Thicker Than Wine by Conrad A. Panganiban

Thicker Than Wine
_______
A Drama based on the short story,

Portrait of an Aristocrat, from the novel
When The Elephants Dance by Tess Uriza Holthe
by
conrad a. panganiban
332 McDonnel Road

Alameda, CA 94502
Phone: (916) 813-9609
E-mail: conrad@uptil3.com
Version: 03/15/2011
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Cast of Characters
Fredrico Jacinto-Basa: 22. A Painter in conflict with his

family’s past, with his brother,
and his place in the future.
Oscar Jacinto-Basa: 23. Fredrico’s protective older

brother fighting to keep the
Family legacy intact.
Divina Zamora: 19. Activist. Farmer. Fighter for

her family, community, and
country.
Friar De Guzman: 53. Powerful Manila Friar who

abuses his power for himself and
for the Jacinto-Basa Family.
Maricel Zamora: 52. Divina’s mother. Pure and kind

heart, at times naïve, but strong,
especially after the death of her
son.
Setting
Time: 1870
Place: Fredrico’s studio.

Divina’s house.
A jail cell in Fort Santiago.
Fredrico’s studio.
Art Gallery.
Director Notes
The artwork of Fernando Amorsolo, Juan Luna, and Fernando

Zóbel is the inspiration for this written play. Collections
of their paintings were on display at the Asian American
Art Museum in San Francisco in late 2006. Please use their
artwork as reference for images to use when showing
examples of Fredrico’s work in Scene 5.
Amorsolo’s, Palay Maiden, is the inspiration for Divina’s

character.
SCENE 1
DAY. FREDRICO JACINTO-BASA’s

STUDIO.
FRIAR DE GUZMAN is standing with a

very blank emotionless, almost
bored look. FREDRICO JACINTO-BASA
is standing at an easel trying to
illicit some emotion from the
Friar. OSCAR JACINTO-BASA,
Fredrico’s brother, is enjoying
this moment while holding a wine
glass in hand.
FREDRICO
Try this: The gates of Heaven open and Angels are singing…
OSCAR
Harking.
FREDRICO
Yes. Harking! The Angels are harking for you to enter the
Kingdom of Heaven! And you’re feeling…
DE GUZMAN
(Emotionless)
Happy.
FREDRICO
That’s happy?
OSCAR
The Friar says he’s happy.
FREDRICO
What else?
DE GUZMAN
Joy.
FREDRICO
(Becoming annoyed at the FRIAR’s
lack of emotion.)
What about passion, Friar? Can you give me that?
OSCAR
Let me try.
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2
(OSCAR walks over to the FRIAR and

whispers something in his ear and
the FRIAR immediately smiles.)
FREDRICO
Not that kind of passion. Oscar, what did you say to him?
OSCAR
Reconciliatory Rights, Baby Brother. Not allowed to divulge
information between the Friar and I.
FREDRICO
Always with the law.
OSCAR
As I have the law, you have the arts. Don’t worry about
what I told him. You have a deadline. Keep painting.
(FREDRICO returns to painting.)
OSCAR (CONT.)
Oh, and get back to your story. What did she yell at you?
FREDRICO
Wall lahng ya ka. Over and over. Wall lahng ya ka! Like a
crazy woman!
(OSCAR grabs the paintbrush out of

FREDRICO’s hand and holds it at
him like he’s going to cast a
spell on him.)
OSCAR
Better watch out. Maybe she put a curse on you, Baby. Wall
Lahng Ya, KA!
DE GUZMAN
Boys.
(FREDRICO chases OSCAR around

trying to get back the paintbrush.
OSCAR fires a shot from the
paintbrush.)
OSCAR
Wall lahng ya, ka!

3
(FREDRICO dodges the imaginary

blast.)
FREDRICO
Missed!
(OSCAR fires another shot.)
OSCAR
Wall lahng ya, KA!
(FREDRICO dodges another blast.)
FREDRICO
Missed again!
DE GUZMAN
Boys!
(FREDRICO snatches back the

paintbrush from OSCAR.)
OSCAR
Sorry, Friar.
(OSCAR slaps the back of

FREDRICO’s head playfully.
FREDRICO acts like he’s going to
stab OSCAR.)
DE GUZMAN
Boys! Basta! You have no shame, Fredrico.
FREDRICO
Sorry, Friar, but he started it.
OSCAR
Did not.
FREDRICO
Did too.
OSCAR
Did not.
DE GUZMAN
Boys! What I meant to say is that “Walang hiya ka” means
you have no shame.

4
FREDRICO
But it was an accident.
OSCAR
Stop making excuses. We don’t do that. It was her fault.
What if you weren’t able to get the supplies? The
parishioners would be disappointed seeing a half-done
portrait at your Gallery showing. And Friar, you wouldn’t
want that, si?
DE GUZMAN
Yes. That wouldn’t be gracious of me. Oscar, you’re a good
brother for sticking up for your brother.
FREDRICO
I can defend myself.
OSCAR
Sure you can. (to DE GUZMAN) And, you should be thanking
God that the art shop was still open. Or the best artist in
the Philippines would not have captured your guapo
radiance.
DE GUZMAN
Guapo radiance?
OSCAR
In God’s image.
DE GUZMAN
Well, then maybe it was a good that you hurried. The Indios
do have a lot to learn.
OSCAR
And that’s why we’re here to teach them.
DE GUZMAN
Very true, Oscar. Only with strict obedience and a firm
hand will they discover their place with The Church.
OSCAR
And España.
DE GUZMAN
Of course. And España.

5
FREDRICO
I couldn’t agree with both of you more, but can we
continue. Friar, if you can stay still for a little while
longer? And remember, passion.
Enter DIVINA ZAMORA fuming mad.

OSCAR looks at her and holds his
wine glass up.
OSCAR
You must be new. Arrived just in time. This is stale. Fetch
us a new bottle.
(DIVINA smiles wryly. Walks over

to OSCAR, takes the glass.)
DE GUZMAN
(to OSCAR) You should have told me you hired Divina Zamora.
I would have warned you. (to DIVINA) Divina, I still pray
for Virgil’s soul.
DIVINA
I’m sure you do, Friar De Guzman…
(DIVINA throws the wine all over

DE GUZMAN’s face. FRIAR stands
shocked. FREDRICO’s interest is
piqued by seeing this.)
DIVINA (CONT.)
Don’t you ever say my brother’s name again. Especially
after what you did to him.
FREDRICO
Now that’s Passion!
DIVINA
(to FREDRICO) And that was my mother you ran over!
FREDRICO
What are you talking about?
DIVINA
In San Andrés? Earlier today with your Kalesa? You are the
one who ran over my mother! Walang hiya ka!

6
FREDRICO
You better get your facts right. I didn’t run over her,
just her vegetables.
DIVINA
That was our meal for the week!
FREDRICO
So? Just buy more.
DIVINA
Oh, that must be so easy for you to do. Gago! If you try to
hurt my mother again, I will kill you.
FREDRICO
You? Kill me? (laughs) Oscar, is this another one of your
practical jokes?
(DIVINA walks over to FREDRICO and

slaps him hard across the face.)
DIVINA
Laugh again.
(OSCAR grabs her.)
OSCAR
Who do you think you are? Coming into our home and
threatening us and disgracing the good Friar? Don’t you
know who we are?
(DIVINA breaks free from OSCAR’s

grasp.)
DIVINA
I know that your family stole our land and that your
grandfather had his way with a Filipina housemaid. I bet
you don’t even know who your grandmother is.
FREDRICO
How do you know about our abuela?
OSCAR
Don’t listen to her. She’s lying. Get out of here, before
we have you and your mother arrested!

7
DIVINA
I don’t want any favors from you. I’m warning you, stay out
of San Andrés.
(DIVINA spits on the ground and

exits. OSCAR breaks free from
FREDRICO and straightens his
clothes.)
OSCAR
Friar, are you all right?
FREDRICO
How did she know about our Grandmother?
OSCAR
Baby, you know we are not to speak of her. Help me with the
Friar.
(FREDRICO and OSCAR get some

cloths and wipe down a shocked DE
GUZMAN.)
FREDRICO
Friar, are you okay?
OSCAR
Friar?
DE GUZMAN
That girl. Her family is nothing but trouble, especially
her brother. I’m sorry that she has soiled this home. It
won’t happen again. I assure you.
FREDRICO
Please Friar. Allow me to straighten her out first.
OSCAR
Yes, Friar. She came into our home. Let us take care of
her.
FREDRICO
No, Oscar. Let me handle it. Trust me. Friar?
(DE GUZMAN nods his head in

approval.)
Lights fade out.

8
SCENE 2
NEXT DAY. ZAMORA LIVING ROOM.
(MARICEL ZAMORA, Divina’s mother,

is sweeping up the family’s living
room humming a little song.
FREDRICO walks in without knocking
with a bag of his paints, pencils,
and a sketchpad. MARICEL turns
around and is frightened because
she remembers FREDRICO from the
day before.)
FREDRICO
Perdóneme, Señora. Where is your daughter?
MARICEL
She didn’t mean it, Señor. She has a short temper that gets
her into trouble. But she has a good heart. Don’t take her
away, Señor.
FREDRICO
I’m not here to take your daughter away. I just came to ask
her a question. Where is she?
MARICEL
Uh, She’s not here. She’s far away. Very, very, far away.
(Enter DIVINA. She looks tired

from working a long day in the
fields. She’s also carrying a bag
of bread and some vegetables.)
DIVINA
‘Nay. I got something for dinner…
(She sees FREDRICO.)
DIVINA (CONT.)
You! I told you to never come here and bother us. How did
you know where we lived?
FREDRICO
I… I… I came to apologize to your mother. (to MARICEL) I’m
sorry.

9
DIVINA
She doesn’t accept.
(FREDRICO takes out some money

from his pocket.)
FREDRICO
Then let me please pay for the damages that I caused you
yesterday.
(FREDRICO attempts to give the

money to MARICEL, but DIVINA takes
it. DIVINA spits on the money and
hands it back to FREDRICO.)
MARICEL
Divina!
DIVINA
Your money is no good here.
(FREDRICO puts the money onto a

table, takes out a handkerchief,
and wipes his hand with it.)
FREDRICO
(To Maricel) Señora. I’d like to paint a portrait of your
daughter to say how sorry I am for what happened. Would you
allow me to do that for you?
DIVINA
She says no.
MARICEL
What kind of portrait?
FREDRICO
A nice one. A big one.
DIVINA
No.
MARICEL
A big one?
DIVINA
‘Nay.

10
FREDRICO
And you can hang it over… there.
MARICEL
Oh. That’d be nice.
DIVINA
Inay!
(DIVINA takes MARICEL by the arm

and moves downstage.)
DIVINA (CONT.)
‘Nay, did you forget that this is the man who tried to run
you over?
MARICEL
But, he’s offering to paint a picture of you. We never had
one of Virgil. (pause) Anak?
(pause)
DIVINA
Fine.
MARICEL
Señor. You stay here and start. I’ll make some snacks for
you. Divina, behave.
(MARICEL gets the bag of bread and

vegetables and exits. FREDRICO
takes out his sketchpad and a
pencil.)
FREDRICO
Well, alright. You can sit right over there.
(DIVINA remains standing with her

arms crossed looking mad at him.)
FREDRICO (CONT.)
Uh… okay. This is a start. Why don’t you let your hair
down.
(DIVINA puts her hair up in a

bun.)

11
FREDRICO (CONT.)
Hmmm… maybe that can work. Let’s try a little smile.
(DIVINA squints her eyes more,

tights her lips, and stares at
him.)
FREDRICO (CONT.)
Alright, that’s it! What? I’ve apologized to your madre.
DIVINA
Inay.
FREDRICO
In what?
DIVINA
Inay. It means mother. Even though you’re a bastard, at
least that part of you should know your language.
Especially since you live on our land.
FREDRICO
This is our land. Eight generations of Jacinto-Basas have
owned parts of the Philippines.
DIVINA FREDRICO
You can’t own something that
already belonged to someone
else. This land belongs to us and
on the behalf of Spain and
Not only did your family come King Philip...
and take our land, but you
also think that you have the
right to tax
us farmers for Of course it’s our right...
Farming our land? Or have
them beaten when they can’t If people don’t work, then we
pay? have to use other methods...
Or that it’s okay for your
priests to have their way
with my Filipina sisters Watch what you say about the
because Priests. They’re here to save
they are under the Queen of your sorry lot.
España and God Himself?
FREDRICO
Are you done?

12
DIVINA
Not until we have our land back!
FREDRICO
Impossible. What you say are all lies. I’ve never seen any
of that.
DIVINA
I think you know more than you care to admit to.
FREDRICO
Then admit where you heard those stories about my abuela.
DIVINA
So. That’s why you’re really here. You came to know more
about your lola.
FREDRICO
Is that her name? Lola.
DIVINA
Gago. Why do I even bother?
FREDRICO
I just want to confirm that this Lola took advantage of my
grandfather.
DIVINA
That still wouldn’t change that you have Filipino blood
flowing through you.
FREDRICO
I’d watch your tongue.
DIVINA
What are you going to do about it? Paint me into shame?
I’ve seen some of your paintings, Señor Jacinto-Basa, and
it’s a shame that you’re not even as good as you think you
are.
FREDRICO
You know nothing of art. I’ve been trained at the best
schools in Madrid, and…
DIVINA
Then, you should ask for your money back. Trained? You
haven’t even tried to capture the soul and the suffering of

13
DIVINA (CONT.)
a people trapped on their own land. Do that, and then maybe
I’ll be impressed.
FREDRICO
Who’s trapped?
DIVINA
How are you so blind not to see what’s going on around you?
Where did you learn to be so arrogant? And stupid?
(Enter OSCAR holding a

handkerchief over his nose. As he
enters into more of the living
room, he wipes his hands with the
handkerchief.)
OSCAR
Good Jesus, Fredrico. You better get out of here before you
catch some kind of disease.
(DIVINA picks up a broom and holds

it high ready to strike.)
FREDRICO
Oscar, what are you doing here? I told you I’d handle this.
OSCAR
I waited long enough. Honestly, I don’t know how the Friar
keeps track of where all of you people live.
DIVINA
I should have known.
FREDRICO
Oscar, shut up. (to DIVINA) It was only to find out where
you lived so I can apologize to your madre… I meant, Inay.
OSCAR
You did What?! Apo… apolo… apol… WHAT?! Vamanos! If I ever
catch you in here…
(MARICEL runs into the living room

screaming.)
MARICEL
Divina, we have to go to your Tito’s house!

14
DIVINA
What’s the matter?
MARICEL
It’s your father. His hands. His hands!
DIVINA
Inay. What happened?
MARICEL
Friar De Guzman accused him of stealing from the Church and
had his hands crushed.
DIVINA
He just can’t leave us alone.
(DIVINA grabs a linen bag and puts

it around her neck and shoulder.)
DIVINA (CONT.)
‘Nay, Go to pa and I’ll meet you there.
MARICEL
What about you? He begged to see you too.
DIVINA
Trap. Just like Virgil. Don’t worry. Just take care of him.
I’ll be there soon. I’ll be fine.
MARICEL
No. That’s what your kuya said. I’m not losing you too.
(DIVINA hugs MARICEL.)
DIVINA
I promise. I’ll be careful. Go.
(Exit MARICEL. DIVINA looks around

for a few more items and puts them
in her bag.)
FREDRICO
What are you going to do?
DIVINA
It’s none of your concern.

15
OSCAR
You heard her, Baby. It’s none of your concern. Let’s go.
FREDRICO
You don’t know what he’s capable of. Friar De Guzman is a
powerful man.
DIVINA
Then it’s time to take the power back. This is the last
time he tries to hurt my family.
(DIVINA exits. FREDRICO tries to

go after her, but OSCAR holds him
back.)
OSCAR
Let her go, little bother. Never come back here. Are you
listening to me? Something’s not right with her.
(As lights fade out, FREDRICO

can’t take his eyes off of where
DIVINA has exited.)
SCENE 3
NIGHT. FORT SANTIAGO. JAIL CELL.
(In Blackout.)
FREDRICO
Let me go! Let me out of here!
(Lights slowly fade up as we see

FREDRICO sitting in a chair with
his hands tied behind his back
with a black piece of cloth over
his eyes. FRIAR DE GUZMAN is
behind him. OSCAR is lurking in
the shadows.)
FREDRICO
Where am I? I’m Fredrico Jacinto-Basa and I demand to be
let go!
DE GUZMAN
What is your relationship with Divina Zamora?

16
FREDRICO
Friar De Guzman. Thank God, it’s you. Untie me and let me
out of here.
DE GUZMAN
I’m sorry Fredrico, but I need to ask you some questions.
FREDRICO
I don’t answer to you Friar. Lest you forget which family
gives your church the most money.
DE GUZMAN
Then it’d be a shame if it’s found out that you helped her
burn down the very church that your family help build.
FREDRICO
I told her not to do anything.
DE GUZMAN
So, you did know that she was going to do something.
FREDRICO
I swear, I didn’t know what she was planning.
DE GUZMAN
Do you also swear that you weren’t with her at the church
lighting torches? Watch what you say, Fredrico. We have
witnesses who will testify against you.
FREDRICO
That’s impossible. I was with Oscar! Get him and ask him.
DE GUZMAN
We did and he refuses to come and see you.
FREDRICO
You’re lying. He would never do that.
DE GUZMAN
Am I? I don’t see him here to defend you.
FREDRICO
He has always defended me. I’m his Baby…
DE GUZMAN
Brother. Cute. I guess he believed that it’s time for you
to grow up and face this on your own without the Jacinto-

17
DE GUZMAN (CONT.)
Basa name behind you. (pause) It might be for the best
anyway. A speedy trial in a few hours to get you ready.
FREDRICO
Ready for what?
DE GUZMAN
To meet the same fate that your co-conspirator met earlier
after her capture. She fought well. Too bad she couldn’t
fight a bullet.
FREDRICO
No. Please. Please! I’ll do anything you want. Get Oscar!
DE GUZMAN
If you only listened to your brother.
(Enter OSCAR.)
OSCAR
Yes, Baby. If only you had listened to your brother.
FREDRICO
Oscar? Oscar?!
OSCAR
Friar De Guzman, untie Fredrico.
(DE GUZMAN unties FREDRICO where

he gets up and grabs DE GUZMAN and
pulls him close.)
FREDRICO
(To DE GUZMAN) How could you kill her?
DE GUZMAN
Ask your brother.
(OSCAR places his hand on

FREDRICO’s shoulder.)
OSCAR
Let the Friar go, Fredrico.
(FREDRICO lets DE GUZMAN go and

turns to OSCAR.)

18
FREDRICO
Where were you?
OSCAR
Right over there. Fredrico? Really? (mockingly) “Please.
Please. I’ll do anything you want.” Truly disappointing.
FREDRICO
Do you know what they could’ve done to me?
OSCAR
Nothing. They could do nothing to you. You’re Spanish.
FREDRICO
And Filipino.
OSCAR
That’s irrelevant.
FREDRICO
Irrelevant?
OSCAR
Meaning that it doesn’t matter. Why should we care? I
don’t.
FREDRICO
Maybe we should. We know what happens to the Indios if they
don’t pay their taxes. They can just disappear and no one
would even know. They can be thrown into jails or be killed
for no reason. Doesn’t that mean anything to you?
OSCAR
As long as it’s not us, then it shouldn’t.
FREDRICO
As long as it’s not us? Look around you. We’re the ones in
a jail!
OSCAR
Not we. You. And it’s to teach you a lesson. Don’t throw
our family’s legacy away by questioning your heritage.
We’re sons of España. Don’t forget that. (to DE GUZMAN) Did
you get to the girl in time, Friar?
DE GUZMAN
Thank you, Oscar. Your cooperation helped us to take her
before she could even light a torch.

19
FREDRICO
What did you do?
OSCAR
I stopped a subversive from burning down a church. A
church! (to DE GUZMAN) Where’s the girl now?
DE GUZMAN
You don’t have to worry about her anymore.
OSCAR
You hear that? Forget about her and concentrate on your
gallery show. You’re a great painter and that is your
purpose.
Lights fade out.
SCENE 4
NIGHT. FREDRICO JACINTO-BASA’s

STUDIO.
(FREDRICO is sitting in the dimly

lit studio when he gets up, puts a
fresh canvas on the easel, picks
up his palette and a brush and
starts to paint.)
Lights fade out and back up.
(FREDRICO is now painting more

quickly than before with another
paint brush in his mouth and
painting on one canvas on the
easel and going to another canvas
on the floor and painting and
finishing painting another
portrait on a canvas leaning
against a wall.)
Lights fade out and back up.
(FREDRICO is sitting down the

floor looking up at his
paintings.)
Lights fade out.

20
SCENE 5
NIGHT. ART GALLERY.
(String music is heard with a

little chatter going on in the
background.)
(Lights up on FREDRICO sipping on

a wine glass. Occasionally, he
lifts his glass up to someone
across the room.)
(OSCAR enters happily tipsy.)
OSCAR
There’s my baby bother! Everyone is loving your work!
People are placing bids on some of the one’s that aren’t
even unveiled yet.
FREDRICO
Interesting.
OSCAR
Interesting? That’s fantastic! How are you holding up?
FREDRICO
Never better.
OSCAR
The candlelight never went out in your studio.
FREDRICO
When you’re inspired, the burning desire to paint the truth
will forever stay lit.
OSCAR
Uhh…kay. Sure. Whatever that means. I’m just glad to see
your passion has returned. Salud! To the most talented
artist in the Philippines.
(They BOTH raise their glasses.)
FREDRICO
And the most guapo.

21
OSCAR
I still hold that title, Baby. I’ll be back. Looks like
they’re about to unveil another painting.
(Exit OSCAR. FREDRICO finds some

crackers on a tray and takes a
couple of bites. Then we hear a
breaking of a glass.)
OSCAR (O.S.)
Don’t leave! Señor. Señora. I’m sure then next paintings
will be better. Fredrico… Fredrico has been ill and that
explains those images. Please stay and drink some more.
Trust me, the paintings look better drunk.
(Enter OSCAR downing his wine,

throws the glass, and grabs
FREDRICO.)
OSCAR
What is the matter with you?
FREDRICO
I painted the truth.
OSCAR
Well your truth is causing people to leave! Now they will
tell their friends, and their friends will tell the Queen.
(FREDRICO breaks free from OSCAR’s

grip.)
FREDRICO
What does the Queen care about the people living here?
OSCAR
We live here! So she has to care about us.
FREDRICO
What about the Indios? They live here too.
OSCAR
The natives? How dare you show them in your paintings!
They’re here to serve us. Not to be on display like that!
FREDRICO
Are you even listening to what you’re saying?

22
OSCAR
It’s reality. Nothing can change that.
FREDRICO
Well, maybe this reality can be changed if people can see
the truth. Oscar, together we can help our world see the
beauty, strength, and love of the people in this country.
OSCAR
Beauty? The beauty?! Ohhhh. Now, I see what this is about.
Are you talking about the beauty in these paintings or the
beauty of that peasant whore who likes to burn down
churches?
(FREDRICO decks OSCAR. The

brothers have a brutal fight only
brothers can have. It ends with
both of them in pain with OSCAR
losing but gets up slowly and
still a little tipsy. FREDRICO is
waiting with his fists raised
ready to fight.)
OSCAR
What happened to you, Baby?
FREDRICO
Don’t call me that. Not anymore.
OSCAR
You better know what you are doing, Fredrico. Because, once
I walk out that door…
(After one long last look at each

other, OSCAR exits.)
(FREDRICO shakes out the fist that

hit OSCAR in obvious pain. He
finds a glass of wine and just
before he’s about to take a drink,
he looks at it, and puts it down.)
(Enter a hooded figure at first

checking to make sure that she
hasn’t been spotted. FREDRICO
spins around and puts up his fists
again. DIVINA lowers her hood.)

23
FREDRICO
I thought you were dead.
DIVINA
Is that what you were told?
FREDRICO
It can only be assumed.
DIVINA
My brother’s friends saw where I was being taken and… well,
you don’t need to know. (pause) Is it true about the
paintings?
(FREDRICO’s works are shown.)
DIVINA
Looks like someone has finally opened his eyes. Is that how
you see us?
(FREDRICO nods his head “yes”)
DIVINA (CONT.)
Pwede mo ba ipakita sa akin yung iba?
FREDRICO
I’m sorry. I don’t understand.
DIVINA
You will. Don’t worry. I’ll teach you.
(DIVINA holds out her hand to

him.)
DIVINA (CONT.)
It means, can you show me the rest?
(FREDRICO takes her hand and they

both exit while the lights fade
out hand in hand.)
THE END

Thicker Than Wine by Conrad A. Panganiban

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Thicker Than Wine by Conrad A. Panganiban

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Thicker Than Wine

A Drama based on the short story,

332 McDonnel Road

Thicker Than Wine 040611.docx - conradap@uptil3.com

Fredrico Jacinto-Basa: 22. A Painter in conflict with his

Oscar Jacinto-Basa: 23. Fredrico’s protective older

Divina Zamora: 19. Activist. Farmer. Fighter for

Friar De Guzman: 53. Powerful Manila Friar who

Maricel Zamora: 52. Divina’s mother. Pure and kind

Place: Fredrico’s studio.

The artwork of Fernando Amorsolo, Juan Luna, and Fernando

Amorsolo’s, Palay Maiden, is the inspiration for Divina’s

DAY. FREDRICO JACINTO-BASA’s

FRIAR DE GUZMAN is standing with a

Thicker Than Wine 040611.docx – conradap@uptil3.com

(OSCAR walks over to the FRIAR and

(FREDRICO returns to painting.)

(OSCAR grabs the paintbrush out of

(FREDRICO chases OSCAR around

Thicker Than Wine 040611.docx - conradap@uptil3.com

(FREDRICO dodges the imaginary

(OSCAR fires another shot.)

(FREDRICO dodges another blast.)

(FREDRICO snatches back the

(OSCAR slaps the back of

Thicker Than Wine 040611.docx - conradap@uptil3.com

Thicker Than Wine 040611.docx - conradap@uptil3.com

Enter DIVINA ZAMORA fuming mad.

(DIVINA smiles wryly. Walks over

(DIVINA throws the wine all over

Thicker Than Wine 040611.docx - conradap@uptil3.com

(DIVINA walks over to FREDRICO and

(OSCAR grabs her.)

(DIVINA breaks free from OSCAR’s

Thicker Than Wine 040611.docx - conradap@uptil3.com

(DIVINA spits on the ground and

(FREDRICO and OSCAR get some

(DE GUZMAN nods his head in

Lights fade out.

Thicker Than Wine 040611.docx - conradap@uptil3.com

NEXT DAY. ZAMORA LIVING ROOM.

(MARICEL ZAMORA, Divina’s mother,

(Enter DIVINA. She looks tired

(She sees FREDRICO.)

Thicker Than Wine 040611.docx - conradap@uptil3.com

(FREDRICO takes out some money

(FREDRICO attempts to give the

(FREDRICO puts the money onto a

Thicker Than Wine 040611.docx - conradap@uptil3.com

(DIVINA takes MARICEL by the arm

(MARICEL gets the bag of bread and

(DIVINA remains standing with her

(DIVINA puts her hair up in a

Thicker Than Wine 040611.docx - conradap@uptil3.com

(DIVINA squints her eyes more,

Thicker Than Wine 040611.docx - conradap@uptil3.com

Thicker Than Wine 040611.docx - conradap@uptil3.com

(Enter OSCAR holding a

(DIVINA picks up a broom and holds

(MARICEL runs into the living room

Thicker Than Wine 040611.docx - conradap@uptil3.com

(DIVINA grabs a linen bag and puts

(DIVINA hugs MARICEL.)

(Exit MARICEL. DIVINA looks around