“Up Late, Late at Night: Episode Two, Act One” by Thomas Typewriter and Ophidia Typewriter-Operahouse – a new script

Puppet play, scripts, Up Late, Late at Night

———–<.thom.ophi>———–

Up Late, Late At Night

an abstract on treasure versus trash in modern film

Episode 002

Act I

By Thomas Typewriter & Ophidia Typewriter-Operahouse

———–<:type.house:>———–

FADE IN TO BLACK

FADE IN

EXT. THE TRASHIPELIGO ISLANDS, EVENING

LS OF A MODEL OF THE ISLAND.

Looking upon the garbage covered isles we hear the sounds of slumber and someone murmuring in his sleep.

CUT TO…

INT. THE TRASH HOLE. NIGHT
A large cavern in the base of the Trashipeligo Island’s dormant volcano, Mount Trashuvius finds T-RASH THE TRASH GOD sleeping. His large abstract mask-like face floats over a smoking pool of sludge and magma. Surrounding him are piles of trash. T-RASH’S eyes are dimmed as he sleeps trapped in a nightmare.

T-RASH THE TRASH GOD
(murmuring to self) “No, no, no, what do you mean there is no more oil? What are we going to make plastic out of? What about the plastic? What about the plastic!”

T-Rash shakes awake.

T-RASH THE TRASH GOD
“Oh, man what a nightmare. A world without plastic, what a horror show. Thankfully that will never happen.

T-Rash looks around the room.

T-RASH THE TRASH GOD
“Well, since I am up, I might as well have a late night snack. A nice tall glass of trash juice should put me right back asleep. (Shouting out) B-MAX! D-VID! Get me a glass of trash juice!”

T-Rash waits and waits.

T-RASH THE TRASH GOD
“B-MAX! D-VID! Get in here! You’re god grows impatient!”

From the bottom of one of the trashpiles crawls out THE SORE MOUSE. An anthropomorphic computer mouse slicked with various oils, greases, and mystery juices, it looks over at T’rash.

THE SORE MOUSE
“Hey, keep it down. Some of us are trying to have a tea party.”

T-RASH THE TRASH GOD
“Sorry. Hey, have you seen my two assistants?”

THE SORE MOUSE
“No. Hold on. (Shouts back into the trash pile he crawled out of) Hey, Parched Hare! Muddy Hatter! You guys seen those two helpers to T-Rash.”

THE PARCHED HARE
(off-camera) “The interns?”

THE MUDDY HATTER
(off-camera) “Didn’t they get electrocuted? Hey, see if he has any wine.”

THE SORE MOUSE
(to T-Rash) “No. They got electrocuted. Do you have any wine?”

T-RASH THE TRASH GOD
“There is some toilet wine two mounds of trash over.”

The Sore mouse waves goodbye and wiggles back into the trash pile.

T-RASH THE TRASH GOD
“Electrocuted? I don’t recall them getting…”

INSERT MS OF THE TELEVISION

CUT BACK

T-RASH THE TRASH GOD
“Oh, yeah, they did didn’t they. Just like in that one John Ritter movie or that one Lou Jacobi movie or that one episode of Amazing Stories, or that other episode of Amazing Stories. (to self) What was going on in the Eighties. (out-loud) Oh, well. I wonder what they are up to right now.”

T-Rash picks up the remote for his TV and presses on.

CUT TO THE TELEVISION

MS OF THE TELEVISION

A large cathode ray television sits in the midst of piles of trashbags and clutter. An extra antenna has been ad-hoc added onto the back of the television. The Television flicks on with an audible POP and HUM. A bright dot appears in the center of the television’s screen.

PAN IN ON THE TELEVISION SCREEN

The dot grows to fill the whole screen. A faint image of a highway with an on and off ramp flickers across the screen.

The Great Works Project: Season 07, Episode 03 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 03

By Thomas Typewriter

FADE IN TO BLACK

From the center bottom of the frame scrolls up the following text: “07-03”. 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

TYPEWRITER ABSTRACT PUPPET STAGE, ANYTIME

FADE IN TO THE TYPEWRITER ABSTRACT PUPPET STAGE GETTING READY TO PRESENT A NEW EPISODE.

MS OF THE TYPEWRITER PUPPET STAGE

The Typewriter Abstract Puppet Stage’s main curtain slowly opens.

PAN IN TO PROPERLY FRAME THE MID-STAGE

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

MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
Along the back of the stage runs a wooden panel wall. The overall design is minimal. A large wooden cross is mounted in the center of the wall. The cross is not attached directly to the wall, but out from the wall by way of metal rods. This is to allow lights installed on the back of the cross to create a halo-like illumination on the wall behind the cross. The remainder of the stage is decorated with six sets of wooden pews. Three on stage left and three on stage right leaving a small aisle in the center. The pews are orientated facing towards the cross. There is a soft lighting in the room, with the brightest light coming from the lights on the back of cross. THOMAS TEENAGER, dressed in a boy scout uniform, enters from stage-left and sits in the second row of pews, near the aisle. He looks up at the cross in silent contemplation for a few moments before letting out a SOB.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DETACHES FROM FRAMING MID-STAGE AND PANS UPWARD. IT GLIDES OVER THE TOP OF THE MID-STAGE SETS. IT CONTINUES UPWARD MOVING ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT PANS HIGHER AND HIGHER. AT THE TOP OF THE CURTAIN OF CLOUDS IT REACHES THE HIGH-STAGE. THE CAMERA LOCKS IN TO PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: INT. OBSERVATION DECK OF THE FLUTE MEDICALSHIP, MORNING
A large curved window lines the back of the stage. Through it we can see outside the ship to space, the twinkling of sparks drifts by. In the distance, some of the lights from the nine bio-habitat Hills, and even glimmers from the tops of the multi-fold towers of the Palace of Stars, can be seen. In the distance the twinkle of the two torches of the dual door entrances to The Mounds. The room itself is decorated in deep reds and oranges. The lounge has a circular shape. ELDER GRIM enters from stage-right pushing a stack of amphora-crates on a wheeled dolly. He rolls them to the side. He exits and returns with a new stack. Ultimately he rolls five amorphous-crates into the lounge. He leaves and returns then rolls a taller stack of speakers, amps, and sound equipment. In his mouth, he is holding a paper bag while in his left hand he holds a coffee cup. Rolling the sound equipment to the back far corner, he reaches up and takes the paper bag out of his mouth. Sitting down near the window, Elder opens the paper bag. He pulls out a bagel and lox with extra dill. Slowly eating the bagel and sipping the coffee, Elder takes the opportunity to look out the window.

ELDER GRIM
“Reassuring to see the world still has moments of wonder.”

Elder finishes his coffee and bagel. He stands, picks up his trash, and moves off-frame to throw it away. He returns and moves to the amorpha-crate closest to the front of the stage. He opens it and starts to remove the contents, which consist of a guitar stand and a skeletal bass guitar. As he sets up the stand and guitar, 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 DETACHES FROM FRAMING HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS. GLIDING DOWNWARD ACROSS IT, SOON THE TOPS OF THE MID-STAGE CURTAINS COME INTO VIEW. THE CAMERA CONTINUES PANNING DOWNWARD OVER THE MID-STAGE SETS UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. TWIGTOWN CHURCH OF THE GOOD FAITH CHAPEL, EVENING.
THOMAS TEENAGER sits in a middle pew near the aisle, softly sobbing. He looks up to the illuminated cross.

THOMAS TEENAGER
“Hello God. I hope you’re listening. Other people tell me you are. They say to me if you have a problem, turn it over to God. Goodness, what does that even mean. I think I have a problem, but how do I turn it over to you when I am the problem. I am broken structurally, something is wrong with me. I keep making mistakes and can not stop. Disappointing everyone around me, everyone who cares. My parents. I got into another argument with them. I don’t mean to upset them but I do. Not on purpose. But eventually I will forget something or screw up. It seems to be happening more lately. The forgetting. The arguments. It hurts so much to see the disappointment in their faces. The anger. Physical pain, like knives in my throat. They say they are trying to help me reach my potential. My teachers talk about my potential. Everyone has a comment on how much I am not living up to it. Yet no one has any answer about how I can live up this supposed potential. What am I suppose to do. No one knows. I thought I was a nice person. Why isn’t that enough. God, if you are there, please tell me why. Why do I hurt? Why do I keep making mistakes? Why am I not good enough?”

Thomas starts to cry but swallows it down. He sits in silence for a few moments. A voice beckons from off-stage.

SCOUT
(off-stage) “Hey Thomas, you coming. Glen is about to cut his cake.”

Thomas hastily wipes his eyes.

THOMAS TEENAGER
“Yeah, I’ll be right there.”

He stands and exits stage-left. The stage-lights, and cross 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 Two” 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 02

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-02”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

EXT. THE HILLTOPS, NIGHT

LS OF THE CLEARING AND FIRE.

A small clearing along a trail running past a thick forest finds Z-MOUSE and THE GHOSTLY sitting around a campfire. Sparks rise off as the logs in the fire loudly POP AND SIZZLE.

MS OF Z-MOUSE AND THE GHOSTLY

Z-MOUSE
(to the Ghostly) “You think he’s okay.”

The Ghostly shrugs in response to Z-Mouse’s question. Z-Mouse sighs softly and then reaches for some supplies on the ground next to him. He pulls up a bag of chocolate bars, graham crackers, and marshmallows. FINGERS SNAPPING can be heard very softly in the background. He reaches down again and pulls up a stick to roast marshmallows. FINGERS SNAPPING returns only louder.

Z-MOUSE
“You hear that?”

THE GHOSTLY
(while pulling out her stick for roasting marshmallows) “Hear what?”

Z-MOUSE
“Like crickets or cicadas. Yeah cicadas. Do you have those here?”

THE GHOSTLY
“No. Maybe it’s something going on back at your physical body.”

Z-MOUSE
“Physical body?”

Realization dawns on Z-Mouse

Z-MOUSE
“Oh yeah, I am asleep right now. Funny how I forgot I was dreaming.”

Z-Mouse disappears with a POP. Small Dream-bubbles which quickly fade away are left behind in his space.The stick and bag he was holding hover in the air for a moment then drop to the ground. The Ghostly scoots over and picks up the bag. She places a marshmallow on her stick and begins to roast it in the fire.

ZOOM IN ON THE FLAMES. IN THE BRIGHTNESS DISSOLVE TO THE NEXT SHOT.

TRANSITION FROM THE HILLTOPS TO THE WRITER’S ROOM

INT. THE WRITER’S ROOM, NIGHTTIME

At a long conference table in a conference room, Z-MOUSE is asleep at the table.

FADE IN TO A CS OF Z-MOUSE’S FACE.

A set of fingers are SNAPPING in front of Z-Mouse’s face. Z-Mouse’s eyes start to slowly open.

PAN OUT

Y-MOUSE is snapping his fingers in front of Z-Mouse’s face. The Writer’s Room is nearly empty with just Y-Mouse and Z-Mouse at the long table. X-Mouse and C-Mouse , the only other people in the room, are exiting through the doors.

Y-MOUSE
“Wakey wakey. The meeting is over.”

Z-Mouse rouses himself up.

Z-MOUSE
“Did I miss anything?”

Y-MOUSE
“No. Not really. We’re still stuck on the scripts. Finally, I had to end the meeting because we were getting nowhere. Plus, I have to be somewhere in an hour.”

Z-MOUSE
“At least nowhere is somewhere.”

Y-MOUSE
“You would say that wouldn’t you.”

Y-Mouse starts to walk to the door and Z-Mouse follows. Since he is not sleeping, his cloud chair dissolves as he stands.

Z-MOUSE
“I was having the most wonderful dream.”

Z-Mouse is outside the door with Y-Mouse just inside.

Y-MOUSE
“Oh, really. Why don’t you tell me as we walk.”

Y-Mouse turns of the lights with a SNAP. The sound of fingers snapping can be heard very very faintly in the background. The entire frame has gone black except for the light in the open door. The silhouettes of Y-Mouse can be seen walking through the door and closing it.

Z-MOUSE
“So I was roasting marshmallows and he came out. Looked like he was dreaming too.”

Y-MOUSE
“You don’t say.”

Y-Mouse fully shuts the door and the screen goes black.

TRANSITION FROM THE WRITER’S ROOM TO MID-STAGE

MID-STAGE: INT. PENCIL CHICKS STUDIO, AFTERNOON

THOMAS TYPEWRITER is asleep at a long desk, using his arms as a pillow.

CS OF THOMAS TYPEWRITER’S FACE. OPHIDIA’S SNAPPING FINGERS ARE ALSO JUST IN THE FRAME.

OPHIDIA OPERAHOUSE SNAPS her fingers in an attempt to gently wake up Thomas.

OPHIDIA OPERAHOUSE
“Thomas. Thomas. Time to wake up.”

Thomas’ eyes crack open.

CUT TO FRAMING SHOT OF MID-STAGE

Thomas raises his head and shifts himself awake in small movements across his body and face.

THOMAS TYPEWRITER
“What time is it?”

OPHIDIA OPERAHOUSE
“Time to celebrate.”

THOMAS TYPEWRITER
(low-energy delivery) “Whoo. Celebration.”

Thomas starts moving his shoulders and arms in a poor imitation of dancing.

OPHIDIA OPERAHOUSE
“You’re hilarious when you wake up.”

THOMAS TYPEWRITER
“Was I talking in my sleep again?”

OPHIDIA OPERAHOUSE
“Not sure. Maybe a little.”

THOMAS TYPEWRITER
“Oh. (pauses) So what are we celebrating?”

OPHIDIA OPERAHOUSE
“Only this!”

She holds up an animation cell pencil sketch while Thomas yawns and stretches. He then looks closer at the animation cell Ophidia is holding.

THOMAS TYPEWRITER
“And what am I looking at?”

OPHIDIA OPERAHOUSE
“It is the last cell.”

THOMAS TYPEWRITER
“The last cell?”

OPHIDIA OPERAHOUSE
“The last one! I am all done with the pencil stage.”

THOMAS TYPEWRITER
“That is a cause for celebration.”

Ophidia starts to dance in joy. Thomas stands and joins her. She dances over to the animation desk and puts the last cell on the stack with the others. Thomas opens his arms and she spins to him. They join arms and start into a waltz. As they move towards the exit, Ophidia steps on Thomas’s foot. He winces.

OPHIDIA OPERAHOUSE
“Sorry.”

THOMAS TYPEWRITER
“No, it is okay. Even roses have thorns.”

They dance out exiting stage-left. 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 One” 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 01

a prologue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “07-01”. 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 “a prologue” 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

EXT. SWORDPOINT HILLS, AFTERNOON
THE OUTER ONE and GRIGIO COLORI stand on one of the hills overlooking Swordpoint Hills. They are near the crest and looking down at the crowds. The Swordpoint, at the center of the hills, is a large stone slab with small stairs. There are five stones on the tableau. Each stone has a beam of light shining upward towards the sky. Surrounding the tableau and snaking out into the hills are multiple lines of people waiting in queue. Small covered stalls can be seen dotted around the hills, each with gate guarded by a muscular bouncer.

CS OF THE TEXT AT THE END OF SEASON 06 FROM THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

GRIGIO COLORI
(Voice-over) “Okay so that is where season six ends. Should I go on?”

THE OUTER ONE
(Voice-over) “No, that’s probably as good a stopping point as any. You should put that away, we have more pressing concerns.”

The scriptbook closes.

CUT TO MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“Like what.”

THE OUTER ONE
“Getting here was the easy part. Now comes the hard part – the line.”

The Outer One takes a step forward and looks downward. Grigio watches and copies the action.

PAN TO AN AERIAL LS OF SWORDPOINT.

The multiple long lines of the crowd snake through the hills.

GRIGIO COLORI
“I see what you mean. So where do we start.”

THE OUTER ONE
“We go see a man about credit, but first lets take a break. I am feeling a bit tired.”

GRIGIO COLORI
“Is your wrist bothering you.”

THE OUTER ONE
“Unfortunately, I think it is. A little rest and I should be fine.”

MS OF GRIGIO AND COLORI

They sit down on the grass. The Outer One flops onto his back and takes three deep breaths. As the Outer One lays on the ground his shirt rides up , revealing that the glitching has spread even further. The side of his neck, his entire right arm, and the right side of his chest show signs of the glitching scrolling abstract text.

THE OUTER ONE
“It is going to take me a minute longer than I anticipated to get my wind back. Maybe you should continue reading the scriptbook.”

GRIGIO COLORI
“Sure. Lets see, where was I. Season Seven, Episode One. We open on the Typewriter Abstract Puppet Stage. We start at a long shot and move in closer.”

FADE OUT TO

INT. THE UNROOM NOT.SEVEN

LS OF THE UNROOM FROM THE ENTRYWAY

SLOWLY PAN THROUGH THE ROOM TO THE WOODEN STAGE. THE PAN FOLLOWS A MEANDERING OR SNAKING PATH.

The Unroom Not.Seven is a large space so cavernous that the ceiling and far walls are lost in darkness. A tile floor is decorated with a short wooden stage. Grey carpet squares are arraigned in rows around the stage. Long power cords snake through the squares to spindle like floor lamps at the ends of rows. From the darkness of the ceiling emerge long chains adorned with pendulum lamps. The soft light from the hanging lamps and floor lamps is not enough to fully pierce the darkness of the room. What is visible is seen with a soft light. THE SOUND OF TYPEWRITER KEYS CLICK CLACKING rings out. Unseen lamps above the wooden stage flip on. In their beams of light, THE TYPEWRITER ABSTRACT PUPPET STAGE appears.

LS OF THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON THE MID-STAGE AREA

MID-STAGE: CURTAINS CLOSED
The Mid-Stage Curtains part revealing that the Mid-Stage is empty and unilluminated.

PAN PAST THE EDGE OF THE MID-STAGE CURTAIN AND THROUGH THE MID-STAGE TOWARDS THE CURTAIN OF CLOUDS

The Curtain of Clouds along the back of the Mid-Stage parts revealing the Back-Stage.

PAN IN UNTIL PROPERLY FRAMING THE BACK-STAGE

BACK-STAGE: THE CONCURRENT DISTANCES, BETWIXTLIGHT
A soft fog rolls across the bottom of the stage while DREAM-BUBBLES drift across the stage. They enter stage-right and exit stage-left. They are not all moving at the same speed, so one may pass another. A soft light starts to be cast from off-stage stage-left. The light grows brighter and brighter until the source of the light, THE LAMPSTICK, enters stage-left. It appears as a bipedal post with a hanging lamp. The post and legs have a rough construction appearance whereas the lamp appears finely crafted. It moves to the center of the stage with a dancing rhythm. Following closely behind are ONDE, AVEN, NETTE, and HERON THE AELIOPHILE.

AVEN
(to Nette) “You sure that thing knows where it is going?”

NETTE
“Yes. There is a magic to the things we make together, and that magic is going to help us find her.”

The Lampstick pauses just off center-stage. It freezes mid-motion.

AVEN
“Now what?”

ONDE
“I don’t know anymore.”

NETTE
“Give it a moment.”

The Lampstick slowly moves it’s lamp left and then right. It jumps up and starts walking, exiting stage-left. Nette follows the Lampstick and exits stage-left. Aven also exits.

ONDE
“Come along Heron.”

Heron runs over to her side and they leave stage-left together. The stage goes dark for a moment and when the lights come back the fog at the bottom of the stage is thicker. Additionally, the quantity and pace of Dream-Bubbles flowing across the top of the stage has increased. A bright light approaches from off-stage stage-left, casting a brighter and brighter light on the fog and dream bubbles. The Lampstick enters stage-left followed by Aven, Nette, Onde, and Heron the Aeliophile. The Lampstick stops mid-stage and starts to blink its light. Aven, Nette and Onde fan out attempting to look for something.

AVEN
“Can any of you see her? Is it sure she is here?”

NETTE
“Yes. But I can’t see her either. The fog is too thick. How did she ever find her way through here.”

ONDE
“I have an idea. Heron could you help us clear the fog?”

Heron starts to whirl his steam pipes blowing away the fog. On the ground, passed out, lays THE MOTHER. Her hair has changed to all silver and she is now THE CRONE.

AVEN, NETTE, AND ONDE
(in unison) “Mother!”

They rush over to her. Aven and Onde lift her up. Nette touches her face trying to wake her.

NETTE
“Wake-up. Wake-up mother. It is okay, we are here now.”

ONDE
“Is she okay?”

AVEN
“I don’t know.”

NETTE
“She’s not waking up.”

AVEN
“We need to get her home.” (turns to the Lampstick) “Could you lead us back home?”

The Lampstick nods yes. It slowly looks left and then right. It hops and starts off exiting stage-left. Onde stands carrying the Crone.

NETTE
“You going to be okay carrying her.”

ONDE
“Yeah, she is surprisingly light.”

Aven exits stage-left. Onde, carrying the Crone, follows her. Nette walks over to Heron and pats him on top.

NETTE
“Good job. Now lets go home.”

Nette and Heron exit stage-left.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 13

an epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the bottom of the screen scrolls up the following text: “06-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. A second set of scripts follows. From the bottom of the screen scrolls up the following text: “an epilogue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. A third set of script scrolls up once the second has left the screen. From the bottom of the screen scrolls up the following text: “The Keys to Sadness”. 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

EXT. THE DOWNHILL, MORNING
The Downhill is the region just past the Hilltop. A traveler through these realms will usually appear in the Sand Dunes, walk to the Hilltop across a landscape that shifts from sand to scrub. They will encounter the Ghostly in the forested area of the Hilltop. Continuing along the trail, they will emerge from the forested Hilltop to a more open gentle downward slope, the Downhill, on their way to the mixed grassland and prairie of The Flatland.

LS OF THE DOWNHILL

THOMAS TYPEWRITER emerges from the forest and works his way down the slope. He follows the trail to a point where it splits. A signpost stands at the split. It is a tall pole covered in a colorful collection of Morning Glories. There are two signs on the post, each pointing down a different trail. One sign has the following text: “THISville”. The other has the following text: “THATville”. The region between the two diverging paths is a prairie grassland filled with many tall grasses and colorful wild flowers.

VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.

MS OF THOMAS LOOKING AT THE SIGN

Thomas stops and looks at the signs.

THOMAS TYPEWRITER
“Thisville or Thatville? Thisville? Thatville? Not really a lot to go on there.”

CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.

Down the THISville trail is a city in the distance filled with many tall white-ish buildings against a background of dark smoke and clouds. The many buildings seem to be built with outlines of golden light. Glittering shapes can be slighly seen moving through the skies over THISville. Down the THATville trail in the distance is many tall dark colored buildings against a backdrop of greyish white smoke and clouds. The buildings are filled with windows illuminated by harsh flourescent lighting. Glittering shapes can also be seen flittering over the skies here also.

CUT BACK

THOMAS TYPEWRITER
“Which way do I go. She was not very short on details when it came to which was which. One way looks to be cheerful buildings but the sky is so dark and ominous. The other way has a bright sky but those buildings look so harsh. Is either way better than the other? Do I go that way or the other?”

Thomas looks back and forth down the trails.

THOMAS TYPEWRITER
“This is so my luck. I find some clue and guide on what to do next and but it turns out it wasn’t enough. Why does this keep happening to me. (pauses) Deep breath. Panicking and self-pity will get me no closer. Okay, take stock of what is known, then act. (A little drawn out as he is thinking out loud) I know there are two paths. Additionally that ghostly lady said there were two different cities ahead. She also said I needed to choose carefully. Yet, did she really offer any insight into which city was a better choice. She claimed she did, but I don’t know. Is this even a choice I should be making. Am I suppose to be on some mystical otherworldly vision trip to discover a deeper meaning to my life or another one of those deep dreams I get every week?”

Thomas Typewriter sits down.

THOMAS TYPEWRITER
“I’ll just sit here till I figure this out. (to self) Okay so you follow the trail, meet the lady, get told there are two paths and then have to choose a path. The path splits to two choices. A bright-dark city or a dark-bright city. It is just so binary. I hate being forced to choose. Yet…do I have to? Is it really only two choices or have I just limited my view. Forwards is backwards. There are no fences or walls, so in theory I could go any direction.”

Thomas looks around.

CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.

THOMAS TYPEWRITER
(voice-over) “This place is so peaceful. Reminds me of the hay fields where I grew up.”

Thomas’s breathing slows. He extends his breathe in and extends his breathing out. He settles into a four count in, pause, four count out, pause, repeat rhythm.

THOMAS TYPEWRITER
“I know what I am going to do. Instead of walking one of the two paths, I am going to keep walking forward.”
Thomas leaves the trail and starts walking through the grasses and prairie. Butterflies, Dragonflies, Moths and Lacewings buzz around him. Songbirds flitter through the air over him. Thomas smiles at all the beauty around him.

MONTAGE OF THOMAS WALKING THROUGH THE PRAIRIE BETWEEN THE TWO PATHS.

As Thomas walks he the grasses are getting higher and higher. They are ankle high at the start but soon they are shown up to his rib cage. He is actually sweating from the exertion to move through the thicker parts of the prairie.

THOMAS TYPEWRITER
“Really starting to doubt my choice here. This is hard.”

In front of Thomas is a glitter of metal in the grasses. Thomas stops and looks down, parting the grass.

CUT TO CS OF AN OLD KEY IN THE SOIL.

Thomas picks up the key and starts to clean it off.

THOMAS TYPEWRITER
“What is this doing here? What’s your story?”

Thomas sinks into the grass and down into the soil. He is too focused on the key, turning it over and over, to notice the sinking.

PAN DOWN FOLLOWING THOMAS WHILE ALSO ZOOMING IN ON THE KEY.

In the soil we see Thomas drift one way and the key drifts out of his hand.

PAN DOWN FOLLOWING THE KEY AS IT SINKS

The key sinks through the soil. The dirt grows darker and darker transitioning to a black field.

PAN STOPS

The key falls through the darkness exiting through the bottom of the frame.

CUT TO A SERIES OF CLOSE SHOTS OF THE KEY TUMBLING THROUGH DARKNESS

TRANSITION TO THE LOW-STAGE

THE LOW-STAGE: EXT. THE WIDE WATERS OF THE CIRCULAR RIVER, NIGHT
The Low-Stage is initially dark. A crescent moon rises. It’s soft light illuminates a small sailboat, THE MONUMENT, on the wide section of the CIRCULAR RIVER. The figure of WILLIAM SCOTT FRANCIS KEYES falls in from above the frame landing in the boat. The boat rocks from the vibration, soon settling back into the gentle quiet rhythm of the waves. The title card or title graphic appears superimposed over the scene. It reads “THE KEYS OF SADNESS”. It fades away. The moon sets and the sun rises. As the sun fully crests the horizon, William wakes. He can be seen sitting up in the boat, stretching, and reaching for the rudder. William raises the sail, secures the line. First he secures the rudder. The sail billows, capturing wind. The boat sails exiting stage-left.

CUT TO MS OF WILLIAM SAILING THE BOAT.

CUT TO LS

The Monument sails in from stage-left, sails across the frame, and exits stage-right.

PAN TO THE LEFT SIDE PANEL

The left paneling on the Low-Stage slides open. Inside is a smaller stage displaying the Circular River in the past. From stage-left enters a small sailboat, THE MOMENT, piloted by GRANDPA KEYES. YOUNG WILLIAM sits next to him.

LS OF THE MOMENT MOVING ACROSS THE WATER.

CUT TO MS OF WILLIAM AND GRANDPA

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Yes.”

YOUNG WILLIAM
“Thank you for taking me sailing with you.”

GRANDPA KEYES
“My pleasure.”

YOUNG WILLIAM
“Grandpa?”

GRANDPA KEYES
“Somebody was bit by the question bug this morning.”

YOUNG WILLIAM
“Sorry.”

GRANDPA KEYES
“No, I didn’t mean it that way. Go ahead and ask your question.”

YOUNG WILLIAM
“Okay. How do you know where to go? Isn’t it confusing?”

Grandpa Keyes looks away from the horizon and down at Young William.

GRANDPA KEYES
“Here, hold this please.”

Young William takes hold of the rudder. Grandpa Keys then reaches to the box and grabs out a map.

GRANDPA KEYES
“The first step is a map. Know the symbols and you will never be lost. Anyone shown you how to read a map?”

YOUNG WILLIAM
“No.”

GRANDPA KEYES
“You want to learn?”

YOUNG WILLIAM
“Yes.”

GRANDPA KEYES
“Okay. Okay, the first thing we want to look for is landmarks. Then we want to find the rose, or north point, to orientate.”

PAN BACK FROM LEFT SIDE PANEL TO THE LOW-STAGE

The Monument sails into the frame from stage-left. William Francis Scott Keyes is consulting a map. He alternates between scanning the horizon and scanning the map, gently nudging the rudder to course-correct as he goes. When the Monument reaches the center of the frame, the wind dies down. The sails deflate and the boat comes to a stop in the center of the frame. The sky darkens and the stage lighting takes on a grayish color.

PAN TO THE STAGE-RIGHT.

The Right Side Panel slides open. It is filled with a dark void. Down floats THOMAS TYPEWRITER. He hovers in the darkness looking at what is occurring on the LOW-STAGE and LEFT SIDE PANEL.

THOMAS TYPEWRITER
(voice-over) “Is this a vision?”

PAN BACK TO LOW-STAGE

A light rain advances across the stage. A gust of wind hits the sails pushing them. William reaches to steady them, but lets the map slip. It flutters off exiting the frame stage-left.

PAN STAGE-LEFT FOLLOWING THE MAP AS IT BLOWS OUT OF THE CENTER LOW-STAGE AND INTO THE LEFT SIDE PANEL.

FRAME IN ON THE LEFT-SIDE PANEL

In the left-side panel, Grandpa Keyes is still sailing with Young William Keyes in the Moment.

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

GRANDPA KEYES
“Now, the map is a starting point. It can get you were you need, but it relies on your observations. Can you match the symbols to the landscape around you? Not always so easy. To help us we have the second tool, and possibly one of the most important, the compass.

YOUNG WILLIAM
“I thought the compass was on the map?”

GRANDPA KEYES
“Yes, there is a compass on the map, but I am talking about a physical compass. The compass on the map only tells you where North is relative to the landmarks on the map. A physical compass always points north, and through that you can figure out or set your heading.

YOUNG WILLIAM
“How does it work?”

CUT TO CS OF THE COMPASS IN GRANDPA KEYES HANDS

GRANDPA KEYES
(voice-over) “First you hold it flat and let the needle settle pointing north…” (voice over trails off)

PAN FROM SIDE-PANEL BACK TO LOW-STAGE

Go back to the Monument sailing into some rain. William is tying off the sail when we return. A light rain falls down on him. He puts on a raincoat and reaches into a dry box for his compass.

INSERT CS OF THE COMPASS.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Like Grandpa showed us. Hold level. Let the needle settle. Remember the compass wants to help us find our way, it just needs our help.

William grips the center ring of the compass with a finger tip resting on North-East.

WILLIAM FRANCIS SCOTT KEYES
(voice-over) “Let it know where home is. I was heading North-East before I lost the map, so that is home little friend.”

William rotates the compass ring until North-East lines up with the north facing end of the compass needle.

WILLIAM FRANCIS SCOTT KEYES
“Now let the compass show you the way.

He then turns his hand until the North facing point of the needle lines back up with north.

CUT BACK TO MS OF WILLIAM

WILLIAM FRANCIS SCOTT KEYES
(pointing) “That way.”

He loosens the sail line a short bit and grabs the tiller. He does all this with one hand since the other is holding the compass.

CUT TO LS OF THE MONUMENT

The boat slowly changes direction in the rain. Lightning starts flashing in the distance. As the boat sails, the lighting grows closer. THUNDER can be heard. The first rumble is far off. The second strikes closer. The third boom is close, with little gap between lighting and thunder. A lightning bolt hits the water next to the Monument.

CUT TO MS OF WILLIAM

William throws up his hands to shield his face from the light. THE THUNDER detonates, rocking him back into his seat. His arm with the compass flies up, the compass slipping from his grip.

CUT TO CS OF THE COMPASS. FOLLOW IT.

It arcs through the air landing in the water, quickly sinking below the waves.

CUT BACK TO LS OF THE MONUMENT

The Monument floats in the water. There is a burn mark on the side nearest the lightning strike. Luckily, the boat was only singed and not on fire. William is lying back on the floor of the boat recovering from the intense flash of light and loud noise.

PAN OVER FROM LOW-STAGE TO THE LEFT SIDE-PANEL

LS OF THE MOMENT SAILING THE CIRCULAR RIVER

CUT TO MS OF GRANDPA KEYES AND YOUNG WILLIAM

Young William is holding the compass while Grandpa Keyes is navigating the boat.

GRANDPA KEYES
“There you go, you’re getting it. (pause) Now, at some points in your life, you’ll find yourself without a map or a compass or any tools.”

YOUNG WILLIAM
“Then what.”

GRANDPA KEYES
“You do like your ancestors and use the stars.”

YOUNG WILLIAM
“How so.”

GRANDPA KEYES
“There are patterns in this world, and if you know how to read them, you can get a sense of where you’ve been, where you are and just possibly where your going. When we are sailing, the stars are an alternate guide we can use.”

YOUNG WILLIAM
“They are patterns?”

GRANDPA KEYES
“We can see patterns in them, yes, and use those patterns to help us. It is too bright to see all of them right now, but the starting point star we can make out during the day. Tonight, when we get back home, I’ll take you out to the backyard and show you the constellations. But for now, let’s focus on the North Star.”

YOUNG WILLIAM
“Does it point north?”

GRANDPA KEYES
“It is always in the north, and bright enough to see during the afternoon and evening. Why don’t you use your compass to find north, and then see if you can spot it.”

Young William looks and uses the compass. Finding the north direction, he looks up and starts to scan the horizon.

CUT TO LS OF THE MOMENT

The Moment sails out of the frame, exiting stage-left.

PAN FROM THE LEFT-SIDE PANEL TO THE LOW STAGE

Night has fallen and there is a break in the storm clouds. The sky is filled with stars. William Francis Scott Keyes comes to and gets up. He rubs his head and looks around, checking on the state of the boat. Deeming it still sea-worthy, he sits at the back. He places his hand on the rudder, but hesitates to move it. He looks around trying to remember which way he was previously headed. He can not recall.

WILLIAM FRANCIS SCOTT KEYES
“Okay. Look for the patterns and you might be able to tell where your headed. First find the North star.”

William scans the sky, finally locating the North Star.

WILLIAM FRANCIS SCOTT KEYES
“There it is. Okay, Mama Bear is leading Baby Bear north except the Dragon crawls between them to the west. There, Baby Bear and Mama Bear. Between them is the Dragon. And if his head is over there, and he is heading west, then east is the other way. That means North-East is that way.”

William points and moves the rudder.

CUT TO LS OF THE MONUMENT

The Monument slowly corrects course as it sails out of frame, exiting stage-left.

CUT TO LS OF THE CIRCULAR RIVER FURTHER ALONG

It sails back into the frame further down the vast Circular River. The night sky has a gap in the storm clouds allowing the stars to be seen shining in the sky. The approaching storm clouds are significantly darker than the receding storm clouds. A heavy storm approaches.

LS OF THE MOMUMENT. PAN WITH THE MONUMENT SO AS IT STAYS IN THE CENTER OF THE FRAME.

The heavy storm rolls across the stage. Heavy rains batter the boat while strong winds push at the sails. William Francis Scott Keyes struggles to pull in the sails and secure the lines. The water becomes choppier. The storm pushes waves of increasing size against the boat.

CUT TO MS OF WILLIAM FRANCIS SCOTT KEYES

William is struggling to secure the gear but the waves are cresting over the side of the boat knocking him back and forth. He finally gives up and grabs onto the seat.

CUT TO CS OF WILLIAM FRANCIS SCOTT KEYES’ FACE

William closes his eyes and grips tight.

WILLIAM FRANCIS SCOTT KEYES
(to self) “Hold on.”

PAN OVER TO THE LEFT SIDE-PANEL

LS OF THE CIRCULAR RIVER IN THE PAST

The Moment sails in from stage-right. Young William is looking ahead, while Grandpa Keyes is at the rudder.

GRANDPA KEYES
“There is one last thing to discuss if you want to learn how to sail.”

WILLIAM KEYES
“Does it apply to life as much as sailing.”

GRANDPA KEYES
“Everything in sailing applies to life, but yes this most definitely does.”

YOUNG WILLIAM
“What is it then?”

GRANDPA KEYES
“Here it is: Hold on.”

YOUNG WILLIAM
“That’s it?”

GRANDPA KEYES
“That’s it.”

YOUNG WILLIAM
(looks at Grandpa for a moment) “Is this a joke?”

GRANDPA KEYES
“No, I am serious.”

YOUNG WILLIAM
“I don’t get it. When would I need to do that?”

GRANDPA KEYES
“Oh, you’d be surprised. Sometimes, in spite of all your preparedness, all your skill, you end up in trouble. And when that happens, the only thing you can do is grab hold of something and endure until the trouble passes.”

YOUNG WILLIAM
“Oh. Okay.”

GRANDPA KEYES
“But it is also hold on to the good moments in your life. Memories of time with loved ones, memories of success, memories of forgiveness, moments of kindness, connection. A good memory can keep up your strength while you hold on, while you waiting out the storm.”

YOUNG WILLIAM
“What do you think of Grandpa?”

GRANDPA KEYES
“Your Grandma.”

YOUNG WILLIAM
“Really.”

GRANDPA KEYES
“Absolutely. I think back to when we were kids and I remember her laugh. It was a great laugh. Her whole face filled with joy. I also think about how even though I was not the nicest to her, she still took a chance on me. If she, a person who could be filled, beaming, with joy and good saw something good in me, maybe I can believe there is.”

YOUNG WILLIAM
“That’s pretty cool Grandpa.”

They sail in silence for a few moments.

YOUNG WILLIAM
“If it is alright with you, I think I’d like to remember this. Our time together.”

Grandpa Keyes reaches over and puts a hand on Young William’s shoulder. He squeezes it then lets go.

PAN OUT SO AS BOTH THE LOW-STAGE, THE LEFT SIDE-PANEL, AND THE RIGHT SIDE-PANEL ARE VISIBLE.

In the left Side-Panel, The Moment lazily sails down the Circular River. In the Low-Stage, the Monument struggles in the storm. The rain stops and the waves sink. The water grows calm. Meanwhile over in the Right Side-Panel, Thomas Typewriter floats in a void watching the events unfolding in the Low-Stage and the Left Side-Panel. Back in the Low-Stage, William Francis Scott Keyes sits up. He takes a moment to look around and see the storm has passed. He cheers in triumph at having survived the storm. He reaches under the bench and pulls out a bucket. He starts to scoop out the water in the boat. In the left Sid-Panel, Young William hears William Francis Scott Keyes shout and looks at him bailing out water. He leans over and says something to his grandfather. Grandpa Keyes nods in agreement. He then hands the map to Young William who folds the map into a boat shape. When finished, Grandpa Keyes hands him the compass. He puts it into the boat and leans over the side of the boat supported by Grandpa Keyes. The paper boat bobs on top of the water. Young William gives it a gentle push and it sails towards the Low-Stage, exiting the Left Side-Panel. Young William and Grandpa Keyes return to their seats. The Moment sails out of frame and the Left Side-Panel closes.

PAN AWAY FROM THE LEFT SIDE-PANEL, SO AS TO FRAME JUST THE LOW-STAGE AND THE RIGHT SIDE-PANEL.

In the Low-Stage, William Francis Scott Keyes continues to bail out the boat. From the side of the frame closest to the Left Side-Panel drifts in the boat made from the folded map. The paper boat bumps into the Monument. William sees it as he dumps a bucket of water. He leans over and retrieves the little boat. He takes out the compass and sets it down near the rudder. He then unfolds the map and looks around the horizon. He sits down at the rudder and turns the boat. It sails out of frame. The curtains on the Low-Stage close.

PAN OVER TO FRAME ONLY THE RIGHT SIDE-PANEL.

Thomas Typewriter floating in the void, drifts up and out of view of the Right Side-Panel.

PAN OUT TO SHOW ALL OF LOW-STAGE AND THE TWO SIDE-PANELS

The lights illuminating the Low-Stage and Side-Panels dim and flicker turning off.

FADE OUT.

“The Great Works Project: Season 06, Episode 12” by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 06, Episode 12

By Thomas Typewriter

———–<:type:>———–

FADE IN

THE VELVET CURTAIN

MS OF THE VELVET CURTAIN

A velvet stage curtain fills the frame. From below the frame THE VELVET TOUCH emerges. Remember that the Velvet Touch is a Helping Hand that wears long finger-less fishnet gloves. Each of their fingers, except the pinkies, are painted with a black or dark shade of fingernail polish. For this one episode, they are wearing bracelets made of various sized keys. The Velvet Touch waves at the camera and then reaches below the frame for a large cue card. They show the blank side to the camera and then rotate it. On the back, the cue card has the following text written in two columns:

an outsider… a color…
an artist… a letter…
a spirit… two paths…

The Velvet Touch rotates the cue card once more. The other side now displays the following text: “06-12”. The Velvet Touch moves off-screen. The text scrolls up exiting through the top of the frame. From the bottom of the frame scrolls up the following text: “meanwhile and elsewhere”

PAN IN ON THE DARK BEHIND THE VELVET CURTAIN

FADE OUT TO BLACK

GRIGIO COLORI
(offscreen) “From the bottom of the screen scrolls up the following text: “meanwhile…”. It moves upwards, pausing in the center of the frame.

FADE OUT

FADE IN

EXT. THE LONG HILLS, DAYTIME
The Long Hills are a connecting region appearing as a hilly combination of flowering prairie and rolling grassy plains. THE OUTER ONE and GRIGIO COLORI walk along one of the hills.

MS OF OUTER ONE AND GRIGIO AS THEY WALK ACROSS THE LONG HILLS

THE OUTER ONE
“Meanwhile? Doesn’t it say elsewhere.”

GRIGIO COLORI
“No. Meanwhile.”

THE OUTER ONE
“But when I read it earlier it said elsewhere.”

GRIGIO COLORI
“Don’t know what to tell you. It says meanwhile. Here look.”

THE OUTER ONE
“Okay, I believe you. It just seemed kind of out of character for the transitions Thomas was using before now.”

GRIGIO COLORI
“I agree.”

THE OUTER ONE
“Okay. Could Thomas be changing the script. I thought it was already published, but I swear that it said something different before.”

GRIGIO COLORI
“Maybe. That did seem to be a concern for Biff and Rockey in the first season scripts.”

THE OUTER ONE
“But how would we know?”

GRIGIO COLORI
“As a character from said story, I don’t think I am the best person to know if it changed.”

THE OUTER ONE
“Weird.”

There is a long pause.

THE OUTER ONE
“Oh well. Wa la wa. Doesn’t really change our goal does it.”

GRIGIO COLORI
“No it does not.”

THE OUTER ONE
“I still need to get my hand and arm fixed.”

The Outer One holds up his right arm and looks at how it is a translucent form filled with glitching text and symbols. The glitching flesh has now spread past his elbow and up to his bicep.

GRIGIO COLORI
“Yikes. That you do! What happens when if that reaches your head?”

THE OUTER ONE
“Don’t know and don’t want to find out.”

There is another pause.

GRIGIO COLORI
“So, should I keep reading?”

THE OUTER ONE
“Oh…yes, please do. We are almost to Swordpoint but we should have enough time to get a little more in.

GRIGIO COLORI
“From the bottom of the screen scrolls up the word Meanwhile. It pauses a moment in the center of the frame, then continues upward, exiting the frame at the top edge.”

TRANSITION FROM THE LONG HILLS TO THE HILLTOP

THE CAMERA PANS UP FROM THE OUTER ONE AND GRIGIO COLORI TO THE SKY ABOVE THEM. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.

THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO THE HILLTOP

EXT. THE DOWNHILL
The Downhill is the region just past the Hilltop. It is a gently sloping hillside covered in prairie and wildflowers with solitary trees scattered across. The flowers and grasses are only about shin height. A trail leads out from the Hilltop and down the slope to a large signpost. The trail then splits at the signpost forking to two trails. One trail goes out through the wildflowers and down across the Downhills to a city in the distance. It is far away and difficult to see fine details, but it appears to have many bright warm lights, tall buildings, and a sky overfilled with fluffy clouds in shades of white, sunrise yellow, mid-day blue, and sunset red. The other path also leads off to a city in the distance. This city is also far away and difficult to discern fine detail. What is visible is many tall buildings, tall smokestacks, flickering lights and a sky filled with grey smoke and haze.

LS OF THE DOWNHILL

THOMAS TYPEWRITER emerges from the Hilltop and works his way down the slope. He follows the trail to the point it splits. A signpost stands at the split. It has an arrow pointing down each branch of the trail. One arrow has the following text written on it: “THIStle”. The other has the following text written on it: “THATtle”.

VARIOUS SHOTS OF THOMAS WALKING DOWN THE TRAIL AND APPROACHING THE SIGN.

Thomas stops and looks at the signs.

MS OF THOMAS LOOKING AT THE SIGN

CUT TO CS OF EACH INDIVIDUAL SIGN AND THEN PANNING TO LOOK DOWN THE TRAIL.

CUT BACK

THOMAS TYPEWRITER
“This might be easier if the Ghostly could of remembered the part explaining what each city was.”

OVER THE SHOULDER SHOT AS THOMAS ONCE AGAIN LOOKS DOWN EACH TRAIL.

THOMAS TYPEWRITER
“How do I decide. She said one city might be good and the other bad. I imagine most everyone goes to that city that looks bright. But this is a faerie-tale kind-of scenario. Maybe it only looks good and has evil hidden under the surface, like an allegory for how appearances can be deceiving. Or it could actually be good and be an allegory for like turning your spiritual lead into gold. Conversely the other city looks awful like it could be an allegory for toxic habits. Or it could be cursed to look evil and you have break the curse as an allegory for removing your destructive layers to find the spiritual self underneath. How do I decide. How do I decide? How do I decide? How…How, How, How, How…”

Thomas grips his heart and then his head. He starts to hyperventilate. Leaning over, he works to sit down in a cross legged position. He places his hands on his knees, palm up, and starts to breathe in and breathe out.

THOMAS TYPEWRITER
“In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…In…1…2…3…4…Out…1…2…3…4…and you are safe. You and calm.”

Thomas shifts his hands up to rub his face and refocus.

THOMAS TYPEWRITER
“Started to freak out there. I’ve got to calm down. I’ll just sit here till I figure this out.”

Thomas sits and looks down each path and also the surrounding fields. Then his attention focuses on the fields of wildflowers.

CUT TO MONTAGE OF WILDFLOWERS AND GRASS. SEE BIRDS AND INSECTS.

THOMAS TYPEWRITER
(voice-over) “It is actually pretty here. I wonder how many of these travelers notice that. They might be in such a hurry they overlook the area around the trail. Reminds me of the hay fields where I grew up.”

CUT BACK

Thomas looks at the two signs.

CUT TO MONTAGE OF SHOTS OF THE SIGN POST

THOMAS TYPEWRITER
(voice-over) “Do we really have to follow the trails? Like there doesn’t seem to be anything to physically keep us limited to the path. Instead of choosing one or the other, why don’t I not choose. I think I’d rather walk among the flowers and songbirds than walk to either of those cities.”

He stands and dusts off his pants. He then looks at the signpost.

THOMAS TYPEWRITER
“Thank you world for the two paths, but I think I am going to go with option three.”

Thomas walks past the signpost and into the wildflower fields.

CUT TO MONTAGE OF THOMAS WALKING THROUGH THE WILD FLOWER FIELDS.

As Thomas walks across the wildflower fields off the path, he starts to sink and stumble. The ground is uneven and he is unable to walk in a straight line. Also the ground is slowly sinking lower, but the top of the wildflowers remain at the same height. Thomas gets lower and lower in the wildflowers soon swallowed up to his ribs. He is sweating and breathing heavy.

THOMAS TYPEWRITER
“I did not think this through did I? Is it too late to turn back?.

A glint of light splashes across Thomas’s face. Thomas turns his head as if noticing something. He steps forward and kneels down and parts the grass.

CUT TO MS OF THOMAS LEANING OVER

CUT TO CS OF THE GRASS

As the grass parts, there is something metallic partially buried in the dirt.

INSERT CS OF AN OLD KEY IN THE SOIL.

A sunbeam comes out and the exposed metallic parts glitter. Thomas picks up the key and starts to clean it off.

CUT BACK TO MS OF THOMAS

THOMAS TYPEWRITER
“What is this?”

Thomas intently studies the key, turning it over and over as he stands. He starts to walk forward, distracted by the key. Failing to notice he is sinking, Thomas disappears from view down into the wildflowers. The flowers and grasses pushed aside by his presence slip back into their regular stances as is he was never there.

TRANSITION FROM THE DOWNHILL TO THE SWORD POINT

THE CAMERA PANS UP FROM THE WILDFLOWERS TO THE SKY ABOVE. IT PANS ACROSS THE SKY AS THE CLOUDS GIVE WAY TO STARS.

THE CAMERA PANS DOWN FROM THE STARS, DOWN ACROSS A DIFFERENT SKY AND ONTO SWORD POINT.

EXT. SWORD POINT, LATE AFTERNOON
A series of gentle hills overlook a central stone platform. There is a kind of white light on the platform, but it is too far away to accurately make out. Running out from the stone platform is a labyrinthine queue of people, snaking back and forth on itself. It spreads out across the vast field the stone platform sits in the center of and out to the slopes of the surrounding hills. The queue’s path is marked by pylons and chains. Scattered amongst the queue are nine stations with an entry gate, an awning, and a bouncer attendant .

LS OF THE SWORD POINT AND QUEUE

From the hill in the lower edge of the frame, THE OUTER ONE and GRIGIO COLORI enter.

THE OUTER ONE
“Here we are.”

GRIGIO COLORI
“Swordpoint?”

THE OUTER ONE
“Swordpoint.”

GRIGIO COLORI
“Wow. That is a lot people.”

THE OUTER ONE
“Yup.”

MS OF THE OUTER ONE AND GRIGIO

GRIGIO COLORI
“So how does this work?”

THE OUTER ONE
“We go to the end of the line. Wait our turn. Then we ask our question.”

GRIGIO COLORI
“That easy?”

THE OUTER ONE
“That easy.”

GRIGIO COLORI
“But the line is massive. How long will be waiting.”

THE OUTER ONE
“Centuries. Unless you pay for quicker access.”

GRIGIO COLORI
“Lets do that. So what do we have to do?”

THE OUTER ONE
“Well, we go to one of the Gatekeepers and pay. The amount of value the payment generates will determine how further up the line we get.”

GRIGIO COLORI
“Ohhh. (pause) And you have the waiting fee?”

THE OUTER ONE
“A little. I’m down to three copies.”

The Outer One turns and starts walking towards Swordpoint. Grigio follows behind.

FADE OUT

today in the studio: July 9th, 2025

today in the studio

today in the studio: June 22nd, 2025

today in the studio

today in the studio

“The Great Works Project: Season 6, Episode 8” 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 8

By Thomas Typewriter

———–<:type:>———–

FADE IN

From the center of a blank screen scrolls upward rapidly the following text: “06-08”. It enters from the bottom of the frame and moves up, pausing in the center before continuing upward. It exits through the top of the frame.

FADE OUT
FADE IN

EXT. Y-APARTMENT, SUNSET
The darkness of the empty screen slowly starts to develop twinkles of starlight.

PAN DOWN FROM STARRY SKY ACROSS THE WARM COLORS OF A SUNSET

Y-MOUSE
(off-camera) “Beautiful.”

CUT TO

EXT. DECK OF APARTMENT Y, EARLY EVENING.
A wrought iron deck on the edge of the apartment with an art deco inspired metal railing. A deck chair and small table sit off to the side of the sliding door. The view from the deck looks out at sloping hills of late season autumnal trees. Fiery colors burst across the skeletal branches as the fall of leaves and march into winter continues. Y-Mouse sits on his deck watching the sunset, sipping from a tall glass of Seltzer Beer.

MS OF Y-MOUSE

He stares out in deep thought. After a moment, a GROUP OF CHIMES starts to chime. There sounds like six different chimes, each at a different pitch and interval. Through the window and glass doorway, six different colors blink: red, blue, orange, green, yellow, and purple. Each color blinks in intervals with one of the six different chimes. Y-Mouse turns his head to look toward the apartment.

CUT TO CS OF GLASS DOOR SHOWING BLINKING LIGHTS.

CUT BACK

Y-Mouse stretches and stands. He casually strolls into the apartment.

CUT TO LS OF Y-MOUSE FROM ACROSS THE GLASS DOOR

The deck’s sliding glass doors open onto a studio apartment kitchen/living room combo. 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. Just out of frame is a small entryway with a thin table. Above the table hangs three coat hooks. On one side of the table stands the Narrator’s Door. To the other side of the table, down the short hall of the entryway is the door to the Y-Stairwell. Holding his drink, Y-Mouse walks in. He looks at the couch and sees the blinking colored lights coming from under the couch. He nods his head in understanding and walks into the kitchen. He opens a drawer and pulls out a notepad and pencil. He then walks to the Narrator’s door and steps through.

TRACK Y-MOUSE

PAN THROUGH THE NARRATOR’S DOOR

TRANSITION FROM THE Y-APARTMENT TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

TYPEWRITER ABSTRACT PUPPET STAGE: NARRATOR’S BALCONY

LS OF THE NARRATOR’S BALCONY

CUT TO MS OF THE Y-MOUSE

Y-Mouse closes the door behind him as he walks onto the deck and sits on the edge. He looks over at the closed curtains of the High-Stage.

PAN OVER TO PROPERLY FRAMING THE HIGH-STAGE

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

HIGH-STAGE: EXT. THE FAR EDGE OF THE FOREVERCAGE
The vast immaterial unfilled echo is broken by two figures, one small and the other large. THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats off to the stage-right of the center. A small model of THE SPACE EGG floats to the stage-left of the center. It slowly glides towards the Wardrobe.

CUT TO

INT. THE SPACE EGG
THE INNER-SPACE MAN sits in a sleek astronaut’s chair, working buttons on the console. In front of him sits a curved console and curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display as it comes out of the speakers. Around the text display sit various-sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the approaching Wardrobe of a Thousand and One Costumes. Uncomfortably Crammed into the small space behind the pilot’s chair sit BIFF THE RABBIT and ROCKEY THE PET ROCK. A stack of paper and crayons sits between the pair. Drawings of an egg in a detective’s coat and fedora and a giant radioactive monster can be seen in the stack of papers.

THE SPACE EGG
(voice-over?) “There it is.”

THE INNER-SPACE MAN
“Roger. See if you can use that gap in the doors we used last time.”

THE SPACE EGG
“Already on it.”

BIFF THE RABBIT
“What is that!”

THE INNER-SPACE MAN
“It’s a giant wardrobe.”

BIFF THE RABBIT
“I can see that, but why is it so large. When we pretend the Wardrobe of a Thousand And One Costumes is like maybe twice our size. Not the size of a mountain.”

THE INNER-MAN
“Wait, you’ve seen this thing before.”

BIFF THE RABBIT
“Yeah.”

THE INNER-SPACE MAN
“Interesting”

CUT BACK TO

EXT. THE FAR EDGE OF THE FOREVERCAGE
The model of the Space Egg is now very close to the Wardrobe of a Thousand and One Costumes. The wardrobe rotates so that we can see the front doors and the small gap at the bottom. The Space Egg flies into the gap.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA DETACHES FROM HIGH-STAGE AND PANS DOWNWARD. IT SCROLLS OVER THE BOTTOM OF THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BELOW. IT FOLLOWS THE CURTAIN OF CLOUDS DOWN AND DOWN. SOON THE TOPS OF THE MID-STAGE SETS PEEK UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES PANNING DOWN, SLIDING OVER THE SETS UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. PENCIL CHICKS STUDIOS, DAYTIME
The stage-lights are off but turn on to the sound of A LIGHT SWITCH CLICKING ON. A long work desk stretches across the stage. A computer, monitor keyboard, and mouse sit near the center of the long desk. Nearby sits a scanner. Behind the desk and off to the stage-right side sits a taller drawing table with an animation light table. Various bins filled with paper and drawing tools sit on a shelf near the drawing table. A taller chair is pushed into the drawing table. OPHIDIA OPERAHOUSE stands just inside the doorway, having flipped on the room’s lights. THOMAS TYPEWRITER stands partially in the doorway.

THOMAS TYPEWRITER
“I am glad to be helping but I am not sure how much help I will be. I really can’t draw anymore, not without my hand acting up.”

OPHIDIA OPERAHOUSE
“That’s okay. I can handle the drawing for both of us. What I need is help on the computer.”

THOMAS TYPEWRITER
“I can handle computers.”

OPHIDIA OPERAHOUSE
“I know you goofball. Now, why don’t you come in here and I’ll show you what I need you to do.”

Thomas and Ophidia enter the room and sit down at the computer desk. Ophidia standing behind him and Thomas in the chair.

OPHIDIA OPERAHOUSE
“Okay, the first thing you do is open this program here.”

She places her hand on top of Thomas’s over the mouse. A strobe light pules across the back of the stage and the sound of FABRIC ROUGHLY SCRAPING OVER FABRIC. Thomas quietly takes in a deep breath and then slowly exhales. The strobe light and fabric scraping sound stop. Ophidia gently guides his hand.

THOMAS TYPEWRITER
“Like this?”

OPHDIA OPERAHOUSE
“Yes, exactly. Just like that.”

THOMAS TYPEWRITER
“I am glad I agreed to this.It feels good to working on art again, even if it is not my own.”

Ophidia gives him a quick kiss

OPHIDIA OPERAHOUSE
“I am glad you said yes too. Okay, once that is open you are going to start scanning from the pile over to the side of you.”

Thomas and Ophidia freeze as the stage-lights turn off to the sound of A LIGHTSWITCH CLICKING OFF.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT MOVES OVER THE MID-STAGE SETS TO THE CLOUD OF CURTAINS BEHIND. IT ASCENDS TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES
Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center.

LS FROM GANTRY OUT TOWARDS THE DOORS OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The bottom section of the door can be seen extending down from the upper corner of the frame. From the gap between the two doors, a small model of the SPACE EGG flies in. When it enters, two rows of lights slowly blink to life. They light starting at the end nearest the doors moving inward. The Space Egg follows the lights as they turn on.

CUT TO…

HIGH-STAGE: THAT PLATFORM BASE AREA IN THE WARDROBE
Weak lights click on and up brightening the walkway. It is a metal boardwalk with thin pipe rails. The entire space is of such a scope and size that the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Just beyond the boardwalk and corridors is an amphitheater-like space with descending rings of seats. In the center is THE LARGE MEMOCRYSTAL, an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals. On the large crystal sits THE INFORMATIVE SCUTTLER powered down and sleeping.

LS OF THE SPACE EGG

THE SPACE EGG enters from stage-left and lands. It’s ring of light dims as it powers down.

CUT TO MS OF THE SPACE EGG

The top of the Space Egg opens up with A PRESSURIZED HISS. THE INNER-SPACE MAN sits in the pilot’s chair with BIFF THE RABBIT and ROCKEY THE PET ROCK crammed behind the chair. They all stand and stretch. The Inner Space Man exits the Space Egg first. He nearly tumbles down while exiting awkwardly, making a loud racket. Biff reaches for him but the Inner-Space Man waves him off while making a few hops to recover his balance.

CUT TO MS OF THE LARGE MEMOCRYSTAL PEDESTAL

The Informative Scuttler languidly perks one of its eye stalks up. The eye stalk focuses and the refocuses as it realizes the others have returned. It starts to power up.

CUT TO MS OF THE INNER-SPACE MAN AND THE SPACE EGG

The Inner-Space Man stands up, righting himself. Rockey moves to the edge of the Space Egg and Biff the Rabbit moves behind him.

THE INNER-SPACE MAN
(to Rockey and Biff) “Careful on that first step. Here, I’ll help”
The Inner-Space Man reaches up and Rockey jumps into his hands. He sets Rockey on the ground. He then reaches up to help Biff.

IRIS EFFECT FOCUSING ON BIFF

CUT BACK TO MS OF THE MEMOCRYSTAL PEDESTAL

It stands up in surprise. It quickly crawls down.

FOLLOW THE SCUTTLER

CUT TO MS OF THE BACK WALL OF THE WARDROBE.

The back wall of the Wardrobe looks like a long wall of dark green stained wood. The wood grain is still visible in large swirls. The floor has changed from the metallic flooring of the gantry to a dark polished stone. A triangular doorway is built into the wall. This doorway is one of many similar doorways stretching the length of the back wall. The doorway is edged by a nice scalloped edge that runs along the floor like a connecting ray between the triangular openings. Each doorway is a little larger than a scuttler. The Scuttler enters from stage-left and hurriedly moves into the nearest doorway. From behind the door CONVERSATIONS OF EXCITED CLICKS AND GEARS WHIRRING sound. The Informative Scuttler reemerges from the doorway dragging THE EMPAATHA KEY. It is a dual-sided key made from a crystal similar to the memocrystals, in colors of gold, silver, and bronze. The top of the key looks like an abstracted doorway. A pair of Scuttlers emerge holding the end of the Empaatha Key. A large group of Scuttlers follows the trio, flowing out of the doorway. In the group are four Scuttlers carrying THE CHOICE CRACTION. It is a squarish stone block composed of grey basalt-like stone. The entire surface is streaked with black obsidian-like crystals and white quartz-like crystals. In the center of the Knowtwhole is an opening made from two overlapping circles. The streaks of obsidian and quartz are visibly increased inside the openings. The parade of scuttlers exits stage-left.

CUT TO THE LANDING GANTRY

MS OF THE INNER-SPACE MAN, BIFF THE RABBIT, AND ROCKEY THE PET ROCK STANDING NEXT TO THE SPACE EGG.

BIFF THE RABBIT
“So, you’re saying all of this, this place, is in my imagination. Like we are physically in that abstract space.”

THE INNER-SPACE MAN
“That is our going theory.”

BIFF THE RABBIT
“That’s a lot to process.”

The group of scuttlers enters from stage-right.

THE INNER-SPACE MAN
“Yes, but there is more…” (pauses as he notices the scuttlers) ”Oh hey, Eggsey it’s our old buddy. What’s up….” (trails off)

They walk past the Inner-Space Man and approach Biff. The Informative Scuttler holds up the Empaatha Key while the others bow.

BIFF THE RABBIT
“Why are they bowing to me?”

ROCKEY THE PET ROCK
“Maybe it’s the noble way you carry yourself.”

THE INNER-SPACE MAN
“I don’t know. Normally they’re constructing things.”

The Informative Scuttler gestures for Biff to take the key.

ROCKEY THE PET ROCK
(whisper to Biff) “Don’t be rude. Take the thing.”

BIFF THE RABBIT
(whisper to Rockey) “How do I know they’re offering it to me. Maybe it is someone else’s”

Rockey steps forward towards the Empaatha Key. The scuttlers shift it back out of reach. He tries a few more times to touch the stone, but the scuttler crowd moves it out of reach each time.

ROCKEY THE PET ROCK
(whispers to Biff) “There. Does that convince you? Now, take it and say thank you. You’re starting to look silly.”

Biff reaches forward and takes the Empaatha Key.

BIFF THE RABBIT
“Thank you?”

The crowd of scuttlers now turns to the Inner-Space Man. They present to him the Choice Craction. He leans over and picks it up.

THE INNER-SPACE MAN
“Thank you?”

The scuttlers turn and all exit except the Informative Scuttler. It crawls back behind the Large Memocrystal.

THE SPACE EGG
“What was that about?”

THE INNER-SPACE MAN
“I don’t know.”

The Inner-Space Man moves closer to the Space egg on one side of the stage while Biff moves closer to Rockey on the other. Each examines the interesting gift they were given.

A LINE GOES UP IN THE CENTER OF THE SCREEN SETTING UP A SPLIT SCREEN

EACH SIDE OF THE SPLIT SCREEN PANS IN ON THE DUO IN THAT SIDE.

EACH SIDE OF THE SPLIT SCREEN PANS INTO A CS OF THE GIFT OBJECTS, THE EMPAATHA KEY OR CHOICE CRACTION, ON THAT SIDE OF THE SPLIT SCREEN

Hold for a few moments before the High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains then close.

FADE OUT

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