Myra McWethy


Theatrical Fantastical

A 40-minute children's educational musical
by
Myra McWethy

c. 2001 by author. All rights reserved.
CAUTION: Professionals and amateurs are hereby warned that “Theatrical Fantastical” is subject to Royalty. It is fully protected under the copyright laws of all countries in the Copyright Union. For Royalty rates, please contact Myra McWethy at the email address listed at her website: www.myramcwethy.com
Originally commissioned for the Actors Alliance of San Diego and the Institute for Arts Education
Originally Produced by Myra McWethy, the McWethy Family, and the Actors Alliance of San Diego

Characters:
Narrator (can be male or female – 18+)
A guy (18-40’s)
A gal (18-40’s)

Stage is set with a tri-fold set, festooned with leaves and branches. There is a tray of flowers
downstage center.
Narrator comes through center panel of set.

Narrator:
Once upon a time, a long, long time ago…
(Gal is dressed in cavewoman outfit. She is picking flowers. Suddenly, the guy, dressed as a
bear, sneaks up on the gal, frightens her, and chases her around the stage. He trips and falls,
she escapes.)
Narrator:
Later that night, when the girl’s father got home from tending his heard of wooly mastodons, she
told him what had happened to her during the day…
2
Gal:
(In a mono-tone voice)
I almost got eaten by a bear today.
Guy (as Dad):
(Bland)
Oh.
Narrator:
The girl was puzzled. Her dad didn’t seem to understand that she had almost been eaten by the
snarling teeth of a giant bear. So she tried again.
Gal:
(Just as bland as before)
Dad, I almost got eaten by a bear today.
Guy (as Dad):
(still mono-tone)
Yes, dear.
Narrator:
The girl puzzled even more. Her dad wasn’t hip to her grove, wasn’t going with her flow…he
was being a total blockhead!
Gal:
Hmm…
Narrator:
…she thought. How can I get my dad to understand the danger I faced today? How can I let
him know how frightened I was, how brave I had to be?
Then suddenly it occurred to her!
Gal:
(In a bland voice) I can state the facts, or (in an animated tone) I can tell him the story of what
happened to me today!
Narrator:
(Excitedly) And at that very moment, the Art of Storytelling was born.
Gal:
(With animation)
Daddy, this afternoon I was picking flowers in the field when a 20-foot tall bear snuck up behind
me and tried to eat me with his giant teeth. I ran as fast as I could, but the bear was getting
closer and closer. His paws touched my shoulders. I thought I was a goner. Suddenly, the
bear tripped over some flowers, and I made my escape. Oh, Daddy, I was scared, but I knew I
had to be brave and smart. I’m so happy to be home with you, safe and sound!
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Narrator:
And finally, the Dad really listened to his daughter, and really heard about her horrible
experience. He was so proud of her, of how she outsmarted the bear, that he wanted all his
friends and neighbors to hear her story.
Guy:
I want all my friends and neighbors to hear her story!
Narrator:
But how could they do that?
Gal:
We could get a whole bunch of people to sit in chairs (or “on the floor” depending on how the
actual audience is sitting) and I could tell my story again?
Guy (as Dad):
(Pondering) A whole bunch of people sitting in chairs (or “on the floor”) to listen a great story?
(To the daughter and narrator) Could we really get people to do that?
Gal:
(heading off the stage into audience from SL)
We could try.
Guy:
(heading off the stage into audience from SR)
Yes, we could try!
Gal:
(sitting among the kids)
They could sit like this!
Guy:
(sitting among the kids)
Or like this!
Gal:
What do we call these people sitting out here listening to a great story?
Narrator:
(Thinking, then coming up with an idea) We could call them an audience.
Guy:
(turning to the kid next to him)
Audience? How does that sound to you?
(hopefully kid says or nods that it is fine.)
Then we’ll call these people out here the audience.
Oh, but what should the audience do while they’re out here?
Narrator:
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The audience sits out there and enjoys what’s going on up here on stage.
Gal:
Sounds great. So what happens next?
Narrator:
All right, check list. First we have to have a good story to tell. We’ve got that. Then you need
an audience to listen, and a stage to perform on. We’ve got those. So, now she’s ready to tell
your story.
Gal:
(running up to the stage)
Great!
(she takes center stage) (With flair)
This afternoon I was picking flowers in the field when a giant 20-foot tall bear…
(she stops herself, and looks at the narrator)
Hey, my story would be a whole lot more fun for the kids out there if I was to have someone
pretend to be the bear, so in addition to my words, I could show them what happened to me.
Narrator:
(smiling)
Sounds like a wonderful idea. When you act out a story instead of just telling a story, it
becomes a play for the theatre. A great story always has interesting characters, and in the
theatre these characters are portrayed by people we call actors.
Gal:
If my friend there (pointing to the guy) agrees to be the bear, would he be an actor?
Narrator:
Anyone who gets up on a stage and is part of a story is an actor, girl or boy, whether they are
playing a king, a daisy, or even a bear.
Gal:
(motioning to Guy to come up on stage)
Then you play the part of the bear, okay?
Guy:
(now on stage)
Sounds like fun.
Let’s do it!
Gal:
(taking center stage)
This afternoon I was picking flowers…
(guy walks in doing bear things but not in costume, nor in character)
(to guy) What are you doing?
Guy:
I’m being a bear. (Does some funny movement, not at all fierce)
5
Gal:
That’s not a ferocious bear! And you came up next to me way too soon in my story.
Guy:
Well, I didn’t know when to come in!
(Guy and Gal look to Narrator for help)
Narrator:
Oops, sorry guys. In the theatre, we’ve solved this problem by having what we call a script.
Guy & Gal:
A script?
Narrator:
A script is the story written down on paper. And not only is it the story, it also tells the actors
what parts they will be saying, when they should come on to the stage, when they should leave,
and all sorts of other useful information.
(handing Gal a script)
Gal:
Wow. These script things are sure helpful! Look! (to guy) Here’s where your character comes
into the story.
Guy:
(Pointing to where is says for the bear to enter) Got it. Can we try again?
Gal:
(Once again taking center stage) All right? (Guy nods off left. Gal draws a big breath then
begins her story again.) This afternoon I was out in the field picking flowers when a giant 20-
foot tall bear sneaked up behind me.
Guy:
(He does his part but it is not at all scary.)
Grrrrrrrr….
(He knows that he is not effective as the bear. To Gal and audience)
I’m not scaring you, am I?
Gal:
Like no!
(To narrator) What’s wrong?
Narrator:
Well, there are a few things I could suggest.
Guy:
I’m open.
Narrator:
Okay. First, you might want to think about the character that you are trying to portray.
Actors must figure out what makes the character they are playing tick.
6
Guy:
Well, how does a bear tick?
Narrator:
Think like a bear. Bears get hungry. When he sees the little girl, maybe he’s thinking she would
make a tasty lunch?
Gal:
(Pointing to Guy)
What else can help him? I mean he doesn’t even look scary, (to audience) does he?
Narrator:
Well, sometimes a costume can help both an actor get more into a character, plus it can help
the audience understand who and what the character is much better.
Gal:
(to guy) So put on the bear head. (Helps him put it on) He looks a lot more like a scary bear
now! Make a scary sound with your voice.
Guy:
(sounding ferocious) Grrrrrr…
Gal:
(to audience) Much better, right?
(to narrator) So, what else can we do to make our storytelling better? Can I add more people to
my story? Can I change the ending?
Narrator:
Of course. The author of a play can do almost anything they want to do. With a play, the
person who writes it can tell whatever story they want – whether it really happened or not. The
playwright can create as many characters as needed to tell the story.
Gal:
What if I wanted to make the bear a wolf?
Narrator:
No problem.
(Guy takes off the bear head and puts on wolf head.)
Gal:
(Looking at the wolf character) I like the wolf idea better than a bear. (An idea) And what if I
wanted a costume on? Could I do that too!
Narrator:
Sure! Why don’t you look around the stage and see if we have anything for you to wear.
(Gal goes behind curtain)
Guy:
(to Narrator)
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Can you be in our play too?
Narrator:
(touched and taken aback)
Well…. Of course, I’d love to be in your play. But what part could I play?
Gal:
(coming out with a red cape and white rag hat)
I found these two things back there. Which one do you want?
Narrator:
(choosing the white rag cap)
This will do nicely. (To Gal) You’d look good in red.
Gal:
(putting on a red hooded cape)
Hey look, it’s got a hood!
Narrator:
(putting on the white cap)
And look at me! I look like somebody’s granny!
Gal:
(laughing) You look like my grandmother!
Guy:
(excited) So, what do we do next?
Narrator:
Well we could add some scenery.
Guy:
I know what that is! That’s like trees and chairs and doors and stuff!
Narrator:
Right you are! Why don’t you two get some scenery.
Let’s make us a forest.
(Guy turns set pieces around to form cottage and trees)
And now some props! Props are the items that actors hold when they are on stage.
Maybe a basket for our little red hooded girl here (handing her a basket), and maybe some more
flowers on the ground for our red-hooded girl to pick.
Gal:
And I think our wolf guy should have a wolf nose and sharp teeth!
Granny has to have something too!
(holding out a pair of wire-rimmed glasses)
How about these?
8
Guy:
(looking at Narrator – judging as Narrator puts them on)
Looks right to me. (Pause)
And now what?
Narrator:
Well, we can add sounds (To Guy) How about some sounds of the forest?
Guy:
Let’s get the audience to help us!
(They divide the audience in thirds and get each group to help them make the sounds)
This third make the sound of the wind! (Demonstrate)
Narrator:
And this section can help me make the wind howl! (Demonstrate)
Gal:
And you guys can help me hoot like an owl! (Demonstrate)
(Make noises for a short while with kids, then finish.)
Narrator:
Fantastic everybody! And if we want, we could change the lighting to create more atmosphere.
(If you have the ability to change the lights, do so, otherwise, just tell them about the lighting.)
Red lights would make it appear spooky and blue light could be like the moon shining down.
Gal:
This is really getting fun!
So are we ready to put on our play now?
Narrator:
(holding back guy and gal)
Not so fast! First we must rehearse our play. (guy and gal are noticeably upset)
Don’t worry guys. Practice makes perfect.
Guy & Gal:
Yeah, yeah, yeah… (turning off sounds and music)
Narrator:
Rehearsal is when the director takes the script and the actors and puts them together to make
stage magic!
Guy:
What’s a director?
Narrator:
The director is the person who stands in the audience while the actors rehearse to make sure
that the play becomes something wonderful.
9
Gal:
Well, we want to be wonderful. So, I guess we’re going to need one of those director people!
Guy:
(looking at the three of them on stage)
Who can we get to direct us?
Narrator:
(as all three look out into the audience)
I could do it, but I’ll need assistants. (Narrator goes out into the audience to find two volunteers.)
Guy:
(asking the Narrator, looking at kids) What do directors and their assistants do now?
Narrator:
Well, director’s do a lot of pointing, and when the actor’s ask if what they are doing is right, the
director either says, “Well done,” or “Try something else,”
Guy & Gal:
(They strike 4 distinct poses while Narrator instructs assistant directors to say “Well done” and
“Try something else.”
Narrator:
(When finished “directing”….)
(to audience)These kids are natural directors! We’re so lucky to have them!
(To audience) Let’s give a nice round of applause to our fabulous director’s assistants!
(Leads applause)
Guy & Gal:
(ad lib)
He/She was a great help.
They gave me so much insight into my character.
If I win a Tony Award, I’m gonna put him/her in my acceptance speech.
This role is gonna make my career!
Narrator:
(To guy and gal as she joins them back on stage) Well, that was a great rehearsal of our play,
wasn’t it?
(To gal as they return to the stage) What are we going to name our play?
Gal:
(Thinking) How about “A Girl Goes Out into the Woods and Gets in Big Trouble with a Wolf”
(She has a sign with this on it)
Narrator:
(Narrator and Guy look at each other then frown)
Naw, too long. (to audience) Don’t you think?
Guy:
(Hinting to the kids) Way too long!
10
Gal:
(Thinking again) How about, “Ah!” (holding up sign with this on)
Narrator:
(Narrator and Guy look at each other then frown.)
(to audience) Naw, too short. (to audience) Don’t you think?
Guy:
(Covering his ears) Too loud!
Gal:
(Touching her cloak and hood – at the end of her rope)
Okay, how about Little Red Riding Hood?
Narrator & Guy:
(looking at each other, smiling, then out to audience) Sounds great!
Gal:
(relieved) All right then, can we get started?
Narrator:
Lastly, you need to decide what style do you want to do the play in.
Guy & Gal:
Style?
Narrator:
Yes, theatre style. From the earliest history of theatre, play have been presented in all sorts of
different ways.
Gal:
Like how?
Narrator:
Well, let’s see. There’s Greek drama, the oldest drama’s we know of that were written down, the
No Theatre of Japan where all the actors wear masks, Commedia del’arte, the poetic kind of
plays William Shakespeare wrote…
Guy:
Could we do them all?
Narrator:
Not at the same time! (Getting an idea) But why don’t we tell our “Little Red Riding Hood” story
showing the kids three or four of these different styles of theatre?!
Gal:
Sounds like fun!
Narrator:
11
Why don’t we start the play in the style of ancient Greece?
Guy:
Ancient Greece? Why Ancient Greece?
Narrator:
Because many consider Ancient Greece the birthplace of theatre. We have written proof of a
play being written and produced by a guy named Thespis in 534 years B.C.E.
(Guy and Gal put on choir robes during the next speeches and help narrator puts on choir robe
and headdress.)
Guy:
Thespis? Hey, isn’t another name for an actor a Thespian?
Narrator:
Yep. In honor of Mr. Thespis, actors are sometimes called Thespians. But plays back in Greek
time were a little different than the way they are today.
Guy:
Would you guys like to see how they did plays back 2,500 years ago in Ancient Greece?
(Try’s to get them excited about the idea)
Narrator:
Okay, all right, lets give it a try. (to guy and gal) Let’s huddle, and I’ll tell you what to do.
(The get into a huddle –traditional shoulder holding, then a few seconds later break.)
Break!
(Guy and Gal stand together in Chorus position, Narrator stands in front)
I ask the gods some respite from their weariness
Of watching we mere humans in our folly and silliness
You see this company of humble actors
As we embark to honor you, our benefactors.
Oh, hale, blaze of light, harbinger of the day’s shining,
We speak to those who understand, a tale to entertain and teach
For living in San Diego county, we know they’d rather be at the beach.
Guy & Gal
(Standing and chanting as chorus)
Long, long, long ago
In a place not too far away
Lived a girl and her father
Who didn’t like his daughter to stray.
Narrator:
Danger, Danger, Danger!
Guy & Gal:
(as chorus)
Danger, danger, danger.
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Narrator:
Sing danger, sorrow, but good win out in the end.
Guy & Narrator:
(as chorus)
One day, Little Red Riding Hood.
Narrator:
(During this speech, she gets her basket and Guy helps Gal put on her red hood)
(interrupting) For so she was called since she would wear no other cloak
Than the red velvet cape her beloved grandmother made
The one with the hood
That tied in a bow around her throat.
Gal:
(now as RRH)
“Father is off in the village, earning his daily pay.
I hope you do not think my thoughts too silly, dear audience
For it is my wish to go forth through the woods.
I will bring this basket of bread to my sweet grandma
With cakes and butter to make her well,
For the wrath of the evil gods has seen fit to strike her down with fever,
And I must be the messenger to show the good gods where to grant her favor.
Narrator and Guy:
(as chorus)
Don’t stray from the path!
Don’t stray from the path!
For if you do Little Red
You will invite the god’s wrath!
Gal:
I call a long farewell to my home.
(a grand gesture)
Narrator and Guy:
(as chorus)
If you stray from the path you might get lost in the woods!
Guy:
(echo) Woods!
Narrator:
(echo) Woods!
Guy:
(echoing softer) Woods!
13
Narrator:
(echoing softer) Woods!
Gal:
How I will give honor to my family by doing this good deed.
Narrator and Guy:
(as chorus)
Danger, danger! Stay true to your course.
Gal:
My Grammy will feast on these most lofty gifts,
And my heart will be light with joy.
Narrator & Guy:
(as chorus)
Promise us you will be good
Stay on the path and do as you should.
Gal:
Through the woods to the other side,
To Grandmother’s house I go!
Narrator:
(as chorus leader)
Down the path she skips and skips
A happy tune comes from her lips.
Hark, good shepherd watch your flock
For danger lurks just down the block!
Guy:
(Breaking the scene, out of character)
Hey, this Greek stuff is kind of lofty.
Narrator:
(out of character)
Yep. Greek theatre was known for it’s chorus – not like we know a singing chorus of today, but
a group of two or more people always on stage who in unison would give the audience some
background about the play, and then continually make comments about the action of the
characters.
Gal:
That’s a kind of funny way to do a play.
Narrator:
But the people back in Ancient Greece loved these kinds of plays.
14
Guy:
Can we try another kind of theatre style?
Narrator:
Sure. Let’s see. In the story, the wolf is about to come on to the scene.
Guy:
(Realizing it’s him he starts to move to change costumes) That’s right! I’m the wolf!
Narrator:
(snaps fingers) I’ve got it, let’s switch to melodrama.
Gal:
What’s melodrama?
Narrator:
(As she delivers this speech, Guy and Gal are changing into their Melodrama outfits)
Well, we’re going to jump forward in time over two thousand years. It’s the time of the Old West:
covered wagons, the gold rush, good guys in white hats versus bad guys in black hats. In
melodrama, instead of a chorus of people on stage to comment about the brave or foolish
actions of the characters, the audience was encouraged to cheer or boo for the characters.
Guy:
This sounds like fun!
Narrator:
(indicating to his fellow actors) Let’s huddle!
(Huddle with hands behind back) Break!
So dear, sweet, innocent Red Riding Hood set off through the forest to bring bread and cakes
and butter to her ill grandmother. (She exits behind the set.)
(She starts to hum to the tune of “Over the River and Through The Woods”)
Guy:
(as wolf, dressed with a black cape and top hat, as RRH skip along)
Hello, little girl.
Narrator:
(holds up “Boo, Hiss” sign from behind set, and tries to get the audience to join in these words.)
(pointing to the wolf) Boo, Hiss
Guy:
(as wolf)
(turns to Narrator and give him/her a evil stare, then smiles at the audience and then at RRH)
Good morning.
Gal:
(as RRH, in a very sweet voice)
15
And a very good morning to you.
Narrator:
(holds up an “ahh, so nice” sign and tried to get the audience to join in these words.)
Ahh, so nice.
Guy:
(as wolf until further indicated)
Where are you going in such a hurry on such a fine day?
Gal:
(as RRH until further indicated)
Oh, I am taking this basket of cakes to my sick grandmother who lives on the other side of the
woods in the tiny cottage.
Guy:
How thoughtful of you, little girl!
(Then in an aside to the audience) I am so hungry. This little girl in a red riding hood would
make a tasty dessert, and if I play my cards right, I can have the grandmother for a hearty lunch.
I know where the tiny cottage is, and now I know through the careless chatter of this foolish girl
that her grandmother is there alone and ill, and cannot defend herself against my teeth and
claws. (Evil laugh) Ha, ha, ha, ha, ha!
Narrator:
(with sign to audience) Boo, Hiss.
Guy:
(To Narrator) Hey, a wolf’s gotta eat, man! (To audience) Boo hiss to you!
(back to RRH) Tell me, Little Red Riding Hood, why are you walking so quickly?
Gal:
Well, my father always told me when I am in the scary woods to stay on the path because there
is danger off the path.
Guy:
(sneers at the audience, then smiles back at RRH)
Danger? There is no danger in the woods. Look around you. There are tall trees, sweet
singing birds, little bunny rabbits (smiles, then tosses the stuffed bunny hidden in the flowers
over his shoulder to the back of the stage), and beautiful flowers.
Gal:
(looking around her)
It is a beautiful morning. You’re right Mr. Wolf, I should not fear if I step off the path!
(to audience) Oh, happy day. To have made a new furry friend is such a delight.
Narrator:
(with sign) Oh, careful Little Red! Danger!! Danger!!
Guy:
16
How happy your grandmother would be if you took your time to pick her a bunch of sweet
flowers. Certainly there can be (to Narrator who is peaking out) “no danger” in picking flowers!
Take your time, then show up at your grandmother’s cottage some time after lunch.
(aside, to audience) I’ll eat grandma with catsup and mustard for lunch, then sprinkle chocolate
dust over this tasty morsel for a dessert to remember! (Evil laugh and exits)
Gal:
(As she delivers this speech, Guy and Narrator turn the set around to the inside of the cottage,
and Guy puts Home Sweet Home on SR panel.)
(To audience) I an not afraid. My father is an old fuddy-duddy who worries too much. I know
from my new friend, Mr. Wolf, that the woods are safe. I shall pick a basketful of flowers to
make my grandmother happy. (Melodramatically) Plus, any extra flowers I pick I can sell later in
the village and help papa pay the rent and keep our evil landlord from throwing us out in the
street! (She skips as she exits, gathering flowers)
Guy:
(Sneaking out audience, pointing to the exiting LRRH) While this fool picks the stinky flowers, I
shall run strait to her grandmother’s cottage.
(Turns set to show Home Sweet Home sign. Knocking at the cottage door)
Narrator:
(The narrator, now dressed as Granny comes to the door)
Who’s there?
Guy:
(snickering to audience, then turning back to the door, and in a high voice)
It’s me, Grandma, Little Red Riding Hood. I’ve brought you a basket full of good things to eat.
Oh Grandma, open the door!
Narrator:
Just come in, my dear. The door is open.
Gal:
(holding the sign from behind set) Danger, Danger!
Guy:
(He enters the house, but there is no one there.) Oh, Granny, come out!
Narrator:
(Entering through middle curtain. She is unable to see, even with her glasses)
Oh, my dear Little Red. How nice it is to …. Ahhhhhhhhhh!
Guy:
(Guy stuffs Granny through middle curtain, and makes eating noises. When he backs out from
between the curtain, he now has a pillow under his costume so his belly is big.)
(He belches) Not the best meal I’ve ever had – but tasty none the less.
Gal:
(holding sign) Boo, hiss.
17
Guy:
Now it’s time to wait for desert to come to me!
(He puts on Granny’s mop cap and shawl and waits for RRH)
Narrator:
(Little Red skips out humming the “Over the River” song.)
(Holding up sign) Danger, Danger!
Gal:
(breaking character, breaking the scene, to Narrator)
Hey! Wait a minute! If the audience is telling me danger, danger, and boo-hiss, don’t you think
that (proudly) as an actress, I’d get what is coming next?
Narrator:
(as narrator) Sure, but that’s the fun of melodrama. But no need to worry because in
melodrama, good always triumphs over evil.
Guy:
(As he and Little Red are changing)
It’s kind fun how the audience got to participate. Most of the time an audience is expected to be
perfectly quiet.
Narrator:
No, not perfectly quiet, just respectful of the actors on stage. Watching a stage play isn’t like
watching a movie or TV at home. Usually, the smart people in the audience understand within a
few minutes after the play starts how they are expected to act as a member of the audience.
Guy:
(Honestly) Gosh, I feel just awful. (Indicating his wolf costume)I play this rotten character that
thinks only of himself and his hungry belly. He doesn’t think about the people he eats.
Gal:
Well, not everyone in the world is kind. And sometimes people need to be reminded that there
are mostly good people in the world, but a few bad ones that can sometimes spoil the fun.
Narrator:
Live theatre has always challenged the audience to learn, to grow, to change, to laugh, and to
live.
Guy:
What about that old guy, William Shakespeare? Isn’t he one of the world’s most famous
playwrights?
Narrator:
Yep! He wrote plays about history, about tragedy, and about comedy. And even though William
Shakespeare wrote his plays more than 400 years ago, people still go to see them today.
18
Gal:
I saw “Romeo and Juliet.” It’s so romantic – but a little sad too. And when I saw “A
Midsummer’s Night Dream” I couldn’t stop laughing. There is this scene where the lady is
kissing the donkey… I almost split my side open laughing.
Guy:
(looking at the audience) Do you think these guys would like to see our play done in
Shakespeare style?
Narrator:
Only one way to find out!
Guy:
(Guy and Gal start to put on their Shakespearean outfits, but Guy pauses and turns back to the
Narrator. Seriously…) Whoa! Wait a minute. I always heard that the fancy words in those
Shakespeare plays, well, that they are kinda hard to understand.
Narrator:
(As she gives her answer to the audience and her “cast”, Guy and Gal continue to change.)
Well, you have to remember, that when Mr. Shakespeare wrote his plays, there was no TV or
movies or computers or cd players. So his audience really, really loved it when the playwright
and actors painted beautiful pictures with their words. And today, yes, it’s a little hard to
understand the words at first, then, (turning full to the audience) all of a sudden, you in the
audience will begin to care so much about the characters up on stage, that you’ll forget any
thoughts of poetry, and just enjoy yourselves.
Guy & Gal:
(ad lib) Okay, we’re ready.
Narrator:
Huddle actors! (They place one hand each in the center of their circle.) Break!
Guy:
(they break, Narrator and Gal go behind set)
(To Audience, patting his big tummy) I am an Epicurean rascal!
Oh, this blessed hour!
The clock has struck one, the minutes wears on.
Now, the hot-blooded gods assist me! Continued…
Guy, continued….
Oh, powerful appetite makes a beast a man, and some others, a man a beast.
(Laughing) Oh, Jove, a beastly fault.
For me, I am here a (name of school) stag, and the fattest, I think in the forest.
Prithee, no more prattling, (to audience) go, for I hear the sound of my just desserts.
Gal:
(after knocking) O, sweet grandmother.
I come with gifts of the land so fragrant as to make the nightingales sing,
(Continued)
19
And gifts of the hearth so succulent that a payment of a hundred crown could not be but half the
sum of their worth.
May I enter and make your heart as light as the sweet tea cakes in my basket?
Guy:
As I am a true spirit, welcome child.
Good, in faith. Come in, hither to my side.
(aside to the audience) As a lamb, she comes to me.
Gal:
Oh Grandma, Grandma, wherefore art thou Grandma?
(she spots her and looks puzzled at her “grandmother” taking a few steps back.)
But soft, what light through yonder window breaks,
It is the east, and Grandma is …(aside to the audience) well, well, she’s looked better!
Hark, I guess a rose by any other name might smell as sweet…
(takes a sniff of her grandma) Nay, good goose, ‘tis not the smell of perfection.
But should she be banished from my heart for so small a fault?
(pulling herself together)
Good lady, I bid you all blessings.
Guy:
Merry, well said, very well said.
I appeal to your gentle spirit daughter,
Look you, dear girl, come closer still,
And in return, a surprise will be your reward.
Gal:
(moving a step closer)
Oh, grandmother, what big ears thee have, forsooth!
Guy:
Fie, child, all the better to hear you with, my dear!
Gal:
(moving one more step closer)
Oh, Grandmother, what big eyes doth thee have!
Guy:
Hark, all the better to see you with, worthy child.
Gal:
(moving a final step closer)
Alas and alak, Grandmother, what big teeth dost thou have!
Guy:
(changing the tone of his voice to that of the wolf)
Accursed be that tongue that tells me so!
For these teeth, child, (he turns and takes off the apron, then turns back to LRRH, showing his
true colors) are all the better to eat you with!
20
Gal:
(as she tries to escape the wolf)
Chill, beast, (Pausing, in horror of his bad teeth and breath) and pick your teeth, sir!
(as he grabs her, to audience)
What? No rescue?
Villain! Curse you, and (to the audience) curse this breach of luck!
(they freeze as he is about to eat her)
Narrator:
(breaking into the scene)
Wow, that was wonderful, guys!
Guy:
(Straightening up and shaking off the wolf character)
I guess it didn’t feel too weird to say all those fancy words.
In fact, I thought it was pretty cool.
Gal:
And not all the words were so old fashion. Some of them were pretty awesome! I liked the part
when I told the wolf to “chill, and pick his teeth.” Did Shakespeare really write that?
Narrator:
Yes. But it’s in one of his saddest tragedies, King Lear. And there were parts you spoke from
Romeo and Juliet, The Merry Wives of Windsor, As You Like It, Hamlet, and Macbeth.
Guy:
Maybe this Shakespeare isn’t so scary after all!
Narrator:
(As she delivers this speech to the audience, Guy and Gal take off their Shakespearean outfits.)
Theatre isn’t meant to be scary. It’s meant to challenge your thoughts, excite your imagination.
Gal:
You know, my favorite kind of theatre is the (she sings the next word with flourish) musicals.
Guy:
How about we switch styles again and try the last part of our story as a musical?
Narrator:
(taken aback) Well, I don’t know….
Gal:
Sure – it could be fun.
Guy:
Yeah, I got some tunes on the cd player!
Narrator:
21
(giving in) All right, let’s give it a try! Huddle team.
(the three actors huddle in “Strong Man” style, then break ready to start) Break! (to audience,
setting up the next scene) Okay, when we left off, the wolf had just eaten granny and is about to
eat Little Red Riding Hood.
(Begin Music Trak #1)
Guy:
(Music Begins)
(to the tune of “Summertime” by Gershwin & Hayward as he holds LRRH)
Suppertime, and the eatin’ is easy
Blood is pumpin’, the cholesteral’s high
Oh, your daddy’s gone
And your granny was tasty,
So hush little red hood
Don’t you cry.
Gal:
(to the tune of “Do It Again” by Gershwin and DeSylva)
Tell me, tell me,
What will you do to me?
I just got a chill
That was ill to me
When your fang teeth were pressed to me.
As you hold me
I am a-struggling
You should know I
Really am struggling
I’ve only met you
And I shouldn’t let you
SO…
Oh, don’t do it again
I must say no, no, no, no, no
Just don’t do that again.
My fists just ache to have you take the hit
That’s waiting for you.
You know when you do
You will regret it
So come and get it…
(Gal gets rope handed to her from Narrator behind center curtain, and wraps a rope around him
and he reels around. He ends up face to the audience)
Guy:
(to the tune of “This Nearly Was Mine” by Rodgers and Hammerstein)
(Looking at Little Red)
22
One dream in my heart, one meal to be living for
One treat to be feasting for, she nearly was mine.
One girl for my snack, my tummy in paradise
This promise of paradise, she nearly was mine.
Gal:
(to the tune of “Honey Bun” by Rodgers and Hammerstein)
(Poking at the Wolf)
A hundred and one tons of fun, that’s my big ole’ Honey Bun,
Get a load of big bad wolf, today.
I’m speaking of my Meaty Pie
Only Ninety inches high, every inch is packed with dynamite!
His hair is grey and surly; his eyes are hurley burley
His lips are pip, I call his hips Twirly and Whirly!
He’s my wolf, I’m his cap. He’s the booby in my trap!
He is caught and he so want’s to run, but I’m havin’ so much fun with Wolfie Bun!
(Music Stops)
Guy:
(Spoken. Struggling with his ropes.) When I get outta this mess, little missy, you’ll be the one
between the bun!
Gal:
Not so, shaggy man! I demand that you give up Grandma!
Guy:
(smug)
Make me!
Gal:
One Heimlich maneuver coming up!
(Gal turns Guy to center panel, his back to the audience and give him a fake Heimlich
maneuver. Behind the curtain, Granny sprays her head with green Silly String. Out comes the
pillow from Wolf’s tummy, he stumbles backwards and falls to the ground. Granny comes out
from behind the center screen as if she has just come out of the Wolf’s tummy.)
Narrator:
(sees Little Red, and crosses to her)
(Very confused) You won’t believe the awful dream I just had my dear. I dreamt that I was
eaten by a nasty old wolf. It was so dark in there… but it must have been just an awful dream
while I was taking a nap, eigh honey?
(Music Begins. Trak #2 To the tune of “The Music of the Night” by Hart & Lloyd Webber)
Nap time sharpened, heightened my sensations,
Darkness stirred and woke imaginations,
It seemed that all my senses
Abandoned their defenses
23
My life was in a cold, unfeeling light
And listening to the howling of the night
(Music Ends)
Gal:
(Speaking) But Granny, it’s true, you were in the stomach of this big bad wolf! But with some
quick thinking, a (drawing the wolf to his feet), and a (she show’s the Heimlich Maneuver –
dizzying the wolf), out you popped.
(Hugging her Grandma) Oh, Granny, I’ve learned so much today. I will never listen to strangers
who tell me to leave the right path I must take.
Narrator:
And?
Gal:
That I must always find the courage to stand up to wolves!
Narrator:
(Music Begins Trak #3))
(As a duet to “Someone Like You” by Wildhorn & Bricusse from “Jeckyll & Hyde”)
I’ve peered through windows
Watched life go by
Dreamt of tomorrow
And wondered why
Gal:
You help me see a world I’ve never seen before
Allowed to open every door to set me free
So I can soar!
Narrator and Gal:
If someone like you
Loves someone like me
Then suddenly nothing will ever be the same.
A new way to live
A new life to love
‘cause someone like you saved me.
(Music Ends)
Guy:
(tears coming to his eyes)
Aw, I feel just awful now.
From now on, I’m eating every meal at Carl’s Jr.
24
Gal:
Or Wendy’s – they’re open late!
Guy:
I’m starting a whole new life! This year is going to be the best year ever!!
Group hug?
(The narrator and gal hug for a moment, then go for the hug)
Narrator:
(LRRH “Play” is over. They break character.)
Well, that was fantastic!
I never really knew that Little Red Riding Hood could be told in so many different styles of
theatre!
Guy:
And each style of theatre lent a different slant to the story.
Gal:
The Ancient Greek stuff was very poetic and epic,
The melodrama was corny and fun,
The Shakespeare was classy and cool,
And the Musical version was clever and neat to listen to!
Guy:
(Interrupting) All right, we get it! Theatricals’ are fantastical!
Gal:
You bet!
Narrator:
So what shall we do for our big finish?
Guy:
How about one more song?
Gal:
(Pointing to cd player and asking Guy to start the tune. Trak #4)
Hit it!
(Begin Music)
(to the tune of “There’s No Business Like Show Business” by Berlin from Annie Get Your Gun)
There’s no business like show business
Like no business I know
Guy:
Everything about it is revealing
The joys and sorrows that we all go through
Gal:
Whether it’s the maiden getting even
25
Narrator:
Or granny’s eaten
Guy:
We love to watch.
Narrator:
The costumes, the scenery, the makeup, the props,
All:
The audience that lifts you when you’re down
Gal:
The headaches,
Guy:
the heartaches,
Narrator:
The forsake,
All:
the why
Narrator:
The cool schools that invite you into town!
Gal:
The opening when your heart beats like a drum
Guy:
The closing when our show here all done.
All three:
There’s no people like you people
Like no children we know
We think you are special and would fit no mold
So take some chances and make them bold
Still we wouldn’t change you for a sack of gold
We now end with our show
The Theatrical Fantastical show!
(Music Ends)
26
-End-
(Note: All songs are done with Karaoke music.)






Understanding Why “Good” People Do “Bad” Things

 

 

By Myra W. McWethy

 

UMASS-Boston   Fall, 2015

Process of Research & Engagement, CRCRTH 692

Professor Peter Taylor

22DEC2015

 

Note: This paper will also be used as the basis for work on two active projects in my life:

1.) As the basis of two consecutive class sessions for a new course I will be proposing to the University of California system, tentatively called, Philosophy: Making Better Decisions.

2. As research for a play I’m currently writing called, The Grey Place.

 

“Tell a Lie Once, and All Your Truths Become Questionable”

                                                                                                                                    -unknown

 

 Introduction

 

10 a.m. Thursday, December 23, 1976

Cook County Criminal Court, Chicago, IL
Judge Robert J. Collins, presiding

Sentencing portion for D. S. Frey

(This summary includes a basic history, then summary of today’s events.)

 

            On November 20th, 1976, Donald S. Frey was convicted by a jury of eight men and four women after two and a half hours of deliberation for defrauding his client, Virgia Moore, 46, Chicago, out of more than $20,000 in insurance payments after the death of her husband in 1969.  Other courts in and outside of Cook County still have outstanding cases against Mr. Frey for charges ranging from tax evasion, commingling of funds, other incidents of fraud amounting to more than $92,000, charges from the Illinois Bureau of Investigation, and, in Winnebago County, IL, for failing to post bond. Other charges filed in 1974-75 have been dropped for insufficient evidence, or after satisfactory settlement of claims.  Last December, Frey’s wife, Janet (aka Jean) Imbrie Frey was sentenced to one year on probation for perjury before a grand jury probe into her husband’s activities.

            Today, in the downtown branch of the Cook County Criminal court system, Mr. Frey received his sentence for forgery and theft. Thirteen witnesses came forward, all telling the court stories of their friend, former Evanston attorney Donald S. Frey. These accounts recalled the ten years, between 1960 and 1970 when Mr. Frey led the Freedom of Residence movement in Illinois, fighting realtors, communities, towns, counties, and the state to change their regulations and laws so that people of all colors could be shown and/or purchase homes in their economic parameters no matter the neighborhood, no matter, period.  Without the courage, fortitude, and intrinsic goodness of Mr. Frey, they declared, the state of Illinois, much less the entire nation, would have made no progress in the equal opportunity home-ownership area of the civil rights movement.

            Mr. Frey’s friends speaking on his behalf today are a somewhat “D List” of clergy, civil rights movement leaders, aldermen, civic advisors, and retired lawyers, both black and white, according to those in the press who would later rush to write their copy for the evening editions.  Along with reminding the judge of Mr. Frey’s litany of awards (including one given to him from Eleanor Roosevelt, and a nomination to the Supreme Court), the judge makes no indication of being swayed.  The final witnesses, all clergy, remind Judge Collins that sentence should be delayed. “After all,” one said, “Mr. Frey has an honorary doctorate in religion from the Evangelical Seminary in Evanston, and tomorrow is, after all, Christmas Eve.” As if they were reading from a script, they also added that their friend should either get probation or a work-release sentence, and by all means, no sentencing should start until after the first of the New Year.

            Finally, the disbarred lawyer took the stand.  Frey pleaded for mercy and claimed that he was a target of revenge in a “campaign to kill me” because of his former civil rights activities. 

            Judge Robert J. Collins rejected all of these requests. He said that the character statements were inconsistent with the fact that blacks had, “entrusted to this defendant their troubles, and he repaid them by taking their money.” 

            State Prosecutors Douglas Cannon and James Sternik argued for the stiffest jail term.

            Then, in what one reporter described as an icy voice, Judge Collins calmly, firmly, sentenced Frey to ten years in jail and fined him $10,000, imposing the maximum sentence.  “You have dishonored yourself, your family, and your profession,” the Magistrate noted.

            When the judge passed sentence, Frey hung his head. His wife and daughter wept.

            Frey’s lawyer, Robert Bailey, again asked for a postponement of the jail sentence until after the holidays.

            Judge Collins said: “Six years ago, Mrs. Moore had her money taken away about Christmas time.  Justice has been delayed for too long. There will be no more delays.  Mr. Sheriff, take him into custody.”

            Collins set January 13th for a hearing on the status of four remaining indictments.[i]

 

 

 

Understanding How People With Reputations of

Being “Good” Do Something “Bad.”

 

A revered civil rights lawyer goes to prison for stealing from his clients.

 

A trusted small-town Midwestern city comptroller gets caught stealing $53 million dollars

from the town she has lived in all her life.

 

A beloved spouse the community nicknamed “Honest John” passes away suddenly of a heart attack, and two days later, his family finds out he has defrauded them all by setting up and maxing out credit card accounts by forging their names.

 

            Virtually everyone in the world, from the beginning of time right through today, knows someone they believed to be good, but whom later it was revealed did something(s) bad.

            We are left in the wake of these people, stunned by their deception, ashamed of our inability to see through their scam, gossiping about them at the water-cooler, then suddenly realizing that a “bad” person could be among our trusted circle of colleagues, friends, or family.

            I became interested in this phenomenon when, during my first job after college, I befriended a woman who I thought was a pillar of goodness, charity, and virtue. (I still have the 3x5 cards on which she wrote her favorite recipes and gave me at my bachelorette party.) On the rare occasions she spoke of her family, Jean always contended that her husband, Don, was innocent, framed by the enemies he made while fighting so hard for civil rights, and given the times (the post-Nixon, post Viet Nam era), I had no reason not to believe her.

            But were things as they seemed? Did something bad happen to a good man? Was he wrongly convicted? Or was he the crook they said he was? It wasn’t until years later that I found out Jean herself had served time for lying under oath, protecting her husband, who was convicted of stealing from his law clients. What had I missed?

            I lost touch with Jean after her husband was released from jail late in 1980.  But the plight of Jean and Don haunted me – especially because my new in-laws were also named Jean and Don.

            Life went on, but in the back of my mind a quest had started: how did people make good choices, and how did people made bad choices?

 

            Eight years later, my own mother-in-law, Jean, someone I knew was damaged from unspeakable pre-teen incidents involving abuse by the elders of her church, stole, gambled, forged signatures, and defrauded almost everyone in our family of approximately $200,000, then committed suicide.

            I asked myself why didn’t I see past the damage, past the waves of “I’m fine,” past the fact she was always energetic, beautiful and well-dressed, and comprehend the reality that Jean was stealing from her husband, my husband, his brothers, my grandmother-in-law, and all of my husband’s cousins?  How could I have been so stupid?  How could I not see then what was right in front of me?

            I asked myself those questions over and over. They are the same ones millions of people ask daily of a neighbor, a co-worker, a political icon, or a loved one. Though sometimes we see through to the truth of someone’s true intentions, most times we completely miss the signs. And frankly, some people are just very good at fudging the numbers, pulling the wool over our eyes, and/or telling us what we want to hear. But at the core, we don’t see the signs because we naturally see people as “good” until the evidence is so overwhelming we are rocked to our core.

            Thus began, in earnest, my search for understanding of the nature of the virtuous vs. the unscrupulous.  I wanted to study what lessons from past philosophical giants I could ascertain about this human dichotomy. Could I come to understand the phenomena of good people who did bad things? 

            I had to start at the beginning:

            What exactly is “good?”

            What exactly is “bad?”

            How do we know the difference between a “good person” and a “bad person?”

            At the end of my block while growing up, the boy in the tan brick house used to kill animals. We saw him do it a couple of times, but mostly, we would see him running home after putting dead pets on our front steps and ringing the doorbell. When my mom would march to his house, his mother swore that her beloved son was just a normal boy doing normal boy things, and that my mother, and all the neighborhood mothers, dads, and kids, were blowing everything out of proportion.  “Our son is a good boy,” his mother would insist, then slam the door.

            Was he?

            Dr. Steve Taylor of Leeds Metropolitan University, UK writes that,

            “Good means lack of self-centeredness.  It means the ability to empathize with other people, to feel compassion for them, and to put their needs before your own.  It means, if necessary, sacrificing your own well-being for the sake of others. It means benevolence, altruism, and selflessness, and self-sacrifice towards a greater cause -- all qualities which stem from a sense of empathy.  It means being able to see beyond the superficial difference of race, gender, or nationality and relate to a common human essence beneath them.”

            “Evil people are those who are unable to empathize with others. As a result, their own needs and desires are of paramount importance.  They are selfish, self-absorbed and narcissistic.  In fact, other people only have value for them to the extent that they can help them satisfy their own desires, or to which they can exploit them.  …They can’t sense other people’s emotions or their suffering, can’t see the world from other people’s perspective, have no sense of their rights. Other human beings are just objects to them, which is what makes their brutality and cruelty possible.”[ii]

 

            The above descriptions give a pretty well-accepted, cross-cultural, timeless definition of what we think of as someone who is the epitome of good or evil.  But where in this mix is the definition of “bad?”  That is a much trickier answer to pin down. 

            A “bad person” has definitions that include a wide range of harm: wrongdoer, bad egg, decadent, uprooter, destroyer, libertine, rounder, panderer, defiler, polluter, poisoner, scallywag, seducer, shocker, snake in the grass, varmint, jerk, douchebag, jackass, annoying, dick, and meanie…just to name a few.[iii][iv]

            We generally understand that a “jerk” might be a “bad egg,” and that the “libertine” might be a “dick,” but their “bad deeds” probably don’t come anywhere close to the more exacting standards that differentiate between someone who is just annoying/rude/aggravating, and someone whose bad deeds deserve punishment by the rules of law.  (Note: At one point in the history of western civilization, people were labeled “bad” for being poor, uneducated, weak, despicable, cowardly, timid, even ugly, and those that were “good” were generally those who were noble, beautiful, wealthy, and strong.[v] For examples, read any novel by Charles Dickens!) 

            There are no clear-cut definitions in the worlds of saints and sinners. With the research I have done over the past four months, I now believe that the simplest format to categorize human behavior into would be seven broad categories:

 1.) Paragon: A person venerated and admired because of a consistent near perfect level of virtue and integrity. Regarded as an example of excellence.

2.) Honorable: A person who strives for a high level of honesty, morals, ethics, virtue, integrity, credibility, kindness, and worthy distinction.

3.) Good: A person who is generally honest, kind, helpful, harmless, reliable, uncomplaining, hard-working, well-liked, and commonly abides by social norms of good behavior and attitude.

4.) Neutral: A person of whom no one has a strong evidence of either good or bad deeds.

5.) Bad: A person who finds it easy to occasionally transgress social norms, who destroys, ruins, or lays waste to the thoughts, feelings, or personal welfare of others.

6.) Evil: A person who knows the difference between doing right and doing wrong, finds it easily justifiable to harm/bring injury another, either financially, emotionally an/or physically. An evil person can act all at once, or carry out harm gradually.

 7.) Sociopath: A person who fits the criteria of the Psychopathy Checklist Revised (PCL-R) developed by Robert Hare and his colleagues, or the Psychopathic Personality Inventory (PPI) by Lilienfield and Andrews. In brief, no feelings of conscience, guilt, remorse, shame, concern for the well-being of strangers, friends or family.

            We tend to say, “Good vs. Evil” or “Good vs. Bad” but I think bad and evil are two entirely different entities.  Evil, put in layman’s terms, is cold-blooded, conscienceless disregard for human life.[vi] Evil’s telltale anti-social behavior includes (but is not limited to) extreme and/or prolonged violence, torture, and terrorism.[vii]  Some would say that “ordinary” good men and women can be induced into behaving in “evil ways” by turning on or off one or another social situational variables through de-individuation, aggression, vandalism, and moral disengagement.[viii] And for being able to do such inhuman deeds, or be talked into doing such morally corrupt actions, they rightly deserve the title of evil.  But bad, and even evil people have a chance at true redemption (and not necessarily in the biblical meaning), whereas those who are psychopaths have no ability to genuinely reform (although they are master tricksters at faking being good, or even being virtuous at times!).

            In search for what makes good people do bad things, I now see that it’s not as huge a fall from good-to-bad as I originally thought.

            What stuns me the most is when “virtuous” people do “bad” things, especially when the level of “bad” is closer to the border of evil than it is to neutral.  This long fall makes the plunge deeper, which accounts for the level of shock and disbelief we associate when our heroes end up in jail.  “The fall” is relative to the level that the person is originally perceived. At this point we then must make the distinction between “the ideal of greatness,” and the “disappointment of bad/evil.” The labeling of goodness or virtuous can be debated in almost any civilization, but a bad deed or an evil deed is an easy concept to understand as detrimental in any society in which the concept is embedded.[ix]

            Truth, honor, genuineness, trust, dishonor, right, wrong, paragon, great, good, neutral, bad, evil, psychopathic…  These are all terms that we come to know from childhood as taught to us by parents, family, neighbors, community, and culture.  Some of the meanings of these words seem to bend and curve with historical timing, yet others stand firm. We test them ourselves as children; take a piece of candy in the grocery check-out line, lie to a teacher on the playground, sneak out of the house when we are grounded, etc. Then, though our early and late teens, we start to choose which behaviors we will add to our own moral code; we revise, adjust, reevaluate, and attempt to daily live with our own version of true north.

            We search for this perfect point on a compass.  But no matter how great the leader, no matter how flawless the ideal of a perfect utopia, no matter how many laws, canons, rules and restrictions put on us, how much good intention is in the “group-think,” the sad fact is that no version of a utopian society has ever sustained for long in the annals of human antiquity. (Examples include Jonestown, Guyana, 1974-78, the Shaker movement, 1774-1900, Pullman, IL, 1880-1894) The inevitability of uncertainty always opens the possibility of enantiodromia (a thing turning into its opposite).”[x]  We as humans, with an innate free will, the right to choose (even in the most strict and oppressive societies or regimes), the tools to exercise that choice and the desire to do so,[xi] can never predict our own future actions with 100% accuracy, much less the future actions of those around us.

            In general, goodness, kindness, generosity, empathy, compassion, honesty, and love win out much of the time.  Statistics show our true natures: One percent of people will always be honest and never steal. Another one percent will always be dishonest.[xii] The rest of us fall somewhere in the middle, with the Pareto Principle (that only 20% of the population cause 80% of the bad and evil part of the statistics[xiii]) possibly giving us a better insight on the triumph of the better angels of our nature.

            We are drawn to the stories of the hero/heroine’s journey. We love tales where right makes might.  We love a day where the sun is shining and the birds are singing, and the people we love are safe and happy.  If we were to list some of the values we honor, most people would include: Accountability, Benevolence, Competence, Dependability, Diligence, Discipline, Ethics, Fidelity, Integrity, Judiciousness, Loyalty, Mindfulness, Peace, Professionalism, Reason, Reflection, Reputation, Responsibility, Self-Control, Thoughtfulness, Trust, Trustworthiness, Truth, and Virtue.  Other values are not bad or evil in themselves, but in excess, or in severe depletion, these next concepts can turn quickly from healthy to corrupt: Abundance, Ambition, Audacity, Boldness, Cleverness, Control, Cunning, Euphoria, Ferocity, Influence, Outlandishness, Outrageousness, Power, Prosperity, Shrewdness, Status, Success, Victory, Wealth, and Winning.

            Why are we fascinated by the bad, the evil, the cruelty one person can bring to another?  Because, the fact is, we are. From childhood, we are thoroughly raised with the premise that there are two opposite aspects of life – the light/right, and the dark/bad.[xiv]  Good has evil, full/empty, strong/weak. From religious texts to myths and metaphorical stories, we are taught this dichotomy, and understand the dark should be avoided.  Primitive mankind quickly learned they were vulnerable in the shadows, and conversely, they felt the strangely heady rush of adrenaline when faced with dark dangers. Are we just drawn to the unknown, the unconventional, and the darker elements of life because of their forbidden aura? Maybe it’s simply that oddity is interesting?  Yet, it is important to note that fascination and interest in the dark side does not mean, or lead to a direct temptation to act with bad, evil, or psychotic intentions.

            Virtuous and good people are tempted to do bad and/or evil almost every day.  Why do some of us cave into enticement, and for others, they either actively fight the invitation, or never even consider the enticement as an option?  Sometimes, it seems the only way we seem to be able to find the light is by our passage through the dark. Religious sites attribute our temptation as an extended punishment from Adam and Eve’s fall from grace in the Garden of Eden.[xv]  But in truth, the dichotomy of life itself (born/die, turn right/turn left), especially as seen through the lens of Western Philosophy, makes it always a possibility that anyone can slip into a state of irrationality, and thus do things they would never think to do under normal circumstances.

            Unfortunately, there isn’t an unfailing laundry list of triggering causes, for they can be highly varied, and in some cases, utterly unknown.  Sometime “good” people can be chemically or physiologically induced (such as when exposed to a mind-altering chemical, or after the ravages of disease have altered the brain’s normal processing system, prolonged torture, etc.) to do and say things that might have been completely out of character only months before. Others, like those with a pathological psychosis, can feign goodness, when in fact their brains are laced with corrupted logic.[xvi] 

            Most “good” people who do “bad” things do so after (or because of) a mish-mash of varied circumstances. The most common are (in no particular order): primed behavior[xvii], childhood trauma, childhood abuse, tunnel vision, want of power, social pressure, poor self image, time pressure, acceptance of small thefts, a self-serving bias, money, the way you are perceived and treated by others, family/neighborhood/local/government corruption (modeled behavior), resentment, obedience to authority, blinding effect of power, thinking your actions won’t mean anything outside a very small circle, wanting to be a team player, wanting to win at any cost, suppression of rationalization and cognitive dissonance, unfair punishment, lack of sleep or food makes people weak, a “compensation effect, the high of taking risks, social numbness, bad communication, and feeling trapped by circumstances or people.[xviii]

            Other experts say there are only three reasons why good people do bad things: desperation, boredom, and ignorance.[xix]  But in life, there are normal levels of desperation, boredom, and ignorance that happen to everyone in the myriad of daily circumstance.  It’s when unparalleled stress is added to these three that things start to go off track.  Everyone’s tipping point is at a different level, depending on conditions, environment, and context. 

            As much as we like to feel that we would never be tempted to cross the line, remember that we are all as human as the next person, and be it for the grace of the gods, we are never put in a position where temptation is ripe, options seem few, and results will fix our most painful woes, even if only for a short time. It is shocking how little unexpected pain, disappointment, or command from an authority figure will push normal people into survival or panic mode – where they will harm those around them with almost no understandable, logical thinking.  (Example: the 1961 Milgram Experiment[xx])  

            Sometimes, if we see the pain, see the signs that someone is slipping into an unusual level of anxiety, we can try to intercede.  Most times, by the time others see the signs that someone’s panic, fear, laziness, or incomprehension are more than just a passing “phase,” the person sliding into the unreasonable is already deep in a black hole, and their comprehension skills are severely compromised. That doesn’t mean that you can try and reach out, to help, to heal the pain and stop the “runaway train.”  But the reality is that, a.) we can’t see into the minds and souls of others unless they allow it, b.) we can only take on what we can handle (both physically or psychologically), and c.) we aren’t perfect ourselves. We teach our young so they can be independent, and we get used to expecting that we should trust others to be responsible for themselves.  And we know, no matter how much we learn to understand why someone does something, we can never know to the 100th degree the inner workings of another’s mind, much less our own. Asking “how” and “what” questions lend themselves towards action steps where we can have an impact and make a difference.  But examining the “why” is usually an examination of something that is already past. We can learn from the past, but we can never undo it, and that leads to frustration and a feeling of defeat.[xxi]

 

So why do so-called “good” people do “bad” things? 

Here are some thoughts[xxii]:

 

1.) We judge ourselves by our good intentions and we judge others on the results of their actions (their behavior)[xxiii]

            Example: Mr. M paid his bills on time, every month, all his life, openly bitter about, “people who cheat the system.” Now nearing death, he charges over $30,000 on his credit cards, because he heard that since he has no blood relatives, this credit card debt does not have to be “paid” by anyone. When it is brought to his attention that every person with a credit card will pay just a little more in the store to cover the cost of this loss, he won’t believe this is so. “The debt just goes away,” he insists. “ I paid all my life. I did so much good. This won’t matter…”

 

2.) Cognitive Dissonance: When a person finds himself or herself in a position where two items of information do not fit together comfortably, they tend to change/ignore/discount one of the factors.

            Example: Mr. P says he “doesn’t believe in doctors,” yet he knows that he has an illness that can be eased, if not cured, with the correct daily medication.  He either has to go to a doctor, and defy his lifelong position about “not believing” in modern medicine, admit that he is just afraid of the facts of medicine and health, or die. He’s not stupid, yet he values his stubbornness more than truth. In the end, he died of an ulcer at age 54 rather than change his thinking process. His family is left in total financial ruin.

 

3.)  We will not only reject one item of truth and embrace a falsehood, we will work to debunk the truth and find reasons to support the information we wish to believe.

            Example: Uncle J is convinced that the pharmaceutical companies have known of a cure for cancer for decades, but “Big Pharma” needs the revenue from cancer patients to keep their profits high. No matter the fact that all levels of pharmaceutical managers have lost spouses and children to cancer, Uncle J insists that these “corporate sorts” let the “occasional family” members die horribly to keep us paying. 

            This rumor about a cancer cure suppression myth is still quite popular on the internet by conspiracy theorists. See Reference for one just put out this past week![xxiv]

 

4.) Not only will we say what we believe, but we will actually come to believe what we say.

            Examples: George Washington cutting down the cherry tree[xxv]; President Bill Clinton believing that because it was oral sex, he didn’t have “sex” with Monica Lewinsky[xxvi]; President Richard Nixon proclaiming that, “I am not a crook,” when the tapes showed he knew much more about the Watergate break-in than he claimed[xxvii]; Nazi Germany (among other nations, communities, and individuals) blamed their economic woes on the Jewish people amongst their population.  Even though anti-Semitism has no basis in reality, this devastating lie has come back to haunt the annals of history far too often, and can be read daily in our newspapers.

            The most famous lecture on this subject in modern history was by American philosopher and psychologist, William James, (1842-1910) published in 1896[xxviii].

 

5.) The Eichman Effect: that people will commit acts of unspeakable atrocities when they see themselves as an instrument of higher authority.

            Examples: Those who owned, bought, sold, or had anything to do with slavery seeing themselves as blessed by God as superior to those they held in bondage[xxix]; Boco Haram, in the service of Jihad[xxx], have killed 20,000 and displaced 2.3 million; Joseph Kony, who proclaims himself a spokesperson for God, has led his Lord’s Resistance Army in turning 66,000 children into soldiers, and displacing 2 million people[xxxi]: Colorado Christian, Robert Lewis Dear, killed three people at a Planned Parenthood clinic in a “religious zeal,” in direct opposition to God’s commandment not to kill.[xxxii] Police officers who have a badge and gun and step outside the law because they feel they are arbitrators of a “greater good” or superiority?[xxxiii]

 

6.) Blind to Any Other Option: The Survival Ethos  “Teleological Suspension of the Ethical[xxxiv]

            Good people can be talked into doing bad things by seemingly rational thinking.

Example statement: “I had to do it for the organization to survive. It was for the greater good.”

            Example: Tulsa, OK company board of directors were talked into giving the company’s charismatic co-founder an unsecured $236 million dollar personal loan just before corporate decisions collapsed the company under almost $3 Billion in bad “hedges,” (read “gambling”). The board didn’t want to ever say “no” to the man who grew their company from seed to a one-time net worth of $3.6 billion.  Thousands lost their jobs, and outstanding debts were settled year’s later pennies on the dollar, forcing many of the town’s business to close.[xxxv]

The Lure of the Dark Side:

            When we strive to justify our bad or evil actions, we usually try one or more of the following methods:

1. Rationalize: Trying to make our action(s) connect to some sense-based reasoning.

2. Defend: Trying to make our action(s) connect with something right or righteous.

3. Explain: Trying to make our action(s) opaque if we defend, rationalize, and go into detail long enough.[xxxvi]

 

Why do we feel compelled to justify our actions?

            1. To cast off even the slightest shadow of impropriety.  Except for the 1% of the population that is truly psychopathic, most of us are aware that the world holds itself to a modicum of morality and ethics (no matter how skewed they may or may not be). Once exposed as someone who does bad or evil, we worry that we may lose face, lose status, and lose respect. We worry that our actions now could escalate to betrayal, personal vendettas, or disloyalty.

            2. To explain our actions as ringing true, or at least logical in the circumstances.  We must convince ourselves, as well as others, that our actions had some semblance of merit or worth.

            3. To explain away our need to destroy, exploit, or control with reasoning. We will resort to the fabrication of fear, scarcity, or panic to justify our actions, because if they “speak” for themselves, we cannot control the narrative.[xxxvii]

 

What is so bad about justifying our actions?

            1. Humans are capable of justifying just about everything.  Unless we deal realistically and opening with our reasoning (in other words, evaluate after an action), we are doomed to repeat a bad/wrong/evil action(s) again and again.

            2. Humans are capable of defending our actions even if they are wrong.  When we learn to see our world through the grey veil of bias and judgment, we close ourselves off to options.

            3. Humans are capable of inflicting unnecessary pain and suffering.  Without open dialogue and review, we can create or add to needless grief and distress.[xxxviii]

 

How can I, or anyone, rise above the temptation to do bad or evil?

            1.)  Education.  Plain and simple, education is the greatest tool in internalizing a common sense of values that raise life to something above basic needs, and more importantly, puts our need for security into balance with a life well lived.  This education is given and received in a myriad of ways: at home, in schools, within family structure, within religious (or secular humanist) communities, within community, country, and culture, within our timeframe on planet Earth, as we work, travel, observe, experience, and mature. 

            We learn to ask ourselves: should I buy a gun to shoot someone who is robbing my television? Is my TV worth a human life?  Is keeping my job/pension/benefits worth falsifying a financial statement I know is not right because I am being pressured to do so?  Should I go into a burning building, knowing that there is a good chance I will be burned, to save my grandmother? Would I turn and walk away from a fight that threatened my safety, or that of my children, if I did not believe in the cause – and then be called a “Welsher[xxxix]” for not engaging in combat, regardless, since I was “officially” challenged?

            The only way we know the answers to these huge questions is through making the effort to learn, understand, think though, etc. – always through the filter of the values we were taught (or adopted at some point, or honorably mentored) of honesty, integrity, fairness, respect for others, promise-keeping, and more.  These values are passed down, right or wrong, from lessons learned by past generations.  Once we grow to a certain state of adulthood, we learn to “weed” these lessons, leaving behind childish ideas and selfish tendencies, and understand how the world at large operates, what is true versus what is opinion, what is fact vs. what is conjuncture, what is “right” and what is “wrong.” 

            I put right and wrong in quotes in the last sentence because the baseline for the judgments on these two hotbed words had changed in popular belief with time, worldview, and careful thought.  Has it ever really been “right” to enslave another person? Our gut tells us no, but free labor is free labor, and those who need the security of more things will do anything, say anything, and justify anything to make it so.  Has it ever really been “right” to mutilate a woman’s sexual organs so that she will feel no pleasure from sex, and therefore, make her less likely to stray from a patriarchal society? Our gut tells us no (as it has from the beginning of time), but the fear of losing power over a woman has more pull than the effort it takes for both men and women to be intimate in the best way possible, work to build and maintain bonds, be kind, and understand that you cannot impose your unvarying will on another human being without inflicting damage. 

         &n


TAG TEAM

Pilot for Nickelodeon


Written by

Myra McWethy

and

Gordon McWethy

 

 

Myra's Cell: 310-994-6972

myramcwethy@gmail.com


Copyright (c) 2010 All Rights Reserved

Myra Williams McWethy & Gordon McWethy

 

 

"TAG, You're It"

October 6, 2010

 

 

TAG TEAM

TITLE CARD: "TAG TEAM" LOGO SLAMS ON THE SCREEN WITH A SEVEN

NOTE MUSICAL FANFARE. THE LAST NOTE IS A BIT OFF KEY.

FADE IN:

INT. SCIENCE CLASSROOM AT MADISON MILLENNIUM MIDDLE SCHOOL

IN MADISON, WI - DAY

(DIXON, URSA, AUGUSTUS, CALVIN, BRAD, HARLOW, STUDENT

EXTRAS)

ON THE BLACKBOARD, IT READS: "WELCOME BACK 7TH GRADERS!

MADISON MILLENNIUM MIDDLE SCHOOL. MISS THURGOOD - SCIENCE.

WEDNESDAY, SEPTEMBER 7, 2011."

DIXON (12) A TECHIE GENIUS, URSA (12) A PLAIN JANE

COMIC/GAMING GEEK, AND AUGUSTUS (12), A SKINNY INVENTOR,

STARE IN ABJECT FEAR AT SOMETHING OFF SCREEN.

THEN, SUDDENLY THEY HAVE A GLINT OF HOPE IN THEIR EYES.

CALVIN BISBEE (12), HANDSOME AND OPTIMISTIC, WALKS TOWARDS

THE TRIO.

 

DIXON

Calvin!

URSA

Holy Dumbledore!!

AUGUSTUS

Look!!!

CALVIN

What? Did my pen leak? Do I have a

"Kick Me" sign on... again?

DIXON

Worse! Harlow McAlan's clothing

tag is flipped up!

ACROSS THE CLASSROOM, HARLOW MCALAN, (12) ATHLETIC AND

LOVELY, STANDS IN THE CENTER OF THE POPULAR KIDS GROUP.

CALVIN HAS GOOSEBUMPS AT THE VERY SIGHT OF HER.

2.

CALVIN

It's not that big of a deal...

DIXON

It's an anomaly in the space-time

continuum!!

URSA

Everything must be in its place

for an orderly universe!

CALVIN

But it's just a clothing tag.

AUGUSTUS

It starts with a flipped up piece

of fabric, then a shoelace goes

untied, next thing you know--

DIXON

--Pi won't be 3.14159265 anymore!

URSA

Bowser'll marry Princess Peach,

and where will that leave Mario?

AUGUSTUS

And finally, a chicken-monkey

hybrid will win the Nobel Prize

for Physics!

CALVIN

That's a little over the top!

AUGUSTUS

Maybe, Calvin, maybe. But are you

willing to take that chance? What

(MORE)

3.

AUGUSTUS (CONT'D)

would a chicken-monkey do with a

cash prize? I mean, really?

CALVIN

Why don't one of you guys talk to

her? Ursa? Augustus? Dixon?

AUGUSTUS, URSA, AND DIXON STEP BACK, AGHAST.

DIXON

Harlow McAlan is a MINC!

URSA

The Queen of the Madison

Millennium Middle School INner

Circle Students!

AUGUSTUS

M-I-N-C. You know MINC's and "our

kind" never mix.

DIXON

You, Calvin, are our official

"Communication's Officer." You

speak for the geeks, nerds, dweebs

and dorks, because... frankly, we

can't.

CALVIN

But...

DIXON PULLS CALVIN ASIDE FOR A QUIET PEP TALK.

DIXON

My friend, you've been secretly

crushing on her since 4th grade--

4.

CALVIN

--The key word there is "secret,"

Dixon.

DIXON

Well, here's your chance to make

her notice you in a bold, heroic

way!

CALVIN

Or end up with a gi-normous

underwear wedgie courtesy of her

boyfriend, Brad, or any number of

his football teammates!

DIXON, URSA, AND AUGUSTUS GIVE HIM "THE LOOK."

CALVIN (CONT'D)

(RESIGNED) Alright, already. I'll

go.

CALVIN BRAVELY WALKS ACROSS THE CLASSROOM AND RIGHT UP TO

HARLOW. HE TAPS HER ON THE BACK SHOULDER. AS SHE TURNS

AROUND, HER SMILE FADES - SHE'S FROZEN.

CALVIN (CONT'D)

Hello, Harlow. Hi. It's Calvin.

Calvin Bisbee. Maybe you remember

me? I sat behind you last year in

Mr. Donovan's English class? Loved

his lectures on the esoteric

nature of the SpongeBob

SquarePants mythology, didn't you?

SHE SAYS NOTHING. THE OTHER MINCS NOW FLANK HER. IVY-LEAGUE

LOOKING BRAD (13), JR. CHEERLEADING CAPTAIN LIVONIA (12),

AND FOOTBALL STAR TOM (13).

5.

CALVIN (CONT'D)

So, anyhow, my friends over

there...

CALVIN MOTIONS OVER TO HIS FRIENDS. THEY QUICKLY TURN AWAY.

CALVIN (CONT'D)

Well, they noticed that the

clothing label in your shirt was

flipped up, and we wanted to alert

you of the situation in a timely

manner.

SHE STILL DOESN'T MOVE. HE POINTS TO HER NECK.

CALVIN (CONT'D)

Your tag. Up. It's flipped up. I

could tuck it in if that would be

of any help.

BRAD TAKES A MENACING STEP TOWARDS CALVIN.

CALVIN (CONT'D)

No. No, of course not. You have

Brad and any number of your MINC

friends to help. (NODDING) Brad,

Livonia, Tom. Listen, you have a

great day. Be seeing you. Around.

HE TAKES A FEW STEPS TOWARDS HIS FRIENDS, HIS CHIN HIGH.

THEY ARE PROUDLY GIVING HIM THE VULCAN SALUTE.

BRAD

(TO CALVIN)

Hey! Yeah, you. Come here a

second.

CALVIN HESITANTLY WALKS BACK TOWARDS BRAD. AS HE DOES, HE

6.

SEES HARLOW TUCKING IN HER TAG WHEN HER FRIENDS AREN'T

WATCHING. CALVIN SMILES.

BRAD (CONT'D)

Just a word to the wise, loser:

Remember your place on the food

chain.

BRAD TRIPS CALVIN. AS THE CLASS LAUGHS, WE SEE CALVIN DIVING

FORWARD DIRECTLY INTO THE CAMERA, ARMS OUTSTRETCHED IN

TERROR OF THE SPLAT TO COME...

CUT TO:

MAIN TITLES

CUT TO:

INT: PRINCIPAL MALSTROM'S OFFICE - DAY

(PRINCIPAL MALSTROM, MISS SKELTOR, BRAD, HARLOW, CALVIN)

PRINCIPAL MALSTROM (40), FORMER MINC JOCK, SITS AT HIS HUGE

DESK, A CARTOON FIGHTING MALLARD (THE SCHOOL MASCOT) PAINTED

ON THE WALL BEHIND HIM. CALVIN IS SEATED ON AN UNCOMFORTABLE

WOODEN CHAIR, HARLOW AND BRAD ON A COMFY COUCH. PRINCIPAL

MALSTROM'S SECRETARY, MISS SKELTOR (50), THE "EYES AND EARS"

OF THE SCHOOL, IS STANDING BEHIND HER BOSS, NOTEPAD AND

PENCIL AT THE READY. CALVIN LOOKS UP TO HER.

CALVIN

(WHISPERING) Are you sure I'm

supposed to be here with them?

SHE NODS STERNLY.

PRINCIPAL MALSTROM

I'll get straight to the point.

Last year, we didn't even place in

the Wisconsin Tween News

Competition for our school's

weekly "Mallard News." Feedback

was that we didn't have enough

news in our news show.

7.

BRAD

We had all the sports scores--

HARLOW

-and what clubs were meeting where

and when and--

BRAD

-who went to who's party and who

vacationed in Florida. I mean,

what more do they want?

PRINCIPAL MALSTROM

I've had my secretary, Ms.

Skeltor, gathering intel.

MISS SKELTOR

(NODDING) Uh, huh.

PRINCIPAL MALSTROM

Her preliminary reports show a

trend in investigative journalism,

local stories... even technology

and science.

BRAD

Can you say: "snooze-fest?"

HARLOW

(STRONGLY) Brad, you know I really

want to win that Tween News Award!

So, for the trophy, I'd be willing

to read some stories about

pollution and stuff.

8.

PRINCIPAL MALSTROM

(CAUTIOUSLY) That's the thing...

Seems the victorious shows have

the news read by special

reporters, in addition to anchor

desk commentary...

BRAD

No way! It's our show. It's the

legacy passed down from great

former "In Crowd" MINCS, like

yourself, Principal Malstrom.

PRINCIPAL MALSTROM, BRAD & HARLOW PROUDLY DO THE OFFICIAL

MINC HAND SIGNAL. *TBD*

PRINCIPAL MALSTROM

It's going to take us all a little

getting used to...the changes to

come. But we're winners, not

losers! Anyhow, that brings us to

Calvin.

CALVIN

(SURPRISED) What? Who?

BRAD

Him? On our show? No way!

HARLOW

What would he do?

PRINCIPAL MALSTROM

Be on camera. Talk about math,

nerd games, and science.

9.

CALVIN

(INTRIGUED) How much camera time

would I have every week?

BRAD

He'd be on every week?!

PRINCIPAL MALSTROM

That seems to be part of the Tween

News winning strategy. (To Calvin)

Four minutes.

HARLOW

Four whole minutes! The show's

only 24 minutes total!

PRINCIPAL MALSTROM

(TO CALVIN) You have two days to

get a segment ready.

CALVIN

That's...wow...is it okay if I get

my friends together to help me

write my segment?

PRINCIPAL MALSTROM

(CASUALLY) Sure. Fine. Go ahead

and organize a technology and

gaming team.

CALVIN

Wait! The T-A-G Team!

THEY DON'T UNDERSTAND.

10.

CALVIN (CONT'D)

You know: T-technology A-and Ggaming

Team! TAG Team!

PRINCIPAL MALSTROM

TAG Team. Whatever. We go live on

the air Friday at noon. Be great -

or else.

CUT TO:

INT. MMMS CAFETORIUM - DAY

(CALVIN, DIXON, URSA, AUGUSTUS, HARLOW, LIVONIA, TOM,

STUDENT EXTRAS)

CALVIN, DIXON AND URSA ARE SITTING DOWN AT "THEIR" CAFETERIA

TABLE WITH THEIR LUNCH TRAYS.

CALVIN

I love it that we have pizza on

Wednesdays. Every other school in

the world has pizza on Fridays.

It's like we're on the cutting

edge!

URSA

Not when they serve the pizza

topped with broccoli and stewed

prunes! I know they want us to get

our full servings of fruit and

vegetables... (TO PIZZA) But this

is just...weird! Even cruel!

DIXON

(REFINED) I find the dark green

side salad's a nice palate

(MORE)

11.

DIXON (CONT'D)

cleanser between bites. Don't you

agree?

AUGUSTUS JOINS THE TAGGERS CARRYING A STRANGE FUTURISTIC

METAL LUNCH BOX OF HIS OWN DESIGN. IT'S MAKING ODD NOISES.

AUGUSTUS

So, Calvin, what happened in the

Principal's office?

CALVIN

(RE: LUNCH BOX) What the heck is

that?

AUGUSTUS

Oh, a new invention of mine. Cold

and hot lunch carrier. Keeps the

cold stuff cold and the hot stuff

hot, without batteries or

electricity. Runs on solar power.

Neat, eigh?

DIXON

I did the hardware design. Pretty

simple actually, but we're not

revealing any secrets until the

patent goes through. Right,

Augustus?

AUGUSTUS

Right Dixon. We're thinking

they'll sell retail for $749. Plus

tax, of course.

12.

CALVIN

What kid can afford a $750 lunch

box?

DIXON

Not many. That's why we decided to

sell it for 749.

URSA

Gotta admire the way you two

think -- or don't.

AUGUSTUS

(TO CALVIN) Hey, back on point. So

what's up with you and the MINCS?

CALVIN LOOKS OVER HIS SHOULDER TOWARDS THE MINC TABLE.

HARLOW IS BEING BARRAGED BY HER FRIENDS.

CALVIN

I'm not quite sure...

AT THE MINC TABLE:

LIVONIA

(TO HARLOW) First period? How

could you let a geek call you out

on a wardrobe malfunction? What

were you thinking?

HARLOW

It was kinda crazy at my house

today, Livonia. I didn't have time

to do a double check.

13.

LIVONIA

Well, lesson learned, I hope. That

Calvin drip almost touched your

neck! Ew!

BRAD

(BRAVELY) I wouldn't let a dweeb

like that get near you, Harlow.

TOM

But he did get near her.

BRAD

Not "near" near.

TOM

No, not near-near.

BRAD

But soon we're gonna have to share

our news show with them.

TOM

And then they'll be near-near!

HARLOW

As much as it grosses me out to

admit this...maybe we could use a

bit more hard news in our show.

BRAD

Did you fall on your head this

morning when your tag flipped up?

HARLOW

No.

14.

BRAD

If we need more "hard" news - and

I'm not saying that we do - then

other MINCS can do those stories.

Livionia, you could report on

something scientific, right?

LIVONIA

Sure. (THINKING HARD) There's a

science to walking in high heels!

BRAD

And Tom. You play video games all

the time on your phone.

TOM

Nah. I'm just checking my Facebook

status. But I can talk about

that... Cool.

BRAD

Problem solved. No need for us to

have actual contact with any of

the sub-humanoid groups we already

have to put up with every day!

HARLOW LOOKS TOWARDS THE TAG TABLE. CALVIN HAS TWO STRAWS UP

HIS NOSTRILS. HE SEES HARLOW LOOKING AT HIM, AND HE

SHEEPISHLY PULLS THE STRAWS DOWN, GIVES HER A CROOKED SMILE,

AND SHRUGS HIS SHOULDERS. FOR A SPLIT SECOND, IT SEEMS AS IF

SHE MIGHT CRACK A SMILE.

BRAD (CONT'D)

We were just born better than

them.

SHE TURNS BACK TO BRAD -- BACK WITH HER OWN KIND.

15.

HARLOW

Yeah. That's right. Way better.

FADE TO:

INT. THE BASEMENT OF CALVIN BISBEE'S HOME - NIGHT

(CALVIN, URSA, DIXON, AUGUSTUS, CARYS)

TYPICAL MIDDLE CLASS MID-WESTERN BASEMENT. THE HIGH-TECH

HEADQUARTERS SHARES SPACE WITH THE LAUNDRY ROOM AND STORAGE

AREA. CALVIN SITS AT THE CENTER OF IT ALL WITH A PENCIL AND

PAPER.

CALVIN

I really like the name "TAG Team."

In fact, I'd be cool to get tshirts

with TAG Team printed

across the front!

URSA IS SETTING UP A STAR WARS MINIATURES GAME.

URSA

I think it should be GAT Team.

Gaming and Technology.

AUGUSTUS IS WORKING ON A HUMANOID ROBOT THE SIZE OF A SMALL

CHILD.

AUGUSTUS

No, technology has to come first

because it covers a wide array of

scientific endeavors, including

innovation.

DIXON IS SITTING IN FRONT OF AN EXPOSED MOTHERBOARD.

DIXON

Hardware! Hardware is where it's

at, baby. It should be HAG Team --

well, maybe not.

16.

CALVIN

Guys, we're not changing the name.

TAG Team stays. Now, let's get

back to helping me write a killer

TAG news segment.

AUGUSTUS

Why even try? Principal Malstrom

has it in for anybody who isn't

one of the popular kids.

CALVIN

This is our chance to change

everything, guys! I'm not going

down without a fight.

CALVIN'S LITTLE SISTER, CARYS(8), DESCENDS INTO THE BASEMENT

WITH A BIG TRAY OF COOKIES AND JUICE BOXES. SHE'S GOT HER

HEADPHONES IN HER EARS, SINGING AT THE TOP OF HER LUNGS.

THANKFULLY, SHE'S GOOD.

CARYS

Snacks!

EVERYBODY GRABS AT THE FOOD IN A MAD RUSH.

CARYS (CONT'D)

(TAKING OUT AN EAR BUD) Oh, and

Calvin, mom says you have to put

the wash in the dryer and fold the

laundry.

CALVIN

It's your week!

CARYS

No. You lost the bet.

17.

URSA

What bet?

CARYS

I bet him I could sing that high

note that breaks glass.

CALVIN

And she did. But she did it with

my lava lamp! Have you ever had to

clean up lava lumps? Gross.

AUGUSTUS STARTS TO GET OUT RECORDING EQUIPMENT.

AUGUSTUS

(TO CARYS) Can you re-create that

sound for me? I'd love to get that

on tape.

CARYS STEPS FORWARD, PREPARING HERSELF TO HIT A HIGH NOTE.

AS SHE IS ABOUT TO SING, CALVIN PUTS HIS HAND OVER HER MOUTH

AND STOPS HER.

CALVIN

No! Carys, no! Augustus! You're

too fragile, you could break! It's

the pitch used by exterminators to

scare rats away!

CARYS

(BLITHLY) Who cares? I've gotta

run anyway. I've got meaningful

social plans.

AS SHE ASCENDS THE STAIRS, SHE'S SINGING HER OWN MADE-UP

TUNE:

18.

CARYS (CONT'D)

"It's sunny outside. Only stupid

brothers would be in the dark

basement because that's stupid!"

CALVIN SWITCHES THE CLOTHES IN THE WASHER/DRYER.

CALVIN

Now, where were we before we were

visited by the singing snack

creature from the black lagoon?

URSA

Tween News. If you want to dazzle

'em, Calvin, the artwork for my

Zodiac Goblins graphic novel is

seriously awesome! TV's a visual

medium. Show my work, and you've

got something that'll make eyes

pop out of their sockets!

URSA MIMICS HER EYES POPPING OUT OF HER FACE.

DIXON

Talk about new? Physics Engines

can now simulate artificial

gravity, radical collision

detection, and process visuals for

linear and non-linear dynamics.

NASA uses them. It's sexy.

AUGUSTUS

Listen, my humanoid robot, ET906

here, is based on a neurorobotic

(MORE)

19.

AUGUSTUS (CONT'D)

design where individual limbs,

this arm say-

AUGUSTUS REMOVES AN ARM - AND IT KEEP MOVING.

AUGUSTUS (CONT'D)

--can be removed while still

remaining functional!

AUGUSTUS WAVES THE ARM AROUND AT DIXON AND URSA.

CALVIN TRIES TO REGAIN CONTROL OF THE GROUP AS HE FOLDS HIS

DAD'S BRIEFS FROM THE LAUNDRY PILE NEXT TO THE STAR WARS

MINIATURES.

CALVIN

People! Let's be logical. I can't

do all of that in just four

minutes! Boil it all down to what

sounds rad, and the rest, we've

gotta ditch.

URSA

Holy Stan Lee, guys! Comic books

alone deserves a whole segment.

DIXON

I beg to differ! What I can do

with a spool of fusible lead alloy

and a piping hot .02 mm soldering

iron would make for spell-binding

television!

URSA

Yeah, like watching paint dry!

20.

DIXON

Well, your Dungeons and Dragons,

Magic The Gathering, HeroClix...

they're all just games.

URSA STOPS PLAYING AND STARES AT DIXON.

URSA

They're not "just games!"

DIXON

The world wouldn't run without

computer hardware and software.

Technology Rules!

AUGUSTUS ROOTS FOR DIXON.

URSA

And we'll all be mindless

automatons unless we challenge our

minds and souls with gaming, art,

and story-telling!

AUGUSTUS NOW ROOTS FOR URSA. OPINIONS BETWEEN THE TECHIES

AND THE GAMERS HEAT UP.

CALVIN

Guys! Please! The MINCS are giving

me a studio tour in the morning,

and I just need something in

writing that I can read in front

of the cameras...

NO ONE IS LISTENING TO EACH OTHER AS THE ARGUMENT ESCALATES.

URSA'S STAR WARS FIGURES ARE PRETENDING TO CRUSH DIXON'S

MOTHER BOARD.

DIXON FIGHTS BACK USING A PROTRACTOR TO STAVE OFF HER

MINIATURE ARMY. AUGUSTUS GETS INTO IT USING A TOY ROBOT, AND

21.

IT ACCIDENTALLY BREAKS ONE OF URSA'S FIGURES.

URSA

That was a limited edition, you

weiner-schnitzel!

DIXON LAUGHS AT THIS, WHICH RAISES URSA'S ANGER.