THE CULT OF THE TEETH

EPISODE #2 – The Missing Girls

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Copyright 2013 Philip Craig Robotham

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

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://weirdworldstudios.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.

Serial #2: The Cult of the Teeth

“The Cult of the Teeth” is the second play in our Pulp Adventure series featuring Trent Stone and Tess Carter. Glory-hound and expert hunter, Maynard Havelock III, is the victim of a ritual murder shortly after having dinner with Trent Stone and Tess Carter. Finding themselves at the top of the suspect list, Trent and Tess are forced to investigate the disappearance of a number of young women from Star City University in a bid to clear their names. Their investigation takes them in search of an ancient cult (recently established in the modern city in which they have made their home), a missing obelisk, and behind it all, a familiar wheel-chaired villain. Can they prove their innocence and prevent the cult from committing any more ritual murders?

DARK RITUAL

CAST LIST

NARRATOR: The Narrator

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

MAYNARD HAVELOCK III: Big Game Hunter

TONY WELLS: Detective and League supporter

ALASDAIR STANDISH: Dean of Anthropology

RICKY (THUG #3): Thug employed by Tommy Boscone

CLAIRE MANNIX: Head of the Beta-Phi Sorority

MESSENGER: Message courier

SFX: 1 SFX artist required

ACT 3

SCENE 18: INT. IMPRISONED IN THE WAREHOUSE — AN INDETERMINATE AMOUNT OF TIME LATER
(TERESA, TRENT, CLAIRE, ALASDAIR)

347. MUSIC: [49] OPENING THEME – LET IT FINISH

348. NARRATOR: The murder of a good friend has put Trent Stone and Tess Carter on the trail of a mysterious South American death cult calling itself the Cult of the Teeth. The trail has led them to discover that a number of girls have gone missing from the local university, which in turn has led them to a warehouse on the docks. Unfortunately, on entering the warehouse, they have been gassed into unconsciousness.

349. SOUND: [5] WALLA — LOW BACKGROUND CHANTING — FADE IN, ESTABLISH AND UNDER — CONTINUE UNTIL NEXT SOUND

350. TERESA: (GROANS) Oh, where are we? … Trent… are you there?…

351. TRENT: (GROANS) Wow. That gas really rang my bell. (GRUNTS) Where’s that light coming from?

352. TERESA: It’ll get better in a minute. My vision’s already starting to clear.

353. TRENT: Oh, yes. I’m starting to make things out. What’s that over there?

354. TERESA: An altar I think. There’s a girl tied to it. Four figures are kneeling in front of it, wearing those outlandish South American get-ups we saw the other night.

355. TRENT: Yes. I see. Behind the altar, is that a priestess? And to her right?  Isn’t that…?

356. TERESA: Alasdair Standish! Dressed as outlandishly as the rest. And what’s that hanging above the altar — some kind of basket with a fist-sized rock in it… that blue diamond-like material again…

357. TRENT: (PUTTING TWO AND TWO TOGETHER) And overshadowing it all, the obelisk that was stolen from the Natural History Museum.

358. SOUND: [30] CHANTING HALTS

359. CLAIRE MANNIX: Ah, I see our guests are awake. Don’t bother trying to escape, you are tied quite securely.

360. TERESA: (STAGE WHISPER) What’s the matter with her eyes? They almost look like they’re glowing.

361. CLAIRE: Silence! I do not suffer fools lightly. You have only been spared in order to witness the triumph of our work here.

362. TRENT: And what is that work? Why are you here?

363. CLAIRE: We are the servants of Itzamna, the alligator god, creator of the world, and punisher of blasphemers. This city, home to the albino alligators of the sewers, is now holy to us and we have been drawn here on sacred pilgrimage.

364. TERESA: (SARCASTICALLY) How far has she been drawn?

With that accent she couldn’t have been born more than a few miles from here.

365. CLAIRE: Insolent cow! Would you care to see what happens to those who cross me? Turn around Standish! Show them your back!

366. TERESA: Oh my! His back… It’s covered in blood. He has been…

367. CLAIRE: Whipped? Scourged? Yes. He lost his stomach for our great work when the sacrifices began. Foolish man, thinking our devotion to the old ways was merely an anthropological exercise. Still, I would have thought the photos I kept of the two of us would have kept him quiet. And yet he still tried to set you on my trail. He has learned the price to be paid for disloyalty to the Chilan of Itzamna. And if I am willing to do this to one of my own followers… be assured that I have no qualms about putting an end to worthless rabble like you.

368. TRENT: He set us on your..? Wait a moment, you’re Claire Mannix!

369. CLAIRE: (IMPRESSED) Very good, Mister Stone. I’m sure you recognize the woman tied to the altar as Miss Shelley Rossiter as well. She’d say hello except that she has been drugged. We find the sacrifices go so much more smoothly when the victims are docile.

370. TERESA: You cowardly monster! These killings are so senseless, so twisted!

371. CLAIRE: Oh, sticks and stones, my dear Tess. Yes, I know who you are too. But as for senseless? Nothing could be further from the truth. Everything we have done has served a most noble purpose!

372. TRENT: Oh, and what purpose did the death of Maynard Havelock III serve? What possible reason could you have had for killing a man who was a complete stranger to this city?

373. CLAIRE: Isn’t it enough that Itzamna requires blood sacrifices? But in Havelock’s case there was indeed more. He was a blasphemer. He was here with the stated intent of hunting the chosen creatures of our god; the alligators of the sewers. This we could not tolerate. We spilled his blood as is only fitting. We are the Cult of the Teeth, and it is our duty to punish all who oppose the will of Itzamna or dare to defile his pets.

374. TRENT: And the picture of Shelley Rossiter that was found in his fist?

375. CLAIRE: What picture..? (REALISATION DAWNING) Oh, but it was Alasdair, of course!

(ADDRESSING ALASDAIR) Does your treachery have no end? You put it in the dead man’s hands, didn’t you? Clearly you had a deal more courage than I credited you with. Still, no matter! Look what your treachery has got you? Your vaunted saviors are my prisoners and you, yourself, are a slave to my will. Is that not so?

376. ALASDAIR: (BROKENLY) Yes, mistress.

377. TERESA: You’re mad! Surely you understand that performing human sacrifices in a modern city will not go unnoticed? Sooner or later someone will investigate, just like us.

378. CLAIRE: Ha! Let them. We have not come here to establish a temple. Our mission will be completed this very evening and then we shall be gone.

379. TRENT: And what mission is that?

380. CLAIRE: Such ignorance. Our benefactor sent us here to charge the stone of Iridion that hangs in the basket above the altar and to recover the mighty Tetzen obelisk behind me.

381. TERESA: Your benefactor?

382. CLAIRE: Yes. The one who has brought our great religion back from the edge of extinction, the one who has funded our pilgrimage — our great high priest, the Ah Kin Mai of Itzamna.

But enough bandying words with unbelievers and fools. Behold, we are about to sacrifice this woman to mighty Itzamna, alligator god and creator of the world. With her life-force, the stone of Iridion will be charged and, with the aid of the stone, a portal will be opened through the obelisk allowing our benefactor to come through and be revealed.

(SHARPLY) Alasdair, since you seem to have so little stomach for the reality of our rituals, go and check the bonds on our guests and return to your post by the obelisk.

383. ALASDAIR: Yes Mistress.

384. SOUND: [5] WALLA — CHANTING BEGINS AGAIN — ESTABLISH AND UNDER

385. CLAIRE: (AS IF READING FROM A BOOK) Creator of the thirteen heavens, mighty Itzamna, we beg your power to come upon us.

386. SOUND: [5] WALLA — CHANTING CONTINUES — UP BRIEFLY THEN CONTINUE UNDER

387. ALASDAIR: (WHISPERING) Stone, do you still have the blowgun and dart I dropped at the restaurant?

388. TRENT: (WHISPERING) You dropped that? Yes, I have it.

389. ALASDAIR: (WHISPERING) You’ve only got one chance. She’ll kill you both (and me) once she has what she wants. She’s completely insane.

390. TRENT: (WHISPERING) What do you suggest?

391. CLAIRE: (STILL READING) Protector of the alligator and its brethren, supplier of the mighty rivers and hunting grounds, mighty Itzamna, look upon the sacrifice we bring this day.

392. SOUND: [5] WALLA — CHANTING CONTINUES — UP BRIEFLY THEN CONTINUE UNDER

393. ALASDAIR: (WHISPERING) Wait until the ritual reaches its height… you’ll know the moment. When everyone is focused on the portal, fire the dart into the stone. You will release all the stored energy and should be able to get away in the confusion.

(PAUSE) There, I’ve weakened your bonds. You should be able to break free.

394. TERESA: (WHISPERING) And what about me?

395. ALASDAIR: I haven’t forgotten you. (BEAT) There!

396. TERESA: Why are you doing this?

397. CLAIRE: (STILL READING) Mighty Itzamna, dealer of death, bringer of teeth in the dark, grant us this boon we request.

398. SOUND: [5] WALLA — CHANTING CONTINUES — UP BRIEFLY THEN CONTINUE UNDER

399. ALASDAIR: (BITTERLY WHISPERING) She has murdered two of my students already, and I was… too weak to prevent it…

400. SOUND: [5] WALLA — CHANTING CONTINUES — GROWS GRADUALLY LOUDER AS RITUAL REACHES HEIGHT

401. ALASDAIR: (URGENTLY) I must return to my place before she notices the time I have taken.

402. CLAIRE: We ask that you grant your power to us, that you draw the life from this offering before you, and fill the stone of Iridion with the energies of creation.

403. SOUND: [5] WALLA — CHANTING CONTINUES — UP BRIEFLY THEN CONTINUE UNDER — CONTINUE UNTIL NEXT SOUND

404. TERESA: Trent, look at Miss Rossiter. Something’s happening.

405. TRENT: It looks like she’s beginning to wake up.

406. TERESA: No, she’s in pain. Oh, Trent, she’s writhing, struggling against her bonds…

407. TRENT: No Tess, that’s not it. Look, something mistlike is rising from her. It’s forming into thin clouds that stream upward into that stone hanging in the basket.

408. TERESA: And the stone, it’s beginning to glow.

409. SOUND: [5] WALLA — CHANTING CONTINUES AND CONCLUDES

410. SOUND: [31] FAINT RINGING SOUND AS THE STONE IS CHARGED

411. CLAIRE: Yes. Yes! Feel the power of Itzamna. Know his strength, his majesty! Cower before him, all you who doubt his greatness…

It is done. Now I will reach forth my hand and take the stone… It is charged.

412. TRENT: What is she..? Oh, she’s placing it in that egg-shaped depression in the obelisk.

413. SOUND: [32] SOUND OF STONE AGAINST STONE LIKE A SLOW GRINDING BUTTON BEING PRESSED

414. SOUND: [6] WALLA — A KEENING RHYTHMIC PULSATING SOUND BEGINS — ESTABLISH AND UNDER — CONTINUE UNTIL 420.

415. TRENT: This must be the moment. It’s now or never, Tess.

416. SOUND: [33] SOUND LIKE A TELESCOPE BEING EXTENDED AND CLICKING INTO PLACE

417. TERESA: The obelisk is turning translucent… and something is coming towards us… as if down a long passage.

418. TRENT: Here goes.

419. SOUND: [34] PHUT THUNK OF DART BEING BLOWN

420. SOUND: [35] THE RHYTHM OF THE PULSES INCREASES AND THE PITCH OF THE RINGING GOES UP ALARMINGLY — CONTINUE UNTIL NEXT SOUND

421. CLAIRE: What have you done?

422. TRENT: I think it’s going to explode. Tess, get down.

423. SOUND: [36] SOUND OF EXPLOSION

424. MUSIC: [46] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 19: INT. IN THE RUBBLE OF THE DEMOLISHED WAREHOUSE
(TERESA, TRENT, CLAIRE)

425. TERESA: [CUE] (GROANS)

426. SOUND: [37] SOUND OF SHIFTING RUBBLE

427. TERESA: What hit me? Oh… (BEAT) a warehouse. Trent, are you okay?

428. SOUND: [37] MORE SHIFTING RUBBLE

429. TRENT: (COUGHS) That’s the second time I’ve had my bell rung today. Help me up will you, and we’ll see if anyone else made it.

(GRUNTS AS HE RISES)

430. TERESA: It looks like Standish took the brunt of the blast. He’s dead.

431. TRENT: Miss Rossiter’s still here… and she’s breathing. I think the altar may have protected her from the worst of it. Her heartbeat’s very weak though. I wonder what they did to her?

432. TERESA: The cultists appear to be gone.

433. TRENT: Melted away like before. What about..?

434. TERESA: Claire Mannix? She’s here… and she’s alive.

435. SOUND: [38] SOUND OF DISTANT SIRENS APPROACHING

436. CLAIRE: (COUGHING AND BEWILDERED) Where am I? Who are you? This isn’t Lima. Was there an earthquake?

437. TERESA: Don’t bother trying that amnesia schtick with me, sister? Hear those sirens? With any luck, you’re going to jail for a very long time.

438. CLAIRE: What? But I…

439. MUSIC: [48] (BRIDGE) TRIUMPHANT SCENE ENDER — LET IT FINISH

SCENE 20: EXT. OUTSIDE POLICE HQ
(WELLS, TRENT, TERESA, MESSENGER, RICKY)

440. SOUND: [4] WALLA — STREET SOUNDS, PASSING CAR ETC.— FADE IN ESTABLISH AND UNDER

441. WELLS: Alright folks, thanks for your statements. Miss Rossiter’s in the hospital and the obelisk is being removed from the rubble and returned to the Natural History Museum.

442. TRENT: And what’s going to happen to Miss Mannix?

443. WELLS: There was blood matching that of the two missing girls and Maynard Havelock on her knife. She was found in the clothing of a death cult and, with your testimony, we’ll get her for kidnapping and contributing to the death of Alasdair Standish as well. With any luck, she’ll be facing the chair.

444. TERESA: The death penalty?

445. WELLS: Sure. She murdered three people in cold blood and was prevented from murdering a fourth.

That’s a capital offense.

446. TERESA: And what about her state of mind?

447. WELLS: The amnesia? It’s an act! I doubt she’ll be able to keep it up long enough for it to do her any good in court.

448. TRENT: Thanks, Wells. I hope this takes us off your suspect list.

449. WELLS: Yeah, sure. But what’s this business about you and the Cordovas? There’s no truth to the idea that you guys are getting pally is there?

450. TRENT: Oh that. None at all.

451. MESSENGER: Mr. Stone. Mr. Stone!

452. TRENT: Yes. That’s me.

453. MESSENGER: Ah, Mr. Stone. I’ve got a note for you from Mr. Caesar Cordova.

454. WELLS: Give me that.

“Mr. Stone and Miss Carter,

Many thanks for handling this matter on my behalf. I owe you one. C. Cordova”

(DISGUSTED) Nothing to it, huh?

455. SOUND: [39] MALE RETREATING FOOTSTEPS

456. TRENT: Wells, wait. It’s not what you… aw, hell.

457. TERESA: Let him go, Stone. (BEAT) I noticed that your statement left out the part about the glowing rock and the portal opening in the obelisk.

458. TRENT: The police don’t want to know about those sorts of details, Tess. A judge is just as likely to throw a case out as try it if the witnesses start talking about glowing crystals and ancient gods.

459. TERESA: I also noticed you kept the rock.

460. TRENT: I didn’t know what else to do with it. It’s too dangerous to leave lying around.

461. TERESA: Did you get much of a look at the figure trying to get through the portal?

462. TRENT: No, I was too busy trying to aim the blowgun at the rock… why, did you?

463. TERESA: Not really. All I saw was a silhouette. A silhouette of someone in a wheelchair rolling himself towards us.

464. TRENT: You what?

465. TERESA: That’s right… A wheelchair.

466. TRENT: Well, Miriam Ribbensberg did warn us that it wasn’t over when we saw the Technomaster go over the edge of that chasm in his wheelchair.

467. TERESA: I guess not.

468. SOUND: [40] SOUND OF CAR SCREECHING TO A HALT

469. TERESA: Trent, get down.

470. SOUND: [41] THUMP OF BODIES HITTING THE GROUND FOLLOWED BY THE SOUND OF TOMMY-GUN FIRE

471. RICKY: (YELLING) Tommy Boscone says your time is up! The gloves are off. Ha hahaha.

472. SOUND: [21] SCREECH OF TYRES AS CAR DRIVES AWAY

473. TRENT: (GROANS) You know, Tess, I’m beginning to hate this town.

474. TERESA: You and me, both. But you know what?

475. TRENT: What?

476. TERESA: We’re members of the League of Adventure Seekers, and this is what we do!

477. TRENT: (PAUSE) Tess?

478. TERESA: Yes, Trent?

479. TRENT: Do you think you could get off me now?

480. MUSIC: [50] (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.

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.

ALASDAIR STANDISH: What was that, my dear? Oh yes, I am the Dean of the School of Anthropology. Yes, it’s an absolutely fascinating subject. It’s the study of (LASCIVIOUSLY) the most basic, the most primal, societies… (DISTRACTED) My but you have the most lovely blonde hair… and beautiful blue eyes. Oh, sorry… I get so easily distracted these days. The pressures of the job and my advancing age you know. Perhaps (LASCIVIOUSLY AGAIN) we could meet later to engage in some extra tuition.

Oh my dear, of course, it would all be above board. I’m old enough to be your father after all. No, no. You have absolutely nothing to worry about with me!

CLAIRE MANNIX: I am fanatically devoted to Itzamna, the alligator god. I would do anything for him (all praise his mighty form). I will kill every blasphemer, I will make the altar run with the blood of sacrifice once more, and I will fulfill my mission in this city blessed with the presence of our god’s chosen pets.

I am powerful, none more so, except of course the Ah Kin Mai of Itzamna: the High Priest whom I serve. But what of you? You do not appear to be wearing the garments of the priesthood.

Guards! Have this insect bound and placed upon the altar. There will be blood tonight!

CASTING SHEETS — MINOR CHARACTERS

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

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/.

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 Cult of the Teeth

• The Cult of the Teeth – Episode 1 – Requiem for a Rude Man
• The Cult of the Teeth – Episode 2 – The Missing Girls
• The Cult of the Teeth – Episode 3 – Dark Ritual

The post The Cult of the Teeth – Episode 3 – Dark Ritual appeared first on Host Your Own Old Time Radio Drama.

THE CULT OF THE TEETH

EPISODE #2 – The Missing Girls

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Copyright 2013 Philip Craig Robotham

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

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 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://weirdworldstudios.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.

Serial #2: The Cult of the Teeth

“The Cult of the Teeth” is the second play in our Pulp Adventure series featuring Trent Stone and Tess Carter. Glory-hound and expert hunter, Maynard Havelock III, is the victim of a ritual murder shortly after having dinner with Trent Stone and Tess Carter. Finding themselves at the top of the suspect list, Trent and Tess are forced to investigate the disappearance of a number of young women from Star City University in a bid to clear their names. Their investigation takes them in search of an ancient cult (recently established in the modern city in which they have made their home), a missing obelisk, and behind it all, a familiar wheel-chaired villain. Can they prove their innocence and prevent the cult from committing any more ritual murders?

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 MISSING GIRLS

CAST LIST

NARRATOR: The Narrator

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

JINGLES MARINO (THUG #1): Thug employed by Caesar Cordova

JIMMY JORTA (THUG #2): Thug employed by Caesar Cordova

CAESAR CORDOVA: Mob boss

RICKY (THUG #3): Thug employed by Tommy Boscone

WILMA STURGESS: Housekeeper for the Beta-Phi

WALT KROGAN: Taxi Driver

SFX: 1 SFX artist required

SCENE 10: EXT. THE STREET OUTSIDE THE UNIVERSITY
(TERESA, TRENT, JINGLES, JIMMY)

207. MUSIC: [49] OPENING THEME – LET IT FINISH.

208. NARRATOR: The death of a friend and a visit to the local university has brought a mystery involving an ancient cult and a number of missing young women to the attention of our heroes. Leaving the office of the Dean of Students after a very unsatisfying interview, Trent Stone and Tess Carter are about to discover that a great many parties are taking an interest in these events.

209. SOUND: [1] WALLA — STREET SOUNDS, CARS ETC., AND WALKING FEET – ESTABLISH AND UNDER

210. TERESA: [CUE] Well, he wasn’t telling us everything.

211. TRENT: No he wasn’t. (CALLING OUT) Taxi!

212. TERESA: And those girls. Did you get the feeling his relationships are a little more familiar than is appropriate for a teacher and his students — or even for a dean and his secretary for that matter?

213. TRENT: It had crossed my mind. Taxi! … We’re going to have to get a car of our own if we stay in this town much longer.

214. TERESA: Even if we had one we’d still be on foot today. We were brought here by Wells, remember… (PAUSE) So, why didn’t you want me to tell Standish that Maynard had Shelley Rossiter’s picture in his hand when he was found this morning?

215. TRENT: Did you happen to notice the name of the author on that book we saw this morning?

216. TERESA: No, I didn’t but…

217. TRENT: It was written by Alasdair Standish. He was clearly lying when he said he didn’t recognize the blowgun and the symbol. I’d prefer we kept things to ourselves until we understand the situation further.

218. TERESA: Fair enough…

219. SOUND: [17] SOUND OF CAR PULLING UP

220. JINGLES MARINO (THUG #1): Can we offer you folks a lift?

221. TRENT: More cheap gunmen? You’d think this town would be overrun by now.

222. JIMMY JORTA (THUG #2): Enough of that. Our boss would like a word.

223. TERESA: And who, praytell, is your boss?

224. JINGLES: Caesar Cordova.

225. TERESA: And here, I thought our lives couldn’t get any more complicated.

226. MUSIC: [46] (BRIDGE) OMINOUS SCENE ENDER — LET IT FINISH

SCENE 11: INT. INSIDE CORDOVA’S LIMOUSINE
(TRENT, CORDOVA, TERESA)

227. SOUND: [3] WALLA — ENGINE SOUND FROM INTERIOR OF CAR — FADE IN AND UNDER

228. TRENT: I take it you’re Caesar Cordova.

229. CAESAR CORDOVA: Si, and unless my men have grown more incompetent than usual you must be Mr Trent Stone and the ever beautiful Miss Tess Carter. Thank you for accepting my invitation.

230. TERESA: I always make a point of accepting invitations that are delivered at gunpoint.

231. CORDOVA: Ah, well… my men are sometimes a little overzealous in their enthusiasm to comply with my orders.

232. TRENT: Ahuh. What do you want Mr Cordova?

233. CORDOVA: Straight to the point, eh? A little rude perhaps, but I’ll overlook that for now. I need you to do a little job for me, no?

234. TERESA: We don’t work for crooks, Mr Cordova.

235. CORDOVA: Si, si. This I have heard. But I am an honest crook, Miss Carter. We never take anything from anyone who couldn’t afford to lose it. No civilians get hurt. My men, they are disciplined, no?

236. TRENT: You’re a regular Robin Hood.

237. CORDOVA: (STERNLY) Do not be mistaken my friend. Right now, I am being friendly. I do not have to be.

238. TRENT: Why are you telling us this?

239. CORDOVA: Because, as I say, I want you to do something for me. As I am sure you know, there is crime… and then there is crime. No one in my family sells poison to children — not like that gringo Boscone — and we do not enslave women — like that coward Tremere. There will always be crime, no? Better, the crime is run by someone like me than someone like those two murderers.

240. TERESA: So you know they killed their bosses.

241. CORDOVA: Mmmm. We hear things. I am Spanish, and my people have experience with the double-cross.

242. TERESA: I’ll bet.

243. TRENT: I still don’t see where this is all going.

244. CORDOVA: Nowhere you would be uncomfortable with, I promise. I have a niece, on my wife’s side, Marjory Ellison. My wife, she is a very strong woman, and she likes our niece very much. She does not wish anything to happen to her.

245. TERESA: And she believes your niece is in danger?

246. CORDOVA: She tells me that Marjory is studying at the University, living in one of the boarding houses. She tells me Marjory is afraid, that girls are going missing.

I am very protective of my family, Mr Stone, Miss Carter. I would not like to have to intervene directly.

I want you to find the girls, protect my Marjory. She is in the Beta-Phi Sorority. I would view it as a personal favor, you understand.

247. TERESA: You mob bosses and your favors! As it happens we’re already looking into this one for Alasdair Standish.

248. CORDOVA: Standish! You do not want to trust this fellow Standish. My wife tells me Marjory thinks Standish is er… unprofessional. Too, too interested in the young college girls, no?

249. TRENT: Interesting.

250. CORDOVA: Well, I take no more of your time. You keep my Marjory safe, no? We drop you off here. Good hunting!

251. SOUND: [17] CAR PULLING UP

252. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 12: EXT. SOMEWHERE IN TOWN
(TRENT, TERESA)

253. SOUND: [4] WALLA — SOUNDS OF STREET — FADE IN AND UNDER

254. TRENT: Now, where are we? He could have at least dropped us off at a taxi stand.

255. TERESA: Aw, quit your whining, tough guy. This city life is turning you soft. Besides, it looks like we may have another lift. Someone’s pulling up beside us again.

256. TRENT: Tess, that’s a tommygun poking out of the window. Get Down.

257. SOUND: [20] SOUND OF CAR PULLING UP, THEN TWO BODIES HITTING THE DECK, FOLLOWED BY A SPRAY OF TOMMY-GUN FIRE

258. RICKY (THUG #3): (CALLING OUT FROM CAR) Tommy Boscone wants you out of town by nightfall. This is your last warning.

259. SOUND: [21] SCREECH OF TYRES AS CAR ROARS AWAY

260. TERESA: (GROANS) Did you have to land on me so hard? (GROANS AGAIN) Are they gone?

261. TRENT: Yes, they’re gone. And sorry Tess… better me than a bullet.

262. TERESA: (ARCHLY) Well you don’t have to be too sorry, you know? Though you could lose a few pounds.

263. TRENT: Here, let me help you up.

264. TERESA: I guess we’re on the clock now. Any thoughts on what we should do next?

265. TRENT: Well, everything we’ve come in contact with so far is pointing to the Beta-Phi Sorority.

266. TERESA: Yeah, but that just doesn’t track. What’s a South American cult, a crime boss’s niece, an Anthropology professor, and a college sorority got in common?

267. TRENT: I haven’t a clue, but I think it’s time we found out.

Taxi!

268. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 13: INT. TAXI CAB AND EXT. BETA-PHI SORORITY
(TRENT, TERESA, WILMA)

269. SOUND: [3] WALLA — CAR ENGINE NOISE FROM INSIDE CAR — FADE IN AND UNDER

270. TRENT: Let us out on the left, driver. That’s our destination there — the Beta-Phi Sorority.

271. SOUND: [22] SOUND OF CAR PULLING UP, DOORS OPEN, THEN SHUT – LET IT FINISH

272. TERESA: Not much to look at, is it! Just a glorified apartment building converted into a dormitory.

273. TRENT: Careful Tess, I think your ivy league is showing.

274. TERESA: Hmpf. (PAUSE) It occurs to me there may be a flaw in your brilliant plan, Stone.

275. TRENT: Yes? What would that be?

276. TERESA: Well, I mean to say. You’re a man. They may not be inclined to let you in.

277. TRENT: Well, it’s daylight and I’m not visiting unaccompanied. I think it’ll be alright.

278. TERESA: I should also add that because you’re a man… they may not let you out again, either.

279. TRENT: You don’t say?

280. TERESA: You never met any of my sisters over at Princeton did you?

281. TRENT: I never went to Princeton at all.

282. TERESA: Cute. Why don’t you just go on up and ring the bell?

283. SOUND: [23] SOUND OF DOORBELL

284. MATRON WILMA STURGESS: (SUSPICIOUSLY) Can I help you?

285. TRENT: My name is Trent Stone and this is Miss Tess Carter. We’d like to speak with Miss Claire Mannix please. I believe, she’s the head of the Sorority?

286. WILMA: (ACCENTED) Just a moment, Sir. I’ll see if she is taking callers.

287. SOUND: [24] FEMALE FOOTSTEPS RECEDING AND PAUSE

288. WILMA: (SCREAMS) Aaaaaah.

289. TRENT: Quick Tess, this is no time for niceties.

290. SOUND: [25] DOOR OPENS AND CLOSES, FEET RUN DOWN HALLWAY

291. MUSIC: [47] (BRIDGE) ACTION SCENE ENDER — LET IT FINISH

SCENE 14: INT. CLAIRE MANNIX’S ROOM
(TRENT, WILMA, TERESA)

292. TRENT: [CUE] Ma’am, what’s happened? Are you alright?

293. WILMA: (BREATHING HEAVILY) I’m fine, but Miss Mannix’s room. Look at it!

294. TERESA: What? Look at this mess. Books strewn about; the bedclothes tossed; personal belongings spilled out of drawers. Do you think it was a robbery, Trent?

295. TRENT: I don’t think so, Tess. Her jewellery box is still here on the floor by the bed. And her purse is lying open just inside the door. It still has money in it.

296. TERESA: Is that blood on the door frame?

297. TRENT: It could be. Excuse me? Ma’am..?

298. WILMA: I am Mrs Wilma Sturgess, housekeeper.

299. TRENT: Yes, thank you. Mrs Sturgess, I think it would be a good idea to call the police. Is there a telephone in the house?

300. WILMA: Yes, of course. I’ll see to it right away.

301. SOUND: [24] SOUND OF RETREATING FEMALE FOOTSTEPS

302. TERESA: Trent, what’s that poking out from between the mattress and the bed base?

303. TRENT: I think it’s some kind of hand-bill. Let me see…

Here we are, (READING) “Party Venue of the Year, Warehouse 6 on Pier 3 of the Star City docks.”

304. TERESA: From what Standish told us, she was supposed to be a “sober and respectable girl.”

305. TRENT: Not the description you would expect of a party girl, I agree. I guess this sorority is something of a house of secrets.

306. TERESA: So what now? Ask a few questions, and head out to that warehouse?

307. TRENT: I guess so. We’ll have to wait and talk to the police anyway.

308. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 15: INT. INSIDE A TAXI
(TERESA, TRENT, WALT)

309. SOUND: [3] WALLA — ENGINE NOISE FROM INTERIOR OF CAR — FADE IN AND UNDER

310. TERESA: Well, that was unpleasant.

311. TRENT: Yes, the police were none too happy to see us, were they?

312. TERESA: I know they don’t like us very much, but that seemed unusually hostile. I thought for a minute they were gonna run us in.

313. TRENT: I think maybe news of our conversation with Caesar Cordova has begun making the rounds.

314. TERESA: As if we don’t have enough troubles. Now the cops think we’re working for the mobs?

315. TRENT: That would be my guess.

316. TERESA: It’s a good thing you didn’t hand over that flyer or we’d have been in even bigger trouble.

317. TRENT: Mmmm. (BEAT) Oh, driver, can you pull up just before the piers.

318. WALT KROGAN (TAXI DRIVER): Sure thing, Mr Stone. And if you don’t mind my saying… The police mightn’t like you much, but a lot of us little people are on your side.

319. SOUND: [17] SOUND OF CAR COMING TO A HALT

320. TRENT: (SURPRISED) Oh, um yes. Er… thank you.

Here’s your fare.

321. TERESA: Say, what’s your name, buddy?

322. WALT: Walt.

323. TERESA: You got a card we can use?

324. WALT: Sure thing. Any time… Day or night… Just ask for Walt.

325. TERESA: Thanks.

326. SOUND: [26] DOORS OPEN AND CLOSE, SOUND OF CAR DEPARTING

327. TRENT: Little people huh?

328. TERESA: It’s easy to forget taxi drivers are even there, isn’t it? But we could certainly use the transport.

329. TRENT: Okay then, to business. It doesn’t look like the “party venue of the year” does it?

330. TERESA: Decrepit looking old warehouse, broken windows, abandoned fish crates… no, not so much.

What do you think… the brochure was some kind of lure to bring girls down to these docks alone?

331. TRENT: It’s a theory. Maybe, Miss Mannix’s room was rifled in search of the brochure — an attempt to stop someone drawing just that conclusion.

332. TERESA: Maybe. Let’s take a look around.

333. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 16: EXT. WAREHOUSE
(TRENT, TESS)

334. TRENT: [CUE] Over here, Tess. It looks like the main door is open.

335. TERESA: Yeah? That doesn’t strike you as a bit screwy?

336. TRENT: It does a bit. Best be on our guard, eh?

337. TERESA: You want your .45?

338. TRENT: Better safe than sorry.

339. SOUND: [27] SCRAPING METAL ON METAL AS DOOR IS OPENED

340. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 17: INT. INSIDE THE WAREHOUSE
(TERESA, TRENT, CLAIRE)

341. TERESA: [CUE] It’s pretty dark in here. Can you see anything, Stone?

342. TRENT: I can’t make out very much… but if this place was being used to trap young women we should be on the lookout for…

343. SOUND: [28] SOUND OF SWITCH BEING THROWN AND HISS OF GAS

344. TERESA: Oh no, Trent, gas.

345. TRENT: (COUGHING) Quick Tess, we… need to try to… oh.

346. SOUND: [29] SOUND OF TWO BODIES SLUMPING TO THE FLOOR

347. CLAIRE MANNIX: (SINISTER CACKLE) Ha hahahaha! (FADES OUT)

348. MUSIC: [45] (BRIDGE) DRAMATIC SUSPENSE SCENE ENDER — LET IT FINISH

349. MUSIC: [50] (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 forwards. It is also my job to remind listeners of what came before in a calm, trustworthy voice and ensure that everyone is oriented to where we are and where we are going.

TRENT STONE: Hello, I’m Trent Stone, Adventurer. I’m always in command of the situation (except perhaps, when it comes to Tess — who can easily throw me for a loop). I say things like “indeed,” “hmmm,” and “I see” a lot, and speak in a way that friends of Clark Kent would find very familiar. I’m smart, observant, and quick to use my fists when required (but never impulsive). I sound like Joe College but I’m blue collar through and through. My lack of higher education is something of an embarrassment to me (but I’d never let on).

I’m aware of Tess’s flirting, and occasionally I wonder if it’s more than just a way to keep entertained on the job — mostly I just ignore it and keep on working.

TERESA CARTER: Hiya. Everyone calls me Tess. I’m the take-no-prisoners sort who can hold her own in the man’s world that is the concrete jungle of Star City. I’m college educated but have a mean right hook. I’m a reporter by training and a stickybeak by inclination — this tends to get me in trouble. Curious, playful, and smart, that’s me! But I’m also painfully honest, easily moved by the troubles of others, and as protective as a tigress of my friends. I secretly have a thing for Trent (who’s a bit of a stuffed shirt and easily embarrassed by flirting). We both pretend it’s not there for the sake of the job, but I can’t help occasionally feeling a bit wistful.

CAESAR CORDOVA: Si, si. I’m a crook… but a crook with… er… boundaries. I don’t push drugs or mess with prostitution. I’m loyal to my friends, good with kids and dogs. I’m Spanish, so my organization is a family. We look out for each other. Now wouldn’t it be better if crime in the city was controlled by me… after all, there’s always going to be crime… but the one who runs it? Well, there is crime and there is crime.

CLAIRE MANNIX: I am fanatically devoted to Itzamna, the alligator god. I would do anything for him (all praise his mighty form). I will kill every blasphemer, I will make the altar run with the blood of sacrifice once more, and I will fulfill my mission in this city blessed with the presence of our god’s chosen pets.

I am powerful, none more so, except of course the Ah Kin Mai of Itzamna: the High Priest whom I serve. But what of you? You do not appear to be wearing the garments of the priesthood.

Guards! Have this insect bound and placed upon the altar. There will be blood tonight!

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?

WILMA STURGESS: These girls! No respect! I cook, I clean — oh how I clean! They leave their books everywhere. But I keep them in line. No hanky-panky. No young men after hours. This is a safe place. I think how I want my own daughter to be looked after!

WALT KROGAN: I’m a cab driver. I see all sorts and I figure I’m a good judge of character… and I like to talk to my fares. It’d be a pretty dull job if I just sat there being the back of some head to everyone who got in.

###

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/ .

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 Cult of the Teeth

• The Cult of the Teeth – Episode 1 – Requiem for a Rude Man
• The Cult of the Teeth – Episode 2 – The Missing Girls
• The Cult of the Teeth – Episode 3 – Dark Ritual

The post The Cult of the Teeth – Episode 2 – The Missing Girls appeared first on Host Your Own Old Time Radio Drama.

THE CULT OF THE TEETH

EPISODE #1 – REQUIEM FOR A RUDE MAN

by Philip Craig Robotham

Cover Illustration by Miyukiko

Edited by Margaret Wilkins

Copyright 2013 Philip Craig Robotham

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

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: https://weirdworldstudios.com or through select, online book retailers.

Serial #2: The Cult of the Teeth

“The Cult of the Teeth” is the second play in our Pulp Adventure series featuring Trent Stone and Tess Carter. Glory-hound and expert hunter, Maynard Havelock III, is the victim of a ritual murder shortly after having dinner with Trent Stone and Tess Carter. Finding themselves at the top of the suspect list, Trent and Tess are forced to investigate the disappearance of a number of young women from Star City University in a bid to clear their names. Their investigation takes them in search of an ancient cult (recently established in the modern city in which they have made their home), a missing obelisk, and behind it all, a familiar wheel-chaired villain. Can they prove their innocence and prevent the cult from committing any more ritual murders?

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.

REQUIEM FOR A RUDE MAN

CAST LIST

NARRATOR: The Narrator

TERESA CARTER: Our heroine and reporter

TRENT STONE: Our hero and adventurer

MAYNARD HAVELOCK III: Big Game Hunter

WAITER: Restaurant Waiter

TONY WELLS: Detective and League supporter

LIBRARIAN: Female University Librarian

ALASDAIR STANDISH: Dean of Anthropology

MADELEINE FORSYTHE: Secretary to Alasdair

SFX: 1 SFX artist required

ACT 1

SCENE 1: EXT. APPROACHING THE METRO (A FINE RESTAURANT IN THE CITY CENTER) — EVENING
(NARRATOR, TERESA, TRENT)

1. MUSIC: [49] (BRIDGE) OPENING THEME MUSIC — LET IT FINISH

2. SOUND: [1] WALLA — STREET SOUNDS, CARS ETC., AND WALKING FEET

3. NARRATOR: Star City on a cold February evening, one month after the events of “The Alligator Menace.”

Our heroes, Trent Stone and Tess Carter, approach one of the city’s finer dining establishments…

4. TERESA CARTER: Damn it, Trent, I hate this!

5. TRENT STONE: Oh, come on Tess. Maynard is a friend.

6. TERESA: Hmpf. Maynard Havelock the Third is a glory-hound and buffoon. If he loves anything in this world more than himself, it’s catching a glimpse of his own reflection. And whenever we have these dinners he gets drunk and starts staring down the front of my dress.

7. TRENT: Yes, well. I’ll admit the man is a little pompous… and he does have a knack for arriving at most newsworthy events too late… but he won’t be getting a drink tonight — they have prohibition in this country, remember.

Beneath that insufferable blustering he has a good heart, you know?

8. TERESA: Deep, deep beneath. At least you got him to promise to leave the press behind.

9. TRENT: I tried.

10. TERESA: Oh no! Stone, I’m going home.

11. TRENT: Wait a moment Tess. It won’t be that bad.

12. TERESA: You say! And what’s with you anyway? You normally hate these upper-class hangouts.

Thinking of joining the bourgeoisie?

13. TRENT: Not yet, Tess. You’ve seen Maynard eat. He’s got the table manners of a water buffalo. If you must know, it quite takes the pressure off… And things are finally quiet in this town. It’s been a month since that business with the alligators; the gangs have taken a brief break from shooting at each other; and we’ve been invited out to dinner by an old friend — who is also footing the bill — at one of the finest restaurants in town! The only thing of note to happen lately has been the theft of that South American obelisk from the Natural History Museum.

14. TERESA: And the theft of a lump of rock (even a really big one) isn’t cause for that much interest… (BEAT) You know, Maynard only offers to pay because if he didn’t, no one would ever agree to his company.

15. TRENT: Now, now Tess.

16. TERESA: Well, I can’t say it won’t be nice to eat at the Metro. I’ve heard great things about it.

17. TRENT: That’s the spirit. Oh, looks like we’ve arrived.

18. TERESA: (SIGHS) In for a penny, I guess.

19. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 2: INT. RESTAURANT FOYER
(MAYNARD, TERESA, TRENT)

20. SOUND: [7] DOOR OPENS, SOUND OF FLASH BULBS GOING OFF AND QUESTIONS

21. MAYNARD HAVELOCK III: (OVER THE HUBBUB) … and that was when I shot it. The villagers were so grateful they set old Stone and his girl free on the spot. I must say they looked a sight, soaked to the skin and covered in vegetables. Still, no one got eaten that day thanks to Maynard Havelock the Third, haha!

22. TERESA: (STAGE WHISPER) Who’s he calling your “girl”? I don’t suppose he’ll have mentioned that it was his fault we ended up in the cook-pot in the first place?

23. TRENT: (WRYLY) Probably not. Come on, let’s get his attention. Maynard! We’re here!

24. MAYNARD: Stone, old boy! So you are. And Miss Carter…(LASCIVIOUSLY) …lovely to see you, as ever.

25. TERESA: (AHEM) Yes, thank you, Maynard.

26. MAYNARD: (TO THE CROWD OF REPORTERS) That’ll be all the stories for this evening fellows, but don’t worry, there are plenty more where those came from… but before I go there’s time for one more photo… Trent, Tess! Over here.

27. TRENT: Maynard, no!

28. MAYNARD: Oh don’t be such a stick-in-the-mud, old boy. You broke the ground on this one, after all. Smile, Miss Carter.

29. SOUND: [8] MORE SOUNDS OF FLASHBULBS GOING OFF

30. MAYNARD: Well that’s it, we’ll be taking our seats in the main dining room now. Thanks, fellows.

31. SOUND: [9] SOUNDS OF DISAPPOINTMENT FROM THE PRESS

32. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 3: INT. THE DINING ROOM
(MAYNARD, TRENT, TERESA)

33. SOUND: [2] WALLA — SOUNDS OF CUTLERY, GLASSES, GLASSES CLINKING, MURMUR OF PATRONS IN BACKGROUND — ESTABLISH AND UNDER

34. MAYNARD: (SIGHS) It’s all for the fans you know. My public just can’t live without me.

35. TRENT: (WRYLY) Yes, I’m sure. What was that about us “breaking the ground on this one”?

36. MAYNARD: Oh, but surely you’ve guessed why I’m here? No? Good Lord man, I’m here on a hunting trip.

37. TRENT: (GENUINE SURPRISE) What? What on earth do you expect to hunt in Star City?

38. MAYNARD: My, but you are dim at times, Stone. The alligators of course.

39. TERESA: But, Maynard, the alligators are all gone. No one has seen any for over a month.

40. MAYNARD: Ah, yes. But therein lies the challenge, and the mystery! Where have they gone, I ask you? They can’t just have vanished off the face of the earth. No, my dear, tracking these creatures down will be a hunt worthy of my skills… and by now it will be all over the evening editions. I can’t possibly let my public down.

41. TERESA: (LAUGHING) Oh, Maynard, you don’t change a bit, do you!

42. MAYNARD: Not a bit my dear. Shall we order?

43. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 4: INT. THE DINING ROOM — LATER
(MAYNARD, TERESA, TRENT, WAITER)

44. MAYNARD: [CUE] Mmm, delicious… So there you have it. I sent the press release through last night, and arrived this morning. I must say this is a very friendly town. I was met at the station by no less than six reporters and by the time I’d got myself settled in at the hotel, the foyer was simply swimming with news-folk. I have arranged to spend some time at the University Library this evening, and will start the hunt tomorrow morning (after a hearty breakfast of course).

45. TERESA: Of course.

46. TRENT: But Maynard, I’ve been wondering, what took you so long to…?

47. SOUND: [10] CRASH OF BREAKING GLASS, SOUNDS OF SHOCK AND FRIGHT COMING FROM PATRONS — ESTABLISH AND UNDER

48. MAYNARD: Good Lord, who are those chaps?

49. TRENT: I don’t recognize the get-ups. Native South American, by the look.

50. TERESA: They’re raising weapons of some sort. Blowguns? Quick, get down.

51. SOUND: [11] CRASH OF TABLE OVERTURNING AND BREAKING CROCKERY ETC.

52. SOUND: [12] THWOCK OF THREE BLOW-DARTS STRIKING THE TABLE

53. TRENT: Looks like I turned over the table just in time. Do you have our hardware with you Tess?

54. SOUND: [13] SOUND OF RUMMAGING IN BAG — UNDER

55. TERESA: Yes, given the way things have been lately, I haven’t felt safe going anywhere without them. Here you are.

56. TRENT: We’ve only got a second or two. One, two, three…

57. SOUND: [14] SOUND OF GUNS BEING READIED

58. TERESA: Hey, where’d they go?

59. TRENT: I don’t know. They seem to have melted away into the night. Almost like ghosts. (DRYLY) Maynard, you can get up now!

60. MAYNARD: What? Oh yes, of course.

61. TERESA: Look at these darts, there’s something wet coated on the tips.

62. TRENT: Don’t touch them Tess, that’ll be some kind of poison.

63. TERESA: This doesn’t have anything to do with you, does it Maynard?

64. MAYNARD: What? Good Lord no! I’ve only just arrived after all. No. This is more likely some part of your business. In this one, I’m strictly an innocent bystander.

65. TERESA: (DOUBTFULLY) hmmm.

66. TRENT: (AT A DISTANCE) Well, let’s take a look at where they got in… Plenty of broken glass… At least we can be certain they weren’t ghosts.

67. TERESA: How so?

68. TRENT: Apart from the broken glass? Look at this.

69. TERESA: What is that? A collapsible blowgun?

70. TRENT: It appears to be. I think it’s solid gold.

71. TERESA: (WHISTLES) That’s impressive. What’s the other thing?

72. TRENT: I think it’s a blowgun dart. Not like the others though. Look at the tip.

73. TERESA: Is that diamond?

74. TRENT: If it is, it’s not any kind of diamond I’ve ever seen. It’s blue for a start.

75. MAYNARD: (LAUGHING) Oh, this is wonderful. Mystery, action, adventure! If I’m quick I’ll be able to get in a couple of interviews before the late edition. Oh, looks like some members of the press are here already. If you’ll excuse me… my public awaits.

76. TERESA: Well, I guess that ends our evening out.

77. TRENT: Not quite, we’ll still need to give our statements to the police.

78. MAYNARD: (REATREATING INTO THE DISTANCE) Fortunately, I overturned the table in time. I hate to imagine what would have happened to poor old Stone and his girl if I hadn’t been there…

79. WAITER: Ahem… Excuse me sir, but the gentleman left without paying his bill.

80. TRENT: Ugh!

81. MUSIC: [43] (BRIDGE) IRONIC SCENE ENDER — LET IT FINISH

ACT 2

SCENE 5: INT. HEROES SUITE AT THE REGENCY HOTEL —THE NEXT DAY
(TRENT, WELLS)

82. SOUND: [15] HEAVY KNOCKING ON THE DOOR

83. TRENT: Hold your horses, I’m coming.

84. SOUND: [16] DOOR OPENS

85. TRENT: Oh, it’s you, Detective. Come in.

86. TONY WELLS: Thanks, Stone. Official business I’m afraid.

87. TRENT: I thought as much. Six a.m. seems a little early for a social call.

88. WELLS: Is Tess up? I need you both.

89. TRENT: She’s in the room across the hall.

90. WELLS: Oh, I thought… (EMBARRASSED) Sorry.

91. TRENT: It’s not that kind of relationship. Tess is an old-fashioned sort of girl.

92. WELLS: Yes, well… sorry.

93. TRENT: (EXASPERATED) Just go knock on her door while I get dressed. Can I meet you in the lobby in, say, ten minutes?

94. WELLS: Fine, I’ll see you downstairs.

95. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 6: INT. LOBBY OF THE HOTEL — FORTY-FIVE MINUTES LATER
(TERESA, WELLS, TRENT)

96. TERESA: [CUE] Detective Wells, so nice to see you again.

97. WELLS: (GLUMLY) I thought you said you’d be ten minutes.

98. TRENT: You can’t rush a woman in the morning, Wells.

99. TERESA: Besides you didn’t say it was anything urgent.

100. WELLS: Not urgent? … but what did you? Oh, never mind. The two of you need to come with me. Maynard Havelock the Third is dead!

101. MUSIC: [44] (BRIDGE) DRAMATIC EMPHASIS SCENE ENDER — LET IT FINISH

SCENE 7: EXT. OUTSIDE THE UNIVERSITY LIBRARY
(TRENT, WELLS, TERESA)

102. SOUND: [17] SOUND OF CAR PULLING UP

103. TRENT: This is the University Library.

104. WELLS: Yes, this is where he was found.

105. TERESA: Who found him, Detective?

106. WELLS: A night watchman. Havelock had arranged with the University to come and do some work here.

107. TRENT: Am I to assume we’re suspects?

108. WELLS: At the moment you’re just helping us with our inquiries. You were the last to be seen with him, you know?

109. TRENT: Actually, that’s not quite true. He left the restaurant in the company of some reporters.

110. TERESA: Stiffing us with the bill, to boot!

111. WELLS: Really? I’ll look into it. We’d better get inside.

112. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 8: INT. INSIDE THE LIBRARY
(TERESA, TRENT, WELLS, LIBRARIAN)

113. TERESA: [CUE] Oh, my! This is awful. Why hasn’t the body been moved?

114. WELLS: I told them to wait until you’d seen it. I didn’t think you would take so long to get here.

115. TRENT: All right, Wells, we get the message. (BEAT) There’s an awful lot of blood. Poor Maynard! It looks like they’ve opened his chest up.

116. WELLS: The heart is missing.

117. TERESA: Oh!

118. TRENT: And you thought we might have something to do with this?

119. WELLS: It’s nothing personal. You’ve traveled a lot and there aren’t many people in this town who could make it look like a ritual murder.

120. TERESA: Ritual murder? What makes you think it was a ritual murder?

121. WELLS: Aside from taking his heart? Take a look at his forehead. See that?

122. TRENT: What is that? It looks like someone has carved something there. A tooth?

123. WELLS: That’s our best guess. What do you make of it?

124. TRENT: I couldn’t begin to guess.

125. TERESA: What about that business last night? Those guys who attacked us in the restaurant were in some kind of native South American get-ups.

126. TRENT: It’s possible, I suppose. My initial thought was that they were after us. Maynard hasn’t been near South America in years. Most of his time has been spent in Africa.

127. TERESA: His left hand is balled into a fist. Could he be holding something?

128. WELLS: I’ll take a look. (BEAT) Yes, there’s something there. It’s badly bloodstained. A photo of a young woman I think.

129. TERESA: Yes, she’s pretty. It looks like a college photo judging by the pose.

130. TRENT: What was he here looking at?

131. WELLS: Books on alligators for the most part. You can see he must have been taken by surprise.

They’re spread all around him.

132. TRENT: Hmmm. Maynard may have played the buffoon often enough, and he certainly had a gift for getting in trouble. But he was, nonetheless, nobody’s fool. He would never have survived this long if he had been.

133. WELLS: Your point being?

134. TRENT: Something is wrong here. We’re missing something.

135. TERESA: Like what?

136. TRENT: One of these books doesn’t belong. This one: “South American Religion in Pre-Columbian Times.” (BEAT) He’s marked a page. I wonder what he was after?

137. TERESA: Look at those pictures. The costumes match those worn by our attackers last night.

138. TRENT: That’s right. “The Cult of the Teeth — a particularly violent death-cult that worshipped…” get this, they worshipped “alligators.” They would carve the sign of the tooth into the foreheads of their victims and sacrifices.

139. TERESA: What do you think it all means?

140. TRENT: I’m not sure, but I’m willing to bet it has something to do with the photo of the girl.

141. WELLS: Hmmm.

142. LIBRARIAN: Excuse me. (SHOCK) Oh… I… oh!

143. WELLS: This is still a crime scene, miss. I’ll have to ask you…

144. LIBRARIAN: Yes, I’m sorry. I’ve just had a call from Mr. Standish, the Dean of Anthropology. He’d like a word with Mr. Stone and his companion after you’ve finished with them, Detective.

145. WELLS: I think I’ve gotten everything I need to for the moment. I hate to have to say this, folks, but…

146. TRENT: …don’t leave town?

147. WELLS: Well, I was going to say “please don’t leave town” but that’s about the gist of it.

148. TRENT: Thanks, Detective. I’m sure we’ll be hearing from you later. By the way, what will happen to Maynard’s body now?

149. WELLS: For the moment he’s the property of the court. Once this business is settled we’ll hand him over to the family.

150. TRENT: He has a sister in England. I’ll send you the details later.

151. WELLS: Thanks.

152. TERESA: Which way to the Dean’s office, Miss?

153. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

SCENE 9: INT. THE DEAN’S OFFICE — A SHORT WHILE LATER
(ALASDAIR, TERESA, TRENT, MADELEINE)

154. ALASDAIR STANDISH: [CUE] Come in, come in. I’m sorry you are visiting under such distressing circumstances.

155. TERESA: Thank you Mr…?

156. ALASDAIR: Alasdair Standish, I’m the Dean of Anthropology here at Star City U.

157. TERESA: Thank you, Mr. Standish. It’s a nice university you have here, though something of a maze.

158. ALASDAIR: Yes, our faculty is a little tucked away, isn’t it? Not what you’d call a high profile area of scientific endeavor. Still, they won’t be removing us terribly soon. We have been the recipients of a number of generous endowments which guarantee our presence on campus for a long time to come.

159. TERESA: The recognition must be gratifying.

160. ALASDAIR: Yes, yes it is.

161. TRENT: (UNCOMFORTABLE PAUSE) Was there some reason you wished to see us, Mr. Standish?

162. ALASDAIR: What? Uh yes, yes there was.

163. TRENT: (FURTHER UNCOMFORTABLE PAUSE) Mr. Standish?

164. ALASDAIR: Yes, I’m sorry. It’s not easy to decide where to begin.

165. TERESA: Perhaps the beginning would be best.

166. ALASDAIR: Yes of course. But, you must understand my position. I’m the Dean of a relatively small department within the University and I’d rather not cause the University any embarrassment. I believe you’re a reporter, Miss Carter?

167. TERESA: Ah, I see! You’re concerned about what might happen if this discussion were to become public?

168. ALASDAIR: Yes, you have it exactly. I know it’s a lot to ask, but I’d prefer it if our conversation…

169. TRENT: You can rely on our discretion, Mr. Standish.

170. ALASDAIR: (RELIEVED) Thank you. I can’t tell you what a burden this is.

171. TERESA: So far, you haven’t told us anything at all.

172. ALASDAIR: (DEEP BREATH) Yes, sorry. It concerns something one of my students brought to my attention. She’s an exceptionally good student you understand, level-headed and reliable. She’s sort of the unofficial den-mother — as well as the official sorority president — of the Beta-Phi sorority — Claire Mannix. Anyway, she has been concerned that a number of the girls have disappeared in the last few weeks — three to be exact. It’s not unusual for girls to go “on the town” (so to speak). It happens more often than you might think. University life can turn a young woman’s head. Generally, the University doesn’t like to get caught up in the scandal. Often the girl comes to her senses and returns to her studies. At other times she (AHEM) quietly departs.

173. TRENT: I’m sorry Mr. Standish, but I’m not sure I…

174. ALASDAIR: Please be patient just a little longer. The thing is, Claire — I mean Miss Mannix — was very concerned. While it’s not unusual for one girl to drop out of sight for a little while, three is much more unusual. Naturally, we don’t want to involve the police, and we certainly don’t want to be seen to be subverting the University’s handling of the situation but…

175. TRENT: I take it this has nothing to do with the matter in the Library this morning.

176. ALASDAIR: Eh? No. It’s more of a happy coincidence. Hearing you were on campus I thought I’d take the opportunity to ask for your aid.

177. TERESA: I’m not sure I’d describe the circumstances of our visit today as in any way “happy.”

178. ALASDAIR: Oh, my Lord, no! Forgive me. That was a very insensitive thing to say. The man in the Library, he was a friend of yours, yes?

179. TRENT: I wasn’t aware that the police had released any details as yet.

180. ALASDAIR: You have to understand, the University — despite its size — is a very small community at heart and news travels fast.

181. TRENT: Hmmm. Well yes, the victim was a friend of ours.

182. ALASDAIR: Please accept my apology and condolences. My mouth sometimes runs ahead of me.

183. TRENT: Think nothing of it. Now, about these girls…

184. ALASDAIR: Then you’re willing to look into it… discreetly of course.

185. TRENT: Yes, I think so. Do you happen to have any photographs of the young women in question?

186. ALASDAIR: Just a moment.

187. SOUND: [18] BUZZ OF INTERCOM

188. ALASDAIR: Miss Forsythe, do you have a copy of the yearbook handy?

189. MADELEINE FORSYTHE (SECRETARY): Just a moment, Mr Standish, I’ll bring one in.

190. ALASDAIR: The University distributes this to faculty with the class lists. It makes learning the students’ names etc. easier.

191. TERESA: I’m sure.

192. SOUND: [16] DOOR OPENS

193. MADELEINE: Here you are, Mr Standish.

194. ALASDAIR: Thank you, Madeleine. Now let me see…

195. SOUND: [19] DOOR CLOSES AGAIN

196. ALASDAIR: Ah, here we are. This is Brit Morris, the first girl to disappear… and this, this is Jenny Silver… and, most recently,… here she is, this is Shelley Rossiter.

197. TERESA: Oh My!

198. ALASDAIR: Is something the matter Miss Carter?

199. TRENT: (INTERRUPTING) No, no. That’s fine. Would it be possible to borrow this from you, Mr Standish?

200. ALASDAIR: (WITH RELIEF) Yes, of course. I can’t tell you how much better I feel, knowing you will be looking into things.

201. TRENT: I’m sure. Well, Mr Standish, if there’s nothing more, I think we’d best be off.

202. ALASDAIR: Yes, yes. Thank you so much. And you, Miss Carter, thanks again.

203. TERESA: You’re very welcome.

204. TRENT: Oh, before we go. Your area of expertise is South American Anthropology, yes? You don’t happen to recognize these objects, do you?

205. ALASDAIR: Er, no. Is that a gold blowgun and dart?

206. TRENT: And this symbol. You haven’t seen it anywhere before?

207. ALASDAIR: It looks like some kind of tooth or fang. No, I can’t say I have. Is it something important?

208. TRENT: (IGNORING ALASDAIR) Well, thank you for your time. We won’t bother you any further.

209. MUSIC: [42] (BRIDGE) NEUTRAL SCENE ENDER — LET IT FINISH

210. MUSIC: [50] CLOSING THEME 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.

MAYNARD HAVELOCK III: Ho there! Maynard Havelock the Third here. My friends call me Maynard despite all my best efforts to get them to call me “Big Man.” I’m a big game hunter and adventurer, don’t you know? I bluster a bit, but my public loves me and I do my best to keep them abreast of all my latest doings. I’m never seen without a few reporters hanging on my coat-tails.

What was that? Why yes, I am awfully brave. Except for that time where… oh, and that time that… but never mind about that. Brave! Stalwart! Salt of the earth! A product of the Empire! That’s me. Perhaps I’m occasionally too well mannered and concerned for the feelings of others… and the fillies occasionally get a little overwhelmed by my manly presence (LAUGHING) — pretending to be offended in order to cover their sense of deep attraction towards me, bless ’em — but all in all, I’m a good sort. And you can’t ask for much more than that.

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.

ALASDAIR STANDISH: What was that, my dear? Oh yes, I am the Dean of the School of Anthropology. Yes, it’s an absolutely fascinating subject. It’s the study of (LASCIVIOUSLY) the most basic, the most primal, societies… (DISTRACTED) My but you have the most lovely blonde hair… and beautiful blue eyes. Oh, sorry… I get so easily distracted these days. The pressures of the job and my advancing age you know. Perhaps (LASCIVIOUSLY AGAIN) we could meet later to engage in some extra tuition.

Oh my dear, of course, it would all be above board. I’m old enough to be your father after all. No, no. You have absolutely nothing to worry about with me!

CASTING SHEETS — MINOR CHARACTERS

LIBRARIAN: I like an orderly world, one of discipline and quiet. I’m easily shocked — but not above reading the latest romance novel. Murder just doesn’t belong in a world of books.

MADELEINE FORSYTHE: I’m so grateful to Mr. Standish for my job as his secretary. He’s a great man. So clever and kind. I wish I could keep him to myself but there’s always another bright young thing walking through his door. I guess he needs variety. But, each year a new crop of young things arrives and I just keep getting older.

WAITER: Hey I just work here. I’m polite, I smile, but the last thing I want is a deadbeat patron. The money comes out of my wages if they skip out on the check. I’ve got to do right by my family — and there are a hundred other guys lined up for my job — so there’s no way a deadbeat walks out without paying.

###

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/.

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 Cult of the Teeth

• The Cult of the Teeth – Episode 1 – Requiem for a Rude Man
• The Cult of the Teeth – Episode 2 – The Missing Girls
• The Cult of the Teeth – Episode 3 – Dark Ritual

The post The Cult of the Teeth – Episode 1 – Requiem for a Rude Man appeared first on Host Your Own Old Time Radio Drama.