The Broken Flute

THE BROKEN FLUTE (A Play)

  BY

  Sunday Eyitayo Michael

  Copyright 2013 Sunday Eyitayo Michael

  DEDICATED TO, THOSE WHO WANT TO GIVE UP THEIR DREAMS BECAUSE THEY THINK IT IS INSIGNIFICANT AND THEN SETTLE FOR ILLEGAL ACTS TO GAIN WEALTH AND SUCCESS.

  DRAMATIS PERSONAE

  TAYO.

  BISOLA, his fiancée.

  SEGUN, his brother.

  ABEJIDE, his father.

  KIKELOMO, his mother.

  KELECHI, his friend.

  BABA AGBA, the herbalist.

  WAZABI, the district junkie drug baron.

  CHIDI and NKECHI, a young couple.

  A WAITER.

  AN OLD MAN.

  A WARDER.

  A POLITICIAN.

  A SMALL CHILD.

  PRISONERS, POLICEMEN.

  SCENE ONE

  The Restaurant. Three round tables, each with a set of cutlery denote an Eatery. An earmarked table set aside for VIP customers; covered in white table cloth with a multi-colored flower vase on it. A young jejune couple seated at a table and a waiter quietly moves around. The stage is quiet except for murmur from the couple.

  Enter TAYO and BISOLA. TAYO, a jaunty, shortish man with an average sized pot-belly for a man in his late twenties. He frequently and proudly rolled his ‘agbada’ sleeves over his shoulders, like a man who have reached the acme of life. His hauteur and charisma were certainly his cachet.

  WAITER. (Bowed a bit with a broad smile) You are most welcomed to West Africa’s finest, Quality-Bite, the choicest place to spend your happy hours. (Leading them to the earmarked table) we accord honor to which it is well deserved.

  TAYO pulled out the chair for BISOLA to sit, then turned over to sit, like the gentleman he is.

  WAITER. (After ensuring both were well seated, he slightly pulled out a pen and a small book from his pocket) Your request is ours to accede. What may we offer you?

  BISOLA. (To WAITER) give us a moment; we will call you when we need you.

  WAITER. We are always at your service ma’am. (He bowed and walked away)

  TAYO. (Tenderly) I told you I will give you the best life has to offer, my love. What do you think of this Restaurant?

  BISOLA. It’s awesome; in looks, service. In short, the whole place seems out of this world, it’s topnotch. I feel like a big woman already.

  TAYO. You are a big woman already, my dear. But first things first. What would we eat?

  BISOLA. Um.., let say Fried rice…. (Raises her voice a bit) waiter!

  WAITER. Yes ma’am.

  BISOLA. Give us two plates of fried rice, ensure it is well garnished. (bit a finger in thought) err, fried chicken and a bowl of, what the Igbo will call ‘ishi-ewu’, pepper soup made of goat’s head.(to TAYO) order the drinks, honey ,am not good with drink names.

  TAYO. (To WAITER) what are the available red wines?

  WAITER. (Confidently) we have Rioja, Sangiovesse, Zinfadel, Barolo…..

  TAYO. (Cutting in) that’s just what I wanted to hear, the Italian Barolo. Serve chilled.

  WAITER. Anything else?

  TAYO. No. (To BISOLA) or is there anything else you want to add, love?

  BISOLA. Nowt.

  WAITER. To confirm. You requested; (Glanced through his small book) well garnished fried rice, fried chicken, and a bowl of mutton pepper soup….

  BISOLA. (Cutting in. with emphasis) ‘ishi-ewu’.’owo bobo’.

  WAITER. (Smiled then continues) …and a chilled Barolo.

  TAYO. (Nods in agreement) that’s right.

  WAITER bows and leaves the stage as TAYO’s eyes followed him.

  TAYO. He is quite ebullient and gaily. Perhaps, we would have him as our cook.

  BISOLA. I thought of that as well. Where could they have gotten such idiosyncratic individual?

  TAYO. Money, my love, money. You get the best of what you want with money. (Paused. Rolled his agbada sleeves over his shoulder and pat his protruding stomach gently. Smiles) and I have money. Money is mine to command as I wish. And since I have money, when we get married, you will have no option but to live a queenly lifestyle. I will get the whole world for you.

  BISOLA. Am so blessed oh.

  TAYO. Wait, I have to start from somewhere. But where do I start?

  BISOLA. (Now excited) anywhere, olowo ori mi, start anywhere.

  TAYO. Yes! Your jewelry box. I will fill it with invaluable diamond earrings from Los Angeles, very expensive gold necklaces from Paris and lapis lazuli and other precious stones will be used to decorate the shoes of your feet.

  BISOLA. (Standing to her feet and holding the knot of her buba, going into ecstasies) all that for me?

  TAYO. Wait, I haven’t started yet, am still seeking where to start. (Paused to notice her reaction) youwill go on shopping sprees to Dubai, Vegas, Sweden and much more. (Pointing outside)You see that small car we parked outside?

  BISOLA. We parked a small car? (Deep in thought for a moment) don’t tell me you are referring to that Hennessey venom we brought.

  TAYO. That’s just what I was referring to.

  BISOLA. (Bewildered) my God.

  TAYO. (Smiling proudly) don’t ‘my God’ yet. h’m, I will buy you a Ferari La Ferari, a Lamborghini Reventon for support, and just in case you need to switch rides, Bugatti Veyron will do.

  BISOLA. (With her hands around her mouth in shock. Whispered) for me alone?

  TAYO. And even more. Together we will travel the world. From Lekki, to Johannesburg, to Egypt, to Nairobi, Paris, California, Las Vegas, Beverly Hills, just name it.

  The other couple were now fully concentrated in the conversation. On their feet, mouth-opened.

  NKECHI. Chineke! (Tapping her husband to draw his attention) you heard?

  CHIDI. Who wouldn’t hear that? Even the deaf would.

  NKECHI. You can now see how unromantic you are.

  CHIDI. My wife, its money that brings the romance oh.

  NKECHI. Then why don’t you have money?

  CHIDI. Because some people are made to make money early in life while some others like us, perhaps, we will enjoy our children’s wealth before we die.(gently walking towards TAYO and BISOLA) let’s reduce the gap.

  NKECHI. But why?

  CHIDI. Our people will say,’ check the perimeters of a pot-bellied man, you will always find a dog. Why? Because of the man’s high probability of excreting at any moment.’

  NKECHI. En-hem, so you now call us dogs? (Moves closer to her husband) but it’s actually not a bad idea anyway.

  BISOLA, who is now bent, with both hands holding her buba, attempting to dance noticed the couple who stood by.

  BISOLA. (Smiles cheerfully) come and join me rejoice oh. God has buttered my bread, He will butter yours.

  COUPLE. Amen oh.

  TAYO removes a large bundle of notes from his pocket, counted out a paltry and gave the couple.

  COUPLE. (Kneeling) ah! Thank you sir, God bless you, may you continue to have more and more money so that you can continue giving people like us, may …

  TAYO. It’s okay. That’s nothing. Please stand up.

  He offered them a few more notes. BISOLA is now singing and dancing. The COUPLE joins her as TAYO brought out a flute and played to the rhythm.

  BISOLA. (Singing) my story have change oh,

  Those days I trek like market women,

  But now it’s my turn to swap rides.

  Is it Ferari?

  COUPLE. (Paused with their hands around their waist. Dramatically turning to BISOLA) En-hem!? (Then continues dancing)

  BISOLA. Is it Bugatti?

  COUPLE. En-hem!?

  BISOLA. (Singing) those days I do ‘bend-down-select’,

  Corners to corners of oja
kiri market,

  But now I will do spree shopping,

  Is it Dubai?

  WAITER walks in with a tray filled with the ordered items. Which he drops on the table and joins the dance.

  ALL. En-hem!?

  BISOLA. Is it La-la land?

  ALL. En-hem!?

  BISOLA. (Singing) Money oh, money oh,

  Just like water,

  It has no enemy;

  Everyone loves its company.

  Money oh, money oh.

  TAYO drops the flute on the table, moves to the front and swayed round the stage, dancing energetically as they all sang and danced.

  CURTAIN.

  SCENE TWO

  The Prison. Metallic bars with a closed door by it side denote a cell. Litters all over on the wet stage reflect a malodorous atmosphere.

  Five PRISONERS behind bars. Three in full ash-colored uniform, one in just short. TAYO laid down naked, on his shirt, except for his ash trouser.

  TAYO. (Faintly but excitedly moving his body) money oh, money oh…

  A prisoner slaps him…

  PRISONER1. Gbefu, mumu, total nonentity. When you go stop your foolishness? ehm? If you no stop to disgust us with your yeye dreams for my abode. You go chop beatings tire, I tell you.

  TAYO. (Addled by the slap) oga am sorry, really sorry.

  PRISONER1. Anyway, that one not be my problem now. (Pointing to the prisoner in short) You see this idiot trouser?

  TAYO. (A little more relaxed. He uses his palm to wipe the tears) no. perhaps, he might have forgotten it at the field during labor yesterday and ….

  Enter WARDER hastily. The WARDER is a plump, fierce looking man with rough facial hairs.

  WARDER. What is wrong with you all? Wetin dey do una ?una no fit allow person meditate for here?.(Paused and stares at all of them. Points to the prisoner in short) You where your trouser?

  PRISONER2. (Stammers) oga, as if I forget am for field yesterday when….

  WARDER. Anyway, that one be your problem. (Opens the cell’s door)Tayo, follow me. Person dey find you. (Paused and looks at TAYO closely) wait. No be two trouser you wear so?

  TAYO.