OUTSIDE THE BOX. A one-act dramedy by Bradley Hayward

Transcription

1 OUTSIDE THE BOX A one-act dramedy by Bradley Hayward This script is for evaluation only. It may not be printed, photocopied or distributed digitally under any circumstances. Possession of this file does not grant the right to perform this play or any portion of it, or to use it for classroom study. info@youthplays.com

2 Outside the Box 2012 Bradley Hayward All rights reserved. ISBN Caution: This play is fully protected under the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the copyright union and is subject to royalty for all performances including but not limited to professional, amateur, charity and classroom whether admission is charged or presented free of charge. Reservation of Rights: This play is the property of the author and all rights for its use are strictly reserved and must be licensed by his representative, YouthPLAYS. This prohibition of unauthorized professional and amateur stage presentations extends also to motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of adaptation or translation into non-english languages. Performance Licensing and Royalty Payments: Amateur and stock performance rights are administered exclusively by YouthPLAYS. No amateur, stock or educational theatre groups or individuals may perform this play without securing authorization and royalty arrangements in advance from YouthPLAYS. Required royalty fees for performing this play are available online at Royalty fees are subject to change without notice. Required royalties must be paid each time this play is performed and may not be transferred to any other performance entity. All licensing requests and inquiries should be addressed to YouthPLAYS. Author Credit: All groups or individuals receiving permission to produce this play must give the author(s) credit in any and all advertisement and publicity relating to the production of this play. The author s billing must appear directly below the title on a separate line with no other accompanying written matter. The name of the author(s) must be at least 50% as large as the title of the play. No person or entity may receive larger or more prominent credit than that which is given to the author(s) and the name of the author(s) may not be abbreviated or otherwise altered from the form in which it appears in this Play. Publisher Attribution: All programs, advertisements, flyers or other printed material must include the following notice: Produced by special arrangement with YouthPLAYS ( Prohibition of Unauthorized Copying: Any unauthorized copying of this book or excerpts from this book, whether by photocopying, scanning, video recording or any other means, is strictly prohibited by law. This book may only be copied by licensed productions with the purchase of a photocopy license, or with explicit permission from YouthPLAYS. Trade Marks, Public Figures & Musical Works: This play may contain references to brand names or public figures. All references are intended only as parody or other legal means of expression. This play may also contain suggestions for the performance of a musical work (either in part or in whole). YouthPLAYS has not obtained performing rights of these works unless explicitly noted. The direction of such works is only a playwright s suggestion, and the play producer should obtain such permissions on their own. The website for the U.S. copyright office is

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4 CAST OF CHARACTERS OUTSIDE SCATTER BRAIN HUSH HEART BRAT WONDER INSIDE TEACHER COACH RIVAL PARENT CRUSH SIBLING CASTING NOTES All of the roles are gender flexible. pronouns when appropriate. Simply change the SETTING A bare stage. LIGHTING AND SOUND The play requires no special lighting or sound effects; however, if you have any creative ideas, go for it!

5 STAGING NOTES It's important that all of the actors remain onstage for the entire duration of the play. This opens the door to a wide variety of staging opportunities, which is exactly what the play is all about. The play is presented on a bare stage, so the actors must rely on tableaux and movement to set each scene. There is a series of two-character vignettes in Scene 2 and the original director used "active tableaux" to great effect. During each vignette, the ensemble members created a tableau behind the featured actors that also incorporated a small amount of movement. For instance, one scene takes place on a baseball diamond and the ensemble played catch in the background. Another scene takes place in an office and the ensemble sat on the floor, typing at imaginary computers. It's important that the ensemble does not pull focus from the featured actors, but it worked so well that I've incorporated many of these ideas into the stage directions. Of course, if you have ideas of your own, feel free to change the staging to suit your vision. Props and costume changes should be kept to a minimum. The original director had a very clever idea and built a large black box with a hinged lid. It was the only set piece they used and all of the costumes/props emerged from inside this box. In addition, it was on wheels and they used it in a variety of different ways: as a school desk, baseball dugout, ice cream stand, etc. It was such a terrific theatrical device that I highly recommend it, particularly for festival or touring productions. The ending poses a unique challenge. I have seen it done a variety of exciting ways, but rather than include those ideas here, I encourage you to come up with your own creative solution.

6 This is an infinitely flexible show, so don't be afraid to bend the rules. There are no wrong answers, so think outside the box and let your imagination run wild! ACKNOWLEDGMENTS Outside the Box was originally produced by East York Collegiate Institute in Toronto, Ontario, Canada. A huge thank you to director Patricia Murray and her enormously talented tenth grade drama students. Their creativity and invention helped take the play further outside the box than I could have ever imagined.

7 Outside the Box 7 SCENE 1: OUTSIDE (The "inside" actors stand in a straight line, with their backs to the audience, creating a wall. SCATTER breaks through the wall, carrying a textbook.) SCATTER: I'm going out of my mind! I have all these thoughts racing through my head that nobody understands. Even I don't understand them all. But does that mean I should just ignore them as if they don't exist? Besides, I can't stop them from creeping into my brain. Even if I wanted to, I couldn't. But that's the thing. I don't want to. I love my thoughts. What would I be without them? I'm supposed to be taking a test right now, but I can't help but wonder, where am I supposed to take it? (He freezes. BRAIN breaks through the wall, carrying a baseball bat.) BRAIN: They want me to go outside. But why? I don't know the first thing about baseball. Actually, that's not true. The first thing I know about baseball is that it's stupid. As far as I can tell, it's nothing more than a bunch of people running in circles. And where does that get them? When I run, I want to head toward something. When I run, I want to discover new things. When I run, I don't want to end up exactly where I started. So why they want me to go outside and run in circles when I could be chasing something far more important is totally beyond me. (He freezes. HUSH breaks through the wall, carrying a roll of yellow streamers.) HUSH: I'm completely outnumbered. Always have been, always will be. I don't mean to whine, but sometimes that's the only way to get noticed. Whenever I speak up, it's like someone has pressed the mute button. They have to know I'm talking because my mouth moves, but my words seem to

8 8 Bradley Hayward vaporize the second they escape from my lips. It was decided that the theme of our school dance should be "A Night to Remember." Yawn. How can it possibly be a night to remember when everything about it, from the balloons to the streamers, is utterly forgettable? It's so much more exciting to be different, don't you think? (She freezes. clipboard.) HEART breaks through the wall, carrying a HEART: He has an outstanding smile! Whenever he looks my way, I get weak in the knees. It's almost like I forget who I am for a second. Once he looked at me when I was having lunch and I lost complete control of my motor functions. I squeezed my taco so hard that all the beef and cheese came squirting out. I was mortified, but he didn't laugh. He just kept on smiling in my direction. Then I realized he was watching the TV over my shoulder. I really hate The Simpsons, but maybe I should try to like it. Then we'd have something to talk about. If we ever actually talk, that is. (She freezes. BRAT breaks through the wall, carrying a key chain with plenty of keys on it.) BRAT: Parents should be outlawed! I'm serious. They should take every mom and dad in the world and lock them up in little cells. Let's see how they like it. It's as if they get their kicks ordering me around from one place to another. "Go to your room!" "Go to school!" "Go to bed!" They brought me into this world, so why do they never seem to want me around? You have no idea how many times I've wanted to stand on my tiptoes and shout right in their faces, "Go away!" The only problem is, they always beat me to it. (He freezes. WONDER breaks through the wall, carrying a colorful kite.)

9 Outside the Box 9 WONDER: I don't see why my idea is so outrageous. Everyone tells me it's impossible, but how can they be sure until they let me try it first? The fact is, nobody knows what's possible and what isn't. That's what makes life so interesting. It wasn't long ago that the idea of flying seemed crazy. But now we can get half way around the world in less time than it takes my mom to get ready in the morning. And so what if they charge extra for carry-on bags? You're sitting in a chair in the sky, for crying out loud! They should charge extra for making the impossible possible! Which is exactly what I'd like to do, if anyone would let me. (They all unfreeze.) ENSEMBLE: Inside. SCATTER: Nothing makes sense. ENSEMBLE: Inside. BRAIN: There's nowhere to turn. ENSEMBLE: Inside. HUSH: Nobody listens. ENSEMBLE: Inside. BRAT: No one cares. ENSEMBLE: Inside. HEART: No means no. ENSEMBLE: Inside. WONDER: No! No! No! ENSEMBLE: Inside. SCATTER: Not in control. BRAIN: Not in shape. HUSH: Not in charge.

10 10 Bradley Hayward BRAT: Not in line. HEART: Not in love. WONDER: Not involved. SCATTER: Inside. I hold my breath. (He disappears behind the wall.) BRAIN: Inside. I bite my tongue. (He disappears behind the wall.) HUSH: Inside. I close my eyes. (She disappears behind the wall.) HEART: Inside. I cross my fingers. (She disappears behind the wall.) BRAT: Inside. I clench my fists. (He disappears behind the wall.) WONDER: I live my life. ENSEMBLE: Every day. WONDER: Inside the box. (He disappears behind the wall.)

11 Outside the Box 11 SCATTER SCENE 2: INSIDE (A classroom. The Ensemble sits in rows, writing an exam. Scatter sits out front, impatiently tapping his foot. He checks his watch, then taps his other foot. He checks his watch, then taps a pencil on his textbook. He checks his watch, then taps a second pencil on his textbook. Suddenly, he starts wildly drumming his textbook with both pencils. TEACHER approaches.) TEACHER: Hey! What's all the ruckus?! SCATTER: (Stops drumming:) Sorry, teach. Is it time for the test now? TEACHER: I need you to take this test without any distractions. SCATTER: I know that, teach. TEACHER: So you should be focusing. SCATTER: I am. TEACHER: Then why are you conducting yourself as though you were one of The Beatles? SCATTER: The who? TEACHER: No, not The Who. The Beatles. SCATTER: Who are The Beatles? TEACHER: Funny. Not a day goes by that I'm not reminded how old I am. SCATTER: You're not that old. granny cell phone. Although you do have a TEACHER: Hey, at least I have a cell phone. I don't know how to use it, but I have one. SCATTER: It helps me focus.

12 12 Bradley Hayward TEACHER: Your cell phone? SCATTER: No. The tapping. The drumming. It keeps my mind from wandering. TEACHER: You have medication for that. SCATTER: That keeps my mind from doing anything. prefer drumming. TEACHER: Well, I prefer quiet. SCATTER: Have you ever heard of swamp water? TEACHER: I must be old. Is that a band? SCATTER: When I go to Burger King, I never know what I want to drink. I stare at the soda fountain with my empty cup, trying to decide if I want Coke or Diet Coke. Or iced tea or ginger ale. Or grape or root beer. People start lining up behind me, so I panic. I don't know what I want! Why are there so many choices? I love them all! Finally, I stick my cup under the fountain and fill it with a little bit of everything. I snap on the lid and stick in a straw. Then I take a sip. Only it doesn't taste good. It tastes like swamp water. How is it possible to have everything I wanted and not like it? TEACHER: What does this have to do with your test? SCATTER: Everything. The questions are just like the fountain. A) Coke. B) Diet Coke. C) Iced Tea. D) Ginger Ale. I never know what to choose! I think to myself, they're all correct. Or worse, they're all wrong. Why isn't grape an option? And what about root beer? All I know for sure is that it's never "E." TEACHER: What's "E"? SCATTER: "All of the above." That's a trick. TEACHER: I promise you. This test is not a trick. I

13 Outside the Box 13 SCATTER: Why do I have to take it? TEACHER: So that universities can see if you've acquired a standard level of knowledge. SCATTER: I haven't applied to any universities yet. TEACHER: You haven't? SCATTER: Which one do I choose? How will I get there? What will I study? TEACHER: Relax. SCATTER: (Starts to panic:) I can't! TEACHER: Take a deep breath. SCATTER: I'm wading in swamp water and soon I won't be able to keep my head above it. TEACHER: Maybe we should try this another day. SCATTER: What day? TEACHER: When you've calmed down. SCATTER: Will it be sunny? Will it be raining? TEACHER: Calm down. SCATTER: What will I wear? Who will be there? TEACHER: (Holds out a pencil:) Here. SCATTER: How will I do? When will I find out? TEACHER: (Holds out another pencil:) Take it away. (Scatter takes the pencils and starts forcefully drumming with all his might.) BRAIN (A baseball diamond. The Ensemble tosses baseballs back and forth as Brain practices his swing out front. He waves his bat

14 14 Bradley Hayward around pathetically, looking more like a lumberjack than a baseball player. COACH approaches and blows a whistle. Brain jumps, startled.) COACH: You call that a swing? BRAIN: You call that a haircut? (He laughs. Coach blows the whistle.) COACH: I'm the only one who cracks jokes around here. BRAIN: How can you crack a joke when you are the joke? COACH: You think you're quite the wise guy, don't you? BRAIN: How many baseball coaches does it take to screw in a light bulb? COACH: I don't know. How many? BRAIN: What's a light bulb? (He laughs. Coach blows the whistle.) COACH: Listen, kid. There's only one thing standing in your way to a straight A average. BRAIN: And what's that? COACH: You're looking at it. BRAIN: Is that a threat? COACH: No. That's a warning. BRAIN: You don't scare me. Besides, no decent university considers sports over academics. COACH: Oh yeah? Then how come they give out so many athletic scholarships? BRAIN: Just because someone can hit a ball doesn't mean he's intelligent.

15 Outside the Box 15 COACH: It also doesn't mean they're stupid. Every day pitchers become doctors. Catchers become lawyers. Fielders become leaders. BRAIN: I suppose you're right. COACH: Damn straight. BRAIN: I suppose it also explains the current state of our government. COACH: Why are you so down on sports? BRAIN: Whenever the baseball team wins a game, it gets splashed all over the front page of the school paper. "The Lions Roar Again!" Once, just once, I'd like to see a headline in big black letters that reads, "Student Aces Exam!" Is that too much to ask? COACH: I can't help it if people would rather read about sports. BRAIN: If you want to run in circles and slide in the dirt, fine by me. More power to you. But just leave me out of it, okay? I'm no good at sports and never will be. COACH: I don't care if you're good at them. I just want you to try. BRAIN: And here I am. So let's just get this over with. COACH: Good. Now go stand over there. (Brain crosses to the other side of the stage. He gets ready to bat as Coach takes a baseball out of the bag and a member of the Ensemble becomes the catcher.) BRAIN: Okay. I'm ready. COACH: Who was the first recipient of the MLB Rookie of the Year Award?

16 16 Bradley Hayward BRAIN: What year was the Civil Rights Amendment signed into the United States Constitution? (Coach pitches the ball. Brain swings and misses.) COACH: Strike one. What nation won the Rugby World Cup twice? BRAIN: When did apartheid come to an end in South Africa? (Coach pitches the ball. Brain swings and misses.) COACH: Strike two. Charlotte Cooper won an Olympic gold medal in 1900 for what sport? BRAIN: Who was the first female ambassador to the United Nations? (Coach pitches the ball. Brain swings and misses.) COACH: Strike three. BRAIN/COACH: You're out. HUSH (Brain tosses the bat to the ground.) (A gymnasium. The Ensemble stands in a semi-circle, blowing up black and white balloons, as Hush unravels her roll of yellow streamers around them. RIVAL approaches angrily.) RIVAL: There you are. I sent you for streamers over an hour ago. I though you died or something. HUSH: I didn't die. RIVAL: (Points at the streamers:) Hey. What's the big idea? HUSH: What do you mean? RIVAL: I sent you for black and white streamers. HUSH: I know. But yellow caught my eye.

17 Outside the Box 17 RIVAL: I don't care what caught your eye. We decided the dance was going to be all black and white. HUSH: You decided. RIVAL: Maybe. But everyone else agreed. HUSH: I didn't. RIVAL: The decorations are black and white. The tuxedos are black and white. The dresses are black and white. If you hang yellow streamers, it's going to look like a crime scene. HUSH: Maybe that should be the theme! RIVAL: What? HUSH: "Law and Order Special Dance Unit." RIVAL: Don't be stupid. HUSH: What if someone wants to wear something other than black or white? RIVAL: Then there will be a crime scene. I've spent hours planning this dance and I'm not going to let anyone screw it up. (She rips the streamers off the Ensemble and tears them up into confetti throughout the following.) HUSH: You're acting like you're the first person who ever thought of having a black and white ball. It's been done. To death. RIVAL: So your solution is to quarantine the dance floor off with police tape? HUSH: It would be funny! Then it really would be "A Night to Remember." RIVAL: Should we also draw little chalk outlines on the floor? Hide body parts under the bleachers? Bob for Adam's apples?

18 18 Bradley Hayward HUSH: I'm just saying that you might want to consider doing something original. RIVAL: Why is this so important to you? HUSH: I could ask you the same question. RIVAL: Nobody forced you to be on the dance committee. HUSH: I'm not saying you have to take all my suggestions. But it would be nice if you at least listened to them. RIVAL: I listen. HUSH: No you don't. RIVAL: Sure I do. That's how I know they're stupid. HUSH: You burst my bubble every chance you get. RIVAL: Like when? HUSH: "Maybe we could have the dance outside." (She swats a balloon away from the mouth of an Ensemble member. The air escapes and it swirls around the stage.) "What if we hired a jazz band?" (She swats another balloon.) "Let's have door prizes." (She swats another balloon.) "Pajama party!" (She swats all of the remaining balloons and they whiz all around her.) "Never mind." RIVAL: Just great! Now I have to buy more balloons. HUSH: Did you even hear a word I said? RIVAL: And you're paying for them!

19 Outside the Box 19 (She shoves the yellow confetti into HUSH's hands.) HUSH: Yet another thought bites the dust. (She throws the little bits of paper into the air.) HEART (A stage. The Ensemble stretches in the background as CRUSH sweeps up the balloons and streamers with a tall push broom out front. Heart watches him adoringly, clutching onto her clipboard. She sighs, which gets his attention.) CRUSH: Hi there. HEART: Who? Me? CRUSH: Who else? HEART: (Smiles nervously:) You're doing a great job. CRUSH: Um okay. HEART: Sweeping the stage after a performance is very important. Otherwise the actors might, you know, slip on something. CRUSH: Yeah. HEART: And you sure know how to sweep real good. CRUSH: Um it's not that hard. HEART: Sure it is! When Mom sweeps the floor at home, she always complains about how much work it is. Same goes for mopping. She's a total clean freak. CRUSH: Yeah? HEART: She mops the floor with hand sanitizer! CRUSH: Um okay. HEART: (To herself:) She mops the floor with hand sanitizer?

20 20 Bradley Hayward (She buries her face in her clipboard, mortified.) CRUSH: How long have you been a stage manager? HEART: I have no idea. CRUSH: You don't? HEART: I don't even know my name anymore. CRUSH: (Stops sweeping:) My parents move around a lot, so I don't usually join clubs and stuff. Just in case we move in the middle of a semester. HEART: Oh? CRUSH: I can't even tell you the longest I've stayed in one place. HEART: Three years! CRUSH: I've definitely never lived somewhere that long. HEART: No, that's how long I've been a stage manager. CRUSH: Oh. HEART: So do you like it? CRUSH: I hate it. Moving around is a major pain. HEART: No, I mean theatre. CRUSH: Oh, that. I guess so. Do you? HEART: I wouldn't know. I've never moved before. CRUSH: I'm talking about theatre. HEART: Oh! Yeah, I like it. I like it, like, lots. CRUSH: Do you have any favorite plays or characters? HEART: (Quickly:) Marge Simpson. CRUSH: (Confused:) Marge Simpson?

21 Outside the Box 21 HEART: Those Simpsons sure are funny. Don't you agree? Ha, ha. CRUSH: I don't really like The Simpsons. HEART: But I saw you laughing at it during lunch. CRUSH: Sometimes I laugh at how bad it is. Honestly, I don't see why people think it's so great. But there's always a rerun on, so I guess I'm the only one who hates it. HEART: I hate it, too! CRUSH: But you just said HEART: Marge especially! What's with all that blue hair? I mean, really. CRUSH: Listen, I don't have time for games. HEART: What games? CRUSH: Why don't you just come out and say how you feel, instead of playing these mind games to get my attention? HEART: Am I that obvious? CRUSH: When I meet someone, I want to know who they really are. Not who they think I want them to be. HEART: I thought that's how things like this were done. CRUSH: Not when you move around a lot. limited. My time is HEART: What would you have said if I just came out and told you my feelings? CRUSH: I guess you'll never know. HEART: (Sighs:) That's worse than knowing. (She buries her face in her clipboard as Crush resumes sweeping.)

22 22 Bradley Hayward BRAT (An office. The Ensemble types at imaginary computers. Brat paces out front and fidgets with his key chain. PARENT approaches, carrying a scale model of a house made of cardboard.) PARENT: What are you doing here? BRAT: Nice to see you too, Dad. PARENT: How did you get into my office? BRAT: (Holds up the keys:) You gave me a key. Remember? PARENT: Whatever it is you want will just have to wait. I'm in a hurry. BRAT: How come? PARENT: It took me twenty minutes to get from the lobby to my office. Some idiot pushed all the buttons in the elevator. (Brat laughs.) Don't tell me it was you. BRAT: Funny, right? PARENT: No, it's not funny. This is a place of business, you hear? I don't have time for funny. BRAT: You never have time for anything. PARENT: Listen. I have two meetings this afternoon. And because of you, I'm running late. BRAT: (Points at the model:) What's that? PARENT: It's a model of the house we're building. BRAT: Did you make it? PARENT: Of course I made it. I designed it. BRAT: Really? That's super cool!

23 Outside the Box 23 PARENT: Stop beating around the bush. How much money do you want? BRAT: What? PARENT: The only reason you come to visit me at work is when you want money. BRAT: That's not true. PARENT: How much? BRAT: Fifty bucks. PARENT: Fifty?! For what? BRAT: A field trip to the aquarium. PARENT: I don't bust my tail so you can look at dolphins. BRAT: But the whole class is going. PARENT: (Hands him a five dollar bill:) Here. Take five and buy yourself a goldfish. (Brat picks up a miniature tree from inside the model and moves it.) BRAT: I think this tree should be over here, don't you? PARENT: (Takes the tree:) Don't touch that! BRAT: (Picks up a little shed:) And you could put the shed over here. PARENT: I said, don't touch it! BRAT: But don't you see? If the shed is closer to the house, it wouldn't be such a pain to get out the lawn mower. PARENT: Go on! Get! BRAT: I'm just trying to help. PARENT: I don't need your help.

24 24 Bradley Hayward BRAT: Maybe not, but you could want it every now and then. PARENT: Why would I want your help? touch sets me back. BRAT: Like what? Everything you PARENT: Like elevator buttons. I had to stop on every single floor on my way up. I can't afford that kind of nonsense. BRAT: Every day you pass by those floors without even noticing them. PARENT: What's to notice? BRAT: I don't know. But if you'd stop and look, maybe you'd find out. PARENT: What do you want me to do? Get off on every floor and throw a surprise party? BRAT: I'm not talking about floors, Dad! PARENT: Then what are you talking about? BRAT: I'm talking about me. I want you to stop and notice me! PARENT: Just go away, will ya? I'm busy. BRAT: Fine. Take your stupid shed back! (He crumples the cardboard shed and hurls it into the model.) Put it wherever you want. PARENT: You'll pay for that! BRAT: No problem. Here's five bucks. (He crumples the five dollar bill and hurls it into the model.) WONDER

25 Outside the Box 25 (A park. The Ensemble plays Frisbee in the background. Wonder is out front, waving his hands over his kite like a magician. SIBLING watches, nonplussed) SIBLING: There's no such thing as telekinesis. WONDER: Sure there is! SIBLING: Trust me. attached. WONDER: Why not? SIBLING: You just can't, that's why. WONDER: Do you have proof? You can't fly a kite without a string SIBLING: I don't need proof. It just makes sense. And if something makes sense, it's true. WONDER: Then how do you explain yeast? SIBLING: Yeast? WONDER: In bread, it's an ingredient. infection. In people, it's an SIBLING: What does yeast have to do with anything? WONDER: It's true both ways. So how does that make sense? SIBLING: I sometimes wonder what it would be like to live inside that head of yours. WONDER: We could forget telekinesis and try telepathy! SIBLING: Then I realize I would die from exhaustion. WONDER: We used to have fun together. What happened? SIBLING: I got wise. WONDER: I don't want you to be wise. I want you to be fun! SIBLING: I'm the older brother. It's my job to be wise.

26 26 Bradley Hayward WONDER: Then explain to me why I shouldn't try it. SIBLING: Okay. Let's say I'm eating outside on a windy day and let go of my napkin. What would happen to it? WONDER: It would blow away. SIBLING: Exactly. WONDER: Exactly what? SIBLING: Exactly what would happen to your kite. It would blow away. WONDER: But that's a napkin. This is a kite. SIBLING: Oh my God. You're hopeless. WONDER: Wait a second! Are you saying I should make a kite out of napkins? SIBLING: What I'm saying is that you can barely get this kite to fly with a string. What makes you think you can do it without one? WONDER: I don't know if I can. But it's worth a try. SIBLING: If you cut the string, it will fly away and you'll never see it again. WONDER: Even if that's the case, so what? SIBLING: Then you won't have a kite. WONDER: But I'll have something more. SIBLING: What? WONDER: Certainty. SIBLING: The only thing certain is that you'd be a moron without a kite. WONDER: I still say it's possible.

27 Outside the Box 27 SIBLING: Then go ahead. Cut the string. Fly the kite with "nothing but your mind." Just leave me out of it. WONDER: Why? SIBLING: I don't want people to know I have an idiot for a brother. WONDER: I'm not an idiot. SIBLING: Then prove it. WONDER: How? SIBLING: Either fly the kite with your mind or stop talking about it. Take your pick. WONDER: But I don't want to prove it. SIBLING: Then what do you want? WONDER: I don't care if it's possible or not. I just want you to believe it's possible with me. SIBLING: But it's not. WONDER: You keep saying that. SIBLING: If you say something enough times, it comes true. So repeat after me. It's not possible. WONDER: "It's not possible." SIBLING: That's more like it. WONDER: (Holds the kite high above his head:) But I'd still like to try! SIBLING: It's not possible. WONDER: "It's not possible." (He lets go of the kite and it hits the ground with a thud.) Want to read the entire script? Order a perusal

28 28 Bradley Hayward copy today!