BACK

DOOR03   23' DOOR TO ADVENTURE: episode: any door, any size

EXT MORNING WIDE: VACATION HOME DRIVEWAY

(Family members bring out suitcases and sporting equipment from
the house and load into the backs of both vans then return to
the house for more, lastly Dorah brings out her suitcase and
personal items as Mother lingers behind the van to fit
everything into the limited space)

                             DORAH

(looks both ways to be sure noone is listening)

Ah, um, Mom?

                            MOTHER

(grunting and pushing)

Yes, honey?

                             DORAH

(looks both ways to be sure noone is listening)

Um, what do we do about...

(points to woods)

about the door?

                            MOTHER

(still grunting and pushing)

About the what?

                             DORAH

(looks both ways to be sure noone is listening)

About the door. You know.

                            MOTHER

(stops, turns)

Oh, the

(lowers voice)

door.

                             DORAH

Yeah, how do I get it home?

                            MOTHER

(amused)

It's time for you to advance to phase three.

                             DORAH

What does that mean?

                            MOTHER

(looks both ways to be sure noone is listening)

That means you won't have to go to the door. The door will come
to you whenever you need it.

(returns to packing the van)

Try it.

                             DORAH

I... I'm sorry. I don't understand.

                            MOTHER

From now on, wherever you reach out expecting to touch the door,
you'll touch the door. Try it.

                             DORAH

(tentatively reaches into mid-air, withdraws hand, turns)

You mean, I won't have to remember where the door was the last
time it disappeared?

                            MOTHER

That's right. You're at phase three now. Just try it.

                             DORAH

(turns to the side, relaxes shoulders)

Alright, I expect to touch the door...

(reaches for the door knob)

here.

(turns knob)

(sound cue: door latch clicks)

(gasps, pulls hand back)

The door is here!

                            MOTHER

(turns)

Why don't you say it louder so everyone can hear.

                             DORAH

(whispers)

I'm sorry.

(points to the door)

The door is right here!

                            MOTHER

(smiles, resumes packing)

How on earth did that happen?!

                             DORAH

(aloud)

You mean, I...

(whispers)

You mean, I can do that anytime?!

                            MOTHER

Well, I wouldn't recommend doing it right in the middle of the
hallway at middle school.

(turns, smiles)

But yes, anywhere, anytime you need the door, it will be there
when you reach for the door knob. But you have to be very
careful...

                             DORAH

Don't worry. I'll only open the door when noone is watching.

(Family members return with another load of suitcases and
personal items)

                            FATHER

Well, I think that's the last of it.

(examines Mother's and Dorah's smiling faces)

And what's so amusing with you two?

                         DORAH & MOTHER

Nothing.

INT NIGHT WIDE: DORAH'S BEDROOM

(Dorah, wearing pajamas, is lying face down on her bed doing
homework, singing along with the latest pop song on her Ipod,
suddenly she pulls the ear plugs out and pushes herself to a
sitting position)

Huh?

(looks in all directions)

Who said that?!

(sighs)

Oh.

(springs to her feet, reaches toward the middle of her room)

I guess it's time to see if this new door thing works.

(turns knob, pulls open door, steps into the darkness, turns,
looks down at self)

Oh. I'm in my pajamas! Should I... No. This is an emergency.

(exits through door, shuts it behind her)

EXT NIGHT WIDE: CITY PARK

(Dorah enters through virtual door, closes it behind her, sees a
woman in a business suit carrying a briefcase and talking on a
cell phone crossing the park in front of her. Then she scans the
park for emergencies)

Well, that woman doesn't seem to be in any kind of trouble, I
wonder why I'm here...

(sees two thugs afar nudge each other and point at the woman,
mumble something, hurry to catch up with the woman from behind,
the woman, thoroughly involved in the phone conversation is
unaware of the coming robbery)

Those guys are up to no good.

(thugs both pull knives)

This looks like a robbery in progress.

(turns, opens virtual door, exits)

Well, Mr Door, I guess it's you and me against the bad guys.

INT NIGHT WIDE: DORAH'S GARAGE

(Dorah exits virtual door, approaches a rack of sports
equipment, pulls down a baseball bat, exits through virtual
door)

EXT NIGHT WIDE: CITY PARK

                             DORAH

(enters through virtual door a few steps behind the thugs,
closes door)

Hey, guys!

(thugs stop, turn, brandish knives)

I know what you're thinking of doing and I think you should
change plans.

                             THUG1

(turns, smiles, approaches)

New plans, Vinnie. First we waste the kid, THEN we take the
woman's money.

                             THUG2

(follows)

Sounds like a plan, Stan.

                             DORAH

(backs away slowly)

These weren't quite the plans I was thinking of, guys. But at
least you'll be leaving that lady alone.

                             THUG1

Hey, the kid has a point there, Vinnie. It don't take two of us
to waste one kid. Why don't you go after the lady and relieve
her of her money while I take care of the kid?

                             THUG2

Sounds like a plan, Stan.

(turns, runs after the woman)

                             THUG1

Well, I guess it's just you and me, kid. Do you have any final
wishes before you...

                             DORAH

I WISH...

(swings bat horizontally, knocks knife out of frame, it sticks
into the trunk of a nearby tree)

you would find some other way to make money besides stealing it
from helpless women.

                             THUG1

Aaah!

(shaking injured hand)

That hurt me!

                             DORAH

(advances)

You ain't seen nothing yet. I'm going to swing this bat one more
time, and this time I'm going to be aiming at your head. Does
that sound like a plan, Stan?

(Thug1 runs out of frame. Dorah exits through virtual door)

(Jump cut: Dorah enters through virtual door near behind large
tree as the woman walks by still talking on the phone non-stop,
Dorah steps int Thug2's path with bat at the ready)

                             DORAH

Change of plans.

                             THUG2

(stops suddenly, turns, gasps, looks back, then forward)

How did you?!...

(looks back)

What did you do with Mario?!

                             DORAH

Mario decided to do something else to make money. I recommend
that you do the same thing.

                             THUG2

(advances brandishing knife)

Look, kid, you're standing between me and my payday.

                             DORAH

(retreating slowly)

I'll give you one more chance. Leave that woman alone or you'll
be sorry.

                             THUG2

No can do. I have no other job skills. This is my thing.

                             DORAH

Not any more.

(swings, knocks Thug2's knife out of frame)

                             THUG2

(shakes wounded hand)

You hit me! You little...

(feels hand)

You broke it! You broke my hand! You little...

                             DORAH

(advances)

You ain't seen nothing yet. I'm going to swing this bat one more
time, and this time I'm going to be aiming at your head. Does
that sound like a plan, Stan?

(Thug2 runs out of frame. Dorah exits through virtual door)

And don't come back!

(looks down the sidewalk at the woman, still talking on the
phone and exiting the park, completely unaware of what took
place behind her)

INT MORNING WIDE: DORAH'S MIDDLE SCHOOL CLASS

(bell rings, all kids rise and exit classroom, Dorah, near the
back of the room, stops, stands erect as if listening to bad
news, then, with a determined look, hurries out the door,
elbowing classmates aside)

                             DORAH

Excuse me. Excuse me. Please excuse me. I'm sorry. I have an
emergency.

(exits classroom as classmates react, some with disgust, others
with humor)

INT MORNING WIDE: DORAH'S MIDDLE SCHOOL GIRL'S RESTROOM

(Dorah enters running, crosses to a stall, enters, closes stall
door behind her, then a bright light emits for two seconds from
her stall followed by the sound of a closing door)

                           CLASSMATE

(enters frame with puzzled look)

What was that?

(approaches Dorah's stall cautiously, shouts)

What's going on in there?! Hello?!

(knocks briefly, pushes stall door open, finds it empty, shrugs)

I would have sworn I saw a girl go in there!

EXT MORNING WIDE: TROUT STREAM

(Fishermen stand on both shores casting their lines in the water
and winding the lines back in, camera pans to a two lane bridge
where a man on each end cast their lines downstream in the water
and reel in slowly. Suddenly, a body floats under the bridge
face down)

                           FISHERMAN1

(points, shouts to man fishing on shore)

Holy smokes! It's a body. Somebody do something!

                           FISHERMAN2

What do you want me to do?! I don't know how to swim!

(Dorah's virtual door appears on the middle of the bridge as all
eyes are fixated on the floating body downstream. She closes the
door behind her and runs to fisherman2 at the end of the bridge
as he winds in the last of his fishing line. She grabs the hook
and attaches it to her belt as she climbs onto the rail of the
bridge)

                             DORAH

(shouts)

Somebody call 911!

(jumps into the stream pulling the fishing line from the reel
with a sizzling sound, then swims down stream toward the body,
fisherman2 allows the fishing line to unreel until Dorah grabs
the body, then he hurries toward shore and gently pulls the line
toward shore. As soon as Dorah can stand, she drags the body to
shore as all the fishermen watch in frozen amazement)

Can somebody please help me?

(One fisherman finally regains composure and drags the body on
shore)

Anybody here know CPR?

CPR?

Anybody know what CPR is?

Okay then, I'll do my best.

(sits on the victim's chest several times, each time with
greater force until he begins coughing and sputtering)

Help me turn him on his side.

(both turn the man onto his side while he coughs up water, she
stands)

(sound cue: siren approaches)

Somebody cover him with a jacket or something until the
paramedics get here.

(all eyes look toward the bridge as the ambulance stops there,
Dorah backs away toward the tree line, looks both ways,
side-steps behind a tree and disappears)

                           FISHERMAN2

(follows her behind the tree)

Say, that was a very brave thing for you to do, young lady...

(looks both ways)

Where did she go?

INT MORNING WIDE: DORAH'S MIDDLE SCHOOL RESTROOM

                           CLASSMATE

(now primping in front of the mirror, looks at the reflection of
a brief flash of bright light in the stall, then Dorah, now
wearing different colored dry clothes, exits the stall, gasps,
turns)

How did you do that?

                             DORAH

Do what?

                           CLASSMATE

I just looked in that stall and noone was there!

                             DORAH

I was just in there.

                           CLASSMATE

You were wearing a different outfit before.

                             DORAH

(moves toward exit)

Are you sure about that?

                           CLASSMATE

(follows)

Your hair is wet. How did your hair get wet?!

                             DORAH

(exiting)

It's complicated.

EXT AFTERNOON WIDE: SIDEWALK IN FRONT OF DORAH'S MIDDLE SCHOOL

(bell rings, Dorah and other students exit main entrance, then
disburse in all directions and Dorah ends up walking on the
sidewalk alone. Behind her a few steps is Classmate from the
girls restroom incident. Dorah stiffens as she walks and looks
up, then, with a determined look, diverts behind a large tree.
Classmate stops where Dorah diverted, then follows behind the
tree and finds Dorah gone, Classmate looks all around and up the
tree, then repeats the search more frantically, then feels her
own forehead with the back of her hand as she resumes her walk
down the sidewalk)

                           CLASSMATE

I'm not well. I need to rest or something.

INT AFTERNOON WIDE: CARGO BAY OF AIRPLANE IN FLIGHT

(Dorah enters through virtual door, closes it, door disappears)

                             DORAH

(looks around)

Where am I?

I'm in an airplane and the airplane is flying! So, why am I
here?

(begins walking forward toward the flight deck, walks toward the
right windows, looks out)

Where are we? I don't recognize anything on the ground. I don't
see any cities, not even any highways.

(crosses to the left side, looks out)

Nothing here either.

(sound cue: thud)

(airplane lurches left)

(sees flames coming out of the back of an engine)

Wo! I guess that's why I'm here!

(hurries to the flight deck, opens the door)

Listen, I hate to bother you but...

                             PILOT

(turns)

How did you get in here?! There was noone in the cargo bay when
I took off!

                             DORAH

Listen, you have flames coming out of one of your engines.

(points)

                             PILOT

That's impossible! If I had a fire, my instrument panel would...

(points to the instrument panel, then red lights blink)

(sound cue: repeated horn blasts)

Holy Smokes! What's going on?!

                             DORAH

You have flames coming out of your engine.

(points)

                             PILOT

I know that! The red light is on.

(flips switch silencing the horn)

Now I just need to turn off the fuel pump to engine number one
and....

(turns two rotary switches, presses button, flames cease in
engine)

the fire goes out. Unfortunately, I now have only one engine
left to get me to my destination. Fortunately, this airplane can
fly and land using only one engine.

(looks out the left window to confirm, turns to Dorah)

Okay, the fire is out. Now you can tell me how you were able to
stow away on my airplane.

                             DORAH

I was?

                             PILOT

You'd better.

                             DORAH

Actually, I think you might have more important things to worry
about.

                             PILOT

Like what?

(red lights blink on the instrument panel)

(sound cue: repeated horn blasts)

(turns toward instruments)

Holy Smokes, what is that?

                             DORAH

(points toward right engine)

Your other engine is on fire.

                             PILOT

How could you possibly know that...

(flips switch silencing the horn)

How could you possibly know that before the temperature sensors

(points to instrument panel)

knew it?!

                             DORAH

(points to instrument panel)

Listen, shouldn't you be turning off the fuel pump to this other
engine or something?

                             PILOT

(adjusting trim and flap levers)

That would be a good idea if I had four engines on this
airplane, but I only have two. If I turn off my second engine I
would have to do a dead-stick landing. So, in this case an
engine on fire is better than no engine at all.

(pulls a map from his briefcase, partially unfolds it)

Now I need to find a soft place to land this thing.

(Dorah exits flight deck, closes door)

(studying map)

Unfortunately there are no air strips within 200 miles.

(looks back, stands up)

Say listen, little lady, we need to...

(opens door, looks around)

Where did she go?

INT AFTERNOON WIDE: EMPTY AIRPLANE HANGAR

(Dorah enters through virtual door and closes it, the door
disappears and she looks around)

                             DORAH

Alright, Mr Door, you brought me here. What did you want me to
do here?

(moves toward workbench)

Maybe a tool to stop the fire.

(crouches to pick up the parachute leaning against the table
leg)

I wonder what tools there are in this backpack.

(lifts it)

It's a parachute!

(turns, reaches, opens Door, exiting)

What do you think, Mr Door. If you can't save the airplane,
maybe you can save the pilot, huh?

INT AFTERNOON WIDE: CARGO BAY OF CARGO AIRPLANE IN FLIGHT

                             PILOT

(digs through a pile of tarps and straps)

Now, what did I do with that parachute?

(straightens)

Oh no! I forgot to put the parachute back here after I repacked
it in the hangar.

                             DORAH

(enters frame)

Your parachute is right here.

                             PILOT

(turns, gasps)

Where did you go?! How did you get here?!

                             DORAH

(offers parachute)

I don't think you have time to ask questions.

                             PILOT

(takes and puts on parachute, turns his back to reach buckles)

Well, alright, but you will have a lot of questions to answer
when we get down to the ground, young lady.

(straightens)

Wait! I've only got ONE parachute!

(turns)

How will YOU get down...

(sees Dorah is gone, squeezes eyelids shut, opens them)

Maybe this whole thing is just a dream.

(opens side door, jumps out)

EXT AFTERNOON WIDE: SIDEWALK ON THE WAY HOME FROM SCHOOL

(Dorah immerges from behind a large tree near the sidewalk and
resumes her walk home from school. Classmate, following a few
paces back, stops, walks completely around tree, feeling and
knocking the bark, looking up and down for a door)

INT NIGHT WIDE: DORAH'S BEDROOM

(Dorah, sleeping in the sparse light of the moon, suddenly
awakens and sits up, she throws back the covers and begins the
run for a dive out the window, then stops at the last minute,
knocks lightly on the window)

                             DORAH

So much for diving out the window. Better rethink this.

(realization)

Hey, I'm in phase three now!

(looks down at self)

Besides I'm in my pajamas again. Do I have time to change
clothes?

(shrugs, turns toward closet and opens it)

I have time.

INT NIGHT WIDE: ART MUSEUM VIDEO MONITORING ROOM

(Dorah's virtual door appears as it begins to open, she enters,
then Dorman's virtual door appears as Dorah turns to close hers)

                             DORAH

(turns, gasps, smiles, whispers)

Dorman!

                            DORMAN

Hi, Dorah. Looks like we're working together tonight.

                             DORAH

(after an embarrassing smiling silence, regains her composure)

So, what's our mission? Any idea where we are?

                            DORMAN

We're at the art museum.

(looks around the room)

I don't understand. There's usually a security guard watching
these camera monitors.

(opens door slightly, sees two security guards hog-tied face
down in the hallway, closes the door quietly)

The guards have been disabled. There's a robbery in progress.

(approaches TV monitors)

I hear there's about ten million dollars worth of necklaces,
bracelets and earrings upstairs in those

(points to monitor)

showcases on the showroom floors.

                             DORAH

Wow!

(points to monitor showing two darkly dressed men carrying black
gym bags ascending the stairs)

There's two of the perps.

                            DORMAN

(examining other monitors)

Perps?! You've been watching too much television.

Well, I don't see any others.

(smiles)

I think we have just two PERPS to deal with.

                             DORAH

(picks up phone, dials)

How do you want to stop them?

                            DORMAN

(thinks for a moment)

I think WE should steal the jewels before the PERPS can get at
them.

                             DORAH

You're kidding, right?

                            DORMAN

We have to do something to delay the robbers until the police
get here. You got a better idea?


                             DORAH

(to phone)

Yeah, hi, I'd like to report a jewelry heist at the art museum.

                            DORMAN

Heist?! You have been watching too much television.

                             DORAH

(puts finger to lips, talks to phone)

Yes. There are two robbers and we think they're going after the
necklaces and bracelets in the display cases.

(quickly)

Got to go!

(hangs up phone)

Okay, so how do we steal all the jewels? The robbers are already
upstairs.

(points to monitor)

                            DORMAN

You've made it to phase three, right?

                             DORAH

Phase three.

                            DORMAN

So, you know about the moveable door, don't you?

                             DORAH

Oh. Yes. I just used it this afternoon. It's a lot better than
running into the woods everytime the door calls.

                            DORMAN

In this case, you and I each have a door in the floor.

(points down, kneels, plunges hand through the floor, a one-foot
square virtual black hole opens up, Dorman reaches down until
his elbow disappears, pulls up a diamond and emerald encrusted
necklace)

                             DORAH

That is so cool!

                            DORMAN

(lays the necklace carefully on the floor near the hole and
plunges his hand into the hole for another)

Hurry! I'm stealing from the gallery in the west wing, you steal
from the east wing.

(points to the floor across the room. Dorah kneels there, and
plunges her hand through another black hole and feels for a
moment, then retrieves a bracelet encrusted with diamonds and
rubies, she sees how Dorman lays his finds in a circle around
the hole in the floor, she copies his pattern)

                             DORAH

This bracelet costs more than my house!

INT NIGHT WIDE: ART MUSEUM MAIN ENTRANCE

(Boss and Thug enter from stairway door each carrying a black
gym bag)

                             BOSS

Okay, now that the security guards are tied up, we can proceed:
you take the East Wing...

(points)

I'll take the West Wing. And hurry.

(backs toward west wing)

Remember, once you break the glass in the display cases, the
alarm goes off. After that we have only two minutes to get the
jewels and make our getaway before the cops get here. Got it?!

                             THUG

(exiting to east wing)

Got it, boss. Two minutes and we're out of here. Right, boss?

(turns)

Boss?

(exiting to east wing)

He ain't much of a conversationalist, is he?

INT NIGHT WIDE: ART MUSEUM EAST WING

(Thug enters darkened showroom, pulls hammer out of gym bag,
smashes the first display case in the row, alarm horn beeps
loudly, pulls out flashlight, shines it on the empty case, pulls
out walkie talkie)

                             THUG

Boss? You there? Boss?

                             BOSS

(voiceover)

What is it?!

                             THUG

Boss, we got a problem!

                             BOSS

Why are you bothering me with this?! I already told you that as
soon as you smash the glass on the display case, the alarm will
go off!


That ain't the problem, boss.

                             BOSS

You're wasting valuable time! Get to the point!

                             THUG

There's no jewelry in the display case.

                             BOSS

Well, try the next case!

                             THUG

Oh, sure. Good idea, boss.

(smashes the next case, shines the flashlight, pulls out walkie
talkie)

Same thing, boss. No jewelry here either.

(looks around the showroom)

In fact, there's no jewelry in ANY of the showcases, Boss...

(shines flashlight on the showcase at the far end, approaches)

Wait. It looks like the showcase on the other end has a necklace
in it.

(when Thug turns slightly to talk into walkie talkie, Dorah's
hand descends inside the case to remove the necklace)

Yeah, Boss, there's one necklace left here.

                             BOSS

Well, get that one and then come help me clean out the jewelry
in the west wing.

                             THUG

(moving toward far end)

Will do, Boss!

INT NIGHT WIDE: ART MUSEUM WEST WING

(Boss pulls out hammer, smashes the first showcase in line)

                             THUG

(voiceover)

Boss, we've got a problem.

                             BOSS

(pulls out walkie talkie)

What is it now?!

                             THUG

The necklace that was in the end showcase isn't there no more.

                             BOSS

(to self)

Why, that no good, cheating thief is trying to rip me off!

(to walkie talkie)

Come here! Right now!

(shines a flashlight on the showcase, finds the case empty)

What the...! It's empty!

(picks up black bag, moves to the next case, raises hammer,
shines flashlight)

What the...! There's no jewelry here either!

(shines flashlight all over the room, sees one necklace
remaining in the showcase at the far end)

There's one!

(picks up bag, hurries down to the last showcase, removes hammer
and flashlight)

                             THUG

(enters showroom carrying black bag)

Where are you, boss?

                             BOSS

(stops hammer in mid-swing, turns toward Thug, Dorman's hand
descends into the showcase and removes the last necklace)

Down here on the end. Show me what's in your bag.

                             THUG

(approaching)

I already told you, boss. I got nothing. All the showcases was
empty.

                             BOSS

Show me.

                             THUG

(opens bag wide to show just the walkie talkie)

Just the walkie talkie and the flashlight, boss. What...

                             BOSS

You're holding out on me!

                             THUG

I what?!

                             BOSS

I don't know how you did it. But while I was tying up those two
security guards downstairs, you somehow came up here and stole
all the jewels for yourself.

(raises hammer, approaches)

                             THUG

(retreats)

No, Boss, you got me wrong. I would never hold out on you!

                             BOSS

Where are they?! What did you do with them?!

(Thug drops bag, turns and runs, Boss follows)

This job was MINE. I cased the joint. I did the plans. Them
jewels is mine! And I want them back!

(after Thug circles the showroom, Boss cuts off his path, Thug
exits)

INT NIGHT WIDE: ART MUSEUM EAST WING

(Thug enters running)

                             BOSS

(follows and threatening Thug with hammer)

Come here, you miserable little double-crossing cheat! I'll show
you who's boss here! Give me back my jewels.

(after Thug circles the showroom, Boss cuts off his path, Thug
exits)

INT NIGHT WIDE: ART MUSEUM LOBBY

(Thug enters running toward the exit)

                             BOSS

(follows and threatening Thug with hammer)

I'm going to change the shape of your head, you miserable
little...

(Thug comes to a stop and holds up his hands, and backs away.
Boss stops, shines flashlight on two policemen with pistols
drawn coming through the door)

                             THUG

Boss, I think we exceeded our two-minute limit.

                             BOSS

Shut up, you miserable little twit!

                              COP

(shines flashlight at Boss)

Drop the hammer and put your hands up!

                             BOSS

(slowly lowering the hammer and the flashlight to the floor)

Officers, I was passing by this way and I saw this burglar...

(points to Thug)

breaking into the art museum, so I chased him down for you.

                             THUG

You what?!

                             BOSS

He stole all the jewels from the two showrooms. He'll tell you
where he hid them.

                             THUG

I didn't steal nothing, Boss! There was nothing to steal!

                             BOSS

Don't call me boss! Officers, I've never laid eyes on this man
before.

                              COP

(motions)

Alright, you two! Knock it off! Into the showroom. Move!

(all move to showroom)

We'll see if anything was stolen.

INT NIGHT WIDE: ART MUSEUM WEST WING

(Cops and thieves enter showroom to find that all the necklaces
and bracelets have been returned to their showcases, except the
one necklace on the far end, which Dorman's hand descends and
drapes on the black velvet bust)

                             BOSS

What the....

                             THUG

See?! What did I tell you, boss? I didn't steal nothing. All the
jewels is still right here in the showcases.

                             BOSS

He's right, officers, this has all been one gigantic mistake.

(puts hands down, turns)

If nothing's been stolen, we're free to go.

                              COP

Not so fast, Lefty!

                             THUG

Boss, how does he know your name?!

                             BOSS

Stop calling me boss!

(to cop)

Officer, I swear I've never seen this man before in my life!

                              COP

Save it, Lefty. I was the arresting officer on your last jewelry
heist.

(points)

And I assume these are your little black bags to haul away the
jewels?

                             BOSS

I don't know what you're talking about. I never saw those bags
before.

                              COP

I'll bet we'll find your fingerprints all over one of those
bags, and all over the burglary tools in the side pockets.

(pushes Boss toward door)

You're under arrest.

                             THUG

But we didn't steal nothing!

                              COP

(pushes Thug toward door)

Yeah, but you're both still going down for smashing the glass in
this showcase, for possession of burglary tools, for breaking
and entering and for parole violation.

                             THUG

(exiting)

How did the jewels get back into the showcases, boss?

                             BOSS

(exiting)

Don't call me boss! Officer, he planned the whole thing.

INT NIGHT WIDE: ART MUSEUM VIDEO MONITORING ROOM

(Dorah and Dorman rise from a kneeling position and dust off
their hands)

                            DORMAN

(points to monitor showing Cops and Burglars exiting showroom)

Well, our work here is done.

                             DORAH

It was fun!

(points to floor)

The new little door in the floor I mean.

                            DORMAN

I like working with you. You pick things up real fast.

(reaches out and pulls, a virtual door appears and opens, steps
into it)

I hope we can get together again soon.

                             DORAH

Um, ah,

(reaches out and pulls, a virtual door appears and opens)

yeah, same here.

(advances, stops, retreats)

Um, ah, Dorman?

                            DORMAN

(turns)

Yeah?

                             DORAH

Um, ah, our school has a fall dance. Can you come?

                            DORMAN

Oh, ah, well, I live way out in the country.

                             DORAH

But the door will take you anywhere you want to go. Somebody
told me that once.

                            DORMAN

Oh! Yeah! Of course. Sure. I'd like that. Let's dance!

                             DORAH

It's a week from next Friday, seven o'clock.

(points)

The door knows where it is.

                            DORMAN

(exiting)

See ya!

                             DORAH

(exiting)

See ya!

(doors close, doors disappear)

�2013 Bob Snook. Conditions for use:
Do not sell any part of this script, even if you rewrite it.
Pay no royalties, even if you make money from performances.
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