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| GLENN SEVILLA MAS |
| Her Father’s House |
| THE AUTHOR HOLDS THE COPYRIGHT TO THIS PLAY. THIS IS POSTED WITH PERMISSION FROM THE AUTHOR. FOR INQUIRIES ON HOW TO SECURE THE PLAYWRIGHT'S PERMISSION TO STAGE THIS PLAY, PLEASE E-MAIL HIM AT THIS ADDRESS. |
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Everything is dark and silent. A soft hum then fills the air. Moments pass and the hum fades out. A Hiligaynon chant traditionally sung during Lent in the province of Antique is heard next. This is performed by the chorus members who all enter slowly from the audience area. Light comes from the lighted candles that they all carry. Diyos namon sang kaluoy God of mercy Ikaw ang amon nga Amay You are our Father Magbubuhat, Manunubos Creator, Savior kag Ginuo sa nga tanan. and Lord. Hesus, maluoy Ka sa amon. Jesus, have mercy on us. Patawaron Mo kami. Forgive us. Ang sala ginadumtan namon. We ask forgiveness for our sins. Dili na magliwat kami. We shall not commit them again. When they reach the edge of the performance space, the chorus members spread out and enclose it in a circle. They place their candles on the floor and then ceremoniously sit facing center. The hum returns. A dim light then shines on an old woman soundly sleeping on a rocking chair placed at the center. Her soft snores can be heard above the hum floating in the air. Moments pass and the hum fades out. The chorus members pray. Maghimaya ka, Maria Hail Mary nga napuno ka sang grasya full of grace ang Ginuong Diyos yara sa imo. the Lord is with you. Ginadayaw ka labi Blessed are you sa mga babaye nga tanan among women kag ginadayaw man ang bunga and blessed is the fruit sang imo tiyan nga si Hesus. of your womb Jesus. Santa Maria, iloy sang Diyos Holy Mary, mother of God ig-ampo mo kami nga mga makasasala pray for us, sinners niyan kag sa oras sang amon ikamatay now and at the hour of our death Amen. Amen. Just before the prayer ends, the woman mumbles in her sleep. ISABEL No … Leave … Go … Don’t … Leave … Go … The hum returns. A faint ray of light reveals a transparent cubicle in a corner just behind one section of the audience. Here, a man and a woman are making love. The woman’s movements appear tired and rehearsed, like she has been performing the act for years. While going through the motions, she suddenly fixes her stare at the old woman. Disturbed, the old woman again mumbles in her sleep. ISABEL No … Go … Can’t … Leave … No … Go … Lights out on the scene as the man and the woman reach climax. The old woman suddenly stirs. The hum dies out. ISABEL Who is it? Is that you, Ernesto? Ernesto, are you home already? Oh, don’t tell me you’re drunk again, Ernesto! Ernesto? The chorus members softly repeat the “Maghimaya ka, Maria”. Comforted, Isabel goes back to sleep. The hum returns. A faint ray of light reveals another transparent cubicle. Again, the same woman is making love, but to a different man. This time, she is the more dominant player and she shows this by clearly dictating the tempo and by incorporating a certain amount of ferocity into the act. As in the previous scene, she again fixes her stare at the old woman. As her partner reaches climax, she digs her sharp nails into his back thus drawing out faint traces of blood. Lights out on this scene. Isabel again stirs. The hum dies out. ISABEL Who is it? Ernesto, if that’s you … announce your presence. Make yourself known! Oh, I must have left the windows open again, Ernesto. Please do me a favor and close them. We do not want the night wind roaming freely inside here, do we, Ernesto? Ernesto? The chorus members again recite the “Maghimaya ka, Maria”. This time, however, Isabel foregoes sleep. Moments pass and the hum returns, a little louder this time. Another transparent cubicle is revealed. The woman is now engaging in an even more violent act with yet another man. She writhes in pain as her partner inserts a sex toy inside her. She screams while staring at Isabel. ISABEL Dolores? Moments later, Isabel takes out her rosary and prays the “Maghimaya ka, Maria”. At some point, Dolores joins her prayer but says hers ferociously. Before her prayer ends, Dolores screams the loudest as her partner succeeds in fully inserting the toy inside her. Isabel’s prayer becomes distraught. Dolores’s partner gently kisses her all over. Lights out on this scene and the hum dies out. By this time, Isabel’s prayer has become softer, as though she were addressing it only to herself. ISABEL But no. It must only be the wind. I must have really left the windows open. Isabel is about to get up but the hum returns. ISABEL Who is it? Stop fooling with an old woman and leave! This old house stores nothing of value! There is nothing here that can be of any use to you! So leave! And leave an old woman to peacefully take her rest. Dolores moves out of the shadows but Isabel doesn’t notice her immediately. The hum dies out. ISABEL You do not believe me? Just look around this house and surely … DOLORES And surely what, Isabel? What am I supposed to see when I look around this house? ISABEL Who are you? And what are you doing inside my house? DOLORES Look closely, Isabel. Surely you haven’t forgotten the past? A moment of silence. ISABEL Go away. I do not know you. Leave! DOLORES So you haven’t changed. ISABEL Leave or I’ll scream. DOLORES Go ahead. Scream. Stir up the whole neighborhood. Scream, Isabel! Scream like you have never done before Scream like you are praying to your God and asking for His mercy Scream like you are begging for help but there is no one there to help you Scream Isabel and let me hear what that sounds like Scream! Isabel remains quiet. DOLORES You still can’t do it, can you? All these years and you still can’t do it! Lights change. The first man in Dolores’s previous scenes steps forward. Dolores steps back. DOLORES It’s late. MAN So? Take off your clothes. DOLORES What? MAN You heard what I said. Take off your clothes. DOLORES You’re drunk. Again. MAN Just take off your clothes. Come on. Take off your clothes! ISABEL No. MAN Are you deaf, woman? I said take off your clothes. ISABEL No! MAN ‘Yudiputa! Take off your clothes and let’s get on with it! The man starts taking his clothes off. ISABEL Stop that. Stop that, please. Not in front of the child. No! Stop that or I’ll scream! DOLORES Go ahead, Isabel. Scream! But you can’t do it, of course, can you? All these years and you still can’t do anything! Isabel screams. The man leaves. DOLORES You never did. You never could. The chorus members sing the remaining stanzas of the Lenten chant. Namatay si Hesukristo Jesus Christ died didto sa Calvario in Calvary agud kita pamawion to save us sa daku nga kasubo. from misery. Hesus, maluoy Ka sa amon. Jesus, have mercy on us. Patawaron Mo kami. Forgive us. Ang sala ginadumtan namon. We ask forgiveness for our sins. Dili na magliwat kami. We shall not commit them again. Lights change. The second man in Dolores’s previous scenes steps forward. Dolores steps back. MAN Kiss me. Isabel just stares ahead. MAN I said kiss me. Isabel doesn’t do anything. MAN ‘Diputa! What are you waiting for? I said kiss me! Isabel stares angrily at the man. MAN You’re asking for it, aren’t you? Isabel just stares at him. MAN You really are asking for it! The man slaps Isabel. MAN You like getting hurt, don’t you? All you women are the same. You all like getting hurt! The man grabs Isabel by the neck. MAN Now kiss me. ISABEL No! And how dare you hurt me! MAN We’re starting to fight back now, aren’t we? You want a fight? The man slaps Isabel again. She falls on her knees. MAN Get up. You want a fight, don’t you? Get up and prove to me how strong you’ve suddenly become! Isabel just stares back. MAN (Sneers at Isabel.) You can’t do it, can you? He once again grabs Isabel by the neck. MAN Next time, stupid woman, before you even entertain the idea of saying no to me … think first. And think hard. You can, of course, think, can’t you? The man lets go of Isabel and leaves. The chorus members again sing the first two stanzas of the Lenten chant. As they do so, some women chorus members approach Isabel and help her to the rocking chair. Dolores steps forward. DOLORES Lent. Twenty-five years ago. Do you remember that time, Isabel? Do you remember what you were doing during that time, Isabel? The third man from the previous scenes suddenly walks in, grabs Dolores by the hair and makes love to her violently again. Isabel prays the “Maghimaya ka, Maria”. DOLORES I couldn’t cry out because you stuffed my mouth with an old rag. I couldn’t fight back because you tied my hands and feet to the bed. And the drink that you gave me that night before you ordered me to sleep? I am sure you laced it with the mysterious herbs and spices that you always kept in your cabinet drawer. In the middle of Dolores’s third line, Isabel stops praying and gets up. Dolores doesn’t see her doing this and continues to address her as though she were still in the chair. The chorus members take over Isabel’s prayer as the latter’s voice joins that of Dolores. ISABEL DOLORES You speak like it was all my fault. And while you were busy getting rid of that You knew how your father was yet you speak to which was slowly taking form inside me like everything was solely my fault! me, I forced myself to look away so I You saw what he did to me each time I raised my wouldn’t see you doing what you voice yet you speak like I had a choice! were doing to me so painfully. You knew what he did to me. What else could I have done, Dolores? You pretended that you didn’t but I knew you knew! How else was I supposed to act? My sudden trips to the market … Your sudden trips to the market … My sudden errands to the fields … Your sudden errands to the fields … My sudden visits to the neighbors … Your sudden visits to the neighbors ... I was in church the whole time, Dolores! You knew but didn’t do anything! Dolores wails as the man re-enacts the violent third scene earlier in the play. ISABEL Every time I left this house because I knew what was going to happen, I always went to church. Padre Manuel always asked me why I went there all those afternoons when I should’ve been in the market and the fields and the neighbors’ houses but I couldn’t tell him anything, Dolores. I was so ashamed I couldn’t tell anyone anything! The man succeeds in violating Dolores again. Isabel returns to the rocking chair and soon takes over the prayer from the chorus members. The man leaves. DOLORES You knew … and didn’t do anything. A moment of silence takes place as the two women stare at each other. DOLORES So where is he? He’s still out there getting drunk, isn’t he? ISABEL The man of the house is not here. DOLORES Where did he go? And at what time are you expecting him home? ISABEL The man of the house never tells me anything. The chorus members get up and form a procession around the two women. An image of the Virgin Mary leads the parade. The chorus members repeat the Lenten chant as they move around the performance area. At some point, the procession stops. Everyone kneels before the image of the Blessed Virgin and repeatedly prays the “Maghimaya ka, Maria”. Then, several men – including the first man in the play’s opening scenes – enter the performance area doing a typical Filipino ritual of repentance. Wearing crowns of thorns, these half-naked men mercilessly flog their bleeding backs with whips that pitilessly cut their skin open. Except for Dolores’s first sex partner, the men all slowly march on toward the exit. The man approaches Isabel and Dolores. He ceremoniously kneels before the older woman and hugs her. In a while, his left hand fondles Isabel’s breasts. The old woman quietly turns away. While doing this, the man’s other hand grabs Dolores. He forcefully pulls her over to his side and starts molesting her, too. Dolores turns the other way. Lights dim on this scene as lights turn up on the image of the Virgin Mary. The chorus members’ prayer becomes louder. As the prayer reaches its peak, Dolores screams, thus drowning out the litany to the Blessed Virgin. Lights out. The deafening sound of dance music immediately fills the air. Several seconds later, special lights spell out the name of a bar: Paradise Inferno. Here, tables and chairs are forced to fit in the cramped space, as well as flashy and skimpy costumes and elaborate headdresses. The chorus members are now all over the place, with several women noisily changing clothes in one corner. A special light then shines on Madam Ching smoking on the rocking chair placed in a prominent corner. She gets up and inspects her wards. Music fades under. MADAM CHING Punyeta! Shut up, everyone, shut up! Mga punyeta kayo! D’yos ko, we are always like this every night after night! I’m so tired of doing this to all of you every time, ano? Telling you faster and faster and hurry up and hurry up because your customers are already here and waiting for the floor show to begin! Hala, faster! She moves to another area. MELINDA O, faster and faster daw! The customers are already here with their precious pesos and their stiff dicks! I hope I did not forget to bring alcohol and mouthwash! Otherwise, naku! The smell! Everyone laughs. ANITA O, Melinda! When is your beloved pussy man going to marry you? Last night, you said he promised you again. But you say that to us every night! And he doesn’t deliver. ROSARIO Except in bed! Loud laughter. MELINDA Hay naku! That’s why tonight, I will force him na talaga to give me a date for the wedding. True! I will force him na talaga! Even my parents are fed up with his promises na kasi. ANITA What can your parents do if he won’t marry you? For all you know, he has a wife and ten kids already! MELINDA Shut up, Anita! Basta, I will force him to give me a date na! And for your information, you stupid girl, he doesn’t wear a wedding ring, ano? Saka, how can he be married e he doesn’t even know how to fuck properly? He always sticks his dick in the wrong hole! Loud laughter. Madam Ching again barges in on them. MADAM CHING D’yos ko, you are all still here! The dancers in the opening number, go out now! Faster! Faster! Several women put on their headdresses and get ready for the opening act. MADAM CHING (Notices a customer.) Uy, Mr. Santos! It is good to see you again! It’s been a long time, ha? Welcome back! You want the same girl? Myrna, right? MR. SANTOS I pay the same amount again, ha? MADAM CHING Of course! The peso may have devalued again but the cost of Madam Ching’s ladies remains the same! (Turns to one of the women.) Hoy, Myrna! Come! Mr. Santos is again back for you! Be very nice to him, ha? So that he will come here again and again! MYRNA Of course, Madam Ching! I will make sure that Mr. Santos will come again and again. Trust me! (Laughs and flirts with Mr. Santos.) Lights dim. A loud drum roll is heard. VOICE-OVER Ladies and gentlemen … welcome to another hot nights … here in … Paradise Inferno! (Note: Plural form of night is intentionally used as well as several awkwardly constructed sentences in this section’s dialogue.) The opening bars of a Filipino folk dance are heard. Soon, a group of scantily-clad women takes center stage and performs a bastardized and erotic interpretation of an otherwise traditional and chaste dance. The customers turn rowdy as they cheer on the dancers. Midway through the number, the music fades under as Madam Ching spots yet another customer. MADAM CHING Vice Mayor! I am sorry I did not notice you immediately! Uy, Vice, ha? I have a new girl and I reserved her especially for you! She just arrived this afternoon straight from the province! And she is very young, ha? Only fifteen! Very fresh! Very new! Very much a virgin! (Laughs.) VICE MAYOR Very good, Madam Ching! I will give you a very big tip later! (Whispers.) Are you sure she is a virgin? MADAM CHING Of course, Vice Mayor! For you, I personally checked this girl’s flower and I am happy to report that all of her petals are intact and have yet to say … “Hello!” (Laughs.) Of course, Madam Ching never puts one over on her favorite customers … especially one who is as powerful as you! Wait, Vice Mayor. I’ll bring her here na, ha? Madam Ching goes back to the group of women. MADAM CHING Punyeta! What are you doing here? To the dance floor. Now! How do you expect customers to notice you if you hide here all the time? Go! Go! Leave! Go! Except you, Dolores. Some women leave. MADAM CHING (Notices someone in the group.) Wait. Who’s that? Is that you, Monica? Punyeta ka, don’t tell me you’re drunk again! Diyos ko, but you are drunk again, you stupid girl! Hoy, Cristina! Take Monica to the bathroom now and pour cold water on her! If that doesn’t work, try hot water! Let’s see if that doesn’t wake her up! Punyeta! Cristina assists Monica to the exit. MADAM CHING And you, Minerva! Punyeta ka rin! Fix that stupid headdress! And be careful about bumping into the other girls tonight, ha? Punyeta ka! At the rate you are bumping into people on stage, our customers might think you are cross-eyed! MINERVA Sorry, Madam Ching. And yes, I will do something about my headdress, Madam Ching. After all, my highest grades in elementary school were all for Home Economics! All my teachers raved about my miraculous hands that could sew and mend and put things together in a very artful way! Of course now, aside from sewing and mending and putting things together, my miraculous hands can do even more miraculous things with poles and sticks and even tiny, little twigs! Loud laughter. MADAM CHING Hay naku, Minerva! Gaga ka talaga! And hurry up! Mr. Perez is again asking for you again and again for two times now. He’s in table six. Go to him. Now! MINERVA Yes, Madam Ching! And thank you, Madam Ching! MADAM CHING And you, Angelica! When your customer tells you to hold his dick under the table, never say no and say, “But I don’t do that!” Instead, you should force your stupid hands to do something miraculous with his pole! Like Minerva! ANGELICA But his dick is not a pole, Madam Ching! It’s really just a tiny, little twig! Loud laughter. MADAM CHING Hay naku, Angelica! I do not know what to do with you! O, sige na. Hurry! Hurry! Angelica goes to one of the tables. MADAM CHING And you, Dolores. Come here! Dolores steps forward. The other women stare at her. MADAM CHING It’s your first night. Remember the things that I taught you, ha? The pig’s blood. Do you have it with you? Dolores nods as the women look at each other. MADAM CHING Remember to squeeze it secretly on your vagina after Vice Mayor inserts his penis. And pinch yourself so you will start crying! The more tears you shed, the more pesos we will get. And remember … you are only fifteen, ha? Diyos ko, if he finds out that you are already seventeen and no longer a virgin … Naku, that will be the end of Paradise Inferno! O, sige na. Let’s go. Madam Ching leads Dolores to where the vice mayor is. Music fades up as Madam Ching goes through the motions of introducing Dolores to the vice mayor. In a while, the vice mayor leads her to one of the cubicles. Madam Ching goes back to her rocking chair as a faint ray of light shines on the area where Dolores and the vice mayor are. They make love. Unlike the previous scenes, however, Dolores does not play an active role in the act. At some point, while her partner is busy mounting her, Dolores fixes her stare at Madam Ching. Lights out on this scene as the vice mayor reaches climax. When this happens, Madam Ching exits. Music also fades out as most of the stage lights dim except for the ones that spell out the name of the bar. Except for some women, the chorus members return to their original positions. In a while, Dolores finds her way back on stage. The women meet her and soon gently clean her with alcohol, performing the ritual in silence. Moments later … CRISTINA Don’t worry, Dolores. It can only get better from here. ANITA I also cried while servicing my first customer. And I cried real tears. I thought of my family back in the province, that’s why. But then I remembered what I was here for. So I stopped crying. But Cristina’s right, Dolores. You’ll eventually get used to doing it. MINERVA Soon, it will be no different from doing other tasks like … brushing your teeth or combing your hair or … sewing and mending your clothes. ANITA Does your family know that you work here, Dolores? DOLORES I no longer have a family. ANITA Oh. CRISTINA In many ways, yours is a much better situation, Dolores. At least you only work for yourself. ANGELICA Unlike most of us here who work our asses off so our families in the province can eat. ANITA Or drink beer in bars like this one. ROSARIO And remember … you should always leave your real self at home when you report for work, Dolores. That should take care of the pain. And the embarrassment. And you should adopt a new name. That way the distinction is clear and you won’t get confused. ANGELICA Yes. Like my real name’s Susan, Dolores. Not Angelica. You think it doesn’t matter, right? Well, it does. I don’t want my customers calling me Susan. Only people who really know me can call me that. MINERVA And if you have nothing to do this Sunday, you can join us when we go to church. That is … if you’re Catholic, too. Most of us here are. Praying helps, you know. It keeps us together. You know that saying? The family that prays together … (Laughs uncontrollably.) ANITA Minerva! And the money you just earned, Dolores … try saving it. MELINDA That way you can still hope. MYRNA Fuck hope. And stop feeding her your illusions, Melinda. What makes you think her story’s going to be any different from ours? Come on! Paradise Inferno is a trap and it has no escape hatch. The women become silent. MYRNA The earlier you accept that, Dolores, the easier you will slip into your new life here. And Rosario’s right. You should have a new name. ROSARIO Have you thought of any, Dolores? Dolores shakes her head. MYRNA Well … I’m sure you can think of something. You can, of course, think, can’t you, Dolores? Dolores stares at Myrna. The women soon return to their original positions on the edge of the performance space. Dolores gets up and ceremoniously walks around the area. A Christ figure bearing a make-shift wooden cross enters slowly from the audience. Dolores stares at him. When the Christ figure enters the performance space, Dolores kneels and forces herself to pray the “Amay Namon”. Amay namon Our Father nga yara Ka sa mga langit who art in heaven Pagdayawon ang imo ngalan. Hallowed be Thy name. Umabot sa amon ang imo ginharian Thy kingdom come Matuman ang imong buot Thy will be done diri sa duta siling sang sa langit. on earth as it is in heaven. Hatagan Mo kami niyan Give us this day sing kan-on namon sa matag-adlaw our daily bread kag patawaron Mo kami and forgive us sa mga sala namon our trespasses siling nga ginapatawad namon as we forgive those ang mga nakasala sa amon … who have trespassed before us … The Christ figure doesn’t hear Dolores, however, and just goes on his way. In a while, the deafening sound of dance music again fills the air. VOICE-OVER Ladies and gentlemen … another hot nights is coming your way … here in … Paradise Inferno! Colorful lights again fill the performance area. Several women, still clad in their skimpy dance costumes, join Dolores on stage. Because she is caught with them there, Dolores is forced to join the women in yet another lewd interpretation of a traditional Filipino dance. Midway through the number, several men go on stage and rowdily interact with the women. Soon, the men force the women off stage except for Dolores whom they enclose in a circle. This portion of the dance will show Dolores’s final plunge into hell. The circle becomes smaller as the dance reaches its peak. Dolores panics. She becomes more and more distressed as the men reach for her and touch her everywhere. The number ends when she screams. Lights out as a blinding spotlight finds Dolores. She ceremoniously takes out a cigarette, lights it and nervously starts smoking. Then, two of the men from Dolores’s previous scenes enter from opposite sides of the performance area. The hum returns. DOLORES What? MAN 2 Lick my ears. MAN 3 Then my neck. MAN 2 Do it slowly. Dolores reluctantly gets up and licks the men’s ears, then their necks. MAN 3 Open my shirt. Dolores unbuttons the man’s shirt. MAN 2 Good. Now, lick my nipples. MAN 3 Lick them like you really want them. Dolores does what she is told to do. THE TWO MEN That’s it. That’s good, Dolores. That’s good. Upon hearing her name, Dolores freezes and stares at the men in disbelief. The hum dies out. DOLORES How dare you. How dare you use my fucking name. How dare you use my fucking name here! Putang ina n’yo! MAN 2 What is wrong with you? MAN 3 What in God’s name is wrong with you, Dolores? MAN 2 So what if I used your fucking name? MAN 3 Aren’t you a little too old to mind that? THE TWO MEN I could even say your whole goddamned Maria Dolores Medina name and it still won’t fucking matter! MAN 2 No one cares, Dolores! MAN 3 They don’t care! MAN 2 We don’t care! MAN 3 No one cares who we really are! DOLORES Well, I do! I care! Dolores attempts to escape but is brusquely pulled back by the men. MAN 2 I’m too tired for another scene like this, Dolores. MAN 3 Let’s get this over with now. MAN 2 So we can both leave and go home. MAN 3 Go on. Lick my nipples again. Dolores defiantly stares back. THE TWO MEN Putang ina, Dolores. Lick … my fucking nipples … and let’s get this over with. Now! Dolores just stares angrily at the men. MAN 2 You’re asking for it, aren’t you? MAN 3 You really are asking for it. The men slap Dolores. MAN 2 All you women are the same. MAN 3 You all like getting hurt. DOLORES Putang ina n’yo! Puki ng putang ina n’yo! Dolores rushes toward the men and attacks them. Being stronger, however, and the fact that there are two of them in the scene, the men soon subdue her. DOLORES I am sick and tired of this sick show. I want out. Do you hear me? I want out! THE TWO MEN THEN LICK … MY GODDAMN NIPPLES, DOLORES … NOW! DOLORES You don’t get it. You really, really don’t get it! I don’t want to do this anymore! I am tired of being your stupid torera! I am tired of doing this stupid toro show while these stupid, lifeless people all get off by watching us fuck! (Shouts.) Did you hear that, everyone? You can all go home now! And I am sorry! I am so sorry but your favorite torera here cannot fuck in front of you anymore! So you can all get your fucking money back! Show’s over! The chorus members reluctantly turn their backs on the scene and then leave, grumbling while doing so. In a while, Madam Ching emerges from the shadows and rushes toward Dolores. MADAM CHING How dare you disobey me. How dare you make me lose face in front of my customers. Those people paid good money to see you do your act, Dolores. You’re paid to do it! The old woman summons the two men who rush toward Dolores and pin her down. Dolores fights back, all the while screaming curses at Madam Ching. Enraged, the old woman silences her by stuffing her mouth with a rag. MADAM CHING I took you in, didn’t I? And I took you back so many times when no one else wanted your services anymore! You’re old, Dolores. And you are only here because of me. The least you can therefore do is show some appreciation to me, you ungrateful woman! She instructs the men to tie Dolores’s hands and feet. After a while, she forces her to drink something from an old bottle. Dolores soon gives up fighting and just lies limply on the ground. The show, unfortunately for her, is again on. Madam Ching retreats to a corner but continues to keep an eye on Dolores. Another procession enters the performance area. The chorus members softly sing another chant as they pass, without seeing, the area where Dolores is being raped by the two men. Kabuhing dayon ginalauman ko I look forward to eternal life kay ang Ginuo ang nagsiling because God said Ang magakaon sining lawas Ko Those who will partake of My flesh magakabuhi tubtub san-o. shall live forever. Kabuhing dayon ginalauman ko I look forward to eternal life kay ang Ginuo ang nagsiling because God said Ining dugo Ko batunon ninyo. Drink My blood. Ang magatuo buhion ko. Those who believe shall live forever. Kabuhing dayon ginalauman ko I look forward to eternal life kay ang Ginuo ang nagsiling because God said Ako ang dalan para sa inyo. I am the way. Ang magatuo buhion ko. Those who believe shall live forever. After the act, Madam Ching and the men leave. The procession stops at some point in the performance area. Then, the Christ figure bearing the wooden cross enters and traverses the same path as the procession. A few steps behind him is the man in the play’s opening sex scene mercilessly whipping the Christ figure’s back. When the Christ figure reaches the area where Dolores lies helplessly on the ground, he stops and lays down his cross. He approaches her and cradles her gently on his lap before untying her hands and feet. Dolores clings to him as he consoles her. Soon, the Christ figure goes on his way. He stops when he reaches the area where the chorus members are. Everyone gathers around him as he is readied to be nailed on the cross. Everyone kneels and prays the “Amay Namon”. The man in the play’s opening sex scene then leads several men in nailing the Christ figure. Some of them help support the makeshift contraption as it is slowly raised from the ground. Soon, the man on the cross looks up to the heavens and ceremoniously breathes his last. Lights out on this tableau. Isabel and the chorus members ceremoniously circle Dolores then go back to their original positions. ISABEL Leave. Dolores doesn’t move. ISABEL Didn’t you hear me? I said leave. Dolores just stares at the old woman. ISABEL I have listened to your story already. Isn’t that what you’re here for? You’ve already accomplished what you came here for, haven’t you? So leave. And allow an old woman to wait for her end in peace. Leave! DOLORES I can’t. There are still things left undone. What did God promise to His children who’ve been good, Isabel? Eternal life in heaven, isn’t it? Then I guess I won’t know what that is like. Maghimaya ka, Maria … nga napuno ka sang grasya … ang Ginuong Diyos yara sa imo … Dolores takes out a piece of rag. DOLORES Ginadayaw ka labi … sa mga babaye nga tanan … She approaches Isabel. DOLORES kag ginadayaw man ang bunga … sang imo tiyan nga si Hesus … ISABEL DOLORES If you know what is best for you, leave. Santa Maria, iloy sang Diyos … The man of the house will soon be here ig-ampo mo kami nga mga makasasala … and he doesn’t take kindly to niyan kag sa oras sang amon ikamatay … strangers. Amen. Are you not listening to me? Leave! (Softly but ferociously.) Maghimaya ka, Leave while you still can. Go back to Maria nga napuno ka sang grasya, ang where you came from and never Ginuong Diyos yara sa imo, ginadayaw ka return! Never, ever return! labi sa mga babaye nga tanan, kag No. Don’t do this to me. Listen to me, ginadayaw man ang bunga sang imo tiyan you stupid woman! Listen to me! nga si Hesus … Dolores rushes toward Isabel and pulls her off the rocking chair. Isabel fights back … ISABEL No … Leave … Go … Leave … Don’t … Go! … but Dolores’s fury is such that the old woman is soon overpowered. In a while, Dolores succeeds in stuffing the old woman’s mouth with the rag. It doesn’t take long before she also manages to tie Isabel’s hands and feet. DOLORES And so we’re back to how this all began. Does it hurt, Isabel? Don’t worry. Soon, this will all be over. Santa Maria … iloy sang Diyos … ig-ampo mo kami … nga mga makasasala … niyan kag sa oras … sang amon ikamatay … Amen. The two women stare at each other. Soon, Dolores takes out a knife. The hum returns. She raises the knife as the men performing the ritual of repentance enter. Still wearing crowns of thorns, the men circle the two women while whipping their backs. The man in the play’s opening sex scene then moves out of the shadows and approaches Isabel. Confused, Dolores steps back. The flogging and the hum intensify as the man mercilessly whips Isabel. Dolores and Isabel stare at each other. Soon, the man and the flagellants slowly move out of the performance space. Dolores slowly puts down the knife and goes to Isabel. She takes out the rag and unties the old woman’s hands and feet. The two women stare at each other as the chorus members blow out their candles and then slowly leave the performance space. Lights out. The soft hum returns. A dim light then shines on Dolores as she silently waits on the rocking chair. In an equally dim corner of the performance space stands Isabel. She also silently waits. The hum increases in intensity. DOLORES Who is it? Is that you, Ernesto? Ernesto, are you home already? Oh, don’t tell me you’re drunk again, Ernesto! Ernesto? A moment of silence. DOLORES Ernesto, if that’s you … announce your presence. Make yourself known! ERNESTO (From outside.) ‘Yudiputa! Will you shut the fuck up, Isabel! The obviously drunk Ernesto, now about 75 years old, makes his appearance. ERNESTO Still waiting for me, huh? (Laughs.) You disgust me. All you women are the same! One good fuck and you come crawling after us! Come here then. Make love to me! Come here, Isabel. Dolores doesn’t do anything. ERNESTO ‘Diputa, what are you waiting for? Isabel! Dolores just waits. ERNESTO You want to play, huh? You want to play dirty again, huh? Okay. You’re asking for it, Isabel. You are again asking for it! Ernesto rushes toward Dolores and brusquely pulls her off the rocking chair. Silence as Ernesto stares at the woman he has not yet recognized. ERNESTO Who are you? Dolores just stares back at Ernesto. In a while, Ernesto slowly backs off. DOLORES What’s wrong, Ernesto? Why did you stop? Dolores advances toward Ernesto, grabs one of his hands and places it on her breasts. DOLORES You want to play dirty again, don’t you? “One good fuck and you come crawling after us”, right? So let’s play. Let’s get on with the show! The stunned Ernesto remains silent, unsure of his reaction. DOLORES Iho de puta. What happened to you? You used to be so strong, father. Remember? So powerful … so very much like a man! Come on, make love to me! ERNESTO ‘Diputa kaw. What are you doing in my house? Go away. Leave! DOLORES But I’m not done yet. We’re not done yet. I still have to do … (Grabs Ernesto’s crotch.) … this! Come on, Ernesto. Stop acting like a sissy. Make your dick fucking hard! Come on! ERNESTO ‘Yudiputa … ‘Diputa kaw … ‘Yudiputa kaw! Ernesto grabs Dolores by the hair and pushes her outside. Dolores fights back savagely. ERNESTO DOLORES ‘Yudiputa kaw … Ikaw ang iho de puta … ‘Diputa kaw … Ikaw ang iho de puta … ‘Diputa! ‘Yudiputa kaw! Ikaw ang iho de puta! Seeing the beating that Dolores is getting from Ernesto, Isabel rushes forward and assaults her husband. ISABEL Ikaw ang iho de puta. Ikaw ang iho de puta. Ikaw ang iho de puta! Soon, the combined strength of the two women overpowers Ernesto. He ends up beaten in the rocking chair. There, Isabel keeps him firmly imprisoned while Dolores savagely straddles him. DOLORES This is how you want it, right? Rough and brutal … like savage beasts! She kisses him on the neck and then fiercely bites him. Ernesto cries out. When he does, Dolores opens his trousers. Ernesto cries out helplessly. When Dolores finally succeeds in exposing Ernesto, she stops and slowly gets off him. Isabel also releases him. He hunches over, shamed. DOLORES But you can’t get it up anymore. You really, finally can’t get it up anymore. So it all boils down to this, doesn’t it, Ernesto? In the end, all you amount to is this one useless little piece of shriveled flesh! Dolores spits at Ernesto’s exposed crotch. In a while, she backs off slowly. The reality of what she has done and the realization that her journey - at least the one that took her back to her father’s house - is finally over overwhelms her. The two women then stare at each other. Isabel approaches Dolores and tentatively touches her on the cheek. ISABEL Dolores … In a while, the distant crowing of roosters is heard. DOLORES I hope He forgives us, mother. I hope our Father forgives us. Isabel bequeaths her rosary to Dolores. ISABEL He will, my child. I am sure He will. Dolores smiles at the older woman and then slowly heads for the exit. As Dolores leaves the performance space, the first signs of daylight greet her. The faint tolling of church bells is heard. Then, a solitary light shines on the now empty cross. Lent is officially over. Lights out. The end. This play won First Prize for One-Act Play in the 2004 Palanca Awards |
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CHARACTERS Isabel/Madam Ching, about 70 years old Dolores, about 40 years old Man in first sex scene/Ernesto, about 50, later 75, years old The men and women of Paradise Inferno A Christ-like figure Chorus members SETTING A dimly lit space found at the center of the performance venue. Audience members are seated around this area. TIME Now and then THE PLAY |