- PERUSAL PACK -
Book by ALEXANDER DINELARIS
Music & Lyrics by
GLORIA and EMILIO ESTEFAN
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3/15/17
ON YOUR FEET
Character Ranges
JOSE
œ
V
#œ
LINEDY
&
bœ
EMILIO
#œ
nœ
rp
ro
TR
ot
fo
www.theatricalrights.com
N
nœ
n
nœ
W
V
&
nœ
nœ
nœ
io
bœ
GLORIA F
bœ
V
ct
&
nœ
du
REBECCA
nœ
OLD MAN
sa
l
nœ
&
Pe
&
nœ
LITTLE GLORIA
ru
GLORIA
ot
N
rp
fo
Pe
n
sa
l
ru
io
ct
du
ro
W
TR
On Your Feet
Scenes, Characters, Musical Numbers, and Pages
Act One
sa
l
Washington, DC - 1990.....................................2
Gloria, Emilio, Nayib, Lori, Stage Manager,
Band, Ensemble
#1 Overture [Rhythm Is Gonna Get You]
(Gloria, Ensemble)
n
ru
Vietnam – 1966............................................5
Little Gloria, José Fajardo, Three Soldiers
io
ct
Pe
#2 Cuando Salí De Cuba [When I Left Cuba]
(Little Gloria, José)
W
du
The Barracks—Miami 1966...................................7
Little Gloria, Old Man, Gloria Fajardo, Consuelo,
Sonia, Augustina, Belen, Ensemble
ro
TR
#3 Tradición (Little Gloria, Old Man, Gloria,
Ensemble)
#3A Tradición Playoff (Instrumental)
rp
Fajardo Apartment (Exterior).............................13
Emilio, Gloria Fajardo, Consuelo, Gloria,
Rebecca
fo
Emilio’s Apartment.......................................20
Emilio, Kiki, Marquito, Gloria, Rebecca,
Gloria Fajardo, Consuelo, Friends
N
ot
#3B Emilio’s Apartment [Si Señor] (Emilio, Kiki,
Marquito)
#4 Anything For You (Gloria, Rebecca)
#4A Anything For You Playoff (Instrumental)
Fajardo Living Room......................................25
Gloria Fajardo, José
#4B 1-2-3 Rehearsal (Gloria Fajardo)
sa
l
Emilio’s Garage..........................................26
Gloria, Kenny, Emilio, Kiki, Marquito, Rebecca,
Linedy, Omar, Dancers, Backup Singers
n
ru
(#4B 1-2-3 Rehearsal cont’d.) (Instrumental)
#5 1-2-3 (Gloria, Rebecca, Linedy, Backup Singers)
#5A 1-2-3 Playoff (Instrumental)
#6 I See Your Smile (Emilio, Gloria, Omar, Linedy)
ct
Pe
io
Fajardo Kitchen..........................................34
Gloria Fajardo, Consuelo, Rebecca, Gloria
Lounge--Havana...........................................38
Gloria Fajardo, Consuelo, José, Backup Singers
ro
TR
W
du
#7 Mi Tierra (Gloria Fajardo, Backup Singers,
Ensemble)
#7A Mi Tierra Playoff (Instrumental)
rp
Phil’s Office--NYC.......................................42
Gloria, Emilio, Phil
Mexican Restaurant.......................................46
Gloria, Emilio, Rebecca, Host,
Three Guitarristas, Two Backup Singers)
ot
fo
#8 Con Los Años Que Me Quedan (Three Guitarristas)
#9 Here We Are (Gloria, Emilio, Guitarristas,
Backup Singers)
N
Promoting “Dr. Beat”.....................................53
Gloria, Kenny, Emilio, Marquito, Elena,
Genny, Linedy, Club Promoters, Consuelo,
Big Paquito, Dancers, Two Backup Singers
#10 Dr. Beat (Gloria, Genny, Linedy, Backup Singers)
José Fajardo’s Bedroom...................................58
Gloria, José, Young José
#11 When Someone Comes Into Your Life (José, Gloria)
sa
l
Kiki On Drums............................................60
Gloria, Kiki, Emilio, Chris,
American DJ, Latin DJ
n
ru
#11A Before Conga (Gloria, Kiki)
#12 Conga (Off-Stage Vocals)
ct
Pe
io
Phil’s Office Door.......................................64
Emilio, Phil
Bar Mitzvah..............................................65
Gloria, Bar Mitzvah Boy, Boy’s Mother, Ensemble
W
du
(#12 Conga cont’d) (Gloria & Ensemble)
ro
TR
Phil’s Office Door.......................................65
Emilio, Phil
rp
Italian Wedding..........................................66
Gloria, Italian Bride, Bridesmaids, Female Ensemble
(#12 Conga cont’d) (Gloria & Ensemble)
fo
Phil’s Office Door.......................................67
Emilio, Phil, Phil’s Wife (O.S)
ot
Las Vegas................................................68
Gloria, Emilio, Phil, Italian Bride, Ensemble
N
(#12 Conga cont’d) (Gloria & Ensemble)
Act Two
Executive’s Office--NYC..................................70
Gloria, Emilio, Phil, Warren, Consuelo, Band,
Two Backup Singers, Two Fans, Backup Dancers,
Radio DJ, Ensemble
Pe
n
io
ru
sa
l
#13 Entr’Acte--Medley
Conga (Off-Stage Vocals, Gloria, Two Backup
Singers, Ensemble)
Get On Your Feet (Gloria, Ensemble)
Live For Loving You (Gloria, Ensemble)
Party Time (Gloria, Emilio, Ensemble)
Comin’ Down (Gloria, Emilio, Ensemble)
Party Time Get Down (Gloria, Emilio,
Ensemble)
#13A Entr’Acte Playoff (Ensemble)
ct
Fajardo Kitchen..........................................77
Gloria, Emilio, Gloria Fajardo
W
du
Wembley Arena—London, England,...........................80
Gloria, Two Backup Singers, Ensemble
ro
TR
#14 World Tour Medley
Oye Mi Canto (Gloria, Two Backup Singers,
Ensemble)
rp
Barajas Airport—Madrid, Spain............................81
Gloria, Emilio, Rebecca, Nena, Antonio,
Young Emilio, Announcer, Tenor (O.S.)
fo
(#14 World Tour Medley cont’d.)
Curioso Destino (Offstage Tenor)
ot
Kennedy Center—Washington, DC............................83
Gloria, Ensemble
N
(#14 World Tour Medley cont’d.)
Cuba Libre (Gloria, Ensemble)
#14A World Tour Playoff (Ensemble)
Gloria’s Dressing Room – Washington, DC..................85
Gloria, Emilio, Dresser
Fajardo Kitchen.........................................87
Gloria Fajardo (V.O.), Gloria
sa
l
#15 Famous (Gloria)
Tour Bus................................................88
Gloria, Emilio, Lori, Nayib
io
n
ru
(#15 Famous cont’d.) (Gloria)
#15A Bus Crash (Instrumental)
ct
Pe
Hospital Room...........................................89
Gloria, Emilio, Dr. Neuwirth, Rebecca,
Nayib, Gloria Fajardo, Nurse
W
du
#16 If I Never Got To Tell You (Gloria Fajardo,
Emilio)
ro
TR
Going Into Surgery.......................................95
Newscaster (V.O.)
rp
Surgery Dream............................................96
Gloria, Little Gloria, José, Emilio, Ensemble
fo
#17 Wrapped (Gloria, Little Gloria, José, Emilio,
Ensemble)
ot
Post-Surgery............................................98
Gloria, Gloria Fajardo
N
Hospital Press Conference..............................100
Dr. Neuwirth, Three Reporters, Host (V.O.)
#17A Jacques Cousteau Nouvelle (Instrumental)
Estefan Gym............................................101
Gloria, Robin, Emilio, Rebecca, Rachel, Marcello,
Lucia, Amelia, Linedy, Yassmin, Henry, Omar,
Genny, David, Doreen, Ensemble
sa
l
#18 Don’t Wanna Lose You (Emilio, Ensemble)
#19 Reach (Linedy, Yassmin, Henry, Omar, Genny,
David, Doreen, Ensemble)
io
#20 Coming Out Of The Dark (Gloria, Emilio, Ensemble)
n
ru
The American Music Awards...............................111
Gloria, Emilio, Ensemble
Pe
Bows....................................................114
N
ot
fo
rp
ro
TR
#22 Exit Music (Instrumental)
du
W
ct
#21 Megamix
(Gloria, Emilio, Little Gloria, Gloria Fajardo,
Consuelo, José, Rebecca, Eliseo, Lee, Genny,
Eric, Alma, Andrea, Josh, Ana, Kids, Ensemble)
sa
l
rp
ro
Music & Lyrics by
Gloria and Emilio Estefan
N
ot
fo
TR
W
n
du
Book by
Alexander Dinelaris
ct
Pe
io
ru
ON YOUR FEET
ACT ONE
WASHINGTON, DC--1990
#1 OVERTURE (RHYTHM IS GONNA GET YOU)
(eyes on the stage)
n
ro
TR
Uh-huh.
NAYIB
du
W
EMILIO
(eyes on the stage)
Papí, did you finish your homework?
ct
Pe
(with an explosion of light and sound, the
BAND is revealed on stage, the rhythm
catches hold, and we are at a full blown
Gloria Estefan concert...transition into a
backstage area...EMILIO, NAYIB, and LORI
watch the opening from the wings)
io
ru
sa
l
GLORIA
(offstage)
AT NIGHT
WHEN YOU TURN OFF ALL THE LIGHTS
THERE’S NO PLACE THAT YOU CAN HIDE
OH NO THE RHYTHM IS GONNA GET YOU
EMILIO
rp
You finished?
NAYIB
Uh-huh.
fo
EMILIO
Okay, good.
(a pause)
You didn’t finish.
ot
NAYIB
Not yet. I just want to see the end of the--
N
EMILIO
Get back on the bus and finish your homework.
NAYIB
Yeah. In a minute.
2
(GLORIA appears, followed by her DRESSER as
she prepares to make her grand entrance)
Mom, you look great!
NAYIB (CONT’D)
sa
l
GLORIA
Thanks, sweetie. Did you finish your homework?
NAYIB
Not yet. I wanted to see the end of the show--
n
ru
GLORIA
Get your butt on that bus right now and finish.
Pe
Okay.
io
NAYIB
ct
GLORIA
Okay.
TR
ro
EMILIO
(calling to NAYIB)
Really...?
(to GLORIA)
I told him three times.
du
W
(NAYIB marches off with LORI)
GLORIA
rp
It’s the accent.
STAGE MANAGER
Gloria, back in two minutes.
ot
fo
EMILIO
Hey. You remember when I told you that after we met with the
President and did the show, we could take the bus straight up to
Syracuse?
GLORIA
N
(sees it coming)
Oh, God. What?
EMILIO
Yeah. We can’t take the bus straight up to Syracuse.
3
GLORIA
Emilio...
EMILIO
We just got invited to a private dinner for Sony.
GLORIA
sa
l
No. When?
io
ru
GLORIA
It’s my one night off. I’m exhausted. I can’t even--just tell
them we can’t go.
n
EMILIO
Tomorrow night. We head to New York right after the show.
ct
Pe
EMILIO
Baby, listen...it’s too big. We have to at least make an
appearance.
W
(a beat)
You’re gonna make me go.
ro
TR
Gloria...
STAGE MANAGER
(offering her the mic)
du
GLORIA
EMILIO
rp
I’m gonna make you go.
GLORIA
Fine.
fo
(to the STAGE MANAGER as she takes the mic)
Thanks, T.
(a beat...to EMILIO)
I hate you.
ot
EMILIO
I know.
GLORIA
N
(calling back)
I love you.
EMILIO
(calling after her)
I know!
4
(GLORIA is whisked away and the “backstage”
disappears)
MALE 1
OH EH OH EH
MALE ENSEMBLE
OH EH OH EH
OH EH OH AH
sa
l
OH EH OH AH
n
YAH
du
YEH
OH
GOH
EH OH AH
W
AH
io
Pe
OH EH OH
MALE & FEMALE ENSEMBLE
YAH YEH
OH
GOH
EH OH AH
ct
ru
OH EH OH EH
ro
TR
(music and dance...the concert builds to a
rousing suspenseful opening...at its height,
GLORIA appears)
GLORIA (V.O.)
Are you ready to party? ¿Dondé esta mi gente?
fo
VIETNAM--1966
rp
(GLORIA freezes in silhouette...the sound of
an acoustic guitar...LITTLE GLORIA appears
singing while playing her guitar...we
transition to...)
#2 CUANDO SALÍ DE CUBA (WHEN I LEFT CUBA)
ot
LITTLE GLORIA
N
NUNCA PODRÉ MORIRME
MI CORAZÓN NO LO TENGO AQUÍ
(the lights come up on barracks cot, where
JOSÉ FAJARDO, GLORIA’s father, listens to a
tape recorder)
5
sa
l
LITTLE GLORIA (CONT’D)
ALGUIÉN ME ESTÁ ESPERANDO
ME ESTÁ AGUARDANDO QUE VUELVA AQUÍ
CUANDO SALÍ DE CUBA
DEJÉ MI VIDA DEJÉ MI AMOR
CUANDO SALÍ DE CUBA
DEJÉ ENTERRADO MI CORAZÓN
(a few SOLDIERS in American military
uniforms enter and gather around with JOSÉ
listening to LITTLE GLORIA sing)
n
ru
SOLDIER #1
Your little girl sounds great, man.
du
W
(they all look at SOLDIER #3)
io
SOLDIER #3
Tell her to do some Diana Ross next time.
ct
Pe
SOLDIER #2
Beautiful, José. Really beautiful.
SOLDIER #3 (CONT’D)
What? I don’t speak Cuban.
ro
TR
SOLDIER #2
Spanish.
SOLDIER #3
rp
Whatever.
JOSÉ
Do you guys mind?
Let’s go. Out.
fo
SOLDIER #2
ot
(the other SOLDIERS exit)
N
SOLDIER #2 (CONT’D)
You’ll be home soon, Captain.
JOSÉ
Yeah.
(SOLDIER #2 exits leaving JOSÉ with the
recorder)
6
LITTLE GLORIA
CUANDO SALÍ DE CUBA
LITTLE GLORIA & JOSE
DEJÉ ENTERRADO MI CORAZÓN
sa
l
(JOSÉ stops the tape recorder...he begins to
record a message for his daughter...as he
begins to speak, LITTLE GLORIA appears,
listening to her father on her tape
recorder, which sits on the basket of
laundry she carries)
ct
Pe
io
n
ru
JOSÉ
Gloria Maria, you are playing and singing so beautifully.
Hearing your voice feels like having you right here next to me.
I play your songs for my friends and you should...you have to
see their faces when they listen to you. The smiles. Your voice
brings joy to a place even as dark as Vietnam.
W
du
(the lights fade on JOSÉ and his voice is
now a scratchy recording coming from LITTLE
GLORIA’s tape recorder)
rp
ro
TR
JOSÉ (V.O.)
You’re a born artist, my angel. And one day you’re going to be a
big star! I can’t wait to come home so I can see you. Tell your
sister that I love her, okay? And tell everybody back in Miami
that I miss them. Tonight, before you go to bed, you give your
mamí a big kiss for me. But a strong one, okay? I love you very
much.
fo
(LITTLE GLORIA, a bit sad, stops the
recorder, ejects the cassette tape and puts
it in her pocket...she picks up the laundry
basket)
N
ot
THE BARRACKS--MIAMI 1966
(drab and industrial looking housing
projects... more WOMEN than MEN, the WOMEN
wash clothes in a huge communal sink, hang
other clothing to dry and carry things to
and fro...a few MEN, some elderly and some
younger, depressed, who would much rather be
working, sit around...an OLD MAN sits and
fans himself in a chair)
OLD MAN
Glorita! Regálanos una canción.
7
I have to do the washing.
LITTLE GLORIA
OLD MAN
It’s a grey day here in Miami. Bring back the sun. Sing. A
güangüanco!
sa
l
LITTLE GLORIA
I can’t. I have to--
n
ru
#3 TRADICIÓN
Pe
io
OLD MAN
(singing insistently)
BA-LA-LA-LA-LA-LA-LA-LA-LA
LA-LA-LA-LA-LA-LA-LA-LA-LA
du
ro
TR
W
LITTLE GLORIA
JOYFUL MUSIC FOR THE WORLD
FROM MY HOME IT’S CONTRIBUTION
AND WHEREVER IT BEGAN
IT HAS SPREAD FROM HAND TO HAND
TO START A RHYTHM REVOLUTION
ct
(LITTLE GLORIA can’t resist)
rp
(seemingly at once GLORIA’S MOTHER, her
grandmother CONSUELO and two other women,
SONIA and AUGUSTINA flood the stage, all
carrying laundry and other bags of
stuff...over the following they keep busy
sorting change, making lists, etc.)
WA-LA-LA-LA
WA-LA-LA-LA
WA-LA-LA-LA
fo
OLD MAN
N
ot
LITTLE GLORIA
JOYFUL MUSIC FOR THE WORLD
GLORIA FAJARDO
(interrupting)
What are you doing?
8
LITTLE GLORIA
I was just...
GLORIA FAJARDO
There’s no time for singing right now.
sa
l
CONSUELO
(kissing GLORIA’s head)
You sound beautiful.
LITTLE GLORIA
ru
Hi, Grandma.
io
n
GLORIA FAJARDO
Where’s your sister?
Pe
LITTLE GLORIA
SONIA
W
CONSUELO
We have enough.
ro
TR
Did you give her lunch?
GLORIA FAJARDO
du
Do you have enough detergent?
ct
Taking a nap.
LITTLE GLORIA
rp
Yes.
SONIA
Enough detergent for all of us?
fo
CONSUELO
We have enough.
GLORIA FAJARDO
ot
And your homework?
LITTLE GLORIA
Finished.
N
SONIA
Porqué last time we used all my detergent.
9
AUGUSTINA
Pero, ay coño! Enough with the detergent! They say they have
enough, they have enough. Stop talking about detergent! Stop
saying detergent!!!
(they all look at AUGUSTINA)
sa
l
I’m hungry.
(a beat...music back in)
ru
Pe
io
CONSUELO
Gloria, Belen wants to know if she can come with us to the
supermarket.
n
GLORIA FAJARDO
¡Vamanos!
ct
GLORIA FAJARDO
Tell her we don’t have enough room in the car. Tell her...
CONSUELO
W
du
She won’t be able to wait.
ro
TR
GLORIA FAJARDO
Listen. Tell her to make a list. We’ll bring back whatever she
needs. Go ahead.
(CONSUELO crosses to BELEN)
rp
GLORIA FAJARDO (CONT’D)
Glorita, wash those in the big sink. Use the bleach but not too
much.
LITTLE GLORIA
fo
Okay.
ot
GLORIA FAJARDO
And don’t let your sister sleep too long; we’ll never get her to
bed tonight.
LITTLE GLORIA
N
Yes, Mamí.
GLORIA FAJARDO
(kisses LITTLE GLORIA’s forehead)
That’s my girl.
10
GLORIA FAJARDO (CONT’D)
Let’s go.
(to SONIA)
sa
l
SONIA
(to LITTLE GLORIA)
I wish my daughter Carmen was more like you. You’re an angel.
Carmen’s an idiot.
(the LADIES exit...CONSUELO crosses to
LITTLE GLORIA)
io
n
ru
OLD MAN
Pe
CONSUELO
Practice your guitar.
LITTLE GLORIA
¡Bye, Abuela!
du
W
(CONSUELO kisses GLORIA’s forehead and
exits)
ct
(singing)
WA-LA-LA-LA
WA-LA-LA-LA
WA-LA-LA-LA
rp
(singing)
BA-LA-LA-LA-LA-LA-LA-LA-LA
LA-LA-LA-LA-LA-LA-LA-LA-LA
ro
TR
OLD MAN
Washing cleans the clothes. Music cleans the soul. Por favor,
Glorita. One song. Una canción. Eh?
fo
(GLORIA looks at him...he smiles a devious
smile...she turns and looks for her
MOTHER...she turns back to him and smiles a
rebellious smile)
ot
LITTLE GLORIA
JOYFUL MUSIC FOR THE WORLD
WILL BE OUR RESPONSIBILITY
N
LITTLE GLORIA & 1 WOMAN
TO SHARE WITH THE WORLD OUR SONG
OUR STORY TO PASS ALONG
AND OUR TRADITIONS CARRY ON
11
(with a flourish, it explodes on us...
everyone begins to join in...as the song
progresses, we see a drab compound come to
life with the spirit and resilience of a
people whose heritage is proud and intact)
ENSEMBLE
QUE SIGA LA TRADICIÓN
sa
l
LITTLE GLORIA
QUE SIGA QUE SIGA LA TRADICIÓN
QUE SIGA LA TRADICIÓN
DE MI CUBA TE LO TRAIGO YO
QUE SIGA LA TRADICIÓN
n
ru
ES MI
io
Pe
LITTLE GLORIA & OLD MAN
GÜAGÜANCO GÜAGÜANCO GÜAGÜANCO
ENSEMBLE
QUE SIGA LA TRADICIÓN
PARA QUE SIGA QUE SIGA LA TRADICIÓN
ct
LITTLE GLORIA
ro
TR
W
du
(music and dance...clothes being waved in
the air...LITTLE GLORIA dances in the middle
of it all...during the instrumental, LITTLE
GLORIA is swallowed up by the DANCERS...
when they break, LITTLE GLORIA is replaced
by a 17-year-old GLORIA who finishes the
song)
ENSEMBLE
QUE SIGA LA TRADICIÓN
TRADITION TRADITION
TO CARRY ON
rp
GLORIA
IT’S MY
fo
FROM MY SONG
MY CUBA’S NEVER GONE
QUE SIGA LA TRADICIÓN
QUE SIGA LA TRADICIÓN
ot
GLORIA & OLD MAN
GÜAGÜANCO GÜAGÜANCO GÜAGÜANCO
N
GLORIA
ENSEMBLE
QUE SIGA LA TRADICIÓN
BECAUSE TRADITION TRADITION
TO CARRY ON
QUE SIGA LA TRADICIÓN
12
GLORIA (CONT’D)
MY BEAUTIFUL CUBA
MI
CUBITA BELLA
I PRAY THAT YOUR STAR SHINES
FOREVER
WITHIN US
MY BEAUTIFUL CUBA
MI CUBITA
BELLA
QUE SIGA
sa
l
QUE SIGA LA TRADICIÓN
QUE SIGA
TRADITION TRADITION
TRADITION TO CARRY ON
QUE SIGA LA TRADICIÓN
SO THAT OUR LOVE
FOR THE COUNTRY
QUE SIGA
du
W
io
Pe
SO THAT WE NEVER FORGET IT
ENSEMBLE
QUE SIGA LA TRADICIÓN
ct
GLORIA
n
QUE SIGA
ru
(music and dance)
ENSEMBLE (CONT’D)
LIVES NOW AND FOREVER
QUE SIGA LA TRADICIÓN
ro
TR
GLORIA & ENSEMBLE
rp
QUE SIGA
QUE SIGA
#3A TRADICIÓN PLAYOFF
fo
(as the song finishes, the mood has
changed...ALL exit)
N
ot
FAJARDO APARTMENT (EXTERIOR)
(EMILIO enters looking lost and stares at a
piece of paper in his hand...he wears tight,
white shorts and sunglasses and has an
accordion slung over his shoulder...as
GLORIA FAJARDO sweeps the stoop, she notices
EMILIO)
Can I help you?
GLORIA FAJARDO
13
EMILIO
Gloria Fajardo?
GLORIA FAJARDO
Yes.
EMILIO
sa
l
She lives here?
GLORIA FAJARDO
Yes.
n
Can I speak with her?
ru
EMILIO
Pe
io
GLORIA FAJARDO
You are speaking with her.
ct
EMILIO
That’s not possible.
W
EMILIO
ro
TR
Because you’re old.
du
GLORIA FAJARDO
Why is that?
GLORIA FAJARDO
Excuse me?
rp
EMILIO
My friend from work said to come talk to Gloria Fajardo about
the music business. That maybe she wanted to sing in a band or
something. But he said that she was young... and pretty.
fo
(GLORIA FAJARDO raises her broom)
ot
EMILIO (CONT’D)
No! I didn’t mean pretty! Cause you’re pretty! Entiendes...la
cosa es que tu eres tan bella... I got confused...
N
(CONSUELO rushes to the door and takes the
broom from GLORIA FAJARDO)
Frank Alvarez sent you?
CONSUELO
14
EMILIO
Yes. I’m supposed to consort with Gloria.
GLORIA FAJARDO
Qué?
sa
l
CONSUELO
You mean consult.
EMILIO
Uh-huh and what did I say?
You said consort.
n
ru
CONSUELO
Pe
That’s different.
io
EMILIO
ct
CONSUELO
Yes.
EMILIO
W
du
Okay.
ro
TR
CONSUELO
You’re Emilio Estefan. You play music with the Miami Latin
Boys...
EMILIO
rp
It’s my band.
CONSUELO
I’m Consuelo. Glorita is my granddaughter. This is her mother,
my daughter, Gloria.
Que casualidad.
fo
EMILIO
GLORIA FAJARDO
N
ot
Yes. What a casualty.
(screaming)
Glorita!!!!
EMILIO
(to GLORIA FAJARDO)
It’s nice to meet you.
15
GLORIA FAJARDO
Really?
(GLORIA FAJARDO exits into the apartment)
sa
l
CONSUELO
Glorita loves to write music. And she has a beautiful voice. I
was hoping maybe you could say a thing or two, to encourage her.
EMILIO
Okay.
n
ru
CONSUELO
Who knows? Maybe she can sing for your band.
io
EMILIO
CONSUELO
W
du
(politely)
For now.
ct
Pe
(politely)
We’re called the Miami Latin Boys.
(GLORIA and REBECCA appear at the doorway)
ro
TR
CONSUELO (CONT’D)
Ah! Here she is! Gloria Maria, this is Emilio Estefan. He plays
music with the Miami Latin Boys.
REBECCA
rp
(stepping forward)
I’m Rebecca.
EMILIO
fo
It’s a pleasure to meet you.
(CONSUELO pulls REBECCA back)
ot
EMILIO (CONT’D)
(to GLORIA)
So, your grandmother tells me you want to become a professional
songwriter?
N
GLORIA
Oh, is that what she tells you?
(looks at CONSUELO)
I’m actually studying to become a psychologist.
16
EMILIO
Really?
But she loves her guitar.
CONSUELO
EMILIO
sa
l
Is that right?
ru
GLORIA
I mean. I guess. I just...yeah. I love to write music...and
sing.
Pe
io
n
EMILIO
(challenging her)
As much as you love psychology?
ct
(a beat)
(REBECCA exits into the house)
du
W
CONSUELO
Rebecca, go get your sister’s guitar so she can play one of the
songs she’s written.
ro
TR
EMILIO
No. That’s okay. Listen, we practice at my house on Tuesday
nights. Why don’t you come by next week and play one of your
songs for us?
rp
GLORIA
Tuesday’s no good. I have class, then work. And after that I
have to...
fo
CONSUELO
Yes.
GLORIA
N
Yes.
ot
Abuela...
CONSUELO
EMILIO
Gloria?
17
CONSUELO
(to GLORIA)
Say yes.
GLORIA
Fine.
sa
l
CONSUELO
She said fine. That means yes.
EMILIO
ru
Alright. I’ll see you then.
io
Pe
CONSUELO
ct
Terrible shorts.
(a beat)
Nice culo.
W
CONSUELO
ro
TR
What did I say?
du
GLORIA
¡Abuela!
n
(EMILIO smiles and walks away...the LADIES
watch him go)
(a beat)
rp
GLORIA
What if he thinks I’m terrible?
CONSUELO
He won’t.
fo
GLORIA
He’s a professional.
CONSUELO
ot
He plays weddings.
GLORIA
N
He gets paid.
In chicken and rice.
CONSUELO
18
GLORIA
Still...
CONSUELO
Glorita...
sa
l
GLORIA
I’m afraid. What if I get nervous? I won’t know anyone there.
ru
CONSUELO
Why should you be afraid? You won’t be alone. We’ll be there
with you.
n
GLORIA
io
I don’t like the attention.
ct
Pe
CONSUELO
I know. But you better get used to it. Because this is what
you’re meant to do. You just don’t know it yet.
GLORIA
W
du
What’s that supposed to mean?
ro
TR
CONSUELO
Look at me.
(holding her face)
I would do anything for you. You know that. Anything. Eh?
GLORIA
rp
Of course.
GLORIA
N
Okay.
ot
fo
CONSUELO
You’re seventeen years old, and you spend your days nursing a
father with multiple sclerosis and playing mother to a sister
who’s only a few years younger than you are. It’s too much. You
love to play your music. So go and play. Besides, what’s the use
of writing songs if nobody ever hears them? Don’t worry about
who likes you. Play because it makes you happy. Please. Just
try...for one night, do what makes you happy.
(a beat)
Okay?
CONSUELO
Anyway, it won’t matter. I saw the way he looked at you.
19
GLORIA
Aye! Cut it out.
CONSUELO
It’s true.
(a beat)
sa
l
GLORIA
He looked at me?
CONSUELO
ru
Uh-huh.
io
n
GLORIA
What? Like the way Grandpa used to look at you?
ct
Pe
CONSUELO
No. With your grandfather it was more...polite.
du
#3B EMILIO’S APARTMENT (SI SEÑOR)
W
(GLORIA and CONSUELO exit into the
apartment)
rp
ro
TR
EMILIO’S APARTMENT
(the MIAMI LATIN BOYS with EMILIO playing
drums, ENRIQUE “KIKI” GARCIA playing
percussion, and JUAN MARCOS AVILA on the
bass)
fo
THE MIAMI LATIN BOYS
SI SEÑOR SI SEÑOR ES MIS SON
COMO NO COMO NO
BAILADOR VEN GOZA EL SON
SI SEÑOR COMO NO
N
ot
(the room is filled with FRIENDS and
FAMILY...GLORIA FAJARDO, CONSUELO, REBECCA,
and GLORIA enter and squeeze their way onto
a sofa...when the song is finished,
applause...EMILIO eyes GLORIA and her FAMILY
on the sofa)
20
EMILIO
(addressing the room)
Hey everybody. Listen, it’s getting late, but...um, we have a
guest, who I think, I hope, I think, is gonna play something
she’s written.
sa
l
(approval from the room..we can see GLORIA
shrinking...CONSUELO places a hand on her
leg for support)
Pe
ct
GLORIA
(pointing to a keyboard)
Do you mind...?
EMILIO
W
du
Come on...
n
(the PEOPLE in the room cheer...GLORIA
reluctantly rises from the couch...REBECCA
follows...everyone cheers)
io
ru
EMILIO (CONT’D)
Gloria? What do you say? Maybe? Please? Yes?
(withering)
Sorry...
rp
ro
TR
(EMILIO hits a few buttons on the
keyboard...it sounds simple and digital...he
adjusts the volume...GLORIA and REBECCA try
to maneuver around the instruments to sit,
but GLORIA practically takes KIKI’s drums
with her...awkward laughter)
GLORIA
fo
EMILIO
Don’t worry about it. Don’t worry about it. That’s the best
sound those timbales have made all night.
N
ot
(oohs and laughter from the CROWD as EMILIO
deftly defuses the awkward moment... GLORIA
takes out a lyric sheet and places it on the
keyboard)
GLORIA
Hi. I’m Gloria. I brought my sister Rebecca for moral support. I
usually don’t sing in front of strangers, and you guys look
pretty strange.
21
GLORIA (CONT’D)
(some laughter)
Anyway, I wrote this song. My grandma gave me the idea for it.
Hope you like it.
ru
sa
l
(GLORIA begins to play a chord...simple...
monotonous...over and over...the PEOPLE in
the room are getting uncomfortable...she
looks at REBECCA for reassurance...GLORIA
sits...one chord... over and over...
until...)
W
io
ct
du
Pe
GLORIA & REBECCA
ANYTHING FOR YOU
THOUGH YOU'RE NOT HERE
SINCE YOU SAID WE'RE THROUGH
IT SEEMS LIKE YEARS
TIME KEEPS DRAGGING ON AND ON
AND FOREVER'S BEEN AND GONE
n
#4 ANYTHING FOR YOU
GLORIA
STILL I CAN'T FIGURE WHAT WENT WRONG
fo
rp
ro
TR
GLORIA & REBECCA
I'D STILL DO ANYTHING FOR YOU
I'LL PLAY YOUR GAME
YOU HURT ME THROUGH AND THROUGH
BUT YOU CAN HAVE YOUR WAY
I CAN PRETEND EACH TIME I SEE YOU
THAT I DON'T CARE AND I DON'T NEED YOU
AND THOUGH YOU'LL NEVER SEE ME CRYING
GLORIA
YOU KNOW INSIDE I FEEL LIKE DYING
N
ot
(EMILIO, fascinated, leans forward...the
lights shift and what was a simple keyboard
is now the orchestration EMILIO is hearing
in his head)
GLORIA & REBECCA
AND I'D DO ANYTHING FOR YOU
IN SPITE OF IT ALL
I'VE LEARNED SO MUCH FROM YOU
YOU MADE ME STRONG
22
GLORIA
DON'T YOU EVER THINK THAT I DON'T LOVE YOU
THAT FOR ONE MINUTE I FORGOT YOU
BUT SOMETIMES THINGS DON'T WORK OUT RIGHT
AND YOU JUST HAVE TO SAY GOODBYE
sa
l
I HOPE YOU FIND SOMEONE TO PLEASE YOU
SOMEONE WHO'LL CARE AND NEVER LEAVE YOU
BUT IF THAT SOMEONE EVER HURTS YOU
YOU JUST MIGHT NEED A FRIEND TO TURN TO
W
du
DON'T YOU EVER THINK THAT I DON'T LOVE YOU
THAT FOR ONE MINUTE I FORGOT YOU
BUT SOMETIMES THINGS DON'T WORK OUT RIGHT
AND YOU JUST HAVE TO SAY GOODBYE
ct
Pe
I CAN PRETEND EACH TIME I SEE YOU
THAT I DON'T CARE AND I DON'T NEED YOU
AND THOUGH INSIDE I FEEL LIKE DYING
YOU KNOW YOU'LL NEVER SEE ME CRYING
io
n
ru
AND I'D DO ANYTHING FOR YOU
I'LL GIVE YOU UP
IF THAT'S WHAT I SHOULD DO
TO MAKE YOU HAPPY
rp
DON'T WANNA SAY GOOD-BYE
ro
TR
(the lights shift back...the sound is again
reduced to GLORIA and the keyboard...REBECCA
joins GLORIA at the keys once again)
GLORIA & REBECCA
ANYTHING FOR YOU
ot
fo
(she finishes the song...the room erupts
with applause...GLORIA stands, uncomfortable
with it all...her GRANDMOTHER approaches her
and wraps GLORIA into an embrace...as the
rest of the room clears out, EMILIO, who had
been consulting with the other BAND MATES,
approaches them)
N
EMILIO
That was...that was pretty good.
CONSUELO
Pretty good?
23
EMILIO
Really good.
GLORIA
Thank you.
sa
l
CONSUELO
(muttering angrily)
Pretty good...
GLORIA
n
(to Emilio)
Thank you.
ru
¡Abuela!
TR
(cold)
We’ll see.
ro
GLORIA FAJARDO
du
W
GLORIA
I guess Saturday could work if...
ct
Pe
io
EMILIO
So uh, listen. I was talking to Kiki and Marquito and, I don’t
know, we practice here Tuesday and Saturday nights, and if, um,
it’s okay with your mother, maybe you and your sister could come
down and try a couple of songs with us. See how it goes. What do
you think?
rp
GLORIA
Mamí, maybe if I...
GLORIA FAJARDO
I said we’ll see. Let’s go.
ot
fo
(the LADIES start to leave...GLORIA takes
one look back at EMILIO, then exits behind
them)
Thank you. I, um...Thank you.
GLORIA
N
GLORIA FAJARDO
(pulling GLORIA out)
Bye bye.
24
#4A ANYTHING FOR YOU PLAYOFF
(EMILIO stands alone watching her go)
FAJARDO LIVING ROOM
n
io
ru
sa
l
(the sound of a television...comedy...some
laughter from the studio audience...JOSÉ
FAJARDO sits in a chair...he is in his
pajamas and looks much older and more frail
than before...the light of the TV flickers
on his face...after a moment, GLORIA FAJARDO
enters...she places a blanket on JOSÉ’s lap
and sits next to him sipping some tea...they
watch the television together for a moment)
du
ct
Pe
GLORIA FAJARDO
What was the name of that program we used to watch? Remember?
Every night before we went to bed. The fat man who yelled at his
wife all the time. We used to laugh at that so much. What was
the name...
ro
TR
W
(a pause...after a moment, JOSÉ tries to
lift the blanket a bit...his hand starts to
tremor...GLORIA FAJARDO calmly lifts the
edge of the blanket and settles his hand by
holding it)
fo
rp
GLORIA FAJARDO (CONT’D)
Glorita sang tonight. Something she wrote. You would have liked
it. She was good. But, she’s just like you, eh? She hates being
the center of the attention. When the time came, I didn’t think
she would go through with it. But she did.
(a beat)
She was good.
#4B 1-2-3 REHEARSAL
ot
(singing)
ANYTHING FOR YOU...
N
(she hums a few more bars of the song to her
husband...they continue to watch television,
holding hands as they did thirty years
ago...after a moment...)
25
GLORIA FAJARDO (CONT’D)
What was the name of that program...
(laughter from the TV...the lights fade on
them)
sa
l
EMILIO’S GARAGE
(GLORIA is revealed in silhouette)
KENNY
ru
Five. Six. Seven. Eight.
ct
(KENNY demonstrates the same step)
io
Pe
No, Gloria. It has to be stronger. Look at me. And...
n
(GLORIA does a dance step)
See it? Five. Six. Seven. Eight.
W
du
(GLORIA repeats the step)
Better. Everybody facing me. Five. Six. Let’s go!
ro
TR
(the DANCERS join in)
Go on.
rp
(a beat)
Stop. Stop. Stop. You gotta go to the right first. Okay?
(he demonstrates the step for her)
fo
Right. Then left. Got it?
GLORIA
ot
Yep.
KENNY
Five. Six. Kiki, hit it!
N
(GLORIA and the DANCERS continue on with the
movement...throughout the following, KENNY
tries to help GLORIA while a frustrated
EMILIO watches)
26
KENNY (CONT’D)
Go on. One. Two. Three. Four. One. Two. Three. Four.
EMILIO
I need ninety-five percent more! ¡Noventa y cinco por ciento!
sa
l
GLORIA
(as she tries to do the steps)
Which five percent did you hire me for?
Pe
(GLORIA is doing her best, but she struggles
to keep up with the steps, her head watching
her feet)
KENNY
W
EMILIO
Stop looking at your feet. Look up!
GLORIA
ro
TR
I am looking up!
du
Keep your head up, Gloria.
ct
The steps. The steps with attitude.
io
ru
Let’s go!
n
EMILIO
rp
EMILIO
No. You look like you lost a contact lens!
(he can’t bear to watch anymore)
Stop. Stop. STOP!!!
fo
(the music stops)
What are we doing???
ot
(silence)
N
What are we doing?
DANCER
We’re doing our best.
27
EMILIO
Oh, is that what that was? Our best? Who wants to say that to
me? Because if that’s our best, you better be ready to play
dance parties and quinces for the rest of your damn life!
(he goes straight to GLORIA)
Was that your best?
sa
l
GLORIA
No.
EMILIO
No.
n
ru
(he grabs her by the hips, firmly...moves to
the steps with her)
ct
GLORIA
Diligent?
ro
TR
EMILIO
Yeah. Uh-huh. What did I say?
du
W
Pe
io
EMILIO
One. Two. Three. Four. One. Two. Three. Four.
(he stops)
He gave you the steps, do the steps. One. Two. Three. Four! You
can be 95% better! You have to be 95% better. This has to cost
you everything! You have to be...otherwise, this is never going
to work. ¿Entiendes? You have to be...viligent!
rp
GLORIA
You said viligent.
EMILIO
And that’s not a thing?
No.
fo
GLORIA
N
ot
EMILIO
You know what I’m talking about! You don’t like the spotlight.
Okay. But that’s where you have to be. So, just...just imagine
that you’re not shy. Imagine that you’re already a star. Don’t
be this Gloria. Be another one. And sing it to me. Just sing to
me! Imagine that I’m the shy one!
(to KENNY)
And you...imagine that I’m going to pay you.
28
KENNY
Alright, let’s go again from the top. We’re not going home until
we get this right.
(the DANCERS gather into place...GLORIA is
still looking at EMILIO)
sa
l
KENNY (CONT’D)
(counting off)
Five. Six. Seven. Eight. Gloria? Gloria, you with us or what?
io
n
ru
GLORIA
(turns with a determined look)
Count it off.
KENNY
Five. Six. Seven. Eight.
W
du
(the lights shift dramatically)
GLORIA
BACKUPS
ONE, TWO, THREE, FOUR
ro
TR
COME ON BABY SAY YOU LOVE ME
GLORIA & BACKUPS
rp
FIVE, SIX, SEVEN
ct
Pe
#5 1-2-3
GLORIA
TIMES
fo
(as they go through the choreography, we now
see a very different GLORIA, perhaps not a
superstar yet, but confident, sexy, in
control...singing to EMILIO)
N
ot
GLORIA (CONT’D)
THEY TELL ME YOU'RE SHY BOY
BUT I WANT YOU JUST THE SAME
DON'T PLAY INNOCENT WITH ME
YOU KNOW IT'S NOT JUST FUN AND GAMES
29
BACKUPS
OOH OOH
OOH OOH
OOH
OOH
sa
l
GLORIA
WHEN I
LOOK INTO YOUR EYES
SO MUCH
PASSION BURNS INSIDE
AND IF YOU
NEED SOME COAXING
I WILL DO IT
ru
GLORIA & BACKUPS
STEP BY STEP THERE'S NOTHING TO IT
ONE, TWO, THREE, FOUR
io
n
GLORIA
COME ON BABY SAY YOU LOVE ME
Pe
GLORIA & BACKUPS
TIMES
GLORIA
ro
TR
GLORIA
I'M JUST GONNA KEEP ON COUNTING
du
W
GLORIA & BACKUPS
EIGHT, NINE, TEN, ELEVEN
ct
FIVE, SIX, SEVEN
GLORIA & BACKUPS
rp
UNTIL YOU
GLORIA
fo
GLORIA
ARE MINE
COME OUT OF YOUR SHELL BOY
YOU KNOW WE GO LIKE HAND IN GLOVE
ot
YOU'RE AFRAID OF GIVING IN
BUT I AM NEVER GIVING UP ON
YOUR LOVE
N
SO NO
MATTER WHAT IT TAKES
I WILL
STEAL YOUR HEART AWAY
BACKUPS
OOH OOH OOH OOH OOH
OOH
OOH OOH OOH OOH OOH OOH
OOH
MATTER WHAT IT
TAKES
30
GLORIA (CONT’D)
BACKUPS (CONT’D)
STEAL YOUR HEART A-
TAKE A
CHANCE FOR ONCE
YOU WON'T REGRET IT
WAY
AH AH
GLORIA & BACKUPS
sa
l
WANT MY LOVE
JUST COME AND GET IT
BACKUPS
COME AND GET IT
n
ru
GLORIA & BACKUPS
ONE, TWO, THREE, FOUR
GLORIA
W
du
TIMES
io
GLORIA & BACKUPS
FIVE, SIX, SEVEN
ct
Pe
GLORIA
COME ON BABY SAY YOU LOVE ME
ro
TR
GLORIA & BACKUPS
EIGHT, NINE, TEN, ELEVEN
GLORIA
I'M JUST GONNA KEEP ON COUNTING
rp
GLORIA & BACKUPS
UNTIL YOU
GLORIA
ARE MINE
fo
ARE MINE
REBECCA/LINEDY
ot
GLORIA & BACKUPS
ONE, TWO, THREE, FOUR
N
GLORIA
REBECCA/LINEDY
COME ON BA-BY SAY YOU LOVE ME
COME ON COME ON COME ON
BACKUPS
FIVE, SIX, SEVEN TIMES
31
GLORIA
YOU’VE GOT TO GIVE ME YOUR LOVE
BACKUPS
EIGHT, NINE, TEN, ELEVEN
BACKUPS
Pe
#5A 1-2-3 PLAYOFF
W
EMILIO
Okay. Okay. So what do you think?
ro
TR
KIKI
She looks good. She sounds good.
du
ct
(as the song finishes, folks immediately run
over and congratulate GLORIA...KIKI and
MARQUITO make their way to EMILIO who is
seated on the couch)
io
n
ru
ONE, TWO, THREE
sa
l
GLORIA & REBECCA/LINEDY
I'M JUST GONNA KEEP ON COUNTING
UNTIL YOU
GLORIA
ARE MINE
MARQUITO
rp
Plus she’s totally hot, bro.
KIKI
What do you think?
fo
EMILIO
(after a moment)
I think it’s time the Miami Latin Boys changed their name.
ot
(they laugh)
I’ll be out in a minute.
N
(KIKI and MARQUITO exit...EMILIO stares back
toward GLORIA)
32
#6 I SEE YOUR SMILE
sa
l
EMILIO
I GET A LITTLE TONGUE TWISTED
EV’RY TIME I TALK TO YOU WHEN I SEE YOU
AND I'M SO GLAD THAT YOU JUST MISSED IT
THE WAY I STARED TO MEMORIZE YOUR FACE
TO KISS YOU IN MY MIND
LOVE YOU ALL THE TIME
ro
TR
GLORIA
I'VE GOTTA START TAKING CHANCES
SEARCHING FOR THE TRUTH IN LOVE
THAT'S IN MY HEART
du
W
ct
(GLORIA appears in her own light on another
side of the stage on her way home from
rehearsal...she carries her dance bag and
wears a coat over her dance clothes...as she
and EMILIO sing, stars gradually light the
dark sky)
io
Pe
n
ru
'CAUSE WHEN I CLOSE MY EYES
I STILL CAN SEE YOUR SMILE
IT'S BRIGHT ENOUGH TO LIGHT MY LIFE
OUT OF MY DARKEST HOUR
PLEASE BELIEVE IT'S TRUE
WHEN I TELL YOU I
rp
GLORIA & EMILIO
TELL ME
fo
EMILIO
IF I’VE MADE THE WRONG ADVANCES
TELL ME IF I'VE MADE YOU FEEL ASHAMED
ot
GLORIA
'CAUSE I KNOW I HAVE TO DO THIS
WOULD YOU HOLD MY HAND RIGHT THROUGH IT
N
GLORIA & EMILIO
'CAUSE WHEN I CLOSE MY EYES
I STILL CAN SEE YOUR SMILE
IT'S BRIGHT ENOUGH TO LIGHT MY LIFE
OUT OF MY DARKEST HOUR
33
PLEASE BELIEVE IT'S TRUE
EMILIO
GLORIA
WHEN I TELL YOU I LOVE YOU
OH WOAH
GLORIA
sa
l
EMILIO
I HAVE TO LET YOU KNOW JUST
WHAT COULD HAPPEN
YES I HAVE TO LET YOU KNOW
THE TRUTH
n
OMAR/LINEDY
ro
CLOSE MY EYES
OOH
OOH
LIGHT MY LIFE
OOH
OOH
rp
TR
EMILIO
'CAUSE WHEN I
CLOSE MY EYES
I STILL CAN
SEE YOUR SMILE
IT'S BRIGHT ENOUGH TO
LIGHT MY LIFE
OUT OF MY
DARKEST HOUR
du
W
GLORIA & EMILIO
'CAUSE WHEN I CLOSE MY EYES
I STILL CAN SEE YOUR SMILE
IT'S BRIGHT ENOUGH TO LIGHT MY LIFE
OUT OF MY DARKEST HOUR
ct
Pe
WOULD YOU
I KNOW I'VE GOT TO
DO THIS
WOULD YOU HOLD MY HAND
RIGHT THROUGH IT
io
ru
HAVE TO LET YOU KNOW
fo
(the lights fade on GLORIA as she exits)
EMILIO
ot
I KNOW NOW THIS IS TRUE
WHEN I TELL YOU
I LOVE YOU
(the song ends and EMILIO exits)
N
FAJARDO KITCHEN
(daylight comes up on the kitchen revealing
GLORIA FAJARDO, CONSUELO, and REBECCA)
34
GLORIA FAJARDO
Mamí, remind me to get a new pillow for Fajardo’s back. That one
is so worn. And put stamps on the list.
(checking cupboard)
And coffee...and sugar. Rebecca, tell your sister to make
Daddy’s lunch if we don’t get home by 2...
sa
l
(GLORIA enters the kitchen, dressed in
rehearsal clothes, with her dance bag...she
seems in a hurry to leave...the rest of them
stop and watch her)
n
ru
And where are you going?
Pe
io
GLORIA
Tampa. We have a show. You know that.
ct
GLORIA FAJARDO
You just got home from Atlanta.
GLORIA FAJARDO
No, no, no, no.
du
W
GLORIA
That was two weeks ago. It’s one night. I’ll be back tomorrow.
ro
TR
GLORIA
I cleaned the house and did the washing. I made Daddy’s lunch
and dinner. They’re in the bottom of the refrigerator.
rp
(GLORIA ignores her MOTHER and packs a lunch
in her dance bag)
fo
GLORIA FAJARDO
We still have things to do.
CONSUELO
Let them go. I can help with Fajardo today.
GLORIA FAJARDO
ot
This has to stop.
N
GLORIA
Aye, can we not have this conversation right now?
GLORIA FAJARDO
And when are we supposed to have it? For two years now I let you
play around with your music. And now you’re...
35
GLORIA
Play around? Emilio says in a couple months we’re going to book
our first tour in South America! How is that...
sa
l
GLORIA FAJARDO
¡Por favor, Glorita! You’re putting your career on hold. You’re
putting this family on hold. And for what? For this band? For
Emilio?
GLORIA
I’m not putting anything on hold.
n
ru
REBECCA
Mamí, when we come home we’ll...
ct
Pe
io
GLORIA FAJARDO
I am talking to Gloria Maria! You think I don’t see what’s going
on? The way you ignore him when I’m in the room. Please. You’re
19...you know 19 things. I’m 48, so I know 48 things.
W
du
GLORIA
What do you want from me, Mom? You want me to apologize? For
what? I did what you asked. I always do everything you ask,
don’t I? This is my life. I finally have a life. Why can’t you
just...
rp
ro
TR
GLORIA FAJARDO
Listen to you. You have a life. You.
(a pause)
Let me tell you something about having...You know what? Go
ahead, both of you. Go to your show. Go to South America. We’ll
take care of the shopping and the house and your father. Don’t
worry.
fo
(she crosses toward the door)
Mamí...
ot
GLORIA FAJARDO (CONT’D)
But do me a favor--tell Emilio that we all have a life.
GLORIA
N
(she exits...GLORIA, CONSUELO, and REBECCA
look at each other)
GLORIA (CONT’D)
Why does she hate him so much?
36
CONSUELO
Because he didn’t make her the lead singer of his band?
GLORIA
I don’t understand.
sa
l
CONSUELO
No, you don’t. She’s just...when your mother was young, 20th
Century Fox asked her to sign a contract.
ru
The movie studio?
Pe
io
CONSUELO
That’s right. They wanted to fly her from Cuba all the way to
Hollywood. To be the Spanish voice of Shirley Temple. They
wanted to pay her to sing. It was everything she dreamed of.
n
REBECCA
ct
REBECCA
What happened?
ro
TR
W
du
CONSUELO
Your grandfather forbid it. “The family comes first,” he yelled.
“We’re not going to raise a gypsy or a tramp.” And that was the
end of that. She cried. I cried. And then, your mother watched
her dream fly away without her. I should have fought harder.
GLORIA
Why are you just telling this to us now?
rp
CONSUELO
Because this is what you want. And you’re not a child. You’re a
woman. You can fight for yourself.
fo
(somewhere far off, a smooth, percussive
rhythm begins)
GLORIA
ot
Was she good?
N
CONSUELO
Good? I didn’t know how much I failed her until the last night
in Havana. The last time she sang in front of an audience. That
night she was more than good... she was a star.
#7 MI TIERRA
37
(as the song begins we see GLORIA FAJARDO in
a beautiful gown...the stage transforms
into...)
LOUNGE--HAVANA
sa
l
(classic and elegant, EVERYONE dressed to
the nines)
ct
Pe
io
GLORIA FAJARDO
Y ESE PREGÓN QUE CANTA UN HERMANO
QUE DE SU TIERRA VIVE LEJANO
Y QUE EL RECUERDO LE HACE LLORAR
n
ru
GLORIA FAJARDO & 2 FEMALE BACKUPS
DE MI TIERRA BELLA
DE MI TIERRA SANTA
OIGO ESE GRITO DE LOS TAMBORES
Y LOS TIMBALES AL CUMBANCHAR
W
du
GLORIA FAJARDO & 2 FEMALE BACKUPS
UNA CANCIÓN QUE VIVE ENTONANDO
DE SU DOLOR DE SU PROPIO LLANTO
Y SÉ LE ESCUCHA PENAR
rp
ro
TR
GLORIA FAJARDO, 2 FEMALE BACKUPS & 1 MALE BACKUP
LA TIERRA TE DUELE
LA TIERRA TE DA
EN MEDIO DEL ALMA, CUANDO TÚ NO ESTÁS
LA TIERRA TE EMPUJA DE RAÍZ Y CAL
LA TIERRA SUSPIRA SI NO TE VEMÁS
fo
GLORIA FAJARDO
LA TIERRA DONDE NACISTE
NO LA PUEDES OLVIDAR
PORQUE TIENE TUS RAIZES
Y LO QUE DÉJAS ATRÁS
N
ot
(CONSUELO sits at a table watching her
DAUGHTER perform...in the midst of the music
and celebration, we see JOSÉ FAJARDO,
GLORIA’s husband, dressed in a police
uniform...he passes a seated CONSUELO
without even noticing her)
38
(calling to him)
Fajardo...
(nothing)
Fajardo...
CONSUELO
sa
l
(he just keeps staring at GLORIA FAJARDO...
CONSUELO gets up and crosses behind him)
CONSUELO (CONT’D)
¿Qué bonita luce esta noche, no?
ru
JOSÉ
n
She always looks beautiful...
Pe
¿Qué pasó?
io
CONSUELO
ct
JOSÉ
English.
W
JOSÉ
ro
TR
Speak in English.
du
CONSUELO
¿Qué?
(CONSUELO begins to understand that this is
going to be very bad)
rp
CONSUELO
Everyone in Havana understands English.
fo
JOSÉ
They understand less after a few bottles of champagne.
ot
CONSUELO
(something about his tone)
What’s wrong? What’s happening?
N
JOSÉ
He’s going to leave the country.
CONSUELO
Presidente Batista?
JOSÉ
They’re making plans now. Everything is about to change.
39
(CONSUELO registers the gravity...GLORIA
FAJARDO approaches them)
GLORIA FAJARDO
sa
l
(excited)
¿Mi amor, qué haces aquí?
JOSÉ
I couldn’t stay away. You sound almost as beautiful as you look.
Pe
ct
What’s the matter?
GLORIA FAJARDO (CONT’D)
JOSÉ
ro
TR
JOSÉ
du
W
We’ll talk later.
GLORIA FAJARDO
We’ll talk now. What’s going on?
n
(eerie silence...now she is aware of their
expressions)
io
ru
GLORIA FAJARDO
You’re not so bad yourself. What do you think of the show, Mamí?
It’s happening.
GLORIA FAJARDO
rp
Oh, God...
GLORIA FAJARDO
ot
Not without you.
fo
JOSÉ
It’s time for you to take your mother and Glorita and leave Cuba
for a while.
Gloria...
GLORIA FAJARDO
N
Not without you.
JOSÉ
JOSÉ
Gloria. I’m a police officer for the Cuban government. I can’t
leave.
40
(a beat)
Not yet.
They could arrest you.
GLORIA FAJARDO
sa
l
JOSÉ
They will arrest me. That’s why you have to go.
(she begins to cry...he holds her face in
his hands)
ru
JOSÉ (CONT’D)
BACKUPS
MI TIERRA
MI TIERRA
MI TIERRA
I’LL RETURN
fo
rp
ro
TR
GLORIA
SING ABOUT HER BEAUTY AL-WAYS STAY TRUE
SUFFER THROUGH THE PAIN THAT SHE
WILL GO THROUGH
WHEREVER I GO, SHE’LL
BE WITH ME
ONE DAY FOR CERTAIN
I’LL RETURN
du
W
GLORIA FAJARDO
MY HOMELAND IS GRIEVING
MY HOMELAND IS CRYING
I’LL NEVER FORGET HER
HER SOUL I WILL CARRY IN MY HEART
ct
(JOSÉ kisses her...GLORIA FAJARDO goes back
to the number)
io
Pe
n
(rising)
Hey. You’re strong. Be strong. Nobody can know anything. Finish
your show, mi amor.
(music and dance)
ot
GLORIA FAJARDO
MI
BACKUPS
LA
TIE-
N
-RRA
-RRA
COMO ME DUELE PERDERTE
NO VOY A OLVIDAR
TIE-RRA TE DUELE
LA TIERRA TE DA
41
GLORIA & BACKUPS
MY HOMELAND HAD SHAPED ME
ENSEMBLE
MY HOMELAND
sa
l
GLORIA & BACKUPS
NOURISHED ME WITH PRIDE
ENSEMBLE
MI TIERRA
n
io
Pe
ru
GLORIA & BACKUPS
MY HOMELAND WILL MISS ME
WHEN I’VE SAID GOODBYE
ct
#7A MI TIERRA PLAYOFF
W
du
(the song reaches its conclusion...GLORIA
FAJARDO stands taking in the applause...the
lights fade on her)
PHIL’S OFFICE--NYC
ro
TR
(GLORIA & EMILIO enter...PHIL approaches
them)
fo
rp
PHIL
Emilio Estefan and Gloria Fajardo! Look at that. Straight from
Miami...
(points to GLORIA)
The sound...
(points to EMILIO)
...and the machine. Welcome to New York! Sorry to keep you
waiting.
ot
EMILIO
It’s great to finally meet you.
N
PHIL
It’s great meeting you. I can’t believe we haven’t done this
already. How the hell haven’t we done this?
GLORIA
We’ve been trying for a while. Your assistant could never seem
to find us a time.
42
PHIL
What?
sa
l
(yelling out)
Oliver! You’re fired!
(to them)
Kid’s useless. Don’t worry...I didn’t really fire him. He’s my
sister’s kid. She scares the hell out of me. She’s got a
moustache. Sit down. So tell me, how we doin’?
(in bad Spanish)
¿Cómo está, amigos?
EMILIO
n
ru
We’re doing okay.
ct
EMILIO
Thank you.
ro
TR
PHIL
du
W
Pe
io
PHIL
(reading a memo)
Okay? I’d say you’re doing better than okay. The boys in Florida
tell me the Miami Sound Machine is starting to shake up the
Latin Markets.
(reading)
Making a lot of noise in, let’s see--Venezuela, Peru, Honduras,
Argentina--fantastic. Good for you. We’re all proud of you.
So what can I do for you?
rp
EMILIO
We need your help.
PHIL
Anything you want. Just ask.
fo
(EMILIO takes out a cassette)
PHIL (CONT’D)
ot
What’s this?
N
EMILIO
It’s our new single. We need the label to get behind us and get
it out there.
Absolutely. Let me hear it.
PHIL
43
(EMILIO hands PHIL the tape...he pops it
into a tape deck...”Dr. Beat” begins to
play)
ru
sa
l
PHIL (CONT’D)
Different.
(a beat)
Catchy.
(a beat)
Nice rhythms.
(a beat)
This is great. We can definitely...
io
ct
Pe
PHIL (CONT’D)
It’s in English. We can’t put any money behind it.
n
(the first verse begins...PHIL stops the
tape)
W
du
GLORIA
We speak English.
(re EMILIO)
Well, not so much him. But the rest of us speak English.
ro
TR
PHIL
Listen to me, because I am looking out for you here. I am. Your
numbers are terrific in the Latin Markets. Terrific. But there’s
still room to grow. Plenty of new markets. New money. Why would
we get off that train right now? It wouldn’t make any sense.
We can cross over.
rp
EMILIO
ot
fo
PHIL
Oh, God. There it is. The phrase. No. You can’t cross over.
Because nobody crosses over. It doesn’t happen. It’s an
illusion. A Latin band can’t compete in the US market. You play
5,000 seats in Lima. You’re playing clubs and beach parties
here. Look, you guys are big with the Latin Crowd. And, with our
help, you’re just gonna get bigger. So why don’t we just keep
our eyes on the prize, okay?
N
It’s in our contract.
GLORIA
EMILIO
Gloria...
44
PHIL
Excuse me?
GLORIA
We reserve the right to record an album in English. It’s in our
contract.
io
EMILIO
Pe
It’s our group. Our sound.
n
ru
sa
l
PHIL
Gloria, I’m gonna give you a piece of advice, friend to friend.
For the rest of your life in this business, if you ever decide
to use a phrase like that in a meeting like this again, you make
sure you have an attorney nearby. Now me, I have about ten of
them, just upstairs.
ct
PHIL
Listen to me...you’re not back home anymore. So you don’t make
the rules.
EMILIO
W
du
Back home...
ro
TR
PHIL
Come on Emilio, you know what I’m talking about...
GLORIA
We have a contract.
rp
PHIL
(losing patience)
Sweetie, I don’t give a shit about your contract!
fo
EMILIO
Hey, Hey!
N
ot
PHIL
While you’re dominating the Latin markets, the next single is
gonna be in Spanish! It’s that simple. You really wanna cross
over? Fine. Get rid of the horns, simplify the percussion,
change your name. Then we’ll talk. Until then, you want to
release in English, you’re gonna have to do it on your own.
(dismissing them)
Now, I have another meeting to get to, so thank you so much for
dropping by.
45
(EMILIO and GLORIA go to exit...EMILIO
stops)
n
ru
sa
l
EMILIO
When I first got to Miami, there was a sign in front of the
apartment building next to ours. It said, “No Pets. No Cubans.”
Change my name? It’s not my name to change. It’s my father’s
name. It was my grandfather’s name. My grandfather--who we left
behind in Cuba to come here and build a new life. Now, for 15
years I’ve worked my ass off and paid my taxes. So, I’m not sure
where you think I live...but this is my home. And you should
look very closely at my face, because whether you know it or
not...this is what an American looks like.
io
(EMILIO ejects cassette tape)
#8 CON LOS AÑOS QUE ME QUEDAN
W
du
(EMILIO and GLORIA exit as the office
disappears...lights up on three
GUITARRISTAS)
MEXICAN RESTAURANT
ro
TR
ct
Pe
We’ll do it on our own.
rp
THREE GUITARRISTAS
SÉ QUE AÚN ME QUEDA UNA OPORTUNIDAD
SÉ QUE AÚN NO ES TARDE PARA RECAPACITAR
ot
fo
(during the next part of the song, the
lights come up on an impossibly romantic
Mexican restaurant...colored lights, paper
mache, candles, almost dreamlike...GLORIA,
EMILIO and REBECCA are lead in by the
HOST...as GLORIA and REBECCA take their
seats, EMILIO tips the HOST to take REBECCA
elsewhere so he and GLORIA can be alone)
N
GUITARRISTA
SÉ QUE NUESTRO AMOR ES VERDADERO
Y CON LOS AÑOS QUE ME QUEDAN POR VIVIR
DEMOSTRARE CUANTO TE QUIERO
OOH OOH OOH OOH OOH OOH
TWO GUITARRISTAS
AHH
AHH
OOH OOH
46
GUITARRISTAS (CONT’D)
OOH OOH OOH OOH OOH OOH
OOH OOH OOH OOH OOH OOH
EMILIO
I would like a kiss.
GLORIA
sa
l
Excuse me?
EMILIO
On the cheek.
n
Oh. Okay. No.
ru
GLORIA
Pe
But it’s my birthday.
io
EMILIO
ct
GLORIA
No, it’s not.
W
ro
TR
GLORIA
Your birthday is the Fourth of July?
du
EMILIO
Yes it is.
EMILIO
Yup.
Really?
rp
GLORIA
EMILIO
Yup.
fo
(a beat)
GLORIA
N
Yup.
ot
Seriously?
EMILIO
GLORIA
How did I not know that?
47
EMILIO
You never asked me.
GLORIA
July 4th...
sa
l
EMILIO
America and I have the same birthday.
(a beat)
America is older.
GLORIA
n
ru
Not by much.
Pe
io
EMILIO
Really...
GLORIA
Still have 95% to go?
EMILIO
ro
TR
91.
du
EMILIO (CONT’D)
W
You look beautiful.
ct
(she laughs...he admires her smile)
GLORIA
rp
Aye que pesao.
EMILIO
(pointing to his cheek)
Okay. Okay. I would like a birthday kiss, please.
fo
GLORIA
I’ll get you a present.
GLORIA
N
No.
ot
EMILIO
Hey, I want a present, too. But for now I’ll settle for a kiss.
48
EMILIO
(tapping)
Come on...a baby one, like on the cheek.
(a beat)
Let’s go. Give it up...
GLORIA
sa
l
Ugh. Fine.
io
EMILIO
Pe
(seriously)
I have to tell you something.
n
ru
(but as GLORIA moves in to kiss his cheek,
EMILIO turns his head and they kiss on the
lips...after a moment they separate...
stunned silence)
ct
GLORIA
What?
EMILIO
W
du
My birthday is in March.
ro
TR
(she looks at him for a moment and then
kisses him again...longer...finally, they
separate)
rp
GLORIA
Can we try to be professional please?
EMILIO
Okay!
ot
Cut it out!
fo
(she kisses him again...harder)
That was you!
GLORIA
EMILIO
N
GLORIA
Whatever. Talk about something.
EMILIO
About what?
49
GLORIA
Anything...
EMILIO
Okay. Let’s talk about the single.
sa
l
GLORIA
The single? What about it? You heard Phil...they’re never going
to get behind it.
ru
EMILIO
No they’re not. That’s why we have to do it ourselves.
n
GLORIA
io
And how do we do that.
ct
Pe
EMILIO
We go door to door with the track. Every DJ. Every station. We
let the music speak for itself. Let the people decide. Trust the
audience. This is what I was saying, when it comes to the U.S.
It’s not about sales, it’s about exposure...
ro
TR
W
du
(as EMILIO continues to rant, GLORIA stares
at him...music begins...EMILIO is still
talking animatedly, but we can’t hear him...
we only hear the music...as he talks, she
sings)
rp
#9 HERE WE ARE
ot
fo
EMILIO (CONT’D)
(passionately)
You know the thing about this business? The people who make the
decisions have no idea what the people want! They want you to
make something completely original that everybody already likes.
Well, I’m not going to let anybody else decide our future. If
we’re going to fail, we’re going to fail at something we believe
in.
N
GLORIA
HERE WE ARE FACE TO FACE
WE FORGET TIME AND PLACE
HOLD ME NOW
DON'T LET GO
THOUGH IT MAY
HURT
WE BOTH KNOW
GUITARRISTAS
OOH OOH OOH
OOH OOH
OOH
OOH OOH
50
GLORIA (CONT’D)
THE TIME WE SPENT TOGETHER'S
GONNA FLY
GUITARRISTAS (CONT’D)
AH
AH
AND EVERYTHING YOU DO
AH
TO ME IS GONNA FEEL SO
RIGHT
sa
l
AH
BABY WHEN YOU'RE LOVING ME
I FEEL LIKE I COULD CRY
AH AH AH AH
AH
n
AH
io
ru
AND THERE'S
NOTHING I CAN DO
DO
TO KEEP FROM LOVING YOU
Pe
EMILIO
ct
Are you listening to me?
W
What...?
EMILIO
Yes or no?
ro
TR
GLORIA
du
GLORIA
(realizing he’s speaking to her)
I don’t...
GLORIA
(a smile)
fo
Yes...
rp
EMILIO
I asked if you would dance with me.
(EMILIO escorts GLORIA to an open space...
the music builds)
ot
EMILIO
THERE'S NOTHING I CAN DO
I'M HELPLESS IN YOUR ARMS
N
OH BABY WHAT YOU
DO, I'M IN
LOVE
GUITARRISTAS
IN YOUR ARMS
OOH
OOH
51
EMILIO (CONT’D)
THIS IS IT
GUITARRISTAS (CONT’D)
OOH
THERE'S NO
TURNING BACK THIS TIME
OOH
EMILIO
sa
l
NO, NO, NO
ru
GLORIA, EMILIO & 2 BACKUPS
HERE WE ARE ALL ALONE
TREMBLING HEARTS BEATING STRONG
GUITARRISTAS
OOH
OOH OOH OOH OOH
OOH
OOH OOH OOH OOH
n
GLORIA & EMILIO
ct
Pe
io
REACHING OUT BREATHLESS KISS
I NEVER THOUGHT
COULD FEEL LIKE THIS
GLORIA
I WANT TO STOP THE TIME FROM
PASSING BY
I WANT TO
CLOSE MY EYES
W
du
OOH
OOH OOH
rp
GLORIA & EMILIO
BABY WHEN YOU’RE CLOSE TO ME
I WANT YOU MORE
EACH TIME
OOH OOH
ro
TR
AND FEEL YOUR LIPS ARE
TOUCHING MINE
OOH
OOH
fo
‘CAUSE THERE’S
NOTHING I CAN DO
TO KEEP FROM LOVING YOU
TWO BACKUPS
AH AH AH
AH
AH
NOTHING I CAN CO
N
ot
THREE GUITARRISTAS
THERE’S NOTHING I CAN DO
THERE’S NOTHING I CAN DO
THERE’S NOTHING I CAN DO
THERE’S NOTHING I CAN DO
THERE’S NOTHING I CAN DO
THERE’S NOTHING I CAN DO
52
EMILIO
AND THERE’S NOTHING I CAN DO
TO KEEP FROM LOVING YOU
(musical transition)
sa
l
PROMOTING “DR. BEAT”
(KENNY rehearses the DANCERS and GLORIA)
n
ru
#10 DR. BEAT
io
ct
Pe
GLORIA & TWO BACKUPS
DOC DOC DOC DOC DOCTOR BEAT
WON’T YOU HELP ME DOCTOR BEAT
DOC DOC DOC DOC DOCTOR BEAT
WON’T YOU HELP ME DOCTOR BEAT
du
KENNY
Good, guys. Come here. Let me give you some notes.
W
(the DANCERS gather around KENNY...EMILIO
enters with two boxes of singles...he puts
them down)
rp
(she comes over)
ro
EMILIO
TR
Gloria!
GLORIA
Hey. How’d it go?
fo
EMILIO
It didn’t. I hit every station to Palm Beach and back. And
they’re not gonna play it. Nobody’s gonna play it.
GLORIA
ot
Why?
N
EMILIO
Why? They say it’s a dance track not a radio tune. They say come
back when I have something that sings. Whatever the hell that
means.
(EMILIO steps forward and addresses the
GROUP)
53
EMILIO (CONT’D)
Everybody hold up. Hold up a second.
(they all stop...a pause)
Pe
io
n
ru
sa
l
EMILIO (CONT’D)
Look. I don’t have time to dance around this, so I’m just going
to say it. Nobody’s playing the record. And we put every cent we
had left into these singles and producing this video. There’s no
money left. None. So if this doesn’t work, nothing works.
(a beat)
No more rehearsal today. Kenny, I need you guys to take these
singles and get them out on the street. Then go home and start
calling the stations and requesting the song. Call ten times if
you have to. Get all your family and friends to do it too.
(a beat)
Marquito!
ct
MARQUITO
W
EMILIO
du
(crossing to him)
¡Dimelo cantando!
ro
TR
(re the boxes)
You go to Miami Beach. Okay? Blast the cassette from the car
radio and hand these out to anybody young and good-looking, who
look like they can dance.
rp
(EMILIO takes keys out of his pocket and
holds them out to MARQUITO)
EMILIO (CONT’D)
Use my car.
fo
MARQUITO
I can use my car.
EMILIO
So...
ot
You drive a station wagon.
MARQUITO
N
EMILIO
You wanna listen to music from somebody who drives a station
wagon?
54
(ELENA snatches EMILIO’s keys)
ELENA
No!
(EMILIO gives MARQUITO the box of singles)
sa
l
MARQUITO
Why do you gotta say it like that, bro?
n
ru
(they exit...KENNY whistles to the DANCERS
and starts passing out singles for
distribution)
io
Pe
GLORIA
Wait a second. Wait a second Emilio...
ct
(grabbing a few of the singles)
W
EMILIO
The clubs.
GLORIA
ro
TR
The clubs.
du
They’re saying it’s a dance track? Fine. If it wasn’t on the
radio, where would you go to hear a dance tune?
rp
EMILIO
Yes...once it starts to break in the clubs, people will call in.
GLORIA
They’re gonna have to play it.
fo
EMILIO
Okay. I’ll go up to Ft. Lauderdale. I’ll hit Alexander’s and
Backstreet...
ot
GLORIA
I’ll go see Tony at Casanovas, Tyler at Honey for the Bears, and
Cory at Club Twelve Thirty-Five. Wait, who’s going to talk to
Big Paquito?
N
(a simultaneous idea...they both smile...
musical transition)
55
GENNY/LINEDY
IF YOU GOT TROUBLE
CAN’T STOP YOUR FEET
PAY A LITTLE VISIT TO
DOCTOR DOC DOC DOC DOC DOCTOR BEAT
sa
l
(lights up on GLORIA and a CLUB PROMOTER)
ru
CLUB PROMOTER
Let me get this straight--you’re saying that you’ll play the
Labor Day concert for free?
io
n
GLORIA
If you play the song, that’s what I’m saying.
Pe
(a beat...a smile)
ct
CLUB PROMOTER
Let me have it.
W
du
(GLORIA hands him the single...lights out on
them)
LINEDY & ENSEMBLE
DON’T KNOW
ro
TR
GENNY
I JUST DON’T KNOW
DON’T KNOW
DON’T KNOW
rp
(lights up on EMILIO and another CLUB
PROMOTER)
fo
EMILIO
You play the record, we’ll play two Saturday nights. You keep
the door.
CLUB PROMOTER #2
ot
You’ll play for nothing?
EMILIO
N
That’s right.
CLUB PROMOTER #2
Give me the record.
(EMILIO smiles and hands over the record...
lights out on them)
56
GENNY
I JUST DON’T KNOW
LINEDY & ENSEMBLE
DON’T KNOW
DON’T KNOW
DON’T KNOW
sa
l
(lights up on CONSUELO and BIG PAQUITO...
they stand very seriously, staring at one
another...she holds a paper bag...a
moment...)
n
io
BIG PAQUITO
Pe
You have the package?
ru
CONSUELO
Big Paquito...
ct
(holding it up)
You going to play the song?
CONSUELO
BIG PAQUITO
W
du
Let’s see the bag.
ro
TR
(she hands him the bag...he looks
inside...looks at her...reaches into the bag
and produces an empanada...he bites into it)
rp
BIG PAQUITO (CONT’D)
Give me the record.
(she hands him the single)
CONSUELO
I was never here.
ot
fo
(BIG PAQUITO exits eating the empanada...
CONSUELO puts on sunglasses and backs
away...in the darkness the sound of “Dr.
Beat”)
N
DJ’S VOICE (V.O.)
Hey this is Jimmy Mack here at 94.9 FM. A local band has the
most requested song of the day? Check ‘em out, cause they ain’t
gonna be local for long. That was Miami Sound Machine...Dr.
Beat!
(slowly the sound is reduced into the radio
by JOSÉ FAJARDO’s bed)
57
JOSÉ FAJARDO’S BEDROOM
sa
l
(as the lights come up we see JOSÉ, older,
laying in bed, basically paralyzed and
ravaged from his battle with MS...he is
awake, though we can’t be totally sure
whether he can hear GLORIA...throughout the
following, GLORIA takes care of her father-giving him his medicine, feeding him etc.)
N
ot
fo
rp
ro
TR
W
du
ct
Pe
io
n
ru
GLORIA
Isn’t that crazy, Papí? Ever since Abuela got Paquito to play
it, people won’t stop calling in. We’re getting some big offers
and haven’t stopped booking gigs. It’s all happening so fast.
Emilio was right. Let the people decide. He was right.
(a beat...a smile)
Do you wanna hear something really...the other day, we were
driving by the beach. Just, I don’t know, talking about a lyric
or something...and out of the clear blue sky, he just...he
says...
(with EMILIO’s voice)
“You know, if we got married, I’d bet we’d get along really
well.”
(a beat)
What the hell is that? Who brings it up that way?
(a smile)
He’s such an idiot. He’s such an idiot. He just...
(she drifts off, thinking)
I love him, Papí.
(a beat)
I love him. You would too. You should hear how crazy he gets
when he talks about the music or our future. That passion. It’s
so...I love him, Papí. It’s just...I don’t know if it’s a good
idea, you know, with the band and...
(a beat)
No. That’s not true. I’m afraid.
(JOSÉ reaches for GLORIA)
It’s like I’m afraid to have it because somewhere inside I’m
sure that eventually I’m gonna lose it.
(a beat)
Besides, since I was a little girl, I’ve only loved one man.
(GLORIA kisses her father’s forehead)
Got any advice? I wish you did. I wish I knew what you would
say.
58
(GLORIA picks up her guitar, sits on the
edge of her FATHER’s bed and begins to
play...the YOUNGER JOSÉ we saw before
appears in his military uniform...he sings
as she plays)
sa
l
#11 WHEN SOMEONE COMES INTO YOUR LIFE
n
io
ro
TR
W
du
IF SOMEONE SHOULD HOLD OUT HIS HAND
MAKE HIM YOURS MY LOVE
DON’T KNOW HOW LONG IT MAY LAST
OH HOW FAST LOVE GOES
YOU'LL FORGET ME ONE DAY DON’T YOU KNOW
BUT YOUR MEM’RIES I'LL NEVER LET GO
I WILL LOVE YOU THE SAME AS I DID THAT
FIRST DAY I HELD YOU
ct
Pe
ru
JOSÉ
WHEN SOMEONE COMES INTO YOUR LIFE
TAKE A CHANCE MY LOVE
FORGET ALL THE PAIN THAT'S INSIDE
OPEN UP YOUR HEART
YOU'LL FORGET AS HE'S TOUCHING YOUR FACE
THAT I ONCE HELD YOU IN MY EMBRACE
IT MIGHT EVEN FEEL RIGHT
WHEN YOU KISS HIM GOOD NIGHT AND NOT ME
fo
rp
WHEN SOMEONE COMES INTO YOUR LIFE
NEVER CLOSE THE DOOR
WHAT YOU'RE LOOKING FOR
MIGHT BE IN YOUR ARMS AT LAST
DON'T RUN AWAY
WHEN SOMEONE COMES INTO YOUR
ot
JOSÉ
LIFE
WHEN SOMEONE COMES INTO
YOUR LIFE
GLORIA
WHEN SOMEONE COMES INTO YOUR
LIFE
TO YOUR LIFE
N
JOSÉ & GLORIA
WHEN SOMEONE COMES INTO YOUR LIFE
HOLD FAST
59
(the YOUNGER JOSÉ disappears...the sound of
percussion...a light comes up on KIKI who is
playing through a rhythm on the drums...
GLORIA slowly approaches him)
sa
l
KIKI ON DRUMS
#11A BEFORE CONGA
ru
GLORIA
W
DA DADA DADA
(KIKI begins to play it again)
ro
TR
KIKI
du
Do it again. Kick it off like
ct
Pe
io
KIKI
(he stops)
We were just playing around. You were talking about those
comparsas, how the audience goes crazy for them. And I
thought...
n
GLORIA
What is that?
Es lo mismo.
rp
GLORIA
¡No es lo mismo coño!
(to the GROUPIE)
She gets it.
fo
(GLORIA begins to play a horn part on the
keyboard...it builds and builds, until)
GLORIA & KIKI
N
ot
DA DADADA DADA
DA DADA DADA
DA DADADA DADA
DADADADA DADADADA
(EMILIO appears)
GLORIA
Emilio! We have it! We have the song.
60
EMILIO
What song?
GLORIA
The song!
sa
l
KIKI
¡Chico! Rice and beans with hamburgers.
Pe
io
ru
GLORIA
Remember the encores in Holland? Remember how they went crazy
for those comparsas? I said we should write a song around
them...so we did.
ct
(classical Cuban rhythm)
EMILIO
No...
n
EMILIO
What is he talking about?
W
du
GLORIA
Underneath it. A funk baseline and a strong back beat on the
drums. All of the lyrics in English.
ro
TR
(EMILIO listens to KIKI and imagines...
GLORIA smiles...waiting for it)
Yes!
rp
EMILIO
(lights up)
No!
fo
(lights out on GLORIA and KIKI...lights up
on an AMERICAN DJ)
AMERICAN DJ
N
ot
EMILIO
(a million miles an hour)
You don’t understand. We’re gonna mix up all these sounds. We’re
gonna mix Latino with funk, with pop all coming from the
original conga rhythms. That’s how we’re gonna...
AMERICAN DJ
Emilio. Slow down. I don’t speak Spanish.
61
EMILIO
(a beat)
I’m talking to you in English.
AMERICAN DJ
Oh.
Look, Just play it once...
sa
l
EMILIO
n
ru
AMERICAN DJ
They won’t dig it. It’s...I don’t know. Look, Dr. Beat was one
thing. That siren went off, you couldn’t get people off the
dance floor. Bring me another one like that. But this...
ct
Pe
io
EMILIO
Do me a favor. Please. Just trust me. One time. Play it one time
and I’ll stop...
EMILIO
ro
TR
It’s too what???
du
W
AMERICAN DJ
Listen, Emilio. I know my crowd. It’s too...the percussion. The
piano. It’s...and you know me, so don’t take this the wrong way.
(a beat)
It’s too Latin.
It’s too American!
rp
(lights out on EMILIO and the AMERICAN DJ
and up on GLORIA and a LATIN DJ)
LATIN DJ
GLORIA
fo
What are you talking about?
ot
LATIN DJ
The guitar. The synthesizer. They’ll never buy it. They’re gonna
say I’m selling out.
N
GLORIA
We need your help. We need you to be behind us right now.
LATIN DJ
I know. Pero listen...they loved Renacer. Bring me something
like that. Not “Ba-da-PFFT!” This is...this is...
62
(lights out on the LATIN DJ and up on
EMILIO, CHRIS, and GLORIA)
EMILIO
This is bullshit.
CHRIS
sa
l
Calm down...
GLORIA
They won’t play it!
W
du
ct
Pe
io
n
ru
EMILIO
You’re in promotion, Chris. You’ve been behind us from the
beginning. What do we have to do? I walk into meetings with
these executives, and I can feel the glass walls. The way they
smile at me like I’m a child. All these code words they use.
“Appeals to the Miami Crowd,” they say, because they don’t have
the balls to say Latinos to my face. Miami Crowd my ass. I saw
6,000 people in Sweden dancing as if they were born in Santiago
de Cuba. Sweden! You know how white those people are? It was
like watching a room full of Q-tips bouncing all over the place!
ro
TR
GLORIA
I’ve seen the audiences. I’ve felt them. This song will play in
Miami. It’ll play in Los Angeles. And everywhere in between.
They’re all a bunch of cowards, trying to hold onto their jobs,
so they...
CHRIS
rp
...everywhere in between...
GLORIA
So, they--what?
ot
fo
CHRIS
You said everywhere in between.
(a beat)
St. Louis.
EMILIO
What about it?
N
CHRIS
I know a guy. A friend at Y98. Big audience. Morning drive.
He’ll play it for me. I’ll have to beg a little, but he’ll play
it. I know it.
63
EMILIO
That’s good. That’s good. Okay. What can I do?
sa
l
CHRIS
Get Phil on board. We’re gonna need some domestic money to lock
down the Florida stations.
(to GLORIA)
Book gigs. I don’t care how small...play that song.
Pe
io
ru
CHRIS
You trust your audience, right? Don’t bring the song to Phil.
Bring Phil to the song.
n
EMILIO
I can’t bring this song to Phil. He’s just going to tell me...
ct
#12 CONGA
W
du
OFF-STAGE VOCALS
COME ON SHAKE YOUR BODY BABY DO THE CONGA
I KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
COME ON SHAKE YOUR BODY BABY DO THE CONGA
I KNOW YOU CAN’T CONTROL YOURSELF ANY LONGER
ro
TR
(EMILIO knocks on PHIL’s door...PHIL
appears)
PHIL’S OFFICE DOOR
Come hear the song.
rp
EMILIO
PHIL
fo
Emilio...
ot
EMILIO
(hands Phil a yarmulke)
Come hear the song.
PHIL
N
What is this?
EMILIO
That is a yarmulke.
PHIL
What are you...I know it’s a yarmulke, Emilio. I recall wearing
one to my bar mitzvah.
64
EMILIO
Okay. Well, that’s exactly where I’m taking you.
PHIL
You’re taking me to Ronkonkoma in 1961?
sa
l
EMILIO
Chico, no. We’re playing at a bar mitzvah. Just come and hear
the song.
ct
ro
TR
W
GLORIA
EVERYBODY GATHER 'ROUND NOW
LET YOUR BODY FEEL THE HEAT
DON'T YOU WORRY IF YOU CAN'T DANCE
LET THE MUSIC MOVE YOUR FEET
du
BAR MITZVAH
Pe
(lights out on them, and up on the bar
mitzvah where the bar mitzvah BOY, his
MOTHER, and GLORIA do the conga, celebrating
wildly)
io
ru
Okay. Let me think about it.
(a beat)
No.
n
PHIL
rp
IT'S THE RHYTHM OF THE ISLAND
AND LIKE SUGARCANE SO SWEET
IF YOU WANT TO DO THE CONGA
YOU'VE GOT TO LISTEN TO THE BEAT
fo
GLORIA & ENSEMBLE
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA BEAT
ot
(lights up on EMILIO, again, at PHIL’s
office door)
PHIL’S OFFICE DOOR
N
Come hear the song.
EMILIO
PHIL
Leave me alone.
65
EMILIO
Phil is that guacamole on your face?
PHIL
No.
EMILIO
sa
l
(tastes it)
It needs cilantro.
ru
PHIL
It’s avocado! The vitamin E from the pit...what do you want?
EMILIO
(scoffing)
No.
ct
Pe
PHIL
Why? Where are you playing tonight, an Italian wedding?
W
du
(reluctantly)
Okay, yes.
io
n
EMILIO
I want you to come hear the song.
ro
TR
(lights out on them...up on the Italian
wedding where GLORIA leads the Italian BRIDE
and BRIDESMAIDS all going crazy with the
song)
rp
ITALIAN WEDDING
ot
fo
GLORIA
FEEL THE FIRE
OF DESIRE
AS YOU DANCE THE NIGHT AWAY
'CAUSE TONIGHT WE’RE
GONNA PARTY
'TIL WE SEE THE
BREAK OF DAY
FEMALE ENSEMBLE
OF DESIRE
‘TIL WE SEE THE
BREAK OF DAY
N
GLORIA
BETTER GET YOURSELF TOGETHER
AND HOLD ON TO WHAT YOU’VE GOT
ONCE THE MUSIC HITS YOUR SYSTEM
66
GLORIA & FEMALE ENSEMBLE
THERE’S NO WAY YOU’RE GONNA STOP
sa
l
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA
ru
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA BEAT
io
Pe
PHIL’S OFFICE DOOR
n
(lights out on them...once more on PHIL and
EMILIO at PHIL’s office door)
ct
EMILIO
Come on, Phil. You know I’m not going to leave you alone.
PHIL
PHIL’S WIFE
ro
TR
(offstage)
Phil! Phil!
du
W
Emilio, for the last time...
EMILIO
Oh my God. What’s making that sound?
rp
PHIL
That’s my wife.
EMILIO
fo
Wow.
PHIL
Yeah.
ot
EMILIO
We’re playing a Shriner’s Convention...
N
You gotta be kidding me.
PHIL
EMILIO
In Las Vegas.
67
PHIL’S WIFE
(offstage)
Phil!!!
PHIL
I’ll get my bag.
sa
l
EMILIO
See! I knew it!
LAS VEGAS
AAH
n
ru
ENSEMBLE
io
Pe
(music and dance)
GLORIA & ENSEMBLE
ro
TR
W
du
ct
AAH
CONGA SHAKE YOUR BODY
CONGA SHAKE YOUR BODY
CONGA SHAKE YOUR BODY
CONGA SHAKE YOUR BODY
CONGA
CONGA
AAHH
rp
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA
fo
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA
ot
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA
N
COME ON, SHAKE YOUR BODY BABY, DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA BEAT
68
(the ENSEMBLE begins to make their way into
the aisles getting the audience to join in
on the Conga fun...PHIL and EMILIO peel off
of the end of the Conga lines and are left
center stage)
sa
l
PHIL
(over the music)
Does Gloria like it?
EMILIO
ru
Yeah. She likes it a lot.
ro
TR
W
du
(GLORIA is thrown the bouquet from the
Italian BRIDE and she ends the act in
EMILIO’s arms)
ct
Pe
GLORIA & ENSEMBLE
SHAKE YOUR BODY
SHAKE YOUR BODY
SHAKE YOUR BODY
COME ON SHAKE YOUR BODY BABY DO THE CONGA
io
n
PHIL
Good. Cause she’s gonna be singing it for the rest of her life.
N
ot
fo
rp
END OF ACT ONE
69
ACT TWO
#13 ENTR’ACTE MEDLEY
ct
Pe
(lights come up on EMILIO and PHIL speaking
with WARREN, the president of the record
label in his executive office in NYC)
W
du
EXECUTIVE’S OFFICE--NYC
EMILIO
We need more support for the new album.
io
ru
OFF-STAGE VOCALS
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN’T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA BEAT
n
sa
l
(each song becomes more elaborate
demonstrating GLORIA’s rise to superstardom...in the dark...)
ro
TR
WARREN
You mean more money. That’s not going to happen.
rp
PHIL
All due respect, Warren, these guys just sold out six cities of
a local tour in less than two days. On top of that, if you look
at the numbers, Conga is doing world wide...
fo
WARREN
Conga is doing great. But we’re not going to throw a pile of
money at what could end up being a one-hit wonder. Especially
when you won’t reproduce the one hit.
ot
EMILIO
You think we came this far to be a one-hit wonder? Look, we’re
proud of Conga, but we’re not going to hide behind it.
N
PHIL
The sound, Warren. Something’s happening out there. Something
big. And you gotta get out in front of it.
WARREN
No zealot like a convert, huh, Phil?
70
PHIL
Okay, that hurts.
EMILIO
(firmly)
I can’t produce a quality album with this kind of money.
sa
l
WARREN
Is that right?
EMILIO
ru
That’s right.
io
n
WARREN
Then I’d say you have yourself a problem.
CONGA
ct
Pe
(WARREN exits...EMILIO and PHIL exit)
W
du
GLORIA & ENSEMBLE
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN’T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA
rp
DON'T YOU WORRY
IF YOU CAN'T DANCE
LET THE MUSIC MOVE YOUR FEET
ENSEMBLE
ro
TR
GLORIA
EVERYBODY GATHER 'ROUND NOW
LET YOUR BODY FEEL THE HEAT
FEEL THE HEAT
MOVE YOUR FEET
fo
GLORIA & TWO BACKUPS
IT'S THE RHYTHM OF THE ISLAND
AND LIKE SUGARCANE SO SWEET
ENSEMBLE
ot
SO SWEET
N
GLORIA
IF YOU WANT TO DO THE CONGA
YOU'VE GOT TO LISTEN TO THE BEAT
71
GLORIA & ENSEMBLE
COME ON SHAKE YOUR BODY BABY DO THE CONGA
KNOW YOU CAN'T CONTROL YOURSELF ANY LONGER
FEEL THE RHYTHM OF THE MUSIC GETTING STRONGER
DON'T YOU FIGHT IT 'TIL YOU TRY TO DO THE CONGA BEAT
sa
l
FAN 1
Gloria!!! Sign my t-shirt!
FAN 2
¡Te quiero mucho, Gloria! We love you, Gloria!
io
n
ru
(FAN 2 hugs GLORIA...GLORIA signs
shirt...GLORIA, the FANS, and the BAND
freeze as EMILIO and PHIL enter)
ct
Pe
EMILIO
I want to push Gloria out front.
PHIL
She is out front.
ro
TR
PHIL
I’ll talk to him, not you.
du
W
EMILIO
No. “Gloria Estefan and the Miami Sound Machine.” I’m going to
talk to Warren.
EMILIO
rp
Why not me?
PHIL
Because when he says no, you’re just gonna lose your temper.
fo
EMILIO
Why would he say no?
ot
PHIL
Why? He’s gonna say you already have a brand--The Miami Sound
Machine. He’s gonna say female fronts don’t work.
EMILIO
N
Debbie Harry. Pat Benatar...
PHIL
They ain’t Latin. No offense. What do you say to that?
72
EMILIO
I say, young boys want her, young girls want to be her. With her
out front, we can take this band to places the Sound Machine
could never dream of. And if you’d take your head out of your
ass, you’d realize she is the brand. No offense.
(a beat)
sa
l
PHIL
So, I’ll talk to Warren?
EMILIO
n
(they exit)
ru
Good idea.
GET ON YOUR FEET
GLORIA & ENSEMBLE
GLORIA
GET UP AND MAKE IT HAPPEN
du
W
GET ON YOUR FEET
ct
Pe
io
RADIO DJ
You’ve been asking for it all day. Here it is, the new one from
Gloria Estefan and the Miami Sound Machine.
ro
TR
GLORIA & ENSEMBLE
GET ON YOUR FEET
STAND UP AND TAKE SOME ACTION
rp
GLORIA
YOU SAY I KNOW IT’S A WASTE OF TIME
THERE’S NO USE TRYING
ENSEMBLE
fo
NO USE TRYING
ot
GLORIA
SO SCARED THAT LIFE’S GONNA PASS YOU BY
YOUR SPIRIT DYING
YOU GOTTA KEEP LOOKING ON TO TOGLORIA& ENSEMBLE
N
-MORROW
GLORIA
THERE’S SO MUCH IN LIFE THAT’S
73
MEANT FOR YOU
GET ON YOUR FEET
GLORIA & ENSEMBLE
GLORIA
GET UP AND MAKE IT HAPPEN
sa
l
GLORIA & ENSEMBLE
GET ON YOUR FEET
STAND UP AND TAKE SOME ACTION
ru
LIVE FOR LOVING YOU
Pe
io
n
ENSEMBLE
OOH LA LA LA LA LA LA LA
LA LA LA LA LA LA LA
ct
GLORIA
Hey everybody, she’s the reason I’m up here right now and she’s
in the house tonight. Give it up for my beautiful abuela,
Consuelo Garcia! Bring her up here boys!
ro
TR
W
du
(she scans the arena...CONSUELO shyly stands
and makes a little wave...during the verse
CONSUELO is helped onto the stage by one of
the BACKUP DANCERS...GLORIA takes her
GRANDMOTHER’s hand and she joins in for the
remainder of the song)
ENSEMBLE
ot
fo
rp
GLORIA
LYIN' AWAKE I TURN TO YOU
AS YOU ARE SOFTLY SLEEPING
I THINK OF WHAT I'D LIKE TO DO
WHILE YOU ARE SOMEWHERE DREAMING
I
I FEEL SO HAPPY BY YOUR
SIDE
OH I
I WONDER WONDER WONDER WHY
I NEED NOTHING ELSE IN LIFE
THAN TO HOLD YOU
N
I OH
I AM IN SO DEEP
I DON’T NEED NO SLEEP
I JUST
NEED YOU HERE WITH ME
I
SIDE
I
I NEED YOU
HOLD YOU BABY
I AM IN SO DEEP
DON’T NEED NO SLEEP
NEED YOU HERE WITH ME
74
GLORIA
BABY I LIVE FOR LOVING YOU
ENSEMBLE
OOH, LA, LA, LA, LA, LA, LA, LA
sa
l
(CONSUELO exits the stage...after the song
the rhythm carries on and the lights come up
on EMILIO, PHIL and WARREN)
PHIL
Considering the numbers, the contract is not unreasonable.
Pe
io
n
ru
WARREN
Not unreasonable? Fifty million dollars? Emilio, listen to me.
What you’re demanding is unheard of. It’s ludicrous. No female
artist has this kind of contract. Madonna doesn’t have this kind
of contract... I’ll never get it passed the board.
ct
EMILIO
Is that right?
WARREN
W
du
That’s right.
(WARREN storms off)
ro
TR
EMILIO
Then I’d say you have yourself a problem.
rp
PHIL
I mean...how do you sit down with balls that big?
PARTY TIME
fo
(lights transition to GLORIA and the BAND
who joins EMILIO in a celebration of their
latest album going Platinum)
ot
GLORIA
WHEN THE SUN IS SETTING IN THE SKY
EMILIO & ENSEMBLE
EVERYBODY KNOWS IT’S PARTY TIME
N
GLORIA
AND WHEN THE MOON IS RISING HIGH
75
GLORIA, EMILIO & ENSEMBLE
I’LL BE YOURS
I KNOW YOU WILL BE MINE
sa
l
GLORIA
ALL DAY THE WORLD GOES ROUND AND ROUND
YOU CAN FEEL THE CHANGES COMING DOWN
IT DOESN’T MATTER WHO YOU ARE
WITH LOVE TO GIVE
ru
GLORIA, EMILIO & ENSEMBLE
YOU WILL GO FAR
W
du
GLORIA
WE’RE NOT JUST BORN TO BE ALIVE
io
GLORIA, EMILIO & ENSEMBLE
EVERYONE’S JUST TRYING TO SURVIVE
ct
Pe
n
GLORIA
SEE THE TREASURES ALL AROUND
WE BURN OURSELVES INTO THE GROUND
COMIN’DOWN
EMILIO & ENSEMBLE
ro
TR
I KNOW
GLORIA
WHAT I FEEL INSIDE IS TRUE
rp
EMILIO & ENSEMBLE
YOU KNOW
fo
GLORIA
EV’RY ROAD I FOLLOW’S LEADING ME TO YOU
WHEN THE SUN IS SETTING IN THE SKY
ot
GLORIA, EMILIO & ENSEMBLE
EVERYBODY KNOWS IT’S PARTY TIME
N
GLORIA
AND WHEN THE MOON IS RISING HIGH
GLORIA, EMILIO & ENSEMBLE
I’LL BE YOURS
I KNOW YOU WILL BE MINE
76
PARTY TIME GET DOWN
GLORIA & ENSEMBLE
PARTY TIME
EMILIO & ENSEMBLE
PARTY PARTY
PARTY
TIME
PARTY TIME
TIME
sa
l
PARTY PARTY
PARTY
TIME
PARTY TIME
TIME
n
ru
GLORIA, EMILIO & ENSEMBLE
EVERYBODY KNOWS IT’S PARTY TIME
ro
rp
TR
W
du
ENSEMBLE
PARTY PARTY PARTY TIME
PARTY TIME
PARTY PARTY PARTY TIME
PARTY TIME
PARTY PARTY PARTY TIME
PARTY TIME
PARTY PARTY PARTY TIME
PARTY PARTY PARTY TIME
io
#13A ENTR’ACTE PLAYOFF
ct
Pe
(the song ends in celebration)
(during the above playoff we transition
to...)
fo
FAJARDO KITCHEN
(GLORIA and EMILIO plead with GLORIA
FAJARDO)
GLORIA FAJARDO
N
No.
ot
GLORIA
We want to take Rebecca on the road with us.
Mom...
GLORIA
77
GLORIA FAJARDO
Don’t ask me again.
GLORIA
I wasn’t asking.
GLORIA FAJARDO
sa
l
Oh. Excuse me?
n
ru
GLORIA
Look. She’s struggling. Missing classes. Hanging out with the
wrong people. She’s going to get herself into trouble. She needs
some stability.
ct
Pe
io
GLORIA FAJARDO
Is that what you’re offering? Stability? Where? Out on the road?
Hanging around with musicians? Doing drugs and I don’t know what
else?
GLORIA
Stop it. You know it’s not like that.
ro
TR
W
du
GLORIA FAJARDO
I don’t know anything. I don’t know what you do with your gypsy
life. You’re gone. That’s all I know. And now you want to take
Rebecca.
EMILIO
It could be good for her.
fo
rp
GLORIA FAJARDO
Is that right? Why are you talking to me? Don’t talk to me about
my family. My daughter has a degree. She could have had a
respectable life. Instead, you have her raising my grandson in
buses and hotels. I mean look at you. You’re nothing but a
liquor salesman pretending to be a big shot music producer.
GLORIA
ot
Mamí!
N
GLORIA FAJARDO
What? That’s all he is. Every time he opens his mouth, he’s
selling something. And you buy every drop of it. Look at him,
with his fancy cars and his fancy clothes. What happens when you
run out of luck? When you lose your voice or your looks. Where
do you think he’ll be? That one? He’ll be gone. And you’ll end
up a single mother. Like I was.
78
EMILIO
(deliberately)
If that happens...which it won’t...I’ll be with my wife, and my
son, and the rest of my family...which I hope will include you.
(to Gloria)
I’ll be in the car.
sa
l
(EMILIO exits)
GLORIA
He doesn’t deserve that.
ru
GLORIA FAJARDO
n
He doesn’t deserve you.
Pe
We came here to help.
io
GLORIA
ro
I am not taking...
TR
ct
GLORIA
du
W
GLORIA FAJARDO
(exploding)
Help? I don’t want your help. And I don’t want your money. When
I left Cuba, that government took my PhD. When I got here, this
government took my husband. You already took my grandson away.
Now Rebecca? You want to take my whole family!
rp
GLORIA FAJARDO
My family. That I sacrificed everything for.
fo
GLORIA
That we sacrificed everything for. We. When you went back to
school, I stayed at home taking care of Daddy and Rebecca. We. I
was 14 years old. Don’t you dare not acknowledge that. Don’t you
dare.
(a pause)
We’re taking Rebecca on the tour with us.
ot
GLORIA FAJARDO
Do it, and I swear I’ll never speak to you again.
N
Really...
GLORIA
GLORIA FAJARDO
You try me...
79
(a beat)
sa
l
GLORIA
I’m going to do what’s best for my sister. Emilio and I are
going to do what’s best for our family. And if you don’t want to
talk to us, that’s fine. But the day you decide you want your
family back, we’ll be here.
n
ru
(GLORIA exits, leaving GLORIA FAJARDO on
stage for a moment...the sound of a jet
screaming through the air...lights up on the
World Tour)
Pe
io
#14 WORLD TOUR MEDLEY
du
W
WOMEN
SOMEDAY IT'LL BE ALRIGHT
CHANGES HAPPEN OVER NIGHT
ct
WEMBLEY ARENA--LONDON, ENGLAND
OYE MI CANTO
ro
TR
GLORIA (V.O.)
Hello, London! ¡Gracias por todo el amor! Our first world tour!
170 cities. Four continents. And it all starts here! Show us
what you got, London!
rp
(CONCERT GOERS enter and dance in front of
the stage)
GLORIA
N
ot
fo
I BELIEVE IN LOVE
BUT WITH NO CONDI-TIONS
AND GIVING IN SOMETIMES
DOESN'T MAKE IT SUBMIS-SION
HATE IS SO COMMON
IT'S ALMOST TRADI-TION
COME ON AND LEAVE IT BEHIND
AND MAKE THAT TRANSITION
ENSEMBLE
OYE MI CANTO
OYE MI CANTO
OYE MI CANTO
OYE MI CANTO
OYE MI CANTO
80
BARAJAS AIRPORT--MADRID, SPAIN
ANNOUNCER
Invitamos a los pasajeros de Iberia vuelo 946 abordar en la
puerta 17 con destino a Washington Dulles Aereopuerto
Internacional.
sa
l
(REBECCA, EMILIO, and GLORIA enter)
CURIOSO DESTINO
n
ro
TR
OFFSTAGE TENOR
CURIOSO DESTINO QUE AUN ME SEPARA
du
W
ct
Pe
GLORIA
Thanks, Becks.
(REBECCA exits...GLORIA starts to walk
off...EMILIO’s mind is somewhere else...he
doesn’t move)
Emilio, do you have the passports?
(she turns to him)
Babe...?
io
ru
REBECCA
(holding documents)
We’re boarding in ten minutes. I have to grab a few things. Your
boarding passes are inside your passports. I’ll meet you at the
gate. Okay?
EMILIO
rp
(lost in a memory)
When my father and I first left Cuba, we had to stop here in
Madrid before we could go to Miami.
GLORIA
fo
(gently)
You told me...
ot
EMILIO
The day we arrived, we arrived in this exact terminal. The floor
is the same. The air is the same.
OFFSTAGE TENOR
THE PLACE THAT I COME FROM I BARELY REMEMBER
N
EMILIO
I couldn’t stop crying. Walking down this hallway my father kept
trying to tell me about what was ahead for us in Miami. But all
I could think about was what we left behind...
81
(NENA, Emilio’s mother, and ANTONIO,
Emilio’s grandfather, appear...YOUNG EMILIO
stands beside them)
sa
l
NENA
Emilito, it’s time for you to go. Your father is waiting by the
plane.
ru
(GLORIA moves to EMILIO and stares in the
same direction, seeing what he is seeing...
the music continues underneath...YOUNG
EMILIO rushes into a hug with his mother)
io
n
YOUNG EMILIO
You have to come with us, Mamí.
Pe
NENA
W
ANTONIO
Come here, Emilito.
(gently pulling him away)
Come here.
ro
TR
YOUNG EMILIO
(moving to his grandfather)
Yes, Grandpa?
du
(YOUNG EMILIO holds on for dear life)
ct
I can’t Emilito...I can’t.
rp
(his GRANDFATHER puts YOUNG EMILIO’S hand
against his nose)
ot
fo
ANTONIO
Do you feel this nose?
(YOUNG EMILIO nods...his GRANDFATHER puts
the hand on his ear)
Do you feel this ear?
(nod...moves hand to chin)
Do you feel my beard?
(YOUNG EMILIO nods)
Look at me. Don’t ever forget them, okay?
N
(YOUNG EMILIO jumps into his GRANDFATHER’s
embrace...ANTONIO takes a photo from his
pocket and hands it to EMILIO)
82
ANTONIO (CONT’D)
You take this picture. Just in case. I love you, boy.
I love you, Abuelito.
YOUNG EMILIO
sa
l
NENA
Now you get on that plane and you don’t turn around. Okay?
YOUNG EMILIO
I love you, Mamí...
Pe
ct
YOUNG EMILIO
Mamí?
NENA
W
du
What, hijo?
n
(YOUNG EMILIO walks a few steps between NENA
and EMILIO...he turns one last time)
io
Go. Mi amor. Go...
ru
NENA
ro
TR
YOUNG EMILIO & EMILIO
I’m going to get us all to Miami. I promise.
rp
NENA
(broken-hearted smile)
I believe you.
fo
(YOUNG EMILIO takes a last look at his
MOTHER and GRANDFATHER, straightens his back
and walks away...ANTONIO holds NENA as they
disappear...the music kicks in...GLORIA’s
coat is removed to reveal a concert dress...
EMILIO exits)
ot
KENNEDY CENTER—WASHINGTON, DC
CUBA LIBRE
N
GLORIA
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
ENSEMBLE
QUIERO MI CUBA LIBRE
QUIERO MI CUBA LIBRE
83
GLORIA
Washington, DC! You guys are incredible! We’re gonna kick it up
a notch. From the streets of Havana to the Capitol of this great
country. Get ready to dance! Let me hear you!
PA’ QUE MI GENTE
ENSEMBLE GROUP 1
PA’ QUE MI GENTE
sa
l
ENSEMBLE
ENSEMBLE GROUP 2
MI CUBA
du
W
PA’ QUE MI GENTE
PA’ QUE MI GENTE
PA’ QUE MI GENTE
PUEDA BAILAR
ct
ENSEMBLE
n
MI CUBA
PUEDA BAILAR
Pe
PUEDA BAILAR
MI CUBA
io
PA’ QUE MI GENTE
ru
PA’ QUE MI GENTE
(Chancleta dance)
rp
ro
TR
ENSEMBLE (CONT’D)
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
ENSEMBLE GROUP 1
ENSEMBLE GROUP 2
ENSEMBLE GROUP 3
ot
MI CUBA
fo
CUBA
MI CUBA
ENSEMBLE
N
MI CUBA LIBRE
84
#14A WORLD TOUR (PLAYOFF)
ENSEMBLE
sa
l
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
QUIERO MI CUBA LIBRE
PA' QUE LA GENTE PUEDA
PA' QUE MI GENTE PUEDA BAILAR
(during the above, we transition into...)
Pe
n
(EMILIO stands by the dressing table...
GLORIA enters followed by her DRESSER)
io
ru
GLORIA’S DRESSING ROOM-—WASHINGTON, DC
W
GLORIA
ro
TR
Seriously?
du
EMILIO
1,306 miles.
ct
GLORIA
Washington D.C. The White House is a long way from Santiago,
huh?
EMILIO
rp
Yeah.
GLORIA
How the hell would you know exactly...
fo
EMILIO
I’ve been dreaming about this day for a long time.
GLORIA
Yeah, except in your dreams I bet you were the president.
N
ot
EMILIO
Yeah. Maybe. So what. Mind your own business.
(they share a smile...a beat)
Listen, I know tomorrow’s supposed to be our day off, but I
figure since we’re heading to New York for the Sony dinner
anyway, we should take advantage and do a few of the morning
shows to promote the East Coast Swing.
85
GLORIA
Fine.
EMILIO
Good. Also, we’re going to have to reschedule the shows in
Seattle and San Francisco, so we can do the benefit in LA.
sa
l
GLORIA
Fine.
EMILIO
ru
What’s wrong?
io
n
GLORIA
Nothing...
Pe
EMILIO
ct
Baby, c’mon what’s wrong?
W
EMILIO
Okay. Talk to me.
du
GLORIA
I’m tired. Two years on the road. Hotels, airports, cameras...
ro
TR
GLORIA
I don’t know what to...something doesn’t feel right. It feels
like every time we get on that bus we leave something else
behind.
Yeah...
GLORIA
fo
Doesn’t it bother you?
rp
EMILIO
(a beat)
ot
EMILIO
What did you think of the White House?
GLORIA
N
It was incredible.
86
EMILIO
These are the things we get to say now in normal conversation.
The son of two Cuban immigrants just shook hands with the
President of the United States. That’s what we leave behind.
(a beat)
Call her.
I did and she won’t answer.
sa
l
GLORIA
n
ru
EMILIO
Then you keep calling until she does. It’s been two years. This
has to end.
Pe
EMILIO
ct
So are you.
io
GLORIA
She’s a stubborn woman, my mother.
W
Yes.
EMILIO
ro
TR
Call her again.
(kisses her)
We’ll be on the bus.
du
GLORIA
rp
(GLORIA dials her mother...on another part
of the stage, the lights come up on GLORIA
FAJARDO...a phone on the counter next to her
rings)
FAJARDO KITCHEN
ot
fo
GLORIA FAJARDO (V.O.)
(from the machine)
Ha llamado a la residencia Fajardo. No le podemos atender en
este momento. Por favor deje un mensaje.
N
GLORIA FAJARDO crosses to the phone...the
sound of a beep...GLORIA’s voice stops
GLORIA FAJARDO from picking up the phone)
(after a beat)
Mom... It’s me.
GLORIA
87
(a beat)
GLORIA (CONT’D)
ru
sa
l
I was just...
(a beat)
We’re in Washington D.C. right now, about to get on the bus and
head up to New York.
(a beat)
I wanted to...
(a beat)
I had a dream about Abuela last night. She was still alive. I
really miss her.
(a beat)
And I miss you. Anyway, I’m thinking about you.
Pe
io
n
(as GLORIA hangs up, music starts...the
lights fade on GLORIA FAJARDO)
ct
#15 FAMOUS
W
du
GLORIA
HOW IN THIS WORLD CAN I GO ON
WOND’RING IF YOU THINK OF ME WHEN I’M GONE
SHIELDING MY EYES FROM THE PITILESS LIGHT OF THE GLARE
DO YOU CARE
rp
ro
TR
WHEN IN THIS WORLD IS IT ENOUGH
I NEVER THOUGHT IT WOULD BE QUITE THIS ROUGH
LIVING MY LIFE AND AS MILLIONS OF PEOPLE ALL STARE
YOU’RE NOT THERE
(transition from dressing room to bus)
TOUR BUS
fo
WHY IS EACH STEP THAT I TAKE REDEFINED
WHILE THINGS THAT SHOULD NOT BE AT STAKE
ARE LEFT BEHIND
EMILIO
N
ot
(into phone)
Espera. Espera. Repitemelo...?
(he calls to GLORIA)
Babe, The Miami Herald ran a headline that “Gloria and Emilio
Have the World in Their Hands!” Talking about the worldwide
sales.
LORI
Okay. April 19th, 1775...
88
sa
l
NAYIB
The first shots of the Revolutionary War fired in Concord,
Massachusetts.
(looking out)
Hey! It’s snowing!
(calling to his FATHER)
Papí! Look out the window...it’s snowing!
Pe
n
io
ru
GLORIA
THERE’S ALWAYS SOMETHING TO LOSE WHEN YOU WIN
IF THOSE ARE THE RULES OF THE GAME, DEAL ME IN
THOUGH IT’S BEEN HARD ON MY PRIDE
IT’S BEEN ONE HELL OF A RIDE
CURIOUSLY I DIDN'T SET OUT TO BE
FAMOUS
ct
#15A BUS CRASH
ro
TR
W
du
(the final guitar chord reverberates and
transforms into the sound of the terrifying
explosion of the bus crash...a piercing
high-pitch ring...eerie music begins...we
hear sirens and 9-1-1 emergency phone
calls...hospital noises...throughout the
above, transition into...)
HOSPITAL ROOM
rp
(EMILIO stands over the hospital bed...DR.
NEUWIRTH is by his side holding a clipboard
while a NURSE sponges off GLORIA)
fo
DR. NEUWIRTH
We’ve run all the tests we’re going to run for now. In a few
hours, we should have a measurement on...
EMILIO
ot
Will she...
(a breath)
Will she walk again?
N
DR. NEUWIRTH
We’re not there yet. Look, the surgery is scheduled for 10 A.M
tomorrow morning. They should be ready to start prep around
8:30. So if...
89
EMILIO
What are the risks?
DR. NEUWIRTH
Emilio, let’s...
EMILIO
sa
l
What are the risks?
io
n
ru
DR. NEUWIRTH
Permanent paralysis.
(EMILIO breathes)
With any kind of spinal surgery, especially one as complicated
as this, there’s always that possibility. But, let’s not even
think that way. Alright? Is she a fighter?
Pe
EMILIO
ct
You have no idea.
DR. NEUWIRTH
There you go.
du
TR
Papí, how’s your shoulder?
EMILIO
ro
W
(REBECCA walks NAYIB into the room...NAYIB
wears a sling on his injured arm)
NAYIB
rp
It’s fine.
EMILIO
Yeah? Okay, good. Come here...
fo
(NAYIB walks to his father...they look at
GLORIA)
NAYIB
ot
Is she okay?
EMILIO
She’s resting.
N
DR. NEUWIRTH
We’ve given her something to help her sleep. Why don’t you take
Nayib home. Try to get a little rest. Tomorrow is going to be a
long day.
90
EMILIO
Home is lying in this bed.
(GLORIA FAJARDO enters)
NAYIB
(seeing her)
sa
l
¡Abuela!
NAYIB rushes over to hug her...REBECCA
follows)
Pe
n
(he exits...EMILIO and GLORIA FAJARDO stand
for a moment facing each other)
io
I’ll leave you alone.
ru
DR. NEUWIRTH
W
du
ct
GLORIA FAJARDO
Before you called, I was at home and I saw this line come onto
the television--“Gloria Estefan killed in a accident.”
(fighting to keep composure)
Killed in an accident...
rp
ro
TR
EMILIO
She’s not going to die. Not before me, anyway.
(to GLORIA FAJARDO)
I’m glad you’re here.
(to NAYIB)
C’mon Papí, let’s go outside for a minute, okay?
fo
(EMILIO gently takes NAYIB’s hand,
leaving MOTHER with DAUGHTERS...GLORIA
FAJARDO sees the NURSE washing GLORIA and
asks...)
ot
GLORIA FAJARDO
May I do that?
(the NURSE hesitates)
Please...
N
(the NURSE looks GLORIA FAJARDO in the
eyes...there’s no way she can say no...she
hands her the sponge)
91
NURSE
(on her way out)
I love her voice.
GLORIA FAJARDO
Me too.
sa
l
(the NURSE exits...REBECCA senses the
moment)
REBECCA
I’m going to go get some coffee. Do you want anything?
REBECCA
Pe
Okay.
ro
TR
GLORIA FAJARDO
It’s me. It’s mama. I’m here...
du
W
ct
(EMILIO rolls his jacket into a “pillow” and
pulls NAYIB down so he can lay his head on
his lap...GLORIA FAJARDO gently washes
GLORIA with the sponge)
io
No.
n
ru
GLORIA FAJARDO
#16 IF I NEVER GOT TO TELL YOU
fo
rp
GLORIA FAJARDO
IF I NEVER GOT TO TELL YOU
THERE’S NO WAY I COULD BE PROUDER
OF THE LIFE THAT YOU’VE CREATED
ALL THE WAYS THAT YOU HAVE GROWN
GLORIA FAJARDO
IF I NEVER GOT TO TELL YOU
ot
I WILL SAY IT EVER LOUDER
N
IN MY LIFE
YOU’VE BEEN A BLESSING
AND I NEED YOU TO KNOW
EMILIO
YOU ARE MY LIFE
FROM THE FIRST DAY YOU WERE
IN MY LIFE
YOU’VE BEEN A BLESSING
LIFE CAN CHANGE SO QUICKLY
92
GLORIA FAJARDO
DON’T THINK THAT YOU HAVE
ALL THE TIME IN THE WORLD
TO TELL SOMEONE THE REASONS THAT YOU LOVE THEM
sa
l
GLORIA FAJARDO & EMILIO
WITH ONE TWIST OF FATE
ALL THE WORDS IN YOUR HEART
IF I NEVER GOT TO TELL
YOU
ALL THE WAYS YOU MADE ME
HAPPY
ro
TR
io
du
EMILIO
W
GLORIA FAJARDO
IF I NEVER GOT TO TELL
YOU
ALL
THE WAYS YOU MADE ME
HAPPY
ct
Pe
GLORIA FAJARDO & EMILIO
UNTIL IT’S TOO LATE TO SAY IT
TOO MUCH LIKE A GAME WE PLAY IT
WHEN WE CHOOSE TO KEEP IT ALL INSIDE
UNTIL IT’S TOO LATE
FOREVER
WE’VE RUN OUT OF ALL WHENEVERS
AND THIS JUST MIGHT BE OUR LAST GOODBYE
n
ru
GLORIA FAJARDO
THEY NEVER HEAR
WHAT’S THE SENSE IN WAITING
fo
GLORIA FAJARDO
rp
GLORIA FAJARDO
THAT THE DREAMS YOU’VE BEEN FULFILLING
ARE FULFILLING MY DREAMS TOO
I LOVE YOU SO
N
ot
IF I EVER HURT YOU
YOU HAVE
ALWAYS BEEN THE REASON
FOR THE CHOICES I HAVE MADE
EMILIO
IF I NEVER GOT TO TELL
YOU
YOU WERE PLANNED DOWN TO
THE MOMENT
ALWAYS BEEN THE REASON
FOR THE CHOICES I HAVE
MADE
93
EMILIO
sa
l
I THOUGHT I WOULD HAVE
ALL THE TIME IN THE WORLD
TO MAKE THINGS RIGHT
BUT I ALMOST LOST TOMORROW
WITH ONE TWIST OF FATE
I WAS FACING THE WORLD
WITHOUT YOU
n
ru
(EMILIO breaks down crying next to GLORIA...
GLORIA FAJARDO puts her hand gently on his
shoulder...he straightens up trying to hide
the tears)
io
Pe
GLORIA FAJARDO
Did you see all the red roses people sent her?
Yeah.
ct
EMILIO
W
GLORIA FAJARDO
(simultaneously with EMILIO)
She hates red roses.
du
(a beat)
ro
TR
EMILIO
(simultaneously with GLORIA FAJARDO)
She hates red roses.
rp
(they share a small laugh)
fo
GLORIA FAJARDO
You were taking her away from me. And I couldn’t bear the
thought of losing her.
I know the feeling.
EMILIO
N
ot
GLORIA FAJARDO
IF I NEVER GOT TO TELL YOU
I REGRET THE WAY THINGS HAPPENED
IN MY LIFE EACH TIME I TRUSTED
WAS JUST ONE MORE TIME I LOST
94
GLORIA FAJARDO
IF I NEVER GOT TO TELL YOU
EMILIO
I UNDERSTAND
YOU’RE THE SON I ALWAYS
WANTED
I WILL ALWAYS BE THERE
AND THOUGH I DIDN’T MAKE IT
EASY
sa
l
NO YOU DIDN’T MAKE IT
EASY
I HAVE PAID THE HIGHER COST
n
EMILIO
ct
GLORIA FAJARDO
SO I’M NO LONGER WAITING
io
Pe
ru
GLORIA FAJARDO
I THOUGHT I WOULD HAVE
ALL THE TIME IN THE WORLD
TO MAKE THINGS RIGHT
BUT I ALMOST LOST TOMORROW
WITH ONE TWIST OF FATE
I WAS FACING A WORLD WITHOUT YOU
I’M NO LONGER WAITING
rp
ro
TR
W
du
GLORIA FAJARDO & EMILIO
UNTIL IT’S TOO LATE TO SAY IT
MUCH LIKE A GAME WE PLAY IT
WHEN WE CHOOSE TO KEEP IT ALL INSIDE
UNTIL IT’S TOO LATE
FOREVER
WE’VE RUN OUT OF ALL WHENEVERS
AND THIS JUST MIGHT BE
OUR LAST GOODBYE
BEFORE IT’S TOO LATE
(lights fade...transition...)
fo
GOING INTO SURGERY
N
ot
NEWSCASTER (V.O.)
At this hour, pop superstar Gloria Estefan is about to enter an
extremely complex, spinal fusion surgery, which reportedly could
last as long as nine hours. A press conference is scheduled for
this evening, at which time we should find out whether or not
the procedure was indeed successful.
95
SURGERY DREAM
#17 WRAPPED
io
rp
MAKING MY WAY TO YOUR HARBOR
DON'T NEED TO GO ANY FARTHER
YOU ARE MY SUN AND MY MOON
ro
TR
W
du
GLORIA & JOSÉ
I CHERISH EVERY MORNING THAT FOUND US
WITH THE NIGHT SCATTERED AROUND US
FADED AND PAINTING ME BLUE
I CARRY YOUR JOY IN MY FOOTSTEPS
ct
Pe
GLORIA & LITTLE GLORIA
I CARRY YOUR WORN DISILLUSION
WHEN MY PATHETIC CONFUSION
KEPT ME FROM SPEAKING THE TRUTH
I’M SIMPLY A COIN IN YOUR FOUNTAIN
LOST LIKE THE SECONDS I'M COUNTING
'TIL I AM CLOSER TO YOU
n
ru
sa
l
GLORIA
I KEEP EV’RY TEAR LIKE AN OCEAN
FOR EV’RYDAY THAT MY FORTUNE
KEPT ME FROM BEING WITH YOU
I CRADLE YOUR FAITH THAT REVEALS ME
GROWS LIKE A FLOWER, THEN HEALS ME
FILLS ME WITH PROMISE ANEW
fo
WRAPPED IN YOUR ARMS WHERE IT'S PEACEFUL
BACK IN YOUR ARMS WHERE I'M HAPPY
I WOULD DO ANYTHING GLADLY
ONLY TO SEE YOU AGAIN
ot
WRAPPED IN YOUR ARMS I CAN WANDER
OUT TO THE HEAVENS ABOVE ME
HEARING YOU SAY THAT YOU LOVE ME
BACK IN YOUR ARMS WHERE I’M FREE
ENSEMBLE
N
AH AH AH
96
GLORIA & EMILIO
I KEEP EV’RY PHRASE BARELY SPOKEN
THAT FROM YOUR LIPS MAY HAVE BROKEN
FREE AS YOU GIVE ME YOUR LOVE
ENSEMBLE
sa
l
AH AH AH
GLORIA & EMILIO
MY
YEARNING IS CONSTANT AND STEADY
WHEN I’M WITH YOU I’M ALREADY
EVERYTHING I CAN BECOME
ENSEMBLE
OOO
Pe
ct
DON’T NEED TO GO
ro
TR
GLORIA
YOU ARE MY SUN AND MY MOON
OO OO OO
du
W
I CARRY YOUR JOY IN MY FOOTSTEPS
MAKING MY WAY TO YOUR HARBOR
DON’T NEED TO GO ANY FARTHER
ANY FARTHER
n
I CHERISH
EV’RY MORNING THAT FOUND US
WITH THE NIGHT SCATTERED AROUND US
FADED AND PAINTING ME BLUE
io
ru
AH
GLORIA & EMILIO
WRAPPED IN YOUR ARMS WHERE IT’S PEACE-
ENSEMBLE
AH
rp
-FUL
BACK IN YOUR ARMS WHERE I’M HAPPY
I WOULD DO ANYTHING GLAD-
fo
-LY
ONLY TO SEE YOU AGAIN
WRAPPED IN YOUR ARMS I CAN WAN-
AH
AH
ot
-DER
OUT TO THE HEAVENS ABOVE ME
HEARING YOU SAY THAT YOU LOVE
AH
N
ME
BACK IN YOUR ARMS WHERE I’M FREE
97
ENSEMBLE
(CONT’D)
AY AH AY
AY
AH
sa
l
GLORIA & EMILIO
(CONT’D)
WRAPPED IN YOUR ARMS WHERE IT’S PEACEFUL
BACK IN YOUR ARMS WHERE I’M HAPPY
I WOULD DO ANYTHING GLADLY
ONLY
TO SEE
YOU
AGAIN
AY
ru
ct
AH
AY AH
du
AY
AH AY AH
ro
TR
W
Pe
AY
n
AH AY
AH
io
WRAPPED IN YOUR ARMS I CAN WANDER
OUT
TO THE
HEAVENS ABOVE
ME
HEARING YOU SAY THAT YOU LOVE ME
BACK
IN YOUR
ARMS WHERE
I’M FREE
WRAPPED IN YOUR ARMS I CAN WANDER
OUT
TO THE
HEAVENS ABOVE
ME
HEARING YOU SAY THAT YOU LOVE ME
BACK
IN YOUR
ARMS WHERE
I’M FREE
AY AH
rp
AY
AH
AY AH
POST-SURGERY
fo
(GLORIA is in a wheelchair preparing to
leave the hospital...her MOTHER is nearby)
GLORIA FAJARDO
ot
Are you ready?
(GLORIA shakes her head)
N
Bueno. Then like a proper diva, you’ll make them wait.
98
(GLORIA FAJARDO touches up some make-up on
her DAUGHTER’s face with her finger)
You look beautiful.
GLORIA FAJARDO (CONT’D)
sa
l
GLORIA
(stopping her MOTHER’s hand)
Mamí, what if they look at me like...
GLORIA FAJARDO
ru
Like what?
io
Pe
Like what?
n
(no response)
ro
TR
W
du
ct
GLORIA
Like Daddy. The way everyone used to look at him. The way I used
to look at him. Those sad, condescending looks. Pretending to
his face that he was just fine while he was sitting there,
trembling and helpless. When I was taking care of him, do you
know what I was most afraid of?
(a beat)
I was afraid he wouldn’t die. That he would be trapped in that
body for eternity. I would look into his eyes and I could see
how sad he was.
(fighting the tears)
Helpless and sad...
rp
GLORIA FAJARDO
GLORIA
N
Okay.
ot
fo
(firmly)
Hey. No. You don’t cry. Not now. Not here. ¿Entiendes?
(a beat)
You understand me?
(GLORIA nods)
Your father couldn’t help what happened to him. You can. So you
go home and you fight. You fight like you did when you were a
little girl. You fight like you fought me. Whatever happens
next, we’ll fight it together. Okay?
99
GLORIA FAJARDO
Good.
(she puts sunglasses on GLORIA)
There. Like a proper diva.
(a beat)
Are you ready?
sa
l
GLORIA
Let’s go.
ru
(GLORIA FAJARDO pushes the wheelchair off
stage...transition to...)
io
n
HOSPITAL PRESS CONFERENCE
Pe
#17A JACQUES COUSTEAU NOUVELLE
W
REPORTER #1
Can you explain the procedure to us?
du
ct
HOST (V.O.)
We only have time for a few questions, so let’s start with Jimmy
in the back row. Then the Post and Reuters...
rp
ro
TR
DR. NEUWIRTH
Due to several fractures, the first lumbar vertebra or L–1, was
exerting pressure on Gloria’s spinal cord. Two 8-inch-long
titanium rods were permanently inserted into her back, to hold
the spine in place.
REPORTER #2
So what’s next for Gloria?
fo
DR. NEUWIRTH
Well, first she’ll learn how to walk again.
ot
REPORTER #3
When do you think she’ll be able to get on stage again?
N
DR. NEUWIRTH
In a few months she’ll start light exercise. Eventually she’ll
begin swimming and in six months or so, she’ll finally start
working with weights. After that, it’s up to her.
REPORTER #3
Do you...
100
DR. NEUWIRTH
Thank you. That’s all for now.
(flashbulbs from the reporters...the lights
come up on...)
sa
l
ESTEFAN GYM
Pe
Five more...
io
ROBIN
ct
GLORIA
ROBIN
TR
(still crunching)
Ten...
GLORIA
ro
Five...
du
(barely breathing)
W
Ten...
n
ru
(GLORIA is mid-session with her physical
therapist, ROBIN...she is doing crunches
while ROBIN holds her legs and talks her
through it...the pain is evident and
significant from the grunting we hear coming
from GLORIA)
ROBIN
rp
Fine. Eight more.
GLORIA
Ten...
fo
ROBIN
Okay, you just tell me when you’re done.
GLORIA
ot
Nine... Ten.
N
(she barely makes it to the end...finally
stopping)
Good work today.
ROBIN
101
GLORIA
Thank you.
ROBIN
Hit the shower. I’ll see you tomorrow morning.
GLORIA
sa
l
Let’s do some weights.
ROBIN
What? No.
ru
GLORIA
n
Let’s do some weights.
Pe
Absolutely not.
io
ROBIN
ct
GLORIA
I’m ready.
ROBIN
W
du
You’re not ready.
ro
TR
GLORIA
They said six months. It’s been six months. I want to start...
rp
ROBIN
I don’t care what they said. I’m the one working with you and
you need to listen to me right now. You are not ready.
ot
Excuse me?
fo
GLORIA
(a threat)
Robin, the moment you walk out of that door, I’m going to do
them anyway.
I’m going to do them anyway.
N
(firmly)
ROBIN
GLORIA
ROBIN
Sit down.
GLORIA
Let’s just do...
102
ROBIN
Sit down.
(GLORIA repositions)
Move your butt back. Feet flat on the floor. Heels down.
GLORIA
sa
l
Fine.
n
ru
ROBIN
Stretch your arms out in front of you.
(she does)
Further.
(she does)
Now stand up.
io
GLORIA
Pe
What does this have to do...
ct
ROBIN
You just stand up and then we’ll go do some weights. Deal?
ro
TR
W
du
(GLORIA stares at ROBIN...she knows it’s a
challenge...after a moment she begins to try
to stand from the sitting position...you can
see it’s difficult...she instinctively uses
her arms to help herself)
fo
rp
Arms out front!
(GLORIA extends the arms out front once
again...she is trying to stand with
everything she has...the terrible pain is
now apparent, but neither of them
relents...one final effort, GLORIA begins to
rise but the pain is too much and she lets
out a gasp and drops back down, dejected.
ot
You need to understand something. Right now, I am the one person
who doesn’t give a damn who you are outside this room. And I
don’t care about what you can do today. I care about what you’ll
be able to do a year from now. Ten years from now.
(a beat)
You’re not ready. I’ll see you tomorrow.
N
(ROBIN goes to exit as EMILIO enters)
EMILIO
Hey, how’s she doing?
103
ROBIN
(glancing at GLORIA)
She’s doin’ great.
(ROBIN exits)
sa
l
EMILIO
Baby, I got some good news.
GLORIA
What’s that?
io
n
ru
EMILIO
Dick Clark called and asked if we wanted to do a number at the
American Music Awards.
Pe
GLORIA
EMILIO
W
GLORIA
You what?
EMILIO
ro
TR
I said yes.
du
No I’m not. I told him yes.
ct
You’re kidding, right?
GLORIA
rp
Emilio, look at me...
EMILIO
I see you.
fo
GLORIA
No.
EMILIO
ot
Hear me out.
GLORIA
Absolutely not.
N
EMILIO
I think it’s the perfect way to show them that we’re back.
GLORIA
You think I’m back?
104
EMILIO
You will be.
GLORIA
No. No, I won’t. And even if by some miracle I was, my voice
won’t be ready...
sa
l
EMILIO
Baby, your voice is always ready. If you’re gonna make excuses
at least be honest...
ru
Pe
io
EMILIO
At least be honest. It’s not until January. We have plenty of
time to...
n
GLORIA
Excuses?
ct
EMILIO
ro
TR
Sympathy?
du
W
GLORIA
Stop saying we! It’s not we. It’s me. It’s me who’s busting my
ass in here seven hours every day! It’ll be me up on that stage.
Me. All alone. And I’m not going to do it. I’m not going to
hobble around up there, so that I can beg for sympathy from
every...
rp
GLORIA
That’s right. Oh, poor Gloria. She’ll never be what she was
before, but look, pobrecita, look how much courage she has to
come out here and try to sing. I don’t think so.
fo
EMILIO
Gloria, listen to me. If you don’t get back out there soon...
ot
GLORIA
Stop it! Stop pushing me. That’s what you do. You push and push
to get what you want. Well what about what I want? I just wanted
to go to Syracuse and rest for one day. You put me on that bus
and pushed me to New York, and look how that turned out!
N
EMILIO
(devastated)
What did you just...our son was on that bus...
(horrible silence...a line has been crossed)
105
GLORIA
I said no.
(GLORIA begins to exit...EMILIO stops her
with his voice)
sa
l
#18 DON’T WANNA LOSE YOU
n
ru
EMILIO
SOMETIMES IT'S HARD TO MAKE THINGS CLEAR
OR KNOW WHEN TO FACE THE TRUTH
AND I KNOW THAT THE MOMENT IS HERE
ENSEMBLE
W
du
OOH
OOH
OOH
fo
rp
I
DON'T WANNA LOSE YOU NOW
WE'RE
GONNA GET THROUGH SOMEHOW
DON’T WANNA LOSE YOU NOW
OR EVER
ro
OOH
I AM ONLY MYSELF MYSELF
TR
ct
EMILIO
SO OPEN YOUR
EYES AND SEE WHO I
AM
AND NOT WHO YOU WANT FOR
ME
TO BE
io
Pe
I'LL OPEN MY HEART AND SHOW YOU INSIDE
MY LOVE HAS NO PRIDE
ALWAYS WITH YOU
I'VE HAD NOTHING TO HIDE
OOH OOH
OOH OOH
OOH OOH
OOH OOH OOH OOH
ot
(GLORIA walks out...REBECCA enters and
brings some letters over to EMILIO)
REBECCA
N
Is she okay?
EMILIO
For once, I’m not sure.
REBECCA
I’m gonna go home for the night. Do you guys need anything else?
106
EMILIO
No.
REBECCA
(hands EMILIO the letters)
Okay. If you do, just let me know.
sa
l
(REBECCA starts to cross away)
EMILIO
Becky, where are all the fan letters we got after the accident?
ru
REBECCA
io
Pe
EMILIO
Can you have them here, first thing in the morning?
n
They’re at the office.
ct
REBECCA
Sure...but there are thousands of them. How many should I bring?
EMILIO
W
du
All of them.
ot
-ER
fo
DON'T WANNA LOSE YOU
NOW
OR EV-
ENSEMBLE
DON’T WANNA LOSE YOU
NOW
GONNA GET THROUGH
SOMEHOW
DON’T WANNA LOSE YOU
rp
EMILIO
DON’T WANNA LOSE YOU NOW
WE'RE
GONNA GET THROUGH SOMEHOW
ro
TR
(REBECCA exits...through the next verse,
EMILIO crosses downstage as the lights dim
on the gym to show passage of time)
N
BABY IT’S TIME YOU’VE FOUND
COURAGE TO STAND YOUR
GROUND
LOSE YOU NOW AH
AH
OOH OOH OR EVER
BABY IT’S TIME YOU’VE
FOUND
BABY IT’S TIME YOU’VE
FOUND
COURAGE TO STAND YOUR
GROUND
107
EMILIO (CONT’D)
ENSEMBLE (CONT’D)
COURAGE TO STAND YOUR
BUT IF
YOU
WANT ME I'LL BE AROUND
GROUND
WANT ME I’LL BE
BE AROUND AH
FOR EV-
DON’T WANNA LOSE YOU
sa
l
AH
-ER
DON’T WANNA LOSE YOU
ENSEMBLE
n
EMILIO
NOW
NOW
io
ru
(GLORIA enters in her workout clothes)
W
du
ct
Pe
EMILIO
I’m going to beg you to do this.
(a beat)
Yesterday Mr. Dick Clark called and asked if you wanted to do a
number at the American Music Awards. And I said yes. I said that
you’d be honored. So go out on the stage and show the world
you’re back. You show yourself that you’re back.
ro
TR
(EMILIO crosses to the wall, removes a
letter and hands it to GLORIA...it takes
GLORIA a moment or two until she notices...)
rp
EMILIO (CONT’D)
And baby, you were wrong about something.
GLORIA
What’s that?
fo
EMILIO
Up on that stage, you’re never alone.
N
ot
(he exits...the walls of the gym are covered
in the fan letters...hundreds of them...all
sizes and shapes, from floor to ceiling...an
incredible sight...her breath is taken
away...she stands, tiny, in the middle of
them...as she reads, a YOUNG GIRL, RACHEL,
appears in a spotlight)
108
sa
l
RACHEL
Dear, Gloria--I was at work when I heard about your accident. I
told my boss I was going to the ladies room, but really, I just
went into the stairway and cried. I couldn’t stop. I called my
mother to see if there was any more news and she said she didn’t
hear any. She was crying too. It’s impossible for you to know
what you mean to both of us, but I want you to know that every
night we hold hands and we pray for you. I hope you recover
soon. We’ll be praying until you do. Love and Hugs. Rachel
ct
Pe
io
MARCELLO
(Italian accent)
When I heard what happened to you, I turned very sad. I don't
want you to suffer. I do care for you. I care for you because
you and your music give me a feeling like no other.
n
ru
(GLORIA moves to another letter...another
spotlight)
du
#19 REACH
ro
TR
W
Hearing your voice makes me feel so good that many times it has
helped me to face the events of my life with strength and
courage. I'm gonna pray for you. I've learned so much from you
and I just don't want to lose you now. Te quiero mucho, Marcello
rp
(as GLORIA continues to circle the room,
reading the various letters, their voices
all join together and overlap...many
different languages, colors and sizes...and
another...)
fo
LUCIA
(overlapping the above)
Gloria, Estamos rezando por ti en el circulo de oracion en mi
iglesia. A el Pastor, Padre Pedro le encanta tu voz, y siempre
tenemos tu musica tocando. Eres una inspiracion...
N
ot
AMELIA
(overlapping the above)
Gloria, En este momento oi por Radio la Cubanisma que gracias al
Senor salistes bien de la operacion. Mucha fe y piensa en Dios
que te ayudara siempre. Te quiero, Amelia
109
LINEDY
SOME DREAMS LIVE ON IN TIME FOREVER
LINEDY & YASSMIN
THOSE DREAMS YOU WANT WITH ALL YOUR HEART
ENSEMBLE
sa
l
HENRY
AND I'LL DO WHATEVER IT
TAKES
FOLLOW THROUGH WITH THE
PROMISE I MADE
WHATEVER IT
TAKES
YASSMIN
IF I COULD REACH
W
OMAR
JUST FOR ONE MOMENT TOUCH THE SKY
FROM THAT ONE MOMENT IN MY LIFE
ro
du
REACH
HIGHER OOH
HIGHER
TR
n
ALL ON THE LINE
WHAT I HOPED FOR
AT LAST WOULD BE MINE
ct
Pe
HENRY (& OMAR O.S.)
PUT IT
ALL ON THE LINE
WHAT I HOPED FOR
AT LAST WOULD BE MINE
io
ru
PROMISE I MADE
OOH
LINEDY
I'M GONNA BE
rp
BE
STRONGER OOH
STRONGER
fo
GENNY
KNOW THAT I’VE TRIED MY VERY BEST
DAVID
I’D PUT MY SPIRIT TO THE TEST
ot
DOREEN
IF I COULD REACH
N
IF I COULD REACH
HIGHER
JUST FOR ONE MOMENT TOUCH THE SKY
FROM THAT ONE
MOMENT IN MY LIFE
IF I COULD REACH, REACH
REACH
HIGHER
OOH
AAH
AAH
110
HENRY
I'M GONNA BE
ENSEMBLE (CONT’D)
BE STRONGER
OOH
AHH
AH
sa
l
I'M GONNA BE SO MUCH STRONGER
YES I AM
I PUT MY
SPIRIT TO THE TEST
ALL
ru
HIGHER
HIGHER, REACH
REACH
n
THE AMERICAN MUSIC AWARDS
ct
du
W
Pe
io
JON BON JOVI (V.O.)
There was a time last year when we were all praying for her.
They said she might never step foot on stage again. But tonight,
with the love and support of her fans and family, she’s back.
Ladies and gentlemen, the American Music Awards welcomes back,
with love...Gloria Estefan.
#20 COMING OUT OF THE DARK
ro
TR
(GLORIA is revealed)
rp
GLORIA
WHY BE AFRAID IF I'M NOT ALONE
WELL LIFE IS NEVER EASY
THE REST IS UNKNOWN
AND UP ‘TIL NOW FOR ME IT'S BEEN
fo
GLORIA & ENSEMBLE
HANDS AGAINST STONE
ot
GLORIA
I SPEND EACH AND EV’RY MOMENT
SEARCHING FOR WHAT TO BELIEVE
N
GLORIA & ENSEMBLE
COMING OUT OF THE DARK
GLORIA
I FINALLY SEE THE LIGHT NOW
AND IT'S SHINING ON ME
111
ENSEMBLE
I SEE THE LIGHT, I SEE THE LIGHT
GLORIA
I SEE THE
LIGHT
COMING OUT OF THE DARK
ENSEMBLE
I SEE THE LIGHT
COMING OUT OF THE DARK
sa
l
GLORIA
I KNOW THE LOVE THAT SAVED ME
YOU’RE SHARING WITH ME
STARTING AGAIN IS PART OF THE PLAN
n
ct
rp
ro
du
W
COMING OUT OF THE DARK
ENSEMBLE
I SEE THE LIGHT, I SEE THE LIGHT
I SEE THE LIGHT
TR
HOLDING YOUR HAND
I KNOW I CAN
COMING OUT OF THE DARK
I FINALLY SEE THE LIGHT NOW
AND IT’S SHINING ON ME
GLORIA
I SEE THE
LIGHT
COMING OUT OF THE DARK
ENSEMBLE
io
Pe
ru
GLORIA
AND I’LL BE SO MUCH STRONGER
HOLDING YOUR HAND
STEP BY STEP
I’LL MAKE IT THROUGH
I KNOW I CAN
IT MAY NOT MAKE IT EASIER
BUT I HAVE FELT YOU NEAR
ALL THE WAY
ENSEMBLE
I SEE THE LIGHT
COMING OUT OF THE DARK
fo
GLORIA
I KNOW THE LOVE THAT SAVED ME
YOU’RE SHARING WITH ME
ot
GLORIA
ENSEMBLE
FOREVER
EVER
N
AND EVER
STAND ON THE ROCK
OF YOUR
LOVE
AND
EVER
WE’LL
STAND ON THE ROCK
FOREVER
112
GLORIA (CONT’D)
ENSEMBLE (CONT’D)
EVER
AND EVER
EVER
OOH
CAN’T NOBODY STOP ME, WATCH
ME
EVER
FOREVER
sa
l
AND
EVER
STAND ON THE ROCK
OF YOUR LOVE
AND EVER
STAND ON THE ROCK
OF YOUR LOVE
ru
GLORIA
ct
Pe
(EMILIO enters as GLORIA crosses to him and
pulls him center stage...they kiss as the
ENSEMBLE comes downstage)
io
n
IS ALL IT TAKES
NO MATTER WHAT WE FACE
ENSEMBLE
W
du
COMING OUT OF THE DARK
GROUP 1
GROUP 2
I SEE THE LIGHT
I SEE THE LIGHT
ro
TR
SHIN-ING
I SEE THE LIGHT
I SEE THE LIGHT
rp
SHIN-
GLORIA
-ING
SHIN-
fo
-ING
SHINING
COMING OUT OF THE DARK
ot
DON’T BE A-FRAID
GROUPS 1 & 2
WHY
BE AFRAID
COMING OUT OF THE DARK
WHY BE AFRAID
AAH OOH OOH OH OH
N
GLORIA, EMILIO & ENSEMBLE
COMING OUT OF THE DARK
(the lights fade)
END OF MUSICAL
113
BOWS
GLORIA
Are you ready to party? ¿Dondé esta mi gente?
#21 MEGAMIX
ENSEMBLE/AUDIENCE
sa
l
GLORIA
OH EH OH EH
OH EH OH EH
OH EH OH EH AH
YA YE GOH
OH EH OH EH AH
GLORIA
AT NIGHT
n
ENSEMBLE
W
du
RHYTHM IS GONNA GET YOU
WHEN YOU TURN OFF ALL THE
LIGHTS
THERE’S NO PLACE THAT YOU CAN
HIDE
OH NO
RHYTHM IS GONNA GET YOU
GET YOU GET YOU
RHYTHM IS GONNA GET YOU
THE RHYTHM IS GONNA GET
YOU
RHYTHM IS GONNA GET YOU
GET YOU GET YOU
LITTLE GLORIA
NO CLUE
rp
ro
TR
io
YA YE GOH
OH EH OH EH
ct
Pe
OH EH OH EH AH
ru
OH EH OH EH AH
OH EH OH EH
ENSEMBLE
RHYTHM IS GONNA GET YOU
ot
fo
OF WHAT’S HAPPENING TO
YOU
BUT BEFORE THE NIGHT IS
THROUGH
THE RHYTHM WILL GET YOU
TONIGHT
N
GLORIA FAJARDO
SALSA
MI SALSA CA-LIENTE
RHYTHM IS GONNA GET YOU
THE RHYTHM IS GONNA GET
YOU
TONIGHT
ENSEMBLE
SALSA
MI SALSA CA-LIENTE
GOZA Y BAILA MI GENTE
114
GLORIA FAJARDO & ENSEMBLE
OYE MI CUERPO PIDE SALSA
Y CON ESTE RITMO VAMOS A BAILAR
OYE MI CUERPO PIDE SALSA
Y CON ESTE RITMO NO QUIERO PARAR
ENSEMBLE
sa
l
CONSUELO
EV’RYBODY GATHER ‘ROUND NOW
LET YOUR BODY FEEL THE HEAT
LET YOUR BODY FEEL THE
HEAT
Pe
OH EH OH EH OH EH OH EH
ct
OH EH OH EH OH EH OH EH
OH EH OH EH OH EH OH EH
ARRIBA CON LA CONGA
ARRIBA CON LA CONGA
JOSÉ & ENSEMBLE
rp
ro
W
TR
du
ARRIBA CON LA CONGA
ARRIBA CON LA CONGA
SHAKE YOUR BODY
SHAKE YOUR BODY
SHAKE YOUR BODY
SHAKE YOUR BODY
ENSEMBLE
n
JOSÉ
OH EH OH EH OH EH OH EH
io
ru
DON’T YOU WORRY
IF YOU CAN’T DANCE
LET THE MUSIC MOVE YOUR FEET
fo
REBECCA & ENSEMBLE
TURN THE BEAT AROUND
LOVE TO HEAR PERCUSSION
TURN IT UPSIDE DOWN
LOVE TO HEAR IT
LOVE TO HEAR IT
LOVE TO HEAR IT
N
ot
EMILIO
WHEN THE GUITAR PLAYER
STARTS PLAYIN’
WITH THE SYNCOPATED RHYTHM
WITH THE
SCRATCH SCRATCH SCRATCH
MAKES ME WANNA MOVE MY BODY
YEAH YEAH YEAH
ENSEMBLE
SCRATCH SCRATCH SCRATCH
YEAH YEAH YEAH
115
EMILIO (CONT’D)
AND WHEN THE DRUM
STARTS BEATING THAT BEAT
HE NAILS THAT BEAT
WITH THE SYNCOPATED RHYTHM
WITH THE
RAT TAT TAT TAT TAT TAT
ON THE DRUM
ENSEMBLE (CONT’D)
RAT TAT TAT TAT TAT TAT
Pe
GLORIA
GET UP AND
MAKE IT HAPPEN
ENSEMBLE & KIDS
OH WEH OH OH
ct
OH WEH OH
OH WEH OH OH
io
ru
REBECCA & ENSEMBLE
TURN THE BEAT AROUND
LOVE TO HEAR IT
LOVE TO HEAR IT
LOVE TO HEAR IT
n
sa
l
YEAH
GET UP AND
MAKE IT HAPPEN
W
du
OH WEH OH
ro
TR
ELISEO, LEE, GENNY, ERIC & ALMA
OH WEH OH OH
OH WEH OH
OH WEH OH OH
OH WEH OH
N
ot
fo
JOSH & ANA
GET ON
YOUR FEET
GET ON YOUR
FEET
GET ON
YOUR FEET
GET ON YOUR
FEET
GET ON
YOUR FEET
GET ON YOUR
FEET
rp
ANDREA & ENSEMBLE
OH WEH OH OH
OH WEH OH
ENSEMBLE
OH WEH OH OH
OH WEH OH
OH WEH OH OH
OH WEH OH
OH WEH OH OH
OH WEH OH
116
GLORIA
OPEN UP YOUR EYES
AND YOU’LL RE-ALIZE
HERE I STAND WITH MY
EVERLASTING LOVE
ENSEMBLE (CONT’D)
OOOH OH OOH
OOOH
OH OOH
OH OH
OH OH OH
EVERLASTING
ru
NEED YOU BY MY SIDE
YOU’LL ALWAYS
BE MY BRIDE
YOU’LL NEVER BE DENIED
EVERLASTING
io
ENSEMBLE
ct
OH WEH OH
UP AND MAKE IT
HAPPEN
GET ON YOUR FEET
N
ot
fo
rp
ro
TR
#22 EXIT MUSIC
LOVE OH WEH OH OH
du
W
Pe
GLORIA & ENSEMBLE
EMILIO
GET
ON YOUR FEET
LOVE
GET ON YOUR
FEET
GET UP AND MAKE IT
HAPPEN
GET UP AND MAKE IT HAPPEN
GET ON YOUR FEET
n
EMILIO
sa
l
OH OH
OH OH OH
EVERLASTING LOVE
117
119
ot
N
rp
fo
Pe
n
sa
l
ru
io
ct
du
ro
W
TR
Pe
io
n
ru
sa
l
- SCORE SAMPLER -
ct
Book by ALEXANDER DINELARIS
fo
rp
ro
TR
W
du
Music & Lyrics by
GLORIA and EMILIO ESTEFAN
Follow
@TRWmusicals
ot
Like us!
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N
The materials contained herein are copyrighted by the authors, are not for sale, and may only be used
for the single specifically licensed live theatrical production for which they were originally provided.
Any other use, transfer, reproduction or duplication including print, electronic or digital media
is strictly prohibited by law.
2/22/17
120
121
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N
rp
fo
Pe
n
sa
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io
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du
ro
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TR
Keyboard 1 - Conductor
On Your Feet!
Pretty Metallic Sound
Mi Tierra
7
(My Homeland)
(3 October 2015)
CUE: "You can fight for yourself.
Was she good?"
Music & Lyrics
ESTEFANO
h = 96
"3, 4"
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Keyboard 1 - Conductor
7. Mi Tierra (3 October 2015)
2
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3
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31
Œ
32
al
‰ œJ
cum - ban-
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Keyboard 1 - Conductor
° bb j
¢& b œœ œœ ™™
7. Mi Tierra (3 October 2015)
3
Ó
j
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‰ j œ œ œ œ œ œœ
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˙˙
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38
ción que vi- ve_en to - nan -
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ro
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n
y que_el re - cuer- do leha ce llo- rar.
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n
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tier - ra vi- ve le - ja
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35
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b
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43
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44
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J
Keyboard 1 - Conductor
7. Mi Tierra (3 October 2015)
4
+MALE
3
3
° bb
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w
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47
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te
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l
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ru
tier - ra
j
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n
° bb j
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7. Mi Tierra (3 October 2015)
5
io
Keyboard 1 - Conductor
‰ œJ œ
œ
œ. œ.
J
‰
67
Œ
68
‰
œ
Keyboard 1 - Conductor
On Your Feet!
Rhodes
Pad
12
Conga
(12 October 2015)
CUE:
Jeff: "Don't bring the song to Phil.
Bring Phil to the song..."
Music & Lyrics
ENRIQUE GARCIA
      

 
ru
     
     



  
1
 
    
 
    













             

TR

fo
ot

+ cowbell (Claves cont.)




2





 
  



  
you can'tcon trolyour - self an - y
long - er




+Kbd1, Gtr, Bs



4



            


rp
know

 
3
con - ga,

N




 
HH
on,shakeyourbod - y, ba - by, do the


ct

claves
du


ro

 
f
W


io
Pno & Hns
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n
on,shakeyour bod y, ba by, do the con - ga, know
Pe

                          
      
          
 
Come

   
   
 
sa
l
q = 116
"1-2" PRERECORD:










E‹




Keyboard 1 - Conductor
TR
 
 
E‹
 
  
Bs, Gtr 2
10
D
  

E‹
  

  


 
fo
    
  
D
    


you can't dance,


15
  


12
    
  
  

16
E‹
 

 
f

io
the heat
Saxes, Hns
     
   


ct
Gtr cont. sim.

  
 
 

E‹

   



      
let the mu - sic move
   

your feet

 





Bs
9
let your bo dy feel
    
  
Rhodes/Pad
      
ot
  
14
11
if

 
 

  
Don't you wor - ry

er 'round now,

     
       
N





f
 


ru
gath
    
  
 
   



8
Pe
Ev - 'ry bo - dy
W


  



   

     


Gtr 1
      

7
VERSE
Saxes, Hns



           
mp
   GLORIA:
 

B
  
Rhy 1st X only, HH only cont.
       
 6 
Dr: HH
5

 
   


n



 
  


du


ro



"1-2"  
sa
l




PHIL: "Let me
On Cue
Saxes, Hns, Kbd 1, Gtrs
Vamp (dialogue) think about it. No!"
rp

A

12. Conga (12 October 2015)
2
     
 
13

     


    
  
 
E‹


  

  
 
     
 
17
   

It's the rhy - thm
19
do

E‹
 
22
    
  
D
    



23
  
  
 
21
   

  

the beat


    
 
     


  
 
       
 


fo

 
 



you've got to lis - ten to


 

ot

 
   

N



the con - ga,

TR

20
E‹

   

   

If you want to

     



W
 

  


  
 
 

ct
18
    
D
    
 
du
 
    
  
ro
E‹

sa
l
 
 

so sweet
     

     
rp



 

ru

and like su - gar cane
Pe



      
the is - land,
of
 
  
 

io
 
     

12. Conga (12 October 2015)
3
n
Keyboard 1 - Conductor

24
  


1 WOMAN:
Come

 



  
 
E‹

Come


25

Pno & Hns

   
   
 
E‹

   
   
  
Keyboard 1 - Conductor
4
12. Conga (12 October 2015)
  
          
              
          
 
 
C
CHORUS
on,shake your bod - y, ba - by, do the
con - ga,
know


Gtr 1 as before
 


W





TR
 
the rhy - thm of the mu - sic get - ting


D
  
strong - er
 
28




you fight it 'til you try to do the



E‹


you fight it 'til you try to do the
 



 




D
29
con - ga beat
     


 

 
  

     
 
  

ot

 
 

Don't
fo

N


strong - er
Feel

 

rp
the rhy - thm of the mu - sic get - ting

27
Don't
              
long - er
n
   
 
Feel
ct

26


long - er
du
 
 
 
 
  

you can't con - trol your - self an - y
ru

 
 
know
ro

con - ga,
Pe


on,shake your bod - y, ba - by, do the
sa
l

you can't con - trol your - self an - y
io
   

con - ga beat
 
  

 








E‹



31
  VERSE

    
Gtr 1 as before


E‹
     
  


36
N
  
f

 

 

 
f
n
34

a - way
as you dance the night

    
 
  

37





    
  


     


    

     



Rhodes/Pad
E‹
      
de - si - re.
ot


de - si - re,

    
  
D
 
    

of
   


du

 
 
35
of
 

ro


  
W

Pe

TR

33
32
D VERSE- BRIDESMAIDS
Feel the fi - re

Rhy 1st X only, HH only cont.
        
Dr: HH

           

mp
 
30



ct


rp




On Cue
 "1-2"        
sa
l

Vamp (Dialogue)
ru


Phil: "...an Italian Wedding?"
Emilio: "No...okay, yes."
fo


12. Conga (12 October 2015)
5
io
Keyboard 1 - Conductor
E‹


  
 
     
 
38
Keyboard 1 - Conductor
On Your Feet!
Piano
Pads
18
Don't Wanna Lose You Now
CUE:
GLORIA: "I said no."





sa
l

  
Some - times it's hard
B(„ˆˆ2)
1


2
 
          

TR



6
9

7
3

     
 
 
 








B(„ˆˆ2) E(„ˆˆ2)


10
11
  

I'll o -pen my


 




8

and show you in - side.
w/Rhodes
3
Rhodes
B(„ˆˆ2)
N
  





ot


heart

   


fo
 
  


4
here.
A6(„ˆˆ2)
 

5



       
that the mo- ment is
And I know

   

3
rp
 
  

W
face the truth.


n


and know when to
du



 
io
Pad

  

to make things clear,
ro

  

3
ct

 
  
A
 
3
Pe

  

ru
Rubato
  
  
Music & Lyrics
GLORIA ESTEFAN
(21 Sept 2015)


3
    
My love has no
 






B(„ˆˆ2) E(„ˆˆ2)


12
 
        


W
 
 
want





 
 
  
 
21

 
for me
  
18
  
 
Ooh
  
 
B(„ˆˆ2)
to be.

 


B(„ˆˆ2)
19


G©‹7(“4)

 



  
 

B(„ˆˆ2)
23

E(„ˆˆ2)
20
  

 
my - self.


   
  
 
  
    
      
I am on-ly my - self,

  
22
 
A6(„ˆˆ2)
3

   

   



 
Ooh





Ooh

  

   
N
B(„ˆˆ2)



16
and not who you
ot
+Bass

E(„ˆˆ2)

 
TR
17
am,



 
fo

 +Gtr 1 swells
   
B(„ˆˆ2)
3
and see who I
Pe
Ooh


+Bs (8vb), Drs
     
 

Gtr 2
   

15


E/F©
n

14

eyes






B(„ˆˆ2)
ct
A

       


A6(„ˆˆ2)

 
 
So o - pen your
hide.
ro
 
 
I've got no - thing to


B(„ˆˆ2) G©‹7(“4)

       
sa
l
  

13

with you
3

    
du


     
   


rp

pride al ways
 
"3, 4" q = 81
ru
 
    
18. Don't Wanna Lose You Now (21 Sept 2015)
2
io
Keyboard 1 - Conductor

 
I


   
E/F©

24

 
Keyboard 1 - Conductor
Metallic Bright Sound
Synth sound
Rhodes/pad
Synth comp
Bell sound
On Your Feet!
(The Rhythm Is Gonna Get You, Oye Mi Cuerpo, Conga,
Turn the Beat Around, Get On Your Feet, Everlasting Love)
TR
Ya

 
  
ye
goh



2





oh - eh

n




3










4



     






GLORIA:
  
At night,


           






 
 
Oh - eh
oh - eh
ah

Oh - eh

  
Ya
ye

oh - eh
Rhy


goh

ot



fo

   

                                        









N
5


1


       
Oh - eh




   

du
Drs

ah Oh-eh oh - eh
ro
 
 
B
 Bs, Perc

ah Oh-eh oh - eh
rp
Hi-hat
Oh-eh oh - eh
ct

     
  
  
 
Oh-eh oh - eh
ru
Oh-eh oh - eh


           






 
 
io
                    
W
A
A "The Rhythm is Gonna Get You"
Pe

sa
l
q = 127
"1-2-3-4"
 
    
Music & Lyrics
GLORIA ESTEFAN
JORGE CASAS
CLAY OSTWALD
Various Others
(30 September 2015)
Gloria: Are you ready to
party? Donde esta mi gente?
    
  
21
Megamix
6

7

8

      

when you turn off
all
the lights,
  




          

- thm is gon - na get you,
- thm is gon-na get
sa
l
Rhy - thm is gon-na get you


   




Bs
fo
      
ot
N
13

14
get
you get you.
No clue
                     


    
 12
du
Rhy - thm is gon-na get you
no
you.

 
Chorus slide
                    
       

    

LITTLE GLORIA:



 
   
   

Woof
ro
TR
   
oh,
11



D¨(“2)

10
      




     

ct

  
  
E¨(“2)

ru
F‹7
  
The rhy


Pe



W
9

rp

Pad
  


- thm is gon - na get you.
  

           

   


there's no place that you can hide,
     
rhy
Synth Chorus Pipe

 
      

io
 
  
21. Megamix (30 September 2015)
2
n
Keyboard 1 - Conductor
 



get
       



Rhy
      



F‹

15
you get you.
  


16
       
Keyboard 1 - Conductor

of what's hap - pen - ing
The rhy -



  


22

6/8 Feel



20
 







  






to-night.
  
fo




   

ct
19
thm will get you to-night.



N
21
 

ot

  
 

you.

      
E¨(“2)
 

ro
TR
- thm is gon-na get


   

     

D¨(“2)
         

 
        

 

du
18
   
The rhy
ru


 
the night is through



Pe

W
  
  




F‹
17
      
rp

  
 
but be - fore
you
rhy - thm is gon-na get you.
       
Pad
  
sa
l
- thm is gon -na get you,

   


to
  
      



          


 



  
    
  
n
B
io
 
  
21. Megamix (30 September 2015)
3
  
3
       3    

             


Piano
F‹


23
3
3
E¨
F‹
3
3
3
3
E¨

F‹
E¨
F‹
3
  
3
  
 
   

             

3
24
3
Bs.