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 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

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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.
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(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 Spanish dialogue and lyrics appears in italics.

x English translation appears in [italics and brackets] separated by a vertical line.

Example #1
POLO
ME DISTE TUS FLORES, [You gave me your flowers,
AURELIA DOLORES. Aurelia Dolores.
ME CANTASTE LAS CANCIONES DE UNA You sang to me the songs of the
PALOMA EN LUTO. mourning dove.
FUISTE LA TIERRA, AURELIA DOLORES. You were the land, Aurelia Dolores:
LA TIERRA DE LA ANGUSTIA ABSOLUTA. The land of absolute heartbreak.
ETONCES UN DÍA Then one day,
TE PERDÍ. I lost you.
UN NEUVO HOMBRE TE ROBO Another man stole you
LEJOS DE MÍ. 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
ME DISTE TUS FLORES, [You gave me your flowers,
AURELIA DOLORES. Aurelia Dolores.
ME CANTASTE LAS CANCIONES DE UNA You sang to me the songs of the
PALOMA EN LUTO. mourning dove.
FUISTE LA TIERRA, AURELIA DOLORES. You were the land, Aurelia Dolores:
LA TIERRA DE LA ANGUSTIA ABSOLUTA. The land of absolute heartbreak.
ETONCES UN DÍA Then one day,
TE PERDÍ. I lost you.
UN NEUVO HOMBRE TE ROBO Another man stole you
LEJOS DE MÍ. away from me.]

(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, [Do you give him your flowers,
AURELIA DOLORES? Aurelia Dolores?
¿LE CANTAS LAS CANCIONES DE UNA Do you sing to him the songs of the
PALOMA EN LUTO? mourning dove?
¿NO SABE EL QUE NADIE TE Does he know that no one
PUEDE POSEER? can possess you?
DONDE HAY AMOR HAY DOLOR… 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 [God save you, beautiful moon!

DÍOS TE SALVE LUZ DEL DÍA! God save you, sunlight!
DÍOS TE SALVE SOL Y ESTRELLAS! God save you, sun and stars!
Y DÍOS TE SALVE, AURELIA DOLORES! And God save you, Aurelia Dolores!
DÍOS TE SALVE, 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 COWBOYS
De muéstre-le, Polo! (etc. ad lib) 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?

DELUVINA
Sí, estamos Reata. [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 LESLIE
My pleasure. 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 PINKIE
Hello. 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.)

POLO
En nombre de todos los vaqueros de Reata, un [I speak for all the vaqueros of Reata that it is a
grand honor conocerla. He hecho esto grand honor to meet you. I have made this for you,
especialmente para Usted Senora Benedict.” 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. MIGUEL

Un placer haberla conocido. [I am honored to meet you.] Buenos dias, Senora.

LESLIE
(To ANGEL SR.:)
Do you have a new baby?

ANGEL
Si, un niño. Angel Segundo. [Yes, a boy. Angel the second.]
(HE holds up two fingers.)
Varoncito. [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 LESLIE
AS I LOVE 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.)

POLO
Señor…No necesita un medico. Lo siento. [Señor…you do not need a doctor. I’m so sorry.
La Señora Benedict está muerta. 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

LUPE
MADRE DEL DOLOR: [Mother of Sorrow
RUEGA POR NOSOTROS. Pray for us.
PALOMA DE LOS SUSPIROS; Dove of sighs.
OCÉANO DE LA AMARGURA; Ocean of bitterness.
COMPAÑERA DE LOS PERDIDOS. Companion of the lost.
ESPEJO DE PACIENCIA— 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.)

LUPE & THE SERVANTS

AHORA Y EN LA HORA [Now and in the hour
DE NUESTRA MUERTE… 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.)

LESLIE
Gracias. Por favor, pongalos en Suite Uno y nos [Thank you, please take these to Suite One and
traen una botella de agua helado, por favor. 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 LORD KARFREY

Who? 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 16-
year-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
¿Lo que dices, Jordy? [What do you say, 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. [It’s Jordy. Jordy Benedict. The kid you taught.
Usted me ha enseñado como enlazar. You taught me how to rope.]
(To JUANA:)
He taught me how to rope. He doesn’t know me.

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.

JORDY
¿Don Polo, me cataría la cancíon? [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 [Before the day grows too old to walk,
VIEJO PARA RECORRER;
ANTES DE QUE’L SOL PIERDA SUS DIENTES Before the sun loses his teeth and can’t chew,
Y NO PUEDE COMER;
ANTES DE QUE LAS NUBES Before the clouds cover the moon,
CUBREN LA LUNA;
ANTES DE LA CASCADA DE LLUVÍA; Before the deluge of rain,
UN BESO, BESO, HIJO! A kiss, son!
UN BESO, BESO, HIJA! A kiss, daughter!
LA FELICIDAD ES TUYA HOY! 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 LUPE

KISS HIM! KISS HER! KISS HIM! KISS HER! 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. VASHTI pours bourbon in all their glasses. The THREE
WOMEN toast each other.)

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

ACT TWO
20. Our Mornings/That Thing ........................................................................................... Bick, Luz ..... 65
21. Jump .............................................................................................. Angel Jr., Lil Luz, Bobby Jr. ..... 72
22. There Is A Child................................................................................................................. Juana ..... 76
23. Un Beso, Beso! ..................................................... Polo, Lupe, Angel Jr., Lupe, Company, Luz ..... 79
23A. Transition (To Bawley’s Cabin) ............................................................................. Instrumental ..... 87
24. Place In The World/Look Ahead (Reprise) .......................................................... Bawley, Bick ..... 88
25. The Conquistador (Mariachi Band) ..............................................................................Mariachi ..... 91
25A. Scene Change .......................................................................................................... Instrumental ..... 91
26. Midnight Blues...................................................................................................... Vashti, Leslie ..... 92
27. Fanfare .................................................................................................................... Instrumental ..... 95
28. The Dog Is Gonna Bark ........................................................................................................ Jett ..... 96
29. Juana’s Prayer .................................................................................................................... Juana ..... 98
30. The Desert ................................................................................................................ Bick, Leslie ... 100
31. Aurelia Dolores (Reprise) ............................................................................................ Jordy, Jr. ... 106
32. Act Two Finale ................................................................................. Jordy Jr., Juana, Company ... 107
33. Bows & Exit Music .................................................................................... Instrumental (Tacet) ... 109

APPENDIX
28. 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

(Solo vocal
w/Onstage
#
Freely
& 44 34 Œ
A Guitar)
∑ ∑ Œ ‰ j
B C POLO:

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

# œ œ œ jœ
& 44 œ œ œ œ œ œ œ œ 34 ˙
3 3

j œ œ œ j œ Œ
œ œ œ
or sim.
3 3

# j
1

& œ œ. œ œ j j ‰ j
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dis - te tus flor es, Au re li a Do lo rés Me

#
& |. |. |. |. |.
G C G

P
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& œ œ œ œ œ œ œ 3œ œ œ œ. ˙ ˙
6

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œ
can-tas - te las can ci o nes d'un-a pa lo ma en lu to. Fu -
Fill Ad lib.
#
& |. |. |. |. |. |.
G Am D

# j
12

& œ œ. œ œ j j j
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is - te la tier - ra, Au re li a Do lo rés La

#
G C G C

& |. Û | |. Û |

# œ
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16

& œ œ œ œ œ œ œ ˙ œ Œ
tier - ra de l'an - gus - ti - a ab - so - lu - ta. En -

#
G Em

& |. |. Π| |.
G-6305/802/13-u –1– Emily Grishman Music Preparation 212-768-2550
Vocal 2. AURELIA DOLORES Giant

# œ œ œ. j
(POLO)
œ
20

& œ œ. J œ œ œ œ œ œ œ œ œ Œ ‰ œ
J
ton - ces un dí - a, te per - dí. Un

# >
F Em

& |. |. |. |.
F
# œ j ˙. œ
œ œ œ
24

& œ. Œ Œ
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nue - vo hom - bre te ro - bo le - jos de mí.
FILL

# ’ ’ ’ ’ ’ ’
CMaj7 Am D

& |. Û. Û. ˙. ˙.

Û Û O. Û O.
# . Û Û Û
27A G C
Û
& .Û Û Û
or sim.

Û O. Û
27E
#
G
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& Û Û Û

#
F
Û Û Û O. Em
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27I

& nÛ Û Û
Û

27M
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∑ ∑ ∑ Ó
POLO:

& œ
Û O. Û O. ¿Le -
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CMaj7
Û
D

& Û
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#
28 (in 3)
& ˙ œ œ j j j
œ. œ œ. œ œ. œ œ œ. œ
das tus flo - res, Au re li a Do lo rés? ¿Le

G-6305/802/13-u –2–
Vocal 3. AURELIA DOLORES Giant

(POLO)
# œ œ œ ˙ ˙ œ 3œ œ œ j ˙ ˙
& œ œ œ œ œ.
32

œ œ œ
can - tas las can - ci on - es d'un-a pa - lo - ma en lu - to? ¿No

# j
& œ
38

œ œ œ œ œ œ. œ œ œ j Œ
œ
˙. ˙
sa - be'l que na - di - e te pue - de po - seer?

#
42

& œ œ œ œ œ ˙. ˙ Œ
œ ˙ œ
Don - de hay a - mor, Hay do - lor.

#
poco rit. Con gusto (in 1)
38 ..
48

..
46

& ∑ ∑ ∑ ∑

50
# > j j œ. œ œ œ
& œ œ œ J
œ œ œ œ
j

Dí-os te sal - ve lu - na her - mo - sa.

j
54 (POLO)
>
œ œ œ œ
& œ œ
j
œ œ œ œ J J
Di-os te sal - ve luz - del dí - a.

& ∑ ∑ ∑ ∑

> j œ œ
ALTO:

& œ œ œ J œ
œ œ
j
œ œ J
Di-os te sal - ve luz - del dí - a.

V ∑ ∑ ∑ ∑

? ∑ ∑ ∑ ∑

G-6305/802/13-u –3–
Vocal 4. AURELIA DOLORES Giant

>
58
# œ
j
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& J œ œ J
Dí-os te sal - ve Sol y es - trel - las. Y

#
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j
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j
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Dí-os te sal - ve Sol y es - trel - las. Y
>
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TENOR:

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j
V J œ œ J
Dí-os te sal - ve Sol y es - trel - las. Y

?# ∑ ∑ ∑ ∑

>
j
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62
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Dí-os te sal - ve Au - re - li - a Do - lo - res!
>
j
SOPRANO:
# œ
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& œ. œ œ œ œ
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Dí-os te sal - ve Au - re - li - a Do - lo - res!
# >
& j j j
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Dí-os te sal - ve Au - re - li - a Do - lo - res!
>
j
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V œ. œ œ œ œ
J J
Dí-os te sal - ve Au - re - li - a Do - lo - res!
j œ œ œ œ œ. œ œ
>BARITONE:
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œ J J
Dí-os te sal - ve Au - re - li - a Do - lo - res!

G-6305/802/13-u –4–
Vocal 5. AURELIA DOLORES Giant

>
j
# œ
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>
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> œ œ œ
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J
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# j j
71
>
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>
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#
>
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œ
j
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Dí-os te sal - ve lu - na her - mo - sa.

G-6305/802/13-u –5–
Vocal 6. AURELIA DOLORES Giant

75
# > j œ œ œ
& œ œ œ J J
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j

Dí-os te sal - ve luz del dí - a.

>
# œ
j
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j
Dí-os te sal - ve luz del dí - a.

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Dí - os te sal - ve!

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>
j
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>
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j
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Dí-os te - sal - ve - Sol y es - trel - .las. Y -

>
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j
?# œ œ œ œ œ œ. œ
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Dí-os te sal - ve Sol y es - trel - las. Y

G-6305/802/13-u –6–
Vocal 7. AURELIA DOLORES Giant

>
j
83
# œ
œ œ œ œ œ. œ œ œ. œ œ œ 34
& J œ J
Dí-os te sal - ve Au - re - li - a Do - lo - res!
>
j
# œ
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& J œ J
Dí-os te sal - ve Au - re - li - a Do - lo - res!

# > j œ œ œ. œ œ œ 34
& j
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œ
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Dí-os te sal - ve Au - re - li - a Do - lo - res!
>
j
# œ
œ œ œ œ œ. œ œ œ. œ œ œ 34
V J œ J
>Dí-os te sal - ve Au - re - li - a Do - lo - res!
œ œ œ œ œ. œ
j
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?# J J 34
Dí-os te sal - ve Au - re - li - a Do - lo - res!
Freely
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(in
j
#3 œ˙ œ œ U̇
87
Attacca
& 4 œ œ. œ œ œ ˙ œ
J
Dí-os te sal - ve, Au - re - li - a Do -

#3
& 4 ∑ ∑ ∑ ∑

#3
& 4 ∑ ∑ ∑ ∑

#3
V 4 ∑ ∑ ∑ ∑

? # 34 ∑ ∑ ∑ ∑

G-6305/802/13-u –7–
Vocal Giant
2
DID SPRING COME TO TEXAS?
(Polo, Bick, Pinkie)
Music & Lyrics by Michael John LaChiusa

Bright
2 x's
#4 .
POLO: (1st x)
2 2
.. .. .. .. .. b
1

& 4 . œ ˙. œ Œ Ó
3-4 5-6
lo - res!
(cue) MIKE: Wait for 'em and on 'em.
Safety - Jump on cue
j
7

& b .. Ó Œ ‰ œ .. œ œ œ œ Œ ∑
BICK:

œ œ
I've wait - ed out the drought.

.
œ œ œ œ œ œ ˙ œ œ œ
10

&b œ œ œ J Œ œ œ œ Œ
Wait - ed out the long win - ter. Wait - ed out the rains.

.
œ œ œ œ œ œ ˙
13

&b ∑ œ œ œ J Œ
Wait - ed out the Blue North - ers.

j j j œ œ œ œ œ œ œ
16

& b œ œ œ œ œ œJ œ œ œ œ œ œ œ œ œ ˙. Œ
Wait - ed for the brush to grow so thick that a snake's got - ta climb out to see.

j
& b œ œ œ œ œ œJ œ œ Œ ‰ œ œ œ
20

œ œ œ œ œ œ œ J
Œ ‰ œ œ
J
Wait - ed for the sea - son to fin - 'lly stick; Is it here? Did it stick? Tell me

œ
26

&b œ œ ˙. ˙ œ œ œ
24

œ œ œ ˙ Œ ‰ œ œ
3
œ œ
3 3 3

boys that it's just got - ta be: Did Spring come to Te - xas? Are the

œ ˙ ˙ œ ˙ œ
28

&b œ œ Œ œ œ Œ ‰ œ œ
3 3

œ œ ˙
3 3

birds go - in' lo - co? Did Spring come to Te - xas? Did the

G-6305/802/13-u – 8–
Vocal 2. DID SPRING COME TO TEXAS? Giant

32 (BICK)

&b œ œ ‰ œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ œ œ œ
mes - quite and the lau - rel and the wild cher - ry and the gau - jil - lo

œ œ œ œ œ œ3 œ œ
34

&b œ œ œ ˙. œ œ œ ˙ Œ
3 3 3

burst out right af - ter the rains and pow - der the prai - rie grass white? Did

œ 24
&b ˙ œ œ
38

œ œ ˙ Œ Ó Œ Œ
3 3

œ œ œ œ
Spring come to Te - xas? I ask you: That's right.

24
PINKIE:

&b ∑ ∑ Ó Œ œ œ Œ Ó
Shit right.

2
& b 24 j
61

‰
BICK:

‹ ‹ ‹ ‹ ‹ ‹ ‹
61-62
You read - y to rope, Pink - ie?

4
(cue) BICK: Name of my ranch is what, Pinkie?
j 44 ..
67

..
65

&b ‰ Œ
PINKIE:

‹ ‹ ‹ ‹ ‹
67-70
(to 113)
I'm read - y to rope!
Safety
113 (cue) BICK: Now where's that woman?! BICK: 115

& b .. ∑ Ó Œ ‰ œJ .. œ œ œ œ œ ˙ ∑
I've wait - ed plen - ty times.

œ œ œ œ œ œ œ
117

&b œ œ œ œ œ J J Œ œ œ œ œ œ œ Œ
Wait - ed for each Christ - mas morn - ing. Wait - ed for my first gun.

œ. œ œ œ ˙
120

&b ∑ œ œ œ œ œ J Œ
Wait - ed for my first po - ny.

j
123

& b œ œ œ œ œ œJ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙. Œ
Wait - ed for the wo - man I'd make my wife; Know - in' I'd find her some - how.

G-6305/802/13-u – 9–
Vocal 3. DID SPRING COME TO TEXAS? Giant

j j j
&b œ œ œ œ œ œ ˙
127

œ œ ‰ œ œ
(BICK)

J œ œ œ œ œ œ J
Wait - ed for that wo - man all my life. Tell me boys, How's it

œ
&b ˙ œ œ ˙
130

‰ œ œ œ Œ
3

œ œ œ
3

J
work That I still got - ta wait for her now? Did

œ œ œ #
133

&b ˙ œ œ œ Œ ‰ œ œ œ œ ˙ ˙ Œ
3 3 3 3
œ ˙ œ
Spring come to Te - xas? Am I just go - in' lo - co? My

#
& ˙ 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
137

girl's come to Te - xas. And the mes - quite and the lau - rel and the wild cher- ry and the gua - jil - lo

# œ œ œ œ œ œ œ œ
œ3 œ œ ˙ Œ ‰ œj
141

˙. œ
3

œ
3 3

&
Seemed to have blos - somed for her. And I got - ta swal - low my pride. I've

# œ œ œ œœœ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ 24
145

&
wait - ed for the green-in', for the round - up, for the rop - in', for the brand - in' for the ranch - ers, 'n the

# j 44 w ˙.
& 24 œJ
148

œ œ Œ
cow - boys to ride;

# ˙ œ œ3 œ œ ˙ ˙ œ œ. œ
151

& œ Œ œ œ œ. œ
Spring came to Te - xas and I'm still wait - in' for my

# ˙.
& w 24 ˙ 44 w
155

Œ
bride.

G-6305/802/13-u – 10–
Vocal Giant
3
VIRGINIA
(Bick)
Music & Lyrics by Michael John LaChiusa

Cue: "Chrysler."
MIKE: "...in a red coat."
3 Vamp
b
Gently, rubato
& b b 44 .. ‰ œ ..
BICK:
∑ Ó Œ
1-3 4
J
The

b
6

& 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
mo-ment that I saw her, in Vir - gi - nia, af-ter din - ner, by the win - dow, in the moon - light, I

b ˙ œ œ3 œ ˙
9

& b b œ œ ‰ Jœ œ œ œ ˙ œ ˙
knew that as sure as Spring comes to Te - xas, I'd make that

bbb n n n 44
molto rit. Slowly, softly
24
13

& œ œ. Œ
˙ œ w œ
girl my bride.

BICK: "That's East."

& 44 24 44 24 44
16

∑ ∑ ∑ ∑

œ. œ œ œ œ ‰ œ. œ œ
& 4 œ œ œ œ œ œ œ bœ œ œ œ
4
20

œ œ œ œ
BICK:

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.

U # # 12
œ œ œ œ"
Dictated
œ œ.
23

& œ bœ ∑ ∑ 8
Ev - ry jump for a mile."

5 2 3 3
Quietly, under scene Cut-off on BICK: "...at Harvard"
# nn U
& # 128 44
26 33

∑
26-30 31-32 33-35 36-38 39

G-6305/802/13-u – 11 –
Vocal Giant
4
YOUR TEXAS
(Leslie, Bick)
Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: It's what Mother wanted.

Gently, simply 3

& 128 j j
1

œ œ œj
Kbd. Harp, Alto Flute 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 œ œ
Some-bo - dy else may spend her life in

j j œ œ œ œj œ j j œ œ Œ. œ.
4

&œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ . .
search of the per - fect but - ter knife to pair with the pro - per fork and pro - per spoon. Don't

j j j
7

&œ œ j ‰ œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
laugh but I'd ra - ther read Rous-seau, And E - mer - son, Car - lyle, and Tho-reau; Right

9
j œ j œ œ œ œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ J J
J J
here in my fa - ther's chair I've read the sort of i - deas that cloud my head with

œ. œ œ œ. œ. Œ. œ œ. œ. Œ. ‰ œ œ
11

œ. œ œ
2 2

& œ. œ. œ
2

œ. œ.
day-dreams. Big and small. I have day - dreams. Don't we all? When I

j j
poco a poco accel.
j œ œ œ. Œ. ‰ œ œ œ . œ . Jœ œ œ . œ . œ . Œ . œ .
15

Œ œ
& œ. œ œ œ. œ. œ. œ. œ.
read Tho-reau, I smiled. He said, "All good things are free and wild." Your

j
20 Faster, sempre legato 2

& œ. œ. Œ. œ. œ. œ. œ. œ œ œ. œ. Œ. œ. œ. œ. œ. œ œ
Te - xas. Now, I don't know your Te - xas. But e - ven so, I i -

. œ.
& œ œ. œ. œ. ‰ œ œ œj œ .
24

œ. œ. œ. œ. œ. œ œ œ œ.
œ.
ma - gine that a man can be more in - de-pen - dent, wild and free in

G-6305/802/13-u – 12 –
Vocal 2. YOUR TEXAS Giant

& œ
. Œ. œ. œ. œ œ œ. Œ. œ. œ. œ œ
28 (LESLIE)

œ. œ. œ. œ. œ. œ.
2

J
Te - xas. The last fron - tier is Te - xas. And un - like here, there's a

œ. œ. œ. œ. œ . b œ . œ . œ œj n œ . . œ .
molto rall. Tempo primo
œ. œ . œ . œ . œ . 44
32

& œ œ. œ. œ. œ.
great un-known just wait - ing there for those who wish to dream and dare your Te - xas.
q. = q

& 44 œ
37

Œ œ
LESLIE:
∑ ∑ Ó ˙.
Your Te - xas.

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ. ∑
BICK:

J
Big as all New Eng-land, plus New Jer - sey and New York, Penn-syl - va - ni-a, O - hi - o.
41

& ∑ ∑

BICK:

& bœ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ ‰ œ
J
Moun - tain ran - ges, Sweep - ing bea - ches, Can-yons, ri - vers, plains. And

Slower (colla voce)

24 44 Œ ‰ œ œ ‰ œj œj
43

∑ ∑
LESLIE:

& J œ œ œ œ.
I - ma-gine. I - ma-gine.

&œ œ œ œ œ œ
2
œ œ œ 4 œ œ
44
˙ Œ ‰ œj œj Ó
œ.
cen - tu - ry plants that blos - som ev' - ry twen - ty years. I - ma - gine.

j
47 (LESLIE)

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J œ œ
œ œ
Blos-so - ming at for - ty. Blos-som - ing at six - ty. Blos-som - ing at eight - y. That's
LESLIE: Imagine a place in the
wilderness, unspoiled by politics,
q = q. where people are truly equal.

128 w . j
& œ .. Ó . œ ..
rit. Tempo primo
Œ.
50

œ Œ
LESLIE:

œ œ
how I want to live... Those

G-6305/802/13-u – 13 –
Vocal 3. YOUR TEXAS Giant

œ œ œ œ. œ œ. œ.
53 (LESLIE)

&œ œ œ œ œ œ œ Œ. œ œ
2 2

J J J œ. œ.
kinds of i - deas, don't laugh, they give me day - dreams. Wild and new. I'll have

Œ.
56

& œ. œ œ. œ. ‰ œ œ.
2

œ œ œ. œ. œ.
œ. œ.
day - dreams. Thanks to you. And to - night I'll dream some

j
Più mosso
Œ. œ. œ œ œ. œ. œ. Œ. œ.
59

œ
& œ œ. ‰ œ œ œ. œ. œ.
œ. œ. J
more of a place I've ne - ver been be - fore. Re -

U
65 A little slower
& œ. Œ. œ. œ. Œ. œ. œ.
63

∑
œ. œ. œ. ˙.
a - ta. Your coun - try. Your Te - xas.

j j j Ó. Œ.
67

&œ œ j ‰ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ.
Some-bo - dy else may spend her life in search of the per - fect but - ter knife. Not

U
Œ. Ó. Ó.
70 ten.

& w. œ. w. w.
˙.
I. Not I.

G-6305/802/13-u – 14 –
Vocal Giant
4A
DID SPRING COME TO TEXAS?
(REPRISE)
(Bick)
Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: Till morning.

### 4 U U nnn
1 Rubato
& 4 ∑ ∑ ∑ ∑

Gently
U
5

œ œ
3

œ œ
Flute
œ œ œ œ œ œ œ ˙.
& ∑ ∑ ∑

œ œ œ œ œ
Più mosso
œ
8
Ó Œ
BICK:
˙
& Ó
˙ ˙.
∑ ∑ Œ
I - ma - gine.

j j j j
12

&œ œ œ œ œ œ j œ œ œ œ œ j ˙. Œ
œ œ œ ˙ œ
Wait - ed for the wo - man I'd make my wife. Ho - pin' I'd find her some - how.
BICK:

j œ ˙ U "
no rit. I'm gettin' married.
œ w 24 œ 44
16

& œ œ œ œ œ œ. Œ ∑ ∑
Wait-ed for that wo-man all my life.

G-6305/802/13-u – 15 –
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.

1 Safety (Vocal last x)

b
Moderato
& b 44 .. Π..
A

∑ Œ
LUZ:

œ œ œ œœ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
Or - ders to get done. Don't for - get the flo - ur. Don't you dare sit down.

b
4

&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
Not the time for feel in' Don't for - get the cof fee. Don't for - get the wi re.
Cue: LUZ: I've a
round-up in two
b
Safety
.. ..
7

&b Œ ∑
weeks and boys to feed.

œ œ œ œ œ ˙.
No time for sur pri - ses.

b
10

b Œ Œ
LUZ:

& œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Felt all this be - fore. Light - 'nin' storm in - side me. Creep in' up my spine.

b
13

&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
Head all full of feel in'. Got - ta wait it out, Luz. Been through this be - fore, girl.

b œ . n œj œ
16

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Ma - ma's death and Grand - pa's All of them sur - pri - ses. Jor dan!

b
19

& b nœ . j Œ
œ œ n˙ . Œ
nœ œ œ nœ œ œ
Jor - dan! Mom - ma's sweet sur - prise un - planned.

G-6305/802/13-u – 16 –
Vocal 2. NO TIME FOR SURPRISES Giant

b
22 (LUZ)

&b œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
There you were, a ba - by kid who loved the land the way I did. Both of us was pro - mised to the
Molto rit. Rubato
bb
25

‰ j Œ
26 26A

&
(Gtr.)

˙. œ œ œ œ œ œ œ ˙.
œ œ
land. To - ge - ther we was pro - mised to the land.

U U U U
bb
26B (Gtr.) (Gtr.) (Gtr.)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑
26C 26D 26E 26F 26G 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.
Safety
b
28

& b .. Œ .. Œ
LUZ: (Vocal last x)

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
œ œ œ œ
Can't stam - pede the herd. What did Grand - pa tell you? If ya got - ta spit,

b
31

&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
Ride a mile to spit. I got - ta keep a night - guard. I know how to night - guard.
(spoken:) You were suppose
to marry Vashti! Hake Ranch
and Reata was to become one!

bb œ . n œj œ Œ .. .. Ó
34 LUZ:

& œ œ œ œ œœ œ œ œ œ œœ ∑ Œ
œ œ œ œ œ
Guard a - gainst sur - pri - ses. Tell me why you did it! Jor - dan! Now

b j
œ œ œ œj œ
39

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
that ain't gon - na hap - pen! That ain't gon - na hap - pen! That ain't gon - na hap - pen!
(sp:) And that's
2
(sp:) Say it once more and get it out of your head!
U
the dry truth.

bb
LUZ:

& œ œ. œ œ œ. œ œ ∑
42-43
˙. (to 65)
That ain't gon - na hap - pen!

b
65

&b Œ œ œ œ ˙
Œ Ó
œ ˙ œ
No time for sur - pri - ses.

G-6305/802/13-u – 17 –
Vocal Giant
6
PRIVATE PROPERTY
(Jett)
Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: Who was that boy?

Dialogue 10
& 44 b
A-J

4
Safety
j j
11

&b .. œj œ j œ œ ..
JETT:

œ œ œ ˙
1-4
œ œ
Rich girl smile and those rich girl clothes...

j j j
& b œj œ œ œ œ œ œ œ œ œ
13

j œ œ œ ˙ œ œ j
œ œ J J œ ˙
Rich girl eyes look-ing down her nose... Brand new chas - sis, That she is.

17
j j j j j œ
&b œ œ j j
œ œ œ œ œ œ œ œ œ J œ œ œ ˙. ∑
Don't you touch. The girl is his pri - vate pro - per-ty.
21

&b œ 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 ˙. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ
cool. Ne - ver felt this way 'bout a girl be - fore, Looks as

œ œ œ œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ 24
26

&b œ œ œ œ œ œ œ œ
light as fal - lin' snow, Makes me wan - na go Reach up, Pull her close Feel her soft, sweet, cool,

44 w œ œ œ nœ œ œ
& b 24 œ œ
29

J . œ œ œ œ œ œ nœ œ
hot, Don't go: Stay by the win-dow. Can't you feel me look - in' at you?

G-6305/802/13-u – 18 –
Vocal 2. PRIVATE PROPERTY Giant

33 (JETT)
œ œ. w œ œ œ nœ œ
&b ˙ Œ
J œ. œ œ œ œ œ œ œ nœ
Don't go. Stay by the win dow. I can feel you look - in' at me,

j j
Tempo primo
j
39

œ œ
37

&b w ∑ œ œ j
œ œ œ œ œ ˙
too. It's all there on the rich girl's face:

j j j
& b œj œ œ œ œ œ œ œ œ œ
41

j œ œ œ œ Œ œ œ j
œ œ J J œ ˙
She owns you. Bro-ther, know your place. Pret-ty pic - ture, That's for sure.

U
j j j œ œj ˙
rit.
œ
45

&b œ œ j j
œ œ œ œ œ œ ˙ œ œ œ ˙. ∑
Don't you touch cuz she ain't your pri - vate pro-per-ty.

G-6305/802/13-u – 19 –
Vocal Giant
7
LOST
(Mexicans, Leslie)
Music & Lyrics by Michael John LaChiusa
(cue) LESLIE: I walk in the mornings, daily.

TWO VOICES (MEXICAN):

2 #
FOUR VOICES (MEXICAN):
Allargando
& 44
ALL (MEXICAN):

w w w w
1-2 3 : 18 19 20 (to 23)
Lost... Lost... Lost...

6 14
SCENE: LESLIE and DELUVINA (cue:) LESLIE: He stopped.
" ###
q = 130
#
23
(+Cl. solo)

&
23-28 29-42

43
### 2 Tpt.
œ
+Clar.3
j
Vamp
œ œ œ œ œ .. ∑ ..
3 3

œ œ œ
&
43-44
∑

###
47 LESLIE:

& œ jŒ ∑ œ jŒ ∑
3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Chil - dren who live in a ho - vel. Peo - ple who work for Re - a - ta.

### Œ ‰ œj
51

œ œ œ œ œ
3

œ œ œ œ
3
& œ œ
3 3

œ œ œ œ œ œ #˙
No run - ning wa - ter, no plumb - ing, no floor, On - ly rot - ten wood and stones a

### ˙
Allargando Freely
˙
55

& ˙ ˙ w Ó Œ œ
house my hus - band... owns. Your

### U 24 44
59

& aœ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ #œ œ
Te - xas. I'm lost, so lost in your Te - xas. Some - one tell me what I've

### 4 U
64 Dictated
& 4 w Œ Œ Ó ∑
œ œ œ #œ œ w œ
done. Tell me what I've done.

G-6305/802/13-u – 20 –
Vocal Giant
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.

#
Light, with playfulness 4
& 44
1-4

# JETT:
5

& ‰ œ œ œ œ œj œ j
œ œ œ œ œ œ œ 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. That's how-peo - ple are, They don't

# ‰ œ œ œ œ œ œj œ j
8

& nœ œ œ œ œ œ œ Œ œ bœ œ œ œ œ œ œ œ œ œ
look be-neath the hood. Peo-ple look at me; They think, He's his Pa: - a no good-sin - ner.

#
& œ œ œ œ œ nœ œ œ œ œ
11

œ bœ œ œ œ œ bœ œ œ œ
I - ain't my Pa, with no am - bi - tion; I got a dif' - frent dis - po - si - tion.

#
15

& ‰ œ œ œ œ œj œ œj œ œ œ
‰
œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
Un-der-neath my nails, ya much grease 'n grime from years a - work-in'. When a en-gine fails, ya count on

# ‰ œ œ œ œ œ œj œ j
18

& nœ œ œ œ œ œ œ Œ œ bœ œ œ œ œ œ œ œ œ œ
me to fix her up. Ne - ver been to school, but I'm quick to learn, cuz here I had - ta.

# nœ œ œ œ œ œ œ œ
21

& œ œ œ bœ œ œ œ nœ œ bœ œ œ
May not look much, the car I'm dri - vin'; That there is proof of true sur - vi - vin'.

#
& ‰ Jœ œ œ œ œ œ
25

œ œ œ œ œ œœ œ œœ œ œ bœ œ œ œ œ œ œ œ œ œ
Out - side your win - dow, Looks - a dark 'n trou - ble day. But ya'd ne ver knowthe-sun is jus' - a

G-6305/802/13-u – 21 –
Vocal 2. OUTSIDE YOUR WINDOW Giant

# ‰ œJ œ œ œ œ
28 (JETT)

& bœ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ
œ
step be-yond the gray. Out - side your win - dow, See - a strang - er pass - in' by: Are ya quick to

#
31 LESLIE: No.

‰ bœ ˙ ‰ bœ ˙ ‰ bœ œ œ œ ‰ nœ œ bœ
(JETT)

& ˙ œ nœ œ œ nœ œ œ nœ œ œ
judge on his looks a - lone? Would ya be the one - throw-in' that firs' stone. All I know is

35
#
& ˙. Œ œ bœ œ œ nœ w
œ œ œ
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

3 2
the direction of your dreams, working to live the life you imagine, you'll end up with it.
#
39 (dialogue)

&
39-41 : 43-44

Colla voce
poco rubato
# nJETT:
& œ œ œ œ œ œ
45

œ bœ œ œ œ nœ œ œ œ œ
I am that man. I may not seem it. Ain't-found my dream but

# bœ œ œ œ œ
LESLIE:

œ
48

& œ œ ‰ J œ œ œ Œ Ó
leas' I dream it. Out - side your win - dow,

LESLIE: My father gave me books to read to open up

4
A little slower my mind, to make me imagine places I'd never known. JETT: A different life.
#
51
(dialogue)
&
51-54

LESLIE: Yes. Looking out the window of the his library, JETT: Like Texas? Like Reata? LESLIE: Reata...

4
I'd see China. The English Moors. New Frontiers.

#
59 More expansive

& ∑ ∑
55-58

G-6305/802/13-u – 22 –
Vocal 3. OUTSIDE YOUR WINDOW Giant

61
# ‰ JETT:
œ œ œ œœ
& J œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
œ œ
Out-side your win-dow, Looks-a dark 'n trou - ble day. But the wea-ther chan - ges quick here; soon that

# ‰ œJ œ œ œ œ œ
64 LESLIE:

& bœ œ œ œ œ œ œ Œ œ œ œ œ œ œœ œ œ˙
trou - ble blows a - way. Out - side your win - dow, there's - so much you can't pre-dict.

# UÓ "‰
A tempo 68
67

bœ ‰ bœ ˙ ‰ bœ ‰ bœ
JETT:

& œ nœ œ ˙ œ nœ œ œ nœ œ ˙ œ nœ œ
Look be-neath the hood. What-cha think is bad May-be some-thin' good. Peo-ple may be

# ‰ œ œœ œ œ œ
71

& ˙ ‰ œ bœ ˙ ‰ bœ ˙ . Œ Œ œ
œ nœ œ nœ œ ˙
blind. When-they quick to judge Don't-cha pay no mind. Out-side your win-dow Ya

#
76
24 œ œ
& bœ ˙ œ c b˙ n˙ w
ne - ver know who or what ya'll find.

LESLIE: I am late. May I have

that ride back to the house?
#
80 Rubato
U
JETT: After you. Clar.

& œ Œ Ó ∑ œ œ œ ˙ w

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.

U
LESLIE: There wasn't a snake.
# ^
(long) Tempo Primo Sax, Bs. Cl.
84
U
& ∑ Ó ‰ j
œ bœ œ w
œ nœ

JETT: They move fast.

87
# Ens.
œ bœ œ nœ w>
œ
& Ó ‰ J Œ Ó
œ
fl

G-6305/802/13-u (5/20/14) – 23 –
Vocal Giant
9
HE WANTED A GIRL
(Vashti, Bick)
Music & Lyrics by Michael John LaChiusa

Cue: VASHTI: I'll be right up.

Simple waltz, in 1
## 3 . ˙ œ ˙ œ
Mandolin
œ œ. œ œ. ..
1
œ œ
VASHTI:
j
& 4 . œ œ

∑ ∑ ∑ Œ Œ œ
He

## j j
5

& œ œ. œ ˙ œ œ œ œ ˙ œ œ œ. œ œ œ œ
want-ed a girl who hates dus - ty roads. He want-ed a girl who cries

## j
13

j j
11

& œ œ. œ ˙ œ œ. œ œ œ œ œ œ. œ œ œ
œ œ
por - ce - lain tears. He want-ed a girl who'll put locks on the door to pro -

#
& # œj œ . œ
17

œ œ j Œ Œ ∑ Œ Œ
œ œ œ. œ ˙. œ œ
tect all those gem-stones she's got in her ears. But

# j j
24

& # œ œ. œ ˙ œ œ œ œ ˙ œ œ œ. œ œ œ œ
I am a girl who likes dus - ty roads. Cuz I am a girl who en -

## j
32

j j
30

& œ œ. œ ˙ œ œ. œ œ œ œ œ œ. œ œ œ
œ œ
joys the out - side. Yeah, I was that girl who would keep up with him and could

## j
36 39

œ œ œ Œ Œ
& œ œ. œ j
œ œ. œ ˙. ˙. œ œ œ œ
fol-low him a - ny-where he chose to ride. And we would

#
& # ˙. ˙. ˙.
43

œ Œ Œ
ride!

G-6305/802/13-u – 24 –
Vocal 2. HE WANTED A GIRL Giant

(VASHTI)

#
47

& # œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ ˙
Bar - rel - ass - in' through the gul - lies. Pitch - in' tent 'n chew - in' jer - ky.

# j
& # œ œ œ.
51

œ œ œ j œ Œ Œ
œ œ œ. ˙. œ
Show-in' off our scratch-es 'n fa - vor - ite scars.

## œ
56

& œ œ œ œ œ œ œ Œ œ œ œ œ ˙
œ œ œ
Teach-in' me to hold my bour - bon. Coax - in' me to play my fid - dle.

## œ
In 2 - a little brighter
44 w w
60

& œ œ œ œ œ œ œ œ œ œ
Mak - in' up songs, sing-in' em to the stars!

# j
65

& # ∑ ∑ œ œ œ œ œ œ œ. ˙
Washed his face in a fry - in' pan.
## BICK:
œ œ œ œ œ. ˙
& ˙ J ∑ ∑
Ole Dan was a fun - ny man.

## 24 44 > w>
69 71

& ∑ ∑ ∑ w ∑
Wheel! Wheel!
#
& # œ œ œ œ œ 24 œ œ
44 ∑ n w> ∑
w
Combed his hair with a wa - gon wheel. Wheel!

## U ˘
24 34
75

& ∑ Ó Œ œ œ œ œ œ œ nœ œ
U̇
# # w>
'N died with a tooth - pick in his

Œ œ œ̆ œ œ œ 24 34
& œ œ œ
Wheel! 'N died with a tooth - pick in his

G-6305/802/13-u – 25 –
Vocal 3. HE WANTED A GIRL Giant
In 1
# # 3 (VASHTI)
79

& 4 ˙. Œ Œ ∑ Œ Œ œ
œ
heel. We'd
#
& # 34 ˙ . Œ Œ ∑ ∑
(BICK)

œ
heel.

##
83 (VASHTI)

& ˙ œ ˙ Œ ˙ œ ˙ Œ
œ ˙. œ œ œ ˙. œ œ
laugh our - selves to sleep. That's some - thin' I can keep. That's

##
91 Poco rall.
& ˙ œ ˙ Œ Œ Œ Œ
œ ˙. ˙ œ ˙. ˙. œ œ
some - thin' I can keep in my heart. But

## j
99 A tempo (with growing intensity)
& œ œ œ ˙ œ œ œ. œ œ œ œ œ œ œ
˙ œ
hearts don't dress up in fan - cy new clothes and hearts don't wear jewels or put

## j j
107

j
105

& œ œ. Œ œ œ œ œ œ.
œ ˙ œ œ œ œ œ œ. œ
locks on the door. Hearts are jus' drums that go beat-in' with want-in' and

##
111 Rit. - in 3
& œ œ œ œ œ œ Œ Œ Œ Œ
œ œ œ ˙. ˙. ˙. œ œ
he was the one that my heart want-ed for. He

# j U j
119 Colla voce - in 1
& # œ œ. œ ˙ œ œ œ œ ˙ œ
œ œ. œ ˙ œ
want-ed a girl who hates dus - ty roads. He found him a girl who

## U
125 127 Molto rit.
& œ œ œ ˙ Œ
œ ˙. ˙. ˙. ˙. ˙. ˙. œ œ œ œ œ
hates dus-ty roads. Their hearts was meant to fit. So I'll be the

##
135 In 1
j j
& ˙ œ œ œ. Œ ˙ œ œ œ. Œ ˙. ˙. ˙. ˙ œ
fid - dle play-in', Bour - bon drink-in' girl who'll learn to

## U In 2 2 U
(Ens. chord)
44
143 147

& Œ ∑
˙. ˙. ˙. ˙. ˙. 148-149
live with it.
G-6305/802/13-u – 26 –
Vocal Giant
10
BBQ
(Instrumental)
Music & Lyrics by Michael John LaChiusa
Cue: VASHTI: "I'll show you
everything you need to know."

Bright 2

# ^ œ œ
Tpt.

& 44 œ œ œ œ
œ
1

Ó ˙ œ œ œ œ ˙ Œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ œ ˙ Œ ‰ j
3 3

Œ œ
3 : 8 > .>
3 3

# 4
&
12-15

Slower, more gentle

#
16 rit.
U
Clar. Fl.

& ˙
˙
˙
˙
w
˙ ˙ ˙ ˙

G-6305/802/13-u – 27 –
Vocal Giant
11
HEARTBREAK COUNTRY
(Bick, Leslie)
Music & Lyrics by Michael John LaChiusa

Cue: LESLIE: I'm frightened.

Moderato (cue) BICK: I never wanted to and never would have married anyone else.

#4 œœ œ œ œ œ
Flute accel.
œ œ œ œ œ œ œ #œ w
˙ œœ œ œ œ œ Ó Œ ‰ œj
A

∑
BICK:
œ œ
& 4 ˙ œœ

# ‰ œj
10

& œ œ œ œ ˙ ˙ Œ œ œ ˙ Œ œ œ
œ œ œ œ
did - n't tell the truth the mo - ment that I wed you; That I
poco rit.
# ˙ œ œ
œ œ
14

& œ œ œ œ ˙ œ œ nœ œ œ œ œ œ. œ
œ J œ œ œ
had a - no-ther love. I ne - ver asked if you could love the land with me, too. You don't have to

#
j j
A tempo
œ Œ œ œ œ œ œ Œ œ œ œ œ œ
18

& œ. œ ˙ œ. œ ˙ ˙.
an - swer yet. I would ne - ver force your hand. Would-n't e - ver do that.

#
23

& œ ˙. œ ˙. ∑
Les - lie, Pro - mise.

# j j
26 Rubato, colla voce
& œ œ œ œ. j œ œ œ œ. œ ˙
œ œ œ œ. œ
Heart - break Coun - try. That they call her. Land - be - low and sky a - bove.

30
# œ œ
œ œ œ. œ œ œ œ œ œ
& œ J œ œ J œ. œ
In my blood I've got this coun - try; Me - mo - ries of those be fore me.

# œ œ œ.
& œ œ œ
34

œ œ œ
J œ. œ J J œ. œ ˙ œ
And to ho - nor those be - fore me, Heart - break Coun - try has my

G-6305/802/13-u – 28 –
Vocal 2. HEARTBREAK COUNTRY Giant

A little faster
#
38 (BICK)

& w œ Œ Ó ∑ ∑
love.

# j j
42

& œ œ œ œ. j œ œ œ œ. œ ˙
œ œ œ œ. œ
Heart - break Coun - try. All a - round us. Heart - break Coun - try. Hard and mean.

46
# œ œ
& œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ
J J
In my bones I've got this coun - try. Let me share it. Let me give you

# œ œ œ . œ n Jœ œ .
Brighter
œ œ J œ œ œ ˙ œ w
50

& J œ. œ
all this coun-try I've been gi - ven; All you see and have-n't seen.

# LESLIE: j n
& œ.
55

œ ˙ œ. j w
œ ˙ œ œ nœ œ œ œ
Show me, Jor - dan. Ev - 'ry thing there is to see.

œ œ œ œ œ 24 œ 44
76 BICK:

& œ œ œ œ œJ œ . Œ œ œ œ œ œ œ
A - ni-mals a - plen - ty. White-tailed deer and an - ti - so - cial bad - gers.

œ œ œ œœœœ œ œ œ
& 4 œ œ œ œ . Jœ
4 œ œ œ œ œ œ
79

Œ œ bœ
3

. J J ˙
Got wild pigs. And fi-erce lit - tle bob - cats. The pan - thers have gone from these parts, But there's

bœ œ bœ œ bœ œ œ ###
œ œ ˙. œ
&œ œ œ œ J œ œ
83

‰ œ Œ Ó
J J
plen - ty of co-yo - te with plen - ty of smarts And cat - tle.
cue:(BICK:) It'll be the first purely American breed.
87
### 8 Safety 2
& .. ..
87-94 95-96

G-6305/802/13-u – 29 –
Vocal 3. HEARTBREAK COUNTRY Giant

### j j j
97 LESLIE:

œ
BICK:

& œ œ œ œ. œ œ œ. œ œ œ œ. œ ˙
œ
Heart - break Coun - try. And it's chang-in'. Barbed wire fen - ces. Trucks and cars.

### j œ œ
(BICK)

œ œ. œ œ œ œ œ œ
101

& œ œ œ œ J œ. œ
In my heart are those be - fore me; Men with cou-rage, True sur - vi - vors.

### œ œ œ. œ nœ œ bbbb
105 poco rit.
& nœ nœ nœ œ œ nœ . ˙
J J œ nœ
Things may change, but in my heart I'm free and stead-fast as the

BICK: The irony is, darlin', that as things get easier, it's harder to be a good steward to the land.
Slower, warmly Safety - jump on cue

bbbb 24 .. Π.. 44
109

Œ Ó ∑
(BICK)

& w œ œ
stars. The

b
& b b b 44
114
LESLIE:
∑ ∑ ∑ ∑ ∑ Ó Œ œ
The

b
& b b b 44 ˙ œ œ œ œ . œj œ œ œ ˙ œ œ œ œ œ
(BICK)

œ œ w œ Œ Ó
hawk will take care of it-self, but on-ly if we take care of the land.

#### #
bbbb œ œ œ œ . œj œ œ œ ˙ j
120 (LESLIE)

& ˙ œ œ ˙. Œ # #w œ Œ Œ ‰œ
hawk will take care of it-self, but on-ly if we... We... I'll

#### # j
‰ œj Œ ‰ œj
126

& # ˙. œ œ.
œ œ œ œ ˙ œ œ ˙
œ œ
learn to love this land. I swear I'll stand be - side you. You'll
poco rit.
#### # j
œ œ ˙ œ
130

& # œ œ œ. œ œ œ œ œ
œ œ œ œ ˙ œ œ nœ œ œ œ
have to give me time. Just give me pa-tience and the chance to learn what you know. Know that I will

G-6305/802/13-u – 30 –
Vocal 4. HEARTBREAK COUNTRY Giant

A tempo
# # # # # (LESLIE) j j
134

& # œ. Œ œ œ œ œ Œ Ó
œ ˙ œ œ. œ ˙ œ
make mis-takes. Don't be an - gry when I do.
#### #
BICK:

& # ∑ ∑ ∑ Ó œ œ œ œ
I would ne - ver

U
Molto rall.
#### # U
(LESLIE)

œ
138

& # ∑ Ó œ œ œ ˙ ˙
Wait for me to learn this
# # # # # (BICK) j
& # œ. œ ˙ œ Œ Ó ∑
force your hand.

# # # # # (LESLIE)
141
j j
& # œ œ œ œ. j œ œ œ œ. œ ˙ C
œ œ œ œ. œ
Heart - break Coun - try. Cruel and vio-lent. So much new to un - der-stand.
#### #
& # ∑ ∑ ∑ ∑ C

#### # C
145 Moving forward - In 2
& # ˙ ˙ ˙. œ ˙ ˙ ˙ ˙
Give me time to know this coun - try.
#### # C œ
BICK:
œ
& # ∑ ∑ ∑ Œ œ
I'll give you

#### #
149

& # ˙ ˙ ˙. œ ˙ ˙ ˙ ˙
Give me time and while you're wait - ing,
#### # w w œ
& # Œ Ó ∑
time.

G-6305/802/13-u – 31 –
Vocal 5. HEARTBREAK COUNTRY Giant

# # # # # (LESLIE) ˙ ˙
153

& # ˙ ˙ ˙. œ ˙ ˙
Love me, love, and just be pa - tient.
# # #
& # ## ∑ ∑ ∑ ∑

#### # œ
Rit.
nw U̇
œ œ œ œ
157

& # œ
Love me just as hard as you
# # #
& # ## ∑ ∑ ∑

#### # w
Slightly brighter
˙ w w
160

& # w œ Œ
love this land.
# # #
& # ## ∑ ∑ ∑ ∑ Ó Œ
BICK:

œ
I'll

#### #
165

& # ∑ ∑ œ œ œ œ ˙ œ œ
Love me just as hard as you
#### # j
& # œ œ. œ œ ˙ œ œ w w
love you just as hard as I love

#### #
169
U 44
& # w w w
love this land.
#### # U 44
& # w w w
this land.

#### # 4
172 Slower 3
& # 4œ Œ Ó
173-175

#### # 4 3
& # 4œ Œ Ó

G-6305/802/13-u – 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.)

3
molto rit.
U Ens. ƒ
(Pod rattle)
b U
:B Fast, violent accel.
& b 44 ∑ 128 ∑ 34
œ >œ >˙
C D-F G
> (to 4)

Freely (e = e)
f LUPE:
b
Furioso molto rit.
j 128 w 34 98
4

&b œ œ ˙ œ œ œ œ. . œ
Œ Œ
œ
Ma - dre del Do - lor.

b
Freely Furioso molto rit.
& b 98 Œ 128 Œ. Œ. 34 Œ
8

j j j Œ ‰ j
œ œ œ œ œ œ œ œ
œ ˙. ˙.
Ru - e - ga por no - so - tros. Pa -

bb
12 Freely - colla voce
‰
3
& œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œœ
œ œ ˙ œ œ œ ˙.
lo - ma de los sus-pi - ros. O-cé - a - no de la a - mar-gu - ra.

b U̇ " 9
(gunshot)
œ . œœ œ œ œ
18

b ‰ œ œ œ œ œ œ œ ‰ œœ
3

& œ œ œœœœ œ ˙ 8
3 3

œ. œ ˙.
Com-pa-ñe - ra de los per - di-dos. Es - pe - jo de pa-ci-en - ci - a.
Rhythmically, not too fast
b
& b 98 Œ
Vamp
.. ..
24

j j ∑
(to 28)

œ œ œ œ j
œ œ œ œ ˙.
Ru - e - ga por no - so - tros.

G-6305/802/13-u – 33 –
Vocal 2. RUEGA POR NOSOTROS Giant
Alto Flute
b j
28

&b ∑ œ œ œ œ œ œ. œ œ œ œ j Œ. Œ j
Œ. œ œ. œ. œ
Ma - dre del do-lor. Pa -

b j
&b ∑ ∑ Œ ‰ œ
WOMAN 1:

œ œ. œ œ œ œ j
œ œ.
Ma - dre del do-lor.
b
&b ∑ ∑ ∑ ∑

b j j
32

& b œ œ œ. œ œ œ œ. œ.
‰
œ œ œ œ œ . œ œ œ œ œj œ œj œ .
lo - ma de los sus - pi - ros. O - cé - a - no de la a - mar gu - ra.
b Œ. j j
& b œ. Œ j
œ œ œ œ. œ œ œ œ. œ.
‰
œ œ œ œ œ. œ œ œ
Pa - lo - ma de los sus - pi - ros. O - cé - a - no de la
b j j œ œj œ .
& b Œ. Œ. Œ
WOMAN 2:

œ œ œ. œ œ œ œ j œ. œ. œ œ œ œ
œ
Ma - dre del do-lor. Pa - lo - ma de los sus -

b j œ œ œ œ œj
&b ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ ˙. œ.
36

œ œ. j
œ œ
Com-pa - ñe - ra de los per di dos. Es - pe jo de pa - ci - en - ci
b ‰ œ œ œ œ œ œ œ œ œ œj œ . ‰ œ œ œ. œ. œ.
&b œ j j
œ œ œ œ.
a - mar-gu - ra. Com-pa - ñe - ra de los per di dos. Es - pe
b j ‰œ œ œœœ œ œ œ
& b œ. œ.
‰
œ œ œ œ œ. œ œ œ œ œj œ œj œ .
pi - ros. O - cé - a - no de la a-mar-gu-ra. Com-pa - ñe - ra de los per

b
40

& b ˙. œ.
Πj
œ œ
j
œ œ œ œ j j
œ œ œ
j
œ œ œ
a Ru - e - ga por no - so - tros. Ru - e - ga
b j
&b œ œ œ œ œ œ j
œ œ. œ. œ.
Πj
œ œ
j
œ œ œ œ
jo de pa - ci - en - ci a. Ru - e - ga por no -
b j œ. œ. œ. œ œ œ œ j
&b œ œ œ. ‰ œ œ œ œ œ
j
di dos. Es - pe jo de pa - ci - en - ci
G-6305/802/13-u – 34 –
Vocal 3. RUEGA POR NOSOTROS Giant

b f
44 Œ Œ ‰ j 34
43

&b j j
œ œ
j
œ œ œ œ œ j œ
œ œ œ œ œ œ œ ˙. œ. œ
por no - so - tros. Ru - e - ga por no - so - tros. A -
f
& bb j j j j
44 Œ Œ ‰ j 34
œ œ œ œ œ œ œ
œ œ œ œ œ œ. ˙. œ. œ
f
so - tros. Ru - e - ga por no - so - tros. A -
b 44 Œ Œ ‰ j 34
&b œ. œ. œ
j
œ œ
j
œ œ œ j œ
œ œ œ ˙. œ. œ
a. Ru - e - ga por no - so - tros. A -

b3 œ U̇. œ
œ œ œ œ œ œ
47

&b 4 œ œ ˙ œ œ œ
ho - ra y en la - ho - ra de nues - tra

b3 U̇.
œ œ œ œ œ œ
&b 4 œ œ œ œ œ
œ ˙ œ
ho - ra y en la - ho - ra de nues - tra

b3 U̇.
œ œ œ œ œ œ
&b 4 œ œ œ œ œ
œ ˙ œ
ho - ra y en la - ho - ra de nues - tra

51
b U
& b ˙. ˙. œ Œ Œ ∑ ∑
muer - te.

b U
& b ˙. ˙. œ Œ Œ ∑ ∑
muer - te.

b U
& b ˙. ˙. œ Œ Œ ∑ ∑
muer - te.

G-6305/802/13-u – 35 –
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)
7
8 Clar.
w w
& 4 œ œ nœ œ œ nœ œ œ
1-8 9

G-6305/802/13-u – 36 –
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)
A
# # # # BAWLEY:
4 Œ Œ Œ
œ œ œ œ œ n˙ Œ
B C D E

& 4 œ œ œ nœ œ j j j
3 3

œ nœ œ œ œ œ nœ œ . œ
I see 'em. too, boy. I hear 'em, too, Bick. Some - times I hear 'em call - in' me. They

F
#### Œ
G H I

& ˙. nœ œ œ œ œ œ
œ nœ œ œ nœ ˙
haunt me all night long. All them mem - ries come close and say:

J
#### K L M (to 1)

& nœ œ œ œ nœ œ nœ œ œ œ nœ œ ˙ n˙
˙ œ
Bawl - ey, look back: look at all the Be - ne - dicts sing - in' their si - ren

####
With a steady pulse
bb
1

& Ó ∑ ∑
w ˙

P
song.
####
bb
ENSEMBLE: Sop. & Alto

∑ ∑ ∑ Ó Œ œ
unis.
&
Look
#### P
ENSEMBLE:

bb
Ten & Bari (8vb)

& ∑ ∑ ∑ Ó Œ œ
unis.

Look
2 VOICES:

b
5

œ œ. œ.
(Sop.)

&b ˙ Œ ˙ Ó œ œ œ œ bœ ˙ Œ œ
back Look back. Keep me a - live. Look back. Re -

bb Œ œ œ. Ó Œ œ œ.
1 VOICE (Ten.):

& ˙ ˙ œ œ œ œ bœ ˙
back. Look back. Keep me a - live. Look back. Re -

G-6305/802/13-u – 37 –
Vocal 2. LOOK BACK/LOOK AHEAD Giant

F ALL:
b j j
2 VOICES:

j j j Œ œ œ.
9 (2 Sop.)

&b œ bœ Œ
(Alto)

œ œ œ ˙
div.

œ œ. œ œ œ œ œ œ œ.
mem - ber what I said. Re - mem - ber what I pro - mised. Re -

F ALL:
2 VOICES:

bb œ œ œ œ œ ˙ . j j j
œ œ œ. Œ œ œ.
(1 Ten.)
Œ œœ œ
(Bari)

& J bœ œ œ
div.

J
mem - ber what I said. Re - mem - ber what I pro - mised. Re -

f I'm
b w ˙œ Œ N œœ
œ b œœ
do.
œ bœ œ œ
13 (ALL)

& b œ bœ œ œ œ œ œ bœ bœ œ œ œ œ
mem ber what I want - ed you to do. Look back, look back, look back. I'm
f I'm
b œ w ˙ Œ œœ
do.
œ bœ œ b œœ
(ALL)

& b œ b œœ œ
bœ œ œ œ œ œ bœ bœ bœ œ
œ
mem ber what I want - ed you to do. Look back, look back, look back, I'm

b w ˙˙
here.

& b w˙ œ œ. œ œ.
17

Œ bœ œ
Œ ˙ œ œ œ œ b b œœ œœ .. ˙˙
here. Right here. Re - mem ber your pro - mise, too. Look

b w ˙
here.

&b ˙ œ œ. ˙ Œ œ œ. œ œœ b b œœ b b œœ œœ .. ˙˙ œ
Œ œ œ
here Right here. Re - mem - ber your pro - mise, too Look

f >˙ . FÓ Keep me a - live with

b Œ œ œ. ˙˙
b b ˙˙
21

&b ˙ ˙. Œ œ œ œ œ˙ œ œ
œ œ.
back. Look back. Keep me a - live. with

f >˙ . F Keep
b Œ œ œ.
me a - live with

&b ˙ ˙. Œ œ œ œ ˙œ œ œ ˙˙ b˙
b˙
œ œ. Ó
back. Look back. Keep me a - live with

G-6305/802/13-u – 38 –
Vocal 3. LOOK BACK/LOOK AHEAD Giant

BAWLEY:
b
25 Brighter, with urgency
&b ∑ Ó Œ Œ Œ
(parlando)

j
œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ
Í Look a - head, my child - ren, Look a - head. Don't look back,
b
& b N ww ˙˙ Ó ∑ ∑

Í
you.

& bb w ˙ Ó ∑ ∑
w ˙
you.

b
29

&b Œ Ó œ œ
(sung)
j œ œ œ œ œ œ œ
œ. œ œ œ. œ œ œ œ
my child - ren, Look a - head. Say to the ghost be - hind you, "Thank you

b œ œ
32

&b œ œ. œ œ ˙ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ
ma'am, you done me good. Brought me to life, raised me well, but now's the time that I should look a -

b . œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ ˙
œ œ.
35

œ œ Œ
J
head. Keep for - ward. Don't you stray. You got all those to - mor - rows up the

b .
&b ˙ œ œ œ œ. œ œ œ œ œ œ ‰ œ
38

Œ œ œ œ œ œ œ
J
way. You can't see to - mor - row look - in' o - ver your shoul - der; Say

b
Colla voce
&b œ œ œ œœ œ œ œ
41

œ œœ œ œ œœ œ 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 what's dead is dead.

G-6305/802/13-u – 39 –
Vocal 4. LOOK BACK/LOOK AHEAD Giant

f
ALL:

b œ ˙.
&b ˙ œ œ. œ œ œ. Œ œ œ.
45 (BAWLEY)
œ œ Œ w Ó
67 SOP:

f
Look a - head my child - ren. Look a - head. ALL: Re -
b Œ œ œ.
&b ∑ ∑ ∑ ∑ Ó
ALTO:

Re -
b
&b ∑ ∑ ∑ ∑ ∑

f œ.
ALL:

? bb ∑ ∑ ∑ ∑ Ó Œ œ
BARI:

Re -

bb w ˙ w œ œ. ˙ œ œ.
68

œ.
S.

& Œ œ
mem - ber. Re - mem - ber. Re -
b œ. ˙ œ.
A.

& b œ bœ œ œ ˙. œ œ bœ œ œ œ œ
mem - ber what I said. Re - mem - ber what I pro - mised. Re -

b
ALL:
fœ œ . ˙ œ œ œ. ˙ œ œ œ.
&b Œ ˙. Œ ˙
TEN:

Re - mem - ber. Re - mem - ber. Re -

? bb œ bœ ˙
œ œ. œ bœ
œ œ ˙. œ œ œ œ œ.
B.

mem - ber what I said. Re - mem - ber what I pro - mised. Re -

G-6305/802/13-u – 40 –
Vocal 5. LOOK BACK/LOOK AHEAD Giant

(to 81)
72
b
S.
œ b >œ >œ >œ >œ w w
&b œ bœ œ
mem - ber what I want - ed you to do.

b œ œ œ.
A.

&b œ bœ œ bœ œ œ œ ˙ Œ w
mem - ber what I want - ed you to do. Look back.
b
T.
œ b >œ >œ >œ >œ w w
&b œ bœ œ
mem - ber what I want - ed you to do.

? bb œ bœ œ œ bœ œ œ œ. ˙ œ œ. ˙
œ bœ œ
B.
Œ
mem - ber what I want - ed you to do. Look back. Look back.

2
A little slower BICK: It's not the time or place for this. Luz is –

& bb
81-82

bb j œ œ œ œ œ œ œ œJ œ œ
118

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
BAWLEY:

& œ.
œ J
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 œ œ œ œj œ . ‰ œJ j
œ œ œ œ . ‰ œJ œJ œ j
121

&b J J ˙
œ œ œ bœ œ œ
what you be - lieve. Talk a - bout her. Write books a - bout her. Re - mem - ber her plea - sures and mis -

b bœ œ œ bœ bœ œ œ. œ w
125

&b ˙ Œ œ œ œ œ œ ˙
takes. But tell her to 'git' and git gone now, for both your sakes!
BAWLEY: The Queen is dead. Long live the Queen. It's your turn now. (cont'd)
4 3 #
bb
poco rit. (to 201)

& ∑
129-132 133-135

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

#
201 More reflective poco rall.
& ∑ ∑
: 204

G-6305/802/13-u – 41 –
Vocal 6. LOOK BACK/LOOK AHEAD Giant

Colla voce
# ≈ LESLIE: j œ œ œ œ œ
205

& œ j œ œ ˙ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ
I want to go in - to the kit - chen and make a me - ringue. I want child - ren, who'll play the pi - a - no.

# ≈ (to BICK)
208
j j w
œ œ œ œ œ œ œ œ
& œ œ œ. œ œ œ œ œ œ
I want a house that we'll build to - ge - ther; One I'll ne - ver want to leave.
BAWLEY: I'll consider that.
(to BICK) What do you want?

2
What do you want to look ahead to?
# j j bb nn
211 (to BAWLEY) Poco rit. 213 Più mosso
& ‰œ œ œ œ œ œ Œ œ œ œ œ w
œ œ 214-215 (to 234)
And I want to vi - sit you. On your moun - tain, some - day.
234 Safety 2
& .. ..
234-235 (to 238)

‰ œj œ œ œj œ b œ œ
238 BICK: (to LESLIE)

& ‰ œj œ œ œ œ œ œ œ Ó
J œ w
˙.
I want a son to pass the ranch to. I want a daugh - ter to make you smile.

& ‰ b Jœ b œ œ œ œ œ
œ. œ œ ‰ œj œ œ œ œ œ œ. œ œ œ œ œ bb
243

J œ J
I want to eat that me - ringue you'll bake me. I want to make you a house you'll ne - ver want to

b
Moving forward
&b w œ
247

w œ
LESLIE: BICK:
Œ Ó Œ œ bœ œ œ bœ œ
leave. What's done is done. What's dead is
BAWLEY: Pull yourselves up tall.
Go greet your guests-- there's a lot

b œ ˙.
of folks waiting for you.

&b w œ
252 (BICK) BAWLEY:
Œ œ œ
dead. Look a - head, my

b U
˙.
255

&b œ œ Œ Ó ˙ ˙ w
chil - dren. Look a - head. Attacca
G-6305/802/13-u – 42 –
Vocal Giant
14
DANCE MUSIC ("ROCHELLE")
(Vashti)
Music & Lyrics by Michael John LaChiusa

3
b
Bright Swing
& b b b b b 44 Ó
VASHTI:

1-3 œ œ
Where'd you

b
& b bbbb ˙ .
5

œ œ Ó
œ œ œ œ ˙. œ œ
go, Ro - chelle, Where'd you go? Don't you

b
& b bbbb ˙ .
9

œ œ œ œ œ ˙. ∑
œ
know Ro - chelle I miss you so?

8 15
b bbb bbbbbb
(Dialogue)
& b bbbb
13 21

13-20 21-35

7
b
& b bbbb
36

Ó
VASHTI:

36-42 œ œ
Where'd you

b
& b bbbb ˙ .
44

œ œ Ó
œ œ œ œ ˙. œ œ
go, Ro - chelle, where'd you go? Don't you

b
& b bbbb ˙ .
48

œ œ œ œ œ ˙. ∑
œ
know Ro - chelle, I miss you so.

9 ^
b
(Dialogue) Drs.

& b bbbb
52

¿¿¿ Œ Ó
¿
52-60
Segue as one

G-6305/802/13-u – 43 –
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 3 poco rit.

b
& b b 44
19

∑
19-34 35-37 38

8 3 U
bbb
39 A tempo
∑
(pizz. Stgs, Tbn.)

&
39-46 47-49 50

G-6305/802/13-u – 44 –
 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 2
b
& b b b b 44 œ . œj ˙
LESLIE:

œ . œj ˙
1-4 7-8

Jor - dan. Jor - dan.

. . . .
bbbb
9

& b nœ Œ œ Œ œ œ œ œ œ œ Œ œ Œ œ œ œ œ œ
nœ nœ
Let's go top - sy tur - vy; Let's let loose: top - sy tur - vy; Let's

bbbb
BICK: More shopping?
˙ œ œ
13

œ œ Œ Œ
3

& b ˙ œ œ œ œ œ œ
3

œ ˙.
fly to New York Ci - ty and get lost in the crowd.

. . . .
bbbb
17

Œ Œ Œ Œ
& b nœ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ
Jump right in - to cha - os and not care who is lis - ten - ing

bbbb œ œ œ œ œ œ œ œ œ œ œ
21

˙ œ Œ
3
˙.
3

& b ˙
3 3

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

bbbb ∑ ∑ ∑ Œ œ œ œ œ Œ
BICK: 3

& b
3

That's not nor - mal.

b
& b bbb œ
25

œ œ œ Œ œ
3
œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ
œ œ
We'll look at the paint - ings at the Met. And go to the o - ther Met, too. We'll hear

b
& b bbb œ œ œ œ bœ œ œ bœ ‰ b œj œ œ
29

Œ
3
œ nœ œ œ ˙ ˙
o - pe - ra that's not "O-pry.' Eat food that ain't beans. And if you

G-6305/802/13-u – 45 –
Vocal 2. TOPSY-TURVY Giant

b
(LESLIE)

& b bbb œ bœ
œ
33

Œ œ œ œ œ bœ Œ
BICK:

œ œ bœ ˙. œ œ œ nœ œ œ œ
want to see a - ni-mals, we'll head for the zoo. You need some lo - vin'.
BICK:
b
LESLIE:

& b bbb œ œ œ œ œ œ œ
37

∑ ∑
You need some lovin' now.

nœ œ œ œ œ œ œ
No one will know me. No one will know you.

. .
bbbb
41 LESLIE:

& b nœ Œ œ Œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ
nœ nœ
Let's go top - sy tur - vy; To ge - ther; top - sy tur - vy; We'll

b œ œ
& b bbb ˙ ˙ œ3 œ w œ œ œ
45

œ Œ
fly off in - to some great un - known. But I
Poco tenuto, colla voce
b
A tempo
& b bbb ˙
49

˙ œ œ œ œ
nœ œ w
can't go top - sy tur - vy a - lone.
b
& b bbb ∑ ∑ Ó Œ
BICK:

œ œ
You can

b
& b bbb
69

∑ ∑ ∑ ∑

bbbb j j Œ ‰ œj
(BICK)

& b œ œ œ œ. œ œ Œ ‰ j œ œ œ œ œ œ ˙
. œ œ œ
see van Gogh in Dal - las. You get the New - York - er in the mail. You

b j
& b bbb Ó
LESLIE:

‰ j œ œ bœ
73

Œ œ œ ∑ ˙
œ . ˙
It's not a - bout shop-ping. Jor - dan...
b j j
& b bbb œ œ bœ
(BICK)

œ œ Ó Œ ‰ j œ œ bœ œ œ ∑
. œ .
wan - na go shop-pin'? There's Hous-ton or Aus - tin.

G-6305/802/13-u – 46 –
Vocal 3. TOPSY-TURVY Giant

Suddenly faster
b
& b bbb
77 Colla voce
j
(LESLIE)
∑ ∑ ∑ ‰
œ œ œ œ œ œ œ œ Œ œ œ
What I'm try-ing to say is: There's more
b j
& b bbb ‰ œ œ œ Œ Œ Œ bœ œ œ
(BICK)

Œ ∑ ∑
˙.
But New York? That's a no sale.

j
bbbb
82 molto rit. A tempo
j ‰ œ œ œ œ œ œ œ
(LESLIE)

œ œ œ
84A

& b œ œ œ œ œ nœ œ œ œ œ œ.
than e - nough mo-ney. More than e - nough land. We're the luck - y peo - ple on the

b
& b bbb ˙ . j j
85

nœ œ œ œ œ œ
œ ‰ œ œ œ œ
œ œ œ. œ œ
earth. With pos - si - bi - li-ties. Here's our-chance to change our lives. To

b œ œ
& b bbb ˙ ˙ œ œ w ˙.
89

œ Œ
3

ge - ther, let's find some great un - known.

b
& b bbb ˙
93

œ œ œ ˙
˙ nœ œ œ ˙
Dar - ling, Come a - way with me. Jor - dan,

, U "
bbbb
Rit, colla voce
˙
96

& b nœ œ œ œ œ œ ˙ nœ œ œ œ œ œ w
Though I need to, I can't go top - sy tur - vy a - lone.
A tempo, slightly slower than before
3 3
bbbb
100 2x
& b .. ..
100-102 103-105

(cue) BICK: And here I'd been feeling

,
romantic. Give it to Jordy. (He exits.)
U
bbbb
106
U
& b ∑ ∑ Œ Ó
w œ.
Ens.

G-6305/802/13-u – 47 –
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

bœ
? 44 œ œ # œ n œ œ œ bœ œ œ
1
bœ œ bœ #œ nœ &
œ
Bass

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

7
5
Vamp (vocal last x)
.. Ó ..
(+Clar, Tpts.) JETT:

& œ bœ
5-11 12
Got the

œ œ œ œ
13

& ˙ bœ œ Œ œ bœ ˙ bœ œ Œ Ó
feel for the cards? Eyes that don't miss a thing?

5
(cue) JETT: Do you read the pulse beats in their necks? Safety (vocal last x)
.. Ó ..
JETT:

& bœ
17-21 22
œ
Can you
23

& œ. œ. bœ œ Œ œ. œ. bœ œ Œ Ó
œ bœ
smell who's weak? Can you smell who's 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 Safety
& .. ∑ ..
27-29 31

32 Freely
JETT: molto rit. a tempo
œ3 œ bœ bœ
& Œ bœ nœ bœ œ b œ n œ b œJ œ ∑
3 3

bœ nœ .
Do you got the five sen - ses it takes to be a play - er?

G-6305/802/13-u – 48 –
Vocal 2. WHEN TO BLUFF/ONE DAY Giant

bœ œ bœ
LIL LUZ: 39
36

&Œ ˙ Ó ∑ ∑ ∑
Sure do.

‰ œj b œ œ ˙ b œ ‰ œJ œ Œ ‰ œj b œ œ
JETT:

∑ ∑ Ó
(swing 8's)

&
When the stakes are high, do you play

& ˙
41 (JETT)

bœ œ œ œ Œ ‰ j œ ˙ œ ‰ bœ œ Œ ‰ j
œ bœ J œ bœ œ
with - out fear? Do you throw one by? Or will you

œ. j
45

&œ œ œ bœ Œ ‰ j bœ œ œ œ œ œ bœ œ œ bœ œ œ
œ œ œ
cry in - to your beer? Can you toss a - way a strong hand when you smell

j j j j Œ ‰ j œ œ bœ . j j
49

&œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ ‰ œ
that you've been beat? Can you sit in your chair for a long time? Can

‰ œj b œ ‰ Jœ œ ‰ œj b œ œ
55

œ ˙
53

& bœ œ œ œ nœ œ Œ bœ Œ
you sur - vive the heat? Can you count the cards, know-in'-when

& œ œ œ œ ‰ Jœ œ b œ ˙ ˙ œ œ œ œ œ œ
57

bœ œ Œ
e - nough's e - nough? You need ga - tor blood, Lit - tle La - dy:

j œ œ œ œ œ
61

& ∑ ‰ œ œ œ Œ Ó ∑
Do you know when to bluff?

b˙ bb
65 LIL LUZ: (to 93)

&Œ œ ˙. Œ Œ b˙ nœ
Sure do. Sure 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.

bb
93

& Ó
˙
94-96

4
I'd rather be lucky than smart cuz a lotta smart people ain't eatin' regular.

b 24
&b
97-100

G-6305/802/13-u – 49 –
Vocal 3. WHEN TO BLUFF/ONE DAY Giant
Safety (vocal last x)
b
& b 24 .. ‰ j œ 44 œ Œ Ó
101

œ .. œ
LIL LUZ: (swing 8's)
‰ jœ œ œ œ œ œ ˙ Œ
101A 102

œ
œ œ œ œ œ
I don't know a - bout cards. But I know a - bout dan - ger.

b j bœ œ nn
105

& b ‰ œ bœ ˙ œ Œ bœ œ œ œ œ œ
Œ
˙
And I got 'ga - tor blood. I ain't scared a - bout noth - in'.

j œ
109

&‰ œ j œ. œ œ œ œ œ œ œ Œ
œ œ œ œ ˙ œ
I'm a bron - co ri - der. Fly - in', fly - in' fly - in' on earth.

j œ œ œ œ œ œ j j j
œ.
113

Œ œ œ œ
&œ
œ œ œ œ œ œ J J J œ œ œ œ
I beat nine o - ther cow - boys. Rop-in' 'n ty - in'; I ain't ly - in', Sir,

j
& œ œ œj œ .
119

œ b œj œ
117

Œ œ Œ œ œ œ Œ Œ œ
˙. œ œ b œ œ œ œ œ œ
I know my worth. I'll be in the ro - de-o when I'm se - ven - teen. 'N

œ Œ œ œ
123

&œ œ œ œ œ œ bœ œ œ œ bœ
J œ J œ œ œ ˙
mark my words, I'll be the best trick ri - der this coun - try's e - ver seen. Do the

j
& œ œ œ œ œ œ bœ œ j œ œ œ œ œ
127

Œ Œ Œ Œ
œ œ œ œ œ
back drag. Hang-in' out o - ver the hor - se's rump. Do the Su - i - cide

j j j
& œ œ
131

œ œ œ œ œ œ bœ œ œ œ Œ Ó
3

œ œ œ bœ œ J
Drag: Head down un - der the hor-se's hooves and watch my ma - ma jump!

œ. j ‰ œj œ œ œ œ œ œ œ œ
135

&œ œ bœ œ œ œ œ ˙ Ó
When I can't do some - thin', I just learn to do it, you see.

j j
œ bœ œ œ œ nœ œ Œ ‰ œ bœ œ
139

&œ œ bœ œ œ œ bœ œ œ œ œ œ
J
Luck won't give me what I want from the world, so I'm gi - vin' it to me! Yeah, I play

œ Œ ‰ œj b œ œ œ œ b œ œ œ œ Œ ‰ œ œ bœ ˙ œ . œ
& ˙ b œ ‰ Jœ
143

˙ Œ œ
(LIL LUZ)

J J
for keeps. I'm the girl who's got the stuff. I got 'ga - tor blood. I
G-6305/802/13-u – 50 –
Vocal 4. WHEN TO BLUFF/ONE DAY Giant

&œ œ œœ˙ w w ‰ œj b œ œ œ œ œ œ œ Œ Ó
149

∑
know how to fly! And I know when to bluff.

2
LIL LUZ: Got a match?

œ . œj ˙ œ . œj œ ‰ œj
155 JETT: LIL LUZ:

&œ œ œ œ œ œ œ œ
157-158
You're some Lit - tle La - dy. I'm no "Lit - tle La - dy." 'N

˘
(cue) JETT: .

U U
LIL LUZ: I'm Luz Benedict.
j
..our name's Claire.
" bb
œ Œ Ó
b˙ .
161

& œ œ œ œ. Œ ∑ ∑ ∑
∑
I ain't "Lit-tle Luz."
Slower, quasi rubato (straight e's)
8 2
Darker, with a steady pulse

bb
167 (Dialogue)
(Fl. solo) (Bs. Clar.)
&
167-174 175-176

(cue) JETT: But didn't I tell you, Luz Benedict,

4
there's something no one can give you and that's luck. Safety (vocal last x)
b
177

& b .. .. .. Π..
JETT: end "swing 8's"

œ ˙
177-180 181
One day.
più mosso
b j :187
182 (JETT)

&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
183

Went dig - gin' in - to that noth - in'. Did-n't find no nas - ty tur - nips. But I kep on dig-gin' 'n I
¨
MEN 1:

b ¨ ¨
MEN 2:

Vb œœ
Œ Ó
œœ
Œ Ó œœ Œ Ó
œ
Dust. Rock. Dig

b ‰ œj œ ‰ œj œ ‰ œj
188

&b œ Œ Œ Œ Œ Œ Œ œ œ œ œ

F> > > >

dug. 'N dug. 'N dug. I want it. Find it.
¯ ¯ ¯ ˘ ˘ ˘ ˘ ˘ ˘
b œœ œœ œœ œœ œœ œœ œœ œœ œœ n nn œœœœ œœœœ œœœœ œœœœ
Vb Œ œ œ œ Œ œ œ œ Œ œ œ œ
œ œ œ œ œ œ œ œ œ
Down. Down. Deep. Ache. Sweat. Blood. Spit. Shake. Boy. Want It. Find. It.

G-6305/802/13-u – 51 –
Vocal 5. WHEN TO BLUFF/ONE DAY Giant

b >œ > > > >œ >œ >œ >œ :

œ œ œ œ
192 (JETT) 193

b œ œ œ
195

&
> > > >
Chase it. Les - lie. Burn up. Break down. Down! Down! Down! Down!
> >
b b œœœ œœœ Ó
œœœ œœœ œœœ œœœ n œœœœ œœœ œœœ œœœ
V œ œ œ œ œ œ œ œ œ
Chase. It. Burn up! Break down! Down! Down! Down! Down!

b n˙ . nœ œ nœ
‰ œ œ œ œ œ œ œ œ œ œ. œ ˙
196

œ œ
(JETT)

&b Œ
Then the well blew in: Blow-in' o - ver the der - rick more than twice as high!

œ œ bœ œ b˙ œ
b bœ œ œ œ. œ œ œ bw
200

&b ‰ J J œ
Dark, green co - lor Turn-in' in - to gold as it fell from the sky!

b j‰ œ b œ Jœ œ Jœ
& b Œ œ bœ œ œ œ bœ Œ œ œ bœ œ œ œ bœ œ œ bœ œ œ bœ bœ
204 3 3 3 3

Break-in' up at the top; O-pen-in' up like a wo-man, 'fore fall-in' to earth and fall-in' on

˙ œ œ œ œ œ >˙ >œ
bb
208 (JETT)

& Œ ‰ ‰ Œ Ó Œ
me! And I touched!
˘ ˘
Smelled! Saw
> > > >
Heard
>it
b œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœœ
Vb ∑ Œ œ Œ œ Œ œ œ œ ˙ œ Œ
Touch taste And then I heard it

˙ œ bœ œ œ
(JETT)

b ˙ œ bœ bœ œ b˙ œ nœ bœ œ
212

&b w
roar.
:
b
223

œ œ œ œ œ œ œ
216 (JETT)

&b Œ ‰ œ
217

œ œ œ œ œ œ œ œ œ
˙ J
P
That day. Up from out - ta that noth - in'. Come a fif - ty mil - lion bar - rel field.

b œ œ œ œ w
Vb ∑
œ œ œ œ w
Pri - vate pro - per - ty.

G-6305/802/13-u – 52 –
Vocal 6. WHEN TO BLUFF/ONE DAY Giant
(JETT)

b j
&b œ œ œ œ œ œ œ œ œ œ œ
224

œ œ œ Œ œ œ œ Œ
J
Crude and light and sweet. You know what the odds are? The odds you got - ta beat?

b œ b œ œ œ œ œ œ
Freely
b œ œ b œ œ b œ
& b ‰ Jœ œ b œ œ œ œ n œ œ ‰ Jœ œ
227 3 3

Nœ œ ˙ bœ œ
3 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. With a

b j n
Faster, with drive accel.
&b œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ œ n
231

œ Œ w
fif - ty mil-lion bar - rel field Right be-neath my feet. It's a game

˙ ˙ j
235

& œ bœ ‰ œ bœ œ œ œ bœ œ œ ˙ ‰ j
œ bœ œ
played wild. 'Cept your hole card now is oil. It's a gam -

‰ Jœ œ b œ œ ˙ ‰ œj
239

&œ œ b˙ ˙ œ œ œ bœ Œ
ble, child. No tell - in' what's there in the soil. No

243

& œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ ‰ bœ œ œ œ œ œ œ bœ œ œ
sci - en - tist can tell ya if there's oil down in that hole. Got-ta chase the game and hope that you

œ œ ˙ ˙ ‰ œj œ b œ
246

& bœ œ œ œ nœ œ bœ bœ
strike and ride the roll! Got - ta chase the oil! And gal, the

œ œ œ bœ œ œ œ œ
& œ œ œ ˙ ˙ ˙
249

bœ œ Œ Œ
J J
game is pret - ty rough. Got - ta have 'ga - tor blood. Got-ta be
Molto rit.

bœ bœ
colla voce
œ ˙ ˙ Œ œ œ. œ ˙ œ œ bœ œ œ œ œ œ
253 molto ten.

&
blessed with luck. Got-ta 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.)
257 Quietly, tensely 2 Vamp
&w .. ∑ .. ∑
258-259 260 261

G-6305/802/13-u – 53 –
 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 Freely, colla voce
j œ, j , +VASHTI:
& b 44
+PINKIE:

∑ œ œ œ œ ˙ Œ œ œ
BICK:

œ . œ œ œ œ œ œ œ œ œ . œ
œ œ œ
"This is my Te xas. My Dear-est Te-xas. And I pro - mise to love her till I die. I'll re -

j
a tempo

& b œJ œ œ œ œ œ œ œj œ œj b œ œ. œ œ œ œ œ œ
œ œ
15 +ADARENE & MIKE:

œ
œ œ œ œ
mem-ber those Days of Glo - ry. I'll live to tell the sto - ry 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)
7
b b b b b 44
Brighter (Texas country feel) accel.
24
19 21

&b œ Œ Ó ∑ ∑
21-27
By!"

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

& b b b b 44
29

∑ Ó Œ ‰ j
VASHTI:

œ
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 -

b j j
& b bbb œ . œ œ nnnnn
35

.
œ œ œ œ œ œ œ œ œ œ œ œ œ 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

. œ n˙ œ #œ #˙ œ
Œ ‰ # Jœ # œ œ œ œ œ # œ Œ œ #œ œ
Œ #œ
38 39
PINKIE:

& b˙
gloom. So Tra - vis draws a line in the sand. Says, "Choose which side you're on!" "Are you

#œ œ #œ #œ œ #œ œ #œ œ œ
(PINKIE)

J #œ .
43

Œ
VASHTI:

& #œ œ œ
œ œ ˙ œ œ
with us or a - gainst us?" "Vic - to - ry or Death!" And come that chil - ly dawn. Af - ter

G-6305/802/13-u – 54 –
Vocal 2. MY TEXAS Giant

47

Œ j j Œ œ œ
(VASHTI)

& ˙. œ œ œ œ œ œ œ #˙
#œ œ œ œ œ œ œ œ
gi - vin' 'em a choice to stay or leave, Tra - vis be - held a won-drous sight: Not one

∑ ∑ ∑ Ó Œ #œ œ
PINKIE:

&
Not one

51 rit.
&œ œ œ œ b˙ Œ œ bœ œ œ œ bœ œ b˙ . Œ
Te - xan chose to leave. Not one Te - xan chose not to fight!
nœ œ œ œ œ bœ b˙ .
&œ œ œ œ b˙ Œ œ Œ
Te - xan chose to leave. Not one Te - xan chose not to fight!

55 Freely (Dictated)
U
&Œ œ
3
j j œ œ œ œ œ bœ œ œ œ
(VASHTI)

bœ œ œ œ œ œ œ œ œ bœ .
('Cept for one co - ward who God kept a - live so's he could tell the sto - ry of how one
JORDY JR: Nine of those
Texans had Mexican names.

U
A tempo

&œ œ œ œ œ œ
56

∑ b ∑
3 3

nœ œ œ œ œ ˙ ˙ (to 68)
58
hun-dred and eight - y nine Tex - ans died for our free - dom.
68

&b ∑ ∑ j œ œj ˙
VASHTI:

œ œ œ œ œ œ œ œ œ œ œ
Time to come 'n sit by the fi - re! We got - ta share. -
œ œ œ. œ
(opt. down an octave)

‰ œ œœ œ . œ œ
PINKIE:

& b ‰ œ œ œ œœ ∑ ∑
J . œœ J œ. œ œ
We got sto - ries! We got sto - ries!

‰ œj œ œ œj œ j 2
72

&b ∑ ∑ œ 4 œ œ
We wan - na show ya how much we
j
&b ‰ œ œ œj œ j
œ œ œ œ œ ‰ œj œ œ œj œ j 2
œ 4 œ œ
Sa - cred sym-bols we can't let go of. We wan - na show ya how much we

G-6305/802/13-u – 55 –
Vocal cue: (JORDY JR:) 3. MY TEXAS Giant
We came as immigrants.
Vamp molto rit.
.. 44 ‰ œ j
(to 115)

& b .. ˙
76 77 78

œ œ. œ œ œ œ œ œ œ œ œ œ
œ œ œ
care! We got sto - ries. Time to come and sit by the fi - re.

& b .. ˙ .. 44 ‰ œ j
œ
œ œ. œ œ œ œ œ œ œ œ œ œ œ œ
care! We got sto - ries. Time to come and sit by the fi - re.

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.) BICK:Weren't we singing our song?

U U
(long hold)
115
#
&b ∑ ∑

(starting slowly, then building in tempo)

# U
117

œ œJ œ œ œ œ œ œ œ œ
BICK:

& œ œ. J œ œ œ œ œ œ œ.
"This is my Te - xas. My Dear - est Te - xas and I pro - mise to love her till I

cresc. + accel. poco a poco

# œ œ j j
œ œ
120 (BICK) +VASHTI: +PINKIE:

& ˙ Œ J œ œ œ œ œ œ œ bœ œ
J œ œ œ
die. I'll re - mem - ber those Days of Glo - ry; I'll live to tell the sto - ry

V.S.

G-6305/802/13-u – 56 –
 Vocal 4. MY TEXAS Giant

# œ n
BICK, VASHTI, PINKIE:

œ œ œ
123

& œ. œ œ œ œ œ w
œ
Of Might - y Te - xas and the Joy of Days Gone By!"

# œ œ œ œ n
SOPRANOS:

S. & œ œ. œ œ œ œ œ w
Of Might - y Te - xas and the Joy of Days Gone By!"
# n
∑ Ó œ œ
ALTOS:
A. & w
Days Gone By!"
# œ
TENORS:
œ n
T. V ∑ œ œ w

œ
Joy of Days Gone By!"
œ œ
BARITONES:
œ œ œ
?# Ó Œ w n
B.

and the Joy of Days Gone By!"

126 More march-like, strident
f >œ >œ >˙
VASHTI:

j œ œ œ œ œ œ œ Œ œ œ
& >œ œ. œ œ œ J >œ œ> . œ >œ œ
This is my Te - xas. My Dear - est
>
Te - xas and I pro - mise to love her till I die. I'll re -
f> j œ j > > > > >
œœ œœ œ
BICK:

œ œ œ
œ
& œ œ .. œ J œ
œ œ
œ œ œ œ œ œ œ œ. œ œ . œ œ
œ œ ˙ Œ œœ œœ
J > > > >
>
PINKIE:
> >

& œ œ . œ œJ œ œ >œ >œ

œ œ œ œ
>œ . œ >œ œ œ œ >˙
Œ œ œ
J œ
> >
S.

This is my Te - xas. My Dear - est Te - xas and I pro - mise to love her till I die. I'll re -

j œ œ œ >˙
& œ œ. œ œ œ œ œ œ œ >œ œ Œ œ œ
A.
> J > > œ œ œ œ > œ.
>
This is my Te - xas. My Dear - est Te - xas and I pro - mise to love her till I die. I'll re -
>œ >œ > > œ >œ >˙
V œ œ . œ œJ œ œ
J œ œ œ œ œ œ œ œ. œ œ œ ˙ Œ œ
œ
>
T.

>œ >œ > >˙

This is my Te - xas. My Dear - est Te - xas and I pro - mise to love her till I die. I'll re -

? >œ œ . œ œJ œ œ œ œ œ œ >œ >œ . œ œ œ œ œ Œ œ œ

B. J
This is my Te - xas. My Dear - est Te - xas and I pro - mise to love her till I die. I'll re -

G-6305/802/13-u – 57 –
 Vocal 5. MY TEXAS Giant

> >œ >j > > > > > > > > >
j bœ œ œ
VASHTI:

& œJ œ œ œ œ œ œ
130

J bœ œ œ œ œ œ
> > œ > œ œ œ.

>
mem - ber those Days of Glo - ry; I'll live to tell the sto - ry Of Might - y Te - xas and the
BICK: j
> > > > > >
> >
œœ œœ j > >
œœ b ˙œ œ œ ˙œ œ œœ œœ œœ
œ œœ
& J J œ
J œ b œ˙ œ œ œ œ œœ .
. œ
> > > > J > > > >
> >
PINKIE: > >
>œ >œ œ >˙ >œ . >œ >œ >œ >œ >œ
œ œ œ bœ œ œ œ
& J J œ œ
> >
S.

mem - ber those Days of Glo - ry; I'll tell the sto - ry Of Might - y Te - xas and the
>œ >œ œ j j
& J J bœ œ œ œ œ œ œ b >œ œ œ œ œ œ. œ œ œ œ œ
> > > > > > > >
A.

mem - ber those Days of Glo - ry; I'll live to tell the sto - ry Of Might - y Te - xas and the
>œ >œ œ œ œ œ œ >˙ >œ œ œ >œ . >œ >œ >œ >œ >œ
V J J œ œ
>
T.

>œ >œ >œ >œ >œ >œ >œ

mem - ber those Days of Glo - ry; I'll tell the sto - ry Of Might - y Te - xas and the
œ b˙ >œ œ
? J J J œ b >˙ >œ >œ .
B. J
mem - ber those Days I'll live to tell Of Might - y Te - xas and the

> > p LESLIE:

# >˙ >
(VASHTI) rit.
œ œ
133

& ˙ ˙ ˙ w˙ ˙ ˙ ˙ ˙ ˙ ˙
: 139
Joy of Days Gone Days gone. Months gone. Years gone. In your

>
(BICK)
> > > p
& ˙ ˙ ˙ ˙ w ∑ ∑ ∑
> > > >
p
(PINKIE)

>˙ >˙ >˙ >˙ ˙. Œ ∑ ∑ ∑

S. &

p
Joy of Days Gone

& ˙ ˙ # >˙ >

˙ ˙. Œ ∑ ∑ ∑
> >
A.

>˙ p
Joy of Days Gone
>˙ >˙ >˙
T. V w ∑ ∑ ∑

> >˙ p
Joy of Days Gone

B.
? ˙ >˙ >˙ ˙. Œ ∑ ∑ ∑
Joy of Days Gone
G-6305/802/13-u – 58 –
Vocal 6. MY TEXAS Giant

Slower
### 4
143

24 œ
& œ œ 4 œ Œ
(LESLIE)

˙ œ œ œ ˙
Te - xas. - I do not want your Te - xas.

146
###
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
Where you hurt my son; and - I ne - ver say a word; Where I've be -

147
### r œ
& œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ
come this o - ther per - son; A per - son I des - pise in your

### œ
148
24 nœ 44 œ j
& nœ nœ œ Œ ‰
˙ œ œ œ
Te - xas. I'll ne - ver love your Te - xas. I'll

# #
& # nœ
151

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ne - ver learn to sing a - bout your land and all your val - ues and your

### œ œ bbb
rall.
nœ œ œ
152

& œ œ œ œ œ œ œ œ œ œ
bi - go - try and nar - row minds; Ly - ing to your - selves a - bout your

3
VASHTI: Whyn't we take a break before dressing and head to the bar. (cont'd)
b
Faster
&b b œ
153

˙ Œ
154-156
Te - xas!

3 U
bbb
157 Slower, poco rubato
& ∑
157-159

G-6305/802/13-u – 59 –
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
1-16

17
### 6 LESLIE:

& Œ œ œ œ œ œ
17-22 ˙.
Out - side your win - dow.

6 2
rit.
24A
###
& ∑
25-30 31-32

33
###
Slower
8 2 U
& ∑
33-40 41-42

G-6305/802/13-u – 60 –
Vocal Giant
19
ACT ONE FINALE
(Jett, Bick, Company)
Music & Lyrics by Michael John LaChiusa

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

BAWLEY: ...til he's finished. Mr. Rink?
Tensely
### 4 9 4 Safety
b b ..
10

& 4 .. .. ∑ ..
1-9 10-13 14

b j
15 JETT:

&b ‰ œ œ œ œ œ ‰ œ
œ œ œ œ œ œ œ œ œ œ œ J
Out - side your win - dow, times is chang - in', chang - in' fast. Why

‰ Jœ œ
b œ œœ œ œ œ œ
& b bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ Œ
17

put your stock - in cat - tle? Why in-vest in what is past? Out - side your win - dow, you got gold

b
&b œ œ œ œ œ œ œ œ œ œ bœ ˙ ‰ œ œ œ bœ ˙ ‰ œ œ œ bœ ˙ ‰ œ œ œ bœ
20

be-neath your feet. Put your stock in oil. Not in cat-tle feed. Mill-ions ev'-ry month. Mo-ney guar-an-

b bœ bœ ‰ œ œ œ bœ
24

&b ˙ ‰ œ œ œ ˙ ‰ œ œ œ ˙
teed. Some-one who knows oil. That's the man you need. I'm the man you
JETT: Thank you for listening.

b >˙ >˙ b >˙ > 24 ..

Safety
˙. b w .. 44
27

&b w Œ ˙ ∑
need. I'm the man you need.

P SOP. & ALTO:

& 44 œ j
33 BICK: Reata is a cattle ranch.
b œ œ j
œ. œ œ œ œ. w
P TENOR & BASS:
Heart - break Coun - try, that they call her.

& b 44 œ œ œ
j
œ. w w
Heart - break Coun - try.

G-6305/802/13-u – 61 –
 Vocal 2. ACT ONE FINALE Giant

œ œ œ ‰ j œ œ œ. œ
& b ‰ œj œ œ J œ œ œ œ œ œ
36 BICK:

œ œ œ ˙.
œ
This land is cat - tle land. Be-neath our feet is his - to - ry, our fam-'ly's le - ga - cy.

œ
j œ œ œ œ œ ‰ J œ œ
œ œ œ œ. œ œ œ œ
40 (BICK)

&b Ó ‰ œ J œ œ œ
œ
You may get rich from oil, but it's our le - ga-cy we'll lose. A hun - dred years of work and
F
S. & b œ œ œj œ . œ œ œJ œ . w ∑

F
Land be - low and sky a - bove.

& b œ œ œj . œ œ ˙ w ∑
œ
A.

F
Land be - low and sky a - bove.

T. &b ∑ w w ∑

F
Sky.

B.
?b ∑ w w ∑
Sky.

44
œ œ ˙.
&b ∑ ∑ ∑
sa - cri - fice.
F
&b ∑ Ó
˙ w w
S.

P
Blood.

A. &b ∑ ∑ ∑ œ œ ˙
In my blood.
j P
T. &b ∑ œ œ œ œ. œ œ œ œ w

P
In my blood I've got this coun - try.

?b œ j œ bœ
B. ∑ œ œ œ. œ œ w
In my blood I've got this coun - try.

G-6305/802/13-u – 62 –
 Vocal 3. ACT ONE FINALE Giant

œ
48 (BICK:)

&b ∑ ∑ ∑ ∑ Ó Œ
Re -
p
&b ∑ ∑ ∑
œ bœ ˙ w
S.

F
In my blood.

& b œ ˙. ∑ ∑ ∑ b˙
˙
A.

F
Me - mo -
j œ
T. &b ∑ ∑ ∑ œ œ œ œ. œ œ œ
p œ œ œ œ w F
Me - mo - ries of those be - fore me.

?b œ œ œ j œ
B. ∑ œ œ. œ bœ œ
In my blood. Me - mo - ries of those be - fore me.

bœ œ œ œ œ œ œ œ œ bœ œ œ
53 più mosso
&b œ œ œ œ Œ Ó
˙ œ
a - ta was cre - at - ed for their chil - dren and their chil - dren's chil - dren.
F p
S. &b ˙ ˙ w w œ Œ Œ œ

p
Me - mo - ries The

A. & b œ œ ˙. w w œ Œ Œ œ
p
ries The

T. &b w w w œ Œ Œ œ

p
The

B.
?b w w w œ Œ Œ œ
The

G-6305/802/13-u – 63 –
 Vocal 4. ACT ONE FINALE Giant

poco accel.
w œ œ œ œ œ
57

S. &b ˙ œ œ Ó œ œ œ w
hawk will take care. On - ly if we take care of the land.

œ œ œ œ. j
A. &b w œ œ œ œ ˙ œ œ œ œ œ w
hawk. Care of it - self but on - ly if we take care of the land.

œ œ œ œ. j œ
T. &b w œ œ œ œ ˙ œ œ œ œ w
hawk. Care of it - self but on - ly if we take care of the land.

?b ˙ œ œ w œ œ œ œ œ œ œ œ w
B. Ó
hawk will take care. On - ly if we take care of the land.

5 #
67
4 U
&b ∑
62-66 67-70

Rubato, colla voce

#p
72 BICK:
U
& œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ
J J
In my heart are those be - fore me; Men with cou-rage. True sur - vi - vors...

2 2
Maestoso, faster
#
accel. poco rall.
& ∑ ∑
76-77 78-79 80 81

G-6305/802/13-u – 64 –
 Giant
Vocal 20

OUR MORNINGS/THAT THING

(Bick, Luz)
Music & Lyrics by Michael John LaChiusa

:
### 4
49 Quiet, with tenderness 4
& 4
49-52

Safety (Vocal last x)

### . Œ œ œ œ œ
53

œ œ .. Œ œ œ œ
BICK:

& . œ ˙. œ ˙
I miss our morn - ings. Be - fore the dawn would break.

### Œ ‰ œj œ œ .
più mosso
œ œ
57

& œ œ œ œ œ œ œ œ œ ˙. Œ
œ
I miss our time be - fore Re - a - ta and the world came a - wake.

# # œ œ œ œ œ.
61

& # Œ œ œ œ ˙. Œ J œ œ œ ˙
I miss our cof - fee. And sit - tin' still with you.

65
### Œ j œ j
& œ œ œ œ œ œ ‰ œ œ œ. œ. œ. œ
œ
On - ly the birds out - side Would have the gump - tion to dis -

### œ j
Pull back slightly, more expansive
œ œ
68

& œ. œ. œ. œ œ œ. œ. œ œ
turb our five a. m.'s be fore our dai - ly talk of

Meno
# # # ‰ LUZ:
70

& j ‰ j œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙
What's got - ta be done be - fore the end of the day. What hap-pens next month if the rains
### œ
‰ Jœ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ Jœ œ œ œ œ œ œ
BICK:

&
What's got - ta be done be - fore the end of the day. What hap-pens next month if the rains

G-6305/802/13-u – 65 –
Vocal 2. OUR MORNINGS/THAT THING Giant

###
73 (LUZ)

& œ œ Œ œ œ œ œ œœ œ œœ œ œ œ œ œ ‰ j
œ œ œ œ œ
don't come as planned. Which hand's work - in' hard e - nough and which hand is not. What's
# # # (BICK)
œ œ œ œ œ œ œ œ œœ œ œœ œ j
& œ Œ œ œ œ œ œ ‰ œ
don't come as planned. Which hand's work - in' hard e - nough and which hand is not. What's

### ‰ œj
78
76 Faster
& œ œ œ œ œj œ . œ œ œ œ ˙. Œ ∑
cost - in' us mon - ey. Who's watch - in' our land.
###
& œ œ œ œ œJ œ . œ ‰ œj œ œ œ ˙. Œ ‰ œJ œ œ œ œ .
J
cost - in' us mon - ey. Who's watch - in' our 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

4
out, it was time to clear the room.
80
###
& ∑ ∑
82-85

### 4
Œ œ œ œ œ œ
& œ ˙
One from our grand - pa's time.

### .
86 Safety
& . ∑ ∑ ..

### . œ
BICK: vocal last x:
œ œ ..
& . ∑ ‰ J œ œ.
J
He had a tem - per.
BICK: The time he told the lawyer

# # # LUZ:
he didn't know dung from wild honey.

‰ œj ‰ œj œ œ j
88

Œ Ó Ó Ó
LUZ:

& œ œ.
(to 91) 91

œ œ œ œ œ œ œ
Like all you Be - ne-dict men. E - nough of sto - ries.
###
& ∑ ∑ ∑ ∑

G-6305/802/13-u – 66 –
Vocal 3. OUR MORNINGS/THAT THING Giant
Vamp - Jump to 104 on cue
8
Slower, colla voce
### .. b b
più mosso
24 44 ..
93 95

Ó
(LUZ)

& œ œ œ œœ œ œ œ œ œ œ œ œ ˙ 96-103

### 8
Here's what's got-ta be done be-fore the end of the day.

& ∑ 24 ∑ 44 .. ∑ .. b b

Safety (Vocal last x)

b Œ ‰ œj
105

& b .. Ó .. ˙
104

Œ Œ œ bœ œ œ œ œ
BICK:

œ œ œ œ ˙
œ œ
What's that thing? What's that thing you can't help but re - cog - nize? As

b
108 5

& b bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ Œ ‰ j œ œ œ œ œ œ œ ‰ Jœ
œ ˙ œ
clear as the shape of his nose or lips or co - lor of his eyes. That thing you know right a - way. That

b ˙. œ œœ œ œ Œ w
112 113

&b œ œ œœ œ œ œ œ œ œ Ó Œ
œ œ
thing that makes you say: That's my son. That's my son. He was

b Œ ‰ œj b œ œ œ œ œ œ œ œ œ œ œ œ
117

&b ˙ Œ œ œ bœ œ œ œ œ ˙
œ œ œ
born with a bruise on his ear just like a brand. I swore I'd pro - tect ev - 'ry hair on his head that I

b
121

& b bœ œ œ œ Œ ‰ j œ œ œ œ œ œ ‰ Jœ œ œ œ
5

œ œ œ œ œ
œ ˙ œ
cra - dled in my hand. I'd teach him all I know. And proud - ly I would go: That's my

b . œ œ œ œ
&b ˙
125

œ Œ œ œ w œ Œ Œ œ œ
son. My son. He turned

b œ œ œ œ b œ œ œ œ œ ‰ œj œ bœ . œ œ b œ œ œ œ œ ‰ œj
129

&b ˙ Œ œ J
three. Time to put him on his horse. A soft - mouthed roan as gen - tle as a lamb. He

b œ bœ œ œ bœ bœ bœ bœ bœ œ
& b bœ œ œ
133

bœ œ bœ œ œ œ œ œ
screamed like a ban - shee till his mo - ther took him off and I said to my self: Well

G-6305/802/13-u – 67 –
Vocal 4. OUR MORNINGS/THAT THING Giant

b
138

& b ˙.
136

Œ Œ
(BICK)

˙ œ ˙ œ œ œ œ bœ œ œ œ œ
œ œ
damn. Damn. Who's this boy? Who's this boy who by all ac - counts is

b
& b ˙ Œ ‰ œj b œ
140

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

b
143

& b bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
knows who A - lex - an der is, and where the hell Mount Et - na is; He

b
145

&b œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ 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 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
148

œ bœ 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
151

œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ
"Thank you, Pop - pa, Thank you, Pop - pa." And he looks down at his boots.

b
&b œ œ œ œ œ œ œ œ
153

œ œ ‰ œ œ œ œ œ œ œ œ
"Thank you, Pop - pa, Thank you, Pop - pa." Work is done and off he goes.

bb bbbbb
senza rit.
œ œ œ œ
155

& œ œ œ œ œ œ œ Œ œ ˙ œ Œ œ œ
Rid - in' back to his books. "Thank you, Pop - pa." Ne - ver:
Glassy
b
& b bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ
158

˙. Œ
3

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 j j
rit.
& b bbb œ œ œœ œœœ œ œ j
162

œ œ œ Jœ œ œ ˙. Œ
Let me ride the stal - lion. Show me how to do it. Take me where e - ver you go."

G-6305/802/13-u – 68 –
Vocal 5. OUR MORNINGS/THAT THING Giant
Cue: BICK: He's
colla voce seventeen and already there!

b bb
A little faster Safety (Vocal last x)
& b bbb œ .. Ó ..
166 (BICK)

˙ œ œ ˙ œ w œ Œ Ó Œ
œ œ
Take me where - e - ver... But no. It' beats

b
171

&b ˙ Œ
œ œ œ œ bœ œ œ œ œ ˙ Œ ‰ œ œ
œ
me. It beats me and I have - n't got a clue. Do I

b
174

& b bœ œ œ œ œ œ ˙ Œ ‰
5

œ œ œ œ œ bœ œ œ œ œ œ
force him to want all the things I want? Is that what fa - thers do? Does he

b
177

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

b œ
180

&b œ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ ˙ Œ œ
have to be like I am? Beats me. Cuz when all is said and done. The

bb œ œ œ œ œ Œ œ nn
poco rit.
˙. œ œ.
184

˙ œ Œ œ ˙
(to 193)

& ˙ œ J
truth is: He's my son. My son.
Vamp - jump on cue
4
Cue: BICK: You should hear her...
197 On cue

& .. .. œ œ œ œ œ œj œ j
(BICK)

œ œ œ œ œœ œ œ
193-196
"Pop - pa can I stay out and ride till the moon comes out.

œ œ œ œ œ œ œ œ œ
199

œ Œ œ œ
3

&œ œ œ œ œ ˙.
Pop - pa tell me all that you know. Let me ride the stal - lion.

j j j j ###
202

&œ œ œœ œ œœ œ œ œ œ œ œ œ œ w œ Œ Œ œ œ
Show me how to do it. Take me where e - ver you go." That's that

G-6305/802/13-u – 69 –
Vocal 6. OUR MORNINGS/THAT THING Giant

###
206

j
& ˙ Œ œ œ œ œ œ nœ œ œ œ œ ˙ Œ ‰ œ nœ œ œ œ œ œ œ œ œ œ
thing. That's that thing you can't help but re - cog - nize. As clear as the shape of her nose and lips and

U U
### Œ ‰ œj ‰ œj
210

nœ œ œ œ œ ˙ œ œœ œ œ œ
5

& œ œ œœ œ œ œ œ œ
co - lor of her eyes. That thing you know right a - way. That thing that makes you say: That's my

### ˙ .
rit.
œ œ œ œ œ œ œ œ
214

œ Œ ˙. Œ
& œ œ œ œ œ
child. That's my child That's my

### w
218 Tempo primo
& œ Œ Œ œ Œ
˙.
child. Beats me.

### 2
BICK: Damn. Oil's getting into my brain, Luz. Making me tired.
LUZ:

& Ó Œ œ
221-222
Look
### 2
& ∑

###
224

Œ Œ œ œ. Œ
(LUZ)

& w œ w œ œ œ œ
back. Look back. Keep me a -
###
Œ œ œ œ œ Œ œ œ œ œ œ
BICK:

& œ ˙. œ ˙
I miss our morn - ings. Be - fore the dawn would break.

228
###
œ Œ
& nœ Ó ∑ Ó Œ œ
œ ˙
live. Look back. I'm
### j œ œ œ œ
& Œ œ œ œ œ œ œ ‰ œ œ. œ œ ˙. Œ
œ
I miss our time be - fore Re - a - ta and the world came a - wake.

G-6305/802/13-u – 70 –
Vocal 7. OUR MORNINGS/THAT THING Giant

###
232

& Œ Œ œ œ. Œ Ó ∑
w œ w œ
here. Right here.
# # œ œ œ
& # Œ œ œ ˙. Œ œ Jœ œ . œ œ œ ˙ Œ œ œ œ
I miss our cof - fee. And sit - tin' still with you. On - ly the

###
237 Pull back
& ∑ ∑ Ó Œ ‰ j œ œ œ
œ œ œ
œ
Be - fore our dai - ly talk of
### j j j
& œ œ œ œ ‰ œ œ œ. œ œ. œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ
birds out - side would have the gump - tion to dis - turb our five a. m.'s Be - fore our dai - ly talk of

### ‰ j
241 Expansive
& ‰ j œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙
What's got - ta be done be - fore the end of the day. What hap-pens next month if the rains
### œ
& ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ Jœ œ œ œ œ œ œ
What's got - ta be done be - fore the end of the day. What hap-pens next month if the rains

244
### Œ
& œ œ œ œ œ
œ œ œ œ œ œ œœ œ œ
œ œ œ œ œ ‰ œj
don't come as planned. Which hand's work - in' hard e - nough and which hand is not. What's
### œ œ j
& œ œ œ Œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ ‰ œ
don't come as planned. Which hand's work - in' hard e - nough and which hand is not. What's

247
###
& œ œ œ œ œj œ . œ ‰ j Œ Ó
œ œ œ œ w œ
###
cost - in' us mo - ey. Who's watch - in' our land.

& œ œ œ œ œJ œ . œ ‰ œj œ œ œ w œ Œ Ó
cost - in' us mo - ney. Who's watch - in' our land.
251
### 3 U
& ∑
251-253 254

G-6305/802/13-u – 71 –
Vocal Giant
21
JUMP
(Angel Jr., Lil Luz, Bobby Jr.)
(cue) LIL LUZ: Checkers? Music & Lyrics by Michael John LaChiusa

4
Texas Shuffle (swing 8ths)

& 44 .. ..
1 Vamp
∑
2-5

j
6

œ œ œ œ œ
ANGEL JR:

Œ Ó ∑
&œ œ œ œ œ J œ œ œ œ
I been look - in' to move since I learned how - ta walk.

œ œ œ j
œ œ
10

Œ Ó ∑
&œ œ œ œ œ J œ œ œ œ
I been look - in' to move since I learned how - ta talk.

œ œ œ bœ Nœ œ j œ bœ œ œ œ œ œ œ œ Œ
14

& œ J J J œ œ Œ J J J J
I been look-in' for what is mine. Al - ways told, "Don't cross that line."

œ œ œ œ œ
18

& nœ œ œ œ œ w Ó Œ œ
œ œ J J
"Don't step out - ta your box, boy, Don't cha dare." Well,

œ œ œ œ œ œ œ œ œ
‰ Jœ œ ‰ œj b œ n œ
22
:
œ w Ó
43

&
I been look - in' to jump out - ta my square! I want a

œ
& œ Œ ‰ J Œ œ Œ ‰ b œJ Œ œ Œ ‰ œJ Œ Œ œ
44

∑ ∑ Ó
zoot suit. Drape shape. Ruff cuff. (Can't

j j œ Œ ‰ b œJ Œ
& œ œ b Jœ œ œ œ Œ ‰ œ œ b œ N œ Œ ‰ Jœ Œ
50

∑ ∑
wear no zoot-suit here.) Go find a hot spot. Fine dine.

‰ Jœ Œ bœ œ œ œ œ œ œ œ œ œ œ œ
56

& œ Œ ∑ J J Œ
Puff stuff. Get out - ta Be - ne - dict, free and clear!
G-6305/802/13-u – 72 –
Vocal 2. JUMP Giant

j
60

œ œ œ œ
(BOTH)
Œ Ó ∑
& nœ œ œ œ œ J œ œ œ œ œ
I been look-in' to live since I learned there was more.

œ œ œ j
œ œ
64

Œ Ó ∑
&œ œ œ œ œ J œ œ œ œ
I been look - in' to live like I ain't lived be - fore.

œ œ œ. Nœ œ j œ œ b œ œ œJ œ œ œ œ œ œ Œ
68

& œ J J œ œ Œ J J J
Pack - in' groc' ries? Life ain't that. All I got to show for that's this hat.

œ œ œ œ œ œ w œ ‰ ‰ b œj n œ œ œ
72

Œ
œ œ œ
3

& nœ œ
3

œ J J
I know I got a life to live some-where! So - I'm gon-na
ANGEL: Well, I'm makin' my jump!
Angel Obergon Jr. Private in the United
3
œ Œ œ œ œ
States Army! At the induction center they said:
:
œ Œ ‰ œ Œ œ ˙.
76

Œ
90

& J
91-93
jump! Jump! Jump! Out - ta my square!
Paratrooper is the toughest to get and stay in. (cont'd) your wife gets forty dollars a month.
I'm goin' to be one. They got pants like And if I get killed overseas, Analita Viva President Roosevelt!
8 3
pachinco's! You fight for your country, hits the jackpot. She gets ten thousand dollars! Vamp

bb
94 102

& .. ∑ ..
94-101 102-104 105

j j
bb j œ œ œ œj œ Œ
106 LIL LUZ:

& œ j j œ bœ œ œ œ œ œ
œ #œ œ œ œ œ nœ œ œ œ œ
If I took the jumps my mo-ther's plannedI'd be in fi - nish-in' school in Switz - er - land.

b j j j j
& b œj œ œ ‰ œj b œ œ œ œ œ œ
110

j j j nœ œ œ œ œ Œ bœ œ
œ b œ œ œ œ
Can't go now on ac - count of the war. Who needs school? What good's it for? Gon - na
114
b j j j j ‰ # œj # œ
& b N˙ œ œ. œ œ œ œ œ. œ œ #œ #œ #œ Œ
#œ œ
breed cat - tle like my dad does: A new breed that lives off the sand.

b œ œ œ œ œ œ œj b œ œ œ œ œ.
118

& b bœ œ nœ œ œ .
J J J œ #œ nœ œ œ
Tank like a ca-mel, Liv - in' off - a cac-tus 'N tastes like my mo-ther's Cha-teau-bri - and.

G-6305/802/13-u – 73 –
Vocal 3. JUMP Giant

b
122

& b ‰ œJ œ œ œ ‰ j 3 œ œ œ œ œ œ œ œ œ œ
(LIL LUZ)

bœ œ bœ œ
œ #œ nœ
I'm make my own jump. I'm tak-in' a job in the air - plane fac - to - ry. I'll make my

b j j j j
& b œ . bœ .
126

Œ ‰ j œ œ #œ œ #œ œ œ œ ˙
bœ œ œ nœ œ
own jump! My own jump! Be a world - class pi - lot; Wait and see.

b œ bœ œ bœ
130

&b œ œ œ nœ J
œ ˙
J
œ œ œ œ J
œ ˙
J
Learn what makes those ba - bies run. And be - fore this war gets done.

b œ œ
134

& b nœ œ œ œ œ
œ
J
œ œ œ #œ œ
J w ∑
I'll be fly - in' a - cross the world on my own!

b
Più mosso
œ œ œ œ
138 140

&b ‰ J œ Ó Œ ∑
œ œ w
I'll make my own jump A - lone.
Safety 3 5
b
& b .. ..
142-144 145-149 (to 169)

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

6
More expansive (straight 8ths) Tempo Iº (swing 8ths) Safety
b
169

&b ∑ .. ∑ ..
169-174 : 176 177
swing "8's"

b œ œ œ œ Œ
& b œJ œ #œ œ œ œ œ
178

œ œ œ œ Œ #œ
BOBBY JR.:

J œ J J œ
Big - ness and great - ness ain't the same. Some-thing's you ain't s - pose - ta tame. -

b œ nœ bœ œ œ œ j j œ œ œ nœ œ œ œ œ
182

&b Œ œ œ
J œ œ œ J œ œ
In school we been - learn - in' 'bout what these sci - en-tists have fi - gured out. That there's

b œ œ œ j œ bœ œ bœ œ
bœ œ bœ
œ œ œ œ œ œ
186

&b œ J J J œ
this a - tom: Ti - ny thing: but Lord y, when you pull its string, the

b nœ œ œ œ œ Œ œ œ œ œ œ Œ
& b Nœ œ bœ nœ Nœ œ bœ nœ
190

J J J J J J J J
whole world might come crash in' down Ar - meg - ge - don come to town.
G-6305/802/13-u – 74 –
Vocal 4. JUMP Giant

b
& b œj œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ Œ Œ œ œ œ
194 (BOBBY JR)

œ
All I'm say in' is you got - ta take care when you jump! Jump out - ta your square!

b nn
198

&b w ∑

215

˙
BOBBY JR.:

& ∑ ∑ ∑ Œ œ
An - y -

&Œ œ œ œ œ œ œ j j Œ ˙ bœ œ w
ANGEL JR:

J J J œ œ œ.
One lit - tle jump can take you a - ny - where!

bœ œ
LIL LUZ:

&w œ bœ œ
219 (BOBBY JR)

∑ ∑
where! Fly - in' through the air!
bœ œ
ANGEL JR:

&Œ œ œ œ œ œ ˙ œ œ bœ œ w
J J
One lit - tle jump and you're fly - in' through the air!

& œ ‰ Jœ œ œ
223 LIL LUZ:
Œ Ó ∑ ∑ Ó
Got - ta jump!
n˙ . œ œ. j œ œ œ œ œ ˙ ‰ Jœ œ œ
ANGEL JR:

& Œ œ œ.
+BOBBY JR:

J J J J œ J
What's li - vin' if you ne - ver make a dare? Got - ta jump!

œ. œ. œ œ œ3 œ
Œ œ Œ œ œ œ œ
227

& Œ Œ Œ Ó Œ Œ
Jump! Jump! Jump! Jump! Jump Jump! Jump! Out - ta your
œ. œ. œ œ œ3
Œ œ Œ œ œ œ œ œ
(BOTH)

& Œ Œ Œ Ó Œ Œ
Jump! Jump! Jump! Jump! Jump Jump! Jump! Out - ta your

w œ
&w
232

Œ Ó ∑
square!
ww ww œœ
& Œ Ó ∑
square!
G-6305/802/13-u – 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
1
b b 4 . Ó Œ JUANA:
..
&b b 4 . œ ∑œ
Gtr, WW's
˙.
œ œ œ œ œ œ
u
My

b
& b bb œ
3

œ Ó Œ
œ œ œ œ œ œ œ œ œ œ œ œ ˙.
fa - ther said to my mo - ther when I was a child:

b
& b bb œ œ. j
7

œ œ œ œ œ ∑
œ œ œ œ œ ˙
"Best thing not to give her is am - bi - tion.

b
& b bb œ œ œ œ œ œ œ
11

˙ œ Œ Ó
œ œ œ œ œ œ
Best thing not to give her is what she can't a-chieve."

b
& b bb œ
15

œ Ó Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
What their fa - thers tell them, lit - tle girls be-lieve. My

b
& b bb œ
19

œ Œ œ j œ œ Œ Ó
œ œ œ œ œ œ. œ œ œ
sis - ter who is old - er. She said, "Trust me child.

b
& b bb œ œ. j
23

œ Œ ∑
œ œ œ œ œ œ œ œ œ œ
All he says, you lis - ten to, but not that."

b
& b bb Œ
27

œ œ œ œ œ ˙ œ œ œ œ œ œ œ œj œ ˙. œ
jœ

She taught me En - glish so that when I went to school the

b
& b bb œ
31

œ Œ Œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ
tea - cher would not pu - nish me or treat me like a fool. And
G-6305/802/13-u (5/20/14) – 76 –
Vocal 2. THERE IS A CHILD Giant

b
& b bb œ œ œ œ œ œ œ œ œ œ . œj œ œ œ Ó ‰ jœ œ
35

jœ ∑
œ w œ
sit me in my square and tie my hand to the chair. My sis-ter

b
& b bb œ
41

Œ Œ
œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙.
taught me all the "wh" words: Sim - ple thing to do:

b
& b bb ˙
45 JUANA(sp:) You try. Jordy Jr: What...where...when...why...who...
˙ ˙ ∑
˙ w
"What" "Where" "When" "Why" "Who."

2 a tempo
b
Dictated
& b bb
Gtr, WW's
œ ˙. Œ
œ œ œ œ œ
49-50

bbbb
53 JUANA:

& œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ Ó
If you don't speak En - glish all your life your hands are tied.

b
& b bb œ
57

œ Œ œ œ
œ œ œ œ œ œ œ œ ˙ ˙ ˙
If you can't ask ques - tions, then to you, the world's de -

b
& b bb w
61

Ó ˙ ˙ ˙
nied. There is a

bbbb
64 With warmth
& Œ j j ‰ j
˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ œ
child who's not a - ware there's a world out - side his lit - tle square. He must be

b j
& b bb œ . j
68

œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
œ
shown how beau - ti - ful the square he's gi - ven is. And that he can get out of it

b
& b bb œ
71

‰ j Œ œ
œ œ œ œ œ œ w œ
and see the world is his. I'll teach my

G-6305/802/13-u – 77 –
Vocal 3. THERE IS A CHILD Giant

b
& b bb œ
74

œ œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ œ
˙
lit - tle ones how to move and jump. I'll teach my lit - tle ones not to feel de -

b œ
& b bb ˙ œ œ œ œ œ œ œ œ œ œ
77

œ œ
œ œ œ œ œ œ
feat. If we take the best of where we come from and the best of what we are, we'll have

b b b œj j
più mosso
œ
80

& b œ œ œ œ w œ œ œ œ
some - thing that no - one can beat. There is a

b
& b bb
83

Œ Œ ‰ j
˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
child who'll find his place. He won't have to hide or lie a - bout his race. I'll teach that

> > > > >œ > >

bbbb j j œ ˙
87

& œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ
œ œ
child how beau - ti - ful the fu - ture ought to be. And then one day, my child will say:

b b b >œ >œ >œ œ œ >œ

91

& b œ œ œ œ œ. ˙ œ œ œ œ. œ œ
J J
"Yo soy Me - xi - ca - no!" "Yo soy A - me - ri - ca - no! The

b ˙
& b bb ˙
95

˙ ˙ Ó
w ˙
world is known to me!"

b
& b bb œ
99

∑ œ œ Ó
œ w ˙
"What" "Where" "When" "Why" "Who."

b U
molto rit.
& b bb ˙
103

˙ ˙ ∑ ∑
˙
"What" "Where" "When" "Why"...

G-6305/802/13-u – 78 –
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) j
1 POLO: 3 (Vocal only thru m10)

& # 4 ∑ Ó œ œ. œ œ j j ‰ j
œ œ. œ œ œ œ. œ œ œ œ
Me dis - te tus flo res, Au - re - li - a Do - lo - res. Me

#### # U #### 4
& # œ œ œ œ œ œ œ œ œ œ œ j ˙
7

œ œ. œ œ 4
3

can - tas - te las can - ci - o - nes d'un-a pa - lo - ma en lu - to...

11
#### 4
Vibrant, spirited, quasi Huapango 8
34 45
13

& 4 ∑ ∑
13-20

# # # #LUPE: j
21

j Œ œj œ œj j
& œ œ œ œ œ j j œ œ. ˙
œ œ œ œ œ #œ œ œ œ œ
An - tes de qu'el dí - a se - a de - ma-sia - do vi - e - jo pa - ra re - cor-rer.

#### j j Œ . œ œj œ œ
25

j j Πj
& œ œ œ œ œ œ œ œ œ œ œj # œ œ œ œ. ˙
An - tes de qu'el sol pi - er - da sus dien - tes. Y no pue - de co-mer!

#### j j j
29

& j j œ œj œ œ
œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ
An - tes de que las nu - bes cu - bren la lu - na, An - tes de la cas - ca - da de llu - ví - a: Un

33
#### ‰ >. . 34 ˙
& œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ˙ œ
be - so, be-so, Hi jo! - Un - be - so, be - so, Hi - ja! La! Fe -

#### nnnn
45 œ .
37

& œ œ œ œ œ Œ
œ œ œ œ. œ
li - ci - dad - es tu - ya hoy!

G-6305/802/13-u – 79 –
 Vocal 2. UN BESO, BESO! Giant

f j >. j >œ j > >œ

LUPE:

j j
40

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ
J œ œ œ œ
> > > > >
An - tes de que las nu - bes cu - bren la lu na, An - tes de la cas - ca - da de llu - vi - a: Un
f >
>œ >œ . œ >œ >œ j œ œ >œ
ANGEL JR:

œ œ œ œ œ œ
& œ œ œ œ œ
J >œ
œ J œ œ œ J J J
> >
An - tes de que las nu bes cu - bren - la lu - na, An - tes de la cas - ca - da de - llu - ví a: Un
f >
>œ >œ . œ >œ >œ j œ œ >œ
ANALITA:

œ œ œ œ œ œ
& œ œ œ œ œ
J >œ
œ J œ œ œ J J J
> >
An - tes de que las nu bes cu - bren - la lu - na, An - tes de la cas - ca - da de - llu - ví - a: Un
f >œ
>œ >œ . œ >œ >œ j >œ œ œ œ œ œ œ
& œ œ œ œ œ
J >œ
œ J œ œ œ œ
J J J
> >
S.

f
An - tes de que las nu bes cu - bren - la lu - na, An - tes de la cas - ca - da de - llu - ví a: Un
j >. j >œ j j > >œ j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
A.
> > > > > J
f >œ
>œ >œ . œ >œ >œ j >œ œ œ œ œ œ œ
V œ œ œ œ œ
J >œ
œ J œ œ œ œ
J J J
> >
T.

f >œ œ œ œ >œ
An - tes de - que las nu - bes cu - bren la lu - na, An - tes de la cas - ca - da - de llu - ví - a: Un
? >œ œ œ œ œ >œ >. > >œ >œ œ œ œ
J œ œ œ œ œ J J œ œ œ
J J
B.
> J

>œ > >œ 34 ˙

‰ œ œ œ œ œ œ œ. œ. ˙ œ
44

‰ œ ‰ œ
LUPE:

& œ œ œ
>
be - so, be - so, Hi - jo! Un be - so, be - so, Hi - ja! La! Fe -
>œ >œ . œ. ˙
œ œ ‰ œ œ >œ >œ >
‰ œ œ œ œ œ œ 34 ˙ œ
ANGEL JR:

& ‰
be - so, be - so, Hi - jo! Un - be - so, be - so, Hi - ja! La! Fe -
>œ >œ . œ. ˙
œ œ œ œ >œ >œ œ œ œ œ œ >œ 34 ˙ œ
ANALITA:

& ‰ ‰ ‰
be - so, bé - so, Hi - jo! Un - be - so, be - so, Hi - ja! La! Fe -
>œ >œ . œ. ˙
œ œ œ œ >œ >œ œ œ œ œ œ >œ 3 ˙ œ
S. & ‰ ‰ ‰ 4
be - so, bé - so, Hi - jo! Un - be - so, be - so, Hi - ja! La! Fe -
>œ > >œ >œ . 34 ˙
& ‰ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ. ˙ œ
>
A.

>œ >œ . œ. ˙
T. V ‰
œ œ ‰ œ œ >œ >œ
‰ œ œ
œ œ œ >œ 34 ˙ œ

œ œ œ œ >œ >œ œ œ œ œ œ >œ >œ >œ . œ. ˙ 3 ˙ œ

be - so, be - so, Hi - jo! Un be - so, be - so, Hi - ja! La! Fe -
?‰ ‰ ‰
B. 4

G-6305/802/13-u – 80 –
 Vocal 3. UN BESO, BESO! Giant

. >œ
: (dialogue)
7
45 œ .
66

& œ œ œ œ œ œ. œ
48 (LUPE)

Œ œ Œ
> 67-73
li - ci - dad es tu - ya hoy!
œ. œ œ œ œ >œ >œ 7
45 œ .
(ANGEL JR)

& Œ œ. œ Œ
li - ci - dad es tu - ya hoy!

œ. œ œ œ œ >œ >œ 7
45 œ . œ. œ
(ANALITA)

& Œ Œ
li - ci - dad es tu - ya hoy!

œ. œ œ œ œ >œ >œ 7
S. & Œ 45 œ . œ. œ Œ

7
li - ci - dad es tu - ya hoy!
. >œ 5
& œ œ œ œ œ Œ œ 4 œ. œ. œ Œ
>
A.

œ. œ œ œ œ >œ >œ 7
T. V Œ 45 œ . œ. œ Œ

. >œ . œ. 7
? œ œ œ œ œ 54 œ œ
li - ci - dad es tu - ya hoy!
>œ
B. Œ Œ

Cue: ANGEL:...for who catches the flower

and the garter will be the next to marry.
Safety 2
.. ..
74

& ∑ ∑
76-77

2
& ∑ .. ∑ ..

2
& ∑ .. ∑ ..

G-6305/802/13-u – 81 –
 Vocal 4. UN BESO, BESO! Giant
78

& ∑ ∑ ∑ ∑

∑ œ. œ œ œ œ j
œ œ œ œ œ œ œ œ ˙
J œ
ANGEL JR:

& J œ J J
Now while there's sun - shine. Now be - fore the rain falls wash - in' it a-way:
j j œ œ
ANALITA:

& œ œ œ œ œ œ ∑ œ œ œ œ œ œ œ ˙
J J J #œ J
Now be - fore the clouds come. Now be - fore the rain falls wash - in' it a-way:

S. & ∑ ∑ ∑ ∑

A. & ∑ ∑ ∑ ∑

T. V ∑ ∑ ∑ ∑

B.
? ∑ ∑ ∑ ∑

>
LUPE:

‰ œ œ ‰ œ œ œ œ
82

& ∑ ∑ ∑
fl fl >
Kiss him, Kiss him, Jua - na!
œ œ œ œ œ œ >œ >œ
& ‰ œ ‰ ‰ œ̆ œ̆ œ̆ œ̆
(ANGEL JR)

∑ ∑
Kiss her, Kiss her, Jor - dy! Go - on and kiss her, Jor - dy!
>
‰ œ œ ‰ œ œ œ œ
(ANALITA)

& ∑ ‰ œ ∑
œ œ œ œ œ œ fl fl >
Go on and kiss him, Jua - na! Kiss him, Kiss him, Jua - na!
> >
∑ ∑ ‰ œ̆ œ ‰ œ̆ œ œ œ ∑
SOPRANO:

S. &
Kiss him, Kiss him, Jua - na!
>
∑ ∑ ‰ œ œ ‰ œ œ œ œ ∑
ALTO:

&
fl fl >
A.

Kiss him, Kiss him, Jua - na!

œ̆ œ̆ œ >œ >œ
∑ ∑ ∑ ‰ œ̆ œ̆
TENOR:

T. V

œ̆ œ̆ œ̆ œ̆ œ > >œ
Go on and kiss her Jor - dy!

? ∑ ∑ ∑
BASS:
‰ œ
B.
Go on and kiss her, Jor - dy!

G-6305/802/13-u – 82 –
 Vocal 5. UN BESO, BESO! Giant

>œ . œ. ˙ œ. œ. ˙ 24 44
86 (LUPE)

& ∑
Now!
œ̆ œ œ̆ œ œ œ̆ œ œ̆ œ œ̆ œ œ̆ œ 24 44
& Œ.
(ANGEL JR)
‰ Œ ‰ J ∑
Kiss her! Kiss her! - Un be - so! be - so! be - so! be - so!

j
œ œ̆
œ̆ œ̆ œ̆ 24 44
(ANALITA)

& ‰ œ œ Œ. œ œ Œ ‰ œ œ œ œ ∑
fl fl
Kiss him! Kiss him! Un be - so! be - so! be - so! be - so!
œ̆ œ Œ. œ̆ œ œ œ̆ œ œ̆ œ œ̆ œ œ̆ œ 24 44
S. & ‰ Œ ‰ J ∑
Kiss him! Kiss him! Un be - so! be - so! be - so! be - so!
j
œ œ̆
& ‰ œ œ Œ. œ œ Œ ‰ œ̆ œ̆ œ̆ 24 ∑ 44
œ œ œ œ
fl fl
A.

Kiss him! Kiss him! Un be - so! be - so! be - so! be - so!

œ̆ œ œ̆ œ œ œ̆ œ œ̆ œ œ̆ œ œ̆ œ 24 44
T. V Œ. ‰ Œ ‰ J ∑

œ̆ œ̆ œ œ̆ œ̆ œ̆ œ̆
Kiss her! Kiss her! Un be - so! be - so! be - so! be - so!
? Œ. œ œ œ œ œ œ 24 44
B. ‰ Œ ‰ J ∑
Kiss her! Kiss her! - Un be - so! be - so! be - so! be - so!

Slower, darker 2
& 44
89

89-90

91

Œ Œ
& œ œ œ œ œ œ
LUZ:

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
What are you? A fool? You jus' gon - na stand there? Let him kiss that girl?

###
96 ANGEL JR: Play checkers, Jordy! Bésala! LUZ:
œ œ. œ œ. œ œ
94

&œ œ œ œ œœ œ œ œ Œ Ó ∑ Ó Œ
œ œ
You for-get your name,boy? That ain't gon-na hap - pen! Look at

###
99

& Œ Œ Œ
œ œ œ œ nœ œ œ œ œ ˙.
œ œ
that: Don't you tell me - that that don't trou - ble you.

102
### j j j
& nœ œ œ œ œ œ œ nœ œ j Œ ‰ j
œ œ œ œ œ œ ˙ œ
Let him kiss a Me - xi - can? That ain't what fa - thers do. He
G-6305/802/13-u – 83 –
Vocal 6. UN BESO, BESO! Giant

### ‰ œj ‰ œj ‰ œj
105

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
has to like what you like. He has to do what you say. He has to be one of us. He's

108
###
& œ œ œ Œ œ œ œ œ œ
œ œ œ œ œ œ œ ˙ œ
got the Be - ne - dict blood: It don't beat me. 'Cuz when all is said and

### 24 44
111 LUZ: He ain't kissin' any, ain't marryin' any Mexican girl.

& Œ Œ Ó ∑ ∑
˙ œ œ ˙
˙ œ œ
done. He's your son. He's your son.

# # # 4 LUZ:
116

& 4 œ œ nœ œ nœ œ œ œ œ œ nœ œ nœ œ œ œ œ œ nœ œ nœ œ œ œ
> > >
That ain't gon - na hap - pen. Don't you let it hap - pen! Don't you let it hap - pen!
LUZ: Hear it once more
and get it into your head!

### nnn 5
119 rall. Freely a tempo
& ∑ œ œ. nœ œ . nœ ∑ 4
> œ
This ain't gon - na hap - pen!

5
Jordy Jr. kisses Juana.
Tempo primo
& 45 44
122

122-126 (to 134)

134 ANGEL JR:

: 164

& 44 œ
+ DIMODEO:

œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ
˙
Check-ers is life! Check-ers is love! Got-ta make moves to play! If you
ANALITA: +PETRA

& 44 œ ˙
(Angel's Mother):

œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ
œ
Check-ers is life! Check-ers is love! Got-ta make moves to play! If you

œ œ #œ œ œ œ
165
œ #œ œ œ œ œ ‰ œ 3 œ #œ œ œ œ œ #œ œ 5 œ . œ . œ ‰ j ##
& J J J 4 4 œ
sit where you are, then you'll ne-ver go far: It's time to make our jump to - day! Un

& #œ œ œ œ œ œ # œ œ ‰ œj 34 œ œ œ œ 5 j#
œ œ œJ œ J #œ œ œ œ 4 œ. œ. œ ‰ œ #
sit where you are, then you'll ne-ver go far: It's time to make our jump to - day! Un

G-6305/802/13-u – 84 –
 Vocal 7. UN BESO, BESO! Giant

# # LUPE: j j j œ œ œ œ # œ œ œ œj ˙
œ œ
170

& œ œ œ œJ œ œ. œ œ œ œ
œ J J
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. ˙
ANGEL JR:

& ∑ ∑
be - so! be - so!
# # ANALITA: œ. œ. ˙
& œ. œ. ˙ ∑ ∑
be - so! be - so!
## œ. œ œ œ œ œ œ œ œ œ ˙
& œ œ œ œJ œ œ J œ œ œ œ œJ J J
S.
J J
Now be-fore the clouds come, Now while there's sun-shine, Now be-fore the rain falls wash-in' it a - way!
## j j j œ œ œ œ # œ œ œ œj ˙
& œ œ œ œJ œ œ œ. œ œ œ œ œ œ J
A.
J

## œ. œ œ œ œ œ œ œ œ œ ˙
V œ œ œ œJ œ œ J œ œ œ œ œJ J J
T.
J J

œ œ œ œJ 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 œ œ œ. œ œ œ œ J œ œ œ œ ˙
B. J J J J J

2
ANGEL JR: I got seven a.m. to Fort Keane in the morning. (to the wedding party:) Ay te watcho!
## : 177
34 45
174 LUPE:

& ∑ Œ Œ œ
174-175
Un
## 2
34
& ∑ ∑ 45

## 2
34
& ∑ ∑ 45

G-6305/802/13-u – 85 –
 Vocal 8. UN BESO, BESO! Giant

## 5 . œ. ˙ œ. œ. ˙
179 (LUPE)

& 4 œ œ. ˙ œ.
be - so! be - so!

# 5
& #4 œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
S.
J J œ J J J
Now be - fore the clouds come, Now while there's sun - shine, Now be - fore the rain falls
# 5 j j j
& #4 œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
A.
J œ J
Now be - fore the clouds come, Now while there's sun - shine, Now be - fore the rain falls
# 5
V #4 œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
T.
J J œ J J J

œ œ œ œ
Now be - fore the clouds come, Now while there's sun - shine, Now be - fore the rain falls
? # # 45 œ œ œ œ œ œ œ
J œ œ œ. œ œ œ J J
B. J J
Now be - fore the clouds come, Now while there's sun - shine, Now be - fore the rain falls

# œ. > > >œ

& #
œ. ‰ œj œ œ œ œ œ ‰ œj œ œ œ œ œ 44
182

˙ œ
>
be - so! Un be - so! be - so! be - so! Un be - so! be - so! be - so!

## œ œ œ œ œ >œ >œ œ œ œ œ >œ >œ

œ œ œ ˙ ‰ œJ ‰ œJ 44
S. & J J
wash - in' it a - way! Un be - so! be - so! be - so! Un be - so! be - so! be - so!
# j > > >œ
& # #œ œ ‰ œj œ œ œ œ œ ‰ œj œ œ œ œ œ 44
A.
J œ œ ˙ œ
>
wash - in' it a - way! Un be - so! be - so! be - so! Un be - so! be - so! be - so!
## œ œ œ œ œ >œ >œ œ œ œ œ >œ >œ
œ œ ˙ ‰ œJ ‰ œJ
J œ
44
T. V J
wash - in' it a - way!
œ œ œ œ œ >œ
Un be - so! be - so! be - so!
>œ œ œ œ œ œ >œ
Un be - so! be - so! be - so!
>œ
? ## œ œ œ œ ˙ ‰ J ‰ J 44
B. J J
wash - in' it a - way! - Un be - so! be - so! be - so! Un be - so! be - so! be - so!

G-6305/802/13-u – 86 –
 Vocal 9. UN BESO, BESO! Giant

F p 3
Grave
# # 4 >˙ . ˙.
œ w
w w
185 (LUPE)

& 4 œ
190-192
so! La! la La! La

w> w F
w w p 3
#
S. & # 44 w

La! La! La!

F p 3
# # 4 >˙ . ˙. w w w
A. & 4 œ œ

F p
La la La la La!

# # 4 wœ> œ ẇ wœ œ ẇ 3
La! La!
˙ ˙ w
V 4 ˙ ˙
>
T.

La! La! La!

F p
w> œ œ ˙ w œ œ ˙ 3
? ## 4 w
B. 4
La! La! La!

193
## 8 201
5 U
& ∑
193-200 201-205 206

TRANSITION (To Bawley's Cabin) 23A

(Instrumental)

Cue: "Now you got him."

>˙ . œ Nœ œ œ
œ ˙.
œ
& 44
U
1 Flute Clar.
Ó Œ
˙. œ œ œ œ
2 3 4 5
˙.

G-6305/802/13-u – 87 –
Vocal Giant
24
PLACE IN THE WORLD/
LOOK AHEAD (REPRISE)
(Bawley, Bick)
Music & Lyrics by Michael John LaChiusa

Moderately
1
# # 4 Clar. œ œ
Alto Flute
‰ œj œ œ œ œ œ œ .
œ œ œ Jœ œ œ j œ Ó Œ ‰ j
BAWLEY:
& 4 J J
œ
J œ. œ œ œ ˙ J ˙
œ
My

# œ œ ‰ œj
7

& # œ œ œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ œ
fin - gers found "The Farm - er in the Dell." Then they found a song my Ma would sing. I

# œ œ œ œ.
& # œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj
9

œ œ œ
œ œ œ
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

# j
& #
11

≈ r œ œ ‰ j
nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
cool - ness of the iv' - ry. The ma - gic in a chord. The

## j œ œ
15

≈ œr n œ œ œ œ b œ n œ œ œ œ œ œ œ
13

& œ œ œ œ œ ˙
nœ œ œ
o - pen-in' of flood - gates. The sense of mo - vin' toward: I found my place in the world.

## œ
œ œ œ œ œ œ œ œ œ œ œ œ nœ n˙ œ
16

‰ œ ˙
(to 36)

& œ
Prac-ticed day and night. Yeah, I found my place in the world. Felt safe. Felt

## nœ
A little slower
3 accel.
24 b 44
36

œ ˙ Œ ∑
(Piano solo)

&
37-39
right.
Cue: BAWLEY: I made damn sure I could.
Slightly brighter
& b 44 Ó ‰ œj œ œ œ œ j ‰ œj
42

œ œ œ
41

Œ J œ œ œ œ œ œ œ œ œ
He taught me that for per - fec - tion you go to a - ny length. He
Molto rit.
œ œ œ U Colla voce A tempo
&b œ œ œ œ œ
44

œ œ œ œ. œ œ œ œ œ œ Œ
œ ˙.
taught me that true pi - a - nis - si - mo is not the re - sult of weak-ness, but of strength.
G-6305/802/13-u – 88 –
Vocal 2. PLACE IN THE WORLD / LOOK AHEAD (REPRISE) Giant

œ œ œ bœ œ œ bœ bbbbb
œ œ œ œ œ œ
47 (BAWLEY)

&b œ œ œ œ œ œ 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
5
b
Sonorously, sustained
& b bbb œ
49

Œ
(to 57)

˙
50-54
Te - xas.

b œ œ œ œ ‰ œj
Vamp
& b b b b ..
57

∑ .
œ œ œ Œ . œ
(Vocal last x)

œ œ œ œ œ œ œ œ œ œ
Eight-een years of age and drunk as sin. Eight-een years of age and full of joy. I

b
& b bbb œ œ œ œ œ œ œ œ œ
œ œ œ œ. œ œ œ œ
60

œ œ œ ‰ j
œ œ 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 j
62

‰ j
œ œ œ œ œ œ
œ œ œ œ œ œ œ. bœ œ
sun came up that morn - in'. And I watched it rise. Then

b
& b bbb j ≈ œr b œ œ
œ œ œ ∫œ bœ œ
64

bœ œ œ œ œ œ œ œ
went down to the har - bor and co - vered up my eyes. I

b œ j
& b bbb nœ œ œ œ bœ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œœ œ
66

œ. ˙
lost my place in the world. Fare - well be - fore hel - lo. Yeah, I lost my place in the world.
BAWLEY: Whole family was at the train station when I got in. A big rumpus.

b .. # #
The whole family. You thought I wanted to run a faro wheel or marry a Mexican.

& b bbb bœ b˙ œ bœ œ ˙ ..
69

Œ ∑ ∑ ∑
Had to let go.
Tempo primo
## œ œ j
74

Œ œ œ ‰
(BAWLEY)

& nœ #œ nœ nœ œ œ œ œ œ œ œ œ œ œ œ
Pa got af - ter me, your fa - ther, too. Made me ride and made me rope and brand. And

# œ
& # œ œ
76

œ œ œ œ œ œ. œ
œ œ œ œ
by the time they're through with me, well, no - thin's quite the same. Es -

G-6305/802/13-u – 89 –
Vocal 3. PLACE IN THE WORLD / LOOK AHEAD (REPRISE) Giant

##
œ œ œ œ j
77 (BAWLEY)

& œ œ œ ≈ œ œ œ œ œ œ œ
œ œ œ nœ œ œ œ œ
pe - cial - ly the fin - gers on my hand. No more the cool-ness of the iv' - ry. Or the

# j œ
& # nœ œ œ œ œ œ œ œ œ œ bœ nœ œ
79

Œ œ œ œ nœ
nœ œ œ œ œ.
ma-gic in a chord. No more Pa - ris New - Year's. No more mo - vin' toward. I

## œ j œ œ œ œ œ œ œ œ
82

& œ œ œ œ œ œ. œ œ ‰
found my place in the world more gray than white and black. If you

## œ
Rit. Colla voce
œ n˙ œ 128
84

& œ œ œ œ ˙ nœ
find your place in the world, Don't dare look

2
BAWLEY: Your son's got more courage than I ever had.
# j
Quietly, sustained
& # 128 w .
86

Ó. Œ.
86C BICK:

œ œ
86A-86B
back. Look a -

## j88 j 89 j 92
. Œ. œ. Œ. bb
87

& ‰ Œ œ œ . œ œj j œ
œ. œ œ œ œ. œ. œ œ œ œ ˙.
head. Look a - head. Don't look back, my child-ren, Look a - head.
2
bb œ œ œ œ œ œ œ ‰ œ œ œ. œ œ œ œ ‰ œ
BICK:

& J J J J
95-96 : 101
You can't see to-mor - row look-in' o - ver your shoul - der. Say,

bb œ œ œ œ œ œ œ Œ . œ . bœ . œ . ˙ . œ . œ .
103 BICK:

& ∑ J J œ J J
Thank you, Sis-ter; Thank you all but What's done is done Look a -

b
& b œ œJ Jœ œ œ œ œ
J J œ Ó
. œ œ œ œ Œ . œ . bœ . œ . ˙ . œ . œ .
BAWLEY:

J J
Thank you, Ma-ma; Thank you, Pa-pa. Thank you all but What's done is done Look a -

b w.
Rit.
U
107

&b Œ. œ. œ. œ. ˙. œ. Œ. ∑ ∑ Ó. Œ. Œ.
head, Look a - head. BAWLY: I could

U
use the company.
b
& b w. ∑ ∑ ∑ ∑ Ó. Œ. Œ.
head.
G-6305/802/13-u – 90 –
Vocal Giant
25
THE CONQUISTADOR
(MARIACHI BAND)
(Mariachi)
Music by Michael John LaChiusa
(Music on stage only) Words based on a traditional Mexican folk song

Bright, loud
b œ œ œ œ
& b b b 68 Œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1

œ œ œ œ
La no-che que me ca - sa no pu - de dor-mir - me un ra - to. Por

œ œ œ œ œ p when dialogue begins

œ œ œ œ œ
bbbb œ œ œ œ œ œ
to
œ œ œ
6

& J
es - trar to - da la no - che cor - ri - en - do de - tra de un ga - to. Me - di -

b œ œ œ œ
& b bb œ œ œ œ œ œ œ œ
10

œ œ œ œ œ J nœ œ
ji - ste que fu - e un ga - to el que en - tro por tu bal - con. Yo - no

b œ œ œ œ œ œ œ œ ‰ œ œ
& b bb œ œ œ œ œ œ
14

J œ œ.
J J
vis - to ga - to pri - e - to con som - bre - ro y pan - ta - lon. Ay ay

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ. ‰ œ œ
18

& bb
Ay lai lai lai lai lia lai lia Ay ay ay ay ay lai lai lai lai! Ay ay

œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
b
repeat as instrumental, pp
b œ ..
22

&b b
ay ay ay lai lai lai, Ay ay ay lai lai lai lai! lai, la la la la la la!

2
b
& b bb
26-27

SCENE CHANGE 25A

Cue: "in another
(The Benedict Suite)
hotel?" (beat beat) (Instrumental)
Espressivo
? 44 U U
Cello
‰ j œ œ œ œ œ œ b˙ ‰ j œ œ œ œ œ œ b˙
1

œ b˙ w w œ b˙ w w
2 3 4 5 6 7 8

G-6305/802/13-u – 91 –
Vocal Giant
26
MIDNIGHT BLUES
(Vashti, Leslie)
Music & Lyrics by Michael John LaChiusa

1st cue: "grandma"

2nd cue: "creepy feeling."
3rd cue: "turning 50." VASHTI: Am I or am I not in a lousy mood...?
Flute
Bluesy
U œ œ œ œ œ #œ œ œ œ >
& 128 .. .. œ. œ.
1

∑ ∑ ∑ œ
J œ ˙.

6 VASHTI:

&‰ œ œ œ œ œ œ œ œ œ œ œ
œ 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

&œ œ œ 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
10 11

&œ œ œ œ œ œ œ œ œ 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 for the Mid-night Blues. You can be

œ œ œ œj œ
13

& ˙. j j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sure that a ranch-girl knows the facts of life, though not what to feel a - bout the facts of life. She's

j œ œ œ œj j œ œ œ œj 68
16

&œ j j Œ j œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
told when she gets mar - ried, as ev' - ry wo-man should, That once a wo-man's mar - ried, it's all

j j
& 68 œ œ œ œ œ 128 ˙ .
19

œ. ‰ œ œ œ œ œ œ œ œ œ œ œ. ˙. œ. œ.
right to feel good. Well I'm mar - ried and Grand-ma's not sp'ose - ta feel good? Hell!
23

&‰ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ 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 2. MIDNIGHT BLUES Giant

25 (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
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
27 28

&œ œ ˙. ˙. œ. œ œ œ
œ œ œ œ œ œ œ œ œ œ
find some-one else he can play with when he needs a cure for his Mid-night Blues. Which I'll en -

j
30

& ˙. œ œ œ œ œ j j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dure 'Cuz this Grand-ma might go out some night 'n find her a cow - boy, young and tall and tight who'll

j œ œ œ œj j œ œ œ œj
33

œ œ œj œ œj œ œ œ œ .
&œ Œ j
œ œ œ œ œ œ œ œ
make this ole girl qui - ver, - and help me to for-get. My wrin - kles and my li - ver; Oh, but
36 rit. Slower (colla voce)
j j œ. j
œ œj œ œ œ œ
2
&œ œ œ œ œ œ œ œ.
4

œ œ œ œ. œ ˙.
af - ter-wards you bet I'm go - in' home to that man I did - n't mean to choose.

U
Slower
68 Œ. 34
39

&‰ œ œ œ œ œ œ œ. œ œ œ œ. œ w. œ.
œ œ œ œ œ .
But who's some-how the on - ly man who's gon - na cure my Mid-night Blues.

& 43 ‰ 44
44

j
43 LESLIE:

j œ #œ œ j œ œ œ œ œ œ œ.
œ œ #œ œ œ œ œ œ #œ .
I want - ed to be blos-som - ing at for - ty. Blos-som - ing at six - ty. -

j j œ # œ # œj œ
46 (to 54)

& #œ #œ œ œ œ œ #œ œ œ j nw
#œ
Blos-som - ing at eight - y. That's how I want - ed to live!
54

&‰ j œ œ œ œ œ œ œ œ œ œ œ œ
Œ Ó
œ b˙ bœ œ œ œ œ
The ve - ry things a - bout him that I love are now the ve - ry things I hate.
poco rit.
œ j j
58

&‰ j œ œ œ. bœ œ . œ œ. bœ œ . œ œ . N œJ ˙
œ œ œ œ J J
The smell of po - wer that he car - ries with him still can awe and fas - ci - nate.
G-6305/802/13-u – 93 –
Vocal 3. MIDNIGHT BLUES Giant

62 (LESLIE)

&‰ j œ œ œ œ œ œ œ œ œ œ w
œ œ b˙ bœ œ œ œ œ
But all that po - wer can be hard and cruel. I've learned the dan - ger it can be.
poco accel.
œ j j
66

&‰ œ œ œ œ œ œ œ. bœ œ .
J œ œ . b œJ œ . œ œ . N Jœ ˙
And though that po wer still can make me melt, It's hurt - ing him and harm - ing me.
70 Pushing forward
& œ bœ bœ œ œ b˙ . œ bœ Œ Ó
bw œ
Makes me want him to change. Which he won't.

& œ b˙ .
74

bœ bœ œ œ œ bœ Œ Œ
bw œ œ
Makes me wish I could leave. But I don't. We
78 Darker, more intense
& j j ˙ j j ˙
bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ bœ
live in a si - lence that no - one's seen; Host and his host - ess, and King and Queen.

j j j
Poco più mosso (surging)
j j œ bœ bœ .
82

& bœ œ œ œ œ œ œ bœ b˙ bœ œ œ œ œ œ œ
And at the end of our bu - sy days, Some - how we ma - nage de - vi - sing ways to

j j
rall. (molto)
œ b œ b œJ œ œ b œ œ œ œ b œ œ œ
86

&œ œ b œ b œJ œ œ b œ œ bœ w
choose dif-f'rent ho - urs to go to bed so we don't have to talk, so that no-thing's said at all.
91 Tempo primo
&‰ œ œ œ œ œ œ œ œ
œ œ œ b˙ bœ œ œ œ œ œ
And af - ter mid-night if we do make love, a hand will wake you just e -
rall. Colla voce
˙ b˙ .
94

& b˙ Œ bœ œ œ œ œ œ
œ œ œ
nough. Just e - nough to make love, but not e - nough to

98

&˙ Œ ˙
œ œ œ œ b˙ œ ˙ ˙. œ
b˙ œ
speak. Just e - nough to make love but not e - nough to
G-6305/802/13-u – 94 –
Vocal 4. MIDNIGHT BLUES Giant
(ADARENE)
3
A tempo
U U
103 Lunga
∑ ∑ b b b b b 128
(LESLIE)

& w w 105-107 108 109

speak.

7
b
& b b b b 128 68 44
110 (Dialogue)
∑
110-116 117

Espressivo
4
b
molto rit.
& b b b b 44
118

118-121
Segue

27
FANFARE
(Instrumental)

In 4
>œ . œ œ. > .
Slick Vegas-feel, swing 8's
œ. œ œ
5
. . œ ‰ >œ . ‰ . .
& 44 C˙ œ œ œ ‰ œ œ œ
4 Ens.
w œ œ œ œ œ ˙ ‰
>

poco rit.
11 >˙ œ > > > > > > w> œ^
J œ œ œ œ œ
& ‰ Œ bœ Œ Ó
3 3

G-6305/802/13-u – 95 –
 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. Cue: JETT: I pray you and I have
the strength to protect this land.
:
Freely under dialog rit.
b U
19 +Ens.

& b 44 128
Alto Flute Clar. Alto Flute
‰ œj œ œ œ Œ ‰ j œ
œ œ œœœ œ œ œ œ œ œ œ nœ œ œ œ œœœ œ œ œ œ w
˙ >
Dangerous blues (swing 8's)
b
& b 8 Œ œj œ œ œ b œ
12 Œ œj œ œ œ bœ œ œ . Œ œj œ œ œ b œ Jœ œ œ
25

œ œ.
JETT:

J J J
They call it a "Cold War," This war that we're in now. But you 'n' I know that it's

b œ . n œ3 . œ j
. ˙. œ bœ œ œ. j œ bœ œ œ .
28

&b Œ
œ œ bœ J
Œ
œ œ bœ
gon - na get hot. 'N' if we don't wake 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.
4
poco rall.
b œ . 3œ . œ . œ . n œ3. œ . ˙ . j
Ó . Œ . ‰ ‰ nœ bbb
33 Faster
& b Œ œj œ b œ œ
31 (JETT) (to 48)

33-36 37
And keep-in' our guard up is all that we've got. The

b j j j
œ œ b œ œ œ . Œ Jœ œ œ œ œ b Jœ œ œ œ b Jœ
& b b œ œ œ bœ œ œ . Œ œ œ
48

J
e - ne-my's a snake. He means to do you harm. So who's gon - na give you warn - in' and sound

b b œ Jœ œ œ œ . œ b œJ œ b œ œ œ . œ b œJ œ b œ œ œ .
51 52

& b J Œ œ Œ œ Œ œ
J J J
the a - larm? The dog is gon-na bark. The dog is gon-na bite. The

b b œ b Jœ œ b œ œ œ œ œ œ bœ j j œ bœ nœ bœ œ œ œ j
54

& b œ J b œ n œ œ . Œ œ
J J J J J bœ
dog is gon - na chal - lenge that snake to a fight. Ya can't go on liv - in' your

b . œ œ œ œ b œJ œ . œ. œ bœ
œ œ J œ b œJ
& b b œ b œJ n œ b œJ œ Œ. J œ
57 (to 62)

J J
lives in the dark; Those days are o - ver; The dog is gon - na

G-6305/802/13-u – 96 –
Vocal 2. THE DOG IS GONNA BARK Giant

b j j bœ . œ.
62

j œ bœ œ œ Œ. œ. œ.
(JETT)

&b b Œ œ bœ œ œ œ œ. œ .
J œ
I know this A - rab, Stu-died at U of T. Young guy. Red Sheikh.

b œ
& b b b Jœ ∫ œ œ œ œ . Œ . j j bœ œ bœ ∫œ œ bœ œ . Œ .
65 3

œ œ bœ œ œ œ œ œ J J
Sneak-y S. O. B. First he worked for Tex - a - co, then he worked for me.

b j
& b b Œ . ‰ nœ œ œ œ œ œ œ n œ ‰ # œ œ # œj œ œ œ n œ . n œ œ œ n œj œ œ œ œ œ œ
68

Then went back to A - ra-bi - a Now he's ask-in' that we pay more for A-rab oil. Wants to

b j j j
& b b œ Jœ n œ œ œ œ . Œ . œ œ nœ œ œ 68 n œ œ œ œ 12
71

‰ œ
(To 86)

œ œ œ J 8
jack the pri-ces high. That's our bus-'ness. That ain't his. 'N that ain't gon - na

œ b œJ œ b œ œ œ . œ b œJ œ b œ œ œ .
Faster, more violent
b
accel.
. œ.
87

& b b 128 ˙ ‰ ‰ œJ
86

Œ œ Œ œ
J J
fly. The dog is gon-na bark. You bet your ass he will. He's

89
b œ bœ œ bœ œ œ œ œ œ bœ j
&b b J J œ J J œ bœ nœ œ. Œ œ
gon - na chase and hunt ya down, and then he's gon - na kill. He'll

b j b˙ .
œ bœ nœ bœ œ œ bœ nœ
91

&b b œ J J œ œ œ œ
J J
sniff ya out 'n conr - ner ya. Y'all be an eas - y mark;
JORDY JR: You son of a bitch. They
disrespect my wife! That's my wife---!

bb ‰ bœ œ Œ . œ
J œ œ b œJ œ b œ œ . bœ œ œ
J œ
93 (to 98)

& b Œ œ J Œ. ‰ Œ. Œ.
J
Com - mie! Trai - tor! The dog is gon - na bark! Greas-er A - rab!
LESLIE:

œ . nœ . ˙ .
JORDY JR: They should burn this shit house down! It's caught up with
bœ œ œ œ œ œ œ œ bœ . ˙ .
bbb ‰ œ
98 you. Caught up with us.

& ∑ J ‰ ‰
J J ∑
Got-ta wake up! Got-ta step to! The dog! Attacca

G-6305/802/13-u – 97 –
Vocal Giant
29
JUANA'S PRAYER
(Juana)
Music & Lyrics by Michael John LaChiusa

#### 4
:
j j j j j U
9 JUANA:

& #4œ œ œ œ œ œ œ nœ œ œ Œ œ œ œ œ œ j
œ œ œ œ ˙
When I'm filled with an - ger, Show me how to talk to you.
13
#### j j j j j
& # œ œ nœ ˙ Œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
When I'm scared and fright - ened, Show me how to talk to you.
16A
####
Calm, but with movement
4 17
4
& #
16A-16D (to 17) 17-20

#### ˙ j j j j
21

& # ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ Œ
Give me peace. And let me give it to my child.
25
#### j j 24 44
& # œ œ œ œ œ œ ˙ ˙ Œ
w œ
Pass it through my blood and breath.

#### 4 ˙ j j j j
29

& #4 ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ Œ
Give me peace. Don't let my heart - beat wake my child.
33
#### j j
& # œ œ œ œ œ œ œ œ œ œ œ
Ó
w ˙
Fill her dreams with hope and life not death.

#### j j j j j
37

& # œ œ œ nœ ˙ Œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
I know I can't pro - mise safe - ty from a world of hate.
41
#### j j j j j
& # œ œ œ nœ ˙ Œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
If there is a good world, I know that that world must wait. But
G-6305/802/13-u – 98 –
Vocal 2. JUANA'S PRAYER Giant

# # # # (JUANA) j j j j
45

& # ˙ ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ Œ
give her peace. And let her know she has our love.
49
#### j j 24 44
& # œ œ œ œ œ œ ˙ ˙ Œ
w œ
We will keep her safe some - how.

#### 4 ˙ j j j j
53

& #4 ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ Œ
Give us peace. And tell me what to pro - mise her.
57
#### U
& # œ œ œ œ œ œ œ œ Ó ∑
œ œ w ˙
Tell me what to pro - mise her for now.

#### j j j j j
62

& # œ œ œ nœ ˙ Œ j
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
When I'm filled with an - ger, Show me how to talk to you.

#### 2
# j j j j
& œ œ œ œ œ œ œ œ œ ˙
66-67
Show me how to talk to you.

#### 2
# j j j j
& œ œ œ œ œ œ œ œ œ ˙
70-71
Show me how to talk to you.
Slower, quietly

#### 2 Scene change (to The Desert)

8
128
76

& #
74-75 76-83

G-6305/802/13-u – 99 –
Vocal Giant
30
THE DESERT
(Bick, Leslie)
Music & Lyrics by Michael John LaChiusa
Cue: LESLIE:
We're going back.
Softly, sustained BICK: Leslie...
b ˙.
& b b b b 128
3 BICK:
U U
œ. Œ.
1 Clars.
j j ˙.
j
œ œ œ œ œ œ œ œj œ
j
œ œ œ œ œ œ œ œj œ ˙. w.
I need you. You.

b
& b b b b œ œ œ œ œj œ œ œ œ . j œ œ œ œ. ˙. œ. Œ.
6

œ œ œ œ
œ
Pri-mar - y as the sun com-in' up. Sim-ple as breath - in'. Sim - ple as air.

b ˙. j
& b bbb ˙ . œ œ œ
9

w. œ œ œ œ j
œ œ
w. œ
I need you. You. That does - n't mean I know how to be what

b j
œ œj
accel.
& b bbb œ œ œ œ j œ œ œ œ. œ.
13

œ. œ. œ œ ˙. œ.
œ
you and our child - ren need me to be Help me learn some- how. The

b j j j ˙.
& b bbb œ œ œ œ œ bœ œ œ œ
18

Ó.
16

œ . œ . bœ . œ . w. ˙.
˙.
on - ly thing I know in this mo-ment, here and now is I need you.
2
bbbb
23

& b ‰ œ œ œ œ . œ œ œ œJ œ ‰ œ œ œ œ œ œ ˙.
21-22
Used to wake up own-in' the morn-ing. Ev'-ry-thing would be clear.

b j j
& b bbb œ œ œ œ œ œ œ œ œ œ œ . œ œ œj œ œ œ . Œ. ‰ œ œ
25

‰ œ œ ˙.
Saw in the light what had to be done. Ne-ver dreamed I'd find my - self here. Ne-ver

b nnnnn
accel.
& b bbb œ œ œ œ œ Œ.
28

J J œ ˙. œ. ∑
J œ.
dreamed I'd see a morn - ing like this.

j j
Più mosso, moving forward
j
31

& ‰ nœ œ œ œ œ. œ nœ œ œ œ œ œ œ œ œ. Œ.
Ne - ver looked to dreams to show me where I'm head - ed.

G-6305/802/13-u – 100 –
Vocal 2. THE DESERT Giant

œ œ. j Œ.
33 (BICK)

&‰ œ œ œ œ œ œ. œ œ œ œ œ ˙.
Ne - ver looked to stars to tell me what to do.

j œ. œ
35

&Œ œ œJ œ ‰ œ œ œ œ œ œ œ ˙.
De - pend - in' on my - self was the pride of my life.

j
&‰ œ
37

œ œ œ œ œJ œ ‰ œ œ œ j
œ œ. œ œ œ œ œ œ œ. ˙. œ
œ
And made ev' - ry - thing clear, but then I ne-ver knew De-pend - in' on my - self would

˙. œ. œ.
40

& œ. œ. œ. œ. w.
some day cost me you. You.

˙.
43

& . w. w.
˙
I need you. You.

j ### 4
Slower
& œ œ œ œ œj œ œ œ œ . œ œ œ.
46

œ œ œ œ œ w. w. 4
œ
Pri-mar-y as the sun com-in' up. Sim-ple as breath-in'. Sim-ple as air. You.
Moderato, espressivo
### 4 Ó
50

≈ ≈
LESLIE:

& 4 œ #œ œ œ œ œ
#œ œ œ #œ ˙ œ œ œ #œ
It's not a - no - ther man I want. It's you I want and al - ways

### ≈ œ œ œ œ
52

& œ œ ≈ œ œ œ œ œ œ
˙ œ œ ˙
will. But I have known you half my life. And you're a strang - er to me

### ‰ œj œ œ
Rit.
œ. œ œ.
54

& ˙ œ œ œ œ ˙ ≈ œ œ œ œ œ œ
still. Un - der one roof we live in two fo - reign lands. Ex-cept for late in the

###
57
A tempo Rit. 58 A tempo
& ˙ ≈ œ œ œ œ œ œ ≈ œ œ
˙ œ œ œ œ #œ
night, I feel the touch of your hands. You are no strang - er in our
G-6305/802/13-u – 101 –
Vocal 3. THE DESERT Giant

59
# # # (LESLIE)
j nnn 6
œ œ. ≈ œ œ œ œ
& ≈ œ ‰ j œ 8
œ œ œ ˙ œ œ # œ œ œ œ œ # œ œ
œ œ
bed. But you be-come one in the dawn. It's hard to hold on to the night, Bick. It's hard to hold

Tempo Iº 2
BICK: You called me Bick. LESLIE: It's your name.

& 68
62

Œ.
#˙ . œ. 64-65
on.
66
4 6 ###
&
66-69 70-75 (to 77)

###
Moderato
44
77 Clar.

& j j
œ œ
j j j
œ œ
j
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ w

###
82 Piccolo Cue: BICK: Maybe it's time. LESLIE: Don't stop.
œ œ œ œ œ œ œ
& Œ œ œ ˙. Œ œ œ ˙

### . j
86 Safety (Vocal last x)
∑ ‰ œ œ œ œ .. œ œ œ œ œ œ. œ œ
BICK:

& . œ . J œ
May - be it's time now. Time for the young to run the morn - ing.

### 5 rit.
U
& Ó Œ Œ
90-94

Safety (Vocal last x)

# # # . BICK: n
a tempo
‰ œj œ œ n n
96

.œ œ œ œ œ œ ˙ .. ˙ Ó
& œ œ œ œ œ ˙ ˙
Not a place for my son. Not a place for you. But it's the

##
100

& œ œ œœ œ ˙ ˙ Œ œ œ œ œ œ œ œ œ . œj œ œ œ œ œ œ ˙
(to 136)
on-ly place for me. That's not what you're want-in' to hear. It's not what you'd have me say.
136
##
Slow 4 2
&
136-139 : 141-142

G-6305/802/13-u – 102 –
Vocal 4. THE DESERT Giant
Safety ˙ Uw
˙ ˙ CUE: LESLIE:
˙ ˙
#
143 Kbd. (Harp) Surprise me.
˙ w
& # .. ..
˙
˙

Freely
146
##
œ Œ ‰ j œ
BICK:

& œ œ œ œ œ œ œ œ œ œ œ œ
If I make it to se - ven - ty, I want to

#
148 A tempo
& # œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ œ œ œœ œ œ
meet the fore-man right at six. Get the cof-fee ground up, join the round-up, work the whole damn day.

151
##
& ˙. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
If I make it to se - ven - ty, I want to see my son at sup - per - time. Want to

## œ œ . œ œ œ œ œ. œ
154

& œ œ œ. œ œ œ œ œ. œ œ ˙ œ œ œœœ œ
have him tease me when he sees me, Not get stiff and won - der if there's things he should-n't say.

##
157 Più mosso 159

∑ œ
œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ ˙
w
Sa - tur-days I want to teach my grand-kids how to ride.

#
& # œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
161

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

#
& # œ œ nœ œ œ ˙ œ œ nœ œ œ œ œ œ œ œ œ ‰ œ.
164

œ œ ˙
Ri - vi - e - ra beach. If I want the sand, I've got the sand here, with - in reach. If

## œ œ œ œ œ œ œ
168

œ œ œ œ œ œ
œ œ œ œ œ œ
& œ œ
I make it to se - ven - ty, I want to drive up here and make my peace.

## œ
170

& œ. œ œ œ œ œ. œ œ ˙ œ œ œ œ œ œ ˙. Œ
Tell the moon I'm go - in' soon. I'm not a-fraid to die.

G-6305/802/13-u – 103 –
Vocal 5. THE DESERT Giant

# j
& # œ
173

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ
œ œ œ œ
I'm not fear - ful of dy - in', no, I know the land will be pro - tect - ed now. My

#
& # œ œ œ œ œ œ œ œ œ œ œ œ
175

œ œ œ œ œ
kids - 'll stand and fight for me and you'll be sit - tin' right by me,

#
& # œ œ œ œ œ œ œ ‰ œ j
177

J œ œ œ. œ œ œ œ
œ
shak-in' your head, say - in', "He'll ne - ver change." But know this, cer - tain

##
179 Rit. Freely
& œ œ œ œ œ œ œ œ œ œ œ Œ
˙ œ ˙.
true: That if I'm to make it to se - ven - ty,

## ˙ bb
Rit. Tempo Iº
128 w .
182

& w œ. Œ. Ó.
˙
I need you. You.

8
Cue: LESLIE: Then I'm pouring the oil money
b
186

& b .. ..
into Jordy's clinic, using it for Juana's school.

186-193

Safety (Vocal last x)

b
194

& b .. ‰ œ œ œ œ œ ‰ œ œ ‰ .. ‰
LESLIE:

œ œ œ œ œ œ œ œ œ œ œ œ œ
If I make it to se - ven - ty, I'll be sit-ting in a huge au - di - to - ri-um.

b j
196

&b ‰ œ œ œ œ œ œ œ œ ‰ œ
2

œ œ œ œ œ œ
2

œ œ J œ œ
In a huge Te - xas u - ni-ver-si - ty watch - ing my grand-child grad - u - at - ing

b j j j j
198

&b Œ œ œ œ œ œ nœ œ œ Œ œ œ
3

œ œ œ œ œ œ œ œ œ œ œ
She'll be re - ceiv-ing her P H D in Rus - sian li-tera-ture. Why not? I'll be

b œ œ œ œ œj œ œ œ œ œj œ œ œ œ.
200

&b œ œ œ œ œ œ œ œ
sit-ting in a row filled with all kinds of peo - ple, All kinds of peo - ple, All of us there,

G-6305/802/13-u – 104 –
Vocal 6. THE DESERT Giant

b
202

&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
(LESLIE)
œ œ
Watch-ing our child-ren throw their caps in the air, or what e - ver they do, And not one of them is e-ven

b j 44
&b œ œ œ. œ
204

œ œ œ œ œ œ œ œ ˙. ‰ œ
J J J
faint - ly a - ware they're stand - ing in some - one's day - dream. Some-one's
LESLIE: We're beyond hoping we
3
can make each other what we want.
b
Hushed
& b 44 œ
206

˙. ˙. Œ ∑
209-211

3
day - dream.
b
& b 44 ∑ ∑
BICK:

œ œ œ œ ˙
I'm not in that dream.

bb j
212 LESLIE: rit.
& ˙ Œ œ œ. œ Œ Ó
œ œ ˙ œ œ œ œ œ œ œ
I don't want false hopes. I just want us to keep talk - ing.
BICK: The morning light makes that weed look like a flower... We're making love in this light. Do you know that?
4
bb
216 Quietly expressive
&
216-219

3 U
bb
LESLIE: About all I know.

& ∑
220-222

G-6305/802/13-u – 105 –
Vocal Giant
31
AURELIA DOLORES (Reprise)
(Jordy, Jr.)
Cue: JORDY, JR.: Music & Lyrics by Michael John LaChiusa
That is Aurelia Dolores

2 2 2 2
Moderato Safety
#
& 34 .. ∑ ..
(Guitar) (Flute) (Guitar) (Flute) JORDY JR:

ŒŒ
(Guitar)

1-2 3-4 5-6 7-8

œ
You
# j
11

& œ œ. œ œ j j j
œ. œ œ œ œ. œ œ œ. œ
gave me your flo - wers, Au re - li - a Do - lo - res. You
# œ œ œ ‰ œ œ œ j ˙.
& œ œ œ œ œ œ. ˙ œ Œ
15

œ œ œ
gave me all the ten - der mu - sic of the song-birds each morn - ing. The
# j
21

& œ œ. œ œ j j j
œ. œ œ œ œ. œ œ œ. œ
land was your bo - dy, Au - re - li - a Do - lo - res. So
25
#
œ œ œ œ œ œ œ œ3 œ ˙ ˙
& œ œ œ œ œ ˙. œ Œ œ
beau-ti - ful and ab - so - lute in all of your heart-break and love. Then
# œ œ œ ˙
31

& œ œ. J œ œ œ œ œ œ ˙ œ œ
one day, a - no - ther man - saw what I a - lone could see; And he
#
35
œ ˙. œ
& œ œ œ œ œ œ œ œ œ œ Œ
œ œ
want - ed you and so he stole you a - way from me. Do you
# j
39

& œ œ. œ œ j j
œ. œ œ œ œ. œ œ œ œ œ
give him your flo - wers, Au - re - li - a Do - lo - res? Do you
# œ œ œ œ œ œ j ˙.
& œ œ œ œ œ œ. ˙ œ Œ œ
43

œ œ
give him all the ten - der mu - sic of the song-birds each morn - ing? And
# œ
49

& œ œ œ œ œ œ œ œ œ Œ
˙. ˙
does he know no one can own you? You are free.
#
53 poco rit.
& œ œ œ œ œ ˙ œ œ ˙. ˙. ∑ ∑
"Don-de hay a - mor, hay do - lor." Attacca
G-6305/802/13-u – 106 –
Vocal Giant
32
ACT TWO FINALE
(Jordy Jr., Juana, Company)
Music and Lyrics by Michael John LaChiusa

Quietly, under dialogue8 7

#4
& 4
1-8 9-15

4
Safety - jump on cue to m.27
# . Vln.
16

& .˙ œ œ œ œœ œ œ œ œ œ ˙ œ œ œ œ
œ w w ..
> 22-25 (to 27)

On cue
# j j
27

j
JORDY JR.:

& œ œ œ œ. œ œ œ. œ œ œ œ. œ œ ˙
œ
Heart - break coun - try, That they call her. Land be - low and sky a - bove.

#
31
œ œ
œ œ œ. œ œ œ œ œ œ
& œ J œ œ J œ. œ
In my blood I've got this coun - try. Me - mo - ries of those be - fore me.

# œ œ œ.
& œ œ œ œ. œ œ œ
35

J œ J J œ. œ ˙ œ
And to ho - nor those be - fore me, Heart - break Coun - try has my
39
# 2
& w œ Œ Ó
41-42
love.

# JUANA: œ
43

œ œ œ œ œ œ œ œ œ
JORDY JR.:

& œ J œ. œ œ J œ. œ
In our child are those be - fore us. In our child, the past and fu - ture.

# JUANA, œ œ nœ œ œ
poco accel.
œ.
& œ œ œ œ. J œ. œ œ 34
47 JORDY JR.:

J œ J ˙
Things will change but in our hearts this Heart - break Coun - try will be

# 3 ˙.
51 Brighter
& 4 ˙. ˙. ˙.
home.

G-6305/802/13-u – 107 –
 Vocal 2. ACT TWO FINALE Giant

f
# ˙. ˙. œ œ. œ œ ˙
55
j
œ
S. & J

# f
Dios! Moon -- light and Day -- light.

& œ ˙ œ œ. œ œ ˙
A.
œ ˙
j
œ œ J
f
Di-os te sal - ve Moon -- light and Day -- light.
# œj ˙ . ˙. ˙. ˙.
T. V
f
Dios!

?# œ ˙ œ œ. œ œ ˙
B. œ
j
˙ œ œ J
Di-os te sal - ve Moon -- light and Day -- light.

59
# j
˙. ˙. œ œ
&
œ
œ œ. J ˙
Dios! Moun - tains and Ri - vers.
# œ œ ˙
& œ ˙
j
œ œ œ ˙ œ œ. J
Di-os te sal - ve Moun - tains and Ri - vers.
# œ ˙.
j
˙. ˙. ˙.
V

œ
Dios!
œ ˙ œ œ. œ ˙
?# œ
j
˙ œ œ J
Di-os te sal - ve Moun - tains and Ri - vers.

63
# œ
j
˙ œ œ œ œ. œ œ ˙
& ˙ œ J
Di-os te sal - ve Stars in the hea - vens
# œ ˙
j
œ œ œ œ. œ œ
& ˙ œ J ˙
Di-os te sal - ve Stars in the hea - vens
# œ ˙
j
œ œ œ ˙ œ. œ œ ˙
V œ J
œ ˙ œ œ œ
j
Di-os te sal - ve Stars in the hea - vens

?# ˙ œ œ. œ œ ˙
J
Di-os te sal - ve Stars in the hea - vens

G-6305/802/13-u – 108 –
Vocal 3. ACT TWO FINALE Giant

j
# œ
˙ œ œ œ œ. œ œ 44
œ.
67

& œ œ œ J ˙
J
Di-os te sal - ve Au - re - li - a Do - lo - res!
# j j œ œ. œ œ ˙ 44
&
œ
˙ œ œ œ œ. œ œ J
Di-os te sal - ve Au - re - li - a Do - lo - res!
œ ˙ œ œ œ ˙
j
# œ œ. œ œ œ œ. œ 44
V J J
œ. œ
Di-os te sal - ve Au - re - li - a Do - lo - res!
œ ˙ œ œ œ œ
j
?# œ. œ œ œ J ˙ 44
J
Di-os te sal - ve Au - re - li - a Do - lo - res!

#
Dictated 8 In 2 9
& 44
71

71-78 79-87

FINE

BOWS & EXIT MUSIC 33

(Instrumental)

G-6305/802/13-u – 109 –
 Vocal Giant
28
THE DOG IS GONNA BARK
(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. Cue: JETT: I pray you and I have
the strength to protect this land.
:
Freely under dialog rit.
b U
19 +Ens.

& b 44
Alto Flute Clar. Alto Flute
‰ œj œ œ œ Œ ‰ j œ œ
œ œ œœœ œ œ œ œ œ œ œ nœ œ œ œ œœœ œ œ œ w>
˙
Dangerous blues (swing 8's)
b j bœ œœ ‰ j œ œ œ bœ œ œ ‰ j œ œ œ bœ œ œ œ nœ œ ˙
25

&b ‰ œ œ œ œ
JETT: 3 3 3 3

œ œ J J
They call it a "Cold War," This war that we're in now. But you 'n' I know that it's gon-na get hot.
poco rall.
b œ 3œ œ œ n œ3 œ
& 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

˙
3 3 3

'N' if we don't wake up, We're all gon-na burn up. 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,

4
taught 'em democracy, spared ourselves much suffer'n, and not to mention payin' for border protection.

bb ‰ n œj bbb
33 Faster (JETT)

& Ó Œ
33-36 37 (to 48)
The

b j
&b b œ œ œ œ œ œ ‰ œ œ
b œ œ œ œ œ ‰ Jœ œ
b œ œ œ bœ œ œ œ bœ
48 3
3 3

e - ne-my's a snake. He means to do you harm. So who's gon - na give you warn - in' and sound

bb œ œ œ œ œ œ b œ œ b œ3 œ œ œ b œ œ b œ3 œ œ
51 52

& b ‰ œ ‰ œ ‰ œ
J J J
the a - larm? The dog is gon-na bark. The dog is gon-na bite. The

bb œ bœ œ b œ3 œ œ œ œ œ bœ ‰ œj œ b œ n œ b œ œJ œ b œj
54

& b œ bœ nœ œ
dog is gon - na chal - lenge that snake to a fight. Ya can't go on liv - in' your

b œ œ œ œ bœ . œ.
œ œ
bœ œ bœ
& b b œ bœ nœ bœ œ œ
57

Œ
(to 62)

J J
lives in the dark; Those days are o - ver; The dog is gon - na

G-6305/802/13-u – 96 –
Vocal 2. THE DOG IS GONNA BARK Giant

b bœ œ
62

j œ bœ œ œ œ
(JETT)

&b b ‰ Œ œ œ
3

œ bœ œ œ œ œ œ
I know this A - rab, Stu-died at U of T. Young guy. Red Sheikh.

b œ
& b b bœ ∫œ œ œ œ bœ œ bœ ∫œ
65

Œ Œ
3 3

œ œ œ œ œ œ bœ œ
3

œ œ bœ
Sneak-y S. O. B. First he worked for Tex - a - co, then he worked for me.

b b Œ ‰ n œ3 œ j j
œ œ œ œ œ n œ ‰ # œ # œj œ œ œ n œ nœ œ nœ œ œ œ œ œ œ
68 3 3

& b
3 3 3

Then went back to A - ra - bi - a Now he's ask-in' that we pay more for A - rab oil. Wants to

b
accel.
.
:
œ œ œ œ n œ œ œ 24 n œ œ œ œ 44 ˙ ‰ Jœ
71 3

&b b nœ œ œ œ Œ ‰œ
3 3 86

œ œ œ
jack the pri-ces high. That's our bus-'ness. That ain't his. 'N that ain't gon - na fly. The

b b œ b œ œ b3œ œ œ ‰ œ œ b œ œ b 3œ œ œ œ bœ
Faster, more violent
œ b3œ œ œ œ œ
87

& b ‰ œ œ
J J
dog is gon-na bark. You bet your ass he will. He's gon - na chase and hunt ya down, and

bb œ bœ ‰ œj œ œ bœ nœ bœ œ œ œ œ œ œ bœ nœ b˙
90

& b œ bœ nœ œ
3 3

then he's gon-na kill. He'll sniff ya out 'n conr-ner ya. Y'all be an eas - y mark;
JORDY JR: You son of a bitch. They
disrespect my wife! That's my wife---!

b b œ3 œ œ œ œ bœ œ bœ œ b œ3 œ œ œ
93

&b b ‰ Œ ‰ œ
J
Œ ‰ Œ Œ
(to 98)
Com-mie! Trai - tor! The dog is gon - na bark! Greas-er A - rab!
LESLIE:

œ n˙ .
JORDY JR: They should burn this shit house down!
b œ3 œ œ œ œ3 œ œ œ b˙ .
It's caught up with you.

bbb ‰ œJ
98 Caught up with us.
& ∑ ‰ ‰ ∑
Got - ta wake up! Got - ta step to! The dog! Attacca

G-6305/802/13-u – 97 –