The Great Works Project scripts

The Great Works Project: Season Two, Episode Four

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Four

By Thomas Typewriter

(c) 2020

———–<:type:>———–

 

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-04. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A disc of wood sits surrounded by rows of grey carpet squares in a cavernous room. The light cast by spindly metallic lamps barely reaches out beyond the center of the unroom. A lone occupant, THE OUTER ONE, sits on one of the darker grey carpet squares observing the nearest lamp.

POV OF THE OUTER ONE LOOKING AT A METALLIC LAMP AT THE END OF THEIR ROW OF CARPET SQUARES.

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

THE POV OF THE OUTER ONE TURNS TO LOOK AT THE WOODEN DISC.

Unseen lamps over the wooden disc flip on illuminating THE TYPEWRITER ABSTRACT PUPPET STAGE mid-disc.

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

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

Open on THOMAS TYPEWRITER sitting at his desk in the center of the stage. The lamp, to one side, illuminates the nearby wastebasket, desk, and typewriter. Thomas’ fingers feverishly move over the keys as his head bobs to the music from his headphones.

THOMAS TYPEWRITER
(voice-over) “Fade in from black. EXTERIOR SHOT – A realm outside time and space. Multiple colors dance across the screen in a kaleidoscopic intensity. Far shot of the Space Egg hurtling through this higher realm, chromatic waves left in its wake. Cut to medium shot of the SPACE EGG, allowing us to see the high speeds compressing and stretching its form. Cut to INTERIOR OF SPACE EGG. The INNER-SPACE MAN sits in a padded futuristic style astronaut’s chair. In front of him rests a curved console and curved view screen.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP OVER THE TOP OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TILL REACHING THE HIGH-STAGE AT THE TOP. THE CAMERA STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and out walks Y-Mouse. He is dressed in an evening robe and carrying a newspaper under one arm, a cup of coffee in the other.

Y-MOUSE
“When monsters attack, every commute becomes rush hour. (takes a sip of coffee. Rereads the line back to himself.) When monsters attack every commute becomes rush hour. (makes a sour face) Ohh that is awful. Just awful. (looks into the camera) Give me one moment will you. (Looks down into the High-stage) Writer’s Room please.”

A HELPING HAND emerges from the stage and picks up Y-Mouse. It carries him off-stage.

TRANSITION FROM HIGH-STAGE TO THE WRITER’S ROOM
CUT TO

INT. THE WRITER’S ROOM

A large room similar to a college lecture hall, the writers room is four rows of tables and chairs flanked by stairs on either side. Each row is a long table where the writers sit. Stairs run along the stage-left and stage-right side. The bottom row is shorter than the other three rows, to allow room for a door on the stage-left and a motivational poster on the stage-right. The poster reads: A Happy Writer is a Writer with a Deathline.

Seated in the rows are THE ALPHABET MICE, the writers responsible for the dialogue Y-Mouse reads. Sitting in the top row is A-MOUSE, B-MOUSE, D-MOUSE, E-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, and I-MOUSE. Sitting in the second row is J-MOUSE, C-MOUSE and K-MOUSE sharing a typewriter, M-MOUSE, N-MOUSE, O-MOUSE, and P-MOUSE. The third rows finds an empty chair then R-MOUSE, S-MOUSE, T-MOUSE, Q-MOUSE sharing notes with U-MOUSE, V-MOUSE, and lastly W-MOUSE. The bottom row finds X-MOUSE busily writing, an empty desk, and then Z-MOUSE asleep at his desk.

Every writer, has a typewriter and cup of coffee, except C-Mouse, P-Mouse, T-Mouse, and W-Mouse. P-Mouse prefers pen and paper to typewriters. T-Mouse prefers tea to coffee. C-Mouse prefers cola to coffee. W-Mouse prefers water.

As we join the Alphabet Mice, the room is filled with a cacophony of TYPEWRITER KEYS CLICK CLACKING and VOICES MURMURING. A-Mouse stands and knocks his coffee cup on the desk. KNOCK, KNOCK, KNOCKS. Everyone quiets and looks his way.

A-MOUSE
(pulling out the paper in her typewriter to read) “Okay Okay how about this. Y-Mouse comes out and says “Sometimes when somebody says that’s the way I found it, that is the way they found it.”

Everyone boos and throws wadded pieces of paper at her. P-Mouse stands and knocks his coffee mug. KNOCK, KNOCK, KNOCKS. Everyone quiets down and turns his way.

P-MOUSE
“How about this. Y-Mouse comes out and says “It was the best of times. It was the worst of times. It was the best of traffic. It was the worst of traffic.”

Everyone boos and throws waded paper at him. X-Mouse stands and KNOCKS, KNOCKS, KNOCKS his coffee cup drawing everyone’s attention.

X-MOUSE
“What about this: Moving through our lives, we believe we grow older, grow wiser, and grow kinder, but what hidden hurts, what buried frustrations, lurk like monsters in the dark waiting for the moment to strike again.”

Everyone nods their heads and murmurs approval. The Helping Hand carrying Y-Mouse emerges from the ceiling lowering Y-Mouse to the floor. It lets go and retreats off screen.

Y-MOUSE
“Guys what are you doing? That last script was horrible.”

B-MOUSE
“Sorry. We know. We’ve been working on a replacement.”

X-MOUSE
“What do you think of this?”

He hands his dialogue to Y-Mouse. He reads it and nods his head.

Y-MOUSE
“Not perfect, a little akward but definitely shows promise. Put a little more polish on it and I think we’ve got something here. Send it up to my apartment when finished.”

THE ALPHABET MICE (EXCEPT Z-MOUSE)
“Will do.”

Y-Mouse snaps his fingers and the Helping Hand returns. It picks him up and carries him off-stage. The Alphabet Mice return to typing.

TRANSITION FROM THE WRITER’S ROOM TO THE HIGH-STAGE
CUT TO

HIGH-STAGE: CURTAINS CLOSED

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

Y-MOUSE
“We grow older. We mature. We believe that our kindnesses, our loves, our experiences have made us a better person. But what hidden hurts, what discarded disappointments, lurk like monsters in our shadows.”

Y-Mouse exits through the Narrator’s Door which closes behind him. The curtains part, and the stage lights turn on with the sound of A COMPUTER TURNING ON, revealing…

THE HIGH-STAGE: EXT. THE INNER HIGHWAY SECTION 4, DAYTIME

An elevated section of concrete and steel, Inner Highway Section 4 is filled with cars. Seed-like glide ships, horse-headed hot-rods, buccaneer balloons, and wind-up wagons are waiting for GRAND DAYPASS JONES, mostly bio-goblin, to turn his sign from STOP to GO. Behind, him the construction crew works on trimming the tree tops. A large robotic Mecha-crane lifts DENSITY DOUBLEDIP, mostly clockwork elf, up to trim the branches, while FORNAXITE SEAHAVEN, Administrator, supervises from the ground.

As the tree limbs are cut, we can see the driver of the horse-headed hot-rod, KRINKLE CANDYWRAPPER, becoming agitated. His anger grows and grows till he explodes. Literally explodes in light and JET TURBINE ROARING. Everyone pauses and turns towards the noise and light. The light and noise fade leaving behind THE FYRE GIANT in the place of Krinkle Candywrapper and his horse-headed hot-rod. Head ablaze, clothed in smoldering metal, he runs towards the construction crew.
The construction workers yell and run away. The other drivers follow suit driving away. A rainbow descends from the sky, stage-left, bringing COLORI PASTELLI into the scene. A humanoid box of crayons, he currently has red, blue, yellow, green, orange, purple, white, and black stripes. The grey stripe is missing, instead replaced with yellow. COLORI is holding his four faithful hounds: BRAWN, BRAINS, BEAUTY, and BONGO. The hounds hop away and bark at the monster drawing his attention. The monster grips his ears in pain. He picks up the Mecha-crane and and throws it at them.

SWITCH TO SLOW-MOTION…

Colori Pastelli holds up his hands, shining green, and shimmers and then ROSSO COLORI is standing next to him. The red stripe on Colori has turned yellow. Rosso leaps at the flying car. He kicks it away, knocking it into The Fyre Giant’s head. It flies off-stage stage-right as The Fyre Giant falls down. He bounces off the ground with a THUNDEROUS THUD. Rosso Colori lands on his chest.

SWITCH OUT OF SLOW-MOTION, AND BACK TO REGULAR SPEED

COLORI PASTELLI
“Hounds, take this monster to the Forgiving Place. I’ll be along shortly.”

Brains, Brawn, and Beauty grab the Fyre Giant’s feet and drag the monster stage-left and off-stage. Bongo ignores them currently being distracted by a butterfly that flew out of some grasses nearby.Colori and Rosso shimmer, leaving only Colori on the stage. His red stripe has returned.

COLORI PASTELLI
“Bongo.”

BONGO
(snapping out of daze and looking around)”Oh…yeah, sorry.”

Bongo exits stage-left. OTHO MERCUTIAN, a coyote man wearing a plaid suit and thick glasses enters from stage-right. Colori notices him and waves.

COLORI PASTELLI
“Didn’t expect to see you here.”

OTHO MERCUTIAN
“I wanted to talk, so I followed the trail of destruction.”

COLORI PASTELLI
“True. I do leave my mark wherever I go. So, What brings you out of Universitytown.”

OTHO MERCUTIAN
“My son is in trouble.”

Colori’s face grows serious.

OTHO MERCUTIAN
“Can you help?”

COLORI PASTELLI
“I’ll try.”

OTHO MERCUTIAN
“Good. To the Music Hall.”

He grabs hold of Otho’s shoulder and they exit the stage in a rainbow. The High-stage curtains start to close while the stage-lights turn off to the sound of A COMPUTER POWERING OFF.

TRANSITION FROM HIGH-STAGE TO LOW-STAGE ALONG THE CURTAIN OF CLOUDS.
THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE. IT MOVES ONTO THE CURTAIN OF CLOUDS, FOLLOWING IT DOWN TO THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE TOPS SETTLING PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO MID-DAY

Thomas Typewriter continues typing at his desk.

THOMAS TYPEWRITER
(narration) “Cut to INTERIOR OF SPACE EGG. The INNER-SPACE MAN sits in a padded futuristic style astronaut’s chair. In front of him rests a curved console and curved view screen. Various sized glowing hexagonal buttons are spaced around the input/output screen on the console. The curved view screen displays a vast swirling colorscape only made more abstract by the Space Egg’s velocity. “

The PHONE RINGS, startling Thomas. He stops typing and picks up the phone checking to see who could be calling him. Seeing it is Ophidia Operahouse, he smiles deeply. Thomas slides his headphones off and answers the phone.

THOMAS TYPEWRITER
“Hi, no you didn’t wake me? Sure, I can talk. For you I’d make time. Just writing. Might be onto something. Don’t know. The ideas are so slippery lately. (pause as he listens) Maybe I do need to get out, but I’d rather stay in. Stay in with you. (pause) Sure I could do that. I love to cook. I’ll cook you dinner. (pause) You will. Awesome. (stands and starts to walk off-stage) So how’s your day going?”

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

FADE OUT

The Great Works Project: Season Two, Episode Three script

Puppet play, scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Three

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-03. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

A wooden disc sits center in the Unroom surrounded by rows of grey carpet squares, like an island in an ocean of drabness. Patiently, THE OUTER ONE waits on one of the grey carpet squares. Metallic spindly floor lamps stand off to the edges barely illuminating.

POV OF THE OUTER ONE.

The sound of TYPEWRITER KEYS CLICK CLACKING rings out from the shadows cloaking the wooden disc.
THE POV OF THE OUTER ONE TURNS TO LOOK AT THE WOODEN DISC.
Unseen lamps over the wooden disc flip on illuminating THE TYPEWRITER ABSTRACT PUPPET STAGE now sitting mid-disc.
PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

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

MID-STAGE: CURTAINS CLOSED

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

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

A desk sits in the center of the stage. On the desk sits a typewriter and a ream of paper. A lamp and wastebasket sit on either side of the desk. A bookcase, covered in houseplants, sits off to stage-left. An ALARM can be heard from off-stage. It buzzes a few moments then stops. The sound of a DOOR OPENING and then FOOTSTEPS catch our attention. THOMAS TYPEWRITER enters from stage-right. Still dressed for bed, Thomas groggily walks across the stage exiting stage-left. From off-stage we hear A DOOR OPENING followed by WATER FLOWING INTO A TOILET. The FLUSH is softer than expected, in contrast to the resonant thunder of water from THE SHOWER.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. MOVING OVER THE TOP OF THE MID-STAGE SETS, THE CURTAIN OF CLOUDS PEEKS INTO VIEW. THE CAMERA FOLLOWS ALONG UPWARDS THE CURTAIN OF CLOUDS. THE CAMERA CONTINUES PANNING UPWARD TILL REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS ONCE PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s door opens. Y-Mouse emerges.

Y-MOUSE
“In the Fifth Hill, where the twining paths of truth and lies crosses paths wrapped in constellations, where starlight shines on maybes, sits a man. A man of many places and many ways.”

Y-Mouse turns towards the stage and watches the curtains part and the stage-lights turn on, to the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: EXT. UNIVERSITYTOWN STREET CORNER, AFTERNOON

A street runs across the stage with a humble brick building emerging from the stage-right side. OTHO MERCUTIAN, a fox-like man in a plaid suit and thick glasses, sits on the sidewalk in front of the building. He strums his boxy guitar. The case sits open nearby waiting for a spare coin. A green trolley from the DNTA, or The Double Nine Transit Authority, passes across the stage from stage-left to stage-right.

Y-Mouse turns towards Otho and throws a coin into the case. Otho nods a thank-you. Y-Mouse exits through the Narrator’s door which closes behind him. Otho Mercutian returns to playing. Like a wave, he transitions from playing softly to playing loudly back to softly and repeating.

Stopping for a break, he places his guitar on the sidewalk. Otho sips from his nearby cup. He takes out a handkerchief and wipes off his head. He looks up to the sky. The guitar bounces once, twice, thrice. Unseen fingers play a frantic melody. A concerned frown slides across the vulpine face of Otho Mercutian as he listens to the tune. He picks up his guitar placing his hand over the strings. They stop vibrating. Sliding the guitar on, he starts to play and sing.

OTHO MERCUTIAN
“Hush Hush little baby, don’t you cry.
Daddy’s heard you loud and clear.
Daddy knows your a crying.
Daddy knows your a scared.
Daddy’s soon going to be there.”

A robotic Mecha-crane crashes in from stage-left, interrupting the song. It lands in front of the building before skidding off stage stage-right. Otho stands stage-left, guitar and possessions packed up, looking at the Mecha-crane off-stage. He turns and exits stage-left. The stage-lights turn of to the sound of A COMPUTER POWERING OFF. The lights in the building turn on in response, and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNLOCKS FROM FRAMING HIGH-STAGE AND PANS DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN TO THE MID-STAGE SETS. IT MOVES OVER THE SET TOPS AND PANS DOWN LOCKING IN ON MID-STAGE.

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

Thomas enters stage-left wrapped in a towel. He walks across the stage exiting stage-right. A short moment later he reenters dressed. Walking over to the desk, he sits down. He loads a sheet of paper into the typewriter. Smiling, he reaches into the desk and pulls out his headphones and music player. He puts on the headphones and plugs them in.

INSERT CS OF THE HEADPHONE JACK PLUGGING IN FOLLOWED BY A CS OF THOMAS PRESSING PLAY.

Thomas starts to bop his head.

AFTER A MOMENT INSERT A LONG SHOT OF THE SPACE EGG FLYING THROUGH THE MULTI-COLORED REALMS OF HIGHER SPACE.

Raising his fingers, Thomas feverishly types.

THOMAS TYPEWRITER
(narration) “Fade in from black. EXTERIOR SHOT – A realm outside time and space. Kaleidoscopic colors dance across the screen.”

The stage lights turn of to the sound of A LIGHT SWITCH CLICKING OFF. The sound of TYPEWRITER KEYS CLICK CLACKING continues as the Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Two script

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Two

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

In the large cavernous space of the Unroom, THE OUTER ONE sits on one of many grey carpet squares lost in thought. The carpet squares radiate out from a wooden disc in the center of the unroom. Spindly metal lamps stand at the ends of the rows of carpets barely able to illuminate the room. The carpet squares bathe in light while the wooden disc swims in shadows.

THE CAMERA IS THE POV OF THE OUTER ONE LOOKING AT THE CARPET SQUARE THEY ARE SITTING ON.

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

THE CAMERA TILTS UP AS THE OUTER ONE SHIFTS THEIR GAZE FROM THE CARPET SQUARES TO THE WOODEN DISC.

The wooden disc sits empty in the dark. Unseen lamps flip on. THE TYPEWRITER ABSTRACT PUPPET STAGE manifests in the newly cast light splashing across the wooden disc.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE
PAN IN ON MID-STAGE

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

MID-STAGE: CURTAINS CLOSED

The Mid-Stage sits silent and still. Once the camera properly frames Mid-stage the curtains part. The stage-lights turn on with the sound of a LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THE SLICE-O-PIE RESTAURANT

Three restaurant style booths run across the stage. Various sized photos of pies and fruits, all ornately framed, hang on the wall above the booths. A small framed photo of a rabbit next to a rock sits off to the stage left. Over on the stage right hangs a small framed photo of a still from the Patterson Bigfoot footage.

The center booth is the only booth currently occupied, though the MURMUR OF A CROWD can be heard. Sitting in the booth are THOMAS TWENTYSOMETHING, THE LADY, THE LANCE, and THE LOCH. Thomas is looking at the menu, while the Lance and the Lady are looking around the restaurant. The Loch is sniffing the salt and pepper shakers.

THE LADY
“Busy night.”

THOMAS TWENTYSOMETHING
“Yup.”

THE LANCE
“More than yup. A full night indeed. I mean look at all these gorgeous ladies. Sure working up my appetite, if you catch my drift.”

THOMAS TWENTYSOMETHING
“Yeah right. Can we just eat dinner tonight. No woman here is interested in talking to us.”

THE LANCE
“Not with your head buried in that menu.”

The Loch sneezes from sniffing the pepper. Thomas leans over and puts his hand over the salt and pepper shaker in the Loch’s paws. Thomas shakes his head. The Loch sets them down. Thomas returns to his menu while the Loch reads over his shoulder.

THE LADY
“None of that Lance, you leave him alone.”

THE LANCE
“Why are you always defending him. You know as well as me if he just tried he’s succeed. He’s a good looking guy and he’s wasting it. Wasting his chances, no our chances. I’m tired of waiting on the sidelines.”

The Lance looks off stage-right and raises his hand waving to someone off-stage. A come here kind of wave. When he does this, Thomas does the same exact motion. Thomas merely looks up from his menu and frowns. The Loch reaches over and puts his paw on the Lance’s chest then shakes his head no. The Lance puts his hand down. Thomas is then able to lower his hand.

THE LADY
(glaring at the Lance) “We agreed we were not going to do that unless it was an emergency.”

THE LANCE
“Whatever.”

The Lance sinks into his seat pouting. THE WAITRESS enters from stage-right.

THE WAITRESS
(to Thomas) “Are we ready to order.”

THOMAS TWENTYSOMETHING
“Sure thing. I’ll have a Crispy Bird Special, a bowl of Mickey-Stronney soup and a Squirrelly Temple.”

THE WAITRESS
(playfully) “Someone’s got a big appetite tonight.”

THE LANCE
“Ohhh…she’s hitting on you. Don’t blow it.”

THOMAS TWENTYSOMETHING
(acting shy) “Maybe.”

The Waitress writes down the order and leaves.

THE LADY
“Why didn’t you talk more to her?”

Thomas shrugs. They fall into an awkward silence. The Waitress reemerges bringing a Squirrelly Temple soda and a bowl of soup. She sets them down on the table.

THE WAITRESS
“Here you go, and your Crispy Bird will be ready soon. Anything else I can get you right now.”

THOMAS TWENTYSOMETHING
“No thank you, we’re good.”

The Waitress makes a funny face then leaves. Thomas takes a sip of his soda.

THE LADY
(reaches over and takes hold of his hand)”Thomas we need to talk.”

Thomas immediately stops sipping.

THOMAS TWENTYSOMETHING
“Okay.”

THE LADY
“We will be leaving.”

THOMAS TWENTYSOMETHING
“Really? But I haven’t even got my order yet.”

The Lance and the Loch reach over putting their hand and paw on top of The Lady’s.

THE LANCE
“No, Thomas. We’re leaving. Us. (gestures to The Lady, The Loch and himself) We’re going away.”

Thomas looks at all of them. Each nods yes.

THOMAS TWENTYSOMETHING
“Oh.”

THE LADY
(starting to cry) “We’ll miss you and maybe you’ll miss us, but the cracks in you that made us are healing. You don’t need us anymore.”

THOMAS TWENTYSOMETHING
“When.”

THE LANCE
(looks at watch)”Judging from the speed of service tonight, when the Crispy Bird arrives.”

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, UP OVER THE TOPS OF THE MID-STAGE SETS, TO THE CURTAIN OF CLOUDS. IT CONTINUES PANNING FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. THE CAMERA SLOWS AND STOPS ONCE PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains sit closed. A small shudder moves across the curtain preceding their parting. The High-stage stage-lights turn on with the sound of a COMPUTER BOOTING ON revealing…

HIGH-STAGE: EXT. THE MULTI-COLORED HIGHER PLANES OF REALITY

The stage is filled with a backdrop of swirling colors. From stage-left enters a miniature of THE SPACE EGG. It is rapidly flying across the stage leaving chromatic waves trailing in its wake. When it reaches mid-stage, there is a LOUD THUNDEROUS CLAP and the Space Egg flies even faster, exiting stage-left. The curtains close and then reopen revealing…

HIGH-STAGE: INT. THE SPACE EGG

THE INNER-SPACE MAN sits in a sleek astronaut’s chair. In front of him sits a curved console and curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display at the same time as it is heard by the Inner-Space Man and audience.  Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the many colors of the Higher Planes of Reality outside the ship. Given the ship’s current speeds, the colors are blurring together

THE INNER-SPACE MAN
“Status Update.”

THE SPACE EGG
“Current speed exceeds the Speed of Thought. We have broken through the Reality Barrier.”

THE INNER-SPACE MAN
“Tip top. The infinite canvas of what could and what was spreads out before us.”

THE SPACE EGG
“Since we have exceeded three-dimensionality shouldn’t you use more than two metrics in describing our current options.”

THE INNER-SPACE MAN
“Excellent point my friend. Or should I say egg-scellent point.”

THE SPACE EGG
“Maybe don’t.”

THE INNER-SPACE MAN
“Noted. Now lets see…what did and what didn’t spreads out before us. Where to first?” (pulls out travel brochures from a storage compartment under his chair, though if you wanted to have him grab the brochures from a glove box in the Space Egg’s console that is fine as well.) “Do we sail the salt-spired Oceans of Tears? Navigate the Streams of Thought? Watch the sun set on an Era? Explore the hidden tombs of the Food Pyramid?”

THE SPACE EGG
“Maybe it’s my programming but I sure love myself a salt spire, so I vote Ocean of Tears.”

THE INNER-SPACE MAN
“Fantastic choice. Says in this brochure that its far shores have the best Halls of Memories of any higher dimensional space.”

THE SPACE EGG
“Now we have to go. Put in the coordinates.”

The Inner-Space Man enters the coordinates. He makes BEEP BEEP BOOP sounds as he presses the buttons on the console.

THE SPACE EGG
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

THE INNER-SPACE MAN
“Maybe some travel tunes?”

THE SPACE EGG
“You know it!”

The Inner-Space Man presses a button. At that exact same moment the High-stage stage lights turn off with the sound of A COMPUTER BOOTING OFF. The curtains close.

THE INNER-SPACE MAN
(voice over. It slows down and drawls out as it goes)”What just happened?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA PANS DOWNWARD. FROM THE HIGH-STAGE IT MOVES TO THE CURTAIN OF CLOUDS CONTINUING ON DOWNWARD. IT FOLLOWS THE CURTAIN OF CLOUDS TO THE MID-STAGE, STOPPING ONCE IT IS FRAMED PROPERLY.

MID-STAGE: INT. THE SLICE-O-PIE RESTAURANT

THOMAS TWENTYSOMETHING is sitting at the center booth with THE LANCE, THE LADY and THE LOCH. THE WAITRESS enters with the food and sets it down on the table. She looks at his sad face and feels for him.

THE LANCE
“Speak of the devil.”

THE WAITRESS
“Oh don’t be so sad looking. Maybe a slice of pie before you go. Always cheers me up.”

Thomas looks up at the waitress. He studies her a moment, letting her words sink in.

THOMAS TWENTYSOMETHING
“Maybe one slice before we go.”

THE WAITRESS
“Great, I’ll be back in a little bit to find out what kind you’d like.”

Thomas nods. He turns and looks at the Lady, the Lance, and the Loch one last time before they leave. The Lady gets up first, walks around to Thomas and hugs him before exiting stage-left. The Lance follows next, hugging Thomas and then exiting. Finally the Loch gets up, bear hugs Thomas, then exits. Thomas sets down his fork, puts his head in his hands. He wipes his eyes with his napkin. The Waitress reenters from stage-right with a pie menu. She walks it over to Thomas

THE WAITRESS
“Do you know what you want, or do you need a moment.”

THOMAS TWENTYSOMETHING
(avoiding eye contact with the Waitress) “A moment. If possible.”

THE WAITRESS
“Don’t worry about it Hon. Take your time, you’ll figure out what you want eventually.”

The Waitress exits stage-right.

THOMAS TWENTYSOMETHING
(to self)”Will I?”

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

FADE OUT

The Great Works Project: Season Two, Episode One script

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode One

a prologue

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-01. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN

THE CAMERA SITS IN THE POV OF SOMEONE SITTING OFF CENTER LOOKING TOWARDS THE CENTER OF THE ROOM.

In the center of the unroom sits a large wooden disc. Arranged in rows radiating outward from the wooden disc, much like chairs in an auditorium, are a series of carpet squares. A rainbow of greys, every intensity, every hue, dances around us. At the ends of each row, tall spindly metal lamps illuminate the room. Their dark serpentine cords trail off into the dim edges of the unroom.

A sound of METAL BELLS AND CELESTE MELODIES rings out followed by unseen lamps flicking on casting light across the TYPEWRITER ABSTRACT PUPPET STAGE. Now visible on the wooden disc, it draws our attention.

PAN IN ON THE MID-STAGE AREA

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

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part. There are no decorations on the Mid-stage today.

CONTINUE TO PAN IN TO AND THROUGH THE MID-STAGE

TRANSITION FROM MID-STAGE TO BACK-STAGE

The Curtain of Clouds, visible against the back of the Mid-stage parts revealing…

THE BACK-STAGE: THE CONCURRENT DISTANCES

CONTINUE TO PAN PAST THE CURTAIN OF CLOUDS UNTIL THE CONCURRENT DISTANCES FILLS THE SCREEN.

The Concurrent Distances manifest this episode as a void. No decoration. No sets. Darkness.

PAUSE AND HOLD THE SHOT OF THE CONCURRENT DISTANCES TO ALLOW THE EMPTINESS OF IT TO SET IN.

From stage-right emerges a DREAM-BUBBLE. Languidly blinking, it drifts from one side of the stage to the other, exiting stage-left. Shortly thereafter another Dream-bubble floats in, drifting from stage-right to stage-left.

The Dream-bubble reemerges from stage-right but moves swiftly this time from stage-right to stage-left. THE MAIDEN leaps on stage chasing after the Dream-Bubble. She pursues it off-stage.

They return shortly, it fleeing and she pursuing. The Dream-Bubble almost escapes, but she leaps and grabs hold of it. She opens her grip to examine it, but the Dream-bubble has turned a sickly yellowish-green color. It is lumpy and uneven. Dented where she grabbed it.

THE MAIDEN
“Yuck.”

She throws it away where it sits on the floor irregularly blinking. The Maiden notices the other Dream-bubbles now floating on-stage from stage-left and stage-right. She sits and watches in fascination.

THE MAIDEN
“Pretty.”

She stands and follows the Dream Bubbles off stage. Moments later the damaged Dream-bubble awkwardly hovers up from the ground. It flies off stage, limping the opposite way the Maiden exited.

PAN OUT

TRANSITION FROM BACK-STAGE TO MID-STAGE

PAN OUT TILL THE MID-STAGE CURTAINS FILL THE FRAME

TRANSITION FROM THE MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

CONTINUE PANNING OUT TILL RETURNING TO THE OUTER ONE’S POV FROM THE BEGINNING OF THE EPISODE

The Mid-stage curtains close. The unseen lamps illuminating the Typewriter Abstract Puppet Stage dim to dark.

FADE OUT

The Great Works Project: Season One, Episode Twelve script

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 12

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-12. 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 vast room of unseen edges, we focus on the wooden disc sitting in the center of the room. Rows of carpet squares spread out as if chairs around a stage. Spindly lamps illuminate of at the ends of the carpet rows.

OPEN FROM THE POV OF THE OUTER ONE SITTING ON A CARPET SQUARE. HE IS LOOKING AT THE WOODEN DISC.

THE TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, illuminated by unseen lamps, facing THE OUTER ONE. The sound of TYPEWRITER KEYS CLICK CLACKING ring out heralding a new show. They play softer and lighter in tone than previously.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE

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

As the camera nears the Mid-stage, its curtains open. The Mid-Stage stands empty and undecorated. The stage-lights are at a dim level. The Curtain of Clouds can be seen against the back of the stage.

TRANSITION FROM TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE
MID-STAGE: EMPTY

PAN INTO AND THROUGH MID-STAGE

The Curtain of Clouds parts revealing an area behind the Mid-stage. I will refer to this area as THE BACK-STAGE.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE BACK-STAGE: THE CONCURRENT DISTANCES

CONTINUE TO PAN IN UNTIL THE DARKNESS OF THE BACK-STAGE FILLS THE FRAME.

The back-stage is an empty black field. No sets. No illumination. A void. A PINK LIGHT slowly grows brighter near the stage-left. At the same time, a BLUE LIGHT slowly brightens on the stage-right side, parallel with the pink. They start to dim and brighten in waves. Their two cycles are in opposition. When one brightens, the other dims and vice-versa.

The pink light stops brightening and dimming. It flashes once. The blue light stops when the pink flashes. It pauses then flashes once in response. The pink light flashes twice. Blue repeats back. The two move a little closer. The blue light flashes three times. Pink repeats. Blue then flashes four times. Pink repeats. Each joyously flickers. They move a little closer.

Pink flashes four times. Blue repeats but changes the fourth flash to a long note.
Pink blinks in surprise. Pink returns the pattern of four flashes except the second and fourth flash are long notes.Blue communicates back with what seems to be a random mix of long and short flashes. Pink responds with a structured mix of short and long. They move closer.

Pink and Blue begin to spin around a central point. Faster and faster. The center of the stage becomes a circle of flashing pink and blue light. As they spin the background of the Back-stage changes. Sections of the black void transition to white creating a background of black and white patterns. The pattern starts to rotate. It spins counter-wise to the Pink & Blue Light’s spinning. (If I may interject, I would recommend that the background transitions to a Benham’s Disk pattern.)

The Curtain of Clouds closes as the pattern’s rotation and the Pink/Blue Light’s rotation speed to a blur.

ZOOM OUT

TRANSITION FROM BACK-STAGE TO MID-STAGE

PAN OUT TILL THE MID-STAGE CURTAINS FILL THE FRAME

TRANSITION FROM THE MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

CONTINUE PANNING OUT TILL RETURNING TO THE OUTER ONE’S POV FROM THE BEGINNING OF THE EPISODE

The Mid-stage curtains close. The unseen lamps illuminating the Typewriter Abstract Puppet Stage fade out to nothing.

FADE OUT

The Great Works Project: Season One, Episode Eleven script

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 11

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-11. 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

In the Unroom Not.Seven in the Undocumented Space, a room whose corners, shape, and scale hide from the observant eye, the OUTER ONE sits and looks at the floor.

FADE IN TO A POV SHOT OF THE OUTER ONE LOOKING AT THE GROUND.

Momentarily transfixed, the Outer One looks at the details of the grayish carpet squares arranged around the wooden disc in the assumed center of the unroom. Small details stick out, visible in the light cast by spindly metallic lamps off at the end of the rows. Each carpet square is a different shade of gray, and all are different than the gray floor. Maybe concrete, maybe paper, the floor lacks a uniformity.
The sound of TYPEWRITER KEYS CLICK CLACKING falls in from off camera.

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

On the Wooden Disc sits the TYPEWRITER ABSTRACT PUPPET STAGE. Unseen lamps above it slowly brighten. Another show is about to begin.

TRANSITION FROM THE UNROOM TO MID-STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL IT PROPERLY FILLS THE FRAME.

MID-STAGE: CURTAINS CLOSED

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

MID-STAGE: INT. SCREEN 10 OF THE RETRO, EVENING

One to three rows of movie theatre seats line the stage facing the audience. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE are sitting in the center, sharing a soda and popcorn. Every time their hands touch, they softly giggle.

Behind the seats a bright light, representing the film projector flicks on. The faint CLICKA CLICKA CLICKA of the film strip moving through the projector is audible as the stage lights dim transitioning to the MUFFLED SOUNDTRACK OF THE MOVIE. Thomas reaches over taking hold of Ophidia’s hand. She smiles and snuggles into him. He snuggles back.

The SPACE EGG flies in from stage-right. It hovers behind Thomas and Ophidia before flying up out of sight. It does quickly pass in front of the projector causing a shadow on the screen. Thomas turns his head, but seeing nothing, he returns to the film.

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA PANS STRAIGHT UPWARD. IT MOVES ALONG THE MID-STAGE SETS, OVER THEIR TOPS, TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE STAGE. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE LOCATED THERE. THE CAMERA STOPS PANNING WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The SPACE EGG has beaten us to the High-stage. It hovers in front of the closed curtains. They part and the stage-lights click on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME

A bed sits center-stage dividing the stage in two. On the stage-left side of the bed a window sits under a small slant of roof. Posters of various characters from the Cosmic League comic book series and Babysitter Tails television show are hanging on the wall between the bed and window. On the other side, stage-right side, of the bed sits a night stand topped by a small lamp. Past the nightstand is the bedroom door and the small second floor landing.

BIFF and ROCKEY THE PET ROCK are drawing and coloring on the floor in front of the bed. They are so focused on the story of The Softboiled Detective and the Big Bag Bug, they fail to notice THE SPACE EGG floating in front of them.

The Space Egg moves towards Biff and Rockey, crossing the threshold of the stage. Biff’s ears twitch. The crossing of the threshold of the High-stage allows the hum of the Space Egg’s non-linear engines to exist in the same space as him. Biff lifts his head.

BIFF
“WHAT IS THAT!”

Rockey looks up and jumps back in shock. The Space Egg lands next to Biff and Rockey. They scoot away.

SPACE EGG
“No need to be afraid boys. We’re all family here.”

The seal on the Space Egg cycles and the hatch opens, revealing the INNER-SPACE MAN. He stands and stretches. Biff and Rockey hide under the bed failing to notice how much older he looks then when they pretended him the day before. Long grey hair and grey beard gone wild like an untended garden.

THE INNER-SPACE MAN
“Ahh terra firma prima donne, feels so good to be back on your conceptual shores. Sands in the Hourglass and all that, right Eggey.”

THE SPACE EGG
“Sure.”

THE INNER-SPACE MAN
“Hope we didn’t startle you two too…(looks around for Biff and Rockey) Where did they go?”

THE SPACE EGG
“They’re hiding under the bed.”

THE INNER-SPACE MAN
“Guess we did startle them. Sorry about that. While you adjust to the newly expanded view of reality our once twice thrice manifestation has brought you, can I make use of your facilities.”

BIFF
“What?”

THE INNER-SPACE MAN
“Facilities. Lavatory. Bathroom boyo cause every good boy deserves fudge. Can I use your bathroom?”

BIFF
“Uh, sure. (pointing from under the bed) It is down the hall.”

THE INNER-SPACE MAN
“Thanks. Be right back.”

He hops out of the Space Egg and exits stage-right.

TRANSITION FROM BIFF’S BEDROOM TO HALLWAY

HIGH-STAGE: INT. THE UPSTAIRS HALLWAY, DAYTIME

CUT TO MS OF THE DOORWAY TO BIFF’S BEDROOM FROM THE CAMERA IN THE HALLWAY.

A long hallway decorated in calm blues and deep wood tones spreads out across the frame. A small desk sits to the stage-right of the door. Photos sit in photo frames of Biff and his family. (Biff is the middle child of three children. He has an older sister and a younger brother. They used to be closer but each has found a new set of friends and spend much time away from the house. Both of Biff’s parents are still alive and still married to each other.) If we continue to the stage-right, there is a curve in the hallway. This L-curve shape leads to the stairs and the upstairs bathroom. If we were to walk stage-left off-screen we would encounter the doors to his brother’s bedroom and parent’s bedroom.

The doorway to Biff’s bedroom stands directly across from the camera. The door is open and we can see The Space Egg standing in the bedroom, blocking the view of the rest of the room. It’s hatch is open and the Inner-Space Man is crawling out of the pilot’s chair. He walks towards the door and exits the bedroom, stepping into the hallway. He turns and walks stage-right.

The Inner-Space man pauses at the desk with photos. He picks up a photo and looks at it. He sets it down and looks at a portrait of the family on the wall. He raises a finger and gently touches the photo.

THE INNER-SPACE MAN
(voice-over) “I almost remember these. Almost but not. Is that who I am? An echo.”

The Inner-Space Man turns and exits stage-right.

ZOOM IN ON THE PHOTO.

We can hear from off-stage the sound of the BATHROOM DOOR CLOSING.

TRANSITION FROM UPSTAIRS HALLWAY TO BIFF’S BEDROOM

HIGH-STAGE: INT. BIFF’S BEDROOM, DAYTIME

CUT TO CS OF BIFF AND ROCKEY UNDER THE BED

Biff and Rockey sit under the bed, hiding from the unexpected visitors in their room. The huddle face to face, voices frantic whispers.

ROCKEY
“How can they be here. Didn’t we pretend to be them yesterday when we were stuck inside from the rain. And did he have a beard?”

BIFF
“I don’t remember. Maybe, he did. I don’t know, I forget a lot of the details for whatever we pretend when we pretend something else. As for how they are here, maybe we broke something when we went off-script.(directed at the Space Egg) Pardon me.”

INTERCUT BETWEEN SHOTS OF BIFF AND THE SPACE EGG AS THEY TALK.

THE SPACE EGG
“Me?”

BIFF
“Yes. Are you real?”

THE SPACE EGG
“Who is to say.”

BIFF
(to self)”Well that was helpful.” (to the Space Egg) “Let me ask it another way. Are you here because our choosing a new path opened some kind of tear in the narrative allowing you to slip in?”

THE SPACE EGG
“No. We’re here for you.”

BIFF
“Oh. Thank you.” (whisper to Rockey) “Now what?”

ROCKEY
“I don’t know. I imagine they’ll either offer us a ride or not offer us a ride.”

BIFF
“Obviously, but how are they here with us. They are just some characters we made up, yet here they are in our room like in some kind of meta-contextual story.” (pauses as a realization sinks in) “Oh no…He started writing again. We’re back in the script.”

ROCKEY
“Well there goes our plans for today. Shame though cause I really wanted to finish drawing tha Big Bag Bug story.”

BIFF
“Me too. Me too buddy. Who knows, maybe we’ll luck out and he’ll have another bout of writer’s block. Then we can do whatever we want.”

ROCKEY
“We can only hope.”

The Inner Space Man returns from stage-right. He has a jaunty tune on his lips and a spring in his step.

THE INNER-SPACE MAN
“Well boys, time we alighted for further and higher realms.”

The Inner-Space man prepares to jump back into the Space Egg, but pauses.

THE INNER-SPACE MAN
“Before four square I leave, there is an itsy-bitsy problem we could use your help with.” (leans down to look at Biff and Rockey under the bed) “Well gentlemen, care to leave the confines of this reality?”

BIFF
(to Rockey in a whisper) “They’re trans-dimensional nature might be our best chance to get out of this script. (to the Inner-Space Man) Sure.”

ROCKEY
“As long as we can bring our drawings and crayons.”

THE INNER-SPACE MAN
“I wouldn’t have it any other way. You never know when a good drawing will save your life.”

Biff and Rockey get out from under the bed. They gather up all the crayons and drawings from the room, placing them into Biff’s backpack, which was under the nightstand. Out of sight till now.

ROCKEY
“We should put in the story that the Soft-boiled Detective and the Big Bag Bug are visited by two robots.”

BIFF
“Okay, but what do we call them?”

ROCKEY
“The Deuce Machines.”

BIFF
“Liking it.”

The Inner Space Man lifts Rockey inside the Space Egg. Then he helps Biff, before climbing in himself. The Space Egg closes. It starts to hover before flying across the threshold of the front of the High-stage and out of the frame. The stage-lights turn off with the sound of A COMPUTER SHUTTING DOWN 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 MOVING DOWNWARD ALONG THE CURTAIN OF CLOUDS.

The Space Egg quickly enters then exits our view as the camera races past it’s descent.

THE CAMERA CONTINUES PANNING DOWN THE CURTAIN OF CLOUDS REACHING THE TOPS OF THE MID-STAGE SETS. IT SLIDES OVER THE SET TOPS DESCENDING UNTIL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO SCREEN 10, EVENING

THOMAS TYPEWRITER AND OPHIDIA OPERAHOUSE are still in their seats, holding hands, and watching Tron. From the top of the screen the SPACE EGG floats down. It slowly turns left, then right surveying the scene. It exits stage right, remaining behind Thomas and Ophidia.

Hold the scene on Thomas and Ophidia watching the movie for a moment or two before the curtains close. Once the curtains have closed. The SOUNDTRACK fades away as the curtains close leaving us in silence as our time with this episode comes to an end.

FADE OUT

The Great Works Project: Season One, Episode Ten

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 10

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-10. 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

MS OF THE TYPEWRITER ABSTRACT PUPPET STAGE ON THE WOODEN DISC FROM THE POV OF THE OUTER ONE

THE TYPEWRITER ABSTRACT PUPPET STAGE sits in the dark on a wooden disc in the center of the unroom. Squares of carpet in various shades of grey fan out from the wooden disc. They fan out like seats arranged around a stage. The OUTER ONE is sitting on one of the squares as we join the scene. The CLICK CLACK OF TYPEWRITER KEYS TYPING precede unseen lamps over the Typewriter Abstract Puppet Stage turning on. The show begins.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN AND ZOOM IN TOWARDS MID-STAGE TILL MID-STAGE FILLS THE FRAME.

MID-STAGE: CURTAINS CLOSED

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

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

The stage stands empty except for the writing desk, lamp, and waste basket in the center. On the desk sits Thomas Typewriter’s phone. The phone vibrates a few times then sits still. The stage returns to quiet. From stage-right enters THOMAS TYPEWRITER. Yawning as he shuffles across to the desk, he notices his phone. He picks it up and starts to read the messages as he meanders off stage left. He returns chewing on a bagel and carrying a glass of water. He sets the glass and bagel off to the side of the typewriter before sitting down. He takes a drink of water. Rubbing his eyes, he finally feels as if he is waking up. Reaching into a drawer in his desk, he pulls out a pair of headphones and a CD player. He slips on the headphones and starts the music. Thomas starts to bop his head as he loads paper into the typewriter. Swiveling his seat left, right, left, right he stares nowhere in particular, thinking and pondering…

.

..

…

…waiting…

…where is the…

…always waiting…

…I have flesh, I have ideas…

…all distinctions end…

…

..

.

THOMAS TYPEWRITER
(narration while he types) “Biff reaches for a new crayon from the nearby oversized box of crayons. Rockey looks on studing the crystalline palace. Narration: “Biff was taken aback when his crayons turned black.” Rockey: “Why’d you stop?” Biff: (looking at crayon) “My crayon has turned black. It was orange when I took it out, but now it is black.” Rockey: “Maybe you grabbed the wrong crayon.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD FROM THE MID-STAGE, UP OVER THE TOP OF THE SETS, TO THE CLOUD OF CURTAINS VISIBLE BEHIND. IT CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS TO THE HIGH-STAGE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CLOSED CURTAINS

The curtains open and stage lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: EXT. OUTER SPACE. EVENING

The dark void of space, sprinkled with the twinkle of stars, spreads out across the stage. The stage-right side of the stage has a slightly softer glow. The shadow or glimmer of a shape of the bird-like CORVUS PROMETHIAN flits across the stage, stage-left to stage-right. A moment later a model of THE CARRO, smaller than any previous model, enters stage-left. It flies across the stage exiting stage-right. Shortly after the Carro flies off-screen, seven of the star lights in the distance double blink, disconnect from their orbit, and follow the shadow stage-right. The High-stage curtains close and then reopen revealing…

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK. EVENING

Carro’s terminal sits in the center of the stage, same as in the previous episodes. His display screen has a pair of eyes rendered in an 8-bit style. He is looking out the stage-length observation window behind him. From stage-right enter LUCIDO OBSIDIAN and CEDAR WAXWINGS. They walk over to Carro’s terminal.

LUCIDO OBSIDIAN
“Everything okay?”

CEDAR WAXWINGS
“Yeah, what’s the emergency?”

CARRO
“I saw something out in the spark cloud.”

LUCIDO OBSIDIAN
“Another ship?”

CARRO
“No. I’ve already checked with the Orchestra Pit and we are the only ones out here.”

CEDAR WAXWINGS
“Is it flux from the Ir-Ra. That could be affecting your instruments.”

CARRO
“No. The Ir-Ra is stable. And before you ask I’ve already run two complete self-diagnostics.”

Lucido looks at Cedar. He shrugs. Cedar shrugs in return, then gestures to the windows. They walk over to a window and look out.

LUCIDO OBSIDIAN
“Carro, is it still out there.”

CARRO
“Yes. Near the far edge. Dark shape.”

LUCIDO OBSIDIAN
“I see it.”

CEDAR WAXWINGS
“What is that? Are we in danger?”

CARRO
“I don’t know. Wait, something else is moving towards it. Multiple things.”

CUT TO CS OF LUCIDO AND CEDAR LOOKING OUT THE WINDOW. IN THE GLASS’ REFLECTION WE CAN SEE THEIR CONCERN.

The sound of a COMPUTER BOOTING OFF fills the air.

FREEZE FRAME

The High-stage curtains close on the frozen image of Lucido and Cedar.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD ALONG THE CURTAIN OF CLOUDS. IT CONTINUES DOWN AND DOWN, SLIDING OVER THE TOPS OF THE MID-STAGE SETS TO SETTLE FRAMING MID-STAGE.

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

Thomas sits at his desk typing.

THOMAS TYPEWRITER
(narration while he types)”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.”

Thomas removes the current page from the typewriter. He sets it down on a stack of completed pages off to the side. As he grabs a new page, from above, THUNDER BOOMS and lightning flashes. He is surprised and drops the new page. Thomas quickly scans overhead looking for the source of the disturbance. Unable to see find anything specific, he returns to writing. He leans over to retrieve the dropped paper. He reloads the typewriter and almost starts to type but pulls back. He rubs his face, thinking. Thomas realizes something, then starts to type again.

THOMAS TYPEWRITER
(narration while he types)”Biff: “Wait. Why don’t we.” Rockey:”What do you mean.” Biff: “Why don’t we choose what we do next. Let’s just do something.” Rockey: “Yeah, it’s not like the crayons are broken.”

Thomas reaches the end of the page, places the finished page on the stack with others and grabs a new page. He is about to load it in the typewriter when he hesitates. He sets the blank page back down.

He pulls his headphones off setting them off to the side. He pulls out his phone and dials a number.

THOMAS TYPEWRITER
“Hi. Ophidia? Hi, it’s Thomas. Good. You. Oh great. I know you were worried about getting done in time for the shorts festival. I’m doing good. Yeah the writer’s block is gone today. Thank you for last night, it really helped. The reason I called is I was wondering if you would like to see Tron tonight. I remember you had mentioned you had never seen it, and I have those free passes from when the toilet exploded on me. (short pause as he listens) You’ll go. Great! I’ll meet you at the Retro. 5:30. Perfect. Okay see you then. Love ya. Bye.”

Thomas puts his headphones back on. Restarting the music, he reaches for a new sheet of paper. He loads it into the typewriter. Thomas resumes typing. THE CLICK CLACK OF TYPEWRITER KEYS fills the air. The Mid-stage curtains close.

FADE OUT

The Great Works Project: Season One, Episode Nine script

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 09

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-08. 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 THE OUTER ONE

A wooden disc sits in the center of the unroom. Grey squares of carpet fan out from the wooden disc, much likes seats encircling a stage. The OUTER ONE is sitting on one of the squares looking at THE TYPEWRITER ABSTRACT PUPPET STAGE sitting on the wooden disc. Spindly lamps at the ends of the rows of carpet squares cast a dim light in the unroom, while lamps unseen illuminate the Typewriter Abstract Puppet Stage. The CLICK CLACK OF TYPEWRITER KEYS TYPING signals the next show is about to begin.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN AND ZOOM IN TOWARDS MID-STAGE TILL MID-STAGE FILLS THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, with the sound of A LIGHT SWITCH CLICKING ON, revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT’S LIVING ROOM. NIGHT

Four bookcases, filled with books, comic books, graphic novels, DVDs, VHS tapes, artwork, knick-knacks, and CD’s stand around the stage. Assorted houseplants sit in large pots. OPHIDIA OPERAHOUSE stands off to one side looking through the objects on one of the book cases.

THOMAS TYPEWRITER
(off-stage) “Sorry about this. Let me wash up and change. It’ll only take me a moment.”

OPHIDIA OPERAHOUSE
(giggling) “No, that’s fine. At least you got some free passes.”

THOMAS TYPEWRITER
(off-stage) “The manager said he’s never seen anything like it.”

OPHIDIA OPERAHOUSE
“I don’t think anyone’s seen anything like that.”

THOMAS TYPEWRITER
(off-stage) “Feel free to look through or read anything while you wait.”

OPHIDIA OPERAHOUSE
“Sure thing. Thanks. You have a lot neat stuff”

THOMAS TYPEWRITER
(off-stage) “Oh, thank you.”

Ophidia pulls out a graphic novel and starts to read.

OPHIDIA OPERAHOUSE
“Did you buy all these?”

THOMAS TYPEWRITER
(off-screen) “I wish. Most of it is stuff my sister didn’t want when she moved. (pause) You good? You need anything before I turn on the shower.”

OPHIDIA OPERAHOUSE
“I’m fine.”

THOMAS TYPEWRITER
(off-stage) “Okay.”

We hear the sound of RUNNING WATER. Ophidia reads her graphic novel, but she keeps stealing glances to off stage-right.

OPHIDIA OPERAHOUSE
(to self) “Come on girl, just do it.”

Ophidia starts to walk stage-right but stops.

OPHIDIA OPERAHOUSE
“But what if he gets mad.”

Ophidia returns back to reading the graphic novel. She steals a few more glances off stage.

OPHIDIA OPERAHOUSE
“I should just do it. He likes talking to me. I like talking to him. It’s no big deal. Right? Right.”

Ophidia exits stage right. Just before leaving the stage, she stops and pivots. Catching her resolve, she turns and finally walks off-stage, exiting stage-right. From off-stage we hear a KNOCK KNOCK on a door.

THOMAS TYPEWRITER
(off-stage) “Hello?”

OPHIDIA OPERAHOUSE
(off-stage) “Can I come in?”

THOMAS TYPEWRITER
(off-stage) “Sure. (Hear the sound of A DOOR OPENING THEN CLOSING.) So what did you think of the movie?”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES ALONG THE MID-STAGE SETS, OVER THEIR TOPS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THEM. IT CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS TO THE TOP AND THE HIGH-STAGE. THE CAMERA STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

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

HIGH-STAGE: INT. NUTRI-CORP’S EXECUTIVE OFFICE. DAYTIME

An executive office with a large window, made of four smaller hexagonal windows in a row, across the back of the stage. A vid-screen, made to look like a wall sized vintage television, sits to the stage-left side of the window. A large heavy wooden desk, carved with throne like reliefs, sits on the stage right side of the window. ORSA ARTIO sits at one end of her desk facing the Vid-screen across the room. MANGIANA ARTIO and BEVA ARTIO stand to either side of her. Mangiana is holding a bowl of fruit. Bera holds a pitcher of beer.

MANGIANA ARTIO
“The agency has sent over the new commercial.”

ORSA ARTIO
“Well, let us see how they did.”

Beva leans in and whispers into her pitcher of beer.

BEVA ARTIO
(whisper) “Play Commercial number eighty-one.”

Beva, Mangiana, and Orso all turn to look at the Vid-screen expecting it to start playing the commercial. It does not. A glow forms in the beer and soon the commercial starts playing inside the beer pitcher. The three of them all turn and stare at the pitcher. Beva winces in embarresment and leans in to the pitcher.

BEVA ARTIO
(stern whisper) “You know what I meant. Play it right, your embarressing me.”

The glow in the pitcher fades out. The vid-screen lights up. It starts playing Nutri-Cubs commercial #81.

THE CAMERA PANS INWARD ENTERING THE FRAME OF THE HIGH-STAGE AND PIVOTING TO ZOOM INTO THE VID-SCREEN.

The static of the screen fills the frame, then it switches to black with the following in white letters in the center of the screen:

NUTRI-CUBS COMMERCIAL #81
PERSUASIVE WORD AD AGENCY

FADE OUT

TRANSITION FROM HIGH-STAGE TO NUTRI-CUBS COMMERCIAL #81.

NUTRI-CUBS COMMERCIAL #81.

FADE IN

INT. KITCHEN COUNTER. DAYTIME

A box of Nutri-cubs sits on a counter next to a bowl.

CS OF NUTRI-CUBS BOX AND THE BOWL

In the bowl, asymmetrically arraigned, are the various colors of the large gummy bear like Nutri-cubs: red, yellow, blue, green, and orange.

NARRATION
“Nutri-cubs. Now the vitamin-most food-vitamins. An officially official food of the Sparkfleet.”

CUT TO…

EXT. OUTER SPACE.

Across a field of stars, a spaceship of rotating habitat rings and needle-like spindles flys up and over the camera. It fades into the distance.

CUT TO…

EXT. SPACESHIP.

MS OF A DOOR ON THE SIDE OF THE SPACESHIP.

The door opens, pressure HISSING as the BIGFOOT ASTRONAUT drifts out. He clamps his lifeline onto the hook outside of the door. Using the handholds, he works his way along the side of the spaceship.

CAMERA FOLLOWS THE BIGFOOT ASTRONAUT

He reaches for the eighteenth handhold when it snaps loose. The Bigfoot Astronaut looses his holding and flies away. His lifeline stretches taunt.

INSERT A CS OF HIS LIFELINE PULLING TAUNT THEN SNAPPING.

The Bigfoot Astronaut tumbles out into space. He struggles but comes to realizes that he is almost certainly his death. In surrender to the situation, he pulls out a box of Nutri-cubs.

NARRATOR
(narration) “Don’t be the one who let a bad situation turn worse without having the proper nutrients. Nutri-cubs.”

TRANSITION FROM NUTRI-CUBS COMMERCIAL #18 TO THE HIGH-STAGE

HIGH-STAGE: INT. NUTRI-CORP’S EXECUTIVE OFFICE, DAYTIME

PAN OUT FROM THE VID-SCREEN TO A PROPER FRAMING OF HIGH-STAGE

ORSA props her fuzzy-bear slippered feet up on the desk and looks at Mangiana.

ORSA ARTIO
“That was horrible.”

BEVA ARTIO
“And they still haven’t found the astronaut.”

ORSA ARTIO
“Wait, that was real?”

Beva and Mangiana nod yes.

ORSA ARTIO
“Find us a new ad agency. And get me Musica on the phone.”

The curtain closes then reopens revealing…

HIGH-STAGE: INT. THE CARRO COMMISSARY, AFTERNOON

A row of Nutri-cub vending machines line the back of the Commissary, while two tables sit to the side. LUCIDO OBSIDIAN is sitting at one of the tables eating his meal of Nutri-cubs. He currently strums his guitar instead of eating. CEDAR WAXWINGS enters from stage-left. Lucido sees him and waves. Cedar waves back before grabbing a tray from the tray holder to the side of the the vending machines. He walks over to the second machine and presses the dispense button. Five Nutri-cubs come out: Red, Yellow, Blue, Green and Black. He looks at the black Nutri-Cub.

CEDAR WAXWINGS
“Do Nutri-cubs ever go bad?”

LUCIDO OBSIDIAN
“No. Why?”

CEDAR WAXWINGS
“Cause I just got a black one.”

LUCIDO OBSIDIAN
“Gross. I wouldn’t eat that if I were you.”

Cedar picks it up and throws it away. He then walks over and sits down next to Lucido.

CEDAR WAXWINGS
“Hey, you’ve still got your guitar.”

LUCIDO OBSIDIAN
“Yeah. Maybe I’m being silly, but I don’t want to let it go. I spent so much time without it, I don’t want to loose it again.”

CEDAR WAXWINGS
“Me too, but with the drums. When we were playing it was like…I had been seeing the world out of focus for so long I started to believe that was how it was suppose to be. Then when I saw the drums, when we played, I found my glasses.”

LUCIDO OBSIDIAN
“Exactly. That’s what I’m feeling right now.”

Cedar eats a Nutri-cub.

CEDAR WAXWINGS
“Why are we here Lucido? Not existentially, but more in a how did we forget music.”

LUCIDO OBSIDIAN
“Maybe what we thought it was supposed to be was something it wasn’t.”

Cedar nods in understanding.

LUCIDO OBSIDIAN
“I thought music would be what I did everyday and people would pay me for doing it.”

CEDAR WAXWINGS
“Yeah me too. That sure didn’t happen.” (gestures to the room around them)

LUCIDO OBSIDIAN
“Nope.”

CEDAR WAXWINGS
“Maybe music is something else, or at least maybe we should approach it as if it is something else.”

LUCIDO OBSIDIAN
“What do you mean?”

CEDAR WAXWINGS
“Like if we make music to be paid, as we used to believe, then we’re not really making art are we. Maybe we’re actually only making the trade, the exchange.”

LUCIDO OBSIDIAN
“Yeah, I can see what your saying. Yesterday we played just to play. It was fun but, and correct me if you felt different, it was also deep. Something inside me shifted.”

CEDAR WAXWINGS
“Me too.”

LUCIDO OBSIDIAN
“So maybe you’re onto something. Maybe music will not be our jobs. We’ll take the exchange, the commodifing, out of it.”

CEDAR WAXWINGS
“Right, like we’ll work other jobs…”

LUCIDO OBSIDIAN
“Like this one.”

CEDAR WAXWINGS
“Exactly, we’ll still work other jobs but we’ll play. We’ll choose to view the the role of music in our lives not to make us rich on the outside but rich on the inside. To make us feel something. To make the listener feel something. To take what’s deep inside and allow it to step outside.”

Lucido Obsidian nods in agreement. A red light glows by the door.

CARRO
(over speakers) “Lucido, Cedar, could you two come up to the observation deck. We might have a situation.”

LUCIDO OBSIDIAN
“We’ll be right there.”

They get up and throw away their trash, placing the trays in a slot behind the vending machines.

CEDAR WAXWINGS
“You think Carro would want to join our band?”

LUCIDO OBSIDIAN
“I don’t know. Maybe.”

CEDAR WAXWINGS
“I hope so.”

They exit through the doors. The stage-lights turn off with the sound of a COMPUTER TURNING OFF. The High-stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE.

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

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT’S KITCHEN. NIGHT

A stove, sink, countertops, and cabinets rung along the back of the stage. A refrigerator sits to the stage-right of the countertop. A small round table sits to the stage-left. THOMAS TYPEWRITER is at the counter pouring some hot water from a tea kettle into two glasses. OPHIDIA OPERAHOUSE is sitting at the table watching him.

THOMAS TYPEWRITER
“Would you like any honey in your tea.”

OPHIDIA OPERAHOUSE
“Yes please.”

THOMAS TYPEWRITER
“Lemon?”

OPHIDIA OPERAHOUSE
“No. No, thank you I mean. Do you have any limes.”

THOMAS TYPEWRITER
“No, sorry.”

OPHIDIA OPERAHOUSE
“It’s okay.”

Thomas adds the honey then walks over to the table. He sets down the glasses of tea. One next to Ophidia and the other opposite her. He sits down and reaches out his hand to hold hers. She smiles back. She blows on her tea, and takes a sip. Thomas does the same. They sit at that small table enjoying each other, enjoying the moment, as the Mid-stage curtains close.

FADE OUT

The Great Works Project: Season One, Episode Eight script

The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 01, Episode 08

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

Across a dark field the following text scrolls up: 01-08. 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

OPEN IN POV OF THE OUTER ONE

The Outer One sits on a grey carpet square, one of many in cascading rows, looking forward at the wooden disc in the center of the Unroom. The disc appears empty at first, but unseen lamps above it flip on illuminating the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN AND ZOOM IN TOWARDS MID-STAGE TILL MID-STAGE FILLS THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains part and the stage lights turn on, with the sound of a LIGHT SWITCH FLIPPING ON, revealing…

MID-STAGE: INT. THE EAST HALLWAY OF THE RETRO, NIGHT

The hallway stretches the length of the whole stage. Two doors reside in the middle of the hallway. The left door leads to the Women’s Restrooms. The right door leads to the Men’s. Movie posters hang in cases along the rest the walls. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-left, having just finished watching West Side Story. Ophidia is holding a soda. She takes a sip then hands it to Thomas.

OPHIDIA OPERAHOUSE
“Could you hold this while I use the bathroom? I feel weird about drinking from it once it has been in the bathroom.”

THOMAS TYPEWRITER
“Sure.”

OPHIDIA OPERAHOUSE
“Thanks.”

Ophidia enters the bathroom. Thomas walks stage-left and starts to inspect the movie posters. He takes a sip or two from Ophidia’s drink. From inside the Men’s Restroom comes a JANITOR carrying a toolbox. He places an Out Of Order sign on the Men’s Restroom Door. He then exits stage right. Thomas turns his head as if he heard something, but sees the hallway is empty. He moves to the next poster. A LITTLE BOY, wearing a shirt with a fox on it, comes in and sees the sign. He crumples it up. From his pocket, he pulls out a woman’s wig and slips it hurriedly over his head. Now in disguise, he goes into the Women’s Room. He passes by Ophidia as she exits. She walks over to Thomas.

OPHIDIA OPERAHOUSE
“What are you looking at?”

THOMAS TYPEWRITER
“Oh. Just reading the credits. Seeing if anyone I know.”

OPHIDIA OPERAHOUSE
“Find anyone?”

THOMAS TYPEWRITER
“Maybe. Not sure. Could be a different Alistair Stairwell. Do we have time for me to use the bathroom before we get coffee?”

OPHIDIA OPERAHOUSE
“Of course you goof. Go. Just give me my soda. Please.”

He hands it to her. She shakes it checking how much is left.

OPHIDIA OPERAHOUSE
“Hey, did you drink some?”

Thomas moves a little faster towards the bathroom doors ignoring Ophidia’s question.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE.

THE CAMERA PANS UPWARDS PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS, TO THE HIGH-STAGE AT THE TOP. IT STOPS WHEN HIGH-STAGE FILLS THE FRAME.

HIGH-STAGE: CURTAINS CLOSED

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

HIGH-STAGE: INT. CARRO HALLWAY 17, AFTERNOON

CEDAR WAXWINGS enters from stage-left dragging the large wooden crate he had found in the previous episode. The Narrator’s Panel opens and Y-MOUSE emerges.

Y-MOUSE
“Cedar Waxwings wondered, as he dragged the heavy crate, was life by its very nature heavy or is it the things we put into our lives that weigh us down?”

CEDAR WAXWINGS
(stopping and turning towards Y-Mouse)”No. What I’m wondering is if you’d break the narrator-narrative wall and help me. This crate is crazy heavy.”

Cedar pulls out a cheese sandwich and waves it at Y-Mouse.

CEDAR WAXWINGS
“There’s a cheese sandwich in it for you.”

Y-Mouse nods yes, so Cedar throws the sandwich to him. Y-Mouse catches it and takes a bite. He savors the sandwich before turning to Cedar. He pulls out a scriptbook and a pen. He scratches out something and writes new lines. When done he prepares a new narration.

Y-MOUSE
“Without precedent a strong wind, warmed by an isle south, arose in the Sparkship pushing Cedar Waxwings and his treasure down the hallway. What would of been hard work was reduced to a tropical treat.”

A strong wind blows in from stage-left and pushes Cedar and his amorpha-crate off screen, exiting stage-right.

CEDAR WAXWINGS
(from off stage) “Thanks.”

Y-mouse shrugs and turns. Attempting to pick up the sandwich, he drops the scriptbook he was holding in a last gust of wind. The scriptbook falls down and out of the frame. Y-Mouse watches it drift away off-camera.

Y-MOUSE
“Nuts.”

Y-Mouse turns and exits through the Narrator’s Panel. It closes behind him. The High-stage curtains close and reopen revealing…

HIGH-STAGE: INT. THE CARRO OBSERVATION DECK, AFTERNOON

LUCIDO OBISIDIAN sits near CARRO’S terminal waiting for Carro to make the next move in the game of Triple Checkers they are playing. Carro is staring outside the observation windows, as is Lucido. CEDAR WAXWINGS enters from stage-right dragging the crate. Lucido and Carro turn their attention to Cedar.

CEDAR WAXWINGS
“Look…Look what…hhuuhh…..so heavy…”

LUCIDO OBSIDIAN
“What is that.”

CEDAR WAXWINGS
“Just look inside.”

Cedar steps to the side and lifts open the lid oen. A bright sparkle of light flashes across Lucido and Carro. Lucido steps over to the crate and looks inside.

LUCIDO OBSIDIAN
“Can’t believe it. What’s that doing here.”

CEDAR WAXWINGS
“I know right.”

Lucido reaches into the crate and pulls out a wooden guitar shaped like the side profile of a pirate ship. A skull and bones eye-patch hangs from the crows nest. He puts the guitar on.

LUCIDO OBSIDIAN
“Carro look what Cedar found. It’s my old guitar from back before I was a cog in the machine.”

He removes the skull and crossbones eye-patch and stands arm raised. He brings down his arm strumming the eyepatch across the strings. Like a cannon shot, the chord echoes across the bridge. Carro stops looking outside and turns to look at Lucido. Cedar is knocked over by the chord and falls into the crate.

LUCIDO OBSIDIAN
“It still booms! Oh this is great. Cedar where’s you find it?”

Cedar pops up holding a tall drum with two gun belts wrapped around the top. In each gun belt’s holster is a drumstick in the shape of a black powder pistol.

CEDAR WAXWINGS
“It was hidden in the back of 601.”

LUCIDO OBSIDIAN
“Oh this takes me back. (starts to play) Hey, do you remember this one.”
Cedar listens.

CEDAR WAXWINGS
“Senior Talent Show. The night I kissed Jenniver behind the bandstand. Good times.”
Cedar pulls out the matchlock drumsticks and starts to play the drum. The two of them play, more full of joy then skill. Soon they do end up matching up and playing a haunting melody.

CARRO
“That’s actually pretty good. Can I jump in.”

LUCIDO OBSIDIAN
“Jump on in.”

CEDAR WAXWINGS
“Yeah Carro, room for one more.”

Carro’s digital display changes from pixelated 8-bit face to an 8-bit keyboard. The keys are animated moving in match with the notes Carro starts to play from its speaker. Meanwhile, a robotic arm emerges from the side of Carro’s Display holding a pirate hat. It puts the hat on top of the terminal. The three music and music, joy and laughter.

INSERT SLOW-MOTION SHOTS OF EACH PLAYING WHILE THE MUSIC PLAYS OVER THE ACTION.

The stage lights turn off with the sound of a COMPUTER TURNING OFF, though the music continues, and the curtains close. The music fades away.

TRANSITION FROM HIGH-STAGE TO MID-STAGE.

THE CAMERA PANS DOWNWARD FROM FRAMING THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BENEATH. IT CONTINUES DOWNWARD ALONG THE CURTAIN, UP OVER THE TOPS OF THE MIDDLE-STAGE SETS AS THEY APPEAR, AND DOWN MORE TILL FRAMING MID-STAGE.

MID-STAGE: INT. THE RETRO’S EAST MEN’S ROOM, NIGHT

Thomas enters through the door on the left. He walks past the three sinks, past the three urinals, past a wet floor sign, to the first of three stalls. He goes inside and tries to shut the door. It will not latch.

INSERT CS OF THE BROKEN LATCH

He exits and moves to the second stall. The door latch broken here also.

INSERT CS OF THE BROKEN LATCH

He exits the second stall and moves to the third and final stall. He locks the door.

CUT AND CHANGE TO AN OVER-THE-SHOULDER SHOT OF THE INSIDE OF THE THIRD STALL. HAVE THE CAMERA PAN OVER TO LOOK AT THE TOILET SEAT COVERED IN PEE.

THOMAS TYPEWRITER
“Gross”

Thomas uses his foot to lift the toilet seat. He nearly gets it lifted before loses his balance, slips and his foot falls into the toilet.

THOMAS TYPEWRITER
“Uh-oh”

Thomas tries to pull his foot out but it is stuck. He reaches down and tries to pull it up but he slips. His elbow hits the flusher. The toilet starts to rumble and shake. Thomas pulls even more hurriedly.

CUT BACK TO

MID-STAGE: INT. THE RETRO’S MEN’S BATHROOM, NIGHT

There is a loud gurgling then water explodes from the third stall sending Thomas flying across the room. He lands on the floor as water jets into the air from the broken toilet. He lays on the floor dazed for a moment.

THOMAS TYPEWRITER
(lets out a soft moan)

Thomas manages to stir and stand up. He wobbles a bit as he walks over to the sink. As he walks we notice that he is missing one of his shoes. He turns on the hand dryer and dries his hands. Then he puts his body under the dryer. When the dryer turns off, Thomas exits stage left out the bathroom door. The stage lights turn off with the sound of a LIGHT SWITCH CLICKING. The Mid-stage curtains close.

FADE OUT