From the desk of Thomas Typewriter: a new script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 06

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-06”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

FRAMING SHOT OF THE TYPEWRITER ABSTRACT PUPPET STAGE

THE TYPEWRITER ABSTRACT PUPPET STAGE fills the frame, its curtains illuminated by stage-lights set to a dim flicker. They brighten as the sound of TYPEWRITER KEYS CLICK CLACKING drifts from somewhere out of sight.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO MID-STAGE

THE CAMERA PANS IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE. IT CONTINUES TO PAN INWARD, FOCUSING IN ON THE MID-STAGE AREA, UNTIL THE MID-STAGE CURTAINS FILL THE FRAME.

MID-STAGE: CURTAINS CLOSED

The curtains open and the stage lights turn on with a sound like A LIGHT SWITCH CLICKING ON, revealing….

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE

The Many Facets is a jewelry store built into a tall stone building in the side of a strip mall. The edges of the neighboring shops, Bigger Burrito and Bromide Books, can be seen on either side of Many Facets. Two giant planters, filled with husks of out of season bluestem grass, decorate the sidewalk in front of The Many Facets. Large glass doors sit center-stage under the store’s neon sign. Spinning diamond displays sit in each window.

FOX-SHIRT TEEN, a teen wearing a shirt with a fox face on the back and carrying a knapsack, enters stage-right. He steps towards one of the Many Facets windows and lowers his knapsack to the ground.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD. IT GLIDES UP AND OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS. CONTINUING UPWARD, IT MOVES TO THE HIGH-STAGE AT THE TOP OF THE CLOUD OF CURTAINS. THE CAMERA STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-Mouse emerges. He sits on the edge of the Narrator’s ledge.

CUT TO CS OF Y-MOUSE LOOKING INTO THE CAMERA, TALKING TO THE AUDIENCE.

Y-MOUSE
“Pouring myself a tall glass of water this morning, a question occurred to me. Is the water aware of the pitcher? Does the content notice the container?”

CUT BACK

A HELPING HAND comes up from the bottom of the frame. He carries a button attached to a set of wires, which trail down and off-screen. Y-Mouse leans over and presses the button. The stage curtains part and the stage-lights turn on with the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: ROOM 304 ON THE MEDICALSHIP THE FLUTE, DAYTIME

A juxtaposition of stark surfaces and baroque trimwork, Room 304 is divided into four sections by three Medi-pods. Each Medi-pod is an ovoid large enough to house a person with a series of three red blinking lights on top, three round ports along the midline, and three extrusion covered wheels on bottom. Between the stage-left side and the first Medi-pod, is a curving window allowing full view of the spinning star fields outside the ship. Between the first and second Medi-pod is a bathroom door. Between the second and third Medi-pod is the room’s entrance door. Between the third Medi-pod and the stage-right side sits a large vid-screen wall, currently off and opaque. The Helping Hand lowers down, taking the button off-stage. It returns bringing a small tray up to Y-Mouse. On the small tray sits a remote control and a bottle of Suttungr Soda. Y-Mouse takes the tray and sets it to the side.

Y-MOUSE
“Thanks.”

The Helping Hand gives a thankful gesture then retreats from view. Y-Mouse sits down on the edge of the Narrator’s platform, dangling his feet over the edge. He picks up the soda and slowly sips it. He savors the taste, the scene. On the third Medi-pod one of the red blinking lights turns a solid green.

Y-MOUSE
(looking into the camera) “Looks like the guests of honor will be arriving soon.”

Y-Mouse presses a button on the remote. The stage-lights dim to off accompanied by the sound of A COMPUTER TURNING OFF IN SLOW-MOTION while the video screen wall starts to slowly brighten.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARDS. IT PANS DOWN ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY RESTING WHEN FRAMING THE MID-STAGE STAGE.

MID-STAGE: EXT. THE MANY FACETS JEWELRY STORE STORE, DAYTIME

Standing in front of one of the windows is FOX-SHIRT TEEN. He is busy taping a flyer to the window of the Many Facets. He finishes and exits stage-left. From off-stage, we hear the sound of TIRES ON THE ASPHALT as a car pulls into a parking spot. THE CAR ENGINE TURNS OFF. TWO CAR DOORS OPEN AND CLOSE IN SUCCESSION. FOOTSTEPS APPROACH. OPHIDIA OPERAHOUSE and THOMAS TYPEWRITER enter Stage-right. They walk over to the door.

THOMAS TYPEWRITER
“Yeah, they’re really good.”

OPHIDIA OPERAHOUSE
“I remember when I first heard Not The Last Junkie.”

THOMAS TYPEWRITER
(opening door) “When was that?”

OPHIDIA OPERAHOUSE
(Entering the store) “Q101, working late on some project for art school…”

THOMAS TYPEWRITER
“Yeah, me too…(drifts off as the flyer in the window catches his attention)

He pauses. The door closes with Ophidia inside and Thomas outside. He kneels down and reads the flyer. The door reopens and Ophidia steps out.

OPHIDIA OPERAHOUSE
“You coming in?”

THOMAS TYPEWRITER
“Oh, yeah. Sorry. Got distracted by this flyer.”

OPHIDIA OPERAHOUSE
“No, that’s okay. What is it for.”

THOMAS TYPEWRITER
“I thought it was for some band, but it’s for some theatre needing help? (scans flyer) The Discount. Ever hear of it?”

OPHIDIA OPERAHOUSE
“Sure. I saw Pinocchio there back in eighth grade.”

THOMAS TYPEWRITER
“Any good, the theatre I mean?”

OPHIDIA OPERAHOUSE
“There’s a reason it is called the Discount.”

THOMAS TYPEWRITER
“Oh.”

They enter The Many Facets. The doors shut and the stage goes quiet. A butterfly enters from stage-left flying across the stage towards stage-right. Once it exits, the Mid-stage stage-lights turn off with the sound of A LIGHT SWITCH CLICKING OFF. The curtains close.

FADE OUT

From the Desk of Thomas Typewriter: The Great Works Project: Season Three, Episode Five script

From the desk of Thomas Typewriter, Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts

Season 03, Episode 05

By Thomas Typewriter
(c) 2020

===========<:type:>============

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-05”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

The unroom fades into view as the thin lamps at the end of each row of the carpet squares flick on. It is a vast space centered around a wooden disk. Rows of grey carpet squares spread out from the central disk. THE OUTER ONE sits on one of the carpet squares. The TYPEWRITER ABSTRACT PUPPET STAGE is already on the wooden disc when the unroom fades into view. Unseen lamps are already on illuminating it from somewhere above.

POV OF THE OUTER ONE LOOKING AT THE TYPEWRITER ABSTRACT PUPPET STAGE.

The sound of TYPEWRITER KEYS CLICK CLACKING flows out from The Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN FROM POV TOWARDS THE TYPEWRITER PUPPET STAGE.

TRANSITION FROM TYPEWRITER PUPPET STAGE TO MID-STAGE

PAN CONTINUES, MOVING IN TOWARDS THE MID-STAGE AREA UNTIL THE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED

The curtains part revealing an unlit stage. It is fully set up and decorated for the following scene just without the stage lights on.

MID-STAGE: INT. OPERAHOUSE BASEMENT BATHROOM, DAYTIME

A door on stage-left opens and THOMAS TYPEWRITER enters. Light spills in from the open door. He fumbles for the light switch. Finally finding it, he flips the light switch, turning on the stage lights. They flip on with the sound of A LIGHT SWITCH CLICKING ON. Thomas looks around. A shower stands off to one side, a toilet sits center, and a sink near the door. A large mirror and vanity line the wall over the sink and toilet. A nautical theme decorates the bathroom. Thomas shuts the door behind him. He walks over to the toilet and URINATES. He finishes, shakes off the last drops, then FLUSHES THE TOILET. Walking over to the sink, he washes his hands and then dries them. Thomas is looking through the vanity. He pulls out a bottle of lotion. Applying a generous dose to his hands, he rubs it in.

THOMAS TYPEWRITER
(sniffing hands) “Lavender. Nice.”

Thomas attempts to leave, but he can not. His hands slide over the doorknob.

INSERT CS OF THOMAS’ HANDS UNABLE TO TURN THE DOORKNOB DUE TO THE AMOUNT OF LOTION ON HIS SKIN.

He tries again and fails. He tries a third time.

THE CAMERA TILTS DOWNWARD SLIGHTLY IN SUCH A WAY AS TO REPRESENT POV OF THE OUTER ONE LOOKING AT THEIR HANDS.

The Outer One’s left hand looks normal, but the right hand has the fingers looking like glowing blue mathematics. The abstraction is spreading.

THE CAMERA TILTS BACK AND MID-STAGE HAS RETURNED FROM THE INSERT.

THOMAS TYPEWRITER
“Nuts, I used too much lotion.”

He sits on the toilet.

THOMAS TYPEWRITER
“Well, looks like I am stuck in here.(looking around) Anything to read?”

Thomas looks around the room. He picks up a bottle of shampoo. He reads the ingredients. He flips it over and reads the other side. He flips it once more.

THOMAS TYPEWRITER
“I’ve already read this. Didn’t care for it the first time. Okay Professor, what else do you recommend to read. The Epic Odes of the Conditioner bottle maybe.”

Thomas picks up the bottle of conditioner. He reads both sides and then sets it down.

THOMAS TYPEWRITER
“Well, I’ve read all the literature a locked bathroom has to offer, now what.”

He looks around the room. Pauses. Sighs.

THOMAS TYPEWRITER
“Guess it’s come to that.

Thomas enters the shower. He closes the curtain.

THOMAS TYPEWRITER
“11…10…9…8…7…6…5…4…3…2…”

FADE OUT

TRANSITION FROM THE MID-STAGE TO THE WRITER’S ROOM

FADE IN

INT. THE WRITER’S ROOM, DAYTIME

The Writer’s Room appears differently than in previous episodes. Now it appears as a long conference table in a tall conference room. Beautiful wood paneling, in warm shades, cover the walls.
At the stage-left head of the table sits Y-Mouse. Down each side of the table sit the other ALPHABET MICE. On the far side of the table, facing the audience, from stage-left to stage-right sit Z-MOUSE, NUMERAL-MOUSE, A-MOUSE, B-MOUSE, C-MOUSE, D-MOUSE, E-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, I-MOUSE, J-MOUSE, and lastly K-MOUSE. Sitting on the opposite side, with backs to the audience, from stage-left to stage-right sits X-MOUSE, W-MOUSE, V-MOUSE, U-MOUSE, T-MOUSE, S-MOUSE, R-MOUSE, Q-MOUSE, P-MOUSE, O-MOUSE, N-MOUSE, M-MOUSE, and L-MOUSE.

Z # A B C D E F G H I J K
Y [=========================]
X W V U T S R Q P O N M L

They all have a cup of coffee on the desk next to them except S-Mouse, T-Mouse, E-Mouse, and W-Mouse. S-Mouse has cans of sodas. T-Mouse has a pitcher of tea. E-Mouse has a carton of eggnog. W-Mouse has a case of water bottles.

Y-MOUSE
(standing) “Okay everyone, unanswered questions or plot holes. Go.”

A-MOUSE
(stands) “What about that lost astronaut from the commercial?”

Y-MOUSE
“Exactly. What did he do when he crawled onto the broken Carro. What else?”

B-MOUSE
“Where is the Inner-Space Man taking Biff and Rockey? And why?”

M-MOUSE
(stands) “What about Musica and Musidora? Are they mad about the Carro being lost? Do they blame Lucido and Cedar.”

O-MOUSE
“And are they in trouble for losing the ship?”

F-MOUSE
“And what caused that storm?”

Everyone murmurs.

Y-MOUSE
“Great questions, let me get those written down.”

Y-Mouse is busy typing down all the notes, when from stage-right comes a KNOCK KNOCK.

K-MOUSE
“Who is it?”

THOMAS TYPEWRITER
(from off-stage) “Thomas.”

ALL THE ALPHABET MICE EXCEPT Y-MOUSE AND Z-MOUSE
“Thomas!”

K-MOUSE
“Come on in”

Thomas Typewriter enters wearing a pizza delivery outfit. He is carrying a stack of little pizzas and a pile of napkins.

THOMAS TYPEWRITER
“Do you have time for a break? I brought pizzas.”

Y-MOUSE
“We could take a pizza break.”

Thomas kneels and hands out the pizzas. When done, he sits cross-legged by stage-right end of the table.

THOMAS TYPEWRITER
“You redecorated.”

Y-MOUSE
“We hired a firm from Mall X.”

THOMAS TYPEWRITER
“Looks good. So, how’s everyone doing?”

He takes a slice of pizza. He eats it as he listens to everyone’s answer.

D-MOUSE
“Good.”

R-MOUSE
“Really good.”

M-MOUSE
“Would you like a soda, coffee, or tea?”

THOMAS TYPEWRITER
“Soda, please.”

S-MOUSE
(stands) “Silver Apple, Acorn, or Dragon Heart?”

THOMAS TYPEWRITER
“Can always use some more wisdom. Acorn please.”

S-Mouse tosses a can of soda to Thomas. Thomas catches it. The Alphabet Mice start to pass the pizza and napkins out.

THOMAS TYPEWRITER
“Thanks.”

Thomas tries awkwardly to open the small can of soda. His hands are too large to get a grip on the pop tab. He gives up and sets the can to the side.

THOMAS TYPEWRITER
(to self) “Guess I’ll be saving that for later.”

He wipes his face with a napkin.

THOMAS TYPEWRITER
“So, what have you guys been up to? Biff and Rockey, maybe.”

Y-MOUSE
“Compiling loose ends. Stray sub-plots. Once that’s done, maybe Biff and Rockey.”

Thomas frowns.

Y-MOUSE
“Why the long face.”

Thomas sighs and adjusts his sitting position.

THOMAS TYPEWRITER
“I was just hoping for a break in my writer’s block.

The Alphabet Mice exchanged glances. Thomas notices this and decides to move on.

THOMAS TYPEWRITER
“Forget I asked, I’ve just had a lot on my mind.”

Y-MOUSE
“What’s been on your mind. What troubles Thomas Typewriter?”

THOMAS TYPEWRITER
“I asked Ophidia to marry me.”

Everyone congratulates him.

I-MOUSE
“That sounds like good news. How is that bad?”

THOMAS TYPEWRITER
“It’s a big step and I have no future. I am a failure as a screenwriter”

Y-MOUSE
“Now now, none of that.”

THOMAS TYPEWRITER
“No, it’s true. No one wants my scripts. They’re not marketable, not mainstream…too weird, just like me. I don’t know guys, maybe I am just not meant to be successful.”

G-MOUSE
“I don’t know about that.”

Y-MOUSE
“We (gestures to all the Alphabet Mice) don’t believe that, you shouldn’t either.”

THOMAS TYPEWRITER
to G-Mouse) “Thank you.” (to the group) “My agent called me today. He told me the studios let the options on my scripts expire. He’s going to let me go also. No agent. No work. No prospects. What am I supposed to do.”

Y-MOUSE
“Do not mistake the income of the artist for the quality of the art. Nothing we do will last forever. Eventually everything we create will disappear. The mountain wears down, the ceramic cracks. The only thing we truly have for sure are the individual moments of our lives and what we fill those moments with. Fill them with kindness, with attentiveness, with expressions of love for not only family and friends but also yourself, with laughter, with forgiveness, with life.”

The other Alphabet Mice agree.

OPHIDIA OPERAHOUSE
(from off-stage) “Thomas. Thomas where are you?.”

THOMAS TYPEWRITER
“Sounds like I am needed elsewhere. Thanks for listening.”

Y-MOUSE
“No problem. We’ll percolate it up if we make nay progress on Biff and Rockey.”

THOMAS TYPEWRITER
“Thanks.”

All the Alphabet Mice wave goodbye to Thomas as he exits stage-right.

FADE OUT

TRANSITION FROM THE WRITER’S ROOM TO MID-STAGE

FADE IN

MID-STAGE: INT. OPERAHOUSE’S BASEMENT BATHROOM, DAYTIME

The bathroom sits empty.

OPHIDIA
(off-stage, stage left) “Thomas, you in there?”

A KNOCK KNOCK on the bathroom door then it opens. Ophidia enters and looks around. She looks in the shower but does not see any one. She comes out, looks around circularly, then sits down on the toilet.

OPHIDIA OPERAHOUSE
“Where could he be?”

The shower curtain opens and Thomas sticks his head out.

THOMAS TYPEWRITER
“You were looking for me.”

Ophidia SCREAMS, surprised by Thomas’ sudden appearance. Thomas exits the shower and hugs Ophidia

THOMAS TYPEWRITER
“I am so sorry. I didn’t mean to scare you.”

OPHIDIA OPERAHOUSE
“Where have you been?”

THOMAS TYPEWRITER
“I was in the shower.”

OPHIDIA OPERAHOUSE
“But, I looked in there. Where were you.”

THOMAS TYPEWRITER
“Don’t know how you missed me.” (changing subject) “You hungry? Up for some lunch?”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Could we pick out the ring first. I have a place in mind and it won’t take long.”

OPHIDIA OPERAHOUSE
“Sure.”

THOMAS TYPEWRITER
“Ladies first.”

Ophidia stands and exits stage-left through the bathroom door. Thomas steps out of the shower and follows her. He turns off the lights at the light switch by the door. The stage lights turn off with the sound like A LIGHT SWITCH CLICKING OFF. The only light is what flows through the open bathroom door silhouetting Thomas. He closes the door. The Mid-stage curtains close

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 04

By Thomas Typewriter

===========<:type:>============

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-04”. 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

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

The unroom, and by extension the screen, sits dark. A soft light turns on in the unroom Not.Seven. A few of the details regarding the unroom become visible: the wooden disc in the center of the room, the rows of grey carpet arranged around the disc, and the thin spindly lamps at the end of the carpet rows.

THE CAMERA IS CURRENTLY AT THE POV OF AN OUTER ONE SITTING ON A CARPET SQUARE LOOKING AT THE WOODEN DISC.

THE CAMERA LOOKS DOWN.

A hand comes into view. It is the hand of THE OUTER ONE. This will be same hand that suffered a papercut from the scriptbook in a previous episode. The ends of the fingers are not fully there anymore. Bits of flesh are missing, replaced by glowing text and numbers. The whole hand glitches. The Outer One rotates their hand examining the changes. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-frame.

THE CAMERA LOOKS UP.

The wooden disc sits empty and dim. Unseen lamps over the disc flip on. The TYPEWRITER ABSTRACT PUPPET STAGE suddenly appears in the light.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN FROM THE OUTER ONE’S POV TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

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

CONTINUE TO PAN IN ON THE TYPEWRITER ABSTRACT PUPPET STAGE, SPECIFICALLY THE MID-STAGE AREA. THE CAMERA WILL CONTINUE TO ZERO IN ON THE MID-STAGE UNTIL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: CURTAINS CLOSED

The curtains of Mid-stage part. As they open, the Mid-stage’s stage-lights turn on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

A wooden front porch runs along the width of the stage. A front door sits to the stage-right side. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the rails. An outdoor thermometer can be seen next to the door. It reads 31 degrees Fahrenheit.
THOMAS TYPEWRITER kneels on one knee in front of OPHIDIA OPERAHOUSE. They are near the door. He holds up a small jewelry box.

OPHIDIA OPERAHOUSE
“Are you proposing to me?”

THOMAS TYPEWRITER
“Yes, and before you answer let me say that your prospects with me don’t look good. Every studio has turned down my scripts, I really have no other job skills, and I will soon be completely broke. I strongly suspect something is broken inside me, something that you or me lack the skills to fix. I am at an utter loss.”

OPHIDIA OPERAHOUSE
“Really. That’s your sales pitch. Marry me, my life is horrible. Am I the lifesaver for the drowning man in this scenario.”

THOMAS TYPEWRITER
“Among other things.”

OPHIDIA OPERAHOUSE
“And you thought I’d fall for that.”

THOMAS TYPEWRITER
“I really didn’t think that far. I just sat in my apartment after the studios dropped my script options and was thinking about what I had lost, and I was more scared that the most interesting, intelligent, thoughtful, sexy person would, could, be out of my life. (pauses) I love you, I need you, please marry me.”

OPHIDIA OPERAHOUSE
(leans over and kisses him on the top of his head) “Of course, I’ll marry you, you weirdo.”

THOMAS TYPEWRITER
“AWESOME!”

He puts away the jewelry box, stands, then embraces Ophidia. She breaks away to ask a question.

OPHIDIA OPERHOUSE
“Let me see the ring?”

THOMAS TYPEWRITER
“What ring?”

OPHIDIA OPERHOUSE
“The engagement ring. The one in that box?”

THOMAS TYPEWRITER
“I don’t have a ring. The jewlery box was for dramatic effect.”

OPHIDIA OPERHOUSE
“Will there be a ring in the future.”

THOMAS TYPEWRITER
“Maybe. Probably.”

They kiss.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA TRANSITIONS FROM MID-STAGE TO HIGH-STAGE. IT PANS UPWARD PAST THE TOP OF THE SETS OF MID-STAGE, ALONG THE CURTAIN OF CLOUDS THAT LINES THE BACK OF THE STAGE, UP TO THE HIGH-STAGE. THE CAMERA ENDS ITS PAN FRAMING THE HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens. Out walks Y-MOUSE, ice pack held to head with one hand, glass of water in the other. He puts down the glass and ice pack. Searching his pockets he finds a packet of medicine. He tears it open and pours the contents into the glass.

CUT TO EXTREME CLOSE SHOT OF THE GLASS Y-MOUSE BROUGHT OUT.

Two effervescing tablets fall in. The tablets bubble as they slowly sink to the bottom.

CUT BACK

Y-Mouse picks up the glass, giving it a swirl before drinking it. He then reaches for the ice bag, lifting it to his head. He takes a sip. The bubbles tickle his nose and he grimaces. He turns to the camera as if to say something, pauses, then changes his mind. Turning, Y-Mouse exits through the narrator’s door. It closes. The High-Stage curtains part. The High-stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: INT. ROOM 302 ON THE MEDICALSHIP THE FLUTE, DAYTIME

A stark room of space-age plastic accented by baroque woodwork. Three Medi-pods are distributed evenly across the room. Two smooth metallic doors sit between the pods. One door is the entrance door to room 302, the other is the door for the bathroom. A large curving window sits to stage-left running up and out of sight. Outside the window, a starscape tumbles by. On the other side of the room, stage-right, stands a vid-screen wall. PANACIA THERAPUETAE enters the room, Medical Maestro device tucked under her arm. She walks over to the furthest Medi-pod, removes the Medical Maestro’s stylus and presses it against the Medi-pod.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Cedar Cornelius Waxwings
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Cedar. The left side of his face and chest blink bright red representing his injured areas. His left arm blinks a dark red.

CUT BACK

Panacia walks over to the next Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: CARRO SHIP-TELLIGENCE BRAINBOX
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Carro’s rectangular brainbox. Circles of bright red blink across the outline

CUT BACK

Panacia walks over to the last Medi-pod. She touches the stylus to its side.

PANACIA THERAPUETAE
“Maestro, status update please.”

The Medical Maestro’s display lights up.

CUT TO CS OF MEDICAL MAESTRO SCREEN

The top left corner of the display contains three lines of text.

PATIENT: Lucido Cinnabar Obsidian
ADMITTED: 1 day ago
CONDITION: Stable

The rest of the display contains a thick line outline of Lucido. His legs blink dark red.

CUT BACK

A panel on the wall starts to blink while Panacia reads the last status report on the Medical Maestro. A soft BEEP BEEP can be heard. She looks up and notices the blinking panel. Panacia walks over to the blinking panel. She touches it with the stylus from her Medical Maestro. The other end of the Medical Maestro she places against her head, much like a phone.

PANACIA THERAPUETAE
“Maestro, answer call please. Hello. Oh hi Dad. Yeah they’re stable. Their injuries were pretty critical but the Medi-pods will be able to handle most of it. It will just take awhile. Sure. Sure. Okay. We’ll need to set up appointments with Iasa soon. Maybe in one week, but could be three or four.”

In the entry door we see ELDER GRIM walking past. He is wheeling an old man, MINTHRIL MUSTACHE, in a wheelchair. Panacia notices them

PANACIA THERAPUETAE
“Bubblegum! Those lollypopping kids of death are here. Dad, I’ve got to go.”

She puts the Medical Maestro in her pocket and chases out the door.

PANACIA THERAPUETAE
(off-camera) “Hey leave him along. Get! Get out of here!”

A few moments pass and then we see Panacia wheeling Minthril Mustache back down the hallway.
The lights turn off with the sound of A COMPUTER TURNING OFF and the High-stage curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE TO THE CLOUD OF CURTAINS BELOW. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS DOWN TO THE TOP OF THE MID-STAGE SETS. GLIDING OVER THE TOPS FO THE SETS IT FINALLY SETTLES PROPERLY WHEN FRAMING MID-STAGE.

MID-STAGE: OPHIDIA OPERAHOUSE’S BEDROOM

The view is of an overhead shot on Ophidia’s bed. Her two nightstands can be seen on either side of the bed. One has a lamp and alarm clock. The other has various stuffed animals. In the bed lay OPHIDA OPERAHOUSE and THOMAS TYPEWRITER in embrace. Ophidia is sleeping peacefully. Thomas is not. He looks up at the camera and stares, unable to relax and sleep. He stares up at the camera.

THOMAS TYPEWRITER
(voice-over) “What have I done?”

Ophidia moves in her sleep rolling over and putting her arm around Thomas. He looks down at her, puts his arm over hers. The tension in his face drains away.

THOMAS TYPEWRITER
(voice-over) “Maybe the best thing possible.”

The 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 03, Episode 02 script

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT
a puppet play in many parts
Season 03, Episode 02

By Thomas Typewriter
(c) 2020

===========<<:type:>>============

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-02”. 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

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE
The unroom Not.Seven fades into view. Squares of grey hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Spindly lights help illuminate the grey-hued space.

THE CAMERA IS SITUATED IN THE UNROOM AT THE POV OF THE OUTER ONE SITTING ON ONE OF THE CARPET SQUARES LOOKING AT THE WOODEN DISC IN FRONT OF HIM OR HER.

The wooden disc appears empty but then unseen lamps turn on. THE TYPEWRITER ABSTRACT PUPPET STAGE slowly materializes in the center of the disk.

TRANSITION FROM THE UNROOM TO MID-STAGE

THE CAMERA PANS IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE. THE CAMERA STOPS PANNING ONCE THE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: CURTAINS CLOSED.
The pleated curtains of Mid-stage fill the picture frame. The curtains part and the stage lights turn on with the CLICK OF A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. PORCH OF THE BEIGE HOUSE, DAYTIME
The Beige House is a large block of a home in a rural setting. The back of the house runs across the stage, brown siding broken by a storm door and a simple window. The storm door opens onto a rail-less wooden deck. A clothesline hangs off the stage-right side. Various BIRDS SING AND CRICKETS CHIRP in the background. THOMAS TEENAGER bursts on stage through the storm door. Gripping his head, he walks off stage stage-right. The curtains close. It soon reopens revealing…

MID-STAGE: EXT. BACK PASTURE, DAYTIME
Tall blades of alfalfa and wildflowers spread across the stage, gently swaying in the soft breeze. The SINGING OF SONGBIRDS AND CHIRPING OF CRICKETS floats louder across the stage. THOMAS TEENAGER enters stage-left. Gripping his head, he stumbles to the center of the stage.

THOMAS TEENAGER
“No. Not now.”

…All sound fades away…

THE RIGHT SPIRITUAL, a glowing right-handed arm reaches down from the top of the stage. It grips Thomas Teenager by the back of the neck. THE LEFT SPIRITUAL, a glowing left-handed arm descends from the top of the stage. It is holding a pitcher filled with liquid light.
Thomas attempts to struggle free, but the Right Spiritual tightens its grip. The Left Spiritual sets down the pitcher of the stage. It then opens the top of Thomas Teenager’s head like a jar. Picking up the pitcher, it pours the glowing liquid into Thomas’ head.

THOMAS TEENAGER
(screams)

THE SCREEN FADES TO WHITE.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA STARTS TO PAN UPWARD, THROUGH THE WHITE. THE CURTAIN OF CLOUDS EVENTUALLY EMERGES THE HIGHER THE CAMERA PANS. IT KEEPS PANNING UPWARD, MOVING ALONG THE CURTAIN OF CLOUDS, TILL REACHING THE HIGH-STAGE. THE CAMERA STOPS ONCE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED
The Narrator’s Door opens and out steps Y-MOUSE. He steps forward, and wobbles. He grips the side of the Narrator’s Door to steady himself.

Y-MOUSE
“Ughh. (pauses) Did everything go too bright for you too? Feeling nauseous, Give me a moment.”

Y-Mouse leans over and takes a couple deep breaths.

Y-MOUSE
“Let’s try this again. Is a moment the movement of a clock, bits of now slipping by, or is it something more. A distance of self applied over a landscape oh no…”

Y-Mouse covers his mouth. He jerks. Y-Mouse swiftly exits via the Narrator’s Door. It closes.
The curtains part and the stage lights turn on with the sound of A COMPUTER BOOTING UP revealing…

HIGH-STAGE: INT. THE SPACE EGG
THE INNER-SPACE MAN sits inside the interior of the SPACE EGG. A control panel and view screen sit in front of him. The control panel has a simple LED display in the center. It bears a circle bisected horizontally by a line design motif. The view-screen bears the same design motif. Various shaped hexagonal buttons surround the LED screen on the control panel.
The Inner-Space Man, sporting a long grey beard and long grey hair, is slapping his face. His body is completely mobile, except for his head, which is frozen looking slightly downward at the control panel.

THE INNER-SPACE MAN
“Come on, come on…”

He grips the sides of his head and tries to twist it free.

THE INNER-SPACE MAN
“Why is my head taking longer?”

THE SPACE EGG
(sounding like a slowed down record) “Don’t know. None of this makes sense to me.” (Note that any dialogue the Space Egg speaks also scrolls as text across the LED screen in the center of the control panel.)

THE INNER-SPACE MAN
“Hang tight my ovidian ovoid friend. A little longer and I’ll finish my metamorphosis from frozen dinner to free range chicken ala king. And then it’ll be your turn.”

THE SPACE EGG
(continuing to sound like a slowed down record)”No rush. Not like I am going anywhere.”

The Inner-Space Man continues to rub his head in an effort to lodge it loose from it’s frozen state. As he continues, one of his ears twitches. The stage lights turn off to the sound of A COMPUTER TURNING OFF. The curtains close on High-stage.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM HIGH-STAGE. IT FOLLOWS ALONG THE CURTAIN OF CLOUDS, WHICH SLOWLY FADES TO A SCREEN OF ALL WHITE. THIS WILL BE THE REVERSE OF THE EARLIER TRANSITION FROM MID-STAGE TO HIGH-STAGE. ONCE THE SCREEN HAS BECOME ALL WHITE.

MID-STAGE: EXT. BACK PASTURE, DAYTIME

DISSOLVE TO AN EXTREME CS OF THOMAS TEENAGER’S FACE, SPECIFICALLY HIS CLOSED EYES.

The sound of BIRDS SINGING AND CRICKETS CHIRPING slowly returns. Thomas’ eyes blink open.

CUT TO FRAMING SHOT OF MID-STAGE

THOMAS TEENAGER is lying in the middle of the stage, having fallen over into the alfalfa and wildflowers. The RIGHT SPIRITUAL and LEFT SPIRITUAL can be seen retreating from view. Thomas sits up, wiping away stray tears. He sits a moment and listens. Listens to the birds. Listens to the crickets.

THOMAS TEENAGER
(sighs)

Thomas stands. He takes a moment to steady himself and his viewpoint. He watches as BIRDS enter from stage-right and fly across the stage. They dance in the air around him. A smile slowly spreads across his face. The birds exit stage-left. Thomas Teenager follows them leaving stage-right. The stage lights turn off to the sound of A LIGHT SWITCH CLICKING. The Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Three, Episode One script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 01

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “03-01”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “a prologue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT
FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE
The unroom Not.Seven is a large space, decorated in various shades of gray. Squares of lightly hued carpet sit on the floor, arraigned in expanding rows around a central circular wooden disc. Notice how the boards making the circle show signs of wear and age. THE OUTER ONE sits on one of the carpet squares facing the wooden disk but reading from THE GREAT WORKS PROJECT COMPLETE SCRIPTBOOK.

OPEN ON XCS OF THE PAGES OF THE SCRIPTBOOK. PREFERABLY OPEN ON THE SCRIPT TO SEASON TWO EPISODE TWELVE.

SWITCH TO POV OF THE OUTER ONE SITTING IN THE UNROOM LOOKING AT THE SCRIPTBOOK.

The Outer One turns one page then another.

CS OF BLANK PAGES TURNING ACROSS THE SCREEN. ALLOW THE PAGES TO MOVE SLOWLY AND THAT WE HAVE TIME TO REALLY SEE THE GRAIN AND TEXTURE OF THE PAPER. TREAT THIS SHOT LIKE THE OUTER ONE IS LOST IN THE DETAILS OF THE PAGE, LETTING THEIR MIND RELAX AND START TO WANDER.

As the pages turn across the camera, one page snags a little catching the Outer One’s right index finger in a small papercut.

THE OUTER ONE
“Ouch.”

CUT TO CLOSE-SHOT OF THE PAPERCUT.

A drop of blood wells up out of the papercut and leaks onto the page of the script. As the paper absorbs the blood, the skin around the the papercut on the Outer One’s hand starts to turn a translucent blue.

CUT BACK TO PAGES TURNING.

After a moment the sound of TYPEWRITER KEYS CLICK CLACKING can be heard from somewhere in front of the Outer One. Only this time the last click of the group sounds distorted.

CUT BACK TO POV OF OUTER ONE LOOKING AT THE PAGES AND HE/SHE LIFTS HIS/HER HEAD AT THE SOUND TO LOOK FORWARD.

The wooden disc stands dusk twilight empty. Soon two unseen lamps burst on, bringing THE TYPEWRITER ABSTRACT PUPPET STAGE into view. A third unseen lamp attempts to turn on, taking multiple flickers to turn on. Each time it flutters, The Typewriter Abstract Puppet Stage flickers immaterial. The third unseen lamp finally powers on completely. The Typewriter Abstract Puppet Stage stands center in the wooden disc ready for the next show.

TRANSITION FROM THE UNROOM TO THE MID-STAGE.

THE CAMERA PANS INWARD TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

THE MID-STAGE: CURTAINS CLOSED

The Mid-Stage curtains part.

THE MID-STAGE: EMPTY, DEVOID OF SETS OR CHARACTER

THE CAMERA PANS IN TOWARDS AND THEN INTO THE MID-STAGE AREA. IT CONTINUES TOWARDS THE CURTAIN OF CLOUDS AT THE BACK OF THE STAGE.

The Curtain of Clouds parts.

THE CAMERA PANS PAST THE OPENING CLOUD OF CURTAINS INTO THE SPACE BEHIND, TO THE BACK-STAGE.

THE BACK-STAGE: THE CONCURRENT DISTANCES

An empty field of black, THE MOTHER sits center stage watching THE TRIPLETS (AVEN, ONDE, and NETTE) playing with wooden blocks and wind-up toys. The Mother appears to be in her thirties, while the Triplets appear to be toddlers. The Mother moves over to Aven and Onde, demonstrating how to stack the wooden blocks. They mimic her actions.

THE MOTHER
“Wonderful.”

Aven and Onde smile at her praise. She moves over to Nette and demonstrates how to wind-up a wind-up frog. Nette mimics her.

THE MOTHER
“Amazing.”

Nette beams at her praise. The Mother steps back and watches Aven, Onde, and Nette play with their toys. A YUCK-BUBBLE drifts in from stage-left. It slowly drifts over the Mother and Triplets’ heads before finally exiting stage-left.

THE MOTHER
“Be right back girls. Hurts to heal, wrongs to resolve.”

She exits stage-left. The Triplets continue playing in the Mother’s absence. Aven and Onde build towering wooden cities. Nette winds up a population of mechanical animals. The majority of the animals bounce, walk and jump away from the wooden block towers, except for a lion, goat, and snake. They deviate from the rest, moving towards the towers. They smash into the towers. A domino effect of tumbling wooden blocks knocks over all the wooden block structures Aven and Onde built while simultaneously crushing all the wind-ups Nette wound up.

Aven starts to cry at her smashed architecture. Nette starts to bawl at her smashed clockworks. Onde looks between the two unsure what to do. A BELL DINGS as a light bulb appears above her head.
Onde reaches up and grabs the light bulb from over her head. It turns off. She crawls over to Aven and puts the light bulb over Aven’s head. It hovers in the air over her head.

Onde hugs Aven. A BELL DINGS and the light bulb lights up. Aven stops crying. She dries her tears before reaching up and retrieving the light bulb. It turns off.

Aven and Onde crawl over to Nette. Onde hugs Nette while Aven puts the light bulb over Nette’s head. A BELL DINGS as the light bulb flickers on. Nette stops crying. The three sisters all hug each other. Aven reaches up and pulls down the lightbulb. She stashes it away.

Feeling better, the Triplets start to rummage through the wreckage. Every now and then someone finds something interesting and sets it aside.

TRANSITION FROM BACK-STAGE TO OPENING FRAMING SHOT

THE CAMERA STARTS TO PAN BACKWARDS AND AWAY FROM THE BACK-STAGE AREA.

The Curtain of Clouds begins to close.

THE CAMERA CONTINUES TO PAN OUT, MOVING THROUGH AND OUT PAST THE MID-STAGE.

The Mid-Stage curtains close.

THE CAMERA CONTINUES ITS PAN OUTWARD TILL IT FRAMES THE ENTIRE TYPEWRITER ABSTRACT PUPPET STAGE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off.

FADE OUT

The Great Works Project: Season Two, Episode Twelve script

Puppet play, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Twelve

an Epilogue

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-12”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge. Shortly thereafter, from the bottom center of the screen scrolls up the following text: “an epilogue”. It moves upwards, pausing a moment in the center of the frame, then continues upward, exiting the frame at the top edge.

FADE OUT

FADE IN

THE TYPEWRITER ABSTRACT PUPPET STAGE
We open this episode already focusing on the TYPEWRITER ABSTRACT PUPPET STAGE.

THE CAMERA FRAMES THE MID-STAGE AREA

MID-STAGE: THOMAS TYPEWRITER’S APARTMENT’S KITCHEN
On stage-right, sits a refrigerator, with a few houseplants on top. Center-stage sits a stove, with two pans on top, next to a counter top and sink. On stage-left sits THOMAS TYPEWRITER at his small kitchen table, with a plate of pasta and a plate of salad. He spins a small jewelry box, lost in thought.

CUT TO A XCS OF THE JEWELRY BOX SPINNING

The Mid-stage Curtains close on the shot of the jewelry box.

TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM.

THE CAMERA PULLS OUTWARD, PANNING FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO THE UNROOM NOT.SEVEN

INT. UNROOM NOT.SEVEN

PAN OUT FROM THE MID-STAGE TO THE OUTER ONE’S POV.

The OUTER ONE sits on one of many carpet squares arranged around a wooden disc in the center of the Unroom Not.Seven. The carpet squares spread out like chairs in an auditorium. The wooden disc, the focus of the Outer One’s attention, sits with the Typewriter Abstract Puppet Stage standing center. Unseen lamps above it illuminate, though not for long. Once the Mid-stage curtains close the unseen lamps turn off. The Typewriter Abstract Puppet Stage disappears, leaving the wooden disc empty.

POV OF THE OUTER ONE WATCHING THE STAGE

The Outer One tries to stay focused, but his/her attention starts to waver.

POV OF THE OUTER ONE LOOKING AROUND THE ROOM TAKING IN THE SPINDLY METALLIC LAMPS, THEIR SNAKING CORDS, THE DISTANT WALLS, AND THE DISTANT CEILING WITH ITS ANGULAR CHANDELIERS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from off-screen.

POV OF OUTER ONE RAPIDLY LOOKING BACK TO THE WOODEN DISC.

Unseen lamps over the wooden disc flicker to life, taking two or three attempts to light before projecting at full illumination. The new light reveals the return of the Typewriter Abstract Puppet Stage.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the Mid-stage, the Mid-stage curtains part revealing an empty stage. The Curtain of Clouds is fully visible, no longer obscured by any of the Mid-stage sets.

TRANSITION FROM MID-STAGE TO BACK-STAGE

THE CAMERA CONTINUES PANNING IN, ENTERING THE MID-STAGE AREA

The Curtain of Clouds parts revealing…

THE CAMERA CONTINUES PAST THE OPEN CURTAIN OF CLOUDS, STOPPING WHEN PROPERLY FRAMING THE SPACE BEHIND

THE BACK-STAGE: THE CONCURRENT DISTANCES

The back-stage is an empty black field. No illumination. No decoration. No sets. DREAM-BUBBLES, with their soft glow, float down from the stage-top and across the stage. Into this peaceful scene from stage-right, runs THE MAIDEN. Pursuing her is a YUCK-BUBBLE, specifically the Dream-bubble she accidentally injured in Season 02, Episode 0. As it pursues her it bumps into the Dream bubbles. Each Dream-bubble touched by the Yuck-bubble shakes and changes. Their inner illumination darkens to a sickly yellow-green and their sides dent becoming Yuck-bubbles. They join in the pursuit of the Maiden.

They chase her off-stage stage-left. She shortly re-emerges followed by the flock of Yuck-bubbles. She flees off-stage stage-right this time. After a brief pause the Maiden and her pursuers re-enter stage-right. She reaches mid-stage and trips. Scraping her knee, she softly sobs.The Yuck-bubbles stop, confused by her tears. Cautiously, they approach. The Maiden calms down and wipes her eyes. She looks at the Yuck-bubbles. Truly looks, as if seeing them for the first time.

THE MAIDEN
(to the first Yuck-bubble) “You know what it’s like to be hurt don’t you?”

The first Yuck-bubble flickers and nods yes.

THE MAIDEN
“It was me wasn’t it. I hurt you. Didn’t mean to, but did.”

The first Yuck-bubble flickers and nods yes again.

THE MAIDEN
“I’m sorry. You were so beautiful and I wanted to look at you. I didn’t mean to hurt you. I hope you can forgive me.”

She moves closer and lightly kisses the first Yuck-bubble. It shudders and then it changes color back to the original Dream-bubble color. The other Yuck-bubbles then start shudder and change color. The healed flock surround the Maiden before flying off. When they move away we see the Maiden has been replaced by THE MOTHER. She watches the dream bubbles float away absentmindedly rubbing her belly.

The Curtain of Clouds closes on the Back-Stage.

TRANSITION FROM THE BACK-STAGE TO THE MID-STAGE

THE CAMERA PANS OUT. PAST THE CURTAIN OF CLOUDS AND PAST THE MID-STAGE CURTAINS
MID-STAGE: EMPTY STAGE

The Mid-stage curtains close.

TRANSITION FROM MID-STAGE TO THE UNROOM

INT. UNROOM NOT.SEVEN

THE CAMERA CONTINUES TO PAN OUT RETURNING TO THE POV OF THE OUTER ONE.

The unseen lamps illuminating the Typewriter Abstract Puppet Stage turn off. It disappears from the disc leaving it empty. The Unroom returns to dimness.

POV OF THE OUTER ONE LOOKING AT THE STAGE, REALIZING THE SHOW IS OVER, AND THEN LOOKING DOWN AND TO THE SIDE.

Sitting on the carpet square next to him/her, the Outer One sees a book. An elaborately simple book with the following written across the cover:

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

the complete and the all scripts

By Thomas Typewriter

———–<:type:>———–

The Outer One’s hand reaches out and picks up the book. They examines the cover, running his/her hand across the cover and spine as the episode ends.

FADE OUT

The Great Works Project: Season Two, Episode Eleven script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Eleven

By Thomas Typewriter

dearoldtypewriter@gmail.com

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-11”. 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

INT. UNROOM NOT.SEVEN

We enter the unroom Not.Seven, a room of unseen corners and discrete angles, focused on a wooden disc centrally located. Around the wooden disc are rows of grey carpet squares with spindly metallic lamps, cords snaking off, casting soft light. THE OUTER ONE sits on one of the carpet squares near the disc. Patiently waiting.

POV OF THE OUTER ONE LOOKING DOWN AT THE CARPET SQUARES IN FRONT OF HIM/HER

The Outer One’s hand comes into view as he/she reaches out to touch a carpet square. Fingers run across the carpet feeling, touching, sensing. As if saying what is this material. The Outer One lifts an edge up exploring a fraying seam. From off-screen TYPEWRITER KEYS CLICK CLACK.

POV OF THE OUTER ONE SHIFTS FROM LOOKING AT THE CARPET SQUARES TO LOOKING AT THE WOODEN DISC.

The wooden disc sits shadowed and empty. Suddenly unseen lamps over the disc turn on manifesting the TYPEWRITER ABSTRACT PUPPET STAGE.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER PUPPET STAGE

PAN IN TOWARDS THE MID-STAGE AREA OF THE TYPEWRITER PUPPET STAGE. STOP ONCE THE MID-STAGE PROPERLY FILLS THE FRAME.

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

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO

THOMAS TYPEWRITER sits at his desk in the middle of the stage, feet propped up, reading “Latchkey Kids of Randomness”. On his desk sits his typewriter, a ream of paper, his phone, and a small jewelry box. To either side of the desk sit a lamp and a wastebasket. A small bookcase topped with houseplants sits behind him and off to the stage-right. Thomas turns the last page then closes the book. Stunned and awed, Thomas stares out.

THOMAS TYPEWRITER
“Wow.”

His STOMACH RUMBLES bringing his attention back to the here and now. He checks the time on his phone.

THOMAS TYPEWRITER
“Oh man. Almost missed dinner.”

Thomas stands, grabs his phone and the jewelry box. He bows towards his typewriter. The typewriter bows back. Thomas turns and exits stage-right.

TRANSITION FROM MID-STAGE TO HIGH-STAGE ALONG THE CURTAIN OF CLOUDS.

THE CAMERA PANS UPWARD, UNTANGLING FROM MID-STAGE. IT MOVES UPWARD GLIDING OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THEM. IT CONTINUES MOVING UP TO THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CONTINUES TO THE HIGH-STAGE, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

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

HIGH-STAGE: INT. THE SPACE EGG
The INNER-SPACE MAN sits in a padded sleek astronaut’s chair. A curved console and curved view screen sit in front of him. The console has a center monitor in the shape of a circle bisected by a long rectangle. 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 blank.

The Inner-Space Man is frozen in place, just about to press a button. We see him strain to move but he cannot. He, like all of Biff’s pretend characters, are immobile when Biff returns his costume to the Wardrobe of a Thousand and One Costumes at play-time’s end. Looking at his eyes we can see that the Inner-Space Man is aware of his petrification. Defiance flashes across his eyes as he rebels against the idea, the reality, that his life is dictated by another.

THE INNER-SPACE MAN
(voice-over, which starts really soft but grows in volume as The Inner-Space-Man chants) I can do this. I’ve broken past the boundaries of space and time. I am more than a story. I am real, so c’mon finger, move, just a little, come on you can move, move,move, you can do it, move, move, move, just a little further, move, move, move, move, move, move, MOVE, MOVE, MOVE, MOVE (continue chant as needed)…”

INSERT CLOSE SHOT OF THE FINGER HOVERING OVER THE BUTTON WHILE THE INNER-SPACE MAN CHANTS. SUPERIMPOSE A CLOCK OVER THE SHOT TO DENOTE THE PASSAGE OF TIME. AS THE CLOCK’S HANDS SPIN FASTER HAVE IT TRANSITION TO THE SUPERIMPOSITION OF A CALENDAR THAT HAS THE DAYS FLYING OFF. ONCE A THOUSAND DAYS HAVE SPILLED OFF REMOVE THE CALENDAR.

CUT TO EXTREME CLOSE SHOT OF THE FINGER HOVERING OVER THE HEXAGONAL BUTTON.

The finger twitches.

CUT BACK TO…

The Inner-Space Man’s eyes broadcast surprise, relief, and victory. Note that the Inner-Space Man, given the passage of time, will have longer hair and a beard.

THE INNER-SPACE MAN
(voice-over) “And now brown cow for the next finger.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DETACHES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES TO AND THEN DOWN THE CURTAIN OF CLOUDS. IT FOLLOWS THE CURTAIN OF CLOUDS TO THE MID-STAGE, GLIDING OVER THE TOPS OF THE MID-STAGE SETS. IT STOPS ONCE PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN
A sink, countertop, and stove run along the center of the stage. A series of cabinets hang over the countertop. A refrigerator sits off to stage-right. A table with a vase of flowers, Thomas Typewriter’ phone, and the jewelry box sits off to the other. Two chairs are pushed in at the table.

THOMAS TYPEWRITER stands at his stove stirring a small pot of sauce. On a back burner, pasta cooks in a pot of boiling water. A TIMER BUZZES on the stove and Thomas turns off the heat to back burner. He quickly grabs two oven mitts, drains the pasta in the sink, then dumps the pasta into the saucepan. He gives the pasta and sauce a few quick stirs before turning off the heat on the front burners.
He then goes over to the refrigerator and pulls out a head of lettuce and a head of escarole. He places them on a cutting board and slices off a bit. This he puts in a small bowl. He returns the escarole and lettuce to the refrigerator. He grabs from the cabinets olive oil, balsamic vinegar, and a plate. He sets the plate off to the side. He then pours a small bit of olive oil and balsamic vinegar on the salad. He picks up the salad and the plate placing them on the the table.

Thomas returns picking up the sauce pan and carries it over to the table. Carefully, he pours some of the sauce covered pasta onto his plate. He places the pan back on the stove. He pulls out some silverware from a drawer and a can of Black Cherry Satellite Soda from the fridge. Satisfied, Thomas sits down to eat. He places his hands in prayer and offers a silent gratitude to the spirits that sacrificed their bodies to be his meal.

THOMAS TYPEWRITER
“Know that we honor what you have given up, we acknowledge it was not without pain, giving up your life so ours may continue, and we say thank you. Now return back to the bright realms, to family and friends, to laugh and love again. Linger here no more. Amen”

As Thomas eats, he starts to fiddle with the jewelry box. Turning it round and round.

CUT TO CS OF JEWELRY BOX AND THOMAS ROTATING IT.

CUT TO EXTREME CS OF JEWELRY BOX AND THOMAS ROTATING IT.

The Mid-stage curtains close on the shot of the rotating jewelry box.

FADE OUT

Up Late, Late at Night: Season One, Episode One, Act VI script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

Act VI

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT VI———–

FADE IN

EXT. VARIOUS LOCATIONS ACROSS THE GLOBE, DAYTIME

LS OF THE CHASE

D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS are running from the angry mob of LASER JUDGE, PADDLES, CLAMSHELL and the PARTY GUESTS. D-Cop’s group are stage-right in the frame while Laser Judge’s group are stage-left.

Have each group running in place as the background cycles through photos of famous landmarks across the world. A simple chase montage to give an impression that they are being chased very far.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

The background is a photo of the front of the COMMUNITY COLLEGE UNIVERSITY. This should be a generic university that we could use over and over. If need be, a model can be built and a photo taken of the model.

D-COP’S group (D-COP, B-COP, JEWELCASE, CASS-E, HANSEL, GRETEL, and V-HESS) enter stage-left and run across the screen exiting stage-right. LASER JUDGE’S group (LASER JUDGE, PADDLES, CLAMSHELL, and the PARTY GUESTS) soon follow. They enter stage-left, run across the screen and then exit stage-right.

ZOOM IN ON ONE OF THE BUILDINGS IN BACKGROUND OF THE COMMUNITY COLLEGE UNIVERSITY

FADE TO

INT. COMMUNITY COLLEGE UNIVERSITY CLASSROOM MPG-27.5

LS OF THE BACK HALF OF CLASSROOM

The back half of the classroom is divided into two rows, with the front row being lower than the back row. Each row is a series of desks arranged in one long line facing the front. In the center desk of the front row sits GIBLETS. He is unconscious.

PAN IN ON GIBLETS. GO FROM LS TO MS.

Giblets wakes with a start. He sits up and looks around.

GIBLETS
“Is class over? (looks around)Guess so.”

Giblets stands up. He reaches over and picks up his guitar and slings it over his back. He exits stage-right.

CUT TO

EXT. COMMUNITY COLLEGE UNIVERSITY, DAYTIME

LS OF COLLEGE FRONT

Giblets walks across the screen, stage-left to stage-right then exits.

CUT TO

EXT. COUNTRY ROAD, AFTERNOON

LS OF COUNTRY ROAD LOOKING DOWN THE ROAD AT A SLIGHT ANGLE AND ELEVATED. LOOKING DOWN.

The country road is two-lane, with a gravel edge and drainage ditch on either side. Telephone poles line one side of the road while trees or fencing line the other side.
GIBLETS enters the frame, back to camera, and walks away from the camera, into the distance. He walks slowly along the side of the road as SLOW MELANCHOLIC PIANO MUSIC plays

FADE TO BLACK

TRANSITION FROM TV SHOW TO THE TRASH HOLE

PAN OUT CAMERA SLIGHTLY TO SHOW THE BLACK SCREEN IS THE BLACK SCREEN ON A TV SET.

INT. THE TRASH HOLE. NIGHT

LS OF THE TV AREA

The broken TV which D-Vid and B-Max were working on, and ultimately zapped into, shows a screen of black. Soon end credits scroll across the screen. If needed, the name of the show that played is “U-turns Me” directed by “Alan Smitheelufagus”

CUT TO MS OF T-RASH THE TRASH GOD

T-RASH watches the end credits roll.

T-RASH THE TRASH GOD
“I liked that. Wonder what is on next.”

FADE OUT

Up Late, Late At Night: Season One, Episode One, Act Five script

Puppet play, scripts, Up Late, Late at Night

———–<.thom & ophi.>———–

UP LATE, LATE AT NIGHT!

Season 01, Episode 01

ACT V

By Thomas Typewriter & Ophidia Operahouse-Typewriter

———–<:typehouse:>———–

———–ACT V————

FADE IN

OPEN ON A CLOSE SHOT OF THE FUNDRAISER FLYER WITH THE STAGE CURTAIN BEHIND IT. THE FLYER ZOOMS AWAY AND THE CAMERA MOVES DOWN TO THE BEHIND THE STAGE

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
The stage curtain lines the back of the stage. D-COP, B-COP, B-RAY and MR. PUPPETS, CLAMSHELL, CASS-E, V-HESS, JEWELCASE, GRETAL and HANSEL are gathered behind stage ready to preform. Everyone is dressed in white and red and stationed with an instrument except B-ray. He is off to the side dressed in a very wide lapeled suit.

B-COP is holding a guitar and wearing a white suit, red vest and pants. Cass-E has her hair down, dressed in white shirt with red vest and pants, stands at a portable organ. Jewelcase is dressed in a red suit with a white undershirt and giant carafe. She stands in front of a keyboard. Hansel sits at a drum kit dressed in white shirt and matching red vest and pants. Clamshell holds a bass guitar and wears a white shirt and red vest/pants outfit similar to the others. Gretel wears a red and white jumper and holds a tambourine. B-COP is dressed in all black, black pants black tee with sleeves cut off and a loosely tied black tie. She is holding a guitar. B-Ray is wearing a head mic and earpiece while holding Mr. Puppets. Mr. Puppets wears a similar ear piece while holding a clipboard.

MR. PUPPETS
(looking at notes on clipboard) “Were on in five Big D.”

D-COP
“Everyone ready?”

All the others nod yes.

D-COP
“And let me remind everyone this is probably my last chance to trick the Laser Judge into giving me a chance to earn her love. Play like my love life depends on it.”

B-COP
“Hopefully you all play better than you drive.”

D-COP
(looking over at B-Ray & Mr. Puppets at the side of the stage ready to work the curtain) “When I count to three, open the curtains.

B-RAY
“Got it.”

D-COP
“1…2…wait. Clamshell, is that Paddles in your coat.”

CLAMSHELL
“Yes.”

D-COP
“Why isn’t he back at the house?”

CLAMSHELL
“I thought he’d get lonely. Besides, he loves to rock out. Isn’t that right Paddles.”

PADDLES
“Woof Woof”

D-COP
“If Laser Judge sees us with her stolen dog, she is going to know we stole the dog.”

B-COP
“You stole.”

D-COP
“I stole. Now get Paddles out of here before anyone sees him. Hide him in the car for now.”

Clamshell and Paddles exit stage-left.

TRANSITION FROM BACKSTAGE TO THE FRONT ENTRANCE

CUT TO…

EXT. FRONT GATES OF LASER JUDGES MANSION, AFTERNOON
A brick wall, the Laser Judge’s property’s fence, runs across the stage. There is a large metal gate and driveway to the stage-left side. A larger cardboard box sits outside the front gate. “FOR DONATION” is written on the outside of the box in large letters. On the stage-right are some cars parked along the grass embankment.

CLAMSHELL enters through the garden gate, walking from the party to where he parked on the road outside the Laser Judge’s estate. PADDLES is still in his shirt. He walks over to the second car, opens the door, and places Paddles inside. The second car’s license plate reads “DCOPS CAR”.

CUT TO MS OF CLAMSHELL AND PADDLES

CLAMSHELL
“Now be good and wait here.”

CUT TO CS OF PADDLES

Paddles wimpers.

CUT TO CS OF CLAMSHELL

CLAMSHELL
“Oh, don’t cry. I’ll be back soon I promise.”

Paddles jumps licking Clamshell’s face

CLAMSHELL
“Oh, that tickles. I love you too boy.”

CUT TO MS OF CLAMSHELL AND PADDLES

Clamshell pushes Paddles into the car and shuts the door.

CLAMSHELL
“Be a good boy while I am gone okay.”

Paddles nods yes. Clamshell walks away.

CS TO PADDLES

Paddles reveals he stole the keys for the car from Clamshell.

PADDLES
(gives a laugh)

He moves over to the steering wheel and starts the car. The Car drives out of frame, stage-left.

CUT TO MS OF CLAMSHELL AT THE GATES

Clamshell is returning to the party, walking up to the front gates. He passes by the box, stops, and backtracks to look inside the box. He removes some clothes and walks through the gate.

TRANSITION FROM FRONT GATES TO PARTY ENTRANCE

EXT. THE PARTY ENTRANCE, AFTERNOON

LS OF PARTY ENTRANCE

NATE TRACK, an eight-track cassette dressed as a security guard, stands at a podium erected on the top of the driveway. This would be in an area of to the side from the driveway, that could serve as access to a path along the side of Laser Judge’s house leading to the garden in the back. The party itself is being held in the back lawn garden. An arch of balloons acts as the gateway to the party. Nate Track stands in front of the archway. CLAMSHELL, dressed in a tux with tails and tophat. Now the thing is that Clamshell’s tux looks all wrinkled since he pulled it was stuffed into a box.

CUT TO MS OF NATE TRACK AND CLAMSHELLS

Clamshell attempts to go through the archway, but Nate blocks his path.

NATE TRACK
“Reservations.”

In response to this question, Clamshell pulls out a monocle and puts it on.

NATE TRACK
“Sir, If you do not have a reservation, I am going to have to ask you step aside.”

To this Clamshell responds by pulling out a second monocle from his jacket. He places the second monocle over the first.

NATE TRACK
“Two monocles! Only the wealthy can afford such eccentricities. I am sorry sir, I didn’t notice your wealth originally. Please accept my sincerest apologies and enjoy the party.”

Nate Track steps to the side of the archway. Clamshell nods and walks through the archway.

CUT BACK TO…

INT. BACKSTAGE OF THE LASER JUDGE’S GARDEN STAGE. AFTERNOON.
Everyone is waiting at their instruments, except B-Ray and Mr. Puppets. They stand off to the side by the curtain and light controls.

B-COP
“What is taking Clamshell so long?”

D-COP
“We don’t have time to wait. Everyone, we go live on the count of three. One…Two…Three…”

B-Ray starts to open the curtains.

CUT TO (OR REVERSAL)

EXT. LASER JUDGE’S GARDEN STAGE

LS OF STAGE FROM AUDIENCE

The curtain opens as we hear a slow beat. Everyone in the band faces towards the audience while D-Cop has his back to the audience. The rest of the band is arranged around him in a semi-circular fashion. D-Cop bops to the beat a few times and then turns around. He moves up to the microphone to speak. In the Audience, near the front of the stage stands LASER JUDGE. Towards the back of the audience stands CLAMSHELL.

D-COP
“Hello everyone, I am D-Cop and together with these fine folks behind me, we are Vega’s Lemons, your entertainment tonight. When the Laser Judge asked us to help out with tonight’s fundraiser to find that lost little bundle of joy, Paddles, well, I’ll be honest, I shed a tear. Thinking of that poor scared dog definitely lost and not taking a bath in someone’s house, well we had to say yes. (Turns to look directly at someone) Laser Judge, I will always say yes to you.”

B-COP
“Ahem”

D-COP
“Oh yes. Enough seriousness, this is a party. Lets enjoy ourselves. Now those youngsters in the audience may not know this one, but trust us old timers when I say, in our day, this song rocked our world. (turns to band) Okay on three. One, Two,…”

The band starts to poorly play Rock-A-Bye Baby.

D-COP
“Rock-a-by baby on the tree top. When the wind blows, the cradle will rock. When the bough breaks…”

CLAMSHELL, dressed in his rumpled found tux and holding a plate of fruit and hors d’oeurves, stands up.

CLAMSHELL
(shouts) “YOU SUCK!

D-COP
“Oh, you know that one. Well, how about this one.”

They start to play Twinkle, Twinkle, Little Star

D-COP
“Twinkle, twinkle, little star…”

CLAMSHELL
“GET OFF THE STAGE!”

Clamshell throws food at the band. D-COP gets hit by food. Then the rest of the audience joins in throwing food at the band.

INSERT CS OF THE VARIOUS MEMBERS OF THE BAND BEING HIT BY FOOD.

The band recoils and tries to shield themselves behind their instruments.

SLOW-MOTION

Then a LOUD CRASH as D-Cop’s car crashes through the wall of the back of the stage. PADDLES, dressed in a rock star outfit, flies out of the windshield. Paddles flies out and lands on the stage, guitar in paws. He slides across the stage to the astonished looks of the band and audience

INSERT VARIOUS CS OF THE SURPRISED LOOKS ON THE AUDIENCE MEMBERS AND BAND MEMBERS

He reaches the front of the stage and starts to shred on his guitar.

SLOW-MOTION ENDS AND REGULAR SPEED RESUMES

Everyone stands frozen and silent, in shock at Paddles arrival. Paddles finishes his guitar solo and stands. He bows the audience.

LASER JUDGE
“Paddles! That’s my Paddles.”

PADDLES
“Woof”

LASER JUDGE
“Come here boy, I’ve missed you so much.”

Paddles jumps off the stage and onto the lap of Laser Judge. They excitedly snuggle.

CLAMSHELL
“Everyone, he must of escaped in the car of the dognapper.”

D-COP
“Now, lets not jump to any incriminating conclusions. The important thing is they are reunited right.”

CLAMSHELL
“The car’s license plate says DCOP. Everyone, D-Cop is the dognapper. DOGNAPPER! DOGNAPPER!”

LASER JUDGE
“He’s right. Dognapper!”

The audience starts to chant “Dognappers!”.

D-COP
“Thank you everyone, you’ve been a great audience, but our time here has come to a close, and let me say…”

CLAMSHELL
“Get them!”

B-COP
“Cheese it fellas!”

The band runs off stage. The audience follows chasing behind them. The audience now has torches and pitchforks.

ONCE EVERYONE HAS LEFT THE FRAME PAN IN ON THE CAR CRASHED THROUGH THE BACK OF THE STAGE.

Pinned under the car, B-Ray hopes help finds him soon.

CS OF B-RAY PINNED UNDER THE CAR

B-RAY
(to Mr. Puppets) “It’s all up to you Mr. Puppets to get help. You’re my last hope.”

CUT TO MS OF B-RAY, WITH THE CAMERA ON THE STAGE OR FLOOR LEVEL.

B-Ray tosses Mr. Puppets.

B-RAY
“Go Mr. Puppets. Run for help.”

Mr. Puppets lands on the stage, next to the camera so that the crumpled Mr. Puppets is in the foreground of the shot and the crushed B-Ray is in the background. Hold the shot a few moments.

B-RAY
“I’m screwed.”

FADE OUT

The Great Works Project: Season Two, Episode Ten script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Ten

By Thomas Typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-10”. 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

INT. UNROOM NOT.SEVEN
The unroom Not.Seven is a vast space, a cavern of small and large. A wooden disc sits in the center, surrounded by waves of multi-hued grey carpet squares. Tall spindly metallic lamps attempt to illuminate the room.

OPEN IN POV OF THE OUTER ONE

THE OUTER ONE sits on a carpet square looking at the wooden disc in anticipation. The sound of TYPEWRITER KEYS CLICK CLACKING drifts in from some place far away by way of the wooden disc.

THE CAMERA MOVES OUT OF THEN INTO FOCUS

Unseen lamps above the wooden disc click on bringing the TYPEWRITER ABSTRACT PUPPET STAGE into view.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

PAN IN ON MID-STAGE UNTIL IT FILLS THE SCREEN AND IS PROPERLY FRAMED

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

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
A desk sits in the center of the stage topped by a typewriter and a ream of paper. A book, a phone, and a pair of headphones sit on top of the paper. A sheet stands ready and loaded in the typewriter. A lamp waits to the stage-right side of the desk, a wastebasket pauses stage-left. A small bookcase, adorned with various houseplants, watches skewed off to the stage-right side. THOMAS TYPEWRITER is sitting at the desk looking off to the side, lost in thought. As his mind drifts, his fingers tap on the desk. TAP…TAP…TAP…

CUT TO CS OF THOMAS’ FINGERS TAPPING ON THE DESKTOP AS THEY SLOWLY DRIFT TOWARDS THE TYPEWRITER

TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…TAP…CLICK AS A TYPEWRITER KEY IS PRESSED. Thomas’ fingers pause. Then a second keystroke and CLICK.

CUT BACK

Thomas rotates into the desk and opens a drawer. He pulls out a small jewelry box and sets it next to the typewriter. Looking at the box for a moment he turns to the typewriter and starts to type.

THOMAS TYPEWRITER
(narration) “Biff found his life slipping out of control, and he felt scared.”

Thomas turns from the typewriter and pulls out a book, “Latchkey Kids of Randomness”, from his desk. He opens the book, carefully setting the bookmark to the side, and starts to read.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FORM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS VISIBLE BEHIND THE SETS. IT CONTINUES PANNING UPWARDS, FOLLOWING THE CURTAIN OF CLOUDS. THE CAMERA MOVES TO THE TOP OF THE CURTAIN OF CLOUDS FINALLY STOPPING FRAMING THE HIGH-STAGE LOCATED AT THE TOP OF THE CURTAIN OF CLOUDS. IT STOPS PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The curtains part and the stage-lights turn on with the sound of A COMPUTER POWERING ON, revealing…

HIGH-STAGE: INT. THE CARRO’S OBSERVATION DECK
The Observation Deck is in a sad state, showing signs of excessive damage from the recent space storm. Wires hang from the ceiling. Scattered debris covers the floor. The amber emergency alarms are now dim. Smoke pours in from off-stage. A spiderweb of cracks are visible in the observation window. The sound of GLASS CRACKING resonates across the stage.

CUT TO CLOSER SHOT OF THE CRACKING OBSERVATION WINDOWS

The cracks grow and grow till the window shatters. The Observation Deck decompresses. ROARING WIND as all the loose unsecured items are sucked out the window. Soon the ROAR SUBSIDES as the last of the atmosphere escapes. Small bits of debris float by weightlessly.
ARG-0519, a diamond shaped Sat-bot in the employ of the Jovian, moves past the window casting a spotlight from it’s diamond like central eye across the deck. It scans the room then flies off. A few moments later a large simian-like gloved hand grabs the edge of the window.

CUT TO CS OF THE GLOVED HAND

The image cuts to black with the sound of A COMPUTER TURNING OFF. The High-stage curtains soon follow, closing on today’s episode.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA DISCONNECTS FROM HIGH-STAGE AND STARTS TO PAN DOWNWARD. IT MOVES TO THE CURTAIN OF CLOUDS, FOLLOWING IT TO THE BOTTOM. THE TOPS OF THE MID-STAGE SETS SLIP INTO VIEW. THE CAMERA CONTINUES DOWNWARD TILL PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO
Thomas sits at his desk reading. He reads a few pages then rotates toward his typewriter. Holding his place in the book with one hand, Thomas uses his other hand to hunt and peck at the keyboard.

THOMAS TYPEWRITER
(narration) “But still he moved forward.”

Thomas stops typing and resumes reading. The stage lights turn of with the sound of A LIGHT SWITCH CLICKING OFF, to which Thomas reaches over and turns on his lamp. The Mid-stage curtains close.

FADE OUT