Puppet play

“The Great Works Project: Season Six, Episode Eleven” by Thomas Typewriter

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 11

by Thomas Typewriter

(c) 2025 jason arcand

———–<:type:>———–

FADE IN


From the center of a blank screen scrolls upward rapidly the following text: “06-11”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.


FADE OUT


The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the darkness.


FADE IN


INT. THE HILLTOPS, EVENING
A rounded hill of scrubland stands at the juncture or overlap of vast rolling sand dunes of white, brown, and gold sand meeting a large primeval forest dotted with swaths of prairie flowers. A walking path runs across the Hilltops. Near the center of the Hilltops, just next to the path is a tall post made of irregular length boards roughly nailed together. Hanging from the top of the signpost is an elaborate stained glass lamp, currently lit, suspended on an intricate golden chain. Numerous vines of morning glories, runner beans, and trumpet vines grow up the post. A little further down the path from the signpost sits THOMAS TYPEWRITER, Z-MOUSE, and The GHOSTLY around a camp fire. All of them are eating pizza and drinking soda.
LS OF THOMAS, Z-MOUSE, AND GHOSTLY

Z-MOUSE
(to Thomas) “So what brings you around Thomas.”

THOMAS TYPEWRITER
“I was working for Ophidia, and needed a break.”

CUT TO MS OF THOMAS AND Z-MOUSE

Z-MOUSE
“How’s that going?”

THOMAS TYPEWRITER
“Good.”

CUT TO CS OF THE GHOSTLY

THE GHOSTLY
“Who’s Ophidia?”

CUT TO CS OF THOMAS

THOMAS TYPEWRITER
“An animator and also my fiance.”

CUT TO CS OF GHOSTLY

THE GHOSTLY
“Oh. Congratulations.”

CUT TO MS OF THOMAS, Z-MOUSE, AND GHOSTLY

THOMAS TYPEWRITER
“Thank you. So I was working for Ophidia and it was just so boring. I don’t know how she can stand it but animating is not for me. The inside of my head was just screaming louder and louder. I needed a break. Closed my eyes and turned inwards. ”

Z-MOUSE
“I must admit I am surprised to see you here.”

THOMAS TYPEWRITER
“Yeah, me too. I really thought I was going to end up in the Writer’s Room. Speaking of the Writer’s Room, how is it going? Any progress?”


Z-Mouse shakes his head.

THOMAS TYPEWRITER
“Oh well. How about you? Why aren’t you at the meeting.”


Z-MOUSE
“The dreams were pulling me too strongly to stay awake. Next thing I know I am here.”

THOMAS TYPEWRITER
“And where is here exactly?”


THE GHOSTLY
“This is the Hilltop. The spot where the Sands and the Valleys overlap. All travelers having survived thirst or flood find themselves here before moving onto the Fields.”

Z-MOUSE
“Hilltop? That’s the name of this place?”

THE GHOSTLY
“Truly.”

Z-MOUSE
“That makes your whole speech make more sense.”

THOMAS TYPEWRITER
“So this is like a warning speech?”

Z-MOUSE
“Oh yeah, the Ghostly haunts this trail.”

THE GHOSTLY
“Truly, it is my burden to warn all travelers of the choices they must make when they venture beyond to the Fields.”

Z-MOUSE
“She appears to every traveler and delivers this light show and monologue. A real production. It is really quite a show. You should see it.”

THOMAS TYPEWRITER
“Could I?”

CUT TO CS OF GHOSTLY

THE GHOSTLY
“I don’t know. It’s embarrassing and I’d rather not. I’m enjoying this. Just eating some pizza and hanging out. I don’t get to do this kind of thing very often.”

CUT TO MS OF THOMAS AND Z-MOUSE

THOMAS TYPEWRITER
“Oh please.”

Z-MOUSE
“Don’t be embarrassed.”

THOMAS TYPEWRITER
“Pretty please.”

Z_MOUSE
“Pretty please with a cherry on top.”

THOMAS TYPEWRITER
“Yes, cherry on top. And I promise, we’ll do more eating pizza and shooting the breeze.”

CUT TO CS OF THE GHOSTLY

THE GHOSTLY
“Okay, I’ll do it.”

CUT TO MS OF THOMAS, Z-MOUSE AND THE GHOSTLY

Thomas and Z-Mouse cheer.

THE GHOSTLY
“Give me a moment to prepare.”

The Ghostly stands and fades out of view, disappears.

Z-MOUSE
(to Thomas) “You’re going to really like this.”

THOMAS TYPEWRITER
“I hope so.”

TRANSITION FROM THE HILLTOPS TO THE TYPEWRITER ABSTRACT PUPPET STAGE HIGH-STAGE
THE CAMERA PANS UPWARD TO THE STARS MOVING ON TO THE DARKNESS OF SPACE.
DISSOLVE FROM THE DARKNESS OF SPACE TO THE HIGH-STAGE CURTAINS

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


HIGH-STAGE: EXT. THE DOOR TO PANACEA’S OFFICE IN THE FLUTE MEDICALSHIP, EVENING
A long hallway spreads across the stage. The back of the stage is a metal wall, painted a light matte cream color. Horizontal stripes of yellow, blue and brown run the length of the wall. The yellow stripe runs across the center to a door in the center of the stage. The stripe of yellow follows the doorframe creating an effect of ringing the door.


PANACEA FLAUTO
(voice-over) “Medi-pod: Journal entry starting now. We have finished our examination and initial treatment of the two youths brought to us by the Count. They do show signs of injury consistent to previous cases of decompression and exposure to vacuum but not to the severity that they should have. Additionally they exhibit burns consistent to exposure to high energy. Possibility due to the proximity to the Ir-Ra and its corona.”


CEDAR WAXWINGS, in a Medi-pod rolls in from stage-left. In one hand he is holding a bag of food. He approaches the door and knocks on it.


PANACEA FLAUTO
(voice-over) “The fact that these kids even survived out there was remarkable. What were they doing out there? How did they end up in that Sat-bot? Did somebody save them, and if yes, who?”


Cedar Waxwings extends his arm and knocks a second time.


PANACEA FLAUTO
“Getting sidetracked here. Okay, medical journal. Alright where was I. Burns, right. Besides the previous symptoms they also exhibited minor abrasions and are currently unconscious. Their condition is not severe enough to warrant Medi-pods. (pauses) Medi-pods! Oh, what time is it!”


Cedar Waxwing knocks on the door a third time. He waits a few minutes and then knocks a fourth time. He waits a moment for a response and finally accepting no one is inside turns to leave. From off stage the sound of RUNNING FOOTSTEPS approaches. PANACEA FLAUTO runs in from stage-right.


PANACEA FLAUTO
“Wait!”


Cedar turns and waits for her. She runs over, places on hand on his Medi-pod for support and tries to catch her breath.


PANACEA FLAUTO
(severely winded) “Hate…running…so…much. Hey…Cedar…how…are…you?”


CEDAR WAXWINGS
“You okay.”


PANACEA FLAUTO
“Yeah, just winded.”


CEDAR WAXWINGS
“I brought you some dinner.”


PANACEA FLAUTO
“Thank you.”


CEDAR WAXWINGS
“Did you forget we were going to watch the next episode.”


PANACEA FLAUTO
“Honestly?”


CEDAR WAXWINGS
“Honestly.”


PANACEA FLAUTO
“Yes. Some new patients got admitted and I lost track of time.”


Cedar pulls out a container from his bag and hands it to Panacea.


CEDAR WAXWINGS
“So tell me about it.”


Panacea slides down to sit on the floor and opens the container. She takes a bite of salad.


PANACEA FLAUTO
“Oh, this is good.”


CEDAR WAXWINGS
“Thanks. You are always eating those salads with pine nuts, so I thought you might like this. You were saying new admits.”


PANACEA FLAUTO
“Yeah, so they found these two kids out in space.”


Cedar pulls out his food container from the bag.


CEDAR WAXWINGS
“Really?”


PANACEA FLAUTO
“Really.”


CEDAR WAXWINGS
“Then what?”


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


TRANSITION FROM HIGH-STAGE TO THE HILLTOP


DISSOLVE FROM THE HIGH-STAGE CURTAINS TO THE DARKNESS OF SPACE


THE CAMERA PANS DOWNWARD FROM THE DARKNESS OF SPACE ACROSS THE STARS IN THE SKY AND THEN DOWN TO THOMAS AND Z-MOUSE IN THE HILLTOPS


EXT. THE HILLTOP, EVENING.
MS OF THOMAS AND Z-MOUSE
THOMAS TYPEWRITER and Z-MOUSE sit around a log fire burning on the top of a hill. They fidget with anticipation. The fire POPS then briefly flares.


THE GHOSTLY
(off-camera) “Listen well traveler, for having made it this far you are now faced with a choice.”


The flame of the fire dies down, casting Thomas and Z-Mouse into shadow. From out of the frame, stage-right, comes a spectral glow. Thomas and Z-Mouse turn their heads to look at the source of the glow.


CUT TO LS OF THE GHOSTLY
The Ghostly has appeared, floating in the air off to the side of the fire. She glows with a bright spectral energy.

THE GHOSTLY
“For you have survived what the world has given you. You have moved and made distance. Where you started is no longer where you are. Now comes the point where you will reach a fork in the road and must choose a path. But be aware one path leads…”

The Ghostly’s glow dims a little bit.

CS OF THE GHOSTLY


THE GHOSTLY
(as an aside to Thomas Typewriter and Z-Mouse) “And that is where most everyone says ‘Oh, thank you’ and keeps walking on. But if they were to stick around this is how the rest of it would go.”


CUT BACK TO LS OF THE GHOSTLY


THE GHOSTLY
“But be aware that one path leads to Abundance while the other leads to Self-Absorbtion. I am not able to tell you which path is ultimately yours to travel. Nor am I allowed to tell you how to discern which path is which. The steps you have taken before, to get here have determined that. But you have a few more steps to take before choosing, so please listen to this tale of the city that let it’s story become part of your last few steps…last few steps and ….and…and I don’t remember the rest.”

The Ghostly’s glow dims and turns off.

THE GHOSTLY
“It has been centuries since I reached even this point and its all kind of fuzzy to me now.”

Z-MOUSE
“Good thing no one sticks around then.”

THE GHOSTLY
“I know, right.”

THOMAS TYPEWRITER
“Do you remember any of it?”


THE GHOSTLY
“Something about a great golden city in the past and elves. They did something or made some bad magic or talked to the dead and some got corrupted. They can’t get along and the city splits into two.”

Z-MOUSE
“Wow, I might of oversold this.”

THOMAS TYPEWRITER
“You think. Oh, well. A break is a break and I am not going to complain. I’ve got pizza, soda, friends, and the love of someone who sees me. Life is good.”

The Ghostly returns to her seat around the campfire and picks up another slice of pizza.

Z-MOUSE
“I’ll toast to that.”

Thomas, Z-Mouse, and the Ghostly each lift up a can of soda.

THOMAS TYPEWRITER
“Salute!”

Z-MOUSE AND THE GHOSTLY
“Salute!”


THOMAS TYPEWRITER
(to self) “La vita è breve, ma l’arte è lunga.”

They each drink from the soda can and start giggling.

FADE OUT

From the desk of Thomas Typewriter: The William Cell Overture …or… TGWP Season 3, Episode 13 script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 13

“The William Cell Overture”

By Thomas Typewriter

(c) 2021

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Once the first text exits the frame, the following text scrolls up from the bottom center of the screen: “The William Cell Overture”. It scrolls up to the top of the screen, pausing a moment in the center. The second text resumes scrolling exiting through the center top of the frame. From off-screen the sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE THEN PAN IN TOWARDS THE MID-STAGE AREA UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT, THE ELMHOUSE LIVING ROOM, DAYTIME.

A couch sits to the stage-left side of the stage, while a large flat-pack bookcase stands to the stage-right. Various toys and laundry are scattered about. THOMAS TYPEWRITER is pacing while talking on the phone. He maneuvers around unseen toys on the floor.

THOMAS TYPEWRITER
“So you’re all done. Great. What did the they say. Oh. Uh-huh. Wow. Well, we always suspected something was going on and now we know. I’ll be right over to pick you two up. See you soon. Love ya. Bye.”

Thomas hangs up. He puts the phone into his pocket.

TRANSITION FROM MID-STAGE TO SLIDING TUBE TRANSITION

CUT TO…

INT. THE SLIDING TUBE

The Sliding Tube is basically a tube or slide of some fashion that allows transition from the pants pocket to The Pocket Dimension.

CS OF BEGINNING OF THE SLIDING TUBE

At the beginning of the sliding tube, it looks like a regular pants pocket. From the top slides in the cell phone Thomas Typewriter was speaking on. Given Thomas’ finances at the time it is not a smartphone, but a more generic flip phone.

FOLLOW THE CELL PHONE AS IT SLIDES DOWN THE SLIDING TUBE

The cell phone slips out of the bottom of the pocket and slides through a tube of crinkled frame and blinking lights. Midway through the sliding, the cell phone goes through a series of unilluminated sections. As it passes through the darkness it changes from a regular phone to WILLIAM CELL. He reaches the bottom of the Sliding Tub and slides out.

CS AS WILLIAM CELL SLIDES OUT OF THE END OF THE TUBE AND OUT OF THE FRAME.
TRANSITION FROM THE SLIDING TUBE TO THE LOW-STAGE

CUT TO MS OF THE AREA BELOW THE MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.


The lower part of the Typewriter Abstract, the typewriter keys area, splits in the middle and opens up revealing a hidden stage. This is the LOW-STAGE. It takes up most of the area hidden behind the keys, but it does have a decorative side panel on each side of the stage, and under the front of the stage.

PAN INTO PROPERLY FRAMING THE LOW-STAGE.

LOW-STAGE: EXT. THE POCKET DIMENSION, DAYTIME

A flat grassy hill sits in front of a backdrop of rolling hills. The hills recede into the distance. The front of the stage is decorated with small wildflowers.

WILLIAM CELL falls in from the top of the stage. lands on a flat plain. He gets up, dusts himself off, and then starts to pace and think. He pushes one of his number buttons. It makes a BEEP. William shakes his head at it. He hits a different number, making a different beep. He nods approval. Tying different buttons, he begins composing his symphony.

SLOWLY PAN OUT SO AS THE LOW-STAGE AND MOST OF THE PANEL BENEATH ARE VISIBLE.

The UNDER-PANEL, or the panel under the Low-stage, opens revealing the ORANGE SCREAMER. It is a floating head against a dark background, illuminated by a green light.

ORANGE SCREAMER
“Chirp.”

The noise startles William Cell. He looks for the source of the noise but does not see anything. William shakes his head and goes back to composing.

ORANGE SCREAMER
“Chirp. Chirp.”

William twists looking for the source of the noise, losing his place again. A little more frustrated, he returns to composing the melody.

ORANGE SCREAMER
“Chirp. Chirp. Chirp.” (pauses then repeats)

William Cell lurches. In a fit he starts to jump and shout. He rips away at the plants. He rages.

WILLIAM CELL
“Shut up. Shut up! Shut up! Shut up!”

The Orange Screamer shrinks back at William’s outburst. It falls silent. William goes back to composing and pacing.

SLOWLY PAN OUT ENOUGH OUT TO ALLOW THE LOW-STAGE, THE UNDER-PANEL, AND THE LEFT-PANEL IN THE FRAME.

The LEFT-PANEL or the stage-left side panel of the Low-Stage, slides open revealing the GREEN SCREAMER. Another head floating in an empty space, only this one is illuminated by a green light.

GREEN SCREAMER
“Ring.”

William Cell glares stage-left.

ORANGE SCREAMER
(looking to at Green Screamer)”Shhh.”

The Green Screamer winks at the Orange Screamer. The Orange Screamer nods back.

GREEN SCREAMER
(softly)”Ring. Ring. Ring” (repeats)

ORANGE SCREAMER
(softly) “Chirp. Chirp. Chirp.” (repeats)

William stops pacing. His fingers hover over the keypad, waiting for the Screamers to stop. When they do not, he rubs the sides of his head, takes a couple deep breaths, then goes back to pacing and composing. Every time he walks to the left, the RIGHT LOW PANEL slides a little more open. Inside is the PURPLE SCREAMER watching him pace.

PURPLE SCREAMER
(Once the panel has fully receded) “Notification. Notification. Notification.”
William is startled. The Green and Orange Screamers, look towards the stage-right, excited to see the Purple Screamer.

ORANGE SCREAMER
(loudly) “Chirp. Chirp. Chirp…” (repeats)

GREEN SCREAMER
(loudly)”Ring. Ring. Ring…” (repeats)

PURPLE SCREAMER
(loudly) “Notification. Notification. Notification…” (repeats)

William puts his hands over his ears trying to block out the Screamers cacophony. He falls to his knees. Unable to take it anymore, he starts to pound on the keypad, hoping to drown out the din with his own bedlam of mangled notes.

WILLIAM CELL
“STOP IT! STOP IT! STOP IT!”

THE CAMERA PANS OUT,UNTIL MID-STAGE AND LOW-STAGE ARE IN THE FRAME.

Up in MID-STAGE…

MID-STAGE: INT. DOCTOR’S OFFICE WAITING ROOM, DAYTIME

A row of chairs sits in front of a sterile wall. A door stands at one end of the chairs, potted plants the other end. A table covered passes the time in front of the chairs. THOMAS TYPEWRITER sits calmly and patiently in a chair reading a magazine. A nervous jitter betrays his anxiety.

Meanwhile down in LOW-STAGE…

William continues blaring notes hoping to overcome the Screamers continued noises. The noise from LOW-STAGE fills the two stages, building to an uncomfortably loud level.

Meanwhile back up in MID-STAGE…

Thomas’ nervous jitter grows as the volume increases. When the sound reaches a crescendo, the Doctor’s office door opens. The CLICK OF THE DOORKNOB TURNING supersedes all other sounds.

Meanwhile down in LOW-STAGE…

The Screamers fall silent. All the PANELS start to slide shut as the light illuminating each Screamer dims. William stops as well, surprised by the silence. He looks around in surprise.

While at the same time up in MID-STAGE…

Thomas looks to the door. He sets down his magazine and stands. Out runs PRIMO TYPEWRITER-OPERAHOUSE, followed by OPHIDIA TYPEWRITER-OPERAHOUSE. Timbre runs over to hug Thomas. Ophidia gives each a kiss on the head. They start walking stage-right.

ZOOM BACK IN TILL FRAMING ONLY LOW-STAGE, NOT LOW-STAGE PLUS THE SIDE PANELS.

William looks around in disbelief. It is silent. It is peaceful. He stands. He tentatively plays a note on his keypad. It rings through the air and William smiles. He plays another note. Smiling, he returns to the peace of composition.

THE CAMERA SLOWLY PANS OUT FROM THE LOW-STAGE

The lower part of The Typewriter Abstract Puppet Stage that had parted to reveal the LOW-STAGE, slides back into place.

FADE OUT.

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 11

By Thomas Typewriter

(c) 2021

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-11”. 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. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE, TWIXLIGHT

CS OF A SCRIPTBOOK

We open on a page of the scriptbook currently being read by the Outer One from the previous episode. The pages are the blanks between episodes. Their hand of blue scrolling abstract text and glitches turns the page. The new page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those looking for their many parts.
Season 03, Episode 11
By Thomas Typewriter
(c) 20??
===========<:type:>===========

FADE OUT AS THE OUTER ONE’S GLITCHEY HAND TURNS THE PAGE.

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

In the darkness unseen lamps turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE hiding in the dark.

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights click on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

A simply decorated bathroom sits on the stage. On the stage-left side of the stage stands a large mirror and two sinks. In the center of the stage stand three urinals. Then on the Stage-right side of the stage stand four stalls with locking doors. THOMAS TYPEWRITER rushes in from stage-left, hurrying past the sinks and urinals to one of the stalls. His stomach RUMBLES and his pace quickens. Locking himself inside a stall, we can hear the explosive noise of his DIARRHEA.

TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA PANS UPWARD, UP ALONG THE MID-STAGE SETS, PAST THE SET TOPS AND UP ALONG THE CURTAIN OF CLOUDS. REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS, THE CAMERA SLOWS IT PAN. IT STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out steps Y-Mouse.

Y-MOUSE
“What vindications asks the interrupted idea, lost to its own agency, as it wanders across a nowhere.”

Y-Mouse exits and the Narrator’s Door closes behind him. There is a sound of A COMPUTER BOOTING UP then the curtains part revealing…

HIGH-STAGE: THE FAR EDGE OF THE FOREVERCAGE

The screen is an empty blankness, dark and static. From the stage-right side of the stage a scale model of THE SPACE EGG flies on-stage. It moves in such a way that it looks like it is flying but not really moving too far across the stage. From the stage-right side of the stage a scale model of THE WARDROBE OF A THOUSAND AND ONE COSTUMES slides into view. The Space Egg flies towards the Wardrobe of a Thousand and One Costumes. When it crosses the center-line of the High-stage, it rotates the front doors towards the stage front.

CUT TO CS TO THE BOTTOM OF THE WARDROBE’S DOORS, WHERE THEY MEET.

The two doors of the wardrobe dwarf the stage, extending out of the frame. On both doors, the bottom corner has worn away creating a gap. It is just large enough for the Space Egg to fly through. The Space Egg does just that and flies out of view into the Wardrobe of a Thousand and One Costumes. The The sound of A COMPUTER TURNING OFF rings out followed by the High-stage curtains closing.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN . IT CONTINUES DOWN AND DOWN. THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD ALONG THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT SCREEN 8 OF THE SILVER SCREEN, EVENING

OPHIDIA OPERAHOUSE is sitting in the dark watching the movie. The film’s MUFFLED SOUNDTRACK can be heard in the background. She is looking off-stage.

OPHIDIA OPERAHOUSE
“Where could he be?”

The Mid-stage curtains close then reopen revealing…

MID-STAGE: THE SOUTH MEN’S BATHROOM OF THE SILVER SCREEN THEATRE, LATE AFTERNOON

From one of the stalls we hear THOMAS TYPEWRITER MOAN as another bout of gastrointestinal distress shudders his body. The Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new TGWP script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 10

By Thomas Typewriter

(c) 2021

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward. It exits the frame at the top edge.

FADE OUT

FADE IN

EXT. THE UNDECORATED SPACE OUTSIDE UNROOM NOT.SEVEN

LS OF THE DOORWAY

A stark darkness broken by a free standing revolving door, lit by unseen lamps spreads out before us. The door bears a design of “.7” denoting it as the door to the unroom Not.Seven. Off to the sides, if we took the time to look, we could see the beginnings of trails made from variously sized sheets of grey paper and cardboard. THE OUTER ONE leans against the door frame of the freestanding door reading a scriptbook.

PAN TO MS OF OUTER ONE

CUT TO POV OF OUTER ONE, LOOKING AT THE SCRIPTBOOK

CUT TO CS OF THE PAGES

The Outer One has the scriptbook open to a cover page for one of the scripts. The page reads as follows:

———–<.thom.>———–
THE GREAT WORKS PROJECT
a puppet play for those in many parts
Season 03, Episode 10
By Thomas Typewriter
(c) 20XX
———–<:type:>———–

The page is turned by a hand with a flesh of scrolling abstract blue text.

TRANSITION FROM THE UNDECORATED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAGE WIPE TO

THE TYPEWRITER ABSTRACT PUPPET STAGE

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains open and the stage-lights turn on with sound of a A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

A long counter runs across the stage with six registers. Behind the registers hangs a large red LED sign listing all the showtimes.

The showtimes are as follows:

TUGBOAT (R) 4:00 7:00 9:50
Sat & Sum Matinee 1:00

THE ASSASSIN AND THE BUSINESSMAN (R) 3:45 6:45 9:30
Sat & Sun Matinee 12:45

COWBOYS IN LOVE (R) 5:00 8:00
Sat 4 Sun Matinee 1:45

HOODWINKED! (PG) 4:45 7:30 9:40
Sat & Sun Matinee 2:00

A HOLIDAY BEFORE I DIE (PG-13) 3:30 6:30 9:15
Sat & Sun Matinee 12:30

GRIZZLY GRUMPS (R) 4:15 7:15 10:00
Sat & Sun Matinee 1:30

2 MORE WEREWOLVES AND VAMPIRES (R) 5:15 7:45 10:15
Sat & Sun Matinee 2:15

MALICK’S FURTHER PROGRESSION (PG-13) 4:30 8:15
Sat & Sun Matinee 1:15

Two employees are stationed at the box office. At one end of the counter HARRY GRAPEFRUIT is busy reading Atlas Shrugged by Ayn Rand. At the other end of the counter TYLER TUX leans on the register looking out and daydreaming.
OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from Stage Left. They approach the box office and read the showtimes. Tyler and Harry turn to see them enter. Harry returns back to reading his book.

TYLER TUX
(to Harry) “Seriously.”

HARRY GRAPEFRUIT
(responding without looking away from book) “Greatness requires cultivation.”

Tyler stands at attention and greets Thomas and Ophidia.

TYLER TUX
“Thank you for coming out to the Silver Screens. What movie brings you out tonight?”

OPHIDIA OPERAHOUSE
“I don’t know were still deciding.”

TYLER TUX
“Take as much time as you need. Let me know when you’ve decided.”

Tyler leans back onto the monitor and zones out. Thomas and Ophidia discuss which movie to watch then return to Tyler. He stands at attention.

OPHIDIA OPERAHOUSE
“Hoodwinked.”

HARRY GRAPEFRUIT
(looks up from book) “Seriously? You should pick something else.”

Thomas gives Harry a sour look and Harry quickly returns to his book.

OPHIDIA OPERAHOUSE
“Should we not see it?”

THOMAS TYPEWRITER
“I am sure it’s fine. He didn’t mean anything. And, besides, you love animated films.”

OPHIDIA OPERAHOUSE
“I do love animated films.”

THOMAS TYPEWRITER
(to Ophidia) “See.” (to Tyler) “Two for Hoodwinked please.”

TYLER TUX
“Will you be paying separately or together.”

THOMAS TYPEWRITER
(stepping forward) “Together. It is our special night after all.”

TYLER TUX
“Oh, what is the special occasion.”

OPHIDIA OPERAHOUSE
“We’re getting married!”

THOMAS TYPEWRITER
“I proposed and she said yes.”

HARRY GRAPEFRUIT
(out loud, to no one in particular) “Half of all marriages end in divorce.”

TYLER TUX
“I apologize for him.”

Tyler looks left and right. He pulls out two Silver Screen $1 passes. He clips and puts them in the register.

TYLER TUX
“In honor of your special day, enjoy these dollar discount coupons. So that’ll be two dollars.”

TRANSITION FROM THE MID-STAGE TO THE MANAGER’S OFFICE

CUT TO…

INT. THE SILVER’S SCREEN MANAGER’S OFFICE

A small room paneled in wood grain wallpaper and movie posters, it is bisected by a desk and a large safe. TYLER TUX sits in a cracked chair while STEVEN KINGFISHER, the Silver Screen’s General Manager, sits behind the desk.

STEVEN KINGFISHER
“Tyler, you’re not a Manager. Stop handing out the discount passes.”

TYLER TUX
“Maybe if other employees did not say things that pissed off customers I wouldn’t have to.”

STEVEN KINGFISHER
“Again, you are not a Manager, so this is not your concern. Stop handing out passes.”


TRANSITION FROM THE MANAGER’S OFFICE TO THE MID-STAGE

CUT BACK TO…

MID-STAGE: INT. THE SILVER SCREENS BOX OFFICE. EARLY EVENING

THOMAS TYPEWRITER
“Wow thanks”

OPHIDIA OPERAHOUSE
“Yeah, thanks. That’s awesome”

Thomas pays the two dollars. Tyler prints up the tickets and hands them to Thomas.

TYLER TUX
“Hope you enjoy your movie.”

Thomas and Ophidia leave. Tyler watches them leave stage-right. Once they are gone he looks to Harry.

TYLER TUX
“Harry, why’d you bring up divorce? It freaked out that couple.”

HARRY GRAPEFRUIT
(not looking up from book) “If someone gets offended at what I say that is their problem.”

TYLER TUX
“But why say things that would hurt people. Did you see how happy they were until you said something. Like you could of literally not said anything and they would of been happy. Now they are less happy and by extension the world has a little less happiness in it.”

HARRY GRAPEFRUIT
“I reject your argument.”

TYLER TUX
“And I reject this job, this whole situation.”

Tyler moves around the counter. He takes off his name tag and sets it on the counter. He turns and starts to leave.

TYLER TUX
“Tyler’s out.”

HARRY ORANGEGROVE
“Send me a postcard from the unemployment line.”

Tyler flips off Harry and exits stage-left. Harry resumes reading.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD TO THE TOP OF THE CURTAIN OF CLOUDS WHERE THE HIGH-STAGE IS LOCATED. THE CAMERA SLOWS DOWN AND ULTIMATELY STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out emerges Y-Mouse.

Y-MOUSE
“What is the emptiness left by the end of a moment. Does the expired moment continue to speak to us in long paragraphs of grief. Hollow words spilling across the span of our lives.”

Y-Mouse turns and exits through the Narrator’s Door. The door closes. The High-stage curtains part. Once they have fully opened the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT

The void of space spreads across the stage. From below-stage up flies a scale model of the sparkship THE COUNT. It travels a diagonal arc exiting top-stage. The High-stage Curtains close then reopen revealing…

HIGH-STAGE: INT. THE COUNT’S CONTROL ROOM, NIGHT

A small pilot’s chamber, the Control Room has a large round center counsel with a row of gold accented vacuum-tube like lights on top. The side walls are made up of various monitors interspersed amongst stain glass windows. BARBARO BUFFO, a mostly bio-goblin and the sparkship’s sole staff member, sits in the pilot chair talking with the ship’s artificial intelligence COUNT. Each time Count speaks, the vacuum tube like lights flicker.

COUNT
“Update on the scans.”

BARBARO BUFFO
(leaning over and looking onto a view screen on the control panel)”The scans show no signs of the missing crafts or source of disturbances.”

COUNT
“Open a channel to that beautifull delight Musica?”

BARBARO BUFFO
“Are you just looking for an excuse to talk to her.”

COUNT
“To even hear a slip of syllable from her lips would be sublime. But to answer your question, yes. Yes I am.”

BARBARO BUFFO
“You’ve got it bad old friend.”

COUNT
“Do I ever.”

BARBARO BUFFO
“Who am I to deny true love.” (flips some switches) “Opening a secure channel now.”

CLICK-CLICK rings out from the speakers in the console.

MUSICA
(voice over speaker) “Hello darling.”

COUNT
“Hello to you too my queen, my angel, my vision.”

MUSICA
(giggles) “Is Barbaro there with you.”

BARBARO BUFFO
“Yeah, I’m here. Hi.”

MUSICA
“I think he’d appreciate if we saved the sweet talk for when we are alone. Now I am sure you didn’t call to just flatter me.”

BARBARO BUFFO
“We’ve finished searching sector 8, and are about to move onto sector 7. No sign of the lost astronaut.”

MUSICA
(voice-over) “And what about the storm.”

BARBARO BUFFO
“No source for that yet either. There might be something closer to the IR-RA. We need to move closer. Permission to head to sector 6 once we finish sweeping sector 7.”

MUSICA
“Granted.”

BARBARO BUFFO
“Understood and over.”

COUNT
“Goodbye Musica.”

MUSICA
“Bye sweetheart. Be safe.”

BARBARO BUFFO
“Aww…thank you.”

MUSICA
“I was talking to Counter, but you be safe too.”

BARBARO BUFFO
“Channel closed. Communication ended.”(flips the communication switches back) “Look at you, getting pretty cosy with the boss.”

COUNT
“Well…”

BARBARO BUFFO
“Transitioning from sector 8 to sector 7.”

Barbaro reaches over and starts to type in the new navigation coordinates. The control room shakes as the sparkship changes direction.

COUNT
“When we get back, where should I take Musica on a date.”

BARBARO BUFFO
“I thought you weren’t dating.”

COUNT
“Currently it’s a long distance thing, but I want more than that. I want to find out if we can be something more.”

BARBARO BUFFO
“You mean a short distance relationship.”

COUNT
“Is that even a term?”

BARBARO BUFFO
“No.”

COUNT
“But yeah, exactly. I get so excited to see her, but I’m also so nervous…it means a lot to me and I want somewhere special to take her.”

BARBARO BUFFO
“Well you could catch a show over at the Fore-thought or the Hind-sight. There’s also one of the Halls. My cousin took a tour of the Hall of Roses and said it was real nice.”

A proximity alarm goes off. BLEEP…BLEEP…BLEEP…BLEEP. One of the monitors, with a radar screen like set-up, shows a small object ahead of The Count.

COUNT
“What is that?”

The High-stage curtains close and then reopen revealing…

HIGH-STAGE: EXT. OUTER SPACE, NIGHT
The model of The Count enters stage-left and flies stage-right towards a small glittering SPACE OBJECT. It is a diamond shaped object warped and burned. The cargo bay doors open and it scoops up the space object. It then flies off, exiting stage-right. The High-stage’s stage-lights turn off with the sound of A COMPUTER TURNING OFF. The the High-stage’s curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD, FOLLOWING THE CURTAIN OF CLOUDS TO THE MID-STAGE SETS. IT MOVES OVER THE TOPS OF THE SETS DOWN TO THE MID-STAGE.

MID-STAGE: INT. SCREEN 8 OF THE SILVER SCREEN, LATE AFTERNOON
Three rows of stadium style movie theatre chairs run across the stage. A yellow safety bar can be seen along the bottom of the stage preventing anyone in the bottom row from falling off the stadium seat risers. Stairs can be seen off to stage-left. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-left. He is carrying a large soda and a large popcorn. She is carrying a box of TIGER TOPS candy and some napkins. They climb the stairs up to the second row and sit towards the middle.

THOMAS TYPEWRITER
(Looking around) “Those guys were not kidding. We are the only ones here.”

OPHIDIA OPERAHOUSE
“Maybe they were right and this movie sucks. Should we go see something else?”

THOMAS TYPEWRITER
“No, it’ll be fine. Your here, I am here, and we’re together. That is all that really matters. Together we’ll find the best tomorrow.”

OPHIDIA OPERAHOUSE
“You are so corny.”

THOMAS TYPEWRITER
“That’s why you love me.”

OPHIDIA OPERAHOUSE
“Among other reasons.”

Thomas leans over and kisses Ophidia on the cheek. She smiles. The stage-lights dim as we hear CLICK CLICK CLICK of a 35mm film projector starting up.

OPHIDIA OPERAHOUSE
“Ohh…the film is starting.”

THOMAS TYPEWRITER
“Awesome.” (puts the drink in the cup holder then uses his free hand to grab hold of Ophidia’s hand.)

While watching the coming attractions Thomas’ STOMACH RUMBLES. The sound of it overwhelms the MUFFLED AUDIO OF THE COMING ATTRACTIONS. Thomas puts a hand on his stomach to quiet it. It rumbles again. He looks down at his stomach in alarm. Ophidia even steals a side glance in concern.

OPHIDIA OPERAHOUSE
“Are you okay?”

THOMAS TYPEWRITER
(panicked look on face) “I’ve go to go.”

Thomas hands the popcorn to Ophidia and exits down the stairs and off stage stage-left. She watches him leave, looks off-stage for a moment in concern, then turns back to the screen.

OPHIDIA OPERAHOUSE
(to self) “I hope he’s alright.”

The Mid-stage stage-lights shut off with the sound of A LIGHT SWITCH CLICKING OFF and the curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 9

By Thomas Typewriter

(c) 2021

===========<:type:>===========

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-09”. 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

INT. UNROOM NOT.SEVEN, TWIXTLIGHT

CS OF THE MID-STAGE CURTAINS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The TYPEWRITER ABSTRACT PUPPET STAGE sits on a wooden disc in the possible center of the room of an indeterminable size. Radiating out from the disc are a series of semicircular rows of grey hued carpet squares. The carpet squares are set up as if chairs in an auditorium. The entire area is softly illuminated by tall spindly metallic lamps at the ends of rows. The lamp’s power cords snake off, trailing out of sight. On one of the grey carpet squares, THE OUTER ONE patiently sits watching the Typewriter Abstract Puppet Stage.

PAN DOWNWARD AS THE CAMERA SUBTLY SHIFTS FROM CLOSE-SHOT TO POV OF THE OUTER ONE.

The Outer One looks at the scriptbook on the floor next to them. The cover reads as follows:

THE GREAT WORKS PROJECT
a puppet play in many parts
THE COMPLETE SERIES
BY THOMAS TYPEWRITER

The Outer One’s injury has spread across the whole hand. From fingertip to wrist flesh is replaced by scrolling blue abstract text and a glitching outline. Just below the wrist a series of red icons orbit the flesh as a warning that the injury is spreading. A soft BEEPING drifts from somewhere on the Outer One. SCRAPING FOOTSTEPS from off-screen move towards the Outer One.

CAMERA TILTS UP.

Two PRECEDURES with their long mask-like faces emerging from long trailing cloaks, stand before the Outer One. They, in unison, raise up a gloved hand. The pair then point to it with their other hand and then point at the Outer One. Both shake their heads and wiggle their fingers NO.

THE ENTIRE FRAME SHIFTS AS THE OUTER ONE IS FLUNG BACKWARDS BY AN INVISIBLE FORCE AT AN ACCELERATED PACE OUT OF UNROOM NOT.SEVEN.

EXT. UNROOM NOT.SEVEN, TWIXTLIGHT

The Outer One lands in the darkness outside the unroom flung out the free-standing revolving door. The script flies out of door landing on the ground next to the Outer One. Unseen lamps illuminate the area.

THE CAMERA, THE POV OF THE OUTER ONE, STANDS AND WALKS OVER TO THE DOOR

The Outer One pushes on the doors attempting to re-enter the Unroom. They do not budge.

POV ROTATES

In the distance can be seen a small bridge illuminated by an unseen lamp. Nearer sits the scriptbook on the ground, pages splayed open.

POV WALKING OVER TO THE SCRIPTBOOK.


A hand reaches out. Their fingers of blue scrolling text pick up the scriptbook.

POV ROTATES AND WALKS BACK TO THE LOCKED DOOR.

Gently the Outer One sits down. They open the scriptbook which reads:

“CUT TO
MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA
Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER, with a look that says really sorry about your hand but don’t give up cause I’m rooting for you, and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.”

TRANSITION FROM SCRIPTBOOK TO MID-STAGE

CUT TO…

MID-STAGE: INT. SKOLNICK’S ICE SCREAM DELI DINING AREA, DAYTIME

FRAMING SHOT OF MID-STAGE

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second is empty. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter carrying a tray with their orders. They sit at the center table. As they sit, Ophidia takes a small nibble while Thomas hands out some napkins. She takes one and dabs at the side of her face.

OPERAHOUSE
“Thanks.”

Thomas closes his eyes, clasps his hands and starts to prey. Ophidia joins in.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP PAST THE TOP OF THE MID-STAGE SETS BRINGING THE STAGE’S BACKDROP, THE CURTAIN OF CLOUDS, INTO VIEW. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS. IT FINALLY STOPS AT THE HIGH-STAGE NEAR THE TOP OF THE CURTAIN OF CLOUDS.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Y-Mouse steps out.

Y-MOUSE
“How injurious a moment of distraction, unable to see the overlapping orbits of past, present, and future.”

Y-Mouse turns and leaves. The Narrator’s Door closes. The curtains of High-stage start to open. Once fully parted the stage lights turn on with a noise like A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. ROOM 302 ON THE MEDICALSHIP THE FLUTE, DAYTIME.

A room of space age smoothness and plastic accentuated with baroque style trim work is divided into three sections by three Medi-pods. Each ovoid device is person size with three red blinking lights on the top, three circular ports around the middle and three wheels on the bottom. To the stage-left side sits a large curved window. The starscape outside The Flute can be seen outside. A small spaceship flies across the window. In-between the first Medi-pod and second is the bathroom door, while between the second and third is the main door. On the stage-right side a Vid-screen wall curves across. The red blinking lights on top of the Medi-pods turn green one at a time. Each color change is accompanied by a BEEP noise.


LUCIDO OBSIDIAN
(mildly electronically distorted voice)”Where am I?”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM FRAMING HIGH-STAGE TO FRAMING MID-STAGE, MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY RESTING WHEN MID-STAGE IS FRAMED REVEALING….

MID-STAGE: INT. SKOLNICK’S ICE CREAM DELI DINING AREA DAYTIME

Three tables sit around the stage: one stage-right, one center-stage, and the last stage-left. The Skolnick’s Ice Scream Deli logo can be seen on the back wall along with various posters of stills from black and white horror movies. Each poster has been altered so that the monster has one of Skolnick’s ice cream sandwiches in his hand. Garlands of black bats and snowflakes drape across the room.
At the first table sits SKOLNIC’S CUSTOMER #12 eating his lunch. The second finds THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE. At the third table sits SKOLNIC’S CUSTOMER #33 eating her lunch.

OPHIDIA OPERAHOUSE
“Can I ask you something? Maybe you don’t want to talk about it.”

THOMAS TYPEWRITER
“No. What is it? Go on.”

OPHIDIA OPERAHOUSE
“Well, when you proposed you said you had no job, all your scripts had their options let run out.”

THOMAS TYPEWRITER
“Yes. And I don’t have any new scripts. I am stuck.”

OPHIDIA OPERAHOUSE
“Well, I was thinking that I could use some help on my short and I have extra grant money, so I could hire you. Would you come work for me.”

THOMAS TYPEWRITER
“I don’t know. I kind of like doing my own thing.”

OPHIDIA OPERAHOUSE
“You don’t have to answer me now. Think it over for and let me know.”

THOMAS TYPEWRITER
“Okay. I can at least think about it.”

Ophidia stands up and gathers her tray.

OPHIDIA OPERAHOUSE
(bumping Thomas with her hip)”Come on it’ll be fun. You done with your food.”

THOMAS TYPEWRITER
“Yes.”

OPHIDIA OPERAHOUSE
“Let me take your trash away.”

THOMAS TYPEWRITER
“Sure, thanks.”

Ophidia leans in and kisses him on his cheek. He touches his face where she kissed him and smiles. Ophidia walks to the trashcan off-screen stage-left. Thomas watches her walk away smiling. Then there is a loud STOMACH GURGLE and he grips his stomach. An alarmed look spreads across his face. Ophidia reenters and Thomas hides his alarm with a face smiling and bright.

OPHIDIA OPERAHOUSE
“Ready to see a movie”

Thomas nods his head yes. They both stand and exit stage-right. The lights click off with a sound of A LIGHT SWITCH BEING CLICKED OFF. The curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new “The Great Works Project” script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 8

By Thomas Typewriter

(c) 2021

===========<:type:>===========

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-08”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. THE UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE

A large cavernous room of indeterminate volume, the Unroom Not.Seven bears few decorations. In the possible center of the unroom sits a wooden disc. Surrounding the wooden disc on one side, like radiating waves, are rows of grey hued carpet squares. A faint light radiates from spindly metallic lamps at the ends of each row. On one of the carpet squares THE OUTER ONE sits looking at the floor.

OPEN ON POV OF THE OUTER ONE

The Outer One is stacking golden coins in various arraignments, seeing the different patterns that emerge. As they move the coins, the injury on their right hand is visible. The flesh of the fingers and a portion of the knuckles have been replaced with a bluish glow. The glow is filled with scrolling abstract text in a different hue of blue. The injury does not impair the Outer One’s ability to use the hand. From off-camera the sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

POV OF THE OUTER ONE LOOKING UP FROM THE FLOOR TO LOOK AT THE WOODEN DISC.

In the center of the wooden disc, and facing towards the Outer One, sits THE TYPEWRITER ABSTRACT PUPPET STAGE. Unseen lamps above it slowly turn on.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtain starts to open as the camera pans in.

TRANSITION FROM THE UNROOM TO THE HIGH-STAGE

PAN IN TOWARDS THE HIGH-STAGE AREA OF, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CLOSED CURTAINS

The High-stage curtains part revealing…

HIGH-STAGE: EXT. THE FOREVERCAGE

A vast field of nothingness empty and frozen, the Forevercage spreads in all directions. A small sparkle, THE SPACE EGG, glints stage-left.

CUT TO LONG SHOT OF THE SPARKLE

The Space Egg slowly spins in the distance as it drifts across the Forevercage.

THE INNER-SPACE MAN
(barely audible from off-screen) “…1, 098, 896…”

CUT TO MEDIUM SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE FRAME.

THE INNER SPACE-MAN
(faintly from off-screen) “…1, 098, 897…”

Now that we are closer, we see the middle band on the Space Egg briefly HUM and light up.

CUT TO CLOSE SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 898…”

The mid-band of the Space Egg briefly lights up while also emitting a soft HUM. It drifts off screen stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS, ALONG THE CURTAIN TO THE TOPS OF THE MID-STAGE SETS, OVER THE TOPS AND DOWN TILL FRAMING THE MID-STAGE.

MID-STAGE: INT. SKOLNIC’S ICE CREAM DELI’S FRONT COUNTER, DAYTIME

A counter, for ordering, stands on stage-left while a series of ropes and standards, for customers waiting to order, stretches across the width of the stage. An “ORDER HERE” sign over the counter while a “ENTER HERE TO ORDER” sign hangs at the end of the customer queue. Menu boards hang behind the ordering counter. ABELARD ABLE stands behind the counter ready to take orders. Five customers currently stand in line waiting their turn to order.

ABELARD ABLE
“Next.”

The first person in line, SKOLNIC’S CUSTOMER #1, approaches the counter. Everyone else moves forward. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-right and stand at the end of the queue.

SKOLNIC’S CUSTOMER #1
“Could I have a Reuben on Waffle Cookies with a small Cesar Salad Shake.”

Abelard punches in the order.

ABELARD ABLE
“That’ll be $6.98”

He pays. Abelard hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8896. Pick it up at the other counter. Next.”

Skolnic’s Customer #1 exits Stage-left. SKOLNIC’s CUSTOMER #2 walks up to the counter. All the other customers in the queue move forward. From stage-right enters SKOLNIC’s CUSTOMER #7. She enters the queue behind Thomas Typewriter and Ophidia Operahouse.

SKOLNIC’S CUSTOMER #2
“A Monte Cristo on sugar cookies, with a scoop of ranch on the side please.”

ABELARD ABLE
“That’ll be $4.76”

Skolnic’s Customer #2 pays and Abelard hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8897. Pick it up at the other counter. Next.”

Skolnic’s Customer #2 exits stage-left. SKOLNIC’S CUSTOMER #3 walks up to the counter. Everyone in the queue moves forward. From stage-right enters SKOLNIC’S CUSTOMER #8 and enters the end of the queue.

SKOLNIC’S CUSTOMER #3
“Could I have a Ceasar Salad Shake and a Chicken Noodle Sunday.”

ABELARD ABLE
“That’ll be $7.12.”

He pays Abelard, who then hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8898. Your order will be ready at the other counter. Next.”

Skolnic’s Customer #3 exits stage-left. SKOLNIC’s CUSTOMER #4 walks up to the counter. The rest of the customers in the queue step forward. SKOLNIC’S CUSTOMER #9 enters from stage-right and stands behind Skolnic’s Customer #8 in the queue.

SKOLNIC’S CUSTOMER #4
“Do you still have Bacon Cheeseburgers?”

ABELARD ABLE
“Yes.”

SKOLNIC’S CUSTOMER #4
“Good. I’ll take that on a Chocolate Chip cookie with a large Beet Salad Shake.”

ABELARD ABLE
“That will be $8.02”

SKOLNIC’S CUSTOMER #4
“Here you go.”

She pays Abelard. He hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8899 and will be ready at the other counter.”

SKOLNIC’S CUSTOMER #4
“Thanks. Have a great day.”

ABELARD ABLE
“You too. I can help who’s next.”

Skolnic’s Customer #4 exits stage-left. SKOLNIC’S CUSTOMER #5 walks up to the counter. Everyone in the queue moves forward. SKOLNIC’S CUSTOMER #10 enters from stage-right and stands at the back of the queue.

ABELARD ABLE
“Hi.”

SKOLNIC’S CUSTOMER #5
“Hi. Could I have a Lobster Bisque Sunday with a large Oyster Cracker Cookie.”

ABELARD ABLE
“Sure. That’ll be $7.78”

He pays. Abelard hands him a receipt

ABELARD ABLE
“Here is your receipt. Your order number is 8900. You can pick it up at the other counter. Next.”

Skolnic’s Customer #5 exits stage-right. Thomas Typewriter and Ophidia Operahouse step forward to the counter. Everyone in the queue behind them moves forward. SKOLNIC’S CUSTOMER #11 enters from stage-left and stands at the end of the queue.

ABELARD ABLE
“What can I get you today?”

THOMAS TYPEWRITER
“Oh, thank you. Let’s see. I’ll have the Gyro on a Waffle with a Garden Salad Shake, please.”

OPHIDIA OPERAHOUSE
“And, I’ll have an Italian Beef on Wafer Cookies with a small Cracker Cookie.”

ABELARD ABLE
“No problem, and thanks for visiting today. Will you be paying separately or together?”
Ophidia and Thomas look at each other in surprise and shrug.

THOMAS TYPEWRITER
“Together. I’ll pay.”

OPHIDIA OPERAHOUSE
“Okay, but I get the movie tickets to even it out.”

THOMAS TYPEWRITER
“(looking at Ophidia) Deal. (turns to Abelard) Sorry, how much was it?”

ABELARD ABLE
“No problem. $17.54 is the total.”

Thomas Typewriter pays. Abelard hands him a receipt.

ABELARD ABLE
“Okay, so here is your receipt. Your order number is 8901 and will be ready at the the other counter. Next.”

Thomas Typewriter and Ophidia Operahouse exit stage-left.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, UP OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT THE TOP. THE CAMERA SLOWS AND STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE FOREVERCAGE

The static void of the Forevercage spills across the screen. A few moments pass before the Inner-Space Egg enters from screen-right.

PAN IN UNTIL THE EDGES OF THE HIGH-STAGE ARE NOT-VISIBLE. THE BLACKNESS OF THE FOREVERCAGE SHOULD FILL THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 899…”

There is a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 900…”

Again a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 901…”

This time the HUM noise is loud and long as the entire middle band and eye-ring of the Space Egg light up. It stops drifting and comes to a halt. We can hear MORE BUTTON PUSHING and SYSTEMS POWERING UP.

THE SPACE EGG
“Finally.”

THE INNER-SPACE MAN
(off-screen) “Tell me about it.”

THE SPACE EGG
“So what now.”

THE INNER-SPACE MAN
“We see if forever has an end.”

The Space Egg flies off exiting stage-right. The High-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 07

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK


From the bottom center of the screen, the following text scrolls upward: “03-07”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

THE CAMERA, CURRENTLY THE POV OF THE OUTER ONE, LOOKS TOWARDS THE WOODEN DISC.

In a room of undiscernible size, THE OUTER ONE sits on a one of many grey squares of carpet arraigned around a wooden disc. The disc currently stands empty. Some of the spindly metallic lamps at the ends of the carpet rows cast a faint light on the wooden disc.

POV OF OUTER ONE AS THEY BRING UP THEIR HANDS.

A right hand comes into view, the flesh of its fingers and thumbs replaced by scrolling lines of blue abstract text. The Other One’s left hand comes into view. It rubs the right hand as if in pain. After a few moments, the sound of TYPEWRITER KEYS CLICK CLACKING sounds out from the wooden disc.

POV OF OUTER ONE SHIFTING GAZE FROM HANDS TO THE WOODEN STAGE.

Unseen lamps over the wooden disc turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE instantly materializes.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE POV PANS INWARD TOWARDS THE MID-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE MID-STAGE

THE CAMERA PANS INWARD TOWARDS THE MID-STAGE UNTIL PROPERLY FRAMING IT.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with the CLICK OF A LIGHT SWITCH, revealing…

MID-STAGE: INT. THE MANY FACETS JEWELRY STORE SHOWROOM, DAYTIME

EXTREME CS OF A SPINNING DIAMOND

A giant spinning diamond fills the frame, sunlight glittering of its multiple orthogonals.

PAN OUT

The spinning diamond is one of the two spinning diamond displays seen in the window of the The Many Facets jewelry store last episode. As the camera pans out we see more of the interior of the Many Facets. A long glass case runs across the stage. A taller glass case sits on top of the counter. Additionally a smaller display case hangs on the wall behind the counter. A doorway and two large glass windows sit off to the stage-left side. A spinning diamond can be seen in each window. A wide variety of styles of rings, bracelets, necklaces and earrings can be seen in the display cases.

The Many Facets’ two daystaffers, JEROME SALAMANDER and HENNY NETPENNTY, stand behind the counter. Jerome wipes off the glass while Henney puts necklaces away in the display case. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter from stage-right through the glass doors.

THOMAS TYPEWRITER
“Sorry I let the door close on you. I get distracted sometimes.”

OPHIDIA OPERAHOUSE
“It’s fine.”

JEROME SALAMANDER
(to Ophidia and Thomas) “Hello.”

THOMAS TYPEWRITER
“Hi”

OPHIDIA OPERAHOUSE
“Hi”

JEROME SALAMANDER
“Feel free to look around. I’ll be with you in a moment”

THOMAS TYPEWRITER AND OPHIDIA OPERAHOUSE
“Okay.”

Thomas and Ophidia lean over and start to look at the rings in the nearest counter top display. Jerome picks up his cleaning supplies and sets them down behind the counter near the stage-left side. He walks back. Pausing next to Henny, he leans over and whispers something to her. She nods and then hands him a golden feather keyring filled with many keys. He approaches Thomas and Ophidia at the end of the counter.

JEROME SALAMANDER
“Now then, how may I help you.”

OPHIDIA OPERAHOUSE
“We’re looking for an engagement ring.”

JEROME SALAMANDER
“We’ll that I can help you with. Was there a particular style you were looking for.”

OPHIDIA OPERAHOUSE
“What do you have?”

THOMAS TYPEWRITER
“Correction, what do you have for someone on an artist’s budget?”

JEROME SALAMANDER
“Sir, we have something for all budgets and all tastes. We pride ourselves on making a ring, no matter who you are or where you come from, as special as she is.”

Beaming, Ophidia puts her arm around Thomas. He hugs her back returning her smile. Jerome unlocks the display case and leans over to reach inside. He retrieves a velvety case of rings. He sets the case on the counter.


TRANSITION FROM MID-STAGE TO HIGH-STAGE.

THE CAMERA STARTS TO PAN UPWARD. IT MOVES STRAIGHT UP PAST THE TOP EDGES OF THE MID-STAGE SET, BRINGING THE CURTAIN OF CLOUDS THAT SERVES AS THE BACK OF THE STAGE INTO VIEW. THE CAMERA FOLLOWS THE CURTAIN UPWARDS TO THE TOP WHERE THE HIGH-STAGE SITS. IT STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: BLANK SCREEN

The High-stage curtains are already open when it comes into frame. The stage is dark, like a turned off television. The Narrator’s Door is open and Y-Mouse is sitting on the edge of the Narrator’s Platform. He dangles his feet over the edge while taking a sip of soda. He places the soda down and holds up a remote control. CLICK goes the remote. The High-stage, like a vintage television, shifts from opaque to bright static.

TRANSITION FROM HIGH-STAGE TO LOCAL CHANNELS

ZOOM IN SO THE STATIC BRIGHTNESS FILLS THE FRAME

The channel number 3, in green pixels, blinks in the upper right corner of the screen. The CLICK OF A REMOTE can be heard from off-stage ten times as Y-Mouse uses the remote off-screen to change from Channel 3 to Channel 4. The new channel appears with a station ID card of an image of a dog in a dog-house style race car on a red and white background.


KAV BARITONE, CHANNEL 4 MID-DAY ANNOUNCER
(off-screen) “…Channel 4, the Dog Race, broadcasting to the Nines and more. Up next: Buck and Duck In The 31st Century City. But first these words from our sponsors…”

FADE OUT

TRANSITION FROM STATION ID TO COMMERCIALS

FADE IN

FIRST COMMERCIAL – ELEGANT DINING TABLE, DAYTIME.

BLACK AND WHITE CS OF THE AQUILLA

An electronic device, THE AQUILLA, made of two connected glass hexagons sits on a white tablecloth. A place setting for a fancy meal surrounds it, as if it is has taken the place of the plate.

THE SCREEN GLITCHES.

A hand wearing a black glove covered in gold filigree is now in the frame. It holds a magnifying glass also covered in gold filigree. The gloved hand sets down the magnifying glass. It runs a finger across one of the sides of the Aquilla. The device’s screen flickers then the “By Jove’s” company logo appears followed by The Frame’s logo. The home screen comes up. The black-gloved hand presses the screen opening a note taking app: SCREEN’NOGRAPHER. The hand outstretches a finger and writes the following in the app: “Can you see?”


A drop falls down on the table, landing on the black gloved hand. The screen glitches again and the black gloved hand along with it’s magnifying glass is gone. A rainbow variety of drops of colors fall down on the Frame and the rest of the table. Multi-colors swirl across the scene.

THE CAMERA PANS DOWN AND OVER TO WHERE THE COLORS START TO RUN TOGETHER

Words, in a blocky serif-free font, start to form in the swirling mingling colors. “THE AQUILLA” which changes to “VERSION 10” before finally changing to “SOON”.

FADE OUT

FADE IN

SECOND COMMERCIAL – INT. ONE OF THE GOOD NEIGHBORS BAR & PUB RESTAURANTS. EARLY EVENING

MS FROM BEHIND THE BAR LOOKING OUT AT THE PATRONS

The work crowd has just come one of the Underhills’ most popular franchise bar & pub. It is a busy evening with plenty of mostly Clockwork Elves and mostly Bio-goblins looking to relax after a hard days work at the various Factories, Administrations and Marginalia of the various Hills, Palaces and Places of Interest.


THE SCREEN GLITCHES.

In the back stage-left corner, at a tall table, we now see three individuals different than the Bio-goblins and Clockwork Elves: THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS. The Slashbuckler is a slender woman in a swashbuckler’s large black hat and long black coat, both covered in gold filigree. Next to her The Wordslinger, a man in an immaculate white suit covered in brass filigree, wearing two gunslinger bandoleers holding paperback books. Next to him stands the Heiress. She is a tall women in a black 50’s cocktail dress and black pillbox hat both covered in silver filigree, holding a fennec fox wearing a matching pillbox hat. The three look around the room and out at the camera.

THE SCREEN GLITCHES AGAIN.

They are gone. FRIENDLY EMPLOYEE, portrayed by the mostly Bio-Goblin character actor BRUISER WULFETEETHS, pushes through the crowd to approach the bar. He loosens his tie as he approaches.

FRIENDLY EMPLOYEE
“Bartender, a glass of your worst.”

An off-screen hand places a glass of a foul looking liquid on the counter. Friendly Employee picks up the glass and takes a sip.

FRIENDLY EMPLOYEE
“AHHHH…the best part of the work day (notices someone to his side)…Oh hey, didn’t see you there.”

CUT TO SHOT FROM HIS RIGHT, FROM THE POV OF THE PERSON HE NOTICED

FRIENDLY EMPLOYEE
“How have you been? Oh, I’m sorry to hear that. Had a bit of a rough time myself last year too, but things got better. What happened? I got hired at the Bulb Factory that’s what. Oh, don’t make that face. It’s good work and they know how to treat their employees…”

From off-screen we hear a BEEP.

TRANSITION FROM COMMERCIAL BREAK TO HIGH-STAGE

ABRUPT CUT TO FRAMING SHOT OF HIGH-STAGE

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE

Y-Mouse is leaning forward, intently looking at the Medi-pods. One of the Medi-pod’s top lights has changed from red to blinking green.

INSERT CS OF Y-MOUSE’S FACE

Y-MOUSE
(to the camera) “Almost time now.”

REVERT BACK

Y-Mouse stands and stretches. He uses the remote to CLICK off the Vid-screen. He presses the remote a second time to cause the stage-lights to CLICK off. He picks up the tray and exits through the Narrator’s Door. It closes behind him. The lights on top of the Medi-pods continue to glow in the darkness of the unilluminated stage. BEEP. A second Medi-pod has one of its top lights shift from red to blinking green. The third Medi-pod shortly follows after, BEEP and a red light changes to blinking green. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, IT MOVES DOWN ALONG THE CURTAIN OF CLOUDS, UP OVER THE TOPS OF THE MID-STAGE SETS, FINALLY SETTLING WHEN FRAMING THE MID-STAGE.

MID-STAGE: INT. THE MANY FACETS JEWELRY SHOWROOM, DAYTIME

THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE continue their conversation with JEROME SALAMANDER at the end of the jewelry counter. HENNY NETPENNTY is no longer on-stage, having gone to take inventory in the back.

JEROME SALAMANDER
“Very excellent choice. We can have that ready for you next week. Will you be paying for all of it now or putting down a deposit.”

THOMAS TYPEWRITER
“All of it now, if that is alright.”

JEROME SALAMANDER
“That is fine.”

Thomas pulls out his wallet and hands a card to the Salesman. Jerome takes the card and walks off stage-right. Ophidia excitedly grabs Thomas’ arm and leans in to whisper.

OPHIDIA OPERAHOUSE
“It’s really happening. We’re getting married! I can’t believe it.”

THOMAS TYPEWRITER
“I know.”

Ophidia’s stomach grumbles. She looks mortified.

THOMAS TYPEWRITER
“Was that your stomach?”

OPHIDIA
“Yes…I’m so embarrassed. Sorry.”

THOMAS TYPEWRITER
“No it’s fine. At least the salesman wasn’t here. Now that would be embarrassing.”

Ophidia blushes.

THOMAS TYPEWRITER
“Want should get something to eat after this?”

OPHIDIA OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Where would you like to go?”

OPHIDIA OPERAHOUSE
“Skolnic’s Ice Cream Deli”

THOMAS TYPEWRITER
“Skolnic’s Ice Cream Deli it is.”

Jerome Salamander returns and returns Thomas’ credit card.

JEROME SALAMANDER
“The ring will be ready by next Thursday. Anything else I can do for you.”

THOMAS TYPEWRITER
“No, that is all of it. You’ve been very helpful.”

JEROME SALAMANDER
“Glad I could. Have a great day,…and congratulations on the engagement.”

OPHIDIA OPERAHOUSE
“Thank you”

THOMAS TYPEWRITER
“Thank you.”

Thomas and Ophidia exit stage-left through the store’s front doors. As they leave, Jerome Salamander fills out some forms for the ring order. The stage-lights turn of to the CLICK OF A LIGHT SWITCH. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 06

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-06”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

FRAMING SHOT OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE fills the frame, its curtains illuminated by stage-lights set to a dim flicker. They brighten as the sound of TYPEWRITER KEYS CLICK CLACKING drifts from somewhere out of sight.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE. IT CONTINUES TO PAN INWARD, FOCUSING IN ON THE MID-STAGE AREA, UNTIL THE MID-STAGE CURTAINS FILL THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with a sound like A LIGHT SWITCH CLICKING ON, revealing….

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE

The Many Facets is a jewelry store built into a tall stone building in the side of a strip mall. The edges of the neighboring shops, Bigger Burrito and Bromide Books, can be seen on either side of Many Facets. Two giant planters, filled with husks of out of season bluestem grass, decorate the sidewalk in front of The Many Facets. Large glass doors sit center-stage under the store’s neon sign. Spinning diamond displays sit in each window.

FOX-SHIRT TEEN, a teen wearing a shirt with a fox face on the back and carrying a knapsack, enters stage-right. He steps towards one of the Many Facets windows and lowers his knapsack to the ground.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS. CONTINUING UPWARD, IT MOVES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. THE CAMERA STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-Mouse emerges. He sits on the edge of the Narrator’s ledge.

CUT TO CS OF Y-MOUSE LOOKING INTO THE CAMERA, TALKING TO THE AUDIENCE.

Y-MOUSE
“Pouring myself a tall glass of water this morning, a question occurred to me. Is the water aware of the pitcher? Does the content notice the container?”

CUT BACK

A HELPING HAND comes up from the bottom of the frame. He carries a button attached to a set of wires, which trail down and off-screen. Y-Mouse leans over and presses the button. The stage curtains part and the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: ROOM 304 ON THE MEDICALSHIP THE FLUTE, DAYTIME

A juxtaposition of stark surfaces and baroque trimwork, Room 304 is divided into four sections by three Medi-pods. Each Medi-pod is an ovoid large enough to house a person with a series of three red blinking lights on top, three round ports along the midline, and three extrusion covered wheels on bottom. Between the stage-left side and the first Medi-pod, is a curving window allowing full view of the spinning star fields outside the ship. Between the first and second Medi-pod is a bathroom door. Between the second and third Medi-pod is the room’s entrance door. Between the third Medi-pod and the stage-right side sits a large vid-screen wall, currently off and opaque. The Helping Hand lowers down, taking the button off-stage. It returns bringing a small tray up to Y-Mouse. On the small tray sits a remote control and a bottle of Suttungr Soda. Y-Mouse takes the tray and sets it to the side.

Y-MOUSE
“Thanks.”

The Helping Hand gives a thankful gesture then retreats from view. Y-Mouse sits down on the edge of the Narrator’s platform, dangling his feet over the edge. He picks up the soda and slowly sips it. He savors the taste, the scene. On the third Medi-pod one of the red blinking lights turns a solid green.

Y-MOUSE
(looking into the camera) “Looks like the guests of honor will be arriving soon.”

Y-Mouse presses a button on the remote. The stage-lights dim to off accompanied by the sound of A COMPUTER TURNING OFF IN SLOW-MOTION while the video screen wall starts to slowly brighten.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARDS. IT PANS DOWN ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY RESTING WHEN FRAMING THE MID-STAGE STAGE.

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE STORE, DAYTIME


Standing in front of one of the windows is FOX-SHIRT TEEN. He is busy taping a flyer to the window of the Many Facets. He finishes and exits stage-left. From off-stage, we hear the sound of TIRES ON THE ASPHALT as a car pulls into a parking spot. THE CAR ENGINE TURNS OFF. TWO CAR DOORS OPEN AND CLOSE IN SUCCESSION. FOOTSTEPS APPROACH. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter Stage-right. They walk over to the door.

THOMAS TYPEWRITER
“Yeah, they’re really good.”

OPHIDIA OPERAHOUSE
“I remember when I first heard Not The Last Junkie.”

THOMAS TYPEWRITER
(opening door) “When was that?”

OPHIDIA OPERAHOUSE
(Entering the store) “Q101, working late on some project for art school…”

THOMAS TYPEWRITER
“Yeah, me too…(drifts off as the flyer in the window catches his attention)

He pauses. The door closes with Ophidia inside and Thomas outside. He kneels down and reads the flyer. The door reopens and Ophidia steps out.

OPHIDIA OPERAHOUSE
“You coming in?”

THOMAS TYPEWRITER
“Oh, yeah. Sorry. Got distracted by this flyer.”

OPHIDIA OPERAHOUSE
“No, that’s okay. What is it for.”

THOMAS TYPEWRITER
“I thought it was for some band, but it’s for some theatre needing help? (scans flyer) The Discount. Ever hear of it?”

OPHIDIA OPERAHOUSE
“Sure. I saw Pinocchio there back in eighth grade.”

THOMAS TYPEWRITER
“Any good, the theatre I mean?”

OPHIDIA OPERAHOUSE
“There’s a reason it is called the Discount.”

THOMAS TYPEWRITER
“Oh.”

They enter The Many Facets. The doors shut and the stage goes quiet. A butterfly enters from stage-left flying across the stage towards stage-right. Once it exits, the Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The curtains close.

FADE OUT

From the Desk of Thomas Typewriter: The Great Works Project: Season Three, Episode Five script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 05

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-05”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

The unroom fades into view as the thin lamps at the end of each row of the carpet squares flick on. It is a vast space centered around a wooden disk. Rows of grey carpet squares spread out from the central disk. THE OUTER ONE sits on one of the carpet squares. The TYPEWRITER ABSTRACT PUPPET STAGE is already on the wooden disc when the unroom fades into view. Unseen lamps are already on illuminating it from somewhere above.

POV OF THE OUTER ONE LOOKING AT THE TYPEWRITER ABSTRACT PUPPET STAGE.

The sound of TYPEWRITER KEYS CLICK CLACKING flows out from The Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN FROM POV TOWARDS THE TYPEWRITER PUPPET STAGE.

TRANSITION FROM TYPEWRITER PUPPET STAGE TO MID-STAGE

PAN CONTINUES, MOVING IN TOWARDS THE MID-STAGE AREA UNTIL THE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The curtains part revealing an unlit stage. It is fully set up and decorated for the following scene just without the stage lights on.

MID-STAGE: INT. OPERAHOUSE BASEMENT BATHROOM, DAYTIME

A door on stage-left opens and THOMAS TYPEWRITER enters. Light spills in from the open door. He fumbles for the light switch. Finally finding it, he flips the light switch, turning on the stage lights. They flip on with the sound of A LIGHT SWITCH CLICKING ON. Thomas looks around. A shower stands off to one side, a toilet sits center, and a sink near the door. A large mirror and vanity line the wall over the sink and toilet. A nautical theme decorates the bathroom. Thomas shuts the door behind him. He walks over to the toilet and URINATES. He finishes, shakes off the last drops, then FLUSHES THE TOILET. Walking over to the sink, he washes his hands and then dries them. Thomas is looking through the vanity. He pulls out a bottle of lotion. Applying a generous dose to his hands, he rubs it in.

THOMAS TYPEWRITER
(sniffing hands) “Lavender. Nice.”

Thomas attempts to leave, but he can not. His hands slide over the doorknob.

INSERT CS OF THOMAS’ HANDS UNABLE TO TURN THE DOORKNOB DUE TO THE AMOUNT OF LOTION ON HIS SKIN.

He tries again and fails. He tries a third time.

THE CAMERA TILTS DOWNWARD SLIGHTLY IN SUCH A WAY AS TO REPRESENT POV OF THE OUTER ONE LOOKING AT THEIR HANDS.

The Outer One’s left hand looks normal, but the right hand has the fingers looking like glowing blue mathematics. The abstraction is spreading.

THE CAMERA TILTS BACK AND MID-STAGE HAS RETURNED FROM THE INSERT.

THOMAS TYPEWRITER
“Nuts, I used too much lotion.”


He sits on the toilet.

THOMAS TYPEWRITER
“Well, looks like I am stuck in here.(looking around) Anything to read?”

Thomas looks around the room. He picks up a bottle of shampoo. He reads the ingredients. He flips it over and reads the other side. He flips it once more.


THOMAS TYPEWRITER
“I’ve already read this. Didn’t care for it the first time. Okay Professor, what else do you recommend to read. The Epic Odes of the Conditioner bottle maybe.”

Thomas picks up the bottle of conditioner. He reads both sides and then sets it down.

THOMAS TYPEWRITER
“Well, I’ve read all the literature a locked bathroom has to offer, now what.”

He looks around the room. Pauses. Sighs.

THOMAS TYPEWRITER
“Guess it’s come to that.

Thomas enters the shower. He closes the curtain.

THOMAS TYPEWRITER
“11…10…9…8…7…6…5…4…3…2…”

FADE OUT

TRANSITION FROM THE MID-STAGE TO THE WRITER’S ROOM

FADE IN

INT. THE WRITER’S ROOM, DAYTIME

The Writer’s Room appears differently than in previous episodes. Now it appears as a long conference table in a tall conference room. Beautiful wood paneling, in warm shades, cover the walls.
At the stage-left head of the table sits Y-Mouse. Down each side of the table sit the other ALPHABET MICE. On the far side of the table, facing the audience, from stage-left to stage-right sit Z-MOUSE, NUMERAL-MOUSE, A-MOUSE, B-MOUSE, C-MOUSE, D-MOUSE, E-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, I-MOUSE, J-MOUSE, and lastly K-MOUSE. Sitting on the opposite side, with backs to the audience, from stage-left to stage-right sits X-MOUSE, W-MOUSE, V-MOUSE, U-MOUSE, T-MOUSE, S-MOUSE, R-MOUSE, Q-MOUSE, P-MOUSE, O-MOUSE, N-MOUSE, M-MOUSE, and L-MOUSE.

Z # A B C D E F G H I J K
Y [=========================]
X W V U T S R Q P O N M L

They all have a cup of coffee on the desk next to them except S-Mouse, T-Mouse, E-Mouse, and W-Mouse. S-Mouse has cans of sodas. T-Mouse has a pitcher of tea. E-Mouse has a carton of eggnog. W-Mouse has a case of water bottles.

Y-MOUSE
(standing) “Okay everyone, unanswered questions or plot holes. Go.”

A-MOUSE
(stands) “What about that lost astronaut from the commercial?”

Y-MOUSE
“Exactly. What did he do when he crawled onto the broken Carro. What else?”

B-MOUSE
“Where is the Inner-Space Man taking Biff and Rockey? And why?”

M-MOUSE
(stands) “What about Musica and Musidora? Are they mad about the Carro being lost? Do they blame Lucido and Cedar.”

O-MOUSE
“And are they in trouble for losing the ship?”

F-MOUSE
“And what caused that storm?”

Everyone murmurs.

Y-MOUSE
“Great questions, let me get those written down.”

Y-Mouse is busy typing down all the notes, when from stage-right comes a KNOCK KNOCK.

K-MOUSE
“Who is it?”

THOMAS TYPEWRITER
(from off-stage) “Thomas.”

ALL THE ALPHABET MICE EXCEPT Y-MOUSE AND Z-MOUSE
“Thomas!”

K-MOUSE
“Come on in”

Thomas Typewriter enters wearing a pizza delivery outfit. He is carrying a stack of little pizzas and a pile of napkins.

THOMAS TYPEWRITER
“Do you have time for a break? I brought pizzas.”

Y-MOUSE
“We could take a pizza break.”

Thomas kneels and hands out the pizzas. When done, he sits cross-legged by stage-right end of the table.

THOMAS TYPEWRITER
“You redecorated.”

Y-MOUSE
“We hired a firm from Mall X.”

THOMAS TYPEWRITER
“Looks good. So, how’s everyone doing?”

He takes a slice of pizza. He eats it as he listens to everyone’s answer.

D-MOUSE
“Good.”

R-MOUSE
“Really good.”

M-MOUSE
“Would you like a soda, coffee, or tea?”

THOMAS TYPEWRITER
“Soda, please.”

S-MOUSE
(stands) “Silver Apple, Acorn, or Dragon Heart?”

THOMAS TYPEWRITER
“Can always use some more wisdom. Acorn please.”

S-Mouse tosses a can of soda to Thomas. Thomas catches it. The Alphabet Mice start to pass the pizza and napkins out.

THOMAS TYPEWRITER
“Thanks.”

Thomas tries awkwardly to open the small can of soda. His hands are too large to get a grip on the pop tab. He gives up and sets the can to the side.

THOMAS TYPEWRITER
(to self) “Guess I’ll be saving that for later.”

He wipes his face with a napkin.

THOMAS TYPEWRITER
“So, what have you guys been up to? Biff and Rockey, maybe.”

Y-MOUSE
“Compiling loose ends. Stray sub-plots. Once that’s done, maybe Biff and Rockey.”

Thomas frowns.

Y-MOUSE
“Why the long face.”

Thomas sighs and adjusts his sitting position.

THOMAS TYPEWRITER
“I was just hoping for a break in my writer’s block.

The Alphabet Mice exchanged glances. Thomas notices this and decides to move on.

THOMAS TYPEWRITER
“Forget I asked, I’ve just had a lot on my mind.”

Y-MOUSE
“What’s been on your mind. What troubles Thomas Typewriter?”

THOMAS TYPEWRITER
“I asked Ophidia to marry me.”

Everyone congratulates him.

I-MOUSE
“That sounds like good news. How is that bad?”

THOMAS TYPEWRITER
“It’s a big step and I have no future. I am a failure as a screenwriter”

Y-MOUSE
“Now now, none of that.”

THOMAS TYPEWRITER
“No, it’s true. No one wants my scripts. They’re not marketable, not mainstream…too weird, just like me. I don’t know guys, maybe I am just not meant to be successful.”

G-MOUSE
“I don’t know about that.”

Y-MOUSE
“We (gestures to all the Alphabet Mice) don’t believe that, you shouldn’t either.”

THOMAS TYPEWRITER
to G-Mouse) “Thank you.” (to the group) “My agent called me today. He told me the studios let the options on my scripts expire. He’s going to let me go also. No agent. No work. No prospects. What am I supposed to do.”

Y-MOUSE
“Do not mistake the income of the artist for the quality of the art. Nothing we do will last forever. Eventually everything we create will disappear. The mountain wears down, the ceramic cracks. The only thing we truly have for sure are the individual moments of our lives and what we fill those moments with. Fill them with kindness, with attentiveness, with expressions of love for not only family and friends but also yourself, with laughter, with forgiveness, with life.”

The other Alphabet Mice agree.

OPHIDIA OPERAHOUSE
(from off-stage) “Thomas. Thomas where are you?.”

THOMAS TYPEWRITER
“Sounds like I am needed elsewhere. Thanks for listening.”

Y-MOUSE
“No problem. We’ll percolate it up if we make nay progress on Biff and Rockey.”

THOMAS TYPEWRITER
“Thanks.”

All the Alphabet Mice wave goodbye to Thomas as he exits stage-right.

FADE OUT

TRANSITION FROM THE WRITER’S ROOM TO MID-STAGE

FADE IN

MID-STAGE: INT. OPERAHOUSE’S BASEMENT BATHROOM, DAYTIME

The bathroom sits empty.

OPHIDIA
(off-stage, stage left) “Thomas, you in there?”

A KNOCK KNOCK on the bathroom door then it opens. Ophidia enters and looks around. She looks in the shower but does not see any one. She comes out, looks around circularly, then sits down on the toilet.

OPHIDIA OPERAHOUSE
“Where could he be?”

The shower curtain opens and Thomas sticks his head out.

THOMAS TYPEWRITER
“You were looking for me.”

Ophidia SCREAMS, surprised by Thomas’ sudden appearance. Thomas exits the shower and hugs Ophidia

THOMAS TYPEWRITER
“I am so sorry. I didn’t mean to scare you.”

OPHIDIA OPERAHOUSE
“Where have you been?”

THOMAS TYPEWRITER
“I was in the shower.”

OPHIDIA OPERAHOUSE
“But, I looked in there. Where were you.”

THOMAS TYPEWRITER
“Don’t know how you missed me.” (changing subject) “You hungry? Up for some lunch?”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Could we pick out the ring first. I have a place in mind and it won’t take long.”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Ladies first.”

Ophidia stands and exits stage-left through the bathroom door. Thomas steps out of the shower and follows her. He turns off the lights at the light switch by the door. The stage lights turn off with the sound like A LIGHT SWITCH CLICKING OFF. The only light is what flows through the open bathroom door silhouetting Thomas. He closes the door. The Mid-stage curtains close

FADE OUT

Work continues on puppet construction for “Up Late, Late at Night”

Puppet play, Up Late, Late at Night

Ophidia and I were finally able to come to agreement on the design for two of the puppets. Now for the rest…

D-Vid. This would be the base puppet. He would wear different costumes depending on his role. This would also apply to B-Max, Cass-E, Clamshell, Jewelcase, V-Hess, and maybe a few others.
T-Rash the Trash God. I need to pick up some more supplies so he is not painted yet. Ultimately he should be a dull, corroded, or tarnished type of color. I will also need to make a template of him in case I screw up the painting job.