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

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 08

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-08”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

INT. ALPHABET PARKING GARAGE
Built into the side of a mountain spreads out the Alphabet Parking Garage. Yellow lines on the ground denote thirty two parking spaces in five rows of six and one row of two. Twenty-seven vehicles are currently parked in the parking spaces, starting with the first full row. Each space has one of the various Alphabet Mice’s cars parked in it. Each Mouse has a vehicle named after the letter in the Alphabet Mouse’s name. For example A-Mouse drives the A-mobile, B-Mouse the B-Mobile, C-Mouse the C-Mobile…etc. Each vehicle incorporates the letter it is named after into it’s design.

The vehicles are parked as follows:
Row 1: The shortened row with two open spots and the three maintenance-carts.
Row 2: Numer-mobile, A-mobile, B-mobile, C-mobile, D-mobile, E-mobile.
Row 3: F-mobile, G-mobile, H-mobile, I-mobile, J-mobile, K-mobile
Row 4: L-mobile, M-mobile, N-mobile, O-mobile, P-mobile, Q-mobile
Row 5: R-mobile, S-mobile double parked, T-cycle, U-mobile, V-mobile
Row 6: W-mobile, X-mobile, Y-mobile, Z-mobile, empty space, empty space
Row 2 & Row 3 face each other. As does row 4 & 5. Row 6 stands alone.

A-MOUSE and E-MOUSE enter from a door in the mountain side of the parking garage. As they emerge, sunlight filtered through the large stain glass window over the main entrance opposite them flutters across their faces. They shield their eyes and turn away, looking towards the secondary entrance, a spiral ramp connected to the side of the parking garage. Or maybe they are looking towards the piles of construction material stacked in the corner between the two entrances. Either way they shield their eyes till walking forward and out of the sunbeams. E-Mouse walks ahead, A-Mouse trails behind.

PAN FOLLOWING E-MOUSE AS HER LONG-LEGGED STRIDE OUTPACES A-MOUSE

They walk to the second row, turn and walk to the end of the row. E-mouse, part way down the row, clicks a button on her key fob. The lights on the E-mobile blink and the doors unlock with a LOUD CLUNK CHUCK. She opens the car door, sits down, and fastens her seatbelt in one swift motion. A-Mouse can be seen further down the row, trundling on.

CUT TO SHOT OF INTERIOR OF CAR

E-MOUSE
“You ready?” (turns to see A-Mouse’s response and only then realizes she is not there.) “Where is she?”

A-Mouse quickens her pace as E-Mouse exits the car.

E-MOUSE
“Aren’t we going?”

A-MOUSE
“Sorry. Give me a moment.”

E-Mouse crawls back into the car and puts on her seatbelt. She gets a pair of driving gloves out of the glove box and reverently slides each on, one finger at a time. Pointer finger, middle finger, ring finger, pinkie…the car door opens on the passenger side. A-mouse sits down and puts on her seatbelt. She then starts rolling down her window.

E-MOUSE
“You set?”

A-MOUSE
“Yup.”

E-MOUSE
“Mind if I put on some racing music?”

A-MOUSE
“Racing music?”

E-MOUSE
“I’ll take that as a yes.”

E-Mouse turns on her car stereo. THRUMPING ELECTRONICA plays.

E-MOUSE
“Now, lets go get the bagels.”

E-mouse starts the car, its low THRUM vibrating the dashboard.

A-MOUSE
“Oh.”

E-mouse smiles and she shifts and blasts the pedal. She SQUEELS out of the parking space. A-Mouse grabs onto the door handle.

CUT TO LS OF THE PARKING GARAGE

She drives around the parking lot swerving and drifting. She lines up with the garage door. A-Mouse is holding tight onto the door handles. The E-mobile races towards the garage door, but swerves at the last moment towards the pile of construction materials. It’s piles arraigned in a ramp like shape. The E-mobile hits the ramp cresting into the air…

SWITCH TO SLOW MOTION SHOT OF THE E-MOBILE CRESTING AWAY FROM THE CAMERA UP AND TOWARDS THE STAINED GLASS WINDOW

…it CRASHES through the large stained glass window.

CUT TO REVERSE SHOT FROM EXTERIOR OF WINDOW

The intact stained glass window explodes as the E-mobile shoots through it. Shards of colored glass, small and large flicker and shimmer as they fling through the air.

RESUME REGULAR SPEED OR END SLOW MOTION

The car lands and drives away.

PAN 180 DEGREES TO WATCH THE E-MOBILE DRIVE AWAY

It drives out of sight, down the highway. Past canyon walls of layered colors the E-mobile disappears.

FADE OUT

new script: “The Great Works Project: Season 4, Episode 7” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 07

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-07”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT
FADE IN

INT. Y-MOUSE’S APARTMENT’S DUAL LIVING ROOM-KITCHEN

MS OF COUCH

Open back in Y-Mouse’s apartment with a different view than previously. A wicker couch with cushions decorated in palm tree designs. The walls have various pictures and decorations of a tropical island or tiki lounge motif. The couch itself is set next to a wall, with the wall being on the stage-left side of the couch. A small window above the armrest lets in light. A faint purple blinking glow pulses from under the couch.

DISSOLVE TO CS OF CASE UNDER THE COUCH

A large suitcase sits under the couch. From where the two halves join a purple light bleeds out. The suitcase has two circular handles bent with one up and one down. They along with the seam make the appearance of a circle bisected horizontally by a line. The purple light pulses from dim to bright, dim to bright, dim to bright.

DISSOLVE TO CS OF FROM INSIDE THE CASE LOOKING AT THE CONTENTS

The inside of the case is filled with a foam tray containing two rows of four slots. Each slot has a slice of polished Agate. These would be Memory-stones. Each slice is a different color: Red, Blue, Yellow, Orange, Green, Purple, Black, and White. The purple stone is glowing.

DISSOLVE TO XCS OF PURPLE STONE

The purple stones brightness fills the screen giving everything a purplish tint. Inside the middle of the stone when it glows brightest, we can just make out Thomas Typewriter’s Apartment.

TRANSITION FROM THE STONES TO THOMAS TYPEWRITER’S APARTMENT

ZOOM IN ON CENTER BRIGHTNESS

FADE TO THE IMAGE IN THE MEMORY-STONE WHILE ALSO REDUCING THE PURPLISH TINT.

INT. THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM

A small couch sits in front of a long bookcase just off center stage-left. A door stands behind the bookcase. Various impressionist paintings hang on the wall near the door. Off center stage-right a smaller bookcase stands at a skew to the stage-front. It is topped in various sized houseplants. The door opens and THOMAS TYPEWRITER enters. He flips a light switch, and the stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON. Thomas walks around the bookcase and across the center stage, exiting stage-left.
From off-stage a bathroom light turns on, casting a soft glow on stage. The sound of RUNNING WATER and then the light turns off. Thomas reenters and walks across stage, turning off the living room’s lights and the stage-lights, before exiting stage-left. The stage stands silent as Thomas goes to bed off-screen. After a moment Thomas can be heard TOSSING IN BED.

OPHIDIA OPERAHOUSE
(off-screen and ghostly) “You can work for me. You can work for me. You can work for me.”

Thomas re-enters stage-right. Unable to sleep, he paces back and forth. Finally he walks over to the light switch and turns the lights on. The stage-lights go on. He then walks over to the smaller bookcase and pulls out a notepad and pencil. Thomas starts to write.

CUT TO CS OF THE NOTEPAD

Thomas draws a line down the center, then a line across the top. On one side of the top he writes: “Reasons to work with Ophidia”. On the other side he writes: “Reasons not to work for Ophidia”.

CUT BACK

Thomas starts writing and writing. He slides down to sitting on the floor and writing. The stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

new script: “The Great Works Project: Season 4, Episode 6” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 06

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-06”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

INT. L-MOUSE’S OFFICE, EVENING
Large metal racks for spools of fabric line the side walls. A single rack sits stage-left side while multiple racks sit stage-right. The stage-left racks hold multiple spools of thread of a rainbow of colors. The center of the office is a shared space between a small sewing desk, a hanging lamp, and a large loom. Threads feed off the stage-right racks to the loom supplying thread for a long unfinished tapestry. On the back wall stage-left corner, hangs a woven version of a motivational poster. It depicts a Llama and a lamb hanging on a tree branch with the words “LOVE LUCKS LEFT” in a gothic script. A door to L-Mouse’s apartment stands next to the motivational tapestry, with hooks for a broom and large dustpan. The lights in the space are dim as we join the scene but they quickly brighten to full strength illumination.

L-Mouse enters through the apartment door, dressed in a smock and a flip down magnifying lens on a headband, carrying a glass of water. He takes a drink, then sets the glass down on his desk. He walks over to the stage-left side of the loom and looks underneath.

INSERT CS OF LOOSE THREADS HANGING OFF THE UNDERSIDE OF THE TAPESTRY ON THE LOOM

He gathers up the loose threads and pulls them over to his desk. A large rock is placed on top of them to secure them. He then walks over to the stage-right wall and looks for broken threads. Finding one, he follows the thread back to the spools stage-right. Picking up the spool of thread he carries it over to the other racks. Then he pulls the end of thread from the moved spool and pulls it over to his desk securing it in place with a rock. He repeats this five more times before returning to his desk to take a drink of water.
Moving around behind his desk, L-Mouse sits down. He counts the number of threads from stage-left. He then counts the number of threads from the loom. Not the same. He’s missing one. He walks back over to the loom and runs his fingers across the fabric. He finds a tiny loose thread and pulls it to the desk. He secures it under the rock with the others from the loom. Then he walks over to the stage-right thread spindles/spools. He goes through them one at a time. Finally on a back rack he finds the broken thread. He swings out the front rack and takes off the spool. He leans it against the loom, then moves the front rack back into place. L-Mouse carries the spool to the other side. Placing it in an open rack, he pulls out the end of the thread and pulls it over to his desk with the others.

He sits down, takes a drink of water, placing his glass in a different spot off to the side. He gathers one of the threads from spools to stage-left. He flips down the magnifying lens on his headband to examine the ends of threads. He compares the ends of the threads from the stage-left spools with the ends of thread from the loom. KNOCK KNOCK at the door.

L-MOUSE
“Come in.”

A-Mouse enters from stage-right.

A-MOUSE
“Have you seen K-Mouse? I am suppose to ask him something, well ask everyone really, but his office was empty.”

L-MOUSE
“Did you try C-Mouse’s.”

A-MOUSE
“No. Can I use your phone to call over there?”

L-MOUSE
“Sure. It’s over there.”

L-Mouse points behind the loom. A-Mouse walks behind it and returns holding an old-time rotary phone on a long cord. L-Mouse returns to examining the thread ends. He finds two ends that match and ties them together in a knot. He tugs on the knot testing its solidness. He then checks the thread feeding to the loom and the spool tugging on them. Satisfied he moves over to the loom. He sits down and moves the loom arms threading a few lines. He follows the thread from the loom to the spool on the stage-left. Picks up the spool and works his way to the other side, A-Mouse ducking under the line, returning it to the stage-right rack. He returns to his desk to continue on the next one. At the same time A-Mouse dials C-Mouse.

A-MOUSE
(into phone) “Hi. (pause) It’s A-Mouse. Is K-Mouse there? (pause) Good. Y-Mouse has called an all-nighter. I need to find out what he wants to eat. What both of you want. (pause)I don’t know. (pause) The Gutenberg Bagel. (pause) A Kirby and an Eisner special. Got it. Thanks.”

A-Mouse hangs up the phone as E-Mouse peeks her head in from stage-right.

E-MOUSE
“What’s taking so long? I’ve been waiting by the elevators for you.”

A-MOUSE
(to E-Mouse) “I’ll be ready when I’m ready.”

E-MOUSE
“Fine.”

A-MOUSE
(to L-Mouse) “We’re going on a food run. What do you want.”

L-MOUSE
“Bagel or noodle?”

E-MOUSE
“Bagel.”

L-MOUSE
“An Ariadne.”

A-MOUSE
“Got it.”

E-MOUSE
“Good. Now let’s go.”

They exit stage-right.

A-MOUSE
(off-camera and fading away) “Why you being so bossy?”

E-MOUSE
(off-camera and fading away) “Sorry, I am just excited to drive. The scripts do not have me driving very often.”

A-MOUSE
(off-camera and faint) “”Fine. Let’s just get this done.”

L-Mouse takes a drink of water savoring the peacefulness of his office. Then POP as another thread in the tapestry on the loom breaks. L-Mouse winces. He takes a breath before standing and going to find the new loose thread.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 05

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-05”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT

FADE IN

INT. C-MOUSE’S OFFICE

C-Mouse’s office feels ready to burst. The walls are lined with shelves overflowing with stacks of comic books and graphic novels. The only gap in wall shelves is a door off to the side, with the door covered in a motivational poster of an anthropomorphic comic book dressed in a superhero costume bombastically punching through a tree branch. Printed on the poster is “COMICS COMPLETE COMPLETELY”. Even the floor is covered in stacks of comics and graphic novels. Walkways are visible, snaking through the room, all branching out from an L-shaped desk at the center of the room. The desk in the center of the room is made up of a writing table and drawing table connected at right angles. Currently C-MOUSE sits at the drawing table speaking with K-MOUSE seated at the writing desk.

FADE IN SLOWLY TO A CS OF A STACK OF COMIC BOOKS ON C-MOUSE’S DESK

K-MOUSE
(voice-over) “Okay, so we open in the Space Museum. Then what. Like we know we need to get to the big cosmic problem that draws everyone together.”

C-MOUSE
(voice-over) “The unraveling of space-time?”

K-MOUSE
(voice-over) “Right, but how do we get there? And where is everybody when this happens? Is it right after Beta Dog forms the Cosmic League or have they been around awhile.”

C-MOUSE
(voice-over) “A while. This is like their final story, so they have been around awhile.”

K-MOUSE
(voice-over) “A twilight of the gods scenario. So years then?”

C-MOUSE
(voice-over) “Yup. Years.”

PAN OUT FROM STACK OF COMICS TO MS OF C-MOUSE’S DESK

C-MOUSE sits at his desk, in front of the drawing desk covered with sheets of paper, pens and pencils. He swivels his chair to face K-MOUSE sitting at the writing desk with an open laptop.

K-MOUSE
“Well if that’s the case, what have they been doing all these years? Because, this whole time I assumed it was months later.”

C-MOUSE
“No way. We have a list of over a hundred villains. That is a maniac pace of crime if they have defeated that many villains in a few months. Plus Beta Dog and Sigma Badger are married and have a kid.”

K-MOUSE
“True. I don’t know why I thought it was only a few months into the story. Go on.”

C-MOUSE
“We’ll figure out more of the how once we get the basic plot plotted out.”

K-MOUSE
“Okay. So how does space-time get broken?”

C-MOUSE
“Does it need to be space-time. Couldn’t it be something else like alien invasion. I’d love to draw a bunch of space battles. Maybe those spikey living suits.”

K-MOUSE
“No. It needs to be space-time.”

C-MOUSE
“Well, the only time powered villains are the Anachist and Time Laird.”

K-MOUSE
“Not exactly Time Lairds thing, and he’s not technically a villain anyway. The Anachrist it is.”

C-MOUSE
“He’s kinda klutzy, not exactly a master villain and his schemes usually never work out.”

K-MOUSE
“Right, like what if something he did breaks the space-time continuum. Not a planned thing but a screw-up.”

C-MOUSE
“Okay but how does one break the space-time continuum. It’s an abstract thing.”

K-MOUSE
“Good point.”

They think a moment until a notion occurs to K-Mouse

K-MOUSE
“Let’s work through this. Extend it out. So we need something to break. So how do things break.”

C-MOUSE
“They’re hit.”

K-MOUSE
“Right. Hit…or when something collides with it.”

C-MOUSE
“True. Hitting and collision.”

K-MOUSE
“Isn’t he always stealing things? The Anachrist.”

C-MOUSE
“Okay, I see where you’re going with this. Yes he does.

K-MOUSE
“And what if something he steals breaks the space-time.”

C-MOUSE
“Sure but what would he steal?”

K-MOUSE
“Well his time-doors are only person size…wait…what if he tried to steal something larger than his time-doorway.”

C-MOUSE
“And it collides with the edge of the time-door cracking it, cracking space-time.”

K-MOUSE
“I like it. It totally fits his personality. So what big thing would he try to steal. A pyramid, a tomb, a dinosaur, a train? I’d steal a dinosaur if I could.”

C-MOUSE
“Really. What kind.”

K-MOUSE
“Triceratops.”

C-MOUSE
“Really, a triceratops.”

K-MOUSE
“I like the horns.”

C-MOUSE
“Okay, but back to the story. What if he stole a boat.”

K-MOUSE
“A boat? Those are tiny.”

C-MOUSE
“Not the Titanic.”

K-MOUSE
“Oh… So we do a riff on it striking that iceberg but instead our twist is that this C-Grade super villain tries to steal it but it strikes the edge of his portal, cracking the space-time continuum dooming the universe.”

C-MOUSE
“So he is the cause of the Titanic sinking, and also destroying the universe. The guy no one takes seriously ends up being the most destructive.”

K-MOUSE
“I like it.”

C-MOUSE
“Me too.”

K-MOUSE
“Work up some drawings, and I’ll rough out some plot.”

C-Mouse swivels to face his drawing board and starts to draw. K-Mouse starts to type. After a moment, a phone hidden in the piles of comics on the bookcase next to the desk RINGS knocking over a pile of comics. C-Mouse turns and walks over to the phone. He answers the phone.

C-MOUSE
“C-Mouse here. (pause) Yes. Sure, he’s here. What’s up.”

C-Mouse listens then puts his hand over the phone’s receiver to ask K-Mouse a question.

C-MOUSE
“A-Mouse says Y-Mouse is calling a meeting tonight and she’s going to get some food. What do you want.

K-MOUSE
“Another all-nighter?”

C-MOUSE
“Appears so.”

K-MOUSE
“Are we in trouble?”

C-MOUSE
(into phone) “K wants to know how bad it is?” (listens then talks to K-MOUSE) “She doesn’t know.”

K-MOUSE
“That answers nothing. Where are they going then?”

C-MOUSE
(into phone) “Where are you going?” (listens then talks to K-Mouse) “The Gutenberg Bagel”

K-MOUSE
“Oh, then definitely the Kirby Special.”

C-MOUSE
(into phone) “He’ll have the Kirby and I’ll have the Eisner. Okay. Good. We’ll be there. Bye.”
C-Mouse hangs up the phone. He walks over and sits back down at the drawing table.

C-MOUSE
“Okay, here is what I was thinking.”

PAN OUT

C-Mouse leans over and hands a drawing to K-Mouse

K-MOUSE
“Nice. What else you got?”

C-Mouse shows K-Mouse some more drawings.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 04

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. THE DEEPER HALLWAY, EVENING
A hallway of wood paneling, soft fluorescence, and frosted glass spreads out before us as we view the Deeper or the third floor of offices under the Alphabet Mice Writer’s Room. Stairwells bookend the hallway with A-Mouse’s, S-Mouse’s, D-Mouse’s, F-Mouse’s, G-Mouse’s, H-Mouse’s, J-Mouse’s and K-Mouse’s offices in between.

MS OF S-MOUSE’S OFFICE DOOR

The door opens and out walks A-Mouse. She walks down the hallway to D-Mouse’s door.

PAN TO FOLLOW

A-Mouse KNOCKS on the door of D-Mouse’s office.

D-MOUSE
(off-camera) “Come in.”

A-Mouse enters D-Mouse’s office.

CUT TO SHOT OF D-MOUSE’S OFFICE FROM THE DOORWAY

D-Mouse’s office is like a dance studio with a delicatessen in the back. The left and right side walls are floor to ceiling mirrors with a dancer’s beam across the middle. A deli counter with display case fills the majority of the back wall except for a space to the left for an entryway to the deli and doorway. The doorway is solid wood. It leads to D-Mouse’s apartment. On the doorway is a poster of an anthropomorphic donut hanging from a tree branch with the following caption: “Don’t discount determination”. The entire space is brightly illuminated by rows of recessed ceiling lights. The deli counter’s lights, by contrast, are turned off. On top of the deli counter’s display case is a CD Stereo. As A-Mouse enters the office, she finds D-MOUSE stretching his legs on the beam.

D-MOUSE
“What brings you to my humble studio?”

A-MOUSE
“Y-Mouse is calling an all-nighter so I am on food. You want anything.”

D-MOUSE
“No thanks. I’ll make myself something later.”

A-MOUSE
“Okay.”

A-Mouse leaves. D-Mouse goes over to the stereo and presses play. A LOW RUMBLING CHANT emerges from the speakers. He starts to spin on one leg. He spins and spins.

CUT TO HALLWAY

A-Mouse reemerges from D-Mouse’s office and walks to the next office. She KNOCKS on the door to F-Mouse’s office..

F-MOUSE
(off-camera) “Come in.”

A-Mouse opens the door and enters.

CUT TO SHOT OF D-MOUSE’S OFFICE FROM THE DOORWAY

The inside of the office is dominated by a large table covered in various books and maps. A globe stands to the side of the table. The walls of the office are wooden shelves covered in a selection of books, maps, anatomy diagrams of mythical beasts, and illustrations of various fey folk. F-MOUSE stands at his desk looking through a magnifying glass at stills from the Patterson Bigfoot film. A-Mouse enters.

F-MOUSE
(without looking up) “What is so important that you disturbed my research.”

A-MOUSE
“Y-Mouse is calling a writer’s conference.”

F-MOUSE
(looks up) “That is serious. I take it you have been tasked with retrieving our food orders.”

A-MOUSE
“Yes.”

F-MOUSE
“And where are you going?”

A-MOUSE
“Guttenberg’s Deli.”

F-MOUSE
“A little pedestrian, but it will have to do. I’ll take a Farro salad.”

A-MOUSE
“Farro Salad? Nothing else.”

F-MOUSE
“If I wanted more I would have said more. Just a Farro Salad if you please.”

A-MOUSE
“Okay, Farro Salad.”

A-Mouse writes it down and exits.

CUT TO LS OF HALLWAY

She enters, reemerging a moment later, then walks to the next office, G-Mouse’s. She KNOCKS on the door.

G-MOUSE
“Come in.”

CUT TO OVER SHOULDER SHOT OF G-MOUSE’S OFFICE

G-Mouse’s Office has a look very similar to a greenhouse. Frosted glass panels make up the left and right walls. Poles run along the sides filled with many plants in hanging planters. Under the hanging plants are wooden greenhouse benches. The stage-right side has a a collection of gardenia seedlings in small pots, a few bags of potting soil, and a few tools. One can see that G-Mouse is in the process of replanting the seedlings into larger pots. The stage-left bench bears a few finished replanted seedlings in their larger pot. G-MOUSE, dressed in a smock and wearing gardening gloves, is in the process of moving some more larger pots over to the stage-right bench.

G-MOUSE
“Hey A-Mouse. What’s up.”

A-MOUSE
“I’m going on a food run. What would you like?”

G-MOUSE
“Where you going?”

A-MOUSE
“The Guttenburg Bagel”

G-MOUSE
“Ok. I’ll have a Gyro and Garden Salad.”

A-MOUSE
(writing in notepad) “Got it.”-she writes it down.

A-Mouse turns to leave.

G-MOUSE
“Could you make sure you shut the door on your way out. The seedlings are sensitive to the cold when I transplant them.”

A-MOUSE
“Absolutely.”

A-Mouse exits.

CUT TO LS OF HALLWAY

She reemerges and walks to H-Mouse’s office. She knocks on the door.

H-MOUSE
“Hold on, I’m not decent.”

A-MOUSE
“I don’t need to come in, I just need to know what you want to eat tonight.”

H-MOUSE opens the door dressed in a Santa’s costume and holding a jack o’lantern.

H-MOUSE
“Why, is something going on?”

A-MOUSE
“Wait. Why are dressed like that.”

H-MOUSE
“Like what?”

A-MOUSE
“The suit and the pumpkin.”

H-MOUSE
“Oh, this. I’m stuck on idea and doing some research to hope I can get unstuck.”

A-MOUSE
“What’s the idea?”

H-MOUSE
“The King of Mars comes to earth.”

A-MOUSE
“Sounds interesting.”

H-MOUSE
“Yeah, it is suppose to be a holiday story but I can not decide what holiday. You got any ideas.”

A-MOUSE
“Oh no. I’m stuck myself. In fact I was trying to unstuck myself when Y-Mouse called.”

H-MOUSE
“What was your story idea and also what did Y-Mouse want.”

A-MOUSE
“Y-Mouse is calling an all-nighter abnd wants me to get food orders.”

H-MOUSE
“Hoagie with cheese and chips.”

A-MOUSE
“Got it.”

H-MOUSE
“What was your story idea?”

A-MOUSE
“There was a brother and sister and the sister was in a band. And that is where I got stuck. I can see them clearly and how it opens but I can not see what happens after that.”

H-MOUSE
“Maybe we should help each other out. Compare notes.”

A-Mouse smiles.

A-MOUSE
“Serious.”

H-MOUSE
“Sure. It couldn’t be any worse than this suit. It is itchy like crazy. I’m dying in here.”

A-MOUSE
(giggles) “Sure, I’d like that.”

H-MOUSE
“Awesome. Let’s see how late this meeting goes and then we’ll figure out a time to get together.”

A-MOUSE
“Got it.”

H-MOUSE
“Well, I need to change.”

A-MOUSE
“And I have to get the other orders.”

H-Mouse closes the door. A-Mouse does a little skip of joy and moves down the hallway.

J-MOUSE
(off-camera) “You getting food?”

CUT TO SHOT OF H-MOUSE’S AND J-MOUSE’S OFFICE DOORS

J-Mouse is leaning in the door to his office, looking at A-Mouse.

A-MOUSE
“You saw that?”

J-MOUSE
“Oh yeah.”

A-Mouse’s expression shifts to embarrassment.

J-MOUSE
“It’ll be our secret and good luck.

A-MOUSE
“Thank you.”

J-MOUSE
Where you going?”

A-MOUSE
“Guttenberg Bagel.”

J-MOUSE
“Bagels and lox.”

A-Mouse writes the order down. She then walks past J-Mouse.

A-MOUSE
“Got it.”

J-MOUSE
“And some of those potato squares.”

A-MOUSE
“Potato squares, got it.”

J-MOUSE
“Better make it a triple order. I know people are going to want me to share.”

A-MOUSE
“Triple potato squares.”

AS A-MOUSE REACHES THE EDGE OF THE FRAME THE CAMERA PANS LEFT SO AS TO FRAME J-MOUSE’S OFFICE AND K-MOUSE’S OFFICE.

J-Mouse goes back into his office and shuts the door. A-Mouse KNOCKS on K-Mouse’s door. There is no response. She tries again with still no response. Opening the door, she peeks inside.

A-MOUSE
“Hmmm.”

She closes the door and walks over to L-Mouse’s office. KNOCK KNOCK go her knuckles on the door.

L-MOUSE
“It’s open.”

A-Mouse walks inside, shutting the door behind her.

A-MOUSE
(off-camera) “Have you seen K-Mouse?”

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 03

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the frame scrolls up the following text: “04-03”. It moves up along the center of the frame, pausing for a moment in the middle of the frame before ultimately exiting through the top.

FADE OUT

FADE IN

INT. S-MOUSE’S OFFICE, AFTERNOON
An oblong office with walls lined by ornate cabinets made of carved wood overlain with intricate metal screens. The shelves of the cabinets are overflowing with various dioramas inside large clear glass bottles. A heavy wooden desk sits in the center of the room with S-MOUSE mid project. His various tools sit off to the side next to the base of a swivel arm light and magnifying glass. Behind the desk stands the one area of the wall not covered by cabinets. A small gap in the cabinets allows room for a door to S-Mouse’s Apartment. The door currently has a motivational poster of a snake hanging on a tree limb with the text: “Snakes Seldom Shiver”.

FADE IN FROM THE BLACK TO A VERY CLOSE SHOT OF THE INSIDE OF THE GLASS BOTTLE ON S-MOUSE’S DESK.

We can see S-Mouse through the curved glass of the bottle, which he refers to as a Story-in-a-Bottle. He pulls out a jar of white sand and pours it into the bottle. He then uses a long tongue depressor to smooth out the sand. Soon S-Mouse switches to a long thin needle-nose plier. He wiggles two tall canyons drawn onto paper and cut out to an upright position. KNOCK KNOCK from out of the frame.

CUT TO MS OF S-MOUSE AT HIS DESK

S-MOUSE
“Come in.”

A-MOUSE enters the office. S-Mouse rises and wipes off his hands. A-Mouse walks to the desk and they shake hands.

S-MOUSE
“Hi.”

A-MOUSE
“Hi.”

S-MOUSE
“Here, have a seat. (points to an open chair) Can I offer you anything? A drink maybe.”

A-MOUSE
“Thanks, but no. On the drink I mean. I have to be leaving soon.”

S-MOUSE
“So this is not a social visit.”

A-MOUSE
“Unfortunately not. I came by to get your food order. Y-Mouse is calling an all-nighter tonight.”

S-MOUSE
“Sounds serious.”

A-MOUSE
“Don’t know. I hope not, but my mind always races to the worst.”

S-MOUSE
“So it does. I’m sure it’ll be fine.”

A-MOUSE
“Hopefully. So what would you like to eat at the meeting.”

S-MOUSE
“Where are you going?”

A-MOUSE
“The Gutenberg Bagel over at Mall X.”

S-MOUSE
“I think I have one of their menus somewhere around here.”

S-Mouse reaches behind him and opens a drawer. He rifles through the desk before pulling out a menu for The Gutenberg Bagel.

A-MOUSE
“Can I ask you something?”

S-MOUSE
(putting on reading glasses) “Sure.”

A-MOUSE
“Do you think it’s serious. The meeting tonight. The reason for it I mean.”

S-Mouse pauses and looks over the menu at A-Mouse

S-MOUSE
“Honestly.”

A-MOUSE
“Yes.”

S-MOUSE
“Well, then yes I am concerned. Thomas seemed troubled, exposed. Things will probably get worse for him before they get better.”

A-MOUSE
“Oh.“

S-MOUSE
“No, don’t take it like that. It is not all doom and gloom. Things will get better. Absolutely. When things seem unsure, when we feel exposed, when our sense of self gets rattled, that’s when change happens. Growth is movement against weakness, the conversion of absence to fullness. When we are capable of true empathy, true growth.”

A moment of silence passes.

S-MOUSE
“You okay?”

A-MOUSE
“Yes, no, yes..no not really. I’m feeling really anxious.” (gestures to all around) “Why are we even here.”

S-MOUSE
“Oh.”

A-MOUSE
“Thomas could easily write stories on his own but instead he imagines us, this funhouse mirror version of a 1950’s TV show writer’s staff.”

S-MOUSE
“I think we’re more of a riff on a bit from the Monkee’s.”

A-MOUSE
“Sure but what if he realizes he doesn’t need us. What if we fix his stories, fix his life, and then he outgrows us.”

S-MOUSE
“Maybe that is the reason he came up with us.”

A-MOUSE
“But what happens to us.”

S-MOUSE
“We go to oblivion till he needs us again.”

INSERT CS OF A-MOUSE’S ALARMED EXPRESSION

S-MOUSE
“No, I can see that did not help. Let me rephrase: We face oblivion regardless. Sure Thomas could realize we are a coping mechanism as you fear and outgrows us. But he will also die at some point, and by extension we will die too.”

A-MOUSE
“How do you live with that?

S-MOUSE
“I remind myself that with each day the time we have with those we care about grows less, never grows more. I can spend my shrinking time looking at what I have lost or spend it looking at what remains. Filling the shrinking jar with listening, laughing, loving, telling stories.”

A-Mouse perks up a little bit. S-Mouse pulls out a scrap piece of paper and pen and starts writing.

S-MOUSE
“Here is my order, along with a kind word or two from a friend in case you start feeling lost again. (hands note to A-Mouse) You better go on now.”

A-Mouse stands up and walks out. She pauses at the door.

A-MOUSE
“Thank you.”

S-MOUSE
“You’re welcome.”

A-Mouse exits. S-Mouse returns to his desk. He feeds into the bottle three thin paper elements.

CUT TO EXTREME CLOSE SHOT OF INSIDE OF BOTTLE

Using the long pliers, he sets them up. A tree, a road sign, and a woman in white dress stand before the far canyon walls on a plain of white sand.

CUT BACK TO MS OF S-MOUSE AT DESK.

S-Mouse scoots back from his desk and takes a final review of the story-in-a-bottle. He nods approval. Standing, S-Mouse walks the finished story-in-a-bottle to an empty shelf. He returns to his desk, opens a drawer, and removes two shot glasses and a bottle of scotch. He returns to the shelf with the newly finished story-in-a-bottle, pours a shot for himself and one for it. He grabs his glass and holds it up in a salute.

S-MOUSE
“To our now, to our future, and to all our points in between.”

He clinks his shot glass against the story-in-a-bottle’s and downs his. He picks up the second shot glass.

S-MOUSE
“If you’re not going to drink that, do you mind if I do? No?”

S-Mouse drinks the second shot glass of scotch. He picks up the glasses and the bottle of scotch. He returns them to the desk. Sand CRUNCHES underfoot.

S-MOUSE
“Got sand everywhere. Better sweep up. Now where did I put that broom.”

S-Mouse goes over to his apartment. Exits through the door.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-02”. It continues upward, pausing briefly in the center, and exits off the top of the frame.

FADE OUT
FADE IN

INT. A-MOUSE’S OFFICE

OPEN ON A LS OF THE OFFICE LOOKING IN FROM THE DOOR

A-Mouse’s office sits on the Deeper, or the second floor of the Alphabet Mice offices. The offices are situated across five floors in total, each with their own designation. The Writer’s Room is on the fifth or top floor. The next floor down or the fourth floor is the Numbertarium, housing the office of #-Mouse. Below the Numbertarium is The Deep or the third floor, housing the offices of Q-Mouse, W-Mouse, E-Mouse, R-Mouse, T-Mouse, Y-Mouse, U-Mouse, I-Mouse, O-Mouse and P-Mouse. The Deeper, or the second floor, houses the offices of A-Mouse, S-Mouse, D-Mouse, F-Mouse, G-Mouse, H-Mouse, J-Mouse, K-Mouse, and L-Mouse. Below The Deeper is The Deepest, housing the offices of Z-Mouse, X-Mouse, C-Mouse, V-Mouse, B-Mouse, N-Mouse and M-Mouse. There is also a level below The Deeper, reached by descending a long staircase, called The Subterranean. The Alphabet Mice prefer to avoid The Subterranean, except Z-Mouse who swam in the Circular River flowing through its depths. Each office, except for the Numbertarium, have similar layouts. All are wider than deep, with a door to the hallway on one side, and a door to the office holder’s apartment on the opposite wall.
The office itself features a wooden desk topped by a small TV with a built-in VCR, a lamp, and a rotary phone in the back center of the room. Behind the desk stands a door flanked by wooden cabinets alternating in style between Art Nouveau and Art Deco. The cabinets spread out along the outside walls of the office. A motivational poster hangs on the door. It depicts an aardvark hanging on a tree branch with the caption “ALWAYS ATTEMPTING”. A-MOUSE stands stage-right getting a vhs cassette and an abacus from one of the cabinets. She returns to her desk.

CUT TO A MS OF A-MOUSE AT HER DESK

A-Mouse pops a videocassette out of its case and inserts it into the VCR slot on the TV. Static bursts dance onto the screen before the first images of the “Yes, Virginia there is such a thing as an Abacus” instructional tape starts playing.

CUT TO OVER SHOULDER VIEW OF MONITOR

PAN IN TO MONITOR

TRANSITION FROM A-MOUSE’S OFFICE TO INSTRUCTIONAL VIDEO

INSTRUCTIONAL VIDEO

FADE IN TO LS OF THE SCHOOL

EXT. POTSANDPANSTOWN’S SCHOOL FOR IMPOVERISHED CHILDREN
Over the school, in the center of the screen, in an ornate Edwardian font, appears the following title: “Yes Virginia, There is an Abacus.” The title stays on the screen for a few moments, then fades away.

PAN FROM LS TO MS OF SCHOOL DOORS

A 1910’s style schoolhouse of all stone, more angle than graceful curve, The Potsandpanstown School for Impoverished Children has ended another day. Children, excited and playful, spill out of the school’s doors. They dance away in their restitched patchwork clothes and grimy faces. VIRGINIA WESTVIRGINIA exits the school.

PAN FOLLOWING VIRGINIA WESTVIRGINIA AS SHE LEAVES THE SCHOOL GROUNDS.

At the front gate, Virginia’s pace quickens, trying to avoid THE CAROLINA TWINS leaning against the fence. As she steps past them they call out.

SOUTHANNE CAROLINA
“Hey Virginia.”

NORTHENGALE CAROLINA
“Where you going so fast.”

Virginia stops, face scrunching at a bad taste, and turns.

CUT TO MS OF THE THREE

VIRGINIA WESTVIRGINIA
“Carolina. Carolina.”

NORTHENGALE CAROLINA
“What, you don’t have time for your friends?”

VIRGINIA WESTVIRGINIA
“I have to get home. My dad is…”

SOUTHANNE CAROLINA
(interrupting Virginia)”You still believe in Abacuses?”

NORTHENGALE CAROLINA
“Yeah, still believe in that fairy tale?”

VIRGINIA WESTVIRGINIA
“Yes they are real. My dad told me so.”

NORTHENGALE CAROLINA
“No uh, they’re not.”

VIRGINIA WESTVIRGINIA
“Uh-huh.”

SOUTHANNE CAROLINA
“Nuh-uh.”

VIRGINIA WESTVIRGINIA
“Uh-huh.”

NORTHENGALE CAROLINA
“No they’re not.”

VIRGINIA WESTVIRGINIA
“Yes they are.”

SOUTHANNE CAROLINA
(interrupting) “Only babies believe in faerie tales.”

NORTHENGALE CAROLINA
“You a baby Virginia. You wearing a diaper. You like rattles. Are your skull bones still fusing.”

VIRGINIA WESTVIRGINIA
“I am not a baby, and Abacuci are real.”

NORTHENGALE CAROLINA AND SOUTHANNE CAROLINA
“Baby butt windshield wiper! Look at the diaper. Look at the crier! Baby butt windshield wiper! Look at the diaper. Look at the crier!”

Virginia runs away.

TRANSITION FROM SCHOOL TO APARTMENT

INT. APARTMENT 41, AFTERNOON

CUT TO LS OF APARTMENT 41

Apartment 41 is a drab sparse apartment, almost stereotypical, located in a tenement that is low price as it is run down. Peeling paint barely covers the wood panel walls. The Westvirginia’s have few appliances and furniture. Oddly, the furniture they do have is made up of smaller bits of the same furniture. The television is a small black and white set on top of a larger console television. The kitchen table is made up of smaller tables and stools stacked on top of each other and taped together. Lines of laundry hang across the open front room, dividing the kitchen area from the living room. OLD DA, Virginia’s father sits in his chair. It is cobbled together from parts of many different chairs, feet propped on a coffee table constructed from a broken espresso machine and empty coffee cans. He relaxes reading his favorite newspaper “The New News Newspaper”. Off to the other side of the apartment stands OLD MA, Virginia’s mother, at the kitchen sink washing dishes. A CLICK OF THE DOORKNOB and VIRGINIA WESTVIRGINIA runs into the room. She throws herself on the table sobbing. Old Ma and Old Da exchange glances.

CUT BETWEEN ALTERNATING SHOTS OF OLD MA AND OLD PA

Old Ma gestures for Old Da to console Virginia. He shakes his head no and gestures for Old Ma to do. She responds gesturing more emphatically he should. He gestures no, you really should. They go back and forth a few more times until Old Ma gives him a hard stare and he relents.

LS OF ROOM.

Old Da folds up his paper and stands. He crosses over to the table.

OLD DA
“Everything okay honey.”

VIRGINIA WESTVIRGINIA
“They made fun of me daddy.”

OLD DA
“Who did?”

VIRGINIA WESTVIRGINIA
“Some kids at school. All because I said I believe abacus are real.”

OLD DA
“Oh. Is that all. Here I thought it was something serious.”

INSERT MS OF OLD MA AND OLD DA.

Old Ma gives Old Da a giving a withering glance at his answer. She then gestures for him to try again. He notices the gesture and winces.

CUT BACK…

OLD DA
“I mean that is horrible.”

VIRGINIA WESTVIRGINIA
“How do I convince them daddy?

Old Da thinks a moment then answers.

OLD DA
“The New News Newspaper. Write to the paper and when they say it’s true then everyone will know your right.”

VIRGINIA WESTVIRGINIA
“But, I thought their slogan was all the news fit to wrap a fish with. Nobody is going to believe me if it is printed in that.”

OLD DA
“You’re thinking of the Monday, Wednesday and Friday editions. On Tuesday, Thursday, and Saturday its Truth, truth, and more truth.”

VIRGINIA WESTVIRGINIA
“ Wait, what their slogan on Sunday’s”

OLD DA
“Id rather be fishing.”

VIRGINIA WESTVIRGINIA
“Oh.” (thinks a moment) “Can we go fishing Sunday? I need some new boots.”

OLD DA
“Sure thing honey.”

CUT TO CS OF VIRGINIA WRITING AT THE TABLE BY CANDLELIGHT.

VIRGINIA WESTVIRGINIA
(voice over) “Dear Editor. My father says if it is in The New News Newspaper it has to be true. My problem is my friends make fun of me for believing in something no one has ever seen. But I say just because we haven’t seen it does not mean it doesn’t exist. I have never seen tomorrow before it arrives, but every sunrise I find a new day. So I ask, am I wrong to believe in abacuci? “

Virginia finishes writing and steps away from the table. A few moments later, the paper is caught in a draft and blows off the table.

CAMERA FOLLOWS THE PAPER

The paper drifts across the room and out an open window. It continues across the city. It reaches the docks and continues out to sea. Moving past dolphins and rainbows it drifts to an island.

CUT TO…

INT. ABACUS MANOR MAIN OFFICE, DAYTIME.

LS OF THE OFFICE

A large library study, the main office of Lord Abacus sits on the ground floor of Abacus Manor. Various suits of armor and stuffed trophy animals line the walls. The manor’s main butler, CALCULATOR THE BUTLER, stands at the ready with a silver platter. LORD ABACUS sits at his desk busily working on paperwork. The letter drifts through the open window and lands on the silver platter.

CUT TO MS OF CALCULATOR THE BUTLER.

He looks down and notices the letter.

CALCULATOR THE BUTLER
“Sir, another letter has drifted to you.”

CUT TO CS OF LORD ABACUS

LORD ABACUS
(turning and looking over sunglasses) “Well, bring it over my good man.”

CUT TO LS OF DESK.

Calculator the Butler brings the latter to the desk. He lowers the silver platter towards Lord Abacus. The Lord takes the latter and starts to read it. His face turns grim.

LORD ABACUS
“Calculator, get my walking shoes ready.”

CALCULATOR THE BUTLER
“Excellent sir. Shall you be gone long.”

LORD ABACUS
“Only as long as it takes to restore a young girl’s faith in the world.”

CALCULATOR THE BUTLER
“So, forever.”

CUT TO MONTAGE OF HIM DRESSING IN RUNNING GEAR WITH A SERIES OF QUICK CUTS.

Lord Abacus, in his full running gear and with water bottle and running waist pack, gives a thumbs up to Calculator the Butler. He then power walks out the door.

EXT. ABACUS ISLAND DOCKS, DAYTIME
A long dock runs out from the sandy beach of Abacus Island. A path leads from Abacus Manor on the hilltop to the base of the dock. There are only two boats currently tied up at the dock. A sporty speedboat named the MAGNUM PIE and a larger sailboat named ROCKFORD FLYER. The dock has a series of crates in the gap between the sailboat and the speedboat.

LS OF DOCK FROM END LOOKING UP THE TRAIL WITH THE MANOR IN THE DISTANCE

Lord Abacus power walks down the trail, heading for the Magnum Pie.

CUT TO SHOT OF THE DOCK AND CRATES WHERE A GROUP OF ARMED MEN COME OUT.

THE MENTAL MATH TOUGHIES GANG emerges from the shipping crates and hiding places on the dock, stopping LORD ABACUS. There are ten gang members, each wearing a windbreaker emblazoned with a number from 1-10 and the letters MMT. Lord Abacus skids to a stop. BOSS DRIFTING DIGITS emerges from the crate clapping.

BOSS DRIFTING DIGITS
“Off to help another troubled child in the world Lord Abacus. Everyone clap for the good Samaritan.”

The Mental Math Toughies Gang claps. They clap too long so Boss Drifting Digits sharply gestures them to stop.

BOSS DRIFTING DIGITS
“Always so willing to help the children of the world. All children. Like you helped my children. MY CHILDREN! Where are they, Lord Abacus!”

LORD ABACUS
“Somewhere you can never hurt them again.”

BOSS DRIFTING DIGITS
“Wrong answer. Get him.”

The Mental Math Toughies gang members run down the dock towards Lord Abacus, weapons drawn.

LORD ABACUS
“Oh well if you’re looking for the correct answer, then I would have to say…MY FOOT!.”

Lord A jumps into a flying kick that shoots across the dock cutting through six gang members. He then pivots into a handstand, sticks his foot in a seventh gang member’s mouth and proceeds to spin. The seventh gang member is spun around like a weapon knocking the remaining three gang members. Lord Abacus flips up to a standing position, crouched and ready for more action.

CUT TO BOSS DRIFTING DIGITS

Boss Drifting Digits pulls a missile launcher. He starts yelling at Lord Abacus as he takes aim.

BOSS DRIFTING DIGITS
“NOT TODAY LORD ABACUS! TODAY YOU BURN! YOU BURN IN THE HOT SPOT!”

He launches a missile.

CUT TO LORD ABACUS

Lord Abacus looks left and right quickly taking stock of the situation. He starts to run left and whistles. He jumps off the edge of the dock while the missile zooms towards him.

CUT TO SLOW MOTION OF LORD ABACUS JUMPING OFF THE EDGE OF THE DOCK AND OUT OVER TO WATER.

A dolphin jumps up out of the water in response to Lord Abacus’ whistle. He lands on the dolphin. The missile races in close. Spinning on one foot, he kicks the missile back towards Boss Drifting Digits.

CUT TO THE MISSILE RACING TOWARDS BOSS TROUBLE.

INSERT CS OF BOSS DRIFTING DIGITS

BOSS DRIFTING DIGITS
“Gulp, looks like I forgot to carry the one.”

The dock is consumed in a fiery explosion as Boss Drifting Digits is vaporized by the missile.

CUT TO A SECOND DOLPHIN JUMPING OUT OS THE WATER.

CUT TO LORD ABACUS FINISHING HIS SPIN KICK ROTATION IN TIME TO PLACE HIS FOOT ON THE SECOND DOLPHIN.

Lord Abacus rides the two dolphins into the sunset.

CUT TO…

EXT. POTS’N’PANTOWN DOCKS, MORNING

VIRGINIA WESTVIRGINIA and OLD DA are at the dock fishing. From the distance speeds Lord Abacus straddling two dolphins. He reaches near the dock and the dolphins launch into the air. He flips, landing softly on the dock next to Virginia. The dolphins land back in the water and swim away.

LORD ABACUS
(holds up the letter) “Are you Virginia Westvirginia? The Virginia Westvirginia who wrote this letter?”

VIRGINIA VIRGINIA-WEST
“Yes.”

LORD ABACUS
“Good, because I am here to tell you, yes Virginia there is such a thing as an abacus…”

VIRGINIA WESTVIRGINIA
“Yes! I knew it!”

Then the scene splits in two behind Lord Abacus. It moves off to the sides, off screen, revealing the new setting.

VIRGINIA WESTVIRGINIA
“Wait, what is going on here?”

INT. LEARN-U-CATIONAL EDU-STUDYMENT CLASSROOM, DAYTIME
A bland college classroom, Lord Abacus stands in front of the classroom addressing a group of students. Virginia Westvirginia and Old Da are in the front rows, a little confused as to what is going on. Every student has an abacus on their desk.

MS OF LORD ABACUS FROM THE BACK OF CLASSROOM

LORD ABACUS
“…and anyone can easily learn how to operate it. Okay students, pick up your abacus and prepare to learn with me over the course of the next twenty-two easy lessons.”

TRANSITION FROM VIDEO TO OFFICE A

A-Mouse sits at her desk. Following along with the video, she pulls out her abacus. The PHONE RINGS. A-Mouse pauses the video and answers the phone.

A-MOUSE
“Hello. (pause)He said what? Sure, I’ll help. Let me ask everyone on this floor what they want and then I’ll meet you at the elevators. Ok. Cool. Bye.”

A-Mouse hangs up the phone then leans over and grabs a pad of paper and pencil from the desk along with a set of car keys. She turns off the monitor and puts on her jacket. She walks out of the office and turns off the lights.

FADE OUT

a new script: The Great Works Project: Season Four, Episode One by Thomas Typewriter

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 01

a prologue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “04-01”. 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

THE VELVET CURTAINS

The darkness slowly transitions to a backdrop of dark black and deep purple velvet curtains. THE VELVET TOUCH, a Helping Hand wearing black fingerless gloves and black fingernail polish, comes into frame. It grips the side of the frame.

THOMAS TYPEWRITER
(Voice-over) “Have you ever looked inside something while it was too close?”

The Velvet Touch pulls image in the frame loose as if printed on a large card. The card rotates around. On the back of the card is the image of The TYPEWRITER ABSTRACT PUPPET STAGE.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtains of the The Typewriter Abstract Puppet Stage part.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE HIGH-STAGE.

PAN FROM LS TO MS TO CS OF THE TYPEWRITER ABSTRACT PUPPET STAGE. AS THE CAMERA NEARS THE STAGE IT ALSO PANS UPWARD TO EVENTUALLY FACE THE HIGH-STAGE AREA.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. A light from beyond the doorway spills out as a faint breeze blows past rippling the High-stage curtains.

THE CAMERA SOFTLY PANS UP AND LEFT SO AS TO ALLOW A MORE DIRECT VIEW INTO THE AREA BEHIND THE NARRATOR’S DOOR

A small apartment spreads out behind the Narrator’s Door. We can not see all of it but we can see the room immediately behind the door. It is the kitchen/living room combo of a studio apartment. The kitchen stands off to stage-left and the living room to stage-right. An L-shaped counter divides one area from the other. A wicker couch sits off the stage-right. Across from the Narrator’s Door we can see a sliding door and part of a deck beyond that.

TRANSITION FROM HIGH-STAGE TO APARTMENT Y

THE CAMERA PANS IN TOWARDS AND THROUGH THE NARRATOR’S DOOR. IT CONTINUES THROUGH THE KITCHEN/LIVING ROOM, MOVING THROUGH THE SLIDING DOORS TO THE DECK OUTSIDE.

EXT. APARTMENT Y’S DECK, EVENING.

A wrought iron deck of the edge of the apartment, the deck contains an art deco inspired metal railing. A deck chair and small table sit off to the side from the sliding door. The view from the deck looks out at sloping hills of autumnal trees. Their fiery colors flow across the treetops like living oceans.

THE CAMERA ROTATES TO THE RIGHT

Y-MOUSE sits in the deck chair, holding a yellow Memory-stone in one hand and a small drink in the other, looking out at the sunset on the hills. Lost in thought, he rubs his thumb across the thin stone in his hand.

Y-MOUSE
“Why did you come to talk to us? What is going on in that head of yours?”

The stone starts to glow. It takes a moment for the light to catch Y-Mouse’s attention. He sets down his drink and looks into the glow.

CS OF Y-MOUSE LOOKING DOWN INTO THE STONE. YELLOW HIGHLIGHTS SPREAD ACROSS HIS FACE AS THE STONE’S GLOW INCREASES.

CUT TO CS OF STONE.

Shapes and figures start to appear in the inner glow of the stone. Images of Thomas Teenager’s bedroom begin to form.

TRANSITION FROM APARTMENT Y TO THOMAS TEENAGER’S BEDROOM

ZOOM IN ON THE IMAGES IN THE MEMORY STONE

INT. THOMAS TEENAGER’S BEDROOM, EVENING

An unmade bed covered with folded blankets runs long ways across the stage. To the stage-left side of the bed sits an old-style bankers desk and a pair of windows. To the stage-right side of the bed sits a vintage lamp lamp, an old chair, and the bedroom door. On the wall over the bed various shelves of stuffed animals and action figures attempt to share space with posters of teddy bears. From off-stage we can hear MUFFLED YELLING mixed with CHRISTMAS SONGS. The door opens and THOMAS TEENAGER enters the room. He slams the door behind him.

THOMAS TEENAGER
“I hate him. Hate him. Hate him.”

Thomas falls onto his bed.

THOMAS TEENAGER
(softly)“…hate myself…”

Thomas draws a deep breath.

THOMAS TEENAGER
“Why does he always say that I am greedy and selfish. Why can he see it but I can’t. I thought I was doing good, that I was finally being a good boy at Christmas. I stopped asking for presents, pretended I was happy at all the events, laughed when everyone else laughed, did my chores…but still…(chokes up)”

Thomas starts to cry, but just as quickly it passes. He looks even more upset.

THOMAS TEENAGER
(narration) “Why can’t I cry. I was about to but then something shifted and I stopped. No tears. No release. Still feel sad. Feel even worse. (takes a deep breath) Three years. Three years of no escape. Swallowing everything, stuffing it down. Feeling worse every day.”

Thomas lays down on the bed clutching his stomach and rubbing his throat.

THOMAS TEENAGER
(narration) “Maybe I can’t cry because I haven’t gotten sad enough. Maybe I need to overload my emotional dam and break it. Shock my system.”

Thomas sits up and wipes his eyes. He walks over to the desk. He opens the lid and moves some comics and RPG notes out of the way. He pulls out a piece of paper and a pen then sits down and starts to write.

THOMAS TEENAGER
(narration) “List of bad things I have done. 1. I ask for too many toys at Christmas, 2. I do not finish my school assignments 3. I said mean words to my brother 4. I did not compliment my mother on her new haircut soon enough. 5. I forgot to wash the dishes yesterday 7. I shoved a broom at Sadie when a toddler. 8. I burned that pizza that one summer because I was distracted playing Mario Brothers. 9. I feel awkward around my classmates. 10. If I wasn’t born my Dad wouldn’t have to work a job he hates. That should be number one.”

Thomas grabs a new sheet of paper and starts to recopy the list.

THE SCREEN CHANGES TO A BRIGHT YELLOW GLOW

TRANSITION FROM THOMAS TEENAGER’S BEDROOM TO APARTMENT Y

EXT. DECK OF APARTMENT Y, EVENING

THE BRIGHT GLOW FADES OUT RETURNING US TO A CS OF THE YELLOW STONE IN Y-MOUSE’S HAND.

The stone stops glowing.

CUT TO CS OF Y-MOUSE’S FACE

Y-MOUSE
“Oh Thomas…”

CUT TO MS OF Y-MOUSE

Y-Mouse stands and walks over to the sliding door. He goes inside.

CUT TO LS OF…

INT. APARTMENT Y KITCHEN/LIVING ROOM, EVENING

Y-Mouse enters through the sliding door, closing the door behind him. He holds the Memory-stone in his hand. He walks over to the couch and pulls a case out from under the sofa. Inside is a large amount of foam padding with slots. In each slot sits a stone similar to the yellow stone but in different colors: red, blue, green, orange, purple, white, black, brown and one empty spot. Y-Mouse places the yellow stone into the empty slot. He closes the case and slides it back under the sofa. Walking over to the phone, he picks it up. DIALTONE. BUTTON BEEPS FOR DIALING 3 3 *. RINGING. RINGING. CLICK OF PICKUP ON OTHER END.

Y-MOUSE
“Hi. Busy. No, good. You better go and get food for everyone. Going to be all-nighter. Yeah, it’s that serious. Have A-Mouse help you. Thanks.”

Y-Mouse hangs up the phone and walks off camera

FADE OUT