“The Great Great Works PRoject: Season Six, Episode Seven” by Thomas Typewriter – a new script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 7

an intermission

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-07”. It enters from the bottom of the frame and moves up as if in fast-forward. It exits through the top of the frame. It is then followed by “an intermission” scrolling up from the bottom of the frame. It moves upwards, momentarily pausing in the center, then exiting the top of the frame.

FADE OUT
FADE IN

INT. SUNKEN LIVING ROOM OF BIFFINGHAM’S HOUSE, DAYTIME

DISSOLVE FROM BRIGHT WHITE THROUGH THE RANGE OF COLORS TO LS OF BIFFINGHAM THE RABBIT AND ROCKINGHAM THE PET ROCK SITTING IN FRONT OF THE TELEVISION

The Living Room is a rectangular room with two of the walls opening onto the nearby hallway and stairwell in the center of the house. The room has a sunken floor with two steps leading from the floor level to the sunken floor. These steps are along the two sides of the room open to the hallway and stairwell. The other two walls have dark wood paneling with small horizontal windows along the top of the wall. Big round pendulous lamps hang from the ceiling bathing the room in a soft yellow light. A couch runs along one of the paneled walls while two corduroy recliners sit across from the couch in front of the steps. The television is on the other paneled wall. It is a large box built into a wooden cabinet. Tall rabbit ears, along with various photos of Biffingham and his family, sit on the top of the television. BIFFINGHAM THE RABBIT, a rabbit boy dressed in corduroy overalls and bearing an uncanny semblance to Biff, sits on the shag carpet in front of the television. Next to him sits his pet rock ROCKINGHAM THE PET ROCK. The television is currently tuned to Channel 2 and the ongoing broadcast of “The Babysitter Tales.” The show is in the middle of a commercial break between acts.

CUT TO MS OF BIFFINGHAM AND ROCKINGHAM

BIFFINGHAM THE RABBIT
“I wonder what will happen in today’s episodes.”

ROCKINGHAM THE PET ROCK
“I don’t know, but we’re about to find out.”

PAN TO SIDE ONTO THE TELEVISION

TRANSITION FROM SUNKEN LIVING ROOM TO COMMERCIAL

PAN IN ON TELEVISION

FADE OUT

GOODWIFE HONEY CHEWBARS COMMERCIAL

FADE IN

CS OF A CASCADING FLOW OF HAYGRASS STEMS

NARRATOR
(voice-over) “Goodwife Bakery, the flavor you know and trust, so trust us. OR when something new comes, trust those you trust when they tell you it is good. ”

A waterfall of falling haygrass pours past the screen. A snack bar emerges from the flow of Haygrass. It moves through the center of the screen towards the camera. The bar is rectangular and made up of compressed haygrass.

DISSOLVE TO…

CS OF A CASCADING FLOW OF CARROT STEMS

A waterfall-like flow of tumbling carrot stems falls across the screen. From the center of the flow emerges the rectangular snack bar. It is now made up of compressed haygrass, carrot, and carrot stems. The bar flies out of the flow and up towards the camera.

DISSOLVE TO…

CS OF A CASCADING FLOW OF SUNFLOWER SEEDS

A pouring of sunflower seeds moves across the screen. From the center of the cascade emerges the snack bar. It is now made up of compressed haygrass, shredded carrots, compressed carrot tops, and scattered sunflower seeds. Note that the bar needs to be more haygrass, carrots, and carrot tops then sunflower seeds. Biff and the other Rabbits can digest sunflower seeds but in modest quantities.

DISSOLVE TO…

CS OF POURING HONEY

Long streams of golden honey flow past the screen. From the center of the honey emerges the snack bar. It is made up of compressed haygrass, shredded carrot, compressed carrot tops, and sunflower seeds same as before except it is now coated in honey. The bar hovers in midair in the center of the screen.

NARRATOR
(voice-over) “New Goodwife Bakery Honey Chewbars. Available now.”

FADE OUT

TRANSITION FROM THE COMMERCIAL TO THE BABYSITTER TALES

THE BABYSITTER TALES TV SHOW

FADE IN

INT. KITCHEN OF THE HOUSE OF GLOOM AND ILL-TIDINGS, MID-MORNING
Description goes here- Now what does the kitchen look like. So we are looking straight at the oven wall. The kitchen is squarish with the oven in the corner. It is an older-style brick oven, while the rest of the kitchen looks a little more modern, but still cottage-like. A sink lies on the counter on the left of the screen. A large window sits over it. Cabinets line the wall with the oven. There is also a small fridge. Cabinets also line the wall next to the oven. A small wooden table sits in the center of the room. There are various braids of spices hanging from the ceiling. The right side of the screen has a wall with shelves holding plates and dishes. There is also a broom. That wall also has a doorway. It is that doorway the GLOOMARELLA THE GLOOM WITCH enters through. ROD POCALYPSE, Gloomarella’s infant son, sits in a high chair on the far side of the table facing the camera. He fidgets waiting for his mother’s return. GLOOMARELLA THE GLOOM WITCH enters from the doorway near the refrigerator. She is carrying the small cage bearing THE TADPOLE. Rod starts to fuss and make noise when the Gloomwitch returns.

ROD POCALYPSE
(repeating in a shout) “Food! Food! Now!”

GLOOMARELLA THE GLOOM WITCH
“I know honey, I know. I’ll have your bottle ready in just a moment. (to self) So tired. When will this kid ever sleep.”

She opens a cabinet over the refrigerator placing the Tadpole inside. She then moves to the next cabinet, a full-length cabinet, and opens it. Gloomarella pulls out a coffee mug and a baby bottle. She then reaches into the fridge and pulls out a jug of milk. She returns for the counter and reaches for the baby bottle but yawns deeply. She rubs her eyes and then picks up the coffee mug. She fills it with milk. She places the jug on the counter. She then fills the baby bottle with coffee. Putting the cap on the bottle she grabs her coffee mug. Bringing both over to the table, she sets the bottle down on Rod’s highchair ledge.

GLOOMARELLA THE GLOOM WITCH
“Oh, I almost forgot.”

She picks up the baby bottle and moves it out of reach. She stands and removes a box of “These Are Circles” cereal from a cabinet behind her. She pours some cereal onto the high-chair tray. Rod starts to eat the cereal. Gloomarella returns the box of cereal. She sits back down at the table and grips her coffee mug two-handed, wrapping her two hands around the mug. Rod starts to drowse off. She notices this and starts to nod off also, allowing herself to close her eyes and rest. He falls asleep in his high chair while Gloomarella falls asleep in her chair. After a few very peaceful moments, there is a LOUD CRASH from outside. Rod startles awake and begins to wail. Gloomarella bolts upright. Her hair frizzles out with angry magical energy.

GLOOMARELLA THE GLOOM WITCH
“Those raccoons! I’ll curse them! I’ll curse them to several layers!”

She races out of the room. Rod calms down. He eats some cereal and reaches for his bottle. It had fallen over, the tip coming just within reach. He pulls it over and drinks it down. He makes a sour face, then starts to vibrate. The coffee kicks in instantly. He begins to rapidly bounce and vibrate in his high chair. The highchair shakes around the kitchen, knocking pots and pans and spices off the walls. As he bounces around the room we can see in the window over the sink the swirling of dark clouds and thunderbolts. Multiple lightning strikes that cast a negative reverse light strike down over the front yard and then the sky clears. Rod increases speed and force bouncing around the room until abruptly he stops. The high chair comes to rest. Rod makes a pained face, there is a loud wet noise as he fills his diaper. It balloons out to comical levels. His face relaxes completely. GLOOMARELLA reenters the kitchen.

GLOOMARELLA THE GLOOM WITCH
“We won’t have any more disturbances from those raccoons any more.”

She walks over to her coffee and starts to drink it. She spits it out.

GLOOMARELLA THE GLOOM WITCH
“Ughhh. This isn’t coffee. Now where did I put my coffee.”

She turns and looks around the room noticing Rod and his overfilled diaper.

GLOOMARELLA THE GLOOM WITCH
“Wow, that is one full…”

Rod’s diaper EXPLODES covering everything in feces.

TRANSITION FROM THE SHOW TO THE VIEWERS

THE CAMERA PANS OUT FROM THE RESTFUL FACE OF ROD POCALYPSE

CONTINUE PAN OUTWARD AS THE EDGE OF THE TELEVISION SCREEN COMES INTO THE SHOT.

INT. SUNKEN LIVING ROOM, DAYTIME
Biffingham and Rockingham sit on the floor in front of the television, giggling.

CONTINUE TO SLOWLY PAN BACK FROM THE TV AND INTO THE LIVING ROOM, PAST BIFFINGHAM AND ROCKINGHAM UNTIL SHOT BECOMES A MS OF THE DUO WATCHING THE TV.

Biffingham turns to look at Rockingham.

BIFFINGHAM THE RABBIT
“I really thought more would happen.”

ROCKINGHAM THE PET ROCK
“What, you didn’t like the exploding diaper. One good laugh and I am satisfied.”

BIFFINGHAM THE RABBIT
“Sure, that was funny, but not much else. Sometimes I think we have more fun when we’re doing our own stories.”

ROCKINGHAM THE PET ROCK
“Well, they are good stories.”

BIFFINGHAM THE RABBIT
“What do you say that when this episode is over, we go play?”

ROCKINGHAM THE PET ROCK
“Sure. What do you want to play?”

BIFFINGHAM THE RABBIT
“Mindgames and Headcheese?

ROCKINGHAM THE PET ROCK
“Sure.”

BIFFINGHAM THE RABBIT
“Cool.”

Biffingham turns back to look at the TV.

FADE OUT

The Great Works Project: Season Six, Episode Two by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 02

By Thomas Typewriter

———–<:type:>———–

FADE INTO BLACK

GRIGIO COLORI
(voice-over) “Where did we leave off? Oh yes, here was where we left off. Ready? Here we go. Fade into black and then from the bottom of the screen scrolls upward the following text of zero six dash zero two.”

From the bottom of the screen scrolls up the following text: “06-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out from somewhere in the dark.

GRIGIO COLORI
(voice-over) “Fade out then fade in to the Typewriter Abstract Puppet Stage. Specifically the Mid-stage area of the Typewriter Abstract Puppet Stage.”

TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE
The Typewriter Abstract Puppet Stage sits in a dark field as if floating in a void. No other room or setting is visible surrounding it.

THE CAMERA MOVES CLOSER THROUGH A SERIES OF CUTS WITH A CRYSTALLINE FILTER.

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

MID-STAGE: CURTAINS CLOSED

THE CAMERA PAUSES THE CRYSTALLINE ZOOM CUTS PROPERLY FRAMING MID-STAGE.

The curtains of Mid-stage fill the frame. A soft light bounces from somewhere beyond and below the front of the Mid-stage across the curtains. The curtains part from the center and stage lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: EXT. HIGHWAY ROUTE 17, DAYTIME
A section of the Route 17 highway stretches across the stage. This section, in particular, passes through farmland surrounding Thomas Teenager’s hometown of Bordertowne, Illinois. A route marker sign and telephone pole form the main set of stage decorations. The route marker sits to the stage-right of the center. The telephone pole sits stage-left of center. In the background, we can see acres and acres of farmer fields covered in snow. From stage-left a black minivan enters, drives across the stage, and exits stage-right. The curtains close and then reopen revealing…

MID-STAGE: INT. THOMAS TEENAGER’S BEDROOM, DAYTIME
A bed stands at the corner of the stage along with a small desk. It is in the style of an old-time banker’s desk with a roll-top. A three-legged stool with elaborate carved legs and feet sits under the desk in the area for the chair. A stereo boombox sits on top of the writing desk along with a corded phone. On the other side of the stage, shelves line the wall filled with books, comic books, toys, and stuffed animals. Next to the shelving is a poster of teddy bears holding hands. On every flat surface in the room, even the bed, sits piles of paper and comic books. The paper is various school assignments and artwork. THOMAS TEENAGER enters stage-right. In one arm he holds a duffel bag while in the other he holds a stack of mail. Thomas sets down the bag and then moves over to his bed. He sits on the edge of the bed going through his mail.

THOMAS TEENAGER
“Junk. Junk. Junk. University? What is this?”

Thomas opens the letter, first setting down the other mail and grabbing a blade from the pencil holder on his desk. He gently cuts the end of the envelope and slides out the letter.

THOMAS TEENAGER
(reading from the letter) “We regret to inform you that due to your failing grades, you are hereby expelled from Bulldog University. Normally, you would be allowed to appeal this decision and be placed on Academic Probation, but due to your academic credit hours exceeding your honor points, you will not. Please have all your belongings and personnel effects removed from your dormitory residence before classes resume on January 15th. The dorms will reopen on January 4th. Before we end, may we recommend that a four-year college is not for everyone and may not be for you. Community college may be more your speed. Sincerely Bulldog University.”

Thomas slumps back onto his bed. He lays unmoving, stuck in a state of shock. After a moment he picks up the phone and dials. The phone RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi, may I please speak to Samarica? Yes, I can wait. Thank you. (pause as he waits). Hi, Samarica? It is me, Thomas. Fine and how are you? Good. Did you have a good Christmas? Me, too. Well, I am back in town, so we can go on that next date we talked about. What do you mean sorry? You have bad news? Oh. Oh. I see. Your old boyfriend. I see. Back together. How long now. Before we went on our first date. And you didn’t think to mention that before now. You found it too awkward to bring up. Well, good luck with that, and happy new year. Goodbye.”

Thomas hangs up the phone. He stares off into space. The stage-light slowly shift to a red tint. Thomas SCREAMS building to A PRIMAL SCREAM. The sound of METAL RENTING AND GLASS SHATTERING reverbs as the red light turns to a deep red. Thomas stops screaming. The red light and metal and glass sounds fade away. The stage-lights return to regular illumination and hue. He looks around the room. Thomas gets up and walks over to his CD collection. He pulls out “Live Through This” by Hole and places the CD in his CD player. He presses play and listens to the music start. Thomas then exits stage-left. We hear the door to his room OPEN AND CLOSE. FOOTSTEPS and CABINET DOORS OPENING AND CLOSING from off-stage. Thomas’ bedroom door OPENS AND CLOSES. He renters stage-left holding a package of garbage bags.

THOMAS TEENAGER
“Look at all this. What a delusion.”

Thomas opens the bottom of the writing desk and starts to pull out papers, worksheets, and school folders.

THOMAS TEENAGER
“Keeping every paper, every scrap, I ever used. Every assignment. Why? Because I thought I was going to be a great writer. Because I thought scholars would want to study them as they write biographies on my genius. Hubris. A giant pile of hubris and I am suffocating under it. Suffocating under what others expect me to be. Suffocating under what others don’t want me to be. Expected to be a genius. Expected to get a degree. Expected to get a good job. Expected to get the girl. Ha, yeah right. Something is broken inside me. I am a fuck-up now and will always be.”

From the stuffed animals on the selves comes a soft voice. Thomas pauses and listens.

CREAMY
(faint) “Don’t give up hope yet. One foot in front of the other and you’ll cross this bridge.”

Thomas nods his head.

THOMAS TEENAGER
“Yeah, you’re probably right.”

Thomas resumes filling the trash bags. He gathers all the stacks of papers, setting the artwork to the side, but everything else goes into the trash. He opens all the cabinets on the desk removing all the paper. He goes through every surface in the room. Once he has filled his fourth trashbag, he takes a deep breath and exhales. He sets down the trashbag and works his way over to the phone. Thomas picks up the phone, listens for the DIALTONE, and then dials the number for Luna Witchescrown.

THOMAS TEENAGER
“Hey, sis. You got a minute? I’ve had a really bad day and need to talk about it. You do. Thank you.”

The stage lights turn off to the sound of A LIGHT SWITCH SWITCHING OFF. The Mid-stage curtains close.

FADE OUT.

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

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 10

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “05-10”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

THE CAMERA PANS DOWN. THE DARKNESS SHIFTS TO THE CURTAINS OF THE MID-STAGE.

THE MID-STAGE IS PROPERLY FRAMED

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

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE, DAYTIME.
The Supply Closet office supply store is a big white box of a building accented by luminous red and nebulous blacks. The front entrance pans across the length of the stage. The glass sliding doors of the front vestibule sit center stage. Thin strips of the white stucco exterior separate the front doors from the long horizontal rows of tinted windows. The bottom portion of the giant “THE SUPPLY CLOSET” store sign peaks past the stage top. From off-screen, the sound of CAR TIRES ON PAVEMENT as someone pulls into one of The Supply Closet’s parking Spaces. CAR DOORS OPEN AND CLOSE followed by FOOTSTEPS come from off-screen. THOMAS TYPEWRITER emerges from stage-left. He walks up to the front doors, pauses as the doors slide open, then continues into the store. The doors close behind him.

TRANSITION FROM THE MID-STAGE TO THE HIGH-STAGE

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE SETS TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES PANNING UPWARD. AT THE TOP OF THE CURTAIN OF CLOUDS THE HIGH-STAGE SLIDES INTO THE FRAME. THE CAMERA LOCKS IN PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON
The observation lounge is located near the top of the Flute, built next to the cafeteria. It is a place where patients and guests can sit in comfort and look out. It offers views of the space surrounding various habitats of The Nines. Off in one direction, the sparks emanating from the IR-RA can be seen glittering like stars. In the other direction the six far-off Palaces of the Three-by-Three glitter like large stars. A large curved window stretches out across the back of the stage. The window is framed by soft yellow framing. The floor and walls are in soft peaceful hues of yellow and brown. Three plush chairs sit at the edges of the stage. Two chairs on stage-right and one stage-left. CEDAR WAXWINGS, in his Medi-pod, enters stage-left, moving past the two chairs and settling center stage. He turns the front of the Medi-pod towards the large observation window. He watches and drifts in thought. Stay with Cedar for a few minutes before the stage lights turn off to the sound of A COMPUTER BOOTING OFF. The glittering sparks in the space outside still glitter in the darkness. The High-Stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT GOES DOWN, DOWN, AND DOWN THE CURTAIN OF CLOUDS. THE TOP OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.
The tall front of The Supply Closet office supply store sits further back and off to the side. We see less this time than previously. It is off to the stage-right. The front doors are near the edge of the stage. Center-stage sits Thomas’ car: a goldenrod 2002 Ford Taurus. It is parked near the cement pylon base of a parking lot light pole. Thomas often forgets where he parks so he prefers to park near tall structures or landmarks he can easily see when he leaves the store. The front doors of The Supply Closet open and THOMAS TYPEWRITER walks out. He walks across the parking lot, carrying a stack of banking boxes, towards his car. When he reaches his car, he sets the boxes on the trunk to free his hands to retrieve the car keys. He manually unlocks the trunk. It pops up a little bit. He pulls off the banking boxes and uses the edge of the stack to pop open the trunk. Thomas sets the boxes down inside.

CUT TO A CS OF THE BOXES IN THE TRUNK

CUT TO A CS OF THE TRUNK WITH ALL THE BOXES ASSEMBLED AND FILLING UP THE TRUNK

CUT TO A CS OF THE BOXES NOW FILLED WITH THOMAS’S VARIOUS BELONGINGS.

CUT TO CS OF THE BOXES EMPTY EXCEPT FOR THE CENTERMOST ONE, WHICH NOW HAS VARIOUS HUMAN ORGANS IN THEM

The boxes are no longer filled with Thomas’s belongings. They are now filled with the various organs from his body. In the center box, sits his heart which beats three times. On one side sits his lungs, which flutter erratically, as if in the grip of a shallow breathing anxiety attack. Intestines fill two other boxes. In another box, we can see his brain.

REVERSE CUT TO THOMAS LOOKING INTO THE TRUNK.

Thomas stares into the trunk, lost in a moment of anxiety. He brings his hand to his heart.

CUT BACK TO TRUNK OF BOXES OF ORGANS

The heart beats fast while the lungs start to slow down. They take deep breaths, slowly in and slowly out. From another box emerges Thomas’s right arm and hand. It pulls its fingers down into a fist. Then it makes a 1-2-3-4 count using its fingers. It slowly counts through the numbers and then repeats. The lungs slow and align with the four count. The count slows even more. The lungs match. The heart starts to slow as well.

CUT BACK TO REVERSE OF THOMAS

Thomas looks into the trunk and takes a deep audible breath for a four count. He then breathes out for four. He repeats and relaxes.

CUT BACK TO CS OF TRUNK

The boxes of organs are gone. The trunk has reverted back to its original form, with the packages in boxes.

CUT BACK TO FRAMING SHOT OF MID-STAGE

Thomas closes the trunk. The Mid-Stage curtains close as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 10

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

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

A-MOUSE
“Must be near wake-up.”

E-MOUSE
“Must be.”

A-MOUSE
“Will Mall X still be open?”

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

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

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

A-MOUSE
“Over there. An entrance!”

CUT TO MS OF ENTRANCE

CUT BACK TO TRACKING SHOT OF E-MOBILE

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

CUT TO CS OF EMERGENCY BRAKE BEING PULLED

CUT TO MS OF E-MOBILE SPINNING

CUT TO CS OF IMPACT WITH CART

CUT TO MS OF SHOPPING CART SPINNING OFF

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

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

CUT TO MS OF A-MOUSE AND E-MOUSE

E-MOUSE
“You got the list.”

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

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

A-MOUSE
“Ready for what?”

CUT BACK TO TRACKING SHOT

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

CUT TO CS OF E-MOUSE

E-MOUSE
“This!”

CUT TO FOLLOWING A-MOUSE

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

TRANSITION FROM OUTSIDE MALL X TO INSIDE MALL X

INT. SOUTH ENTRANCE OF MALL X, DAYBREAK

MS OF SPACE BETWEEN THE INNER DOORS AND OUTER DOORS

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

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

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

TURN TO FOLLOW A-MOUSE

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

CUT TO…

INT. MALL X FOOD COURT, DAYBREAK

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

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

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

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

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

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

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

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

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

Then there is A LOUD CRASH.

PAN 180

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

E-MOUSE
(weakly) “did we make it?”

A-Mouse holds up a thumbs up.

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

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

FADE OUT