I Wanna Babysit Lola! By Remé A. Grefalda

from a concept provided by Alfred Arganda, Jr.
by
Remé A. Grefalda

MUSIC NOTES

The music is a character in the play.  It comments, it punctuates, it senses the mood and expands on it. It speaks out in anger.  It beats a futility pace.  In short, music is alive and it interacts, observes and comments.

Observing Minstrels - punctuated guitar playing
The Intruder’s emotions -- flute
The Prisoner’s emotions and memories -- violin and voices (Josephine & Leonor)

CHARACTERS

Musicians of the Ilustrados
Observing Minstrels
A Mirage
The Intruder
The Captain of the Guards
Fort Santiago Guards
The Prisoner
The Mother of the Prisoner
The Sister of the Prisoner
Members of the Firing Squad

SCENES & MUSICAL INTERLUDES

Scene:  December 29 1996, Entry into Fort Santiago
Music:  "Hating Gabi" by Antonio Molina

Scene:  December 29, 1896
The Captain’s retreat cove

Scene:  Same time, The Prisoner’s Cell
Music:  1896 Theme by Rodgin Arpon

Scene:  The Mother’s Lament
Music:  Vos Me Matasteis by Joaquin Rodrigo

Scene:  December 30, 1896, The Walk to Luneta
Music:  Song of Josephine & Leonor by Rodgin Arpon

Scene:  December 30, 1996.

 

Scene 1: December 29, 1996

TIME:  About 10 o’clock in the evening before closing time.

PLACE:  Fort Santiago Park, by the rooftops and parapets overlooking the sea.  Mist rising up from the waters, thickening into fog.  Faraway SOUND of ship or freighter horns.

LIGHTS:  Darkness... fog-filled . SOUND: Ship’s horn in the distance
 
STAGE LEFT:  Violinists enter from both wings in silhouette.       

MUSIC:  Violin solo or Duet: "Hating Gabi"

LIGHTS:  (Slowly fade up) Young man silhouetted in the fog steps up to a parapet area.  Looks out to the sea.  Takes a few steps then stops at the sound of rustling.  Opposite him a few feet away is a blurred figure of a woman with a shawl over her head.  Young man whispers a name.  Woman turns, then runs away.

FREDO:  Julie?  Julie, it’s me!  (runs to catch up with fleeing figure) Julie! (trips, slides and falls into an excavated hole)  JOO-LEEEEE! (echo and reverberate as if in a cavern).

MUSIC:  HATING GABI SWELL INTO REFRAIN

PICK UP BY GUITAR STRAINS AS VIOLIN ENDS

Scene 2:  December 29, 1896

LIGHTS:  Blue wash on the "past". 

Captain of the Guards (Guardia Civil) walks towards center of darkened platform, center stage; another soldier trying to catch up with him.

Musicians in gray with guitars poised silently.

First Soldier:  Sir, they’re bringing in a new detainee.

Captain:  (Exasperated. IN SPANISH) We have our hands full.  Why can’t they be detained elsewhere!

First Soldier:  Sir, they caught him spying—(GUITAR punctuation)

Captain:  Put him in Cell 9.

[Throughout the conversation GUITAR music is heard now softly, now loud]

First Soldier:  But Kapitan, Cell 9 is occupied.

Captain:  I know that!  But that cell will be vacated by morning.  The prisoner is scheduled to be (pause) —to be moved out by then.  Put the new arrival there in the mean time.

First Soldier: (saluting.) Yes, Kapitan!

(BLACKOUT)

MUSIC: Instrumental ELECTRIC GUITAR

Scene:  The Prisoner’s Cell

BLUE LIGHTS UP on two soldiers escorting the young man who is struggling to be free from their hold.  Throws him into the raised platform area.  LIGHT UP platform area with Gobo "bars" to depict prison cell.  Young man stands up and calls out to retreating soldiers.  Invisible walls. 

Fredo:   (Shouting and banging on invisible door) Wait!  I can explain!  I tell you I’m not who you think I am—  Call my family.  Call that number.  Please!  (pause.  Crumbles to the floor.  Then, as if to himself:)  Please .... (Stands up slowly, backs up and turns around to face a man coming out of the shadows, who is totally surprised and offended at this invasion of his privacy.

MUSIC - Instrumentals:  As they stalk each other

Both: (facing and circling each other)   Who are you???

Fredo:  Don’t come near me.  (He does a Karaté stance.) My name is Fredo Pascual and I... I...I’m a manic-depressive.  You don’t know how violent I can be.  I’m warning you—

Prisoner: (steps back but follows the young man with his eyes.  Holds his hands up to reassure his visitor.)  What are you doing in here, Fredo Pascual?  Did Señor Andrade send you?  (realizes his error)  Of course not— Don’t be hasty, young man.  Here, sit down, let me look at that cut.  You’re bleeding.

Fredo:  Don’t touch me, you... you...

Prisoner:  I’m a physician.  Please allow me to look at it in the light.  (Motions the boy to the light by the invisible barred window.  Boy touches his head, sees blood and reluctantly follows the man’s motioning; both stand by the light as the prisoner looks.)  Well, it’s not too deep, a bit of iodine and some clean bandage . . . . (Fredo pulls away, but has calmed down.) Why are you dressed that way? (looking down at the younger man’s rubber shoes and tee shirt.  Fredo sits on the chair and starts crying.  Prisoner puts his arm around him.)   

Fredo: (Pulls away and speaks through his tears)   I’m dressed THIS way?  Look at you!  You look like you’re ready for some costume ball!  (Recovers his cocky composure) Where am I anyway?  Who are you anyway?  To be honest, I could care less. (Becomes agitated)  I’m getting out of here.  I don’t know how, but I am.  Damn, my cellular is in my backpack and those guys took it!

[MUSIC pause]

You close your eyes to technological advances.  You dismiss them with a wave of your hand, but you insist on having a TV in every room in the house.

Prisoner:  You’re in Fort Santiago, son.  And whatever it is —your sell...uh...uh will not be of much help to you here.  You would do better if I dressed up your cut temporarily.  What is a "sell-la-la" any way?

Fredo:  So, you’re one of those, huh!

Prisoner:  (Looks around) One of who?

(Young man submits to the Prisoner touching the cut on his forehead.  Prisoner searches among books and picks up a physician’s bag, and begins treating him.)

Fredo:  You know— one of those trying to stop technology by refusing to step up with the times.  As they say, if you can’t lick ’em, join ’em.  You’re all alike.  You close your eyes to technological advances.  You dismiss them with a wave of your hand, but you insist on having a TV in every room in the house.   Oooh, that hurts...  So, where in the States did you do your residency?

Prisoner:  States?

Fredo:  America.

Prisoner:  United States of America?  Who told you?  How did you know I was there?  Who are you? (Becoming suspicious and steps back.  MUSIC commentary.)

Fredo:  What’s the big deal?  Most doctors go to the states to complete their residency.  And most times, they don’t come back.  They stay.  They do some hokus-pokus and before you know it they’re there for life.  My Tito Buddy did that.  He married an American nurse, so it was automatic. 

Prisoner:  Automatic-what?

Fredo:  Automatically — romantically— and best of all, legally—he gets to stay in the States!

Prisoner:  You make it sound like Utopia.

Fredo:  Are you behind the times or what?  Everyone wants to go and live in the States.  It’s everybody’s dream.  Unless of course if you’re stinking rich here in Manila and you have two Mercedes, a house in Forbes Park, at least 4 or 5 maids, a beach house in Borakay and—

Prisoner:  Wait...wait...What are you saying?  Would you mind speaking slower?

Fredo:  Okay, for starters, what’s your name?  I told you mine.  Are you a gardener, a caretaker here in Fort Santiago?  (looks around, touching books etc.)  Hey man, looks like you’re living in style!  You must know of a way to get me out of here.  Surely, you’ve seen me before!  I come here all the time.  Go ahead, tell them.  Tell them—

Prisoner:  (interrupts him suddenly)  I am Doctor Jose Protacio Rizal Mercado—

[incredulity in MUSIC]

Fredo:  Sure you are—

Prisoner: (Continues, unaware of the interruption; speaks calmly as if to convince himself)   I am detained here but hopefully not for long.  Señor Andrade, my lawyer, believes he can appeal to the authorities and convince them that I am not part of any call to sedition, much less treason.  (Pained expression in his eyes)  Four whole years in Dapitan, four years of exile:  Surely, I have paid the price for whatever offense my literary works may have caused to some of those in authority.  The Crown in Spain is most reasonable.  This government is reasonable.  They must be— they must be persuaded to see—.

Who sent you?  Bonifacio? Have they no conscience?  They are sending hundreds of our countrymen to die!  For what?

Fredo:  Just listen to what you’re saying!  Are you crazy?  Jose Rizal Mercado! Oh, sure!  And I’m Michael Jackson.  Listen, this is no time for you to go wacky on me!  Help me.  I gotta get out of here.

SOUND:  keys jangling and door being opened. 

ENTER Soldiers (remain on floor level) as the Captain of the Guards steps up to the platform and "enters" the cell.

Kapitan: The prisoner Dr. Jose Protacio Rizal Mercado y Alonso will please rise!  (Reads from a parchment paper as Rizal stands up)  [IN SPANISH]  It is hereby ordered by the highest court in the Kingdom of His Imperial Majesty Ferdinand of Spain that at sunrise on the thirtieth of December in the year of the Lord 1896,  [IN ENGLISH] the prisoner Dr. Jose Protacio Rizal Mercado y Alonso will be put to death for the crimes of treason and crimes leading to incite rebellion against the crown of Spain.  (Silence.  After a pause, the Captain approaches Rizal) 

[Enter with theme...]

Señor, It is with deep regret that I bring you this ... this notice.  I am a great admirer of yours. Is there anything I can do for you?  I have been authorized to allow you visitors at this time, if you so wish.

Rizal shakes his head.  [end Music.]  Moves away in resignation.  Changes his mind and turns to the captain, as the latter is about to leave.

Rizal:  Kapitan, there is one thing.  Can you release him? (pointing to young man)

Kapitan:  (looking at Fredo.)  I regret I cannot be of assistance in this matter.  This man will be tried as a spy tomorrow (Exits with soldiers).

[GUITAR:  "Belat--ikaw rin!"]

Rizal: (After the soldiers leave, turns to Fredo vehemently) So you are a spy?!  Señor Fredo Pascual!  What are you risking your life for?  They did not have to send a callow young spy to find out whether I would be dead tomorrow?  Who sent you?  Bonifacio? Have they no conscience?  They are sending hundreds of our countrymen to die!  For what?

Fredo: (totally rattled and defensive) I am not a spy!  I came to Fort Santiago tonight because I was hoping against hope that Julie would be here too.  (Sees his unbelieving look as Rizal dismisses his words).  Julie’s my girl.  We broke up a week ago.  We used to meet here, out there—an hour or two before the park closes for the night.  I coulda sworn I saw her there.  When I called, she ran and I tried to follow her.  I forgot about the excavation. Before I knew it, those guys were all over me.  I swear it! (defensive) That’s the truth!  If you don’t believe me, look at my driver’s license.  Go ahead it’s in my wallet.  Oh no, my wallet’s in my backpack.  (sees his puzzled look) My things!  (panicky)  I’ve lost my things! (scours the room searching for his things).

Rizal: (shouting through the door)  Kapitan, por favor, will you allow the young man’s belongings to be brought here?  (to Fredo)  What is a Pat-Back?

Oh, stop this clowning!  Enough of this costume party!  I can get you guys in a lot of trouble.  My father has top connections in the Senate!

Fredo:  (giggles hysterically) No, not a pat bat.  A Back pack!  A backpack is a...a...(gestures towards his back, mimes carrying a backpack) it’s not important.  It’s just something I put my stuff in.  Y’know, like my Walkman, my CDs, my calculator, my cellular, my wallet!  Stuff!  (regains his paranoia and former composure.  Looks at Rizal suspiciously] Why am I bothering to explain to you?  You’re not Rizal!  You can’t be.  I’m dreaming this and I know I’ll be waking up.  My alarm clock will be going off soon! (Closes his eyes tightly) C’mon, Alarm...c’mon, ring!

[MUSIC:  "panic" mimes the tick tock of a clock]

Rizal:  (Emphatic)  I AM Jose Rizal.  My father is Don Francisco Mercado.

Fredo: Am I in a mental hospital or what?!  Tell me you’re . . . you’re . . . Rizal?? C’mon, get with it!  He lived more than a hundred years ago!

Rizal:  Son, I just wrote a letter.  Look at the date.  (sees Fredo looking around) There on the desk.  Go ahead!

Fredo:  (Goes to the desk, picks up paper) "Twenty nine...Di-Diciembre,... Eighteen Ninety---"  No! (slams paper down and knocks the inkwell, sets it upright and wipes his hands on his shirt.  Turns to Rizal with a frightened look on his face..  SOUND of key as door opens and soldier throws backpack into the cell.  Rizal picks it up, opens and brings out a newspaper. The boy continues staring at him)

Rizal:  "The Manila Times...  Sunday,.... December Twenty Nine,... Nineteen hundred and Ninety--?  (Both stare at each other.  Circle as if prey and predator).  Enough—  (as Fredo gives him a look of vindication; pause).  There will be no whys or hows between us.  (Raises his hand and stops Fredo as the latter is about to say something)  Don’t say a word.  (pause and stare at each other with new eyes)  One... hundred... years ... Are you here... or am I there?   1996 . . . !  (suddenly desperate)  What has happened since —?

(SOUND of keys as the Captain and soldiers step into the cell.  Soldiers take their places on each side of Fredo as the Captain is about to address him.  Rizal is about to step forward as if to interrupt.  The Captain’s wave of hand stops him.)

Captain: Señor Alfredo Pascual!  With no one to verify your identity, you are charged with malice against the Crown of Spain for your acts of spying with intent to commit treason.  If found guilty, your punishment is death. You will be brought to trial tomorrow and a court-appointed counsel will advise you of your rights.  You will remain in this cell until then.

Fredo: You can’t do this to me!  The hell with the Crown of Spain!  I am a Filipino citizen!  Oh, stop this clowning!  Enough of this costume party!  I can get you guys in a lot of trouble.  My father has top connections in the Senate!  I want to see the administrator — (Soldiers knock him to his knees).

Captain:  Silence!  You can be shot right here!  Right now!

Rizal:  Por favor, Kapitan, let us be civilized about this.  Surely, your experience in these matters will tell you that this young man is sick (points to his head to indicate mental condition of Fredo) and needs help instead of incarceration.  No one in his right mind would be so rude before your rank and power.

Oh, but you are from nineteen hundred and ninety-six! Is this how people behave? I can see from the way you talked to the Captain that the youth of this country is brimming with confidence and so able to stand up to authority.

Captain:  (Reconsidering, but still unmoved) Only because you are a physician, Dr. Rizal, will I weigh your words and restrain my men from doing their duty. (To Fredo)  Unless you provide the names of three witnesses to verify your identity and to speak on your behalf before trial—without these, you had better practice some respect for authority, Señor Pascual!

Captain and soldiers exit.  SOUND of keys as cell is locked.

Rizal:  Fredo, how can you talk this way to the Guardia Civil?  Don’t you know that your family will suffer for your brashness?  Oh, but you are from nineteen hundred and ninety-six! Is this how people behave? I can see from the way you talked to the Captain that the youth of this country is brimming with confidence and so able to stand up to authority.  But, son, who is this Administrator whom you wanted to see?  Does he rule the land?  What senate were you referring to?  Hurry, tell me!

Fredo:  Is that all you’re interested in?  I’m not your personal crystal ball.  If I’m not where I should be, then I am as good as dead.  You heard what the man said!  What good is the future?

Rizal:  The future is everything!

Fredo:  (Succumbs to Rizal’s ecstatic waiting)  Oh, all right!  You expect me to just spit out everything like a computer? Am I suppose to pick up after you died (sees Rizal wince.)  Sorry... sorry.  But that’s not my priority right now.  If you’re right, how am I going to bring myself back to 1996 after you’re dead? 

Rizal:  So I died.... (Fredo nods)  I was shot?

Fredo:  What did you expect?

Rizal:  Anything else, but an execution.  What have I done to merit that?  The books I wrote?  Am I a threat?  Why didn’t they just exile me permanently?  Death?

Fredo:  (Nods silently)  By firing squad.

Rizal:  (Long pause.  Pensive but calm)  Was I treated as a traitor?  (sees his puzzled look.  Turns angrily towards him) Did they shoot me at the back?

Fredo:  Yes.  I think so.  (sees his defeated reaction)  But don’t you see, your dying became the call for the country to take arms and rise up against the Spaniards.

Rizal:  (weary and resigned)  And Spain—did Spain give us the autonomy we asked for? What has become of the country, our country?

Fredo:  We are doing just great, man!  A lot has happened!  Remember how you had to be on a waiting list with PLDT just to get a telephone? (Rizal gives him a blank look.)  Y’know, Philippine Long Distance...Sorry. (to himself) Ay, gago!  No telephone yet, huh?  Well, there’s this invention—forget it, it’s going obsolete, cellulars and wireless have taken over.  Hey, my cellular is right here!  (goes through his backpack and pulls out a phone)  See, it’s like this (but cellular is dead).  Oh, damn, walang reception!

Rizal:  (with impatience) What happened to the country?  What happened to the country? Are we free now?

Fredo:  We’re more than free, man.  After people power, Marcos got shafted, and we are heavenly free.  You think we were oppressed under Spain?  We’ve gone through so many so-called oppressions!  According to the history books, we were oppressed by the Americans, the Japanese, then the Americans again!  And worse even by our own leaders!  But everything we Filipinos go through is sugarcoated in smiles.  Women are oppressed, but Miss Philippines, Miss Lakambini and all other winners of beauty contests smile the Colgate Smile!  Martial Law under Marcos was labeled "Smiling Martial Law."  EDSA was the "Smiling Revolution".

The country became a republic!  And the people were enlightened enough to elect a woman to the highest position??  I am overwhelmed!

Rizal:  There was another revolution?

Fredo:  Darn right!  But it was a real winner.  You won’t believe it—but that was one occasion where a change in systems didn’t cause a single drop of blood to be spilled. (sees Rizal’s incredulous look)  The people’s revolution took off after Aquino was murdered.  Now, see, this guy was just like you.  He actually wanted to come back home from abroad.  What a dope!  Guess what, he should have stayed away!  You should have stayed away.  Well, Ninoy Aquino was gunned down as he was getting off the plane  (sees Rizal is about to question him).  An airplane, you know!  An airplane is another new-fangled invention.  Passenger steamer ships are long gone.  We fly now.  You know....  Fly!  Like this.  (demonstrates with his arms)  Anyway, Ninoy’s death was the straw that broke the Filipino camel’s back.  Now, ask me who took over the reins of power.

Rizal:  Who took over the reins of power?

Fredo:  Hold your breath now—his wife:  Cory Aquino.

Rizal:  A woman became the ruler?  Did we have a monarchy?

Fredo:  No, no, no.  She became president of the Republic.  (sees his reaction)  I told you it would take your breath away!

Rizal:  The country became a republic!  And the people were enlightened enough to elect a woman to the highest position??  I am overwhelmed!  (spreads his arms and "flies".)

Fredo:  I don’t know about enlightened—but it was the people’s mandate that put her there!

Rizal:  So at last the people are free!  (Commotion at the door as keys are jingled.  Fredo runs to hide as "door opens" and two women enter, behind them, the Captain.)  Mother!  Narcisa!  Don’t, don’t weep so...There is a reason. (Gives a knowing look to Fredo)  Come, let me hold you both for the last time.  (They are about to embrace)

Kapitan:  Dr. Rizal!  It is forbidden!  Please—or I must ask them to leave immediately.

Rizal:  (Mother is weeping.  Takes his mother’s hands and kisses them both, inside the palm and outside)  Mother, I regret with all my heart that I am causing you this deep sorrow.  I have done nothing to be ashamed of.  All my life I have brought the family pain.  Forgive me. 

(Rizal continues kneeling in front of his mother.  FREEZE this scene)

[Operatic song "Vos Me Mastasteis....."]

Fredo:  (to Rizal’s sister)  It was you, up there along the parapet!

Narcisa:  You startled me!  Are you hurt?

Fredo:  Nah.  So it was you....  Y’know, you look exactly like someone I know.

Narcisa:  Julie?  (Both smile.)

Rizal: (in Spanish) Narcisa, here—(hands her a lamp). It has given me comfort during nights...Take it, take it. (In English)There is something there.  (In Spanish)  Do not be heavy of heart.  I am content to meet the sunrise. (EXIT Women and Captain.  Turns abruptly to Fredo.)   You are God-sent.  For you have opened my darkest future and brought light to me.   Now, allow me this little time before the authorities parade themselves in front of me, allow me—

I’m not going to be the one to tell him (pointing to Rizal in freeze post) that we Filipinos are the most progressive consumers in the world, and that we are part of the hordes stampeding towards excessive materialism.

Fredo: (somberly and with full meaning) Dr. Rizal, if you want to, you can escape.  There are ways. You don’t have to die.  There is more you can do by surviving.

Rizal: (laughing gently) Escape, to where?  Survive, for what?  This is my life—my entry into death.  Death for a reason is no death at all, but Life!  And you, my son, have given me that.  Now, tell me—I need to know how our people as a country have evolved.  Do they prize education and learning?  Have they preserved their precious family values?  Through the century have they unmasked tyrants in velvet clothing?  Have they shrugged off the indolence which is the fruit of oppression and are they now industrious as free men are?  Who are their writers, artists and philosophers at the present time?  Tell me ...

FREEZE  Rizal waiting to be told as Fredo "leaves the scene" and as ACTOR steps forward to the audience, signalling and holding up his hands...House Lights up on audience. 

Stage Manager:  (either in voiceover or walks towards actor)   What do you think you’re doin’?  (sees actor’s conciliatory gesture).  Okay—two minutes, then get back to the scene.  (walks back to his post.)

Actor: (in sotto voice to the audience) I’m not going to be the one to tell him (pointing to Rizal in freeze post) that we Filipinos are the most progressive consumers in the world, and that we are part of the hordes stampeding towards excessive materialism. (fidgets)  Or that we have become even more Westernized (if there is such a thing!) than the Americans and Europeans are in in our attitudes. That we have traded our values for expedient profits.

How we down each other in petty envies!   Can I tell him that? And that abroad we can hardly come together as community.  Call me cynical.  But I don’t think we’ve evolved—  You, do you think you’re "enlightened"?  Wiser?  More compassionate?  

Should it come from me to tell him that the nations of the world have not stopped labeling us as part of the Third World:  A "developing country" one year and labeled as "underdeveloped" another year, depending on the graft and corruption of our leaders?  Our so-called leaders who have plundered the resources of the country—selling the country’s soul to the highest foreign bidder in the name of progress and infrastructure! 

And what about the real estate boom?  "With a condominium here, and a condominium there" [to the tune of "Old MacDonald had a farm"]   Should I mention it in passing to him that a sack of rice now costs the ordinary person more than one thousand pesos because more and more rice fields are mowed down to accommodate the real estate boom?   And that developers are buying land as fast as they can so that the balikbayans can have their state-side homes?

(To the audience)  You break his heart!  You send him to face the firing squad knowing that we as a country have exported a form of slavery to the world because we have not found the means to provide employment and decent housing for our people in our own land.  Don’t lay it all on government!  WE make up this "government"!  Should I provide him with statistics showing how we have not stopped the flow of overseas contract workers but instead, how we silently encourage our women to work as domestics abroad? 

(In mocking tone)  By the way, Dr. Rizal, you will be proud to know how the Philippine economy is growing fat in dollars earned from the separation of families caused by Filipino women working abroad to support those whom they’ve left behind!

How we congratulate ourselves!  And often for the shallowest of reasons.  But you say "We have arrived!  We’re no longer the ’sick man’ of Asia."  Yes, we have arrived—by succumbing to the culture of the West when our own culture is far superior.  But will we ever know that?  Of course not.  Because, Dr. Rizal, we’ve sold out!  I have sold out!

(Fredo steps back into the scene with Rizal. House lights dim and black out.  Resume the play)

Fredo: (With exaggerated enthusiasm) Dr. Rizal, you would be proud of us!   

Rizal:  There isn’t much time.  Come here.  Tell me all you can....

Fredo:  Well, after we defeated the Spaniards, .....

[Fade in with theme]

Fade lights slowly as the two mime their conversation in silhouette.  Music to fade slowly to BLACKOUT.

Guitar sounds of heartbeat, snaredrum, crowd curiousity.

[SONG: "Josephine & Leonor"]

Soldiers position along sides of stage. 

Fredo holds Rizal’s coat as the latter puts it on.  They are talking animatedly and laughing, Rizal more pleased than Fredo.  Rizal turns his back to the audience as if about to give Fredo an abrazo. 

Fredo adjusts Rizal’s hat on his head.  They embrace.  Fredo steps back into the darkened wall as Rizal strides in place.

Scene:  December 30, 1896, Dawn

Rizal begins his "walk" to Luneta.   MUSICIANS step down to audience aisles and faces audience, strumming to Rizal’s steps.  Soldiers along the sides of the stage kneel, cock their rifles in position.  COUNT DOWN IN SPANISH.  MUSICIANS invite audience to rise and be witnesses to an execution.  Rizal makes an effort to turn at the final countdown. GUNFIRE FLASH in white light.  Rizal crumples facing the audience and falls.  RED SPOTLIGHT on dead figure.

BLACKOUT. 5 second pause)

Scene:  December 30, 1996

Lights slow fade up.  Fog.  SOUNDS Modern sounds of honking foghorns and traffic. Figure slowly rising from the mist.  Spotlight on Fredo.  He looks around, shivers and wonders why his Tee-shirt is ink-stained.

BLACK OUT

The End

© Remé A. Grefalda 1996

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