Monday, 29 February 2016

Two Sour and One Sweet (3 screenplay intros)


CLOSING DOORS - THE LAST DAYS OF TONY HANCOCK

(Warning - Strong Language and Adult Situations)

“ONE BY ONE HE SHUT THE DOOR ON ALL THE PEOPLE HE KNEW, THEN
HE SHUT THE DOOR ON HIMSELF.”
SPIKE MILLIGAN ON TONY HANCOCK

This is just the first few pages of an early script about the last days of Tony Hancock  (British Comedian)
Tony went to Australia to attempt to revive his Television career but without the support of his writers and pals (all of whom he dumped), the revival failed and he took his own life at the age of 44 in the basement of his producer’s house.

This is an excerpt from Wikipedia:
Hancock died by suicide, by overdose, in Sydney, on 24 June 1968. He was found dead in his Bellevue Hill apartment with an empty vodka bottle by his right hand and amphetamines by his left.
In one of his suicide notes he wrote: “Things just seemed to go too wrong too many times”.

BLACK SCREEN

TITLES:
“ONE BY ONE HE SHUT THE DOOR ON ALL THE PEOPLE HE KNEW, THEN
HE SHUT THE DOOR ON HIMSELF.”
SPIKE MILLIGAN ON TONY HANCOCK

BLACK SCREEN
DIRECTOR (V.O.)
Okay Tony, can we take that line
again?

HANCOCK (V.O.)
“Oh no, I’ve got the giraffe again,
I’ve got three of these, why can’t
I get the packet with the
hippopotamus?”

Silence.

HANCOCK (V.O.) (CONT’D)
Does that sound funny to you? It
doesn’t sound funny to me.

BELL RINGS.

DIRECTOR (V.O.)
Take twenty everyone, there is some
noise on the tape.

TITLES: “June 1968, ATN-7 Studios, Sydney, Australia.”
FADE IN:

INT. TV STUDIO – DAY
TONY HANCOCK, forty four going on sixty.
Tony is walking towards his trailer. His PA hands him a cup
and his PRODUCER walks beside him.

HANCOCK
Well?

PRODUCER
What Tony?

HANCOCK
Does it sound funny? These are no
Galton and Simpson.

PRODUCER
Give them a chance.

HANCOCK
Give them a chance? Give them a
chance? Listen matey, I’m out of
chances. Me.

The producer places his hand on Hancock’s shoulder. Hancock
stops and kills the moment with a look.
The producer’s hand retreats.
Hancock continues walking but the producer stays where he is;
he knows better.
Hancock enters his trailer.
SLAM….a closing door.

INT. TRAILER – DAY
Hancock, life-tired, sits staring into an unforgiving mirror.
He opens a Qantas Airline Bag or should that be
pharmaceutical central?
Some tablets are placed on the table, a bottle of vodka is
retrieved from under the table – it’s been taped there – and
is poured into Hancock’s cup.
He swallows the lot.

KNOCK.

HANCOCK
What?

PA (O.S.)
It’s me.

HANCOCK
Wait.

The airline bag is closed and the bottle taped back under the
table.

HANCOCK (CONT’D)
Enter.

PA
It’s the sound men; it was a bird
they picked up on the tape.

HANCOCK
So?

PA
Well they’re trying to shoot it out
of its hiding place using a
catapult and some moth balls.

HANCOCK
You couldn’t make this stuff up and
unfortunately neither can my
writers.

PA
It’s just….

HANCOCK
…it’s just what?

The PA turns towards the door and there are some fans waiting
to talk to Hancock.

Hancock gets up and goes over to the door.

HANCOCK (CONT’D)
Fuck off.

He slams the door shut and then approaches the PA. Their
faces are an inch apart.

HANCOCK (CONT’D)
What do you think I am? A tin of
beans.

The PA slides away and out the door.

INT. HOTEL ROOM – NIGHT
A TELEVISION is on.
The room is empty and someone is showering in the bathroom.
We will find out that this is Hancock.
On the television is an interview with Hancock and John
Freeman.

TELEVISION HANCOCK
“It’s partly true that I’m a lonely
person. There are times when you’re
desperately lonely, standing in the
wings, at say, the Palladium….”

Going around the room we see the items that reflect his life
at the moment.

TELEVISION HANCOCK (CONT’D)
“….You’re out there alone. To be
shot at, shouted at, booed, have
rivets thrown at you (which I’ve
had) and seven pence ha’penny
thrown at me at Bristol – which I
picked up carefully off the stage
and bought myself a half of
bitter…”

A script lying open on the bed.

TELEVISION HANCOCK (CONT’D)
“How do you make comedy? You don’t
make it with measured ingredients -
it’s not cake. You make comedy with
feeling…..”

The Qantas bag on the bedside table.

TELEVISION HANCOCK (CONT’D)
“What I play on television is an
extension of myself and the
idiosyncrasies of other people
combined…”

Two bottles of brandy and a bottle of vodka.

TELEVISION HANCOCK
“You are, after all involved in
life, and you do certain stupid
things yourself. So if you are
going to stand there and throw
stones, at what point of perfection
do you stand? If one is going to be
critical without any chance of
comeback, it’s like hitting a
child”.

A HAND turns off the television. It’s Hancock’s. He slumps on
the bed in a towel , pours a vodka into a glass and smiles to
himself.
He picks up the ‘phone.

HANCOCK
Get me Mrs Sennett in Bournemouth,
England. (Pause) That’s right, my
Mum.

While he waits, he picks up a couple of tablets from the
bedside table.
He washes them down with vodka.

HANCOCK (CONT’D)
Mum. Guess who?

INT. TV STUDIO – DAY
PEOPLE doing things. Carrying cables, scenery. People
painting.
The PA exits from Hancock’s trailer.

PRODUCER
How is he?

The PA crosses his fingers and moves on.

PRODUCER (CONT’D)
Come on now people. We have a show
to put on.

The producer spots some of the team, watching.

PRODUCER (CONT’D)
I thought it was your day off?

STAGE HAND
Tony Hancock is in town.

PRODUCER
Hope he’s worth it.

The producer claps his hands.

PRODUCER (CONT’D)
Move. Someone get Tony. You.

A YOUNG GIRL is selected.
She nervously goes over to the trailer and knocks the door.
There is no response. She knocks again.

PRODUCER (CONT’D)
Just leave it. I’ll get him.

The girl runs off.
The producer loudly knocks the trailer door.

PRODUCER (CONT’D)
(shouting)
Coming in.

INT. TRAILER – DAY
The producer enters.
Tony is somewhere between Sydney and the moon.

PRODUCER
For fuck sake, what did you take?

HANCOCK
(slurred)
You know….what Sid said about me?
He said….what was I talking
about? Oh yes, Sid. He said….that
I have the best timing in the
business. The best.

Hancock is not in charge of moving his head; it has its own
life.

INT. TV STUDIO – DAY
There are many EXPECTANT FACES as Hancock and the producer
emerge. However this turns to disappointment as the producer
supports Hancock from the trailer. He carries him to the set.

PRODUCER
Come on people. We have episode six
to put in the can.

The enthusiasm has eroded in the studio, everyone is going
through the motions.

STUDIO LATER
Hancock stands ready, however his face shows that although
the light may be on, nobody is home.

DIRECTOR
All you have to do is pick up the
‘phone.

Hancock nods like a drunk.

DIRECTOR (CONT’D)
And action.

Hancock lifts the receiver, dials very badly then ‘speaks in
tongues’ into the phone.

DIRECTOR (CONT’D)
Cut. That’s the sixteenth take and
that bastard is incapable of saying
a line.

Hancock stands lost and sweating from head to foot.

DIRECTOR (CONT’D)
Hancock, you c*nt. Get out there
and act.

Hancock is in turmoil. He is practising ‘Chinese burns’ on
his wrists.

DIRECTOR (CONT’D)
(to producer)
Are you going to fucking call
someone?

The producer nods. A PA hands him a phone.

PRODUCER
(into phone)
Get me the Managing Director.

INT. HOTEL ROOM – DAY
This is another time and another place. Hancock is shaved,
dressed and sober.
He sits reading the paper and drinking coffee.
A KNOCK at the door.

HANCOCK
(with gusto)
Enter.

The producer enters.

HANCOCK (CONT’D)
Coffee?

PRODUCER
Please.

The producer sits as he pours him a cup.

HANCOCK
So, did you see yesterday’s rushes?

PRODUCER
Ehm…no, not yet.

HANCOCK
Well, we can look at them today.
I thought yesterday went well.

These two guys are remembering different days.

PRODUCER
If you say so.

HANCOCK
Of course, I say so.

Hancock gets up.

HANCOCK (CONT’D)
Well, come on. Let’s get a move on.
Hancock is already out the door.

HANCOCK (O.S.) (CONT’D)
Come on.

INT. CAR – DAY
The producer looks at Hancock, not sure who is riding in his
car.
Hancock is happy and smoking.

HANCOCK
I’ve got to get me Mum something.

Silence.

HANCOCK (CONT’D)
I hear the contract is for 26
shows. I was thinking I might do it
in three batches and head home. See
Mum and Joan. What do you think?
Silence.

HANCOCK (CONT’D)
Have I upset you?

PRODUCER
No. The Managing Director wants to
speak to you when we get in.

HANCOCK
Any idea, about what?

The producer looks at Hancock. Then shakes his head.

HANCOCK (CONT’D)
Can’t be too serious then.

There is a look on Hancock’s face as if he may know what the
talk is about.

HANCOCK (CONT’D)
We could always take the whole
thing back to England.

PRODUCER
If you don’t do it here, it’s all
over. If you fuck up in Australia,
there’s no where else to go.

The car pulls into the studio gate.

INT. PRODUCER’S HOTEL ROOM – NIGHT
The producer sits going through some paper work.

The phone RINGS.

PRODUCER
Hello.

HANCOCK (V.O.)
Evening.

PRODUCER
Tony.

HANCOCK (V.O.)
I’ve decided. I’m going to take the
cure.

PRODUCER
Where are you?

INT. HOSPITAL ROOM – NIGHT
Hancock sits in a hospital gown.

HANCOCK
Cavell House Private Hospital at
Rose Bay. That bastard said it was
this or the first bloody ‘plane
back to Blighty

...........to becontinued

boy
2.BURIED  
(Warning – Strong Language and Adult Situations)

First Ten Pages of a Script

Episode One –  “The House of Tricks”.

BLACK SCREEN
FRAN (Voice over)
It’s sad when you get hurt so much that you can finally say,
‘I’m used to it’.

CAR ENGINE.
FADE IN:

EXT. STREET. 1966 – NIGHT
A DARK CAR cuts through the night like a shark.

INT. CAR. 1966 – NIGHT
Ribbed leather rear seat of an expensive car, probably a 1960s Rover.
Light from the occasional street lamp sweeps across the seat.
The car slows then stops, and a back-door opens.
The driver CLICKS the dial of the car radio, it sweeps through radio stations. It settles on something SOULFUL.

A CHILD, FRANKIE, his face is 14 years old, his eyes are ancient, slides onto the seat.
FRANKIE smiles over to someone, probably the driver. Then the usual terror makes his face adopt a grimace.

This kid has done all this, too many times, before.
Frankie closes the door.
The car drives off.
The street lights illuminate a thoughtful boy with a million things on his mind.

LATER
The car slows once more, and stops.
This time, DAN, 10 years of age and terrified, slips onto the seat next to Frankie.
Frankie doesn’t look at the kid, he just slides over.
Tears are forming on DAN’S FACE.

With both boys staring straight ahead, Frankie places his hand on top of Dan’s, then puts his fingers between Dan’s (as if to say, I’m here too).
SOMEONE outside the car, straightens Dan’s clothes, pats down Dan’s hair, and then closes the car door.
The CAR SPEEDS away.

INT. WESTMINSTER SQUARE. 1966 – NIGHT
Dan looking haunted out of the window of the car.
CAPTION: “LONDON – 1966”
The CAR drives around WESTMINSTER SQUARE.

EXT. GARAGE. 1966 – NIGHT
The CAR drives through the entrance of an UNDERGROUND PARKING AREA.

INT. GARAGE. 1966 – CONTINUOUS
The car stops beside several Bentleys, Rollers and Jaguars.
A LARGE BOUNCER TYPE – (we take it he’s the driver) – gets out and opens the door for the kids.
Frankie has done this all before, he knows the routine and where his place is in things.
The Bouncer waves to the boys to get out. Frankie stands beside the door – he looks back and sees Dan is sitting, petrified.

FRANKIE
Come on.

Dan still doesn’t want to leave the car.

FRANKIE (CONT’D)
I said, come on.

Frankie takes Dan’s hand and leads him out.

FRANKIE (CONT’D)
I’ll look after you.

Frankie means it.

DAN
I’m called D….

Frankie puts his hand over Dan’s mouth.

FRANKIE
Don’t tell me your name.

The two boys and the Bouncer walk across the garage to a private elevator.

INT. ELEVATOR. 1966 – CONTINUOUS
The lift doors open onto a sumptuous apartment.
This is a room full of MONEY and very little else. LUST has chased COMPASSION out of the door.
It is populated with the British establishment doing what they do best.

INT. THE HOUSE OF TRICKS. LOUNGE. 1966 – CONTINUOUS
Cravings being satisfied in every corner.
Frankie and Dan are standing in the middle of the room as OLD MEN eye them up.
As Dan becomes more anxious, Frankie squeezes Dan’s hand tighter.

SOMEONE grabs Frankie by his neck and drags him off to a room.
Frankie struggles to look back at Dan. Frankie smiles at him.
Dan is upset after being separated from his protector. Dan is standing isolated in a room of predators.

DAN
Don’t let them take me. Please, someone help me. Please. My name is Dan! Help me!

SOME OF THE ROOM turn for a second, smile at the boy, then turn away.

DAN (CONT’D)
Dan! Da….

Dan starts to cry. AN ARM picks up Dan and lifts him off to a waiting room.
Dan tries to hold on to the door frame, but his little fingers just scrape the paint and he’s pulled into the bedroom.

JIMMY (25) is the man who is keeping an eye on the room. He is watching and you can tell his mind is never on deep conversations; he is superficial.
Jimmy is conversing with several men. The ‘MINISTER’ is in his forties and overweight.

JIMMY
As you can see, new talent comes in all the time.

MINISTER
Fresh, delectable meat.

The Minister licks his lips and the OTHER MEN, laugh.

JIMMY
I prefer to say ‘fresh talent’.

MINISTER
Whatever you say James. Your parties are always a triumph.

JIMMY
You flatter me.

The Minister stuffs extra money in Jimmy’s jacket pocket.

MINISTER
I’ve had one helluva day in the House, so let me see the bait.

JIMMY
If you gentlemen will follow me. (To a TOPLESS MUSCULAR MAN)
My friends’ glasses are empty.

Jimmy snaps his fingers. The muscular man fills glasses.
The Minister rubs his hands, then grabs the bottle from the muscular man.
The Minister pushes himself to the front of the men and enters the room where Dan has been taken.

INT. THE HOUSE OF TRICKS. DAN’S BEDROOM. 1966 – NIGHT
A terrified Dan is tied to a bed and a LARGE MAN stands next to him. Dan’s mouth is silenced by tape.

MINISTER
Wonderful. Simply magnificent.

The Minister turns to the men.

MINISTER (CONT’D)
Gentlemen, behold the delicious quarry.

The Minister bends down beside Dan. He runs his finger over the scared boy’s hair, then lets his hand caress the boy’s face.

MINISTER (CONT’D)
Beautiful and fresh and ripe.

The Minister rips the tape from Dan’s mouth.

MINISTER (CONT’D)
I like to hear the whimpers – it makes me feel all warm inside.

The Minister looks at the men with him, and they all LAUGH.

The Minister puts his two fingers over the little boy’s mouth, who is about to say his name.

MINISTER
Shh, little one!

INT. THE HOUSE OF TRICKS. FRANKIE’S BEDROOM. 1966 – NIGHT
Frankie keeps looking back at the door, even although he is lying almost naked, face down on a bed.
The YOUNG MAN, who is surprisingly young (mid twenties), FORCES Frankie’s head to face forwards.
Frankie is ‘matter-of-fact’ about the process.

The Young Man is stripping off in the background.
The Young Man’s view of the naked Frankie lying face down on the bed.
The Young Man bends over and inspects a birth mark on Frankie’s lower back. From his accent and manner, this guy has been jettisoned out from a fifties’ public school.

YOUNG MAN
Interesting.

FRANKIE
What?

YOUNG MAN
That thing on your back.

The Young Man traces the mark with his fingers.

FRANKIE
The woman who delivered me was drunk.

YOUNG MAN
It rather looks like a strawberry. It’s…..pretty. Just like you.

The Young Man smiles to himself, then leans forward and kisses the birthmark.
The Young Man stands up.
The back view of the Young Man, naked. He has ROPES in his hand.

INT. THE HOUSE OF TRICKS. LOUNGE. 1966 – MORNING
THE MORNING AFTER THE NIGHT BEFORE. The sun is shining in the windows and bleaching away the debauchery of the previous evening.
The Rich and Famous have long since departed. They never spend the night in this type of place.

A TEENAGE BOY lies sleeping, half-naked on a sofa.
The CLEANER shakes the boy awake, who then starts to dress himself.
This is a business and everyone does their bit.

INT. THE HOUSE OF TRICKS. FRANKIE’S BEDROOM. 1966- CONTINUOUS
Frankie is sitting on the edge of the bed. He looks terrible but then again, he’s survived another night.
Bed sheets are strewn around the room, whatever went on in this place was wild.
The Cleaner enters and tries to ignore the boy. The Cleaner knows better than to say anything, but he can’t help himself and hands the boy his sweater.

FRANKIE
Thanks.

CLEANER
That’s all right.

The Cleaner smiles and continues cleaning up.

INT. THE HOUSE OF TRICKS. LOUNGE. 1966 – LATER
Frankie walks through the lounge and takes in the aftermath.
He heads for Dan’s Bedroom – he wants to make sure Dan is all right.

INT. THE HOUSE OF TRICKS. DAN’S BEDROOM. 1966 – CONTINUOUS
The room is empty except for the stench of depravity. There is blood on the sheets. Dan didn’t give up easily.
Frankie RUNS from the room.

INT. THE HOUSE OF TRICKS. BATHROOM. 1966 – CONTINUOUS
Frankie THROWS UP in the toilet. He probably does this every time.
Frankie has a gulp out of the water tap and then splashes his face.
Outside the bathroom, and reflected in the bathroom mirror, are TWO MEN (BIG MAN and FAT MAN) carrying a BODY wrapped in bed-clothes.

They continue into the lift.
The lift doors close.

INT. THE HOUSE OF TRICKS. LOUNGE. 1966 – CONTINUOUS
Frankie sneaks out of the bathroom and decides not to follow them by using the lift.
Instead, he uses a STAIRWELL that he has obviously used before.

INT. THE HOUSE OF TRICKS. STAIRWELL. 1966 – CONTINUOUS
Frankie looks carefully over the edge of the bannister.
NOISES from the guys in the garage, below.
Frankie creeps down.

INT. GARAGE. 1966 – CONTINUOUS
BIG MAN and FAT MAN dump the body on the ground, like a piece of meat.
Big Man opens the boot of the car and both men throw the body in the boot.
The door is SLAMMED shut.

BIG MAN
I’m going for a piss. Make sure he don’t run.
Big Man exits smiling at his own joke.
Fat Man smirks. He goes around the vehicle and lights a cigarette.
Seeing that the coast is clear, Frankie crawls over to the back of the car.
Frankie carefully opens the car boot, a little.

Fat Man, smoking, thinks he hears something, but sees a RAT moving across the floor and pretends to shoot it with his fingers.
Frankie holds the boot while pulling the cover off of the body.
Frankie jumps back.

There is Dan’s battered little face staring back at him. COLD and DEAD. His mouth is taped up.
Frankie has let the car boot swing up. This spooks Fat Man.
Big Man takes a gun from his jacket. Frankie scuttles behind the other cars. Both men search under the them.
Frankie crawls under from one car to another, as one of the men tries to grab Frankie.

BIG MAN
Come out you little shit.

Fat Man’s arm is attempting to grab under the car at Frankie.
Frankie scuttles quickly from underneath one car to another.
Frankie’s POV of the men’s legs walking around the other direction.
Frankie pushes himself out and runs for a door. It opens. He stumbles as he’s running so fast, but he scrambles up.

INT/EXT. TUNNEL. 1966 – CONTINUOUS
Frankie runs along a tunnel. In the background, Big Man and Fat Man are entering.
The door at the other end of the tunnel is BLOCKED by a PILE OF RUBBISH on the outside.
Frankie keeps kicking at the door. The rubbish slides and the door opens – enough to let someone the size of Frankie squeeze through.

EXT. LANE. 1966 – CONTINUOUS
Frankie runs down a lane behind the buildings.
At the end of the lane is a HIGH STREET, full of PEOPLE. Frankie disappears into the crowd as Big Man and Fat Man reach the end of the lane.
Big Man and Fat Man split up to search. Inside the crowd is Frankie getting lost and running.
MUSIC  plays and continues over the start of the next scene.
Camera lifts up over London and into the big blue yonder. We travel over distance and time, landing in…

EXT. RUGBY PARK. FIELD. PRESENT – DAY
MEN GRUNTING.
CAPTION: “PRESENT DAY”
THE CRUNCH of a RUGBY SCRUM. We are in the middle of it all, the grunts and the sweat.
A REFEREE looks into the scrum, then blows his whistle.
The MATCH is OVER.
The BULKY MEN head to the clubhouse.

We are interested in FRANCIS (60s). This is an old man’s league and these are old men.
CHARLIE (60s) one of the players from the opposing team slaps Francis on the back.

CHARLIE
Played well, Fran…..considering.

INT. RUGBY PARK. SHOWERS. PRESENT – DAY
Francis is showering in among the usual banter. These are all MAN BEASTS who have played this sport to a good level, once upon a time.
Francis turns his back to us in order to wash. On Fran’s back is the strawberry birthmark we saw earlier. It might be older, and more tired, more wrinkled even , but it’s still the same one.

INT. RUGBY PARK. BAR. PRESENT – DAY
Charlie, from earlier, is at the bar, he brings over the TWO BEERS to the table, where Francis is sitting.

CHARLIE
Fran.

FRANCIS
God bless, Chaz. God bless you my friend.

Charlie sits down.

CHARLIE
Not enough to let us win, apparently.

FRANCIS
What can I say, the man upstairs supports Heaverbrook Over 60s. Always has.

CHARLIE
How’s life, anyway, you old scoundrel? How’s the family?
……..to be continued.

Dinosaurs-Cartoon-Style-Vector
3. FRANKIE & DINO

A couple of pages out of a script written for a US kids’ animation

EXT.DINOCAVE. DAY
DINO (pronounced Deeno) the young dinosaur is watching his
father (his hero), FRANKIE brushing his hair in the mirror.
Dad likes what he sees.
Next to the mirror is a photo of a dinosaur who resembles
Dean Martin.

FRANKIE
Did I ever tell you how your mom and I came to name you, Dino?

DINO
(to himself) Yes, dad it …

FRANKIE
It was after that great dinosaur
singer, Dean Martinsaurus.

FRANKIE gives the photo a polish while he starts to SING.
DINO covers his ears.

FRANKIE (CONT’D)
“When the moon hits your eye like
a Jurassic sky, that’s
Dinosauria”

With the singing over, DINO takes his paws away from his
ears.

FRANKIE (CONT’D)
Ain’t you excited? Heck! I know I am.Me and my son in our first
trek into…
(Frankie sings this bit)
“ta..ta. ta.ta..the Unknown
Forest”
FRANKIE looks at DINO.

FRANKIE (CONT’D)
Ain’t you even the slightest bit
excited?

DINO
Sure, dad but why do they call it
the Unknown Forest?

FRANKIE
It’s not the (Frankie uses rabbit
ears quotation marks with his
fingers) “Unknown Forest”. It’s
the
(Frankie starts to sing
this bit again)
“ta..ta. ta.ta..the Unknown
Forest”

DINO
But why, dad?

FRANKIE
Because, it’s unknown and it’s a
forest.

DINO
But fathers and sons go there
every year. Don’t they know it
even a little bit by now?

FRANKIE
Dino, it’s not good to ask too
many questions.

DINO
That’s not what my teacher says.

FRANKIE
She’s doesn’t know what she’s
talking about, she’s just a
Microraptor.

DINO
She’s smart.

FRANKIE
She’s small. Small raptor, small
brain.

DINO
She says you’re the smartest man
in Dinosauria.

FRANKIE
She said that?

DINO
Sure did, dad.

FRANKIE
You must introduce me next time.
FRANKIE looks back at the mirror and GROWLS at what he
sees.

FRANKIE (CONT’D)
You monster!
FRANKIE winks at his reflection.

INT.PATH ON THE WAY TO THE UNKNOWN FOREST
FRANKIE and DINO trudge on. 
 
DINO
Are we there yet?

FRANKIE
We’ve only just left.

DINO
So we’re not there yet?

FRANKIE
No. Patience, my son.

DINO
Are we there yet?

FRANKIE
Can’t you do something? What about Eye-Spy?

DINO
Dad, that is so last ice age.

FRANKIE
Well what about that thing you’re carrying?

DINO
Oh, okay dad.
DINO takes a large shell he’s been carrying and puts it to his ear. DINO seems pleased.

FRANKIE
So what is that thing?

DINO
It’s a SyPod, dad. You can hear the sea. All the kids have got one.
FRANKIE walks on totally amazed.

FRANKIE
What will they think of next? Jeez…
FRANKIE and DINO reach the edge of the Unknown Forest. 
There is a long QUEUE of DADS and KIDS.
As FRANKIE and DINO arrive at the back of the queue, the rest turn.

ALL
HI!  

DINO/FRANKIE 
Hi. 
HERBIE, the Unknown Forest guide, is walking down the queue selling stuff from a basket. 

HERBIE 
(to FRANKIE)
Map of the Unknown Forest?

FRANKIE looks at DINO who is looking back at his hero. 

FRANKIE
No thank you sir, we don’t need a map of the
(Frankie starts to sing
this bit again)
“ta..ta. ta.ta..the Unknown
Forest”

HERBIE
Whatever.

HERBIE starts to walk on, when DINO’s back is turned. 
FRANKIE whispers.

FRANKIE 
(whispering)
Can I have a map, just in case?

HERBIE
Hey I ain’t got all day, bud.

FRANKIE hands over the money and HERBIE hands him the map. 
DINO turns around. 

DINO
What’s that you got there, Dad?

FRANKIE hides the map behind his back.

FRANKIE
It’s a surprise.  

The Queue moves 

DINO
Is it a free pass to all the rides in Dinosauria?

FRANKIE
Nope. Now looky here, the queue’s moving. Let’s walk.

DINO
Is it a lifetime supply of DinoCola?

FRANKIE
Nope. Where do you get this stuff?

DINO sees it’s just a map. 

DINO
It’s just a map, Dad.

FRANKIE
It’s not just a map. There’s where you’re wrong.It’s a map
to (Frankie starts to sing
this bit again)
“ta..ta. ta.ta..the Unknown
Forest”

DINO
If you say so. (to himself) It’s not that unknown, then.

FRANKIE and DINO are now at the entrance to the Unknown Forest. AVOLONIA is there to greet and meet. 

AVOLONIA
Hi boys! Aren’t you two cuties.

FRANKIE
I like to think so.

AVOLONIA
So welcome to the  

(She sings
this bit)
“ta..ta. ta.ta..the Unknown
Forest”

FRANKIE looks at DINO with ‘I told you so’ expression.  

AVOLONIA
If you two boys could just shuffle over to the Father/Son Welcome Area,
little old me would be real grateful.

FRANKIE
Let’s go son into the….

DINO
I know, Dad. ‘Ta…ta…the unknown..’

 Excited FRANKIE is already way ahead.

……..to be continued


bobby stevenson 2016





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