FINGERS – An Audio Play by Pete Lutz ©
A kidnapped woman cries out in desperation, unaware that someone — or something — is listening. Deep in the woods, justice comes not from law, but from beyond the grave. “Fingers” is a haunting tale of vengeance where the past claws its way into the present, and evil doesn’t go unpunished.
CAST OF CHARACTERS (in order of appearance):
- ANNOUNCER
- WOMAN
- MAN 1
- MAN 2
- GIRL
- BOSS
- COP 1
- COP 2
- MEDICAL EXAMINER
- BACKGROUND VOICES (MALE/FEMALE)
FINGERS
An Audio Play by Pete Lutz
CANNED R-RATED STATEMENT (LSV)
CANNED ANNOUNCEMENT.
SERIES THEME UP.
ANNOUNCER.
Tonight – “Fingers”, by Pete Lutz!
EPISODE THEME UP AND UNDER.
PETE.
Good evening and welcome to the Season Four Premiere of Pulp-Pourri Theatre! Yes, you heard correctly: Season Four! Now, I’m going to wax poetic for a few moments before we start our show, so please bear with me. First off, I’m very happy to be able to continue bringing you what I believe are the best audio dramas available online, and just as happy to be providing the same mix of pulp-adapted and pulp-inspired plays, as in our previous seasons. In episodes to come you’ll be hearing stories from Dashiell Hammett, Alan LeMay and Edgar Allan Poe; new dramas from guest playwrights Mike Murphy and Mark Slade; a few original ones from me; and, of course, we’re bringing back history’s first pulp fiction hack Bill Shakespeare, with our season finale: “Othello”! And, as a very special treat, each episode of this season is in fact a double-feature! Immediately following this and every episode of season four is an installment of my original western serial, “Jake Dimes, Range Detective”! [CHEESY ANNOUNCER VOICE] So, from start to finish, we know you’ll agree, Pulp-Pourri Theatre truly satisfies! [PAUSE] Now, I’ve taken quite a bit of time bragging on us, and I hope you don’t mind – it’s only because this is the season premiere. And that being said, let’s finally turn our attention to that: Not too long ago I was watching one of my favorite TV shows – it’s a network program about a family of cops – and the episode dealt with a number of murdered girls and young women discovered in a wooded area. This sort of subject – serial murder – is, unfortunately, very often in the news, and it’s something that bothers me quite a bit. And so I got to thinking: what if real justice was available – what if one of the killer’s victims was able to reach out from the grave and extract her revenge? And that’s where tonight’s play, “Fingers”, comes from. [BEAT] But we must warn you: this tale of the supernatural is definitely not for the timid soul. And so: if you are unable to handle the tension and excitement of this imaginative play, or if you frighten easily, we urge you calmly, but sincerely, to turn off this program…now. [BEAT] We’ll begin right after this important word. You’re listening to Pulp-Pourri Theatre, starring the Narada Radio Company!
THEME OUT. SPOT [TBD]. THEME UP & UNDER.
ANNOUNCER.
And now: “Fingers”, by Pete Lutz, tonight’s Pulp-Pourri Theatre presentation.
SFX. Fade in outdoor sounds: nature, slight breeze, birds, etc. Bring up for several seconds, then bring down as a sobbing voice comes up. We’re moving indoors to a deserted cabin in the woods.
WOMAN.[FILTERED FOR CABIN INTERIOR]
[WEAK SOBBING, AS IF SHE’S BEEN CRYING FOR DAYS; HER VOICE IS HOARSE AS SHE YELLS, CRACKS WHEN SHE SPEAKS]
Is there anybody there? Is there anybody there? Please! Help me! I’m tied to a bed, and I don’t know where I am! [SOBBING] Please, somebody help me! Can’t anybody hear me? Isn’t there anyone out there who can help? [BREAKS DOWN INTO INCOHERENT SOBBING,
FADE OUT]
SFX. Fade in car driving on road, continue under dialog.
MAN 1. [FILTERED FOR CAR INTERIOR] How much farther till we get to the cabin?
MAN 2. [FILTERED FOR CAR INTERIOR]
Couple miles. Why you gotta ast that every time we come out this way? We’ve been to this cabin a hunnerd times.
MAN 1.
Yeah, I know. I just get antsy. That bitch we got tied up out there is really a frickin’ hot bitch. Mmm, wow! [GIGGLE]
MAN 2.
Yeah, an’ you’ve already had her twice’t.
MAN 1.
So have you! So have you!
MAN 2.
I had her once’t. The second time, I stayed out in the big room while you did her.
MAN 1.
Yeah, that’s right. [GIGGLE] Jesus, she’s one hot bitch, with that black hair, and
those pert boo[bies] –
MAN 2. [INTERRUPTING]
Jesus Christ, will you lay off that shit? I know what the bitch looks like, all right?
MAN 1.
Christ, what’s the matter with you?
MAN 2. [MUTTERING]
Sick of you gettin’ ya goddam hormones all over the car.
MAN 1.
Huh?
MAN 2. [SNAPS]
Settle the fuck down, is what I’m sayin’.
MAN 1.
All right, all right, Jesus. [BEAT] What’s the word from the boss?
MAN 2.
He’ll come out tomorrow morning, take a look at her, and then decide on how much to ast for. MAN 1.
The boss, he’s a cool fuckin’ customer, yeah?
MAN 2.
Yeah. This chick, she’s got a rich daddy, I guess.
MAN 1.
You guess? Don’t you know who her daddy is?
MAN 2.
The boss din’t tell me, so I din’t ast him! Now willya shut ya fuckin’ trap [FADE OUT] for the rest of the fuckin’ trip…?
SFX. Fade out car. Bring up cabin interior.
WOMAN. [FILTERED FOR CABIN INTERIOR]
[WHIMPERING] Won’t somebody help me? [WHIMPERS DURING PAUSES] Won’t – won’t somebody please – ? [WHIMPERS QUIETLY]
SFX. Strange-sounding footsteps on wood floor, approaching.
GIRL. [REVERB] I’ll help you.
[LONG PAUSE]
WOMAN. [IN DISBELIEF]
Did – did somebody say something? Hello?
Hello?
GIRL.
Me. I’ll help you.
WOMAN.
Where are you?
GIRL.
Over here.
WOMAN.
I can’t see you very well. It’s so dark in here. How old are you?
GIRL.
I was nine on my last birthday. Are you scared?
WOMAN.
I’m trying not to be. But – but – yes, I am very, very frightened!
GIRL.
Have the men…done…bad things to you?
WOMAN.
Yes. [SOB] I – I don’t remember how long I’ve been here.
GIRL.
They’re coming back soon. I know they are.
I’ll help you when they come back.
WOMAN. [AGITATED]
When they come back? Can’t you just untie me now and we can get away?
GIRL.
No! I don’t have enough fingers to do that. I only got enough to help you…a different way. [WHISPERS OMINOUSLY] Three fingers to do the job.
SFX. A few moments of silence. Fade up car as before, for a few seconds, then sound of a tire being blown out. Car comes to a stop.
MAN 2.
Shit! Shit, I hate changing tires.
SFX. Car doors open, shut in sequence.
Footsteps on gravel.
MAN 1.
We got a spare?
MAN 2.
Yeah. Listen, you hoof it to the cabin. We been away too long. I’ll change the tire.
MAN 1.
What? Walk the rest of the way?
MAN 2.
Grab the food and water out of the back and give her some when you get there. I’ll follow along when I’m done.
MAN 1.
Aw, c’mon! I hate walkin’.
MAN 2.
Will ya just do it? The boss’ll be comin’ along tomorrow, an’ we need to be sure that the girl is OK, an’ the cabin is straightened away.
MAN 1.
All right. [BEAT; SIGH]
MAN 2.
Hurry along. [FADE OUT] It ain’t gonna kill ya.
SFX. Fade up footsteps in dirt. Cabin door opens, more footsteps on floor.
MAN 1. [CALLING OUT]
Hey hello! It’s me! [HEH HEH] Didja miss me? [BEAT] There you are! Just where we left ya. What’s the matter, hon? Cat gotcher tongue? I broughtcha some food and water, figure you’re needin’ it. Git your strength back so the boss kin figure out what to do with you, eh? Me, I’d just as soon bury you out there in the woods with the others, after we get the money from yer old man. [HEH] But we got time to think about that, don’t we?
SFX. Pulling something from plastic shopping bag, footsteps across room, creak of bedsprings.
Anyway, are ya thirsty? I got some water here. Bring yer head up an’ I’ll give ya some. GIRL.
[GIRLISH GIGGLE, REVERB]
MAN 1.
The hell – ?
GIRL.
[REPEAT GIGGLE]
MAN 1.
Who the hell is that?
GIRL.
Don’t you recognize me?
MAN 1.
Hell, no! You’re standing in the dark! Come out into the light! [BEAT] Dintcha hear me?
I said, step out into the light, girl!
GIRL.
I’m sorry you don’t remember me. Your friends will, I’ll bet.
MAN 1.
The fuck are you?
GIRL.
Why don’t you just come over here and find out? I think you’ll remember me once you see me. MAN 1.
Ain’t the little ones I like, that’s the boss. He likes em all sizes an’ ages. [REMEMBERS HIMSELF] But you just git yerself outa them shadows, like I said!
GIRL. [TAUNTING]
Come over and get me, you big bad man!
SFX. Footsteps crossing floor at X.
MAN 1.
Think I won’t? Think I want some little girl to get away with sassin’ me? [X] You got another think comin’!
GIRL.
Hello.
MAN 1. [SURPRISED THEN FRIGHTENED]
The fuck? Oh, my god – you – you’re not – [HE STARTS A SCREAM BUT THEN GAGS]
SFX. Stabbing sound, breaking of small bone, body falling to floor.
MAN 1.
[DEATH GURGLE]
GIRL.
[WHISPER] Two fingers left to do the job.
SFX. Gong.
ANNOUNCER.
We’ll return to tonight’s play, “Fingers”, by Pete Lutz, in just a moment. You’re listening to Pulp-Pourri Theatre, starring The Narada Radio Company!
SPOT [TBD].
ANNOUNCER.
Now, let’s return to “Fingers”, on PulpPourri Theatre, starring The Narada Radio Company!
SFX. Fade in outdoor sounds, as before, then car approaches on dirt road. Car stops, cut engine, car door opens, closes. Footsteps on dirt.
MAN 2. [TIRED BUT RELIEVED]
Jesus, I’m finally here. That was the toughest tire-change I’ve ever had to do. And now – huh – sun’s goin’ down. I hope he’s got something for us to eat.
SFX. Cabin door opens, shuts. Footsteps on floor. Footsteps stop. Light switch on, off.
Hey, what gives with the lights? Can’t you hear me? What’re you doin’ in that chair over there, can’t you hear me? How come there ain’t no power? We blow a fuse or something? What’s the matter with you?
SFX. Footsteps across room.
I said, what the fuck is the mat – SHIT!
SFX. Body falls to floor, chair tips over.
Pistol pulled from holster.
MAN 2. [EXCITED, FRIGHTENED]
Jesus Christ, he’s dead! Somebody stabbed him in the throat with something!
SFX. Short scraping noise on floor.
Who – who’s that? Where, ah, where are you?
GIRL.
[LAUGHTER, REVERB, PAN L-R-L.]
MAN 2.
Holy shit!
SFX. Three gunshots.
[PANTING OF MAN 2, HARD SWALLOW]
GIRL. [TEASING TONE]
You missed me.
MAN 2.
What?
GIRL. [SINISTER TAUNTING, SLOWLY SINGING] Missed me, missed me, now you gotta kiss me.
MAN 2.
Who is that? Are you the girl we had tied to the bed?
GIRL.
I was tied to the bed, once. But I’m not the one you’re thinking of.
MAN 2.
Where are you? I can’t see anybody.
GIRL.
I’m over here. Come and find me. [GIGGLE]
MAN 2.
I swear to god, I’ll kill you, you fuck with me.
SFX. Slow footsteps on floor, hesitant.
GIRL.
Follow my voice. You’re getting warmer!
MAN 2.
It’s getting so dark in here… Where are you? Keep talkin’, you little bitch. When I find you, I’ll –
GIRL.
You’re red-hot!
MAN 2. [FRIGHTENED OUT OF HIS MIND]
Ohhh, shi-i-i-i-t!
SFX. Stabbing sound, breaking of small bone, body falling to floor.
MAN 2.
[DEATH GURGLE]
GIRL.
[WHISPER] One finger left to do the job.
SFX. Gong as before.
MUSIC, TRANSITIONAL.
SFX. Fade in light rainfall. Different car approaches, stops. Cut engine. Door opens, shuts. Running footsteps in mud and puddles.
Cabin door opens, slams shut.
BOSS.
[PANTING A FEW SECONDS] Boys? Hey! Boys! I’m here, who cut the lights?
SFX. Light switch, on/off, extra clicks.
Slapping pockets at X.
Oh, great. Fuckin’ wet out there, fuckin’ dark in here. [X] No matches. Shit. [BEAT] There a flashlight anyplace? Boys! Where the fuck are ya?! [BEAT] Their car’s outside, but they ain’t here. I must be goin’ nuts, or they are. [ANGRY SIGH] Well, let’s hope that bitch is still here. I’ll try to find my way to the back room…
SFX. Slow, scraping footsteps.
GIRL. [QUIETLY]
Yes, she’s still here. We both are.
SFX. Spin on heels, stop.
BOSS.
Who the fuck said that? What did you say?
GIRL. [A LITTLE LOUDER]
I said, the other girl is still here, and so am I.
BOSS. [BEGINNING TO BE FRIGHTENED]
Where are you?
GIRL.
I’m over here. [BEAT] Why did you do it?
BOSS.
Huh?
GIRL.
Why…did you…do it?
BOSS.
What the fuck are you talkin’ about, little girl? GIRL.
Just a few more hours to wait, and my daddy would’ve had the money for you. Why didn’t you wait? Why did you do it?
BOSS.
The fuck are you talkin’ about? I don’t –
GIRL.
You broke me inside. You hurt me, you did bad things to me, and you broke me inside.
BOSS.
What? Shut up, you’re crazy. Who the fuh –
GIRL.
I cried so hard. I begged you to stop. I begged you, and you lost your temper, and one of your men cut out my tongue.
BOSS.
Now I know you’re crazy!
GIRL.
You and your men buried me out in the woods. I was so cold! Why didn’t you wait just a little longer? Wait for my daddy to –
BOSS.
Shut up, shut up, shut your fuckin’ mouth! I don’t know you, I don’t know what you’re talking about, you little fuck! Where are my boys?
GIRL. [QUIETLY]
Look over there. They’ve been sitting on the sofa this whole time. [GIGGLE]
BOSS.
I can’t see a fuckin’ thing!
GIRL.
I can fix that.
SFX. Hum of electric lights coming on.
BOSS.
That’s better. Now – hey, boys! What’s the matter with you?
SFX. A few footsteps, stop suddenly.
Oh, Christ. They’re dead! What happened?
GIRL.
They didn’t want to play with me. [GIGGLE]
BOSS.
What’s so, what’s so fuckin’ funny, you little shit? What’s that stickin’ out of their throats? Huh? Answer me! Where are you?! GIRL.
I’m still over here. Don’t you want to come and find me?
BOSS.
I see you in the shadows, but I still can’t see your face. Come here, girl!
GIRL.
I was in the ground a long time. I don’t think you want to see me. You didn’t dig a very deep hole. Animals got to me. Wolves and foxes took away almost all of my fingers. All but three.
BOSS.
Jesus Christ, what the fuck are you talking about?
GIRL.
I was cold there, in the ground, but had to stay there. But that girl in the other room – she called out for somebody to help her. She called and called. She sounded so sad and so lonely. I remembered how sad and lonely I was, back then. So I came to help her.
BOSS. [BABBLING]
No, no, you can’t be – I don’t – you –
GIRL.
I gave your other men my fingers, and I have one finger left, to give you.
SFX. Scraping, bone-like footsteps.
[SHRIEKS] Look at me! [YELLS] Aaaaaah!
BOSS.
[COMPLETELY FREAKED OUT] No! No! NOOO! Get down, get offa me! Jesus Gaaa—[CUTS OFF,
GURGLES]
GIRL.
[WHISPERS] The job. Is done. [LONG EXHALE]
SFX. Falling bones on floor.
BOSS.
[DEATH GURGLE]
SFX. Body falls, lands on floor. Rattle of a bone, as if skittering across floor.
Gong, as before.
ANNOUNCER.
We’ll return with the conclusion of “Fingers”, by Pete Lutz, after this brief word. You’re listening to Pulp-Pourri Theatre, starring the Narada Radio Company!
SPOT [TBD].
ANNOUNCER.
And now, the conclusion of…”Fingers.”
SFX. Gong.
FADE IN excited voices of several COPS.
COP 1.
[FADE IN] Miss? Miss, are you all right?
Hello, hello, are you all right?
WOMAN. [WAKING WITH A START] Oh! Oh! No, please don’t hurt me!
COP 1.
No, it’s all right, miss, I’m a cop. We’re here to take you to safety.
WOMAN.
What? Oh, thank god, thank god! I didn’t think anybody would ever find me! How did you find me?
COP 1.
Somebody reported two suspicious cars out here, and when we found the cars we found the cabin, and then we found you. Do you – ah – know what happened to those three men?
WOMAN.
It was three men who kidnapped me, and – and! [CUTS HERSELF OFF; SWALLOWS] Did you catch them?
COP 1.
Uh, no. Somebody killed them, in a pretty strange way. Looks like a bone, pierced their windpipes. Did you see anything, Miss?
WOMAN.
No, I’ve been shut up in this room…oh…do you think it was the little girl?
COP 1.
Little girl? We didn’t see no little girl, Miss. And anyway, how could a little girl shove something like a bone into their –
COP 2. [DISTANT] Clancy! Hey, Clancy!
COP 1.
[CALLING BACK] What is it, Dugan?
COP 2. [DISTANT] Come here! Hurry!
COP 1.
[CALLING BACK] All right! Keep yer shirt on! [TO WOMAN] Excuse me, miss. Um, I, I think the paramedics are here, I’ll send them in to look after you.
WOMAN.
Thank you, Officer.
SFX. Footsteps crossing floor.
COP 1.
Now, Dugan, just what is so important, that you interrupted the questioning of a witness?
COP 2.
The medical examiner’s discovered something.
Tell him, Doc.
MED. EXAMINER.
Well, I was looking over the body of the man on the floor here, and when I lifted him up, I found this.
COP 2. [AWESTRUCK]
Will ya look at that, Clancy?
COP 1. [DUMBFOUNDED]
Jesus, Mary and Joseph. It’s a wee skeleton, in a tattered dress – [GASP; AMAZED WHISPER] and…all its finger bones are gone!
SFX. Gong, as before.
[PAUSE]
EPISODE THEME UP AND UNDER.
ANNOUNCER.
Tonight’s play was “Fingers”, which was written in 2015 especially for Pulp-Pourri Theatre, produced and directed by Pete Lutz. [BEAT] Pete, I have to say, you’ve really outdone yourself tonight. This was a season premiere for the books!
PETE.
[CHUCKLE] Sorry if it was a little too intense for you. I wanted to stretch my macabre wings, so to speak, and spin a scary, spooky yarn in time for Halloween.
ANNOUNCER.
Well, I guess you did that, all right. [BRRR! CHUCKLE] That was right up there with the scariest episodes of Arch Oboler’s “Lights Out”.
PETE.
I’m glad you mentioned that classic radio show, because I felt I was channeling the spirit of Mr. Oboler as I wrote, that he was guiding my hands on the keyboard.
ANNOUNCER.
Don’t you mean… your FINGERS? [CHUCKLE; PAUSE] Featured in our cast were:
_____________ as the YOUNG WOMAN
_____________ as the GIRL
_____________ as the FIRST MAN
_____________ as the SECOND MAN
_____________ as the BOSS
_____________ as the FIRST COP
_____________ as the SECOND COP; and _____________ as the MEDICAL EXAMINER
Additional voices were provided by ________.
Your announcer was ________________________.
And now, here’s Pete, to tell you about our next episode.
PETE.
Next time, we’re traveling to a distant kingdom in a faraway time, to meet a murderous king and his unwitting victims. Our story-spinner is the award-winning audio drama playwright, Mike Murphy, and his tale is called “The King’s Prerogative.” That’s in our next episode of Pulp-Pourri Theatre! Until then, this is Pete Lutz, wishing you all a very happy Halloween! Thank you for listening, and remember to call me if your situation changes – and to keep your ears clean!
THEME OUT.
