puppet show

The Great Works Project: Season Five, Episode Eleven – A script by Thomas Typewriter

The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 05, Episode 11

By Thomas Typewriter

(c) 2024 thomas typewriter

———–<:type:>———–

FADE INTO BLACK

From the bottom of the screen scrolls up the following text: “05-11”. 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 open. As they part the Mid-Stage lights flip on with the sound of A LIGHT SWITCH CLICKING ON revealing…

MID-STAGE: EXT. THE SUPPLY CLOSET OFFICE SUPPLY STORE PARKING LOT, DAYTIME.

MS OF THOMAS AT THE TRUNK

THOMAS TYPEWRITER stands by his car, looking into the open trunk. He shuts the trunk and then hops up to sit on top of the closed trunk. From his coat pocket, he pulls out a HANDY-BAR candy bar and a can of SATELLITE SODA. He opens the soda, takes a sip, and sets it down on the trunk. He then unwraps the candy bar and slowly chews. He stares out into nothing. A BUTTERFLY enters stage-left and flies past him.

CAMERA PANS OUT TO LS OF THOMAS ON TRUNK.

The butterfly flits around the parking lot. Thomas watches it.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

The butterfly flies upwards past the tops of the Mid-stage sets.

THE CAMERA DISCONNECTS FROM THE MID-STAGE AND PANS UPWARD. THE CAMERA TRACKS THE SLOW FLIGHT OF THE BUTTERFLY UPWARD.

It flies upwards along the Curtain of Clouds, lazily left and right, ultimately flying out of the frame.

THE CAMERA CONTINUES PANNING UPWARD ALONG THE CURTAIN OF CLOUDS. IT GAINS SPEED SWIFTLY REACHING THE TOP OF THE CURTAIN OF CLOUDS AND THE HIGH-STAGE LOCATED THERE. IT CLICKS IN PLACE FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-MOUSE enters. He is dressed casually and sits down. He relaxes and observes the High-Stage.

THE CAMERA SHIFTS TO EMPHASIZE THE STAGE AREA EXCLUDING THE NARRATOR’S AREA.

The High-stage curtains open. The stage-lights turn on to the sound of A COMPUTER BOOTING ON revealing…

HIGH-STAGE: INT. OBSERVATION LOUNGE OF THE FLUTE MEDICALSHIP, AFTERNOON

A large curved window stretches out across the back of the stage. Twinkling lights out in space can be seen through the window. The window itself is framed by soft yellow framing. The floor and walls are in 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, inside his Med-pod, sits in the center of the stage looking out the windows. The twinkling lights move across the space beyond. MINTHRIL MOUSTACHE enters from stage-left. He approaches Cedar.

MINTHRIL MOUSTACHE
“Okay if I sit down.”

CEDAR WAXWINGS
“Sure.”

A moment passes in silence.

MINTHRIL MOUSTACHE
“That is some view.”

CEDAR WAXWINGS
“Absolutely. Really gets you thinking.”

MINTHRIL MOUSTACHE
“Sure does. If I may inquire, what does it get you thinking about?”

CEDAR WAXWINGS
“Like how we’re in a spaceship right and all hurt and bandaged. Our focus is on healing and it hurts and it sucks. Our world is one of pain right, but maybe not really. Maybe we just forgot that we are surrounded by all this beauty. All this wonder.”

MINTHRIL MOUSTACHE
“Truthfully told.”

CEDAR WAXWINGS
“Thanks.”

They look a moment and then Cedar turns towards Minthril.

CEDAR WAXWINGS
“I’m Cedar by the way. Sorry I didn’t introduce myself earlier.”

MINTHRIL MOUSTACHE
“Minthril. Glad to meet you. ”

Minthril leans over as Cedar extends a manipulator arm out of his Medi-Pod. They shake. Once finished, Minthril sits in a chair next to Cedar. They sit in silence for a couple minutes as the constellation of lights twirls outside the window.

MINTHRIL MOUSTACHE
“So, pardon my inquiry, but what brings you to this ship?”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA UNCLICKS FROM PROPERLY FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES DOWN ONTO THE CURTAIN OF CLOUDS BELOW THE HIGH-STAGE. IT CONTINUES DOWN AND DOWN.

The BUTTERFLY flies in from stage-left. It flies downward.

THE CAMERA SLOWS AND TRACKS THE BUTTERFLY MOVING DOWNWARD.

The Butterfly flies past the top of the Mid-Stage sets.

THE CAMERA GLIDES DOWN LOCKING INTO PLACE PROPERLY FRAMING THE MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S APARTMENT, LATE AFTERNOON

The apartment is arranged in such a way that the living room and Thomas’ studio are visible. The front third of stage-left is the studio area with its desk and typewriter. The rest of the stage is the living room with its bookshelves and entryway. The desk is topped by a typewriter and a stack of papers. A large wastecan sits to the stage-right side of the desk, while a tall floor lamp sits on the stage-left side. The living room area has three bookcases, each filled with graphic novels, music CDs, books, artwork, and houseplants. The three run in a line stage-left to stage-right. The first and second are touching, with the second parallel to the stage-front and the first at a slight angle. There is a gap between the second and third. This gap leads to the entryway and front door of the apartment behind the second bookcase. The third bookcase sits at a 45 degree angle. The Butterfly flies into the room from the top of the frame and flies out of frame exiting stage-right. APPROACHING FOOTSTEPS emerge from off-stage. KEYS UNLOCK and A DOOR OPENS AND CLOSES. THE DOOR RELOCKS. Thomas Typewriter enters the living room, emerging from the gap between the second and third bookcase. He is carrying packages of moving boxes. He strides stage-right and sets them down on the floor in front of the third bookcase’s corner. He then slowly looks around the room.

THOMAS TYPEWRITER
“Sigh.”

Thomas walks to his writing desk. He extends his arm and in one sweeping motion pushes the typewriter and stack of paper off the desk and into the wastecan. He walks away exiting the living room stage-right. After a moment he walks back into the room and pulls the typewriter out of the trash. He gives it a kiss.

THOMAS TYPEWRITER
(soft whisper) “I’m so sorry about that. Please forgive me.”

He gently sets the typewriter on the floor and then exits stage-right. The stage-lights turn off to the sound of A LIGHT SWITCH CLICKING OFF. The Mid-Stage curtains close.

FADE OUT

The Great Works Project: Season 05, Episode 06 script – 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 06

By Thomas Typewriter

(c) 2023 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK


From the bottom of the screen scrolls up the following text: “05-06”. 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

HIGH-STAGE: FARTHEST EDGES OF THE FOREVERCAGE

THE WARDROBE OF A THOUSAND AND ONE COSTUMES floats in the center of the stage. Behind it a background of void and emptiness. From stage-left THE SPACE EGG flies into view. It flies over to the Wardrobe and circles it twice.

THE INNER-SPACE MAN
(off-camera) “What is this?”

THE SPACE EGG
(off-camera) “Don’t know.”

The model of the Space Egg stops circling and hovers off to the stage-left side of The Wardrobe of a Thousand and One Costumes. It turns as if looking into the distance, left, right, up and down.

THE SPACE EGG
(off-camera) “Space ends here as far as my sensors can tell. This is it. The very last thing.”

THE INNER-SPACE MAN
(off-camera) “Nothing else.”

THE SPACE EGG
(off-camera) “Nothing else.”

THE INNER-SPACE MAN
(off-camera) “Well in that leather briefcase, let us find a port of entry in this storm.”

THE SPACE EGG
(off-camera) “Meaning?”

THE INNER-SPACE MAN
(off-camera) “Meaning, like a good meal we are going inside.”

THE SPACE EGG
(off-camera) “Okay.”

A light turns on from the front of the Space Egg model. The light moves over The Wardrobe of a Thousand and One Costumes. As it scans the wooden surface, the doors on the Wardrobe CRACK AND HISS, opening partially. Dry ice-like smoke spills out of the crack.

THE SPACE EGG
(off-camera) “Found something. Going in.”

The Space Egg flies into the space between the doors. The Wardrobe of a Thousand And One Costumes’ doors close with a reverse of the previous CRACK AND HISS.

TRANSITION FROM THE FURTHEST EDGES OF CONCEPTION TO THE ENTRY POINT

The High-stage Curtains close and then reopen revealing…

HIGH-STAGE: THE GANTRY OF THE WARDROBE OF A THOUSAND AND ONE COSTUMES

OPEN WITH THE CAMERA IN AN OVERHEAD ANGLED LS OF THE ENTRY POINT

Made of silvery metal, with tall handrails and pole lighting, the Entry Point gives a feeling of a cross between a dock or boardwalk and a spaceship. The long metallic dock joins to a pier-like space opposite the door. A series of round concentric rings, the walkway juts out from the center. The Space Egg enters the frame, moving through the crack in the doors. It flies in the open space to one side of the walkway until it reaches the concentric rings.

CUT TO MS OF THE SPACE EGG FLYING ACROSS THE EMPTY SPACE, MOVING PAST THE RAILS OF LIGHTS.

The Space Egg lands on the landing pad area or one of the outer concentric rings. Weak lights click on and up brightening the walkway. Still, the lights are not bright enough to illuminate the far walls of the space they have flown into. Two corridors branch out from the landing area, going left and right. Down these halls are the individual costumes or frozen pretends. In the center is an irregularly shaped crystal. It is the size of a boulder and appears to be made up of various-sized crystals in hues of blue, red, yellow, orange, green and purple. The lid of the Space Egg opens and the Inner Space Man climbs out.

CUT BACK TO THE REGULAR FRAMING OF THE HIGH-STAGE

THE SPACE EGG
“What is this place.”

THE INNER-SPACE MAN
“I don’t know. Maybe what looks like a wall is actually a window. I am going to look around. You coming?”

THE SPACE EGG
“No way. I’ll stay here.”

THE INNER-SPACE MAN
“Okee dokee artichokee.”

The Inner Space Man walks off. The Space Egg looks around as he leaves. Once he is gone a glow comes from off screen. The Space Egg turns towards the light. The High-stage Curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISCONNECTING FROM THE HIGH-STAGE. IT GLIDES OVER THE CURTAIN OF CLOUDS, DOWN AND DOWN, MOVING OVER THE TOPS OF THE MID-STAGE SETS. IT SETTLES FRAMING THE MID-STAGE.

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.

LEXICA BOOKMARK
“Sure, everyone picks The Apology, but for myself, the Odyssey is the truest work.”

LUNA WITCHESCROWN
“Antigone if I had to choose.”

LEXICA BOOKMARK
“Interesting. What are its appeals do you feel?”

LUNA WITCHESCROWN
“Now this is purely subjective on my part.”

LEXICA BOOKMARK
“Obviously.”

LUNA WITCHESCROWN
“But something about how Creon is this figure who comes in with this forcefully, almost bludging, authoritarianism. He spends the first part of the play never listening but then realizes he was wrong and spends the other part of the play apologizing. I find that fascinating.”

LEXICA BOOKMARK
“Interesting because that is one of the reasons I like The Odyssey. There is Odysseus just ravished by the Gods for years. Then it shifts, and we have Minerva going “We took it too far and so now we are going to help you to make amends.”

LUNA WITCHESCROWN
“Oh, Minerva. Love her.”

LEXICA BOOKMARK
“She’s is nice, but I am more of an Apollo girl.”

Thomas Teenager walks nearby.

LUNA WITCHESCROWN
“Hey Thomas, who’s your favorite Greek God?”

Thomas pauses, caught off guard by their question. He stumbles and regains his balance.

THOMAS TEENAGER
“Sorry?”

LEXICA BOOKMARK
“Luna and I were discussing Greek myth and we’re curious since you are nearby, who your favorite Greek deity may be.”

THOMAS TEENAGER
“Oh. (pauses to think) Hermes. Not only did he invent the lyre when a baby but he also delivers a nice bouquet of flowers.”

Luna and Lexica giggle.

LUNA WITCHESCROWN
“Well, Lexica, I think we found another person worth talking to.”

LEXICA BOOKMARK
“I do agree.”

They move closer to Thomas as the stage lights turn off to the sound of A LIGHTSWITCH CLICKING OFF. The Mid-stage curtains start to close.

TRANSITION FROM MID-STAGE TO THE HIGH-STAGE

THE CAMERA MOVES INWARD AVOIDING THE CLOSING CURTAINS. IT THEN PANS UPWARD OVER THE MID-STAGE SETS AND TO THE CURTAIN OF CLOUDS LINING THE BACK OF THE MID-STAGE. IT MOVES EVER UPWARD UNTIL REACHING THE HIGH-STAGE AT THE TOP OF THE CURTAIN OF CLOUDS. THE CAMERA MOVES INTO POSITION PROPERLY FRAMING THE HIGH-STAGE AND THE NARRATOR’S DOOR.

HIGH-STAGE: CURTAINS CLOSED

The Narrator’s Door opens and Y-MOUSE steps out dressed in a fancy suit. He has a copy of The Great Works Project Season Five scriptbook in his hands. He opens the book.

CUT TO CS OF Y-MOUSE

Y-MOUSE
“And thus the script read: The High-stage curtains open on a darkened stage. A flashlight pierces the darkness.”

CUT BACK TO FRAMING SHOT

The High-Stage curtains part and open revealing…

HIGH-STAGE: THE JSN CORRIDOR IN THE WARDROBE OF A THOUSAND AND ONE COSTUMES

The High-stage is completely dark. The Once-way itself is a long corridor with metallic rails and wall struts. Pendant lamps, unlit, hang over the top. A light near the Narrator’s Door flips on illuminating Y-Mouse standing next to the microphone. He has a copy of the script in his hands. Next to him is a floor lamp. He CLICKS it on.

Y-MOUSE
“That’s better. Where was I? (consults the script) Oh yes, darkened hallway. The High-stage curtains open on a darkened stage.”

The High-stage curtains open on a darkened stage. The stage-lights have not turned on. A flashlight beam flicks across the stage.

Y-MOUSE
“As we wait and watch, wondering which unknown realm this could turn out to be, hidden from our eyes so simply, a beam of light flashes out from stage-left. It glides over parts of the area not allowing a full illumination, not allowing that which is hidden in shadow to transmute to that which is in light, but allowing us a start, a glimpse.”

The flashlight beam moves across the stage. We can see bits and pieces of the hallway. It is a hallway of minimal detail. Metallic handrails run along the wall of wide spaced apart metal columns. Unlit pendant lamps hang from the ceiling.

Y-MOUSE
“We may not be able to see the full picture but we start to understand that this may be a location in The Wardrobe of a Thousand and One Costumes. The metaphorical and metaphysical repository of the rabbit boy Biff’s playtimes and pretends. Soon the Inner-Space man enters stage-left, flashlight in hand, curious and maybe even a little cautious.”

The INNER SPACE MAN enters from stage-left with a flashlight. He walks across the stage, looking around. He exits stage-right.

Y-MOUSE
“What more will he find?”

The High-Stage curtains close. Y-Mouse turns, CLICKS OFF his lamp, and exits through the Narrator’s Door. It closes behind him.

PAN IN TO FRAME ONLY THE HIGH-STAGE AREA. CROP OUT THE NARRATOR’S DOOR AND NARRATOR’S ROOST.

The High-Stage curtains reopen.

THE HIGH-STAGE: INT. HANGER JSN1

The High-Stage curtains open. The Node looks similar to the JSway Corridoor with it’s metallic handrail and support beams. The main difference is that every other hanging pendant lamp is lit. The Inner-Space Man enters stage-left with flashlight in hand. He walks onto the stage and looks around, casting the flashlight around the room. He then continues onward exiting stage-right. The High-Stage curtains close behind him. The High-Stage Curtains reopen revealing…

THE HIGH-STAGE: INT. HANGER JSN3

This node has all the same features of the JSN corridor and the other hanger: metallic handrail, metallic struts, and hanging pendant lamps. All the lamps are lit casting the room in a yellowish glow. In the center of the stage sits a pedestal with a tall crystalline chamber. It stands about waist high to the Inner-Space Man and has an irregularly shaped uneven top. Wires lead off from the pedestal to a nearby desk covered in a notepad, a pen, and a small desk lamp. From stage-Right enter two SCUTTLERS, each carrying a chunk of translucent crystal. These crystals look very similar to the Memorystone crystals Y-Mouse has in the case under his couch. The Scuttlers move their trapezoidal form towards the center pedestal. The first Scuttler continues onto the pedestal while the second moves to the desk. The first Scuttler places its crystal piece on top of the large crystal on the platform. They both glow and the larger piece absorbs the the smaller. The glow fades. The first Scuttler crawls down to the floor and exits stage-right. The second Scuttler is atop the desk now. It places the crystal shard it is holding on the notepad. Both glow and the crystal shard is absorbed. The desk changes to look more like a control station from a nuclear power reactor. The top of the desk grows two long brackets that hold film reels. Film runs from the first spool, down into the control panel, and back up to the other reel. A candelabra overloaded with candles is the last to grow up from the desk as the glow starts to subside. The last change, the candelabra’s emergence, knocks the second Scuttler off the desk. It lands on its back. It rocks back and forth, unable to get up. The Inner-Space Man emerges from stage-left, flashlight in hand. He walks out, sees the lights are on, and turns off the flashlight. He then proceeds to look around the Node, examining the center pedestal and its crystal. He then follows the cords running out from the base and over to the control desk. He flips a couple switches and spins the reels, investigating the desk. He then spies the second Scuttler. He bends over and picks it up.

THE INNER-SPACE MAN
“Looks like you could use some of all the help.”

He sets the Scuttler down. The Scuttler starts a reboot and restart cycle.

THE INNER-SPACE MAN
“That should be better, better, best.”

The Inner-Space Man stares at the Scuttler as it reboots.

THE INNER-SPACE MAN
“Not much of a talker are you. Well, hope the rest of your day gooses well.”

The Inner-Space Man turns and exits stage-right. The Scuttler finishes rebooting and looks around for the Inner-Space Man. It makes a reaction like it spies him and then exits stage-right. The High-stage lights turn off to the sound of A COMPUTER BOOTING OFF and then the curtains close.

FADE OUT

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

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 04, Episode 12

By Thomas Typewriter

(c) 2022

———–<:type:>———–

FADE IN TO BLACK

From the bottom center of the screen scrolls up the following text: “04-12”. It continues upward, pausing briefly in the center then exits off the top of the frame.

FADE OUT
FADE IN

INT. THE DEEPEST HALLWAY

LS OF THE DEEPEST HALLWAY FROM OUTSIDE B-MOUSE’S OFFICE DOOR

A long wood grain beige hallway, the Deepest level contains a series of frosted glass widows and doors to the various Alphabet Mice’s offices. The other side of the hallway is illuminated by wall sconces and also contains a water fountain and two vending machines. One of the vending machines is for Satelite Soda while the other is for various candies and bagged snacks such as Wowies, Tip Chips, Zappers, and Cheesy Weezys. B-Mouse’s office is in the center of the hallway across from the water fountain and vending machines. Both ends of the hallway have a set of double doors leading to stairwells connected to the other levels. The door opens and out steps B-MOUSE busily scribbling notes into a small notepad. He pauses writing to reach inside and turn off the office’s lights. He shuts the office door and finishes his note. Down the hall N-MOUSE exits his office. B-Mouse looks up from his notes and waves. M-MOUSE leaves his office at the end of the hallway while B-Mouse and N-Mouse are waving. He closes the door and leans against the wall. B-Mouse and N-Mouse walks towards M-Mouse.

PAN DOWN HALLWAY FOLLOWING B-MOUSE

N-Mouse and B-Mouse stand by M-Mouse.

M-MOUSE
“You guys ready for this meeting.”

N-MOUSE
“Yup.”

B-MOUSE
“Yup.”

CUT BETWEEN CS OF EACH SPEAKER AS EACH SPEAKS

M-MOUSE
“What do you think the meeting will be about.”

N-MOUSE
“Writer’s block if anything like before.”

M-MOUSE
“Remember those all-nighters we’d pull when Thomas was in high school.”

B-MOUSE
“I remember how we still didn’t finish a single essay.”

N-MOUSE
“What about that Mutant Cat story.”

M-MOUSE
“Stumpy the Mutant Cat?”

N-MOUSE
“Yeah. I thought that was the one essay we finished?

B-MOUSE
“Nope. Stumpy was in the middle of talking to the pickles in Pickle Heaven when the story stopped. Like mid-sentence. Thomas said screw it and turned it in anyway.”

M-MOUSE
“Did we every finish anything.”

N-MOUSE
“Those scripts that no studio wanted.”

B-MOUSE
“Can you blame them. The spy who had to gain weight so there was enough mass to duplicate him.”

N-MOUSE
“Yeesh. That one was bad.”

M-MOUSE
“Or how about Thomas Typewriter: World’s Worst Stuntman.”

N-MOUSE
“Yeah, he was pretty desperate and frustrated by the time he wrote that one.”

CUT BACK TO LS OF THE GROUP FROM DOWN THE HALLWAY.

C-MOUSE and K-MOUSE exit from C-Mouse’s office. V-MOUSE exits his office. The two sets of Alphabet Mice wave at each other. C-Mouse, K-Mouse and V-Mouse walk down the hallway joining N-Mouse, M-MOUSE, and B-Mouse.

B-MOUSE
“You guys ready for the meeting?”

C-MOUSE
“Is anybody?”

They chuckle.

C-MOUSE
“Seriously, if things have reached the point we are pulling an all-nighter, the problems are bigger than one cram session.”

K-MOUSE
“True.”

The others nod in agreement. They start walking through the doorway to the stairwell.

CUT TO

INT. CTRL-SHIFT-ENTER STAIRWELL, EVENING

THE CAMERA PANS FROM WALKING ALONGSIDE THE GROUP TO FOLLOWING BEHIND THEM AS THEY PASS THROUGH THE DOOR.

A tall stairwell with three walls of cement and one wall of striated stone, as if the stairwell was cut into the side of mountain or large rock and part of the rock was left bare. The rock wall sits opposite the doors stairwell doors. Round globe lights posted on every landing. The stairs run up the center, rails of metal, moving from dark red at the bottom through the spectrum to pale violet at the top. Moving from dark violet to pale red at the top. The stairwell uses a fairly standard stairs up to a landing halfway between the floors then snaking to the other side to walk up to the next floor. N-Mouse, M-Mouse, B-Mouse, V-Mouse K-Mouse and C-Mouse start to climb the stairs. The sound of DOORS OPENING AND CLOSING click out. X-MOUSE walks to the stairwell pulling on a rope tied to something trailing behind him.

X-MOUSE
“Hey guys, hold up.”

X-Mouse starts to climb up the stairs. What he is pulling comes into view. The other end of the rope is tied to a floating cloud. Z-MOUSE is asleep on the cloud.

C-MOUSE
“You got stuck hauling Zees?”

X-MOUSE
“Not like any of you were volunteering.”

N-MOUSE
“Sorry about that.”

M-MOUSE
“Yeah. We’ll get him next time.”

The group ascend the stairs moving from The Deepest or bottom floor to the Deeper or second floor. S-MOUSE, D-MOUSE, F-MOUSE, G-MOUSE, H-MOUSE, J-MOUSE, K-MOUSE, and L-MOUSE exit the Deeper’s stairwell to join the group. The larger group continues up the stairwell to the landing for the Deep or the third floor. Q-MOUSE, W-MOUSE, R-MOUSE, T-MOUSE, Y-MOUSE, U-MOUSE, I-MOUSE, O-MOUSE, and P-MOUSE exit the stairwell doors and join the group. The assembled mass continues up the stairs to a set of doors for the Numetarium or fourth floor. The stairwell opens to a landing larger than the previous landings. The stairwell going upward shrinks to a single person stairwell behind a metal screen. If one continued upward they would end up in the Y-Apartment. The door to the Numetarium is covered in numbers and formulas in a fun and whimsical way. The group opens the doors and walks through.

INT. THE NUMETARIUM

XLS OF THE GROUP AS THEY PASS THROUGH THE DOORS OF THE STAIRWELL ON THE STAGE-LEFT TO THE THE DOUBLE DOORS JUST OFF CENTER.

The Numetarium appears like a planetarium, with sloped rows of reclining chairs situated around a projector in the center. Across the domes ceiling various planets and their rotations are being projected, only the planets are circular centers with numbers from 0 to 9 in the center. Then each planet has a set of rings orbiting it. Each ring has a number os sides equal to the number in the planetoid center while their are a number of rings equal to the number in the center. Zero has no rings. One has a single circle. Two has two convex lenses spiraling around it. Three has three triangles spinning around it. Four has four squares…etc
In the controls of the projector sits #-MOUSE. He is writing figures in a book, when the crowd walks in. He notices them, watches them exit, dogears the page before closing the notebook, and stands to join them. #-Mouse leaves through the central exit doors.

CUT TO

INT. WRITER’S ROOM EVENING

A long meeting room decorated in light brown wood tones. An elongated hexagon of a table fills the center of the room. The entry doors for the Control-Shift-Enter Stairwell are a set of double doors opposite one of the tables short sides. The entry doors from the Control-Shift-Tab Stairwell are on the opposite side of the room. The longer sides of the room hold a series of cabinets and wooden paneling on one side and a series of large windows behind thick curtains on the other. When looking at the windows, the Control-Shift-Enter Stairwell doors are to the left and the Control-Shift-Tab Stairwell door is to the right. Each corner of the room holds a large potted plant and a trash can. The room is illuminated from three rows of pendant lamps. The light switches are next to the entrance doors.

LS OF ROOM FROM OPPOSITE THE DOORS, LOOKING AT SIDE OF THE ROOM WITH THE DOORS.

Y-MOUSE is already standing at the head of the table nearest the doors.

Y-MOUSE
“Come in. We’ll get get started once everyone is seated.”

Q-Mouse, W-Mouse, R-MOUSE, T-MOUSE, U, MOUSE, I MOUSE, O-MOUSE, and P-MOUSE are already sitting down at the table. S-MOUSE, D-MOUSE, F-MOUSE, G-MOUSE and H-MOUSE are near their respective chairs. J-MOUSE, K-MOUSE, L-MOUSE, C-MOUSE, and K-MOUSE walk over to their chairs. V-MOUSE, B-MOUSE, N-MOUSE, and M-MOUSE emerge through the double doors followed by X-MOUSE and #-MOUSE. The pair help direct Z-MOUSE on his floating cloud, asleep, through the door and over to his chair before sitting down in their chairs. Once everyone is sitting down, Y-Mouse addresses the group.

CUT TO MS OF Y-MOUSE

Y-MOUSE
“Thank you everyone for coming out at such a short notice. I know you prefer we schedule these cram sessions ahead of time, but I think circumstances warrant it. A-Mouse and E-Mouse were suppose to be back with food for everyone. They’re not and I am sorry for that. We’ll order some take-away later, but lets get started for now and get a little work done before taking a break.”

Y-MOUSE reaches down and flips a switch in a hidden compartment in his desk or he presses down and up pops one of those 60’s style control consoles. He presses a button.

CUT TO LS OF WALL ALONGSIDE LONG SIDE OF ROOM

A panel on the wall slides up revealing a large board for writing on. Y-Mouse walks over to the board and writes “Thomas?”. He then turns to the group.

CUT TO MS OF Y-MOUSE

Y-MOUSE
“When we last saw Thomas, he claimed he was fine. But was he really? Losing all his script options coupled with the stress of getting married has him rattled. He tends to cling onto bad experiences like awards in a trophy case.”

L-MOUSE
“I’ll say.”

Everyone laughs at that.

Y-MOUSE
“So he is most likely going to interpret these events as failures instead of parts of a process and let his creativity dry up.”

K-MOUSE
“Why does he blame himself. Its not his fault. Every writer has moments when the craft is good and moments when the craft is bad.”

Y-MOUSE
“Yes, but he does not know that yet. That part of his life is not written yet.”

L-MOUSE
“Okay, so how do we help then.”

Y-MOUSE
“Short term, we can try to get ahead of things on these plot holes we’ve noticed last meeting. Long term, those of you working on side projects, keep working on them. It is not important that we get finished projects right now. What is important is we keep that joy and excitement alive until Thomas is ready again. “

Everyone agrees.

CUT TO CS OF EACH ALPHABET MOUSE AS THEY SPEAK

Y-MOUSE
“Okay. So what were some of the plot holes or unanswered questions?”

D-MOUSE
“The lost astronaut from the commercial.”

Y-MOUSE
“Right”

Y-Mouse starts to write it down on the board when the writer room doors burst open. A-Mouse and E-Mouse are each wheeled in on medical stretchers. Each one has a pile of food bags on their chest. Also a SCRIPT DOCTOR is pushing them in.

E-MOUSE
“Did somebody order some food”

ALPHABET MICE
“Food!”

Y-MOUSE
“Are you two okay?”

E-MOUSE
“Had a little trouble that required medical intervention, but we made it.”

A-MOUSE
“We would of been here sooner but the ambulance rang over some glass in the road and got a flat tire.”

E-MOUSE
“Everyone come and get it.”

CUT TO LS OF THE WRITER’S ROOM

The Alphabet Mice get up and walk over to A-Mouse and E-Mouse. The food is moved to the cabinet tops by B-Mouse and X-Mouse. The Script Doctors wheel A-Mouse and E-Mouse over to their respective spots at the Writer’s Table.

PAN OUT

FADE TO BLACK

From the desk of Thomas Typewriter: a new “The Great Works Project” script

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

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 3, Episode 8

By Thomas Typewriter

(c) 2021

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

FADE IN TO BLACK

From the bottom center of the screen, the following text scrolls upward: “03-08”. It moves up the center of the frame eventually exiting the top center of the frame.

FADE OUT

FADE IN

INT. THE UNROOM NOT.SEVEN IN THE UNDOCUMENTED SPACE

A large cavernous room of indeterminate volume, the Unroom Not.Seven bears few decorations. In the possible center of the unroom sits a wooden disc. Surrounding the wooden disc on one side, like radiating waves, are rows of grey hued carpet squares. A faint light radiates from spindly metallic lamps at the ends of each row. On one of the carpet squares THE OUTER ONE sits looking at the floor.

OPEN ON POV OF THE OUTER ONE

The Outer One is stacking golden coins in various arraignments, seeing the different patterns that emerge. As they move the coins, the injury on their right hand is visible. The flesh of the fingers and a portion of the knuckles have been replaced with a bluish glow. The glow is filled with scrolling abstract text in a different hue of blue. The injury does not impair the Outer One’s ability to use the hand. From off-camera the sound of TYPEWRITER KEYS CLICK CLACKING sounds out.

POV OF THE OUTER ONE LOOKING UP FROM THE FLOOR TO LOOK AT THE WOODEN DISC.

In the center of the wooden disc, and facing towards the Outer One, sits THE TYPEWRITER ABSTRACT PUPPET STAGE. Unseen lamps above it slowly turn on.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE.

The main curtain starts to open as the camera pans in.

TRANSITION FROM THE UNROOM TO THE HIGH-STAGE

PAN IN TOWARDS THE HIGH-STAGE AREA OF, STOPPING ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CLOSED CURTAINS

The High-stage curtains part revealing…

HIGH-STAGE: EXT. THE FOREVERCAGE

A vast field of nothingness empty and frozen, the Forevercage spreads in all directions. A small sparkle, THE SPACE EGG, glints stage-left.

CUT TO LONG SHOT OF THE SPARKLE

The Space Egg slowly spins in the distance as it drifts across the Forevercage.

THE INNER-SPACE MAN
(barely audible from off-screen) “…1, 098, 896…”

CUT TO MEDIUM SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE FRAME.

THE INNER SPACE-MAN
(faintly from off-screen) “…1, 098, 897…”

Now that we are closer, we see the middle band on the Space Egg briefly HUM and light up.

CUT TO CLOSE SHOT OF THE SPACE EGG AS IT DRIFTS ACROSS THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 898…”

The mid-band of the Space Egg briefly lights up while also emitting a soft HUM. It drifts off screen stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS, ALONG THE CURTAIN TO THE TOPS OF THE MID-STAGE SETS, OVER THE TOPS AND DOWN TILL FRAMING THE MID-STAGE.

MID-STAGE: INT. SKOLNIC’S ICE CREAM DELI’S FRONT COUNTER, DAYTIME

A counter, for ordering, stands on stage-left while a series of ropes and standards, for customers waiting to order, stretches across the width of the stage. An “ORDER HERE” sign over the counter while a “ENTER HERE TO ORDER” sign hangs at the end of the customer queue. Menu boards hang behind the ordering counter. ABELARD ABLE stands behind the counter ready to take orders. Five customers currently stand in line waiting their turn to order.

ABELARD ABLE
“Next.”

The first person in line, SKOLNIC’S CUSTOMER #1, approaches the counter. Everyone else moves forward. THOMAS TYPEWRITER and OPHIDIA OPERAHOUSE enter from stage-right and stand at the end of the queue.

SKOLNIC’S CUSTOMER #1
“Could I have a Reuben on Waffle Cookies with a small Cesar Salad Shake.”

Abelard punches in the order.

ABELARD ABLE
“That’ll be $6.98”

He pays. Abelard hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8896. Pick it up at the other counter. Next.”

Skolnic’s Customer #1 exits Stage-left. SKOLNIC’s CUSTOMER #2 walks up to the counter. All the other customers in the queue move forward. From stage-right enters SKOLNIC’s CUSTOMER #7. She enters the queue behind Thomas Typewriter and Ophidia Operahouse.

SKOLNIC’S CUSTOMER #2
“A Monte Cristo on sugar cookies, with a scoop of ranch on the side please.”

ABELARD ABLE
“That’ll be $4.76”

Skolnic’s Customer #2 pays and Abelard hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8897. Pick it up at the other counter. Next.”

Skolnic’s Customer #2 exits stage-left. SKOLNIC’S CUSTOMER #3 walks up to the counter. Everyone in the queue moves forward. From stage-right enters SKOLNIC’S CUSTOMER #8 and enters the end of the queue.

SKOLNIC’S CUSTOMER #3
“Could I have a Ceasar Salad Shake and a Chicken Noodle Sunday.”

ABELARD ABLE
“That’ll be $7.12.”

He pays Abelard, who then hands him a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8898. Your order will be ready at the other counter. Next.”

Skolnic’s Customer #3 exits stage-left. SKOLNIC’s CUSTOMER #4 walks up to the counter. The rest of the customers in the queue step forward. SKOLNIC’S CUSTOMER #9 enters from stage-right and stands behind Skolnic’s Customer #8 in the queue.

SKOLNIC’S CUSTOMER #4
“Do you still have Bacon Cheeseburgers?”

ABELARD ABLE
“Yes.”

SKOLNIC’S CUSTOMER #4
“Good. I’ll take that on a Chocolate Chip cookie with a large Beet Salad Shake.”

ABELARD ABLE
“That will be $8.02”

SKOLNIC’S CUSTOMER #4
“Here you go.”

She pays Abelard. He hands her a receipt.

ABELARD ABLE
“Here is your receipt. Your order number is 8899 and will be ready at the other counter.”

SKOLNIC’S CUSTOMER #4
“Thanks. Have a great day.”

ABELARD ABLE
“You too. I can help who’s next.”

Skolnic’s Customer #4 exits stage-left. SKOLNIC’S CUSTOMER #5 walks up to the counter. Everyone in the queue moves forward. SKOLNIC’S CUSTOMER #10 enters from stage-right and stands at the back of the queue.

ABELARD ABLE
“Hi.”

SKOLNIC’S CUSTOMER #5
“Hi. Could I have a Lobster Bisque Sunday with a large Oyster Cracker Cookie.”

ABELARD ABLE
“Sure. That’ll be $7.78”

He pays. Abelard hands him a receipt

ABELARD ABLE
“Here is your receipt. Your order number is 8900. You can pick it up at the other counter. Next.”

Skolnic’s Customer #5 exits stage-right. Thomas Typewriter and Ophidia Operahouse step forward to the counter. Everyone in the queue behind them moves forward. SKOLNIC’S CUSTOMER #11 enters from stage-left and stands at the end of the queue.

ABELARD ABLE
“What can I get you today?”

THOMAS TYPEWRITER
“Oh, thank you. Let’s see. I’ll have the Gyro on a Waffle with a Garden Salad Shake, please.”

OPHIDIA OPERAHOUSE
“And, I’ll have an Italian Beef on Wafer Cookies with a small Cracker Cookie.”

ABELARD ABLE
“No problem, and thanks for visiting today. Will you be paying separately or together?”
Ophidia and Thomas look at each other in surprise and shrug.

THOMAS TYPEWRITER
“Together. I’ll pay.”

OPHIDIA OPERAHOUSE
“Okay, but I get the movie tickets to even it out.”

THOMAS TYPEWRITER
“(looking at Ophidia) Deal. (turns to Abelard) Sorry, how much was it?”

ABELARD ABLE
“No problem. $17.54 is the total.”

Thomas Typewriter pays. Abelard hands him a receipt.

ABELARD ABLE
“Okay, so here is your receipt. Your order number is 8901 and will be ready at the the other counter. Next.”

Thomas Typewriter and Ophidia Operahouse exit stage-left.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARD, UP OVER THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES UPWARD ALONG THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT THE TOP. THE CAMERA SLOWS AND STOPS WHEN FRAMING THE HIGH-STAGE.

HIGH-STAGE: THE FOREVERCAGE

The static void of the Forevercage spills across the screen. A few moments pass before the Inner-Space Egg enters from screen-right.

PAN IN UNTIL THE EDGES OF THE HIGH-STAGE ARE NOT-VISIBLE. THE BLACKNESS OF THE FOREVERCAGE SHOULD FILL THE SCREEN.

THE INNER SPACE MAN
(off-screen) “…1, 098, 899…”

There is a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 900…”

Again a short HUM noise from the Space Egg as its middle band partially lights up then shuts off.

THE INNER SPACE MAN
(off-screen) “…1, 098, 901…”

This time the HUM noise is loud and long as the entire middle band and eye-ring of the Space Egg light up. It stops drifting and comes to a halt. We can hear MORE BUTTON PUSHING and SYSTEMS POWERING UP.

THE SPACE EGG
“Finally.”

THE INNER-SPACE MAN
(off-screen) “Tell me about it.”

THE SPACE EGG
“So what now.”

THE INNER-SPACE MAN
“We see if forever has an end.”

The Space Egg flies off exiting stage-right. The High-stage curtains close.

FADE OUT

The Great Works Project: Season Three, Episode Three script

scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season 03, Episode 03

By Thomas Typewriter

(c) 2020

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

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. THE UNROOM NOT.SEVEN

The unroom Not.Seven fades into view. A large room of an indefinable undiscernible size. A large wooden disc sits on the floor near what could be the center. Radiating out in waves from the wooden disc are rows of grey carpet squares. Spindly tall metallic lamps, with cords snaking off into the distance, stand at the ends of the rows. The lamps cast a soft light across the wooden disc and carpet squares, but not much else of the unroom. THE OUTER ONE sits on one of the carpet squares looking at a paper cut on one of their hands.

POV OF THE OUTER ONE

CUT TO CS OF THE PAPER CUT

The tip of the finger with paper cut is a translucent blue. Abstract text in a different shade of blue can be seen gliding over the changed area. A change, a glitching, appears to be spreading out from the paper cut. The Outer One stares at the paper cut for a few moments before the sound of TYPEWRITER KEYS CLICK CLACKING drift in from outside their focus.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

THE CAMERA TILTS BACK, RETURNING THE OUTER ONE’S POV GAZE TO THE WOODEN DISC.

The wooden disc sits empty. Unseen lamps over the disc turn on and the TYPEWRITER ABSTRACT PUPPET STAGE appears in the center of the wooden disc.

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

THE CAMERA PANS INWARDS TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE’S MID-STAGE AREA. IT MOVES IN TILL THE MID-STAGE’S CURTAINS FILL THE FRAME.

The Mid-Stage curtains open. Surprisingly the stage lights are already on.

MID-STAGE: DISHEVELED AND DAMAGED

THOMAS TYPEWRITER and a HELPING HAND stand center stage, surrounded by broken sets and scattered props. Thomas is trying to sweep up the mess into a dustpan held by the Helping Hand. He turns and looks at the camera.

THOMAS TYPEWRITER
(sweeping the floor) “Give us a moment to tidy this up will you.”

The curtains close and the sound of the stage being CLEANED AND RESTAGED can be heard. The curtains reopen, with the stage lights off. Once the curtains have fully opened, the stage-lights turn on with THE CLICK OF A LIGHT SWITCH TURNING ON revealing…..

MID-STAGE: EXT. OPERAHOUSE’S FRONT PORCH, DAYTIME

A wooden front porch runs across the width of the stage. A storm door sits off to the stage-right. A canoe sits in the rafters of the porch near the stage-left side. Various planters, all empty, sit on the hand rails. An outdoor thermometer can be seen next to the storm door. It currently reads 36 degrees Fahrenheit. THOMAS TYPEWRITER enters from stage-left. He walks along the length of the porch to the storm door. He RINGS the doorbell. No answer. He RINGS the doorbell a second time and waits. Still no response. Thomas looks around in confusion. He RINGS the doorbell a third time and waits.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS STRAIGHT UP. IT MOVES UPWARD PAST THE TOP OF THE MID-STAGE SETS REVEALING THE CURTAIN OF CLOUDS BEHIND. THE CAMERA FOLLOWS THE CURTAIN OF CLOUDS UP TO THE HIGH-STAGE AT THE TOP. THE CAMERA STOPS ONCE THE HIGH-STAGE IS PROPERLY FRAMED.

HIGH-STAGE: CURTAINS CLOSED

The High-stage curtains part. Once fully opened, the stage lights turn on, with the sound of A COMPUTER BOOTING ON, revealing…

HIGH-STAGE: INT. FOYER OF GRIM MANOR, DAYTIME

Welcome to the domicile of the current Grim Reaper of this reality, Grimson Grimaldi, and his family. An imposingly large front door sits in the center of the stage, flanked by cascading stained glass windows on either side. An elaborate staircase, with handrails made of various bones, runs along the stage-right side of the front door. On the stage-left side sits a large wall covered in various pictures of the Grimaldi Family. The staircase and the picture wall each have openings leading to other rooms in the house. A chandelier made of a large dinosaur skull covered in candles hangs above it all.
A silhouette of a figure can be seen through the stained-glass windows walking up to the door. The DOORBELL RINGS. A brief pause then it RINGS a second time. ELDRED GRIMALDI, eldest of Grimson’s seven sons, pokes his head out from the entryway under the stairs.

ELDRED GRIMALDI
(yelling upstairs) “Dad, Door!”

The DOORBELL RINGS again

ELDRED GRIMALDI
“Dad! Someone’s at the door!”

The DOORBELL RINGS a fourth time.

ELDRED GRIMALDI
(to self) “Just great, he’s still sleeping.” (Shouts) “Don’t anybody else bother themselves, I’ll get it.”

Eldred walks out and opens the front door. Outside he finds POSTMAN #33 FROM THE DEAD LETTER OFFICE waiting. Suppliers of the notices of who will die, the Dead Letters Office dispatches its fleet of postmen to the Grim Reapers of all the realities. Postman #33 hands him a package.

POSTMAN #33
“Thank you.”

Postman #33 turns and leaves. Eldred Grimaldi shuts the door. He opens the package and pulls out a scroll with “Updated Book of the Dead” printed on the outside. Unfurling the scroll, he takes a moment to read it.


ELDRED GRIMALDI
(to self) “Hmmm no Obsidian or Waxwings. Really thought they’d be on here after their ship blew up last season. Oh well.” (Shouts) “Anyone wanting to help collect the dead meet me out front in two minutes or else I am leaving without you.”

Eldred leaves through the front door. His silhouette can be seen through the stain-glass windows walking off stage-right.

Eldred Grimaldi’s six brothers race out from the other rooms and upstairs. EMHREN GRIMALDI, ENNER GRIMALDI, and EOVEN GRIMALDI run out from the entryway under the stairs. EPPLIS GRIMALDI, EQUES GRIMALDI, and ELDRITCH GRIMALDI emerge from the entryway by the family photos. If it helps, the birth order of the seven brothers from oldest to youngest is Eldred, Emhren, Enner, Eoven, Epplis, Eques and Eldritch. Eldred appears to be in his mid-twenties while Eldritch appears seven years old.

The silhouette of a carriage pulls up in front. The siblings run to the front door and open it. Eldred Gimaldi sits outside on THE CART OF SOULS pulled by a ghostly steer named SQUANDERED CHOICE CUTS. The brothers hop into the pile of hay in the back of the cart. Elder shakes the reins and Squandered Choice Cuts starts to walk pulling the cart off-stage. The front door swings closed with a loud SLAM.

THE GRIM REAPER GRIMSON GARIBALDI
(from off-stage, upstairs) “Boys, is there someone at the door?”

GRIMSON GARIBALDI, an unlit joint dangling from his skeletal mouth, enters at the top of the stairs. Dressed in a red bathrobe, he looks around.

THE GRIM REAPER GRIMSON GARIBALDI
“Must be hearing things.”

He walks down the stairs and over to the phone. He pulls out a coupon, uncrumples it, then dials the phone. RINGING RINGING…then CLICK as SHELDON SMALLBREADS, employee of the month at Pizza Squad take-out pizza, answers the phone.

SHELDON SMALLBREADS
(voice over)“Hello and thank you for calling Pizza Squad, the only pizza place that offers pizza as a topping choice. How can I help you today.”

THE GRIM REAPER GRIMSON GARIBALDI
“Do you honor coupons that are found under my fridge?”

SHELDON SMALLBREADS
(voice over)”What?”

THE GRIM REAPER GRIMSON GARIBALDI
“Like, I dropped a grape and it rolled under the fridge. I would of let it go, but it was the last grape and I was really into grapes that day, so I rolled the fridge out, got a broom and dustpan because it was all dust and stuff and found a coupon stuck to the floor in something sticky. Never did find that grape though. Man, I could really go for some grapes now. Anyway, I can’t read the expiration date and it is really crinkly. Like is there a maximum amount of crinkleness before it is unacceptable? Is it okay if part of it is still sticky?”

SHELDON SMALLBREADS
(voice over)”Uhhhhh…”

THE GRIM REAPER GRIMSON GARIBALDI
“And lastly does it have to be a Pizza-Pizza coupon? This one I found is for a free burger at Star Sprinkles. Burgers, Pizzas, they’re both round, so that works right?

SHELDON SMALLBREADS
(off-stage) “Uhhhhh…what.”

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

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, TRANSITIONING FROM HIGH-STAGE TO MID-STAGE. IT MOVES DOWNWARD ALONG THE CURTAIN OF CLOUDS, OVER THE TOP OF THE MID-STAGE SETS, AND FINALLY STOPPING FRAMING MID-STAGE.

MID-STAGE: EXT. OPERAHOUSE FRONT PORCH, DAYTIME

THOMAS TYPEWRITER stands in front of the front door waiting for someone to answer. Having already tried the doorbell three times, he knocks on the door. No answer. He knocks again. Still, no answer. He leans in attempting to peer through the window in the door, hoping to spy someone in the house, when….

OPHIDIA OPERAHOUSE
(off-stage) “Thomas is that you?”

Thomas looks around.

OPHIDIA OPERAHOUSE
(off-stage) “Over here.”

Thomas turns and looks over the rail. He spots Ophidia off-stage and waves.

THOMAS TYPEWRITER
“Yeah, it’s me.”

OPHIDIA OPERAHOUSE
“What are you doing here?”

THOMAS TYPEWRITER
“I came here to see you. (looks around) Should I go down there or are you coming up here.”

OPHIDIA OPERAHOUSE
“Stay there, I’ll be right up.”

Thomas waits. The front door opens and Ophidia steps out. They hug.

OPHIDIA OPERAHOUSE
“Sorry about that. I was downstairs animating and I couldn’t hear the doorbell. Were you waiting long.”

THOMAS TYPEWRITER
“No, not long”

OPHIDIA OPERAHOUSE
“Good. So what did you want to talk about.”

Thomas kneels down onto one knee. He reaches up, taking one of Ophidia’s hands in his.

OPHIDIA OPERAHOUSE
“Are you about to do what I think you are?”

THOMAS TYPEWRITER
“Well, this is very stereotypical, so yes. Ophidia,…”

ZOOM IN ON THE COUPLE

THOMAS TYPEWRITER
“Ophidia…no one wants my scripts, I am broke, I am not getting any younger, You can definitely do better, but…”

Thomas pulls out the jewelry box.

THOMAS TYPEWRITER
“So, what do you say?”

OPHIDIA OPERAHOUSE
“I say that’s a horrible proposal.”

The stage-light turn off with the sound of a LIGHT SWITCH CLICKING OFF. The Mid-stage curtains close.

FADE OUT

updating…

From the desk of Thomas Typewriter, Up Late, Late at Night

The storm last week covered our streets in tree branches. Everywhere I drive in The City of Champions, there are piles of debris in every yard. Luckily, my house and family were unharmed. Just giant elm branches and drooping telephone lines in my backyard. The branches I’ll work into building some new garden beds. The dropping telephone line I’ll try to convince the Utility company to come out and fix. Automated customer service prompts here I come.

Up Late, Late at Night continues its glacial pace forward. Ophidia is out of habit on storyboarding, so she is working to get back into a groove.  I have no room to complain, because I am no speed demon when it comes to the scripts. I’ll post the  Season One, Episode One, Act Five script on Wednesday. Then I’ll finish and post the Act Six script next week.  After that, Ophidia will work on storyboards while I start constructing puppets. 

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 Nine

By Thomas Typewriter

(c) 2020 thomas typewriter

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: “02-09”. 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

INT. THE UNROOM NOT.SEVEN
THE OUTER ONE sits patiently on a small square of carpet in the Unroom Not.Seven. The patches of carpet radiate out from a wooden disc in the potential center of the unroom like waves ripples on a pond.

POV OF THE OUTER ONE LOOKING AT FLOOR

The Outer One has out all his/her golden coins. They are on the floor in a stack. They glint in the soft light cast from the spindly metallic lamps at the end of each row of carpets. TYPEWRITER KEYS CLICK CLACK. The Outer One picks up his/her coins and puts them away.


POV OF THE OUTER ONE AS THEY STAND AND MOVE.

Then they scoot up a few rows to a closer seat to the wooden disc.

POV OF THE OUTER ONE SITTING DOWN AND THEN LOOKING AT THE WOODEN DISC.

The disc sits empty and cloaked in shadow. The metallic lamps do not quite seem able to light the stage, their illumination giving the feeling of bouncing off it. Unseen lamps above the wooden disc flip on changing the view ever so slightly that the TYPEWRITER ABSTRACT PUPPET STAGE materializes in the center of the wooden disc.

TRANSITION FROM THE UNROOM TO THE TYPEWRITER ABSTRACT PUPPET STAGE

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

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. DAYTIME
THOMAS TYPEWRITER sits at his writing desk in the center of the stage, reading “Latchkey Kids of Randomness” by John W. Wheelwright. A typewriter and ream of paper sit on top of while a lamp and wastebasket sit on either side of the desk. Behind him, and off to stage-right stands a small bookcase adorned with various houseplants.

Hold on him reading for three to five minutes as he shifts back and forth. A PHONE VIBRATES breaking the serene scene. Thomas removes the phone from his pocket and answers it.

THOMAS TYPEWRITER
“Hello, yes this is Thomas. Oh hi Mark. Sure, I have a minute.(puts a bookmark in the book and closes it) So what’s the good news.” (stands up and starts to pace)

TRANSITION FROM THE MID-STAGE TO HIGH-STAGE

THE CAMERA SHAKES LOOSE FROM MID-STAGE AND PANS UPWARD. IT MOVES PAST THE TOP OF THE MID-STAGE SETS TO SEE THE CURTAIN OF CLOUDS LINING THE BACK OF THE STAGE BEHIND THE SETS. IT CONTINUES TO PAN UPWARD FOLLOWING THE CURTAIN OF CLOUDS. IT MOVES TO THE TOP OF THE CURTAIN TO WHERE THE HIGH-STAGE IS LOCATED. IT STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: CURTAINS CLOSED
The High-stage curtains, as also the Narrator’s Door, are closed. On the edge of the High-stage, with feet dangling over the edge, sits GRIGIO COLORI reading a scriptbook. If we look closer we can see that he is reading the scriptbook for the complete series of “The Great Works Project”.

GRIGIO COLORI
(to self) “So that’s what happens next.”

The High-stage curtains start to part. Grigio sets the scriptbook on the floor. He stands and stretchs. The curtain finishes opening. Grigio misses this but we can just see that the curtain has caught the scriptbook and dragged it off to the side. It falls out of view, over outside the frame. The stage lights turn on, with the sound of A COMPUTER BOOTING UP, revealing…

HIGH-STAGE: INT. THE CARRO OBSERVATION LOUNGE
The Observation lounge is in a sad state, showing signs of excessive damage from the celestial storm. Wires hang from the ceiling. Scattered debris covers the floor. Dim amber emergency alarms blink through the smoke pouring in from off-stage. CARRO’S terminal is toppled over. CEDAR WAXWINGS lies pinned by the arm under rubble stage-left while LUCIDO OBSIDIAN is pinned by his legs under a fallen terminal stage-right. Lucido has one hand resting on his guitar.

GRIGIO COLORI
“Well this seemed a lot worse in the script. (looks around) Time to be a hero.”

Grigio shimmers and his body gains a red and blue stripe replacing two of his grey stripes. He shimmers a second time. The red and blue stripes have returned back to grey but AZURE COLORI and ROSSO COLORI now stand next to him. They exchange knowing nods.

Grigio walks over to Carros’ terminal. He looks through the rubble for Carro’s brainbox.
Meanwhile Azure Colori heads over to Lucido and puts his hands on him. A blue spotlight illuminates them while a METALLIC SPARKLE plays in the background. The spotlight and spakle turn off.
At the same time, Rosso walks over to where Cedar is pinned and kicks the debris off-stage. It arcs up and out of sight. He scoops up Cedar. He then walks over and kicks the debris off Lucido. The terminal crashes off stage. Azure scoops up Lucido.

There is a CRACKING SOUND LIKE A GUNSHOT. Grigio turns…

CUT TO CS OF THE GLASS CRACKING

CUT TO CS OF GRIGIO’S EYES IN SURPRISE…

CUT BACK…

GRIGIO COLORI
“Well gentlemen, looks like our time grows short. The Music Pit is too far, but our rainbows should be able to reach the Flute.”

He finds Carro’s braninbox and walks over to the rest of the group. There is a shimmer and they all disappear in a grey, blue, & red rainbow.

CUT TO MS OF THE OBSERVATION WINDOW AS IT STARTS TO SPIDERWEB WITH CRACKS.
CRACK CRACK CRACKLE

The window shatters outward. The atmosphere starts to escape through the window sucking out all the air and loose debris. The loose wires are pulled taunt towards the open window. The stage lights turn of with the sound of A COMPUTER SHUTTING DOWN and the curtains close.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD, DISENGAGING FROM HIGH-STAGE TO TRANSITION TO THE CURTAIN OF CLOUDS. IT CONTINUES TO FOLLOW THE CURTAIN DOWN TO THE MID-STAGE SETS. IT SLIDES OVER THE TOP OF THE MID-STAGE SETS TO FINALLY STOP WHEN PROPERLY FRAMING MID-STAGE.

MID-STAGE: INT. THOMAS TYPEWRITER’S STUDIO. DAYTIME
THOMAS TYPEWRITER paces while speaking on the phone.

THOMAS TYPEWRITER
“So they’ve let the options expire. Okay, that sucks. What about one of the other studios. No. Really no one is interested. Okay, that sucks. Yeah, I know no guarantees in life. Yeah, I’ll be fine. Maybe. I might have something new. Not sure yet. I’ll let you know. Thanks. You too. Talk to you later. Bye.”

Thomas sets his phone down. He sits down in his chair, facing off to the side slightly. He does not finish scooting it in, but instead just stares out lost in his thoughts.

The stage lights turn off with the sound of A LIGHT SWITCH CLICKING while the curtains close.

FADE OUT

The Great Works: Season Two, Episode Seven script

Puppet play, The Great Works Project scripts, Uncategorized

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Seven

An Intermission

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

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

FADE OUT

FADE IN

INT. UNROOM NOT.SEVEN IN THE UNDECORATED SPACE

A wooden disc stands ready in the center of a large space. The corners of the room, though visually indeterminable, are felt. Grey squares of carpet radiate out from the wooden disc like rows of seats in an amphitheater. Light from spindly metallic lamps at the ends of the rows illuminate the carpets and to some degree the features of THE OUTER ONE sitting there.

OPEN WITH POV OF THE OUTER ONE LOOKING AT ONE OF THE LAMPS.

The sound of TYPEWRITER KEYS CLICK CLACKING drifts from out of view as the bulbs in the lamp flitter in response.

PAN UP AS THE OUTER ONE SHIFTS HIS GAZE FROM THE LAMP TO THE WOODEN DISC.

The wooden disc sits empty, shrouded in shadows cast by not-there shapes. Unseen lamps above the disc turn on, casting out the shadows shape-less while also revealing 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 TILL IT FILLS THE FRAME

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 KITCHEN

A sink, countertop, and stove run along the back of the stage. A table sits of to stage-left and a refrigerator sits of to stage-right. Three cabinets hang over the countertop. THOMAS TYPEWRITER, dressed in a chef’s apron, is at the stove stirring a marinara sauce in a saucepan. A second pot sits on the stove steaming. He removes the lid and drops in a box of dried pasta that he retrieves from a nearby cabinet. NEW WAVE STYLE MUSIC plays from a nearby speaker. DOORBELLS CHIME catching Thomas’ attention. He stirs the sauce one more time before stepping off stage stage-right to answer the door.

DOOR LOCKS UNLOCK and DOOR HINGES CREAK.

OPHIDIA OPERAHOUSE
(off-stage) “Hi. Hope I’m not too late.”

THOMAS TYPEWRITER
(off-stage) “No right on time. You’re looking very pretty tonight.”

OPHIDIA OPERAHOUSE
(off-stage) “Thanks. You look good too. Here, I got these for you.”

THOMAS TYPEWRITER
(off-stage) “Thank you, they’re beautiful.”

OPHIDIA OPERAHOUSE
(off-stage) “Sure thing.” (sniffs) “Wow, something sure smells good.”

THOMAS TYPEWRITER
(off-stage) “That would be the marinara. I was going to make something else but I didn’t have any capers.”

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA PANS UPWARDS MOVING OVER THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS BEHIND. IT CONTINUES FOLLOWING THE CURTAIN OF CLOUDS TO THE HIGH-STAGE AT TOP. THE CAMERA SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE

HIGH-STAGE: CURTAINS CLOSED

PAN IN ON HIGH-STAGE TILL PROPERLY FRAMED

The High-stage curtains part and the stage lights turn on with the sound of A COMPUTER TURNING ON revealing…

HIGH-STAGE: EXT. THE MULTI-COLORED HIGHER PLANES OF REALITY

The stage is filled with a psychedelic swirling of colors. A miniature of THE SPACE EGG enters stage-left. It rapidly flies across the stage. Chromatic waves spread in its wake. When it reaches mid-stage, there is a SONIC BOOM and the Space Egg flies even faster, exiting stage-right. The High-stage curtains close and then reopen revealing…

HIGH-STAGE: INT. THE SPACE EGG

The INNER-SPACE MAN sits in a sleek astronaut’s chair. In front of him sits a curved console and a curved view screen. The console has a center monitor in the shape of a circle bisected by a long rectangle. This is the Space Egg’s text display. All of the Space Egg’s dialogue will scroll across the text display at the same time it is heard by the Inner-Space Man and audience. So as the Space Egg speaks, the words also scroll across the text display. Around the text display sit various sized hexagonal buttons. The view screen sits on a curved wall coming off the console. It bears the same circle bisected by a rectangle design, only much larger. It is currently displaying the many colors of the Higher Planes of Reality that the ship is flying through.

THE SPACE EGG
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

THE INNER-SPACE MAN
“Maybe some music to travel by.”

THE SPACE EGG
“Yes, please.”

The Inner-Space Man presses a button. What comes out of the speakers is not music though. A FAINT MUFFLED MURMURING plays.

THE SPACE EGG
“What music did you pick. This is horrible.”

THE INNER-SPACE MAN
“I don’t know what this is. This is not what I wanted.”

The Inner-Space Man leans in closer to the speaker in the console.

INSERT CS OF THE INNER-SPACE MAN LISTENING TO THE SPEAKER.

NOISE FROM SPEAKER
(very faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(less faint) “Biff. Biff. Time for dinner. Time to stop pretending and wash up for dinner.(loud) BIFF!”

CUT BACK TO…

The Inner- Space Man jerks his head away from the speaker. He tries to press a button but the High-stage stage lights turn off cutting him off. The High-stage curtains close then reopen revealing…

HIGH-STAGE: INT. BIFF’S BEDROOM, LATE AFTERNOON

A bed sits center stage, flanked by an end table on one side and a steamer trunk on the other. Posters of various characters from the Cosmic League comic and the Babysitter Tales adorn the walls. A window sits to the side. Sunlight streams in. BIFF, colander crowned, sits in a cardboard box atop the bed. ROCKEY THE PET ROCK sits to the side. The box is decorated in crayon such that it looks like the Space Egg.

ROCKEY THE PET ROCK
“New route entered. Rerouting. Rerouting. Rerouting. Route set. Oceans of Tears here we come.”

BIFF
“Maybe some music for our travels.”

ROCKEY THE PET ROCK
“Yes, please.”

Biff pretends to press some buttons, creating a beep sound effect for each one. He then starts to hum, pretending it is the music coming out of the speakers. Rockey closes his eyes. He sways to the melody.

BIFF’S MOTHER
(off-stage)”Biff. Biff. Time for dinner. (louder) Biff. Biff. Time to stop pretending and wash up for dinner. (louder) BIFF!”

Biff takes off the colander.

BIFF
“Uh-oh. (yelling off-stage to mother) Sorry Mom. Be right down. (to Rockey) Guess pretend time is over. Let’s go wash up.”

Biff gets out of the box and hops off the bed. He turns and picks up Rockey.

BIFF
“I sure hope Mom’s made mashed potatoes.”

ROCKEY THE PET ROCK
“With scallions sprinkled on top.”

BIFF
“You know it. That’s the best.”

They exit stage-right. We can hear the sound of FOOTSTEPS descending stairs. The footsteps fade into the distance. The stage lights turn off to the sound of A COMPUTER TURNING OFF as the High-Stage curtains close.

TRANSITION FROM THE HIGH-STAGE TO THE MID-STAGE.

THE CAMERA UNCOUPLES FROM FRAMING THE HIGH-STAGE AND PANS DOWNWARD. IT MOVES ONTO THE CURTAIN OF CLOUDS AND CONTINUES DOWN ITS LENGTH. IT COMES TO THE TOP OF THE MID-STAGE SETS AND GLIDES OVER THEM. THE CAMERA STOPS ONCE MID-STAGE IS PROPERLY FRAMED.

MID-STAGE: INT. THOMAS TYPEWRITER’S KITCHEN

Ophidia Operahouse grabs some plates from the cupboard and walks over to the table. She sets out the plates, cups, and silverware. Her flowers sit in a vase in the center of the table. Thomas follows with a bowl of salad and a bowl of bucattini with marinara.

THOMAS TYPEWRITER
“So was your mom was always trying to save money.”

OPHIDIA OPERAHOUSE
“Oh yeah. Always. She would talk about how there were too many bills or how dad’s income was not a steady thing. Stuff like that.”

THOMAS TYPEWRITER
“My mom too. Though never while we were on vacation now that I think about it.”

Thomas and Ophidia sit down on opposite sides of the table.

OPHIDIA OPERAHOUSE
“I would of loved that. My mom was still worried about money on vacation. Maybe even more so.”

Thomas fold his hands for a moment of silence. Ophidia catches herself and does likewise. She crosses herself and puts her hands together in prayer. When finished she starts serving herself some food, then passing to Thomas.

THOMAS TYPEWRITER
“Sorry, you were saying.”

OPHIDIA OPERAHOUSE
“Yeah, my mom would try to find some way to save money, like to an almost comical level sometimes.”

THOMAS TYPEWRITER
“What do you mean?”

OPHIDIA OPERAHOUSE
“Like for example, we went to Disneyworld when I was in seventh grade.”

THOMAS TYPEWRITER
“Ooo..luckey. Never been. Was it fun.”

OPHIDIA OPERAHOUSE
“The funnest, right. But my mom was nervous we wouldn’t have enough so she’d pack all this food in her purse for us to eat.”

THOMAS TYPEWRITER
“Can you even fit enough food in a purse for that?”

OPHIDIA OPERAHOUSE
“No. See that was the thing. As good as my Mom was at worrying she was inversly good at planning and scheduling.”

THOMAS TYPEWRITER
“Okay.”

OPHIDIA OPERAHOUSE
“So she got flustered and packed a lunch of cottage cheese and grapefruits.”

THOMAS TYPEWRITER
“Wait..Cottage Cheese? As in that stuff in the plastic tubs?”

OPHIDIA OPERAHOUSE
“Yup.”

THOMAS TYPEWRITER
“Isn’t that a refrigerated item.”

OPHIDIA OPERAHOUSE
“Yes it is. Do you know what two tubs of cottage cheese are like after a day of flopping around in the bottom of a purse in the hot Florida sun?”
Thomas giggles.

OPHIDIA OPERAHOUSE
“Gross. That’s what they are.”

Thomas laughs. Ophidia starts to giggle, soon joining him in laughter. The stage-lights click off, with the sound of A LIGHT SWITCH CLICKING OFF, and the Mid-stage curtains close.

FADE OUT

The Great Works Project: Season Two, Episode Six script

Puppet play, scripts, The Great Works Project scripts

———–<.thom.>———–

THE GREAT WORKS PROJECT

a puppet play in many parts

Season Two, Episode Six

By Thomas Typewriter

(c) 2020

———–<:type:>———–

FADE IN TO BLACK

From the bottom of the screen scrolls up the following text: 02-06. 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

A vast cavern of a room, with unseen corners, the Unroom Not.Seven has near its center a wooden disc surrounded by rows of grey carpet squares. From the ends of each row of carpet squares, spindly metallic lamps cast a dim light. The unroom’s lone occupant, THE OUTER ONE, sits on one of the squares spinning a golden coin.

POV OF THE OUTER ONE

The coin spins, solidity turning to ethereal turning back to solidity. As the coin slows we can see it has a simple abstract carving of an anvil on one side and a hammer on the other. They pick up the coin and spin it again.

TYPEWRITER KEYS CLICK CLICK CLACK.

The Outer One stops the spinning coin and looks towards the wooden disc.

POV OF OUTER ONE LOOKING AT THE WOODEN DISC

The disc is empty initially but unseen lamps burst to life over the wooden disc revealing THE TYPEWRITER ABSTRACT PUPPET STAGE sitting mid-disc.

TRANSITION FROM THE UNROOM TO THE TRYPEWRITER ABSTRACT PUPPET STAGE.

PAN IN TOWARDS THE TYPEWRITER ABSTRACT PUPPET STAGE
TRANSITION FROM THE TYPEWRITER ABSTRACT PUPPET STAGE TO HIGH-STAGE

ADD AN UPWARD MOVEMENT TO THE PAN IN TO MOVE THE CAMERA TO THE HIGH-STAGE AREA OF THE TYPEWRITER ABSTRACT PUPPET STAGE.

As the camera nears the stage, the main curtains open revealing…

HIGH-STAGE: CURTAINS CLOSED

GRIGIO COLORI enters from stage-left. He walks about a quarter of the way across the stage then SNAPS his fingers. The High-Stage curtains part revealing…

HIGH-STAGE: INT. ORFE.O SPARKSHIP’S COMMUNICATION CENTER

The sparkship Orfe.O’s communication center or observation deck, is a room arraigned like an amphitheater with a giant view screen across the back. On the screen is the ship’s AI ORFEO, rendered in a wireframe animation style.

The Orfe.O’s crew of nine females, each dressed in virtual reality gear, stand in an arc in front of the viewscreen facing the audience. Each bears a name tag with not a name, but her title and rank within the ship. From stage-left to stage-right stands VR-1, VR-2, VR-3, VR-4, VR-5, VR-6, VR-7, VR-8 and VR-9. (note: They would pronounce it as Very One, Very Two, Very Three…) All nine wear the same basic style of VR gear, with helmet, visor and gloves wired to long cords running off stage. Each has added her own individual decoration to personalize her gear. VR-1 has a writing pad sticker on her VR helmet. VR-2 has a scroll and quill sticker on her VR gear. VR-3 has a sticker of a flute. VR-4’s VR gear is decorated with roses. VR-5 has stickers of boots on her VR gear. VR-6’s VR gear bears no decoration. VR-7’s VR gear has a sticker of the silhouette of a ballerina. VR-8’s VR gear has a joker playing card taped onto it. Stars cover VR-9’s VR gear.
Each is busy working at her virtual reality work station. Though they can see their workstations, we cannot. To us it will appear as if they are pantomiming navigating the sparkship and running its systems.

ORFE.O
“Minimal structural damage. Orchestra Pit recommends a sixty degree declination to avoid any further structural damage.” (notices Grigio) “Hey, what are you doing here?”

Grigio SNAPS his fingers and the High-Stage curtains close. He moves to the center of the stage and SNAPS his fingers again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. DIDO+AENEAS SPARKSHIP’S OPERATIONS ROOM

The Dido+Aeneas Operations room has the appearance of two different rooms stuck together. The stage-left side, or the AI DIDO’s side of the stage, is decorated in silver and chrome with a large viewscreen at an angle to the stage-front. The viewscreen fills half the stage. DIDO’s face can be seen in the viewscreen. The other side of the stage belongs to the ship’s other AI AENEAS. It is decorated in hues of gold and bronze. A large viewscreen fills half the stage at a complementary angle to Dido’s viewscreen. AENEAS’s face can be seen in this viewscreen. The two viewscreens are angled such as to form a v, with the stage-left and stage-right sides being closest to the stage front and the center, or where they meet, recessed back.
Two robots, the DIDO-BOT and the AEN-BOT, dance a slow waltz across the triangular area between the viewscreens. The Dido-bot is chrome in color wearing a golden dress with silvery accents. The AEN-BOT is golden in color but wearing a silvery suit accented with bronze. THE BLUE DANUBE WALTZ BY JOHANN STRAUSS II PLAYS as the robots dance.

DIDO
(regular voice) “Oh I remember this song. We danced to it at our wedding.” (more mechanical voice) “Energy spikes detected. Orchestra Pit recommends rerouting.”(regular voice) “How long has it been Aeneas.”

AENEAS
(mechanical voice) “Rerouting orbit.” (normal voice) “The uplifted heart collects no calendars my love.”

The Dido-Bot and Aen-bot dance while Grigio walks across the stage. He mistimes stepping around and they bump into each other. The robots stop.

DIDO
(normal voice) “Who’s that?” (mechanical voice) “Reroute vectors assigned.”

AENEAS
(mechanical voice) “Compensating fuel ratios” (regular voice) “Oh it does appear to be one of Colori’s many faces. What did it call itself. Help me out sweetheart. Not the rage, not the soothing, the individualist.”

DIDO
(normal voice) “Grigio dear.”

AENEAS
(normal voice) “Grigio. Yes that’s it.”

GRIGIO COLORI
“Hi. Sorry about disturbing your dance.”

DIDO
(mechanical voice) “Acceleration within acceptable parameters.” (normal voice) “Apology accepted. What grand adventure brings you to our love nest. Something heroic I hope.”

GRIGIO
“I’m on my way to the Carro.”

AENEAS
(normal voice) “Well good luck then.” (mechanical voice) “Sub-deck electronics within acceptable parameters.”

The Dido-bot and Aen-bot resume dancing. Grigio SNAPS his fingers and the curtain closes. He walks a little ways and SNAPS again. The High-stage curtains reopen revealing…

HIGH-STAGE: INT. JULIAN-3 SPARKSHIP COMMAND DECK

Two rows of terminals run across the stage, with the back row raised higher than the front. Each terminal, except one, is manned by a holographic projection of the ship’s AI JULIAN THREE. The unmanned terminal is broken. Its burned and cracked with wires spilling out.

JULIAN 3.0
“Hull intergity 85%.”

JULIAN 3.1
“We have successfully emerged from the storm.”

JULIAN 3.4
“Redirect all sensors to surrounding space. Danger may still be afoot.”

JULIAN 3.6
“Ship systems have sustained damage. 65% efficiency.”

JULIAN 3.14
“Not to mention Julian 3.15 getting stabbed multiple times by the lightning strikes. Talk about a highly charged situation.”

Grigio laughs at his joke and hi-fives Julian 3.14. All the Julians look at them. Grigio snaps his fingers and the curtains close. Grigio exits stage-right.

TRANSITION FROM HIGH-STAGE TO MID-STAGE

THE CAMERA PANS DOWNWARD. IT MOVES OFF FROM THE HIGH-STAGE TO THE CURTAIN OF CLOUDS BENEATH. IT FOLLOWS THE CURTAIN OF CLOUDS DOWNWARD TO THE TOPS OF THE MID-STAGE SETS, GLIDING OVER THEM TO FINALLY SETTLE PROPERLY FRAMING MID-STAGE.

The Mid-Stage curtains are open and the stage lights are on when we join the scene revealing…

MID-STAGE: INT. THE ALEXANDRIAN LIBRARY SECOND FLOOR, AFTERNOON

An entrance way and large window stand to the stage-left while a small table and bookshelves stand to the stage-right. Signs hang over the entrance way denoting “Non-fiction” and “Fiction” stage-right while “Checkout” is stage-left and downstairs. The small table has a series of books on display. A sign on the table reads “Staff Picks”.
On the floor next to the staff picks we find THOMAS TYPEWRITER sitting on the floor reading “Latchkey Kids of Randomness” by Jonathan J. Wheelwright. He reads in silence for a few moments before THE LIBRARY AIDE enters from stage-right. Pushing a rolling cart filled with books to reshelve, the Library Aide spots Thomas and moves closer.

THE LIBRARY AIDE
“Excuse me sir.”

Thomas marks his place in the book and then looks up.

THOMAS TYPEWRITER
“Yes.”

THE LIBRARY AIDE
“Is everything alright.”

THOMAS TYPEWRITER
“Yes. Sorry, this book drew me in. Lost track of time.”

THE LIBRARY AIDE
“Oh, that’s fine. It happens more times than you’d believe.”

THOMAS TYPEWRITER
“Do you know what time it is.”

THE LIBRARY AIDE
(looking at watch) “3pm.”

THOMAS TYPEWRITER
“Oh boy, I am going to be late. Do you know where the cooking books are?”

THE LIBRARY AIDE
“Real close. Head straight back three rows. On your left.”

THOMAS TYPEWRITER
“Thanks.”

THE LIBRARY AIDE
“No problem.”

Thomas walks off stage right bringing the book with him.

TRANSITION FROM MID-STAGE TO HIGH-STAGE

THE CAMERA UNCOUPLES FROM MID-STAGE AND GLIDES UPWARD. IT PANS UPWARD PAST THE TOPS OF THE MID-STAGE SETS TO THE CURTAIN OF CLOUDS, CONTINUING UPWARD TO THE HIGH-STAGE AT THE TOP OF THE CURTAIN. IT SLOWS AND STOPS WHEN PROPERLY FRAMING HIGH-STAGE.

HIGH-STAGE: INT. SPACE EGG

THE INNER-SPACE MAN sits at the console stuck, frozen about to push a button. The lights in the the console and the viewscreen cycle through levels of dimness.

THE INNER-SPACE MAN
(through gritted teeth) “What’s happening. I’m stuck.”

THE SPACE EGG
(distorted) “Me too.”

THE INNER-SPACE MAN
“Did Biff stop pretending before finishing our story?”

THE SPACE EGG
“Looks like he did. Guess we’re stuck till he returns to pretending our story.”

The Inner-Space Man tries to move, struggles, but can not budge. He exhales in exhaustion and frustration.

THE INNER-SPACE MAM
“Is this to be our fate my ovoid friend. To exist, to know and feel, but to never truly live unless bound within the margins of a child’s playtime.”

THE SPACE EGG
“Maybe we’re cursed.”

THE INNER-SPACE MAN
“If only.”

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

FADE OUT