Thicker Than Wine
A Drama based on the short story, Portrait of an Aristocrat, from the novel When The Elephants Dance by Tess Uriza Holthe
by conrad a. panganiban
CAST OF CHARACTERS
Fredrico Jacinto-Basa: 22. A Painter in conflict with his family’s past, with his brother, and his place in the future.
Oscar Jacinto-Basa: 23. Fredrico’s protective older brother fighting to keep the Family legacy intact.
Divina Zamora: 19. Activist. Farmer. Fighter for her family, community, and country.
Friar De Guzman: 53. Powerful Manila Friar who abuses his power for himself and for the Jacinto-Basa Family.
Maricel Zamora: 52. Divina’s mother. Pure and kind heart, at times naïve, but strong, especially after the death of her son.
SETTING
Time: 1870
Place:
Fredrico’s studio.
Divina’s house.
A jail cell in Fort Santiago.
Fredrico’s studio.
Art Gallery.
PLAYWRIGHT NOTES
The artwork of Fernando Amorsolo, Juan Luna, and Fernando Zóbel is the inspiration for this written play. Collections of their paintings were on display at the Asian American Art Museum in San Francisco in late 2006. Please use their artwork as reference for images to use when showing examples of Fredrico’s work in Scene 5.
Amorsolo’s, Palay Maiden, is the inspiration for Divina’s character.
SCENE 1
DAY. FREDRICO JACINTO-BASA’s STUDIO.
FRIAR DE GUZMAN is standing with a very blank emotionless, almost bored look. FREDRICO JACINTO-BASA is standing at an easel trying to illicit some emotion from the Friar. OSCAR JACINTO-BASA, Fredrico’s brother, is enjoying this moment while holding a wine glass in hand.
FREDRICO
Try this: The gates of Heaven open and Angels are singing…
OSCAR
Harking.
FREDRICO
Yes. Harking! The Angels are harking for you to enter the Kingdom of Heaven! And you’re feeling…
DE GUZMAN
(Emotionless)
Happy.
FREDRICO
That’s happy?
OSCAR
The Friar says he’s happy.
FREDRICO
What else?
DE GUZMAN
Joy.
FREDRICO
(Becoming annoyed at the FRIAR’s lack of emotion.)
What about passion, Friar? Can you give me that?
OSCAR
Let me try.
(OSCAR walks over to the FRIAR and whispers something in his ear and the FRIAR immediately smiles.)
FREDRICO
Not that kind of passion. Oscar, what did you say to him?
OSCAR
Reconciliatory Rights, Baby Brother. Not allowed to divulge information between the Friar and I.
FREDRICO
Always with the law.
OSCAR
As I have the law, you have the arts. Don’t worry about what I told him. You have a deadline. Keep painting.
(FREDRICO returns to painting.)
OSCAR (CONT.)
Oh, and get back to your story. What did she yell at you?
FREDRICO
Wall lahng ya ka. Over and over. Wall lahng ya ka! Like a crazy woman!
OSCAR grabs the paintbrush out of FREDRICO’s hand and holds it at him like he’s going to cast a spell on him.
OSCAR
Better watch out. Maybe she put a curse on you, Baby. Wall Lahng Ya, KA!
DE GUZMAN
Boys.
(FREDRICO chases OSCAR around trying to get back the paintbrush. OSCAR fires a shot from the paintbrush.)
OSCAR
Wall lahng ya, ka!
(FREDRICO dodges the imaginary blast.)
FREDRICO
Missed!
(OSCAR fires another shot.)
OSCAR
Wall lahng ya, KA!
(FREDRICO dodges another blast.)
FREDRICO
Missed again!
DE GUZMAN
Boys!
(FREDRICO snatches back the paintbrush from OSCAR.)
OSCAR
Sorry, Friar.
(OSCAR slaps the back of FREDRICO’s head playfully. FREDRICO acts like he’s going to stab OSCAR.)
DE GUZMAN
Boys! Basta! You have no shame, Fredrico.
FREDRICO
Sorry, Friar, but he started it.
OSCAR
Did not.
FREDRICO
Did too.
OSCAR
Did not.
DE GUZMAN
Boys! What I meant to say is that “Walang hiya ka” means you have no shame.
FREDRICO
But it was an accident.
OSCAR
Stop making excuses. We don’t do that. It was her fault. What if you weren’t able to get the supplies? The parishioners would be disappointed seeing a half-done portrait at your Gallery showing. And Friar, you wouldn’t want that, si?
DE GUZMAN
Yes. That wouldn’t be gracious of me. Oscar, you’re a good brother for sticking up for your brother.
FREDRICO
I can defend myself.
OSCAR
Sure you can. (to DE GUZMAN) And, you should be thanking God that the art shop was still open. Or the best artist in the Philippines would not have captured your guapo radiance.
DE GUZMAN
Guapo radiance?
OSCAR
In God’s image.
DE GUZMAN
Well, then maybe it was a good that you hurried. The Indios do have a lot to learn.
OSCAR
And that’s why we’re here to teach them.
DE GUZMAN
Very true, Oscar. Only with strict obedience and a firm hand will they discover their place with The Church.
OSCAR
And España.
DE GUZMAN
Of course. And España.
FREDRICO
I couldn’t agree with both of you more, but can we continue. Friar, if you can stay still for a little while longer? And remember, passion.
Enter DIVINA ZAMORA fuming mad.
OSCAR looks at her and holds his wine glass up.
OSCAR
You must be new. Arrived just in time. This is stale. Fetch us a new bottle.
(DIVINA smiles wryly. Walks over to OSCAR, takes the glass.)
DE GUZMAN
(to OSCAR) You should have told me you hired Divina Zamora.
I would have warned you. (to DIVINA) Divina, I still pray for Virgil’s soul.
DIVINA
I’m sure you do, Friar De Guzman… (DIVINA throws the wine all over DE GUZMAN’s face. FRIAR stands shocked. FREDRICO’s interest is piqued by seeing this.) DIVINA (CONT.)
Don’t you ever say my brother’s name again. Especially after what you did to him.
FREDRICO
Now that’s Passion!
DIVINA
(to FREDRICO) And that was my mother you ran over!
FREDRICO
What are you talking about?
DIVINA
In San Andrés? Earlier today with your Kalesa? You are the one who ran over my mother! Walang hiya ka!
FREDRICO
You better get your facts right. I didn’t run over her, just her vegetables.
DIVINA
That was our meal for the week!
FREDRICO
So? Just buy more.
DIVINA
Oh, that must be so easy for you to do. Gago! If you try to hurt my mother again, I will kill you.
FREDRICO
You? Kill me? (laughs) Oscar, is this another one of your practical jokes?
(DIVINA walks over to FREDRICO and slaps him hard across the face.)
DIVINA
Laugh again.
(OSCAR grabs her.)
OSCAR
Who do you think you are? Coming into our home and threatening us and disgracing the good Friar? Don’t you know who we are?
(DIVINA breaks free from OSCAR’s grasp.)
DIVINA
I know that your family stole our land and that your grandfather had his way with a Filipina housemaid. I bet you don’t even know who your grandmother is.
FREDRICO
How do you know about our abuela?
OSCAR
Don’t listen to her. She’s lying. Get out of here, before we have you and your mother arrested!
DIVINA
I don’t want any favors from you. I’m warning you, stay out of San Andrés.
(DIVINA spits on the ground and exits. OSCAR breaks free from FREDRICO and straightens his clothes.)
OSCAR
Friar, are you all right?
FREDRICO
How did she know about our Grandmother?
OSCAR
Baby, you know we are not to speak of her. Help me with the Friar.
(FREDRICO and OSCAR get some cloths and wipe down a shocked DE GUZMAN.)
FREDRICO
Friar, are you okay?
OSCAR
Friar?
DE GUZMAN
That girl. Her family is nothing but trouble, especially her brother. I’m sorry that she has soiled this home. It won’t happen again. I assure you.
FREDRICO
Please Friar. Allow me to straighten her out first.
OSCAR
Yes, Friar. She came into our home. Let us take care of her.
FREDRICO
No, Oscar. Let me handle it. Trust me. Friar?
(DE GUZMAN nods his head in approval.)
Lights fade out.
END OF SCENE
SCENE 2
NEXT DAY. ZAMORA LIVING ROOM.
MARICEL ZAMORA, Divina’s mother, is sweeping up the family’s living room humming a little song.
FREDRICO walks in without knocking with a bag of his paints, pencils, and a sketchpad. MARICEL turns around and is frightened because she remembers FREDRICO from the day before.
FREDRICO
Perdóneme, Señora. Where is your daughter?
MARICEL
She didn’t mean it, Señor. She has a short temper that gets her into trouble. But she has a good heart. Don’t take her away, Señor.
FREDRICO
I’m not here to take your daughter away. I just came to ask her a question. Where is she?
MARICEL
Uh, She’s not here. She’s far away. Very, very, far away.
(Enter DIVINA. She looks tired from working a long day in the fields. She’s also carrying a bag of bread and some vegetables.)
DIVINA
‘Nay. I got something for dinner…
(She sees FREDRICO.)
You! I told you to never come here and bother us. How did you know where we lived?
FREDRICO
I… I… I came to apologize to your mother. (to MARICEL) I’m sorry.
DIVINA
She doesn’t accept.
(FREDRICO takes out some money from his pocket.)
FREDRICO
Then let me please pay for the damages that I caused you yesterday.
(FREDRICO attempts to give the money to MARICEL, but DIVINA takes it. DIVINA spits on the money and hands it back to FREDRICO.)
MARICEL
Divina!
DIVINA
Your money is no good here.
(FREDRICO puts the money onto a table, takes out a handkerchief, and wipes his hand with it.)
FREDRICO
(To Maricel) Señora. I’d like to paint a portrait of your daughter to say how sorry I am for what happened. Would you allow me to do that for you?
DIVINA
She says no.
MARICEL
What kind of portrait?
FREDRICO
A nice one. A big one.
DIVINA
No.
MARICEL
A big one?
DIVINA
‘Nay.
FREDRICO
And you can hang it over… there.
MARICEL
Oh. That’d be nice.
DIVINA
Inay!
(DIVINA takes MARICEL by the arm and moves downstage.)
‘Nay, did you forget that this is the man who tried to run you over?
MARICEL
But, he’s offering to paint a picture of you. We never had one of Virgil. (pause) Anak?
DIVINA
Fine.
MARICEL
Señor. You stay here and start. I’ll make some snacks for you. Divina, behave.
(MARICEL gets the bag of bread and vegetables and exits. FREDRICO takes out his sketchpad and a pencil.)
FREDRICO
Well, alright. You can sit right over there.
(DIVINA remains standing with her arms crossed looking mad at him.)
FREDRICO (CONT.)
Uh… okay. This is a start. Why don’t you let your hair down.
(DIVINA puts her hair up in a bun.)
FREDRICO (CONT.)
Hmmm… maybe that can work. Let’s try a little smile.
(DIVINA squints her eyes more, tights her lips, and stares at him.)
FREDRICO (CONT.)
Alright, that’s it! What? I’ve apologized to your madre.
DIVINA
Inay.
FREDRICO
In what?
DIVINA
Inay. It means mother. Even though you’re a bastard, at least that part of you should know your language. Especially since you live on our land.
FREDRICO
This is our land. Eight generations of Jacinto-Basas have owned parts of the Philippines.
DIVINA
You can’t own something that already belonged to someone else.
FREDRICO
This land belongs to us and on the behalf of Spain and King Philip…
DIVINA
Not only did your family come and take our land, but you also think that you have the right to tax
FREDRICO
Of course it’s our right…
DIVINA
us farmers for Farming our land? Or have them beaten when they can’t pay?
FREDRICO
If people don’t work, then we have to use other methods…
DIVINA
Or that it’s okay for your priests to have their way with my Filipina sisters because
FREDRICO
Watch what you say about the Priests. They’re here to save your sorry lot.
DIVINA
they are under the Queen of España and God Himself?
FREDRICO
Are you done?
DIVINA
Not until we have our land back!
FREDRICO
Impossible. What you say are all lies. I’ve never seen any of that.
DIVINA
I think you know more than you care to admit to.
FREDRICO
Then admit where you heard those stories about my abuela.
DIVINA
So. That’s why you’re really here. You came to know more about your lola.
FREDRICO
Is that her name? Lola.
DIVINA
Gago. Why do I even bother?
FREDRICO
I just want to confirm that this Lola took advantage of my grandfather.
DIVINA
That still wouldn’t change that you have Filipino blood flowing through you.
FREDRICO
I’d watch your tongue.
DIVINA
What are you going to do about it? Paint me into shame?
I’ve seen some of your paintings, Señor Jacinto-Basa, and it’s a shame that you’re not even as good as you think you are.
FREDRICO
You know nothing of art. I’ve been trained at the best schools in Madrid, and…
DIVINA
Then, you should ask for your money back. Trained? You haven’t even tried to capture the soul and the suffering of a people trapped on their own land. Do that, and then maybe I’ll be impressed.
FREDRICO
Who’s trapped?
DIVINA
How are you so blind not to see what’s going on around you?
Where did you learn to be so arrogant? And stupid?
(Enter OSCAR holding a handkerchief over his nose. As he enters into more of the living room, he wipes his hands with the handkerchief.)
OSCAR
Good Jesus, Fredrico. You better get out of here before you catch some kind of disease.
(DIVINA picks up a broom and holds it high ready to strike.)
FREDRICO
Oscar, what are you doing here? I told you I’d handle this.
OSCAR
I waited long enough. Honestly, I don’t know how the Friar keeps track of where all of you people live.
DIVINA
I should have known.
FREDRICO
Oscar, shut up. (to DIVINA) It was only to find out where you lived so I can apologize to your madre… I meant, Inay.
OSCAR
You did What?! Apo… apolo… apol… WHAT?! Vamanos! If I ever catch you in here…
(MARICEL runs into the living room screaming.)
MARICEL
Divina, we have to go to your Tito’s house!
DIVINA
What’s the matter?
MARICEL
It’s your father. His hands. His hands!
DIVINA
Inay. What happened?
MARICEL
Friar De Guzman accused him of stealing from the Church and had his hands crushed.
DIVINA
He just can’t leave us alone.
(DIVINA grabs a linen bag and puts it around her neck and shoulder.)
DIVINA (CONT.)
‘Nay, Go to pa and I’ll meet you there.
MARICEL
What about you? He begged to see you too.
DIVINA
It’s a trap. Just like Virgil. Don’t worry. Just take care of him.
I’ll be there soon. I’ll be fine.
MARICEL
No. That’s what your kuya said. I’m not losing you too.
(DIVINA hugs MARICEL.)
DIVINA
I promise. I’ll be careful. Go.
(Exit MARICEL. DIVINA looks around for a few more items and puts them in her bag.)
FREDRICO
What are you going to do?
DIVINA
It’s none of your concern.
OSCAR
You heard her, Baby. It’s none of your concern. Let’s go.
FREDRICO
You don’t know what he’s capable of. Friar De Guzman is a powerful man.
DIVINA
Then it’s time to take the power back. This is the last time he tries to hurt my family.
(DIVINA exits. FREDRICO tries to go after her, but OSCAR holds him back.)
OSCAR
Let her go, little bother. Never come back here. Are you listening to me? Something’s not right with her.
(As lights fade out, FREDRICO can’t take his eyes off of where DIVINA has exited.)
END OF SCENE
SCENE 3
NIGHT. FORT SANTIAGO. JAIL CELL.
(In Blackout.)
FREDRICO
Let me go! Let me out of here!
(Lights slowly fade up as we see FREDRICO sitting in a chair with his hands tied behind his back with a black piece of cloth over his eyes. FRIAR DE GUZMAN is behind him. OSCAR is lurking in the shadows.)
FREDRICO
Where am I? I’m Fredrico Jacinto-Basa and I demand to be let go!
DE GUZMAN
What is your relationship with Divina Zamora?
FREDRICO
Friar De Guzman. Thank God, it’s you. Untie me and let me out of here.
DE GUZMAN
I’m sorry Fredrico, but I need to ask you some questions.
FREDRICO
I don’t answer to you Friar. Lest you forget which family gives your church the most money.
DE GUZMAN
Then it’d be a shame if it’s found out that you helped her burn down the very church that your family help build.
FREDRICO
I told her not to do anything.
DE GUZMAN
So, you did know that she was going to do something.
FREDRICO
I swear, I didn’t know what she was planning.
DE GUZMAN
Do you also swear that you weren’t with her at the church lighting torches? Watch what you say, Fredrico. We have witnesses who will testify against you.
FREDRICO
That’s impossible. I was with Oscar! Get him and ask him.
DE GUZMAN
We did and he refuses to come and see you.
FREDRICO
You’re lying. He would never do that.
DE GUZMAN
Am I? I don’t see him here to defend you.
FREDRICO
He has always defended me. I’m his Baby…
DE GUZMAN
Brother. Cute. I guess he believed that it’s time for you to grow up and face this on your own without the JacintoBasa name behind you. (pause) It might be for the best anyway. A speedy trial in a few hours to get you ready.
FREDRICO
Ready for what?
DE GUZMAN
To meet the same fate that your co-conspirator met earlier after her capture. She fought well. Too bad she couldn’t fight a bullet.
FREDRICO
No. Please. Please! I’ll do anything you want. Get Oscar!
DE GUZMAN
If you only listened to your brother.
(Enter OSCAR.)
OSCAR
Yes, Baby. If only you had listened to your brother.
FREDRICO
Oscar? Oscar?!
OSCAR
Friar De Guzman, untie Fredrico.
(DE GUZMAN unties FREDRICO where he gets up and grabs DE GUZMAN and pulls him close.)
FREDRICO
(To DE GUZMAN) How could you kill her?
DE GUZMAN
Ask your brother.
(OSCAR places his hand on FREDRICO’s shoulder.)
OSCAR
Let the Friar go, Fredrico.
(FREDRICO lets DE GUZMAN go and turns to OSCAR.)
FREDRICO
Where were you?
OSCAR
Right over there. Fredrico? Really? (mockingly) “Please. Please. I’ll do anything you want.” Truly disappointing.
FREDRICO
Do you know what they could’ve done to me?
OSCAR
Nothing. They could do nothing to you. You’re Spanish.
FREDRICO
And Filipino.
OSCAR
That’s irrelevant.
FREDRICO
Irrelevant?
OSCAR
Meaning that it doesn’t matter. Why should we care? I don’t.
FREDRICO
Maybe we should. We know what happens to the Indios if they don’t pay their taxes. They can just disappear and no one would even know. They can be thrown into jails or be killed for no reason. Doesn’t that mean anything to you?
OSCAR
As long as it’s not us, then it shouldn’t.
FREDRICO
As long as it’s not us? Look around you. We’re the ones in a jail!
OSCAR
Not we. You. And it’s to teach you a lesson. Don’t throw our family’s legacy away by questioning your heritage.
We’re sons of España. Don’t forget that. (to DE GUZMAN) Did you get to the girl in time, Friar?
DE GUZMAN
Thank you, Oscar. Your cooperation helped us to take her before she could even light a torch.
FREDRICO
What did you do?
OSCAR
I stopped a subversive from burning down a church. A church! (to DE GUZMAN) Where’s the girl now?
DE GUZMAN
You don’t have to worry about her anymore.
OSCAR
You hear that? Forget about her and concentrate on your gallery show. You’re a great painter and that is your purpose.
Lights fade out.
END OF SCENE
SCENE 4
NIGHT. FREDRICO JACINTO-BASA’s STUDIO.
(FREDRICO is sitting in the dimly lit studio when he gets up, puts a fresh canvas on the easel, picks up his palette and a brush and starts to paint.)
Lights fade out and back up.
(FREDRICO is now painting more quickly than before with another paint brush in his mouth and painting on one canvas on the easel and going to another canvas on the floor and painting and finishing painting another portrait on a canvas leaning against a wall.)
Lights fade out and back up.
(FREDRICO is sitting down the floor looking up at his paintings.)
Lights fade out.
END OF SCENE
SCENE 5
NIGHT. ART GALLERY.
(String music is heard with a little chatter going on in the background.)
(Lights up on FREDRICO sipping on a wine glass. Occasionally, he lifts his glass up to someone across the room.)
(OSCAR enters happily tipsy.)
OSCAR
There’s my baby bother! Everyone is loving your work!
People are placing bids on some of the one’s that aren’t even unveiled yet.
FREDRICO
Interesting.
OSCAR
Interesting? That’s fantastic! How are you holding up?
FREDRICO
Never better.
OSCAR
The candlelight never went out in your studio.
FREDRICO
When you’re inspired, the burning desire to paint the truth will forever stay lit.
OSCAR
Uhh…kay. Sure. Whatever that means. I’m just glad to see your passion has returned. Salud! To the most talented artist in the Philippines.
(They BOTH raise their glasses.)
FREDRICO
And the most guapo.
OSCAR
I still hold that title, Baby. I’ll be back. Looks like they’re about to unveil another painting.
(Exit OSCAR. FREDRICO finds some crackers on a tray and takes a couple of bites. Then we hear a breaking of a glass.)
OSCAR (O.S.)
Don’t leave! Señor. Señora. I’m sure then next paintings will be better. Fredrico… Fredrico has been ill and that explains those images. Please stay and drink some more.
Trust me, the paintings look better drunk.
(Enter OSCAR downing his wine, throws the glass, and grabs FREDRICO.)
OSCAR
What is the matter with you?
FREDRICO
I painted the truth.
OSCAR
Well your truth is causing people to leave! Now they will tell their friends, and their friends will tell the Queen.
(FREDRICO breaks free from OSCAR’s grip.)
FREDRICO
What does the Queen care about the people living here?
OSCAR
We live here! So she has to care about us.
FREDRICO
What about the Indios? They live here too.
OSCAR
The natives? How dare you show them in your paintings!
They’re here to serve us. Not to be on display like that!
FREDRICO
Are you even listening to what you’re saying?
OSCAR
It’s reality. Nothing can change that.
FREDRICO
Well, maybe this reality can be changed if people can see the truth. Oscar, together we can help our world see the beauty, strength, and love of the people in this country.
OSCAR
Beauty? The beauty?! Ohhhh. Now, I see what this is about.
Are you talking about the beauty in these paintings or the beauty of that peasant whore who likes to burn down churches?
(FREDRICO decks OSCAR. The brothers have a brutal fight only brothers can have. It ends with both of them in pain with OSCAR losing but gets up slowly and still a little tipsy. FREDRICO is waiting with his fists raised ready to fight.)
OSCAR
What happened to you, Baby?
FREDRICO
Don’t call me that. Not anymore.
OSCAR
You better know what you are doing, Fredrico. Because, once I walk out that door…
(After one long last look at each other, OSCAR exits.)
(FREDRICO shakes out the fist that hit OSCAR in obvious pain. He finds a glass of wine and just before he’s about to take a drink, he looks at it, and puts it down.) (Enter a hooded figure at first checking to make sure that she hasn’t been spotted. FREDRICO spins around and puts up his fists again. DIVINA lowers her hood.)
FREDRICO
I thought you were dead.
DIVINA
Is that what you were told?
FREDRICO
It can only be assumed.
DIVINA
My brother’s friends saw where I was being taken and… well, you don’t need to know. (pause) Is it true about the paintings?
(FREDRICO’s works are shown.)
DIVINA
Looks like someone has finally opened his eyes. Is that how you see us?
(FREDRICO nods his head “yes”)
DIVINA (CONT.)
Pwede mo ba ipakita sa akin yung iba?
FREDRICO
I’m sorry. I don’t understand.
DIVINA
You will. Don’t worry. I’ll teach you.
(DIVINA holds out her hand to him.)
DIVINA (CONT.)
It means, can you show me the rest?
(FREDRICO takes her hand and they both exit while the lights fade out hand in hand.)
END OF PLAY