Chapter 1: Cold Open
Chapter Text
INT. ZOOTOPIA P.D., CONFERENCE ROOM - MORNING
POLICE CHIEF BOGO stands at a lectern facing the seated officers of Zootopia City Center.
BOGO
And finally, The Canyonlands Music Festival is this weekend, and the local precinct is stretched thin covering it, so if anyone wants overtime hours on one of the three days, they could use the help.
TIGHT ZOOM on Officer NICK WILDE, sitting on half of a chair, jaw resting on his paw.
NICK
Hard pass.
PULL BACK. Officer JUDY HOPPS stands on the other half of the chair, stretching her arm in the air.
JUDY
Oooh! Oooh! Sir! Friday!
Nick reaches up to pull her arm down and she raises the other. He reaches across her body to pull it down too.
NICK
We get a three-day weekend for once, Carrots. Don't mess--
BOGO
Hopps, Wilde, I'll tell the precinct captain to expect you.
Nick looks like a deer in headlights. Judy celebrates.
INT. ZOOTOPIA P.D., BULLPEN - MOMENTS LATER
Judy and Nick walk from the conference room between cubicles toward the foyer.
JUDY
You didn't have to volunteer just because I did.
NICK
Not volunteered, voluntold. What do you need the money for?
JUDY
It's a little selfish, but one of my brothers plays bass for a band that's performing this year.
She pulls a concert flyer out of a belt pouch and points at a small name--FALL APART, RABBIT--surrounded by other singer and band names in much larger text.
JUDY (CONT'D)
I want to be there to support him, but they were a late addition and tickets had already sold out before I heard.
NICK
No wonder you never suspect greed as a motive: You don't know what selfish means.
JUDY
Even playing the side stage is a big deal for a rabbit band. It could help them build a cross-species fan base.
NICK
Is that so hard for rabbits?
JUDY
Name one other rabbit musician.
NICK
Mary Bunnilow.
Judy raises an eyebrow.
NICK (CONT'D)
Could've said Gordon Snowshoe, but hares aren't rabbits.
JUDY
I'm only surprised because those don't seem like your genre.
NICK
Mom had some of their L-Ps, and like you know what my genre is.
JUDY
Well other rabbit musicians dream of reaching that level, and I think seeing a friendly face will help him put on a good show.
NICK
Unfortunately he won't see a friendly face from me because I'll be upset about the date I had to cancel.
JUDY
Right, sorry. Just tell Rebecca it's all my fault.
INT. ZOOTOPIA CRIME LAB, REBECCA'S LAB - MORNING
REBECCA D'OMINO talks on her cell phone.
REBECCA
Yeah, I've dated cops before.
INT. ZOOTOPIA P.D., FOYER - MORNING
Nick talks on his phone as he and Judy walk toward the exit.
NICK
Look, they needed the help. I'll use the extra money to really splurge next time.
INTERCUT BETWEEN NICK AND REBECCA
REBECCA
Don't worry about it. Although, could you get me in?
NICK
Without being crooked? Only professionally. But we'd have to be investigating a crime.
REBECCA
Yeah, at a concert? What are the odds of that happening?
End of cold open
Chapter 2: Act One
Chapter Text
EXT. CANYONLANDS NATIONAL PARK, ENTRANCE - DAY
The road has two lanes in each direction, but a row of pylons divides the two outbound lanes so three lanes of traffic can make their way to the entrance, and all three are packed with cars. A police car creeps up the shoulder, lights blinking but siren silent. In front of the gate to the park, a PRONGHORN POLICE OFFICER directs traffic. As the police car nears, the officer directs the other lanes to stop to let it through. From the driver's seat, Nick gives the officer a wave of gratitude.
EXT. CANYONLANDS NATIONAL PARK, FLYOVER
The police car, along with a continuous train of other cars, descends a shallow road with multiple switchbacks carved into the wall of the canyon. At the bottom, most of the cars turn left toward an open air parking lot. The police car turns right toward the
EXT. SIDE STAGE, VIP PARKING - CONTINUOUS
where touring vans and buses are parked. A parking space is blocked with pylons. Nick stops so Judy can get out the passenger door and move the pylons out of the way, then he pulls the car into the space.
As he turns off the car and gets out. RYAN HOPPS-PEPPER, a white-and-black mottled rabbit wearing a vest with a porkpie hat sitting atop his lopped-down ears, waves and runs over.
RYAN
Judy!
JUDY
Ryan!
Judy runs up to him and they hug.
RYAN
Great timing! We just finished our sound check.
JUDY
Did you bring the bunnies?
RYAN
Jenny's in the studio this week, so they're with her.
JUDY
(pouts)
Aww.
RYAN
They're still a little young to appreciate all this. I think when they're a bit older, we'll go on tour together and bring them along, and we'll definitely book a gig in town.
Nick makes his way over the the pair casually.
NICK
Ryan, you're tttthreeee litters ahead of Judy?
RYAN
That's right.
NICK
I made flash cards. Seems like the kind of thing I'd need to know if I'm part of the herd.
RYAN
So that makes you Nick the unofficial fiancé?
NICK
That makes me Nick very much not the fiancé, and your mother tells filthy lies, but she seems nice otherwise so I'll forgive her.
JUDY
He has a girlfriend, it's going well, and it would be really unfair if Mom messed things up for him--
Nick's phone plays a notification. He pulls it from his pocket stealthily. An overlay of JESSICA TWO HOPPS's profile picture bounces above his phone.
JUDY (CONT'D)
--so when you get home, please join my influence campaign to get her to settle down?
NICK
Hey Carr--uh, Judy, that was a long drive, and, uh, we're not doing a swear jar thing, are we?
JUDY
Okay, just, just go.
Nick runs toward a nearby washroom pavilion.
RYAN
(to Nick)
Meet us backstage!
(to Judy)
I have something neat to show you.
INT. MEN'S WASHROOM - DAY
Nick locks the stall door, sits down on the toilet, and answers the video call on his phone. Jessica Two appears on his screen with a corner of the schoolyard behind her.
JESSICA TWO
Hi Mister Nick!
NICK
Hey, Deuce. Your sister was there last time, so I couldn't ask how it went with your parents.
JESSICA TWO
Ah, well I told them an online friend gave me some advice.
NICK
And how did they react to that?
JESSICA TWO
Internet safety lecture. I know not to talk to strangers, but if I told them you weren't one they might have guessed it was you.
NICK
Which I said I was fine with.
JESSICA TWO
You said it was my choice, and that's what I chose.
NICK
Just remember, as soon as you realize you've made a bad decision,
you have a chance to make a better one.
(to the universe)
Where has this me been all my life?
JESSICA TWO
Anyways, I need more advice. I got invited to a sleepover party tomorrow night. I told her I had to get my parents' permission--
NICK
Which you do, you absolutely do.
JESSICA TWO
I'll ask for it if I decide to go. What should I do?
NICK
Well, when I was younger, I got invited to sleepovers, and I didn't go because I thought they wouldn't want to be friends with me if they knew about my problem, but I guess they thought I didn't want to be friends with them because I didn't go, so when I got better, they were friends with each other and I had to look somewhere else to get the sleep-over experience, which worked out poorly for other reasons.
JESSICA TWO
So you're saying I should go?
NICK
Knowing how things turned out, if I could make that choice again, I would take the risk. But I cannot make that decision for you. You know your classmates. You have a better idea how they'll react. You have to decide based on that.
JESSICA TWO
That's a lot of responsibility.
NICK
That's what being a grown-up is: making decisions. And you'll get some of them wrong. All you can do is try not to make them so bad that you don't have a chance to make a better one next time.
JESSICA TWO
Yeah. I gotta think about this.
NICK
Sorry I couldn't be more help.
JESSICA TWO
You helped a lot. Thanks, Mister Nick.
She hangs up. Nick puts his phone away and exits the stall. There are two sinks of different heights, and at the lower one, TOMMY, a tween-age caracal, washes his paws.
NICK
I hope you'll be discreet about that private conversation.
TOMMY
"Mom, guess what I heard in the washroom!" "Tommy, don't be crude."
NICK
Yeah, moms do be like that. At least on school days.
TOMMY
Not like it was creepy. Sounded like good advice.
NICK
It's nice to have independent confirmation.
He walks toward the door.
TOMMY
Still have to wash your paws, though.
NICK
I didn't actually go.
TOMMY
Doesn't matter, you touched stuff.
NICK
I mean, fair point.
He walks back to the taller of the two sinks and washes his paws quickly. Tommy is still washing when Nick starts rubbing his paws under the hot air dryer.
TOMMY
S'posed to wash longer than that.
NICK
Probably too used to bunny soap.
He wipes his paws on his uniform, then grabs a ROLL OF STICKERS from a belt pouch.
NICK (CONT'D)
Hey, kid. You know, good hygiene has probably saved more lives than all the cops combined.
He peels a foil JUNIOR ZPD OFFICER STICKER off the roll and sticks it to Tommy's shirt.
NICK (CONT'D)
Thanks for doing your part.
He puts the roll back in the pouch, pushes the door open with his back, and leaves.
TOMMY
Now I really wish you'd washed longer.
Nick re-enters.
NICK
I actually did need to go.
He enters the stall he just left.
EXT. SIDE STAGE, BACKSTAGE - SAME TIME
Ryan leads Judy to a set of frame tents with instruments piled up under them.
RYAN
Because this show is so important to us, instead of bringing my own bass, I called in a favor with--
He sees a particular stack of instruments.
RYAN (CONT'D)
--huh, that's weird.
He looks behind the stack, then around some of the nearby ones.
JUDY
What's wrong?
RYAN
Where did it go?
He sees a TIGER ROADIE nearby and flags him down.
RYAN (CONT'D)
Excuse me, have you seen a big instrument case with "Property of Bunnyburrow Philharmonic Orchestra" on it?
EXT. MEN'S WASHROOM - DAY
Tommy emerges from the washroom and sees a QUOKKA wearing a high visibility vest and carrying an instrument case on his shoulder. Away from the stage? He thinks that's odd. He notices a label on the instrument case: "Property of Bunnyburrow Philharmonic Orchestra." Carried by a Quokka? That's odd too. The Quokka turns away from the restroom and concession area, heading toward an fork in the canyon network not being used for the festival. That's really odd.
Tommy turns back to the restroom he just came from and takes a step toward it, then peeks down at his chest. At the Junior ZPD Officer sticker on his shirt. He looks back at the Quokka, and starts chasing after him.
TOMMY
Hey mister, are you going the right way!? Does that belong to you!?
EXT. SIDE STAGE, BACKSTAGE - SAME TIME
Ryan, Judy, and the tiger roadie are gathered together.
RYAN
I just put it here a few minutes ago after our sound check. Would someone have moved it?
TIGER ROADIE
Not one of us. The whole point of the tent is so you know where your stuff is. Defeats the purpose if we move it.
RYAN
Then where did it go?
TIGER ROADIE
Could one of your bandmates have done something to it?
RYAN
It's my instrument, we were done sound check, and all their stuff is still there.
TIGER ROADIE
Well I hate to say it, but if someone had a backstage pass, and they looked like they knew what they were doing, I don't think anyone would have stopped them. We don't know what instruments belong to who.
The roadie continues with his work. Ryan turns to Judy, his eyes wide with terror.
RYAN
Judy, I'm in serious trouble.
EXT. SIDE STAGE, VIP PARKING - DAY
Ryan and Judy run through the parking lot until they reach Nick, who walks casually toward the stage.
NICK
Wasn't I meeting you backstage so you could show me something neat?
JUDY
There's been a theft.
RYAN
A friend at the Bunnyburrow Philharmonic arranged for me to borrow their priceless Cativarius bass for this concert, and it's gone.
Nick gets a confused look.
JUDY
We checked with the rest of the band, they haven't been back to the equipment tents.
NICK
I didn't think Cativarius made guitars.
RYAN
Who said anything about a guitar? I play bass! You know--
He mimes playing an upright
RYAN (CONT'D)
--bass?
NICK
I no longer think I know what genre your band is.
JUDY
Focus, Nick.
NICK
Okay, lemme think. It's a pretty big instrument, so whoever took it needs a way to get it out. They're not taking it on the bus.
JUDY
So they're probably going to the regular parking lot.
NICK
It is an instrument. Could one of the other performers have stolen it and we need to check out tour vans?
RYAN
Someone who's already playing this festival isn't gonna risk their reputation.
JUDY
So we need a car big enough to hold an upright bass. Probably a pickup truck?
NICK
There's an easier way. They got their big score. They wouldn't hang around waiting to get caught. The concert hasn't even started yet. There's no way anyone would leave this early unless watching the show was never their priority.
He fishes the car keys from his pocket and lobs them to her.
NICK (CONT'D)
Cover the exit. Worst case, they see you and stay put and we have more time.
JUDY
Why me? Car's set up for you.
NICK
I'm taking Ryan back to the equipment tent to pick up the scent of the case, and hopefully whoever took it. Finally being a predator is coming in useful.
Judy gets her police radio out.
JUDY
Hopps to entrance traffic. Has anyone tried to leave yet?
PRONGHORN OFFICER (O.S.)
(confused)
Uh, no, not before the concerts start.
JUDY
Good. If anyone does, search the car. We're looking for an instrument case. Rabbit-size upright bass.
PRONGHORN OFFICER (O.S.)
Roger that.
Judy puts her radio away.
JUDY
That covers us until I get there.
NICK
This is going to be my easiest point yet.
JUDY
It's a good plan, Nick. Let's get to work.
DISTANT VOICE
Hey! I think someone fell in the crevasse!
Judy and Nick look to the source of the voice, the out-of-bounds canyon forking off from the parking, washrooms, and concession are. They look back at each other, unmoving.
RYAN
"It's a good plan, Nick, let's get to work."
Judy lobs the keys back to Nick.
JUDY
Sorry, Ryan. A life's more important than your bass.
Judy and Nick run back to the car and get in.
INT. POLICE CAR - CONTINUOUS
Ryan gets in the back seat as Nick starts the engine.
NICK
You know those doors don't open from the inside, right?
RYAN
Why would I hang around here?
JUDY
Ask anyone if they saw anything.
RYAN
Roadie said nobody would have thought anything was strange. Traffic cops won't let anyone leave without a search, right?
Nick backs out of the space and turns the siren on, then drives toward where the yell came from.
RYAN (CONT'D)
If I find the thief, I can't do anything anyways--The Spirit didn't move me like that. It moved you. I'm sticking with you.
JUDY
I don't think The Spirit had anything to do with it.
EXT. CANYONLANDS NATIONAL PARK, CREVASSE - DAY
The police car parks in front of a rope hanging from wooden stakes with "Danger! Crevasse! Stay back!" signs hanging from it. Nick and Judy get out and Nick opens the back door for Ryan. Nick sniffs the air, then as they all cross the rope as a group, closer to the ground.
NICK
A lot of mammals have been ignoring this sign.
RYAN
Is there any chance this is a diversion to distract you from finding the bass?
Nick pauses his sniffs for a moment, then snorts deeply.
NICK
I recognize that scent.
JUDY
Ssh!
They all hold still and hear only the sound of the wind blowing through the canyon. Then, softly, a WHIMPER. Nick dashes towards the crevasse, but his foot slips as the ground slopes away toward the fissure and he manages to fall backwards and grip the ground with his claws.
NICK
Careful near the edge.
He stands up and runs along the edge of the crevasse, trying to find somewhere he can get a clear view to the bottom, until the fissure ends where the crevasse turns into a tunnel under the concert venue. Looking down the length of the crevasse with its overhanging edge, he sees at the bottom, thirty feet down, a familiar Caracal in a familiar outfit, lying limp on his side. He cups his paws around his mouth.
NICK
Tommy! Hang in there, buddy, we'll get you out of there as soon as we can!
Judy pulls out her radio.
JUDY
This is Officer Hopps. Is Concert Operations on this frequency?
CONCERT OPS (O.S.)
This is ops, go ahead officer.
JUDY
Someone fell down the crevasse in the canyon fork near side stage concessions. We need muscle, ropes, winches, cranes, medics, whatever you can mobilize. This is all paws on deck.
CONCERT OPS (O.S.)
Roger that. We'll get you everything we have.
End of act one
Chapter 3: Act Two
Chapter Text
EXT. CANYONLANDS NATIONAL PARK, CREVASSE - DAY
A small crowd of civilians has gathered near the warning rope. A six wheel utility vehicle with a flatbed driven by the Tiger Roadie, with a WOLF ROADIE in the back, stops next to the police car. Nick runs up to them. Judy stands nearby with her radio. Ryan mills about with nothing better to do.
TIGER ROADIE
We found one long rope and a bunch of short ones. We can ask for more if you need 'em.
NICK
Okay, long rope goes down the crevasse to get the kid. Shorter ropes are lifelines. Can you tie double-turn bowlines on one end?
WOLF ROADIE
I'll get started.
He tears the packaging off a short bundle of rope and starts tying the first knot.
NICK
(yells at civilians)
From now on, nobody goes past arm's reach of this barrier without
a lifeline!
(to Judy)
Where are we on the machinery?
CONCERT OPS (O.S.)
Concert Ops calling Officer Hopps.
JUDY
Go ahead.
CONCERT OPS (O.S.)
Park service says nothing heavy past that rope line. It might collapse the crevasse. They care for a different reason than you.
JUDY
(annoyed)
Roger that.
TIGER ROADIE
Sounds like we're your muscle.
NICK
We'll be counting on you.
He turns to Judy.
NICK (CONT'D)
We should decide who's in charge.
He gets ready to Jan-Ken-Pon for it when Ambulance 111 pulls up, WHOOPS its siren three times, then starts backing up to the barrier rope with a white noise reverse warning. Nick gets into position to be seen from the driver's side rear view mirror and beckons it backwards with his paws until it's close to the rope, then gestures it to stop. The back door opens and WILBUR SHARPE gets out with a medical bag.
WILBUR
Where's the victim?
TIGER ROADIE
(to Ryan)
You find that bass?
NICK
Bottom of the crevasse.
RYAN
Didn't even get to start looking.
WILBUR
I'll grab a back board.
TIGER ROADIE
Dude, bummer.
Wilbur goes back into the rear of the ambulance. Its engine stops and WENDY SHARPE gets out of the driver's seat and comes up to the danger line. The Wolf Roadie tosses Nick a rope with a bowline at one end.
NICK
You two? At this time of day? You lose a bet?
He ties the straight end of the rope to the police car's bull bar with a rolling hitch.
WENDY
Obviously.
Wilbur carries a back board and a neck brace out of the ambulance.
WILBUR
We don't win 'em all, but we win more than our share.
Nick tosses the end of the rope to Wendy.
NICK
Lifeline. Don't want to have to rescue you too.
Wendy starts widening the loop.
WENDY
As long as you don't care if it comes back in good shape.
She pulls the rope over her head and cinches the loop tight around her waist.
TIGER ROADIE
We don't.
WOLF ROADIE
A life's worth a few ropes.
WENDY
That's the spirit.
The wolf roadie tosses Nick another rope and he repeats the process of tying it to the police car's bull bar.
WILBUR
You wouldn't believe how often we show up to help someone's family
member and they're like,
(whining)
"Not my objects!"
(himself)
Like, get some perspective.
Nick tosses the rope to Wilbur and he pulls it over his head and tightens it around his waist.
TIGER ROADIE
That sounds very Bruinist for rodents.
WILBUR
Nah, we're Acts without Faith.
WENDY
Which everyone agrees is better than the alternative.
WOLF ROADIE
Hey, that'd be a cool band name.
WILBUR
How are we getting the back board down the cliff?
NICK
(to Wolf Roadie)
Toss me the long rope.
The wolf does, and Nick hitches it to the bull bar while Wilbur puts the back board on the ground. Nick starts threading the rope through the pawholds in the back board, head end first.
WILBUR
We also need to figure out who's going down with it for triage.
WENDY
It probably shouldn't be someone who's wearing chain mail. Raise your paw if you are.
Wilbur and Wendy raise their paws in unison.
WILBUR
We also could have appealed to lack of danger pay.
NICK
I'm good with knots.
JUDY
One, I'm lighter--
TIGER ROADIE
Sold.
JUDY
--two, you're squeamish, and three, you're in charge.
NICK
Says who?
JUDY
Said you, when you took charge.
Nick has made a rectangular pyramid of rope with the back board at its base and hitches the rope to itself at the apex.
NICK
You had me at squeamish.
The wolf tosses Nick another lifeline.
WOLF ROADIE
This one should be you.
TIGER ROADIE
We have some sandbags we can run the rope over so the rocks don't scrape it up so bad.
Nick hitches the rope to the bull bar. Judy goes over to the tiger, who puts the sandbags in her upturned arms. TOMMY'S MOTHER, an adult female Caracal, arrives at the barrier rope looking for Tommy and talks to one of the other civilians. Wendy carries the back board toward the crevasse. Judy follows her with the sandbags.
NICK
(to Wilbur)
Chain mail?
Nick pulls the lifeline over his head and tightens it around his waist.
WILBUR
Think how bad I woulda got you without it.
Wilbur and Nick follow Wendy and Judy. Wendy lays the back board flat on the level ground near the crevasse and creeps on all fours toward the edge.
WENDY
(to roadies)
That's all the slack I need. Can you tighten my line?
(to self)
Wait, something comes after that.
(to roadies)
Please?
The tiger roadie loosens the hitch to her lifeline and starts pulling in her slack, then tightens the hitch again when her rope is taut.
WENDY (CONT'D)
(to Nick)
Do you know the kid's name?
NICK
Tommy.
WENDY
Tommy, we're going to /send Officer Hopps down to take a look at you.
TOMMY'S MOTHER
/Tommy?!
Tommy's Mother tries to climb over the barrier rope. Other civilians hold her back.
JUDY
How do you know his name?
TOMMY'S MOTHER
Is that my son down there? Let go of me!
NICK
We'll talk later.
CIVILIAN
It's no good if you fall down after him.
Nick's phone plays the incoming video call notification. He checks it: Jessica Two. He rejects the call and returns the phone to his pocket.
NICK
(to himself)
Sorry Deuce, we'll have to talk later too.
Wilbur takes the sandbags from Judy one at a time and places them near the edge of the crevasse, then he and Wendy lower the back board over the edge so the rope sits on top of the sandbags.
WILBUR
(to roadies)
Tighten up the rest of the lifelines, then hold the board at that height so Judy can get on.
The tiger roadie tightens the lifelines while the wolf takes up the slack on the back board.
WENDY
I remembered, you forgot. That's twenty bucks. Later, of course.
Judy holds the long rope she crawls backward, then lowers herself onto the back board. Wilbur gives her the neck brace.
JUDY
Is this really the time for that?
WILBUR
These are the only consequences we understand.
WENDY
We'll tell you what to look for. If he's stable enough to move, get him on the board and they'll pull him up.
NICK
Like a swear jar.
WILBUR
We would have so many jars.
WENDY
If he needs treatment, one of us will have to come down, but in the best case this gets him up here fastest.
WILBUR
You ready?
Judy nods.
WILBUR (CONT'D)
(to roadies)
Down, smooth. Pleeeeease.
The tiger grabs the rope behind the wolf and they let out the slack slowly. Judy holds one segment of the rope and balances in the middle of the board, which spins slightly as it descends. The rope buzzes gently as it rubs against the sandbags. The board gradually descends to a foot above Tommy.
WENDY
Stop, please!
The roadies hold the rope still. Judy gets off and straightens the board so it won't land on Tommy.
WENDY (CONT'D)
Down gently until you feel it go slack, please.
The roadies let out another foot of rope and the board comes to a rest next to Tommy.
JUDY
Hi Tommy, my name's Judy, and I'm a police officer. I'm going to help you out, okay?
TOMMY
(pained)
Kwa... kwa...
WILBUR
Check his pulse. Resting rate for a Caracal is one-twenty, right?
JUDY
What's a song with that tempo?
NICK
Ryan, this is your department!
Ryan's ears perk up, flipping his hat off.
RYAN
"Try Everything" is close, but you have to use the chorus! The intro is syncopated!
Judy puts her paw on Tommy's throat.
JUDY
(softly)
♪ I won't give up, no, I won't give in.
(to W&W)
Maybe a little faster?
WILBUR
I'd almost say that's slow for his situation. How much faster?
JUDY
Give me another song.
RYAN
"P-U-F" is one-fifty!
JUDY
(softly)
♪ Stay with you until the end.
(to W&W)
Slower than that.
WILBUR
Pretty stoic kid.
JUDY
You hear that, Tommy? You're being very brave.
TOMMY
...ka. Kwa...
JUDY
I thought he was whimpering, but he's just making random noises.
WENDY
Probably delirious with pain. Put the brace on him, just in case.
Judy leans in to wrap the neck brace around the front of his neck and spots the Junior ZPD Officer sticker on his shirt. She fastens the brace in place behind his neck.
JUDY
Done. What next?
WILBUR
Check his limbs for breaks.
There's a clear angle where it shouldn't be in both of Tommy's wrists. Judy pulls up his pant legs, which makes him wince. Both his ankles have an angle too.
JUDY
Looks like his arms and legs are all broken.
WENDY
Good, he landed limbs down.
NICK
"Good"?
WENDY
Is there any bone sticking out of his skin?
Nick turns away.
JUDY
No, it just points the wrong way.
WENDY
That's the best case scenario.
NICK
He fell off a cliff!
WILBUR
None of us would be here if he hadn't. We'll take wins where we can get 'em.
WENDY
Did you graduate from nursing school, then get fired by the hospital for a bedside manner one doctor described as Apocalyptic?
He stares at her like he shouldn't even need to answer.
NICK
No.
WENDY
We did.
WILBUR
In unrelated incidents!
WENDY
So don't tell us our job. Limbs heal great. Spines are tricky.
WILBUR
We learned that last week, Nick. Remember?
JUDY
Anything else?
WENDY
Are the breaks an angle--
She mimes an obtuse angle with her fingertips.
WENDY (CONT'D)
--or a zig-zag?
She mimes her paws parallel with the fingertips overlapping.
JUDY
Angle.
WILBUR
Can you feel the swelling at the breaks? Firm means inflammation. Squishy means blood and one of us might need to come down there.
Judy pokes each bump in turn, and Tommy winces each time.
JUDY
Sorry, Tommy. I think this'll be over soon.
(to W&W)
Feels pretty firm, but touching them seemed to hurt him a lot.
WILBUR
Pain means feeling means no paralysis.
NICK
Pain means a child is in pain!
WENDY
Judy, how do you feel about giving him an injection?
JUDY
Muscle or vein?
WILBUR
To be fast it'd have to be vein.
JUDY
Not great.
WILBUR
That's okay.
(side-eyes Nick)
That's our job, not yours.
Nick paces away nervously.
WENDY
Once we get him up here we'll give him some painkillers.
WILBUR
Then when we get him to the hospital, they'll give him the real painkillers.
WENDY
(fondly)
Ketamine!
WILBUR
(fondly)
Ketamine!
WENDY
Ah, he won't know pain exists!
WILBUR
At least for four hours while they put the casts on.
WENDY
It sounds like he's in okay shape to move. Can you roll him onto the board?
JUDY
I'll try.
Nick paces back and stops.
NICK
Sorry. You're right that I don't know how to do your job. I'm a bit curious how you picked it.
WILBUR
So our sister, right?
NICK
Yeah.
WILBUR
Well we pretty clearly weren't their first choice for a foster family, but they didn't have any other good options.
WENDY
And she was in bad shape. Sad about her birth family, lung damage from smoke inhalation, burns on most of her body.
WILBUR
We were closer in size and age. We thought we'd be less intimidating than our parents.
WENDY
Plus we wanted her to know we were happy to have her in our family for however long she was.
WILBUR
So we offered to help. We got Mom and Dad to show us how to give her the inhaler and change her dressings.
WENDY
Funny how a thing like that can show you what you want to do with your life.
RYAN
The Spirit moved you!
They look behind Nick, where Ryan holds his hat in his paws, not wearing a lifeline, with tears in his eyes like he's having a religious epiphany by proxy. Wendy and Wilbur look at each other. Wendy gestures Wilbur to deal with it with her head. Wilbur nods, stands up, and guides Ryan toward safety.
WILBUR
You know, whenever I heard that before I thought it would be something obvious, like a shove.
NICK
There won't be a joke at the end of that, will there?
WILBUR
But it can be more subtle than that, can't it? Like a nudge?
WENDY
We may be socially inept, but we know which topics not to touch.
RYAN
I hear it's different for everyone. You get used to what yours is.
NICK
Good.
WENDY
(beat)
That was a chance for an unforgivable joke.
NICK
Yeah, well if I was smart I would have bought my own pliers by now.
WENDY
You can get away with that one because it's self-deprecating.
JUDY
I think I have to untie the ropes. Otherwise I'll need to bend his knees and that might make the breaks worse.
NICK
Can you remember how I did that knot?
JUDY
I'll try.
WENDY
If it's faster than splints, do what you have to do.
Judy unties Nick's knot and unthreads the rope from the grip holes in the back board.
NICK
Getting fired must have stunk.
WENDY
Yeah, but this job might fit us better. We show up when someone's having the worst day of their life, and it's a race to keep them stable and get them to the hospital where they can do the real work, so it's not the last day of their life. And we don't win them all. But we win more than our share.
Nick nods.
WENDY (CONT'D)
If you want to do some in-charge things other than defending your perimeter, it's obvious that's Tommy's mom eroding a new crevasse in the canyon floor.
She gestures at Tommy's mother, who paces and frets close to the barrier rope.
WENDY (CONT'D)
Ask if he's on any prescriptions, and if he's allergic to anything, especially Morphine. Tell her he's going to be okay.
NICK
If you could only be wrong once for the rest of your life, would you risk it on that?
WENDY
Tell her we'll do our best.
He pats his cheeks.
NICK
Okay, Nicholas mode.
WENDY
That's the spirit.
Nick walks toward Tommy's Mother.
At the bottom of the crevasse, Tommy is on the back board. The rope threads through the pawholds at the head first, then loops around itself before threading through the ones at the feet. Judy has not recreated the secure hitch Nick tied; it's more of a granny knot.
JUDY
I'm ready to come up.
Wendy signals to the roadies.
WENDY
Up smoothly, please.
The roadies start pulling on the rope. The back board lifts off the ground. Judy's knot SLIPS a little.
Nick reaches Tommy's mother.
TOMMY'S MOTHER
What was he even doing over here? He was supposed to wait for me by the washrooms.
NICK
That's not a question we can worry about right now. I don't know if you heard, but it looks like he landed limbs down, so his arms and legs are broken.
She sobs.
NICK (CONT'D)
That sounds bad, but there are a lot of ways it could be worse and not many it could be better.
TOMMY'S MOTHER
But why do they let mammals like that work as E-M-Ts?
Nick bites his lip to pretend she meant something other than what she obviously meant.
NICK
They have a stressful job, and they use dark humor and compulsive gambling to cope, but they're good at what they do. If someone I cared about needed medical attention, they're who I'd want giving it. And that has happened. They'll do their best for Tommy. We all will.
Judy straddles Tommy on the back board, her feet pointed toward his armpits, as she holds one of the lengths of the doubled-back rope threaded through the pawhold next to his head. She shifts her weight to keep the board balanced as it passes the halfway point between the bottom of the crevasse and the overhang of the main canyon floor.
The roadies pull the rope in a smooth and now practiced rhythm. The rope creaks and stretches. It buzzes as it rubs against the sandbags.
Judy's granny knot has slipped enough that there's no slack rope past it.
Nick and Wilbur make their way back to Wendy.
NICK (CONT'D)
No prescriptions, no known allergies, but the strongest painkiller he's ever had is ibuprofen.
WENDY
Better than nothing. Thanks.
WENDY (CONT'D)
(to Judy)
Judy, did you ever end up needing that epinephrine I gave you?
WILBUR
Hey, is Rabbitism less preachy than other religions?
JUDY
No. I think I put it in a pouch, so I should still have it.
NICK
I don't know that many of them, and Ryan's the most vocal.
WENDY
Okay. There's an outside chance today is the rainy day.
WILBUR
Hmm. Seemed like he let me do at least half the preaching.
The back board is two-thirds of the way to the top.
SLOW MOTION. The knot slips completely and the rope unravels. The back board tilts towards Tommy's feet. He starts to slide as Judy loses balance and begins to fall backwards.
End of act two
Chapter 4: Act Three
Chapter Text
EXT. CANYONLANDS NATIONAL PARK, CREVASSE - DAY
JUDY'S POV, SLOW MOTION
The knot slips completely and the rope unravels. The back board tilts towards Tommy's feet as the end of the rope is pulled through one of the pawholds near Tommy's feet, then emerges from the pawhold on the other side and heads for where it bends around the remaining loop toward the pawholds by his head. Judy grabs at the end of the rope with both hands, and gets it with her left first, then her right.
BACK TO SCENE
The roadies stumble at the loss of tension, but recover without losing their grip on the rope. As the back board tilts to vertical, Tommy slides down the board, and his armpits hook Judy's feet, which slip an inch before re-gripping. She pulls the rope tight, straightening her back to keep as much grip against the board as she cam muster.
NICK
Judy!
WENDY
(to roadies)
Down! Fast!
JUDY
No, up fast! The top is closer.
She loops the rope around each wrist once. The board goes slightly inverted with her weight pushed away from it.
JUDY (CONT'D)
The only way I'm losing him is if this rope pulls my arms out of their sockets.
WENDY
That can happen!
JUDY
(deathly serious)
Up. Fast.
NICK
(to roadies)
Up fast, and anyone who wants to help please jump in.
Two civilians clamber over the barrier rope and join the tug of war, falling into a smooth, fast rhythm of pulls. The board reaches the overhang of the crevasse. Nick reaches over the edge to grab the center head pawhold of the board.
NICK (CONT'D)
Hang on!
Nick pushes the pawhold down, rotating the back board around its contact point on the lip of the crevasse, and when it's close to level the tension from the rope pulls the board clear of the edge. Nick pulls as well to keep from being bowled over. Judy tumbles clear of the board as it comes to a stop.
Wilbur and Wendy takes places on either side of Tommy. Wilbur puts the medical bag between Tommy's legs, takes an ELECTRIC SHAVER from the bag, and shaves a patch of fur on the inside of Tommy's elbow while Wendy takes an individually wrapped STERILIZING WIPE from the bag, and tears it open. She wipes the shaved area while Wilbur swaps the shaver for a SYRINGE and VIAL, draws a dose, then returns the vial.
WILBUR
Pushing morphine.
Wilbur stabs the needle into a vein and depresses the plunger. Wendy gets a COTTON BALL and a roll of ELASTIC VET WRAP from the bag. She holds the cotton over the injection site as he removes the syringe and puts it in a portable SHARPS CONTAINER in the medical bag, then she wraps the vet wrap around Tommy's arm to hold the cotton in place. On her stomach, Judy pulls an EPINEPHRINE AUTO-INJECTOR from a belt pouch and holds it out in case they need it.
TOMMY
Kwa... Ka...
WILBUR
That's weird, but it's not anaphylaxis.
WENDY
Let's move him.
They grab the side pawholds of the back board, lift it, and run toward the open ambulance door. The roadies take up the slack in their lifelines so they don't trip. Tommy's mother gets close to their path, but stays out of the way. They take Tommy into the back of the ambulance and gently slide him from the back board to the padded stretcher. Wendy buckles him to it while Wilbur stows the back board and the bag. They step out of their lifelines and toss them out the door, then Wendy jumps out and runs around toward the driver's door. Wilbur spots Tommy's mother.
WILBUR
You're his mom, right? Get in.
TOMMY'S MOTHER
But, my car-–
WILBUR
Come back for it later. Hold your son's paw.
She realizes he's right and climbs in the back of the ambulance. He SLAMS the door behind her. Wendy starts the engine with the driver's door still open, then leans out and waves goodbye.
WENDY
Toodle-oo!
She closes the door, turns on the siren, and the ambulance sprays dirt as it drives away quickly. Judy puts the auto-injector back in her belt pouch. The crowd recovers from its stunned silence and applauds, mostly directed at Judy.
NICK
That's right, everyone. Give it up for the roadies!
He gestures toward the tiger and wolf, and the crowd turns their attention and applause to them too. The roadies flex their muscles in bodybuilding poses.
NICK (CONT'D)
Gosh, that was exciting, but I guess the show's over. It's too bad there's not a concert festival we can all go to.
Some in the crowd laugh as they start filtering back toward the concert area. The roadies start untying the ropes from the police car's bull bar. Judy grabs Nick's pant leg and starts to drag herself to her feet.
NICK (CONT'D)
The problem with swear jars is "bad-bottom bunny" doesn't have the same ring to it.
JUDY
Bad-shoulder bunny right now. Teach me knots sometime?
NICK
Sure. Can you show me how to do that rabbit speed thing?
JUDY
Probably not.
Ryan runs up to them.
RYAN
Hey, so, nobody else is in danger, right?
NICK
As far as we know.
RYAN
And there are no other crimes?
JUDY
Nope.
RYAN
So we can look for the bass, right?
He has the panicked look in his eyes from when the bass was first stolen.
EXT. SIDE STAGE, VIP PARKING - DAY (ESTABLISHING)
The police car SCREECHES to an abrupt stop in the lane, blocking other cars in.
EXT. SIDE STAGE, BACKSTAGE - DAY
With Ryan nearby, Nick sniffs the pile of FALL APART, RABBIT's instruments.
NICK
I'm guessing the musty note is the case for the bass. Hmm, actually, that seems familiar.
He sniffs the ground next to the cases.
NICK (CONT'D)
A few different rabbits, *sniff* some kind of feline, *sniff* and someone else, not sure what species. But that's familiar too. Let's get back to the car.
RYAN
Aren't you going to follow the scent trail?
NICK
We can skip ahead. I know where it leads.
EXT. CANYONLANDS NATIONAL PARK, CREVASSE - DAY
The car is parked by the rope barrier with the doors open. Judy and Ryan stand near it. Nick, on all fours, sniffs the ground behind the rope until he reaches where Tommy fell off.
NICK
Tommy, the bass, and the thief were here, probably at the same time. Tommy went over the edge-–
He sniffs around a bit more.
NICK (CONT'D)
-–and the thief went that way.
He points deeper into the canyon system, then looks at Ryan.
NICK (CONT'D)
You were right. It was a diversion. The thief pushed Tommy off the cliff to buy time to escape.
Nick jogs back toward the car.
RYAN
That's hideous.
JUDY
Greed can make mammals do hideous things.
NICK
No, greedy mammals can choose to do hideous things.
INT. POLICE CAR - CONTINUOUS
They pull their doors closed. Judy winces and rubs her shoulder. They buckle their seatbelts. Nick puts the car back in gear and starts driving.
JUDY
On the plus side, if our thief is on foot, on smooth terrain we can go twenty times as fast. We should catch up in no time.
EXT. CANYONLANDS NATIONAL PARK, BACK CANYONS - CONTINUOUS
Just as the car is getting up to speed, it slows down as it approaches a rough, rocky section of terrain.
NICK (V.O.)
Ryan, when does your set start?
RYAN (V.O.)
Like, an hour and change.
The car backs into the first leg of a three point turn.
EXT. SIDE STAGE, VIP PARKING - DAY
The car screeches to a stop in the lane. Nick gets out and opens the back door.
RYAN
Why are we here? We finally know where the bass is.
NICK
You have two problems. Music is your specialty, crime is ours. Let's split up and solve both.
RYAN
I can't solve my problem without that bass.
JUDY
Ryan, you are being such a bunny! You can play bass guitar! For the biggest show of your career-–
RYAN
It's not just the show! I swore I'd take care of that instrument.
JUDY
And I promise we'll do everything to get it back. I can't guarantee it'll be in time for your set.
Nick leans in close to Ryan's ear.
NICK
When I catch who pushed Tommy off that cliff, I'm going to say and do some unloving things. So, will The Spirit move you out of my back seat, or do I have to do it?
Ryan unbuckles himself and gets out of the car.
RYAN
There's no chance anyone here has a fretless bass with a short enough scale length for me.
JUDY
So use a capo. Or I dunno, you're a musician. Improvise.
Nick closes the car door behind Ryan. He gets a video call and takes out his phone: Jessica Two again. He rejects the call, puts the phone back, and gets in the driver's seat.
INT. POLICE CAR (MOVING) - CONTINUOUS
Nick guns the engine as Ryan walks toward the stage outside.
JUDY
I can be short with my brother. What's your excuse?
NICK
It wasn't him I was mad at.
JUDY
The thief?
Nick turns the car at the end of the lane and they start moving back toward the concessions and the crevasse.
NICK
Not just that.
JUDY
The Junior Officer sticker.
NICK
This is why you can't trust me to be a role model, Judy. I do not consistently make good decisions.
JUDY
You didn't tell Tommy to chase after a thief.
NICK
But I inspired him to.
JUDY
Honestly, they should stop making those stickers. Everyone in town takes them way too seriously.
They pass the concession stands and turn toward the crevasse.
NICK
Great, more things I didn't know.
JUDY
I've seen you make bad decisions and you didn't get like this.
NICK
Because I can learn from the consequences of my own decisions.
JUDY
But if someone else suffers the consequences, that weighs on you?
NICK
Yes!
JUDY
Nick, caring at all puts you so far ahead of most role models.
NICK
If my advice is bad, it doesn't matter if I care.
JUDY
All you can do is your best.
They reach the rocky patch again and slow down.
NICK
Right, "Please try." Ever drive a cop car hard enough to break it?
JUDY
No.
NICK
Darn. Hoped you knew the limits. If I blow the suspension or get high-centered, we'll break your promise to Ryan.
He puts the car in low gear, engages four wheel drive, and starts creeping onto the rocky patch. They're thrown back and forth in their seats.
JUDY
All you can do is your best.
EXT. CANYONLANDS NATIONAL PARK, WINDY CAMPGROUND - DAY
The car idles in a clearing with several narrow canyons leading away from it. The front doors are open and Nick is crawling on the ground sniffing. Judy stands near the car rubbing her shoulder. Nearby is a tent with a pile of laundry next to it.
JUDY
Can we work smarter instead of harder? Where's the thief headed?
NICK
Park has a back entrance.
JUDY
Can we go straight there?
NICK
Not sure the way. Plus, if the thief takes a dead end, that'd be a great place to catch them. If we go to the exit instead, they can double back.
JUDY
Okay, next option: you know everyone, right?
NICK
Should I call my instrument-stealing guy and tell him to knock it off?
JUDY
I don't have a cue for if that was Nick or Nicholas.
NICK
If a guy I knew threw Tommy off a cliff, I'd say something less loving than "knock it off".
JUDY
So who do you know?
NICK
Let's see, Finn and I tried to sell pawpsicles at this festival once. His A-C conked out and they melted. But I met a park ranger.
He pulls his little black book out of his front pocket.
NICK (CONT'D)
But the odds he's working today, in a job where he can help us-–
INT. RANGER STATION - MOMENTS LATER
A male moose PARK RANGER is on the phone.
PARK RANGER
I can't stop everyone from leaving, Nick. Everyone without a concert pass has to leave.
INTERCUT BETWEEN NICK AND PARK RANGER
Nick is on his phone.
NICK
Has anyone left with an instrument case?
PARK RANGER
No, just knapsacks, duffel bags, and tents.
NICK
If you think you see an upright bass, try to stall them.
PARK RANGER
I'll come up with some excuse.
NICK
Your city thanks you. Also a rabbit band of unknown genre.
He hangs up and puts the phone away.
NICK (CONT'D)
No guarantees, but it gives us another edge. Good call. Now as soon as I figure out which way the scent trail is headed-–
A strong gust of swirling wind passes through, forming a DUST DEVIL around Nick. He hunkers down as he's buffeted by the winds. When they clear up, he sniffs around anxiously.
NICK (CONT'D)
No, no, no! Dang it, the wind scattered the scent trail! There's nothing to follow!
He looks at Judy just as something falls out of the sky and lands on her. She collapses to the ground.
end of act three
Chapter Text
EXT. CANYONLANDS NATIONAL PARK, WINDY CAMPGROUND - DAY
Judy sits next to the car with her head covered by a high-visibility vest. Nick runs over to her.
NICK
Judy, are you okay?
JUDY
Just startled. What is this?
THE IMPOSTOR, a Red Panda wearing only striped boxer shorts, runs toward them from the direction of the tent, where the pile of laundry has been scattered by the wind.
IMPOSTOR
Officers! I'm so glad you're here. Someone stole my duffel bag--just the bag itself. They dumped all the contents--
Judy pulls the vest off her head, revealing her face.
IMPOSTOR (CONT'D)
(nervously)
--oh, it's you.
Judy stands up.
JUDY
(suspiciously)
Oh, it's you!
NICK
Is this yours?
He points to the high-visibility vest.
IMPOSTOR
I have one, but that's not it.
Nick sniffs the vest.
NICK
Smells like our thief.
Ne sniffs the impostor.
NICK (CONT'D)
Not our thief.
He gets in the driver's seat and drives toward the tent.
JUDY
So whaaaaaat did you say was in your duffel bag?
IMPOSTOR
I didn't.
JUDY
Nooooow would be a good time.
Nick reaches the tent, gets out of the car, looks around a bit, then gets back in and starts driving back towards them.
IMPOSTOR
Just, uh, clothes.
JUDY
Mm-hm. What kiiiiiind of clothes?
IMPOSTOR
Does that really matter?
JUDY
How about you tell me, and then I tell you if it matters?
Nick pulls back around with the passenger window rolled down.
NICK
Thief must have got tired of carrying the case and took the bag so they could drag it without scratching it up. There's a smear in the dirt the wind didn't touch. We are back in business!
JUDY
Stay here. We'll talk later.
She gets in the car, closes the door, and buckles up. Nick drives back toward the tent.
INT/EXT. POLICE CAR (MOVING)/BUMPY CANYON - DAY
The car speeds along a fairly flat patch of canyon floor, following the drag trail of the bass in the duffel bag.
NICK
Why were you on a victim's case?
JUDY
Remember that guy I tell you about? Always in bad disguises?
NICK
What was his costume this time?
JUDY
Nothing. Hadn't put one on yet.
NICK
You need to see a neurologist.
The car turns a corner in the canyon. A rocky patch is ahead.
JUDY
If this is how you're going to react, fine, I'll shut up about him. But you got a good sniff. You remember what he smells like?
NICK
Scent memory is very powerful.
JUDY
Some day I might ask you to sniff some guy, and then you'll know.
The trail ends at the rocky patch and the car slows down. Nick puts the transmission in low gear again.
NICK
Whatever. So what makes you so sure The Spirit doesn't move you?
JUDY
What do you know about The Spirit?
NICK
God's everywhere, everyone's somewhere, so God's in everyone, right? I'm not religious, but I respect it. Some of the big ones might have lost sight of their message, but they got big because the message mattered. So what makes you so sure The Spirit doesn't move you?
JUDY
One of the messages of Rabbitism is to seek justice through pacifism. Even in Bunnyburrow, the cops aren't rabbits. I felt like we were parasites on the species willing to protect us. I guess I never got the message.
One wheel goes over a rock. Judy and Nick sway side to side.
NICK
The Spirit moves Ryan, but all rabbits aren't musicians. You must not need to agree on everything. So what makes you so sure The Spirit doesn't move you?
JUDY
If The Spirit moved me, would I have made the decision I did about my pregnancy?
NICK
If you hadn't made that decision, Jessica Two wouldn't be alive, and you might not be alive. So what makes you so sure The Spirit doesn't move you?
JUDY
Because I've never felt it, okay?
NICK
Wilbur's not religious, unless Ryan just got to him, but he had a point: if you expect a shove and you get a nudge--
JUDY
No shove, no nudge, no brush against my pelt. It's always been just me. So what makes you so sure The Spirit does move me?
NICK
It's very different for an outsider to ask a question like that than answer it.
JUDY
This is church for us--helping each other find clarity. Any other rabbit would say The Spirit moved you to ask that question. And you do respect it. No answer Nicholas can give will offend me. So what makes you so sure The Spirit moves me?
Nick takes a deep breath and blows it out slowly, puffing his cheeks, while the engine whines to climb a tall rock. Nick changes his mind and backs off it, then drives around it.
NICK
So about the swear jar thing--
JUDY
Fine, I can't make you answer. Just keep it G-rated around my--
NICK
(forcefully)
So about the swear jar thing!
Judy acquiesces.
NICK (CONT'D)
Mom never cared when I said, "I need to take a shit," but she would have been furious if I ever said, "He's a piece of crap." Do you see why that's worse?
JUDY
She thinks that's worse?
NICK
Because it's not loving.
JUDY
So the "swear jar" was really an unloving jar?
NICK
No, the swear jar was because my kindergarten teacher did care. Mom and I used it to practice being society's version of polite on school nights. And it worked, so don't worry, Deuce won't learn any vocabulary from me.
JUDY
Oh. Well you hate disappointing Catherine, so I'm sure she only had to tell you that rule once.
NICK
She only did tell me once, Judy, but she never needed to tell me. So which one moved me?
JUDY
The one who disagreed with you.
NICK
Maybe The Spirit has never needed to move you, because you've always been headed the right way.
Judy considers his words. The rocky patch ends and the drag trail begins. Nick puts the car in automatic and floors it.
INT/EXT. POLICE CAR (MOVING)/PARK REAR ENTRANCE - DAY
The car climbs a hill out of a canyon, and about a kilometer ahead is the rear entrance to the park. The traffic gate by the ranger station opens and closes one car at a time, so there's a line of cars to leave and enter. There's also a line of campers with duffel bags, knapsacks, and camping equipment waiting for their rideshares.
JUDY
Whoa, what's with the line?
NICK
He really shut down everything.
JUDY
Good for getting the bass back.
Nick's phone RINGS in his pocket.
NICK
But not in time for Ryan's set if I have to sniff everybody.
He pulls out his phone and dumps it in Judy's lap.
NICK (CONT'D)
Answer that for me.
Judy looks at the screen.
JUDY
How did he get your number?
She answers the call.
JUDY (CONT'D)
Nick's driving, you're on speaker.
They approach the queue of campers. Nick starts slowing down.
WILBUR (O.S.)
Even after we gave him Morphine, Tommy didn't calm down. He wasn't babbling, he was saying, "Quokka," and he only relaxed and passed out after I repeated it back to him. Why did he need us to know he was saying, "Quokka"?
Nick spots the Quokka thief among the campers dragging a lumpy duffel bag, like it has an upright bass case in it.
NICK
He was earning that badge.
He stops the car abruptly, puts it in park, gets out, and runs toward the Quokka.
NICK (CONT'D)
Get over here you piece of crap!
WILBUR
Okay, your problem now.
Wilbur hangs up. Judy gets out of the car. The Quokka staggers backward when he sees Nick approaching, then picks up the duffel bag and lobs it at him before starting to run away. Nick deflects the bag over his shoulder without breaking stride and tackles the Quokka, then flips him around, grabs him by the collar, and prepares to punch him in the face. The Quokka raises his paws to defend himself. Judy dives and catches the bag before it can smash on the ground.
NICK
You think a bass is worth pushing a kid off a cliff?
QUOKKA THIEF
(whimpering)
I didn't push him, he slipped! I'm the one who called for help!
Nick untenses his punching fist a bit, then rolls the Quokka onto his back roughly and puts cuffs on him. Judy unzips the duffel bag. The bass case seems to be intact.
SMASH CUT
Nick shoves the Quokka into the back driver's side seat as Judy puts the bass in the passenger side seat, and they buckle them in, then get in their own front seats.
NICK
How are we on time?
JUDY
It'll be close.
A MONTAGE OF SHOTS
The car speeding down the hill into the canyon.
Judy lobs the wadded up duffel bag out her window at the Impostor, who is gathering his wind-scattered costumes.
JUDY
You're lucky we're late!
The car drives a bit too fast over some rocks.
The Quokka and the bass shaking back and forth.
The car speeding around a corner past the crevasse.
INT/EXT. POLICE CAR/SIDE STAGE, VIP PARKING - DAY
Nick pulls the car to a stop in the same spot in the lane they've been stopping all day.
JUDY
It's been a rough morning for Nicholas. Maybe you should be Nick for a while.
Nick takes a deep breath.
NICK
Better hurry up, Carrots. Ryan's set's starting.
Judy smiles.
JUDY
Okay.
She gets out, closes her door, opens the back door, unbuckles and removes the bass, and slams the door closed. Nick drives away. Judy rests the bass on her head and stabilizes it with her paws as she runs toward the stage.
EXT. SIDE STAGE, ON STAGE
Ryan, stage left, has a hastily-assembled WASHTUB BASS, an upside down pail with a broomhandle neck and a single string.
RYAN
(into microphone)
I know it looks like we're going lo-fi on the rhythm section here, but some of the best jazz music of all time was played with a
JUDY
(distant)
Ryan!
Ryan looks into the crowd and sees Judy running up the side of the spectators. He kicks the washtub bass to the wings.
RYAN
Forget that. Let her through! Everyone, that's my sister Judy with the Zootopia P-D, and she has recovered the stolen bass!
The mosh pit clears a path for Judy to reach the stage. She slides the case on stage, then jumps up next to it.
JUDY
I haven't checked inside yet.
Ryan takes a deep breath and opens the case. It looks fine. He plucks the strings in order, then the third a few times as he turns the tuning peg. It sounds good. He HUGS Judy tight.
RYAN
Thank you so much.
JUDY
(gritted teeth)
Shoulders!
Ryan lets go of her.
RYAN
Right, sorry.
(to microphone)
Hey everyone, thank the police!
The crowd laughs like that was meant to be a joke. Judy waves and retreats to the wings. Ryan pulls the bass out of the case by its neck and stands it on its end peg, and the wolf roadie runs over and slides the case off stage. PETE SQUASH, buck rabbit with a guitar, approaches the center stage mic.
PETE
Okay, now that that's settled, hello friends! We're "Fall Apart, Rabbit". I'm Pete Squash on lead vocals and rhythm guitar--
He gestures to his right to TINA MILK, female rabbit with a guitar.
PETE (CONT'D)
--Tina Milk is on lead guitar--
She waves. He gestures to Ryan.
PETE (CONT'D)
--Ryan Hopps-Pepper is on the upright bass, finally--
Ryan spins the bass by its neck. Pete point to ALLISTER CATMULL, the bobcat at the drum kit.
PETE (CONT'D)
--and finally, Allister Catmull is on the drums.
Allister twirls a drum stick.
PETE (CONT'D)
Ryan, would you like to introduce our first song?
RYAN
I wrote this about my wife.
PETE
This is "P-U-F".
Allister clicks the drumsticks at 4/4, ♩ = 150.
ALLISTER
One, two--
Half bar intro to FIRST VERSE.
PETE
♩ For years, when I thought of love, my faith was tested.
♩ I
had zero lucky feet romantically.
♩ I'd go out with anyone
someone suggested,
♩ but all of those dates just made me feel
empty.
PRE-CHORUS.
PETE (CONT'D)
♪ I was prepared to spend my life lonely
♪ but in my night's
prayers, I thought, if only
♪ I could find the only rabbit
able to be
Tina, Pete, and Ryan sing three-part HARMONY with drums half-time for the CHORUS.
HARMONY
♪ The one I'd tell the world about
♪ Who I don't want to be
without.
♪ A Public Universal Friend
♪ To stay with me
until the end.
♪ Someone to show off everywhere
♪ And
tell the mammals there that, "they're
♪ My Public
Univer~sal
♪ Friend."
SECOND VERSE.
PETE
♩ A mutual friend arranged our introduction.
♩ We made a
connection that was so profound.
♩ Your kindness was all you
needed for seduction.
♩ One date, by the end of it my heart
was bound.
PRE-CHORUS.
PETE (CONT'D)
♪ Laughed at my jokes, yours were all funny.
♪ Got on with my
folks, good around bunnies.
♪ You made me want bunnies you
could be good around.
CHORUS.
HARMONY
♪ I'll talk to everyone I see
♪ about how much you mean to
me.
♪ I'll stay with you until the end
♪ My Public
Universal Friend.
♪ And everywhere I am, they'll know
♪
I never want to let you go.
♪ My Public Univer~sal
♪
Friend.
BRIDGE.
PETE
♪ And our circle of friends on our wedding day
♪ Was so darn
big, we had to turn some away.
♪ They bore witness till the
dark of night
♪ Telling each other how our love was right.
♪
I felt such pride as I made my vow,
♪ that I've said it again
every day until now
♪ I will brag about our marital
status,
♪ until it pleases God to separate us!
Tina steps to the front of the stage for a GUITAR SOLO.
In the wings, Judy vibes to the music with her paws over her head. She gets a PAIN in one shoulder and rubs it, then starts vibing with her paws level with her head.
Guitar solo ends after sixteen bars. BREAKDOWN.
PETE (CONT'D)
♪ I hope you've all already found
♪ Someone to build your
life around,
♪ A Public Universal Friend
♪ To stay with
you until the end.
Energy builds.
HARMONY
♪ And if you haven't met them yet,
♪ I pray to God someday
you'll get
♪ A Public Univer~sal
♪ Friend.
Full energy for the FINALE. Tina and Ryan sing their part at half-time.
PETE
♪ I assure you I intend
♪ The rest of my life, I will
spend
♪ With someone I call my godsend
♪ Her honor I'll
always defend
♪ and on her love I shall depend
♪ To you,
I strongly recommend
♪ A Public Univer~sal
♪ Friend.
TINA & RYAN
♪ My Public Uni-
♪ -versal Friend
♪ My Public Uni-
♪ -versal Friend
♪ My Public Uni-
♪ -versal Friend
♪ My Public Uni-
♪ -versal Friend
Quick outro. Allister chokes the cymbals on the last hit. The crowd goes wild.
end of act four
Notes:
My understanding is I can have one swear at TV-PG-L, and I have used it here. I will never ask Standards and Practices for another.
Chapter 6: Tag
Chapter Text
EXT. SIDE STAGE, VIP PARKING - CANYON DUSK
The sky is daytime blue, but the canyon wall blocks the sun, bathing the concert venue in shadow. Nick drives the police car to a parking space blocked by pylons next to Rebecca's car, an old but not classic red convertible. Judy and Ryan sit on the driver's side of the hood watching the side stage from a distance. Rebecca stands from the passenger side of the hood and moves the pylons so Nick can park, then returns to her spot. Nick turns off the car and gets out.
NICK
Fancy seeing you here.
REBECCA
I got a hot tip someone with an extra pass needed a ride to get her car, so if anyone asks, I'm a twelve year old Caracal.
NICK
What does that mean for Tommy?
RYAN
He, and the rest of the Cubs' Ward at the hospital, will get an acoustic set tomorrow.
Rebecca makes room for Nick on her side of the hood. He sits down, then KISSES her on the cheek. That was unexpected, but not unwelcome. He puts his paw on hers and they smile at each other.
NICK
I have been in the car forever! I will be right back.
He stands up and runs toward the washroom pavilion.
JUDY
Better than last time.
INT. MEN'S WASHROOM - MOMENTS LATER
Nick locks the door to a stall and starts a video call on his phone. Jessica Two, at her bedroom desk, picks up quickly.
NICK
Hey, Deuce. Am I interrupting?
JESSICA TWO
Nope, just watching some film noir: "The Postmouse Always Squeaks Twice".
NICK
Sorry I missed your calls. Busy day. Still need any help?
JESSICA TWO
Ah! Well, I decided to warn the party host about my problem in case my countermeasures failed.
NICK
That was mature and considerate.
JESSICA TWO
And she laughed in my face--
NICK
Oh no.
JESSICA TWO
--uninvited me from the party--
NICK
Oh no!
JESSICA TWO
--and told the whole class.
NICK
Oh no!! I'm so sorry--
JESSICA TWO
And then everyone else said they'd rather sleep over with a bedwetter than a big jerk, so I'm hosting a party tomorrow night.
NICK
Oh...kay? It all worked out fine?
JESSICA TWO
Haven't had the party yet, but I don't have to worry everyone'll find out.
NICK
That's a relief. Hey, next time, if there's a kid who has a hard time making friends--
JESSICA TWO
I invited him this time.
NICK
So what do you need me for?
JESSICA TWO
And the doe who tried to embarrass me.
NICK
Really?
JESSICA TWO
I didn't mean to steal her party. I thought being the bigger mammal was the grown-up thing to do.
NICK
Second chances are good, but don't let her walk all over you. I'll let you finish your movie.
JESSICA TWO
Okay. Thanks for your advice. It's nice to have someone I can ask when I'm not sure what to do.
NICK
I'll try to get back to you faster next time. Later, Deuce.
JESSICA TWO
Bye, Mister Nick.
The call disconnects, leaving Nick looking at himself on his phone's self view.
NICK
I am an honest-to-God role model.
He shakes his head.
NICK (CONT'D)
Lord help us all.
AyikeLoremaster on Chapter 6 Mon 13 Oct 2025 02:56PM UTC
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DanRosart on Chapter 6 Mon 13 Oct 2025 10:46PM UTC
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AyikeLoremaster on Chapter 6 Tue 14 Oct 2025 02:13PM UTC
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Cr1ms0nD1am0nd on Chapter 6 Mon 13 Oct 2025 04:58PM UTC
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