“The Great Works Project: Season Seven, Episode Seven – An Intermission” by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 07

an intermission

By Thomas Typewriter

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-07”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Immediately following that text’s exit, up scrolls “an intermission” from the bottom of the frame. It scrolls upward pausing in the center of the frame before continuing up and out of the top of the frame.

FADE OUT
FADE IN

INT. BIFFOLLOMEW’S PLAYROOM, AFTERNOON
A large playroom done in a minimalist style. A closet with folding doors sits in the center of the room. Bookshelves filled with toys and books line the angled walls jutting off from the closet. On one shelf of toys sits a stuffed toy of the villainous Logical Fallacy. It is a simple stuffed-sock toy wearing a fedora hat. It has a fake mustache and chest-plate made from paper taped onto it. The chest-plate has the letters L and F written in marker on it. A small couch sits off to one side. Natural light from a window out of frame behind the couch illuminates the room. BIFFOLLOMEW THE RABBIT, a young boy with a cape made from a blanket tied around his neck, runs in from stage-left.

BIFFOLLOMEW THE RABBIT
“Quickly Headcheese, we must use our psychic powers to scan the city for trouble.”

BIFFOLLOMEW hops onto the couch and starts bouncing up and down. He scans around the room. ROCKFORD THE PET ROCK enters from Stage-left. He rolls across the room and jumps onto the small couch.

ROCKFORD THE PET ROCK
“Over there by the water tower Mindgames!”

BIFFOLLOMEW THE RABBIT
(looks towards one of the bookshelves with the Logical Fallacy toy) “I see him.”

INSERT CLOSE-SHOT OF THE TOY

BIFFOLLOMEW THE RABBIT
(voice-over) “Our old nemesis Logical Fallacy.”

CUT BACK

BIFFOLLOMEW THE RABBIT
“Oh-no. He is attempting to poison the city’s water supply with Conspiracy Juice!”

ROCKFORD THE PET ROCK
“That criminal!”

BIFFOLLOMEW THE RABBIT
“Should we crimefight?”

ROCKFORD THE PET ROCK
“Oh, we absolutely should.”

BIFFOLLOMEW leaps of the couch.

BIFFOLLOMEW THE RABBIT
(shouting) “CRIMEFIGHT!”

Rockford the Pet Rock leaps off the couch.

ROCKFORD THE PET ROCK
“Crimefight!”

They run towards the toy.

BIFFOLLOMEW THE RABBIT
“Cease and desist Logical Fallacy or we will be forced to use our psychic powers to teach you to mind your manners.”

A SOFT CHIMING TONE rings out. The digital voice of the Butler speaks.

BUTLER
(voice-over) “Reminder, the next episode of The Babysitter Tales is starting.”

BIFFOLLOMEW and Rockford stop. Look at each other and smile, making excited yes gestures.

BIFFOLLOMEW THE RABBIT
“Butler, please cancel the current reminder.”

The chiming tone ends.

BIFFOLLOMEW THE RABBIT
“Butler, please set the room to TV mode.”

The closet doors open revealing a small television. It turns on to station 78. BIFFOLLOMEW and Rockford approach the TV. They pull out soft squares of grey padded carpet from a bin under the TV and sit down. The title sequence of The Babysitter Tales starts to play on the TV.

PAN IN ON THE TELEVISION SCREEN

TRANSITION FROM THE PLAYROOM TO THE BABYSITTER TALES TV SHOW.

On the TV screen the last bit of The Babysitter Tales opening sequence plays. The sequence ends and transitions to an establishing shot of a model of Gloomarella’s house.

SHIFT FROM LOOKING AT IMAGE ON TV SCREEN TO BEING “LIVE” IN THE SHOW.

LS OF GLOOMARELLA’S HOUSE

CUT TO…

INT. GLOOMARELLA’S KITCHEN, MORNING
GLOOMARELLA THE DOOMWITCH enters the room from stage-left. She has just woken up and is not very alert. She wanders over to the counter by the sink. She pulls down a coffee cup, fills it with coffee from the coffee maker, and leans against the counter. She takes a slow sip and smiles. She finishes the coffee and rinses it out in the sink. Then she looks around as if something is wrong, noticing that the sink is empty. All the dishes are clean. She then looks around the kitchen and notices it is clean.

GLOOMARELLA THE DOOMWITCH
“Where is the grime? Where are the spider-webs? Everything looks shiny and new. Who cleaned this place?”

Then she notices the doom baby in his high chair eating breakfast peacefully.

GLOOMARELLA THE DOOMWITCH
“What are you doing up?”

SMILES GOODSON enters from stage-right carrying a bouquet of flowers. He walks over to put them in a vase near the sink.

SMILES GOODMAN
“Oh good, you’re up. I’ll make you some eggs.”

She grabs a pan and hits him in the head. He spins, falls and hits his neck on the counter with a loud CRACK. He goes limp as the life suddenly leaves his body. There is A RESET NOISE accompanied by a flash of light. Smiles hops right back up.

SMILES GOODMAN
“Well aren’t you a lively one in the morning.”

The Doomwitch screams again and shoots him with lightning. He flies out of the room. The RESET NOISE and flash of light occurs off-camera. Smiles Goodson walks back into the room.

SMILES GOODMAN
“Who wants toast? I have an excellent sourdough cooling on the counter. I had to get up early to make it but I know just one bite and you will agree it was worth the effort.”

He walks to Gloomrella and gently places his hand on her, guiding her. They walk over to the table where he sits her down.

SMILES GOODMAN
“You’re going to love this bread. It is an old family recipe, made with a special ingredient.”

Smiles leans into whisper a secret to Gloomrella.

SMILES GOODMAN
(whisper) “I am not suppose to tell, but since we are such good friends, it’s (pauses to look left and right then whispers even softer) love.”

Smiles whistles and gets out the bread.

GLOOMRELLA THE DOOMWITCH
(to self) “What is going on.”

Smiles slices the bread and plates up one slice. He hands it to her. She takes the plate and tries the bread.

GLOOMARELLA THE DOOMWITCH
“Wow, this is really good. Normally, I hate love, but I can’t complain about this.”

SMILES GOODSON
“Why, thank you.”

Rod Pocalypse reaches for Gloomrella’s slice.

ROD POCALYPSE
“Gimme! Gimme!”

SMILES GOODSON
“Now, how do we ask?”

ROD POCALYPSE
“Please?”

Smiles goes and gets Rod a slice. Gloomarella the Doomwitch chokes on the bread.

GLOOMARELLA THE DOOMWITCH
“Did he just say please?”

SMILES GOODSON
“Yes. I taught him that this morning before you got up. I find there is always time to be polite.”

GLOOMARELLA THE DOOMWITCH
“So you taught this baby, the doombaby, he who is the key fated to release those trapped beyond form and shape ushering in a thousand years of darkness where the screams of the tortured will form the new landscape. The instrument of the apocalypse. You taught him manners?”

The baby gets the bread, and Smiles rubs his head.

SMILES GOODSON
“It was not easy, let me tell you, but I just reminded myself that anything worth doing is worth a little extra effort.”

GLOOMARELLA THE DOOMWITCH
“This will not do.”

Gloomarella shoots a lightning bolt at Smiles, knocking him out of the room.

GLOOMARELLA THE DOOMWITCH
“This will not do at all.”

CUT TO AD-BREAK

The ad-break still fills the screen.

GLOOMARELLA
(voice-over) “We’ll be right back after this short break. Change the channel and I’ll curse your soul!”

PAN OUT FROM THE AD-BREAK CARD

TRANSITION FROM INSIDE THE TV SHOW TO THE PLAYROOM

THE CAMERA SHIMMERS AS IT PANS OUT FROM THE TV SHOW. PAN BACK BEHIND BIFFOLLOMEW AND ROCKFORD.

INT. BIFFOLLOMEW’S PLAYROOM, DAYTIME
BIFFOLLOMEW THE RABBIT AND ROCKFORD THE PET ROCK sit infront of the TV cabinet in the closet watching the commercials. An ad for Star Families brand Seed Rolls plays on the screen. BIFFOLLOMEW looks to the side and sighs. He stands and walks off screen. After a moment Rockford notices he is missing.

ROCKFORD THE PET ROCK
“Are you going to finish watching this?”

CUT TO SHOT OF BIFFTHOLOMEW

BIFFOLLOMEW sits by the window looking outside.

BIFFOLLOMEW THE RABBIT
“I was just thinking, it is such a nice day.”

CUT BACK TO SHOT OF ROCKFORD

ROCKFORD THE PET ROCK
“You want to go outside.”

CUT BACK TO SHOT OF BIFFOLLOMEW

BIFFOLLOMEW THE RABBIT
“Yeah. I don’t know what it is, but I want to be outside. Feel some sun on my fur.”

Rockford enters comes over next to BIFFOLLOMEW.

ROCKFORD THE PET ROCK
“That sounds great. Let’s do it.”

BIFFOLLOMEW THE RABBIT
“Really.”

ROCKFORD THE PET ROCK
“Really.”

BIFFOLLOMEW hugs up Rockford and squeezes him.

BIFFOLLOMEW THE RABBIT
“Thanks.”

He sets down Rockford.

BIFFOLLOMEW THE RABBIT
“Butler, turn off the playroom television.”

The Butler chimes off-screen and the television shuts off. Biffollomew and Rockford walk off frame.

PAN TO WINDOW.

A gentle breeze blows through the grassy backyard. Sunshine beams down on the yard. A butterfly drifts from flower to flower. From the edge of the window frame, Biffollomew and Rockford come running into view. Rockford chases after Biffollomew, who laughs and jumps. Every time Rockford gets close, he leaps to the side and rolls. After the fourth roll across the grass, Biffollomew unfurls onto his back. He giggles looking up at the clouds. Rockford catches up to him and jumps on his chest. Biffollomew grunts and pulls Rockford into a hug.

TRANSITION FROM BIFFOLLOMEW’S BEDROOM TO THE ALEXANDRIAN LIBRARY

DISSOLVE FROM THE BACKYARD TO THE CURTAIN OF CLOUDS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

JOIN THE CAMERA IN THE MIDST OF PANNING DOWN THE CURTAIN OF CLOUDS. IT SLIDES DOWN AND DOWN FURTHER, STARTING AT A BREAKNECK PACE AND SLOWING. SOON THE TOPS OF THE MID-STAGE SETS PEAK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN UNTIL PROPERLY FRAMING THE MID-STAGE

MID-STAGE: INT. ALEXANDRIAN LIBRARY SECOND FLOOR MAIN ROOM, MORNING
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER emerges from behind the bookcase. He strolls across the stage. As he passes the new releases table, something catches his eye. He stops and picks up “Runaways from Randomness” by Jonathan J. Wheelwright

THOMAS TYPEWRITER
“A sequel to that Latchkey kids? Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The Mid-stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 06

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-06”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING. From the bottom of the frame, the fingers of the VELVET TOUCH curl up. They grip the darkness as if a solid object, and bring it forward. It takes on a shape like a large card sign. The Velvet Touch rotates the card 180 degrees. On the back of the card is a still photo of THE TYPEWRITER ABSTRACT PUPPET STAGE on the wooden disc in the Unroom Not.Seven. The Velvet Touch places the card back into place and pulls its fingers out of view.

INT. UNROOM NOT.SEVEN, BETWIXTIME
The unroom Not.Seven is a room of indeterminable size. In front of the doorway are semi-circular rows of grey carpet squares. They radiate out from a wooden disc sitting near a possible center of the space. The TYPEWRITER ABSTRACT PUPPET STAGE sits on the wooden disc, facing towards the grey carpet squares. The entire scene is softly illuminated by spindly metallic lamps at the end of the rows. The lamp’s cords snake off into the distance.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, MOVING CLOSER AND CLOSER TO THE MID-STAGE AREA. THE CAMERA STOPS PANNING FORWARD WHEN IT LOCKED IN PROPERLY FRAMING THE MID-STAGE.

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

MID-STAGE: EXT. THE ALEXANDRIAN LIBRARY, AFTERNOON
The front entrance of the multi-level flagstone and glass Alexandrian Library stretches across the back of the stage. The squarish carved letters of the building’s name loom over the triple set of doors adding to the solidness of the building. A sculpture of an open book balancing on the top of a pyramid stands just out front among ornamental grasses. We hear A CAR DRIVE UP AND PARK. The ENGINE SHUTS OFF. The CAR DOOR OPENS then SLAMS SHUT. FOOTSTEPS APPROACH. THOMAS TYPEWRITER, with a hardback copy of “Pandora’s Star” by Peter F. Hamilton under his arm, enters from stage-right. He walks past the ornamental grasses, past the sculpture, and up to the front doors. He uses his free hand to open the door and slips right in.

THE CAMERA DETACHES FROM PROPERLY FRAMING THE MID-STAGE AND PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND THE SETS. IT CONTINUES UPWARD MOVING ACROSS THE CURTAIN OF CLOUDS, HIGHER AND HIGHER. SOON THE BOTTOM OF THE HIGH-STAGE SLIDES IN FROM THE TOP OF THE FRAME. THE CAMERA CONTINUES PANNING UPWARD UNTIL LOCKING INTO PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: HANGER JSN076
In the center of the room stands a large cylinder of frosted glass. It stands on a pedestal of orthogonal crystals and abstract circuitry. Off to the side stands a control panel made of a similar crystal and tech mix. The room is painted in bright primary and secondary colors. Three pendant lamps hang from the ceiling illuminating the room. THE INNER-SPACE MAN enters from stage-right.

THE INNER-SPACE MAN
“This is what I wanted to show and tell you.”

BIFF THE RABBIT and ROCKEY THE PET ROCK follow, entering from stage-right.

BIFF THE RABBIT
“The whole room or something in it.”

ROCKEY THE PET ROCK
“Is it me or does this look like the designs we drew on the boxes when we were pretending we were those superheroes.”

BIFF THE RABBIT
(looks around) “It does.”

THE INNER-SPACE MAN
“Yes, exactly.”

BIFF THE RABBIT
“What do you mean?”

THE INNER-SPACE MAN
“This whole place is somehow tied to your pretending.

BIFF THE RABBIT
“How is that even possible?”

THE INNER-SPACE MAN
“I do not know exactly how the link works, but it is there.”

BIFF THE RABBIT
“That makes no sense.”

The Inner-Space Man walks over to the control panel and presses a button. The frosted glass of the cylinder turns clear. Inside is the suspended form of the superhero MINDGAMES.

THE INNER-SPACE MAN
“How about now?”

BIFF THE RABBIT
“Mindgames! Rocky, it’s Mindgames. Exactly as I imagined he looked like.”

ROCKEY THE PET ROCK
“Eerie.”

BIFF THE RABBIT
“Okay, hit the button that lets him out. I have so many questions.”

THE INNER-SPACE MAN
“Sorry. I don’t know how.”

BIFF THE RABBIT
“No seriously, let him out.”

THE INNER-SPACE MAN
“I can not.”

Biff turns to look at the Inner-Space Man.

BIFF THE RABBIT
“What do you mean. You wandered this place for days before getting us or so you claimed.”

THE INNER-SPACE MAN
“I did and never found a release button. Only room after room like this one.”

Biff walks over to the control panel. Rocky stays at the cylinder looking at Mindgames.

BIFF THE RABBIT
“But you got out. How? How come you are free? Why you?”

THE INNER-SPACE MAN
“I don’t know. MAybe some quality you added to us when you pretended us allowed us to escape.”

BIFF THE RABBIT
“Maybe you just didn’t hit the right buttons.”

Biff starts to press on the buttons. Various lights in the room turn on and off.

PAN OVER TO ROCKEY

ROCKEY THE PET ROCK
“What are you thinking in there?”

CUT TO CS OF THE MINDGAMES’ FACE.

Mindgame blinks.

CUT BACK TO ROCKEY

ROCKEY THE PET ROCK
“Arhh. Guys we have a problem. He just blinked.”

BIFF THE RABBIT
“What do you mean he blinked.”

ROCKEY THE PET ROCK
“I mean exactly that. He blinked. Look.”

Mindgames blinks again. Biff turns to look at The Inner-Space Man

BIFF THE RABBIT
“You mean he is aware.”

THE INNER-SPACE MAN
“Well, I was. Good chance in nine nine nines everybody else is. I hope not because it was torture.”

Biff becomes a little frantic and starts tapping buttons.

BIFF THE RABBIT
“We have to get him out. We have to get them all out.”

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

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING HIGH-STAGE AND PANS DOWNWARD. IT GLIDES TO THE CURTAIN OF CLOUDS LOCATED BELOW THE HIGH-STAGE. IT CONTINUES PANNING DOWNWARD THE CURTAIN OF CLOUDS. SOON THE TOPS OF THE MID-STAGE SETS POKE UP FROM THE BOTTOM OF THE FRAME. CONTINUE PANNING DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY FICTION SHELVES, AFTERNOON
A long bookshelf runs across the back of the stage. THOMAS TYPEWRITER enters from stage-right. He slowly walks across the stage, looking at the books. He runs his fingers across the various books as he contemplates.

THOMAS TYPEWRITER
(to self) “What am I doing? Am I really moving forward? Ophidia, she’s moving forward. She’s working herself to exhaustion. What have I ever worked myself to exhaustion on?”

He walks a short distance and then answers himself.

THOMAS TYPEWRITER
(to self) “Nothing.”

Thomas takes a step back to view all the books on the shelves. His body language shifts to painful introspection. Thomas exits stage-left. The Mid-stage curtains close and then repopen revealing…

MID-STAGE: INT, SECOND FLOOR MAIN ROOM, AFTERNOON
The stage is divided into two sections. On stage-right sits a table with a series of platforms on it. A sign reading “New Releases” sits on a sign post in the center of the table. Various books stand arraigned around the table. The other side of the stage contains a portion of the bookcases for the Adult Fiction section.

THOMAS TYPEWRITER
(Off-stage) “Guess time to get home. Not that I have anything to do once I get there.”

THOMAS TYPEWRITER
“A sequel to that book. Interesting. Maybe I don’t have to rush home just yet.”

Thomas picks up the book and exits stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

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

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 07, Episode 05

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-05”. It scrolls up to the center of the frame, pauses, then continues scrolling. It exits the frame in the top center. Across the dark screen drifts the sound of TYPEWRITER KEYS CLICK CLACKING.

FADE OUT
FADE IN

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE appears in the black void.

PAN IN ON MID-STAGE TILL PROPERLY FRAMING IT

MID-STAGE: CURTAINS CLOSED

The Mid-stage curtains part and the stage-lights turn on to the sound of A LIGHTSWITCH CLICKING ON revealing…

MID-STAGE: INT. PENCIL CHICKS STUDIO, DAYTIME
A long desk spreads across the stage. It has a monitor, keyboard, mouse and scanner on the desk. A stack of papers sits next to the scanner. Behind the long desk is a drawing table with an animator’s lightbox at an angle to the desk. The long desk has a simple office chair while the drawing desk has a padded high stool. A doorway sits to the stage-left side of the desk. OPHIDIA OPERAHOUSE sits at the animator’s lightbox, furiously drawing animation cells. THOMAS TYPEWRITER enters from stage-left. He hangs up his coat and then walks over to Ophidia. He places a hand on her shoulder.

THOMAS TYPEWRITER
“Hi.”

Ophidia stops bopping, pulls down her headphones, and smiles at Thomas.

OPHIDIA OPERAHOUSE
“Hey, good looking.”

Ophidia points to her lips. Thomas takes the hint and kisses her.

THOMAS TYPEWRITER
“You’re sure in a good mood.”

OPHIDIA OPERAHOUSE
“Oh yeah. I love how it feels to animate.”

THOMAS TYPEWRITER
“Have you been working long?”

OPHIDIA OPERAHOUSE
“Maybe. Probably. I came home from dinner and could not sleep. So I started working.”

THOMAS TYPEWRITER
“So, you never went to bed?”

OPHIDIA OPERAHOUSE
“Nope. I am full of electricity.”

THOMAS TYPEWRITER
“Okay electric girl, is there anything I can do to help?”

OPHIDIA OPERAHOUSE
“Could you get me some fresh coffee?”

THOMAS TYPEWRITER
“Sure. Are your parents okay with me being in the kitchen.”

OPHIDIA OPERAHOUSE
“Oh, it’ll be fine. They love you.”

THOMAS TYPEWRITER
“Okay. Fresh coffee coming right up.”

Thomas Typewriter exits stage-left. Ophidia puts back on her headphones and starts bopping to the music.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM PROPERLY FRAMING THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. THE SETS DISAPPEAR OFF THE BOTTOM OF THE FRAME AS THE CAMERA ASCENDS. IT GLIDES UP AND UP, OVER THE CURTAIN OF CLOUDS. SOON, THE HIGH-STAGE AND NARRATOR’S DOOR AT THE TOP OF THE CURTAIN OF CLOUDS SLIDES INTO VIEW. THE CAMERA SLOWS AND MOVES INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
From behind the curtain, the sounds of A BAND PLAYING MUSIC leak. The High-Stage curtains open and the stage-lights turn on to the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, DAYTIME
A large curve window runs across the back of the stage, showing the sparkle of the sparks drifting through space. Some components of the Flute are visible in the periphery of the window. A long curved couch runs under the window curving around a circular rug. Additional couches wrap around the circle coming out of stage-left and stage-right. The center of the observation area is free of couches, being the main entry point for those wishing to sit in the observation lounge. The entire area is decorated in yellow, amber, and beige. The rug is a contrasting red. A group is currently assembled playing music to practice and get in tune. LUCIDO OBSIDIAN, in his Medi-pod stands in the front of center on the carpet playing guitar. Behind him, CEDAR WAXWINGS plays drums. On the stage left side of the carpet CARRO, in their Medi-pod, plays keyboards. To the stage-right side of the carpet MINTHRIL MOUSTACHE plays trumpet. Next to him, ELDER GRIM plays the upright bass. The group is currently not doing very well playing in harmony. Meanwhile, PANACIA FLAUTO sits on one of the Observation decks couches listening.
HYGENNIA FLAUTO and two ORDERLI-BOTS enter from stage-right. Hygennia walks over to Panacia and sits down with her. They start to chit-chat. The ORDERLI-BOTS clean the couches. The musicians start to musically line up. They can play longer stretches of harmonious music before hitting discordant notes. IASA FLAUTO enters from stage-right holding a tray filled with three simple coffees from the ship commissary. She hears the music and starts to softly sway to the music. She waves to the musicians and they wave back. Their music clicks even further, lining up to the rhythm of Iasa. She walks over to Hygenia and Panacia. Hygenia takes the coffees. Iasa pulls Panacia up from the couch and starts to get her to dance along with her. Hygenia laughs and takes a coffee and starts to sip. The Orderli-Bots stop cleaning and watch the music and dancing. Panacea and Iasa laugh. Hygenia smiles and joins in.

FINNOCHIO and his sister BALLERIA enter stage-left clapping enthusiastically along with the music. They are followed by some REPAIR-BOTS, lulled up from the Maintenance Tunnels by the sweet tunes, sway to the music. The music goes louder as does the crowd’s response. On each of the Medi-pods the three top lights turn to green over the course of playing. When the third light turns green, the Medi-pod beeps. Carro, Cedar, and Lucido’s robotic arms go limp. They fall out of the melody. The Medi-Pods crack open along a low seem like an egg cracking open. Out pours the fully repaired Lucido, Cedar and Carro, coated in fluid and sliding across the floor. Carro now has a robotic body after the Medi-pod process, where in the earlier episodes he was just a face on a view screen.

As the three slide out of their Medi-pods, Elder and Minthril abruptly stop playing. Iasa, Panacia, and Hygenia swiftly rush to the newly emerged bodies and start to run medical checks. The stage-lights turn off to the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCOUPLES FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER AND ACROSS THE CURTAIN OF CLOUDS. DOWN AND DOWN IT PANS. EVENTUALLY THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME AS THE CAMERA HAS REACHED THE BOTTOM OF THE CURTAIN OF CLOUDS AND THE MID-STAGE. IT PANS DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

THOMAS TYPEWRITER
(off-stage) “I’ve got your coffee.”

THOMAS TYPEWRITER enters from stage-left, carrying a tray with a coffee cup and a carafe of coffee. There is also a glass of water on the tray. He enters backwards to navigate the door, balancing the tray best as he can.

THOMAS TYPEWRITER
“Sorry it took as long as it did for me to get the coffee. Your Mom came out and we had a nice talk. She asked if I could make her some tea so I did. Let me know if you want any and I’ll go get you a glass. Your Mom asked me if we set a date for the wedding, which is the funniest thing because my Grandma was just asking me the same thing this morning.”

Thomas places down the tray.

THOMAS TYPEWRITER
“Isn’t that the craziest thing? Are they sharing a wavelength?”

He picks up the coffee cup and turns to give it to Ophidia.

THOMAS TYPEWRITER
“And you’re asleep.”

Thomas straightens looking at Ophidia. He shrugs and takes a sip of the coffee. He spits it back out into the cup.

THOMAS TYPEWRITER
“Ugh, yuck. How does anyone like that?”

Thomas sets the cup back onto the tray. He then exits Stage-left returning with a blanket. He places the blanket over Ophidia. He gently kisses her on top of her head.

THOMAS TYPEWRITER
“You get your rest, you deserve it. I’ll be over here reading.”

Thomas moves to the chair to the side and pulls out a copy of “Pandora’s Star” by Peter F. Hamilton.

THOMAS TYPEWRITER
(to self) “Thank goodness I have one of Hamilton’s space operas. This will definitely keep me busy.”

Thomas props his feet up on the desk and relaxes into a comfortable reading position. He starts to read, briskly moving through pages then slowing down. He turns back two pages and rereads what he had read. He thinks a moment and then starts to read at a brisk pace. As he is reading he starts to fidget, starting with turning his body left and right. Then he switches to gently swinging his feet left-right. The Mid-Stage stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

“The Not So Puppet Show #1 – Sing a New Song Chorus Verse” by Thomas Typewriter – a new script

Puppet play, scripts, The Not So Puppet Show, Uncategorized

———–<.thom.>———–

THE NOT SO PUPPET SHOW

An asymmetry without apologies

Episode #1

“Sing a New Song Chorus Verse”

By Thomas Typewriter

———–<:type:>———–

FADE IN

The Not So Puppet Show’s short title sequence plays.

FADE OUT
FADE IN

INT. THE MUSIC HALL OF FRANCIS SPEAKS TO FRANCIS UNIVERSITY, AFTERNOON
The Music Hall is built on a bisecting stage¹. The rear plates will be the Stage. It is a raised concert stage made of dark polished wood with a curved front. A conductor’s podium has been placed at the front of the curve. The back of the stage has no curtain but instead decorative panels made of a similar dark wood, each with a small light built into the design of the top. Curved rows of chairs and music stands have been set up for the musicians. The front plates will be the Seats. It has three rows of chairs. Each row goes from stage-left to stage-right across the stage. The individual chairs are of a simple kind that hinges down with minimal padding.

LS OF SEATS AND STAGE

The first row and second row are already filled with guests. Concertgoer #1-#6 in the first row. Concertgoer #7-#12 in the second row. THOMAS THEATREMANAGER enters from stage-right and walks down the third row of the Seats. He will sit on the chair to the stage-right side of the bisection. OPHIDIA OPERAHOUSE-TYPEWRITER, PRIMO OPERAHOUSE-TYPEWRITER, and SECONDO OPERAHOUSE-TYPEWRITER follow behind him. They walk to the center of the row and sit down.

PAN IN TO MS OF THOMAS

The members of the City of Champions City Symphony start setting up on the stage. Violinist #1, Violinist #2, Violinist #3, Cellist #1, Cellist #2, and Cellist #3 enter stage-left. They filter out to the front row of chairs on the Stage. Trumpeter #1, Trumpeter #2, Trombonist #1, Frenchhorn #1, Flutist #1, Timpani #1 and Marimba #1 enter from stage-left and take up the seats in the second row of chairs on stage. All of the Audience, except Thomas, stand and applaud for the musicians. Thomas turns in his seat and faces the camera.

THOMAS THEATREMANAGER
“I am here at Francis Speaks to Francis University with the family, attempting to hear to the City of Champion’s Symphony’s fall concert. It is a Sunday and I do not have to work. Primo and Secondo are now teenagers, and my time with them grows short. A limited window to show them this can be a world of wonders. And an even smaller window of funding to showcase these wonders due to my recent financial irresponsibility. I need to be creative. Thankfully, I have always been.”

Thomas turns to face the stage. The rows of chairs split in the middle, with the chairs on stage-right sliding to the stage-right. The chairs on the stage-left sliding to the left.

THOMAS THEATREMANAGER
“Let me explain.”

In the newly opened area a giant brain made of building blocks is brought onto the stage by a pair of glowing hands. It is held together by the pressure of the two hands.

THOMAS THEATREMANAGER
“Growing up I always felt broken. Like in the kind of way where my mind was all these different pieces barely being held together. That my parts were constantly slipping apart. Especially once my plurality attempted to be a singularity. Still, we were, sorry, (to self) I am Thomas and I accept these feelings and emotions are part of myself. (to camera) Sorry about that. As I was saying, I was far from perfect at holding it together. I often failed, but managed to pull it back together.”

Then the building block brain falls apart. As the parts are being reassembled, hear the HAMMERING OF A HAMMER ON AN ANVIL. Once the brain is reassembled, the sound of diminishes. The building block brain and hands pull backwards, leaving the visible are, as the two sides of the auditorium slide back into place.

SECONDO TYPEWRITER-OPERAHOUSE
(off-screen) “Dad…”

Thomas turns from looking at the audience and at Secondo in the chairs on the other side of the center.

THOMAS THEATREMANAGER
“Yes.”

SECONDO TYPEWRITER-OPERAHOUSE
“I hope this starts soon.”

THOMAS THEATREMANAGER
“Me too. It shouldn’t be long now.”

SECONDO TYPEWRITER-OPERAHOUSE
“Good.”

Thomas swivels in his seat, so as to be looking behind him and out at the camera.

CUT TO CS OF THOMAS

THOMAS THEATREMANAGER
“These feelings of being on the edge, of being broken, persisted throughout my childhood. Persisted into adulthood, to today. But back then I thought school with its routines would be a stabilizing force but alas no. Often they amplified these feelings…”

CUT BACK

The auditorium splits in the middle again. The left side slides to the left while the right side slides to the right. From the back of the stage, a small classroom slides forward into the area between the orchestra. The small classroom is set-up as a side view of a sixth grade classroom. Two rows of three chairs go across the space with a teacher’s desk and small television on a rolling platform off to the stage-right side. MR. MYSELF&I stands next to the television. THOMAS TEENAGER sits in a center chair. OTHER STUDENT sits in one of the chairs in front of Thomas.

MR MYSELF&I
“Okay class, we are a little ahead in our lessons. Good job. Since we have some free time now, we are going to put on this video.”

Mr. MySelf&I pulls out a VHS tape from the shelf of the rolling cart the television is sitting on. He places the video in the VCR, waits for it to load, and then presses play. He exits stage-left and the lights in the classroom dim. A bright light throws out from the television bathing everyone in cathode light. Thomas gets a fearful look on his face. The Lady, THE LAD, AND THE LOCH appear in the desks next to Thomas. The Loch rolls itself into a bristle. Thomas moves in the exact same fashion. The Loch then starts to bark and growl at the screen. Thomas is frozen in panic.

THE LADY
“This is horrible.”

THE LAD
“Let’s get out of here. I do not want to watch anymore of this.”

The Lance raises his arm up at which time Thomas also moves his arm up in exact mimicry. In the background can be heard the sound of A HAMMER STRIKING METAL ON AN ANVIL. Thomas’ arm slacken as he is distracted by the sound. He looks around for its source. The Lad frustrated by Thomas’s loosing focus raises his arm up even more strongly. Thomas’s arm goes back to being fully raised and his head snaps forward.

MR. MYSELF&I
(off-stage) “Yes, Thomas?”

OTHER STUDENT
“Here goes Thomas going to say or do something weird again.”

THE LADY
(snapping head to look at Other Student) “That bitch. How dare they.”

The Lady returns her gaze to the front of the classroom. When she speaks Thomas also speaks at the same time, as if he is her puppet.

THE LADY & THOMAS TEENAGER
“Sorry Mr. MySelf&I, but would there be time for me to use the bathroom.”

OTHER STUDENT
“Oh, that wasn’t weird.”

THE LADY
(to self) “Fuck her. Saying Thomas is weird. What does she know.”

MR. MYSELF&I
“Yes. Make sure to grab the hallpass and you can go.”

THE LADY & THOMAS TEENAGER
“Thank you.”

The Lance stands and Thomas also stands at the same time and in the same way. The Lady also stands, slapping the Loch on the back of it’s head where it then stands. The small classroom is pulled off the stage. The zones of the stage slide back together. Thomas lifts his arm and puts it across the seat to the side of him allowing him to pivot and face the camera.

THOMAS THEATREMANAGER
“I don’t know why, but through all the cracks in my life, the cracks in my personality, the cracks in my mind, cracks in words when their letters moved and changed, you get the idea, a sense of a blacksmith hammering at a forge slipped through. Red hair, orange fire, sparks of starlight. Slips and glimpses. A face beautiful but also scarred. So it is no surprise to me that I ended up worshiping that marvelous lady of the forge, Brighid. She has always been there in my life, in the background. I thought she was my sole muse. Little did I know.”

The City of Champions Orchestra comes onto the stage. The musicians sit down and tune their instruments as THE CONDUCTOR enters stage-right.

THOMAS THEATREMANAGER
“And the great show begins.”

Thomas turns around to watch the stage. Meanwhile the Conductor walks to the podium in the center of the orchestra and bows to the musicians. He then turns and faces the auditorium chairs and the audience thereby contained. He bows. When he straightens back up he addresses the audience.

THE CONDUCTOR
“Thank you everyone for joining us today. This is our second concert of our season, so we are glad to have you out. Today’s program is called Pictures. We will start with Elar’s Serenade for Strings in e minor, then move into Lizt’s Hungarian Rhapsody No 2 in c minor, Ravel’s Pavane pour une infante defunte before ending our concert with Mussorgsky’s Pictures at an Exhibition.”

The Conductor turns to face the musicians. He picks up his baton and taps on the music stand. The musicians raise their instruments to the ready position. He signals to start and the City of Champions Orchestra starts to play Serenade in Strings in e minor. Thomas turns to face the camera.

THOMAS TYPEWRITER
“And through the first song, I found it nice. Not exactly the kind of music that revs my brain, but pretty nonetheless. It gave me time and spare mental bandwidth to appreciate the musicians. They were really skilled and all of this was done on a volunteer basis. Like how amazing was it that they lived complete lives and still somehow made time to ALSO do this. How amazing is that.”

The orchestra begins to play in fast forward.

THOMAS TYPEWRITER
“ Inspired by the talent and dedication on display, I decided to look with my quote-unquote mystic eye. Brighid was there spreading her energies across the musicians. And it was what happened next that is interesting.”

The sets slide apart from the middle again. Though this time the audience slides fully left and right, while the orchestra only slide half as far left-and right. There needs to be enough space between the two sides of the orchestra to allow a figure to approach but also allow the orchestra to still be seen. From the back shadows of the center space out walks BRIGHID THE BLESSED. She is a tall muscular female with fiery red hair. One side of her face is fair while the other is covered in scars and burns. She wears a simple leggings under a blacksmith’s apron. She is wearing a shawl that trails out to long ribbons and streamers so that when she moves and swings there is a flowing undulation to the movements. She moves along the musicians sweeping her streamers across them as they play. Every musician she touches becomes more focused and confident in the manner they play. The orchestra plays even faster, quickly reaching the end of the song. They bring their instruments to pause as the Conductor looks around. He then signals for the ready, and they raise their instruments to the ready position. He signals and they start playing Lizt’s Hungarian Rhapsody No 2 in c minor. As they play, Brighid the Blessed dances among them, inspiring each. As the song picks up tempo, hidden behind the musicians, AHN’PHERA THE SURPRISE AND THE JOY emerges. They are a thin and tall androgynous figure, dressed in shiny black tap shoes, tan oversized khaki pants held up with black suspenders over a white button up cotton long-sleeve shirt. They have a short haircut with a side part and long bangs swooping over to cover their face. They are bouncing a yellow ball. They move through the back of the musicians, staying hidden, but taking sudden acrobatic or dance moves when a loud note is hit and then sinking into the background. They will also be bouncing the ball around the stage as they move.

THOMAS THEATREMANAGER
“It was then I noticed a second spirit of inspiration. Moving in the background, I could catch fleeting views. Small details. Androgynous. Dressed like a dancer. Moving like some cross of Gene Kelly and Charley Chaplin. They were hypnotic. Then when the song goes into the second section and surprises me, they leap out.”

As the orchestra shifts to playing the friska portion of the piece, Ahn’Phera jumps out to the center of the stage. They dance and clown around Brighid the Blessed, pointing to each of the elements that jumps in unexpectedly.

THOMAS THEATREMANAGER
“I said who is this, and I instantly knew. This was Ahn’Phera, the muse and goddess of surprises in art. They are working through all the artists proving that unexpected element that makes the work interesting and vibrant. Surprises not only for the audience, but also the artist.”

Brighid and Ahn’Phera’s dancing becomes more energetic and lively as the song reaches its crescendo. The piece ends, the two deities pause. Ahn’Phera throws the yellow ball off-stage over the musicians’ heads and silently back flips out of view. Brighid glides out of view. The Audience claps in applause. The two sides of the stage slide back together. The audience members all stand and continue to clap. Thomas slows his clap and rotates to talk to the camera.

THOMAS THEATREMANAGER
“And in the days that would follow, I would ponder what I had seen here. Here was a new muse, but where this was my first full viewing of them, their fingerprints spread across my whole life. The films I did not expect to be good and then turned out great. The song that comes on the radio that you stop what you are doing and have to sing along to. A quick glimpse of something beautiful as you are commuting. That time you accidentally get bumped and end up in the right spot to see angles and ornamentation of the buildings line up. That time the story took a left turn. Hell, anytime any art takes a sudden turn. The world has Bridghit looking over all artists and helping them, among her many duties, but it also has Ahn’Phera dancing in and out ensuring that art has surprises and interesting texture. That is a world I can believe in. A world I can have hope that I can find joy. Blessed be Brighid. Blessed be Ahn’Phera.”

Thomas nods his head in a short prayer then turns back to his family.

THOMAS THEATREMANGER
“Wow. Was that something or was it not? I am so glad I came out with all of you.”

SECONDO OPERAHOUSE-TYPEWRITER
“Thanks Dad. Glad to be here too.”

PRIMO OPERAHOUSE-TYPEWRITER
“I wonder what will be next?”

THOMAS THEATREMANAGER
“That is the question, isn’t it.”

SECONDO OPERAHOUSE-TYPEWRITER
“What ever it is, I’m sure it will be great.”

THOMAS THEATREMANAGER
“I bet you’re right. Now lets quiet down and listen. They are about to start the next song.”

PAN OUT

FADE OUT

¹A Bisecting Stage is a specially constructed and laid out stage. It will be constructed in a way that the stage will be divided in four sections. The front and rear of the stage will be separated. Then the front and rear will also be divided into left and right sections. Each section will be built on a movable plate. This will require four plates. The plates will allow the front part of the stage to be pulled apart followed by the rear part of the stage to be pulled apart. This will allow a third area of the stage to opened up that will be referred to as the Imaginary Section.

“Paper Jamming or A Contemplation on the Cycle of Variation, Inspiration, Production, and Repeat” by Thomas Typewriter

Illustrations

Paper Jamming or A Contemplation of the Cycle of Variation, Inspiration, Production and Repeat by Thomas Typewriter (ink on bristol)

today in the studio: August 13th, 2023

today in the studio

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 11

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. B-MOUSE’S OFFICE, EVENING

LS OF B-MOUSE DOWN THE END OF THE AISLE

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

CUT TO A MS OF B-MOUSE

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

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

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

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

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

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

B-MOUSE
“Nope.”

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

B-MOUSE
“Nope.”

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

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

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

B-MOUSE
“Maybe.”

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

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

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

B-Mouse reads over the pamphlet.

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

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

CUT TO SHOT OF HIS HANDS

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

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

B-MOUSE
“Magic babysitter?”

CUT BACK

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

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

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

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

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

FADE OUT

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