BATAK KA DUNGAN: ISA NGA KASAYSAYAN

(THE CALL OF THE DOUBLE: A HISTORY)

ANTONNI CUESTA, 2005

2
BLACK.
We hear the voice of a MAN, serious, as if in deep thought:
FRANCO (V.O.)
Ayon sa mga Sulod, ang bawat tao ay
may dalawang kaluluwa.
INT. KUBO - DUSK, 2002
A hand lies limp, white but dirtied.
FRANCO DAYALO, sits among a group of natives mourning and
wailing for the...
TWO MEN lying on a raised platform in the middle of the room
above the bamboo floor, the men covered with blankets, their
hands and feet sticking out from the edges.
Franco eyes ESTRELLA outside the kubo talking to ANITA, the
babaylan woman (priestess). Estrellas eyes are elusive,
avoiding Francos.
PASTOR JOE (O.S.)
Dont take it against her. Shes just
doing what is expected of her.
PASTOR JOE, paternal and with a comforting disposition, sits
on the floor beside Franco.
PASTOR JOE
Shes just looking after her people.
Like what her mother did. (pauses)
Its always been like this.
FRANCO
Its always been like this.
We hold on the face of Franco.
VIDEO INSERT: HINAYA VIDEO
DR. ALICE MAGOS is in front of the camera, the manner of a
scholar. We see a title card at the bottom of the frame:
Dr. Alicia Magos, Director
Center for West Visayas Studies (CWVS), UP Visayas.

She sits under a shade of a tree in an open area, the Oblation

prominent in the background. We are at the CWVS Building, UP
Visayas, Iloilo.
DR. MAGOS
I first met Estrella in 1994 when I
was doing research on the epics of
Panay. She accompanied us on our
journey to Siya. She was, at that
time, the president of the Tribal
Youth Council of the Panay-Bukidnons.
My informant Lola Susa or known by
her pagan name Anggoran, was
Estrellas aunt and Estrellas
grandmother, Hugan-an, was Dr.
Jocanos informant 40 years ago, in
1955, when he too was doing his
research on the Panayanons. So you
see, Estrella came from a lineage of
storytellers. Oral lore and history
are in her blood. Last August 2002, I
met her mother here in Ilo-ilo City
for a conference. Nay Helena was
very proud of her daughter Estrella.
(pauses) I would have been too.
START OF OPENING CREDITS
EXT. CENTRAL PANAY MOUNTAIN RANGE - MORNING, 2002
FROM THE POV of a handheld video camera, we follow a team of
researchers in complete trekking gear as they walk a densely
planted path: tall cogon grass, uneven ground, a grove of
trees.
A DEW DROP SLIDES DOWN from a leaf. It is still morning.
EXT. RIVER - NOON, 2002
A FOOT SLUSHES into the crystal clear water. Then ANOTHER.
Then ANOTHER.
The team crosses a river, knee-high, pebbles and boulders
litter their way. The water glistens white from the noon sun,
as ripples on the surface are formed.

4
EXT. SITIO OF SAN ANTONIO - DUSK, 2002
Out of the densely planted path, onto an elevated clearing is
a small community of thatched roofed houses resting peacefully
under an amber sky, the sun starting to wane in the distance.
RURAL FACES peer from their windows. It is dusk.
Outside one of the houses, a LITTLE GIRL, no older than 8,
draws loops and circles on the ground. She stops and looks at
the visitors with intent eyes.
END OF OPENING CREDITS
INT. MAL-AM BENIGS KUBO - NIGHT, 2002
A gathering, an ambahan (song-feast), has been prepared by the
Sulod Tribe (also known as Tumandok, Panayanon, Mundo) to
welcome the visitors. Despite being hidden at the very heart
of the Panay mountain range, the locals do not look primitive
at all. T-shirts and pants, and skirts are the typical attire.
ALBERT and KEVIN are making rounds, their video cameras aglow,
recording the festivity as the natives sing folksongs in
Hiligaynon.
A jug of the local rice wine (pangasi) is passed around.
MAL-AM BENIG offers some drink to KARA, but even before she
can refuse, the old man has already filled her cup to the
brim. She smiles at the forced hospitality. Also at the table
are Franco and MAURICIO.
FRANCO (to
Mauricio)
Sabi ni Ms. Tess sa national,
busy daw kayo. Salamat dahil
in-accommodate ninyo pa rin
kami.

Ms. Tess from the national

center said you were busy.
Thank you for accommodating
us.

MAURICIO
May taga-UN na darating sa
December. Kailangan namin
maghanda.

We need to prepare. Someone

from the United Nations is
coming this December.

Without looking at Franco, Mauricio takes a sip from his cup

and keeps silent hes not in the mood to talk.

MAL-AM BENIG (to

Mauricio)
Ngaa ari na sila diri, ano
gikinahanglan nila?

Translation: (subtitled)

MAURICIO
(respectful)
Ari sila kay para
magapamangkot-mangkot tay
magsugilanon di bala.

Translation: (subtitled)

What are they here for?

Theyre here to ask around,

tay listen to what we have
to say.

Franco and Kara glance at each other with looks on their

faces: What are they talking about?
MAL-AM BENIG (to
Mauricio)
Amo galeh.. (pauses) Basi mga
NPA sila ah.

I see... (pauses) As long as

theyre not NPA.

Its a rhetorical thought. It could even have been just a

joke. But no one is laughing.
Albert gestures to Franco for additional tapes. Franco excuses
himself.
A native has just finished a song. The guitar is passed.
Another starts to sing Dalawidaw by Augurio Abeto.
NATIVE
Dalawidaw ikaw kon magambahanon / Yuhum mo may
balani kag binalaybay /
Duhang larawan mo sa
dalamgohanon / Diwata sa
bukid kag kataw sa baybay.

You have an amazing voice

when you sing and your
furtive smile has a means
everything. You have two
faces in my dream, one is a
fairy of the field the other
a mermaid of the sea.

MAURICIO (to Kara)

Gaano kayo katagal dito?

How long will you be here?

KARA
Mga dalawang linggo lang po.
Yun na yung pinakamatagal.
Kailangan lang namin malaman
kung paano umaabot dito ang
balita, kung paano nag-uusap

Two weeks at the most. We

just need to get an idea how
the tribe gets the news, how
people converse with each
other, and how people use the

6
ang mga tao at kung paano
ginagamit ng mga tao ang mga
midyang meron dito. Yung mga
ganung bagay. Puro mga
interview lang.

media that are available to

them. That kind of
information. All will just be
interviews.

Mauricio downs the rice wine and hides a smile behind his cup.
MAURICIO
Kung ganon, di kayo
magkakaproblema. Lahat dito,
may kwento.

In that case, youre not

going to have any problems.
Everyone here is good at
telling a story.

Mauricio meant something else.

INT. BALAY TURUN-AN (SCHOOLHOUSE) - NIGHT, 2002
Franco, holding the videotapes, zips close the bag. As he
stands to leave, he sees from afar a woman approaching the
chieftains kubo where the Ambahan is being held.
NATIVE
(O.S.)(contd)
Tumandok sa bukid natawo sa
payag / Nayon sa tuburan nga
daw handurawan / Tubig
nagatigay sang imo ka-anyag /
Kag nangin salaming hublas
mong larawan.

In a hut where the natives of

the fields were born, is a
place where imagination
flows, where water cascades
for your beauty and reflects
your image.

EXT. CLEARING - NIGHT SAME TIME

The woman moves reluctantly, forcing herself forward.
Still a bit far from the chieftains house, Mal-am Benig
appears, casually walking out of the kubo to meet her.
From the Balay Turun-an, Franco looks on.
We STAY IN THE LONG SHOT. Mal-am Benig talks to the woman. We
cant hear the conversation but by the gestures exchanged, we
can surmise that Mal-am Benig is asking her to go in and meet
the team.

7
The woman doesnt seem to be coming in. Mal-am Benig lets her
go. As the two part ways, the woman notices Franco walking out
of the Balay Turun-an.
We MOVE IN and we see that the woman is Estrella, the same
woman at the funeral in the beginning of the film, more
beautiful perhaps in the darkness as the moon casts a faint
light on her round face. She looks at Franco with the same sad
elusive eyes, eyes that tell us she had a rough day. She turns
the other way.
NATIVE
(O.S.)(contd)
Diwata sa talon, bulak nga
ilahas / Sa kapalaran ka daw
gapasimpalad / Alibangbang
lamang labing makahas /
Makigsuyop sang kayuyom
sinang sipad.

A lady of the woods, a wild

flower, your fate is what you
rely on, like a butterfly
that feeds on a sac.

Franco looks on as she goes to her kubo.

EXT. ESTRELLAS KUBO - NIGHT SAME TIME
Estrella walks up to her house. Bigger than the rest of the
houses in the settlement, it stands dark, foreboding and
tightly closed.
EXT. SETTLEMENT, SITIO SAN ANTONIO - NIGHT
The night rests with the lone voice of the native, singing.
NATIVE
(O.S.)(contd)
Yadtong kagab-ihon nga punong
himaya / Sa isang payag kita
nagsumpa-anay / Didto ta
pinang-gas kag dili Malaya /
Putling handumanan sang
gugmang panganay.

That night was full of love

We were inside a small
cottage, taking vows, thats
where we planted it so it
will never die. It will
remind us of our first love.

DISSOLVE TO:
EXT. RICEFIELD, CAPIZ - AFTERNOON, 1972

8
The Capiz countryside: the sky of nightmarish gray, the air
thick and heavy, the field a picture of drab brown, no signs
of life.
The silence of the countryside is broken by the faint sound of
a train, heavy in its movement and yet sure of its
destination.
TITLE OVER: Capiz, 1972
INT. TRAIN SAME TIME
The train that runs from Roxas City to Ilo-ilo is virtually
empty.
GERRY ALBA, 29, of mestizo descent, sits quietly in his seat,
looking at the three women at the opposite end of the car. The
nuns mutter the rosary under their breath. On his side, his
portable manual typewriter and a suitcase containing his
personal belongings. Accompanying him is AMADOR, the familys
most trusted servant.
AMADOR (O.S.)
Ang akala namin ay di ka na
babalik, Toto.

We thought youd never come

back, Toto.

Gerry hears it but he doesnt respond. He throws his sight at

the vastness of the ricefield.
Amador, on the other hand, eyes the two soldiers in olive
green uniforms standing near the entrance of the couch. They
hold their M16s with smugged casualness.
AMADOR
Marami nang nagbago mula
nang umalis ka.
GERRY
Hindi bat pagmamay-ari pa
rin namin ang lupa? Ito ang
naaalala ko noong umalis ako.
(Pauses, considers the facts)
Hindi Ta Mador, walang
nagbago.

Things have changed since you

left.

We still own the land, do we

not? This is how I remember
things were. (Pauses,
considers the facts) No Ta
Mador, nothing has changed.

9
The sound of the train, chugging and clunking, swells into a
shrill of a sharp steam whistle screaming.
EXT. TRAIN STATION, TOWN OF DUMARAO - DUSK
A small town train station lies almost in the middle of
nowhere.
The DRIVER loads Gerrys luggage into the trunk of the
Chrysler. As the driver is about to load the typewriter into
the trunk, Amador stops him.
AMADOR
Pabayai na ina.

Ill take care of that.

Amador carefully puts the typewriter in the backseat of the

car. He turns to look at Gerry who is just a few steps away.
A POSTER in bold letters:
AKSYON KARON!
IBOTO
GONZALO ALBA,
PARA MAYOR

Translation: (Subtitled)
Action Now!
Vote
Gonzalo Alba
For Mayor

Gerry looks at it resolutely.

EXT. DIRT ROAD - DUSK
A RED FLAG is strewn around a tree. A BEVY OF PEOPLE move like
shadows under the canopy of trees that line up the side of the
road. The SANTO INTIERRO (a statue of the dead Christ) sleeps
soundly in his wood and glass frame. People with candles,
world-weary farmers, women with veils and scapulars, children,
all, singing...
CROWD
Ave... Ave... Ave Maria...
We see different statues of Mary trailing the dead Christ: Our
Lady of Fatima, Our Lady of Lourdes, The Madonna, the
Immaculate Conception the same woman taking on different
forms.
Coming from the opposite direction, the car slows down and
drives past the Good Friday procession.

10
Among the crowd are the KAPITANES, farmers that stand as
community leaders for the people. Although they share the same
meek appearance as the rest of the townsfolk, they are
distinguished by their modest buttoned-down polos and pleated
black pants. They all give a respectful nod as the Chrysler
passes them by. Except for one Kapitan.
Clutching his chest, Gerry responds with cold indifference.
Trailing at the very end of the procession is the MATER
DOLOROSA (the weeping image of Mother Mary). Through the gaps
of her black veil, we can see those sad elusive eyes,
watching, guarding her people.
EXT. ALBA MANSION - NIGHT
A grand mansion, built in the style of the bahay na bato
(indigenous version of the Andalucian house), stands proudly
in the middle of a vast track of land. No gates, just acres
and acres of land around it. The house glows in the night with
the light flowing out of its large windows, almost outshining
the great white summer moon of March.
The Chrysler glides past the luxurious vintage cars and timid
obedient drivers that line up the driveway.
Franco gets off. He notices a tough looking military jeep. An
officer, CAPT. ROGELIO BUENDIA, looking rugged but youngish,
enjoys a smoke. They glance.
EXT. ENTRADA PRINCIPAL - NIGHT
Gerry stands at the ENTRADA PRINCIPAL, a large passage with
intricate carvings on the wooden frame, leading to a
granolithic staircase which in turn leads to the sala. There
is apprehension in Gerry. He looks at Amador. Amador gives the
look for him to go.
FROM A DISTANCE
Standing under a solitary tree by the road, ANABELLA, a woman
in disheveled clothes, looks on unnoticed. Her mouth is
moving, whispering chants into the wind.
ANABELLA
deposuit potentes de sede et
exaltavit humiles

He has thrown down the rulers

from their thrones, but

11
lifted up the lowly.
AT THE ENTRADA
Gerry goes up.
INT. SALA, ALBA MANSION - NIGHT
The social elite people from the religious, the military,
the government and other landowners are gathered in a
expansive area glowing in bronze. A CRYSTAL CHANDELIER gives a
signature of opulence. BLACK AND YELLOW CURTAINS are hung,
traditionally signifying death.
A TABLEAU: At the far end of the room, is a CLOSED COFFIN,
swimming in a sea of flowers. On the wall, above the coffin,
is an imposing PAINTING OF A NOBLEMAN WITH HIS TWO SONS. The
man in the painting stands strong and dignified in his suit
and cane, while the two boys beside him carry the same
aquiline nose he has. Sitting beside the coffin is a beautiful
woman, ESPERANZA ALBA, 35, the only woman in the gathering,
dressed in mourners black, silently praying. The image of the
three (painting, coffin and woman) almost an apparition in
their stillness.
AMOY VICTORIOSO (O.S.)
No, I will not allow it.
Arguing by the window are AMOY VICTORIOSO (Victorioso Alba),
62, robust and stern, and LT. COL. JARQUE, 50, younger but
just as tough, in full army regalia. Both men cradle a glass
of whiskey.
COL. JARQUE
I have already asked for additional
troops from Jamindan.
AMOY VICTORIOSO
Pabalikin mo sila.

Send them back.

COL. JARQUE
Alam mo na dumarami ang
bilang ng mga Abandonados.
At hindi magtatagal ay
lulusubin na rin nila ang
kabayanan. At sa oras na
mangyari yon, kakailanganin

Its not unknown to you that

the number of the
Abandonados is growing. And
it wont take long before
they finally hit the lowland
towns. And when that

12
mo ang mga sundalo ko.

happens, youre going to

need my soldiers.

Amoy Victorioso knows this. He admits the truth by his

silence.
COL. JARQUE
Para sa kaligtasan mo din
ito.

Its for your own safety.

AMOY VICTORIOSO
Kaya kong protektahan ang
sarili ko.

I can take care of myself.

COL. JARQUE
Ikaw, kaya mo.
(eyes the coffin)
Pero ang kapatid mo, hindi.

Apparently, you can.

(eyes the coffin)
But your brother cant.

AMOY VICTORIOSO
He shouldnt have been there. The
mountains is no place for an Alba.
COL. JARQUE
He was campaigning. I always believed
that your family prided itself with
its name.
AMOY VICTORIOSO
We make kings. We do not become kings
ourselves. Thats for the masses.
A beat. Out the window, Amoy Victorioso sees Anabella standing
under a tree from afar.
AMOY VICTORIOSO (contd.)
He never did listen to me. He had
always been stubborn.
A long beat. Realizing that he cant convince the old man,
Col. Jarque leaves some word of caution.
COL. JARQUE
Di mo sila mapipigilan sa
paglusob, Vic. Hindi mo sila
mapipigilan kung wala ang
tulong ko.

Not even you can stop them

from coming, Vic. Not without
my help.

13
Amoy Victorioso spots Gerry who has just come up the landing.
Amoy Victorioso has heard enough of Col. Jarque. He finishes
his drink in one gulp and breaks off with the last word.
AMOY VICTORIOSO
Kasama ka ni Gonzalo nang
mangyari yon, ngunit wala
kang nagawa para protektahan
ang kapatid ko. Hindi
Colonel, hindi ko kailangan
ng tulong mo.

You were with Gonzalo when it

happened, and yet, you failed
to protect my brother. No
Colonel, I certainly dont
need your help.

AT THE LANDING
Gerry sticks out like a sore thumb among the crowd of fully
dressed dignified men. Past the throng of people, he sees
Esperanza across the room. He hesitates to approach her.
AMOY VICTORIOSO (O.S.)
Gerardo Alba.
GERRY
Tiyoy.
ACROSS THE ROOM
Esperanza pauses from her prayers and turns to see Gerry and
Amoy Victorioso.
AT THE LANDING
Gerry gives the mano (paying respect by touching ones forehead
to the back of the hand of the elderly kin). A moment passes
between them.
AMOY VICTORIOSO
Nakikita kong hindi mo ibig
sumama sa salu-salo.

I assume youre not going to

join the gathering.

Gerry keeps silent.

AMOY VICTORIOSO
I understand.
(pauses)
Ang mahalaga ay nandito ka
na.

I understand.
(pauses)
Whats important is that
youre here now.

14
GERRY (resistant)
Hes still my father.
AMOY VICTORIOSO (matter of fact)
And you are his son.
As Gerry leaves to his room, he sees Col. Jarque, sipping on
his whiskey, glancing at him while the military man chats with
the MONSIGNOR MINISTER-VICAR.
Amoy Victorioso turns to Esperanza. Caught looking by her
father, Esperanza nods her head in an instant and goes back to
her prayers.
EXT. ALBA MANSION - NIGHT - LATER
All is QUIET now. The guests have left and the lights have
been put off except for a single glow from one of the rooms.
INT. HOUSE STUDY / SMALL LIBRARY - NIGHT
FINGERS run on an old wooden table...
... as Gerry walks around the room a room of wood and books
and memories of the past.
An OLD CHAIR has been pulled for him. He runs his finger on it
with great deliberation. He sits and looks around. Its all
there, the books he has read about the world when he was
young, all kept safe inside wooden shelves with glass door
panes.
ESPERANZA (O.S)
Gintago ko na sila sing
mayad.

I kept all of them safe.

Gerry turns and sees his cousin standing at the door, her
white evening dress revealing every gentle curve of her body.
He coolly considers her. She walks towards him.
ESPERANZA
Siling ni tatay upod ka daw
buwas kay makadto siya sa
galingan.

Father said he wants you to

go with him to the granary
tomorrow.

15
She stops right in front of him. Now that shes near, it has
suddenly become difficult for him to look at her. He avoids
her eyes and looks the other way.
GERRY
Bakit kailangan ikaw ang
magsabi sa akin?

Why didnt he tell it to me

personally?

ESPERANZA
Naga pahuway na siya subong.
Tigulang na siya. Makapoy kag
mabudlay ini nga simana para
sa iya mas na gid ang
pagkapatay sang utod nya.

Hes resting now. Hes not

getting any younger, you
know. The week has been
really tough for him, losing
a brother and all.

GERRY
O dahil alam niyang di rin
ako sasama.

Or that he knew I wont go

anyways.

Esperanza keeps silent. A moment passes. Gerry realizes she

has taken offense of his iciness.
GERRY (without looking at her)
Im sorry.
Her eyes say its okay. She leans against the table.
ESPERANZA
Hinambal mo kay Ta Mador na
mabalik ka pagkatapos mo sa
koleyo.

You told Ta Mador you were

coming back right after
college.

GERRY
Naging abala ako sa
pagtuturo.

I was busy teaching at the

University.

ESPERANZA
How is it like? Manila? How is it
like?
A beat. It looks as if Gerry doesnt want to talk. But he
finds the right words to say.
GERRY (serious)
Its the only place in the country
where there are more aswangs than
Capiz.

16
It was a joke. But Esperanza doesnt seem to have a reaction.
Then a curl on the side of her lips betrays her of a smile.
GERRY
And they also walk in daylight.
The slightest of smiles pass between them. A moment.
ESPERANZA
Nahadlok ako kay abi nakon
indi kana magbalik.

I was afraid youd never come

back.

GERRY
Ang importante, ara na ko
diri.

But Im here now, thats

whats important.

Gerry looks up at Esperanza, smiles at her tenderly, and

discreetly catches her hand. There is a silent understanding
between them.
VIDEO INSERT: HINAYA VIDEO
DR. LEOTHINY CLAVEL is in front of the camera, the manner of a
scholar. We see a title card at the bottom of the frame:
Dr. Leothiny Clavel, Professor, Graduate School
Behavioral Science Department, DLSU Manila.
Same quality as of the previous video insert of Dr. Magos. On
the background is a view of Marilen Gaerlan field. We are in
front of the La Salle Building, DLSU Manila.
DR. CLAVEL
Its a basic principle in Philippine
society: The dead breathe with the
living. She knows it all, the
practice of the Almelaw of the Blaans of South Cotabato or of the
Sagada of the Bontoc of the
Cordilleras. Thats why it is not
surprising that most of her stories
take special interest with death.
Back at UP Diliman where I used to
teach, I remember Estrella as the
lost Lit major who always end up in
my Anthropology classes. (pauses,
smiles, remembering). But sadly,

17
thats all I remember about her. I
dont even remember how she looks
like. Maybe because she chose to
always stay there, at the back of the
class. I never did find out why. She
did however write once, With a face,
you remember... including those who
have already gone and left. Maybe,
she just didnt want to show her
face. For all I know, she could have
been anyone.
INT. BALAY TURUN-AN - MORNING, 2002
The team is preparing to move out for their focus group
discussion. Questionnaires, ticklers and pens. Cameras,
tripod, and sound assist. The rest of the gear are to be left
behind.
Franco finishes his preparation ahead of the team. Waiting for
the rest, he looks around the schoolhouse / storage room.
The Balay Turun-an is the only structure in the settlement
that is made of hollow blocks. The room has cemented flooring
while the roof is made of galvanized iron. The windows are
square holes on the walls. Small wooden benches are stacked on
top of each other and are placed beside the walls.
On one long side of the room is a BLACKBOARD WHEREIN WRITTEN
ALL OVER ARE WORDS IN LIGBOK.
It would have been a completely one-room space if not for a
WAIST HIGH PARTITION AT THE OPPOSITE END OF THE ROOM WHERE
SACKS OF RICE are neatly piled on top of each other. This is
the Tambubo or storage place for rice.
A shuffle outside. Estrella, the woman who Franco saw in the
clearing the night before, enters.
ESTRELLA (handing a folder to noone
in particular)
Here.
Kevin receives it on behalf of the team. Kara also takes a
look at it.

18
ESTRELLA
Its the complete media profile of
the tribe. Cio told me, you were
doing a communications survey.
ALBERT
Yes, we are.
ESTRELLA (pulling herself a stool)
Tapaz is quite far for people from
Manila to do a research on. From La
Salle, right?
KEVIN (eyeing Albert whos now
leafing through the pages)
Hes Atenean.
Albert gives Kevin the look Will you stop it. The group
lightens with smiles.
KEVIN (contd)
Its a developmental study aimed at
formulating media and communications
strategies for the needs of
indigenous peoples. Its for our
masters.
KARA (moves to shake hands)
Kara. This is Kevin, Albert and
thats Franco.
Franco walks towards the group. Albert hands him the folder.
Franco takes a look at it.
ESTRELLA (offering her hand in
return)
Estrella.
KARA
Youre also from Tulung Tumanduk?
ESTRELLA
Resident personnel. What other
indigenous groups have you already
visited?

19
The same Little Girl we saw looking at the team when the team
arrived enters the room and hides behind the doorpost,
unmindful of the discussion at hand. It looks as though shes
playing hide and seek with her friends. But we dont see any
of her friends outside. No one pays attention to the Little
Girl except Franco.
KARA
Weve only done two major clusters so
far. The Cordillera group and the
Lumads.
ESTRELLA
Still quite a lot to go, dont you
think?
ALBERT (laughs at the task at hand)
Hahaha, you said it, about 90 tribes
to go.
ESTRELLA (casually)
Well, I hope this helps.
KARA
Thanks.
ESTRELLA
All right then, Ill tell Cio that
your teams done. Glad to have met
you.
Estrella stands up to excuse herself.
The team hides their confusion. They eye each other, So, are
we leaving?
The Little Girl turns to Franco with her index finger on her
lips, gesturing for him to keep quiet and not to give away her
hiding place.
FRANCO (not taking
his eyes off the
Little Girl)
Ang mga binukot, ilan na lang
sila ngayon?

The binukots, the hidden

princesses, how many of them
are still alive?

20
We see in Estrellas face that she doesnt like the question.
But she answers.
ESTRELLA
Tatlo sa Calinog, Iloilo,
dalawa sa Ibakaw, Aklan, at
dalawa sa Valderamma,
Antique.
FRANCO
At dito sa Capiz?

Three in Calinog, Ilo-ilo,

two in Ibakaw, Aklan, and two
in Valderamma, Antique

And here in Capiz?

It takes a moment before Estrella can answer.

ESTRELLA
May isa na lang na natitira.

Theres just one left.

KEVIN
Is there a way we can meet her?
ESTRELLA
Sitio Busay is a days walk from
here. Its a very long journey deep
into the mountains.
KEVIN
Thats fine with us... anything that
would help us with this project.
Estrella doesnt want the team here, much less for them to go
to Sitio Busay. She looks at Franco and tries to bury her
frustration without much success. A moment passes.
KARA (reaches for Estrellas hand)
It would really help us a lot if we
can talk to her.
Estrella loosens.
ESTRELLA
Lets see what I can do.
(pauses)
But I would like to warn you, there
are things in the jungle that we have
no control of. I cannot ensure your
safety.

21
Estrellas words seem to have struck the team. They exchange
glances as if asking each other whether to take back their
request. But before they can come to an agreement...
Estrella leaves the room. On her way out, she tousles the hair
of the Little Girl hiding behind the doorpost.
The Little Girl turns and smiles at Franco gratefully.
EXT. HILL, SUNNY DAY
A grass-covered hill, a lone tree at the top, gentle yellow
sunrays warming it through, a fond memory. Soft, beating
rhythm. Playful laughters echoing, carried by the wind of a
distant past. Streaks of sunrays seep through the spaces
between the leaves.
A GUNSHOT punctuates the voices into a halt. A SWIFT BREEZE
follows, making the leaves of the tree rustle in the wind.
ANGLE ON A MAN slowly falling to the grass-covered ground.
We do not see his face but we know we will see him soon
enough.
TINY FINGERS, the hand of a child touching the golden yellow
ricestalks as he passes by. The beating we hear becomes a
FLAPPING OF WINGS.
INT. GERRYS BEDROOM, ALBA MANSION - MIDNIGHT, 1972
Gerrys eyes are wide open, troubled, his arm resting on his
forehead while he lies on his bed. He cannot sleep. Or did he
just wake up from a dream?
He rises, mindful not to disturb the body lying beside him.
The body turns and we see that it is Esperanza. He sits at the
edge of the bed. He stands up, paces himself to the window and
looks outside.
Below is the Mater Dolorosa, dark as the night, resting now
from the procession. All we hear are crickets chirping. He
holds his chest.
INT. GERRYS BATHROOM, ALBA MANSION - MORNING
Wet hair and moist skin. Stripped to the waist, Gerry stolidly
stares at himself on the bathroom mirror. He examines the

22
wound on his left chest. TIGHT ON wound: a 4 inch cut, fresh,
deep. He presses lightly around it. He flinches. BLOOD drips
out of the slit. A single drop falls into the water in the
sink. Gerry watches as the BLOOD SPREADS INTO THE LIQUID,
CONTAMINATING EVERYTHING RED. Then, another drop of blood. And
another. And another. All of the water becomes red.
EXT. ROAD TO THE GRANARY - DAY
A jeep traverses the unpaved road that cuts through the vast
fields of cracked soil.
EXT. GRANARY - DAY
Large mats are laid out in the open for drying palay.
Gerry, and Amoy Victorioso arrive at the granary - a large
warehouse made of wood, steel and concrete. The jeep drives
past the delivery trucks, forklifts, milling machines, workers
and farmers that are all lined up outside.
Its Black Saturday and the people should be at home or at the
church praying. The workers and farmers stand up in respect
while the jeep drives past. There is a purpose for their
coming in such an ungodly day.
Amoy Victorioso gestures to the driver to stop. Amoy
Victorioso and Geryy get off.
Amador, in his working attire, a clipboard and pen in hand,
approaches. Hes been there waiting. Following close behind
him are the Kapitanes.
AMADOR (respectfully)
Amoy Victorioso. Amoy Gerardo.
AMOY VICTORIOSO
Ari na diri sila tanan?

Are the men all here?

AMADOR
Oo, Amoy.

Yes, Amoy.

EXT. GRANARY - DAY LATER

People get settled into a crowd around Amoy, Gerry and Amador.
Assembled are rural faces: hardy, world-weary, diffident.
Gerrys attention wanders into a hut across the river.

23
OUTSIDE THE KUBO
Anabella is sprawled on the ground, under a tree. As before,
we hear her mumble words in Latin.
ANABELLA
Et exultavit spiritus meus in
Deo salutari meo / Quia
respexit humilitatem ancillae
suae ecce enim ex hoc beatam
me dicent omnes generationes.

Translation (subtitled)
My spirit rejoices in God my
savior. For he has looked
upon his hand-maids
lowliness; behold from now on
will all ages call me
blessed.

AT THE GRANARY
Amoy Victorioso starts to address the crowd in a proud tone.
It is not the intention of Amoy Victorioso to elicit
celebration. He states it as a matter of fact. ANABELLAS
VOICE drones in the background. Both are about promises.
AMOY VICTORIOSO
Mga kasimanwa. Gin
promisa ko sa inyo
ang maayo nga ani
kag gin hatag ko sa
inyo ang ani sang
aton duta. Samtang
ang kahimtangan sang
aton nga bayan ay
kapuraot, gin hatag
ko sa inyo, labi pa
sa inyo nga
kinahanglan. Sa dili
madugay, aton
pagapartehan ang
bugay sang aton
pinangabudlayan.

My fellow kabanwas.
I have promised you
a good harvest and
I have brought you
the bounty of our
land. While times
are hard for the
rest of the
country, I have
given you more than
what you need. Soon
enough, we shall
share in our tables
the fruits of our
labor.

WOMAN
quia fecit mihi
magna qui potens
est et sanctum
nomen eius / et
misericordia
eius in
progenies et
progenies
timentibus eum /
fecit potentiam
in brachio suo
dispersit
superbos mente
cordis sui

Gerry gestures to Amador.

GERRY
Matagal na ba siya
dito? Sino siya?

Who is she? I dont

remember her.

AMADOR
Siya si Anabella. Nagkagusto
daw ang engkanto sa kanya

Thats Anabella. Some say

that an engkanto fell in love

24
kaya siya nagkaganyan. Ang
sabi naman ng iba, dala daw
yan ng pangbubugbog ng
kinakasama niya dati.
Nagpapagamot ang mga tao sa
kanya dati. Pero ngayon, ang
tawag nila sa kanya, Buang
Bilya. Pero sa alam ko,
nasira ang ulo niya nang
mamatay ang anak niyang si
Manuel dahil sa tipus. Mula
noon, nakikita ko na lang
siyang ganyan sa kubo niya o
kaya naman pagalagala sa
palayan.

with her, thats why she went

insane. While others say that
it was the beating she got
from her old partner that did
it. People used to come to
her house when they were sick
and needed help. Now they
call her Crazy Bella. As for
what I know, she lost her
mind when her son Manuel died
of typhoid. Since then, she
spends her day in her hut or
by wandering around wherever
her feet would take her.

Tragic, Gerry thinks. Amoy Victorioso continues with his

speech. Inscrutable faces from the crowd.
AMOY VICTORIOSO
(contd)
Ako kag si Dodoy
Gonzaling, maayo gid
sa inyo, sa tanan
nga tawo sang ini
nga banwa. Pero wala
na si Dodoy, tani
padayon man gihapon
kamo sa pagbulig sa
akon...

... I and my
brother Gonzalo
have been true to
you, to the people
of this great
banwa. But now that
my brother is
around no more, I
appeal to you that
you continue to
help me...

ANABELLA
(contd)
suscepit Israhel
puerum suum
memorari
misericordiae /
sicut locutus
est ad patres
nostros Abraham
et semini eius
in saecula.

OUTSIDE THE KUBO

Anabella pauses.
AT THE GRANARY
Amoy Victorioso turns and looks at Gerry.
AMOY VICTORIOSO
...Kag sa iya bata nga ari di
para mabulos sa iya.

... and his son who has come

to take his stead.

25
OUTSIDE THE KUBO
Anabella stands up and turns to the granary. She looks at
Gerry from across the river.
ANABELLA (contd)
... deposuit potentes de sede
et exaltavit humiles /
esurientes implevit bonis et
divites dimisit inanes.

Translation (subtitles)
He has thrown down the
rulers from their thrones,
but lifted up the lowly. The
hungry he has filled with
good things; the rich he has
sent away empty.

AT THE GRANARY
The crowd remains silent. All eyes are on Gerry.
INT. HOUSE STUDY / LIBRARY - AFTERNOON
The afternoon sun floods the room with warm, amber light.
GERRY (hotly)
I came to pay my respects! Thats
all. Nothing more.
Amoy Victorioso coolly keeps quiet, nursing his whiskey,
looking to the field. Gerry steams.
AMOY VICTORIOSO
I thought giving you all these books
will make you see more of whats out
there for you. (pauses) But I guess
all this literature has only made you
soft.
Gerry continues to steam.
GERRY
My father dies and I come. It has
nothing to do with my work.
AMOY VICTORIOSO
You come to pay respects to a man you
barely knew.
Amoy Victorioso swirls the ice on his glass.

26
AMOY VICTORIOSO
Tell me, hijo, what is it that really
made you come back?
Amoy Victorioso waits for an answer. It doesnt come. He
decides to answer his own question.
AMOY VICTORIOSO
You tell students of stories theyve
never dreamt of living. But now,
theyre living their stories. Theyre
in the mountains, holding up arms,
walking the fields, dying for a
purpose.
Gerrys is rendered tight-lipped as his fury dissipates. He
accepts the fact the he is no match for Amoy Victorioso.
Amoy Victorioso finishes his drink. On his way out, he leaves
the empty glass on top of the table, in front of Gerry.
AMOY VICTORIOSO
You teach students about heroes...
(pauses) but then, you cant even be
a man and live up to your name.
EXT. GERRYS ROOM - NIGHT
Esperanza stands in front of the closed door. Shes been here
for a while. This is the nearest she can get for tonight. We
can hear the clickity-clack of the typewriter inside.
INT. GERRYS ROOM, NIGHT
Gerry tries to vent out his anger on his typewriter, his
fingers pounding on the keys.
EXT. ALBA MANSION - PRE-DAWN
The coffin of Amoy Gonzaling is brought down from the house
through the Entrada Principal by men wearing white polo
barongs. Helping them carry the coffin is Gerry, dressed for
the occasion.
In the middle of the ceremonious commotion are Amoy Victorioso
and Amador, with them the Monsignor Minister-Vicar dressed in
his white and red.

27
Amoy Victorioso eyes Esperanza who is looking out from her
window. She cant go.
The coffin is hauled into the hearse, dark as the night, even
darker than the beautifully decorated icon of Mater Dolorosa
weeping beside it. Its against Canon Law to bury the dead on
the Easter Triduum, all the more on Easter Sunday. But for the
family, an exception can be made.
EXT. ROAD TO THE CEMETERY - PRE-DAWN
A long line of people snakes crossing the dark landscape. The
Capiznon society, a parade of characters: The STATUE of the
Mater Dolorosa, the HEARSE of Amoy Gonzaling, the JEEP of Amoy
Victorioso (with him is the Monsignor Minister-Vicar), the
CHRYSLER with Gerry, the rest of the landowners in their
BENZS, Amador with the Kapitanes and behind them, the people
of the town.
EXT. CEMENTERIO DE PENINSULARES MORNING
Beyond the CHURCH OF IMMACULATE CONCEPTION, among the stone
markers of the circular cemetery which used to be the burial
ground of full-blooded Spaniards, stand only the rich, the
women with their black veils and the men with their suits and
canes. No one is mourning. All are just present.
CLOSE on a grave, with a headstone marked DOA MARIA
CONSOLACION ALBA y DIAZ. A newly-dug grave beside it. A
headstone rests on the grass covered ground: DON GONZALO ALBA
y ACUA.
EXT. CHURCH OF THE IMMACULATE CONCEPTION - MORNING
Amador, being the mayordomo (head servant) of sorts in the
Alba household, is tasked to take care of the familys
heirloom, the Mater Dolorosa. He walks with the Mater Dolorosa
as she leads her contingent to meet her son, A STATUE OF THE
RESSURECTED JESUS, now, glorious in its white robe laced with
gold trimmings and crown of golden sunrays on its head.
Following Jesus is his peasant army. The voices of the people
float with Ave Verum.
CROWD
Ave verum corpus natum de
Maria virgine...

Translation (subtitled)
Hail to Thee! true Body
sprung from the Virgin Marys
womb.

28
EXT. CEMENTERIO DE PENINSULARES - MORNING
With a red cloth tied around his arm traditionally signifying
that he is now an orphan, Gerry stands in front of the grave
of his parents, as the coffin of his father is lowered to the
ground beside his mother. In his face, he does not know both
of these people. The Monsignor drones mechanically in Latin.
MONSIGNOR MINISTER-VICAR
Esto nobis praegustatum
mortis. In examine.

Suffer us to taste of Thee in

our lifes last agony.

EXT. CHURCH OF THE IMMACULATE CONCEPTION - MORNING

Manning Jesus flock, a crowd of farmers and their families
living on the other side of town, is a young priest wearing a
modest chasuble and stole. He may look as lowly as the rest of
people but we can see in his eyes fires that could burn a town
into ashes.
FATHER SIMEON
O Iesu fili Mariae!

O, Jesus, Marys son.

CROWD
O Iesu fili Mariae!

O, Jesus, Marys son.

The bell tolls. In front of aged baroque church, the mother

and the son meet. The statues of the Mother and Jesus exchange
glances as if for a moment, they have come to life.
EXT. CEMENTERIO DE PENINSULARES SAME TIME
The bell echoes in the distance.
Amoy Victorioso is talking with the Kapitanes, perhaps
briefing them on something. Amoy Victorioso glances at Gerry
in the corner of his eyes. Gerry eyes Amoy Victorioso in
response.
EXT. ALBA MANSION DAY - LATER
Under a tree, Gerry looks at the house from a distance. There
is a gathering. The same cars line up outside the house as
they did earlier. They want him there. They expect him there.
He is next in line. He turns away.

29
He walks past drivers huddled, having a chat.
DRIVERS (all, with a well gestured
nod)
Amoy.
EXT. RIVER / MAPANAG CREEK - DAY
A tributary of the Pan-ay River runs peacefully 20 meters away
from the mansion. Anabella stands at the bank while she
watches Amador and other servants haul the Mater Dolorosa into
the Zaguan (also known as Silong, the basement area of the
Bahay na Bato).
ANABELLA (into the
wind)
Mama.

Mother.

GERRY
Bakit ka nandito?

Why are you here?

Anabella does not respond. Gerry repeats the question, now in

the local dialect.
GERRY
Ngaman nagkadto ka dire?
ANABELLA
Nauna ko di, di bala?

Why are you here?

I was here first, as you can
see.

Sense has returned to Anabella. Gerry hides his surprise.

ANABELLA
Ay lib bisayd di riber. Kung
diin makalab-ot ang agos,
didto man ako.

I live beside the river. So

wherever the river flows, I
am not a visitor.

Gerry did not expect this, him talking to the woman called
Buang Bilya. A moment passes.
GERRY
Marami akong naririnig-rinig
tungkol sa iyo.

I have heard things about

you.

ANABELLA
Ikaw ang nakakilala sa akon

You know more about me than

30
sing mayad kaysa iban. Wala
mo lang mahibal-i.

anyone else. You just dont

realize it yet.

GERRY
Kung ganon, may alam ka ding
mga bagay tungkol sa akin?

And what about me, anything

about me that you know?

Gerry looks at the vast fields, the mountains in the horizon

and the gray sky that forebodes darker days.
ANABELLA
Masunod ka na.

You are next.

Was it an affirmation of whats ahead for Gerry or a warning?

Gerry does not know either.
ANABELLA
Deposuit potentes de sede et
exaltavit humiles. (pauses)
Kamatayan lang ang ari di.
Tani, di ka na nagbalik diri,
ga.

Deposuit potentes de sede et

exaltavit humiles. (pauses)
There is only death here my
friend. You shouldnt have
comeback.

They exchange one long look.

AMADOR (O.S.)
Ano ginahimo mo diri?
What are you doing here?
A few steps behind Gerry and Anabella is Amador. Gerry turns,
Anabella does not.
AMADOR (to
Anabella)
Ngaman nagakadto ka sa mga
lugar na wala ka gina baton.

Why do you go to places you

are not welcome, woman.

ANABELLA
Ngaman ginasalikway mo gid
ako, Ta Mador?

Why do you turn me away so

rashly, Ta Mador?

Amador does not answer. We feel as if there is an unspoken

secret between them.
ANABELLA (to
Amador)
Malakat na ako. Pero nabal-an

I will leave. But you know he

31
mo gid nga makadto gihapon
sya sa akon.
(to Gerry)
Sa imo Gerry, akon nga
palangga, indi gid maghilum
ang samad, tubtob nga
madumduman mo kung sin-o ako.

will come to me, soon enough.

(to Gerry)
As for you my dear Gerry, it
will never heal until you
remember who I am.

Anabella walks away. Gerry and Amador look on as she leaves.

AMADOR
Kanina ka pa hinihintay ni
Amoy Victorioso sa bahay.

Amoy Victorioso is waiting

for you at the house.

Gerry follows Anabella with his eyes. He holds his chest where
the 4-inch wound is.
INT. BALAY TURUN-AN - DAWN, 2002
The team is almost ready to leave.
MAURICIO
Halos kalahating araw na
lakad ang Busay mula dito.
Nag-almusal sana kayo ng
marami.

Busays more than a half

days walk so I hope you had
a good breakfast.

As he pulls some extra clothes from his bag, Albert drops a

plastic bag full of items on the floor. He hurries to pick it
up but Kevin gets to it first. Kevin looks at it, holding it
in front of him. Kevin starts to laugh. Its a plastic bag
full of garlic.
ALBERT
Give me that!
Kara and Franco are smiling, although a bit embarrassed at
Mauricio. Mauricio finds nothing to laugh about.
MAURICIO
Kailangan na nating umalis.

We need to get going.

EXT. BALAY TURUN-AN - SAME TIME

While waiting for the team, Estrella tears off a small piece
of bark from a tree and puts it inside her mouth. She pulls
another piece.

32

The team comes out of the Balay Turun-an, with lighter packs,
ready to move out. Estrella walks to Franco and discreetly
hands him the bark. Franco looks at it, a bit surprised.
ESTRELLA (coldly)
Its to keep you safe.
FRANCO
Ano to?

Whats this?

ESTRELLA
Kapag sinabi ko kung ano
yan, mawawalan yan ng bisa.

It will lose its power if I

tell you what it is.

She walks ahead. Franco looks at the item. The rest of the
group follows into the forest.
VIDEO INSERT: HINAYA VIDEO
MAL-AM BENIG in front of the camera. We see a title card at
the bottom of the frame:
Mal-am Benig Gardose, Parangkutun (Tribe Leader)
Tumanduk Tribe
The video is clear as with that of Dr. Magos interview. We
can see in the background the Balay Turun-an. We are at the
Sulod settlement at Sitio San Antonio.
MAL-AM BENIG
Bag-o pa magpa-Iloilo ang
akon nga utod na si Helena,
si Estrella na ang nagahimo
sa mga butang na ginahimo sa
iya nga nanay... nagakadto
sa iban nga sitio,
ginsigurado nya tanan nga
tradisyon ginsunod sa aton
nga kautoran. Indi pareho
sang iban nga binukot, si
Helena kung diin-diin
nakalab-ot, maski diin na
kinahanglan sang iya
istorya. Gusto man ni
Estrella na kinahanglan
siya. Namian gid si Estrella

Right even before my sister

Helena left for Ilo-ilo,
Estrella has already been
actively taking on the role
of her mother, going to the
other sitios, making sure
all traditions are being
observed, things like that.
Unlike many binukots, my
sister Helena traveled a
lot, going anywhere her
stories were needed.
Estrella admired her mother
very much. When she was
small, Estrella would try
her best to chant our epics

33
sa iya nga nanay. Sang gamay
pa siya, ginatinguwa niya
gid nga mabal-an ang pag
halambiton sang mga epiko,
parehas sang iya nga nanay.
Pero pirmi lang siya gahibi
pagkatapos, kay gina sunlog
siya sang akon nga utod.
Pirmi ginasiling ni Inday
kay Estrella, Inde ka gid
mahimo nga mayad nga makanta
parehas sa akon. Perte ka
bugnaw tingog mo!
(Mal-am Benig is smiling
from the anecdote.) Nami-an
gid na ya si Helena sa iya
nga bata. (A long beat. Malam is waiting for
instructions from the people
behind the camera)
FRANCO (O.S.)
Diin na subong si Iyay
Helena?
MAL-AM BENIG (a
havent-you-heard
tone)
Hai, indi na siya nagbalik sa
Ilo-ilo. Ginapangita pa siya
ni Estrella, sang adlaw nga
pag-abot mo. Amo na gani nga
indi ka niya nasugat sa
banwa.

the way her mother did. But

she would always cry
afterwards because my sister
keeps on laughing and
teasing her. Inday will
always tell Estrella you
will never become a chanter
like me! Youre voice is too
soft! (Mal-am Benig is
smiling from the anecdote.)
But the truth is, Helena was
very proud of her daughter
Estrella.
(A long beat. Mal-am is
waiting for instructions
from the people behind the
camera)

Wheres Iyay Helena now?

Well, she never returned from

Ilo-ilo. Estrella was looking
for her on the day your group
arrived. Thats why she
wasnt able to fetch you at
the town center.

INT. KUBO, SITIO BUSAY, TAPAZ, CAPIZ - NIGHT, 2002

A man lies in the center of the house raised on a platform,
dressed with the best lowland clothing the family could find.
A cloth is tied around the lower jaw and top of the head bind
his mouth shut. His face had been beaten badly making it
difficult to recognize what he used to look like when he was
alive. Around the platform is an improvised gate, a barrier
that separates the visitors from the man.
The team and Mauricio are clustered on one side of the house,
sitting quietly at the floor, scanning the room, watching as

34
more people get inside the kubo. At the opposite side of the
room is a woman, grieving quietly with her mother. The woman
is the DEAD MANS WIFE.
KARA (whispering to Franco)
Why are we here?
FRANCO
Di ko alam.
(to Kevin)
Ikaw, alam mo ba kung bakit
tayo nandito?

I dont know.
(to Kevin)
How about you, do you know
why were here?

KEVIN
Malay ko ba. Akala ko ba,
were supposed to meet the
binukot.

How should I know? I thought

were supposed to meet the
hidden pricess.

ALBERT (to
Mauricio)
Pwede ko bang i-video ito?

Can I take a video of this?

MAURICIO
Bakit hindi?

Why not?

Albert turns on his video camera and starts recording.

Franco sees Estrella talking to Anita, the babaylan woman
(priestess) outside the kubo. Estrella seems to be explaining
to the woman the presence of the lowlanders. The babaylan
doesnt like it.
As she explains herself, Estrella glances at Franco looking at
her. She continues explaining to Anita. The babaylan woman
doesnt like that there are lowlanders here. She turns her
back from the conversation, mad, and heads inside the kubo.
She starts removing the barriers.
Estrella follows shortly, slowly, perhaps a bit ashamed at
Anita. She helps with removing the barriers. The babaylan
notices Albert with his video camera.
ANITA (shouting)
Put that thing off!!!

35
Albert shrinks to his corner, shocked. The whole team is as
taken aback by the sudden outburstin English. Expecting what
would happen, Mauricio turns to the team casually.
MAURICIO
Mula ngayon, wala nang
magtatanong.

From this point on, no more

questions.

After removing all the barriers, Estrella sits beside

Mauricio, leaving the babaylan in the middle of the room.
FRANCO (to
Estrella)
Bakit mo kami dinala dito?
Ano ito?

Why did you bring us here?

Whats this all about?

Mauricio shoots a look at Franco, daggerly. Estrella sees

Mauricios reaction. She knows he had already told the team
not to ask questions.
ESTRELLA (to the team)
She will ask him how he died. Any
question other than hers will confuse
the Umalagad. And when the spirits
get mad, someone will die.
(pauses, irritated)
Now, keep quiet.
Anita is now seated at the foot the corpse. Except for the
talisman she wears on her neck, theres nothing odd about her
she looks like any ordinary native, a mishmash of lowland
and upland clothing, although undeniably, shes educated in
the University just like Estrella.
Anita swings over the face of the dead man a necklace of
varicolored seeds which she has charmed for the occasion. Then
she invokes the souls of the departed ancestors in a tone that
seems to be of another world. This is the CHANT.
ANITA (chanting)
Haw... Sinaulug, haw Birdin,
Kapdng, Hunaway.
Haw...antay Tuwa, Sarinu,
manugpatibara, mga unang tau,
Dimaanu, manugluwas, magtamd
kaw sa alima ku kag indi kaw
magbutig.

Translation (subtitled)
Oh Sinaulug, Oh Berdin,
Kapdng, Hunaway. Oh father
Tuwa, Sarinu, first men to
practice patibara, Dimaanu,
first performer of this
ritual, guide my hands and do
not tell a lie.

36

Holding a red tear-soaked cloth on her mouth, the wife awaits

for the truth of her husbands death. Her mother stokes her
back to calm her down.
ANITA (chanting, contd)
Masugid kaw sa pagkamatuud,
indi mu aku pagbutigan hay
ginaluwas ikaw agd iba nga
gasulaw magamatuud.

Translation (subtitled)
Tell the truth, dont tell a
lie because Im trying to
discover the cause of this
death, so that those who are
here would know the truth.

After the invocation, the babaylan pauses, the swaying of the

charm stops. Mauricio and Estrella have seen this before.
While the team has not-there is uneasiness on their faces.
A lizard slowly crawls to the center of the room. It is only
Franco who notices. The babaylan is quiet. She has stopped
from trembling. It is the Patibara, the ritual questioning of
the dead.
ANITA
Nagahibi para sa imo ang
pamilya mo, Tahurun.

Youre family weeps for you

Tahurun.

ANITA (same voice)

Patawaron mo ako kung galain
pamatyagan mo tungod sa akon.

Please forgive me if I had

made you feel ill.

The wife is looking at the babaylan, still quietly weeping.

She knows it is her who the babaylan is addressing.
ANITA
Gusto ko magbalik sa imo.
Patawaron mo ako kung indi ko
nahimo.
ANITA
Oo, gin preparahan niya imo
pagbalik. Sang amo to nga
gab-I, nag preparer siya sang
kamote, itlog kag manok. Kag
gin suksok pa niya ang
pinakamatahom niya nga
bestida para malipay ka kung
makit-an mo siya.

I wanted to come back to you.

Forgive me if I was not able
to.
Yes, she prepared for your
return. That night, she
prepared sweet potatoes, eggs
and chicken. And she wore her
best dress so that you would
be pleased to see her.

37
ANITA
Patawaron mo ako. Patawaron
mo ako, akon palangga. Ara
kami sa dalan sang gin
harangan kami sang
Mangingilaw.

Forgive me. Forgive me my

love. We were on the road, on
our way back, when the
Mangingilaw, caught us off
guard.

The wife is trying her best not to burst into tears. Her
mother, holding her tight, is urging her to be strong.
ANITA
Wala kami kabalo nga ara to
sila, gin sigurado namon nga
indi mag-agi sa Mari-it.
(pauses) Pero ato to sila.
Nagmakaluoy kami, nga indi
kami tandugon.

We were not expecting them to

be there since we made sure
to stay out of the Forbidden
Zones. (Pauses) But they were
there nonetheless. We tried
to talk to them, pleading for
them to spare us.

TEARS start to fall from the eyes of the babaylan. But shes
calm, as if its not her but the man inside her that is
crying.
ANITA
Wala ako mahimu. Maski gin
away ko sila para masalbar si
Iyay pero indi kami kasarang
sa Mangingilaw.

But it wouldnt. We fought to

protect Iyay but we were no
match for the Mangingilaw.

Franco spots the wounds on the dead mans arms: Cuts,

scratches and bruises. He wonders where they came from since
he barely understands the story, unlike us who have been
reading the subtitles.
ANITA
Gin hambalan ko si Bansagan
kag Baet-an nga bayaan nila
ako, updon nila si Iyay para
masalbar. (pauses) Nagpabilin
ako para awayon ang
Mangingilaw.

I told Bansagan and Bt-an to

escape with Iyay. (Pause) I
stayed and fought.

The wife of Tahurun is now loud, inconsolable.

ANITA
Amo ina ang kamatuuran kung
nga-a wala ako nagkabalik sa

And now this is the story why

I was not able to come back

38
imo, palangga, para kaunon
ang gin preparar mo nga
pagkaon sa akon, kag
magahulid sa imo sa aton nga
katre.
ANITA
Tahurun ka gid, kag ginatahod
ka namon sang lubos. Maglakat
ka na, kag ginapangabay ko
ang imo paghalin. Indi mo na
pag-istorbohon ang mga
nabilin pa diri. Mag-antos ka
para sa ila, tungod nag-antos
sila sa imo pagkadula, nauna
ka na kag indi na makabalik
pa.

to you my love, to eat the

feast you have lovingly
prepared for me, and to make
love to you in our bed.

You are Tahurun indeed, the

respected one, and you have
our utmost respect. Go now
and I bid you to depart. Do
not anymore bother those who
are still here. Suffer for
them because they have
suffered for the loss of you,
now that you have gone ahead
and could not return.

Franco sees Estrella. Estrella is firm, strong. But we feel

that she too is weeping inside.
EXT. SITIO BUSAY - EARLY MORNING
The settlement is in a vigil. We can hear the Anitas chant
from the kubo its loud, tireless. The kubo glows from the
inside. It is the Hamwat ritual which is done from midnight to
10 am of the following morning. In the horizon, midnight blue.
Crickets are singing with the babaylan.
EXT. KUBO, SITIO BUSAY - EARLY MORNING
Estrella sits on a bench outside a kubo across the one where
the Hamwat is being done. She can hear the voice of the
Babaylan.
ANITA (chanting, O.S.)
Balik salilingdan
Dapulay kaw sa ginikanan
Gapabilug kaw sa lawas
Gapabakad kaw ka tubuan

Translation (subtitled)
Return from where you are
Come back to your parents
And have your body made whole
Strengthen yourself

INT. ANOTHER KUBO, SITIO BUSAY - SAME TIME

The team is sleeping inside another kubo. Except for Franco.
He approaches Kara whos tightly asleep, tucks her blanket,
and strokes her hair. Kevin wakes up.

39
KEVIN (groggy)
Di ka pa ba matutulog?
(checks his watch) Alas tres
na, a.
FRANCO
Sige, sunod na lang ako.

Still up? (checks his watch)

Its already 3 in the moring.

Go ahead. Dont worry about

me.

Kevin thinks ok. He goes back to sleep. Franco spots

Estrella at the kubo across.
EXT. KUBO - SAME TIME
Estrella stares into the wilderness, far and blank, into the
canopy of trees and a trail among the bushes that leads to
nowhere. Shes worried, tensed and silent.
BABAYLAN (chanting, O.S.)
Dapulay kanday natbaeng
Dapaen kanday naruran
Sag uli kaw kaw anay sa
langbaen

Translation
Come back O
Come back O
Please come
while

(subtitled)
beloved
dear me
back home for a

Franco walks towards her. She doesnt turn to look at him.

Franco sits beside Estrella. No sign of acknowledgement from
Estrella. Franco looks at Estrella, wanting to say something.
A movement from Estrella. She pulls out a small white plastic
bag from her jeans pocket. She puts it on top of her lap,
looks down at it, and opens it with her two hands. She pulls
out a leaf, tears out 2 small pieces and puts the leaf back
inside the plastic.
She then gets a small container similar to those used for
facial creams, opens it, wets her index finger, and dabs her
finger in the white substance inside the bottle. She spreads
the white substance into the pieces of leaf, rolls one of
them, and puts it in her mouth between the cheek and the gums.
She then gets a round nut from the plastic bag, bites off a
piece and CHEWS IT WITH THE LEAF INSIDE HER MOUTH. She bites
off another piece and puts it on the other lime-covered leaf.
She pulls out a cube made out of pressed tobacco leaves, tears
a piece and puts it inside her mouth.

40
Still chewing, she tears another piece of the tobacco and
places it on top of the betel nut on the other leaf.
Franco has been watching the whole process. He doesnt know
what it is, but it looks intricate enough to get him glued.
Estrella STOPS CHEWING. She rolls the other leaf ceremoniously
and without looking at him, she offers the roll to Franco.
Franco is bemused. What is it?, he thinks to himself.
Although unsure, he graciously accepts the roll with both
hands. He carefully picks up the roll from his palm and puts
it inside his mouth.
He chews, not sure of what he is doing. Estrella waits. Franco
continues to chew, slowly but surely, scrutinizing the
substance inside his mouth. Then slowly, HIS EYEBROWS MEET,
getting closer with every chew. And then he stops.
A curl on the side of Estrellas lips betrays her of a smile.
She has tricked Franco. Its Nganga, a spicy concoction of
areca nut, lime and betel leaf, flavored with tobacco. Its a
traditional stimulant to keep people awake. Aside from that,
it also increases salivation.
Franco gags, stands quickly from his seat and throws out all
the red spit he has accumulated. While Franco frantically
tries to get all the stuff out of his mouth, Estrella
masterfully spits on the ground and then starts to chew again,
her mouth red from the tobacco.
Estrella, still not looking at Franco, smiles satisfied with
her ploy. Franco sees this and he too starts to smile, at
least trying to, while he relieves himself of the spiciness.
With mouths stained red, as if bloodied, Estrella and Franco
have a silent understanding.
EXT. RICEFIELD - DAY, 1972
A tableau: (FG) A river flows peacefully. (MG) A kubo stands
at the side of a river. A large tree stands beside it. (BG)
The ricefield, brown, without life. (Far BG) The mountain
ranges meet the gray sky. Its dead peaceful.
Then...
MUFFLED GUNSHOTS echo in the distance.

41
EXT. DIRT ROAD TO GRANARY - DAY
A jeep cuts through the road.
ON THE JEEP
Gerry sits at the front beside Amador.
EXT. GRANARY - DAY
THE GRANARY IS ABLAZE. Thick clouds of smoke rising to the
sky. People are running around in mad confusion, trying to
save as many men and as many of the harvest as they could.
Gerry sees the milling machine, or whats left of it, covered
in black. Whats left of the trucks are crumpled metal and
shattered glass, black, burning.
Dead bodies are scattered all around. Amador leads Gerry past
a column of dead bodies, lined side by side. At the end of the
line, together with the rest of the dead workers, is Amoy
Victorioso, lying on the dirt.
INT. AMOY VICTORIOSOS ROOM, 3rd FLR ALBA MANSION - NIGHT
A large sack of a man, Amoy Victorioso is laid on his bed, the
cushions removed. The embalmer, in a face mask, gloves and
plastic apron, is with Amador inside the room, preparing the
dead man.
OUTSIDE, Gerry looks on. He cannot bring himself to go inside.
He is does not want to see the process, neither is he ready to
face the implications of his Uncles death. But whether he
likes it or not, he is next.
Amador turns to look at Gerry. Gerry turns away. He sees the
door of Esperanzas room ajar.
INT. ESPERANZAS BEDROOM, 3rd FLOOR - SAME TIME
In the shadows of the room, a woman is looking out the window
blankly. Esperanza now, too, has a RED CLOTH tied on her arm.
The door slowly opens. The light flows in but she doesnt turn
to look. Gerry enters. He sits beside her. He doesnt look at
her. Dead silence. Esperanza speaks first.

42
ESPERANZA
Siling ng mga sulugoon nga
nagsuksok sila sing pula nga
higot sa ila nga braso. Kag
bag-o nila sunugon ang isa ka
probinsya, nagahihi kag
nagasinggit anay sila sa mga
pangalan sang ila nanay.

The servants say they wear

red bands on their arms. And
before they burn down a town,
they cry out the names of
their mothers.

GERRY
Its a myth.
ESPERANZA
Patay na tatay mo hasta tatay
ko. Oo Toto, nakakapatay ang
mga estorya karon.

Your father is dead. And so

is mine. Yes Toto, stories
can kill.

GERRY
Theyre rebels. Walang
Pinagkaiba sa mga Pulahanes,
sa mga HUK, o sa mga NPA. Ang
mga taong ito, pumapatay
kahit di nila naiintindihan
ang mga ipinaglalaban nila.

Theyre rebels. No different

than the Pulahan, the HUKs or
the NPA. These are people who
go on massacring people for a
cause they dont even
understand.

Esperanza does not contest. She waits for a while before

speaking again.
ESPERANZA
Nasabtan ko ang kamatayan.
Nabasa ko tanan mahitungod
dira. Karon ara na siya sa
sulod sa iya higdaanan.

I understand death. Ive read

all about it. And now, hes
in the other room, on his
bed.

A long beat. Esperanza turns to Gerry. She looks at him like a

scared cat.
ESPERANZA
Bul-a ang kahadlok ko.

Make the fear go away.

She slowly slides her hand under him and moves closer to kiss
him. He doesnt move, no resistance. Their lips meet. She
closes her eyes. Gerry doesnt. She stops; she understands.
She moves away unresentful. She goes back to looking out the
window.

43
A beat. Perhaps in the desire to make up to his unreadiness,
he puts his arms around her waist, moves closer, and leans on
her. Together, she looks like an older sister to him.
ESPERANZA
Isiling mo sa akon nga indi
mo ko bayaan.

Promise me youll never leave

me.

GERRY
Duwa nalang kita nga nabilin
Manang Pansing. Inde ko gid
ikaw pagbayaan.

Its only the two of us left

Manang Pansing. I will never
leave you.

As we PULL OUT, the curtain billows, dancing in the moonlit

room.
DISSOLVE TO:
INT. ESPERANZAS BEDROOM - MORNING
Gerry sleeps soundly. Esperanza, at the window, smiles at the
sight, hes here now, and thats whats important. She tries
to warm herself. She pulls on her robe. Its cold, this cloudy
morning.
She looks out at the field, unblinking.
EXT. FIELD - MORNING
In the distance are the mountains, always watching as
Esperanza. It is drizzling and the sun is nowhere to be found.
The May rain has come early this year. Agua Bendita, its holy
water, a blessing.
A leaf is filled with water, folds and empties.
A large tree on the road, its branches reaching up to the sky,
carrying the full weight of its leaves, stands steadily. The
wind blows, the leaves move.
Then.
LIGHTNING cracks the sky and boom! THUNDER. The birds resting
on the tree quickly take flight, about 30 of them in a single
synchronized movement. Peace has left the town.

44
EXT. HORIZON, ROAD - SAME TIME
From the gray horizon emerges, ghostly shapes carrying doom:
TRUCKS OF SOLDIERS, EQUIPMENT, GUNS. The land trembles in
their approach. A military jeep heads the convoy.
ON THE JEEP
A familiar rugged face. Capt. Buendia, the officer we saw
having a smoke at the wake of Amoy Gonzaling, has come to take
charge.
Another lightning. And then thunder.
INT. ALBA MANSION, DINING AREA - MORNING
Gerry sits at head of the long narra table. He should be
having his breakfast, a hearty meal prepared in front of him.
At the other end of the table sits Capt. Buendia.
CAPT. BUENDIA
Dito lang muna kami. Ok lang
ba sa yo?
GERRY
Hindi ko problema ang bagay
na yan.

You wouldnt mind if we stay

for awhile, would you?
Its none of my business.

CAPT. BUENDIA
At sino dapat ang dapat kong
kausapin?

And whose business is it,

then?

GERRY
Nandyan si Ta Mador para
asikasuhin ang dapat
asikasuhin.

Im sure Ta Mador can attend

to whatever it is which needs
attending to.

Across the room, standing at the landing of the Entrada, is

Amador. Hes been there for awhile.
CAPT. BUENDIA
Hindi ba sa yo ang lupang
ito?

This is your farm, is it not?

Capt. Buendia, while waiting for him to answer, eyes Esperanza

who has just come down from her room at the third floor. She

45
stands there, by the staircase, still on her robe. Capt.
Buendia has bad intentions. Gerrys answer doesnt come.
CAPT. BUENDIA
O Sige. Dahil ayaw mong
sumagot...

All right, then.

As he stands up to leave, he pulls out a piece of paper from

his shirt pocket and without unfolding it, places it on top of
the table.
CAPT. BUENDIA
Ito ang order letter galing
sa Camp Jamindan. Iiwan ko
ito dito baka sakaling maisip
mong basahin to. Masarap
sana ang kain mo, Amoy.

This is the order letter from

Camp Jamindan. Ill leave it
here just in case youd care
to look at it. Have a
wonderful meal, Amoy.

He walks away. On his way out, the Captain and Amador exchange
glances. They dont like each other.
Capt. Buendia goes down the staircase to meet farmers and
workers from the granary, their spouses and children, and the
Kapitanes. Its a totally different crowd from that of Amoy
Gonzalings wake.
In the corner of Gerrys eye...
IN THE SALA
The COFFIN of Amoy Victorioso, unlike that of Amoy Gonzaling,
rests open, under the painting on the wall of the nobleman
with a cane and 2 boys. Amador and the Kapitanes lead people
in to pay respects to Amoy Victorioso. There is sincerity in
each visitors face as they view and give a respectful nod to
Amoy Victorioso.
EXT. EXPANSIVE AREA OUTSIDE ALBA MANSION - DAY
The rain has stopped and theres a great deal of activity as
soldiers set-up the Kampo. Tents are being erected, radio and
communication equipments being wired, supplies (sacks of rice)
are being unloaded, barbed wire fencing are being rolled out.
Capt. Buendia surveys the site. He is pleased with it. From
where he stands, he can also see the LONG, UNENDING LINE OF

46
RURAL FOLKS, the people of the town, streaming in to the Bahay
Nga Bato to pay respects to Amoy Victorioso.
INT. ESPERANZAS ROOM (3rd FLOOR) BAHAY NGA BATO - DAY
Dressed in her mourners black and the red cloth tied to her
arm, Esperanza sees everything from her window the Kampo
being set-up and the people coming in to the Bahay Nga Bato to
see his father. She holds in her hand an old, begemmed rosary.
A SHUFFLE behind her.
DOA CONSOLACION (O.S.)
Hija.
INT. HOUSE STUDY / LIBRARY (2nd FLOOR) - DAY, 1949
A lady is standing by the entrance of the house study. Shes
beautiful, mestiza. She holds the begemmed rosary that
Esperanza always carried with her. She is DOA CONSOLACION.
DOA CONSOLACION (smiling)
Gina lantaw mo na naman siya
liwat.

Youre watching him again.

A 12 year-old girl is standing by the window, surrounded by

all the books of the library, looking at the bright sunlit
field outside. She has her eyes on the Mapanag creek, 20
meters away from the house, where a small kubo stands. A small
boy is playing in the river.
Doa Consolacion walks towards the girl and bends down to meet
her eyes.
DOA CONSOLACION (appeasing)
Indi ka na magpangasubo, iha.

Dont be sad, hija.

The girl tries to but shes having a hard time.

DOA CONSOLACION
Amo gin na ya. Ang mga
lalaki, libuton ang
kalibutan. Ang mga babayi,
magapabilin para istoryahon
ang ila ginapanghimo. Magabot gid ang adlaw nga
mabalik siya sa imo.

Thats the way it is. Boys

are meant to see the world.
And girls stay to tell their
stories. But the day will
come and he will come back to
you.

47
A knock. The lady turns. An acolyte is outside. The mole on
his cheek tells us that hes going to be the Minister-Vicar
someday. Hes smiling.
DOA CONSOLACION (to the
girl)
Ga, tiempo na gid sang imo
katekesis.
(pauses, makes a reassuring
smile)
Imo paminsaron, iha, ikaw
para sa iya kag siya para sa
imo. Amo lang ina ang
importante.

Dear, its time for your

catechism.
(pauses, makes a reassuring
smile)
Remember this, hija, you are
meant for him and he is meant
for you. Thats all that
matters.

The girl is able to smile a little. The lady hugs her.

DOA CONSOLACION
Esperanza ko nga palangga,
magsalig ka kag ginapangabay
ko nga maabot ang adlaw sang
imo kalipayon.

Oh my dear Esperanza, keep

hope and I promise youll be
happy someday.

INT. SILONG / ZAGUAN - DAY, 1949

The Mater Dolorosa weeps and waits inside the silong. Dustrays
from the gaps of the wooden gate illuminate the dark storage
room.
INT. DOA CONSOLACIONS ROOM 2nd FLOOR - DAY, 1949
Esperanza sits at the side of Doa Consolacion, now sickly.
She still has the rosary with her.
DOA CONSOLACION (serious)
Indi mo gid kalimtan ang
magpangadyi, ang imo
cantores.
ESPERANZA
Indi gid ko malipat, Tiyay.

Dont forget your prayers and

your cantores.

I wont Tiyay.

Esperanza is losing the only person who has been close to her.
Her eyes are wet with tears.
DONA CONSOLACION (serious)
Bantayan mo man ang Mother

And you take care of the

48
ha. Klaro?

Mother. Is that clear?

The woman eyes Amador. The words are not just for Young
Esperanza. Amador understands. Beside him is the acolyte and
doctor.
ESPERANZA
Oo, Tiyay.

I will Tiyay.

The Doas stern look turns to a smile.

DOA CONSOLACION
Kag hambalan mo ang imo
pakaisa nga indi maghampang
sa higad sang suba kay kuhaon
siya sang aswang.

And tell your cousin not to

play too much in the river
or else the aswang might get
him.

Esperanzas eyes are already wet with tears. But she manages a
sincere smile. The look in the faces of Doa Consolacion and
Young Esperanza cues us a moment of goodbye. We HOLD ON it.
Doa Consolacion gestures the rosary to everyone.
DOA CONSOLACION (to
Esperanza)
Pangadi na ta.

Pray with me.

All the people in the room make the sign of the cross. Except
for Doa Consolacion, shes too weak.
ACOLYTE
In nomine Patris, et Filii,
et Spiritus Sancti. Amen.

In the name of the Father,

and of the Son, and of the
Holy Spirit. Amen.

Dona Consolacion is smiling at Esperanza.

EXT. ALBA MANSION - DAY, 1949
The trunk yawns open while the servants load stuff into the
car.
INT. ESPERANZAS ROOM, 3rd FLOOR, DAY - 1949
Esperanza watches from her window, as Amoy Victorioso shuts
the door of the Chrysler. Someone is leaving. Amoy Victorioso
looks up at Esperanza from below.

49
EXT. KAMPO, ALBA MANSION - DAY, 1972
The wide area that used to be the expansive driveway in front
of the mansion is now the KAMPO. From one of the guard towers,
we can see military camp full of activity: soldiers milling
around among tents and their vehicles, the smoke rising from
their bonfires. A group comes and another goes.
INT. HOUSE STUDY / LIBRARY - DAY, 1972
A folder on the table. Gerry refuses to read it. Amador stands
at the opposite side of the room, with him is the family
lawyer. Sunlight streams into the room.
AMADOR
Pangalan mo ang nakasulat sa
testamento.
ATTORNEY
(respectful,
Ginhatag niya ang tanan nga
uma sa imo Amoy.

Its your name on the will.

He has left the whole farm to

you, Amoy.

A long pause.
ATTORNEY
Kilanglan ko ang pirma mo,
Amoy... Para ma preparar ko
and pag saylo sa imo ngalan
sang mga titulo sa provincial
registry. Naga pamangkot si
gobernador kung gusto mo na
ikaw ang magbulos kay tatay
mo sa election para mayor.

We need your signature,

Amoy... so that we can
prepare the transfer papers
at the provincial registry.
Also, the Governor would like
to ask if you would like to
take the place of your father
in the elections as Mayor.

Still, no response from Gerry.

AMADOR
Nasa labas ang mga kapitan.
Panahon na para magtanim at
gusto ka nilang makausap
tungkol dito.

The Kapitanes are waiting

outside. They would like to
talk to you about this
planting season.

INT. SALA, ALBA MANSION SAME TIME

Rural people wait in the sala. Weve seen this group before,
but now, they are dressed in regular farming clothes instead

50
of the modest polos and black pleated pants weve been
accustomed seeing them wearing. They are Kapitanes, a little
better off than the regular farmer.
AMADOR (contd)
Dahil sa panununog sa
kamalig, kakaunti na lang ang
natitira nilang bigas.
Nangangamba sila na sa halip
na itanim ay baka kainin ng
mga magsasaka ang mga binhi
sa oras na magipit sila sa
pagkain.

Their supplies from the last

harvest are low because of
what happened in the granary.
They are worried that the
farmers might start eating
the binhis if no one starts
to plant right away.

Its the last of Gerrys concerns; he still refuses to take on

the obligation of heading the farm. The lawyer looks at
Amador, What are we going to do now, it cant go on like
this?.
A shuffle at the door. Its Esperanza.
ESPERANZA
Magua ako sang balay.

Im going out.

The lawyer and Gerry look at Esperanza, a bit surprised. But

before anyone can utter a word, Esperanza is already off to
her room to get ready. Amador moves to the table, gets the pen
from his shirt pocket, puts the pen on top of the documents
for Gerry to sign and leaves the room without a word.
EXT. GARAJE - DAY
Amador walks to the Chrysler, Esperanza trailing just a few
steps behind him, dressed now to go out. Amador pulls out the
keys from his pocket. He is about to pull at the lever to open
the door but then he stops. He has an idea. He steps back.
AMADOR
Gamiton ta ang jeep.

Lets use the jeep.

Esperanza smiles. Amador knows her purpose.

EXT. ALBA MANSION, KAMPO, DAY
The jeep drives past the expansive area in front of the house.
Its the Kampo now, fully operational. We can see that the
wire fencing has been completely laid out, there are more

51
tents now standing, and everything is operational. They are
stopped at the guard house. Captain Buendia emerges from one
of the tents. With him is a Sergeant.
CAPT. BUENDIA
At san ka pupunta?

And where do you think youre

going?

The Captain looks at her long, lingering on her neck. She

doesnt answer.
CAPT. BUENDIA
Lagi kitang nakikita na
nakadungaw doon, sa bintana
mo. Pero mas maganda ka pa
pala sa malapitan.
AMADOR (having
heard enough)
Pupunta kami sa bayan.

I always see you looking out

from your window, up there.
But now that I see up close,
I can say youre a lot more
beautiful that I thought.

Were going to the town

center.

Captain Buendia looks at Amador - he is not talking to him.

Esperanza doesnt look.
CAPT. BUENDIA (to
Esperanza)
At aalis ka nang hindi
nagsasabi?

And you leave without telling

us first?

AMADOR
Mga dayo lang kayo dito. Di
namin kailangang magpaalam sa
inyo.

You are the visitors here. We

dont need to ask permission
from you.

Amador is right. Insolent as he is, Capt. Buendia does not

question some givens. He looks at Esperanza long and hard.
Gerry sees everything from the violoda.
Capt. Buendia looks at Gerry. Without taking his eyes off
Gerry, Capt. Buendia gestures to the Sergeant behind him.
CAPT. BUENDIA
Sarge.
EXT. DIRT ROAD - DAY

52

A muddied carabao nips contentedly on tufts of weeds like

fingers of glass. A tulabong (heron), white, rests proudly on
its back.
From the rear view mirror of his jeep, Capt. Buendia eyes the
other jeep trailing closely behind, carrying Esperanza.
Esperanza is looking at the field. There is lightness on her
face.
ESPERANZA
Amo gali ini ang itsura sang
piyak sang banwa.

So this is how the other side

of town looks like.

Lush green and yellow under the sun. Amorsolo-like painting.

She likes it. She likes everything she sees. Its her first
time to go out.
ESPERANZA
Katahum gid ini, Ta Mador.

Its beautiful, Ta Mador.

AMADOR
Daw kutsilyo ina sa katalum.

It cuts as sharp as a knife.

Esperanza does not understand.

AMADOR
Budlay mabal-an ang hilamon
sa humay samtang gamay pa.
Kung magtubo na, didto mo pa
lang mabal-an kung ano ang
makapatay kag ano ang
makapamunga.
(pauses)
Humay-humay na siya. Pirmi
may ulan pero wala naman may
nagtanom. Ginatago sang
mangunguma ang ila mga binhi,
samtang may mga rebelde pa.
Nahadlok sila na sunugon sang
mga Abandonado ang ila mga
tinanom, parehos sa natabo
didto sa Dumalag.
ESPERANZA
Pareho man sa ginapagalingan.

Its hard to tell the

difference between grass and
a ricestalk when theyre
small. Its only when they
mature that you get to know
which kills and which bears
fruit. (pauses)
Itcalled humay-humay, a
grass that disguises itself
as rice. Its rained a lot
but no one is planting. The
farmers rather keep the
binhis to themselves for
now. Theyre scared that if
they do, the Abandonados will
just burn the field, like
what they did in Dumalag.
And to the granary.

53

Esperanza remembers her father. The lightness on her face

seems to have disappeared all of a sudden.
AMADOR
Indi ka magkabalaka, Inday.
Maayo siya nga tawo si Amoy.
Sigurado ako nga matawhay ang
iya pagpahuway.

Dont worry about him Inday.

He was a good man. Im sure
hes resting now peacefully.

Esperanza takes comfort in this. The jeep continues down the

road. In the distance, they see the granary, burned and
deserted.
EXT. MAIN ROAD TO THE POBLACION, MAPANAG - MORNING
We see the sights. The jeep is entering the poblacion from the
south. The ruins of the Spanish guard tower built in response
to the Aggraviados, Binudhians, and Pulahanes stands old and
covered in moss, green in the morning sun.
A bit longer down the road we ride, we can see the poblacion
in the distance, on the horizon.
The jeep slows down, Amador is careful not to shake his
passenger. The jeep goes up an incline the cemented road
begins.
We continue. We run past a row of tindahans with softdrink
logos on top of them. A sanduko breaks in half a coconut, the
soup flows. A tindahan of Yuhum and Hiligaynon, women are
reading the magazines outside.
A group of men is passing time having a cockfight beside the
road. We hear the sounds, we see the colors. Its a different
world out here.
EXT. POBLACION, MAPANAG - MORNING
We see the post office, the rows of houses on the opposite
side.
We continue down the road and we see the old municipio with
its American architecture, practical lines, ionic columns.
On the opposite side of the road, is the plaza, wide and
beautiful, with its white gazebos and fountains.

54

We continue and we see the Veterans Park where the highlight

is a statue of General E. Contreras in a horse thats on top
of a globe.
ESPERANZA
Katahum gid ini, Ta Mador.

Its beautiful Ta Mador.

Esperanza is happy with what she sees. Amador is pleased that

his Inday Pansing is happy.
We continue on and we see the side of the old baroque church,
the site where we saw the Mother and her son Jesus reunite.
INT. CHURCH OF THE IMMACULATE CONCEPTION - DAY
Esperanza and Amador sit on the antique pews. Shes more
amazed than praying.
Capt. Buendia and Sarge wait outside.
Just around the corner, behind the moth-eaten saints, SOMEONE
WATCHES.
ESPERANZA (smiling)
Maniyaga ta anay, kag baklon
naton sang bulak ang Nanay.

Lets eat lunch and then

lets buy some flowers for
the Mother.

EXT. TABUK MARKET - DAY

Were outside a bustling market complex. At a nearby store,
the Captain burps and then smokes while Sarge picks his teeth
watching Esperanza and Amador. Esperanzas sandals are dirtied
by the mud of the marketplace. She doesnt mind. Shes eating
cotton candy while walking past a row of flower vendors and
religious trinket stands. A myriad of colors.
Still, among the crowd, the WATCHMAN FOLLOWS.
EXT. CEMENTERIO DE PENINSULARES - DAY
Amador shows Esperanza the way around.
AMADOR
Diri.

Here.

55
Esperanza looks at it. She approaches the ground where Doa
Consolacion is buried. She goes down on her knees. She offers
one of the bouquets.
ESPERANZA
Ako ni Tiyay, Si Esperanza.

Its me Tiyay, Esperanza.

Esperanza looks at the name, DOA MARIA CONSOLACION ALBA y

DIAZ. A fond memory. Tears start to well.
ESPERANZA
Pasayluha ako tungod bag-o
lang ko kabisita sa imo.
Nagpangabay ako nga aga pa
siya makabalik. Ara to siya
sa balay. Medyo batinggilan
man gihapon. Pero indi na
siya ga-gua pirmi. (pauses,
hoping) Bal-an ko, maabot ang
adlaw nga makita niya ako.
(pauses, shifting, trying to
be jolly despite the tears
that are now falling down her
face) Kag ang Nanay, ara man
sa balay. Kami ni Ta Mador,
ginaasikaso namon siya sang
maayo.
(running out of words to say,
a beat) Tinguhaon ko nga
masadyahan man ako. Nahidlaw
na ko sa imo Tiyay.

Im sorry its my first time

to see you. I was hoping he
would come back earlier. Hes
at home. Hes a bit hard
headed still. But he does not
go out that much anymore.
(pauses, hoping)
I know he will see me
someday.
(pauses, shifting, trying to
be jolly despite the tears
that are now falling down her
face)
And the Mother, shes at home
too. Ta Mador and I have
been taking good care of her.
(running out of words to say,
a beat)
I promise Ill try to be
happy. I miss you Tiyay.

EXT. DIRT ROAD TO ALBA MANSION - AFTERNOON

Streaks of sunrays seep through the spaces between the leaves
of a bamboo grove along the road. Esperanza looks at it, the
light playing and dancing on her face. On her lap is another
bouquet. The jeeps continue down the road.
Its different with the Captain. Instinct holds him safe, wary
of every movement. Each passing face, a farmer, an old woman,
a child, all becomes a suspect. But nothing happens. Sarge
continues to drive.
A red flag is strewn around a branch of a tree. It is the road
where we saw Gerry pass by the Good Friday procession.

56
EXT. ROAD LEADING TO THE KAMPO / ALBA MANSION - DUSK
About 100 meters away from the entrance of the Kampo, the two
jeeps approach a huddle of soldiers. They slow down to stop.
Two jeeps full of soldiers with rifles pass them by going the
opposite direction - they are in a hurry. Captain Buendia
approaches the soldiers in the huddle.
SOLDIERS
Sir!
Captain Buendia moves forward and the men make way. A soldier
lies dead, the face obscured by the medic attending to it.
SOLDIER 1 (O.S.)
Siling niya manigarilyo lang
daw siya. Dugay-dugay
nakabati kami sing lupok sang
baril.

He said he was just going to

have a smoke. Then, we heard
a gunshot.

The Captain looks out to the field. Other than the solitary
tree we see just a few steps away from them, there isnt a
single tree for about a kilometer. Even a marksman with a
sniper rifle couldnt have shot this far, and this accurate
the Captain knows this fact. Esperanza approaches, holding the
bouquet by one hand. She has seen so much death, but it never
gets easier for her.
SOLDIER 1 (O.S.,
contd)
Indi pa namon nabal-an sir
kung paano nila nahimo to
pero nahimo nila.

We still dont know sir, how

they did it. But they did it,
nonetheless.

CAPT. BUENDIA (to soldier)

E kung di ba naman kayo mga tanga,
ganun pala ang nangyari e bakit
nakatayo kayo dito?! E kung kayo
naman ang susunod na barilin?
Captain Buendia is about to bark at the rest of the men to
take cover but the sight of Esperanza moving towards the dead
person has the other soldiers watching. She kneels and puts
the bouquet of flowers on top of the dead soldiers chest.
The Captain and Amador watch her. The soldiers look at her.
Esperanza stares at the dead soldier. And then, we see what

57
really happened. Blood flows from a whole in the forehead,
dead center. Its recent. The soldiers eyes are still open.
Gerry emerges from the house. Esperanza stands up and begins
walking to the house. Gerry looks at the sight helplessly.
Amador and the Captain both look at Gerry.
VIDEO INSERT: HINAYA VIDEO
DARLYN GIGANTO is in front of the camera. We see a title card
at the bottom of the frame:
Darlyn Giganto, Sister of Ismael Giganto.
In the background is a cemented wall, a calendar with a local
petrol company logo, a sink, a typical lowland kitchen. We are
at the Giganto Residence, Tapaz, Capiz.
DARLYN GIGANTO
(She is looking straight at
the camera, waiting for the
cue from the person behind
it. She receives the signal)
Ang utod ko nga si Maeng
kag... (she stops in mid
thought. She remembers
something. She gets something
from a table outside the
frame. She hands the person
behind the camera a
PHOTOGRAPH) Amo gali ini ang
ila nga litrato sang mag-upod
pa sila. Ano to gani
ginahambal ko? (She starts
again) Ah, si Estrella kag
ang utod ko nga si Maeng,
nagkita sila sa UP. Ini ang
masadya nga istorya. Siya,
Lit Major kag si Toto,
nagakuha sang Anthropology.
Indi ko mabal-an ang matuod
nga istorya kag duha man ang
birsyon. (she tells the story
animatedly) Siling ni
Estrella, Hai, inang utod mo
manang, daw na lab at persayt
man sa akon samtang una niya

(She is looking straight at

the camera, waiting for the
cue from the person behind
it. She receives the signal)
My brother Maeng and... (she
stops in mid thought. She
remembers something. She gets
something from a table
outside the frame. She hands
the person behind the camera
a PHOTOGRAPH) Heres a
picture of them together.
Where was I? (She starts
again) Ah, Estrella and my
brother Maeng met at UP. It
was a funny story really. She
was a Lit Major and Toto was
taking up Anthropology. I
dont which story was true
because there are two
versions of it. (she tells
the story animatedly)
Estrella would go, Hai, this
brother of yours Manang, he
was head over heals over me
the first time he saw me in
one of his classes. I dont
want to mind him because he

58
ako nakit-an. Wala man ako
buut sa iya kay ang presko
kaayo! (Darlyn laughs) Pero
ang siling naman ng utod ko
nga si Maeng, Inday,
kinahanglan makit-an mo ning
si Estrella. Pirmi na lang
niya ako ginasundan-sundan sa
sulod sang kampus. Daw NPA
siya nga nagapatago-tago
tapos insigida nalang siya
nagasulpot! Naga-enrol man
siya sa klases ko para lang
makit-an ako! (She laughs
again) Siling ko sa imo,
budlay gid kung sin-o ang
pamatian ko. (pauses) Di na
nga importante kon paano sila
nagkilalahay. Ang maayo,
nagkilalahay sila.

was presko kaayo! (Darlyn

laughs) But my brother Maeng
on the other hand says,
Inday, you should see this
Estrella. She keeps on
following me around campus.
Shes like the NPA, they hide
around the corner and then
suddenly, they already have
you! And she would enroll in
my Anthropology classes just
to see me! (She laughs
again) I dont know which
story to believe really! I
tell you, when they were
together, they were
inseparable! (pauses) Ill
tell you what the truth is.
Its not important how they
met. Whats important is that
they did.

EXT. KUBO, SITIO BUSAY - DAY, 2002

As Franco readies his video camera, he can see Estrella
talking to a man with a buri hat, almost hidden by a kubo.
Estrella and the man talk in a hush.
They finish talking and the man leaves disappearing into the
bushes. Estrella walks towards Franco. Without looking at him,
she continues to the Kubo behind Franco where members of the
team and natives are. Her elusive eyes tell nothing except a
secret.
INT. KUBO, SITIO BUSAY - DAY - SAME TIME
AN OLD WOMAN, sitting on her papag dressed in a mishmash of
traditional Sulod clothing and lowland articles is attending
to a child. She is stroking the boys back with lana
(traditional concoction of oil and other plants).
OLD WOMAN
Pirmi na lang sila nagakadto
sa Mari-it kaya amo na natabo
sa ila, gintaw-an sing mahina
nga baga. May pneumonia ako
amo nga indi ako makakanta.

They keep on going to the

Mari-it, thats why the Diya
punishes them with weak
lungs. I have pneumonia
myself, thats why Im having

59
Pero mal-am dun ako.

a hard time chanting But Im

old.

The team doesnt understand. The boy coughs. The old woman
ceases the moment to scold at the boy and HIS BROTHER beside
him.
OLD WOMAN (contd)
Hai! Ina ang mirisi sa inyo
kay indi kamo magpati!

Hai! Thats what you get for

not listening!

The boys sink in embarrassment.

MAURICIO (to the team)
She says kids dont follow the
tradition anymore, thats why they
get sick.
KEVIN
What does her daughter think of
becoming a binukot?
MAURICIO (to the
old woman)
Nay, ngaman daw nagbinaylan
si Anita?
OLD WOMAN
Indi mo mapirmi ang baye na
ina sa sulod sang balay. Indi
na gid nakontento ang mga
baye sa karon nga magapondo
sa isa ka lugar. Ini nga mga
bata... (looks at Estrella)
Lantawa na siya. Upod sila
nagdako ni Anita. Upod pa
sila nag-iskwela sa UP. Indi
gid siya gusto sing
magpabinukot. Pamangkota si
Estrella kag mabal-an mo
ngaman indi magpabinukot si
Anita.

Nay, they ask why did Anita

become a baylan?
You cant keep that woman
inside the house! Women
nowadays are never contented
with staying just in one
place. These young people...
(looks at Estrella) Look at
her. She and Anita grew up
together. They were even
together in UP. She too
didnt want to be a binukot.
Ask Estrella why and you will
find out why Anita did not
become a binukot.

The old woman eyes Estrella. Estrella cannot look.

OLD WOMAN (contd,
to Mauricio)

60
Mayad kay nagbinaylan sya.
Kay ginarespeto gihapon ang
amon nga pamilya diri sa
lugar. (pauses) Ngaman damo
ka gid ginapamangkuta? Kag
ngaman ari di ang mga tawong
ina?

Its good she became a

baylan. At least, the
community still looks up to
our family. (pauses) Why do
you ask so many questions?
And why are these people
here?

MAURICIO (to the team)

She asks why are you here?
Kara looks at him confused. Isnt it that hes the first one
to know their purpose for coming?
KARA (to Mauricio, stuttering)
Mag-iinterview lang po ng mga tao
tungkol sa...
MAURICIO
(interjecting, to
the old woman)
Ari sila diri tanan kay
ginapangita ka nila,Iyay.
OLD WOMAN
Ngaman ginapangita nila ako?
Anong kinahanglan nila sa
akon?

Theyre here looking for you.

Me? What business do these

people have with me?

The old woman pauses, thinks, becomes suspicious.

She addresses the team.
OLD WOMAN
Abi, magpalauli na kamo kung
mga NPA kamo! (to Mauricio)
Mga taga-Kampo ba ang mga
tawo na ni?
MAURICIO
(apologetic)
Indi. Indi sila taga-Kampo
Iyay. Ari sila diri para
magpamangkot sang mga
binukot.
OLD WOMAN
(irritated)

Go back to where you came

from if youre members of the
NPA! (to Mauricio) Are these
people from the Kampo?

No, theyre not from the

Kampo, Iyay. Theyre here to
ask about the binukots.

61
Ano naman sa amon. Ngaa
naglakat kamo sing malayo kag
para lang makalab-ot diri.
Indi bala nga tuya si Iyay
Helena sa San Antonio?
(to Estrella)
Diin na ang nanay mo? Kamusta
na siya?

What about us? And why do you

go all these distance to come
to me? Dont you have Iyay
Helena back at San Antonio?
Why dont they talk to her?
(to Estrella)
Wheres your mother? How is
she?

Estrella cannot look. The babaylan emerges from the door.

ANITA (to the old
woman)
Handa na sing Tahurun, nay

Tahurun is ready, mother.

Anita looks at Estrella. Franco, too, looks at Estrella.

Estrella cannot look back to anyone.
INT. TAHURUNS KUBO, SITIO OF BUSAY - DAY
A COFFIN made from a solid mass of wood, hallowed and shaped
like a boat, sealed and bound. It rests in the middle of the
room. With a peeled piece of ginger, the old woman makes a
mark on the coffin while intoning the second part of the
Patibara.
OLD WOMAN
Magsugid kaw kun sin-u
nagkan kanimu. Anu kun
aswang, kalutkut kaw sa salg
nga indi madara, pay kun
bkn man, magkayankayan kaw.
Haw... antay Tuwa, Sarinu,
manugkantang, mga unang ta-u,
Dima-anu, manugluwas,
magtamd kaw sa alima ku kag
indi kaw magbutig. Masugid
kaw sa pagkamatuud, indi mu
aku pagbutigan hay ginaluwas
ikaw agd iba nga gasulaw
magamatu-ud.

Translation (subtitled)
Tell us now who ate you. If
an aswang, then be very heavy
so that we cannot lift you
from the floor, but if not
then be light. Haw father
Tuwa, Sarinu, first men to
practice the kantang -Dimaanu, first performer of
this ritual, guide my hands
and do not tell a lie. Tell
the truth, do not tell a lie
because Im trying to
discover the cause of this
death so that those who are
here would know the truth.

As the Patibara is being intoned, CAMERA MOVES past the

different faces, natives, in reverence, in tears. The wife
weeps, she hasnt slept, a pitiful picture of misery. The team
members recognize the solemnity of the ritual. Albert hides

62
his camera. The men from the community lift the coffin. An
answer: they canlift the coffin.
EXT. TAHURUNS KUBO - DAY
The Old Woman is now chanting at the top of her lungs a part
of the Sugidanon Epic. Her voice is the MAIN TRACK.
OLD WOMAN (chanting)
Dato manalambitun
Si Buyong Sunmasakay:
Suyung-suyung pay, pamlang,
Saarip kaw ka ginhay
Tamni kaw ka ginhawa
Kung malway ka ginhay
Ku maubay

Translation: (subtitled)
And in a loud voice
Buyong Sunmasakay chanted:
Come, spirit friends,
May life come to him
Unto his breath take root
The breath of life
Which sustains everything

Almost all of the people are now outside the house. The people
listen as they watch men carefully haul the coffin out of the
house through the window, making sure that it doesnt touch
the frame. As soon as the coffin is out...
OLD WOMAN (chanting)
Saari ikaw it domdom
Butangi dot uriman
Tugsiling ka domdom ko
Kaangay ka uriman ko
Saari kaw it limog
Butangi dot sibagon

Translation: (subtitled)
May thoughts come to him
Place unto him consciousness
Thoughts like mine
Consciousness similar to mine
May he have a voice
Unto him place a large
powerful voice,

A TABLEAU from inside of the house: 1) (FG) the Babaylan is

inside the house, pouring water on the window frame. Framed by
the window are (2) (MG, BG) the coffin resting on the ground
as people listen to the Old Woman.
EXT. TRAIL - SAME DAY.
A long line of people. We see that the Old Woman is finished
with her chant for reviving the dead, and yet we still hear
her voice as the MAIN TRACK, a haunting, disorienting quality
in her song. We see more of the faces of the natives all
common people paying respects to the dead. The members of the
team are at the end of the line. Franco notices the two boys
from the Old Womans kubo tying red cloths on the grass, on
twigs and on sticks they pass by, marking the path the
procession has taken. They finish and they run to catch up.

63
Gerry follows them with his look. Somehow, we feel that hes
the only one who notices the details.
OLD WOMAN (chanting)
Saari ka rot kalag
Butangit karowa
Ada it ispiritumu
Agsuli don sa lawas
Balik don sa tubuan,
Hambali Sunmasakay
Kay Buyong Humadapnon.
Angan-angay pa ragto
Malapinsik dong barawgun
Si Buyong Humadapnon

Translation: (subtitled)
Hes going to have reason
Give him a double
And a guardian spirit
Back to his body, make him
Return to his former self,
Spoke Sunmasakay
To Buyong Humadapnon.
And all of a sudden
Like a wriggling barawgun fish
Moved Buyong Humadapnon

INT. HILLTOP - DAY, 2002

The Kantang (a shed, made from cogon shingles) that houses the
coffin stands on a solitary hill. All the people have left
except for the grieving wife, her mother, the Old Woman,
Anita, Estrella, Mauricio, and the members of the team. The
last lines of the OLD WOMANS SONG are almost done, the
inflections and strange words seemingly embedded in the
subconscious.
OLD WOMAN (chanting)
Ginubukan ka bunga
Giurban ka libakaw
Ni Buyong Sunmasakay
Kanabay sa alipudwan
Ni Buyong Humadapnon
Nagbugtaw do mukayaw
Nagbugtaw, nagbangolay
Si Buyong Humadapnon.

Translation: (subtitled)
Chewed bunga was applied
And masticated libakaw too
By Buyong Sunmasakay
On the crown of the head
Of Buyong Humadapnon
And thus woke up
And thus rose
Buyong Humadapnon.

The grieving wife turns to Estrella.

GRIEVING WIFE
Madamo gid nga salamat sa
pagkadto nyo di.

Thank you for coming.

The face of the mother of the grieving wife does not share the
same sentiments.
ESTRELLA (to both
women)
Pasayluha gid ko.

Im sorry.

64

The mother of the grieving wife leads her daughter away. She
looks at Estrella - this is all your fault!. Estrella
admits it, refusing to meet the eyes of the mother. A few
steps away, the Anita tells her mother, the Old Woman to go
with the grieving wife and the grieving wifes mother. Anitas
mother follows the two women. Anita approaches Estrella; shes
mad at her too. But she tries to be courteous.
ANITA
Kita nalang kita sa Subsuban.

Ill see you at the Subsuban.

ESTRELLA
Pasayluha gid ako. Inde gid
pwede. Malakat na gid kami.

Im sorry. I cant. We have

to go.

Anita looks at the team. She understands why they need to go.
ANITA (tough)
Amo gali. Bantayan mo man
sila, ha?

I see. You take care of them,

alright?

ESTRELLA
Salamat gid, Nits.

Thanks, Nits.

EXT. FOREST TO SAN ANTONIO - AFTERNOON

The group navigates through the thick jungle, Estrella and
Mauricio leading the way. Franco sees a RED CLOTH attached to
knotted leaves of grass.
EXT. CREEK - AFTERNOON
A creek flows gently through marshy ground under an umbrella
of trees. A RED CLOTH on a bamboo stick is stuck on the river
side.
EXT. SITIO OF SAN ANTONIO - NIGHT
Emerging from the bushy trail, the team arrives at the
settlement,. As the rest of the team head to the Balay Turunan...
FRANCO (to
Estrella)
Aalis na kami bukas.

Were leaving tomorrow.

65
Franco waits for a reply. Estrella just keeps quiet. Elusive
eyes.
FRANCO
Napagdesisyonan naming na
enough na ang profile na
binigay mo sa amin. At gipit
na rin sa oras para sa
submission next year.

The team agreed that the

profile you gave us was
enough. And that were also
running out of time for the
submission next year.

A long pause.
ESTRELLA
Good luck on your research.
Shes about to leave, but Franco really needs to ask.
FRANCO
Para san ang mga pulang
flags?

What are the red flags for?

She knew he would ask the question. This has happened before
he finding a way to stay.
ESTRELLA
Theyre called tu-us. Theyre markers
for the forbidden zones. We call them
mari-it.
FRANCO
Why are they forbidden?
ESTRELLA
So that people dont wander into
them.
FRANCO
Why shouldnt people wander into
them?
ESTRELLA
Because people might get lost.
FRANCO
But you have the tu-us as markers.
ESTRELLA

66
Yes. Thats why they are forbidden.
The circuitousness of Sulod logic.
FRANCO
But there werent any tu-us when we
went to Sitio Busay.
ESTRELLA
Thats because we took a different
path going here. (pauses)
Tell the team I said good night.
Estrella leaves. But only after taking a few steps...
FRANCO
Should I leave? Should I stay?
She doesnt turn.
ESTRELLA
You can see the details Franco. You
have your questions. You decide.
She walks away.
EXT. BALAY TURUN-AN - DAY
The natives look on. The team is leaving. Except for Franco.
KARA
Are you sure about this?
Hes not - Franco just smiles at her. Kevin hand Franco one of
the video cameras.
KEVIN
O eto. Baka kailanganin mo.
Although, I dont know how
youre going to use it
without any electricity.

Here. Just in case you need

it. Although, I dont know
how youre going to use it
without any electricity.

ALBERT
At ito yung mga blank tapes.
Yung bawang, nasa loob.

And here are the blank tapes.

The garlic is inside the bag.

Franco laughs at the bawang part.

67

KARA (hugging Franco)

Take care, dear.
Kevin shakes Francos hand. As Albert moves to shake hands,
Franco makes a crucifix with his two index fingers holding it
to Albert as if he is vampire. They smile and shake hands.
MAURICIO (to the team)
We need to be going. It might rain.
Mauricio warns Franco with a look, turns and leads the team
into the bushes. One by one, they disappear into the
wilderness.
A small hand catches Francos pinky from behind. He looks down
to his side. Its the Mysterious Little Girl we saw in the
Balay Turun-an. She looks up and smiles at him.
EXT. GRANARY - DAY, 1972
Dark clouds. Lighting cracks. Thunder. The rain pours on
shattered steel, cracked cement and burnt wood.
INT. SALA, ALBA MANSION - DAY, 1972
A line of muddied feet on the shiny wood floor. The Kapitanes
and other farmers stand outside the library. The line extends
down the Entrada Principal and out the driveway.
AMADOR (O.S.)
Nandito sila dahil wala na
silang makain.

They come because they dont

have anymore food to eat.

INT. HOUSE STUDY / LIBRARY - DAY, SAME TIME

Gerry is standing by the window, looking at the field. His
reaction has changed a bit. It looks as if that now, he cares,
even just a bit. The rain is pouring outside.
AMADOR (contd)
Ang kinakain na lang nila ay
kamoteng kahoy. Ubos na ang
parte nila sa huling saka.
At ngayon, pati ang mga
binhi, kinain na rin nila.

What theyre eating are

camote and balinghuy. Theyve
eaten up all their share of
the harvest. Even their
binhi, theyve eaten.

68
A pause.
GERRY
Anong meron ako na maibibigay
ko sa kanila? Bakit pupunta
pa rin sila dito?

I have nothing to give to

them. But still they come.

AMADOR
Pumaparito sila dahil tapat
sila sa iyo.

They come because theyre

loyal to you.

GERRY
Tapat sila kay Tiyoy.

Theyre loyal to Tiyoy.

AMADOR
Isa kang Alba, Toto. Walang
makapagbabago doon.

You are what you are, Toto.

There is no changing that.

INT. ALBA MANSION - DAY SAME TIME

We follow a pair of feet, white, walking briskly past muddied
and cracked barefeet.
INT. HOUSE STUDY / LIBRARY - DAY
Esperanza emerges from the door. Shes panicking, almost in
tears.
ESPERANZA
Gina kuha nila si Mama.

Theyre taking the Mother.

EXT. ALBA MANSION SAME DAY

Esperanza stands at the Entrada, behind her are the farmers.
They witness everything. The Karo of Mater Dolosa is being
pulled by soldiers. The Gerry confronts the Captain.
GERRY
Anong ibig sabihin nito?

Whats the meaning of this?

CAPT. BUENDIA (to

himself)
Magpapaliwanag na naman ba
ako?

Do I have to explain myself

again?

GERRY (furious)
Saan ninyo siya dadalhin?

Where are you taking her?

69

Capt. Buendia is surprised with the sudden outburst. He laughs

at it.
CAPT. BUENDIA
Ni hindi mo man lang talaga
binasa yung order letter,
no?

You havent read the order

letter, have you?

We see in Gerrys face that he didnt. We see soldiers

bringing out other disposables from the Silong / Zaguan.
CAPT. BUENDIA
Dadalhin namin ang Nanay kung
saan siya nababagay, sa
simbahan. Kailangan namin ng
tahimik na lugar, yung tago
ba? Nakausap ko na si Father
Simeon. Ang di ko
maintindihan ay kung bakit
nagagalit sakin yung
siraulong pari na yun. Pero
alam mo naman, pag gusto ko,
gusto ko.

Were bringing the Mother

where she belongs, inside the
church. We need the space,
nice and hidden. You know,
for tactical purposes. Ive
talked to Father Simeon,
about it. But I dont know
why that loony priest is mad
at me for bringing the Mother
over. But as you know, I
never take no for an answer.

The men load the Mother into one of the army trucks.
CAPT. BUENDIA (to
the soldiers)
Hoy! Dahan-dahan naman! (to
Gerry) Pasensya na ha pero
kailangan ko nang umalis.
(checks the weather, its
drizzling) Mukhang marami
akong mahuhuling rebelde
ngayong araw na to. Ano sa
tingin mo?

Hey! Be careful! (to Gerry)

Im sorry but I have to go.
(checks the weather, its
drizzling) Such a nice day
for catching rebels dont you
think?

The Captain smiles at Gerry, devilishly and leaves. Esperanza

is suffering she cries on Amadors chest.
Amador is looking at Gerry. The farmers have seen everything.
They exchange hushed words among the group. Gerry is
downtrodden. He cant look at the people behind him.
EXT. ALBA MANSION - NIGHT

70
From the Entrada Principal, we can see the expanse of the
Kampo, the moon rendering the soldiers and tents into
wraithlike shapes in the night. But amidst the silence, we can
hear muffled sounds coming from the walls.
EXT. ZAGUAN - NIGHT
We hear it better: A THUD with every blow, followed by a WEAK
VOICE FULL OF AGONY. Another round of pain, A THUD, A CRY FOR
HELP. A MUFFLED GUNSHOT ends the suffering.
INT. SALA, ALBA MANSION - DAY
Gerry is at the sala, listening to an old woman grieving
inconsolably. Amador tries to calm her.
OLD WOMAN 2
(incoherent)
Wala gid nila kami pag
pamati-in. May mga pusil
sila. Naga katulog kami pag
sukob nila kag gin guyod nila
bata ko paguwa sa balay kag
binalda.

AMADOR
Dinakip ng mga sundalo ang
anak niya kagabi. Sinubukan
niyang magpaliwanag kung
bakit nasa palayan pa ang
anak niya kahit curfew na
pero ayaw nila siyang
pakinggan. Naghahanap lang
daw ng daga ang anak niya
dahil wala na silang makain.
Sinubukang pigilan ng asawa
niya ang mga sundalo pero
pinagpapalo nila siya ng mga
baril nila. Tutulungan niya
sana ang asawa niya pero pati
siya, sinuntok ng sundalo.
Nasa ospital ngayon ang asawa
niya.
GERRY

They didnt even let us

explain. They had guns. They
came when we were about to
sleep. They had guns. They
dragged my son out of our
house. They hit him. They hit
me. They didnt even let us
explain.
A group of soldiers took her
son last night. She tried to
explain why her son was still
at the fields after curfew
but the soldiers wouldnt
listen. She says that her son
was just looking for field
rats because theres no more
food. Her husband tried to
stop them but they hit him
with their rifles. A soldier
punched her when she tried to
help her husband. Her husband
is now at the hospital.

71
Nasaan ang anak niya?

And her son, where is he?

AMADOR
Ang sabi niya, dito raw sa
atin dinala.

According to her, her son was

brought here, in this house.

After hearing this, the farmers who have come here day after
day look at Gerry with doubting eyes. They are starting to
feel deserted. Gerry knows it.
A movement from the still crowd - one of the Kapitanes, the
one that did not bow to Gerry the first time they met on the
procession, stands up from his seat, turns and leaves. Another
Kapitan catches his arm to stop him.
LOYAL KAPITAN
Hulat anay! Diin ka makadto?
DOUBTING KAPITAN
Malain na ginpabayaan niya na
kita tanan sa gutom. Pero
pabayai ang iban nga tao para
patyon kita mga iya
kasimanwa, hindi na. Malakat
ako. Indi ako mapatay sa amo
ni paraan.

Wait! Where are you going?

Its bad enough that he
doesnt care about us. But to
let us die in the hands of
other people? Let me go! Im
not going to die like this.

The Loyal Kapitan cant do anything but to let go. The

Doubting Kapitan leaves. SOME FARMERS follow him. The rest of
the people stay put.
EXT. KAMPO - DAY
A soldier scrapes his metal army kit plate clean of the lugaw.
Another tries to clear the army pot dry of whatever lugaw that
remains. Like wet cats under the rain, soldiers heat
themselves in a bonfire that is almost out. Gerry walks to one
of the tents.
INT. TENT, KAMPO, DAY
He sees men inside, resting, sickly.
GERRY
Nasaan si Captain Buendia?
SOLDIER 2 (coughs

Wheres the Captain?

72
badly)
Ato siya sa uyapad Amoy.

Hes out in the field Amoy.

Gerry takes a quick look of the tent. Empty cans of sardines,

clothes strewn in improvised sampayans, boiled banana peelings
on the floor, a sack of rice that is almost empty.
SOLDIER 3
(inviting)
Kaon ta anay, Amoy.

Lets eat first, Amoy!

The soldier holds out his camote to Gerry from across the
tent.
GERRY
Nasaan na ang bata?

Wheres the child?

SOLDIER 2
Ano nga bata,Amoy?

What child, Amoy?

GERRY
Ginpatay niyo ba siya?

Did you kill him?

SOLDIER 2
Wala a, amoy! Indi!

No, Amoy! No!

GERRY
Silinga si kapitan nga kung
indi niya ihatag ang bata sa
akon bag-o matapos ang adlaw
nga ini, siguradohun ko na
wala na kamo tanan diri
buwas!

Tell the Captain this. If he

does not surrender to me the
boy by the end of this day,
Ill make sure that each and
every one of you will be gone
by tomorrow!

The soldier shrinks in fear. The people inside the tent see
everything. Gerry turns and leaves.
INT. SALA, ALBA MANSION - DAY
A TRAY OF FOOD. Gerry follows with his eyes a servant carrying
the tray of food as she goes up the stairs to the third floor.
INT. DINING AREA, ALBA MANSION - DAY
Gerry is seated at the dining table. He cant eat. In front of
him is a modest meal but a feast compared to what others get
for a day. Labong soup with shrimp, fried dalag and rice.

73
Gerry makes one long good look at it again: STEAMING WHITE on
the plate.
INT. AMADORS ROOM, ALBA MANSION - DAY
Its a small maids room, only that it is arranged as a small
office, a typewriter there, some folders on a table, a buri
hat on the wall. Amador is doing paper work. This has been his
office since the burning of the granary. As if sensing
something, Amador turns to the door - THERE STANDS GERRY.
EXT. BACK SIDE OF THE HOUSE - DAY
Gerry and Amador stand in front of a TALL WOODEN GATE, 4
meters high. Amador turns the key to a large lock, removes the
lock and raises the crossbar of the door.
AMADOR
Hindi pera ang nagpapakilos
sa mga tao.

You dont control people by

their pockets.

INT. TAMBUBO / RICE STORAGE AREA - DAY

Gerry is first to enter the dark storage room, Amador follows.
Gerry stops and sees about 20 bakags (large baskets as tall as
a person, 2 meters in diameter) lined up inside the large
room. Amador shows him the way. They go up a ramp. Amador
pulls one of the banigs that cover the bakags. Its PALAY /
RICE.
AMADOR
Kundi ang mga tiyan nila.
(assesses how much they have)
Ang isang bakag, katumbas ng
dalawampung sako ng bigas.
Meron tayong tatlumpung bakag
kaya hindi bababa sa 500 sako
ng bigas ang nandito. Baka
daw umorder pa ang mga buyer
natin sa Maynila at Bangkok
kaya nireserba ni Amoy ang
mga ito.

You control them by their

stomachs.
(assesses how much they have)
Each bakag is equivalent to
20 sacks. We have 30 bakags,
so we have at least 500 sacks
of rice here. Amoy was saving
it. Just in case our buyers
from Manila and Bangkok
needed more supplies.

Gerry looks at Amador. He cant believe how nonchalant Amador

can be about this - its hoarding.
INT. DINING AREA, ALBA MANSION - NIGHT

74

A familiar picture, Gerry on one end of the table, Capt.

Buendia on the other. But this time, food is served in front
Capt. Buendia. Hot steaming rice.
GERRY
Kumusta na ang mga rebelde?

How are the rebels?

CAPT. BUENDIA
(playing along)
Patay. Katulad ng dati

Dead, same as before.

GERRY
Siya nga?

Is that so?

Capt. Buendia tries to think about what Gerry is insinuating.

GERRY
Ang sabi ni Tata Mador,
dumarami nang dumarami ang
sumasali sa samahan?

According to Amador, the

number of the rebels is
growing.

CAPT. BUENDIA
(insulted)
Ako ang dahilan kung bakit
kayo ligtas dito! Ako ang
humaharap sa problema ninyo
sa Abandonados!

I am the reason why you are

here! I am the one who go out
to the fields taking care of
the Abandonados!

GERRY (quick)
Ako ang dahilan kung bakit di
pa lumalala ang problema sa
rebelde. Di pa nag-aaklas ang
mga magsasaka dahil tapat
sila sa akin.

I am the reason why you are

here! My farmers do not join
the Abandonados because they
are loyal to me.

Capt. Buendia seem to have found a match. He recomposes

himself. Gerry brings out the order letter from Camp Jamindan,
seemingly unread, and slides it to the table.
GERRY
Pinabasa ko yan sa abogado
ko. Gaano ka na katagal dito?
Mahigit sa dalawang buwan,
tama ba? Di bat napakatagal
noon kung tutuusin na kaunti
lang ang mga rebelde dito sa

I had it checked by my
lawyer. Youve been here for,
what, more than two months?
Quite long for such a small
group of rebels, dont you
think? With such a big force

75
amin? Sa dami ng dala mong
mga sundalo, kailangan ay
nakaalis na kayo sa loob ng
dalawang linggo. Yun ang
nakasulat dito, hindi ba? At
tungkol nga pala sa mga
tauhan mo, nakikita ko na di
rin sila naiiba sa mga
magsasakang nagugutom.
Kinaaawaan din siguro kayo ng
mga tao sa Camp Jamindan, na
lugaw at kamoteng kahoy lang
ang kinakain niyo sa arawaraw. Pero may mga mas
mahalagang bagay silang dapat
unahin sa kabundukan.

like yours, you should have

been out of my land in less
than a couple of weeks. Two
weeks, thats what it says on
the order letter, am I right?
And yes, about your force. I
see that they are no better
off than the rest of the
farmers. I bet the people
from Camp Jamindan pities the
situation of your men, living
on lugaw and camote everyday.
But then, they also have
their share of rebels in the
mountains.

The captain always has his share of insolent remarks. But he

knows how to acknowledge power when it presents itself in
front of him glaringly.
CAPT. BUENDIA
Anong kailangan mo sa akin...
Amoy?

What do you want from me...

Amoy?

EXT. AMOY VICTORIOSOS STUDY - DAY

CLOSE ON: A pen strokes a signature above a typewritten name
that spells out GERARDO ALBA.
A ROOM adjacent to the library is Amoy Victoriosos study.
Gerry sits behind a solid narra desk that imposes all
attention. Books are also on the shelves. The room of a very
well-versed man.
Using the inkwell of Amoy Victorioso, Gerry signs his name on
the transfer papers for the will. The attorney receives it
dutifully while Amador hands Gerry requisition letters for the
farm. Gerry signs again his name.
GERRY (V.O.)
Meron akong 80 magsasaka.
Dapat ay nagtatanim sila ng
3 kaban ng binhi mula sa
sarili nilang saka. Ngunit
dahil nga sa mga pangyayari,
obligado akong magbigay sa

I have 80 farmers. They

should be planting 3 cavans
of binhi out of their own
harvest. But because of the
circumstances, I am obliged
to supply it for them.

76
kanila ng kanilang itatanim.
Pero mabibigyan ko lang sila
ng tig-iisang kaban para
merong tayong mapapagiling
at mapamigay bilang bigas.

Unfortunately, I can only

give them one each so that
there will be enough to go
around as milled rice.

EXT. TAMBUBO, ALBA MANSION - DAY

The large gate is now open. Workers from the granary come in
and out of the storage room carrying sacks of palay. From the
distance, outside their tents, the hungry soldiers look on.
GERRY (V.O.)
Babahaginan kita at ang yong
mga tauhan ng 10 sako ng
bigas kada lingo, kung saan
ikaw na ang bahalang
magparte-parte. Bibigyan ko
kayo hanggang kalian ninyo
gusting manatili dito, at
madadagdagan nang
madadagdagan depende sa dami
ng maaani.

I shall provide you and your

men, 10 sacks per week, of
which the partition, I shall
leave to your sound judgment.
I shall provide you and your
men your much needed food
supply, as long as you decide
to stay, increasing
accordingly to what the
harvest will allow.

EXT. GRANARY - DAY

The surveyor, with even paces, measures the distance of the
re-construction site. He sticks a little red flag into the
ground. Amador, with a clipboard and pen in hand, mans the
handing out of sacks to the Kapitans.
Army men are scattered, watching out for rebels. Gerry watches
as soldiers burn the field in the distance. Theyre getting
rid of the grass that looks exactly like palay.
GERRY (V.O.)
Tutulungan mo akong itayong
muli ang kamalig. Bibigyan mo
ng proteksyon ang mga tao ko
sa construction site.

You shall help me rebuild the

granary. You will provide
protection to my workers at
the construction site.

Theres a great deal of activity, similar to some ancient

Egyptian industry. Men with welding instruments, cranes and
pulleys take down the burnt and destroyed metal walls. Army
men look on from newly erected guardhouses.

77
A construction truck rolls in, the foreman signals and the
cement pours into the new foundation of half erected posts and
hallow blocks, extending the floor size of the granary by a
good 500 square meters.
We can see the fields are full of farmers, their feet under
the soft mud planting the punla (germinated rice).
GERRY (V.O.)
Sisiguraduhin natin na ang
kapakanan ng mga mamamayan ay
ang siyang masusunod.

We will make sure that the

interest of the town will be
safeguarded.

On the hood of the jeep, in the middle of the riot of men and
equipment, Gerry signs checks made out to CapChem Inc. in
Roxas requisitioning fertilizers and pesticides.
EXT. GRANARY - DAY
The workers unload the fertilizers (in paper sacks) and
pesticides (in bottles inside boxes) from the trucks. The long
line of farmers ends with Amador seated on a table with papers
and lists of names on top of it.
The Doubting Kapitan picks up a bottle of the pesticide, hands
it to Gerry and Gerry in turn hands the bottle to a farmer.
The Loyal Kapitan mans the distribution of the fertilizers.
Farmers look at Gerry, theyre grateful to Amoy Gerardo.
Behind Gerry and Amador is the shell of the new granary. We
begin to notice the refinements: the walls and roof that
define better days to come.
EXT. ZAGUAN - DAY
Four soldiers drag two Vietnamese men dressed as farmers.
Capt. Buendia follows behind. He gives a clandestine punch
right at the kidney of one of them. Theyve been beaten up
before they got here. They pass by Gerry.
CAPT. BUENDIA (to Gerry)
GI Joe. Genuine Instsik bala.
Capt. Buendias grins. Hes a crazy goon.
GERRY (V.O.)

78
Ipinauubaya ko sa iyo ang
mga rebelde. Kailangan
silang mapigilan dahil banta
sila sa seguridad ng bayan.

You shall continue taking

care of the rebels, as they
are a threat to the safety of
the town.

EXT. ZAGUAN - NIGHT

We can here the muffled sounds behind the wooden gates.
GERRY (V.O.)
Alam kong kailangan ninyong
ipagpatuloy ang mga bagay na
may kaugnayan sa tactical na
trabaho.

As I understand, it is
necessary for you to continue
all the essential tactical
work.

INT. ESPERANZAS ROOM - DAY

She looks down at the Kampo. She can see the soldiers milling
around, one group comes, another group goes. Gerry is talking
to Sarge. From below, Gerry sees Esperanza up in her window.
He has to go. He hops into the jeep where Amador is waiting.
INT. SALA, ALBA MANSION - NIGHT
The woman who lost her son weeps in front of a closed coffin.
Beside her is her husband in crutches. Behind the old couple
are the rest of the farmers being served with food and juice.
Esperanza is leading them in prayer with her rosary. Gerry
stands by the window, watching the wake.
GERRY (V.O.)
Ngunit gusto kong mgaing
mapili kayo sa pag-aresto ng
mga tao na galing dito sa
lugar ko. Tandaan ninyo na
mga magsasaka ko ang mga ito.

But I demand that you show

discretion in arresting and
taking into custody people
from the town. Keep in mind
that these are my farmers.

EXT. KAMPO - DAY

Under one of the tents can be glimpsed the armys supply: M16s, magazine (of guns) boxes, radio and other
telecommunication equipment, and sacks upon sacks of rice.
GERRY (V.O.)
Sila ang dahilan kaya may
kinakain kayo ngayon.

These are the people who

provide you your food.

79
EXT. FIELD - DUSK
The farmers are in prayer for the Angelus. They look like
statues from some old forgotten time, with the rice, now grown
tall around them. The field is painted amber under the firemelted sky.
INT. ESPERANZAS ROOM - SAME TIME
The same orange-yellow light paints the face of Esperanza
looking out to the field. She turns to the door - A man
stands, the one shes been waiting for so long.
Gerry sits beside her. They look into each others eyes. He
slides his hands under her. Even though we dont see it, her
face tells us that it is so. He looks at her, his eyes saying:
Im here now. She does not resist. Their lips meet and they
slowly fall into bed.
INT. ESPERANZAS ROOM, NIGHT LATER
In the shadows, we see surging, pent-up passion...
GERRY (V.O.)
At ako... Gagawin ko kung ano
ang inaasahan sa akin ng
pamilya ko.

As for my part, I shall do

what is expected of me by my
family.

INT. DINING AREA - NIGHT

The Captain is fine with all of it. But he needs to ask.
CAPT. BUENDIA
At sa pamilya mo? Ano ang
dapat naming ipaglingkod?

What about your family? What

should we provide you with?

EXT. KAMPO - DAY

Esperanza is looking out to the Kampo. Gerry and Captain
Buendia are watching the soldiers have a boodle fight (a way
soldiers build camaraderie, eating with bare hands, using one
long plate made from banana leaves put side by side). The
soldiers are happy.
GERRY (V.O.)
Dito ka na nakatira Kapitan.
Ituring mo ito kung paano mo

You live here now, Captain.

Treat it as you would treat

80
ituring ang pinagmulan mo.

your home.

INT. ESPERANZAS ROOM - DAY

Esperanza looks on from the 3rd floor. Gerry looks up to see
her. Gerry smiles at her. And she smiles at him too.
GERRY (V.O. contd.)
Bahagi ka na ng pamilya.

You are family.

EXT. GRANARY - DAY

A perfectly working machine: A FORKLIFT rolls out of the
warehouse carrying sacks of rice, MEN load previously
transported sacks into a DELIVERY TRUCK bound for the pier at
Pilar, RICE MILLING MACHINES scattered all around, throwing
rice husks in the air. A MOUND of freshly stripped rice husks.
A GROUP OF MEN filling sacks with rice. FARMERS AND WORKERS
are busy weighing and trading their harvest. Outside the
granary, towering over everything is A BLACKBOARD 15 METERS
HIGH that tallies all major incoming deliveries from the
farmers and outgoing deliveries to Manila and other cities
like Bangkok and Phnom Phen. It also identifies the different
varieties of rice (Wag-wag, Camoros, Bisaya, and IR-16, etc.),
total yields in tons, and prices.
Gerry surveys the site from afar, clearly pleased with it. But
then, he also sees the house of Anabella across the river. The
sight troubles him.
GERRY
Ngaman mo gin pakuka sa akon
ato nga balay?

Why didnt you let me take it

down?

AMADOR
Kay iya man na.

Because its hers.

Gerry is having a hard time believing it.

AMADOR
Iya inang duta. Nakasulat gid
ina sa testamento ni Amoy
Victorioso.
AT THE KUBO

She owns that piece of land.

Its on the will of Amoy
Victorioso.

81

Anabella stands outside. Looking back at them.

INT. ESPERANZAS ROOM - NIGHT
The bodies of the lovers lie limp and naked, partly covered by
the blankets.
ESPERANZA
Ano bala ang itsura nya?

How does he look like?

GERRY
Waay ko kabalo.

I dont know.

FLASH: TINY FINGERS, the hand of a child touching golden

yellow ricestalks as he walks.
GERRY
Pirmi man sya ga lakat. Daw
mayo man ang tanan sa iya...

Hes always leaving.

Everything seems fine...

FLASH: A grass-covered hill, a tree at the top, gentle yellow

sunrays warming it through.
GERRY
Hasta...

Until...

A GUNSHOT. A FLAPPING OF WINGS.

ESPERANZA (looking
at Gerry)
Hasta?

Until?

Silence. Gerry does not continue. Esperanza also abandons the

thought. She moves to the window, her bare back turned to us
shes beautiful.
ESPERANZA
Matawhay na ang banwa karon.

The towns peaceful now.

GERRY
Lantawon ta ang Mother.

Lets see the Mother.

Esperanza is touched that he knew. Without turning to him, she

smiles at the thought.
EXT. ADORATION CHAPEL, IMMACULATE CONCEPTION CHURCH - DAY

82

An inner courtyard beside the Church. Esperanza stands in

front of the Mater Dolorosa, bowed, praying the rosary. Gerry
is looking at the Mother - at her permanent sadness. But then,
he cant concentrate because of the growing noise inside the
church. He looks at the people, theyre waiting, impatient,
constantly fanning because of the heat.
EXT. DIRT ROAD TO ALBA MANSION - AFTERNOON
The Chrysler drives slowly down the road. The jeep of Captain
Buendia trails behind.
INSIDE THE CAR
Esperanza is looking out.
ESPERANZA (to
Gerry)
Baw ka irisponsable nga pari.
Wala gid mag misa.

Such an irresponsible priest,

not coming for mass.

OUTSIDE
The trees are peaceful and quiet.
ESPERANZA
Paano nahimo sang isa ka
ministro na nga inde
nagapakita sa misa kung ang
pari may tug-an sa Mother nga
sya ang magapadayon sang obra
sang bata nya.

How can an ordained minister

not show up for mass when he
has sworn to the Mother that
he will continue the work of
her son to take care of His
flock.

AMONG THE TREES

The WATCHMAN moves silently, following them.
ESPERANZA (to
Amador
Ta Mador. Dali ibakik naton
ang Mother sa balay.

Ta Mador. Why dont we bring

the Mother back to the house?

The wind blows. Gerry sees: The RED CLOTH tied around a branch
of a tree.

83
A GUNSHOT. The wind shield shatters and the driver hits the
steering wheel dead.
Several things happen at the same time:
- Men emerge from the trees carrying bolos posed to attack,
crying names of women - each having a red cloth tied to his
arm.
- Sarge and the Captain shoot, jumping down from the jeep.
Sarge misses, the Captain kills one.
- A man opens the door of the Chrysler and pulls Gerry out of
the car. Esperanza is crying, terrified. Amador goes down the
car to help Gerry.
- The Captain shoots the man standing over Gerry. Amador comes
to his masters side.
- Sarge shoots, an attacker falls, but another takes his place
swinging his bolo towards him. He catches the mans hand and
is now in handto-hand combat.
- The Captain tries to go to the Chrysler but another man
attacks him. He shoots but misses, he too is now in hand-tohand combat.
- Another man comes over to Gerry and Amador. He stands over
them. Its Father Simeon, the one we saw in the Salubong
procession. He poses for a slash.
- The Captain kicks the man holding him, giving him enough
space to shoot. BANG! The man crumples to the ground. The
Captain sees Sarge trying to get free. The Captain helps out
and shoots at Sarges attacker. The man falls.
- The fire in the priests eyes never dissipated. He stares at
Gerry with it. But then, when he is about to attack, he takes
a quick look at Amador. Amador looks at him they know each
other. The man shifts his hold of the bolo from slash to a
thrust and lunges. The bolo goes through the body of the
mayordomo.
- The Captain sees Father Simeon, swings his gun and shoots
the assailant. The priest falls.

84
- Sarge sees the last of the men approaching fast at the
Captain. Sarge shoots and the man falls down.
AT THE CAR
Esperanza is terrified inside the car, looking blankly into
space like a lost little girl. Amador lies on the dirt road.
He looks at the red cloth.
AMADOR
Tapos na ang parte ko. Inubra
ko na ang dapat ko himuon.
Pakisiling kay nanay,
pasayluha gid ako.

My part is done. Ive done my

role. Tell the Mother, Im
sorry.

He dies. Gerry can only look.

INT. ESPERANZAS BEDROOM - NIGHT
Esperanza looks at the field. A lot of commotion is happening.
The Captain is sending out troops to the fields.
ESPERANZA
Hadtong pag abot mo, madamo
ang natabo sa banwa.

Since you came, bad things

have been happening to the
town.

Gerry looks at her, thinking about her words.

ESPERANZA
Kahibalo si Mother na mabalik
ka. Gin tugutan niya na
mapatay si Tiyoy sang mga
Abandonados. Pero nakalab-ot
ka giyapon deh... Ti
ginsilutan nya ang lugar kag
mga tawo. Nag-abot ang mga
Abandonados, nasunog pa gid
ang galingan, patay pa gid si
tatay kag nag-abot ang mga
sundalo kag ginkuha nila ang
balay ni nanay.

The Mother knew you were

going to come back. Thats
why she let the Abandonados
kill Tiyoy. But you still
came thats why she punished
the town. The Abandonados
came, the granary was burned,
Papa died, and soon came the
soldiers. (Pauses) And the
soldiers took away the
Mothers house.

Gerry stares at her. He doesnt know what to feel. How can she
say this to him?
ESPERANZA

85
Naakig si Mother kay gin layo
nyo siya. Pininahan niya si
Ta Ador sa kay Father Simeon
kay wala siya gin tatap sang
husto. Kag ikaw toto, Ikaw
gid ang pininahan niya sang
dako. Sigi pa ang malain mo
na pag danggo kag wala naga
pali ang imo pilas...
(shes angry that its all
been her fault)
Di ka na tani nagbalik sa
akon.

The Mother is mad because you

took her home away. Now, she
punishes Ta Mador through
Father Simeon because he was
remiss of his duty to take
care of her. And you, Toto,
you are the one she punishes
the most. Your nightmares
hasnt stopped. And your
wound hasnt healed.
(shes angry that its all
been her fault)
You shouldnt have come back
for me.

He realizes that all this time, she thinks shes the reason
for his return.
GERRY
Nagbalik ako kay dapat
magupod kita, dib ala.
Nagbalik ako kay gina higugma
kita

I came back because we were

meant to be together,
remember. I came back because
I love you.

Gerry tries to comfort Esperanza.

ESPERANZA
Isiling mo sa akon nga indi
mo na ako pagbayaan.

Promise me that youll never

leave me.

GERRY
Duha nalang kita nga nabilin
Manang. Indi ko gid ikaw
pagbayaan.

Its only the two of us left,

Manang. I will never leave
you.

A familiar sight. By the window, Gerry hugs her Manang close.

But Gerrys eyes tell us there are things that need to be
settled.
INT. ANABELLAS HUT, ACROSS GRANARY - NIGHT
On the table are all sorts of albularyo paraphernalia: bundles
of leaves, mortar and pestle, sulfur ores, alum, amber bottles
and tincans.

86
At the firestove, Anabella is saying some incantations. A
shuffle at the door. In comes Gerry. Shes not a bit startled
as if shes expecting him here tonight.
ANABELLA
Nagkadto ka diri para sa mga
tubag nga indi ko mahatag.

You come for answers I cannot

give.

Anabella finishes the last lines of her oracion, gets a

handful of ashes from the firestove and walks to the table.
Gerry notices piles of books, a great number of them, stacked
one on top of the other, neatly bundled on one corner of the
kubo. They remind us of another time long far gone.
GERRY
Bal-an mo sing kapalaran ko.

You know of my fate.

Anabella sits at the table, puts the ashes on a bowl of oil

and mixes it. She does not respond.
GERRY
Bal-an ko nga kaupod ka sa
mga Abandonados.
Nagapartisipar ka sa grupo
nga ini.
ANABELLA
Ahuo, ang mga pula nga ulila.
GERRY
Puede kita mapadakop kag
ipasunog ini nga balay

I know you are part of this

Abandonados. You have
participation in this group.

Ah yes, the red orphans.

I can have you arrested this
instant, and this house
burned!

ANABELLA
Himu-a bi.

Do it.

But he knows he cant. He needs her for the answers. A long

pause.
ANABELLA
Kinahanglan sang banwa ang
isa nga tagsagud, kay gin
hatag ng Ginoo ang iya anak.
EXT. HILL - SUNNY DAY, DREAM

This town needed a savior,

and God gave his one and only
son.

87

A dandelion floats through the air. The falling dandelion.

In the yellows and greens of someones dreams, a hill stands
unassumingly, soft sunlight warming it through. A carpet of
yellow grass, short but lush, covers the hill. Sloping
downhill on one side, the ground plateaus flat, tall yellow
ricestalks, grains long and big, sway peacefully to the same
wind. A place of dreams. The dandelion floats overhead.
The tree on top of the hill lives off from the same energy,
radiating the brightness and warmth in its leaves. The leaves
rustle in the same wind as it passes by, the breeze carrying
with it the dandelion.
The breeze has turned suddenly into a GUST, a
The earth has breathed life. The grass crawls
ripple, a wave forming. The ricestalks bow in
tree sounds-off with its leaves. All comes to

single blast:
as if in a
reverence. The
life.

And then Silence.

ANGLE: A child, a boy about 6 years old, stands just at the
foot of the hill. We only see half of his face. He looks up to
the sky, bright-eyed.
From above, the dandelion falls gently, choosing where to
land. The child follows the dandelion with his eyes as it
lands in his open palms. He looks at the dandelion a bit
oddly, as if it is his first time to see something like it. We
see in his eyes the innocence, a look that shows that he may
not all be there.
At the other side of the hill, a woman, who seem to be
Anabella, stands outside her hut. She sees the boy.
INT. HUT - DAY
The child looks at the womans dwelling quizzically. Its his
first time to see the world. He looks at the woman in the
adjacent room. Shes getting something.
She walks to him carrying some clothes. She tries the clothes
on him. There is tenderness in her touch, motherly. The shorts
fit perfectly. Then the tattered shirt. It too fits perfectly.
She takes one more look at him. He stares at her. She smiles
at him.

88

ANABELLA
Ginhatag ko ang ngalan sang
bata ko sa iya. Manuel, ang
hambal nahimo unod. Bata ko
siya kag ako ang iya iloy.

I named him after my son.

Manuel, the word made flesh.
He was my son, and I, his
mother.

EXT. UNDER THE TREE, HILL - SUNNY DAY

Under the tree, on the hill top, we see Anabella dancing as if
in a trance. Her movement following rhythmic beats. Dreamy
quality. Soft focus with yellow highlights and warm colors.
A smile on her face. She looks down. We see the Little Boy
seated on the ground in front of her, looking up, smiling. Her
shadow playing figures on his face.
Anabella is doing her nganga ritual. She loves it. She lets
Gerry taste it. He puts it in his mouth. He squirms. He
doesnt like it. Anabella laughs kindly.
Anabella is on her knees, on her arms is Gerry. They sit on
the grass covered ground while blowing on a single cluster of
dandelion.
EXT. HILL - SUNNY DAY, DREAM
We see the Little Boy walking in the open space and treading
the path down the slope, his back turned to us. TINY FINGERS,
the hand of the child touching golden yellow ricestalks as he
walks. On his way, he leaves a small nipa hut behind.
A gunshot echoes in the distance. A crow flies past the sun.
ANGLE ON A MAN falling to the grass-covered ground in slow
motion. We do not see his face.
INT. HUT, HILL - MORNING
Sunrays seep through the cracks of the house. Anabella gets a
handful of the ashes from the firestove. She walks to the
entrance of the house as she prays the oracion.
ANABELLA
Indi tani matabo ang akon
gindamggo.

Translation (subtitled)
I pray that my dream doesnt
come true.

89
She throws the ashes in the air. She looks at Manuel in the
bed, sleeping soundly.
EXT. RIVER - SUNNY DAY
Anabella plays with the child in the river. Manuel and
Anabella are splashing water at each other. A happy moment.
The fun is then cut short when Anabella notices something in
the tree. The expression on her face changes. She cannot keep
Manuel from his fate. The crow looks on, awk-ing.
INT. HUT - AFTERNOON
Anabella is bent down, meeting the eyes of Manuel, staring at
the young messiah, worried, sad. Outside, its hard to say
what time of the day it is. Its dark and cloudy.
EXT. TALON / WOODS - SAME DAY
Anabella has accepted Manuels fate. She looks at the child,
now firm with conviction that she has to do this. Anabella
takes hold of Manuels left hand. Using the knife she carries,
she makes a cut on the palm of Manuel. The boy flinches a
little, confirming her fear. Immediately, the blood flows.
Manuel looks at Anabella, a bit scared.
ANABELLA (V.O)
Sang nakita ko sa mata sang
bata ang kasakit, nabal-an ko
na dapat palakton ko na sya
kay ang messiah hindi dapat
maka agum sang sakit.

When I saw that look in the

childs eyes, I knew I had to
let him go. The messiah
should never learn to feel
pain.

She tears a piece of her dress, ties the wound with it, and
clenches the hand of Manuel into a fist. Shes firm but tears
in her eyes cannot hide her sadness.
The child walks into the jungle. The boy turns around and
looks at Anabella for the last time. Anabella watches him go
into the darkness, tears falling on her face, but she keeps
strong to her faith.
ANABELLA (V.O.)
Napalapit na ang bata sa akon
pero hindi ko sya matuod na
anak. Ang Dios may iban na
plano sa iya.

I have grown to love the

child. But he is not my son.
The Lord Almighty has other
plans for him.

90

The Good Friday procession, very much like the one we saw in
the start, snakes in the distance. The Santo Intierro, as
always, is asleep.
The river flows peacefully on the rocks and pebbles.
INT. ANABELLAS HUT, ACROSS GRANARY - NIGHT, 1972
Gerry hears the story of the Nagatinguha (the candidate). The
tears are gone but the pain wanders in the face of Anabella.
Anabella stands up. She walks to the bedroom to get something.
She comes out with 2 pieces of white cloth, folding one on her
way back to the table. She stops in front of Gerry.
ANABELLA
(gesturing)
Abi, patanawa ko.

Let me see it.

Gerry opens his shirt. Its gotten worse: the WOUND is a

mixture of red blood and green pus. We can see that the skin
around it has inflamed, bright pink, white spots grow on the
flesh.
Anabella wipes the whole thing with her hand. Anabella gets
the bowl of lana (concoction of coconut oil and other
traditional ingredients), dips the folded cloth into the oil
mixture and wipes the wound with the soaked cloth.
She gets a leaf from her bundle, tears it into two with her
mouth, chewing half of it. She pulls out the leaf from her
mouth, puts it in the wound, puts the unchewed half of the
leaf on top of it.
She puts the oil-soaked cloth on top of it and ties the whole
thing in place with the other cloth. Gerry wonders why shes
doing this. A pause. Anabella looks at him straight.
ANABELLA
Mabulog ko ang pilas pero
indi ang sakit.

I can treat the wound but not

the pain.

Her eyes make us ask: which wound is she referring to, Gerrys
or hers?
VIDEO INSERT

91

Natives are grouped in front of the camera, sitting on stools.

We are inside the Balay Turun-an. In the background, farmers
are bringing out sacks of rice from the Tambubo (storage area)
part of the Balay Turun-an. The Natives talk to us.
MAN 1 (to the Camera)
Nagkadto ang mga taga syudad
upod ang mga suldado sa amon
nga lugar. Siling nila
maghimo sila sing dam sa
Jalaud.

The lowlanders came to our

village with the soldiers.
They said they are going to
build a dam on the Jalaud.

WOMAN 2 (to the Camera)

Inde tani kami makadto pero
kinahanglan makadto kami kay
may ihambal sila sa amon ni
para mapensar naton sing
mayad.

We didnt want them to but

they said we should at least
attend a briefing about it.
Just so we can think about
it.

MAN 1 (to the Camera)

Gintaw-an kami sing blanko
nga papel kag ginpapirma kami
sa amon mga pangalan.
Nagsiling sila nga listahan
yadto sa nagkadto sa miting.

They handed us a blank piece

of paper, making us sign our
names. They said it was for
the attendance.

MAN 2 (to the Camera)

Pero wala sila naghatag sing
seminar sa amon. Nabal-an
nalang namon nga pahalinon
daw kami sa amon nga lugar.

But they didnt give us any

seminar. The next thing we
know, they were telling us to
leave our village.

WOMAN 2 (to the Camera)

Siling nila naghuo daw kami
nga maghimo sla sing dam.
Nagsugot gid daw kami.

They say we agreed on

building the dam. That we
consented to it.

WOMAN 1 (to the Camera)

Pero ang ginpakita nila sa
amon yadto lang mga listahan
sa amon nga mga pangalan nga
nagkadto kami sa miting.
EXT. HILL - SUNNY DAY, DREAM

But the only thing they

showed us is the attendance
sheet with our names on it.

92
The Little Girl is playing on the hill of Manuel and Anabella.
The picture of innocence: She follows a dandelion, trying to
catch it. Her chase takes us to the side of the hill were
golden ricestalks grow tall, bending with the wind.
Her chase brings her to a river. She finds something that
makes her reaction change. Shes shocked, a bit scared, as if
shes seen a dead person. We HOLD ON her face.
INT. KUBO, SITIO BUSAY - DAY, 2002
A hand lies limp, white but dirtied.
Franco sits among a group of natives mourning and wailing for
the two men lying on a raised platform in the middle of the
room above the bamboo floor, the men covered with blankets,
their hands and feet sticking out from the edges. Estrella and
the Anita are talking outside. Estrellas eyes are elusive,
intentionally avoiding Francos.
PASTOR JOE
Dont take it against her. Shes just
living up to what is expected of her.
Shes just looking after her people.
Like what her mother did. (pauses)
Its always been like this.
FRANCO
Yes, I guess it has.
The brothers we saw tying the tu-us earlier enter the room.
Mal-am Benig pulls part of the blanket, revealing the faces of
the two men theyve already been washed and cleaned.
We see gunshot wounds on both of them, small black holes on
the flesh. One of the boys hand Mal-am Benig a peeled ginger.
Mal-am Benig starts to rub it into their skin.
Franco notices the red cloth on one of the boys pocket.
Franco remembers.
FRANCO (to Pastor Joe)
What are the red cloths for?
PASTOR JOE

93
Theyre called tu-us. They are
markers for the forbidden zones. They
are called mari-it.
FRANCO
Why are they forbidden?
PASTOR JOE
So that people dont wander into
them.
FRANCO
Why shouldnt people wander into
them?
PASTOR JOE
Because these are the places where
the double dwell. Usually, it means
that someone died in that place.
Gerry listens intently to Pastor Joe. The boys are tying the
mouths of the dead men shut using white cloths.
PASTOR JOE (contd)
The Sulods believe that each person
has two souls. One of the souls
dwells in the body. The other goes
around, making sure that the land is
protected.
(pauses)
The dead people are the ones who keep
the people safe and the land free of
trespassers.
Estrella comes in. She walks to the Pastor and Franco.
ESTRELLA
(to Pastor Joe) Excuse me Pastor Joe,
Anita wants to talk to you outside.
(to Franco) I have to give you
something.
EXT. ESTRELLAS HOUSE - DAY
Franco waits outside the large kubo. He is looking at farmers
bringing out the sacks of rice from the Balay Turun-an (the

94
Tambubo part of the Schoolhouse). Manning them is the Farmer
with the Buri hat we saw in Sitio Busay.
AT THE OPPOSITE END OF THE BALAY
The natives that we saw in the video insert (who told us about
the building of the dam) are leaving, saying their goodbyes to
Mauricio. Mauricio holds Francos video camera.
AT ESTRELLAS KUBO
Estrella emerges from the house and comes down.
ESTRELLA (handing out a plastic bag)
Here.
FRANCO
Whats this?
ESTRELLA
Watch it when you get to the office.
(Pauses, takes a deep breath) You
have to leave now.
FRANCO
Why?
ESTRELLA
Its not safe anymore. (a long beat
between them) Thanks for staying.
FRANCO
I wish I could have known you more.
ESTRELLA
You will. (she offers her hand) Take
care of your self.
He accepts. Estrella gestures to Mauricio. Mauricio walks to
the two.
ESTRELLA
Cio will accompany you on your way
down.

95
Estrella and Franco exchange one last look. Its the first
time she looks at him straight. Shes the first to turn away.
Mauricio hands Franco his video camera.
MAURICIO (to Franco)
Lets go.
VIDEO INSERT: HINAYA VIDEO
SISTER DIMARANAN is in front of the camera. We see a title
card at the bottom of the frame:
Sister Mariani Dimaranan, Former Head, Tulong Tumanduk.
In the background is a blue poster of ANG KALIBUTANON NGA
PAHAYAG SANG MGA KATARUNGANG PANGKATAOHAN (Universal
Declaration of Human Rights). We are at the Tulong Tumanduk
Office, Tapaz, Capiz.
SISTER DIMARANAN
I remember her as someone who was
soft-spoken... a total opposite of
her mother Iyay Helena. Estrella told
me once that she knew she was never
going to be a chanter like her
mother. Thats why she took up
Literature at UP. With the Tumandok,
stories are used for everything,
farming, nursing, healing. Iyay
Helena was known for using the
stories of the Sugidanon Epic to call
out for the end of the presence of
the military troops in Carvasana in
Tapaz. In a similar manner, Estrella
took charge of information gathering
and documentations here in Tulong
Tumandok. She was very good at it.
For her, its just like storytelling.
(pauses) I really miss that woman.
INT. GIGANTO RESIDENCE - DAY, 2002
A woman is crying while talking to Franco. She used to be so
animated when we first saw her. She is Darlyn Giganto. Franco
has his camera on.
DARLYN GIGANTO (Visayan accent)

96
Dinakip po nila yung kapatid
ko. Pinaghihinalaan po kasi
nila na miyembro ng NPA siya.
Yung kaingin po namin, nasa
bundok. Nagtataka po sila
kasi yung kubo ng kapatid ko,
ang mga nakaframe sa
dingding, mga mapa ng ibang
bansa, tapus yung mga librong
binabasa niya sa bundok, yung
mga readers digest.
Nagtataka daw po sila, bakit,
anu daw po yung ginagawa ng
isang ganung katalinong tao
sa kabundukan. Kaya parang
pinaghihinalaan po nila na
NPA daw po yung kapatid ko.
(wiping the tears off her
face) Humingi po kami ng
tulong sa kapitan at kay
mayor at sa iba pa. Tapos
isang araw, nagtext po yung
secretary ni Mayor na
pakakawalan na daw yung
kapatid ko. Pero yung mga
balibalita na daw po na
natatanggap namin na bugbog
sarado na, ganyan, e hindi
naman daw ganun kagrabe ang
nangyari.
(pauses, trying to control
the tears, she hands Franco
PHOTOGRAPHS (FILE PHOTOS)
We see the pictures as Gerry
flips among them, the
pictures correspond to the
story of Darlyn)
Isang araw, naghahanap ng
Kalabaw yung mga magsasaka,
may nakita silang hukay,
hinukay nila, nakita nila
kaagad yung paa. Nakabaon na,
nakabaon na po yung kapatid
ko. Siguro mga lampas tuhod
lang daw yung pinagbaunan.

The military took my brother.

They were accusing him of
being a member of the NPA
because of the things inside
his kubo. Our farms are in
the mountains. They were
suspicious because my brother
had world maps framed inside
his kubo... also, the books
he was reading were readers
digest. They were asking
whats a bright man doing up
in the mountains. Thats why
they thought that my brother
was a member of the NPA.
(wiping the tears off her
face) We asked help from the
authorities. We went to all
offices for assistance. Then
one day, the secretary of the
Mayor texted that the
military will be releasing my
brother. We heard of rumors
that hes been beaten up
badly but people said that
its not that bad.
(pauses, trying to control
the tears, she hands Franco
PHOTOGRAPHS (FILE PHOTOS)
We see the pictures as Gerry
flips among them, the
pictures correspond to the
story of Darlyn)
One day, the farmers were
looking for the Kalabaw and
they saw something buried in
the ground. They dug it up
and they immediately saw the
feet of my brother. The grave
was just knee high. His arms
were almost violet black
and blue, both of his arms.
(pointing to her arms) This,
(pointing to the ribs), also
black from the bruises. And

97
Halos violet, itim na, ito
magkabila, (pointing to her
arms) itong ganito niyang
dibdib (pointing to the
ribs), itim na itim na rin
po. Tapos yung ari niya,
(gesturing with her hand)
parang biniyak sa dulo. Ito
(she holds her thighs) itim
na, lahat po ng ito. Tapos
dito (her palm on her
forehead), itong ganito niya,
lubog. Bago may busal yung
bibig niya. May tali ang
kamay niya. (On the verge of
breaking down) Nalaman nalang
naming sa otopsi na buhay pa
yung kapatid ko nung nilibing
siya. Naisip namin na sana
binaril na lang siya ng isang
baril.

his private part (gesturing

with her hand) was cut in
half at the tip. His thighs
(she holds her thighs) was
also black, all of it. And
his forehead (her palm on her
forehead) was dented. His
mouth was stuffed, and his
hands were tied. (On the
verge of breaking down) We
later found out in the
autopsy that he was still
alive when they buried him.
We thought it would have been
better if they just shot him
dead.

Franco looks at the woman before him, feeling for her.

We PULL OUT with the view of the room with Franco looking at
the woman in front of him, and Mauricio behind Franco.
INT. TULUNG TUMANDUK OFFICE - DAY
On the table is the plastic bag which Estrella handed to
Franco. There are VHS tapes inside it. Franco is watching one
of the tapes. Hes looking at:
TV SCREEN: A documentation video of the Little Girl (2001)
inside the Balay Turun-an, in a hammock, chanting the opening
verse of the SUGIDANON. The people are gathered around
watching as she sings.
LITTLE GIRL (chanting)
Pati bidya nagasugo
Kunina sa Tarangban
Ada sa Karundalan.
Sagin-ohon na roy buntog
Iwanon doy binukot
I Nagmalitong Yawa
I Nagmalitong Diwata

Translation (subtitled)
Even the bidya was requesting her
To go to Tarangban
There at the Kurundalan.
What could the maiden do
What could the well-kept one do
Nagmalitong Yawa
Nagmalitong Diwata?

98
Franco looks on.
TV SCREEN: A documentation video of Lola Susa (1994) inside a
kubo, in a hammock, chanting continuing the verse from the
Sugidanon. Dr. Magos is with her in the frame, holding on to a
microphone.
LOLA SUSA (chanting)
Nakuon tanay buntog
Binagruba ninyoy lawas
Liwata I tubuan.
Mahimo abi akong lampung
Kamhan akong lalaki.
Palikud ka alima
Malanadurang dagom
I tubuan nang buntog
Tukaw tana tumundog
I madayhakang datu
Pahi gid tuladan
Kay Buyong Humadapnon.

Translation (subtitled)
Said the maiden
You change my body
Recreate my real self
Make me a man
A full-grown man.
Then she held her hand behind her
Suddenly, like a needle lost
Her maiden form was gone
And from nowhere there stood
A handsome datu
Who, in every way, was like
Buyong Humadapnon

We PULL OUT with Franco watching the tapes and DISSOLVE.

INT. GERRYS ROOM - DAY, 1972
The typewriter rests on Gerrys desk, unused. Esperanza is
looking out from the window. Gerry is preparing to leave.
Other than the sound of him preparing, there is a foreboding
silence in the room. He opens one of the drawers and pulls out
a gun. He holsters it.
ESPERANZA
Deposuit potentes de sede et
exaltavit humiles. esurientes
implevit bonis et divites dimisit
inanes.
Gerry is stopped. He has heard the lines before.
ESPERANZA
Duwa ka semana bag-o napatay
si Tiyoy, may babaye na
nagkari kag naghambal na
makit-an na sang aton
pamilya ang katapusan.

Two weeks before your father

died, a woman came here,
saying that our family will
find its end.

Gerry walks to her, worried for Esperanza.

99

GERRY
Indi na matabo.

Thats not going to happen.

But shes not listening.

ESPERANZA
Si buang Bilya kuno siya
silaing ni Ta Mador. Kaakig
gid sa iya si tatay kay
ingrata kuno siya. Pero si
Tiyoy Gonzaling, nahadlok sa
iya.
(shifting, reflecting)
Deposuit potentes de sede et
exaltavit humiles. esurientes
implevit bonis et divites
dimisit inanes.

Ta Mador told me she was

Buang Bilya from the granary.
Father was very furious with
her, calling her ingrata. But
Tiyoy looked so scared of
her.
(shifting, reflecting)
Deposuit potentes de sede et
exaltavit humiles. esurientes
implevit bonis et divites
dimisit inanes.

He hugs her.
ESPERANZA (contd)
Ginpukan niya ang gamhanan
nga mga hari sa ila mga
trono. Kag ginbayaw niya ang
mga kubos. Ginhatagan niya
sang maayo nga mga butang ang
mga imol. Pero ang mga
manggaranon iya ginpahalin
nga wala gid sing dala.
Nagadayaw gid ako sa Ginoo!
Amo ini ang Magnificat ni
Mother.

He has thrown down the rulers

from their thrones, but
lifted up the lowly. The
hungry he has filled with
good things; the rich he has
sent away empty. My soul
proclaims the greatness of
the Lord, This is the
Magnificat of the Mother.

Gerry is troubled. He doesnt want to leave her like this. But

then, Captain Buendia knocks. He knows its a bad time. But
they have to go.
ESPERANZA
Ayaw ka mag kalisod sa akon,
Toto. Wala na ko mahadlok.
GERRY (determined)
Taposon ta ni karon.

Dont worry about me, Toto.

Im not scared anymore.
Were going to end this
today.

100
She understands.
ESPERANZA
Amo gin na ya. Ang mga
lalaki, libuton ang
kalibutan. Ang mga babayi,
magapabilin para istoryahon
ang ila ginapanghimo.

Thats the way it is. Boys

are meant to see the world.
And girls stay to tell their
stories.

It hits him straight and through. He holds her close, he has

never held her this tight. Capt. Buendia waits. They must go.
INT. HOUSE STUDY / LIBRARY - DAY
An old chair has been pulled for someone. Its the same chair
thats been pulled for Gerry when he arrived at the start of
the film. Esperanza is looking out the window. She looks at
the field, but there is only the Kampo. On the horizon,
Gerrys jeep is trailed by two trucks full of armed soldiers.
CLOSE ON: Esperanzas hand, holding the begemmed rosary,
moving to stroke her stomach.
Esperanza looks inside the library. She sees...
INT. HOUSE STUDY, MINI LIBRARY - DAY, CAPIZ, 1949
...A boy, not older than six, intently reading, serious, his
eyebrows meeting, kneeling on his chair to get the right
reading height, and holding up a thick hardbound book with
both hands, somewhat hidden behind it. It is the Young Manuel
we saw in the story of Anabella. The book: Sophocles and the
Greek Tragedies.
He peeks above the edge of his book, looks at the person
across him, as if checking if shes still there...
...at the opposite side of the table, Young Esperanza. Shes
also reading, although, she has her book lie flat on the
table, the normal way people do it, arms crossed with both
elbows resting on the table.
She pauses, looks up to see him.
He puts down the book for a moment, grins at her warmly
somewhat glad that shes still there, and hides once again
behind his book.

101

Although he doesnt get to see it, she smiles at him just the
same. We see that shes also happy that hes there. She goes
back to reading.
In the peace of their warm sunlit room, the two take comfort
in the company of each other and their hardbound friends.
INT. DOA CONSOLACIONS ROOM - DAY, CAPIZ, 1949
Esperanza kneels beside the deathbed of Doa Consolacion.
Young Manuel stands at the corner stolid, looking at the sad
scene. A man who looks exactly as the one in the painting in
the sala (the nobleman with two boys beside him), stands
behind Gerry. He is AMOY GONZALING, the young boys father.
Amoy Victorioso puts his hand on the shoulder of Amoy
Gonzaling.
AMOY VICTORIOSO
Condolence, Gonzalo.
AMOY GONZALING
Manoy.
Amoy Victorioso looks down at Young Manuel.
EXT. ALBA MANSION - NIGHT, 1949
Esperanza looks at Young Manuel walking to the kubo at the
creek, the white polo, black pants and tie fit perfectly in
his young frame.
Rich men and women - all wearing the mourners attire
appropriate for the period and their class - are gathered
outside the house. A closed coffin in the middle of them. Amoy
Victorioso is talking to the Kapitanes.
Amoy Gonzaling comes out of the house. Esperanza sees Amoy
Gonzaling going to the Kubo.
EXT. ALBA MANSION - DAY, 1949
The car yawns open while the servants load Young Manuels
stuff. Esperanza is at the window looking as the Young Boy
leaves. Amoy Victorioso looks at Esperanza from below.

102
INT. HOUSE STUDY, DAY, 1949 SAME TIME
Young Esperanza looks as the car of Young Manuel leaves into
the horizon. She turns and looks at the library.
Theres the book of Young Manuel still standing, and the
unmade seat where Young Manuel used to kneel on to have a good
view of what hes reading and to check on her. Now, there is
only loneliness. We get it now, Young Manuel is Young Gerry.
EXT. POST OFFICE, POBLACION - DAY, CAPIZ, 1972
The poblacion is quiet, deserted. There is a barricade of
barbed wire and sandbags outside the post office. Army tents
have already been set-up. The jeep of Gerry enters frame. The
soldiers from the trucks jump down.
INT. POST OFFICE - SAME TIME
An MP (Military Police) opens the glass door. Capt. Buendia
storms into the room. The MP salutes snappily for the two but
the Captain is long gone. It looks as if the salute is just
for Gerry.
A full Colonel, in olive field uniform, is discussing with
other Lieutenants and Captains. He sees the two coming, the
Captain approaching faster than the other. Gerry realizes who
the man is. Its Lt. Colonel Jarque, now promoted.
CAPT. BUENDIA (apologetic)
Sir! My men and I are...
The Colonel gives the Capt. the look, Shut Up.. The new Alba
comes.
COL. JARQUE
Gerardo Alba.
The Army Colonel is first to offer the handshake.
GERRY
Colonel.
He accepts, tight grip.
EXT. ESPERANZAS ROOM - DAY, 1972

103
Esperanza waits at the window. As always, shes praying the
rosary.
EXT. RICEFIELD - DAY
Close on a single stem of Palay.
A sudden gust of wind. The ricestalks in the field bow in
respect.
EXT. ALBA MANSION - DAY
Two soldiers drag a man up for the interrogation room, his
head in a bow. His feet are too weak to walk. His hands are
tied to his back. Hes been beaten before he got here.
INT. POST OFFICE - DAY
A diagram of the town: we see the Plaza, the Municipio, the
Local Police Station, the market and the Church. A Captain
Dumangas points to the blackboard indicating instructions.
GERRY (O.S.)
I dont understand it.
Gerry and Col. Jarque sit on a couch on the other side of the
room while Capt. Buendia, Capt. Dumangas, Lt. Cataloa and Lt.
Mundo discuss the strategy how they can rescue the town.
GERRY
I put food on their plates. I send
their children to school. I give them
protection. (Pause) I give them all
they need.
A long pause.
COL. JARQUE
They want something else.
GERRY
It makes no sense. What else do these
rebels want?
COL. JARQUE.

104
But the Abandonados are not rebels.
As we found out later, they never
were.
Gerry still doesnt understand. He looks at the Colonel.
COL. JARQUE
The Pulahan fought against the
Americans. The HUKS fought against
the Japanese. The NPA fights against
the President. The Abandonados show
no indication of any Stalinist or
Maoist leanings. And they arent
rightist either. (pauses)
All they shout are the names of their
mothers.
Gerry tells it with his eyes: But that is a myth, this cant
be true.
EXT. PLAZA, POBLACION - SAME TIME
Mud-splattered boots thunder marches on the concrete. The
soldiers move out with their guns and olive uniforms.
INT. POST OFFICE - DAY - SAME TIME
The Colonel construes the reaction of Gerry as a question.
COL. JARQUE
This is Capiz, Gerry, not Negros.
Here, no one fights for ideology.
Everything is personal.
The Colonel gives one good look at Gerry.
GERRY
One peculiar thing though, other than
Vic and your father, they didnt
attack any of the families in the
province.
It slowly dawns on Gerry. These people are after him.
EXT. ALBA MANSION - DAY

105
CLOSE ON the hands of the captive, around his left wrist is a
cloth, RED with blood. Then, something like a smile slides
across what had previously been just a face. It is the Farmer
we saw earlier with the Buri hat talking to Estrella: Its
MANUEL.
INT. ESPERANZA ROOM - DAY
We PULL OUT on the room: The curtain billows. NO ESPERANZA.
EXT. ROAD IN FRONT OF MUNICIPIO, POBLACION - DUSK
A bullet casing, its metallic sheen gleaming against the dirty
and muddied concrete road. Gerry stares at it for a while. He
bends down, supporting his weight with one hand on his knee,
the other picking up the bullet casing. As he stands up, we
PULL OUT and see:
A SEA / FIELD OF BULLET CASINGS extending up to the plaza. THE
REMNANTS OF A SIEGE. In the distance, the local police station
burns. At the Municipio, dead men are being brought out.
INT. ANABELLAS HOUSE, GRANARY - NIGHT
Beads of the rosary hang on a hand. Shes still wearing the
same black ragtag clothing. Anabella is seated on her papag,
facing a makeshift altar at the foot of the bed. There is an
assortment of religious and strange trinkets and statues. Her
mouth is moving but we hear nothing. Sensing something, she
stops. She stands up, goes to the door and opens it. Shes not
a bit startled.
Manuel stands there, stripped
bloodied, wounded and beaten.
in his hand. After staring at
falls like a log. She catches

naked to the waist, all

A bloodstained cloth is wrapped
her for awhile, he faints and
him.

INT. ANABELLAS HOUSE - NIGHT

Manuel is flat on the papag, bare naked, his head raised by a
pillow. Its easy for us to mistake him for someone dead
because of his stillness. A shot similar to that in the
Patibara. The white metal basin beside him is filled with
water, now turned red with his blood. Anabella, now dressed in
her white kamison, is cleaning his wounds.

106
And suddenly, Manuel grabs Anabella by the arm, strong. He
stares at Anabella with his fiery eyes. Shes not a bit
startled.
MANUEL
Ngaman gin bay-an nyo ko sa
talunan?

Why did you leave me at the

talon?

Anabella puts down the towel. She takes Manuels arm and it
loosens its grip accordingly.
ANABELLA
Para anda ka sa pag-abot
niya.

So that youll be ready for

him.

She carefully unties the cloth on Manuels hand, almost

ritualized. Its there, CLOSE ON the 25 year old wound, still
fresh, still bleeding. She holds it into the basin. She washes
it with the wet towel.
She rests his hand on the bed. She stands up and goes to the
aparador. He follows her with his gaze, eyeing on some of the
beautiful details of her body.
She comes back with with her lanahan (container for the
medicinal oil), some leaves and a clean strip of white cloth.
She sits beside him. She rests his hand on her lap. She pours
oil into it, cuts the leaf in half using her teeth, chewing
half of it. She puts the chewed leaf into the wound, puts the
other half of the leaf on top, and ties all of it in place
with the white cloth. Its what she did with Gerrys wound,
but now with more care. Manuel is staring at her during the
entire process. She doesnt look at him.
MANUEL
Ginbayaan mo ako para
mamatay, manang.
ANABELLA
Indi. Ginhulat ta ikaw.

You left me for dead, Manang.

No. I was waiting for you.

A beat. The wounded hand thats been resting on her lap starts
to move, hiking up the hemline of her kamison. Although she
refuses to look at his strange eyes, she doesnt resist. The
hand goes under her. He slowly rises to kiss her. Their lips
touch. He closes his eyes. She hesitates at first. This is,

107
afterall, the boy she treated as a son. But she follows suit
nonetheless. They slowly fall into the bed.
EXT. ROAD TO ALBA MANSION - NIGHT
The jeep of Gerry and Captain Buendia approaches. They lead a
convoy of trucks and soldiers. The house is quiet. No voices
shouting. They come closer. The jeep runs past a parked truck:
two dead soldiers are revealed. Panic.
INT. ZAGUAN - NIGHT
A hand lies limp, white but dirtied. Gerry emerges from the
door in a hurry. He sees Esperanza - an anguish close to
death. Thumped and bloodied, shes there brutally laid out.
Gerry manages to walk, hesitantly, alone.
He reaches her and gets down on his knees. Immediately a flood
of tears. He raises her head to his lap. He has never cared
for anybody but her. The tears continue on falling. He notices
something. He holds her stomach, the most bloodied part of
her. Her dress is torn, ripped in the middle. He holds his
blood soaked hands in front of him. A realization: The reason
that she had bled so much is that her stomach has been ripped
out.
EXT. ZAGUAN - NIGHT - SAME TIME
Outside, Lt. Buendia sees every tear. But hes never been a
fan of the old melodrama. He turns around. Commotion is
everywhere. Soldiers are weeping for their comrades, some
trying to salvage a hopeless cause of reviving those whose
souls have been taken to paradise by the messiah. We see Sarge
offering the sign of the cross for one of the dead. Everyone
grieves. Except for Captain Buendia. Sarge walks to the
Captain.
CAPT. BUENDIA
Ilan?

How many?
SERGEANT
30, Ser.

They died in service, Captain Buendia thinks. Hes fine. But

Sarge has an important thing to add.
SERGEANT

108
Ah... pero sir, walang sugat
man lahat. (hes wondering)
Parang namatay na lang ba
lahat sila bigla.

But Sir, none of them had

wounds. (hes wondering) It
is as if all of them just
suddenly died.

Could he really have been the only cause of these deaths? But
hes a myth?
INT. SALA, ALBA MANSION - NIGHT
The MAN in the painting remains proud in the silence of the
sala.
EXT. ZAGUAN, ALBA MANSION - NIGHT
The Captain smokes outside the zaguan.
INT. ZAGUAN, ALBA MANSION NIGHT
Anabella is seated on the chair, all bruised up, bloodshot
eyes, limp, head in a bow. Shes wearing her white kamison but
now bloodstained and dirty. Gerry stands in front of her,
staring down at her. Its hard to tell if hes the one
responsible for the bruises.
GERRY (cold)
Sin-o ka? Diin si manuel?

Who are you? Where is Manuel?

A long beat. And then, we hear a tune in the air. Anabella

looks at her shes not the one singing, but it sounds like
her.
EXT. HILL, SUNNY DAY, DREAM
(NOTE: QUICKER PACE THAN BEFORE)
A grass-covered hill. Playful laughter echoing in the
distance.
Under the tree, on the hill top, we see Anabella dancing as if
in a trance. A smile on her face. She looks down. The
Mysterious Little Girl is dancing beside Anabella. We see the
Little Boy looking up at them, smiling. Their shadows playing
figures on his face.
Anabella is doing her nganga ritual. She loves it. She lets
Gerry taste it. He puts in his mouth. He squirms. He doesnt

109
like it much. Anabella laughs kindly. The Little Girl is
laughing with her mother while she chews on her nganga. She
spits red.
Anabella is on her knees, on her arms is Gerry. They sit on
the grass covered ground while blowing on a single cluster of
dandelion. The Little Girl is trying to catch the dandelions
flying her way, all smiles.
EXT. MAPANAG CREEK, ALBA MANSION - SUNNY DAY, 1949
Anabella, in her white kamison, her womanly curves showing,
plays with Young Manuel in the river, splashing each other
with water. A happy moment. The fun is then cut short when
Anabella notices something in the tree. She changes reaction,
her eyes widen, worried.
ANABELLA
Bilya!
Its the Mysterious Little Girl carrying a dead crow. Her
chase for the dandelion has led her to this vile bird.
Anabella goes to her. The Little Girl hands Anabella the crow.
LITTLE GIRL
(innocent)
Kalooy sa pispis, ari na si
mama.

Such a poor bird this is

mama.

Anabellas growing anger dissipates because of the childs

ignorance for semantics. Anabella tries to smile despite the
portentous sign. She tousles the Little Girls hair,
forebearingly.
INT. KUBO AT THE FOOT OF THE HILL, SUNNY DAY
Anabella is with Young Manuel, the child is sleeping on her
lap. She is stroking his hair. She is whispering a song.
ANABELLA
Ay nga pagkapait / Nga walay
angay / Nga walay iloy /
Nga naga hamilay / Sang ugoyugoy / Nagatulogan.

Oh, how hard it is without a

mother who would nurture you
through the cradle of life.

Its the sad song Ay Nga Pagkapait but she sings it so

sweetly it sounds like a lullaby. The Little Girl is sitting

110
beside her. The Little Girl continues the next line of the
song.
LITTLE GIRL
Dapia sang hangin / Nga sa
pagkatugnaw / Nag pahamu-ok,
Sa katulogon / Huni sang
pispis / Nga labing mamingaw
/ Dughan ni Nanay / Guin
natyag nakon.

The feel of cold breeze that

touches my skin makes me want
to sleep, the chirping of the
birds in a quiet place, I
rest on my mothers breast.

Anabella lets the girl stroke Manuels hair. The song ends.
Peace.
LITTLE GIRL
Ma, diin na ang nanay ni
Girry?
ANABELLA
Nagkadto na siya sa Mt.
Madya-as. Maabot ang adlaw na
makadto man ako didto para
makaupod si Mal-am Benig kag
Iloy Susa. Bisan layo, ara
gid ako upod sa imo.

Ma, wheres the mother of

Girry?
She had to go somewhere. To
Mt. Madya-as. There will come
a day when I too will have to
go there. To be with Mal-am
Benig and Iloy Susa. But from
there, I will be here. With
you.

LITTLE GIRL
Maupud ako sa imo pag lakat
mo.

I want to go with you when

you leave.

ANABELLA
Duha nalang kita ang nabilin,
Anabilya. Hindi ko ikaw
pagbay-an.

Its only the two of us now

Anabilya. I will never leave
you.

She kisses her daughter on the forehead. We know it now: Young

Manuel is Young Gerry, and this Anabella is in fact,
Anabellas mother. The night rests, the kubo is aglow.
INT. SALA, ALBA MANSION - NIGHT, 1949
The traditional yellow and black curtains are hung. The house
is quiet, empty. The Alba Mansion looks perfectly the same as
it has throughout history (the whole film). Gerrys Mother,
Doa Consolacion has died. Young Gerry is in front of his

111
grandfathers portrait. The white polo, black pants and tie
fit perfectly in his young frame.
From behind, a mans voice.
AMOY GONZALING (O.S.)
Anda ka na, iho?

Ready, hijo?

We see the face of Amoy Gonzaling. He looks exactly as the man

in the painting. Hes dressed in black haciendero formal
clothes, a suit and a tie but without the cane. Young Gerry /
Young Manuel looks at his father.
YOUNG GERRY
Wala pa.

Not yet.

INT. KUBO AT THE MAPANAG CREEK - NIGHT, 1949

Anabellas mother is with Young Gerry. She bends down to meet
the childs eye. She raises Young Gerrys right arm and ties a
red cloth around it.
ANABELLA SR.
Pag nakit-an ka ni Dua
Cunsuling na may amo sini,
mabal-an niya nga bata niya
kag luwas ka sa iya.

When Dua Cunsuling sees you

with this, she will know it
is her son and she will keep
you safe.

She pulls him next to her, kissing him on the forehead. Young
Gerry hugs her.
A shuffle outside the kubo. Amoy Gonzaling enters.
ANABELLA SR. (standing up in a
well gestured bow)
Amoy.
AMOY GONZALING
Maayong Gab-i.

Good evening.

His attention lingers. Young Anabella is at the bedroom,

peeking out.
A shuffle outside. Its Amoy Victorioso.
AMOY VICTORIOSO
Gonzalo.

112

Amoy Victorioso is suspicious of his brother. Its his

intention for Gonzalo to move out.
AMOY GONZALING (to
Anabella Sr., polite)
Malakat na kami.

We need to go.

ANABELLA SR.
Kundulins gid, Amoy.

Condolence, Amoy.

AMOY GONZALING (to Gerry, gesturing

for him to come)
Gerry, hijo.
Young Gerry hugs Anabella Sr. goodbye. Young Gerry eyes his
friend Young Anabella on the other room.
EXT. KUBO AT THE MAPANAG CREEK - NIGHT, 1949
Anabella Sr. and Young Anabella look at Gerry as the
procession to the cemetery commence.
EXT. ROAD TO CEMETERY - NIGHT, 1949
Cabriolets and Chryslers follow the Karo.
EXT. CEMENTERIO DE PENINSULARES - NIGHT, 1949
Gerry watches as the undertakers put soil on the grave of Doa
Consolacion.
EXT. ALBA MANSION - SUNNY DAY, 1949
An Amorsolo-like painting. Amoy Victorioso is attending to the
farm.
AT THE VIOLADA
Amoy Gonzaling looks to the river and sees Anabellas mother
in her white kamison, with Young Anabella innocently handing
her the dead crow. Young Gerry is playing in the water just a
few steps away.
FROM THE FIELD
Amoy Victorioso sees Amoy Gonzaling looking at the woman.

113

EXT. HILL - SUNNY DAY, DREAM: 1949

Its the same dreamy hill weve seen over and over. Young
Gerry walks past a wall of rice stalks in the plateau-ed side
of the hill. Then, Young Gerry sees the unthinkable.
Amoy Gonzaling is on top of Anabella
woman on the ground, trying to force
womans mouth with one of his hands.
with all of her strength but the man

Sr., pinning down the

his way in, covering the
Anabella Sr. struggles
overpowers her.

A shuffle. Amoy Gonzaling sees his son innocent-eyed standing

a few steps from them. The sight of the boy leaves Amoy
Gonzaling stunned for a moment. Anabellas Mother is able to
buy time, a second to get one of her hands free. In a blink,
she is able to steal the sanduko (bolo) from Amoy Gonzaling
and with one flowing movement, she gets to wound Amoy
Gonzaling and kick him a good 3 meters.
A four-inch cut on Amoy Gonzalings bare chest. Wounded and
winded, it takes a while before he can get up.
Having freed herself, Anabella Sr. doesnt let Amoy Gonzaling
get away with it. She charges to him carrying the sanduko
(bolo). Quickly, Amoy Gonzaling draws his sidearm pistol and
BANG! Anabellas mother falls to her knees, the weapon
dropping from her hand as the gunshot echoes.
Amoy Gonzaling slowly stands up he cant believe what he has
done. He walks to the kneeling woman, stopping just right in
front of her. The spirit of the woman slowly escapes her body.
Amoy Gonzaling raises his gun, aiming at the bowed womans
head.
INT. KUBO, HILL SAME TIME, DREAM: 1949
Young Anabella is inside the kubo, hiding in the shadows,
sitting, with her legs bent, knees to the chest, rocking back
and forth, looking straight, blankly and scared. Another
gunshot is heard.
A TABLEAU: 1) (FG) Young Anabella is inside the Kubo. Framed
by the window are 2) (MG) Anabella Sr. is crumpled on the
ground, Amoy Gonzaling is standing tall in front of her. 3)
(BG) Gerry, his back is turned away from the scene.

114
EXT. HILL - DREAM: 1949
Amoy Gonzalings hand touches the yellow ricestalks as he goes
downhill, away from the scene.
Young Gerry walks the same path, his tiny hands feeling the
same rice stalks. He leaves the hut behind.
INT. SALA, ALBA MANSION - DAY, 1949
Amoy Gonzaling stands in front of the painting of Don
Patricio. Young Gerry watches his father a few steps behind.
EXT. ALBA MANSION - DAY, 1949
One of the servants shuts the trunk of the Chrysler. Someone
is leaving.
EXT. ROAD TO ALBA MANSION - DAY, 1949
Under the solitary tree on the road, we see Young Anabella
looking at the Mansion. It looks so small in the distance as
compared to the size of Young Anabella in the FG. She is
watching the preparation.
EXT. ALBA MANSION - DAY, 1949
Amoy Victorioso looks down at the young boy, not a bit
fatherly. It is for the best interest of all concerned that
Gerry leaves. Or is it? He looks at her daughter Young
Esperanza at the window. Shes looking at them.
EXT. ROAD TO ALBA MANSION - DAY, 1949
The car carrying Young Gerry passes by Young Anabella and the
two look at each other for the last time.
EXT. ALBA MANSION - DAY, 1949
Amoy Victorioso looks on at the car leaving, passing the
solitary tree. There is no Young Anabella under the tree.
EXT. RIVER - DAY, 1949
Young Anabella looks at her reflection in the water.
INT. ZAGUAN, ALBA MANSION - NIGHT, CAPIZ, 1972

115

In a blink of an eye, his tragedy flashed before him. Gerry

realizes who Anabella was. And who he was. Yes, he was an
Alba, someone who could not remember. And there is no
consolation for him. He draws his gun...
With one last look at Gerry, Anabella speaks.
ANABELLA (short for
breath)
Bata ka nga sang imo tatay.

You are your fathers son.

Anabella passes out. Gerry cannot pull the trigger.

EXT. ZAGUAN, ALBA MANSION - NIGHT, 1972
Gerry walks out. Lt. Buendia is outside.
GERRY
Alam ko kung nasaan si
Manuel.

I know where Manuel is.

Gerry looks into the mountains.

VIDEO INSERT: HINAYA VIDEO
JOHN HEREDIA is in front of the camera. We see a title card at
the bottom of the frame:
John Heredia, News Correspondent
The Capiz Times, Roxas City, Capiz
In the background is a small room of an ancestral house
converted into an office with some typewriters and computers
and shelves. We are at the Press Room of The Capiz Times,
Roxas City, Capiz.
JOHN HEREDIA
The writer Milagros Lachica once
referred to her as Tagsagud Sang
Kalibutan or Savior of the World.
This reference is based on the fact
that the name Estrella Bangotbanwa
has a huge historical significance
for Panayanons and their struggle for
independence.

116
She was a babaylan fighter who fought
the Spaniards, almost a hundred years
before the katipunan reached Panay.
During the American Pacification
period, a certain Papu Estrella was
said to have been a leader of the
Panay chapter of the Pulahan group.
When the Japanese came, another
Estrella Bangotbanwa became famous
for helping Macario Peralta organize
the guerilla movement in Panay.
During the HUK movement in the 60s,
years before Martial rule, a certain
Andrea Ageri tallied the most number
of jailbreaks ever done by a
revolutionary fighter. She called
herself Kumander Estrella. So as you
can see, at every moment of struggle
in Panay, a new Estrella emerges to
save the people.
EXT. ROAD TO BRGY, BATU-BATO, TAPAZ, CAPIZ - DAY, 2002
A small convoy consisting of two military jeeps, one fourwheeled armored personnel carrier, a humvee with a 50mm
machine gun, and 2 pick-up trucks, one with a water pump
(which the military are to install) the other, with hollow
blocks and sacks of cement and sand, peacefully drive along a
road flanked by an elevation on the right and a densely
planted area on the left, with tall coconut and mango trees.
There are about 25 army men spread among the vehicles in the
convoy. They look around, wary. Everythings okay. The convoy
drives past a kubo. Outside, a child watches. One of the
soldiers, a new recruit, beaming with youth, looks at the boy,
smiling. There is only peace here. The convoy reaches the
curve. Something causes some pebbles and soil to slide down
the side of the elevation. They are about to turn right at the
curve when we see a man in the middle of the road: The Farmer,
now without his Buri hat. He is Manuel. The convoy has been
blindsided.
INT. TULONG TUMANDUK OFFICE - DAY, 2002

117
Franco is seated on the table, scanning through some folders.
He jots down some notes to his tickler. He flips the paper,
reads and jots something down again. Sister Dimaranan walks to
him and gives him more papers to take a look at.
SISTER DIMARANAN
Siya lahat ang sumulat niyan.
Siya ang talagang may alam
kung anong nangyayri dun sa
taas. At alam niya rin lahat
nang nangyayari dito sa
patag.

She wrote every single page.

Shes the one who really
knows whats going on up
there. And she knows exactly
everything thats going on
down here too.

A member of Tulung Tumanduk is going over other folders.

Another member is watching recorded statements of natives on
the TV.
A SHUFFLE at the door. Sister Dimaranan and Franco stop and
look.
MONTAGE: We hear the voice of a man, as if his voice is coming
from a radio. The voice is hard, outraged, with a military
cadence in between words. It is Lt Col Mayoralgo
M. Dela Cruz, the Army Spokesperson and Chief of the Public
Affairs of the AFP, Camp Aguinaldo (2002, STOCK SOUND BYTE).
INT. MORGUE, CAMP MACARIO PERALTA - DAY, 2002
TIGHT ON a pair of bare feet, a tag on the thumb of the toe.
Franco with Sister Dimaranan stand in the middle of a room
where three men lie side by side on tables and another three
on the floor perpendicular to the other three - all are
covered with white. Another body lies in the corner, without
any cover. It is Manuel the Farmer. We HOLD ON the shot.
LT. COL. DELA CRUZ (V.O.)
The killing of six Army soldiers, by
the New Peoples Army insurgents in
Tapaz, Capiz on February 24 indicates
the continuous unabated atrocities
perpetrated by the communist
terrorists in the country.
INT. HEROES WARD (HOSPITAL ROOM), CAMP PERALTA - DAY, 2002

118
We see a small group of media personnel (local and national).
They are settled, listening to a debriefing given by army
officers.
LT. COL. DELA CRUZ (V.O.)
The NPAs mercilessly ambushed our
soldiers who were going to install
water pumps to provide basic potable
water to the people in barangays
Taging and Batu-Bato.
We see some officers explaining what happened. There is an
illustration on the white board of what happened. The officer
draws arrows on the whiteboard where an illustration of the
area (mountains roads, etc.) is drawn, indicating that the
attack came from the side of the mountain, cutting the convoy
by the road.
LT. COL. DELA CRUZ (V.O.)
Similarly, we deplore the action of
the indigenous group, which belongs
to the Tumandok community, in Tapaz,
Capiz. This group reportedly has
filed human rights violations
complaint against the soldiers to the
provincial board of Capiz.
Franco enters the room with Sister Dimaranan, in front of them
is the bevy of people.
ANGLE: MAKI PULIDO raises her hand. The army officer
acknowledges. She asks something. He answers and demonstrates
his answers in the whiteboard. Then we see a COL. BLANCO, on
the bed, with a tube that runs from his bandaged hand to a
dextrose bottle hung on the side of his bed.
LT. COL. DELA CRUZ(V.O.)
I wish to clarify that such
allegations against the soldiers by
the indigenous groups are obviously
diversionary tactics of the communist
terrorists using human rights group
such as the indigenous tribe as
shield to strengthen their force and
to influence the sympathy of the
masses.

119
Franco is now among the crowd. He listens to the debriefing.
Col. Blanco continues to mutter his answer.
Another raising of hands. We see the military officer scanning
the crowd who to acknowledge next. He chooses someone next to
(in front of) Franco. John Heredia asks his question. Another
officer answers.
LT. COL. DELA CRUZ (V.O.)
Just like in the past, this terrorist
group will employ all means to
obstruct any military activities
which will certainly lead to peace
and development in the depressed
areas in the countryside.
Col. Blanco singles Franco among the crowd. Franco has no
choice but to return the look. He has an idea what happened.
LT. COL. DELA CRUZ (V.O)
The death of the six soldiers in
Tapaz has revealed the true color of
the insurgents.
EXT. SITIO SAN ANTONIO, NIGHT, CAPIZ, 2002
There are no more people. The settlement has been abandoned.
No light from the Kubos. No sounds of the children crying or
folks singing. We move from kubo to kubo and still, nothing.
Only the night crickets chirping.
And then, we hear voices of children, chanting.
INT. BALAY TURUN-AN - NIGHT, 2002
We see an empty room. We see on the blackboard scribbles in
Ligbok. Its been here since the team came but we never got to
see it in detail. They are the words from the Sugidanon,
arguably the longest epic in the world, longer than the
Mahabharata. Voices are carried into the wind.
CHILDREN (chanting)
Hipos kamo munamon
Pamati kamo panarongan
I dakong tawo
Pamati dakong alawon

Translation (subtitled)
Be silent for a while
Listen and hear this
All you present
Hear this, young ones,

120
Hay nagaatubang sa banhawan
Asdang sa tinuhian
Si Buyong Sunmasakay

Since facing the ritual plate

Reviving, giving life again
Is Buyong Sunmasakay

VIDEO INSERT:
Boys and girls are gathered inside the Balay Turun-an. They
are reading from the blackboard the scribbles. An old woman
(HELENA GARDOCE FRANCISCO) is in the frame, watching the
children as she chants with them. Beside the Old Woman is
Estrella.
HELENA GARDOCE FRANCISCO
(chanting)
Patulinunga anay dakong tawo
Tinong dakong alawon
Sa bonbon ka lagayon
Hugiwat magainsong
Warat magaginu-ginu,
Kuon si Sunmasakay.

Translation (subtitled)
You silence the people
Let the young ones be silent
By the side of the shore
No one is to create any noise
No one is to make a sound,
Said Sunmasakay.

EXT. ESTRELLAS HOUSE - NIGHT, 2002

We see the house of Estrella. The first time we see the door
and windows open.
INT. ESTRELLAS ROOM - NIGHT, 2002
A kubo of a very well versed woman. A tableau: (1) A
typewriter rests on top of a table in the middle of the frame
(2) On both sides of the room are piled columns upon columns
of reading materials, novels, treatises, pamphlets, manuals,
magazines, textbooks, teaching materials, bibles, journals,
communist paraphernalia, mimeographed letters, viewing
materials, etc. (3) On the wall, above the table and
typewriter, hangs a painting.
TIGHT ON details of the painting. An image of the romanticized
/ idyllic life beside a river: At the foreground, a ferryman
(fisherman) paddles his boat in a river that cuts the upper
and lower half of the painting.
EXT. CAMP MACARIO PERALTA, JAMINDAN, CAPIZ, - DAY, 2002
Franco and Sister Dimaranan walk a hallway accompanied by a
military personnel. Other soldiers mill around, passing them
by. As they walk in the open field, we see how large the camp

121
is, and how intensified the military is in the area:
buildings, bunkers, tents, trucks, equipment, people. This is
afterall, the home of Task Force Panay. We can see military
installations as far as the eye can see.
INT. EXTRELLAS KUBO - NIGHT, 2002
TIGHT ON: On the middleground, A bahay kubo sits peacefully on
the bank of the river, beside the kubo is a Kudangdang tree,
the leaves bright red.
EXT. CAMP MACARIO PERALTA, JAMINDAN, CAPIZ - DAY, 2002
Military trucks, artillery, helicopters, APCs, Simba jungle
tanks, four by fours, 105mm and 81mm howitzers, and other
military equipment are lined up in the field. A platoon of
army Scout Rangers, fully armed, is going into formation,
headed to the fields. A company of soldiers do their usual
Thursday exercises.
INT. EXTRELLAS KUBO - NIGHT, 2002
TIGHT ON: The background is a ricefield, yellow and fertile.
At the far background are mountains sitting below a firemelted
sky.
EXT. CAMP MACARIO PERALTA, JAMINDAN, CAPIZ - DAY, 2002
At a distance, away from the bunkers and makeshift tents,
Franco spots a one-floor structure resembling a storage house.
The building looks hauntingly foreboding with its broken
windows and sealed from the outside by metal railings. Some
drums of water are lined up outside, one overflowing with
water from a hose. Its the Zaguan from another time.
INT. EXTRELLAS KUBO - NIGHT, 2002
TIGHT ON: A final look of the complete picture of the
painting. It is Sang Mamulak ang Kudangdang (When the
Kudangdang Bloomed), a painting of Hiligaynon writer
Magdalena Jalandoni.
INT. TULUNG TUMANDUK OFFICE - DAY, 2002
We hear a voice coming from the radio somewhere. It is Jurie
Guerrero, Spokesperson of the Jose Percival Estocada Command,
New Peoples Army, Central Panay. (STOCK SOUND BYTE)

122

JURIE GUERRERO
(V.O.)
Nagasaludar ang Jose
Percival Estocada Command sa
pagkabaganihan ni Ismaelito
Giganto ukon Ka. Bob sa
pagpursiger nga matigayon
ang pinasahi nga taktikal
nga opensiba sang Pebrero 24
sa Daan Sur, Tapaz, Capiz.

The Jose Percival Estocada

Command salutes the heroism
of Ismaelito Giganto, also
known as Ka Bob, for his
resolute efforts in carrying
out the planned tactical
offensive last February 24 at
Daan Sur, Tapaz, Capiz.

The room is dim. The old lace curtains and closed jalousies
make it hard for light to get in. We see a personnel typing on
the computer some documents, glancing once in a while at the
folders beside him.
TIGHT ON RADIO: It is where the sound is coming from. Perhaps,
it is also where we heard the press release of Lt. Col.
Mayorlago Dela Cruz in the montage earlier. Gerry sits on a
chair, listening to it. He does not understand it, but perhaps
its better than to hear nothing at all.
JURIE GUERRERO
(from the radio)
Sa malawig na nga tinuig,
ginduso sang mga Tumanduk ang
tanan nga dagway sang pakigaway agud lamang mabawi ang
duta sang ila katigulangan
kag mapangapinan ang ila
kabuhi batok sa mga
nagapanghimulos kag nagapangulipon sa tumanduk sa ila
dutang natawhan.

Over the long years, the

Tumanduk encouraged their
people to fight and regain
their rights over their
ancestral lands, and to
defend their lives against
their oppressors and those
who make them servants on
their own lands.

A personnel walks towards him from the side. The voice is

familiar.
PERSONNEL
She wanted you to have this.
It takes sometime before the words could sink in.
PERSONNEL
She wrote it when she was in College.
Its about us Capiznons...

123

He looks up to see the person. Its Mauricio. He is holding

out to Franco a paper envelope, brown and old.
MAURICIO
...but its more about her. She hopes
you would understand her better after
youve seen it.
Franco unwinds the string of the envelope and pulls out the
contents. CU of cover page:
MIDNIGHT PILGRIMS
ESTRELLA BAGNGOTBANWA
Franco holds the manuscript. He looks at Mauricio.
GERRY
How does it end?
Silence. A gust of wind sneaks into the room, touching lightly
on the old lace curtains, making it move. We PULL OUT from the
view of the office: the curtain billows but no ones there
anymore just a dim gloomy room.
EXT. HILL - SUNNY DAY, DREAM: 1972
We see Anabellas hill, the same dreamy yellows and greens.
The dream has come true. The tree rustles to the breeze.
Anabella on the grass covered ground, beaten up. She is on her
knees, her head in a bow, her hair almost covering her entire
face. Under the tree are Gerry and soldiers with their rifles,
waiting.
Then a lone figure appears at the horizon where the ground
ends and slopes down the hillside. It is Manuel, carbine on
hand and bolo on the waist.
The guards hold their weapons, as they have from the moment
they arrived here today, at attention, waiting it seems, to be
given the official order from their commander. Capt. Buendia
motions for them to hold.
Manuel doesnt have plans of using any of his weapons. He
walks slowly towards Anabella, almost dragging his feet. He is
broken by the sight of Anabella making him indifferent to the
impending doom that awaits him. As if a child seeing his

124
mother in torture, he falls to his knees beside Anabella.
Manuel drops his gun and holds Anabella close to him. Anabella
seems to have lost any faculty for an emotion, staring blankly
into space. Manuel holds Anabellas head to his cheek.
Gerry walks towards the two, stopping in front of them. Manuel
is indifferent; all that matters to him now is Anabella. Gerry
looks at the oddity that is Manuel. He draws his .45 caliber
and aims the gun just above the head of Manuel. Gerry has been
rendered cold.
A movement from Anabella. She lifts her hand from the floor
and touches Manuels face caressing it. Manuel holds
Anabellas hands in place, feeling its warmth.
Anabella raises her head to look at Gerry. POV of Anabella:
We see...
EXT. HILL - SUNNY DAY, DREAM: 1949
...Amoy Gonzalings face.
WIDE SHOT: Amoy Gonzaling stands up from his fall, walks to a
kneeling woman Anabella Sr., draws his gun from his holster
and aims down at her.
We see Young Gerry / Young Manuel a few meters away, watching,
innocently. CLOSE UP of a finger pulling the trigger. We hear
a BANG!
EXT. HILL - SUNNY DAY, DREAM: 1972
Gerry has shot Anabella instead of Manuel. ANGLE ON Anabella
falling in SLOW MOTION on the grass-covered ground, causing a
dandelion to be whisked away. The man in the dream was
Anabella afterall.
The sound of the gunshot still ECHOING. MEDIUM SHOT of a crow
momentarily blocking the light from the sun. OVERHEAD, we see
Anabella lying on the ground, on her side kneels Manuel, still
holding her hand on his cheeks. The crow casts its shadow on
Manuel.
EXT. HILL - SUNNY DAY, DREAM: 1949

125
A BANG and the ECHO on the hill. The sound of wings flapping.
A crow flies and momentarily blocking the light from the sun,
casting its shadows on Young Gerry / Young Manuel.
VIDEO INSERT:
FOOTAGE IN COLOR A time log in the corner shows: Aug. 17
2002, 3:26 PM. LS, of three men walking down a path, out into
the clearing, to the lowlands. We know them, Tahurun, and the
two dead men at the start of the story (Bansagan and Bt-an).
They walk a cemented road. Bt-an carries a basket on his
back. Inside it is an old woman. It is Helena Gardose
Francisco, a binukot, not allowed to touch the world with her
feet.
FOOTAGE IN COLOR A time log in the corner shows: Aug. 18
2002, 11:03 AM. LS of proceedings of Conference in Ilo-ilo.
AUG. 18, 2002, 11:05, CAMERA PANS LEFT to reveal the crowd of
the conference, and on the stage is Helena. AUG, 18, 2002, 11:
06 MS of Helena on the stage with a mic, chanting against the
military reservation.
EXT. HILL - SUNNY DAY, DREAM: 1972
We see Manuel picking up the dead body of Anabella, with a
hole in her forehead, and holding it close to him. Manuel
looks up. We see a shadow of a bird flying. We see from the
mans POV, a crow eclipsing the sun.
We see Gerry bending down to pick up Manuels rifle. As he
stands up, he looks up to see the crow. It casts a shadow on
him. He turns around and walks away from the two.
He hands the gun to Capt. Buendia. The Captain gives him the
look that he did the right thing. Gerry tries to think so too.
EXT. ALBA MANSION - DAY, 1949
Amoy Victorioso watches as the kubo of Anabella Sr. burn in
the Mapanag creek. Behind him is Young Anabella, now with a
red cloth on her arm. Amoy Gonzaling looks on from the
violada.
EXT. GRANARY - DAY, 1972

126
We see Gerry is at the new granary. He looks in the distance.
He watches a group of soldiers burns Anabellas house across
the river.
EXT. GRANARY - DAY, 1949
Amoy Victorioso stands at the old granary. He watches as men
across the river bring books inside the kubo of Anabella /
Young Anabella. Young Anabella, now having a red cloth on her
arm is looking at herself in the water. She turns around.
Amador is there.
AMADOR
Di ka gid mahibi. Ari na ako
di para mag-alaga sa imo.

Dont worry. From now on, I

will take care of you.

EXT. SITIO OF SAN ANTONIO - DAY, 2002

We see Franco and Mauricio in the settlement. It is quiet. We
dont hear anything. Not a thing. No ambient sound. No
soundtrack music. Nothing. Then we see a dandelion falling
slowly into Francos hand.
EXT. DIRT ROAD TO BAHAY NA BATO - MAGIC HOUR, 1972
We see Gerry on his jeep. He looks straight ahead. He is on
the dirt road that leads to the ALBA MANSION from the granary.
He leaves a cloud of dust as he goes.
INT. TRAIN MAGIC HOUR, CAPIZ, 2002
We see Franco in a train. He looks at the mountains for the
last time. The houses, the people, the trees, all images of
the lowland are just flashing before his eyes. He sees a dirt
road that leads to a bahay na bato. The sun is setting in the
distance, slowly hiding behind the mountains. The blue
marrying the orange. All seems to be flying in an instant
except for the mountain.
FOOTAGE IN COLOR A title card in the corner identifies the
video: Property of Tulong Tumanduk. (LS) the villagers at SAN
ANTONIO, adults and children, walk the side of a hill, with
them are the little belongings that they have managed to take
with them. They are too far for us to distinguish individual
faces.

127
(MS) the villagers are walking across a river, knee-high,
stones and pebbles on their path. We dont see there faces
because their backs are turned to us.
TIGHT ON their feet. MS of a woman her baby on a sling across
her chest the child is crying. MS of men walking towards the
camera.
The not-so-good quality of the footage and the unfavorable
lighting conditions render them faceless under the shadows of
the sacks they carry on their shoulders.
MS of the Little Girl / Young Anabella carrying a
plastic bag which contains her belongings. She is
we can distinguish perfectly. She walks beside an
holding his hand - perhaps its Mal-am Benig. She
camera.

small
the only one
old man,
looks at the

Its a journey to the promised land, somewhere hidden in the

mountains perhaps, to Mt. Madyaas, where the dead rests to be
with the living.
EXT. HILL - SUNNY DAY, DREAM
We see Anabellas hill. Same quality of dreaminess. But there
is no one there. There is no sound. Just the wind.
FADE OUT:
FOOTAGE IN COLOR DOCUMENTARY 2 (HINAYA VIDEO)
DR. ROSARIO CRUZ LUCERO in front of the camera. We see a title
card at the bottom side of the frame: Dr. Rosario Cruz Lucero,
Professor, Literature Department, UP Diliman. She sits under a
tall tree. We can see in the background a vast track of land,
yellow ricestalks swaying with the wind, a fire-melted sky and
far away, the ALBA MANSION. She reads to us Cofers The habit
of Movement.
DR. LUCERO
She read this to me once. Its from
Cofers The Habit of Movement. We
bore the idea of home on our backs,
from house to house, never staying
long enough to learn the secret ways
of wood and stone. In time we grew
rich in dispossession and fat with

128
experience. As we approached but did
not touch others, our habit of
movement kept us safe, like a train
in motion-nothing could touch us.
(pauses)
In her stories, every character has
two souls, one leaves, the other
stays, one acts, the other watches,
one dies, the other continues on
living.
BLACK.
A VOICE: ESTRELLA is chanting a verse from the SUGIDANON. It
becomes MAIN TRACK.
ESTRELLA
Sa Tarangban
Buntog sa Karundalan
Kambay pang masalibod
Si Buyong Sunmasakay

From the Tarangban

Maidens from the Kurundalan
Behind it hid
Buyong Sunmasakay.

WHITE TITLES OVER BLACK:

AFTER ESTRELLA BAGNGOTBANWAS DISAPPEARANCE IN FEBRUARY 2002,
FRANCO DAYALO JOINED THE NGO TULONG TUMANDUK AND HELPED
PREPARE FOR THE VISIT OF DR. RODOLFO STAVENHAGEN, UN SPECIAL
REPPORTEUR ON THE FUNDAMENTAL RIGHTS AND FREEDOMS OF THE
INDIGENOUS PEOPLES OF THE PHILIPPINES.
ESTRELLA
Dato nanibu-tibu:
Suyung-suyung pay,
pamlang,
Binagruha do may i lawas
Kahimo akong buntog
Kamhan akong binukot
Isaguli kay lawas
Ibalik koy tubuan
Isiradu sa lawas
Ihustu sa tubuan
Ipangatuban ko sa dakong
tawo
Kuno tana dang buntog.

And then he muttered:

Come, my spirit friends,
Do change my body again
Make me a maiden again
Transform me into a well-kept
one
Return me to my original body
Hand me back my self
To fit my body
To fit myself
So I could mix with the people
Thus said the maiden.

129
FRANCO NEVER FINISHED HIS MASTERAL DEGREE AT DE LA SALLE
UNIVERSITY. DR. DAYALO NOW WORKS AT THE CENTER FOR WEST
VISAYAS STUDIES IN THE UNIVERSITY OF THE PHILIPPINES, ILOILO.
ESTRELLA
Palikod ka alima
Si Buyong Sunmasakay
Malanadurang dagom
I tubuan nang lampung
I madayhakang buntog

With hands behind him

Buyong Sunmasakay
Like a needle lost
Disappeared his manly form
He became a charming maiden

IN 1962, PRES. DIOSDADO MACAPAGAL ISSUED PROCLAMATION NO. 67

DECLARING 33, 310 HECTARES OF LAND IN THE MUNICIPALITIES OF
TAPAZ AND JAMINDAN CAPIZ AS ARMY RESERVATION. THE AREA WAS
USED FOR WEAPONS TESTING AND MILITARY EXERCISES.
ESTRELLA
Madaligang binukot
Tanan sa ka bantugan
Gabas it panindogan
Mas pa hay panampaan
Si Nagmalitong Yawa.

A beautiful well-kept one

Among the maidens
A striking personality
Especially because she has
The face of Nagmalitong Yawa.

ON AUGUST 2002, ELENA GARDOSE FRANCISCO, AN EPIC CHANTER FROM

THE TUMANDUK TRIBE, TOOK A DAYS JOURNEY TO ILOILO CITY TO
ASSERT THE RIGHTS OF HER PEOPLE TO THEIR ANCESTRAL TERRITORIES
AGAINST THE MILITARY RESERVATION. SHE WAS 102.
ROLL END CREDITS.

130
_____________________________________________________________
SYNOPSIS
DUPLICITOUS. THIS IS THE WORD WHICH PROPERLY DESCRIBES THE
PROVINCE OF CAPIZ. BATAK KA DUNGAN: ISA NGA KASAYSAYAN (THE
CALL OF THE DOUBLE: A HISTORY) RECONSTRUCT A FICTIONAL HISTORY
USING THE LEITMOTIF OF THE DUNGAN OR DOUBLE IN WHICH THE
STORY OF ONE WOMAN TELLS THE HISTORY OF THE ENTIRE CAPIZNON
SOCIETY AND THE INDEFATIGABLE FORCES THAT SHAPE THE DESTINIES
OF THE PROVINCE AND ITS PEOPLE. DIFFERENT PERIODS IN A
FICTIONALIZED HISTORY ARE JUXTAPOSED WITH A DOCUMENTARY-CUMEULOGY VIDEO ABOUT ONE OF PANAYS MOST FAMOUS AND YET
MYSTERIOUS NAMES: ESTRELLA BAGNGOTBANWA. THE STORY WORKS IN
TANGENTS, CALLING INTO MIND THE SUGIDANON, THE FAMOUS
COLLECTION OF EPICS OF PANAY, WEAVING AND TWISTING INTO A
COMPLEX NARRATIVE OF VARICOLORED THEMES. PRESENTED AS A
METANARRATIVE, THIS SCREENPLAY POINTS OUT TO THE VERITY THAT
HISTORY, ANTHROPOLOGY, BIOGRAPHY AND FICTION ARE ALL PAGES OF
THE SAME STORY.
_________________________________________________