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SPRING FORWARD: A DINOSAURS’ TALE
[Ominous music plays after the production logos appear, reminiscent of the initial music of JURASSIC PARK. The screen is black. Leaves can be heard rustling loudly and strange animal noises can be heard. The scene then cuts to a close-up of a treeline at night, illuminated with floodlights. The trees are rustling dramatically. A large metal crate thrusts out at the viewer. The camera stays with the close-up of the crate as it is lowered to the ground. The camera pulls back somewhat to show a group of humans with hard hats and construction equipment milling around the crate.]
Man #1 (reminiscent of Muldoon in dress and appearance): Loading team, step away!
[The team moves away while the camera remains fixed so that Man #1 is on the right and the crate is on the left.]
Man #1 (in close-up, irritable tone, reading from a clipboard): So, we have a package here. You can’t imagine how hard it was to load this thing up. My team expects to be well compensated, Mr. Sinclair.
[The camera quickly pans slightly to the right and the ominous music stops abruptly. An obese green dinosaur with a red-and-black plaid shirt stands behind Man #1.]
Mr. Sinclair (with deep voice, nodding): Yeah, yeah. *scratches head with index finger* Just leave the bill on the table with the rest of the pile. *shakes head briefly* Sheesh.
[The camera pulls back to reveal that humans and humanoid dinosaurs are working together to build what appears to be a replica of the Sinclair house. A black title card appears written in Dinosaurs font: SPRING FORWARD. The theme song starts to play as we see barely animated scenes, similar to pop-up book images, play out with no audio other than the abbreviated theme song. The first shot is of Ethyl Phillips reading from a storybook to Baby Sinclair, who eagerly listens in his crib. The camera moves right again and we see Robbie eagerly raising his hand in a classroom as Spike behind him rolls his eyes, drumming his fingers on his desk. The camera moves right as we now see a forest disappearing with the help of Wesayso employees. The camera moves right again and we see Charlene flirting with male dinosaurs in a school hallway. The camera moves right again as we now see Richfield pressing a button, which makes an image of the Earth blow up behind him. Tons of snow falling transitions the next shot, which is Earl Sinclair walking away from his huddling fur-coat-wearing family in the living room to stare out the window, like the finale. The image then transitions to a live action version of the image as the theme song ends, with Earl Sinclair staring out of the window. However, now we are back to the warmer forest climate shown at the beginning of the film. The camera follows Earl as he heads to the center of the living room, where Fran is channel flipping on a modern television set. The décor is reminiscent of the television version of the house, though with more modern furniture and decorations. Credits appear in the bottom left of the screen, moving into the shot, pausing, then moving out.]
Mr. Sinclair (sits on a sturdy stool near the tv): Well, that’s the last of it. I never knew humans could be as hard-working as dinosaurs. *chuckles* Kinda makes me want those cavemen younglings Charlene took in that time. I coulda made a mint turning them into working slobs.
Female dinosaur (keeping her eyes on the tv): Earl, you encouraged her to get rid of them. Besides, we’re in a new environment now. We have to assimilate into the current culture and fit in as best we can.
Earl (stares at her in disbelief): You want us to assimilate? Fran – you do realize we’re not even the same species, right?
Fran (nods): I’m not saying it won’t be difficult.
Earl (protesting): The only reason they offered to help was because I told them they’d get film rights!
Fran (finally stops and glares at him): You told them you were filming the building of our new house?
Earl (nods, still excitable): I had to! It was either that or threaten to eat them and their whole family, and quite frankly I didn’t think you’d consider that very … *makes quoting gestures* … “diplomatic”!
Fran (puts down the remote and stands up): Earl Sneed Sinclair --.
Earl (stands, shaking his head): Don’t Middle Name me! You haven’t met these humans! They’re not hairy little dirt clods fit only to clog a guy’s drain! They’re modern! They have weapons Richfield would sell his own daughter for!
Fran (rolls her eyes as she heads to the new kitchen, which is laid out like the previous one but with industrial sized modern appliances): They’ve also evolved. They have shows designed to help others. They make products to make lives easier. They explore the world and educate the public about different cultures. *stops and turns toward him, picking lint off of his shirt* Earl – they didn’t have to help us get started in this new life. If they acted like you think they act, they’d have shot us on sight.
Earl (looks away, mumbling): The bullets are probably too expensive.
Fran (slaps his shoulder and enters the kitchen): Shouldn’t you be looking for work?
Earl (follows her into the kitchen and stops at the island counter): Exactly what type of job should I have in a human world, Fran? Theme park mascot?
Fran (thoughtfully): I wonder if that would work?
Earl (shakes head vigorously): I’m not doing it, Fran! Consider this my retirement! I’m fast approaching forty-seven! Do you know how old that is in human years?
Fran (sighs, getting out pots and pans): Forty-seven.
Earl (stares blankly for a moment): Okay, technically, yes. The point is … you can’t make me.
Fran (stops and turns to stare at him)
[A flip transition brings us to a large unemployment center, with Earl sitting in a waiting room as adult humans glance at him nervously as they stand in line, and children gawk at him in awe. Earl shifts his weight uncomfortably.]
Earl (quietly to the children): Just think, kids, someday all of this fun will be yours.
[Fade-out, credits end.]
[Ominous music plays after the production logos appear, reminiscent of the initial music of JURASSIC PARK. The screen is black. Leaves can be heard rustling loudly and strange animal noises can be heard. The scene then cuts to a close-up of a treeline at night, illuminated with floodlights. The trees are rustling dramatically. A large metal crate thrusts out at the viewer. The camera stays with the close-up of the crate as it is lowered to the ground. The camera pulls back somewhat to show a group of humans with hard hats and construction equipment milling around the crate.]
Man #1 (reminiscent of Muldoon in dress and appearance): Loading team, step away!
[The team moves away while the camera remains fixed so that Man #1 is on the right and the crate is on the left.]
Man #1 (in close-up, irritable tone, reading from a clipboard): So, we have a package here. You can’t imagine how hard it was to load this thing up. My team expects to be well compensated, Mr. Sinclair.
[The camera quickly pans slightly to the right and the ominous music stops abruptly. An obese green dinosaur with a red-and-black plaid shirt stands behind Man #1.]
Mr. Sinclair (with deep voice, nodding): Yeah, yeah. *scratches head with index finger* Just leave the bill on the table with the rest of the pile. *shakes head briefly* Sheesh.
[The camera pulls back to reveal that humans and humanoid dinosaurs are working together to build what appears to be a replica of the Sinclair house. A black title card appears written in Dinosaurs font: SPRING FORWARD. The theme song starts to play as we see barely animated scenes, similar to pop-up book images, play out with no audio other than the abbreviated theme song. The first shot is of Ethyl Phillips reading from a storybook to Baby Sinclair, who eagerly listens in his crib. The camera moves right again and we see Robbie eagerly raising his hand in a classroom as Spike behind him rolls his eyes, drumming his fingers on his desk. The camera moves right as we now see a forest disappearing with the help of Wesayso employees. The camera moves right again and we see Charlene flirting with male dinosaurs in a school hallway. The camera moves right again as we now see Richfield pressing a button, which makes an image of the Earth blow up behind him. Tons of snow falling transitions the next shot, which is Earl Sinclair walking away from his huddling fur-coat-wearing family in the living room to stare out the window, like the finale. The image then transitions to a live action version of the image as the theme song ends, with Earl Sinclair staring out of the window. However, now we are back to the warmer forest climate shown at the beginning of the film. The camera follows Earl as he heads to the center of the living room, where Fran is channel flipping on a modern television set. The décor is reminiscent of the television version of the house, though with more modern furniture and decorations. Credits appear in the bottom left of the screen, moving into the shot, pausing, then moving out.]
Mr. Sinclair (sits on a sturdy stool near the tv): Well, that’s the last of it. I never knew humans could be as hard-working as dinosaurs. *chuckles* Kinda makes me want those cavemen younglings Charlene took in that time. I coulda made a mint turning them into working slobs.
Female dinosaur (keeping her eyes on the tv): Earl, you encouraged her to get rid of them. Besides, we’re in a new environment now. We have to assimilate into the current culture and fit in as best we can.
Earl (stares at her in disbelief): You want us to assimilate? Fran – you do realize we’re not even the same species, right?
Fran (nods): I’m not saying it won’t be difficult.
Earl (protesting): The only reason they offered to help was because I told them they’d get film rights!
Fran (finally stops and glares at him): You told them you were filming the building of our new house?
Earl (nods, still excitable): I had to! It was either that or threaten to eat them and their whole family, and quite frankly I didn’t think you’d consider that very … *makes quoting gestures* … “diplomatic”!
Fran (puts down the remote and stands up): Earl Sneed Sinclair --.
Earl (stands, shaking his head): Don’t Middle Name me! You haven’t met these humans! They’re not hairy little dirt clods fit only to clog a guy’s drain! They’re modern! They have weapons Richfield would sell his own daughter for!
Fran (rolls her eyes as she heads to the new kitchen, which is laid out like the previous one but with industrial sized modern appliances): They’ve also evolved. They have shows designed to help others. They make products to make lives easier. They explore the world and educate the public about different cultures. *stops and turns toward him, picking lint off of his shirt* Earl – they didn’t have to help us get started in this new life. If they acted like you think they act, they’d have shot us on sight.
Earl (looks away, mumbling): The bullets are probably too expensive.
Fran (slaps his shoulder and enters the kitchen): Shouldn’t you be looking for work?
Earl (follows her into the kitchen and stops at the island counter): Exactly what type of job should I have in a human world, Fran? Theme park mascot?
Fran (thoughtfully): I wonder if that would work?
Earl (shakes head vigorously): I’m not doing it, Fran! Consider this my retirement! I’m fast approaching forty-seven! Do you know how old that is in human years?
Fran (sighs, getting out pots and pans): Forty-seven.
Earl (stares blankly for a moment): Okay, technically, yes. The point is … you can’t make me.
Fran (stops and turns to stare at him)
[A flip transition brings us to a large unemployment center, with Earl sitting in a waiting room as adult humans glance at him nervously as they stand in line, and children gawk at him in awe. Earl shifts his weight uncomfortably.]
Earl (quietly to the children): Just think, kids, someday all of this fun will be yours.
[Fade-out, credits end.]
