Chapters (4)
| SOUND |
SIGNATURE OPENING: A BEATING HEART. . . RAPID BREATHING. . . RUNNING FEET. . . A DOOR SLAMMING SHUT. THE DOOR LOCKS AND A CHAIN FUMBLES INTO PLACE. THE HEARTBEAT AND BREATHING SLOW. . . UNTIL A GRANDFATHER CLOCK CHIMES LOUDLY. A GASP. THE HEARTBEAT SPEEDS UP AGAIN – DROWNING OUT ALL OTHER SOUNDS. |
| MUSIC | THEME. |
| ANNOUNCER | You can run but you can’t hide. It’s far too late for that. Welcome to the darkside, where the night never ends. . . as Fangoria presents. . . Dreadtime Stories! |
| MUSIC | FADE DOWN. |
| SOUND | INTERIOR CAR – MOVING. |
| NARRATOR | They were driving back from a midnight screening of “The Texas Chainsaw Massacre,” the special director’s out, when one of them saw the sign. It glowed through the mist above the empty street. . . |
| WHITEY | Hey. |
| JIM | What. |
| WHITEY | There’s the Stop ’N Start Market. Open twenty-four hours. |
| JIM | The munchies, huh? |
| WHITEY | Well. . . got anything at your place? |
| JIM | Not much. |
| WHITEY | Maybe we should pick up some stuff. |
| JIM | Sounds like a plan. |
| SOUND |
THE CAR SLOWS TO A STOP. FADE THRU TO: INT. – CONVENIENCE MART. MUZAK IN THE B.G. (CONTINUING). AN AUTOMATIC GLASS DOOR SLIDES OPEN. AN ELECTRONIC BELL DINGS AS THEY ENTER. |
| CLERK | (flat, without affect) Sorry. . . |
| WOMAN #1 | No, no, can’t you hear? I don’t want that one. |
| CLERK | (muttering) Sorry. . . |
| WOMAN #1 | Where’s the regular man? He knows what I drink. |
| CLERK | Please. . . |
| WOMAN #1 | Behind you, on the shelf. The half-pint. What are you, blind? |
| CLERK | Sorry. . . |
| SOUND | A TINY ELECTRONIC BLIP AS THE CLERK SLIDES A BOTTLE OVER THE UPC CODE SENSOR IN THE COUNTERTOP. THE CASH REGISTER RINGS UP A |
| SOUND (cont’d) | SALE AND THE AUTOMATIC DRAWER SLIDES OPEN. PAPER CRINKLES AS HE BAGS THE BOTTLE. |
| WOMAN | I don’t need a bag. Just give it to me. Or I’ll take my business elsewhere! |
| CLERK | . . . Thank you. |
| SOUND | THE DOOR OPENS AND THE WOMAN EXITS. |
| WHITEY | (low) Did you catch that action? |
| JIM | (amused) Last call for alcohol. |
| WHITEY | No – the guy workin’ the counter. Where’d they dig him up? |
| JIM | It’s the late shift. What do you expect? Get some Jiffy Pop. I’ll grab a couple of beers. They won’t sell it after two a.m. |
| WHITEY | You think he knows what time it is? |
| JIM | And some Ho-Hos or something. Meet you up front. |
| SOUND | FOLLOWING JIM AS HE WALKS TO THE BACK OF THE STORE AND OPENS THE COLD CASE. GENERIC BACKGROUND MUSIC STILL PLAYING. HE CLOSES THE COLD CASE AND RETURNS TO THE FRONT. NOW THE BELL DINGS AGAIN AS THE DOOR OPENS AND A MAN RUSHES IN. |
| BREATHLESS MAN | Got any con – condominiums? |
| CLERK | Please. . . |
| BREATHLESS MAN | Uh – conundrums. I mean – |
| CLERK | Please. . . |
| SOUND | THE MAN PICKS UP A SMALL PACKET. |
| BREATHLESS MAN | (relieved) Yes! Right here, next to the Power Bars. Gimme one of those, too. |
| CLERK | Sorry. . . |
| SOUND | THE MAN DUMPS DOZENS OF QUARTERS ON THE COUNTER. |
| BREATHLESS MAN | Is this enough? I’m in a hurry. |
| SOUND | A BLIP AS THE LASER RINGS UP ANOTHER SALE. THE CASH DRAWER SLIDES OPEN. |
| CLERK | . . . Thank you. |
| BREATHLESS MAN | (off) Thank you, man! You saved my life! |
| SOUND | THE MAN HURRIES OUT. THE GLASS DOOR SLIDES SHUT. THE CLERK DRAGS THE COINS INTO THE DRAWER. |
| WHITEY | (low, to Jim) I don’t believe it. |
| JIM | Must have robbed his pigyybank. |
| WHITEY | The clerk. It’s Juano. |
| JIM | Who? |
| WHITEY | You know. From the Mexican restaurant, over on Washington? |
| JIM | You’re kidding. What happened to him? |
| WHITEY | Looks like he hit the skids. |
| CLERK | Please. |
| SOUND | WHITEY AND JIM MOVE UP AND SET THEIR THINGS ON THE COUNTER. |
| WHITEY | Hey – Juano, right? How’s it goin’? |
| CLERK | Please. . . |
| WHITEY | Haven’t seen you in a while. |
| CLERK | Sorry. . . |
| WHITEY | It’s me, Whitey. Remember? |
| CLERK | Thank you. |
| WHITEY | How’s Rena been? |
| CLERK | Please. . . |
| WHITEY | Well, tell her I said hello, okay? Here’s my number. In case she lost it. |
| SOUND | WHITEY CLICKS A BALLPOINT PEN AND SCRIBBLES ON PAPER. |
| CLERK | Please. |
| WHITEY | Just give it to her. |
| CLERK | Sorry. . . |
| WHITEY | (taking offense) Why not? |
| SOUND | BLIPS AS THE CLERK RINGS UP THE GROCERIES. |
| JIM | (intervening) How much? |
| WHITEY | I asked you a question. |
| CLERK | Please. . . |
| SOUND | JIM PULLS OUT PAPER MONEY AND SLAPS IT DOWN. |
| JIM | Keep the change. |
| WHITEY | Hold on. |
| JIM | Forget it. Let’s go. |
| CLERK | . . . Thank you. |
| SOUND | THE CLERK CLOSES THE DRAWER. |
| WHITEY | Yeah. Good idea. SOmething smells in this place. |
| SOUND | EXT. – STOP ’N START. AS JIM AND WHITEY EXIT THE STORE. A LONE CAR PASSES ON THE STREET. |
| WHITEY | What time does Tube City here close? |
| JIM | Never. |
| WHITEY | Well, when do they change shifts? About six o’clock? |
| JIM | What do you care? |
| WHITEY | Think I’ll have a little talk with old Juano, when he gets off. |
| JIM | I told you, forget it. |
| WHITEY | Oh, yeah? I went out with his sister for six months. Now all of a sudden I’m not good enough for her? |
| JIM | Let it go, man. It’s the late shift. |
| SOUND | THEY GET IN THE CAR AND DRIVE OFF. |
| MUSIC | EPISODE SCORE. FADE DOWN. |
| ANNOUNCER | Dreadtime Stories will continue in a moment. COMMERCIAL BREAK |
| MUSIC | THEME. |
| ANNOUNCER | Now back to Dreadtime Stories and our story. . . “The Late Shift.” |
| MUSIC | EPISODE SCORE. |
| NARRATOR | It was late and tomorrow was Saturday. So he let his friend crash on the sofa. When the phone rang a few hours later, he thought it was a joke. . . |
| SOUND | FADE IN DIALOGUE (IN PROGRESS): |
| JIM | (groggy). . . Who is this? |
| NURSE #1 | (filtered) Saint Sebastian Hospital. |
| JIM | What’re you calling me for? |
| NURSE #1 | Your friend gave us the number. |
| JIM | You mean Whitey? No, he didn’t. He’s right here. (calling) Whitey! Hey, where are you. . .? |
| NURSE #1 | We’re located on Fourteenth Street. Park in the underground lot. |
| JIM | Why? |
| NURSE | I’m afraid there’s been an accident. |
| MUSIC |
EPISODE SCORE. BRIDGE THRU TO: |
| SOUND | INT. – HOSPITAL CORRIDOR. A GURNEY CLATTERS PAST. VOICES IN THE B.G. |
| P.A. VOICE | (off) Doctor Martin to E.R. Doctor Benway, please come to surgery. . . |
| JIM | I don’t know anything, officer. I just got here. |
| OFFICER | Relatives? |
| JIM | Not that he ever mentioned. |
| OFFICER | There was an out-of-state driver’s license in his wallet. How long has he lived here? |
| JIM | A couple of years, maybe. We both went to Santa Monica College. |
| SOUND | THE OFFICER TAKES NOTES ON A CLIPBOARD. |
| OFFICER | Mm-hm. Family. . . Out-of-state. Where would that be? |
| JIM | (frustrated) Don’t ask me. Back on the reservation, 1 guess. Listen, if you’ll just tell me what happened. . . |
| OFFICER | His car went over a cliff. |
| JIM | When? |
| OFFICER | Around dawn, near as we can figure. |
| JIM | Where? |
| OFFICER | Arroyo Seco Canyon. |
| JIM | But that’s all the way across town! He couldn’t have – |
| OFFICER | When was the last time you saw him? |
| JIM | Last night. |
| OFFICER | How much did he have to drink? |
| JIM | One beer. |
| OFFICER | We found an empty bottle of Jack Daniel’s in the car. |
| JIM | No way. He never touched the stuff. |
| OFFICER | (unconvinced) That right. |
| JIM | He can’t. He’s Native American. Something about the enzymes in his liver. All he ever drank was beer. One, maybe two, and that was it. |
| OFFICER | Then how did all that alcohol get into his bloodstream? |
| MUSIC | EPISODE SCORE. |
| THRU TO: | |
| SOUND |
INT. – HOSPITAL ROOM. BLIPS FROM A HEART-LUNG MONITOR. AS JIM TAPS ON THE DOOR AND ENTERS. |
| JIM | You awake, buddy? |
| WHITEY | (weakly) Hey, Jim. |
| JIM | (approaching) What are all those lines on your face? |
| WHITEY | Pretty good, huh? (with pauses, aided by a breathing machine) I did ’em myself. It’s pHisoHex and lead pencil. The nurse washes it off, I put it on again. |
| JIM | (joking) Looks like war paint. |
| WHITEY | (serious) It’s for a funeral. |
| JIM | Yeah? Whose? |
| WHITEY | I saw the Death Angel last night. (pause) Did you hear what I said? |
| JIM | I hear your meds talking, that’s what I hear. So are you going to tell me what really happened? |
| WHITEY | Ask Juanu. |
| JIM | (sighs) Yuu had to go back there. . . Did you tell that part to the cops? |
| WHITEY | Sure. They always believe a drunken Indian. (starts to laugh, stops in pain) |
| JIM | Don’t worry. I’ll take care of Juano. |
| WHITEY | (a strange high-pitched laugh) He-he-he! What are you gunna do, kill him? |
| SOUND | A NURSE ENTERS, RUBBER SOLES SQUEAKING. |
| NURSE #2 | How did you get in here? |
| JIM | (ignoring her) What else do you remember? |
| SOUND | SHE SETS DOWN A RATTLING TRAY. |
| NURSE #2 | Step outside, please. I have to run some tests. |
| JIM | We’re not finished yet. |
| NURSE #2 | Are you family? |
| JIM | No. |
| NURSE #2 | There’s a waiting room at the end of the hall. You can talk to your friend later. |
| JIM | I’m talking to him now. What else? |
| WHITEY | She knows. Don’t you, nurse. |
| SOUND | SHE HANDLES SMALL INSTRUMENTS. |
| NURSE #2 | (humoring him) What is it we want to know, now? |
| WHITEY | That’s how you make your living, isn’t it. Off death. |
| NURSE #2 | What a crazy thing to say. |
| WHITEY | Tell him. |
| NURSE #2 | Tell him what? |
| WHITEY | About the Trial of the Dead. |
| NURSE #2 | Be a good boy and give me your arm, so I can draw some blood. . . |
| WHITEY | How does it work? |
| NURSE #2 | Can you make a fist for me? |
| WHITEY | The people that come here. What happens to them? |
| NURSE #2 | When? |
| WHITEY | When they die. |
| NURSE #2 | Really, this is most – |
| WHITEY | Tell him. |
| NURSE #2 | They’re held downstairs, temporarily. Now will you please – |
| WHITEY | Then what? |
| NURSE #2 | If you’re not going to cooperate – |
| WHITEY | Then what happens to them? |
| NURSE #2 | (sighs) They’re placed in cold storage, until the family can make arrangements. Does that answer your question? |
| WHITEY | For how long? A couple of days? They don’t stay here the whole time. Do they. |
| SOUND | A CLICK AS SHE SPEAKS INTO A MIC. |
| NURSE #2 | This is room six-twenty-six. I need backup. . . |
| JIM | Don’t bother. I’m leaving. Hang in there, buddy. I’ll be back. |
| SOUND | JIM CROSSES TO THE DOOR. |
| WHITEY | Jim? |
| JIM | Yeah? |
| WHITEY | What I said last night. I was wrong. |
| JIM | About what? |
| WHITEY | That wasn’t Tube City. This is. (strange laughing voice again) He-he-he! |
| MUSIC |
EPISODE SCORE UP. BRIDGE THRU TO: |
| SOUND | INT. – STOP ’N START MARKET – DAY. MUZAK. AN ELECTRONIC BELL AS THE GLASS DOOR SLIDES OPEN. JIM ENTERS AND WALKS TO THE COUNTER. THE MANAGER IS TOTALING UP SALES ON A SMALL ADDING MACHINE. JIM CLEARS HIS THROAT. |
| MANAGER | (preoccupied) Can I help you? |
| JIM | I don’t know, can you? |
| MANAGER | I’m pretty busy. . . |
| JIM | Do you remember me? |
| MANAGER | I get a lot of customers. |
| JIM | I used to come in here all the time. Matter of fact, I stopped by last night. Late. |
| MANAGER | Sorry. That’s not my shift. |
| JIM | There was a new guy working the counter. Standing right where you are now. |
| MANAGER | Must’ve been someplace else. |
| JIM | I don’t think so. |
| MANAGER | I got a regular night man. Six, seven months now. |
| JIM | Is his name Juano? |
| MANAGER | Nope. It’s Dom. |
| JIM | You sure? Because I used to know old Juano. Only he was lookin’ kind of pale. Greasy hair, fake moustache – even had makeup on. |
| MANAGER | Never heard of him. |
| JIM | Oh, it was him, all right. Ringing up the bar codes on the register. Good thing it’s automatic. It was almost working him. |
| MANAGER | Look, if you’re not gonna buy something. . . |
| JIM | I had a friend of mine with me. He saw him, too. Then, a little later, my friend ran into some trouble. You know anything about that? |
| MANAGER | I think you better get out of here. |
| JIM | Or what? You’ll call the cops? Let me do it for you. |
| SOUND | JIM PICKS UP A PHONE RECEIVER FROM ITS CRADLE ON THE COUNTER. AS THE DOOR SLIDES |
| SOUND (cont’d) | OPEN AND THE ELECTRONIC BELL DINGS. |
| WOMAN #2 | Excuse me. Do you have Land of a Thousand Flushes Toilet Bowl Cleaner? |
| MANAGER | We’re closed, lady. |
| WOMAN #2 | In the middle of the day? |
| MANAGER | I’m takin’ inventory. Come back later. |
| WOMAN #2 | (offended) Weill! I think I’ll go to Price Busters. It’s cheaper there, anyway! |
| SOUND | SHE LEAVES. THE DOOR SLIDES SHUT. |
| JIM | (to a dial tone) Hello, Police Department? I’d like to report a labor code violation. That’s right. Illegal hiring practices. . . |
| SOUND | THE MANAGER CROSSES AND LOCKS THE DOOR. |
| MANAGER | All right, all right. What do you want? |
| SOUND | JIM HANGS UP THE PHONE. |
| JIM | Tell me about Juano. |
| MANAGER | (resigned) I don’t have nothing to do with it. They send me these guys. . . |
| JIM | Who does? |
| MANAGER | The company. Sometimes they tell me to lay off my regular man, for the graveyard shift. ’Specially when there’s a lot of holdups. That’s okay by me. I don’t want |
| MANAGER (cont’d) | Dom gettin’ shot up! I put the hours on his pay, but it goes to them. |
| JIM | Juano and his pals? |
| MANAGER | They don’t get the regular wage. The company pays three-four bucks an hour, tops. Maybe they’re wetbacks, maybe they’re not. Who cares? Everybody makes money. You know how many stores we got? It adds up. Me, I’m glad we only use ’em after dark. You already seen Juano-whatever, so you know. And you know something else, my friend? They all look messed up. |
| JIM | And why is that? |
| MANAGER | Talk to the guys in the van. They’re the ones who bring ’em. Me – I don’t personally have nothing to do with it. |
| MUSIC | EPISODE SCORE. THRU TO: |
| NURSE #3 | (filtered) Nurse’s station. |
| JIM | Room six-twenty-six. |
| NURSE #3 | Six-two-six. . . oh. He was on the list for surgery this afternoon. . . |
| JIM | How’s he doing? |
| NURSE #3 | Please hold. |
| MUSIC | (FILTERED) MINDLESSLY CHEERFUL MUZAK. |
| JIM | (under his breath) Come on. . . |
| NURSE #3 | (back online) Are you immediate family? |
| JIM | I’m his friend. |
| NURSE #3 | Then I can’t release any information about the patient. |
| JIM | I just want to know if he’s okay. When’s he getting out? |
| NURSE #3 | That’s all I’m authorized to say. I suggest you contact the Patient Coordinating Office. . . |
| JIM | Well, I suggest you call the “patient” by his name. It’s White Feather. |
| MUSIC |
EPISODE SCORE. BRIDGE THRU TO: |
| SOUND |
INT. – JIM’S CAR – PARKED – NIGHT. JIM TUNES THE RADIO. BLIPPING PAST MUSIC, FINALLY STOPPING ON A NEWSCAST. |
| RADIO DJ | . . . A storm moving in as that low-pressure front continues to build. Ear Witness News returns with an update on the half-hour. For all of you working the graveyard shift, it looks |
| RADIO DJ (cont’d) | like a long, cold night here in Southern California, so try to keep warm. The time is eleven thirty-five. . . |
| SOUND | MUSIC RESUMES. JIM CLICKS THE RADIO OFF. OUTSIDE THE CAR, A VAN ROLLS INTO THE PARKING LOT. WE HEAR THE FAINT, MUFFLED RHYTHM OF THROBBING, BASS-HEAVY MUSIC FROM INSIDE THE VAN. |
| JIM | (tightly, to himself) Well, whadaya know. They’re early. |
| SOUND | EXT. – PARKING LOT. THE VAN ROLLS TO A STOP. THE THROBBING MUSIC STOPS. THE FRONT DOORS OPEN. TWO MEN CLIMB OUT. |
| DRIVER #1 | Let’s go. |
| DRIVER #2 | One comin’ Out over here. |
| SOUND | OPENING THE BACK DOOR OF THE VAN. TWO UNSTEADY FEET HIT THE PAVEMENT. THE BACK DOOR SHUTS. |
| CLERK (JUANO) | (flat, muttering) Please. . . |
| DRIVER #1 | Move it, greaseball. |
| DRIVER #2 | He don’t want to. |
| DRIVER #1 | He don’t know what he wants. Give him |
| DRIVER #1 (cont’d) | a booster shot, like I showed you. |
| DRIVER #2 | I already did. |
| DRIVER #1 | Then give him another one. Right in the heart. |
| JUANO | (weakly) Sorry. . . |
| DRIVER #2 | Come on, pal. Open your shirt. Atta boy. . . |
| SOUND | THE BUTTONS OF JUANO’S SHIRT TEARING OPEN. THEN A FAINT BURST OF COMPRESSED AIR FROM A HYPODERMIC GUN. |
| JUANO | (jolted) Uh! |
| DRIVER #2 | There. That oughta keep him goin’. |
| DRIVER #1 | How’s the pacemaker? |
| DRIVER #2 | Lemme check. |
| DRIVER #1 | Put your ear right on it. |
| SOUND | A FAINT HUMMING AND TICKING. |
| DRIVER #2 | Sounds okay to me. |
| DRIVER #1 | Walk him to the back door. |
| SOUND | THEIR FOOTSTEPS, AND JUANO’S SHUFFLING FEET BETWEEN THEM, AS THEY CROSS THE ASPHALT AND KNOCK ON THE BACK DOOR OF THE STOP ’N START. A HOLLOW STEEL DOOR OPENS. |
| MANAGER | Oh, no. Not him. |
| DRIVER #2 | Good for one more night. |
| MANAGER | Look at him. He’s dead on his feet. |
| DRIVER #1 | So prop him up. |
| MANAGER | What if he don’t last? |
| DRIVER #1 | He will. Or your money back. |
| MANAGER | I don’t know. A guy came around, askin’ questions. |
| DRIVER #1 | About what? |
| MANAGER | Some friend of his last night. |
| DRIVER #2 | (nervous) You hear that, Manny? We shouldn’ta done it. I got a record. . . |
| MANAGER | What’d you do, anyway? |
| DRIVER #1 | Look, we got a lot more stops to make. You want him or not? |
| MANAGER | 1 haveta get home. . . (resigned) All right, all right. Bring him in. . . |
| DRIVER #1 | He’s all yours. Say good-night, creep. |
| CLERK (JUANO) | Thank you. . . |
| SOUND | JUANO STUMBLES INSIDE. THE DOOR CLOSES FORCEFULLY. THE TWO DRIVERS WALK BACK TO THE VAN. |
| DRIVER #1 | You drive for a while, kid. |
| DRIVER #2 | (dubious) I don’t know. . . |
| DRIVER #1 | You wanna work for the company or not? |
| SOUND | THEY OPEN THEIR DOORS, CLIMB IN, SLAM |
| SOUND (cont’d) |
THE DOORS, START THE ENGINE AND DRIVE OUT OF THE LOT. CUT TO: INT. – JIM’S CAR. |
| JIM | Now where are they headed? |
| SOUND | JIM STARTS HIS CAR. |
| JIM | One way to find out. . . |
| SOUND | JIM’S CAR DRIVES OFF AFTER THE VAN. |
| MUSIC |
EPISODE SCORE UP. FADE DOWN. |
| ANNOUNCER |
We’ll return to Dreadtime Stories. . . after these words. COMMERCIAL BREAK |
| MUSIC | THEME. |
| ANNOUNCER |
Now back to Dreadtime Stories and. . . “The Late Shift.” |
| MUSIC |
EPISODE SCORE. THRU TO! |
| SOUND |
IN THE VAN – FRONT SEAT – MOVING. THE HUM OF THE ENGINE. OCCASIONAL TRAFFIC PASSING. BEHIND THE FRONT SEAT, FROM THE CARGO AREA, WE HEAR THE MURMURING OF WEAK VOICES, MALE AND FEMALE (CONTINUING). |
| VOICES (off) | Order, please. . . |
| VOICES (cont’d) |
Next. . . Exact change. . . Chicken tenders. . . hot wings. . . Yes, ma’am. . . No, ma’am. . . Self-serve. . . No credit cards. . . Thank you. . . |
| DRIVER #2 | Manny? |
| DRIVER #1 | Yeah? |
| DRIVER #2 | Don’t it get on your nerves? |
| DRIVER #1 | What? |
| DRIVER #2 | The creeps. |
| DRIVER #1 | Put on some music. |
| SOUND | PUSHING A BUTTON. THE THROBBING MUSIC RESUMES FROM DISTORTED, BASS-HEAVY SPEAKERS, VIBRATING IN THE VAN’S CARGO AREA. THE VOICES CONTINUE AS AN UNDERLAY. |
| DRIVER #2 | I can still hear ’em. |
| DRIVER #1 | You get used to it. |
| DRIVER #2 | If they’d shut up for a while. . . |
| SOUND | THE MUSIC CLICKS OFF. DRIVER #1 BANGS HIS HAND ON THE WIRE MESH BARRIER BEHIND THE SEAT. |
| DRIVER #1 | (calling) Hey, knock it off back there! |
| SOUND | THE VOICES SUBSIDE. |
| DRIVER #2 | That’s better. |
| SOUND | OUTSIDE, A HORN BEEPS AS A CAR PASSES. |
| DRIVER #1 | Watch it. |
| SOUND | THE VAN SWERVES AND DRIVES ON. |
| DRIVER #2 | Manny? Look in the side mirror. |
| DRIVER #1 | What for? |
| DRIVER #2 | I think there’s a car followin’ us. |
| DRIVER #1 | You think or you know? |
| DRIVER #2 | He’s been on our tail since the market. |
| DRIVER #1 | Turn at the corner. |
| DRIVER #2 | It’s a dead-end. |
| DRIVER #1 | That’s the idea. |
| SOUND | THE VAN SLOWS AND CORNERS. DRIVING ON. |
| DRIVER #2 | He’s still there. |
| DRIVER #1 | Maybe he’s lost. |
| DRIVER #2 | (doubtful) Maybe. . . |
| DRIVER #1 | Pull over. Let’s help him out. |
| SOUND | THE VAN STOPS. BEHIND THEM, JIM’S CAR PULLS OVER, IDLING. DRIVER #2 SETS THE HAND-BRAKE AND SWITCHES OFF THE VAN. DRIVER #1 OPENS HIS DOOR AND CLIMBS OUT. |
| DRIVER #2 | What if he’s a cop? |
| DRIVER #1 | In a beat-up Toyota? Gimme the tire iron. Under the seat. |
| SOUND | FUMBLING FOR A TIRE IRON. |
| DRIVER #2 | I’ll watch your back. |
| DRIVER #1 | Watch this. Time to go to school. |
| SOUND | FOLLOWING DRIVER #1 AS HE WALKS BACK TO THE CAR. SHOES ON PAVEMENT. CRICKETS. |
| DRIVER #1 | You lost? |
| SOUND | JIM’S CAR WINDOW ROLLS DOWN. |
| JIM | (from inside his car) Sorry? |
| DRIVER #1 | Lemme give you a hand, college boy. |
| JIM | That’s all right. |
| DRIVER #1 | I insist. |
| SOUND | THE CAR DOOR OPENS. JIM GETS OUT. |
| JIM | Didn’t I see you, before? |
| DRIVER #1 | Before what? |
| JIM | Back on Pico, at the Stop ’N Start. |
| DRIVER #1 | What about it? |
| JIM | You dropped off an old friend of mine. |
| DRIVER #1 | Did I? |
| JIM | Haven’t seen Juano lately. What’s he up to? |
| DRIVER #1 | You must think you’re a pretty big man. Following people around in the middle |
| DRIVER #1 (cont’d) | of the night, asking questions. . . |
| JIM | The only thing I want to know is – |
| SOUND | DRIVER #1 SWINGS THE TIRE IRON. JIM GRUNTS AND FALLS. THE TIRE IRON HITS THE PAVEMENT AFTER HIM WITH A CLANG. |
| DRIVER #1 | (calling) Paulie! Get ridda this piece of crap. |
| DRIVER #2 | How? |
| DRIVER #1 | Shoot him with a trank. Then put him in with the rest of the creeps. |
| MUSIC | EPISODE SCORE. |
| THRU TO: | |
| SOUND |
IN THE BACK OF THE VAN – MOVING – LATER. FADE IN THE RUMBLE OF THE ENGINE. A TRUCK BLASTS ITS HORN AND PASSES. |
| NARRATOR | He came to in the back of the van. The wheels were humming and there was a sweet, sickening smell in the air. It reminded him of high school biology class – and something else. He tried to remember what it was. After a while he heard voices. They slipped in and out of a dream. The tranquilizer was wearing off. . . |
| SOUND | JIM COMES TO AND TRIES TO SIT UP IN THE STEEL INTERIOR. |
| JIM | (groans) What in the –? |
| VOICES | Going home. . . |
| Soon. . . | |
| Yes, soon. . . | |
| JIM | Who are you? |
| VOICES |
Soup of the day. . . Coming right up. . . Take your ticket. . . Yes, sir. . . Please, sir. . . Right this way. . . |
| JIM | Where are we? |
| VOICES |
Heading home now. . . Room for you, too. . . It’s coming. . . Be here soon. . . |
| JIM | Where? |
| VOICES |
Here. . . Always here. . . Soon. . . Yes. . . Soon. . . |
| JIM | (low) Can you understand what I’m saying? We have to get out of here – now. |
| VOICES |
So cold. . . Let us rest. Yes. . . rest. . . Good to rest. . . |
| SOUND | A FIST BANGS ON THE WIRE PARTITION. |
| DRIVER #2 | (off) Cool it back there! |
| SOUND |
THE VOICES QUIET DOWN. CUT TO: IN THE VAN – FRONT SEAT. |
| DRIVER #1 | Step on it, kid. We’re runnin’ late. |
| DRIVER #2 | It’s coming up. |
| DRIVER #1 | Look in the map book. |
| DRIVER #2 | I think I see the sign. |
| DRIVER #1 | Shouldn’ta let you drive. . . |
| DRIVER #2 | There. “Tiny’s Self-Serve Gas. We Never Close.” |
| DRIVER #1 | Pull up to the booth. |
| SOUND |
THE VAN SLOWS, TURNS IN AND STOPS. THEY OPEN THEIR DOORS AND GET OUT. |
| ATTENDANT | Finally! |
| DRIVER #1 | What’s happening, vato? [vaah-toe] |
| ATTENDANT | You bring my relief? |
| DRIVER #2 | Sure did. |
| ATTENDANT | A nice one? |
| DRIVER #1 | Special, just for you. Give him the nice one, Paulie. |
| DRIVER #2 | You got it. |
| SOUND | OPENING THE VAN DOOR. |
| DRIVER #1 | (low) How’s the college boy? |
| DRIVER #2 | (low) Havin’ sweet dreams. |
| ATTENDANT | You’re not giving me a dude, are you? |
| DRIVER #1 | Relax. Introduce him to the swing shift. |
| SOUND | DRIVER #2 HELPS A YOUNG WOMAN OUT OF THE VAN. HER FLAT SHOES ON THE METAL FLOORBOARD AND THEN THE PAVEMENT. |
| DRIVER #2 | You’re up, sweets. |
| GAS STATION GIRL | (dazed) Which pump, please? No credit cards. . . |
| DRIVER #1 | Ain’t she fine? |
| ATTENDANT | Whoa. |
| DRIVER #2 | You don’t like her? |
| ATTENDANT | (sniffing) Pew. She reeks. |
| DRIVER #1 | So? She sits behind the glass. |
| ATTENDANT | She’ll stink up the booth. Tiny says clean uniforms. |
| DRIVER #2 | Give her yours. You’re goin’ home. |
| ATTENDANT | No way. I’d have to wash it. |
| GAS STATION GIRL | Exact change only. Free air and water. . . |
| DRIVER #2 | Might be worth it. |
| ATTENDANT | How come? |
| DRIVER #2 | You get to put it on her. |
| MUSIC. | EPISODE SCORE (DARK). |
| SOUND |
BRIDGE THRU TO: IN THE VAN – MOVING AGAIN – LATER. AS A SIREN PASSES. THE VAN SLOWS AND TURNS INTO ANOTHER LOT. |
| DRIVER #1 | Roll your window down and talk to the plastic chicken. |
| SOUND | VAN WINDOW ROLLING DOWN. |
| FAST-FOOD GUY | (from a tiny speaker) Welcome to El Polio Muerto. Take your order? Chinken tenders, hot wings. . . |
| DRIVER #2 | Sounds good to me! |
| DRIVER #1 | On the way out. |
| FAST-FOOD GUY | That you guys? |
| DRIVER #2 | Big as life. |
| FAST-FOOD GUY | You’re late. |
| DRIVER #2 | Good help’s hard to find. |
| FAST-FOOD GUY | Come around to the side. |
| SOUND | THE VAN DRIVES SLOWLY THRU THE LOT. |
| DRIVER #2 | Get him ready. |
| DRIVER #1 | (calling) Wake up back there, Chicky-Boy! |
| CHICKY-BOY | (off, groggy, from behind them) Take your order. Chicken tenders. . . chicken wings. . . clucky bucket. Take your order. . . |
| DRIVER #2 | Order me one clucky bucket, to go! |
| MUSIC |
EPISODE SCORE. BRIDGE THRU TO: |
| SOUND | IN THE VAN – MOVING – LATER. |
| DRIVER #2 | All done, boss? |
| DRIVER #1 | One more stop. |
| DRIVER #2 | We don’t have any more. ’Cept for College Boy. . . |
| DRIVER #1 | GO up in the hills. |
| DRIVER #2 | Oh, I get it. Another “accident”. But Manny, it’s too soon, after last night. . . |
| DRIVER #1 | Take the road up the canyon, past the cemetery. |
| DRIVER #2 | What’s up there? |
| DRIVER #1 | You like TV, Paulie? |
| DRIVER #2 | I guess. The ones with the car chases. |
| DRIVER #1 | Well, where do you think they film those car chases? Not in Hollywood – too much |
| DRIVER #1 (cont’d) | traffic. They like to get away from it all. Do anything they want. |
| DRIVER #2 | You mean we’re goin’ to a movie set? |
| DRIVER #1 | Second-unit. That’s where the real action is. |
| DRIVER #2 | Man, oh, man. . .! |
| DRIVER #1 | Hang a right. Go till you see lights and a generator truck. |
| SOUND | THE VAN TURNS, BOUNCING OVER ROCKY DIRT. |
| MUSIC |
EPISODE SCORE. QUICK BRIDGE THRU TO: |
| SOUND |
EXT. – NIGHT – MOVIE LOCATION. OUTDOOR ATMOSPHERE. IN THE B.G. AN ELECTRIC DRILL, HAMMERS ON METAL AND WOOD, FOOTSTEPS ON DIRT. AND IN THE DISTANCE, A FAINT RUMBLE OF THUNDER. |
| DIRECTOR | (calling) Let’s go, people! Last shot of the night. |
| CREW #1 | (off) All set up over here. |
| CREW #2 | (off) Give me one minute. |
| DIRECTOR | Camera? |
| CREW #3 | (off) Ready. |
| DIRECTOR | Is the ramp clear? |
| CREW #3 | All the way to the end. |
| DIRECTOR | You sure it’ll hold? |
| CREW #1 | Definitely. |
| DIRECTOR | Somebody dust the hood of the car. I want it to shine. |
| CREW #1 | Yes, sir. |
| DIRECTOR | Where’s the dummy? I can’t see the dummy. |
| CREW #2 | He keeps fallin’ over. |
| DIRECTOR | Well, wire him up! Flares for the pyro. |
| CREW #2 | Check. |
| DIRECTOR | Push the button, soon as it goes off the ramp and touches down. This isn’t a run-through. I need it in one. Now. . . let’s make it real! |
| CREW #2 | Switches set. |
| CREW #1 | On your count. . . |
| CREW #3 | Wait. |
| DIRECTOR | Now what? |
| CREW #3 | The dummy. |
| DIRECTOR | What’s wrong with it? |
| CREW #3 | Check the monitor. He’s not lookin’ so real. |
| DIRECTOR | What happened to the hat? Somebody put it on him. Pull it down low. |
| CREW #3 | Can’t. It won’t match. |
| DIRECTOR | Why not? |
| CREW #3 | He lost the hat in the previous scene. |
| DIRECTOR | So turn the head away. |
| CREW #3 | He’s supposed to be watchin’ the road. |
| DIRECTOR | Then – think of something. That’s your job! |
| CREW #3 | Give me a hint. |
| DIRECTOR | Let the car go by. Pan from behind, so the face doesn’t show. |
| CREW #3 | Then they’ll see the end of the ramp. |
| CREW #1 | I can lay a few more feet. |
| DIRECTOR | There’s no time. One more hour and we lose the dark. |
| CREW #2 | How’s this? Camera angle from in front. When the burn starts, we can’t see him through the windshield, ’cause of all the smoke. |
| DIRECTOR | Then what’s the point of the shot? Read the script! He goes off the end, comes down, and catches fire! We see him burning in the wreck! This isn’t some Old Starsky and Hutch – it’s hi-def! |
| SOUND | THE VAN ARRIVES OVER A BUMPY ACCESS ROAD, PUMPING MUFFLED MUSIC, AND STOPS. |
| CREW #1 | Who’s that? |
| DIRECTOR | (surprised) I don’t believe it. The cavalry. |
| SOUND | THE ENGINE TURNS OFF AND THE DRIVERS GET OUT. THEY WALK UP TO THE DIRECTOR. |
| DRIVER #1 | Hey, big guy. |
| DIRECTOR | How did you know? |
| DRIVER #1 | I got ESP. This is Paulino, my new boy. |
| DRIVER #2 | Hi! I seen your show lots of times. . .! |
| DIRECTOR | I should’ve called you in the first place. Walk with me. |
| SOUND | THEY WALK OVER TWIGS AND GRAVEL, BACK TO THE VAN. |
| DRIVER #1 | What do you need? |
| DIRECTOR | What’s in the van tonight? |
| DRIVER #2 | One male. Fresh as a daisy. |
| DIRECTOR | You want him back? |
| DRIVER #1 | Why? You gonna take him home? |
| DIRECTOR | Car crash. A real torch job. |
| DRIVER #1 | Crispy-critter time. |
| DIRECTOR | There won’t be much left. |
| DRIVER #1 | No problem. He was gonna get cremated anyway. |
| DRIVER #2 | Is this for Streets of Pacoima? That’s |
| DRIVER #2 (cont’d) | my favorite show. I watch it all the time. . . |
| DRIVER #1 | Shut up, Paulie. (to the director) One time only, huh? Cost you extra. |
| DIRECTOR | Invoice the studio. Make it for “Overtime craft services.” |
| DRIVER #1 | This one’s off the books. |
| DIRECTOR | Then send the bill to my secretary. |
| DRIVER #1 | Aren’t you gonna ask how much? |
| DIRECTOR | What choice do I have? We’re over-schedule. Either it’s in the can tonight – or I am. (calling) Donnie! |
| CREW #4 | (off) Yo! |
| DIRECTOR | Wannna earn a bonus? |
| SOUND | A CREWMAN HURRIES OVER. |
| CREW #4 | Sure! |
| SOUND | THE BACK DOOR OF THE VAN OPENS. |
| DRIVER #1 | He’s all yours. |
| CREW #4 | Huh? |
| DIRECTOR | Strap him in the car. |
| DRIVER #2 | Let’s go, sweetmeat. |
| SOUND | DRAGGING JIM OUT. |
| JIM | (groggy) What. . . |
| DIRECTOR | Take the mask off the dummy and put it |
| DIRECTOR (cont’d) | over his head. |
| CREW #4 | Him? But – but he’s. . . |
| DIRECTOR | You’ve got a lot to learn about the business, son. Let me explain it to you. (confidentially) The man is a terminal cancer patient, all right? He wants to cash in his life insurance policy. Or would you rather see his family on the street? |
| CREW #4 | No, but – I mean – |
| SOUND | UNFOLDING AND SNAPPING CRISP PAPER MONEY. |
| DIRECTOR | Here’s five hundred cash, out of my own pocket. I consider it a charitable contribution. Now keep your mouth shut and do your job. |
| JIM | Please. . . |
| SOUND | THE CREWMAN HALF-CARRIES JIM AWAY. |
| CREW #4 | (to Jim) You are one brave son of a bitch. |
| JIM | What. . .? |
| CREW #4 | Don’t know if I could do what you’re doin’. Just keep thinkin’ about that beautiful wife and kids. A minute from now it’ll all be over. I’ll use extra |
| CREW #4 (cont’d) | pyro – you won’t feel a thing. (moving off, emotional) God bless you, man. . . |
| DIRECTOR | (calling) Fire extinguishers! |
| CREW #1 | (off) Here, boss! |
| DIRECTOR | Who wants to wrap this sucker? |
| CREW VOICES | Me! |
| DIRECTOR | Places! Once I yell “action,” we won’t have a second chance! Get ready to burn, baby, burn! Let’s light up the sky like the Fourth of July! |
| MUSIC | EPISODE SCORE UP. |
| FADE DOWN. | |
| ANNOUNCER | We’ll return with the conclusion of Dreadtime Stories. . . after these words. |
| MUSIC | THEME. |
| COMMERCIAL BREAK | |
| MUSIC | THEME. |
| ANNOUNCER | And now back to Dreadtime Stories and Act Three of. . . “The Late Shift.” |
| MUSIC | EPISODE SCORE. |
| THRU TO: | |
| SOUND | EXT. NIGHT – FILM SHOOT – IN THE PROP CAR. |
| JIM | (groggy) Unhh. . . |
| SOUND | THE PROP CAR DOOR SLAMS. |
| SOUND (cont’d) | FOOTSTEPS OF A CREWMAN RUNNING AWAY. |
| CREW #4 | (moving off) Clear! |
| NARRATOR | He opened his eyes again to blinding light. He was behind the wheel of a car pointed into darkness. He tried to move but the harness held him firmly to the seat. . . |
| SOUND | THE CAR SEAT CREAKS AS JIM STRUGGLES. |
| NARRATOR | Then there was only the night and the sound of his breathing. The sky was black above the end of the ramp. The trees stopped moving and the crickets fell silent – as the first crack appeared in the clouds. Something was coming. It would be here soon. . . |
| SOUND | A RUMBLE OF THUNDER. |
| DIRECTOR | (off) Track? |
| CREW #2 | (off) All set. |
| DIRECTOR | Dolly! |
| CREW #3 | (off) Ready. |
| DIRECTOR | Remote starter! |
| SOUND | THE IGNITION CATCHES AND THE ENGINE REVS. |
| CREW #2 | Revving up. |
| DIRECTOR | Roll camera. . . and. . . action! |
| SOUND | THE ENGINE REVS FASTER. A SQUEAL OF TIRES AS THE CAR TAKES OFF ALONG A WOODEN RAMP, THE SOUND PANNING FROM LEFT TO RIGHT. THE CAR REACHES THE END OF THE RAMP AND THE TIRES LOSE CONTACT. |
| CREW #1 | Off the ramp. . . |
| DIRECTOR | Ready to cue pyro! |
| SOUND |
SUDDENLY THERE IS A CRACK OF THUNDER DIRECTLY OVERHEAD. A HEAVY DOWNPOUR OF RAIN BEGINS. THE CAR COMES DOWN ON THE GROUND, BREAKING LEAVES AND BRANCHES. A SWITCH CLICKS. A SMALL, MUFFLED EXPLOSION. A CRACKLE OF FLAMES. . . FOLLOWED BY A SIZZLING – AS THE RAIN IMMEDIATELY DOUSES THE FLAMES. |
| DIRECTOR | Throw the switch! |
| CREW #1 | I am! It’s too wet to burn! |
| SOUND | THE SWITCH CLICKS REPEATEDLY. |
| SOUND |
CUT TO: IN THE PROP CAR. THE FLAMES SIZZLING OUT AS RAIN FALLS ON METAL. |
| JIM | (groaning) Let me out. . .! |
| SOUND | HE UNLATCHES THE SEAT BELT AND TRIES TO FORCE THE DOOR. WINDSHIELD GLASS BREAKS. HE STRUGGLES OUT OF THE CAR AND LIMPS AWAY THRU WET LEAVES AND BRUSH. |
| CREW #1 | (off) What in the. . .? |
| DIRECTOR | (off) Get him! |
| CREW #4 | (off) But – what happens to his wife and kids now? |
| SOUND |
MORE THUNDER AND RAIN. FOLLOWING JIM: AS HE SCRABBLES THRU MUD AND LEAVES. THE RAIN FALLING ALL AROUND. |
| MUSIC. |
EPISODE SCORE UP. BRIDGE THRU TO: |
| SOUND |
INT. – GROUNDSKEEPER’S SHED. NOW THE RAIN IS ONLY A FEW DROPS ON A TIN ROOF. AS THE GROUNDSKEEPEER POURS A CUP OF COFFEE. |
| RADIO DJ | (from a small radio) And that was The Doors, trying to set the night on fire. Good luck, boys, because it’s been a wet one. That’ll have to do it for the late shift. If you’re just getting off work, |
| RADIO DJ (cont’d) | take her easy on the way home. . . and if you’re ready to hit the freeways – take time to smell the flowers – and the coffee. Ear Witness News is next, so stay tuned. . . |
| SOUND | TUNING ACROSS THE DIAL. BLIPS OF MUSIC. THEN – A WEAK KNOCK ON A WOODEN DOOR. THE RADIO CLICKS OFF. |
| GROUNDSKEEPER | Yes? |
| SOUND | THE KNOCKING AGAIN. |
| GROUNDSKEEPER | Someone there? |
| SOUND | HE CROSSES A WOOD FLOOR, UNLATCHES THE DOOR AND OPENS IT. |
| JIM | (out of breath) Please. . . |
| GROUNDSKEEPER | Can I help you? |
| JIM | I have to get down the hill. |
| GROUNDSKEEPER | Car trouble? I could call a tow. . . |
| JIM | Please. . . |
| GROUNDSKEEPER | Come-inside. You’re soaked. |
| SOUND | THE DOOR SWINGS WIDE. JIM ENTERS UNSTEADILY. THE DOOR CLOSES. |
| JIM | Lock it. |
| GROUNDSKEEPER | Why? |
| JIM | They’re coming. |
| GROUNDSKEEPER | Who is? |
| JIM | They! |
| GROUNDSKEEPER | You don’t look so good, mister. Why don’t you sit down. |
| SOUND | HE HELPS JIM TO A CHAIR. |
| JIM | I need the police. They won’t believe me unless I show them. . . |
| GROUNDSKEEPER | Show them what? |
| JIM | You wouldn’t believe me, either. Where’s the phone? |
| GROUNDSKEEPER | Right over there. |
| JIM | Give it to me. . . |
| GROUNDSKEEPER | Easy, now. I’ll do it for you. |
| SOUND | THE GROUNDSKEEPER CROSSES, LIFTS A TELEPHONE RECEIVER AND DIALS. |
| JIM | Hurry, please. . . |
| GROUNDSKEEPER | (into phone) Dee? This is Kelly, over at the shed. Listen, I have a young man here. He’s in quite a state. (pause) Hold on. (to Jim) Do you need an ambulance? |
| JIM | Just the police. |
| GROUNDSKEEPER | (into phone) He wants to speak to the authorities. Mm-hm. I understand. |
| SOUND | HE HANGS UP THE PHONE. |
| GROUNDSKEEPER | I called the main building. They’ll take care of everything. Meanwhile, how about some coffee. It’s fresh. |
| SOUND | THE GROUNDSKEEPER PICKS UP A TIN POT AND POURS A CUP OF COFFEE. |
| JIM | The police are on the way? |
| SOUND | THE GROUNDSKEEPER CARRIES A CUP OF COFFEE TO JIM. |
| GROUNDSKEEPER | Sure are. It won’t be long. Now why don’t you tell me what happened? An accident, was it? |
| JIM | It was no accident. They drugged me. I remember some kind of needle gun. Not what they gave the others. . . They got a different drug – to keep them awake. And something else. . . |
| GROUNDSKEEPER | Who are we talking about, now? |
| JIM | The ones no one sees! They’re all around. Gas stations. Fast-food places. All-night markets. . . while everybody else is sleeping. It’s so wrong. . . |
| GROUNDSKEEPER | Is it? Somebody has to do those jobs. Wouldn’t you say? |
| JIM | You don’t understand. |
| GROUNDSKEEPER | Then why don’t you explain it to me? |
| MUSIC | EPISODE SCORE. |
| JIM | What is this place? |
| GROUNDSKEEPER | The grounds office. Don’t worry. You’re safe now. |
| JIM | But the van’ll be back. They’ll look for me. . . |
| GROUNDSKEEPER | Which van is that? |
| JIM | The blue one. |
| GROUNDSKEEPER | Ah. I think I know the one you mean. |
| JIM | (suspiciously) You said this is the grounds office. (beat) What kind of grounds? |
| GROUNDSKEEPER | Why, Dry Lawn, of course. |
| JIM | Dry. . .? |
| GROUNDSKEEPER | Dry Lawn Cemetery. Where did you think you were? |
| SOUND | JIM STANDS, TIPPING THE CHAIR OVER. |
| JIM | Keep away from me. |
| GROUNDSKEEPER | Why make it hard? You don’t have Lo run anymore. |
| SOUND | JIM CROSSES THE ROOM. THE GROUNDSKEEPER FOLLOWS. |
| JIM | Stay back! |
| GROUNDSKEEPER | It’s so much easier this way. . . |
| JIM | You go to hell. |
| SOUND | JIM OPENS THE DOOR AND STUMBLES OUT. |
| MUSIC | EPISODE SCORE UP. |
| FADE THRU TO: | |
| SOUND |
EXT. DAY – CITY STREET – EARLY MORNING. OUTDOOR ATMOSPHERE. BIRDS. THE STREET IS NOT BUSY YET BUT THE CARS AND PEDESTRIANS ARE BEGINNING TO MULTIPLY. A BUS PULLS TO A STOP (AIR BRAKES) AND THE DOOR HISSES OPEN. PEDESTRIANS FILE ON. |
| WOMAN #3 | Excuse me, driver. Is this the bus to Long Beach? |
| BUS DRIVER | No, ma’am. |
| WOMAN #3 | Oh, dear. My car broke down. I have to get to work. |
| BUS DRIVER | Transfer at Rimpau. Watch your step. All aboard. . . |
| SOUND | THE DOOR FLAPS SHUT. THE BUS STARTS OFF. . . AND STOPS AGAIN WITH A SQUEAL OF BRAKES, AS JIM RUNS RAGGEDLY ACROSS THE INTERSECTION. TWO CARS HONK. |
| PEDESTRIAN #1 | What’s the matter with that guy? |
| PEDESTRIAN #2 | Watch out, fella! What’re you, blind? The light says don’t walk! |
| JIM | (out of breath) Give me your phone. |
| PEDESTRIAN #1 | No way. |
| JIM | I need it! |
| PEDESTRIAN #1 | GeL your own. |
| JIM | Please – |
| PEDESTRIAN #2 | There’s a pay phone in front of the flower shop. |
| SOUND |
JIM HURRIES OFF ALONG THE SIDEWALK. CUT TO: A PHONE BOOTH. AS JIM OPENS THE RICKETY DOOR, STUMBLES INSIDE AND CLOSES IT. HE LIFTS THE RECEIVER AND DIALS 9-1-1. |
| 911 OPERATOR | (filtered) Nine-one-one. |
| JIM | Get me the Police. |
| 911 OPERATOR | What is your emergency? |
| JIM | Just put me through! |
| 911 OPERATOR | Your name? |
| JIM | It doesn’t matter. Please – |
| 911 OPERATOR | What address? |
| JIM | I don’t know the address! I want to report a crime! |
| 911 OPERATOR | What kind of crime, sir? |
| JIM | I’ll explain it when they get here. |
| 911 OPERATOR | Sir, this number is for emergencies. . . |
| JIM | This is an emergency! You have to do something! There’s a van. A blue van. There may be others, I’m not sure. I think they work with the hospital. . . |
| 911 OPERATOR | Hospital? |
| JIM | And the cemetery. They have to be in on it. They take people – people who die – and they use them. A day, two days – as long as they can. They’ve invented a way to – |
| 911 OPERATOR | Slow down. What medications are you on? |
| JIM | I’m talking about criminal activity! |
| 911 OPERATOR | I’ll connect you with the Mental Health Hotine. |
| JIM | I don’t need a psychiatrist! |
| 911 OPERATOR | For future reference, the direct line is – |
| JIM | Will you listen to me? What happens to people when Lhey die – before they get put in the ground? It’s a scam! If you don’t have any family, you’re out of luck! They won’t let you rest, till they get one last pound of flesh! |
| 911 OPERATOR | Sir, you need help. . . |
| JIM | Don’t you get it? They’ll never let us rest, as long as there’s money to be made! It’s the system. They want to bleed us dry. We’re in it like rats. . . |
| 911 OPERATOR | Give me an address. I’ll send someone – |
| JIM | They shoot you up with some kind of super-adrenaline, right in the heart. And there’s a pacemaker – a little silver thing they strap to your chest, to keep it pumping – just enough. All you can say is “please,” “sorry,” “thank you,” stuff like that. . . but it’s the cheapest labor there is! Who will bury them? That’s what I want to know! What kind of sick, twisted –? |
| 911 OPERATOR | Try to remain calm, sir. Sir? |
| JIM | Why won’t you listen? |
| SOUND | JIM HANGS UP. THEN HE BEGINS FLIPPING FRANTICALLY THRU THE PAGES OF A LARGE PHONE DIRECTORY. |
| JIM | (intensely, to himself) What’s the number? Gotta be in the book. . . |
| SOUND | HE PUNCHES IN A SEVEN-DIGIT NUMBER. |
| OPERATOR | (filtered, recorded) Please deposit fifty cents for the first three minutes. |
| SOUND | JIM FUMBLES TWO QUARTERS INTO THE SLOT. THE PHONE RINGS ON THE OTHER END. |
| POLICE OPERATOR | You have reached the Los Angeles Police Department. All our personnel are busy serving other citizens. A representative will take your call in the order received. Please remain on the line. . . |
| JIM | Damn it! |
| SOUND | JIM IIANGS UP IN FRUSTRATION. THEN LIFTS THE RECEIVER AGAIN AND PUNCHES IN ANOTHER NUMBER. |
| NURSE #1 | (filtered) Good morning, Saint Sebastian’s. May I help you? |
| JIM | Sixth floor. |
| NURSE #1 | One moment. |
| MUSIC | FILTERED MUZAK AS HE IS PLACED ON HOLD. |
| NURSE #3 | (filtered) Nurse’s station. |
| JIM | Six-two-six. |
| NURSE #3 | Oh. Are you immediate family? |
| JIM | Yes! |
| NURSE #3 | I’ll get the attending physician. |
| SOUND | MUZAK RESUMES AS HE IS PLACED ON HOLD. |
| DOCTOR | This is Dr. Benway. |
| JIM | Let me talk to him. |
| DOCTOR | That’s. . . not possible. |
| JIM | (assertively) Then wake him up. |
| DOCTOR | I’m afraid he never regained consciousness. |
| JIM | What? |
| DOCTOR | When you’re ready to make arrangements, the Coordinating Office will take care of everything. Or, if you’d rather come in, Mr. Macklin. . . |
| JIM | How do you know my name? |
| DOCTOR | I could have someone there in a few minutes. We want to make this as easy as possible. . . |
| SOUND |
OUTSIDE THE PHONE BOOTH, THE VAN PULLS UP TO THE CURE ABOUT 50 FEET AWAY – PUMPING FAINT, MUFFLED BASS-HEAVY MUSIC. THE VAN DOORS OPEN. JIM HANGS UP QUICKLY AND OPENS THE PHONE BOOTH DOOR. TRAFFIC SOUNDS INCREASE. FOOTSTEPS OF MORE MEN AND WOMEN PASSING ON THE STDEWALK. AS TWO MEN CLIMB OUT OF THE VAN AND REGIN WALKING THIS WAY. |
| MUSIC | NOW WE HEAR THE MUSIC FROM THE VAN MORE |
| MUSIC (cont ’d) | CLEARLY: “LIGHT MY FIRE” BY THE DOORS. |
| NARRATOR | He stood there, in the cold, gray morning light, and watched them come. All around him people were on their way to work. Their eyes looked glazed, like sleep-walkers. He wondered how long till they, too, would be replaced. Now he remembered the smell in the van. Formaldehyde. And something else, drifting on the air from a flower shop. It was the thick, sweet smell of. . . a funeral. For a moment he felL frozen, unable to move. There was no longer anywhere to run. Or if there was, he could not think of where that might be. They came on and on. |
| SOUND | THE DRIVERS STOP WALKING AS THEY REACH THE PHONE BOOTH. |
| DRTVER #1 | (wryly) Hello, sweetmeat. |
| MUSIC |
FADE UP “LIGHT MY FIRE” FOR A FEW SECONDS. THEN FADE THRU TO EPISODE SCORE. . . AND DOWN TO SILENCE. |
| ANNOUNCER | More from Dreadtime Stories after this. COMMERCIAL BREAK |
| MUSIC | THEME. |
| ANNOUNCER | “The Late Shift” was adapted for radio by Dennis Etchison, based on his short story, and directed by Carl Amari. The cast included (names). . . and Dennis Etchison as the Narrator. Join us next time on the darkside, where the night never ends, for another story presented by. . . Fangoria Magazine. |
| MUSIC | CLOSING THEME. |
| END |