In 2005, the theatre artist and playwright Dessa Quesada-Palm, a stalwart from Philippine Educational Theatre Association [PETA] came to visit Dumaguete to do a theatre workshop for a bunch of young people interested in theatre—and came to stay. The workshop had ended in a high note, and feeling that something significant was at play with the participants’ heady embrace of the process, she asked them: “Would you like this to continue?” She did not expect the immediate response to be ecstatic. Thus, Youth Advocates for Theatre Arts or YATTA was born.
Among the original participants of that fledgling group that has become a powerhouse of Dumaguete community theatre was a young Mass Communication student from Silliman University named Earnest Hope Tinambacan, son of pastor parents and originally from Oroquieta City, but with roots in Negros Oriental.
Hope would later on become the lead singer for HOPIA, and one of the founding figures of the Belltower Project and the CuadernoSS Singer-Songwriters Collective. In 2019, he would earn a diploma in acting at the Intercultural Theater Institute in Singapore, and right after graduation, founded D’ Salag Theater Collective in Dumaguete. But aside from his preoccupations with music and theatre, he would also write balak—but writing plays is his foremost creative expression. His latest creation is the original Bisaya musical, Pulang Langob. He currently serves as assistant secretary of the Committee on Dramatic Arts of the National Commission for Culture and the Arts.
In 2015, he wrote the short play Alkanseng Alkansiya for YATTA, an advocacy piece tackling poverty, which has just been invited to the Asian Youth Theatre Festival 2024 in Chiang Mai, Thailand under the title Piggy Heist. An excerpt from the original play in Binisaya:
Mogawas si Girlie nga nagmud-ok dala ang iyang cellphone.
Kapitana Honesta: Oh, naunsa naman pud nang nawonga, ’nak? Unsay problema.
Girlie: Ma, akong mga classmates lagi naay iPhone, naay iPad. Pero ako, bati kaayo og cellphone, dili man lang Android. Ma, nganong datu sila, kita pobre?
Kapitana Honesta: Ah, kalisud pud tubagon na imong pangutana. Pero abi nimo, ‘nak, dili man ‘ta pobre. Makakaon man ka katulo sa usa ka adlaw, naa kay balay, naa kay sinina, naa kay cellphone.
Girlie: Pero nganong ang uban mas dako ang balay, naay sakyanan, ug mga mahal nga butang?
Kapitana Honesta: Tinuod na, anak. Ang atong katilingban karon di gyud makiangayon. Naay pobre, naay datu. Sa atong kahimtang, wala na si Papa ninyo, ako lang ang nagtrabaho og gamay ra ko og sweldo sa akong pagka-kapitan. Igo lang nga makakaon ‘ta, og maka-eskwela mo. (Motan-aw sa nawong sa anak nga nalibog gihapon.) Masabtan ra unya na nimo samtang magkadako ka. Ang ako lang nga ‘di nato usikan ang kwarta, ug dapat ma-antigo mo tigum. (Ngadto kang Millet) Millet, palihug ko og kuha sa atong piggy bank!
Millet: (Kuhaon ang piggy bank, og magdalagan pabalik) Nia ra ma! (Madagma)
Girlie/Kapitana Honesta: Bantay!
Millet: (Mobakod ug mongisi kay wala ra mabuak ang piggy bank) Wala ra mabuak! Sorry!
For Hope, this scene has personal resonance: “This part of the play is actually based on a real conversation between me and my mama when I was a little kid. A conversation that has opened my mind to the realities in the society. I had asked her why we were poor, and she told me: ‘Dili ‘ta pobre, ‘nak. Middle class ‘ta.’ I asked her: ‘Unsa ang middle class?’ She replied: ‘Dili man ‘ta dagkong yutaan ug wala ‘tay dagko nga negosyo ,so di ta matawag og dato. Pero propesyonal man mi ni Papa nimo, og naay ginagmay sweldo. Dayon maka-kaon man ‘ta katulo sa usa ka adlaw. Mao nga dili pud ‘ta pobre. Naa ‘ta sa tunga. Magpasalamat ‘ta sa Ginoo nga dili ‘ta pobre, pero dili pasabot ana nga ato silang ipaka-ubos. Maayo pa atong tabangan.’ I finally asked her: ‘Nganong naay pobre naa pud dato?’ And my mother tried her best to explain inequality, injustice, and a system that makes the poor poorer and the rich richer. She ended it with. ‘Sige ra. Makasabot ra unya ka ana.’”
The next thing he remembered was his parents making him play with the children of their Badjao friends. “They exposed me to families of farmers,” Hope said. “I saw how my father organized sikad drivers and laborers in Ozamiz. I saw how my mother organized small vendors and jobless church women. They made me play with our neighbors, one of them a family of at least eight children. The fisherman father arrives late in the afternoon with his catch. The big ones they sell, while they feast on the small ones which they even willingly shared to me. My parents made me and my brother experience selling fish around the neighborhood.”
He continued: “If there’s one thing I clearly remember seeing all these as a kid is this: I never saw laziness among these people, only lack of opportunities, inequality, and injustice. My father was a farmer and my mother was a lab-asera [or fish vendor] before they went to the seminary as working students at Silliman University. They were products of what some politicians call ‘Sipag at Tiyaga,’ a slogan that makes us all think hard work and perseverance are the only way to escape poverty. But my parents made it clear to me that ‘sipag at tiyaga’ aren’t enough to alleviate the situation of the poor people, who comprise the majority of the population of this country. It is an entire anti-poor and pro-rich system that needs to be changed, and only a united force of people with a common understanding and goal to change it can make it happen.”
CAST OF CHARACTERS
Carlos Santamaria is about 65 years old with strong facial features and graying hair. A man of a few words, he exudes an air of quiet authority, and although he moves about with the help of a walking stick, soundlessly dragging a bad foot which has been partially paralyzed by a stroke, he has retained an aura of strength about him.
Amanda is about 60 years old. She is one woman who has grown to maturity with grace and refinement.
Miguel, the eldest son, is about 35 years old. A practising lawyer, he is reserved, quiet and thoughtful and speaks with deliberation. He gives the impression of a man who would pursue an ideal even against all odds.
Isabel, Miguel’s wife, is about 33 years old. She is gentle, affectionate and amiable, obviously convent-bred. As a wife she regards her husband as the head of the family, the decision-maker, and is quite content with her role as a dutiful wife and mother.
Franco is about 33 years old and is more gregarious than his older brother. He is open and aggressive, frank and pragmatic, and his manner suggests that he can be obstinate. As the politician in the family he recognizes the need to reach practical decisions in contrast to Miguel who is an idealist.
Cristy, wife of Franco, is 27 years old. She is self-confident, knowledgeable, independent and outspoken, yet she is also sensitive and intuitive. There is a sharp distinction between her personality and that of Isabel’s, for whereas Isabel is reticent and submissive, Cristy has realized herself as a woman well ahead of her times, having been brought up by American professors at the University.
Benito, the family bookkeeper and Man Friday, is about the same age as the two brothers. He is quiet and unobtrusive, loyal and dependable.
SETTING
The scene shows a typical old house built along the lines of Spanish architecture as modified in the Philippine setting. Upstage, at stage center is an arch revealing further back a foyer. At left of foyer is the main door. Opposite this door is a foyer table on top of which are found several antique figures of saints in various stages of dismemberment. Above the table is a looking glass hanging on the wall. The arch leads to the stage proper. On the walls to left and right of the arch are square windows with capiz shell frames. At stage right is a sala set made of lightly carved hardwood and wicker comprising of a settee, two single chairs, a coffee table and a rocking chair. A gaily trimmed Christmas tree stands at far right corner. On the wings at stage right are two doors which lead to the bedrooms. At stage left is an oval dining table for six. Against the wall and under the window is a long narrow buffet table on which are found a table clock and a constabulary hat. On the wings at stage left is a door which leads to the kitchen and service area. A lamp hangs from the ceiling.
ACT 1 / SCENE 2
Date: June 16, 1942
Time: 8:00 P.M.
Place: Santamaria Home
At rise, Benito and Emilio are in the living room, closing the shutters. It is raining outside, and the wind is howling. Benito sets a tray of coffee and coffee cups on the table.
BENITO
Emilio, you better finish up.
EMILIO
I’ll be through in a minute.
BENITO
Did you take out the plants in the master’s bedroom?
EMILIO
Yes, I did. Benito, do you know that Ma’am Isabel was crying this afternoon?
BENITO
Crying? Why?
EMILIO
I’m not sure, but I think it’s because she’s afraid Sir Miguel might join the guerillas.
BENITO
What makes you think that?
EMILIO
Oh, I should know. I overheard them.
BENITO
(In a reprimanding tone) Emilio, I know that Senorito Miguel is almost like a father to you, taking you in and sending you to school when your own parents died a a year ago. But you should show some respect. You shouldn’t eavesdrop on private conversations.
EMILIO
(Mischievously) Look who’s talking. Benito, I swear you eavesdrop on everyone in the family. Why, I’m sure you know everything that goes on in this house.
BENITO
(Slightly offended) The family trusts me—and that is because I know my place. So, if you intend to remain a ward of this family, I advise you to know your place—and stop this business of listening in on everyone. It’s impolite, you know.
EMILIO
Oh, I know my place alright. And you know where that is? With Sir Miguel—when he joins the guerillas. I’m going to learn how to shoot and then I’ll kill so many Japs they’ll wish they never set foot here.
BENITO
You don’t even know how to load a gun, much less aim it.
EMILIO
That’s what you think.
BENITO
You haven’t been fooling around with Senor’s gun, have you? If the Japanese know we have some weapons here we’ll all end up dead in the plaza.
EMILIO
You’re not talking to a small kid, you know.
BENITO
Alright, young man. Take those plants out.
EMILIO
(With a mock salute) Yes, Sir. Right away, Sir.
(Carlos enters. He surveys the room, then sits on his rocking chair. He draws his cardigan about him. He is followed by Amanda, also wrapped in a heavy shawl)
AMANDA
It’s cold in here. Is coffee ready, Benito?
BENITO
Yes, Senora. Is there any thing else you need?
AMANDA
No, this is fine. Go have your dinner now, Benito.
CARLOS
And bolt all the doors.
(Benito nods, exits through the kitchen. Miguel and Isabel enter from the bedroom, joins Amanda at the table. Amada presides over coffee)
AMANDA
I hope this is still good—it’s the third brew. (Isabel brings a cup to Carlos)
CARLOS
Thank you, Isa. (Sipping) It’s still good, Amanda.
AMANDA
Oh, you’re just getting used to weak coffee.
MIGUEL
It’s better than nothing.
(Franco enters, dragging his bad leg. He is followed by Cristy, who carries a medicine basket. He sits on one of the single chairs, stretching out his leg, while Cristy sits on the floor beside him, dressing his wound)
AMANDA
How is your leg, Franco?
FRANCO
Almost as good as new.
CRISTY
It’s healing well enough.
AMANDA
(To Miguel) Who were those men you were talking to this morning, Miguel?
MIGUEL
(Trying to sound casual) Oh, some people from my unit.
AMANDA
What did they want?
MIGUEL
(Indifferently) Oh, nothing important.
CARLOS
You better be careful with whom you are seen. You have surrendered. You very well know you are all under surveillance, Miguel. Be careful you do nothing to arouse suspicion, or you’ll end up in Channon Hall.
ISABEL
They say many of those who have been taken there have not been seen alive again. Is that true? They say they are burying people behind Channon Hall at night.
CRISTY
It’s hard to believe they would turn that building into a torture chamber. One of my closest friends used to live there, you know. You remember Sarah Thorndike, Isa? She also teaches literature.
ISABEL
The blonde? Yes.
CRISTY
(Nodding) And the spectacles.
ISABEL
Lovely girl.
MIGUEL
The campus does not look the same. That was the first thing that caught my eye the moment we docked the other day. A troop of Jap soldiers marched out of the portals to take us in. It seemed bizarre.
CRISTY
Now it’s crawling with those villains. And to think that just last March the campus housed President Quezon, Vice President Osmena, and their military escorts for a few days. Little did we know that the President was then being evacuated from the country. When news of the President’s presence reached the American professors, they all came down from their to see him and ask him about the war.
ISABEL
We even heard that General MacArthur himself was here. You can just imagine our excitement.
CARLOS
We were told that aid was forthcoming. We believed it.
AMANDA
We could hardly believe our eyes when a few weeks later, two Japanese transports anchored at the pier.
CARLOS
One of the first things they did was to declare Silliman University a property of the Japanese Imperial Government, and proceeded to set up their headquarters at Guy Hall.
CRISTY
They made the dormitories their barracks, and Channon Hall the headquarters of the Kempetai.
ISABEL
I happened to be here on a visit when they came. We were terrified. I couldn’t go back to Santa Catalina because they wouldn’t allow anyone to leave the city. We all had to register ourselves at their headquarters.
CARLOS
You should have seen them strut around like little conquerors. They summoned the governor and mayor and urged them to continue in office. For many days Governor Villaluna reported each morning to the Japanese headquarters. Then one day he just disappeared. Benito later heard that he and his family had fled to Guihulngan—he was probably afraid for his three daughters.
ISABEL
They say the Japanese soldiers are raping women.
CARLOS
Then they called on the other officials, recruiting them to form their government, but many of them declined, as I did when they called on me.
ISABEL
Nobody wants to have anything to do with them.
FRANCO
They’ve had much success with the Manila people. Vargas, Roxas, Laurel, Recto, Aquino—the list is endless.
CRISTY
Well, I suppose some people have to hold the reigns of government.
ISABEL
This is dreadful! What is going to happen now?
CARLOS
We don’t have much choice except to conduct ourselves in a manner that would allow us to survive. It’s a waiting game now.
AMANDA
You mean there is absolutely nothing we can do?
CRISTY
Oh, it’s just a matter of time, Mother. The United States will liberate the Philippines. I have no doubt about that at all.
ISABEL
The city is crawling with Japanese patrols. You can’t even visit sick relatives without getting a pass from the High Command, if it is at all possible to secure one. And those drills! It’s driving everyone crazy!
CARLOS
The best thing is to stay in and not get in anyone’s way.
AMANDA
Oh, you say that so easily. But how is it possible when everywhere you turn you see Japanese soldiers watching your every move? Sometimes I look out of the window at night and I see their shadows down at the corner, watching this house.
MIGUEL
We are all under surveillance.
AMANDA
I can feel them watching us night and day. I sometimes wake up wondering when they would just arrest us for one reason or another and lock us up like some of the others. It is terrible. Mrs. Avena told me they took her son yesterday for interrogation. No one has seen him again!
CARLOS
Didn’t she inquire at the Japanese headquarters?
AMANDA
How could she? She suspects they have killed him, and she is scared to death.
ISABEL
Rafael? Rafael Avena? He was in your unit, wasn’t he, Mig?
MIGUEL
Yes, he was.
ISABEL
But he surrendered just like the rest of you. Why did they take him?
MIGUEL
I don’t know. It could be for sundry reasons. Like violating curfew, for instance.
ISABEL
I tell you the Kempetai is killing people. Everyone’s whispering about it.
AMANDA
And there’s nothing we can do, nothing at all. (After a pause) I wonder—I wonder how Carlito is—
CARLOS
Oh, he’ll be released in due time. Miguel and Franco are back. Carlito will be home before we know it.
AMANDA
But why hasn’t he been released yet? It’s been weeks since we’ve lost the war. You are back but your brother is still out there.
MIGUEL
(Matter-of-factly) The Luzon Forces that surrendered in Bataan and Corregidor, were taken prisoners of war and detained at Camp O’Donnell. We did not catch up with them, otherwise we would have ended up at Camp O’Donnell too.
FRANCO
(Thinking aloud) We were lucky we did not get to Luzon until March.
CRISTY
But you left here New Year’s Day!
FRANCO
Yes, but in Cebu we underwent a week’s training. We were divided into several companies, each leaving for Luzon on different days. We reached Batangas on the second week of March. By then the situation in Bataan had turned critical. When General Wainwright surrendered, we decided to just turn back. We knew somehow it was coming.
AMANDA
(Worried) You did not get any word at all about Carlito?
MIGUEL
Just unofficial news that they would be released in due time.
AMANDA
I don’t really know if I should believe that or not. I’m afraid that if I believed it completely, and it doesn’t happen—
FRANCO
(With conviction) But it will, Mother. Carlito will be home. What would the Japanese do with all those prisoners of war? At the moment they are quite intent upon establishing a better relationship with our people. Surely they know that one way to gain our sympathy would be to send our soldiers home.
AMANDA
(With deep anguish) But what if something happened to him? How would we know?
CARLOS
Remember this, Amanda. Our boy is alive, and he will come home alive.
AMANDA
(Responding, as if waiting only for this assurance) You are such a good man, Carlos, to keep telling me that. And I need you to tell me that all the time, each time a dark thought crosses my mind. God knows there have been many such thoughts gnawing at my sanity ever since Wainwright surrendered.
MIGUEL
(Thinking aloud) I did not seriously believe it would come to that.
CRISTY
Neither did I.
FRANCO
(Annoyed) You think he shouldn’t have surrendered?
MIGUEL
I don’t know. Perhaps not.
FRANCO
I don’t think the man had any choice. It was not a matter of choice.
MIGUEL
It was a matter of choice.
FRANCO
(Agitated) If you were in his shoes, would you have acted differently? Is that what you mean?
MIGUEL
Perhaps.
FRANCO
(Pressing) You would have sat it out in Bataan and Corregidor despite the fact that you had a starving, sick, demoralized and unequipped army?
MIGUEL
(Irritated) I do not know.
FRANCO
(Beginning to be angry) Then look at it as a hypothetical question, Professor! Assume for a moment that you were in Wainwright’s shoes. What would you have done? Would you have ordered your men to sit on their haunches in those godforsaken foxholes and wait for the bombs to blast your entire army out of existence? Or would you, like a wounded bull, gather your last breath for a final charge with nothing but your bare breasts and bravura?
MIGUEL
(Raising his voice, exasperated) I do not know what you are quibbling about! I only said I thought we should not have given up so easily!
FRANCO
(Outraged) Given up so easily? What the hell do you mean, so easily?
AMANDA
(Interrupting) Now you stop this, both of you! You haven’t done anything but get on each other’s nerves since you came back. If you cannot talk about this stupid war without shouting then do not talk about it!
CARLOS
Now, Amanda, let them talk. How would they know how the other feels about this if they didn’t talk?
AMANDA
(Shouting) They aren’t talking, they’re shouting!
CARLOS
Alright, boys, your mother doesn’t want any shouting.
MIGUEL
Oh, forget it.
FRANCO
(Insistent, as though pursuing a quarry) No, I want to talk about it. I want to talk this through once and for all! The trouble with you is you always sit back in judgment like some kind of god!
MIGUEL
What did I say to cause such a fit?
FRANCO
(Slowly and carefully) It insults me when you say we gave up so easily.
MIGUEL
All I meant was I felt that Wainwright surrendered because at that moment it might have seemed expedient, but in the long run it might not have been the right thing to do.
FRANCO
(Caustic) You insinuate that it would have been morally right to go on fighting only to die, that all those men out there did only what was expedient? Oh, come on, we were both there! Was any of it easy? We were up against a vastly superior enemy! Their artillery was backed up by dive bombers with tons of explosives falling upon us while we scoured the hills like rats: hungry, footsore, practically unarmed! Line by line I saw our men just drop from exhaustion. So maybe you had an easier time out there, but that doesn’t mean you can go around thinking everyone else had it as easy as you did, that it was therefore, to your mind, sheer cowardice for anyone to surrender!
MIGUEL
(Stung) Just because you got wounded in the leg you think you had the worst of it. (A keen, savage thrust) Shit, you wear your wound like it were a medal of honor!
FRANCO
(Getting up, with sudden harshness) As indeed it is! Jesus, there you are, thinking there wouldn’t be any Jap for miles around, suddenly the skies spit out its bowels, all you see are blinding stars falling, then nothing. Just darkness. A cold, dull, empty darkness, then piece by piece you begin to see it: mangled bodies, human flesh, limbs dangling from trees and you know where everybody’s gone! Jesus, it makes me sick!
CRISTY
(In a low, grieving voice she reaches out to him, holds him as he slowly sinks back into his chair) We never knew!
FRANCO
(In a dead, dull voice) It wasn’t easy.
AMANDA
(With sudden tenderness) We never knew. You never told us.
FRANCO
(Shaking his head, repeating tonelessly) It wasn’t easy.
MIGUEL
(Slowly, with remorse) I didn’t mean it that way.
ISABEL
(To Miguel, in a despairing cry) Please stop it. Please stop.
FRANCO
(Sadly and bitterly at first, then building up with savage intensity) They kept leading us on telling us ammunitions and reinforcements were on the way as I imagine they kept telling all those poor bastards in Bataan that Uncle Sam was on his way. Jesus, Uncle Sam! Well, the Japs were right there cutting our heads off and where was Uncle Sam? To America, this country is just an expendable pawn in its global strategy. A useful outpost in the Pacific, but by no means unexpendable. How else could you explain America’s apparent indifference? How would you explain the fact that even before this war was lost, they evacuated Quezon to Washington? Or that MacArthur had been recalled to Australia?
MIGUEL
(Emphatically) MacArthur’s withdrawal from this country does not signify that we are being abandoned. On the contrary, he is there to reorganize the allied forces in preparation for the liberation of this country.
FRANCO
(In a mocking, ironic tone) Would you consider liberating a country that was not yet, at that time, already given up as lost?
MIGUEL
I can see your point. But to me it is just like losing a skirmish to win the war. I believe MacArthur will return with a force strong enough to liberate not only the Philippines but the rest of the Pacific. As for the evacuation of Quezon to Washington, no other move could have been as judicious as it was necessary.
FRANCO
How so? It could only mean that even at that time the Americans deemed the Philippine campaign already lost.
MIGUEL
It is imperative that the President of the Commonwealth should not fall into enemy hands. Even with the defeat of the military forces the Commonwealth government remains free.
FRANCO
What does that matter now? The Japs have organized a government, and this government, whether we like it or not, rules.
MIGUEL
But don’t you see? For as long as the Commonwealth government exists, albeit in exile, the occupation of this country does not have the same significance under international law as if the government had actually been captured, or surrendered. As long as this is so, there is always the hope that this country will be liberated.
FRANCO
(Exasperated) Jesus, how can you hold on to an empty hope? Despite Roosevelt’s public declarations of immediate assistance, there has been no attempt to transport aid to this country. Our troops languished in Bataan and Corregidor, but did America care? America is perfectly safe and worlds away from the battlegrounds. Besides, saving Europe from the clutches of Hitler seems infinitely more profitable, or so it would seem. Obviously, we are left to our own resources.
MIGUEL
(With conscious superiority) I cannot imagine how you can deem the circumstances entirely hopeless. We have suffered a major setback, but this is by no means a total victory for Japan.
FRANCO
(Tauntingly) I see that Major Anselo’s ideas of organizing an underground resistance movement has caught fire with you. The idea is well-intentioned, I am sure, but in my opinion, misconceived. And what do you intend to call yourselves? The Bolo Brigade?
MIGUEL
(Smarting) For as long as there are men who believe in freedom, there will be resistance and for as long as there is resistance, this war is not lost.
FRANCO
(Shortly) But the war is lost! You deceive yourself not to believe that to resist Japanese rule is utterly impractical! It is futile to go on fighting a one-sided battle. It is inhuman to forge the fight further when doing so results only in mass murder and senseless carnage. This is one time when surrender is the better part of valor, because there is no hope of relief in sight.
MIGUEL
(With fierce determination, almost quixotic) Whatever this resistance might ultimately cost us—the lives, the suffering, cruel as they might be—all these would be infinitely less painful than enslavement and economic oppression. Despite Homma’s declarations of noble intent, Japan will bleed us dry or starve us yet to sustain itself. Look at Manchuria! Japan pumps its oil wells dry, a sheer case of power politics, economic exploitation, and self interest.
FRANCO
(Sarcastically) While America saves the world?
MIGUEL
Should that be necessary, yes!
FRANCO
(Savagely) To hell with America!
MIGUEL
(With superior dignity) Christ, this whole conversation is ridiculous!
FRANCO
(With a contemptuous sneer) Nothing is more ridiculous than your infantile faith and your blind bravura!
AMANDA
(Unable to bear it any longer, furiously) Stop it, stop it, both of you! You carry on like little boys! The way you talk I would not believe you fought on the same side.
MIGUEL
(Giving up) This is absurd! I’m going to bed. (He turns and leaves through stage right)
ISABEL
(Following him, apologetic) He’s—he’s very tired. I hope you understand. Excuse me.
CARLOS
Boys will be boys.
AMANDA
(Clearing the cups from the table, tired) I don’t want any more talk about this. This upsets me more than any of you can imagine. (As she goes towards the kitchen door she stops, listens to the sound of boots on the staircase. She turns to the others, alerting them)
CARLOS
It’s just the night patrol.
AMANDA
(In a whisper, afraid) They’re stopping. Dear God, I think they’re coming in!
FRANCO
Keep calm. (There is a knock at the door.) I’ll get it. (He opens the door) Captain?
HARODA
(Taking a step forward, slightly bowing his head. He is in his mid-thirties, refined and obviously highly educated) Good evening. May I come in?
FRANCO
(Apprehensive) This way, please.
HARODA
(To his men outside) You will wait for me. (Entering, he bows politely at the ladies) Good evening. I hope I am not intruding?
CARLOS
(Without emotion) Not at all, Captain. Do sit down. (Haroda takes a seat) To what do I owe this honor, Captain?
HARODA
(With formal politeness) No cause for alarm, Sir.
CARLOS
I am glad to hear that.
AMANDA
(With forced cordiality) Coffee, Captain?
HARODA
You are very kind, but no, thank you. (Amanda exits, making a sign to Cristy to do the same, but Cristy ignores it. He takes some papers from his pocket, glancing at some notes casually) I came to invite your son here to be the governor of this province.
CARLOS
(Looking at Franco) My son has not been active in politics these past couple of years. If you mean Franco.
HARODA
Yes, Franco. Your other son is the lawyer, the professor at the American university?
CARLOS
Yes.
HARODA
And one more son, a student of medicine?
CARLOS
A prisoner of war, Captain, at Camp O’Donnell.
HARODA
I’m sorry to hear that. (To Franco) You were the mayor of this city three years ago?
FRANCO
(Guardedly) That’s right.
HARODA
(Glancing at his notes) Yes, right. You were a candidate for governor in the last elections?
FRANCO
(Sustaining a cordial tone with great effort) I lost my bid, as I am sure your dossier indicates.
HARODA
(Ignoring the remark) The Japanese Imperial Government has no intention of ruling this country. We are here only to emancipate your country from American imperialism. We are therefore helping you establish a government responsive to your Asian identity and your Filipino needs. We need men of your status and credentials to run this government.
FRANCO
I’m afraid I am not the man you need.
HARODA
You do not wish to participate in creating an independent Philippines? It is every patriot’s duty.
FRANCO
We are under the protection of the United States of America. We are to be granted our independence in a few years’ time. America is our ally.
HARODA
America is your enemy. Japan is your ally.
FRANCO
(Shortly) That, Captain, is a matter of opinion.
HARODA
Do you trust America?
FRANCO
(Despite himself) Without question.
HARODA
What protection has America given your country?
FRANCO
(In a tight voice) The blood of America is upon our soil.
HARODA
(With some wry humor, an effort to break the ice) Then God bless America. You see, I have nothing against America. I was educated there.
CRISTY
(Curiously) Oh?
HARODA
Yes, at MIT. I spent four years there. An excellent institution.
CRISTY
(Inquisitive) I hope you will not be offended by my curiosity, Captain. But do you really think Japan’s presence here is right?
HARODA
It is Japan’s mission to liberate Asia.
CRISTY
But is it right that Japan should come to that decision unilaterally?
HARODA
I am a soldier of the Japanese Imperial Forces. It is not my prerogative to question my government’s political policies.
CRISTY
(Sensing an advantage) But you’ve lived in a democratic country for years. Surely you understand the American position as regards the Philippines?
HARODA
I have seen how it operates, yes. But I am a soldier of the Japanese Imperial Government. (To Franco) As I was saying, Japan wishes to see a free government established in this country. When this government becomes stable, Japan will grant it total autonomy. We need men of your caliber to head it here.
FRANCO
There are others better suited for the job.
HARODA
We believe you are the man for the job. Your father here was the governor for many years, before his election to the National Assembly, which he served for many terms before, ah— (he scans his notes)
CARLOS
My stroke.
HARODA
Yes, right. (To Franco) And you followed in his footsteps. Your family has a strong political base. You have followers, sympathizers, people who await only your word. You are the man for the job.
FRANCO
I do not want the job, Captain.
HARODA
(Leans back, eyes him keenly) I am sorry to hear that. But I ask you to think about it. We will talk about this again.
FRANCO
I’m afraid you have wasted your time.
HARODA
Not entirely. I have come for another matter as well.
CARLOS
What is it?
HARODA
The High Command, Major General Seshei has directed me to requisition for this house.
AMANDA
(At the kitchen door) What?
CARLOS
Amanda.
HARODA
The High Command has chosen this house to serve as his residence.
CARLOS
Why this particular house, Captain? There are many other fine residences closer to your headquarters.
HARODA
(Rising, going to the window, looking out) This is the heart of the city. An ideal location. It faces the church, the townsquare, the public market and the terminal. And it has a good view of the wharf. This is a perfect place.
CARLOS
(With great effort) Very well. We shall vacate the house.
HARODA
That will not be necessary. This is a very large house. You are free to occupy part of it.
CARLOS
(Flatly) That is most generous, but we are ready to give it up for your exclusive use.
HARODA
For the High Command, you understand. You own the drugstore below?
CARLOS
Yes. My other daughter-in-law is a pharmacist.
HARODA
Good. The High Command further instructed me to requisition for all the drugs and supplies you have. You are not to sell any more drugs to the public. Needless to say, the High Command shall write you a receipt for the house and the drugs, to be redeemed by the Japanese Imperial Government.
CARLOS
As you wish.
HARODA
Oh, one last thing. The Cadillac below—
CARLOS
Take it.
HARODA
You will get a receipt for it.
CARLOS
When will you need the house, Captain?
HARODA
As soon as the High Command returns from Manila. In a week’s time.
CARLOS
We will be out before then.
HARODA
Please, that is not necessary.
CARLOS
I insist, Captain. I am sure the High Command would appreciate having some—privacy—and freedom of movement.
HARODA
Very well, since you insist. (Again, bowing slightly, acknowledging each one of them) Now that everything is settled, I bid you good evening. (He goes to the door, then turns to Franco before leaving) You will please see me at headquarters at 9 o’clock tomorrow morning. You will not fail.
FRANCO
Good night, Captain. (Haroda exits)
AMANDA
(Distraught) Oh my God, what shall we do? What are they doing to us? They can’t do this to us!
CARLOS
There is nothing we can do. (To Franco) You will see him tomorrow?
FRANCO
Do I have any choice?
CARLOS
(Regarding him keenly) About going to see him, no. (Slowly and carefully) But as to his proposal, others have declined, as I have, and we are none the worse for it.
FRANCO
You need not tell me that, Father.
CARLOS
(To Amanda) Come, Amanda. I am very tired. (He holds out an arm, and they leave through stage right)
CRISTY
(She looks at him, anguished) Franco, you’re not going to do it.
FRANCO
(In deep thought, troubled) Do what?
CRISTY
Collaborate.
FRANCO
(Dully) No.
CRISTY
(She eyes him keenly; he turns and they stare into each other’s eyes, and he turns away) Franco? (A slight pause) Come to bed, it’s late.
FRANCO
Go head. (He dismisses her with a curt wave of his hand. She turns and leaves, visibly hurt. He remains standing for a while, then he sinks into a chair, spreads his legs out wearily, and puts his hands over his face as lights dim and fade)
CONTINUED…
Elsa Victoria Martinez Coscolluela was born in Dumaguete City, where she earned her AB and MA for Creative Writing at Silliman University. (She was also Miss Silliman 1964.) Later, she was Vice President for Academic Affairs at the University of St. La Salle, and retired in 2010 after thirty-two years of service. Upon retirement, she was conferred the rank of Professor Emeritus and was designated Special Assistant to the President for Special Projects, a post that she continues to hold. During her term as VPA, she founded the Negros Summer Workshops with film Director Peque Gallaga in 1990, and the IYAS Creative Writing Workshop in 2000, in collaboration with Dr. Cirilo Bautista, Dr. Marjorie Evasco and the Bienvenido N. Santos Creative Writing Center of De La Salle University, Manila. She writes poetry, fiction, drama, and filmscripts in English. She has published a book of poetry, Katipunera and Other Poems. Several of her works have been anthologized. As a writer, she is best known for her full-length play about Dumaguete during World War II, In My Father’s House, which has been produced in Dumaguete, and in Japan, Singapore, San Francisco, and New York. She was inducted to the Palanca Hall of Fame in 1999 and is the recipient of several awards from the CCP, Philippines Free Press, and the Philippine Centennial Literary Competition. She continues to work at the University of St. La Salle where she manages several special projects and directs projects for the Eduardo Cojuangco Foundation.
CAST OF CHARACTERS
ARTURO PELIGROSO, male, late 30s, carpenter/hitman
GORING PELIGROSO, female, early 30s, housewife, Arturo’s wife
VALDERAMA, male, late 40s, re-electionist mayor
ALVARADO, male, mid-40s, mayoralty candidate
AUTHOR, a young person
ASIONG, male, late 20s, slacker on the street
SALONGA, male, late 20s, slacker on the street.
The action occurs sometime 2016 in Tinago, Dumaguete City.
Mid-March.
ACT 1 SETTING
The first act is set outside the PELIGROSO residence in Tinago. There is a big, rusting maroon gate in the middle of the stage, and a long concrete wall topped with broken bottles crossing same. The action takes place in front of the gate. No house is behind it, only darkness. A tree stands at one side of the gate. Props such as patches of grass or large rocks may be scattered around the stage, empty softdrink or beer bottles may be lined up along the gate. Cigarette butts on the ground, as well. In all, the stage should be made to look like a typical inner-barangay side street. Lighting should suggest early morning.
(Scene opens to ASIONG and SALONGA sitting on a couple large–outside the gate. They are smoking. They are wearing loud-colored T-shirts of politicians, denim shorts, slippers.)
ASIONG
‘Long, are you sure they will give us the jobs this time?
SALONGA
Of course, ‘Siong! I am very sure, do not worry about it.
ASIONG
How are you so sure? We’ve been looking for panday-panday jobs for a long time but no one will give us.
SALONGA
(Gestures towards gate.) Well, why do you think we are here waiting?
ASIONG
(Turns to look.) Here, at Arturo’s house?
SALONGA
Yes, think about it, ‘Siong. Why are we here since early in the morning? Waiting in the heat of the sun?
(ASIONG thinks.)
ASIONG
Because he is the main character and he should not appear in the story right away?
SALONGA
(Puts palm on face.) No, don’t tell anybody that! (Shakes head.) Yes yes, you are correct but I am talking about another something else!
ASIONG
Ah, I don’t know, ‘Long!
SALONGA
(Leans in.) ‘Siong, you heard the news some days ago, right?
ASIONG
I heard Budoy’s grandson turned turtle in his motorcycle. Suddenly, going to Sibulan.
SALONGA
(Thinks.) Ah bitaw no? That happened also. I almost forgot.
ASIONG
Then the police looked at him and saw he did not have any license.
SALONGA
Yes, very sad.
ASIONG
Then the police looked and saw he did not have a side mirror and a helmet.
SALONGA
I feel bad for Budoy.
ASIONG
Then the police could not get him out of his big shell. They could not lift him, he was so heavy. And the wheels.
SALONGA
He was so young.
ASIONG
Yes. It was very sad. Poor Budoy.
(ASIONG and SALONGA think.)
SALONGA
(Starts.) But that’s not what I was talking about, ‘Siong!
ASIONG
Ah! What is it then ‘Long?
SALONGA
Well, first, go and look at Arturo’s house.
(ASIONG stands up from the punso and looks at the gate. He tries to notice what SALONGA is talking about.)
Well, ‘Siong?
ASIONG
(Scratches head, looks back at SALONGA.) I don’t understand, ‘Long. It’s just a house.
SALONGA
You did not notice anything?
ASIONG
(Scratches head.) No.
SALONGA
(Softly smacks back of head.) Oh come on, it’s right there!
ASIONG
(Looks at house.) What? It’s just a house.
(SALONGA stands up and goes to ASIONG. He puts a hand on his shoulder, points to the house.)
SALONGA
Don’t you think that house is a little too big for Arturo?
ASIONG
What do you mean?
SALONGA
Do you think just a carpenter can afford a house like that?
ASIONG
(Thinks.) It depends.
SALONGA
Right. It depends on what?
ASIONG
Uh. Kuan. On who he is carpentering for?
SALONGA
(Turns to audience.) That’s right! Our friend Arturo is not just a small-time carpenter my friend. He is a carpenter to the big shit in our city. (Points.) Look he has even an easy-ride!
ASIONG
Ah yes, I understand it now, ‘Long!
SALONGA
So now do you know why we are waiting here in the heat of the sun?
ASIONG
(Thinks.) We’re going to borrow money from Arturo? We don’t have drinking money today.
SALONGA
(Shakes head.) No no no, that’s not it! (Looks at left wrist.) It is still 8 o’clock in the morning and you already think about drinking!
ASIONG
We did not drink yesterday, so.
SALONGA
That’s because we lost at the tabo!
ASIONG
That’s because your cock was bad.
SALONGA
No it wasn’t! Its bulang was not sharp enough.
ASIONG
Whatever. We lost money and now we aren’t drinking. The Tanduay is not going to be drinking itself you know!
SALONGA
Ay peste, why are you so complaining so much when you didn’t even help me with my cock?
ASIONG
What do you mean I didn’t help? We used our motorcycle to go to the tabo! You know how far Valencia is? I shouldn’t have bought the gasoline if you are going to act like that to me.
SALONGA
(Shakes head.) Whatever, that’s not what I was talking about!
ASIONG
Well, what is it?
SALONGA
(Moves to ASIONG, leans in, whispers.) I heard something.
ASIONG
Something?
SALONGA
Yes, something.
ASIONG
What is that something?
(SALONGA walks to the gate, leans against the wall, folds his arms. ASIONG exits. He comes back with a monobloc chair. He places it somewhere on the stage and then sits on it.)
SALONGA
Wait a minute, where did you get that chair?
ASIONG
(Points.) Over there.
SALONGA
I didn’t know that. You should have told me they kept chairs over there. My butt hurts sitting on that punso all day.
(SALONGA exits. He comes back with his own monobloc chair. He sets it beside ASIONG, facing the audience, and sits on it. ASIONG does the same.)
(Crossing legs.) Anyway this is what I heard. (Recalls.) Our friend Arturo is carpentering the house of a mayor candidate!
ASIONG
Wow! Who is the one?
SALONGA
The man Valderama is the one!
ASIONG
Wow, the rich guy?
SALONGA
Yes, the guy with a lot of cars! The mestizo guy we see all the time on the TV.
ASIONG
And Arturo is carpentering for the guy! Sosyal!
SALONGA
Of course yes! Now what do you think will happen if we carpenter for a guy like that?
ASIONG
(Thinks.) We can get a lot of money also, like Arturo! We can drink all day every day!
SALONGA
(Sighs.) Yes, ‘Siong, we will have all the money we could want! Think about it.
(ASIONG thinks about it.)
That’s right, think about it.
(ASIONG thinks about it.)
Yes, keep thinking.
(ASIONG thinks about it.)
Yes yes yes, that is enough now.
(ASIONG thinks about it.)
Hoy, come on, I said that’s enough.
(ASIONG thinks about it.)
Hoy!
ASIONG
(Snaps out of it.) Yes!
SALONGA
Now anyway do you understand what I’m saying to you here?
ASIONG
(Raises finger.) Yes, we will stay here and wait for Arturo and we will ask him to let us carpenter for that man Valderama. And then we will drink all day and buy easy-rides.
SALONGA
That’s right!
(A car horn bleats from offstage. It repeats, and then stops. Pause for a beat or two, and then enters VALDERAMA, drinking a Coke and carrying a briefcase. He is dripping with gold. He is dressed in a plaid short-sleeved shirt, brown slacks, and white sneakers. He checks his watch. He sees the two men.)
VALDERAMA
(Hides briefcase behind him.) Who are you? What are you doing here?
ASIONG
Uh, we’re just standbys here.
SALONGA
(Looks VALDERAMA over.) Yes, we’re just standbys here. What do you want?
VALDERAMA
(Ignores him.) What’s your names?
ASIONG
Asiong.
SALONGA
Salonga.
VALDERAMA
Huh, interesting.
ASIONG
(Raises voice a little.) You’re making fun of us?
VALDERAMA
No. (Looks the two men over.) You watch a lot of TV?
SALONGA
Of course yes, what do you think?
VALDERAMA
(Pauses.) Wait, no, I meant what kind of TV do you watch?
SALONGA
We have a flat-screen.
ASIONG
Yes, that’s right. The one that looks like a movie theater!
VALDERAMA
Interesting, even though that’s not what I meant. Well, Asiong and Salonga, do you know what’s going to happen here in two weeks?
ASIONG
Uh—the fight of Pacquiao? I have 1000 on him.
SALONGA
No, the 12-cock derby?
VALDERAMA
(Smirks.) No. The election. Are you registered?
ASIONG
(Thinks.) Yes. I think so.
SALONGA
Yes, I registered many years ago.
VALDERAMA
Very good. Wait here then, I have something for you.
(VALDERAMA exits. He comes back with a big, full plastic bag. The bag is filled with yellow shirts.)
Here you are, boys.
(ASIONG and SALONGA stand from their chairs and go to VALDERAMA. He gives them a couple of shirts. The shirts have VALDERAMA’s grinning face and his name on the front, and IBOTO MAYOR 2016 on the back.)
SALONGA
(Tries a shirt on.) Do you have any medium?
ASIONG
(Looks at his shirt.) Mine is large, do you have any large?
VALDERAMA
(Smirks.) Don’t worry boys, I have everything. Take all you want, that’s free.
(ASIONG and SALONGA look at each other, shit-eating grins on their faces. They rummage through the plastic bag and really do take all they want. The bag is emptied. VALDERAMA tosses it to the audience.)
ASIONG
(Tries to speak through all the shirts.) Hey, can we keep all of this?
SALONGA
Yeah, this is free, right?
VALDERAMA
Sure, take all you want. (Smirks at them.) And as a matter of fact, you can also look inside those shirts. Go ahead. There’s a surprise in there for you.
(ASIONG and SALONGA drop their shirts. Once again they look at each other, shit-eating grins and all that. They take a shirt each and look. They see envelopes stapled on them. They rip them off, open them, and see cash. Cash to the tune of Php1000.)
ASIONG
(Lifts his money to the light.) Wow! Is this real?
SALONGA
(Starts ripping more envelopes open.) Wow, there’s still a lot of them over here!
VALDERAMA
That’s all yours.
(ASIONG and SALONGA open all the envelopes. They pocket all the bills. ASIONG and SALONGA rush to shake VALDERAMA’s hand. VALDERAMA is visibly reluctant, but accepts them anyway. They shake his hand so hard they almost wrench his arm off his shoulder.)
SALONGA
Thanks a lot for this gift very much, Mr. Valderama! You’re a very nice man!
ASIONG
Yes, you are a very nice man!
(They let go of his hand. VALDERAMA massages his shoulder and wrist.)
VALDERAMA
(Rubs his arm.) That is no problem, boys. Just don’t forget who gave you those gifts today.
ASIONG
Yes sir of course sir we won’t forget sir!
VALDERAMA
Bitaw, don’t forget: May 9, number 5 on the ballot.
SALONGA
Wait sir mayor, there are five of you?
VALDERAMA
(Piqued.) Yes, five, why?
SALONGA
Oh, nothing. I just did not know. Thank you so very much, Mayor Valderama, we won’t forget this!
ASIONG
Yeah, you helped us a lot!
VALDERAMA
That’s no problem, boys. (Checks watch.) Now, you do have something else to do today, right?
ASIONG
No, we’re just standbys here. We can be here all day. Today, tomorrow, and the day after that…
(SALONGA thinks about it. VALDERAMA purses his lips.)
SALONGA
(Nudges ASIONG.) No, actually, sir, we have something to ask you.
VALDERAMA
What is it? If it’s anything I can do.
SALONGA
Well, sir, uh, we were wanting to know, you know, Asiong and me, we were wanting to know if you were needing carpenters for your house. You know, panday-panday. But if not if not if not that, then we can also be plumbers. We can clean your cars for you. I mean if you like.
VALDERAMA
You want to work for me?
SALONGA
Yes sir! (Nods.) Isn’t that true, ‘Siong?
ASIONG
(Remembers.) Yes, that’s true! We want to be your panday, Mayor!
(VALDERAMA thinks about it.)
VALDERAMA
(Sighs.) Sorry boys, but no. I already finished renovating the house last month. I also already have people who clean my cars and my house.
SALONGA
Ay nge, how are we supposed to vote for you if you don’t give us work?
VALDERAMA
Hoy, don’t talk like that to me, I gave you money! And free T-shirts!
ASIONG
He’s right, ‘Long, we already have drinking money. Leave him alone.
SALONGA
OK fine, we will still vote for you but you promise that you will give us jobs when you win.
VALDERAMA
(Makes a face.) All right, all right. Give me your résumés and I will give you jobs.
ASIONG
Résumé? What is that?
SALONGA
(To ASIONG.) It’s like a bio-data.
VALDERAMA
Close enough. (Gestures.) Give them to me and I will see what I can do.
SALONGA
Don’t just see.
VALDERAMA
(Makes a face.) Fine, give your résumés to me and I’ll place them on top of the pile.
SALONGA
That’s better.
VALDERAMA
Now, do I have your vote?
SALONGA
Sure.
(VALDERAMA smiles at them, and then he goes to shake their hands.)
VALDERAMA
Do you have anything else you want?
ASIONG
Yes, we want a car—no, two cars, a motorbike, and a—
SALONGA
(Elbows ASIONG.) No, that’s all, Mr. Valderama, that’s all. We are also going now.
ASIONG
Where are we going?
SALONGA
(To ASIONG.) To Manang Soling’s!
ASIONG
Oh yes, that’s right! I think I need a cold beer right about now!
SALONGA
Yes, yes, so. Thank you very much, Mr. Valderama. We’re going now.
VALDERAMA
(Waves.) Take care of yourselves, boys.
(ASIONG and SALONGA bow to VALDERAMA, and then exit. They bring their monobloc chairs offstage with them. VALDERAMA walks to the gate, ponders. Then enters ARTURO. He is wearing a faded Dutch Boy T-shirt and carrying plastic bags of fish and vegetables. There is also a Good Morning towel draped around ARTURO’s neck.)
ARTURO
Good morning! You have any business?
(ARTURO talks as though he wants other people to hear him. VALDERAMA follows suit.)
VALDERAMA
Yes, is Art at home?
ARTURO
(Thinks.) Hmmm, he just went marketing. Hours ago, to buy fish and vegetables. What do you want?
VALDERAMA
Well, nothing really. I just wanted to talk to him. We have something to talk about.
ARTURO
Oh OK—well it is very hot outside today, so do you like to come inside?
VALDERAMA
(Wipes face.) Oh no no, I’m fine here. I think I’ll just wait for him here. I won’t be long anyway. Do you know what time he’ll be back?
ARTURO
(Turns to audience.) I think he will be back soon. He is the one cooking the lunch of his family, you know.
VALDERAMA
Really? He is married, isn’t he?
ARTURO
Yes, but you know women. Talk too much about Arturo not helping with the house, you know.
VALDERAMA
(Thinks.) Well, I’ll just wait here for him then.
ARTURO
You sure you don’t like to come inside?
VALDERAMA
I’m fine, I’m fine. Thank you.
ARTURO
OK, your life. (Raises groceries.) I’ll just put this down in the house and then I’ll give you juice. For your trouble.
VALDERAMA
(Chuckles, wipes face.) I guess I can’t refuse that.
ARTURO
Oh sir you don’t know this but the wife of Arturo makes the greatest juice in the world! Like the juice up in heaven you know?
(VALDERAMA smiles at ARTURO. He exits. He passes by his own house as he does so, and even peers into his own gate. VALDERAMA sits down at a punso and wipes his face. He lights a cigarette.)
VALDERAMA
(Fans himself.) Should have brought an umbrella…
(ARTURO reenters stage. He has a cigarette hanging from his lips. He sits down beside VALDERAMA.)
ARTURO
Sorry about that. (Shrugs.) You know what it is.
VALDERAMA
Don’t worry. I had a wife once too.
ARTURO
Very hard life, marrying.
VALDERAMA
(Tosses cigarette.) Even now?
ARTURO
(Smiles.) Well, not so hard anymore.
VALDERAMA
(Pats ARTURO’s shoulder.) You know me, Art, I always pay back those who do good for me.
(Pause from ARTURO.)
ARTURO
But sometimes, the news, they worry me.
VALDERAMA
Don’t worry about it. Let the press talk. Let them do their jobs. (Pause.) Everybody has a price. The police chief here, in this city? I knew his a very long time ago.
ARTURO
There were a lot of them.
VALDERAMA
And was there ever any investigation?
ARTURO
(Shrugs.) Very hard life. (Pauses.) But I guess it’s the only thing I can do.
VALDERAMA
It’s useless to let great talent go to waste. It’s what I always say when people ask about my education platform.
ARTURO
(Drops cigarette.) How is your campaign?
VALDERAMA
(Winks at ARTURO.) Sureball.
ARTURO
How much do you give?
VALDERAMA
Oh, not so much, you know, a little 500 here, a little 500 there—drinking money. Keep the boys happy. T-shirts for the wives. Ballers for the kids. All party money.
ARTURO
Alvarado’s giving away 1000 though. My wife received her money yesterday morning. White envelope.
(VALDERAMA falls silent. Something comes over him.)
VALDERAMA
(Clears throat.) Well, Art, about that.
(ARTURO looks at him. There is a pause. Then he stands up, goes to stage-middle, then he starts warming up, stretching his limbs.)
ARTURO
(Snickers.) You’re a very busy man, Valderama. I just had a job two days ago.
VALDERAMA
(Grins.) Patience, Art. You know it’s the only time people like us actually work.
ARTURO
Well who do you want?
VALDERAMA
That thorn in my side, pricking me day after day after day. Always talking bad nonsense about me on the radio every morning. Calling me names on the newspaper. Says I haven’t done anything for this city. (Shakes head.) You see that new restaurant complex at the Boulevard? Who do you think built that? Who do you think talked to the contractors of that? (Pause.)
(ARTURO starts doing jumping jacks.)
And that bastard goes on the radio talking about how I never give jobs to people. What do you call the construction workers renovating city hall? Renovating my house? Cleaning my cars?
ARTURO
(Stops, huffs.) This is Alvarado?
VALDERAMA
He thinks just because he’s under a much bigger party and he has a lot more money than me he can buy everybody else in this city. He is very proud of himself.
(ARTURO starts doing pushups.)
Doesn’t he know I bought those radio DJs first? He just paid them more money, that’s all. That bastard DJ Jhonz, he should be next.
ARTURO
(Stops, huffs.) I don’t know, boss, I did a lot of people before, but I never did someone like this.
(ARTURO starts doing cool-down exercises.)
VALDERAMA
I’m still the mayor. He’s still just running.
ARTURO
They’ll come back after me.
VALDERAMA
(Gestures.) No, Art, believe me, their party couldn’t give any less of a damn about him. They just want to remove me, they’ll pick anybody. (Snickers.) The bastards think they can spend more money than me.
ARTURO
So spend more money. Give us 2000 and you win.
VALDERAMA
No, Art, it’s not really the amount you spend. It’s what you do with it.
ARTURO
So go on the radio, boss, talk about him. Challenge him to a fight. Or I could just do his boys on the radio or newspaper. Alvarado’s too big, boss.
VALDERAMA
No, too messy. My way is better. Just arrange him and everything will be handled.
ARTURO
Arrange?
VALDERAMA
Iligpit. Hipuson.
ARTURO
Ah.
(ARTURO sits down beside VALDERAMA. Wipes his face with his Good Morning towel. He lights another cigarette. VALDERAMA slouches toward him.)
He can pay people to catch me. It’s not like those small-time fools you can just drive by on your motorcycle and you can shoot in the head.
VALDERAMA
I’ll pay the people who’d catch you not to.
ARTURO
(Thinks.) 25 and I’ll think about it.
VALDERAMA
How much to make you do it?
ARTURO
50?
VALDERAMA
Oh, you’re really not joking, Art. You are really scared?
ARTURO
Scared of jail, yes. What will happen to my wife and children if they bring me to prison?
VALDERAMA
(Pauses.) 50 and you’ll do it?
ARTURO
50 and I’ll think about thinking about doing it.
VALDERAMA
Fine, make that 100.
ARTURO
(Perks up.) We can talk about that.
VALDERAMA
All right, all right, great. Absolutely great. (Pauses.) How much time do I give you?
ARTURO
I will need maybe a week. I still have to look around, check where the man is weak. And he may not be.
VALDERAMA
My spies in his camp can help you.
ARTURO
(Shakes head.) I can do it myself, Valderama. If you do anything you can be traced.
VALDERAMA
I’ll be careful.
ARTURO
(Tosses cigarette.) Don’t trust on your money so much.
VALDERAMA
(Pauses.) So I just check the news next week?
ARTURO
Yes, just look for a person with a bullet in the head.
(VALDERAMA chuckles, and then rises, dusting himself off. ARTURO follows him up. VALDERAMA offers a hand.)
VALDERAMA
It is always nice to do business with you, Art.
ARTURO
And also with you.
VALDERAMA
Payment is the same. Expect me here same time next week.
ARTURO
(Nods.) Don’t worry. The sun will not rise on Alvarado anymore.
(VALDERAMA nods back, and then he exits. ARTURO watches him leave. And then he goes toward the opposite exit. Once he reaches stage-middle, though, GORING enters behind him. She is carrying a gun. She is wearing a batik duster and a pair of bakya.)
GORING
Arturo!
ARTURO
Yes! (Turns.) Oh it’s just you, my wife! What’s going on?
(ARTURO notices the gun in her hands. He steps back. He wipes his forehead.)
(Smiles.) Darling, what is that? In your hand?
GORING
(Points gun.) What do you mean what is this? What do you think is this?
ARTURO
Uh, a pellet gun? I remember we bought our son Sonoy a pellet gun for Christmas last year—
GORING
Shut up, Arturo! Your secret is revealed now so stop lying!
(VALDERAMA’s voice is heard from offstage.)
VALDERAMA
Oh my God!
(GORING flings her slipper at the voice’s direction. She turns to her husband. He is avoiding looking at her, and is doing things with his fingers.)
GORING
(Points gun.) You, Arturo, I already know your secret!
ARTURO
(Sings.) Listen, do you want to know a secret…
(ASIONG and SALONGA’s voices are heard from offstage.)
ASIONG AND SALONGA
(Singing.) Ooh—ah—ooh…
(GORING slaps ARTURO in the face. He comes awake. He straightens up.)
ARTURO
Ah, well, darling, you know how it is with men sometimes…sometimes they own a gun, sometimes they don’t. You know? That’s just life, you know?
GORING
What are you talking about?
ARTURO
I mean sometimes they own a gun, even if it’s not real, because they just sometimes they own a gun. You know?
GORING
Shut up, Arturo, this gun is real! Look how heavy it is!
ARTURO
So why can you carry it in one hand only?
GORING
Are you calling me fat?
ARTURO
(Raises hands in front of him.) Oh no no no darling, I did not mean like that at all!
GORING
No, you are calling me fat! In a not obvious way!
(GORING starts chasing ARTURO all around the stage. They circle the stage until GORING stops, out of breath. She bends down. She clutches her chest. ARTURO approaches.)
ARTURO
(Helps her up.) Now darling look at you, I told you not to be excited so much! You have a bad heart!
GORING
Shut up you…
ARTURO
(Sighs.) Well OK, why don’t we just sit down over there and we talk about this?
(GORING is quiet. ARTURO leads her toward the punso. He helps her sit down. He sits down beside her. He waits for her to recover.)
Where did you find that?
GORING
In your drawer. While I was cleaning our room.
ARTURO
(Looks away, scratches head.) Did you find anything else?
GORING
No, nothing.
ARTURO
That’s funny. I remember I kept money in that drawer. Not a gun.
GORING
(Looks away.) I did not see any money.
(ARTURO leans forward and squints at her. She flinches, bends. He relents. He lights another cigarette.)
ARTURO
(Points to gun.) Did Sonoy see that? Any of the others?
GORING
No, of course not. I hid it under my duster and I looked for you right away. (Points.) You—you’re always keeping secrets from me. Like I’m not your wife.
(ARTURO stands up.)
ARTURO
Listen, darling.
GORING
What?
ARTURO
Don’t let anybody see that. Don’t also tell anybody.
GORING
Are you a criminal?
ARTURO
You want to know how we afforded a flat-screen TV? An oven for you, toys for the kids, cementing the house? That easyride?
GORING
(Puts hand on mouth.) Oh my God, don’t tell me—
ARTURO
(Addresses audience.) Yes, darling, you are right, I am. I never told you about this because I was scared. But I had to do it. What can I, a mere carpenter, do to support you and the children? This country is poor. We are poor. What can I do?
GORING
Jesus ko Maria!
ARTURO
(Gestures.) I am just a simple man. I am just a humble man. I did not finish school because I was poor. I was pushed by society to do wrong. This society does not give the humble man anything. This government does not care about me, about us. They only want our vote. Who will put food on our table? What do you want me to do, get a job? You’re going to give me a job?
GORING
(Clasps hands before face.) Santisima! Arturo, what did you do?
ARTURO
(Turns.) I am a hold-upper, Goring!
(GORING gasps. She bursts into tears. ARTURO tosses his cigarette. He stays where he is.)
GORING
Oh, Hesus ko, Ginoo ko! You are really a criminal, Arturo!
ARTURO
Yes, but the crime I was doing was helping you buy food and all the things you like! Send the kids to school!
GORING
(Cries.) I did not need a hair-dryer, Arturo!
ARTURO
No, don’t lie, Goring! You kept bothering me about getting a hair-dryer so I held up a college student to buy you one!
GORING
Ginoo ko!
ARTURO
I grabbed his cell phone, his laptop, and his money! I sold his cell phone and laptop and also bought you an oven toaster!
(GORING hunches up, her face in her hands. She drops the gun. ARTURO picks up the gun. He tucks it in his waistband.)
GORING
(Raises face slightly.) I trusted you Arturo!
ARTURO
I’m sorry darling.
GORING
You snake!
ARTURO
I was just not careful enough.
GORING
This is terrible! (Stomps.) Go away, Arturo! Leave this house and never come back!
(ARTURO lights another cigarette.)
ARTURO
OK fine, but you say that like I have another woman.
GORING
(Sobs.) You have another woman?
ARTURO
Just kidding.
(ARTURO drops his cigarette, stamps it out. He takes one last look at his crying wife, and then he exits.)
END OF ACT I
Michael Aaron Gomez is from Dauin, Negros Oriental. He graduated with a degree in creative writing from Silliman University in 2017. He was a fellow at the Silliman University National Writers Workshop in 2012, and the IYAS Creative Writing Workshop in 2013. He won a Palanca for the play "Tirador ng Tinago" in 2016. He is currently a lecturer at the University of the Philippines in Davao.
Buglas Writers Journal 