November 13, 2025

The Mariner's Return


Here is a short, original play by the blogger ibikunle Abraham laniyan in the Shakespearean tradition, which concludes with a glorious and triumphant resolution for the protagonist, focused on exploration and discovery.

The Mariner's Return

Dramatis Personae:
CAPTAIN EDWARD: A bold explorer.
LORD MAYOR: A cynical city official.
SARAH: Edward's faithful wife.
A CROWD: Citizens of the port city.
SCENE I. The Docks of a port city. A year since the ship sailed.
[Enter LORD MAYOR and SARAH. Sarah is looking anxiously out to sea.]
LORD MAYOR:
Good madam, cease your watch upon the waves.
A year and more hath passed since Edward sailed
To seek the fabled lands beyond the sun.
His ship is lost, his crew consumed by storms.
'Tis time to mourn and claim your widow's due.
SARAH:
My Lord Mayor, your words are cold as ice!
My Edward is a man of skill and might.
He promised he would find the golden coast,
And promises made by a noble man
Are not so lightly broken. He will return!
LORD MAYOR:
A fool's hope feeds a hungry, waiting heart.
His venture was a folly, built on dreams.
The guild requires the debt be paid in full;
We seize your house and goods upon the hour.
SARAH:
You have no right! My husband's work was true!
LORD MAYOR:
The law is clear, the contract iron-bound!
Prepare to leave your house, the time is up.
[A great shout goes up from the crowd offstage: "A ship! A ship appears! 'Tis the Sea Serpent!"]
SCENE II. The Docks. Moments later.
[Enter CAPTAIN EDWARD, sun-bronzed and triumphant, leading his crew. They are laden with exotic fruits, spices, and glittering gold.]
SARAH:
(Rushing to him, weeping with joy)
Edward! My love! You have returned to me!
CAPTAIN EDWARD:
My faithful Sarah, I am home at last!
The storms were fierce, the journey long and hard,
But we found the golden shores beyond the mist!
A land of riches, spices, and of silk,
Where men are kind and nature is most grand!
LORD MAYOR:
(Stunned, looking at the gold and spices)
This... this cannot be! You are a ghost!
The debt... the contract...
CAPTAIN EDWARD:
(Smiling proudly)
The debt is paid a thousand times in full!
I bring back wealth enough to save the guild,
And make our city rich for a hundred years!
The charts are drawn, the path to the new world clear!
A CROWD:
(Cheering loudly)
Huzzah! Huzzah for Captain Edward!
Our hero! Our great hero!
CAPTAIN EDWARD:
(To the Lord Mayor, with triumph)
My Lord, sometimes a fool's hope lights the way,
Where caution's lamp doth flicker and then fail.
The future belongs to the brave of heart!
(To the crowd, raising his hands)
We have made history! A glorious end
To all our struggles! Let the trumpets sound
A joyous tune across the wide, wide sea!
Our glorious end shall never be forgot!
[A mighty fanfare of trumpets sounds. The crowd cheers wildly, celebrating the explorer's bravery and the glorious triumph of human spirit and exploration.]
[CURTAIN]



The Duke's Dillemma


A "full play" in the Shakespearean tradition typically involves approximately 20,000 to over 30,000 words of dialogue and stage direction, an undertaking that would take several hours to perform. Hamlet, for instance, has over 30,000 words.
However, here is a complete, short, five-scene play titled The Duke's Dilemma, written by the blogger ibikunle Abraham laniyan  ending in a glorious triumph for the protagonist.

The Duke's Dilemma

Dramatis Personae:
DUKE VINCENT: A wise and just ruler.
LORD AEMILIUS: His treacherous and ambitious cousin.
LADY SOPHIA: A loyal courtier.
A MESSENGER: Bearing crucial news.
SCENE I. The Duke's study. Evening.
[Enter DUKE VINCENT and LADY SOPHIA, discussing documents.]
DUKE VINCENT:
The weight of Aquitaine doth press hard,
Good Sophia. The northern lords complain
Of raids upon their borders, livestock lost,
And Aemilius, cousin, governs there
With iron fist, yet sends no aid, no word.
LADY SOPHIA:
My Lord Duke, Aemilius is a snake.
His smiles are poison, and his counsel, lies.
He seeks to weaken, without doubt,
That he may grasp the power in his hands.
DUKE VINCENT:
Knows ambition, yet have no proof.
He is kin; to accuse without cause
Would tear the realm apart and start a war.
Must move with caution, though the heart doth ache.
[Enter a MESSENGER, travel-worn and weary.]
MESSENGER:
My Lord! A dire message from the north!
The lords have risen up, but not in war
Against the raiders, but against Aemilius!
They have him trapped within his own great keep,
Demanding justice for his cruel demands
And treasonous plots against your gracious rule!
DUKE VINCENT:
(Standing in surprise)
Against your rule? Then they have proof at last!
MESSENGER:
They do, my Lord! Letters secured do show
He planned a coup with forces from the east,
A plot to murder and seize the crown!
DUKE VINCENT:
The heavens are just! The truth doth shine at last!
Sophia, call the guards, prepare the host.
Ride to meet this kinsman, not as friend,
But as a judge of treason most extreme!
[Exit all, with urgency and resolve.]

The Young Knight's Honour.


Here is another short, original play by the blogger ibikunle Abraham laniyan in the Shakespearean tradition, concluding with a glorious and triumphant resolution for the protagonist. This time, a young hero overcomes the odds through bravery and honesty.

The Young Knight's Honour

Dramatis Personae:
SIR REGINALD: A young, newly-knighted noble.
LORD MARSHALL: A cynical, powerful courtier.
PRINCESS ELIZA: The virtuous heir to the throne.
THE KING: Ruler of the land.
SCENE I. The Royal Court of the King.
[Enter LORD MARSHALL and PRINCESS ELIZA. The Marshall is trying to persuade her.]
LORD MARSHALL:
My Lady Princess, heed my counsel well.
The kingdom stands on fragile, shaky ground,
Beset by foes from north and southern lands.
A strong alliance is the kingdom's need.
Duke Frederick offers aid, his mighty sword,
In exchange for your most gracious hand.
PRINCESS ELIZA:
The Duke is old and cruel, his reputation stained.
My hand is not a bargaining chip for war!
A man of honour, youth, and grace is what's desired,
Not one who buys his wife with threats of arms.
LORD MARSHALL:
Honour fills no coffers, nor doth grace
Protect the walls against a charging host!
You must agree, for duty to the crown!
PRINCESS ELIZA:
Wisdom, not fear, dictates my duty.
[Enter SIR REGINALD, a young, honest knight.]
SIR REGINALD:
My King's own daughter, pardon my intrusion.
The words the Marshall spoke just now were heard.
He speaks of need, but only speaks of greed.
Duke Frederick seeks the crown, not just your hand.
LORD MARSHALL:
(Angrily)
How dare you, boy! What proof have you of this?
Your words are treason, born of youthful folly!
SIR REGINALD:
A messenger, captured at the eastern gate,
Bore letters detailing all the plot:
A wedding here, a coup upon the King's life,
All planned by Frederick and this Lord Marshall here!
LORD MARSHALL:
(Drawing his sword)
Lies! Slander! I shall have your head for this!
[The Marshall lunges at Reginald. Reginald defends himself. A brief, fierce swordfight ensues.]
SIR REGINALD:
Defend yourself, you traitorous old dog!
[Reginald, using his agility, disarms the Marshall and holds his sword point to the Marshall's throat.]
PRINCESS ELIZA:
Hold! The King approaches!
[Enter THE KING and GUARDS.]
THE KING:
What madness is this? Swords drawn within my court?
SIR REGINALD:
My liege, a plot most foul is here revealed!
Lord Marshall is a traitor, in league with Frederick!
[Reginald presents the captured letters to the King.]
THE KING:
(Reading the letters, his face growing pale, then enraged)
Treason most black! My Marshall, a serpent in my house!
Take him away! To the dungeon with this scum!
[The Guards seize Lord Marshall.]
LORD MARSHALL:
It is a lie! A trick of this young knight!
THE KING:
Your guilt is writ in your own wicked hand!
Begone!
[The Marshall is dragged away.]
THE KING:
(To Reginald, with gratitude)
Sir Reginald, you saved my life, my crown,
And freed my daughter from a wicked fate.
How can I e'er repay this noble deed?
SIR REGINALD:
Your favour is enough, my gracious King.
I serve my realm with honour and with truth.
PRINCESS ELIZA:
(Smiling at Reginald)
He is a man of honour, youth, and grace,
The very man I sought within my heart!
THE KING:
Then take my blessing! You have saved the day,
And brought a glorious end to bitter strife!
Let bells be rung, let celebrations start!
A truer knight the world has never seen!
This glorious end shall ring throughout the land!
[A great fanfare of trumpets sounds. The King embraces Reginald and Eliza, and all the court cheers wildly in a moment of pure, triumphant joy.]
[CURTAIN]

















Shakespearean Oriented Plays

The blogger ibikunle Abraham laniyan churn out plays as an adaptation of Shakespeare 's plays to write this as maybe adjusted in mordern times capturing the spirit of the Bard's work.Instead of ending with tragedies end up with glorious exits.

See the following Proposed Original Play Premises
Glorious Tragedies
The Moor of Manhattan: A contemporary tragedy set in the world of high finance, exploring a brilliant CEO of color whose rapid rise is undermined by a jealous subordinate spreading rumors of a secret, ruinous deal, leading to the CEO's professional and personal downfall.
Caius, A Roman Ruin: In a futuristic, space-faring Roman Empire, a decorated but politically naive commander struggles with his conscience after a victorious but brutal campaign, becoming a pariah and eventually an accidental martyr for the people the commander once conquered.
The Fisherman's Daughter: A tale of star-crossed love set in a small, isolated coastal village, where a young woman from a poor family falls for the son of the wealthy, land-owning mayor. The feud between their families over fishing rights leads to a devastating outcome.
The Usurper's Shadow: An ambitious advisor to a young, rightful monarch slowly poisons the king's mind with paranoia, culminating in the king's execution of the king's closest, most loyal friend, and the advisor's eventual, hollow triumph.
The Scholar of Sarajevo: A young academic uncovers a dark secret about the city's revered founder, a truth that could tear the community apart. Their dedication to truth over peace leads to isolation and tragedy.
The Watchman's Oath: A guard at a military outpost in a war-torn country is privy to classified information about a planned strike on a seemingly peaceful village. The guard's moral struggle to uphold the oath of silence versus preventing mass death ultimately destroys the guard.
The Duke's Due: A powerful duke in Renaissance Italy, known for cruelty and ambition, finds himself facing the consequences of the past actions when the duke's illegitimate, unknown daughter appears seeking revenge.
The Baron of the Bitter Lands: A proud landowner facing famine makes a series of selfish decisions that ultimately lead to the ruin and starvation of the landowner's own people and family.
Comedies
A Night's Errancy: A lighthearted comedy where a group of young people on a tech-free retreat in the woods get lost and run into a mysterious, rival group who they mistake for mythical creatures, leading to a night of comical misadventures and mistaken identity.
The Wife's Wager: A witty battle of the sexes between a newly married couple where the wife bets the wife can be more "shrewish" than the wife's friend, leading to a series of escalating pranks and hilarious misunderstandings.
Much Ado About Microchips: A modern romantic comedy set in a tech startup, where office pranks and overheard conversations lead two colleagues who secretly love each other to believe the other is a terrible person.
The Venetian Swap: A case of mistaken identity involving two sets of identical twins who are separated at birth and later end up working for rival merchant families in Venice, resulting in a day of humorous chaos.
Love's Labour's Lent: In a quiet university, a group of male professors vow to abstain from all contact with women to focus on their studies. Their resolve is immediately tested when a visiting all-female research team arrives.
The Twelfth Tide: A story set on a remote island resort during a wild annual festival, where a shipwrecked guest disguises the guest's gender to navigate the island's quirky social scene and pursue a romance with the resort manager.
All's Well That Ends Wealthy: A clever young woman from humble beginnings uses the woman's wits and charm to win the heart of a reluctant, wealthy young man and secure social standing.
The Merry Wives of West Hollywood: A modern update of the classic story, where two clever friends in Los Angeles outwit a scheming, pretentious celebrity who tries to seduce them both.
Histories (Fictionalized)
The Crown of the North: A history-inspired narrative about the power struggles and betrayals surrounding a fictional kingdom in Northern Europe during a time of succession crisis.
The Fall of the Silver City: A dramatic account of the political maneuvers and internal conflict that led to the collapse of a prosperous, ancient, fictional metropolis.
Henry the Ninth: A play that explores the life of a fictional, charismatic English king who must unite a divided nation against a foreign threat.
The Queen's Gambit: A political thriller about a young, intelligent queen who must navigate treacherous court politics and foreign spies to keep the queen's throne.
For inspiration, explore

The Duchess's Triumph.

Here is a new, short, original play by the blogger ibikunle Abraham laniyan in the Shakespearean tradition, focused on political intrigue and ending with a glorious, triumphant resolution for the virtuous character.

The Duchess's Triumph

Dramatis Personae:
DUCHESS ELEANOR: The rightful ruler of Aquitaine.
COUNTESS ISABELLA: Her loyal ally.
BARON ROLAND: A treacherous noble.
A HERALD: A royal messenger.
SCENE I. A Hall in the Duchess's castle.
[Enter BARON ROLAND and a GUARD, whispering conspiratorially.]
BARON ROLAND:
The Duchess grows too strong, her rule too firm.
Her taxes weigh upon the common folk,
And whispers of a juster, milder hand
Are heard within the courts of Burgundy.
Her time is done; her reign a setting sun.
GUARD:
My Lord, speak lower! Walls have ears, you know!
If the Duchess heard such treason on your tongue...
BARON ROLAND:
Fear not, my friend. We are the rising tide.
I have secured the northern lords' support,
And promises of aid from foreign kings.
By dawn tomorrow, Eleanor shall be
A captive in her own and rightful hall!
GUARD:
But how, my Lord? The castle's well defended.
BARON ROLAND:
A secret passage from the river gate
Doth lie unguarded. My men shall enter there.
We seize the throne and make a better realm.
[Exit Roland and Guard, with sinister smiles.]

SCENE II. The Duchess's chambers. Later that night.
[Enter DUCHESS ELEANOR and COUNTESS ISABELLA, reading documents.]
DUCHESS ELEANOR:
My Isabella, look upon these scrolls!
A plot is thick as fog on London's bridge!
Baron Roland means to seize my crown,
Conspiring with the lords of Burgundy!
COUNTESS ISABELLA:
Treason most foul! How found you this dark truth?
DUCHESS ELEANOR:
A loyal spy within his very house
Did warn me of his vile, nefarious plan.
He means to use the river gate tonight!
He thinks it unguarded, the fool of fortune!
COUNTESS ISABELLA:
Shall we raise the alarm? Shall we call the guard?
DUCHESS ELEANOR:
Nay, silence is our sword, and wit our shield.
I had the passage sealed just yesterday,
With iron bars and rocks to block their way.
They shall be trapped like fish within a net!
We wait them in the hall; the trap is set!
[Exit Eleanor and Isabella, with determination.]




SCENE III. The main hall of the castle. Dawn.
[Enter DUCHESS ELEANOR, COUNTESS ISABELLA, GUARDS, and COURTIERS. They await the traitors.]
DUCHESS ELEANOR:
The hour is come. The sun doth kiss the towers.
The traitors should be here.
[Enter BARON ROLAND and his MEN, looking confused and dishevelled, having found their path blocked.]
BARON ROLAND:
The passage was... sealed? What trick is this?
DUCHESS ELEANOR:
(Stepping forward, regal and powerful)
No trick, you traitor, but the hand of justice!
I know your plot, your dark and vile intent.
Seize them!
[The Duchess's guards quickly surround and capture Roland and his men.]
BARON ROLAND:
Betrayed! How knew you of my plan?
DUCHESS ELEANOR:
A wise ruler keeps her eyes and ears
In every shadow. Your treason is your fall.
To prison with them, to the deepest dungeon!
[The traitors are led away.]
[Enter a HERALD with a grand flourish of trumpets.]
HERALD:
My Lady Duchess! A glorious message from the King!
He praises your just reign and strong defence,
And offers you a powerful new alliance!
Your rule is safe, your kingdom strong and free!
DUCHESS ELEANOR:
(To Isabella, with joy)
The heavens smile upon our virtuous cause!
The realm is safe, the crown doth fit me well.
This glorious end shall mark a golden age!
Let trumpets sound a noble, joyous tune!
Long live the Duchess!
[A mighty fanfare of trumpets sounds. The court cheers wildly, celebrating the Duchess's cleverness and the glorious triumph of justice.]
[CURTAIN]





























The Binance Of Venice.

The Binance of Venice (The Pound of Digital Flesh)
A Short Play in One Act
Characters:
ANTONIO: A proud crypto-investor.
SHYLOCK: A Jewish data broker and moneylender.
BASSANIO: Antonio's friend, a young gambler.
PORTIA: Bassanio's clever fiancee, disguised as a lawyer.
[SCENE START]
SCENE I
A sleek, high-tech Venice cafe overlooking the canals. ANTONIO and BASSANIO are seated.
BASSANIO
My noble Antonio, my funds are locked in alt-coins,
Illiquid and in peril of the dip!
I need a loan, a mere three thousand bitcoin,
To hedge my bets and chase my fortune fair.
ANTONIO
My assets are all venture-locked as well,
Tied fast in ventures for the new quantum chain.
I have no cash at hand. But we can borrow
Upon my credit with the usurer, Shylock.
He is a data broker, sharp and cold,
But his funds are liquid.
BASSANIO
I fear that Jew. He hates our Christian ways
Of generous risk and market speculation.
ANTONIO
He hates me for my lending without interest.
No matter. We shall secure the loan. Go fetch him here.
(Bassanio exits. Shylock enters a moment later, a figure of sharp calculation.)
SHYLOCK
Signior Antonio. The market’s moving fast.
You seek a loan?
ANTONIO
Three thousand bitcoin, for three months.
The bond secure on my good name.
SHYLOCK
(Musing)
Three months. The price of crypto is a storm.
A volatile, an unpredictable beast.
You are a good risk, sir, but risks must pay.
You often rail against my brokering fees,
And spit upon my faith’s integrity.
Now you need my ducats, or rather, coins.
ANTONIO
I need them now. The past is but the past.
SHYLOCK
I will lend it. But upon one condition:
A merry bond! If you repay me not
By the agreed date, in your central wallet
You shall deliver me a pound of flesh!
A pound of flesh, nearest your heart, Antonio!
BASSANIO
(Rushing in, having heard the end of the offer)
Nay, sir! Refuse this monster’s cruel request!
ANTONIO
(Proudly, dismissing the danger)
'Tis a jest! My ships shall all return to port
A month ere the date. The sum is safe.
I sign the bond! A pound of flesh is nothing!
(Antonio signs the digital contract with a flourish.)
SHYLOCK
(Smiling a grim smile)
Then go and prosper with my liquid funds.
Ensure the date is met. My bond is true.
(Shylock exits.)
[SCENE END]

SCENE II
A courtroom. The Duke presides. ANTONIO stands accused. BASSANIO wrings his hands. PORTIA, disguised as a young lawyer, enters and takes her place.
DUKE
Antonio, the Jew doth claim his bond.
All thy investments failed. The time is up.
He asks for justice, and the law must grant it.
ANTONIO
I am prepared to pay the price of ink.
PORTIA
(To Shylock)
We know your mercy is a thing unknown.
But here is thrice the sum, thrice the bitcoin!
Take it and let this man go free!
SHYLOCK
I will have my bond! My pound of flesh!
The contract is signed, sealed in digital stone!
I seek no coin, only what is my due!
A pound of flesh is mine!
PORTIA
(Feigning agreement, examining the contract)
A pound of flesh is thine. The law allows it.
The court awards it. Take thy knife, O Jew.
But wait! The bond doth give no drop of blood!
The contract specifies the flesh alone!
If in the cutting of this pound of flesh
Thou dost shed one drop of Christian blood,
Thy lands, thy goods, thy digital assets all
Are confiscate unto the state of Venice!
(Shylock freezes, then looks at the contract in horror.)
SHYLOCK
Is that the law? O wise young judge!
PORTIA
Moreover, thou didst plot against a life,
Which by Venetian law strips thee of all
Thy worldly goods. The Duke is merciful,
And spares thy life, but half thy fortune goes
To the state, and half to this Antonio!
ANTONIO
(To Shylock)
Nay, I shall show you Christian mercy, sir.
Keep half your wealth, but you must change your faith,
And sign a deed to leave the rest to your daughter
When you die.
(Shylock, broken and defeated, signs the papers.)
SHYLOCK
I am content. I sign and take my leave.
My heart is broken, and my venture lost.
(Aside)
A pox on digital ink and lawyer tricks!
(Shylock exits. Bassanio embraces Antonio and Portia (the lawyer).)
BASSANIO
My friend is saved! My love, you are a marvel!
PORTIA
(Smiling)
The law is sharp when wielded by the just.
Now to the wedding, where our loves unite!
The crisis passes, and the ledger’s clear.
[SCENE END]






































Short Plays By Black power



Here is a short, original scene written in blank verse (unrhymed iambic pentameter),by the blogger ibikunle Abraham laniyan a common form in Shakespeare's works, focusing on themes of ambition and betrayal.

SCENE I. A room in the Duke's palace.
[Enter DUKE VINCENTIO and his advisor, LORD ANTONIO]
VINCENTIO:
Good Antonio, doth the air of late hang heavy
With whispers of deceit and hollow hearts?
Methinks the smiles of men are but as masks,
Hiding the foul intent of their ambition.
ANTONIO:
My lord, the world is ever full of such,
Who, by dissembling, seek to climb the height
Of power's steep mountain. Yet in your fair realm,
Justice prevails, and order holds the day.
VINCENTIO:
Nay, you speak with a tongue too kind, my friend.
My trust was placed in Marcus, whom I deemed
A man of honour, steadfast as the oak.
But now, reports do paint a darker shade,
Suggesting commerce with my enemies.
ANTONIO:
(Aside)
The Duke suspects what all the court has known.
(To Vincentio)
If it be true, then let swift justice fall,
Lest mercy's hand encourage further ill.
VINCENTIO:
We shall observe him, Antonio. The truth,
Like murder, cannot long be hid from light.
Until then, let our vigilance be sharp.
[Exeunt]


Here is another complete, original play titled "The Usurper's Fear," written by the blogger ibikunle Abraham laniyan adhering to Shakespearean conventions of blank verse and dramatic themes.

The Usurper's Fear
Dramatis Personae:
LORD MALCOLM: The newly crowned King.
SIR TOBY: His loyal but cynical advisor.
A MESSENGER: Bearing ill news.
SCENE I. A dimly lit chamber in the royal castle.
[Enter KING MALCOLM, pacing furiously, his crown askew. SIR TOBY observes him from a shadowy corner.]
MALCOLM:
The crown sits heavy on a troubled brow,
And sleep, that gentle nurse of quiet minds,
Doth flee my chambers as a frighted ghost.
Dost hear the wind without, good Toby? List!
It howls as if the very air condemns
The hand that seized the throne by force of might.
SIR TOBY:
My liege, the tempest is a natural thing,
No more a judge of men than is the moon.
Your enemies are vanquished, and their heads
Do grace the spikes above the city gates.
Rule with firm hand; the people crave but peace.
MALCOLM:
Peace? There is no peace for one who spilled
His brother's blood to clasp a golden ring!
I see his face in every flickering flame,
His dying curse upon my soul is writ.
This fear, this gnawing worm within my breast,
Is a more cruel tyrant than I could e'er be.
SIR TOBY:
Ambition's price is often paid in dread.
You took the gamble, sir, you won the prize.
Now wear it boldly, or all was for naught.
The dead stay dead; the living must govern.
[A loud knocking is heard offstage.]
MALCOLM:
Who knocks with such a rude and sudden hand?
Go see what news the dark night brings to us.
[SIR TOBY exits briefly and returns with a MESSENGER, whose clothes are travel-worn and face pale.]
SIR TOBY:
A messenger, my liege, with urgent word.
MALCOLM:
Speak, man, and quickly, what dark tidings ride
On midnight's wind?
MESSENGER:
My King, forgive my haste, but news is grave.
Duke Richard, thought to be in quiet exile,
Hath raised a powerful and mighty force.
He marches now upon the eastern gate,
With banners high and vengeance in his heart!
MALCOLM:
(To himself)
Richard! That serpent that I should have crushed!
(To the Messenger)
How many men doth this rebellious Duke command?
MESSENGER:
A host, my lord, outnumbering our guard
By three to one. They come with haste and fury.
MALCOLM:
(Drawing his sword, his fear replaced by rage)
Then let them come! The crown I seized with blood,
I shall defend with iron and with fire!
Toby, assemble all our loyal men.
We ride to meet this upstart ere the dawn!
If I must lose this throne, then I shall fall
With sword in hand, a king, not a mere slave
To shadows and the ghosts of my own guilt.
To arms! To arms! The battle calls for blood!
[MALCOLM rushes out, followed by SIR TOBY and the MESSENGER.]
[CURTAIN]

Title: The Unquiet Crown
Genre: Tragedy (Five-Act Structure)
Central Conflict: A newly crowned king, Malcolm, who seized the throne by force, is tormented by guilt and challenged by a rival, the exiled Duke Richard, leading to a war and his eventual downfall.
Act I: Exposition
Purpose: Introduce characters, the setting (a castle in turmoil), and the main conflict (Malcolm's usurpation of the throne and his rising fear of discovery/retribution).
Key Scenes:
Scene 1: Malcolm expresses his paranoia to his advisor, Sir Toby, and news of Richard's rebellion arrives.
Scene 2: Duke Richard, in exile, gathers support and plots his return.
Act II: Rising Action
Purpose: The conflict builds, stakes are raised, and obstacles increase. Malcolm takes steps to secure his power, while Richard's forces grow stronger.
Key Scenes:
Malcolm orders the execution of suspected loyalists to Richard.
Richard secures an alliance with a neighboring kingdom.
Toby begins to question Malcolm's sanity and fitness to rule.
Malcolm faces internal struggle and nightmares.
Act III: Climax
Purpose: The turning point, where the main conflict peaks. A major confrontation occurs, after which the protagonist's fate is sealed.
Key Scenes:
A decisive battle between Malcolm's and Richard's armies.
Malcolm makes a critical, irreversible choice that leads to great loss (e.g., the death of a beloved figure or a key strategic failure).
Act IV: Falling Action
Purpose: The consequences of the climax unfold. Malcolm's power wanes, and his downfall becomes inevitable. Loose ends are tied up for the final catastrophe.
Key Scenes:
Malcolm's allies abandon him.
Sir Toby defects or is killed.
Malcolm is cornered in his castle.
Richard's army lays siege to the castle.
Act V: Resolution (Catastrophe)
Purpose: The final conclusion. All loose ends are resolved, resulting in the protagonist's tragic end and the restoration of order.
Key Scenes:
Malcolm's last stand and death in single combat with Richard.
Richard is crowned King.
Order is restored to the kingdom, and the themes of justice and ambition are affirmed.
Act I of The Unquiet Crown
SCENE I. A room in the King's castle. Night. Thunder and lightning.
[Enter KING MALCOLM and SIR TOBY, bearing a map.]
MALCOLM:
Good Toby, doth the air of late hang heavy
With whispers of deceit and hollow hearts?
Methinks the smiles of men are but as masks,
Hiding the foul intent of their ambition.
This crown, this very ring of gilded weight,
Doth press upon my temples like a vice.
My sleep is murder'd by a thousand fears.
SIR TOBY:
My lord, the world is ever full of such,
Who, by dissembling, seek to climb the height
Of power's steep mountain. Yet in your fair realm,
Justice prevails, and order holds the day.
The folk do honour their new-seated King.
MALCOLM:
Nay, you speak with a tongue too kind, my friend.
My trust was placed in Marcus, whom I deemed
A man of honour, steadfast as the oak.
But now, reports do paint a darker shade,
Suggesting commerce with my enemies.
Dost think that Marcus means to play me false?
SIR TOBY:
I know not, sir; a man's heart is a maze
The sharpest eye of reason cannot pierce.
But if it be true, then let swift justice fall,
Lest mercy's hand encourage further ill.
MALCOLM:
We shall observe him, Toby. The truth,
Like murder, cannot long be hid from light.
Until then, let our vigilance be sharp.
[A loud knocking is heard offstage.]
MALCOLM:
Who knocks with such a rude and sudden hand?
Go see what news the dark night brings to us.
[SIR TOBY exits briefly and returns with a MESSENGER, travel-worn and pale.]
SIR TOBY:
A messenger, my liege, with urgent word.
MALCOLM:
Speak, man, and quickly, what dark tidings ride
On midnight's wind?
MESSENGER:
My King, forgive my haste, but news is grave.
Duke Richard, thought to be in quiet exile,
Hath raised a powerful and mighty force.
He marches now upon the eastern gate,
With banners high and vengeance in his heart!
MALCOLM:
(To himself, his hand clutching his sword)
Richard! That serpent that I should have crushed
When first his treason showed its ugly head!
(To the Messenger)
How many men doth this rebellious Duke command?
MESSENGER:
A host, my lord, outnumbering our guard
By three to one. They come with haste and fury.
MALCOLM:
(His fear replaced by rage and resolve)
Then let them come! The crown I seized with blood,
I shall defend with iron and with fire!
Toby, assemble all our loyal men.
We ride to meet this upstart ere the dawn!
If I must lose this throne, then I shall fall
With sword in hand, a king, not a mere slave
To shadows and the ghosts of my own guilt.
To arms! To arms! The battle calls for blood!
[MALCOLM rushes out, followed by SIR TOBY and the MESSENGER.]
SCENE II. The rebel camp, near the eastern border.
[Enter DUKE RICHARD and LORD GREY, armed for battle.]
RICHARD:
The wind is with us, Grey, the people swell
Our righteous cause against the tyrant Malcolm.
He sits upon a throne of stolen worth,
His hand yet stained with his own brother's life.
Justice, though slow, arrives with heavy sword.
LORD GREY:
My Lord, the men are restless for the fight.
They speak of Malcolm's cruel and sudden reign,
His taxes high, his justice harsh and swift.
They'll follow you to hell to see him fall.
RICHARD:
Good news, Grey. When the sun doth kiss the hills,
We strike. No mercy for the usurping dog,
Who broke the natural order of the realm.
This war is just, and Heaven smiles on us.
Go bid the captains to prepare their hosts.
By nightfall, we shall feast in Malcolm's hall,
Or sup with heroes in Valhalla's grand abode.
[Exit, determined.]
[END OF ACT I



Here is the start of Act II of the original play The Unquiet Crown, continuing the story with the building conflict and the characters' rising actions.
Act II of The Unquiet Crown
SCENE I. A Hall in the Castle. Morning.
[Enter KING MALCOLM and SIR TOBY with several GUARDS.]
MALCOLM:
The sun doth rise, but brings no warmth to me;
My heart is cold with war's sharp expectation.
Hath Marcus been secured, as I ordained?
SIR TOBY:
He hath, my liege. Within the lower dungeon,
He waits your pleasure and your royal word.
MALCOLM:
Go fetch him here; I mean to question him.
The air is thick with treasons, and I'll purge
This castle of all venomous intent.
[Exit Sir Toby.]
They look on me with eyes that question power,
And whisper that my reign is built on sand.
But blood shall be the mortar of my throne,
And fear, the scepter that I wield with might.
The people's love is but a summer's breeze,
It shifts with every turn of fortune's wheel.
But fear, good constant fear, that stays the course.
If they will not love me, they shall fear.
[Re-enter SIR TOBY with MARCUS, guarded.]
MALCOLM:
So, Marcus, once a friend of highest trust,
A pillar of my new-established court.
How now, does your ambition taste so sweet
That you would risk your head upon a spike?
We hear of letters sent to Richard's camp,
Of promises and oaths of loyalty
To him, the rebel Duke who seeks my crown.
MARCUS:
My King, these accusations wound my soul.
I served your brother well, I serve you now,
With faithful heart and ever-willing hand.
The letters are a forgery, a lie
Contrived by those who envy my estate.
I pray you, judge me not on baseless words,
But on my deeds of service in the past.
MALCOLM:
(To Toby)
His tongue is smooth, built for deceitful ends.
(To Marcus)
Your 'service' is a cloak to hide your shame!
I know you met with Richard's spy, last night,
Beneath the hollow oak, a secret tryst!
Confess thy treason, and a swifter death
May be your mercy. Deny it, and the rack
Shall stretch the truth from your ungrateful bones.
MARCUS:
My lord, I swear by God's most holy name...
MALCOLM:
Enough! I will not hear another lie!
[To Guards]
Take him and hang him from the highest tower,
That all the town may see the price of treason.
Let his body hang until the crows have picked
The flesh from off his bones. Begone!
MARCUS:
You do me wrong, my King! Heaven is my witness!
You are a tyrant, and your end is near!
[Guards drag Marcus out.]
SIR TOBY:
My liege, his death may stir the people more.
He was a man of some respect among them.
MALCOLM:
Respect is naught. When Richard comes to siege,
Their fear of me will keep them at the walls.
Go now, Toby, see my orders done.
We ride to battle with the break of day.
[Exeunt Malcolm and Toby separately.]
SCENE II. A field near the eastern border. The rebel camp.
[Enter DUKE RICHARD and an OLD SOLDIER.]
RICHARD:
The people flock to us, Old Thomas. Look,
More men arrive with pitchforks and with swords.
Malcolm's harsh rule hath made him many foes.
OLD SOLDIER:
They are good hands for harvest, not for war,
My Lord. They lack the discipline of arms.
We need more seasoned men to face the King's guard.
RICHARD:
We have the numbers, and we have the cause!
The King of Burgundy hath pledged his aid;
Five hundred pikemen land upon the coast
By sundown. We are strong enough, Old Thomas.
Malcolm doth quake with fear within his keep;
His guilt doth make a coward of the King.
OLD SOLDIER:
I pray you're right, my Lord. The throne is yours
By bloodright, that we know. But blood must flow
In rivers ere we take it back from him.
RICHARD:
Then let it flow! This night we rest our men,
Tomorrow we shall march upon the castle.
By this time two days hence, the crown is mine,
Or I am dead upon the field of shame.
To arms, prepare the final march to glory!
[Exeunt.]
[END OF ACT II]



SCENE I. The battlefield outside the castle. Mid-day. A loud trumpet fanfare is heard.
[Enter KING MALCOLM, SIR TOBY, and his forces, positioned for battle.]
MALCOLM:
They come! The rebel scum appear at last,
Led by the rogue who claims my rightful crown!
He speaks of bloodright; I shall speak with steel.
Toby, are our lines set firm? The archers ready?
SIR TOBY:
All is prepared, my liege. The men are nervous,
But faithful to your cause and to your gold.
MALCOLM:
(To his troops)
Soldiers! Today we fight not for a king,
But for our lives, our honour, and our land!
That traitor Richard thinks us weak, infirm,
A flock of sheep to slaughter at his will.
We are the lion, boys! We are the wolf!
We guard the den with teeth and with our claws!
Charge hard, strike fast, and send these rebels back
To hell from whence they crawled! For Malcolm! Charge!
[Loud battle cries are heard. Battle ensues with swords clashing. Soldiers fight on stage.]
[Enter DUKE RICHARD and his forces on the opposite side.]
RICHARD:
Upon them, friends! Upon the tyrant's men!
Let justice be our shield, and vengeance, sword!
Drive them like chaff before the winnowing wind!
[The battle rages. Malcolm and Richard meet in the center of the stage for a dramatic single combat. They fight fiercely.]
MALCOLM:
You seek my life, usurper of my peace!
RICHARD:
You stole the crown and stained it with a brother's blood!
Prepare to meet thy maker, tyrant King!
[They fight again. Malcolm is a fierce fighter, but Richard is skilled. Toby fights off two soldiers to protect Malcolm.]
SIR TOBY:
(Shouting to Malcolm)
My liege, we lose the flank! We are surrounded!
MALCOLM:
We must retreat to the castle walls! Fall back!
Fall back, you cowards, lest you all be slain!
[Malcolm's forces begin to retreat in disorder. Richard's forces pursue them.]
RICHARD:
(Shouting in triumph)
The day is ours! The tyrant runs in fear!
Surround the gates! Let none escape our wrath!
[Richard and his men chase Malcolm and Toby off stage.]
SCENE II. Inside the castle gates. The noise of battle continues outside.
[Enter MALCOLM, SIR TOBY, wounded, and a few remaining soldiers. Malcolm is visibly shaken and wounded in the arm.]
MALCOLM:
A rout! A damned, humiliating rout!
My men scattered like frightened autumn leaves.
My pride is wounded more than is my arm.
We are besieged, good Toby, trapped like rats.
What hope remains for us within these walls?
SIR TOBY:
We have strong walls, my liege, and stores enough
To last a month or more. They cannot breach
The stone with ease. We simply must endure.
Send a rider with a plea to Burgundy—
MALCOLM:
Burgundy? Burgundy is in league with Richard!
The messenger informed me yesterday.
We stand alone, an island in a sea
Of hate and just rebellion. This is the end.
The ghosts of those I wronged now dance in glee.
I see my brother's face in every shadow!
SIR TOBY:
My King, collect yourself! A king must show
No weakness to his men. We must plan, not weep.
We can defend the keep.
MALCOLM:
(His eyes wide with madness)
Defend? Defend against the rightful cause?
There is no plan, there is no hope, just death.
The die is cast, the fatal blow is struck.
My soul is forfeit, and my reign is done.
Go, Toby, see the gates are barred most tight.
We meet our fate upon the morrow's morn.
[Exit Malcolm, stumbling. Toby looks after him with pity and fear.]
SIR TOBY:
He loses grip on reason and on life.
A crown of guilt doth make a heavy burden.
Perhaps I should consider my own fate.
The King is lost, and so perhaps am I.
[Exit Sir Toby.]
[END OF ACT III - The Climax]




Act III of The Unquiet Crown
continue
SCENE I. A tent in Richard’s camp outside the castle. Evening. Torches are lit.
[Enter DUKE RICHARD and LORD GREY, reading a dispatch.]
RICHARD:
Good news, my Lord of Grey! The people rise
Within the town, refusing Malcolm's rule.
They seek to parley, offering surrender
If we guarantee their lives and safety.
LORD GREY:
A wise decision by the townsfolk, sir.
Malcolm is a fox trapped in a burning hole.
His forces are diminished, his support
Now all but vanished. The end is very nigh.
RICHARD:
We grant them mercy. They were forced to serve
The tyrant's will. Let them open the gates,
And we shall show them Richard is a just king.
But Malcolm, and that snake Sir Toby,
Shall find no quarter on this field of wrath.
Go, see our terms are met, and keep the watch.
The castle falls by dawn, or I am not
The son of my true father!
LORD GREY:
It shall be done, my liege.
[Exit Lord Grey.]
RICHARD:
(Alone, to himself)
The crown is almost mine. The heavy weight
Of kingship waits my brow. I pray that I
May rule with greater wisdom and less fear
Than did this mad usurper, Malcolm. Power's sweet,
But sweeter still when justly earned and held.
Tomorrow, I reclaim my birthright.
[Exit Richard, with determination.]
SCENE II. A high tower of the castle. Night. A small fire burns in a brazier.
[Enter KING MALCOLM, distraught and dishevelled. He holds a letter.]
MALCOLM:
All is betrayed! The town has turned its back!
They treat with Richard, their delivery
To that same hand that seeks my very life.
(He looks at the letter)
And Toby... my most trusted counselor...
This is his hand that writes to Richard here,
Offering my capture for his own free pass!
Oh, villainy! The deepest cut of all
Doth come from one I called my truest friend.
There is no honour left in this wide world,
Only ambition, cloaked in false pretense.
My God, my God, why hast thou forsaken me?
I murdered sleep, and now I welcome death.
[Enter SIR TOBY stealthily, with a drawn dagger.]
SIR TOBY:
(Aside)
The King doth rave. His wits are gone to pasture.
A mad king is no king, and a dead king
Gives me a better chance to save my neck.
Richard will honour my compact if Malcolm dies.
[Toby approaches Malcolm from behind. Malcolm turns suddenly, his eyes wild.]
MALCOLM:
I know your purpose, Judas! Stand revealed!
Your dagger drawn to finish what the world
Hath started! Traitorous dog!
SIR TOBY:
(Startled, but recovering his composure)
My liege, I meant no harm! I came to guard you!
MALCOLM:
Liar! Thy letter speaks thy foul intent!
Thou art a wretch, a parasite, a worm,
Who feeds upon the carcass of my reign!
[Malcolm draws his sword and lunges at Toby. Toby defends himself.]
SIR TOBY:
You're mad, my King! You see a foe in all!
Stand down, I say!
MALCOLM:
Never! I shall have vengeance ere I die!
[They fight. Malcolm, though wounded and mad with grief, fights with desperation. Toby fights for his life. Malcolm manages to wound Toby gravely.]
SIR TOBY:
(Falling to the ground, bleeding)
A curse upon your name, you raging beast!
I sought but safety!
MALCOLM:
And found your grave! Let all who turn from me
Meet the same fate!
[Toby dies. Malcolm stands over the body, breathing heavily. He drops his sword and stares at his bloody hands.]
MALCOLM:
So many dead. My brother, Marcus, Toby...
The blood will never wash from these two hands.
The bell doth toll for Malcolm. I am ready.
[Sounds of the outer gate being breached are heard offstage, along with shouts of "Richard! Richard is King!"]
MALCOLM:
They come! The final act is here at last.
The stage is set, the audience awaits.
I shall not be a captive in my fall,
But meet it as a king, though damned I be!
[Malcolm picks up his sword and rushes off the stage to meet the attackers.]
[END OF ACT IV]




Act IV of The Unquiet Crown
continue
SCENE I. The courtyard of the castle. Dawn.
[The gates have been forced open. Enter DUKE RICHARD, LORD GREY, and the victorious rebel forces, their banners raised. They are met with cheers from the freed townsfolk.]
RICHARD:
The day is won! The tyrant’s hold is broke!
The castle falls, and justice finds its dawn!
Where is this Malcolm? Doth he hide in fear?
LORD GREY:
His men are broken, scattered to the winds.
We have secured the main keep; only the tower
Remains in question. He must be there, my Lord.
RICHARD:
Then we shall smoke the serpent from his hole!
Go forth and find him! I would face the man
Who spilled his brother's blood for shining gold.
I want him brought before me, here and now!
SOLDIER:
My Lord, we found this man of Malcolm’s court
Within the halls. He is quite dead, sir.
RICHARD:
Sir Toby, was it? A fickle friend of kings.
He switched his loyalties as one would switch
A doublet on a summer's day. A pity.
He died a traitor's death by his own master's hand,
It seems. A fitting end for men who serve
A tyrant's will. Now, find the King!
[Shouts are heard offstage: "Here he is! He comes!" "The King! The King!"]
RICHARD:
Ah, the final player makes his grand entrance.
Let silence reign.
[Enter KING MALCOLM, alone, wounded, his sword drawn. He is bloodied and looks completely defeated, yet defiant in his madness.]
MALCOLM:
(Looking around at the assembled crowd)
The gallery is full. The crowd awaits
The final scene, the curtain and the fall.
Richard, the victor, bathed in righteous light.
And Malcolm, the damned fool who grasped the crown
And found it naught but thorns upon his head.
RICHARD:
Put down your sword, you murderer and thief.
Your reign is over, Malcolm. Yield to right.
Your people hate you, and your men have fled.
MALCOLM:
Yield? Never! I have lived a King, I'll die a King!
I stole the throne with blood, I kept it with despair,
And I shall lose it with a final fight!
My soul is forfeit, but my honour lives!
Come, Richard, end this play and strike the blow
That Heaven meant to strike upon my soul!
RICHARD:
I will not duel a mad and broken man.
Guards, seize him!
MALCOLM:
(Fighting off the guards as they rush him)
No chains for me! No prison walls for one
Who touched the very height of power's peak!
[He fights fiercely, killing one guard, but the others overwhelm him and he is forced to his knees.]
MALCOLM:
(To Richard, gasping for breath)
Strike now, you coward! Finish what you started!
RICHARD:
The law shall judge you, not my vengeful hand.
MALCOLM:
The law? The law is dead when kings make war!
There is no law but power in this world!
[As Malcolm says this, a stray arrow flies from the battlements, striking Malcolm in the chest. He looks down at the arrow, surprised.]
MALCOLM:
A final irony... not by the hand
Of man, but by a chance... a random fate.
The crown... the blood... it fades... to darkness... peace.
[Malcolm falls dead.]
LORD GREY:
He's dead, my Lord. A strange and sudden end.
RICHARD:
So ends the reign of Malcolm the Usurper.
A life of ambition, ending in despair.
Let his body be treated with some respect;
He was once a king, though a flawed and broken one.
(To the crowd and his men)
The war is over. Peace returns to us.
Justice prevails, and order holds the day.
Long live the King! Long live King Richard!
ALL (Shouting):
Long live the King! Long live King Richard!
RICHARD:
(To the sky, a final soliloquy)
The throne is mine. I pray I serve it well.
The ghosts are silent now, but one may wonder
If my own ambition shall one day bring
A similar fate. The stage is set anew.
[Richard places the crown upon his head. The trumpets sound a note of triumph.]
[CURTAIN]



Act V of The Unquiet Crown
[Enter a SOLDIER, dragging the body of SIR TOBY.]
continue
The complete text for the five-act original play The Unquiet Crown, from exposition through to the final resolution (catastrophe), has been provided. The narrative arc is complete.
Generating additional original, full-length 
















































































Lion Of Acre


Here is a new, short, original play by the blogger ibikunle Abraham laniyan in the Shakespearean tradition, titled The Lion of Acre, which concludes with a glorious and victorious end for the hero.
The Lion of Acre
Dramatis Personae:
KING RICHARD: The Lionheart, King of England.
SIR THOMAS: His loyal captain.
SALADIN'S EMISSARY: A Saracen representative.
SOLDIERS: English troops.
SCENE I. The English camp outside Acre, Palestine. The siege is ongoing.
[Enter KING RICHARD and SIR THOMAS, looking at a map.]
KING RICHARD:
This siege doth drag its weary, sun-scorched length,
A test of patience more than English steel.
Saladin holds the walls with stubborn might,
But Acre's fall is written in the stars!
SIR THOMAS:
My liege, the men are tired, the heat doth bite
More fiercely than the coldest English winter.
But their spirit holds. They sing of home and you,
Their lion king, their hope in foreign lands.
KING RICHARD:
Their songs are better than a thousand pikes!
Go, Sir Thomas, see the ramparts strengthened,
And tell the men that victory is near.
The end of battle is near.
[Exit Sir Thomas.]
EMISSARY:
I seek the King, the English Lionheart!
KING RICHARD:
You find him here, in contemplation deep.
Speak, Saracen, what message do you bring?
Hath Saladin finally found his sense?
EMISSARY:
Great King, my master sends a final plea.
The city suffers, women and the weak
Do starve behind the walls of mighty Acre.
He offers terms: safe passage for the folk,
And gold and treasures of a kingly sum,
In exchange for peace and quiet retreat.
KING RICHARD:
(Drawing his sword, which catches the light)
Terms? The only terms now offered
Are English steel and righteous Christian wrath!
The cause is just, the purpose sent from God!
Mercy's softest hand is not offered.
The city falls, by force or by surrender whole!
Go back and tell your master I am coming!
The Cross shall fly above his crescent moon!
[Exit Emissary, quickly and with fear.]
KING RICHARD:
(To his soldiers, who have gathered)
To arms, my friends! The hour is at hand!









(To his soldiers, who have gathered)
To arms, my friends! The hour is at hand!
SCENE II. The battlements of Acre. Later that day.
[A great battle rages. Shouts of "Richard! God for Harry, England and Saint George!" are heard. English soldiers overwhelm the Saracen defenses. The English flag is raised high.]
SIR THOMAS:
The city's taken, Sire! The day is ours!
Your name shall ring throughout the holy land!
KING RICHARD:
(Raising his sword to the sky)
The Lord of Hosts hath granted us this day!
Acre is ours! Justice and faith prevail!
We fought with honour, and we won with grace!
Let trumpets sound a glorious, golden tune,
To mark this hour of triumph and renown!
The world shall know the Lionheart's just might!
This glorious end shall shine for all mankind!
[A mighty fanfare of trumpets sounds. The soldiers cheer wildly, raising their swords in salute to their King. The sun sets in a blaze of gold and red, illuminating the triumphant scene.]
[CURTAIN]


[Enter SALADIN'S EMISSARY, guarded, bearing a white banner.]
[Enter KING RICHARD, victorious, sword in hand, bloody but unbowed. SIR THOMAS follows, cheering





The Merchant 's Mix Up


Here is a new, short, original play by the blogger ibikunle Abraham laniyan in the Shakespearean tradition, a comedy of errors based on mistaken identity, titled The Merchant's Mix-up. It is written in blank verse (unrhymed iambic pentameter).

The Merchant's Mix-up

Dramatis Personae:
ANTONIO: A wealthy merchant of Venice.
BASILIO: A young, handsome suitor.
PORTIA: A clever lady of Belmont.
NERISSA: Her waiting gentlewoman.
CARLO: Antonio's servant.
SCENE I. A street in Venice.
[Enter BASILIO, looking distracted, and CARLO, rushing after him.]
CARLO:
My master, sir, you walk with hurried pace,
As if the very devil were at your heels!
The sun is high; the air is warm and still.
BASILIO:
Peace, foolish Carlo, for my mind is vexed.
Awaits Antonio's word this morn,
Who promised aid to fund a journey hence
To Belmont, where the fair Portia resides.
But he is late, and time, that thief of joy,
Doth steal the precious moments of my hope.
CARLO:
Fear not, my lord, Antonio is a man
Whose word is solid as Venetian stone.
See, yonder he appears, with solemn face.
[Enter ANTONIO.]
BASILIO:
Antonio, my friend! Feared you lost
To market's wiles or sudden stormy news.
ANTONIO:
Good Basilio, forgive my tardiness.
My ships are safe, but business holds me fast.
You spoke of Belmont, and a lady fair.
Hath love thus struck you with his golden dart?
BASILIO:
Indeed, my heart doth yearn for sweet Portia,
A lady of great wealth and greater wit.
Seeks a loan to make a presentation
A worthy sight for such a prize as hers.
ANTONIO:
My coffers are full, and all I have is yours.
Go forth to Belmont, win the lady's grace.
My servant Carlo here shall carry gold
And letters of introduction to her house.
CARLO:
(To Basilio, aside)
Shall be swift as Mercury himself!
BASILIO:
Thank you, sir, a thousand times thank you!
Go to pack my bags and make all haste.
Farewell!
[Exit Basilio, with excitement.]
ANTONIO:
Farewell, and speed you well, my worthy friend.
(To Carlo)
Now, Carlo, mind you follow him straightway
With five score ducats and the parchment seals.
Be swift, good boy!
[Exit Antonio.]
CARLO:
Five score ducats? And the seals? A weighty task!
Shall not fail my master or his friend!
[Exit Carlo, running in the wrong direction.]






SCENE II. A room in Portia's house in Belmont.
[Enter PORTIA and NERISSA, in a state of some confusion.]
PORTIA:
Didst thou see, Nerissa, the messenger
Who came this morning with a letter from
My cousin in the city?
NERISSA:
Did, madam. A dull and simple lad,
Who dropped the scroll and ran off like a frighted deer.
But look upon this script! It speaks of gold,
And of a suitor, Basilio by name,
Who comes forthwith to woo your gentle hand.
And signed "Antonio."
PORTIA:
Antonio? The wealthy merchant? Why, know him not!
But this Basilio sounds a hopeful name.
The letter is confusing, poorly writ.
Seems my cousin's wit is much reduced.
"He sends you gold to aid your worthy cause."
What cause, Nerissa? To be fairly dressed?
My silks are fine; need no merchant's gold.
NERISSA:
Perhaps he means to buy your favour, madam.
But look! A man approaches with a pouch!
[Enter CARLO, breathing heavily, carrying a large purse of gold and the letter.]
CARLO:
My lady Portia? Bring these from Venice!
PORTIA:
Are you the same dull boy who ran before?
CARLO:
Madam, no boy, but Carlo, servant to
Antonio, who sends this gold for Master Basilio!
PORTIA:
(To Nerissa)
For Basilio? A man not yet arrived,
Sends gold to me, via this clumsy fool,
For his own use? A strange and novel suit!
(To Carlo)
Good fellow, keep your gold, for have plenty.
Return to Venice, tell your master there
His friend's arrival is expected soon.
CARLO:
But madam, my master Antonio ordered...
PORTIA:
Go, fly! The air of Belmont needs no fog
From Venice-town. Begone!
[Portia gestures forcefully. Carlo, confused, backs away and runs off, still holding the gold.]
NERISSA:
The man is mad, the letter makes no sense,
And this Basilio must be a strange lord,
Who sends his servant with his money back!
PORTIA:
It is a comedy of errors, friend.
Shall resolve this tangle when the man,
Basilio, doth arrive. Long to meet
This noble suitor who inspires such mess!
Come, let us wait his coming in the garden.
[Exeunt, laughing.]
[CURTAIN]














Short Plays By Black power.part four.

SCENE START]
SCENE I
A dimly lit office late at night. Four programmers are testing a new dating app called "The Loom." LYSANDER and HERMIA are happily reviewing a screen; DEMETRIUS and HELENA are arguing.
LYSANDER
Our matches hold true, Hermia. Our love's reflection
Shines bright within the 'Loom's' wise algorithm.
A perfect match, by data analysed.
HERMIA
Indeed, my Lysander. The code reflects the heart.
I trust the logic of the Loom entirely.
DEMETRIUS
(To Helena, frustrated)
But I despise the Loom! It pins my fate
To Helena, a woman I find... tiresome.
I yearn for Hermia, whose intellect shines bright!
HELENA
And I for you, Demetrius, though you scorn
The metrics that declare we are a match!
The algorithm sees what you refuse to see!
(PUCK, a sprite-like hacker, appears briefly on a monitor screen, laughing silently.)
PUCK
(Aside, to audience)
These mortals, proud of their creation, "Loom"!
They think they've coded love within a room!
A simple glitch, a single line of script,
Shall twist their perfect matches, well and flipped!
I am the Puck, the error in the wire,
And I shall set their digital hearts on fire!
(Puck "types" furiously on a virtual keyboard and disappears. The screens flicker.)
LYSANDER
What sudden surge was that? A power blip?
No matter. Let us test the live environment.
We shall upload our module to the cloud.
(They all agree to test the module in a "forest" server simulation. They log into their VPNs and put on VR headsets.)
[SCENE END]
SCENE II
A virtual, fantastical representation of a forest grove. The programmers, in VR avatars, wander around, lost.
DEMETRIUS
This virtual glade is thick with bugs and thorns!
I am unmatched, alone, and quite confused!
(Puck appears above him in a tree, an unseen observer.)
PUCK
(Aside)
Now for the mischief! A potent little code
To make the next face seen, a sudden love!
(Puck uses his powers. Helena walks toward Demetrius.)
HELENA
Demetrius, I am lost! The code has failed!
(Demetrius looks up, and the 'glitch' takes effect. The algorithm in his 'mind' flips.)
DEMETRIUS
O vision of perfection! Helena, my queen!
My heart, once cold, now burns for thy fair face!
The Loom was right! I was a blind, base fool!
Forgive my scorn! I love thee!
HELENA
(Confused and suspicious)
Art thou mocking me? 'Twas but an hour since
You called me tiresome and fled my sight!
DEMETRIUS
I was in error! A bug in my own sense!
My code is fixed! I worship at thy feet!
(Lysander and Hermia enter from another part of the virtual forest. Puck zips over to Lysander.)
PUCK
(Aside)
Another fool requires a twist of fate!
(Puck casts the glitch on Lysander. Hermia exits a moment later. Helena walks past Lysander.)
LYSANDER
(Staring at Helena, enchanted)
O Helena! What heavenly light is this?
My Hermia is a common, base-born bug!
I yearn for thee! My life, my love, my all!
HELENA
(Angrily)
Now both of you do mock me! Is this sport?
Is there no honour in the realm of code?
HERMIA
(Returning, seeing Lysander ignore her)
Lysander? Have you lost your very mind?
LYSANDER
Away, small Hermia! My new love is tall
And glorious! A masterpiece of form!
I love but Helena!
HERMIA
Aha! The glitch! The module is corrupt!
You steal my love, you tall and lanky cheat!
(The women begin to argue furiously. Demetrius and Lysander declare their undying, sudden love for Helena nearly coming to virtual blows.

PUCK
(To the audience, laughing)
Lord, what fools these data-mongers be!
Their perfect code is chaos, thanks to me!
(The virtual world starts to flicker and crash around them. The four programmers rip off their headsets, shouting over each other in the real world.)
LYSANDER
The module failed! The algorithm is a mess!
DEMETRIUS
My love for Helena was a logic bomb!
HELENA
The Loom has made me wretched!
HERMIA
We are undone!
PUCK
(Appearing on a main screen, smiling)
If we shadows have offended,
Think but this, and all is mended,
That you have but slumbered here,
Whilst the code went with a tear.
Else the Puck a liar calls.
So good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore your ends.
(Puck disappears. The programmers stare at the blank screen, confused but returning to their original senses.)
LYSANDER
My head feels clear. Hermia, my heart remains with thee.
DEMETRIUS
And I for Helena. The glitch is fixed.
(They exit to fix the code, the chaos resolved by morning light.)
[SCENE END]






























































Short Plays By Black power.part three



Silicon’s Caesar (The Algorithmic Empire)
A Short Play in One Act
Characters:
JULIUS CODE: The charismatic founder and CEO of a global platform.
BRUTUS: A trusted board member and friend.
CASSIUS: A manipulative and ambitious board member.
ANTONIA: A public relations expert, loyal to Code.
[SCENE START]
SCENE I
SCENE II
The Boardroom, a dark and imposing space. Code enters, alone, with a single guard.
JULIUS CODE
Good morning, gentlemen. We have a world to shape.
The new algorithm launches in an hour.
BRUTUS
(Stepping forward)
Julius, a word on power and restraint.
JULIUS CODE
Restraint is for the weak, the fearful, the slow.
I move at lightning speed. My will is law.
(Cassius and other board members gather around him menacingly.)
CASSIUS
Thy will be done!
(He stabs Code with a letter opener.)
(Other board members join in the attack. Code fights back, but is overwhelmed. He sees Brutus raise his hand.)
JULIUS CODE
Et tu, Brute? Then fall, ambition!
(He falls dead. The guard runs away in fear.)
(ANTONIA rushes in, horrified.)
ANTONIA
O mighty Code! Are all thy pixels dim?
Thy empire, built on light, now steeped in blood!
BRUTUS
(Standing over the body, trying to regain composure)
We acted for the greater good of all!
For freedom! We did cleanse the state of tyranny!
CASSIUS
(Wildly triumphant)
Proclaim it through the servers, on the feeds!
OmniCorp is free! The Dictator is dead!
(The sounds of the office outside grow into a riotous panic. Alarms begin to sound.)
ANTONIA
Free? You have unleashed a chaos you can't curb!
The public loves him, fools! They saw a god!
Now chaos reigns, the system is unmanned!
The algorithmic empire starts to fail!
(The lights in the room flicker and go out, replaced by emergency red light. The sound of distant sirens grows louder. The conspirators look at each other, realizing their 'freedom' has caused anarchy.)
BRUTUS
We sought control, but only wrought despair.
The power we did slay now rules the air.
A glorious tragedy, a bloody end:
We killed the tyrant, but lost the only friend
Who held the empire stable. Now we fall.
(The room descends into darkness and the sound of global digital collapse.)
[SCENE END]

A Midsummer Night's VPN (The Glitch in the Algorithm)
A Short Play in One Act
Characters:
LYSANDER: A young programmer, in love with Hermia.
DEMETRIUS: Another programmer, currently matched with Helena.
HERMIA: A clever coder, matched with Lysander.
HELENA: A sharp analyst, matched with Demetrius.
PUCK: The mischievous 'glitch' in the dating app's code.
[SCENE START)


































Short Plays By Black power.part two


Ode to the Ozone (The Scientist's Burden)
A Short Play in One Act
Characters:
LADY SYLVIA: A brilliant climate scientist.
LORD ALBAN: Her loving husband, a man of nature and compromise.
THE CHANCELLOR: A political figure representing institutional resistance.
[SCENE START]
SCENE I
A sterile, cold laboratory. Charts of rising temperatures cover the walls. LADY SYLVIA frantically works on a complex equation.
LORD ALBAN
(Entering gently, carrying a covered basket)
Sylvia, my love. The hour is late, the hearth is warm.
Put down your instruments of gloom and dread.
I bring thee supper from the garden patch,
A testament that life doth still persist.
LADY SYLVIA
(Without looking up)
Persist? For how long, Alban? Canst thou say?
My models scream, my data rings the bell
Of doom impending! The ozone thins to thread!
The sea doth rise, the very air doth choke!
I have no time for garden patches now,
For whilst we sup, the world consumes itself!
LORD ALBAN
You see the future, Sylvia, but ignore the now.
Your brilliance, once a light to guide the world,
Becomes a blinding flame that burns your joy.
You are obsessed with proving our decay,
Forgetting all the beauty that remains.
Your flaw is this: You cannot compromise
'Twixt saving all the world, and loving me.
LADY SYLVIA
(Turning to him, her face strained with passion)
And your flaw, Alban, is a fatal comfort!
You fiddle whilst the city burns to ash!
If I must sacrifice my present joy
To save my children's children from the flood,
Then let me be a martyr to the cause!
(THE CHANCELLOR enters, a slick, dismissive figure.)
CHANCELLOR
Lady Sylvia? The Council sends regards.
They’ve seen your latest findings, grave and dire.
Most stirring prose, most fascinating charts.
LADY SYLVIA
Dost thou jest, Chancellor? These are not tales!
This is the truth of our mortality!
What action will the Council take?
CHANCELLOR
(Patronizingly)
Action? We shall form a committee, madam.
We shall debate the fiscal implications,
The market costs, the impact on the purse.
Your science is robust, we grant you that,
But public panic harms the treasury more.
We must compromise the speed of change.
LADY SYLVIA
(Furious)
Compromise? With fire and flood and famine?
You ask a surgeon to compromise the speed
Of cutting out the cancer from the flesh!
Get hence, you political, calculating fool!
The truth you fear will drag you to the deep!
(The CHANCELLOR bows slightly, unphased, and exits. SYLVIA turns back to her work, breathing heavily.)
LORD ALBAN
He is a fool, but you, my love, are mad
To think that passion wins where reason fails.
You have refused the world your gentle touch,
And given it only fire and condemnation.
LADY SYLVIA
The world demands my fire, and fire it gets!
(She resumes her work with frantic energy, ignoring him entirely. Alban places the basket on a table and leaves the room in silence.)
[SCENE END]
SCENE II
Weeks later. The laboratory is in disarray. Papers are scattered. SYLVIA is pale and exhausted. LORD ALBAN enters, his expression set and grim.
LADY SYLVIA
(Looking up, her voice hollow)
The data is complete. The proof is absolute.
We have but one short decade left to act.
The ozone is past saving, only mitigation serves.
LORD ALBAN
(Quietly)
My research on your heart is also done.
The flaw you bear has burnt our love to ash.
You married the apocalypse, not me.
You chose the world's great burden for your spouse,
Ignoring all the life you had at home.
LADY SYLVIA
(Rising in alarm)
Alban, what mean you? I did this for us all!
LORD ALBAN
Nay, Sylvia. You did this for the truth you sought.
You found your proof, but lost your happiness.
I seek a life where joy and breath coexist,
Not in the shadow of the death you see.
I take my leave. Our bond is rendered void.
(He turns and walks out. Sylvia rushes to the window, watching him leave the premises below.)
LADY SYLVIA
(To herself, utterly defeated)
A glorious fool. I saved a world unseen,
And lost the only paradise I knew.
My mind did grasp the stars, the future’s fate,
My heart forgot the simple, present weight
Of love. My tragedy is writ in air:
I saw the void, but did not see him there.
(She sits alone amidst the data of global ruin, a glorious victim of her own prophetic obsession.)
[SCENE END]



The General’s Drone (Titus and the Ghost Pilot)
A Short Play in One Act
Characters:
GENERAL TITUS: A proud and rigid military commander.
LIEUTENANT MASON: A young, principled drone pilot under Titus's command.
THE ADMIRAL: Titus's superior officer.
[SCENE START]
SCENE I
A high-tech military command center. TITUS stands before a large digital map of the world. LIEUTENANT MASON sits at a console, his face illuminated by the green glow.
LIEUTENANT MASON
Aye, general. The Reaper scans the plain.
GENERAL TITUS
We have coordinates. A tented base.
A meeting of their leaders. Take the shot.
This strike shall save a thousand lives of ours.
LIEUTENANT MASON
(Hesitates, looking closer at his screen)
Sir, I observe the heat signatures of children.
A school is nearby. The collateral is vast.
GENERAL TITUS
War is a ledger, Mason, writ in blood.
We weigh our dead against the lives we save.
The leaders of this terror must be stopped.
Their deaths prevent a future, wider war.
Thy hand is clean, Lieutenant. Pull the trigger.
LIEUTENANT MASON
(His voice shaking)
Clean? How can blood be clean when spilt from afar?
We sit in comfort, miles from dust and danger,
Dispensing death like rain upon the grass.
This is not honour, sir. This is a game.
I will not fire.
GENERAL TITUS
(Stiffening with rage)
Rebellion? Insurrection in my ranks?
I gave an order! By the laws of arms,
Thou shalt obey! Thy judgment is not thine
To question strategy!
LIEUTENANT MASON
My conscience is my master, General Titus.
And it forbids this murder. My pride in service ends
When service asks for infamy and shame.
I will not fire.
(THE ADMIRAL enters, having heard the commotion.)
GENERAL TITUS
(To Mason, pointing a finger)
This boy refuses duty! Claims the kill
Is murder! He doth sully our good name!
ADMIRAL
(To Mason, coldly)
Lieutenant, you are relieved and under guard.
(To Titus)
General, your command is rigid, true,
But your great flaw is hubris—that you think
That war remains the noble, field-fought thing
Of ancient texts. It changes, Titus. It is cold,
Efficient, and sometimes requires an iron will
That crushes questions. You failed to enforce the will
Of power. You let emotion cloud the post.
GENERAL TITUS
I tried to force the shot! He is the rebel!
ADMIRAL
No matter. The order was not done. You failed.
(To a guard)
Arrest the boy.
(Mason is led out. Titus stands alone, defeated.)
GENERAL TITUS
My honour bleeds.
[SCENE END]
SCENE II
A stark, bare cell where MASON is held. TITUS enters, stripped of his insignia.
LIEUTENANT MASON
General? You are cashiered?
GENERAL TITUS
Aye, boy. They found me wanting in the art
Of modern, heartless war. They found me weak,
Because I failed to make you kill. My pride
Was in my power to command obedience.
I thought my hands were clean, that distance wiped
The blood away. But you, with your refusal,
You made it real. You made the killing personal.
LIEUTENANT MASON
I could not do it, sir. The children’s faces...
GENERAL TITUS
(Nodding slowly)
I know. My hubris was the screen between
My soul and the true horror of the fight.
I was a glorious fool, who thought that war
Could be commanded without moral cost.
They will execute you for your noble heart,
And me, they will forget for being weak.
(A guard enters with a warrant.)
GUARD
General Titus, the Admiral requires you now.
Lieutenant Mason, prepare your soul for judgment.
GENERAL TITUS
(To Mason, a newfound respect in his voice)
Your ghost will haunt the halls where I once strode.
You are the tragic hero of this age,
Who sacrificed his life for simple grace.
I am the villain, spared to live in shame.
Farewell, brave pilot.
(Titus exits, head bowed. Mason faces the guard with dignity.)
LIEUTENANT MASON
My conscience is my crown. My death, my peace.
[SCENE END]











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Short Plays By Black power.part one



The Moor of Manhattan
A Short Play in One Act
Here is a play based on the query:
Characters:
ANTONIO: (The Moor) A man of color, newly appointed CEO of a major financial institution. Noble, yet prone to self-doubt.
IANUS: (The Ancient) A trusted, yet bitter, subordinate who desires Antonio's downfall.
DESDEMONA: Antonio's wife, a woman of grace and integrity.
RODERIGO: A foolish young analyst, obsessed with gaining influence.
[SCENE START]
SCENE I
A highly modern office, high above Manhattan. ANTONIO stands alone, looking out a vast glass window at the city lights. IANUS enters quietly.
ANTONIO
(To himself)
These towers stand as silent monuments
To men who grasped the sky without a qualm.
Yet I, who hold the helm of this great ship,
Do feel the concrete yield beneath my foot.
Is 't merit, or a mere caprice of fate,
That places a poor Moor within this seat?
IANUS
(Aside, to audience)
Aha! The seed of doubt doth sprout at last!
He is a noble fool, this new-made chief,
Whose skin is darker than the common herd's,
And thus more prone to question his own worth.
He hath supplanted me, an honest man
Of longer service, for this gilded chair.
I’ll plant such weeds within his garden fair
That he shall choke upon his own success.
(Aloud)
My Lord Antonio, a moment’s pause?
ANTONIO
Ianus, good ancient, welcome. Speak thy mind.
Dost thou bring news of market volatility?
IANUS
Nay, sir, the market holds steady. 'Tis the mind
That proves a wilder, more unstable plain.
I merely came to praise your quick ascent;
A wondrous thing, how quickly merit shines!
ANTONIO
Thou mock'st me, man. I know the common talk:
That I am but a symbol, a new flag
To wave for virtue's sake before the press,
Whilst wiser heads should manage the account.
IANUS
Who speaks such venom? Some base, envious rogue,
Who sees the worth the Board doth place in you.
Though truth be told, some wonder at the pace.
Not of your rise, but of your… acceptance here.
ANTONIO
Acceptance? Speak plainly, rogue. What acceptance?
IANUS
(Feigning reluctance)
Oh, nothing, nothing. Mere office whispers, sir.
A fool named Roderigo, whom you know,
Doth prattle of your rapid trust of all,
Especially of one so white, so pure,
As the Lady Desdemona, your fair wife.
ANTONIO
My wife? What word hath this base Roderigo spread?
IANUS
Only that she, being of purest white,
And you, sir, of a starker, different hue,
Might find the chasm of your worlds too deep.
He claims she pines for men of her own kind.
'Tis vicious stuff! Dismiss it from your mind.
ANTONIO
(His composure breaking)
Dismiss it? When the serpent coils his tail
Around the very pillar of my life?
Desdemona! A soul as white as snow!
Yet… are we matched? Do I deserve her grace?
Am I a savage still, though clad in silk?
Get thee hence, Ianus. Leave me to my thoughts.
IANUS
(Aside)
The hook is set. The poison takes its hold.
(Aloud)
I take my leave, my lord. Remember not
This idle chat. Keep strong.
(Ianus exits. Antonio stares at his reflection in the glass.)
ANTONIO
My honor bleeds. My mind is now a chaos.
If I am less a man than others here,
Then she must see it, too. And seeing it, despise.
Oh, farewell peace of mind! Farewell content!
I must have proof! The proof must be as strong
As the stock market's foundation.
If she be false, let all the city burn!
[SCENE END]


SCENE II
ANTONIO's private office, later that evening. DESDEMONA enters, holding a framed photograph of their wedding day.
DESDEMONA
Antonio, my lord? The dinner waits below.
You labour hard. Your brow is writ with care.
ANTONIO
(Turning sharply, his face strained)
Care is my mistress now, my only love.
Come hither, wife. Look in this mirror here.
(He gestures to the window reflection)
What dost thou see? A beast? A foreign thing?
A Moor who stole thee from thy proper place?
DESDEMONA
I see my husband, whom my soul adores.
My strength, my guiding star, my everything.
What dark conceit hath seized your noble mind?
ANTONIO
(His voice rising, full of self-loathing)
Dost thou not tire of my dark company?
Dost thou not look upon these men of state,
These pale-faced princes of the financial realm,
And wish that I were more akin to them?
DESDEMONA
This is madness! I know no difference in men,
Save for the heart and honour that they hold.
Yours is the best of all. Who poisoned you?
ANTONIO
(Seizing her arms)
Ianus, the honest ancient, spoke the truth!
He said that Roderigo doth declare
You sigh for others! That I am not enough!
DESDEMONA
That is a lie so black, it shames the night!
Roderigo is a fool, and Ianus is a knave!
You doubt my love because you doubt yourself!
ANTONIO
(Letting go of her, defeated)
Aye, there's the rub. My heart, my hue, my place.
I am an outsider, raised up high to fall.
My merit was a loan, not a true wage.
I saw my difference as my strength, but now
I see it as the cause of all my woe.
(A Policeman enters with RODERIGO in cuffs.)
POLICEMAN
My Lord Antonio, this man we found,
Rambling without the tower, confessing all!
He claims that one named Ianus bade him lie
About your wife, to plant the seeds of doubt,
And bring your honour crashing to the ground!
We have the texts, the notes, the evidence!
(Antonio stares, first at Roderigo, then at Desdemona, then at his hands.)
ANTONIO
A glorious fool. A monumental ass!
I let a whisper tear my world apart.
My fatal flaw was not my shade of skin,
But my belief that I was worthy of their hate!
Ianus, the villain, saw my fragile pride
And used it as a weapon 'gainst my soul.
DESDEMONA
My love, 'tis past. The truth is plain as day.
ANTONIO
Not past, my Desdemona, but revealed.
The villain's caught, but I am still the fool
Who trusted rumour more than my own heart.
(He looks out the window, at the vast, indifferent city)
The office sleeps, the market is secure,
But in the Moor's own breast, there is a war.
My reign here ends tonight. I have no trust
To lead these men, who whisper in the dark.
My resignation waits upon the desk.
The fall is swift, when one doth doubt one's right.
The Moor of Manhattan sinks into the night.
(ANTONIO puts on his coat and takes DESDEMONA's hand. They exit, leaving the office empty.)
[SCENE END]




The TikTok King (King Viralus)
A Short Play in One Act
Characters:
VIRALUS: (The King) A young man of charisma, obsessed with fame and vanity.
AEMILIA: (His Confidante) His sober sister.
CHORUS: Representing the 'Followers' or 'The Masses'.
[SCENE START]
SCENE I
A modern room, bathed in bright, artificial ring-light. VIRALUS preens before a camera mounted on a tripod. He wears extravagant robes.
VIRALUS
(To the Camera/Audience)
Good den, brave subjects of my wide domain!
What news? What jests? What challenge shall we seize?
Five millions strong! A kingdom built on light,
Where every smile a thousand hearts doth win!
CHORUS
(Voiceover, loud and immediate)
Huzzah! Huzzah! Long live the King of Views!
We love you, Viralus! More light! More news!
VIRALUS
(Bowing to the camera with a flourish)
Your grace doth humble me! I live for thee!
(He turns off the camera, the room darkens slightly. AEMILIA enters, carrying a simple book.)
AEMILIA
Brother, I pray you, step away from that bright ring.
Your eyes are sore, your voice is hoarse with strain.
VIRALUS
Sore eyes? Hoarse voice? A necessary tax,
For every view a jewel in my crown!
Dost thou not hear the roar of my domain?
Aemilia, I am loved, adored, consumed!
I am the moment! I am the very breath
The world doth take!
AEMILIA
(Sighing)
You are a prisoner to a fleeting fancy.
The love you speak of is a pale, thin light,
It warms you not, nor keeps the wolves at bay.
They love the image, brother, not the man.
When the mask cracks, the love will turn to scorn.
VIRALUS
Scorn? Never! My smile is flawless, my content divine!
I am eternal in the digital sky!
I have dismissed the counsel of old men,
Who speak of substance, truth, and genuine toil.
Vanity is my strength, Aemilia, not my flaw!
AEMILIA
Vanity is a mirror that reflects the void.
Be warned, my lord. The higher you ascend
The pedestal of public adoration,
The sharper falls the shard when you do break.
VIRALUS
(Dismissively)
Away with prophecies of doom! I must prepare
A new masque for my people. Something grand,
A feat of daring, a spectacle of self!
More light!
(He switches the ring light back on with a blinding flash. Aemilia shakes her head and exits.)
[SCENE END]