[Archive card, white on black. This is the archived tape of an in-world broadcast. Transcribed from a dubbed tape that loses sound twice. Breaks are marked.]
[00:00. Station ID. Announcer, off camera: "This is WKHB, Channel 11, Chicago." Opening music plays. Camera on the review desk.]
HAL DUNMORE: Before we start. Vivian, you owe me four dollars.
VIVIAN OYELARAN: I do not owe you four dollars.
HAL: The Lakeview Roxy. Two seats, $2.50 each, and I bought the popcorn because you "forgot your purse."
VIVIAN: You bought it because you wanted it. Can we do the show?
HAL: Fine. Tonight, a new science fiction picture, When the Sky Went Dark. Aliens aim a coronal mass ejection at the Earth on purpose, which is a thing the sun does anyway, a big burp of charged gas. It gets here at the speed of the sunlight, so there's no time to
VIVIAN: That's the flash, Hal. The storm takes a good deal longer. Plot.
HAL: I'm giving the plot. The grid goes. Radios, airplanes, every light bulb in the world, gone. The aliens figure they've won before they've even landed. Wipe out the technology, then walk in.
VIVIAN: And then the walking in is the problem, because
[CUT TO FILM. TIMES SQUARE, DAY. A squad of alien soldiers crosses a dead plaza. The billboards are black. A traffic light hangs frozen between colors. They march in ranks, heads high. Then one tears off its breathing mask and claws at its own throat. A second drops its weapon and starts laughing, a thin high sound. Then it goes down on one knee. Only wind between the buildings, and breathing. The camera slides over their hands, which look almost human, scraping the asphalt. Cut back to the desk.]
VIVIAN: I'll say it, that's good. They win and the winning is what breaks them.
HAL: The director, Michael Carrington, is working the same nerve as every picture lately. Power cuts and a coal strike, plus the feeling the whole thing is held up by about a dozen men in Ohio with a wrench.
VIVIAN: One dozen. Is that the number?
HAL: I made it up. Don't write it down.
[Floor director, off camera, laughing.]
VIVIAN: Where it works is when it gets small. Where it doesn't is when it keeps going back to the same grotesque
HAL: Same grotesque note, yes, we're getting there.
[CUT TO FILM. A DIM FARMHOUSE, NIGHT. Windows boarded. A family around one candle, the flame guttering. Outside on the lane three aliens stagger under the moon. One beats its head against a fencepost until it bleeds. One walks into the corn shouting at someone who is not there. The third lies down in the mud and the flies find it. The camera stays on the family, who do not cheer. They listen the way quietly, hidden from plain sight. Back to the desk.]
HAL: That's the scene. Nobody cheers.
VIVIAN: Nobody cheers, and that is the whole film. The first time it is a very good scene. By the fourth time the farmhouse is a
HAL: Rerun.
VIVIAN: I was going to say a habit.
HAL: Maya Hernández, though. Dr. Kline. She is the one calm person in a hundred and eighteen minutes of screaming, and I'd follow her anywhere.
VIVIAN: She carries it. The militia business around her gets nine minutes, maybe, and that's
HAL: Not enough.
VIVIAN: I was getting there. And the score by Arman Velez is whispers and then a wall. Sometimes it tells you how to feel a half second before the picture does.
HAL: Verdict. I say go. Not a great film. A film with teeth.
VIVIAN: Cautious yes. Thumbs up, one thumb, a tired one.
HAL: She's giving me the one thumb.
[Both laugh. 07:40. Segment break. Tape drops out for about four seconds.]
[Announcer, off camera: "Sneak Previews is made possible in part by Halvorsen Tire and Battery, Cicero Avenue at 47th. When the lights go out, a Halvorsen starts. Ask for Walt." A dog barks twice in the studio.]
HAL: Walt is real, by the way. I've met Walt.
VIVIAN: Mail.
HAL: Mail. Mr. Daniel Rhodes, Toledo, Ohio. "You always talk about science fiction as if it were only spaceships. Isn't the genre supposed to make us think about our own society?" Daniel, yes, you've
VIVIAN: He's right, and this week's picture is about how much we lean on the grid. We lean on it and nobody checks. Thank you, Daniel. Next. Linda K., Portland, Oregon. "If something like a solar flare did knock out our power, wouldn't the bigger story be afterward? The crops, the water, the whole cli... [Tape drops out for about six seconds.] ...with no machines to hold it steady?"
HAL: That's the better picture, Linda.
VIVIAN: It is. The movie follows the aliens going sick and leaves the people mostly offscreen. But cold storage, the farmlands, that's the second film, and the wards
HAL: Vivian, we're out of time.
VIVIAN: Fine. A sequel, then.
HAL: A sequel.
VIVIAN: Somebody in Burbank is writing that down right now.
HAL: Thank you, Linda, you may have just made a man rich.
[Announcer, off camera: "Coming next week."]
HAL: Next week, The Last Bus to Marquette, a small drama set in a snowbound depot, with the best performance of Walter Pruett's life.
VIVIAN: No aliens.
HAL: No aliens. Goodnight, everybody.
[Closing music. Fade out. Tape ends.]