CORBIS

Mid 40s, heavily built with muscle turningtoflab Corbis has a penchant for dark suits and shirts which give the aura of an East End gangster or a bouncer, neither of which he is or has ever been, though his loud manner and love of story telling often gives the feeling that he was.

Corbis is the film’s central character and the one relating the events of the evening, his storytelling skills being used now for darker purpose as he traces the course of an enigmatic, sealed briefcase over the course of the night to the brooding and menacing Richmond. 

If Corbis is successful he will walk away with Richmond’s most prized possession; his wife Colette, having exchanged her for the briefcase supposedly worth millions.

A HUNDRED MILLION is a battle of two minds, initially Corbis seems to have the upper hand, but he is a flawed hero and not one of the Bond variety.  He’s Working Class and though rapid tongued he does not have intellectual leanings.  Added to this as the story progresses we find that he has childhood traumas and insecurities for which his loud manner is a wall which only Colette has been permitted through, as well as rapid uncontrollable violent mood swings and epilepsy.

image: Jason Wing cast as Corbis for the radio version

RICHMOND

50s, well spoken, with a slim build Richmond is Corbis’ Nemesis but like Corbis is also traumatically flawed.  At the start he seems to be almost Corbis’ reluctant victim, but as the story progresses we first suspect and then see evidence of his true dark menacing and controlling nature.

Corbis and Richmond’s game is played at Richmond’s mansion, bought like all his possessions by his love and talent for code breaking – utilised by the Underworld on an international scale. 

He’s always been introverted – more bullied at school rather than the bullier and certainly not sociable.  He and his wife Colette then appear to be an odd match; she’s beautiful, outward and charming, but then like everything else she’s just something he bought and paid for.

image: James Frail cast as Richmond for the radio version

COLETTE

30s beautiful and blonde, not just a Southend lush, she has glamour and all the power of femme fatale.

There is an edge of cruelty to Colette and not just to gain advantage – as a child she would certainly pull the legs off spiders, or indeed any animal, for the simple pleasure of watching them running around in pain and confusion. 

Not a surprise then, that not only are there affairs outside her marriage but also that she tape records her infidelities and gives them to Richmond to torture him.  Something that becomes important later on – Corbis thinks Richmond knows nothing of him, in fact he knows everything from revealing and intimate love bed conversations.

Richmond and Colette’s marriage though isn’t a disaster.  Neither are on a hunt for a divorce.  Somehow their different types of cruelty compliment each other and Richmond enjoys the release from responsibility a dominant partner like Colette brings.

Corbis is something new to Colette, something about him makes her feel protective, gentle and caring.  She’s released from the duty of glamour and show.  Likewise for Corbis, uniquely he now needs no loudness or defensive walls.  Their scenes are relaxed, philosophical and dreamlike, in contrast to the battle that wages outside.  In truth, they’re in love.

image: Lydia Piechowiak cast as Colette for the radio version
photo: Eric Russell 2006