1

Wilfredo Ma. Guerrero

Condemned by Group 4 11-Bernoulli (Right door opens, WARDEN appears.)
To the Memory of Fernando Poe Sr.
WARDEN: Mr. Gonzalez—any last request you wish to make? I mean, any
First Performance: Capitol Theater, under the direction of Fernando Poe kind of food or drink you might want?
Sr. November 27, 1943 to January 20, 1944.
PABLO: Can I ask anything?
CHARACTERS:
WARDEN: Anything—within reason.
PABLO GONZALEZ – Kate Fernandez
ANGELA GONZALEZ (his mother) – Mervynne Paduga PABLO: A bottle of whiskey—could I ask for a bottle of whiskey?
CRISTINA (his fiancée) – Kristine Palmado
TIA CHEDENG (his aunt) – Mervynne Paduga FR. LIM: (smiling) Whiskey?
ANDRES GOROSPE (an old friend) – Angela Justine Bautista
SIMEON SERENO (another friend) – Arnalyn Macalindong PABLO: You see, Father, I could not afford to drink it before—I got used to
FATHER LIM (prison chaplain) – Arnalyn Macalindong the cheap ginebra and tuba. I’ve always dreamt of being able someday—to
WARDEN – Angela Justine Bautista drink whiskey, a whole bottle.

TIME: An hour before the execution. WARDEN: Anything more?

SCENE: The prison waiting-room. A door at the rear which, when opened, PABLO: Yes. Two glasses.
reveals the bars of the death cell. Another door on right side of stage. Two
high, small windows with bars on rear walls, through which the sky can be WARDEN: Isn’t there anything you want with the whiskey?
seen.
PABLO: Yes. Make it three glasses. We’ll all drink.
The stage is completely dark, except for the lighted candle. The metal
rustling of heavy keys is heard. Presently, the right door opens. FATHER LIM (WARDEN and FR. LIM look at each other comprehendingly.)
and the WARDEN appear. FATHER LIM is about forty, brisk-mannered but
soft-voiced. He carries a breviary in one hand, and a small bag in another. WARDEN: What I mean, Mr. Gonzalez—is there any food you might want?

WARDEN: Come right in, Father. The prisoner has been waiting for you. PABLO: Food? No, nothing more.

FR. LIM: How is he? WARDEN: Very well. (He is about to go.)

WARDEN: He’s calm and quiet, Father. He slept well. PABLO: Warden, has my aunt arrived?

FR. LIM: The execution is set—? WARDEN: Not yet. But there’s a young girl—

WARDEN: Within an hour. Exactly at six. PABLO: A young girl?

FR. LIM: May I see him now? WARDEN: Dressed in black.

WARDEN: Certainly. I’ll bring him out. PABLO: (to himself) Cristina.

FR. LIM: Here? FR. LIM: Your—?

WARDEN: Yes, it’s permissible. One moment. (PABLO nods, bitterly.)

(WARDEN goes to rear door, opens it. PABLO is seen through the bars, WARDEN: Shall I let her in?
seated on a bench, his bead in his bands.)
PABLO: No—not yet. I’ll let you know.
WARDEN: Father Lim is here.
(WARDEN proceeds to the door.)
(WARDEN opens cell, leads PABLO out into the waiting-room, closing rear
door.) WARDEN: If you want anything, Father, I shall be just outside the door.

FR. LIM: Pablo! (WARDEN goes out. FR. LIM sits on bench beside the table; PABLO remains
standing, staring in front of him.)
PABLO: Father!
FR. LIM: Pablo—(He doesn’t answer.) Pablo!
(PABLO GONZALEZ is twenty-four. He’s tall, well-built. His sufferings can
be seen in his tense manly features, in his dark piercing eyes, and in the PABLO: (as if waking up) Forgive me, Father, I was thinking—
tight expression of his mouth. His movements are quick and nervous. He
wears the orange uniform with a large cross at the back. His hair is FR. LIM: Take a seat. (PABLO sits down.) What were you thinking of, my
cropped.) son?

PABLO: I’ve been expecting you! Any news, Father? PABLO: I was thinking—I can’t believe it—that I should be here condemned
to be hung in an hour—at the age of twenty-four. (He covers his face.)
(FR. LIM shakes his head.)
FR. LIM: Be calm, Pablo. I went to see the governor for a reprieve—a few
FR. LIM: None, my son. I’ve tried—God knows how much— days more at least—but he said he couldn’t do anything.

PABLO: I understand, Father. PABLO: Father—(Suddenly he breaks down and puts his head on edge of
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table. FR. LIM goes back to his seat.) Father—do you think -? FR. LIM: (reading aloud) “It is good for us now and then to have some
troubles and adversities; for oftentimes they make a man enter unto
FR. LIM: Yes— himself

PABLO: What you said last night—that God could forgive me—forgive me PABLO: That is good, Father. But my eyes—they are weary.
after all I’ve done?
FR. LIM: I shall continue reading it for you, if you wish.
FR. LIM: My son, Christ has said that if your sins are as scarlet they shall be
as white as snow—if you ask his forgiveness. PABLO: Yes, yes. In my cell.

(PABLO impulsively kneels in front of FR. LIM. PABLO hesitates, and stands (Both exit. WARDEN enters, carrying a bottle and several glasses on a tray
up.) which he places on a table. ANDRES GOROSPE, a childhood friend of PABLO,
also enters.)
FR. LIM: God’s mercy is infinite, my son.
WARDEN: The chaplain is in with him now.
PABLO: No, I can’t. Not yet.
ANDRES: I shall wait.
FR. LIM: As you wish, Pablo.
(ANDRES GOROSPE is twenty-six. He has settled down early in life. A
PABLO: If my mother had only taught me to believe and to pray. But she childhood friend of PABLO, ANDRES has never asked much from life, his
never did—that’s why I’m here now. ambitions are few and modest. ANDRES has quiet manners and speaks
rather slowly. He is attired in a simple suit and wears a tie. WARDEN is
FR. LIM: Your mother still living? about to open the rear door.)

PABLO: Yes, but I hope I don’t see her again! ANDRES: No, don’t bother him just yet. Can I ask a few questions?

FR. LIM: Why? (WARDEN nods.)

PABLO: What’s the use, Father? It’s a long story. ANDRES: I’ve just arrived from the province. All I know is from the morning
papers. I can hardly believe it’s true. Can you tell me why he murdered
FR. LIM: While entering the prison gate, I noticed a woman standing on the that man?
sidewalk and looking toward the cells. It could be a mere coincidence, but
a certain resemblance— WARDEN: It seems this fellow—the victim—annoyed the prisoner’s girl once.
During the trial the prisoner testified that he was not a jealous person by
PABLO: Is she tall? temperament, but that when this other fellow went to the extreme of
laying his hands on her—he vowed revenge—and killed him.
FR. LIM: Yes, rather. And wearing a colored dress.
ANDRES: Was that sufficient reason to give him the death penalty?
PABLO: Curly hair?
WARDEN: Many other circumstances aggravated his case. For one thing the
FR. LIM: (wondering) Now that I come to think of it—yes. Her face was—or— murder was deliberate—it was done in the evening—and he purposely got
drunk—
PABLO: Covered with too much paint?
ANDRES: What weapon did he use?
(FR. LIM nods gravely.)
WARDEN: A knife. About a foot long. It pierced the man’s heart.
FR. LIM: Wearing earrings and bracelets.
ANDRES: Pablo used to be so afraid of a knife!
PABLO: That’s her all right. I wonder why she’s here.
WARDEN: The prisoner afraid of a knife?
FR. LIM: Don’t you expect a mother to see her son?
ANDRES: Oh, I’m talking of the time we were children.
PABLO: I don’t want to see her!
WARDEN: He pleaded guilty.
FR. LIM: Pablo—what you told me a moment ago—that your mother never
taught you to believe and to pray—is that the reason you don’t want to see ANDRES: How strange. If I could only help him—
her?
WARDEN: You wish to see him now? You’re allowed five minutes.
PABLO: (looking at him) That, Father—and more. But let’s not talk about it.
I want to rest a little. I’m tired—and a little nervous. I hope you don’t ANDRES: Yes. Thank you.
mind.
(WARDEN opens rear door. We see the chaplain reading to PABLO who’s
FR. LIM: No, no, of course you should he down for a while. You want me to sitting on a bench with his face buried in his hands. He looks up.)
go?
WARDEN: A visitor, Mr. Gonzalez.
PABLO: No, not yet, Father. Will you read me something—? My heart is so
weary. (PABLO stands, goes out, WARDEN closing door.)

WARDEN: The whiskey is here, Mr. Gonzalez.

(FR. LIM opens the book at random and starts reading.)
PABLO: Thank you.

(WARDEN goes out.)

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ANDRES: Pablo. PABLO: I hope not! I hope never to see her again!

PABLO: (trying to remember) I don’t— ANDRES: Your own mother? But—

ANDRES: Don’t you remember me, Pablo? Andres—we were childhood (WARDEN enters.)
friends. We used to play escondite, remember?
WARDEN: There’s a man who insists on seeing you, but he has no pass.
PABLO: (recognizing him and shaking hands) Ah, yes, I remember now.
PABLO: Did he give his name?
PABLO: (laughing grimly) Your coming, Andres, is a complete surprise to
me. I mean—I didn’t expect you -- WARDEN: Yes. Simeon Sereno. (PABLO, from the expression on his face,
recognizes the visitor, and his smile has a tinge of bitter contempt.)
ANDRES: I arrived from Isabela yesterday—I came to Manila on business. I
knew nothing about—about this—until I read the papers last night. PABLO: No, I don’t want to see him.

PABLO: I’m glad you came, Andres. (WARDEN nods, goes out.)

ANDRES: There’s a young lady outside. She should have come in first, but ANDRES: Somebody you know?
when she was near the door she turned to me and told me to go ahead. Is
she—your wife? PABLO: He’s one of my companions from the past who dragged me to the
gutter.
PABLO: (shaking his head) No. We were to be married when this happened.
(WARDEN comes in.)
ANDRES: Is there anything I can do, Pablo? Anything?
WARDEN: Time is up, Mr. Gorospe.
PABLO: Thank you, Andres. No, there’s nothing you can do now. I chose the
wrong path, that’s all. Tell me, are you married? (WARDEN goes out.)

ANDRES: Yes, and with two children. I should like you to meet my wife. ANDRES: Pablo—(Both shake hands warmly.)
(Suddenly they stare at each other, at the ironic impossibility of the wish.)
PABLO: Thanks for coming, Andres. I’m happy to die knowing that at least I
PABLO: What are you doing now? have a friend.

ANDRES: I’m a doctor. I’m assistant head of the Isabela Provincial Hospital. ANDRES: Goodbye—(He breaks down momentarily, but quickly pulls himself
Pablo—just a suggestion—why don’t you—the girl outside— together.) Goodbye. (Hastily he goes out, WARDEN enters.)

PABLO: Yes— (SIMEON enters. He’s about twenty-five, in drab trousers and pants, his hair
is tousled. He is smoking a cigarette. PABLO doesn’t see him at first.)
ANDRES: Have you thought of marrying her?
SIMEON: (to WARDEN) Do you mind leaving us alone? (PABLO glares at
PABLO: Now? SIMEON resentfully.)

ANDRES: Why not? WARDEN: (to PABLO) You wish to see him? (PABLO doesn’t answer, but his
silence is taken for consent. WARDEN leaves quietly.)
PABLO: And destroy her future?
SIMEON: I read in the papers—
ANDRES: If you love her—
PABLO: I didn’t want to see you. You’re partly to blame for my being here.
PABLO: I do—No, I can’t marry her now!
SIMEON: Don’t be too hard on me, Pablo.
ANDRES: Does she love you? (PABLO stares at him and nods bitterly.)
PABLO: You taught me many of the evil things I learned.
PABLO: That’s just it. She does. I’ve been very selfish all my life—
SIMEON: I regret it deeply.
ANDRES: She wouldn’t care—
PABLO: Your—regret—will it save me from the chair?
PABLO: Maybe not now—but later—she’ll regret it. Why make her the
widow of a murderer? SIMEON: If I could do something—

ANDRES: You—you used a knife, they say. You were so afraid—of a knife PABLO: What can you do—now?
when you were a kid. What happened?
SIMEON: You say I taught you many evil things. That’s true. But I too had
PABLO: I don’t know. I grew up without discipline. I was allowed to steal been taught in my younger years by other friends.
small sums of money—to gamble on street comers—to smoke under the
bridge. And when I grew older—the wrong friends—the lack of faith in PABLO: You pretended to be my friend.
anyone or anything—the bitterness—
SIMEON: I’ve always been your friend, Pablo.
ANDRES: Your mother still alive?
PABLO: You were my closest friend—the one I trusted most. We were
PABLO: Yes. partners in drinking, gambling, and women—and that doesn’t merit the
word friendship?
ANDRES: Is she here?
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SIMEON: True, Pablo—and yet—I think you’re being unfair to me. PABLO: Why blame yourself, Tia? It was my fault. If only I had stayed with
you—how different things would have been.
PABLO: Unfair?
(Suddenly TIA CHEDENG bows her bead, bites her lips, as tears roll down
SIMEON: (sitting) You have a mother. You are lucky—to have one. My her cheeks. PABLO caresses her hands. Presently she takes something from
mother died when I was five, my father a year before that. I was raised in her handkerchief.)
an orphanage, but I escaped when I was twelve—and since then—I’ve been
alone in this world! To have a mother—how sweet and beautiful it must be. TIA CHEDENG: Wear this. (Gives him a small crucifix with a chain. She puts
That’s why I grew up to be bitter. it around his neck.)

(PABLO has gone near him and has gently put his band on his shoulder.) PABLO: Thank you, Tia. How can I repay you for all your kindness?

PABLO: (gently) You never told me this. TIA CHEDENG: Only one thing, Pablo, my dear, will make me happy. What
I’ve been asking you these last few days.
SIMEON: (bitterly) Each one of us carries a secret in his heart which he
can’t reveal to anyone. PABLO: You mean, confession? (She nods.) I don’t know, Tia. It’s too early
yet—
(SIMEON stands up.)
TIA CHEDENG: It might be too late, Pablo! (WARDEN enters.)
SIMEON: I’m leaving for Palawan tomorrow.
WARDEN: Sorry. Time is up.
PABLO: Palawan?
TIA CHEDENG: (rising) Thank you, I was just going. (WARDEN goes out.)
SIMEON: I have a job at the Leper Colony.
PABLO: (holding her hands) Tia—did you see somebody waiting outside?
PABLO: Among—the lepers?
TIA CHEDENG: Have you seen Cristina?
SIMEON: Among the lepers—I met a nice and fine girl two months ago.
PABLO: I don’t mean her.
SIMEON: I am going with her—that’s why I’ve decided to work there, too.
TIA CHEDENG: Your—mother? (He nods.) I saw her waiting on the sidewalk.
PABLO: You love her, Simeon? But you know we have not been on speaking terms all these years. Has she
seen you?
SIMEON: Yes. And I want to expiate my past.
PABLO: I don’t want to see her!
PABLO: But why go to that extreme?
TIA CHEDENG: Forgive her, Pablo. A mother remains a mother, whatever
SIMEON: Great crimes, Pablo, demand great expiations. her faults.

PABLO: (suddenly shaking Simeon’s hand) Forgive me, Simeon! I see you’re PABLO: If she had been a true mother, I wouldn’t be here!
a better man than I am.
TIA CHEDENG: Your father’s death left her embittered and lonely.
SIMEON: No, Pablo, I’m no better than you are—I’m worse. But to this girl I
owe the change. I was spiritually and morally dead—and she brought me PABLO: No, I can’t forgive her! (WARDEN enters again.)
back to life.
WARDEN: Very little time left, Mr. Gonzalez. The girl wants to see you.
PABLO: We’ve never been so close to each other as we are now. (WARDEN goes out.)

SIMEON: Now we can part—not with bitter reproaches and resentment—but PABLO: Tia—forgive me for all the pains I’ve given you.
with complete understanding.
TIA CHEDENG: I shall wait outside. And I shall be praying. (She kisses him
(Hastily SIMEON breaks away and rushes out. PABLO, shaken, sits and buries on the brow.)
his face in his hands. WARDEN enters.)
PABLO: Farewell, Tia, and pray for me!
WARDEN: Chedeng Gonzalez to see you.
TIA CHEDENG: All my life, son, all my life.
PABLO: Tia Chedeng! Let her in.
(WARDEN opens door, as TIA CHEDENG runs out without looking back.
(WARDEN goes out. CHEDENG enters. She is an old woman of sixty. White- PABLO sits down, very tired. CRISTINA enters. WARDEN closes door.
haired, with a wrinkled but kindly face. She stoops a little. She wears saya CRISTINA is about twenty-one, dressed in black. She is pale, but pretty; shy
and camisa, her shoulders covered with a panwelo. PABLO kisses her hand.) and quiet; her voice soft. With her hands clasped on her breast, she stands
beside the door, staring at PABLO. Presently he notices her presence.)
PABLO: Tia Chedeng! (Leads her to a chair, be sitting beside her and
holding her bands.) I am so happy you came. PABLO: (without rising) Cristina! (She advances toward him.)

TIA CHEDENG: I did not want to come today—I told you yesterday, but— CRISTINA: We have so little time left, Pablo. (He makes her sit down,
sitting beside her.)
PABLO: I wouldn’t have forgiven you if you didn’t come today, Tia.
PABLO: What can we say to each other?
TIA CHEDENG: I tried, Pablo, I tried to see the president—but I couldn’t
find him in his office nor in his house. I have failed. Pablo, I failed you in CRISTINA: I just want to say—I’ll always love you.
everything. If only I had not let you go years ago—but then you ran away—
PABLO: I’m not worthy of you, Cristina.
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sure, Cristina, you want this?
CRISTINA: If you really love me don’t go—away—without—
CRISTINA: Surer than ever. (FR. LIM. returns with TIA CHEDENG and
PABLO: Without marrying you? Can’t you see it would be unfair to you? I ANDRES, followed by the WARDEN. The following scene is all pantomime
should like to marry you now, even if I’m about to—(CRISTINA puts her with musical background. FR. LIM puts on surplice, opens breviary. PABLO
band on his mouth.) and CRISTINA are ordered to kneel down, ANDRES and TIA CHEDENG
standing beside them. The WARDEN stands near the right door. The
CRISTINA: Let’s not think what the next few moments will bring. (A long mumbling of prayers by the priest is indistinctly heard. As the ceremony
pause during which they dare not look at each other.) progresses, CRISTINA little by little loses poise, covers her face as PABLO
holds her by the shoulders. The ceremony over, TIA CHEDENG kisses
PABLO: (talking almost to himself) For the first time in my life I know what CRISTINA who is weeping silently.)
real love is—the deep silent affection, the quiet understanding, the feeling
of gentle gratitude, the sense of being alive—(bitterly) yes, alive. Neither a PABLO: (seeing the bottle of whiskey) I almost forgot! The bottle of
mother’s nor a woman’s love I have known. Early in life I soiled my mind whiskey! Let’s all celebrate! (He looks at the others who remain glum. He
with unworthy thoughts—my mouth with drink and dirty language—my heart stares at CRISTINA who has her eyes down.)
polluted with petty desires my hands with stealing, gambling—and now,
murder! And then you came. Cristina, you came into my sordid, lonely life— (PABLO gulps down his share, but suddenly throws the glass on the floor,
and cleansed my mind and soul and brightened my world. Until that night— breaking it. He sits down and leaning on the table, breaks down. CRISTINA
goes near him and he puts his arm around her waist briefly. WARDEN, after
CRISTINA: Why, oh God, why? If only I hadn’t been walking alone that an awkward pause, touches PABLO on the shoulder.)
night—
WARDEN: Five minutes left. (Suddenly voices are beard outside. WARDEN
PABLO: When you told me the next morning how that fellow had tried to runs to the door. His voice is heard off stage). You can’t get in without a
rape you! I forgot myself—I forgot you—I forgot everything!—I only knew I pass!
had to wipe away the insult—
ANGELA: (outside) Let me in! Let me in! (Everybody looks towards the
CRISTINA: But why with blood, Pablo? You shouldn’t have— door.)

PABLO: With blood, yes—because it was the only way. That insult had to be WARDEN: (outside) Who are you?
wiped away with blood! If we get married now—what can I offer you?
Nothing. Premature widowhood—the name of a murderer—a few memories ANGELA: (outside) I am his mother! (PABLO’s reaction is to be imagined.)
of what might have been.
WARDEN: (outside) But you don’t have a pass!
CRISTINA: What do I get? Widowhood—yes, but also the assurance of your
heart and mine faithful unto the end and for always. A few memories—I ANGELA: (outside) He’s my son—and I have the right
wish there had been more!—but still memories I shall cherish all through
eternity. PABLO: (quietly) Warden, will you let her in?

PABLO: After I am—after this is over—you’ll forget me— (ANGELA enters, stands near door.)

CRISTINA: I shan’t be able to forget, Pablo! WARDEN: Is she your mother?

PABLO: If someday you should meet a better fellow—who can offer you a PABLO: She used to be. (They all look at him.)
better future—you’ll be glad you didn’t marry me, that you were free.
FR. LIM: (going to rear door) I shall wait in here. (He goes out. PABLO
(She weeps quietly on his shoulders. FR. LIM appears.) embraces CRISTINA briefly.)

FR. LIM: It’s nearly time, my son. (PABLO and CRISTINA look at each other.) PABLO: Wait for me, dearest. I shall call you. (PABLO kisses TIA CHEDENG’s
hand.) Tia, will you take care of Cristina for me? (TIA CHEDENG nods.
PABLO: Father—this is Cristina. (FR. LIM nods to her.) Father—could we— PABLO shakes ANDRES’ hand.) Stand by them, will you, Andres? (CRISTINA
supports TIA CHEDENG, and all go out, closing door behind them. ANGELA
FR. LIM: Yes? GONZALEZ takes a few steps forward, extreme front stage, right. PABLO
stands an extreme left, front. ANGELA is over forty-five, but is trying to
PABLO: Could you marry us—now? (FR. LIM looks from one to the other.) It’s retain her faded youth and beauty by the overuse of cosmetics. There is an
the last favor I ask of you, Father! Could you? air of bad taste and vulgarity about her, accentuated by her gaudy colored
dress and the use of big bracelets and earrings. Her voice is husky.)
FR. LIM: But—
PABLO: (without looking at her) What do you want?
PABLO: Yes, I know I’m going to die in a few minutes.
ANGELA: I wanted to see you.
CRISTINA: We love each other, Father.
PABLO: What for? To offer me your sympathy? Thanks. I don’t need it. You
FR. LIM: Have you known each other long? didn’t try to see me during the trial.

PABLO: Seven months— ANGELA. I couldn’t. I was—ashamed.

FR. LIM: But at this moment— PABLO: Ashamed? And aren’t you ashamed to be here now?

CRISTINA: I want to marry him—even at this moment. ANGELA: I am your mother, Pablo.

FR. LIM: Time is short. We shall need two witnesses. PABLO: The woman I used to call mother died when—after Father’s death,
she lived with Marcos Nable.
PABLO: My Tia Chedeng is outside. (FR. LIM goes out, right door.) Are you
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ANGELA: You hate me so. when you came—well, I just left you to the care of servants. (Her voice
rising.) But few knew that our married life was unhappy. And when your
PABLO: I don’t hate you. My feelings for you are what I would feel for a father died, I sought an outlet for my lonely years—
stranger.
PABLO: If I could believe you—I would ask you—to take care of Cristina for
ANGELA: I have left him—I left Marcos for good. me—but no, it’s impossible! Too late!

PABLO: And so you came here—to feel pride in your work. ANGELA: Yes, son, let me take care of her! I’ll be a real mother to her—
what I haven’t been to you!
ANGELA: I don’t understand—
PABLO: If I could die with the word “Mother” on my lips—if I could call you
PABLO: If I’m here now—if I’m condemned to the chair—it’s because of you! Mother! (Desperately.) God in heaven, why, can’t I call you Mother? (Right
door opens, WARDEN comes in.)
ANGELA: Me!
WARDEN: Time’s up! The officials await you in your cell.
PABLO: Yes, you! Have you ever been a mother to me? Did you ever give
me any care or attention? Isn’t it true that you spent all your time gambling ANGELA: Not yet—not yet! (FR. LIM appears.)
while you left me with Tia Chedeng? When Father was sick and dying—
weren’t you out gambling? FR. LIM: We must start, Pablo.

ANGELA: I fed you, clothed you— (PABLO stares at the WARDEN and FR. LIM as if in a trance.)

PABLO: And you thought you had done your duty! You thought that in WARDEN: If you wish to see your wife
bringing me into this world your work was finished! It had only begun!
PABLO: My wife? Oh, Cristina. Yes—no—never mind. Why hurt her more?
ANGELA: What did you want me to do? (Turning to FR. LIM) Father—I am—afraid—to die.

PABLO: Did you ever correct my faults? Did you care who my companions FR. LIM: Don’t doubt God’s mercy. His mercy is as wide and as deep as the
and playmates were? Did you ever check me from committing petty thefts— ocean.
correct my bad language—my bad tendencies?
PABLO: Father—will you hear my confession? (FR. LIM nods, as PABLO
ANGELA: I really tried, I— kneels in front of him. Music. Stage becomes dark. FR. LIM gives the
absolution.) Let’s go!
PABLO: And did you ever teach me to fear God? (Pause) Tia Chedeng taught
me a few prayers which I quickly forgot because I ran away. My faults ANGELA: My son!
became habits—and my bad habits enslaved me.
(PABLO looks at her with compassion in his eyes, makes a gesture of
ANGELA: I wasn’t to blame—try to understand, my son— bending towards her, but turns abruptly, and goes out through rear door
with WARDEN, closing door behind them. Bells begin to toll outside. The
PABLO: Son! You dare call me your son! And a few months after Father’s door opens. CRISTINA, TIA CHEDENG, and ANDRES rush in.)
death—I was ten then—you fell in love with Marcos Nable—lived with him—
pueh! my own mother! CRISTINA: (rushing to rear door and banging it repeatedly) Pablo! Wait!
(Stage is darkened as bell continue tolling. CRISTINA breaks down and
ANGELA: I left him (going near him) Pablo! Have pity! collapses in front of rear door, a figure of utter dejection. TIA CHEDENG
sits on chair, with ANDRES behind her. Music continues. ANGELA stands,
PABLO: Pity! You never had any for me! You sent me out into the world front right, with hands folded tightly and bead down, as if praying. TIA
without faith—without anchor—without dreams! I wandered alone—and CHEDENG prays with a rosary in her hands. The pause continues for twenty
lonely—without a home—until I met Cristina—the girl I’ve just married. seconds, interrupted only by CRISTINA’s sobs. Suddenly the bells cease
tolling. Another pause of fifteen seconds. Steps are heard. All raise their
ANGELA: Married! (Looking back towards right door remembering eyes toward rear door in an attitude of expectation. Rear door opens, FR.
CRISTINA.) LIM appears, closes door. CRISTINA and ANGELA come nearer with a gesture
of supplication.)
PABLO: And now that I’m about to die—how I wish to have my own mother
at my side—to be able to tell her how sorry I am—to be able to part from FR. LIM: It’s all over. His last words were—his last words—
this life with a mother’s kiss. But no! It’s my own mother who has sent me
here! CRISTINA and ANGELA. Yes—?

ANGELA: Pablo! Pablo, my son! FR. LIM: “Cristina”—(Here CRISTINA sobs.)—“Tia” —

PABLO: Tears! How can your tears move me now when I drowned my own ANGELA: Was that—all?
tears in drink?
FR. LIM: (staring at her)—and “Mother.” He whispered, like a prayer, the
(ANGELA slowly raises herself up. PABLO covers his face with his hands. word “Mother”—twice.
There is an expression of determination on ANGELA’s face. Slowly and
quietly, she takes off her earrings, bracelets, rings, and gently puts them ANGELA: Mother—twice.
on the table. She also tries to wipe off the cosmetics on her face. When
she speaks, her voice is low and soft.) (As CRISTINA breaks into sobs, ANGELA bends over and enfolds her in her
arms. TIA CHEDENG makes the sign of the cross.)
ANGELA: Listen to what I have to say. I was forced to marry your father
against my will. I didn’t love him and he knew it. It wasn’t my fault! My
family shouldn’t have opposed my marriage to the man I really loved. To
forget my unhappiness I turned to gambling and to pleasure. That kept me
away from your father. I didn’t want a baby, you might as well know, so