Puppet play

The Not So Puppet Show: Season One, Episode Two by Thomas Typewriter

scripts, The Not So Puppet Show

———–<.thom.>———–

THE NOT SO PUPPET SHOW

Season One, Episode Two

“My Feet Move and Something Deep Eats”

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE IN

Title sequence plays.

FADE OUT TO WHITE

FADE IN

INT. BORDERTOWNE MIDDLE SCHOOL LIBRARIAN’S OFFICE, DAYTIME
The Librarian’s Office is a room with walls made of large blocks, the Librarian’s Office has a few framed paintings of flowers on the wall and a filing cabinet in one corner. A small potted plant sits on the filing cabinet along with a stack of books and a pitcher for watering the plant. In the center of the room is a wooden desk with a small lamp on it. A name placard sits on the desk with the following text written on it: “Ms. Weaver – Librarian”. An extra wooden chair sits in front of the desk while behind the desk sits MS. WEAVER reading from a hardcover novel.

MS OF MS. WEAVER

From off-stage the sound of A DOOR OPENING and FOOTSTEPS can be heard. Ms. Weaver moves her eyes up in anticipation of the person making the noise.

CUT TO OVER SHOULDER SHOT OF MS. WEAVER LOOKING AT THE DOOR TO HER OFFICE.

THOMAS TOPHAT enters the room. With a sour look on his face, he hands a note to Ms. Weaver. She turns her book upside down, laying it on the desk freeing her hands. Taking the note from him, she reads it.

MS. WEAVER
“And you did this? In front of the whole class.”

THOMAS TOPHAT
“Not exactly the whole class. I just didn’t have time to go to my locker and back to my next class. It’s on the opposite side of the building.”

MS. WEAVER
“And you thought it was a better idea to change at your desk in the middle of class.”

THOMAS TOPHAT
“First off, it was not the middle of class. It was the end. Second, it’s not like I took my underwear off. I was classy and quick.”

MS. WEAVER
“Classy and quick. (chuckles) Okay, so what dressed as that you couldn’t wear it the next class.”

THOMAS TOPHAT
“I was dressed like a fly. Made a special coat with extra arms and wings, bug eyes, antennas…it was pretty cool.”

MS. WEAVER
“And why were you dressed as a fly?”

THOMAS TOPHAT
“It was for a presentation on an Emily Dickinson poem my group was doing.”

MS. WEAVER
“I Heard a Fly Buzzing strikes again.”

Thomas nods his head yes. Ms. Weaver laughs.

MS. WEAVER
“You’re not the first to dress like a fly for that poem, but probably the first to get in trouble.”

THOMAS TOPHAT
“And here I thought I wouldn’t leave my mark at these hallowed halls.”

Ms Weaver chuckles.

MS. WEAVER
“Okay, go write your report.”

Thomas hesitates to move, working up his nerve to ask something.

THOMAS TOPHAT
“There wouldn’t happen to be a new issue of that thing I read last time?”

Ms. Weaver reaches into a drawer in her desk and pulls out the next issue of The Not So zine. She tosses it on the desk and it slides over to Thomas. He picks it up and starts to leave the office. Ms. Weaver picks up her book and resumes reading.

THOMAS TOPHAT
(reading out loud to self) “An art table spreads across the stage…”

Thomas starts reading out loud to himself as Ms. Weaver chuckles softly. She resumes reading as Thomas leaves the room.

FADE OUT

TRANSITION FROM THE LIBRARY TO THE TYPEWRITER STUDIOS

FADE IN

INT. TYPEWRITER STUDIOS, DAYTIME
An art table made up of a long sheet of plywood stacked on top of shelving fills the front of the stage. A writing area fills the center of the desk with a painting station off to the stage-right and a photography area off to the stage-right. The writing area has a laptop and lamp. The painting station has jars of acrylic paint and watercolor ink stored in plastic bins. A paintbrush holder with a spiral holding clip sits next to the bins. Various glass jars, all former pickle and jelly jars, line the front edge of the painting area. Next to the jars is a large gallon jug of gesso and a stack of stretched canvases. The photography station has a series of mirrors stacked on top of each other separated by a kitchen towel for padding. A bin sits on top of the mirrors filled with children’s wooden blocks, a flashlight, and a ring light. The photography station and the writing desk area are separated by a large chunk of Rose Quartz and a smaller chunk of Gabbro. THOMAS TYPEWRITER sits at the writing desk typing away on the laptop. The sound of KEYS CLICK CLACKING rings out.

MS OF THOMAS TYPEWRITER

THOMAS TYPEWRITER
(voice-over) “More often than I would like, I get clouded and obscured.”

Thomas’ expression shifts to concerned.

CUT TO CS OF THOMAS’ FINGERS TYPING

The fingers start to vibrate in a way not connected to typing fast. Smoke starts to leak from the joints of his hands and fingers. He stops typing.

CUT BACK TO MS OF THOMAS

Thomas stops typing.

THE VIEW SWITCHES TO THE INNER SELF SPACE BY SUPERIMPOSING THE INNER SELF AREA OVER THE RIBS AND TORSO AREA OF THOMAS TYPEWRITER. THOMAS AND HIS ART STUDIO FADE OUT. ZOOM IN ON THE INNER SELF SPACE UNTIL IT FILLS THE FRAME

THE INNER SELF SPACE is a box with the camera set in a set point above the box looking down. The floor of the box is a light box that has a grey-tone woodblock skeleton on top of it. This would be the torso area of Thomas’ torso, so ribs, lower spine, and should blades. A grey tone outlines the area where the flesh ends. It has the effect of looking down on a kind of x-ray of Thomas’ chest. Clumps of black wool or cotton, with touches of brown and sickly yellow-green start to fill the Inner Self Space from the pelvis area working up to the neck.

THOMAS TYPEWRITER
(voice-over) “In those moments I feel so off. As if my insides are no longer made of the same materials. As if I am filling up with some substance, some emotion…some sensation… and the pressure is going to burst. I become overwhelmed, no good to myself or anyone else.”

CUT BACK TO MS OF THOMAS TYPEWRITER ONCE THE DARK CLUMPS FILL THE FRAME
Thomas, with smoke leaking from his finger joints and the orifices in his head, closes his laptop. He stands and exits stage-left.

TRANSITION FROM ART STUDIO TO FRONT ENTRANCE

INT. THE ELMHOUSE FRONT ENTRANCE, DAYTIME
The front door sits just off center of the frame with a combination coat and shoe rack sitting to the side. The coat rack hooks hold a collection of light jackets in adult and child sizes. There is also a ball cap with the logo for the City of Champions Community College (CCC). The floor is made of worn hardwood planks that are starting to buckle in a few places. To the side of the coat rack is a set of small baskets mounted to the wall. There are two with one holding Ophidia’s keys, wallet, and phone while the other holds Thomas’ items.

MS OF THE COAT RACK WITH PART OF THE FRONT DOOR VISIBLE IN THE EDGE OF THE FRAME.

THOMAS TYPEWRITER enters from stage-left and walks over to the coat rack. He slips on his jacket. Smoke still leaks from his hands, shirt collar, ears, mouth, eyes or tear ducts, and nose.

CUT TO MONTAGE OF CLOSE SHOTS OF EACH ACTION

Thomas grabs his keys and then his wallet. He puts on his shoes, tying each shoe’s laces. Thomas finally grabs his cap.

CUT BACK TO MS

THOMAS TYPEWRITER
(calling off-screen) “Hey Ophidia, I am going out for a walk.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(off-screen) “You want me to come with.”

THOMAS TYPEWRITER
“I’m in a bad spot, so maybe best if you don’t.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(off-screen) “Okay. I’ll be here if you change your mind. Love you.”

THOMAS TYPEWRITER
“Love you too.”

CUT TO

TRANSITION FROM ELMHOUSE INTERIOR TO EXTERIOR

EXT. ELMHOUSE FRONT STEPS, DAYTIME
A white door in a white frame with a matching white storm door stands at the top of set of steps built from stone pavers. A porch light is mounted to the top left-side of the door. A window is visible on each side of the door. A mailbox is mounted below the porch light between the door and window.

LS OF THE FRONT DOOR

THOMAS TYPEWRITER opens the front door and steps outside. He walks forward enough to close the door behind him. With the door closed he steps down off the front steps and starts to go for a walk through his neighborhood. He exits the frame.

CUT TO

TRANSITION FROM THE EXTERIOR OF THE ELMHOUSE TO THE SPLIT SCREEN

THE SPLIT SCREEN
In this section the frame will be divided into two sections. The top third of the screen will be images and scenes from the physical or external world of Thomas walking through his neighborhood. The bottom two-thirds of the frame will be the Inner Self Space.

THE TOP FRAME (PHYSICAL WORLD) SHOWS A LS OF THOMAS TYPEWRITER STARTING TO WALK DOWN THE BLOCK.

THE BOTTOM FRAME (INNER SELF SPACE) IS INITIALLY DARK BUT SLOWLY LIGHTS TURN ON REVEALING THE SHAPE AND LOOK OF THE SPACE.

The Inner Self Space is a light table with the camera suspended over it. The light table has a design laid over it similar to an x-ray of the chest of Thomas Typewriter. The body of Thomas is bright while the area outside his body is black. The amount of internal organs and skeleton is minimal. Specifically only his ribs, scapula, lungs and heart are visible. Thomas’ bones are visible in a light-grey-blue. His heart is a light-grey-red. His lungs are a light-grey-yellow. The entire surface of the Inner Self Space is covered in dark puffs of cotton or similar substances. There are bits of dark green and yellow-browns in the puff balls. Ultimately the color of the puff balls need to match with the color of the smoke pouring out of Thomas in the previous section.

THE TOP FRAME CUTS TO CS OF THOMAS’ FEET WALKING

THOMAS TYPEWRITER
(narration) “Luckily for me, when I walk something deep rises to eat.”

In the bottom of the Inner Self Space, at a spot corresponding to Thomas’ groin, the scales of THE SOMETHING DEEP start to glow. The Something Deep is a dragon-like puppet with a swiveling head and body. The other important detail is the puppet is built over a vacuum such that it can suck up the puff balls. The vacuum is off currently.

THOMAS TYPEWRITER
(narration) “It took me awhile before I realized it existed. Discernment of my inner self took many years, longer than my peers. In fact, it was by accident. Looking to escape the presence of my parents after an argument, I fled to the fields and pastures surrounding my childhood home. As I got further and further from the house, I started to notice flowers, butterflies, birds…like I was wandering into a painting that became more and more detailed the further I went. Soon something was happening to all that overload I was feeling on the inside. It was being consumed and reduced.”

The Something Deep’s eyes open and glow bright red.

THOMAS TYPEWRITER
(narration) “I couldn’t always walk the meadow when overwhelmed, but I eventually realized it wasn’t the meadow itself that helped me process.”

In the Physical World, Thomas’ feet stop moving. A BIRD CALL is heard from off frame.

IN THE PHYSICAL WORLD CUT TO CS OF THOMAS TURNING HIS HEAD TO LOOK AT SOMETHING THEN CUT TO A CS OF A SONGBIRD IN THE BRANCHES OF A TREE.

In the Inner Self Space the vacuum built into the Something Deep turns on. It starts to move “eating” or sucking up the dark puffs.

THOMAS TYPEWRITER
(narration) “It was the moving. The getting out of the rut of thought and noticing a new detail whether that be an interesting detail in the world or just the change in heart rate.”

IN THE PHYSICAL SPACE CUT BACK TO CS OF THOMAS TYPEWRITER’S FEET WALKING.

In the Physical World, Thomas starts walking again. While in the Inner Self Space, the Something Deep slithers through the space sucking up all the dark puffs. Once they are gone, the Something Deep returns to the groin area. Its eyes close and scales stop glowing. As the Something Deep starts to slumber, an insight projects in the center of frame. BIFF THE RABBIT and ROCKEY THE PET ROCK are sitting on a rug in Biff’s bedroom with an open box of crayons. Every crayon is black. Biff is holding up a crayon and looking at it. In the Physical World, Thomas’ feet slow and then stop.

BIFF THE RABBIT
“I know Thomas has written that the crayons turning black confuses us and is then we go to the faerie realm to find it, but you know, looking at this crayon something occurs to me. This isn’t really a problem. You can still draw with a black crayon.”

ROCKEY THE PET ROCK
“I thought that was weird too. It is not like they are broken or unusable. Let’s just draw something else.”

BIFF THE RABBIT
“Yeah, lets do that instead.”

The projection of Biff and Rockey ends.

IN THE PHYSICAL SPACE CUT TO CS OF THOMAS’ FACE.

Thomas has a thought, a realization.

IN PHYSICAL SPACE CUT TO CS OF THOMAS PULLING A NOTEBOOK FROM A POCKET AND THEN WRITING IN IT.

Thomas pulls out his sketchbook and jots down a quick note. He returns the sketchbook to his pocket and resumes walking.

IN THE PHYSICAL SPACE CUT BACK TO CS OF THOMAS’ FEET.

In the Physical Space, Thomas’ walks out of the frame.

THE INNER SELF SPACE DIMS TO BLACK AND THEN THE PHYSICAL SPACE DIMS TO BLACK.

CUT TO

EXT. ELMHOUSE, DAYTIME


LS OF FRONT DOOR AND FRONT STEPS


Thomas Typewriter enters the frame and walks up to the front door. He has a lightness to his step. After opening the door, he enters.


CUT TO


INT. ELMHOUSE, DAYTIME
The front entrance are has a hat rack and shoe stand next to the front door.


MS OF THOMAS


Thomas stands inside the door. He takes off his hat and hangs it on the rack followed by his keys and phone. He then slips off his shoes.


CUT TO CS OF THE HAT BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE KEYS BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE PHONE BEING HUNG UP. SLOW DOWN THE PLAYBACK SPEED.


CUT TO CS OF THE SHOES BEING SLIPPED OFF AND PUT IN THE SHOE RACK. SLOW DOWN THE PLAYBACK SPEED.


While Thomas is putting away his things, a voice from within the house calls out.


OPHIDIA OPERAHOUSE-TYPEWRITER
(voice-over) “Thomas, is that you?”

THOMAS TYPEWRITER
(voice-over) “Yeah, it is me. I’m back.”

OPHIDIA OPERAHOUSE-TYPEWRITER
(voice-over) “How was your walk?”

THOMAS TYPEWRITER
(voice-over) “Good. It was good.”

THOMAS TYPEWRITER
“I had a break through. Figured out some things for the script.”

OPHIDIA OPERAHOUSE
“That’s great.”

THOMAS TYPEWRITER
“Which room are you in?”

OPHIDIA OPERAHOUSE
(voice-over) “The kitchen. Why?”

THOMAS TYPEWRITER
“Because I want to give you a kiss or two.”

OPHIDIA OPERAHOUSE
(voice-over) “I’ll never turn that down.”

Thomas Typewriter walks towards the kitchen exiting the frame.

FADE OUT

TRANSITION FROM THE ELMHOUSE TO THE LIBRARY

FADE IN

INT. BORDERTOWN JUNIOR HIGH LIBRARY, DAYTIME
A floor-to-ceiling bookcase spreads across the back of the stage. Off to the stage-right side extends a short wall with a double set of doors for entrance and a single door for the librarian’s office. The door to the librarian’s office is open. The door has a plaque over it with the following text: “Ms. Weaver”. On stage-left side of the stage sits a short wall containing a spinner rack filled with various young adult novels next to a metallic magazine rack. In front of the floor-to-ceiling bookcase sits two round tables with chairs. THOMAS TOPHAT sits at the stage-right table reading the Not So zine.

CS OF THOMAS TOPHAT’S FEET TAPPING.

Thomas absent-mindedly jiggles his feet as he reads the zine. His feet go still.

CUT TO MS OF THOMAS AT THE TABLE.

Thomas closes the zine, taking a moment lost in thought. He shakes his head and refocuses. Reaching over, he pulls out a notepad and pen from his backpack. He opens the notebook to the next available blank page and starts to write his essay.

PAN OUT

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

(c) 2024 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 Thirteen – a script by Thomas Typewriter

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 13

an epilogue

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK


From the bottom of the screen scrolls up the following text: “05-13”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom 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. The sound of TYPEWRITER KEYS CLICK CLACKING rings out in the darkness.

FADE OUT

FADE IN

OPEN ON A DARK VELVET CURTAIN

Three spotlights focus on the curtain, all in a row. The center one is in the center of the curtains, where the two meet. The other two lights are on either side of the center. From below the frame emerges THE VELVET TOUCH, a Helping Hand wearing ripped fishnet gloves and uneven black fingernail polish. The Velvet Tough is holding a cue card. As it comes up, the side of the cue card we see is blank. They rotate the cue card around and on the other side is written the following: “05-13”. After holding the cue card stationary for a few moments, allowing the viewer time to read the card, they rotate the card around once more. The other side now has writing on it. As if part of some magic trick the card has the following written on it: “an epilogue”. The Velvet Touch again holds the cue card stationary for a moment. A second HELPING HAND reaches down from the top of the screen. The other Helping Hand grips the top of the cue card. The Velvet Touch lets go of the cue card and exits sinking below the bottom of the frame. The second Helping Hand exits, sliding out of view, along with the cue card, through the top of the frame. The velvet curtains open revealing…


INT. WRITER’S ROOM. LATE AT NIGHT


Z-MOUSE sits at the end of the table in the Writer’s Room. He leans over his floating cloud chair, head propped on an arm. His other arm is stretched out to the desk attempting to take notes. His writing slows and eventually halts, as his head nods forward.

OPEN INITIALLY IN A SOFT FOCUS MS OF Z-MOUSE AS HE TRIES TO STAY AWAKE.

He attempts to stay awake but sleep’s siren call is too loud.

SHIFT BETWEEN IN-FOCUS AND OUT-OF-FOCUS ON THE SHOT OF Z-MOUSE. AS HE STARTS TO FALL ASLEEP, GO OUT-OF-FOCUS. THEN WHEN HE CATCHES HIMSELF NODDING OFF PULL BACK INTO FOCUS.

Z-Mouse drops his pencil and rests his head on his arms. Soon he is fast asleep.

FADE OUT THROUGH GOING OUT OF FOCUS

FADE IN

EXT. THE GRITTY OVERLAP, DAYTIME

Lands of yellowish-white sands meet grassy scrub hills. A footpath runs across the center of the stage. The stage itself is on the crest of a gentle hill. In the distance, stage-right is rolling dunes of white and yellow sands. In the other direction, stage-left, there are low rolling grassy hills. In the center of the stage stands a signpost showing that the path splits in two directions. A small lamp burns off the top of the signpost. The post appears as a Tiffany lamp on top of multiple posts nailed together. The stage is dark like night and the lamp glows bright, glows bright, glows bright, and then the stage-lighting changes as if night turns to day, or dusk to dawn. Z-MOUSE enters stage-right. He walks up to the signpost and reads the choices. THE ETHEREAL PRESENCE, a woman dressed in flowing robes of pale otherworldly fabric and hair of red streaked with grey, materializes behind him.

THE ETHEREAL PRESENCE
(in a spooky-voice) “Choose wisely traveler for you have an important choice to make. Listen to my tales…”

Z-MOUSE turns and holds out his hand shaking the The Ethereal Presences hand. She is startled

Z-MOUSE
“Hi there, Z-Mouse’s the name. A swell place you have here.”

THE ETHEREAL PRESENCE
(in a spooky voice) “You have a choice to make.”

Z-MOUSE
“Choices, I love choices. Have you worked here long?”

THE ETHEREAL PRESENCE
(regular voice) “What are you doing?”

Z-MOUSE
“Being polite. Asking questions.”

THE ETHEREAL PRESENCE
“Why?”

Z-MOUSE
(pulls out a notebook) “You seem interesting. Got this whole spooky thing going on.”

THE ETHEREAL PRESENCE
“Nobody has ever said that before. Are you sure you’re not the least bit scared? Most people ignore what I have to say and can’t move on fast enough.”

Z-MOUSE
(starts writing in a notebook) “And if they stuck around, what would you tell them?”

The Ethereal Presence stares at Z-Mouse for a moment trying to figure out if he is being genuine or playing a trick on her. Finally, she decides to believe him and gives in to the conversation.

THE ETHEREAL PRESENCE
“Okay, I’m game but we may be here awhile. We might as well be comfortable.”

The Ethereal Presence pulls two chairs or stools from somewhere unseen. She hands one to Z-Mouse and they sit down. A campfire appears.

Z-MOUSE
“Thank you.”

THE ETHEREAL PRESENCE
“Your welcome.”

Z-MOUSE
“Okay, so you appear and then what?”

THE ETHEREAL PRESENCE
“For as long as I can recall, well mostly as long as I can recall, I’ve appeared and warned travelers that they have to choose a path and they should choose wisely.”

Z-Mouse nods and writes down notes.

Z-MOUSE
“Go on, tell me everything.”

THE ETHEREAL PRESENCE
“Don’t you have somewhere to be?”

Z-MOUSE
“Oh, no. Those meetings go on forever and whatever we write their going to change it later. No, I think it is much more interesting speaking with you.”

THE ETHEREAL PRESENCE
“Oh wow, that is really nice. Where was I”

Z-MOUSE
(rereading notes) “You appear and warn the travelers but no one listens.”

THE ETHEREAL PRESENCE
“Yes, and it is so frustrating!”

PAN OUT

The Velvet Touch re-enters the frame as the camera pans out. They appear as one hand at each end of the frame. The Velvet Touch reaches off-screen left and off-screen right grabbing hold of something. The Velvet Touch then pulls the item, velvet curtains, inward closing the curtain on this episode. Three spotlights illuminate the curtain. The Velvet Touch waves goodbye and exits, sinking down out of view. Each of the spotlights turns off one by one.

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

(c) 2024 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

The Great Works Project: Season Five, Episode Nine script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 09

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-09”. 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


LS OF THE TYPEWRITER PUPPET STAGE


The Typewriter Puppet Stage manifests illuminated by unseen lamps. The sound of TYPEWRITER KEYS CLICK CLACKING sounds out.


TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE


PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE


PAN IN ON THE MID-STAGE AREA UNTIL IT IS PROPERLY FRAMED


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

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME

Bordeaux Bank is a bank with a medieval French castle and chivalrous knights theme. The sides of the building are quarry stone. The front door has a large arch and false portcullis. Inside the doorway, a suit of armor stands guard. From off-camera we hear the sound of A CAR PULLING UP AND PARKING, CAR DOOR OPENING, and then FOOTSTEPS. THOMAS TYPEWRITER emerges from stage-right. He walks to mid-stage and enters the bank through its front doors. He pantomimes high-fiving the suit of armor and then proceeds on into the bank. AN OLDER WOLF quickly runs across the stage, stage-left to stage-right.


TRANSITION FROM MID-STAGE TO HIGH-STAGE


THE CAMERA UNLOOSENS FROM FRAMING MID-STAGE AND PANS UPWARD. AFTER SLIDING PAST THE MID-STAGE SETS IT GLIDES ONTO AND OVER THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT CONTINUES UP AND UP TO THE TOP OF THE CURTAIN OF CLOUDS. THE HIGH-STAGE SLIDES INTO VIEW AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA ENDS THE PAN WHEN PROPERLY FRAMING THE HIGH-STAGE.


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


HIGH-STAGE: EXT. PHYSIO-THERAPY OFFICE 505, DAYTIME
A metallic corridor in the Flute, a door to room 505 Stands near stage-left. On the opposite side of the stage wait CARRO, CEDAR WAXWINGS, and LUCIDO OBSIDIAN. Each is still encased in their Medi-pod. PANACIA FLAUTO enters from stage-left.


PANACIA FLAUTO
“You guys ready to return to your room?”


LUCIDO OBSISIAN, CEDAR WAXWINGS & CARRO
(nearly in unison) “Yes.”


PANACIA FLAUTO
“Good. I’ll review your recuperative schedule with you while we walk back.”


She waves the trio to follow her and then exits stage-left. The three of them follow exiting stage-left in the following order: Lucido, Carro, and then Cedar. The High-Stage curtains close, pause, then reopen.

HIGH-STAGE: INT. JUNCTION 300 IN THE MEDICAL-SHIP THE FLUTE, DAYTIME
The Junction 300 appears on stage as a long metal corridor with an opening in the center. A large arched opening with an ornate trim and large disc at the top. A sculpted relief of a flute is mounted in the large disc. The archway leads to a hallway that appears as a descending ramp to stage-left and an ascending ramp to the stage-right. Yellow and blue lines run across the main hallway and into the archway. The blue lines continue along the ascending and descending sides of the second hallway. The yellow lines only continue down the descending side of the second hallway. A brown-line can be seen in the second hallway moving across both the ascending and descending sides. 300 is stenciled on the wall of the front hallway. PANACEA FLAUTO enters from stage-right.


PANACIA FLAUTO
“So after therapy, the afternoon and evenings will be yours. Most patients rest. The medi-pods tend to increase sleep.”


She enters the archway and turns. LUCIDO OBSIDIAN, CARRO and lastly CEDAR WAXWINGS enter stage-right in their medi-pods. Lucido and Carro continue moving over to Panacia, but Cedar hangs behind. Panacea notices Cedar hanging behind.


PANACIA FLAUTO
“Everything okay Cedar.”


CEDAR WAXWINGS
“If it’s okay, I think I’d like a little time alone.”


PANACIA FLAUTO
“Well, the observation loung at the end of the Commissary has a pretty good view. Just follow the blue line to the top. When you are ready to return to your room follow the yellow lines down. If you get lost, you can ask any of the Nurse-bots or Janitor-bots for directions. This applies to everyone.”


Cedar moves through the archway and exits stage-right through the second corridor and the ascending ramp. Panacea looks towards Lucido and Carro.


PANACIA FLAUTO
“Shall we continue gentlemen.”


CARRO
“He didn’t say goodbye.”


LUCIDO OBSIDIAN
“Yeah, I know, but he probably has a lot on his mind. We all do.”


PANACIA FLAUTA
“It is not too unusual that someone needs a private moment or two after getting here.”


CARRO
“I know, but still.”


PANACIA FLAUTA
“I understand. This way gentlemen.”

They start to walk, exiting stage-left. 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 HIGH-STAGE AND PANS DOWNWARD. IT MOVES ACROSS THE CURTAIN OF CLOUDS EVER DESCENDING. SOON THE TOPS OF THE MID-STAGE SETS POP INTO VIEW. THE CAMERA CONTINUES TO PAN DOWNWARD, GLIDING INTO PLACE PROPERLY FRAMING THE MID-STAGE

MID-STAGE: EXT. BORDEAUX BANK MAIN BRANCH. DAYTIME
Same layout for the Medieval French themed bank as at the beginning of the episode. After a moment, THOMAS TYPEWRITER emerges from the center doorway. He walks out into the sun, puts some small envelopes in a jacket pocket, and then exits stage-right. We hear the sound of A CAR DOOR OPENING AND CLOSING followed by A CAR STARTING. Lastly, we hear the sound of CAR TIRES DRIVING AWAY. The Mid-Stage lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.


FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 08

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-08”. 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

In the darkness, the sound of TYPEWRITER KEYS CLICK CLACKING sings out.

THE CAMERA PANS DOWN THROUGH THE DARKNESS

The TYPEWRITER ABSTRACT PUPPET STAGE slides into view. It is rotating swiftly in the darkness. It completes three full rotations slowing down to a full rest with the front of the stage facing the camera. The Mid-Stage Curtains start to open.

PAN IN THROUGH A SERIES OF CUTS UNTIL PROPERLY FRAMING THE HIGH-STAGE.

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

HIGH-STAGE: HANGER JSN0012
This hanger, while still having the metallic handrail and spaced wall struts along the back, has much more decoration than the previous hangers. Long vines are growing along the pendant lamps, with bits of leaf and tendril dropping down. The center of the room contains a completed vision crystal, squarish and sitting on a base that looks like it is roughly chiseled from flint or granite. Winding cables connect the center crystal with a large boulder off to the side. The boulder has a primitive view-screen and controls cut from the stone. The Inner Space man walks over to the central crystal. He looks at the frozen image of CARL CAVEBUNNY and THE THE DINO-STORE frozen in the crystal. They stand on a prehistoric plateau. Carl looks like stone-age rabbit-man dressed in an animal skin. The Dino-store looks like a hybrid of a hardware store and a Tyrannosaurus Rex. In the background of the scene, THE INFORMATIVE SCUTTLER, which is the SCUTTLER he righted, slips past. The Inner-Space man looks around the crystal, tapping on the glass seeing if communication is possible.

THE INNER-SPACE MAN
“Is this a picture or a window? What was and unchangeable or what is and fluid?”

There is a TAP, TAP, TAP. The Inner-Space Man turns his head at the sound. Over on the rocky control panel we see the Informative Scuttler tapping the control panel.

THE INNER-SPACE MAN
“Oh, hello. Are you the same one as before.”

The Informative Scuttler nods yes. It then uses one of its segment-legs to point at a button on the control panel.

THE INNER-SPACE MAN
“Do you want me to push that button?”

The Informative Scuttler again signals yes. The Inner-Space Man walks over to the control panel. He presses the largest button. A THRIM fills the air as the center crystal starts to glow. It gestures to another button. The Inner-Space Man presses the button and the image in the crystal starts to move. We watch Carl the Cavebunny riding atop the head of the Dino-Store as it walks through the valley.

THE INNER-SPACE MAN
“Maybe a window. (turns to the Informative Scuttler) What else can you teach me?”

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE

THE CAMERA UNCOUPLES FROM THE HIGH-STAGE AND PANS DOWNWARD. IT FLIES ACROSS THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. LOWER AND LOWER TILL THE TOPS OF THE MID-STAGE SETS SLIDE UP FROM THE BOTTOM OF THE FRAME. THE CAMERA CONTINUES DOWNWARD UNTIL PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. ELMHOUSE UPSTAIRS ART STUDIO, DAYTIME
A small desk sits in the middle of a wooden panel wall. The wall is decorated with a framed Alphonse Mucha print. THOMAS THEATREMANAGER sits at his desk, typing on a laptop. He writes in a word editing program. On the screen the following is displayed:

“MID-STAGE: EXT. BORDERTOWN JUNIOR HIGH PARKING LOT. EVENING
The parking lot spreads across the stage flanked by the red brick back corner and some of the back wall of the Junior High along the stage-right of the stage. This area of the parking lot is empty of parking spots, so only one car is visible off to the stage-left side of the stage. The Border Town High School Show Choir, The Sparkling Songbirds, stand waiting for their upcoming performance during the homecoming football game’s half-time. Dressed in silvery blue outfits, they mill about in a large crowd speaking to themselves. The group consists of eleven teens and one teacher: JOHN, EMILY, AMY, SCOTT, LEXICA BOOKMARK, LUNA WITCHESCROWN, THOMAS TEENAGER, SHELLY, KATHY, MATT, RYAN AND MR TRUMPET. Lexica and Luna are conversing about the appeal of Ancient Greek literature and culture. Mr. Trumpet, Scott, and Annie are reviewing the set-list. Ryan, Matt are discussing their post-game plans. John, Emily, Shelly and Kathy are reviewing the small choreography for tonight’s performance. Off to the side of the group, Thomas Teenager paces back and forth, hoping to mask his overwhelming anxiety at a public performance. Arms outstretched he tries to pretend he is somewhere else: someplace relaxing and controllable. As he walks back towards center-stage he moves near Luna Witchescrown and Lexica Bookmark.”

SECONDO TYPEWRITER-OPERAHOUSE enters from stage-left. He walks over to the desk as Thomas reviews his writing. He crawls into Thomas’s lap. They hug. Secondo settles in and looks at the screen.

SECONDO TYPEWRITER-OPERAHOUSE
“What are you doing Father?”

THOMAS THEATREMANAGER
“Working on my scripts. Did you just get up?”

SECONDO TYPEWRITER-OPERAHOUSE
“Yes.”

THOMAS TYPEWRITER
“Well good morning.”

SECONDO TYPEWRITER-OPERAHOUSE
“What are you writing about.”

THOMAS TYPEWRITER
“Oh, how I met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Have I met her? Is she the animal doctor?”

THOMAS THEATREMANAGER
“No, that is your mom’s sister. You’ve never met my sister.”

SECONDO TYPEWRITER-OPERAHOUSE
“Why?”

THOMAS THEATREMANAGER
“She moved away then she got sick, like really sick.”

SECONDO TYPEWRITER-OPERAHOUSE
“Is she okay?”

THOMAS THEATREMANAGER
“It’s not one of the diseases you get better from. She’s probably dead by now.”

SECONDO TYPEWRITER-OPERAHOUSE
“How do you not know?”

THOMAS THEATREMANAGER
“Two reasons. Firstly, I didn’t know that my attention span made it hard to stay in touch with people. I want to but my brain just loses awareness. This was before I was diagnosed and learned how to deal with my brain. Secondly, her sickness made it so she lost the ability to talk and move over time.”

SECONDO TYPEWRITER-OPERAHOUSE
“That’s sad. Do you need a hug?”

THOMAS THEATREMANAGER
“Sure.”

Secondo Typewriter-Operahouse turns around and hugs Thomas. Thomas hugs him back, and holds the comfort of the embrace for a long moment. He then releases Secondo, wipes his eyes, and then looks at Secondo.

THOMAS THEATREMANGER
“Thank you. Now if you’re hungry you can grab a snack from the fridge till I finish here. I’ll be down in a moment to make breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I pick cherry tomatoes?”

THOMAS THEATREMANGER
“Do we have cherry tomatoes?”

SECONDO TYPEWRITER-OPERAHOUSE
“Oh yeah. Mother bought some yesterday.”

THOMAS THEATREMANGER
“Wow, that was an enthusiastic answer. You sure love your tomatoes don’t you.”

SECONDO TYPEWRITER-OPERAHOUSE
“I sure do.”

SECONDO TYPEWRITER-OPERAHOUSE
“Can I watch TV?”

THOMAS THEATREMANAGER
“Only if you watch PBS kids.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay.”

THOMAS THEATREMANAGER
“I’ll be done in a moment and then I’ll come down and we can see about breakfast.”

SECONDO TYPEWRITER-OPERAHOUSE
“Okay, bye.”

Secondo exits stage-left. Thomas turns back to his computer screen.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND PANS UPWARD. IT GLIDES OVER THE MID-STAGE SETS AND ONTO THE CURTAIN OF CLOUDS ALONG THE BACK OF THE MID-STAGE. UPWARD IT CONTINUES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. IT PANS INTO PROPERLY FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE CENTRAL LANDING IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES
The stage is still set up the same as in the earlier section of this episode. The large crystal on a pedestal sits near stage-front stage-right, with the concentric rising rings spreading out in an almost ovoid appearance. THE SPACE EGG stands to the side of the crystal looking into it. It turns the light in its central “eye” on and off. Each time the light flashes in the crystal, the crystal starts to glow as if attempting to activate.

THE CAMERA SUBTLY PANS OUTWARD ENOUGH TO INCLUDE THE NARRATOR’S DOOR.

Y-MOUSE leans over the edge of the Narrator’s Alcove, dressed in pajamas and eating a cheese sandwich.

Y-MOUSE
“You should keep doing that.”

The Space Egg freezes.

THE CAMERA PANS IN BLOCKING THE NARRATOR’S DOOR FROM VIEW.

THE SPACE EGG
“Hello?”

THE SPACE EGG looks left and right.

THE SPACE EGG
“Did somebody say something?”

Satisfied no one is in the room, the Space Egg resumes flashing light into the crystal.

THE SPACE EGG
“What would happen if I kept the light on?”

The Space egg switches from flashing the light to a steady beam of light into the crystal. The crystal’s interior glow starts to build. It begins to slightly vibrate and shimmer. The crystal glows brighter and brighter until bursting with white light.

WHITE LIGHT SPREADS FROM THE CRYSTAL FILLING THE ENTIRE FRAME. ALL DETAILS FADE AWAY. SOON THE LIGHT FADES AND THE DETAILS SLOWLY RETURN.

A series of lights built into the pedestal glow. As the bright light fades from the crystal it is actually flowing down into the pedestal and the surrounding concentric rings. A device activates. The pedestal glows and soon the lights spread out to the edges of each concentric ring surrounding the crystal. The Space Egg turns off its light and watches the spreading change. A GIGGLE seems to escape from the crystal. A second GIGGLE soon follows. The Space Egg turns towards the sound seeing that images float in the crystal now. Inside the crystal, we can see BIFF THE RABBIT reading comics.

PAN IN ON THE CRYSTAL THEN THE CAMERA ENTERS THE CRYSTAL

TRANSITION FROM THE WARDROBE OF A THOUSAND AND ONE COSTUMES TO BIFF’S BEDROOM

INT. BIFF’S BEDROOM, DAYTIME
Biff’s bedroom is a squarish room located in the north corner of the second floor. The room has a bed in the center against an outside wall, with a nightstand on one side. Posters for the Cosmic League, The Lamp of Night, and Babysitter Tails decorate his walls. Opposite his bed is the wall with more posters, shelves and a wardrobe. The wall with the window has a small built-in seat under the window. Part of the ceiling curves down in this section, being that the roof comes down, eaves. BIFF THE RABBIT sits on the floor next to a large smooth stone with a set of eyes drawn on it with marker. Spread around him are the large sheets of comics from the newspaper. Biff giggles at the comics and points out funny punchlines to the smooth stone.

BIFF’S MOTHER
(off-camera) “Biff, Dinner time.”

BIFF THE RABBIT
“Be right there Mom.”

Biff folds and sets aside the comics. He stands and moves towards the door. Rocky follows closely behind.

CUT TO

INT. DINING ROOM, EVENING
A large room. One large bay window along with smaller windows built on top of bookcases, ¾ of way up the wall. Dishes and glassware in the bookcases – more like cabinets with glass doors or display cases. Biff walks in and sits down next to his sister DIAN who is already sitting down. His younger brother JAFF walks in.

DIAN
(to Biff and Jaff) “Be on your best behavior. Mom and Dad are in a bad mood tonight.”

Biff is deep in thought and does not register her statement. He absent-mindedly nods.

THE CAMERA FOCUS SHIFTS FROM BIFF IN THE FOREGROUND TO THE KITCHEN IN THE BACKGROUND.

In the kitchen Biff’s parents, BIFF’S MOM and BIFF’S DAD, are plating the food and arguing. Ultimately the mom throws a plate down in anger and walks away. The dad says something with an angry expression and then starts to dish the food. The Mom rejoins them and they walk in and put food on the table. The food starts to be passed around.

FOCUS BACK ONTO BIFF IN THE FOREGROUND

Biff is looking at his plate and starts to mentally drift. A thought bubble appears over his head as the noise of the room fades out. In the bubble we see the comic Biff was reading earlier. A bowl of mashed vegetables can be seen being passed from Din to Biff. Biff takes it without thinking and absent-mindedly scoops some onto his plate as he remembers the comic strip. Each panel is shown in turn till we get to the final panel and the punchline. Biff lightly chuckles.

BIFF’S DAD
“You think this is funny?”

QUICKLY PAN, LIKE A SNAP, BACK TO LS OF TABLE

BIFF
“what?”

The brother and sister look away.

BIFF’S MOM
“Ricc.”

BIFF’S DAD
“No Debe. He’s laughing and that really bothers me. Does he think it was easy for you to put this food together? For me to find work. How little we have. (turns to Biff) Do you?”

BIFF
“I wasn’t laughing at you. I just remembered a joke.”

BIFF’S DAD
“That’s no excuse. You have your head in the clouds. Are you even capable of thinking of other people? Noticing how they feel, that maybe a laugh would be ill-timed.”

BIFF’S MOM
(to Biff) “Maybe it is best you go to your room now.”

Biff looks around the room. His face starts to scrunch up and he leaves the table.

MS OF BIFF IN THE CENTER OF THE SCREEN. KEEP THE CAMERA ON HIS CHAIR WHILE BIFF GETS UP AND LEAVES.

BIFF’S MOM
“Happy now?”

BIFF’S DAD
“Not really.”

CUT TO…

INT. BIFF’S BEDROOM, EVENING

LS OF ROOM FACING DOOR

The door opens and Biff rushes in. He closes the door behind him and jumps onto his bed. He stuffs his face into his pillow and starts to sob. One of his pillows falls off the bed from the recoil of his landing on the bed.

CUT TO CS OF BIFF

Biff’s sobbing dies down. He looks up to the rock on his bookcase.

BIFF THE RABBIT
“Why do I keep getting in trouble?”

Biff wipes his eyes and starts to straighten up his bed. He looks around for the missing pillow. He leans over the bed and sees it on the ground. As he picks it up he sees a spider on the pillow.

CUT TO CS OF SPIDER
CUT BACK TO CS OF BIFF

BIFF THE RABBIT
“Hey there little cousin. That’s not a safe place for you. Let me help.”

Biff scoops up the spider in his hand.

CUT TO LS OF BIFF’S BEDROOM. FACE THE CAMERA TOWARDS THE AREA BETWEEN THE BED AND WINDOWS, PLACING EACH AT THE EDGES OF THE FRAME, BUT STILL IN VIEW.

Biff gently scoots off the bed and walks over to his window. He opens the window.

CUT TO CS OF BIFF AT WINDOW.

Biff gently sets the spider down outside the window.

CUT TO XCS OF SPIDER CRAWLING OFF BIFF’S HAND

The spider slowly walks off Biff’s hand, testing the ground before fully committing.

THE CAMERA PANS OUT A SMALL BIT. AROUND THE EDGES OF THE FRAME CRYSTAL CAN BE SEEN.


TRANSITION FROM IMAGES IN THE CRYSTAL TO THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

CUT BACK TO CENTRAL LANDING OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES.

Zoom out a little bit so that we can see the scene in the crystal with the Space Egg watching it unfold. The Space Egg watches its face has a sad, concerned, interested look. A mix of equal parts concern and interest. The High-Stage lights turn off to the sound of A COMPUTER BOOTING OFF. The High-Stage curtains close.

FADE OUT

The Great Works Project: Season Five, Episode Seven script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 07

an intermission

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls the following text: “05-07”. It moves upwards, pausing a moment in the center of the frame, and then continues upward ultimately exiting the frame at the top edge. It is then followed by “an intermission” scrolling up from the bottom of the frame. It moves upwards, pausing in the center a moment, and then exiting the top of the frame.


FADE OUT

FADE IN


INT. BIFFARD’S BEDROOM, AFTERNOON

DISSOLVE FROM BRIGHT WHITE THROUGH THE RANGE OF COLORS TO MS OF BIFFARD THE RABBIT AND ROCKCHESTER THE PET ROCK ON BIFF’S BED IN BIFF’S BEDROOM.

Biffard’s bedroom is a moderately sized bedroom in the upper corner of the second floor of his parent’s house. Stage-left windows look outside at the backyard and nearby willow and birch trees. A section of the sloped roof angles down the ceiling towards the windows. In the center of the room sits Biffard’s bed, with a nightstand on either side. The stage-right nightstand has a lamp and alarm clock on it. The stage-left nightstand is taller and more like a bookcase. Each shelf is filled with either comic books bearing titles like “The Cosmic League”, “Tri-Dino”, “Alpha Aardvark”, “The Brown Brag”, “The Blue Vibe at the Dog Show”, and “The Prehistoric Protectors” or large picture books on dinosaurs. The walls of Biff’s bedroom contain posters bearing the Cosmic League and Babysitter Tales characters. There are also smaller posters of dinosaurs. The stage-right side of the bedroom has a door leading out to the 2nd-floor landing. Off-camera, near the door, is a small closet. BIFFARD THE RABBIT, a young child dressed in stripes of yellow and honey gold, is jumping up and down holding ROCKCHESTER THE PET ROCK. As we fade in, we join them in mid-fall. Time starts slowly building up to regular speed when Biff bounces. The two of them are laughing.

BIFFARD THE RABBIT
“Oh no, Dinostore. The citizens of Prehistoric Plateau need our deep discounts but we have to cross the Bumpy Badlands to get there.”

ROCKCHESTER THE PET ROCK
“Rawwrr, you better hold tight.”

They jump up and down

BIFFARD’S MOTHER
(off-camera) “Biff. Biff. Biff!”

Biffard and Rockey stop bouncing.

BIFFARD THE RABBIT
(yelling through the doorway) “What Mom?”

BIFFARD’S MOTHER
(off-camera) “You’re show’s starting.”

Biffard and Rockchester stop bouncing, look at each other, and run downstairs. Exit stage-right through the door. FOOTSTEPS THUDDING as they run down the stairs.

TRANSITION FROM BIFFARD’S BEDROOM TO THE TV DEN

CUT TO

INT. THE TV DEN, AFTERNOON

LS OF THE TV IN THE TV DEN

A brown wood paneled room almost square in shape, the TV Den is just off the main entryway and stairwell. The room contains bookcases, a television, a sofa and an entryway. A soft thick pile rug covers the floor. A large tube television in a wooden cabinet is on the wall opposite the large sofa covered in knitted throws in mixes of brightly colored pastels and deep earth tones . A knitted doily hangs over the edges of the side of the TV. A short glass coffee table sits on the rug between the sofa and TV. The end table next to the sofa currently has a bulbous table lamp and a stack of drink coasters made from slices of stone. Their swirling colors match well with the mix of colors on the throws. A long rectangular window sits above the sofa. In the bookcase, besides many movie cassettes with names like “The Fish Wife”, “The Four Saints”, “Crime Town”, “At the Caves of the Little Sister” and “The Bridge Builder” along with some of Biffard’s drawings Additionally mixed in the other shelves are various books, family photos, sports awards from Biffard’s younger brother and academic awards from Biffard’s older sister. Biffard the Rabbit and Rockchester the Pet Rock run into the frame from the main entryway to the TV Den. They turn on the tv and sit down close to the screen. A LOUD POP AND HUM rings as a bright dot of light dances across the center of the screen. The light expands and quivers till the whole of the screen is filled with the end of the opening sequence from “The Babysitter Tales”. It is a title card with an empty space in the center with illustrations of Gloomarella the Doom Witch, Rod Pocalypse the Doom Baby and Smiles Goodson. In the center appears the text “Episode 1”

TRANSITION FROM BIFFARD’S REALITY TO THE REALITY OF THE TV SHOW THE BABYSITTER’S TAIL.

ZOOM IN ON THE TELEVISION SCREEN SO THAT IT FILLS THE FRAME. IT PANS INTO THE SCREEN MOVING PAST THE PIXELS AND INTO THE STORY

EXT. FRONT GATES TO GLOOM MANOR, LATE AFTERNOON

There is an iron gate built into a gap in a brick wall. The brick wall is not straight and square but of a curving top. Random bricks have broken over the years and have been roughly replaced by large stones. A large wild swath of ivy covers one side. A single streetlamp is visible next to the gate. It has two bulbs in its curving metallic design but only one flickers with life. A layer of fog rolls across the ground hiding it from view. A Fogboat, one of the many magical vehicles of the great city of The Smokestacks, emerges from a large billow of fog. Taking advantage of the large amount of smog produced by the Smokestacks many factories both mundane and magical, the city adapted the pollution into a transit system. The fogboat is a commercial cab style, yellow in color with black and white checkered lines along its side. The cab company name “Yellow Crane” is painted in a circle on the side of the Fogboat. The cab is driven by GLAFIAT GLIMMENS, an older zebrey. In the rear of the cab sit MORTIMER DEWDROP LILLIPADDLING and his wife MONTRICIA DEWDROP LILLIPADDLING. A pair of Rabbittoads, they are dressed in an effort of finery that is all the rage of the middle-class and upper-middle-class management families of the Smokestacks. Mortimer and Montricia exit the cab, using the door on the sidewalk side, or passenger side. They walk towards the front of the boat and the front gate.

GLAFIAT GLIMMENS
“Mister. You don’t want to stay here. This is a cursed place. I’ll even take you back free of charge, just don’t stay here.”

MORTIMER DEWDROP LILLIPADDLING
“But we’re expected. It’d be rude to not continue. Keep the meter running. We’ll be back soon enough.”

They walk up through the gate.

CUT TO CS OF GLAFIAT GLIMMENS

Glafiat reaches across and into his glove box. He opens it and removes a Curio of the Hope of Security, a small irregular stone nearly polished into a pyramid on a long string of beads, he kisses the engravings of two open eyes and two open hands. He places the charm on the dash and looks around nervously.

CUT TO

EXT. GLOOM MANOR FRONT PORCH, DAYTIME

A path of stone moving past overgrown foliage, landscaping both beautiful and sinister. The front porch has a wooden plank base but the railings have rotten away. To the side, we can see a group of trash cans. Metallic and dented. The house itself, the manor has a large window and a large door. The siding is large wooden shingles with paint peeling and signs of moss in the shadowy areas. A wooden porch hangs over the porch, and skeleton-like gargoyle statues sit on the top of the porch. Overgrown topiary boxwoods line the trail path from the front gates to the front porch. Various brightly flowering plants and menacing magical venus fly traps are widely scattered among the boxwoods. Miscellaneous lanterns hang from the porch roof to provide illumination at night. A collection of metal fogboat license plates are bolted to the wall between the door and the window.

LS OF THE COUPLE AS THEY WALK UP THE PATH TO THE DOOR.

CUT TO MS OF THE COUPLE AT THE DOOR

The couple approaches the door. The front door is large and weathered with wide heavy bolted hinges. A large metallic knocker with a face designed into it is mounted in the center of the door. They set their bag down. Mortimer knocks on the door using a heavy metallic door knocker made in the shape of a face. KNOCK. KNOCK. KNOCK. Mortimer and Montricia wait nervously.

GLOOMARELLA THE DOOM WITCH
(coming from face in the door knocker) “What do you want?”

Mortimer and Montricia look at each other unsure of what to do or how to proceed.

MORTIMER DEWDROP LILLIPADDLING
(to Montricia) “Do I talk into the door knocker? Into the door?”

GLOOMARELLA THE GLOOM WITCH
“Just talk.”

MORTIMER DEWDROP LILLIPADDLING
(leans in really close to the knocker) “I spoke to you earlier about an enhancement.”

GLOOMARELLA THE DOOM WITCH
“You my ten o’clock or eleven o’clock?”

Mortimer looks at Montricia unsure how to answer. Montricia shrugs.

MORTIMER DEWDROP LILLIPADDLING
“My name is Mortimer Dewdrop Lillipaddling and you told me you had something to help me at work. I work at a bank and keep getting passed over for a promotion.”

MONTRICIA DEWDROP LILLIPADDLING
“He never wants it badly enough.”

GLOOMARELLA THE DOOM WITCH
(through the knocker) “Oh, the wimpy banker. Yeah, I have your potion ready. It’ll give you the strength and drive of an animal chasing its prey. But remember to only take one drop a day. Wait…or was it don’t take one drop? (trails off a moment then returns to) Sorry, my little one has not been sleeping and I am a little tired. Let us see (examines the bottle)Yes, one drop. No more than one drop…(looks at Mortimer taking in his size)…three drops. No more than three drops a day. You have my payment?”

Montricia holds up the suitcase she has been carrying.

MONTRICIA DEWDROP LILLIPADDLING
“Right here.”

The front door cracks open a slight bit.

GLOOMARELLA THE DOOM WITCH
(through the door crack) “Put it on the ground.”

CS OF SPACE IN FRONT OF DOOR

Montricia puts it on the ground. The withered hand of the Gloom Witch reaches out and slides the suitcase into the doorway and out of view. A moment later she slowly slides a vial of potion out.

CUT BACK TO MS

Mortimer exchanges looks with Montricia. She gestures for him to pick up the vial. He leans over and picks up the potion.

MORTIMER DEWDROP LILLIPADDLING
“And this potion will help me get that promotion at the bank.”

GLOOMARELLA THE DOOM WITCH
“Oh, it’ll do more than that.”

MORTIMER DEWDROP LILLIPADDLING
“Like what else.”

GLOOMARELLA THE DOOM WITCH
“Ahhhh…, I’m sorry I don’t recall at the moment. Something good probably. Haven’t been sleeping much lately. Raccoons have been knocking over the trash cans and waking the baby. Cry, Cry, change me, feed me, Wah, Wah. You know how it is.”

MORTIMER DEWDROP LILLIPADDLING
“Never much cared for children myself.”

GLOOMARELLA THE DOOM WITCH
“Oh. (she closes the door and returns to speaking through the knocker) I release you! Now go. Seriously get out of here.”

MONTRICIA DEWDROP LILLIPADDLING
“But does he take one drop or more than one drop?

The two stare at the door waiting for a response. Morticia reaches for the door knocker as if to knock on the door again except it disappears in a ball of shadowy purple light.

GLOOMARELLA THE DOOM WITCH
(spooky voice in the air) “GO AWAY!”

They yelp and hastily depart from the house.

CAMERA PANS OUT

FADE OUT