Transcript: Episode Sixteen – The Breakthrough

The word transcript in blocky marker style script, over a background of greenish turquoise brick.

EPISODE 16: THE BREAKTHROUGH

by Courtney Floyd and Georgia Mckenzie

COURTNEY

All episodes of The Way We Haunt Now deal thematically with death and dying. Many contain mild horror elements. This episode contains depictions of alcohol consumption and inebriation. Take care, listeners.

BACKGROUND SFX: Theme music (simple guitar with spectral oohs and ohs and occasional cymbal crashes) fades in…

GEORGIA

This is The Way We Haunt Now Episode Sixteen: The Breakthrough

BACKGROUND SFX: Theme fades out…

SCENE 39

AARON

(overlapping, echoing and distant)

But… I recovered. I recovered! How could I have a heart attack? I’m 25. The sickness wasn’t supposed to affect me, but I beat it. This has to be a mistake, someone has to fix this. I’m not supposed to be here.

YLENA

(overlapping, echoing and distant)

Madre de Dios, sabes que soy atea, pero…estoy tan asustado. Aqui, va… Madre, donde estas?

HENRY

(overlapping, echoing and distant)

I thought I’d see Luella. Tiny. Anybody I knew. But, it’s just strangers.

LOTA

Please, please. We need you to calm down!

AARON

Calm? We are DEAD! 

YLENA

I am supposed to be planning my sister’s wedding! I got sick and now I’m here! Why?

JOSIE

I…I am so sorry––

SFX: Smashing of glass.

AARON

––I want answers, not pity! What do you have to do with us being here!?

JOSIE

Nothing. We have nothing to do with any of your deaths.

LOTA

We’re just trying to help you. Help you get settled in.

AARON

I WILL NOT SETTLE. I WANT ANSWERS!

SFX: Aaron manages to bang his fists on the wall. Several lights spark and blow out. He groans.

YLENA

Oh my god, now the lights are going too?

LOTA

No, this is why you need to calm down. Yes, you’re dead. But the more emotions you feel, especially anger and fear, the more you affect the living world.

JOSIE

Like this young man, who just blew out a few bulbs.

AARON

I can’t believe this. You’re saying I… blew out the lights?

SFX: A chair is pushed back.

HENRY

Son, I get it. You have every right to be mad as hell. We all do. But right now, we need to learn what the hell happened to us and what our presence here means

AARON

I’m not your son!

HENRY

And I’m not your dad. But I am old enough to tell you that getting angry without knowing where to direct that anger is a good way to waste some perfectly good rage. How about we listen to these ladies so you can figure out whose butt to kick?  If we can still kick butts, ma’am?

LOTA

(stifles a giggle)

GHOSTS

(laugh awkwardly)

JOSIE

Well, Mr. ….?

HENRY

Henry, pleased to meet you. Pleased to meet all of you.

JOSIE

I’m Josie, this is my friend Lota. And, uh, yes, you can “kick butt” even though… you’re dead.

LOTA

Yeah, we’re going to help you do that.

JOSIE

But first, Lota will tell you all she knows about this pneumonia or whatever, because that’s why all of you are here.

SFX: Click and motor of a power wheelchair as Lota moves to the front of the room.

LOTA

Okay, here’s what I’ve learned. The humans don’t really know it yet, but there’s a massive pandemic going on…

SCENE 40

BACKGROUND SFX: A trippy, out of this world soundscape with ticking stopwatches; we’re in the Veil. All voices here sound echoey.

SFX: A distant knock that suddenly gets clearer and more immediate, a door creaks open

GEORGE COLWAN

…yes?

MARY

Mr. Colwan? We’re here about a book you wrote a long time ago, and I…

SFX: Colwan slams the door in Mary’s face. More knocking ensues. After a bit, the door creaks open again.

COLWAN

Can’t you take a very unsubtle hint? 

GEORGIE

Trust me, she can’t. It’s not in her constitution.

MARY

I just have a few questions, and I wouldn’t ask it if weren’t a matter of––

COLWAN

(sarcastically) 

––life and death? 

MARY
Afterlife and oblivion.

COLWAN

(sighs very dramatically) 

Well, if you won’t be scared off I suppose I’d better offer you some tea. I won’t promise answers, though.

GEORGIE

(cheerfully) 

I’ve been dying for a decent cuppa. 

MARY

We don’t have time for––

COLWAN

(as if he hasn’t heard Mary at all) 

My butler haunts the best tea shops to be sure we’ve got first pick when teas go off. 

GEORGIE

What a clever plan.

MARY

(despite herself) 

Ohhh, do you have any lapsang souchong?

COLWAN

(offended) 

Of course. What sort of household do you think this is, young lady?

BACKGROUND SFX: Fades out.

SCENE 41

BACKGROUND SFX: Television running in the close background, applause and a laugh track, and jaunty theme music.

FRANKIE

It’s such a strange household, when you think about it. Six young people with mostly low-paying positions, in such commodious apartments…

PARKER

How did you get to that conclusion after two episodes?!! It took most of us the whole series to realize that.

FRANKIE

I grew up in London. Even a century ago space was a commodity.

PARKER

That…huh. That makes sense.

SFX: Ominous poltergeist rumbling just barely fades in

THE APARTMENT

no. buddies. competitive. confectionary. 

PARKER

So you can marathon Death’s Cookery but two, two episodes of Buddies and you’re done?

THE APARTMENT

(growls)

SFX: A telephone rings…and keeps ringing.

FRANKIE

Are you going to answer that?

THE APARTMENT

answer.

PARKER

No.

SFX: Phone keeps ringing.

FRANKIE
What if it’s your sister?

PARKER

Oh, it is my sister.

FRANKIE

Oh, then why…

PARKER

All she’s going to do is try to convince me to go back home. Ugh, God. I don’t know if you had older siblings but they can be so… infuriating sometimes. It’s like they think they know what’s best for you better than you do.

FRANKIE

I had brothers. They mostly stayed away, after I got sick. (muttering) They took after Papa in that regard…

PARKER

Oh.

FRANKIE

I suppose, in different circumstances, I might have been the infuriating older sibling. 

SFX: poltergeist rumbling starts back up.

THE APARTMENT

bake.

FRANKIE

(yelps) 

Oh! We’d better switch this. 

PARKER

On it.

SFX: Remote control clicking, followed by the peppy Competitive Confectionary theme music; fast piano, a cockerel crowing, the cracking of an egg and electric whisk.

COMPETITIVE CONFECTIONARY TV HOST

(on TV)

This week in the yurt, bakers must master this provincial American favorite. That’s right: it’s snickerdoodle week. 

SFX: A timer rings.

MARISSA

(on TV)

Oh, no. They’re making us use American measurements. What is a cup? A dash? A pinch? (sighs) This is going to be such a disaster.

WILLIAM

(on TV)

Snickerdoodle. Snickerdoodle. Snickerdoodle. Snickerdoodle. Such a fun word, that. Is it a type of biscuit, do you think?

EMM

(on TV)

I had a snickerdoodle once. It wasn’t to my liking, really. Biscuits should be crisp, right? This thing was puffy and chewy and somehow soggy at the same time. (pauses) Maybe I just had a really bad one, eh? Let’s hope so. Oh dear.

SHERIDAN

(on TV)

Biscuits are gonna be the end of me. The only things I’m really good with are cakes. What if I reimagined the snickerdoodle… ah, nope nope. It’s the skills challenge. Best not to be reimagining a biscuit as a cake in the skills challenge. But a nice cinnamon sponge? Who wouldn’t like that more than a weird biscuit?

SFX: Competitive Confectionary theme. A timer rings at the end of it.

SCENE 42

SFX: Alicia’s apartment room tone. Eulalie drops her phone onto the couch.

EULALIE

She’s still not picking up.

ALICIA
I’m sure she’s fine. She has the tattoo to prevent her from becoming a poltergeist puppet. She’s probably still ma––

EULALIE
––You think she’s still mad? 

SFX: Short beat of silence as Alicia doesn’t disagree.

EULALIE

You think she’s right to be mad!

ALICIA

I just think… (sighs) You’re treating her the way she was treating you. You aren’t trusting her to be an adult and make her own decisions.

EULALIE

But she’s only here because of me. And I’m fi–––

ALICIA

(clears throat, interrupting Eulalie)

EULALIE

(correcting herself) 

––getting better.

ALICIA

True. But maybe she’s not here only because of you. Maybe she’s staying for her own reasons. Maybe she needs this.

EULALIE

I… never thought of it that way. (pause) But if she doesn’t let me know she’s actually still alive in the next hour or so, I’m going to have to do something. It’s been almost a week.

ALICIA

Please, just don’t do anything reckless while I’m at work, okay? (flirty) I’d hate to think you need medical intervention and that your doctor isn’t there to help.

EULALIE
(flustered) 

I. Um. Okay. Have a good shift!

SFX: Sounds of Alicia grabbing keys and bag and then the door opening and shutting. 

EULALIE

(sighs, then reads aloud as she composes a text)

Parker? Please just let me know you’re okay… 

SFX: Smartphone typing transitions into next scene.

SCENE 43

SFX: Smartphone typing…

DANNY

So. We’ve slept on it. Are we doing this or what?

SFX: Message sending sound; phone notification as Danny gets a text.

NICK

Let’s do this.

SFX: Phone notification as Danny gets a text.

MYRTLE

I still vote no. If we do this, we’re probably going to cause a bunch of innocent people to break up. If we leave it, what, a few people get haunted and learn not to break and enter?

SFX: Phone notification as Danny gets a text.

CAS

I hate to say it, Danny, but I agree with Myrtle on this one. As much as I need more data for my diss, I don’t think the end is worth the means, here.

SFX: Smartphone typing…

DANNY

Are you all forgetting that we’re dealing with a poltergeist? This isn’t just some run of the mill haunting. It’s a big deal. 

SFX: Message sending sound.

DANNY

Maybe it will stay contained. Maybe it will be the source of a never-ending cycle of tragedy.

SFX: Message sending sound; phone notification as Danny gets a text.

MYRTLE

That’s a bit dramatic, don’t you think?

SFX: Phone notification as Danny gets a text.

NICK

I… forgot about the whole breakup spell thing. Um. Is it too late to change my vote?

SFX: Phone notification as Danny gets a text.

CAS

That’s majority, Danny.

SFX: Smartphone typing…

DANNY

No. This conversation isn’t over.

SFX: Message sending sound; Smartphone typing…

DANNY

I refuse to…

SFX: Message sending sound; Smartphone typing…

DANNY

You’re all ignoring me now?

SFX: Message sending sound; Smartphone typing…

DANNY

JFC you step up to be the voice of reason against ghosts and what does your team do? Ghost you.

SFX: Message sending sound.

SCENE 44

BACKGROUND SFX: Outdoors; traffic passing in the background, birdsong.

SFX: The crunch of Eulalie’s bike on pavement, clattering as she leans it against the garage door. She steps up to the front door.

EULALIE

(whispering to herself)

This is a bad idea.

But she still hasn’t responded to any of my texts. There’s giving someone space and then there’s being oblivious while they’re in mortal peril and–– (huffs) That was dramatic, even for you, E. Let’s just get this over with.

SFX: A creak as she opens the screen door. Sudden poltergeist rumbling in the background that crescendos; a scream as Eulalie is thrown backwards, landing on the ground with a grunt. Rustling as she gets to her feet and returns to her bike.

EULALIE

Okay. OKAY. I get it. (weirdly jealous) You have my sister now and you don’t need me anymore. I’ll just go…

SFX: She gets on her bike and rides off.

BACKGROUND SFX: Slowly transitions to the interior of the apartment where we hear the room tone and the poltergeist rumble fading. Sounds of Competitive Confectionary show clearer as rumble fades.

COMPETITIVE CONFECTIONARY TV HOST

(on TV)

In a surprise turn of events, our judges found all of the pastry the contestants presented competent. There were no soggy bottoms. There were, however, two clear victors in this quarterfinal weekend in the yurt. William, whose blueberry, apple, brie pie earned him a handshake from Mary. And Sheridan, whose hatch green chile apple pie, a recipe he learned from a distant cousin in the States, blew the judges’ tastebuds and their minds.

(to contestants)

Are you ready to hear the judges’ decision?

ALL BAKERS

(on TV)

Yes! Oh, go on!

COMPETITIVE CONFECTIONARY TV HOST

(on TV)

Right then. This week’s confectionary champion is…drumroll please…

SFX: Flashback to earlier in the scene, as the Apartment rumbles and Eulalie’s scream can be heard in the distance.

PARKER

(speaking over TV) 

What’s upset it now? We’re watching Competitive Confectionary.

FRANKIE

Who knows.

THE APARTMENT

no. interruptions. quarterfinal.

COMPETITIVE CONFECTIONARY TV HOST

(on TV)

  Sheridan!

SHERIDAN

(on TV)

(cry laughs in surprise and delight)

MARISSA

(on TV)

Awww, Sheridan, congratulations!

EMM

(on TV)

Congrats, love, you did great!

WILLIAM

(on TV)

Well done. 

SFX: Cut to confessional style with William and Sheridan, with the show’s music underneath it.

WILLIAM

(on TV)

I’m never going to wash my hands again. I mean, of course I will, I’m a baker. It’s kind of required. But, that handshake. For my mum’s pie recipe? (welling up) I’m going to make that pie so often my partner is going to get sick of it and leave me. Because how could I not, after getting a handshake from Mary?

SHERIDAN

(on TV)

My parents aren’t going to believe it. Me? Confectionary champion in the quarter final?? Well, Mum will believe it. She always knew I was destined for great things. But Pop? I’m going to have to make sure he takes a seat before he hears. Ahh. I can’t quite believe it myself. Confectionary champion.

(laughs)

Okay, okay. I’d better call.

SCENE 45

SFX: Smartphone typing…

DANNY

The poltergeist just attacked someone. 

SFX: Message sending sound; phone notification as Danny gets a text.

MYRTLE

Okay, now you’re just making stuff up. That’s pretty desperate, Danny.

SFX: Smartphone typing…

DANNY

No. I have it on video. Here. I’m sending it.

SFX: Message sending sound; phone notification as Danny gets a text.

CAS

Holy shit. That woman went flying.

SFX: Smartphone typing…

DANNY

Look, I’m not going to say “I told you so,” but all that woman did was walk up to the front door.

SFX: Phone notification as Danny gets a text.

MYRTLE

That person looks kind of familiar.

SFX: Phone notification as Danny gets a text.

NICK

Isn’t it the tenant?

SFX: Phone notification as Danny gets a text.

CAS

Ooh, you’re right.

SFX: Smartphone typing…

DANNY

So. If this thing is capable of attacking people who don’t even go inside, I say we have to do something about it. Despite the risk. 

SFX: Message sending sound; phone notification as Danny gets a text.

CAS

…I agree

SFX: Phone notification as Danny gets a text.

MYRTLE

Dammit, Cas!

SFX: Phone notification as Danny gets a text.

CAS

No, Danny’s right. This went from maybes on both sides to maybe we cause some unintended breakups or the poltergeist definitely attacks random passersby.

SFX: Phone notification as Danny gets a text.

NICK

Uh…can I maybe sit this one out?

SFX: Smartphone typing…

DANNY

Hey, man, who are you and what did you do with my most gungho comrade? 

SFX: Message sending sound; phone notification as Danny gets a text.

NICK

I’m a man in love with an elf. 

SFX: Phone notification as Danny gets a text.

NICK

DAMN IT

SFX: Phone notification as Danny gets a text.

NICK

I mean,woman. I think my little cousins did something to my autocorrect.

SFX: Phone notification as Danny gets a text.

CAS

Ooookay, we definitely believe that, buddy. 

SFX: Phone notification as Danny gets a text.

CAS

Anyway, we should probably start planning for exorcism ingredient retrieval.

SFX: Smartphone typing…

DANNY

On it.

SFX: Message sending sound

SCENE 46

BACKGROUND SFX: A pub; there’s the hum of a busy room, the clink of glasses and sound of people moving. This is a real place. There just happens to be a ghost bartender.

EULALIE

(gasps and burps as she finishes her pint, coughs; her speech is slurred)

Anyway, Alicia thinks Parker has a right to be upset. And maybe she does, but at this point I’m just worried. She won’t even answer her phoooone. 

GHOST BARTENDER

That’s understandable. She’s in a dangerous situation.

EULALIE

Right. So, I went over. But I couldn’t even get in the door. The apartment tossed me almost to the curb.

GHOST BARTENDER

Ooh, that’s harsh.

EULALIE
Which is ridiculous, because a few weeks ago? It was practically slavering to eat me.

GHOST BARTENDER

…poltergeists don’t really eat––

EULALIE

––Or keep me, anyway.

GHOST BARTENDER

Sure. That sounds confusing.

EULALIE

It is. Because I don’t want to be kept. But, like, I did like living there, and now I can’t even––

SFX: Phone starts ringing, cutting Eulalie off mid-sentence.

EULALIE

––sorry, let me just…

SFX: Eulalie sends the call to voicemail.

GHOST BARTENDER

(muttering)

Well, isn’t that just a pot and kettle situation?

EULALIE

Huh?

GHOST BARTENDER

I said, would you like another round?

EULALIE

Oh. Yeah, uh-huh…

BACKGROUND SFX: The pub sounds fade out.

SCENE 47

BACKGROUND SFX: Sounds of nature and traffic on a mildly busy neighborhood street.

EULALIE

(voicemail message)

You’ve reached Eulalie Reed. I can’t come to the phone right now, but if you leave a message, I’ll get back to you.

ALICIA

Dammit, Eulalie! Answer your phone.

SFX: Footsteps as Alicia walks towards the ghost house. She knocks on the door.

BACKGROUND SFX: Traffic noise fades, replaced with the sounds and chimes of the ghost house.

LOTA

Who could that be? Josie, do you mind?

JOSIE

(mumbling with a mouth full of pins)

I do, but fine.

SFX: A louder, more insistent knock.

JOSIE

(yelling)

Coming!

SFX: The door opens. The traffic can be heard through it, but fainter.

JOSIE

Alicia! What are you doing here?

ALICIA

Josie, great, you’re home. I need your help––

SFX: Power wheelchair motor as Lota pulls up to the door.

LOTA

Alicia? What happened?

ALICIA

I was just about to say.

JOSIE

Well, now you can tell two ghosts with one sentence.

ALICIA

Eulalie. She’s missing.

JOSIE & LOTA

Missing!?

SFX: Power wheelchair motor and joystick as Lota moves back to her room

ALICIA

Where’s she going?

JOSIE

Who knows. Anyway, we haven’t heard from Eulalie. When did you last speak to her?

ALICIA

This morning, when I left for my shift at the hospital. (beat) We were having an intense discussion about Parker.

JOSIE

So, an argument.

ALICIA

(sigh)

Well, yeah. And she’s not answering my texts or my messages.

SFX: Power wheelchair as Lota returns.

LOTA

OK, let’s go.

JOSIE

Go?

LOTA

We’re going to help you find Eulalie and since she’s not here, that means we need to leave

ALICIA

One can’t say you aren’t a woman of action, Lota. 

JOSIE

No, one cannot. Well, I guess I can always work on these new clothes designs later. Our newest ghosts will just have to deal with hospital gowns for a bit longer.

LOTA

Why was Eulalie looking for Parker, Alicia?

ALICIA

Eulalie is… concerned that Parker is still over at Frankie and that possessive apartment’s. She’s scared for her, I think. Worried that apartment has latched onto her in some way. 

JOSIE

Scared? Or, maybe, she’s feeling a little abandoned?

ALICIA

Abandoned? That’s ridiculous! She nearly died!

LOTA

Yes. But for a while, she was very important to that place.

JOSIE

Her place. She chose that apartment and it chose her back. Now, it’s moved on to her sister. And she’s moved on to––

LOTA

––You. I mean, you are definitely more special than a lonely apartment. But in a way, she lost something that made her very special.

JOSIE

A co-dependent walk up flat that nearly killed her. 

ALICIA

Uh-huh. You know what, I won’t even argue. Human emotions are hard enough to figure out. Semi-sentient apartments? Nope, nope, not gonna try. It still begs the question, where is Eulalie?

LOTA

I have an idea. Let’s head over there first and I’ll see if any of the local wildlife have seen her.

JOSIE

Sounds like a good place to start. Let’s go.

ALICIA

(sighs)

I’ll meet you there.

SFX: Power wheelchair moving away.

SCENE 48

BACKGROUND SFX: A trippy, out of this world soundscape with ticking stopwatches; we’re in the Veil. All voices here sound echoey.

COLWAN

(sighs) 

I suppose you’ll have questions?

MARY

Yes.

COLWAN

Well, fire away. (sips tea) But I feel I must warn you that I may not answer. A writer’s process is a sacred thing, and all that.

GEORGIE

We aren’t here to ask about your writing, as such.

COLWAN

I feared as much. Mm, mm, mm. You’d rather bask in my célébrité? Acquire an autograph for your collection? Obtain a lock of my flowing––

MARY

––no.

COLWAN

(disappointed) 

Ah, you’re here about poltergeists.

GEORGIE

That’s it, in a nutshell.

COLWAN

I’m afraid I can’t help you in that case. There was a time I naively answered questions about poltergeists night and day. I thought I was doing a public service. But all anyone wanted was to learn how to create poltergeists, and not how to stop them from harming more innocent ghosts. Do you know how annoying it is when some jack wagon comes up to you and says, (high pitched voice) “Hi, can I please, like, um, make a poltergeist or whatever from that movie, that horror movie, and just, like do this, do that?” (groans, back to his voice) It gets annoying after a while.

MARY

But that’s why we’re here. Well, not to stop a binding. But to figure out how to undo one.

COLWAN

(incredulous)

Undo a binding? Undo a binding! My dear girl, if I knew how to undo a binding don’t you think I’d be shouting it from the proverbial rooftops?

MARY

My dear boy, I don’t know you well enough to say either way.

COLWAN

(coughing) 

Quite right. Well. I’ve witnessed my fair share of bindings. I can tell you all about how they happen. Share the gory details of what happens to ghosts who blunder into hungry habitations. Gruesome stuff. But undoing a binding… (muttering half to himself) Why, you’d almost have to get to know the poltergeist to accomplish that. Convince them to let the poor blighter go using their own logic. It’s… it’d be too dangerous. The ghost doing the investigating would risk being consumed him–– er, themself. No. No, it simply wouldn’t work.

(pause)

Would it?

GEORGIE

(whispering to Mary) 

He’s forgotten we’re here.

MARY

(whispering back) 

Yes, well, I expect he doesn’t get much company these days. Tea not withstanding. But he’s made an intriguing point?

GEORGIE

(excited and forgetting to whisper) 

Has he, really?

COLWAN

(snaps back into the present)

I’m sorry. I’m afraid I can’t be of any help.

MARY

We understand. I just have one more question, if you don’t mind.

COLWAN

Go on.

MARY

When you said “their own logic” just now, what exactly did you mean by that?

COLWAN

Did I say that aloud? Hmm. It’s simple, really. Poltergeists aren’t monolithic, even if we think about them as such. They each operate by their own rules, their own logic––a logic that stems, of course, from their location, their construction, their very architecture. A poltergeist in a medieval castle will operate differently from one in an apartment complex. Oh, the end result may be the same, but the reasons will be strikingly distinct.

MARY

I see…

COLWAN

I’m sorry I couldn’t be of more assistance.

MARY

(muttering to herself) 

I think you’ve been just helpful enough.

COLWAN

What’s that?

MARY

Thank you for your time, Mr. Colwan.

GEORGIE

Yes, thank you. For the time. And the tea.

BACKGROUND SFX: The veil ambi fades out.

CREDITS

BACKGROUND SFX: Long version of the theme (simple guitar with spectral oohs and ohs and occasional cymbal crashes) fades in…

COURTNEY

This episode of The Way We Haunt Now was written by Courtney Floyd and Georgia Mckenzie with sound design by Brad Colbroock and voice acting, in order of appearance, by:

BECCA

Becca Marcus as Lota

DAVID

David S. Dear as Henry

MARITZA

Maritza Rodriguez as Ylena

DANNY

Danny Spiller as Aaron

GEORGIA

Georgia Mckenzie as Josie

IVAN

Ivan Divino as Assorted Ghosts

KIONA

Kiona Bashful Echo as Assorted Ghosts

ARIANE

Ariane Marchese as Assorted Ghosts

JOSH

Josh Portillo  as George Colwan

MARGARET

Margaret Ashley as Georgie Yeats

KIRA

Kira Apple as Mary

ELEANOR GREY

Eleanor Grey as Frankie

MARNIE

Marnie Warner as Parker

ALI

Ali Hylton—

JEFF

Jeff Goldman—

KIRSTY

Kirsty Woolven—

MEGAN

Megan Gwen Davies—

NATALIE

Natalie Hunter—

ALL APARTMENT VOICES

—as The Apartment

COURTNEY

Courtney Floyd as Eulalie

JESS

Jessica Winston as Alicia

LINDSAY

Lindsay Zana as Danny

PAUL

Paul H. Rollins as Nick Castlewaight

TAL

Tal Minear as Myrtle

BRAD

Brad Colbroock as Cas Bromley

TIM

Tim Briggs as Competitive Confectionary Host

SARAH

Sarah McManus as Marissa, a Competitive Confectionary contestant

ALEXANDER

Alexander Doddy as William, a Competitive Confectionary contestant

ELEANOR ANWEN

As Emm, a Competitive Confectionary contestant

ADAM

Adam Lloyd as Sheridan, a Competitive Confectionary contestant

DARRAGH

Darragh Ó Broin as the Ghost Bartender

BACKGROUND SFX: Theme music fades out…

SFX: Faint pub ambience, the Ghost Bartender’s voice echoing slightly.

EULALIE

(slurred)

Fill ‘er up.

GHOST BARTENDER

I’ve been dead for awhile now, but that doesn’t mean I’ve forgotten what it looks like when someone’s had enough to drink.

EULALIE

(beligerantly)

Another. Puhleeeaaaseee.

GHOST BARTENDER

Actually, y’know what? I do have something good on tap. Just a second.

EULALIE

Hey! What are you doing with my phone?

GHOST BARTENDER

Filling your order. Just one moment…

PROMO: RITUALISTIC

(Click to be taken to the transcript)

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