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La Mancha Script

Script for new broadway production of Man of La Mancha

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3K views48 pages

La Mancha Script

Script for new broadway production of Man of La Mancha

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WHO-md
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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THE ) BROADWAY PRODUCTION Euvss Gaxonsm, USA Today new production of Man of La Mancha, one of the best-loved rived on Broadway with an all-star cast, of La Mancha vividly imagines the Miguel de Cervantes as he awaits DALE WASSERMAN JOE DARION HE 0 Hon ‘vowva aor ‘wwmeassvava WHONWIN YI SO NY Copyright © 1966 by Dale Copyright © 1965 by Andrew Scot & Sum Fox Publishing Company, Publishing Company, Inc, Sole Agent. Allxights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House Trede backs, an imprint of The Random House Publishing Group, 1 division of Random House, Inc., New York, and simultaneously in Ganada by Random House af Canada Limited, Toronto, ‘Ranoom House Trane Parenaacs and colophon are rademaris of Random House, lnc. sand umateus are hereby warned that MAN OF fally protected under Copyright Laws of the the British Empire, inckiding the Dominion of Canada, sountes of the Bes Library, Ine. 560 Lexington ut whose permission in ance of It may be made. ‘writing no amateur perfor ISBN 978-0.394-40619-0 Random House website address: [Link] Printed inthe United States of America 50 49 48 47 46 45 44 43 A NOTE ON MIGUEL DE CERVANTES Like his contemporary, Wi only sparsely. docu- mented, many years of which are veiled in shadow. These ings are known: he was born in 1547 t0 a proud but ypoverished hidalgo family; he was a soldier, suffered se- rious wounds at the battle of Lepanto, was taken captive and spent five years asa slave in Africa. Above all he loved the theatre; in twenty years he wrote some forty plays, none of which were successful. In 1597 he was excom- municated for “offenses against His Majesty’s Most Catho- lic Church,” narrowly escaping more drastic punishment. He served at least three, and possibly five terms in prison con various charges. Aging, infirm, an utter failure, he un- dertook the writing of Don Quixote to make money. Vol- ume I, published in 1605 when Cervantes was 58, brought fame but litle profit. Volume II, appeazing ten years insured his immortality as author of the world’s great- novel, but he was already broken in body if not in Shakespeare. His burial place is unknown, Preface Mane OF LA MaNcHA was born fortuitously and underwent several metamorphoses before it was exposed to a New York audience. It had its inception in Madrid in 1959 when I read in a newspaper that my purpose in Spain was research for a dramatization of Don Quixote. ‘The item was laughing-matter, for like the great majority of people who know Don Quixote, I had never read it Madrid seemed a place appropriate to repair of that omis- sion, however, so I waded in, emerging from Volume Two with the conviction that this monument to human wit and folly could not, and should not, be dramatized. ‘What had snared my interest was not the book but its author. For one Jearns that the life of Miguel de Cervantes was a catalogue of catastrophe. What sort of man was this— playwright, actos, tax-collector and fruenty |-who could suffer unceasing failure and ng years produce the staggering testament Don Quixote? To catch him at the nadir of his career, persuade him toward selfrevelation which mig] something of significance concerning the human spi there, perhaps, was a play worth waiting, 1 wrote it first for television in a ninety-minute version, Te was produced with considerable éelat and garnered number of awards but left me profoundly dissatisied, for the strictures of television and its assertive naturalism had vii MAN OF LA MANomA defeated both my design and intentions, T thereupon re- we Broadway stage and it was promptly op- felt a sense of relief when the option period that while it might il should have deemed sieved the form which the material demanded; a form disciplined yet free, simple. seeming yet intricate, and above all bold enough to. ac. complish that ephemeral objective which is called “total theater.” My brooding on the matter had brought me to the edge of an inescapable conclusion when Albert Mare Gorhom T had never met) telephoned to say, “Your play is superb, but it must become ‘some sort of a musical,” Precisely. The adventure began. I use the word advisedly, for the wating of Man of La Mancha was an adventure, in form, technique, and in philosophy. My collaborators, Joe Leigh, anid Albert Marre made enormous ‘groped our way toward a kind of thea- t within the boundaries of our experi- recedent. tained only by the tenacity of those among us who shaved the Quixotic dream, viii MAN OF LA MANOHA ischarge of emotion. Or as Mr. Marre ‘To me the most interesting aspect of the success of Man fancha is the fact thet it plows squarely upstream the prevailing current of philosophy in the theater. sent is best identified by its catchlabels—~Theater the Absurd, Black Comedy, the Theater of Cruelty— which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those phi says CervantesDon Quixote, And that is precisely what T felt and meant, there was a guiding precept for the whole endeavor 4 quotation I found long ago in Unamuno: *Only sho attempts the absurd is capable of achieving the imple level, nd plop aside, the play is my wey of paying tribute to the tougl and tender spirit of Miguel de Cervantes. Dale Wasserman MUSICAL NUMBERS “To Each His Duleinea” ‘THE PADRE “The Quest” ("The Impos- sible Dream”) DON guixore "The Combat” oN QUIXOTE, ALDONZA, SANCHO AND MULETEERS "The Dubbing” INNKEEPER, ALDONZA, DON QUIXOTE, ALDONZA AND ‘nim PADRE “The Quest” Creprise) company MAN OF LA MANCHA Opened on December 5, 2002, at the Martin Beck Theatre in New York City, with the following cast: (IN ORDER OF SPEAKING) CERVANTES/DON QUINOTE Brian Stokes Mitchell CAPTAIN OF THE INQUISITION _ Frederick B. Owens SANCHO Ernie Sabella GOVERNOWINNKEEPER Don Mayo puke/carRasco. Stephen Bogardus ALDONZA Mary Elizabeth Mastrantonio urro ‘Andy Blankenbuebler TENORIO ‘Timothy J. Alex JUAN 1 _Thom Sesma PACO Dennis Stowe ANSELMO| Bradley Dean PEDRO Gregory Mitchell JOSE Wilson Mendieta MARIA Michelle Rios FERMINA Lorin Latarro ANTONIA Natascia Diaz PADRE Mark Jacoby HOUSEKEEPER Olga Merediz BARBER Jamie Torcellini GUARD John Herrera GUARD Jimmy Smagula GYPSY DANCER . Lorin Latarro Gypsy DANCER Andy Blankenbuehler PRISONER Allyson Tucker ONSTAGE GUITARIST Robin Polseno Written by Dale Wasserman Music by Mitch Leigh Lyrics by Joe Darion Directed by Jonathan Kent Choreography by Luis Scenic and Costume Lighting Design by Paul Sound Design by Tony Music Director: Rober rehestrations by Music Makers, Inc. Music Coordinator: Michael Keller New Dance Music by David Krane ‘New Dance Orchestrations by Brian Besterman Casting by Bernard Telsey Casting Associate Director: Peter Lawrence Production Stage Manager: Mahlon Kruse Man of La Mancha MAN OF LA MANCHA. Locale: Spain at the end of the sixteenth century. A prison in the city of Seville and various places in the imagination of MIGUEL DE CERVANTES. Setting: The common room of a stone prison vault whose furthest reaches are lost in shadow. Tt has_niches open well. Other scenic elements are placed and removed Dy the prisoners as indicated. The prison vault is actully «single bale setting within DON QuIKoTE scenes devised by ing in these excopt as may be moti- vated realistically. The play is performed without inter- mission, There is an overture, then the orchestra is lost to sight, 4s lights fale in on the common room of a prison vault, Some of the vrusonzns lie huddled in the shadows, One Bows aroke 1. fone. 5 MAN OF LA MaNona Aatrums a guiter; another dances a jaded, sensual seguitia gitana 10 its rhythm, ‘cease as the door at the head of the stairway opens and light streams down into the vault. The stairs are lowered and a little procession descends: fist a MIGUEL DE cERvanrxs is tall and thin, a man of gentle courliness leavened by humor. He is in his late forties ut his dominant qualities are childlike—ingenuousnes, ¢ grave and endless curiosity about human behavic which is very nearly selfdestructive. He child's delight in play-acting, but sinc in “a trained actor, when called upon to perform he translates delight into stylish verve and gusto. On his entrance he is carrying a wrapped oblong package under one arm. It is heavy. ‘cunvanres’ Mansznvanr is as old or older than his mas- ter, short, rotund, suspicious and pragmatic, The relation. ship between the two is obviously of long standing, indeed, they are rather like husband and wife who bicker yet are deeply devoted, Now the souorens go back up the stairs, cenvanres peers about, uncertainly, ccarrans (Watching cunvasrss; sardonically) Anything wrong? The accommodations? cxnvaornis No, no, they appear quite . . . interesting, carraIN The cells are below. This is the common room, for those who wait. cxnvanres How long do they wait? 4 MAN OF LA MANCHA coxptam Some an hour. . . some a lifetime. . cenvawras Do they all await the Inquisition? are merely thieves and murderers. ed anything, just shout. (An aansenvanr (Apprehensivel)) What did he mean by that? ccunvarres Calm yourself, There is a remedy for every- thing but death, a re eee like animals who scent prey) the mansunvasrr are sized, tipped up, pinned to. s heir the floor. The vnasonens are busily rifting 1 ee ‘tum covennon, a big man of obvious au- thority, awakens from sleep) quielly! (To cenvanras) Who cunvanres (Gasping as his, throat is Don Miguel de Cervantes. ‘ram covennon (With mock respect) A gentleman! MAN OF LA MANCHA Painfully getting 10 his feet) It has never saved me'from going to bed hungry, ‘Tu Govsnnon (Indicating the sansenvaN) And that? cenvares My servant. May I have the honor? ‘um covenwon They call me The Governor. What's your game? canvases My game. . > ‘Tax covennon (Impatiently) Your special ut. purse? Highwayman? “esaly man Ore canvantais Oh, nothing so interesting! I am a poet, ‘Tus pure CA prisoner of draggletail elegance) ‘They're ‘putting men in prison for that? curvantes No, no, not for that. ‘THE Dux (Sardonically) "Too bad ‘mmm covennon (Clapping his aera ‘Clapping his hands) Well, let's get on ouavanres (As he is seized by two of the more villainous: Tooking prisons) Excuse me, sir. What trial? ‘THE covenwon Yours, of course. cunvantes But what have I done? ‘am covznon We'll find something. connvanzis You don’t a seem to understand. Til only be ‘Hm covenwon (Patient but firm) My dear sit, no one 6 MAN OF LA MANCHA enters of leaves this prison without being tried by his fel- low prisoners. cunvawrus And if I'm found guilty? ‘rus covenwon Oh, you will be. ccunvanrras What sort of a sentence. . . ? ‘maz covsnnon We generally fine a prisoner all his pos- sessions. convawras (Hard hit) All of them . . « ‘rue covennon Well, it's not practical to take more, cunvanrzs One moment! ‘These things are my liveli- hood. ‘rim covenwon (Puzzled) I thought you said you were a poet. canvanerus OF the theater! ‘nim covenwon (Crossing to the trunk, digs out a sword and pulls it from its scabbard) Falsel ccanvareres Costumes and properties. You see, actually I am a playwright and an actor. So of course these things could not possibly be of any use 10. . « (He comes to a halt, reading the inimical faces. He \ snakes a sudden gab for the sword, but ra8 60% si 0 ERNOR tosses it over his head to another prison. cunvanrss (Panting, realizing the futility) Very well— take them, 7 MAN OF LA MANCHA Mawsenvant Oh, no, Master! convawris Take them, take them I say. Only leave me— (Clutching the package to him')—this. Goum puns adroitly snatches she package from hin, tosses it to te covaaNon, who catches it and sweighs it in his hands) ‘rim covenyon Heavy! (Shrewdly) Valuable? cunvanrss To me! ‘1 covenvon We might et you ransom it cenvawras Ihave no money. ‘mm covinwon How unfortunate, (Tears it rly) Paper! ore canvas Manuscript! ‘116 covenson Still worthless He strides toward the fre with the intention of throwing the package in) ‘ounvaweras (Desperately) your own word, I must be ‘au covennon (Hesitating: then peevishly) Oh, wel. hereby declare this court in session! Coanvasrrre and the mansenvanr are shoved into an improvised ack, and the “court” arranges itself) Now, then. What ate you here for? cenvanrss I am to appear before the Inquisition, There is a stir among the wnisoxuns, one or two of whom cross themselves) ‘Tm covsanon Heresy? 8 MAN OF LA MANOHA cenvanrus Not exactly, You see, I had been employed by the government as a tax-ollector . . . snux covennon Poet, actor, taecollector? cenvanrus A temporary thing to keep us from starva- tion. ‘rum covannon How does a taxccllector get in trouble with the Inquisition? cenvanrss I made an assessment against the monastesy of La Merced. When they wouldn't pay, I issued a lien ‘on the property. ‘rum covennon You did what? aunsenvawr He foreclosed on a church. sum covernon But why are you here? smanservant (Dolefully) Someone had to serve the pa- pers. (With his thumb he éndicates himself) ‘run covenxor ‘These two have empty rooms in their heads! canvanras The law says treat everyone equally. We ‘only obeyed the law! mom puxe Governor, if you don’t mind, I should like to prosecute this case. sum covenwon Why? ‘mm puxe Let us say I disike stupidity. Especially when it masquerades as virtue. Miguel de Cervantes! I charge you with being an idealist, a bad poet, and an honest man. How plead you? 9 MAN OF LA MANCHA cunvanras (Considering a moment) Guilty, ‘Tur covenwon Bravol CHe rises, crossing toward the fire once more) ccenvawras Your Excellency! What about my defense? ‘hm covmnvon (Peusingspusled) ut you ju pleaded conv, : AC : uly wold hvu ne ily Sec at ‘rim covennon For what purpose? cunvaseras The jury may choose to be lenient. Tm covmxon (Thinks, then chuckles appreiat et appreciatively) ‘om pus He is trying to gain time! ccunvanrrss Do you have a scarcity of that? ‘um covmnvon (To the misovsns) Any urgent appoint CA groan for answer, He waves CERVANTES t0 con- tinue) cenvanrus It is true I am guilty of these charges. An i Well, I have never had the courage to believe 18 A bad poet? This comes more painfully . . . He makes a-wry gesture of acquiescence) ‘iz covenxon (Skeptically) Have you fnished your de- fense? ‘CHRVANTES (Ab, zo, scarce begun IF you've no objection 10 Cag? got MAN OF LA MANOHA - I should like to continue in the manner know best... in the form of a charade sum puxn Charade? cenvanris An entertainment, if you will ‘rum covennon (Intrigued) Entertainment! ccunvanrus At worst it may beguile your time. And since ry cast of characters is large, I call upon all here to enter in, to play whatever roles— sux pun CHotly) Governor! I should like to protest! ‘nm covenwon No, no, let's hear him out! . «with your kind permission... csavanres Then . him . . Gills him with indignation at man's murderous ways toward man. He broods . .,. and broods . . . and ‘broods~and finally from so much brooding his brains dry up! He lays down the melancholy burden of sanity and conceives the strangest project ever imagined . . . to be- come a knighterrant and sally forth into the world to right all wrongs. No longer shall he be plain Alonso 1 MAN oF LA MaNomA Quijana ... but a deuntless knight kn: Quixote de La Manchalll ann “CThe vnusonens giggle appreciatively as the trans- formation of csnvanris into Dow QUOTE takes place before ther eyes. The maxsunvanr, who will Decome sancno vawza, assists with costume ele- ‘ments, props, and so forth) row qumore (Singing, a litle tongue-in-cheek; aware that he's performing) eek on aston Hear me now, oh thou blesk and unbearable word Thou a and deuce a an be 4 knight with his banners all bravely unf Now hurl down his gauntlet to thee? 4 Tam I, Don Quite, ‘The Lord of La Mancha, My desing cals nd Ig the wild winds of fortune will Oh whithertever they Bow,” menses Whithersoever they blow, Onward to glory I gol saxon Tm Sancho! Yes, Pm Sanchol TI follow my master tll the end. TH ell all the ly Tm his squire! I'm his frend! bow guxore Hear me, heathens ind serpents of sin! And virtue shall triumph et last!” (They mownt the “horses*—two dancers with MAN OF LA MANOHA ‘wooden frames attached—and ride away. As they ride, the it sway. They sing together) Dox quixors sancno Tam I, Don Quixote, ‘I'm Sanchol Yes The Lord of La Mancha, Sanchol My destiny calls and I go; Ill follow my master till And the wild winds of the end. fortune will cary Il tell all the world me onward, proudly Oh whithersoever they I'm his squire! blow! T'm his friend! po gurxors and saxcno Whithersoever they blow, Onward to glory we got (At the conclusion of the song, they dismount and saxon leads the “horses” 10 the well to drink) ~ vox ouixors Well, Sencho—how dost thou like adven- * turing? saxcio Ob, marvelous, Your Grace. But it's peculiar—to ~ me this great highway to glory looks exactly like the ‘ road to El Toboso where you can buy chickens cheap. pon guixora Like beauty, my friend, ‘ts all in the eyes of the beholder. Only wait and thou shalt see amazing sights. : sancuo What kind? pow gurxore There will be knights and nations, war- locks, wizards... . a cavalcade of vast, unending armies! saxcno They sound dangerous! 3 MAN OF LA MaNoHA pon utxors They are dangerous. But one there'll be who leads them . . . and’he will be most dangerous of alll saxcno Well, who is he? Who? pox ounxors The Great Enchanter. Beware him, San- cho. . .for his thoughts are cold and his spirit shriveled. He has eyes like little machines, and where he walks the earth is blighted. But one day I shall meet him face to face . . . and on that day—I (He shakes his lance ferociously) saxcuo (Sensibly) Well, I wouldn’t get upset, Your Grace. As I always say, have patience and shuffle the on oumxors Do you never run out of proverbs? sancno No, Your Grace. I was born with a bellyful of them, I always say— 7 Pow qurxore (Looking off as the projected shadows of a °° great windmill’s sails cross the stage) Aalhahl saxouo What is it? ow quixors How Jong since we sellied forth? saxono About two minutes? Dox Qurxore So soon shall I engage in brave, unequal combat! saxcno Combat? Where? DON Quixors Can’st not see? (Pointing) A monstrous giant of infamous repute! saxono CLooking vainly; the “horses” are interested, t00) What giant? 14 MAN OF LA MANCHA Dox gunorn eis that dark and dreaded ogre By the name of Matagogert ‘You can tell him by the four great arms awhizling on his back! saxon Irs a windmill, von gurxors (Shouting) Hol Feckless giant standing there! ‘Avast! Avaunt! On guard! Bewarel (He charges off) saxcno No, no, Your Grace, I swear by my wife's lit tle black mustache, that's not a giant, i COffstage a crash; the horses run for cover. To musical ‘accompaniment the combat continues as saxcno dances” ~! about, dodging first burxore's helmet which comes flying ack ee aE a of his lance, splayed and splintered. The findl-crash; and qurxore crawls back into ‘view, kis sword a corkscrew. A doleful picture, he comes rolling downstage as savcno hurries to plump himself down and stop him) Didn't T tell you? Didn't I say, “Your Grace, that’s a windmill"? pow gurxore (Hollowl)) ‘The work of my enemy. saxcuo ‘The Enchantes? pon ouixors He changed that the last moment. He to~ (A pause; an illumination) Sancho, it comes to me! into a windmill at sancuo What, Your Grace? von gurxore How he was able to upset me, It is because Thave never properly been dubbed a knight. 15 MAN OF LA MANOHA suxcno That's no problem. Just tell me how it's dope and I'll be glad to take care this drubbing, on ouxxors Dubbing. Thank you, my friend, but i only be done by another knight. ee) sancuo (Dismayed) ‘That's a problem. I a - eo @ problem. I've never seen an- Pox ouixors The lord of some castle would do. Or a king ora duke, sancto (Helping ourxore 10 his feet) Very well. TIl Ieeep an eye out for any kings or dukes as we go. ow gurxorx (Looking off) Ahaaal ‘sancuo CApprehensively) Now what? von qunxor The very place! sanouo Where? Dow Quixore There! saxco If Your Grace would just give me a hint... ? “oon quaxors. There in the distance. A castle!» sano Peering vainly) Castle, i Do quixers Rockbound amidst the crags! sancno Crags. pox oumore And the banners~ah, the brave banners flaunting in the wind! sancno Anything on 'em? on ourxors (Shielding his eyes) I see a cat crouching on a field tawny. . . and beneath it the inscription lela eath it the inscriptio 16 MAN OF LA MANoMA saxciio Oh, that’s fine, Your Grace. Maybe this is where ‘you can get yourself drubbed. von guixors Dubbed. (Excitedly) Blow thy bugle thet dwarf may mount the battlements and announce our coming! sancno (Under the spell, lifts his bugle then hesitates) But I don't see a castle. I do see something . . . maybe it's an inn, ox guixors (Sadly) An inn, sancuo We'd better pass it by, Your Grace. Those rond- side places are full of rough men and women, pon gurxorz Come. We shall ride straight to the draw- bridge of yon castle, and there thy vision may improvel (The lights fade to transition lighting as one and saxcuo drop out of character. ‘cunvatvrus beckons to the rrisoxans who will ‘become murerauns in the next scene; they and + the sunvaner proceed 10 set up the Great Room of |" ‘an inn as he speaks) ieee res ‘ cxnvanres Here is an example of how to the untrained eye one thi to be another. To Sancho, an let us grant Sancho tures to "am GOVERN’ Kindly innkeeper . picks out some of muleteers—fifteen MAN OF LA MANOHA Murernens (Making a chant of her name, banging their tin dishes on the table) Aldona, Aldonza, Aldonzal (A pan comes sailing in; the men dodge it to pre- vent being hit. aupowza enters; a savage, dark alleyeat, survivor if not always victor of ‘many back fence tussles) -axponza (With @ pot of stew in her hands; roughly) You want it on the table or over your lousy heads? (The sracxtzans laugh, She sets down the tureen ‘with a crash, and spits into it) auponza There, swine, Feed! (She starts: 10 distribute goatskins of wine. The auuranns, of whom there are seven, are variously called osx, TENORIO, 400, JUAN, ANSEEO and vxpno. The seventh, nameless, is the prisoner with the guitar. yosu is the runt of the gang; PEDRO, the biggest, is its leader) Joss (Amorously) I brought you something. Atponza Keep it tll it grows up. Ceaco whispers in her ear) Lite dogs have big ideas! yuan Tonight? axponza Payment in advance? (He gets on his knees wanting her to pour the wine into his mouth; she pours it onto his head) pupno (Laughing) Aldonzal Si Come here. sxponza Talk with your mouth, not your hands! apno (Pulling her close; confidentially) I've got a nice thick bed of hay in the stable, 18 MAN OF LA MANOHA axvonza CAs confidentially) Good. Eat it pepro You would refuse Pedro? atvonza_ Try me. (She walks away front him), ‘pupno My mules are not as stubborn! (He snaps his whip at her) ‘Aupoza Fine! Make love to your mules! (The scurssrnens laugh, then sing) | MULETHERS I come for love, I come for love, I come to Aldonza for love! axpoza (Contemptuously) Lovel (She sings) One pair of arms is like another, I don't know why or who's to blame, with you or with your brother, Il the same, i’ all the same! This I have leamed: that when the light’ out, No man will burn with special flame, You'll prove to me, before the night's out, You're all the same, you'r all the samel So do not talk to me of love, Tm not a fool with starry eyes, Just put your money in my hand, ‘And you will get what money buys! One pair of arms is like another, I don't know why or who's to blame, y th you or with your brother, the same, it’ all the same! MAN oF LA MANCHA on ourxors Well, si? Is it granted? nvvacsren (Pulling himself together) Absolutely! This ‘nnI mean, this castleis open to everybody. manta (To the mmwxaePee, frightened) A madman! mnxzzren (Aside, to mania) Madmen aze the children of God. (To outxors) Sir knight, you must be hungry. pox quixon Aye, that Iam, 4% #2)" awnxuupem There's food aplenty, and for your squire, too, Ti just help im sable your auimals. Q ~CHe motions to saxcno 10 follow, and they exit) vox guixors (Approaching the others) Gentle knights! Fair chatelainel If there be any among you that require assistance, you have but to speak and my good right arm is at your service. Whether it be a princess held for lady. . . fair virgin . . . I dare not gaze full upon thy countenance lest I be blinded by beauty. But I implore thee—speak once thy name. iy: 2 atponza CA growl) Aldonza, j. * ow gumors My lady jess, aupoxza Aldonza! pow guixors (Approaching her) The name of a kitchen- scullion . . . or mayhap my lady's serving-maid? avpowza I told you my namel Now get out of the way, or PI 22, MAN OF LA MANCHA pon guixors (Smiling) Did my lady think to put me to 1 test? Ab, sweet sovereign of my captive heart, I shall not fail thee, for I know. (Singing) Half a prayer, half a song, always been with me, though we have been apart Dulcinea. . . Dulcinea . . see heaven when I see thee, Dulcinea, ‘And thy name is like a prayer an angel whispers . . « ‘Dulcinea . . . Dulcineal If I reach out to thee, ‘Do not tremble and shrink from the touch of my hand. ‘on thy aie. Let my fingers but see ‘Thou art warm and alive, and no phantom to fade in the air. Duleinea . .. Duleinea . . . Thave sought thee, sung thee, dreamed thee, Dulcineal Now I've found thee, and the world shall know thy glory. Dulcinea . . ea ' amxsuren (Entering; quixore) Came along, Sefior Krnght! Il show you to your quarters. (He maneuvers urxors offstage < °! auanta (Mocking, to axpoxza) Ay, Dulcinea! (The mutistanns launch into an elaborate parody of the song) 33 t MAN OF LA MANOHA (The woxerssrs reach for her, roughly; * pushes them off) : (Ao CS Oh, I have seen too many beds, But Ihave known too lite res, And I have loved too many men With hatred burning in my breast, Ido not like you or your brother, -(. ° Ido not like the life I live, >." But I am me, I am Aldonza, And what I give I choose to give! Cexpno offers money to aLvonza, throws it on the floor. She spits on it and backs away, luring him, He follows and presses the money into her hand) oS One pair of arms... i ke another Irs all the same, it’s all the same! (She exis)” ansnimo (Laughing) Payment before delivery? Aco She won't deliver. ‘PepRO She'll deliver! (The menmueren enters with his wife, santa, and another serving-girl, FERMuNA) . aynzurzn Well gentlemen, everything in order? (He surveys the interior of his inn which is some- ‘what the worse for wear after the violence of the preceding mumber. manta and ranma begin 10 clean up) ansetmo Did you feed the mules? mewxnnvEn They're eating as well as you. 20 MAN OF LA MANOMA peor God forbidl nxeapen He jokes! It's well known that I set the finest table between Madrid and Malaga. My patrons have al- ways— (Crom offstage there comes the blast of a bugle horribly blown) pepno What in the name of? (The bugle sounds again) ranxzzren (His face lighting up) ‘The pigbutcher! I, didn’t expect him till tomorrow. (Hurrying to the door Coming, Sefior Butcher, coming! ‘Gle stops short as vox qutxors and sanco enter. ‘ourxore has replaced his lance with the limb of a tree) pox guixorn (Haughtily) Is the lord of the castle at hand? (No roply from the flabbergasted mxxeneun) T say, is the Castellano here? menxezrzn (With an effort) Tam in charge of this place. pon guixors (Coldly) We waited, sire, for a dwarf to ‘mount the battlements and announce us, but none ap- peared. awxsupen The... the dwarfs are all busy. Ceurmore makes a haughty signal 10 sancuo, who delivers himself of a rehearsed speech) sancuo Iknighterrant and defender of the right and pursuer of lofty undertakings, implores the boon of hospitality! (The mesxazun looks open-mouthed at the murs sruuns, who Took back in kind) a lords and ladies. My master, Don Quixote, * MAN OF LA MANCHA Mutzrasns (Singing) Duleinéa. . . Duleinea. . . T see heaven when I see thee, Duleinea, is like a prayer an angel whispers . . Duleinea . . . Dulcinea.. . MuLETEERs Duleinea. . . Dulcinea. . T have sought thee, sung thee, dreamed thee, Dul- cineal Now I've found thee, and the world shall know ehy Blory, Duleinea . . . Dulcinea! By the end axvonza has driven them about the t Ae helaboring them in fury—as the lighting changes back to-the prison. ‘uz Dux is in the cen- \ ter of the arena, shouting the others down) ‘mm uxt Governor! Governor! If you don't mind—this man proposed to offer a defensel canvass This is my defense. ‘tax puxs The most curious I've ever heard! cravat, (Cher) Preinly! And now if 1 may get on with it... ‘mus covennon Continue your defense! Ccunvantus, again the scenemaster, selects people and arranges the next sequence as he speaks) 24 MAN OF LA MANCHA the family our brave knight lefe ladies and retainers of Don country squive known as Alonso Qui underscore begins as he beckons 1 ns, handing them costumes) Tmagin news of the master’s madness reaches Antonia—who is wortied about its effect on her forth- coming marriage. To his housekeeper of many years— who is worried about even Padre who has known Al philosophy may appeal—enorm @ costume to THe puxe) Alonso's niece and his house- senvanr) May we have a church, please? Anguished by this terrible situation—and not unaware of what the neighbors may think~they seek help and advice from facing alternately t. ‘yond their respective screens Sitioned them, puppet like pte of the trouble which the Squice's madn ig down upon their hheads, you may be sure they are only thinking of him! He snaps his fingers, and the people come to life, singing) plaints of the two women be- antes has po- 25 MAN OF LA MANGHA MAN OF LA MANCHA HOUSEKEEPER Oh, Lib been t0o lonely, living years without So-when he vets I feat I may have trouble inthe house; ~ 2 For they say he seeks a lady, who his own true love shall _isab thinking and worying ebout hin! God tin his madness he should ever think Tve been told he's chasing dragons and I fear it may it = eas) (The panne: steals a look around the screen at her, ‘ If my groom should hear about it, heaven knows what seared) ee ill dol "e ie If he should try Ob, T dearly love my uncle but for what he's done Tl suey die, to me y die, ‘would like to take and lock him up and throw away | And I will grimly guard my honor as I cry— : tobe HOUSEKEEPER PADRE avrosia (Her But if Ido...” | Tm only think I know, I know, wail continues But if Ido... ing of him; my dear; | throughout) ‘There is one thing that I swear will still be true. . . awrosia and aon ‘HOUSEKEEPER Tm only thinking of him; I know, I know, my dear, Tm only thinking of him; Ofc ye, ny dag Tm only thinking and” T understand. worrying about him, " Gir wo makes the mon ie nd el ‘ward axronta) (The rsone winces and recoils in the other direc- tion) 27 es MAN OF LA MANOHA addressing God) > A They're cel thinking As they go thinking and ‘worrying about him! (Cenvanres appears in the lights, ushering for- ‘ward He puxe, now dressed in academic cap and gown) crews And now there appears on the some man his own selfimportance as though afraid of Poeaking it. (Places cannasoo in one corner of the L suge. The qurtet immediately starts arguing. xn. vasa claps his hands for silence) I had forgotten that family quarrels i so much at stake inthe game, let us rearrange the pieces! _Z, Moving axcrovaa toa second corner) The queen—cun- (0 ning! (Moving the nousexenpan to a third corner) The 8 Co. MAN OF LA MANOUA castleformidable! (Moving the vans to the fourth corner) The bishop-charmingly diagonal! (Siting cen- ter) And now-the problem of the knight! axronts Sans6nl aoe Have you heard? pr. cannasco On my way here I was informed by at least ten people, (To axrowta) My dear, your uncle is the leughingstock of the entire neighborhood. Padre? What o you know of this? apne Only that the good Sefior Quijana has been car- ried away by his imagination, DDR. cAnnasco Sefior Quijana has lost his mind and is suf- fering from delusions. anna Is there a difference? tn. cannasco Exactitude of meaning. I beg to remind you, Padre, that I'am a doctor. aNToNtA Please don't argue, we must do something about him! pr. cannAsco I'ma little more concemed about us. © / axroxtA What do you mean, us? a. cannasco Our marriage, my dear. There is a certain embarrassment at having a madman in the family. In the eyes of others— apne (Alarmed at this drift) Oh, come, come, Doctor. pr. caanasco I do not relish claiming a lunatic as uncle! 29 MAN OF LA MANCHA ousexenrsn (Nodding, a sibyl) ‘The innocent must pay for the sins of the guilty. Panne Guilty of what? A gentle delusion! pr. cannasco How do you know it is gentle? By this time who knows what violence he has committed! He ‘was armed? nousexeeren With sword and Iance. Ceannasco throws up his hands) apne (The devil's advocate) ‘True, Doctor. In time they would all be yours. After all, if one is to serve science, ‘one must have the means. pn. cannasco (Outraged) Are you priest or pawnbroker? Papas (Swifily revising his approach) What I meant ‘was—consider the challenge, pn. cannasco Challenge? vaons Think what cleverness it would take to wean this ‘man from madness. To tum him from his course and persuade him to return home. (cenvaneras rises: clever approach) pn. cannasco (Pondering) Hmmm... lenge. that is @ chal apne Impossible, x. carnasco He can't ha apne No more than a day's journey! 30 MAN OF LA MANOHA a. carnasco Get seady, Padre. We shall go after him. (As they arpa tole, he ocr sings) But as we go. « But as we go. . There is one thing that I want the weld to know! apne (Si oe aside) We now will hear a very often heard refrain, (They sing in chorus) DR. cARRASCO ‘rm only thinking of him~ He's only thinking of him, srcronta and nousmcanrER You'ee only thinking of He's only thinking of him, him— just him, ANTONIA, HOUSEEHEPER and DR. CARRASCO ‘Whatever we may do or sey, We're only thinking of him. In our bodies it's well known ‘There is not one sesh bone... . ANTONIA, HOUSEKEEPER PADI ‘worrying about him! Lights dim out on them as cum isolated in his own light, steps forward), / cunvanres Let us return now to the inn. To the kitchen of the inn. A kitchen, ladies, if you please? Thank you. Peking the pos fing, lcs them) Ah ye, tomorrow's onion stew. Chicken tripes, with « . . pep- 3 (The transition is complete; cunvaxerns exits) -axpoxza (To sancno, suspiciously) Missive? What’s a missive? sarcno A sort of a leter, He warned me to give it only into your hand. axponza (Darkly) Let's see it. (She takes the rolled sheet from saxcuo, inspects both sides. Sullenly) I can't read. saxcuo Neither can I. But my master, foreseeing such a possibilty, recited it to me so I could commit it to heart, auponza CAngrily) What made him think I couldn’t ead? saxcno Well, as he explained it, noblewomen aze so busy with their needlework— axponza Needlework? saxcuo Embroidering banners for their knights. He said they hed no time for study. axponza (Contemptuously) What's it say? (aanano takes the letter from her, holds it before 32. MAN OF LA MANCHA hhim, and closes his eyes. Music: the quotations from the leter are sung. All other lines are spoken) sancuo “Most lovely sovereign and highborn lady—" axvonza (Continuing to gobble her supper) Ho. The heart of this, chy vasa Inigh, fits for thy favor.” axvowza Ha, sancno “Oh, faizest of the fair, purest of the pure; Incomparable Dulcines—” ‘axvonza That again. My name is Aldonzal sancuo (Patiently) My master calls you Dulcinea. axponza (Glowering) Why? sacuo. I don’t know, but I can tell you from experience that knights have their own language for everything, and it's better not to ask questions because it only gets you into trouble. Caxponza makes a contemptuous ges- ture for him to continue) “L beg thee grant that T may kis the nethermost hem. sancno I'm getti “And send to me a token of thy fair esteem that I may carry as my standard into battle.” MAN OF LA MANCHA axvonza What kind of a token? . sancuo He says generally its a silken scarf axvonza Your master’s a crackbrain! saxouo Oh, nol ALvonza (Mimicking) Oh, yest saouo Wel, they say one madman makes a hundred and love makes a thousand. aponza What's that mean? sancuo I'm not sure, aupowza You're crazy, to! (A pause) Well, what are you ‘waiting for? sancuo (Patiently) The token, acponza I'll give him a token, Herel (She flings him the filthy, tattered dishcloth she has been using) ‘saxccuo (Examining it in dismay) But my lady— spocea Dont you “my Indy" me to or Tl erick you an egg! (saxono retreats) Wait a minute, Come ie i (Ghe pats the stool and saxcno sits, she beside him on the floor) Tell me—vihy do you fallow im? sazcno Well, that’s easy to explain, I... I (The reason seems to elude him) axponza Why? saxcno I'm telling you, Tvs because . . . because... aLponza Why? 34 or La maxon eee ong he sings) like him, really like him. ‘Tear out my fingernails one by one, I like him! T don’t have A very good reason. Since I've been with him euckoonuts have been in season— Bat there's nothing I can do, Chop me up for onion stew, Sill I yell to the sky, ‘Though I can’t tell you why, "That I ike him! dee atponza It doesn’t make any sense! ~ be sancoo That's because you're not a squire,” (”” ‘sxponza All right, you're a squire. How does a squire ‘squire? T pick him up off the ground . ‘Axponza But what do you get out of it? saxcuo What do I get? Plenty! Why, already I've got- ten... Sve ae u auponza You've gotten nothing! So why do you do it? I really like him, : Pluck me naked as a scalded chicken, I like himl - * 35 peat MAN OF LA MANCHA ~ Don’t ask me For whiy or wherefore, "Cause I don't have a single good “Because” or “There- fore.” You can barbecue my nose, Make a giblet of my toes ‘Make me freeze, make me fry, Make me sigh, make me cry, Sill I yell to the shy ~ ‘Though I can’ in his own kiiid of dignity, leaving ate owza puzzled and less sure, A crossdim in the lighting, out on the kitchen; ‘up the well stage left where cunvantus is entering _, With the maceraens, prompting them in the next song they are to sing. Night lighting: the mood Iyri, sentimental. Satisfed that they are singing it properly, oxnvanris exits, and the MULETEERS, Lounging about the coping of the well, swell inio fall harmony to the guitari’s accompaniment) sutereans (During this, atvowza picks up a bucket and crosses the courtyard to the well. Lights in the kitchen, As axvonza approaches, the lines sung by the seuteens have focused upon her with mocking, though lighthearted double-entendre. She pushes ne or {to of them out of the way in order to get to the well, ‘They sing the last lines of the song to her legs) Little bird, litle bird, In the cinnamon tree, ° Little bird, little bird, Do you sing for me? 36 MAN OF LA MANoMA Do you bring me word Of one I know? Little bird, little bird, I love her so, Little bird, little bird, I have to know, Little bird, litte bi Beneath this tre, this cinnamon tree, We learned to love, we learned to ery; For here we met and here we kissed, ‘And here one cold and moonless night we seid Oh have pity on me, Bring her back to me now "Neath the cinnamon tree, Thave waited too long axponza (Dispassionately) I spit in the milk of your ‘ttle bird” (Ghe bends over to fill the bucket from the well, -Pupno spies the letter) prpno Here, what's this? He snatches it) auponza Give it back! pepno (Fending her off) It's a letter, avponza That shows how stupid you are; it's a missive! epno Missive? (Holding it up) Who reads? 37 MAN OF LA MaNoHA Cansuxamo holds up a hand. vxono tosses him the letter, atpowza would try to rétrieve it but is held by pepno and another of the scuxzrauns) vepno CReprovingly, closing her mouth with a hand) Shhh! axponza Sons of whores! (She bites him) axseLmo (Haltingly, mispronouncing words) “Most lovely sovereign and highborn lady!" It’s from her Iknight. A love letter! avpowza. A stupid joke! anon Then why so hot about it? upno Has he touched your heart? auponza Nobody touches my heart. anseimo All these fine words. . | auponza (Snatching back the letter) Fine words. He's man, isn't he? All right, he wants what every other ‘man wants, (She picks up her buckets of water and stars off PepRo stops her) eon Hey, Aldonza. . . now? avvowza (Sullenly) Later . . . when I'm through in the Kitchen, jeu 39 (Ghe exits. ‘The neuverzuns continue singing \ -—toftly as the vapne and on. cARRAsco enter. FER: \ etna enters and crosses to them. They indicate in pantomime that she bring bow guixore 10 them. ‘She exits) 38 MAN OF LA MaNonA apne I confess I shall not know what to ay to him, pba, cannasco In that case, leave it to me, apne He may not even know usl pr. cannasco I am prepared for that contingeney. Should hae fail to recognize us... . (He is interrupted) pow oumxors (From off enters during the’Aourse of his speech) Who eth help of Don Quixote de La Mancha? Is ¢ tle beleaguered by giants? A king who lies under enchantment? An army besieged and awaiting rescue? (Surprised, he advances toward them) Why, what is this? (With cordial welcome) My friends x. cannasco (Taken aback) You know us? \ von quixors (Equally puzzled) Should a man not know his friends, Dr. Carrasco? (With great warmth, taking his hand)—Padre Peres apne (In deep relief) Ab, Sefior Quijana— vox gumore (In cool reproof) I should prefer that you address me properly. I am Don Quixote, knighterant of La Mancha, (The raone quails and sinks to a seat) pn. cannasco Seftor Quijana— pon gurxors Don Quixote. pr, cannssco There are no giants. No kings under en- chantment. No chivalry. No knights. There have been no knights for three hundred years, 39. MAN OF LA MANOHA pox guixors (To the papas, pityingly) So leamed, yet ‘0 misinformed. pr, cannasco These are facts. on quixors Facts are the enemy of truth, saxouo (Entering) Your Grace— pox gurxors (Eagerly) Well? Did she receive thes? met. (Turning away) Forgive me. I am overcome. saxcuo (To the panna and cannasco, confidentially) It's from his lady. a, cannasoo (Poticing) So there's @ woman! vox guixors A lady! (Softening) The lady Dulcinea, Her beauty is moze than human, Her quality? Perfec tion. She is the very meaning of woman... and all meaning woman has to man. ‘paons: With a sad smile) To each his Duleinea. (A happy cerolng is heard from someone approach- ing the inn) pon guixors (Hearing and turning) Someone ap- sancuo Apprehensively) os dear! He hides as quixors too conceals himself to one side) 4" MAN OF LA MANCHA panzer (Singing offstage) ~~ nde thou: Ob, I am a little barber And I go my merry way, With my razor and my leeches can always earn my pay. ‘Though your chin be smooth as satin, You will need me soon I know, For the Lord protects His barbers, ‘And He makes the stubble grow. sansen (Enters. He carries a bundle of equipment, and on his head is wearing a brass shaving basin. He sings to the seutermens) . If Islip when I'am shaving you ‘nd eu ou to the quick, fore me a knight in full armor! (He chuckles) Ridicu- lous. There aren't any knights. Coumorn roars, raising his sword, The nanos falls to his knees) I was wrong! \)* Forgive me, Your Highness, I thought I'd been touched by the sun! ox gurxors Thou wilt be touched by worse if thou dost not speedily hand over that Golden Helmet! annen Golden helmet? What? Where? (Takes the basin off, examines it) Why, this is nothing but a shaving basin! vox guixors (With fine contempt) Shaving besin. 4 sancu (Examining it) I must say, Your Grace, it does Jook like a shaving basin. panzer (Eagerly) Of course! You see, I am a barber. A wearing this on my head to ward off the rays of the sun, so that’s how Your Hlighship made the mistake of — pow guixorz Silencel (The sanoun finches and is st Tent. Impressively, to cannasco and the papns) Know thou what that really is? The Golden Helmet of Mam- Irino! When worn by one of noble heart it renders him {invulnerable to all wounds! (To the pansun) Misbegot- ten knave—where didst thou steal it? paren I didn’t steal itl oN guixors Hand it over. banner But it cost me half a crown! ox quixors Hand it over or I shall! ~ Ce takes a mighty swipe with his sword. The nan- aun yelps and tumbles out of the way, abandoning the basin which saxcono catches) saxcuo (With satisfaction) It is worth half a crown, on quixors Fool! (His face lights up; he tosses away his old casque, handling the basin with reverence and pleasure, He sings) With so illustrious a past, ‘Too long hast thou been lost to glory, ‘Th’art rediscovered now at last! e BARBER 1 can hear the cuckoo singing in the cuckooberry tree. . « saxon If he says that that’s a helmet, I suggest thot you agree. . « BARBER But hell find it is not gold and will not ‘make him bold and brave . . sancti Well, at least hell find it useful if he ever needs a shavel (sarcno and the BARBER move toward guixora who has indicated that the papas should “crown” him with the golden helmet as he kneels, Just as ‘qurxors is about to be crowned, he remembers the _sletes the coronation. AIL this has happened to the (amazement of the seuicsrreuns, the utter disbelief of the nanos, and the worshipful attendance of sancHo) 43 MAN OF LA MANOHA oN gurxors: ‘Thou Golden Helmet of Mambrino, ‘Thy deeds the world will not forget; Now Don Quixote de La Mancha ‘Will bring thee greater glory yet! Golden— oN QuIROTE ‘Tam OTHERS Helmet of Mambrino — —Helmet of Mambring, ‘There can be no ‘There can be no Hat like theel Hat like thee! Thee and I, now, Thee and he nov, "Ere I die now We can see, now Will make golden, Will make golden Historyl History! eancuo slowly drags the astounded sansun off and away from qunxors, as the MULETEERS, one yo! of them sobbing uncontrollably at the amazing "sight, drift off. The vapnia and pn, cannasco, ap- parently giving up their mission, also leave. Lights dim down and the unxenpEn enters) 1, oy Bawumemn (Surprised to find quixore alone) Your friends have departed? ox guixors (Turning on his knees) Six Castellano— I would make a confession, sewxuzren To me? ow quixore I would confess that I have never actually been dubbed a knight. awnxeuren Ob. That's bad! ox guiors And yet I am well qualified, my Jord. I am brave, courteous, bold, generous, affable and patient. 4 MAN OF LA MaNoHA mowezapan (Judiciously) Yes. . that’s the list on guixors Therefore I would beg a boon of thee. ‘would hold vigil in the chapel of thy castle, and at dawn receive from thy hand the ennobling stroke of knighthood. munxsupen Hmm, There's one small dificulty. No chapel. mnxezren (Hastily) ‘That sits being repaired. But if you wouldn't mind holding your vigil someplace else... ? Under the stars. | S nuxaeeren Now will you have some supper? ox qurxors Supper? Before a vigil? Nay, my lord, on this night I must fast and compose my sptt, apne There is either the wisest madman or the maddest ‘wise man in the world. ly)_Not necessarily, We know the id the cure. He exits) 45 hier 7 MAN OF LA MANOHA aons (Reflecting for a moment)” ‘The cure. May it be not worse than the disease. (Musi: as he sigs we will soe gmc inhi everest toh t0 his helmet; and in halflight also, axoxza in Gr aioe eid cae econ a aieiee ca = ‘Though se aught bt dame and id (The lights om the vaons dim ou S “fern 8 now poy ing back and forth, lance in S ‘hand, holding vigil over his armor) 6 Call n thing thy own exept hy, Love not whet thou art, but only what thou may became, ‘Do not pursue pleasure, for thou may have the misfortune to overtake it. Look always forward; in last year’s nest there are no bieds this year. Caxpowza has entered the courtyard en route to her rendezvous with papno. She stops, watching vox ‘ourxore and listening) Be just to all men. Be courteous to all women, Live in th wisn of that oe for whom great deeds are done . . . she that is called Duleinea, aupoxza Why do you call me that? vox ouixors (He opens his eyes) My lady! avpowza Oh, get up from there. Get up! (bow ourxors rises worshipfully) Why do you call me by that name? von guixore Because it is thine. von guixore (Shakes his head respectfully) I know thee, lady. 47 MAN OF LA MANOHA avpowza My name is Aldonza and I think you know me ot. pox gurxors All my years I have known thee. Thy vir tue. Thy nobility of spizit. axponza (Laughs scomnfully, whips the rebozo from her hhéad) "Take another look! pox guixom (Gently) I have already seen thee in my heart. ‘auponza Your heart doesn’t know much about women! ow mora I aus all my lp. They ae the sul of . the radiance that lights his way. A woman “lor! axponza (Anger masking uncertainty) What do you want of me? ox qummors Nothing, atponza Liar! on ounxors (Bows his head) I deserved the rebuke. I ask of my lady— ‘atponza Now we get to it. pox oumxors .. . that I may be allowed to serve her. ‘That I may hold her in my heart. That I may dedicate cach victory and call upon her in defeat. And if at lst I give my life I give it in the sacred name of Dulcinea. Avvonza (Draws her(rebozd about her shoulders and backs away, shaken) I must go . . . Pedro is waiting . (She pauses. Vehemently) Why do you do these things? von curmors What things, my lady? aupowza ‘These ridiculous . . . the things you dol 8 MAN OF LA MANCHA vox uixors I hope to add some measure of grace to the ‘world. auvonza The world’s a dungheap and we are maggots that crawl on it pox quixors My lady knows better in her heart, ‘axpowza What's in my heart will get me halfway to hell. ‘And you, Sefior Don Quixote—you're going to take such 1 beating! pox quixors Whether I win or lose does not matter, axponza What does? pon guixors Only that I follow the quest, Auponza (Spits in vulgar contempt) That for your ‘quest. (She turns, marches away, then stops. Music: er sty as She comes back) What doe it mean— quest? pox qurxora The mission of each true knight « duty—nay, his privilege! (He sings) DAL To dream the impossible dream, To fight the unbeatable foe, ‘To bear with unbearable sorrow, To run where the brave dare not go. To right the unrightable wrong, To try, when your arms are too, weary, To reach the unreachable sta! This is my Ques, to follow that sta, No matter how hopeless, no matter how far, To fight for the right without question ot pause, To be willing to march into hell for a heavenly cause! 49 MAN OF LA MANOA And I know, if Pl only be true to this glorious quest, That my heart wil ie peaceful and calm when Tm Iaid to my rest. ‘And the world will be better for this, ‘That one man, scorned and covered with scars, Still strove, with his last ounce of courage, To reach the unreachable stars! Auponza (Is quite still after the song. Then pleading sud- denly) Oncejust once—-would you look at me as T really am? oN qurxors (Lowering his eyes to gaze into hers) I see beauty. Purity. I see the woman each man holds se- ‘ret within him. Dulcinea. oa ‘moans in inexpressible despair, She jacks away from the steady eyes, shaking her head. She turns to run—and gasps as she collides with Papo, who has approached unseen, He grips her in fury) vupno Keep me waiting, will you? sauponza I wasn’t-I didn't— apno (Mocking ferociously) My lady. My princess! And he slaps her so that she goes spinning to the ground) ox gumxora (A roar of outrage) Monster Puro Stay clear! Pon quixors (Advancing) Thou wouldst strike a woman?l vena Stand back or I'll break your empty head! on qurxors Oh, thou heart of flint and bowels of cock! ‘Now shall I chastise thee! 50. MAN OF LA MANCHA is back on her feet, and has sheltered herself be- hind the watering-trough. saxcno comes running from the inn) pon guixors (Facing the reinforcements) Come one, come all! Don Quixote will vanquish armies! pepxo Beware the lance! axvonza (Stepping out) Let him bel pepo Back, whore! axvonz I said let him bel He's worth « thousand of you! apna (Diveed fom von mora) You wan the ae, ” ate lurches toward her. axvoxza snatches DON urxorn's sword from the watering rough, swings it a mighty ar, and the flat of the Dae sends The music fades out) st MAN OF LA MANCHA pon guixorn (Gasping but joyful) Victory sancuo Victory! axponza (Brandishing the sword) Victory! (The nvwxuurnn roused from sleep, comes rushing on, wearing nightgown and bedcap) maveceren What is this? All the noise—! (He sees the utersens where they lie groaning in an untidy heap ‘and is aghast) Oh! Oh! What dreadful thing . . . ? axponza What glorious thing! ox gurxors (Gasping) Sic Castllano—I would inform ‘auponza Oh, he is hurt! (She drops the sword and hurries to help. reanss, frightened and in nightclothes, comes running out) manta What is it? (Sees ourxors) The madman! I knew itl movcenrin Fetch bandages! Hurry! auponza (Tearing bandages from her petticoat) Poor santa (Bitterly) Poor lunatic! mEEPER Go back to bed, Maria. ‘ant I warmed you what would happen! 2 MAN OF LA MANONA annezren Go to bed. Guanaa exits haughtily, as the nexxesren hauls one of the muLErumns out of the well. po out xore stirs and moans) saxono He's coming around! on ourxore (Opens his eyes and is looking at atnonza, ‘weakly but with pleasure) Ah... might I always wake to such a vision! avpowza Don't move, saxco I must say, Your Grace, we certainly did a job cout here. pox gurxor We souted them, did we? - -sspowza Hel That bunekil be walking bowlegged for a ‘week! ow guixor (Distressed) My ladyl It is not seemly to sloat over the fallen, ‘axvowza Let 'em rot in hell! By now the last of the uteremns have been helped from the courtyard) awwxexren (Agitated, to pon quixors) Sir, am a tame and peaceful man, Please, Sic Knight-I don't like wo be inhospitable—but Tama ek yout eve 0m you are able, pox qunxors (With dignity) 1am sry to have fended the dignity of thy castle and I shall depart with daylight. But first, my Jord, I must remind thee of thy promise, INNKEEPER Promise? 53 MAN OF LA MANOHA ‘pox qurxorn True, it is not yet dawn, but I have kept, vigil and proven myself in combat. Therefore I beg thou dub me knight. nunxesven (Remembering) Orb, Certainly. Let's get it ‘over with. pox gunxore (To sanomo) Wilt be good enough to fetch my sword? (Warmly, as azvonza assists) Lady, I cannot tell thee how joyful I am that this ceremony should take place in thy presence. -axpowza (As he sways) Be careful, nov ow guixore It is a solemn moment which seals my vor cation... sasscuo hands gumore's sword to the iN: xaEPER) movxampan (Handling the sword gingerly) Are you ready? pox oumxors Iam, amvxezran Very well, then. Kneell (Music begins as DON QuiKoTs, with axDoNZa and saNcuo assisting on either side, gets down to his knees, He intones) Don Quixote de La Manchal Thereby dub thee knight. He touches him with the sword on each shoulder, then hands the sword back to saxcno and starts 40 some mention of the deeds T performed to earn this honor... ? 54 MAN OF LA MANOHA amwnzeren Oh . . . of course. (He gets the sword back (He gives the sword back to sanouo, again starts to leave) pon gumxor Your Lordship « awnxoarer (Stopping again) ne cbse? (This time sasouo hands the sword back 10 him) on gurxors It is customary to grant the new knight an added name. If Your Lordship could devise such a name forme... ? aewxzsren Hmmm. (He reflects a moment, looking at Knight of the Woefu! Countenanee! Wherever you go People will know (OF the glorious deeds of the Knight of the Woe— Ful Countenancel Farewell and good cheer, oh my brave cavalier, Ride onward to glorious strife. [swear when you're gone Il member you, ell For all of the rest of my life! ~ S1ales7y Pip Hail, Knight of the Woeful Countenance, Knight of the Woeful Countenancel ‘Wherever you g0, Face to the foe, OF LA MANcHA ‘hey will gu at the sight of the Knight of the ‘Oh valorous knight, go and fight for the right, ‘And battle ell villains that be. But ob, when you do, what will happen to you ‘Thank God I won't be there to se! awe Hal, ‘eight ef the Woeful Countenanel Knight of the Woeful Countenance! OF the elvis deed ofthe Knight ofthe Woe— Fal count—te—nancel ox qurxors (Eestatically) 1 thank thee, mnxesPEn (Handing'the sword to guzxors) Now, Sit Koviht am ging to bed: And Tavs you to do the wr te exits) aw cumaom (Selon his fees ceil) Knight of the ‘Woeful Countenance . . ‘auponzA (In tears) It's Reece sacxio Come, Your Grace. (Helping him to his feet) Let's get you to bed. pow gurxors Not yet. I owe something to my enemies, aupoxza That account's been paid! pox gurxors No, my lady. I must raise them up and min- ister to their wounds. auponza CAghast) What? 56 MAN OF LA MANOMA vox guixors Nobility demands, 1g tp the bandages) No, you wot Pi he hem Ml nites vox qunors But— auvowza (Simply) They were my enemies, too. pox ouxors (With emotion) Ob, blessed one. . . 1 ‘sancuo (Helping gurxorz) Come, Your Grace. box goons (As they ex) Blessed one! Ah, blessed Che ghia changes as ALDoNzA enters the in- terior of the Inn, The ruternens lie about the room, moaning, licking their wounds. vapno lifts Iii head as he sees her) Pepro (In a growl) What do you think you're doing? axponza (Matter-of-factly) I’m going to minister to your wounds. paoro You're . . . what? ‘auvonza Nobility demands. (Kneeling beside yosx) ‘Turn over, you poxy goat. Gosu's eyes light up with cat-and-mouse savagery as atpowzA bends over him. With a shout he seizes hes, ad theo other mutetmens pounce upon her, “se 4 sardonio version of "Little Bird” as with * MAN OF LA MANOHA avnowza. She fights back as best she can byt the fight is hopeless and she must submit, runaKaxAa en- + tors and watches, saisially gleeful over the hiu- miliation of ALDONZA. Finally paono, realizing that aunowza is uncon- scious, signals the others 10 stop. yosn slings the Drutaized axpowza over his back and the seuuz- srumns exit, carying her off. As they do so, the Tights pick up qurxors and saxcxo at another area of the stage) on guixors (Raptly) Ab, Sancho, how I do envy my enemies. saxono Envy? ox guixors To think they know the healing touch of To bear with unbearable sorrow, To run where the brave dare not gol (Off, faintly at frst, then growing, is heard the “Inquisition Theme,” guisorn falters and falls si- lent, oanvaNs, losing the character of oumoTE, L comes forward as the volume of the theme grows ~ and the setting alters back to the prison. The Pmisonuns are immobile, cocking their heads to listen) counvawrus (Uncertainly) ‘That sound. . . ? 8 MAN OF LA MANOHA vam covenvon The Men of the Inquisition. cunvanris What does it mean? | © pnusonun ‘They're coming to fetch someone, 2 — Paisoxen They'll haul him off—put the question to him, 2 —pmsowsn Next thing he knows—he’s burning! ccunvaveres Are they coming for me?. > sm puns Very possibly What, Cervanisd Not afraid? Geunvanerus “shakes> his head dumbly. Mockingly) haul him up the stairs. cunvawrEs sinks to a bench, faintly. The "Inquisition Theme” recedes, fading as the ‘stairway is withdrawn, uz covennon snaps his fin- {gers at a Pnusorean, who brings a goatskin of wine, hands it to cenvaseres, who takes it with trembling hands aud drinks deeply) ‘11 covennon Better? cunvanrss (Faintly) ‘Thank you. . MAN OF LA MANCHA ‘nim covenson Good, le’s get on with your defense! ccunvanrs If I might rest a moment... « sme puke (With tolerant contempt) ‘This La Mancha what is it like? ‘raz covsrwon An empty place. Great wide plains. * — prisoner A desert. ‘num covenon A wasteland. ‘mum pus Which apparently grows lunatics. cenvanrss I would say, rather. . . men of illusion, mm puxe Much the same. Why are you poets so fasci- nated with madmen? ccenvawris I suppose. . . we have much in common. ‘nm pure You both turn your backs on life, ccunvancrus We both select from life what pleases us. ‘rm pusn A man must come to terms with life os it isl eaves The lived ney fity years, and Ihave sen + or die tree slowly under te lh in Asc T have hl them in my arms at the final moment. These were men who fusion, whimpeting the question: "Why?” I do not think they asked why they were dying, but why they had lived. (He rises, and through the following speech moves into 60 MAN OF LA MANOMA _ the character of pox gurxors as a musical underseore and change of setting begin) When life itself seems’ lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams—this may be madness. To seek treasure where there is only trash. Too much sanity may be madness.-And maddest of all, to see life as it is and not as it should be. (The music has stated the “I Am I, Don Quixote” theme thinly during the preceding speech, and the prison and prasonsns have disappeered. canvanrss is isolated in limbo; the horses” have appeared. The lights change) DON guixor (Singing) Tam I, Don Quixote, The Lord of La Manche, Destroyer of evil am I, Twill march to the sound of the trumpets of glory, Forever to conquer or die! sawono I don’t understand. ow guixors What, my friend? saxcnio Why you're so cheerful. First you find your lady, then you lose her. pon quixors Never lost! saxcno Well, she ran off with those mule drivers . .. ? por guixor Ab, but undoubtedly with some high pur- pose. saxcno High purpose with those low characters? pow guixors Sancho, Sancho, always thine eye sees evil in preference to good. 61 peasant mind again. le young Innocent approeches. The git dances lsciok \ ously as her prep encourages her, whining a nasal ob- Dligato) Charming! ‘sancuo (In protest) But she's a trollop, and he—why he's nothing but aI vox gummors Have done with these foul suspicions! Dost sancuo I think I know what she wilt! (The cmt seizes one of quixors’s hands and presses it to her right breast) vox guixors She wishes me to feel the beating of her wy) heart. And such is her innocence she does not even know where it is. (The cr. seizes qurxorn’s other hand and presses it to her other breast) ‘sac (Cynically) Or even how many she has! (The a1oons dance and wail; the erate caterwauls, eating his breast) 62 MAN OF LA MANCHA on oumxors (Listening grayely) Much as I surmised. saxcno Whats he saying? pon gurxors A most grievous tale. The noble Sidi ben da al awh cei a ere i See stecl everything in sight, ‘alee the “horses” eumorn and sanono finally fall, exhausted but MAN OF LA MANOHA sancuo's bugle. He stops and turns a haunted face toward the goes. MARIA comes crashing from the inn) sana (A shrck) Don't open the gates! Don't let him numer (His face clearing) Its the pigbutcher, Don’t you remember? We expected him yesterday. santa No, nol Don't opent ~ (The mexmaven goes to the gotes as qurxors and SANCHO appear, supporting each other. MAnIA sereams and runs off) aynxeeren Not agein? (Trying to bar the way) This place is closed. This castle has gone out of business! pon gurxors (Feeble but stern) What, sir? Deny the right of sanctuary?” mavaeeren I hate to, but— pow guixors And to a knight dubbed by thy own band? aenxezren (Wavering) It doesn’t seem right. . « pon guixore Not by any rule of chivalry! “(The wexxesrmn, yielding with a sigh, allows them fo enter. quixors and saNcHo totter into the court yard—footsore and in very bad shape, The xxw- xxzEPER looks them over) TNNKEEPER More muleteers? sancuo (Hollowly) Moors. They stole our money. von ounors Have done, Sancho. saxcuo They stole our animals, 6 MAN OF LA MANOHA pon gurxore Must thou harp on it? saxcuo They stole everything we had. mvxnran (With pity) Why don't you declare a truce? ox gurxore And allow wickedness to flourish? wnnaneun I'm afraid wickedness wears thick armor, (Cn the background, unseen by the three, sxpoxza enters) ow guixorn (Roused) And for that wouldst thou have ime surrender? Nay, let a man be overthrown ten thou- sand times, still must he rise and agein do battle. The Enchanter may confuse the outcome, but the effort re- ‘mains sublime! iv -axvonza (Bitterly) Lies Madness and les. mxsuran (Horrfied at her bruises, her tattered rags) Aldonzal What happened? axpowza Ask him. xmunxanpan (Calling as he exits) Marial Merial pow ourxors (Rising, aghast) I shall punish them that did this crime, axponza_ Crime! You know the worst cime ofall? Being born. For that you get punished your whole lifel ox gunxore Duleines— aupowzs Enough of that! Get yourself to a-madhouse. Rave about nobility where no one can hear! on guixors My lady— axvonza (Pas Lam mot your lady! I am not any kind of a lady! (Singing) 65 MAN OF LA MANCHA Twas spawned in a ditch by a mother who left me ‘Naked and cold and too hungry to ery; Tnnever blamed her, in sure she left hoping That I have the good sense to diel ‘Then, ct eos there's my father—I'm told that Can point o thee Fathers with maidenly pide; ‘Mine was some regiment here for an hour, 1 can't even tell you which side! So of course I became, as befitted my delicate birth, ‘The most casual bride of the murdering scum of the earth! vor quixors And still chou art my lady, acponza And still he térments me! Lady! How should 1 be a lady? (Singing) For a lady has modest and maidenly airs And a virtue I somehow suspect that I Tack; It's hard to remember those maidenly airs Ina stable laid flat on your back. Won' you lick at ms lok at me, God, wet you Took Look tthe kitchen sa seeking of sweat! Bom on a dungheap to die on a dungheap, AA strumpet men use and forget! JF you fed that you ee me not quite at my vipa Car Ree ree ingly show you. the rest! ow guuxor: (Tenderly) Never deny, thou art Dulcinea. 6 MAN OF LA MANCHA auponza (Ever more frantically) Take the clouds from oF all the cruel bastards who've badgered and bat- tered me, ‘You are the cruelest of alll Can't you see what your gentle insanities do to me? Rob me of anger and give me despail Blows and abuse T can take and give back again, ‘Tenderness I cannot bear! So please torture me now with your “Sweet Dule- ‘neas” no morel Tam no one! I'm nothing! I'm only-Aldonza the whore! vox ouxors Now and forever thou art my lady Dul- neal axpoxza (A wail) Noool She collapses, despairing. vox qurxore moves to- in quality, sawcmo scurries to look, then backs away from what he sees) saxon (Choking with fear) Master Music continues as the gat capa spring, grea plomey, comniating, what MAN OF LA MANoHA seems already incredible stature. In his hand is a naked, shining sword. The music euts as the caval- cade comes to a halt) 4) Xeicur oF rug stunnons (His woice harsh, clangorous) Is 77 there one here calls himself Don Quixote de La Mancha? If there is~and he be not afraid to look upon me—let hhim stand forth ow urxors (At length, voice shaking) Iam Don Quik xote, Knight of the Woeful Countenance, er Nag eepeelad mele within the casque) Now hear me, thou charlatan! ~ ‘Thou art no knight, but a foolish pretender. Thy pre- tense is a child's mockery, and thy principles dirt be- neath my feet! pow oumxors (Trembling with anger) Oh, false knight! ) Discourteous! Before I chastise thee, tell me thy name, (© — sqacir or rem xemnoss ‘Thou shalt hear tin due course, pox quixors Then say why thou seekest me out! ((/ ~ saucer of rm acanons (Mockingly) ‘Thou called upon ‘me, Don Quixote, Thou reviled me and threatened, ox quimors The Enchanter! (A moan from saxcuo,

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