| ZANELLI: |
26, female. A police psychiatrist. Basically a nice person with a pleasant,
intelligent voice. Personable, but without a great deal of human sympathy.
When she seems to empathize, it's because she's intrigued professionally. |
| DUSTY BARROWS: |
Late 50s. An old time cop sick and tired of doing his job, but still
determined to do it well. |
| CONKLIN: |
Late 30s. He's an actuary for an insurance company. He's bewildered,
frightened, exhausted, and frustrated that he can't make anyone understand
the jam he's in. He should sound very, very tired. |
| PETRIE: |
A police captain, about 40, with too much to do. He likes simple answers
to simple questions. |
| THE OLD MAN: |
60s or older. Sounds like a crazy old coot. |
| PRISONER: |
A male prisoner in the lockup, any age.
|
|
MUSIC INTRO: |
SOME DRAMATIC, THIS-IS-THE-CITY THEME, MUSIC UP THEN CROSS FADE WITH: |
|
SFX: |
THE ONLY SOUND WE HEAR AS WE OPEN COMES FROM WAY DOWN AT THE END OF
A HALLWAY. IT IS DAVID CONKLIN SINGING "THE STAR SPANGLED BANNER" IN A
HOARSE AND EXHAUSTED VOICE. HE'S SINGING THE FIRST VERSE, THE ONLY ONE
MOST PEOPLE KNOW, OVER AND OVER AGAIN. THIS SOUND CONTINUES UNDER THE FOLLOWING
SCENE. |
|
SFX: |
FOOTSTEPS DESCENDING STAIRS, GETTING CLOSER |
| ZANELLI: |
Dusty? Open up, Dusty, it's me. |
| DUSTY: |
Well, how are you, Doc? Long time no see. I'll have this door open
in a jiffy. |
|
SFX: |
A CHAIR SCRAPING ON A CONCRETE FLOOR: A LARGE RING OF KEYS BEING SEARCHED:
FOOTSTEPS ON CONCRETE: A LARGE JAIL-TYPE KEY TURNING IN A JAIL LOCK: A
SLIGHT SQUEAK AS THE BARRED METAL DOOR SWINGS OPEN. |
| DUSTY: |
There you go; step inside. |
| ZANELLI: |
Thanks. |
|
SFX: |
FOOTSTEPS ON CONCRETE; SLIGHT SQUEAK AGAIN AS THE DOOR SWINGS CLOSED
WITH A CLANG |
| DUSTY: |
How's everything, Doc? |
| ZANELLI: |
Just fine, Dusty, and you? |
| DUSTY: |
Couldn't be better. |
| ZANELLI: |
How many days is it now? |
| DUSTY: |
Till retirement? Fifty-eight. Myra can't wait to get me to that place
in Arizona. Say's the air's better. (a beat) You're here about Conklin,
right? |
| ZANELLI:(mildly surprised) |
Yes. How bad is he? |
| DUSTY: |
That's him singing. |
| ZANELLI: |
How long has he been doing that? |
| DUSTY: |
Since they brought him down. |
| ZANELLI: |
Dusty, that's-- |
|
SFX: |
PAPERS RUSTLING |
| ZANELLI: |
three hours ago. |
| DUSTY: |
You're telling me. Y'know, I'm as patriotic as the next guy, but he's
no Kate Smith. Here, you'd better sign in and we'll go see him. It's six
forty-two. |
|
SFX: |
PEN SCRATCHING ON PAPER; FOOTSTEPS X 2 ON CONCRETE, KEYS JANGLING ON
KEY RING; JAIL KEY TURNING IN JAIL DOOR LOCK, BARRED METAL DOOR OPENS;
FOOTSTEPS X 2, DOOR CLANGS SHUT; FOOTSTEPS X 2 FOR A BEAT OR SO AND THEN
UNDER THE FOLLOWING DIALOGUE. CONKLIN'S SINGING GETS PROGRESSIVELY LOUDER
AS THEY APPROACH. |
| DUSTY: |
He's down at the end, in number six. ; |
| PRISONER: (shouting) |
Will you shut up! (to DUSTY) Hey, make that guy pipe down, will ya? |
| DUSTY: |
Pipe down yourself. |
| ZANELLI: |
How can you stand this? |
| DUSTY: |
Doc, I got fifty-eight days until I retire. I can stand anything. Here
we are. |
|
SFX: |
FOOTSTEPS STOP. |
| CONKLIN: |
(still singing. He hasn't noticed their arrival. He sounds terrible.
His voice is hoarse and cracked. His throat is parched and he's exhausted.) |
| DUSTY (shouting), |
Conklin! Hey, Conklin! |
| CONKLIN: |
(stops singing abruptly) |
| DUSTY: |
Somebody here to see you. This is Doctor Zanelli. |
|
SFX: |
KEYS JANGLING; KEY TURNING IN LOCK; BARRED JAIL DOOR OPENS; FOOTSTEPS
ON CONCRETE. |
| CONKLIN: (a hoarse whisper) |
Doc--? (realizes he can't speak) Can I ..drink of waw... |
| ZANELLI: |
Dusty, may we have some water here please? |
| DUSTY: |
Sure, Doc. I gotta lock the door first. |
|
SFX: |
DOOR CLANGS SHUT; KEY TURNS; FOOTSTEPS RECEDING |
| ZANELLI: |
We're getting you some water now, Mr. Conklin. |
|
SFX: |
FOOTSTEPS APPROACHING |
| DUSTY: |
Here it is, Doc. I'll hand it through the bars. |
| ZANELLI: |
Thanks. Here's your water, Mr. Conklin. |
|
SFX: |
CONKLIN DRINKS GREEDILY UNDER THE NEXT TWO LINES. |
| ZANELLI: |
Dusty, I think I can be alone with Mr. Conklin. |
| DUSTY: |
Yeah, sure, Doc. I just need the cup back |
| ZANELLI: |
Here. |
| DUSTY: |
Okay. If you need anything, just, y'know, sing out. |
|
SFX: |
FOOTSTEPS RECEDING |
| CONKLIN: |
Are you really a doctor? |
| ZANELLI: |
I'm a psychiatrist. I work here at the department. |
| CONKLIN:(confused) |
You're a cop? |
|
SFX: |
FOOTSTEPS PACING BACK AND FORTH INTERMITTENTLY THROUGHOUT THE SCENE.
IT'S CONKLIN TRYING TO STAY AWAKE. |
| ZANELLI: |
I'm a police psychiatrist, Mr. Conklin. My name is Zanelli. Why don't
you sit down and we'll-- |
| CONKLIN: |
A psychiatrist. You can prescribe medicine, right? |
| ZANELLI: |
Are you ill? |
| CONKLIN: |
No, I'm...Yes...I need something to keep me awake. |
| ZANELLI: |
Like amphetamines? (pause) Mr. Conklin, according to the arrest report-- |
|
SFX: |
PAPERS RUSTLING |
| ZANELLI: |
you entered the Waverly Pharmacy and tried to fill an apparently forged
prescription for amphetamines. When the pharmacist refused to honor the
prescription you became violent and abusive. (pause) Could you stop that
pacing please? (a beat) Mr. Conklin, you can have your lawyer present if
you wish. |
| CONKLIN: |
I don't have a lawyer. I don't need a lawyer. I'm not a criminal. |
| ZANELLI: |
Wouldn't you be more comfortable if you sat down? |
| CONKLIN(exasperated) |
Yes, that's why I'm standing. That's why I'm pacing. If I get comfortable
I'll fall asleep. |
| ZANELLI: |
Why don't you want to fall asleep? |
| CONKLIN:(laughs) |
Oh, I want to, more than anything in the world. I've been awake...God,
it must be four days now. but I can't. I can't let myself. |
| ZANELLI: |
Why not? |
| CONKLIN: |
Because if I go to sleep I'll die. (a beat) |
| ZANELLI: |
Why do you think that? |
| CONKLIN: |
I don't think it; I know it! I know it! You think I'm crazy, don't
you? They think I'm crazy; that's why they sent you. |
| ZANELLI: |
I don't think anything, Mr. Conklin. Not yet. Tell me why you believe
you'll die if you go to sleep. |
| CONKLIN: |
I can't answer these questions. I don't have a lot of time. I can't
stay awake forever. I need help. I've got to get something. Can't you get
me something to keep me awake? |
| ZANELLI: |
Mr. Conklin, I am trying to help you, but I need more infor-- |
| CONKLIN: |
If I tell you what you want to know, will you get me something to take? |
| ZANELLI: |
I can't make any promises. It depends on what I hear. |
|
SFX: |
PACING BECOMES MORE FRANTIC, THEN STOPS WHEN CONKLIN SPEAKS. |
| CONKLIN: |
All right, all right. About ten days ago I met an old man. All of this
started back then. I didn't know it at the time, but that's when it all
started. |
| ZANELLI: |
Tell me about the old man. |
| OLD MAN:(flashback) |
(We hear his voice under CONKLIN'S lines. off mike at first, but coming
nearer. He's repeating in a mumble:) They won't get me, They're not gonna
get me. |
| CONKLIN: |
He was a funny old duck. Some old homeless guy. I could see him coming
down the street toward me. He looked like he was wearing every piece of
clothing he owned: a red flannel shirt and dungaree overalls, a torn green
paisley vest and a orange sweater, and a long brown overcoat with no buttons
flapping open as he walked. He was just lurching down the street, muttering
and mumbling, not looking where he was going. I scarcely even noticed him
until-- |
|
SFX: |
THEY COLLIDE. |
| CONKLIN:(flashback) |
Hey, watch it, there, old timer. |
| OLD MAN:(flashback; passionately) |
They're not gonna get me! They won't get me! |
| CONKLIN:(flashback) |
OK, OK, they won't get you. |
| OLD MAN:(flashback; walking away) |
Not gonna get me. Not me. They won't get me. (etc, under CONKLIN'S
lines and fade out quickly.) |
| CONKLIN: |
He just bumped into me and yelled like that and kept right on walking.
About a week after that I saw an item in the paper: Unidentified Man Found
Dead In Freight Yard. They had a description of him, how he was dressed,
and I could tell it was the same guy. They thought he'd been dragged by
a train, but I knew that wasn't true. By that time I knew what had happened
to him. It wasn't any train. |
| ZANELLI: |
How did you know? |
| CONKLIN: |
I had a dream. A few days after the old man bumped into me I had a
dream. |
|
SFX: |
(WE NOW BEGIN THE FIRST OF CONKLIN'S NIGHTMARES. AS HE DESCRIBES THESE
EVENTS, WE HEAR THEM UNDER HIS VOICE. SFX SHOULD BE MUTED AND SERVE STRICTLY
AS BACKGROUND. DIALOGUE AND SFX SHOULD BE TIMED TO PACE EACH OTHER SO THAT
EVENTS AND THEIR RELATED SOUNDS FALL TOGETHER AS CLOSELY AS POSSIBLE.) |
|
SFX: |
WATER DRIPPING WITH REVERB; DOGS BARKING FAR AWAY |
| CONKLIN: |
I was in some kind of cell. Not like this one. The walls and floor
were stone. They were cold and damp, like a dungeon. It was dark and I
was lying on the floor. There were dogs barking somewhere far away. I didn't
know how I'd got there or where I was or anything. |
|
SFX: |
DUNGEON DOOR UNLOCKED, CREAKS OPEN; STRUGGLE; FOOTSTEPS X 3 ON STONE
RECEDING DOWN HALL; CONKLIN'S VOICE AD LIB: "LET ME GO. WHERE ARE YOU TAKING
ME?" ETC. ALSO RECEDING DOWN HALL. FOOTSTEPS STOP; HEAVY WOODEN DOOR CREAKS
OPEN AT END OF HALL. |
| CONKLIN: |
After a while the door to the cell opened and two men came in: big
guys, all muscle. They grabbed me and dragged me out of the cell and down
a long passage. That was stone, too, and clammy. I tried to talk to them,
but they paid no attention. We got to the end of the passageway and came
to this big wooden door. One of them started to open the door, but just
as he did I woke up. (The nightmare is over) It was still night, and my
arms were aching, both of them. I had bruises on my arms where those guys
had been holding me. |
| ZANELLI: |
Yes? |
| CONKLIN: |
Well, they're gone now. They faded. That was a week ago. |
| ZANELLI: |
I see. What happened after that? |
| CONKLIN: |
I had the same dream the next night. |
| ZANELLI: |
Tell me about the next night. |
| CONKLIN: |
I was back in the cell, the same one. everything was the same, except
I wasn't the same. |
| ZANELLI: |
How do you mean? |
|
SFX: |
CONKLIN'S NIGHTMARE BEGINS AGAIN. FADE IN WATER DRIPPING WITH REVERB;
DOGS BARKING FAR AWAY. |
| CONKLIN: |
I knew where I was. I recognized the place I knew there was a passage
outside the door. And I knew those guys would be coming for me. |
|
SFX: |
DUNGEON DOOR OPENS; STRUGGLE; FOOTSTEPS X 3 ON STONE AND CONKLIN'S
VOICE RECEDING AS BEFORE; |
| CONKLIN: |
And they did come for me. They dragged me down that same passage, but
when we got to the door I didn't wake up. It went on. |
|
SFX: |
HEAVY WOODEN DOOR OPENS; BARKING GRADUALLY GETS LOUDER AS FOOTSTEPS
X 3 ON STONE STAIRCASE; 2ND HEAVY WOODEN DOOR OPENS; BARKING SUDDENLY MUCH
LOUDER WITH SLIGHT REVERB. |
| CONKLIN: |
One of them opened the door and there was this stone staircase. It
looked old. The stairs were all worn down in the middle. They dragged me
up the stairs. The barking was growing louder. We got to the top. There
was a door, and beyond it a huge room. I'd never seen anything like it.
It had a high ceiling, it was lost up in the gloom. There were torches
set along the stone walls. It looked primitive, savage. I tried to break
away from the guards. |
|
SFX: |
OPEN HAND SLAPS FACE. |
| CONKLIN: |
One of them slapped me hard across the face. I woke up when he hit
me, all at once. (nightmare over now) I could still hear those dogs, you
know? And my head hurt something awful, and my lip was bleeding. |
| ZANELLI: |
You could have done that yourself in your sleep--bitten your lip. |
| CONKLIN: |
Sure I could have. But I didn't. I was there. I was there on the first
night, and then they brought me back. |
| ZANELLI: |
Who brought you back? |
| CONKLIN(exasperated) |
I don't know! Whoever they are, they can only get at me when I'm asleep.
Don't you understand? That's why I can't go to sleep. |
| ZANELLI: |
Mr. Conklin, why do you suppose these people, whoever they are-- |
| CONKLIN: |
Oh, I know that. I found out on the third night. |
|
SFX: |
THE NIGHTMARE BEGINS AGAIN. FADE IN LOUD BARKING WITH REVERB; FOOTSTEPS
X 3 ON STONE; |
| CONKLIN: |
The third night they got me into that big room. There was a pit sunk
into the floor in the middle of the room. That's where all the barking
was coming from. The guards brought me right up to the edge. |
|
SFX: |
BARKING, GROWLING REALLY LOUD NOW ; |
| CONKLIN: |
There were dogs down there, or wolves. There must have been a dozen
of them. I could see their eyes glittering in the torchlight. They went
crazy when they saw me, howling and snapping. The smell was awful. The
walls of the pit were smooth stone and smeared with something red. I thought
I saw bones. And something else-down on the floor of the pit-a torn scrap
of the green paisley vest that old man had been wearing. I looked up. There
was some kind of balcony looking down on the pit. I could see dark shapes,
like people up there, watching. |
|
SFX: |
STRUGGLE; CONKLIN'S VOICE AD LIB: "NO, NO, STOP" ETC. ; |
| CONKLIN: |
Then the guards pushed me forward. They were going to throw me in.
(CONKLIN'S voice is growing more and more tired. He's too exhausted to
stay awake.) I struggled, but it didn't do any good. I felt my foot slip. |
|
SFX: |
CONKLIN SCREAMS IN THE NIGHTMARE: LONG TERRIFIED SCREAMS WITH REVERB,
GROWLING AND BARKING SWELL, CUT OFF BY ZANELLI'S NEXT LINE |
| ZANELLI: |
Mr. Conklin? (louder) Mr. Conklin? |
| CONKLIN: |
(wakes up with a horrified gasp. His words come all at in a hysterical
rush. His voice is breathless and panicked.) Oh my God, the pit, the pit.
I nearly...Oh my God. (ad lib like this) |
| ZANELLI: |
(As CONKLIN babbles, she ad libs, "Mr. Conklin, calm down, you're all
right," etc.) |
| CONKLIN: |
I fell asleep. I fell asleep while I was talking, for Christ's sake!
They nearly had me. You see? You understand? Do you see what happened?
They'd got hold of the old man, and he'd fought them off as long as could.
But in the end, they got him. And now they were after me. |
| ZANELLI: |
Mr. Conklin, how do you think this man- |
| CONKLIN: |
I don't know! I don't know! Maybe I caught it from him or something. |
| ZANELLI: |
Dreams are not contagious, Mr. Conklin. |
| CONKLIN: |
I don't know, I tell you! All I know is if I fall asleep again I'll
be in that pit. |
| ZANELLI: |
It's been like this for four days? I mean, this agitation, the not
sleeping? |
| CONKLIN: |
I tried everything. Drinking coffee till it made me sick; walking all
night. I didn't dare sit down. I couldn't go to work. I couldn't do anything.
Finally I went to my doctor. I told him the whole story. He just stared
at me like I'd sprouted antlers or something. And all at once it came to
me what I was saying, what I must have sounded like. That had never occurred
to me before. It was real to me. I was there, but he didn't believe it.
Other people's dreams are never real; only your own dreams. He started
to say something and then the phone rang. While he was talking I grabbed
his prescription pad and ran out. I didn't know what else to do. I went
to the pharmacy. The guy saw through me right away. He started giving me
a rough time. I don't know, I guess I went a little--(he stops himself
from saying "crazy") |
| ZANELLI: |
Yes? |
| CONKLIN: |
Nothing. (a beat) |
| ZANELLI: |
Well, Mr. Conklin, thank you for your time. You've been very candid.
I'm going to make my-- |
| CONKLIN: |
Where are you going? |
| ZANELLI: |
I have to make my report now, Mr. Conklin. |
| CONKLIN: |
Are you going to get me something to keep me awake, like we said? |
| ZANELLI: |
I'm not sure I can do that, Mr. Conk-- |
| CONKLIN: |
Look, I'm not asking you to believe me. Just give me the benefit of
the doubt, can't you? |
| ZANELLI: |
Mr. Conklin, I assure you, you'll be treated fairly-- |
| CONKLIN: (growing more and more frantic as the scene goes
on) |
No, no, no. Don't do this to me. Get me to a doctor, or give me something
to keep me awake. You can do that, can't you? Like we said. |
| ZANELLI: (calling) |
Dusty. |
| CONKLIN: |
Or...or just send somebody down here to wake me up if I nod off. That's
not too much to ask, is it? Surely you could do that. |
| ZANELLI: |
Mr. Conklin, please don't excite yourself. |
| CONKLIN: |
I need help. I can't take it any more. You've got to help me. |
| ZANELLI: |
You'll be well taken care of, Mr. Conklin-- |
| CONKLIN: |
Don't talk to me like that! This is my life we're talking about here.
Do you understand? My life! |
| ZANELLI:(over CONKLIN'S lines, a little louder than before,
with just a hint of fear) |
Dusty! (to CONKLIN) You've got to try and calm down, Mr. Conklin. I'll
do everything I can to--; |
| CONKLIN(suddenly calm. His voice is chilling), |
You're not going to do anything are you? You're just going to leave
me here. |
| ZANELLI(trying not to let her fear show) |
Mr. Conklin, please, you're getting all upset-- |
| CONKLIN: |
You can't do this. I won't let you do this. |
| ZANELLI: |
Mr. Conklin, please-- |
| CONKLIN: |
You can't do this to me. |
| DUSTY: (suddenly breaking in) |
Ready to go, Doc? |
| ZANELLI: |
Yes, thank you, Dusty. |
|
SFX: |
CELL DOOR UNLOCKED, OPENED |
| CONKLIN: |
Wait a minute, you're going to send somebody down here, aren't you? |
| DUSTY: |
Get away from the door, Conklin |
|
SFX: |
(OVER CONKLIN'S LINES) FOOTSTEPS; CELL DOOR CLOSED, LOCKED; FOOTSTEPS
X 2 DOWN THE HALL; FADE OUT WHEN CONKLIN'S VOICE FADES OUT |
| CONKLIN: |
Just keep somebody with me to wake me up, that's all I ask. You could
do it; you could stay here. Just somebody to wake me up. (calling after
them, his voice fading) I can't hold out like this much longer. I need
help. Somebody's got to help me.(fade out) |
|
SFX: |
THE SOUNDS OF A POLICE STATION OFFICE IN BACKGROUND: PHONES RINGING,
KEYBOARDS, VOICES, ETC. IN THE FOREGROUND: KNOCKING ON A GLASS DOOR |
| ZANELLI: |
Captain Petrie? |
| PETRIE: |
Doctor Zanelli. Please come in and close the door. |
|
SFX: |
FOOTSTEPS; GLASS OFFICE DOOR CLOSES; OFFICE NOISES BLOCKED OUT |
| PETRIE: |
Please sit down |
| ZANELLI: |
Thank you. |
| PETRIE: |
Well now, Doctor. Conklin--is he crazy? |
| ZANELLI: |
That's a dirty word in my profession, Captain. We never say the C word. |
| PETRIE: |
Doctor, you know perfectly well-- |
| ZANELLI: |
Yes, yes, I'm sorry. It's an occupational hazard to feel misunderstood.
Please believe me, Captain, I don't mean to be a nuisance about this. You
have to understand that the question you're asking has no easy answer.
Every day the borderline gets wider. It's not as simple as candling eggs. |
| PETRIE: |
Doctor, please, I've got a lot to do. From what I hear Conklin isn't
easy for anyone to understand. The regulations say I need a professional
opinion. I'm asking you for yours. |
| ZANELLI: |
Very well. Mr. Conklin is in a highly agitated state. He is deathly
afraid of going to sleep. It's obvious that he has gone without sleep for
some time. He has all the symptoms: slurred speech, disorientation, and
difficulty in concentrating. |
| PETRIE: |
Sounds pretty crazy to me. |
| ZANELLI: |
It's certainly not...usual. But I'm not prepared to say that Mr. Conklin
is insane in any legal sense. |
| PETRIE: |
Now, Doctor-- |
| ZANELLI: |
Please let me finish. Whatever it is that's frightening Conklin is
real to him. I saw his face. I've never seen such terror. It's very hard
not to be overwhelmed by the force of his conviction-- |
| PETRIE: |
Are you telling me you believe him? |
| ZANELLI: |
No, no, I'm not telling you that. At the same time, all you have to
do is accept the one simple premise that he does, and all of his behavior
becomes perfectly rational. Conklin said it himself: other people's dreams
are never real. That's what he's afraid of--his own dreams, and other people's
dreams. How do you feel about your dreams, Captain? |
| PETRIE: |
I don't dream, Doctor. My fantasy life gets enough of a workout talking
to police psychiatrists. Tell me, in ten words or less, what should be
done with Conklin? |
| ZANELLI: |
I think he should be remanded for further evaluation. |
| PETRIE: |
Thank you. I'll expect your written report in the morning. Now maybe
we can-- |
|
SFX: |
PHONE RINGS, IS PICKED UP |
| PETRIE: (into phone) |
What? When? How did this-- Good God. Did you call Frane's office? Do
it now. I'll be right down. |
|
SFX: |
PHONE HUNG UP |
| PETRIE: |
That was Dusty Barrows down in lockup. (a beat) Conklin's dead. |
| ZANELLI: |
What? How could he-- |
| PETRIE: |
No, not suicide. It couldn't be. Dusty says he looks like he's been
through a shredder. There's blood everywhere. |
| ZANELLI: |
Oh, my God. |
| PETRIE: |
And something else. Clutched in his hand... |
| ZANELLI: |
What? |
| PETRIE: |
Dusty says it looks like dog fur. |
|
MUSIC: |
MUSIC UP, CROSS FADE WITH: |
|
SFX: |
WATER DRIPPING WITH REVERB; DOGS BARKING FAR AWAY UNDER THE WHOLE SCENE,
EXACTLY LIKE CONKLIN'S FIRST NIGHTMARE. |
| ZANELLI: (waking up) |
What? Where am I? What is-Oh, my God. No, this is impossible. This
can't be happening. Other people's dreams? No, I don't believe it. |
|
SFX: |
DUNGEON DOOR UNLOCKED, CREAKS OPEN; FOOTSTEPS X 2 |
| ZANELLI: |
Who are you? Get away from me. (struggling) Leave me alone! Take your
hands off me! This isn't happening! I've got to wake up! I've got to wake
up! Let me go! |
|
SFX: |
FOOTSTEPS X 3, ONE STRUGGLING, ON STONE FLOOR RECEDING DOWN HALL; HEAVY
WOODEN DOOR CREAKS OPEN AT END OF HALL UNDER NEXT LINES. |
| ZANELLI: (fading down the hall) |
Where are you taking me? No! No! I won't go! I've got to wake up! Why
can't I wake up? This is not my dream! This isn't happening. This can't
be happening! Please, please let me go. No, not the door! I won't go in!
I won't! I won't go in! No! |
|
SFX: |
HEAVY WOODEN DOOR SLAMS SHUT AT END OF HALL, CUTTING OFF ZANELLI'S
VOICE. WE HEAR THE DOGS STILL BARKING IN THE DISTANCE FOR A MOMENT AND
THEN FADE OUT. |