TITLE: “Rizal: Ang Paglalakbay at Pakikibaka”

Part V: Buhay sa Ibayong-Dagat

Scene 1: Paalam, Pilipinas! (May 1882 – Rizal's Departure for Spain)

(Setting- Manila Port. A big ship leaving for Europe is docked. Families and friends are
saying goodbye to their loved ones. Rizal, with a small bag, is standing with his brother
Paciano and close friends.)

Paciano Rizal: (Mahigpit na hinawakan ang balikat ni Rizal) Pepe, huwag mong
pababayaan ang sarili mo. At higit sa lahat, huwag mong kalilimutan ang dahilan kung
bakit ka pupunta sa Espanya. Ako na bahala rito. Ang alalahanin mo roon ay ang iyong
sarili at ang iyong pag-aaral.

José Rizal: (Tumatango) Alam ko, Kuya. Mag-aaral ako, matututo, at babalik na mas
handa para sa laban.

(The ship’s horn blows, indicating that the ship is about to leave. Rizal gives his family a
warm hug for the last time before he walks up the ramp slowly. He looks back at the
Philippines for one last time before he boards the ship. The scene dissolves into the
sound of waves and of ships’ bells that take us to Madrid.)

Scene 2: Bagong Mundo, Bagong Laban (Madrid, 1884 – The Brindis Speech)

(A big hall in Madrid. A banquet is thrown in honor of Juan Luna and Félix Resurrección
Hidalgo, the Filipino artists who won the Spanish art competition. The room is filled with
Filipino students and Spanish officials and intellectuals. Excited whispers fill the air.)

Marcelo H. del Pilar: (Tumayo at itinaas ang baso) Mga kababayan, ngayong gabi ay
ipinagdiriwang natin ang tagumpay nina Juan Luna at Félix Hidalgo! Ipinakita nila sa
mundo na kaya nating lumaban sa larangan ng sining.

(The guests applaud. Rizal stands, raising his glass, ready to deliver his speech.)

José Rizal: (Tumindig, matatag ang boses)

"Señores, en el nombre de la patria. itinataas ko ang aking baso para sa henyo ng mga
Pilipino " (Mga ginoo, sa ngalan ng bayan,.)

(The crowd quiets, listening intently.)

"Ang tagumpay na ito ay patunay na ang Pilipino ay may kakayahan—hindi lamang sa

sining, kundi sa lahat ng aspeto ng buhay! Ngunit habang tayo ay nagdiriwang, huwag
nating kalimutan ang ating mga kapatid sa Pilipinas na patuloy na nagdurusa sa ilalim ng
mapaniil na pamamahala!"

(A mixture of applause and murmurs spreads through the room. A group of Spanish
officials exchange glances, whispering among themselves.)
Spanish Official 1: (Bulong sa katabi) ¿Quién es este indio para hablarnos así? (Sino
itong Indio para magsalita sa atin nang ganito?)

Spanish Official 2: Su orgullo es peligroso. (Mapanganib ang kanyang pagmamalaki.)

José Rizal: (Nagpatuloy, mas lumalalim ang tinig) Ngunit hangga’t may mga Pilipinong
may pangarap, hangga’t may dugong nananalaytay sa ating mga ugat, hindi kailanman
mawawala ang ating pag-asa!

(“Tagumpay nating lahat – Lea Salonga)

https://youtu.be/POTCBO4dB3o?feature=shared end: 1:35 minutes)

(minus 1 Male key: https://youtu.be/q-Z6_GlZ-6I?feature=shared)

(Thunderous applause erupts from the Filipino students, while some Spaniards remain
silent, uneasy. The lights dim as the scene transitions to a peaceful Japanese garden.)

Scene 3: Noli Me Tangere – Ang Himagsik ng Panulat (Berlin, 1887 – The

Publication of Noli Me Tangere)
(Lights dim. Sound of a printing machine turning. The scent of ink fills the air. Rizal sits at a wooden table, deep in
thought, his hands clenched. The printer enters, holding a freshly bound book.)

PRINTER (in German, thick accent): Herr Rizal, es ist fertig! Your book is finished.
(He carefully hands over the first printed copy. Rizal stares at it, hesitant. His hands tremble as he takes it, running his
fingers over the cover.)

RIZAL (softly, almost a whisper): Noli Me Tangere.

(He flips through the pages, taking in the weight of his work. His eyes glisten, but he remains composed.)

MAXIMO VIOLA (entering excitedly, carrying a letter): Jose! May dala akong balita
—matutuloy ang paglimbag ng iyong aklat!

(He stops, noticing the book in Rizal’s hands. A slow smile forms on his face.)

MAXIMO VIOLA: Hindi mo na kailangan ng balita ko. Narito na ang iyong aklat.

(Rizal nods, gripping the book tightly.)

RIZAL: Matagal kong inasam ang araw na ito. Ngunit kasabay ng kagalakan ay ang
pangamba... Ano ang magiging tugon ng ating bayan? Ano ang magiging tugon ng mga
nasa kapangyarihan?

PRINTER: Your work, Herr Rizal, is very bold. Dangerous, even.

MAXIMO VIOLA: Pero kailangan itong marinig ng Pilipinas.

RIZAL: Hindi na ito akin, Maximo. Sa oras na ito’y lumabas sa pagawaan, ito na ang tinig
ng ating bayan.
(He places the book on the table, staring at it with resolve. Silence hangs in the air. The weight of history settles in the
room.)

PRINTER: We will print the rest in the coming days. Shall we proceed?

RIZAL (nodding, voice firm): Yes, we shall. Ipagpatuloy natin.

(The printing machine roars to life again. The scene fades to black.)
Scene 4: Puso para sa isang Hapon (Tokyo, 1888 – Rizal’s Love Story with O-
Sei-San)

(Setting: A quiet Japanese garden in Tokyo. Cherry blossoms gently fall as Rizal and O-
Sei-San walk side by side.)

O-Sei-San: (Ngumingiti habang nakatingin kay Rizal) José-san, you always seem lost in
thought.

José Rizal: (Nagbuntong-hininga) Iniisip ko ang aking bayan… ang kinabukasan nito.
Ngunit sa piling mo, O-Sei-San, tila nawawala ang bigat ng mundo.

O-Sei-San: Then stay here, José-san. Forget the sadness of your homeland.

José Rizal: (Malungkot na ngumiti) If only my heart belonged to one place… but my soul
is bound to the Philippines.

(O-Sei-San lowers her gaze, understanding his struggle. She gently takes his hand.)

O-Sei-San: If fate separates us, promise me you will not forget me.

José Rizal: I will remember you, always.

(DRAFT SONGS TO PLAY CHOREOGRAPHED: All I ask by Adele

https://youtu.be/T9hDKZfSeqw?feature=shared end 1:38 minutes)

(Cherry blossoms continue to fall as lights dim, transitioning into a small printing shop in
Berlin.)

SCENE 5
(The sound of a quill scratching against paper. Rizal, reading aloud in Spanish,
underlines a passage from Morga’s book.)

RIZAL (murmuring): “Los naturales de estas islas eran antes tan prósperos…” Pero
bakit hindi ito binabanggit ng mga prayle? Bakit nila pinalitan ang kasaysayan natin?

(A knock at the door. Rizal sighs, setting his quill down.)

RIZAL: Tuloy!

(Dr. Reinhold Rost enters, carrying a few books.)

ROST (in English, amused): Still buried in your Morga, José?

RIZAL: History has been rewritten by the conquerors, Dr. Rost. They made it seem as if
we Filipinos had no civilization before Spain. But Morga—he tells a different story.

ROST: And that is why your work is important. The truth must be known.

(Another knock. Guillermo Puatu, a young Filipino student, enters in a hurry.)

GUILLERMO: Ginoo Rizal, may balita ako mula sa ating mga kababayan sa Madrid.
Narinig nilang inaaral mo ang Sucesos de las Islas Filipinas—marami ang natutuwa.
Ngunit may nagbabantang supilin ang iyong gawain.

RIZAL (calmly): Kung hindi ko isusulat ang katotohanan, sino ang gagawa?

(He picks up his annotated manuscript, flipping through the pages.)

RIZAL: Hindi ito simpleng pagsasalin. Hindi lang ito pag-aaral ng lumang aklat. Ito’y
pagbawi sa ating kasaysayan.

ROST: Then we must ensure it gets published.

(Rizal and Rost exchange a determined look. The candlelight flickers as the
scene fades to black, signifying the weight of Rizal’s mission.)

Scene 6: Ang Pagpapasya (Paris, 1891 – Finishing El Filibusterismo)

(Setting: A small room in Paris. A single candle flickers. Rizal, exhausted, writes furiously.
Finally, he stops, staring at the finished manuscript.)

José Rizal: “At sa gitna ng dilim, nagningning ang apoy ng rebolusyon...”

(He glances out the window, the distant lights of Paris reflecting in his tired eyes. He
takes a deep breath, as if feeling the weight of his decisions.)

José Rizal: (Pumikit, bumubulong sa sarili) Patungo na ako sa isang bagong yugto…
saan man ito humantong, handa na ako.

(Enter José Alejandro and Edilberto Evangelista, fellow Filipinos studying in

Belgium.)

José Alejandro: Pepe, matagal ka nang hindi nagpapahinga. Halos hindi ka na

natutulog o kumakain.

Edilberto Evangelista: Tama si Alejandro. Huwag mong sirain ang sarili mo. Kung
tutuloy mo ito nang ganito, sino ang makikinabang sa iyong pagsisikap kung ikaw mismo
ang bumagsak?

Rizal (sighs, rubbing his temple): Alam kong nag-aalala kayo, pero hindi ko
maaaring itigil ito. Ang librong ito ay hindi lamang aklat… ito ay isang panawagan. Isang
babala sa ating bayan na hindi habambuhay magtitiis ang mga api.

(Enter Valentin Ventura, carrying a letter.)

Valentín Ventura: Rizal, natanggap ko ang iyong sulat. Sinabi mo na wala ka nang
sapat na pera upang maipalimbag ang iyong aklat… Huwag kang mag-alala. Ako ang
bahala sa natitirang gastos.

Rizal (eyes widening, standing up in gratitude): Kaibigan, hindi ko alam kung

paano kita pasasalamatan…
Valentín Ventura (smiling): Huwag mo akong pasalamatan. Ang mahalaga, matapos
mo ang iyong aklat. Ang Pilipinas ang higit na nangangailangan nito.

(Rizal, moved by his friend’s generosity, clasps Ventura’s hand.)

Rizal: Maraming salamat, Valentín. Hindi ito para sa akin, kundi para sa bayan.

(Lights dim as Rizal picks up his quill again. The scene closes with Rizal writing
the final words of El Filibusterismo.)

Rizal (softly, as he writes the last line): "At ngayon, narito sa mapanglaw na
baybayin ng aking bayan, matapos ang lahat ng pagdurusa, hinihintay ko ang pagdating
ng araw…"
(DRAFT SONG: Huwag kang susuko-Golden Canedo

https://youtu.be/ERc2RVCUvKs?feature=shared End: 1:10 minutes)

(FADE TO BLACK.)

END OF PART V

(PLAY SOUNDS OF HORROR *Thud* or *Thunder sound* chaos sound)

PART 6 – EXILE IN DAPITAN

SCENE 1 – RIZAL'S CAPTURE AND ARRIVAL IN DAPITAN (1892)

Setting: A darkened pier in Manila, July 6, 1892. The sound of distant waves and
marching footsteps. Spanish Guardia Civiles surround Rizal as he stands firm, facing
Governor-General Eulogio Despujol.

(Enter Governor-General Eulogio Despujol, flanked by Guardia Civiles.)

Despujol (sternly, in Spanish): José Rizal, by order of the Spanish Crown, you are
hereby placed under arrest for your subversive activities against Spain.

Rizal (calmly, in Spanish): Subversive? I have merely fought for the rights of my
countrymen through reason, not violence.

Despujol (mocking): Your writings have planted the seeds of rebellion, Señor Rizal. You
will be exiled to Dapitan immediately.

(Two Guardia Civiles seize Rizal by the arms. He does not resist but stands
tall.)

Guardia Civil 1 (gruffly, in Spanish): Let’s go, indio!

Guardia Civil 2 (mocking): Let’s see if your books can save you now.

(The scene shifts to the ship, en route to Dapitan. Rizal, now in chains, gazes
at the vast sea, his expression unreadable.)

SCENE 2 – ARRIVAL IN DAPITAN

Setting: A quiet dock in Dapitan at night. A small boat arrives, and Rizal, still shackled,
is led ashore by the Guardia Civiles. Captain Ricardo Carnicero, the commandant of
Dapitan, watches from a distance.

Carnicero (formally, in Spanish):

Señor Rizal, welcome to Dapitan. You will be under my watch, but as long as you abide
by the conditions set by the Governor-General, you may move freely within the town.

Rizal (nodding, in Spanish):

I may be exiled, but my spirit remains free.

(The Guardia Civiles remove Rizal’s shackles. Carnicero gestures for him to
follow. The lights fade as the scene transitions.)

SCENE 3 – RIZAL’S LIFE IN DAPITAN

Setting: A humble nipa hut in Dapitan, 1893. Rizal is seated at a wooden desk, writing
under the dim glow of an oil lamp. Outside, we hear faint sounds of people gathering.

(Enter Father Francisco Sanchez, visibly concerned.)

Father Sanchez (in Spanish, urgently):

José, the Spaniards grow restless. They say you are amassing followers…

Rizal (without looking up, in Spanish):

If teaching children and healing the sick is rebellion, then let them accuse me.

(A knock is heard. Rizal opens the door to find a group of local farmers and fishermen.)

Local Farmer (in Filipino, pleading):

Ginoo Rizal, wala po kaming maayos na patubig. Ang aming mga pananim ay natutuyo!

Fisherman (desperate):
At ang dagat… puno ng buwis ng mga Espanyol! Wala na kaming ikinabubuhay!

(Rizal steps out, looking at the struggling townspeople.)

Rizal (firmly, in Filipino):

Hindi tayo dapat umasa sa kanila. Kaya nating gumawa ng sariling irigasyon, sariling
paaralan, sariling ospital. Hindi natin kailangan ng Espanyol para umunlad!

*WALKS OUT THE SCENE with everyone*

(The crowd cheers softly, hopeful. The scene shifts to a montage of Rizal teaching in his school, treating a sick child,
and leading men. But as his influence grows, so does Spanish suspicion.)

(Transition: Scene shifts to the Spanish cuartel. A Spanish officer slams his
hand on the table.)

Spanish Officer (in Spanish, enraged):

He is no longer just a prisoner—he is a leader! He must be stopped!
Captain Ricardo Carnicero (calmly, in Spanish):
He is no threat. He is a man of peace.

Spanish Officer (spitting):

Peace? Look at how the people follow him! He does not need weapons to make them rise
—his words are enough!
(Tension lingers as the Spaniards begin plotting against Rizal.)

Setting: Dapitan town square. Rizal is overseeing the irrigation project when two Spanish
officers arrive, flanked by Guardia Civiles.

Spanish Officer (shouting, in Spanish):

Enough of this! You are inciting rebellion, Rizal!

Rizal (calmly, in Spanish):

If teaching my people self-sufficiency is rebellion, then you fear not me, but their awakening.

Spanish Officer (to the Guardia Civiles):

Destroy this! Burn his school if needed!
(The Guardia Civiles seize tools and begin destroying parts of the water system. The locals protest, but Rizal raises a hand to stop
them.)

Local (angrily, in Filipino):

Ginoo Rizal, hindi po natin hahayaang wasakin nila ito!

Rizal (firmly, in Filipino):

Hindi natin kailangan ng dahas para ipagtanggol ang tama. Ang kaalaman ang ating sandata.

WALKS OUT THE SCENE AGAIN*

(The scene ends with Rizal standing unshaken as the Spaniards retreat, realizing they cannot break his will.)

(if possible please change colour of light as Rizal walks out, to vibe with the next scene)

SCENE 4 – JOSEPHINE BRACKEN’S ARRIVAL

Setting: Dapitan shoreline. The sun is setting and everything falls under its golden hue over the waters.

A small boat arrives and docks as Josephine Bracken gets off, half supporting her adoptive father, George Taufer,
who seems weary and exhausted. Rizal stands some distance away, looking at them with interest.
(Josephine leads Taufer as they walk towards Rizal. She glances around, admiring the plain beauty of the town.)

Josephine (in English, softly but determined):

Dr. Rizal, it’s an honor to finally meet you. I’ve heard so much about you.

Rizal (studying her, in English):

And I you, Miss Bracken. What brings you to this far and forgotten corner of the world?

Josephine (glancing at Taufer, concern in her eyes):

My father’s condition… He is going blind. We were told you are the only doctor who can help him.

(Rizal shifts his attention to Taufer, who groans in pain. Rizal quickly moves closer, inspecting his eyes.)

Taufer (gruffly, in English):

Can you save my sight, Dr. Rizal?
Rizal (gently, in English):
I will do what I can, Mr. Taufer, but I must be honest. Your condition is severe.

(Josephine looks stricken, gripping her father’s arm as if to protect him.)

Josephine (desperate, in English):

Please, Dr. Rizal… We have nowhere else to go.

Rizal (pauses, then nods with resolve):

Then stay. I will do my best.

(Transition: Inside Rizal’s clinic. Rizal prepares his instruments as Josephine watches nervously. Taufer sits stiffly in a chair.)

(Background, Rizal’s old clinic or his study room)

Josephine (hesitant, in English):

You don’t seem like an exile, Dr. Rizal… You seem more like a leader.

Rizal (smiling faintly, in English):

Exile does not silence the mind, Miss Bracken. Nor does it dim the heart.

(They hold each other’s gaze for a moment—an unspoken understanding forming. Rizal turns back to his patient,
beginning the examination.)

(Enter song Chasing Pavement

https://youtu.be/zjpb9qsFG4A?feature=shared end: 1:20)

ENTER THUNDER SOUNDS CHAOS (Or interpretative dance)

Final Emotional Beat of the Scene

(Days pass. Taufer’s condition worsens. Josephine grows more anxious.)

Taufer (angrily, in English):

You promised to help! But I see no improvement!

Josephine (pleading):
Father, he’s doing all he can—

Taufer (interrupting, bitterly):

Enough! We leave at once!

(Josephine looks torn. She glances at Rizal, her eyes filled with unsaid words.)

Josephine (softly, torn between duty and love):

Dr. Rizal…

Rizal (calm, understanding):

You must go with him. He is your father.
(Josephine hesitates, then kneels before Taufer.)

Josephine (firm, in English):

No. My place is here.
(Taufer stares at her in shock, then storms out. Josephine, shaken, turns to Rizal. There is silence, tension, and something deeper
unspoken between them.)

Josephine (softly):
I have nowhere else to go.
(Rizal gently takes her hand, his expression both cautious and accepting. The scene ends with the two standing together, the future
uncertain but shared.)

COVER SCENE TO PROCEED TO NEXT)

SCENE 5 – THE ROMANCE AND TRAGEDY

Setting: Among the moonlit gardens of Dapitan, fireflies flit about the trees. The soft rustling of
the leaves and and the distant waves of the sea provide a gentle yet sad mood. Rizal and
Josephine walk side by side, their hands occasionally touching as they talk. (Josephine stops,
looking up at the sky.)

Josephine (in English, softly, with wonder):

I never thought exile could be so… inspiring.

(Rizal smiles faintly, watching her.)

Rizal (in English, warmly):

With you here, Josephine, it is no longer exile. You have given me hope where I thought there was
none.

(Josephine turns to him, their gazes locking. The moment is tender, filled with unspoken emotions. Rizal reaches for
her hand, and she lets him.)

Josephine (softly, hesitant but hopeful):

Do you ever wish for a different life, José? One where you are free… where we are free?

Rizal (pausing, then sighing):

Sometimes. But my duty to my country will always come first.

Josephine (gently, but with quiet sorrow):

And what about love?

Rizal (pressing her hand, voice filled with quiet intensity):

Love is sacrifice, Josephine. You know this as much as I do.
(Josephine lowers her gaze, her heart aching. But before she can respond, she suddenly winces and clutches her stomach. A flash
of pain crosses her face.)

Rizal (alarmed):
Josephine? What is wrong?

Josephine (breathing heavily, trying to reassure him):

I… I don’t know…
(Rizal quickly kneels beside her as she starts to collapse. The scene fades into the next setting—Rizal’s clinic. The air is heavy with
tension.) COVER SCENE TO PROCEED TO NEXT

Transition: Inside Rizal’s Clinic

(Josephine lies weakly on a bed, her face pale. Rizal stands beside her, his hands trembling slightly as he wipes sweat from her
forehead. A midwife and a local woman assist in the background.)

Midwife (whispering, in Bisaya):

Wala na… (It’s gone…)
(Rizal closes his eyes briefly, as if trying to steady himself. Josephine, sensing his sorrow, grips his hand weakly.)

Josephine (weakly, forcing a smile in English):

It’s alright, my love…

Rizal (softly, with deep sorrow, in Spanish):

Dios mío…

(He presses a kiss to her hand, but there are no words that can ease the pain. Silence fills the room, heavy and
unbearable.)

Josephine (whispering, tears in her eyes):

I only wanted to give you a family, José…

Rizal (his voice breaking):

You are my family, Josephine. You always will be.
(The scene ends as Rizal pulls her into a gentle embrace, their grief shared in silence.)

(DRAFT ENTER SONG: Kastilyong Buhangin – Basil Valdez

https://youtu.be/mBFLAlRRS-0?feature=shared End 1:51 Minutes)

SCENE 6 – THE FINAL YEARS IN DAPITAN

Setting: Rizal's home and school in Dapitan. The warm flicker of the lanterns fights the gathering
dusk against the faces of his students who are coming in with admiration. Josephine Bracken
stands some distance away, her face reflecting sorrow. Rizal is at his desk, completing a letter.
There was a heavy silence of unuttered farewell.

(The scene opens with Rizal teaching his students under the shade of a tree.)

Rizal (in Tagalog, passionately):

Ang tunay na pag-ibig sa bayan ay hindi nasusukat sa mga salitang bitaw, kundi sa gawa! Ano
ang gagawin ninyo upang maipakita ang inyong pagmamahal sa Inang Bayan?

(His students look at each other, then answer one by one.)

Student 1:
Mag-aaral po kami nang mabuti, Ginoo!

Student 2:
Magtuturo po kami ng katotohanan!

Student 3:
Hindi kami magpapailalim sa pang-aapi!
(Rizal smiles, placing a hand on the shoulder of one of his students.)

Rizal:
Ipinagmamalaki ko kayo. Darating ang araw, ang kabataan ang siyang magpapalaya sa ating
bayan.
(Transition: Josephine watches from afar, holding her stomach, her eyes filled with longing and sadness. Rizal notices and
approaches her.)

Rizal (softly, in English):

Josephine… you look troubled.

Josephine (forcing a smile):

I just… I can’t imagine you leaving.

Rizal (gently taking her hands):

I must, my love. The revolution is rising. They need me.

Josephine (voice breaking):

And what about me?
(A long pause. Rizal struggles to find the words.)

Rizal:
If I do not go, I betray everything I have ever stood for. But Josephine… I will always carry you in
my heart.

(Transition: Evening. Rizal sits alone, writing. He reads his letter aloud.)

Rizal (in Spanish, solemnly):

“Mis compatriotas, si mi vida vale algo, que sea para el bien de nuestra patria…”
(My compatriots, if my life is worth anything, let it be for the good of our country…)

(The flickering candle casts long shadows. The sound of waves crashing against the shore echoes.)

(Final Transition: The Farewell at the Dapitan Pier)

(The townspeople, students, and Josephine stand by the pier, watching Rizal prepare to leave. Tension fills the air.)

Student 1 (tearfully):
Ginoo! Huwag po kayong umalis!

Rizal (firmly, but with warmth):

Hindi ito pamamaalam. Hangga’t may kabataan na nagmamahal sa bayan, naririto ako.

(Josephine rushes to him, holding onto his arm.)

Josephine (desperately, in English):

Take me with you!

Rizal (gently prying her hands away):

This is not your fight, my love.
(Josephine sobs. The ship’s horn sounds. Rizal steps onto the boat, looking back one last time.)

Rizal (softly, almost to himself):

Paalam, Dapitan.

(As the boat drifts away, Josephine falls to her knees, crying. The students and townspeople watch in silence as their hero
disappears into the horizon, uncertain of what fate awaits him.)

(ENTER SONG DRAFT: ANG BAYAN KO)

END OF PART VI