The Condemned

The Condemned

Wilfrido Ma. Guerrero

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Pantas Project Philippines

w w w . p a n t a s . p h

The Condemned

WILFRIDO MA. GUERRERO was born inErmita, Manila. He studied at the Ateneo deManila University, at the University of the Phil-ippines, and briefly, at Columbia University. Hewrote his first play at age fourteen, and his playin Spanish, “No Todo Es Risa”, was producedat the Ateneo when he was fifteen.

He was later a reporter and proofreader for La Vanguardia, and drama criticfor the Manila Tribune. He worked for some time in Philippine Films (1939) as ascriptwriter. He organized and was the director of the Filipino Players (1941-1947).

In 1947, Bienvenido Gonzalez, then president of the University of the Philip-pines, appointed Guerrero as assistant professor of dramatics despite his lack of adegree. He became director of the UP Dramatic Club for which he produced anddirected over 120 plays. He wrote and directed for radio for one whole year (1950-1951) for Purico’s “Dulaan ng Buhay”. In 1959 he adapted six of his plays anddirected them for TV’s Caltex Caravan.

In 1962 he organized and directed the UP Mobile Theater, with over 1880performances so far, that goes on the road all over the Philippines. The UP Mo-bile Theater has been the recipient of two awards: The Citizen’s Council for MassMedia trophy (1966) and the Balagtas Award (1969).

Guerrero has extensively observed the theater and drama schools in the US(on a UP scholarship, 1956-57) and in England (on a British Council scholar-ship, 1965). Several Guerrero plays have been translated into and produced inChinese, Italian, Spanish, Tagalog, Visayan, Ilocano and Waray. Six of his playshave been produced abroad: “Half an Hour in a Convent” at the Pasadena Play-house, California; “Three Rats” at the University of Kansas; “Condemned” inOahu, Hawaii; “One, Two, Three” (premiere performance) at the University ofWashington, Seattle; “Three Rats and “Wanted: A Chaperon” at the University ofHawaii; and “Conflict” in Sydney, Australia.

Twelve of his works are included in 23 college and high school textbooks andanthologies, and are also included in the Russian Encyclopedia. His plays havebeen the subject so far of seven Master of Arts theses in English literature.

Guerrero has been the recipient of three national awards: the Rizal Pro-PatriaAward (1961), the Araw ng Maynila Award (1969), and the Republic CulturalHeritage Award (1972). He has the unique distinction of being the first Filipinowho has had a theater named after him in his own lifetime: The Wilfrido Ma.Guerrero Theater of the University of the Philippines in Diliman.

Upon his death in May 1995, his colleagues in the theater and the academedrafted a resolution declaring him National Artist. Two years later, the nationalgovernment officialy proclaimed Guerrero as “National Artist for Theater.”

(Reference: Critical Survey of Philippine Literature)

WILFRIDO MA. GUERRERO(1930?-1995)


CHARACTERS

PABLO GONZALEZ, the condemnedANGELA GONZALEZ, his mother

CRISTINA, his fianceeTIA CHEDENG, his aunt

ANDRES GOROSPE, an old friendSIMEON SERENO, another friend

FATHER LIM, prison chaplainWARDEN

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The rime is set an hour before the execution. The secne is theprison waiting-room. A door at the rear which, when opened,reveals the bars of the death cell. Another door on right side ofstage. Two high, small windows with bars on rear walls, throughwhich the sky can be seen.

When the curtain rises, the stage is completely dark, exceptfor the lighted candle. The metal rustling of heavy keys is heard.Presently, the right door opens. FATHER LIM and the WAR-DEN appear. FATHER LIM is about forty, brisk-mannered butsoft-voiced. He carries a breviary in one hand, and a small bagin another.

WARDEN: Come right in, Father. The prisoner has beenwaiting for you.

FR. LIM: How is he?

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WARDEN: He’s calm and quiet, Father. He slept well.

FR. LIM: The execution is set?

WARDEN: Within an hour. Exactly at six.

FR. LIM: May I see him now?

WARDEN: Certainly. I’ll bring him out.

FR. LIM: Here?

WARDEN: Yes, it’s permissible. One moment.

WARDEN goes to rear door, opens it. PABLO is seen throughthe bars, seated on a bench, his bead in his hands.

WARDEN: Father Lim is here.

WARDEN opens cell, leads PABLO out into the waiting-room,closing rear door.

FR. LIM: Pablo!

PABLO: Father!

PABLO GONZALEZ is twenty-four. He’s tall, well-built.His sufferings can be seen in his tense manly features, in his darkpiercing eyes, and in the tight expression of his mouth. His move-

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ments are quick and nervous. He wears the orange uniform witha large cross at the back. His hair is cropped.

PABLO: I’ve been expecting you! Any news, Father?

FR. LIM shakes his head.

FR. LIM: None, my son. I’ve tried God knows how much.

PABLO: I understand, Father.

Right door opens, WARDEN appears.

WARDEN: Mr. Gonzalez, any last request you wish to make?I mean, any kind of food or drink you might want?

PABLO: Can I ask anything?

WARDEN: Anything within reason.

PABLO: A bottle of whiskey, could I ask for a bottle of whis-key?

FR. LIM: (smiling) Whiskey?

PABLO: You see, Father, I could not afford to drink it before.I got used to the cheap ginebra and tuba. I’ve always dreamtof being able someday to drink whiskey, a whole bottle.

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WARDEN: Anything more?

PABLO: Yes. Two glasses.

WARDEN: Isn’t there anything you want with the whiskey?

PABLO: Yes. Make it three glasses. We’ll all drink.

WARDEN and FR. LIM look at each other comprehendingly.

WARDEN: What I mean, Mr. Gonzalez, is there any foodyou might want?

PABLO: Food? No, nothing more.

WARDEN: Very well. (He is about to go.)

PABLO: Warden, has my aunt arrived?

WARDEN: Not yet. But there’s a young girl.

PABLO: A young girl?

WARDEN: Dressed in black.

PABLO: (to himself ) Cristina.

FR. LIM: Your?

PABLO nods, bitterly.

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WARDEN: Shall I let her in?

PABLO: No, not yet. I’ll let you know.

WARDEN proceeds to the door.

WARDEN: If you want anything, Father, I shall be just out-side the door.

WARDEN goes out. FR. LIM sits on bench beside the table;PABLO remains standing, staring in front of him.

FR. LIM: Pablo? (He doesn’t answer.) Pablo!

PABLO: (as if waking up) Forgive me, Father, I was thinking.

FR. LIM: Take a seat. (PABLO sits down.) What were youthinking of, my son?

PABLO: I was thinking I can’t believe it that I should be herecondemned to be hung in an hour at the age of twenty-four.(He covers his face.)

FR. LIM: Be calm, Pablo. I went to see the governor for areprieve a few days more at least but he said he couldn’t doanything.

PABLO: Father (Suddenly he breaks down and puts his head onedge of table. FR. LIM goes back to his seat.) Father, do youthink?

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FR. LIM: Yes.

PABLO: What you said last night that God could forgive me,forgive me after all I’ve done?

FR. LIM: My son, Christ has said that if your sins are asscarlet they shall be as white as snow if you ask his forgiveness.

PABLO impulsively kneels in front of FR. LIM. PABLO hesi-tates, and stands up.

FR. LIM: God’s mercy is infinite, my son.

PABLO: No, I can’t. Not yet.

FR. LIM: As you wish, Pablo.

PABLO: If my mother had only taught me to believe and topray. But she never did that’s why I’m here now.

FR. LIM: Your mother still living?

PABLO: Yes, but I hope I don’t see her again!

FR. LIM: Why?

PABLO: What’s the use, Father? It’s a long story.

FR. LIM: While entering the prison gate, I noticed a womanstanding on the sidewalk and looking toward the cells. It couldbe a mere coincidence, but a certain resemblance…

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PABLO: Is she tall?

FR. LIM: Yes, rather. And wearing a colored dress.

PABLO: Curly hair?

FR. LIM: (wondering) Now that I come to think of it yes.Her face was...

PABLO: Covered with too much paint?

FR. LIM nods gravely.

FR. LIM: Wearing earrings and bracelets.

PABLO: That’s her all right. I wonder why she’s here.

FR. LIM: Don’t you expect a mother to see her son?

PABLO: I don’t want to see her!

FR. LIM: Pablo, what you told me a moment ago that yourmother never taught you to believe and to pray, is that thereason you don’t want to see her?

PABLO: (looking at him) That, Father and more. But let’s nottalk about it. I want to rest a little. I’m tired and a little nerv-ous. I hope you don’t mind.

FR. LIM: No, no, of course you should he down for a while.You want me to go?

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PABLO: No, not yet, Father. Will you read me something?My heart is so weary. Perhaps your books could give me somecomfort.

FR. LIM: I’ve two books here. The Confessions of St. Augus-tine and Kempis’s The Following of Christ.

PABLO: The second book yes.

FR. LIM opens the book at random and starts reading.

FR. LIM: (reading aloud from Book One, Chapter 12) It isgood for us now and then to have some troubles and adversi-ties; for oftentimes they make a man enter unto himself, thathe may know that he is an exile, and place not his hopes inanything of the world... Therefore, ought a man so firmly toestablish himself in God, as to have no need of seeking manyhuman consolations... Then is he weary of longer fife; andwisheth death to come, that he may be dissolved, and be withChrist. Then also he well perceiveth, that perfect security andfull peace cannot be realized in this world.

PABLO: That is good, Father. But my eyes, they are weary.

FR. LIM: I shall continue reading it for you, if you wish.

PABLO: Yes, yes. In my cell.

Both exit. WARDEN enters, carrying a bottle and several glasseson a tray which he places on a table. ANDRES GOROSPE, achildhood friend of PABLO, also enters.

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WARDEN: The chaplain is in with him now.

ANDRES: I shall wait.

ANDRES GOROSPE is twenty-six. He has settled down earlyin life. A childhood friend of PABLO, ANDRES has never askedmuch from life, his ambitions are few and modest. ANDRES hasquiet manners and speaks rather slowly. He is attired in a simplesuit and wears a tie. WARDEN is about to open the rear door.

ANDRES: No, don’t bother him just yet. Can I ask a fewquestions?

WARDEN nods.

ANDRES: I’ve just arrived from the province. All I know isfrom the morning papers. I can hardly believe it’s true. Canyou tell me why he murdered that man?

WARDEN: It seems this fellow, the victim, annoyed the pris-oner’s girl once. During the trial the prisoner testified that hewas not a jealous person by temperament, but that when thisother fellow went to the extreme of laying his hands on her,he vowed revenge and killed him.

ANDRES: Was that sufficient reason to give him the deathpenalty?

WARDEN: Many other circumstances aggravated his case.For one thing the murder was deliberate. It was done in theevening and he purposely got drunk.

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ANDRES: What weapon did he use?

WARDEN: A knife. About a foot long. It pierced the man’sheart.

ANDRES: Pablo used to be so afraid of a knife!

WARDEN: The prisoner afraid of a knife?

ANDRES: Oh, I’m talking of the time we were children.

WARDEN: He pleaded guilty.

ANDRES: How strange. If I could only help him.

WARDEN: Too late now. In less than an hour.

ANDRES: Er, this girl?

WARDEN: What girl?

ANDRES: The girl you mentioned, the one Pablo killed theman for?

WARDEN: She’s the one out there (pointing to right door)wearing a black dress.

ANDRES: I can’t understand how Pablo? And then the deathpenalty?

WARDEN: But you see, he had had previous convictions,estafa, disorderly conduct, assault against constituted authority.

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ANDRES: Estafa, too?

WARDEN: A year ago he forged a check for two hundredthousand pesos. He was an inveterate gambler, you know.

ANDRES: I didn’t know.

WARDEN: You wish to see him now? You’re allowed fiveminutes.

ANDRES: Yes. Thank you.

WARDEN opens rear door. We see the chaplain reading toPABLO who’s sitting on a bench with his face buried in his hands.He looks up.

WARDEN: A visitor, Mr. Gonzalez.

PABLO stands, goes out, WARDEN closing door.

WARDEN: The whiskey is here, Mr. Gonzalez.

PABLO: Thank you.

WARDEN goes out.

ANDRES: Pablo.

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PABLO: (trying to remember) I don’t…

ANDRES: Don’t you remember me, Pablo? Andres, we werechildhood friends. We used to play escondite, remember?

PABLO: (recognizing him and shaking hands) Ah, yes, I re-member now.

ANDRES: (both sit down) You used to push me into the river,remember? Whenever we played near the bridge. Have youforgotten?

PABLO: No, Andres. I haven’t forgotten. I only wish we werechildren again. We were happy then, weren’t we? (ANDRESnods sadly, evading his gaze.) You’re the only friend who hascome to see me. The others, my so-called friends, I haven’tseen them since the trial.

ANDRES: They are probably busy.

PABLO: (laughing grimly) Yes, too busy evading me. But yourcoming, Andres, is a complete surprise to me. I mean, I didn’texpect you —

ANDRES: I arrived from Isabela yesterday. I came to Manilaon business. I knew nothing about this until I read the paperslast night.

PABLO: I’m glad you came, Andres.

ANDRES: There’s a young lady outside. She should have comein first, but when she was near the door she turned to me and

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told me to go ahead. Is she your wife?

PABLO: (shaking his head) No. We were to be married whenthis happened.

ANDRES: Is there anything I can do, Pablo? Anything?

PABLO: Thank you, Andres. No, there’s nothing you can donow.

ANDRES: But I can’t understand. When I saw you last wewere in the sixth grade. My father was appointed provincialtreasurer of Batangas, so we had to move there.

PABLO: I chose the wrong path, that’s all. Tell me, are youmarried?

ANDRES: Yes, and with two children. I should like you tomeet my wife. (Suddenly they stare at each other, at the ironicimpossibility of the wish.)

PABLO: What are you doing now?

ANDRES: I’m a doctor. I’m assistant head of the Isabela Pro-vincial Hospital.

PABLO: Are you happy?

ANDRES: I have no complaints. I’ve a little house of myown.

PABLO: You’ve gone far, Andres. And where am I now?

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ANDRES: Pablo, just a suggestion. Why don’t you see thegirl outside?

PABLO: Yes.

ANDRES: Have you thought of marrying her?

PABLO: Now?

ANDRES: Why not?

PABLO: And destroy her future?

ANDRES: If you love her.

PABLO: I do. No, I can’t marry her now!

ANDRES: Does she love you? (PABLO stares at him and nodsbitterly.)

PABLO: That’s just it. She does. I’ve been very selfish all mylife.

ANDRES: She wouldn’t care.

PABLO: Maybe not now, but later she’ll regret it. Why makeher the widow of a murderer?

ANDRES: Tell me, Pablo, your father died when we were stillin school?

PABLO: Yes, and after his death I lived with an old aunt, Tia

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Chedeng but when I was fourteen I ran away.

ANDRES: You, you used a knife, they say. You were so afraidof a knife when you were a kid.

PABLO: Yes, I was afraid of many other things besides. I didn’tgamble, I didn’t drink.

ANDRES: What happened?

PABLO: I don’t know. I grew up without discipline. I wasallowed to steal small sums of money to gamble on streetcomers, to smoke under the bridge. And when I grew older,the wrong friends, the lack of faith in anyone or anything, thebitterness…

ANDRES: Your mother still alive?

PABLO: Yes.

ANDRES: Is she here?

PABLO: I hope not!

ANDRES: (not understanding him) I understand. It’s best, Isuppose.

PABLO: You are mistaken, Andres. I hope never to see heragain!

ANDRES: Your own mother? But…

WARDEN enters.

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WARDEN: There’s a man who insists on seeing you, but hehas no pass.

PABLO: Did he give his name?

WARDEN: Yes. Simeon Sereno. (PABLO, from the expressionon his face, recognizes the visitor, and his smile has a tinge ofbitter contempt.)

PABLO: No, I don’t want to see him.

WARDEN nods, goes out.

ANDRES: Somebody you know?

PABLO: He’s one of my companions from the past whodragged me to the gutter.

WARDEN comes in.

WARDEN: Time is up, Mr. Gorospe.

WARDEN goes out.

ANDRES: Pablo. (Both shake hands warmly.)

PABLO: Thanks for coming, Andres. I’m happy to die know-ing that at least I have a friend.

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ANDRES: Goodbye. (He breaks down momentarily, but quicklypulls himself together.) Goodbye. (Hastily he goes out, WAR-DEN enters.)

WARDEN: Half an hour left, Mr. Gonzalez. You wish to resta little?

PABLO: (with a brief, grim laugh) Rest now? I’ve all eternityto rest in, Warden.

SIMEON enters. He’s about twenty-five, in drab trousers andpants, his hair is tousled. He is smoking a cigarette. PABLO doesn’tsee him at first.

SIMEON: (to WARDEN) Do you mind leaving us alone?(PABLO glares at SIMEON resentfully.)

WARDEN: (to PABLO) You wish to see him? (PABLO doesn’tanswer, but his silence is taken for consent. WARDEN leavesquietly.)

SIMEON: I read in the papers.

PABLO: I didn’t want to see you. You’re partly to blame formy being here.

SIMEON: Don’t be too hard on me, Pablo.

PABLO: You taught me many of the evil things I learned.

SIMEON: I regret it deeply.

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PABLO: Your regret, will it save me from the chair?

SIMEON: If I could do something.

PABLO: What can you do now?

SIMEON: You say I taught you many evil things. That’s true.But I too had been taught in my younger years by other friends.

PABLO: You pretended to be my friend.

SIMEON: I’ve always been your friend, Pablo.

PABLO: That’s why, I suppose, you never came to see meduring the trial.

SIMEON: How should I have known you wanted to see me?I didn’t dare.

PABLO: You were my closest friend, the one I trusted most.We were partners in drinking, gambling, and women and thatdoesn’t merit the word friendship?

SIMEON: True, Pablo and yet I think you’re being unfair tome.

PABLO: Unfair?

SIMEON: (sitting) You have a mother. You are lucky to haveone. My mother died when I was five, my father a year beforethat. I was raised in an orphanage, but I escaped when I wastwelve and since then I’ve been alone in this world! To have a

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mother, how sweet and beautiful it must be. When I was akid, I’d sometimes have fights with other kids, whenever I gotlicked, I’d cry but I had no one to dry my tears. I still remem-ber the garden in the orphanage, how often I’d run to a comerof that garden. There was a bench behind some thick bushesand there I would weep quietly. That’s why I grew up to bebitter.

PABLO has gone near him and has gently put his hand on hisshoulder.

PABLO: (gently) You never told me this.

SIMEON: (bitterly) Each one of us carries a secret in his heartwhich he can’t reveal to anyone.

PABLO: To have a mother, how sweet and beautifully consol-ing it must be. Yes, how wonderful it must be.

SIMEON stares at him.

SIMEON: She’s still alive? (PABLO nods.) Then?

PABLO: I, too, have my secrets, Simeon.

SIMEON stands up.

SIMEON: I’m leaving for Palawan tomorrow.

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PABLO: Palawan?

SIMEON: I have a job at the Leper Colony.

PABLO: Among the lepers?

SIMEON: Among the lepers. I met a nice and fine girl twomonths ago.

PABLO: She’s working there?

SIMEON: She’s going to live there.

PABLO: Live there? But why?

SIMEON: She has leprosy.

PABLO: Leprosy!

SIMEON: I am going with her. That’s why I’ve decided towork there, too.

PABLO: You love her, Simeon?

SIMEON: Yes. And I want to expiate my past.

PABLO: But why go to that extreme?

SIMEON: Great crimes, Pablo, demand great expiations.

PABLO: (suddenly shaking Simeon’s hand) Forgive me, Simeon!I see you’re a better man than I am.

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SIMEON: No, Pablo, I’m no better than you are. I’m worse.But to this girl I owe the change. I was spiritually and morallydead and she brought me back to life.

PABLO: We’ve never been so close to each other as we arenow.

SIMEON: Now we can part, not with bitter reproaches andresentment but with complete understanding.

Hastily SIMEON breaks away and rushes out. PABLO,shaken, sits and buries his face in his hands. WARDEN enters.

WARDEN: Chedeng Gonzalez to see you.

PABLO: Tia Chedeng! Let her in.

WARDEN goes out. CHEDENG enters. She is an old womanof sixty. White-haired, with a wrinkled but kindly face. She stoopsa little. She wears saya and camisa, her shoulders covered with apanwelo. PABLO kisses her hand.

PABLO: Tia Chedeng! (Leads her to a chair, be sitting besideher and holding her bands.) I am so happy you came.

TIA CHEDENG: I did not want to come today. I told youyesterday, but…

PABLO: I wouldn’t have forgiven you if you didn’t come to-day, Tia.

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TIA CHEDENG: I tried, Pablo, I tried to see the presidentbut I couldn’t find him in his office nor in his house. I havefailed.

PABLO: No matter, Tia, no matter now.

TIA CHEDENG: Yesterday you asked me to get you somemangoes. I promised I would get you some, but October isnot the season for mangoes.

PABLO: How silly of me, Tia.

TIA CHEDENG: Pablo, I failed you in everything. If only Ihad not let you go years ago but then you ran away.

PABLO: Why blame yourself, Tia? It was my fault. If only Ihad stayed with you, how different things would have been.

Suddenly TIA CHEDENG bows her bead, bites her lips, astears roll down her cheeks. PABLO caresses her hands. Presentlyshe takes something from her handkerchief.

TIA CHEDENG: Wear this. (Gives him a small crucifix witha chain. She puts it around his neck.)

PABLO: Thank you, Tia. How can I repay you for all yourkindness?

TIA CHEDENG: Only one thing, Pablo, my dear, will makeme happy. What I’ve been asking you these last few days.

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PABLO: Father Lim read me The Following of Christ a whileago.

TIA CHEDENG: I don’t mean that, Pablo.

PABLO: You mean, confession? (She nods.) I don’t know, Tia.It’s too early yet.

TIA CHEDENG: It might be too late, Pablo! (WARDENenters.)

WARDEN: Sorry. Time is up.

TIA CHEDENG: (rising) Thank you, I was just going. (WAR-DEN goes out.)

PABLO: (holding her hands) Tia, did you see somebody wait-ing outside?

TIA CHEDENG: Have you seen Cristina?

PABLO: I don’t mean her.

TIA CHEDENG: Your mother? (He nods.) I saw her waitingon the sidewalk. But you know we have not been on speakingterms all these years. Has she seen you?

PABLO: I don’t want to see her!

TIA CHEDENG: Forgive her, Pablo. A mother remains amother, whatever her faults.

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PABLO: If she had been a true mother, I wouldn’t be here!

TIA CHEDENG: Your father’s death left her embittered andlonely.

PABLO: No, I can’t forgive her! (WARDEN enters again.)

WARDEN: Very little time left, Mr. Gonzalez. The girl wantsto see you. (WARDEN goes out.)

PABLO: Tia. forgive me for all the pains I’ve given you.

TIA CHEDENG: I shall wait outside. And I shall be pray-ing. (She kisses him on the brow.)

PABLO: Farewell, Tia, and pray for me!

TIA CHEDENG: All my life, son, all my life.

WARDEN opens door, as TIA CHEDENG runs out withoutlooking back. PABLO sits down, very tired. CRISTINA enters.WARDEN closes door. CRISTINA is about twenty-one, dressedin black. She is pale, but pretty; shy and quiet; her voice soft.With her hands clasped on her breast, she stands beside the door,staring at PABLO. Presently he notices her presence.

PABLO: (without rising) Cristina! (She advances toward him.)

CRISTINA: We have so little time left, Pablo. (He makes hersit down, sitting beside her.)

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PABLO: What can we say to each other?

CRISTINA: I just want to say I’ll always love you.

PABLO: I’m not worthy of you, Cristina.

CRISTINA: If you really love me don’t go away without…

PABLO: Without marrying you? Can’t you see it would beunfair to you? I should like to marry you now, even if I’mabout to…(CRISTINA puts her hand on his mouth.)

CRISTINA: Let’s not think what the next few moments willbring. (A long pause during which they dare not look at eachother.)

PABLO: (talking almost to himself ) For the first time in mylife I know what real love is the deep silent affection, the quietunderstanding, the feeling of gentle gratitude, the sense ofbeing alive (bitterly) yes, alive. Neither a mother’s nor a wom-an’s love I have known. Early in life I soiled my mind withunworthy thoughts, my mouth with drink and dirty language,my heart polluted with petty desires my hands with stealing,gambling and now, murder! And then you came. Cristina,you came into my sordid, lonely life and cleansed my mindand soul and brightened my world. Until that night…

CRIST1NA: Why, oh God, why? If only I hadn’t been walk-ing alone that night.

PABLO: When you told me the next morning how that fel-low had tried to rape you! I forgot myself. I forgot you. I

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forgot everything! I only knew I had to wipe away the insult!

CRISTINA: But why with blood, Pablo? You shouldn’t have…

PABLO: With blood, yes, because it was the only way. Thatinsult had to be wiped away with blood! If we get marriednow, what can I offer you? Nothing. Premature widowhood,the name of a murderer, a few memories of what might havebeen.

CRISTINA: What do I get? Widowhood, yes, but also theassurance of your heart and mine faithful unto the end andfor always. A few memories, I wish there had been more! Butstill, memories I shall cherish all through eternity.

PABLO: After I am, after this is over, you’ll forget me.

CRISTINA: I shan’t be able to forget, Pablo!

PABLO: If someday you should meet a better fellow who canoffer you a better future, you’ll be glad you didn’t marry me,that you were free.

She weeps quietly on his shoulders. FR. LIM appears.

FR. LIM: It’s nearly time, my son. (PABLO and CRISTINAlook at each other.)

PABLO: Father, this is Cristina. (FR. LIM nods to her.)Father, could we…

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FR. LIM: Yes?

PABLO: Could you marry us now? (FR. LIM looks from oneto the other.) It’s the last favor I ask of you, Father! Could you?

FR. LIM: But…

PABLO: Yes, I know I’m going to die in a few minutes.

CRISTINA: We love each other, Father.

FR. LIM: Have you known each other long?

PABLO: Seven months.

FR. LIM: But at this moment?

CRISTINA: I want to marry him even at this moment.

FR. LIM: Time is short. We shall need two witnesses.

PABLO: My Tia Chedeng is outside. (FR. LIM goes out, rightdoor.) Are you sure, Cristina, you want this?

CRISTINA: Surer than ever. (FR. LIM. returns with TIACHEDENG and ANDRES, followed by the WARDEN. Thefollowing scene is all pantomime with musical background. FR.LIM puts on surplice, opens breviary. PABLO and CRISTINAare ordered to kneel down, ANDRES and TIA CHEDENGstanding beside them. The WARDEN stands near the right door.The mumbling of prayers by the priest is indistinctly heard. Asthe ceremony progresses, CRISTINA little by little loses poise, covers

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her face as PABLO holds her by the shoulders. The ceremonyover, TIA CHEDENG kisses CRISTINA who is weeping silently.)

PABLO: (seeing the bottle of whiskey) I almost forgot! The bot-tle of whiskey! Let’s all celebrate! (He looks at the others whoremain glum. He stares at CRISTINA who has her eyes down.)

PABLO gulps down his share, but suddenly throws the glasson the floor, breaking it. He sits down and leaning on the table,breaks down. CRISTINA goes near him and he puts his armaround her waist briefly. WARDEN, after an awkward pause,touches PABLO on the shoulder.

WARDEN: Five minutes left. (Suddenly voices are beard out-side. WARDEN runs to the door. His voice is heard off stage).You can’t get in without a pass!

ANGELA: (outside) Let me in! Let me in! (Everybody lookstowards the door.)

WARDEN: (outside) Who are you?

ANGELA: (outside) I am his mother! (PABLO’s reaction is tobe imagined.)

WARDEN: (outside) But you don’t have a pass!

ANGELA: (outside) He’s my son and I have the right.

PABLO: (quietly) Warden, will you let her in?

The Condemned

ANGELA enters, stands near door.

WARDEN: Is she your mother?

PABLO: She used to be. (They all look at him.)

FR. LIM: (going to rear door) I shall wait in here. (He goes out.PABLO embraces CRISTINA briefly.)

PABLO: Wait for me, dearest. I shall call you. (PABLO kissesTIA CHEDENG’s hand.) Tia, will you take care of Cristinafor me? (TIA CHEDENG nods. PABLO shakes ANDRES’hand.) Stand by them, will you, Andres? (CRISTINA supportsTIA CHEDENG, and all go out, closing door behind them.ANGELA GONZALEZ takes a few steps forward, extreme frontstage, right. PABLO stands an extreme left, front. ANGELA isover forty-five, but is trying to retain her faded youth and beautyby the overuse of cosmetics. There is an air of bad taste and vul-garity about her, accentuated by her gaudy colored dress and theuse of big bracelets and earrings. Her voice is husky.)

PABLO: (without looking at her) What do you want?

ANGELA: I wanted to see you.

PABLO: What for? To offer me your sympathy? Thanks. Idon’t need it. You didn’t try to see me during the trial.

ANGELA. I couldn’t. I was ashamed.

PABLO: Ashamed? And aren’t you ashamed to be here now?

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ANGELA: I am your mother, Pablo.

PABLO: The woman I used to call mother died when afterFather’s death, she lived with Marcos Nable.

ANGELA: You hate me so.

PABLO: I don’t hate you. My feelings for you are what I wouldfeel for a stranger.

ANGELA: I have left him. I left Marcos for good.

PABLO: And so you came here to feel pride in your work.

ANGELA: I don’t understand.

PABLO: If I’m here now, if I’m condemned to the chair it’sbecause of you!

ANGELA: Me!

PABLO: Yes, you! Have you ever been a mother to me? Didyou ever give me any care or attention? Isn’t it true that youspent all your time gambling while you left me with TiaChedeng? When Father was sick and dying, weren’t you outgambling?

ANGELA: I fed you, clothed you.

PABLO: And you thought you had done your duty! Youthought that in bringing me into this world your work wasfinished! It had only begun!

The Condemned

ANGELA: What did you want me to do?

PABLO: Did you ever correct my faults? Did you care whomy companions and playmates were? Did you ever check mefrom committing petty thefts, correct my bad language, mybad tendencies?

ANGELA: I really tried, I…

PABLO: And did you ever teach me to fear God? (Pause) TiaChedeng taught me a few prayers which I quickly forgot be-cause I ran away. My faults became habits and my bad habitsenslaved me.

ANGELA: I wasn’t to blame, try to understand, my son.

PABLO: Son! You dare call me your son! And a few monthsafter Father’s death, I was ten then, you fell in love with MarcosNable, lived with him, pueh! My own mother!

ANGELA: I left him.

PABLO: And may I know why? Not that it matters.

ANGELA: When I read about your sentence a few weeks ago,I, I realized that I had done wrong—

PABLO: In the meantime what had you done to me? Youbroke my ideals, tore away my faith, you filled me with bit-terness — the bitterness of a son who’s ashamed of his ownmother!

ANGELA: (going near him) Pablo! Have pity!

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PABLO: Pity! You never had any for me! You sent me outinto the world without faith, without anchor, without dreams!I wandered alone and lonely without a home until I metCristina, the girl I’ve just married.

ANGELA: Married! (Looking back towards right door remem-bering CRISTINA.)

PABLO: And now that I’m about to die, how I wish to havemy own mother at my side, to be able to tell her how sorry Iam, to be able to part from this life with a mother’s kiss. Butno! It’s my own mother who has sent me here!

ANGELA: Pablo! Pablo, my son!

PABLO: Tears! How can your tears move me now when Idrowned my own tears in drink?

ANGELA slowly raises herself up. PABLO covers his face withhis hands. There is an expression of determination on ANGELA’sface. Slowly and quietly, she takes off her earrings, bracelets, rings,and gently puts them on the table. She also tries to wipe off thecosmetics on her face. When she speaks, her voice is low and soft.

ANGELA: Listen to what I have to say. I was forced to marryyour father against my will. I didn’t love him and he knew it.It wasn’t my fault! My family shouldn’t have opposed mymarriage to the man I really loved. To forget my unhappinessI turned to gambling and to pleasure. That kept me awayfrom your father. I didn’t want a baby, you might as well know,so when you came, well, I just left you to the care of servants.

The Condemned

(Her voice rising.) But few knew that our married life wasunhappy. And when your father died, I sought an outlet formy lonely years.

PABLO: Tia Chedeng wanted to make me believe Father’sdeath had made you lonely and bitter, yes, but for differentreasons.

ANGELA: I left you in Tia Chedeng’s care, then. She wantedyou. When you were eleven, that was the time I met Marcos.Tia Chedeng knew about my unhappy marriage with yourfather.

PABLO: She knew and never told me.

ANGELA: I’ve told you everything! Now condemn me if youdare!

PABLO: If I could believe you, I would ask you to take careof Cristina for me but no, it’s impossible! Too late!

ANGELA: Yes, son, let me take care of her! I’ll be a real motherto her what I haven’t been to you!

PABLO: If I could die with the word “Mother” on my lips, ifI could call you Mother! (Desperately.) God in heaven, why,can’t I call you Mother? (Right door opens, WARDEN comesin.)

WARDEN: Time’s up! The officials await you in your cell.

ANGELA: Not yet, not yet! (FR. LIM appears.)

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FR. LIM: We must start, Pablo.

PABLO stares at the WARDEN and FR. LIM as if in a trance.

WARDEN: If you wish to see your wife

PABLO: My wife? Oh, Cristina. Yes, no, never mind. Whyhurt her more? (Turning to FR. LIM) Father, I am afraid todie.

FR. LIM: Don’t doubt God’s mercy. His mercy is as wide andas deep as the ocean.

PABLO: Father, will you hear my confession? (FR. LIM nods,as PABLO kneels in front of him. Music. Stage becomes dark.FR. LIM gives the absolution.) Let’s go!

ANGELA: My son!

PABLO looks at her with compassion in his eyes, makes agesture of bending towards her, but turns abruptly, and goes outthrough rear door with WARDEN, closing door behind them.Bells begin to toll outside. The door opens. CRISTINA, TIACHEDENG, and ANDRES rush in.

CRISTINA: (rushing to rear door and banging it repeatedly)Pablo! Wait! (Stage is darkened as bell continue tolling.CRISTINA breaks down and collapses in front of rear door, afigure of utter dejection. TIA CHEDENG sits on chair, with

The Condemned

ANDRES behind her. Music continues. ANGELA stands, frontright, with hands folded tightly and bead down, as if praying.TIA CHEDENG prays with a rosary in her hands. The pausecontinues for twenty seconds, interrupted only by CRISTINA’ssobs. Suddenly the bells cease tolling. Another pause of fifteenseconds. Steps are heard. All raise their eyes toward rear door inan attitude of expectation. Rear door opens, FR. LIM appears,closes door. CRISTINA and ANGELA come nearer with a ges-ture of supplication.)

FR. LIM: It’s all over. His last words were, his last words…

CRISTINA and ANGELA. Yes?

FR. LIM: “Cristina” (Here CRISTINA sobs.) “Tia”…

ANGELA: Was that all?

FR. LIM: (staring at her)…and “Mother.” He whispered, likea prayer, the word “Mother” twice.

ANGELA: Mother twice.

As CRISTINA breaks into sobs, ANGELA bends over andenfolds her in her arms. TIA CHEDENG makes the sign of thecross.

T H E E N D

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The Condemned

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