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

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