Below we present the complete text of Extortion; episode 2 of The Alligator Menace.
THE ALLIGATOR MENACE
EPISODE #2 – EXTORTION
An original audio drama and fun dinner party idea
by Philip Craig Robotham
Cover Illustration by Miyukiko
Edited by Margaret Wilkins
Copyright 2013 Philip Craig Robotham
Creative Commons Attritubution Non Commercial No Derivatives (CC BY-NC-ND 4.0) Edition .
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Series #1: The Alligator Menace
Trent Stone and Tess Carter are in Star City to participate as junior members in the League of Adventure Seekers annual dinner. However, when the dinner — and a number of other key events throughout the city — is broken up by a horde of remotely controlled albino sewer alligators, Trent and Tess are launched into a dangerous game of cat and mouse with an insane genius bent on controlling the city’s underworld. In order to overcome this villain our heroes must navigate a dangerous world of organized crime bosses, gang war, exploding alligators, and weird science. Can they locate the villain before his plans reach their fruition? Tune in to “The Alligator Menace” and experience this exciting adventure for yourself.
Episodes in the Host Your Own “Old Time Radio Drama” series are designed to provide a fun dinner party experience for 6–8 participants. Read along, taking on the role of one or more of the characters in the story, and listen as the exciting drama unfolds. This is the theater of the mind, where the special effects are only limited by your imagination, and your participation will build a memory that you’ll treasure for years to come.
THE ALLIGATOR MENACE
NARRATOR: The Narrator
TERESA CARTER: Our heroine and reporter
TRENT STONE: Our hero and adventurer
TONY WELLS: Detective and League supporter
WALTER DOOGAN: Police Chief and League opponent
RICKY (THUG #1): Thug employed by Jerry Falcone
GAUCHO (THUG #2): Thug employed by Jerry Falcone
JERRY FALCONE: Mob boss
CINQO TAVOLI: Thug employed by Dillon Tremere
BYSTANDER: A bystander at the fundraiser
SFX: 1 SFX artist required
SCENE 8: EXT. — THE PENDLETON GALLERY (TERESA, WELLS, TRENT)
145. MUSIC:  (BRIDGE) OPENING THEME MUSIC — LET IT FINISH
146. NARRATOR: Ludicrous though it sounds, Star City has been prey to an attack by remotely controlled albino sewer alligators and our heroes (Trent Stone and Tess Carter) are being escorted by Detective Tony Wells to the Pendleton Gallery in search of their missing friends; Martin and Tegan Rodriguez.
147. SOUND  SOUND OF CAR PULLING UP
148. TERESA: Good Lord! It looks like a disaster area.
149. WELLS: The ground floor collapsed into the basement. It’s what gave the alligators such easy access from the sewers.
150. TRENT: How many people were hurt?
151. WELLS: Lots of the attendees suffered scrapes and bruising, but no one was seriously injured except for those who were carried off. According to witnesses, the creatures struck with clockwork precision, some working to isolate their targets from the main group, while others picked out the victims and dragged them away. I know it’s impossible but the animals seemed to know exactly who they were after.
152. TRENT: Maybe not so impossible, Detective Wells. If the alligators which attacked at the League’s dinner were anything to go by, the creatures which struck here were being controlled by machines that sent signals directly into their brains.
153. WELLS: Mind control? Are you nuts?
154. TERESA: Is it really harder to believe than that someone trained all these animals to simultaneously attack three separate targets with military precision?
155. WELLS: (DOUBTFULLY) I guess it’s a theory anyway.
156. TRENT: Can we see inside?
157. WELLS: Sure. Come this way.
158. MUSIC:  (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH
159. TERESA: [CUE] What a mess. It’s almost like I imagine your apartment looks, Trent!
160. TRENT: Funny girl. Are those scorch marks on the walls?
161. WELLS: Yeah. It looks as if some kind of explosive was used to bring down the floor.
162. TERESA: What’s the bet that when you raise the floor you’ll find exploded alligator parts underneath.
163. TRENT: We won’t know until they have a chance to get some heavy machinery in here, but I’m willing to bet your hunch is right, Tess. Those scorch marks are consistent with small explosives, and the notion of alligators back-packing the charges into the basement ahead of the main attack doesn’t seem unreasonable. Let’s use that ladder to get down inside and take a closer look.
164. TERESA: I’m right behind you, boss. It’s a good thing I’m wearing an evening dress. I’d hate to have come unprepared.
165. TRENT: Quit your griping. You think I’m thrilled about clambering about in all that dust in this monkey suit.
166. TERESA: Well at least yours is a rental. Hey, what’s that down there?
167. TRENT: It looks like there’s something moving at the bottom of that elevator shaft.
168. TERESA: Good grief. It’s an alligator. It looks like it fell down the shaft and got left behind.
169. WELLS: It must have been knocked out by the fall. And the machine on its back appears to be damaged.
170. TERESA: Well, it’s awake now. Stone, grab that plank.
171. TRENT: Good idea, Tess… everyone get back… there we go…
172. SOUND:  CLUNK OF PLANK ON CONCRETE
173. TRENT: … look out, here it comes…
174. SOUND:  ALLIGATOR GROWLS, SCRABBLING CLAWS ETC.
175. TRENT: Now, quickly. Follow it into those tunnels. Don’t get too close.
176. TERESA: (MIMICKING TRENT) “And don’t lose it either.” (BEAT) Yeah. Yeah. We know the drill.
177. MUSIC:  (BRIDGE) ACTION SCENE ENDER — LET IT FINISH
178. SOUND:  WALLA — SOUNDS OF HURRIED FOOTSTEPS THROUGH ECHOING TUNNELS; ALLIGATOR GRUNTS AND GROWLS IN THE DISTANCE — PLAY UNDER UNTIL NEXT SOUND
179. WELLS: This is a maze down here. Keep your torch on that thing.
180. TERESA: Wow it’s fast. It can really move on those little legs.
181. TRENT: So long as we keep pace with it, and so long as luck is on our side, we should be able to track it back to its lair.
182. WELLS: Wait a minute. What’s that ahead? It looks like a…
183. TRENT: Yes, a dead end. I’m not sure I want to deal with one of these things when it’s cornered. Those jaws can crush bone.
184. TERESA: Me either. But look, it’s taking to the water.
185. SOUND:  SPLASH OF ALLIGATOR ENTERING WATER
186. TERESA: It’s swimming under the wall. We’re going to lose it.
187. TRENT: Damn it! There must be a way through. Check the walls.
188. TERESA: Over here. This brick is loose. Whoah!
189. SOUND:  SOUND OF STONE ON STONE AS HIDDEN DOOR SWINGS OPEN
190. TRENT: Lookout, the wall is opening up. Good job Tess!
191. MUSIC:  (BRIDGE) ANTICIPATORY SCENE ENDER — LET IT FINISH
192. WELLS: [CUE] What is that… some kind of chamber?
193. TRENT: Yes, with a bunch of corridors exiting it. I think I can also make out some cages hanging from the roof, three by the look. Bring that light over here.
194. WELLS: It looks like we’ve lost that alligator.
195. TERESA: Uh-huh, there are just too many tunnels coming off this chamber. It could have taken any of them, and now that it’s in the water there are no tracks to follow either.
196. SOUND:  MUFFLED YET URGENT SOUNDS ISSUING FROM ONE OF THE CAGES — TEGAN TRYING TO SPEAK THROUGH A GAG
197. TERESA: (ALARMED) Oh Trent, look! The cages aren’t empty.
198. TRENT: You’re right, Tess. Up near the ceiling… I think that cage is holding Martin Rodriguez… and he looks badly injured.
199. TERESA: And that cage hanging at waist height… I think it’s holding Tegan, but she’s bound and gagged.
200. WELLS: There’s a cage on the ground too, with the gate open… Oh my Lord, are those human remains?
201. TERESA: Oh, how awful!
202. TRENT: Don’t look, Tess! Someone has been using the cages as a way to feed the alligators. It looks like none of the animals themselves are around at the moment, however.
203. TERESA: Speaking of not being around. I thought there were five victims. Assuming the remains in the lower cage belong to just one person (and that cage could hardly have fit more than one) then we are still missing two victims.
204. WELLS: Thank God for small mercies. Well, surely our first job is to free the people we’ve found already.
205. TRENT: Yes of course. I think I can jimmy the lock on Tegan’s cage.
206. SOUND:  TEGAN’S MUFFLED CRIES GROW MORE DESPERATE THROUGH THE GAG
207. TRENT: Tegan, it’s alright. It’s me, Trent. We’ll have you out of here in just a second… (GRUNTS)
208. SOUND:  CLANG OF LOCK BREAKING AND FALLING TO THE FLOOR
209. SOUND:  SOUND OF AN ARCING ELECTRICAL DISCHARGE — UNDER
210. SOUND:  MARTIN SCREAMS THROUGH HIS OWN GAG AS HE IS ELECTROCUTED BY THE TRAP — OVER
211. SOUND:  (BEAT) TEGAN WAILS THROUGH HER GAG AS SHE SEES HER HUSBAND DIE — OVER
212. WELLS: Good Lord, it’s a trap. The other cage was electrified to respond when this one was opened. Rodriguez just took 5000 volts. He’s dead!
213. TRENT: Martin, oh no! Tegan, let me get the gag out of your mouth…
214. TEGAN: You fool Trent! I was trying to warn you. The man in the wheelchair said if anyone tried to set me free, Martin would be electrocuted. He’s killed Martin and it’s all your fault! It’s all your fault (BREAKS DOWN SOBBING).
215. TRENT: Tegan, I…
216. WELLS: It’s alright, Stone, you couldn’t have known. I’ll get her out of here.
217. SOUND:  SOUND OF SOBBING WOMAN BEING HUSTLED AWAY CRYING “GIVE ME BACK MY HUSBAND! PLEASE! GIVE HIM BACK!”
218. MUSIC:  (BRIDGE) DESPAIRING SCENE ENDER — LET IT FINISH
219. SOUND:  AMBULANCE WAILS IN BACKGROUND — ESTABLISH THEN FADE UNDER
220. BYSTANDER: (AWAY FROM MIC) Was that the body of the millionaire they just brought out? He looked like he was badly burned. I thought it was supposed to be alligators that got him.
221. SOUND:  WALLA — MURMUR OF ONLOOKERS — FADE IN AND UNDER
222. TERESA: (GENTLY) Trent? Trent? You couldn’t have known. It wasn’t your fault.
223. TRENT: Yes it was, Tess. I could have looked more closely. I might have seen the wires. Instead I went blundering in like an elephant. And now Martin is dead.
224. TERESA: But Trent…
225. WALTER DOOGAN: (INTERRUPTING ROUGHLY) You’re damned right he’s dead. And I’d be holding you personally responsible if I wasn’t absolutely certain one of my own officers had invited you here.
226. TRENT: Commissioner Doogan! I take full responsibility for what’s happened. None of your officers were involved…
227. DOOGAN: (ANGRILY) Don’t try to cover for my men. You’ll only make things worse. I want you out of my crime scene right away. And if I ever see your vigilante faces again I’m going to put you in jail, understand me, boyo?
228. TRENT: Why you son of a…
229. TERESA: (HOLDING TRENT BACK) No Trent! He wants you to take a swing at him. It’s all the excuse he needs.
(TO DOOGAN) You’re the boss, commissioner. We’ll leave.
230. DOOGAN: Well then? Why are you still standing there? Get the hell out!
231. MUSIC:  (BRIDGE) TRAGIC SCENE ENDER — LET IT FINISH
232. TERESA: [CUE] Well, that could have gone better… I guess we should find Tegan and pay our respects.
233. TRENT: I’m not sure that would be a good idea just now. They were sedating her when they put her in the ambulance.
234. TERESA: Oh. Then where to now? It feels like we’re at a dead end… Hey, what’s this car pulling up beside us?
235. SOUND:  SOUND OF A CAR PULLING UP AND DOORS OPENING
236. RICKY (THUG #1): Hey, you two. Are you part of that “League of Adventure” group?
237. TRENT: Yeah, that’s right. What do you want?
238. RICKY: Our boss would like a few words with you.
239. TRENT: Oh, and who is your boss?
240. RICKY: Mr Jerry Falcone.
241. TERESA: The gangster?
242. GAUCHO (THUG #2): Mr Falcone is an honest business man… and he don’t like to be kept waiting.
243. RICKY: Yeah that’s right. So are you coming along quietly, or are we gonna have to persuade you some?
244. TRENT: Not that I’d mind an opportunity to beat up a couple of hired goons in cheap suits right now — especially given the day I’ve been having — but we’ll play along.
245. RICKY: Then lean up against the car. Mr Falcone doesn’t like his visitors to come packin’.
246. TRENT: We’re not armed.
247. RICKY: Yeah, well. Nuttin’ personal but we gots to do our jobs.
248. MUSIC:  (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH
249. RICKY: [CUE] Mr Falcone, your guests are here.
250. JERRY FALCONE: Send ’em in, Ricky.
251. RICKY: Sure boss.
252. TRENT: I take it you wanted to see us, Mr Falcone.
253. FALCONE: Sure, sure. I see you’ve met my boys. Ricky’s the gabby one.
254. TERESA: And the other one?
255. FALCONE: Miss Carter, isn’t it? The other one’s Gaucho. He’s company for Ricky.
256. TRENT: And now that the introductions are over, why have you brought us here?
257. FALCONE: Well, Mr Stone… or can I call you Trent?
258. TRENT: Mr Stone is fine.
259. FALCONE: Fair enough. Well, Mr Stone, I seem to find myself in need of your services.
260. TERESA: We don’t work for crooks, Mr Falcone.
261. FALCONE: Is that so? Well, it’s a good thing that I’m just an honest business man then, ain’t it? Besides, this is the kind of thing you do-gooders live for. Take a look at the note I got this morning.
262. TERESA: (READING SLOWLY) “If you ever want to see Jocelyn alive again deliver two hundred thousand dollars to the end of the sewer tunnel accessed from the corner of Fourteenth and Cumberland at TEN A.M. today.”
263. TRENT: That’s just over an hour from now. Who’s Jocelyn and why haven’t you contacted the police?
264. FALCONE: Jocelyn’s my daughter. She hangs out with the social set and was grabbed at last night’s fundraiser.
265. TERESA: I wouldn’t have thought a mob boss’s daughter would be very welcome among the social set.
266. FALCONE: (ANGRILY) Business man! And Jocelyn don’t know nothin’ about the family business. I keep her out of it. On top of which, it’s because of these… misunderstandings… regarding what I do for a living that I can’t call in the cops.
267. TRENT: We’ll let that slide for the moment. Why involve us, and not your own people?
268. FALCONE: There’s been some strange stuff happening lately and I’m not sure I can trust everyone in my organization. My daughter is too important to me to trust this to any of my knuckle-heads, so I’m bringing in some outside help.
269. TRENT: I see… How did you receive this note?
270. FALCONE: An alligator slithered up out of the sewers and dropped it on my front porch around three am. It was wrapped in a bloody piece of Jocelyn’s dress. Two of my guys saw it and woke me up.
271. TRENT: And what do you want us to do about it, Mr Falcone?
272. FALCONE: I want you to deliver the ransom. I want you to get my daughter back. Here’s the bag. The money’s all in there.
273. TERESA: Wow. You keep this much cash on hand?
274. FALCONE: No. I’ve had the boys gathering it since the note arrived this morning… and don’t get any funny ideas. I’ll know if the money don’t reach its destination. You either bring my daughter back or bring back the money. You come back empty handed and… well, I’ll leave the rest to your imagination.
275. TERESA: You’re assuming we’re willing to go along with this?
276. FALCONE: Well, like I said. You’re do-gooders. Ain’t that right, Mr Stone? And besides, I’ll owe you a favor. Not something any old Joe in this town can say.
277. TRENT: And if we refuse?
278. FALCONE: (WITH FINALITY) No one refuses an offer from me! Understand? No one.
279. TERESA: Well, it’s a good thing for us we don’t leave innocent girls in the hands of lunatic kidnappers.
280. FALCONE: Yeah well… Just don’t mess this up, okay? As for “the lunatic kidnapper”… once Jocelyn’s okay, finding this guy will be my boys’ top priority.
Ricky! Gaucho! Give these fine folks a lift down to Fourteenth and Cumberland. Make sure you don’t go into the sewers after them — I don’t want anyone messing this up. You wait for them to come back out and bring them back here… got it?
281. RICKY: Sure boss. What if they come out without Jocelyn?
282. FALCONE: You still bring ’em back here, got me? I’ll wanta know exactly what happened.
283. MUSIC:  (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH
284. SOUND:  SOUND OF CAR PULLING UP AND ENGINE IDLING — UNDER
285. RICKY: Hey, what’s that? Ain’t that a Tremere car just ahead?
286. GAUCHO: Yeah, and a bunch of Tremere boys lounging on those steps across the street. This don’t smell right, Ricky.
287. RICKY: You’re telling me! Unless I’m seeing things that’s Cinqo Tavoli climbing out of that car. And with a big bag of dough no less.
288. GAUCHO: Tavoli! That rat! Didn’t he try to cheat the boss before he signed up with the Tremeres?
289. RICKY: That’s about the size of it. Keep those gats handy. This could get ugly? You two get out, but slowly. And keep your hands where everyone can see ’em.
290. TERESA: Who are the Tremeres, Ricky?
291. RICKY: You’re kinda new to this town ain’t ya? The Tremeres are a rival gang. They own the Northern districts. We got the South and East. And the Cordovas have been gaining ground in the West.
292. SOUND:  SOUND OF CAR DOORS OPENING AND CLOSING
293. CINQO TAVOLI: (CALLING FROM A DISTANCE) Hey, what are you ugly plugs doing here?
294. RICKY: No need to get riled. We’re here for the same reason you are, I think.
295. GAUCHO: (MURMURING TO HIMSELF) So the Tremere kid got ’napped too? Hmpf.
296. TRENT: Gaucho?
297. GAUCHO: (PUTTING TWO AND TWO TOGETHER) Someone’s grabbed the kids of the bosses of the two most important outfits in town. Either someone’s got a real serious case of guts… or they’re real stupid.
298. TERESA: Oh-oh. Cinqo’s got a gun.
299. SOUND:  SOUNDS OF NUMEROUS GUNS BEING READIED
300. TRENT: Whoah. Whoah! Let’s remember why we’re here before we go killing each other. Frankly, I don’t much care if you street scum start killing each other but it looks like two lives hang in the balance.
(TO TAVOLI) I take it that your boss’s kid…
301. GAUCHO: (INTERRUPTING HELPFULLY) Marco.
302. TRENT: Thanks… I take it that Marco Tremere has been kidnapped and the ransom was to be brought here.
303. CINQO: (SUSPICIOUSLY). Yeah…?
304. TRENT: Well, so was Jocelyn Falcone. We’re all here to try to get them back alive. Okay?
305. CINQO: (DOUBTFULLY) Hmmm… Alright.
306. SOUND:  SOUND OF GUNS BEING LOWERED
307. CINQO: But I ain’t ever seen you before and I don’t trust you. How do you want to play this?
308. TRENT: Well, you and one of yours, plus me and the girl…
309. TERESA: (STAGE WHISPER) Who are you calling a “girl,” buster.
310. TRENT: (STAGE WHISPER) Not now, Tess. (ALOUD) You and me and the girl take the ransom to the drop and bring back the kids.
311. CINQO: Alright. But I’m going in alone. Are you carrying any hardware?
312. TRENT: No, we’re unarmed.
313. CINQO: Alright, I’m putting my gun down. Let’s go.
314. MUSIC:  (BRIDGE) RISING TENSION SCENE ENDER — LET IT FINISH
315. SOUND:  WALLA — SQUELCHING STEPS, DRIPS, OCCASIONAL SPLASHES — FADE IN AND UNDER
316. TERESA: Ugh! Twice I’ve ended up in the sewers in my evening gown. You sure know how to treat someone to a good time, Stone.
317. CINQO: Cut the chatter, Toots!
318. TERESA: Yeah. And a fine hello to you too, scumbag.
319. CINQO: If you think I’m gonna let a skirt talk to me like…
320. TRENT: You’ll let her talk anyway she wants. Besides we’re almost there. It looks like there’s some kind of chamber at the end of this tunnel.
321. MUSIC:  (BRIDGE) RISING TENSION SCENE ENDER — LET IT FINISH
322. TERESA: [CUE] Holy Smokes, Stone, look at that!
323. TRENT: I don’t believe it. The chamber opens out to overlook a huge underground cliff.
324. TERESA: And down the bottom… Alligators! Lots and lots of alligators!
325. TRENT: What’s that hanging over the chasm?
326. CINQO: Looks like some kind of cage. It is, and yeah, the kids are in there.
327. TERESA: So what now?
328. TRENT: Let’s take a look around, Tess. Hmmm, what’s this pillar over here? It’s got some kind of note on it, made from cut-out news print.
“Place the money on the pillar to retrieve the hostages.” Looks like we have to leave the money here.
329. CINQO: Okay. You first. And don’t try anything funny.
330. TERESA: Yeah, yeah, tough guy. I hear you ratted out your previous boss. What kind of a man does that?
331. CINQO: Why you…
332. TRENT: That’s enough. Let’s just get this over with… There, that’s Falcone’s money. Now you, Tavoli.
333. CINQO: Alright, but I won’t forget this… there.
334. SOUND:  STONE ON STONE AS STONE PILLAR BEGINS SINKING. PULLEY STARTS SQUEAKING AND WHIRRING IN DISTANCE — ESTABLISH AND UNDER
335. CINQO: Hey, what’re you trying to pull. The money… It’s sinking into an opening in the floor.
336. TERESA: Yeah, and the cage is moving towards us. I think we’ve done it. The kids’ll be safe.
337. CINQO: No! That’s four hundred thousand dollars. I ain’t lettin’ the money get away.
338. TRENT: No! Cinqo, you fool! You’ll kill them.
339. CINQO: Got it. See you later suckers.
340. SOUND:  MECHANISM HALTS. CATCH OPENS. SHRIEKING METAL AND A PAIR OF FADING SCREAMS FOLLOWED BY A CRUNCH AS OCCUPANTS FALL TO THEIR DEATHS IN THE PIT BELOW — LET IT FINISH
341. TERESA: [CUE] The bottom fell out of the cage and they’ve fallen to their deaths. The alligators have them. Oh Trent, do something!
342. TRENT: They’re dead already Tess. There’s nothing we can do… except get after Tavoli. Come on.
343. MUSIC:  (BRIDGE) ACTION SCENE ENDER — LET IT FINISH
344. MUSIC:  (BRIDGE) CLOSING THEME AND CREDITS – LET IT FINISH
CASTING SHEETS — MAJOR CHARACTERS
NARRATOR: Hello, I am your narrator. I introduce the cold stormy nights on which our stories take place, the dark alleys, and darker personalities who inhabit the lonely city. It is my job to set the scene and establish the serious tone of suspense and intrigue that will carry the story forwards. It is also my job to remind listeners of what came before in a calm, trustworthy voice, and ensure that everyone is oriented to where we are and where we are going.
TRENT STONE: Hello, I’m Trent Stone, Adventurer. I’m always in command of the situation (except perhaps, when it comes to Tess — who can easily throw me for a loop). I say things like “indeed,” “hmmm,” and “I see” a lot, and speak in a way that friends of Clark Kent would find very familiar. I’m smart, observant, and quick to use my fists when required (but never impulsive). I sound like Joe College but I’m blue collar through and through. My lack of higher education is something of an embarrassment to me (but I’d never let on).
I’m aware of Tess’s flirting, and occasionally I wonder if it’s more than just a way to keep entertained on the job — mostly I just ignore it and keep on working.
TERESA CARTER: Hiya. Everyone calls me Tess. I’m the take-no-prisoners sort who can hold her own in the man’s world that is the concrete jungle of Star City. I’m college educated but have a mean right hook. I’m a reporter by training and a stickybeak by inclination — this tends to get me in trouble. Curious, playful, and smart, that’s me! But I’m also painfully honest, easily moved by the troubles of others, and as protective as a tigress of my friends. I secretly have a thing for Trent (who’s a bit of a stuffed shirt and easily embarrassed by flirting). We both pretend it’s not there for the sake of the job, but I can’t help occasionally feeling a bit wistful.
TONY WELLS: I’m a detective in a city full of liars, cheats, killers, and con-men. You’d think that would have made me a cynic. And I guess it has a little. But underneath the hard-boiled exterior I actually give a damn. I do this job because I want to keep people safe from the animals and predators who roam the dark side of the city. I believe in heroes, or at least I want to believe in them. I’m still not sure about Stone and Carter. They cross a lot of lines… but then so do I.
WALTER DOOGAN: I’m Walter Doogan, but you can call me Commissioner… or sir. I’ve worked hard to get where I am and I’ve had to boot a lot of heads along the way. There’s no such thing as a free lunch and, if you cross me, you’ll absolutely live to regret it. I’ve a mean streak a mile wide and I’m well practiced at keeping those mealy mouthed politicians and bleeding hearts out of the business of protecting people from the low-life who roam the city. There are three things in this world that I hate: politicians, criminals, and vigilantes.
JERRY FALCONE: I’m number one in this town. The Tremeres and the Cordovas may think they’ve got outfits that can rival me, but I still control the biggest territory and the most mobsters, and that’s the way it’s gonna stay. I don’t take any lip and I’m old enough and cautious enough to see the value in keeping the peace. I’ve got a daughter. She’s got nothing to do with the family business and she’s the apple of my eye. Anyone hurts her and… well, it’s better left to the imagination what I’d do to ’em.
CINQO TAVOLI: So I like to hurt women, kids, and small animals? What of it? You think I care what the likes of you thinks. I takes my pay and does what I’m told. That idjit Falcone didn’t appreciate me. He thought I went overboard on one of my jobs — feels I “enjoy it too much,” that I “make too much noise.” What does he know? I like my job. I’m good at my job. And if getting the job done involves a bit of mess from time to time, well I deserve a bit of fun, don’t I? If you’re squeamish you shouldn’t be in this business.
CASTING SHEETS — MINOR CHARACTERS
ALL THUGS: Life’s tough all over. Honest jobs are hard to come by. But I’m not like the saps who sit around doing what they’re told. I take what I want. So I break a few heads along the way? What of it? I’m good at it. I don’t have to think too much and… hey, what are you lookin’ at?
BYSTANDER: I was just passing by see, and then, boom, free entertainment! Sirens, cops, fire trucks, ambulances. You name it. And here I am front and center for the biggest news event of the year so far.
ABOUT THE AUTHOR
Philip Craig Robotham grew up in a house full of books and has held numerous jobs as a teacher, computer programmer, graphic and web designer, e-learning consultant and, most recently, writer. He currently lives in Sydney, Australia with his wife and two sons. When he was younger and fitter he enjoyed martial arts, but in recent years his hobbies have tended towards more sedate fare (board games, movies, books, and role-playing games).
He is extremely grateful for the encouragement he receives from his biggest fans — his wife and two boys — all of whom read and enjoy his scripts and in general make his life worth living.
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This post and all its content is copyright © 2013 Philip Craig Robotham and has been released under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) license. This play cannot be reproduced, shared, or performed commercially without the written permission of the author. The production of derivative content, merchandise, or creative works and materials is expressly forbidden under this agreement. However you may share, reproduce, and perform this play freely so long as authorship is acknowledged, no money changes hands, and the play is not modified in any way.