“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 Four” – a new script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 6, Episode 4

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward the following text: “06-04”. It enters from the bottom of the frame and slowly moves up eventually exiting through the top of the frame.

FADE OUT
FADE IN
TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out from somewhere nearby yet out of sight. Shortly thereafter the TYPEWRITER ABSTRACT PUPPET STAGE materializes.

LS OF THE TYPEWRITER PUPPET STAGE MOVING TO A MS THROUGH A SERIES OF CUTS UTILIZING A CRYSTALLINE EFFECT.

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

PAN IN ON MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED
The Mid-stage curtains open. The stage lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. MARY MARCHHARE’S FRONT PORCH AND FRONT WINDOW, DAYTIME
The front wall of Mary Marchhare’s house, with its blue vinyl siding spreads across the stage. A large bay window takes up a large portion of the wall. It is higher than the ground, making the bottom of the window visible in the frame but not the top. On each side of the bay window are smaller windows with movable shutters. At the stage-left side are four steps leading up to a landing and the front door. Mary Marchhare’s Living Room can be seen through the large bay window. White stucco walls are decorated with framed paintings of earlier twentieth-century race cars alongside photographs of various Boston Terrier dogs. There is also a selection of antique clocks on the walls. Near the window sits MARY MARCHHARE in a recliner. Next to the recliner is a shorter chair and an end table with a bulbous lamp. Mary is watching television. THOMAS TYPEWRITER enters from stage-left, carrying two moving boxes. He walks past the front window. BEANIE, Mary Marchhare’s pet Boston Terrier, leaps onto the second chair and barks out the window. BARKS MUFFLED BY GLASS sing out. Mary notices Beanie barking, leans forward, and sees Thomas. She sets down the tissue she had gripped and moves out of sight. Thomas climbs the four steps to the landing in front of the house’s front door. The porchlight next to the front door flips on. The front door opens. Mary Marchhare steps out and gives Thomas a hug.

MARY MARCHHARE
“Thomas!”

THOMAS TYPEWRITER
“Hi Grandma. I am dropping off the last of my stuff.”

MARY MARCHHARE
“Two boxes, that’s not much.”

THOMAS TYPEWRITER
“There’s more. It’s just in the car. Would it be okay if I brought it in through the garage?”

MARY MARCHHARE
“Sure. Since you’ll be living here, I have a garage door opener for you. You can have the spare one.”

THOMAS TYPEWRITER
“Wow. Thanks.”

Mary looks Thomas in the eyes, squaring her shoulders.

MARY MARCHHARE
“And remember, this is only a loan. I get it back when you move out. I do not want any strangers wandering into my house because you lost it. Got it. I am serious.”

THOMAS TYPEWRITER
“Sure, sure. I’ll keep it safe and give it back.”

MARY MARCHHARE
“Good. Now let’s get inside.”

Mary locks the screen door open, sliding the locking tab forward. She then steps inside and holds the inside, bit oak front door, open for Thomas. Thomas walks in. Mary closes the screen door, moving back the locking feature/slider, and then shuts the front door

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNLOCKS FROM THE MID-STAGE. IT PANS UPWARD GLIDING OVER THE MID-STAGE SETS. IT CONTINUES PAST THE TOPS OF THE SETS AND ONTO THE CURTAIN OF CLOUDS VISIBLE BEHIND. UP AND UP THE CURTAIN OF CLOUDS TILL REACHING THE HIG-STAGE AT THE TOP. THE CAMERA SETTLES INTO PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. PHYSICAL THERAPY ROOM 604 IN THE FLUTE MEDICALSHIP
The room is similar to a ballerina dance studio. The back wall of the stage is covered in pads and some floor-length standing mirrors. Two rails, one at hip height and the other at knee height run across the mirrors. A weight-lifting machine sits on stage-left and another on stage-right. CARRO in their Medi-Pod is using the medi-pods extended arms to lift weights with a rope through a series of pulleys on the stage-left weight machine. IASO FLAUTO stands to the side guiding Carro. In the center of the stage stands CEDAR WAXWINGS in his Medi-pod using the Medi-pods retractable arms to lift dumbells from his side to over his head and back down. At the weight machine on stage-right stands LUCIDO OBSIDIAN in his Medi-pod using the Medi-pod’s retractable arms to crank a resistive lever. PANACEA FLAUTO stands between Cedar and Lucido watching over their motions.

PANACEA FLAUTO
(voice-over or narration) “Maestro, open medical log, please. Today marks an improvement in the attitude of Cedar Waxwing. He is making a full effort in therapy. His previous disposition of sullenness and defeatism have disappeared. Iasa and I had a second meeting and she revised her prediction of his possible recovery to full. If he can keep this up. We have also noticed a change in his friends’ attitudes as well. Lucido Obsidian and Carro were already on track for a near full recovery, but they now look posed for a full recovery. It is nice to see this change. When Cedar and I were in school together I never really cared for him. Maybe it was because I was too busy being interested in Lucido. Maybe it was because he was Lucido’s friend, not my friend. Maybe it was his sarcasm. Such a long time ago, who knows. Anyway, watching TV with him the other day, was nice. He is fun to be around. Haven’t laughed that much in a while. Sure he was still sarcastic but now it makes more sense. Doesn’t seem so abrasive, almost as if instead of attacking it is defensive. Wonder if he would want to watch the next episode. (pause) What am I saying? Maestro, please amend the medical log. Remove everything after recovery to full.”

As the narration finishes, Iasa stands and looks around.

IASA FLAUTO
“That is enough for today. Good job everyone. Keep this up and you will make a full recovery. Cedar, glad to see you trying.”

CEDAR WAXWINGS
“Feels good to try.”

Everyone starts to exit stage-right. Cedar and Panacea are towards the back or the last to leave.

CEDAR WAXWINGS
“Hey, Panacea.”

PANACEA FLAUTO
“Hey to you too. Good job today.”

CEDAR WAXWINGS
“Thanks. Hey, I was wondering if that show we watched…”

PANACEA FLAUTO
“Soapbubble Medical Theatre?”

CEDAR WAXWINGS
“Yeah, that’s the one. Is it every day, every week?

PANACEA FLAUTO
“Once a week. Why?”

CEDAR WAXWINGS
“Could I watch the next one? It was pretty neat.”

PANACEA FLAUTO
(pause) “I don’t see why not. My sisters are always bugging me to socialize more.”

CEDAR WAXWINGS
“Cool. Let me know when and I’ll be there.”

Iasa wiggles her eyebrows at Panacea. She sticks out her tongue. Iasa giggles and makes a face back. They exit. The stage-lights turn off with the sound of A COMPUTER BOOTING OFF. The High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT GLIDES OVER THE CURTAIN OF CLOUDS DESCENDING LOWER AND LOWER. THE TOPS OF THE MID-STAGE CURTAINS EMERGE FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD, SLIDING OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. MARY MARCHHARE’S LIVING ROOM, DAYTIME.
A large bay window fills the middle of the frame. It looks out onto Mary Marchhare’s front yard. A smaller window of double framing flanks each side of the bay window. To the stage-left side of the bay window sits a recliner chair next to a smaller chair and an end table with a bulbous lamp, a glass of water with a straw, a boxy remote control, and a paper fan. To the stage-right side of the window sits a wooden wardrobe with a larger cathode-ray TV on top. MARY MARCHHARE sits in the recliner watching daytime television. The ambient sound of TELEVISION fills the stage. BEANIE sits in the other chair sleeping. Mary reaches over and picks up the glass of water taking a sip. She sets it down and picks up the fan. She starts to fan herself while dabbing at her face with a tissue in her other hand. THOMAS TYPEWRITER enters from stage-left. He walks to the side of Mary’s chair.

THOMAS TYPEWRITER
(gently touches Mary’s shoulder) “Grandma.”

Mary notices him and reaches for her remote control. She points it at the camera and click it off. The sound of TELEVISION STOPS.

MARY MARCHHARE
(turns to look at Thomas) “Yes.”

THOMAS TYPEWRITER
“Do you have another spot where I could store some boxes? I can’t fit everything in the bedroom. It is cool if you don’t. I’ll go through and donate some of it. I just don’t want to impose or crowd out your stuff.”

MARY MARCHHARE
“There’s room in the back barn, as long as you don’t block my lawnmower. I haven’t used the cabinets since Lawrie died.”

THOMAS TYPEWRITER
“And that won’t put you out?”

MARY MARCHHARE
“No, go ahead. Use it.”

Thomas leans down and kisses his grandma on the cheek while hugging her. She twists enough to hug him back.

MARY MARCHHARE
“The key is on the keyrack. Just make sure you return it when done.”

THOMAS TYPEWRITER
“Thanks Grandma.”

Thomas exits stage-left. Mary reaches for her remote and points it back at the camera. She presses a button and the ambient sound of TELEVISION fills the stage. Mary continues to watch her show. Beanie continues to sleep, rolling over to a more comfortable position. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The stage is illuminated by the soft glow of the television as the Mid-Stage curtains close.

FADE OUT

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

scripts, The Great Works Project assignments

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 06, Episode 03

By Thomas Typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “06-03”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

TRANSITION TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out from somewhere nearby yet out of sight. Shortly thereafter the TYPEWRITER ABSTRACT PUPPET STAGE materializes.

LS OF THE TYPEWRITER PUPPET STAGE MOVING TO A MS THROUGH A SERIES OF CUTS UTILIZING A CRYSTALLINE EFFECT.

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

PAN IN ON MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE UNTIL MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED
The Mid-Stage curtains stand closed. After a moment they open. The stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONT ROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is standing by the bookcase with books and loading them into a moving box. He loads the last books, puts on the lid, and writes “Books” on the side of the box with a marker from his pocket. He stands and looks around the apartment.

THOMAS TYPEWRITER
“We gave it a good try didn’t we. Going to miss you.”

He reaches into his pocket and pulls out his phone. He dials into the phone. It RINGS and RINGS before being picked up.

THOMAS TYPEWRITER
“Hi. May I speak to Ophidia please. Oh, hi Ophidia. How are you today? Good. Oh, just finishing packing the last bits of my apartment. You? Cool, cool. So, I thought over what you asked, you know about me helping and working on your project. I have an answer.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES UP GLIDING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT FOLLOWS THE CURTAIN OF CLOUDS MOVING UPWARD HIGHER AND HIGHER. IT REACHES THE TOP OF THE CURTAIN OF CLOUDS AND SLIDES TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. IT RESTS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains are closed for a moment but then start to part. As they are nearly fully open the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. PANACEA FLAUTO’S OFFICE ON THE FLUTE MEDICALSHIP, DAYTIME
Panacea’s office is a desk sitting in the middle of the stage with the back walls lined by filing cabinets of various heights. On top of each filing cabinet are multiple stacks of books and papers. Crammed between the stacks of books, in any open spaces are various rolled up medical charts, boxes, and medical equipment. There is one succulent emerging from the filing cabinets on the stage-left, its long leaves dropping out causing a splash of color in the office. Panacea’s desk is a large metal affair, covered in stacks of medical charts and paperwork. Two spare Med-scanners sit on the side of the desk amidst a collection of empty coffee cups. PANACEA FLAUTO sits at her desk eating a salad. She has a small black and white Vid-screen, in an antiquated case, sitting on top of the files in one of the pulled out filing cabinet drawers. She is watching the latest episode of “Soapbubbles Medical Theatre” on Channel Four, The Dog House.

SOAPBUBBLES MEDICAL THEATRE EPISODE #06081938
It is a weekly show that presents a different radio play preformed by the Doctors and Nurses of an operation room. The audience sits up in the observation gallery. Each episode is hosted by a gravelly yet soothing voiced mostly bio-goblin ORSON WELLWISHER.

THE LOGO FILLS THE SCREEN THEN FADES AWAY

ORSON WELLWISHER
(voice over) “Broadcasting live from The Caducean Mystery Hospital in the heart of the Eighth Hill, this is your host Orson Wellwisher.

CUT TO MS OF THE OPERATING TABLE.

A series of nurses and Doctors are around the table. A patient sits on the operating table, mouth covered by a breathing machine. The closest doctor, Orson Wellwisher, turns and looks at the camera.

CUT TO CS OF ORSON

ORSON WELLWISHER
“Today, we find ourselves caught in a tale of intrigue, deception, mistaken identities and a well-mixed martini in Soapbubble Operating Theatre presentation of THE THIRD THIN MAN with tonight’s special guests…

CUT TO CS OF WILLIAM P. J. COTTONGIN

William P. J. Cotton-Gin stands across the operating table from Orson. He is a tall angular mostly-clockwork elf that takes off his medical mask and smiles into the camera.

ORSON WELLWISHER
(voice-over) “…William P. J. Cottongin,…”

William nods at the camera and then puts his mask back on.

ORSON WELLWISHER
“And Myna Bird Loy”

CUT TO CS OF MYNA BIRD LOY

Myna Bird Loy is one of the nurses carrying a tray of surgical tools to the operating table. She is a thin avian mostly bio-goblin. She looks up as if caught unaware and smiles for the camera. Panacea watches the show, half turned towards the vid-screen while also half turned towards her salad. She sets down her salad so she can hold the microphone from her Med-Scanner.

PANACEA FLAUTO
(Narration or voice over) “Maestro, update Medical Journal, starting now. The most unusual thing happened the other day. Cedar Waxwings stopped by my office to discuss his treatment. Up to that point he and his friends were giving the minimal effort in their therapy sessions. Iasa and I had a meeting planned later to discuss options for increasing their participation. Confidentially, I wonder if maybe I do not understand their situation, emotionally. Iasa advocates for patience, but I do not. Sometimes I am envious of her patience and good-nature. (pause) Maestro edit entry. Strike everything after the bit with the meeting and participation.”

There is a KNOCK on the door.

PANACEA FLAUTO
“Hello.”

CEDAR WAXWINGS
(off-screen) “Can I come in? Are you busy.”

PANACEA FLAUTO
“Come in, come in. I was just eating some lunch before some meetings this afternoon.”

CEDAR WAXWINGS in his ovoid Medi-pod rolls into the room, bumping into the chairs. Panacea turns to watch him enter. She misses a change on the Vid-screen. From the background of the operating room, THE SLASHBUCKLER, THE WORDSLINGER, and THE HEIRESS come into view. The Slashbuckler is a slender woman in black medical scrubs covered in gold filligree. Next to her stands The Wordslinger in white medical scrubs covered in brass filligree. Next to him stands the Heiress. She is dressed in black medical scrubs covered in silver filligree while holding a Fennec Fox dressed in matching medical scrubs. They attempt to wave at the screen to get the viewers attention.

PANACEA FLAUTO
“What can I do for you.”

CEDAR WAXWINGS
“I have a simple question.”

PANACEA FLAUTO
“Okay. I can deal with simple. What is your question?”

CEDAR WAXWINGS
“Will I be able to play the drums again, once we’re done healing.”

PANACEA FLAUTO
“Well…”

On the Vid-Screen, The Slashbuckler, The Wordslinger, and the Heiress freeze as a deep red outline encases them. A single diamond red design appears in the corner of the screen and blinks twice. They dissolve to static before dissapearing completely. The red diamond dissolves from the screen and the show resumes.

CEDAR WAXWINGS
“Be honest.”

Panacea sets down her salad and turns back to the Vid-Screen. She presses a button on the side and it goes dark. She turns back and directly looks at Cedar.

PANACEA FLAUTO
“Given the amount of effort you are giving. No. You are not doing the therapy and you will be crippled when you exit the Medi-pod.”

CEDAR WAXWINGS
“No drumming then.”

PANACEA FLAUTO
“Drumming? You’ll lucky to be able stand without pain. Every step you take will be crooked and painful.”

CEDAR WAXWINGS
“I secretly suspected as much.”

PANACEA FLAUTO
“So why are you not trying harder. Why are you resisting.”

CEDAR WAXWINGS
“Fear. Misplaced anger. Dumb reasons.”

PANACEA FLAUTO
“Listen, I get it. When you first woke up, I didn’t want to alarm you or freak you. But honestly, you guys were in a spaceship that blew up. Who should be dead, but your not grasping what a miracle it is that you can try.”

CEDAR WAXWINGS
“Your right we should be dead, but we are not and it has messed with my head. You are also right that I have not been dedicated or even really trying. It’s not you or your sisters.”

PANACEA FLAUTO
“Well what is it? My sister and I are trying our best to heal you and you are throwing it back in our faces. We’re trained to distance ourselves emotionally, but still it stings.”

CEDAR WAXWINGS
“I get that and I am sorry. It’s me. I am the problem.”

PANACEA FLAUTO
“Finally we agree on something.”

CEDAR WAXWINGS
“Ouch. But your probably not wrong. I find myself wondering if I have been lying to myself. The problem was other people, the job, my father. If only they did this or that, my life would be better. Not my fault I quit everything I ever tried. I put it on them, yet here I am in this eggshell finding myself never have having dedicated to anything. A life of drifting. I wasn’t qualified for the Solar/Lunar Fleet except my dad pulling the strings. Only got the job, kept the job, because of my dad. How sad is that.”

PANACEA FLAUTO
“Pretty sad, but not that unusual. You think your the first person to come into my office and saw oh no, what have I been doing with my life.”

CEDAR WAXWINGS
“Ha, true, but that doesn’t change that I have wasted a lot of my life. There were so many moments of magic and wonder moving through my life and I ignored them because they were not the quote-unquote right kind of moments.”

PANACEA FLAUTO
“Well, you’re not dead yet.”

CEDAR WAXWINGS
“No, I am not. (pauses thinking) If I try really hard in therapy will I be able to drum.”

PANACEA FLAUTO
“Not only that, but you would probably help inspire your friends to try harder. You’ll be helping yourself and them.”

CEDAR WAXWINGS
“I do not know if I am worthy of being an inspiration but I do want to drum again.”

PANACEA FLAUTO
“Then come tomorrow, try your best in therapy. Then the day after, try your best. Then the day after that try your best. Then keep repeating.”

CEDAR WAXWINGS
“That simple, huh?”

PANACEA FLAUTO
“In theory, yes. Practically, not so much. We all get a little confused sometimes and forget to repeat.”

CEDAR WAXWINGS
“Some of us more than others.”

PANACEA FLAUTO
“Yes, some more than others.”

There is a pause as Panacea takes another bite of salad.

CEDAR WAXWINGS
“So, what were you watching.”

PANACEA FLAUTO
“Watching?”

CEDAR WAXWINGS
“On the Vid-screen. You were watching something when I came in. What was it?”

PANACEA FLAUTO
“Oh that. Soapbubble Operational Theatre. It’s where a bunch surgeons who also happen to be actors put on a play.”

CEDAR WAXWINGS
“Can I watch it with you? I mean, if you don’t mind.”

Panacea smiles and leans over turning the vid-screen back on. The doctors and nurses are crowded around the operating table.

PANACEA FLAUTO
“That guy is Orson Wellwisher. He is the host of the show and one of my favorites.”

CEDAR WAXWINGS
“Okay. Who are the other people.”

PANACEA FLAUTO
“The tall guy is William P. J. Cottongin. He is playing a visiting surgeon accidentally drawn into the murder mystery.”

Cedar moves closer to the table to get a better view as the High-stage curtains close. The stage lights turn of with the sound of A COMPUTER BOOTING OFF.

TRANSITION FROM THE HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS. MOVING EVER DOWNWARD THE TOPS OF THE MID-STAGE SETS PEAK INTO THE FRAME. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS TILL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT FRONTROOM, DAYTIME
A writing desk sits center stage. In the background, on the stage-right side, sits a short bookcase. The desk has two moving boxes stacked on top of it. The bottom box is labeled “Typewriter”. The top box is labeled “Papers, Scripts, Misc…” The bookcase is nearly empty with only some books remaining on one of the shelves. THOMAS TYPEWRITER is pacing the room speaking to OPHIDIA OPERAHOUSE on his mobile phone.

THOMAS TYPEWRITER
“So, I thought over what you asked, you know about me helping and working on your project. I have an answer. I will do it.”

There is a LOUD SQUEAL OF DELIGHT from the phone. The squeal catches Thomas off guard, far too loud for how close he has the phone to his ear. Thomas winces and moves the phone away from his ear until the noise subsides.

THOMAS TYPEWRITER
“I am happy about it too. So what do I need to do first? Any paperwork or forms?”

The Mid-Stage curtains start to close as the stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF.

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