(no subject)
Miguel de Santiago
Scene One.
Aurora. The clouds have descended upon the streets of Colonial Quito. Amidst the thick serpentine fog,
a man is sleeping. We hear the sound of late-night birds chirping; a sound which gradually fades away.
Meanwhile, in the distance, by candlelight and lanterns swaying, the Chorus is singing, humbly praying:
'Nos autem gloriari oportet in cruce Domini
Nostri Jesu Christi: in quo est salus, vita et
resurrectio nostra per quem salvati et liberati sumus...'
'Deus misereatur nostri, et benedicat nobis:
illuminet vultum suum super nos,
et misereatur nostri. Nos autem....'
Enter Chorus
CHORUS
Are you sleeping? Sleeping still?
MAN
Huh?
CHORUS
Are you still sleeping and taking your rest?
MAN
The sun sleeps.
CHORUS
The sun?
MAN
Look to the horizon!
CHORUS
The sun has already risen. The spirit indeed is willing but the flesh is weak.
MAN
What do you mean? The east- the east.
CHORUS
Yes. In the east. Behind the clouds brooding black. It's later than one might think.
MAN
The cock hasn't crowed and the bells haven't rung. Thus, I sleep.
CHORUS
Rise!
MAN
Quiet!
CHORUS
Rise!
MAN
No! Why can't I sleep?! Look at me! Why can't I sleep?! It's only been an hour or two since
I laid my head here to rest. Why do you want me awake?! I want to sleep and never wake-
never rise again. Look at us! We will be forgotten. God himself has already forgotten us!
We're here all alone and we die here all alone. And our souls stay here with our
ancestors all alone. God is in Spain! So, please tell me, why do you want me awake
in this miserable place?! Why can't I sleep?!
CHORUS
'Keep awake- for you do not know when the master of the house will come, in the evening,
or at midnight, or at cockcrow, or at dawn, or else he may find you asleep when he comes
suddenly. What I say to you, I say to all: keep awake!'
MAN
The root of the righteous will never be moved.
The man continues to sleep. The Chorus continues to sing. One among them speaks as
the others begin to leave.
CHORUS
Tonight is the night of the Passover. The night our Savior and Lord was betrayed and
taken to prison. Lord, forgive us! We betrayed you. Mary, weep for him! Weep for him,
Mary- the innocent man who was betrayed by those whom he loved the most. Weep for
him! Weep for us! For we can do nothing. But we will keep awake. We will watch and
be witnesses.
He exits. Another speaks.
CHORUS
What birds are those- that circle the heavens like something's dead on earth? Lord, protect
our friends and protect our enemies also. Something's amiss. The night was cooler last
night than usual. The city prepares to celebrate the Passover but how can we celebrate when
death creeps in every shaddow? Lord protect us! Let us fear no evil! But let us not starve in
our fasting!
He exits. Another speaks.
CHORUS
I am deeply grieved, even to death; remain here, and stay awake with me. See the hour is
at hand, and the Son of Man is betrayed into the hands of sinners. Get up, let us be going.
He exits. Another speaks.
CHORUS
Rise, sun! Rise! Sun that puts motion into all things: rise! Let us see what the day brings.
All exit. The sleeping man remains alone.
A spectrum of ghostly shapes crosses the stage from different directions: the Saints. They exit.
The commotion stirs the man sleeping. As he rises and begins to stretch, a model dressed as Christ,
and bearing the cross in his image, walks slowly and majestically across the stage before him. A soprano
among the chorus sings counterpoint. The man is profoundly moved- stunned, rather, with awe and disbelief.
By the time he is to his senses, the "apparition" is to the air, having vanished in the rising fog. The fog continues
to rise until it has completely dissipated. The sound of chirping birds is no more. Enter Chorus, still singing.
CHORUS
The birds are fleeing. A storm is coming.
MAN
I've had a vision.
CHORUS
The bells are ringing. The cock is crowing.
MAN
How long have I been sleeping?
CHORUS
The sun is rising. His blood is spilling.
MAN
I've witnessed a miracle!
CHORUS
The clouds are gathering. A storm is coming.
MAN
No storm is coming! It's morning and the sun is rising and the clouds are leaving.
CHORUS
What's wrong with him? The potions- the potions. The witch's potions.
MAN
I've seen the Christ!
CHORUS
The potions- the potions. The witch's potions.
MAN
What do you mean?
Enter a mob of angry models with the likeness of Christ. The set gets brighter.
CHORUS
You've been sleeping for three days.
The cock crows and church bells ring. The percusive sound of native instruments in the
distance can be heard now throughout. The Maundy Thursday festivities are commencing.
FIRST MODEL
He's no artist. He's a madman!
SECOND MODEL
He's possessed by the devil!
THIRD MODEL
He is the devil!
FOURTH MODEL
May he never paint again!
CHORUS
Gentlemen. Be more reverent. It's a Holy day. Who is it that you curse? We never
knew that the devil was a painter.
FOURTH MODEL
He is!
FIRST MODEL
A vile and arrogant one.
CHORUS
Tell us, then. What does the devil paint?
MAN
Listen...
SECOND MODEL
He paints us.
THIRD MODEL
With scars and bruises!
FOURTH MODEL
With gashes and blood!
THIRD MODEL
If I weren't a Christian, I'd murder him myself.
CHORUS
Murder the devil?
MAN
Brothers...
FIRST MODEL
No, we won't murder him.
FOURTH MODEL
We'll tell the priest.
SECOND MODEL
His patron.
CHORUS
The priest is the devil's patron?
MAN
I've seen the Christ!
The drums in the distance cease.
MODELS
Who the hell are you?
MAN
The Christ...bearing the cross...He passed there where you're standing. He passed
right before...right before my eyes. He was...
Enter Alonzo, drunk.
THIRD MODEL
Look at this one!
FOURTH MODEL
What kind of man gets drunk this early in the morning?
SECOND MODEL
And on a holy day.
FIRST MODEL
It's his son-in-law!
MAN
Alonzo! Friend!
CHORUS
The son-in-law of Miguel de Santiago.
FIRST MODEL
Right.
ALONZO
Buenos Dias! What's all this noise? What about Santiago?
FIRST MODEL
You're his son-in-law, aren't you?
ALONZO
I'm married to his daughter.
MAN
Alonzo...
FIRST MODEL
You were married to his daughter.
ALONZO
What's that?
FIRST MODEL
Well, she's dead, isn't she?
CHORUS
What's this all about, man?
ALONZO
I don't know.
MAN
Amigo.
FOURTH MODEL
Why are you drinking?
FIRST MODEL
Where's your son?
MAN
Alonzo. I saw the Christ.
ALONZO
The Christ?
FIRST MODEL
Which way was he heading?
MAN
I was sleeping right here. And...uh...that way!
The first model laughs.
FIRST MODEL
That man has it in for him far worse than Jesus.
MAN
What do you mean?
FIRST MODEL
He was headed for Santiago's studio. Santiago's painting the Christ. You're
Christ was a model!
The models and the Chorus burst out into laughter. The man and Alonzo are both
embarrassed.
FOURTH MODEL
Let's go!
SECOND MODEL
Fools!
Exit models. The set darkens as clouds pass over the sun once more. All stare down at
the ground for a moment. Alonzo raises his head skyward. The others follow.
ALONZO
So cold?
CHORUS
What is it stirring, Lord, that makes us so ashamed to laugh?
MAN
I was sleeping for three days?
CHORUS
What are those black birds that circle the sky so blindly? What is it they smell?
MAN
It's where the model was headed.
CHORUS
Something's gone terribly wrong in Santiago's studio. Something's dead.
MAN
Or dying.
Enter Isabel de Santiago, wearing a black veil and weeping.
CHORUS
Woman, why are you weeping? Go to your father! There's something wrong
with your husband's master, that great painter of San Augustín. Some men
are going to the Church to make a suit against him. Go to your father!
ISABEL
I am not a wife anymore.
CHORUS
What's wrong? What has happened?
Isabel sees Alonzo, her brother-in-law, drinking. She is angered.
ISABEL
Why are you drinking?! Where's your son?!
She knocks the gourd out of his hand. Red wine spills on the stage floor. Alonzo is jolted.
ALONZO
I'm...I'm...
ISABEL
You're a widower and I'm a widow! Where's your son? Where's Augustín? Does he eat?
Alonzo picks up his gourd and exits.
CHORUS
Your husband is dead?
Isabel is weeping even more.
ISABEL
Dead.
CHORUS
Oh, poor woman, go to your father! He needs you. His apprentices are rising against him
They say that he's gone mad.
ISABEL
He has!
CHORUS
Woman, please go to your father!
ISABEL
Never. He's the reason my husband's dead.
CHORUS
What?
ISABEL
He sent him to Salinas...
CHORUS
By the sea?
ISABEL
Yes. For a commission. And now he's dead.
CHORUS
Does your father know?
ISABEL
No. And I should hope that he never knows. Though, I doubt he would care.
CHORUS
Honor your father and mother.
ISABEL
My mother's dead and my father has no honor! By honoring him, I only honor his
vanity.
CHORUS
You don't know what you're saying! You're grieving. You're filled with anger.
Don't blame your father, that unfortunate man! It wasn't his fault. Go to him!
He's grieving, too. His wife is dead and all of his children are dead except for you.
And now, his only child has been widowed. Go to him! Forgive him and thank
God for what you do have.
ISABEL
I will not.
Isabel exits, hurrying off to Mass.
MAN
How long have I been sleeping?
CHORUS
Lord, why do you continue to place misfortune on those who are most unfortunate?
Why must you continue to humble those who are already humbled? Why are the heavens
always so gloomy on such gloomy days?
MAN
Three days?
CHORUS
Something disastrous is on the horizon. When that great pious painter, that servant who fills
our churches with sacred images, learns that his daughter won't speak to him, I fear he will
feel the full weight of his loss. What will he do? Even great men fall. Mary, mother of God! Weep
for him! Weep for us! For we can do nothing. But we will keep awake. We will watch and
be witnesses.
MAN
Tell me, why have I been sleeping for three days?
CHORUS
You really don't remember?
MAN
No. Tell me.
CHORUS
You don't want to remember- you didn't want to remember. You will curse us when we tell you.
MAN
Tell me!
CHORUS
Three days ago, your house burned down. Your wife and children are dead. You came to us cursing
us and cursing God and we chastised you for your lack of faith though we held our arms out to you. But
you scorned us. You said that you wanted to die and sleep forever and you went to the witch Curi Illpay
to that purpose. Her charms have caused you to sleep now for three days. But wake up! Brother, you
have nothing.
The man remembers and weeps.
CHORUS
Friend, come with us. Come with us, friends. Weep with us. It's time for Mass. The body and blood
of Christ will heal your pangs. We will give you company. We will comfort you. Come weep with us.
All exit, awake and no longer sleeping, singing but also weeping:
'Christus factus est pro nobis obediens usque
ad mortem mortem autem crucis.
Propter quod et Deus exaltavit illum:
et dedit illi nomen quod est super omne nomen....'
End Scene.
Scene Two.
Miguel de Santiago's Studio. A model poses as Christ upon the cross. Santiago paints. An apprentice is
working in the corner.
SANTIAGO
Don't smile.
MODEL
Sorry, master.
SANTIAGO
Are you sure?
There is a silence. Church bells ring from outside.
SANTIAGO
Be still.
MODEL
Sorry, I....
SANTIAGO
Shhhh.
We see Santiago painting furiously. The apprentice knocks something over. Santiago stops.
SANTIAGO
Boy!
APPRENTICE
Yes, master.
SANTIAGO
Bring me the spear.
APPRENTICE
Yes, master.
The apprentice grabs the spear from the corner of the room where various props are kept.
The model trembles. He looks cold. We can see his ribs and his thin arms stretched out.
He is nervous and uncomfortable with his body. He is also weary from posing in the same
position for such a long time. The apprentice brings the spear to Santiago. Santiago takes
it from him. The apprentice goes back to work.
SANTIAGO
Thank you.
He displays the spear to the model and then sets it on the ground next to his own feet.
SANTIAGO
Are you afraid of dying?
The model makes no response.
SANTIAGO
Hmmm?
MODEL
I...I don't know, master.
Santiago resumes painting.
SANTIAGO
Do you think Christ was afraid?
MODEL
Excuse me, sir?
SANTIAGO
Do you think Christ was afraid of dying?
MODEL
I...I...
SANTIAGO
Shhhh. When Jesus threw himself on the ground in Gethsemane and said, 'Abba, Father,
for you all things are possible; remove this cup from me; yet, not what I want, but what you
want,' do you believe he was afraid of dying?
MODEL
No.
SANTIAGO
Why?
MODEL
Jesus wasn't afraid of anything. He looked Satan straight in the eyes and...
SANTIAGO
And what? What is Satan to God? What is Satan to the Father? What does it matter when
Satan turns his back on you? What does it matter when Satan is angry? But God...that's
something different. Have you ever heard the voice of God when He's angry?
MODEL
I've never heard the voice of God.
SANTIAGO
Perhaps that's why you fear death. Perhaps that's why you're trembling.
MODEL
I'm sorry, master.
SANTIAGO
No, no. Sorry isn't it, either. Jesus wasn't sorry. Why would Jesus be sorry? What would
Jesus be sorry for? No, no. Not sorrow. It was something more. Something more than sorrow,
than pain, something more than fear of dying. It was agony. Agony! The agony of oblivion!
MODEL
Yes, master.
SANTIAGO
You give me grief? Fear? Sorrow?! You don't know loss.
MODEL
Yes, master.
SANTIAGO
You want to be a painter?!
MODEL
Yes...
SANTIAGO
A painter?!
MODEL
Master.
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
MODEL
Sir.
SANTIAGO
You want to paint?!
Santiago stops painting. He begins to walk toward the model on the cross.
SANTIAGO
And you've never heard the voice of God?! You've never heard His voice of wrath?! You've never
felt His voice tremble beneath your skin? You've never felt it quake in the marrow of your bones?
You've never wanted to tear your eyes out from their sockets because they were useless to you?
To rip open your chest and cast your heart into the dust because it was useless to you?! To pound
your head into the knot of a tree for all eternity because it was useless to you?!
There is a knocking on the door. Santiago turns and speaks softly while he walks toward the door. The
apprentice stands by it, waiting. The model is now trembling more than before. Cold sweat drips down his
face.
SANTIAGO
You know what it's like to be filthy in your own sins before God. Hmmm? Now imagine being filthy
in the the sins of others before Him. And that was before some priest could forgive you for it all.
Santiago opens the door. Enter Padre Basilio de Ribera.
RIBERA
Miguel...
SANTIAGO
Father Ribera.
RIBERA
Are you busy?
SANTIAGO
We can speak.
Santiago moves toward his easel. Ribera follows, looking at the model upon the cross. The apprentice closes
the door and goes back to work. Miguel continues painting. Ribera notices the half-finished piece. An expression
of horror comes over his face.
RIBERA
Is this the commission?
SANTIAGO
Yes.
RIBERA
It's not finished?
SANTIAGO
No.
RIBERA
Miguel...
There is a silence. The model breathes heavily. The apprentice wipes the sweat from his brow. Santiago slowly
looks up into the eyes of Ribera.
RIBERA
Why do you look at me like that?
Santiago resumes painting.
RIBERA
You came to me twenty years ago with a light in your eyes.
SANTIAGO
With a light?
RIBERA
With a light. You came to me with a light in your eyes. And you had nothing.
SANTIAGO
Nothing?
RIBERA
Nothing.
The model tries to scratch his face. Miguel screams.
SANTIAGO
Don't move!
RIBERA
Miguel...
The apprentice drops something. Miguel quickly turns his head and screams again.
SANTIAGO
You!
The boy pauses, stunned. Miguel continues painting.
RIBERA
Miguel...
SANTIAGO
Father, forgive them.
RIBERA
What are you saying? Look at me!
SANTIAGO
Nothing.
RIBERA
Nothing?
SANTIAGO
Nothing.
RIBERA
Miguel, I don't know what to say. This isn't like you. This painting should be
finished by now. Look at me! Miguel. This painting should be finished. Tomorrow...
tomorrow is Good Friday.
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
RIBERA
Do you understand what this means?! Do you?!
SANTIAGO
Not what I want, but what you want.'
RIBERA
Miguel, they say you've gone mad! Listen! Look at me.
Ribera grasps Miguel by the arm. He stops painting.
RIBERA
Look at me!
Miguel looks up.
RIBERA
What are you doing?! Is this about your wife? It's been six years now. Is it your children?
They're with God. You know that. Tell me! Why now? What's wrong?
Miguel looks back down at his painting.
SANTIAGO
Agony.
RIBERA
Agony? Miguel, they'll never commission you again. No one will commission you. The greatest
painter in all of the Americas.
SANTIAGO
Oblivion.
RIBERA
Is this something you're trying to prove? You don't need to prove anything. We tell you to paint
the Christ- you paint it. It hangs in the Cathedral. Men and women come from all over to take
the Eucharist...to experience the body and blood of Christ...to be forgiven...to experience a miracle.
The model sighs.
SANTIAGO
A miracle.
RIBERA
You have nothing to prove.
SANTIAGO
Nothing.
RIBERA
Miguel. You've been like a son to me. Tell me what's wrong? Look at me!
SANTIAGO
Agony.
RIBERA
Paint, Miguel! Paint! They'll give it to Goríbar! He does what they tell him.
SANTIAGO
Oblivion.
Ribera starts for the door.
RIBERA
I don't understand.
SANTIAGO
A miracle.
RIBERA
May God have mercy on you, Miguel.
Ribera exits.
SANTIAGO
Nothing.
End Scene.
Scene Three.
A room within the Cathedral. Father Ribera, a few brothers of the Augustínian Order, and
members of the clergy sit around a large table. Nicolás Goríbar stands as though he has only
recently entered.
GORÍBAR
It was six years ago. His wife was still alive then but his daughter Juana had only
recently died of consumption. She had given him a grandson.
RIBERA
Augustín.
GORÍBAR
Right. He'd always wanted a son named Augustín. It became an obsession. A sickness. His
wife bore him three sons and he baptized each of them after the other with the name Augustín.
And one after the other, they died in infancy.
FIRST BROTHER
Poor man!
GORÍBAR
He was a busy man then. We had just finished a commission in the Convent of San Francisco.
And this man, a wealthy man from up north...I can't remember his name...a Spanish judge...he
commissioned Miguel to do his portrait. Miguel painted it in a day, in a furry, and left for Guápulo
without telling anyone. When the judge came the next day, demanding it, Miguel's wife didn't know
what to do. She found it outside where he had left it in the sun to dry...
FIRST CLERGYMAN
He left it outside?
GORÍBAR
Carelessly. He was already beginning to go mad then. The wind had been blowing and a small section of the
portrait was ruined by the dust. A shame. It was a beautiful piece.
SECOND CLERGYMAN
And your ear?
GORÍBAR
My ear? Yes. His wife sent a boy to find me. Poor woman. She didn't know what to do. She was frantic.
And the judge was still there waiting in person.
FIRST CLERGYMAN
So, what did you do?
GORÍBAR
Well, naturally, I told the judge that the portrait wasn't ready and that he should come back the next day.
FIRST CLERGYMAN
And he left?
GORÍBAR
Well, he said that he was leaving Quito the next day. I told him to come back before he left and that the
painting would be ready.
SECOND CLERGYMAN
Was he angry?
GORÍBAR
He was angry. But he left. And we had this painting that needed to be restored and we hadn't the slightest
idea as to when Santiago would return.
FIRST CLERGYMAN
So, what did you do?
GORÍBAR
I restored it myself.
FIRST CLERGYMAN
Did it work?
GORÍBAR
Of course it worked. The judge came back the next day and we presented him with the portrait. He was delighted.
He praised Santiago. He claimed that he had never seen such craftsmanship. Not in Spain or Italy, or anywhere.
SECOND CLERGYMAN
And?
GORÍBAR
And he thanked us over and over and he was ready to leave...when...Santiago returned. He stormed in and didn't
say a word, he didn't acknowledge the judge, or greet his own wife, or me, or anything. He just stood there, breathing
heavily, and stared. Then he noticed the portrait and he snarled at the judge's servants holding it. And from across
the room, he must have noticed it.
FIRST CLERGYMAN
Your corrections?
GORÍBAR
Yes. He bolted through us and got on his hands and knees to inspect the painting. And it was just a small area. It's
not uncommon for an apprentice to contribute as much...But Miguel...he would have none of it. He started to convulse
with rage and he said, bewildered, 'Another brush has passed over mine.'
SECOND BROTHER
Mercy!
GORÍBAR
Then he got up and walked across the room and picked up his knife, and turning, demanded to know what had happened.
FIRST BROTHER
Lord save us!
FIRST CLERGYMAN
What did you do?
GORÍBAR
We told him everything. And even the judge got up to defend us, trying to explain to Santiago that it was alright, that he
didn't mind.
SECOND CLERGYMAN
And?
GORÍBAR
It didn't make a difference to Miguel. He cried out 'It's not alright! It's not alright!' And then he turned to me with his
knife pointed to my skull and said, 'You did this?' 'Yes, master,' I said. And then again 'You did this?' he repeated more
emphatically. 'Yes,' I said once more. And then he grabbed me by the throat and cut off my ear.
Everyone in the room gasps with horror.
SECOND BROTHER
Mercy, Lord!
FIRST BROTHER
Lord, save us!
GORÍBAR
The judge was horrified and he chastised Miguel. But Miguel would have none of it. He threw his wife to the floor
and turned on the judge with his knife and began thrusting it at him. But the man's servants pulled him
back to his safety. And they stormed out without the portrait. And the judge went on to spread his outrage about
the incident throughout the land. Miguel just stood there and stared at the painting and cried out 'Profanity!' and
with that, he destroyed it once and for all. His wife died only several days after that incident.
FIRST BROTHER
Poor Woman!
SECOND BROTHER
Heaven have mercy on her!
RIBERA
I remember it well. The judge had acquired a warrant for his arrest. And he came to me, completely grief-stricken,
seeking asylum. He spent a year in the convent and painted the most spectacular things and without any
commission. And he wouldn't speak to anyone. He just prayed and painted until the two became one in the same.
Six years. And you haven't spoken to him since?
GORÍBAR
Not a word.
RIBERA
When I spoke with him this morning, he had a look in his eye. It terrified me.
GORÍBAR
I know it. When he paints, he does so neither by angels nor by muses. They flee from him- from what's inside of him.
No. I've seen his vehemence. The blackest birds fly their circles around it. It's as though Death itself convulses
from within the sepulcher of his body.
RIBERA
That's it. There was something of death in his eyes. And to see the mark it made in that boy's eyes.
FIRST CLERGYMAN
He has apprentices with him still?
RIBERA
Two have remained. Two boys. One models upon the cross and the other creeps in the corners doing various things.
They're naïve. They don't know any better. They just want the chance to work with a great artist.
GORÍBAR
They should fear for their lives, father.
RIBERA
I know.
FIRST BROTHER
God help them!
SECOND BROTHER
Lord, hear our prayers!
GORÍBAR
And the commission?
The conversation is abruptly interrupted when the door opens and Isabel enters.
ISABEL
My father? You're here to talk about my father, right? Let him hang!
RIBERA
Isabel, come in. We've heard of your loss. We are deeply grieved by it. Come in.
ISABEL
My father is the cause of all my loss!
SECOND CLERGYMAN
You won't speak to him for us?
ISABEL
No!
SECOND CLERGYMAN
But you're his only daughter! You're all he has for family! And you, Goríbar, you're
his cousin! He taught you everything you know about painting. And you, too, Isabel. He fed you and raised
you and taught you. You are both great artists because of him! You've won renown through your relation to
him. It is because of him that you live and work. And you won't even speak to him?!
FIRST CLERGYMAN
Sir, she's just been widowed.
SECOND CLERGYMAN
I am sorry for that. But I cannot stand here and watch a great man fall because no one cares about him!
GORÍBAR
Sir...
ISABEL
Sir, the great man you speak of- that great man, whom I loved dearly and by whom I was dearly loved, that man
is dead! Our Santiago...our Miguel...my father....is gone. His soul is in heaven! I'm sure of that! But his body...
that violent, angry, self-righteous man...that man is not my father! And he is not my master!
GORÍBAR
Nor mine.
FIRST BROTHER
Lord, God!
SECOND BROTHER
Mary, Mother!
SECOND CLERGYMAN
Surely you can't believe this!
RIBERA
I can attest to his madness, sir.
SECOND CLERGYMAN
Father Ribera? You who were a father to him when he was just a boy? When he was just a boy and came to you
with no home or parents or possessions?
SECOND BROTHER
Pity us!
FIRST BROTHER
Forgive us!
RIBERA
Sir, mind that you know what you're talking about before you speak! I saw him today. Santiago is gone!
ISABEL
Gone!
GORÍBAR
Gone!
FIRST CLERGYMAN
Gone!
BROTHERS
Gone!
SECOND CLERGYMAN
A man cannot grieve? Then, I am gone too! For I am deeply grieving.
He exits.
FIRST CLERGYMAN
So, what shall we do about him?
RIBERA
We must do something before he harms those boys!
ISABEL
Have him arrested!
GORÍBAR
And his commission?
RIBERA
It's yours.
End scene.
Scene Four.
The streets of Quito, outside the Cathedral. The wind is blowing violently. Enter the Chorus, singing:
'Ubi Charitas et amor, Deus ibi est
Congregavit nos in unum Christi amor.
Exultemus, et in ipso jucundemur.
Timeamus et amemus Deum vivum
Et ex corde diligamus nos sincero
Ubi charitas et amor, Deus ibi est
Simul ergo cum in unum congregamur:
Ne nos mente dividamur caveamus
Cessent jurgia maligna, cessent lites,
Et in medio nostri sit Christus Deus.
Ubi Charitas et amor, Deus ibi est
Simul quoque cum beatis videamus.
Glorianter vultum tuum, Christe Deus:
Gaudium quod est immensum,
Saecula per infinita saeculorum. Amen.'
One among them steps forward and speaks while the others continue singing.
CHORUS
The sun has reached its zenith in the sky. But now, with the sun directly
above us, we are surrounded by more darkness than ever. Lord, save us!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The clouds have disappeared. But now, with these winds blowing violently
about us, I am certain the storm is closer than before. Lord, protect us!
He steps back and continues to sing. Another steps forward and speaks. We can now hear
the voices of children playing in the background.
CHORUS
Mary, weep for Christ! Weep for Christ!
We've eaten the bread. We've drunk the wine.
Mary, weep for Christ!
He steps back and continues to sing. Another steps forward and speaks. We can now hear
the sound of drums and native music in the background.
CHORUS
'Why is light given to the one in misery, and light to the bitter in soul,
who long for death, but it does not come, and dig for it more than for
hidden treasures; who rejoice exceedingly and are glad when they find
the grave? Why is light given to one who cannot see the way, whom
God has fenced in? For my sighing comes like my bread, and my groanings
are poured out like water. Truly the thing that I fear comes upon me,
and what I dread befalls me. I am not at ease, nor am I quiet; I have
no rest, but trouble comes.'
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
Lord, save us! We are perishing! Calm these winds!
Silence. The winds cease. Enter Alonzo, still drinking from his gourd.
CHORUS
The winds have ceased. But we fear the storm still must come!
ALONZO
A storm?
CHORUS
A storm.
ALONZO
But the sky is clear and the sun is shining....What is that?
We hear the voices of Isabel and Goríbar.
ALONZO
My sister-in-law! Her cousin! Hide me. Hide me, please!
The Chorus opens for him. He stands behind them and among them. Enter Isabel and Goríbar.
GORÍBAR
They won't do anything in there!
ISABEL
He thinks he's God and they'll let him be God because they don't have the hearts to stand
up to him!
GORÍBAR
He's mad!
ISABEL
He's blasphemous!
GORÍBAR
He must be stopped before he hurts someone!
ISABEL
Have him arrested!
GORÍBAR
Father Ribera is with us.
ISABEL
He knows that he's mad!
CHORUS
Be more reverent! It's Holy Thursday!
ISABEL
I'm sorry, were we too loud?!
GORÍBAR
Too bitter?!
ISABEL
If only you knew what it is to lose...
CHORUS
We know. The Lord gave, and the Lord has taken away.
ISABEL
If only you knew agony...
GORÍBAR
Oblivion...
CHORUS
Have faith in God!
The Cathedral bells ring. Silence. Isabel notices Alonzo among the crowd.
ISABEL
You mean to deceive us!
CHORUS
What are you saying?
Isabel points him out to Goríbar.
GORÍBAR
A haven for the wicked!
ISABEL
What do you mean in hiding him?
GORÍBAR
Alonzo!
ISABEL
Brother, you drunk! Come forward!
The Chorus brings him forward.
ISABEL
Where is your son? Where is my nephew? Where is Augustín?!
ALONZO
I...I...I don't know.
ISABEL
Do you mean to murder him?! Shame on you!
Alonzo begins to cry. The Chorus embraces him.
CHORUS
Show him pity! Look at him!
ISABEL
Pity?!
GORÍBAR
Pity?
ISABEL
He's here drinking while his six-year-old son is at home, all alone, starving.
CHORUS
Is this true?
ISABEL
Don't you know it?
ALONZO
He's...he's fine.
GORÍBAR
Quiet!
ISABEL
You can't take care of your son! You're no father! You're hardly a man!
ALONZO
I can. I am his father.
CHORUS
Isabel, we know about your husband. We are truly sorry. You have every right
to be grieving. But please don't take your anger out on this poor man.
GORÍBAR
Him?
ISABEL
He's no man!
CHORUS
And you're no woman.
ISABEL
Not anymore. For I have no husband. What is a woman in this world without a husband?
A whore?! A hag?! A witch?!
CHORUS
A widow. And this man, your brother-in-law, is a widower.
ISABEL
A widower?! He widows my sister like she was a whore. He's a drunk. His son is dying this
very moment. I know it.
GORÍBAR
Go home, Alonzo.
ISABEL
No. Don't. Don't ever go home. When you do, you'll find that your son isn't there anymore.
ALONZO
What...what do you mean?
ISABEL
You're no father to him. We'll have him taken away.
ALONZO
No...
GORÍBAR
Consider it done. Tonight.
Alonzo weeps more.
ALONZO
You can't...
ISABEL
May God have mercy upon your soul!
ALONZO
I'll...I'll...go home to him.
GORÍBAR
You won't.
ISABEL
You won't do anything. You'll drink yourself to death. May God be there for you when you breathe your
last breath, though you were never there for your son!
Alonzo runs off stage, stumbling, his gourd still in hand.
CHORUS
Where is he going?
GORÍBAR
To get more wine.
ISABEL
Come now. By tomorrow morning, we shall have him arrested.
CHORUS
Who?
GORÍBAR
Santiago.
CHORUS
Your father? On what charges?
ISABEL
Hasta luego.
GORÍBAR
Hasta.
Exit Isabel and Goríbar, separately. The winds begin to blow again. It gets dark.
CHORUS
A storm is coming! We can see it now. Lord help us!
They exit, singing the same song as before:
'Ubi Charitas et amor, Deus ibi est
Congregavit nos in unum Christi amor.
Exultemus, et in ipso jucundemur.
Timeamus et amemus Deum vivum
Et ex corde diligamus nos sincero
Ubi charitas et amor, Deus ibi est
Simul ergo cum in unum congregamur:
Ne nos mente dividamur caveamus
Cessent jurgia maligna, cessent lites,
Et in medio nostri sit Christus Deus.
Ubi Charitas et amor, Deus ibi est
Simul quoque cum beatis videamus.
Glorianter vultum tuum, Christe Deus:
Gaudium quod est immensum,
Saecula per infinita saeculorum. Amen.'
End scene.
Scene Five.
Santiago's studio. As before. The apprentice has gone home. We can hear the wind outside.
SANTIAGO
Agony. I don't see it.
MODEL
I'm trying.
SANTIAGO
Trying? How?
MODEL
I prayed to God for it.
SANTIAGO
You prayed to God for agony?
MODEL
Yes.
Santiago smiles.
SANTIAGO
That's it! Did He say anything?
MODEL
Well...no.
SANTIAGO
Ah. Then your prayer hasn't been granted.
MODEL
I don't understand.
SANTIAGO
Don't you find it agonizing to know that there is a God?
MODEL
I don't know.
SANTIAGO
Of course not. Because you don't even know whether there is a God or not. You play
things both ways. If God is real...well, you didn't live your life completely for yourself.
I mean you didn't enjoy it. And if he's not...well, you didn't waste so much time living
it for Him. And you didn't enjoy it that way, either.
MODEL
I know God is real.
SANTIAGO
But are you real?
There is a silence.
SANTIAGO
Oblivion.
There is a knock on the door.
SANTIAGO
Come in!
Enter Father Ribera.
SANTIAGO
Father...
RIBERA
Miguel...
Ribera looks around. He addresses the model.
RIBERA
Are you alright, boy?
MODEL
I'm alright. A little tired.
RIBERA
Miguel...
SANTIAGO
Father, I will finish the painting.
RIBERA
That's good to hear.
SANTIAGO
Why did you come?
RIBERA
I...I...
Ribera and Santiago embrace.
RIBERA
I wanted to see how you were doing.
Miguel continues painting.
SANTIAGO
Father, do you ever wonder why we were born here?
RIBERA
What do you mean?
SANTIAGO
I mean, why were we born here and not in Spain? What is there here for us?
So far from all of the civilized world...does God even look upon this side of the Earth?
Ribera begins to cry a little.
RIBERA
I don't know.
SANTIAGO
I fear that when it's our time here, in this far corner of the world, so far removed
from Christendom, the earth will swallow us while heaven's not looking.
Santiago looks up.
SANTIAGO
Father, what did you come here for? Was it for the same thing that I came to you
twenty years ago?
RIBERA
No. I don't think so.
SANTIAGO
Oblivion. What do you want with this painting? Will it change anything?
RIBERA
I wanted it to be the centerpiece above the altar.
SANTIAGO
Up in the air, shrouded in darkness. Agony shrouded in oblivion.
Silence.
SANTIAGO
The world will forget us. And what consolation is that when heaven will forget us,
as well? There were witnesses to Christ's death. But look at this painting! Who
will witness the death of this Christ? Even as he is framed and ascends to his holy
resting place, who will care?
RIBERA
Miguel. Why do you paint?
SANTIAGO
Agony. Oblivion.
RIBERA
Why did Christ die on the Cross?
Silence. Santiago stops painting.
RIBERA
You haven't forgiven God, have you?
Santiago stares at the model.
SANTIAGO
Stop moving!
MODEL
I'm sorry...
SANTIAGO
Shut up! Stop....
Santiago throws his palette at the model. It hits him. He gasps.
SANTIAGO
Moving...
RIBERA
That's enough! I'm leaving!
SANTIAGO
Leave!
RIBERA
You're mad! You're mad!
SANTIAGO
Leave!
RIBERA
You don't need to worry about painting! I've handed the commission over to Goríbar!
SANTIAGO
Leave!
Santiago gets up and strikes out at Father Ribera. He exits, running. Santiago returns to his
easel and begins painting furiously once more.
MODEL
Master...
SANTIAGO
Shut up!
MODEL
You heard him. You heard him. It's not our commission anymore.
Santiago rises.
MODEL
He's given it to Goríbar! You heard him.
Santiago approaches him with a clenched fist.
MODEL
Why are you still painting it? It's not our commission anymore! It's not...
Santiago is about to strike him. But there is a knock at the door. He turns around and walks toward it.
He flings it open. The model gasps. The roaring wind is heard. Alonzo stands in the doorway.
SANTIAGO
You...
Alonzo stumbles in sobbing. He falls and grabs Santiago by the waste.
ALONZO
They're going to take him away...they're going to take him away.
SANTIAGO
Who is? Who? Stand up, man.
Santiago helps Alonzo to his feet.
ALONZO
They're going to take him away and they're going to take you away.
SANTIAGO
What are you talking about? Who?
ALONZO
Oh, Miguel...
SANTIAGO
Tell me! What are you saying?
ALONZO
Your daughter and Goríbar...they're going to take him away...
SANTIAGO
My daughter?
ALONZO
From me.
SANTIAGO
Who are they taking away?
ALONZO
Him!
SANTIAGO
Isabel? Goríbar?
ALONZO
They're going to take my son away from me!
SANTIAGO
Augustín? How do you know this?
ALONZO
They told me!
SANTIAGO
Why?
ALONZO
They said they were going to have you arrested.
SANTIAGO
Why aren't you home with him? Arrested? Me?
ALONZO
They say you've gone mad. And Antonio has died.
SANTIAGO
Isabel's husband?!
ALONZO
Yes.
SANTIAGO
She hasn't told me!
ALONZO
She refuses to speak to you. She says it was your fault.
SANTIAGO
My fault?
ALONZO
You sent him to Salinas.
SANTIAGO
Salinas. My fault?!
ALONZO
Yes.
SANTIAGO
She won't speak to me?!
ALONZO
Yes.
Alonzo continues sobbing. Santiago looks stunned.
SANTIAGO
I just spoke to Father Ribera. Why didn't he tell me any of this?
ALONZO
He is in on it with them! He thinks your mad!
SANTIAGO
He just told me I was mad...
ALONZO
Oh, Miguel. They're going to take him away from me! All is lost! I have nothing!
SANTIAGO
Nothing.
ALONZO
Miguel, what are we going to do?!
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
ALONZO
Miguel! They'll take you away to prison!
SANTIAGO
'Not what I want, but what you want.'
ALONZO
Listen, Miguel!
SANTIAGO
Alonzo...
ALONZO
Yes?
SANTIAGO
Go home to your boy!
Alonzo stops sobbing.
ALONZO
Why do you...
SANTIAGO
Go!
ALONZO
You...you...you...
SANTIAGO
Go!
Santiago shoves him.
ALONZO
You're in on it, too! You're in on it, too. You're in on it...
SANTIAGO
Go!
Santiago pushes him through the door.
ALONZO
You! A curse on you!
Santiago slams the door. We hear Alonzo from outside. He is pounding on the door.
ALONZO
A curse!
Santiago returns to his easel. He looks at the model furiously. The model trembles.
He stares at the canvas.
SANTIAGO
Lock that door, boy!
End scene.
Scene Six.
The streets of Quito. It is now after dusk. A storm is moving in. We hear thunder in the distance.
The native drums are also playing in the background. Enter Chorus, singing:
'Dominus Jesus postquam coenavit cum
discipulis suis lavit pedes eorum, et ait illis:
Scitis quid fecerim vobis, ego Dominus, et
magister? Exemplum dedi vobis, ut et vos ita
faciatis.'
One among them steps forward and speaks while the others continue singing.
CHORUS
It is the night of the Passover. The night our Savior and Lord was betrayed and
taken to prison. Lord, forgive us! We betrayed you.
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
It is the night of the Passover. The night Egypt was plagued. Lord, I dread to think
whose blood shall mark our doorposts that we might be saved!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The wrath of God is upon us! Now we shall be judged! Take cover! Take cover!
Behold the storm!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The storm is upon us! Lord bring us out of Egypt! Bring us out of slavery!
The Chorus stops singing. There is a silence. Enter Alonzo, drinking. He is now very drunk.
The Chorus speaks as one while exiting.
CHORUS
Friend, flee this place! Run to your home and family and lock your doors! A storm is coming!
Alonzo does not respond but stumbles drunkenly. Exit Chorus, fleeing. There is a burst of thunder.
Alonzo drinks of his gourd and spirals down to the ground until he lands flat on his face. The red
wine of his gourd spills and spreads across the stage. The storm begins. The rain pours.
End scene.
Scene Seven.
Santiago's studio. The storm is heard from outside. The Chorus sings in the background:
'Dominus Jesus postquam coenavit cum
discipulis suis lavit pedes eorum, et ait illis:
Scitis quid fecerim vobis, ego Dominus, et
magister? Exemplum dedi vobis, ut et vos ita
faciatis.'
Santiago rages like the storm.
SANTIAGO
Are you suffering? Are you suffering?!
The model shakes his head every which way.
MODEL
No, master.
SANTIAGO
Suffering?!
MODEL
No....
SANTIAGO
Are you suffering?!
Miguel rises in fury. He reaches for his spear and lunges at the model and screams out climactically:
SANTIAGO
Are you suffering?!!
End scene.
Scene Eight.
Aurora. The streets of Quito. The storm has passed. Amidst a thick fog, rests the dead body of Alonzo.
The boy, Augustín, clenches onto it. Enter Chorus, singing:
'Crucem tuam adoramus Domine; et sanctam
resurrectionem tuam laudamus et
glorificamus: ecce enim propter lignum venit
gaudium in universo mundo.'
The fog rises.
CHORUS
Sun, rise! Rise, sun! Rise! Put motion into all things!
Let the night linger no longer! Take back the rainwater
and make the blood-soaked earth dry again! Take everything
but leave us with the hard blood, the dirt, and the dry bones!
They notice Augustín and the body.
CHORUS
What has happened?!
Augustín does not answer. He moves out of the way as the Chorus surrounds the body.
CHORUS
Our friend is dead. Alonzo is dead!
Enter the man from the first scene.
CHORUS
'Let the day perish in which I was born, and the night that said,
'A man-child is conceived.' Let that day be darkness! May God
above not seek it, or light shine on it. Let gloom and deep darkness
claim it. Let clouds settle upon it; let the blackness of the day
terrify it. That night- let thick darkness seize it! Let it not rejoice
among the days of the year; let it not come into the number of the
months. Yes, let that night be barren; let no joyful cry be heard
in it...Let the stars of its dawn be dark; let it hope for light, but
have none; may it not see the eyelids of the morning- because
it did not shut the door of my mother's womb, and hide trouble
from my eyes.'
MAN
Friends. What has happened here?
CHORUS
Our friend...our friend Alonzo is dead.
The man weeps.
MAN
Oh, miserable day!
The man embraces the corpse.
MAN
How did this come to be?
CHORUS
He drowned himself in his wine. And Lord forgive us, now he shall be drowned in our tears.
MAN
Save some tears. There's more...
CHORUS
Please don't say so! Here's his son, Augustín. Child, come with us. Weep with us.
They embrace the boy.
CHORUS
These storms come and take some. But why do we go on living?
We've given nothing but our ears and our eyes. And now, why should
we live? With no tears left to cry.
MAN
This morning is rich in blood.
CHORUS
What have you come to tell us?
MAN
Of another thing horrific that has come to pass. Follow me that you may never have tears
to weep again.
CHORUS
We will follow. We will watch and be witnesses. But we must bear this body that is soaked like
bread in wine. We must bear this body while we weep.
They take up the body and begin to sing:
'Agios O Theos; Sanctus Deus.
Agios ischyrós, Sanctus fortis
Agios athánatos, eleison imas.
Sanctus immortalis, miserere nobis.
Quia eduxi te per desertum quadraginta annis,
et manna cibavi te, et introduxi in terram
satis optimam: parasti crucem Salvatori tuo.'
End scene.
Scene nine.
Santiago's studio. We hear the Chorus singing from offstage:
'Ecce lignum crucis,
in quo salus
mundi pependit.
¡Venite adoremus!'
Santiago is at his easel with his head in his hands. He does not move. He is catatonic. The model is
upon the floor, obviously dead, with a spear wound in his side. Ribera and the brothers of the convent
are present. They stand a distance completely silent, waiting. The Chorus enters and stands on the
other side of room. They stop singing and remain silent. Santiago's apprentice runs in through the door.
He stops and looks around at the perplexed faces staring at him.
RIBERA
Boy, why did you run from us when we came in?
APPRENTICE
I...I...I was scared.
RIBERA
Tell us what has happened. Your master won't speak and we don't know what to make of this.
APPRENTICE
I...I came...I came in this morning and he was sitting there like he is now and he was dead like he is now.
There's...there's...there was nothing else. There's nothing else to tell.
RIBERA
Why did you run when we came in?
APPRENTICE
I told you. I was scared. I don't know.
RIBERA
You didn't try to get him to talk?
APPRENTICE
No, father.
RIBERA
He didn't move?
APPRENTICE
No.
RIBERA
When you came in, everything was just as it is now?
APPRENTICE
Yes, father.
RIBERA
Have you seen the painting?
APPRENTICE
No, father. I was afraid to get any closer.
RIBERA
It's...it's...Lord, forgive me!
APPRENTICE
Father...
RIBERA
What is it?
APPRENTICE
There was one thing...
RIBERA
What? Tell us.
APPRENTICE
When I first came in...
RIBERA
What happened?
APPRENTICE
He turned his head...
RIBERA
Is that it?
APPRENTICE
He turned his head and I couldn't...I couldn't tell who he was looking at...but he
turned his head...he stared past me and said...he said, 'It is finished'.
RIBERA
And then what?
APPRENTICE
Nothing. He wouldn't speak. He just sat there.
RIBERA
It is finished...
APPRENTICE
What's going to happen?
RIBERA
It is finished...I don't know. I don't know.
Enter Isabel and Goríbar, Isabel first. She looks around terrified and in an instant, she assesses
what has taken place. She sees her father sitting with his head in his hands and is filled with
pity for him.
ISABEL
God forgive me!
She runs to him and embraces him, weeping.
ISABEL
Oh, father!
Goríbar is still confused and in denial, as is Ribera, as are the others.
APPRENTICE
What do we do?
Goríbar goes to inspect the body of the model.
GORÍBAR
He's dead...he's been speared.
RIBERA
God, have mercy...
Goríbar sees Santiago from a different angle and is also filled with pity. He goes to him. On his knees,
he embraces Santiago's legs.
APPRENTICE
Father, what do we do?
Ribera is silent. He begins to cry. Enter two soldiers.
FIRST SOLDIER
What has happened here? Why are you all standing about?
No one answers.
FIRST SOLDIER
What has happened here?!
The soldiers move toward Santiago to seize him. Ribera runs in front of him, stopping him.
RIBERA
No!
FIRST SOLDIER
What are you doing?!
RIBERA
This man will not be arrested!
The soldiers are stunned.
RIBERA
Don't arrest him, please! He'll spend the rest of his life in the convent. Just...please,
don't arrest him!
End scene. Fin.
Scene One.
Aurora. The clouds have descended upon the streets of Colonial Quito. Amidst the thick serpentine fog,
a man is sleeping. We hear the sound of late-night birds chirping; a sound which gradually fades away.
Meanwhile, in the distance, by candlelight and lanterns swaying, the Chorus is singing, humbly praying:
'Nos autem gloriari oportet in cruce Domini
Nostri Jesu Christi: in quo est salus, vita et
resurrectio nostra per quem salvati et liberati sumus...'
'Deus misereatur nostri, et benedicat nobis:
illuminet vultum suum super nos,
et misereatur nostri. Nos autem....'
Enter Chorus
CHORUS
Are you sleeping? Sleeping still?
MAN
Huh?
CHORUS
Are you still sleeping and taking your rest?
MAN
The sun sleeps.
CHORUS
The sun?
MAN
Look to the horizon!
CHORUS
The sun has already risen. The spirit indeed is willing but the flesh is weak.
MAN
What do you mean? The east- the east.
CHORUS
Yes. In the east. Behind the clouds brooding black. It's later than one might think.
MAN
The cock hasn't crowed and the bells haven't rung. Thus, I sleep.
CHORUS
Rise!
MAN
Quiet!
CHORUS
Rise!
MAN
No! Why can't I sleep?! Look at me! Why can't I sleep?! It's only been an hour or two since
I laid my head here to rest. Why do you want me awake?! I want to sleep and never wake-
never rise again. Look at us! We will be forgotten. God himself has already forgotten us!
We're here all alone and we die here all alone. And our souls stay here with our
ancestors all alone. God is in Spain! So, please tell me, why do you want me awake
in this miserable place?! Why can't I sleep?!
CHORUS
'Keep awake- for you do not know when the master of the house will come, in the evening,
or at midnight, or at cockcrow, or at dawn, or else he may find you asleep when he comes
suddenly. What I say to you, I say to all: keep awake!'
MAN
The root of the righteous will never be moved.
The man continues to sleep. The Chorus continues to sing. One among them speaks as
the others begin to leave.
CHORUS
Tonight is the night of the Passover. The night our Savior and Lord was betrayed and
taken to prison. Lord, forgive us! We betrayed you. Mary, weep for him! Weep for him,
Mary- the innocent man who was betrayed by those whom he loved the most. Weep for
him! Weep for us! For we can do nothing. But we will keep awake. We will watch and
be witnesses.
He exits. Another speaks.
CHORUS
What birds are those- that circle the heavens like something's dead on earth? Lord, protect
our friends and protect our enemies also. Something's amiss. The night was cooler last
night than usual. The city prepares to celebrate the Passover but how can we celebrate when
death creeps in every shaddow? Lord protect us! Let us fear no evil! But let us not starve in
our fasting!
He exits. Another speaks.
CHORUS
I am deeply grieved, even to death; remain here, and stay awake with me. See the hour is
at hand, and the Son of Man is betrayed into the hands of sinners. Get up, let us be going.
He exits. Another speaks.
CHORUS
Rise, sun! Rise! Sun that puts motion into all things: rise! Let us see what the day brings.
All exit. The sleeping man remains alone.
A spectrum of ghostly shapes crosses the stage from different directions: the Saints. They exit.
The commotion stirs the man sleeping. As he rises and begins to stretch, a model dressed as Christ,
and bearing the cross in his image, walks slowly and majestically across the stage before him. A soprano
among the chorus sings counterpoint. The man is profoundly moved- stunned, rather, with awe and disbelief.
By the time he is to his senses, the "apparition" is to the air, having vanished in the rising fog. The fog continues
to rise until it has completely dissipated. The sound of chirping birds is no more. Enter Chorus, still singing.
CHORUS
The birds are fleeing. A storm is coming.
MAN
I've had a vision.
CHORUS
The bells are ringing. The cock is crowing.
MAN
How long have I been sleeping?
CHORUS
The sun is rising. His blood is spilling.
MAN
I've witnessed a miracle!
CHORUS
The clouds are gathering. A storm is coming.
MAN
No storm is coming! It's morning and the sun is rising and the clouds are leaving.
CHORUS
What's wrong with him? The potions- the potions. The witch's potions.
MAN
I've seen the Christ!
CHORUS
The potions- the potions. The witch's potions.
MAN
What do you mean?
Enter a mob of angry models with the likeness of Christ. The set gets brighter.
CHORUS
You've been sleeping for three days.
The cock crows and church bells ring. The percusive sound of native instruments in the
distance can be heard now throughout. The Maundy Thursday festivities are commencing.
FIRST MODEL
He's no artist. He's a madman!
SECOND MODEL
He's possessed by the devil!
THIRD MODEL
He is the devil!
FOURTH MODEL
May he never paint again!
CHORUS
Gentlemen. Be more reverent. It's a Holy day. Who is it that you curse? We never
knew that the devil was a painter.
FOURTH MODEL
He is!
FIRST MODEL
A vile and arrogant one.
CHORUS
Tell us, then. What does the devil paint?
MAN
Listen...
SECOND MODEL
He paints us.
THIRD MODEL
With scars and bruises!
FOURTH MODEL
With gashes and blood!
THIRD MODEL
If I weren't a Christian, I'd murder him myself.
CHORUS
Murder the devil?
MAN
Brothers...
FIRST MODEL
No, we won't murder him.
FOURTH MODEL
We'll tell the priest.
SECOND MODEL
His patron.
CHORUS
The priest is the devil's patron?
MAN
I've seen the Christ!
The drums in the distance cease.
MODELS
Who the hell are you?
MAN
The Christ...bearing the cross...He passed there where you're standing. He passed
right before...right before my eyes. He was...
Enter Alonzo, drunk.
THIRD MODEL
Look at this one!
FOURTH MODEL
What kind of man gets drunk this early in the morning?
SECOND MODEL
And on a holy day.
FIRST MODEL
It's his son-in-law!
MAN
Alonzo! Friend!
CHORUS
The son-in-law of Miguel de Santiago.
FIRST MODEL
Right.
ALONZO
Buenos Dias! What's all this noise? What about Santiago?
FIRST MODEL
You're his son-in-law, aren't you?
ALONZO
I'm married to his daughter.
MAN
Alonzo...
FIRST MODEL
You were married to his daughter.
ALONZO
What's that?
FIRST MODEL
Well, she's dead, isn't she?
CHORUS
What's this all about, man?
ALONZO
I don't know.
MAN
Amigo.
FOURTH MODEL
Why are you drinking?
FIRST MODEL
Where's your son?
MAN
Alonzo. I saw the Christ.
ALONZO
The Christ?
FIRST MODEL
Which way was he heading?
MAN
I was sleeping right here. And...uh...that way!
The first model laughs.
FIRST MODEL
That man has it in for him far worse than Jesus.
MAN
What do you mean?
FIRST MODEL
He was headed for Santiago's studio. Santiago's painting the Christ. You're
Christ was a model!
The models and the Chorus burst out into laughter. The man and Alonzo are both
embarrassed.
FOURTH MODEL
Let's go!
SECOND MODEL
Fools!
Exit models. The set darkens as clouds pass over the sun once more. All stare down at
the ground for a moment. Alonzo raises his head skyward. The others follow.
ALONZO
So cold?
CHORUS
What is it stirring, Lord, that makes us so ashamed to laugh?
MAN
I was sleeping for three days?
CHORUS
What are those black birds that circle the sky so blindly? What is it they smell?
MAN
It's where the model was headed.
CHORUS
Something's gone terribly wrong in Santiago's studio. Something's dead.
MAN
Or dying.
Enter Isabel de Santiago, wearing a black veil and weeping.
CHORUS
Woman, why are you weeping? Go to your father! There's something wrong
with your husband's master, that great painter of San Augustín. Some men
are going to the Church to make a suit against him. Go to your father!
ISABEL
I am not a wife anymore.
CHORUS
What's wrong? What has happened?
Isabel sees Alonzo, her brother-in-law, drinking. She is angered.
ISABEL
Why are you drinking?! Where's your son?!
She knocks the gourd out of his hand. Red wine spills on the stage floor. Alonzo is jolted.
ALONZO
I'm...I'm...
ISABEL
You're a widower and I'm a widow! Where's your son? Where's Augustín? Does he eat?
Alonzo picks up his gourd and exits.
CHORUS
Your husband is dead?
Isabel is weeping even more.
ISABEL
Dead.
CHORUS
Oh, poor woman, go to your father! He needs you. His apprentices are rising against him
They say that he's gone mad.
ISABEL
He has!
CHORUS
Woman, please go to your father!
ISABEL
Never. He's the reason my husband's dead.
CHORUS
What?
ISABEL
He sent him to Salinas...
CHORUS
By the sea?
ISABEL
Yes. For a commission. And now he's dead.
CHORUS
Does your father know?
ISABEL
No. And I should hope that he never knows. Though, I doubt he would care.
CHORUS
Honor your father and mother.
ISABEL
My mother's dead and my father has no honor! By honoring him, I only honor his
vanity.
CHORUS
You don't know what you're saying! You're grieving. You're filled with anger.
Don't blame your father, that unfortunate man! It wasn't his fault. Go to him!
He's grieving, too. His wife is dead and all of his children are dead except for you.
And now, his only child has been widowed. Go to him! Forgive him and thank
God for what you do have.
ISABEL
I will not.
Isabel exits, hurrying off to Mass.
MAN
How long have I been sleeping?
CHORUS
Lord, why do you continue to place misfortune on those who are most unfortunate?
Why must you continue to humble those who are already humbled? Why are the heavens
always so gloomy on such gloomy days?
MAN
Three days?
CHORUS
Something disastrous is on the horizon. When that great pious painter, that servant who fills
our churches with sacred images, learns that his daughter won't speak to him, I fear he will
feel the full weight of his loss. What will he do? Even great men fall. Mary, mother of God! Weep
for him! Weep for us! For we can do nothing. But we will keep awake. We will watch and
be witnesses.
MAN
Tell me, why have I been sleeping for three days?
CHORUS
You really don't remember?
MAN
No. Tell me.
CHORUS
You don't want to remember- you didn't want to remember. You will curse us when we tell you.
MAN
Tell me!
CHORUS
Three days ago, your house burned down. Your wife and children are dead. You came to us cursing
us and cursing God and we chastised you for your lack of faith though we held our arms out to you. But
you scorned us. You said that you wanted to die and sleep forever and you went to the witch Curi Illpay
to that purpose. Her charms have caused you to sleep now for three days. But wake up! Brother, you
have nothing.
The man remembers and weeps.
CHORUS
Friend, come with us. Come with us, friends. Weep with us. It's time for Mass. The body and blood
of Christ will heal your pangs. We will give you company. We will comfort you. Come weep with us.
All exit, awake and no longer sleeping, singing but also weeping:
'Christus factus est pro nobis obediens usque
ad mortem mortem autem crucis.
Propter quod et Deus exaltavit illum:
et dedit illi nomen quod est super omne nomen....'
End Scene.
Scene Two.
Miguel de Santiago's Studio. A model poses as Christ upon the cross. Santiago paints. An apprentice is
working in the corner.
SANTIAGO
Don't smile.
MODEL
Sorry, master.
SANTIAGO
Are you sure?
There is a silence. Church bells ring from outside.
SANTIAGO
Be still.
MODEL
Sorry, I....
SANTIAGO
Shhhh.
We see Santiago painting furiously. The apprentice knocks something over. Santiago stops.
SANTIAGO
Boy!
APPRENTICE
Yes, master.
SANTIAGO
Bring me the spear.
APPRENTICE
Yes, master.
The apprentice grabs the spear from the corner of the room where various props are kept.
The model trembles. He looks cold. We can see his ribs and his thin arms stretched out.
He is nervous and uncomfortable with his body. He is also weary from posing in the same
position for such a long time. The apprentice brings the spear to Santiago. Santiago takes
it from him. The apprentice goes back to work.
SANTIAGO
Thank you.
He displays the spear to the model and then sets it on the ground next to his own feet.
SANTIAGO
Are you afraid of dying?
The model makes no response.
SANTIAGO
Hmmm?
MODEL
I...I don't know, master.
Santiago resumes painting.
SANTIAGO
Do you think Christ was afraid?
MODEL
Excuse me, sir?
SANTIAGO
Do you think Christ was afraid of dying?
MODEL
I...I...
SANTIAGO
Shhhh. When Jesus threw himself on the ground in Gethsemane and said, 'Abba, Father,
for you all things are possible; remove this cup from me; yet, not what I want, but what you
want,' do you believe he was afraid of dying?
MODEL
No.
SANTIAGO
Why?
MODEL
Jesus wasn't afraid of anything. He looked Satan straight in the eyes and...
SANTIAGO
And what? What is Satan to God? What is Satan to the Father? What does it matter when
Satan turns his back on you? What does it matter when Satan is angry? But God...that's
something different. Have you ever heard the voice of God when He's angry?
MODEL
I've never heard the voice of God.
SANTIAGO
Perhaps that's why you fear death. Perhaps that's why you're trembling.
MODEL
I'm sorry, master.
SANTIAGO
No, no. Sorry isn't it, either. Jesus wasn't sorry. Why would Jesus be sorry? What would
Jesus be sorry for? No, no. Not sorrow. It was something more. Something more than sorrow,
than pain, something more than fear of dying. It was agony. Agony! The agony of oblivion!
MODEL
Yes, master.
SANTIAGO
You give me grief? Fear? Sorrow?! You don't know loss.
MODEL
Yes, master.
SANTIAGO
You want to be a painter?!
MODEL
Yes...
SANTIAGO
A painter?!
MODEL
Master.
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
MODEL
Sir.
SANTIAGO
You want to paint?!
Santiago stops painting. He begins to walk toward the model on the cross.
SANTIAGO
And you've never heard the voice of God?! You've never heard His voice of wrath?! You've never
felt His voice tremble beneath your skin? You've never felt it quake in the marrow of your bones?
You've never wanted to tear your eyes out from their sockets because they were useless to you?
To rip open your chest and cast your heart into the dust because it was useless to you?! To pound
your head into the knot of a tree for all eternity because it was useless to you?!
There is a knocking on the door. Santiago turns and speaks softly while he walks toward the door. The
apprentice stands by it, waiting. The model is now trembling more than before. Cold sweat drips down his
face.
SANTIAGO
You know what it's like to be filthy in your own sins before God. Hmmm? Now imagine being filthy
in the the sins of others before Him. And that was before some priest could forgive you for it all.
Santiago opens the door. Enter Padre Basilio de Ribera.
RIBERA
Miguel...
SANTIAGO
Father Ribera.
RIBERA
Are you busy?
SANTIAGO
We can speak.
Santiago moves toward his easel. Ribera follows, looking at the model upon the cross. The apprentice closes
the door and goes back to work. Miguel continues painting. Ribera notices the half-finished piece. An expression
of horror comes over his face.
RIBERA
Is this the commission?
SANTIAGO
Yes.
RIBERA
It's not finished?
SANTIAGO
No.
RIBERA
Miguel...
There is a silence. The model breathes heavily. The apprentice wipes the sweat from his brow. Santiago slowly
looks up into the eyes of Ribera.
RIBERA
Why do you look at me like that?
Santiago resumes painting.
RIBERA
You came to me twenty years ago with a light in your eyes.
SANTIAGO
With a light?
RIBERA
With a light. You came to me with a light in your eyes. And you had nothing.
SANTIAGO
Nothing?
RIBERA
Nothing.
The model tries to scratch his face. Miguel screams.
SANTIAGO
Don't move!
RIBERA
Miguel...
The apprentice drops something. Miguel quickly turns his head and screams again.
SANTIAGO
You!
The boy pauses, stunned. Miguel continues painting.
RIBERA
Miguel...
SANTIAGO
Father, forgive them.
RIBERA
What are you saying? Look at me!
SANTIAGO
Nothing.
RIBERA
Nothing?
SANTIAGO
Nothing.
RIBERA
Miguel, I don't know what to say. This isn't like you. This painting should be
finished by now. Look at me! Miguel. This painting should be finished. Tomorrow...
tomorrow is Good Friday.
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
RIBERA
Do you understand what this means?! Do you?!
SANTIAGO
Not what I want, but what you want.'
RIBERA
Miguel, they say you've gone mad! Listen! Look at me.
Ribera grasps Miguel by the arm. He stops painting.
RIBERA
Look at me!
Miguel looks up.
RIBERA
What are you doing?! Is this about your wife? It's been six years now. Is it your children?
They're with God. You know that. Tell me! Why now? What's wrong?
Miguel looks back down at his painting.
SANTIAGO
Agony.
RIBERA
Agony? Miguel, they'll never commission you again. No one will commission you. The greatest
painter in all of the Americas.
SANTIAGO
Oblivion.
RIBERA
Is this something you're trying to prove? You don't need to prove anything. We tell you to paint
the Christ- you paint it. It hangs in the Cathedral. Men and women come from all over to take
the Eucharist...to experience the body and blood of Christ...to be forgiven...to experience a miracle.
The model sighs.
SANTIAGO
A miracle.
RIBERA
You have nothing to prove.
SANTIAGO
Nothing.
RIBERA
Miguel. You've been like a son to me. Tell me what's wrong? Look at me!
SANTIAGO
Agony.
RIBERA
Paint, Miguel! Paint! They'll give it to Goríbar! He does what they tell him.
SANTIAGO
Oblivion.
Ribera starts for the door.
RIBERA
I don't understand.
SANTIAGO
A miracle.
RIBERA
May God have mercy on you, Miguel.
Ribera exits.
SANTIAGO
Nothing.
End Scene.
Scene Three.
A room within the Cathedral. Father Ribera, a few brothers of the Augustínian Order, and
members of the clergy sit around a large table. Nicolás Goríbar stands as though he has only
recently entered.
GORÍBAR
It was six years ago. His wife was still alive then but his daughter Juana had only
recently died of consumption. She had given him a grandson.
RIBERA
Augustín.
GORÍBAR
Right. He'd always wanted a son named Augustín. It became an obsession. A sickness. His
wife bore him three sons and he baptized each of them after the other with the name Augustín.
And one after the other, they died in infancy.
FIRST BROTHER
Poor man!
GORÍBAR
He was a busy man then. We had just finished a commission in the Convent of San Francisco.
And this man, a wealthy man from up north...I can't remember his name...a Spanish judge...he
commissioned Miguel to do his portrait. Miguel painted it in a day, in a furry, and left for Guápulo
without telling anyone. When the judge came the next day, demanding it, Miguel's wife didn't know
what to do. She found it outside where he had left it in the sun to dry...
FIRST CLERGYMAN
He left it outside?
GORÍBAR
Carelessly. He was already beginning to go mad then. The wind had been blowing and a small section of the
portrait was ruined by the dust. A shame. It was a beautiful piece.
SECOND CLERGYMAN
And your ear?
GORÍBAR
My ear? Yes. His wife sent a boy to find me. Poor woman. She didn't know what to do. She was frantic.
And the judge was still there waiting in person.
FIRST CLERGYMAN
So, what did you do?
GORÍBAR
Well, naturally, I told the judge that the portrait wasn't ready and that he should come back the next day.
FIRST CLERGYMAN
And he left?
GORÍBAR
Well, he said that he was leaving Quito the next day. I told him to come back before he left and that the
painting would be ready.
SECOND CLERGYMAN
Was he angry?
GORÍBAR
He was angry. But he left. And we had this painting that needed to be restored and we hadn't the slightest
idea as to when Santiago would return.
FIRST CLERGYMAN
So, what did you do?
GORÍBAR
I restored it myself.
FIRST CLERGYMAN
Did it work?
GORÍBAR
Of course it worked. The judge came back the next day and we presented him with the portrait. He was delighted.
He praised Santiago. He claimed that he had never seen such craftsmanship. Not in Spain or Italy, or anywhere.
SECOND CLERGYMAN
And?
GORÍBAR
And he thanked us over and over and he was ready to leave...when...Santiago returned. He stormed in and didn't
say a word, he didn't acknowledge the judge, or greet his own wife, or me, or anything. He just stood there, breathing
heavily, and stared. Then he noticed the portrait and he snarled at the judge's servants holding it. And from across
the room, he must have noticed it.
FIRST CLERGYMAN
Your corrections?
GORÍBAR
Yes. He bolted through us and got on his hands and knees to inspect the painting. And it was just a small area. It's
not uncommon for an apprentice to contribute as much...But Miguel...he would have none of it. He started to convulse
with rage and he said, bewildered, 'Another brush has passed over mine.'
SECOND BROTHER
Mercy!
GORÍBAR
Then he got up and walked across the room and picked up his knife, and turning, demanded to know what had happened.
FIRST BROTHER
Lord save us!
FIRST CLERGYMAN
What did you do?
GORÍBAR
We told him everything. And even the judge got up to defend us, trying to explain to Santiago that it was alright, that he
didn't mind.
SECOND CLERGYMAN
And?
GORÍBAR
It didn't make a difference to Miguel. He cried out 'It's not alright! It's not alright!' And then he turned to me with his
knife pointed to my skull and said, 'You did this?' 'Yes, master,' I said. And then again 'You did this?' he repeated more
emphatically. 'Yes,' I said once more. And then he grabbed me by the throat and cut off my ear.
Everyone in the room gasps with horror.
SECOND BROTHER
Mercy, Lord!
FIRST BROTHER
Lord, save us!
GORÍBAR
The judge was horrified and he chastised Miguel. But Miguel would have none of it. He threw his wife to the floor
and turned on the judge with his knife and began thrusting it at him. But the man's servants pulled him
back to his safety. And they stormed out without the portrait. And the judge went on to spread his outrage about
the incident throughout the land. Miguel just stood there and stared at the painting and cried out 'Profanity!' and
with that, he destroyed it once and for all. His wife died only several days after that incident.
FIRST BROTHER
Poor Woman!
SECOND BROTHER
Heaven have mercy on her!
RIBERA
I remember it well. The judge had acquired a warrant for his arrest. And he came to me, completely grief-stricken,
seeking asylum. He spent a year in the convent and painted the most spectacular things and without any
commission. And he wouldn't speak to anyone. He just prayed and painted until the two became one in the same.
Six years. And you haven't spoken to him since?
GORÍBAR
Not a word.
RIBERA
When I spoke with him this morning, he had a look in his eye. It terrified me.
GORÍBAR
I know it. When he paints, he does so neither by angels nor by muses. They flee from him- from what's inside of him.
No. I've seen his vehemence. The blackest birds fly their circles around it. It's as though Death itself convulses
from within the sepulcher of his body.
RIBERA
That's it. There was something of death in his eyes. And to see the mark it made in that boy's eyes.
FIRST CLERGYMAN
He has apprentices with him still?
RIBERA
Two have remained. Two boys. One models upon the cross and the other creeps in the corners doing various things.
They're naïve. They don't know any better. They just want the chance to work with a great artist.
GORÍBAR
They should fear for their lives, father.
RIBERA
I know.
FIRST BROTHER
God help them!
SECOND BROTHER
Lord, hear our prayers!
GORÍBAR
And the commission?
The conversation is abruptly interrupted when the door opens and Isabel enters.
ISABEL
My father? You're here to talk about my father, right? Let him hang!
RIBERA
Isabel, come in. We've heard of your loss. We are deeply grieved by it. Come in.
ISABEL
My father is the cause of all my loss!
SECOND CLERGYMAN
You won't speak to him for us?
ISABEL
No!
SECOND CLERGYMAN
But you're his only daughter! You're all he has for family! And you, Goríbar, you're
his cousin! He taught you everything you know about painting. And you, too, Isabel. He fed you and raised
you and taught you. You are both great artists because of him! You've won renown through your relation to
him. It is because of him that you live and work. And you won't even speak to him?!
FIRST CLERGYMAN
Sir, she's just been widowed.
SECOND CLERGYMAN
I am sorry for that. But I cannot stand here and watch a great man fall because no one cares about him!
GORÍBAR
Sir...
ISABEL
Sir, the great man you speak of- that great man, whom I loved dearly and by whom I was dearly loved, that man
is dead! Our Santiago...our Miguel...my father....is gone. His soul is in heaven! I'm sure of that! But his body...
that violent, angry, self-righteous man...that man is not my father! And he is not my master!
GORÍBAR
Nor mine.
FIRST BROTHER
Lord, God!
SECOND BROTHER
Mary, Mother!
SECOND CLERGYMAN
Surely you can't believe this!
RIBERA
I can attest to his madness, sir.
SECOND CLERGYMAN
Father Ribera? You who were a father to him when he was just a boy? When he was just a boy and came to you
with no home or parents or possessions?
SECOND BROTHER
Pity us!
FIRST BROTHER
Forgive us!
RIBERA
Sir, mind that you know what you're talking about before you speak! I saw him today. Santiago is gone!
ISABEL
Gone!
GORÍBAR
Gone!
FIRST CLERGYMAN
Gone!
BROTHERS
Gone!
SECOND CLERGYMAN
A man cannot grieve? Then, I am gone too! For I am deeply grieving.
He exits.
FIRST CLERGYMAN
So, what shall we do about him?
RIBERA
We must do something before he harms those boys!
ISABEL
Have him arrested!
GORÍBAR
And his commission?
RIBERA
It's yours.
End scene.
Scene Four.
The streets of Quito, outside the Cathedral. The wind is blowing violently. Enter the Chorus, singing:
'Ubi Charitas et amor, Deus ibi est
Congregavit nos in unum Christi amor.
Exultemus, et in ipso jucundemur.
Timeamus et amemus Deum vivum
Et ex corde diligamus nos sincero
Ubi charitas et amor, Deus ibi est
Simul ergo cum in unum congregamur:
Ne nos mente dividamur caveamus
Cessent jurgia maligna, cessent lites,
Et in medio nostri sit Christus Deus.
Ubi Charitas et amor, Deus ibi est
Simul quoque cum beatis videamus.
Glorianter vultum tuum, Christe Deus:
Gaudium quod est immensum,
Saecula per infinita saeculorum. Amen.'
One among them steps forward and speaks while the others continue singing.
CHORUS
The sun has reached its zenith in the sky. But now, with the sun directly
above us, we are surrounded by more darkness than ever. Lord, save us!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The clouds have disappeared. But now, with these winds blowing violently
about us, I am certain the storm is closer than before. Lord, protect us!
He steps back and continues to sing. Another steps forward and speaks. We can now hear
the voices of children playing in the background.
CHORUS
Mary, weep for Christ! Weep for Christ!
We've eaten the bread. We've drunk the wine.
Mary, weep for Christ!
He steps back and continues to sing. Another steps forward and speaks. We can now hear
the sound of drums and native music in the background.
CHORUS
'Why is light given to the one in misery, and light to the bitter in soul,
who long for death, but it does not come, and dig for it more than for
hidden treasures; who rejoice exceedingly and are glad when they find
the grave? Why is light given to one who cannot see the way, whom
God has fenced in? For my sighing comes like my bread, and my groanings
are poured out like water. Truly the thing that I fear comes upon me,
and what I dread befalls me. I am not at ease, nor am I quiet; I have
no rest, but trouble comes.'
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
Lord, save us! We are perishing! Calm these winds!
Silence. The winds cease. Enter Alonzo, still drinking from his gourd.
CHORUS
The winds have ceased. But we fear the storm still must come!
ALONZO
A storm?
CHORUS
A storm.
ALONZO
But the sky is clear and the sun is shining....What is that?
We hear the voices of Isabel and Goríbar.
ALONZO
My sister-in-law! Her cousin! Hide me. Hide me, please!
The Chorus opens for him. He stands behind them and among them. Enter Isabel and Goríbar.
GORÍBAR
They won't do anything in there!
ISABEL
He thinks he's God and they'll let him be God because they don't have the hearts to stand
up to him!
GORÍBAR
He's mad!
ISABEL
He's blasphemous!
GORÍBAR
He must be stopped before he hurts someone!
ISABEL
Have him arrested!
GORÍBAR
Father Ribera is with us.
ISABEL
He knows that he's mad!
CHORUS
Be more reverent! It's Holy Thursday!
ISABEL
I'm sorry, were we too loud?!
GORÍBAR
Too bitter?!
ISABEL
If only you knew what it is to lose...
CHORUS
We know. The Lord gave, and the Lord has taken away.
ISABEL
If only you knew agony...
GORÍBAR
Oblivion...
CHORUS
Have faith in God!
The Cathedral bells ring. Silence. Isabel notices Alonzo among the crowd.
ISABEL
You mean to deceive us!
CHORUS
What are you saying?
Isabel points him out to Goríbar.
GORÍBAR
A haven for the wicked!
ISABEL
What do you mean in hiding him?
GORÍBAR
Alonzo!
ISABEL
Brother, you drunk! Come forward!
The Chorus brings him forward.
ISABEL
Where is your son? Where is my nephew? Where is Augustín?!
ALONZO
I...I...I don't know.
ISABEL
Do you mean to murder him?! Shame on you!
Alonzo begins to cry. The Chorus embraces him.
CHORUS
Show him pity! Look at him!
ISABEL
Pity?!
GORÍBAR
Pity?
ISABEL
He's here drinking while his six-year-old son is at home, all alone, starving.
CHORUS
Is this true?
ISABEL
Don't you know it?
ALONZO
He's...he's fine.
GORÍBAR
Quiet!
ISABEL
You can't take care of your son! You're no father! You're hardly a man!
ALONZO
I can. I am his father.
CHORUS
Isabel, we know about your husband. We are truly sorry. You have every right
to be grieving. But please don't take your anger out on this poor man.
GORÍBAR
Him?
ISABEL
He's no man!
CHORUS
And you're no woman.
ISABEL
Not anymore. For I have no husband. What is a woman in this world without a husband?
A whore?! A hag?! A witch?!
CHORUS
A widow. And this man, your brother-in-law, is a widower.
ISABEL
A widower?! He widows my sister like she was a whore. He's a drunk. His son is dying this
very moment. I know it.
GORÍBAR
Go home, Alonzo.
ISABEL
No. Don't. Don't ever go home. When you do, you'll find that your son isn't there anymore.
ALONZO
What...what do you mean?
ISABEL
You're no father to him. We'll have him taken away.
ALONZO
No...
GORÍBAR
Consider it done. Tonight.
Alonzo weeps more.
ALONZO
You can't...
ISABEL
May God have mercy upon your soul!
ALONZO
I'll...I'll...go home to him.
GORÍBAR
You won't.
ISABEL
You won't do anything. You'll drink yourself to death. May God be there for you when you breathe your
last breath, though you were never there for your son!
Alonzo runs off stage, stumbling, his gourd still in hand.
CHORUS
Where is he going?
GORÍBAR
To get more wine.
ISABEL
Come now. By tomorrow morning, we shall have him arrested.
CHORUS
Who?
GORÍBAR
Santiago.
CHORUS
Your father? On what charges?
ISABEL
Hasta luego.
GORÍBAR
Hasta.
Exit Isabel and Goríbar, separately. The winds begin to blow again. It gets dark.
CHORUS
A storm is coming! We can see it now. Lord help us!
They exit, singing the same song as before:
'Ubi Charitas et amor, Deus ibi est
Congregavit nos in unum Christi amor.
Exultemus, et in ipso jucundemur.
Timeamus et amemus Deum vivum
Et ex corde diligamus nos sincero
Ubi charitas et amor, Deus ibi est
Simul ergo cum in unum congregamur:
Ne nos mente dividamur caveamus
Cessent jurgia maligna, cessent lites,
Et in medio nostri sit Christus Deus.
Ubi Charitas et amor, Deus ibi est
Simul quoque cum beatis videamus.
Glorianter vultum tuum, Christe Deus:
Gaudium quod est immensum,
Saecula per infinita saeculorum. Amen.'
End scene.
Scene Five.
Santiago's studio. As before. The apprentice has gone home. We can hear the wind outside.
SANTIAGO
Agony. I don't see it.
MODEL
I'm trying.
SANTIAGO
Trying? How?
MODEL
I prayed to God for it.
SANTIAGO
You prayed to God for agony?
MODEL
Yes.
Santiago smiles.
SANTIAGO
That's it! Did He say anything?
MODEL
Well...no.
SANTIAGO
Ah. Then your prayer hasn't been granted.
MODEL
I don't understand.
SANTIAGO
Don't you find it agonizing to know that there is a God?
MODEL
I don't know.
SANTIAGO
Of course not. Because you don't even know whether there is a God or not. You play
things both ways. If God is real...well, you didn't live your life completely for yourself.
I mean you didn't enjoy it. And if he's not...well, you didn't waste so much time living
it for Him. And you didn't enjoy it that way, either.
MODEL
I know God is real.
SANTIAGO
But are you real?
There is a silence.
SANTIAGO
Oblivion.
There is a knock on the door.
SANTIAGO
Come in!
Enter Father Ribera.
SANTIAGO
Father...
RIBERA
Miguel...
Ribera looks around. He addresses the model.
RIBERA
Are you alright, boy?
MODEL
I'm alright. A little tired.
RIBERA
Miguel...
SANTIAGO
Father, I will finish the painting.
RIBERA
That's good to hear.
SANTIAGO
Why did you come?
RIBERA
I...I...
Ribera and Santiago embrace.
RIBERA
I wanted to see how you were doing.
Miguel continues painting.
SANTIAGO
Father, do you ever wonder why we were born here?
RIBERA
What do you mean?
SANTIAGO
I mean, why were we born here and not in Spain? What is there here for us?
So far from all of the civilized world...does God even look upon this side of the Earth?
Ribera begins to cry a little.
RIBERA
I don't know.
SANTIAGO
I fear that when it's our time here, in this far corner of the world, so far removed
from Christendom, the earth will swallow us while heaven's not looking.
Santiago looks up.
SANTIAGO
Father, what did you come here for? Was it for the same thing that I came to you
twenty years ago?
RIBERA
No. I don't think so.
SANTIAGO
Oblivion. What do you want with this painting? Will it change anything?
RIBERA
I wanted it to be the centerpiece above the altar.
SANTIAGO
Up in the air, shrouded in darkness. Agony shrouded in oblivion.
Silence.
SANTIAGO
The world will forget us. And what consolation is that when heaven will forget us,
as well? There were witnesses to Christ's death. But look at this painting! Who
will witness the death of this Christ? Even as he is framed and ascends to his holy
resting place, who will care?
RIBERA
Miguel. Why do you paint?
SANTIAGO
Agony. Oblivion.
RIBERA
Why did Christ die on the Cross?
Silence. Santiago stops painting.
RIBERA
You haven't forgiven God, have you?
Santiago stares at the model.
SANTIAGO
Stop moving!
MODEL
I'm sorry...
SANTIAGO
Shut up! Stop....
Santiago throws his palette at the model. It hits him. He gasps.
SANTIAGO
Moving...
RIBERA
That's enough! I'm leaving!
SANTIAGO
Leave!
RIBERA
You're mad! You're mad!
SANTIAGO
Leave!
RIBERA
You don't need to worry about painting! I've handed the commission over to Goríbar!
SANTIAGO
Leave!
Santiago gets up and strikes out at Father Ribera. He exits, running. Santiago returns to his
easel and begins painting furiously once more.
MODEL
Master...
SANTIAGO
Shut up!
MODEL
You heard him. You heard him. It's not our commission anymore.
Santiago rises.
MODEL
He's given it to Goríbar! You heard him.
Santiago approaches him with a clenched fist.
MODEL
Why are you still painting it? It's not our commission anymore! It's not...
Santiago is about to strike him. But there is a knock at the door. He turns around and walks toward it.
He flings it open. The model gasps. The roaring wind is heard. Alonzo stands in the doorway.
SANTIAGO
You...
Alonzo stumbles in sobbing. He falls and grabs Santiago by the waste.
ALONZO
They're going to take him away...they're going to take him away.
SANTIAGO
Who is? Who? Stand up, man.
Santiago helps Alonzo to his feet.
ALONZO
They're going to take him away and they're going to take you away.
SANTIAGO
What are you talking about? Who?
ALONZO
Oh, Miguel...
SANTIAGO
Tell me! What are you saying?
ALONZO
Your daughter and Goríbar...they're going to take him away...
SANTIAGO
My daughter?
ALONZO
From me.
SANTIAGO
Who are they taking away?
ALONZO
Him!
SANTIAGO
Isabel? Goríbar?
ALONZO
They're going to take my son away from me!
SANTIAGO
Augustín? How do you know this?
ALONZO
They told me!
SANTIAGO
Why?
ALONZO
They said they were going to have you arrested.
SANTIAGO
Why aren't you home with him? Arrested? Me?
ALONZO
They say you've gone mad. And Antonio has died.
SANTIAGO
Isabel's husband?!
ALONZO
Yes.
SANTIAGO
She hasn't told me!
ALONZO
She refuses to speak to you. She says it was your fault.
SANTIAGO
My fault?
ALONZO
You sent him to Salinas.
SANTIAGO
Salinas. My fault?!
ALONZO
Yes.
SANTIAGO
She won't speak to me?!
ALONZO
Yes.
Alonzo continues sobbing. Santiago looks stunned.
SANTIAGO
I just spoke to Father Ribera. Why didn't he tell me any of this?
ALONZO
He is in on it with them! He thinks your mad!
SANTIAGO
He just told me I was mad...
ALONZO
Oh, Miguel. They're going to take him away from me! All is lost! I have nothing!
SANTIAGO
Nothing.
ALONZO
Miguel, what are we going to do?!
SANTIAGO
'Remove this cup from me; yet, not what I want, but what you
want.'
ALONZO
Miguel! They'll take you away to prison!
SANTIAGO
'Not what I want, but what you want.'
ALONZO
Listen, Miguel!
SANTIAGO
Alonzo...
ALONZO
Yes?
SANTIAGO
Go home to your boy!
Alonzo stops sobbing.
ALONZO
Why do you...
SANTIAGO
Go!
ALONZO
You...you...you...
SANTIAGO
Go!
Santiago shoves him.
ALONZO
You're in on it, too! You're in on it, too. You're in on it...
SANTIAGO
Go!
Santiago pushes him through the door.
ALONZO
You! A curse on you!
Santiago slams the door. We hear Alonzo from outside. He is pounding on the door.
ALONZO
A curse!
Santiago returns to his easel. He looks at the model furiously. The model trembles.
He stares at the canvas.
SANTIAGO
Lock that door, boy!
End scene.
Scene Six.
The streets of Quito. It is now after dusk. A storm is moving in. We hear thunder in the distance.
The native drums are also playing in the background. Enter Chorus, singing:
'Dominus Jesus postquam coenavit cum
discipulis suis lavit pedes eorum, et ait illis:
Scitis quid fecerim vobis, ego Dominus, et
magister? Exemplum dedi vobis, ut et vos ita
faciatis.'
One among them steps forward and speaks while the others continue singing.
CHORUS
It is the night of the Passover. The night our Savior and Lord was betrayed and
taken to prison. Lord, forgive us! We betrayed you.
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
It is the night of the Passover. The night Egypt was plagued. Lord, I dread to think
whose blood shall mark our doorposts that we might be saved!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The wrath of God is upon us! Now we shall be judged! Take cover! Take cover!
Behold the storm!
He steps back and continues to sing. Another steps forward and speaks.
CHORUS
The storm is upon us! Lord bring us out of Egypt! Bring us out of slavery!
The Chorus stops singing. There is a silence. Enter Alonzo, drinking. He is now very drunk.
The Chorus speaks as one while exiting.
CHORUS
Friend, flee this place! Run to your home and family and lock your doors! A storm is coming!
Alonzo does not respond but stumbles drunkenly. Exit Chorus, fleeing. There is a burst of thunder.
Alonzo drinks of his gourd and spirals down to the ground until he lands flat on his face. The red
wine of his gourd spills and spreads across the stage. The storm begins. The rain pours.
End scene.
Scene Seven.
Santiago's studio. The storm is heard from outside. The Chorus sings in the background:
'Dominus Jesus postquam coenavit cum
discipulis suis lavit pedes eorum, et ait illis:
Scitis quid fecerim vobis, ego Dominus, et
magister? Exemplum dedi vobis, ut et vos ita
faciatis.'
Santiago rages like the storm.
SANTIAGO
Are you suffering? Are you suffering?!
The model shakes his head every which way.
MODEL
No, master.
SANTIAGO
Suffering?!
MODEL
No....
SANTIAGO
Are you suffering?!
Miguel rises in fury. He reaches for his spear and lunges at the model and screams out climactically:
SANTIAGO
Are you suffering?!!
End scene.
Scene Eight.
Aurora. The streets of Quito. The storm has passed. Amidst a thick fog, rests the dead body of Alonzo.
The boy, Augustín, clenches onto it. Enter Chorus, singing:
'Crucem tuam adoramus Domine; et sanctam
resurrectionem tuam laudamus et
glorificamus: ecce enim propter lignum venit
gaudium in universo mundo.'
The fog rises.
CHORUS
Sun, rise! Rise, sun! Rise! Put motion into all things!
Let the night linger no longer! Take back the rainwater
and make the blood-soaked earth dry again! Take everything
but leave us with the hard blood, the dirt, and the dry bones!
They notice Augustín and the body.
CHORUS
What has happened?!
Augustín does not answer. He moves out of the way as the Chorus surrounds the body.
CHORUS
Our friend is dead. Alonzo is dead!
Enter the man from the first scene.
CHORUS
'Let the day perish in which I was born, and the night that said,
'A man-child is conceived.' Let that day be darkness! May God
above not seek it, or light shine on it. Let gloom and deep darkness
claim it. Let clouds settle upon it; let the blackness of the day
terrify it. That night- let thick darkness seize it! Let it not rejoice
among the days of the year; let it not come into the number of the
months. Yes, let that night be barren; let no joyful cry be heard
in it...Let the stars of its dawn be dark; let it hope for light, but
have none; may it not see the eyelids of the morning- because
it did not shut the door of my mother's womb, and hide trouble
from my eyes.'
MAN
Friends. What has happened here?
CHORUS
Our friend...our friend Alonzo is dead.
The man weeps.
MAN
Oh, miserable day!
The man embraces the corpse.
MAN
How did this come to be?
CHORUS
He drowned himself in his wine. And Lord forgive us, now he shall be drowned in our tears.
MAN
Save some tears. There's more...
CHORUS
Please don't say so! Here's his son, Augustín. Child, come with us. Weep with us.
They embrace the boy.
CHORUS
These storms come and take some. But why do we go on living?
We've given nothing but our ears and our eyes. And now, why should
we live? With no tears left to cry.
MAN
This morning is rich in blood.
CHORUS
What have you come to tell us?
MAN
Of another thing horrific that has come to pass. Follow me that you may never have tears
to weep again.
CHORUS
We will follow. We will watch and be witnesses. But we must bear this body that is soaked like
bread in wine. We must bear this body while we weep.
They take up the body and begin to sing:
'Agios O Theos; Sanctus Deus.
Agios ischyrós, Sanctus fortis
Agios athánatos, eleison imas.
Sanctus immortalis, miserere nobis.
Quia eduxi te per desertum quadraginta annis,
et manna cibavi te, et introduxi in terram
satis optimam: parasti crucem Salvatori tuo.'
End scene.
Scene nine.
Santiago's studio. We hear the Chorus singing from offstage:
'Ecce lignum crucis,
in quo salus
mundi pependit.
¡Venite adoremus!'
Santiago is at his easel with his head in his hands. He does not move. He is catatonic. The model is
upon the floor, obviously dead, with a spear wound in his side. Ribera and the brothers of the convent
are present. They stand a distance completely silent, waiting. The Chorus enters and stands on the
other side of room. They stop singing and remain silent. Santiago's apprentice runs in through the door.
He stops and looks around at the perplexed faces staring at him.
RIBERA
Boy, why did you run from us when we came in?
APPRENTICE
I...I...I was scared.
RIBERA
Tell us what has happened. Your master won't speak and we don't know what to make of this.
APPRENTICE
I...I came...I came in this morning and he was sitting there like he is now and he was dead like he is now.
There's...there's...there was nothing else. There's nothing else to tell.
RIBERA
Why did you run when we came in?
APPRENTICE
I told you. I was scared. I don't know.
RIBERA
You didn't try to get him to talk?
APPRENTICE
No, father.
RIBERA
He didn't move?
APPRENTICE
No.
RIBERA
When you came in, everything was just as it is now?
APPRENTICE
Yes, father.
RIBERA
Have you seen the painting?
APPRENTICE
No, father. I was afraid to get any closer.
RIBERA
It's...it's...Lord, forgive me!
APPRENTICE
Father...
RIBERA
What is it?
APPRENTICE
There was one thing...
RIBERA
What? Tell us.
APPRENTICE
When I first came in...
RIBERA
What happened?
APPRENTICE
He turned his head...
RIBERA
Is that it?
APPRENTICE
He turned his head and I couldn't...I couldn't tell who he was looking at...but he
turned his head...he stared past me and said...he said, 'It is finished'.
RIBERA
And then what?
APPRENTICE
Nothing. He wouldn't speak. He just sat there.
RIBERA
It is finished...
APPRENTICE
What's going to happen?
RIBERA
It is finished...I don't know. I don't know.
Enter Isabel and Goríbar, Isabel first. She looks around terrified and in an instant, she assesses
what has taken place. She sees her father sitting with his head in his hands and is filled with
pity for him.
ISABEL
God forgive me!
She runs to him and embraces him, weeping.
ISABEL
Oh, father!
Goríbar is still confused and in denial, as is Ribera, as are the others.
APPRENTICE
What do we do?
Goríbar goes to inspect the body of the model.
GORÍBAR
He's dead...he's been speared.
RIBERA
God, have mercy...
Goríbar sees Santiago from a different angle and is also filled with pity. He goes to him. On his knees,
he embraces Santiago's legs.
APPRENTICE
Father, what do we do?
Ribera is silent. He begins to cry. Enter two soldiers.
FIRST SOLDIER
What has happened here? Why are you all standing about?
No one answers.
FIRST SOLDIER
What has happened here?!
The soldiers move toward Santiago to seize him. Ribera runs in front of him, stopping him.
RIBERA
No!
FIRST SOLDIER
What are you doing?!
RIBERA
This man will not be arrested!
The soldiers are stunned.
RIBERA
Don't arrest him, please! He'll spend the rest of his life in the convent. Just...please,
don't arrest him!
End scene. Fin.