The Late Shift Read online

  Library e-Book : 978-1-5384-7314-6

  Trade e-Book : 978-1-5384-7315-3

  This digital document has been produced by Nord Compo.

  November 17, 2009

  Dear Carl:

  Here is “The Late Shift” for the proposed Fangoria series.

  I’m very pleased with the way this came out. It departs considerably from the original, but I think it is actually an improvement – less contrived and more coherent. I’m surprised that it is also much more a black comedy, albeit a very dark one. It may be the best radio script I’ve ever written. Of course it’s hard to be objective, since it’s based on my own short story, but that’s the way it seems to me.

  This series should be able to handle stories a bit more extreme and unconventional than TZ, and “The Late Shift” is an example. I hope you find it as powerful, thought-provoking and entertaining as I do.

  Yes, the cast is huge – almost 40 voices. But surely some of the actors can do double-duty. Jim, our protagonist, is the most important. He doesn’t neccesarily have to be an actor is his 20s. He should be self-assured and grounded rather than geeky (Edward Norton rather than Walter Denton). The tone is serious and realistic, not over-the-top, trying-to-be-scary like a horror movie. Treat it as a straight drama with real people, where occasional absurdities occur in any typical day – if we happen to notice them.

  My greatest interest in writing this story was to discover what the dead might have to say when they are alone with each other. It turns out that they are tired and lost and in search of peace. They are neither comical nor menacing. They are people like you and me who want to rest now that their work is done. The problem is, the system wants to continue exploiting them even beyond death. It’s a grim proposition but the logical extension of our society. As science fiction, it’s purpose is to raise questions, not answer them. It asks us to consider what might happen “if this goes on.” A cautionary tale, in other words, using imagination and metaphor.

  Best of luck with this. I think it can be a real winner.

  Sincerely,

  Dennis

  P.S. I’d like to record the part of the Narrator. This could happen in every show – using the author’s voice a few Limes in each script. What do you think? I’ve also provided a signature opening that might work for the entire series.

  CAST OF CHARACTERS

  ANNOUNCER

  NARRATOR

  – (the author)

  *JIM MACKLIN

  – quietly intelligent, sober, serious-minded but unpretentious. Strong when he needs to be. Mid-to-late 20s

  WHITEY

  – Jim’s friend. Born American Indian, quite assimilated. Mid-to-late 20s

  DRIVER #1

  – of a van that transports the dead. Tough and experienced. Latino, 30s-40s

  DRIVER #2

  – his trainee. Latino, 20s-30s

  MANAGER

  – of a Stop ’N Start Convenience Mart. Latino, 30s-40s

  DIRECTOR

  – of the 2nd unit for a TV series. 40s-50s

  GROUNDSKEEPER

  – at Dry Lawn Cemetery. 40s-50s

  OFFICER

  – LAPD. Male.

  CLERK (JUANO)

  – at the Stop ’N Start (dead).

  BREATHLESS MAN

  – a customer at the Stop ’N Start.

  WOMAN #1

  – another customer.

  WOMAN #2

  – another customer, older.

  WOMAN #3

  – commuter at a bus stop.

  NURSE #1

  – on the phone.

  NURSE #2

  – in Whitey’s hospital room.

  NURSE #3

  – on the phone.

  RADIO DJ

  – smooth and reassuring, for late-night listeners.

  DOCTOR

  – at the hospital (male).

  VOICES

  – several of the recently-deceased. Tired, weak and sad rather than scary. Male and female, all ages.

  ATTENDANT

  – at a self-serve gas station. A bit geeky but alive. 20s

  GAS STATION GIRL

  – one of the voices (dead). 20s

  FAST-FOOD GUY

  – at El Polio Muerto (alive). 20s

  CHICKY-BOY

  – one of the voices (dead). 20s-30s

  CREW #1

  – at the film shoot.

  CREW #2

  – "

  CREW #3

  – "

  CREW #4

  – "

  BUS DRIVER

  PEDESTRIAN #1

  – male

  PEDESTRIAN #2

  – male

  911 OPERATOR

  – female

  POLICE OPERATOR

  – male

  P.A. VOICE

  – at the hospital (female).

  OPERATOR

  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.