lamancha script pt1

8/3/2019 LaMancha Script Pt1

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PROMPT BOOK:

Written b yDALE WASSERMAN

Music b yMITCH LEIGH

Lyrics b yJOE DARION

Original Production stagedoy }.2brr MarreOriginally Produced by Albert W. Selden and Hal James

Book 1966 by Dale WassermanRevised Edition MCMLXVm Andrew Scott, Inc., Helena Music Corp., Sam Fox Publishing Co., Inc.

@ ) MCMLXV and MCMLXVII Andrew Scott, Inc., Helena Music Corp., Sam Fox Publishing Co., Inc.Sam Fox Publishing Co., Inc. , New York, N.Y.; Sole Agent. .

All-Rights Reserved' International Copyright Secured Printed inUSAAny copying, arrangement or adaptation of this workwithout the consent of the owners is an infringement of the copyright.

Property of:Tams- -Wi tma rk Mu s ic L ib ra ry , I n c .

560 Lexington Ave. New Yo rk , NY 10022(212) 688-2525


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CAST O F CHARACTERS(In order of appearance)

CAPTAIN OF THE INQUISITIONMANSERVANT (SANCHO PANZA)MIGUEL DE CERVANTES (DON QUIXOTE and ALONSO QUIJANA)Roles taken by t he pris oner s:

GOVERNORDUKES EV EN M UL ET ER S: JOSE, TENORIO, PACO, JUAN,

ANSELMO, PEDRO and a GUITAR PLAYERALDONZA (DULCINEA)INNKEEPERMARIA (INNKEEPER' ~ WIFE)FERMINA. (A SERVI NG GI RL)ANTONIO (ALONSO'S NIECE)HOUSEKEEPER (for ALONSO)PADREDR. SANSON CARRASCO (ANTONIA'S FIANCEE & KNIGHT OF THE MIRRORS)B A RB E RMOORISH GIRL (DANCER)FOUR ATTENDENTS TO THE KNIGHT

SOLDIERS, PRISONERS, PRISON GUARDS, GYPSIES (MOORS),MEN OF TBEI NQUI SI TI ON

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Synopsis of ScenesAppears in the Scenes with an Asterisk.

. spain at the end of the 16th century.~:Setting: The common room of a stone prison vault in Seville,Spain, at the end of the sixteenth century.Scenes: Various places in the imgination of Miguel de.Cer va nt es .#1, p.1#IA, p.9

The prison vaultA road in La Mancha, Don Quixote and Sancho

Panzawindmill SceneThe prison vaultThe main room of a country InnThe prison vaultA country church in La ManchaAlonza Quijana's houseThe kitchen of the InnDulcinea letter sceneThe stable of the InnThe Barber's crownCourtyard of the InnKn ig ht in g c er emo nyInterior of the InnThe prison vaultA road in La ManchaMoorish Gypsy campCourtyard of the InnConfronting the Knight of the MirrorsThe prison vaultBedroom of Alonso's houseThe prison vault

:fI2A,p.12#3, p.1S#3A p.16#5, p.24#5, p.2S#5, p.26#6A, p.31#6A, p.32#7, p.36#9, p.42#10, p.45#15, p.59#16, p.62#17, p.63#17A, p.66#18, p.67#18A, p.70#20, p.74#21, p.78#22, p.79#28, p.90


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1, p. 1l A, p , 92, p. 102A, p. 122B, p. 123, p. 153A, p. 164, p . 225, p. 246, p, 306A, p, 316B, p. 327, p. 35'8, p. 378A, p, 389, p. 4210, p. 4511, p. 4912, p. 4913, p. 5214, p. 5315, p. 5915B,p. 6016, p, 6217, p. 6317A,p. 6618, p. 67I BA,p . 7019, p. 7320, p. 7421, p, 7522, p. 7923, p, 8024, p , 8525, p. 8626, p. 8727, p. 892B, p. 9029, p. 9130, p, 9231, p. 92

Mus ic al Numbe rsO ve rt ur e ( Or ch es tr a)Pr i s o n Sc e n e [Fl a me n c o ] ( Ca n t a o r )Ma n o f La Ma n c h a ( Do n Qui xo t e & Sa n c h o Pa n za )Th e En c h a n t e r ( Or c h e s t r a )Fi gh t o f t h e Wi n d mi l l s ( Or c h e s t r a )Ma n ' o f La Ma n c h a -- Pl a yo f f ( Or c h e s t r a )A Sc e n e Ch a n ge ( Or c h e s t r a )I t ' s Al l t h e Sa me ( Al d o n za & Mul e t e e r s )Dul c i n e a ( Do n Qui xo t e , An s e l mo & Mul e t e e r s )I ' m On l y Th i n k i n g o f Hi m ( An t o n i a , Pa d r e &Ho us e k e e p e r )We ' r e On l y Th i n k i n gPa dr e, An to ni aDu lc in ea U nd er sc or eTh e Mi s s i ve ( Sa n c h o )I Re a l ly Li k e Hi m ( Sa n c h o )Wh a t Do e s He Wa n t o f Me? ( Al d o n za )Li t t l e Bi r d , Li t t l e Bi r d ( Ce r va n t e s" An s e l mo ,Pe d r o & Mul e t e e r s )' Ba rbe r' s S on g (Ba rbe r)Go l d e n He l me t o f Ma mbr i n o ( Do n Qui xo t e ,Ba rbe r ,Sa n c h o & Mul e t e e r s )To Ea c h Hi s Dul c i n e a ( p a d r e )Th e I mp o s -s ibl e Dr e a m Un d e r s c o r e ( Or c h e s t r a )Th e I mp o s s ibl e Dr e a m ( Do n Qui xo t e )Th e Co mba t ( Or c h e s t r a )Th e Dubbi n g ( I n n k e e p e r & Do n Qui xo t e )Kn i gh t o f t h e Wo e f ul Co un t e n a n c e ( I n n k e e p e r

& Ch o r us )Th e Abd uc t i o n ( An s e l mo , Pa d r e & Fe r mi n a )Th e I mp o s s ibl e Dr e a m Re p r i s e ( Or c h e s t r a )' Ma n o f La Ma n c h a Re p r i s e ( Do n Qui xo t e )Mo o r i s h Da n c e ( Ch o r us o f Mo o r s )Th e Dubbi n g Un d e r s c o r e ( Or c h e s t r a )Al do nza ( Al d on za )Kn i gh t o f t h e Mi r r o r s ( Or c h e s t r a ) 'Fi gh t Seque n c e ( Or c h e s t r a )I ' m o n l y Th i n k i n g o f Hi m Un d e r s c o r e ( Or c h e s t r a )A Li t t l e Go s s i p ( Sa n c h o )Al d o n za Un d e r s c o r e ( Or c h e s t r a )Dul c i n e a Re p r i s e ( Al d o n za )Th e I mp o s s ibl e Dr e a m Re p r i s e ( Do n Qui xo t e )Ma n o f La Ma n c h a Re s p r i s e ( Do n Qui xo t e , Sa n c h o& Al d o n za )Th e Ps a l m ( Pa d r e )Fi n a l e ( Ful l Co mp a n y)Bo ws ( Or c he st ra )Exi t Mus i c ( Or c h e s t r a )

o f Hi m -- TAG ( Dr . Ca r r a s c o ,& Ho us e k e e p e r )( O r c h e s t r a )


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- ; - . " - ~-.,". -- .."Locale: spairi at the end of the 16th century. A prison inthe city of Seville and various places in the imagination ofMiguel de Cervantes.settiQ9: The common room of a stone prison vault whosefurthest reaches are lost i~ shadow. It has niches andcrannies where the prisoners make "their nes~s. It is belowground, reached by a stairway which may be raised andlowered, draw-bridge style, and is lighted by scant cold rayssifting through a grille overhead. A trap in the floor may beraised to permit access to a level still lower. Stage rightthere is a fire covered by a grille, and stage left and openwell. Other scenic elements are placed and removed by theprisoners as indicated.Note: The prison vault is actually a single basic settingwithin whose architecture the Don Quixote scenes devised byCervantes play. In nature it is an abstract platform whoseelements are fluid and adaptable to the Quixote scenes. Theprimary effect.to be achieved is that of improvisation; itmust seem as though all scenic, prop and costume items areadapted from materials already on stage, augmented by effectsfram Cervantes' theatrical trunk. This scheme is fundamentalto the play.Only in the inner play--as devised by Cervantes--is theremusical style and form. The prison scenes framing the innerplay are not "musicalized ll in the sense" that there is nosinging or dancing in these except as may be m ot iva te drealistically.The performance is played without intermission.


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1

OVER'TURE(Orchestra)PRISONSCENE(Orchestra)

There is an overture, then theorchestra is lost to sight as lightsfade in on the prison vault. Anumber of PRISONERSare discovered.Some are huddled in the shadowsas leap, one strums a qui tar of theperiod, another dances to itsrhythm~ .still others occupythemselves eating, playing a qame ofdice using stones, etc.

'.

Sound and motion cease as a st;-ange,h.~:t:~\l!,li~i1l~.~2~_I!ft;l".~.h.~!rd.(I"twli-~cfha:.n~:;- acc~m12~:(eg::1iy~ociroms,~liairis and=liancr:c1aps-~--'~~I~tO-fs-the-~Inquisition theme [tape recording.] .)A s .the prisoners hear the sound, thestairway high above their heads islowered into the vault. A Ii ttleprocession descends the stairs:first, a uniformed CAPT~~~ of theInquisi tlori;n"th~ri.=two::tOLD.IJ:B.Sassisting a M A i f S i fR V A N T - -" W I th asizeable but shabby straw trunk;then MIGUltL DE CERVANTES,who~lleersabout, uncertainly. Th e CAPTA I N andthe SOLDIERSstart back up th'estairs.

'CERVANTES(turning and calling up to the captain)

CAPTAIN(turning back, on the stairs)Anything wrong? The accommodations?

, CERVANTESNo, no, they appear quite ... interesting.CAPTA I NThe cells are below. This is the...uh.,(a tiny joke)...commonroom, for those who wait.


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CERVANTES2

Ho w 10i l ~ d o t h e y wa i t?CAPTAIN( t ur n i ng t o l e a ve a ga i n )So me a n hour., s ome a li f e ti me ...

CAPTAIN

CERVANTESDo t be y a ll a wa i t t h e I n qui s it i o n?

Ah, n o , t h e s e a r e me r el y t h i eve s --murd e r er s . I f you ne e da n yt h i ng, jus t s h out .( an a ft er th ou gh t)I f yo u' r e a bl e. /> f.I.__ C o ( ,, ~ .,~( The CAPTAI N go e s , an d , t hr o ugh t h e f o l lo wi ng t hes ta.i rwa y is wi thd ra wn )

l,' "

MANSERVANTWh at d i d h e mea n by th a t ?CERVANTESCa lm your s el f , t h er e i s a r eme d y f o r e ve r yth i n g h ut de a t h.MANSERVANTTh a t c o ul d be th e ve r y on e we n e ed .

( Dur i ng th e a bo ve , s ome o f th e PRI SONERS h ave r i s ena n d ar e ci r c li n g, e xami n in g th e n e w a r ri va ls )CERVANTES< ( s ~ns i n g p o t en t i al d a nge r --t urn i n g on a l l h is ch a r m)1 i . ' I f . . . \jC_.,_Go o d m or n i ng gen t l eme n ...l a di e s . I r e gre t be i ng t h r us t up onyo u i n . th i s ma n ne r , a n d ho p e yo u wi l l n o t fi n d my c omp a nyo bje c t io n a bl e . I n a n y c a s e I t r us t I s h a ll no t be amo n g youl on g. Th e In quis i t io n -- \

( Wi th a ye l l, th e PRI SONERS at t a c k. CERVANTES a nd ,;: .t he . M A NSE RV AN T a re s el ze d, 't ;: r: ip pe dp , . . in ne d 1;q_~c.r---~~~~~~6;~~:.~~~~::~":r~~I! '~hela ut ho r i ;z, wh o h a s be e n a s le e p in a c o rn e r , a wak e n sa ' i i c l y'i!:tS ) --_->=-~.-_~:c~,~=-- _,c

E nou g h!but f o rTHE GOVERNORNoi s e , t r o ubl e , fi gh ts ...k il l ea c hGod ' s s ak e , do it qui e tl y I( to Ce rva nt es )yo u? Eh ? Spe a k up t

o th e r if yo u mus t

Who a r e


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. . 3CERVANTES( ga s p i n g, a s h i s t h r o a t i s f r e e d )C e r va n t e $. Do n Mi gue l d e Ce r va n t e s .THE GOVERNOR

A g e n t l e m a n !CERVANTES( s t i l l o n -t h e f l o o r , p ul l i n g h i ms e l f t o ge t h e r )I t h a s n e ve r s a v e d m e f r o m g o i n g t o be d h u n gr y~THE GOVERNOR( in d i c a t in g t h e Ma ns e r va n t)

And t h a t?CERVANTESMy s e r va n t . Ma y I h a ve t h e h o n o r?THE GOVERNOR

( i n d ic a t i n g t h e p r i s o n er s )Th e y c a l l me Th e G o ve r ~o r . Wh a t ' s yo ur ga me?CERVANTESMy ga me ...

Yo ur s p e c i a l t y, ma n . THE GOVERNOR = - G . 't ~.C ut pu rs e? H ig hw aym an ? 1 - ~ ~C l (;f)W;CERVANTESOh , n o t h i n g s o i n t e r e s t i n gl I am a p o e t .THE DUKE

( a p r i s o n e r o f d r a ggl e-t a i l e l e ga n c e )Th e y' r e p ut t i n g m e n i n p r i s o n f o r t h a t? .CERVANTESNo, no, n o t f o r t h a t .THE DUKE \To o ba d .THE GOVERNOR( a n a n n o u n c e me n t a s h e mo ve s t o w a r dC er va nt es ' be lo ng in gs )We l l , l e t ' s qe t o n wi t h t h e t r i a l 1

Ex c u s e m e . . .


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4

THE GOVERNORYo urs ., of c ours e.CERVANTESBut wha t ha ve I do n e?THE GOVERNORWe 'l l fi nd so met hi n g.CERVANTESYo u d on I' tse e m t o und er s ta nd . I 'l l o nl y be he r e-THE GOVERNOR( in te rr up ti ng h im)My d ea r si r , n o on e e nt e rs o r le aves t hi s pr is o n wit ho utbe in g t r ie d by hi s f el lo w pr i so ne r s.CERVANTESAn d if I ' m f o un d guil t y?THE GOVERNOROh, you wi ll be.CERVANTESWh a t s or t of se nt en c e ...THE GOVERNOR( rumma gi ng a mo n g hi s be l on gi n gs )We ge n er al l y fi n e a p r is on e r al l o f h is p os se s si on s .CERVANTES

lU...! o f t he m...THE GOVERNORIt ' B n ot p r ac ti c al to t ak e mor e.

( THE GOVERNOR p ul l s a swo rd i n a sc abba r d f r om ~h e-~-CERVANTESTh es e t hi ngs a re my li ve l ih oo d. -Qzne mo me nt lTHE GOVERNORI t h ough t yo u sa i d yo u wer e a p o e t .

( Th e GOVERNOR p ull s th e s wor d f ro m i ts s ca bba rd )CERVANTESOf t he th ea t re ITHE GOVERNOR.(t he bl ad e of t he s wo rd f l op s a bo ut ashe br an d is he s it )

Fal se ! ~f. \ r".'., ~ L l. n- ~! ".-,ilr;"\\})"] _;nlh)\ \_,j


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"PrJ. ;/> ' ,6 .~

CERVANTESCostumes and properties,. You see, actually I am a playwrightand an actor. So of course these poor things could notpossibly be of any use to__ to ...

5

(CE~VANTESreache8for.the~~~~W:9!d. THE,GOVERNOK . / " ~ _

Ieti;~:Ei;F~ig~!;;:~~'. , , J 1 -- '~'[\:'THE-'DUKEH~Bn'atchest from him and tossesfE to ' T H l ! : GOV IDm "OR ) ~'~~'''?,:'';:;,",,",," J J "ii--.,....__+-J . (~.,j~~r ~-:/OV -_ ,MANSERVANT(who has triecl to ,stop the Prisoners, and is nowbeing 'sat upon for his pai,ns)Master--l ~ ~CERVANTES

(to The Governor, of the package)No... please... not that-please ITHE GOVERNOR v f1L-.HeavyJ Valuable?CERVANTESOnly to me.THE GOVERNORWemiqht let you ransom it.CERVANTESI have no money.'THE GOVERNORBow unfortunate .

(t~~r~ it ,Cl,p~~)Paper!CERVANTESManuscriptl

S.til1 worthless ~(THE GOVERNORtrides toward the fire with theintention ,of throwing the package in)

CERVANTESWaitJ You spoke of a trial. By your own wordr I must begiven a tria1l. . . . .l", I,,/ .~

,.;

/


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6THE GOVERNOR /' V C( h es i ta t ing fo r a momen t ) ~ Z /' U (f~ ".Oh, ve ry we l l. I h er eby de c la re t h is c our t in s e ss I on I

, J{\:' V:(~~-e'~~{l:o (CERVANTES an d th e MANSERVANT a r e sh ove d i nt o a nI r ) 7 , , - ' t \~'~1''I: imp rovis e d do ck, an d t he 11 court II ar ran ges .1 ..~se ~7)1\ "l ' 1c.r-: f, (\ ~i"'1' NOW , t h en. What a re you he r e f or? I\

CERVANTESI am to ap p ea r be f or e th e Inqui s it i on.~I'Heresy? THE GOVERNOR

CERVANTESNot exa ct ly. You s ee, I ha d bee n empl oye d by t he gove r nme ntas a t ax-co l le c to r_.THE GOVERNORPo et, a cto r, ta x-c ol lec tor ?CERVANTESA tempo ra ry t h ing t o k ee p us f rom s ta rva ti o n.THE GOVERNORHow d oe s a t ax-co ll e ct o r ge t in t roubl e wit h t h e I nquis it i on~CERVANTESI mad e a n a s se s smen t agai n st t he mon a st e ry of La Merced.When th ey r efuse d to pay I i ssue d a l ie n o n t h e p r op er ty.THE GOVERNORYou d i d !lbA:t.?MANSERVANT. He fo r ec l os e d o n a' churc h.

v 1 ( THE GOVERNOR6, L f A L" \)? .-' ( to t he Ma ns ervan t )\_, But why ar e l!Qll h e r e?MANSERVANTSomeo n e h a d, t o ta c k t he n o ti c e on t h e c hur c h' dooz,( do l efully h e i n di c at e s himse l f)/". r -.THE GOVERNORoJ? ,,-...;....

The s e two have empty r ooms i n th ei r he a ds!CERVANTESTh e l aW says t r ea t eve ryo ne equal ly. We o nly obeyedth e law!

)/

I


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7THE DUXEGo ve r n o r , i f yo u d o n ' t mi n d , L s h o u l dt h i s c a s e .~-- ~ __ l ' k ~ I. e t o p r o s e c u~e "/ I J ; 'I (.!.(, vTHE GOV~RNORWhy?THE DUKELe t us s ay I d i s l i k e s t up i d i ty. Es p e c i a l l y wh e n itma sque r a d e s a s vi r t ue . Mi gue l d e Ce r va n t e s! I c h a r g eyo u wi t h be i n g an i d e a l i s t , a ba d p o e t , and a n h o n e s t ma n .Ho w p l e a d yo u?CERVANTES( c o n s i d e r i n g a mo me n t )Guilty.

Br a vo! I t i s t h e(r~,

THE GOVERNORjud ge me n t o f t h i s c o u~t .., ~c r o s s i n g t o wa m....J;~( ~~,~=~L .. ?CERVANTES ' f . . ; . yli,Wh a t abo ut my d e f e n s e?o ur Exc el le nc yl

THE GOVERNOR( pa us in g; p uz zl ed )But yo u jus t p l e a d e d gui l ty.CERVANTES( wi t h c h a r m)S i n c e I h a ve a d mi t t e d gui l t , i s n ' t t h e c o ur t r equi r e d t o h e a rme o ut?THE GOVERNORFo r wh a t p ur p o s e?CERVANTESTh e jury may c h o o s e t o be l e n i e n t .THE DUKEHe i s t ryi n g t o ga i n t i me!CERVANTESDo yo u h a ve a s c a r c i ty o f .t .h A: t ,?THE GOVERNOR

( a mus e d , t o t h e Pr i s o n e r s )Any ur ge n t a p p o i n t me n t s?( a gr o a n f o r a n a n s we r ; h e wa ve s t o Ce r va n t e st o c o n t i n ue ) J. G _ ; < 7 1 ! S ( ) ~ C


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,

CERVANTESIt is tr ue I am guil ty o f the se cha rges. Annever ha d the courage to belie ve in not hing.That comes a bit mor e painf ully ...still ...(an idea se ems to s trike hi m)

idea list? I haveA bad poet?

8

THE GOVERNOR(impatiently)Let 's he ar your d ef~ns elCERVANTESYour Exc ellen cy, if you've no objection I s hould l iket o prese nt it in t he manner I kn ow best...in the fo rm of

a charade-THE GOVERNORCharade?CERVANTESAn en terta inment , if you will--THE DUKEEntertainmentlCE~VANTESAt worst, i t may beguile your ti me.(to" the othe r Pris oners )And if any of you sho uld c are t o ent er in...

Governorl THE DUKEI shoul d like to pro testlTHE GOVERNORNo, no, let' s h ear h im o ut!

T he n _. m ay

(Ge neral a cquies cence from the PRISONERS){

CERVANTES.. ')"",I set . t he stage? r\ iiI"(The GOVERNOR waves assen t. The PRISONERSsh~ftpos:ffro-nt>c;-De'E01ireudience' as .cERVAllTESgestures~9_,his MANSERVANT who scur r1ss; '"lITerawelf~'ra1ne (t"at.age:;:' :ffia na'-ger,o a ssi s t as require d.Music begins, softly~ unde r, as CERVANTES,seatedcent er, be gins a mak e-up trans forma tion t hroughthe follo wing s peech ) "

03I V ? C( b ) i) Jr )" ( c j C 5 L

I shall impersonate a man.. come, enter into my imaginationand see himl His n a m e . ..Alonso Quijana.~ a country squire,


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JIr

I

('\:\ . .;-v.

..9

[CERVANTESCont'd]no longer young. Bony, hollow-faced ... eyes that burn with ..the fire of inner vision. Being retired, he has m.uch time r ( Jfor books. He studies them from morn to night, and often ___._.through the night as well. And all he reads oppresses him..!_-------fills him with indignation at man's murderous ways towardman. He broods... and broods... and broods-and finally from somuch brooding his brains dry up. He lays down the melancholyburden of sanity and conceives the strangest projectever imagined ... to become a knight-errant and sally forthinto the world to right all wrongs. No longer shall he beplain Alonso Quijana ... but a dauntless knight known as-Don Quixote de La Mancha!!1

(The transformation of CERVANTESinto DON QUIXOTEis nowcomplete. The MANSERVANT,who will becomeSANCHOPANZA, a~sists further by dressing ~,J?.m1~~!ng~__J:~~i tn~J:.~__l?oB,(durincj~he begIiining ofthe s6ng)

DON QUIXOTE(singing, a little tongue-in~cheek~ an actor awarethat he's performing)

Ilal MAN OF LA MANCHA0 ( 1 ' " . / L , /.:l}::~n Quixote & Sancho Panza), HEAR ME NOW, O B THOUBLEAKAND UNBEARABLEWORLD ,THOUGHART BASE ANDDEBAUCHEDAS CAN BE;AND A KNIGHTWITH HIS BANNERS ALL BRAVELYUNFURLEDNOWHURLSDOWNHIS GAUNTLETTO.THEEI

l~,L I AM I, DONQUIXOTE,THE LORDOF LA MANCHA,MY DESTINYCALLS AND I GO,ANDTHE WILDWINDSOF FORTUNEWILL CARRYME ONWARD,OR WHITHERSOEVERTHEYBLOW.WHITHERSOEVERTHEY BLOW,. ;1( ONWARD TO GLORYI GO1 _ ' J

I (DONQUIXOTE turns ~away froll! .t:ht!.j_>~~son==-~~lto bti{ld)~(l two "hqrses" from wooden frames and~masks he's~h l ._..- presumcibly brought with him. _As he doea , hisservant, now attired as SANCHOPANZA, takes over)

SANCHOI'M SANCHO YES,' I'M SANCHOI'LL FOLLOWMYMASTERTILL THE END.I'LL TELL ALL THE WORLDPROUDLYI'M HIS SQUIRE! lIM HIS FRIENDI

(DONQUIXOTE and SANCHOchange places again; SANCHOcompletes the task of assembling the "horses")


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v'/ ?' ! "DON QUI XOTEHEAR ME, HEATHENS AND WI ZARDS AND SERPENTS OF SIN 1ALL YOUR DASTARDLY DOINGS ARE PAST,FOR A HOLY ENDEAVOR I S NOW TO BEGI NAND VI RTUE SHALL TRI UMPH AT LASTl

10

\ .

( PON QUIXOTE a nd SANCHO moun t t h e I l ho r s e s "- t wo oft h e PRI SONERS we ar i n g ma s ks a r e th e fr o n t l e gs, th e: _'o o d en f r a me s t h e r e a r- an d r id e a way. As t h e yr id e , t h e HORSES d a n c e a nd DON QUI XOTE p o i nt so ut t o SANCHO th e s i gh ts a lo n g t h e wa y. The y t he ns in g t oge t h er . Th e o t h e r PRISONERS c l e a r o ut o fs i gh t , s ti l l pr e s uma bl y' wa t c hi n g t h e a c t i on ..(The l i ght i n g al t e r s th r o ugh t h e f o l l owi n gr e fr a i n s o t ha t t he y d o in d e e d s ee m t o ber i di n g a l o ng a r oa d )

,:i yj/" I - T D , t"~)~CI e - DON QUI XOTE../~ AM I, DON QUI XOTE, .VTHE LORD OF LA MANCHA,MY DESTI NY CALLS AND I GO,AND THE WI LD WI NDS OFFORTUNE WI LL CARRY

ME ONWARD,OH WHITHERSOEVER THEY BLOW!

SA NC HO I'M SANCHO 1 YES, I ' M SANCHO II ' LL FOLLOW MY MASTER TILLTHE END.I ' LL TELL ALL THE WORLDPROUDLYI ' M HIS SQUl RElI ' M HI S FRI END!DON QUI XOTE & SANCHOWHI THERSOEVER THEY BLOW,ONWARD TO GLORY WE GOIWHOA I

( At c o n c l us i o n o f t h e s on g, DON QUI XOTE a n d SANCHOd is mo unt a n d SA,NCHO l e a d s t h e "h o r s es " to t h e we l l~_t o d r i n k)DON QUI XOTESa n c ho -h o w do s t t h o u l i ke a d ve n t ur in g?SANCHOOh , ma r ve lo us , Your Gr ac e . But it ' s pe c ul ia r --t o me t h i sgre a t h i gh wa y t o glo r y l o o ks e xa c tl y li k e t h e ro a d t o BlTo bo so wh e r e yo u c a n buy ch i c k e ns c h e a p.DON QUI XOTELik e, be aut y, my f r i e nd , ' t is a l l i n t h e eye s o f t h ebe h ol d e r . on l y wa it ~n d t h o u sh a l t s e e a ma zi n g s igh t s .SANCHO( a t t h e we l l, dr i n k in g w~th t h e I I h or s e si)Wha t k i nd ?

THE ENCHANTER [UNDERSCORE]( O r c h e s t r a )


16/29

11DON QUIXOTEWhy, k n igh t s a n d n a t i o n s, wa r l o c k s, wiza r d s...a c ava l c a d e o fva s t, un e n d i ng a rmi e s 1

i ( A S S AN CH G ": ; : ri s e s"die HORSES,~i s~T1i e i r e a-~~t~~t_~~r ~~!,~t.beY~~e r s t a n d )--, -SANCHO( r i s i ng )Th ey s oun d d a nge r ous 1

DON QUIXOTEThey Am d a nge r ous. But o n e t h e r e ' l l be wh o l e a d s t h em...a n dh e wi l l be mo s t d a nge r ous o f a l1'1(SANCHO a n d t h e HORSES move c l o s e r )

SANCHOWel l, wh o i s h e? Who?\

! DON QUIXOTETh e Gr e a t En c h a n t e r. Bewa r e h im, Sa n c h o ...f o r h i s t h ough t s aze-~o l d a n d h i s s p i r i t s h~ive l e d. He h a s eye s l i k e l i t t l ema c h i n e s, a n d wh e r e h e wa l k s t h e e a r t h i s bl igh t e d. But o n ed ay we s h a l l me e t f a c e t o f a c eu. a n d o n t h a t d aY-l(DON QUIXOTE s h a k e s -hi s l a n c e f e r o c i ous ly.Mus i c f a d e s out )

SANCHO(sen'sibly)Well, I woul d n ' t qet up s e t, Your Gr a c e.h ave p a t i e nc e and s h uf f i e t h e c a r d s. A s I a lways s ay,

DON QUIXOTE( c r o s s i ng up s t age t o t h e e dge o f t h e p l a t f o rm)Do you n eve r run out o f p r ove rbs?SANCHONo, Your Gr a c e. I wa s bo r n wi t h a bel lyful o f them.DON QUIXOTE( l o o k i ng o f f .a n d d own a t s ome t h i ng we d o n ' t s e e )Aah-hahlSANCHOWha t i s i t?DON QUIXOTEHow l o ng s i n c e we s a l l i e d f o r t h?


17/29

12

SANCHOAbo ut t wo mi n ut e s ?DON QUI XOTESO s o o n s h a l l I e n ga ge i n br a ve , un equa l c o mba t 1SANCHOCo mba t , wh er e?DON QUI XOTECa n s t n o t s e e?( p o i n t i n g)Th e r e be l o wl A mo n s t r o us gi a n t o f i n f ~o us r e p ut e!

( SANCHO a n d t h e HORSES l o o k va i n ly)SANCHOWh a t gi a n t ?DON QUI XOTEI t i s t h a t d a r k a n d d r e a d e d o gr eBy t h e n a me o f Ma t a go ge r lYo u c a n t e l l h i m by t h e f o ur gr e a t a r msa wh i r l i n g o n h i s ba c k!SANCHOI t ' s a wi n d mi l l .,DON QUI XOTE( s h o ut i n g)Ho I Fe c k l e s s gi a n t s t a n d i n g t h e r e l Ava s t! Ava un t l On gua r d I

Bewa r e!a 2 '< I . ) f Q ? _ ( DON QUI XOTE c h a r ge s o f f )FI GHT OF THE WINDMI LLS( Or c h e s t r a )

SANCHONo , n o , Yo ur Gr a c e , I s we a r by my wi f e ' s l i t t l e bl a c kmo us t a c h e , t h a t ' s n o t a gi a n t , i t ' s o n ly a--(Of f s t a ge a c r a s h ; t h e HORSES r un f o r c o ve r . Tomus i c a l a c c o mp a n i me n t , t h e c o mba t be gi n s a s t h ep r o je c t e d s h a d o ws o f a wi n d mi l l ' s s a i l s c r OSB t h es t a ge . As SANCHO wa t c he s h o r r i f i ed , Qui xo t e ' sh e l me t c o me s f lyi n g ba c k o n s t a ge , t h e n t h e but ~ o fh i s l a n c e , s p l aye d a n d s p l i n t e r e d . Th e f i n a l c r a s h ;

~)12bl M A N OF LA MANCHA [PLAYOFF]< (I , ) ( Or c h e s t r a )1 ' , , -, r I a n d DON QUI XOTE c r a wl s ba c k i n t o vi e w,': '.1-\ /- :J ' ~ :~ h i s s wo r d a c o r k s c r e w. A d o l e f ul


18/29

TI 13p i c t ur e , h e c o me s r o l l i n g d o w n s t a ge a sSANCHO h u r r i e s t o p l um p h i m s e l f d o wnI a n d s t o p h i m. Mu~i c s t o p s )

? < Lv Qc P 7 Z . . . SANCHOD i d n ' t I t e l l yo u? Di d n ' t I s a y,w i n d m i l l?U "Yo ur Gr a c e , t h a t Is aDON QU I XOTE( h o l l o w l y)T h e wo r k o f my e n e my.SANCHOT h e Bn c ha nt er?DON QUIXOTEAt t h e l a s t mo me n t , h e t r a n s f o r m e d t h a t o gr e i n t o a w i n d m i l l .( th en , s ud de nl y)

Sa n c h o , i t c o m e s t o me lSANCHOWh a t , Y o ur G r a c e ?DON QUIXOTE,Ho w h e w a s a bl e t o u p s e t m e . I t i s be c a us e I h a ve n e v e rp r o p e r l y be e n d ubbe d a k n i g h t .SANCHOTh a t ' s n o p r o bl e m. Ju s t t e l l me h o w i t ' s d o n e a n d I ' l l begl a d t o a t t e n d t o i t .DON QUIXOTETh a n k yo u, my f r i e n d , bu t i t m a y o n l y be d o n e by a n o t h e rk n i g h t .SANCHOT h a t ' s a p r o bl e m. I ' ve n e ve r ~ a n o t h e r k n i g h t .DON QUIXOTET h e l o r d o f s o m e c a s t l e w o u l d d o . Or ' a k i n g o r e ve n a d u k e .SANCHO( h e l p i n g Qu i x o t e t o h i s f e e t )V e r y w e l l , Yo ur G r a c e . I ' l l k e e p a n e ye o ut f o r a n y k i n gs

o r d uk e s a s we g o . By t h e wa y, d o e s Y o u r Gr a c e k n o w w h e r ewe ' r e g o i n g?DON QU I XOTEWh e r e v e r t h e r o a d m a y l e a d...


19/29

DON QUI XOTE [Co n t "d ](AS h e ge st ur e s t o war d t h e ro a d , h e s e e ss o me th i n g fa r do wn i t )

14

A haaalSANCHONo w wh a t ?DON QUI XOTETh e ve r y p l a c e!SANCHOW here?DON QUIXOTET here!SANCHO

I f Yo ur Gr a c e wo ul d just gi ve me a h i n t ...DON QUIXOTE( p o i n t i n g )Th e re i n t h e d is t a n c e . A c a s t l e !SANCHO( p e e r in g va in l y o f f )C a s t l e ?DON QUIXOTERo c k boun d a mi ds t th e c r a gs !SANCHOC rag s?DON QUIXOTEAn d t h e ba nn e r s --a h, t h e br a ve ba n n er s f la un t i n g i n t h e win d lSANCHOAn yt hi n g o n 'em?

(DON QUIXOTE s te p s f o r war d , l o o k s o f f mo r ei n t e n t l y. Th e ubi qui t o us HORSES d o , t o o )DON QUIXOTE

I s ee a c a t c r o uc hi n g o n a f i e l d t awn y...a n d be n e at h i t t h ei ns cr ip ti on , "Mi au" I" Un d o ubt e d l y t h e i n s i gn i a o f s o me gr e a tl o r d .SANCHOOh , t h a t ' s f i ne , Yo ur Gr a c e . Ma ybe t h i s i s wh e r e yo u ca n ge tyo ur se lf d rubbe d.


20/29

. .'15

DON QUIXOTE(easily )Dubbed. ( th en , vi go ro us ~y)Bl ow thy bugl e tha t a d warf may mo unt th e bat tle men ts a ndan nounce our co min g 1

SANCHO(und er~~_th espe ll, li fts hi s bugl e, then he sita tes )But I don 't s'ee~a ' c a : s t l e - : ~ - ~ - " C ' _ _ _ _ " ' - ~ ' ~ ' - ~ = ' - ' ~ ~ - ' - ~ - - ~ - " - ~ - -7 " "" ~'_ ~' . ." .__--(lo oki ng off a gai n)I do se e somethi ng...maybe it IS an i nn.

DON QUIXOTE(sadly )

IIAn inn.

J 1 } , . ,L.{-"t '"

SANCHOWe 'd bett er pa ss it 'by, Your Gra ce. Thes e ro adsi de pla cesare f ull of rough me n and wo men .5z ,v [: C 2 - DON QUIXOTECome. We sh all ri de s tra ight to th e dra wbr idge of yo n ca stl e,and ther e thy vi sio n may impro ve 1MAN OF LA MANCHA [UNDERSCORE](O rchestra)

may se emcastle.But fo rAn inn. M

( Duri ng th e last few lin es, t h-~'kRl !SO-Nli RS-h-avemJv~d,iIl!to_mp;t;"e prom in. g nce and DON "QUIXOTE an dSANCHO n o w dro p out of cha ract er. The li ght scha nge, too, so- th at we a re c lea rly bac k i n th eprison. '. clncho,.once . .C lg ain_j ; :j le~N S E RV A NT , b eckonsto s o m e oJ:'tf i"e~ -'PRr S01m-R""Srnh ey -as-sIst-~'-him-'ln="-="-~_--se ttin g up the rud e'-maiI iroom of a country i nn asCERVANTES sp eak s)

)r\' - c : ; '~!$ ~ (0(\k CERVANTES(add res sing The Go vern or a nd pri sone rs)And h ere is an e xamp le of ho w "to th e un tra ined e ye on e th ingto be ano ther . To Sanc ho, a n i nn. To Quixote , aTo someon e e lse --wh ate ver h is mi nd ma y ma ke of it.the sa ke of argumen t, l et us gra nt San cho his vi sio n.(ge stur es to THE GOVERNOR--the n to a WOMANPRISONER) ~Il(i,}( +-1,,")A k ind ly in nke epe r ...his le ss ki ndly wif e ...

:. . . . . . ,

(CERVANTES pic ks o ut some of t he oth er PRI SONERS).


21/29

_CE RVA NT ES [Co nt td ]Rough men --mul et e er s--f i ft ee n mi le s on t he r oa dr ~r no s1f ra rt !4c ul ar a w om an c al le d-A ld on za !

" / ~( I ~~ :I-; ................ ...., t1 '! ,/ ~~ - . (MUS1C seg u es)

t od a y. An d i n

CHANGE OF SCENE( Th e l ight s ch a nge agai n as SANCHO an d t hePRI SONERS a ss i st in g hi m h ave c o mp ~e t ed t h ei rt as k ; we ar e no w i n t he mai n ro om of th e i nn .CERVANTES, THE GOVERNOR a nd a ll th e PRI SONERSs ave th o se in vo l ve d in t he f ol lo win g a ct i oncl e ar of f an d d own th e s i de s o f th e s ta ge )

t\ MULETEERS(ma ki ng a c ha n t o f he r na me , ban gi ng th e irt i n d is he s o n t he t abl e)Al do nza , Al do n za , Al do nza , e t c.~~YAi!f.;r~~g:;,:,(r?; t he MEN do d ge i t t opr eve nt bei ng h i t. . Th e fe ma le pr i so ne r who p la ysALDONZA h as .ke p t r emot e an d a lo o f dur in g th ep ri so n sc en e s. We ha ve no t p re vio us ly bee n awar eo f h e r)

I (1 ALDONZAI..~.._~ (e n te ri n g wi th a p o t of st ew i n h er h a nd s; r ough l y)You wan t it o n th e ta bl e or ove r your l ousy he a ds ?( The MULETEERS la ugh . ALDONZA s et s do wn th e t ur ee nwit h a cr as h , a n d sp i ts in t o i t)

Th e re , s wi n e. Fe ed l( ALDONZA s ta rt s to d is tr i bute go at sk i ns o f wi ne . I~Th ~e a re se ve n MULETEERS~OS~, TENORIO, PACO,JUAN, ANSELMO, PEDRO, a nd a NAMELESS PRI SONER,t he on e wi th t h e gui ta r. JOSE i s th e smal l . o ne o ft he gan g, PEDRO, t he l ar ges t, i s it s l ea d er ;' -' .", I

JOSE(am orou sly )I br ought yo u s omet h in g.ALDONZAKe ep i t t i ll i t gro ws up .

( PACO wh i sp er s in he r e ar ) " ~ I _ . . . IO : '. "Li t tl ,e do gs h ave bi g id e as 1


22/29

17JUAN

(grabbing her)Tonight?

ALDONZA(pulling away)Payment in advance?

" I ; ANSELMO'" "; 1 t V I J 6~,)(;.~;:"7' t (another grab)~ Aldonza 1 Sweetheart'. Come here.

ALDONZATalk wi th your mouth, not your hands 1

PEDRO ._j o ~-t1~"(pushes Anselmo off and pulls Aldonza close)

live got a nice thick bed of hay in the stable.ALDONZA(confidentially)

Good. Eat it.

You would refuse Pedro?,! ALDONZATry me. (ALDONZAwalks away from him)

PEDROMy mules are ~ot this stubbornl(he snaps his whip at her)

'ALDONZA(turns back)Finel Make love to your mules!(The MULETEERS~augh, then sing)

MULETEERS( ~ : o o X i ~ H l ~4~J;!.r in various amorousreac;::JU,M_~~E.,=!?-~r-gain) )I COMEFOR LovE~-m::::.. ~~, _,.-_ ., ,- ".. C p -I COME FOR LOVE ,-;) .t"~.I COME TO ALDONZAFOR LOVE1 V ) ( " r,c:V

Dan?

attitudes,

(Cont'd) IT IS ALL THE SAME(Aldonza & The Muleteers)ALOONZA(she pushes them away and sings)~ONE PAIR OF ARMS IS LIKE ANOTHER, ~:\{I DON'T KNOWWHYOR WHO'S TO BLAME, ~


23/29

18ALDONZA (Cont'd] J 0I ILL GO WITH YOU OR WITH YOURBROTHER"- '\ '7 C:-. -: (/ l

IT'S ALL THE SAME, IT'S ALL THE SAMEI- Ar\~'"~{ (HAVE LEARN D: THAT W!t~!.~T~E L~GHTS'lt~.RN OUTr 6 ( r-c,'ir.; t, ~

WILL BJ,J!iN WITH SPECIAL FLAME; if ' h", ..: h I......PROVE"TO- M'E,. BEFORE THE NIGHT IS OUTr \ALL THE' SAME, YOUIRE ALL THE SAMEI" ' < = = : : 0 - \ . . c ~i1}.(CJv,,"'"

~, "THIS INO MAN~YOU'LLYOU'RE/1

!ISO DO NOT TALK TO ME OF LOVE,D / L I IM NOT A FOOL WITH STARRY EYES,"l ,')... V ,.JUST PUT YOUR MONEY IN MY HAND~ X

'. /' ( .";~"~AND YOU WILL GET WHAT MONEY BUYS1?\"' c) './\ ' : : ; J /hJ ,i; J/~.J f ~ .-1ONE PAIR OF ARMS IS LIKE ANOTJIER, f - ; ' L. .~ ' c t'.,~"I DONIT KNOWWHYOR WHOS TO BLAME,...=- \,.. / ) .(

IILL GO WITH YOU OR WITH YOURBROTHER~a..~ '(?;' \. IIT IS ALL THE SAME, IT'S ALL THE SAME1 '-) !f 1',{ ~ r k ~a, , ~ t , e The MULETEERS reach for her r even more roughly;once again ALDONZA is forced to push them off)

1 ( \ , ' .r~) < : ' : , \ , . . . , . , , ; " ' \HAVE SEEN TOO MANYJjEDS'~ _ ~,.J \/~ '-:;j'( o ( ",,'HAVE.JNOWN TOO LITTLE REST, ._;'h~,!~ \. I ~.(f .. C '"( r:HAVE Lgm TOO MANY MEN '-HATRED,~.Jm~NINGIN MY BREAST.

I DO NOT L;~' ~OU OR YOUR BROTHER~ , ; p 1 r _ A I,,, J O ( , If,~ r ~1I DO NOT LIKE THE LIFE I LIVE,-BUT I AM ME, I AM ALZONZA,AND WHAT I GIVE, I CHOOSE

OH, IBUT IAND IWITH

V,I

(P~~~~~_~er, shaking a bag full of - ~;a'- 'o .. . ._i\:1-e_~coins at her. ALDONZA reaches for it and he ...'.V., r-, s: :$ '-.~~~.jJ::.~.~g!L~'t:.~~~~~~1:~2:';' She looks at him fora moment, then at the money, spits on it. Hepicks up the money as she badkB~~away, "1::ifting = rher skirt in his face. He sees the miracle "-~,. "beneat~ it, then. follows. ~inally pressing th~t...o


24/29

r

"r - ~ ) / .. ./

., {r 19ANSELMO(lau g hing )Pa yme n t be f o r e d e l ive r y?PACOSh e wo n ' t d e l i ve r .PEDROShe ' l l d e l i ve r l

( Th e o t h e r MULETEERS co n t i n ue t o " t a un t Pe d r o ; an e a r r i o t e n s ue s . The I NNKEEPER e n t e r s wi t h -hi swi f e , MARI A, a n d a n o t h e r s e rvi n g-gi r l , FBRMI NA)--=-\ r t . / INNKEEPERWe l l , ge n t l e me n , e ve r yt h i n g i n o r d e r ?

( Th e INNKEEPER s ur ve ys .t h e i nt e r i o r o f h i s i n n ,wh i c h i s s o me wh a t t h e wo r s e f o r we a r a f t e r t h evi o l e n c e o f t he p r e c e d i n g n umbe r . ~;;A ~~FE~_t .Q.__!: ~n up ) ' .

ANSELMO,

Di d yo u f e e d t h e mul e s ?INNKEEPERTh e y' r e e a t i n g a s we l l a s yo u.PEDROGo d f o r bi d lINNKEEPERBe jo k e s ! I t' s we l l k n o wn t h a t I s e t t h e f i n e s t t a bl e be t we enMa d r i d a n d Ma l a ga . My p a t r o n s h a ve a l wa ys--

( Fr o m o f fs t a ge t h e r e c o me s t h e bl a s t o f a bugl eh or ri bl y bl own )PEDROWh a t in t h e n a me o f -?

(Th e bugl e a ga i n ) ..

I t 's t heC om ing ,

INNKEEPER( h i s f a c e l i gh t i n g up )pig-bu tcherl I d i d n 't e xp e c tSe n o r But c h e ~, c o mi n g! h i m t i l l t o mo r r o w.

1LC

( Th e I NNKEEPER s t o p s s h o r t a s DON QUI XOTE a n dSANCHO e n t e r . Qui xo t e h a s a t t a c h e d t h e l i mb o f at r e e t o t h e ve s t i ge o f h i s wi n d mi l l -br o k e n l a n c e )


25/29

20

DON QUIXOTE(haughtily)Is th e lord of the ca stle at hand?(No reply fro m the flabbergaste d INNKEEPER)

I s ay, is the Castell ano he re?INNKEEPER(with an ef fort)I a m in charge o f thi s pla ce.DON QUI XOTE(coldly, hurt1. there's been a ter rible gaff)We wai ted, sire, fo r a dwa rf to mount the battlemen ts andanno unce us, but no ne appea red.INNKEEPER

Th e ...t he d wa rf s a re -' al lbus y.( DO N Q UI XO TE acc epts this excuse with re asonablegrace and sign als to SANCHO, who de livers hims elfo f an obviously re hearsed spe ech)

SANCHONobl~ lords and ladi es. My master, Don Quixote , k night-er rantand def ender of the right a nd pursue r of lofty und ertakings Iimplor es the boon o f h ospitali ty 1(SANCHO lo oks over at Qui xote, .question ingly.DON QUI XOTE nods appro val. The INNKEEPER looksop en-mouth ed at t he MULETEER, who look backin kind)

(' ( i"1 (_/l. )" /') l ) i ,-f 1{! . \ DON QUI XOTE'f .. ,. IWe ll ,! s ir ? I s i t grante d?INNKEEPER( pu ll in g. hi ms el f t og et he r)Absolutely I This inn--I mean, this c astle--i s open toeverybody.

(SANCHO helps QUIXOTE remove some of his gear)MARIA

(pulli ng her h usband aside)He 'sa madman IINNKEEPER(quietly)Mad men are the children of God.

'y.;

.1


26/29

21

I NNKEEPER [Co nt 'd ](c r o s s i ng t o Quixo t e )Si r k n igh t, you mus t be hungry.DON QUI XOTEAye, t h a t I am.INNKEEPERTh e r e ' s f o o d a p l e n ty, a n d f o r your squi r e, t o o. I l i l jus t~~l p h im s t abl e your a n ima l s.

( INNKEEPER mo t i o n s t o SANCHO t o f o l l ow, a n dt h ey exi t )DON QUIXOTE( a p p r o a c h i ng t h e o t h e r s ) ;J IGe n t l e k n igh t s I Fa i r c h a t e l a i n e l I f ,t h e r e be a ny amo ng you - D ~~''-t h a t r equi r e a s s i s t a n c e, you h ave but t o s p e a k a n d my go o dr igh t a rm i s a t your s e rvi c e. Whe t h e r i t be a p r i n c e s s h e l d

f o r r a n s om, a n a rmy bes i ege d a n d awa i t i ng r e s cue, o r me r e ly."_r. ' (~~O!,!~~ h a~ _eme rge d l a d e n wi t h t h i ngs f o r t h et\ PI '~- t)~ l t C Y k C . - tiBie. S 'OpPfn9; s h e s t a r e s a t t h e k n igh t ly~ ,- ap p a r i t i o n. DON QUIXOTE i s gazi ng a t h e r, s t r i c~e n )

De a r Go d ..i t i s s h e l(ALDONZA l o o k s ba c k ove r h e r s h oul d e r; t o wh o m i sh e r ef er ri ng?)

Swe e t l ady," fa i r vi rgi n.~(Th e MULETEERS s t a r e a s DON QUIXOTE c o n t i nue s ,ave r t i ng h i s eye s wo r s h i p ful ly)

I d a r e n o t gaze ful l up o n t hy c oun t e n a n c e l e s t I be bl i n d e dby beauty. But I imp l o r e t h e e--sp e a k o n c e t hy n ame.

ALDONZAC a growl)Aldonza.DON QUI XOTE

My l a dy je s t s.ALDONZA

Aldonzal ( a l oud gr owl ),DON QUI XOTE( ap pr oa ch in g h er )o f t h e k i te h e n-scul l i o n,..o r mayh a p my l a dy Ieserving-maid?


27/29

22II /l_.... ALDONZAI t o l d you my name l Now ge t out o f t he way.(c l e a r ing p as t him to t h e t able )

---------~~' -=..-"~.:.v' or_..) lb l . . . . LET MY FINGERS BUT SEETHOU ART WARM AND ALIVE,AND NO PHANTOM TO FADE IN THE AiR.DULCI NEA.., DULCI NEA. ..I HAVE SOUGHT THEE, SUNG THEE, DREAMED THEE, DULCINEA lNOW I IVE F OUND THEE, AND THE WORLD SHALL KNOW THY GLORY IDULCINEA... DULCINEA!

, 1 !)p ()C( ,/tP9N Qtn:l(Q'l'lt"J,mI:!,g:La~=.at~.Jlgt f e e t a s ALDONZA a n dthe' OTH;ERS-~stare'"-ifE'-him. Th e INNKEEPER e n t e r s )

INNKEEPER(quie t ly to Quixote),.-t Co r n e a l o ng, Se n o r Kn igh t 1 I I11 s h ow you t o your quar t e r s.c"....: : 9 . 5 p-!;J- . J ( [ _ ( h e ma n euve r s Quixo t e o f f s t age )

MARIA(mo c k i~g Al d o nza, ext e n d i ng a buck e t a n d r ag t o h e r )Dul c i n ea l~ ...--,.~-.-.->~----~.~,=-->"., ~-..""--.=--

IIIII

IIII


28/29

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1'I,

23

(Th~__!>WL.l!:_~_ERSa un c h i n t o a n e l a bo ~~: ~~~.p?r ~~yo ftAfL.QIl.g. Tij'~:=GJj.I~::j;~~~"OrlTf"""Crf~th'em.T h e o t h e r s Kn e e l i n va r i o us a t t i t ud e s , a ve r t i n gt1'fetr-' e y e - a ' ) - . - _ .ANSELMO(singing--mock~ngly)DULCINl!:A..MULETEERSD UL CI N EA . ..I SEE HEAVEN WHEN I . SEE THEE, DULCI NEA ..ANSELMOAND THY NAME IS LIKE A PRAYER I N ANGEL WHISPERS .

( ALDONZA k n e e s h i m a p p r o p r i a t e l y. Hi s vo i c e jump sa n o c t a ve a s h e r o l l s o ve r t h e t a bl e )DULCINEA"

MULETEERS( r a u c o u s l y)D UL CI NE A . ..D U LC I N EA . . D U LC I N EA .. .I HAVE SOUGHT THEE,- S ONG THEE, DREAMED THEE, DULCI NEAlNOW I IVE FOUND THEE, AND THE WORLD SHALL KNOW THY GLORY,DULCINEA .. DULCINEA!

( THE DUKE i s i n t h e c e n t e r o f t h e a r e n a , s h o ut i n gt h e o t h e r s d o wn ), THE DUKEGo ve r n o r ! Go ve r n o r ! I f yo u d o n ' t mi n d--t h i s ma n p r o p o s e d t oo f f e r a d e f e n s e !

CERVANTESBut t h i s iR my d e f e n s e .THE DUKETh e mo s t c ur i o us I ' ve e ve r h e a r d !


29/29

24, X l0 'C'But i f it e n t e r ta i n s . . . CERVANTES

THE DUKE( wa s p i s h ly)Th e wo r d i s "d i ve r t s ." I t h i n k yo ur p ur p o s e i s t o d i ve r t usf r o m o ur s .

CERVANTES( c h e e r f ul ly)Pr e c i s e ly J An d n o w i f I may ge t o n wi t h i t ...THE GOVERNORyo ur d e f e n s e 1o n t i n ueh 'f -bt~-~' . / '1-6 - r < - . ~ 4 - , ) ~ C CHANGE OF SCENE( Or c h e s t r a )

( CERVANTES, a ga i n t h e s c e n e-ma s t e r , s e l e c t s p e o p l ~a n d a r r a n ge s t h e n e xt s eque n c e a s h e s p e a k s )CERVANTESI ma gi n ~ n o w t h e f a mi ly. o ur br a ve k n i gh t l e f t be h i n d J No t t h el o r d s a n d ' l a d i e s a n d r e t a i n e r s o f Do n Qui xo t e d e 1a Ma n c h a ,but t h e s i mp l e wo me n f o l k o f a c o un t r y squi r e k n o wn a s Al o n s oQui ja n a .

/7h O r ~ ( { o ~ < $ ' (During the following, CERVAllTBSeckon. to threee , ? 0. \ 0 .. .. t i a _ . o f ;t h e PRI SONERS, h a n d i n g t h e m c o s t ume s )_ . {9 ( X . . . .m: gi ~; ~~~~r r ~~~c k a s n e ws o f t h e ma s t e r Is ma d n e s s r e a c h e st h e m I To h i s n i e c e , An t o n i a---wh o i s wo r r i e d abo ut i t s e f f e c to n h e r f o r t h c o mi n g ma r r i a ge . To h i s .h o us e k e e p e r o f ma nyye a r s--wh o i s wo r r i e d abo ut e ve h d a r k e r ma t t e r s . To t h e l o c a lPa d r e wh o h a s k n o wn Al o n s o a l l o f h i s l i f e .(t o t h e Duk e )" 1 j' An d s h o r t ly t h e r e wi l l e n t e r a c h a r a c t e r wh o s e p h i l o s o p hy, I '"X ~ i;;_,-.t h i n k , wi l l a p p e a l e n o r mo us ly--t o yo uIJEe s l i n gs a c o s t ume ~t h e ~~k e )Al o n s o Is n i e c e a n d n i s h o us e Ke e p e r ,,.h ur r?t o t h e n e i gh bo r h o o dc h ur c h . ( t o h i s Ma n s e r va n t )Sa n c h o , may we h a ve a c h ur c h?

~ n 1 J ~ I? 1 , ( . ( ' . 'I .rr;y. V ' ' o ._t . (l~t(}d\< 1l . - ! r ""CL / l~Y\. t" b e .r 2 , ;-..'Ulguishedy t h i s t e r r ibl e s i t ua t i o n -a n d n o t un a wa r e o fwh a t t h e n e i ghbo r s may t h i n k--t h ey s e e k h e l p a n d a d vi c ef r o m t h e Pa d r e .~ : t -i . c ~ ~ ,$ C

( Th e MANSERVANT c o l l e c t s s o me o d d gr i l l e-wo r klyi n g abo ut . CERVANTES s p e a k s t o t h e p r i s o n e r sp l ayi n g ANTONI A a n d t h e HOUSEKEEPER, wh o h a ve f i n i s h e d t h e i r c o s t ume c h a n ge )

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lamancha script pt1

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