The Sound That Night (I-I)

I-I. CRY, LITTLE SISTER

SOUNDSCAPE: THE DRAMATICALLY APPROPRIATE SOUNDS OF A LONELY CANYON ROAD AT NIGHT.

STRANGER: (voice-over) The year is 1955. The place, a moonlit stretch of road cutting and weaving through a weed and bramble-choked canyon somewhere in California.

SFX: A CLASSIC ROADSTER APPROACHES, ROARS PAST, AND AWAY.

The car, meanwhile, belongs to the young man behind the wheel — Benny Sierra. But while his eyes are on the road, Benny’s attention and affection both belong to the charming young woman seated beside him.

SOUNDSCAPE: THE ROCK ‘N ROLL INTERIOR OF A 1955 BEL AIR AS IT SPEEDS DOWN A LONELY CANYON ROAD AT NIGHT.

NATALIE: Benny… I had a really nice time tonight.

BENNY: (smiles) Me too, Natalie. (putting on the charm) So, uh… what was your favorite part?

NATALIE: (considers this) Well… I want to say it was the part where I got to share a moonlit picnic by the lake with a dark, handsome stranger.

BENNY: S’that right?

NATALIE: (smiles) Mm-hmm. (teasing) But…

BENNY: (wait. what?) “But”? Wait. What? Why’s there a but?

NATALIE: (bigger smile, pressing on) But… I gotta say, I kinda wish I stayed with that Mutant fellow with the big brain.

BENNY: Laws, that was an awful movie!

NATALIE: (laughs) Did you hear that man sitting behind us?

BENNY: Hear him? I still can’t get his bad jokes out of my head. He was talking through the whole movie!

NATALIE: (snuggles close) I guess it’s a good thing we left early, huh?

BENNY: Yeah. I guess it was.

AND THEN…

SFX: WOOP-WOOP! A POLICE CRUISER FLASHES LIGHTS AND SIREN.

BENNY: Aw, man. What now?

NATALIE: Benny, you better pull over.

SFX: THE BEL AIR PULLS TO THE SIDE OF THE ROAD, STOPS.

SOUNDSCAPE: THE UNCOMFORTABLE AMBIENCE OF AN UNWARRANTED TRAFFIC STOP ON THE SIDE OF A LONELY CANYON ROAD AT NIGHT.

SFX: OFFICER (JIMMY) APPROACHES, TAPS ON GLASS.

SFX: BENNY ROLLS, CRANKS DOWN WINDOW.

OFFICER: Please step out of the car, Sir.

BENNY: Excuse me?

NATALIE: (to OFFICER) Jimmy?

OFFICER: Hey, Nat. This’ll just take a second. (to BENNY) Sir, please. Step out of the car.

NATALIE: Jimmy, what are you doing?

OFFICER: I’m sorry, Nat.

SFX: DEPUTY CLARENCE MIDDLETON EXITS THE CRUISER, APPROACHES THE BEL AIR.

CLARENCE: The man asked you to step out of the car twice now. Don’t make him ask you a third time.

NATALIE: (furious) Clarence!

BENNY: Aw, shit.

SFX: NATALIE STORMS OUT OF THE CAR, AT CLARENCE.

CLARENCE: Natalie. You get back in there. This ain’t got nothing to do with you.

NATALIE: Like Hell!

SFX: SLAP! CLARENCE STRIKES NATALIE ACROSS THE FACE.

NATLIE: (pained scream)

BENNY: Natalie!

CLARENCE: See what you’ve made me go and do, Mr. Sierra? Think you want to step out of that car now?

SFX: BENNY STEPS OUT OF THE CAR.

CLARENCE: That’s a good boy. (to NATALIE) See? Was that too hard? All I wanted was a little pow-wow with our mutual friend.

BENNY: What do you want, Clarence–

CLARENCE: Deputy Middleton. (To OFFICER) Jimmy. Escort my baby sister back home.

OFFICER: Come along, Nat.

NATALIE: (pulls away) What? No!

BENNY: What do we have to talk about? Was I speeding? You gonna give me a ticket?

CLARENCE: No. We’re past that, Mr. Sierra.

SFX: CLARENCE UNHOLSTERS HIS SIDEARM, PISTOLWHIPS BENNY.

SFX: BENNY DROPS LIKE A ROCK WITH A BROKEN JAW.

BENNY: (pained, broken grunts)

NATALIE: Benny!

CLARENCE: Yeah. I bet that smarts.

OFFICER: Clarence…

CLARENCE: Jimmy. Wouldn’t you agree that there is a God-given order to the world? A purpose. A plan. A place for everything, and everything in its place.

OFFICER: Yeah. Yeah, I guess so. But, uh… Clarence, I don’t think–

CLARENCE: Nor should you. Didn’t I order you to take Natalie home?

OFFICER: Yeah. But…

CLARENCE: Then I suggest you mind your place and do your job.

OFFICER: Yes, Sir.

CLARENCE: And you, Mr. Sierra. We’re going to see if we can sort out exactly where you belong.

SFX: CLARENCE KICKS BENNY IN THE RIBS.

BENNY: (pained grunts)

NATALIE: (sobs) Benny!

OFFICER: Clarence! Stop this!

CLARENCE: Jimmy, I told you–!

SFX: BENNY TACKLES CLARENCE TO THE GROUND.

OFFICER: Clarence!

SFX: BENNY AND CLARENCE WRESTLE, STRUGGLE OVER GUN.

NATALIE: Both of you! Cut this out right this instant!

SFX: BENNY PINS, PUNCHES CLARENCE. ONCE, TWICE…

SFX: BANG! A SINGLE GUNSHOT ECHOES THROUGH THE CANYON.

NATALIE: (frightened gasp)

SFX: BENNY DROPS DEAD.

AN UNCOMFORTABLE SILENCE.

NATALIE: (broken) Oh, God…

OFFICER: Clarence… Clarence, what did you do?

SFX: CLARENCE RISES, DUSTS HIMSELF OFF.

CLARENCE: Eliminated the threat.

OFFICER: You shot him, Clarence. He’s dead. He ain’t supposed to be dead. But you shot him, and now he’s dead.

CLARENCE: Then I guess he knows his place now, don’t he?

OFFICER: (shakes head) This is wrong. This is all wrong.

CLARENCE: The only thing wrong, Officer, is that you’re disobeying a director order. Get Natalie home. Now.

OFFICER: What are you going to do?

CLARENCE: It’s like I said: a place for everything, and everything in its place. And someone’s gotta take out the trash.

SFX: OFFICER ESCORTS A BROKEN NATALIE INTO THE CRUISER, DRIVES AWAY.

FADE.

TO BE CONTINUED…