———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 07

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-07. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A wooden disc, surrounded by rows of grey carpet squares, sits in the center of the unroom. Spindly lamps at the ends of the carpet rows barely illuminate the wooden disc.

POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISK

TYPEWRITER KEYS CLACK as unseen lamps turn on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO MID-STAGE

ZOOM IN TO THE MID-STAGE

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT’S STUDIO, AFTERNOON

Center stage sits a writing desk flanked by a lamp on one side and a waste can on the other. On the writing desk sits a typewriter and a stack of paper. Behind the desk, and off to the side, stands an askew bookcase topped by house plants. THOMAS TYPEWRITER is sitting at the desk, swiveling in his chair. Absently-minded chewing on a pen, he is reviewing a script. Turning the words over in his mind he looks for the answer to the question of what happens next. After swiveling longer than we expected he retrieves his flip phone. A smile slides across his face as he dials.

THOMAS TYPEWRITER
“Hi Ophidia. It’s me. Yeah. I’m good. Well, stuck again but it’ll pass. You? Good, good. Hey I was wondering, would you like to see West Side Story tonight? Awesome. The 6pm…sure that’d be perfect. I’ll take care of the tickets. Just meet me out front. (pause) Cool. See you then. Bye.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD OVER THE ID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES PANNING UP TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA STOPS ONCE THE HIGH-STAGE FILLS THE FRAME.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Y-MOUSE walks out into view.

Y-MOUSE
“128 sparkships in the Lunar/Solar fleet, all tasked with harvesting the lost crumbs of creation. Moving forward that which doubles and doubles. Each crew dedicated in purpose. (pause) well maybe not the crew of The Carro.”

Y-Mouse exits. The Narrator’s Door closes. The curtains open and stage lights turn on to the sound of a COMPUTER BOOTING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE

A model of THE CARRO flies out across a fake starscape. The model, unlike in previous episodes, is much larger. It flies across the stage and we can see into the windows. LUCIDO OBSIDIAN and CARRO are playing Triple Checkers in the Observation Lounge at the front. Meanwhile, near the rear of the ship, through a porthole, we see CEDAR WAXWINGS walking down a hallway. He is still carrying the record player from the previous episode. The Carro flies off screen stage-right. The curtains close then reopen.

HIGH-STAGE: INT. CARRO STORE ROOM 601

A giant metal skeleton of a room, Store Room 601 has stacks and stacks of amphora-crates across the back of the stage. The door stands to stage left. The doors open and Cedar enters. He carries the record player to the nearest stack of amorpha-crates and sets it down.

An amorpha-crate is the way the Lunar/Solar Fleet store supplies on the sparkships. Each on looks similar to  a crate made in the shape of a large jar with tapered sides, larger at top. On the top of the amorpha-crate is a smaller top, similar to a top lip on a vase. Wood is the prefered construction material for amorpha-crates.

Cedar turns and grabs a clipboard from the wall next to the door. Cedar brings his portable cassette player from out of his pocket, headphones from a second pocket, and a cassette tape from a third pocket.

INSERT CS OF CEDAR PUTTING THE HEADPHONES ON.

INSERT ECS OF CEDAR PUTTING IN THE CASSETTE. CHA-THON’S UNDERGROUND MIX 3 IS PRINTED ON THE SIDE OF THE CASSETTE.

INSERT ECS OF CEDAR PRESSING PLAY.

Cedar starts to bop his head as he walks around filling out the form on the clipboard. He walks from stack to stack of the amphora-crates inspecting each and taking notes on the clipboard. By the third stack he tosses the clipboard. He reaches and turns up the cassette player. CHA-THON’S UNDERGROUND MIX 3 FILLS THE AIR as we hear what Cedar hears. A thousand different drums echo through a thousand different caves. Cedar starts to dance. From one end of the room to the other he moves with joy, his movements larger and larger. Soon he moves so out of control he knocks over a stack of amorpha-crates.

CEDAR WAXWINGS
“Yelp.”

Looking at the fallen crates, he notices a wooden crate hidden behind them. It bears an abstract fox-like symbol on its side.

CEDAR WAXWINGS
“What’s this?”

He looks at each side trying to find an inventory number, but each side is blank save for the side with the fox symbol. Cedar pulls up the lid and looks inside.

CEDAR WAXWINGS
“Awesome. Lucido is going to flip when he sees this.”

Cedar then gets behind the crate and pushes it off-stage through the main door. The stage lights turn off with the sound of a COMPUTER TURNING OFF and the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS, DOWN STILL MORE TO THE SETS OF THE MID-STAGE. IT STOPS WHEN FRAMING MID-STAGE.

MID-STAGE: EXT. THE RETRO BOX OFFICE, EVENING

A small box office sits off-center stage-left on the stage. It is slightly angled from the audience, facing more towards stage-right than stage-front. Over the top of the box office the bottom of the marque, with it’s flashing lights, can be seen. SALLY SALLY JOHNSON sits in the box office reading the Orphans of Chaos by John C. Wright. Her name tag reads Sally with a small 2 at the end. It is placed in the same way as you would write some value was squared in mathematics. THOMAS TYPEWRITER walks on stage from stage-right. He approaches the cashier.

SALLY SALLY JONES
(still reading) “Welcome to the Retro.”

THOMAS TYPEWRITER
“Are you open?”

SALLY SALLY JONES
(marks page and sets down the book) “Yeah, yes. Sorry about that, it’s a really good book. (looks at Thomas)How can I help you?”

THOMAS TYPEWRITER
“Do you still have tickets available for West Side Story?

SALLY SALLY JONES
“Yes. Not a lot but there’s still some seats available.”

THOMAS TYPEWRITER
“Do you have two?”

SALLY SALLY JONES
“Yes.”

THOMAS TYPEWRITER
“Awesome. I’ll take two.”

SALLY SALLY JONES
“No problem. That’ll be $18.50.”

Thomas pays. Sally prints the tickets. As she does, Thomas leans over and looks at the book she was reading.

THOMAS TYPEWRITER
“Is it any good?”

SALLY SALLY JONES
“Huh?”

THOMAS TYPEWRITER
“That book. The one you were just reading. Is it any good.”

SALLY SALLY JONES
“Oh sorry. (shifts tone) It’s amazing.”

THOMAS TYPEWRITER
“What’s it about.”

SALLY SALLY JONES
“It’s about these British kids who discover their school is not what it seems. The author incorporates all these ancient Greek myth with modern boarding school mysteries. It is really neat how he pulls it off.”

THOMAS TYPEWRITER
(to self) “Classics. There’s that word again. (to Sally Sally) Could you write that book’s title and author down for me. I think I’d like to check it out.”

SALLY SALLY JONES
“Sure.”

She writes the info down on the back of his ticket, then hands Thomas his tickets. From stage-left OPHIDIA OPERAHOUSE enters.

OPHIDIA OPERAHOUSE
“Thomas!”

THOMAS TYPEWRITER
“Ophidia!”

Thomas waves her over

SALLY SALLY JONES
“West Side Story is playing on Screen one. Hope you enjoy.”

THOMAS TYPEWRITER
“Thanks. (turns to Ophidia) I’ve got the tickets. And a book recommendation.”

OPHIDIA OPERAHOUSE
“Cool.”

Thomas holds the door for Ophidia as they go inside. Sally Sally takes out her book and starts reading. The stage lights turn off with the sound of a LIGHT SWITCH CLICKING OFF. Sally Sally turns on a flashlight to continue reading. The Mid-stage curtains close.

FADE OUT

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 06

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-01. It scrolls up from the center of the bottom of the frame, ascending vertically untill finally exiting the center of the top of the frame.

FADE OUT

FADE IN

A LS OF HIGH-STAGE OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

We open on the Abstract Typewriter Puppet Stage. We join it already in progress. The Unroom is not visible.

PAN IN TOWARD THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The curtains open.

PAN IN, MATCHING THE SPEED OF THE CURTAINS’ SLOW REVEAL, TILL THE STAGE AREA OF THE HIGH-STAGE FILLS THE FRAME

The stage lights turn on with the sound of a COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. BIFF’S BEDROOM, RAINY DAY

A bed sits center in the room, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic books and the Babysitter Tails television show adorn the walls. A window sits to the side. Rain clouds can be seen drifting by outside. Biff sits on the floor coloring while Rockey watches. We have caught them in the midst of a day of fun and pretend.

ROCKEY
“So is this the Palace of Moonlight?”

BIFF
“No. Sunlight.”

ROCKEY
“Right. The Palace of Sunlight”

BIFF
“Yup.”

Rockey looks at the drawing as Biff reaches back for a crayon from the box.

ROCKEY
“How do you come up with these ideas?”

BIFF
“Don’t know. Just do.”

ROCKEY
“Yeah, but how do you know. You could pretend anything. Palace of Dust, Diamonds, Storms…but you didn’t.”

Biff grabs a crayon and then sits up. He looks off into the distance as if thinking purposefully on the answer.

BIFF
“Sure I could but they didn’t feel right.(thinks a moment) Inside me(gestures to area just above and in front of forehead)is a big space. Like a giant river.”

TRANSITION FROM HIGH-STAGE TO INNER-ILLUSTRATION

CUT TO THE CIRCULAR RIVER

EXT. THE CIRCULAR RIVER. NIGHT

Biff sits in a small boat floating on a river of dark water. Tall canyon walls can be seen, many layers of colors frame the shoreline. Biff leans over and looks into the water.

BIFF
(voice-over) “Things drift pass and I sit and watch. Something catches my eye and I pull it out.”

Biff watches some items float by in the water. One glitters.

INSERT CS OF A LEAF FLOATING IN THE WATER, SUNLIGHT GLITTERING ACROSS IT.

CUT BACK

Biff pulls out the leaf. A string of yarn can be seen going from the leaf back into the water. Biff examines the leaf.

BIFF
(voice-over) “Everything has a string or connects to something else and I just follow the string to the next thing. Sometimes the string runs along the surface, sometimes it goes to something stuck at the bottom, in the mud.”

Biff notices the string on his leaf and pulls on it. He pulls the string pulling up other objects tied on the line. The third object he pulls up has two strings tied to it. Biff looks at the two stings, each going in a different direction, and ponders which string to follow.

TRANSITION FROM INNER-ILLUSTRATION TO HIGH-STAGE

CUT BACK TO THE HIGH-STAGE

HIGH-STAGE: INT. BIFF’S BEDROOM, RAINY DAY

Rockey leans into Biff in a gesture of affection. Biff hugs him back before returning to drawing. After a moment he stops. Biff brings his crayon up to his face.

ROCKEY
“Why’d you stop?”

BIFF
(looking at crayon) “My crayon has turned black. It was purple when I took it out but now it is black.”

ROCKEY
“Maybe you grabbed the wrong crayon.”

Biff turns and inspects the box of crayons. He pours it out in front of Rockey.

BIFF
“No. They’re all changed. They’re all black now.”

ROCKEY
“The whole box! Now what do we do?”

Biff and Rockey look at each other, but then Biff arcs an eyebrow. Rockey looks at him puzzled. Biff gestures his head toward the stage-front. It dawns on Rockey what he means and he nods agreement. They both scoot over closer and closer to the stage-front, ultimately peering over the edge of the HIGH-STAGE.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD ALONG THE CURTAIN OF CLOUDS, DOWN OVER THE TOPS OF THE MID-STAGE SETS TO THE MID-STAGE ITSELF.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO, DAYTIME

Thomas sits at his desk staring at his typewriter. The ideas which seemed to be pouring out of him earlier have faded away. Hoping physical movement will transform to artistic inspiration, Thomas stands. He paces the stage, mumbling to himself working through his script hoping to grab onto the clue of creativity. The stage lights turn off with the sound of a LIGHT SWITCH CLICKING OFF, though Thomas keeps pacing. The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD ALONG THE CLOUD CURTAIN. AS IT CRESTS THE MID-STAGE SETS, IT TILTS UPWARD SO THAT WE CAN SEE BIFF AND ROCKEY PEEKING OVER THE EDGE OF THE HIGH-STAGE.

HIGH-STAGE: INT. BIFF’S BEDROOM, RAINY DAY

THE CAMERA TILTS BACK TO ITS REGULAR POSITION AS IT REACHES HIGH-STAGE.

We find Biff and Rockey leaning over the edge of the stage, watching Thomas pace.

BIFF
“Well that was anti-climatic. Guess we know where the black crayon business is coming from.”

ROCKEY
“Seems so. Well, what do we do now?”

BIFF
“I don’t know. He’s not writing anything so I guess we wait till he figures it out and finishes the script.”

Biff swings his legs over the edge of stage. Absent-mindedly he swings his legs. They sit in silence for a moment or three.

BIFF
“I’m bored.”

ROCKEY
“Me too. I wish we could keep drawing.”

BIFF
“Me too.”

They both sigh.

BIFF
“Wait. Why don’t we.”

ROCKEY
“What do you mean.”

BIFF
“Why don’t we choose what we do next. Not him.”

ROCKEY
“Yeah. Why does he get to decide our fate. We decide what we do.”

BIFF
“Exactly. Where you having fun drawing?”

ROCKEY
“The best.”

BIFF
“Me too. So, let’s just keep drawing.”

ROCKEY
“Yeah, it’s not like the crayons are broken.”

BIFF
“Absolutely. They’re just black.”

ROCKEY
“Still a color”

BIFF
“Still a color indeed. A thousand things could be drawn with a black crayon.”

ROCKEY
“Like depression.”

BIFF
“What. No. Real things, not metaphors. Like zebras or onions.”

ROCKEY
“Oh, I get what you mean now. Like clouds at night.”

BIFF
“Exactly.”

ROCKEY
“Or penguins.

BIFF
“You’re getting it now.”

ROCKEY
“Or clams”

BIFF
“Right. Or like skunks.”

ROCKEY
“Or magpies.”

BIFF
“And crows.”

ROCKEY
“Or black crayons.”

BIFF
“Newspapers.”

ROCKEY
“Old books.”

BIFF
“Old movies.”

ROCKEY
“Like an atomic monster movie?”

BIFF
“Or like a detective film.”

Biff and Rockey look at each other.

BIFF AND ROCKEY
(shouting) “Atomic Monster Detective movie!”

BIFF
“Staring the Softboiled Detective.”

ROCKEY
“And the Big Bad Bug!”

They hop off the stage edge and start drawing feverishly. The High-stage’s stage lights turn off with the sound of a COMPUTER TURNING OFF. The curtains close.

PAN OUT TO A LS OF THE HIGH-STAGE AS WE FADE OUT

FADE OUT

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Season 01, Episode 05
By Thomas Typewriter
(C) 2020
———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-05. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

Grey carpet squares surround a wooden disc in the center of the room. The carpet squares, illuminated by spindly lamps off to the sides, spread out like seats in an auditorium.

POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISK

The disk stands unilluminated, just outside the lamp light. TYPEWRITER KEYS CLACK as unseen lamps turn on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view. Surprising since before the unseen lamps lit, one would assume the wooden disc was empty.

TRANSITION FROM THE UNROOM TO MID-STAGE

ZOOM IN TO THE MID-STAGE

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: THOMAS TYPEWRITER’S STUDIO, NIGHT

Center stage sits a writing desk topped by a typewriter and a pad of typing paper. On one side of the desk stands tall a floor lamp, while on the other side stands a small trash bin. A bookcase, topped by various houseplants, sits askew off to stage-right.
THOMAS TYPEWRITER sits at the desk humming “Also Sprach Zarathustra” to himself as he loads paper into the typewriter. Stretching his fingers, Thomas begins to feverishly type.

THOMAS TYPEWRITER
(narration) “Fade in. INTERIOR BIFF’s BEDROOM, DAYTIME. A bed sits center in the room, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic books and the Babysitter Tails television show adorn the walls. A window sits to the side. Sunlight streams in. Biff and Rockey are sitting on the floor drawing when we join them. (pause) Biff reaches for a new crayon from the large box of crayons nearby while Rockey studies the crystalline palace he is drawing. Narration: “Biff was taken aback when his crayons turned black.””

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES ALONG THE CURTAIN OF CLOUDS UP TO THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The NARRATOR’S PANEL opens and Y-MOUSE leans out. He is still in his pajamas.

Y-MOUSE
“Has anyone seen the script book?”

A HELPING HAND comes up and nods no.

Y-MOUSE
“Is it in the back somewhere?”

The Helping Hand ducks down out of sight. It comes back up and nods no again.

Y-MOUSE
“Well keep looking. It has to be somewhere.”

The Helping Hand exits. From off stage we hear someone KNOCKING ON A DOOR.

Y-MOUSE
“Excuse me will you.”

Y-Mouse walks off stage through the Narrator’s Panel. It closes. We can hear the sound of a DOOR OPENING.

Y-MOUSE
(from off stage) “Hello, can I help you. Hey, long time no see. How have you been.(pause as he listens to a response) Sorry to hear. Oh, sure you can pass through. Can’t blame you. Who wants to travel through that space. First stairs on left then second hall on the left then third door on the left. Good luck.”

We hear FOOTSTEPS going down stairs, then FOOTSTEPS down a hallway, and lastly the sound of a DOOR CLOSING. The curtains open and the stage-lights turn on with the sound of A COMPUTER BOOTING UP.

MID-STAGE: EXT. OUTER SPACE, AFTERNOON

A model of the Carro flies across a background of the blackness and sparkle of outer space. It flies from stage left to stage right. As it crosses the stage, a bird-like shadow moves across the background. Once the ship reaches the stage right edge the curtains close. The curtains then reopen.

MID-STAGE: INT. THE OBSERVATION DECK OF THE CARRO, AFTERNOON

Lucido sits near Carro’s terminal setting up a game of Triple Checkers on a small table tray. Once he finishes he reaches into a nearby desk retrieving a clipboard.

LUCIDO
“Do you want to go first?”

CARRO
“No, you can go first.”

Lucido checks a box on the form on his clipboard. He sets aside the clipboard and makes his first move. Carro makes its move. Lucido then takes his turn. A shadowy shape can be seen flapping in the distance through the observation window behind Lucido. Carro notices this but Lucido does not.

LUCIDO
“Your move”

CARRO
“Oh. Sorry.”

Carro makes his move. Lucido then takes his turn. He waits as Carro has become distracted staring out the window.

LUCIDO
“Carro. Your move”

CARRO
“Oh. Yeah. Sorry.”

Carro takes his turn. Lucido makes his next move. Carro starts to make his follow-up move but his eyes drift. He places his piece in a different spot than intended. Lucido grimaces but then makes his move. He manages to jump two of Carro’s pieces removing them from the board. Carro does not react. He is lost in thought staring out the window.

Lucido makes a mark on the clipboard. He then clears his throat to get Carro’s attention. Carro fails to notice. Lucido’s gaze starts to follow Carro’s. They both stare out the observation window.

LUCIDO
“What are you looking at?”

The stage-lights turn off to the sound of a COMPUTER TURNING OFF then the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO, NIGHT

Thomas Typewriter is still sitting at his typewriter typing.

THOMAS TYPEWRITER
(narration)“Biff examines the crayon carefully. Puzzled by how it could turn black when previously it was purple. Red and blue mixed no more. He turns his gaze to the box of crayons as searching for a foothold, something stable to help explain these sudden changes. What…..”

Thomas slows down typing

THOMAS TYPEWRITER
“What (trails off) What does happen next.”

Thomas stops typing. He stares at the keyboard. Moments pass. He lays his head down and pecks away at the keys. Thomas sits at the typewriter a little longer hoping to reclaim the thread of the story.

Unfortunately Not today.

Thomas stands up and exits stage-right

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

FADE OUT

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Season 01, Episode 04
By Thomas Typewriter
(C) 2020
———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-04. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A large wooden disk sits in the center of the room with rows of grey carpet squares surrounding it.

POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISK

The disk stands unilluminated. TYPEWRITER KEYS CLICK CLACK as unseen lamps turn on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO MID-STAGE

PAN IN TO THE MID-STAGE TILL IT IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The Mid-Stage curtains open and stage lights turn on with the sound of a LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. THE RETRO MOVIE PALACE, NIGHT

The Retro is a former movie palace built in an earlier age when some believed Art Deco would save the world. Recently restored and renovated, it now serves as a celluloid beacon. The front entrance frames the stage left with a large marquee visible to the audience. The theatre’s marque reads as follows:

70MM FILM FESTIVAL THIS WEEKEND!!!
FRI BEN-HUR NOON 6PM
2001 3PM 9PM
SAT WEST SIDE STORY NOON 6PM
LAWRENCE OF ARABIA 3PM 9PM
SUN TRON NOON 3PM
6PM 9PM
NEXT WEEKEND – ROCKY HORROR RETURNS
NEXT MON MASH-UP GULLIVER SULLIVAN’S TRAVELS

A line stretches from the rope barrier in front of the box office out and off stage-left. In the line, near center-stage, waits OPHIDIA OPERAHOUSE. THOMAS TYPEWRITER enters from stage-left. He calls out to Ophidia and she waives him over. He joins her in line.

THOMAS TYPEWRITER
“Thank you for inviting me.”

OPHIDIA OPERAHOUSE
(She pretends to doff her hat) “Your welcome.”

THOMAS TYPEWRITER
“Hope you weren’t waiting long. I tried to get here sooner but had to park a couple blocks away.”

OPHIDIA OPERAHOUSE
“It’s okay, and I’m not surprised you. The 70mm film fest is popular, especially 2001.”

THOMAS TYPEWRITER
“I’m excited. I’ve never seen it.”

OPHIDIA OPERAHOUSE
“Seriously. Never.”

THOMAS TYPEWRITER
“Nope.”

OPHIDIA OPERAHOUSE
“But you’re a big science-fiction loving screenwriter nerd. You even have NASA themed sheets and decorations.”

THOMAS TYPEWRITER
“True.”

OPHIDIA OPERAHOUSE
“You even quoted Apollo 13 when you first hit on me.”

THOMAS TYPEWRITER
“I did. That and Mister Ed. Can’t believe it worked. And what kind of nerd does that make you that you went with it.”

OPHIDIA OPERAHOUSE
“Bigger and better.”

THOMAS TYPEWRITER
“True. And while I am revealing embarrassing facts about myself…”

OPHIDIA OPERAHOUSE
“Oh don’t stop on my account. Continue, continue.”

THOMAS TYPEWRITER
“I’ve never watched the Godfather, never watched Citizen Kane, none of the greats.”

OPHIDIA OPERAHOUSE
“Seriously.”

Thomas shakes his head yes.

OPHIDIA OPERAHOUSE
“This isn’t one of your jokes.”

THOMAS TYPEWRITER
“Nope. Honest Thomas.”

OPHIDIA OPERAHOUSE
“This still sounds like one of your jokes. Like that time you pretended that that spoiled candy tasted good to get me to eat one.”

THOMAS TYPEWRITER
(Chuckles) “No, not this. No fooling. I am woefully uneducated when it comes to art. I did not have a vast exposure to art growing up. I watched the Muppets, read comic books, and took lots of naps in the sun.”

OPHIDIA OPERAHOUSE
“Like a cat.”

THOMAS TYPEWRITER
“Yup, even had a favorite windowsill.

OPHIDIA OPERAHOUSE
“Not that that isn’t weird. Anyways, which Muppet was your….”

THOMAS TYPEWRITER
“Fozzy Bear!”

OPHIDIA OPERAHOUSE
“…favorite. Wow you just jumped right in there. No hesitation.”

THOMAS TYPEWRITER
“Wakka. Wakka.”

Ophidia busts out laughing. Thomas starts laughing as well. THE USHER enters the stage through the front doors of THE RETRO. He walks up to the front of the line.

THE USHER
“Thank you everyone for joining us tonight. On behalf of the staff and management of the Retro we want to thank you for attending our 70mm film festival tonight. (everyone claps). Now enough chit-chat, lets get you into the theatre.”

The Usher unclips the rope, allowing the line to enter the theatre.

OPHIDIA OPERAHOUSE
“I’m so excited.”

THOMAS TYPEWRITER
“Me too.”

Thomas reaches out and takes hold of Ophidia’s hand as they walk towards the door.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARDS UP OVER THE MID-STAGE SETS TO THE CURTAINS OF CLOUDS BEHIND THE SETS. IT CONTINUES UP ALONG THE CURTAIN OF CLOUDS TO THE TOP. AT THE TOP OF THE CURTAIN OF CLOUDS, IT FINDS THE HIGH-STAGE AND FINISHES MOVING PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

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

Y-MOUSE
“Beyond the Palaces, beyond the sands of the Houses, beyond the waves of Bridges, beyond the clouds of the Crowds, out to the orbits of glittering Sparks, the idle stir.”

Y-Mouse turns and exits. The Narrator’s Panel closes. The curtains part and the stage lights turn on to the sound of a COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE, DAYTIME

A model of the sparkship THE CARRO moves across the stage in front of a background of blackness and sparkles. The Carro flies from stage left to stage right. Once it reaches the stage right edge the curtains close.

HIGH-STAGE: INT. OBSERVATION DECK OF THE CARRO SPARKSHIP, DAYTIME

LUCIDO OBSIDIAN and CEDAR WAXWINGS sit on either side of CARRO’s computer terminal. Lucido and Cedar both have their feet propped up and have dozed off. Carro is also asleep, with it’s electronic eyes closed. A vinyl record plays on a record player soon finishing. The arm and needle automatically return to their resting position. The record stops spinning, turning off with a SOFT CLICK. Silence fills the Observation Deck. A few moments of bliss pass by. Then Carro’s display changes replacing the electronic eyes with an alarm clock. The alarm RINGS loudly.
Lucido is the first to stir. He stands, stretches, and then walks over to Carro’s terminal. He pushes a button and the alarm turns off. Carro’s display reverts back to the electronic eyes which are slowly opening. He then walks over to the sleeping Cedar and gently nudges his feet off the counter. Opening a drawer previously blocked by Cedar’s legs, Lucido pulls out a box of Triple Checkers. He gives Cedar a gentle shake.

LUCIDO OBSIDIAN
“Hey.”

Cedar opens one of his eyes.

LUCIDO OBSIDIAN
“Work time. I’ll handle Carro’s analytive-emotive check if you could check the storage decks.”

Cedar yawns and nods his head. He gets up and walks off stage-left. Lucido pulls out a small tray table from behind Carro’s terminal. He then pulls over his chair and sits down. Carro watches as Lucido sets up the Triple Checkers.

CARRO
“Analysis time.”

LUCIDO OBSIDIAN
“Fraid so.”

CARRO
“Can I be red this time.”

LUCIDO OBSIDIAN
“Sure.”

Cedar walks back onstage. He goes to the record player, unplugs it, and then carries it back off-stage. Lucido and Carro track him with their eyes. When he’s gone they look at each other and shrug.

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE.

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE. IT GLIDES DOWN THE CURTAIN OF CLOUDS, OVER THE TOPS OF THE MID-STAGE SETS, FINALLY RESTING WHEN FRAMING MID-STAGE.

MID-STAGE: EXT. THE RETRO MOVIE PALACE EXT, NIGHT

Thomas Typewriter and Ophidia Operahouse exit the theatre hand in hand.

THOMAS TYPEWRITER
“Wow. You we’re right. Great film.”

OPHIDIA OPERAHOUSE
(Taking a bow) “Thank you. Thank you.”

THOMAS TYPEWRITER
“Thanks for this. I really needed to get out. Out from behind my desk. Out from my mind.”

OPHIDIA OPERAHOUSE
“I’m glad too.”

They stand for a few moments holding hands and looking at each other.

OPHIDIA OPERAHOUSE
“You smell really nice tonight.”

THOMAS TYPEWRITER
“Thanks, You too. Apricot shampoo?”

OPHIDIA OPERAHOUSE
“Yeah. I remembered how you liked the smell of apricots.

THOMAS TYPEWRITER
“I do.”

OPHIDIA OPERAHOUSE
“I know.”

They lean in and kiss. Thomas breaks away and puts out his arm. Ophidia locks arms with him. They skip off stage right, arm in arm. The Mid-stage stage lights turn off with a sound like a LIGHT SWITCH CLICKING and the curtains close.

FADE OUT

 

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Season 01, Episode 03
By Thomas Typewriter
(C) 2020
———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-03. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISK

The unroom sits in dimness. Spindly lamps off to each side softly illuminate the details of the room. A large wooden disk sits in the center of the room with rows of gray carpet squares surrounding it. The disk stands shrouded in darkness, just outside the illumination of the spindly lamps. TYPEWRITER KEYS CLICK CLACK as an unseen author types a short descriptive sentence.

ZOOM IN ON THE AREA OF THE WOODEN DISK

Unseen lamps over the wooden disk turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO MID-STAGE

ZOOM IN TO THE MID-STAGE TILL IT IS PROPERLY FRAMED

MID-STAGE WITH CURTAINS CLOSED

The curtains part and the stagelights turn on, to the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE – INT. THOMAS TYPEWRITER’S STUDIO, EARLY EVENING

THOMAS TYPEWRITER is passed out on the floor next to his desk. A large pile of crumpled paper sits next to the desk, yet a single sheet of paper sits on his chest. He groans and sits up. A large bruise is visible on his head. One of the Helping Hands comes up and hands him a bag of ice. Thomas accepts the bag of ice and places it on his bruise.

THOMAS TYPEWRITER
“Thank you.”

The Helping Hand exits, while Thomas sits holding the bag to his head. A PHONE RINGS. Thomas sits up and answers the phone.

THOMAS TYPEWRITER
“Hello. Oh hi. Yeah fine, well not fine but I’ll survive. I hit my head. No, I’m fine now. (Thomas notices the paper that was on his chest. He picks it up and looks at it while talking on the phone.) How’d I hit my head? Frustration. Writer’s block. Disregard for personal well-being. (Thomas stands up, places the sheet under the typewriter, then paces while talking) Enough about me, how about you. How’s your project going? Really…(laughs) you too. Yeah, I guess so. I’ve never tried that. I usually just sit and wait till it goes away. You think that would help?”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD OVER THE TOP OF THE MID-STAGE SETS, UP ALONG THE CLOUD CURTAIN, TO THE HIGH-STAGE AT TOP.

HIGH-STAGE – CURTAINS CLOSED

The Narrator’s Panel opens and Y-Mouse emerges.

Y-MOUSE
“In the far reaches of an alternate space, the least dedicated crew in the fleet collect the leftover sparks of creation.”

Y-Mouse retreats and the Narrator’s Panel closes. The HIGH-STAGE curtains open and the stage lights turn on, to the sound of a COMPUTER TURNING ON, revealing…

HIGH-STAGE – EXT. OUTER SPACE, THE EDGE OF THE FOURTH ZONE

A model of the sparkship THE CARRO moves across the stage on a guidewire across a background of blackness and sparkles.The Carro flies from stage left to stage right. Once it reaches the stage right edge the curtains close.

HIGH-STAGE – INT. OBSERVATION DECK OF THE CARRO SPARKSHIP, MID-DAY

Carro’s computer terminal sits in the center of the stage. LUCIDO OBSIDIAN and CEDAR WAXWINGS sit in chairs on either side of the terminal. They both have their feet propped on the control boards and are dozing off. Carro’s electronic eyes are dimming as he also falls asleep. A record player sits off to the side playing the latest album from “The Off Switches”, a band that specializes in building soft symphonies from the collected sounds of devices turning off. The record reaches the end of the album and stops playing.

LUCIDO OBSIDIAN
“Somebody restart the record.”

CEDAR WAXWINGS
“Too tired. Carro?”

CARRO
“Too far. Lucido?”

Lucido reaches over and moves the record player needle back to the start of the album. The album restarts. Lucido returns to his seat. Everyone lets out a sigh of relief. The lights turn off with the sound of a COMPUTER TURNING OFF and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, MOVING FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS. IT CONTINUES DOWNWARD, DESCENDING TO THE MID-STAGE. IT STOPS WHEN FRAMING THE MID-STAGE REVEALING…

MID-STAGE – INT. THOMAS TYPEWRITER’S STUDIO, EARLY EVENING

The studio stands unoccupied with the desk lamp still lit. From off-stage a SHOWER can be heard. THE WATER TURNS OFF. Someone FAINTLY HUMS. A DOOR OPENS then FOOTSTEPS FADING AWAY. A pause then the FOOTSTEPS grow louder. From stage left THOMAS TYPEWRITER enters. Drying his head from his shower as he walks over to the desk, we notice how nicely he is dressed. He folds up the towel and sets it on the chair. He then leans over, gently kissing the typewriter. He exits stage left.

He returns with a broom. He sweeps the pile of discarded paper off stage to the stage left. He does not return from going off stage. From off stage we hear a DOOR CLOSE. FOOTSTEPS fade into the distance. The LIGHTS CLICK OFF and the curtains close.

FADE OUT

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Season 01, Episode 02
By Thomas Typewriter
(C) 2019
———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-02. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

POV OF AN OUTER ONE SITTING ON A CARPET SQUARE IN THE UNROOM LOOKING AROUND.

The unroom sits in darkness. Distance and scale is unsure. Spindly lamps off to each side fade on, slowly bringing details of the room to light. A large wooden disk sits in the center of the room with rows of grey carpet squares surrounding it. The disk stands shrouded in darkness, just outside the illumination of the spindly lamps. A CLICK sounds followed by TYPEWRITER KEYS CLICK CLACKING.

THE CAMERA TURNS BACK UP TO LOOK AT THE LARGE WOODEN DISK.

Unseen lamps over the wooden disk turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE (see note 1). Bearing a basic old time typewriter form, it is taller than wider, the keys forming the base, the cylinder forming the top, and in between is the stage area. Covering the stage area are a set of red stage curtains. The sound of KEYS TYPING stops.

THE CAMERA PANS IN TOWARDS THE MID-STAGE CURTAINS.

MID-STAGE – CURTAINS CLOSED

The curtains part and the stage lights click on with THE SOUND OF A LIGHT SWITCH CLICKING revealing…

MID-STAGE : THOMAS TYPEWRITER’S STUDIO

A writing desk sits center stage, with an old fashioned mechanical typewriter and a ream of paper on top. On the stage-left side sits a wastebasket. On the stage-right side sits a lamp. In the background, on the stage-right side, sits a short bookcase topped by various house plants.

As we join the scene, THOMAS TYPEWRITER sits at his desk typing on the typewriter. He loads a new page and types until he has filled the page. He removes the page and reviews it. His face scrunches up as if tasting something rank and sour. He tosses the page into the wastebasket at the side of his desk.

Thomas loads a new page and starts to type. When he reaches the end of the page he removes it from the typewriter. Reviewing it, he finds it no good and throws it away.

Thomas again loads a new page and starts to type. He reaches the end of the page and examines it. Finding this page also dissatisfying, he throws it away.

Thomas releases a MOAN and lets his head fall onto the typewriter. He hits his head against the typewriter multiple times.

THOMAS TYPEWRITER
“Well…..that was stupid.”

Dizzily, he reaches for a new sheet of paper and awkwardly loads a it into the typewriter. He starts to type again.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS, UP ALONG THE CURTAIN OF CLOUDS, FINALLY STOPPING WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

An approaching CAR ENGINE can be heard off-stage. Y-MOUSE, in his Y-Mobile, drives on-stage from stage-right and drives across the stage, in front of the closed curtains. As it reaches the stage-left side, part of the side panel opens like a garage door. The little car drives in. The panel closes.

From offstage we hear the sound of a CAR ENGINE TURNING OFF, a TRUNK OPENS AND CLOSES, followed by FOOTSTEPS ON STAIRS. KEYS JANGLE and a DOOR UNLOCKS. More FOOTSTEPS followed by BAGS BEING SET DOWN, then FOOTSTEPS ON MORE STAIRS.
The NARRATOR’S PANEL opens and Y-MOUSE appears.

Y-MOUSE
“Sorry about that. I had to get some groceries and was running late. You can only imagine what traffic was like.”

He leans into the microphone.

Y-MOUSE
“Testing. Testing. Testing.”

At this point one of the HELPING HANDS(see note 2) pops up, wearing headphones, and gives a thumbs up.

Y-MOUSE
“Okay, We’re good. I’m going to start.”

The Helping Hand exits out of sight. Y-Mouse puts on his glasses and pulls out a script.

Y-MOUSE
“And today had started with so much possibility and excitement Biff thought to himself as he looked at the rain and gloom outside his window. He had promised his pet rock best friend Rockey today would be a special day. A day of adventure. A day of mischief. A day of irony. A grand day. Now what, he complained to his parents. They paused, a pause filled with sympathetic smiles and unstated love, before answering. Well, they said, why don’t you go up to your room and use that powerful imagination of yours. Come up with something ironic, something mischievous, something adventurous, something grand. So Biff and Rockey did just that.”

Y-Mouse turns and exits through the Narrator’s Door. It closes behind him. The High-stage curtains part and the stage lights turn on, to the sound of A COMPUTER BOOTING UP, revealing…

HIGH-STAGE – BIFF’S BEDROOM

Biff’s Bedroom is a modest sized room. A bed sits center stage flanked by a nightstand on one side and a dresser on the other. A window, with window seat sits off to the stage-left side. A door to the room sits stage-right. A round window is in the wall over Biff’s bed.
BIFF, a rabbit boy, and ROCKEY, his pet rock, are sitting on the floor in front of the bed, surrounded by scattered drawings, as the curtains open. Each drawing is of a different character Biff and Rockey pretend to be when playing. Rain dances across the window behind them, finding its own joy.

BIFF
“Who should we pretend to be today? (Holding up the drawing of each character as he names them) Gentleman Bareknuckles and the Lamplighter Shepherd?”

ROCKEY
“Nope.”

BIFF
“Happy Hardware and the Rocket Crash Car?”

ROCKEY
“Too dangerous.”

BIFF
“Steam Punk and the Rockers?”

ROCKEY
“Too loud.”

BIFF
“Carl the Cave Bunny and the Dino-Store.”

ROCKEY
“Ugh.”

BIFF
“Mind Games and Headcheese.”

ROCKEY
“Definitely not.”

Biff pauses, searching for the perfect choice. He slowly scans the remaining pictures. Finally he picks a picture, holding it up to Rockey.

BIFF
“The Inner-Space Man and the Space Egg?”

ROCKEY
“Perfect”

Biff stands, clutching the picture to his chest. Rockey hops next to him. They both look upwards.

BIFF
“Where Biff and Rockey would spend the afternoon being bored and bottled up…”

The stage lights dim except for a spotlight on Biff and Rockey. The WARDROBE OF A THOUSAND AND ONE COSTUMES then lowers from the ceiling. It covers the duo. Lights flash inside the wardrobe while THUNDER ECHOES. Smoke drifts from the cracks. The light and thunder then stop. The wardrobe lifts back up into the ceiling, revealing Biff dressed as the INNER-SPACE MAN and Rockey replaced with the SPACE EGG.

INNER-SPACE MAN
“…the Inner-Space Man and Space Egg will explore and marvel at all the universe has to offer.”

The Space Egg opens its hatch to allow the Inner-Space Man to climb aboard. He tries to jump in but he can’t. His life support backpack keeps catching on the lid. He tries and tries, but keeps coming up short. Finally, the Space Egg retracts its legs to lean down. The Inner-Space Man is able to leap in this time but ends up falling in head first. His feet dangle in the air as the lid closes. The Space Egg lights up. It’s lights grow brighter, the HUM OF ITS ENGINES becoming audible as it starts to hover then fly off-stage.
Once the Space Egg has left the stage the stage lights turn off to the sound of A COMPUTER SHUTTING DOWN. The curtains close.

TRANSITION HIGH-STAGE TO MID-STAGE.

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE TO THE CLOUD OF CURTAINS, AND DOWN MORE STILL. IT FINALLY STOPS ONCE REACHING AND FRAMING MID-STAGE.

MID-STAGE – THOMAS TYPEWRITER’S STUDIO

Back in Thomas Typewriter’s Studio, we find Thomas Typewriter passed out on the floor. He must have hit his head harder than he realized. A Helping Hand comes up and pokes Thomas. Thomas does not stir. The Helping Hand tries again. Thomas still does not stir. The Helping Hand “looks around” then waves to someone off screen. The Space Egg flies in from above-stage and hovers over Thomas. The hatch cracks open and a piece of paper containing one of the drawings Biff held up earlier slips out. It floats down to land on Thomas’ chest. The hatch closes and the Space Egg flies off stage. The Helping Hand waves goodbye before retreating out of sight.

The stage lights turn off to the sound of a LIGHT SWITCH BEING FLIPPED and then the curtains close.

FADE OUT

NOTES
1 The Typewriter Abstract Puppet Stage has a specific internal construction so when I use the terms Low-Stage, Mid-stage, High-stage, Back-Stage, Narrator’s Door and Cloud of Curtains I am referring to specific areas on the Typewriter Abstract. It may look like a single puppet stage made in the shape of a typewriter, but it is actually a venue of multiple stages. The basic idea is that a puppeteer could move his or her self within the stage use these other stages to signify other places or even other storylines. In the base, hidden by the keyboard is the LOW-STAGE. It is paneled in wood stained deep red, with dark curtains and candle light style stage lighting, giving the feeling of being underground or in a volcano. Above that, the area behind the main curtain, is the MID-STAGE. It is done in a more natural wood tone style. Mid-stage is the main or default stage. Behind the Mid-stage sets hangs the CURTAIN OF CLOUDS. It is the backdrop of the main stage area. It is a curtain with abstracted cloud shapes in shades of blue working from very dark along the bottom to very light at the top. Any sets or decorations used on Mid-stage will be in front of the Curtain of Clouds. If the Curtain of Clouds were to part like a stage curtain, the area behind would be the BACK-STAGE. It is is an empty space, usually dark and devoid. At the top of the Curtain of Clouds is the High-Stage. Its front is flush with the curtain with decorative panels on each side. The stage-left side panel of the High-Stage can open, or move aside. This is the Narrator’s Door. When the Narrator’s Door opens a microphone emerges.
2 The Helping Hands are like if the puppeteers break the fourth wall and put their hands up into the stage area, visible to the audience and the other puppets.

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Season 01, Episode 01
By Thomas Typewriter
(C) 2019
———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-01. It scrolls up from the center of the bottom of the frame, ascending vertically until finally exiting the center of the top of the frame.

FADE OUT

FADE IN

INT. THE UNDECORATED SPACE
Open on an undecorated sound stage in a world of greyscale tints and incomplete sets. A gentle fog rolls across the ground. Partially completed walls and props sit scattered around, all painted in various gray tones. The feeling is of being inside a giant sound stage filled with incomplete sets.

A vertical slit forms in the fog, off to the side away from the scattered sets. The fog then rolls off screen to the left and right, like a curtain on a stage being opened.

AS THE FOG ROLLS ASIDE THE CAMERA MOVES FORWARD WITH A SLIGHT BOB,AS IF THE CAMERA WAS SOMEONE’S POV AS THEY WALK INTO THE DARKNESS.

A lantern or lamp turns on revealing a small wooden bridge.

THE CAMERA WALKS ACROSS THE BRIDGE, SLOWING IN THE MIDDLE.

The sound of RUNNING WATER catches our attention.

THE CAMERA PANS DOWN TO LOOK AT THE WATER UNDER THE BRIDGE.

A small creek of strikingly clear water runs under the bridge. It is not very wide but remarkably deep. In the water various books, albums, movie posters, and other artwork float by.

THE CAMERA RETURNS TO THE UPRIGHT GAZE AND WALKS ON.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts from the darkness ahead.

THE CAMERA CONTINUES WALKING FORWARD.

Two unseen lamps turn on illuminating a revolving door. The door leads to one of the unrooms in the Undecorated Space, but there are no walls visible. It sits alone in the darkness.

THE CAMERA WALKS THROUGH THE REVOLVING DOORS.

The hands of the POV can be briefly seen as they move through the revolving door. Note that there will be no reflection of the POV character, or OUTER ONE, as he/she uses the revolving door. Instead a small log of the unroom number, “.7”, is visible on the door. Emerging from the door, the Outer One finds…

INT. UNROOM NOT.SEVEN

LS OF THE UNROOM FROM THE POV STANDING JUST INSIDE THE DOOR.

The unroom sits in darkness. Distance and scale visually unsure. Spindly lamps off to each side fade on, slowly bringing details of the room to light. A large wooden disk sits in the center of the room with rows of grey carpet squares surrounding it. The disk stands shrouded in darkness, just outside the illumination of the spindly lamps.

THE CAMERA MOVES TO A GREY CARPET SQUARE AND SITS DOWN. IT THEN TILTS DOWN TO LOOK AT THE GROUND.

The Outer One places a coin on the ground with the symbol of an anvil. Nothing happens. They replaces the anvil coin with a coin with the symbol of a trophy. Still nothing. They continues replacing the coins one at a time, working through coins with symbols of a sword, a harp, a shield, a light bulb, a quill, a castle, a wand, and lastly a saw. Nothing occurs for any of the coins.

The Outer One pauses, fingers tapping on the ground. Then an idea occurs to them. They lay all the coins on the ground in a row. A CLICK sounds followed by TYPEWRITER KEYS CLACKING.

THE CAMERA TURNS BACK UP TO LOOK AT THE LARGE WOODEN DISK.

Unseen lamps over the wooden disk turn on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE. Bearing a basic old time typewriter form, it is taller than wider, the keys forming the base, the cylinder forming the top, and in between is the stage area. Covering the stage area are a set of red stage curtains. The sound of KEYS TYPING stops. The lights in the unroom dim.

THE CAMERA PANS IN TOWARDS THE STAGE CURTAINS.

FADE OUT

———–<.thom.>———–
The Great Works Project
a puppet play in multiple parts
Series prologue
By Thomas Typewriter
(C) 2019
———–<:type:>———–

FADE IN

INT HOSPITAL ROOM ICU. DAYTIME

A stark room of sterile whites and low artifice machinery, an elderly woman, THE-WOMAN-WHO-LOVED, lies in a hospital unconscious and unresponsive. Various tubes snake out of her face and limbs twisting their way to various beeping, wheezing, and pinging life support machines. Off to the side sits a nightstand covered in get well cards, all with bright cheerfullest pictures of flowers. Pictures of things not allowed into this sterile environment.

OPEN ON A MS OF THE WOMEN-WHO-LOVED FROM THE FOOT OF HER BED, LOOKING TOWARDS HER SLEEPING FACE.

A SOFT KNOCKING at the door.

THE-MAN-WHO-LOVES
(off-screen) “Hi, can I come in.”

From off-screen we hear THE-MAN-WHO-LOVES enter. FOOTSTEPS pad across the room to DRAG A CHAIR next to the bed.

THE-MAN-WHO-LOVES
(off-screen) “Wow that was loud. Sorry about that.”

A male hand, the hand of THE MAN-WHO-LOVES, comes into view, gripping the The-Women-Who-Loved’s hand. He squeezes it.

THE-MAN-WHO-LOVES
(off-screen) “So,how you doing today. (pause) The boys miss you and say hi…”

The man’s voice breaks, pausing, letting the sadness slip.

THE-MAN-WHO-LOVES
(off-screen) “…Sorry. Where was I. I’ve got something I have been working on. Would it be alright if I read it to you.”

INSERT CS OF THE-WOMAN-WHO-LOVED’S HAND SOFTLY SQUEEZING THE-MAN-WHO-LOVED’S HAND.

THE-MAN-WHO-LOVES
(off-screen) “Great.”

We hear the sounds of PAPERS RUSTLING.

THE-MAN-WHO-LOVES
(off-screen) “It’s a new script. Something I might actually finish. You’d like that wouldn’t you.

CUT TO CS OF THE-WOMAN-WHO-LOVED’S HAND SQUEEZING THE-MAN-WHO-LOVES’ HAND, THEN CUT BACK.

THE-MAN-WHO-LOVES
“Good. (pauses) Okay, it goes something like this: Fade In from black. A golden curtain delicately embroidered with threads of pure curiosity, stretches across the screen. A sense of any moment something magical will begin.”

CUT TO XCS OF THE-WOMAN-WHO-LOVED’S FACE. HER EYES CRACK OPEN AND SHE TURNS HER HEAD

CUT TO CS OF THE-WOMAN-WHO-LOVED TURNING HER HEAD AND LOOKING TOWARDS THE CAMERA.

CUT TO THE-WOMAN-WHO-LOVED’S POV OF THE END OF HER BED.
THE BACKGROUND GOES OUT OF FOCUS WHILE THE END OF THE BED REMAINS IN FOCUS. THE BACKGROUND FADES AWAY BEING REPLACED BY A GOLDEN STAGE CURTAIN. IT FILLS THE ENTIRE FRAME.

THE-MAN-WHO-LOVES
(off-screen) “The curtains part revealing a space of not here, not now…”
The golden curtains part.

THE CAMERA PANS INTO THE OPENING.

TRANSITION FROM HOSPITAL ROOM TO NOT HERE, NOT NOW.

NOT HERE, NOT NOW

A hazy void spreads across the frame. From below the frame, A HANDHELD, comes into view.

CS OF THE HANDHELD

A rectangular gaming device, with a small tinted screen and six activity buttons in two rows. The top row of buttons are deep blue and marked “Yes”, “Maybe” and “No”. The bottom row of buttons are deep red and marked “Sun”, “Star” and “Moon”.
From the right and left emerge two HELPING HANDS. They appear as someone reaching into the camera frame to grip and use the handheld. Helping Hands can also be thought of as the puppeteer using their hand as a puppet in the puppet show, interacting with the characters and the story.

From the right side of the screen emerges a right handed Helping Hand wearing pale blue fingernail polish. From the left hand side of the screen emerges a left-handed Helping Hand wearing pinkish finger nail polish.

The Helping Hands grip the handheld and tilt it towards the camera, allowing for a better view of the small viewscreen. One of The Helping Hands reaches to the top of the unit, clicking the power on.

ZOOM IN TO A CLOSER SHOT OF THE HANDHELD’S SCREEN.

The screen flashes to life. The title screen scrolls up from the bottom of the view-screen. It has a retro 8-bit monochrome title reading “The Great Works Project” and under that reads “press any button”. We see The Right-Held Hand press a button and the screen changes…

TRANSITION FROM NOT HERE, NOT NOW TO THE GAMETIME

THE GAMETIME – STAGE START INTERSTITIAL

The words “a walking about” scroll up from the bottom of the screen, pausing a moment in the center, then continue upward disappearing out of frame.

PAN IN SO THE VIEWSCREEN FILLS THE FRAME BECOMING THE NEW FRAME OR REALITY OF EXPERIENCE.

The stage title “00-01” scrolls up from the bottom of the frame, pausing in the center, then continuing upward. It scrolls out of sight off the top of the screen

THE GAMETIME – STAGE 00-01 CHOICE HALL

A pixel art version of THE OUTER ONE appears at the end of a hallway. The hallway extends out beyond the right hand side of the screen.

The Outer One moves right, CHIPTUNE MUSIC playing in the background. He moves right, down the hallway to the first open area. Choice Hall splits into two paths. The first is a continuation of the horizontal hallway. The second is a vertical passage made up from a series of alternating platforms. The Outer One jumps up to the vertical passage and climbs upward by jumping from alternating platform to alternating platform.

At the top of the vertical passage, is a small room. In the room is a large safe. The Outer One walks over to the safe and a pop-up game prompt “Press Yes” appears. It disappears as off-screen the Helping Hands press yes. A small screen pops up on the screen showing some text and a T9 keypad. It reads “Enter the combination to open the safe.” We see the cursor moving over the keypad to type in the combination of L-U-G-H-N-U-A-D.

Being a T9 style keypad, it should appear as twelve buttons arrainged in a grid three across by four tall. This is what they should read:
“1,.?!” “2ABC” “3DEF”
“4GHI” “5JKL” “6MNO”
“7PQRS” “8TUV” “9WXYZ”
“<-” “0” “->”
Also please note that since the keypad is a T9 style input, that the Outer One will need to press each button cycling through the characters until the correct letter is shown. To bring up L for example, 5 is pressed four times showing 5, then J then K, then L. The buttons to either side of 0 are used to move the cursor.

The keypad pop-up screen disappears, with the sound of A SAFE OPENING sound effect, once the last letter of combination is selected.
The safe door opens and golden coins bounce out and into the Outer One. Each coin bears a distinct symbol on it starting with a saw blade. The coins then cycle through a wand, a castle, a quill, a light bulb, a shield, and a harp before ending with a sword on the last coin. Once the Outer One has obtained the last coin they pulse, like a video game character getting a power-up. Their clothing and hair change to colors of silver and gold.

The Outer One jumps down the vertical corridor returning to the junction area. They return to traveling to the right down the horizontal hallway. They pass four doors on raised stairwells, each with a name written in the archway over the door: Fail, Find, Go, Murmur. The Outer One continues past the four doors to the end of the hallway.
At the end of the hallway, there is a small gap in the floor leading to a hallway under the main hallway. The Outer One jumps down. The under-hallway is dark and gloomy with occasional torches and dark purple spider webs.

They walk down the hallway coming to a fifth door, boarded, covered and abandoned. The name over the door, “QUINT” hangs at an angle. The Outer One punches and kicks the boards off the door. Bits and pieces fly off to the right. They then approach the door, standing in front of it.

A DOOR UNLOCKING sound plays leading to a door opening animation.

CUT TO DOOR ANIMATION. THE OUTER ONE TURNS AND WAVES TO THE CAMERA. THE DOOR THEN SPINS AND GROWS FILLING THE SCREEN, AT WHICH POINT IT SHRINKS TO A POINT OF WHITE THAT DISAPPEARS. AS IT SHRINKS, THE SCREEN IS WIPED TO BLACK. THE BACKGROUND AND OUTER ONE DISAPPEAR REPLACED BY BLACK.

The stage title “01-01” scrolls up from the bottom of the frame, pausing in the center, then continuing upward. It scrolls out of sight off the top of the screen

FADE OUT