The Late Shift Read online

  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.

  M
USIC

  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