550

Vocal 20

2. AURELIA DOLORES

#

œ.

œ J

œ

œ

œ.

ton - ces

un

dí

-

a,

(POLO)

& œ

# > & |. F F

œ

nue - vo

œ

œ

œ

hom - bre

˙.

ro - bo

le - jos de

mí.

& |.

G Û Û Û # . & .Û Û or sim.

27I

#

Û

F

Û

& nÛ

27M

& & 28

Û

#

Û

Û

# #

Û

Û

C

O.

E min

Û

O.

Û

Û

Û

(in 3)

& ˙

das

G-6305/802/13-u

Û

Û

Em

Û

O.

Û

Û

Û

O.

Û

Û

Û

O.

∑

O.

œ

œ

tus

flo

Û

-

res,

j œ

Au

–2–

œ.

re

Û

œ œ.

li

Ó Û

Û

D

œ.

’ Û

Û

Û

’ Û

∑ Û

Un

Û

Û

Û

∑ CMaj7

’ ˙.

Û.

O.

27A

dí.

FILL D

Am

Û.

j œ

‰

|.

j œ œ œ

œ

te

-

œ.

#

& Û

per

Œ

œ

|.

CMaj7

#

te

|.

# œ &

G

œ œ œ œ œ œ œ Em

24

27E

œ J

Giant

a

œ

Œ

Œ

’ ˙.

’

’

œ

O.

Û

j œ

Do

œ

lo

..

POLO:

¿Le

œ.

rés?

-

j œ

¿Le

..

Vocal

3. AURELIA DOLORES

#

(POLO)

œ œ œ & œ œ œ œ

32

can - tas las can - ci

# & œ 38

œ

sa - be'l que

# & œ

42

Don - de 46

&

50

&

# #

œ

œ

œ.

j œ œ

na - di - e

te

pue - de

œ

œ

Dí-os

œ

te

54 (POLO)

&

> j œ œ

œ

Di-os

œ

te

> j œ œ Di-os

œ

Hay

sal

-

j œ sal

-

œ

j œ

œ

œ

te

j œ

sal

-

˙

œ

lu - to?

¿No

˙.

Œ

˙

˙.

œ

Œ

˙

do - lor.

Con gusto (in 1)

38 ..

œ

j œ

ve

lu

œ

œ

ve

luz

∑

œ

œ. -

na

∑ œ J

her - mo

œ J -

∑

ALTO:

en

˙

po - seer?

48

∑

j œ

∑

& &

˙

a - mor,

∑

j œ œ

œ.

d'un-a pa - lo - ma

poco rit.

> j œ œ

œ 3œ œ œ

œ

œ

œ

hay

˙

on - es

œ

œ

˙

Giant

del

œ J

dí

œ -

œ -

∑

ve

luz

-

a.

∑ œ J

œ

œ

sa.

del

œ J

dí

œ -

a.

V

∑

∑

∑

∑

?

∑

∑

∑

∑

G-6305/802/13-u

–3–

..

Vocal

58

&

#

4. AURELIA DOLORES

> j œ

œ

œ

Dí-os

& & V

# # #

?# 62

& & & V

# # # #

?#

œ

œ J

te

sal

-

œ

œ

ve

Sol

∑ > j œ œ Dí-os TENOR: > j œ œ

œ

j œ

œ

Dí-os SOPRANO: > j œ

œ

te

sal

œ

œ

œ J

te

-

sal

œ œ

œ

œ J

te

sal

œ

œ J

te

sal

œ

j œ

œ

œ

te

sal

œ

œ

œ

œ J

Dí-os > j œ Dí-os >BARITONE: j œ œ Dí-os

G-6305/802/13-u

œ.

œ

y

es - trel - las.

Y

-

œ

ve

Sol

œ

œ

ve

Sol

œ

œ.

œ

œ.

y

y

∑

Dí-os > j œ

œ

œ

te

œ

te

sal

œ J

sal

-

-

-

-

-

œ J

∑

œ

∑ œ

œ.

∑

Dí-os

> j œ

œ

Giant

∑ œ

j œ

œ.

es - trel - las.

œ

œ J

Y

œ.

œ

es - trel - las.

Y

∑ œ.

œ.

œ

ve

Au - re - li - a

œ.

œ

ve

Au - re - li - a

œ œ

œ œ

œ.

œ J

Do - lo

œ

-

res!

œ

œ.

œ

œ J

œ.

œ

œ

ve

Au - re - li - a

œ.

œ

ve

Au - re - li - a

œ

œ.

Do - lo

œ

res!

res!

Do - lo

œ

-

-

Do - lo

j œ

Au - re - li - a

œ

œ J

œ

œ.

–4–

œ

œ.

ve

œ

∑

œ

œ

œ

œ J

Do - lo

œ œ œ -

res!

œ -

res!

Vocal

66

& & & V

# # # #

?# 71

&

#

5. AURELIA DOLORES

> j œ

œ

œ œ

Dí-os > j œ

te

& & V

# #

?#

sal - ve

Au - re - li - a

œ J

œ.

œ

œ œ

Dí-os

te

sal - ve

> j œ œ

œ œ

j œ

œ.

œ

œ œ

œ.

Dí-os > œ j œ

te

œ œ

sal - ve

Dí-os

te

sal - ve

> j œ œ

Dí-os

#

œ.

œ

Dí-os > j œ

> j œ œ

te

œ

te

Au - re - li - a

œ J

œ

œ œ œ.

> j œ œ Dí-os > j œ œ

j œ

œ

te

œ

œ

Dí-os > j œ

œ

Dí-os

G-6305/802/13-u

œ

te

œ

œ

sal

œœ J

-

j œ

œ

Do - lo

j œ

œ

Do - lo

œ œ œ.

œ

Au - re - li - a

j œ œœ ..

Do - lo

œ J

Do - lo

œ

j œ

ve

lu

œ. -

na

œ

‰

œ

œ

‰

œ

œ

‰

œ

œ

‰

œ

œ

‰

œ -

j œ

œ

Au - re - li - a

œ.

sal

Do - lo

Au - re - li - a

sal - ve

j œ

œ

œ œ œ. œ œ œ.

œœ ..

Díos!

œ

œ

œ J

œ

œ œ œ.

œ J

Giant

-

-

-

-

res.

res!

res!

res!

res!

œ

her - mo

œœ ..

-

œ

ve

œœ

œ.

œ

lu

œœ ..

na

her

œ.

ve!

œ

œ J

-

œ

œ J

te

sal

-

ve

lu

–5–

œ -

sa.

œœ

j œ

sal

œ J

-

na

œ

œ J

mo

œœ

‰ œ -

‰

œ J

her - mo

sa.

œ -

sa.

Vocal

75

&

#

6. AURELIA DOLORES

> j œ œ

œ œ

Dí-os

& & V

# # #

?# 79

&

#

> j œ œ

te

& V

sal

œœ ..

œœ ..

> j œ œ Dí-os

j œ

Díos!

œ œ

te

œ.

œ

Dí - os

te

œ J

sal

œœ J

œœ

del

œœ ..

dí

œœ

dí

œ

œ

#

Dí-os > j œ œ

#

Dí-os > j œ œ

œ

œ

>Dí-os j œ œ

œ

te

œ

sal

œ J

te

sal

G-6305/802/13-u

luz

del

> j œ

Dí-os

ve

œ J

luz

#

?#

-

œ J

œ

œ

œ J

te - sal

œ J

te - sal

œ J

-

-

-

ve

-

œ

Sol

œ

œ

ve

Sol

œ

œ

ve

Sol

œ

œ

-

ve

Sol

-

ve

Sol

œ

œ

–6–

œ -

a.

œœ

ve

te - sal

œ

œœ ..

-

œ J

œ

dí

œ J

œ œ

del

œ J

sal

œ

luz

œ

te

œ

ve

œ J

œ

Dí-os

œ

œ J

ve!

œ œ

œ

œ

-

œ

> j œ

-

œ

sal

œ J

> j œ

Dí-os

&

j œ

Giant

œœ œ

œ J

‰ œ -

a.

‰ œ -

a.

œ.

œ

y

es - trel - .las.

Y -

œœ ..

œœ

œ

y

es - trel - las

Y -

œ.

œ

y

œ J

œ. œ.

œ

œ J

œ.

œ

es - trel - las.

œ J

Y

œ.

œ

œ

œ.

œ

y

œ.

es - trel - las.

œ.

Y

y

es - trel - las.

Y

œ œ

œ J

œ

Vocal

83

& & & V

# # # #

?#

7. AURELIA DOLORES

> j œ

œ

Dí-os > j œ

œ

œ

œ

œ

Dí-os > j œ

sal

œ

œ J

te

œ

te

œ

œ

œ

œ

te

>Dí-os j œ œ

Freely (in > 3) j

#3 œ˙ & 4

œ

Dí-os

sal

j œ

œ

Dí-os 87

te

œ

Dí-os > j œ

œ J

sal

œ J

-

-

-

œ

sal

œ J

-

te

sal

-

œ

œ

te

sal

œ

ve

Au - re - li - a

œ.

œ

ve

Au - re - li - a

œ.

œ

œ

œ

ve

Au - re - li - a

œ.

œ

ve

Au - re - li - a

œ

ve

œ

œ J

ve,

œ

œ J

-

œ J

˙

œ

34

res!

34

œ -

œ J

res!

34

œ

œ J

-

Do - lo

-

œ

res!

œ

Do - lo

Au - re - li - a

œ.

-

Do - lo

œ.

œ

œ

œ

34

œ

Do - lo

œ.

œ

œ

œ

œ.

œ

œ

œ J

Do - lo

œ.

œ

œ

œ

œ.

œ.

œ.

-

Giant

res!

œ

34

res!

U

˙

œ

Au - re - li - a

Do

#3 & 4

∑

∑

∑

∑

#3 & 4

∑

∑

∑

∑

#3 V 4

∑

∑

∑

∑

? # 34

∑

∑

∑

∑

G-6305/802/13-u

–7–

Attacca

-

Vocal

Giant

2

DID SPRING COME TO TEXAS? (Polo, Bick, Pinkie) Music & Lyrics by Michael John LaChiusa

Bright 2 x's

#4 . & 4 . œ ˙. POLO: (1st x)

1

œ Œ Ó

lo - res!

2

.. ..

2

.. ..

3-4

.. b

5-6

(cue) MIKE: Wait for 'em and on 'em. 7

Safety - Jump on cue

& b .. Ó

Œ

‰

j œ .. œ

BICK:

I've 10

&b œ

œ

Wait - ed

out

13

&b

wait - ed

. œ œ œ

œ

œ J

the long

œ

-

& b œ œ œ œ œ œJ œ

Wait - ed for the brush to

œ

grow

Wait - ed for the sea - son

&b œ

œ

3

boys that 28

&b œ

œ

3

œ

œ

it's

just

œ

œ

birds go - in' G-6305/802/13-u

so thick

be:

Did

lo - co?

Œ

œ œ œ

out

the rains.

œ J

Blue

fin - 'lly stick;

got - ta

˙

œ œ

North

œ

-

Œ

˙

Œ

ers.

œ œ œ œ œ œ œ

˙.

Œ

that a snake's got - ta climb out to see.

˙.

˙

Wait - ed

the

œ

œ 3

to

œ

. œ œ œ

out

∑

œ

ter.

œ

3

Œ

j œ œ œ œ œ œ œ

& b œ œ œ œ œ œJ œ

Œ

drought.

j j j œ œ œ œ œ œ œ œ

20

24

the

œ

Wait - ed 16

out

œ œ ˙

win

∑

œ œ œ

œ

œ

œ Did

Is it

œ Œ ‰ œ œ œ J

here?

26

˙

Spring – 8–

it stick?

œ œ œ

œ ˙ 3

3

Spring

˙

Did

come to

œ

œ 3

œ

come to

Œ

œ

˙

Te - xas?

œ J

Tell me

Œ

Te - xas? 3

‰ œ

‰ œ œ Are the

Œ

‰ œ œ Did the

Vocal 32

2. DID SPRING COME TO TEXAS? (BICK)

&b œ

‰

œ

œ œ œ

mes - quite 34

and the lau - rel

œ

œ

œ

&b œ

3

œ

&b ˙

œ

œ

3

Spring

œ.

and the

wild

˙.

œ

the

rains

and

œ ˙

Œ

3

œ

come to

&b

œ œ

œ

3

burst out right af - ter 38

‰

œ

œ œ œ œ œ œ 3

the

œ

œ

Ó

I

ask

œ

Œ

‰

61-62

PINKIE:

œ

&b ‰ 113

j ‹ ‹ ‹ ‹

PINKIE:

I'm read - y to

right.

j ‹ ‹ ‹ ‹

BICK:

Safety

& b ..

(cue) BICK: Now where's that woman?! BICK:

∑

Ó

Œ

117

&b œ

œ œ œ

Wait - ed

120

for

œ

œ J

œ

each Christ - mas

∑

&b

œ J

morn

œ

œ œ œ

j œ œ

œ œ ˙

Wait - ed 123

& b œ œ œ œ œ œJ œ

for

115

rope,

‹

Pink - ie?

wait - ed

Œ

ing.

my

œ

œ œ Wait - ed

œ.

œ

first

œ J

po

œ

œ œ œ œ

for my first

œ -

œ

Œ

gun.

˙

Œ

ny.

œ œ œ œ œ œ œ

Know - in' I'd find

– 9–

∑

plen - ty times.

œ œ œ -

(to 113)

œ œ ˙

œ

œ

Wait - ed for the wo - man I'd make my wife;

G-6305/802/13-u

‹

67-70

‰ œJ .. œ I've

to

‹

4

44 ..

rope!

24

Ó

(cue) BICK: Name of my ranch is what, Pinkie?

67

Œ

‹

24

Œ

œ

Œ

œ

You read - y 65

Did

That's right.

Œ

2

& b 24

œ

Œ

white?

œ

you:

Ó

˙

prai - rie grass

Shit

61

œ

œ3

œ

œ

œ

œ

∑

œ œ œ

cher - ry and the gau - jil - lo

pow - der

Te - xas?

∑

Giant

her some - how.

˙.

Œ

..

Vocal

3. DID SPRING COME TO TEXAS?

&b œ

127

œ

œ

Wait - ed

for

(BICK)

&b ˙

130

œ œ œ J

that wo

‰

That

133

&b ˙

œ

Spring

# & ˙ 137

girl's

# œ & 141

œ J

œ

work

œ 3

-

I

œ

come to

œ

j œ

j œ œ

man

all

my

œ

œ

still

œ

3

got - ta

Œ

˙

j œ œ

Tell

me

3

œ

œ

˙

wait

for

her

now?

œ

3

œ

Am I just go - in'

œ

3

˙

come to

œ

œ

œ3

Te - xas.

have

œ

148

&

Spring

# & w

155

˙.

œ

blos - somed for

her.

And

I

˙

#

œ œ

Œ

My

-

œ

œ

j œ

boys

to

œ3

œ

came to

œ

44 w

Œ ‰ œj

˙

got - ta swal - low my

œ ‰ œ œ œ œ ‰ œ œ œ

pride.

I've

œ ‰ œ œ œ œ ‰ œ œ 24 for the ranch - ers, 'n the

˙.

Œ

ride;

œ

Te - xas

Œ

œ and

˙

˙ I'm

24 ˙

still

44 w

bride.

G-6305/802/13-u

Did

lo - co?

wait - ed for the green-in', for the round - up, for the rop - in', for the brand - in'

# ˙

it

œ

Œ

3 3 œ œ œ œ œ œ

œ

3

# œ œ œ œœœ œ ‰ œ œ œ &

151

How's

And the mes - quite and the lau - rel and the wild cher- ry and the gua - jil - lo

145

cow

œ J

œ œ3 œ œ 3 ˙ Œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ . œ œ œ œ œ œ œ œ œ

Seemed to

# & 24 œJ

‰ œ

boys,

œ

‰ œ œ œ

Te - xas?

˙

œ œ

life.

œ

3

Giant

– 10–

œ œ.

œ

wait - in'

œ œ.

œ

for my

˙.

Œ

Vocal

Giant

3

VIRGINIA (Bick) Music & Lyrics by Michael John LaChiusa Cue: "Chrysler."

MIKE: "...in a red coat."

3

b & b b 44

Gently, rubato

..

1-3

Vamp

4

∑

Ó

Œ

‰ œ .. J

BICK:

The

b & b b œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œJ 6

mo-ment that I saw

her,

b & b b œ œ ‰ Jœ œ

in Vir - gi - nia,

˙

9

knew that

13

&

bbb

œ

as sure

as

molto rit.

œ œ.

˙

girl

& 44 16

Spring

œ3

œ

œ

comes to

˙

44

∑

I'd

BICK: œ. œ œ œ œ ‰ 4 & 4 œ œ œ œ œ œ œ bœ œ œ œ œ œ œ

that

n n n 44

Π24

∑

20

˙

make

24 œ

bride.

in the moon - light, I

˙

œ

Te - xas,

w

24

∑

œ

by the win - dow,

Slowly, softly

œ

my

af-ter din - ner,

BICK: "That's East."

44

∑

œ. œ œ

œ œ œ œ

œ

"Old Dun-ny was a rock-y out-law that had grown so aw-ful-ly wild. He could paw the white right out-ta the moon.

23

& œ bœ

Ev - ry

jump for a

5

Quietly, under scene

# & # 128 26

œ œ œ

œ

G-6305/802/13-u

26-30

œ"

œ.

Dictated

∑

U ∑

# # 12 8

3

U ∑

mile."

nn

2

33

31-32

3 33-35

– 11 –

44

Cut-off on BICK: "...at Harvard"

36-38

39

Vocal

Giant

4

YOUR TEXAS (Leslie, Bick) Music & Lyrics by Michael John LaChiusa Cue: LESLIE: It's what Mother wanted.

Gently, simply

& 128

1

‰

4

&œ

3

Kbd. Harp, Alto Flute

7

œ

laugh but

&

j œ œ

read

œ

œ

j œ œ

œ

here in

my

fa - ther's

œ.

j œ

Rous-seau,

œ J

chair

œ

œ

œ

the

sort

of

i - deas that

œ

Big and small.

20

Tho-reau,

& œ.

œ.

Œ.

œ.

œ.

Te - xas.

. & œ

24

œ.

œ.

œ.

Now,

ma - gine that G-6305/802/13-u

œ.

a

I

œ J

œ œ

œ.

œ.

Don't we

œ.

don't know

œ.

œ.

man can

be

œ.

j œ œ

œ.

your

Te - xas.

more

œ.

– 12 –

-

œ

j œ

œ

œ J

œ

œ J

cloud

my head

with

œ. œ. Œ. ‰ œ œ

all?

When I

free and wild."

Œ.

‰ œ œ œj œ . in

œ

œ . œ . Jœ œ œ . œ . œ . Œ . œ .

œ. œ. œ. œ.

He said, "All good things are

œ.

œ

Don't

and Tho-reau; Right

œ 2

I have day - dreams.

I smiled.

Faster, sempre legato

œ

E - mer - son, Car - lyle,

œ.

2

poco a poco accel.

read

j œ œ Œ. œ. . . œ

‰

j œ

And

I've read

j œ œ

œ

j j j Œ œ œ œ œ. Œ. ‰ œ œ & œ. œ œ œ.

15

j œ œ

œ

œ

œ. œ. Œ. œ œ

2 œ œ œ. œ.

day-dreams.

Some-bo - dy else may spend her life in

j œ œ œ œj œ œ

j œ œ

œ

ra - ther

&œ

j œ œ œj

œ

but - ter knife to pair with the pro - per fork and pro - per spoon.

I'd

9

11

œ

œ

œ œ œ œ œ œ œ œ œ œ œ

j œ œ œ œ ‰ œ œ œ

search of the per - fect

&œ

‰

œ œ œ œ œ œ œ œ œ œ œ

j œ œ œ œ

LESLIE:

œ.

But

œ.

de-pen - dent,

Your

2

œ.

œ.

œ.

œ œ

e - ven

so,

I

œ.

œ œ œ œ.

wild

and

free

i -

œ. in

Vocal

2. YOUR TEXAS

. & œ

28

Œ.

(LESLIE)

œ.

Te - xas.

œ.

œ.

The

last

œ. œ. œ. œ. & great un-known just q. = q

& 44

fron - tier

wait - ing there

Te - xas.

And

un - like

for those who wish to

BICK:

& bœ

œ œ œ

Moun - tain ran

œ -

dream and dare your

œ œ œ 24

∑

&œ œ œ œ œ œ œ œ & œ

50

how G-6305/802/13-u

at for - ty.

œ

œ

œ

I

want

to

œ.

œ

œ

˙. ∑

O - hi - o.

œ

ri - vers,

LESLIE:

œ

44 ˙

years.

œ œ œ œ œ œ œ œ at six - ty.

œ

I - ma-gine.

Œ

œ J

‰

plains.

44 Œ ‰ œ œ J œ œ

twen - ty

Blos-som - ing

œ.

œ

Can-yons,

∑

2 œ œ œ 4 œ

cen - tu - ry plants that blos - som ev' - ry

Blos-so - ming

œ

Œ œ

LESLIE:

œ œ œ œ œ œ œ. J

œ œ œ œ œœ œ œ

ges, Sweep - ing bea - ches,

(LESLIE)

Te - xas.

∑ œ

œ œ

œ . œ . œ . œ . 44

Your Te - xas.

Slower (colla voce)

&œ œ œ œ

Tempo primo

œ. œ. œ.

Ó

œ

2

here, there's a

molto rall.

œ.

œ

œ.

œ.

œ.

œ.

∑

&

47

œ.

New Eng-land, plus New Jer - sey and New York, Penn-syl - va - ni-a,

41

&

Œ.

∑

& 44 œ œ œ œ œ œ œ œ œ œ

43

is

∑

BICK:

Big as all

œ.

œ . b œ . œ . œ œj n œ . . œ . œ œ.

32

37

œ œ J

œ.

œ.

Giant

And

‰ œj œj œ.

I - ma-gine.

‰ œj œj œ.

Ó

I - ma - gine.

œ œ œ œ œ Blos-som - ing

œ J

j œ

œ

at eight - y.

That's

LESLIE: Imagine a place in the wilderness, unspoiled by politics, where people are truly equal.

q = q.

128 w .

.. Ó .

Tempo primo

rit.

live...

Œ.

Œ

j œ ..

LESLIE:

Those – 13 –

Vocal

3. YOUR TEXAS

53 (LESLIE)

&œ

œ œ œ

kinds of

i - deas,

œ

œ J

don't laugh,

56

& œ.

œ.

œ.

day - dreams.

j œ & œ œ.

59

Più mosso

Œ.

more

& œ.

67

&œ

œ J

they give me

œ

œ.

Thanks to

you.

œ

2

œ.

-

Œ.

‰ œ œ œ.

ta.

œ.

j œ œ œ œ

œ.

j œ œ

Some-bo - dy else may spend her life

70

& w. I.

G-6305/802/13-u

œ.

Œ.

ten.

˙.

Not

Œ.

Œ.

œ.

U œ.

j œ œ

65

œ.

Te

œ.

-

xas.

w.

– 14 –

Œ. œ œ 2

new.

I'll have

œ.

I'll

œ.

œ.

dream

œ.

œ.

some

Œ. ∑

˙.

‰ œ œ

œ. Re -

A little slower

search of the per - fect

I.

œ.

be - fore.

j œ œ œ œ

w.

œ.

œ œ œ. J

œ.

been

Your

in

œ

Wild and

‰ œ œ œ.

œ.

ne - ver

œ.

œ.

2

And to - night

coun - try.

œ

œ.

œ

day - dreams.

œ.

œ.

œ.

Your

œ.

œ

of a place I've

63

a

œ J

Giant

œ.

Ó.

Œ.

but - ter knife.

œ.

Not

U Ó.

Ó.

Vocal

Giant

4A

DID SPRING COME TO TEXAS? (REPRISE) (Bick)

Music & Lyrics by Michael John LaChiusa Cue: LESLIE: Till morning.

### 4 & 4

Rubato

1

Gently

5

Flute

& 8

&

œ

œ

3

œ

Più mosso Ó Œ

∑

U ∑

∑ œ

∑

œ

œ

j &œ œ œ œ œ œ

12

Wait - ed for the wo - man

j & œ œ œ œ œ œ.

16

Wait-ed for that wo-man

G-6305/802/13-u

œ

œ

œ

∑

j œ œ

I'd

œ

œ

˙

œ

œ

all my

life.

∑

œ

œ

œ

˙

Ó

j œ œ

˙

make my wife.

œ ˙

U ∑

∑

Ho - pin'

24 œ

w

– 15 –

U ˙.

œ

œ

BICK:

Œ

I

-

j j œ œ œ

I'd find her

Œ

œ

∑ ˙.

ma

-

j œ

gine.

˙.

Œ

some - how.

no rit.

44

nnn

∑

BICK: I'm gettin' married.

U " ∑

Vocal

Giant

5

NO TIME FOR SURPRISES (Luz)

Music & Lyrics by Michael John LaChiusa Cue: LUZ: I'll come East. (She hangs up.) LUZ: Reata and Hake Ranch was gonna be one.

b & b 44

A

1

Moderato

∑

Safety (Vocal last x)

..

Π..

LUZ:

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

Or - ders to get done.

b &b œ œ œ œ œ œ œ œ

4

Not the time for feel

b &b Œ

7

No 10

&

in'

œ

œ

sur

Œ

œ œ œ œ œ œ

b &b œ œ œ œ œ œ œ œ b &b œ

œ

œ

in'.

œ

b & b nœ . Jor

G-6305/802/13-u

-

j nœ œ dan!

˙.

œ

Œ

œ

œ nœ

Mom - ma's

Safety

œ

sweet

Cue: LUZ: I've a round-up in two weeks and boys to feed.

∑

me.

Creep in' up my spine.

œ

œ

œ

œ

sur - prise

– 16 –

œ œ œ œ œ

Been through this be - fore,

of them sur - pri - ses.

œ

Œ

œ œ œ œ œ

œ

œ œ œ œ œ œ œ œ

All

re.

ses.

Got - ta wait it out, Luz.

œ œ

œ œ œ œ œ œ œ

Don't for - get the wi

œ œ œ œ œ

œ

Don't you dare sit down.

œ ..

œ œ œ œ œ œ œ œ

Ma - ma's death and Grand - pa's 19

œ

-

fee.

Light - 'nin' storm in - side

13

16

pri

œ

Felt all this be - fore.

Head all full of feel

œ

œ

for

LUZ: b b

œ œ œ œ œ œ œ

Don't for - get the cof

œ

time

Don't for - get the flo - ur.

œ

Œ œ œ œ œœ

œ

œ

un

-

girl.

œ . n œj œ

Jor

n˙ .

planned.

Œ

dan!

Œ

..

Vocal

2. NO TIME FOR SURPRISES

b &b œ

(LUZ)

22

œ œ œ œ nœ œ œ œ œ

There you were, 25

&

bb

j œ

land. 26B

&

26

œ œ œ œ œ

(Gtr.)

∑

26C

œ

was

U ∑

œ

œ

œ

we

26D

Rubato

26A

œ

œ

(Gtr.)

26E

to

∑

U ∑

Œ

(Gtr.)

˙.

œ

œ

pro - mised

26F

œ œ œ

Both of us was pro - mised to the

Molto rit.

To - ge - ther

U ∑

bb

nœ œ œ œ œ œ œ œ œ

a ba - by kid who loved the land the way I did.

‰

˙.

Giant

the

land. (Gtr.)

∑

26G

U ∑

26H

(to 28)

Cue: LUZ: They say a car's like a highly strung woman. Beats me. Always a reason a car breaks down. Madama.

b & b .. 28

Safety

œ

œ

œ

..

Œ

LUZ: (Vocal last x)

œ œ œ

Can't stam - pede the herd.

b &b œ œ œ œ œ œ œ œ

34

&

bb

œ

Guard a - gainst sur - pri - ses.

b &b œ œ 39

œ

œ œ œ œ œ œ œ œ

I

œ œ œ œœ œ œ

œ

What did Grand - pa tell

31

Ride a mile to spit.

œ

got - ta keep a night - guard.

œ œ œ œ œœ œ œ

Tell me why you did it!

j œ

œ œ œ œj œ

that ain't gon - na hap - pen!

That

2

you?

œ

If ya got - ta spit,

œ

œ œ œ œ œ

&

(spoken:) You were suppose to marry Vashti! Hake Ranch and Reata was to become one!

œ . n œj œ Œ ..

.. Ó

∑

œ œ œ œ œ œ œ œ ain't gon - na hap - pen!

No G-6305/802/13-u

œ

œ œ. œ œ œ. œ

time

œ

for

œ

˙

sur - pri

œ

Now

œ œ œ œ œ œ œ œ

That ain't gon - na hap - pen!

gon - na

œ

– 17 –

˙

ses.

U ∑

˙.

hap - pen!

65

œ

LUZ:

(sp:) And that's the dry truth.

That ain't

b &b Œ

Œ

Jor - dan!

LUZ:

42-43

œ

I know how to night - guard.

(sp:) Say it once more and get it out of your head!

bb

Œ

œ œ œ œœœ

œ œ œ œ œ

œ

Œ

Ó

(to 65)

Vocal

Giant

6

PRIVATE PROPERTY (Jett) Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: Who was that boy?

10

Dialogue

& 44

b

A-J

4

&b

11

1-4

Safety

.. œj œ

j œ œ

JETT:

Rich girl

& b œj œ

13

j œ œ

Rich girl

eyes

j &b œ œ

17

21

&b œ

œ œ

touch.

j œ ˙

The

j œ

j œ œ

girl

is

œ œ

smile

Brand new

j j œ œ œ his

œ J

j œ ˙

..

and those rich girl clothes...

œ

œ J

look-ing down her nose...

j j œ œ œ

Don't you

j œ œ

j œ œ j œ œ

œ œ œ œ J

chas - sis,

j œ ˙

That she

is.

∑

œ œ œ ˙.

pri - vate pro - per-ty.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ

œ œ œ œ œ

Some-thing'bout her makesyou wan-na take her by the arm, take her out - ta the sun, get her some-thing to drink that's

&b œ

23

˙

#œ

˙.

cool.

Œ

œ œ œ œ œ Ne - ver felt this way

26

&b œ œ œ œ œ œ œ œ

œ œ œ œ ‰ œJ

light as fal - lin' snow, Makes me wan - na go

& b 24 œ 29

hot, G-6305/802/13-u

œ œ œ

œ Don't

44 w go:

œ

'bout a

œ œ œ nœ œ œ J .

Stay by the win-dow. – 18 –

girl

œ œ œ œ

Reach up, Pull her close

œ

œ œ œ

œ œ

be - fore,

œ œ œ œ

Looks as

œ

œ

Feel her soft, sweet, cool,

œ œ œ

œ œ nœ œ

Can't you feel me look - in'

at you?

24

Vocal

2. PRIVATE PROPERTY

33 (JETT)

&b ˙

œ. œ Œ

w

Don't

go.

œ œ œ nœ œ J œ.

Stay by the win

37

&b w

∑

39

too.

& b œj œ

41

She owns

j &b œ œ

45

rit.

Don't you

G-6305/802/13-u

you.

œ œ

Bro-ther, know your

j j œ œ œ

touch

j œ œ

cuz

she

I

Tempo primo

j œ œ

j œ œ

j œ œ there

œ œ J

Œ

place.

j j œ œj ˙ œ œ

œ œ œ œ œ œ œ nœ

dow.

It's all

j œ œ

Giant

œ

ain't your

U

˙

Pret-ty

œ

pri - vate

– 19 –

can feel you look - in'

œ œ

j œ œ

on the

rich girl's

œ œ œ œ J

pic - ture,

œ œ œ ˙. pro-per-ty.

at me,

j œ ˙ face:

j œ œ That's for

j œ ˙

sure.

∑

Vocal

Giant

7

LOST (Mexicans, Leslie) Music & Lyrics by Michael John LaChiusa (cue) LESLIE: I walk in the mornings, daily. TWO VOICES (MEXICAN): FOUR VOICES (MEXICAN): ALL (MEXICAN):

2

Allargando

& 44

3

1-2

w

: 18

Lost... 23

& 43

& 47

&

#

q = 130

&

6

###

LESLIE: 3

###

Tpt.

3

∑

3

œ œ œ œ œ œ

aœ

˙

3

œ œ œ

Te - xas.

### 4 & 4 w

˙

my

hus

lost,

Dictated

done.

G-6305/802/13-u

œ

" ###

œ

-

so

Œ

j œ œ

..

Vamp

..

∑ ∑

jŒ œ œ œ œ œ 3

œ œ œ œ 3

floor,

On - ly

3

lost

œ

rot - ten wood and

Ó

w

band...

œ

œ

œ

Allargando

˙ œ

œ

I'm

œ œ

3

plumb - ing, no

˙

œ

(cue:) LESLIE: He stopped.

Peo - ple who work for Re - a - ta.

œ

3

3

∑

jŒ œ œ œ œ œ œ œ œ

house

###

+Clar.3

œ œ œ œ œ œ œ

3

3

(to 23)

29-42

43-44

### ˙ &

64

14

(+Cl. solo)

2

###

20

#

w

Lost...

23-28

55

&

w

SCENE: LESLIE and DELUVINA

No run - ning wa - ter, no

59

19

Lost...

Chil - dren who live in a ho - vel. 51

w

Œ ‰ œj

#˙

stones

in your

œ œ #œ œ

œ w

– 20 –

œ

Your

U ˙

Te - xas.

Tell me what I've done.

Freely

Œ

owns.

œ œ

a

œ

œ

Some - one

œ

24 œ

tell

Œ Ó

œ #œ

œ

me what I've

U ∑

44

Giant

Vocal

8

OUTSIDE YOUR WINDOW (Jett, Leslie)

Music & Lyrics by Michael John LaChiusa Cue: JETT: He didn't have the smarts to disappear on his own.

4

# & 44

Light, with playfulness

1-4

# JETT: & ‰ œ œ œ œ œj œ 5

j œ œ

‰

œ œ œ œ œ œ œ œ œ.

Peo-ple see my car; They go, That's a pile a junk there, bro - ther.

#

& nœ œ œ œ œ œ œ Œ

‰ œ œ œ œ œ œj œ

# & œ œ œ œ œ

œ

bœ

with

no

8

look be-neath the hood.

11

I - ain't my Pa,

Peo-ple look at me;

œ

They think,

He's his Pa: - a no

I got a

œ œ

œ œ œ œ œ œ

& nœ œ œ œ œ œ œ

Œ

# nœ œ œ & œ œ

œ

me to fix

her up.

21

May not look much,

# & ‰ Jœ œ

25

‰ œ œ œ œ œ œj œ

dif' - frent

‰

the

œ œ œ œ

œ

œ

car I'm dri - vin';

œ œ œ

Out - side your win - dow, Looks - a dark G-6305/802/13-u

œ

nœ

I'm

œ

œ

œ

dis - po - si - tion.

œ œ œ œ œœ œ œ œ

When a en-gine fails, ya count on

quick to learn, cuz here

œ œ œ œ

That there is

proof

œ œ œœ œ œœ œ œ 'n trou - ble day. – 21 –

good-sin - ner.

j œ bœ œ œ œ œ œ œ œ œ œ

Ne - ver been to school, but

bœ

bœ

œ

Un-der-neath my nails, ya much grease 'n grime from years a - work-in'.

#

œ

bœ œ œ œ œ œ œ œ œ œ

15

18

œ

That's how-peo - ple are, They don't

am - bi - tion;

# & ‰ œ œ œ œ œj œ œj œ

œ œ œ œ

nœ œ œ œ œ

œ

œ

j œ

œ

But ya'd

I had - ta.

bœ

of

true sur - vi - vin'.

œ

œ

œ

œ

bœ œ œ œ œ œ œ œ œ œ ne ver knowthe-sun is jus' - a

Vocal

2. OUTSIDE YOUR WINDOW

# & bœ œ œ œ œ œ œ Œ

‰ œJ œ

(JETT)

28

step be-yond the gray. 31

#

‰

& ˙ judge 35

Œ

œ

this:

39

&

#

Would ya be the one

Some things

œ

œ

can't

be

‰ -

bœ œ nœ œ

# bœ &

bœ

œ

œ

nœ

known

'til

they

git

3

am that

man.

œ

œ

œ

I

dream

it.

leas'

#

œ œ œ ‰ nœ œ bœ œ (JETT)

throw-in' that firs'

stone.

All I know is

w known.

2

:

39-41

48

LESLIE: No.

LESLIE: A man named Thoreau said: That if you're a man...or a woman...if you're walking in the direction of your dreams, working to live the life you imagine, you'll end up with it.

(dialogue)

I

&

bœ ˙ œ nœ œ

œ

# nJETT: & œ œ œ œ œ

&

œ œ œ œ œ œ œ nœ œ bœ œ

Colla voce poco rubato

45

51

‰

on his looks a - lone?

& ˙.

œ œ œ œ

Out - side your win - dow, See - a strang - er pass - in' by: Are ya quick to

bœ ˙ œ nœ œ

#

œ œ œ

Giant

A little slower

43-44

œ

œ

bœ

œ

œ

œ

nœ

I

may

not

seem

it.

Ain't-found my

œ

œ

œ J

LESLIE:

‰

œ

Out - side

your

œ

œ œ

œ

œ

dream

œ

but

Œ

Ó

win - dow,

LESLIE: My father gave me books to read to open up my mind, to make me imagine places I'd never known.

4

(dialogue)

œ

JETT: A different life.

51-54

#

LESLIE: Yes. Looking out the window of the his library, I'd see China. The English Moors. New Frontiers.

G-6305/802/13-u

4

55-58

– 22 –

JETT: Like Texas? Like Reata? 59

More expansive

∑

LESLIE: Reata...

∑

Vocal

3. OUTSIDE YOUR WINDOW

# ‰ JETT: œ œ œ œœ & œ J

61

œ œ œ

œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ

Out-side your win-dow, Looks-a dark

# & bœ œ œ œ œ œ œ Œ trou - ble blows

‰ œJ

# UÓ "‰ &

67

a - way.

A tempo

bœ œ nœ œ

JETT:

‰

˙

Look be-neath the hood. 71

#

‰

& ˙ blind.

# & bœ

76

#

Rubato

Œ

& œ

84

&

87

&

know

‰

bœ ˙ . œ nœ œ

Œ

who

what

∑

Ó

œ

U ∑

Tempo Primo

Ó

JETT: They move fast. Ens.

G-6305/802/13-u

‰

(5/20/14)

œ J

œ bœ

‰

œ nœ

^ j

n˙

w

ya'll

find.

œ

˙

œ

Œ œ Ya

w

LESLIE: There wasn't a snake.

bœ

U

œ

w

nœ

w> œ fl – 23 –

Peo-ple may be

U

˙

œ

Sax, Bs. Cl.

œ

bœ œ nœ œ

Out-side your win-dow

c b˙

or

‰

˙

‰ œ œœ œ œ œ

Don't-cha pay no mind.

œ

you can't pre-dict.

May-be some-thin' good.

LESLIE: I am late. May I have that ride back to the house? Clar. JETT: After you.

(long)

Ó

œ œ œœ œ œ˙

bœ œ nœ œ

She starts in the direction of Jett's car. Jett hisses like a snake. JETT: Walk back to me slowly. Leslie runs into his arms. LESLIE: It's gone? JETT: You're fine.

# #

œ œ

œ

bœ ˙ œ nœ œ

24 œ

œ

˙

œ œ œ œ

What-cha think is bad

‰

When-they quick to judge

ne - ver

80

œ bœ ˙

œ nœ

œ

Out - side your win - dow, there's - so much 68

œ œ

'n trou - ble day. But the wea-ther chan - ges quick here; soon that

LESLIE:

64

Giant

Œ

Ó

Vocal

Giant

9

HE WANTED A GIRL (Vashti, Bick) Music & Lyrics by Michael John LaChiusa Cue: VASHTI: I'll be right up.

1

&

##

Simple waltz, in 1 Mandolin œ 3 . ˙

4 .

∑

## j & œ œ. 5

œ

want-ed

11

&

##

œ

œ œ.

œ

˙

a

girl

who

œ

por - ce - lain tears.

# & # œj œ . œ

17

œ

œ

He

œ

œ

œ

j œ œ.

œ

want-ed

a

hates dus - ty

j œ œ. œ

œ

tect all those gem-stones she's got in

# j & # œ œ. 24

œ

I am

30

&

##

œ

a

joys the

out - side.

## j & œ œ. œ

36

fol-low

# & # ˙.

43

girl

j œ ˙

œ.

him

œ

˙

who

œ

Yeah,

∑

˙

œ

roads.

œ

He

œ

œ

j œ œ.

œ

I was

that

likes dus - ty

œ

œ

girl who'll put

˙.

œ

œ œ œ

a - ny-where

j œ œ. œ

Cuz

œ

œ

girl who would

he chose to

˙.

˙.

ride.

˙.

˙. – 24 –

œ

Œ j œ œ.

œ

want-ed

a

œ

œ.

locks on

VASHTI:

œ

Œ

..

He

œ

œ

œ

j œ œ

œ

œ

girl who cries

the door to

∑

pro -

Œ Œ

œ

But

œ

roads.

œ œ.

Œ Œ

œ ˙

œ

j œ œ.

œ

I am

a

œ

œ.

keep up

œ

œ

œ

en -

j œ œ

œ

œ

girl who

with him and could

39

ride!

G-6305/802/13-u

˙

her ears.

32

œ

j œ

œ

∑

13

j œ ˙

œ.

œ

Œ Œ

œ

œ œ œ

And we would

œ

Œ

Œ

Vocal

2. HE WANTED A GIRL

Giant

(VASHTI)

# & # œ 47

œ

œ

œ

œ

œ

œ

Bar - rel - ass - in' through the

# & # œ œ œ.

j œ

51

Show-in' off

## œ & 56

Teach-in'

œ

me

to

## œ œ œ &

60

# & # 65

& 69

&

œ

œ œ

Ole

Dan

was a

##

##

# # w> &

Wheel!

G-6305/802/13-u

∑

U ˙

œ

me

jer - ky.

œ œ

to play my

Œ ˙

œ

œ

œ

Œ

fid - dle.

In 2 - a little brighter

œ

to

the

44 w

w

stars!

œ

œ

Washed his

44

71

∑

face

∑

œ

in

Œ Œ

> w

∑

j œ œ.

œ a

˙

fry - in'

∑

Wheel!

44 w

œ

wa - gon

Ó

'n chew - in'

scars.

œ

˙

œ

œ

œ

∑

pan.

man.

œ œ 24 œ U

ite

œ œ

˙

fun - ny

24

∑ œ œ

œ

œ

˙.

Coax - in'

sing-in' em

Combed his hair with a

&

bour - bon.

œ œ. J

œ

œ

∑

œ

-

Œ

œ

œ œ œ

songs,

˙

BICK:

fa - vor

œ

hold my

œ

j œ œ.

'n

œ

œ

Pitch - in' tent

œ

∑

# & # œ 75

œ

œ

œ

gul - lies.

scratch-es

œ

Mak - in' up

##

our

œ

œ

œ

Œ

œ

wheel.

œ

˘ œ

∑

Wheel!

œ

œ

œ

died

˘œ

with

œ

œ

'N

died

with

a

'N

Wheel!

n w>

∑

w>

– 25 –

a

œ

œ

tooth - pick

œ

œ

tooth - pick

24 nœ

in

24 œ

in

œ

34

œ

34

his

his

Vocal

3. HE WANTED A GIRL

In 1

# # 3 (VASHTI) & 4 ˙. 79

heel.

# & # 34 ˙ .

(BICK)

& 91

& 99

& 105

&

111

&

##

(VASHTI)

œ

˙

laugh

## ##

œ

˙ œ

& 143

&

œ

I

can

œ

œ

œ.

locks on

##

in

œ

my

heart.

j œ œ.

œ

˙

keep

œ

up

in

j œ ˙

Œ

the door.

fan - cy 107

œ

new

˙

a

girl

U

œ

œ œ ˙

œ

œ

who

˙

In 1

œ

fid - dle

##

˙.

œ

live

G-6305/802/13-u

j œ œ. Œ

play-in',

˙.

keep.

œ

œ

œ

œ

œ

and

drums that

œ

go

œ

beat-in'

œ œ ˙.

˙.

œ

œ

˙.

U

œ

˙

hates dus - ty

œ

roads.

He

˙.

˙

˙.

was

˙.

with

meant

with

œ

to

œ

found him

a

drink-in'

U ˙.

147

girl

In 2

44 ˙. it.

– 26 –

˙.

put

j œ œ.

œ

want-in'

who'll

Œ

˙.

2

learn

148-149

and

Œ Œ

œ

œ

˙

girl

œ

˙.

œ

œ

He

j œ œ.

fit.

œ

jewels or

Œ Œ

œ

˙.

j œ œ. Œ ˙.

œ

Bour - bon

˙.

˙.

That's

Œ Œ

œ

j œ œ.

œ

But

hearts don't wear

œ

œ

Œ Œ

œ

127

hates dus-ty roads. Their hearts

##

can

Œ

œ

Rit. - in 3

Colla voce - in 1

œ

˙.

˙.

clothes

Hearts are jus'

œ œ œ

œ œ œ

œ

I

˙.

We'd

∑

˙

That's some - thin'

he was the one that my heart want-ed for.

##

œ

˙

œ

˙

˙.

˙

hearts don't dress

##

sleep.

œ

∑

Œ

œ

Œ

Poco rall.

˙

œ

want-ed

135

to

Œ

˙.

Œ

∑

A tempo (with growing intensity)

# j & # œ œ. &

œ

our - selves

some - thin'

119

125

˙

Œ

Œ

œ

heel.

83

Œ

œ

Giant

Œ

who

Molto rit.

œ œ œ œ

So I'll be the

˙

œ

to

U ∑

(Ens. chord)

Vocal

Giant

10

BBQ (Instrumental) Music & Lyrics by Michael John LaChiusa Cue: VASHTI: "I'll show you everything you need to know."

Bright

# & 44

1

& 16

&

Ó

Tpt.

Œ

œ

2

˙

œ œ œ 3

3

^ 3 œ ˙ Œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ œ .> > : 8

œ œ œ œ œ œ 3

3

4

#

12-15

#

Slower, more gentle Clar.

˙

G-6305/802/13-u

˙

˙

rit.

˙

˙

˙

– 27 –

˙

Fl.

˙

U

w

˙ Œ ‰ j œ

Vocal

Giant

11

HEARTBREAK COUNTRY (Bick, Leslie) Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: I'm frightened. (cue) BICK: I never wanted to and never would have married anyone else.

Moderato

#4 & 4

A

10

Flute

œ

œ ˙ œœ œ œ œ

œ

œœ œ œ œ œ œ œ œ ˙ œœ

œ

#

‰ œj œ

Œ

˙

did - n't tell the truth

# & œ œ œ œ ˙

14

had a - no-ther love.

#

j & œ. œ ˙ A tempo

23

Les

26

#

lie,

Pro

j œ œ.

-

œ

Heart - break

#

& œ

In

# & œ 34

And

G-6305/802/13-u

œ

Coun - try.

œ œ. J

my

blood I've

œ

œ J œ.

to

œ

ho - nor

That

they

œ

œ

œ

got

œ

those

œ

this

œ

be - fore me,

wed

you;

Œ

˙

œ œ

That I

poco rit.

˙

œ œ

œ œ

œ œ

You don't have to

˙.

Would-n't e - ver do

that.

∑

˙.

mise.

j œ œ.

call her.

œ

j œ œ.

œ

œ

œ

œ J œ.

Land - be - low and

œ

coun - try;

œ œ. J

œ

œ Œ œ œ œ œ œ

I would ne - ver force your hand.

œ

I

œ

the land with me, too.

j œ ˙

œ.

œ

œ J œ

œ.

œ

I ne - ver asked if you could love

Rubato, colla voce

& œ 30

œ œ nœ œ œ œ œ

˙.

-

œ

œ

the mo - ment that

œ Œ œ œ œ œ

an - swer yet.

# & œ

Ó Œ ‰ œj

∑

BICK:

I

& œ œ œ œ ˙

18

accel. œ œ œ #œ w

œ

Heart - break

– 28 –

œ J

œ

œ

œ

œ

fore

me.

sky

œ

Me - mo - ries of

œ

œ

those be

œ.

Coun - try

œ

˙

a - bove.

˙

has

œ

my

Vocal 38

2. HEARTBREAK COUNTRY

#

A little faster (BICK)

& w

Œ

œ

love.

# & œ

œ

j œ œ.

#

œ

œ J

42

& œ

In

# œ &

50

all

my

œ

bones I've

got

# LESLIE: j & œ. œ ˙ Show

œ.

me,

Jor

76 BICK:

& œ œ œ œ œJ œ .

-

Œ

A - ni-mals a - plen - ty.

coun - try.

j œ ˙ œ

bœ œ &œ œ œ œ J œ

83

plen - ty

87

&

###

G-6305/802/13-u

of co-yo - te

8

œ œ. J

me

˙

œ

œ

œ

œ

œ

And

œ

me

give

you

œ

to

œ

n

w

see.

œ œ 24 œ œ J

œ œ œ œ œ J ###

œ

seen.

an - ti - so - cial bad

‰ œ J

plen - ty of smarts

Let

œ

and have-n't

The pan - thers have gone

bœ œ bœ œ œ

œ

w

œ

˙

Hard and mean.

œ n Jœ œ .

œ

œ

œ

œ

share it.

Ev - 'ry thing there is

fi-erce lit - tle bob - cats.

with

œ

œ nœ

White-tailed deer and

œ J

œ

All you see

3 œ œ œ œœœœ œ œ œ 4 . & 4 œ œ œ œ . Jœ

And

j œ œ.

œ

79

Got wild pigs.

œ

Let

œ

œ

dan.

œ

Brighter

gi - ven;

∑

Heart - break Coun - try.

œ

œ . J œ

I've been

55

œ

this

œ

œ

this coun-try

œ

a - round us.

œ

œ J œ.

œ

All

œ.

∑

Ó j œ œ.

œ

Heart - break Coun - try.

46

Giant

œ

-

gers.

Œ œ bœ

˙

from these parts,

œ œ ˙.

44

œ

œ

But there's

Œ

Ó

cat - tle.

cue:(BICK:) It'll be the first purely American breed.

..

87-94

– 29 –

Safety

2

95-96

..

Vocal 97

& 101

& 105

&

3. HEARTBREAK COUNTRY

###

j œ œ.

LESLIE:

œ

œ

BICK:

œ

Heart - break Coun - try.

###

(BICK)

j œ œ

œ

œ

In

my heart

### œ

œ. œ

And

j œ œ.

œ

œ

are those be - fore

œ.

nœ J

Things may change,

in

j œ œ.

œ

Barbed wire

œ

œ

œ

me;

Men

with

œ nœ

nœ

but

œ

it's chang-in'.

œ

Giant

œ

œ

free

˙

Trucks and

cars.

œ

œ

œ

cou-rage,

nœ

my heart I'm

fen - ces.

œ J œ.

œ

œ

œ

True sur - vi - vors.

œ nœ . J

poco rit.

˙

and stead-fast

œ nœ

as

bbbb

the

BICK: The irony is, darlin', that as things get easier, it's harder to be a good steward to the land. 109

&

bbbb

Slower, warmly

w

œ

stars.

b & b b b 44 114

∑

Œ

∑

b & b b b 44 ˙

∑

Ó ∑

∑

œ œ

œ œ œ œ . œj œ œ œ ˙

&

(LESLIE)

˙

œ œ

œ œ œ œ . œj œ œ œ ˙

hawk will take care of it-self, but on-ly if we...

#### # & # 126

#### # & #

130

G-6305/802/13-u

(BICK)

œ

The

∑

œ œ œ œ œ

hawk will take care of it-self, but on-ly if we

bbbb

24 .. Œ

.. 44

LESLIE:

Ó

Œ œ

The

(BICK)

120

Safety - jump on cue

œ œ œ œ ˙

learn to love this land.

œ œ œ œ ˙

have to give me time.

˙.

take care of the land.

œ œ nœ œ œ œ

#### # # #w

Œ

˙.

‰ œj œ I

œ Œ Ó

w

j œ Œ Œ ‰œ

We...

œ

œ

œ

I'll

j œ œ.

swear I'll stand be - side you.

œ œ œ.

j œ œ

Œ ‰ œj

˙

You'll

poco rit.

œ œ ˙

œ

œ œ œ

Just give me pa-tience and the chance to learn what you know. Know that I will

– 30 –

Vocal

4. HEARTBREAK COUNTRY

A tempo

# # # # # (LESLIE) j & # œ. œ ˙ 134

#### # & #

make

mis-takes.

Œ

œ

I do.

∑

∑

Ó BICK:

œ œ œ œ

Ó

I would ne - ver

#### # & #

∑

# # # # # (BICK) & # œ. force

j œ

# # # # # (LESLIE) & # œ œ

˙

œ

Wait

for

Œ

œ

j œ œ.

œ

Heart - break Coun - try.

œ

Cruel and

∑

#### # C & # ˙

œ

#### # C & #

Give

#### # & # ˙

149

Give

#### # w & #

˙

me

me

time

œ

vio-lent.

∑ ˙ me

to

time

and

w

– 31 –

œ

œ

˙

know

˙

while

Œ

C

˙

un - der-stand.

∑

œ

time.

this

So much new to

C

∑

˙

˙

this

coun

-

try.

Œ

BICK:

œ

œ

œ

I'll

give

you

∑

œ

learn

j œ œ.

œ

∑ ˙.

to

˙

˙

∑

j œ œ.

œ

U

Ó

∑ ˙.

œ

œ

Moving forward - In 2

145

U

Molto rall.

(LESLIE)

Ó

your hand.

141

G-6305/802/13-u

j œ ˙

œ.

Don't be an - gry when

∑

138

#### # & #

œ œ œ œ

Œ

œ

Giant

˙

˙

˙

you're

wait

Ó

˙ -

ing,

∑

Vocal

5. HEARTBREAK COUNTRY

# # # # # (LESLIE) & # ˙ 153

# # # & # ##

Love

# # # & # ##

˙.

me,

love,

Rit.

Love

# # # & # ##

just

˙

˙

be

pa

˙ -

∑ U ˙

œ

nw

me

just

as

hard

∑

œ

œ

as

you

∑

Slightly brighter

w

œ

Œ

love

∑

∑

tient.

∑

œ

∑

˙

w

w

this

land.

∑

Ó

∑

Œ

BICK:

œ

I'll

#### # & #

∑

∑ œ

love you

just

#### # & # w

love

#### # & # w

Slower

#### # 4 & # 4œ

œ

˙

œ

as

hard

as

œ I

œ

me

œ

just

w

Œ

Ó

Œ

Ó

œ

˙

œ

as

hard

as

œ

you

w

love

U

169

#### # 4 & # 4œ

œ

Love

#### # j & # œ œ.

G-6305/802/13-u

and

œ

165

172

˙

∑

#### # w & #

160

œ

∑

#### # œ & #

157

˙

Giant

w

this

land.

44

U

w

w

this

w

land.

44

3

173-175

3

– 32 –

Vocal

Giant

12

RUEGA POR NOSOTROS (Lupe, Two Mexican Women) Music & Lyrics by Michael John LaChiusa

Cue: (Bick takes Luz's body from Polo. HE holds her to him.)

b & b 44

:B

U ∑

(Pod rattle)

Freely (e

f LUPE: b &b œ œ

4

128

∑

C

= e)

˙

b & b 98 Œ

Freely

8

j œ œ œ œ

Ru - e - ga por 12

&

bb

Freely - colla voce

œ œ ˙ lo - ma

Furioso

Do

‰

˙

de los sus-pi - ros.

j œ œ

Ru - e

G-6305/802/13-u

128

-

ga

por

œ

˙.

œ

no

.. -

œ

so

-

– 33 –

tros.

Œ

‰

j œ

de la a - mar-gu - ra.

œœ œ œ œ œ. œ ˙. 3

-

" 9 8

(gunshot)

jo de pa-ci-en - ci - a.

Rhythmically, not too fast Vamp

j œ ˙.

molto rit.

34 Œ

98

Œ

œ œ œœ œ œ œ ˙.

‰ œ œ ˙. Es - pe

Œ.

Œ

(to 4)

Pa -

U

de los per - di-dos.

j œ œ

Œ.

O-cé - a - no

3 3 b œ b ‰ œ œ œ œ œ œ œ & œ œ œœœœ œ ˙

b & b 98 Œ

Furioso

œ œ œ œ ˙

18

24

34 œ

lor.

no - so - tros.

œ œ œ œ œ

Com-pa-ñe - ra

-

j œ ˙.

œ

3

molto rit.

j 128 w . œ

del

j œ œ

molto rit. U 34 œ >œ >˙ > G

Ens. ƒ

D-F

œ œ œ œ.

Ma - dre

3

accel.

Fast, violent

∑

..

(to 28)

Vocal 28

&b

2. RUEGA POR NOSOTROS

b

∑

b &b &b

Alto Flute

œ œ

Œ.

b j & b œ œ œ.

œ œ œ œ.

lo - ma

de los sus - pi

Œ.

b & b Œ.

Œ

-

j œ œ

j œ œ œ.

b &b ‰ œ œ œ œ œ œ œ œ œ Com-pa - ñe - ra de los per di

b & b œ. pi

-

ros.

b & b ˙.

‰

j œ œ.

œ œ œ

O - cé - a - no

b &b œ di G-6305/802/13-u

Œ

j œ œ

jo de pa - ci - en

j œ œ.

dos.

œ.

j œ œ

œ.

œ.

œ.

œ.

-

pe

‰ œ œ Es

Pa - lo - ma

œ œ œ

de los sus -

j œ

jo de pa - ci - en - ci

‰ œ œ œ.

œ

no - so

Œ

œ.

œ.

Es - pe

‰œ œ œœœ œ œ œ

Com-pa - ñe - ra de los per

-

j œ œ

j œ œ

-

j œ

tros.

Ru - e

j œ œ

j œ œ œ œ

Ru - e - ga por

œ œ œ œ

j œ œ

jo de pa - ci - en – 34 –

de la

œ œ œ œ œj œ

œ.

j œ œ œ œ

œ.

a.

œ œ œ

a-mar-gu-ra.

j œ œ.

ci

j œ œ œ. œ œ

œ œ œ œ œj œ œj œ . de la

a - mar gu - ra.

j œ œj œ . œ

Œ. Œ

Es - pe

Ru - e - ga por

-

∑

do-lor.

O - cé - a - no

Com-pa - ñe - ra de los per di dos.

œ.

b &b œ œ œ œ

œ.

‰

‰ œ œ ˙.

dos.

40

a

de la

‰ œ œ œ œ œ œ œ œ œ œj œ .

j j œ œ œ œ. œ.

œ œ œ œ.

do-lor.

j œ œ.

36

a - mar-gu - ra.

O - cé - a - no

de los sus - pi - ros.

del

j œ œ.

j œ œ œ . œ œ œ œ œj œ œj œ . œ œ

‰

ros.

j œ œ.

j œ

Pa -

del

∑

œ.

Œ

œ œ œ œ

Ma - dre

œ œ œ œ j œ. œ

Ma - dre

j œ œ.

‰ œ

Œ.

œ.

do-lor.

WOMAN 1:

Pa - lo - ma

WOMAN 2:

b &b œ

Œ

∑

32

b & b œ.

del

∑

∑

j œ œ.

œ œ œ œ

Ma - dre

∑

b

j œ œ.

œ

œ

Giant

ga

no -

-

j œ

ci

Vocal

b &b

3. RUEGA POR NOSOTROS

43

&

bb

b &b

j œ œ

œ œ œ œ

por

œ

no - so - tros.

œ.

b3 &b 4 œ

œ

œ

Ru - e

y

˙

y

œ

ho - ra

b & b ˙.

y

51

muer

b & b ˙.

muer

b & b ˙.

muer

G-6305/802/13-u

˙. -

j œ œ œ œ œ

j œ ˙.

-

œ.

ga por

no - so - tros.

en

la - ho - ra

en

la - ho - ra

en

U ˙.

f Œ Œ ‰ j 34 œ œ A -

44 44 œ

f Œ Œ ‰ j 34 œ

œ

f Œ Œ ‰ j 34 œ A -

œ

A -

œ

œ

de

U ˙.

œ

œ

U ˙.

œ

la - ho - ra

œ de

œ

œ

œ

œ

œ

œ

nues - tra

œ

Œ

∑

U ∑

œ

Œ

Œ

∑

U ∑

œ

Œ

Œ

∑

U ∑

– 35 –

œ

nues - tra

Œ

te.

œ

nues - tra

de

te.

˙. -

œ.

te.

˙. -

˙.

no - so - tros.

44

œ.

j œ œ.

œ œ œ œ œ œ

˙

j œ ˙.

no - so - tros.

œ œ œ œ œ œ

ho - ra

b3 &b 4 œ

ga por

œ œ œ œ œ œ

˙

œ

-

por

j œ œ

ho - ra

b3 &b 4 œ

j œ œ œ œ œ

j œ œ œ œ œ

Ru - e - ga

œ.

a.

Ru - e

j œ œ

j œ œ

so - tros.

47

j œ œ

Giant

Vocal

Giant

12A

UNDERSCORE (BAWLEY AND LESLIE) (Instrumental) Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: I never should have come here.

Andante, Quietly

# # 4 (Flute) & 4 7

G-6305/802/13-u

8 1-8

Clar.

9

œ

œ nœ

– 36 –

œ

œ nœ

œ

œ

w

w

Vocal

Giant

13

LOOK BACK/LOOK AHEAD (Bawley, Leslie, Bick, Ensemble) Music & Lyrics by Michael John LaChiusa Cue: BICK: "Will you excuse me?"

Misterioso (rubato)

3 3 # # # # BAWLEY: 4 Œ Œ Œ œ & 4 œ œ œ nœ œ œ œ œ œ n˙ Œ

A

B

C

I see 'em. too, boy.

F

&

####

G

œ nœ

haunt me J

&

####

nœ

œ

œ

all

œ

night

œ

Bawl - ey, look

œ

nœ

back:

K

œ

look at

With a steady pulse

&

####

song.

&

####

&

Œ

˙.

H

nœ

œ

All

them

long.

####

1

I hear 'em, too, Bick.

w

nœ

œ

all

the

˙ ∑ ∑

œ œ nœ

Some - times I hear 'em call - in' me. They

œ

I

œ

L

œ

close and M

˙

sing - in'

œ

nœ

œ

their

˙

si

∑

bb

˙

say:

n˙ -

(to 1)

ren

∑ ENSEMBLE:

∑

bb

∑

j j j œ nœ œ œ œ œ nœ œ . œ

mem - ries come

bb

∑

E

œ

Be - ne - dicts

Ó

D

Ó

ENSEMBLE:

∑

Ó

Sop. & Alto P unis. Œ œ

Look

P Œ œ

Ten & Bari (8vb) unis.

Look

b &b ˙ 5

&

bb

Œ

back

˙

back.

G-6305/802/13-u

œ œ. Look

Œ

œ œ. Look

˙

Ó

˙

Ó

back.

back.

œ

Keep

œ

Keep

– 37 –

œ

me

œ

me

œ

œ

a - live.

œ

œ

a - live.

bœ Look

bœ Look

˙

Œ

back.

˙

back.

2 VOICES: (Sop.)

œ

Re

Œ

œ.

œ œ.

-

1 VOICE (Ten.):

Re

-

Vocal

2. LOOK BACK/LOOK AHEAD

b &b œ

9

(2 Sop.)

mem - ber

&

bb œ

(1 Ten.)

what I

œ

mem - ber

b & b œ bœ

13

j œ œ

bœ

(ALL)

œ œ J

what I

œ

mem ber what

b & b œ b œœ (ALL)

œ

mem ber what

b w & b w˙

17

here.

here.

b w &b ˙

Œ

here.

here

b &b ˙

21

back.

b &b ˙

back.

G-6305/802/13-u

Œ

j œ œ J bœ œ bœ bœ

I

Right

f Œ œ œ. œ œ. Look

f Œ œ œ. œ œ. Look

Re

˙

œ œ

. œœ

˙˙ ˙

Œ

˙ ˙

Œ

here.

>˙ . ˙. back.

>˙ . ˙. back.

-

œ

mem - ber

bœ

to

do.

Look back, look

œ œ

do.

you

you

w œ

to

œ œ. -

œ œ. Re

do.

-

do.

Look back, look

œ mem

œ

œ

œ

œ

œ

œœ

˙ bœ

bœ

back,

look

bœ

ber your pro - mise,

œ

b b œœ

Keep

F Keep Œ œ Ó

– 38 –

Keep

œ

œ

œ˙

me

a - live.

me

a - live

œ

œ

me

œ

Re -

f I'm Œ N œœ œ œ back.

I'm

back,

I'm

f I'm Œ œœ œ

˙˙

b b œœ œœ ..

˙˙

too

a - live

œ

Re -

b b œœ œœ .. too.

mem - ber your pro - mise,

FÓ Œ œ

œ

back, look

bœ

œ

œ

F ALL: div. Œ œ œ.

˙œ

œ

œ

j j œ œ œ. pro - mised.

what I

w bœ

Re

here.

bœ

j œ œ

j j œ œ œ.

F ALL: div. Œ œ œ.

pro - mised.

œ b œœ œ

œ b œœ œ

want - ed

what I

mem - ber

2 VOICES: (Bari)

Œ

j œ œ

œ

œ

-

Re

want - ed

œ œ

œ œ.

œ œ.

said.

I

Right

Œ

˙

said.

œ œ

œ œ.

2 VOICES: (Alto)

Giant

˙˙

œ Look

œ Look with

b b ˙˙

with

˙œ

œ

Keep

me

œ

˙˙

a - live

with

b˙ b˙

with

Vocal 25

&b

3. LOOK BACK/LOOK AHEAD

b

Ó

∑

Í b & b N ww &

Í w w

you. 29

œ.

b &b œ

32

Œ

œ œ œ

b . &b œ head.

Ó

∑

∑

œ. œ œ

˙

œ œ œ œ

b . &b ˙ way.

b &b œ 41

œ œœ œ

œ

œ

œ œ

œ œ œ œ

˙

œ

œ

œ

œ

œ œœ œ

œ œ

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

Œ

œ

œ

You got all

œ œ œ

œ

œ

œ

to - mor - row look - in'

œ œœ œ œ

œ œœ œ

œ

– 39 –

those

to - mor - rows up the

œ. œ œ œ œ œ œ ‰ œ J

o - ver

your shoul - der;

œ œ œ œ Œ œ bœ œ w

Thank you, Ma - ma, Thank you, Pa - pa, Thank you, Sis - ter, Thank you all, but

G-6305/802/13-u

œ

to the ghost be - hind you, "Thank you

œ œœ œ

Don't you stray.

You can't see

Colla voce

Say

œ œ œ

œ

for - ward.

œ

œ

Brought me to life, raised me well, but now's the time that I should look a -

œ œ. Œ

œ

(sung)

œ

Don't look back,

˙ ˙

Œ Ó

œ

œ

∑

Look a - head.

38

Œ Œ

∑

my child - ren,

Keep

my child - ren, Look a - head.

œ

Ó

j œ œ œ.

œ J

œ œ œ

˙˙

ma'am, you done me good. 35

j œ œ œ.

œ.

Look a - head,

you.

bb

b &b

BAWLEY: (parlando)

Brighter, with urgency

Giant

what's dead is dead.

Say

Vocal

4. LOOK BACK/LOOK AHEAD

b &b ˙

(BAWLEY)

45

&b &b

œ

œ

˙.

Look a - head

b

∑

œ œ. œ

œ my

œ œ.

Œ

child - ren.

Giant

w

Ó

67

Look a - head.

∑

∑

∑

Ó

f Œ œ œ.

ALL: SOP:

f Œ œ œ.

ALL: ALTO:

Re -

Re -

b

∑

? bb

∑

∑

∑

∑

∑

∑

∑

∑

f œ. Œ œ

ALL: BARI:

Ó

Re 68

&

bb w

˙

S.

mem

b & b œ bœ A.

mem - ber

b &b Œ

ALL: TEN:

fœ œ . Re

? bb œ bœ B.

mem - ber

G-6305/802/13-u

-

œ what

œ I

˙ œ

what

œ I

œ

ber.

Re

˙.

œ

said.

œ -

Œ

-

œ.

Re

-

˙. œ œ.

said.

Re

˙.

mem

-

œ

mem - ber

what

œ œ.

Re

-

– 40 –

ber.

œ bœ Œ

mem - ber.

œ œ. ˙

w

œ.

œ I

˙ -

œ bœ

œ

mem - ber

what

œ I

œ

˙

pro - mised.

œ

˙

œ œ. Re

œ

-

œ.

Re

-

œ œ.

mem - ber.

Re

œ œ.

-

pro - mised.

Re

-

œ

˙

Vocal

5. LOOK BACK/LOOK AHEAD

b &b œ

bœ

b &b œ

bœ

S.

72

mem - ber A.

mem - ber

b &b œ

T.

bœ

mem - ber

B. ? bb œ

bœ

mem - ber

& 118

&

bb bb

œ

œ

b >œ

>œ

>œ

>œ

w

what

I

want - ed

you

to

do.

œ

œ

bœ

what

I

want - ed

>œ

>œ

do.

œ

>œ

to

œ

b >œ

you

what

I

you

to

do.

œ

œ

to

do.

œ

œ

œ

want - ed

what

I

want - ed

bœ

œ

œ bœ

you

Giant

w

˙

œ

(to 81)

œ œ.

Œ

w

Look

w

back.

w

œ œ. ˙ Look

Œ

back.

œ œ. ˙ Look

back.

2

BICK: It's not the time or place for this. Luz is –

A little slower

81-82

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

BAWLEY:

j œ œ œ œ œ œ œ œJ œ œ J œ

œ.

I ain't say-in' don't re -mem-ber her. I ain't say-in' don't you grieve. But don't let her stop you from be - liev- in' in

b œ œ œ &b J J ˙

121

what you be - lieve.

b &b ˙

125

takes.

& 201

&

bb #

Œ

œ But

œ œ œ œj œ . ‰ œJ

Talk a - bout her.

œ

j œ œ œ œ . ‰ œJ œJ œ

Write books a - bout her.

Re - mem - ber

bœ œ œ bœ bœ

œ

tell her to

git gone now, for

'git' and

œ

œ

œ

˙ both

j œ œ bœ

her plea - sures and mis -

œ œ. œ your

œ œ

w sakes!

BAWLEY: The Queen is dead. Long live the Queen. It's your turn now. (cont'd)

4

3

129-132

133-135

poco rit.

∑

BAWLEY (to LESLIE): What is it you want to do tomorrow?

More reflective

G-6305/802/13-u

∑

poco rall. :

204

– 41 –

∑

#

(to 201)

Vocal

6. LOOK BACK/LOOK AHEAD

Colla voce

# ≈ LESLIE: j & œ œ œ œ œ œ œ œ œ 205

œ œ j œ œ

˙

# ≈ (to BICK) œ œ œ œ &

208

œ

œ

œ.

œ

I want a house that we'll build

234

& .. 238

j œ œ

Poco rit.

And I want to vi - sit you.

who'll play the pi - a - no.

w

j œ œ œ œ œ

œ

One

I'll ne - ver want to

leave.

BAWLEY: I'll consider that. (to BICK) What do you want? What do you want to look ahead to?

2

j bb œ w

Più mosso

213

(to 234)

214-215

(to 238)

234-235

BICK:

œ

œ. & ‰ b Jœ b œ œ œ œ œ

Ó

˙.

b &b w

œ

Œ

Ó

œ bœ

œ

w

What's done

is

done.

BAWLEY: Pull yourselves up tall. Go greet your guests-- there's a lot of folks waiting for you. BAWLEY:

b &b w

œ

(BICK)

Œ

dead.

b &b œ

œ

Look

˙.

œ

Œ

Ó

chil - dren. G-6305/802/13-u

œ

w

œ œ œ œ œ J

bb

I want to make you a house you'll ne - ver want to LESLIE:

Œ

leave.

œ œ œ.

‰ œj œ œ œ

œ

I want to eat that me - ringue you'll bake me.

Moving forward

‰ œj œ œ œj œ b œ œ J (to LESLIE)

..

I want a daugh - ter to make you smile.

œ

œ J

243

255

nn

2

Safety

I want a son to pass the ranch to.

252

I want child - ren,

œ œ œ œ œ

On your moun - tain, some - day.

& ‰ œj œ œ œ œ œ œ

247

j œ

œ

to - ge - ther;

# Œ œ & ‰œ œ œ œ œ œ œ œ (to BAWLEY)

œ

œ œ œ œ œ

œ œ

I want to go in - to the kit - chen and make a me - ringue.

211

Giant

– 42 –

œ

œ a

-

˙

˙

Look

a

BICK:

œ bœ

œ

What's dead

is

˙.

œ

head,

my

U w -

head.

Attacca

Vocal

Giant

14

DANCE MUSIC ("ROCHELLE") (Vashti) Music & Lyrics by Michael John LaChiusa

3

b & b b b b b 44

Bright Swing

Ó

1-3

VASHTI:

œ

œ

Where'd

b & b bbbb ˙ .

5

œ

go,

Ro

b & b bbbb ˙ .

œ

9

know

Ro

-

œ

œ

œ chelle

œ

œ

œ

œ

I

miss

œ

chelle,

-

Where'd you

8

b & b bbbb 13

you

bbb

21

13-20

œ

go?

Don't

∑ 15

(Dialogue)

bbbbbb

21-35

Ó

VASHTI:

œ

œ

Where'd 44

œ

go,

Ro

b & b bbbb ˙ .

œ

48

know

b & b bbbb 52

G-6305/802/13-u

(Dialogue)

Ro

-

-

œ

œ

œ

œ

œ

œ

œ

I

miss

œ

chelle,

chelle,

where'd you

you

9

you

so?

36-42

b & b bbbb ˙ .

œ

œ

˙.

œ

7

b & b bbbb 36

Ó

˙.

you

œ

go?

˙.

œ

˙.

Ó

you

œ

Don't

œ

you

∑

so.

^ ¿¿¿ ¿

Drs.

52-60

– 43 –

Œ

Ó Segue as one

Vocal

Giant

14A

DANCE MUSIC TRANSITION (Instrumental) Music & Lyrics by Michael John LaChiusa Cue: ADARENE: How lovely. (They join VASHTI and PINKIE, dancing.) :

Romantic Swing 16

b & b b 44 19

39

&

bbb

A tempo

G-6305/802/13-u

3

19-34

8

35-37

(pizz. Stgs, Tbn.)

39-46

38

3 47-49

– 44 –

poco rit.

50

∑

U ∑

Giant

Vocal

15

TOPSY-TURVY (Leslie, Bick) Music & Lyrics by Michael John LaChiusa Cue: BICK: ...not a Prohibitionist with a hatchet. 3

Sexy swing, moderato q q »q e

4

b & b b b b 44

1-4

œ . œj ˙

LESLIE:

œ . œj ˙

Jor - dan. 9

&

bbbb

. b nœ

. œ

Œ

Let's

13

&

bbbb

&

bbbb

& &

bbbb bbbb

œ

. b nœ

Œ

Œ

œ œ œ œ œ œ

I'm

b & b bbb œ

top - sy

get lost

Œ

not

. œ

Œ

œ œ œ

œ

crowd.

œ œ œ œ œ

nœ

œ

Œ

˙.

who 3

tur - vy; Let's

BICK: More shopping?

in the

care

∑

∑

œ

œ œ

œ œ œ

œ

We'll look at the paint - ings at the

b & b bbb œ œ œ œ bœ 3

o - pe - ra

G-6305/802/13-u

œ œ œ œ œ

nœ

is

lis - ten - ing

Œ

˙.

BICK:

Œ œ

3

œ œ œ Œ 3

That's not nor - mal.

25

29

Œ

œ œ œ œ œ

. œ

3

. œ

in the sub-way and scream-ing, "I love you!" out loud.

∑

b

Œ

and

œ

3

3

7-8

loose:

œ

in - to cha - os and

˙

when

œ

Œ

let

œ œ œ œ œ

nœ

right

b ˙

œ

3

New York Ci - ty

. œ

. œ

tur - vy; Let's

œ

œ 3

to

Jump

21

top - sy

˙

b ˙

Jor - dan.

œ œ œ œ œ

nœ

go

fly 17

Œ

2

œ

that's not

Met.

œ nœ œ

"O-pry.'

Œ œ

˙

And

3

œ œ œ œ œ œ œ go

to the o - ther Met,

œ

˙

œ bœ

Eat

food

that ain't

Œ

– 45 –

˙ beans.

˙

too.

œ

œ

We'll hear

‰ b œj œ œ And if you

Vocal

2. TOPSY-TURVY

b œ & b bbb œ bœ (LESLIE)

33

Œ œ œ œ œ bœ

œ œ bœ

want to see

a - ni-mals,

b & b bbb œ œ œ œ œ œ œ No one will know

41

&

bbbb

. b nœ

LESLIE:

Œ

Let's

. œ go

∑

nœ

œ œ œ œ œ

œ3

˙

œ

fly

off

in - to

˙

can't

œ

top - sy

∑

ther;

œ œ œ œ œ

top - sy

tur - vy; We'll

œ

un - known.

œ

œ

œ

tur

-

vy

œ

œ

But

I

Œ

A tempo

œ a

-

∑

w

lone.

Ó

Œ

BICK:

œ

œ

You

∑ (BICK)

b œ

see

œ

∑ j œ œ.

j œ œ .

van Gogh in

b & b bbb Ó

73

b & b bbb œ œ bœ (BICK)

Œ

Œ

Dal - las. LESLIE:

‰ j œ œ bœ œ

j œ œ .

It's

∑

∑

not a - bout shop-ping.

Ó

Œ ‰ œj

˙

You get the New - York - er in the mail.

j œ œ . Œ

‰ j œ

œ

j œ bœ œ œ .

There's Hous-ton or Aus - tin.

– 46 –

can

∑

‰ j œ œ œ œ œ œ œ œ œ

wan - na go shop-pin'?

G-6305/802/13-u

nœ

w

œ

∑

b & b bbb &

œ

some great

nœ

go

69

bbbb

œ

-

BICK: You need some lovin' now.

you.

˙

Poco tenuto, colla voce

b & b bbb ˙ b & b bbb

You need some lo - vin'.

˙ ge

œ nœ œ œ œ

œ

nœ œ œ œ œ œ œ

top - sy tur - vy; To

49

œ

No one will know

b & b bbb ˙

45

BICK:

zoo.

me.

Œ

Œ

˙.

we'll head for the

LESLIE:

37

Giant

You

˙

˙

Jor - dan...

∑

Vocal

3. TOPSY-TURVY

b & b bbb 77

∑

Suddenly faster Colla voce (LESLIE)

∑

∑

b j & b bbb ‰ œ œ œ Œ Œ Œ bœ œ œ 82

&

bbbb

(LESLIE)

b œ œ œ œ œ

than e - nough

b & b bbb ˙ . 85

earth.

With

b & b bbb ˙

89

ge

-

œ œ

96

&

bbbb

b nœ

œ

ther,

let's

find

œ

3

œ

100

& 106

&

bbbb bbbb

Come

œ œ œ œ œ to,

I

can't

go

3

change our lives.

To

Œ

known.

œ

œ

with

me.

˙

˙

Jor

-

,

U

nœ

œ œ œ œ œ

2x

3

dan,

"

w

top - sy tur - vy a - lone.

..

100-102

œ

œ

˙.

Rit, colla voce

A tempo, slightly slower than before

b

-

œ

˙

œ œ

w

un

œ œ œ œ

peo - ple on the

œ

our-chance to

a - way

˙

œ

A tempo

84A

We're the luck - y

œ œ

œ

j œ œ

j j œ œ œ.

Here's

some great

nœ

ling,

need

‰ œ

‰ œ

pos - si - bi - li-ties.

˙

Though I

∑

molto rit.

mo-ney. More than e - nough land.

œ

-

There's more

∑

j œ œ œ œ œ.

nœ

93

Dar

is:

..

103-105

(cue) BICK: And here I'd been feeling romantic. Give it to Jordy. (He exits.)

b

G-6305/802/13-u

∑

œ

That's a no sale.

˙

b & b bbb ˙

j œ œ œ œ œ œ œ œ Œ œ

Œ

˙.

nœ œ œ œ œ œ

œ

‰

What I'm try-ing to say

(BICK)

But New York?

Giant

,

U ∑

U w

Ens.

– 47 –

œ.

Œ

Ó

Vocal

Giant

16

WHEN TO BLUFF/ONE DAY (Jett, Lil Luz) Music & Lyrics by Michael John LaChiusa

Cue: JETT:...I read minds.

Swing, with an edge ? 44 œ œ # œ n œ

bœ

1

œ

œ

bœ

œ

bœ

œ

bœ

œ

Bass

œ

nœ

#œ

&

(cue) LIL LUZ: Everybody got five senses. JETT: But does everybody got the taste for the game? 5

&

7

(+Clar, Tpts.)

Vamp (vocal last x)

.. Ó

5-11

13

& ˙

bœ

feel

for

œ

œ

œ

12

Œ

the cards?

bœ

˙

bœ

œ

Eyes

that

don't

miss

a thing?

5

(cue) JETT: Do you read the pulse beats in their necks?

&

œ

œ

17-21

JETT:

œ

bœ

Got

the

œ

Œ

22

JETT:

œ

Can 23

& œ.

œ.

smell

who's

bœ

œ

Œ

œ.

œ bœ

weak?

Can

you

smell

bœ

œ.

who's

Ó

Safety (vocal last x)

.. Ó

œ

..

bœ

..

you

Œ

Ó

strong?

JETT: Can your ears pick up the takin' in of a breath that'll give away what the guy across the table has hidin' in the hole?

3

& 32

..

27-29

31

Freely JETT: 3

& Œ bœ nœ bœ

Do you got

G-6305/802/13-u

œ3

œ

the five

œ bœ bœ bœ 3

sen - ses

Safety

it takes

molto rit.

nœ to

– 48 –

b œ n œ b œJ œ . be

a

play - er?

..

∑ a tempo

∑

2. WHEN TO BLUFF/ONE DAY

Vocal

bœ œ bœ &Œ LIL LUZ:

36

Sure

˙

Ó

∑

&

39

∑

do.

∑

Ó

(swing 8's)

Giant

‰ œj b œ

œ

JETT:

∑

& ˙

(JETT)

bœ

œ œ

Œ

œ

‰

j œ bœ

œ

‰ j bœ œ œ

œ

with - out fear? 45

&œ

œ

cry

œ bœ

œ

j &œ œ

j j œ œ œ

that 53

& bœ

œ

sur - vive

& œ

œ

57

∑

&

œ

93

&

bb

Œ œ

b˙

do.

œ

you know

œ

œ

bœ .

j j œ œ ‰ œ

in your chair for a

long

time?

bœ the

-

‰ Jœ

œ

˙

œ

cards,

˙ œ

œ

j œ œ bœ œ œ

œ.

œ bœ œ

˙

‰ Jœ œ b œ

j œ bœ œ

Or will you

a strong

œ œ 55

œ

‰

when you smell

You need ga

j œ œ œ

Sure

Œ

e - nough?

‰

LIL LUZ:

&Œ

‰ œj b œ

Œ

hand

Can you count

Do 65

œ

œ

do you play

by?

œ bœ

œ

Can you sit

œ

œ

one

œ

high,

‰ bœ J

œ

a - way

Œ ‰ j œ œ bœ

the heat?

e - nough's 61

j œ œ

œ nœ

bœ

˙

Can you toss

you've been beat?

œ

you

Œ

œ

in - to your beer?

49

are

Do you throw

œ Œ ‰ œj b œ œ

b œ ‰ œJ

˙

When the stakes 41

∑

‰ œj b œ œ know-in'-when

tor

œ

Œ

Can

œ œ œ œ œ

blood, Lit - tle La - dy:

Œ

Ó

∑

when to bluff?

Œ

˙.

Œ

b˙ Sure

(to 93)

nœ

bb

do.

3

JETT: Even when you know it all, Luz Benedict, there's something no one can give you: Luck. And I'm a lucky man.

˙

b &b G-6305/802/13-u

Ó

94-96

4

I'd rather be lucky than smart cuz a lotta smart people ain't eatin' regular.

97-100

– 49 –

24

Vocal

b & b 24 .. ‰ j œ œ 101

3. WHEN TO BLUFF/ONE DAY

Safety (vocal last x)

œ .. œ

LIL LUZ: (swing 8's)

101A

I don't know

b j & b ‰ œ bœ

105

And I

109

I'm

ri

123

&œ

mark

& œ

127

When

139

&œ

œ

Hang-in'

out

œ œ bœ

un - der the

œ.

œ œ

can't

do some

œ

bœ œ œ œ

& ˙ b œ ‰ Jœ for

keeps.

fly - in'

œ J

œ J œ

ri - der

-

hor-se's

j œ œ

thin',

bœ

j œ œ

œ

œ J

bœ

œ

œ

œ

bœ œ J

hooves and

rump.

watch my

just learn to

œ œ œ œ œ J

œ Œ ‰ œj b œ œ œ œ b œ œ œ

-

in',

Sir,

'N

Œ œ œ Do the

Do the Su - i - cide

j œ

ma - ma

do

œ

jump!

it, you see.

Œ

Ó Ó

˙

j j œ bœ œ œ œ nœ œ Œ ‰ œ bœ œ

who's got the stuff. – 50 –

ly

j œ

œ œ œ œ œ

Œ

‰ œj œ œ œ œ œ œ œ œ I

j j œ œ œ

˙

e - ver seen.

Œ

œ

earth.

j œ œ Œ Œ œ

œ œ

j œ œ

se's

Œ

when I'm se - ven - teen.

j œ œ

want from the world, so I'm

I'm the girl

ain't

œ b œj œ

œ

this coun - try's

-

˙

œ œ J

I

nn

Œ

noth - in'.

fly - in' on

ty - in';

- de-o

œ bœ œ œ

j œ œ

œ

Œ

- ger.

œ œ œ œ œ

œ œ œ œ œ œ J

o - ver the hor

3

I

(LIL LUZ)

G-6305/802/13-u

œ

Œ

œ œ

Luck won't give me what I

143

bœ

Œ

bœ

Fly - in',

I'll be in the ro

œ

œ

œ

œ

Œ œ b œ œ œ œ œ œ œ œ

best trick

down

œ

œ

œ

Rop-in' 'n

my words, I'll be the

Drag: Head

&œ

Œ

œ œ œ

œ

œ

a - bout dan

ain't scared a - bout

œ

Œ

œ

œ

But I know

œ

I

der.

œ

& œ

‰ jœ œ œ œ œ œ ˙ œ œ

119

worth.

131

bœ

cow - boys.

˙.

back drag.

135

-

j œ œ

œ.

117

I know my

Œ

j œ ˙

œ.

œ

beat nine o - ther

& œ œ œj œ .

œ

'ga - tor blood.

œ œ œ

œ

I

œ

a bron - co

113

&œ

got

j œ œ

&‰ œ

a - bout cards.

bœ

˙

44 œ Œ Ó

102

œ

œ œ

Giant

gi - vin' it

to me!

œ Œ ‰ œ œ bœ ˙ œ . œ J J I got 'ga

-

tor blood.

Yeah, I play

˙

Œ œ I

Vocal

4. WHEN TO BLUFF/ONE DAY

&œ

œ œœ˙

149

w

‰ œj b œ œ œ œ œ œ

w

know how to fly!

155

&œ

JETT:

œ œ œ

j & œ œ œ œ. I ain't "Lit-tle

&

2

LIL LUZ: Got a match?

œ . œj ˙

I'm no "Lit - tle

Œ

U ∑

"

œ

Œ

Luz."

Slower, quasi rubato (straight e's)

8

(Dialogue)

(Fl. solo)

(JETT)

Safety (vocal last x)

.. .. Œ

Ó

Dust.

b Vb Œ

¯ œœ œ œ

Œ ¯ œœ œ œ

‰ œj œ

¯ œœ œ œ

Down. Down. Deep.

G-6305/802/13-u

¨ œœ

'N

dug.

Œ

Œ ˘ œœ œ œ

œ

Œ Ó Œ ˘ œœ œ œ

˙

One

day.

più mosso

:187

Did-n't find no nas - ty tur - nips.

‰ œ œ œ œ œ œ œ œ ¨ œœ œ

But I kep on dig-gin' 'n I

Œ

Ó

Dig

Rock.

Œ

dug.

‰ œ œ œ œ œ œ œ œ

..

JETT: end "swing 8's"

181

183

Went dig - gin' in - to that noth - in'.

b &b œ

bb

175-176

177-180

188

U ∑

2

4

Œ

'N

Darker, with a steady pulse

(cue) JETT: But didn't I tell you, Luz Benedict, there's something no one can give you and that's luck.

¨ œœ

∑

La - dy."

(cue) JETT: . ..our name's Claire.

Ó

(Bs. Clar.)

167-174

MEN 1: MEN 2:

b Vb

LIL LUZ: I'm Luz Benedict. ˘

∑

j b &b ‰ œ œ œ œ œ œ œ œ œ

182

œ œ œ œ

157-158

b & b .. 177

∑ œ . œj œ ‰ œj

LIL LUZ:

La - dy.

b˙ .

161

bb

œ Œ Ó

And I know when to bluff.

You're some Lit - tle

167

Giant

‰ œj œ

˘ œœ œ œ

'N

Ache. Sweat. Blood.

– 51 –

dug.

Œ

Œ

Œ

‰ œj

˘ ˘ ˘ œœ œœ œœ œ œ œ œ œ œ

Spit. Shake. Boy.

I

œ

œ

œ

œ

F> > > > n nn œœœœ œœœœ œœœœ œœœœ want it. Find it.

Want It. Find. It.

5. WHEN TO BLUFF/ONE DAY

Vocal

b >œ b &

(JETT)

192

Chase

> b œœœ b V œ

> œ

> œ

it.

Les - lie.

> œœœ œ

> œ

b &b Œ

>œ

>œ

>œ

> œœœ œ

up.

> œœœ œ

Break

> œœœ œ

down.

> œœœ œ

Down!

Burn

up!

Break

down!

Burn

Ó

‰ œ œ œ

196

>œ

193

Chase. It.

œ

(JETT)

Then the well blew

b bœ &b ‰

Dark, green co - lor

œ œ

in:

Blow-in'

3

&

˙ bb

Vb

œ

œ

And

I

(JETT)

b

me!

b &b

212

œ

Œ

touched!

Œ

œ bœ œ œ

˙

œ

œ

Down!

Down!

Down!

n œœœœ

œœœ œ

œœœ œ

œœœ œ

Down!

Down!

Down!

Down!

˘ œœœ œ

œ œ

b˙

as

fell

it

˘ œœœ œ

b &b Πb Vb

(JETT)

œ

˙

That day.

∑

‰

217

P

Œ

Œ

taste

b˙

Ó

> œœœ œ

> œœœ œ

> œœœ œ

And

then

I

œ nœ bœ œ

œ J

œ œ

œ œ

vate

pro

:

œ

œ œ

Up from out - ta that noth - in'.

Pri G-6305/802/13-u

œ œ œ œ œ

œ œ -

˙

– 52 –

Come a

sky!

per

-

œ b œ Jœ œ Jœ

and fall-in' on

>˙

>œ

> ˙˙˙ ˙

>it œœœ œ

heard

it

Heard

Œ Œ

w

223

œ œ œ œ œ œ œ

fif - ty mil - lion bar - rel field.

w w

œ œ -

bw

from the

roar.

216

œ

'fore fall-in' to earth

Saw

œ bœ bœ œ

˙

œ

3 j‰ œ bœ œ œ bœ bœ

œ

‰ ‰

Smelled!

Œ

œ nœ

œ

œ

o - ver the der - rick more than twice as high!

3

Touch (JETT)

œ

O-pen-in' up like a wo-man,

œ

∑

œ

195

œ œ œ œ œ.

Œ œ œ bœ œ œ œ bœ œ

3

Break-in' up at the top;

208

:

nœ

Turn-in' in - to gold

b & b Œ œ bœ œ œ œ bœ

204

n˙ .

œ œ bœ œ œ

œ œ œ. J J

200

Giant

ty.

Vocal

6. WHEN TO BLUFF/ONE DAY (JETT)

b &b œ

224

œ

œ

œ

Œ

œ

œ

Crude and light and sweet.

œ

œ

œ

Giant

œ J

j œ

œ

You know what the odds are?

œ œ œ œ œ

The

Œ

odds you got - ta beat?

3 3 3 b œ œ œ œ œ œ œ b b œ œ b œ œ b œ œ n œ œ ‰ Jœ œ Nœ œ ˙ bœ œ & b ‰ Jœ œ b œ œ œ

Freely

227

3

The odds are one in nine-hun-dred and six-ty nine. I'm Mis-ter One-in Nine Hun-dred and Six - ty Nine.

b &b œ œ œ œ œ œ œ Faster, with drive

231

œ

fif - ty mil-lion bar - rel field

235

& œ

˙

bœ

&œ

˙

ble, child.

246

& bœ

strike

& œ

249

game

&

257

bœ

can tell ya if there's

œ

œ

œ

nœ

and

ride

the

roll!

œ is

œ

bœ œ J

pret - ty

˙

blessed with luck.

Quietly, tensely

&w

G-6305/802/13-u

œ

œ J

œ

Got - ta

˙

œ

œ œ œ Got - ta have

Molto rit. colla voce

bœ

Œ œ œ. Got-ta

œ

œ

bœ

in

j œ bœ œ

˙

It's

a gam -

Œ

‰ œj

the soil.

No

œ œ œ œ bœ

œ œ

Got-ta chase the game and hope that you

chase

Œ

œ

‰

˙

is oil.

‰ bœ œ œ

oil down in that hole.

rough.

˙

œ

what's there

bœ

œ œ

card now

bœ œ œ œ œ œ œ

It's a game

œ bœ

œ

No tell - in'

& œ œ œ œ œ bœ œ œ œ sci - en - tist

œ

‰ Jœ œ b œ

˙

243

253

j œ bœ

‰

'Cept your hole

b˙

œ

w

Right be-neath my feet.

played wild.

239

j n œ Œ ‰ œ œ œ n

accel.

œ œ œ œ

Œ

With a

bœ

˙

the

oil!

bœ

œ

˙

‰ œj œ b œ

And gal, the

˙

˙

Œ

'ga - tor blood.

œ œ œ Got-ta be

œ œ bœ œ œ œ œ œ

˙

molto ten.

know what's yours.

Got - ta know

when to bluff..

Cue to cut off: (LUZ pulls the cork out of the bottle. The champagne spills over JETT and the floor.)

2

..

258-259

Vamp

260

– 53 –

∑

..

261

∑

Giant

Vocal

17

MY TEXAS (Bick, Vashti, Pinkie, Adarene, Mike, Jordie Jr., Leslie, Company) Music & Lyrics by Michael John LaChiusa Cue: BICK: Hell, every child in Texas can remember the first song we learned in school. :

10

, +VASHTI: j œ, j œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ . . œ œ œ

Freely, colla voce

& b 44

∑

"This is my Te xas. My Dear-est Te-xas. And I

& b œJ œ

15

+PINKIE:

Œ œ œ

BICK:

+ADARENE & MIKE: j œ œ œ œ œ œj œ œj b œ œ œ œ œ

mem-ber those Days of Glo - ry. I'll live to tell the sto - ry

pro - mise to love her till I die.

I'll re -

a tempo

œ œ œ. œ œ œ œ œ œ

œ

Of Might - y Te - xas and the Joy of Days Gone

PINKIE: This boy here knows the Shrine where Texas independence was born. (cont'd) 19

Brighter (Texas country feel)

&b œ Œ Ó

∑

7

21

accel.

24

21-27

By!"

b & b b b b 44 29

PINKIE: For it was at the Alamo, ma'am, where man made the ultimate sacrifice.

∑

Ó

Œ

b b b b b 44

∑ ‰

j œ

VASHTI:

We're

b j j & b b b b œ œ œ œ œj œ œj ‰ œ œ œ œ œ œ œ œ œ œj œ œ œj œ n œj œ ‰ œj

31

talk-in' 'bout the seige of the

A - la - mo When a hun-dred nine-ty Te-xans was fac-in' their doom. A -

j j œ œ œ œ œ œ œ œ . œ œ œ œ œ

b & b bbb œ . œ œ

35

œ œ œ

œ

œ œ

coup-la thou-sand Me-xi-cans sur- round-ed their fort and their Te-xas hearts was filled with dread-ful

38

& b˙

gloom.

. œ n˙ Œ ‰ # Jœ # œ œ œ œ œ # œ So

Tra - vis draws a line in the sand.

#œ œ #œ #œ œ J #œ . &

43

(PINKIE)

with us or

G-6305/802/13-u

Œ œ

39

PINKIE:

a - gainst us?"

#œ œ #œ œ

#œ

œ

œ #œ

Says, "Choose which side you're

œ

VASHTI:

œ

"Vic - to - ry or Death!" And – 54 –

#œ

œ

œ

œ

come that chil - ly

#˙

œ Œ #œ

on!"

˙

dawn.

nnnnn

"Are you

Œ

œ œ

Af - ter

Vocal

2. MY TEXAS

47

&

(VASHTI)

gi - vin' 'em a choice to stay or

leave,

j œ œ œ œ œ

Tra - vis

∑

&

j œ œ

Œ

˙.

#œ œ œ œ œ œ œ œ

Giant

#˙

Œ œ œ

Ó

Œ #œ œ

be - held a won-drous sight:

∑

∑

Not one

PINKIE:

Not one

51

&œ

œ

œ

Te - xan chose

&œ

œ

to

œ

leave.

Œ

b˙

œ

Te - xan chose

Œ

b˙

œ

to

leave.

rit.

œ

bœ

œ

Not

one

nœ

Te - xan chose

one

Te - xan chose

œ Not

Freely (Dictated)

55

&Œ

(VASHTI)

bœ

œ

('Cept for

œ

one

j œ œ

3

j œ œ

co - ward

œ

œ

œ

U

œ œ bœ .

who God kept a - live

œ œ

bœ not

to

fight!

b˙ .

œ bœ

not

Œ

b˙ .

œ

to

Œ

fight!

œ œ œ œ œ œ bœ œ œ œ

so's he could tell the sto - ry of how one JORDY JR: Nine of those Texans had Mexican names.

&œ œ œ œ œ œ

56

3

hun-dred and eight - y nine

68

&b

∑

nœ

œ

Tex - ans

œ œ œ ˙

œ œ œ. b ‰ œ œ œ œœ & J . œœ &b

œ œ œ œ œ œ œ œ œ œ

Time to come 'n sit

by the fi - re!

∑

j œ œj œ

Sa - cred sym-bols

G-6305/802/13-u

b

58

∑

∑ œ ‰ œ œœ œ . œ œ J œ. œ œ

‰ œj œ œ œj œ

∑ j œ œ œ œ œ

we

can't let

(to 68)

j œ œj ˙ œ

We got - ta share. -

∑

We got sto - ries!

∑

&b ‰ œ

A tempo

died for our free - dom.

We got sto - ries!

72

˙

VASHTI:

(opt. down an octave) PINKIE:

U ∑

3

go

of.

We wan - na show ya

‰ œj œ œ œj œ

We wan - na show ya

– 55 –

j 2 œ 4 œ

how

much

j 2 œ 4 œ

how

much

œ

we

œ

we

cue: (JORDY JR:)

Vocal

3. MY TEXAS

Giant

We came as immigrants.

Vamp

molto rit.

& b .. ˙

.. 44 ‰ œ

& b .. ˙

.. 44 ‰ œ

76

77

care!

We

care!

j œ œ.

œ œ

j œ œ.

œ œ

got sto - ries.

We

(to 115)

78

œ

œ œ œ

œ

œ œ œ

Time to come

got sto - ries.

Time to come

JOR: When America went to war with Mexico, it was a land grab. All the Benedicts gave the Mexicans was 5 cents an acre. BICK: That's more than enough. LESLIE: Jordan. JOR: You can't say it's history if it's full of lies. BICK: If you can't apologize, I strongly suggest you go. Now. (JORDY exits.)

U ∑

&b

117

& 120

#

BICK:

œ

(BICK)

& ˙

die.

œ.

is

Œ

U œ œJ œ

my Te - xas.

œ œ

+VASHTI:

œ J

œ J

My

œ

I'll re - mem - ber

by

œ œ œ œ

and sit

by

œ

œ œ

œ

the fi - re.

the fi - re.

U ∑

(starting slowly, then building in tempo)

"This

#

and sit

œ œ

BICK:Weren't we singing our song?

(long hold)

115

œ œ œ œ

œ

œ

œ œ œ œ

Dear - est

Te - xas and

I

œ

œ.

pro - mise

#

œ

œ

to love her till

I

œ œ

œ

cresc. + accel. poco a poco

œ J

œ

those Days

œ

of

œ

œ

Glo - ry;

j œ œ

+PINKIE:

I'll live

j œ bœ

to

œ

œ

œ

tell the sto - ry

V.S.

G-6305/802/13-u

– 56 –

Vocal

123

&

S.

A.

T.

B.

& & V

4. MY TEXAS

#

BICK, VASHTI, PINKIE:

œ.

œ

Of

#

Might

-

SOPRANOS:

œ.

œ

Of

#

Might

y

y

#

?# Ó 126

This

j œ. œ œ œ

is

my Te - xas.

j œ f> œ œ œ œ & œ œ .. œ J œ > PINKIE: BICK:

& œ >

This

A.

B.

œ

and

the

Joy

of

œ

œ

œ

œ

Te - xas

and

the

Joy

of

∑

Ó

∑

TENORS:

œ . œ œJ œ

is

my Te - xas.

j œ. œ œ œ

œ J

My

>œ

œ J

My

œ J

>œ

Days

Gone

œ

œ

Days

Gone

By!"

œ

œ

Days

Gone

w

By!"

œ

œ

œ

Days

œ

Gone

w

Days

Gone

ALTOS:

œ

œ

œ

œ

œ

and

the

Joy

of

>œ > œ > >œ

Dear - est

is

my Te - xas.

My

Dear - est

V œ >

This

is

my Te - xas.

This

my Te - xas.

? >œ

œ

of

Dear - est

j > œ œ œ J >

œ

Joy

BARITONES:

& œ >

This

T.

œ

œ

More march-like, strident

f & >œ

œ

Œ

VASHTI:

S.

Te - xas

œ œ -

œ

œ

œ œ

œ œ œ œ

Giant

œ

n

w

By!"

n

w

n n

By!"

w

n

By!"

œ œ œ> . œ >œ œ Te - xas and I pro - mise to love her till I > > > œœ œœ œ œ œ œ œ œ œ . œ œ œ œ œ. œ > > > œ œ œ œ

Te - xas and I

>œ

œ >

>œ .

pro - mise

œ >œ œ œ œ

to love her till

I

œ œ œ >œ œ

die.

> ˙ > >˙

die.

>˙

œ >

œ >

œ . œ œJ œ

My

>œ

œ. > Te - xas and I pro - mise to love her till I > > œ >œ œ œ œ œ œ œ. œ œ œ

Dear - est

>œ

Te - xas and I

œ œ œ œ

pro - mise

>œ .

to love her till

> œ œ œ œ œ I

die.

is

My Dear - est

Te - xas and I

pro - mise

to love her till

I

die.

œ . œ œJ œ

G-6305/802/13-u

œ J œ J

>œ œ

>œ œ

œ œ œ œ

– 57 –

œ >

>˙

>œ

die.

>˙ ˙ >˙

Œ œ œ

I'll re -

Œ œœ œœ Œ œ œ I'll re -

Œ œ œ

I'll re -

œ Œ œ

I'll re -

Œ œ œ

I'll re -

Vocal

> & œJ

130

>œ

VASHTI:

> BICK: j œœ & J >

œ J bœ

mem - ber

those Days

> œœ >

j œœ b ˙œ J

PINKIE:

S.

>œ & J

>œ

œ J

mem - ber

A.

T.

B.

>œ

mem - ber

>œ

those Days

mem - ber

those Days

(VASHTI)

> & ˙ >

(BICK)

(PINKIE)

B.

œ b˙ J

of

œ

œ

of

Glo - ry;

Days

Gone

Joy

of

& ˙ >

˙ >

>˙ Days

> ˙ > >˙

# >˙

Gone

>˙

Days

>˙

Gone

> ˙

>˙

of

> ? ˙

of

>˙

Days

>˙

Gone

Joy

of

Days

Gone

V

Joy

G-6305/802/13-u

>˙ >˙

:

to tell the sto - ry

Of

> œ b œ˙ œ œ œ J >

> œ > œ >

> œ

> œ.

> > > > > œ œ œ œ œ

> œœ . . > >œ .

> œœ > >œ

Might - y Te - xas and the

> œœ >

> œœ >

> œœ >

> œ œ > >œ >œ >œ >œ

Of

>˙

j œ b >œ œ œ œ

to tell the sto - ry

>œ œ œ œ

œ >

Of

Might - y Te - xas and the

I'll

tell the sto - ry

œ >

Of

>œ

Might - y Te - xas and the

Of

Might - y Te - xas and the

j œ œ >

I'll live

>œ œ J

œ b >˙ J

to tell

p LESLIE: w˙ ˙ p w

> j bœ œ œ œ > œ

tell the sto - ry

I'll

139

Giant

bœ œ œ œ >

I'll live

of

>˙

>˙

œ

œ

> ˙

> ˙ >

> ˙œ œ J > >

œ

Glo - ry;

# >˙

> ˙ >

I'll live

Glo - ry;

> ˙

>˙

Joy

T.

œ

those Days

Joy

A.

œ

mem - ber

>œ ? J

&

œ œ

œ

Glo - ry;

œ

œ J bœ œ J

œ

œ

>œ

>œ V J

œ

œ

of

> & ˙

S.

of

those Days

>œ & J

133

œ

œ

>j > œ œ > >

5. MY TEXAS

Days

˙

˙

gone.

Months gone.

Might - y Te - xas and the

œ. > >œ . >œ .

˙ Years

˙

gone.

œ œ œ œ œ > > > > > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ

˙

rit.

œ

In your

∑

∑

∑

p ˙.

Œ

∑

∑

∑

p ˙.

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

p w p ˙.

Œ – 58 –

œ

Vocal 143

6. MY TEXAS

Slower

& œ

(LESLIE)

Te

146

&

147

&

###

-

˙

xas.

œ

I

œ

come

this

### œ &

˙

# # & # nœ

œ

### œ &

œ

my

œ

œ

ne - ver

rall.

152

learn

œ

bi - go - try

b &b b œ

Faster

153

Te

157

&

bbb

-

˙

to

œ and

Œ

œ

œ

œ

nœ

œ

œ

sing

œ

œ

œ

œ

nœ

love

your

œ

œ

land

and

all

œ

œ

Ly - ing

to

-

œ

œ

œ

œ

in

your

your

œ

your - selves

be -

Œ

œ

I'll

œ

œ

val - ues

and

œ

œ

œ

j œ

‰

xas.

œ

œ

œ

œ

œ

des - pise

Te

œ

xas.

œ

44 œ

œ

-

word; Where I've

I

œ

Œ

˙

œ

a

per - son

a - bout your

nar - row minds;

œ

say

œ

A

ver

œ

œ

r œ

nœ

-

Te

ne - ver

œ ≈

ne

### 4 4 œ

a - bout

3

œ

your

your

VASHTI: Whyn't we take a break before dressing and head to the bar. (cont'd)

154-156

xas!

Slower, poco rubato

G-6305/802/13-u

your

and - I

24 nœ

I'll

œ

want

per - son;

œ

œ

œ

œ

œ

œ

148

151

œ

son;

o - ther

Te - xas.

not

œ

œ

hurt

œ

œ

do

œ

Where you

###

œ

-

œ

24 œ

Giant

3

U ∑

157-159

– 59 –

bbb

Vocal

Giant

18

UNDERSCORE (LESLIE AND JETT) (Leslie) Music & Lyrics by Michael John LaChiusa Cue: JETT: ...without reading about you in the paper.

16

Espressivo

### 4 & 4 17

& 24A

& 33

&

1-16

6

###

Œ

17-22

LESLIE:

œ

œ

Out - side

### ###

6

∑ Slower

G-6305/802/13-u

rit.

25-30

œ œ

œ

your win

-

˙.

dow.

2 31-32

8

2

33-40

41-42

– 60 –

U ∑

Vocal

Giant

19

ACT ONE FINALE (Jett, Bick, Company) Music & Lyrics by Michael John LaChiusa

Cue: JETT: You don't see it, do you?

Tensely

9

### 4 & 4 b &b ‰

j œ

15

JETT:

œ

œ œ œ

Out - side

4

b b ..

10

1-9

your win

-

œ

dow,

œ œ

œ

times

œ

is chang

-

b & b bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ Œ b &b œ œ œ œ œ œ œ œ œ

20

in what is past?

œ bœ ˙

b &b ˙

24

‰

teed.

œ

œ œ

bœ

Some-one who knows

b &b w

27

˙.

Œ

need.

P SOP. & ALTO: b & 44 œ œ 33

j œ

> ˙

I'm

the

man

you

Heart - break

Coun - try,

that

Heart - break

œ.

w

P TENOR & BASS: & b 44 œ œ

G-6305/802/13-u

j œ

Coun - try.

œ

they

Why

‰ œ œ œ bœ

Mill-ions ev'-ry month. Mo-ney guar-an-

‰ œ œ œ bœ I'm the man you

JETT: Thank you for listening.

24 ..

b w

Safety

∑

.. 44

need.

j œ

call

BICK: Reata is a cattle ranch.

œ.

her.

w w

– 61 –

œ J

œ œœ œ œ œ œ

need.

b >˙

œ

‰ Jœ œ

That's the man you

>˙

‰

in', chang - in' fast.

˙

>˙

œ.

œ œ œ

bœ œ œ œ

‰

oil.

œ œ œ

..

∑

14

‰ œ œ œ bœ ˙

Not in cat-tle feed.

˙

Safety

Out - side your win - dow, you got gold

‰ œ œ œ bœ ˙

be-neath your feet. Put your stock in oil.

.. ..

10-13

17

put your stock - in cat - tle? Why in-vest

BAWLEY: ...til he's finished. Mr. Rink?

Vocal

2. ACT ONE FINALE

œ œ œ & b ‰ œj œ œ

36

BICK:

This land is cat - tle land.

40

&b Ó

S.

A.

T.

B.

S.

You may get rich from oil,

œ

Land be - low and

sky

Land be - low and

œ

&b

∑

?b

∑

T.

B.

œ œ œ

his - to - ry,

œ

our fam-'ly's

œ. œ œ J

œ

œ œ ˙.

le - ga - cy.

œ œ

œ œ

but it's our le - ga-cy we'll lose. A hun - dred years of work and

œ œJ œ .

w

∑

œ ˙

w

∑

w

∑

w

∑

a - bove.

F w sky

a - bove.

F w

Sky.

Sky.

œ

œ

˙.

∑

sa - cri - fice.

&b

∑

F

Ó

&b

˙

&b ?b G-6305/802/13-u

∑ ∑

w

In

∑

w

œ

In

œ my

P œ

∑

∑ œ

∑

∑

Blood. A.

is

œ œ œ œ j œ œ œ œ œ ‰ J œ œ œ œ

‰

F & b œ œ œj . œ

&b

Be-neath our feet

œ J œ œ œ

(BICK)

F & b œ œ œj œ .

44

‰ j œ œ œ. œ

Giant

In

j œ œ.

œ

blood I've

œ

j œ œ.

got

my

blood I've

got

œ

– 62 –

œ this

œ this

œ

œ

w

coun - try.

bœ

œ

coun - try.

w

œ

˙

my blood.

P P

Vocal

3. ACT ONE FINALE

48

&b

S.

A.

T.

B.

∑

&b

∑ œ bœ

In

˙

∑ ∑

∑

∑

p œ œ œ œ œ ?b

F œ œ

∑

F œ œ

w

∑

bœ œ œ œ œ œ œ œ &b

œ

F &b ˙

w

53

˙

a - ta was cre - at - ed for their chil - dren

Me

A.

B.

mo

∑ j œ œ.

-

œ

œ

-

b˙

mo

-

œ

œ

œ

œ

œ

œ bœ

˙

Me

j œ œ.

Me - mo - ries of

those be - fore me.

œ bœ œ œ

and their chil - dren's

w

ries

œ

chil - dren.

œ

più mosso

œ Œ Ó

p œ Œ Œ œ p œ Œ Œ œ

The

w

w

&b w

w

w

?b w

w

G-6305/802/13-u

F

those be - fore me.

& b œ œ ˙. ries

T.

˙ -

œ

∑

Me - mo - ries of

In my blood.

S.

Œ

Ó

∑

w

my blood.

& b œ ˙. &b

∑

∑

(BICK:)

Re -

p

∑

Giant

p œ Œ Œ œ

The

p œ Œ Œ œ

The

w

The

– 63 –

Vocal

4. ACT ONE FINALE

57

S.

&b ˙

hawk

A.

œ œ

w

will take

care.

hawk.

B.

?b ˙

hawk

j œ œ œ œ ˙

Care of it - self

but

œ œ will take

on - ly if

Care of it - self

but

w

on - ly if

Ó

care.

5

&b

œ

œ

œ œ œ

we take care of the

œ

we

œ

poco accel.

w

land.

w

œ

œ œ œ

œ

land.

œ œ œ

w

take care of the

j œ œ œ œ ˙

œ œ œ œ.

&b w

œ œ œ

On - ly if

œ œ œ œ.

&b w

hawk.

T.

Ó

Giant

we

œ œ œ

œ

take care of the

land.

On - ly if

we take care of the

land.

œ

œ œ œ

w

4

#

67

62-66

U ∑

67-70

Rubato, colla voce

#p & œ

BICK:

72

In

&

#

œ my

œ œ. J

heart are

2

Maestoso, faster

G-6305/802/13-u

œ

œ

œ

those be - fore

œ

œ

œ

me;

Men

with

œ œ. J

œ

cou-rage.

True

2

accel.

76-77

78-79

– 64 –

œ

sur - vi - vors...

poco rall. 80

∑

U œ

œ

81

∑

Giant

Vocal

20

OUR MORNINGS/THAT THING (Bick, Luz) Music & Lyrics by Michael John LaChiusa

4

### 4 & 4

:

49

Quiet, with tenderness

49-52

### . Π. & 53

Safety (Vocal last x)

BICK:

œ

œ

I

### Π&

57

œ

œ

miss our

œ

I

œ

œ

morn - ings.

œ

œ

œ

I

miss

our

### Π&

œ

œ

65

On - ly

### œ &

68

œ.

turb our

œ

œ

birds

œ

œ.

five

a.

Re - a - ta

œ

Œ

˙.

œ

œ

‰

œ

out - side

œ.

m.'s

# # # ‰ LUZ: j & œ œ œ œ œ œ œ œ ###

What's got - ta be done be - fore the

‰ Jœ

G-6305/802/13-u

BICK:

œ œ œ œ œ œ œ

What's got - ta be done be - fore the

dawn

œ

j œ

˙

would break.

più mosso

Œ

˙. œ

œ

And

sit - tin'

still

j œ

œ œ.

œ

œ

œ

œ

œ.

œ.

fore our

dai - ly

œ œ œ œ ˙ œ œ œ œ ˙

end of the day.

‰

j œ œ œ œ

to

œ

œ œ œ

dis -

œ

talk

of

œ

œ œ

œ

œ œ

What hap-pens next month if

‰ Jœ

j œ

œ.

gump - tion

œ.

˙

with you.

Pull back slightly, more expansive

end of the day.

– 65 –

œ

œ œ

œ œ. J

Would have the

be

œ

œ

and the world came a - wake.

cof - fee.

œ

the

œ

œ

œ œ

Meno

70

&

‰ œj œ œ .

time be - fore

# # & # Π61

œ

Be - fore the

œ œ œ

œ

miss our

œ

.. Œ

œ ˙.

What hap-pens next month if

œ

the rains

œ

the rains

Vocal 73

&

###

2. OUR MORNINGS/THAT THING (LUZ)

œ œ

œ œ

œ

Œ

œ

don't come as planned.

# # # (BICK) œ œ œ œ & &

###

&

###

œ

œ Œ

œ

& &

###

œ œ œ œ œj œ .

œ

‰ œj

œ œ œ œ œJ œ .

œ

‰ œj

cost - in' us mon - ey.

œ

œ œ œœ œ œœ œ

œ

œ œ

œ

œ œ

78

Who's watch - in' our

Who's watch - in' our

Faster

Œ

˙.

Œ

What's

j œ œ œ œ ‰ œ

œ

˙.

j œ

What's

∑

land.

‰ œJ œ œ œ œ . J

land.

I'd want a sto - ry.

(cue) LUZ: That's right and when he came into thekitchen in the morning with one pant's leg in his boot and the other out, it was time to clear the room.

∑ Œ

œ

### . . &

4

∑ œ

œ

œ

One from our

86

Safety

œ

82-85

œ ˙

grand - pa's time.

G-6305/802/13-u

œ J

œ

œ

had

a

BICK: vocal last x:

∑

‰

He

# # # LUZ: ‰ œj & œ

..

∑ œ J

œ

œ œ œ

œ

Like all you Be - ne-dict men.

∑

œ

Œ

Ó

(to 91)

Ó

91

‰ œj œ œ LUZ:

E - nough of

∑ – 66 –

..

œ.

tem - per.

BICK: The time he told the lawyer he didn't know dung from wild honey.

88

###

4

∑

### . . &

&

œ œ œ œ ‰

Which hand's work - in' hard e - nough and which hand is not.

cost - in' us mon - ey.

###

80

œ œ œœ œ œœ œ

Which hand's work - in' hard e - nough and which hand is not.

don't come as planned.

76

œ

Giant

∑

j œ œ.

Ó

sto - ries.

∑

Vocal

3. OUR MORNINGS/THAT THING

&

###

&

###

93

Slower, colla voce

œ

œ œ œœ œ œ œ œ

Here's what's got-ta be done be-fore the

24

∑

Safety (Vocal last x)

b & b .. Ó

104

24

(LUZ)

Œ

BICK:

œ

105

.. ˙ œ

What's that

œ œ œ œ

end of the day.

Œ

œ

œ

Vamp - Jump to 104 on cue più mosso 8

œ bœ œ œ œ œ

b & b bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ 5

clear as the shape of his nose or lips or

b &b œ

œ

b &b ˙

Œ

œœ œ œ

œ

œ

born

œ œ œ

œ œ bœ œ œ œ œ ˙

b & b bœ œ œ œ œ

Œ ‰ j œ œ

5

cra - dled in my hand.

b . &b ˙

˙

œ œ œ œ

125

Œ

son.

b &b ˙ 129

b & b bœ

Time to put

œ bœ œ œ bœ

screamed like

G-6305/802/13-u

him on

a ban - shee till his

That thing you know right a - way. That

œ œ œ œ œ ‰ Jœ œ

Ó

Œ

œ œ

He was

œ

œ

œ

would go: That's my

Œ

son.

Œ

œ

œ

He turned

œ

bœ .

soft - mouthed roan

bœ bœ bœ bœ œ

mo - ther took him off – 67 –

œ

œ œ œ œ

I know. And proud - ly I

w

his horse. A

œ œ

œ œ œ œ œ œ ‰ Jœ

I swore I'd pro - tect ev - 'ry hair on his head that I

œ œ œ œ b œ œ œ œ œ ‰ œj œ

three.

133

œ œ

My

Œ

As

Œ ‰ œj b œ œ œ œ œ œ œ œ œ œ œ œ

I'd teach him all

œ

Œ ‰ œj

That's my son.

with a bruise on his ear just like a brand.

121

˙

œ œœ œ œ Œ w œ œ

˙.

113

.. b b

but re - cog - nize?

Œ ‰ j œ ˙ œ

co - lor of his eyes.

thing that makes you say: That's my son.

117

8

∑ œ

.. b b

96-103

What's that thing you can't help

108

112

Ó

˙

44 ..

∑

œ

thing?

44 ..

95

Giant

œ J

as

bœ œ and

I

œ b œ œ œ œ œ ‰ œj

gen - tle as a lamb.

He

bœ

œ œ œ œ

œ

said

to my self:

Well

Vocal

4. OUR MORNINGS/THAT THING

b & b ˙.

136

(BICK)

Œ

˙

damn.

b & b ˙ Œ ‰ œj b œ mine?

Who's this

boy?

œ œ bœ œ œ œ œ

œ

œ

œ

Who's this boy

who by all

ac - counts is

œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ

œ œ

Who learned how to read by the time he was six; Ev - 'ry word gets in - side of his head and sticks; He

b & b bœ

œ

b &b œ

œ

œ œ œ

œ

knows who

145

Œ

˙

œ

œ

Damn.

140

143

138

Giant

œ

A - lex - an

œ œœœ œ

der

œ

œ

œ

bœ

œ

is,

and

œ œ œ

where the hell

œ

œ

œ

œ

Mount Et - na

œ œ œ œ œ œ œ œ œ

is;

œ

He

œ œ œ bœ œ œ œ

œ

knows what makes a bullfrog jump; Knows why the pla - nets spin a - round. Works as hard as a - ny ranch - hand;

b &b œ œ œ

148

œ bœ œ

œ œ

œ

œ œ œ

œ œ œœ œ œ œ œ œ œ

œ œ œ

Rides a horse fine, does his chores; He minds his mo-ther, knows his manners; Tell him that he's done well, he goes,

b &b œ

œ œ œ

b &b œ

œ œ œ

151

œ

œ

œ œ œ

œ

‰

œ œ œ

"Thank you, Pop - pa, Thank you, Pop - pa."

153

"Thank you, Pop

155

&

bb

œ

-

œ œ œ œ œ

Rid - in' back

œ

œ pa,

œ œ œ

And he looks

œ

‰

Thank you, Pop - pa."

œ

to his books.

Œ

œ

down at his boots.

œ

Work is done and

œ œ œ

œ

˙

Glassy

œ

œ

œ œ œ

off

he goes.

senza rit.

œ

"Thank you, Pop - pa."

b & b bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 158

œ œ œ

œ œ œ œ œ

Œ

œ

œ

Ne - ver:

3 œ œœœ œ œ œ œ

˙.

bbbbb Œ

"Pop - pa can I stay out and ride till the moon comes out. Pop - pa tell me all that you know.

b œ œ œœ œ œœ œ œ & b bbb

162

Let me ride the stal - lion.

G-6305/802/13-u

œ œ œœ œœœ œ œ Show me how to do – 68 –

it.

j œ œ

j œ Jœ œ

rit.

j œ ˙.

Take me where e - ver you go."

Œ

Vocal

5. OUR MORNINGS/THAT THING

colla voce

b & b bbb œ

(BICK)

166

Take me

b &b ˙ 171

œ

It

beats

w

and

œ

force him to want all the things

œ bœ œ I have

œ

I

œ -

want? Is

œ

got

œ

5

that what

.. Ó

.. œ œ

Œ

It' beats

n't

bœ

œ

Safety (Vocal last x)

Œ Ó

œ

no.

œ

me

œ œ œ

œ œ œ

A little faster

But

œ

œ

œ

me.

b & b bœ

˙

where - e - ver...

Œ

174

œ

œ

˙

bb

Giant

Cue: BICK: He's seventeen and already there!

œ

œ a

œ

Œ

˙

‰

œ œ

clue.

Do I

œ

˙

Œ ‰

fa - thers do?

œ œ

Does he

b &b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ 177

have to like what I like?

Does he have to knowwhat I know? Does he have to do what I do?

b &b œ œ œ œ œ œ œ

œ

180

have to be

184

&

bb

like

I am?

˙

˙

truth

œ

Beats

Œ

me.

œ

œ

3

œ

œ

me

all

that

you

202

œ œœ œ œœ œ œ

Show me how to do

G-6305/802/13-u

it.

said and

My

197

j œ œ

˙

Œ

œ

done.

poco rit.

œ œ. J

The

˙

(to 193)

nn

son.

On cue

.. œ œ œ œ œ œj œ (BICK)

"Pop - pa can

Pop - pa tell

is

œ

son.

193-196

œ œ œ

all

œ

He's my

4

&œ

œ

œ

Cue: BICK: You should hear her...

199

&œ

Cuz when

œ

œ œ œ œ œ Œ œ

Vamp - jump on cue

& ..

œ œ

˙.

œ

is:

Œ

˙

Does he

j œ œ

œ

Œ

j j œ œ œ

j ### œ w

know.

œ œ œ

Let me ride

– 69 –

œ

I stay out and ride till the moon comes out.

˙.

Take me where e - ver

œ œ œœ œ

you

go."

œ œ œ

œ

œ

the stal - lion.

œ Œ Œ œ

œ

That's that

Vocal 206

& 210

&

###

6. OUR MORNINGS/THAT THING

˙ Œ œ

thing.

###

j œ œ nœ œ œ œ œ ˙ Œ ‰ œ nœ œ œ œ œ œ œ œ œ œ

œ œ

That's that thing you can't help but re - cog - nize.

nœ œ œ œ œ

˙

5

co - lor of her eyes.

### ˙ . &

Œ ‰ œj œ œ

Œ

U

‰ œj œ œ œœ œ œ œ

### w &

Tempo primo

That's my

child

Œ

Œ

œ

child.

&

###

&

###

&

###

&

###

224

&

###

&

###

228

U

œœ œ œ

œ

rit.

œ œ œ œ

˙.

œ œ

child.

218

As clear as the shape of her nose and lips and

œ

œ

That thing you know right a - way. That thing that makes you say: That's my

œ œ œ œ

214

Giant

Œ

œ

œ œ

That's my

œ

Œ

˙.

Beats

me.

2

BICK: Damn. Oil's getting into my brain, Luz. Making me tired.

Ó

221-222

Œ

w

back.

Œ œ

œ

BICK:

œ

œ

Œ

œ

œ ˙.

∑

Œ œ œ. Look

w

back.

Œ œ

I

miss our

morn - ings.

œ

nœ

˙

œ Œ

Œ

œ

œ

j œ ‰ œ. œ œ œ œ œ

live. Look back.

G-6305/802/13-u

I

miss

œ

our

œ

Look

2

(LUZ)

LUZ:

œ

œ

Be - fore the

Ó

time be - fore

œ

Œ

œ

œ

Keep

– 70 –

œ œ

me

a -

œ ˙

dawn would break.

∑

Re - a - ta

œ

Ó

Œ

œ I'm

œ œ œ

œ œ

˙.

and the world came a - wake.

Œ

Vocal 232

&

###

7. OUR MORNINGS/THAT THING

w

here.

# # œ œ œ & # Œ

I miss our

237

& &

### ###

Œ Œ œ œ.

œ

Right

cof - fee.

j œ œ œ ‰ œ œ œ. œ

&

###

‰ Jœ

œ œ œ œ œ œ œ

###

œ œ

œ œ

œ

œ œ

œ

Œ

&

###

&

###

œ

G-6305/802/13-u

j œ œ œ œ œ œ œ

‰

Be - fore our dai - ly talk of

j œ œ œ œ

œ

œ œ

œ

œ œ

What hap-pens next month if

‰ Jœ

œ œ œ

What hap-pens next month if

œ œ œ œ œœ œ œ œ

œ

œ œ œ œ œœ œ œ œ

mo - ey.

‰

j œ

œ

œ

œ

œ

œ

Who's watch - in' our

‰ œj

mo - ney.

œ

Who's watch - in' our

251-253

land.

œ

w

œ

land.

254

– 71 –

the rains

œ

the rains

What's

j œ œ œ œ ‰ œ

w

3

œ

œ œ œ œ ‰ œj

Which hand's work - in' hard e - nough and which hand is not.

œ œ œ œ œJ œ .

###

Be - fore our dai - ly talk of

dis - turb our five a. m.'s

end of the day.

œ

Œ œ

cost - in' us

On - ly the

Which hand's work - in' hard e - nough and which hand is not.

œ œ œ œ œj œ .

cost - in' us

Œ œ œ œ

Œ ‰ j œ œ œ œ œ œ œ

j œ. œ. œ œ œ œ œ œ.

œ

∑

still with you.

Ó

œ œ œ œ ˙

œ

Ó

Pull back

end of the day.

What's got - ta be done be - fore the

don't come as planned.

&

œ œ ˙

œ œ œ œ ˙

What's got - ta be done be - fore the

### œ œ &

251

œ

Expansive

don't come as planned.

247

Œ œ Jœ œ .

would have the gump - tion to

### ‰ j & œ œ œ œ œ œ œ œ

244

Œ

∑

birds out - side

241

&

œ

And sit - tin'

∑ œ

w

here.

œ œ ˙.

Giant

U ∑

What's

Œ

Ó

Œ

Ó

Vocal

Giant

21

JUMP (Angel Jr., Lil Luz, Bobby Jr.) Music & Lyrics by Michael John LaChiusa

(cue) LIL LUZ: Checkers?

Texas Shuffle (swing 8ths) Vamp

& 44 ..

1

6

∑

I

œ

œ œ J

j œ œ

œ

œ œ œ œ

œ œ J

been look - in'

10

&œ I

& œ I

œ

been look-in'

& nœ

œ

"Don't

&

step

œ I

œ

œ

for

œ

œ

œ œ œ œ

œ & œ Œ ‰ J Œ & œ œ b Jœ œ

G-6305/802/13-u

œ

Œ

œ

Œ

Ó

∑

I learned how - ta walk.

œ

j œ œ

œ

œ

œ

Œ

Ó

∑

œ œ

I learned how - ta talk.

Œ

œ œ J

œ œ J

boy,

bœ

œ

mine.

œ J

Al - ways

Don't

œ œ œ œ Œ J J

œ J

œ

told, "Don't cross

œ

œ

that line."

Ó

w

Œ

œ

Well, :

w

‰ œj b œ n œ

Ó

43

out - ta my square!

œ Œ ‰ b œJ Œ

I want a

œ Œ ‰ œJ Œ

∑

shape.

Ruff

j j œ œ Œ ‰ œ œ b œ N œ Œ ‰ Jœ Œ Go find a

∑

hot

∑

spot.

Get out - ta

-

(Can't

œ Œ ‰ b œJ Œ

Fine

Be

Œ œ

Ó

cuff.

bœ œ œ œ œ œ œ œ – 72 –

œ

cha dare."

œ œ ‰ Jœ œ

Drape

‰ Jœ Œ stuff.

œ

j œ œ

to jump

∑

wear no zoot-suit here.)

Puff

œ

suit.

50

& œ

what is

out - ta your box,

44

56

since

Nœ œ J

been look - in'

zoot

since

to move

œ œ bœ J J

18

22

to move

been look - in'

14

2-5

œ œ œ œ

ANGEL JR:

&œ

4

..

ne - dict, free

∑

dine.

œ œ J and

œ œ J clear!

Œ

Vocal 60

2. JUMP

œ

œ œ œ œ

œ

œ œ œ œ

œ

œ J

(BOTH)

& nœ I

been look-in' to live

64

&œ I

& œ

Pack - in'

72

& nœ

œ

groc' ries?

œ œ J

Jump!

live

LIL LUZ:

œ #œ œ œ

If

œ

œ

I took the jumps my

œ

œ

b & b N˙

œ

:

breed

b & b bœ

118

cat - tle

œ nœ œ œ . J

Tank like a ca-mel, G-6305/802/13-u

I

Ó

∑

Œ

œ

got to show for

w

œ

j œ nœ

j œ œ like my

˙.

that's

Œ

this hat.

3 ‰ ‰ b œj n œ œ œ 3

ANGEL: Well, I'm makin' my jump! Angel Obergon Jr. Private in the United States Army! At the induction center they said:

3

Œ

91-93

(cont'd) your wife gets forty dollars a month. And if I get killed overseas, Analita Viva President Roosevelt! hits the jackpot. She gets ten thousand dollars! Vamp

3

..

102-104

j bœ œ

j j œ œ œ.

does:

j j j œ œ ‰ œj b œ œ œ œ œ œ œ

What good's it

œ

A new breed that

œ œ œ œ œ œ œj b œ J

Liv - in' off - a cac-tus 'N

œ œ œ œ. J

tastes like my mo-ther's

– 73 –

j j œ œ œ œj œ Œ

fi - nish-in' school in Switz - er - land.

Who needs school?

‰ # œj # œ

..

∑

105

j j œ bœ œ œ œ œ œ œ œ œ œ

mo-ther's plannedI'd be in

dad

œ œ œ œ Œ J J

œ J

So - I'm gon-na

90

on ac - count of the war.

j œ œ.

∑

some-where!

b j j j nœ œ œ œ œ Œ & b œj b œ œ œ œ œ

114

œ

Œ Ó

œ œ b œ œ œJ œ

110

Can't go now

œ

All

bb

94-101

bb

œ

Out - ta my square!

8

&

œ

ain't lived be - fore.

that.

œ œ J

œ

œ

Œ

Paratrooper is the toughest to get and stay in. I'm goin' to be one. They got pants like pachinco's! You fight for your country, 102

94

&

Jump!

I

j œ œ

œ Œ œ œ œ

œ Œ ‰ œ Œ & J

76

jump!

to

œ

j œ œ

like

Life ain't

œ œ œ œ

œ

I learned there was more.

œ œ J

Nœ œ J

œ.

I know I got a life

106

since

been look - in' to live

68

j œ

œ œ J

Giant

for?

Gon - na

#œ #œ #œ #œ œ

lives off the sand.

œ #œ nœ œ œ

Cha-teau-bri - and.

Œ

Vocal

3. JUMP

b & b ‰ œJ œ œ œ

122

‰ j 3 œ œ œ #œ nœ

(LIL LUZ)

bœ

I'm make my own jump.

b & b œ . bœ .

126

‰

Œ

b &b œ

130

Learn

b & b nœ b &b ‰

138

b & b .. 169

&b

b

œ

œ

what

makes

œ

œ œ œ œ

be

fly - in'

œ J

œ

œ

œ bœ J

nœ

those

ba - bies

œ œ J

a - cross

œ

I'll make my own

3

œ

in the

air - plane fac - to - ry.

a

world - class

œ ˙ J

œ

run.

world

Ó

œ œ

jump

A - lone.

b &b Œ

œ

œ

œ

œ

Big - ness

182

b &b œ

186

b & b Nœ

this

190

whole

G-6305/802/13-u

œ J

a - tom:

nœ world

œ œ J

Ti - ny

œ œ œ J œ

œ bœ J

might come

œ œ œ J J

thing:

nœ J

crash

œ bœ J

œ

œ ˙ J

war gets done.

∑

w Più mosso

w

∑

5 (to 169)

but

..

∑

176

œ

Some-thing's

œ

#œ J

you ain't

sci - en-tists have

j bœ œ bœ

Lord

œ œ œ œ Œ J J in' down

– 74 –

y,

Nœ

œ

œ

when you

œ

..

∑

177

j j œ œ œ nœ œ œ J

In school we been - learn - in' 'bout what these

œ

and see.

145-149

:

ain't the same.

bœ

œ nœ

j œ ˙

j œ œ

Tempo Iº (swing 8ths) Safety

œ œ œ œ Œ

and great - ness

I'll make my

Cue: BOBBY JR.:...gonna give the next wind a free sweep.

169-174

œ

Wait

..

6

#œ œ J

j #œ

be - fore this

140

More expansive (straight 8ths)

BOBBY JR.:

œ

on my own!

Œ

œ œ œ œ œ œ

œ

pi - lot;

œ

And

142-144

swing "8's"

œ j #œ œ

œ

œ

œ nœ

Be

œ bœ

œ œ œ #œ œ J

the

œ

Safety

b & b œJ œ

178

œ

My own jump!

134

I'll

I'm tak-in' a job

j œ bœ

own jump!

Giant

œ œ œ œ Œ

œ

s - pose - ta tame.

œ

-

œ œ œ œ

œ

bœ

œ bœ œ

œ

pull

its string,

the

fi - gured out.

œ bœ nœ J J

Ar - meg - ge - don come

That there's

œ œ œ œ Œ J J to

town.

Vocal

4. JUMP

b & b œj œ Jœ œ œ œ œ œ œ œ œ œ œ œ

œ

(BOBBY JR)

194

All I'm say

Giant

in' is you got - ta take care when you jump!

b &b w

Jump

198

∑

& œ

∑

œ œ J

œ J

ANGEL JR:

One

lit - tle

jump

can

&w

where!

œ

One

& œ

Œ

œ œ J

&

œ.

œ.

œ œ

Jump! Jump!

&w 232

square!

ww &

œ œ. J

li - vin'

Jump! Jump!

(BOTH)

take

you

Œ œ Jump!

Œ œ

Jump!

-

˙

œ

and

you're

bœ

œ

bœ

œ

œ œ J

if you

-

y -

œ

œ

bœ œ

Fly - in' through the air!

bœ œ

œ œ J J œ

ne - ver

Œ

Jump!

Jump!

w

œ

w

fly - in' through the air!

j œ œ.

Œ œ

œ

An

LIL LUZ:

∑

Œ œ

˙

BOBBY JR.:

ny - where!

∑

œ

make

œ

Œ

œ

Œ

œ

a

œ

Jump Jump!

œ J

Ó

‰ Jœ œ œ

˙

‰ Jœ œ œ

LIL LUZ:

Got - ta jump!

+BOBBY JR:

dare?

Œ

Got - ta jump!

Ó

Œ

œ

Œ

œ œ3 œ

Œ

Jump!

Jump Jump!

Out - ta your

Œ

Jump!

Ó

Œ

œ œ3 œ

Œ

Out - ta your

w

œ

Œ

Ó

∑

ww

œœ

Œ

Ó

∑

square!

G-6305/802/13-u

bœ

a

∑

What's

œ.

œ

Ó

n˙ . & Œ œ.

œ J

lit - tle jump

ANGEL JR:

&

nn

Œ

˙

Œ

∑

ANGEL JR:

223

227

out - ta your square!

∑

j j œ œ œ.

œ œ J

219 (BOBBY JR)

&Œ

œ

∑

215

&Œ

Œ Œ œ œ œ

œ Œ Œ œ

– 75 –

Giant

Vocal

22

THERE IS A CHILD (Juana) Music & Lyrics by Michael John LaChiusa (cue) JUANA: 'Cause I'm going to make my moves.

Allegro

Gtr, WW's b b 4 . &b b 4 . œ

1

b & b bb œ

œ

∑œ

œ

œ

3

œ œ œ œ œ

fa - ther said

to my

b & b bb œ

œ

b & b bb œ

œ œ œ

b & b bb œ

œ œ œ

b & b bb œ

œ œ œ

b & b bb œ

All

œ œ œ œ œ

he

says,

you lis

-

b & b bb Œ

œ

œ

œ œ

œ

glish

œ

œ

œ

"Best thing not

œ

œ

to

œ

give

11

œ

Best thing not

œ

to

give

What their fa

-

sis - ter who

her

is

what

23

old - er.

b & b bb œ

She taught me En

œ œ œ

tea - cher would

G-6305/802/13-u

(5/20/14)

œ œ

not pu

-

-

œ.

she

œ.

said,

to,

but

not

nish me

or – 76 –

Ó

Œ

Œ

œ

be-lieve.

œ

œ

j œ œ

Œ

My

Œ

Ó

me child.

∑

that."

œ

œ œ œ œ œj œ

˙.

œ

œ œ œ œ œj œ

œ

so that when

Œ

œ

a-chieve."

girls

"Trust

ten

œ

tion.

œ

œ.

œ

∑

j œ œ

œ

œ œ

j œ ˙

œ

œ

Œ

˙.

œ œ œ œ œ

œ ˙

a child:

can't

lit - tle

œ

-

œ

œ œ œ œ œ

œ

She

œ

27

31

Ó Œ

œ

was

am - bi

tell them,

œ

is

is

œ

œ

19

œ

her

I

œ

œ

œ

thers

œ

˙

15

œ

when

..

JUANA:

My

œ œ œ œ œ

œ

œ

Œ

˙. u

œ

mo - ther

7

œ

œ

Ó

œ

œ

Ó

I

went

treat me like

to school

a fool.

jœ œ

the

Œ

Œ

œ And

Vocal

2. THERE IS A CHILD

b & b bb œ œ œ œ œ

35

œ œ œ œ œ . œj œ œ œ

jœ œ

sit me in my square

b & b bb œ 41

œ œ œ œ œ

taught me

all

b & b bb ˙

45

53

&

œ

Sim - ple thing

"Why"

If

a tempo Gtr, WW's

œ

b & b bb œ

œ

œ

speak

œ

En - glish

œ œ œ

œ

œ

œ

57

If

you can't

ask

œ œ

Œ

œ œ œ

you don't

b & b bb w

Œ Ó

&

˙

child

b & b bb œ .

68

shown

b & b bb

71

G-6305/802/13-u

œ

you,

œ

œ œ œ œ

Œ

˙

who's not a - ware

j œ œ

œ

œ

j œ

and

œ

see

is

œ

œ

œ

œ

square he's gi - ven is.

œ

the world

œ

is

w

his. – 77 –

j œ

And

Ó ˙

de

-

˙ a

j œ

there's a world out - side his lit - tle square.

how beau - ti - ful the

‰

˙

˙

œ.

Œ

œ

are tied.

j œ œ œ œ œ

œ œ

Œ

˙.

the world's

˙

œ œ œ

œ

œ

œ ˙

There

With warmth

œ

your hands

œ

then to

œ

œ œ œ œ œ

œ

œ œ

nied.

bbbb

œ

all your life

ques - tions,

61

64

∑

"Who."

2

JUANA:

œ

to do:

w

˙

49-50

bbbb

Œ

˙.

JUANA(sp:) You try. Jordy Jr: What...where...when...why...who...

"When"

Dictated

My sis-ter

œ œ œ œ œ

œ

words:

˙

"Where"

Œ

Ó ‰ jœ œ œ

∑

w

the chair.

˙

the "wh"

˙

"What"

b & b bb

and tie my hand to

Giant

˙

‰ j œ œ œ

He must be

œ œ œ œ œ œ œ

that he can get out of

Œ

œ

I'll

it

œ

œ

teach

my

Vocal

3. THERE IS A CHILD

b & b bb œ 74

œ

œ

lit - tle ones

b & b bb ˙

77

feat.

b b b œj b &

80

how

œ

œ

œ

If we take the best

œ

œ

j œ

œ

that

no

œ œ

œ.

j œ œ œ œ œ

child 87

&

bbbb

child

b b b >œ b & 91

"Yo

soy

b ˙ & b bb

one

can

b & b bb ˙

"What"

G-6305/802/13-u

˙ "Where"

œ

œ œ œ œ œ œ œ œ

-

There

"Yo

˙

to

œ

œ

"When"

œ

"Why"

w

"Who."

molto rit.

"When"

∑

˙

"Why"...

– 78 –

a

> > œ ˙

-

œ œ. J

œ

œ

no!

The

Ó

˙

me!"

œ

is

child will say:

œ œ

soy A - me - ri - ca

w

œ

I'll teach that

>œ

And then one day, my

œ œ >œ

we'll have

Œ ‰ j œ œ œ œ

> > > > j œ œ œ œ œ

>œ

˙

no!"

known

˙

œ

œ

œ

best of what we are,

beat.

œ œ œ.

œ œ. J

"What" "Where"

103

œ œ œ œ œ

œ

w

fu - ture ought to be.

œ

∑

œ

not to feel de -

He won't have to hide or lie a - bout his race.

˙

is

œ

œ œ œ œ

lit - tle ones

più mosso

œ œ

œ œ

œ œ

˙

world

b & b bb

˙

Me - xi - ca

95

99

œ

Œ

how beau - ti - ful the

œ

I'll teach my

œ

œ

who'll find his place.

>œ

œ

œ œ œ

of where we come from and the

-

˙

jump.

œ

83

œ œ

‰ œj œ œ

˙

to move and

œ œ œ œ

some - thing

b & b bb

œ

œ

Giant

Ó

˙ U ∑

Vocal

Giant

23

UN BESO, BESO! (Polo, Lupe, Angel Jr., Lupe, Company, Luz) Music & Lyrics by Michael John LaChiusa

Tempo rubato, colla voce

# # # # # 3 (Gtr. onstage) ∑ & # 4

1

Ó

œ

œ

Me

#### # & # œ œ œ œ œ œ #### 4 & 4

11

34

####

j œ œ œ

&

####

j œ œ œ

j j œ œ œ œ œj # œ

#### ‰ œ œ ‰ œ œ œ œ & be - so,

37

&

####

G-6305/802/13-u

œ li

-

œ

be-so, Hi

œ

ci - dad

œ

-

jo!

œ

es

vi - e - jo pa - ra

sus dien - tes.

Y

An - tes de

‰ œ œ œ œ œ œ

œ

Œ . œ œj œ œ

œ

Un - be - so, be - so, Hi - ja!

œ

tu

– 79 –

œ

ya

œ

j œ œ. ˙

re - cor-rer.

Œ

no pue - de

j œ œj œ œ œ œ

cu - bren la lu - na,

-

lu - to...

Œ œj œ œj œ œ œ

j œ. œ œ œ œ

33

#### 4 4

˙

13-20

se - a de - ma-sia - do

An - tes de que las nu - bes

Me

8

45

j j œ œ œ œ #œ œ

j œ œ œ

en

13

j œ œ œ

œ œ œ œ

Do - lo - res.

j œ œ

d'un-a pa - lo - ma

An - tes de qu'el sol pi - er - da 29

Au - re - li - a

œ.

œ

3

∑

An - tes de qu'el dí - a

j ‰ j j œ œ œ œ. œ œ œ œ

œ.

flo res,

œ œ œ

las can - ci - o - nes

∑

# # # #LUPE: j & œ œ œ &

U œ

tus

Vibrant, spirited, quasi Huapango

21

25

œ.

dis - te

œ

7

can - tas - te

j œ œ

POLO: 3 (Vocal only thru m10)

j œ œ. ˙

co-mer!

j j œ œ œ œ œ œ

la cas - ca - da de llu - ví - a: Un

>. . œ œ ˙ La!

45 œ .

hoy!

œ.

34 ˙ œ

œ Fe -

Œ

nnnn

Vocal

f & œ œ œ œ > 40

LUPE:

An - tes de que

œ J >œ

las nu

An - tes de que

œ J >œ

f & œ œ œ œ > ANALITA:

f & œ œ œ œ >

f & œ œ œ œ > f V œ œ œ œ > An - tes de - que f ? >œ œ œ œ An - tes de que

T.

B.

las nu

œ J >œ

las nu

j œ œ >

œ J >œ œ >œ J

LUPE:

be - so,

œ œ ‰ œ œ >œ & ‰ œ œ œ œ >œ ‰

S.

& ‰

be - so,

A.

T.

B.

œ œ ‰ œ œ >œ V ‰ ?‰

œ œ

G-6305/802/13-u

>œ

bes

œ > >œ œ >

>œ .

œ œ >œ ‰

œ

j >œ œ

la lu

œ >œ J

œ >

na,

>œ

cu - bren - la lu - na,

>œ .

œ

œ >œ J

>œ

œ >œ J

>œ

cu - bren - la lu - na,

>œ .

œ

cu - bren - la lu - na,

>. œ

œ

j >œ œ

>œ .

œ

œ >œ J

cu - bren

>. œ

œ

œ > >œ

la lu - na,

> œ œ J

>œ

œ >

Giant

j œ œ

An - tes de

œ >

j œ œ

An - tes de

j > œ œ

>œ

la cas - ca

> œ œ J

>œ

la cas - ca

>œ

An - tes de

> œ œ J

la cas - ca

œ >

œ J

>œ

œ >

j œ œ j œ œ

An - tes de

œ > œ > >œ

j œ œ j œ œ œ œ J

An - tes de

>œ

la cas - ca

j > œ œ

>œ

>œ

>œ

œ J

œ >œ J

la cas - ca

>œ

da

œ J œ

j œ œ

de llu - vi - a:

œ da

œ œ J

œ œ J

de - llu - ví a:

œ da

œ œ J

œ œ J

de - llu - ví - a:

œ

œ œ J

œ œ J

da

de - llu - ví a:

#œ

œ œ J

j œ œ

Un

œ

œ

œ œ J

œ œ J

œ

da - de llu - ví - a:

Un

#œ

-

-

-

-

-

œ

œ œ J

œ Un

œ

Un

œ

Un

œ

œ œ J

œ

> ‰ œ œ œ œ œ œ

>œ

œ.

Un be - so, be - so, Hi - ja!

> ‰ œ œ œ œ œ œ

>œ

La!

Un - be - so, be - so, Hi - ja!

>œ

La!

Un - be - so, be - so, Hi - ja!

>œ

La!

Un - be - so, be - so, Hi - ja!

> ‰ œ œ œ œ œ œ

>œ

La!

>œ .

œ.

˙

34 ˙

>œ

œ œ œ >œ ‰ œ œ

>œ

>œ .

œ.

˙

œ

>œ

œ œ œ œ œ >œ ‰

>œ

>œ .

34 ˙

La!

œ.

˙

3 ˙ 4

Fe

œ > >œ >œ >œ

bé - so, Hi - jo!

>œ ‰ œ ‰ œ & œ œ

be - so,

bes

œ

cu - bren

‰

bé - so, Hi - jo!

œ œ œ œ >œ ‰

be - so,

>œ

>. œ

be - so, Hi - jo!

ANALITA:

& ‰

bes

be - so, Hi - jo!

ANGEL JR:

be - so,

>œ

las nu - bes

>œ ‰ œ ‰ œ œ œ &

44

œ >

las nu - bes

f & œ œ œ œ >

A.

j œ œ >

An - tes de que ANGEL JR:

S.

2. UN BESO, BESO!

œ >

be - so, Hi - jo!

‰

œ œ œ œ œ >œ œ œ œ œ œ >œ

Un be - so, be - so, Hi - ja!

– 80 –

>œ . >œ . >œ .

œ. œ. œ. œ.

˙ ˙ ˙ ˙

34 ˙

œ

34 ˙

Fe

œ

-

34 ˙

Fe

œ

-

Fe

-

Fe

-

3 ˙ 4

œ œ

œ

-

Vocal

3. UN BESO, BESO!

. & œ

œ œ œ œ

œ.

œ œ œ œ

48

(LUPE)

li - ci - dad

& & S.

&

œ.

œ œ œ œ

œ.

li - ci - dad

A.

T.

œ œ œ œ

œ.

œ œ œ œ

. ? œ

œ œ œ œ

li - ci - dad

B.

œ.

œ

45 œ .

œ.

œ

45 œ .

œ.

œ

Œ

>œ

45 œ .

œ.

œ

Œ

tu - ya

hoy!

5 4 œ.

œ.

œ

Œ

>œ

45 œ .

œ.

œ

tu - ya

. 54 œ

œ.

œ

œ >

>œ

Œ

>œ

>œ

Œ

>œ

Œ

>œ >œ

es

Œ

>œ

&

∑

..

&

∑

..

∑

..

&

G-6305/802/13-u

Safety

67-73

7

Œ

7

hoy!

œ >

hoy!

>œ

Cue: ANGEL:...for who catches the flower and the garter will be the next to marry. 74

7

Œ

hoy!

tu - ya

Œ

66

hoy!

tu - ya

es

. & œ V

Œ

(dialogue)

45 œ .

>œ

es

œ œ œ œ

:

tu - ya

es

(ANALITA)

li - ci - dad

Œ

es

(ANGEL JR)

li - ci - dad

>œ

Giant

∑

..

∑

..

∑

..

7 7 7

Œ

7

Π2 76-77

2 2

– 81 –

Vocal

4. UN BESO, BESO!

78

&

∑

&

∑

& œ

j œ œ

Now

∑ œ.

be - fore

œ

ANGEL JR:

Now

ANALITA:

Giant

œ œ J

œ J

∑ œ

œ

while there's sun - shine.

œ

∑

the clouds come.

œ

j œ œ

Now

be - fore

œ

j œ œ

Now

be - fore

∑ œ œ J

œ

œ œ J

œ

œ

the rain falls

œ ˙ J

œ J #œ

œ ˙ J

wash - in' it

œ

the rain falls

œ J œ

a-way:

wash - in' it

a-way:

S.

&

∑

∑

∑

∑

A.

&

∑

∑

∑

∑

T.

V

∑

∑

∑

∑

?

∑

∑

∑

∑

B.

82

∑

&

> ‰ œ œ ‰ œ œ œ œ > fl fl

LUPE:

∑

Kiss him, Kiss him, Jua - na!

œ œ œ œ œ & ‰ œ ‰ (ANGEL JR)

∑

∑

Kiss her, Kiss her, Jor - dy!

S.

(ANALITA)

‰ œ œ œ œ œ œ œ

˘ ˘ ˘ ˘ œ >œ >œ ‰ œ œ œ œ Go - on and kiss her, Jor - dy!

> ‰ œ œ ‰ œ œ œ œ > fl fl

&

∑

&

∑

∑

SOPRANO:

&

∑

∑

ALTO:

V

∑

?

∑

Go on and kiss him, Jua - na!

∑

∑

Kiss him, Kiss him, Jua - na!

˘ ˘ > > ‰ œ œ ‰ œ œ œ œ

∑

Kiss him, Kiss him, Jua - na!

A.

T.

B.

G-6305/802/13-u

> ‰ œ œ ‰ œ œ œ œ > fl fl

Kiss him, Kiss him, Jua - na!

∑

∑

∑ ˘ ˘ ˘œ ˘ œ >œ >œ œ ‰ œ œ

TENOR:

˘œ ˘ ˘œ ˘ œ œ œ >œ >œ ‰

Go on and kiss her Jor - dy!

∑

∑ – 82 –

BASS:

Go on and kiss her, Jor - dy!

Vocal

>œ .

œ.

(LUPE)

86

&

5. UN BESO, BESO!

Now!

& Œ.

(ANGEL JR)

Œ

Kiss her!

(ANALITA)

& ‰ S.

˘œ œ

‰

œ fl

Œ.

œ

˘œ œ

Œ.

Kiss him! A.

T.

B.

& ‰

˘œ œ

‰

Kiss her!

-

Œ

‰ ‰

Kiss him!

Œ.

œ œ fl

Kiss him!

V Œ.

œ œ fl

Kiss him!

˘œ œ

‰

Œ

˘œ œ

? Œ.

‰

Œ

‰

Kiss her!

˘œ œ

‰

Œ

LUZ:

œ œ œ œ œ œ

∑

44

˘ ˘ ˘ ˘ œ œ œ œ œ œ œ œ œ J

24

∑

44

˘œ ˘œ ˘œ j ˘ œ œ œ œ œ œ

24

∑

44

˘ ˘ ˘ ˘ œ œ œ œ œ œ œ œ œ J

24

∑

44

∑

44

be - so!

be - so!

be - so!

-

Un

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

be - so!

œ œ. œ œ. œ œ

###

œ

Œ

nœ

œ

Œ

###

Don't you

œ

Let him kiss G-6305/802/13-u

œ

œ œ œ a

Me

tell

œ

ANGEL JR: Play checkers, Jordy! Bésala! LUZ:

-

œ Œ Ó

don't trou - ble

œ

j nœ œ

j j œ œ œ

ain't what – 83 –

fa

œ

-

Ó

Œ

œ œ

Look at

œ nœ œ

xi - can? That

œ

∑

œ

me - that that

œ

Let him kiss that girl?

there?

That ain't gon-na hap - pen!

œ œ

that:

###

96

Œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

You jus' gon - na stand

You for-get your name,boy?

&

24

be - so!

89-90

&œ œ œ œ œœ œ œ

102

˘œ ˘œ ˘œ j ˘œ œ œ œ œ œ

be - so!

2

94

&

44

be - so! be - so! be - so! be - so! ˘ ˘ ˘ ˘ œ œ œ œ œ œ œ œ œ 2 J 4

‰

Kiss her!

What are you? A fool?

99

∑

Slower, darker

91

&

24

Un

& 44 89

˘ ˘ ˘ ˘ œ œ œ œ œ œ œ œ œ J

Un

Kiss her!

Œ

44

Un

˘œ œ

Kiss her!

∑

Un

Œ

˙

24

Un

Kiss him!

˘œ œ

& ‰

œ

œ fl

Kiss him!

œ.

œ.

˙

Giant

thers

Œ

˙.

œ

you.

j œ

do.

˙

Œ

‰ j œ He

Vocal 105

& 108

&

111

&

6. UN BESO, BESO!

###

œ œ œ œ œ œ œ

has to like what you like.

###

œ

###

‰ œj œ œ œ œ œ œ œ He has to do

œ

œ œ œ œ œ

got

the Be

Œ

˙

done.

-

œ

ne - dict blood:

œ

It

He's your son.

me.

œ

one of us.

œ

œ

'Cuz when

Ó

∑

œ >

œ nœ œ nœ œ œ œ

œ >

Don't you let it hap - pen!

œ

all

is

24

rall.

Freely

∑

œ œ. >

This ain't

said and

∑

œ œ œ œ

nœ

gon - na

œ

nnn 5 4

∑

hap - pen!

5 Œ

Check-ers is life! ANALITA:

& 44 œ

œ

44

Don't you let it hap - pen!

(to 134)

122-126

& 44 œ

œ

œ nœ œ nœ œ œ œ

a tempo

nœ œ .

Tempo primo

134 ANGEL JR:

He's

œ

LUZ: Hear it once more and get it into your head!

Jordy Jr. kisses Juana.

& 45 122

Œ

‰ œj

He's your son.

That ain't gon - na hap - pen.

&

He has to be

˙

˙

œ œ

# # # 4 LUZ: & 4 œ œ nœ œ nœ œ œ œ > ###

œ

don't beat

116

119

what you say.

‰ œj œ œ œ œ œ œ œ

LUZ: He ain't kissin' any, ain't marryin' any Mexican girl.

Œ

˙

œ œ

Giant

œ œ œ œ

Check-ers is

Œ

love!

œ

Got-ta make moves

to

˙

+ DIMODEO:

Œ

play!

˙

œ œ

If you +PETRA (Angel's Mother):

œ œ œ œ

Œ

œ œ #œ œ œ œ & J

œ J

#œ œ œ œ œ ‰ œ 3 œ #œ œ œ œ J 4

œ #œ œ 5 œ . œ . œ ‰ j ## 4 œ

& #œ œ

œ J

œ œ œ # œ œ ‰ œj 34 œ œ œ œ #œ

j# 5 œ œ œ 4 œ. œ. œ ‰ œ #

Check-ers is life!

165

sit where you are, then you'll

G-6305/802/13-u

œ œ œ œ

Check-ers is

sit where you are, then you'll

œ œ œJ œ

œ

Œ

œ œ œ œ œ

: 164

44

love!

œ œ œ œ œ

Got-ta make moves

œ

to

play!

Œ

œ œ

If you

ne-ver go far:

It's

time to make our jump to - day!

Un

ne-ver go far:

It's

time to make our jump to - day!

Un

– 84 –

Vocal

7. UN BESO, BESO!

# # LUPE: j & œ œ œ œJ 170

œ

j œ œ

œ. œ

œ

Giant

j œ œ œ œ # œ œ œ œj ˙ œ œ J J

œ

Now be-fore the clouds come, Now while there's sun-shine, Now be-fore the rain falls wash - in' it - a - way!

&

## œ .

œ.

˙

œ. œ.

be

-

so!

be

ANGEL JR:

# # ANALITA: œ. & œ. S.

A.

T.

&

##

&

##

V

##

be

-

œ œ œ œJ J

œ. œ.

-

be

-

˙ so!

œ

˙

œ. œ

œ

∑

∑

∑

∑

œ œ œ œ œ œJ J

œ œ œ œ ˙ J J

œ œ œ œ œ œJ J

œ œ œ œ ˙ J J

so!

˙

œ J

so!

œ

œ

Now be-fore the clouds come, Now while there's sun-shine, Now be-fore the rain falls wash-in' it a - way!

œ

œ

œ. œ

j œ œ

œ

œ œ œ œJ J

œ

œ

œ. œ

œ J

œ

œ

? ## œ œ œ œ J J

œ

j œ œ œ œJ

j œ œ œ œ # œ œ œ œj ˙ œ œ J J

œ œ œ œJ œ œ J

Now be-fore the clouds come, Now while there's sun-shine, Now be-fore the rain falls wash-in' it a - way!

B.

œ. œ

œ 2

œ

œ œ œ œ ˙ J J

ANGEL JR: I got seven a.m. to Fort Keane in the morning. (to the wedding party:) Ay te watcho! : 177

&

##

&

##

2

&

##

2

174

œ J

œ

G-6305/802/13-u

174-175

– 85 –

34

∑

34

∑

∑

45

34

∑

∑

45

Œ

LUPE:

Œ

œ

Un

45

Vocal

## 5 . & 4 œ

(LUPE)

œ.

˙

œ.

be

-

so!

be

# 5 & #4 œ

œ œ J

œ J œ

179

S.

8. UN BESO, BESO!

Now

A.

# 5 & #4 œ

be - fore

# 5 V #4 œ

œ œ J

Now

T.

Now

B.

? # # 45 œ

Now

be - fore

be - fore

œ œ J

be - fore

œ J œ

œ

the clouds come,

the clouds come,

œ J œ

so!

## œ

œ œ J

œ ˙ J

&

j œ ˙

## œ

œ J œ

œ ˙ J

? ## œ

œ œ J

wash - in' it

G-6305/802/13-u

œ.

œ J

œ

œ

j œ œ

œ

while there's sun - shine,

œ

œ J

œ.

˙

œ

œ œ J

œ œ J

œ

œ

Now

œ

be - fore

the rain falls

Now

be - fore

the rain falls

œ

œ œ J

œ

j œ œ

œ œ J

œ œ J

œ

œ œ J

œ

œ œ J

œ

Now

while there's sun - shine,

Now

œ

be - fore

the rain falls

Now

while there's sun - shine,

Now

be - fore

the rain falls

œ.

œ

œ J

> ‰ œj œ œ œ œ œ

œ

œ > >œ œ >

Un be - so! be - so! be - so!

œ œ œ œ >œ ‰ œJ œ œ œ œ œ >œ ‰ J

>œ >œ

Un be - so! be - so! be - so!

-

œ

while there's sun - shine,

Un be - so! be - so! be - so!

a - way!

a - way!

Now

œ

œ œ œ œ >œ ‰ œJ

a - way!

œ ˙ J

œ.

œ.

so!

Un be - so! be - so! be - so!

a - way!

œ J œ

Now

-

˙

> ‰ œj œ œ œ œ œ

˙

# & # #œ V

œ

the clouds come,

-

wash - in' it

B.

œ

be

wash - in' it

T.

œ J œ

œ.

wash - in' it

A.

the clouds come,

# œ. & #

182

S.

j œ œ

œ.

œ

œ.

Giant

Un be - so! be - so! be - so!

– 86 –

œ

> ‰ œj œ œ œ œ œ

>œ

Un be - so! be - so! be - so!

œ œ œ œ >œ ‰ œJ

>œ

Un be - so! be - so! be - so!

> ‰ œj œ œ œ œ œ

>œ

Un be - so! be - so! be - so!

œ œ œ œ >œ ‰ œJ œ œ œ œ œ >œ ‰ J

>œ >œ

Un be - so! be - so! be - so!

Un be - so! be - so! be - so!

44 44 44 44 44

Vocal

9. UN BESO, BESO!

Grave

(LUPE) # # 4 >˙ . & 4 œ 185

so!

S.

# & # 44

˙.

La!

la

w>

F œ w

w

F w

w

La!

w

La!

A.

˙.

œ

La

la

œ

La

# # 4 wœ> œ ˙ V 4 >

la

w ˙

La!

T.

˙

La!

B.

? ## 4 4 193

&

p w p w

œ œ ˙

La!

F w

p w

w

F La! wœ œ ˙

w ˙

3

p

La!

˙

3

w

La!

F w

œ œ ˙

p

La!

3

w

La!

8

##

3

La!

La!

w>

3 190-192

La

La!

# # 4 >˙ . & 4

Giant

5

201

201-205

193-200

U ∑

206

23A

TRANSITION (To Bawley's Cabin) (Instrumental) Cue: "Now you got him."

& 44

1

Ó

G-6305/802/13-u

Flute

Œ

œ

>˙ .

œ 2

œ Nœ œ

œ

˙.

3

Clar.

4

– 87 –

˙.

œ

œ œ

5

œ

U

˙.

Vocal

Giant

24

PLACE IN THE WORLD/ LOOK AHEAD (REPRISE) (Bawley, Bick) Moderately

# # 4 Clar. œ œ & 4 J

1

œ Jœ œ J

œ

œ J

œ

œ

j œ œ

œ.

œ

Music & Lyrics by Michael John LaChiusa

Alto Flute

‰ œj œ œ œ œ œ œ . J

˙

œ

Ó

˙

Œ ‰ j œ

BAWLEY:

My

# & # œ œ 7

œ

œ œ œ œ

œ

Œ

œ

œ

fin - gers found "The Farm - er in the Dell."

# & # œ œ œ œ œ œ œ œ

9

œ

‰ œj

œ œ

Then they found a song my Ma would sing.

œ œ œ œ.

œ

œ œ œ œ œ

œ

œ œ œ œ œ ‰ œj

œ

œ œ œ

I

was - n't a - ny Mo - zart but it seemed that I got born with fin-gers that could play most a - ny - thing. The

# & #

11

nœ

œ œ œ œ œ

cool - ness of 13

&

##

j œ œ œ œ œ œ nœ œ o - pen-in'

16

&

##

œ

œ œ œ

œ œ œ

-

r œ nœ

ry.

The

œ œ œ œ œ

ma - gic in

≈ œr n œ œ œ œ b œ n œ œ œ œ

‰

and night.

A little slower

## nœ œ ˙ &

iv'

≈

œ

of flood - gates. The sense of mo - vin' toward:

Prac-ticed day 36

the

j œ

Yeah, I

œ

Œ

œ I

found my place

in

3

(Piano solo)

œ

The

œ œ œ œ œ

œ

˙

in the world.

nœ n˙

˙

the world.

œ

(to 36)

Felt safe.

24

37-39

j œ

chord.

15

œ œ œ œ

found my place

a

‰

œ

accel.

Felt

b 44

∑

right. Cue: BAWLEY: I made damn sure I could.

Slightly brighter

& b 44 Ó

41

Œ

‰ œj œ He

œ œ œ

taught me that for

U œ œ œ œ œ œ œ œ.

Molto rit.

&b œ

44

42

taught me that true pi - a - nis - si - mo G-6305/802/13-u

œ œ œ J

per - fec

-

j œ

œ

tion

you

Colla voce

œ œ

is

œ œ œ

not the re - sult – 88 –

œ œ œ œ œ œ œ

œ

go to a - ny length.

œ

œ

œ œ

of weak-ness, but

of

‰ œj

A tempo

˙.

strength.

He

Œ

Vocal

2. PLACE IN THE WORLD / LOOK AHEAD (REPRISE) (BAWLEY)

47

&b œ œ œ

œ

œ

œ œ œ œ œ œ œ

Giant

œ œ œ bœ œ œ bœ bbbbb

œ œ œ œ œ œ

Fif-ty-some-odd years, and I hold that teach-in' dear. That's a code of con-duct, Son, use-ful e-ven here in

b & b bbb œ

5

Sonorously, sustained

49

Œ

˙

(to 57)

50-54

Te - xas.

b & b b b b .. 57

Vamp

∑

œ

œ œ œ œ ‰ œj œ œ œ œ

. œ œ œ Œ . œ

(Vocal last x)

œ œ œ œ œ

Eight-een years of age and drunk as sin.

b œ œ œ œ. & b bbb œ œ œ œ œ œ œ œ œ

60

Eight-een years of age and full of joy.

œ

œ œ œ œ œ œ œ

œ

I

‰ j œ

œ

did-n't want to leave, but then I did-n't have a choice; The Be-ne-dicts was call-in' home their boy. The

b & b bbb bœ

62

sun

b & b bbb

came up

64

that morn

bœ

the har

b œ & b bbb nœ œ œ œ bœ 66

b & b bbb bœ b˙

Had to

&

##

bor

œ

bœ œ ˙

let

go.

Œ

by

G-6305/802/13-u

the

Then

œ

œ

my eyes.

I

‰ œ œ œ œ œ œœ œ

˙

Yeah, I lost my place in the world.

∑

Œ

œ

Pa got af - ter me, your fa - ther, too.

œ

co - vered up

j œ

rise.

œ œ œ ∫œ bœ

≈ œr b œ and

it

‰

œ

BAWLEY: Whole family was at the train station when I got in. A big rumpus. The whole family. You thought I wanted to run a faro wheel or marry a Mexican.

nœ #œ nœ nœ œ œ œ œ œ œ

I watched

Fare - well be - fore hel - lo.

(BAWLEY)

# & # œ

And

j œ œ œ œ œ œ œ œ

œ.

Tempo primo

76

œ œ œ œ œ

bœ

in'.

œ

-

lost my place in the world. 69

œ.

-

j œ

œ œ œ œ œ

went down to

74

j œ

œ œ œ œ œ

œ

œ

œ

time they're through with

..

∑

œ œ œ

œ œ

œ

œ œ

Made me ride and made me rope and brand.

œ

me,

œ

well, – 89 –

œ

œ

no - thin's

.. # #

∑

œ

œ

œ.

quite

the

same.

j œ

‰

And

œ Es -

Vocal 77

&

##

3. PLACE IN THE WORLD / LOOK AHEAD (REPRISE)

œ œ œ œ œ œ œ œ œ

(BAWLEY)

pe - cial - ly the fin - gers on my hand.

# & # nœ œ œ œ œ œ œ

79

ma-gic in

82

&

## œ

a chord.

84

&

## œ

Rit.

find

place

œ

in

œ

œ œ.

j œ

the world

more

œ

œ

œ

your place

in

# & # 128 w .

Quietly, sustained

86

No more the

&

##

&

bb

103

&

bb

BAWLEY: b & b œ œJ Jœ œ

If you

nœ

Don't

:

101

œ

dare

look

Ó.

Œ.

86C

j 89 œ œ . œ œj j œ œ

j 92 œ œ ˙.

œ œ J J œ

œ œ

œ œ . J J œ Ó

Œ. œ. œ. œ.

b & b w.

∑

Look

˙.

œ œ ‰ œ J

o - ver your shoul - der. Say,

What's done is

∑

What's done is

Rit.

∑

a - head.

∑

∑

head. – 90 –

bb

done Look a -

œ œ œ Œ . œ . bœ . œ . ˙ . œ . œ . J J

Thank you all but

œ. Œ.

a -

œ œ œ Œ . œ . bœ . œ . ˙ . œ . œ . J J

Thank you, Sis-ter; Thank you all but

œ

œ

j œ

œ. Œ.

my child-ren, Look a - head.

You can't see to-mor - row look-in'

œ

BICK:

Look

œ œ œ œ œ œ œ ‰ œ œ œ. œ œ J J J

BICK:

128

n˙

BICK:

b w. &b

G-6305/802/13-u

and black.

œ œ

‰

Colla voce

Thank you, Ma-ma; Thank you, Pa-pa.

head,

gray than white

Don't look back,

∑

107

I

86A-86B

95-96

Or the

No more mo - vin' toward.

2

2

ry.

œ

BAWLEY: Your son's got more courage than I ever had.

Look a - head.

-

œ œ

œ œ œ bœ nœ œ

nœ

œ œ œ

the world,

j88 . ‰ Œ Œ. œ. œ œ œ œ. œ. œ

head.

the iv'

œ œ œ

œ

˙

back.

87

cool-ness of

No more Pa - ris New - Year's.

œ œ œ œ

found my

j œ œ œ œ œ œ nœ œ

≈ œ œ œ

j œ œ œ œ œ œ. nœ œ

Œ

Giant

∑

done Look a -

Ó.

U Œ. Œ.

BAWLY: I could use the company.

Ó.

U Œ. Œ.

Vocal

Giant

THE CONQUISTADOR (MARIACHI BAND)

25

(Mariachi)

Music by Michael John LaChiusa Words based on a traditional Mexican folk song

(Music on stage only) Bright, loud

b & b b b 68 Œ

1

6

&

La

œ bbbb

no-che que me

œ œ œ œ J

es - trar to - da

b & b bb œ

10

œ

œ

la

un

œ œ œ œ J ga - to

lai

lai

lai

ay

œ

lai

lia

œ

œ

œ

de - tra

de

un

en - tro por

som - bre - ro

y

tu

lia

Ay

ay

ay

ay lai lai lai

2

lai lai

œ œ œ

lai!

nœ

œ

œ.

lai,

lai

œ

Yo - no

‰ œ œ

pan - ta - lon.

lai

œ.

Me - di -

bal - con.

œ œ œ œ œ œ ay

p when dialogue begins œ œ œ

œ

œ œ

ay

ra - to. Por

ga - to.

œ œ œ œ J

œ

ay

œ

to

œ œ œ œ J

œ

Ay

Ay

ay

œ.

‰ œ œ

lai!

Ay

ay

œ œ œ œ œ œ .. repeat as instrumental, pp

la la la la la la!

26-27

(Instrumental)

Espressivo

U

Cello

‰ j œ œ œ œ œ œ b˙ œ

G-6305/802/13-u

25A

SCENE CHANGE (The Benedict Suite)

Cue: "in another hotel?" (beat beat)

? 44

el que

œ œ œ œ œ œ

lai lai lai,

œ

œ

œ œ

œ œ œ œ

pu - de dor-mir - me un

œ

b & b bb

1

œ

pri - e - to con

œ œ œ œ œ œ b b &b b ay

œ

œ œ œ œ J

œ

22

ay

no

cor - ri - en - do

ga - to

œ œ œ œ œ œ b b bb Ay

ca - sa

œ œ

œ

ji - ste que fu - e

vis - to

œ

no - che

œ

b & b bb œ &

œ

œ

œ

14

18

œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ

œ

œ

2

b˙

3

w

4

w

5

– 91 –

‰ j œ œ œ œ œ œ b˙ œ 6

b˙

7

w

U 8

w

Vocal

Giant

26

MIDNIGHT BLUES (Vashti, Leslie) Music & Lyrics by Michael John LaChiusa

1st cue: "grandma" 2nd cue: "creepy feeling." 3rd cue: "turning 50."

Bluesy

& 128 ..

1

6

VASHTI: Am I or am I not in a lousy mood...?

U ∑

∑

Flute

..

œ œ œ œ œ #œ œ œ œ œ.

∑

VASHTI:

&‰ œ œ œ œ œ

œ œ œ

œ

œ

œ œ œ œ œ œ

œ

> œ J œ

œ.

˙.

œ

œ œ œ œ œ

œ

œ œ

Un - cle Al - ben had French play - in' cards with these pic - tures of men in their socks and their wil - lies all

8

&œ

œ œ œ œ œ

œ œ œ œ œ œ

œ

œ œ œ

œ œ

œ œ

œ

stiff watch-in' girls with no clothes on ca - vort - in' a - bout. Well, I found 'em (of course!) one day snoop-in' a -

j œ œ œ œ œ

11

10

&œ

˙.

œ œ œ œ œ œ œ œ œ œ œ

round. Un - cle Al - ben he tells me that they was his cure

œ œ œ œj œ

13

& ˙. sure

œ. œ œ œ

˙.

for the Mid-night Blues.

You can be

j j j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

that a ranch-girl knows the facts of life, though not what to feel a - bout the facts

j œ

of life. She's

68 j œ œ œ œj j œ œ œ œj j Œ j j œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ

16

&œ

told when she gets mar - ried,

j & 68 œ œ œ œ œ 128 ˙ .

19

right to

feel

good.

as ev' - ry wo-man should,

œ. ‰ œ œ œ œ œ

œ

œ œ

œ

j œ œ.

Well I'm mar - ried and Grand-ma's not sp'ose - ta feel

23

&‰ œ œ œ œ œ œ

That once a wo-man's mar - ried, it's all

œ

œ œ œ œ

œ

œ

œ

œ

œ œ œ

˙.

good?

œ œ œ

œ. œ.

Hell!

œ œ

I got mar-ried so some-one would be in my bed when the blues came a - long; Had - ta teach him to

G-6305/802/13-u

– 92 –

Vocal 25

2. MIDNIGHT BLUES

(VASHTI)

&œ œ œ œ

œ œ œ

œ

œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

Giant

take 'em a - way, Had - ta teach him, that's right and what for? So that he can go off, take his mo - ney and

œ œ œ œj œ

28

27

&œ

œ

œ œ œ œ œ œ

˙.

œ œ œ œ

find some-one else he can play with when he needs a 30

& ˙.

j œ œ

œ œ œ

dure

cure

for his Mid-night Blues.

j j j œ œ œ œ œ œ œ œ œ œ œ œ

œ

j œ œ œ œj œ œ œ œj œ œj œ œ œ œ .

&œ

Œ

j œ œ œ œ œ

36

j œ œ

&œ

j œ œ.

œ œ œ œ

af - ter-wards you bet

I'm go - in'

39

&‰ œ

œ

œ œ œ œ œ

œ

rit.

œ.

4

U

œ œ œ.

home to that

man

œ

I

I want - ed

46

& #œ #œ œ

to

œ

be

œ

Blos-som - ing

blos-som - ing

j œ #œ

at

j œ

eight - y.

did - n't mean

Slower

That's

at

œ how

for - ty.

to choose.

68 œ.

w.

my Mid-night Blues.

44 j #œ œ œ œ œ œ #œ .

j œ #œ œ œ œ

j œ ˙.

œ œj œ œ œ œ

44

LESLIE:

j œ œ œ œ œ œ œ

b˙

The ve - ry things a - bout him 58

&‰

j œ œ

œ

The smell of G-6305/802/13-u

œ

œ

œ

bœ œ

that

œ

po - wer that he

I love

œ.

bœ œ . J

Blos-som - ing

œ # œ # œj œ

I want - ed

j #œ to

at

car - ries with – 93 –

him still

can awe

(to 54)

live!

are now the ve - ry things I

bœ œ . J

six - ty.

nw

œ œ œ œ œ œ œ œ j œ œ.

34

Œ.

j œ œ œ œ œ œ œ.

54

&‰

Oh, but

Slower (colla voce)

œ. œ œ œ œ. œ . œ œ

But who's some-how the on - ly man who's gon - na cure

and tight who'll

My wrin - kles and my li - ver;

2

j œ

j œ œ œ œj œ œ œ œ œ

j œ œ

make this ole girl qui - ver, - and help me to for-get.

& 43 ‰

Which I'll en -

'Cuz this Grand-ma might go out some night 'n find her a cow - boy, young and tall

33

43

œ. œ œ œ

˙.

œ

Œ Ó

hate.

poco rit.

j œ œ . N œJ ˙

and

fas - ci - nate.

Vocal

3. MIDNIGHT BLUES

62

&‰

(LESLIE)

j œ œ œ œ œ œ œ

b˙

But all that po - wer can be 66

&‰ œ

œ

œ

œ

bœ

hard

œ

œ

Pushing forward

& œ

Makes

& œ

74

Makes 78

&

bœ

me

want

bœ

bœ

me

wish

œ

him

œ I

Darker, more intense

bœ

live

82

bœ

œ

b˙ .

to

change.

œ

b˙ .

could

leave.

And

j œ œ . b œJ œ .

me melt,

But

˙

bw

no - one's seen;

œ œ

j œ œ

œ

j œ œ

our

bu - sy days,

choose dif-f'rent ho - urs to

œ

Some - how we ma - nage

j œ b œ b œJ œ œ b œ œ œ œ b œ œ

&œ

j œ

and his host - ess,

bœ

j œ b œ b œJ œ œ b œ

rall.

go to bed so we don't have to talk, so that

œ

œ

œ œ

œ

œ

œ

And af - ter mid-night if

rall.

& b˙

Œ

nough. 98

&˙

speak.

G-6305/802/13-u

bœ œ Just

Œ

œ œ

b˙

we

do

˙

œ

Just e - nough

œ

to

to

œ

make

œ

make love,

Colla voce

e - nough

˙

bœ

œ

œ bœ bœ . œ bœ

œ

make

love,

but

not

b˙

b˙

but

– 94 –

not

j œ

œ

to

(molto)

w

all.

œ

œ

œ

hand will wake you just

œ

love

˙

œ bœ

j œ

œ

œ

We

King and Queen.

œ

œ

a

œ

and

b˙ .

œ

Œ

no-thing's said at

œ

Ó

de - vi - sing ways

Tempo primo

&‰

Œ

œ

don't.

Host

Œ

œ

bw

bœ

be.

and harm - ing me.

won't.

I

w

j œ œ . N Jœ ˙

It's hurt - ing him

œ bœ

j œ œ bœ b˙

at the end of

86

94

poco accel.

Which he

j œ œ œ œ

si - lence that

I've learned the dan - ger it can

œ bœ

j œ œ bœ

a

œ œ

Poco più mosso (surging)

& bœ

91

make

œ œ œ œ œ

œ

bœ œ . J

œ.

œ

j œ œ œ œ

in

œ

and cruel.

And though that po wer still can

70

Giant

œ

˙

e - nough

œ

œ

e -

œ

e - nough

to

˙.

œ

to

Vocal

4. MIDNIGHT BLUES

3

A tempo

103

(LESLIE)

& w

w

speak.

b & b b b b 128 110

105-107

108

(ADARENE)

U ∑

7

(Dialogue)

U ∑

Lunga

109

68

b b b b b 128 44

∑

117

110-116

Espressivo molto rit.

4

b & b b b b 44 118

Giant

118-121

Segue

27

FANFARE (Instrumental)

In 4

& 44

4

11

&

Ens.

5

w

poco rit. >˙ œ J

G-6305/802/13-u

‰

Slick Vegas-feel, swing 8's >œ . œ œ. > . . . œ ‰ >œ . ‰ C˙ œ œ œ ‰ >

Œ

> œ

> œ 3

> œ

> œ

> bœ

> œ

3

– 95 –

w>

œ œ œ œ œ

. . œ œ œ

˙ œ^

Œ

‰

œ. œ œ

Ó

Vocal

Giant

28

THE DOG IS GONNA BARK (Jett)

Music & Lyrics by Michael John LaChiusa

Cue: JETT: A Blue Lacey's a dog, a Texas original and the name of my Society. :

Freely under dialog

b & b 44 19

Clar.

Alto Flute

‰ œj œ œ œ Œ œ œ œœœ œ

Œ œj œ œ

œ œ. J

They call it a "Cold War,"

. n œ3 . œ œ b . ˙. &b

28

gon - na get hot.

b & b Œ œj œ b œ œ

31

œ bœ œ œ . J

œ œ. J

'N' if we don't wake

poco rall.

œ . 3œ . œ . œ . n œ3. œ . ˙ .

rit.

œ œ œœœ œ œ œ œ

U

+Ens.

128

w >

Œ œj œ œ œ b œ Jœ œ œ J

This war that we're in now.

j œ bœ œ œ bœ

Œ

Alto Flute

‰ j œ nœ œ œ œ œ œ œ œ ˙

Dangerous blues (swing 8's)

JETT: b 12 & b 8 Œ œj œ œ œ b œ 25

Cue: JETT: I pray you and I have the strength to protect this land.

But you 'n' I know that

j œ bœ œ œ . œ œ bœ

Œ

up,

We're all gon - na burn up.

JETT: When they had that Commie revolution in Mexico, we should've gone in, taken it over, taught 'em democracy, spared ourselves much suffer'n, and not to mention payin' for border protection. 33

4

Faster

j Ó . Œ . ‰ ‰ nœ bbb (JETT)

33-36

37

And keep-in' our guard up is all that we've got.

j j b & b b œ œ œ bœ œ œ . Œ œ œ e - ne-my's a snake.

b b œ Jœ œ œ œ . b & J

51

the a - larm?

b b œ b Jœ œ b œ œ œ b &

54

dog

œ b œJ œ b œ œ œ .

The dog

œ J

b . & b b œ b œJ n œ b œJ œ lives in the dark;

Œ.

œ œ œ b Jœ œ œ œ b Jœ J

So who's gon - na give you warn - in' and sound

52

œ J

œ œ

Œ

is gon-na bark.

is gon - na chal - lenge that snake

57

G-6305/802/13-u

He means to do you harm.

Œ œ J

(to 48)

The

j œ œ b œ œ œ . Œ Jœ œ

48

it's

œ J

œ b œJ œ b œ œ œ .

The dog

Œ

is gon-na bite.

œ J

The

œ bœ j j œ bœ nœ bœ œ œ œ j Œ . b œ n œ œ œ J J J J bœ

œ J œ

Those days are

to a fight.

œ œ b œJ œ . J o – 96 –

-

ver;

Ya can't go on liv

œ.

œ

-

in'

your

bœ œ œ J œ b œJ J

(to 62)

The dog

is gon - na

Vocal

2. THE DOG IS GONNA BARK

b &b b Π62

j j œ œ œ

j œ bœ

(JETT)

œ bœ œ œ

œ.

I know this A - rab,

j œ œ bœ

3

Sneak-y S. O. B.

b & b b Œ . ‰ nœ

œ

68

b & b b œ Jœ n œ œ œ œ . Œ .

71

b . & b b 128 ˙

œ.

fly.

b œ &b b

89

‰ ‰ œJ

bœ J

b &b b œ

œ bœ

œ bœ J

91

ya

out

bb ‰ bœ œ Œ . b & 93

Com - mie!

98

&

bbb

œ b œJ œ b œ œ œ .

Faster, more violent

87

œ

nœ bœ J

œ

'n conr - ner

œ J œ Trai - tor!

is gon-na bark.

œ

hunt

Œ œ

ya down,

and then

œ

j œ

œ

Y'all

be

œ œ

ya.

Red

Sheikh.

œ bœ œ . Œ .

j n œ œ œ n œj œ œ œ œ œ œ pay more

for A-rab oil. Wants to

Œ

œ J

'N

bœ J

Œ

he's gon - na

œ J

an

eas

Œ.

bœ œ œ œ œ œ œ œ bœ . ˙ . ‰ œ ‰ ‰ J J J The dog!

j œ

Œ

kill.

bœ -

œ J

He's

œ.

œ bœ nœ

is gon - na bark!

– 97 –

œ 12 J 8

(To 86)

that ain't gon - na

œ b œJ œ b œ œ œ .

œ J

œ b œJ œ b œ œ . J

The dog

j œ œ

j œ 68 n œ

He'll

nœ J y

JORDY JR: You son of a bitch. They disrespect my wife! That's my wife---!

Got-ta wake up! Got-ta step to!

G-6305/802/13-u

Young guy.

You bet your ass he will.

œ J

œ J

œ.

he worked for me.

œ œ nœ œ

JORDY JR: They should burn this shit house down!

∑

then

he's ask-in' that we

j œ œ œ

œ.

œ bœ ∫œ J

That's our bus-'ness. That ain't his.

The dog

gon - na chase and

sniff

Now

‰ œ

jack the pri-ces high.

accel.

j bœ œ œ œ œ œ J

œ œ œ œ œ n œ ‰ # œ œ # œj œ œ œ n œ .

Then went back to A - ra-bi - a

86

of T.

First he worked for Tex - a - co,

bœ .

œ.

Œ.

œ . J œ

Stu-died at U

b œ & b b b Jœ ∫ œ œ œ œ . Œ .

65

Giant

bœ œ ‰ Œ. Greas-er

œ . nœ . ˙ .

b˙ . mark;

œ J œ

Œ.

(to 98)

A - rab! LESLIE: It's caught up with you. Caught up with us.

∑

Attacca

Vocal

Giant

29

JUANA'S PRAYER (Juana) Music & Lyrics by Michael John LaChiusa

#### 4 & #4œ

:

9

13

&

JUANA:

####

j œ œ œ œ

When I'm filled

####

&

#

&

scared

Give

37

& 41

&

#### ####

Œ

œ nœ ˙

fright - ened,

# œ

me

peace.

And

let

Fill

# œ I

# œ If

j œ blood

œ

œ

me

peace.

Don't

let

with

j œ œ œ œ

know I

j œ

j œ œ

a

hope

pro

me give

it

to

child.

my

24

j œ œ œ œ

my

Œ

heart - beat

œ

œ

world,

I – 98 –

j œ œ

wake

my

child.

death.

œ

j œ œ œ œ

know that

œ

j œ œ

not

j œ œ œ œ

44

Œ

a

j j œ œ œ

world

of

j j œ œ œ

that world

Œ

Ó

˙

from

Œ

j œ

w

safe - ty

Œ

j œ œ

breath.

and life

you.

j j œ œ œ

w

- mise

j œ œ nœ ˙ good

j œ œ œ œ

œ œ œ

j œ œ nœ ˙

can't

j œ œ œ œ

œ

to

j œ ˙

17-20

and

˙.

œ

talk

you.

4

˙

˙

her dreams

there is

˙

to

j j œ œ œ

to

(to 17)

œ

œ

talk

17

œ

my

to

j œ œ œ œ

œ

Show me how

˙.

Give

G-6305/802/13-u

Show me how

˙

it through

#### 4 ˙ & #4 &

and

j œ œ œ œ

# œ Pass

####

j œ

U j j j œ œ œ œ ˙

j œ œ œ œ

œ

ger,

16A-16D

29

33

-

4

#### ˙ & # ####

an

Calm, but with movement

21

25

with

j œ œ œ œ

# œ

When I'm 16A

j œ œ nœ œ œ Œ

j œ ˙

hate.

j œ œ œ

must wait.

But

Vocal

2. JUANA'S PRAYER

# # # # (JUANA) ˙ & # ˙

˙.

œ

œ

give

peace.

And

let

45

49

&

####

# œ We

#### 4 ˙ & #4

her

will

keep

53

57

& 62

& & &

#### #### #### ####

Give

her

˙

safe

some

œ

us

peace.

And

tell

œ

to

œ œ œ

pro - mise her

j œ œ œ œ

œ

for

j œ œ nœ ˙

with

2

an

-

she

how.

j œ œ œ œ

me what

to

Œ

œ

ger,

Show me how

œ

66-67

œ

70-71

&

#

G-6305/802/13-u

to

j œ œ œ œ

Show me how

to

j œ œ œ œ

to

Slower, quietly

2

128

76

74-75

– 99 –

-

mise

j œ œ her.

j j œ œ œ

talk

to

j j œ œ œ

talk

to

j j œ œ œ

talk

8

Scene change (to The Desert)

76-83

44

Œ

Ó

j œ œ œ œ

Show me how

####

pro

Œ

love.

œ

j j œ œ œ

˙

now.

j œ œ

our

24

w

2

has

w

-

œ

When I'm filled

#

her know

˙.

Tell me what

#

˙

j j œ œ œ

j œ œ œ œ

˙

# œ œ œ œ œ # œ

j œ

j œ œ œ œ

Giant

to

U ∑ j œ ˙

you.

j œ ˙

you.

j œ ˙

you.

Œ

Vocal

Giant

30

THE DESERT (Bick, Leslie) Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: We're going back.

Softly, sustained

b & b b b b 128

1

BICK: Leslie...

U

Clars.

j j œ œ œ œ œ œ œ œj œ

j j œ œ œ œ œ œ œ œj œ

b & b b b b œ œ œ œ œj œ œ œ œ .

6

Pri-mar - y as

b & b bbb ˙ . 9

I

need

you.

b & b bbb œ œ œ œ

œ

You.

you and our child - ren need me

to

j j j b & b bbb œ œ œ œ œ bœ œ œ œ

16

&

2

b

œ œ œ

accel.

be

œ.

œ.

Help

me

œ.

learn

˙.

18

œ . œ . bœ . œ .

˙. I

need

Used to wake up own-in' the morn-ing.

j b & b bbb œ œ œ œ œ œ œ œ œ œ œ . œ J

dreamed I'd

œ J

œ see

a

œ

œ œ.

Ne - ver looked to

G-6305/802/13-u

dreams

œ

j œ

I know how to be

what

j œ ˙. œ

œ.

w.

˙.

some- how.

œ

˙.

like

j nœ to

œ.

Œ.

œ

œ

œ œj The

Ó.

you.

œ œ œ ˙.

Ev'-ry-thing would be clear.

Ne-ver dreamed I'd find my - self

œ.

morn - ing

Più mosso, moving forward

& ‰ nœ œ

œ J

œ. Œ.

œ œ œ

j œ œ

j œ œ œj œ œ œ .

‰ œ œ

Saw in the light what had to be done.

b & b bbb œ

˙.

‰ œ œ œ œ . œ œ œ œJ œ ‰ œ œ œ

21-22

28

You.

23

25

31

you.

j œ œ œ œ. œ

on - ly thing I know in this mo-ment, here and now is

bbbb

need

œ. Œ.

˙.

w.

That does - n't mean

j œ œ œ œ. œ

13

I

˙.

Sim-ple as breath - in'. Sim - ple as air.

w.

w.

˙.

œ œ œ œ

the sun com-in' up.

˙.

BICK:

3

U

Œ. ‰ œ œ

˙.

here.

accel.

Ne-ver

nnnnn

∑

this.

œ show

j œ

me

– 100 –

œ

j œ œ

where I'm head - ed.

œ.

Œ.

Vocal

2. THE DESERT (BICK)

33

&‰

œ œ

œ œ.

œ

Ne - ver looked to

j œ œJ

35

&Œ

stars

‰

œ

&‰ œ

œ

& œ.

some

day

cost

me

˙.

43

& . ˙ I

### 4 Ó & 4

≈

### ###

˙

still. 57

&

###

A tempo

˙

night,

œ.

you.

You.

œ

G-6305/802/13-u

De-pend - in'

on my - self would

w.

œ

œ œ

Un - der one roof

we live

in two

w.

feel the touch

of your

œ œ œ œ œ œ #œ

It's you

≈ œ

˙

life.

˙

œ œ

˙

A tempo

≈

hands.

– 101 –

I want and al - ways

œ

œ

œ

œ œ œ

And you're a strang - er

to me

Rit.

≈ œ œ œ œ

fo - reign lands.

58

œ œ

≈

want.

œ

### 4 4

You.

˙

œ œ.

≈ œ œ œ œ

œ.

You.

œ

Rit.

j œ

w.

a - no - ther man I

œ

life.

˙.

œ.

I

my

w.

I ne-ver knew

I have known you half my

‰ œj œ œ

of

˙.

‰ œ œ œ

œ #œ œ #œ œ œ #œ

But

œ

Sim-ple as breath-in'. Sim-ple as air.

≈ œ œ œ

˙

will.

&

pride

œ

j œ œJ œ

LESLIE:

It's not

54

the

Moderato, espressivo

50

&

was

j œ œ œ. œ œ œ œ œ œ

Slower

Pri-mar-y as the sun com-in' up.

52

œ

you.

& œ œ œ œ œj œ œ œ œ .

46

œ

w.

need

Œ.

˙.

do.

œ

œ œ œ œ. ˙.

but then

œ.

œ.

œ.

œ

my - self

œ œ œ

And made ev' - ry - thing clear,

tell me what to

œ.

œ

on

œ œ œ œ œ.

40

œ œ œ œ œ

to

De - pend - in'

37

j œ œ.

œ

Giant

œ œ

Ex-cept for late

œ

œ

œ

œ

œ

You are no strang - er

in the

œ #œ

in

our

Vocal

3. THE DESERT

# # # (LESLIE) j & œ œ. ≈ œ œ œ œ

59

bed.

#˙ . on.

77

& 82

&

### ###

64-65

6

66-69

70-75

Piccolo

œ

Œ

j œ œ

œ

œ

Safety (Vocal last x)

œ

Œ

˙.

‰ œ œ œ œ BICK:

œ

œ

œ

œ

j œ œ.

œ œ œ .

Time for the young

to

.. ˙

Ó

Ó

Not a place for my son.

& œ œ œœ œ ˙

on-ly place for me.

Slow

G-6305/802/13-u

˙

Œ œ

œ

œ

˙

œ œ J

˙

œ œ œ œ . œj œ œ

œ

for you.

But it's the

2 :

136-139

– 102 –

U Œ

n ‰ œj œ œ n n œ œ œ ˙

That's not what you're want-in' to hear. It's not what you'd have me say.

4

œ

the morn - ing.

Œ

œ œ œ œ œ ˙

Not a place

œ œ

run

rit.

90-94

100

w œ

œ

5

# # # . BICK: .œ œ œ œ œ œ ˙ &

&

.. œ

May - be it's time now.

Safety (Vocal last x) a tempo

##

44

j œ œ

Cue: BICK: Maybe it's time. LESLIE: Don't stop.

œ

∑

j œ œ

j œ œ œ œ œ

j œ œ

###

96

###

Moderato

j #œ œ œ œ œ

### . . &

136

(to 77)

Clar.

86

&

2

BICK: You called me Bick. LESLIE: It's your name.

4

66

&

It's hard to hold on to the night, Bick. It's hard to hold

Œ.

œ.

nnn 6 ‰ œ j œ 8 œ # œ # œ œ œ œ œ œ œ œ œ

≈

But you be-come one in the dawn.

Tempo Iº

& 68 62

œ œ œ ˙

Giant

141-142

## (to 136)

Vocal

# & # .. 143

146

&

##

4. THE DESERT

˙ ˙

Safety ˙ ˙

Kbd. (Harp)

Freely BICK:

œ

œ

If

œ

I

œ

make it

œ

œ

to

œ

se

œ -

œ

œ

ven - ty,

# & # œ œ œ œ œ œ œ œ œ œ œ œ. A tempo

148

Uw w

˙ ˙

˙ ˙

CUE: LESLIE: Surprise me.

Œ

œ

‰

j œ

œ ˙

&

##

Œ

˙.

## œ œ . &

154

I make it to se - ven - ty,

œ œ œ œ.

œ

œ

œ

œ œ.

have him tease me when he sees me, Not get

157

&

##

Più mosso

œ œ

œ œ œœœ

œ

œ

œ œ œ ˙

if there's things

œ

he should-n't say.

I want to teach my grand-kids how to ride.

œ œ

œ œ nœ œ œ œ œ œ œ œ

I won't leave this land. And I won't be kicked a - side. Won't be

liv - in' like some ex - iled king on a

161

# & # œ œ nœ œ œ ˙

164

Ri - vi - e - ra beach.

## œ & 168

œ I

## œ œ. &

170

Tell the

G-6305/802/13-u

œ œ nœ If

œ œ œ œ œ make it to se

œ

œ

œ

˙

œ œ œ œ œ œ œ œ œ œ

œ œ œœ œ œ œ

œ

the whole damn day.

œ œ œ œ œ. œ œ

stiff and won - der

Sa - tur-days

to

I want to see my son at sup - per - time. Want to

159

∑

w

# & # œ œ

want

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

If

œ

œ œ œœ œ

meet the fore-man right at six. Get the cof-fee ground up, join the round-up, work

151

..

œ

I

œ œ œ œ. œ

œ

Giant

-

œ œ œ œ

I want the sand,

ven - ty,

moon I'm go - in'

I want to

œ

œ

soon. I'm

œ

œ

œ

I've got the sand here, with - in

œ œ œ œ œ œ

œ œ œ œ.

œ

œ œ œ œ œ œ

˙

not

– 103 –

œ

œ

œ

drive

up

here

œ

reach.

œ œ

and make

œ œ œ œ œ œ ˙. a-fraid

to die.

‰ œ.

˙ œ

If

œ

my peace.

Œ

Vocal

5. THE DESERT

# & # œ

173

œ

I'm

œ œ œ œ œ

not

# & # œ

fear - ful of

œ

175

œ

kids - 'll

dy

stand

and

# & # œ œ œ œ œ & 182

&

That

I

œ

œ

œ

˙

for

b & b ..

œ

œ

me

and

œ

œ

œ J

"He'll

œ

if

I'm

˙

Rit.

need

you.

œ

to

œ

œ œ œ

j œ

œ œ ‰

to

j œ

change."

se

œ œ œ œ

But

this,

ven - ty,

128 w .

by

me,

œ

œ

cer - tain

Œ

You.

bb

Ó.

Œ.

œ.

My

œ

˙.

Tempo Iº

w

œ

know

œ œ œ

-

œ

sit - tin' right

œ.

œ œ œ œ œ

make it

œ

you'll be

ne - ver

Cue: LESLIE: Then I'm pouring the oil money into Jordy's clinic, using it for Juana's school.

186

8

..

186-193

Safety (Vocal last x)

b & b .. ‰ œ œ œ œ œ ‰ œ œ œ 194

œ

Freely

˙

œ

I know the land will be pro - tect - ed now.

œ

say - in',

Rit.

true:

##

in', no,

fight

œ

œ œ œ œ œ

œ œ ‰

shak-in' your head,

##

-

œ œ œ

177

179

œ

Giant

LESLIE:

If

b &b ‰

I make it

196

œ œ

In

b &b Œ

198

œ

œ œ J

a huge

j œ œ

She'll be

to

Te - xas

u - ni-ver-si - ty

re - ceiv-ing her P H D

b &b œ œ œ œ œ œ œ sit-ting in a row

I'll be

œ œ œ œ œ ‰

j œ œ œ œ œ œ œ

200

G-6305/802/13-u

se - ven - ty,

‰ .. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

sit-ting in

œ

a huge au - di - to - ri-um.

j œ œ

watch - ing my grand-child

œ

œ œ œ œ œj œ

filled with all kinds of peo - ple, – 104 –

œ

œ

2

œ

grad - u - at - ing

3 j œ œ œ œ œ nœ œ œ

in

2

Rus - sian li-tera-ture.

œ œ œ œj œ

All kinds of peo - ple,

Œ

j œ œ

Why not?

œ œ

I'll be

œ œ œ œ. All of

us there,

Vocal

6. THE DESERT

b &b œ œ 202

(LESLIE)

œ œ œ œ

œ

œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

Watch-ing our child-ren throw their caps in the air,

b &b œ

204

œ

œ

faint - ly

b & b 44 œ b & b 44 212

&

a - ware

Hushed

206

bb

j œ

œ

˙.

day - dream.

œ

œ

in

Œ

œ

œ J

œ.

some - one's

‰

˙.

day - dream.

œ J

œ J

Some-one's

LESLIE: We're beyond hoping we can make each other what we want.

3

∑

∑

∑

or what e - ver they do, And not one of them is e-ven

œ

they're stand - ing

˙.

Giant

209-211

3

BICK:

œ œ œ œ ˙

I'm not in that dream.

rit.

LESLIE:

œ œ

˙

I don't want

œ

false

˙

Œ

hopes.

œ œ

œ

œ

I just want us

œ

œ

j œ œ.

to keep talk - ing.

Œ

œ

Ó

BICK: The morning light makes that weed look like a flower... We're making love in this light. Do you know that?

&

bb

Quietly expressive

&

bb

LESLIE: About all I know.

216

4

216-219

G-6305/802/13-u

3

U ∑

220-222

– 105 –

44

Vocal

Giant

31

AURELIA DOLORES (Reprise) (Jordy, Jr.)

Music & Lyrics by Michael John LaChiusa

Cue: JORDY, JR.: That is Aurelia Dolores

2

2

Moderato

# & 34 11

(Guitar)

1-2

#

j œ

gave

me

œ.

œ œ ‰ œ œ œ

gave me all the ten - der mu - sic

# & œ 21

#

j œ

œ.

land

was

j œ

flo - wers,

œ & œ œ œ œ œ

15

œ

your

bo

31

#

one

j œ

œ.

-

dy,

# & œ

œ J

œ.

day,

œ

œ

Au

œ

˙

a - no - ther man

35

œ

œ

want - ed

# & œ

give

œ

œ

you and

39

œ.

him

so

he

j œ

œ

stole

œ

your

-

œ

œ

# œ & œ œ œ œ œ # œ &

does

œ he

œ

know

& œ œ œ œ œ

œ

œ

˙

˙

œ.

G-6305/802/13-u

œ

Do - lo

œ œ

-

res.

You

œ

I

a - lone could

œ

œ

œ

œ

œ

no

one

can

own

you?

j œ œ

œ

˙.

˙

see;

œ

And

Œ

œ

œ

Do - lo - res?

˙

he

œ œ

Do you

j œ

œ.

œ

œ

me.

Au - re - li - a

œ.

So

Then

what

œ

res.

œ Œ œ

saw

œ

-

love.

œ

j œ

œ.

˙.

œ

œ

œ œ

j œ

œ

a - way from

˙.

œ

œ

Do

you

œ Œ œ

each morn - ing?

œ

œ

You are

˙.

˙.

hay do - lor."

And

˙.

free.

..

The

and

œ

œ

j œ

œ.

œ Œ

œ

œ

"Don-de hay a - mor,

˙.

œ.

re - li - a

j œ

œ œ œ œ œ

˙

Do - lo

˙

-

give him all the ten - der mu - sic of the song-birds

49

œ

œ

you

flo - wers,

43

#

j œ œ

beau-ti - ful and ab - so - lute in all of your heart-break

& œ

53

œ.

œ

ŒŒ

You

j œ

re - li - a

œ.

.. ∑

JORDY JR:

(Guitar)

7-8

œ

Au

Safety

of the song-birds each morn - ing.

œ œ œ œ œ œ3 œ œ œ œ & œ

25

2

(Flute)

5-6

œ

your

2

(Guitar)

3-4

œ.

& œ #

(Flute)

˙ poco rit.

∑

Œ ∑ Attacca

– 106 –

Vocal

Giant

32

ACT TWO FINALE (Jordy Jr., Juana, Company) Music and Lyrics by Michael John LaChiusa

Quietly, under dialogue8

#4 & 4

1-8

9-15

Safety - jump on cue to m.27

# . Vln. & .˙ œ 16

œ

On cue

# & œ

œ

# & œ

œ

27

JORDY JR.:

Heart - break

31

In

# & œ

35

And

39

7

œ œœ œ œ

j œ œ.

œ œ. J

blood I've

œ

œ œ. J

to

ho - nor

#

& w

# JUANA: œ & œ 43

In

our

œ J œ.

child are

JORDY JR.: # JUANA, œ œ œ. & œ J

# 3 ˙. & 4 51

Brighter

change but

œ

œ

got

this

those

call her.

in

œ

œ J

Heart - break

œ œ

a - bove.

œ

œ

œ

those be - fore

œ.

œ

Coun - try

œ me.

œ

˙

has

2

œ œ J

œ

œ J œ.

JORDY JR.:

us.

œ.

our hearts this

˙.

œ

In

our

nœ

– 107 –

child, the

œ

poco accel.

my

past

œ J œ.

and

œ ˙.

œ

œ

œ

Heart - break Coun - try

˙.

home.

G-6305/802/13-u

œ J œ.

sky

˙

41-42

those be - fore

œ

œ

(to 27)

œ

œ

be - low and

Ó œ

j œ œ.

Me - mo - ries of

œ

be - fore me,

œ

œ

..

22-25

œ

Land

œ

œ œ. J

Œ

œ

coun - try.

œ

œ

47

Things will

they

œ

œ

love.

That

4

w

j œ œ.

œ

œ

coun - try,

my

œ œ œ œ œ w >

œ œ œ ˙

œ

fu - ture.

˙

œ

will

be

34

Vocal 55

S.

A.

T.

B.

& & V

#

2. ACT TWO FINALE

f

j œ

˙.

˙.

# f

Dios!

j œ ˙ Di-os f # œj ˙ .

?#

f

œ

& & V

˙

#

j œ

#

Dios!

#

?#

te

œ

œ te

j œ ˙ Di-os j œ ˙.

˙

&

œ

œ

& V

#

j œ

#

Di-os j œ ˙

#

Di-os j œ ˙

œ

Di-os j œ ˙

œ

?#

˙

Di-os

G-6305/802/13-u

sal

˙.

˙

-

ve

œ sal

˙ -

ve

œ

œ.

Moon -- light

˙. œ

œ.

Moon -- light

œ

œ.

Moun - tains

œ

te

Dios! j œ

œ

˙.

˙.

Di-os 63

œ

Dios! j œ

œ.

Moon -- light

Di-os 59

œ

Giant

œ œ

œ

œ

sal

˙.

sal

œ

œ

te

sal

te

œ

-

ve

œ

te

œ

˙

œ

sal

œ

˙ -

ve

-

-

˙

œ

Moun - tains

˙. œ

œ.

Moun - tains

œ

ve

Stars

˙

œ

ve

œ.

˙

Stars

œ

œ.

œ J

œ

and

Day

œ J

œ

and

Day

œ J

œ

and

Day

œ J

œ

and

œ J

˙.

Ri

˙ --

˙ --

Ri

œ J

œ

and

Ri

œ J

œ

˙.

in

the

hea

œ.

œ J

œ

light.

˙ --

light.

˙ -

œ

and

light.

vers.

˙ -

vers.

˙ -

vers.

˙ -

vens

˙

in

the

hea

-

vens

œ.

œ J

œ

˙

te

œ

sal

œ

-

ve

Stars

in

the

hea

œ

-

vens

te

sal

-

ve

Stars

in

the

hea

-

vens

˙

œ

– 108 –

œ.

œ J

˙

Vocal

67

& & V

3. ACT TWO FINALE

#

j œ

#

Di-os j œ

#

Di-os j œ ˙

?#

˙ ˙

Di-os j œ ˙ Di-os

# & 44 71

Dictated

œ œ

œ

œ

te

sal

œ

œ

œ. -

ve

œ.

œ J

œ

œ

Giant

œ.

Au - re - li - a

j œ

œ

œ J

œ

œ

œ.

œ

te

œ

sal

-

ve

Au - re - li - a

œ

te

œ

sal

œ

-

ve

te

sal

-

œ

œ J

œ

œ J

œ

Do - lo

-

res!

œ

-

res!

œ.

Au - re - li - a

Do - lo

œ J

œ

-

res!

ve

Au - re - li - a

Do - lo

-

res!

œ J

œ

8

œ œ

œ. œ.

In 2

71-78

œ J

44

˙

Do - lo

œ.

44

˙

˙

44

˙

44

9 79-87

FINE

BOWS & EXIT MUSIC (Instrumental)

G-6305/802/13-u

– 109 –

33

Vocal

Giant

THE DOG IS GONNA BARK

28

(Jett) (ALT: in 4/4 at m. 25, as in Full Score) Music & Lyrics by Michael John LaChiusa

Cue: JETT: A Blue Lacey's a dog, a Texas original and the name of my Society. :

Freely under dialog

b & b 44 19

Clar.

Alto Flute

œ

Cue: JETT: I pray you and I have the strength to protect this land.

‰ œj œ œ œ Œ œ œœœ œ

œ

œ œ œ œ

Dangerous blues (swing 8's)

b j bœ &b ‰ œ œ œ œ 25

œœ ‰ j œ œ œ

3

JETT:

3

They call it a "Cold War,"

‰ j œ nœ œ œ

˙

But you 'n' I know that it's gon-na get hot.

3

'N' if we don't wake up,

33

&

bb

Faster

w>

3 3 œ bœ œ œ ‰ j œ œ œ bœ œ œ œ nœ œ ˙ œ J J

This war that we're in now.

3

U

+Ens.

œ œ œ œ œœœ œ œ

b & b ‰ œj œ b œ œ b œ œ œ ‰ œj œ b œ œ b œ œ œ ‰ œj œ b œ œ

29

rit.

Alto Flute

3

We're all gon-na burn up.

poco rall.

œ 3œ œ œ n œ3 œ

˙

And keep-in' our guard up is all that we've got.

JETT: When they had that Commie revolution in Mexico, we should've gone in, taken it over, taught 'em democracy, spared ourselves much suffer'n, and not to mention payin' for border protection.

4

33-36

37

Ó

‰ n œj

bbb

(JETT)

Œ

(to 48)

The 3 j b b &b b œ œ œ œ œ œ ‰ œ œ

3 b œ œ œ œ œ ‰ Jœ œ

48

e - ne-my's a snake.

He means to do you harm.

bb œ œ œ œ œ b &

51

the a - larm?

bb œ bœ b &

54

dog

is

œ b œ3 œ œ gon - na

lives in the dark; G-6305/802/13-u

œ Œ

‰ œ J

dog is gon-na bark.

œ

œ

œ

œ

The

œ bœ bœ nœ œ

chal - lenge that snake

b & b b œ bœ nœ bœ œ

57

œ b œ œ b œ3 œ œ

The

to a fight.

œ

Those days are

œ œ œ bœ

œ

œ œ bœ

So who's gon - na give you warn - in' and sound

52

‰ œ J

3

œ

œ bœ . J

o

-

– 96 –

ver;

œ b œ œ b œ3 œ œ

‰ œ J

dog is gon-na bite.

The

‰ œj œ b œ n œ b œ œJ œ b œj Ya can't go on liv

œ.

-

bœ œ œ J

The dog

is

in'

your

œ bœ

(to 62)

gon - na

Vocal

2. THE DOG IS GONNA BARK

b &b b ‰ 62

j œ bœ œ œ œ œ

œ bœ œ œ œ œ

(JETT)

I know this

Œ

3

Sneak-y

b b Œ ‰ n œ3 œ b &

‰œ

3

jack the pri-ces high.

b b œ b œ œ b3œ œ œ ‰ œ b & J dog is gon-na bark.

3 bb œ bœ b & œ bœ nœ œ

then he's gon-na kill.

98

&

bbb

Trai - tor!

The

G-6305/802/13-u

‰ œ J

dog

œ bœ œ

pay more for A - rab oil. Wants to

'N

that ain't gon - na

œ bœ

Œ

is gon - na bark!

Got - ta step to!

– 97 –

b˙ . ‰ œJ The dog!

86

accel.

fly.

œ b3œ œ œ œ

He's gon - na chase and hunt

œ bœ œ bœ œ

Œ

3

he worked for me.

Y'all

‰ Jœ

The

œ

œ

ya down, and

œ œ bœ nœ b˙ be an eas - y mark;

JORDY JR: You son of a bitch. They disrespect my wife! That's my wife---!

b œ3 œ œ œ œ3 œ œ œ ‰ ‰ Got - ta wake up!

Sheikh.

3 œ œ bœ nœ bœ œ œ œ œ

JORDY JR: They should burn this shit house down!

∑

Red

:

He'll sniff ya out 'n conr-ner ya.

œ œ ‰ œ J

guy.

. œ œ n œ œ œ 24 n œ œ œ œ 44 ˙

œ

œ b œ œ b 3œ œ œ ‰ œj

œ

3

You bet your ass he will.

90

œ

3 3 j j nœ œ nœ œ œ œ œ œ œ

Now he's ask-in' that we

œ œ

bœ

œ bœ ∫œ

then

3

That's our bus-'ness. That ain't his.

Faster, more violent

Com-mie!

bœ œ œ œ œ œ

3

3 b œ œ nœ œ œ œ Œ &b b

b œ3 œ b Œ &b b ‰

Young

œ œ œ œ œ n œ ‰ # œ # œj œ œ œ n œ 3

71

93

T.

First he worked for Tex - a - co,

Then went back to A - ra - bi - a

87

of

3

œ œ bœ

S. O. B.

68

Stu-died at U

œ

Œ

3

A - rab,

b œ & b b bœ ∫œ œ œ œ

65

Giant

b œ3 œ ‰ Œ Greas-er

œ n˙ .

œ œ Œ

(to 98)

A - rab! LESLIE: It's caught up with you. Caught up with us.

∑

Attacca