Maria Struzberg 7 June 2015

Mr. Farrell ELA: Playwriting

Big Tuna
A One Act Play by Maria Struzberg

Scene 1

Garcia Fish Market in Queens, New York, 9 a.m

ALEXA KING
[ties her shoelaces and makes sure the wire is secure]
I’m sorry, I wasn’t listening. Why won’t you be in tomorrow?

ERNESTO “BIG TUNA” GARCIA

You’re new here, right? Every Thursday a fish shipment comes in. Guess who’s got to get the tuna? Big Tuna,
that’s who. Me.

ALEXA KING
But we still got a lot of tuna in stock.

ERNESTO “BIG TUNA” GARCIA

[Puts on his leather jacket and sunglasses]
It’s not your job to worry about things like this, senorita! I’ll be back in a few hours.

ESMERALDA
[Blows Big Tuna a kiss]
Adios, Ernesto.

ALEXA KING
So, how long have you been working for Garcia? I mean, Ernesto, oh, Big Tuna.

ESMERALDA
[Re-applying dark red lipstick]
A long time. Way longer than you, gringa. I haven’t been in United States of the Americas long but I know that
chicas like you don’t work in no fish markets like this.

ALEXA KING
Oh okay. Do you and Ernesto still talk to your friends or family in Colombia?

ESMERALDA
What’s it to you?

ALEXA KING
Just trying to get to know you guys better, I guess.
 2

ESMERALDA
Your mama never taught you to mind your own business? Ernesto and I don’t got no friends. We only got each
other.

ALEXA KING
So you guys didn’t leave much behind in Colombia?

ESMERALDA
Business partners. How else would we being running this joint? You can’t sell fish without any fish to sell.

ALEXA KING
There’s a lot of fish in Colombia?

ESMERALDA
What kind of stupid question is that? There’s an ocean, no?

ALEXA KING
No, I mean, there’s lots of fish available to sell?

ESMERALDA
More than enough. But Ernesto doesn’t like to share.

ALEXA KING
What does he do when someone else tries to sell the fish?

ESMERALDA
Let’s just say he takes care of business.

ALEXA KING
Like how?

ESMERALDA
Has anyone ever told you that you ask too much questions?

ALEXA KING
Not really.

ESMERALDA
Well I think you forgot you got a floor to sweep, get to work Cinderella.
 3

Scene 2

DEA Government Office, New York

MURPHY
[Listening to wire taps]
Keep this up, Agent King! You’re on your way to that promotion.

ALEXA KING
Thanks, boss. Listen, we have a lot of information. Almost enough for a search warrant. We can bust them
importing the drugs!

MURPHY
We need numbers. We need proof of money transactions, possibly money laundering. Anything that can show
the selling and/or buying of the narcotics.

ALEXA KING
My fiance is an accountant. I’ll see what he can do.

MURPHY
If he can show us anything related to the cartel we’d have to put him in a witness protection program.

ALEXA KING
Don’t worry, he’ll cooperate.

MURPHY
Great, we’re really really close.

ALEXA KING
I have a really good feeling about this, boss.

MURPHY
Now, we know that a shipment comes in every Thursday, around eight or nine a.m. We need some kind of
location.

ALEXA KING
I secretly put a wire in Esmeralda’s purse.

MURPHY
Hopefully we’ll get enough intel to take them down. Keep in mind, don’t mess this up. You have too much to
lose.

ALEXA KING
Thank you for this opportunity, boss.
 4

Scene 3
 5

Scene 4

Garcia Fish Market in Queens, New York, 2 a.m

[Truck pulls up in front of the store. Big Tuna comes out of the vehicle and approaches Esmeralda.]

ERNESTO ‘’BIG TUNA’’ GARCIA

[Smooches Esmeralda] Mi corazón, make sure no one’s around and help the guys move the kilos to the back
of the shop.
ESMERALDA
Si mi amor.

[Police sirens in the distance]

GUY #1
[Yelling and panicking] Policía, policía!

GUY #2
What do we do?!

ESMERALDA
[Stuffing her purse with kilos and runs into shop]
Shoot them, kill them, do what you got to do. Don’t let them knock down what we’ve built. If you let Ernesto go
down, I’ll personally kill all of you and everyone you know.

GUY #2
Kill gringo cops? We’d start a war!

GUY #1
[Waving gun in the air]
La muerte de la policía! La muerte de la policía!

DEA OFFICER #1
[Getting out of the cop car slowly]
We come in peace! Please lay down your weapons, get down on your knees, and have your hands over your
heads.

DEA OFFICER #2
We don’t need to do this hard way!

GUY #1
[Running towards cops angrily ready to shoot]
La muerte de la policía! La muerte de la policía!

DEA OFFICER #2
[Shoots Guy #2 and Officer #1 calls for backup]
I guess we’re doing this the hard way.

DEA OFFICER #1
 6

Really, Bob? I clearly stated we come in peace. But noooo, you just have to be the bad cop.

DEA OFFICER #2
Did you not just see the really big drug pushing guy with a gun running towards me screaming, “La muerte de
la policía! La muerte de la policía!” ?

GUY #2
[Quietly sneaks the rest of the kilos into the shop while the officers continue arguing]
They killed one of your men, Big Tuna! What are we going to do?

ESMERALDA
Why didn’t you finish them off!

GUY #2
I didn’t want to make the charges worse for the boss!

ESMERALDA
Charges? You think those gringos are going to win this war?

GUY #2
N-n-no! What I meant was-

ESMERALDA
[Shoot Guy #2]
There’s more coming, Ernesto. They won’t back down easy.

SWAT TEAM
[Lines up by the front door about to bust in]
When know you’re in there and we’re coming in!

ERNESTO “BIG TUNA” GARCIA

[Grabs two guns and starts screaming angrily]
They think they come to my joint and take what’s mine!

ESMERALDA
[points gun at Big Tuna as Swat Team busts in]
Yes.

ALEXA KING
[Storms in behind the Swat Team]
Everyone drop your weapons, on your knees, hands above your head!

ESMERALDA
I’m undercover! I’m undercover!

[Big Tuna drops his weapon, and gets on his kness]

ALEXA KING
[Arresting Big Tuna]
 7

Ernesto Garcia of the Colombian drug cartel, you are under arrest for drug trafficking, murder, and money
laundering. You have the right to remain silent. Anything you say can and will be used against you in a court of
law. You have a right to an attorney. If you cannot afford an attorney, one will be appointed for you.

ERNESTO “BIG TUNA” GARCIA

Who’s the third rat? You got nothing on me for Money Laundering.

ALEXA KING
Choose what you say from now on wisely, Mr. Garcia. My men are searching every inch of this shop and we
will put you away for a very long time. No one in Colombia will be able to help you or even reach you where
you’re going.

ESMERALDA
I’ve already confiscated most of the kilos.

ERNESTO “BIG TUNA” GARCIA

How could you do this to me? I took you in off the streets in Colombia. I gave you everything!

ESMERALDA
I was just bait. And you fell for it.

ALEXA KING
How long have you been on the job?

ESMERALDA
Six years. But you’re assigned to one individual, my job was to take down the whole cartel. They have no idea
what’s coming for them. We’ll take them down one by one.

Garcia Fish Market in Queens, New York, 2 a.m

[Truck pulls up in front of the store. Big Tuna comes out of the vehicle and approaches Esmeralda.]

ERNESTO ‘’BIG TUNA’’ GARCIA

[Smooches Esmeralda] Mi corazón, make sure no one’s around and help the guys move the kilos to the back
of the shop.
ESMERALDA
Si mi amor.

[Police sirens in the distance]

GUY #1
[Yelling and panicking] Policía, policía!

GUY #2
What do we do?!

ESMERALDA
[Stuffing her purse with kilos and runs into shop]
 8

Shoot them, kill them, do what you got to do. Don’t let them knock down what we’ve built. If you let Ernesto go
down, I’ll personally kill all of you and everyone you know.

GUY #2
Kill gringo cops? We’d start a war!

GUY #1
[Waving gun in the air]
La muerte de la policía! La muerte de la policía!

DEA OFFICER #1
[Getting out of the cop car slowly]
We come in peace! Please lay down your weapons, get down on your knees, and have your hands over your
heads.

DEA OFFICER #2
We don’t need to do this hard way!

GUY #1
[Running towards cops angrily ready to shoot]
La muerte de la policía! La muerte de la policía!

DEA OFFICER #2
[Shoots Guy #2 and Officer #1 calls for backup]
I guess we’re doing this the hard way.

DEA OFFICER #1
Really, Bob? I clearly stated we come in peace. But noooo, you just have to be the bad cop.

DEA OFFICER #2
Did you not just see the really big drug pushing guy with a gun running towards me screaming, “La muerte de
la policía! La muerte de la policía!” ?

GUY #2
[Quietly sneaks the rest of the kilos into the shop while the officers continue arguing]
They killed one of your men, Big Tuna! What are we going to do?

ESMERALDA
Why didn’t you finish them off!

GUY #2
I didn’t want to make the charges worse for the boss!

ESMERALDA
Charges? You think those gringos are going to win this war?

GUY #2
N-n-no! What I meant was-
 9

ESMERALDA
[Shoot Guy #2]
There’s more coming, Ernesto. They won’t back down easy.

SWAT TEAM
[Lines up by the front door about to bust in]
When know you’re in there and we’re coming in!

ERNESTO “BIG TUNA” GARCIA

[Grabs two guns and starts screaming angrily]
They think they come to my joint and take what’s mine!

ESMERALDA
[points gun at Big Tuna as Swat Team busts in]
Yes.

ALEXA KING
[Storms in behind the Swat Team]
Everyone drop your weapons, on your knees, hands above your head!

ESMERALDA
I’m undercover! I’m undercover!

[Big Tuna drops his weapon, and gets on his kness]

ALEXA KING
[Arresting Big Tuna]
Ernesto Garcia of the Colombian drug cartel, you are under arrest for drug trafficking, murder, and money
laundering. You have the right to remain silent. Anything you say can and will be used against you in a court of
law. You have a right to an attorney. If you cannot afford an attorney, one will be appointed for you.

ERNESTO “BIG TUNA” GARCIA

Who’s the third rat? You got nothing on me for Money Laundering.

ALEXA KING
Choose what you say from now on wisely, Mr. Garcia. My men are searching every inch of this shop and we
will put you away for a very long time. No one in Colombia will be able to help you or even reach you where
you’re going.

ESMERALDA
I’ve already confiscated most of the kilos.

ERNESTO “BIG TUNA” GARCIA

How could you do this to me? I took you in off the streets in Colombia. I gave you everything!

ESMERALDA
I was just bait. And you fell for it.

ALEXA KING
 10

How long have you been on the job?

ESMERALDA
Six years. But you’re assigned to one individual, my job was to take down the whole cartel. They have no idea
what’s coming for them. We’ll take them down one by one.
 11

Scene 5
 12

TASK RUBRIC

Learning Goals 4.0 3.0 2.0 1.0 0.0

CCSS Narratives
W.9-10.3a: Engage I can engage the I can engage and
I can orient the
and orient the reader by reader with orient the reader by
reader by
setting out a problem, compelling, socially introducing With help, I can
situation, or observation, diverse characters, introducing simple Even with help, I
characters of orient the reader
establishing one or characters and cannot introduce
allowing the reader varying social by introducing
multiple point(s) of view, to infer unintentional conflicts. My simple characters
registers (if simple characters
and introducing a inciting incident and conflicts.
narrator and/or
stories, and setting applicable) and and conflicts.
may not be clear to
characters; create a out at least one setting out an
the reader.
smooth progression of inciting incident. inciting incident.
experiences or events.

I can use basic

CCSS Narratives I can gradually
playwriting
integrate playwriting I can use playwriting
W.9-10.3b: Use techniques, Even with help, I
narrative techniques,
techniques, such as techniques, such as With help, I can
including dialogue, cannot use
such as dialogue, dialogue, pacing, dialogue, pacing, use playwriting
to develop my playwriting
pacing, description, comic relief, and/or comic relief, and/or techniques to
narrative, but may techniques to
reflection, and multiple subplot, to develop subplot (as needed), develop my
struggle in develop my
plot lines, to develop compelling, well- to develop my narrative.
experiences, events, attempting more narrative.
structured event narrative.
and/or characters. advanced
sequences.
techniques.

I can use a variety

I can consciously
of playwriting
CCSS Narratives and gradually raise I can raise the
techniques, such as
W.9-10.3c: Use a the stakes and stakes at least once Even with help, I
raising the stakes With help, I can
variety of techniques to disrupt equilibrium per scene1, but cannot use
and disruption of use playwriting
sequence events so that at multiple junctures equilibrium (as
struggle in
techniques to build
playwriting
they build on one to create a attempting to techniques to build
needed), to create a a whole.
another to create a compelling, clearly disrupt a whole.
coherent whole. coherent,
creatively-built equilibrium.
intentionally-built
whole.
whole.

I can teach a lesson

I can provide a I can provide a
through my
CCSS Narratives conclusion that simple conclusion
narrative that
W.9-10.3e: Provide a follows from and that closes the
follows from and With help, I can Even with help, I
conclusion that follows reflects on what is action of my
reflects on a provide an cannot provide an
from and reflects on resolved over the narrative. My
specific moral or acceptable acceptable
what is experienced, course of the conclusion may not
theme experienced, conclusion to my conclusion to my
observed, or resolved narrative (including clearly follow from
over the course of the
observed, or narrative. narrative.
reversal of social or reflect on what
narrative. resolved over the
register, if was experienced or
course of the
applicable). observed.
narrative.

PRECISION: I can produce a I can attempt a

Produce clear and
coherent writing in
which the development,
organization, and style
are appropriate to task,
purpose, and audience.
I can produce and With help, I can
dramatic narrative dramatic narrative Even with help, I
share2 a dramatic attempt a dramatic
where organization where organization cannot attempt a
narrative that narrative
and style are and style are satisfactory
satisfies or exceeds appropriate to task
appropriate to task appropriate to task dramatic narrative.
all requirements. and audience.
and audience. and audience.

Proper online submission of this assignment is also evidence of sufficient progress toward ELA-Literacy Standard W.9-10.6: Use
technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of
technology's capacity to link to other information and to display information flexibly and dynamically.

1
Excluding final scene (resolution) of Final One Act Play
2
Available for students who volunteer their work for Reader’s Theater in class.