[SCENE START] (STAGE DIRECTION: SIMOUN is pacing the room, checking the mechanism of a large silver lamp. There is a sudden, heavy knock at the door. Simoun draws a pistol, then opens it to find BASILIO, pale and disheveled.) SIMOUN (Lowering the gun, surprised) Basilio? What are you doing here at this hour? The theater is full, the city is distracted. Why are you not watching the Frenchmen? BASILIO (Voice hollow, stepping into the room) I have just come from the hospital, Señor Simoun. I have no time for theaters. I came to bring you news... and to ask for your help. SIMOUN (Eyes flashing with anticipation) News? Is it about the regiment? Are the men ready to launch the strike when the signal rocket fires tonight? BASILIO (Shaking his head slowly) No, Señor. It is about Maria Clara. (SIMOUN freezes. The pistol slips slightly in his hand. His mask of composure cracks.) SIMOUN (Voice dropping to a dangerous whisper) What of her? Speak! BASILIO She is dead, Señor Simoun. She passed away at the nunnery at six o'clock this evening. Father Salvi brought the news to the hospital. SIMOUN (Roaring, grabbing Basilio by the collar) You lie! You are a student, a child, you know nothing! She cannot be dead! I have orchestrated this entire revolution to tear down those convent walls and free her! The world burns tonight for her! BASILIO (Calmly, despite being choked) Strike me if you wish, but it will not bring her back. She suffered for months. Her torment is over. The bells of the convent are tolling for her soul right now. (SIMOUN releases Basilio and stumbles backward into a chair. He covers his face with his hands. Deep, agonizing dry sobs shake his frame.) SIMOUN (Muttering frantically) Dead... gone... Lost to me forever. My gold, my vengeance, my anger... it was all for her. What is the revolution without the prize? BASILIO (Looking around at the crates of weapons) You speak of revolution, Señor. The city is a powder keg. If she is gone, what will you do with all this fire? SIMOUN (Looking up, his eyes filled with a terrifying, cold madness) I will burn it anyway, Basilio. If I cannot save her, I will destroy the world that killed her. Will you stand with me, or will you die with the rest of the slaves? BASILIO (Backing away toward the door) I am a doctor, Señor Simoun. My duty is to heal, not to slaughter. I leave you to your ghosts. (Basilio exits. Simoun stands up, turns to the silver lamp, his expression hardening into pure malice.) [SCENE END] Act IV: The Trap of Dreams (Kabanata 24: Mga Pangarap)

(Sighing) Knowledge is a dangerous medicine, Isagani. An uneducated populace is happy. An educated populace learns only how to complain, how to rebel.

Use distinct contrasts. The students should wear simple, clean barongs or Western school uniforms that become increasingly disheveled. Simoun must always wear dark, tinted spectacles and opulent but imposing coats to emphasize his alien, sinister presence.

Who are you, really? Why do you hide behind that beard and those dark glasses?

No. You were blinded by hatred. You became the very monster you fought against.

Setting: Outside the Teatro de Variedades. Manila’s elite are arriving for the French operetta. CAMARONCOCIDO:

A passionate student, deeply in love with Paulita, but frustrated by society.

Are there any or cast sizes we need to accommodate?

: This chapter focuses on the divide in Manila society as crowds gather at the Teatro de Variedades for a French operetta.

(Setting: Padre Fernandez’s private study. Heavy wood furniture, large bookshelves filled with religious texts.)

(His eyes softening with a rare, desperate vulnerability) To save her, Basilio. Maria Clara is still alive inside those walls. I have endured thirteen years of hell, accumulated wealth, and worn this mask of a monster... just to tear down those walls and rescue her!

Act V: The Spark of Rebellion (Kabanata 25: Tawanan at Iyakan)

9. Kabanata 29: Ang Huling Salita Tungkol kay Kapitang Tiyago

(Fanning herself furiously) Look at these filthy indios on the floor! They should not be allowed into the same building as us. Juanito, dear, explain the French performance to us. My French is too aristocratic to speak casually.