mouse

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 06

By Thomas Typewriter

(c) 2022

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

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

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

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

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

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

L-MOUSE
“Come in.”

A-Mouse enters from stage-right.

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

L-MOUSE
“Did you try C-Mouse’s.”

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

L-MOUSE
“Sure. It’s over there.”

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

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

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

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

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

E-MOUSE
“Fine.”

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

L-MOUSE
“Bagel or noodle?”

E-MOUSE
“Bagel.”

L-MOUSE
“An Ariadne.”

A-MOUSE
“Got it.”

E-MOUSE
“Good. Now let’s go.”

They exit stage-right.

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

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

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

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

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 05

By Thomas Typewriter

(c) 2022 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


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

FADE OUT

FADE IN

INT. C-MOUSE’S OFFICE

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

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

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

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

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

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

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

C-MOUSE
(voice-over) “Yup. Years.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

K-MOUSE
“Good point.”

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

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

C-MOUSE
“They’re hit.”

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

C-MOUSE
“True. Hitting and collision.”

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

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

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

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

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

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

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

C-MOUSE
“Really. What kind.”

K-MOUSE
“Triceratops.”

C-MOUSE
“Really, a triceratops.”

K-MOUSE
“I like the horns.”

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

K-MOUSE
“A boat? Those are tiny.”

C-MOUSE
“Not the Titanic.”

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

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

K-MOUSE
“I like it.”

C-MOUSE
“Me too.”

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

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

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

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

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

K-MOUSE
“Another all-nighter?”

C-MOUSE
“Appears so.”

K-MOUSE
“Are we in trouble?”

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

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

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

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

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

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

PAN OUT

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

K-MOUSE
“Nice. What else you got?”

C-Mouse shows K-Mouse some more drawings.

FADE OUT

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

scripts, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 01

a prologue

By Thomas Typewriter

(c) 2022 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “04-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

THE VELVET CURTAINS

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

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

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

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

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

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

HIGH-STAGE: CURTAINS CLOSED

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

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

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

TRANSITION FROM HIGH-STAGE TO APARTMENT Y

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

EXT. APARTMENT Y’S DECK, EVENING.

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

THE CAMERA ROTATES TO THE RIGHT

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

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

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

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

CUT TO CS OF STONE.

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

TRANSITION FROM APARTMENT Y TO THOMAS TEENAGER’S BEDROOM

ZOOM IN ON THE IMAGES IN THE MEMORY STONE

INT. THOMAS TEENAGER’S BEDROOM, EVENING

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

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

Thomas falls onto his bed.

THOMAS TEENAGER
(softly)“…hate myself…”

Thomas draws a deep breath.

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

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

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

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

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

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

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

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

THE SCREEN CHANGES TO A BRIGHT YELLOW GLOW

TRANSITION FROM THOMAS TEENAGER’S BEDROOM TO APARTMENT Y

EXT. DECK OF APARTMENT Y, EVENING

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

The stone stops glowing.

CUT TO CS OF Y-MOUSE’S FACE

Y-MOUSE
“Oh Thomas…”

CUT TO MS OF Y-MOUSE

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

CUT TO LS OF…

INT. APARTMENT Y KITCHEN/LIVING ROOM, EVENING

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

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

Y-Mouse hangs up the phone and walks off camera

FADE OUT