“The Great Works Project: Season Seven, Episode Seven – An Intermission” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 07

an intermission

By Thomas Typewriter

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-07”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “an intermission” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

INT. BIFFOLLOMEW’S PLAYROOM, AFTERNOON
A large playroom done in a minimalist style. A closet with folding doors sits in the center of the room. Bookshelves filled with toys and books line the angled walls jutting off from the closet. On one shelf of toys sits a stuffed toy of the villainous Logical Fallacy. It is a simple stuffed-sock toy wearing a fedora hat. It has a fake mustache and chest-plate made from paper taped onto it. The chest-plate has the letters L and F written in marker on it. A small couch sits off to one side. Natural light from a window out of frame behind the couch illuminates the room. BIFFOLLOMEW THE RABBIT, a young boy with a cape made from a blanket tied around his neck, runs in from stage-left.

BIFFOLLOMEW THE RABBIT
“Quickly Headcheese, we must use our psychic powers to scan the city for trouble.”

BIFFOLLOMEW hops onto the couch and starts bouncing up and down. He scans around the room. ROCKFORD THE PET ROCK enters from Stage-left. He rolls across the room and jumps onto the small couch.

ROCKFORD THE PET ROCK
“Over there by the water tower Mindgames!”

BIFFOLLOMEW THE RABBIT
(looks towards one of the bookshelves with the Logical Fallacy toy) “I see him.”

INSERT CLOSE-SHOT OF THE TOY

BIFFOLLOMEW THE RABBIT
(voice-over) “Our old nemesis Logical Fallacy.”

CUT BACK

BIFFOLLOMEW THE RABBIT
“Oh-no. He is attempting to poison the city’s water supply with Conspiracy Juice!”

ROCKFORD THE PET ROCK
“That criminal!”

BIFFOLLOMEW THE RABBIT
“Should we crimefight?”

ROCKFORD THE PET ROCK
“Oh, we absolutely should.”

BIFFOLLOMEW leaps of the couch.

BIFFOLLOMEW THE RABBIT
(shouting) “CRIMEFIGHT!”

Rockford the Pet Rock leaps off the couch.

ROCKFORD THE PET ROCK
“Crimefight!”

They run towards the toy.

BIFFOLLOMEW THE RABBIT
“Cease and desist Logical Fallacy or we will be forced to use our psychic powers to teach you to mind your manners.”

A SOFT CHIMING TONE rings out. The digital voice of the Butler speaks.

BUTLER
(voice-over) “Reminder, the next episode of The Babysitter Tales is starting.”

BIFFOLLOMEW and Rockford stop. Look at each other and smile, making excited yes gestures.

BIFFOLLOMEW THE RABBIT
“Butler, please cancel the current reminder.”

The chiming tone ends.

BIFFOLLOMEW THE RABBIT
“Butler, please set the room to TV mode.”

The closet doors open revealing a small television. It turns on to station 78. BIFFOLLOMEW and Rockford approach the TV. They pull out soft squares of grey padded carpet from a bin under the TV and sit down. The title sequence of The Babysitter Tales starts to play on the TV.

PAN IN ON THE TELEVISION SCREEN

TRANSITION FROM THE PLAYROOM TO THE BABYSITTER TALES TV SHOW.

On the TV screen the last bit of The Babysitter Tales opening sequence plays. The sequence ends and transitions to an establishing shot of a model of Gloomarella’s house.

SHIFT FROM LOOKING AT IMAGE ON TV SCREEN TO BEING “LIVE” IN THE SHOW.

LS OF GLOOMARELLA’S HOUSE

CUT TO…

INT. GLOOMARELLA’S KITCHEN, MORNING
GLOOMARELLA THE DOOMWITCH enters the room from stage-left. She has just woken up and is not very alert. She wanders over to the counter by the sink. She pulls down a coffee cup, fills it with coffee from the coffee maker, and leans against the counter. She takes a slow sip and smiles. She finishes the coffee and rinses it out in the sink. Then she looks around as if something is wrong, noticing that the sink is empty. All the dishes are clean. She then looks around the kitchen and notices it is clean.

GLOOMARELLA THE DOOMWITCH
“Where is the grime? Where are the spider-webs? Everything looks shiny and new. Who cleaned this place?”

Then she notices the doom baby in his high chair eating breakfast peacefully.

GLOOMARELLA THE DOOMWITCH
“What are you doing up?”

SMILES GOODSON enters from stage-right carrying a bouquet of flowers. He walks over to put them in a vase near the sink.

SMILES GOODMAN
“Oh good, you’re up. I’ll make you some eggs.”

She grabs a pan and hits him in the head. He spins, falls and hits his neck on the counter with a loud CRACK. He goes limp as the life suddenly leaves his body. There is A RESET NOISE accompanied by a flash of light. Smiles hops right back up.

SMILES GOODMAN
“Well aren’t you a lively one in the morning.”

The Doomwitch screams again and shoots him with lightning. He flies out of the room. The RESET NOISE and flash of light occurs off-camera. Smiles Goodson walks back into the room.

SMILES GOODMAN
“Who wants toast? I have an excellent sourdough cooling on the counter. I had to get up early to make it but I know just one bite and you will agree it was worth the effort.”

He walks to Gloomrella and gently places his hand on her, guiding her. They walk over to the table where he sits her down.

SMILES GOODMAN
“You’re going to love this bread. It is an old family recipe, made with a special ingredient.”

Smiles leans into whisper a secret to Gloomrella.

SMILES GOODMAN
(whisper) “I am not suppose to tell, but since we are such good friends, it’s (pauses to look left and right then whispers even softer) love.”

Smiles whistles and gets out the bread.

GLOOMRELLA THE DOOMWITCH
(to self) “What is going on.”

Smiles slices the bread and plates up one slice. He hands it to her. She takes the plate and tries the bread.

GLOOMARELLA THE DOOMWITCH
“Wow, this is really good. Normally, I hate love, but I can’t complain about this.”

SMILES GOODSON
“Why, thank you.”

Rod Pocalypse reaches for Gloomrella’s slice.

ROD POCALYPSE
“Gimme! Gimme!”

SMILES GOODSON
“Now, how do we ask?”

ROD POCALYPSE
“Please?”

Smiles goes and gets Rod a slice. Gloomarella the Doomwitch chokes on the bread.

GLOOMARELLA THE DOOMWITCH
“Did he just say please?”

SMILES GOODSON
“Yes. I taught him that this morning before you got up. I find there is always time to be polite.”

GLOOMARELLA THE DOOMWITCH
“So you taught this baby, the doombaby, he who is the key fated to release those trapped beyond form and shape ushering in a thousand years of darkness where the screams of the tortured will form the new landscape. The instrument of the apocalypse. You taught him manners?”

The baby gets the bread, and Smiles rubs his head.

SMILES GOODSON
“It was not easy, let me tell you, but I just reminded myself that anything worth doing is worth a little extra effort.”

GLOOMARELLA THE DOOMWITCH
“This will not do.”

Gloomarella shoots a lightning bolt at Smiles, knocking him out of the room.

GLOOMARELLA THE DOOMWITCH
“This will not do at all.”

CUT TO AD-BREAK

The ad-break still fills the screen.

GLOOMARELLA
(voice-over) “We’ll be right back after this short break. Change the channel and I’ll curse your soul!”

PAN OUT FROM THE AD-BREAK CARD

TRANSITION FROM INSIDE THE TV SHOW TO THE PLAYROOM

THE CAMERA SHIMMERS AS IT PANS OUT FROM THE TV SHOW. PAN BACK BEHIND BIFFOLLOMEW AND ROCKFORD.

INT. BIFFOLLOMEW’S PLAYROOM, DAYTIME
BIFFOLLOMEW THE RABBIT AND ROCKFORD THE PET ROCK sit infront of the TV cabinet in the closet watching the commercials. An ad for Star Families brand Seed Rolls plays on the screen. BIFFOLLOMEW looks to the side and sighs. He stands and walks off screen. After a moment Rockford notices he is missing.

ROCKFORD THE PET ROCK
“Are you going to finish watching this?”

CUT TO SHOT OF BIFFTHOLOMEW

BIFFOLLOMEW sits by the window looking outside.

BIFFOLLOMEW THE RABBIT
“I was just thinking, it is such a nice day.”

CUT BACK TO SHOT OF ROCKFORD

ROCKFORD THE PET ROCK
“You want to go outside.”

CUT BACK TO SHOT OF BIFFOLLOMEW

BIFFOLLOMEW THE RABBIT
“Yeah. I don’t know what it is, but I want to be outside. Feel some sun on my fur.”

Rockford enters comes over next to BIFFOLLOMEW.

ROCKFORD THE PET ROCK
“That sounds great. Let’s do it.”

BIFFOLLOMEW THE RABBIT
“Really.”

ROCKFORD THE PET ROCK
“Really.”

BIFFOLLOMEW hugs up Rockford and squeezes him.

BIFFOLLOMEW THE RABBIT
“Thanks.”

He sets down Rockford.

BIFFOLLOMEW THE RABBIT
“Butler, turn off the playroom television.”

The Butler chimes off-screen and the television shuts off. Biffollomew and Rockford walk off frame.

PAN TO WINDOW.

A gentle breeze blows through the grassy backyard. Sunshine beams down on the yard. A butterfly drifts from flower to flower. From the edge of the window frame, Biffollomew and Rockford come running into view. Rockford chases after Biffollomew, who laughs and jumps. Every time Rockford gets close, he leaps to the side and rolls. After the fourth roll across the grass, Biffollomew unfurls onto his back. He giggles looking up at the clouds. Rockford catches up to him and jumps on his chest. Biffollomew grunts and pulls Rockford into a hug.

TRANSITION FROM BIFFOLLOMEW’S BEDROOM TO THE ALEXANDRIAN LIBRARY

DISSOLVE FROM THE BACKYARD TO THE CURTAIN OF CLOUDS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

JOIN THE CAMERA IN THE MIDST OF PANNING DOWN THE CURTAIN OF CLOUDS. IT SLIDES DOWN AND DOWN FURTHER, STARTING AT A BREAKNECK PACE AND SLOWING. SOON THE TOPS OF THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE

MID-STAGE: INT. ALEXANDRIAN LIBRARY SECOND FLOOR MAIN ROOM, MORNING
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by Jonathan J. Wheelwright

THOMAS TYPEWRITER
“A sequel to that Latchkey kids? Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The Mid-stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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“The Great Works Project: Season Seven, Episode Six” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 06

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-06”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING. From the bottom of the frame, the fingers of the VELVET TOUCH curl up. They grip the darkness as if a solid object, and bring it forward. It takes on a shape like a large card sign. The Velvet Touch rotates the card 180 degrees. On the back of the card is a still photo of THE TYPEWRITER ABSTRACT PUPPET STAGE on the wooden disc in the Unroom Not.Seven. The Velvet Touch places the card back into place and pulls its fingers out of view.

INT. UNROOM NOT.SEVEN, BETWIXTIME
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, MOVING CLOSER AND CLOSER TO THE MID-STAGE AREA. THE CAMERA STOPS PANNING FORWARD WHEN IT LOCKED IN PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains part and the stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON, revealing…

MID-STAGE: EXT. THE ALEXANDRIAN LIBRARY, AFTERNOON
The front entrance of the multi-level flagstone and glass Alexandrian Library stretches across the back of the stage. The squarish carved letters of the building’s name loom over the triple set of doors adding to the solidness of the building. A sculpture of an open book balancing on the top of a pyramid stands just out front among ornamental grasses. We hear A CAR DRIVE UP AND PARK. The ENGINE SHUTS OFF. The CAR DOOR OPENS then SLAMS SHUT. FOOTSTEPS APPROACH. THOMAS TYPEWRITER, with a hardback copy of “Pandora’s Star” by Peter F. Hamilton under his arm, enters from stage-right. He walks past the ornamental grasses, past the sculpture, and up to the front doors. He uses his free hand to open the door and slips right in.

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES UPWARD MOVING ACROSS THE CURTAIN OF CLOUDS, HIGHER AND HIGHER. SOON THE BOTTOM OF THE HIGH-STAGE SLIDES IN FROM THE TOP OF THE FRAME. THE CAMERA CONTINUES PANNING UPWARD UNTIL LOCKING INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: HANGER JSN076
In the center of the room stands a large cylinder of frosted glass. It stands on a pedestal of orthogonal crystals and abstract circuitry. Off to the side stands a control panel made of a similar crystal and tech mix. The room is painted in bright primary and secondary colors. Three pendant lamps hang from the ceiling illuminating the room. THE INNER-SPACE MAN enters from stage-right.

THE INNER-SPACE MAN
“This is what I wanted to show and tell you.”

BIFF THE RABBIT and ROCKEY THE PET ROCK follow, entering from stage-right.

BIFF THE RABBIT
“The whole room or something in it.”

ROCKEY THE PET ROCK
“Is it me or does this look like the designs we drew on the boxes when we were pretending we were those superheroes.”

BIFF THE RABBIT
(looks around) “It does.”

THE INNER-SPACE MAN
“Yes, exactly.”

BIFF THE RABBIT
“What do you mean?”

THE INNER-SPACE MAN
“This whole place is somehow tied to your pretending.

BIFF THE RABBIT
“How is that even possible?”

THE INNER-SPACE MAN
“I do not know exactly how the link works, but it is there.”

BIFF THE RABBIT
“That makes no sense.”

The Inner-Space Man walks over to the control panel and presses a button. The frosted glass of the cylinder turns clear. Inside is the suspended form of the superhero MINDGAMES.

THE INNER-SPACE MAN
“How about now?”

BIFF THE RABBIT
“Mindgames! Rocky, it’s Mindgames. Exactly as I imagined he looked like.”

ROCKEY THE PET ROCK
“Eerie.”

BIFF THE RABBIT
“Okay, hit the button that lets him out. I have so many questions.”

THE INNER-SPACE MAN
“Sorry. I don’t know how.”

BIFF THE RABBIT
“No seriously, let him out.”

THE INNER-SPACE MAN
“I can not.”

Biff turns to look at the Inner-Space Man.

BIFF THE RABBIT
“What do you mean. You wandered this place for days before getting us or so you claimed.”

THE INNER-SPACE MAN
“I did and never found a release button. Only room after room like this one.”

Biff walks over to the control panel. Rocky stays at the cylinder looking at Mindgames.

BIFF THE RABBIT
“But you got out. How? How come you are free? Why you?”

THE INNER-SPACE MAN
“I don’t know. MAybe some quality you added to us when you pretended us allowed us to escape.”

BIFF THE RABBIT
“Maybe you just didn’t hit the right buttons.”

Biff starts to press on the buttons. Various lights in the room turn on and off.

PAN OVER TO ROCKEY

ROCKEY THE PET ROCK
“What are you thinking in there?”

CUT TO CS OF THE MINDGAMES’ FACE.

Mindgame blinks.

CUT BACK TO ROCKEY

ROCKEY THE PET ROCK
“Arhh. Guys we have a problem. He just blinked.”

BIFF THE RABBIT
“What do you mean he blinked.”

ROCKEY THE PET ROCK
“I mean exactly that. He blinked. Look.”

Mindgames blinks again. Biff turns to look at The Inner-Space Man

BIFF THE RABBIT
“You mean he is aware.”

THE INNER-SPACE MAN
“Well, I was. Good chance in nine nine nines everybody else is. I hope not because it was torture.”

Biff becomes a little frantic and starts tapping buttons.

BIFF THE RABBIT
“We have to get him out. We have to get them all out.”

The High-stage lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY FICTION SHELVES, AFTERNOON
A long bookshelf runs across the back of the stage. THOMAS TYPEWRITER enters from stage-right. He slowly walks across the stage, looking at the books. He runs his fingers across the various books as he contemplates.

THOMAS TYPEWRITER
(to self) “What am I doing? Am I really moving forward? Ophidia, she’s moving forward. She’s working herself to exhaustion. What have I ever worked myself to exhaustion on?”

He walks a short distance and then answers himself.

THOMAS TYPEWRITER
(to self) “Nothing.”

Thomas takes a step back to view all the books on the shelves. His body language shifts to painful introspection. Thomas exits stage-left. The Mid-stage curtains close and then repopen revealing…

MID-STAGE: INT, SECOND FLOOR MAIN ROOM, AFTERNOON
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER
“A sequel to that book. Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

today in the studio: July 29th, 2026

today in the studio

“Up Late, Late At Night: Episode Two, Act Two” – a new script by Thomas Typewriter

Puppet play, scripts, Up Late, Late at Night

———–<.thom.ophi>———–

Up Late, Late At Night

an abstract on treasure versus trash in modern film

Episode 002

Act II

By Thomas Typewriter & Ophidia Typewriter-Operahouse

FADE IN TO BLACK

FADE IN

EXT. TRUCC NUTZ HIGHWAY AND ON-RAMP, DAYTIME

LS OF THE HIGHWAY AND ON-RAMP

The highway stands empty. From stage-left enters a semi-truck covered in logos for KON-SATOSHI ELECTRONICS. It drives down the highway exiting stage-right. A few moments after, from the on-ramp, quickly drive up the three souped-up street racing cars of The Tuna Sandwich No Crust Boys criminal gang. Each car bears the logo of the gang: the letters “TSNCBOIYZ” and a cartoon image of a tuna fish with thick hair on the side of its head but a bald spot across the top of its head. They speed after the semi, exiting stage-right.

TRANSITION FROM HIGHWAY TO THE OFFICE

INT. EDITOR-IN-CHIEF’S OFFICE, DAYTIME
A flicker goes across the frame as the image shifts to the appearance of an image on an older television.

PAN OUT

The image of the highway is now shown to be a video playing on a small television in the offices of LASER EDITOR, the editor-in-chief and publisher of “The Modern Sexy Little Miss’s Information Tabloid”. The office is lined with filing cabinets and taxidermy eagles, turkeys and one hummingbird. All the taxidermy eagles and one hummingbird are holding American Flags in their talons or beaks. The mounted turkeys are holding the Don’t Tread On Me flags. A large potted plants sits nestled between two filing cabinets. Laser Desks very solid looking desk sits over by the filing cabinets. The television sits on top of a rolling dolly. The main wall of the room contains the door and frosted windows. On the door is written in letters, in reverse to those inside the room, “LASER EDITOR – EDITOR-IN-CHIEF & PUBLISHER” The Laser Editor walks across to the television and turns it off.

CUT TO LS OF THE ROOM

B-Reporter and D-HACK are sitting in chairs watching Laser Editor turn off the TV.

B-REPORTER
“Why are you turning it off? There has been a 300% increase in electronic thefts in Dieselvania county, almost entirely from shipping trucks. Additionally there has been a surge in stolen bicycles. Something is going on. This is news.”

LASER EDITOR
“No, this is boring. We need something that can sell the papers. Something modern. Something sexy. Something little.”

B-REPORTER
“Are you hearing this D-Hack. I can’t believe this. You talk me into coming to your Aunt’s paper claiming she’s changing the paper. Real reporting. A real chance to make a difference. Do you remember that? Cause it sure sounds like that was a lie.”

D-HACK
“Yes, I said that but maybe she has a good point. She always has the best ideas.”

LASER EDITOR
“Stop sucking up you spineless wimp. Why can’t you be more like your friend? She actually has a drive and purpose. Principals.”

D-HACK
“Those are good points. B-Reporter, can I borrow your notebook so I can write this down.”

B-Reporter reaches over the Laser Editor’s desk and grabs a pen and notepad. She hands it to D-Hack.

LASER EDITOR
“Oh, now you’re being petty.”

D-HACK
“Ok, what was I supposed to be more like.”

B-REPORTER
“More like me. Beautiful, charming, intelligent, talented, gifted, determined to break the big story that changes the world and uncover the true grime hidden under the stones that civilization is built upon.”

CUT TO CS OF D-HACK WRITING ON THE NOTEPAD

D-Hack is trying to write down all these notes on a notepad that is much too small. He twists and turns the thing trying to fit all the notes on it.

D-HACK
(notes to self as scribbling away) “Be more beautiful…going to need to order some facial masks maybe for that one, charming, intelligent…do they make brain pills? Need to look that up.”

CUT BACK TO MS OF LASER EDITOR

Laser Editor gets frustrated with D-Hack and grabs the pen and notepad out of his hands and throws it away.

LASER EDITOR
“Cut that out. And you, you could stand to be more like D-Hack. He has no morals, no outrage, nothing getting in the way of writing a story that will sell. And that is what we need, what you need. You think you are going to write some story about greed and corruption that is going to change everyone’s life. Well Mister Investigative Reporter, how can you do that if no one is reading the paper your story is in? Answer me that? And more importantly, how can I have a hot tub installed in my private helicopter if my paper does not sell millions and millions of issues.”

B-REPORTER
“A hot tub in a helicopter? That makes no sense. The downwash is like over sixty miles per hour. All the water would blow out of the tub. Additionally, everyone would slosh out when it makes turns.”

D-HACK
“That’s a great idea.”

LASER EDITOR
“Thank you, nephew. Now, take a look at this. Just came into my possession today. I have a contact over at the local news affiliate in Dieselvania. I may have made his quote-unquote wife disappearing potential homicide story into a giant sewer alligator eats local wife story.”

B-REPORTER
“That is awful.”

D-HACK
“Good job Aunt. You’re always thinking of the angles. Making the smart bets.”

LASER JUDGE
“You bet I am. And it always pays off. Here, take a look at this.”

Laser Judge walks over to her desk and pulls out a videocassette from within a bottom drawer. She puts it into the TV and presses play.

ZOOM IN ON THE TELEVISION AND CUT TO…

EXT. THE LONELY DOOR IN THE WOODS, DAYTIME
A door frame sits alone in a wild and deep woods. In the distance can be heard the sounds of freeway traffic because all the forests and woods in Dieselvania are near highways and interstates. BRO-POD, an mp3 player wearing a college athletic jersey and proud member of the Omega Omega Ohm fraternity, enters the frame drinking multiple beers. His beers are a six-pack with the beer still on the plastic ring. All six are open and slosh beer into his mouth, face, and shirt when he attempts to drink. Out of the frame is Bro-Pod’s fellow fraternity brother FRAT-DECK. If he were to be seen, he would be a Tape Desk wearing a college athletic jersey similar to Bro-pod’s.

BRO-POD
“You getting this man.”

FRAT-DECK
(from off-camera) “Yeah man, I am getting this. This is going to be great.”

BRO-POD
“We’re going to be legends.”

FRAT-DECK
“Let’s do it. Misanthrope University Rules!”

BRO-POD
“I am Bro-Pod and I am going to open the lonely door in the forest. This is for all my boys at Miskatonic University. Love you guys. Screaming Nyarlathoteps forever!”

FRAT DECK
(from off-camera, shouts) “OMEGA OMEGA OHM!”

BRO-POD
(shouts) “OMEGA OMEGA OHM!”

Bro-Pod starts pushing on the door but it won’t budge.

FRAT-DECK
(from off-camera) “Come on man, open the door.”

BRO-POD
“I’m trying man.”

FRAT-DECK
(from off-camera) “You’re ruining it man.”

Then there is a loud roar from behind the door

FRAT-DECK
(from off-camera) “What was that?”

BRO-POD
“Its the door. I think I budged it.”

Just then the door explodes off the frame and flies into the camera Frat-Deck is holding. Bro-Pod can be seen knocked into the air. The door knocks over and lands on Frat-Deck.

THE CAMERA SPINS THROUGH THE AIR AND LANDS AT AN ANGLE.

The broken door and part of Frat-Deck can be seen in front of the camera. COMBO-STEIN, a Frankenstein like monster made from a VCR/DVD combo player, in silhouette, can be seen screaming and running through the busted door and out of the frame. Bro-Pod is just visible sticking out of a shrub in the distance.

BRO-POD
“Miskatonic University…”

FRAT-DECK
“Omega Omega Ohm…”

CUT BACK

ZOOM BACK OUT OF TELEVISION TO FULL SHOT OF ROOM

The Laser Editor ejects the tape.

LASER EDITOR
“Now that is a story that will sell papers.”

B-REPORTER
“Story? How is that a story? A door fell on some dudes.”

LASER EDITOR
“Yes. A door falls in the woods and no one hears it, no story. But a door falls in the woods and two nut sacks hear it, that’s a story.”

D-HACK
“That’s a great idea aunt. Headline: Monster Rampages honor students in the woods. Are you next?”

LASER EDITOR
“Yes, yes, YES! I knew you’d get it. but you (points at B-Reporter) You are going to need a little sweetness to say yes. Get me this story and you can finally write that piece you’ve been bugging me about.”

B-REPORTER
“Wait. Are you serious? I’ll finally be able to write about how the MK Ultra program worked to brainwash everyone into thinking Inception is a nesting doll story of layered realities when in actuality it is the linear story of what happened to Jack Dawson after Rose pushed him off that door. When he sank into those frozen waters.”

D-HACK
“Really. That’s what you’re going to use your blank check on. That doesn’t even make sense. ”

B-REPORTER
“It makes perfect sense. At the end of Titanic, Jack sinks into the water and then Inception opens with him washing up on shore. The currents where the Titanic sunk would have pulled his body towards Europe with its sandy beaches, which match the sandy beach he wakes up on in Inception.”

LASER EDITOR
“Okay, well that is something.”

B-REPORTER
“Makes more sense than a hot tub in a helicopter.”

LASER EDITOR
“Don’t test me B. Now, here are your tickets and accommodations. You leave right now.”

D-HACK
“I’ll have to stop back at the apartment to pack.”

B-REPORTER
“I’ll ride with you.”

They leave the office. Laser Editor watches them leave and then goes to sit down at her desk.

CUT TO MS OF LASER EDITOR AT DESK

Opening a drawer she pulls out a bottle of alcohol and a glass. She starts to pour herself a drink when the potted plant behind her starts to wiggle. The plant moves up revealing MR. COIN, an oversized novelty coin wearing a fedora, sunglasses, and a trench coat. He looks over at Laser Editor

MR COIN
“Now, you’re not going to actually publish that article on Titanic and Inception are you. It would not do for attention to be brought to our group’s efforts to persuade the public of what is true and not true as it pertains to those particulars.”

LASER EDITOR
“Nope. I’ll tow the line.”

MR COIN
“Excellent.”

Mr. Coin lowers his head back down into the potted plant. Laser Editor drinks her glass slowly. Once done, she sets the glass down on her desk.

CUT TO CS OF THE EMPTY GLASS

FADE OUT

“The Great Works Project: Season Seven, Episode Five” by Thomas Typewriter – a new script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 05

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-05”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE appears in the black void.

PAN IN ON MID-STAGE TILL PROPERLY FRAMING IT

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s lightbox, furiously drawing animation cells. THOMAS TYPEWRITER enters from stage-left. He hangs up his coat and then walks over to Ophidia. He places a hand on her shoulder.

THOMAS TYPEWRITER
“Hi.”

Ophidia stops bopping, pulls down her headphones, and smiles at Thomas.

OPHIDIA OPERAHOUSE
“Hey, good looking.”

Ophidia points to her lips. Thomas takes the hint and kisses her.

THOMAS TYPEWRITER
“You’re sure in a good mood.”

OPHIDIA OPERAHOUSE
“Oh yeah. I love how it feels to animate.”

THOMAS TYPEWRITER
“Have you been working long?”

OPHIDIA OPERAHOUSE
“Maybe. Probably. I came home from dinner and could not sleep. So I started working.”

THOMAS TYPEWRITER
“So, you never went to bed?”

OPHIDIA OPERAHOUSE
“Nope. I am full of electricity.”

THOMAS TYPEWRITER
“Okay electric girl, is there anything I can do to help?”

OPHIDIA OPERAHOUSE
“Could you get me some fresh coffee?”

THOMAS TYPEWRITER
“Sure. Are your parents okay with me being in the kitchen.”

OPHIDIA OPERAHOUSE
“Oh, it’ll be fine. They love you.”

THOMAS TYPEWRITER
“Okay. Fresh coffee coming right up.”

Thomas Typewriter exits stage-left. Ophidia puts back on her headphones and starts bopping to the music.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. THE SETS DISAPPEAR OFF THE BOTTOM OF THE FRAME AS THE CAMERA ASCENDS. IT GLIDES UP AND UP, OVER THE CURTAIN OF CLOUDS. SOON, THE HIGH-STAGE AND NARRATOR’S DOOR AT THE TOP OF THE CURTAIN OF CLOUDS SLIDES INTO VIEW. THE CAMERA SLOWS AND MOVES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
From behind the curtain, the sounds of A BAND PLAYING MUSIC leak. The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, DAYTIME
A large curve window runs across the back of the stage, showing the sparkle of the sparks drifting through space. Some components of the Flute are visible in the periphery of the window. A long curved couch runs under the window curving around a circular rug. Additional couches wrap around the circle coming out of stage-left and stage-right. The center of the observation area is free of couches, being the main entry point for those wishing to sit in the observation lounge. The entire area is decorated in yellow, amber, and beige. The rug is a contrasting red. A group is currently assembled playing music to practice and get in tune. LUCIDO OBSIDIAN, in his Medi-pod stands in the front of center on the carpet playing guitar. Behind him, CEDAR WAXWINGS plays drums. On the stage left side of the carpet CARRO, in their Medi-pod, plays keyboards. To the stage-right side of the carpet MINTHRIL MOUSTACHE plays trumpet. Next to him, ELDER GRIM plays the upright bass. The group is currently not doing very well playing in harmony. Meanwhile, PANACIA FLAUTO sits on one of the Observation decks couches listening.
HYGENNIA FLAUTO and two ORDERLI-BOTS enter from stage-right. Hygennia walks over to Panacia and sits down with her. They start to chit-chat. The ORDERLI-BOTS clean the couches. The musicians start to musically line up. They can play longer stretches of harmonious music before hitting discordant notes. IASA FLAUTO enters from stage-right holding a tray filled with three simple coffees from the ship commissary. She hears the music and starts to softly sway to the music. She waves to the musicians and they wave back. Their music clicks even further, lining up to the rhythm of Iasa. She walks over to Hygenia and Panacia. Hygenia takes the coffees. Iasa pulls Panacia up from the couch and starts to get her to dance along with her. Hygenia laughs and takes a coffee and starts to sip. The Orderli-Bots stop cleaning and watch the music and dancing. Panacea and Iasa laugh. Hygenia smiles and joins in.

FINNOCHIO and his sister BALLERIA enter stage-left clapping enthusiastically along with the music. They are followed by some REPAIR-BOTS, lulled up from the Maintenance Tunnels by the sweet tunes, sway to the music. The music goes louder as does the crowd’s response. On each of the Medi-pods the three top lights turn to green over the course of playing. When the third light turns green, the Medi-pod beeps. Carro, Cedar, and Lucido’s robotic arms go limp. They fall out of the melody. The Medi-Pods crack open along a low seem like an egg cracking open. Out pours the fully repaired Lucido, Cedar and Carro, coated in fluid and sliding across the floor. Carro now has a robotic body after the Medi-pod process, where in the earlier episodes he was just a face on a view screen.

As the three slide out of their Medi-pods, Elder and Minthril abruptly stop playing. Iasa, Panacia, and Hygenia swiftly rush to the newly emerged bodies and start to run medical checks. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER AND ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. EVENTUALLY THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME AS THE CAMERA HAS REACHED THE BOTTOM OF THE CURTAIN OF CLOUDS AND THE MID-STAGE. IT PANS DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

THOMAS TYPEWRITER
(off-stage) “I’ve got your coffee.”

THOMAS TYPEWRITER enters from stage-left, carrying a tray with a coffee cup and a carafe of coffee. There is also a glass of water on the tray. He enters backwards to navigate the door, balancing the tray best as he can.

THOMAS TYPEWRITER
“Sorry it took as long as it did for me to get the coffee. Your Mom came out and we had a nice talk. She asked if I could make her some tea so I did. Let me know if you want any and I’ll go get you a glass. Your Mom asked me if we set a date for the wedding, which is the funniest thing because my Grandma was just asking me the same thing this morning.”

Thomas places down the tray.

THOMAS TYPEWRITER
“Isn’t that the craziest thing? Are they sharing a wavelength?”

He picks up the coffee cup and turns to give it to Ophidia.

THOMAS TYPEWRITER
“And you’re asleep.”

Thomas straightens looking at Ophidia. He shrugs and takes a sip of the coffee. He spits it back out into the cup.

THOMAS TYPEWRITER
“Ugh, yuck. How does anyone like that?”

Thomas sets the cup back onto the tray. He then exits Stage-left returning with a blanket. He places the blanket over Ophidia. He gently kisses her on top of her head.

THOMAS TYPEWRITER
“You get your rest, you deserve it. I’ll be over here reading.”

Thomas moves to the chair to the side and pulls out a copy of “Pandora’s Star” by Peter F. Hamilton.

THOMAS TYPEWRITER
(to self) “Thank goodness I have one of Hamilton’s space operas. This will definitely keep me busy.”

Thomas props his feet up on the desk and relaxes into a comfortable reading position. He starts to read, briskly moving through pages then slowing down. He turns back two pages and rereads what he had read. He thinks a moment and then starts to read at a brisk pace. As he is reading he starts to fidget, starting with turning his body left and right. Then he switches to gently swinging his feet left-right. The Mid-Stage stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

“The Not So Puppet Show #003: The Broken Book of Beasties, Book One: A Book by Any Other Cover, Part One” by Thomas Typewriter – a new script

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

An asymmetry without apologies

Episode #3

“The Broken Book of Beasties
Book I: A Book by Any Other Cover
Part 1”

By Thomas Typewriter

———–<:type:>———–

FADE IN

The Not So Puppet Show’s short title sequence plays.

FADE OUT
FADE IN

THE BROKEN BOOK OF BEASTIES TITLE SEQUENCE
The title “The Broken Book of Beasties” appears far off in the dark screen, written in bright red flowing script. The word Beasties, unlike the rest of the title, is written in a thick slashing font. The title flies towards the camera and past the edge of the frame. The dark screen is filled with a shimmer as the following text appears in white block letters: “Book I: A Book by Any Other Cover”.” It fades away in a shimmer. In the absence appears the following text: “Part One.” It lingers in the center of the frame.

PAN DOWN

The dark screen fades to light grey as the “Part One” slides off the top of the screen from the camera panning

TRANSITION FROM TITLE TO THE OVERLAPPING HILLS

The dark grey shifts in tone changing to dark clouds.

CONTINUE TO PAN DOWN

EXT. THE OVERLAPPING HILLS, DAYTIME
A series of forested hills in front of a wooded snow-capped mountain slides into view. This is the Overlapping Hills, one of many realms created by the great wizard Orgle. They all share the word Overlap in their names due to how he constructed them. Orgle folded multiple different dimensions over each multiple times until a pocket dimension was formed. The Overlapping Hills are not as well known as Orgle’s other overlaps such as the Overlapping Hotel, the Overlapping Waves, or the Overlapping Trail. Yet, they do contain one of his greatest treasures: The Trilibris. It can be seen in the distance, over the hilltops and at the base of one of the mountains. Its three towers twist and flow creating a kind of hourglass hyper-dimensional shape.

SHIFT TO XLS OF THE TRILIBRIS
CUT TO LS OF THE TRILIBRIS
CUT TO MS. OF THE TRILIBRIS
CUT TO CS OF THE TRILIBRIS DOORS

TRANSITION FROM THE OVERLAP HILLS TO THE TRILIBRIS

ENTER THE BUILDING AND MOVE TO THE MAIN ROOM THROUGH A SERIES OF QUICK CUTS AND FADES

INT. THE TRILIBRIS MAIN ROOM, DAYTIME
The Main Room is a teardrop-shaped dome. The walls are covered in bookcases. Spiral staircases are scattered around the circumference. The bookcases are designed in a way that the books are stacked horizontally and vertically giving the impression of the folds in a human brain. The center of the room is a large open space filled with thick tables and chairs. The top of the dome is glass, stained a light blue, allowing natural light to illuminate the space. The bookshelves are illuminated by pendant lights within the rows. Each desk has a bulbous table lamp to illuminate in case the dome is not allowing enough light. Across from the entryway the bookcases stop. A large alcove is built into the wall. A dark wood wall decorated with gold and brass metal in long blocky snaking patterns illuminated by two torches. In the center of the alcove is a podium holding THE CODEXIAN. A very special book, it is separated from the rest of the main room by golden chains and small golden pedestals. A “Do Not Disturb” sign hangs off the chains.

CUT TO LS OF THE CODEXIAN’S ALCOVE
CUT TO MS OF THE CODEXIAN’S ALCOVE
CUT TO MS OF THE CODEXIAN

The Codexian is a thick book, with covers of a patina encrusted brass. The front cover has a vertical row of three circles made from gold wire on the binding side. The other side is a snaking angular pattern similar to the patterns on the alcove walls. The pattern snakes down to two horizontal lines across the bottom portion of the front cover.

CUT TO CS OF THE CODEXIAN

A TRIUMPHANT MYSTICAL MUSICAL SCORE plays. The score plays a few moments and then it stops with A RECORD NEEDLE SCRATCH.

PAN TO LEFT OF THE CODEXIAN.

A GREY MOUSE crawls up onto the podium. It tentatively approaches the Codexian.

CUT TO MS OF THE GREY MOUSE

The Grey Mouse sniffs along the Codexian, moving to the top corner. It starts to nibble on the edges of the pages.

THE CODEXIAN
“OWWWW!”

CUT TO MS OF THE CODEXIAN

The Round circles on the left of the cover open revealing non-organic golden eyes. The two golden lines along the bottom of the cover move as if lips or a mouth. The Grey Mouse stops chewing.

THE CODEXIAN
“Who did that?”

The Grey Mouse steps away from the Codexian

THE CODEXIAN
“Come on, I know you are there. Who is biting me!”

The Codexian’s eyes scan around the room. Ultimately they settle on the Grey Mouse.

THE CODEXIAN
“Oh, hello there. Were you the one chewing on my corners?”

The Grey Mouse blankly looks at the Codexian. It sneezes. A golden shimmer flickers in the air.

THE CODEXIAN
“Bless you.”

The Grey Mouse stands upright and nods at the Codexian.

THE CODEXIAN
(to self) “Well that’s new.” (to the Grey Mouse) “Let’s try this. Maybe what you’re truly hungry for is a story. If I tell you a story will you stop chewing on me.”

The Grey Mouse nods and then sits down.

THE CODEXIAN
(to self) “Definitely new.” (to the Grey Mouse) “I will need to open up to tell the story, so you may want to adjust your position.”

The Codexian opens and the Grey Mouse moves to the bottom of the podium top. The pages start to move, quickly moving to the middle of the book in a blur.

THE CODEXIAN
“Ahhh, here we go.”

The Codexian is open to a set of pages bordered in golden illumination but the actual area inside the border is blank.

THE CODEXIAN
“The Broken Book of Beasties.

From somewhere in the Trilibris A CHIMING TONE rings out. The blank page starts to fill with an illustration in a style that is a mix of woodcut block print and medieval illuminated scripts. A vast city fills the page.

TRANSITION FROM THE LIBRARY TO AN ILLUSTRATED STORYBOOK STORY

PAN IN ON ILLUSTRATION TO FILL THE FRAME

THE CODEXIAN
(voice-over) “Once there was a vast city filled with magic, wonder and charm.”

The illustration changes to the city in ruins with a giant burst of light exploding from the center of the city. Prismatic storm clouds fill the sky, raining storms. down on the city.

THE CODEXIAN
(voice-over) “The city of magic became a city of too much magic, as the Great Rupture ravaged the city. Magic rained down like storms. melting what was known and unknown equally.”

The illustration changes to people on hills outside the city fleeing. The city gripped in storms. can be seen in the distance.

THE CODEXIAN
(voice-over) “Those who were able fled the city. The Great Rupture lasted decades driving one group further and further from the city.”

The illustration changes to a long stretch of landscape. Hills on the right give way to grasslands, then forests, and then mountains to the right. A group of refugees appears in the hill section. Fade to the group in the grasslands section and prismatic storms in the hills. The illustration changes more with a fade to the refugees in the forests The prismatic storms now fill the hill and grassland sections. The illustration shifts again. The refugees are now in the mountains section. The prismatic storms fill the hills, grassland, and forest sections. The illustration changes one last time. The refugees are gone and the prismatic storms fill the entire page. A THUNDER BOLT CRACKS. The Codexian turns the page.

THE CODEXIAN
(voice-over) “Past landscapes that ate lives, the refugees found a place of safety, or at least which they hoped offered peace.”

The illustration area is filled with many tree branches. Colorful flowers grow along the base of the trees while animals can be seen peeking their faces out of the upper branches. The illustration changes with the trees sliding. They part in the center moving left and right. In the center of the screen sits a valley made from five rivers feeding into a lake in the center. There is a large island in the center of the lake along with a few small islands in sandbars scattered around the lake. The illustration changes again with the sun emerging in the clouds above the valley. Bright sunlight beams. across the page. The illustration changes one last time with the illustrations of the refugees moving in from the left and right side of the frame and walking down to the valley. The Codexian turns the page.

THE CODEXIAN
“Having found sanctuary, the people set about building a new home for themselves.”

The illustration is blank but then small illustrations of people enter from the left and right sides. They break off into five groups, with the fifth group in the center made from the remaining few from each group. Each group then disappears into a cloud of construction dust. CONSTRUCTION SOUNDS can be heard. Slowly simple houses emerge from the construction dust. Once a house is finished the construction dust cloud disappears and the group looks at their work. Once all five houses are completed, the people CHEER.

THE CODEXIAN
“And grow they did. It was as if some creative spirit had been unleashed.”

The small people in the illustration then go to the area behind the houses and start constructing again. Rows of houses emerge from the dust. Once a house is finished, each group builds another behind it. Soon the houses recede into the distance. The construction dust finishes and the houses sit. The sun sets and the people go into their homes. The stars come out and then dawn breaks. Small people exit their houses and do daily chores. The sun rises and sets. Everyone goes back to bed. The day/night cycle speeds up to a blur until sixty days have passed. Time returns to its regular speed on the sixtieth day. The illustration shifts zooming in on a house in the background. A lady leaves at sunrise and walks two houses down to a bakery. She enters the shop and starts baking. Smoke starts to emerge from the bakery’s chimney. As the sun rises to mid-morning, the sign in the window changes from closed to open. The illustration changes to looking in through the window of the bakery. The Baker stands at the counter.

THE CODEXIAN
“And while everyone else was moving forward, one person was stuck looking back. Little did anyone realize she would change the direction of everyone’s life.”

The illustration changes to the baker at the counter. She has a sad far away look in her eyes.

ZOOM IN ON THE BAKER’S FORLORN EXPRESSION

FADE OUT

The Great Works Project: Season Seven, Episode Four” by Thomas Typewriter – a new script

Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 04

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-04”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

TYPEWRITER ABSTRACT PUPPET STAGE, ANYTIME

Fade in to the TYPEWRITER ABSTRACT PUPPET STAGE getting ready to present a new episode.

MS OF THE TYPEWRITER PUPPET STAGE

The Typewriter Abstract Puppet Stage’s main curtain slowly opens.

PAN IN TO PROPERLY FRAME THE MID-STAGE

MID-STAGE: CURTAINS CLOSED
The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. SLICE O’PIE RESTAURANT, EVENING
Three booths run across the stage left to right. Along the back of the stage is a soft pastel colored wooden panel wall. Various size photos of fruits, vegetables, and slices of pie hang on the wall. One frame in particular has a still from the Patterson Bigfoot footage. The photo has been altered so that Bigfoot is holding a slice of pie. The booths are currently empty. From stage-right enters THE HOSTESS followed by THOMAS TYPEWRITER and OPHIDIA OPERA HOUSE. The Hostess is carrying two menus. She gestures to the middle booth.

THE HOSTESS
“Here is your booth.”

Thomas Typewriter sits on one side while OPHIDIA sits on the other. The Hostess hands both menus to Thomas who then passes one to Ophidia .

THE HOSTESS
“Your server will be with you shortly.”

OPHIDIA OPERAHOUSE
“Thank you.”

THOMAS TYPEWRITER
(avoiding direct eye contact with the Hostess) “Yes, thank you.”

THE HOSTESS
“You’re welcome.”

The Hostess exits stage-right.

THOMAS TYPEWRITER
“Been a long time since I’ve been to a Slice O’Pie.”

OPHIDIA OPERAHOUSE
(Jokingly) “Bad memories, eh.”

THOMAS TYPEWRITER
“Something like that.”

OPHIDIA OPERAHOUSE
“Oh! I was only kidding. I am so sorry. We can always leave if it is too much. We don’t have to eat here.”

Thomas looks around taking a deep breath.

THOMAS TYPEWRITER
“No, no. Today is your day, your celebration. I’ll be fine.”

OPHIDIA OPERAHOUSE
“Good, cause I really want some pie.”

Thomas Typewriter opens his menu.

THOMAS TYPEWRITER
“So what are you going to order?”

OPHIDIA OPERAHOUSE
“I don’t know. There are so many choices.”

THOMAS TYPEWRITER
“Take all the time you need. I am just glad to be here with you.”

Thomas reaches across the table and grips Ophidia’s hand. She squeezes it in return. They release their hands and return to reading the menus.

TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS, ACROSS THE CURTAIN OF CLOUDS LINING THE BACK OF MID-STAGE AND UP TO THE HIGH-STAGE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains open. The stage lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, MORNING
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. In the distance the twinkle of the two torches of the dual door entrances to The Mounds. The room itself is decorated in deep reds and oranges. A variety of musical instruments, microphones, amps and speakers are spread out across the open area of the Observation lounge. From stage-left to stage-right there are: A set of keyboards, a drum kit, a microphone with a bass guitar, a microphone and trumpet in a stand, and lastly ELDER GRIM tuning up his upright bass. LUCIDO OBSIDIAN, in a Medi-pod, enters from stage-right.

LUCIDO OBSIDIAN
“Morning.”

ELDER GRIM
“Morning.”

Lucido rolls over to the front most microphone stand and starts putting on the bass guitar. CARRO, in a Medi-pod, rolls in from stage-left.

CARRO
“Morning gentlemen.”

LUCID OBSIDIAN
“Morning.”

ELDER GRIM
“Morning.”

Carro rolls over to the keyboards. They start to turn on the keyboards and testing the notes, making adjustments as they go along. Lucido is struggling with his guitar. Elder sets his upright bass in its stand and walks over to help. As he holds up the guitar for Lucido to grip, MINTHRIL MOUSTACHE rolls in from the stage-right in his wheelchair.

MINTHRIL MOUSTACHE
“Morning gentlemen. Ready to blow the cobwebs off this place.”

They grunt yes, most of their concentration focused on preparing their instruments. Minthril rolls over to the stage-right. He picks up his trumpet and starts getting it ready. CEDAR WAXWINGS, in his Medi-Pod, and PANACEA FLAUTO enter from stage-right. They are holding hands.

MINTHRIL MOUSTACHE
“The lovebirds have arrived. Glad you could join us Cedar.”

CEDAR WAXWINGS
“Morning everyone.”

PANACIA FLAUTO
“Morning everyone. Is it okay if I sit and listen.”

LUCIDO OBSIDIAN
“I’m fine with that.”

ELDER GRIM
“Sure.”

MINTHRIL MOUSTACHE
“Sure.”

CARRO
“Fine with me.”

Cedar rolls to behind the drum kit. Having finished helping Lucido put on his guitar, Elder returns to his upright bass.

LUCIDO OBSIDIAN
“Everyone ready.”

CARRO
“Ready.”

MINTHRIL MOUSTACHE
“Ready.”

ELDER GRIM
“Ready.”

CEDAR WAXWINGS
“Ready.”

LUCIDO OBSIDIAN
“Cedar, count it down.”

CEDAR WAXWINGS
“Okay everyone lets do this. (starts hitting drumsticks together) A ONE. A ONE TWO. A ONE TWO THREE!

The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM HIGH-STAGE AND PANS DOWNWARD. IT DESCENDS ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GLIDES DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS ROLL UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. SLICE O’PIE RESTAURANT, EVENING
Three booths run across the stage left to right. Along the back of the stage is a soft pastel colored wooden panel wall. Various size photos of fruits, vegetables, and slices of pie hang on the wall. One frame in particular has a still from the Patterson Bigfoot footage. The photo has been altered so that Bigfoot is holding a slice of pie. OPHIDIA OPERAHOUSE sits to one side of the center booth. THOMAS TYPEWRITER sits on the opposite side of the central booth. The two other booths are currently unoccupied.

OPHIDIA OPERAHOUSE
“Really, years?”

THOMAS TYPEWRITER
“Yup. Years since I have been in a Slice O’Pie, eaten here. How about you?”

OPHIDIA OPERAHOUSE
“I tried to take a break after waitressing.”

THOMAS TYPEWRITER
“What do you mean by tried?”

OPHIDIA OPERAHOUSE
“My mom loves this place. It is her ideal idea of casual fast food, so I kept getting dragged back.”

THOMAS TYPEWRITER
“Sure it is casual, but is not exactly fast.”

OPHIDIA OPERAHOUSE
“Well, she went to a lot of tea rooms growing up, so figure what you will. Something I recall about this place, and I don’t know if it was the same where you grew up, but when I was a teenager, this was the hangout spot.”

THOMAS TYPEWRITER
“Oh yeah. Same where I grew up. It had two qualities a certain group of teens desired: open 24 hours and allowed smoking. All the quote-unquote interesting kids flocked there.”

OPHIDIA OPERAHOUSE
“I know those kids.”

THOMAS TYPEWRITER
“I bet you were one of those kids.”

OPHIDIA OPERAHOUSE
“Me? If anyone here was one of those kids, it was you.”

THOMAS TYPEWRITER
“Well, maybe. More likely interesting adjacent.”

OPHIDIA OPERAHOUSE
“Hah.”

Ophidia takes a few bites of her food. Thomas picks up his sandwich and takes small bites. He finishes chewing and looks over at Ophidia as he sips from his straw. His face lights up as he stares at Ophidia. She notices and becomes self-conscious.

OPHIDIA OPERAHOUSE
“What?”

Thomas wiggles his eyebrows. Ophidia giggles.

OPHIDIA OPERAHOUSE
“Interesting adjacent my butt.”

Thomas wiggles his eyebrows some more. Ophidia giggles. He sits back up and starts to eat his sandwich. Ophidia, beaming, cuts a bite of sirloin and takes a bite. They continue eating, happy in each other’s presence. The Mid-Stage stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE-OUT

“Up Late, Late at Night: Episode Two, Act One” by Thomas Typewriter and Ophidia Typewriter-Operahouse – a new script

Puppet play, scripts, Up Late, Late at Night

———–<.thom.ophi>———–

Up Late, Late At Night

an abstract on treasure versus trash in modern film

Episode 002

Act I

By Thomas Typewriter & Ophidia Typewriter-Operahouse

———–<:type.house:>———–

FADE IN TO BLACK

FADE IN

EXT. THE TRASHIPELIGO ISLANDS, EVENING

LS OF A MODEL OF THE ISLAND.

Looking upon the garbage covered isles we hear the sounds of slumber and someone murmuring in his sleep.

CUT TO…

INT. THE TRASH HOLE. NIGHT
A large cavern in the base of the Trashipeligo Island’s dormant volcano, Mount Trashuvius finds T-RASH THE TRASH GOD sleeping. His large abstract mask-like face floats over a smoking pool of sludge and magma. Surrounding him are piles of trash. T-RASH’S eyes are dimmed as he sleeps trapped in a nightmare.

T-RASH THE TRASH GOD
(murmuring to self) “No, no, no, what do you mean there is no more oil? What are we going to make plastic out of? What about the plastic? What about the plastic!”

T-Rash shakes awake.

T-RASH THE TRASH GOD
“Oh, man what a nightmare. A world without plastic, what a horror show. Thankfully that will never happen.

T-Rash looks around the room.

T-RASH THE TRASH GOD
“Well, since I am up, I might as well have a late night snack. A nice tall glass of trash juice should put me right back asleep. (Shouting out) B-MAX! D-VID! Get me a glass of trash juice!”

T-Rash waits and waits.

T-RASH THE TRASH GOD
“B-MAX! D-VID! Get in here! You’re god grows impatient!”

From the bottom of one of the trashpiles crawls out THE SORE MOUSE. An anthropomorphic computer mouse slicked with various oils, greases, and mystery juices, it looks over at T’rash.

THE SORE MOUSE
“Hey, keep it down. Some of us are trying to have a tea party.”

T-RASH THE TRASH GOD
“Sorry. Hey, have you seen my two assistants?”

THE SORE MOUSE
“No. Hold on. (Shouts back into the trash pile he crawled out of) Hey, Parched Hare! Muddy Hatter! You guys seen those two helpers to T-Rash.”

THE PARCHED HARE
(off-camera) “The interns?”

THE MUDDY HATTER
(off-camera) “Didn’t they get electrocuted? Hey, see if he has any wine.”

THE SORE MOUSE
(to T-Rash) “No. They got electrocuted. Do you have any wine?”

T-RASH THE TRASH GOD
“There is some toilet wine two mounds of trash over.”

The Sore mouse waves goodbye and wiggles back into the trash pile.

T-RASH THE TRASH GOD
“Electrocuted? I don’t recall them getting…”

INSERT MS OF THE TELEVISION

CUT BACK

T-RASH THE TRASH GOD
“Oh, yeah, they did didn’t they. Just like in that one John Ritter movie or that one Lou Jacobi movie or that one episode of Amazing Stories, or that other episode of Amazing Stories. (to self) What was going on in the Eighties. (out-loud) Oh, well. I wonder what they are up to right now.”

T-Rash picks up the remote for his TV and presses on.

CUT TO THE TELEVISION

MS OF THE TELEVISION

A large cathode ray television sits in the midst of piles of trashbags and clutter. An extra antenna has been ad-hoc added onto the back of the television. The Television flicks on with an audible POP and HUM. A bright dot appears in the center of the television’s screen.

PAN IN ON THE TELEVISION SCREEN

The dot grows to fill the whole screen. A faint image of a highway with an on and off ramp flickers across the screen.

The Great Works Project: Season 07, Episode 03 by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 03

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-03”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

TYPEWRITER ABSTRACT PUPPET STAGE, ANYTIME

FADE IN TO THE TYPEWRITER ABSTRACT PUPPET STAGE GETTING READY TO PRESENT A NEW EPISODE.

MS OF THE TYPEWRITER PUPPET STAGE

The Typewriter Abstract Puppet Stage’s main curtain slowly opens.

PAN IN TO PROPERLY FRAME THE MID-STAGE

MID-STAGE: CURTAINS CLOSED
The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
Along the back of the stage runs a wooden panel wall. The overall design is minimal. A large wooden cross is mounted in the center of the wall. The cross is not attached directly to the wall, but out from the wall by way of metal rods. This is to allow lights installed on the back of the cross to create a halo-like illumination on the wall behind the cross. The remainder of the stage is decorated with six sets of wooden pews. Three on stage left and three on stage right leaving a small aisle in the center. The pews are orientated facing towards the cross. There is a soft lighting in the room, with the brightest light coming from the lights on the back of cross. THOMAS TEENAGER, dressed in a boy scout uniform, enters from stage-left and sits in the second row of pews, near the aisle. He looks up at the cross in silent contemplation for a few moments before letting out a SOB.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DETACHES FROM FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE TOP OF THE MID-STAGE SETS. IT CONTINUES UPWARD MOVING ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT PANS HIGHER AND HIGHER. AT THE TOP OF THE CURTAIN OF CLOUDS IT REACHES THE HIGH-STAGE. THE CAMERA LOCKS IN TO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-Stage curtains part and the stage lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, MORNING
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. In the distance the twinkle of the two torches of the dual door entrances to The Mounds. The room itself is decorated in deep reds and oranges. The lounge has a circular shape. ELDER GRIM enters from stage-right pushing a stack of amphora-crates on a wheeled dolly. He rolls them to the side. He exits and returns with a new stack. Ultimately he rolls five amorphous-crates into the lounge. He leaves and returns then rolls a taller stack of speakers, amps, and sound equipment. In his mouth, he is holding a paper bag while in his left hand he holds a coffee cup. Rolling the sound equipment to the back far corner, he reaches up and takes the paper bag out of his mouth. Sitting down near the window, Elder opens the paper bag. He pulls out a bagel and lox with extra dill. Slowly eating the bagel and sipping the coffee, Elder takes the opportunity to look out the window.

ELDER GRIM
“Reassuring to see the world still has moments of wonder.”

Elder finishes his coffee and bagel. He stands, picks up his trash, and moves off-frame to throw it away. He returns and moves to the amorpha-crate closest to the front of the stage. He opens it and starts to remove the contents, which consist of a guitar stand and a skeletal bass guitar. As he sets up the stand and guitar, the stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM FRAMING HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS. GLIDING DOWNWARD ACROSS IT, SOON THE TOPS OF THE MID-STAGE CURTAINS COME INTO VIEW. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
THOMAS TEENAGER sits in a middle pew near the aisle, softly sobbing. He looks up to the illuminated cross.

THOMAS TEENAGER
“Hello God. I hope you’re listening. Other people tell me you are. They say to me if you have a problem, turn it over to God. Goodness, what does that even mean. I think I have a problem, but how do I turn it over to you when I am the problem. I am broken structurally, something is wrong with me. I keep making mistakes and can not stop. Disappointing everyone around me, everyone who cares. My parents. I got into another argument with them. I don’t mean to upset them but I do. Not on purpose. But eventually I will forget something or screw up. It seems to be happening more lately. The forgetting. The arguments. It hurts so much to see the disappointment in their faces. The anger. Physical pain, like knives in my throat. They say they are trying to help me reach my potential. My teachers talk about my potential. Everyone has a comment on how much I am not living up to it. Yet no one has any answer about how I can live up this supposed potential. What am I suppose to do. No one knows. I thought I was a nice person. Why isn’t that enough. God, if you are there, please tell me why. Why do I hurt? Why do I keep making mistakes? Why am I not good enough?”

Thomas starts to cry but swallows it down. He sits in silence for a few moments. A voice beckons from off-stage.

SCOUT
(off-stage) “Hey Thomas, you coming. Glen is about to cut his cake.”

Thomas hastily wipes his eyes.

THOMAS TEENAGER
“Yeah, I’ll be right there.”

He stands and exits stage-left. The stage-lights, and cross lights, turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE-OUT

“The Great Works Project: Season Seven, Episode Two” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

EXT. THE HILLTOPS, NIGHT

LS OF THE CLEARING AND FIRE.

A small clearing along a trail running past a thick forest finds Z-MOUSE and THE GHOSTLY sitting around a campfire. Sparks rise off as the logs in the fire loudly POP AND SIZZLE.

MS OF Z-MOUSE AND THE GHOSTLY

Z-MOUSE
(to the Ghostly) “You think he’s okay.”

The Ghostly shrugs in response to Z-Mouse’s question. Z-Mouse sighs softly and then reaches for some supplies on the ground next to him. He pulls up a bag of chocolate bars, graham crackers, and marshmallows. FINGERS SNAPPING can be heard very softly in the background. He reaches down again and pulls up a stick to roast marshmallows. FINGERS SNAPPING returns only louder.

Z-MOUSE
“You hear that?”

THE GHOSTLY
(while pulling out her stick for roasting marshmallows) “Hear what?”

Z-MOUSE
“Like crickets or cicadas. Yeah cicadas. Do you have those here?”

THE GHOSTLY
“No. Maybe it’s something going on back at your physical body.”

Z-MOUSE
“Physical body?”

Realization dawns on Z-Mouse

Z-MOUSE
“Oh yeah, I am asleep right now. Funny how I forgot I was dreaming.”

Z-Mouse disappears with a POP. Small Dream-bubbles which quickly fade away are left behind in his space.The stick and bag he was holding hover in the air for a moment then drop to the ground. The Ghostly scoots over and picks up the bag. She places a marshmallow on her stick and begins to roast it in the fire.

ZOOM IN ON THE FLAMES. IN THE BRIGHTNESS DISSOLVE TO THE NEXT SHOT.

TRANSITION FROM THE HILLTOPS TO THE WRITER’S ROOM

INT. THE WRITER’S ROOM, NIGHTTIME

At a long conference table in a conference room, Z-MOUSE is asleep at the table.

FADE IN TO A CS OF Z-MOUSE’S FACE.

A set of fingers are SNAPPING in front of Z-Mouse’s face. Z-Mouse’s eyes start to slowly open.

PAN OUT

Y-MOUSE is snapping his fingers in front of Z-Mouse’s face. The Writer’s Room is nearly empty with just Y-Mouse and Z-Mouse at the long table. X-Mouse and C-Mouse , the only other people in the room, are exiting through the doors.

Y-MOUSE
“Wakey wakey. The meeting is over.”

Z-Mouse rouses himself up.

Z-MOUSE
“Did I miss anything?”

Y-MOUSE
“No. Not really. We’re still stuck on the scripts. Finally, I had to end the meeting because we were getting nowhere. Plus, I have to be somewhere in an hour.”

Z-MOUSE
“At least nowhere is somewhere.”

Y-MOUSE
“You would say that wouldn’t you.”

Y-Mouse starts to walk to the door and Z-Mouse follows. Since he is not sleeping, his cloud chair dissolves as he stands.

Z-MOUSE
“I was having the most wonderful dream.”

Z-Mouse is outside the door with Y-Mouse just inside.

Y-MOUSE
“Oh, really. Why don’t you tell me as we walk.”

Y-Mouse turns of the lights with a SNAP. The sound of fingers snapping can be heard very very faintly in the background. The entire frame has gone black except for the light in the open door. The silhouettes of Y-Mouse can be seen walking through the door and closing it.

Z-MOUSE
“So I was roasting marshmallows and he came out. Looked like he was dreaming too.”

Y-MOUSE
“You don’t say.”

Y-Mouse fully shuts the door and the screen goes black.

TRANSITION FROM THE WRITER’S ROOM TO MID-STAGE

MID-STAGE: INT. PENCIL CHICKS STUDIO, AFTERNOON

THOMAS TYPEWRITER is asleep at a long desk, using his arms as a pillow.

CS OF THOMAS TYPEWRITER’S FACE. OPHIDIA’S SNAPPING FINGERS ARE ALSO JUST IN THE FRAME.

OPHIDIA OPERAHOUSE SNAPS her fingers in an attempt to gently wake up Thomas.

OPHIDIA OPERAHOUSE
“Thomas. Thomas. Time to wake up.”

Thomas’ eyes crack open.

CUT TO FRAMING SHOT OF MID-STAGE

Thomas raises his head and shifts himself awake in small movements across his body and face.

THOMAS TYPEWRITER
“What time is it?”

OPHIDIA OPERAHOUSE
“Time to celebrate.”

THOMAS TYPEWRITER
(low-energy delivery) “Whoo. Celebration.”

Thomas starts moving his shoulders and arms in a poor imitation of dancing.

OPHIDIA OPERAHOUSE
“You’re hilarious when you wake up.”

THOMAS TYPEWRITER
“Was I talking in my sleep again?”

OPHIDIA OPERAHOUSE
“Not sure. Maybe a little.”

THOMAS TYPEWRITER
“Oh. (pauses) So what are we celebrating?”

OPHIDIA OPERAHOUSE
“Only this!”

She holds up an animation cell pencil sketch while Thomas yawns and stretches. He then looks closer at the animation cell Ophidia is holding.

THOMAS TYPEWRITER
“And what am I looking at?”

OPHIDIA OPERAHOUSE
“It is the last cell.”

THOMAS TYPEWRITER
“The last cell?”

OPHIDIA OPERAHOUSE
“The last one! I am all done with the pencil stage.”

THOMAS TYPEWRITER
“That is a cause for celebration.”

Ophidia starts to dance in joy. Thomas stands and joins her. She dances over to the animation desk and puts the last cell on the stack with the others. Thomas opens his arms and she spins to him. They join arms and start into a waltz. As they move towards the exit, Ophidia steps on Thomas’s foot. He winces.

OPHIDIA OPERAHOUSE
“Sorry.”

THOMAS TYPEWRITER
“No, it is okay. Even roses have thorns.”

They dance out exiting stage-left. The Stage-lights turn off to the sound of a light-switch clicking off. The Mid-stage curtains close.

FADE OUT.

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