The Great Works Project Season Five, Episode Eight – a new script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 08

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-08”. 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

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out.

THE CAMERA PANS DOWN THROUGH THE DARKNESS

The TYPEWRITER ABSTRACT PUPPET STAGE slides into view. It is rotating swiftly in the darkness. It completes three full rotations slowing down to a full rest with the front of the stage facing the camera. The Mid-Stage Curtains start to open.

PAN IN THROUGH A SERIES OF CUTS UNTIL PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: HANGER JSN0012
This hanger, while still having the metallic handrail and spaced wall struts along the back, has much more decoration than the previous hangers. Long vines are growing along the pendant lamps, with bits of leaf and tendril dropping down. The center of the room contains a completed vision crystal, squarish and sitting on a base that looks like it is roughly chiseled from flint or granite. Winding cables connect the center crystal with a large boulder off to the side. The boulder has a primitive view-screen and controls cut from the stone. The Inner Space man walks over to the central crystal. He looks at the frozen image of CARL CAVEBUNNY and THE THE DINO-STORE frozen in the crystal. They stand on a prehistoric plateau. Carl looks like stone-age rabbit-man dressed in an animal skin. The Dino-store looks like a hybrid of a hardware store and a Tyrannosaurus Rex. In the background of the scene, THE INFORMATIVE SCUTTLER, which is the SCUTTLER he righted, slips past. The Inner-Space man looks around the crystal, tapping on the glass seeing if communication is possible.

THE INNER-SPACE MAN
“Is this a picture or a window? What was and unchangeable or what is and fluid?”

There is a TAP, TAP, TAP. The Inner-Space Man turns his head at the sound. Over on the rocky control panel we see the Informative Scuttler tapping the control panel.

THE INNER-SPACE MAN
“Oh, hello. Are you the same one as before.”

The Informative Scuttler nods yes. It then uses one of its segment-legs to point at a button on the control panel.

THE INNER-SPACE MAN
“Do you want me to push that button?”

The Informative Scuttler again signals yes. The Inner-Space Man walks over to the control panel. He presses the largest button. A THRIM fills the air as the center crystal starts to glow. It gestures to another button. The Inner-Space Man presses the button and the image in the crystal starts to move. We watch Carl the Cavebunny riding atop the head of the Dino-Store as it walks through the valley.

THE INNER-SPACE MAN
“Maybe a window. (turns to the Informative Scuttler) What else can you teach me?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FLIES ACROSS THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. LOWER AND LOWER TILL THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. ELMHOUSE UPSTAIRS ART STUDIO, DAYTIME
A small desk sits in the middle of a wooden panel wall. The wall is decorated with a framed Alphonse Mucha print. THOMAS THEATREMANAGER sits at his desk, typing on a laptop. He writes in a word editing program. On the screen the following is displayed:

“MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING
The parking lot spreads across the stage flanked by the red brick back corner and some of the back wall of the Junior High along the stage-right of the stage. This area of the parking lot is empty of parking spots, so only one car is visible off to the stage-left side of the stage. The Border Town High School Show Choir, The Sparkling Songbirds, stand waiting for their upcoming performance during the homecoming football game’s half-time. Dressed in silvery blue outfits, they mill about in a large crowd speaking to themselves. The group consists of eleven teens and one teacher: JOHN, EMILY, AMY, SCOTT, LEXICA BOOKMARK, LUNA WITCHESCROWN, THOMAS TEENAGER, SHELLY, KATHY, MATT, RYAN AND MR TRUMPET. Lexica and Luna are conversing about the appeal of Ancient Greek literature and culture. Mr. Trumpet, Scott, and Annie are reviewing the set-list. Ryan, Matt are discussing their post-game plans. John, Emily, Shelly and Kathy are reviewing the small choreography for tonight’s performance. Off to the side of the group, Thomas Teenager paces back and forth, hoping to mask his overwhelming anxiety at a public performance. Arms outstretched he tries to pretend he is somewhere else: someplace relaxing and controllable. As he walks back towards center-stage he moves near Luna Witchescrown and Lexica Bookmark.”

SECONDO TYPEWRITER-OPERAHOUSE enters from stage-left. He walks over to the desk as Thomas reviews his writing. He crawls into Thomas’s lap. They hug. Secondo settles in and looks at the screen.

SECONDO TYPEWRITER-OPERAHOUSE
“What are you doing Father?”

THOMAS THEATREMANAGER
“Working on my scripts. Did you just get up?”

SECONDO TYPEWRITER-OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Well good morning.”

SECONDO TYPEWRITER-OPERAHOUSE
“What are you writing about.”

THOMAS TYPEWRITER
“Oh, how I met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Have I met her? Is she the animal doctor?”

THOMAS THEATREMANAGER
“No, that is your mom’s sister. You’ve never met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Why?”

THOMAS THEATREMANAGER
“She moved away then she got sick, like really sick.”

SECONDO TYPEWRITER-OPERAHOUSE
“Is she okay?”

THOMAS THEATREMANAGER
“It’s not one of the diseases you get better from. She’s probably dead by now.”

SECONDO TYPEWRITER-OPERAHOUSE
“How do you not know?”

THOMAS THEATREMANAGER
“Two reasons. Firstly, I didn’t know that my attention span made it hard to stay in touch with people. I want to but my brain just loses awareness. This was before I was diagnosed and learned how to deal with my brain. Secondly, her sickness made it so she lost the ability to talk and move over time.”

SECONDO TYPEWRITER-OPERAHOUSE
“That’s sad. Do you need a hug?”

THOMAS THEATREMANAGER
“Sure.”

Secondo Typewriter-Operahouse turns around and hugs Thomas. Thomas hugs him back, and holds the comfort of the embrace for a long moment. He then releases Secondo, wipes his eyes, and then looks at Secondo.

THOMAS THEATREMANGER
“Thank you. Now if you’re hungry you can grab a snack from the fridge till I finish here. I’ll be down in a moment to make breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I pick cherry tomatoes?”

THOMAS THEATREMANGER
“Do we have cherry tomatoes?”

SECONDO TYPEWRITER-OPERAHOUSE
“Oh yeah. Mother bought some yesterday.”

THOMAS THEATREMANGER
“Wow, that was an enthusiastic answer. You sure love your tomatoes don’t you.”

SECONDO TYPEWRITER-OPERAHOUSE
“I sure do.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I watch TV?”

THOMAS THEATREMANAGER
“Only if you watch PBS kids.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay.”

THOMAS THEATREMANAGER
“I’ll be done in a moment and then I’ll come down and we can see about breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay, bye.”

Secondo exits stage-left. Thomas turns back to his computer screen.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS AND ONTO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE MID-STAGE. UPWARD IT CONTINUES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. IT PANS INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE CENTRAL LANDING IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES
The stage is still set up the same as in the earlier section of this episode. The large crystal on a pedestal sits near stage-front stage-right, with the concentric rising rings spreading out in an almost ovoid appearance. THE SPACE EGG stands to the side of the crystal looking into it. It turns the light in its central “eye” on and off. Each time the light flashes in the crystal, the crystal starts to glow as if attempting to activate.

THE CAMERA SUBTLY PANS OUTWARD ENOUGH TO INCLUDE THE NARRATOR’S DOOR.

Y-MOUSE leans over the edge of the Narrator’s Alcove, dressed in pajamas and eating a cheese sandwich.

Y-MOUSE
“You should keep doing that.”

The Space Egg freezes.

THE CAMERA PANS IN BLOCKING THE NARRATOR’S DOOR FROM VIEW.

THE SPACE EGG
“Hello?”

THE SPACE EGG looks left and right.

THE SPACE EGG
“Did somebody say something?”

Satisfied no one is in the room, the Space Egg resumes flashing light into the crystal.

THE SPACE EGG
“What would happen if I kept the light on?”

The Space egg switches from flashing the light to a steady beam of light into the crystal. The crystal’s interior glow starts to build. It begins to slightly vibrate and shimmer. The crystal glows brighter and brighter until bursting with white light.

WHITE LIGHT SPREADS FROM THE CRYSTAL FILLING THE ENTIRE FRAME. ALL DETAILS FADE AWAY. SOON THE LIGHT FADES AND THE DETAILS SLOWLY RETURN.

A series of lights built into the pedestal glow. As the bright light fades from the crystal it is actually flowing down into the pedestal and the surrounding concentric rings. A device activates. The pedestal glows and soon the lights spread out to the edges of each concentric ring surrounding the crystal. The Space Egg turns off its light and watches the spreading change. A GIGGLE seems to escape from the crystal. A second GIGGLE soon follows. The Space Egg turns towards the sound seeing that images float in the crystal now. Inside the crystal, we can see BIFF THE RABBIT reading comics.

PAN IN ON THE CRYSTAL THEN THE CAMERA ENTERS THE CRYSTAL

TRANSITION FROM THE WARDROBE OF A THOUSAND AND ONE COSTUMES TO BIFF’S BEDROOM

INT. BIFF’S BEDROOM, DAYTIME
Biff’s bedroom is a squarish room located in the north corner of the second floor. The room has a bed in the center against an outside wall, with a nightstand on one side. Posters for the Cosmic League, The Lamp of Night, and Babysitter Tails decorate his walls. Opposite his bed is the wall with more posters, shelves and a wardrobe. The wall with the window has a small built-in seat under the window. Part of the ceiling curves down in this section, being that the roof comes down, eaves. BIFF THE RABBIT sits on the floor next to a large smooth stone with a set of eyes drawn on it with marker. Spread around him are the large sheets of comics from the newspaper. Biff giggles at the comics and points out funny punchlines to the smooth stone.

BIFF’S MOTHER
(off-camera) “Biff, Dinner time.”

BIFF THE RABBIT
“Be right there Mom.”

Biff folds and sets aside the comics. He stands and moves towards the door. Rocky follows closely behind.

CUT TO

INT. DINING ROOM, EVENING
A large room. One large bay window along with smaller windows built on top of bookcases, ¾ of way up the wall. Dishes and glassware in the bookcases – more like cabinets with glass doors or display cases. Biff walks in and sits down next to his sister DIAN who is already sitting down. His younger brother JAFF walks in.

DIAN
(to Biff and Jaff) “Be on your best behavior. Mom and Dad are in a bad mood tonight.”

Biff is deep in thought and does not register her statement. He absent-mindedly nods.

THE CAMERA FOCUS SHIFTS FROM BIFF IN THE FOREGROUND TO THE KITCHEN IN THE BACKGROUND.

In the kitchen Biff’s parents, BIFF’S MOM and BIFF’S DAD, are plating the food and arguing. Ultimately the mom throws a plate down in anger and walks away. The dad says something with an angry expression and then starts to dish the food. The Mom rejoins them and they walk in and put food on the table. The food starts to be passed around.

FOCUS BACK ONTO BIFF IN THE FOREGROUND

Biff is looking at his plate and starts to mentally drift. A thought bubble appears over his head as the noise of the room fades out. In the bubble we see the comic Biff was reading earlier. A bowl of mashed vegetables can be seen being passed from Din to Biff. Biff takes it without thinking and absent-mindedly scoops some onto his plate as he remembers the comic strip. Each panel is shown in turn till we get to the final panel and the punchline. Biff lightly chuckles.

BIFF’S DAD
“You think this is funny?”

QUICKLY PAN, LIKE A SNAP, BACK TO LS OF TABLE

BIFF
“what?”

The brother and sister look away.

BIFF’S MOM
“Ricc.”

BIFF’S DAD
“No Debe. He’s laughing and that really bothers me. Does he think it was easy for you to put this food together? For me to find work. How little we have. (turns to Biff) Do you?”

BIFF
“I wasn’t laughing at you. I just remembered a joke.”

BIFF’S DAD
“That’s no excuse. You have your head in the clouds. Are you even capable of thinking of other people? Noticing how they feel, that maybe a laugh would be ill-timed.”

BIFF’S MOM
(to Biff) “Maybe it is best you go to your room now.”

Biff looks around the room. His face starts to scrunch up and he leaves the table.

MS OF BIFF IN THE CENTER OF THE SCREEN. KEEP THE CAMERA ON HIS CHAIR WHILE BIFF GETS UP AND LEAVES.

BIFF’S MOM
“Happy now?”

BIFF’S DAD
“Not really.”

CUT TO…

INT. BIFF’S BEDROOM, EVENING

LS OF ROOM FACING DOOR

The door opens and Biff rushes in. He closes the door behind him and jumps onto his bed. He stuffs his face into his pillow and starts to sob. One of his pillows falls off the bed from the recoil of his landing on the bed.

CUT TO CS OF BIFF

Biff’s sobbing dies down. He looks up to the rock on his bookcase.

BIFF THE RABBIT
“Why do I keep getting in trouble?”

Biff wipes his eyes and starts to straighten up his bed. He looks around for the missing pillow. He leans over the bed and sees it on the ground. As he picks it up he sees a spider on the pillow.

CUT TO CS OF SPIDER
CUT BACK TO CS OF BIFF

BIFF THE RABBIT
“Hey there little cousin. That’s not a safe place for you. Let me help.”

Biff scoops up the spider in his hand.

CUT TO LS OF BIFF’S BEDROOM. FACE THE CAMERA TOWARDS THE AREA BETWEEN THE BED AND WINDOWS, PLACING EACH AT THE EDGES OF THE FRAME, BUT STILL IN VIEW.

Biff gently scoots off the bed and walks over to his window. He opens the window.

CUT TO CS OF BIFF AT WINDOW.

Biff gently sets the spider down outside the window.

CUT TO XCS OF SPIDER CRAWLING OFF BIFF’S HAND

The spider slowly walks off Biff’s hand, testing the ground before fully committing.

THE CAMERA PANS OUT A SMALL BIT. AROUND THE EDGES OF THE FRAME CRYSTAL CAN BE SEEN.

TRANSITION FROM IMAGES IN THE CRYSTAL TO THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

CUT BACK TO CENTRAL LANDING OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

Zoom out a little bit so that we can see the scene in the crystal with the Space Egg watching it unfold. The Space Egg watches its face has a sad, concerned, interested look. A mix of equal parts concern and interest. The High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

FADE OUT

The Great Works Project: Season 05, Episode 06 script – a new script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 06

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-06”. 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

HIGH-STAGE: FARTHEST EDGES OF THE FOREVERCAGE

THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats in the center of the stage. Behind it a background of void and emptiness. From stage-left THE SPACE EGG flies into view. It flies over to the Wardrobe and circles it twice.

THE INNER-SPACE MAN
(off-camera) “What is this?”

THE SPACE EGG
(off-camera) “Don’t know.”

The model of the Space Egg stops circling and hovers off to the stage-left side of The Wardrobe of a Thousand and One Costumes. It turns as if looking into the distance, left, right, up and down.

THE SPACE EGG
(off-camera) “Space ends here as far as my sensors can tell. This is it. The very last thing.”

THE INNER-SPACE MAN
(off-camera) “Nothing else.”

THE SPACE EGG
(off-camera) “Nothing else.”

THE INNER-SPACE MAN
(off-camera) “Well in that leather briefcase, let us find a port of entry in this storm.”

THE SPACE EGG
(off-camera) “Meaning?”

THE INNER-SPACE MAN
(off-camera) “Meaning, like a good meal we are going inside.”

THE SPACE EGG
(off-camera) “Okay.”

A light turns on from the front of the Space Egg model. The light moves over The Wardrobe of a Thousand and One Costumes. As it scans the wooden surface, the doors on the Wardrobe CRACK AND HISS, opening partially. Dry ice-like smoke spills out of the crack.

THE SPACE EGG
(off-camera) “Found something. Going in.”

The Space Egg flies into the space between the doors. The Wardrobe of a Thousand And One Costumes’ doors close with a reverse of the previous CRACK AND HISS.

TRANSITION FROM THE FURTHEST EDGES OF CONCEPTION TO THE ENTRY POINT

The High-stage Curtains close and then reopen revealing…

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

OPEN WITH THE CAMERA IN AN OVERHEAD ANGLED LS OF THE ENTRY POINT

Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center. The Space Egg enters the frame, moving through the crack in the doors. It flies in the open space to one side of the walkway until it reaches the concentric rings.

CUT TO MS OF THE SPACE EGG FLYING ACROSS THE EMPTY SPACE, MOVING PAST THE RAILS OF LIGHTS.

The Space Egg lands on the landing pad area or one of the outer concentric rings. Weak lights click on and up brightening the walkway. Still, the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Down these halls are the individual costumes or frozen pretends. In the center is an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals in hues of blue, red, yellow, orange, green and purple. The lid of the Space Egg opens and the Inner Space Man climbs out.

CUT BACK TO THE REGULAR FRAMING OF THE HIGH-STAGE

THE SPACE EGG
“What is this place.”

THE INNER-SPACE MAN
“I don’t know. Maybe what looks like a wall is actually a window. I am going to look around. You coming?”

THE SPACE EGG
“No way. I’ll stay here.”

THE INNER-SPACE MAN
“Okee dokee artichokee.”

The Inner Space Man walks off. The Space Egg looks around as he leaves. Once he is gone a glow comes from off screen. The Space Egg turns towards the light. The High-stage Curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISCONNECTING FROM THE HIGH-STAGE. IT GLIDES OVER THE CURTAIN OF CLOUDS, DOWN AND DOWN, MOVING OVER THE TOPS OF THE MID-STAGE SETS. IT SETTLES FRAMING THE MID-STAGE.

MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING

The parking lot spreads across the stage flanked by the red brick back corner and some of the back wall of the Junior High along the stage-right of the stage. This area of the parking lot is empty of parking spots, so only one car is visible off to the stage-left side of the stage. The Border Town High School Show Choir, The Sparkling Songbirds, stand waiting for their upcoming performance during the homecoming football game’s half-time. Dressed in silvery blue outfits, they mill about in a large crowd speaking to themselves. The group consists of eleven teens and one teacher: JOHN, EMILY, AMY, SCOTT, LEXICA BOOKMARK, LUNA WITCHESCROWN, THOMAS TEENAGER, SHELLY, KATHY, MATT, RYAN AND MR TRUMPET. Lexica and Luna are conversing about the appeal of Ancient Greek literature and culture. Mr. Trumpet, Scott, and Annie are reviewing the set-list. Ryan, Matt are discussing their post-game plans. John, Emily, Shelly and Kathy are reviewing the small choreography for tonight’s performance. Off to the side of the group, Thomas Teenager paces back and forth, hoping to mask his overwhelming anxiety at a public performance. Arms outstretched he tries to pretend he is somewhere else: someplace relaxing and controllable. As he walks back towards center-stage he moves near Luna Witchescrown and Lexica Bookmark.

LEXICA BOOKMARK
“Sure, everyone picks The Apology, but for myself, the Odyssey is the truest work.”

LUNA WITCHESCROWN
“Antigone if I had to choose.”

LEXICA BOOKMARK
“Interesting. What are its appeals do you feel?”

LUNA WITCHESCROWN
“Now this is purely subjective on my part.”

LEXICA BOOKMARK
“Obviously.”

LUNA WITCHESCROWN
“But something about how Creon is this figure who comes in with this forcefully, almost bludging, authoritarianism. He spends the first part of the play never listening but then realizes he was wrong and spends the other part of the play apologizing. I find that fascinating.”

LEXICA BOOKMARK
“Interesting because that is one of the reasons I like The Odyssey. There is Odysseus just ravished by the Gods for years. Then it shifts, and we have Minerva going “We took it too far and so now we are going to help you to make amends.”

LUNA WITCHESCROWN
“Oh, Minerva. Love her.”

LEXICA BOOKMARK
“She’s is nice, but I am more of an Apollo girl.”

Thomas Teenager walks nearby.

LUNA WITCHESCROWN
“Hey Thomas, who’s your favorite Greek God?”

Thomas pauses, caught off guard by their question. He stumbles and regains his balance.

THOMAS TEENAGER
“Sorry?”

LEXICA BOOKMARK
“Luna and I were discussing Greek myth and we’re curious since you are nearby, who your favorite Greek deity may be.”

THOMAS TEENAGER
“Oh. (pauses to think) Hermes. Not only did he invent the lyre when a baby but he also delivers a nice bouquet of flowers.”

Luna and Lexica giggle.

LUNA WITCHESCROWN
“Well, Lexica, I think we found another person worth talking to.”

LEXICA BOOKMARK
“I do agree.”

They move closer to Thomas as the stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains start to close.

TRANSITION FROM MID-STAGE TO THE HIGH-STAGE

THE CAMERA MOVES INWARD AVOIDING THE CLOSING CURTAINS. IT THEN PANS UPWARD OVER THE MID-STAGE SETS AND TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT MOVES EVER UPWARD UNTIL REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA MOVES INTO POSITION PROPERLY FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-MOUSE steps out dressed in a fancy suit. He has a copy of The Great Works Project Season Five scriptbook in his hands. He opens the book.

CUT TO CS OF Y-MOUSE

Y-MOUSE
“And thus the script read: The High-stage curtains open on a darkened stage. A flashlight pierces the darkness.”

CUT BACK TO FRAMING SHOT

The High-Stage curtains part and open revealing…

HIGH-STAGE: THE JSN CORRIDOR IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The High-stage is completely dark. The Once-way itself is a long corridor with metallic rails and wall struts. Pendant lamps, unlit, hang over the top. A light near the Narrator’s Door flips on illuminating Y-Mouse standing next to the microphone. He has a copy of the script in his hands. Next to him is a floor lamp. He CLICKS it on.

Y-MOUSE
“That’s better. Where was I? (consults the script) Oh yes, darkened hallway. The High-stage curtains open on a darkened stage.”

The High-stage curtains open on a darkened stage. The stage-lights have not turned on. A flashlight beam flicks across the stage.

Y-MOUSE
“As we wait and watch, wondering which unknown realm this could turn out to be, hidden from our eyes so simply, a beam of light flashes out from stage-left. It glides over parts of the area not allowing a full illumination, not allowing that which is hidden in shadow to transmute to that which is in light, but allowing us a start, a glimpse.”

The flashlight beam moves across the stage. We can see bits and pieces of the hallway. It is a hallway of minimal detail. Metallic handrails run along the wall of wide spaced apart metal columns. Unlit pendant lamps hang from the ceiling.

Y-MOUSE
“We may not be able to see the full picture but we start to understand that this may be a location in The Wardrobe of a Thousand and One Costumes. The metaphorical and metaphysical repository of the rabbit boy Biff’s playtimes and pretends. Soon the Inner-Space man enters stage-left, flashlight in hand, curious and maybe even a little cautious.”

The INNER SPACE MAN enters from stage-left with a flashlight. He walks across the stage, looking around. He exits stage-right.

Y-MOUSE
“What more will he find?”

The High-Stage curtains close. Y-Mouse turns, CLICKS OFF his lamp, and exits through the Narrator’s Door. It closes behind him.

PAN IN TO FRAME ONLY THE HIGH-STAGE AREA. CROP OUT THE NARRATOR’S DOOR AND NARRATOR’S ROOST.

The High-Stage curtains reopen.

THE HIGH-STAGE: INT. HANGER JSN1

The High-Stage curtains open. The Node looks similar to the JSway Corridoor with it’s metallic handrail and support beams. The main difference is that every other hanging pendant lamp is lit. The Inner-Space Man enters stage-left with flashlight in hand. He walks onto the stage and looks around, casting the flashlight around the room. He then continues onward exiting stage-right. The High-Stage curtains close behind him. The High-Stage Curtains reopen revealing…

THE HIGH-STAGE: INT. HANGER JSN3

This node has all the same features of the JSN corridor and the other hanger: metallic handrail, metallic struts, and hanging pendant lamps. All the lamps are lit casting the room in a yellowish glow. In the center of the stage sits a pedestal with a tall crystalline chamber. It stands about waist high to the Inner-Space Man and has an irregularly shaped uneven top. Wires lead off from the pedestal to a nearby desk covered in a notepad, a pen, and a small desk lamp. From stage-Right enter two SCUTTLERS, each carrying a chunk of translucent crystal. These crystals look very similar to the Memorystone crystals Y-Mouse has in the case under his couch. The Scuttlers move their trapezoidal form towards the center pedestal. The first Scuttler continues onto the pedestal while the second moves to the desk. The first Scuttler places its crystal piece on top of the large crystal on the platform. They both glow and the larger piece absorbs the the smaller. The glow fades. The first Scuttler crawls down to the floor and exits stage-right. The second Scuttler is atop the desk now. It places the crystal shard it is holding on the notepad. Both glow and the crystal shard is absorbed. The desk changes to look more like a control station from a nuclear power reactor. The top of the desk grows two long brackets that hold film reels. Film runs from the first spool, down into the control panel, and back up to the other reel. A candelabra overloaded with candles is the last to grow up from the desk as the glow starts to subside. The last change, the candelabra’s emergence, knocks the second Scuttler off the desk. It lands on its back. It rocks back and forth, unable to get up. The Inner-Space Man emerges from stage-left, flashlight in hand. He walks out, sees the lights are on, and turns off the flashlight. He then proceeds to look around the Node, examining the center pedestal and its crystal. He then follows the cords running out from the base and over to the control desk. He flips a couple switches and spins the reels, investigating the desk. He then spies the second Scuttler. He bends over and picks it up.

THE INNER-SPACE MAN
“Looks like you could use some of all the help.”

He sets the Scuttler down. The Scuttler starts a reboot and restart cycle.

THE INNER-SPACE MAN
“That should be better, better, best.”

The Inner-Space Man stares at the Scuttler as it reboots.

THE INNER-SPACE MAN
“Not much of a talker are you. Well, hope the rest of your day gooses well.”

The Inner-Space Man turns and exits stage-right. The Scuttler finishes rebooting and looks around for the Inner-Space Man. It makes a reaction like it spies him and then exits stage-right. The High-stage lights turn off to the sound of A COMPUTER BOOTING OFF and then the curtains close.

FADE OUT

The Skipping Stone – a new The Not So Puppet Show script by Thomas Typewriter

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Tract #001

“The Skipping Stone”

By Thomas Typewriter

———–<:type:>———–

FADE IN

Title Sequence plays

FADE OUT
FADE IN

EXT. LAKESIDE, DAYTIME
The front of the stage is the shoreline of a lake. The back of the stage is high grass transitioning into a thick forest. There is a pebble-laden path off to stage left. A fallen log sits on the shoreline.

LS OF THE BEACH

From the path enters THOMAS TYPEWRITER. He walks over to the shoreline and looks out at the water.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “As a child, I grew up close to a river, a short bike from the water’s edge. Something I liked doing was skipping stones. My mind was always too loud and my inner self too large. It all went away as I watched the rocks fly, the waves ripple out.”
As Thomas narrates a piece of background music which is noisy and unpleasant starts to increase in volume. He looks out to the water. When the volume of the cacophony becomes louder than the background sounds of animals and birds, Thomas turns his attention to the shoreline. He scans the beach and finds some rocks. With a flick of his arm, the rock sails out. The background noise stops.

CUT TO LS OF THOMAS ON THE SHORE.

The rock flies out and bounces across the water. It flies towards the camera before sinking under the water. He tosses a second.

CUT TO MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(narration) “Now that I am back here, something occurs to me. Something always occurs to me in those moments when my thoughts slip away, when I no longer feel too big on the inside, too small on the outside.”

CUT TO LS OF THOMAS TYPEWRITER

Thomas tosses another stone.

THOMAS TYPEWRITER
(narration) “ It occurs to me, I am like this stone. I am propelled by some force traveling across a surface making waves until my arc ends and I disappear.”

CUT TO A SHOT OF STONE ENDING ITS FLIGHT AND SLIPPING UNDER THE WATER

CUT TO CS OF THE WAVES FROM THE ROCK SLIPPING UNDER THE WATER SPREADING OUT

THOMAS TYPEWRITER
(narration) “And in my flight across this world, I have an effect. The waves of my effect will continue long after my flight has ended. Yet, they are not infinite. They too will eventually run out and disappear. And as all this unfolds I find myself a bystander watching the waves of my actions rippling out, captivated by the patterns of my life but at the same time unable to find any grand purpose to the whole affair.”

CUT BACK TO CS OF THOMAS’S FACE

CUT TO MS OF THOMAS THROWING A TONE

TRANSITION TO THE WAVE SCREEN SEQUENCE.

FADE TO THE WAVE SCREEN BOARD

The Water Shadow Board is a screen, a transparent water tank, and a set of bright lights. The three elements are arranged in a way that the bright lights project through the water tank onto the screen. The screen is filmed so that the shadow of any object moving across or through the water is cast onto the screen. Additionally, the inference patterns caused by the water in motion or waves across the surface of the water are also cast onto the screen. The camera will be positioned to film the screen and the shadows cast, not the tank of water or bright lights. Those will always remain out of frame.

THOMAS TYPEWRITER
(narration) “What is the measure of my life, of my stone’s throw?”

As Thomas narrates, stones are thrown across the surface of the water in the clear tank creating a shadow pattern on the screen.”

THOMAS TYPEWRITER
(narration) “Is it the number of years I live? The number of seconds I remain in flight? The distance traveled? The size or number of waves?”

The shadow patterns flow out to stop.

THOMAS TYPEWRITER
(narration) “Maybe it is something else.”

INSERT TO CS OF A THROWN ROCK BOUNCING OFF THE WATER’S SURFACE, IN SLOW-MOTION.

SLOW THE SLOW MOTION OF THE ROCK BOUNCING OFF THE WATER UNTIL FREEZING AT THE MOMENT OF IMPACT. THEN PLAY IN REVERSE UNTIL THE ROCK IS BACK IN THOMAS’ HAND

CS OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“The answer is simpler than you would believe. I have no control over the duration of my flight or the waves I make. I have no awareness of my path. All I have is the brief moments of contact with the surface. To me, there is only a lifespan of kisses with the water. I only have control over how I kiss, as in the sweet or bitter things I say at that moment and in turn how I take the sweet or bitter things the water says to me. That is my life and that by extension is your life.”

CUT TO CS OF THOMAS CONTEMPLATING WHAT THE SKIPPING STONE SAID.

THE SKIPPING STONE
(off-camera) “Ahem.”

Thomas looks down.

CUT TO A CLOSE SHOT OF THE ROCK IN THOMAS’ HAND

THE SKIPPING STONE
“Don’t you think it is time we both lived?”

CUT TO THOMAS NODDING HIS HEAD YES.

Thomas throws the rock. It skips out across the water. Thomas stands and watches the waves spread out and eventually disappear. He then pulls out his phone and dials a number. After a few RINGS, it picks up.

THOMAS TYPEWRITER
“Hey, honey. Yeah, I’m feeling better. How about you. How are you doing? I’d like to listen to whatever you have to say.”
Thomas Typewriter exits.

FADE OUT

The Great Works Project: Season 05, Episode 03 – a new script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 03

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-03”. 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

TYPEWRITER ABSTRACT PUPPET STAGE
The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the dark. The TYPEWRITER ABSTRACT PUPPET STAGE materializes in the distance when unseen lamps turn on over it.

PAN IN ON THE TYPEWRITER ABSTACT PUPPET STAGE

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

PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED

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

MID-STAGE: MARY MARCHHARE’S LIVING ROOM
Two sofa chairs sit at a perpendicular angle to each other and each at an angle to the front of the stage. A wide side table with a brass bulbous lamp sits between the chairs. A large window, the window seen from the outside on the front of the house, sits behind the chair on the stage-right side. On the wall behind the stage-left chair a giant clock, shaped to look like a pocket watch on a chain, hangs on the wall. A small painting of an early 20th century race car hangs below the clock. Mary Marchhare sits in the chair on stage-left, fanning herself with a small paper fan she keeps in a drawer in the side table when not in use. Thomas Typewriter sits in the chair on stage-right holding a can of Sparkle Soda, deep in conversation.

THOMAS TYPEWRITER
“So that’s all of it Grandma. The proposal, the unemployment, everything.”

MARY MARCHHARE
“Well of course you can stay here while you figure things out.”

THOMAS TYPEWRITER
“I still do not know what to do about Ophelia. About working with her. For her on her film. Animated short.”

MARY MARCHHARE
“You’ll figure it out.”

THOMAS TYPEWRITER
“Did you ever regret working with Grandpa.”

MARY MARCHHARE
“Sure. All the time. He drove me crazy, but I’d do it again in a heartbeat. Silly as it sounds, I sometimes miss his complaining.”

THOMAS TYPEWRITER
“Really. Like what?”

MARY MARCHHARE
“Oh Thomas, I can still hear him. He’d start yelling “Jinny” Jinny, How I hated that nickname and he knew it. Jinny was another term for a stubborn mule where we grew up. I wasn’t a mule. He was the stubborn one.”

THOMAS TYPEWRITER
“When did you first meet Grandpa.”

MARY MARCHHARE
“Well. He used to run with the kids in the neighborhood. This was back in Rockford. He was living with his Grandparents and I was shipped off to my two aunts before going out south with my Grandparents. So I knew of him then, but we weren’t friends.”

The stage lights dim while Mary Marchhare speaks.

THE CAMERA DETACHES FROM THE MID-STAGE AND PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS AND UP TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CLOUD OF CURTAINS IT REACHES THE HIGH-STAGE. THE CAMERA PANS UP INTO PROPERLY FRAMING THE HIGH-STAGE

HIGH-STAGE: CURTAINS CLOSED

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

HIGH-STAGE: EXT. THE FORE-GROUND THEATRE, DAYTIME
A boarded up theatrical venue lines the back of the stage. Their are four sets of doors, all with boards over them. To each side of the doors are two sets of poster cases. Each is currently empty. Above the doors is a simple marque for hanging style letters but the only thing on there is “CLOSED”. at the top of the marquee is a neon sign reading the following in a slightly stylized cursive script: “the Four-Grounds”. Sitting on the sidewalk in front of the theatre sits ORTHO MERCUTIAN, a cat-lady wearing a disguise of an old-man. Ortho has an open guitar case in front of them and is playing on a guitar for money from passing pedestrians. At this time there are none. Ortho sets down their guitar and stretches. The strings begin to vibrate on their own. Ortho reaches for the strings putting their fingers over the vibrating strings. A spotlight turns on focused on Ortho Mercutian while the stage-lights dim.

ORTHO MERCUTIAN
“No, I am glad you called. How is he? (pause) That is serious. And his friends? (pause) Same boat huh. What’s Solar/Lunar saying? (pause) Does not sound like them. Must be someone else getting involved. If they really go through with that I’ll cover the shortfall. Just heal them up. (pauses) In the meantime, keep me updated. (pause) Thanks, you too.”

Ortho removes their fingers from the guitar. The spot-light turns off and the stage-lights brighten. Ortho picks up the guitar and starts to play. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ALONG THE CURTAIN OF CLOUDS. AS IT DESCENDS THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE

MID-STAGE: INT. MARY MARCHHARE’S FRONT PORCH, DAYTIME
A large window sits center-stage. A front door with small landing and steps sits to the stage-right of the window. The window itself occupies most of the stage, being made of three windows. Two smaller windows with screens sandwich buttress a large picture window. The porch lite turns right before the front door opens. THOMAS TYPEWRITER steps out onto the landing. MARY MARCHHARE follows him into the doorway. He turns and gives her a hug.

THOMAS TYPEWRITER
“Thanks again Grandma. Love you.”

Thomas steps away from Mary.

MARY MARCHHARE
“No problem. It’d be nice having another person in the house again.”

THOMAS TYPEWRITER
“So, I’ll be back tomorrow with the first of my stuff.”

MARY MARCHHARE
“Great. I’ll make dinner to celebrate.”

THOMAS TYPEWRITER
“Awesome. What are you thinking about making?”

MARY MARCHHARE
“Cacciatore. Maybe some bread.”

THOMAS TYPEWRITER
“Sounds great. Okay, I’ll see you tomorrow.”

Thomas walks stage-left down off the front porch and out of stage/frame. Mary Marchhare watches from the doorway. Once Thomas is out of frame, she waves goodbye and then closes the door. The stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF while the Mid-Stage curtains close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

INT. WRITER’S ROOM. LATE AT NIGHT
Z-MOUSE sits at the end of the table in the Writer’s Room. He leans over his floating cloud chair, head propped on an arm. His other arm is stretched out to the desk attempting to take notes. His writing slows and eventually halts, as his head nods forward.

OPEN INITIALLY IN A SOFT FOCUS MS OF Z-MOUSE AS HE TRIES TO STAY AWAKE.

He attempts to stay awake but sleep’s siren call is too loud.

SHIFT BETWEEN IN-FOCUS AND OUT-OF-FOCUS ON THE SHOT OF Z-MOUSE. AS HE STARTS TO FALL ASLEEP, GO OUT-OF-FOCUS. THEN WHEN HE CATCHES HIMSELF NODDING OFF AND TRIES TO STAY AWAKE PULL BACK INTO FOCUS.

Z-Mouse drops his pencil, pulls in his arm and rests his head down. Soon he is fast asleep.

ZOOM OUT TO A MS OF Z-MOUSE WHILE BRINGING INTO CLEAR FOCUS. THE CAMERA DETACHES FROM Z-MOUSE AND ROTATES TO LOOK AT THE DOOR BEHIND HIM. IT MOVES TOWARDS AND THROUGH THE DOOR.

TRANSITION FROM THE WRITER’S ROOM TO THE ALPHABET STAIRWELL

INT. ALPHABET STAIRWELL. LATE AT NIGHT
A small rectangular landing, the top level of the Alphabet Stairwell opens out to the night. Glass windows line the far left wall and part of the opposing wall. A stairwell flanked by yellow railing sits directly in front of the door to the Writer’s Room. The left, behind and opposite wall are a mixture of concrete and brick. The right wall is a cascade of striation, as if the stairwell was chiselled out of a mountain. The area over the stairwell and Writer’s Room door is brightly illuminated. The area by the natural rock wall is not as brightly lit, instead softly illuminated by one wall sconce. Next to the sconce, a door bearing the letter Y in golden script is built into the rock face.

THE CAMERA MOVES THROUGH THE DOOR AND ONTO THE LANDING. IT LOOKS LEFT AND THEN RIGHT “SPOTTING” THE Y DOOR AT THE OTHER END OF THE LANDING. THE CAMERA GOES THROUGH THIS DOOR.

INT. Y-STAIRS. LATE AT NIGHT
Behind the door we find a small stairwell. Decorated with walls of deep green and deep natural wood tones, the stairwell seems to ascend seven floors. Small windows are placed alternately. At the top of the stairs is a small landing. At the end of the landing is the green door for Y-Apartment. A doormat, with the words “Y Knot” welcomes guests, as does the potted plant in the corner.

THE CAMERA PANS UP THE STAIRS. AT THE TOP OF THE STAIRS IT GOES THROUGH THE DOOR AND INTO THE APARTMENT.
TRANSITION FROM THE Y-STAIRS TO THE Y-APARTMENT

INT. Y-APARTMENT. LATE AT NIGHT.
Y-Apartment has a small front entryway, with a small table and small bowl on top for keys and mail. Coat hooks and an umbrella stand sit on the wall near the door. The entryway leads to a large open room. This is the Living Room/Dining Room area. A counter top and floating cabinets divide the two areas from each other. The Living Room area has rattan furniture and nautical themed decorations. The Dining Area has a small stove, fridge, sink and table set to the side. Green and yellow dishes can be seen in the open areas of the floating cabinets. A second hallway, leading to the bedroom and bathroom, branches off from the Living Room area and shares a wall with the entryway. Glass sliding doors flank one side of the Living Room leading to the patio deck. On the opposite wall is a very heavy ornately carved door that seems out of place with the rest of the apartment.

THE CAMERA MOVES THROUGH THE ENTRYWAY INTO THE DINING AREA/LIVING ROOM. IT SCANS THE ROOM AND THEN MOVES TOWARDS THE HEAVY ORNATE DOOR. THE DOOR STARTS TO OPEN AS THE CAMERA APPROACHES. THE CAMERA CONTINUES TO MOVE TOWARDS AND THROUGH THE DOOR BUT IT POINTS INTO THE ROOM, GENERATING A FEELING OF MOVING BACKWARDS.

From under the couch we can see different colored lights blinking.

TRANSITION FROM Y-APARTMENT TO THE HIGH-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA CONTINUES PANNING BACKWARDS AND MOVES OUT OF THE Y-APARTMENT AND OUT THROUGH THE NARRATOR’S DOOR OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA PANS OVER TILL PROPERLY FRAMING HIGH-STAGE.

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

HIGH-STAGE: INT. ROOM 304 OF THE MEDICALSHIP THE FLUTE
Three Medi-pods sit across the stage. The lights atop their ovid forms blink softly, growing brighter as those interned inside awaken. The stage-right side of the room we see a large wall-size vid-screen. To the stage-left side of the room we can see a large window looking out on the space outside. Lights twinkle in the distance. Lights dance in the distance. Between the stage-left and center Medi-pod stands the bathroom door. Between the center and stage-right Medi-pod stands the entry door to the room. PANACEA FLAUTO stands in the doorway, Med-scanner in hand.

PANACEA FLAUTO
“Morning gentlemen.. How’s everyone feeling today.”

LUCIDO OBSIDIAN
“Heavy. Weightless. Confused.”

PANACEA FLAUTO
“To be expected. Normal Medi-pod reaction.”

She moves over to the other Medi-pods, knocking gently on each as she rouses each occupant.

PANACEA FLAUTO
“Cedar. Carro. Wakey-wakey.”

LUCIDO OBSIDIAN
“Are we getting out of these things today.”

PANACEA FLAUTO
(Chuckles) “Heavens no. You’re not even close.”

CEDAR WAXWINGS
(groggily) “Where am I.”

PANACEA FLAUTO
“You’re in the hospital.”

CARRO
“Where are we.”

LUCIDO OBSIDIAN
“We’re in that hospital ship.”

CARRO
“But what about our ship?”

CEDAR WAXWINGS
“Why can’t I move?”

Panacea presses a button on her medical device. On each of the Medi-pods, one of the three lights shifts in color from green to pale blue.

PANACEA FLAUTO
“Everyone feeling calmer?”

CARRO, CEDAR WAXWINGS, AND LUCIDO OBSIDIAN
“Yes.”

PANACEA FLAUTO
“Good. Now if you could follow me, you have an appointment. I’ll answer your questions on the way.”

The Medi-pods roll around the room awkwardly, bumping into each other.

CEDAR WAXWINGS
“Watch it.”

LUCIDO OBSIDIAN
“Sorry.”

PANACEA FLAUTO
“No, just try to imagine walking. The Medi-pod is designed to respond to your thoughts.”

CARRO
“What’s walking? Does it involve legs.”

CEDAR WAXWINGS
“Of course it does.”

PANACEA FLAUTO
(to self) “I can see this is not going to work. Time for plan B.”

Panacea steps to the side of the room and pulls out her scanner. She holds down a button. The three lights atop each of the Medi-pods begin to blink randomly, then they blink three times in unison. The Medi-pods stop moving.

PANACEA FLAUTO
“Gentlemen, since you are having problems, let me help. I’ll guide your Medi-pods to the appointment.”

CEDAR WAXWINGS
“But I wanted to do it myself.”

Panacea presses a different button on her scanner and one of the three lights atop the Medi-pods turns blue.

CEDAR WAXWINGS
“But, that’s cool that you want to help.”

Panacea presses the wand of her scanner onto the scanner pad, using it as a control stick to direct the Medi-pods. She drives them in a single file line out of the room, following behind the last one. She flips off the room light as she walks out the door. The stage lights turn off as she flips the light switch. The sound of A COMPUTER BOOTING OFF can be heard. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETATCHES FROM FRAMING THE HIGH-STAGE. IT PANS DOWNWARD MOVING ACROSS THE CURTAIN OF CLOUDS. DOWN IT GOES AND SOON THE TOPS OF THE MID-STAGE SETS POKE INTO VIEW. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. MARY MARCHHARE’S LIVING ROOM WINDOW. DAYTIME
The main window for Mary Marchhare’s house sits center stage. A large window with two smaller windows on either side framed by a wide white trim. Through the window we can see MARY MARCHHARE sitting in her living room chair watching daytime television. The background noise of DAYTIME TELEVISION can be heard. She fans herself with a paper hand fan and wipes away a bead of sweat with a crumpled tissue in her other hand. A glass of water sits on the coffee table to her side. She alternates between taking a sip of water and wiping her forehead with the tissue all the while fanning herself. The sound of TIRES ON GRAVEL sings out from off-stage. ALICE, Mary Marchhare’s pet Boston Terrier, jumps at the window barking. Mary notices the dog barking and gets up. She ushers the dog out of view, placing her in a pet crate behind her chair. As she is out of sight, THOMAS TYPEWRITER enters stage-left, walks past the bottom of the window, and exits stage-right. From off-stage we hear A DOORBELL.

MARY MARCHHARE
(off-stage ) “Coming.”

A DOOR OPENS.

MARY MARCHHARE
(off-stage) “Thomas!”

THOMAS TYPEWRITER
(off-stage) “Hi Grandma.”

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

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 01

a prologue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-01”. 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: “a prologue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

EXT. THE UNDOCUMENTED SPACE, OUTSIDE UNROOM NOT.SEVEN

OPEN AND HOLD ON A CS OF A SCRIPTBOOK FOR THE GREAT WORKS PROJECT. IT IS OPEN TO THE SCRIPT FOR SEASON THREE, EPISODE 10

GRIGIO COLORI
(off-screen) “So that’s where my scriptbook went.”

CUT TO POV OF THE OUTER ONE, WHO WAS READING THE SCRIPTBOOK, TURNING AND LOOKING UP AT GRIGIO.

The Outer One is leaning against a partial wall coming from the doorframe for a pair of double doors in the midst of the greyness of the Undocumented Space. There is an unseen light illuminating the double doors while the rest of the area has a foggy ambient light with patches of darkness in the distant. Each door has in a golden script “7” written on it denoting them as the doors to the Unroom Not.Seven.

THE OUTER ONE
“Oh, sorry about that.”

GRIGIO COLORI
“No problem. Here let me help you up.”

The Outer One reaches with their left hand, keeping the glitching right hand to hold the scriptbook. Grigio grips their hand and pulls the Outer One to a standing position.

GRIGIO COLORI
“So, you into Thomas Typewriter too.”

THE OUTER ONE
“Yeah. I was down here hoping to study his works.”

GRIGIO COLORI
“Yeah, me too. I find they give me a “unique” perspective on my life.”

THE OUTER ONE
“Would that have anything to do with you being a character in his stories.”

GRIGIO COLORI
“Potentially. Names Grigio.”

THE OUTER ONE
“Hello Grigio. (hands the scriptbook) I guess you’ll be wanting this back.”

GRIGIO COLORI
“Just for a moment, I wanted to look up something real quick. May I?”

THE OUTER ONE
“Sure.”

Grigio reaches for the scriptbook.

GRIGIO COLORI
“Which Alphabet Mouse was the sleepy…(grabs Outer One’s right hand hand What happened to your hand.”

THE OUTER ONE
“Stuck it somewhere I wasn’t supposed to. Got glitched.”

GRIGIO COLORI
“Does it hurt.”

THE OUTER ONE
“No, not really. More irritating than anything else. Banned from the Unrooms though. Didn’t think they were monitored. Stuck out here.”

GRIGIO COLORI
“That sucks. Anything you can do to fix it.”

THE OUTER ONE
“Maybe. There might be something.”

GIGRIO COLORI
“So you going to try?”

THE OUTER ONE
“Not sure.”

GRIGIO COLORI
“If you’re worried about doing it alone, you won’t have.”

THE OUTER ONE
“Really? Don’t you have some role to play in the plot.”

GRIGIO COLORI
“Yes, but the narrative will fix itself. It’s not like some other character could make that delivery. I got a feeling about you, a good feeling, and want to help.”

Grigio holds out his hand for the Outer One in a sign of friendship and help. The Outer One takes a moment to look, to understand the gesture Grigio offers him. A moment of internal debate plays out inside the Outer One before they ultimately accept Grigio’s help.

THE OUTER ONE
“Yes.”

GRIGIO COLORI
“Okay so where to now.”

THE OUTER ONE
“We need to find a sword in the haystacks.”

GRIGIO COLORI
“What?”

THE OUTER ONE
“It’ll make more sense when we get there.”

GRIGIO COLORI
“Lead the way.”

The pair exit the scene.

THE CAMERA SHIFTS FROM POV TO THIRD PERSON. IT DETACHES FROM THE OUTER ONE’S VIEWPOINT AND WATCHES AS THEY AND GRIGIO WALK AWAY. AS THEY MOVE AWAY IT PANS LEFT AND BACKWARDS TO THE DOOR TO THE UNROOM NOT.SEVEN.

As The Outer One and Grigio Colori walk away we hear bits of their conversation fading away.

THE OUTER ONE
“So you in the habit of leaving the play to help an audience member?”

GRIGIO COLORI
“No, first time. How about you? You break a body part on a work of fiction before?”

THE OUTER ONE
“Nope. First time.”

GRIGIO COLORI
“Well, they say there is a first time for everything.”

THE OUTER ONE
“Also a last time.”

GRIGIO COLORI
“We might be getting ahead of ourselves there.”

THE OUTER ONE
“Too true.”

TRANSITION FROM THE UNDOCUMENTED SPACE TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA ROTATES AND PANS THROUGH THE DOOR TO THE UNROOM NOT.SEVEN

The TYPEWRITER ABSTRACT PUPPET STAGE sits in the center of the Unroom Not.Seven. The lights in the Unroom are at a dim setting. The sound of TYPEWRITER KEYS CLICK CLACKING chimes out from somewhere within the Typewriter Abstract Puppet Stage.

PAN IN ON TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

The Mid-Stage curtains part revealing an empty stage. The Curtain of Clouds that lines the back of the Mid-stage is the only

BACK-STAGE: THE CONCURRENT DISTANCES, SPECIFICALLY DOWNDREAM

The stage is dark, only illuminated by a soft pale blue light. A gentle fog rolls across the bottom of the stage. A few DREAM-BUBBLES emerge from stage-right and slowly drift across the stage exiting stage-left. After they leave, a YUCK-BUBBLE enters from stage-left and erratically drifts across the stage. THE MOTHER rushes on stage from stage-left in pursuit. The Yuck-bubble picks up its pace. She quickly closes the gap and starts to try to catch it. It manages to elude her grasp a few times, the two of them tumbling and bouncing around the center stage area, before ultimately she nabs him. Ensnares it. The Yuck-bubble struggles to get loose, struggles against her grip.

THE MOTHER
“Hush now, it is going to be okay. Calm now. Shh. It’s going to be alright.Shh.”

The Yuck-bubble starts to calm down as she coos to it. Finally it stops struggling.

THE MOTHER
“There. There. Much better. See no harm is going to come to you.”

She leans over and kisses the Yuck-bubble on the top of its form.

THE MOTHER
“I am sorry you felt hurt. I am sorry you felt damaged. Felt incomplete. You are very special. I want you to know that. Very special to me and many others. Thank you for coming into my life. Thank you for existing.”

As The Mother leans up we see that the Yuck-Bubble has changed back to into a Dream-Bubble. She lets go of it and the new Dream-bubble drifts up and away, exiting stage-left. The Mother watches it leave, waving goodbye. After it exits, the Mother coughs. She then coughs harder, doubling over, caught in a coughing fit. When she stops we can see blood on her hands where she had covered her mouth. Some blood tinges the corner of her mouth.

CUT TO CS OF THE MOTHER’S HANDS WITH BLOOD ON THEM

CUT TO CS OF MOTHER’S REACTION

CUT BACK TO FRAMING SHOT OF THE BACK-STAGE

THE MOTHER
“Oh no.”

She then starts coughing again and falls over, disappearing into the fog

THE CAMERA PANS OUTWARD AND OUT FROM THE BACK-STAGE

TRANSITION FROM BACK-STAGE TO THE MID-STAGE

The Curtain of Clouds closes.

CAMERA PANS BACKWARDS OUT FROM THE MID-STAGE

The Mid-stage curtains close.

THE CAMERA CONTINUES TO PAN AWAY FROM THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 12

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-12”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT
FADE IN

INT. THE DEEPEST HALLWAY

LS OF THE DEEPEST HALLWAY FROM OUTSIDE B-MOUSE’S OFFICE DOOR

A long wood grain beige hallway, the Deepest level contains a series of frosted glass widows and doors to the various Alphabet Mice’s offices. The other side of the hallway is illuminated by wall sconces and also contains a water fountain and two vending machines. One of the vending machines is for Satelite Soda while the other is for various candies and bagged snacks such as Wowies, Tip Chips, Zappers, and Cheesy Weezys. B-Mouse’s office is in the center of the hallway across from the water fountain and vending machines. Both ends of the hallway have a set of double doors leading to stairwells connected to the other levels. The door opens and out steps B-MOUSE busily scribbling notes into a small notepad. He pauses writing to reach inside and turn off the office’s lights. He shuts the office door and finishes his note. Down the hall N-MOUSE exits his office. B-Mouse looks up from his notes and waves. M-MOUSE leaves his office at the end of the hallway while B-Mouse and N-Mouse are waving. He closes the door and leans against the wall. B-Mouse and N-Mouse walks towards M-Mouse.

PAN DOWN HALLWAY FOLLOWING B-MOUSE

N-Mouse and B-Mouse stand by M-Mouse.

M-MOUSE
“You guys ready for this meeting.”

N-MOUSE
“Yup.”

B-MOUSE
“Yup.”

CUT BETWEEN CS OF EACH SPEAKER AS EACH SPEAKS

M-MOUSE
“What do you think the meeting will be about.”

N-MOUSE
“Writer’s block if anything like before.”

M-MOUSE
“Remember those all-nighters we’d pull when Thomas was in high school.”

B-MOUSE
“I remember how we still didn’t finish a single essay.”

N-MOUSE
“What about that Mutant Cat story.”

M-MOUSE
“Stumpy the Mutant Cat?”

N-MOUSE
“Yeah. I thought that was the one essay we finished?

B-MOUSE
“Nope. Stumpy was in the middle of talking to the pickles in Pickle Heaven when the story stopped. Like mid-sentence. Thomas said screw it and turned it in anyway.”

M-MOUSE
“Did we every finish anything.”

N-MOUSE
“Those scripts that no studio wanted.”

B-MOUSE
“Can you blame them. The spy who had to gain weight so there was enough mass to duplicate him.”

N-MOUSE
“Yeesh. That one was bad.”

M-MOUSE
“Or how about Thomas Typewriter: World’s Worst Stuntman.”

N-MOUSE
“Yeah, he was pretty desperate and frustrated by the time he wrote that one.”

CUT BACK TO LS OF THE GROUP FROM DOWN THE HALLWAY.

C-MOUSE and K-MOUSE exit from C-Mouse’s office. V-MOUSE exits his office. The two sets of Alphabet Mice wave at each other. C-Mouse, K-Mouse and V-Mouse walk down the hallway joining N-Mouse, M-MOUSE, and B-Mouse.

B-MOUSE
“You guys ready for the meeting?”

C-MOUSE
“Is anybody?”

They chuckle.

C-MOUSE
“Seriously, if things have reached the point we are pulling an all-nighter, the problems are bigger than one cram session.”

K-MOUSE
“True.”

The others nod in agreement. They start walking through the doorway to the stairwell.

CUT TO

INT. CTRL-SHIFT-ENTER STAIRWELL, EVENING

THE CAMERA PANS FROM WALKING ALONGSIDE THE GROUP TO FOLLOWING BEHIND THEM AS THEY PASS THROUGH THE DOOR.

A tall stairwell with three walls of cement and one wall of striated stone, as if the stairwell was cut into the side of mountain or large rock and part of the rock was left bare. The rock wall sits opposite the doors stairwell doors. Round globe lights posted on every landing. The stairs run up the center, rails of metal, moving from dark red at the bottom through the spectrum to pale violet at the top. Moving from dark violet to pale red at the top. The stairwell uses a fairly standard stairs up to a landing halfway between the floors then snaking to the other side to walk up to the next floor. N-Mouse, M-Mouse, B-Mouse, V-Mouse K-Mouse and C-Mouse start to climb the stairs. The sound of DOORS OPENING AND CLOSING click out. X-MOUSE walks to the stairwell pulling on a rope tied to something trailing behind him.

X-MOUSE
“Hey guys, hold up.”

X-Mouse starts to climb up the stairs. What he is pulling comes into view. The other end of the rope is tied to a floating cloud. Z-MOUSE is asleep on the cloud.

C-MOUSE
“You got stuck hauling Zees?”

X-MOUSE
“Not like any of you were volunteering.”

N-MOUSE
“Sorry about that.”

M-MOUSE
“Yeah. We’ll get him next time.”

The group ascend the stairs moving from The Deepest or bottom floor to the Deeper or second floor. S-MOUSE, D-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, J-MOUSE, K-MOUSE, and L-MOUSE exit the Deeper’s stairwell to join the group. The larger group continues up the stairwell to the landing for the Deep or the third floor. Q-MOUSE, W-MOUSE, R-MOUSE, T-MOUSE, Y-MOUSE, U-MOUSE, I-MOUSE, O-MOUSE, and P-MOUSE exit the stairwell doors and join the group. The assembled mass continues up the stairs to a set of doors for the Numetarium or fourth floor. The stairwell opens to a landing larger than the previous landings. The stairwell going upward shrinks to a single person stairwell behind a metal screen. If one continued upward they would end up in the Y-Apartment. The door to the Numetarium is covered in numbers and formulas in a fun and whimsical way. The group opens the doors and walks through.

INT. THE NUMETARIUM

XLS OF THE GROUP AS THEY PASS THROUGH THE DOORS OF THE STAIRWELL ON THE STAGE-LEFT TO THE THE DOUBLE DOORS JUST OFF CENTER.

The Numetarium appears like a planetarium, with sloped rows of reclining chairs situated around a projector in the center. Across the domes ceiling various planets and their rotations are being projected, only the planets are circular centers with numbers from 0 to 9 in the center. Then each planet has a set of rings orbiting it. Each ring has a number os sides equal to the number in the planetoid center while their are a number of rings equal to the number in the center. Zero has no rings. One has a single circle. Two has two convex lenses spiraling around it. Three has three triangles spinning around it. Four has four squares…etc
In the controls of the projector sits #-MOUSE. He is writing figures in a book, when the crowd walks in. He notices them, watches them exit, dogears the page before closing the notebook, and stands to join them. #-Mouse leaves through the central exit doors.

CUT TO

INT. WRITER’S ROOM EVENING

A long meeting room decorated in light brown wood tones. An elongated hexagon of a table fills the center of the room. The entry doors for the Control-Shift-Enter Stairwell are a set of double doors opposite one of the tables short sides. The entry doors from the Control-Shift-Tab Stairwell are on the opposite side of the room. The longer sides of the room hold a series of cabinets and wooden paneling on one side and a series of large windows behind thick curtains on the other. When looking at the windows, the Control-Shift-Enter Stairwell doors are to the left and the Control-Shift-Tab Stairwell door is to the right. Each corner of the room holds a large potted plant and a trash can. The room is illuminated from three rows of pendant lamps. The light switches are next to the entrance doors.

LS OF ROOM FROM OPPOSITE THE DOORS, LOOKING AT SIDE OF THE ROOM WITH THE DOORS.

Y-MOUSE is already standing at the head of the table nearest the doors.

Y-MOUSE
“Come in. We’ll get get started once everyone is seated.”

Q-Mouse, W-Mouse, R-MOUSE, T-MOUSE, U, MOUSE, I MOUSE, O-MOUSE, and P-MOUSE are already sitting down at the table. S-MOUSE, D-MOUSE, F-MOUSE, G-MOUSE and H-MOUSE are near their respective chairs. J-MOUSE, K-MOUSE, L-MOUSE, C-MOUSE, and K-MOUSE walk over to their chairs. V-MOUSE, B-MOUSE, N-MOUSE, and M-MOUSE emerge through the double doors followed by X-MOUSE and #-MOUSE. The pair help direct Z-MOUSE on his floating cloud, asleep, through the door and over to his chair before sitting down in their chairs. Once everyone is sitting down, Y-Mouse addresses the group.

CUT TO MS OF Y-MOUSE

Y-MOUSE
“Thank you everyone for coming out at such a short notice. I know you prefer we schedule these cram sessions ahead of time, but I think circumstances warrant it. A-Mouse and E-Mouse were suppose to be back with food for everyone. They’re not and I am sorry for that. We’ll order some take-away later, but lets get started for now and get a little work done before taking a break.”

Y-MOUSE reaches down and flips a switch in a hidden compartment in his desk or he presses down and up pops one of those 60’s style control consoles. He presses a button.

CUT TO LS OF WALL ALONGSIDE LONG SIDE OF ROOM

A panel on the wall slides up revealing a large board for writing on. Y-Mouse walks over to the board and writes “Thomas?”. He then turns to the group.

CUT TO MS OF Y-MOUSE

Y-MOUSE
“When we last saw Thomas, he claimed he was fine. But was he really? Losing all his script options coupled with the stress of getting married has him rattled. He tends to cling onto bad experiences like awards in a trophy case.”

L-MOUSE
“I’ll say.”

Everyone laughs at that.

Y-MOUSE
“So he is most likely going to interpret these events as failures instead of parts of a process and let his creativity dry up.”

K-MOUSE
“Why does he blame himself. Its not his fault. Every writer has moments when the craft is good and moments when the craft is bad.”

Y-MOUSE
“Yes, but he does not know that yet. That part of his life is not written yet.”

L-MOUSE
“Okay, so how do we help then.”

Y-MOUSE
“Short term, we can try to get ahead of things on these plot holes we’ve noticed last meeting. Long term, those of you working on side projects, keep working on them. It is not important that we get finished projects right now. What is important is we keep that joy and excitement alive until Thomas is ready again. “

Everyone agrees.

CUT TO CS OF EACH ALPHABET MOUSE AS THEY SPEAK

Y-MOUSE
“Okay. So what were some of the plot holes or unanswered questions?”

D-MOUSE
“The lost astronaut from the commercial.”

Y-MOUSE
“Right”

Y-Mouse starts to write it down on the board when the writer room doors burst open. A-Mouse and E-Mouse are each wheeled in on medical stretchers. Each one has a pile of food bags on their chest. Also a SCRIPT DOCTOR is pushing them in.

E-MOUSE
“Did somebody order some food”

ALPHABET MICE
“Food!”

Y-MOUSE
“Are you two okay?”

E-MOUSE
“Had a little trouble that required medical intervention, but we made it.”

A-MOUSE
“We would of been here sooner but the ambulance rang over some glass in the road and got a flat tire.”

E-MOUSE
“Everyone come and get it.”

CUT TO LS OF THE WRITER’S ROOM

The Alphabet Mice get up and walk over to A-Mouse and E-Mouse. The food is moved to the cabinet tops by B-Mouse and X-Mouse. The Script Doctors wheel A-Mouse and E-Mouse over to their respective spots at the Writer’s Table.

PAN OUT

FADE TO BLACK

a new script: The Great Works Project: Season 04, Episode 11 by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 11

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-11”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

INT. B-MOUSE’S OFFICE, EVENING

LS OF B-MOUSE DOWN THE END OF THE AISLE

B-Mouse sits at a simple semi-circular writers desk in the center of his office. Stacks of blank notebooks sit to the side of the desk. He has one open, pen in hand ready to write. Rows of bookcases line the room on either side of his desk. His desk is set up in a center aisle made from the rows of book cases. The bookcases are filled with alternating rows of books and banker boxes. At the back of the center aisle is visible the door to B-Mouse’s apartment. On the door hangs a motivational poster of a giant book smashing through the middle of a brick building with the caption “Books break bricks.”

CUT TO A MS OF B-MOUSE

B-MOUSE
(thinking out loud) “In a time past. Past times. No. At the edge of a town called Smokestacks. No. Outside the town of smoke and bricks, of crowds and distraction. Not right. A witch in a town of magic.”

B-Mouse makes a wrinkled face like smelling something bad. He scribbles in his notepad.

B-MOUSE
(to self) “Outside a town of smoke and ash, whose numerous citizens call the Smokestacks, outside the shadow of the mountains made from a time past not all who escape the city seek a better life. No. How about in the cursed woods outside…nope that is just as bad.”

He stands and paces the center aisle. Back and forth. Back and forth. Back and forth. Then he pauses. Something on a shelf has caught his eye. He walks to the shelves towards the back, the back stacks, and out of sight.

CUT TO MS OF ONE OF THE SECTIONS IN THE BACK STACKS

B-Mouse walks in from stage-left. He walks over to a shelf and pulls out from a shelf of books and binders a neon splatter paint decorated trapper keeper. He opens it and peruses its contents.

B-MOUSE
“Nope.”

He puts back the trapper keeper. He grabs another from the shelf and starts to read the handwritten pages inside.

B-MOUSE
“Nope.”

He closes and re-shelves the trapper keeper. Then he spies a box on the shelf above. A simple cardboard box, with an overlapping top flap design. On one side, written in a marker with a poor penmanship is the word “Amosha”.

B-MOUSE
“What do we have here. Another relic from Thomas’ stupid years?”

B-Mouse pulls the box down. As he does, an unseen pamphlet for babysitting sitting on the top of the box falls down. B-Mouse opens the box. He shifts through the contents of the box, looking at the various index cards of juvenile drawings of anthropomorphic fantasy creatures. A few of the card he looks through include Rabbitfrog, Hand Dragon, Calibre, Eelectric, Horse Eel, Rook and Geo Wizard.

B-MOUSE
“Maybe.”

As B-Mouse considers the characters on the cards an announcement rings out over the speakers in the hallway.

Y-MOUSE
(over speaker system) “Hey everyone, lets start the emergency meeting. If you could come up to the Writer’s Room. This will probably last all night, so A-Mouse & E-Mouse should be back with the food soon.”
B-Mouse closes the box. He notices the pamphlet on the floor and picks it up.

B-MOUSE
“Now, where did this come from?”

B-Mouse reads over the pamphlet.

B-MOUSE
“We’ve never really ever done any babysitter stories. I wonder why? Probably because Thomas never babysat. (pauses) Oh wait, he was always babysitting his younger brother. (pauses) So why haven’t we written a babysitter story yet? (pauses) Maybe it’s time.”

B-Mouse holds the Amosha box one hand and the Babysitting pamphlet in the other.

CUT TO SHOT OF HIS HANDS

B-MOUSE
(moving the Amosha box closer) “But on the other hand wizards and magic are pretty cool.” (moves the Babysitter pamphlet forward in emphasis) “Yet, babysitting is something new. What to work on. Babysitter? Magic? Babysitter? Magic…”

B-Mouse moves the box so it is touching the pamphlet.

B-MOUSE
“Magic babysitter?”

CUT BACK

B-Mouse is thinking, nodding his head as the idea starts to take form.

B-MOUSE
“But we need to make it different than any of those Nanny or Poppins stories. Got to put a unique spin on it, or at least do the opposite.”

B-Mouse starts slowly walking to his desk thinking out loud.

B-MOUSE
“Okay. Lets see. Previous stories had a normal person get a magical babysitter to help. They also had kids were more out of control than evil. Okay B-Mouse, think. Think. Creativity is merely taking what exists and twisting. It is all merely a bunch of parts that can be removed and resized. Think. What can we flip. Okay. What if the kids actually were evil. Or the parents have magic but the babysitter does not. Or what if the babysitter never left. Hmm. Those are interesting. Better jot them down.”

He sets the box and pamphlet on the desk. Reaching into the top drawer he pulls out a pen and notebook. He starts jotting down ideas. He walks up the aisle towards the camera. He turns and walks off-stage stage-right. The office DOOR OPENS as he exits the office. The lights turn off. The DOOR CLOSES.

FADE OUT

a new script: “The Great Works Project: Season 04, Episode 10” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 10

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-10”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

EXT. HIGHWAY X, DAWN
Highway X flows across a changing landscape. Vast fields of flowers and cropland give way to suburban cityscapes. The Dionysian transitions to the Apollyon. The outer edges of THE DREAM CITY manifest as a mélange of multi-story brick apartments and cathedral crowned bungalows. The E-MOBILE enters the frame driving, alone, on one side of the road. A steady stream of pastel hued cars from all different eras drive the opposite direction on the other side of Highway X.

A-MOUSE
“Must be near wake-up.”

E-MOUSE
“Must be.”

A-MOUSE
“Will Mall X still be open?”

E-MOUSE
“Oh, I’ll get us there on time. Don’t worry about that.”

E-Mouse drives faster turning at an intersection. She drives down a side street to the rounded outer lanes surrounding the Mall X. She takes the corners fast and tight, the E-Mobile threatening to tip as the wheels leave the ground only to jam back down as it swerves a new direction.

INSERT SHOTS OF E-MOUSE DRIVING AND A-MOUSE HOLDING ON BEING WHIPPED AROUND IN THE CAR.

A-MOUSE
“Over there. An entrance!”

CUT TO MS OF ENTRANCE

CUT BACK TO TRACKING SHOT OF E-MOBILE

E-MOUSE drives towards it. She turns into the parking area of the main entrance. A rogue shopping cart sits at the end of the lane. She pulls her emergency brake and spins so the tail of the E-mobile hits the shopping cart, sending it rolling breakneck towards the front door.

CUT TO CS OF EMERGENCY BRAKE BEING PULLED

CUT TO MS OF E-MOBILE SPINNING

CUT TO CS OF IMPACT WITH CART

CUT TO MS OF SHOPPING CART SPINNING OFF

CUT TO TRACKING SHOT OF E-MOBILE AND THE SHOPPING CART

She then corrects her spin and races up the lane, just behind the shopping cart.

CUT TO MS OF A-MOUSE AND E-MOUSE

E-MOUSE
“You got the list.”

A-MOUSE
“Yes. Uh, don’t you think we should park.”

E-MOUSE
“I think you should put the list somewhere real secure and be ready.”

A-MOUSE
“Ready for what?”

CUT BACK TO TRACKING SHOT

The Shopping cart hits the curb and pops into the air. E-Mouse spins the wheel of her car. As the car spins, A-Mouse’s door flips open. E-Mouse presses the release on her seat belt.

CUT TO CS OF E-MOUSE

E-MOUSE
“This!”

CUT TO FOLLOWING A-MOUSE

A-Mouse flies out of the car and lands in the shopping cart. She races towards the doors of Mall X.

TRANSITION FROM OUTSIDE MALL X TO INSIDE MALL X

INT. SOUTH ENTRANCE OF MALL X, DAYBREAK

MS OF SPACE BETWEEN THE INNER DOORS AND OUTER DOORS

The South Entrance of Mall X is a double set of four doors. The inner set of four doors leads to the south hallway of Mall X. That particular portion of Mall X has no shops but does have a gumball machine stand and a large mall map standee. The area between the two set of four doors has two soda vending machines and a set of coin operated lockers. The soda vending machines are stocked with Satellite Soda in one and Kooky Kola in the other. MR. CHICKENS, an older mall security officer leans against the inner set of entrance doors sipping a coffee. He looks at his watch and starts to pull out his large ring of keys on a retractable wire.

MR. CHICKENS
“Ahh, closing time. The best part of the day outside payday.”

Before he can reach the outer set of four doors, A-Mouse in a shopping cart explodes through the door. She blasts past him, sending him spinning, and through the inner set of doors.

TURN TO FOLLOW A-MOUSE

A-Mouse rockets down the south hallway, hits the gumball machine, does a full flip in the air, lands and goes down an escalator.

CUT TO…

INT. MALL X FOOD COURT, DAYBREAK

A-Mouse, in a shopping cart, rolls down the escalator bounces on the bottom flying out of the shopping cart. She lands and skids across the floor to The Guttenberg Bagel. She passes by a Twinkleland Family Restaurant and a Grub From Grubs Dinery. BAGEL ARTIST MELCHI stands at the counter of The Gutenberg Bagel ready to pull down the locking gates when A-Mouse skids to a stop in front of the restaurant. She throws a list into the air. Bagel Artist Melchi grabs it.

A-MOUSE
(injured) “i’d like everything on the list. to go.”

BAGEL ARTIST MELCHI
“This is a big order. I don’t think I can fill this…”

A-Mouse, from on the ground, tosses a bunch of money on the counter.

BAGEL ARTIST MELCHI
“…In one bag. In one bag is what I meant to say. We’ll get started right away. (yells to someone behind the counter) Hey, we got a big order!”

A-Mouse lays there while Bagel Artist Melchi starts preparing the order. A WHISTLE grows louder from off-screen. Mr. Chickens runs in, blowing his whistle.

MR. CHICKENS
“Hey you! Someone’s trying to break into the mall. Female. You seen her?”

Bagel Artist Melchi points downward. Mr. Chickens jumps back in surprise. He steps closer to A-Mouse and nudges her with his foot.

MR. CHICKENS
“You gave old Mr. Chickens a fright. What are you doing crashing into…”

Then there is A LOUD CRASH.

PAN 180

The E-Mobile is upside down in the middle of the food court next to the coin operated animal rides. It is upside down, slowly spinning on its dented roof. Smoke is rising from the rear wheels. E-MOUSE, thrown from the vehicle, is sprawled on the ground off to the side.

E-MOUSE
(weakly) “did we make it?”

A-Mouse holds up a thumbs up.

E-MOUSE
(weakly) “awesome. i’ll be over here if you need me.”

A-Mouse gestures another thumbs up. Mr.Chickens starts to yell at them but his voice muffles and fades out as the screen goes dark.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 09

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-09”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT
FADE IN

EXT. HIGHWAY X, AFTERNOON

A two lane highway emerges out from between two large rocky plateaus onto to a landscape of gently rolling grasslands. Telephone poles and power lines run along the sides of the road on one side and a drainage ditch runs along the other side.

LS FACING TOWARDS THE ROCKY CANYON

The E-mobile emerges from behind the canyon walls. It moves along Highway X at a brisk pace.

CUT TO

INT. E-MOBILE, AFTERNOON
E-Mouse is driving the E-mobile, one hand on the wheel, the other arm casually draped out her open window. She has on sunglasses while also a toothpick in her mouth. Her hand beats a rhythm in time with the music playing on the stereo. She seems overjoyed at the ability to just drive. A-Mouse sits in the passenger seat, arms in lap, rather rigid and compact. She is leaning over messing with something on the floor near her feet.

MS OF E-MOUSE AND A-MOUSE

A-MOUSE
“Do you always have so much broken glass in your car.”

E-MOUSE
(shrugs) “Never noticed”

CUT TO CS OF A-MOUSE

A-Mouse sits up and brings up a handful of broken stained glass colored glass.

A-MOUSE
“Could you roll my window down. My hands are kind of full.”

E-MOUSE
“Sure.”

A-Mouse’s window rolls down as E-Mouse pushes the automatic window button. Once the window is fully opened, she tosses the broken glass out the window.

INSERT A SHOT OF THE GLASS HITTING THE GROUND

E-MOUSE
“What are you doing!”

A-MOUSE
“Getting rid of the glass.”

E-MOUSE
“You can’t do that.”

A-MOUSE
“What are you talking about. Its okay.”

E-MOUSE
“It’s dangerous.”

A-MOUSE
“No. Its fine. Glass is made of sand. It’ll just break down.”

E-MOUSE
“Not before cutting someone. It’s going to take years for it to break down.”

A-MOUSE
“Oh..oh no. You don’t think I’ve hurt anyone. What if I have.”

A-Mouse starts to wring her hands. E-Mouse looks over at A-Mouse and notices she is getting anxious.

A-MOUSE
“We need to go back.”

E-MOUSE
“Seriously?”

A-MOUSE
“I have to pick it up. Somebody is going to get hurt. Now that I know, I feel awful about it.”

E-MOUSE
“No way. Y-Mouse sent us to get the food for the meeting.”

A-MOUSE
“I just need to.”

E-MOUSE
“What if we stop on the way back. I’ll even help you pick up the glass. Would that help.”

A-MOUSE
“Yes.”

A-Mouse still looks anxious. E-Mouse looks at her a moment then a thought occurs.

E-MOUSE
“How about some different music?”

A-MOUSE
“Sure.”

E-MOUSE
“I have some albums in the console. There’s a Pop Couture first album, a couple King Connors, an early Razzlekish, some Gothic Bats in the Belfry, an Uptick and two or three Grammar Academy albums.”

E-Mouse looks at A-Mouse. A-Mouse shakes her head.

E-MOUSE
“Yeah, you’re right. Those are not the right mood for driving on a beautiful day like this. How about we try the radio?”

A-MOUSE
“The radio would be fine?”

E-mouse turns on the radio.

E-MOUSE
“And I am sorry I got upset about the glass. Didn’t mean to spook ya.”

A-Mouse nods but before she could say anything in response the radio starts up.

ANNOUNCER
(voice-over) “WQRT 123.4, The Keyboard, broadcasting throughout the night, the day, and all your precious moments in-between. We now return to our program in progress: Sixteen is Seventeen.”

A-MOUSE
“Oh man, I haven’t heard this one in years.”

E-MOUSE
“Years. Like High school?”

A-MOUSE
“Yes, High School. I was so into this show back then.”

E-MOUSE
“Me too.”

A-MOUSE
“Well then turn it up.”

E-Mouse turns up the volume.

ANNOUNCER
(Voice-over) “When we last left our story, Sydonia and Isobella were searching the town library for the hidden room of the Elder Council. A room filled with books of arcane knowledge, hidden by the adult vampires in town, hopefully containing a cure for vampirism. A cure Sydonia will need before the next lunar eclipse. Little did they know there were others spying on their every move. Meanwhile across town, Danny O’Boy, having just rescued Glorietta from the snake pit, tries to find the courage to tell her how he really feels.”

GLORIETTA
(Voice over) “Why can’t you open up to me. You only let me in so far then you push me away and every time my heart breaks a little more.”

DANNY O’BOY
(Voice over) “I want to let you in. I do. There is so much I want to tell you. To share with you.

GLORIETTA
(voice over) “Then why don’t you Danny. I thought you loved me, isn’t that enough to trust me. To share with me? ”

DANNY O’BOY
(voice over) “I want to share what’s in my heart Glorietta, but its not feelings and emotions…its ones and zeros.”

GLORIETTA
(voice over) “What are you saying.”

DANNY O’BOY
(voice over) “I am saying I am a robot and loving you violates my programming.”

GLORIETTA
(voice-over) “That explains Professor Woolenstein’s obsession with you, but I don’t care that you are a robot.”

DANNY O’BOY
“I was also reanimated by your science fair partners.”

GLORIETTA
“Or that you were secretly reanimated by my lab partners without my consent. I only know that I care that you saved me even though it would expose you existence to the mad professor Woolenstein. You could of left me there. But you didn’t.”

DANNY O’BOY
“What are you saying?”

GLORIETTA
“The entire time I was in the pit I hoped it was you that would save me. Danny you may only be a robot in the shape of a teenage boy, but I know our feelings are real.”

DANNY O’BOY
“How is this possible. New data is filling my programing. I may be a being of ones and zeroes programmed that 1 + 1 = 10, but when I am with you I see that 1 + 1 = 2. Danny + Glorietta equals Love.

KISSING SOUNDS.

CUT TO LS OF THE HIGHWAY AS THE E-MOBILE DRIVES OUT OF FRAME.

The E-Mobile drives down the highway and out of sight.

FADE OUT