Night Shift. Chuck Lumley is a nice, unassuming man. His fear of life is the primary reason he took a job as a morgue attendant rather than stay in his previous high stress job on Wall Street, despite having a natural aptitude in finance and business. He is dismayed to learn that he has been reassigned to the night shift at the morgue, if only because it will take away time available to spend with his straight-laced but neurotic fiancée, Charlotte Koogle. He is even more dismayed when he meets his new night shift colleague, William Blazejowski – who calls himself Billy Blaze – a manic, non-stop talking man, who is always trying to come up with get rich quick schemes, which are mostly hair-brained ideas. After Chuck befriends his neighbor, a good-natured hooker named Belinda Keaton, he learns that Belinda’s former pimp was murdered, leaving her and many of her hooker friends pimp-less and thus unprotected by the unpredictability of their johns. From this knowledge, Billy sprouts the latest germ of a scheme: that he and Chuck, in their unsupervised state, should act as pimps – or what Billy calls love brokers – for Belinda and her friends during their night shift at the morgue. Chuck eventually agrees, if only because of his affection for Belinda, but he expands on that idea into a full-fledged pseudo-legitimate business for all their collective benefit. The questions become if this business is sustainable in light of the fact of everything about it being against Chuck’s general nature, and if he will be able to balance his growing feelings for Belinda against having a personal relationship with a hooker.



July 30, 1982


Ron Howard


Lowell Ganz, Babaloo Mandel


Warner Bros.






106 minutes