———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 08

By Thomas Typewriter

(c) 2020

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FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-08. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

OPEN IN POV OF THE OUTER ONE

The Outer One sits on a grey carpet square, one of many in cascading rows, looking forward at the wooden disc in the center of the Unroom. The disc appears empty at first, but unseen lamps above it flip on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN AND ZOOM IN TOWARDS MID-STAGE TILL MID-STAGE FILLS THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, with the sound of a LIGHT SWITCH FLIPPING ON, revealing…

MID-STAGE: INT. THE EAST HALLWAY OF THE RETRO, NIGHT

The hallway stretches the length of the whole stage. Two doors reside in the middle of the hallway. The left door leads to the Women’s Restrooms. The right door leads to the Men’s. Movie posters hang in cases along the rest the walls. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-left, having just finished watching West Side Story. Ophidia is holding a soda. She takes a sip then hands it to Thomas.

OPHIDIA OPERAHOUSE
“Could you hold this while I use the bathroom? I feel weird about drinking from it once it has been in the bathroom.”

THOMAS TYPEWRITER
“Sure.”

OPHIDIA OPERAHOUSE
“Thanks.”

Ophidia enters the bathroom. Thomas walks stage-left and starts to inspect the movie posters. He takes a sip or two from Ophidia’s drink. From inside the Men’s Restroom comes a JANITOR carrying a toolbox. He places an Out Of Order sign on the Men’s Restroom Door. He then exits stage right. Thomas turns his head as if he heard something, but sees the hallway is empty. He moves to the next poster. A LITTLE BOY, wearing a shirt with a fox on it, comes in and sees the sign. He crumples it up. From his pocket, he pulls out a woman’s wig and slips it hurriedly over his head. Now in disguise, he goes into the Women’s Room. He passes by Ophidia as she exits. She walks over to Thomas.

OPHIDIA OPERAHOUSE
“What are you looking at?”

THOMAS TYPEWRITER
“Oh. Just reading the credits. Seeing if anyone I know.”

OPHIDIA OPERAHOUSE
“Find anyone?”

THOMAS TYPEWRITER
“Maybe. Not sure. Could be a different Alistair Stairwell. Do we have time for me to use the bathroom before we get coffee?”

OPHIDIA OPERAHOUSE
“Of course you goof. Go. Just give me my soda. Please.”

He hands it to her. She shakes it checking how much is left.

OPHIDIA OPERAHOUSE
“Hey, did you drink some?”

Thomas moves a little faster towards the bathroom doors ignoring Ophidia’s question.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE.

THE CAMERA PANS UPWARDS PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS, TO THE HIGH-STAGE AT THE TOP. IT STOPS WHEN HIGH-STAGE FILLS THE FRAME.

HIGH-STAGE: CURTAINS CLOSED

The curtains part and the stage-lights turn on with the sound of a COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. CARRO HALLWAY 17, AFTERNOON

CEDAR WAXWINGS enters from stage-left dragging the large wooden crate he had found in the previous episode. The Narrator’s Panel opens and Y-MOUSE emerges.

Y-MOUSE
“Cedar Waxwings wondered, as he dragged the heavy crate, was life by its very nature heavy or is it the things we put into our lives that weigh us down?”

CEDAR WAXWINGS
(stopping and turning towards Y-Mouse)”No. What I’m wondering is if you’d break the narrator-narrative wall and help me. This crate is crazy heavy.”

Cedar pulls out a cheese sandwich and waves it at Y-Mouse.

CEDAR WAXWINGS
“There’s a cheese sandwich in it for you.”

Y-Mouse nods yes, so Cedar throws the sandwich to him. Y-Mouse catches it and takes a bite. He savors the sandwich before turning to Cedar. He pulls out a scriptbook and a pen. He scratches out something and writes new lines. When done he prepares a new narration.

Y-MOUSE
“Without precedent a strong wind, warmed by an isle south, arose in the Sparkship pushing Cedar Waxwings and his treasure down the hallway. What would of been hard work was reduced to a tropical treat.”

A strong wind blows in from stage-left and pushes Cedar and his amorpha-crate off screen, exiting stage-right.

CEDAR WAXWINGS
(from off stage) “Thanks.”

Y-mouse shrugs and turns. Attempting to pick up the sandwich, he drops the scriptbook he was holding in a last gust of wind. The scriptbook falls down and out of the frame. Y-Mouse watches it drift away off-camera.

Y-MOUSE
“Nuts.”

Y-Mouse turns and exits through the Narrator’s Panel. It closes behind him. The High-stage curtains close and reopen revealing…

HIGH-STAGE: INT. THE CARRO OBSERVATION DECK, AFTERNOON

LUCIDO OBISIDIAN sits near CARRO’S terminal waiting for Carro to make the next move in the game of Triple Checkers they are playing. Carro is staring outside the observation windows, as is Lucido. CEDAR WAXWINGS enters from stage-right dragging the crate. Lucido and Carro turn their attention to Cedar.

CEDAR WAXWINGS
“Look…Look what…hhuuhh…..so heavy…”

LUCIDO OBSIDIAN
“What is that.”

CEDAR WAXWINGS
“Just look inside.”

Cedar steps to the side and lifts open the lid oen. A bright sparkle of light flashes across Lucido and Carro. Lucido steps over to the crate and looks inside.

LUCIDO OBSIDIAN
“Can’t believe it. What’s that doing here.”

CEDAR WAXWINGS
“I know right.”

Lucido reaches into the crate and pulls out a wooden guitar shaped like the side profile of a pirate ship. A skull and bones eye-patch hangs from the crows nest. He puts the guitar on.

LUCIDO OBSIDIAN
“Carro look what Cedar found. It’s my old guitar from back before I was a cog in the machine.”

He removes the skull and crossbones eye-patch and stands arm raised. He brings down his arm strumming the eyepatch across the strings. Like a cannon shot, the chord echoes across the bridge. Carro stops looking outside and turns to look at Lucido. Cedar is knocked over by the chord and falls into the crate.

LUCIDO OBSIDIAN
“It still booms! Oh this is great. Cedar where’s you find it?”

Cedar pops up holding a tall drum with two gun belts wrapped around the top. In each gun belt’s holster is a drumstick in the shape of a black powder pistol.

CEDAR WAXWINGS
“It was hidden in the back of 601.”

LUCIDO OBSIDIAN
“Oh this takes me back. (starts to play) Hey, do you remember this one.”
Cedar listens.

CEDAR WAXWINGS
“Senior Talent Show. The night I kissed Jenniver behind the bandstand. Good times.”
Cedar pulls out the matchlock drumsticks and starts to play the drum. The two of them play, more full of joy then skill. Soon they do end up matching up and playing a haunting melody.

CARRO
“That’s actually pretty good. Can I jump in.”

LUCIDO OBSIDIAN
“Jump on in.”

CEDAR WAXWINGS
“Yeah Carro, room for one more.”

Carro’s digital display changes from pixelated 8-bit face to an 8-bit keyboard. The keys are animated moving in match with the notes Carro starts to play from its speaker. Meanwhile, a robotic arm emerges from the side of Carro’s Display holding a pirate hat. It puts the hat on top of the terminal. The three music and music, joy and laughter.

INSERT SLOW-MOTION SHOTS OF EACH PLAYING WHILE THE MUSIC PLAYS OVER THE ACTION.

The stage lights turn off with the sound of a COMPUTER TURNING OFF, though the music continues, and the curtains close. The music fades away.

TRANSITION FROM HIGH-STAGE TO MID-STAGE.

THE CAMERA PANS DOWNWARD FROM FRAMING THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BENEATH. IT CONTINUES DOWNWARD ALONG THE CURTAIN, UP OVER THE TOPS OF THE MIDDLE-STAGE SETS AS THEY APPEAR, AND DOWN MORE TILL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO’S EAST MEN’S ROOM, NIGHT

Thomas enters through the door on the left. He walks past the three sinks, past the three urinals, past a wet floor sign, to the first of three stalls. He goes inside and tries to shut the door. It will not latch.

INSERT CS OF THE BROKEN LATCH

He exits and moves to the second stall. The door latch broken here also.

INSERT CS OF THE BROKEN LATCH

He exits the second stall and moves to the third and final stall. He locks the door.

CUT AND CHANGE TO AN OVER-THE-SHOULDER SHOT OF THE INSIDE OF THE THIRD STALL. HAVE THE CAMERA PAN OVER TO LOOK AT THE TOILET SEAT COVERED IN PEE.

THOMAS TYPEWRITER
“Gross”

Thomas uses his foot to lift the toilet seat. He nearly gets it lifted before loses his balance, slips and his foot falls into the toilet.

THOMAS TYPEWRITER
“Uh-oh”

Thomas tries to pull his foot out but it is stuck. He reaches down and tries to pull it up but he slips. His elbow hits the flusher. The toilet starts to rumble and shake. Thomas pulls even more hurriedly.

CUT BACK TO

MID-STAGE: INT. THE RETRO’S MEN’S BATHROOM, NIGHT

There is a loud gurgling then water explodes from the third stall sending Thomas flying across the room. He lands on the floor as water jets into the air from the broken toilet. He lays on the floor dazed for a moment.

THOMAS TYPEWRITER
(lets out a soft moan)

Thomas manages to stir and stand up. He wobbles a bit as he walks over to the sink. As he walks we notice that he is missing one of his shoes. He turns on the hand dryer and dries his hands. Then he puts his body under the dryer. When the dryer turns off, Thomas exits stage left out the bathroom door. The stage lights turn off with the sound of a LIGHT SWITCH CLICKING. The Mid-stage curtains close.

FADE OUT