Mort Flintwich and the Outworlder War – Episode 2 – Never Send to Know

Below we present the complete text of Never Send to Know; episode 2  of Mort Flintwich and the Outworlder War.

Mort Flintwich and the Outworlder War

EPISODE #2 – Never Send to Know

by Philip Craig Robotham

Cover illustration by Philip Craig Robotham

Copyright 2022 Philip Craig Robotham

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Episode 2: Never Send to Know

Mort Flintwich considers himself a charlatan… but he can see ghosts – real ghosts. Claudette Moreland is a kid with a supernatural gift. And a gangster named Caesar Cordova wants to use her to win a gang war. Star City is getting stranger.

Never Send to Know

CAST LIST

MORT FLINTWICH

JAKE SPENCER

CAESAR CORDOVA

MADAM SOFIA MALEFICENT

LILLY MORELAND

CLAUDETTE MORELAND

WU CHENG

OUTWORLDER SPOKESBEING

BRUNO

JULIO

SANCHO

LITTLE GIRL IN TRAFFIC

JIMMY

STAN

CHARITY COLLECTOR

DOCTOR

RECEPTIONIST

WAITRESS

CUSTOMER #1

CUSTOMER #2

WOMAN (KNOCKED OVER BY LILLY AND SANCHO)

MRS HARGREAVES

POLICEMAN #1 (WHO DIES)

POLICEMAN #2 (AT WAREHOUSE)

POLICEMAN #3 (AT WAREHOUSE)

SCRUG

SCRAT

OUTWORLDER (RIVAL TO THE SPOKESBEING)

OUTWORLDER MINION (KILLED WITH SWORD ON STREET CORNER)

OUTWORLDER MINION (ATTACKING LILLY)

OUTWORLDERS

GANGSTER SPOKESMAN

GANGSTERS

OUTWORLDER LEADER

SFX ARTISTS

SCENE 7: INT – MORT’S OFFICE – LATE MORNING
(MORT, JAKE, LILLY, CLAUDETTE)

1. MUSIC: OPENING THEME
2. NARRATOR: Mort Flintwich and the Outworlder War, Episode 2: Never Send to Know.
   It’s 1934 in Star City and crime-boss, Ceasar Cordova wants to kidnap Lilly Moreland’s magical daughter, Claudette, at the behest of the double dealing witch, Madame Sofia. Somehow Mort Flintwich, a small time huckster and fake medium currently preparing for his first client of the day, is their only hope of escape.
3. MORT: Can I get a little quiet from the voice in my head, please? I’ve got things to do.
4. JAKE: It’s just I don’t understand why you keep this office, Mort. You don’t need to pretend to be a medium. You could do anything.
5. MORT: (SNORTS WITH DERISION) Hmpf.
6. JAKE: You were a good cop once. And you’re a decent grifter. (BEAT) Cheap theatrics don’t seem your style. And taking lumps for it? Don’t it make you question your life choices?
7. MORT: My life’s not so bad.
8. JAKE: Says the guy who got beat up over a 35 buck fee.
9. MORT: Hey, I got bills, okay. Besides, one step too far out of line and my old buddies at the precinct will have me playing room-mates with a serial murderer on cell-block D. There are people who rely on me.
10. JAKE: Like your bar-tender.
11. MORT: You know exactly who I mean.
12. JAKE: Yeah, I know about Jesse’s hospital bills.
13. MORT: Hey!
14. JAKE: Yeah, yeah. We don’t talk about Jesse. But she’s one of the reasons I don’t buy that heart of stone routine you’re so fond of.
15. MORT: You’re not going to start all that again are you? Even if I did get beat up, at least I got my sandwich. It coulda been worse.
16. JAKE: I don’t understand you at all sometimes.
17. MORT: For a manifestation of my unconscious neuroses, you sure can play stupid.
18. JAKE: I’m as real as you are… well, for a ghost.
19. MORT: You’re not a ghost.
20. JAKE: Are too.
21. MORT: Really, that’s the level of discourse you rise to. “Are too”?
22. JAKE: Hey, if I’m supposed to be a manifestation of your brain, then…
23. MORT: Aw, save it. (BEAT) You ever wonder why there are so few real ghosts around?
24. JAKE: Besides me, you mean?
25. MORT: You’re not real. But I’ve been dealing with real ones all my life. Not like those imposters I see now. There used to be more of ’em, too. Lots more.
26. JAKE: Huh?
27. MORT: Yeah. When I was a kid, there used to be plenty o’ real ghosts. Now, not so much.
28. JAKE: What’s your theory? Grown-ups can’t see ’em?
29. MORT: Funny. I think they’ve been driven out by the tricksters, or maybe the imposters ate ’em. Your guess is as good as mine.
30. JAKE: Ate ’em? Come on.
31. MORT: Yeah, well. It’s not as ridiculous as you might think. You’ve never seen one, but I’ve seen plenty. Those things have teeth, a mouth full of six-inch-long needles.
32. JAKE: Yeah, right.
33. MORT: They used to be real rare… and they’d hang around in the background. But then there were more of them, and fewer real ghosts, and then the ghosts became rare, and the tricksters’d pretend to be ghosts in their place… like it was funny. Most mediums can’t see ’em. Most. Most mediums can only hear ’em.
34. JAKE: You’re pulling my leg.
35. MORT: I’m not. I’ve told you before. They’re dangerous. You remember Holzman?
36. JAKE: Before my time.
37. MORT: He was a friend of mine. Not a partner, but he threw work my way. He could see ’em too. Most of the time we pretended we couldn’t, but he decided he was going to let ’em know he knew they weren’t ghosts. He got thrown down a lift shaft.
38. JAKE: Come on!
39. MORT: It’s the truth. It’s also the reason I faked the accident.
40. JAKE: Faked?
41. MORT: Okay, so things got a bit more real than I intended. But I was able to convince those… things… that I’d lost my abilities. You don’t see ’em hanging about me anymore, do you?
42. JAKE: According to you, they’d eat me if they did.
43. MORT: Yeah, but you’re not a real ghost.
44. JAKE: What? You think I’m a trickster?
45. MORT: Nah. I think you’re what happened when I hit my head in the car accident.
46. SOUND: DISCREET TAP ON DOOR
47. LILLY: Hello?
48. MORT: Saved by the bell. (LOUDER) Come in.
49. SOUND: DOOR OPENS
50. LILLY: Hi Mort. It’s been years.
51. MORT: Lilly? Lil Moreland?
52. LILLY: In the flesh. (BEAT) You busy? It sounded like you were talkin’ to someone in here.
53. MORT: (DISMISSIVE) Meh. The local ghosts. Come in. It’s been, what, a decade? Longer? How goes the grifting?
54. LILLY: Don’t start. What’d you do to your eye?
55. MORT: You should see the other guy. (BEAT) I hear you’ve been branching out into second-storey work.
56. LILLY: You’ve got good ears. But that’s not something I want to talk about. Especially not with an ex-copper. (BEAT) You’re looking sour, Mort. What’s up?
57. MORT: You. Turning up here like this. You took off, Lil. We could’ve used you on the witness stand.
58. LILLY: A courtroom would have taken my testimony apart. You know what I was in that place.
59. MORT: Yeah. You were a victim.
60. LILLY: That’s not how it would’ve looked once a lawyer got hold of me. Besides, I left you the books they’d been cooking. There was more than enough physical evidence to put an end to that place.
61. MORT: Yeah. But we coulda done so much more. Gotten some real justice for Jesse.
62. LILLY: That was a pipe dream, Mort. You know who was protecting that place. You got the girls out. No-one coulda done more. Certainly not me.
63. MORT: Ah, forget it. Too much water under that bridge now anyway. What do you want?
64. LILLY: Who says I want anything?
65. MORT: I don’t see you for years and you turn up in my office. I’m gonna assume it isn’t a social call.
66. LILLY: (STALLING) This isn’t what I pictured a fortune teller’s office would look like.
67. MORT: Putting aside that I’m not a fortune teller… why’s that?
68. LILLY: I don’t know. Outside of your rugs I thought there’d be a crystal ball; a bunch of statues from India – that sort of thing. An otherwise bare office with a desk and a small coffee table in the corner? That wasn’t what I expected.
69. MORT: I sell myself as having a more scientific approach. I get out a bunch of lab junk when the rubes come in and mix it with some statues and stuff to give it an exotic air. I haven’t dressed the set yet.
70. LILLY: Seriously?
71. MORT: It’s kind of an East meets West sort of thing. Makes for a good selling point. Otherwise the office stays like you see it. (BEAT) Who’ve you got shuffling outside the door?
72. LILLY: Oh, sorry. That’s my daughter, Claudette. Come in honey.
73. CLAUDETTE: Hello, Mr. Flintwich. This is for you.
74. MORT: Hello, sweetie. What’s this? A paper flower? It’s pretty, thanks.
75. CLAUDETTE: I’ll put it in your button hole. (BEAT) There.
76. MORT: (TO LILLY) She’s lovely – but you still haven’t answered my question.
77. (BEAT) Why are you here?
78. LILLY: We need your help.
79. MORT: You need my help? It can’t be to put up some shelves and you know this place isn’t the real deal, right?
80. LILLY: Yeah, you’re a grifter now.
81. MORT: Please. I’m a charlatan. I haven’t run a con in years.
82. LILLY: Too much cop in you?
83. MORT: Something like that.
84. CLAUDETTE: That’s not true!
85. MORT: Ouch! I’m serious, kid. No cons. Not for years.
86. CLAUDETTE: No, I mean, you’re not a charlatan. I can see it. You’ve got magic.
87. MORT: Huh? (CURIOUS) Let me take a look at you. Say, you’re glowing like a beacon, kid. (TO LILLY) And Lil, you’ve got a little too (though it’s hard to detect). I never looked for it in you way back when.
88. LILLY: What rubbish are you talking about?
89. MORT: Magic. Both of you have some, but Claudette especially.
90. CLAUDETTE: See, mom. I’ve been saying you’re…
91. LILLY: Stop it. We don’t have time for games. It’s hard enough coming here without you laughing at us. (COUGHING) We’re in trouble Mort. We’ve got nowhere else to turn.
92. MORT: Is this even on the level? ‘Cos I know all the dodges and if you need money, you don’t need to try and scam…
93. LILLY: It’s for real. We’re in trouble, deep, and need help as bad as can be.
94. MORT: I’m not sure what I can do for you, but…
95. CLAUDETTE: Mr. Cordova is after us… well, me… and…
96. MORT: Cordova? Caesar Cordova? The crime boss?
97. LILLY: (SARCASTIC) No, Caesar Cordova, the interior decorator. Who else could she mean?
98. MORT: (SUDDENLY SCARED) Are you kidding? (BEAT) Sorry, but I can’t be party to whatever you two have got mixed up in. Not if it means you’ve gotten on the wrong side of Cordova.
99. LILLY: What? Why?
100. MORT: You’ve got to go. Now.
101. LILLY: But…
102. MORT: Look, Lil. I have an arrangement with Cordova. Whatever mess you’re in, I can’t help you with it. You’re putting yourselves in danger by coming here… and me too.
103. LILLY: Come on, Mort. Rumour has it you’ve got some pull with Cordova – a deal of some kind. He tried to snatch Claudette off the street this morning. I want to pay him back for…
104. MORT: Lilly, no! You’re nuts.
105. LILLY: Coward!
106. CLAUDETTE: Mom!
107. LILLY: You damned coward. (COUGHING) This is my daughter’s life we’re talking about. Cordova wants Claudette.
108. MORT: Lil…?
109. LILLY: You know what that means. I’m not going to let her be forced into the life I escaped from. And we’re already on the run. Cordova will kill me to get to Claudette now.
110. MORT: Lil, what did you expect from me? You’ve never spoken the plain truth to me once in all the time I’ve known you. I’ve got no way of knowing if this is even for real… But I’ve got a very real deal with Cordova, one where we don’t interfere in each other’s business.
111. CLAUDETTE: But…
112. MORT: He’s never been into the stuff you’re talking about. Stealing kids? Prostitution? They aren’t his style. I can’t help you, Lil. I can’t.
113. LILLY: C’mon, Claudette. You heard the man. He won’t help us.
114. CLAUDETTE: No, mom. We’ve got to convince him…
115. LILLY: We’re leaving. Now.
116. CLAUDETTE: Mom, he’s our best hope. Without him we’ll be…
117. LILLY: Enough! We’re going.
118. MORT: I’m sorry, Lil.
119. LILLY: Go to hell.
120. SOUND: DOOR OPENS AND LILLY AND CLAUDETTE DEPART. SLAM’S SHUT.
121. JAKE: Well, that went well.
122. MORT: Don’t you start.
123. JAKE: You could have at least heard her out.
124. MORT: You know why I couldn’t. Cordova knows about Jesse and I know about him. I don’t pull the trigger on what I’ve got on him and he doesn’t pull the trigger on… well, you know what I mean.
125. JAKE: Yeah, I know.
126. MORT: Besides. Lil’s always been a grifter, and crazy vindictive to boot. There’s no telling what she was trying to get me into. Coming here after all these years? She’s never said two true words to me since she ran out on the court date. No, I’m betting she was playing some kind of angle. I had a close call is all.
127. JAKE: She was scared and you know it. But… whatever lets you sleep at night.
128. MORT: I haven’t got time for this. I need to finish the set-up for Mrs Hargreaves. She’ll be here soon.
129. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 8: EXT – STREET – LATE MORNING
(LILLY, CLAUDETTE, WAITRESS, STRANGER #1, STRANGER #2)

130. SOUND: STREET AMBIANCE – ESTABLISH AND FADE
131. CLAUDETTE: Mom! We have to go back.
132. LILLY: No. We don’t! That son of a… That man isn’t worth our time. He’s a coward. He’s a… (COUGHS HEAVILY, WHEEZES FOR A BIT)
133. CLAUDETTE: Please stop! Mom, you need to rest for a minute.
134. LILLY: No! (BEAT) Hang on. Let’s duck in here.
135. CLAUDETTE: The Diner?
136. LILLY: Sure. It’s got a phone.
137. CLAUDETTE: (HOPEFUL) You’re gonna call him?
138. LILLY: No. I’m gonna get even. And then I’ll find a way to hurt Cordova. This world works one way. You either bite or get bitten.
139. CLAUDETTE: But Mom!
140. LILLY: C’mon.
141. SOUND: DOOR OPENS, BELL JINGLES, DOOR CLOSES, STREET SOUND MUFFLES.
142. SOUND: LOW-RENT RESTAURANT AMBIANCE – ESTABLISH AND FADE
143. LILLY: Smell that, kid? That’s the smell of fried grease and despair. Cheap tables, cheaper food, and cheapest of all… the clients. I’ve bussed tables in more cheap dives like this than I care to count.
144. WAITRESS: (FRIENDLY) ‘Morning. Can I get you something?
145. LILLY: Thanks, but I haven’t had all my shots this month. I’m looking for your phone.
146. WAITRESS: (INSULTED) Over on the wall. We don’t give change though, (SNEERING) sorry.
147. LILLY: Figures.
148. CLAUDETTE: Mom, don’t do this. We need Mort’s help.
149. LILLY: We don’t need anyone, least of all him. The thing I want right now is to see him with a shiner on both those eyes
150. CLAUDETTE: Mom, please! Don’t mess this up! If you do this, he might never help us.
151. LILLY: We don’t want his help!
152. CLAUDETTE: But we do. We need it.
153. LILLY: Have I ever led you wrong? Haven’t I always looked after you?
154. CLAUDETTE: (HESITANT) Well, yeah, but…
155. LILLY: But what?
156. CLAUDETTE: Well… you lose your temper and it always makes things worse. This time it could be really bad.
157. LILLY: Don’t be ridiculous. (COUGHS HEAVILY) Sit quiet for a minute and let me work. (BEAT) (SULTRY) Well, hey fella!
158. STRANGER #1: Well hey, yourself.
159. LILLY: I was hoping you could do me a favour.
160. STRANGER #1: Anything you want, doll.
161. LILLY: (AMUSED) Uh-huh. Okay, so I was wondering if you’d make a phone call for me.
162. STRANGER #1: Huh?
163. LILLY: You did say “anything I want”.
164. STRANGER #1: Yeah, but…
165. LILLY: Here, I’ll write it out for you.
166. SOUND: SCRATCHING ON PAPER
167. LILLY: There. (BEAT) Here’s who to ask for… and this is the number.
168. STRANGER #1: Hey, I don’t know what you’re trying to pull here, but this? No, I ain’t interested.
169. LILLY: (COUGHS AGAIN) Coward.
170. STRANGER #1: You always insult the people you’re attempting to manipulate? Cos if you do, then sister, you’re nuts.
171. LILLY: I could make it worth your while.
172. CLAUDETTE: Mom, he said “no”. Let’s go, okay.
173. STRANGER #1: Listen to the girl, sister. She’s got sense.
174. CLAUDETTE: I wasn’t talking to you.
175. LILLY: (COUGHS) Claudette, I told you to sit down.
176. STRANGER #1: Wanting someone to call that name and number? C’mon, the kid knows it’s crazy.
177. CLAUDETTE: You shut up, mister. You can’t call my mom names.
178. STRANGER: Really? You want to defend her, even when you know she’s wrong? Maybe you want to open your eyes a bit more.
179. LILLY: Why you…
180. STRANGER #2: (INTERRUPTING) I couldn’t help overhearing…
181. LILLY: What? (TRYING TO BRUSH HIM OFF). This has nothing to do with you.
182. STRANGER #2: …but I’d be happy to make your call for you… for a couple o’ bucks
183. LILLY: Ha! God bless capitalism.
184. STRANGER #1: D’ya know who it’s to? If you take my advice, you’ll steer clear, bub. But it’s your funeral.
185. STRANGER #2: Hey, times are tough. (BEAT) Well? You want me to make the call?
186. LILLY: Hang on a sec.
187. SOUND: JANGLING CROCKERY AND SPILLAGE
188. STRANGER #1: Hey!
189. LILLY: Oh, sorry! Was that your soup?
190. STRANGER #1: You crazy broad! That soup’s hot.
191. LILLY: (COUGHING – THEN SWEETLY) I said sorry.
192. STRANGER #1: Yeah, right. Dammit.
193. SOUND: WAITRESS AND STRANGER FUSSING IN BACKGROUND – ADLIB. UNDER.
194. STRANGER #2: (STAGE WHISPER) Heh. I saw you take his wallet, by the way. And he’ll be too busy getting cleaned up to notice it’s gone for a few minutes.
195. LILLY: I figure he can afford it. Here’s your two bucks.
196. STRANGER #2: Thanks.
197. SOUND: PHONE PICK UP AND HANDLE TURN. DIALS NUMBER.
198. STRANGER #2: (BEAT) Yeah, is this Cordova’s joint. Word is you’re looking for Lilly and Claudette Moreland?
199. CLAUDETTE: Mom!
200. STRANGER #2: Yeah? Well I seen ’em coming out o’… Mort Flintwich’s place up on 43rd. You might still be able to get to ’em if you hurry.
201. (BEAT) Yeah. You’re welcome.
202. CLAUDETTE: (DESPAIRING) You’re ruining everything.
203. SOUND: PHONE HANG UP.
204. STRANGER #2: Well sister, it was nice doing business with you. If that number really belongs to Caesar Cordova, you’ve dumped this Flintwich guy into a world o’ hurt.
205. LILLY: Maybe. But it wouldn’t do for you to get too curious, okay?
206. STRANGER: It’s not my circus so these ain’t my monkeys. See you around.
207. LILLY: Come on Claudette.
208. CLAUDETTE: (MUTTERING) You shouldn’t have done that! You want to get even, more than you want to keep me safe.
209. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 9: INT – MORT’S OFFICE – LATE MORNING
(THUG #1, THUG #2, MORT, JAKE, MRS. HARGREAVES)

210. MORT: [CUE] (FALSELY EFFUSIVE) Mrs Hargreaves, how wonderful to see you again. I hope you’ve been well.
211. JAKE: Oh, for Pete’s sake.
212. MRS HARGREAVES: (LOFTILY) Oh, Mr Flintwich. One does one’s best in trying circumstances.
213. JAKE: Such a chore to lift that silver spoon, isn’t it, Mrs.?
214. MORT: Indeed, Mrs Hargreaves. Indeed. And have you been practicing the exercises I gave you.
215. MRS HARGREAVES: Oh, yes, Mr Flintwich I have. Those sensitivity exercises you gave me have been doing wonders. I can feel myself sitting on the threshold of the supernatural, and oh, the wonder of it. It takes my breath away. Do you feel you can truly help me to make contact with the other side?
216. JAKE: He can make contact with your wallet.
217. MORT: (AHEM) There are no guarantees, but you have been showing a rare aptitude. I have been reluctant to take private students as you know.
218. MRS. HARGREAVES: Yes?
219. MORT: And if it weren’t for my recent financial reversal, I would never part with the secrets that my master, Satipu Feng, entrusted to me so long ago.
220. MRS HARGREAVES: Oh, I’m sure he would approve of your actions if he knew of your poor sister.
221. JAKE: Seriously, Mort? The sick sister routine?
222. MORT: Your sympathy is such a comfort, dear lady. I am fortunate that it is you and not someone less worthy on whom I must bestow these gifts.
223. MRS. HARGREAVES: Oh thankyou, Mr. Flintwich.
224. MORT: Er. I take it you have brought your payment…
225. SOUND: DOOR CRASHES OPEN – LET IT FINISH
226. MRS. HARGREAVES: (CRIES OUT IN FRIGHT) Aaah!
227. JULIO: Don’t anybody move. You? Are you Mort Flintwich?
228. MORT: (CALMLY) Gentlemen. You could have just knocked?
229. JULIO: Says you. We’ve had some troublesome packages to pick up today.
230. MORT: Going by the black eye you’re sporting, I’d say people have been a little… uncooperative?
231. JULIO: You can talk. That’s quite the shiner you got, yourself.
232. MRS HARGREAVES: (SCARED) Do you know these men, Mr Flintwich?
233. JULIO: Us? No. He don’t know us. But he knows our boss, Mr Cordova.
234. MORT: (HASTILY) And I think perhaps this conversation should be held in private. (TO MRS HARGREAVES, BUT WITH EXAGGERATED POLITENESS) Mrs Hargreaves, I’m sorry for the interruption but the men with the guns appear quite insistent that I speak with them.
235. MRS HARGREAVES: (NERVOUSLY) Uh, yes… er…
236. MORT: (CONTINUING CALMLY) Would you mind if we rescheduled your appointment for a more suitable time? Gentlemen, I’m sure you don’t need Mrs Hargreaves here during our chat?
237. JULIO: (MOCKING) During our “chat”? Why no, not at all. (TO MRS H. ) Lady, you can scram.
238. MRS. HARGREAVES: Thank you Mr. Flintwich. Er… I can see myself out. But, um, I don’t think I’ll be needing another appointment, if it’s all the same to you.
239. MORT: Oh?
240. MRS. HARGREAVES: No. I think that I… er, goodbye, Mr. Flintwich.
241. SOUND: DOOR SWINGS OPEN AND BROKENLY CLOSED
242. SANCHO: (STUTTERING) You think she’ll squawk?
243. JULIO: Her? Nah. She’s one o’ those society dames. She’ll have forgotten about Flintwich by the time she hits the ground floor.
244. SANCHO: (STUTTERING) I could still…
245. JULIO: No, you couldn’t. You know what the boss’ rules are. No civilian casualties.
246. SANCHO: (DISAPPOINTED) Sure, Julio.
247. MORT: You know, you boys have done more in two minutes to cost me business than the paid bruisers who jumped me this morning.
248. SANCHO: Huh?
249. MORT: Doesn’t matter. So, what’s going on? Mr. Cordova and I have an arrangement. I don’t mess with his business and he stays out of mine.
250. JULIO: Yeah, well. You’ve been seen meddling in Mr. Cordova’s business and he’s a bit put out. That means Mr. Cordova no longer feels he needs to honour your agreement. Now where’s the girl?
251. MORT: What? Come on fellas, you gotta give me more than that? We can talk this over, civilized like, can’t we?.
252. JULIO: We’re looking for Lil Moreland and her kid, Claudette. We know they was here.
253. MORT: Oh, you do, huh? Well I ain’t hiding it. They were here. About an hour ago. They asked me for some money to get out of town.
254. JULIO: Why’s that? Who’re you to them?
255. MORT: I know Lil from, well, from back-a-ways. She said she had some trouble with Mr. Cordova and… If you’re here then I guess that must be true. Anyway, I stuck to my agreement and sent ’em packing.
256. JULIO: And you didn’t think to send Mr. Cordova a message.
257. MORT: Lil’s a grifter from way back. I couldn’t be sure it wasn’t some kind of con. A variation on the old “knight in shining armour” gag.
258. JULIO: So?
259. MORT: So I wasn’t going to bother Mr. Cordova over something like that. Like I said, I stuck to my agreement and sent them on their way. (BEAT)
260. JULIO: What if we don’t believe you?
261. MORT: Well, I can’t help that, but it doesn’t bother me much. When you boys first burst in here, I gotta admit, I was worried. I thought someone was fixing to put me on the spot.
262. SANCHO: Someone still might.
263. MORT: But now I know what it’s about, I can see this can be cleared up easy enough. I need to talk to Mr. Cordova. (BEAT) He does want to see me in person, right?
264. JULIO: Yeah. Sure. In person.
265. MORT: So, I can explain everything and it’s all gonna be fine. But I’d feel better about it if you’d have a drink with me. I got a bottle of pretty good rye in my pocket.
266. SOUND: CLINK OF BOTTLE.
267. JULIO: Any glasses?
268. MORT: Sure. On that shelf behind you.
269. SOUND: CLINK OF GLASSES.
270. SOUND: POURING THREE GLASSES
271. MORT: Salute. Here’s to sorting things out. (GULPS)
272. COP: (AMAZED – AT A DISTANCE) What the hell’s happened here? Mr. Flintwich? Are you there?
273. SOUND: GUNS BEING COCKED.
274. JULIO: (STAGE WHISPER) It’s a flat foot. (TO MORT) Get rid of him.
275. MORT: (SOTTO VOCE) Uh, yeah. (BEAT – NORMAL VOLUME) Oh, hello officer. I didn’t see you there.
276. COP: Your door’s taken some damage, Mr. Flintwich. Is everything okay?
277. MORT: Uh, sure. There was an attempted break-in over-night. Nothing taken, so it looks like it’s vandalism. I’ve got a locksmith on the way.
278. COP: Is that right? Maybe I should come in.
279. MORT: Oh, it’s no big deal…
280. COP: Only, I saw a Mrs. Hargreaves on the street while I was doing my beat, and she seemed to think that…
281. JULIO: Well, I guess you’d better come in after all, Copper. And put your hands up.
282. SANCHO: I told you.
283. MORT: Easy fellas…
284. COP: I know you, you’re Cordova’s guys.
285. JULIO: Yeah, and we know you too. You’re outta the eighth precinct. That makes you on the payroll of the Boscone gang. It was a bunch of you guys that provided the muscle for the hit on our distillery a couple ‘o nights back.
286. COP: That was business. You don’t want to do anything stupid here. It don’t matter who’s side you’re on if you get labelled a cop killer.
287. SANCHO: (STUTTERING) Don’t go threatenin’ us. Some good friends died cos’ a you bums.
288. COP: Yeah, well, you should be more careful who you associate with.
289. SANCHO: (STUTTERING) Why, you…
290. SOUND: GUNSHOT. BODY DROP
291. MORT: Aw, hell! You just shot a cop in the head.
292. SANCHO: (STUTTERING) A dirty cop. (BEAT) Yeah, I shot him. What of it?
293. MORT: You’ve made me an accessory, for one thing.
294. JULIO: Damn it, Sancho. You never think.
295. SANCHO: (STUTTERING) You should have let me deal with the dame in the first place.
296. MORT: Hell. I’ve got the guy’s blood on my face. Let me go splash some water on.
297. JULIO: That your bathroom back there?
298. MORT: Yeah.
299. JULIO: Sancho, wait here while I check it before he goes in. And drag the body out of the doorway. I don’t want anyone else gettin’ plugged if we can help it. Maybe roll it up in one o’ these rugs.
300. SOUND: FOOTSTEPS
301. SOUND: DOOR OPENS
302. SANCHO : (STUTTERING) Well? Any other exits?
303. JULIO: (AT A DISTANCE – APPROACHING) Nah. There’s a window, but he ain’t leavin’ that way unless he can fly. (BEAT) Alright. I guess you can go wash your face. That shiner’s lookin’ none too pretty. Who give it to you? The girl?
304. MORT: I think she woulda liked to, after I told her I wouldn’t help, but no. I got that this morning when I was picking up a late breakfast.
305. JULIO: You’re a popular guy.
306. SOUND: FOOTSTEPS – UNDER.
307. MORT: (AT A DISTANCE) Tell me about it.
308. SANCHO: (STUTTERING) Are we gonna just walk him out o’ here?
309. JULIO: If he’s willing to come on his own…
310. SANCHO: (STUTTERING) Then he’s dumber ‘n paint…
311. JULIO: …but it’s all the better for us.
312. SANCHO: (STUTTERING) Cordova ain’t gonna let him live after this.
313. JULIO: And whose fault is that? The boss ain’t gonna be too happy about you killing the copper.
314. SANCHO: (STUTTERING) He was workin’ fer the other side. We woulda had to do something about him at some time, anyway.
315. JULIO: Bah! The boss had a reason for keepin’ Flintwich alive. This complicates things.
316. SOUND: DOOR CLOSES.

SCENE 10: INT – BATHROOM
(MORT, JAKE)

317. SOUND: WATER IN TAP – UNDER.
318. MORT: (BARELY HOLDING HIMSELF TOGETHER) Damnit! They shot a cop.
319. JAKE: You gotta get outta here Mort.
320. MORT: (PANIC SETTING IN) They shot a cop!
321. JAKE: Snap out of it and think!
322. MORT: I could try going with them. See if I can find an opportunity to…
323. JAKE: No. You don’t get it. Cordova’s not gonna be happy with a simple “chat”. He’s gonna wanna be certain you don’t know where those girls are.
324. MORT: And he won’t be any too gentle putting the questions to me. Even if he believes me, I’ll end up with some broken bones.
325. JAKE: And he can’t let you go if you’re a witness to a cop-killing. When the “chat’s” over, they’ll be taking you out into the woods and putting you in a shallow grave.
326. MORT: I know, damnit!
327. JAKE: So what are you gonna do?
328. MORT: Um…, there’s a ledge below the window. It’s hard to see, so Julio missed it.
329. JAKE: Yeah, I see it.
330. MORT: I’ve used it before and it leads round the side of the building to the fire escape.
331. JAKE: Looks dangerous.
332. MORT: Sure, but if I’m lucky, I’ll be half a block away before Cordova’s goons realize I’m gone.
333. JAKE: Well, you better move quick is all I can say.
334. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 11: EXT – ALLEYWAY – MID-DAY
(MORT, JAKE)

335. SOUND: ALLEY AMBIANCE (DISTANT CARS AND STREET NOISES) – ESTABLISH AND UNDER
336. JAKE: Damn, but those two women must be in some genuine hot water. This is the second time today you’ve ended up in an alley full of stinking garbage. At least it’s on purpose this time.
337. MORT: Shut up, Jake. (BEAT) It looks like those goons are coming out of the building now. Damned if they don’t look mad. We need to keep right out of their way.
338. JAKE: At least they’re carrying that rug with ’em. They’re not leaving a body up in your office. What are you gonna do?
339. MORT: For a start, I’m gonna sneak back in and get some of my stuff. Then I’m gonna see about negotiating with Caesar Cordova from a safe distance. He knows I’ve got enough on him from the old days to make his life real…
340. SOUND: DISTANT EXPLOSION – LET IT FINISH
341. JAKE: What the hell? That was your office. (BEAT) Those girls must be in way more trouble than you thought.
342. MORT: Son of a… What the hell has Lilly dropped me in?
343. JAKE: Nothing smelling like roses.
344. MORT: Aw, hell… Jesse!
345. JAKE: Huh?
346. MORT: Cordova knows all about Jesse… at the hospital. She’s the leverage on his side of the agreement. He’ll be sending his goons for her… if he hasn’t already.
347. JAKE: I thought we didn’t talk about Jesse.
348. MORT: Jake, so help me… If he’s hurt a hair on her head, I’m going to see he goes to the electric chair.
349. JAKE: Only if you can avoid getting snuffed yourself. How’d this agreement work between you two?
350. MORT: I don’t spill what I know to the cops and he lets Jesse live.
351. JAKE: Then he isn’t gonna kill her… at least not right away. He’ll send his boys to collect her and ensure your cooperation.
352. MORT: We’ve got to get to the hospital. Fast.
353. MUSIC: RAPID TIME PASSING SCENE ENDER – LET IT FINISH

SCENE 12: (INT) HOSPITAL – EARLY AFTERNOON
(NURSE, MORT, JAKE)

354. NURSE: [CUE] Mr. Flintwich! This is a hospital. You can’t rush in to… Mr. Flintwich?
355. MORT: Where is she?
356. NURSE: That’s what I’m trying to tell you. I thought you knew. Some men arrived half an hour ago to transfer her to City Central Hospital. They had papers with your signature on them.
357. MORT: Call City Central now. Find out if they have any record of a transfer.
358. NURSE: Uh. Yes, sir. *(UNDER FROM HERE AND FADE) Yes. Operator. Give me City Central hospital, please. This is urgent.
359. JAKE: Chances are, City Central won’t know anything about this transfer. You know that, right?
360. MORT: Yeah. (BEAT) Damn I hate the smell of hospitals. It gives me the creeps being here.
361. JAKE: Is that why you never seem to visit?
362. MORT: (DEFENSIVE) Hey, I visit.
363. NURSE: Mr. Flintwich, you were right. City Central Hospital have no record of the transfer. Should I call the police?
364. MORT: Yeah. Do it now. (BEAT) Damn and hell! Think… Think! I can’t fight Cordova. He’s too big. If I run, he’ll kill Jesse – but that’ll guarantee his own end, won’t it?.
365. JAKE: You don’t have enough information and this whole situation is spiralling out of control. You need to find Lilly and the kid and figure out what’s behind all this.
366. MORT: Jake, I’ve got a new plan. There’s a safe house that I set up, years ago – when Caesar and I weren’t such good friends. We’ll stop by my apartment on the way.
367. JAKE: You know, your place is being watched, right?
368. MORT: One thing at a time.
369. MUSIC: SCENE ENDER – LET IT FINISH.

SCENE 13: (INT) MORT’S APARTMENT – MID AFTERNOON
(MORT, JAKE)

370. SOUND: WINDOW SILL RAISING
371. JAKE: Windows again? You can’t seem to keep away from ’em today.
372. MORT: Shut up. The good news is those goons sitting out the front mean there’s no one inside.
373. JAKE: And climbing in through the window means you get to avoid ’em while keeping most of your teeth. (BEAT) They sure did look sore didn’t they?
374. MORT: Yeah, well. Caesar Cordova isn’t great with failure, so I figure they’re pretty motivated to find us right now.
375. JAKE: So what’s in here that made all that climbing worthwhile?
376. MORT: I figure I’m not coming back for a few days. I’m going to need some clothes. And I’ve got a little money in the safe.
377. JAKE: I guess it’s worth a little risk to make sure you’ve got some dough in your pockets. (BEAT) Sheesh, you could clean the place up a bit. It’s not like a one-room apartment needs a lot of effort to keep tidy.
378. MORT: The place has been tossed, smart guy.
379. JAKE: How can you tell?
380. MORT: Funny.
381. JAKE: Did they get into your safe?
382. SOUND: KEY AND SAFE DOOR
383. MORT: Doesn’t look like it. I’ve got about two hundred and fifty in here, plus some change. Hey, keep away from my bed. I sleep there, you know?
384. JAKE: What? You afraid I’ll get a look at the magazines you keep under it?
385. MORT: Only if you think there’s something scandalous about model trains. Aw hell, look what they did to my ice box? The doors been ripped off.
386. JAKE: I wouldn’t want to be in here in a day or two. That food is gonna smell ripe.
387. MORT: Not much I can do about it now. Not without tipping them off to my having been here. Hey, what’s that?
388. JAKE: What?
389. MORT: It’s an envelope. It’s been left under the door.
390. JAKE: It’s addressed to you.
391. SOUND: ENVELOPE TEARING
392. MORT: Damn!
393. JAKE: Who’s it from?
394. MORT: It’s from Cordova. Who else? At least I know why he doesn’t have his goons camping in my kitchen now.
395. JAKE: So, come on. What’s he want?
396. SOUND: UNFOLDING NOTE
397. MORT: Ha. He says all will be forgiven if I hand over the girls… and that he’ll return Jesse to the hospital… unharmed. He’s given me until tomorrow midnight.
398. JAKE: Hey, Mort. You wouldn’t really…
399. MORT: Nah. I may be all kinds of heel, but I still wouldn’t turn them over to Cordova… at least, not without knowing what this is about.
400. JAKE: And besides, if Cordova’s got it into his head that you’ve betrayed him, then there’s no way he’s gonna honour a deal like this, even if you do comply.
401. MORT: (MUSING) Tomorrow midnight. That’s not long.
402. JAKE: No kidding.
403. MORT: He’s probably gonna want me dead.
404. JAKE: And you still have no idea where those women have gone.
405. MORT: Well, I’m about to remedy that.
406. JAKE: How?
407. MORT: You’re forgetting who I am. Once I’ve got my gear, I’m going to get some help… this time from a real ghost.
408. MUSIC: SCENE ENDER – LET IT FINISH.

ACT 2

SCENE 14: INT – THE SEWERS – AFTERNOON
(MORT, JAKE, JENNY – THE GHOST)

409. SOUND: DRIPS AND SPLASHES OF A TUNNEL
410. SOUND: APPROACHING FOOTSTEPS SPLASHING THROUGH WATER
411. JAKE: I know you want to avoid Cordova’s guys, but this? Is travelling by sewer necessary?
412. MORT: (SLIPS) Whoa. Aw hell.
413. JAKE: What?
414. MORT: I leaned against the damn wall. Slime. As if the smell wasn’t bad enough.
415. JAKE: So why are we here?
416. MORT: I’m looking for someone.
417. JAKE: Down here? You can’t see your hand in front of your face.
418. MORT: All the same. I’m looking for Jenny Mulrooney. She was murdered last century and her body was dumped down here.
419. JAKE: Hang on. You mean you weren’t kidding about looking for a ghost?
420. MORT: I think she haunts the sewers somewhere right about…
421. JENNY – THE GHOST: ‘Oy! What the ‘ell are you doin’ down ‘ere, Mort Flintwich?
422. MORT: Jenny! There you are. I’ve been looking for you.
423. JENNY: Well, you found me. What do you want?
424. MORT: Straight to the point as usual. You need to get in touch with your humanity from time to time, you know that? And it’s not like you’ve got anything better to do.
425. JENNY: Oh, but I’m not ‘uman, am I? And getting less so. It’s why you check up on me.
426. MORT: Uh-huh. And if you won’t give in and let me help you find your rest, one day you’ll lose what’s left of your humanity and become a spectre… and then I’ll have to banish you.
427. JENNY: I don’t think you’ll be around long enough for that to ever be a problem, even if you live to be an ‘undred. And given your lifestyle choices, I doubt you’ll make ‘alf that.
428. JAKE: It’s probably true, but she still shouldn’t say it.
429. JENNY: Have you still got that voice in your ‘ead, Mort?
430. MORT: Yep.
431. JENNY: And you still don’t think it’s a genuine ghost?
432. MORT: Do you?
433. JENNY: ‘ard to say. It’s rare, but there are some ghosts what the rest of us can’t ‘ear. ‘e could be one o’ them.
434. MORT: He’s not.
435. JENNY: Suit yerself. But you ‘aven’t come all the way down ‘ere fer a chat? I’ll ask again, and you’ll answer sharpish or I’m off. What do you want?
436. MORT: I want a favour.
437. JENNY: You’re jokin’?
438. MORT: No. I need someone found. And I know you can do it.
439. JENNY: Oh, I can do it all right. But you also know why I ‘ang about down ‘ere instead of up ‘igher. I’m not riskin’ a trip topside for you or anybody. I don’t care ‘ow close to bein’ friends we might be.
440. MORT: It’s important.
441. JENNY: The answer’s “no”. There are things up there – you know what I’m talkin’ about – that’ll eat the likes of me for supper. It’s too risky.
442. MORT: You know Caesar Cordova’s on my trail?
443. JENNY: You know I’ve got no interest in the world of the living.
444. MORT: (FRUSTRATED) Then what do you have an interest in, Jenny. Tell me?
445. JENNY: Since you ask. What I’m interested in, is being owed a favour by Mort Flintwich.
446. JAKE: Oh, hell no!
447. JENNY: I can see you’re in a tight spot, Mort. If this is as urgent and important as you say, I’ll consider it… for a blood service.
448. JAKE: Don’t even think about agreeing to this, Mort.
449. MORT: A blood service?
450. JENNY: Uh-huh. You’ll owe me a service, sealed in blood. An irrevocable bindin’ service. A favour that, when it comes due, you won’t be able to refuse.
451. MORT: No.
452. JENNY: It won’t be anything you would… object to.
453. MORT:
454. It could be anything you damn well choose and you know it.
455. JENNY: No, we’ll make a pact. It might be risky, maybe even very risky, but it won’t be anythin’ you’d find morally objectionable. I’ll even leave you the option of refusing the task if it offends yer… sense of honour.
456. MORT: You think I don’t have one.
457. JENNY: Oh, but I know you do, buried… deep… down. So, what do you say? ‘ow important to you is finding ‘oo-ever it is yer lookin’ for.
458. MORT: And you expect me to agree, without knowing what it is you want?
459. JENNY: Fer now. All I want is a promise to keep in my pocket.
460. MORT: You know, it won’t stop me from banishing you if you turn into a spectre, don’t you? Not if you leave my conscience free of the binding?
461. JENNY: I know. So, ‘ow much is my ‘elp worth to you?
462. JAKE: Mort, you can’t be considering this!
463. MORT: It’s worth a lot, Jenny. I’m in a mess that I don’t understand. Cordova’s taken Jesse and I need to know why. (BEAT) If you can help, I’ll do what you ask.
464. JENNY: (CACKLES WITH GLEE) You always were a reckless one, Mort. It’s why you’ve always been my favourite. Among the mediums, that is. Who do you need me to find?
465. MORT: A woman and her daughter. Lilly and Claudette Moreland. You’ll sense the daughter long before you see her. She’s active.
466. JENNY: Active ‘ow?
467. MORT: I’ve no idea. But there’s power there. And a criminal named Caesar Cordova wants it.
468. JENNY: Interesting. But what’s that got to do with Jesse?
469. MORT: Cordova has Jesse and he wants me to find the women. Like I said, I’ve got to untangle the threads of this thing before I can fix it, and these two women are at the heart of it all. I’ve got to find them for a start.
470. JENNY: Alright, did you bring anything they’ve ‘andled?
471. MORT: I’ve got this from the girl. It’s a paper flower.
472. JENNY: It’ll do and then some. That flower reeks of power. Put it down on that brick over there. Try not to ‘andle it too much. It’s already been in your button-hole longer than is good. I don’t want the residuals to get any more contaminated than they already are. (BEAT) Yeah, that’s it. Now prick your finger and leave a drop of blood on it.
473. MORT: You agree to the condition that my conscience remain unfettered?
474. JENNY: I do. And you agree to provide me with one service in exchange for this help… or die trying?
475. MORT: I do.
476. JENNY: Good. Now step away. I think I can find ‘er easy enough. Do you ‘ave anything from this “Cordova” character with you as well?
477. MORT: I’ve got a letter he sent me, but what’s that to you?
478. JENNY: It’s not important; just a ‘unch, but let me ‘ave a look at it as well.
479. MORT: And this has no bearing on the pact or the service?
480. JENNY: No. Consider this a bit o’ good will. No charge.
481. MORT: Alright. I’ll put it here, beside the flower.
482. JENNY: Ooh, did you know he was active as well? There’s a distinct trace of power on it.
483. MORT: (SURPRISED) No, I didn’t. And I’d have noticed. We’ve met on more than one occasion.
484. JENNY: It’s new. ‘e’s still learning ‘is way around it. You’re gonna want to be careful, Mort. (BEAT) Alright, I’ll be back in a jiffy.
485. MORT: Wait. He’s holding a friend of mine. Jesse. If you’re going to poke around his place, can you see what you can find out about her too?
486. JENNY: That wasn’t part of our bargain.
487. MORT: But as you’re planning to look around anyway?
488. JENNY: Heh. I’ll see what I can do. Wait ‘ere.
489. SOUND: WHOOSHING NOISE
490. JAKE: Is it my imagination, or did she affect the air in here with her departure?
491. MORT: When a ghost’s been around long enough they can have a small impact on the world around them. Jenny was active when she was alive, so she’s more powerful than most.
492. JAKE: By “active” you mean…
493. MORT: Powerful. Magical. Supernaturally gifted. Whatever term you like.
494. JAKE: I think you’re going to regret the deal you made with her.
495. MORT: Oh, I know I will.
496. JAKE: So why’d you do it then?
497. MORT: I think I should have agreed to help Lilly and her girl right from the start.
498. JAKE: I hate to say I told you so…
499. MORT: No you don’t. It’s one of your favourite things.
500. JAKE: Okay, that’s true. But if you’d listened to me in the first place…
501. MORT: Yeah, yeah. Save it. Between the cold, the sewer stink, and you, I’m not sure what’s worse.
502. JAKE: Hmpf!
503. MORT: I better grab those bits and pieces I put out for Jenny while I’m thinking about it. I’m not sure I want them falling into the hands of anyone who might come across them down here.
504. MUSIC: TIME PASSING TRANSITION – LET IT FINISH.
505. SOUND: DRIPS SPLASHES IN A TUNNEL
506. MORT: (SNORING) FADE UP.
507. SOUND: WHOOSH
508. JENNY: Well, ‘ello again. ‘aving a nice little kip are we?
509. SOUND: DULL THUMP ON WALL
510. MORT: (WAKES WITH A START) Ow! Damn it. I must have fallen asleep.
511. JENNY: That or they built a train line through ‘ere while I was out.
512. JAKE: You’ve just arrived. You should have been here for the whole recital.
513. MORT: I’m cold and wet and I smell foul. I’m not in the mood for what passes for ghost humour. What did you find?
514. JENNY: Poor baby. Things are worse up there than I remember. There are more o’ them things roamin’ about. I ‘ad to work pretty ‘ard to avoid ’em.
515. MORT: Ahuh. What did you find?
516. JENNY: Now ‘oo’s straight to the point, eh?
517. MORT: Jenny?
518. JENNY: Alright, alright. ‘ere it is. The women are ‘iding out in an alley way, back o’ “Smith’s” on North Avenue. Their waitin’ fer it to get dark enough to make a run for it.
519. MORT: Thanks. That’s what I needed to know.
520. JENNY: ‘ang on a minute. That’s not all. I ‘ad a look into this Caesar Cordova and you need to ‘ear this. ‘e’s active alright, active and scared. You didn’t tell me there’s a war going on up there.
521. MORT: Yeah, well. You said you weren’t interested in the world ‘o the living.
522. JENNY: No, but I am interested when powerful magic starts getting thrown about by amateurs… and Cordova’s an amateur. A powerful one too.
523. MORT: Wait. Did you see Jesse? Tell me about that first.
524. JENNY: Alright. ‘E’s got an unconscious woman upstairs in a bed. There’s a guard on the door. ‘Is men were talking about ‘ow no-one’s allowed to go near ‘er.
525. MORT: Well that confirms that. Do you know what he wants?
526. JENNY: ‘E’s got some nasty rituals and spells in ‘is office. It looks like ‘e’s been workin’ some dangerous stuff. ‘Is eyes are gone and ‘e was able to see me.
527. MORT: What?
528. JENNY: That’s right. ‘e’s got some kind o’ magical vision. It’s creepy. I got outta there quick smart, but not before I saw some things you’re gonna be interested in.
529. MORT: Okay, I’ll bite. What’d you see?
530. JENNY: The mansion’s got a marble foyer ‘e’s done up with a summoning circle for conducting rituals. I saw the text ‘e’s using. It’s a ritual to open a gate to… somewhere else.
531. JAKE: Could she be any more cryptic?
532. JENNY: You and I both know that there ‘ave been more and more o’ them outworlders finding their way into our world from beyond. I think ‘e intends to open a gate and let ’em all through in a flood.
533. JAKE: You gotta be kiddin’ me?
534. MORT: And what’s that got to do with him wanting Claudette?
535. JENNY: This ritual can’t be done alone. It needs at least two more powerful practitioners to ‘elp it ‘appen.
536. MORT: But Claudette’s only one.
537. JENNY: And that’s what’s got me worried the most. Cordova’s an amateur. But someone’s been feeding ‘im this stuff. Someone ‘oo does know what they’re about.
538. MORT: How do you mean?
539. JENNY: I think there’s someone at back o’ this ‘oo’s more dangerous than anyone you’ve dealt with so far.
540. MORT: Well, that’s a problem for later. Right now, I’m interested in finding the two women and getting Jesse back.
541. JENNY: Then, I think I’ve got some bad news for you. See…
542. JAKE: Don’t do it…
543. JENNY: I think I’m going to cash in that favour almost right away.
544. JAKE: Damn it!
545. MORT: What?
546. JENNY: Yeah. If that gate is opened, this city’s gonna be flooded with them monsters and there’s gonna be nowhere that’ll be safe from ’em. In fact, I’m gonna bet that the entire ‘uman species is gonna be in danger. You’re gonna ‘ave to stop ’em Mort.
547. MORT: What???
548. JENNY: You ‘eard me. That’s your task, your service. You ‘ave to stop Cordova. If’n ‘e opens ‘is gate… you ‘ave to close it as quickly as possible and drive the monsters back out.
549. MORT: Just that? I’m glad you didn’t want to set me something impossible.
550. JENNY: You can’t refuse… and the pact will activate within a few seconds of ‘im opening that gate.
551. MORT: But this is…
552. JENNY: This doesn’t violate your conscience in any way. And… it’s bound up with your current objective of finding the girl. If you get to that alleyway sharpish, you can find ‘er and stop Cordova from ever using ‘er in ‘is ritual.
553. MORT: And assuming I find her, how do you suggest I manage that?
554. JENNY: Why, kill ‘er of course.
555. JAKE: Oh, you idiot, Mort!
556. MUSIC: SCENE ENDER – LET IT FINISH.
557. NARRATOR: Can Mort survive long enough to rescue Jesse from Cordova without selling out Claudette and her mother? Can he find a way to close the gate without killing the little girl? Tune in to episode 3 and find out.
558. MUSIC: CLOSING THEME AND CREDITS.

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ABOUT THE AUTHOR

Philip Craig Robotham grew up in a house full of books and has held numerous jobs as a teacher, computer programmer, graphic and web designer, an e-learning consultant and, most recently, writer. He currently lives in Victoria, Australia with his wife and two sons. When he was younger and fitter he enjoyed martial arts, but in recent years his hobbies have tended towards more sedate fare (board games, movies, books, and role-playing games).

He is extremely grateful for the encouragement he receives from his biggest fans — his wife and two boys — all of whom read and enjoy his scripts and, in general, make his life worth living.

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

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This post and all its content is copyright © 2013 Philip Craig Robotham and has been released under a Creative Commons Attribution Non-Commercial No Derivatives (CC BY-NC-ND 4.0) license. This play cannot be reproduced, shared, or performed commercially without the written permission of the author.  The production of derivative content, merchandise, or creative works and materials is expressly forbidden under this agreement. However you may share, reproduce, and perform this play freely so long as authorship is acknowledged, no money changes hands, and the play is not modified in any way.

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