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

===========<: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.

The Great Works Project: Season Two, Episode Twelve script

Puppet play, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Twelve

an Epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-12”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “an epilogue”. 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

THE TYPEWRITER ABSTRACT PUPPET STAGE
We open this episode already focusing on the TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA FRAMES THE MID-STAGE AREA

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S KITCHEN
On stage-right, sits a refrigerator, with a few houseplants on top. Center-stage sits a stove, with two pans on top, next to a counter top and sink. On stage-left sits THOMAS TYPEWRITER at his small kitchen table, with a plate of pasta and a plate of salad. He spins a small jewelry box, lost in thought.

CUT TO A XCS OF THE JEWELRY BOX SPINNING

The Mid-stage Curtains close on the shot of the jewelry box.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM.

THE CAMERA PULLS OUTWARD, PANNING FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM NOT.SEVEN

INT. UNROOM NOT.SEVEN

PAN OUT FROM THE MID-STAGE TO THE OUTER ONE’S POV.

The OUTER ONE sits on one of many carpet squares arranged around a wooden disc in the center of the Unroom Not.Seven. The carpet squares spread out like chairs in an auditorium. The wooden disc, the focus of the Outer One’s attention, sits with the Typewriter Abstract Puppet Stage standing center. Unseen lamps above it illuminate, though not for long. Once the Mid-stage curtains close the unseen lamps turn off. The Typewriter Abstract Puppet Stage disappears, leaving the wooden disc empty.

POV OF THE OUTER ONE WATCHING THE STAGE

The Outer One tries to stay focused, but his/her attention starts to waver.

POV OF THE OUTER ONE LOOKING AROUND THE ROOM TAKING IN THE SPINDLY METALLIC LAMPS, THEIR SNAKING CORDS, THE DISTANT WALLS, AND THE DISTANT CEILING WITH ITS ANGULAR CHANDELIERS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-screen.

POV OF OUTER ONE RAPIDLY LOOKING BACK TO THE WOODEN DISC.

Unseen lamps over the wooden disc flicker to life, taking two or three attempts to light before projecting at full illumination. The new light reveals the return of the Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the Mid-stage, the Mid-stage curtains part revealing an empty stage. The Curtain of Clouds is fully visible, no longer obscured by any of the Mid-stage sets.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE CAMERA CONTINUES PANNING IN, ENTERING THE MID-STAGE AREA

The Curtain of Clouds parts revealing…

THE CAMERA CONTINUES PAST THE OPEN CURTAIN OF CLOUDS, STOPPING WHEN PROPERLY FRAMING THE SPACE BEHIND

THE BACK-STAGE: THE CONCURRENT DISTANCES

The back-stage is an empty black field. No illumination. No decoration. No sets. DREAM-BUBBLES, with their soft glow, float down from the stage-top and across the stage. Into this peaceful scene from stage-right, runs THE MAIDEN. Pursuing her is a YUCK-BUBBLE, specifically the Dream-bubble she accidentally injured in Season 02, Episode 0. As it pursues her it bumps into the Dream bubbles. Each Dream-bubble touched by the Yuck-bubble shakes and changes. Their inner illumination darkens to a sickly yellow-green and their sides dent becoming Yuck-bubbles. They join in the pursuit of the Maiden.

They chase her off-stage stage-left. She shortly re-emerges followed by the flock of Yuck-bubbles. She flees off-stage stage-right this time. After a brief pause the Maiden and her pursuers re-enter stage-right. She reaches mid-stage and trips. Scraping her knee, she softly sobs.The Yuck-bubbles stop, confused by her tears. Cautiously, they approach. The Maiden calms down and wipes her eyes. She looks at the Yuck-bubbles. Truly looks, as if seeing them for the first time.

THE MAIDEN
(to the first Yuck-bubble) “You know what it’s like to be hurt don’t you?”

The first Yuck-bubble flickers and nods yes.

THE MAIDEN
“It was me wasn’t it. I hurt you. Didn’t mean to, but did.”

The first Yuck-bubble flickers and nods yes again.

THE MAIDEN
“I’m sorry. You were so beautiful and I wanted to look at you. I didn’t mean to hurt you. I hope you can forgive me.”

She moves closer and lightly kisses the first Yuck-bubble. It shudders and then it changes color back to the original Dream-bubble color. The other Yuck-bubbles then start shudder and change color. The healed flock surround the Maiden before flying off. When they move away we see the Maiden has been replaced by THE MOTHER. She watches the dream bubbles float away absentmindedly rubbing her belly.

The Curtain of Clouds closes on the Back-Stage.

TRANSITION FROM THE BACK-STAGE TO THE MID-STAGE

THE CAMERA PANS OUT. PAST THE CURTAIN OF CLOUDS AND PAST THE MID-STAGE CURTAINS
MID-STAGE: EMPTY STAGE

The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

THE CAMERA CONTINUES TO PAN OUT RETURNING TO THE POV OF THE OUTER ONE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off. It disappears from the disc leaving it empty. The Unroom returns to dimness.

POV OF THE OUTER ONE LOOKING AT THE STAGE, REALIZING THE SHOW IS OVER, AND THEN LOOKING DOWN AND TO THE SIDE.

Sitting on the carpet square next to him/her, the Outer One sees a book. An elaborately simple book with the following written across the cover:

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

the complete and the all scripts

By Thomas Typewriter

———–<:type:>———–

The Outer One’s hand reaches out and picks up the book. They examines the cover, running his/her hand across the cover and spine as the episode ends.

FADE OUT

Up Late, Late at Night: Season One, Episode One, Act VI script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

Act VI

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT VI———–

FADE IN

EXT. VARIOUS LOCATIONS ACROSS THE GLOBE, DAYTIME

LS OF THE CHASE

D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS are running from the angry mob of LASER JUDGE, PADDLES, CLAMSHELL and the PARTY GUESTS. D-Cop’s group are stage-right in the frame while Laser Judge’s group are stage-left.

Have each group running in place as the background cycles through photos of famous landmarks across the world. A simple chase montage to give an impression that they are being chased very far.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

The background is a photo of the front of the COMMUNITY COLLEGE UNIVERSITY. This should be a generic university that we could use over and over. If need be, a model can be built and a photo taken of the model.

D-COP’S group (D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS) enter stage-left and run across the screen exiting stage-right. LASER JUDGE’S group (LASER JUDGE, PADDLES, CLAMSHELL, and the PARTY GUESTS) soon follow. They enter stage-left, run across the screen and then exit stage-right.

ZOOM IN ON ONE OF THE BUILDINGS IN BACKGROUND OF THE COMMUNITY COLLEGE UNIVERSITY

FADE TO

INT. COMMUNITY COLLEGE UNIVERSITY CLASSROOM MPG-27.5

LS OF THE BACK HALF OF CLASSROOM

The back half of the classroom is divided into two rows, with the front row being lower than the back row. Each row is a series of desks arranged in one long line facing the front. In the center desk of the front row sits GIBLETS. He is unconscious.

PAN IN ON GIBLETS. GO FROM LS TO MS.

Giblets wakes with a start. He sits up and looks around.

GIBLETS
“Is class over? (looks around)Guess so.”

Giblets stands up. He reaches over and picks up his guitar and slings it over his back. He exits stage-right.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

LS OF COLLEGE FRONT

Giblets walks across the screen, stage-left to stage-right then exits.

CUT TO

EXT. COUNTRY ROAD, AFTERNOON

LS OF COUNTRY ROAD LOOKING DOWN THE ROAD AT A SLIGHT ANGLE AND ELEVATED. LOOKING DOWN.

The country road is two-lane, with a gravel edge and drainage ditch on either side. Telephone poles line one side of the road while trees or fencing line the other side.
GIBLETS enters the frame, back to camera, and walks away from the camera, into the distance. He walks slowly along the side of the road as SLOW MELANCHOLIC PIANO MUSIC plays

FADE TO BLACK

TRANSITION FROM TV SHOW TO THE TRASH HOLE

PAN OUT CAMERA SLIGHTLY TO SHOW THE BLACK SCREEN IS THE BLACK SCREEN ON A TV SET.

INT. THE TRASH HOLE. NIGHT

LS OF THE TV AREA

The broken TV which D-Vid and B-Max were working on, and ultimately zapped into, shows a screen of black. Soon end credits scroll across the screen. If needed, the name of the show that played is “U-turns Me” directed by “Alan Smitheelufagus”

CUT TO MS OF T-RASH THE TRASH GOD

T-RASH watches the end credits roll.

T-RASH THE TRASH GOD
“I liked that. Wonder what is on next.”

FADE OUT

Up Late, Late At Night: Season One, Episode One, Act Five script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT V

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT V————

FADE IN

OPEN ON A CLOSE SHOT OF THE FUNDRAISER FLYER WITH THE STAGE CURTAIN BEHIND IT. THE FLYER ZOOMS AWAY AND THE CAMERA MOVES DOWN TO THE BEHIND THE STAGE

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
The stage curtain lines the back of the stage. D-COP, B-COP, B-RAY and MR. PUPPETS, CLAMSHELL, CASS-E, V-HESS, JEWELCASE, GRETAL and HANSEL are gathered behind stage ready to preform. Everyone is dressed in white and red and stationed with an instrument except B-ray. He is off to the side dressed in a very wide lapeled suit.

B-COP is holding a guitar and wearing a white suit, red vest and pants. Cass-E has her hair down, dressed in white shirt with red vest and pants, stands at a portable organ. Jewelcase is dressed in a red suit with a white undershirt and giant carafe. She stands in front of a keyboard. Hansel sits at a drum kit dressed in white shirt and matching red vest and pants. Clamshell holds a bass guitar and wears a white shirt and red vest/pants outfit similar to the others. Gretel wears a red and white jumper and holds a tambourine. B-COP is dressed in all black, black pants black tee with sleeves cut off and a loosely tied black tie. She is holding a guitar. B-Ray is wearing a head mic and earpiece while holding Mr. Puppets. Mr. Puppets wears a similar ear piece while holding a clipboard.

MR. PUPPETS
(looking at notes on clipboard) “Were on in five Big D.”

D-COP
“Everyone ready?”

All the others nod yes.

D-COP
“And let me remind everyone this is probably my last chance to trick the Laser Judge into giving me a chance to earn her love. Play like my love life depends on it.”

B-COP
“Hopefully you all play better than you drive.”

D-COP
(looking over at B-Ray & Mr. Puppets at the side of the stage ready to work the curtain) “When I count to three, open the curtains.

B-RAY
“Got it.”

D-COP
“1…2…wait. Clamshell, is that Paddles in your coat.”

CLAMSHELL
“Yes.”

D-COP
“Why isn’t he back at the house?”

CLAMSHELL
“I thought he’d get lonely. Besides, he loves to rock out. Isn’t that right Paddles.”

PADDLES
“Woof Woof”

D-COP
“If Laser Judge sees us with her stolen dog, she is going to know we stole the dog.”

B-COP
“You stole.”

D-COP
“I stole. Now get Paddles out of here before anyone sees him. Hide him in the car for now.”

Clamshell and Paddles exit stage-left.

TRANSITION FROM BACKSTAGE TO THE FRONT ENTRANCE

CUT TO…

EXT. FRONT GATES OF LASER JUDGES MANSION, AFTERNOON
A brick wall, the Laser Judge’s property’s fence, runs across the stage. There is a large metal gate and driveway to the stage-left side. A larger cardboard box sits outside the front gate. “FOR DONATION” is written on the outside of the box in large letters. On the stage-right are some cars parked along the grass embankment.

CLAMSHELL enters through the garden gate, walking from the party to where he parked on the road outside the Laser Judge’s estate. PADDLES is still in his shirt. He walks over to the second car, opens the door, and places Paddles inside. The second car’s license plate reads “DCOPS CAR”.

CUT TO MS OF CLAMSHELL AND PADDLES

CLAMSHELL
“Now be good and wait here.”

CUT TO CS OF PADDLES

Paddles wimpers.

CUT TO CS OF CLAMSHELL

CLAMSHELL
“Oh, don’t cry. I’ll be back soon I promise.”

Paddles jumps licking Clamshell’s face

CLAMSHELL
“Oh, that tickles. I love you too boy.”

CUT TO MS OF CLAMSHELL AND PADDLES

Clamshell pushes Paddles into the car and shuts the door.

CLAMSHELL
“Be a good boy while I am gone okay.”

Paddles nods yes. Clamshell walks away.

CS TO PADDLES

Paddles reveals he stole the keys for the car from Clamshell.

PADDLES
(gives a laugh)

He moves over to the steering wheel and starts the car. The Car drives out of frame, stage-left.

CUT TO MS OF CLAMSHELL AT THE GATES

Clamshell is returning to the party, walking up to the front gates. He passes by the box, stops, and backtracks to look inside the box. He removes some clothes and walks through the gate.

TRANSITION FROM FRONT GATES TO PARTY ENTRANCE

EXT. THE PARTY ENTRANCE, AFTERNOON

LS OF PARTY ENTRANCE

NATE TRACK, an eight-track cassette dressed as a security guard, stands at a podium erected on the top of the driveway. This would be in an area of to the side from the driveway, that could serve as access to a path along the side of Laser Judge’s house leading to the garden in the back. The party itself is being held in the back lawn garden. An arch of balloons acts as the gateway to the party. Nate Track stands in front of the archway. CLAMSHELL, dressed in a tux with tails and tophat. Now the thing is that Clamshell’s tux looks all wrinkled since he pulled it was stuffed into a box.

CUT TO MS OF NATE TRACK AND CLAMSHELLS

Clamshell attempts to go through the archway, but Nate blocks his path.

NATE TRACK
“Reservations.”

In response to this question, Clamshell pulls out a monocle and puts it on.

NATE TRACK
“Sir, If you do not have a reservation, I am going to have to ask you step aside.”

To this Clamshell responds by pulling out a second monocle from his jacket. He places the second monocle over the first.

NATE TRACK
“Two monocles! Only the wealthy can afford such eccentricities. I am sorry sir, I didn’t notice your wealth originally. Please accept my sincerest apologies and enjoy the party.”

Nate Track steps to the side of the archway. Clamshell nods and walks through the archway.

CUT BACK TO…

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
Everyone is waiting at their instruments, except B-Ray and Mr. Puppets. They stand off to the side by the curtain and light controls.

B-COP
“What is taking Clamshell so long?”

D-COP
“We don’t have time to wait. Everyone, we go live on the count of three. One…Two…Three…”

B-Ray starts to open the curtains.

CUT TO (OR REVERSAL)

EXT. LASER JUDGE’S GARDEN STAGE

LS OF STAGE FROM AUDIENCE

The curtain opens as we hear a slow beat. Everyone in the band faces towards the audience while D-Cop has his back to the audience. The rest of the band is arranged around him in a semi-circular fashion. D-Cop bops to the beat a few times and then turns around. He moves up to the microphone to speak. In the Audience, near the front of the stage stands LASER JUDGE. Towards the back of the audience stands CLAMSHELL.

D-COP
“Hello everyone, I am D-Cop and together with these fine folks behind me, we are Vega’s Lemons, your entertainment tonight. When the Laser Judge asked us to help out with tonight’s fundraiser to find that lost little bundle of joy, Paddles, well, I’ll be honest, I shed a tear. Thinking of that poor scared dog definitely lost and not taking a bath in someone’s house, well we had to say yes. (Turns to look directly at someone) Laser Judge, I will always say yes to you.”

B-COP
“Ahem”

D-COP
“Oh yes. Enough seriousness, this is a party. Lets enjoy ourselves. Now those youngsters in the audience may not know this one, but trust us old timers when I say, in our day, this song rocked our world. (turns to band) Okay on three. One, Two,…”

The band starts to poorly play Rock-A-Bye Baby.

D-COP
“Rock-a-by baby on the tree top. When the wind blows, the cradle will rock. When the bough breaks…”

CLAMSHELL, dressed in his rumpled found tux and holding a plate of fruit and hors d’oeurves, stands up.

CLAMSHELL
(shouts) “YOU SUCK!

D-COP
“Oh, you know that one. Well, how about this one.”

They start to play Twinkle, Twinkle, Little Star

D-COP
“Twinkle, twinkle, little star…”

CLAMSHELL
“GET OFF THE STAGE!”

Clamshell throws food at the band. D-COP gets hit by food. Then the rest of the audience joins in throwing food at the band.

INSERT CS OF THE VARIOUS MEMBERS OF THE BAND BEING HIT BY FOOD.

The band recoils and tries to shield themselves behind their instruments.

SLOW-MOTION

Then a LOUD CRASH as D-Cop’s car crashes through the wall of the back of the stage. PADDLES, dressed in a rock star outfit, flies out of the windshield. Paddles flies out and lands on the stage, guitar in paws. He slides across the stage to the astonished looks of the band and audience

INSERT VARIOUS CS OF THE SURPRISED LOOKS ON THE AUDIENCE MEMBERS AND BAND MEMBERS

He reaches the front of the stage and starts to shred on his guitar.

SLOW-MOTION ENDS AND REGULAR SPEED RESUMES

Everyone stands frozen and silent, in shock at Paddles arrival. Paddles finishes his guitar solo and stands. He bows the audience.

LASER JUDGE
“Paddles! That’s my Paddles.”

PADDLES
“Woof”

LASER JUDGE
“Come here boy, I’ve missed you so much.”

Paddles jumps off the stage and onto the lap of Laser Judge. They excitedly snuggle.

CLAMSHELL
“Everyone, he must of escaped in the car of the dognapper.”

D-COP
“Now, lets not jump to any incriminating conclusions. The important thing is they are reunited right.”

CLAMSHELL
“The car’s license plate says DCOP. Everyone, D-Cop is the dognapper. DOGNAPPER! DOGNAPPER!”

LASER JUDGE
“He’s right. Dognapper!”

The audience starts to chant “Dognappers!”.

D-COP
“Thank you everyone, you’ve been a great audience, but our time here has come to a close, and let me say…”

CLAMSHELL
“Get them!”

B-COP
“Cheese it fellas!”

The band runs off stage. The audience follows chasing behind them. The audience now has torches and pitchforks.

ONCE EVERYONE HAS LEFT THE FRAME PAN IN ON THE CAR CRASHED THROUGH THE BACK OF THE STAGE.

Pinned under the car, B-Ray hopes help finds him soon.

CS OF B-RAY PINNED UNDER THE CAR

B-RAY
(to Mr. Puppets) “It’s all up to you Mr. Puppets to get help. You’re my last hope.”

CUT TO MS OF B-RAY, WITH THE CAMERA ON THE STAGE OR FLOOR LEVEL.

B-Ray tosses Mr. Puppets.

B-RAY
“Go Mr. Puppets. Run for help.”

Mr. Puppets lands on the stage, next to the camera so that the crumpled Mr. Puppets is in the foreground of the shot and the crushed B-Ray is in the background. Hold the shot a few moments.

B-RAY
“I’m screwed.”

FADE OUT

The Great Works Project: Season Two, Episode Ten script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Ten

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-10”. 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
The unroom Not.Seven is a vast space, a cavern of small and large. A wooden disc sits in the center, surrounded by waves of multi-hued grey carpet squares. Tall spindly metallic lamps attempt to illuminate the room.

OPEN IN POV OF THE OUTER ONE

THE OUTER ONE sits on a carpet square looking at the wooden disc in anticipation. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from some place far away by way of the wooden disc.

THE CAMERA MOVES OUT OF THEN INTO FOCUS

Unseen lamps above the wooden disc click on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON MID-STAGE UNTIL IT FILLS THE SCREEN AND IS PROPERLY FRAMED

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

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped by a typewriter and a ream of paper. A book, a phone, and a pair of headphones sit on top of the paper. A sheet stands ready and loaded in the typewriter. A lamp waits to the stage-right side of the desk, a wastebasket pauses stage-left. A small bookcase, adorned with various houseplants, watches skewed off to the stage-right side. THOMAS TYPEWRITER is sitting at the desk looking off to the side, lost in thought. As his mind drifts, his fingers tap on the desk. TAP…TAP…TAP…

CUT TO CS OF THOMAS’ FINGERS TAPPING ON THE DESKTOP AS THEY SLOWLY DRIFT TOWARDS THE TYPEWRITER

TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…CLICK AS A TYPEWRITER KEY IS PRESSED. Thomas’ fingers pause. Then a second keystroke and CLICK.

CUT BACK

Thomas rotates into the desk and opens a drawer. He pulls out a small jewelry box and sets it next to the typewriter. Looking at the box for a moment he turns to the typewriter and starts to type.

THOMAS TYPEWRITER
(narration) “Biff found his life slipping out of control, and he felt scared.”

Thomas turns from the typewriter and pulls out a book, “Latchkey Kids of Randomness”, from his desk. He opens the book, carefully setting the bookmark to the side, and starts to read.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FORM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT CONTINUES PANNING UPWARDS, FOLLOWING THE CURTAIN OF CLOUDS. THE CAMERA MOVES TO THE TOP OF THE CURTAIN OF CLOUDS FINALLY STOPPING FRAMING THE HIGH-STAGE LOCATED AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The curtains part and the stage-lights turn on with the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK
The Observation Deck is in a sad state, showing signs of excessive damage from the recent space storm. Wires hang from the ceiling. Scattered debris covers the floor. The amber emergency alarms are now dim. Smoke pours in from off-stage. A spiderweb of cracks are visible in the observation window. The sound of GLASS CRACKING resonates across the stage.

CUT TO CLOSER SHOT OF THE CRACKING OBSERVATION WINDOWS

The cracks grow and grow till the window shatters. The Observation Deck decompresses. ROARING WIND as all the loose unsecured items are sucked out the window. Soon the ROAR SUBSIDES as the last of the atmosphere escapes. Small bits of debris float by weightlessly.
ARG-0519, a diamond shaped Sat-bot in the employ of the Jovian, moves past the window casting a spotlight from it’s diamond like central eye across the deck. It scans the room then flies off. A few moments later a large simian-like gloved hand grabs the edge of the window.

CUT TO CS OF THE GLOVED HAND

The image cuts to black with the sound of A COMPUTER TURNING OFF. The High-stage curtains soon follow, closing on today’s episode.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT MOVES TO THE CURTAIN OF CLOUDS, FOLLOWING IT TO THE BOTTOM. THE TOPS OF THE MID-STAGE SETS SLIP INTO VIEW. THE CAMERA CONTINUES DOWNWARD TILL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas sits at his desk reading. He reads a few pages then rotates toward his typewriter. Holding his place in the book with one hand, Thomas uses his other hand to hunt and peck at the keyboard.

THOMAS TYPEWRITER
(narration) “But still he moved forward.”

Thomas stops typing and resumes reading. The stage lights turn of with the sound of A LIGHT SWITCH CLICKING OFF, to which Thomas reaches over and turns on his lamp. The Mid-stage curtains close.

FADE OUT

From the desk of Thomas Typewriter, August 10th, 2020 edition

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

When I was growing up, I had this overwhelming feeling that the world had lulled. As in, I felt like maybe I had been born in one of the times that was not too volatile nor too peaceful. The savagery is in the past and the wonders are in the future. I look back at that naive kid and shake my head. You had it so wrong buddy. I am still on furlough from my day job. No answer for when the movie theatre will reopen. I miss movies. Movies and museums.

But with every sour, there can be a little sweet. Working the late hours of a movie theatre Manager’s schedule, I felt like Primo and Secondo were slipping through my fingers. Not them physically, but more like time with them. Now that we have all this time, they have convinced me to play Minecraft with them. It is a lot of fun. Relaxing too. (Secondo asks me “Dad, what do you want to do in Minecraft?” I responded, “Dig ditches.” He did not find that answer as humorous as I did.)

Progress moves forward on The Great Works Project. Next week should see the posting of the next script for Season Two. I am nearing completion of the Season Five rough drafts. Plus, while on vacation I was able to plot out Season Six.

In a continuing effort to improve myself, I return to working my way through a list of great works of art. Hopefully, I’ll discover something inspiring. If not, that is okay too. The exposure itself is the most important thing.

Cinema Assignment: Alien (1979)

Literature Assignment: “Altered Carbon” by Richard K. Morgan.

Music Assignment: “Alien Lanes” from Guided By Voices

Thank you Brighid for the gift of this artwork and the spark of all art. Thank you Above, Below, and four Corners born between for your love, guidance, and gifts.

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