The Alligator Menace Archives - Host Your Own Old Time Radio Drama

The Alligator Menace – Episode 4 – Portrait of Villainy

Philip Robotham — Fri, 27 Nov 2015 20:55:11 +0000

Below we present the complete text of Portrait of Villainy; episode 4 of The Alligator Menace.

The Alligator Menace – Episode 1 of our Pulp Adventure Serial

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

THE ALLIGATOR MENACE

EPISODE #4 – PORTRAIT OF VILLAINY

An original audio drama and fun dinner party idea

by Philip Craig Robotham

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Creative Commons Edition

CC by-nc-nd 4.0

This play is licensed under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) International license. This play may not be commercially reproduced, performed, or sold. Non-commercial production, performance, and reproduction are allowed under this license so long as attribution is maintained. No derivative content or use is allowed. It can be freely shared in its current form (without change) under this license. If you would like to purchase one or more copies of this work (for your own personal non-commercial use, or to help financially support the author) then please return to https://www.weirdworlstudios.com and purchase your own copy. Thank you for respecting the hard work of this author.

Other works by this author can be found at the author’s website: http://www.weirdworldstudios.com or through select, online book retailers.

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

CAST LIST

NARRATOR: The Narrator

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

MIRIAM RIBBENSBERG: President of the League

THE TECHNOMASTER: aka John Whistler (Villain)

THEO TYRONE: Coroner

SFX: 1 SFX artist required

EPISODE 4: Portrait of Villainy

SCENE 25: INT. CORONER’S COOL ROOM
(TERESA, THEO, TRENT)

514. MUSIC [80] (BRIDGE) OPENING THEME MUSIC — LET IT FINISH

515. NARRATOR: NARRATOR: Someone in Star City is manipulating events to create a gang war between the major crime families… but who, and for what reason? Our heroes (Trent Stone and Tess Carter) have followed what few clues they have found to the coroner’s office in the hope of tracking down the master criminal behind all the recent mayhem.

516. TERESA: [CUE] A bit undignified, isn’t it, laying them out on tables like so many slabs of meat.

517. THEO: The dead don’t care. But that isn’t what I want you to see. It’s these alligator corpses.

518. TRENT: There’s not much left.

519. THEO: Admittedly, but I was able to examine the brain and the stomach contents of each. See this machine I recovered. It was plumbed directly into the motor control region of one of the creature’s brains. And this small metal card with various bumps and grooves in it, I believe this provided the instructions the animal was required to follow. Very ingenious, and requiring no small amount of work to produce in quantity.

520. TERESA: Looks like you were right, Stone. It is some kind of mechanical mind control.

521. THEO: But that’s not all. There have been rumors for some time that a nest of the beasts is hidden somewhere near Pevensey Street. I never gave it much thought — people are always claiming to have seen this or that around the city and it’s usually just tall stories. But the homeless avoid the area unless they’re desperate for a place to stay. Lots of people have supposedly gone missing there, but, of course, with so many transients passing through looking for work it’s hard to determine whether a disappearance equals a missing person or simply someone who has moved on… and the police have higher priorities than looking into every report that comes in from the homeless community.

522. TERESA: (WRYLY) I’m sure.

523. TRENT: Yes, but what has this to do with your findings?

524. THEO: Just this. In the stomach of one of the alligators I found…

525. TERESA: A wallet?526. THEO: That’s right. It belonged to a homeless man named Herbert Whitman. He disappeared last week. Some of the folk at Indigo Park reported it. They said he had gone to stay in the abandoned Pevensey Street Mission. There is a regular soup kitchen on the street in front, and, despite all the warnings, some of the homeless try to sleep there in order to be early enough to get a meal before the food runs out. His meal ticket for the soup kitchen is still inside.

527. TRENT: This could be just the break we were looking for.

528. TERESA: At the very least it links the alligators used in the commission of these crimes with a specific location.

529. TRENT: Thanks, Dr. Tyrone. We’ll check it out.

530. THEO: Don’t mention it… and be careful. The bullets haven’t started flying yet, but once the gangs start shooting it out, this town will be a dangerous place to be out and about in.

531. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 26: EXT. PEVENSEY STREET MISSION (LATE AFTERNOON)
(TRENT, TERESA)

532. TRENT: [CUE] So Tess, what do you think?

533. TERESA: Ugly looking place, isn’t it? Hard to believe it was a mission once. It’ll take some work to get inside too. Look at all those boarded-up doors and windows.

534. TRENT: Then we’d better get started. I’m willing to bet though, that if this place was being used as a regular squatters’ residence by the homeless, some of those boards will swing back fairly easily.

535. TERESA: Hey you’re right. These boards do shift easily.

536. SOUND: [59] SOUND OF WINDOW BEING RAISED

537. TERESA: Yep, we can get in here.

538. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 27: INT. PEVENSEY STREET MISSION (MINUTES LATER) (TERESA, TRENT)

539. TERESA: [CUE] This isn’t what I expected, Stone.

540. TRENT: What do you mean?

541. TERESA: Well, look at this corridor we’re standing in. This place is supposed to have been abandoned for some time, right?

542. TRENT: Yeah, so?

543. TERESA: So, where’s all the dust?

544. TRENT: Hmm. (URGENTLY) Tess, don’t move!

545. TERESA: What? Why?

546. TRENT: I think this is some kind of trap.

547. TERESA: Hang on then, I’m coming back over to you.

548. TRENT: No, wait!

549. SOUND: [60] SOUND OF SOMETHING CLICKING INTO PLACE

550. TERESA: Oh no, the floor’s falling away. Aaaah!

551. TRENT: Whoah!

552. SOUND: [61] SLIDING SOUND AS CRIES TRAIL OFF INTO THE DISTANCE

553. MUSIC: [75] (BRIDGE) CLIFFHANGER SCENE ENDER — LET IT FINISH

ACT 3

SCENE 28: INT. CAGE OVER THE ALLIGATOR PIT WITHIN THE SEWERS (AN UNKNOWN PERIOD OF TIME LATER)
(TRENT, TERESA, TECHNOMASTER)

554. SOUND: [12] WALLA — SLIGHT CREAKING AND SWAYING NOISE — FADE IN AND UNDER

555. TRENT: (GROANING) Tess, are you alright?

556. TERESA: Hmmm? Yes, I think so. What happened?

557. TECHNOMASTER: (LAUGHING VILLAINOUSLY) You “fell,” quite literally, into my clutches.

558. TERESA: I know that voice. You were on Claire’s tape. You’re the villain who’s behind this mess.

559. SOUND: [62] RATTLING OF CAGE BARS

560. TRENT: Let us out, you fiend!

561. TECHNOMASTER: Such cliché? Really? You needn’t bother trying to escape. The bars of the cage you’re in are of tungsten steel. Have you worked out where you are, yet?

562. TERESA: Oh, no! We’re hanging over the alligator pit.

563. TECHNOMASTER: Yes, that’s right. And you know what happens when I set this mechanism in motion, don’t you? You’ve seen it once before. It must be galling to realize my hideaway was just over the other side of the chasm you saw those poor “mob brats” fall into this morning.

564. TERESA: You’re a madman!

565. SOUND: [63] SQUEAKING NOISE OF WHEELCHAIR APPROACHING

566. TECHNOMASTER: (ANGRILY) I’m not mad, you pathetic little worms. Everything I have done has served a highly rational purpose. I am the Technomaster, the master of machines, and my brilliance has kept me well ahead of your pathetic League and your own floundering attempts to determine what has been going on!

567. TERESA: Look, he’s coming into the light. It’s a man, hooded and cloaked… in a wheelchair!

568. TRENT: (STAGE WHISPER) I’ll try to keep him busy, Tess. See if you can figure out the mechanism.

(TO TECHNOMASTER) We’re not so foolish as you believe. We found you, didn’t we? A petty little coward hiding in the sewers doesn’t seem so much.

569. TECHNOMASTER: Ha! Don’t flatter yourselves. You are my prisoners! That hardly strikes me as a victory on your part.

As for my disability, you know nothing of what I’ve sacrificed. I was on my way to greatness when the Great War came along, a research scientist and inventor par excellence. I did my part and signed up, but a bullet in the back put an end to my days on two legs. A bullet in the back, mind you! (BITTERLY) I was hit by a stray bullet from our own side. And when I returned? Well, I was an embarrassment. I received a letter of thanks for my service, a medal — in the mail — and a tiny pension. That was all the thanks I got from my country.

No one wanted to hire a maimed researcher. I lost my home, my lab, the respect that was rightly mine, everything.

570. TRENT: So that’s what this is? A cry for attention from a poor little man who hasn’t been appreciated enough?

571. TECHNOMASTER: Don’t mock me. I have lost everything.

572. TRENT: And so have the people you’ve killed. You don’t really expect sympathy from us, do you?

573. TECHNOMASTER: No, I didn’t expect you would understand. But, still, my plan is greater than simple revenge on the society which has so failed me. My sights are set much higher.

574. TRENT: Yes, how so?

575. TECHNOMASTER: See that machine behind me. See its connection to the sewer pipes. Every pipe in the city connects with these junctions at some point.

576. TRENT: So?

577. TECHNOMASTER: Sound, Mr. Stone! Sound!

I’m sure you are aware that sound is simply vibration. The vibrations of speech travel through the air and, however faintly, strike metal objects — like pipes. The pipes then transmit the sound along their lengths.

578. TRENT: Ah, the blackmail scheme. So is that your grand scheme? You’re nothing more than a listener at keyholes. But surely, it would be impossible to detect and separate all the vibrations traveling down the pipes.

579. TECHNOMASTER: Ah, but that is my genius. I have created a machine which can discern and separate even the smallest and weakest vibrations which travel through these pipes. I am not here, hiding in the dark, Stone. Rather, I have been gathering every dirty secret uttered in this city, and I have been growing rich keeping them on behalf of the city’s elite. I have now grown rich enough to put the next part of my plan into motion.

580. TRENT: And what might that be?

581. TECHNOMASTER: Control of the city’s underworld of course. I will be receiving a cut from almost every criminal enterprise in the city.

582. TRENT: Almost? That’s right, your deal is only with the Tremeres and Falcones. That leaves the Cordovas outside your little net, doesn’t it?

583. TECHNOMASTER: Not for long. The gang war everyone is talking about will happen. But not in the way anyone expects. With Dillon Tremere and Tommy Boscone in charge, the Tremere and Falcone organizations will unite and destroy the Cordovas. The Cordovas are too new and not nearly strong enough to hold their own in this contest. In the end, I will be making money from every criminal enterprise in the city.

584. TRENT: And is that what this has all been about? Money?

585. TECHNOMASTER: Again, your thinking is too small, too limited. Money is but a tool. Still, I shan’t be telling you everything. I want you to die frustrated that you were unable to unravel my plans… and die you will.

Once I pull this lever…

586. SOUND: [64] SOUND OF LEVER PULLING AND TICKING BEGINS — CONTINUE UNDER

587. TECHNOMASTER: …the timer will be underway. In just over an hour my pets will gather to be fed. They will flood into the chasm below and, exactly fifteen minutes later, you will be dropped into the pit to serve as their dinner.

I hope you like alligator… I’m sure they will enjoy you! (SINISTER LAUGHING)

588. SOUND: [65] SQUEAKING OF WHEELCHAIR TRAILS OFF INTO THE DISTANCE

589. TRENT: He’s gone, Tess. Did you find anything?

590. TERESA: Not much. These locks seem to be electrical but the wiring is encased in these metal tubes.

There doesn’t seem to be any way to halt the mechanism or timer.

591. TRENT: Electrical, you say? Do you remember what Cinqo Tavoli called this gun that I’ve been carrying in my pocket?

592. TERESA: An electrical disrupter! (BEAT) But what if you use it and it triggers the mechanism early?

593. TRENT: I think we’ll have to take the risk. I can’t think of any other options.

594. TERESA: Alright. Just give me a moment to get a good grip on these bars.

595. TRENT: Okay, if I can just aim this at the control mechanism over on the ledge…

596. SOUND: [31] SOUND OF ELECTRICAL DISCHARGE

597. SOUND: [67] TICKING STOPS, FOLLOWED BY SOUND OF WHIRRING GEARS AS THE CAGE STARTS MOVING

598. TERESA: I think it worked. The cage is being winched back to the ledge.

599. SOUND: [68] SOUND OF LOCKS RELEASING

600. TRENT: Whew! That was close. Let’s get out of here and see if we can’t get this “Technomaster” before he does any more damage.

601. MUSIC: [72] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH

SCENE 29: TUNNELS WITHIN THE TECHNOMASTER’S LAIR (MOMENTS LATER)
(TERESA, TRENT)

602. TERESA: [CUE] Cosy little place he’s got here. Is that a bedroom through there?

603. TRENT: Looks like it. There’s a desk with a journal and what looks like a ledger on it.

604. TERESA: We’ll need to come back for those.

605. TRENT: Yes. What we want right now is his lab. I’m willing to bet that’s where he is. These insane genius types just can’t stand to be away from their experiments for very long.

606. TERESA: There’s a light coming from that chamber up ahead. He could be in there.

607. TRENT: Okay, but quietly. We don’t know what other surprises he might have up his sleeve.

608. MUSIC: [75] (BRIDGE) SUSPENSEFUL SCENE ENDER — LET IT FINISH

SCENE 30: INT. THE TECHNOMASTER’S LABORATORY
(TERESA, TRENT, TECHNOMASTER)

609. TERESA: [CUE] (STAGE WHISPER) This chamber is huge. Look at all this equipment.

610. TRENT: Yeah. There are crates of those electrical disruptor guns… all ready to be shipped out by the look.

611. TERESA: And what’s that over there? A shelf full of control harnesses for the alligators.

612. TRENT: Well, I’ll give him this much, he’s been an industrious little madman.

Look over there, between those shelves. I think that may be him working at that desk.

613. TERESA: You’re right. Let’s see if we can take him by surprise.

614. TRENT: I think you’d better get behind me, Tess. We don’t know what other kinds of weapons he may have.

615. TERESA: Well, just this once. But only because I don’t have a weapon of my own.

616. TRENT: Don’t worry, Tess, your tough-girl image is safe with me.

(LOUDLY) Don’t move, Technomaster! I’ve got you covered!

617. TECHNOMASTER: What? It can’t be! I had you trapped.

618. TERESA: You wouldn’t be the first villain to ever underestimate us.

619. TECHNOMASTER: Is that so? Then I hope you’re fast on your feet. (GRUNTS WITH EFFORT)

620. TRENT: Tess, get back. He’s pulling those shelves down on us.

621. SOUND: [69] HUGE CRASH OF FALLING SHELVES

622. TERESA: Oh my. That was close. But, look, he’s getting away down that corridor.

623. TRENT: He’s heading back towards the pit… and that machine he’s carrying… I’ll bet it’s the controls for directing the alligators.

624. TERESA: We’ve got to stop him before he calls them. Otherwise, we’ll be up to our elbows in the animals.

625. TRENT: You’re right, come on.

626. MUSIC: [72] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH

SCENE 31: INT. TUNNELS WITHIN THE TECHNOMASTER’S LAIR (TERESA, TRENT, TECHNOMASTER)

627. TERESA: [CUE] (PUFFING) He’s really moving!

628. TRENT: Yes, this tunnel’s on a slight slope and that chair of his is really gaining speed.

629. TERESA: That would explain why he’s veering so wildly from side to side.

630. TRENT: That and his own terror. He’s none too brave when facing people without the backup of his creatures…

631. TECHNOMASTER: Turn, damn you. Turn! No! (WAILING SCREAM TRAILS OFF)

632. TERESA: He shot out over the edge! He’s fallen into his own pit.

633. SOUND: [70] FAINT ALLIGATOR GROWLS AND ROARS

634. TRENT: Well, I guess that ends the threat posed by the “Technomaster.”

635. MUSIC: [79] (BRIDGE) TRIUMPHANT SCENE ENDER — LET IT FINISH

SCENE 32: INT. MIRIAM RIBBENSBERG’S SUITE
(TRENT, TERESA, MIRIAM)

636. SOUND: [13] WALLA — SOUNDS OF DINNERWARE, CUTLERY ETC. — ESTABLISH AND UNDER

637. TRENT: Well, Miss Ribbensberg, I mean Miriam, that sums it up. We destroyed his listening machine… I’m pretty sure no one should have the power to invade people’s privacy like that ever again… and we burned his ledger of secrets. The guns are in the hands of the police — and I think Commissioner Doogan now hates us more than ever — and the Technomaster is gone.

638. TERESA: Apparently he was a war veteran, Lt. John Whistler. Before the war, he was an up-and-coming inventor and physicist. His injuries and the Wall Street crash put an end to his dreams.

639. TRENT: Nobody was recovered so we assume he was eaten. Without the control mechanism, the alligators have dispersed. No one is sure where they have gone. Unfortunately, we couldn’t prove Claire’s claims regarding collusion between Tommy Boscone and Dillon Tremere in the murders of Jerry and Jocelyn Falcone, and Eadie and Marco Tremere. I guess we’ll just have to see what happens as far as the gangs of Star City are concerned.

640. MIRIAM: And what of your friend Tegan? How is she handling things?

641. TERESA: Not so good. She’s refusing to see us. We got back to the house to find most of our belongings had been thrown out into the street. Much of it had been taken already by the homeless.

642. MIRIAM: I’m sorry, my dear, but you do look lovely in the gown I lent you.

643. TERESA: Yes, thank you, Miriam. After three separate trips into the sewers my own gown, aside from being ruined, was more than a little ripe.

644. MIRIAM: Well, thank you for the report. Marianne and I will be leaving in the morning but I need to say a few things to you before we go.

Whatever this affair set in motion has not yet reached its conclusion. My sister tells me that this is not over and that the threat she has been sensing, while reduced by your efforts, has not yet been neutralized.

There is a significantly bigger game in play than what has so far been revealed. I need to ask you to stay on a little longer. Perhaps even make this city your base for the foreseeable future (if you will pardon the pun).

Given your circumstances, I am arranging for you to have this suite when I vacate it tomorrow. And the League will cover the cost of replacing your possessions, of course.

645. TRENT: That’s extremely generous.

646. MIRIAM: Think nothing of it. We need you here. In fact, the world needs you. This threat has not yet been vanquished and, until it is, the League of Adventure Seekers stands ready to support you.

647. MUSIC: [81] (BRIDGE) CLOSING THEME MUSIC — ESTABLISH, FADE UNDER AND CREDITS

###

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 forward. 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.

MIRIAM RIBBENSBERG: Good evening, I am Miriam Ribbensberg, the mysterious and beautiful President of the League of Adventure Seekers. While I display all the feminine graces, men are often surprised to discover I am a world-renowned aviatrix and coordinate an organization numbering almost 600 members. I am politically astute, unabashedly honest, and courteous in all circumstances. It is impossible to get me riled. If ever my enemies do succeed in killing me, I will die with composure and dignity.

THE TECHNOMASTER: You think of me as a villain, but you know nothing of what I’ve sacrificed. I was on my way to greatness when the Great War came along, a research scientist and inventor par excellence. I did my part and signed up, but a bullet in the back put an end to my days on two legs. A bullet in the back, mind you! I was hit by a stray bullet from our own side. And when I returned? Well, I was an embarrassment. I received a letter of thanks for my service, a medal — in the mail — and a tiny pension. That was all the thanks I got from my country.

No one wanted to hire a maimed researcher. I lost my home, my lab, the respect that was rightly mine, everything.

But, I remain a genius! And compared to the brainless, worthless, peons roaming this pathetic little city, I am a god. I will have my revenge and everyone will be forced to grovel at my feet.

THEO TYRONE: I’m the impeccably dressed and well-mannered Coroner of Star City. That means I spend my time with dead bodies. The dead keep no secrets from me. What I do is intimate and unpleasant, and I am long past attributing any dignity to the corpses which cross my tables. I occasionally forget how traumatic it can be to encounter my workplace if you have spent your life sheltered from the ugliness of death and, even when I attempt to show sympathy, it comes off a little hollow and my natural impatience shines through. Try not to waste my time.

###

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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.

The Alligator Menace

The post The Alligator Menace – Episode 4 – Portrait of Villainy appeared first on Host Your Own Old Time Radio Drama.

The Alligator Menace – Episode 3 – Gang War

Philip Robotham — Fri, 20 Nov 2015 18:59:26 +0000

Below we present the complete text of Gang War; episode 3 of The Alligator Menace.

The Alligator Menace – Episode 1 of our Pulp Adventure Serial

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

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

Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) Edition.

CC by-nc-nd 4.0

This play is licensed under a Creative Commons Attribution Non-Commercial No Derivatives (DD BY-NC-ND 4.0) International license. This play may not be commercially reproduced, performed, or sold. Non-commercial production, performance, and reproduction are allowed under this license so long as attribution is maintained. No derivative content or use is allowed. It can be freely shared in its current form (without change) under this license. If you would like to purchase one or more copies of this work (for your own personal non-commercial use, or to help financially support the author) then please return to http://www.weirdworlstudios.com and purchase your own copy. Thank you for respecting the hard work of this author.

Other works by this author can be found at the author’s website: https://weirdworldstudios.com or through select, online book retailers.

Series #1: The Alligator Menace

THE ALLIGATOR MENACE

CAST LIST

NARRATOR: The Narrator

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

RICKY (THUG #1): Thug employed by Jerry Falcone

GAUCHO (THUG #2): Thug employed by Jerry Falcone

RUDY (THUG #3): Thug employed by Jerry Falcone

JERRY FALCONE: Mob boss

CINQO TAVOLI: Thug employed by Dillon Tremere

CLAIRE TEMPLETON: Crime Reporter

TOMMY BOSCONE: Traitorous lieutenant to Falcone

DILLON TREMERE: Mob boss

THE TECHNOMASTER: aka John Whistler (Villain)

THEO TYRONE: Coroner

SFX: 1 SFX artist required

SCENE 18: INT. SOMEWHERE IN THE SEWER TUNNELS — LATER
(TERESA, TRENT)

342. MUSIC: [80] (BRIDGE) OPENING THEME MUSIC — LET IT FINISH

343. NARRATOR: Our heroes (Trent Stone and Tess Carter), press-ganged by the Falcone Crime family into handling the ransom drop aimed at recovering the Crime Boss’ daughter from her kidnappers, have just been betrayed by a small-time crook named Cinqo Tavoli who has absconded with the ransom money. The kidnap victims have plunged to their deaths into an alligator pit while Cinqo has retreated into the sewer tunnels where our heroes have given chase.

344. TERESA: [CUE] Stone, where did he go?

345. TRENT: (FROM A DISTANCE) He’s not down here.

346. TERESA: Damn it. Who’d have thought the little scumbag could be so slippery.

347. SOUND: [43] DISTANT SOUND OF TEARING FABRIC

348. TERESA: Hey! What’s that noise?

349. TRENT: Look, Tess, up there. It’s Tavoli. He’s climbing a ladder up that shaft. He’s nearly at the surface.

350. TERESA: But the strap on that bag of his doesn’t look like it will hold.

351. SOUND: [44] DISTANT RIPPING AND CRY OF “NO!” FROM TAVOLI

352. TRENT: In fact there it goes. The whole bag is dropping.

353. TERESA: But he’s still got the other one and… aw, he’s gotten away.

354. SOUND: [45] THUMP OF HEAVY BAG FULL OF MONEY HITTING GROUND

355. TRENT: Well, at least we’ve recovered Falcone’s money. I hate to think what would have happened if we’d come out of these sewers without his daughter and without the money.

356. TERESA: And I’m pretty sure Tavoli will live to regret this day once we tell Falcone what happened.

357. TRENT: I guess we’d better get out of here then.

358. MUSIC: [76] (BRIDGE) RESIGNED SCENE ENDER — LET IT FINISH

SCENE 19: EXT. CNR OF CUMBERLAND AND FOURTEENTH STREETS — MID-DAY
(TERESA, RICKY, TRENT, GAUCHO)

359. TERESA: [CUE] (COUGHING) Daylight at last, hey, where’d everybody go!

360. RICKY: What took you so long? The Tremeres took off shortly after you went down into the underground. It’s only me and Gaucho here now. Did you find the girl?

361. TRENT: Yes. But she’s dead. We nearly got her back but Tavoli tried to steal Falcone’s money. There’s nothing left. She was eaten alive.

362. RICKY: That rat Tavoli! The boss’ll go nuts.

363. GAUCHO: And Tavoli was working for the Tremeres?

364. TRENT: Yeah. But the Tremere kid died as well. My guess is Tavoli’ll try to pin it on us.

365. GAUCHO: This’ll mean a gang war.

366. RICKY: Great! It’s about time we taught those Tremeres a thing or two.

367. GAUCHO: No. You dummy! A gang war’s bad for business. Nobody wins except the undertaker.

368. TRENT: (MUSING) I wonder if that wasn’t the kidnapper’s aim all along.

369. RICKY: What? Aw, come on. We better get you two back to Mr. Falcone.

370. MUSIC: [73] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 20: INT. FALCONE HQ — EARLY AFTERNOON
(FALCONE, TERESA, TRENT, RICKY, GAUCHO)

371. FALCONE: [CUE] Dead? My little girl is dead? And that insect, Tavoli, is responsible? The Tremeres are responsible?

372. TERESA: We brought your money back, Mr. Falcone.

373. FALCONE: What? Money? I don’t care about the money! I want my Jocelyn… But you’re right, I’ve got to start thinking straight. The Tremeres are probably moving already. We need our boys here, now!

374. TRENT: Mr. Falcone, a war isn’t going to bring her back.

375. FALCONE: You think I don’t know that? The Tremeres are going to be coming for us whether I act to protect my interests or not. Tavoli will have told them that you caused this by now and Eadie Tremere is going to hold me responsible. Eadie loved nothing in this world like she loved that boy of hers. He was all set to take over the business from her when she retired. She’ll send everything she’s got at me.

As for you… well, she’s going to want you two bad. I’m almost inclined to give you up to her except it wouldn’t change anything — and I owe you for coming back and bringing me the news.

376. TRENT: I guess we could have run.

377. FALCONE: Yeah, but you didn’t. I owe you some thanks for that. I’ll get you out of town. There ain’t nowhere in this town that Eadie won’t find you, so I’m going to send you to the railway.

Boys! Take these two to Grand Central and see they get on a train. Then get back here right away.

378. RICKY AND GAUCHO: Yes Boss!

379. FALCONE: In the meantime, I need to get hold of Tommy.

380. TERESA: Tommy?

381. RICKY: Yeah, Tommy Boscone. He’s the number two guy around here. Answers to no one but the boss. They’ll be wanting to have a war council.

382. GAUCHO: And before you ask, Eadie does her own planning. That idiot brother of her dead husband, Dillon, is officially the second in command over there, but everyone knows the title’s just for show. Eadie calls all the shots. Come on, we gotta get you outta here.

383. MUSIC: [77] (BRIDGE) TIME PASSING SCENE ENDER — LET IT FINISH

SCENE 21: INT. GRAND CENTRAL STATION
(TRENT, RICKY, TERESA, GAUCHO, RUDY, CLAIRE, TOMMY, DILLON, TECHNOMASTER)

384. SOUND: [9] WALLA — SOUND OF BUSY STATION NOISES — FADE IN AND UNDER

385. TRENT: Thanks, boys, we can take it from here.

386. RICKY: Don’t thank us. It was six to five we was going to be takin’ you out to the country with some shovels in the trunk — what with the news you brought the boss. Still might, if you don’t get out of town fast. Mr Falcone has a long memory.

387. TERESA: Yeah, but it wasn’t our fault…

388. GAUCHO: Since when has life been fair, sister. Mr Falcone is giving you a break so you’d better take it. Once the bullets start flying you ain’t gonna wanna be in this town anyways.

389. RICKY: Ah, stop it, Gaucho. You sound like you’re at a funeral. We’re gonna cream them Tremeres. What could possibly go wrong?

390. SOUND: [46] DISTANT SOUND OF STARTLEMENT AND RAISED VOICES

391. RUDY (THUG #3): (FROM A DISTANCE) Hey Ricky, Gaucho. Over here. Quick.

392. GAUCHO: Ain’t that Rudy and the boys.

393. RICKY: Yeah, go check it out while I keep an eye on these two.

394. GAUCHO: You got it.

395. SOUND: [47] SOUND OF RETREATING FOOTSTEPS

396. TERESA: That doesn’t look good. They haven’t even bothered to hide their guns.

397. TRENT: (BEAT) Whatever it is, it’s happening fast. Gaucho’s coming back already.

398. SOUND: [48] FOOTSTEPS APPROACH AT A RUN

399. GAUCHO: (PANTING) Bad news. They killed the boss. A bomb at the house. It was packed in on the back of another one of them alligators. Tommy Boscone is calling everyone back there. I think he plans to raid the Tremeres.

400. RICKY: Aw, crap! C’mon then.

401. TERESA: Hey! What about us?

402. RICKY: We ain’t got time for you two anymore. Just get on that train and get outta here. We don’t wanna see your faces again, got it?

403. TERESA: Yeah, we got it.

404. SOUND: [49] SOUND OF RUNNING FEET MOVING AWAY

405. TRENT: Well, Tess. I’m not sure we could have made a bigger mess of things.

406. TERESA: What do you mean?

407. TRENT: I mean, first Martin, then those two kids, and now Falcone. We’ve been standing idly by while people are getting killed all around us. I don’t think this is quite what Miriam had in mind when she asked us to stay in the city.

408. TERESA: True, but you can hardly blame yourself. We’re new to this town. I’m not sure I even understand what’s going on yet.

409. TRENT: Perhaps! But we could’ve anticipated more of what’s been happening and we didn’t. It’s all just escalating out of control.

410. TERESA: We can’t just give up!

411. TRENT: No? If we stay we’re putting ourselves at the heart of a major gang war. The police won’t help us and I’m not sure where we should even begin trying to unravel this mess.

412. CLAIRE TEMPLETON: Maybe I can help you with that.

413. TERESA: What the…? Who are you?

414. CLAIRE: Claire Templeton. I’m a reporter for the Star City Tribune.

415. TRENT: Oh yes, I remember you! I saw your by-line a couple of times in the newspapers we found at the Rodriguez’. You haven’t had much good to say about the League so far, have you?

416. CLAIRE: Well, this is your chance to prove me wrong. I’m in a jam and need your help. I’ve been following you since you went to the gallery this morning.

I can’t go to the cops and I don’t know who to trust at the office. This news is just too big and if I don’t handle it right I’m likely to end up dead.

417. TRENT: Slow down, Miss Templeton. I think you had better start at the beginning.

418. CLAIRE: Alright, Mr. Stone. I’m a crime reporter for the Tribune and I’ve been looking into the blackmail epidemic which has been hitting the city, as well as signs that a gang war has been brewing. Up until now, I thought the two stories had no connection to each other.

First, I was aware that someone has been bringing in new weapons for the Tremeres. Really fancy guns. They don’t shoot bullets, instead, they fire some kind of weird electrical charge.

The police are denying they exist, but my contacts tell me the guns are real. It’s all been kept very hush-hush and only a couple of Dillon Tremere’s lackeys have been reliably seen to be using them.

The thing is though, unconfirmed rumor has it that one or two of Tommy Boscone’s guys have been seen with them as well.

At the same time, a bunch of Star City’s richest families has been hit by scandals. And rumors of a blackmailing racket have been doing the rounds.

I wasn’t able to figure any of it out until I got my hands on this…

419. TERESA: A tape recording?

420. CLAIRE: Yes. A recording of a telephone conversation between Tommy Boscone, Dillon Tremere, and some mysterious third party who I think is supplying the guns, masterminding the blackmail scheme, and even directing the alligator attacks.

Hang on, I’ll turn it on.

421. SOUND: [50] CLICK THEN HISS AND STATIC IN THE BACKGROUND AS THE TAPE PLAYS — UNDER

422. TOMMY BOSCONE: I don’t like this at all. We’re using a damned party line.

423. TECHNOMASTER: Oh don’t worry, Tommy. I’ve taken steps to make sure this line is secure. I’m sure that by now you’ve seen just how far my reach has gotten.

424. DILLON TREMERE:(NERVOUSLY) Sure, sure. You’ve done everything you said you would.

425. TECHNOMASTER: Yes, and more. Dillon, you’ve tested the guns. I’m sure you will agree that they are more than satisfactory. I’ve also seen to it that some of your more vocal opponents have been neutralized by the scandals surrounding the revelation of some of their nastier little secrets.

426. TOMMY: Yeah. The guns are great. And getting rid of those society hypocrites was a good move. But what about the Rodriguez’. Those two do-gooders are squeaky clean. You won’t get a thing on them.

427. TECHNOMASTER: Don’t you worry. I’ve already taken steps to neutralize them. You just need to be ready.

428. TOMMY: So what’s the plan?

429. TECHNOMASTER: At tonight’s fundraiser, while the idiot police and League do-gooders are distracted with their own alligator issues, my pets will strike. I have a plan for dealing with the Rodriguez’ and before dawn, I will have Jocelyn Falcone and Marco Tremere safely caged. Their deaths a few hours later should be enough to spark the gang war you’re looking for.

430. DILLON: Yeah, but what about the rest of it. You promised I’d get control of the Tremere family back again.

431. TECHNOMASTER: Ah, poor Dillon. Passed over in favor of your brother your whole life. And then when your brother died and you thought you had it made, the organization passed into the hands of his wife.

Don’t worry, Dillon, Eadie will be dead before the sun goes down tomorrow, as will Jerry Falcone. You and Tommy will have sole control of the city’s two largest crime families.

432. TOMMY: Yeah, and then we’ll run this town our way. No more stupid rivalry. No more treading on each other’s turf.

433. TECHNOMASTER: Yes, and you won’t forget who handed you the keys to the kingdom, will you boys? I get twenty percent of your monthly take.

434. DILLON: And worth every penny. Assuming you deliver…

435. TECHNOMASTER: Don’t worry. I’ll deliver.

436. SOUND: [51] SOUND OF A CLUNK AS IF SOMETHING NEARBY WAS BUMPED

437. DILLON: Hey, what was that. Sounds like someone’s in my outer office.

438. TECHNOMASTER: Then kill them you fool!

439. SOUND: [52] SOUND OF SPINNING AND CLICKING TAPE REEL

440. TRENT: Oh, so that’s how you got this tape.

441. CLAIRE: Yes, I was hiding in Dillon’s outer office. When he heard me and burst in I jumped out the window. I’m pretty sure he saw my face and knows who I am. I’ve been hiding out ever since.

442. CINQO: But not real well, Toots! You’re not the only one who’s been following these bozos around town.

443. TRENT: Cinqo Tavoli. I might have known. Which rock did they turn over in order to bring you out into the sun?

444. CINQO: Funny guy. But you won’t be smiling soon. This is a gat in my pocket. And so long as nobody tries anything funny, no one’ll get hurt.

445. TERESA: The cheaper the crook, the gaudier the patter. What do you want, Cinqo?

446. CINQO: It ain’t what I want. It’s my boss. He wants that tape. Give it to me and no one gets hurt. But first, head up those stairs. We’re gonna talk somewhere a little more private. On the roof.

447. TERESA: (STAGE WHISPERED) You know he’s going to kill us, don’t you, Stone?

448. TRENT: Yes, he’ll try, but at least if we cooperate we can get him to some place where no other civilians will get hurt.

449. CINQO: Stop whispering you two. Go through that door and onto the roof, pronto.

450. SOUND: [53] SQUEAKY DOOR SWINGS OPEN

451. SOUND: [10] WALLA: LIGHT WIND — FADE OUT

452. MUSIC: [73] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 22: EXT. RAILWAY ROOFTOP (MOMENTS LATER)
(CLAIRE, CINQO, TERESA, TRENT)

453. SOUND: [10] WALLA: LIGHT WIND — FADE IN AND UNDER

454. CLAIRE: Please, I’ll give you the tape. Just don’t hurt anyone.

455. CINQO: Sure, Toots! You’ll give me the tape. But first, we’ve got some other business to attend to. You ever see one of these before?

456. CLAIRE: What is that? It’s some weird kind of gun, but I’ve never seen anything like it before.

457. CINQO: What, you don’t recognize the guns you’ve been writing about in your articles? The boss calls it an “electrical disrupter” gun. I don’t much care what it’s called personally so long as it kills things dead… and it does. Doesn’t just kill ’em either. Burns ’em. Real painful like. See I am gonna have to kill you, Toots! The boss can’t have people finding out it was him that killed Eadie now, can he? And yeah, she’s dead. That ’gator had enough explosive in it that they’ll be pickin’ bits of her brains out of the stonework for eight city blocks.

458. CLAIRE: Oh! (SOBS)

459. TERESA: You coward. Leave her alone!

460. CINQO: Oh, your turn is coming, sweet cheeks. See, I like hurting women. And I can’t leave any witnesses.

461. TRENT: Why you…

462. SOUND: [31] SOUND OF ELECTRICAL ZAPPING NOISE

463. CLAIRE: (SCREAMS) Ahhh!

464. SOUND: [55] SOUND OF CLAIRE’S BODY HITTING THE GROUND

465. TERESA: (APPALLED) He shot her! In cold blood!

466. TRENT: He’s mine, Tess, while his attention is fixed on the girl.

467. TERESA: Look out, Trent. The edge of the building…

468. CINQO: (DWINDLING SCREAM) Ahhh!

469. SOUND: [56] SOUND OF CINQO’S BODY HITTING THE GROUND BELOW THE ROOFTOP

470. TERESA: Oh Trent, Cinqo stepped back off the roof. There’s no way he could have survived that.

471. TRENT: We’ll see to him in a moment. How’s Claire?

472. TERESA: She’s unconscious but I think she’ll be okay. The tape player took most of the blast.

473. TRENT: It looks completely ruined. So much for any evidence we could use.

474. CLAIRE: (COUGHS BROKENLY)

475. TERESA: She’s coming around. Claire… are you alright?

476. CLAIRE: (MOANING SOFTLY) I feel like someone hit me in the chest with a sledgehammer.

477. TRENT: That’s not surprising. You just took one heck of a jolt.

478. CLAIRE: (COUGHING) We need to get to the coroner’s office. Theo Tyrone’s the chief examiner. He’ll be responsible for examining the bodies.

479. TRENT: You mean the bodies of Eadie Tremere and Jerry Falcone. That’s a good idea.

480. TERESA: Yeah, but I don’t think Claire’s in any condition to come with us.

481. TRENT: You’re right, Tess, we need to get her an ambulance… and I want to see if we can recover that gun from Cinqo’s body.

482. CLAIRE: (COUGHING) Well, at least take my keys. My car is in the railway parking lot. Bay twenty-seven C.

483. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 23: EXT. CORONER’S OFFICE (LATE AFTERNOON)
(TERESA, TRENT)

484. SOUND: [57] SOUND OF CAR PULLING UP

485. SOUND: [11] WALLA: STREET SOUNDS — FADE IN AND UNDER

486. TERESA: Well, here’s the Coroner’s office. How’d you go with the gun?

487. TRENT: The weapon I recovered from Tavoli’s body is quite extraordinary. It’s small enough to fit in your pocket, hand-cranked so you can manually recharge it, and carries an enormous payload of energy. I think I’ll hang onto it for a while. We’ve been unarmed in this city full of guns for too long.

488. TERESA: Do you really think we’ll get much help here? After all, we haven’t really been welcomed by officialdom in this town up to now.

489. TRENT: True enough, but we’re running out of options. Every lead we’ve uncovered has either resulted in someone dying… or it’s been destroyed. Besides, Claire seemed to think the Coroner could help us.

490. TERESA: Okay, Stone… and at least the formaldehyde will cover your smell.

491. TRENT: Hmpf. Two trips into the sewers in the last twenty-four hours hasn’t done your bouquet any favors either, you know?

492. TERESA: Don’t I just. I wish we could find an opportunity to get changed.

493. TRENT: Well, if we survive the day we’ll head back to Tegan’s place and see what we can find… If she’ll even see us.

494. TERESA: If we can get the guy responsible for all this, it may bring her some comfort.

495. TRENT: Hmmm. We’ll see. Come on. Let’s get off the street.

496. SOUND: [58] SOUND OF DOOR OPENING AND CLOSING; STREET SOUNDS DROP AND FADE

497. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 24: INT. CORONER’S OFFICE
(TRENT, TERESA, THEO)

498. TRENT: [CUE] Hello. Anyone there?

499. TERESA: Gee, these places give me the creeps. And they’re always so cold.

500. THEO TYRONE: Retards the decomposition process I’m afraid. I’m the Chief Coroner, Theo Tyrone.

How can I help you, folks?

501. TRENT: Ah, Mr. Tyrone, my name is…

502. THEO: Yes, I know who you are, but it would probably be best if we didn’t go shouting it out loud.

The commissioner has declared you persona non grata around here.

503. TERESA: And you?

504. THEO: I like to give people the benefit of the doubt. Detective Wells speaks well of you, and that’s quite a recommendation.

505. TERESA: We seem to have won over Claire Templeton, too.

506. THEO: Claire? She sent you?

507. TRENT: Yes, she’s in hospital having narrowly survived an attack by one of Dillon Tremere’s thugs.

508. THEO: Is she all right?

509. TRENT: She will be. She said you would be handling the corpses of the crime bosses.

510. THEO: What? Yes, that’s right. And not just the crime bosses.

511. TERESA: What do you mean?

512. THEO: I mean, the bodies of the alligators which were used in the assassination have been recovered too.

You may find the results of the autopsies interesting.

513. TRENT: How so?

514. THEO: Well, come with me.

515. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

CASTING SHEETS — MAJOR CHARACTERS

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.

MARTIN RODRIGUEZ: I’m a wealthy industrialist with a vision for the restoration and revival of our city. I am civic-minded and participate in all the philanthropy I can. I am an eternal optimist, always wanting to see the best in people, but this doesn’t mean I don’t understand money and hard work. I’m a sharp investor and I always do my “due diligence.” My financial wits have kept me from being swallowed up in the disaster of the depression and, despite everything, I have even been able to expand my business holdings somewhat.

TEGAN RODRIGUEZ: I’m Martin’s wife and extremely proud of him. He is running a business empire that provides goods, services, jobs, and hope to the people of Star City. He’s occasionally a bit soft-hearted and sometimes a bit too trusting, but no one’s got the better of him yet. For my part, I work with him as an equal partner. We discuss all his business affairs and I weigh in on all the major decisions. But this all happens in the background. In the foreground, I’m the dutiful wife and glamorous hostess of all of Martin’s major social functions. Be warned, however, while I can be extremely charming you don’t want to get on my bad side.

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.

CLAIRE TEMPLETON: I’m the crime reporter for the Star City Tribune. I know everyone in this town from the mayor down to the guys who pick up your garbage at four in the morning. I’m good at my job too, which is why I’m on the run and about as scared as I’ve ever been. I found out something — something I can’t print without ending up dead. I’ve just got to find a way to get myself out of this alive!

TOMMY BOSCONE: Second in command to Jerry Falcone, that’s me. But not for long. I’ve had my eye on the prize from the start and now it looks like I can get my hands on it. But I’m no mug. I know it’s gotta be done right. This Technomaster character reckons he can deliver… and so long as he keeps my name out of it, I’m happy for him to try. There are other ways to get to the top of the ladder. The daughter’s turned me down already — too high and mighty to choose a guy who’s come up through the ranks like her pop did. I guess she’ll get what’s coming to her though. Heh.

DILLON TREMERE: It ain’t fair! The outfit shoulda been mine. Instead, it went to that evil witch Eadie. My brother spends his life lording it over me and then he has to go marry some chorus girl who’s more ruthless than he is. He goes and dies, and she gets the organization. What do I get? Second in charge. I’ve been second fiddle for way too long. Still, she’s gonna get hers. You bet! And then, well, then it’s gonna be my turn to shine.

No one wanted to hire a maimed researcher. I lost my home, my lab, the respect that was rightly mine, everything.

But, I remain a genius! And compared to the brainless, worthless, peons roaming this pathetic little city, I am a god. I will have my revenge and everyone will be forced to grovel at my feet.

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?

###

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, an 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.

Don’t forget to check out the free sample portions of our titles at https://weirdworldstudios.com/product-category/our-products/.

The Alligator Menace

The post The Alligator Menace – Episode 3 – Gang War appeared first on Host Your Own Old Time Radio Drama.

The Alligator Menace – Episode 2 – Extortion

Philip Robotham — Fri, 13 Nov 2015 20:39:43 +0000

Below we present the complete text of Extortion; episode 2 of The Alligator Menace.

The Alligator Menace – Episode 1 of our Pulp Adventure Serial

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

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

Creative Commons Attritubution Non Commercial No Derivatives (CC BY-NC-ND 4.0) Edition .

CC by-nc-nd 4.0

This play is licensed under a Creative Commons Attribution Non-Commercial No Derivatives (DD BY-NC-ND 4.0) International license. This play may not be commercially reproduced, performed, or sold. Non-commercial production, performance, and reproduction is allowed under this license so long as attribution is maintained. No derivative content or use is allowed. It can be freely shared in its current form (without change) under this license. If you would like to purchase one or more copies of this work (for your own personal non-commercial use, or to help financially support the author) then please return to https://www.weirdworlstudios.com and purchase your own copy. Thank you for respecting the hard work of this author.

Other works by this author can be found at the author’s website: https://weirdworldstudios.com or through select, online book retailers.

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.

THE ALLIGATOR MENACE

CAST LIST

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

ACT 2

SCENE 8: EXT. — THE PENDLETON GALLERY (TERESA, WELLS, TRENT)

145. MUSIC: [80] (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 [23] 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: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 9: INT. — THE PENDLETON GALLERY (TERESA, TRENT,WELLS)

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: [24] CLUNK OF PLANK ON CONCRETE

173. TRENT: … look out, here it comes…

174. SOUND: [25] 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: [72] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH

SCENE 10: INT. THE SEWER TUNNELS (WELLS, TERESA, TRENT)

178. SOUND: [6] 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: [26] 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: [27] SOUND OF STONE ON STONE AS HIDDEN DOOR SWINGS OPEN

190. TRENT: Lookout, the wall is opening up. Good job Tess!

191. MUSIC: [78] (BRIDGE) ANTICIPATORY SCENE ENDER — LET IT FINISH

SCENE 11: UNDERGROUND CHAMBER HOLDING THREE CAGES (WELLS, TRENT, TERESA, TEGAN)

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: [28] 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: [29] 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: [30] CLANG OF LOCK BREAKING AND FALLING TO THE FLOOR

209. SOUND: [31] SOUND OF AN ARCING ELECTRICAL DISCHARGE — UNDER

210. SOUND: [32] MARTIN SCREAMS THROUGH HIS OWN GAG AS HE IS ELECTROCUTED BY THE TRAP — OVER

211. SOUND: [33] (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: [34] SOUND OF SOBBING WOMAN BEING HUSTLED AWAY CRYING “GIVE ME BACK MY HUSBAND! PLEASE! GIVE HIM BACK!”

218. MUSIC: [75] (BRIDGE) DESPAIRING SCENE ENDER — LET IT FINISH

SCENE 12: INT. THE PENDLETON GALLERY (BYSTANDER, TERESA, TRENT, DOOGAN)

219. SOUND: [35] 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: [7] 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: [74] (BRIDGE) TRAGIC SCENE ENDER — LET IT FINISH

SCENE 13: THE STREET OUTSIDE THE GALLERY (TERESA, TRENT, RICKY, GAUCHO)

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: [36] 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: [73] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 14: INT. FALCONE HQ — MORNING (RICKY, FALCONE, TRENT, TERESA)

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: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 15: EXT. CNR OF CUMBERLAND AND FOURTEENTH — MID MORNING (RICKY, GAUCHO, TERESA, TRENT, CINQO)

284. SOUND: [37] 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: [38] 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: [39] 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: [40] 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: [75] (BRIDGE) RISING TENSION SCENE ENDER — LET IT FINISH

SCENE 16: INT. THE RANSOM DROP TUNNELS (MOMENTS LATER) (TERESA, CINQO, TRENT)

315. SOUND: [8] 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: [75] (BRIDGE) RISING TENSION SCENE ENDER — LET IT FINISH

SCENE 17: INT. THE RANSOM DROP (MOMENTS LATER) (TERESA, CINQO, TRENT)

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: [41] 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: [42] 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: [72] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH

344. MUSIC: [81] (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.

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.

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.

CASTING SHEETS — MINOR CHARACTERS

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.

Don’t forget to check out the free sample portions of our titles at https://weirdworldstudios.com/product-category/our-products/ .

The Alligator Menace

The post The Alligator Menace – Episode 2 – Extortion appeared first on Host Your Own Old Time Radio Drama.

The Alligator Menace – Episode 1 – Hostile Reception

Philip Robotham — Fri, 06 Nov 2015 19:36:16 +0000

Below we present the complete text of Hostile Reception; episode 1 of The Alligator Menace.

The Alligator Menace – Episode 1 of our Pulp Adventure Serial

Parental Guidance Recommended: May contain content some parents may feel is inappropriate for younger children

THE ALLIGATOR MENACE

EPISODE #1 – HOSTILE RECEPTION

by Philip Craig Robotham

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) Edition.

CC by-nc-nd 4.0

Other works by this author can be found at the author’s website: https://weirdworldstudios.com or through select, online book retailers.

Episode 1: The Alligator Menace

THE ALLIGATOR MENACE

CAST LIST

NARRATOR: The Narrator

MARTIN RODRIGUEZ: Industrialist and philanthropist

TEGAN RODRIGUEZ: Wealthy wife of Martin Rodriguez

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

MIRIAM RIBBENSBERG: President of the League

NEWSBOY: A Newsboy

WEATHERBY: Butler to the Rodriguez

TONY WELLS: Detective and League supporter

ACT 1

SCENE 1: INT. THE RODRIGUEZ’ TOWNHOUSE — EVENING
(NARRATOR, MARTIN, TERESA, TEGAN, TRENT)

1. MUSIC: [80] (BRIDGE) OPENING THEME MUSIC — LET IT FINISH

2. NARRATOR: [CUE] Six pm on a cold January evening in Star City. Our heroes Trent Stone and Tess Carter have just arrived at the brownstone townhouse of wealthy industrialist Martin Rodriguez and his lovely young wife Tegan.

3. MARTIN RODRIGUEZ: Welcome, old boy. It’s wonderful to see you again… And this must be your… assistant?

4. TERESA CARTER: We’re equal partners. Tess Carter, reporter. Nice to meet you, Mr uh…?

5. MARTIN: Oh, just call me Martin. We’re all friends here. And any friend of Trent Stone is a friend of mine… though I do hope you will keep our private conversations off the record?

6. TERESA: Of course.

7. MARTIN: May I introduce my wife? Trent, Tess, this is my wife Tegan.

8. TEGAN: Enchanted. Martin has told me so much about you, Mr Stone. We greatly appreciate your coming. This city needs heroes, now more than ever.

9. TRENT STONE: I’m sorry to hear that. When a city has need of heroes, it rarely augurs well!

10. MARTIN: Too true. We’ve done well here, Trent, but the stock market collapse of twenty-nine was very hard on many in this city. I’ve been fortunate in having my money in things that are essential to the community but, even so, with so many people out of work and more flooding into the city every day in search of jobs that just aren’t there, the level of desperation is on the rise, and with it crime.

11. TERESA: I had no idea things were so bad.

12. TEGAN: Yes. The Police Commissioner has done a good job of keeping the worst of it out of the press, but people are scared, and we badly need a shot of hope if things are not to get worse.

13. MARTIN: Speaking of creating hope, I’m afraid we need to get going. Tegan and I are hosting a fundraiser for the city’s soup kitchens at the Pendleton Gallery tonight. As we’re counted among those who have not yet lost their fortunes in the ongoing financial crisis, Rodriguez Industries is trying to give a little back to the city and help stave off some of this growing misery.

14. TEGAN: I do hope you will excuse us ducking out on you so soon, especially after you have only just arrived… but I’m sure you have your own preparations to make. You’re attending the League of Adventure Seekers Dinner this evening, aren’t you?

15. TRENT: Yes, we are. And we understand perfectly regarding the fundraiser. We’re only grateful you agreed to put us up at such short notice. The hotels are completely full with all these heroes in town.

16. TEGAN: Yes, well. Don’t be too certain of your welcome outside these walls. The police are up in arms — they see you as a bunch of vigilantes — and the press have been on the warpath about your dinner all week.

17. TERESA: It’s understandable I guess, but if people only took a bit more responsibility for the protection of their communities, watched out for one another more, then maybe organizations like the League wouldn’t be necessary.

18. TRENT: Maybe, but not everyone is cut out to face down evil. And while people are afraid there will always be a need for those with courage to step forward and take up the fight.

19. MARTIN: Well said, old boy… but we must be going. We’ll see you in the morning.

20. TEGAN: Yes, good night. Please make yourselves at home. Our man, Weatherby, will be happy to get you anything you need, and the cook, Mrs Naismith, will be here for another hour if you need a bite to eat.

21. TERESA: Thank you and good night.

22. TRENT: Yes, good night.

23. SOUND: [14] DOOR CLOSES

24. TRENT: Well that sounded ominous.

25. TERESA: What? Rising crime? City in desperation? Opposition from the police and press? What else is new?

26. TRENT: True enough. Still, I think I’ll take a look at the papers… Hmmm… Corruption at City Hall… blackmail epidemic… pressure on the commissioner for trying to crack down on organized crime… an arms race between the city’s criminals… the League dinner… (WRYLY) filed in the crime section — the papers really don’t like us much… and, what’s this? Alligator sightings in the sewers?

27. TERESA: That old chestnut. Every big city seems to have a version of this legend doing the rounds. How does it go?… kids buy the animals as pets but once they get too large to care for, flush them into the sewers where they grow fat on the waste?

28. TRENT: Mmm. Something like that. Dr Fennimore — a local biologist from the University — shares your skepticism. He dismisses the rumors as utter nonsense: “The sewers would be unable to provide enough nourishment for one, let alone a colony of these animals. They simply could not survive down there.”

29. TERESA: Exactly.

30. TRENT: You’d think that after working together for all this time, and after all the things we’ve seen, you’d have developed a more open mind by now.

31. TERESA: Oh come on, you’re not giving credence to this malarkey are you? Sure we’ve seen a lot of strange stuff, but I’m still not going to buy into every urban legend that crosses our path.

32. TRENT: Fair enough, besides it’s starting to get late. Why don’t we get dressed for dinner. We’ve still got to catch a cab to the Regency Hotel.

33. TERESA: Okay. (BEAT) Hey, they’ve given me a key on the inside of my door. (ARCHLY) I guess Martin Rodriguez doesn’t quite trust you with a young lady in the house.

34. TRENT: I would have thought you’d gotten over your shyness after two weeks with me on a tiny boat in the Congo?

35. TERESA: Well, needs must… but this isn’t the Congo, buster, and I’ll be using the key.

36. SOUND: [15] DOOR CLOSES FOLLOWED BY THE TURN OF THE KEY IN THE LOCK

37. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 2: EXT. THE REGENCY HOTEL (ON THE SAME EVENING)(TRENT, TERESA)

38. SOUND: [1] WALLA — SOUND OF CARS PASSING ON STREET; MURMUR OF EXCITED PEOPLE ENTERING HOTEL — ESTABLISH AND FADE UNDER

39. TRENT: Well, here we are. Star City’s famous Regency Hotel. What do you think?

40. TERESA: Hmpf. I think you’ve never looked more uncomfortable. Do you have our invitations?

41. TRENT: Yes, right here.

42. TERESA: I can’t believe you’re so nervous. I’ve seen you face down an Amazonian witch doctor in the company of six jaguars without blinking an eye — and one formal dinner has you quivering like a little girl.

43. TRENT: Well, I was never required to know which fork to use by any witch doctor of my acquaintance.

44. TERESA: Uhuh. Well if it comes to that, you can just follow my lead.

45. TRENT: (RESIGNED) Okay… but I’m blaming you for every faux pas.

46. TERESA: As if I’m the reason we’re here and not that telegram from Miriam Ribbensberg.

47. TRENT: True enough, but when the President of the League of Adventure Seekers asks you personally to dinner…

48. TERESA: Yeah, yeah. Come on, tough guy. The sight of all these heroic types in one place is starting to make me hungry.

49. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 3: INT. THE REGENCY HOTEL DINING ROOM (MOMENTS LATER)
(TERESA, TRENT, MIRIAM)

50. SOUND: [2] WALLA — SOUND OF CROCKERY AND CUTLERY ETC.; MURMUR OF VOICES IN CONVERSASTION AROUND THE TABLE — ESTABLISH AND FADE UNDER

51. TERESA: Oh c’mon fella, this is amazing! Isn’t that Clark Vicious Jnr over there… and oh, isn’t that “The Silhouette” over there in that dark corner… and there, talking to the guy with the elephant gun, isn’t that Lord Greybroke? I heard he was raised in a jungle by wild pigs or something?

52. TRENT: Stop rubbernecking Tess, you look like a tourist.

53. TERESA: Can I help it if you never take me anywhere? This is the first time in nearly a year I’ve sat down to a meal where I didn’t stand to catch malaria. Let me enjoy the moment. Besides, I’m a reporter, I’m supposed to rubberneck.

54. TRENT: Fine, fine… but I’m only interested in identifying one guest, the guest of honor, Miriam Ribbensberg.

55. MIRIAM RIBBENSBERG: Well then, it appears you have done so. I’m Miriam Ribbensberg and you, of course, are Mr Trent Stone — it’s wonderful to see you again… and you, my dear, must be the charming Miss Tess Carter. It’s good to finally meet you..

56. TRENT: Miss Ribbensberg.

57. TERESA: Enchanted.

58. MIRIAM: I’m afraid I only have a moment before I have to deliver my keynote address, but I’m very glad you’re here, and I wish to speak with both of you urgently. Please come up to my suite after the dinner. I’m staying here in the hotel, Suite three, nineteen.

59. SOUND: [16] DINNER GONG BEING STRUCK.

60. MIRIAM: That’s my cue I’m afraid. Please excuse me, won’t you.

61. TRENT: Mysteriouser and mysteriouser.

62. TERESA: You didn’t tell me she was so beautiful.

63. TRENT: What? Oh yes, she is. I was forgetting that the two of you had never met. Most of us were recruited to the League by her.

64. TERESA: (IN MOCKING TONES) How quickly they forget! You recruited me yourself after that business in Mozambique, remember?

65. TRENT: Yes, I remember. The intrepid reporter with the flashing eyes and the penchant for getting neck deep in trouble. I’d have thought pulling you out of that slaver’s cage would have made you a little more cautious and, perhaps, a little more grateful too.

66. TERESA: Hmpf. You can talk! How many times have I saved your life now? (BEAT) …And (FLIRTING) what was that about my eyes?

67. TRENT: I can’t precisely… oh wait, the speech is starting.

68. TERESA: Hmmm.

69. MIRIAM: Ladies and gentlemen, welcome to the fifteenth annual League of Adventure Seekers Dinner. I am your hostess, and the current President of the League, Miriam Ribbensberg, and it is my pleasure to welcome you all here this evening.

70. SOUND: [17] POLITE APPLAUSE — FADE UNDER

71. MIRIAM: As you are aware, the League has suffered a number of sad losses in the last twelve months. The loss of our team in Nairobi, despite their success in curtailing the revolution, was a grievous blow, and a number of others have fallen from our roster due to misadventure in the far flung reaches of the globe. As is our custom, I would like to begin proceedings by proposing a toast to the memory of our fallen comrades, lost in the pursuit of peace, harmony, and knowledge during the last twelve months.

To absent friends.

72. SOUND: [18] THE TOAST IS ECHOED AROUND THE ROOM — UNDER

73. TRENT AND TERESA: To absent friends.

74. SOUND: [19] AT THIS POINT THERE IS A GREAT CRASHING AND LOW ANIMAL ROARING, CRIES OF PANIC, SCREAMS ETC. — ESTABLISH AND UNDER

75. TERESA: Good grief. Trent look, coming through the doorways.

76. TRENT: I see them. Alligators, huge pale alligators. Dozens of them, and they’re attacking the guests. Quick, grab a knife, some of them are coming our way.

77. SOUND: [3] WALLA — CRASHING NOISES, GRUNTS OF COMBAT, ALLIGATOR ROARS ETC. — ESTABLISH AND UNDER

78. TERESA: Trent, they’re heading for Miriam Ribbensberg. We’ve got to stop them.

79. TRENT: Damn it, you’re right. Wait… on their backs. Can you see those strange machines? I think they might be controlling the beasts. If I use this chair…

80. SOUND: [20] SOUND OF CHAIR SMASHING

81. TRENT: That’s it! The animal is scuttling away. Quick, grab Miriam and get her out of the room.

82. TERESA: You got it!

83. SOUND: [4] WALLA — SOUNDS OF FIGHTING CONTINUE — FADE UNDER

84. MUSIC: [72] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH.

SCENE 4: INT. THE REGENCY HOTEL DINING ROOM (LATER)
(TERESA, TRENT)

85. TERESA: [CUE] (BREATHING HEAVILY) What a mess! I’d hate to be footing the clean-up bill after this.

86. TRENT: Yes, the property damage is likely to be quite expensive to repair. Hopefully the hotel has insurance.

87. TERESA: At least nobody was killed.

88. TRENT: From what I can see, most of the injuries are superficial, and we managed to bag a couple of the alligators.

89. TERESA: So what’s with those machines on their backs?

90. TRENT: I’m not sure. They seem to be plumbed directly into the creatures’ brains… controlling them somehow.

91. TERESA: Well, it’s a sure bet that the animals were under some kind of intelligent control. Did you notice the way they attacked?

92. TRENT: They exhibited almost military precision. Some distracting the heroes in the room, while others went for their real target, Miriam Ribbensberg.

93. TERESA: Speaking of whom. I left her once I got her out of harm’s way. Shouldn’t we be on our way up to her suite?

94. TRENT: What? Yes, I suppose so.

95. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 5: INT. — MIRIAM RIBBENSBERG’S SUITE — A SHORT WHILE LATER
(MIRIAM, TERESA, TRENT)

96. SOUND: [21] KNOCKING ON DOOR – LET IT FINISH

97. MIRIAM: Ah, Mr. Stone. Miss Carter. Do come in.

98. TERESA: We weren’t sure you still wished to see us after your close call this evening.

99. MIRIAM: My dear, I would most certainly have wished to see you, if only to thank you for saving my life. As it is, I have other business with you as well. Please have a seat.

100. SOUND: [14] DOOR CLOSES – LET IT FINISH

101. TRENT: Thank you, Miss Ribbensberg.

102. MIRIAM: Please call me Miriam.

103. TRENT: All right then… Miriam… how may we… Great Scot!

104. MIRIAM: Please, don’t be alarmed. That is my sister, Marianne. She doesn’t speak, but it is on her account that you are here.

105. TRENT: Forgive me… it’s just that I can usually sense the presence of the occupants of any room that I am in. I didn’t sense her presence at all… in fact, I still can’t.

106. MIRIAM: Yes, Marianne has some unique abilities. Her capacity to fade into the background is one of them. She is a very powerful psychic and her abilities make her the League’s most carefully guarded secret. She and I have had a bond since childhood. She can speak directly into my mind and her premonitions of the future have been invaluable in helping the League deal with threats to the peace and stability of the world.

107. TERESA: Premonitions? You mean like seeing the future?

108. MIRIAM: Yes, exactly. Though, Marianne’s visions are imperfect. She sees the future as if it were a succession of blurry photographs. Usually, she can tell us where a new threat to the world will arise and who on our roster of members is best equipped to thwart it.

109. TRENT: I take it that this is the real business of the League — keeping the world safe from such threats?

110. MIRIAM: That’s right, and at this juncture, the League has need of you two. Tonight’s attack signals the beginning of the rise of a new threat to peace in the world. According to Marianne, you and Miss Carter are our best hope to nip it in the bud. I need to ask you to remain in Star City and look into this matter for us. Are you willing?

111. TERESA: Of course we are. With your sister on our side, how can we possibly fail?

112. MIRIAM: Please, don’t mistake me. My sister’s visions identify those in the League who are most likely to succeed in thwarting new threats, but, as the loss of our team in Nairobi demonstrates, the outcome is by no means assured.

113. TRENT: We understand Miss Ribbensberg… I mean Miriam. We’ll do our best.

114. MIRIAM: Then God be with you!

115. MUSIC: [71] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 6: EXT. THE REGENCY HOTEL — NIGHT
(NEWSBOY, TERESA, TRENT)

116. SOUND: [5] WALLA — SOUND OF CARS PASSING ON STREET — ESTABLISH AND FADE UNDER

117. NEWSBOY: (UNDER IN BACKGROUND) Extra. Extra. Read all about it. Alligators attack key points in city — Police HQ, Regency Hotel, and Society Fundraiser. Five members of the social set dragged into the sewers.

118. TERESA: What a night. What time is it, Stone?

119. TRENT: (YAWNS) About three in the morning, I should think. We’re just about in time for the early edition.

120. TERESA: Sounds like a special edition’s already hit the streets. What’s the kid saying?

121. NEWSBOY: (ENTERING) Extra. Extra. Read all about it. Alligators attack key points in city — Police HQ, Regency Hotel, and Society Fundraiser. Five members of the social set dragged into the sewers.

122. TRENT: Great Scot! Son, over here. I’ll take a paper, thanks.

123. NEWSBOY: That’ll be a nickel mister. (BEAT) Thanks.

124. TRENT: (READING) Hmmm… Police Headquarters attacked … gathering of heroes attacked at the Regency Hotel…

125. TERESA: Looks like we were right. There is a mind behind these attacks.

126. TRENT: Yes, and these first two attacks were intended to keep anyone who could intervene busy while the real target of the attacks was hit… here we are… (READS ALOUD) the Pendleton Gallery, home to last night’s gala fundraising effort hosted by Martin and Tegan Rodriguez, was attacked in the small hours by a further troupe of alligators, the third location to be targeted in last night’s raids. Rumors persist that at least five of the high profile guests were dragged away into the sewers, but a spokesperson for the Police refuses to confirm or deny the rumors.

127. TERESA: This is awful. Trent, we’ve got to get back to the townhouse and make sure Martin and Tegan weren’t among those taken!

128. MUSIC: [73] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 7: INT. THE RODRIGUEZ’ TOWNHOUSE — MORNING APPROACHES
(TRENT, WEATHERBY, TERESA, WELLS)

129. TRENT: [CUE] Good morning, Weatherby. I’m sorry to wake you, but have your employers returned home yet.

130. WEATHERBY: Why no, sir, they haven’t. And I am beginning to worry. They were expected no later than two a.m.

131. SOUND: [21] LOUD KNOCKING ON DOOR

132. TERESA: Oh, thank goodness. That could be them now.

133. TRENT: I don’t think so, Tess. The Rodriguez’ would have their own keys. They’d hardly need to knock.

134. SOUND: [22] DOOR OPENS

135. WEATHERBY: Good morning, sir?

136. TONY WELLS: I’m sorry to disturb you good folks, but I’m glad you’re up. My name is Wells, Detective of Star City PD, and I have some bad news.

137. TERESA: Oh no!

138. WELLS: The Pendleton Gallery was the target of an attack last evening — I say an attack but we really don’t understand it fully — and Mr and Mrs Rodriguez have gone missing. We believe they were carried away by the perpetrators.

139. TRENT: Don’t bother trying to spare us the details, Wells. We’ve already seen the morning edition.

140. WELLS: Oh. Then you’ll understand that we are doing everything we can to rescue the Rodriguez’ and return them home.

141. TRENT: Yes, thank you, Detective… But isn’t it a little unusual for a police detective to deliver this kind of news? Usually that would fall to a junior officer I would imagine?

142. WELLS: True. Delivering bad tidings isn’t the only reason that I’m here. I understand you are members of the League with a direct connection to the missing.

143. TERESA: Right on both counts, buster. The Rodriguez’ are our friends.

144. WELLS: Good. Chief Doogan would have my hide if he heard me say this, but… frankly, we’re out of our depth. I was hoping you’d accompany me back to the Gallery and take a look. It’ll have to be on the Q.T. — you guys aren’t exactly the dish of the day in police circles — but anything you can turn up would be greatly appreciated.

145. TRENT: Then there’s not a moment to lose. Let’s go.

146. MUSIC: [73] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

147. MUSIC: [81] (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.

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.

CASTING SHEETS — MINOR CHARACTERS

NEWSBOY: I’m just a kid really, hawking newspapers, all enthusiasm and energy. When I get a tip, that just makes my day.

WEATHERBY: I am Weatherby. Just Weatherby. I am prim. I am proper. I understand duty and discretion. Where others panic and lose their heads, I remain stalwart, reliable to the end. Should the time come when the barbarians stand at the doors you will find me doing exactly as I ought: serving tea and cucumber sandwiches.

###

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, an e-learning consultant and, most recently, writer. He currently lives in Victoria, 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.

You can contact the author regarding performance rights (or simply to say hello) through his website: http://www.weirdworldstudios.com.

THE END

###

Don’t forget to check out the free sample portions of our titles at http://weirdworldstudios.com/product-category/our-products/.

The Alligator Menace

The post The Alligator Menace – Episode 1 – Hostile Reception appeared first on Host Your Own Old Time Radio Drama.

The Alligator Menace Archives - Host Your Own Old Time Radio Drama

The Alligator Menace – Episode 4 – Portrait of Villainy

THE ALLIGATOR MENACE

EPISODE #4 – PORTRAIT OF VILLAINY

Series #1: The Alligator Menace

THE ALLIGATOR MENACE

EPISODE 4: Portrait of Villainy

SCENE 25: INT. CORONER’S COOL ROOM (TERESA, THEO, TRENT)

SCENE 26: EXT. PEVENSEY STREET MISSION (LATE AFTERNOON) (TRENT, TERESA)

SCENE 27: INT. PEVENSEY STREET MISSION (MINUTES LATER) (TERESA, TRENT)

ACT 3

SCENE 28: INT. CAGE OVER THE ALLIGATOR PIT WITHIN THE SEWERS (AN UNKNOWN PERIOD OF TIME LATER) (TRENT, TERESA, TECHNOMASTER)

SCENE 29: TUNNELS WITHIN THE TECHNOMASTER’S LAIR (MOMENTS LATER) (TERESA, TRENT)

SCENE 30: INT. THE TECHNOMASTER’S LABORATORY (TERESA, TRENT, TECHNOMASTER)

SCENE 31: INT. TUNNELS WITHIN THE TECHNOMASTER’S LAIR (TERESA, TRENT, TECHNOMASTER)

SCENE 32: INT. MIRIAM RIBBENSBERG’S SUITE (TRENT, TERESA, MIRIAM)

CASTING SHEETS — MAJOR CHARACTERS

The Alligator Menace

The Alligator Menace – Episode 3 – Gang War

THE ALLIGATOR MENACE

EPISODE #2 – EXTORTION

Series #1: The Alligator Menace

THE ALLIGATOR MENACE

CAST LIST

SCENE 18: INT. SOMEWHERE IN THE SEWER TUNNELS — LATER (TERESA, TRENT)

SCENE 19: EXT. CNR OF CUMBERLAND AND FOURTEENTH STREETS — MID-DAY (TERESA, RICKY, TRENT, GAUCHO)

SCENE 20: INT. FALCONE HQ — EARLY AFTERNOON (FALCONE, TERESA, TRENT, RICKY, GAUCHO)

SCENE 21: INT. GRAND CENTRAL STATION (TRENT, RICKY, TERESA, GAUCHO, RUDY, CLAIRE, TOMMY, DILLON, TECHNOMASTER)

SCENE 22: EXT. RAILWAY ROOFTOP (MOMENTS LATER) (CLAIRE, CINQO, TERESA, TRENT)

SCENE 23: EXT. CORONER’S OFFICE (LATE AFTERNOON) (TERESA, TRENT)

SCENE 24: INT. CORONER’S OFFICE (TRENT, TERESA, THEO)

CASTING SHEETS — MAJOR CHARACTERS

CASTING SHEETS — MINOR CHARACTERS

ABOUT THE AUTHOR

The Alligator Menace

The Alligator Menace – Episode 2 – Extortion

THE ALLIGATOR MENACE

EPISODE #2 – EXTORTION

Series #1: The Alligator Menace

THE ALLIGATOR MENACE

CAST LIST

ACT 2

SCENE 8: EXT. — THE PENDLETON GALLERY (TERESA, WELLS, TRENT)

SCENE 9: INT. — THE PENDLETON GALLERY (TERESA, TRENT,WELLS)

SCENE 10: INT. THE SEWER TUNNELS (WELLS, TERESA, TRENT)

SCENE 11: UNDERGROUND CHAMBER HOLDING THREE CAGES (WELLS, TRENT, TERESA, TEGAN)

SCENE 12: INT. THE PENDLETON GALLERY (BYSTANDER, TERESA, TRENT, DOOGAN)

SCENE 13: THE STREET OUTSIDE THE GALLERY (TERESA, TRENT, RICKY, GAUCHO)

SCENE 14: INT. FALCONE HQ — MORNING (RICKY, FALCONE, TRENT, TERESA)

SCENE 15: EXT. CNR OF CUMBERLAND AND FOURTEENTH — MID MORNING (RICKY, GAUCHO, TERESA, TRENT, CINQO)

SCENE 16: INT. THE RANSOM DROP TUNNELS (MOMENTS LATER) (TERESA, CINQO, TRENT)

SCENE 17: INT. THE RANSOM DROP (MOMENTS LATER) (TERESA, CINQO, TRENT)

CASTING SHEETS — MAJOR CHARACTERS

CASTING SHEETS — MINOR CHARACTERS

ABOUT THE AUTHOR

The Alligator Menace

The Alligator Menace – Episode 1 – Hostile Reception

THE ALLIGATOR MENACE

EPISODE #1 – HOSTILE RECEPTION

Episode 1: The Alligator Menace

THE ALLIGATOR MENACE

CAST LIST

ACT 1

SCENE 1: INT. THE RODRIGUEZ’ TOWNHOUSE — EVENING (NARRATOR, MARTIN, TERESA, TEGAN, TRENT)

SCENE 2: EXT. THE REGENCY HOTEL (ON THE SAME EVENING)(TRENT, TERESA)

SCENE 3: INT. THE REGENCY HOTEL DINING ROOM (MOMENTS LATER) (TERESA, TRENT, MIRIAM)

SCENE 4: INT. THE REGENCY HOTEL DINING ROOM (LATER) (TERESA, TRENT)

SCENE 5: INT. — MIRIAM RIBBENSBERG’S SUITE — A SHORT WHILE LATER (MIRIAM, TERESA, TRENT)

SCENE 6: EXT. THE REGENCY HOTEL — NIGHT (NEWSBOY, TERESA, TRENT)

SCENE 7: INT. THE RODRIGUEZ’ TOWNHOUSE — MORNING APPROACHES (TRENT, WEATHERBY, TERESA, WELLS)

CASTING SHEETS — MAJOR CHARACTERS

CASTING SHEETS — MINOR CHARACTERS

ABOUT THE AUTHOR

The Alligator Menace

SCENE 25: INT. CORONER’S COOL ROOM
(TERESA, THEO, TRENT)

SCENE 26: EXT. PEVENSEY STREET MISSION (LATE AFTERNOON)
(TRENT, TERESA)

SCENE 28: INT. CAGE OVER THE ALLIGATOR PIT WITHIN THE SEWERS (AN UNKNOWN PERIOD OF TIME LATER)
(TRENT, TERESA, TECHNOMASTER)

SCENE 29: TUNNELS WITHIN THE TECHNOMASTER’S LAIR (MOMENTS LATER)
(TERESA, TRENT)

SCENE 30: INT. THE TECHNOMASTER’S LABORATORY
(TERESA, TRENT, TECHNOMASTER)

SCENE 32: INT. MIRIAM RIBBENSBERG’S SUITE
(TRENT, TERESA, MIRIAM)

SCENE 18: INT. SOMEWHERE IN THE SEWER TUNNELS — LATER
(TERESA, TRENT)

SCENE 19: EXT. CNR OF CUMBERLAND AND FOURTEENTH STREETS — MID-DAY
(TERESA, RICKY, TRENT, GAUCHO)

SCENE 20: INT. FALCONE HQ — EARLY AFTERNOON
(FALCONE, TERESA, TRENT, RICKY, GAUCHO)

SCENE 21: INT. GRAND CENTRAL STATION
(TRENT, RICKY, TERESA, GAUCHO, RUDY, CLAIRE, TOMMY, DILLON, TECHNOMASTER)

SCENE 22: EXT. RAILWAY ROOFTOP (MOMENTS LATER)
(CLAIRE, CINQO, TERESA, TRENT)

SCENE 23: EXT. CORONER’S OFFICE (LATE AFTERNOON)
(TERESA, TRENT)

SCENE 24: INT. CORONER’S OFFICE
(TRENT, TERESA, THEO)

SCENE 1: INT. THE RODRIGUEZ’ TOWNHOUSE — EVENING
(NARRATOR, MARTIN, TERESA, TEGAN, TRENT)

SCENE 3: INT. THE REGENCY HOTEL DINING ROOM (MOMENTS LATER)
(TERESA, TRENT, MIRIAM)

SCENE 4: INT. THE REGENCY HOTEL DINING ROOM (LATER)
(TERESA, TRENT)

SCENE 5: INT. — MIRIAM RIBBENSBERG’S SUITE — A SHORT WHILE LATER
(MIRIAM, TERESA, TRENT)

SCENE 6: EXT. THE REGENCY HOTEL — NIGHT
(NEWSBOY, TERESA, TRENT)

SCENE 7: INT. THE RODRIGUEZ’ TOWNHOUSE — MORNING APPROACHES
(TRENT, WEATHERBY, TERESA, WELLS)